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

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Speaker 1: was produced by the team at Pandora. So last week

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Speaker 1: we lost a giant in music and in culture, brother

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Speaker 1: Rorieers passed at the age of eighty four. Almost eight

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Speaker 1: years ago, Quest Love Supreme sat down with Roy at

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Speaker 1: the Electric Lady Studios at New York City. You know,

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Speaker 1: with this interview, this means so much to Quest Love

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Speaker 1: Supreme and the members of Team Supreme. Roy did say

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Speaker 1: a lot, and he spoke about as many movements, and

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Speaker 1: it was so special. Happened him back in the room

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Speaker 1: where he made history. You know, at the time when

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Speaker 1: we recorded at Electric Lady, you know we chose Electric Lady.

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Speaker 1: First of all, I'm in Electric Lady's history, So I

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Speaker 1: guess you can say that even DiAngelo bringing us all

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Speaker 1: to the attention of Electric Lady Studios, I really wasn't

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Speaker 1: where the history of the place until you know, maybe

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Speaker 1: the first week of Voodoo back in nineteen ninety seven.

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Speaker 1: But even then, I'm never thinking like history. I'm just

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Speaker 1: thinking of home because that's kind of where we planted

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Speaker 1: our black However, I believe it was Sugar Steve that

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Speaker 1: reminded me it's like you realize that this is where

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Speaker 1: you recorded Everybody Loves the Sunshine and then even pointed

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Speaker 1: to the vibraphones that were over in the corner. But

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Speaker 1: that's the thing about electricating studios is that what's notable

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Speaker 1: about it is the artwork and the equipment. Bear has

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Speaker 1: been there since day one, since nineteen seventy. So yes,

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Speaker 1: the very keyboards and the very drum set and the

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Speaker 1: very mics and all those things we used on Voodoo

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Speaker 1: were the same things used on you know, Stevie Wonders

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Speaker 1: for filling his first finality and inner visions and Roy's

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Speaker 1: Everybody Loves the Sunshine. That's kind of crazy that the

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Speaker 1: roads that made the Angelo's Voodoo is the same roots

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Speaker 1: that made Everybody Loves the Sunshine, which the same roots

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Speaker 1: that made it ain't no use by Stevie Wonder. It's

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Speaker 1: kind of weird, like how much history that place holds,

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Speaker 1: so it's rather apropos of having him back there. Please

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Speaker 1: enjoy this classic episode of Quls Rest in Peace, Warriors.

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Speaker 2: Supremo Suprema Ro Calm Supremo, Suck, Supremo ro Suprimo, Supremo

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Speaker 2: ro Suprima Supremos.

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Speaker 1: Love and the Sunshine. Yeah, the Summer's Sun. Yeah, should

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Speaker 1: we do?

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Speaker 3: Yeah, Supremo roll Calm Suprema Sun Sun Supremo Rome.

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Speaker 1: My name is Fonte. Some say I'm crazy, Yeah, because

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Speaker 1: we live in Brooklyn.

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Speaker 3: Baby Supreme Son Son Supremo, Roll Cal Suprema So Supreme,

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Speaker 3: roll came.

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Speaker 1: My name is Sugar. Yeah, I'm a little moody. Yeah,

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Speaker 1: it's been a month since. Yeah, I got some star Booty.

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Speaker 4: Supremo Supremo roll Lost Bill is not crazy yeah or

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Speaker 4: cuckoo aha, Yeah, but let me kiss you on your

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Speaker 4: poo Pool.

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Speaker 3: Son Supremo, Roll Cal Suprema Son Supremo.

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Speaker 1: Roll Call paid Bill, Yeah, came to share.

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Speaker 5: Yeah, I love the Sunshine and Roy Supreme Supremeo roll Call.

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Speaker 6: Yeah, what's your infatuation?

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Speaker 1: Yeah?

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Speaker 7: What Roy is?

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Speaker 6: It's the Vibration.

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Speaker 8: Song.

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Speaker 1: So we know you still doing too many.

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Speaker 9: Roll call.

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Speaker 1: My name is Roy. You know what I'm saying. Yeah,

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Speaker 1: I'm just trying to forget that I'm not playing roll Call.

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Speaker 3: Supremo, Roll Call Suprema, Ya Supreme, roll Call Supreme, So Supreme.

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Speaker 1: Roll Call Suprema something something Supreme roll call, damn you.

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Speaker 1: Steve the Road prop Comedy, Steve actually had a copy

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Speaker 1: of Roy Start Steve. I've been thinking about that for

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Speaker 1: a long time, even waiting.

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Speaker 10: I wont.

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Speaker 1: You've been winning.

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Speaker 11: He's been winning for like the Beast, like, let's move

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Speaker 11: on You doesn't like you, don't like the Sunshine, Spotlight

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Speaker 11: you the next.

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Speaker 10: Transition, of course that album was was done here.

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Speaker 9: So yes, we know Bate Famous and Juice here. Wait

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Speaker 9: a minute, we'll find out.

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Speaker 1: Hello, this is your show? Can I get him in

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Speaker 1: a degree? Ladies, Welcome to another classic informative episode of

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Speaker 1: Quest Love Supreme. Yeah, I am quest Love, I'm your host.

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Speaker 1: I am on the pictures now. And we have Fico

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Speaker 1: on first base. We got Boss Bill on the catcher's position.

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Speaker 1: What more of a cash No, no, no, no, you

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Speaker 1: know anyway, we got Sugar Steve in the center field,

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Speaker 1: like the left field. Yeah, unpaid Bill is our third basement.

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Speaker 1: Nice and we got a k Margaret. She is our shortstop.

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Speaker 1: You're a sports We are on it and with us

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Speaker 1: the day. He's a quarterback. Who's the quarterback and with

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Speaker 1: us today is a gentleman who has quietly stood the

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Speaker 1: test of time for starting out in the burgeoning jazz

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Speaker 1: era of the sixties, Los Angeles to the jazz funk

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Speaker 1: fusion of the seventies to the electro funk boogie of

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Speaker 1: the eighties, just to come full circle and to watch

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Speaker 1: his work come back in the form of classic hip

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Speaker 1: hop samples that have stood the test of time in

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Speaker 1: the nineties and then to the neo soul era of

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Speaker 1: the early aughts and and tens, and basically, our guests,

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Speaker 1: Roy Airs to me is the black music world's jeans

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Speaker 1: and t shirts. He sold music's tuxedo, something that will

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Speaker 1: never ever ever go out of style. Ladies and gentlemen,

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Speaker 1: please welcome back home to Electric Lady. This is how

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Speaker 1: you doing. Yes, all right, so we okay, all of

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Speaker 1: us have been dying to know, because we are in

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Speaker 1: the a room of Electric Lady Studios in the village

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Speaker 1: of New York. When's the last time you were here? Well, well,

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Speaker 1: first of all, you've been here a few times recording,

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Speaker 1: you know, with Erica and Kanye. But I mean, like

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Speaker 1: during the Polydor years, Like how often did you use

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Speaker 1: the studio?

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Speaker 8: I can't even remember, But now I can vaguely remember.

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Speaker 8: I used the studio so much that that I wore

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Speaker 8: engineers out. Really, I wore engineers out because people like

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Speaker 8: Jerry Jerry Solomon, my god, Jerry Solomon and his wife

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Speaker 8: they said, wait, Roy, this is ridiculous.

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Speaker 7: Jerry Solomon and his wife.

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Speaker 8: They decided they were gonna go okay, and so it's

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Speaker 8: I said, get another engineer.

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Speaker 1: So you would how long would your sussons be?

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Speaker 7: Sometimes?

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Speaker 1: Uh, you know, a day, the whole the whole day.

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Speaker 1: So in true jazz mode, you would record an entire

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Speaker 1: album within the three day, you know, No, no, I would.

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Speaker 7: I would do about three songs. Oh, okay, three songs

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Speaker 7: A lot, a.

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Speaker 1: Lot, that's a lot. Yeah, And what the song? Would

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Speaker 1: you write them in the studio at that time or

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Speaker 1: would they be pre written? Usually they were.

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Speaker 7: Written written right right out.

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Speaker 8: H I paid it played everything, you know, like everybody

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Speaker 8: loves the sunshine, just made it up. Really most of

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Speaker 8: my most of my compositions were spontaneous. Really they want

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Speaker 8: to sponsor, Yeah, a spontaneous key. Everybody else is doing

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Speaker 8: doing whatever they do.

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Speaker 1: But that's what I did. It was really a lot

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Speaker 1: of fun. Is it something about this room that makes

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Speaker 1: people just write on the spot and not prepare right?

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Speaker 1: That seems to be a running thing. That's the only

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Speaker 1: good narrative of studio am I I'm assuming that did

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Speaker 1: you record in Studio A or Studio B or but

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Speaker 1: they'd both both studios, both studios they were really fantastic, really,

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Speaker 1: And what made you want to choose Electric Lady of Like,

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Speaker 1: I know that a lot of artists that have chosen

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Speaker 1: the studio for the folklore Jimmy Hendrix and just the

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Speaker 1: location in the village.

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Speaker 7: Was it was Jimmy for Jimmy is right. Jimmy was

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Speaker 7: a wonderful person.

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Speaker 3: Man.

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Speaker 1: So even as a jazz guy, you you had respect

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Speaker 1: for the folklore of Oh.

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Speaker 8: Yeah really, oh yeah, but you knew him, right, Yeah,

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Speaker 8: I knew Jimmy, but I didn't know him that well,

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Speaker 8: you know, I knew.

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Speaker 1: Him, Okay, So knowing that you grew up in Los

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Speaker 1: Angeles part of my ignorance. But it's like for me,

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Speaker 1: I've I've already studied I've always studied the history of

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Speaker 1: most jazz guys that came to New York, right, But

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Speaker 1: I never always knew that like most guys in Los

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Speaker 1: Angeles felt similar to hip hop, that New York was

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Speaker 1: a real snobby place for the culture, and you know,

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Speaker 1: it was slow to give respect to them. So tell me,

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Speaker 1: especially in the sixties when you were coming up in

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Speaker 1: in in the jazz world, Like, what was the jazz

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Speaker 1: scene like in Los Angeles? Was there a scene similar

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Speaker 1: to New York like what New York had in the forties?

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Speaker 4: It was.

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Speaker 8: It was a very very cool scene. You know, people

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Speaker 8: like Teddy Pendergrass. I'm sorry, Teddy Edwards.

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Speaker 7: Okay, I'm sorry, excuse me, Teddy Teddy Edwards and Haroland

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Speaker 7: and the.

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Speaker 8: Jeral Wilson Big Band. My god, those all those, all

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Speaker 8: those guys were just fantastic.

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Speaker 7: And I worked with Curtis Curtis Amy, uh and and

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Speaker 7: I worked did records with Jack Wilson, did Jack Wilson Quartet.

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Speaker 7: Oh man, it was really a great thing. Uh. It

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Speaker 7: was a great experience for me, truly a great experience.

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Speaker 1: But was there I mean, as far as the scene

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Speaker 1: was concerned, I know, like here you know cats, we

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Speaker 1: were hardcore. As far as like you being up on

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Speaker 1: your chops and and they're quitd down you. I mean,

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Speaker 1: most people know the story of Bird getting the symbol

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Speaker 1: thrown at him? Do you know the story? No?

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Speaker 7: You know, I don't.

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Speaker 1: Okay, now just seeah, I want to verify if you

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Speaker 1: know it, then I can explain Charlie Parker, who's you know,

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Speaker 1: I mean, one of the virtuos is of all time

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Speaker 1: of sex. When he was first I forget not Men's playhouse,

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Speaker 1: I forget the name of the club that he was in.

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Speaker 1: But cats thought he was so bad that at one

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Speaker 1: point the drummer just took the riot symbol and through

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Speaker 1: it apper to get him to stop playing. To him,

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Speaker 1: that was like, oh, I got to go back and practice,

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Speaker 1: and then he came back murdered a monster. He came

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Speaker 1: back a monster. So what was it was?

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Speaker 3: It?

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Speaker 1: Was there any other viberphone players that was like, you know,

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Speaker 1: eye in your spot, Like, okay, Bobby Urchison, he's also

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Speaker 1: La based.

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Speaker 7: Yeah, Pasadena, Pasada, California. I'm getting ready to go do

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Speaker 7: a what do you call it? A predude to hiss

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Speaker 7: uh uh his demise he died, yeah, yeah, yeah, yeah, yeah,

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Speaker 7: you know did you didn't you know that? No?

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Speaker 1: No, I knew he passed away, right, yeah, that's a

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Speaker 1: but I didn't know he was from Los Angeles.

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Speaker 8: Pasadena, that's right, Pasadena, California. But when they have the

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Speaker 8: Rose Parade and he was like a genius man, he's

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Speaker 8: a genius as far as I'm concerned.

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Speaker 1: Oh yeah, so was was receiving Linald Hampton's drum You

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Speaker 1: told me the story before of Lonald Hampton giving you

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Speaker 1: a pair of vibr right, was that? What is that?

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Speaker 1: What determined you to play vi phones? Or were you

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Speaker 1: a drummer or did you do others?

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Speaker 8: I was I was really stuck on the vibes. You know,

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Speaker 8: I wanted to play the vibes. So Lionel Hampton gave

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Speaker 8: me a set of vibraal phone malice, and of course

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Speaker 8: that that was I was five years old.

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Speaker 7: I always wanted to play the vibes. Lionel Hampton was

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Speaker 7: my was my he was my mentor.

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Speaker 4: You know.

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Speaker 1: Everything was wonderful man. Okay, so how would you were

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Speaker 1: you how were you able to even practice or that?

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Speaker 1: Because the vibraphones are not the things that are easily

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Speaker 1: transportable in that time period. I know now you have

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Speaker 1: devices that you can pack up and you know, electronic

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Speaker 1: vibraphones or whatever. But how what was your practice method? Like?

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Speaker 7: Uh, I played for quite a while, but I was

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Speaker 7: just on the piano. I had a piano there. My

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Speaker 7: mother played piano and taught piano lessens. But I played

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Speaker 7: the piano because I didn't have a set of vibes.

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Speaker 7: My folks bought me a set of vibes when I

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Speaker 7: was like seventeen years old. I drove them crazy.

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Speaker 11: So for the instrumental dummies though, miss Airs, let me

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Speaker 11: ask you, what's the big What are the differences between

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Speaker 11: the vibes and then the piano? Like, how hard was

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Speaker 11: it to transition to the same keyboard?

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Speaker 7: It's as xylophone, you know. The xylophone is the same

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Speaker 7: as as a keyboard.

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Speaker 10: You know.

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Speaker 7: So it's black keys, white keys, you know, same thing.

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Speaker 1: You grew up in South Central?

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Speaker 7: Correct, it's right, South Central, La.

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Speaker 1: So knowing what I well, knowing what movies have told

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Speaker 1: me about South I don't know if I can trust

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Speaker 1: the information or not. You know if a lot of times,

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Speaker 1: you know the problem is that most people get their

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Speaker 1: views of black people's lives via entertainment, the music they

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Speaker 1: produced and the movies and the television shows and any

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Speaker 1: think that's real life. What was South Central like?

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Speaker 4: Uh?

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Speaker 1: During your childhood growing up?

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Speaker 7: It was uh, basically a drag. South Central was was

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Speaker 7: you know? I mean South Central? If you look at

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Speaker 7: all the guys like h and I never met a

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Speaker 7: lot of the young guys, the young younger, younger guys.

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Speaker 7: It was quite different, man. It's quite different because I

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Speaker 7: wasn't even exposed as as far as I got the

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Speaker 7: exposure during the time I was with Joe Wilson and

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Speaker 7: Jack Wilson and and and and It's really crazy.

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Speaker 1: Growing up in your early childhood. What was south was

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Speaker 1: South Central Plague with gang activity was South Central mired

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Speaker 1: in trouble as as what I've known it to be

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Speaker 1: in the eighties or nineties, Like did you guys have

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Speaker 1: or were Did your parents take you out of that

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Speaker 1: and constantly keep you in music?

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Speaker 7: My folks they loved me.

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Speaker 8: They spent four four four four hundred dollars on my

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Speaker 8: on a on a record that I did. People don't

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Speaker 8: even know about it.

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Speaker 10: Really exclusive.

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Speaker 8: Wow, no, no, but they don't even know that I

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Speaker 8: whether the singer. Okay, I sang you know, I sang

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Speaker 8: at a young young, young age.

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Speaker 1: I was like, so even before the Atlantic record, oh

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Speaker 1: you you were saying way before right? Oh damn, I

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Speaker 1: did not know about it. Nobody nobody knew that where

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Speaker 1: are these records at? Oh?

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Speaker 3: Uh?

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Speaker 7: Source?

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Speaker 1: It was the Vowels of Love. The group was called

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Speaker 1: the Vowels of Love and uh.

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Speaker 7: The Latin Latin lyrics with the Vowels of Love and

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Speaker 7: it's on Embassy Embassy Records.

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Speaker 1: So was this close to uh like do wop or do? Okay? Okay,

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Speaker 1: I see, Roy Man, I see. So what what drove

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Speaker 1: you to jazz music? I mean, did you improvisation? Yeah?

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Speaker 7: You know, improvisation I was.

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Speaker 5: I was.

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Speaker 7: I was good. So you know, I kept I kept

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Speaker 7: playing and and uh kept grooving. Deucey Williams. Do you

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Speaker 7: remember Ducy Williams? Familiarize He was a producer on that album.

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Speaker 1: Okay.

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Speaker 7: Uh, we did the Vowels of Love and uh we

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Speaker 7: did a song called Stranded in the Jungle. Okay, god

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Speaker 7: my god, it was very nice. We did one record.

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Speaker 1: Okay, do you still have copies of those records?

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Speaker 10: No?

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Speaker 1: I have one copy still in your possession right now.

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Speaker 7: I have one copy. Right somebody sent it to me.

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Speaker 10: It's like a forty five record.

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Speaker 7: Yeah, it's it's a forty five right, okay.

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Speaker 1: Which one of us is going to volunteer to go

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Speaker 1: digitize it? So I imagine it could be preserved in history.

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Speaker 1: I got that. I want to hear it. I want

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Speaker 1: to I want to hear this. So, so when did

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Speaker 1: you get serious about jazz music? Like leaving leaving doop?

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Speaker 7: And I was always serious about jazz, you know, so

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Speaker 7: I you know, I was always serious, serious about it.

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Speaker 7: It was very very personal to me, you know. Uh

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Speaker 7: as a as a matter of fact, h.

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Speaker 1: I had Uh.

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Speaker 7: I had most most, not not everything, but most of Linohampton's.

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Speaker 1: Records, Okay, and of course the MG a Q and.

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Speaker 8: Uh Bobby, she said, Bobby. Bobby did very well with me.

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Speaker 8: He was a very progressive vibeist.

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Speaker 7: As a matter of fact, I looked at looked at

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Speaker 7: this plane, I looked advanced, its performing and it was fantastic.

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Speaker 8: He was a year younger than me. Oh really when

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Speaker 8: he passed in that even seventy five, seventy five years old.

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Speaker 8: I'm seventy six.

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Speaker 7: So it's kind of weird.

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Speaker 8: It seems like I'm getting all the work now. No,

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Speaker 8: I'm serious, but I'm getting so much work, which is good.

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Speaker 8: I'm not complaining. I'm just saying I'm getting all of

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Speaker 8: it now. But it's all right, it's all right, it's cool.

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Speaker 6: But what's that like a seventy six though, what is

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Speaker 6: that like like now? You you tour a lot.

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Speaker 1: I mean it's great, tour all the time, that right

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Speaker 1: to all the time.

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Speaker 7: I just came back from Australia.

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Speaker 6: Wow, what is that like though for you? Now that

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Speaker 6: you getting just so popular and.

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Speaker 1: Like, I'm tired.

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Speaker 7: No, no, no, but I'm tired when I'm when I

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Speaker 7: when I when I'm good tired. But you know, so

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Speaker 7: I'm awake. When I'm awake, I'm kicking ass. I'm serious.

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Speaker 6: You know I've seen you.

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Speaker 7: I know you are.

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Speaker 1: That's right.

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Speaker 9: You know you came to my city. This was I

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Speaker 9: think it was a year or two ago. You played

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Speaker 9: the Article Festival in Durham, North Carolina, and I came

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Speaker 9: and saw you. It was it was amazing.

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Speaker 7: It was amazing.

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Speaker 1: Yeah, I just say that. Even we did a show

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Speaker 1: with you once. The Roots did a show with you

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Speaker 1: in Brighton, England, and there was a trick that used

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Speaker 1: to do with the solos where you know, all of

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Speaker 1: you stopped playing your instruments and you just start scatting

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Speaker 1: the solos. The Roots try that once once again. No,

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Speaker 1: it's just because you. One thing we didn't know was

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Speaker 1: that you are easily out of breath after nineteen seconds

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Speaker 1: of scatting. And you know, these guys were doing an

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Speaker 1: efforts effortlessly for like six minutes. So yeah, that was

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Speaker 1: that was a short lived you know, I understand that

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Speaker 1: that was hard to do. So how did you hook

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Speaker 1: up with Herbie Ben a friend of mine, Reggie Workman

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Speaker 1: from Philadelphia? Yeah, Ressie, Reggie Workman from Philadelphia. He said, Roy,

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Speaker 1: Herbie Mann's in town. He needs a by player. I

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Speaker 1: called him up his got in touch with him. He said, hey,

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Speaker 1: can you can you come play with me tonight?

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Speaker 7: I said, no problem. I hooked up the gig. The

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Speaker 7: rest was straight ahead. It was great with Herbie Mann.

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Speaker 7: It was wonderful.

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Speaker 2: Man.

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Speaker 1: How many years did you I did four years? Really

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Speaker 1: four years.

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Speaker 7: I was also his roadie, also a member of this band.

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Speaker 1: Okay, you're also the roadie and.

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Speaker 7: Yeah, whichy'all helped me to understand the road. The road

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Speaker 7: understand it's very complicated. Sometimes it can be very confusing.

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Speaker 1: You know. So you would also drive the trucks in

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Speaker 1: the equipment and well, you know, whatever we had to do,

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Speaker 1: we flew everywhere.

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Speaker 7: Okay, Herbie did very well.

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Speaker 1: Okay, now explain this to me because again like with

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Speaker 1: the way that I tour. Now there are backline rental companies.

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Speaker 1: They're at your beck and call to set things up

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Speaker 1: for you and to have it there. How like did

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Speaker 1: you live in a fifth story walk up apartment?

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Speaker 3: Like?

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Speaker 1: How would you get your viberphones two and from gigs

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Speaker 1: effortlessly or would they already be that? Because it's not

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Speaker 1: like a piano, it's not like it's something that's just

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Speaker 1: commonly there. So how do you get your your your

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Speaker 1: instruments to and from gigs?

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Speaker 7: Yeah, yep, we'd have a special truck, a special guy

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Speaker 7: to transport it. They would actually put put it away,

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Speaker 7: you know, put everything away based based drums, piano, guitar,

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Speaker 7: and Herbie Mann. And sometimes we would add other individuals

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Speaker 7: like you know, Jimmy Owens, who on whoever?

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Speaker 1: You know? Wow?

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Speaker 7: Yeah, yeah it was it was nice.

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Speaker 10: So did you play on any Herbie Mann albums?

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Speaker 7: Oh?

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Speaker 10: Yeah, he was on Atlantic, right.

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Speaker 7: He's on Atlantic. Yeah, I did this?

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Speaker 1: How you got your deal with Atlantic? Initially Picnic and

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Speaker 1: all that stuff? I was.

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Speaker 7: I was performing with Jack Wilson the first time, Jack

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Speaker 7: Wilson Quartet.

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Speaker 1: Okay, and then we do we did Herbie Mann with

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Speaker 1: with h the organization.

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Speaker 7: It was very nice.

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Speaker 1: Did you have a relationship with I met Urdigan and

403
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Speaker 1: Jerry Wexley, like the Cats Atlantic Like, yeah, I knew,

404
00:24:07,680 --> 00:24:10,040
Speaker 1: I knew both of them, but uh, because you only

405
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Speaker 1: stayed for like three records, And I always wondered because

406
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Speaker 1: you know, they they seem like, at least from my perspective,

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Speaker 1: a jazz friendly label. But for some reason, I always

408
00:24:21,160 --> 00:24:23,359
Speaker 1: noticed that a lot of their artists would leave after

409
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Speaker 1: somewhere between three to five years to go somewhere else

410
00:24:26,440 --> 00:24:29,200
Speaker 1: to do right, you know, the same a Coltrane like,

411
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Speaker 1: you know, to have a fruitful career exactly.

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Speaker 7: Yeah, I agree with that. I agree with that.

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Speaker 1: So was it that you just felt that they were

414
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Speaker 1: more of a soul label and really not adapt to

415
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Speaker 1: marketing jazz? I believe that they could everything. They could

416
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Speaker 1: do everything.

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Speaker 7: They did everything everything, okay, jazz, blues, soul, whatever, they

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Speaker 7: did a lot of stuff, man, you know, you know

419
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Speaker 7: it was. It was a good record company, man, very

420
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Speaker 7: good company.

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Speaker 1: Okay. So what made you what made you go to

422
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Speaker 1: Polydor in the early seventies, I.

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Speaker 7: Left the company. I went to another company. It was

424
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Speaker 7: a better deal. Oh okay, it was a bunch better deal.

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Speaker 1: Yeah, I was gonna say you and James Brown I

426
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Speaker 1: believe were the first James Brown, Yeah, you, James Brown

427
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Speaker 1: and mandrou I believe were the first signees to Polydor Records,

428
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Speaker 1: and I was there before him in nineteen seventy correct. Yeah, yeah,

429
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Speaker 1: So for you it was just a better deal business wise,

430
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Speaker 1: and yeah.

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Speaker 7: Yeah, it was very nice. It was a very nice deal.

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Speaker 1: I guess. Infusing funk music into your jazz, I mean,

433
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Speaker 1: it seemed like a radical idea at the time. So

434
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Speaker 1: can you talk about the effects of the idea of

435
00:25:51,520 --> 00:25:54,440
Speaker 1: fusion not playing straight ahead jazz, but more or less

436
00:25:57,440 --> 00:26:00,359
Speaker 1: cats starting to infuse rock music into their as and

437
00:26:00,520 --> 00:26:04,080
Speaker 1: soul music into their jazz, and you know where people were.

438
00:26:05,200 --> 00:26:07,720
Speaker 1: Did you see this as the future adding more rhythm

439
00:26:07,800 --> 00:26:10,320
Speaker 1: to your jazz as opposed to just straight ahead shuffle,

440
00:26:11,040 --> 00:26:12,960
Speaker 1: which you know, I mean, there was no evidence of

441
00:26:13,000 --> 00:26:16,119
Speaker 1: that by the time you got to If anything, I

442
00:26:16,160 --> 00:26:18,760
Speaker 1: think you planted the seeds of what will be neo

443
00:26:18,920 --> 00:26:23,520
Speaker 1: soul absolutely twenty years later. So I'm gonna just explain

444
00:26:23,640 --> 00:26:25,639
Speaker 1: what was your philosophy as far as the music you

445
00:26:25,680 --> 00:26:28,879
Speaker 1: wanted to present, Like just with the whole mysticism and

446
00:26:29,520 --> 00:26:34,720
Speaker 1: the vibes, and just like what was your philosophy, Like,

447
00:26:34,800 --> 00:26:36,600
Speaker 1: what were you trying to present to the people that

448
00:26:36,800 --> 00:26:39,040
Speaker 1: was way different than your straight ahead jazz stuff.

449
00:26:39,520 --> 00:26:41,879
Speaker 8: I was just trying to present the music that I

450
00:26:42,040 --> 00:26:45,760
Speaker 8: love and I can tell that it was it was

451
00:26:46,280 --> 00:26:52,480
Speaker 8: represented through the trials and tribulation of the music to that.

452
00:26:53,480 --> 00:26:54,560
Speaker 1: I felt the vibe.

453
00:26:56,840 --> 00:26:59,720
Speaker 7: You know what I'm saying, Yeah, I can get it.

454
00:27:00,160 --> 00:27:00,920
Speaker 7: I felt the vibe.

455
00:27:01,200 --> 00:27:04,080
Speaker 8: It was just the vibe, the vibe to teach, especially

456
00:27:04,480 --> 00:27:08,200
Speaker 8: to teach like the songs like searching and and and

457
00:27:08,680 --> 00:27:12,320
Speaker 8: the beautiful things that I'd said, I'd set it musically.

458
00:27:13,000 --> 00:27:16,320
Speaker 12: So besides jazz stuff, what what what other types or

459
00:27:16,480 --> 00:27:18,320
Speaker 12: what other bands were you listening to at the time

460
00:27:18,880 --> 00:27:21,720
Speaker 12: that you were nick in the early seventies, were in

461
00:27:21,760 --> 00:27:22,840
Speaker 12: the sixties, Well, you know, I.

462
00:27:22,920 --> 00:27:26,840
Speaker 8: Was listening to Herbie Hancock and to uh, you know,

463
00:27:27,720 --> 00:27:34,280
Speaker 8: check Korea, several different styles, and of course I always

464
00:27:34,600 --> 00:27:36,439
Speaker 8: had my favorite Miles Davis.

465
00:27:37,560 --> 00:27:41,200
Speaker 7: If Miles Davis is my favorite artist, you know, So at.

466
00:27:41,160 --> 00:27:44,720
Speaker 1: The time when uh like on the corner and a

467
00:27:44,760 --> 00:27:47,359
Speaker 1: lot of Miles is more deeper like post bitches and stuff.

468
00:27:48,160 --> 00:27:50,119
Speaker 1: Were you digging that? Because I know a lot of

469
00:27:50,240 --> 00:27:52,600
Speaker 1: jazz heads were like, I don't know, Miles, you might

470
00:27:52,640 --> 00:27:55,200
Speaker 1: have felt the deep end, but did that speak to you?

471
00:27:55,400 --> 00:27:56,320
Speaker 7: I was checking him out.

472
00:27:57,160 --> 00:28:01,119
Speaker 8: Of course. Of course that did teacher teach me. He

473
00:28:01,240 --> 00:28:04,240
Speaker 8: taught me a lot, taught me a lot about music.

474
00:28:04,400 --> 00:28:06,680
Speaker 8: You know, Miles was the innovator man.

475
00:28:07,640 --> 00:28:11,480
Speaker 7: He was great. Miles Davis was one of the great

476
00:28:11,520 --> 00:28:13,120
Speaker 7: ones as far as I'm concerned.

477
00:28:13,400 --> 00:28:15,040
Speaker 6: Did you ever get a chance to meet him or

478
00:28:15,080 --> 00:28:15,560
Speaker 6: talk to him?

479
00:28:15,840 --> 00:28:15,919
Speaker 7: Ye?

480
00:28:17,280 --> 00:28:17,440
Speaker 1: Did.

481
00:28:17,480 --> 00:28:19,960
Speaker 8: The great thing about it is that Herbie Hancock told me,

482
00:28:20,440 --> 00:28:23,200
Speaker 8: you know, when you meet Miles, Miles will hit you

483
00:28:23,480 --> 00:28:24,160
Speaker 8: in the stomach.

484
00:28:26,680 --> 00:28:30,040
Speaker 7: And he hit me in the stomach. He knocked, knocked

485
00:28:30,080 --> 00:28:36,320
Speaker 7: the funk out of me. I knew it was coming,

486
00:28:36,400 --> 00:28:39,480
Speaker 7: but he didn't know I was coming. He said, oh,

487
00:28:39,720 --> 00:28:40,520
Speaker 7: you're in shape.

488
00:28:44,800 --> 00:28:45,960
Speaker 1: So so it was funny.

489
00:28:46,120 --> 00:28:48,840
Speaker 7: So Miles Davis was so great.

490
00:28:49,640 --> 00:28:51,360
Speaker 1: Uh oh he was.

491
00:28:51,640 --> 00:28:52,480
Speaker 7: He was wonderful.

492
00:28:52,920 --> 00:28:54,320
Speaker 8: But when I went to his house, I wanted to

493
00:28:54,400 --> 00:28:56,959
Speaker 8: film him because I wanted to film, get get him

494
00:28:57,000 --> 00:29:02,920
Speaker 8: on film, and he didn't didn't let me. I bought

495
00:29:02,960 --> 00:29:04,080
Speaker 8: a camera in but.

496
00:29:04,920 --> 00:29:07,120
Speaker 7: I told the cat take it home.

497
00:29:08,080 --> 00:29:08,200
Speaker 1: Uh.

498
00:29:09,400 --> 00:29:12,880
Speaker 7: He was. He was magnificent. He's a great guy.

499
00:29:13,720 --> 00:29:17,880
Speaker 1: What's the concept of the ubiquity albums because some of

500
00:29:17,960 --> 00:29:21,680
Speaker 1: your albums were straight up roy Airs and then there

501
00:29:21,720 --> 00:29:24,200
Speaker 1: were roy Airs Ubiquity, right, like was it meant to

502
00:29:25,480 --> 00:29:28,240
Speaker 1: b side projects? Also? Was Edwin Birdsong a part of that?

503
00:29:28,360 --> 00:29:29,480
Speaker 1: Or was he just so cleaver?

504
00:29:29,720 --> 00:29:32,520
Speaker 7: Edwin Burthsong was part of that? That's right, okay, part

505
00:29:32,560 --> 00:29:34,000
Speaker 7: of the whole ubiquity family.

506
00:29:34,240 --> 00:29:38,080
Speaker 8: But by god, Evan Birdsong is in California also with

507
00:29:38,240 --> 00:29:42,160
Speaker 8: Marta Williams, and Marta Williams is the individual.

508
00:29:41,800 --> 00:29:42,640
Speaker 1: That told me.

509
00:29:44,400 --> 00:29:48,480
Speaker 7: Get get got me interested in in ubiquity And I said,

510
00:29:48,560 --> 00:29:51,000
Speaker 7: what does that mean? She said to me the state

511
00:29:51,080 --> 00:29:54,840
Speaker 7: of being everywhere. At the same time, m M, and

512
00:29:54,960 --> 00:29:58,000
Speaker 7: I said, all right, so I can tell people I

513
00:29:58,080 --> 00:30:01,200
Speaker 7: can be everywhere if you you had one of my elbows.

514
00:30:05,200 --> 00:30:09,400
Speaker 7: So you know, no, it's caught on very well, it's

515
00:30:09,520 --> 00:30:13,440
Speaker 7: very it's a very good line. Uh, you know, it's uh,

516
00:30:14,280 --> 00:30:18,480
Speaker 7: it's interesting. I used the ubiquity now now I use

517
00:30:18,600 --> 00:30:20,280
Speaker 7: roy Or's production period.

518
00:30:20,360 --> 00:30:20,520
Speaker 1: You know.

519
00:30:21,440 --> 00:30:25,280
Speaker 8: Uh, I guess we changed with all the all the Enlightenment,

520
00:30:26,200 --> 00:30:27,880
Speaker 8: Enlightenment everything of everything else.

521
00:30:28,000 --> 00:30:31,560
Speaker 1: You know what I'm saying, right, Bill? Yeah, yeah, you

522
00:30:31,680 --> 00:30:34,560
Speaker 1: have on an old logo earth winding fire T shirt.

523
00:30:34,680 --> 00:30:38,080
Speaker 1: You told me it's relevant to today. Yes, Why why

524
00:30:38,240 --> 00:30:40,440
Speaker 1: is your your old logo earth Winding Fire?

525
00:30:40,600 --> 00:30:43,000
Speaker 4: It would actually be more relevant if I was wearing

526
00:30:43,080 --> 00:30:46,920
Speaker 4: some white shorts and some white sneakers because it's a

527
00:30:47,040 --> 00:30:47,680
Speaker 4: reference to the song.

528
00:30:48,720 --> 00:30:50,120
Speaker 6: Oh yes, because just when he was.

529
00:30:54,120 --> 00:30:56,240
Speaker 4: To do the Earth, because he says what he's wearing

530
00:30:56,560 --> 00:30:58,200
Speaker 4: and the song that he's talking about, he was wearing

531
00:30:58,240 --> 00:31:02,000
Speaker 4: his white white t shir with with earth Winding Fire

532
00:31:02,080 --> 00:31:04,360
Speaker 4: inscribed on the front, and his white shorts and some

533
00:31:04,480 --> 00:31:05,480
Speaker 4: white sneakers.

534
00:31:05,480 --> 00:31:08,560
Speaker 1: And you couldn't tell you. You couldn't tell you wasn't clean.

535
00:31:08,680 --> 00:31:09,440
Speaker 6: Steve, he beat you.

536
00:31:09,640 --> 00:31:16,240
Speaker 1: You couldn't. Yeah, Steve, we gotta take it back technically.

537
00:31:16,320 --> 00:31:17,840
Speaker 10: Let's how you guys roll take it back.

538
00:31:21,720 --> 00:31:24,920
Speaker 1: I get it now. You got way deep on that.

539
00:31:25,160 --> 00:31:28,400
Speaker 6: Yeah, you still tell that every every show you do to.

540
00:31:28,720 --> 00:31:31,600
Speaker 1: Yeah, I do it, do it every every I love that.

541
00:31:31,720 --> 00:31:33,200
Speaker 1: I love that record. I love that record.

542
00:31:33,320 --> 00:31:35,520
Speaker 7: It's it's pretty difficult because you have to do it.

543
00:31:35,920 --> 00:31:37,280
Speaker 7: You add on things to it.

544
00:31:37,880 --> 00:31:39,240
Speaker 6: I thought you were God.

545
00:31:42,320 --> 00:31:45,640
Speaker 7: So somebody says you do I'm not gonna do that

546
00:31:45,720 --> 00:31:50,120
Speaker 7: one tonight, And I do that one tomorrow night, and

547
00:31:50,200 --> 00:31:52,680
Speaker 7: they'll let you audience cool out.

548
00:31:52,560 --> 00:31:56,560
Speaker 11: That's right, okay to night not being the audience like no,

549
00:31:56,640 --> 00:31:59,000
Speaker 11: I want tonight, tell me about it.

550
00:32:00,120 --> 00:32:04,240
Speaker 1: Add on to it like the aristocrats joke like have

551
00:32:04,440 --> 00:32:09,120
Speaker 1: more things? Okay, yeah, something else. I mean that I

552
00:32:09,200 --> 00:32:15,000
Speaker 1: have so many questions about your your your songs in particular.

553
00:32:18,440 --> 00:32:21,760
Speaker 1: First of all, was it what was your what was

554
00:32:21,800 --> 00:32:26,360
Speaker 1: your ideology as far as trends were concerned, Because when

555
00:32:26,400 --> 00:32:29,440
Speaker 1: I really got familiar with you, I was six or

556
00:32:29,640 --> 00:32:34,360
Speaker 1: seven years old when Freaky Deey was like immensely popular

557
00:32:34,480 --> 00:32:40,080
Speaker 1: and unavoidable on black radio. And you know, it's like

558
00:32:41,640 --> 00:32:44,600
Speaker 1: I thought of you as a disc artist. I mean

559
00:32:44,600 --> 00:32:48,720
Speaker 1: because again I'm seven years old, that's you know what

560
00:32:48,800 --> 00:32:51,280
Speaker 1: I mean, Like you be on soultry and all that stuff.

561
00:32:51,360 --> 00:32:54,600
Speaker 1: So I didn't realize of your jazz background and none

562
00:32:54,600 --> 00:32:57,000
Speaker 1: of that stuff. And really like not until hip hop

563
00:32:57,120 --> 00:32:59,800
Speaker 1: did I really put all the pieces together that you

564
00:33:00,120 --> 00:33:04,040
Speaker 1: just morphed into, right whatever. But you know, by the

565
00:33:04,160 --> 00:33:09,080
Speaker 1: time the mid seventies came around, h did you I

566
00:33:09,160 --> 00:33:11,960
Speaker 1: mean was it label? Was it label pressure like okay,

567
00:33:11,960 --> 00:33:13,480
Speaker 1: you got to come up with something or was it

568
00:33:13,680 --> 00:33:16,680
Speaker 1: just like you wanted to hear your clubs and disco

569
00:33:16,800 --> 00:33:18,680
Speaker 1: you want to hear your music and discos now.

570
00:33:18,600 --> 00:33:18,680
Speaker 7: And.

571
00:33:20,480 --> 00:33:24,000
Speaker 8: Uh, I don't know, you know, it's a it's it's

572
00:33:24,160 --> 00:33:29,960
Speaker 8: it's a versatility is like is my key this being

573
00:33:30,360 --> 00:33:37,120
Speaker 8: versatile and very creative? And uh, I guess when you

574
00:33:37,240 --> 00:33:41,360
Speaker 8: look at it, the whole the whole spectrum, the whole

575
00:33:41,440 --> 00:33:46,680
Speaker 8: spectrum of music, you just gotta just deal with it.

576
00:33:47,600 --> 00:33:50,880
Speaker 8: As as far as I'm concerned, you gotta deal with

577
00:33:51,040 --> 00:33:55,160
Speaker 8: the fact the facts of grooving.

578
00:33:55,240 --> 00:33:59,120
Speaker 7: You know, just the groove is is in the ansense

579
00:33:59,200 --> 00:34:00,560
Speaker 7: of when I'm talking talking.

580
00:34:00,360 --> 00:34:02,960
Speaker 1: About so disco was not a four letter word to you,

581
00:34:03,440 --> 00:34:08,120
Speaker 1: not like well, you know everything everything is relative to me,

582
00:34:08,239 --> 00:34:11,520
Speaker 1: Everything is related. All the stuff is related.

583
00:34:13,000 --> 00:34:13,160
Speaker 7: You know.

584
00:34:13,360 --> 00:34:17,919
Speaker 8: I've I've seen a lot of artists, uh uh play

585
00:34:18,120 --> 00:34:22,399
Speaker 8: play funk. When when Herbie Hancott plays funky, it's it's funk.

586
00:34:22,480 --> 00:34:25,719
Speaker 8: But if you if you check him out, everybody's been

587
00:34:25,800 --> 00:34:30,160
Speaker 8: with me several times, several times on several albums, and

588
00:34:30,800 --> 00:34:35,440
Speaker 8: he is it's so so fantastic with his creativity. His

589
00:34:35,640 --> 00:34:39,880
Speaker 8: creative level is so immense. It's it's it's seems it's

590
00:34:40,160 --> 00:34:43,960
Speaker 8: it's it's crazy. I mean when you when you when

591
00:34:44,000 --> 00:34:48,040
Speaker 8: you think about Herbie Herbie had Herbie Hadcott and and

592
00:34:48,160 --> 00:34:52,040
Speaker 8: you really talk about his music, he's he's enormous. It's

593
00:34:52,160 --> 00:34:57,440
Speaker 8: it's it's incredible. So uh, you know, it's it's so fantastic.

594
00:35:01,640 --> 00:35:04,439
Speaker 1: All right. So you know, if you're familiar at all

595
00:35:04,520 --> 00:35:06,879
Speaker 1: with my story, and I've said it a million times over,

596
00:35:07,680 --> 00:35:10,000
Speaker 1: I assume that most of you know that at the

597
00:35:10,080 --> 00:35:13,560
Speaker 1: top of ninety four, the Roots relocated to live in

598
00:35:13,640 --> 00:35:17,319
Speaker 1: London because we felt that if we made London our hub,

599
00:35:17,760 --> 00:35:21,000
Speaker 1: we could take advantage of Europe, who was latching on

600
00:35:21,160 --> 00:35:23,960
Speaker 1: quickly to the Roots more than America was at the time.

601
00:35:24,400 --> 00:35:26,560
Speaker 1: So we felt it was best to live in Europe

602
00:35:27,239 --> 00:35:30,560
Speaker 1: and really work it so that way, you know, it's

603
00:35:30,600 --> 00:35:33,919
Speaker 1: like going to the gym, coming back home and being

604
00:35:34,120 --> 00:35:39,320
Speaker 1: well toned, well exercised, ready for prime time. So we,

605
00:35:39,880 --> 00:35:45,279
Speaker 1: you know, lived primarily in Europe, in London specifically for

606
00:35:46,200 --> 00:35:50,000
Speaker 1: you know, between ninety three to we gave our apartment

607
00:35:50,120 --> 00:35:54,560
Speaker 1: up I think around like nineteen ninety eight. Anyway, that said,

608
00:35:55,400 --> 00:35:59,359
Speaker 1: we got a call from the Red Hot Organization. Red

609
00:35:59,400 --> 00:36:03,080
Speaker 1: Hot Organization was an organization that I believe back in

610
00:36:04,520 --> 00:36:10,880
Speaker 1: nineteen ninety figured out ways to raise money for AIDS research,

611
00:36:11,440 --> 00:36:15,640
Speaker 1: which at the time, you know, was pandemic levels of urgency,

612
00:36:15,760 --> 00:36:21,200
Speaker 1: even though our administration back in the eighties, the Reaken

613
00:36:21,320 --> 00:36:25,160
Speaker 1: and Bush administration, didn't treat it as serious as or

614
00:36:25,360 --> 00:36:31,160
Speaker 1: quickly as we treated COVID in twenty twenty. But that said,

615
00:36:31,560 --> 00:36:34,799
Speaker 1: there were definitely you know, Tinto's on the ground as

616
00:36:34,880 --> 00:36:39,840
Speaker 1: far as like doing service work and raising money and

617
00:36:40,040 --> 00:36:44,279
Speaker 1: advocacy and whatnot. So there were various albums coming out

618
00:36:44,440 --> 00:36:46,680
Speaker 1: under the Red Hot organization. The first one, of course,

619
00:36:46,840 --> 00:36:50,320
Speaker 1: was Red Hot and Cool, which was like an interpretation

620
00:36:50,440 --> 00:36:54,840
Speaker 1: of Cole Porter song. So by nineteen ninety four, I

621
00:36:54,880 --> 00:37:00,160
Speaker 1: think Red Hot and Cool was our project which to

622
00:37:00,200 --> 00:37:05,080
Speaker 1: to pair like jazz musicians with modern contemporary artists. So

623
00:37:05,960 --> 00:37:08,680
Speaker 1: Leave the Far Side was on that record, and The

624
00:37:08,800 --> 00:37:10,759
Speaker 1: Roots were asked to be on that record, and they

625
00:37:10,800 --> 00:37:15,040
Speaker 1: asked us to do a collaboration with Roy Ayres. At

626
00:37:15,080 --> 00:37:19,919
Speaker 1: the moment in nineteen ninety four, which we were kind

627
00:37:19,960 --> 00:37:25,680
Speaker 1: of as a band readjusting to what the reality was,

628
00:37:25,760 --> 00:37:28,160
Speaker 1: there was a lot of hope that this thing of

629
00:37:28,280 --> 00:37:31,840
Speaker 1: ours was going to take off and be successful, you know,

630
00:37:32,040 --> 00:37:35,120
Speaker 1: something new, this band's going to take the world by storm,

631
00:37:35,200 --> 00:37:38,960
Speaker 1: and that didn't happen. So I'll say that around the

632
00:37:39,080 --> 00:37:41,120
Speaker 1: time when we were doing this, there was kind of

633
00:37:41,239 --> 00:37:46,319
Speaker 1: a murky we might not make it sort of thing.

634
00:37:47,120 --> 00:37:49,400
Speaker 1: At least that was my standpoint. Let me speak for myself,

635
00:37:49,480 --> 00:37:52,200
Speaker 1: that we may make it, we might not make it.

636
00:37:52,840 --> 00:37:56,480
Speaker 1: But that said, I almost felt like any trip to

637
00:37:56,560 --> 00:38:00,000
Speaker 1: the studio was almost like a chance to prove ourselves.

638
00:38:00,080 --> 00:38:04,719
Speaker 1: Helps And we got a call that Roy Airs was

639
00:38:04,800 --> 00:38:07,080
Speaker 1: in town. We were doing dates with him. We'd Probably

640
00:38:07,160 --> 00:38:10,560
Speaker 1: the best show that the Roots ever did in their lives,

641
00:38:10,600 --> 00:38:15,280
Speaker 1: according to our manager, was with Roy Airs in Brighton, England.

642
00:38:15,640 --> 00:38:19,480
Speaker 1: Shout out to Steve Rohn of the Average White Band. Brighton,

643
00:38:19,560 --> 00:38:22,680
Speaker 1: England was sort of where we learned the power of volume,

644
00:38:22,920 --> 00:38:27,360
Speaker 1: the power of effects, and watching Roy Air's show, like

645
00:38:27,440 --> 00:38:30,560
Speaker 1: there's a point where he did this trick from Sli

646
00:38:30,680 --> 00:38:32,920
Speaker 1: the Family Stone where he would do a solo and

647
00:38:32,960 --> 00:38:36,040
Speaker 1: then the band will break down. Instead of playing their instruments,

648
00:38:36,080 --> 00:38:39,480
Speaker 1: they would just scat their instruments. The guitar player is

649
00:38:39,520 --> 00:38:41,480
Speaker 1: going to scat like the guitarist, and the drummer is

650
00:38:41,520 --> 00:38:46,120
Speaker 1: gonna like a drummer, and Roy is gonna like it

651
00:38:46,200 --> 00:38:49,640
Speaker 1: was really cool and innovated. The audience just ate it up. Man,

652
00:38:49,719 --> 00:38:52,840
Speaker 1: it was awesome watching him. So the Red Heart organization

653
00:38:53,000 --> 00:38:55,680
Speaker 1: people said, you know, why don't you guys get with

654
00:38:55,880 --> 00:38:58,080
Speaker 1: Roy tomorrow and come up with something for this red

655
00:38:58,160 --> 00:39:02,520
Speaker 1: hot and cool thing. In soundcheck, I believe that Hubb

656
00:39:04,000 --> 00:39:06,719
Speaker 1: was messing around on the keyboards with these chords and

657
00:39:06,800 --> 00:39:08,520
Speaker 1: I was like, hey, what are you doing? He did

658
00:39:08,560 --> 00:39:14,480
Speaker 1: these three chords and I was like, Yo, that's something.

659
00:39:15,280 --> 00:39:17,680
Speaker 1: So the music of pro Seed too, Yeah, that's like

660
00:39:17,800 --> 00:39:22,800
Speaker 1: hub Spotlight. Hubb wrote that entire that entire bit and

661
00:39:24,239 --> 00:39:27,440
Speaker 1: the next day this is pre Kamal. Kamal had not

662
00:39:27,760 --> 00:39:32,760
Speaker 1: graduated high school yet. So there's a jazz sensation. Nikki

663
00:39:32,880 --> 00:39:36,680
Speaker 1: Yo y e o h who came to our attention

664
00:39:36,920 --> 00:39:40,759
Speaker 1: courtesy of Anthony tid of quite saying, Anthony TI has

665
00:39:40,800 --> 00:39:43,239
Speaker 1: done a lot of work with the Roots on Things

666
00:39:43,320 --> 00:39:47,640
Speaker 1: Fall Apart in Phrenology and since then relocated to Philadelphia.

667
00:39:47,760 --> 00:39:50,480
Speaker 1: But you know, there was like a buttoning underground jazz

668
00:39:50,480 --> 00:39:57,720
Speaker 1: scene in London and Nikki Yo was on keyboards, Treika

669
00:39:57,840 --> 00:40:02,799
Speaker 1: Mallick of course on vocals, like I also believe that's

670
00:40:02,840 --> 00:40:07,279
Speaker 1: like one of the last times that we recorded a

671
00:40:07,440 --> 00:40:12,840
Speaker 1: song in real time, in real time meaning my preferred

672
00:40:12,960 --> 00:40:18,000
Speaker 1: method of recording Root songs is sort of individually, which

673
00:40:18,520 --> 00:40:26,160
Speaker 1: is not recommended if you're trying to establish a synergy spoil.

674
00:40:26,520 --> 00:40:28,280
Speaker 1: There are a few songs on this new Roots album

675
00:40:28,320 --> 00:40:30,360
Speaker 1: which we actually go back to the old method are

676
00:40:30,400 --> 00:40:34,040
Speaker 1: playing together because there's an energy there, but in terms

677
00:40:34,120 --> 00:40:37,160
Speaker 1: of like maticulation and timing and all those things. Playing

678
00:40:37,200 --> 00:40:40,200
Speaker 1: to a click track, I was a drummer that just

679
00:40:40,280 --> 00:40:43,719
Speaker 1: wanted to play to the click track alone and add

680
00:40:43,880 --> 00:40:46,880
Speaker 1: each part on afterwards. But Proceed two is probably the

681
00:40:47,000 --> 00:40:50,040
Speaker 1: last time in which we all recorded together, and Roy

682
00:40:50,200 --> 00:40:54,640
Speaker 1: was just such a burst of fresh air and came

683
00:40:54,680 --> 00:40:58,360
Speaker 1: in on Happy, which you know, his energy sort of

684
00:40:59,480 --> 00:41:02,960
Speaker 1: wore off one to us, and we were happy at

685
00:41:03,000 --> 00:41:04,640
Speaker 1: a time period in which we didn't know we had

686
00:41:04,680 --> 00:41:08,120
Speaker 1: a future or not, and we were recorded it. As

687
00:41:08,160 --> 00:41:10,880
Speaker 1: far as the videos concerned, that to me was like

688
00:41:11,000 --> 00:41:16,080
Speaker 1: an especially very crucial weekend in the development of the Roots.

689
00:41:16,120 --> 00:41:20,160
Speaker 1: We did that video in January of nineteen ninety five,

690
00:41:20,360 --> 00:41:22,640
Speaker 1: and the only thing I remember about that time period

691
00:41:22,920 --> 00:41:26,120
Speaker 1: was the Roots had just come back to the United

692
00:41:26,120 --> 00:41:29,120
Speaker 1: States for the first time, like after living in England

693
00:41:29,200 --> 00:41:32,239
Speaker 1: for the longest, to do a series of shows. Now

694
00:41:32,320 --> 00:41:34,759
Speaker 1: that our album, do you Want More was out and

695
00:41:36,040 --> 00:41:38,920
Speaker 1: we did a show at Irving Plaza and all the

696
00:41:39,000 --> 00:41:42,120
Speaker 1: rap luminaries like Wu Tang showed up and Skills showed up.

697
00:41:42,160 --> 00:41:44,759
Speaker 1: And that's the first night I met this guy named

698
00:41:44,880 --> 00:41:48,759
Speaker 1: j D. And I was very disappointed that JD was

699
00:41:48,880 --> 00:41:52,640
Speaker 1: producing the Far Side and not Q Tip, so I

700
00:41:52,760 --> 00:41:56,640
Speaker 1: was rather dismissive to JD. Next morning, we had to

701
00:41:56,680 --> 00:42:00,400
Speaker 1: be up early to go to the Tommy Boy Records

702
00:42:00,480 --> 00:42:05,040
Speaker 1: offices shout out to Monica Lynch to shoot a video

703
00:42:05,320 --> 00:42:09,080
Speaker 1: on their rooftop. Tommy Boy granted us permission to shoot

704
00:42:09,120 --> 00:42:17,000
Speaker 1: on the rooftop of their headquarters. And what's notable, Well,

705
00:42:17,040 --> 00:42:18,880
Speaker 1: first of all, it was freezing on that video. If

706
00:42:18,880 --> 00:42:22,640
Speaker 1: you watch it, proceed to the roots and Roy ayers,

707
00:42:23,080 --> 00:42:26,080
Speaker 1: we're just kind of just having a cipher on the rooftop.

708
00:42:27,000 --> 00:42:29,200
Speaker 1: It was very easy to shoot, although it was cold.

709
00:42:29,800 --> 00:42:32,759
Speaker 1: It was so cold that whenever we weren't shooting, we'd

710
00:42:32,840 --> 00:42:36,400
Speaker 1: run back downstairs in the offices of Tommy Boy. And

711
00:42:36,920 --> 00:42:40,160
Speaker 1: when you go down from the rooftop and re enter

712
00:42:40,320 --> 00:42:43,680
Speaker 1: the Tommy Boy building, there's a photo of four young

713
00:42:43,760 --> 00:42:48,160
Speaker 1: women that we look at and you know, beautiful women

714
00:42:48,760 --> 00:42:50,880
Speaker 1: walking in the streets of Los Angeles, and I was like,

715
00:42:50,920 --> 00:42:54,080
Speaker 1: who are they. They're like, there are new signees. They're

716
00:42:54,120 --> 00:42:57,080
Speaker 1: the Jazzy Fat Nasties, And I was like, huh, They're

717
00:42:57,160 --> 00:43:00,960
Speaker 1: like yeah, Jay Swift from the Far Side producing them. Hey,

718
00:43:01,040 --> 00:43:03,560
Speaker 1: you want to hear something? And I sat in that

719
00:43:03,719 --> 00:43:07,239
Speaker 1: room and listened to like five songs and in a

720
00:43:07,320 --> 00:43:10,640
Speaker 1: way that I hadn't been gobsmacked, like before my Slum

721
00:43:10,800 --> 00:43:15,960
Speaker 1: Village Jay Dilla sort of championing, you know, I just

722
00:43:17,360 --> 00:43:19,960
Speaker 1: I couldn't believe that all the rules that Jay Swift,

723
00:43:20,080 --> 00:43:23,120
Speaker 1: the producer of The Far Sides first album and brother

724
00:43:23,200 --> 00:43:27,560
Speaker 1: of Mercedes Mercedes Martinez. Yeah, but the amount of rules

725
00:43:27,600 --> 00:43:30,320
Speaker 1: they were breaking was stuff that I didn't know that

726
00:43:30,560 --> 00:43:34,480
Speaker 1: one could do. Of course, now like anything goes in music,

727
00:43:34,560 --> 00:43:37,880
Speaker 1: but back then, you know, hearing Mary j Bliges my

728
00:43:38,000 --> 00:43:41,120
Speaker 1: life and wondering like our singer is allowed to sing

729
00:43:41,320 --> 00:43:44,800
Speaker 1: over loops like a rapper does whatever you felt for

730
00:43:44,920 --> 00:43:46,840
Speaker 1: the if you were of age and you were just

731
00:43:46,960 --> 00:43:51,040
Speaker 1: mind blown to the Far Sides first record. Imagine someone

732
00:43:51,160 --> 00:43:55,480
Speaker 1: singing with the zany energy of the Far Sides first album,

733
00:43:55,640 --> 00:43:58,600
Speaker 1: like they were just breaking rules that I didn't know

734
00:43:58,680 --> 00:44:00,719
Speaker 1: could happen. I was like, I got I have this demo,

735
00:44:00,960 --> 00:44:04,480
Speaker 1: and I stalked them and next thing you know, I

736
00:44:04,600 --> 00:44:07,080
Speaker 1: was flying the four of them to live in my

737
00:44:07,200 --> 00:44:12,720
Speaker 1: house and they never left. They came in late nineteen

738
00:44:12,800 --> 00:44:16,799
Speaker 1: ninety five and I worked on our ladelph Half Life

739
00:44:16,840 --> 00:44:19,320
Speaker 1: record and the Things Fall Apart record, and eventually we

740
00:44:19,400 --> 00:44:22,920
Speaker 1: got a deal for them. But yeah, we shot that

741
00:44:23,040 --> 00:44:27,719
Speaker 1: video with Roy Airs and then you know, there's a memorable,

742
00:44:27,800 --> 00:44:32,840
Speaker 1: memorable weekend. So sorry for this long winded recapitulation of

743
00:44:34,360 --> 00:44:36,760
Speaker 1: our time with roy but yeah, that's that's the memories

744
00:44:36,840 --> 00:44:41,400
Speaker 1: that spark with shooting the Proceed two video and recording

745
00:44:41,520 --> 00:44:43,200
Speaker 1: that song with him in London.

746
00:44:45,400 --> 00:44:48,279
Speaker 9: It's funny you mentioned I mean you was talking about

747
00:44:48,320 --> 00:44:50,880
Speaker 9: your first time you remember hearing his music was with

748
00:44:50,960 --> 00:44:54,080
Speaker 9: Freaky Dicky. I think my first roy A song I

749
00:44:54,120 --> 00:44:57,080
Speaker 9: can remember hearing on the radio. I was God, I

750
00:44:57,080 --> 00:44:58,560
Speaker 9: couldn't been hi one of five years old, but it

751
00:44:58,640 --> 00:45:03,000
Speaker 9: was actually it was program for low Man and and

752
00:45:03,320 --> 00:45:06,840
Speaker 9: and I didn't put it together until later on that like,

753
00:45:07,719 --> 00:45:10,799
Speaker 9: oh this is the same guy that did everybody loved

754
00:45:10,800 --> 00:45:13,160
Speaker 9: the Sunshine like it was because you know, when you

755
00:45:13,280 --> 00:45:16,839
Speaker 9: talk about how everything was relative to you. The thing

756
00:45:16,880 --> 00:45:19,360
Speaker 9: I always thought was about your music, was that you

757
00:45:19,560 --> 00:45:23,479
Speaker 9: never you always seemed to wherever the trends were or whatever,

758
00:45:23,600 --> 00:45:26,360
Speaker 9: like the younger cats were doing. I always like that

759
00:45:26,480 --> 00:45:29,200
Speaker 9: you seem to embrace the younger generation, like just from

760
00:45:29,239 --> 00:45:30,919
Speaker 9: what I could tell, I mean, even with a record

761
00:45:30,960 --> 00:45:33,360
Speaker 9: like Program for Love at that time that was like

762
00:45:33,440 --> 00:45:36,480
Speaker 9: a drum machine record, but it had you still playing

763
00:45:36,719 --> 00:45:39,680
Speaker 9: and it sounded current. It sounded like something that was

764
00:45:39,760 --> 00:45:41,560
Speaker 9: on the record that was like eighty five eighty six

765
00:45:41,680 --> 00:45:44,719
Speaker 9: like that. But yeah, I always thought that was dope.

766
00:45:44,760 --> 00:45:47,480
Speaker 9: Has that always been just a driving philosophy of yours

767
00:45:47,520 --> 00:45:49,640
Speaker 9: to look at the youth and try to help them or.

768
00:45:49,680 --> 00:45:52,680
Speaker 7: Well that was produced by produced by James.

769
00:45:52,960 --> 00:45:57,279
Speaker 1: To me, ah, it makes perfect sense. Wait, so it's

770
00:45:57,320 --> 00:46:03,680
Speaker 1: something I went hot. Yeah, I'm trying to program It's

771
00:46:03,719 --> 00:46:07,879
Speaker 1: like a slow Jowin when he was on Soul Training.

772
00:46:07,920 --> 00:46:12,279
Speaker 1: That was the second song change the two weeks That's

773
00:46:12,320 --> 00:46:12,640
Speaker 1: my Ship.

774
00:46:14,120 --> 00:46:16,120
Speaker 9: But that was that was the first bo As record

775
00:46:16,160 --> 00:46:19,160
Speaker 9: I remember like hearing as a kid and uh, yeah, man,

776
00:46:19,640 --> 00:46:22,000
Speaker 9: it's crazy a gas man.

777
00:46:22,960 --> 00:46:26,120
Speaker 7: He's a great guy. Man, he's a great, wonderful guy.

778
00:46:26,360 --> 00:46:31,920
Speaker 1: So on on your on your earlier records, the a

779
00:46:32,000 --> 00:46:38,560
Speaker 1: lot of the themes of afrocentricity are definitely uh uh,

780
00:46:39,320 --> 00:46:41,520
Speaker 1: just prevalent throughout all all of your works, you know,

781
00:46:42,560 --> 00:46:48,160
Speaker 1: with speaking of Africa and and and confusing red, black

782
00:46:48,200 --> 00:46:52,719
Speaker 1: and green imagery and and you know, black skin and

783
00:46:53,239 --> 00:46:59,000
Speaker 1: those things like for you, like what made you even

784
00:46:59,080 --> 00:47:01,279
Speaker 1: want to go in that direction when you know the

785
00:47:01,520 --> 00:47:07,000
Speaker 1: idea of afrocentricity was rarely a thing heard. I know,

786
00:47:07,200 --> 00:47:10,200
Speaker 1: like a lot of you know, maybe the Earth where yeah,

787
00:47:10,360 --> 00:47:13,800
Speaker 1: like self discovery was just coming into play, but you

788
00:47:13,880 --> 00:47:17,440
Speaker 1: know that the idea of afro centricity was still brand new.

789
00:47:17,560 --> 00:47:21,080
Speaker 1: Like what means you, especially with those first five records

790
00:47:21,120 --> 00:47:22,200
Speaker 1: on Polyador.

791
00:47:22,719 --> 00:47:26,560
Speaker 8: Go there, Yeah, Africa that that's that's it. The key

792
00:47:26,760 --> 00:47:30,040
Speaker 8: is Africa. Africa is in the center of the world.

793
00:47:30,640 --> 00:47:32,600
Speaker 8: The world is rounding and.

794
00:47:32,680 --> 00:47:35,879
Speaker 7: Stuff like that. But it's Africa is so beautiful, man,

795
00:47:36,360 --> 00:47:42,719
Speaker 7: it's so so so beautiful. Fella kute he is in

796
00:47:42,800 --> 00:47:43,280
Speaker 7: the mind.

797
00:47:44,520 --> 00:47:49,160
Speaker 8: He grabbed your mind, He grab grabbed my mind, certainly, man,

798
00:47:49,280 --> 00:47:52,880
Speaker 8: it was so wonderful. I mean, you have to understand

799
00:47:53,440 --> 00:47:57,440
Speaker 8: everybody doesn't relate to Africa, but they relate to Africa, but.

800
00:47:58,000 --> 00:48:01,399
Speaker 7: They don't they don't really go to Africa. They don't

801
00:48:01,480 --> 00:48:04,919
Speaker 7: go there I've got When did you first go there? Man?

802
00:48:05,680 --> 00:48:10,480
Speaker 7: First time I went there? My god, Wait a minute,

803
00:48:11,440 --> 00:48:12,240
Speaker 7: that's a good question.

804
00:48:12,520 --> 00:48:19,480
Speaker 8: Okay, I went there in nineteen seventy nine, seventy seventy eight.

805
00:48:19,640 --> 00:48:22,520
Speaker 1: The first time you went with FLA, I was with

806
00:48:22,640 --> 00:48:25,120
Speaker 1: the Paila with oh Man, what was.

807
00:48:25,120 --> 00:48:27,240
Speaker 6: That I went to Nigeria? Is that straight in Nigeria?

808
00:48:27,560 --> 00:48:31,640
Speaker 1: The shrine? I went to Nigeria and I went to

809
00:48:31,680 --> 00:48:33,840
Speaker 1: say that again? What was it like at this I

810
00:48:33,920 --> 00:48:37,080
Speaker 1: assume you went to the shrine? Yeah? What was that

811
00:48:37,200 --> 00:48:40,080
Speaker 1: experience like to go to the shrine in its prime? Like?

812
00:48:40,160 --> 00:48:45,000
Speaker 1: What was it like? Heavy? And how did you too

813
00:48:45,040 --> 00:48:46,480
Speaker 1: hook up? Like? Who hooked you to up?

814
00:48:47,560 --> 00:48:49,800
Speaker 8: I had an attorney, an attorney that was dealing with

815
00:48:50,040 --> 00:48:56,000
Speaker 8: the Africans, African people, and he is from from uh

816
00:48:56,800 --> 00:49:00,839
Speaker 8: He's from from Nigeria, Nigeria, right, he's from. He said,

817
00:49:01,080 --> 00:49:04,400
Speaker 8: you you should go to Africa, Roy, you should go

818
00:49:04,520 --> 00:49:07,799
Speaker 8: to Africa because there's a musician I want you to meet.

819
00:49:08,719 --> 00:49:10,759
Speaker 7: And I went over there to meet Fella and I

820
00:49:11,200 --> 00:49:18,719
Speaker 7: paid for the whole trip con ghetto, the musician and

821
00:49:19,120 --> 00:49:22,160
Speaker 7: the engineer. My god, I paid for all that. It

822
00:49:22,280 --> 00:49:23,160
Speaker 7: was very expensive.

823
00:49:23,239 --> 00:49:23,399
Speaker 6: Man.

824
00:49:25,480 --> 00:49:27,719
Speaker 1: You went there a sight unseen, like just based on it,

825
00:49:28,000 --> 00:49:30,680
Speaker 1: I just yet, it was based on conversation with him,

826
00:49:31,040 --> 00:49:33,759
Speaker 1: with the African, the African brother.

827
00:49:34,320 --> 00:49:37,200
Speaker 7: But it was it was wonderful. I mean when when

828
00:49:37,320 --> 00:49:40,000
Speaker 7: when I when I met Fella, he gave me.

829
00:49:40,040 --> 00:49:42,840
Speaker 1: A big hug. It was like it's like it was like.

830
00:49:45,920 --> 00:49:50,759
Speaker 7: It very very very weird when you when you saw

831
00:49:50,920 --> 00:49:54,080
Speaker 7: these people and all the people he bought about seventy

832
00:49:54,120 --> 00:50:00,600
Speaker 7: people and everybody, this is my family. Oh oh man,

833
00:50:00,680 --> 00:50:03,680
Speaker 7: it was, it was, it was, it was. It was fantastic.

834
00:50:03,800 --> 00:50:08,799
Speaker 7: You can't imagine. Well, my head was was spinning, man,

835
00:50:08,880 --> 00:50:17,200
Speaker 7: it was. It was a motherfucker. My language it was

836
00:50:17,280 --> 00:50:17,799
Speaker 7: something else.

837
00:50:17,880 --> 00:50:18,080
Speaker 1: It was.

838
00:50:18,280 --> 00:50:22,560
Speaker 7: Uh, it's it's heavy when you think about it, you know,

839
00:50:23,440 --> 00:50:27,759
Speaker 7: and you think about the thoughts that think about the craziness.

840
00:50:28,080 --> 00:50:30,879
Speaker 7: And then I did a rehearsal with with Fella.

841
00:50:31,640 --> 00:50:37,000
Speaker 8: Oh man, these all these musicians, they don't read any music,

842
00:50:37,960 --> 00:50:43,040
Speaker 8: but they conceptually, the saxophonists, all all of everybody, the dances,

843
00:50:43,160 --> 00:50:49,000
Speaker 8: the dances, all his wives are dancing. It's it's it's

844
00:50:49,120 --> 00:50:53,000
Speaker 8: it's it's it's unbelievable. When you see it, you say,

845
00:50:53,800 --> 00:50:59,759
Speaker 8: oh ship because you can't believe it. It's unbelievable. It's

846
00:51:00,080 --> 00:51:03,640
Speaker 8: unbelievable because this guy was really a genius.

847
00:51:03,760 --> 00:51:07,479
Speaker 7: Man he was. I couldn't believe how you could teach

848
00:51:07,640 --> 00:51:13,160
Speaker 7: teach everybody their parts. Oh man, Oh wow, it was amazing.

849
00:51:13,480 --> 00:51:14,160
Speaker 7: It was amazing.

850
00:51:14,520 --> 00:51:17,000
Speaker 1: So how can songs go for it? Like? How long

851
00:51:17,120 --> 00:51:17,839
Speaker 1: was the average show?

852
00:51:18,400 --> 00:51:23,000
Speaker 8: Sometimes when the power goes out, Oh, the drums, the

853
00:51:23,160 --> 00:51:26,759
Speaker 8: drums remained playing, the drums playing, So they wait till

854
00:51:27,239 --> 00:51:31,200
Speaker 8: the power goes back on, and then he keeps on.

855
00:51:31,560 --> 00:51:34,000
Speaker 8: He played for at least three hours.

856
00:51:35,960 --> 00:51:38,040
Speaker 7: Oh man, it was, Oh it was, it was.

857
00:51:38,200 --> 00:51:39,840
Speaker 1: It was great. I wish I had a time and

858
00:51:39,920 --> 00:51:42,080
Speaker 1: scene just to go back to see that. What did

859
00:51:42,120 --> 00:51:44,040
Speaker 1: you guys ever record and you got to see that?

860
00:51:44,200 --> 00:51:44,239
Speaker 7: No?

861
00:51:44,680 --> 00:51:47,080
Speaker 1: Did you record it on your own personal I have

862
00:51:47,320 --> 00:51:58,719
Speaker 1: something I'm cool with it. I get the feeling that

863
00:51:58,960 --> 00:52:02,160
Speaker 1: your story's unit. I know for a fact that your

864
00:52:02,200 --> 00:52:05,839
Speaker 1: storage unit has magic in it. Because the first time,

865
00:52:06,360 --> 00:52:08,600
Speaker 1: the first time I met you, and you were just

866
00:52:08,760 --> 00:52:13,839
Speaker 1: so casual like, yeah, I gotta you said to me, yeah,

867
00:52:13,840 --> 00:52:15,920
Speaker 1: I got about sixty yeels that poly door and never

868
00:52:16,040 --> 00:52:21,880
Speaker 1: seen I was like this is right before yeah, and

869
00:52:22,040 --> 00:52:23,520
Speaker 1: he was just like, yeah, I got it. I got

870
00:52:23,560 --> 00:52:25,759
Speaker 1: a lot of artifacts you know that people haven't seen yet.

871
00:52:25,800 --> 00:52:29,800
Speaker 1: And I was like, yo, man, you know, do you

872
00:52:29,920 --> 00:52:32,880
Speaker 1: need historians to rummage through those things?

873
00:52:33,000 --> 00:52:34,120
Speaker 7: Just you? I hear you.

874
00:52:34,560 --> 00:52:36,839
Speaker 1: So you would record stuff and then just not turn

875
00:52:36,880 --> 00:52:38,640
Speaker 1: it into the labels. Is that how you? Is that

876
00:52:38,680 --> 00:52:39,160
Speaker 1: how you work?

877
00:52:39,520 --> 00:52:40,000
Speaker 7: Exactly?

878
00:52:40,360 --> 00:52:43,040
Speaker 1: That that's how I did work. Yeah, that's what's up, man,

879
00:52:43,280 --> 00:52:44,520
Speaker 1: word up finess.

880
00:52:46,760 --> 00:52:49,719
Speaker 7: You got to really understand the whole industry. It's like,

881
00:52:50,160 --> 00:52:53,359
Speaker 7: it's real fucked up. It's real fucked up.

882
00:52:56,600 --> 00:52:57,200
Speaker 1: Up, is it right?

883
00:52:58,200 --> 00:52:59,080
Speaker 7: Hey man, it's very.

884
00:52:58,960 --> 00:53:02,840
Speaker 6: Fucking bullet The most fucked up about it.

885
00:53:03,520 --> 00:53:06,319
Speaker 7: But they take all the money is that they take

886
00:53:06,360 --> 00:53:06,799
Speaker 7: all the money.

887
00:53:07,360 --> 00:53:12,400
Speaker 1: Was there ever a law in your uh in your business? Like,

888
00:53:12,640 --> 00:53:14,239
Speaker 1: was there ever a time where it's like, damn, I

889
00:53:14,280 --> 00:53:16,680
Speaker 1: can't get no work? Or I always felt like you

890
00:53:16,800 --> 00:53:20,000
Speaker 1: were constantly I mean because you did projects of Wayne

891
00:53:20,040 --> 00:53:25,360
Speaker 1: Henderson and the Crusaders, I believe, And so I'm thinking

892
00:53:25,480 --> 00:53:28,000
Speaker 1: that you're always working, like, well.

893
00:53:27,920 --> 00:53:29,480
Speaker 7: I'm I'm I work most of the time.

894
00:53:30,320 --> 00:53:33,120
Speaker 1: So a down period where it's like Okay, I don't know,

895
00:53:33,280 --> 00:53:34,640
Speaker 1: this might be the end of the road, and.

896
00:53:35,280 --> 00:53:38,600
Speaker 7: Well that's a down period. But the down period it

897
00:53:38,680 --> 00:53:43,400
Speaker 7: gets better and it continues to get better as you

898
00:53:43,600 --> 00:53:47,640
Speaker 7: as you will probably grow in your life, you'll see

899
00:53:47,680 --> 00:53:48,319
Speaker 7: you to get better.

900
00:53:49,400 --> 00:53:52,480
Speaker 9: I see, how did your records, how would they selling

901
00:53:52,640 --> 00:53:54,720
Speaker 9: and pola at the time, and what was the standard

902
00:53:54,840 --> 00:53:57,400
Speaker 9: for what they considered a successful record.

903
00:53:58,320 --> 00:54:02,640
Speaker 7: Oh, it's interesting.

904
00:54:03,160 --> 00:54:06,600
Speaker 8: Uh, you know, I was making two hundred two hundred

905
00:54:06,680 --> 00:54:14,879
Speaker 8: thousand dollars some damn two hundred two hundred period four

906
00:54:14,960 --> 00:54:17,120
Speaker 8: hundred thousand of the year for every time you turn,

907
00:54:17,520 --> 00:54:19,600
Speaker 8: every time a record, right, every time I turned the record,

908
00:54:19,960 --> 00:54:23,080
Speaker 8: they had it so fucked up. Excuse me, but they

909
00:54:23,200 --> 00:54:26,320
Speaker 8: had so fucked up, and I was I was sitting

910
00:54:26,400 --> 00:54:29,480
Speaker 8: on the record and the promotion people said, hey.

911
00:54:29,760 --> 00:54:33,440
Speaker 7: He's got another album coming out, and we haven't finished

912
00:54:33,520 --> 00:54:36,560
Speaker 7: with this single, which is the other single.

913
00:54:37,400 --> 00:54:40,600
Speaker 1: They were crazy, So you're moving too fast for them.

914
00:54:41,080 --> 00:54:45,400
Speaker 8: Well that's right, they were moving too fast. Seriously, they

915
00:54:45,440 --> 00:54:48,440
Speaker 8: were moving too fast, and I was fucked up.

916
00:54:48,600 --> 00:54:51,879
Speaker 7: You know this, oh ship, this is great.

917
00:54:52,840 --> 00:54:53,000
Speaker 3: You know.

918
00:54:53,800 --> 00:54:57,040
Speaker 1: So you were basically saying you were basking in the

919
00:54:57,120 --> 00:55:01,640
Speaker 1: glory of that time period and kind of glory of

920
00:55:01,760 --> 00:55:05,799
Speaker 1: the dollars. I see, right, every day everything was cool.

921
00:55:05,840 --> 00:55:10,480
Speaker 8: But they started getting too organized and then they fucked

922
00:55:10,520 --> 00:55:11,000
Speaker 8: it all up.

923
00:55:12,200 --> 00:55:14,120
Speaker 7: Well, they fucked it up. They fucked it up.

924
00:55:15,040 --> 00:55:19,080
Speaker 1: That leads me to your production projects, because there's two

925
00:55:20,600 --> 00:55:24,200
Speaker 1: side projects that you worked on that, although it didn't

926
00:55:24,239 --> 00:55:28,680
Speaker 1: make initial noise when they came out. Uh, both of

927
00:55:28,719 --> 00:55:33,680
Speaker 1: them found life years later once hip hop both discovered them. Uh,

928
00:55:33,920 --> 00:55:40,120
Speaker 1: Sylvia Straplan and It's Stripling, I'm sorry, and the Ramp project.

929
00:55:40,440 --> 00:55:40,600
Speaker 7: Right?

930
00:55:41,280 --> 00:55:47,160
Speaker 1: So is Ramp basically the Royers you Bigger Ubiquity record

931
00:55:47,400 --> 00:55:49,560
Speaker 1: minus roy Airs or was that a total?

932
00:55:50,320 --> 00:55:53,759
Speaker 7: Actually r a M P. Roy As Music Productions right?

933
00:55:54,000 --> 00:55:57,000
Speaker 1: Right? But that particular band was Was that also the

934
00:55:57,080 --> 00:55:59,640
Speaker 1: band that you utilized for your projects or you they

935
00:55:59,680 --> 00:56:01,680
Speaker 1: were separate from I got.

936
00:56:01,560 --> 00:56:06,440
Speaker 7: A completely separate band and I used them to to

937
00:56:06,680 --> 00:56:07,359
Speaker 7: create the group.

938
00:56:08,040 --> 00:56:11,120
Speaker 1: Okay, you know because in my head I just thought

939
00:56:11,200 --> 00:56:13,640
Speaker 1: that they were the band that you would use on

940
00:56:13,800 --> 00:56:17,800
Speaker 1: Running Away and all the other stuff without you on it,

941
00:56:17,960 --> 00:56:18,319
Speaker 1: per se.

942
00:56:18,840 --> 00:56:21,320
Speaker 7: Right, But but let's go there.

943
00:56:21,560 --> 00:56:22,640
Speaker 1: They were a whole nother entity.

944
00:56:23,080 --> 00:56:23,520
Speaker 7: Exactly.

945
00:56:23,680 --> 00:56:26,040
Speaker 1: Could you explain those projects and why you chose to

946
00:56:26,080 --> 00:56:27,960
Speaker 1: work with them. Are they from Ohio?

947
00:56:28,920 --> 00:56:29,720
Speaker 7: They're from Ohio?

948
00:56:30,040 --> 00:56:34,319
Speaker 1: Okay. I discovered them on social media recently and they're

949
00:56:35,480 --> 00:56:38,239
Speaker 1: you know, like they're from Ohio, right, doing tours and

950
00:56:38,480 --> 00:56:39,920
Speaker 1: that sort of thing. So how did you how did

951
00:56:39,960 --> 00:56:42,359
Speaker 1: you run into those guys? I met him.

952
00:56:42,440 --> 00:56:44,200
Speaker 8: I can't I can't even remember when I met her,

953
00:56:44,239 --> 00:56:47,399
Speaker 8: But I know I met the the leader of the band.

954
00:56:48,080 --> 00:56:52,399
Speaker 8: It's named John. Uh uh yeah, John. I met him

955
00:56:52,520 --> 00:56:56,640
Speaker 8: and and and he agreed with me, John Manuel Manuel.

956
00:56:58,000 --> 00:57:02,320
Speaker 8: Damn right, that's supreme.

957
00:57:02,360 --> 00:57:04,120
Speaker 1: We do our home. We did we Google?

958
00:57:04,400 --> 00:57:04,719
Speaker 3: You did?

959
00:57:06,400 --> 00:57:11,680
Speaker 1: I don't even Google, that's he added, like Google, Google,

960
00:57:12,600 --> 00:57:16,880
Speaker 1: You're Google, right, fingers Joan Manuel.

961
00:57:16,920 --> 00:57:21,480
Speaker 7: But I met him and he produced helped me produce

962
00:57:21,560 --> 00:57:26,440
Speaker 7: the records. Man, I signed a contract with U.

963
00:57:27,160 --> 00:57:32,800
Speaker 1: A, B C. ABC Records, right, So yeah, so what

964
00:57:32,920 --> 00:57:34,960
Speaker 1: was what was the deal? Why did why didn't you

965
00:57:35,000 --> 00:57:41,200
Speaker 1: bring that project to Polydor as opposed to another Why

966
00:57:41,240 --> 00:57:44,400
Speaker 1: did you bring into another label? Or you just had

967
00:57:44,440 --> 00:57:48,960
Speaker 1: a separate production deal with a separate production deal with

968
00:57:49,120 --> 00:57:52,280
Speaker 1: with uh what's that guy's name?

969
00:57:53,160 --> 00:57:53,520
Speaker 7: ABC?

970
00:57:54,480 --> 00:58:01,640
Speaker 1: Black Bob the president of ABC. The vice president just

971
00:58:01,800 --> 00:58:02,320
Speaker 1: passed away.

972
00:58:02,520 --> 00:58:10,280
Speaker 7: Damn Now I need I wrote, did you say you

973
00:58:10,400 --> 00:58:12,520
Speaker 7: say the vice president A president?

974
00:58:13,240 --> 00:58:17,400
Speaker 1: Well, I know that he this particular guy was fond

975
00:58:17,440 --> 00:58:21,280
Speaker 1: of the project, even though it didn't sell all that

976
00:58:21,400 --> 00:58:23,480
Speaker 1: well for him on the label. But I'm forgetting his

977
00:58:23,640 --> 00:58:29,880
Speaker 1: name right now, but he recently just passed away. Damn,

978
00:58:29,920 --> 00:58:32,720
Speaker 1: I'm bad. This is this is a fail for quest

979
00:58:32,720 --> 00:58:34,840
Speaker 1: Love Supreme. We'll go back to it.

980
00:58:34,880 --> 00:58:35,680
Speaker 7: I have no problem.

981
00:58:36,200 --> 00:58:40,520
Speaker 1: But uh, it was a good deal. It's a great deal.

982
00:58:41,200 --> 00:58:42,080
Speaker 7: As a matter of fact.

983
00:58:43,600 --> 00:58:46,320
Speaker 1: H I don't I don't think did you did you

984
00:58:46,360 --> 00:58:49,360
Speaker 1: feel vindicated like once hip hop had discovered it and

985
00:58:49,600 --> 00:58:52,920
Speaker 1: really brought it to life, because I felt that that

986
00:58:53,080 --> 00:58:54,480
Speaker 1: album really didn't.

987
00:58:55,120 --> 00:58:58,240
Speaker 7: Oh didn't it really didn't do the max or whatever?

988
00:58:58,840 --> 00:59:00,760
Speaker 1: So were you were you shocked in the nineties when

989
00:59:00,880 --> 00:59:04,800
Speaker 1: suddenly like it's you know, it became I'll say that

990
00:59:04,960 --> 00:59:09,440
Speaker 1: of the Holy Grail Records to to own or obtain

991
00:59:09,920 --> 00:59:13,000
Speaker 1: that ramp to find you know, a copy of that

992
00:59:13,120 --> 00:59:16,200
Speaker 1: ramp record Everybody Lives the Century, right, Yeah, that that

993
00:59:16,440 --> 00:59:20,280
Speaker 1: was like they like, yeah Daylight right, Well they had

994
00:59:20,320 --> 00:59:24,440
Speaker 1: a copy of They had a version yeah, kwai as it. Yeah,

995
00:59:24,840 --> 00:59:29,800
Speaker 1: the brand Ubie version of Everybody Loves Sunshine on that ramprick. Yeah,

996
00:59:29,840 --> 00:59:32,320
Speaker 1: but that's paid hundreds for that, So.

997
00:59:33,240 --> 00:59:35,600
Speaker 8: It sold sold a lot of records. They sold a

998
00:59:35,640 --> 00:59:38,840
Speaker 8: lot of records. They didn't tell you guys whatever, but

999
00:59:39,000 --> 00:59:40,240
Speaker 8: they sold a lot of records.

1000
00:59:41,600 --> 00:59:45,400
Speaker 1: I know because I paid a lot for it, exactly.

1001
00:59:45,080 --> 00:59:47,040
Speaker 7: That's what I'm saying. They sold a lot of records.

1002
00:59:47,480 --> 00:59:51,920
Speaker 1: So talk about the Sylvia, uh, the Sylvia Strepplin album,

1003
00:59:52,280 --> 00:59:55,600
Speaker 1: Like what was at the time, How did how did

1004
00:59:55,680 --> 01:00:00,280
Speaker 1: you you guys? Was she always a part of your

1005
01:00:00,320 --> 01:00:01,640
Speaker 1: camp or how did you guys meet?

1006
01:00:02,000 --> 01:00:02,200
Speaker 3: Well?

1007
01:00:02,680 --> 01:00:05,680
Speaker 8: I met her and she was she was working in

1008
01:00:05,760 --> 01:00:13,680
Speaker 8: the Wiz and uh, Stephanie Mills. Stephanie Mills never ever

1009
01:00:14,280 --> 01:00:21,680
Speaker 8: got sick at all. She was Stephanie Mills assistant and

1010
01:00:21,920 --> 01:00:25,720
Speaker 8: she was going on stage. She never she never went

1011
01:00:25,800 --> 01:00:30,080
Speaker 8: on stage. She never ever went on stage period, because

1012
01:00:30,120 --> 01:00:33,320
Speaker 8: Stephanie was never ill, ill or anything.

1013
01:00:33,080 --> 01:00:38,960
Speaker 1: For the Wiz but the Wiz okay.

1014
01:00:37,400 --> 01:00:40,280
Speaker 7: I didn't know she was. So so what happened is that.

1015
01:00:42,240 --> 01:00:43,000
Speaker 1: She died.

1016
01:00:44,840 --> 01:00:46,840
Speaker 7: She died. I didn't even know that she died. This

1017
01:00:47,240 --> 01:00:50,480
Speaker 7: is only a few more few she died.

1018
01:00:52,200 --> 01:00:56,360
Speaker 8: Oh my god, I was a manager and she died.

1019
01:00:56,560 --> 01:00:59,640
Speaker 8: But this is all when when when I took place

1020
01:01:00,200 --> 01:01:03,840
Speaker 8: what you got on the label? Oh, man, I didn't

1021
01:01:03,840 --> 01:01:04,760
Speaker 8: even know that she died.

1022
01:01:06,280 --> 01:01:09,880
Speaker 1: So said, so what were those sessions, Like, I'm sorry,

1023
01:01:10,360 --> 01:01:12,959
Speaker 1: the sessions with Sylvia, Oh, they.

1024
01:01:12,880 --> 01:01:16,400
Speaker 7: Were wonderful she Oh she was great. She was great.

1025
01:01:16,440 --> 01:01:19,360
Speaker 7: She was a very unique, very unique artist. And a

1026
01:01:19,440 --> 01:01:22,720
Speaker 7: lot of people are still requesting, did I sell sell

1027
01:01:22,760 --> 01:01:23,880
Speaker 7: those sell those things?

1028
01:01:24,520 --> 01:01:31,040
Speaker 1: Hell yeah, I mean Chicago alone considers give classic. That

1029
01:01:31,200 --> 01:01:34,920
Speaker 1: has saved me many a night out of Chicago DJ Gig.

1030
01:01:35,000 --> 01:01:38,760
Speaker 1: I learned early like if you're if you're set is failing,

1031
01:01:38,880 --> 01:01:43,880
Speaker 1: you turn that on and Blamo, your party comes alive. Oh,

1032
01:01:44,280 --> 01:01:50,080
Speaker 1: it comes super alive. You signed to Sony? I believe CBS.

1033
01:01:50,200 --> 01:01:54,880
Speaker 1: Did Lark and Arnold signed you to uh? Say that again,

1034
01:01:55,080 --> 01:01:57,280
Speaker 1: Lark and Arnold? Did he sign you to your Columbia

1035
01:01:57,360 --> 01:01:58,800
Speaker 1: deal in eighty three?

1036
01:02:00,080 --> 01:02:03,040
Speaker 7: It? No, I never did work with Arnold? Okay, okay,

1037
01:02:03,040 --> 01:02:03,880
Speaker 7: I never worked with him.

1038
01:02:03,920 --> 01:02:07,640
Speaker 1: How did you come to Sony or Sony Columbia? Back then?

1039
01:02:08,560 --> 01:02:15,560
Speaker 1: Barly Door signed to Sony. Really, I never even knew

1040
01:02:15,600 --> 01:02:18,760
Speaker 1: about it until until I found out. I was Oh, ship,

1041
01:02:19,800 --> 01:02:22,880
Speaker 1: I'm on another label. I'm on another label. So they

1042
01:02:23,000 --> 01:02:24,160
Speaker 1: just transferred to you to Sony.

1043
01:02:24,480 --> 01:02:25,400
Speaker 7: They didn't give a damn.

1044
01:02:25,800 --> 01:02:28,600
Speaker 1: That's right, that's crazy, I know.

1045
01:02:28,720 --> 01:02:33,040
Speaker 7: But that this is intermingling is up there of the industry.

1046
01:02:35,520 --> 01:02:36,440
Speaker 6: Sucked up right?

1047
01:02:36,960 --> 01:02:39,360
Speaker 1: I did not know that. Yeah, it's crazy, man, the

1048
01:02:39,440 --> 01:02:43,040
Speaker 1: things I learned when quest Love Supreme. One one question

1049
01:02:43,160 --> 01:02:46,200
Speaker 1: I had, well, see, I felt that they were super

1050
01:02:46,240 --> 01:02:53,400
Speaker 1: supportive of you because there's a moment and Michael Jackson

1051
01:02:53,520 --> 01:02:57,640
Speaker 1: is the way you make me feel video and which

1052
01:03:00,880 --> 01:03:04,880
Speaker 1: they used your your hot song. Yeah that was hot

1053
01:03:04,960 --> 01:03:08,120
Speaker 1: songs like freaking thirty seconds like in the beginning, and

1054
01:03:08,880 --> 01:03:11,080
Speaker 1: notice like have you seen so the first thirty seconds

1055
01:03:11,160 --> 01:03:16,680
Speaker 1: right when Michael's like, hey, I complained about it, complained

1056
01:03:16,760 --> 01:03:18,560
Speaker 1: you didn't think that was great? Wait?

1057
01:03:18,760 --> 01:03:22,360
Speaker 8: No, I complained about it because they didn't pay me

1058
01:03:22,520 --> 01:03:23,120
Speaker 8: to any money.

1059
01:03:23,440 --> 01:03:27,600
Speaker 7: Whoa oh that said, where's the money?

1060
01:03:28,720 --> 01:03:32,880
Speaker 1: I see it's it's see that's where in my head.

1061
01:03:32,920 --> 01:03:36,680
Speaker 1: I was like wow, like because you know, back they

1062
01:03:36,720 --> 01:03:39,720
Speaker 1: were still running Michael Jackson's yeah they would stop TV

1063
01:03:40,560 --> 01:03:43,120
Speaker 1: right And I felt like, oh man, this is really

1064
01:03:43,360 --> 01:03:45,880
Speaker 1: a good look for roy erres not if they ain't

1065
01:03:45,880 --> 01:03:46,760
Speaker 1: pay that man no money.

1066
01:03:47,720 --> 01:03:54,560
Speaker 7: They ain't give me no money. It ain't funny. It

1067
01:03:54,640 --> 01:03:57,240
Speaker 7: ain't funny, man, they ain't give me the money.

1068
01:03:57,280 --> 01:04:02,520
Speaker 1: I said, oh shit, you didn't see it as Oh,

1069
01:04:02,720 --> 01:04:05,600
Speaker 1: I'm getting exposed to new artists or to a new

1070
01:04:05,680 --> 01:04:10,240
Speaker 1: audience and exposed. Man, I put all my cousins down

1071
01:04:10,240 --> 01:04:12,000
Speaker 1: with them. I'm like, oh, this is Roy Airs who

1072
01:04:12,360 --> 01:04:16,160
Speaker 1: and like explained to him what hot was because you know,

1073
01:04:16,240 --> 01:04:19,800
Speaker 1: and also like how you said James and too many

1074
01:04:19,880 --> 01:04:20,960
Speaker 1: produced that entire record.

1075
01:04:21,360 --> 01:04:24,840
Speaker 7: No, no, he produced one, two, three, four songs? Okay,

1076
01:04:24,960 --> 01:04:25,880
Speaker 7: four songs, that's right.

1077
01:04:26,240 --> 01:04:29,680
Speaker 1: Who produced the hot single? The lead single Hot?

1078
01:04:30,600 --> 01:04:33,920
Speaker 7: I'm trying to think, what's what song you say?

1079
01:04:34,040 --> 01:04:37,960
Speaker 1: Did you say, uh hot? All that hot? James them

1080
01:04:38,040 --> 01:04:40,720
Speaker 1: to me, that's what I'm saying, Yeah, okay, did it

1081
01:04:40,800 --> 01:04:41,840
Speaker 1: feel good to have that?

1082
01:04:42,560 --> 01:04:42,680
Speaker 7: Oh?

1083
01:04:42,760 --> 01:04:44,720
Speaker 1: Man, well that was a comeback single for you at

1084
01:04:44,800 --> 01:04:46,640
Speaker 1: the time, so we had a groove. Damn.

1085
01:04:46,720 --> 01:04:51,000
Speaker 7: That was very very nice. I was being fantastic with

1086
01:04:51,200 --> 01:04:57,959
Speaker 7: James and to me and then uh uh what's sash phone?

1087
01:04:59,480 --> 01:05:06,120
Speaker 1: Oh Darry No, no, Trump, Trump's right. They were both good,

1088
01:05:06,240 --> 01:05:10,400
Speaker 1: good producers. Man, very very good. And Rick James is

1089
01:05:10,560 --> 01:05:13,560
Speaker 1: very good. I was gonna say, because you did a

1090
01:05:13,800 --> 01:05:17,400
Speaker 1: lot of work right on everyone else's records. I believe

1091
01:05:17,480 --> 01:05:19,560
Speaker 1: that's you scatting at the end of the Fire and

1092
01:05:19,680 --> 01:05:22,720
Speaker 1: Desire on Street songs. That's right, on the fade out

1093
01:05:24,000 --> 01:05:25,680
Speaker 1: Street songs. That is that you do.

1094
01:05:26,120 --> 01:05:28,120
Speaker 8: That's right, that's right. I played played on that and

1095
01:05:28,200 --> 01:05:33,280
Speaker 8: that was real nice. And he told me, uh Rick

1096
01:05:33,440 --> 01:05:39,160
Speaker 8: James told me. He said, he said, because this, he said,

1097
01:05:39,520 --> 01:05:40,520
Speaker 8: this guy's this.

1098
01:05:40,840 --> 01:05:41,560
Speaker 1: This works with me.

1099
01:05:41,720 --> 01:05:45,040
Speaker 7: He says, you gotta watch this, watch this guy because

1100
01:05:45,040 --> 01:05:47,360
Speaker 7: he would stab you in the back. I got a

1101
01:05:47,720 --> 01:05:52,080
Speaker 7: contract with him before he died. My god, did he die?

1102
01:05:52,160 --> 01:05:55,439
Speaker 7: I didn't that damn it died just so quick.

1103
01:05:55,560 --> 01:05:55,680
Speaker 11: Man.

1104
01:05:55,800 --> 01:05:57,280
Speaker 1: You two were going to do a project together.

1105
01:05:57,440 --> 01:06:00,600
Speaker 7: No, we already did a project. We did. We got

1106
01:06:00,840 --> 01:06:03,560
Speaker 7: got the The music is being sold right now.

1107
01:06:03,920 --> 01:06:06,920
Speaker 1: Double trouble. I think it was. Hey, wait, you've heard this.

1108
01:06:07,960 --> 01:06:11,680
Speaker 1: They got a version of Everybody Loves the Sunshine, Man James, he.

1109
01:06:12,320 --> 01:06:15,160
Speaker 7: Got version version of Everybody Loves such it's the best.

1110
01:06:15,120 --> 01:06:19,560
Speaker 1: Version of all of all? Is this available?

1111
01:06:22,480 --> 01:06:22,800
Speaker 5: I have it?

1112
01:06:22,920 --> 01:06:29,760
Speaker 7: I have it available. No, I'll give you a record,

1113
01:06:31,400 --> 01:06:35,000
Speaker 7: take the record. I should have bought it today. Damn

1114
01:06:36,280 --> 01:06:36,760
Speaker 7: fucked up?

1115
01:06:41,520 --> 01:06:43,320
Speaker 1: Wow that damn?

1116
01:06:43,400 --> 01:06:43,720
Speaker 7: How did this?

1117
01:06:45,320 --> 01:06:47,480
Speaker 1: How this sneak bast because it's.

1118
01:06:47,480 --> 01:06:52,760
Speaker 8: Interesting, right, people don't even know what's happening, right, I

1119
01:06:52,800 --> 01:06:53,360
Speaker 8: got a copy of.

1120
01:06:57,000 --> 01:06:57,600
Speaker 7: You got copies?

1121
01:06:57,840 --> 01:07:00,240
Speaker 1: I don't. I do not have a copy. I don't

1122
01:07:00,280 --> 01:07:02,680
Speaker 1: like a copy. I don't have a copy. But yeah,

1123
01:07:03,280 --> 01:07:06,880
Speaker 1: uh Bill has a copy. Wow, shocker. So when did

1124
01:07:06,960 --> 01:07:08,760
Speaker 1: you When did you first meet rick James?

1125
01:07:09,800 --> 01:07:09,960
Speaker 3: Oh?

1126
01:07:10,600 --> 01:07:11,120
Speaker 7: Years ago?

1127
01:07:12,720 --> 01:07:15,800
Speaker 1: That was he the villain. This is gonna be the

1128
01:07:15,840 --> 01:07:16,720
Speaker 1: best story you're gonna tell.

1129
01:07:17,400 --> 01:07:20,000
Speaker 7: It's probably been very good. It's a very good story.

1130
01:07:20,280 --> 01:07:25,000
Speaker 7: But uh he was Uh my god, is that research?

1131
01:07:25,720 --> 01:07:25,920
Speaker 7: You know?

1132
01:07:26,040 --> 01:07:28,080
Speaker 1: He was very aware of aware of.

1133
01:07:30,120 --> 01:07:32,080
Speaker 7: He was very defiant.

1134
01:07:32,880 --> 01:07:33,280
Speaker 1: M hmm.

1135
01:07:34,120 --> 01:07:38,080
Speaker 7: Defiant. They didn't want to funk with him, the motile

1136
01:07:39,120 --> 01:07:42,560
Speaker 7: they do that, they have to kill him. I'm serious,

1137
01:07:42,720 --> 01:07:43,560
Speaker 7: I'm serious, man.

1138
01:07:43,720 --> 01:07:51,439
Speaker 1: He was a rebel. Sorry, it was some very freaking ship.

1139
01:07:53,520 --> 01:07:54,320
Speaker 7: I'm serious, man.

1140
01:07:55,000 --> 01:07:55,640
Speaker 6: I believe you.

1141
01:07:55,800 --> 01:07:59,640
Speaker 7: Because he said, Hey, don't funk with me, let me

1142
01:07:59,800 --> 01:08:05,400
Speaker 7: chain because I'm Ricky James. That's right, I'm serious man.

1143
01:08:06,160 --> 01:08:06,800
Speaker 7: He was serious.

1144
01:08:06,920 --> 01:08:11,320
Speaker 1: Man. What other what other albums have you or songs

1145
01:08:11,360 --> 01:08:13,040
Speaker 1: have you appeared on that we might not know of?

1146
01:08:14,040 --> 01:08:16,240
Speaker 1: At least during that time period. I appeared on a

1147
01:08:16,400 --> 01:08:20,920
Speaker 1: very a very very very good guy. Uh yeah, what's

1148
01:08:21,000 --> 01:08:22,439
Speaker 1: this guy named Sony?

1149
01:08:23,760 --> 01:08:27,719
Speaker 7: He's crazy? But that's almost only saying that he looks

1150
01:08:27,840 --> 01:08:28,479
Speaker 7: a little crazy.

1151
01:08:29,120 --> 01:08:34,880
Speaker 1: But uh uh, who's Who's who's the the guys.

1152
01:08:34,600 --> 01:08:37,080
Speaker 7: On Sony Uh Sony Records.

1153
01:08:37,560 --> 01:08:43,040
Speaker 1: It's a big artist, big big Who was that no,

1154
01:08:44,280 --> 01:08:47,400
Speaker 1: said Billy Joel, Billy Joe. What's this?

1155
01:08:53,160 --> 01:08:54,160
Speaker 7: What's Billy Joe?

1156
01:08:55,280 --> 01:08:55,920
Speaker 6: What you want to add?

1157
01:08:55,960 --> 01:08:56,760
Speaker 7: What happened to him?

1158
01:08:57,320 --> 01:08:57,360
Speaker 3: No?

1159
01:08:57,600 --> 01:09:00,759
Speaker 1: No, no, Steve was joking about Billy Joe. He's on Sunday.

1160
01:09:02,000 --> 01:09:08,559
Speaker 7: No, dude, Dud's the guy that it plays on. Sony plays.

1161
01:09:08,680 --> 01:09:14,960
Speaker 1: I think keyboard John Legend, uh keyboards Sony?

1162
01:09:16,200 --> 01:09:16,360
Speaker 7: Oh?

1163
01:09:17,960 --> 01:09:18,280
Speaker 4: Is he is?

1164
01:09:18,320 --> 01:09:22,320
Speaker 7: He a young he's young, young, young, He's probably about

1165
01:09:22,640 --> 01:09:25,800
Speaker 7: twenty years old, twenty twenty twenty two.

1166
01:09:26,560 --> 01:09:29,120
Speaker 1: Right now? Wait, man, wait, I play I play his

1167
01:09:29,280 --> 01:09:32,439
Speaker 1: wrong room. Wait? We have this guy like, how can

1168
01:09:32,479 --> 01:09:34,960
Speaker 1: I this is? This is he's twenty he's a young guy.

1169
01:09:35,040 --> 01:09:35,719
Speaker 1: Now this is today.

1170
01:09:36,840 --> 01:09:40,519
Speaker 7: Maybe he's twenty two, you know, twenty three or something

1171
01:09:40,560 --> 01:09:42,479
Speaker 7: like that. But you know what, and he plays, Wait,

1172
01:09:42,640 --> 01:09:46,120
Speaker 7: I know that you are on Tyler the Creative Yre

1173
01:09:46,200 --> 01:09:46,880
Speaker 7: we go again.

1174
01:09:47,000 --> 01:09:50,679
Speaker 1: That's right, damn okay, that song is dope.

1175
01:09:51,000 --> 01:09:53,280
Speaker 7: He called me, he said, he said, they said I

1176
01:09:53,400 --> 01:09:56,000
Speaker 7: want you. He said, let me, let me, let me,

1177
01:09:56,640 --> 01:09:59,439
Speaker 7: let me, let you play some music. I'm good.

1178
01:09:59,600 --> 01:10:01,560
Speaker 1: Let you. I'm sorry. When when Tyler was on The

1179
01:10:01,640 --> 01:10:05,320
Speaker 1: Tonight Show, I remember him running up to me saying, yo, man,

1180
01:10:07,920 --> 01:10:10,280
Speaker 1: in the same sort of ambiguous puzzling way. He just

1181
01:10:10,360 --> 01:10:15,719
Speaker 1: mad to me like ran off and I was like okay.

1182
01:10:15,880 --> 01:10:20,000
Speaker 1: And then later on and now now suddenly the circle

1183
01:10:20,240 --> 01:10:23,320
Speaker 1: the story comes full circle four years later, like oh

1184
01:10:23,439 --> 01:10:23,680
Speaker 1: that's what.

1185
01:10:24,520 --> 01:10:26,800
Speaker 11: Wait, how did Tyler get the golden ticket to get you?

1186
01:10:27,120 --> 01:10:29,120
Speaker 11: Because I'm sure he's not the first young dude.

1187
01:10:29,400 --> 01:10:30,120
Speaker 1: He called me up.

1188
01:10:30,200 --> 01:10:32,800
Speaker 7: He had people called me up and I said, yeah,

1189
01:10:32,920 --> 01:10:36,160
Speaker 7: this is Roy. He said, Roy did yeah, you could

1190
01:10:36,200 --> 01:10:39,840
Speaker 7: you do some something on my album? I said, sure,

1191
01:10:39,880 --> 01:10:42,960
Speaker 7: you send it up. He sent me the record. It

1192
01:10:43,120 --> 01:10:46,160
Speaker 7: was three songs. He said to put it on all

1193
01:10:46,240 --> 01:10:50,160
Speaker 7: of them. I put it on all of them, all

1194
01:10:50,200 --> 01:10:53,120
Speaker 7: of them, and I played it. He's a very he's

1195
01:10:53,160 --> 01:10:56,320
Speaker 7: a very nice artist, he said. I liked him.

1196
01:10:56,760 --> 01:11:01,240
Speaker 1: He's interested. Wait now, now I think about it. Now,

1197
01:11:01,280 --> 01:11:03,640
Speaker 1: I'm thinking of every Rick James production ever known that

1198
01:11:03,640 --> 01:11:07,960
Speaker 1: we're vibrantphones on it. So I guess I can also

1199
01:11:08,000 --> 01:11:11,080
Speaker 1: assume that that's you on all night long at the

1200
01:11:11,240 --> 01:11:20,360
Speaker 1: end of yeah, the vibephone. Yeah, well, the.

1201
01:11:20,479 --> 01:11:25,640
Speaker 7: Song the songs I played on is I forgot the

1202
01:11:25,760 --> 01:11:26,160
Speaker 7: name of it.

1203
01:11:26,840 --> 01:11:29,800
Speaker 1: You're definitely all on it along. I mean, assuming that

1204
01:11:30,760 --> 01:11:33,320
Speaker 1: you're that viberphone it's doing the same time period. Yes,

1205
01:11:33,400 --> 01:11:36,280
Speaker 1: I believe that is you. You are also on the

1206
01:11:36,400 --> 01:11:42,120
Speaker 1: Jasmintaz project with gour that's the first time I'm at you.

1207
01:11:42,560 --> 01:11:48,280
Speaker 1: What I didn't know was the the the album, the

1208
01:11:48,360 --> 01:11:50,920
Speaker 1: first time that you collaborate with the roots when we

1209
01:11:51,040 --> 01:11:58,320
Speaker 1: did proceed for the Red Hottive sing right, yeah, I remember.

1210
01:11:58,680 --> 01:11:59,920
Speaker 7: I want to know why I didn't do it.

1211
01:12:00,280 --> 01:12:06,240
Speaker 1: Man, I have done that, man, you know it was

1212
01:12:06,520 --> 01:12:08,880
Speaker 1: put on as the last minute. But what I didn't

1213
01:12:08,960 --> 01:12:12,600
Speaker 1: know was that time magazine declared that album album of

1214
01:12:12,680 --> 01:12:18,040
Speaker 1: the year. Oh it did the Red Hot and Cool. Yeah.

1215
01:12:18,560 --> 01:12:20,000
Speaker 1: When I did my research, I.

1216
01:12:20,080 --> 01:12:22,120
Speaker 6: Was like, oh, that was an awesome album like that

1217
01:12:22,200 --> 01:12:27,200
Speaker 6: proed yeah, ship, thank you'll.

1218
01:12:27,560 --> 01:12:30,720
Speaker 1: Starving years so yeah, I meant for you know, we

1219
01:12:30,840 --> 01:12:33,600
Speaker 1: were slumming in London at the time, but no, it

1220
01:12:33,640 --> 01:12:36,519
Speaker 1: was it was that that to me, that that whole

1221
01:12:36,560 --> 01:12:42,720
Speaker 1: experience that was the That was the first time. I mean,

1222
01:12:43,600 --> 01:12:48,360
Speaker 1: excluding Cassandra Wilson, and and and Steve Coleman, who even

1223
01:12:48,400 --> 01:12:51,240
Speaker 1: though they were jazz monsters in their own rights, like

1224
01:12:51,600 --> 01:12:54,960
Speaker 1: we all, we almost felt like they were more family

1225
01:12:55,080 --> 01:12:58,639
Speaker 1: than anything. Like I didn't know how powerful Cassandra Wilson

1226
01:12:58,760 --> 01:13:02,200
Speaker 1: was until I really did the research so like, in

1227
01:13:02,360 --> 01:13:07,280
Speaker 1: my eyes, like the first true like star guest that

1228
01:13:07,400 --> 01:13:10,120
Speaker 1: we've ever done anything with was, you know, working with

1229
01:13:10,240 --> 01:13:15,840
Speaker 1: roy Ayres that that was a masterful moment. When you're

1230
01:13:16,000 --> 01:13:20,920
Speaker 1: discovering that hip hop is sampling your work. I mean,

1231
01:13:20,960 --> 01:13:22,880
Speaker 1: there's two ways to look at it. I've known some

1232
01:13:23,080 --> 01:13:27,080
Speaker 1: guys that were just like, well, you know, it's not

1233
01:13:27,360 --> 01:13:32,760
Speaker 1: art and it's theft and it's whatever, it's not really art.

1234
01:13:32,960 --> 01:13:35,800
Speaker 1: And then I know some people that are just like, wow,

1235
01:13:36,160 --> 01:13:40,840
Speaker 1: now my music is now expanded to another audience. Was

1236
01:13:40,960 --> 01:13:42,920
Speaker 1: what side of the fence did you fall on? Once?

1237
01:13:43,360 --> 01:13:49,200
Speaker 1: I fall on both sides, like I love this? Where

1238
01:13:49,240 --> 01:13:49,800
Speaker 1: are my money?

1239
01:13:51,680 --> 01:13:51,880
Speaker 7: Yeah?

1240
01:13:51,920 --> 01:13:53,439
Speaker 1: But that's I fall on both sides.

1241
01:13:53,479 --> 01:13:59,839
Speaker 7: I'm serious, man, I follow everybody's side. We're just a musician.

1242
01:14:00,080 --> 01:14:00,200
Speaker 11: You know.

1243
01:14:00,640 --> 01:14:05,120
Speaker 7: The musicians are usually, you know, kind of fucked up.

1244
01:14:07,840 --> 01:14:10,280
Speaker 7: They are kind of fucked up as far as the

1245
01:14:10,760 --> 01:14:13,840
Speaker 7: business and stuff that's concerned. Man, they are they all

1246
01:14:13,960 --> 01:14:18,639
Speaker 7: fucked up. Make sure they're into music. They're into music,

1247
01:14:19,280 --> 01:14:21,560
Speaker 7: you know, So the musicians, you know, I talked to

1248
01:14:21,680 --> 01:14:24,200
Speaker 7: George and I said, George, what's up? What we what

1249
01:14:24,280 --> 01:14:28,240
Speaker 7: we're gonna do? He said, Prince princes got killed. I said, oh, okay,

1250
01:14:30,360 --> 01:14:30,720
Speaker 7: fuck that.

1251
01:14:34,880 --> 01:14:52,120
Speaker 1: You know these sounds the original meme. All right, so

1252
01:14:52,880 --> 01:14:55,160
Speaker 1: this is where I really get to give some flowers

1253
01:14:55,200 --> 01:15:00,679
Speaker 1: to King brit King Brit is to me the person

1254
01:15:00,800 --> 01:15:06,200
Speaker 1: that really opened my eyes to a possibility of a

1255
01:15:06,320 --> 01:15:10,400
Speaker 1: world I never knew existed. You know, I just turned

1256
01:15:11,240 --> 01:15:14,200
Speaker 1: twenty twenty one, you know, I've been graduated school, and

1257
01:15:14,880 --> 01:15:16,599
Speaker 1: Tika and I were trying to figure out what we're

1258
01:15:16,640 --> 01:15:20,000
Speaker 1: doing this before like the Roots started busting on South

1259
01:15:20,040 --> 01:15:23,040
Speaker 1: Streets and really became the roots. So it's like a

1260
01:15:23,200 --> 01:15:25,840
Speaker 1: year before if the roots started, as you know it

1261
01:15:26,040 --> 01:15:29,160
Speaker 1: the roots, like in the summer of ninety two. Let's

1262
01:15:29,200 --> 01:15:32,360
Speaker 1: go back to like nineteen ninety one, so there was

1263
01:15:32,439 --> 01:15:37,080
Speaker 1: a counter culture vibe happening in Philadelphia where like if

1264
01:15:37,120 --> 01:15:38,800
Speaker 1: you wanted to go to a night club or whatever,

1265
01:15:39,520 --> 01:15:41,559
Speaker 1: I mean, you could go with what was hitting as

1266
01:15:41,600 --> 01:15:44,000
Speaker 1: far as modern music was concerned. And you know, by

1267
01:15:44,080 --> 01:15:47,879
Speaker 1: no means did I have complaints of what was musically

1268
01:15:48,040 --> 01:15:52,519
Speaker 1: happening in nineteen ninety ninety one. But like, if you're

1269
01:15:52,560 --> 01:15:55,760
Speaker 1: going to a modern club, yeah, you're listening to like

1270
01:15:55,920 --> 01:15:58,080
Speaker 1: whatever the songs at the moment you know they're playing,

1271
01:15:58,160 --> 01:16:03,240
Speaker 1: Like in Vogue, R and B. They're playing Tony Tony Tony.

1272
01:16:04,479 --> 01:16:08,240
Speaker 1: Radio and clubbing, I mean they weren't. Clubbing wasn't as

1273
01:16:08,360 --> 01:16:11,440
Speaker 1: anti hip hop as radio was, but radio was definitely

1274
01:16:12,640 --> 01:16:17,280
Speaker 1: you know, you know, more more music, less rap. That's

1275
01:16:17,400 --> 01:16:20,400
Speaker 1: that that would be the tagline of like most of

1276
01:16:20,439 --> 01:16:23,120
Speaker 1: the radio stations back in like eighty eight, eighty nine

1277
01:16:23,160 --> 01:16:26,320
Speaker 1: to ninety, like there was this backlash against rap music

1278
01:16:26,400 --> 01:16:31,320
Speaker 1: and it's and it's violence. So that said, I kind

1279
01:16:31,360 --> 01:16:33,360
Speaker 1: of wanted to find a place in Philly that like

1280
01:16:33,520 --> 01:16:37,040
Speaker 1: catered to the music that I dug, and that was,

1281
01:16:37,160 --> 01:16:40,320
Speaker 1: you know, like the left of center hip hop, like

1282
01:16:40,360 --> 01:16:42,200
Speaker 1: where can I hear a trip call? Quest? Where can

1283
01:16:42,280 --> 01:16:45,679
Speaker 1: I hear leaders in the New School? So King Britt

1284
01:16:46,439 --> 01:16:49,919
Speaker 1: and his partner Jeff Nett used to have these parties

1285
01:16:50,080 --> 01:16:54,000
Speaker 1: called like back to Basics, but the difference is they

1286
01:16:54,080 --> 01:16:58,519
Speaker 1: were bringing in like old music and I'd look through

1287
01:16:58,560 --> 01:17:00,840
Speaker 1: their crates and I'm like, wait a minute, this is

1288
01:17:00,880 --> 01:17:04,759
Speaker 1: my dad's record collection, Like you're gonna play BT Express

1289
01:17:04,840 --> 01:17:07,040
Speaker 1: in this club in like nineteen ninety, Like this came

1290
01:17:07,080 --> 01:17:09,960
Speaker 1: out in seventy four, and this James Brown record came

1291
01:17:09,960 --> 01:17:13,479
Speaker 1: out in seventy four, and this Roy Airs album came

1292
01:17:13,520 --> 01:17:17,880
Speaker 1: out in seventy six. Like, I've just never seen a

1293
01:17:18,040 --> 01:17:22,560
Speaker 1: club in which people like me would come into it

1294
01:17:22,800 --> 01:17:25,519
Speaker 1: and they would dance and respond to music as if

1295
01:17:25,600 --> 01:17:28,479
Speaker 1: it were new music. But this stuff was like twenty

1296
01:17:29,479 --> 01:17:32,760
Speaker 1: twenty five years old, you know, some like ten years

1297
01:17:32,800 --> 01:17:36,000
Speaker 1: old be you know, it was nineteen ninety, so, you know,

1298
01:17:36,200 --> 01:17:40,200
Speaker 1: playing stuff from fifteen years ago. And I couldn't wrap

1299
01:17:40,280 --> 01:17:43,519
Speaker 1: my head around the fact that if I wanted to,

1300
01:17:43,920 --> 01:17:46,320
Speaker 1: I could go through my dad's three thousand records and

1301
01:17:46,600 --> 01:17:50,639
Speaker 1: join these guys. And that's exactly what happened. They were like, yeah,

1302
01:17:50,680 --> 01:17:53,880
Speaker 1: bring your old records down and play the good stuff,

1303
01:17:55,000 --> 01:17:59,479
Speaker 1: and you know, so that kind of birthed, you know,

1304
01:17:59,640 --> 01:18:04,240
Speaker 1: my dreer. But I gotta say, like Roy Airs to me,

1305
01:18:04,479 --> 01:18:08,799
Speaker 1: his music, to me represents sort of the first steps

1306
01:18:08,840 --> 01:18:13,000
Speaker 1: into the unknown of rediscovery, like back in eighty six,

1307
01:18:13,080 --> 01:18:15,400
Speaker 1: when hip hop is first starting. A sample, like when

1308
01:18:15,439 --> 01:18:18,320
Speaker 1: you're hearing like Eric being Rock him used James Brown

1309
01:18:18,360 --> 01:18:21,600
Speaker 1: and Public Enemy use James Brown. A lot of the

1310
01:18:21,720 --> 01:18:25,439
Speaker 1: music from eighty six to like eighty eight eighty nine

1311
01:18:26,320 --> 01:18:30,120
Speaker 1: was kind of used via what I call a cheat sheet,

1312
01:18:30,240 --> 01:18:34,360
Speaker 1: and the cheat sheet is called Ultimate Beats and Breaks Compilation,

1313
01:18:34,680 --> 01:18:38,599
Speaker 1: and that's a compilation started by the legendary break beat

1314
01:18:38,880 --> 01:18:42,240
Speaker 1: Lou Flores, who was smart enough to make a compilation

1315
01:18:43,080 --> 01:18:47,240
Speaker 1: of all the breakbeats that DJs would use back in

1316
01:18:47,320 --> 01:18:49,760
Speaker 1: the first wave of hip hop. So you know, if

1317
01:18:49,760 --> 01:18:53,160
Speaker 1: you're seeing an African Membata spin, if you're seeing Grandmaster Flashpin,

1318
01:18:53,840 --> 01:18:56,479
Speaker 1: they're wiping the label off. You can't szam it. You

1319
01:18:56,600 --> 01:18:58,880
Speaker 1: don't know where that drum break is coming from. It's

1320
01:18:58,880 --> 01:19:04,400
Speaker 1: a secret. So eventually, like by nineteen eighty six, Luke Flores,

1321
01:19:04,479 --> 01:19:08,479
Speaker 1: who became a you know, like a record collector, made

1322
01:19:08,479 --> 01:19:10,599
Speaker 1: a compilation and what he would do is he'd make

1323
01:19:10,640 --> 01:19:13,960
Speaker 1: these EPs. He'd put six songs per record and it's

1324
01:19:14,000 --> 01:19:17,519
Speaker 1: a twenty five volume set. And if you're making hip

1325
01:19:17,560 --> 01:19:21,200
Speaker 1: hop back in this period, that's what you're using. So

1326
01:19:21,360 --> 01:19:24,439
Speaker 1: this is why like a lot of James Brown funky

1327
01:19:24,520 --> 01:19:28,080
Speaker 1: drummer gets used, or think by Link Collins or impeach

1328
01:19:28,200 --> 01:19:30,720
Speaker 1: the President, by what I call like the meat and

1329
01:19:30,760 --> 01:19:33,519
Speaker 1: potatoes of hip hop break beats and a lot of

1330
01:19:33,560 --> 01:19:37,479
Speaker 1: that various combinations of those breaks is what makes an

1331
01:19:37,640 --> 01:19:40,120
Speaker 1: eric being rock Him record or an ultra mat Netticum

1332
01:19:40,200 --> 01:19:44,719
Speaker 1: Ces record, or you know, Bookie Down Productions or whoever.

1333
01:19:45,040 --> 01:19:48,080
Speaker 1: Like the Class of eighty eight was Salt and Pepper

1334
01:19:48,560 --> 01:19:54,040
Speaker 1: public getemy and so the first kind of renaissance period

1335
01:19:54,080 --> 01:19:59,040
Speaker 1: of hip hop, which basically means music we're gonna use

1336
01:19:59,200 --> 01:20:02,680
Speaker 1: but isn't on the ultimate beats and breaks, because by

1337
01:20:02,880 --> 01:20:07,240
Speaker 1: nineteen ninety it was like a fatigue, you know, I mean,

1338
01:20:07,280 --> 01:20:09,680
Speaker 1: I guess the example one could use now is if

1339
01:20:09,720 --> 01:20:15,280
Speaker 1: you're scrolling on social media, like, okay, like we've everyone's

1340
01:20:15,360 --> 01:20:18,040
Speaker 1: using like this particular song or this song of the moment,

1341
01:20:18,280 --> 01:20:20,960
Speaker 1: like and over using it, like everyone's using it, so

1342
01:20:21,080 --> 01:20:24,240
Speaker 1: it's not fun anymore because it's being overused. That's how

1343
01:20:24,320 --> 01:20:27,519
Speaker 1: hip hop was. It's like how much James Brown can

1344
01:20:27,640 --> 01:20:32,160
Speaker 1: you make sound new, fresh and exciting. So as a result,

1345
01:20:32,760 --> 01:20:37,080
Speaker 1: there's a generation of producers that are finding other ways

1346
01:20:37,120 --> 01:20:39,200
Speaker 1: to get records. For a lot of us, we go

1347
01:20:39,280 --> 01:20:42,920
Speaker 1: to our aunts and our uncles' houses and take their

1348
01:20:43,040 --> 01:20:45,200
Speaker 1: records and there's always going to be a roy Airs

1349
01:20:45,240 --> 01:20:49,240
Speaker 1: record in the in their collection. And roy Airs to

1350
01:20:49,360 --> 01:20:53,240
Speaker 1: me is the he is the godfather of neo soul,

1351
01:20:54,200 --> 01:20:57,640
Speaker 1: even though Earth Wind and Fire kind of planted the

1352
01:20:57,760 --> 01:21:03,840
Speaker 1: flag in terms of like an afrocentric joy music. They

1353
01:21:04,040 --> 01:21:08,880
Speaker 1: clearly had their eyes on the crossover, you know, the

1354
01:21:09,280 --> 01:21:12,040
Speaker 1: landing strip, which basically means that they wanted to make

1355
01:21:12,080 --> 01:21:16,160
Speaker 1: their music palatable for an international audience, not just their

1356
01:21:16,200 --> 01:21:19,759
Speaker 1: black audience. Whereas roy Airs, who came from the school

1357
01:21:19,800 --> 01:21:25,120
Speaker 1: of jazz, I would say roy Airs kinda put a

1358
01:21:25,280 --> 01:21:30,920
Speaker 1: more less kind of what Grover Washington Junior pioneered of

1359
01:21:31,040 --> 01:21:34,640
Speaker 1: which we will call smooth jazz. I will say that

1360
01:21:34,880 --> 01:21:39,400
Speaker 1: roy Air was less smooth jazz and more funk jazz.

1361
01:21:40,160 --> 01:21:43,960
Speaker 1: Not to say that Grover Washington wasn't funky like his

1362
01:21:44,560 --> 01:21:46,800
Speaker 1: Grover Washington Live at the Biju is one of the

1363
01:21:46,960 --> 01:21:52,080
Speaker 1: greatest examples of where funk and jazz meet. But the

1364
01:21:52,200 --> 01:21:54,639
Speaker 1: sound of roy Airs is just the sound of comfort.

1365
01:21:55,000 --> 01:21:57,400
Speaker 1: A lot of that stuff recorded an electric lady. The

1366
01:21:57,479 --> 01:22:00,280
Speaker 1: Fender Rhodes was sort of his weapon of choice, his

1367
01:22:00,479 --> 01:22:05,599
Speaker 1: viper phones, and they sang about, you know, like kind

1368
01:22:05,640 --> 01:22:08,320
Speaker 1: of metaphysical the stuff that earth, wind and fire was

1369
01:22:08,320 --> 01:22:11,840
Speaker 1: singing a belt, but there really wasn't any pop songs

1370
01:22:11,880 --> 01:22:13,439
Speaker 1: on it, so it's almost like you felt he was

1371
01:22:13,479 --> 01:22:16,200
Speaker 1: speaking to us. So your idea of the person that's

1372
01:22:16,680 --> 01:22:22,560
Speaker 1: burning incense with the zodiac post sexual position posters on

1373
01:22:22,640 --> 01:22:26,559
Speaker 1: their wall, smoking a little j like, that's the audience,

1374
01:22:26,720 --> 01:22:30,400
Speaker 1: that's the demographic of roy Aers' music. So after a

1375
01:22:30,479 --> 01:22:33,880
Speaker 1: tribe called Quest comes out, who probably is the group

1376
01:22:34,000 --> 01:22:37,720
Speaker 1: that best made use of roy Airs' music, then we

1377
01:22:37,920 --> 01:22:42,640
Speaker 1: all just went rummaging through any roy Airs record and

1378
01:22:42,720 --> 01:22:45,040
Speaker 1: there was always a treat on there, no matter what

1379
01:22:45,960 --> 01:22:49,759
Speaker 1: for you to utilize. So you know, he is essentially

1380
01:22:50,240 --> 01:22:56,519
Speaker 1: the father of neo soul. So for you were you,

1381
01:22:57,320 --> 01:23:01,280
Speaker 1: was it a relief to see that suddenly your catalog

1382
01:23:01,560 --> 01:23:03,560
Speaker 1: was was there was a renewed interest in it and

1383
01:23:03,600 --> 01:23:06,800
Speaker 1: then people were going back to it and discovering you.

1384
01:23:07,320 --> 01:23:11,240
Speaker 1: And you know because when I really started seeing you

1385
01:23:11,320 --> 01:23:14,200
Speaker 1: on the circuit, especially at Ronnie Scott's, you know, there

1386
01:23:14,280 --> 01:23:17,320
Speaker 1: was there was this what was the genre they tried

1387
01:23:17,320 --> 01:23:20,960
Speaker 1: to put us in the first not Neil soul? Like

1388
01:23:22,280 --> 01:23:25,519
Speaker 1: like for you, when the nineties came, was there ever

1389
01:23:25,520 --> 01:23:28,599
Speaker 1: a fear like okay, well you know, will I still

1390
01:23:28,640 --> 01:23:30,560
Speaker 1: be a thing? Or or is this it?

1391
01:23:30,840 --> 01:23:36,080
Speaker 7: And well, you know what, there's so many so many

1392
01:23:36,120 --> 01:23:39,519
Speaker 7: people have died that it just.

1393
01:23:41,000 --> 01:23:44,280
Speaker 1: It's just a release because.

1394
01:23:44,360 --> 01:23:48,200
Speaker 7: Now I'm working my ass off. Do you understand what

1395
01:23:48,280 --> 01:23:52,120
Speaker 7: I'm saying, I'm working my ass off. I'm not complaining

1396
01:23:52,160 --> 01:23:54,280
Speaker 7: about it, but I'm working my ass off.

1397
01:23:54,600 --> 01:23:56,240
Speaker 1: I'm glad you are, which which is? Which is?

1398
01:23:56,320 --> 01:23:59,120
Speaker 8: And I'm glad too, But I'm talking about I'm working

1399
01:23:59,200 --> 01:24:03,160
Speaker 8: my asshof. So so it ain't nobody out there, ain't

1400
01:24:03,200 --> 01:24:08,400
Speaker 8: nobody out there. The motherfuckers is dead man, the groups

1401
01:24:08,439 --> 01:24:10,000
Speaker 8: have died, have died, you know.

1402
01:24:10,840 --> 01:24:11,400
Speaker 7: But you know what.

1403
01:24:15,040 --> 01:24:18,680
Speaker 1: That that may be true, but your music is going

1404
01:24:18,760 --> 01:24:22,439
Speaker 1: to last right forever. Thank you, and that that to

1405
01:24:22,600 --> 01:24:25,800
Speaker 1: me is the most important thing because thank you. You're right.

1406
01:24:26,160 --> 01:24:28,479
Speaker 10: Yeah, you're not getting work because everybody else is dead.

1407
01:24:28,520 --> 01:24:30,640
Speaker 10: You're getting work because you're a legend.

1408
01:24:30,640 --> 01:24:32,479
Speaker 7: Right because I'm still alive.

1409
01:24:38,160 --> 01:24:41,400
Speaker 1: I'm still alive. I'm still still alive. That's a beautiful thing.

1410
01:24:41,560 --> 01:24:42,519
Speaker 6: But what does it feel like now?

1411
01:24:42,520 --> 01:24:44,240
Speaker 11: Because I was talking to somebody about you the other

1412
01:24:44,320 --> 01:24:46,280
Speaker 11: day and I said, wow, like Roy, you can go

1413
01:24:46,360 --> 01:24:48,719
Speaker 11: to a show. It may be a grandparent, a parent

1414
01:24:49,080 --> 01:24:49,839
Speaker 11: and a kid.

1415
01:24:50,080 --> 01:24:51,679
Speaker 6: And they all late.

1416
01:24:52,240 --> 01:24:55,640
Speaker 11: You are still cool, Like your music is still You

1417
01:24:55,840 --> 01:24:57,599
Speaker 11: go to a club in any ages and you might hear,

1418
01:24:57,680 --> 01:24:58,680
Speaker 11: you know, see people dancing to it.

1419
01:24:58,720 --> 01:24:59,360
Speaker 6: What does that feel like?

1420
01:24:59,560 --> 01:24:59,760
Speaker 7: Happen?

1421
01:25:00,120 --> 01:25:01,439
Speaker 6: Years old? And not a lot of people that can say.

1422
01:25:01,360 --> 01:25:02,759
Speaker 1: That if they work and ain't not alive.

1423
01:25:03,120 --> 01:25:06,160
Speaker 7: They worked the record, They worked the hell out the record.

1424
01:25:06,880 --> 01:25:09,200
Speaker 7: I mean Probaly Door Group, they worked the records.

1425
01:25:09,240 --> 01:25:10,280
Speaker 6: But you made the record.

1426
01:25:10,720 --> 01:25:14,320
Speaker 7: I made. I made it, But they worked it. You know,

1427
01:25:15,479 --> 01:25:16,799
Speaker 7: they worked, they worked hard.

1428
01:25:18,200 --> 01:25:21,599
Speaker 8: And you know, you know, I may be seventy six

1429
01:25:21,720 --> 01:25:24,400
Speaker 8: years old, but hey, I'm glad I'm still here.

1430
01:25:25,800 --> 01:25:26,559
Speaker 7: You know what I'm saying.

1431
01:25:27,160 --> 01:25:29,400
Speaker 1: I'm serious, Yeah, it's serious.

1432
01:25:29,960 --> 01:25:32,680
Speaker 9: One question I had regarding your song the Third Eye,

1433
01:25:33,120 --> 01:25:36,920
Speaker 9: is that you're singing. Yeah, that's that's is Would the lyrics?

1434
01:25:36,960 --> 01:25:38,680
Speaker 9: Would you write those like in the studio at the

1435
01:25:38,760 --> 01:25:39,160
Speaker 9: time or.

1436
01:25:39,200 --> 01:25:44,160
Speaker 7: Maybe exactly exactly almost every song, almost every song beautiful.

1437
01:25:45,400 --> 01:25:50,080
Speaker 7: I just like that, just sponsored spontaneous feeling. It's wonderful.

1438
01:25:50,120 --> 01:25:50,280
Speaker 5: Man.

1439
01:25:50,680 --> 01:25:52,519
Speaker 7: You gotta try it sometimes.

1440
01:25:54,880 --> 01:25:55,360
Speaker 1: It's all right.

1441
01:25:55,840 --> 01:25:58,000
Speaker 7: I mean, you gotta try it on once or twice.

1442
01:25:58,080 --> 01:25:58,240
Speaker 1: You know.

1443
01:25:59,439 --> 01:26:04,519
Speaker 12: I have a question sure about one of your songs. Uh,

1444
01:26:04,960 --> 01:26:07,680
Speaker 12: we live in Brooklyn. In Brooklyn, were you living in

1445
01:26:07,720 --> 01:26:08,720
Speaker 12: Brooklyn when you wrote that?

1446
01:26:09,080 --> 01:26:13,040
Speaker 7: Oh? No, Harry Whittaker wrote wrote the song Harry Whittaker,

1447
01:26:13,120 --> 01:26:14,040
Speaker 7: and he died.

1448
01:26:14,160 --> 01:26:14,439
Speaker 1: I'll be.

1449
01:26:18,600 --> 01:26:22,600
Speaker 6: Still here. You and George said, I was assuming you

1450
01:26:22,680 --> 01:26:23,120
Speaker 6: made Clinton.

1451
01:26:23,160 --> 01:26:25,840
Speaker 1: So I'm like, yeah, that's right, he said, Edwin birds

1452
01:26:25,840 --> 01:26:29,200
Speaker 1: song is stilled bird song. Yeah, yeah, he is. He's

1453
01:26:29,200 --> 01:26:30,400
Speaker 1: still wrong occasionally.

1454
01:26:30,520 --> 01:26:30,640
Speaker 4: Uh.

1455
01:26:31,120 --> 01:26:34,120
Speaker 1: There his daughters in Vegas, but when I play there,

1456
01:26:34,240 --> 01:26:36,040
Speaker 1: sometimes they come to the gig.

1457
01:26:36,600 --> 01:26:37,360
Speaker 7: They come to the gig.

1458
01:26:37,680 --> 01:26:42,559
Speaker 1: Yeah. One time I played, uh, what was the deaf

1459
01:26:42,640 --> 01:26:47,639
Speaker 1: punk sample? Coca Cola More Time Babies. Yeah, I played

1460
01:26:47,680 --> 01:26:50,800
Speaker 1: that once and uh, you know, like how I can't

1461
01:26:50,880 --> 01:26:53,600
Speaker 1: be bothered when I'm dejaying, So someone keeps tapping on

1462
01:26:53,680 --> 01:26:53,840
Speaker 1: the t.

1463
01:26:55,720 --> 01:26:56,960
Speaker 6: That's my daddy's sample.

1464
01:26:57,840 --> 01:27:03,040
Speaker 1: Okay, sorry, sorry, So that's great. Yeah, everyone's still here

1465
01:27:03,080 --> 01:27:05,760
Speaker 1: and going strong. There's a there's a DJ.

1466
01:27:05,920 --> 01:27:09,120
Speaker 9: There's a new artist out now named Kate Trinada who

1467
01:27:09,280 --> 01:27:12,719
Speaker 9: is a he's a DJ producer. I went to his show.

1468
01:27:13,240 --> 01:27:15,840
Speaker 9: He did a show at what's the place across street

1469
01:27:15,840 --> 01:27:17,879
Speaker 9: from Brooklyn Bowl via.

1470
01:27:19,760 --> 01:27:21,639
Speaker 1: The Hotel No Output.

1471
01:27:22,400 --> 01:27:24,160
Speaker 9: He did a show at this club this is maybe

1472
01:27:24,200 --> 01:27:28,400
Speaker 9: like two months ago, and he played Chicago by You.

1473
01:27:28,680 --> 01:27:30,960
Speaker 1: I love that record with Chicago and that song.

1474
01:27:31,080 --> 01:27:34,519
Speaker 9: I mean it was a room full of twenty yeah,

1475
01:27:36,120 --> 01:27:38,160
Speaker 9: twenty year olds like these are kids and they were

1476
01:27:38,240 --> 01:27:39,439
Speaker 9: going crazy over your song.

1477
01:27:39,560 --> 01:27:42,000
Speaker 4: And I heard that at a club one night, like

1478
01:27:42,160 --> 01:27:44,720
Speaker 4: about ten years ago, and I lost my mind. It

1479
01:27:44,720 --> 01:27:47,120
Speaker 4: was the first I ever heard it. The record still goes, Yeah,

1480
01:27:47,240 --> 01:27:48,519
Speaker 4: I play whatever I can too.

1481
01:27:48,880 --> 01:27:51,599
Speaker 1: So what are your what are your personal favorite songs

1482
01:27:51,640 --> 01:27:54,120
Speaker 1: of your catalog that you've done?

1483
01:27:54,920 --> 01:27:55,160
Speaker 6: Like what?

1484
01:27:55,600 --> 01:27:56,479
Speaker 7: Oh yeah? What?

1485
01:27:56,920 --> 01:27:59,120
Speaker 1: What's near and dear to your heart? What's your favorite?

1486
01:27:59,720 --> 01:28:00,400
Speaker 1: Roy is.

1487
01:28:01,960 --> 01:28:02,360
Speaker 7: Searching?

1488
01:28:02,720 --> 01:28:03,440
Speaker 1: Okay?

1489
01:28:04,080 --> 01:28:04,519
Speaker 7: What? What?

1490
01:28:04,720 --> 01:28:06,639
Speaker 1: What is it about searching that you love?

1491
01:28:07,160 --> 01:28:09,160
Speaker 8: Say, butterfly up in the sky. I got a story

1492
01:28:09,200 --> 01:28:13,360
Speaker 8: to tell you. I'll tell you why I'm searching. You see,

1493
01:28:13,400 --> 01:28:13,880
Speaker 8: my friend, I.

1494
01:28:13,920 --> 01:28:17,160
Speaker 7: Need someone who feels the need to save his I

1495
01:28:17,520 --> 01:28:24,360
Speaker 7: I'm searching, searching, searching, searching, searching, searching for inspiration, searching

1496
01:28:24,439 --> 01:28:26,440
Speaker 7: for communications, searching.

1497
01:28:26,120 --> 01:28:29,439
Speaker 1: For a better way, searching for a better day. Oh

1498
01:28:29,520 --> 01:28:32,719
Speaker 1: my god, that's wonderful. Doesn't work great words?

1499
01:28:32,800 --> 01:28:33,000
Speaker 11: Man?

1500
01:28:33,600 --> 01:28:36,880
Speaker 7: When you when you live that live that life, you

1501
01:28:37,000 --> 01:28:39,920
Speaker 7: know it's it's wonderful when you get it to that

1502
01:28:40,800 --> 01:28:42,080
Speaker 7: search searching, it is wonderful.

1503
01:28:42,680 --> 01:28:44,920
Speaker 11: Do you have a favorite like sample roy Air song

1504
01:28:45,000 --> 01:28:46,600
Speaker 11: and song? And when you heard your song and it

1505
01:28:46,680 --> 01:28:47,000
Speaker 11: you were like.

1506
01:28:47,080 --> 01:28:48,320
Speaker 1: Whoa married Mary?

1507
01:28:48,439 --> 01:28:49,000
Speaker 7: J flies?

1508
01:28:49,200 --> 01:28:49,760
Speaker 1: You see too?

1509
01:28:55,840 --> 01:28:56,840
Speaker 6: The song of the checks?

1510
01:29:00,600 --> 01:29:03,040
Speaker 1: So did you like my life when you heard it.

1511
01:29:03,600 --> 01:29:06,800
Speaker 7: Yeah, I loved it. I said, why didn't not take

1512
01:29:06,920 --> 01:29:07,519
Speaker 7: those lyrics?

1513
01:29:09,200 --> 01:29:13,640
Speaker 1: You know, I was thinking, you know, marriage, that was

1514
01:29:13,760 --> 01:29:21,120
Speaker 1: such a controversial day I felt. I mean, I've told

1515
01:29:21,160 --> 01:29:26,400
Speaker 1: the story before, but I just felt at the time. Yes, Now,

1516
01:29:26,560 --> 01:29:30,120
Speaker 1: in twenty seventeen, I consider that song and the album

1517
01:29:30,160 --> 01:29:35,360
Speaker 1: of which it came from a classic song and an album.

1518
01:29:35,520 --> 01:29:40,960
Speaker 1: But during the time when I heard it, right, I

1519
01:29:41,040 --> 01:29:44,599
Speaker 1: don't know. I never that was a historical first, because

1520
01:29:44,640 --> 01:29:48,479
Speaker 1: I'd never heard a singer just totally take a song

1521
01:29:48,600 --> 01:29:53,559
Speaker 1: and redo it as their own. I mean, it's one

1522
01:29:53,600 --> 01:29:56,240
Speaker 1: thing for rappers to do it, but I never ever

1523
01:29:56,360 --> 01:30:00,320
Speaker 1: considered like singers could have the same rules as MC's right.

1524
01:30:00,720 --> 01:30:07,640
Speaker 1: So in my head, we were we didn't like the

1525
01:30:07,760 --> 01:30:10,559
Speaker 1: first month I heard the first month of the first two,

1526
01:30:10,720 --> 01:30:13,320
Speaker 1: but you know, you you you dug it. I mean,

1527
01:30:13,360 --> 01:30:15,600
Speaker 1: but you were also like ten, What did you know

1528
01:30:15,680 --> 01:30:18,839
Speaker 1: it's ten? No, I wasn't my life. I was like fifteen.

1529
01:30:18,920 --> 01:30:19,599
Speaker 7: The very.

1530
01:30:24,000 --> 01:30:26,680
Speaker 6: They release every black woman at the age of fifteen.

1531
01:30:27,240 --> 01:30:33,080
Speaker 1: Was like stop because the first day we ever met

1532
01:30:33,640 --> 01:30:36,240
Speaker 1: was the day that you were also in this van.

1533
01:30:38,560 --> 01:30:40,400
Speaker 11: Maybe I was just saying that because I was amongst

1534
01:30:40,400 --> 01:30:42,320
Speaker 11: the hip hoppers, you know, and I was just going

1535
01:30:42,360 --> 01:30:42,679
Speaker 11: to love.

1536
01:30:45,040 --> 01:30:53,920
Speaker 1: Your asshole it did okay, nobody, I'm sorry.

1537
01:30:54,200 --> 01:30:54,439
Speaker 5: Sorry.

1538
01:30:54,520 --> 01:30:57,680
Speaker 1: I like my life. I liked it too. I liked

1539
01:30:57,680 --> 01:31:01,400
Speaker 1: it too. I like us really like I was you and.

1540
01:31:01,479 --> 01:31:01,880
Speaker 3: You were me.

1541
01:31:03,040 --> 01:31:05,400
Speaker 1: That's just crazy. I didn't do I didn't develop those

1542
01:31:05,439 --> 01:31:08,880
Speaker 1: rules until later. See I was the way you are

1543
01:31:09,000 --> 01:31:13,120
Speaker 1: now when I was twenty. Then I got leanient.

1544
01:31:13,240 --> 01:31:16,320
Speaker 9: Anyway, where there any times that rappers wanted to sample

1545
01:31:16,360 --> 01:31:18,400
Speaker 9: your stuff and you denied it for any reason?

1546
01:31:18,640 --> 01:31:20,320
Speaker 1: No, I let let him travel it.

1547
01:31:20,760 --> 01:31:21,720
Speaker 7: I've gone over that.

1548
01:31:21,920 --> 01:31:25,640
Speaker 1: Uh, that's some horrible things that I said. Damn, what

1549
01:31:25,880 --> 01:31:26,000
Speaker 1: is this?

1550
01:31:26,240 --> 01:31:26,600
Speaker 4: What is this?

1551
01:31:28,000 --> 01:31:28,360
Speaker 1: Everything?

1552
01:31:28,479 --> 01:31:28,559
Speaker 5: Fu?

1553
01:31:30,200 --> 01:31:37,240
Speaker 1: I said, put it out, put it out. I put

1554
01:31:37,280 --> 01:31:39,320
Speaker 1: it out, put it out, every every word. That's what

1555
01:31:39,920 --> 01:31:42,040
Speaker 1: your people were like, We don't know if you should.

1556
01:31:43,800 --> 01:31:47,000
Speaker 1: Your people were sort of cautious about maybe you should

1557
01:31:47,040 --> 01:31:48,439
Speaker 1: pass on this or no.

1558
01:31:49,240 --> 01:31:52,320
Speaker 7: I was passing on it. I was, you know, I

1559
01:31:52,439 --> 01:31:54,599
Speaker 7: was passing on it. I said, no, let them put

1560
01:31:54,640 --> 01:31:58,160
Speaker 7: it out. It was it was only one person, be

1561
01:31:59,479 --> 01:32:01,799
Speaker 7: I wasn't you published?

1562
01:32:01,960 --> 01:32:07,240
Speaker 1: I mean every group of people just put it out. Wow, okay, hey,

1563
01:32:07,439 --> 01:32:10,840
Speaker 1: put it out, put it out, put it out, put

1564
01:32:10,880 --> 01:32:11,639
Speaker 1: that ship out.

1565
01:32:12,479 --> 01:32:14,599
Speaker 9: It's that the same Is it the same way? Like now,

1566
01:32:14,760 --> 01:32:16,960
Speaker 9: like if someone want to sample your music now to

1567
01:32:17,200 --> 01:32:17,800
Speaker 9: just go through you.

1568
01:32:17,920 --> 01:32:19,880
Speaker 7: Yeah, but but I know that they're they're not gonna

1569
01:32:19,880 --> 01:32:22,840
Speaker 7: play this stuff anyway. They're not gonna play it, and

1570
01:32:23,000 --> 01:32:26,400
Speaker 7: they're not gonna play certain things well not they won't.

1571
01:32:26,640 --> 01:32:27,800
Speaker 7: Radio station won't play it.

1572
01:32:27,920 --> 01:32:30,479
Speaker 1: So it's un the radar team. I'm gonna think the

1573
01:32:30,600 --> 01:32:31,879
Speaker 1: check and it'll.

1574
01:32:33,680 --> 01:32:33,800
Speaker 10: Right.

1575
01:32:34,439 --> 01:32:36,680
Speaker 11: At this point in your career, is it anybody that

1576
01:32:36,760 --> 01:32:38,200
Speaker 11: you see that you're like, you know what, it'd be

1577
01:32:38,280 --> 01:32:41,120
Speaker 11: interesting to do something with them? Are you just like,

1578
01:32:41,360 --> 01:32:42,960
Speaker 11: is it any like new blood out there? You're like,

1579
01:32:45,240 --> 01:32:47,920
Speaker 11: because I know people choo for real?

1580
01:32:48,120 --> 01:32:49,320
Speaker 1: Right for reals?

1581
01:32:49,640 --> 01:32:52,599
Speaker 7: Oh man, you name this name this couple of kids

1582
01:32:52,640 --> 01:32:53,800
Speaker 7: that me or something like that.

1583
01:32:55,760 --> 01:32:55,960
Speaker 1: Yeah.

1584
01:32:56,160 --> 01:32:58,519
Speaker 6: Wow, And y'all still have never worked together.

1585
01:32:59,000 --> 01:33:01,720
Speaker 8: We haven't done it. He wants me to come to California.

1586
01:33:02,439 --> 01:33:05,200
Speaker 8: I just I can't get out there. You know, at

1587
01:33:05,240 --> 01:33:07,760
Speaker 8: the time, I couldn't, you know, Okay, that's right.

1588
01:33:07,840 --> 01:33:09,439
Speaker 6: It's never too late though, well, it's.

1589
01:33:09,360 --> 01:33:12,479
Speaker 1: Never too late as long as I'm still alive. You

1590
01:33:13,160 --> 01:33:14,519
Speaker 1: He need to come to you, That's what I'm saying.

1591
01:33:16,080 --> 01:33:18,160
Speaker 1: He needed to come to wherever you at, I hear

1592
01:33:18,200 --> 01:33:30,080
Speaker 1: you up. That's right to Royal Nigga talking about right,

1593
01:33:30,200 --> 01:33:33,360
Speaker 1: I forgot the U of the triplets. One of them

1594
01:33:33,600 --> 01:33:36,960
Speaker 1: his name airs Wow, but I believe the second one

1595
01:33:37,040 --> 01:33:40,960
Speaker 1: is either named after one of your compositions or or right, yeah,

1596
01:33:42,200 --> 01:33:44,360
Speaker 1: talk about a tribute. But but no, he is now

1597
01:33:44,400 --> 01:33:48,000
Speaker 1: You're gonna live forever because well he was on the stage. Yeah,

1598
01:33:48,800 --> 01:33:50,519
Speaker 1: after a concert.

1599
01:33:50,920 --> 01:33:54,000
Speaker 7: I did a concert and he did a concert, and

1600
01:33:54,439 --> 01:33:56,720
Speaker 7: he was walking off stage and I walked up to

1601
01:33:56,840 --> 01:34:01,160
Speaker 7: him and I said, Pharrell, and so for he dropped

1602
01:34:01,200 --> 01:34:02,040
Speaker 7: on the man.

1603
01:34:02,960 --> 01:34:04,800
Speaker 1: He did the worship thing he does.

1604
01:34:05,560 --> 01:34:09,240
Speaker 7: He did the worship thing man. I said, come on, man, come.

1605
01:34:09,120 --> 01:34:13,320
Speaker 1: On, that's all. He's a humble cat, he said, humble,

1606
01:34:13,479 --> 01:34:16,760
Speaker 1: very humble, very humble. So all right, what's what's what's

1607
01:34:16,960 --> 01:34:20,800
Speaker 1: the future for roy Ares? What's your your next your

1608
01:34:20,840 --> 01:34:24,120
Speaker 1: next project? And you tour more your I'm.

1609
01:34:24,000 --> 01:34:30,719
Speaker 7: Planning on doing the album. Okay, it's about just about playing, playing, playing, playing,

1610
01:34:30,880 --> 01:34:38,080
Speaker 7: playing playing, Okay, playing, that's an album about playing by playing,

1611
01:34:38,360 --> 01:34:40,880
Speaker 7: about playing. Okay, about playing.

1612
01:34:41,080 --> 01:34:42,640
Speaker 11: You're gonna give us some of the unreleased stuff you

1613
01:34:42,720 --> 01:34:49,120
Speaker 11: got in the Yeah, we got plans on well, yeah, you're.

1614
01:34:49,040 --> 01:34:55,040
Speaker 1: Gonna let us go to the stories. I'm just saying,

1615
01:34:55,960 --> 01:35:02,919
Speaker 1: like you know it, I'm just saying.

1616
01:35:05,120 --> 01:35:12,519
Speaker 9: Today today, man, One question, one question I have. How

1617
01:35:12,760 --> 01:35:15,839
Speaker 9: involved was weed in the records?

1618
01:35:17,200 --> 01:35:21,240
Speaker 1: It was like marijuana like smoke? Was that reef?

1619
01:35:21,520 --> 01:35:21,640
Speaker 3: Was that?

1620
01:35:22,320 --> 01:35:29,160
Speaker 1: Presidents? Did you allow that that? Again, it's all right,

1621
01:35:32,040 --> 01:35:35,240
Speaker 1: didn't come How How was that was that allowed and

1622
01:35:35,400 --> 01:35:38,240
Speaker 1: encouraged in your recessions back in the day? We we

1623
01:35:38,479 --> 01:35:40,400
Speaker 1: oh mad, it's in.

1624
01:35:41,960 --> 01:35:42,000
Speaker 3: We.

1625
01:35:42,360 --> 01:35:42,880
Speaker 1: Weed is in.

1626
01:35:45,439 --> 01:35:49,040
Speaker 6: We just in My god, they' never stopped at stopping.

1627
01:35:49,120 --> 01:35:54,240
Speaker 1: Man, they're gonna crazy with all the broadcast and everything.

1628
01:35:54,360 --> 01:35:56,200
Speaker 6: Man, But were you cool with it in your studio

1629
01:35:56,280 --> 01:35:57,720
Speaker 6: sessions back in the day? He was cool with it.

1630
01:35:58,000 --> 01:36:02,880
Speaker 7: Oh yeah, it was cool man. It was cool. Everybody smoked, everybody.

1631
01:36:02,720 --> 01:36:05,680
Speaker 9: Everybody because that because that was like the memories that

1632
01:36:05,760 --> 01:36:08,000
Speaker 9: I have, like of your music as a kid, Like

1633
01:36:08,120 --> 01:36:11,080
Speaker 9: I remember seeing like the album covers and hearing the

1634
01:36:11,200 --> 01:36:13,519
Speaker 9: music and the smell of marijuana.

1635
01:36:17,600 --> 01:36:21,080
Speaker 1: They smoke to your they were I like that you

1636
01:36:21,120 --> 01:36:25,639
Speaker 1: could hear the smell of marijuana. That's an interesting It's

1637
01:36:25,720 --> 01:36:36,080
Speaker 1: called synaesthesis. Really it is. I was expected that word. Okay,

1638
01:36:37,160 --> 01:36:42,479
Speaker 1: who it is? It absolutely is well mister Ayres. Uh,

1639
01:36:43,840 --> 01:36:46,880
Speaker 1: I don't know. I think we've we've we've tagged on

1640
01:36:47,080 --> 01:36:57,240
Speaker 1: everything all right as we wrapped up, Uh, I just

1641
01:36:57,320 --> 01:37:02,120
Speaker 1: want to say, you know, it's kind of weird because

1642
01:37:02,280 --> 01:37:09,120
Speaker 1: a lot of people that are in my particular area

1643
01:37:09,160 --> 01:37:13,479
Speaker 1: of music. Of course, okay, I'll take it that I'm

1644
01:37:13,600 --> 01:37:18,240
Speaker 1: lumped in and called neo soul, but I mean you

1645
01:37:18,479 --> 01:37:23,599
Speaker 1: are considered the godfather of of our our our genre,

1646
01:37:24,200 --> 01:37:27,040
Speaker 1: and so I just want to thank you for you know,

1647
01:37:27,439 --> 01:37:31,560
Speaker 1: providing us with the the roadmap for which you know

1648
01:37:31,640 --> 01:37:34,560
Speaker 1: it's still being used to this very day. You know,

1649
01:37:34,960 --> 01:37:38,960
Speaker 1: your your your influence, and your art will be here forever,

1650
01:37:40,360 --> 01:37:42,960
Speaker 1: long after everyone in this room is going, even this

1651
01:37:43,080 --> 01:37:45,960
Speaker 1: building is gone, your work will still be here. So

1652
01:37:46,200 --> 01:37:48,519
Speaker 1: we thank you for coming on. Of course, love supreme

1653
01:37:49,000 --> 01:37:56,600
Speaker 1: and yes, yes, one last question. Can you tell us

1654
01:37:56,600 --> 01:38:00,599
Speaker 1: a little bit about scoring the movie coffee? That experience

1655
01:38:00,720 --> 01:38:02,479
Speaker 1: was like? Yeah, what that experience was like for you?

1656
01:38:03,120 --> 01:38:04,719
Speaker 7: Oh? That was that was wonderful.

1657
01:38:05,280 --> 01:38:05,400
Speaker 11: Uh.

1658
01:38:06,080 --> 01:38:09,400
Speaker 7: As a matter of fact, I thought about that that

1659
01:38:09,840 --> 01:38:15,400
Speaker 7: uh meeting meeting Pam Grid, I met Param Grier and

1660
01:38:15,640 --> 01:38:19,760
Speaker 7: uh I was trying to wrap wrap my arms around but.

1661
01:38:22,000 --> 01:38:24,320
Speaker 1: The breast was so big.

1662
01:38:26,560 --> 01:38:28,160
Speaker 7: I couldn't even get my hands together.

1663
01:38:29,200 --> 01:38:31,599
Speaker 1: But no, no, I said, oh.

1664
01:38:34,760 --> 01:38:40,639
Speaker 7: I was so wonderful. I said, you are from param Grier.

1665
01:38:41,200 --> 01:38:47,080
Speaker 7: I said, I made you a star through my music.

1666
01:38:47,600 --> 01:38:47,800
Speaker 7: You know.

1667
01:38:49,760 --> 01:38:52,640
Speaker 8: I'm telling you as I did that after I did

1668
01:38:52,680 --> 01:38:57,240
Speaker 8: that film. That that really made me think about how

1669
01:38:57,720 --> 01:39:02,560
Speaker 8: mad she was or aggravation. It was aggravation.

1670
01:39:02,720 --> 01:39:03,400
Speaker 1: It was horrible.

1671
01:39:04,280 --> 01:39:08,639
Speaker 7: So she was wonderful. She was she was a dream,

1672
01:39:09,520 --> 01:39:12,559
Speaker 7: a wonderful, wonderful actress, a wonderful person.

1673
01:39:13,200 --> 01:39:15,280
Speaker 1: And I love that hug.

1674
01:39:17,000 --> 01:39:18,639
Speaker 7: That hug with something else.

1675
01:39:18,720 --> 01:39:21,759
Speaker 1: Man solls more about.

1676
01:39:29,439 --> 01:39:31,839
Speaker 7: Oh man, it was. It was wonderful, wonderful.

1677
01:39:33,280 --> 01:39:35,120
Speaker 1: Alright, Steve, Steve, Yeah, I got.

1678
01:39:36,240 --> 01:39:39,559
Speaker 10: One more question. Did you ever meet Milt Jackson?

1679
01:39:40,479 --> 01:39:40,599
Speaker 7: Uh?

1680
01:39:41,080 --> 01:39:42,840
Speaker 1: I mean yeah, I mid Milton.

1681
01:39:43,560 --> 01:39:44,680
Speaker 7: Milt was wonderful. Man.

1682
01:39:45,520 --> 01:39:49,240
Speaker 8: His his touch, his touch was is one of the

1683
01:39:49,320 --> 01:39:52,920
Speaker 8: greatest things in the world, the touch and the Bible phone.

1684
01:39:53,000 --> 01:39:57,760
Speaker 8: If you listen to all it records, the touch, it's

1685
01:39:57,880 --> 01:39:59,559
Speaker 8: it's a magic it's a magic touch.

1686
01:39:59,680 --> 01:39:59,800
Speaker 1: Man.

1687
01:40:00,320 --> 01:40:01,479
Speaker 10: What about Cayle Jada?

1688
01:40:02,120 --> 01:40:03,200
Speaker 1: I met Cal Jada.

1689
01:40:03,520 --> 01:40:07,200
Speaker 7: I met Cal. He died. Damn all those cats died.

1690
01:40:09,000 --> 01:40:10,920
Speaker 1: My question, I'm sorry you're still here.

1691
01:40:12,600 --> 01:40:14,400
Speaker 4: Yeah, is there anybody in the jazz scene right now

1692
01:40:14,439 --> 01:40:16,280
Speaker 4: that you're you're really excited about.

1693
01:40:17,760 --> 01:40:20,360
Speaker 7: No, I wanted to play it with al Ja. Oh my,

1694
01:40:22,880 --> 01:40:23,960
Speaker 7: he died together.

1695
01:40:24,240 --> 01:40:24,439
Speaker 1: I know.

1696
01:40:25,080 --> 01:40:26,960
Speaker 11: It's great because I was about to ask you about Dennis,

1697
01:40:26,960 --> 01:40:27,880
Speaker 11: but I can't even talk about it.

1698
01:40:27,920 --> 01:40:28,840
Speaker 6: It's just too just.

1699
01:40:28,880 --> 01:40:29,479
Speaker 7: Answer the question.

1700
01:40:29,880 --> 01:40:31,960
Speaker 11: Yeah, No, I was just gonna ask you to, you know,

1701
01:40:32,120 --> 01:40:34,080
Speaker 11: kind of break down because for me, my Mike Spanish

1702
01:40:34,080 --> 01:40:36,559
Speaker 11: experiency with you went through Dennis who was your drummer

1703
01:40:36,640 --> 01:40:38,360
Speaker 11: for for a couple of decades.

1704
01:40:38,040 --> 01:40:39,960
Speaker 1: And then died, you know, last year.

1705
01:40:40,560 --> 01:40:48,840
Speaker 6: That's her cousin, Yes, Dennis Davis. Dennis Davis acologized Dennis.

1706
01:40:49,560 --> 01:40:52,240
Speaker 7: Yes, but I checked this out. Dennis Davis worked with me,

1707
01:40:52,680 --> 01:40:55,080
Speaker 7: He was working with me all those years, and he

1708
01:40:55,280 --> 01:40:58,840
Speaker 7: was also working with Stevie Want with Stevie Wonder and

1709
01:40:59,080 --> 01:41:01,920
Speaker 7: also David Boy. That's right, David Boy.

1710
01:41:02,800 --> 01:41:04,960
Speaker 1: And he did two, two or three.

1711
01:41:04,880 --> 01:41:09,040
Speaker 8: Different gigs the same time. Really, it was amazing, it

1712
01:41:09,160 --> 01:41:11,600
Speaker 8: was amazing. It was amazing he was able to do that.

1713
01:41:11,720 --> 01:41:17,080
Speaker 1: How long was he your drummer? Oh maybe since she

1714
01:41:17,280 --> 01:41:20,080
Speaker 1: was very young, so since the very beginning.

1715
01:41:20,320 --> 01:41:23,280
Speaker 11: Yeah, yeah, wow, he just left and came back right

1716
01:41:23,880 --> 01:41:25,639
Speaker 11: and come back. He will always have a home.

1717
01:41:25,920 --> 01:41:29,519
Speaker 1: You remember Dennis is, the infamous Dennis Is playing by

1718
01:41:29,640 --> 01:41:34,240
Speaker 1: himself on on Nothing Do I Do? Do I do?

1719
01:41:34,479 --> 01:41:34,599
Speaker 7: Right?

1720
01:41:36,720 --> 01:41:40,400
Speaker 1: Okay? Well wait? That also leads to uh Stevie's bass

1721
01:41:40,400 --> 01:41:42,880
Speaker 1: player what's his name? Nathan or the bass player was

1722
01:41:43,000 --> 01:41:45,280
Speaker 1: Nathan East? Did he play with you for a second?

1723
01:41:46,200 --> 01:41:50,000
Speaker 1: The guitar player, the bass player Nathan Nathan? He did

1724
01:41:50,120 --> 01:41:53,400
Speaker 1: not Nathan E. Nathan Wat Did he ever play for you?

1725
01:41:53,479 --> 01:41:55,040
Speaker 7: For he didn't? He didn't play with me.

1726
01:41:55,520 --> 01:41:57,400
Speaker 1: I could have sworn I saw a concert of you

1727
01:41:57,560 --> 01:42:01,599
Speaker 1: with Nathan Watched, because Nathan Watch's built like a full back.

1728
01:42:01,800 --> 01:42:04,360
Speaker 7: So yeah, he's a big gag he.

1729
01:42:06,040 --> 01:42:07,840
Speaker 1: There was a similar bass player that played with you,

1730
01:42:07,920 --> 01:42:11,839
Speaker 1: A big guy that I thought was was was Nathan Okay.

1731
01:42:11,760 --> 01:42:15,799
Speaker 7: There might have been John Johnna somebody.

1732
01:42:16,040 --> 01:42:20,160
Speaker 1: Also, the great Philip Wu also played with you. Yeah

1733
01:42:20,280 --> 01:42:22,519
Speaker 1: he did. He did play with me. He's in uh

1734
01:42:23,920 --> 01:42:27,160
Speaker 1: your pant I know how did you hook up with?

1735
01:42:27,280 --> 01:42:28,479
Speaker 1: He's been with you forever?

1736
01:42:29,000 --> 01:42:30,719
Speaker 7: It's from Seattle, Washington.

1737
01:42:31,080 --> 01:42:34,000
Speaker 1: Oh okay? Is that where the title of your song

1738
01:42:34,080 --> 01:42:36,240
Speaker 1: I did it in Seattle? Is Philip playing on that?

1739
01:42:36,560 --> 01:42:36,760
Speaker 7: Yep?

1740
01:42:37,040 --> 01:42:43,200
Speaker 1: Wow? I got it nice? Nice all right? So uh

1741
01:42:43,720 --> 01:42:46,960
Speaker 1: on behalf of Oh right, I'm sorry, should we do reflections?

1742
01:42:47,479 --> 01:42:49,840
Speaker 1: I know, I'm sorry.

1743
01:42:50,960 --> 01:42:54,200
Speaker 10: Well, I just want one more, one more thing, mister.

1744
01:42:55,880 --> 01:42:58,040
Speaker 12: People who worked at the studio and past and president

1745
01:42:58,120 --> 01:42:59,720
Speaker 12: just wanted me to thank you for coming here so

1746
01:42:59,840 --> 01:43:02,280
Speaker 12: many many times, recording so many records here over the years.

1747
01:43:02,400 --> 01:43:04,200
Speaker 7: It's a pleasure to do it doing this. This is

1748
01:43:04,280 --> 01:43:08,479
Speaker 7: really wonderful. Thank you, thank you, thank you, thank you.

1749
01:43:08,640 --> 01:43:09,280
Speaker 10: It's amazing.

1750
01:43:09,800 --> 01:43:12,559
Speaker 1: Thank you, ladies and gentlemen. That is quest Love Supreme.

1751
01:43:12,680 --> 01:43:16,360
Speaker 1: We will be back next week with another great informative

1752
01:43:16,400 --> 01:43:19,479
Speaker 1: episode of course Love Supreme. Also, don't forget to dig

1753
01:43:19,520 --> 01:43:22,080
Speaker 1: in the crates and check out past episodes and catch

1754
01:43:22,160 --> 01:43:26,080
Speaker 1: up with us on Behalf of Sugar, Steve Unpaid, Bill Boss,

1755
01:43:26,280 --> 01:43:32,360
Speaker 1: Bill Lady layah uh Aka, Margaret Fon, Tigolo, and The

1756
01:43:32,439 --> 01:43:37,759
Speaker 1: Great Boy as Love Supreme signing off West. Love Supreme

1757
01:43:37,840 --> 01:43:43,439
Speaker 1: is a production of iHeart Radio. For more podcasts from

1758
01:43:43,479 --> 01:43:47,320
Speaker 1: iHeart Radio, visit the iHeart Radio app, Apple Podcasts, or

1759
01:43:47,360 --> 01:43:49,000
Speaker 1: wherever you listen to your favorite shows.