WEBVTT - QLS Classic: Remembering Roy Ayers 0:00:00.440 --> 0:00:04.680 Questlove Supreme is a production of iHeartRadio. This classic episode 0:00:04.760 --> 0:00:09.639 was produced by the team at Pandora. So last week 0:00:09.680 --> 0:00:13.640 we lost a giant in music and in culture, brother 0:00:13.720 --> 0:00:17.239 Rorieers passed at the age of eighty four. Almost eight 0:00:17.320 --> 0:00:21.040 years ago, Quest Love Supreme sat down with Roy at 0:00:21.079 --> 0:00:24.400 the Electric Lady Studios at New York City. You know, 0:00:24.560 --> 0:00:27.480 with this interview, this means so much to Quest Love 0:00:27.560 --> 0:00:30.520 Supreme and the members of Team Supreme. Roy did say 0:00:30.520 --> 0:00:34.479 a lot, and he spoke about as many movements, and 0:00:34.680 --> 0:00:36.479 it was so special. Happened him back in the room 0:00:36.520 --> 0:00:41.280 where he made history. You know, at the time when 0:00:41.360 --> 0:00:47.000 we recorded at Electric Lady, you know we chose Electric Lady. 0:00:47.560 --> 0:00:50.040 First of all, I'm in Electric Lady's history, So I 0:00:50.040 --> 0:00:54.520 guess you can say that even DiAngelo bringing us all 0:00:55.400 --> 0:00:58.720 to the attention of Electric Lady Studios, I really wasn't 0:00:58.760 --> 0:01:02.640 where the history of the place until you know, maybe 0:01:02.720 --> 0:01:05.160 the first week of Voodoo back in nineteen ninety seven. 0:01:05.880 --> 0:01:08.120 But even then, I'm never thinking like history. I'm just 0:01:08.200 --> 0:01:11.760 thinking of home because that's kind of where we planted 0:01:11.800 --> 0:01:15.960 our black However, I believe it was Sugar Steve that 0:01:16.080 --> 0:01:19.319 reminded me it's like you realize that this is where 0:01:19.360 --> 0:01:23.319 you recorded Everybody Loves the Sunshine and then even pointed 0:01:23.400 --> 0:01:26.360 to the vibraphones that were over in the corner. But 0:01:26.400 --> 0:01:30.240 that's the thing about electricating studios is that what's notable 0:01:30.280 --> 0:01:36.560 about it is the artwork and the equipment. Bear has 0:01:36.600 --> 0:01:40.319 been there since day one, since nineteen seventy. So yes, 0:01:40.440 --> 0:01:44.520 the very keyboards and the very drum set and the 0:01:44.680 --> 0:01:47.840 very mics and all those things we used on Voodoo 0:01:47.880 --> 0:01:51.280 were the same things used on you know, Stevie Wonders 0:01:51.320 --> 0:01:55.040 for filling his first finality and inner visions and Roy's 0:01:55.080 --> 0:01:57.880 Everybody Loves the Sunshine. That's kind of crazy that the 0:01:58.000 --> 0:02:02.000 roads that made the Angelo's Voodoo is the same roots 0:02:02.000 --> 0:02:04.520 that made Everybody Loves the Sunshine, which the same roots 0:02:04.560 --> 0:02:07.760 that made it ain't no use by Stevie Wonder. It's 0:02:07.880 --> 0:02:10.120 kind of weird, like how much history that place holds, 0:02:10.120 --> 0:02:14.760 so it's rather apropos of having him back there. Please 0:02:14.880 --> 0:02:18.720 enjoy this classic episode of Quls Rest in Peace, Warriors. 0:02:23.280 --> 0:02:33.679 Supremo Suprema Ro Calm Supremo, Suck, Supremo ro Suprimo, Supremo 0:02:33.880 --> 0:02:40.400 ro Suprima Supremos. 0:02:38.760 --> 0:02:43.160 Love and the Sunshine. Yeah, the Summer's Sun. Yeah, should 0:02:43.160 --> 0:02:43.320 we do? 0:02:44.080 --> 0:02:54.239 Yeah, Supremo roll Calm Suprema Sun Sun Supremo Rome. 0:02:54.360 --> 0:02:58.840 My name is Fonte. Some say I'm crazy, Yeah, because 0:02:58.919 --> 0:03:01.000 we live in Brooklyn. 0:03:01.160 --> 0:03:09.320 Baby Supreme Son Son Supremo, Roll Cal Suprema So Supreme, 0:03:09.639 --> 0:03:10.239 roll came. 0:03:10.360 --> 0:03:14.120 My name is Sugar. Yeah, I'm a little moody. Yeah, 0:03:14.360 --> 0:03:17.840 it's been a month since. Yeah, I got some star Booty. 0:03:22.840 --> 0:03:28.359 Supremo Supremo roll Lost Bill is not crazy yeah or 0:03:28.480 --> 0:03:32.520 cuckoo aha, Yeah, but let me kiss you on your 0:03:32.560 --> 0:03:33.280 poo Pool. 0:03:35.800 --> 0:03:41.880 Son Supremo, Roll Cal Suprema Son Supremo. 0:03:41.480 --> 0:03:45.240 Roll Call paid Bill, Yeah, came to share. 0:03:45.720 --> 0:03:58.040 Yeah, I love the Sunshine and Roy Supreme Supremeo roll Call. 0:03:59.640 --> 0:04:00.960 Yeah, what's your infatuation? 0:04:01.640 --> 0:04:01.880 Yeah? 0:04:02.240 --> 0:04:02.920 What Roy is? 0:04:04.200 --> 0:04:05.400 It's the Vibration. 0:04:07.600 --> 0:04:07.760 Song. 0:04:08.320 --> 0:04:11.680 So we know you still doing too many. 0:04:13.480 --> 0:04:14.080 Roll call. 0:04:15.080 --> 0:04:18.080 My name is Roy. You know what I'm saying. Yeah, 0:04:18.360 --> 0:04:22.400 I'm just trying to forget that I'm not playing roll Call. 0:04:24.760 --> 0:04:33.640 Supremo, Roll Call Suprema, Ya Supreme, roll Call Supreme, So Supreme. 0:04:33.480 --> 0:04:40.160 Roll Call Suprema something something Supreme roll call, damn you. 0:04:40.360 --> 0:04:49.839 Steve the Road prop Comedy, Steve actually had a copy 0:04:50.040 --> 0:04:54.120 of Roy Start Steve. I've been thinking about that for 0:04:54.160 --> 0:04:55.799 a long time, even waiting. 0:04:56.520 --> 0:04:57.120 I wont. 0:04:58.600 --> 0:04:59.160 You've been winning. 0:04:59.240 --> 0:05:01.960 He's been winning for like the Beast, like, let's move 0:05:02.000 --> 0:05:03.839 on You doesn't like you, don't like the Sunshine, Spotlight 0:05:03.880 --> 0:05:05.520 you the next. 0:05:05.400 --> 0:05:08.160 Transition, of course that album was was done here. 0:05:08.320 --> 0:05:12.400 So yes, we know Bate Famous and Juice here. Wait 0:05:12.480 --> 0:05:13.680 a minute, we'll find out. 0:05:14.640 --> 0:05:17.840 Hello, this is your show? Can I get him in 0:05:17.880 --> 0:05:24.000 a degree? Ladies, Welcome to another classic informative episode of 0:05:24.080 --> 0:05:27.480 Quest Love Supreme. Yeah, I am quest Love, I'm your host. 0:05:27.960 --> 0:05:30.600 I am on the pictures now. And we have Fico 0:05:31.120 --> 0:05:37.120 on first base. We got Boss Bill on the catcher's position. 0:05:37.279 --> 0:05:44.720 What more of a cash No, no, no, no, you 0:05:44.800 --> 0:05:47.240 know anyway, we got Sugar Steve in the center field, 0:05:48.839 --> 0:05:52.200 like the left field. Yeah, unpaid Bill is our third basement. 0:05:52.400 --> 0:05:56.640 Nice and we got a k Margaret. She is our shortstop. 0:05:58.760 --> 0:06:02.800 You're a sports We are on it and with us 0:06:02.839 --> 0:06:09.800 the day. He's a quarterback. Who's the quarterback and with 0:06:10.880 --> 0:06:15.160 us today is a gentleman who has quietly stood the 0:06:15.240 --> 0:06:19.960 test of time for starting out in the burgeoning jazz 0:06:20.560 --> 0:06:23.680 era of the sixties, Los Angeles to the jazz funk 0:06:23.720 --> 0:06:26.920 fusion of the seventies to the electro funk boogie of 0:06:26.960 --> 0:06:30.520 the eighties, just to come full circle and to watch 0:06:30.600 --> 0:06:34.360 his work come back in the form of classic hip 0:06:34.360 --> 0:06:37.280 hop samples that have stood the test of time in 0:06:37.400 --> 0:06:40.360 the nineties and then to the neo soul era of 0:06:40.480 --> 0:06:44.880 the early aughts and and tens, and basically, our guests, 0:06:45.000 --> 0:06:48.599 Roy Airs to me is the black music world's jeans 0:06:48.640 --> 0:06:52.800 and t shirts. He sold music's tuxedo, something that will 0:06:53.000 --> 0:06:56.120 never ever ever go out of style. Ladies and gentlemen, 0:06:56.160 --> 0:07:00.320 please welcome back home to Electric Lady. This is how 0:07:00.360 --> 0:07:09.640 you doing. Yes, all right, so we okay, all of 0:07:09.720 --> 0:07:12.320 us have been dying to know, because we are in 0:07:12.440 --> 0:07:15.440 the a room of Electric Lady Studios in the village 0:07:15.600 --> 0:07:20.200 of New York. When's the last time you were here? Well, well, 0:07:20.280 --> 0:07:24.400 first of all, you've been here a few times recording, 0:07:24.520 --> 0:07:27.440 you know, with Erica and Kanye. But I mean, like 0:07:28.120 --> 0:07:31.440 during the Polydor years, Like how often did you use 0:07:31.520 --> 0:07:31.960 the studio? 0:07:33.000 --> 0:07:37.800 I can't even remember, But now I can vaguely remember. 0:07:39.320 --> 0:07:43.680 I used the studio so much that that I wore 0:07:44.280 --> 0:07:49.960 engineers out. Really, I wore engineers out because people like 0:07:50.320 --> 0:07:56.480 Jerry Jerry Solomon, my god, Jerry Solomon and his wife 0:07:57.520 --> 0:07:59.600 they said, wait, Roy, this is ridiculous. 0:08:00.040 --> 0:08:01.320 Jerry Solomon and his wife. 0:08:01.800 --> 0:08:06.920 They decided they were gonna go okay, and so it's 0:08:07.040 --> 0:08:08.440 I said, get another engineer. 0:08:11.560 --> 0:08:14.040 So you would how long would your sussons be? 0:08:14.560 --> 0:08:15.040 Sometimes? 0:08:15.200 --> 0:08:19.920 Uh, you know, a day, the whole the whole day. 0:08:20.440 --> 0:08:23.200 So in true jazz mode, you would record an entire 0:08:23.280 --> 0:08:26.440 album within the three day, you know, No, no, I would. 0:08:26.480 --> 0:08:31.080 I would do about three songs. Oh, okay, three songs 0:08:31.160 --> 0:08:31.640 A lot, a. 0:08:31.680 --> 0:08:35.160 Lot, that's a lot. Yeah, And what the song? Would 0:08:35.160 --> 0:08:36.679 you write them in the studio at that time or 0:08:36.720 --> 0:08:38.720 would they be pre written? Usually they were. 0:08:38.640 --> 0:08:40.120 Written written right right out. 0:08:41.280 --> 0:08:45.200 H I paid it played everything, you know, like everybody 0:08:45.280 --> 0:08:51.240 loves the sunshine, just made it up. Really most of 0:08:51.400 --> 0:08:57.200 my most of my compositions were spontaneous. Really they want 0:08:57.240 --> 0:09:00.960 to sponsor, Yeah, a spontaneous key. Everybody else is doing 0:09:01.200 --> 0:09:02.040 doing whatever they do. 0:09:02.240 --> 0:09:05.200 But that's what I did. It was really a lot 0:09:05.320 --> 0:09:08.880 of fun. Is it something about this room that makes 0:09:08.920 --> 0:09:11.959 people just write on the spot and not prepare right? 0:09:12.400 --> 0:09:14.679 That seems to be a running thing. That's the only 0:09:14.720 --> 0:09:17.480 good narrative of studio am I I'm assuming that did 0:09:17.520 --> 0:09:19.719 you record in Studio A or Studio B or but 0:09:20.000 --> 0:09:25.120 they'd both both studios, both studios they were really fantastic, really, 0:09:25.240 --> 0:09:27.679 And what made you want to choose Electric Lady of Like, 0:09:27.800 --> 0:09:30.760 I know that a lot of artists that have chosen 0:09:30.840 --> 0:09:33.240 the studio for the folklore Jimmy Hendrix and just the 0:09:33.360 --> 0:09:34.599 location in the village. 0:09:34.520 --> 0:09:38.679 Was it was Jimmy for Jimmy is right. Jimmy was 0:09:38.720 --> 0:09:39.680 a wonderful person. 0:09:39.840 --> 0:09:40.000 Man. 0:09:40.320 --> 0:09:44.199 So even as a jazz guy, you you had respect 0:09:44.400 --> 0:09:46.200 for the folklore of Oh. 0:09:46.160 --> 0:09:50.120 Yeah really, oh yeah, but you knew him, right, Yeah, 0:09:50.240 --> 0:09:52.880 I knew Jimmy, but I didn't know him that well, 0:09:53.120 --> 0:09:54.840 you know, I knew. 0:09:54.720 --> 0:09:59.000 Him, Okay, So knowing that you grew up in Los 0:09:59.080 --> 0:10:04.400 Angeles part of my ignorance. But it's like for me, 0:10:04.880 --> 0:10:08.160 I've I've already studied I've always studied the history of 0:10:08.240 --> 0:10:11.319 most jazz guys that came to New York, right, But 0:10:11.480 --> 0:10:14.520 I never always knew that like most guys in Los 0:10:14.559 --> 0:10:18.640 Angeles felt similar to hip hop, that New York was 0:10:18.679 --> 0:10:22.439 a real snobby place for the culture, and you know, 0:10:22.480 --> 0:10:26.160 it was slow to give respect to them. So tell me, 0:10:26.679 --> 0:10:30.240 especially in the sixties when you were coming up in 0:10:30.600 --> 0:10:32.800 in in the jazz world, Like, what was the jazz 0:10:32.800 --> 0:10:35.880 scene like in Los Angeles? Was there a scene similar 0:10:35.960 --> 0:10:37.960 to New York like what New York had in the forties? 0:10:38.200 --> 0:10:38.439 It was. 0:10:38.600 --> 0:10:41.520 It was a very very cool scene. You know, people 0:10:41.720 --> 0:10:46.360 like Teddy Pendergrass. I'm sorry, Teddy Edwards. 0:10:46.559 --> 0:10:54.120 Okay, I'm sorry, excuse me, Teddy Teddy Edwards and Haroland 0:10:54.679 --> 0:10:54.960 and the. 0:10:55.040 --> 0:10:58.560 Jeral Wilson Big Band. My god, those all those, all 0:10:58.559 --> 0:11:00.640 those guys were just fantastic. 0:11:00.960 --> 0:11:04.839 And I worked with Curtis Curtis Amy, uh and and 0:11:05.200 --> 0:11:09.199 I worked did records with Jack Wilson, did Jack Wilson Quartet. 0:11:09.640 --> 0:11:13.360 Oh man, it was really a great thing. Uh. It 0:11:13.520 --> 0:11:17.319 was a great experience for me, truly a great experience. 0:11:17.840 --> 0:11:19.920 But was there I mean, as far as the scene 0:11:20.000 --> 0:11:24.640 was concerned, I know, like here you know cats, we 0:11:24.960 --> 0:11:28.360 were hardcore. As far as like you being up on 0:11:28.440 --> 0:11:31.720 your chops and and they're quitd down you. I mean, 0:11:32.040 --> 0:11:35.800 most people know the story of Bird getting the symbol 0:11:35.840 --> 0:11:38.079 thrown at him? Do you know the story? No? 0:11:38.200 --> 0:11:38.720 You know, I don't. 0:11:38.800 --> 0:11:40.920 Okay, now just seeah, I want to verify if you 0:11:40.960 --> 0:11:44.520 know it, then I can explain Charlie Parker, who's you know, 0:11:44.840 --> 0:11:46.920 I mean, one of the virtuos is of all time 0:11:47.160 --> 0:11:52.360 of sex. When he was first I forget not Men's playhouse, 0:11:52.360 --> 0:11:54.040 I forget the name of the club that he was in. 0:11:55.120 --> 0:11:57.200 But cats thought he was so bad that at one 0:11:57.240 --> 0:12:00.199 point the drummer just took the riot symbol and through 0:12:00.280 --> 0:12:04.120 it apper to get him to stop playing. To him, 0:12:04.200 --> 0:12:06.440 that was like, oh, I got to go back and practice, 0:12:06.480 --> 0:12:10.120 and then he came back murdered a monster. He came 0:12:10.200 --> 0:12:12.959 back a monster. So what was it was? 0:12:13.040 --> 0:12:13.079 It? 0:12:13.600 --> 0:12:17.599 Was there any other viberphone players that was like, you know, 0:12:18.000 --> 0:12:22.400 eye in your spot, Like, okay, Bobby Urchison, he's also 0:12:22.600 --> 0:12:23.120 La based. 0:12:23.480 --> 0:12:28.520 Yeah, Pasadena, Pasada, California. I'm getting ready to go do 0:12:28.640 --> 0:12:32.000 a what do you call it? A predude to hiss 0:12:32.200 --> 0:12:36.880 uh uh his demise he died, yeah, yeah, yeah, yeah, yeah, 0:12:37.320 --> 0:12:39.959 you know did you didn't you know that? No? 0:12:40.040 --> 0:12:43.160 No, I knew he passed away, right, yeah, that's a 0:12:43.559 --> 0:12:46.320 but I didn't know he was from Los Angeles. 0:12:46.080 --> 0:12:49.199 Pasadena, that's right, Pasadena, California. But when they have the 0:12:49.720 --> 0:12:54.840 Rose Parade and he was like a genius man, he's 0:12:54.880 --> 0:12:56.559 a genius as far as I'm concerned. 0:12:57.360 --> 0:13:02.880 Oh yeah, so was was receiving Linald Hampton's drum You 0:13:03.000 --> 0:13:04.959 told me the story before of Lonald Hampton giving you 0:13:05.000 --> 0:13:08.800 a pair of vibr right, was that? What is that? 0:13:08.920 --> 0:13:12.520 What determined you to play vi phones? Or were you 0:13:12.840 --> 0:13:14.200 a drummer or did you do others? 0:13:14.360 --> 0:13:16.839 I was I was really stuck on the vibes. You know, 0:13:17.080 --> 0:13:20.360 I wanted to play the vibes. So Lionel Hampton gave 0:13:20.400 --> 0:13:22.760 me a set of vibraal phone malice, and of course 0:13:23.200 --> 0:13:24.920 that that was I was five years old. 0:13:25.920 --> 0:13:29.480 I always wanted to play the vibes. Lionel Hampton was 0:13:29.600 --> 0:13:32.720 my was my he was my mentor. 0:13:32.840 --> 0:13:32.959 You know. 0:13:33.440 --> 0:13:39.640 Everything was wonderful man. Okay, so how would you were 0:13:39.679 --> 0:13:43.800 you how were you able to even practice or that? 0:13:43.960 --> 0:13:46.560 Because the vibraphones are not the things that are easily 0:13:46.640 --> 0:13:50.280 transportable in that time period. I know now you have 0:13:50.400 --> 0:13:53.719 devices that you can pack up and you know, electronic 0:13:53.840 --> 0:13:56.640 vibraphones or whatever. But how what was your practice method? Like? 0:13:57.760 --> 0:14:02.120 Uh, I played for quite a while, but I was 0:14:02.200 --> 0:14:04.839 just on the piano. I had a piano there. My 0:14:04.960 --> 0:14:08.240 mother played piano and taught piano lessens. But I played 0:14:08.600 --> 0:14:11.400 the piano because I didn't have a set of vibes. 0:14:13.720 --> 0:14:16.120 My folks bought me a set of vibes when I 0:14:16.280 --> 0:14:21.360 was like seventeen years old. I drove them crazy. 0:14:22.680 --> 0:14:25.120 So for the instrumental dummies though, miss Airs, let me 0:14:25.160 --> 0:14:27.320 ask you, what's the big What are the differences between 0:14:27.320 --> 0:14:29.960 the vibes and then the piano? Like, how hard was 0:14:30.000 --> 0:14:33.440 it to transition to the same keyboard? 0:14:34.240 --> 0:14:37.440 It's as xylophone, you know. The xylophone is the same 0:14:37.520 --> 0:14:38.760 as as a keyboard. 0:14:39.400 --> 0:14:39.560 You know. 0:14:39.720 --> 0:14:42.600 So it's black keys, white keys, you know, same thing. 0:14:43.320 --> 0:14:44.520 You grew up in South Central? 0:14:44.560 --> 0:14:47.200 Correct, it's right, South Central, La. 0:14:48.000 --> 0:14:51.600 So knowing what I well, knowing what movies have told 0:14:51.640 --> 0:14:55.600 me about South I don't know if I can trust 0:14:55.640 --> 0:14:58.280 the information or not. You know if a lot of times, 0:14:58.320 --> 0:15:01.040 you know the problem is that most people get their 0:15:01.160 --> 0:15:06.080 views of black people's lives via entertainment, the music they 0:15:06.200 --> 0:15:08.720 produced and the movies and the television shows and any 0:15:08.800 --> 0:15:12.440 think that's real life. What was South Central like? 0:15:13.360 --> 0:15:13.480 Uh? 0:15:13.800 --> 0:15:15.360 During your childhood growing up? 0:15:16.000 --> 0:15:20.840 It was uh, basically a drag. South Central was was 0:15:21.160 --> 0:15:24.320 you know? I mean South Central? If you look at 0:15:24.360 --> 0:15:30.320 all the guys like h and I never met a 0:15:30.400 --> 0:15:33.160 lot of the young guys, the young younger, younger guys. 0:15:33.760 --> 0:15:38.360 It was quite different, man. It's quite different because I 0:15:38.480 --> 0:15:41.960 wasn't even exposed as as far as I got the 0:15:42.040 --> 0:15:45.000 exposure during the time I was with Joe Wilson and 0:15:45.120 --> 0:15:49.360 Jack Wilson and and and and It's really crazy. 0:15:49.680 --> 0:15:53.000 Growing up in your early childhood. What was south was 0:15:53.120 --> 0:15:58.880 South Central Plague with gang activity was South Central mired 0:15:58.960 --> 0:16:01.360 in trouble as as what I've known it to be 0:16:01.400 --> 0:16:03.440 in the eighties or nineties, Like did you guys have 0:16:04.920 --> 0:16:06.640 or were Did your parents take you out of that 0:16:06.800 --> 0:16:08.360 and constantly keep you in music? 0:16:08.480 --> 0:16:11.480 My folks they loved me. 0:16:11.720 --> 0:16:16.960 They spent four four four four hundred dollars on my 0:16:18.040 --> 0:16:22.680 on a on a record that I did. People don't 0:16:22.680 --> 0:16:23.360 even know about it. 0:16:24.160 --> 0:16:25.800 Really exclusive. 0:16:25.920 --> 0:16:29.640 Wow, no, no, but they don't even know that I 0:16:30.000 --> 0:16:34.160 whether the singer. Okay, I sang you know, I sang 0:16:34.200 --> 0:16:35.840 at a young young, young age. 0:16:36.160 --> 0:16:39.120 I was like, so even before the Atlantic record, oh 0:16:39.640 --> 0:16:43.240 you you were saying way before right? Oh damn, I 0:16:43.400 --> 0:16:46.600 did not know about it. Nobody nobody knew that where 0:16:46.640 --> 0:16:48.200 are these records at? Oh? 0:16:48.360 --> 0:16:48.480 Uh? 0:16:50.240 --> 0:16:50.560 Source? 0:16:50.760 --> 0:16:55.200 It was the Vowels of Love. The group was called 0:16:55.200 --> 0:16:57.440 the Vowels of Love and uh. 0:16:59.880 --> 0:17:07.200 The Latin Latin lyrics with the Vowels of Love and 0:17:07.760 --> 0:17:10.639 it's on Embassy Embassy Records. 0:17:11.240 --> 0:17:16.560 So was this close to uh like do wop or do? Okay? Okay, 0:17:17.400 --> 0:17:24.560 I see, Roy Man, I see. So what what drove 0:17:24.640 --> 0:17:28.520 you to jazz music? I mean, did you improvisation? Yeah? 0:17:28.600 --> 0:17:30.520 You know, improvisation I was. 0:17:30.840 --> 0:17:31.080 I was. 0:17:31.320 --> 0:17:35.000 I was good. So you know, I kept I kept 0:17:35.040 --> 0:17:39.080 playing and and uh kept grooving. Deucey Williams. Do you 0:17:39.160 --> 0:17:43.840 remember Ducy Williams? Familiarize He was a producer on that album. 0:17:44.160 --> 0:17:44.440 Okay. 0:17:44.960 --> 0:17:49.520 Uh, we did the Vowels of Love and uh we 0:17:49.640 --> 0:17:53.320 did a song called Stranded in the Jungle. Okay, god 0:17:54.240 --> 0:17:58.879 my god, it was very nice. We did one record. 0:17:59.520 --> 0:18:03.119 Okay, do you still have copies of those records? 0:18:03.359 --> 0:18:03.399 No? 0:18:03.600 --> 0:18:07.119 I have one copy still in your possession right now. 0:18:07.359 --> 0:18:09.600 I have one copy. Right somebody sent it to me. 0:18:10.400 --> 0:18:11.680 It's like a forty five record. 0:18:12.000 --> 0:18:14.760 Yeah, it's it's a forty five right, okay. 0:18:14.800 --> 0:18:16.359 Which one of us is going to volunteer to go 0:18:16.480 --> 0:18:21.200 digitize it? So I imagine it could be preserved in history. 0:18:22.240 --> 0:18:25.120 I got that. I want to hear it. I want 0:18:25.119 --> 0:18:28.919 to I want to hear this. So, so when did 0:18:29.000 --> 0:18:34.040 you get serious about jazz music? Like leaving leaving doop? 0:18:34.119 --> 0:18:36.840 And I was always serious about jazz, you know, so 0:18:37.240 --> 0:18:41.119 I you know, I was always serious, serious about it. 0:18:41.600 --> 0:18:45.199 It was very very personal to me, you know. Uh 0:18:46.080 --> 0:18:48.800 as a as a matter of fact, h. 0:18:50.760 --> 0:18:51.320 I had Uh. 0:18:52.520 --> 0:18:57.639 I had most most, not not everything, but most of Linohampton's. 0:18:56.880 --> 0:19:00.639 Records, Okay, and of course the MG a Q and. 0:19:01.600 --> 0:19:07.200 Uh Bobby, she said, Bobby. Bobby did very well with me. 0:19:08.200 --> 0:19:10.240 He was a very progressive vibeist. 0:19:10.520 --> 0:19:12.439 As a matter of fact, I looked at looked at 0:19:12.480 --> 0:19:18.680 this plane, I looked advanced, its performing and it was fantastic. 0:19:19.560 --> 0:19:22.760 He was a year younger than me. Oh really when 0:19:22.840 --> 0:19:27.960 he passed in that even seventy five, seventy five years old. 0:19:27.960 --> 0:19:28.720 I'm seventy six. 0:19:30.920 --> 0:19:32.560 So it's kind of weird. 0:19:32.840 --> 0:19:39.840 It seems like I'm getting all the work now. No, 0:19:40.560 --> 0:19:44.760 I'm serious, but I'm getting so much work, which is good. 0:19:44.880 --> 0:19:48.119 I'm not complaining. I'm just saying I'm getting all of 0:19:48.200 --> 0:19:51.960 it now. But it's all right, it's all right, it's cool. 0:19:52.000 --> 0:19:53.920 But what's that like a seventy six though, what is 0:19:54.000 --> 0:19:55.920 that like like now? You you tour a lot. 0:19:56.160 --> 0:19:58.479 I mean it's great, tour all the time, that right 0:19:58.960 --> 0:19:59.560 to all the time. 0:19:59.600 --> 0:20:01.080 I just came back from Australia. 0:20:01.600 --> 0:20:03.960 Wow, what is that like though for you? Now that 0:20:04.040 --> 0:20:05.320 you getting just so popular and. 0:20:05.400 --> 0:20:06.119 Like, I'm tired. 0:20:09.560 --> 0:20:12.280 No, no, no, but I'm tired when I'm when I 0:20:12.400 --> 0:20:16.080 when I when I'm good tired. But you know, so 0:20:16.200 --> 0:20:21.760 I'm awake. When I'm awake, I'm kicking ass. I'm serious. 0:20:21.920 --> 0:20:22.720 You know I've seen you. 0:20:22.800 --> 0:20:23.320 I know you are. 0:20:23.560 --> 0:20:24.000 That's right. 0:20:24.119 --> 0:20:27.000 You know you came to my city. This was I 0:20:27.040 --> 0:20:28.200 think it was a year or two ago. You played 0:20:28.240 --> 0:20:31.400 the Article Festival in Durham, North Carolina, and I came 0:20:31.480 --> 0:20:32.919 and saw you. It was it was amazing. 0:20:33.600 --> 0:20:34.159 It was amazing. 0:20:34.640 --> 0:20:38.280 Yeah, I just say that. Even we did a show 0:20:38.320 --> 0:20:40.240 with you once. The Roots did a show with you 0:20:40.359 --> 0:20:44.600 in Brighton, England, and there was a trick that used 0:20:44.600 --> 0:20:47.600 to do with the solos where you know, all of 0:20:47.680 --> 0:20:50.000 you stopped playing your instruments and you just start scatting 0:20:50.040 --> 0:20:57.480 the solos. The Roots try that once once again. No, 0:20:57.600 --> 0:20:59.920 it's just because you. One thing we didn't know was 0:21:00.040 --> 0:21:03.600 that you are easily out of breath after nineteen seconds 0:21:03.680 --> 0:21:06.520 of scatting. And you know, these guys were doing an 0:21:06.520 --> 0:21:11.200 efforts effortlessly for like six minutes. So yeah, that was 0:21:11.320 --> 0:21:14.639 that was a short lived you know, I understand that 0:21:14.840 --> 0:21:18.320 that was hard to do. So how did you hook 0:21:18.359 --> 0:21:22.200 up with Herbie Ben a friend of mine, Reggie Workman 0:21:22.480 --> 0:21:27.040 from Philadelphia? Yeah, Ressie, Reggie Workman from Philadelphia. He said, Roy, 0:21:28.000 --> 0:21:32.399 Herbie Mann's in town. He needs a by player. I 0:21:32.520 --> 0:21:35.560 called him up his got in touch with him. He said, hey, 0:21:35.640 --> 0:21:37.480 can you can you come play with me tonight? 0:21:37.520 --> 0:21:42.200 I said, no problem. I hooked up the gig. The 0:21:42.280 --> 0:21:44.880 rest was straight ahead. It was great with Herbie Mann. 0:21:44.920 --> 0:21:45.560 It was wonderful. 0:21:45.640 --> 0:21:45.800 Man. 0:21:46.040 --> 0:21:50.240 How many years did you I did four years? Really 0:21:50.440 --> 0:21:51.000 four years. 0:21:51.520 --> 0:21:57.280 I was also his roadie, also a member of this band. 0:21:57.960 --> 0:21:59.720 Okay, you're also the roadie and. 0:22:00.600 --> 0:22:05.760 Yeah, whichy'all helped me to understand the road. The road 0:22:05.880 --> 0:22:09.800 understand it's very complicated. Sometimes it can be very confusing. 0:22:10.200 --> 0:22:12.200 You know. So you would also drive the trucks in 0:22:12.240 --> 0:22:15.399 the equipment and well, you know, whatever we had to do, 0:22:15.760 --> 0:22:16.720 we flew everywhere. 0:22:17.080 --> 0:22:19.360 Okay, Herbie did very well. 0:22:19.920 --> 0:22:24.560 Okay, now explain this to me because again like with 0:22:26.600 --> 0:22:30.840 the way that I tour. Now there are backline rental companies. 0:22:31.400 --> 0:22:33.879 They're at your beck and call to set things up 0:22:33.920 --> 0:22:39.160 for you and to have it there. How like did 0:22:39.200 --> 0:22:42.200 you live in a fifth story walk up apartment? 0:22:42.480 --> 0:22:42.520 Like? 0:22:43.080 --> 0:22:47.160 How would you get your viberphones two and from gigs 0:22:47.560 --> 0:22:50.320 effortlessly or would they already be that? Because it's not 0:22:50.480 --> 0:22:52.359 like a piano, it's not like it's something that's just 0:22:52.520 --> 0:22:57.719 commonly there. So how do you get your your your 0:22:57.840 --> 0:22:59.719 instruments to and from gigs? 0:23:00.480 --> 0:23:04.720 Yeah, yep, we'd have a special truck, a special guy 0:23:04.880 --> 0:23:09.440 to transport it. They would actually put put it away, 0:23:09.880 --> 0:23:14.879 you know, put everything away based based drums, piano, guitar, 0:23:15.640 --> 0:23:20.280 and Herbie Mann. And sometimes we would add other individuals 0:23:20.440 --> 0:23:23.520 like you know, Jimmy Owens, who on whoever? 0:23:24.320 --> 0:23:25.320 You know? Wow? 0:23:25.520 --> 0:23:27.040 Yeah, yeah it was it was nice. 0:23:29.320 --> 0:23:33.600 So did you play on any Herbie Mann albums? 0:23:33.800 --> 0:23:33.960 Oh? 0:23:34.080 --> 0:23:35.879 Yeah, he was on Atlantic, right. 0:23:36.080 --> 0:23:38.159 He's on Atlantic. Yeah, I did this? 0:23:38.320 --> 0:23:41.760 How you got your deal with Atlantic? Initially Picnic and 0:23:41.920 --> 0:23:44.000 all that stuff? I was. 0:23:44.119 --> 0:23:49.080 I was performing with Jack Wilson the first time, Jack 0:23:49.119 --> 0:23:50.080 Wilson Quartet. 0:23:50.440 --> 0:23:54.359 Okay, and then we do we did Herbie Mann with 0:23:54.840 --> 0:23:56.879 with h the organization. 0:23:57.000 --> 0:23:57.880 It was very nice. 0:23:58.600 --> 0:24:02.639 Did you have a relationship with I met Urdigan and 0:24:03.680 --> 0:24:06.560 Jerry Wexley, like the Cats Atlantic Like, yeah, I knew, 0:24:07.680 --> 0:24:10.040 I knew both of them, but uh, because you only 0:24:10.119 --> 0:24:13.760 stayed for like three records, And I always wondered because 0:24:13.920 --> 0:24:17.000 you know, they they seem like, at least from my perspective, 0:24:17.080 --> 0:24:21.080 a jazz friendly label. But for some reason, I always 0:24:21.160 --> 0:24:23.359 noticed that a lot of their artists would leave after 0:24:23.520 --> 0:24:26.360 somewhere between three to five years to go somewhere else 0:24:26.440 --> 0:24:29.200 to do right, you know, the same a Coltrane like, 0:24:29.600 --> 0:24:31.800 you know, to have a fruitful career exactly. 0:24:32.840 --> 0:24:34.480 Yeah, I agree with that. I agree with that. 0:24:34.920 --> 0:24:37.080 So was it that you just felt that they were 0:24:37.160 --> 0:24:40.399 more of a soul label and really not adapt to 0:24:40.560 --> 0:24:44.080 marketing jazz? I believe that they could everything. They could 0:24:44.240 --> 0:24:44.800 do everything. 0:24:45.200 --> 0:24:51.239 They did everything everything, okay, jazz, blues, soul, whatever, they 0:24:51.280 --> 0:24:53.879 did a lot of stuff, man, you know, you know 0:24:55.160 --> 0:24:57.720 it was. It was a good record company, man, very 0:24:57.760 --> 0:24:58.600 good company. 0:24:59.080 --> 0:25:01.440 Okay. So what made you what made you go to 0:25:01.520 --> 0:25:03.919 Polydor in the early seventies, I. 0:25:04.000 --> 0:25:07.440 Left the company. I went to another company. It was 0:25:07.440 --> 0:25:10.800 a better deal. Oh okay, it was a bunch better deal. 0:25:10.880 --> 0:25:13.080 Yeah, I was gonna say you and James Brown I 0:25:13.160 --> 0:25:16.840 believe were the first James Brown, Yeah, you, James Brown 0:25:16.880 --> 0:25:22.719 and mandrou I believe were the first signees to Polydor Records, 0:25:22.760 --> 0:25:27.360 and I was there before him in nineteen seventy correct. Yeah, yeah, 0:25:28.680 --> 0:25:31.480 So for you it was just a better deal business wise, 0:25:31.560 --> 0:25:32.400 and yeah. 0:25:33.200 --> 0:25:36.600 Yeah, it was very nice. It was a very nice deal. 0:25:38.080 --> 0:25:45.400 I guess. Infusing funk music into your jazz, I mean, 0:25:45.400 --> 0:25:47.399 it seemed like a radical idea at the time. So 0:25:48.000 --> 0:25:51.440 can you talk about the effects of the idea of 0:25:51.520 --> 0:25:54.440 fusion not playing straight ahead jazz, but more or less 0:25:57.440 --> 0:26:00.359 cats starting to infuse rock music into their as and 0:26:00.520 --> 0:26:04.080 soul music into their jazz, and you know where people were. 0:26:05.200 --> 0:26:07.720 Did you see this as the future adding more rhythm 0:26:07.800 --> 0:26:10.320 to your jazz as opposed to just straight ahead shuffle, 0:26:11.040 --> 0:26:12.960 which you know, I mean, there was no evidence of 0:26:13.000 --> 0:26:16.119 that by the time you got to If anything, I 0:26:16.160 --> 0:26:18.760 think you planted the seeds of what will be neo 0:26:18.920 --> 0:26:23.520 soul absolutely twenty years later. So I'm gonna just explain 0:26:23.640 --> 0:26:25.639 what was your philosophy as far as the music you 0:26:25.680 --> 0:26:28.879 wanted to present, Like just with the whole mysticism and 0:26:29.520 --> 0:26:34.720 the vibes, and just like what was your philosophy, Like, 0:26:34.800 --> 0:26:36.600 what were you trying to present to the people that 0:26:36.800 --> 0:26:39.040 was way different than your straight ahead jazz stuff. 0:26:39.520 --> 0:26:41.879 I was just trying to present the music that I 0:26:42.040 --> 0:26:45.760 love and I can tell that it was it was 0:26:46.280 --> 0:26:52.480 represented through the trials and tribulation of the music to that. 0:26:53.480 --> 0:26:54.560 I felt the vibe. 0:26:56.840 --> 0:26:59.720 You know what I'm saying, Yeah, I can get it. 0:27:00.160 --> 0:27:00.920 I felt the vibe. 0:27:01.200 --> 0:27:04.080 It was just the vibe, the vibe to teach, especially 0:27:04.480 --> 0:27:08.200 to teach like the songs like searching and and and 0:27:08.680 --> 0:27:12.320 the beautiful things that I'd said, I'd set it musically. 0:27:13.000 --> 0:27:16.320 So besides jazz stuff, what what what other types or 0:27:16.480 --> 0:27:18.320 what other bands were you listening to at the time 0:27:18.880 --> 0:27:21.720 that you were nick in the early seventies, were in 0:27:21.760 --> 0:27:22.840 the sixties, Well, you know, I. 0:27:22.920 --> 0:27:26.840 Was listening to Herbie Hancock and to uh, you know, 0:27:27.720 --> 0:27:34.280 check Korea, several different styles, and of course I always 0:27:34.600 --> 0:27:36.439 had my favorite Miles Davis. 0:27:37.560 --> 0:27:41.200 If Miles Davis is my favorite artist, you know, So at. 0:27:41.160 --> 0:27:44.720 The time when uh like on the corner and a 0:27:44.760 --> 0:27:47.359 lot of Miles is more deeper like post bitches and stuff. 0:27:48.160 --> 0:27:50.119 Were you digging that? Because I know a lot of 0:27:50.240 --> 0:27:52.600 jazz heads were like, I don't know, Miles, you might 0:27:52.640 --> 0:27:55.200 have felt the deep end, but did that speak to you? 0:27:55.400 --> 0:27:56.320 I was checking him out. 0:27:57.160 --> 0:28:01.119 Of course. Of course that did teacher teach me. He 0:28:01.240 --> 0:28:04.240 taught me a lot, taught me a lot about music. 0:28:04.400 --> 0:28:06.680 You know, Miles was the innovator man. 0:28:07.640 --> 0:28:11.480 He was great. Miles Davis was one of the great 0:28:11.520 --> 0:28:13.120 ones as far as I'm concerned. 0:28:13.400 --> 0:28:15.040 Did you ever get a chance to meet him or 0:28:15.080 --> 0:28:15.560 talk to him? 0:28:15.840 --> 0:28:15.919 Ye? 0:28:17.280 --> 0:28:17.440 Did. 0:28:17.480 --> 0:28:19.960 The great thing about it is that Herbie Hancock told me, 0:28:20.440 --> 0:28:23.200 you know, when you meet Miles, Miles will hit you 0:28:23.480 --> 0:28:24.160 in the stomach. 0:28:26.680 --> 0:28:30.040 And he hit me in the stomach. He knocked, knocked 0:28:30.080 --> 0:28:36.320 the funk out of me. I knew it was coming, 0:28:36.400 --> 0:28:39.480 but he didn't know I was coming. He said, oh, 0:28:39.720 --> 0:28:40.520 you're in shape. 0:28:44.800 --> 0:28:45.960 So so it was funny. 0:28:46.120 --> 0:28:48.840 So Miles Davis was so great. 0:28:49.640 --> 0:28:51.360 Uh oh he was. 0:28:51.640 --> 0:28:52.480 He was wonderful. 0:28:52.920 --> 0:28:54.320 But when I went to his house, I wanted to 0:28:54.400 --> 0:28:56.959 film him because I wanted to film, get get him 0:28:57.000 --> 0:29:02.920 on film, and he didn't didn't let me. I bought 0:29:02.960 --> 0:29:04.080 a camera in but. 0:29:04.920 --> 0:29:07.120 I told the cat take it home. 0:29:08.080 --> 0:29:08.200 Uh. 0:29:09.400 --> 0:29:12.880 He was. He was magnificent. He's a great guy. 0:29:13.720 --> 0:29:17.880 What's the concept of the ubiquity albums because some of 0:29:17.960 --> 0:29:21.680 your albums were straight up roy Airs and then there 0:29:21.720 --> 0:29:24.200 were roy Airs Ubiquity, right, like was it meant to 0:29:25.480 --> 0:29:28.240 b side projects? Also? Was Edwin Birdsong a part of that? 0:29:28.360 --> 0:29:29.480 Or was he just so cleaver? 0:29:29.720 --> 0:29:32.520 Edwin Burthsong was part of that? That's right, okay, part 0:29:32.560 --> 0:29:34.000 of the whole ubiquity family. 0:29:34.240 --> 0:29:38.080 But by god, Evan Birdsong is in California also with 0:29:38.240 --> 0:29:42.160 Marta Williams, and Marta Williams is the individual. 0:29:41.800 --> 0:29:42.640 That told me. 0:29:44.400 --> 0:29:48.480 Get get got me interested in in ubiquity And I said, 0:29:48.560 --> 0:29:51.000 what does that mean? She said to me the state 0:29:51.080 --> 0:29:54.840 of being everywhere. At the same time, m M, and 0:29:54.960 --> 0:29:58.000 I said, all right, so I can tell people I 0:29:58.080 --> 0:30:01.200 can be everywhere if you you had one of my elbows. 0:30:05.200 --> 0:30:09.400 So you know, no, it's caught on very well, it's 0:30:09.520 --> 0:30:13.440 very it's a very good line. Uh, you know, it's uh, 0:30:14.280 --> 0:30:18.480 it's interesting. I used the ubiquity now now I use 0:30:18.600 --> 0:30:20.280 roy Or's production period. 0:30:20.360 --> 0:30:20.520 You know. 0:30:21.440 --> 0:30:25.280 Uh, I guess we changed with all the all the Enlightenment, 0:30:26.200 --> 0:30:27.880 Enlightenment everything of everything else. 0:30:28.000 --> 0:30:31.560 You know what I'm saying, right, Bill? Yeah, yeah, you 0:30:31.680 --> 0:30:34.560 have on an old logo earth winding fire T shirt. 0:30:34.680 --> 0:30:38.080 You told me it's relevant to today. Yes, Why why 0:30:38.240 --> 0:30:40.440 is your your old logo earth Winding Fire? 0:30:40.600 --> 0:30:43.000 It would actually be more relevant if I was wearing 0:30:43.080 --> 0:30:46.920 some white shorts and some white sneakers because it's a 0:30:47.040 --> 0:30:47.680 reference to the song. 0:30:48.720 --> 0:30:50.120 Oh yes, because just when he was. 0:30:54.120 --> 0:30:56.240 To do the Earth, because he says what he's wearing 0:30:56.560 --> 0:30:58.200 and the song that he's talking about, he was wearing 0:30:58.240 --> 0:31:02.000 his white white t shir with with earth Winding Fire 0:31:02.080 --> 0:31:04.360 inscribed on the front, and his white shorts and some 0:31:04.480 --> 0:31:05.480 white sneakers. 0:31:05.480 --> 0:31:08.560 And you couldn't tell you. You couldn't tell you wasn't clean. 0:31:08.680 --> 0:31:09.440 Steve, he beat you. 0:31:09.640 --> 0:31:16.240 You couldn't. Yeah, Steve, we gotta take it back technically. 0:31:16.320 --> 0:31:17.840 Let's how you guys roll take it back. 0:31:21.720 --> 0:31:24.920 I get it now. You got way deep on that. 0:31:25.160 --> 0:31:28.400 Yeah, you still tell that every every show you do to. 0:31:28.720 --> 0:31:31.600 Yeah, I do it, do it every every I love that. 0:31:31.720 --> 0:31:33.200 I love that record. I love that record. 0:31:33.320 --> 0:31:35.520 It's it's pretty difficult because you have to do it. 0:31:35.920 --> 0:31:37.280 You add on things to it. 0:31:37.880 --> 0:31:39.240 I thought you were God. 0:31:42.320 --> 0:31:45.640 So somebody says you do I'm not gonna do that 0:31:45.720 --> 0:31:50.120 one tonight, And I do that one tomorrow night, and 0:31:50.200 --> 0:31:52.680 they'll let you audience cool out. 0:31:52.560 --> 0:31:56.560 That's right, okay to night not being the audience like no, 0:31:56.640 --> 0:31:59.000 I want tonight, tell me about it. 0:32:00.120 --> 0:32:04.240 Add on to it like the aristocrats joke like have 0:32:04.440 --> 0:32:09.120 more things? Okay, yeah, something else. I mean that I 0:32:09.200 --> 0:32:15.000 have so many questions about your your your songs in particular. 0:32:18.440 --> 0:32:21.760 First of all, was it what was your what was 0:32:21.800 --> 0:32:26.360 your ideology as far as trends were concerned, Because when 0:32:26.400 --> 0:32:29.440 I really got familiar with you, I was six or 0:32:29.640 --> 0:32:34.360 seven years old when Freaky Deey was like immensely popular 0:32:34.480 --> 0:32:40.080 and unavoidable on black radio. And you know, it's like 0:32:41.640 --> 0:32:44.600 I thought of you as a disc artist. I mean 0:32:44.600 --> 0:32:48.720 because again I'm seven years old, that's you know what 0:32:48.800 --> 0:32:51.280 I mean, Like you be on soultry and all that stuff. 0:32:51.360 --> 0:32:54.600 So I didn't realize of your jazz background and none 0:32:54.600 --> 0:32:57.000 of that stuff. And really like not until hip hop 0:32:57.120 --> 0:32:59.800 did I really put all the pieces together that you 0:33:00.120 --> 0:33:04.040 just morphed into, right whatever. But you know, by the 0:33:04.160 --> 0:33:09.080 time the mid seventies came around, h did you I 0:33:09.160 --> 0:33:11.960 mean was it label? Was it label pressure like okay, 0:33:11.960 --> 0:33:13.480 you got to come up with something or was it 0:33:13.680 --> 0:33:16.680 just like you wanted to hear your clubs and disco 0:33:16.800 --> 0:33:18.680 you want to hear your music and discos now. 0:33:18.600 --> 0:33:18.680 And. 0:33:20.480 --> 0:33:24.000 Uh, I don't know, you know, it's a it's it's 0:33:24.160 --> 0:33:29.960 it's a versatility is like is my key this being 0:33:30.360 --> 0:33:37.120 versatile and very creative? And uh, I guess when you 0:33:37.240 --> 0:33:41.360 look at it, the whole the whole spectrum, the whole 0:33:41.440 --> 0:33:46.680 spectrum of music, you just gotta just deal with it. 0:33:47.600 --> 0:33:50.880 As as far as I'm concerned, you gotta deal with 0:33:51.040 --> 0:33:55.160 the fact the facts of grooving. 0:33:55.240 --> 0:33:59.120 You know, just the groove is is in the ansense 0:33:59.200 --> 0:34:00.560 of when I'm talking talking. 0:34:00.360 --> 0:34:02.960 About so disco was not a four letter word to you, 0:34:03.440 --> 0:34:08.120 not like well, you know everything everything is relative to me, 0:34:08.239 --> 0:34:11.520 Everything is related. All the stuff is related. 0:34:13.000 --> 0:34:13.160 You know. 0:34:13.360 --> 0:34:17.919 I've I've seen a lot of artists, uh uh play 0:34:18.120 --> 0:34:22.399 play funk. When when Herbie Hancott plays funky, it's it's funk. 0:34:22.480 --> 0:34:25.719 But if you if you check him out, everybody's been 0:34:25.800 --> 0:34:30.160 with me several times, several times on several albums, and 0:34:30.800 --> 0:34:35.440 he is it's so so fantastic with his creativity. His 0:34:35.640 --> 0:34:39.880 creative level is so immense. It's it's it's seems it's 0:34:40.160 --> 0:34:43.960 it's it's crazy. I mean when you when you when 0:34:44.000 --> 0:34:48.040 you think about Herbie Herbie had Herbie Hadcott and and 0:34:48.160 --> 0:34:52.040 you really talk about his music, he's he's enormous. It's 0:34:52.160 --> 0:34:57.440 it's it's incredible. So uh, you know, it's it's so fantastic. 0:35:01.640 --> 0:35:04.439 All right. So you know, if you're familiar at all 0:35:04.520 --> 0:35:06.879 with my story, and I've said it a million times over, 0:35:07.680 --> 0:35:10.000 I assume that most of you know that at the 0:35:10.080 --> 0:35:13.560 top of ninety four, the Roots relocated to live in 0:35:13.640 --> 0:35:17.319 London because we felt that if we made London our hub, 0:35:17.760 --> 0:35:21.000 we could take advantage of Europe, who was latching on 0:35:21.160 --> 0:35:23.960 quickly to the Roots more than America was at the time. 0:35:24.400 --> 0:35:26.560 So we felt it was best to live in Europe 0:35:27.239 --> 0:35:30.560 and really work it so that way, you know, it's 0:35:30.600 --> 0:35:33.919 like going to the gym, coming back home and being 0:35:34.120 --> 0:35:39.320 well toned, well exercised, ready for prime time. So we, 0:35:39.880 --> 0:35:45.279 you know, lived primarily in Europe, in London specifically for 0:35:46.200 --> 0:35:50.000 you know, between ninety three to we gave our apartment 0:35:50.120 --> 0:35:54.560 up I think around like nineteen ninety eight. Anyway, that said, 0:35:55.400 --> 0:35:59.359 we got a call from the Red Hot Organization. Red 0:35:59.400 --> 0:36:03.080 Hot Organization was an organization that I believe back in 0:36:04.520 --> 0:36:10.880 nineteen ninety figured out ways to raise money for AIDS research, 0:36:11.440 --> 0:36:15.640 which at the time, you know, was pandemic levels of urgency, 0:36:15.760 --> 0:36:21.200 even though our administration back in the eighties, the Reaken 0:36:21.320 --> 0:36:25.160 and Bush administration, didn't treat it as serious as or 0:36:25.360 --> 0:36:31.160 quickly as we treated COVID in twenty twenty. But that said, 0:36:31.560 --> 0:36:34.799 there were definitely you know, Tinto's on the ground as 0:36:34.880 --> 0:36:39.840 far as like doing service work and raising money and 0:36:40.040 --> 0:36:44.279 advocacy and whatnot. So there were various albums coming out 0:36:44.440 --> 0:36:46.680 under the Red Hot organization. The first one, of course, 0:36:46.840 --> 0:36:50.320 was Red Hot and Cool, which was like an interpretation 0:36:50.440 --> 0:36:54.840 of Cole Porter song. So by nineteen ninety four, I 0:36:54.880 --> 0:37:00.160 think Red Hot and Cool was our project which to 0:37:00.200 --> 0:37:05.080 to pair like jazz musicians with modern contemporary artists. So 0:37:05.960 --> 0:37:08.680 Leave the Far Side was on that record, and The 0:37:08.800 --> 0:37:10.759 Roots were asked to be on that record, and they 0:37:10.800 --> 0:37:15.040 asked us to do a collaboration with Roy Ayres. At 0:37:15.080 --> 0:37:19.919 the moment in nineteen ninety four, which we were kind 0:37:19.960 --> 0:37:25.680 of as a band readjusting to what the reality was, 0:37:25.760 --> 0:37:28.160 there was a lot of hope that this thing of 0:37:28.280 --> 0:37:31.840 ours was going to take off and be successful, you know, 0:37:32.040 --> 0:37:35.120 something new, this band's going to take the world by storm, 0:37:35.200 --> 0:37:38.960 and that didn't happen. So I'll say that around the 0:37:39.080 --> 0:37:41.120 time when we were doing this, there was kind of 0:37:41.239 --> 0:37:46.319 a murky we might not make it sort of thing. 0:37:47.120 --> 0:37:49.400 At least that was my standpoint. Let me speak for myself, 0:37:49.480 --> 0:37:52.200 that we may make it, we might not make it. 0:37:52.840 --> 0:37:56.480 But that said, I almost felt like any trip to 0:37:56.560 --> 0:38:00.000 the studio was almost like a chance to prove ourselves. 0:38:00.080 --> 0:38:04.719 Helps And we got a call that Roy Airs was 0:38:04.800 --> 0:38:07.080 in town. We were doing dates with him. We'd Probably 0:38:07.160 --> 0:38:10.560 the best show that the Roots ever did in their lives, 0:38:10.600 --> 0:38:15.280 according to our manager, was with Roy Airs in Brighton, England. 0:38:15.640 --> 0:38:19.480 Shout out to Steve Rohn of the Average White Band. Brighton, 0:38:19.560 --> 0:38:22.680 England was sort of where we learned the power of volume, 0:38:22.920 --> 0:38:27.360 the power of effects, and watching Roy Air's show, like 0:38:27.440 --> 0:38:30.560 there's a point where he did this trick from Sli 0:38:30.680 --> 0:38:32.920 the Family Stone where he would do a solo and 0:38:32.960 --> 0:38:36.040 then the band will break down. Instead of playing their instruments, 0:38:36.080 --> 0:38:39.480 they would just scat their instruments. The guitar player is 0:38:39.520 --> 0:38:41.480 going to scat like the guitarist, and the drummer is 0:38:41.520 --> 0:38:46.120 gonna like a drummer, and Roy is gonna like it 0:38:46.200 --> 0:38:49.640 was really cool and innovated. The audience just ate it up. Man, 0:38:49.719 --> 0:38:52.840 it was awesome watching him. So the Red Heart organization 0:38:53.000 --> 0:38:55.680 people said, you know, why don't you guys get with 0:38:55.880 --> 0:38:58.080 Roy tomorrow and come up with something for this red 0:38:58.160 --> 0:39:02.520 hot and cool thing. In soundcheck, I believe that Hubb 0:39:04.000 --> 0:39:06.719 was messing around on the keyboards with these chords and 0:39:06.800 --> 0:39:08.520 I was like, hey, what are you doing? He did 0:39:08.560 --> 0:39:14.480 these three chords and I was like, Yo, that's something. 0:39:15.280 --> 0:39:17.680 So the music of pro Seed too, Yeah, that's like 0:39:17.800 --> 0:39:22.800 hub Spotlight. Hubb wrote that entire that entire bit and 0:39:24.239 --> 0:39:27.440 the next day this is pre Kamal. Kamal had not 0:39:27.760 --> 0:39:32.760 graduated high school yet. So there's a jazz sensation. Nikki 0:39:32.880 --> 0:39:36.680 Yo y e o h who came to our attention 0:39:36.920 --> 0:39:40.759 courtesy of Anthony tid of quite saying, Anthony TI has 0:39:40.800 --> 0:39:43.239 done a lot of work with the Roots on Things 0:39:43.320 --> 0:39:47.640 Fall Apart in Phrenology and since then relocated to Philadelphia. 0:39:47.760 --> 0:39:50.480 But you know, there was like a buttoning underground jazz 0:39:50.480 --> 0:39:57.720 scene in London and Nikki Yo was on keyboards, Treika 0:39:57.840 --> 0:40:02.799 Mallick of course on vocals, like I also believe that's 0:40:02.840 --> 0:40:07.279 like one of the last times that we recorded a 0:40:07.440 --> 0:40:12.840 song in real time, in real time meaning my preferred 0:40:12.960 --> 0:40:18.000 method of recording Root songs is sort of individually, which 0:40:18.520 --> 0:40:26.160 is not recommended if you're trying to establish a synergy spoil. 0:40:26.520 --> 0:40:28.280 There are a few songs on this new Roots album 0:40:28.320 --> 0:40:30.360 which we actually go back to the old method are 0:40:30.400 --> 0:40:34.040 playing together because there's an energy there, but in terms 0:40:34.120 --> 0:40:37.160 of like maticulation and timing and all those things. Playing 0:40:37.200 --> 0:40:40.200 to a click track, I was a drummer that just 0:40:40.280 --> 0:40:43.719 wanted to play to the click track alone and add 0:40:43.880 --> 0:40:46.880 each part on afterwards. But Proceed two is probably the 0:40:47.000 --> 0:40:50.040 last time in which we all recorded together, and Roy 0:40:50.200 --> 0:40:54.640 was just such a burst of fresh air and came 0:40:54.680 --> 0:40:58.360 in on Happy, which you know, his energy sort of 0:40:59.480 --> 0:41:02.960 wore off one to us, and we were happy at 0:41:03.000 --> 0:41:04.640 a time period in which we didn't know we had 0:41:04.680 --> 0:41:08.120 a future or not, and we were recorded it. As 0:41:08.160 --> 0:41:10.880 far as the videos concerned, that to me was like 0:41:11.000 --> 0:41:16.080 an especially very crucial weekend in the development of the Roots. 0:41:16.120 --> 0:41:20.160 We did that video in January of nineteen ninety five, 0:41:20.360 --> 0:41:22.640 and the only thing I remember about that time period 0:41:22.920 --> 0:41:26.120 was the Roots had just come back to the United 0:41:26.120 --> 0:41:29.120 States for the first time, like after living in England 0:41:29.200 --> 0:41:32.239 for the longest, to do a series of shows. Now 0:41:32.320 --> 0:41:34.759 that our album, do you Want More was out and 0:41:36.040 --> 0:41:38.920 we did a show at Irving Plaza and all the 0:41:39.000 --> 0:41:42.120 rap luminaries like Wu Tang showed up and Skills showed up. 0:41:42.160 --> 0:41:44.759 And that's the first night I met this guy named 0:41:44.880 --> 0:41:48.759 j D. And I was very disappointed that JD was 0:41:48.880 --> 0:41:52.640 producing the Far Side and not Q Tip, so I 0:41:52.760 --> 0:41:56.640 was rather dismissive to JD. Next morning, we had to 0:41:56.680 --> 0:42:00.400 be up early to go to the Tommy Boy Records 0:42:00.480 --> 0:42:05.040 offices shout out to Monica Lynch to shoot a video 0:42:05.320 --> 0:42:09.080 on their rooftop. Tommy Boy granted us permission to shoot 0:42:09.120 --> 0:42:17.000 on the rooftop of their headquarters. And what's notable, Well, 0:42:17.040 --> 0:42:18.880 first of all, it was freezing on that video. If 0:42:18.880 --> 0:42:22.640 you watch it, proceed to the roots and Roy ayers, 0:42:23.080 --> 0:42:26.080 we're just kind of just having a cipher on the rooftop. 0:42:27.000 --> 0:42:29.200 It was very easy to shoot, although it was cold. 0:42:29.800 --> 0:42:32.759 It was so cold that whenever we weren't shooting, we'd 0:42:32.840 --> 0:42:36.400 run back downstairs in the offices of Tommy Boy. And 0:42:36.920 --> 0:42:40.160 when you go down from the rooftop and re enter 0:42:40.320 --> 0:42:43.680 the Tommy Boy building, there's a photo of four young 0:42:43.760 --> 0:42:48.160 women that we look at and you know, beautiful women 0:42:48.760 --> 0:42:50.880 walking in the streets of Los Angeles, and I was like, 0:42:50.920 --> 0:42:54.080 who are they. They're like, there are new signees. They're 0:42:54.120 --> 0:42:57.080 the Jazzy Fat Nasties, And I was like, huh, They're 0:42:57.160 --> 0:43:00.960 like yeah, Jay Swift from the Far Side producing them. Hey, 0:43:01.040 --> 0:43:03.560 you want to hear something? And I sat in that 0:43:03.719 --> 0:43:07.239 room and listened to like five songs and in a 0:43:07.320 --> 0:43:10.640 way that I hadn't been gobsmacked, like before my Slum 0:43:10.800 --> 0:43:15.960 Village Jay Dilla sort of championing, you know, I just 0:43:17.360 --> 0:43:19.960 I couldn't believe that all the rules that Jay Swift, 0:43:20.080 --> 0:43:23.120 the producer of The Far Sides first album and brother 0:43:23.200 --> 0:43:27.560 of Mercedes Mercedes Martinez. Yeah, but the amount of rules 0:43:27.600 --> 0:43:30.320 they were breaking was stuff that I didn't know that 0:43:30.560 --> 0:43:34.480 one could do. Of course, now like anything goes in music, 0:43:34.560 --> 0:43:37.880 but back then, you know, hearing Mary j Bliges my 0:43:38.000 --> 0:43:41.120 life and wondering like our singer is allowed to sing 0:43:41.320 --> 0:43:44.800 over loops like a rapper does whatever you felt for 0:43:44.920 --> 0:43:46.840 the if you were of age and you were just 0:43:46.960 --> 0:43:51.040 mind blown to the Far Sides first record. Imagine someone 0:43:51.160 --> 0:43:55.480 singing with the zany energy of the Far Sides first album, 0:43:55.640 --> 0:43:58.600 like they were just breaking rules that I didn't know 0:43:58.680 --> 0:44:00.719 could happen. I was like, I got I have this demo, 0:44:00.960 --> 0:44:04.480 and I stalked them and next thing you know, I 0:44:04.600 --> 0:44:07.080 was flying the four of them to live in my 0:44:07.200 --> 0:44:12.720 house and they never left. They came in late nineteen 0:44:12.800 --> 0:44:16.799 ninety five and I worked on our ladelph Half Life 0:44:16.840 --> 0:44:19.320 record and the Things Fall Apart record, and eventually we 0:44:19.400 --> 0:44:22.920 got a deal for them. But yeah, we shot that 0:44:23.040 --> 0:44:27.719 video with Roy Airs and then you know, there's a memorable, 0:44:27.800 --> 0:44:32.840 memorable weekend. So sorry for this long winded recapitulation of 0:44:34.360 --> 0:44:36.760 our time with roy but yeah, that's that's the memories 0:44:36.840 --> 0:44:41.400 that spark with shooting the Proceed two video and recording 0:44:41.520 --> 0:44:43.200 that song with him in London. 0:44:45.400 --> 0:44:48.279 It's funny you mentioned I mean you was talking about 0:44:48.320 --> 0:44:50.880 your first time you remember hearing his music was with 0:44:50.960 --> 0:44:54.080 Freaky Dicky. I think my first roy A song I 0:44:54.120 --> 0:44:57.080 can remember hearing on the radio. I was God, I 0:44:57.080 --> 0:44:58.560 couldn't been hi one of five years old, but it 0:44:58.640 --> 0:45:03.000 was actually it was program for low Man and and 0:45:03.320 --> 0:45:06.840 and I didn't put it together until later on that like, 0:45:07.719 --> 0:45:10.799 oh this is the same guy that did everybody loved 0:45:10.800 --> 0:45:13.160 the Sunshine like it was because you know, when you 0:45:13.280 --> 0:45:16.839 talk about how everything was relative to you. The thing 0:45:16.880 --> 0:45:19.360 I always thought was about your music, was that you 0:45:19.560 --> 0:45:23.479 never you always seemed to wherever the trends were or whatever, 0:45:23.600 --> 0:45:26.360 like the younger cats were doing. I always like that 0:45:26.480 --> 0:45:29.200 you seem to embrace the younger generation, like just from 0:45:29.239 --> 0:45:30.919 what I could tell, I mean, even with a record 0:45:30.960 --> 0:45:33.360 like Program for Love at that time that was like 0:45:33.440 --> 0:45:36.480 a drum machine record, but it had you still playing 0:45:36.719 --> 0:45:39.680 and it sounded current. It sounded like something that was 0:45:39.760 --> 0:45:41.560 on the record that was like eighty five eighty six 0:45:41.680 --> 0:45:44.719 like that. But yeah, I always thought that was dope. 0:45:44.760 --> 0:45:47.480 Has that always been just a driving philosophy of yours 0:45:47.520 --> 0:45:49.640 to look at the youth and try to help them or. 0:45:49.680 --> 0:45:52.680 Well that was produced by produced by James. 0:45:52.960 --> 0:45:57.279 To me, ah, it makes perfect sense. Wait, so it's 0:45:57.320 --> 0:46:03.680 something I went hot. Yeah, I'm trying to program It's 0:46:03.719 --> 0:46:07.879 like a slow Jowin when he was on Soul Training. 0:46:07.920 --> 0:46:12.279 That was the second song change the two weeks That's 0:46:12.320 --> 0:46:12.640 my Ship. 0:46:14.120 --> 0:46:16.120 But that was that was the first bo As record 0:46:16.160 --> 0:46:19.160 I remember like hearing as a kid and uh, yeah, man, 0:46:19.640 --> 0:46:22.000 it's crazy a gas man. 0:46:22.960 --> 0:46:26.120 He's a great guy. Man, he's a great, wonderful guy. 0:46:26.360 --> 0:46:31.920 So on on your on your earlier records, the a 0:46:32.000 --> 0:46:38.560 lot of the themes of afrocentricity are definitely uh uh, 0:46:39.320 --> 0:46:41.520 just prevalent throughout all all of your works, you know, 0:46:42.560 --> 0:46:48.160 with speaking of Africa and and and confusing red, black 0:46:48.200 --> 0:46:52.719 and green imagery and and you know, black skin and 0:46:53.239 --> 0:46:59.000 those things like for you, like what made you even 0:46:59.080 --> 0:47:01.279 want to go in that direction when you know the 0:47:01.520 --> 0:47:07.000 idea of afrocentricity was rarely a thing heard. I know, 0:47:07.200 --> 0:47:10.200 like a lot of you know, maybe the Earth where yeah, 0:47:10.360 --> 0:47:13.800 like self discovery was just coming into play, but you 0:47:13.880 --> 0:47:17.440 know that the idea of afro centricity was still brand new. 0:47:17.560 --> 0:47:21.080 Like what means you, especially with those first five records 0:47:21.120 --> 0:47:22.200 on Polyador. 0:47:22.719 --> 0:47:26.560 Go there, Yeah, Africa that that's that's it. The key 0:47:26.760 --> 0:47:30.040 is Africa. Africa is in the center of the world. 0:47:30.640 --> 0:47:32.600 The world is rounding and. 0:47:32.680 --> 0:47:35.879 Stuff like that. But it's Africa is so beautiful, man, 0:47:36.360 --> 0:47:42.719 it's so so so beautiful. Fella kute he is in 0:47:42.800 --> 0:47:43.280 the mind. 0:47:44.520 --> 0:47:49.160 He grabbed your mind, He grab grabbed my mind, certainly, man, 0:47:49.280 --> 0:47:52.880 it was so wonderful. I mean, you have to understand 0:47:53.440 --> 0:47:57.440 everybody doesn't relate to Africa, but they relate to Africa, but. 0:47:58.000 --> 0:48:01.399 They don't they don't really go to Africa. They don't 0:48:01.480 --> 0:48:04.919 go there I've got When did you first go there? Man? 0:48:05.680 --> 0:48:10.480 First time I went there? My god, Wait a minute, 0:48:11.440 --> 0:48:12.240 that's a good question. 0:48:12.520 --> 0:48:19.480 Okay, I went there in nineteen seventy nine, seventy seventy eight. 0:48:19.640 --> 0:48:22.520 The first time you went with FLA, I was with 0:48:22.640 --> 0:48:25.120 the Paila with oh Man, what was. 0:48:25.120 --> 0:48:27.240 That I went to Nigeria? Is that straight in Nigeria? 0:48:27.560 --> 0:48:31.640 The shrine? I went to Nigeria and I went to 0:48:31.680 --> 0:48:33.840 say that again? What was it like at this I 0:48:33.920 --> 0:48:37.080 assume you went to the shrine? Yeah? What was that 0:48:37.200 --> 0:48:40.080 experience like to go to the shrine in its prime? Like? 0:48:40.160 --> 0:48:45.000 What was it like? Heavy? And how did you too 0:48:45.040 --> 0:48:46.480 hook up? Like? Who hooked you to up? 0:48:47.560 --> 0:48:49.800 I had an attorney, an attorney that was dealing with 0:48:50.040 --> 0:48:56.000 the Africans, African people, and he is from from uh 0:48:56.800 --> 0:49:00.839 He's from from Nigeria, Nigeria, right, he's from. He said, 0:49:01.080 --> 0:49:04.400 you you should go to Africa, Roy, you should go 0:49:04.520 --> 0:49:07.799 to Africa because there's a musician I want you to meet. 0:49:08.719 --> 0:49:10.759 And I went over there to meet Fella and I 0:49:11.200 --> 0:49:18.719 paid for the whole trip con ghetto, the musician and 0:49:19.120 --> 0:49:22.160 the engineer. My god, I paid for all that. It 0:49:22.280 --> 0:49:23.160 was very expensive. 0:49:23.239 --> 0:49:23.399 Man. 0:49:25.480 --> 0:49:27.719 You went there a sight unseen, like just based on it, 0:49:28.000 --> 0:49:30.680 I just yet, it was based on conversation with him, 0:49:31.040 --> 0:49:33.759 with the African, the African brother. 0:49:34.320 --> 0:49:37.200 But it was it was wonderful. I mean when when 0:49:37.320 --> 0:49:40.000 when I when I met Fella, he gave me. 0:49:40.040 --> 0:49:42.840 A big hug. It was like it's like it was like. 0:49:45.920 --> 0:49:50.759 It very very very weird when you when you saw 0:49:50.920 --> 0:49:54.080 these people and all the people he bought about seventy 0:49:54.120 --> 0:50:00.600 people and everybody, this is my family. Oh oh man, 0:50:00.680 --> 0:50:03.680 it was, it was, it was, it was. It was fantastic. 0:50:03.800 --> 0:50:08.799 You can't imagine. Well, my head was was spinning, man, 0:50:08.880 --> 0:50:17.200 it was. It was a motherfucker. My language it was 0:50:17.280 --> 0:50:17.799 something else. 0:50:17.880 --> 0:50:18.080 It was. 0:50:18.280 --> 0:50:22.560 Uh, it's it's heavy when you think about it, you know, 0:50:23.440 --> 0:50:27.759 and you think about the thoughts that think about the craziness. 0:50:28.080 --> 0:50:30.879 And then I did a rehearsal with with Fella. 0:50:31.640 --> 0:50:37.000 Oh man, these all these musicians, they don't read any music, 0:50:37.960 --> 0:50:43.040 but they conceptually, the saxophonists, all all of everybody, the dances, 0:50:43.160 --> 0:50:49.000 the dances, all his wives are dancing. It's it's it's 0:50:49.120 --> 0:50:53.000 it's it's it's unbelievable. When you see it, you say, 0:50:53.800 --> 0:50:59.759 oh ship because you can't believe it. It's unbelievable. It's 0:51:00.080 --> 0:51:03.640 unbelievable because this guy was really a genius. 0:51:03.760 --> 0:51:07.479 Man he was. I couldn't believe how you could teach 0:51:07.640 --> 0:51:13.160 teach everybody their parts. Oh man, Oh wow, it was amazing. 0:51:13.480 --> 0:51:14.160 It was amazing. 0:51:14.520 --> 0:51:17.000 So how can songs go for it? Like? How long 0:51:17.120 --> 0:51:17.839 was the average show? 0:51:18.400 --> 0:51:23.000 Sometimes when the power goes out, Oh, the drums, the 0:51:23.160 --> 0:51:26.759 drums remained playing, the drums playing, So they wait till 0:51:27.239 --> 0:51:31.200 the power goes back on, and then he keeps on. 0:51:31.560 --> 0:51:34.000 He played for at least three hours. 0:51:35.960 --> 0:51:38.040 Oh man, it was, Oh it was, it was. 0:51:38.200 --> 0:51:39.840 It was great. I wish I had a time and 0:51:39.920 --> 0:51:42.080 scene just to go back to see that. What did 0:51:42.120 --> 0:51:44.040 you guys ever record and you got to see that? 0:51:44.200 --> 0:51:44.239 No? 0:51:44.680 --> 0:51:47.080 Did you record it on your own personal I have 0:51:47.320 --> 0:51:58.719 something I'm cool with it. I get the feeling that 0:51:58.960 --> 0:52:02.160 your story's unit. I know for a fact that your 0:52:02.200 --> 0:52:05.839 storage unit has magic in it. Because the first time, 0:52:06.360 --> 0:52:08.600 the first time I met you, and you were just 0:52:08.760 --> 0:52:13.839 so casual like, yeah, I gotta you said to me, yeah, 0:52:13.840 --> 0:52:15.920 I got about sixty yeels that poly door and never 0:52:16.040 --> 0:52:21.880 seen I was like this is right before yeah, and 0:52:22.040 --> 0:52:23.520 he was just like, yeah, I got it. I got 0:52:23.560 --> 0:52:25.759 a lot of artifacts you know that people haven't seen yet. 0:52:25.800 --> 0:52:29.800 And I was like, yo, man, you know, do you 0:52:29.920 --> 0:52:32.880 need historians to rummage through those things? 0:52:33.000 --> 0:52:34.120 Just you? I hear you. 0:52:34.560 --> 0:52:36.839 So you would record stuff and then just not turn 0:52:36.880 --> 0:52:38.640 it into the labels. Is that how you? Is that 0:52:38.680 --> 0:52:39.160 how you work? 0:52:39.520 --> 0:52:40.000 Exactly? 0:52:40.360 --> 0:52:43.040 That that's how I did work. Yeah, that's what's up, man, 0:52:43.280 --> 0:52:44.520 word up finess. 0:52:46.760 --> 0:52:49.719 You got to really understand the whole industry. It's like, 0:52:50.160 --> 0:52:53.359 it's real fucked up. It's real fucked up. 0:52:56.600 --> 0:52:57.200 Up, is it right? 0:52:58.200 --> 0:52:59.080 Hey man, it's very. 0:52:58.960 --> 0:53:02.840 Fucking bullet The most fucked up about it. 0:53:03.520 --> 0:53:06.319 But they take all the money is that they take 0:53:06.360 --> 0:53:06.799 all the money. 0:53:07.360 --> 0:53:12.400 Was there ever a law in your uh in your business? Like, 0:53:12.640 --> 0:53:14.239 was there ever a time where it's like, damn, I 0:53:14.280 --> 0:53:16.680 can't get no work? Or I always felt like you 0:53:16.800 --> 0:53:20.000 were constantly I mean because you did projects of Wayne 0:53:20.040 --> 0:53:25.360 Henderson and the Crusaders, I believe, And so I'm thinking 0:53:25.480 --> 0:53:28.000 that you're always working, like, well. 0:53:27.920 --> 0:53:29.480 I'm I'm I work most of the time. 0:53:30.320 --> 0:53:33.120 So a down period where it's like Okay, I don't know, 0:53:33.280 --> 0:53:34.640 this might be the end of the road, and. 0:53:35.280 --> 0:53:38.600 Well that's a down period. But the down period it 0:53:38.680 --> 0:53:43.400 gets better and it continues to get better as you 0:53:43.600 --> 0:53:47.640 as you will probably grow in your life, you'll see 0:53:47.680 --> 0:53:48.319 you to get better. 0:53:49.400 --> 0:53:52.480 I see, how did your records, how would they selling 0:53:52.640 --> 0:53:54.720 and pola at the time, and what was the standard 0:53:54.840 --> 0:53:57.400 for what they considered a successful record. 0:53:58.320 --> 0:54:02.640 Oh, it's interesting. 0:54:03.160 --> 0:54:06.600 Uh, you know, I was making two hundred two hundred 0:54:06.680 --> 0:54:14.879 thousand dollars some damn two hundred two hundred period four 0:54:14.960 --> 0:54:17.120 hundred thousand of the year for every time you turn, 0:54:17.520 --> 0:54:19.600 every time a record, right, every time I turned the record, 0:54:19.960 --> 0:54:23.080 they had it so fucked up. Excuse me, but they 0:54:23.200 --> 0:54:26.320 had so fucked up, and I was I was sitting 0:54:26.400 --> 0:54:29.480 on the record and the promotion people said, hey. 0:54:29.760 --> 0:54:33.440 He's got another album coming out, and we haven't finished 0:54:33.520 --> 0:54:36.560 with this single, which is the other single. 0:54:37.400 --> 0:54:40.600 They were crazy, So you're moving too fast for them. 0:54:41.080 --> 0:54:45.400 Well that's right, they were moving too fast. Seriously, they 0:54:45.440 --> 0:54:48.440 were moving too fast, and I was fucked up. 0:54:48.600 --> 0:54:51.879 You know this, oh ship, this is great. 0:54:52.840 --> 0:54:53.000 You know. 0:54:53.800 --> 0:54:57.040 So you were basically saying you were basking in the 0:54:57.120 --> 0:55:01.640 glory of that time period and kind of glory of 0:55:01.760 --> 0:55:05.799 the dollars. I see, right, every day everything was cool. 0:55:05.840 --> 0:55:10.480 But they started getting too organized and then they fucked 0:55:10.520 --> 0:55:11.000 it all up. 0:55:12.200 --> 0:55:14.120 Well, they fucked it up. They fucked it up. 0:55:15.040 --> 0:55:19.080 That leads me to your production projects, because there's two 0:55:20.600 --> 0:55:24.200 side projects that you worked on that, although it didn't 0:55:24.239 --> 0:55:28.680 make initial noise when they came out. Uh, both of 0:55:28.719 --> 0:55:33.680 them found life years later once hip hop both discovered them. Uh, 0:55:33.920 --> 0:55:40.120 Sylvia Straplan and It's Stripling, I'm sorry, and the Ramp project. 0:55:40.440 --> 0:55:40.600 Right? 0:55:41.280 --> 0:55:47.160 So is Ramp basically the Royers you Bigger Ubiquity record 0:55:47.400 --> 0:55:49.560 minus roy Airs or was that a total? 0:55:50.320 --> 0:55:53.759 Actually r a M P. Roy As Music Productions right? 0:55:54.000 --> 0:55:57.000 Right? But that particular band was Was that also the 0:55:57.080 --> 0:55:59.640 band that you utilized for your projects or you they 0:55:59.680 --> 0:56:01.680 were separate from I got. 0:56:01.560 --> 0:56:06.440 A completely separate band and I used them to to 0:56:06.680 --> 0:56:07.359 create the group. 0:56:08.040 --> 0:56:11.120 Okay, you know because in my head I just thought 0:56:11.200 --> 0:56:13.640 that they were the band that you would use on 0:56:13.800 --> 0:56:17.800 Running Away and all the other stuff without you on it, 0:56:17.960 --> 0:56:18.319 per se. 0:56:18.840 --> 0:56:21.320 Right, But but let's go there. 0:56:21.560 --> 0:56:22.640 They were a whole nother entity. 0:56:23.080 --> 0:56:23.520 Exactly. 0:56:23.680 --> 0:56:26.040 Could you explain those projects and why you chose to 0:56:26.080 --> 0:56:27.960 work with them. Are they from Ohio? 0:56:28.920 --> 0:56:29.720 They're from Ohio? 0:56:30.040 --> 0:56:34.319 Okay. I discovered them on social media recently and they're 0:56:35.480 --> 0:56:38.239 you know, like they're from Ohio, right, doing tours and 0:56:38.480 --> 0:56:39.920 that sort of thing. So how did you how did 0:56:39.960 --> 0:56:42.359 you run into those guys? I met him. 0:56:42.440 --> 0:56:44.200 I can't I can't even remember when I met her, 0:56:44.239 --> 0:56:47.399 But I know I met the the leader of the band. 0:56:48.080 --> 0:56:52.399 It's named John. Uh uh yeah, John. I met him 0:56:52.520 --> 0:56:56.640 and and and he agreed with me, John Manuel Manuel. 0:56:58.000 --> 0:57:02.320 Damn right, that's supreme. 0:57:02.360 --> 0:57:04.120 We do our home. We did we Google? 0:57:04.400 --> 0:57:04.719 You did? 0:57:06.400 --> 0:57:11.680 I don't even Google, that's he added, like Google, Google, 0:57:12.600 --> 0:57:16.880 You're Google, right, fingers Joan Manuel. 0:57:16.920 --> 0:57:21.480 But I met him and he produced helped me produce 0:57:21.560 --> 0:57:26.440 the records. Man, I signed a contract with U. 0:57:27.160 --> 0:57:32.800 A, B C. ABC Records, right, So yeah, so what 0:57:32.920 --> 0:57:34.960 was what was the deal? Why did why didn't you 0:57:35.000 --> 0:57:41.200 bring that project to Polydor as opposed to another Why 0:57:41.240 --> 0:57:44.400 did you bring into another label? Or you just had 0:57:44.440 --> 0:57:48.960 a separate production deal with a separate production deal with 0:57:49.120 --> 0:57:52.280 with uh what's that guy's name? 0:57:53.160 --> 0:57:53.520 ABC? 0:57:54.480 --> 0:58:01.640 Black Bob the president of ABC. The vice president just 0:58:01.800 --> 0:58:02.320 passed away. 0:58:02.520 --> 0:58:10.280 Damn Now I need I wrote, did you say you 0:58:10.400 --> 0:58:12.520 say the vice president A president? 0:58:13.240 --> 0:58:17.400 Well, I know that he this particular guy was fond 0:58:17.440 --> 0:58:21.280 of the project, even though it didn't sell all that 0:58:21.400 --> 0:58:23.480 well for him on the label. But I'm forgetting his 0:58:23.640 --> 0:58:29.880 name right now, but he recently just passed away. Damn, 0:58:29.920 --> 0:58:32.720 I'm bad. This is this is a fail for quest 0:58:32.720 --> 0:58:34.840 Love Supreme. We'll go back to it. 0:58:34.880 --> 0:58:35.680 I have no problem. 0:58:36.200 --> 0:58:40.520 But uh, it was a good deal. It's a great deal. 0:58:41.200 --> 0:58:42.080 As a matter of fact. 0:58:43.600 --> 0:58:46.320 H I don't I don't think did you did you 0:58:46.360 --> 0:58:49.360 feel vindicated like once hip hop had discovered it and 0:58:49.600 --> 0:58:52.920 really brought it to life, because I felt that that 0:58:53.080 --> 0:58:54.480 album really didn't. 0:58:55.120 --> 0:58:58.240 Oh didn't it really didn't do the max or whatever? 0:58:58.840 --> 0:59:00.760 So were you were you shocked in the nineties when 0:59:00.880 --> 0:59:04.800 suddenly like it's you know, it became I'll say that 0:59:04.960 --> 0:59:09.440 of the Holy Grail Records to to own or obtain 0:59:09.920 --> 0:59:13.000 that ramp to find you know, a copy of that 0:59:13.120 --> 0:59:16.200 ramp record Everybody Lives the Century, right, Yeah, that that 0:59:16.440 --> 0:59:20.280 was like they like, yeah Daylight right, Well they had 0:59:20.320 --> 0:59:24.440 a copy of They had a version yeah, kwai as it. Yeah, 0:59:24.840 --> 0:59:29.800 the brand Ubie version of Everybody Loves Sunshine on that ramprick. Yeah, 0:59:29.840 --> 0:59:32.320 but that's paid hundreds for that, So. 0:59:33.240 --> 0:59:35.600 It sold sold a lot of records. They sold a 0:59:35.640 --> 0:59:38.840 lot of records. They didn't tell you guys whatever, but 0:59:39.000 --> 0:59:40.240 they sold a lot of records. 0:59:41.600 --> 0:59:45.400 I know because I paid a lot for it, exactly. 0:59:45.080 --> 0:59:47.040 That's what I'm saying. They sold a lot of records. 0:59:47.480 --> 0:59:51.920 So talk about the Sylvia, uh, the Sylvia Strepplin album, 0:59:52.280 --> 0:59:55.600 Like what was at the time, How did how did 0:59:55.680 --> 1:00:00.280 you you guys? Was she always a part of your 1:00:00.320 --> 1:00:01.640 camp or how did you guys meet? 1:00:02.000 --> 1:00:02.200 Well? 1:00:02.680 --> 1:00:05.680 I met her and she was she was working in 1:00:05.760 --> 1:00:13.680 the Wiz and uh, Stephanie Mills. Stephanie Mills never ever 1:00:14.280 --> 1:00:21.680 got sick at all. She was Stephanie Mills assistant and 1:00:21.920 --> 1:00:25.720 she was going on stage. She never she never went 1:00:25.800 --> 1:00:30.080 on stage. She never ever went on stage period, because 1:00:30.120 --> 1:00:33.320 Stephanie was never ill, ill or anything. 1:00:33.080 --> 1:00:38.960 For the Wiz but the Wiz okay. 1:00:37.400 --> 1:00:40.280 I didn't know she was. So so what happened is that. 1:00:42.240 --> 1:00:43.000 She died. 1:00:44.840 --> 1:00:46.840 She died. I didn't even know that she died. This 1:00:47.240 --> 1:00:50.480 is only a few more few she died. 1:00:52.200 --> 1:00:56.360 Oh my god, I was a manager and she died. 1:00:56.560 --> 1:00:59.640 But this is all when when when I took place 1:01:00.200 --> 1:01:03.840 what you got on the label? Oh, man, I didn't 1:01:03.840 --> 1:01:04.760 even know that she died. 1:01:06.280 --> 1:01:09.880 So said, so what were those sessions, Like, I'm sorry, 1:01:10.360 --> 1:01:12.959 the sessions with Sylvia, Oh, they. 1:01:12.880 --> 1:01:16.400 Were wonderful she Oh she was great. She was great. 1:01:16.440 --> 1:01:19.360 She was a very unique, very unique artist. And a 1:01:19.440 --> 1:01:22.720 lot of people are still requesting, did I sell sell 1:01:22.760 --> 1:01:23.880 those sell those things? 1:01:24.520 --> 1:01:31.040 Hell yeah, I mean Chicago alone considers give classic. That 1:01:31.200 --> 1:01:34.920 has saved me many a night out of Chicago DJ Gig. 1:01:35.000 --> 1:01:38.760 I learned early like if you're if you're set is failing, 1:01:38.880 --> 1:01:43.880 you turn that on and Blamo, your party comes alive. Oh, 1:01:44.280 --> 1:01:50.080 it comes super alive. You signed to Sony? I believe CBS. 1:01:50.200 --> 1:01:54.880 Did Lark and Arnold signed you to uh? Say that again, 1:01:55.080 --> 1:01:57.280 Lark and Arnold? Did he sign you to your Columbia 1:01:57.360 --> 1:01:58.800 deal in eighty three? 1:02:00.080 --> 1:02:03.040 It? No, I never did work with Arnold? Okay, okay, 1:02:03.040 --> 1:02:03.880 I never worked with him. 1:02:03.920 --> 1:02:07.640 How did you come to Sony or Sony Columbia? Back then? 1:02:08.560 --> 1:02:15.560 Barly Door signed to Sony. Really, I never even knew 1:02:15.600 --> 1:02:18.760 about it until until I found out. I was Oh, ship, 1:02:19.800 --> 1:02:22.880 I'm on another label. I'm on another label. So they 1:02:23.000 --> 1:02:24.160 just transferred to you to Sony. 1:02:24.480 --> 1:02:25.400 They didn't give a damn. 1:02:25.800 --> 1:02:28.600 That's right, that's crazy, I know. 1:02:28.720 --> 1:02:33.040 But that this is intermingling is up there of the industry. 1:02:35.520 --> 1:02:36.440 Sucked up right? 1:02:36.960 --> 1:02:39.360 I did not know that. Yeah, it's crazy, man, the 1:02:39.440 --> 1:02:43.040 things I learned when quest Love Supreme. One one question 1:02:43.160 --> 1:02:46.200 I had, well, see, I felt that they were super 1:02:46.240 --> 1:02:53.400 supportive of you because there's a moment and Michael Jackson 1:02:53.520 --> 1:02:57.640 is the way you make me feel video and which 1:03:00.880 --> 1:03:04.880 they used your your hot song. Yeah that was hot 1:03:04.960 --> 1:03:08.120 songs like freaking thirty seconds like in the beginning, and 1:03:08.880 --> 1:03:11.080 notice like have you seen so the first thirty seconds 1:03:11.160 --> 1:03:16.680 right when Michael's like, hey, I complained about it, complained 1:03:16.760 --> 1:03:18.560 you didn't think that was great? Wait? 1:03:18.760 --> 1:03:22.360 No, I complained about it because they didn't pay me 1:03:22.520 --> 1:03:23.120 to any money. 1:03:23.440 --> 1:03:27.600 Whoa oh that said, where's the money? 1:03:28.720 --> 1:03:32.880 I see it's it's see that's where in my head. 1:03:32.920 --> 1:03:36.680 I was like wow, like because you know, back they 1:03:36.720 --> 1:03:39.720 were still running Michael Jackson's yeah they would stop TV 1:03:40.560 --> 1:03:43.120 right And I felt like, oh man, this is really 1:03:43.360 --> 1:03:45.880 a good look for roy erres not if they ain't 1:03:45.880 --> 1:03:46.760 pay that man no money. 1:03:47.720 --> 1:03:54.560 They ain't give me no money. It ain't funny. It 1:03:54.640 --> 1:03:57.240 ain't funny, man, they ain't give me the money. 1:03:57.280 --> 1:04:02.520 I said, oh shit, you didn't see it as Oh, 1:04:02.720 --> 1:04:05.600 I'm getting exposed to new artists or to a new 1:04:05.680 --> 1:04:10.240 audience and exposed. Man, I put all my cousins down 1:04:10.240 --> 1:04:12.000 with them. I'm like, oh, this is Roy Airs who 1:04:12.360 --> 1:04:16.160 and like explained to him what hot was because you know, 1:04:16.240 --> 1:04:19.800 and also like how you said James and too many 1:04:19.880 --> 1:04:20.960 produced that entire record. 1:04:21.360 --> 1:04:24.840 No, no, he produced one, two, three, four songs? Okay, 1:04:24.960 --> 1:04:25.880 four songs, that's right. 1:04:26.240 --> 1:04:29.680 Who produced the hot single? The lead single Hot? 1:04:30.600 --> 1:04:33.920 I'm trying to think, what's what song you say? 1:04:34.040 --> 1:04:37.960 Did you say, uh hot? All that hot? James them 1:04:38.040 --> 1:04:40.720 to me, that's what I'm saying, Yeah, okay, did it 1:04:40.800 --> 1:04:41.840 feel good to have that? 1:04:42.560 --> 1:04:42.680 Oh? 1:04:42.760 --> 1:04:44.720 Man, well that was a comeback single for you at 1:04:44.800 --> 1:04:46.640 the time, so we had a groove. Damn. 1:04:46.720 --> 1:04:51.000 That was very very nice. I was being fantastic with 1:04:51.200 --> 1:04:57.959 James and to me and then uh uh what's sash phone? 1:04:59.480 --> 1:05:06.120 Oh Darry No, no, Trump, Trump's right. They were both good, 1:05:06.240 --> 1:05:10.400 good producers. Man, very very good. And Rick James is 1:05:10.560 --> 1:05:13.560 very good. I was gonna say, because you did a 1:05:13.800 --> 1:05:17.400 lot of work right on everyone else's records. I believe 1:05:17.480 --> 1:05:19.560 that's you scatting at the end of the Fire and 1:05:19.680 --> 1:05:22.720 Desire on Street songs. That's right, on the fade out 1:05:24.000 --> 1:05:25.680 Street songs. That is that you do. 1:05:26.120 --> 1:05:28.120 That's right, that's right. I played played on that and 1:05:28.200 --> 1:05:33.280 that was real nice. And he told me, uh Rick 1:05:33.440 --> 1:05:39.160 James told me. He said, he said, because this, he said, 1:05:39.520 --> 1:05:40.520 this guy's this. 1:05:40.840 --> 1:05:41.560 This works with me. 1:05:41.720 --> 1:05:45.040 He says, you gotta watch this, watch this guy because 1:05:45.040 --> 1:05:47.360 he would stab you in the back. I got a 1:05:47.720 --> 1:05:52.080 contract with him before he died. My god, did he die? 1:05:52.160 --> 1:05:55.439 I didn't that damn it died just so quick. 1:05:55.560 --> 1:05:55.680 Man. 1:05:55.800 --> 1:05:57.280 You two were going to do a project together. 1:05:57.440 --> 1:06:00.600 No, we already did a project. We did. We got 1:06:00.840 --> 1:06:03.560 got the The music is being sold right now. 1:06:03.920 --> 1:06:06.920 Double trouble. I think it was. Hey, wait, you've heard this. 1:06:07.960 --> 1:06:11.680 They got a version of Everybody Loves the Sunshine, Man James, he. 1:06:12.320 --> 1:06:15.160 Got version version of Everybody Loves such it's the best. 1:06:15.120 --> 1:06:19.560 Version of all of all? Is this available? 1:06:22.480 --> 1:06:22.800 I have it? 1:06:22.920 --> 1:06:29.760 I have it available. No, I'll give you a record, 1:06:31.400 --> 1:06:35.000 take the record. I should have bought it today. Damn 1:06:36.280 --> 1:06:36.760 fucked up? 1:06:41.520 --> 1:06:43.320 Wow that damn? 1:06:43.400 --> 1:06:43.720 How did this? 1:06:45.320 --> 1:06:47.480 How this sneak bast because it's. 1:06:47.480 --> 1:06:52.760 Interesting, right, people don't even know what's happening, right, I 1:06:52.800 --> 1:06:53.360 got a copy of. 1:06:57.000 --> 1:06:57.600 You got copies? 1:06:57.840 --> 1:07:00.240 I don't. I do not have a copy. I don't 1:07:00.280 --> 1:07:02.680 like a copy. I don't have a copy. But yeah, 1:07:03.280 --> 1:07:06.880 uh Bill has a copy. Wow, shocker. So when did 1:07:06.960 --> 1:07:08.760 you When did you first meet rick James? 1:07:09.800 --> 1:07:09.960 Oh? 1:07:10.600 --> 1:07:11.120 Years ago? 1:07:12.720 --> 1:07:15.800 That was he the villain. This is gonna be the 1:07:15.840 --> 1:07:16.720 best story you're gonna tell. 1:07:17.400 --> 1:07:20.000 It's probably been very good. It's a very good story. 1:07:20.280 --> 1:07:25.000 But uh he was Uh my god, is that research? 1:07:25.720 --> 1:07:25.920 You know? 1:07:26.040 --> 1:07:28.080 He was very aware of aware of. 1:07:30.120 --> 1:07:32.080 He was very defiant. 1:07:32.880 --> 1:07:33.280 M hmm. 1:07:34.120 --> 1:07:38.080 Defiant. They didn't want to funk with him, the motile 1:07:39.120 --> 1:07:42.560 they do that, they have to kill him. I'm serious, 1:07:42.720 --> 1:07:43.560 I'm serious, man. 1:07:43.720 --> 1:07:51.439 He was a rebel. Sorry, it was some very freaking ship. 1:07:53.520 --> 1:07:54.320 I'm serious, man. 1:07:55.000 --> 1:07:55.640 I believe you. 1:07:55.800 --> 1:07:59.640 Because he said, Hey, don't funk with me, let me 1:07:59.800 --> 1:08:05.400 chain because I'm Ricky James. That's right, I'm serious man. 1:08:06.160 --> 1:08:06.800 He was serious. 1:08:06.920 --> 1:08:11.320 Man. What other what other albums have you or songs 1:08:11.360 --> 1:08:13.040 have you appeared on that we might not know of? 1:08:14.040 --> 1:08:16.240 At least during that time period. I appeared on a 1:08:16.400 --> 1:08:20.920 very a very very very good guy. Uh yeah, what's 1:08:21.000 --> 1:08:22.439 this guy named Sony? 1:08:23.760 --> 1:08:27.719 He's crazy? But that's almost only saying that he looks 1:08:27.840 --> 1:08:28.479 a little crazy. 1:08:29.120 --> 1:08:34.880 But uh uh, who's Who's who's the the guys. 1:08:34.600 --> 1:08:37.080 On Sony Uh Sony Records. 1:08:37.560 --> 1:08:43.040 It's a big artist, big big Who was that no, 1:08:44.280 --> 1:08:47.400 said Billy Joel, Billy Joe. What's this? 1:08:53.160 --> 1:08:54.160 What's Billy Joe? 1:08:55.280 --> 1:08:55.920 What you want to add? 1:08:55.960 --> 1:08:56.760 What happened to him? 1:08:57.320 --> 1:08:57.360 No? 1:08:57.600 --> 1:09:00.759 No, no, Steve was joking about Billy Joe. He's on Sunday. 1:09:02.000 --> 1:09:08.559 No, dude, Dud's the guy that it plays on. Sony plays. 1:09:08.680 --> 1:09:14.960 I think keyboard John Legend, uh keyboards Sony? 1:09:16.200 --> 1:09:16.360 Oh? 1:09:17.960 --> 1:09:18.280 Is he is? 1:09:18.320 --> 1:09:22.320 He a young he's young, young, young, He's probably about 1:09:22.640 --> 1:09:25.800 twenty years old, twenty twenty twenty two. 1:09:26.560 --> 1:09:29.120 Right now? Wait, man, wait, I play I play his 1:09:29.280 --> 1:09:32.439 wrong room. Wait? We have this guy like, how can 1:09:32.479 --> 1:09:34.960 I this is? This is he's twenty he's a young guy. 1:09:35.040 --> 1:09:35.719 Now this is today. 1:09:36.840 --> 1:09:40.519 Maybe he's twenty two, you know, twenty three or something 1:09:40.560 --> 1:09:42.479 like that. But you know what, and he plays, Wait, 1:09:42.640 --> 1:09:46.120 I know that you are on Tyler the Creative Yre 1:09:46.200 --> 1:09:46.880 we go again. 1:09:47.000 --> 1:09:50.679 That's right, damn okay, that song is dope. 1:09:51.000 --> 1:09:53.280 He called me, he said, he said, they said I 1:09:53.400 --> 1:09:56.000 want you. He said, let me, let me, let me, 1:09:56.640 --> 1:09:59.439 let me, let you play some music. I'm good. 1:09:59.600 --> 1:10:01.560 Let you. I'm sorry. When when Tyler was on The 1:10:01.640 --> 1:10:05.320 Tonight Show, I remember him running up to me saying, yo, man, 1:10:07.920 --> 1:10:10.280 in the same sort of ambiguous puzzling way. He just 1:10:10.360 --> 1:10:15.719 mad to me like ran off and I was like okay. 1:10:15.880 --> 1:10:20.000 And then later on and now now suddenly the circle 1:10:20.240 --> 1:10:23.320 the story comes full circle four years later, like oh 1:10:23.439 --> 1:10:23.680 that's what. 1:10:24.520 --> 1:10:26.800 Wait, how did Tyler get the golden ticket to get you? 1:10:27.120 --> 1:10:29.120 Because I'm sure he's not the first young dude. 1:10:29.400 --> 1:10:30.120 He called me up. 1:10:30.200 --> 1:10:32.800 He had people called me up and I said, yeah, 1:10:32.920 --> 1:10:36.160 this is Roy. He said, Roy did yeah, you could 1:10:36.200 --> 1:10:39.840 you do some something on my album? I said, sure, 1:10:39.880 --> 1:10:42.960 you send it up. He sent me the record. It 1:10:43.120 --> 1:10:46.160 was three songs. He said to put it on all 1:10:46.240 --> 1:10:50.160 of them. I put it on all of them, all 1:10:50.200 --> 1:10:53.120 of them, and I played it. He's a very he's 1:10:53.160 --> 1:10:56.320 a very nice artist, he said. I liked him. 1:10:56.760 --> 1:11:01.240 He's interested. Wait now, now I think about it. Now, 1:11:01.280 --> 1:11:03.640 I'm thinking of every Rick James production ever known that 1:11:03.640 --> 1:11:07.960 we're vibrantphones on it. So I guess I can also 1:11:08.000 --> 1:11:11.080 assume that that's you on all night long at the 1:11:11.240 --> 1:11:20.360 end of yeah, the vibephone. Yeah, well, the. 1:11:20.479 --> 1:11:25.640 Song the songs I played on is I forgot the 1:11:25.760 --> 1:11:26.160 name of it. 1:11:26.840 --> 1:11:29.800 You're definitely all on it along. I mean, assuming that 1:11:30.760 --> 1:11:33.320 you're that viberphone it's doing the same time period. Yes, 1:11:33.400 --> 1:11:36.280 I believe that is you. You are also on the 1:11:36.400 --> 1:11:42.120 Jasmintaz project with gour that's the first time I'm at you. 1:11:42.560 --> 1:11:48.280 What I didn't know was the the the album, the 1:11:48.360 --> 1:11:50.920 first time that you collaborate with the roots when we 1:11:51.040 --> 1:11:58.320 did proceed for the Red Hottive sing right, yeah, I remember. 1:11:58.680 --> 1:11:59.920 I want to know why I didn't do it. 1:12:00.280 --> 1:12:06.240 Man, I have done that, man, you know it was 1:12:06.520 --> 1:12:08.880 put on as the last minute. But what I didn't 1:12:08.960 --> 1:12:12.600 know was that time magazine declared that album album of 1:12:12.680 --> 1:12:18.040 the year. Oh it did the Red Hot and Cool. Yeah. 1:12:18.560 --> 1:12:20.000 When I did my research, I. 1:12:20.080 --> 1:12:22.120 Was like, oh, that was an awesome album like that 1:12:22.200 --> 1:12:27.200 proed yeah, ship, thank you'll. 1:12:27.560 --> 1:12:30.720 Starving years so yeah, I meant for you know, we 1:12:30.840 --> 1:12:33.600 were slumming in London at the time, but no, it 1:12:33.640 --> 1:12:36.519 was it was that that to me, that that whole 1:12:36.560 --> 1:12:42.720 experience that was the That was the first time. I mean, 1:12:43.600 --> 1:12:48.360 excluding Cassandra Wilson, and and and Steve Coleman, who even 1:12:48.400 --> 1:12:51.240 though they were jazz monsters in their own rights, like 1:12:51.600 --> 1:12:54.960 we all, we almost felt like they were more family 1:12:55.080 --> 1:12:58.639 than anything. Like I didn't know how powerful Cassandra Wilson 1:12:58.760 --> 1:13:02.200 was until I really did the research so like, in 1:13:02.360 --> 1:13:07.280 my eyes, like the first true like star guest that 1:13:07.400 --> 1:13:10.120 we've ever done anything with was, you know, working with 1:13:10.240 --> 1:13:15.840 roy Ayres that that was a masterful moment. When you're 1:13:16.000 --> 1:13:20.920 discovering that hip hop is sampling your work. I mean, 1:13:20.960 --> 1:13:22.880 there's two ways to look at it. I've known some 1:13:23.080 --> 1:13:27.080 guys that were just like, well, you know, it's not 1:13:27.360 --> 1:13:32.760 art and it's theft and it's whatever, it's not really art. 1:13:32.960 --> 1:13:35.800 And then I know some people that are just like, wow, 1:13:36.160 --> 1:13:40.840 now my music is now expanded to another audience. Was 1:13:40.960 --> 1:13:42.920 what side of the fence did you fall on? Once? 1:13:43.360 --> 1:13:49.200 I fall on both sides, like I love this? Where 1:13:49.240 --> 1:13:49.800 are my money? 1:13:51.680 --> 1:13:51.880 Yeah? 1:13:51.920 --> 1:13:53.439 But that's I fall on both sides. 1:13:53.479 --> 1:13:59.839 I'm serious, man, I follow everybody's side. We're just a musician. 1:14:00.080 --> 1:14:00.200 You know. 1:14:00.640 --> 1:14:05.120 The musicians are usually, you know, kind of fucked up. 1:14:07.840 --> 1:14:10.280 They are kind of fucked up as far as the 1:14:10.760 --> 1:14:13.840 business and stuff that's concerned. Man, they are they all 1:14:13.960 --> 1:14:18.639 fucked up. Make sure they're into music. They're into music, 1:14:19.280 --> 1:14:21.560 you know, So the musicians, you know, I talked to 1:14:21.680 --> 1:14:24.200 George and I said, George, what's up? What we what 1:14:24.280 --> 1:14:28.240 we're gonna do? He said, Prince princes got killed. I said, oh, okay, 1:14:30.360 --> 1:14:30.720 fuck that. 1:14:34.880 --> 1:14:52.120 You know these sounds the original meme. All right, so 1:14:52.880 --> 1:14:55.160 this is where I really get to give some flowers 1:14:55.200 --> 1:15:00.679 to King brit King Brit is to me the person 1:15:00.800 --> 1:15:06.200 that really opened my eyes to a possibility of a 1:15:06.320 --> 1:15:10.400 world I never knew existed. You know, I just turned 1:15:11.240 --> 1:15:14.200 twenty twenty one, you know, I've been graduated school, and 1:15:14.880 --> 1:15:16.599 Tika and I were trying to figure out what we're 1:15:16.640 --> 1:15:20.000 doing this before like the Roots started busting on South 1:15:20.040 --> 1:15:23.040 Streets and really became the roots. So it's like a 1:15:23.200 --> 1:15:25.840 year before if the roots started, as you know it 1:15:26.040 --> 1:15:29.160 the roots, like in the summer of ninety two. Let's 1:15:29.200 --> 1:15:32.360 go back to like nineteen ninety one, so there was 1:15:32.439 --> 1:15:37.080 a counter culture vibe happening in Philadelphia where like if 1:15:37.120 --> 1:15:38.800 you wanted to go to a night club or whatever, 1:15:39.520 --> 1:15:41.559 I mean, you could go with what was hitting as 1:15:41.600 --> 1:15:44.000 far as modern music was concerned. And you know, by 1:15:44.080 --> 1:15:47.879 no means did I have complaints of what was musically 1:15:48.040 --> 1:15:52.519 happening in nineteen ninety ninety one. But like, if you're 1:15:52.560 --> 1:15:55.760 going to a modern club, yeah, you're listening to like 1:15:55.920 --> 1:15:58.080 whatever the songs at the moment you know they're playing, 1:15:58.160 --> 1:16:03.240 Like in Vogue, R and B. They're playing Tony Tony Tony. 1:16:04.479 --> 1:16:08.240 Radio and clubbing, I mean they weren't. Clubbing wasn't as 1:16:08.360 --> 1:16:11.440 anti hip hop as radio was, but radio was definitely 1:16:12.640 --> 1:16:17.280 you know, you know, more more music, less rap. That's 1:16:17.400 --> 1:16:20.400 that that would be the tagline of like most of 1:16:20.439 --> 1:16:23.120 the radio stations back in like eighty eight, eighty nine 1:16:23.160 --> 1:16:26.320 to ninety, like there was this backlash against rap music 1:16:26.400 --> 1:16:31.320 and it's and it's violence. So that said, I kind 1:16:31.360 --> 1:16:33.360 of wanted to find a place in Philly that like 1:16:33.520 --> 1:16:37.040 catered to the music that I dug, and that was, 1:16:37.160 --> 1:16:40.320 you know, like the left of center hip hop, like 1:16:40.360 --> 1:16:42.200 where can I hear a trip call? Quest? Where can 1:16:42.280 --> 1:16:45.679 I hear leaders in the New School? So King Britt 1:16:46.439 --> 1:16:49.919 and his partner Jeff Nett used to have these parties 1:16:50.080 --> 1:16:54.000 called like back to Basics, but the difference is they 1:16:54.080 --> 1:16:58.519 were bringing in like old music and I'd look through 1:16:58.560 --> 1:17:00.840 their crates and I'm like, wait a minute, this is 1:17:00.880 --> 1:17:04.759 my dad's record collection, Like you're gonna play BT Express 1:17:04.840 --> 1:17:07.040 in this club in like nineteen ninety, Like this came 1:17:07.080 --> 1:17:09.960 out in seventy four, and this James Brown record came 1:17:09.960 --> 1:17:13.479 out in seventy four, and this Roy Airs album came 1:17:13.520 --> 1:17:17.880 out in seventy six. Like, I've just never seen a 1:17:18.040 --> 1:17:22.560 club in which people like me would come into it 1:17:22.800 --> 1:17:25.519 and they would dance and respond to music as if 1:17:25.600 --> 1:17:28.479 it were new music. But this stuff was like twenty 1:17:29.479 --> 1:17:32.760 twenty five years old, you know, some like ten years 1:17:32.800 --> 1:17:36.000 old be you know, it was nineteen ninety, so, you know, 1:17:36.200 --> 1:17:40.200 playing stuff from fifteen years ago. And I couldn't wrap 1:17:40.280 --> 1:17:43.519 my head around the fact that if I wanted to, 1:17:43.920 --> 1:17:46.320 I could go through my dad's three thousand records and 1:17:46.600 --> 1:17:50.639 join these guys. And that's exactly what happened. They were like, yeah, 1:17:50.680 --> 1:17:53.880 bring your old records down and play the good stuff, 1:17:55.000 --> 1:17:59.479 and you know, so that kind of birthed, you know, 1:17:59.640 --> 1:18:04.240 my dreer. But I gotta say, like Roy Airs to me, 1:18:04.479 --> 1:18:08.799 his music, to me represents sort of the first steps 1:18:08.840 --> 1:18:13.000 into the unknown of rediscovery, like back in eighty six, 1:18:13.080 --> 1:18:15.400 when hip hop is first starting. A sample, like when 1:18:15.439 --> 1:18:18.320 you're hearing like Eric being Rock him used James Brown 1:18:18.360 --> 1:18:21.600 and Public Enemy use James Brown. A lot of the 1:18:21.720 --> 1:18:25.439 music from eighty six to like eighty eight eighty nine 1:18:26.320 --> 1:18:30.120 was kind of used via what I call a cheat sheet, 1:18:30.240 --> 1:18:34.360 and the cheat sheet is called Ultimate Beats and Breaks Compilation, 1:18:34.680 --> 1:18:38.599 and that's a compilation started by the legendary break beat 1:18:38.880 --> 1:18:42.240 Lou Flores, who was smart enough to make a compilation 1:18:43.080 --> 1:18:47.240 of all the breakbeats that DJs would use back in 1:18:47.320 --> 1:18:49.760 the first wave of hip hop. So you know, if 1:18:49.760 --> 1:18:53.160 you're seeing an African Membata spin, if you're seeing Grandmaster Flashpin, 1:18:53.840 --> 1:18:56.479 they're wiping the label off. You can't szam it. You 1:18:56.600 --> 1:18:58.880 don't know where that drum break is coming from. It's 1:18:58.880 --> 1:19:04.400 a secret. So eventually, like by nineteen eighty six, Luke Flores, 1:19:04.479 --> 1:19:08.479 who became a you know, like a record collector, made 1:19:08.479 --> 1:19:10.599 a compilation and what he would do is he'd make 1:19:10.640 --> 1:19:13.960 these EPs. He'd put six songs per record and it's 1:19:14.000 --> 1:19:17.519 a twenty five volume set. And if you're making hip 1:19:17.560 --> 1:19:21.200 hop back in this period, that's what you're using. So 1:19:21.360 --> 1:19:24.439 this is why like a lot of James Brown funky 1:19:24.520 --> 1:19:28.080 drummer gets used, or think by Link Collins or impeach 1:19:28.200 --> 1:19:30.720 the President, by what I call like the meat and 1:19:30.760 --> 1:19:33.519 potatoes of hip hop break beats and a lot of 1:19:33.560 --> 1:19:37.479 that various combinations of those breaks is what makes an 1:19:37.640 --> 1:19:40.120 eric being rock Him record or an ultra mat Netticum 1:19:40.200 --> 1:19:44.719 Ces record, or you know, Bookie Down Productions or whoever. 1:19:45.040 --> 1:19:48.080 Like the Class of eighty eight was Salt and Pepper 1:19:48.560 --> 1:19:54.040 public getemy and so the first kind of renaissance period 1:19:54.080 --> 1:19:59.040 of hip hop, which basically means music we're gonna use 1:19:59.200 --> 1:20:02.680 but isn't on the ultimate beats and breaks, because by 1:20:02.880 --> 1:20:07.240 nineteen ninety it was like a fatigue, you know, I mean, 1:20:07.280 --> 1:20:09.680 I guess the example one could use now is if 1:20:09.720 --> 1:20:15.280 you're scrolling on social media, like, okay, like we've everyone's 1:20:15.360 --> 1:20:18.040 using like this particular song or this song of the moment, 1:20:18.280 --> 1:20:20.960 like and over using it, like everyone's using it, so 1:20:21.080 --> 1:20:24.240 it's not fun anymore because it's being overused. That's how 1:20:24.320 --> 1:20:27.519 hip hop was. It's like how much James Brown can 1:20:27.640 --> 1:20:32.160 you make sound new, fresh and exciting. So as a result, 1:20:32.760 --> 1:20:37.080 there's a generation of producers that are finding other ways 1:20:37.120 --> 1:20:39.200 to get records. For a lot of us, we go 1:20:39.280 --> 1:20:42.920 to our aunts and our uncles' houses and take their 1:20:43.040 --> 1:20:45.200 records and there's always going to be a roy Airs 1:20:45.240 --> 1:20:49.240 record in the in their collection. And roy Airs to 1:20:49.360 --> 1:20:53.240 me is the he is the godfather of neo soul, 1:20:54.200 --> 1:20:57.640 even though Earth Wind and Fire kind of planted the 1:20:57.760 --> 1:21:03.840 flag in terms of like an afrocentric joy music. They 1:21:04.040 --> 1:21:08.880 clearly had their eyes on the crossover, you know, the 1:21:09.280 --> 1:21:12.040 landing strip, which basically means that they wanted to make 1:21:12.080 --> 1:21:16.160 their music palatable for an international audience, not just their 1:21:16.200 --> 1:21:19.759 black audience. Whereas roy Airs, who came from the school 1:21:19.800 --> 1:21:25.120 of jazz, I would say roy Airs kinda put a 1:21:25.280 --> 1:21:30.920 more less kind of what Grover Washington Junior pioneered of 1:21:31.040 --> 1:21:34.640 which we will call smooth jazz. I will say that 1:21:34.880 --> 1:21:39.400 roy Air was less smooth jazz and more funk jazz. 1:21:40.160 --> 1:21:43.960 Not to say that Grover Washington wasn't funky like his 1:21:44.560 --> 1:21:46.800 Grover Washington Live at the Biju is one of the 1:21:46.960 --> 1:21:52.080 greatest examples of where funk and jazz meet. But the 1:21:52.200 --> 1:21:54.639 sound of roy Airs is just the sound of comfort. 1:21:55.000 --> 1:21:57.400 A lot of that stuff recorded an electric lady. The 1:21:57.479 --> 1:22:00.280 Fender Rhodes was sort of his weapon of choice, his 1:22:00.479 --> 1:22:05.599 viper phones, and they sang about, you know, like kind 1:22:05.640 --> 1:22:08.320 of metaphysical the stuff that earth, wind and fire was 1:22:08.320 --> 1:22:11.840 singing a belt, but there really wasn't any pop songs 1:22:11.880 --> 1:22:13.439 on it, so it's almost like you felt he was 1:22:13.479 --> 1:22:16.200 speaking to us. So your idea of the person that's 1:22:16.680 --> 1:22:22.560 burning incense with the zodiac post sexual position posters on 1:22:22.640 --> 1:22:26.559 their wall, smoking a little j like, that's the audience, 1:22:26.720 --> 1:22:30.400 that's the demographic of roy Aers' music. So after a 1:22:30.479 --> 1:22:33.880 tribe called Quest comes out, who probably is the group 1:22:34.000 --> 1:22:37.720 that best made use of roy Airs' music, then we 1:22:37.920 --> 1:22:42.640 all just went rummaging through any roy Airs record and 1:22:42.720 --> 1:22:45.040 there was always a treat on there, no matter what 1:22:45.960 --> 1:22:49.759 for you to utilize. So you know, he is essentially 1:22:50.240 --> 1:22:56.519 the father of neo soul. So for you were you, 1:22:57.320 --> 1:23:01.280 was it a relief to see that suddenly your catalog 1:23:01.560 --> 1:23:03.560 was was there was a renewed interest in it and 1:23:03.600 --> 1:23:06.800 then people were going back to it and discovering you. 1:23:07.320 --> 1:23:11.240 And you know because when I really started seeing you 1:23:11.320 --> 1:23:14.200 on the circuit, especially at Ronnie Scott's, you know, there 1:23:14.280 --> 1:23:17.320 was there was this what was the genre they tried 1:23:17.320 --> 1:23:20.960 to put us in the first not Neil soul? Like 1:23:22.280 --> 1:23:25.519 like for you, when the nineties came, was there ever 1:23:25.520 --> 1:23:28.599 a fear like okay, well you know, will I still 1:23:28.640 --> 1:23:30.560 be a thing? Or or is this it? 1:23:30.840 --> 1:23:36.080 And well, you know what, there's so many so many 1:23:36.120 --> 1:23:39.519 people have died that it just. 1:23:41.000 --> 1:23:44.280 It's just a release because. 1:23:44.360 --> 1:23:48.200 Now I'm working my ass off. Do you understand what 1:23:48.280 --> 1:23:52.120 I'm saying, I'm working my ass off. I'm not complaining 1:23:52.160 --> 1:23:54.280 about it, but I'm working my ass off. 1:23:54.600 --> 1:23:56.240 I'm glad you are, which which is? Which is? 1:23:56.320 --> 1:23:59.120 And I'm glad too, But I'm talking about I'm working 1:23:59.200 --> 1:24:03.160 my asshof. So so it ain't nobody out there, ain't 1:24:03.200 --> 1:24:08.400 nobody out there. The motherfuckers is dead man, the groups 1:24:08.439 --> 1:24:10.000 have died, have died, you know. 1:24:10.840 --> 1:24:11.400 But you know what. 1:24:15.040 --> 1:24:18.680 That that may be true, but your music is going 1:24:18.760 --> 1:24:22.439 to last right forever. Thank you, and that that to 1:24:22.600 --> 1:24:25.800 me is the most important thing because thank you. You're right. 1:24:26.160 --> 1:24:28.479 Yeah, you're not getting work because everybody else is dead. 1:24:28.520 --> 1:24:30.640 You're getting work because you're a legend. 1:24:30.640 --> 1:24:32.479 Right because I'm still alive. 1:24:38.160 --> 1:24:41.400 I'm still alive. I'm still still alive. That's a beautiful thing. 1:24:41.560 --> 1:24:42.519 But what does it feel like now? 1:24:42.520 --> 1:24:44.240 Because I was talking to somebody about you the other 1:24:44.320 --> 1:24:46.280 day and I said, wow, like Roy, you can go 1:24:46.360 --> 1:24:48.719 to a show. It may be a grandparent, a parent 1:24:49.080 --> 1:24:49.839 and a kid. 1:24:50.080 --> 1:24:51.679 And they all late. 1:24:52.240 --> 1:24:55.640 You are still cool, Like your music is still You 1:24:55.840 --> 1:24:57.599 go to a club in any ages and you might hear, 1:24:57.680 --> 1:24:58.680 you know, see people dancing to it. 1:24:58.720 --> 1:24:59.360 What does that feel like? 1:24:59.560 --> 1:24:59.760 Happen? 1:25:00.120 --> 1:25:01.439 Years old? And not a lot of people that can say. 1:25:01.360 --> 1:25:02.759 That if they work and ain't not alive. 1:25:03.120 --> 1:25:06.160 They worked the record, They worked the hell out the record. 1:25:06.880 --> 1:25:09.200 I mean Probaly Door Group, they worked the records. 1:25:09.240 --> 1:25:10.280 But you made the record. 1:25:10.720 --> 1:25:14.320 I made. I made it, But they worked it. You know, 1:25:15.479 --> 1:25:16.799 they worked, they worked hard. 1:25:18.200 --> 1:25:21.599 And you know, you know, I may be seventy six 1:25:21.720 --> 1:25:24.400 years old, but hey, I'm glad I'm still here. 1:25:25.800 --> 1:25:26.559 You know what I'm saying. 1:25:27.160 --> 1:25:29.400 I'm serious, Yeah, it's serious. 1:25:29.960 --> 1:25:32.680 One question I had regarding your song the Third Eye, 1:25:33.120 --> 1:25:36.920 is that you're singing. Yeah, that's that's is Would the lyrics? 1:25:36.960 --> 1:25:38.680 Would you write those like in the studio at the 1:25:38.760 --> 1:25:39.160 time or. 1:25:39.200 --> 1:25:44.160 Maybe exactly exactly almost every song, almost every song beautiful. 1:25:45.400 --> 1:25:50.080 I just like that, just sponsored spontaneous feeling. It's wonderful. 1:25:50.120 --> 1:25:50.280 Man. 1:25:50.680 --> 1:25:52.519 You gotta try it sometimes. 1:25:54.880 --> 1:25:55.360 It's all right. 1:25:55.840 --> 1:25:58.000 I mean, you gotta try it on once or twice. 1:25:58.080 --> 1:25:58.240 You know. 1:25:59.439 --> 1:26:04.519 I have a question sure about one of your songs. Uh, 1:26:04.960 --> 1:26:07.680 we live in Brooklyn. In Brooklyn, were you living in 1:26:07.720 --> 1:26:08.720 Brooklyn when you wrote that? 1:26:09.080 --> 1:26:13.040 Oh? No, Harry Whittaker wrote wrote the song Harry Whittaker, 1:26:13.120 --> 1:26:14.040 and he died. 1:26:14.160 --> 1:26:14.439 I'll be. 1:26:18.600 --> 1:26:22.600 Still here. You and George said, I was assuming you 1:26:22.680 --> 1:26:23.120 made Clinton. 1:26:23.160 --> 1:26:25.840 So I'm like, yeah, that's right, he said, Edwin birds 1:26:25.840 --> 1:26:29.200 song is stilled bird song. Yeah, yeah, he is. He's 1:26:29.200 --> 1:26:30.400 still wrong occasionally. 1:26:30.520 --> 1:26:30.640 Uh. 1:26:31.120 --> 1:26:34.120 There his daughters in Vegas, but when I play there, 1:26:34.240 --> 1:26:36.040 sometimes they come to the gig. 1:26:36.600 --> 1:26:37.360 They come to the gig. 1:26:37.680 --> 1:26:42.559 Yeah. One time I played, uh, what was the deaf 1:26:42.640 --> 1:26:47.639 punk sample? Coca Cola More Time Babies. Yeah, I played 1:26:47.680 --> 1:26:50.800 that once and uh, you know, like how I can't 1:26:50.880 --> 1:26:53.600 be bothered when I'm dejaying, So someone keeps tapping on 1:26:53.680 --> 1:26:53.840 the t. 1:26:55.720 --> 1:26:56.960 That's my daddy's sample. 1:26:57.840 --> 1:27:03.040 Okay, sorry, sorry, So that's great. Yeah, everyone's still here 1:27:03.080 --> 1:27:05.760 and going strong. There's a there's a DJ. 1:27:05.920 --> 1:27:09.120 There's a new artist out now named Kate Trinada who 1:27:09.280 --> 1:27:12.719 is a he's a DJ producer. I went to his show. 1:27:13.240 --> 1:27:15.840 He did a show at what's the place across street 1:27:15.840 --> 1:27:17.879 from Brooklyn Bowl via. 1:27:19.760 --> 1:27:21.639 The Hotel No Output. 1:27:22.400 --> 1:27:24.160 He did a show at this club this is maybe 1:27:24.200 --> 1:27:28.400 like two months ago, and he played Chicago by You. 1:27:28.680 --> 1:27:30.960 I love that record with Chicago and that song. 1:27:31.080 --> 1:27:34.519 I mean it was a room full of twenty yeah, 1:27:36.120 --> 1:27:38.160 twenty year olds like these are kids and they were 1:27:38.240 --> 1:27:39.439 going crazy over your song. 1:27:39.560 --> 1:27:42.000 And I heard that at a club one night, like 1:27:42.160 --> 1:27:44.720 about ten years ago, and I lost my mind. It 1:27:44.720 --> 1:27:47.120 was the first I ever heard it. The record still goes, Yeah, 1:27:47.240 --> 1:27:48.519 I play whatever I can too. 1:27:48.880 --> 1:27:51.599 So what are your what are your personal favorite songs 1:27:51.640 --> 1:27:54.120 of your catalog that you've done? 1:27:54.920 --> 1:27:55.160 Like what? 1:27:55.600 --> 1:27:56.479 Oh yeah? What? 1:27:56.920 --> 1:27:59.120 What's near and dear to your heart? What's your favorite? 1:27:59.720 --> 1:28:00.400 Roy is. 1:28:01.960 --> 1:28:02.360 Searching? 1:28:02.720 --> 1:28:03.440 Okay? 1:28:04.080 --> 1:28:04.519 What? What? 1:28:04.720 --> 1:28:06.639 What is it about searching that you love? 1:28:07.160 --> 1:28:09.160 Say, butterfly up in the sky. I got a story 1:28:09.200 --> 1:28:13.360 to tell you. I'll tell you why I'm searching. You see, 1:28:13.400 --> 1:28:13.880 my friend, I. 1:28:13.920 --> 1:28:17.160 Need someone who feels the need to save his I 1:28:17.520 --> 1:28:24.360 I'm searching, searching, searching, searching, searching, searching for inspiration, searching 1:28:24.439 --> 1:28:26.440 for communications, searching. 1:28:26.120 --> 1:28:29.439 For a better way, searching for a better day. Oh 1:28:29.520 --> 1:28:32.719 my god, that's wonderful. Doesn't work great words? 1:28:32.800 --> 1:28:33.000 Man? 1:28:33.600 --> 1:28:36.880 When you when you live that live that life, you 1:28:37.000 --> 1:28:39.920 know it's it's wonderful when you get it to that 1:28:40.800 --> 1:28:42.080 search searching, it is wonderful. 1:28:42.680 --> 1:28:44.920 Do you have a favorite like sample roy Air song 1:28:45.000 --> 1:28:46.600 and song? And when you heard your song and it 1:28:46.680 --> 1:28:47.000 you were like. 1:28:47.080 --> 1:28:48.320 Whoa married Mary? 1:28:48.439 --> 1:28:49.000 J flies? 1:28:49.200 --> 1:28:49.760 You see too? 1:28:55.840 --> 1:28:56.840 The song of the checks? 1:29:00.600 --> 1:29:03.040 So did you like my life when you heard it. 1:29:03.600 --> 1:29:06.800 Yeah, I loved it. I said, why didn't not take 1:29:06.920 --> 1:29:07.519 those lyrics? 1:29:09.200 --> 1:29:13.640 You know, I was thinking, you know, marriage, that was 1:29:13.760 --> 1:29:21.120 such a controversial day I felt. I mean, I've told 1:29:21.160 --> 1:29:26.400 the story before, but I just felt at the time. Yes, Now, 1:29:26.560 --> 1:29:30.120 in twenty seventeen, I consider that song and the album 1:29:30.160 --> 1:29:35.360 of which it came from a classic song and an album. 1:29:35.520 --> 1:29:40.960 But during the time when I heard it, right, I 1:29:41.040 --> 1:29:44.599 don't know. I never that was a historical first, because 1:29:44.640 --> 1:29:48.479 I'd never heard a singer just totally take a song 1:29:48.600 --> 1:29:53.559 and redo it as their own. I mean, it's one 1:29:53.600 --> 1:29:56.240 thing for rappers to do it, but I never ever 1:29:56.360 --> 1:30:00.320 considered like singers could have the same rules as MC's right. 1:30:00.720 --> 1:30:07.640 So in my head, we were we didn't like the 1:30:07.760 --> 1:30:10.559 first month I heard the first month of the first two, 1:30:10.720 --> 1:30:13.320 but you know, you you you dug it. I mean, 1:30:13.360 --> 1:30:15.600 but you were also like ten, What did you know 1:30:15.680 --> 1:30:18.839 it's ten? No, I wasn't my life. I was like fifteen. 1:30:18.920 --> 1:30:19.599 The very. 1:30:24.000 --> 1:30:26.680 They release every black woman at the age of fifteen. 1:30:27.240 --> 1:30:33.080 Was like stop because the first day we ever met 1:30:33.640 --> 1:30:36.240 was the day that you were also in this van. 1:30:38.560 --> 1:30:40.400 Maybe I was just saying that because I was amongst 1:30:40.400 --> 1:30:42.320 the hip hoppers, you know, and I was just going 1:30:42.360 --> 1:30:42.679 to love. 1:30:45.040 --> 1:30:53.920 Your asshole it did okay, nobody, I'm sorry. 1:30:54.200 --> 1:30:54.439 Sorry. 1:30:54.520 --> 1:30:57.680 I like my life. I liked it too. I liked 1:30:57.680 --> 1:31:01.400 it too. I like us really like I was you and. 1:31:01.479 --> 1:31:01.880 You were me. 1:31:03.040 --> 1:31:05.400 That's just crazy. I didn't do I didn't develop those 1:31:05.439 --> 1:31:08.880 rules until later. See I was the way you are 1:31:09.000 --> 1:31:13.120 now when I was twenty. Then I got leanient. 1:31:13.240 --> 1:31:16.320 Anyway, where there any times that rappers wanted to sample 1:31:16.360 --> 1:31:18.400 your stuff and you denied it for any reason? 1:31:18.640 --> 1:31:20.320 No, I let let him travel it. 1:31:20.760 --> 1:31:21.720 I've gone over that. 1:31:21.920 --> 1:31:25.640 Uh, that's some horrible things that I said. Damn, what 1:31:25.880 --> 1:31:26.000 is this? 1:31:26.240 --> 1:31:26.600 What is this? 1:31:28.000 --> 1:31:28.360 Everything? 1:31:28.479 --> 1:31:28.559 Fu? 1:31:30.200 --> 1:31:37.240 I said, put it out, put it out. I put 1:31:37.280 --> 1:31:39.320 it out, put it out, every every word. That's what 1:31:39.920 --> 1:31:42.040 your people were like, We don't know if you should. 1:31:43.800 --> 1:31:47.000 Your people were sort of cautious about maybe you should 1:31:47.040 --> 1:31:48.439 pass on this or no. 1:31:49.240 --> 1:31:52.320 I was passing on it. I was, you know, I 1:31:52.439 --> 1:31:54.599 was passing on it. I said, no, let them put 1:31:54.640 --> 1:31:58.160 it out. It was it was only one person, be 1:31:59.479 --> 1:32:01.799 I wasn't you published? 1:32:01.960 --> 1:32:07.240 I mean every group of people just put it out. Wow, okay, hey, 1:32:07.439 --> 1:32:10.840 put it out, put it out, put it out, put 1:32:10.880 --> 1:32:11.639 that ship out. 1:32:12.479 --> 1:32:14.599 It's that the same Is it the same way? Like now, 1:32:14.760 --> 1:32:16.960 like if someone want to sample your music now to 1:32:17.200 --> 1:32:17.800 just go through you. 1:32:17.920 --> 1:32:19.880 Yeah, but but I know that they're they're not gonna 1:32:19.880 --> 1:32:22.840 play this stuff anyway. They're not gonna play it, and 1:32:23.000 --> 1:32:26.400 they're not gonna play certain things well not they won't. 1:32:26.640 --> 1:32:27.800 Radio station won't play it. 1:32:27.920 --> 1:32:30.479 So it's un the radar team. I'm gonna think the 1:32:30.600 --> 1:32:31.879 check and it'll. 1:32:33.680 --> 1:32:33.800 Right. 1:32:34.439 --> 1:32:36.680 At this point in your career, is it anybody that 1:32:36.760 --> 1:32:38.200 you see that you're like, you know what, it'd be 1:32:38.280 --> 1:32:41.120 interesting to do something with them? Are you just like, 1:32:41.360 --> 1:32:42.960 is it any like new blood out there? You're like, 1:32:45.240 --> 1:32:47.920 because I know people choo for real? 1:32:48.120 --> 1:32:49.320 Right for reals? 1:32:49.640 --> 1:32:52.599 Oh man, you name this name this couple of kids 1:32:52.640 --> 1:32:53.800 that me or something like that. 1:32:55.760 --> 1:32:55.960 Yeah. 1:32:56.160 --> 1:32:58.519 Wow, And y'all still have never worked together. 1:32:59.000 --> 1:33:01.720 We haven't done it. He wants me to come to California. 1:33:02.439 --> 1:33:05.200 I just I can't get out there. You know, at 1:33:05.240 --> 1:33:07.760 the time, I couldn't, you know, Okay, that's right. 1:33:07.840 --> 1:33:09.439 It's never too late though, well, it's. 1:33:09.360 --> 1:33:12.479 Never too late as long as I'm still alive. You 1:33:13.160 --> 1:33:14.519 He need to come to you, That's what I'm saying. 1:33:16.080 --> 1:33:18.160 He needed to come to wherever you at, I hear 1:33:18.200 --> 1:33:30.080 you up. That's right to Royal Nigga talking about right, 1:33:30.200 --> 1:33:33.360 I forgot the U of the triplets. One of them 1:33:33.600 --> 1:33:36.960 his name airs Wow, but I believe the second one 1:33:37.040 --> 1:33:40.960 is either named after one of your compositions or or right, yeah, 1:33:42.200 --> 1:33:44.360 talk about a tribute. But but no, he is now 1:33:44.400 --> 1:33:48.000 You're gonna live forever because well he was on the stage. Yeah, 1:33:48.800 --> 1:33:50.519 after a concert. 1:33:50.920 --> 1:33:54.000 I did a concert and he did a concert, and 1:33:54.439 --> 1:33:56.720 he was walking off stage and I walked up to 1:33:56.840 --> 1:34:01.160 him and I said, Pharrell, and so for he dropped 1:34:01.200 --> 1:34:02.040 on the man. 1:34:02.960 --> 1:34:04.800 He did the worship thing he does. 1:34:05.560 --> 1:34:09.240 He did the worship thing man. I said, come on, man, come. 1:34:09.120 --> 1:34:13.320 On, that's all. He's a humble cat, he said, humble, 1:34:13.479 --> 1:34:16.760 very humble, very humble. So all right, what's what's what's 1:34:16.960 --> 1:34:20.800 the future for roy Ares? What's your your next your 1:34:20.840 --> 1:34:24.120 next project? And you tour more your I'm. 1:34:24.000 --> 1:34:30.719 Planning on doing the album. Okay, it's about just about playing, playing, playing, playing, 1:34:30.880 --> 1:34:38.080 playing playing, Okay, playing, that's an album about playing by playing, 1:34:38.360 --> 1:34:40.880 about playing. Okay, about playing. 1:34:41.080 --> 1:34:42.640 You're gonna give us some of the unreleased stuff you 1:34:42.720 --> 1:34:49.120 got in the Yeah, we got plans on well, yeah, you're. 1:34:49.040 --> 1:34:55.040 Gonna let us go to the stories. I'm just saying, 1:34:55.960 --> 1:35:02.919 like you know it, I'm just saying. 1:35:05.120 --> 1:35:12.519 Today today, man, One question, one question I have. How 1:35:12.760 --> 1:35:15.839 involved was weed in the records? 1:35:17.200 --> 1:35:21.240 It was like marijuana like smoke? Was that reef? 1:35:21.520 --> 1:35:21.640 Was that? 1:35:22.320 --> 1:35:29.160 Presidents? Did you allow that that? Again, it's all right, 1:35:32.040 --> 1:35:35.240 didn't come How How was that was that allowed and 1:35:35.400 --> 1:35:38.240 encouraged in your recessions back in the day? We we 1:35:38.479 --> 1:35:40.400 oh mad, it's in. 1:35:41.960 --> 1:35:42.000 We. 1:35:42.360 --> 1:35:42.880 Weed is in. 1:35:45.439 --> 1:35:49.040 We just in My god, they' never stopped at stopping. 1:35:49.120 --> 1:35:54.240 Man, they're gonna crazy with all the broadcast and everything. 1:35:54.360 --> 1:35:56.200 Man, But were you cool with it in your studio 1:35:56.280 --> 1:35:57.720 sessions back in the day? He was cool with it. 1:35:58.000 --> 1:36:02.880 Oh yeah, it was cool man. It was cool. Everybody smoked, everybody. 1:36:02.720 --> 1:36:05.680 Everybody because that because that was like the memories that 1:36:05.760 --> 1:36:08.000 I have, like of your music as a kid, Like 1:36:08.120 --> 1:36:11.080 I remember seeing like the album covers and hearing the 1:36:11.200 --> 1:36:13.519 music and the smell of marijuana. 1:36:17.600 --> 1:36:21.080 They smoke to your they were I like that you 1:36:21.120 --> 1:36:25.639 could hear the smell of marijuana. That's an interesting It's 1:36:25.720 --> 1:36:36.080 called synaesthesis. Really it is. I was expected that word. Okay, 1:36:37.160 --> 1:36:42.479 who it is? It absolutely is well mister Ayres. Uh, 1:36:43.840 --> 1:36:46.880 I don't know. I think we've we've we've tagged on 1:36:47.080 --> 1:36:57.240 everything all right as we wrapped up, Uh, I just 1:36:57.320 --> 1:37:02.120 want to say, you know, it's kind of weird because 1:37:02.280 --> 1:37:09.120 a lot of people that are in my particular area 1:37:09.160 --> 1:37:13.479 of music. Of course, okay, I'll take it that I'm 1:37:13.600 --> 1:37:18.240 lumped in and called neo soul, but I mean you 1:37:18.479 --> 1:37:23.599 are considered the godfather of of our our our genre, 1:37:24.200 --> 1:37:27.040 and so I just want to thank you for you know, 1:37:27.439 --> 1:37:31.560 providing us with the the roadmap for which you know 1:37:31.640 --> 1:37:34.560 it's still being used to this very day. You know, 1:37:34.960 --> 1:37:38.960 your your your influence, and your art will be here forever, 1:37:40.360 --> 1:37:42.960 long after everyone in this room is going, even this 1:37:43.080 --> 1:37:45.960 building is gone, your work will still be here. So 1:37:46.200 --> 1:37:48.519 we thank you for coming on. Of course, love supreme 1:37:49.000 --> 1:37:56.600 and yes, yes, one last question. Can you tell us 1:37:56.600 --> 1:38:00.599 a little bit about scoring the movie coffee? That experience 1:38:00.720 --> 1:38:02.479 was like? Yeah, what that experience was like for you? 1:38:03.120 --> 1:38:04.719 Oh? That was that was wonderful. 1:38:05.280 --> 1:38:05.400 Uh. 1:38:06.080 --> 1:38:09.400 As a matter of fact, I thought about that that 1:38:09.840 --> 1:38:15.400 uh meeting meeting Pam Grid, I met Param Grier and 1:38:15.640 --> 1:38:19.760 uh I was trying to wrap wrap my arms around but. 1:38:22.000 --> 1:38:24.320 The breast was so big. 1:38:26.560 --> 1:38:28.160 I couldn't even get my hands together. 1:38:29.200 --> 1:38:31.599 But no, no, I said, oh. 1:38:34.760 --> 1:38:40.639 I was so wonderful. I said, you are from param Grier. 1:38:41.200 --> 1:38:47.080 I said, I made you a star through my music. 1:38:47.600 --> 1:38:47.800 You know. 1:38:49.760 --> 1:38:52.640 I'm telling you as I did that after I did 1:38:52.680 --> 1:38:57.240 that film. That that really made me think about how 1:38:57.720 --> 1:39:02.560 mad she was or aggravation. It was aggravation. 1:39:02.720 --> 1:39:03.400 It was horrible. 1:39:04.280 --> 1:39:08.639 So she was wonderful. She was she was a dream, 1:39:09.520 --> 1:39:12.559 a wonderful, wonderful actress, a wonderful person. 1:39:13.200 --> 1:39:15.280 And I love that hug. 1:39:17.000 --> 1:39:18.639 That hug with something else. 1:39:18.720 --> 1:39:21.759 Man solls more about. 1:39:29.439 --> 1:39:31.839 Oh man, it was. It was wonderful, wonderful. 1:39:33.280 --> 1:39:35.120 Alright, Steve, Steve, Yeah, I got. 1:39:36.240 --> 1:39:39.559 One more question. Did you ever meet Milt Jackson? 1:39:40.479 --> 1:39:40.599 Uh? 1:39:41.080 --> 1:39:42.840 I mean yeah, I mid Milton. 1:39:43.560 --> 1:39:44.680 Milt was wonderful. Man. 1:39:45.520 --> 1:39:49.240 His his touch, his touch was is one of the 1:39:49.320 --> 1:39:52.920 greatest things in the world, the touch and the Bible phone. 1:39:53.000 --> 1:39:57.760 If you listen to all it records, the touch, it's 1:39:57.880 --> 1:39:59.559 it's a magic it's a magic touch. 1:39:59.680 --> 1:39:59.800 Man. 1:40:00.320 --> 1:40:01.479 What about Cayle Jada? 1:40:02.120 --> 1:40:03.200 I met Cal Jada. 1:40:03.520 --> 1:40:07.200 I met Cal. He died. Damn all those cats died. 1:40:09.000 --> 1:40:10.920 My question, I'm sorry you're still here. 1:40:12.600 --> 1:40:14.400 Yeah, is there anybody in the jazz scene right now 1:40:14.439 --> 1:40:16.280 that you're you're really excited about. 1:40:17.760 --> 1:40:20.360 No, I wanted to play it with al Ja. Oh my, 1:40:22.880 --> 1:40:23.960 he died together. 1:40:24.240 --> 1:40:24.439 I know. 1:40:25.080 --> 1:40:26.960 It's great because I was about to ask you about Dennis, 1:40:26.960 --> 1:40:27.880 but I can't even talk about it. 1:40:27.920 --> 1:40:28.840 It's just too just. 1:40:28.880 --> 1:40:29.479 Answer the question. 1:40:29.880 --> 1:40:31.960 Yeah, No, I was just gonna ask you to, you know, 1:40:32.120 --> 1:40:34.080 kind of break down because for me, my Mike Spanish 1:40:34.080 --> 1:40:36.559 experiency with you went through Dennis who was your drummer 1:40:36.640 --> 1:40:38.360 for for a couple of decades. 1:40:38.040 --> 1:40:39.960 And then died, you know, last year. 1:40:40.560 --> 1:40:48.840 That's her cousin, Yes, Dennis Davis. Dennis Davis acologized Dennis. 1:40:49.560 --> 1:40:52.240 Yes, but I checked this out. Dennis Davis worked with me, 1:40:52.680 --> 1:40:55.080 He was working with me all those years, and he 1:40:55.280 --> 1:40:58.840 was also working with Stevie Want with Stevie Wonder and 1:40:59.080 --> 1:41:01.920 also David Boy. That's right, David Boy. 1:41:02.800 --> 1:41:04.960 And he did two, two or three. 1:41:04.880 --> 1:41:09.040 Different gigs the same time. Really, it was amazing, it 1:41:09.160 --> 1:41:11.600 was amazing. It was amazing he was able to do that. 1:41:11.720 --> 1:41:17.080 How long was he your drummer? Oh maybe since she 1:41:17.280 --> 1:41:20.080 was very young, so since the very beginning. 1:41:20.320 --> 1:41:23.280 Yeah, yeah, wow, he just left and came back right 1:41:23.880 --> 1:41:25.639 and come back. He will always have a home. 1:41:25.920 --> 1:41:29.519 You remember Dennis is, the infamous Dennis Is playing by 1:41:29.640 --> 1:41:34.240 himself on on Nothing Do I Do? Do I do? 1:41:34.479 --> 1:41:34.599 Right? 1:41:36.720 --> 1:41:40.400 Okay? Well wait? That also leads to uh Stevie's bass 1:41:40.400 --> 1:41:42.880 player what's his name? Nathan or the bass player was 1:41:43.000 --> 1:41:45.280 Nathan East? Did he play with you for a second? 1:41:46.200 --> 1:41:50.000 The guitar player, the bass player Nathan Nathan? He did 1:41:50.120 --> 1:41:53.400 not Nathan E. Nathan Wat Did he ever play for you? 1:41:53.479 --> 1:41:55.040 For he didn't? He didn't play with me. 1:41:55.520 --> 1:41:57.400 I could have sworn I saw a concert of you 1:41:57.560 --> 1:42:01.599 with Nathan Watched, because Nathan Watch's built like a full back. 1:42:01.800 --> 1:42:04.360 So yeah, he's a big gag he. 1:42:06.040 --> 1:42:07.840 There was a similar bass player that played with you, 1:42:07.920 --> 1:42:11.839 A big guy that I thought was was was Nathan Okay. 1:42:11.760 --> 1:42:15.799 There might have been John Johnna somebody. 1:42:16.040 --> 1:42:20.160 Also, the great Philip Wu also played with you. Yeah 1:42:20.280 --> 1:42:22.519 he did. He did play with me. He's in uh 1:42:23.920 --> 1:42:27.160 your pant I know how did you hook up with? 1:42:27.280 --> 1:42:28.479 He's been with you forever? 1:42:29.000 --> 1:42:30.719 It's from Seattle, Washington. 1:42:31.080 --> 1:42:34.000 Oh okay? Is that where the title of your song 1:42:34.080 --> 1:42:36.240 I did it in Seattle? Is Philip playing on that? 1:42:36.560 --> 1:42:36.760 Yep? 1:42:37.040 --> 1:42:43.200 Wow? I got it nice? Nice all right? So uh 1:42:43.720 --> 1:42:46.960 on behalf of Oh right, I'm sorry, should we do reflections? 1:42:47.479 --> 1:42:49.840 I know, I'm sorry. 1:42:50.960 --> 1:42:54.200 Well, I just want one more, one more thing, mister. 1:42:55.880 --> 1:42:58.040 People who worked at the studio and past and president 1:42:58.120 --> 1:42:59.720 just wanted me to thank you for coming here so 1:42:59.840 --> 1:43:02.280 many many times, recording so many records here over the years. 1:43:02.400 --> 1:43:04.200 It's a pleasure to do it doing this. This is 1:43:04.280 --> 1:43:08.479 really wonderful. Thank you, thank you, thank you, thank you. 1:43:08.640 --> 1:43:09.280 It's amazing. 1:43:09.800 --> 1:43:12.559 Thank you, ladies and gentlemen. That is quest Love Supreme. 1:43:12.680 --> 1:43:16.360 We will be back next week with another great informative 1:43:16.400 --> 1:43:19.479 episode of course Love Supreme. Also, don't forget to dig 1:43:19.520 --> 1:43:22.080 in the crates and check out past episodes and catch 1:43:22.160 --> 1:43:26.080 up with us on Behalf of Sugar, Steve Unpaid, Bill Boss, 1:43:26.280 --> 1:43:32.360 Bill Lady layah uh Aka, Margaret Fon, Tigolo, and The 1:43:32.439 --> 1:43:37.759 Great Boy as Love Supreme signing off West. Love Supreme 1:43:37.840 --> 1:43:43.439 is a production of iHeart Radio. For more podcasts from 1:43:43.479 --> 1:43:47.320 iHeart Radio, visit the iHeart Radio app, Apple Podcasts, or 1:43:47.360 --> 1:43:49.000 wherever you listen to your favorite shows.