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Speaker 1: Quest Loft Show is a production of iHeart Radio. All right,

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Speaker 1: I promise you people that I haven't traded drumming in

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Speaker 1: for base.

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Speaker 2: But what a couinkydink. Here we are yet again on the.

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Speaker 1: Quest Love Show, highlighting yet another ass kicking basis. Maybe

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Speaker 1: I'm looking for collaborating. This is like the audition process,

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Speaker 1: But this isn't any average run the meal influencer slash

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Speaker 1: bass players we're talking to, you know, making trying to

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Speaker 1: make ripples on the internet. Flee himself has declared our

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Speaker 1: guest today air quote the greatest fucking electric bass player,

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Speaker 1: and I'm inclined to agree. For my own band has

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Speaker 1: covered his tunes from his his many records or his

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Speaker 1: many viral videos that you've seen on social media because

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Speaker 1: they are irresistible, ear candy and funky as hell. You know,

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Speaker 1: the list is extensive. Of course, Prince knows what's up.

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Speaker 1: Mac Miller knows what's up. David Staples, George Clinton, Cudan Archives,

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Speaker 1: Georgie m Maldre, Pete Rock, Neo Nas, everyone knows the deal.

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Speaker 1: His last project, that Dirt loves Me more than you,

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Speaker 1: of course blew my mind and I was left with

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Speaker 1: no choice. But to have our Court Left show QLs

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Speaker 1: fam Brittany and cousin Jake get on the case so

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Speaker 1: that I could chop it up with the one and

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Speaker 1: only Mono Nia.

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Speaker 2: Welcome to the Cost Left Show.

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Speaker 3: I appreciate it, Thank you, ah Man.

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Speaker 1: So I will say that I got hip to you well, Ladish,

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Speaker 1: I'll say that a place called fantasy where like I

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Speaker 1: really jumped aboard, like oh shit, I was in a

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Speaker 1: record store once. I think I was in La at

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Speaker 1: a Memba and I heard all I ever wanted to

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Speaker 1: do is be a mystery. And you know what I'll

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Speaker 1: later discover about you is your method of songwriting, like

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Speaker 1: your courses and your verses to me are mantras and affirmations,

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Speaker 1: very much similar to like another native of your hometown

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Speaker 1: of Memphis, mister Maurice White, the way that he used

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Speaker 1: affirmations and mantras, essentially tricking their large fan base into positivity,

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Speaker 1: which is always a good thing.

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Speaker 2: And you know, for me, just always listening to the core.

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Speaker 1: I think for that song you did, the you find

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Speaker 1: that freedom inside yourself, and I think when I heard that,

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Speaker 1: it stuck.

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Speaker 2: With me in a way that I didn't plan it.

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Speaker 1: And so you know, I've been a longtime fan of yours,

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Speaker 1: so I'm glad this is finally our chance to chop

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Speaker 1: it up.

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Speaker 2: Thank you for doing this.

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Speaker 1: I wantn't know what is your first musical memory in life?

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Speaker 2: Your first musical memory.

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Speaker 3: I think being around my dad. He played well he

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Speaker 3: does still plays bass, but he gave me my first

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Speaker 3: guitar and I just flipped it over left handed when

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Speaker 3: I was four years old. So I remember that. I

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Speaker 3: remember him taking me to the Mphics and may to

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Speaker 3: be on stage with him with Rufus Thomas just playing

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Speaker 3: their guitar. I remember that stuff. So those are my

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Speaker 3: earliest memories. You know, as a four year.

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Speaker 1: Old, so you didn't have a babysitter, but the stage

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Speaker 1: was your babysitter.

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Speaker 2: And that's how your parent Yeah pretty much. Yeah, same

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Speaker 2: with me.

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Speaker 1: I played air saxophone in many a nightclub with my

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Speaker 1: family until you know, it was like all right, we'll

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Speaker 1: just have to played tambourine. And so talk about your father,

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Speaker 1: like what are his his roots as far as the

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Speaker 1: musical infrastructure of Memphis.

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Speaker 3: My dad was like a studio ace in Memphis. He

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Speaker 3: always gets like the first calls he played with the Barcades.

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Speaker 3: Later on, when James Alexander for a minute, he played

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Speaker 3: with Pop Staples and Mayvis Staples the Memphis Horn stuff

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Speaker 3: Ja Blackfoot.

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Speaker 2: Yeah, he pass on the other side of town.

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Speaker 3: I didn't play on that record, but later on he played.

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Speaker 3: You know, I did a lot of live shows with

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Speaker 3: him and stuff.

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Speaker 2: Gotcha.

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Speaker 1: Okay, what did you learn from your father? The fundamentals

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Speaker 1: at least?

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Speaker 3: Well, actually, he really wasn't around when I was younger.

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Speaker 3: He put the influence on me very early, and when

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Speaker 3: I saw that, I just took it. But he really

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Speaker 3: wasn't around, you know, because he he was a torn musician.

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Speaker 3: He moved to Europe when I was pretty young, but

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Speaker 3: he left such a huge big impact on me to

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Speaker 3: the point where I didn't want to do anything else.

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Speaker 3: I wanted to be like him. So and I'm still

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Speaker 3: chasing that, you know.

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Speaker 2: Yep. Okay.

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Speaker 1: So I had James Alexander on the show recently and

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Speaker 1: he gave me his version of Memphis. You were born

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Speaker 1: in nineteen ninety.

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Speaker 3: August ninety, Yeah.

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Speaker 1: So where there's a different version of Memphis. Can he

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Speaker 1: describe to me, like your version of Memphis? Like, what

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Speaker 1: are your fond memories what are your first memories or

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Speaker 1: fluzzy memories of Memphis, Tennessee.

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Speaker 3: Well, I've come from a very loving family from Memphis,

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Speaker 3: and music was and still there's a big part of

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Speaker 3: you know, my family, just coming to family gatherings and

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Speaker 3: reunions and stuff, and just going to church for my

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Speaker 3: grandma every Sunday, the Baptist church, and even the pastor

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Speaker 3: will let me up on his stage to play air

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Speaker 3: guitar for some Sundays just to I don't know why,

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Speaker 3: but he would let me. His name was revend Ac

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Speaker 3: through Liberty Baptist Church where I got baptized at, and

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Speaker 3: he would just let me come in, probably with my

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Speaker 3: guitar or just let me just do whatever. And that's

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Speaker 3: that was a big influence on me as well. And

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Speaker 3: that's my memory of Memphis, being around my grandma at

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Speaker 3: church and stuff.

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Speaker 1: So you were an air musician even before you talk

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Speaker 1: about being a visionary, before you even got an instrument.

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Speaker 3: Yeah, you know, even a tour guitar. I have actually

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Speaker 3: old VHS tapes of me in my grandma's living room

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Speaker 3: playing with this toy guitar and just you know, visualizing it.

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Speaker 3: I can just see me just wanting this shit so

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Speaker 3: bad as a kid when I look back at that.

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Speaker 3: So I'm just still chasing that childlike fascination with music.

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Speaker 3: I guess I don't know.

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Speaker 2: I absolutely do that.

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Speaker 1: I wanted to know, is there a subculture in Memphis

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Speaker 1: that challenges the mainstream in other words, you know, like

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Speaker 1: for the outside of you know, I consider myself a

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Speaker 1: music expert, so of course I would say, all right, Memphis,

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Speaker 1: all right, the Sun Records and the Blues and what

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Speaker 1: we basically know about Memphis. But I can't discount that

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Speaker 1: Memphis also gives us an occasional rebellious spirit that just

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Speaker 1: goes their own direction.

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Speaker 2: I mean, you could say this about Maurice White.

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Speaker 1: You also say this about Larry Dotson of ur K's.

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Speaker 2: Yeah, so for you, you.

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Speaker 1: Seem to embody a rebellious spirit. Was this an intentional

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Speaker 1: thing or did you just like sort of morph into this?

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Speaker 3: Well, I guess it was kind of intentional, But I

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Speaker 3: definitely morphed into it because I'm naturally bashful and shy.

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Speaker 3: So this whole thing of morning now to be upfront

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Speaker 3: doing my own thing, it's really tough, you know, it's

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Speaker 3: really hard, But I have a little more courage now

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Speaker 3: to do it, and I'm not really afraid because I've

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Speaker 3: been trying to let go of everybody's expectations of what

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Speaker 3: I should be doing. So I'm really having fun with that,

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Speaker 3: like peeling off those layers of just letting go. And yeah,

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Speaker 3: that's what I'm doing now. So I'm still trying to

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Speaker 3: find myself. I guess for.

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Speaker 1: You in your everyday life, are you this person that

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Speaker 1: I'm seeing now?

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Speaker 2: Or do you morph into your everyday self?

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Speaker 3: I'm pretty much like this all the time. You know.

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Speaker 3: I even sleep with my quotes song sometimes because I

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Speaker 3: love them so much. But yeah, I'm pretty much like this.

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Speaker 3: But around my grandma and my mama. You know, so

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Speaker 3: you're not DT.

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Speaker 2: I meant like, when do you turn into DT?

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Speaker 3: Probably around my mama and my grandma, my cousins and them.

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Speaker 2: You know, I got you.

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Speaker 3: They called me DJ, so I'm like DJ around them.

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Speaker 2: Oh my fault. Okay, now you cool. I've heard I've

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Speaker 2: heard you. I'm in DJ.

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Speaker 3: No, are you good? D? I like DT too, It's too.

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Speaker 2: Is pivoting easy for you?

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Speaker 3: I usually could. I always pivot back to my mom

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Speaker 3: and my grandma because they keep me, They keep you grounded.

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Speaker 3: You know, not even trying. They just that unspoken love

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Speaker 3: they have for me and I have for them. I

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Speaker 3: need it, so I carried it with me everywhere I go.

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Speaker 1: Eye you've said that you were self taught at four.

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Speaker 2: You're a left handed bass player.

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Speaker 1: Are you a traditional right handed bass player that still

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Speaker 1: plays left or like, are you ambidection with it?

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Speaker 3: I'm right handed, predominantly right handed, but like I'm with

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Speaker 3: my daddy. My daddy, Dwayne Thomas, gave me a guitar

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Speaker 3: at four years old. I just flipped that thing over.

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Speaker 2: No one corrected you at all.

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Speaker 3: I mean, of course all the old heads and then

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Speaker 3: you if you play the other way, you probably sound better.

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Speaker 3: I heard that along with time ago, and I didn't

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Speaker 3: even switch over because I knew what I wanted to do,

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Speaker 3: not really, but I just felt it. I'd like, I

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Speaker 3: just let me just keep doing what I'm doing.

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Speaker 1: Do you readjust the strings? Like is your low e

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Speaker 1: on the bottom now instead of the top or.

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Speaker 3: Yeah, my low my low e is at the bottom.

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Speaker 3: It's just it's just a right handed thing, and I

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Speaker 3: just I just flip it over with without changing stuff.

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Speaker 2: Okay for you, if he handed any bass or any guitar.

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Speaker 2: Can you.

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Speaker 1: Keep the virtuosil levels up, like if given a traditional bottom,

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Speaker 1: me on top and playing the opposite way or is

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Speaker 1: it a struggles a little bit.

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Speaker 3: I wouldn't necessarily call it a struggle because I just

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Speaker 3: try to try to adapt to anything I'm in. Any

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Speaker 3: position I put myself in, or any situation I have

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Speaker 3: to go to. I just try to adapt. So if

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Speaker 3: somebody hands me like a precision base, it's going to

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Speaker 3: make me want to tap into something like James James.

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Speaker 3: But still try to play my own ship as well,

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Speaker 3: because I'm always gonna sneak my things in there somewhere.

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Speaker 3: But yeah, I try to. I try to be adaptable

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Speaker 3: and let you tell me what to do at first.

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Speaker 1: So yep, I'll say, the first ten years of your

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Speaker 1: life between ninety and two thousand, who were you shetting to?

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Speaker 3: Let's see. Of course, my dad he was the first one, okay,

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Speaker 3: and I my mama used to tell me stories about him,

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Speaker 3: and I just used to find anything he played on

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Speaker 3: something like what he told me he played on Animal

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Speaker 3: with Okay okay, yeah, and he was actually credited on

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Speaker 3: that album Gotcha okay and Contagious. He told me, you

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Speaker 3: played on that nice Okay, he played on two albums,

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Speaker 3: but he was really playing with them live when James

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Speaker 3: left for a minute. Yeah, my dad, James. Definitely Guys

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Speaker 3: from Home Jackie Clark and Spanky and Anthony Crawford, Okay,

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Speaker 3: Brandon Brown, who else? Yeah, guys from back Home and

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Speaker 3: stuff like that. And later on I started really listening

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Speaker 3: to Victor Wooden because I never heard nobody thumb like that,

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Speaker 3: So it's like, I want to try to do that

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Speaker 3: left hand and see if I can do that. It

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Speaker 3: never worked, but I put it in there somewhere. And

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Speaker 3: later on I really started listening to Anthony Jackson, very

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Speaker 3: very heavy, you know.

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Speaker 2: Very Philadelphia.

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Speaker 3: Oh yeah, that's my dude. Man. I go back to

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Speaker 3: listen to him all the time, just to learn something new. Gotcha,

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Speaker 3: that's my favorite.

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Speaker 2: Gotcha.

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Speaker 1: What were the five albums that defined you for the

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Speaker 1: first ten years of your life? And I don't even

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Speaker 1: mean as a bass player whatever, Like just between ninety

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Speaker 1: and two thousand and what were the five records that

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Speaker 1: defined you?

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Speaker 3: Let me see them bad with albums titled but let

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Speaker 3: me see if I can figure it out? Definitely hot

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Speaker 3: butter so Isaac Hayes. Yes, yeah, I'm gonna skip over

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Speaker 3: some gears, but two Against Nature Steely Dan Got You. Okay,

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Speaker 3: let's see what is.

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Speaker 2: It about that album that gravitated you.

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Speaker 3: Well, first of all, that pristine production and mixing. You know,

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Speaker 3: of course that's gonna make anybody listen if it just

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Speaker 3: sounds good. But I've always loved Donald Fagan and he's

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Speaker 3: always been an influence on me in terms of, you know,

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Speaker 3: how I want to write and the way I hear

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Speaker 3: chorus and stuff. I'm not much of a keyboard player,

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Speaker 3: but when I go to the keyboard for some reason,

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Speaker 3: I think of how he sits down at it and

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Speaker 3: just do whatever the hell he does. But Donald Fagan

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Speaker 3: is really a big influence on me, and especially vocally,

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Speaker 3: I don't sound like him at all, but it's some

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Speaker 3: stuff in there that I kind of sound like him

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Speaker 3: a little bit. But no, but yeah, Donald Fag and

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Speaker 3: that album. So that's the reason I like to it

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Speaker 3: Against Nature, that.

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Speaker 1: Album Got You, okay, yeah, yeah, and the other three

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Speaker 1: Mothership Connection Okay, probably George Clinton and.

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Speaker 2: Them yeah okay, yeah.

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Speaker 3: Yeah, the album cover was pretty cool. That really influenced

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Speaker 3: me a lot in terms of how I wanted to

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Speaker 3: look when I saw that album cover Yeap Gotcha. At

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Speaker 3: a very very early age, I used to stay at

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Speaker 3: that album covered in my grandma's living room. I had

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Speaker 3: the vinyl. I used to act like I was DJ

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Speaker 3: wooded on the turntable in my grandma living room, just

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Speaker 3: scratching it up and just playing around. So there was

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Speaker 3: a big influence. What else, that's three my elementary school days.

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Speaker 3: I have to say, voodoo D'Angelo.

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Speaker 2: Damn that heard me When you said elementary.

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Speaker 3: School, I mean it like that. I didn't know, but

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Speaker 3: that damn ship was definitely you know, I didn't know

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Speaker 3: what the hell was going on. I didn't know what

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Speaker 3: I was listening to. But you know, guess what, we

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Speaker 3: didn't know either. But it was one of those things, man,

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Speaker 3: you just you couldn't stop listening to it and felt

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Speaker 3: at home with that because you know, he came from

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Speaker 3: the church too, you know. So yeah, it was just

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Speaker 3: I ain't gonna get too much into that, but yes, yes, yeah,

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Speaker 3: for real, I'm glad I'm saying that to you.

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Speaker 2: Man.

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Speaker 1: Yeah, I appreciate it, and I know he would appreciate it,

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Speaker 1: Like I definitely know that he's a hip to your work.

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Speaker 3: Okay, that's too Yeah, what's the fifth? That was four?

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Speaker 3: Find a fifth one. It's probably gonna be another steally

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Speaker 3: damn album. I would say, the damn it, the royal

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Speaker 3: scam Steally damn.

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Speaker 4: Yeah, what's weird?

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Speaker 1: You just say you're not a keyboard player yet you

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Speaker 1: released a keyboard album or a synth album.

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Speaker 3: Yeah, thats just me sitting around. That's when I first

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Speaker 3: got that that muse. I just opened the box, I

286
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Speaker 3: plugged it in. I just told myself, just do something

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Speaker 3: with it, just put out something. And I just did,

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Speaker 3: you know, just messed around with it because I was

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Speaker 3: trying to tap.

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Speaker 2: Into my that's creativity, that's.

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Speaker 3: My whole thing. But I'm not really a deep type

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Speaker 3: of person.

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Speaker 2: I just you just do it.

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Speaker 3: Yeah, I just do it because I just look at

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00:16:19,840 --> 00:16:23,600
Speaker 3: it as as breathing. I guess I've been doing this

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Speaker 3: thing for so long. I just it's just part of me. Shit,

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Speaker 3: I just won't this shit. I just want to be

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Speaker 3: part of the music. I just want to be in it.

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Speaker 1: Let me ask you, because I will say that probably

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Speaker 1: be one issue that sort of handicaps My peer group

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00:16:43,440 --> 00:16:49,080
Speaker 1: is literally showing up like I tell them all the time, Like,

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Speaker 1: we don't have to be prepared. Sometimes we won't be good,

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Speaker 1: but let's just show up and take one step in

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Speaker 1: front of the other, one step in front of the other.

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Speaker 2: And look, I'm guilty of it a lot.

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Speaker 1: I was that person that believed in no, it's not

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Speaker 1: ready yet, perfectionism.

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Speaker 2: I mean, I'm the guy.

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Speaker 1: I'm the guy that you know has been sitting on

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Speaker 1: his album for eleven years now. But showing up, I

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Speaker 1: believe is not only key in first, but it's really

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00:17:21,200 --> 00:17:24,800
Speaker 1: just the only rule. Like, so, I mean, have you

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Speaker 1: always just been mis open to hey, where I plugging,

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Speaker 1: let's go? Or like have you ever had trepidation or

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Speaker 1: oh I'm not good enough for it? Have you ever

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Speaker 1: been intimidated to be in a situation.

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Speaker 3: That's what I'm working on working through now, is like

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Speaker 3: feeling like I'm not good enough because I feel like

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Speaker 3: that all the time. I wake up feeling like that.

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Speaker 3: That's why I'm always so damn depressed. Probably, but yeah,

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Speaker 3: that's what I'm working through.

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Speaker 2: You know, just what is it that you want to

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Speaker 2: master that?

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Speaker 1: Like, what is the sign that you are satisfied with

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Speaker 1: your skill level? Because I mean, dude, like you're leaving

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Speaker 1: evidence all over the internet on why you are not

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Speaker 1: to be messed with, Like, I.

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Speaker 3: Don't look at it like that. I just, man, I

329
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Speaker 3: just be doing shit. But I don't. I'm not where

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Speaker 3: I really want to be in terms of how I

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Speaker 3: actually hear myself, you know, not to be all profound

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Speaker 3: and deep. But I'm not there yet, you know, So

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Speaker 3: I'm not really I'm very hard on myself after every show,

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Speaker 3: you know, I beat myself up. I try my best

335
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Speaker 3: not to because it can be very draining, but I'm

336
00:18:36,600 --> 00:18:39,399
Speaker 3: so used to beating myself up. I'm not trying to

337
00:18:39,480 --> 00:18:42,360
Speaker 3: keep myself humble or nothing. But it's just I don't

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00:18:42,359 --> 00:18:45,000
Speaker 3: want to feel like I've arrived to nothing. I don't

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Speaker 3: want to feel like, man, you're the baddest motherfucker in town. No,

340
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Speaker 3: I don't want that. I just want to just be

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Speaker 3: in the space of doing my thing and getting better

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00:18:54,680 --> 00:18:55,200
Speaker 3: and better.

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Speaker 2: So is it hard for you to take compliments when.

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Speaker 3: Yeah, I'm starting to say thank you now as opposed

345
00:19:01,200 --> 00:19:04,119
Speaker 3: to say, man, whatever I tried, I still say I

346
00:19:04,160 --> 00:19:07,639
Speaker 3: guess and I tried, and very you know, whatever I

347
00:19:07,640 --> 00:19:11,280
Speaker 3: guess humble or whatever. I just I'm not deal with compliments.

348
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Speaker 3: I just know I get it.

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Speaker 1: Yeahs as a former student of Non deservingst University. Yeah,

350
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Speaker 1: I will say that when you do arrive to that place.

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Speaker 2: And the thing is is that even though I would

352
00:19:28,000 --> 00:19:28,879
Speaker 2: say I'm more.

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00:19:28,760 --> 00:19:31,159
Speaker 1: Evolved now than I've ever been in the last like

354
00:19:32,040 --> 00:19:35,800
Speaker 1: five to six years, I mean, you know, sometimes it's

355
00:19:35,800 --> 00:19:40,320
Speaker 1: a struggle. I will say yesterday was probably on record

356
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Speaker 1: one of the a very bad day, you know, because

357
00:19:45,720 --> 00:19:48,480
Speaker 1: sometimes a dark commotion will come to light and you

358
00:19:48,520 --> 00:19:51,080
Speaker 1: don't know how to handle it, and you know, but

359
00:19:51,240 --> 00:19:55,560
Speaker 1: you're going to get to the place where you're satisfied and.

360
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Speaker 2: That you own it.

361
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Speaker 1: And you know, I love watching you get to the

362
00:20:01,000 --> 00:20:03,359
Speaker 1: If this is not perfection for you, then I love

363
00:20:03,440 --> 00:20:07,040
Speaker 1: watching you struggle to the destination. So keep on struggling.

364
00:20:07,040 --> 00:20:07,680
Speaker 3: I'm struggling.

365
00:20:10,480 --> 00:20:11,600
Speaker 2: The base really never.

366
00:20:11,480 --> 00:20:15,560
Speaker 1: Gets the props that it deserves. Like why the bass

367
00:20:15,800 --> 00:20:17,360
Speaker 1: as opposed to any other instrument.

368
00:20:18,480 --> 00:20:21,359
Speaker 3: Well that's probably because my dad again, because you know

369
00:20:21,840 --> 00:20:25,320
Speaker 3: I used to I used to see him thump a lot,

370
00:20:25,800 --> 00:20:27,840
Speaker 3: and I didn't as a key. You don't know what's

371
00:20:27,880 --> 00:20:30,760
Speaker 3: going on, but you're so intrigued, you're so fascinated by this,

372
00:20:31,560 --> 00:20:34,240
Speaker 3: by your dad. By this guy is looking so cool.

373
00:20:34,240 --> 00:20:36,520
Speaker 3: He got the ponytail, you got this purple base, which

374
00:20:36,520 --> 00:20:38,399
Speaker 3: he actually gave me. I play, I play it with

375
00:20:38,440 --> 00:20:42,440
Speaker 3: my grandma. Play that purple base with my grandma. And yeah,

376
00:20:42,480 --> 00:20:43,560
Speaker 3: it was just because of him.

377
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Speaker 2: Just because of your dad.

378
00:20:44,560 --> 00:20:48,240
Speaker 1: Okay, yeah, you know seeing that I've heard you say

379
00:20:48,280 --> 00:20:49,760
Speaker 1: a few times and this is this is what I

380
00:20:49,800 --> 00:20:54,199
Speaker 1: really love about your creative ethos, your relationship to what

381
00:20:54,320 --> 00:20:58,120
Speaker 1: I'll say, air quote mistakes keeps speak on why your

382
00:20:58,160 --> 00:21:02,440
Speaker 1: theory of like mistakes are important ingredients for your creations,

383
00:21:02,840 --> 00:21:05,080
Speaker 1: and that you don't believe in the idea of mistakes

384
00:21:05,119 --> 00:21:08,840
Speaker 1: like everything is usable, Like as a chef, you will

385
00:21:08,960 --> 00:21:10,200
Speaker 1: use everything.

386
00:21:09,800 --> 00:21:13,840
Speaker 2: From the snout to the butt, like everything.

387
00:21:14,119 --> 00:21:17,720
Speaker 1: What is your relationship with mistakes as far as your

388
00:21:17,720 --> 00:21:18,840
Speaker 1: creativity is concerned.

389
00:21:19,440 --> 00:21:25,000
Speaker 3: I just find so much value in just embracing the

390
00:21:25,080 --> 00:21:28,480
Speaker 3: mistake as opposed to especially in musically just or just

391
00:21:28,560 --> 00:21:31,800
Speaker 3: in life. Man, just just embracing it and just letting

392
00:21:31,840 --> 00:21:35,520
Speaker 3: it be what it is and just letting it have

393
00:21:35,640 --> 00:21:36,520
Speaker 3: its own story.

394
00:21:36,560 --> 00:21:36,760
Speaker 2: Man.

395
00:21:36,800 --> 00:21:39,680
Speaker 3: It's like I just I don't know, I really don't

396
00:21:39,720 --> 00:21:42,040
Speaker 3: think too deep about it. I just I just love

397
00:21:42,520 --> 00:21:46,200
Speaker 3: making a mistake a thing and it's it's so much

398
00:21:46,560 --> 00:21:49,439
Speaker 3: life into especially playing live and stuff. I make a

399
00:21:49,440 --> 00:21:52,760
Speaker 3: lot of mistakes, but there's something about giving that mistake

400
00:21:52,920 --> 00:21:57,360
Speaker 3: energy and it blossoms into something so I wouldn't even

401
00:21:57,359 --> 00:22:00,680
Speaker 3: think of you know. So that's why I embrace, you know,

402
00:22:00,840 --> 00:22:02,720
Speaker 3: mistaken The Prince.

403
00:22:02,520 --> 00:22:04,800
Speaker 1: Ever tell you his theory. He's like, if you make

404
00:22:04,840 --> 00:22:07,119
Speaker 1: a mistake, then make it again.

405
00:22:07,600 --> 00:22:07,800
Speaker 2: Yep.

406
00:22:07,960 --> 00:22:10,800
Speaker 3: So that way, he told me, man, just own it

407
00:22:11,040 --> 00:22:13,320
Speaker 3: on it. We was rehearsing in an MPG music club

408
00:22:13,400 --> 00:22:16,520
Speaker 3: room and back there and I did something that he

409
00:22:16,520 --> 00:22:19,080
Speaker 3: probably felt that I wasn't confident with it. He told

410
00:22:19,119 --> 00:22:21,720
Speaker 3: me own it and own it, and that stuck with

411
00:22:21,800 --> 00:22:24,200
Speaker 3: me ever since then too. Man, just you got to

412
00:22:24,280 --> 00:22:26,560
Speaker 3: own it. If you're not confident with your shit, they

413
00:22:26,600 --> 00:22:28,720
Speaker 3: gonna feel it too. So that's why I kind of

414
00:22:28,760 --> 00:22:32,520
Speaker 3: have this attitude behind my mistakes, like it's mine, nigga,

415
00:22:32,560 --> 00:22:33,600
Speaker 3: So I'm just gonna keep doing it.

416
00:22:34,320 --> 00:22:34,520
Speaker 2: Yep.

417
00:22:35,240 --> 00:22:40,840
Speaker 1: Like in your high school, were you uh in an

418
00:22:40,920 --> 00:22:43,919
Speaker 1: environment in which you had like musical bands? Did you

419
00:22:44,040 --> 00:22:47,360
Speaker 1: join bands as a kid or what were your high

420
00:22:47,400 --> 00:22:48,760
Speaker 1: school teen years?

421
00:22:48,840 --> 00:22:52,440
Speaker 2: Like? As far as uh gigging or big bass playing

422
00:22:52,480 --> 00:22:53,600
Speaker 2: is concerned.

423
00:22:54,400 --> 00:22:56,760
Speaker 3: I wasn't banned. In high school, I used to stay

424
00:22:56,760 --> 00:22:58,679
Speaker 3: in the band class, you know, I just and they

425
00:22:58,720 --> 00:23:00,199
Speaker 3: had a base in there. I used to plug my

426
00:23:00,240 --> 00:23:02,560
Speaker 3: base in the in the room and just play with

427
00:23:02,720 --> 00:23:04,880
Speaker 3: the horn players and stuff. I play upright in high

428
00:23:04,920 --> 00:23:07,280
Speaker 3: school and but I used to stay in the band class.

429
00:23:07,320 --> 00:23:09,880
Speaker 3: But a lot of my foundation was the church during

430
00:23:09,880 --> 00:23:13,040
Speaker 3: that time, playing in church with all the badass organ

431
00:23:13,080 --> 00:23:15,080
Speaker 3: players and piano players. And that's where I really get

432
00:23:15,119 --> 00:23:16,800
Speaker 3: a lot of my shit from looking at the organ

433
00:23:16,840 --> 00:23:19,440
Speaker 3: player's foot or the left hand and how they move

434
00:23:19,480 --> 00:23:22,200
Speaker 3: and stuff. So really the church is a big influence,

435
00:23:22,560 --> 00:23:23,040
Speaker 3: you know, on me.

436
00:23:23,240 --> 00:23:24,600
Speaker 2: So gotcha?

437
00:23:24,760 --> 00:23:30,320
Speaker 1: Can you speak on the metamorphoses of Mono Neon's journey,

438
00:23:30,440 --> 00:23:34,000
Speaker 1: like as in the character, like the journey from DJ

439
00:23:34,200 --> 00:23:36,639
Speaker 1: to Mono Neon? Like, first of all, where where did

440
00:23:36,680 --> 00:23:37,560
Speaker 1: the name come from?

441
00:23:38,200 --> 00:23:41,080
Speaker 3: I just like Neon colors. I love like well. I

442
00:23:41,200 --> 00:23:43,800
Speaker 3: used to call myself poly Neon, but other than my

443
00:23:43,800 --> 00:23:46,680
Speaker 3: Grandma's in my bedroom, my grandma's house. For some reason,

444
00:23:46,720 --> 00:23:48,840
Speaker 3: I just wanted to change it because I got bored

445
00:23:48,920 --> 00:23:50,800
Speaker 3: or something, so I just started messing around with this.

446
00:23:51,160 --> 00:23:53,919
Speaker 3: But I just like Neon installations like Dave Flavin and

447
00:23:54,040 --> 00:23:57,320
Speaker 3: some and just light shit like James Terrell. I used

448
00:23:57,359 --> 00:23:59,920
Speaker 3: to go on the Internet and just research stuff about

449
00:24:00,080 --> 00:24:02,040
Speaker 3: neon lights and stuff, so it just came from that.

450
00:24:02,680 --> 00:24:06,160
Speaker 3: And I love vant guard art like movements like god,

451
00:24:06,160 --> 00:24:09,879
Speaker 3: I is okay, that's where all the embracing mistakes probably

452
00:24:09,920 --> 00:24:14,000
Speaker 3: came from, and the rebelliousness and this anti art shit

453
00:24:14,160 --> 00:24:16,399
Speaker 3: you know that I keep in my head. Just just

454
00:24:16,440 --> 00:24:19,399
Speaker 3: wanted to just, I guess, be different, but not really.

455
00:24:19,560 --> 00:24:22,520
Speaker 3: I don't care about being different, being different, but yeah, God,

456
00:24:22,520 --> 00:24:25,960
Speaker 3: I really influenced me a lot with the whole manifesto bullshit.

457
00:24:26,160 --> 00:24:31,320
Speaker 1: So yep, got you, gotcha as far as your fashion sins,

458
00:24:31,960 --> 00:24:35,359
Speaker 1: did you study much as far as afrofuturism is concerned,

459
00:24:35,640 --> 00:24:39,280
Speaker 1: or is this just your inner nine year old self

460
00:24:39,320 --> 00:24:41,800
Speaker 1: that refuses to grow up and you're in a constant

461
00:24:41,880 --> 00:24:42,720
Speaker 1: state of play.

462
00:24:43,080 --> 00:24:46,439
Speaker 3: That both all those things problems, especially I don't want

463
00:24:46,480 --> 00:24:48,360
Speaker 3: to grow up at all. I'm thirty five years old,

464
00:24:49,119 --> 00:24:51,080
Speaker 3: but now you know, it's starting to catch up to

465
00:24:51,119 --> 00:24:52,840
Speaker 3: me that I may have to grow up, but just

466
00:24:52,880 --> 00:24:56,280
Speaker 3: a little bit here, you know, But now I don't

467
00:24:56,280 --> 00:24:58,200
Speaker 3: want to grow up. Fuck that shit. Now be a

468
00:24:58,240 --> 00:25:01,520
Speaker 3: child for the rest of my life. Yeah, that Mothership

469
00:25:01,520 --> 00:25:04,840
Speaker 3: Connection the album that that whole thing really influenced me,

470
00:25:04,880 --> 00:25:07,439
Speaker 3: I guess in Booty Collins and all that stuff. So

471
00:25:07,440 --> 00:25:09,800
Speaker 3: I come through that, you know with the I don't

472
00:25:09,800 --> 00:25:12,080
Speaker 3: worry the goggles because of that. But you know, I'm

473
00:25:12,119 --> 00:25:15,120
Speaker 3: just being me, I guess, but that's that is an influence.

474
00:25:15,080 --> 00:25:15,800
Speaker 2: You know. Gotcha?

475
00:25:16,080 --> 00:25:20,320
Speaker 1: Yeah? Can you talk about your like when you started

476
00:25:20,320 --> 00:25:24,639
Speaker 1: getting session work? Was Neo your first like major client

477
00:25:24,840 --> 00:25:26,440
Speaker 1: or yep?

478
00:25:26,480 --> 00:25:29,760
Speaker 3: Because I remember recording that when I was going to Berkeley.

479
00:25:30,000 --> 00:25:32,040
Speaker 3: The trumpone player asked me to come over to this

480
00:25:32,080 --> 00:25:35,160
Speaker 3: spot to record that, and I think it was named

481
00:25:35,200 --> 00:25:39,600
Speaker 3: Derek White trumpone player. Yeah, yeah, I think he produced

482
00:25:39,640 --> 00:25:42,040
Speaker 3: a co produced that song I played on. But yeah,

483
00:25:42,080 --> 00:25:45,800
Speaker 3: but that was my first major pop song I played on.

484
00:25:48,040 --> 00:25:51,600
Speaker 1: Was playing something so structured and discipline a hard thing

485
00:25:51,640 --> 00:25:55,600
Speaker 1: to do as opposed to wanting to break out of

486
00:25:55,640 --> 00:25:57,400
Speaker 1: your boundaries and.

487
00:25:57,800 --> 00:26:00,159
Speaker 3: Not not during that time because I really was, and

488
00:26:00,880 --> 00:26:03,720
Speaker 3: I guess so called tapped into doing my own thing.

489
00:26:04,400 --> 00:26:06,280
Speaker 3: I mean, but yeah, I was just trying to make

490
00:26:06,760 --> 00:26:08,920
Speaker 3: the do happy with whatever I was doing.

491
00:26:09,080 --> 00:26:11,800
Speaker 2: You know. So if you're in a situation in which

492
00:26:12,680 --> 00:26:15,359
Speaker 2: you're not the final say, and a performance or whatnot,

493
00:26:16,640 --> 00:26:19,800
Speaker 2: you know, like you might hear you might go to

494
00:26:19,880 --> 00:26:23,879
Speaker 2: a relative minor of a note that sounds cool in

495
00:26:23,880 --> 00:26:25,960
Speaker 2: your ears, whereas they're just like, nah, I'm doing a

496
00:26:25,960 --> 00:26:28,439
Speaker 2: pop song, like just play basic and straight. Like.

497
00:26:28,520 --> 00:26:33,199
Speaker 1: Have you been in a situation where like discipline was

498
00:26:33,240 --> 00:26:36,399
Speaker 1: required for a client and.

499
00:26:38,080 --> 00:26:40,119
Speaker 2: What your your instincts were.

500
00:26:39,960 --> 00:26:42,320
Speaker 1: Telling you to go You couldn't because you have to

501
00:26:42,320 --> 00:26:43,159
Speaker 1: play something straight?

502
00:26:44,840 --> 00:26:47,880
Speaker 3: No, I'm I'm I'm cool, you know, being produced and

503
00:26:47,960 --> 00:26:50,520
Speaker 3: someone told me to keep it simple and keep it

504
00:26:51,000 --> 00:26:53,639
Speaker 3: what it should be and just you know, play the record.

505
00:26:53,640 --> 00:26:55,720
Speaker 3: I'm cool with that, you know. You know, I don't

506
00:26:55,760 --> 00:26:59,600
Speaker 3: mind it. I just want to make if I'm hired

507
00:26:59,600 --> 00:27:02,760
Speaker 3: to do a session or whatever, I just want to

508
00:27:02,800 --> 00:27:06,240
Speaker 3: make whoever is producing happy. It's not really about me.

509
00:27:06,280 --> 00:27:09,880
Speaker 3: If you want me to do whatever, mone on, neon, shit,

510
00:27:10,000 --> 00:27:11,520
Speaker 3: I will go there if you want me to, But

511
00:27:12,080 --> 00:27:14,119
Speaker 3: I just come in. Just tell me what to do,

512
00:27:14,160 --> 00:27:15,520
Speaker 3: and I try my best to do it for you.

513
00:27:15,960 --> 00:27:19,280
Speaker 1: Actually, I'll ask you the opposite, because I'll say that

514
00:27:20,280 --> 00:27:23,520
Speaker 1: I'll roll my eyes more. I mean, occasionally I'll get

515
00:27:23,520 --> 00:27:28,840
Speaker 1: a collaborator that will use this adjective all the time,

516
00:27:28,840 --> 00:27:30,600
Speaker 1: in which they'd be like Hey, man, I want you

517
00:27:30,600 --> 00:27:34,639
Speaker 1: guys to rutify it. And I'm like, if you guys

518
00:27:34,720 --> 00:27:39,119
Speaker 1: really knew the roots, then for me, like I'm a

519
00:27:39,200 --> 00:27:44,000
Speaker 1: stickler to the original version, so like if an artist

520
00:27:44,040 --> 00:27:48,120
Speaker 1: comes on the Tonight Show, like for me, it's it's

521
00:27:48,160 --> 00:27:52,080
Speaker 1: shape shifting into what the song originally was.

522
00:27:52,119 --> 00:27:54,920
Speaker 2: And I had this one client that, like, you.

523
00:27:54,800 --> 00:27:57,879
Speaker 1: Know, they were supposed to sit in with us and

524
00:27:58,160 --> 00:28:02,879
Speaker 1: one of their massive trillion selling, trillion units selling hits.

525
00:28:04,600 --> 00:28:07,880
Speaker 1: We did it to the letter and they were like, well,

526
00:28:07,920 --> 00:28:09,920
Speaker 1: I want you guys to roots a fire and remix it.

527
00:28:09,960 --> 00:28:12,879
Speaker 1: And I'm trying to be like, yo, like when we

528
00:28:13,040 --> 00:28:15,600
Speaker 1: go out there to do it for America and do

529
00:28:15,640 --> 00:28:20,119
Speaker 1: it for Jimmy, like they're expecting, you know, the version

530
00:28:20,160 --> 00:28:22,800
Speaker 1: that they grew up with, and they're gonna look at

531
00:28:22,880 --> 00:28:24,720
Speaker 1: us like why are you guys trying to hip a

532
00:28:24,760 --> 00:28:25,720
Speaker 1: fire for me?

533
00:28:25,880 --> 00:28:26,200
Speaker 4: Though?

534
00:28:26,600 --> 00:28:27,560
Speaker 2: That's the challenge.

535
00:28:27,560 --> 00:28:30,720
Speaker 1: So do you sometimes run into a client that wants

536
00:28:30,840 --> 00:28:34,000
Speaker 1: you that'll make a reference to like one.

537
00:28:33,880 --> 00:28:38,320
Speaker 2: Of your Cardi b videos or anything like that, like, yeah,

538
00:28:38,440 --> 00:28:39,720
Speaker 2: to look it up like you did that.

539
00:28:40,240 --> 00:28:42,320
Speaker 3: That has happened before, And I kind of get annoyed,

540
00:28:42,920 --> 00:28:46,120
Speaker 3: but okay, Yeah, but if you want me to be

541
00:28:46,720 --> 00:28:49,040
Speaker 3: all quirky and stuff. I can give that to you,

542
00:28:49,080 --> 00:28:52,320
Speaker 3: but sometimes it's not gonna work, you know. But whatever

543
00:28:52,360 --> 00:28:56,600
Speaker 3: you want, you're paying it, So I do whatever, right, Okay.

544
00:28:56,800 --> 00:29:00,400
Speaker 2: So you believe in giving the song what it needs, and.

545
00:29:00,960 --> 00:29:02,800
Speaker 3: That's always important to me. You know. I don't come

546
00:29:02,840 --> 00:29:05,040
Speaker 3: in with the ego. You know. I can be arrogant

547
00:29:05,040 --> 00:29:06,640
Speaker 3: if you want me to, but I don't come in,

548
00:29:07,000 --> 00:29:07,600
Speaker 3: you know, with it.

549
00:29:08,600 --> 00:29:11,600
Speaker 1: Keep talking about your work with Georgia and Mandre. How

550
00:29:11,600 --> 00:29:14,600
Speaker 1: did you two connect?

551
00:29:15,000 --> 00:29:18,440
Speaker 3: The first thing I played on was I think it's

552
00:29:18,440 --> 00:29:22,360
Speaker 3: called Miss One. I did that with a Danish producer,

553
00:29:23,080 --> 00:29:26,880
Speaker 3: Chris one two. Okay, but yeah, the first thing I

554
00:29:26,920 --> 00:29:30,320
Speaker 3: played on was miss One and like I think two

555
00:29:30,360 --> 00:29:32,600
Speaker 3: years ago was the first time I met her in person,

556
00:29:32,880 --> 00:29:36,680
Speaker 3: and yeah, I love her man she cool he yep.

557
00:29:37,560 --> 00:29:38,600
Speaker 2: So okay.

558
00:29:38,680 --> 00:29:42,440
Speaker 1: So yeah, you are in the age of where you

559
00:29:42,480 --> 00:29:45,920
Speaker 1: guys can just collaborate by sending each other files and.

560
00:29:45,840 --> 00:29:46,400
Speaker 2: Is that so?

561
00:29:46,560 --> 00:29:49,800
Speaker 1: Is it jarring for you to come and create in person?

562
00:29:50,280 --> 00:29:53,240
Speaker 1: Like for me, I like to create in person with

563
00:29:53,280 --> 00:29:55,000
Speaker 1: the client. But I do know that there's a whole

564
00:29:55,040 --> 00:29:58,520
Speaker 1: other generation that's just like, hey, you know, I'll see the.

565
00:29:58,440 --> 00:30:00,440
Speaker 2: Files, put some stink on it, send back.

566
00:30:00,280 --> 00:30:05,160
Speaker 1: To me, and then maybe five months later I'll be shocking.

567
00:30:05,200 --> 00:30:07,560
Speaker 2: I'm like, oh this is the song I play.

568
00:30:08,360 --> 00:30:12,640
Speaker 1: So for you, Like you can have absolute chemistry with

569
00:30:12,680 --> 00:30:14,440
Speaker 1: someone without ever having met them.

570
00:30:14,920 --> 00:30:17,880
Speaker 3: Yep, You've been like that for me for a long time.

571
00:30:18,040 --> 00:30:18,240
Speaker 4: You know.

572
00:30:19,160 --> 00:30:20,120
Speaker 2: Do you prefer that way?

573
00:30:20,640 --> 00:30:22,479
Speaker 3: I mean, I'm used to it. I don't mind it,

574
00:30:22,480 --> 00:30:24,520
Speaker 3: but you know, now I like to be in the

575
00:30:24,600 --> 00:30:26,840
Speaker 3: room with people, man, because it's just a different thing

576
00:30:26,880 --> 00:30:29,480
Speaker 3: you bounce off people with, you know, when you're in

577
00:30:29,520 --> 00:30:30,240
Speaker 3: the room, you know.

578
00:30:30,200 --> 00:30:31,960
Speaker 2: So gotcha? Yeah, okay.

579
00:30:32,040 --> 00:30:36,960
Speaker 1: So you know Eddie Murphy is a major, major, major

580
00:30:37,000 --> 00:30:37,640
Speaker 1: fan of your work.

581
00:30:37,680 --> 00:30:38,760
Speaker 2: Has he ever reached out to you?

582
00:30:40,000 --> 00:30:40,920
Speaker 3: Not personally?

583
00:30:41,000 --> 00:30:43,760
Speaker 1: No, for someone that doesn't have a social media account,

584
00:30:43,840 --> 00:30:49,040
Speaker 1: I'll say that. You know, he's extremely well equipped with

585
00:30:50,080 --> 00:30:52,640
Speaker 1: like the idea of sharing viral videos and all those things.

586
00:30:52,680 --> 00:30:56,120
Speaker 1: So you know, for him, a typical week, you're going

587
00:30:56,200 --> 00:31:00,000
Speaker 1: to get like five to ten YouTube or take time

588
00:31:00,360 --> 00:31:04,200
Speaker 1: or Instagram clips that he thinks it's hilarious or whatever.

589
00:31:04,240 --> 00:31:06,320
Speaker 1: And you know, he went through a Mono Neon phase

590
00:31:06,320 --> 00:31:09,560
Speaker 1: where it's almost like I was like, damn, like I

591
00:31:09,640 --> 00:31:12,440
Speaker 1: bet you Mono neon has no clue that this guy

592
00:31:12,520 --> 00:31:15,440
Speaker 1: sits and watches like hours and hours of his videos.

593
00:31:15,840 --> 00:31:16,120
Speaker 3: Nope.

594
00:31:28,760 --> 00:31:33,720
Speaker 1: How long does it typically take for you to once

595
00:31:33,760 --> 00:31:37,640
Speaker 1: you decide that you're going to take a video and

596
00:31:37,680 --> 00:31:41,880
Speaker 1: then find the harmonics? Like do you have this ability

597
00:31:41,960 --> 00:31:45,120
Speaker 1: to even as I speak now, like to figure out

598
00:31:45,120 --> 00:31:48,800
Speaker 1: like what key I'm talking in and where melodically my

599
00:31:48,880 --> 00:31:51,120
Speaker 1: voice is going and and all those things.

600
00:31:52,320 --> 00:31:54,200
Speaker 3: Yeah, but I would have to. I would have to

601
00:31:54,240 --> 00:31:56,360
Speaker 3: record it. I don't hear right now. I would have to,

602
00:31:57,040 --> 00:32:01,480
Speaker 3: you know, psychic and to actually because there's actual notes

603
00:32:01,560 --> 00:32:04,480
Speaker 3: in talking, but when you repeat it, you can hear

604
00:32:04,840 --> 00:32:06,600
Speaker 3: the note, you can hear the con tour, you can

605
00:32:06,640 --> 00:32:10,120
Speaker 3: hear a groove in it if based on your sensibility.

606
00:32:10,240 --> 00:32:12,040
Speaker 3: So that's that's what I be, you know.

607
00:32:12,680 --> 00:32:18,920
Speaker 1: So I figured Party is a good subject for you

608
00:32:19,040 --> 00:32:23,360
Speaker 1: to do this with because her voice is so melodic.

609
00:32:24,280 --> 00:32:27,920
Speaker 1: Of the viral videos that you've done of people talking

610
00:32:28,000 --> 00:32:31,520
Speaker 1: and you providing the musical backdrop of it, which one

611
00:32:31,600 --> 00:32:33,000
Speaker 1: was the most challenging.

612
00:32:36,840 --> 00:32:40,600
Speaker 3: Man probably a Cardi B one those early ones, because

613
00:32:40,640 --> 00:32:43,840
Speaker 3: that's when I really kind of started developing it and

614
00:32:43,880 --> 00:32:46,480
Speaker 3: making a song out of it, you know, making the

615
00:32:46,520 --> 00:32:48,920
Speaker 3: track out of it because I used when I first started,

616
00:32:48,920 --> 00:32:52,000
Speaker 3: I was just just mimicking, just finding the notes of

617
00:32:52,080 --> 00:32:56,880
Speaker 3: a person's speech. But now I'm actually making songs, actual

618
00:32:56,920 --> 00:33:00,160
Speaker 3: grooves and tracks something you can dance to from it.

619
00:33:00,360 --> 00:33:03,400
Speaker 3: So I think the early Cardi B once was kind

620
00:33:03,400 --> 00:33:03,920
Speaker 3: of hard for me.

621
00:33:04,320 --> 00:33:07,280
Speaker 1: Do you have to sometimes adjust it rhythmically so that

622
00:33:07,480 --> 00:33:08,400
Speaker 1: it makes more sense?

623
00:33:09,080 --> 00:33:09,280
Speaker 2: Well?

624
00:33:09,320 --> 00:33:15,400
Speaker 3: Probably yeah, for me to make mofa okay yep, yep, yeah,

625
00:33:15,520 --> 00:33:17,920
Speaker 3: especially within the song structure. I wanted, you know, I

626
00:33:17,920 --> 00:33:20,200
Speaker 3: want to have a groove to it, So yeah, I

627
00:33:20,240 --> 00:33:22,360
Speaker 3: do structure a little bit different once to get to

628
00:33:22,400 --> 00:33:23,040
Speaker 3: that part.

629
00:33:23,320 --> 00:33:27,320
Speaker 1: Once those videos are made, do those grooves just lie

630
00:33:27,480 --> 00:33:30,720
Speaker 1: exclusively there or will you sometimes return to it because,

631
00:33:31,440 --> 00:33:33,880
Speaker 1: as you know, our listeners might not know.

632
00:33:34,400 --> 00:33:36,000
Speaker 2: I don't know why we played.

633
00:33:36,120 --> 00:33:39,200
Speaker 1: I think it's when Cardi B hosted the Tonight Show.

634
00:33:40,120 --> 00:33:43,360
Speaker 1: We decided to do. They should have never gave some

635
00:33:43,400 --> 00:33:47,960
Speaker 1: goddamn money. And the track alone, man was just like

636
00:33:48,760 --> 00:33:52,000
Speaker 1: I remember once, I made a forty five minute loop

637
00:33:52,080 --> 00:33:54,920
Speaker 1: to that song, just so I can walk like I'll

638
00:33:54,960 --> 00:33:57,960
Speaker 1: do my morning walks and you know, from my apartment

639
00:33:58,000 --> 00:34:02,120
Speaker 1: to work. When I tell you, I meant my walk

640
00:34:02,240 --> 00:34:03,560
Speaker 1: change listening.

641
00:34:03,160 --> 00:34:05,040
Speaker 2: To you playing that.

642
00:34:08,239 --> 00:34:12,600
Speaker 1: Hell yeah, so it's like once those like you just

643
00:34:12,640 --> 00:34:14,920
Speaker 1: move on to the next You never turn around to that.

644
00:34:15,200 --> 00:34:18,560
Speaker 3: Sometimes I do, okay. Sometimes I go back and actually

645
00:34:18,680 --> 00:34:21,239
Speaker 3: use it for one of my original songs. I put

646
00:34:21,400 --> 00:34:24,239
Speaker 3: my old legs to it sometimes I yeah, okay.

647
00:34:25,200 --> 00:34:28,480
Speaker 1: Have any of your subjects reached out to you once

648
00:34:28,480 --> 00:34:31,160
Speaker 1: they've seen the video? Like has Cardio ever? Is she

649
00:34:31,239 --> 00:34:33,359
Speaker 1: aware of these at all? Has she reached out?

650
00:34:33,880 --> 00:34:36,800
Speaker 3: I think she'd sent it. I think Pete Rock reposted

651
00:34:36,840 --> 00:34:38,279
Speaker 3: it one time a couple of years ago, and I

652
00:34:38,320 --> 00:34:40,520
Speaker 3: think she come in it or something. I may be wrong,

653
00:34:40,600 --> 00:34:43,200
Speaker 3: but got yah. I think a few people have seen it.

654
00:34:43,239 --> 00:34:45,400
Speaker 3: I know Tiffany had it when I did something she

655
00:34:45,440 --> 00:34:49,800
Speaker 3: did on the Breakfast Club about the man something I

656
00:34:49,800 --> 00:34:52,759
Speaker 3: don't know. I re harmed that and she reposted it.

657
00:34:53,040 --> 00:34:55,200
Speaker 3: Yeah yeah, I think some people be seeing it, but

658
00:34:55,239 --> 00:34:57,440
Speaker 3: I don't care. Shit, I just be doing it for myself.

659
00:34:58,080 --> 00:35:02,520
Speaker 2: Yep, got you ye? What are your upright base playing chops?

660
00:35:02,600 --> 00:35:06,920
Speaker 1: Like, like, are you proficient in traditional upright bass playing?

661
00:35:08,600 --> 00:35:11,400
Speaker 3: My peevocados? Shit is okay? You know, I need to

662
00:35:11,400 --> 00:35:14,040
Speaker 3: work on my art, my bowling, but if you want

663
00:35:14,080 --> 00:35:15,920
Speaker 3: me to play upright. You know, I'm not afraid to

664
00:35:16,120 --> 00:35:18,399
Speaker 3: go nowhere. I play upright, you know, for a whole

665
00:35:18,400 --> 00:35:19,160
Speaker 3: show if you want me to.

666
00:35:19,640 --> 00:35:20,759
Speaker 2: Got you all right?

667
00:35:20,800 --> 00:35:24,200
Speaker 1: So you're a Memphis native and you know blues and

668
00:35:24,320 --> 00:35:29,680
Speaker 1: Memphis are synonymous with each other. How proficient are you

669
00:35:29,800 --> 00:35:34,080
Speaker 1: as far as like the blues history of Memphis and

670
00:35:34,239 --> 00:35:37,719
Speaker 1: are there any notable bass players of that genre that

671
00:35:39,160 --> 00:35:42,440
Speaker 1: you feel are unsung or you know, not talked about.

672
00:35:43,080 --> 00:35:46,520
Speaker 3: I would have to save my dad again, Dwayne Thomas,

673
00:35:46,680 --> 00:35:49,239
Speaker 3: you know, so I always have to go back, because man,

674
00:35:49,280 --> 00:35:52,400
Speaker 3: people need to know about his contribution, you know, and

675
00:35:52,520 --> 00:35:53,840
Speaker 3: not to put.

676
00:35:54,400 --> 00:35:57,719
Speaker 2: When they do Holy Ghosts? Does he did? He make

677
00:35:57,800 --> 00:35:59,600
Speaker 2: James proud doing Holy Ghost?

678
00:36:00,200 --> 00:36:02,760
Speaker 3: I got I got this cassette tape my dad played

679
00:36:02,800 --> 00:36:04,840
Speaker 3: on with the Barcaes. This on YouTube. I uploaded the

680
00:36:04,880 --> 00:36:07,200
Speaker 3: whole thing. I think I did what's on Facebook a

681
00:36:07,280 --> 00:36:11,040
Speaker 3: summer huh? And yeah, he yes, he was that dude.

682
00:36:11,760 --> 00:36:14,160
Speaker 3: Just to let you know I got you. Yeah he

683
00:36:14,320 --> 00:36:14,880
Speaker 3: still is.

684
00:36:15,760 --> 00:36:18,279
Speaker 1: James is so hilarious because, I mean, because of the

685
00:36:18,400 --> 00:36:21,880
Speaker 1: history of that song. Holy Ghost was made in nineteen

686
00:36:21,960 --> 00:36:25,319
Speaker 1: seventy three and just sat in the vault like it

687
00:36:25,400 --> 00:36:29,799
Speaker 1: was nothing, and you know some five years later in

688
00:36:29,840 --> 00:36:33,360
Speaker 1: nineteen seventy eight, they just made a quickie throw away

689
00:36:33,840 --> 00:36:35,120
Speaker 1: album and I'm like, how.

690
00:36:35,000 --> 00:36:38,359
Speaker 2: Could you throw away a song like this and just

691
00:36:39,440 --> 00:36:41,200
Speaker 2: let it sit there? I don't like.

692
00:36:41,840 --> 00:36:44,480
Speaker 1: Holy Ghost is my all time favorite Barca song. And

693
00:36:44,480 --> 00:36:47,160
Speaker 1: I would imagine as a bass player like for you, like,

694
00:36:47,200 --> 00:36:51,360
Speaker 1: what what are your memories of like watching them play?

695
00:36:51,400 --> 00:36:54,279
Speaker 1: And there were a few times when Larry would call

696
00:36:54,320 --> 00:36:55,520
Speaker 1: you on stage to play with him.

697
00:36:55,520 --> 00:36:59,920
Speaker 3: Correct now that was rufous my dad to play rufus.

698
00:37:00,080 --> 00:37:02,600
Speaker 3: But yeah, my mom used to pick me up from

699
00:37:02,600 --> 00:37:05,600
Speaker 3: school elementary school to take me to go see the

700
00:37:05,600 --> 00:37:08,919
Speaker 3: Barcades live. That's when my James was playing with him then.

701
00:37:08,960 --> 00:37:12,160
Speaker 3: But Barcades is such a big influence on me and

702
00:37:12,680 --> 00:37:15,440
Speaker 3: Larry Dockton. That's why I probably kind of flamboying with

703
00:37:15,480 --> 00:37:17,960
Speaker 3: my whole style as well, because of seeing Larry with

704
00:37:18,080 --> 00:37:20,600
Speaker 3: the snake and stuff and the blonde hair. I was

705
00:37:20,640 --> 00:37:22,279
Speaker 3: just with him for his birthday. I hung out with

706
00:37:22,360 --> 00:37:28,080
Speaker 3: him and stuff were real. Hell yeah big. I remember

707
00:37:28,120 --> 00:37:30,840
Speaker 3: the yellow and white one he used to have around

708
00:37:30,840 --> 00:37:34,080
Speaker 3: his neck, and.

709
00:37:32,719 --> 00:37:35,600
Speaker 2: I could have sworn that was not real.

710
00:37:36,160 --> 00:37:37,400
Speaker 3: That's a real snake.

711
00:37:38,480 --> 00:37:42,120
Speaker 1: It's not have you ever asked him if the snake

712
00:37:42,160 --> 00:37:44,759
Speaker 1: on the cover of the Cold Blooded album was his?

713
00:37:45,320 --> 00:37:49,560
Speaker 3: Like, No, I didn't ask him. That was that a rattlesnake? Yes,

714
00:37:50,960 --> 00:37:51,359
Speaker 3: I don't know.

715
00:37:52,480 --> 00:37:52,920
Speaker 2: I got you.

716
00:37:53,440 --> 00:37:57,400
Speaker 1: Okay, So for my my gear heads, what did you

717
00:37:57,440 --> 00:37:59,759
Speaker 1: start off with and what do you continue to use

718
00:37:59,800 --> 00:38:01,920
Speaker 1: to this day as far as your gear is concerned.

719
00:38:02,600 --> 00:38:04,920
Speaker 3: First of all, it was a guitar. My daddy gave

720
00:38:04,960 --> 00:38:07,560
Speaker 3: me a guitar, but I played it like a bass

721
00:38:07,600 --> 00:38:09,920
Speaker 3: because that's all I knew was the thumping. I just

722
00:38:10,000 --> 00:38:13,680
Speaker 3: used to thump. It was a guitar. Then eventually, you know,

723
00:38:14,320 --> 00:38:17,440
Speaker 3: I actually had an actual bass, but I think it

724
00:38:17,480 --> 00:38:20,440
Speaker 3: was an ab and as sound gear had a transparent

725
00:38:20,480 --> 00:38:24,920
Speaker 3: orange finish. Yeah, it was an old Abinaz bass.

726
00:38:25,239 --> 00:38:28,560
Speaker 2: And you mentioned you went to Berkeley. I don't know why.

727
00:38:28,960 --> 00:38:31,360
Speaker 1: Every time I meet a Berkeley musician, I'm just like

728
00:38:31,880 --> 00:38:34,680
Speaker 1: that experience would have been a nightmare for me.

729
00:38:34,719 --> 00:38:36,120
Speaker 2: What was your Berkeley experience?

730
00:38:36,239 --> 00:38:40,160
Speaker 3: Like it was terrible? Now, I was all right, I

731
00:38:40,200 --> 00:38:42,319
Speaker 3: don't like going to school, first of all, but I'm

732
00:38:42,320 --> 00:38:44,840
Speaker 3: glad I went because I met some cool people. But

733
00:38:44,920 --> 00:38:46,120
Speaker 3: I hardly went to class though.

734
00:38:47,239 --> 00:38:48,799
Speaker 2: Ye, what was your years there?

735
00:38:49,360 --> 00:38:53,319
Speaker 3: Two thousand and eight to twenty ten. So I was

736
00:38:53,320 --> 00:38:55,279
Speaker 3: there two years and I went back home.

737
00:38:56,239 --> 00:38:58,919
Speaker 1: How do you decide who your tribe is or who

738
00:39:00,160 --> 00:39:00,960
Speaker 1: your circle is?

739
00:39:01,800 --> 00:39:04,880
Speaker 3: Actually? For me, it was that experience was eye opening.

740
00:39:05,200 --> 00:39:07,640
Speaker 3: I just looked at that thing totally different because I

741
00:39:07,760 --> 00:39:10,000
Speaker 3: was it was my first time being around so many

742
00:39:10,080 --> 00:39:13,560
Speaker 3: musicians that were good, and they were I guess better

743
00:39:13,600 --> 00:39:16,120
Speaker 3: than me. So I wasn't even trying to outplay nobody.

744
00:39:16,160 --> 00:39:18,399
Speaker 3: I wasn't trying to be better. It opened me up

745
00:39:18,400 --> 00:39:21,080
Speaker 3: to saying, Okay, there's a lot of good musicians out here,

746
00:39:21,120 --> 00:39:24,359
Speaker 3: so you have to do something way totally different. So

747
00:39:24,400 --> 00:39:27,400
Speaker 3: that's why I started tapping into wearing the neon colors,

748
00:39:27,840 --> 00:39:32,040
Speaker 3: becoming a PERSONA really tapping into that because I just

749
00:39:32,040 --> 00:39:34,840
Speaker 3: didn't want to just be a musician, you know, I

750
00:39:34,880 --> 00:39:38,400
Speaker 3: wanted to be something else. So being at Berkeley was

751
00:39:38,480 --> 00:39:41,240
Speaker 3: really an eye opening thing beyond music.

752
00:39:41,560 --> 00:39:46,080
Speaker 1: I guess as far as your actual fully fleshed out

753
00:39:46,280 --> 00:39:49,520
Speaker 1: mono neon character, when did when did you make your

754
00:39:49,560 --> 00:39:56,000
Speaker 1: debut as far as soccer on bass, duct tape hats, goggles, like,

755
00:39:56,160 --> 00:39:59,840
Speaker 1: when did this person come to like like I.

756
00:40:00,000 --> 00:40:02,520
Speaker 3: I have to sock on my basis at Berkeley. I

757
00:40:02,560 --> 00:40:03,920
Speaker 3: think I gotta look back and.

758
00:40:04,239 --> 00:40:04,600
Speaker 4: What was the.

759
00:40:06,280 --> 00:40:09,359
Speaker 2: Logistics of that this is just to be different or like?

760
00:40:09,520 --> 00:40:09,839
Speaker 2: Was it?

761
00:40:10,160 --> 00:40:10,239
Speaker 4: No?

762
00:40:10,520 --> 00:40:13,400
Speaker 3: It was just I was just reading a lot about

763
00:40:14,000 --> 00:40:18,640
Speaker 3: ready made art by Marcel Duchamp, that where he just, yeah,

764
00:40:18,719 --> 00:40:21,000
Speaker 3: just ready may art where he takes this ordinary object

765
00:40:21,440 --> 00:40:24,000
Speaker 3: and he may write some sort of pseudonym on it,

766
00:40:24,120 --> 00:40:26,640
Speaker 3: or he may reposition it. And for some reason, I

767
00:40:26,719 --> 00:40:29,320
Speaker 3: just I just wanted to do that with my bass.

768
00:40:29,360 --> 00:40:33,000
Speaker 3: I like, okay, I since I want to be this

769
00:40:33,560 --> 00:40:37,680
Speaker 3: just persona, I need to tap into something that's beyond music.

770
00:40:37,760 --> 00:40:40,359
Speaker 3: Let me read something about visual arts, let me get

771
00:40:40,360 --> 00:40:43,760
Speaker 3: into sculptures, let me be influenced by something else, because

772
00:40:43,800 --> 00:40:47,759
Speaker 3: I can't continuously just be influenced by music, because it's

773
00:40:47,760 --> 00:40:50,840
Speaker 3: gonna get boring for me. I want to be influenced

774
00:40:50,880 --> 00:40:53,360
Speaker 3: by something else. So that's why I started reading about

775
00:40:53,400 --> 00:40:56,240
Speaker 3: dot I and turning my bass into a ready made

776
00:40:56,280 --> 00:40:58,840
Speaker 3: thing in my world, I guess.

777
00:40:58,920 --> 00:41:02,919
Speaker 1: But so it like that what percentage of your live

778
00:41:03,000 --> 00:41:08,000
Speaker 1: show is improvised and what percentage of it is actual?

779
00:41:08,239 --> 00:41:14,799
Speaker 1: Like prepared set list A to Z execution.

780
00:41:15,120 --> 00:41:17,680
Speaker 3: I have a set list. Usually I will say eighty

781
00:41:17,719 --> 00:41:21,520
Speaker 3: percent of my show is improv. I have to have

782
00:41:21,560 --> 00:41:24,719
Speaker 3: my my improv in there. But some of it is

783
00:41:24,760 --> 00:41:27,920
Speaker 3: a structured I really don't rehearse a lot, so sometimes

784
00:41:27,920 --> 00:41:29,799
Speaker 3: we get on stage and just wing it because we

785
00:41:29,840 --> 00:41:31,640
Speaker 3: all know the song. So you know, there's a lot

786
00:41:31,680 --> 00:41:33,279
Speaker 3: of mistakes in there. So it opens up a new

787
00:41:33,280 --> 00:41:36,000
Speaker 3: world for me. But there's a lot of improv in there,

788
00:41:36,160 --> 00:41:37,839
Speaker 3: but it is structured a little bit.

789
00:41:38,400 --> 00:41:38,680
Speaker 2: Okay.

790
00:41:38,760 --> 00:41:43,600
Speaker 1: So of the dozen plus albums that you've released, I'll say,

791
00:41:43,600 --> 00:41:47,879
Speaker 1: for me, Jelly Belly, Dirty Somebody is one of a well,

792
00:41:47,960 --> 00:41:50,799
Speaker 1: you know what, surfing my brain, there was a there

793
00:41:50,880 --> 00:41:53,960
Speaker 1: was a there was a point. There was a point

794
00:41:54,000 --> 00:41:57,239
Speaker 1: where I think I wanted to remake that join for

795
00:41:57,400 --> 00:42:01,719
Speaker 1: us because I'm the groove is you know, otherworldly, but

796
00:42:01,840 --> 00:42:05,239
Speaker 1: for you, like, what is what's the album project that's

797
00:42:05,280 --> 00:42:07,120
Speaker 1: the dearest to your heart?

798
00:42:07,600 --> 00:42:11,720
Speaker 3: Oh yeah, Crust the Neon Missionary Baptist Church. With my grandma.

799
00:42:12,239 --> 00:42:13,600
Speaker 3: I've been writing songs with her.

800
00:42:14,000 --> 00:42:15,480
Speaker 2: She's the number one collaborated Like.

801
00:42:15,480 --> 00:42:16,600
Speaker 3: That's my my lady.

802
00:42:17,000 --> 00:42:17,200
Speaker 2: Man.

803
00:42:17,239 --> 00:42:19,520
Speaker 3: I can talk about her all day. I'm just that's

804
00:42:19,560 --> 00:42:22,439
Speaker 3: all like being away from Homer, because I'd be wanting

805
00:42:22,440 --> 00:42:26,479
Speaker 3: to just sit with and watch watch Prices, right, but yeah,

806
00:42:26,480 --> 00:42:29,640
Speaker 3: that's my girl, man, and these times with her are

807
00:42:29,719 --> 00:42:30,759
Speaker 3: very special to me.

808
00:42:31,080 --> 00:42:31,319
Speaker 2: You know.

809
00:42:31,440 --> 00:42:33,640
Speaker 3: I try not to read into it too much, but

810
00:42:34,040 --> 00:42:36,919
Speaker 3: it's such a feeling sitting next to her and with

811
00:42:36,960 --> 00:42:39,960
Speaker 3: my bass, my dad's purple bass, and she's singing old

812
00:42:40,040 --> 00:42:43,080
Speaker 3: hymns she used to sing in the Baptist church. Yeah,

813
00:42:43,320 --> 00:42:45,239
Speaker 3: it's just it's just one of those things, man, where

814
00:42:45,320 --> 00:42:48,120
Speaker 3: I'm just happy that I have this time with her

815
00:42:48,560 --> 00:42:51,359
Speaker 3: and actually writing original music for her to sing, and

816
00:42:51,400 --> 00:42:54,200
Speaker 3: she actually loves it, you know. So I'm finding I'm

817
00:42:54,200 --> 00:42:55,439
Speaker 3: finding her humping her ship.

818
00:42:55,480 --> 00:42:55,680
Speaker 2: Brother.

819
00:42:55,719 --> 00:42:57,680
Speaker 3: So it's just it means a lot to me.

820
00:42:58,000 --> 00:43:01,920
Speaker 2: Yep. Yeah, I was gonna say I wasn't prepared.

821
00:43:02,160 --> 00:43:06,520
Speaker 1: When you put out Crusty Neon Missionary and you open would.

822
00:43:06,320 --> 00:43:10,400
Speaker 2: Take me to the water, I was like, oh damn.

823
00:43:10,719 --> 00:43:15,080
Speaker 1: Like instantly I'm second grade at first Pentecostal, like at

824
00:43:15,080 --> 00:43:18,040
Speaker 1: my at my grandmom's shirts, like I instantly started missing

825
00:43:18,080 --> 00:43:18,680
Speaker 1: my grandmom.

826
00:43:18,800 --> 00:43:23,080
Speaker 3: So that's my girl, man, such a one.

827
00:43:22,800 --> 00:43:24,680
Speaker 2: I appreciate and love the way that you.

828
00:43:25,160 --> 00:43:30,440
Speaker 1: I guess we could say documented recipes for us to

829
00:43:30,960 --> 00:43:34,520
Speaker 1: stick to. I want to speak of your collaborations. So

830
00:43:35,800 --> 00:43:39,880
Speaker 1: first of all, what's your decision process when it comes

831
00:43:39,920 --> 00:43:44,080
Speaker 1: to like the many collaborative projects that you've done, like

832
00:43:44,160 --> 00:43:48,440
Speaker 1: I know you've done Chris On Too before, or the

833
00:43:49,520 --> 00:43:53,520
Speaker 1: Screaming Headless towrds those project, or even with Crass from

834
00:43:53,800 --> 00:43:58,520
Speaker 1: Soul Life and drummer Joe Russo like Matt, or even

835
00:43:58,560 --> 00:44:04,320
Speaker 1: with Corey Henry, or like when you do a project

836
00:44:05,120 --> 00:44:09,560
Speaker 1: with people who are traditionally not like the musicians that

837
00:44:09,680 --> 00:44:15,600
Speaker 1: you are accustomed to playing with, Like how do you

838
00:44:15,680 --> 00:44:20,640
Speaker 1: decide like who the alpha is or who man's the

839
00:44:20,680 --> 00:44:23,360
Speaker 1: ship or who lays the anchor, or like what the

840
00:44:23,480 --> 00:44:26,800
Speaker 1: roles are? How do you collaborate with other people.

841
00:44:27,840 --> 00:44:29,560
Speaker 3: I don't come in with no ego. You know, I

842
00:44:29,960 --> 00:44:33,200
Speaker 3: listen more than I talk. Well, I don't talk much anyway,

843
00:44:33,200 --> 00:44:35,719
Speaker 3: but I make sure I read the room the best

844
00:44:35,719 --> 00:44:39,120
Speaker 3: way I can. And uh yeah, I just I don't

845
00:44:39,160 --> 00:44:41,560
Speaker 3: decide who who is in control of the room. I

846
00:44:41,640 --> 00:44:44,120
Speaker 3: just I just let it happen, and it's usually the

847
00:44:44,160 --> 00:44:46,040
Speaker 3: other person because I'm not trying to control nothing. I

848
00:44:46,080 --> 00:44:48,239
Speaker 3: just want to especially being a bass player and I'm

849
00:44:48,320 --> 00:44:51,319
Speaker 3: hired to play in the band. I'm not trying to

850
00:44:51,320 --> 00:44:53,200
Speaker 3: step out front. If you want me too, I will,

851
00:44:53,200 --> 00:44:55,439
Speaker 3: but I'm just trying to just be there and play

852
00:44:55,480 --> 00:44:57,640
Speaker 3: the best I can and make the person happy whoever

853
00:44:57,719 --> 00:45:00,480
Speaker 3: hired me. So you can be the for all you

854
00:45:00,560 --> 00:45:01,960
Speaker 3: walk to Just go ahead.

855
00:45:03,360 --> 00:45:06,360
Speaker 1: Yep, yeah, But I mean as a creative I'm almost

856
00:45:06,400 --> 00:45:12,040
Speaker 1: certain that you two have ideas and directions you want

857
00:45:12,080 --> 00:45:15,239
Speaker 1: to go. Oh yeah, So is it easy for you

858
00:45:15,320 --> 00:45:18,239
Speaker 1: to communicate to other musicians exactly what it is that

859
00:45:18,280 --> 00:45:18,720
Speaker 1: you want?

860
00:45:19,320 --> 00:45:22,120
Speaker 3: Nope, I just tell him, try again, Let's do some

861
00:45:22,239 --> 00:45:23,799
Speaker 3: IW that's usually my thing.

862
00:45:24,120 --> 00:45:25,640
Speaker 2: Yes, try something else.

863
00:45:25,719 --> 00:45:26,520
Speaker 3: Yeah, let's try something.

864
00:45:26,560 --> 00:45:28,560
Speaker 2: I got you you hold.

865
00:45:28,600 --> 00:45:33,720
Speaker 1: I guess what I dub an unfortunate honorable title, which

866
00:45:33,840 --> 00:45:39,040
Speaker 1: is I believe that you were the last musician that

867
00:45:39,440 --> 00:45:45,200
Speaker 1: our dear brother Prince Roger Nelson hired before is passing

868
00:45:45,360 --> 00:45:49,040
Speaker 1: in twenty sixteen, ten years ago. First of all, how

869
00:45:49,040 --> 00:45:53,040
Speaker 1: did you guys come across each other? And how did

870
00:45:53,040 --> 00:45:55,880
Speaker 1: he reach out to you or you him? Tell me

871
00:45:55,920 --> 00:45:56,400
Speaker 1: this story.

872
00:45:57,760 --> 00:45:59,839
Speaker 3: It was an email, you know, he wasn't a phone call.

873
00:46:00,120 --> 00:46:02,480
Speaker 3: One of if it's manager, I think it was Phaedra

874
00:46:02,760 --> 00:46:05,920
Speaker 3: somebody THEO or whatever. But they emailed me and they said,

875
00:46:05,960 --> 00:46:08,800
Speaker 3: Prince wants you to come to Paisley Park to jam

876
00:46:09,440 --> 00:46:13,759
Speaker 3: and That was late twenty fourteen actually, and I think

877
00:46:13,800 --> 00:46:15,560
Speaker 3: the next day or two days later I went up

878
00:46:15,560 --> 00:46:20,640
Speaker 3: there and Judas Hill was there, Dominique Tapling, Taylorn Lockett

879
00:46:20,719 --> 00:46:25,399
Speaker 3: and we end up jamming with Judith that night. Then

880
00:46:25,440 --> 00:46:27,800
Speaker 3: the next day we flew home. Then I guess that

881
00:46:27,960 --> 00:46:31,640
Speaker 3: was my audition for Judas and Prince and I started

882
00:46:31,680 --> 00:46:34,560
Speaker 3: working at Paisley Park early twenty fifteen.

883
00:46:34,920 --> 00:46:37,239
Speaker 2: And what did he play? If you were on base?

884
00:46:38,080 --> 00:46:40,200
Speaker 3: He wasn't playing. He was there though, because he would

885
00:46:40,239 --> 00:46:43,319
Speaker 3: call Judith to tell the band to do something. So

886
00:46:43,360 --> 00:46:43,959
Speaker 3: he was there.

887
00:46:44,120 --> 00:46:47,400
Speaker 2: He heard hear the rehearsals. But was it in the midia?

888
00:46:47,480 --> 00:46:49,600
Speaker 3: Yeah he was. No, he wasn't in the room, but

889
00:46:49,680 --> 00:46:53,120
Speaker 3: he would call Judith to tell me or Dominique or

890
00:46:53,320 --> 00:46:57,359
Speaker 3: Teyrn to you know, play something different or whatever. But yeah,

891
00:46:58,120 --> 00:46:59,960
Speaker 3: so I didn't meet him the first time I went,

892
00:47:00,680 --> 00:47:02,719
Speaker 3: but he was there. But when I came back he

893
00:47:02,840 --> 00:47:03,640
Speaker 3: started coming around.

894
00:47:04,320 --> 00:47:06,560
Speaker 1: Was it dark in there? And were those eyes staring

895
00:47:06,600 --> 00:47:09,640
Speaker 1: at you from those paintings? I swear to this day

896
00:47:09,719 --> 00:47:12,160
Speaker 1: that every time I passed those murals on his wall.

897
00:47:12,640 --> 00:47:12,920
Speaker 2: Yep.

898
00:47:13,360 --> 00:47:15,799
Speaker 1: It's almost like the Three Stooges as an episode when

899
00:47:15,840 --> 00:47:17,239
Speaker 1: the eyes are like looking at you.

900
00:47:19,680 --> 00:47:21,879
Speaker 2: What was it like walking through there? Man?

901
00:47:22,360 --> 00:47:25,680
Speaker 3: There's so many words I can use to describe that experience.

902
00:47:25,960 --> 00:47:26,200
Speaker 3: It was.

903
00:47:28,280 --> 00:47:30,239
Speaker 2: Okay, So wait, here's the thing I don't know.

904
00:47:30,400 --> 00:47:33,800
Speaker 1: Prince came into my life when I was eight, and

905
00:47:34,080 --> 00:47:37,799
Speaker 1: what's weird is that you came on this earth a

906
00:47:37,960 --> 00:47:41,719
Speaker 1: year after. Okay, so look, I'm I'm part of the

907
00:47:41,840 --> 00:47:44,040
Speaker 1: and this is where Prince orgers get angry at me.

908
00:47:44,920 --> 00:47:49,040
Speaker 1: But you know, most people when they have a magic streak,

909
00:47:49,840 --> 00:47:51,960
Speaker 1: most artists have a magic and I know I sound

910
00:47:52,040 --> 00:47:54,879
Speaker 1: like a critic right now, but just as someone that's

911
00:47:54,920 --> 00:48:00,320
Speaker 1: observed music, most artists, if they're lucky, get a four

912
00:48:00,480 --> 00:48:07,560
Speaker 1: year streak in which they shit gold. And Prince is

913
00:48:07,640 --> 00:48:12,799
Speaker 1: actually a figure much like Miles Davis that was, in

914
00:48:12,840 --> 00:48:19,439
Speaker 1: my opinion given in eleven to sort of twelve year

915
00:48:20,480 --> 00:48:24,520
Speaker 1: period of which every SHOT's going in no matter where

916
00:48:24,560 --> 00:48:28,040
Speaker 1: he shoots it from, every idea is just like changing

917
00:48:28,040 --> 00:48:31,440
Speaker 1: your life and whatnot. So you came on Earth when

918
00:48:31,480 --> 00:48:35,920
Speaker 1: Prince was already a legend. Yeah, And I grew up

919
00:48:35,960 --> 00:48:39,680
Speaker 1: when Prince was a nobody and then six years later

920
00:48:39,800 --> 00:48:43,320
Speaker 1: became a legend. So he was like he was everyone's

921
00:48:43,320 --> 00:48:46,560
Speaker 1: secret niche artist and then became big with this. But

922
00:48:46,640 --> 00:48:50,600
Speaker 1: for you, like, were you a student of his music?

923
00:48:50,640 --> 00:48:53,960
Speaker 1: Did you know much about him besides hey, I know

924
00:48:54,040 --> 00:48:56,560
Speaker 1: a genius lives in Minneapolis, or like, what did you

925
00:48:56,600 --> 00:48:57,400
Speaker 1: know of his work?

926
00:48:59,239 --> 00:49:03,440
Speaker 3: I mean, A, of course I knew A knew Prince.

927
00:49:03,520 --> 00:49:05,520
Speaker 3: You know, I knew him. You know, I've seen on TV,

928
00:49:05,600 --> 00:49:08,160
Speaker 3: I've heard his music. You know, his music was everywhere.

929
00:49:08,200 --> 00:49:10,359
Speaker 3: But I didn't really listen to him like that as

930
00:49:10,360 --> 00:49:14,880
Speaker 3: a kid, you know, I really as yeah, you know,

931
00:49:15,360 --> 00:49:18,080
Speaker 3: you know, I really, but I knew it's it's just stuff.

932
00:49:18,120 --> 00:49:21,440
Speaker 3: I knew the grooves, but he wasn't. He wasn't that

933
00:49:21,680 --> 00:49:25,960
Speaker 3: for me. But once I started being around him and started,

934
00:49:26,840 --> 00:49:29,520
Speaker 3: you know, having to learn songs and rehearse with him

935
00:49:29,520 --> 00:49:31,560
Speaker 3: and play with him, that's when I started going back

936
00:49:31,560 --> 00:49:34,319
Speaker 3: and listening to his stuff and started to really be

937
00:49:34,400 --> 00:49:38,600
Speaker 3: influenced by that and started incorporating that. Not even intentionally,

938
00:49:38,600 --> 00:49:40,680
Speaker 3: it just happened that, you know, because I was around him,

939
00:49:40,680 --> 00:49:43,480
Speaker 3: and He's like, man, I want I saw so much

940
00:49:43,520 --> 00:49:46,160
Speaker 3: of what I wanted to be in him. Once I

941
00:49:46,200 --> 00:49:49,200
Speaker 3: started being around him, I was like, man, I really,

942
00:49:49,600 --> 00:49:51,680
Speaker 3: whatever he's on, I want to I want to vibrate

943
00:49:51,760 --> 00:49:54,400
Speaker 3: like that. That is pretty cool man. So it was

944
00:49:54,719 --> 00:49:55,640
Speaker 3: that type of thing for me.

945
00:49:56,400 --> 00:49:56,880
Speaker 2: Once in a.

946
00:49:56,880 --> 00:50:00,920
Speaker 1: Blue moon, he would like, there's there's songs that haven't

947
00:50:00,920 --> 00:50:05,520
Speaker 1: been released by him that I feel like are so

948
00:50:06,920 --> 00:50:10,560
Speaker 1: the foundation of what the ground that you're standing on

949
00:50:10,640 --> 00:50:11,040
Speaker 1: right now.

950
00:50:11,920 --> 00:50:15,080
Speaker 2: I don't know if you ever heard his song movie Star.

951
00:50:16,000 --> 00:50:21,520
Speaker 3: Man, that's my fabe. That's ye man, that quiet, that

952
00:50:21,719 --> 00:50:24,600
Speaker 3: quiet fun whatever you want to call it. Man, it's

953
00:50:24,600 --> 00:50:27,279
Speaker 3: such a that's my goal to I don't know why,

954
00:50:27,320 --> 00:50:30,719
Speaker 3: but isn't that thing I want that? I want it?

955
00:50:31,120 --> 00:50:33,560
Speaker 2: Yeah? Movie Star also to a lesser state.

956
00:50:34,520 --> 00:50:36,640
Speaker 1: I'll say, probably the craziest song he's done is if

957
00:50:36,680 --> 00:50:38,400
Speaker 1: you ever heard There's Others here with Us?

958
00:50:39,080 --> 00:50:39,279
Speaker 2: Yep?

959
00:50:39,640 --> 00:50:41,959
Speaker 3: It's yep, yep.

960
00:50:53,640 --> 00:50:56,080
Speaker 1: He talked about him as a bass player, because I

961
00:50:56,120 --> 00:51:00,920
Speaker 1: think of all of his mastery, and this is with lyrics,

962
00:51:01,600 --> 00:51:06,239
Speaker 1: as a businessman, as a director, as a singer, as

963
00:51:06,280 --> 00:51:09,760
Speaker 1: a harmonizer, as an engineer, I feel like the one

964
00:51:10,880 --> 00:51:15,839
Speaker 1: attribute that he never gets enough phrase for, you know,

965
00:51:16,400 --> 00:51:19,160
Speaker 1: is his bass play. Like it was a struggle just

966
00:51:19,200 --> 00:51:21,479
Speaker 1: to get people to notice his guitar, Like people really

967
00:51:21,480 --> 00:51:26,239
Speaker 1: didn't start noticing he was a guitar master until my

968
00:51:26,320 --> 00:51:29,080
Speaker 1: guitar gently weeps moment and I'm like, dude, have you

969
00:51:29,160 --> 00:51:31,320
Speaker 1: not seen or any of the clips?

970
00:51:32,120 --> 00:51:34,960
Speaker 2: But he just talked about him as a bassist.

971
00:51:35,400 --> 00:51:37,719
Speaker 3: Well, unfortunately he didn't play bass around me. I wish

972
00:51:37,719 --> 00:51:40,799
Speaker 3: he did, but you know, the shit that he did

973
00:51:40,840 --> 00:51:46,720
Speaker 3: play on, he just had this uninhibited type of rebellious

974
00:51:46,960 --> 00:51:48,680
Speaker 3: whatever you want to call it, type of funk man

975
00:51:48,680 --> 00:51:51,600
Speaker 3: that can't really be duplicated by anybody. You can learn

976
00:51:51,600 --> 00:51:53,160
Speaker 3: from it, you can be influenced by it, but he

977
00:51:53,239 --> 00:51:57,960
Speaker 3: had his own thing that was so uncanny. I don't know, man,

978
00:51:58,000 --> 00:52:00,359
Speaker 3: he just had this weird type of funk that I

979
00:52:00,480 --> 00:52:03,279
Speaker 3: just love and that I just gravitate towards and that

980
00:52:03,440 --> 00:52:06,000
Speaker 3: I just learned from just just listening to it, and

981
00:52:06,000 --> 00:52:07,880
Speaker 3: I've kind of found my own thing with it. Not

982
00:52:08,000 --> 00:52:09,719
Speaker 3: I don't. I never try to be like him, but

983
00:52:09,880 --> 00:52:12,600
Speaker 3: when I when I listened to him play, it's like

984
00:52:13,040 --> 00:52:14,759
Speaker 3: I want a piece of it, and I just try

985
00:52:14,800 --> 00:52:18,040
Speaker 3: to make it part of me, especially now, you know.

986
00:52:18,120 --> 00:52:20,359
Speaker 3: So that's what I get from his bass plan. It's

987
00:52:20,360 --> 00:52:23,080
Speaker 3: just that that rebellious type of funk, like he ain't

988
00:52:23,120 --> 00:52:26,120
Speaker 3: trying to be like nobody else, but himself, you know.

989
00:52:26,320 --> 00:52:28,280
Speaker 3: But you can hear the influences. You can hear Larry

990
00:52:28,320 --> 00:52:31,480
Speaker 3: and Sonny, but he's still Yeah.

991
00:52:30,920 --> 00:52:33,839
Speaker 1: There's a drop he does that's like a trademark of his,

992
00:52:34,920 --> 00:52:35,960
Speaker 1: or on the one.

993
00:52:37,880 --> 00:52:39,560
Speaker 2: Like he does a lot on Let's Work.

994
00:52:40,200 --> 00:52:41,439
Speaker 3: Yeah, yep, yep, yep.

995
00:52:42,239 --> 00:52:44,080
Speaker 2: Like did he make you do that a lot?

996
00:52:44,120 --> 00:52:48,080
Speaker 3: In his Yeah, he would make me, would not necessarily

997
00:52:48,080 --> 00:52:49,799
Speaker 3: make me, but he would tell me to play a

998
00:52:49,840 --> 00:52:51,839
Speaker 3: certain way. He would tell me to There's a song

999
00:52:51,920 --> 00:52:54,600
Speaker 3: called Stare. I didn't play on the song, but you

1000
00:52:54,800 --> 00:52:57,000
Speaker 3: used to play that a lot with him. There's a

1001
00:52:57,040 --> 00:52:59,000
Speaker 3: song called Stare, and I used to put a lot

1002
00:52:59,000 --> 00:53:01,640
Speaker 3: of you know how bass player. I put a lot

1003
00:53:01,640 --> 00:53:03,799
Speaker 3: of ghosts in it just to keep time. But he

1004
00:53:03,800 --> 00:53:06,160
Speaker 3: would tell me to remove it and just keep it clean.

1005
00:53:06,600 --> 00:53:08,680
Speaker 3: And I've kind of learned that from him, you know,

1006
00:53:09,040 --> 00:53:11,359
Speaker 3: within that song. So he would tell me certain things

1007
00:53:11,400 --> 00:53:12,319
Speaker 3: to do.

1008
00:53:12,360 --> 00:53:15,120
Speaker 2: You didn't want you to play ghost notes, not for.

1009
00:53:15,040 --> 00:53:17,799
Speaker 3: That song, not that well, he would he would let

1010
00:53:17,840 --> 00:53:20,320
Speaker 3: me do my thing, but if you want something particular,

1011
00:53:20,400 --> 00:53:21,680
Speaker 3: he would tell me, you know.

1012
00:53:22,239 --> 00:53:26,480
Speaker 1: Okay, only because brown Mark would be the opposite. He

1013
00:53:26,520 --> 00:53:30,399
Speaker 1: would say, principal wanting to play ghost notes and.

1014
00:53:31,880 --> 00:53:36,000
Speaker 2: Rumble more than the actual notes, and okaye, he.

1015
00:53:36,040 --> 00:53:38,080
Speaker 3: Likes that stuff too, but for that particular song, I

1016
00:53:38,120 --> 00:53:41,280
Speaker 3: would just remember him telling me, don't add the whatever.

1017
00:53:41,880 --> 00:53:42,880
Speaker 2: Yep, okay.

1018
00:53:43,360 --> 00:53:48,440
Speaker 1: The single you have that now, bottom Feeder with your

1019
00:53:48,480 --> 00:53:51,840
Speaker 1: Grandmam and George Clinton, which is such a full circle.

1020
00:53:51,920 --> 00:53:52,160
Speaker 2: Woman.

1021
00:53:52,600 --> 00:53:55,000
Speaker 1: You've worked with George a few times before. How did

1022
00:53:55,040 --> 00:53:55,759
Speaker 1: you guys meet up?

1023
00:53:56,200 --> 00:53:58,040
Speaker 3: The first time I played with THEO was at a

1024
00:53:58,080 --> 00:54:01,680
Speaker 3: festival music festival. I sat in with them. But I

1025
00:54:01,760 --> 00:54:04,440
Speaker 3: eventually started working with him on a song called Quilted,

1026
00:54:05,000 --> 00:54:07,239
Speaker 3: Me and my friend David Nathan. This is his studio now,

1027
00:54:07,360 --> 00:54:12,279
Speaker 3: all these keyboards, David Nathan. But yeah, the first song

1028
00:54:12,320 --> 00:54:15,680
Speaker 3: I actually deal with him was Quilted, And yeah, that's

1029
00:54:15,719 --> 00:54:19,200
Speaker 3: when we first started collaborating together on the song. But

1030
00:54:19,520 --> 00:54:22,640
Speaker 3: we went down to Telly Hassee and recorded his vocals

1031
00:54:22,640 --> 00:54:25,000
Speaker 3: and stuff like that. So whenever I do hang with him,

1032
00:54:25,040 --> 00:54:27,920
Speaker 3: I go down to tell Hassee to his studio, Yeah,

1033
00:54:28,040 --> 00:54:30,040
Speaker 3: and just just hang with him and smoke a lot

1034
00:54:30,120 --> 00:54:33,480
Speaker 3: of wee man smoking, which I don't mind. I don't

1035
00:54:33,480 --> 00:54:34,239
Speaker 3: mind smoking him.

1036
00:54:36,480 --> 00:54:42,080
Speaker 1: Yes, okay, So also I want to know about your

1037
00:54:42,239 --> 00:54:48,120
Speaker 1: work with John Brian and Mac Miller on a complicated song.

1038
00:54:48,239 --> 00:54:50,279
Speaker 2: How did how did that project come to be?

1039
00:54:50,760 --> 00:54:53,720
Speaker 3: I didn't give a chance to meet but actually we talked.

1040
00:54:54,000 --> 00:54:57,080
Speaker 3: He sent me a message on Instagram about that song.

1041
00:54:57,120 --> 00:54:58,839
Speaker 3: He send me the track and everything and told me

1042
00:54:58,920 --> 00:55:02,160
Speaker 3: to do whatever. And that was the last time we talked.

1043
00:55:02,200 --> 00:55:04,239
Speaker 3: I never you know, I didn't get a chance to

1044
00:55:04,280 --> 00:55:06,520
Speaker 3: meet him. But before he passed, he sent me that

1045
00:55:06,640 --> 00:55:09,480
Speaker 3: song and that was such a weird thing for him

1046
00:55:09,480 --> 00:55:11,520
Speaker 3: to send me that and he just passed away like that,

1047
00:55:11,600 --> 00:55:14,240
Speaker 3: and to meet him, it just I don't I don't

1048
00:55:14,640 --> 00:55:17,600
Speaker 3: do well with you know, death and stuff. Man, It

1049
00:55:17,719 --> 00:55:19,920
Speaker 3: just it just really fucks with me. But yeah, I

1050
00:55:19,960 --> 00:55:22,080
Speaker 3: wish I got a chance to meet him. But we talked,

1051
00:55:22,520 --> 00:55:25,840
Speaker 3: you know, through Instagram, you know, so yeah, gotcha.

1052
00:55:26,960 --> 00:55:30,840
Speaker 1: What determines you wanting to dive into this creative pool?

1053
00:55:30,960 --> 00:55:32,719
Speaker 1: Like when do you know it's time? Like okay, this

1054
00:55:32,800 --> 00:55:34,840
Speaker 1: is time for a new album? Or even how do

1055
00:55:34,880 --> 00:55:36,160
Speaker 1: you name your albums?

1056
00:55:36,600 --> 00:55:36,799
Speaker 2: Man?

1057
00:55:36,840 --> 00:55:39,400
Speaker 3: It just happens. I'll just be thinking of the weirdest

1058
00:55:39,400 --> 00:55:46,359
Speaker 3: combination of words like jelly belly. I can't remember jelly belly, bally,

1059
00:55:46,680 --> 00:55:49,279
Speaker 3: I don't know. I just I'm just first of all,

1060
00:55:49,320 --> 00:55:52,080
Speaker 3: I'm from Memphis. I'm country, so I'm just be it

1061
00:55:52,239 --> 00:55:54,640
Speaker 3: just happens, you know. It's just one of those things.

1062
00:55:55,080 --> 00:55:58,120
Speaker 3: But uh, I don't know. I just the album I'm

1063
00:55:58,160 --> 00:56:00,640
Speaker 3: working on now with my friend Davey. You know, he's

1064
00:56:00,760 --> 00:56:04,200
Speaker 3: helped me with producing and writing songs with him. So

1065
00:56:04,360 --> 00:56:06,319
Speaker 3: I'm the album that I'm working on is a bunch

1066
00:56:06,360 --> 00:56:06,960
Speaker 3: of duets.

1067
00:56:07,320 --> 00:56:07,480
Speaker 4: You know.

1068
00:56:07,680 --> 00:56:09,560
Speaker 2: I was just gonna say, is this the duets album?

1069
00:56:09,719 --> 00:56:12,480
Speaker 3: Yeah, we're working on that. You know. I've been getting

1070
00:56:12,480 --> 00:56:15,600
Speaker 3: people in and it's been coming alone.

1071
00:56:16,280 --> 00:56:18,480
Speaker 2: The song has two people or is that the whole?

1072
00:56:19,400 --> 00:56:23,800
Speaker 3: It's yeah, you me and another vocalist, or me and

1073
00:56:24,160 --> 00:56:26,319
Speaker 3: some more musicians, you know, one of those things. But

1074
00:56:26,400 --> 00:56:30,840
Speaker 3: it is a very one of my biggest collaborative projects.

1075
00:56:30,880 --> 00:56:33,520
Speaker 3: I got some pretty cool people on it. But yeah,

1076
00:56:33,600 --> 00:56:35,600
Speaker 3: that's I'm That's what I'm focusing on.

1077
00:56:35,680 --> 00:56:35,799
Speaker 4: Now.

1078
00:56:35,840 --> 00:56:38,320
Speaker 3: That's why I'm here, you know, trying to get shipped together.

1079
00:56:38,680 --> 00:56:40,920
Speaker 3: But yeah, that's the thing I'm working on. Do it thing.

1080
00:56:41,840 --> 00:56:45,960
Speaker 2: What is the singular moment that has changed your life?

1081
00:56:47,680 --> 00:56:51,000
Speaker 3: Let's see here, there's a couple of singles. The moment

1082
00:56:51,239 --> 00:56:53,840
Speaker 3: be fair though. When I started playing with Prins, that

1083
00:56:53,960 --> 00:56:56,400
Speaker 3: was the influence that that that put a fire under me.

1084
00:56:56,480 --> 00:56:58,520
Speaker 3: That's why I'm doing what I'm doing now, being upfront

1085
00:56:58,560 --> 00:57:02,239
Speaker 3: and just trying to show people what that experience meant

1086
00:57:02,239 --> 00:57:05,920
Speaker 3: to me. You know, being around Prince that was singler

1087
00:57:06,680 --> 00:57:09,239
Speaker 3: with my dude, David Nathan, working with him, you know,

1088
00:57:09,280 --> 00:57:11,680
Speaker 3: writing songs with him. You know, he's kind of taking

1089
00:57:11,680 --> 00:57:14,480
Speaker 3: me to honestly another level in terms of you know,

1090
00:57:14,560 --> 00:57:17,680
Speaker 3: production and being a singer. He'd be getting me out

1091
00:57:17,680 --> 00:57:20,880
Speaker 3: of my comfort zone with these vocals. But I'm satisfied.

1092
00:57:20,920 --> 00:57:23,760
Speaker 3: So working with Davy, you know, it's really pretty cool.

1093
00:57:23,800 --> 00:57:25,920
Speaker 3: That's a singular moment in my in my thing. And

1094
00:57:26,680 --> 00:57:29,040
Speaker 3: being around my grandma doing this time, writing songs with

1095
00:57:29,120 --> 00:57:31,680
Speaker 3: her and shit like that, you know, that type of shit.

1096
00:57:31,760 --> 00:57:34,480
Speaker 3: And just have touring my own music and being up

1097
00:57:34,520 --> 00:57:36,920
Speaker 3: there and trying to be a better front man and whatever,

1098
00:57:37,600 --> 00:57:39,840
Speaker 3: all those singular moments.

1099
00:57:39,880 --> 00:57:45,320
Speaker 1: So singing is someone of a like a vulnerable Hell yeah,

1100
00:57:45,320 --> 00:57:48,640
Speaker 1: it is exercise for you man, It's really vulnerable, you know.

1101
00:57:48,800 --> 00:57:50,800
Speaker 3: That's what That's why I wear the sunglasses in the

1102
00:57:50,840 --> 00:57:52,520
Speaker 3: mask stuff. Ain't It's not. I ain't trying to be

1103
00:57:52,560 --> 00:57:56,120
Speaker 3: no gammick enough, but I have to hide, you know,

1104
00:57:56,200 --> 00:57:58,720
Speaker 3: I just It's just one of those things like singing

1105
00:57:58,720 --> 00:58:02,120
Speaker 3: and hearing myself on those big as PA speakers. My

1106
00:58:02,240 --> 00:58:04,760
Speaker 3: little ass voice, man, is just so man like. God, damn,

1107
00:58:04,800 --> 00:58:06,280
Speaker 3: I don't want to hear this, but I have to

1108
00:58:06,320 --> 00:58:08,200
Speaker 3: do it. I gotta do it.

1109
00:58:08,400 --> 00:58:11,360
Speaker 2: That's what. Like. Your voice is so suited for the music.

1110
00:58:11,440 --> 00:58:11,880
Speaker 2: Like it to me.

1111
00:58:11,960 --> 00:58:15,120
Speaker 3: It's not to my ears. But I'm trying.

1112
00:58:16,000 --> 00:58:19,280
Speaker 2: Okay, well, you just got to own it. Get out of.

1113
00:58:19,600 --> 00:58:21,800
Speaker 3: My head, man. People don't really know I be in

1114
00:58:21,840 --> 00:58:26,440
Speaker 3: my head man though, I'm trying that. I'm working down.

1115
00:58:26,440 --> 00:58:27,560
Speaker 3: I'm getting there, I'm getting out.

1116
00:58:28,360 --> 00:58:32,600
Speaker 1: Is there a book or movie that changed the direction

1117
00:58:32,720 --> 00:58:33,360
Speaker 1: of your life?

1118
00:58:34,320 --> 00:58:38,480
Speaker 3: The passion of the Christ? Now, I'm joking. Probably I

1119
00:58:38,520 --> 00:58:42,200
Speaker 3: love comedy and comedians. You know, Commedians a big influence

1120
00:58:42,280 --> 00:58:44,800
Speaker 3: on me. So it would probably have to be Jim

1121
00:58:45,000 --> 00:58:47,280
Speaker 3: Carrey movie Pet Detective, Cable Guy.

1122
00:58:49,240 --> 00:58:50,000
Speaker 2: From your childhood.

1123
00:58:50,240 --> 00:58:53,800
Speaker 3: Yeah, man, all that type of stuff and uh stuff

1124
00:58:53,840 --> 00:58:56,280
Speaker 3: with David Allen Grier in it. And you know, I'm

1125
00:58:56,880 --> 00:58:59,960
Speaker 3: comedians are big influence on the blaxplotation movies with comedi

1126
00:59:00,080 --> 00:59:02,840
Speaker 3: and stuff. So it's that type of thing. You know.

1127
00:59:02,840 --> 00:59:06,400
Speaker 3: I'm not really on a profound type of movies type ship.

1128
00:59:06,560 --> 00:59:07,440
Speaker 3: Sometimes I am.

1129
00:59:07,720 --> 00:59:10,640
Speaker 2: Have you scored anything or no?

1130
00:59:11,000 --> 00:59:14,560
Speaker 3: Just no, I haven't got asked to score nothing. They

1131
00:59:14,560 --> 00:59:15,320
Speaker 3: don't believe in me.

1132
00:59:16,120 --> 00:59:19,440
Speaker 1: All right, I'm I'm gonna change that for you, Bron.

1133
00:59:19,560 --> 00:59:21,400
Speaker 3: Don't give me too much of a task, but yeah,

1134
00:59:21,400 --> 00:59:21,680
Speaker 3: I do it.

1135
00:59:21,760 --> 00:59:25,200
Speaker 1: Yeah, I got you, man, I'm I'm I'm gonna.

1136
00:59:25,240 --> 00:59:25,640
Speaker 2: I'm gonna.

1137
00:59:25,640 --> 00:59:28,000
Speaker 1: I'm gonna lead you to that water man talk about

1138
00:59:29,040 --> 00:59:33,920
Speaker 1: is it possible for you to enjoy music without participating

1139
00:59:33,960 --> 00:59:36,040
Speaker 1: in it? Like when's the last time that you were

1140
00:59:36,080 --> 00:59:40,360
Speaker 1: just an audience member without having to go on stage

1141
00:59:40,360 --> 00:59:40,760
Speaker 1: and play.

1142
00:59:41,720 --> 00:59:44,720
Speaker 3: The last thing I went to was a Zach Fox.

1143
00:59:44,880 --> 00:59:48,200
Speaker 3: He was DJing and Memphis. That's really the only thing

1144
00:59:48,280 --> 00:59:53,320
Speaker 3: I went to just being you know, audience. Yeah, and

1145
00:59:53,360 --> 00:59:55,000
Speaker 3: it still felt weird because I wanted to get on

1146
00:59:55,040 --> 00:59:58,080
Speaker 3: stage and just jam with him. But uh gosh, it's

1147
00:59:58,120 --> 01:00:00,760
Speaker 3: hard for me to go to concerts because I get anxious,

1148
01:00:01,200 --> 01:00:02,840
Speaker 3: you know, I want to be on stage. I want

1149
01:00:02,880 --> 01:00:04,520
Speaker 3: to sit in you know. So I really don't go

1150
01:00:04,560 --> 01:00:07,280
Speaker 3: to concerts just to enjoy, just to watch it. Yeah,

1151
01:00:07,320 --> 01:00:09,520
Speaker 3: it's hard for me. I should though, you know.

1152
01:00:09,600 --> 01:00:12,720
Speaker 1: But now so playing music is cathartic for you. But

1153
01:00:12,840 --> 01:00:16,360
Speaker 1: taking in music is Yeah, I.

1154
01:00:16,320 --> 01:00:18,400
Speaker 3: Really don't even listen to music because of that thing.

1155
01:00:18,480 --> 01:00:21,480
Speaker 3: I know. It takes I have to push myself to

1156
01:00:21,560 --> 01:00:24,640
Speaker 3: listen to music because I start thinking, Man, I want

1157
01:00:24,680 --> 01:00:26,400
Speaker 3: to write something like that, I want to sound like that,

1158
01:00:26,480 --> 01:00:27,959
Speaker 3: I want to play like that, I want to sing

1159
01:00:28,040 --> 01:00:30,680
Speaker 3: like that. So it takes me. I have to push

1160
01:00:30,760 --> 01:00:31,920
Speaker 3: myself to listen to music.

1161
01:00:32,240 --> 01:00:35,520
Speaker 2: Yeah, got you? Got you so? Okay?

1162
01:00:35,560 --> 01:00:39,760
Speaker 1: Well, when you talked about visiting George and fishing, I

1163
01:00:39,800 --> 01:00:41,200
Speaker 1: know he loves fishing to death.

1164
01:00:43,000 --> 01:00:45,480
Speaker 2: Too. Yeah, I do.

1165
01:00:46,560 --> 01:00:50,800
Speaker 1: During the pandemic, I purchased three of his pieces. He

1166
01:00:51,120 --> 01:00:56,800
Speaker 1: did a really beautiful canvas a mothership now painting, beautiful

1167
01:00:56,800 --> 01:01:00,959
Speaker 1: stuff that hangs in my kitchen right now? What every

1168
01:01:01,000 --> 01:01:06,160
Speaker 1: day activities are you proficient in that? We would be

1169
01:01:06,240 --> 01:01:09,800
Speaker 1: shocked that you partaken cooking, snowboarding.

1170
01:01:11,200 --> 01:01:14,120
Speaker 3: Boy, I don't do nothing but music, unfortunately, and just

1171
01:01:14,160 --> 01:01:19,120
Speaker 3: buy quilts off its y you really, I don't do nothing.

1172
01:01:19,960 --> 01:01:24,000
Speaker 2: You buy quotes like you you can crochet in it. No,

1173
01:01:24,080 --> 01:01:24,360
Speaker 2: I don't.

1174
01:01:24,400 --> 01:01:26,480
Speaker 3: I don't crochet, but I buy them. I have an

1175
01:01:26,480 --> 01:01:28,080
Speaker 3: eye for quilts.

1176
01:01:28,440 --> 01:01:28,880
Speaker 2: Okay.

1177
01:01:29,160 --> 01:01:33,720
Speaker 3: That's and sometimes I dabble into a little painting and

1178
01:01:33,760 --> 01:01:36,360
Speaker 3: see if I can tap into my alftracked expression to

1179
01:01:36,440 --> 01:01:39,000
Speaker 3: some stuff. But I really just do music, man. I

1180
01:01:39,000 --> 01:01:41,480
Speaker 3: sit behind my computer and just try to create and

1181
01:01:41,560 --> 01:01:44,400
Speaker 3: just post it and do it again, post it, do

1182
01:01:44,440 --> 01:01:45,240
Speaker 3: it again, post it.

1183
01:01:45,480 --> 01:01:48,280
Speaker 1: When do you first wake up in the morning, Like,

1184
01:01:48,400 --> 01:01:50,480
Speaker 1: what time do you typically the morning?

1185
01:01:50,480 --> 01:01:52,680
Speaker 3: I wake up about it in the afternoon.

1186
01:01:53,960 --> 01:01:55,080
Speaker 2: Okay, because.

1187
01:01:56,560 --> 01:02:00,480
Speaker 3: Probably about five in the morning. Okay, on my man,

1188
01:02:00,520 --> 01:02:02,880
Speaker 3: I'd be on my phone doom scrolling and shit and

1189
01:02:03,320 --> 01:02:05,800
Speaker 3: just trying to figure out what next video I can do,

1190
01:02:05,960 --> 01:02:10,440
Speaker 3: or typing in my phone like voice memos or some melody.

1191
01:02:10,440 --> 01:02:12,840
Speaker 3: I'll be hearing that happens like a lot. I got

1192
01:02:12,840 --> 01:02:13,400
Speaker 3: so much shit.

1193
01:02:13,920 --> 01:02:14,600
Speaker 2: I was just gonna say.

1194
01:02:14,600 --> 01:02:17,440
Speaker 1: When you get an idea for a melody and there's

1195
01:02:17,480 --> 01:02:20,800
Speaker 1: no acts around to really record it, like you're you

1196
01:02:20,840 --> 01:02:22,880
Speaker 1: just have to suffer where you are with your voice

1197
01:02:22,960 --> 01:02:25,080
Speaker 1: memo until you get home to record it.

1198
01:02:25,520 --> 01:02:27,600
Speaker 3: Usually if there's some stuff in here that I don't

1199
01:02:27,640 --> 01:02:30,760
Speaker 3: even go back to, but sometimes I do, but I

1200
01:02:30,960 --> 01:02:32,680
Speaker 3: raally go back to my voice memos.

1201
01:02:32,800 --> 01:02:35,040
Speaker 1: Once you go to your voice memos, can you still

1202
01:02:35,040 --> 01:02:36,960
Speaker 1: make out? Does it still sound the same.

1203
01:02:36,760 --> 01:02:39,880
Speaker 3: In your No? Sometimes I don't hate that, man. I

1204
01:02:39,920 --> 01:02:41,680
Speaker 3: thought I was the only one. I thought I was

1205
01:02:41,880 --> 01:02:44,480
Speaker 3: going crazy, but yeah, it don't sound the same. Sometimes.

1206
01:02:44,520 --> 01:02:47,160
Speaker 1: Yeah, I'll sing a song for an hour, each part,

1207
01:02:47,280 --> 01:02:50,080
Speaker 1: each baseline, each and then I'll go back to the

1208
01:02:50,080 --> 01:02:50,560
Speaker 1: next day.

1209
01:02:50,640 --> 01:02:53,200
Speaker 2: It's just like, yeah, yep, that's funny.

1210
01:02:53,280 --> 01:02:57,480
Speaker 3: Okay, all right, So my final two questions, Yep.

1211
01:02:57,640 --> 01:03:03,160
Speaker 1: When you were younger, what is your version of making it?

1212
01:03:04,160 --> 01:03:06,200
Speaker 3: Honestly, bro playing with the Barcades. I just wanted to

1213
01:03:06,200 --> 01:03:09,720
Speaker 3: play with the Barcades overy much. I don't know, like

1214
01:03:09,960 --> 01:03:12,640
Speaker 3: I'm just an old spirited person, but yeah, that was

1215
01:03:12,680 --> 01:03:14,720
Speaker 3: my That was my making it thing, just being on

1216
01:03:14,760 --> 01:03:16,640
Speaker 3: stay with the Barcades, because I used to just envision

1217
01:03:16,680 --> 01:03:18,960
Speaker 3: my dad just being up there, just funking out and stuff.

1218
01:03:19,400 --> 01:03:21,560
Speaker 3: But yeah, that was one of those things. Or playing

1219
01:03:22,280 --> 01:03:26,200
Speaker 3: with Mayev the Staples, or or playing with a big

1220
01:03:26,360 --> 01:03:28,880
Speaker 3: gospel choir, you know, because the church was a big

1221
01:03:28,880 --> 01:03:31,880
Speaker 3: influence on me. But yeah, it was one of those things.

1222
01:03:31,920 --> 01:03:32,959
Speaker 3: Just a simple thing.

1223
01:03:34,160 --> 01:03:38,960
Speaker 1: So even now with where Memphis stands, be it like

1224
01:03:39,160 --> 01:03:43,880
Speaker 1: new acts or even legendary acts Glorilla Yogatti or even

1225
01:03:45,080 --> 01:03:49,600
Speaker 1: back to you know, uh, Project Pad or three six.

1226
01:03:49,480 --> 01:03:51,680
Speaker 2: Mafia or even a ball m j G.

1227
01:03:51,960 --> 01:03:53,960
Speaker 1: Like as far as the hip hop community is concerned,

1228
01:03:54,040 --> 01:03:57,240
Speaker 1: have you done or had a desire to do any

1229
01:03:57,320 --> 01:03:58,560
Speaker 1: collaborations at all?

1230
01:03:59,560 --> 01:04:01,520
Speaker 3: Yeah, I was love to go. Really, it's one of

1231
01:04:01,560 --> 01:04:05,080
Speaker 3: my favorites right now, to be honest, so straight up Memphis,

1232
01:04:05,320 --> 01:04:08,360
Speaker 3: but yeah, I was. I want to do something with

1233
01:04:08,400 --> 01:04:12,240
Speaker 3: a Ball m j G. But I just never I

1234
01:04:12,280 --> 01:04:15,720
Speaker 3: tried to get something do something with Pat Pat Project Pat.

1235
01:04:16,200 --> 01:04:19,360
Speaker 3: That didn't work out. But yeah, I've always wanted, you know,

1236
01:04:19,440 --> 01:04:21,640
Speaker 3: to do that, but it's it's just never worked out.

1237
01:04:21,720 --> 01:04:23,440
Speaker 3: I want to do something with play a Fly. I

1238
01:04:23,480 --> 01:04:25,800
Speaker 3: want to do something with Gangs the Boot. You know,

1239
01:04:25,880 --> 01:04:27,520
Speaker 3: she's no longer hear the rest of Soul.

1240
01:04:28,760 --> 01:04:33,600
Speaker 1: So yeah, there there's actually a Project Pat roots song

1241
01:04:33,760 --> 01:04:39,520
Speaker 1: that probably won't ever see the light of day. No, Pat,

1242
01:04:39,560 --> 01:04:42,640
Speaker 1: Pat's one of our favorites. Like, yes, we always plays

1243
01:04:42,680 --> 01:04:44,920
Speaker 1: on the tour bus. So my final question is, when

1244
01:04:44,960 --> 01:04:46,800
Speaker 1: all is said and done, what is it that you

1245
01:04:46,800 --> 01:04:51,840
Speaker 1: would like us to say about you and your art?

1246
01:04:52,880 --> 01:04:54,960
Speaker 3: I guess I could just use one word, and it's

1247
01:04:55,080 --> 01:04:58,760
Speaker 3: very cliche, but just freedom, you know, not too deep,

1248
01:04:59,000 --> 01:05:02,560
Speaker 3: just freedom, just having to the freedom to be free.

1249
01:05:02,640 --> 01:05:04,960
Speaker 3: I guess, you know, I know that's very cliche, but

1250
01:05:05,440 --> 01:05:07,000
Speaker 3: just freedom, just freedom.

1251
01:05:07,120 --> 01:05:11,000
Speaker 1: George Clinton once said freedom is the I think he

1252
01:05:11,080 --> 01:05:16,280
Speaker 1: said true freedom is not having the need to be free,

1253
01:05:17,120 --> 01:05:22,000
Speaker 1: and I get that all right. Well, I will say

1254
01:05:22,040 --> 01:05:27,280
Speaker 1: this DJ brother mom On Leon. I'm very grateful and

1255
01:05:27,400 --> 01:05:32,360
Speaker 1: thankful that you are here to show us the light

1256
01:05:32,560 --> 01:05:36,680
Speaker 1: and just with your overall creativity. I'm a massive fan

1257
01:05:36,760 --> 01:05:40,680
Speaker 1: and I thank you for granting me one man audience

1258
01:05:40,760 --> 01:05:43,480
Speaker 1: to get all my nerdy questions out, and thank you

1259
01:05:43,240 --> 01:05:47,080
Speaker 1: for being on the Quest Lost Show. Thank you so much,

1260
01:05:47,360 --> 01:05:50,280
Speaker 1: and to all of you listening, we will see you

1261
01:05:50,440 --> 01:05:52,240
Speaker 1: next week on the next go round of the Quest

1262
01:05:52,280 --> 01:05:52,640
Speaker 1: Love Show.

1263
01:05:52,720 --> 01:05:55,080
Speaker 3: Thank you, my bae.

1264
01:05:58,960 --> 01:06:02,440
Speaker 1: Quest Love Show is hosted me a Mere Quest Love Thompson.

1265
01:06:03,360 --> 01:06:07,160
Speaker 1: The executive producers are Sean g Brian Calhoun and Me.

1266
01:06:08,800 --> 01:06:14,720
Speaker 1: Produced by Brittany Benjamin Jake Paine. Produced for iHeart by

1267
01:06:14,800 --> 01:06:20,320
Speaker 1: Noel Brown, Edited by Alex Convoy. iHeart Video support by

1268
01:06:20,440 --> 01:06:27,840
Speaker 1: Mark Canton, Logos Graphics and animation by Nick Lowe. Additional

1269
01:06:27,880 --> 01:06:33,960
Speaker 1: support by Lance Coleman. Special thanks to Kathy Brown. Special

1270
01:06:33,960 --> 01:06:38,560
Speaker 1: thanks to Sugar Steve Mandel. Please subscribe, break review, and

1271
01:06:38,720 --> 01:06:42,080
Speaker 1: share The Quest Love Show wherever you stream your podcast.

1272
01:06:42,560 --> 01:06:47,280
Speaker 1: Make sure you follow us on socials that's at q LS.

1273
01:06:49,000 --> 01:06:52,160
Speaker 1: Check up hundreds and hundreds of QOLS episodes, including the

1274
01:06:52,240 --> 01:06:54,920
Speaker 1: Quest Love Supreme Shows, and our podcast archives.

1275
01:06:57,480 --> 01:07:03,800
Speaker 2: Quest Love Show is a production of iHeartRadio