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Speaker 1: Every day, Breakfast Club finish for y'all done morning. Everybody

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Speaker 1: is d j en Vy just hilarious.

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Speaker 2: Charlamagne the guy. We are the breakfast Club, Laurn La

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Speaker 2: Rosa is here as well. We got some special guests

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Speaker 2: in the building, got icon, some legends.

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Speaker 1: They're backed.

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Speaker 2: This their second time on the show. Ladies and gentlemen, Jimmy,

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Speaker 2: jam and Terry Lewis, welcome.

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Speaker 3: Thank you for having us. How are y'all man a

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Speaker 3: little wet because it's raining.

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Speaker 4: Stay true to the uniform now now they don't got

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Speaker 4: the suit on today.

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Speaker 1: It's winter. It's like, you know, we're trying to be

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Speaker 1: you gotta stay warm. That's right.

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Speaker 2: Well, how y'all feeling first and foremost?

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Speaker 5: I feel great?

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Speaker 1: Man.

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Speaker 5: You know busy, I like that.

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Speaker 3: But if I'm not busy, I gotta get busy being busy.

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Speaker 5: So that's just what it is.

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Speaker 2: Young artists reach out to you guys like they should.

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Speaker 2: I mean, because you put up so many hits on

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Speaker 2: the board, so many, so many points on the scoreboard.

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Speaker 2: I wonder if the younger artists say, you know what,

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Speaker 2: I gotta tap in with Jimmy, Jeame, Terry Lewis.

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Speaker 1: Sometimes sometimes I mean, what happens now is because so

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Speaker 1: many of the artists are tapping into the eighties and

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Speaker 1: the nineties. They're either sampling our stuff or they'll just

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Speaker 1: call and say, hey, well you could get down with

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Speaker 1: me and do some stuff, you know. So yeah, so

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Speaker 1: that definitely is happening, which I think is very cool,

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Speaker 1: you know.

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Speaker 2: And if you don't know, if you're just join us.

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Speaker 2: Jimmy Jameterry Lewis, Icons Legs. They work with artists from

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Speaker 2: Janet Jackson, Michael Jackson, Princes, Shamir j Blase, Mariah Carry Everyone,

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Speaker 2: Boys and Man, New Addition, Chaka Khan, Tony Braxton, her

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Speaker 2: S So West, Ben Yolanda Items, just to name a few.

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Speaker 6: I don't even like to say that y'all worked with

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Speaker 6: those artists. Those artists worked with y'all. Yeah, because y'all did.

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Speaker 6: Y'all shaped culture. There was a period where y'all sound

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Speaker 6: is what absolutely positively shaped culture.

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Speaker 1: It's a team sport, you know, it's a team sport.

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Speaker 1: I mean, we work with really talented people. I always say,

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Speaker 1: we work with talented people. They make us look good,

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Speaker 1: you know. So that's what it is. And it's a

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Speaker 1: team sport. Even you know us being here with y'all

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Speaker 1: today because we could make all the music we would

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Speaker 1: want to, and if there wasn't a delivery system where

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Speaker 1: people could actually hear it with all y'all talking us

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Speaker 1: up or playing our songs in that it's like the

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Speaker 1: treat that falls in the force and nobody knows about it.

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Speaker 1: So Terry has a theory on that. He says, we

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Speaker 1: don't make hits, We just make music.

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Speaker 3: Y'all make it hits everybody, everybody. Everybody takes the whole

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Speaker 3: ecosystem to create a hit.

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Speaker 6: Do you think producers today still shape culture the way

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Speaker 6: that y'all did or has like the algorithm replaced the

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Speaker 6: producer ear so to speak.

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Speaker 3: I don't think algorithms will ever replace anything. That's just

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Speaker 3: people who don't know having a way to know something. Still,

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Speaker 3: it comes from the gut, man, What makes people feel something,

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Speaker 3: What makes the hair on your arms stand up, you know,

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Speaker 3: and make you get Goosebumps's that's what moves the needle.

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Speaker 3: All the rest of it, man, is just people talking

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Speaker 3: about things that they don't know nothing about.

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Speaker 5: Yeah, it went that way this way.

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Speaker 3: Trending is trending that way, but it doesn't always trend

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Speaker 3: a way that you wanted to go all what you

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Speaker 3: think is going to do. And if someone knew that equation.

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Speaker 5: Oh man, everybody have a hit everything they do would

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Speaker 5: be that's right.

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Speaker 6: You know.

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Speaker 2: We just recently had Teddy rally up pair right, we

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Speaker 2: would talk about the New jack Swing era and we

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Speaker 2: was talking about Teddy and Keith and I was I

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Speaker 2: was thinking to myself, shouldn't Jimmy, Jim and Terry Lewis's

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Speaker 2: name be added to creating that New Jack Swing sound?

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Speaker 2: And do you ever feel way when sometimes you guys

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Speaker 2: are not mentioned in that in that creation of that.

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Speaker 1: I feel like Teddy is a king of New Jackson Wing,

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Speaker 1: meaning that he took that style, patented it, and gave

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Speaker 1: us something to all be a part of it or

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Speaker 1: follow along with it. I feel like the first New

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Speaker 1: jack Swing song, although there was no title for it,

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Speaker 1: there was no moniker for it, it's probably Janet Jackson Nasty,

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Speaker 1: which was which was Control album, which is forty years

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Speaker 1: ago this year, so we saw make Everybody Feel Old

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Speaker 1: forty years ago that album came out. But that's I

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Speaker 1: think that. And I remember the first time we heard

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Speaker 1: I Want Her by Keith and I remember we were

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Speaker 1: with Babyface in La. We were just hanging out in

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Speaker 1: a club and that song came on and we all

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Speaker 1: thought it was nasty at first because like the little

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Speaker 1: like the little synthesizer parts. And then baby Face said,

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Speaker 1: oh no, LA said, oh no, that's Keith Sweat. That's

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Speaker 1: Keith Sweat. And I said, oh yeah, Key Sweat, that's dope.

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Speaker 1: I like that. And then baby Face goes, yeah, Keith's cool.

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Speaker 1: But the dude behind him, Teddy Riley, he's the one.

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Speaker 1: So Face was the one that really turned us on too,

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Speaker 1: Teddy Riley. And love what Teddy does. So I think

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Speaker 1: we're part of it. But I think there's no question

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Speaker 1: that he's the king of New Jack Swing. And by

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Speaker 1: the way, and I'll tell you, I'll tell you quick

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Speaker 1: Teddy Riley's story. So I always said my theory was

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Speaker 1: the foundation of hip hop was always James Brown, right.

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Speaker 1: It was always based on funky drummer or the Lynn

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Speaker 1: Collins think you know, the Tambourne and Natale was across

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Speaker 1: so many hip hop records. But I always said the

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Speaker 1: foundation of New Jack swing was Casey in the Sunshine Band.

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Speaker 1: Oh yes, right, and everybody, everybody said, no, no, what

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Speaker 1: are you talking What are you talking about? So when

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Speaker 1: I interviewed, I had a show on Serius sex in

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Speaker 1: back in the day and I actually interviewed Teddy and

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Speaker 1: I told him that theory and he laughed and he said,

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Speaker 1: oh my god. He said, can I tell you something?

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Speaker 1: He said, you know the baseline of I want her

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Speaker 1: and he goes, doom doom, doom doom, boom boom. Right,

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Speaker 1: that's the he said, That's the way I like it.

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Speaker 1: Casey in the Sunshine Band. If you listen to that song,

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Speaker 1: it's the same bassline. The other foundation of that is

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Speaker 1: I get lifted that boo. That's Casey in the Sunshine Band.

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Speaker 1: George McCrae sang the song, but Casey in the Sunshine

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Speaker 1: Band played it and produced it. Wow. So he said, yeah,

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Speaker 1: you're absolutely right. So I was like, okay, cool. So

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Speaker 1: now I can go to people that think I'm nuts

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Speaker 1: and go, no, I got it from I got it

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Speaker 1: from the guy. But Teddy's amazing, absolutely amazing.

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Speaker 4: The more conversations that that I'm a part of here

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Speaker 4: where I learned so much about, like music history, I'm like,

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Speaker 4: is there ever going to really be a way to

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Speaker 4: really archive all of the hip hop, R and B

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Speaker 4: soul like real music history, because every time I talk

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Speaker 4: to somebody, I learned something new. We're a different angle

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Speaker 4: way to think about it. Like, do you guys think

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Speaker 4: we'll ever really be able to document all of it

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Speaker 4: and do it right now?

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Speaker 5: Yeah? I think you can.

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Speaker 3: It's just that for music, I don't think anyone can

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Speaker 3: take credit because everything is based on something else.

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Speaker 1: You know.

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Speaker 3: The shoulders that we stand on dictate kind of where

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Speaker 3: we can see the our purview on something, and so

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Speaker 3: everybody has something in their air that affects them in

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Speaker 3: another way and we just keep taking in another place.

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Speaker 3: But it all is based on the same stuff, So

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Speaker 3: nobody can claim credit for anything. Because like KC, that

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Speaker 3: was my favorite stuff, you know that I.

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Speaker 5: Come there with the slag, that was it?

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Speaker 7: So well, congratulations on Las Vegas residency coming to April.

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Speaker 7: How does it feel to have that? That's that's big,

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Speaker 7: that's nice.

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Speaker 1: You know about probably talked a little bit about it

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Speaker 1: when we did our album, when we did our Jamin

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Speaker 1: Lewis Vie one album, But we had said back at

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Speaker 1: that time there was three things we wanted to do.

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Speaker 1: We wanted to work with Babyface, which we ended up doing,

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Speaker 1: which was great. We said we wanted to do our

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Speaker 1: own album, which we did Jamine Lewis Volume one, as

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Speaker 1: Volume two is on the way. But then we also

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Speaker 1: said we want to go play our own music live,

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Speaker 1: because if you think about it, we started off before

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Speaker 1: we were songwriters and producers. We were musicians, you know,

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Speaker 1: playing in bands and playing everybody else's hit songs, and

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Speaker 1: that was part of our learning process, part of our

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Speaker 1: education and how we learned to even songwrite and produce.

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Speaker 1: And so now going back full circle for us, we'd

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Speaker 1: get a chance to play some hit songs, but they

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Speaker 1: just happened to be ours and go back to our

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Speaker 1: musician roots. So we're really really excited about it. In

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Speaker 1: Vegas is a perfect place to do it, and we

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Speaker 1: got a nice little intimate room called Voltaire at the

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Speaker 1: Venetian Resort, and it's going to be nothing but hits,

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Speaker 1: as we call it, but we're also going to be

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Speaker 1: telling the stories behind the songs, like the way those

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Speaker 1: songs were made and all that, and we think it's

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Speaker 1: gonna be a great little format, a little time travel,

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Speaker 1: a little virtual time travel.

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Speaker 6: All forty two Billboard number one, we're gonna hear we're

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Speaker 6: gonna well, we're gonna get as many as we possibly can.

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Speaker 1: Yeah, we definitely definitely are. I tell people it's gonna

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Speaker 1: be more of a more of a tasting menu. Like

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Speaker 1: we're not gonna do like a whole seven minute remixes back. Yeah, yeah, no,

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Speaker 1: we're not gonna do that. But but we'll hit you.

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Speaker 1: We'll hit you with that intro. We'll get you there,

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Speaker 1: you know. Verse course, you know, might hit a bridge

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Speaker 1: or something, kind of hit bridges because we love bridges.

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Speaker 1: We got to hit the bridges and whatever and then

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Speaker 1: we boom, we right onto the next So it's more

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Speaker 1: like a mixtape or more like if a DJ is

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Speaker 1: doing a mashup. It's more of that kind of thing.

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Speaker 2: Now, you guys work with so many people. I'm sure

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Speaker 2: all these artists will be there. Will It'll be some

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Speaker 2: of those things where somebody's in town and be like

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Speaker 2: so and so's on the stage. Yeah, Jena Jacksons here, ladies, gentlemen, control.

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Speaker 1: It absolutely is. Well. The thing that happened for us

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Speaker 1: was we kind of tested this concept while we went

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Speaker 1: to Japan. We did like, I think sixteen shows in

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Speaker 1: Japan or something like that in the past couple of years,

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Speaker 1: just to kind of test the concept of what it

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Speaker 1: is and what happens is if you have friends in

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Speaker 1: the audience, most of the time they will want to

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Speaker 1: come on stage. So we did a show in Atlanta

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Speaker 1: during Labor Day last year and for instance, uh, and

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Speaker 1: I will say, Ruben Stuttard is our kind of our

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Speaker 1: male singer because he can handle anything from you know,

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Speaker 1: Alexander O'Neil to Usher to whatever. And when we started

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Speaker 1: doing Bad Girl, he just walked where Usher was sitting

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Speaker 1: and Usher was there watching, just enjoying the show, and

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Speaker 1: he kind of looked at Usher and like and Usher

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Speaker 1: got on stage hit you know, hit Bad Girl, hit

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Speaker 1: you Remind Me? And it was like, oh okay. So

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Speaker 1: we always say you never know who's gonna show, and

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Speaker 1: that's that's why we look at you know, listen, we

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Speaker 1: talked to doctor Dre yesterday. He said, he's gonna come,

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Speaker 1: He's gonna come play. Coyle bell is what he said.

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Speaker 1: I said. We put a cow bell up in the

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Speaker 1: front on the catwalk. Yeah, and the catwalk, Cole bell

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Speaker 1: on the cat coy bell on the catwalk. We got

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Speaker 1: a cat a catwalk that goes out in the audience,

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Speaker 1: which is cool, so everybody gets a good seat and stuff.

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Speaker 1: It's gonna be a lot of fun, man, And yeah,

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Speaker 1: there's gonna be a lot of friends dropping through and

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Speaker 1: you never know. Each night is going to be different.

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Speaker 1: We're doing six nights. It's a limited residency, but each

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Speaker 1: night'll be a little bit different.

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Speaker 7: How did come about?

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Speaker 1: It was a friend of ours, uh, who just was

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Speaker 1: a huge gem and Lewis fan and happened to have

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Speaker 1: a room in Vegas and said, you guys should come

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Speaker 1: to my room and play. And we just said, okay,

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Speaker 1: let's check it out. And then we went to the

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Speaker 1: venue and the venues just perforges. Yeah, it's beautiful, and

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Speaker 1: we just thought, okay, yeah, I think we could do

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Speaker 1: something here really cool. And like I say, we want

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Speaker 1: to We're at the part of our careers where we

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Speaker 1: want to do things we haven't done yet, and this

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Speaker 1: fits perfectly in that slot of things we haven't done yet.

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Speaker 6: You hold on, I'm watching y'all, and I saw your

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Speaker 6: man with all of those Please tell me that that's

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Speaker 6: a line of glasses.

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Speaker 1: Tell me that, y'all, that's a line of glasses. Yes,

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Speaker 1: but I have to make sure there's there's a sordid

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Speaker 1: you know, we got to make sure we right. Okay, Okay,

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Speaker 1: we got you, we got you, we got you. Okay,

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Speaker 1: so what do we what do we got Terry Lewis?

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Speaker 5: These are the Jimmy jams? All right?

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Speaker 1: So these are like I'm wearing right here between the

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Speaker 1: Jimmy jam and Terry Lewis. Okay, you got the Terry

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Speaker 1: Lewis right there? We fit in the see okay, because

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Speaker 1: I got Terry Lewis right here.

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Speaker 4: Let me.

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Speaker 1: Love, I need Jimmy j I need the big ones.

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Speaker 5: Which one getting a little older?

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Speaker 1: We need definitely need to do that. Okay, So wait

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Speaker 1: a minute, which one? Which one? Who wanted Terry Lewis?

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Speaker 1: You got her? You got you got Jimmy jam. All right.

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Speaker 5: So then then there's a female pair too.

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Speaker 1: Oh yeah, okay, there we go. Which one is a female?

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Speaker 1: I'm you like this? Just the jam? Right?

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Speaker 6: Those?

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Speaker 1: What's those jam? Jimmy right there? Man there? Thank you

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Speaker 1: so much?

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Speaker 4: Female pair?

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Speaker 5: Yeah?

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Speaker 1: Wait, how do you know the difference?

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Speaker 6: Because they both say jam and louis.

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Speaker 1: Sometimes you can see it's just a shape of the one.

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Speaker 4: Let me see you.

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Speaker 1: That's the female right there. Okay, there you go.

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Speaker 5: That'll look great on her.

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Speaker 4: Shape differently, Yeah, bag too, because you could also use

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Speaker 4: this as a cute.

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Speaker 1: Little place than we give credit to Terry's wife actually,

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Speaker 1: and there she's our merch matt Man. She's the one

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Speaker 1: to make sure that it's not only the product itself,

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Speaker 1: but the way it's packaged, the whole thing. And if

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Speaker 1: you notice there's a little case and a little thing

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Speaker 1: in there for your cloth, that's you know, basically our genius. Yeah,

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Speaker 1: how can people get these?

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Speaker 2: Because I mean we're talking about if somebody might want

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Speaker 2: to order, how can they order these?

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Speaker 1: So flight Time Lifestyle is on Instagram. That's the place

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Speaker 1: to go. And if you go to flight Time Lifestyle,

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Speaker 1: it's f l y T E T y emmy lifestyle

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Speaker 1: and uh, you can go there and there's a link

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Speaker 1: that gets you to the actual merch. And we'll have

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Speaker 1: these in Vegas and you know, but you can have

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Speaker 1: your get yours now and then you can wear them

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Speaker 1: to Vegas when you come, you.

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Speaker 5: Know, when it's sunny, when it's sonny.

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Speaker 1: Yeah, because y'all all need to come and y'all need

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Speaker 1: to get out of this rain and all this crazy stuff,

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Speaker 1: and I tell people it's a great excuse to go

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Speaker 1: to Vegas.

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Speaker 4: Is this the first time that you guys are ever

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Speaker 4: approached about a residency?

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Speaker 1: We did one other one well for us, Yes, for

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Speaker 1: Jimmy and Terry. Yes, we did do a residency with

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Speaker 1: the time with our group, the time right after we

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Speaker 1: did the Grammys back in two thousand and maybe. I

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Speaker 1: don't remember what year it was.

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Speaker 5: And I can't remember yesterday.

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Speaker 3: No.

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Speaker 1: I always say I remember forty years ago better than

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Speaker 1: forty minutes ago. But you know, that's how it goes.

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Speaker 1: But we were approached because we performed on the Grammys

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Speaker 1: at here. It was a fiftieth anniversary of the Grammys,

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Speaker 1: and we performed with Rihanna actually, and I remember when

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Speaker 1: we came off, everybody said, hey, what are y'all going

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Speaker 1: to do? And we said this is just a one

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Speaker 1: off and they said no. And then a guy that

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Speaker 1: actually ran the Flamingo Hotel, Tony Braxton, was appearing there.

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Speaker 1: But Tony was having some health problems and he said,

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Speaker 1: I got three weeks that I can put y'all in

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Speaker 1: if y'all want to do a so A's the time

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Speaker 1: we did a residency and It was during the summer,

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Speaker 1: and it was great. It was probably the best summer

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Speaker 1: vacation we ever had. The greatest yea that our families.

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Speaker 3: Will just do what you love man and be done

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Speaker 3: by you know, we going at seven, we're done by

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Speaker 3: nine and we haven't dinner with our family.

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Speaker 1: Yes, it was great. Ry Terry said, it's at least

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Speaker 1: we ever worked in our life. It was great.

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Speaker 6: I always wonder about that, that that that time with

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Speaker 6: the time, No punt intended. But how did Prince contribute

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Speaker 6: to y'all growth as just produces musicians, artists, everything.

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Speaker 1: I don't know. I'll start off by saying, the reason

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Speaker 1: we're here is because of Prince. I mean, Prince was

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Speaker 1: the one that I mean, I met Princeton Junior High school.

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Speaker 1: We went to junior high school together, took piano classes

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Speaker 1: together and stuff. We both knew how to play, but

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Speaker 1: it just got out of the side of class a

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Speaker 1: little bit, you know. But he was the one that

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Speaker 1: really and I will say Morris Day because Morris actually

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Speaker 1: wrote there's a song called Party Up on the Dirty

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Speaker 1: Mind album. And Morris actually wrote that song or the

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Speaker 1: track to that song because Warners wanted, you know, Prince

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Speaker 1: to do something a little more funky because he had

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Speaker 1: gone into his you know, more of his rock thing.

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Speaker 1: And Morris gave that song to Prince and Prince said,

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Speaker 1: what do you want. He said, I'll give you know,

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Speaker 1: I'll give you thirty grand or I'll give you whatever

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Speaker 1: amount of money. He said, oh, I'll get you a

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Speaker 1: record deal. And Morris said, I'll take the record deal

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Speaker 1: and Morris said okay, And then Prince said, put a

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Speaker 1: band together and you know, we'll get you going. And

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Speaker 1: Morris came to our band and we were actually like

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Speaker 1: a competing band of Morris back in the day, but

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Speaker 1: he came to us and said, okay, y'all going to

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Speaker 1: be the band and we're like, okay, cool, And that's

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Speaker 1: what got us going. That was back in eighty one,

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Speaker 1: so that was the thing that got us going and

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Speaker 1: put us on the map. So all thanks to Prince,

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Speaker 1: all thanks to Morris day. They're the ones that startled us.

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Speaker 1: And of course we got you know, as we the

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Speaker 1: famous story we got fired by Prince, but Terry likes

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Speaker 1: to say he didn't fire us. He freed us. And

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Speaker 1: literally the same night that Prince freed us, we were

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Speaker 1: at Sunset Sound. He freed us. We went over to

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Speaker 1: a studio called Larrabie right across you know the way,

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Speaker 1: and ended up mixing what became our very first hit,

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Speaker 1: and that was just be Good to Be by the

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Speaker 1: SOS band. So literally the same night we got freed,

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Speaker 1: we had our first hit, and you know, the rest

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Speaker 1: is history after that, very much a Hollywood story.

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Speaker 3: Well, God knows, bro, God definitely knows.

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Speaker 1: What's your thoughts?

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Speaker 5: All?

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Speaker 6: I do want to ask one other question, y'all. I'm

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Speaker 6: sure y'all still maintained a relationship with Prince after that.

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Speaker 6: I think when people have these conversations about like who's

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Speaker 6: who's the greatest.

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Speaker 5: Artist of all time?

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Speaker 6: I don't think they really understand what people like Prince did,

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Speaker 6: even like a Stevie Wonder, the fact that they could write, sing, produce,

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Speaker 6: play instruments like they not just sanging the song somebody

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Speaker 6: wrote and dance it.

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Speaker 1: You know, I think the impact, I mean you feel

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Speaker 1: it's a ripple effect. And that's the thing that you

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Speaker 1: when you talk about Prince and think about this. He

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Speaker 1: played every instrument. His debut album, to me is like

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Speaker 1: the best debut album of all time because he played

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Speaker 1: every instrument he played, sang every note, wrote every song.

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Speaker 1: I mean, he did everything on that record, and so

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Speaker 1: that was his thing. But if you think about it,

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Speaker 1: the way we dressed the way we and you think

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Speaker 1: about the ripple of effect. Now, you know when you

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Speaker 1: hear like, you know a Bruno Mars, there's no Bruno

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Speaker 1: Mars without Prince, and he acknowledges that. Matter of fact,

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Speaker 1: Bruno Mars thanks us. He's like when he had twenty

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Speaker 1: four Carrot and all that stuff out, he was like,

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Speaker 1: thank you, Jimmy, Jame and Terry Lewis, you know. So

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Speaker 1: to me, that's the ripple effect, and that's all because

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Speaker 1: of Prince and the fact that we're still here, we

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Speaker 1: get a chance to be blessed to talk to you

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Speaker 1: guys today. That's because of Prince. That's that ripple effects.

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Speaker 1: So when you talk about the greatest some of it

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Speaker 1: is what they did in the moment, but also that

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Speaker 1: ripple effect that they have, you know, and Princess, there's

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Speaker 1: nobody better.

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Speaker 2: To me, I was asking, you know, what's your thoughts

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Speaker 2: on AI and the fact that some of these artists

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Speaker 2: now are using AI to be an artist. You know,

404
00:17:41,160 --> 00:17:42,600
Speaker 2: what's your thoughts on that, and they're using it to

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Speaker 2: create music and create sounds. What's your thoughts on that.

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Speaker 5: I have a lot of thoughts. You want thoughts of feelings.

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Speaker 3: My feelings say, Okay, I don't like the concept, but

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Speaker 3: the facts are the facts. It's here, it's gonna It's

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Speaker 3: like any other tool. They said the drum machine was

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Speaker 3: gonna put drummers out of business.

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Speaker 5: It didn't.

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Speaker 3: It Just if you took the drum machine and learned

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Speaker 3: how to use it, it just became a tool, like

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Speaker 3: auto tune or anything else becomes a tool at a

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Speaker 3: certain point.

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Speaker 5: AI. To me, it's three phases of AI. I say, there's.

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Speaker 3: People that are trying to stop it. They're on the

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Speaker 3: tracks trying to stop it. It's not gonna work because

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Speaker 3: the cat's out the bag now. So there's only two

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Speaker 3: positions left. You can get on the train and ride it,

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Speaker 3: or you can get on the train and try to

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Speaker 3: drive it.

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Speaker 5: And I'm a driver.

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Speaker 3: So I'm thinking, let's figure out how we can use

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Speaker 3: it to the best of our abilities to enhance the

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Speaker 3: things that we do as songwriters and our songs.

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Speaker 5: Maybe we can make our songs better.

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Speaker 3: I don't know, so I'm not afraid of it because

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Speaker 3: it's just technology. But nothing's going to replace humans in

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Speaker 3: a club with the guitar and a voice that put

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Speaker 3: you know, that hair on your arms standing up, you know,

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Speaker 3: and goosebumps. So a, I can't do that. So everybody

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Speaker 3: that's that's trying to use it to yeah, get on

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Speaker 3: the field, Well, what is it doing is diminishing the

435
00:19:18,320 --> 00:19:21,399
Speaker 3: field because it's flooding the field with the fans, and

436
00:19:21,440 --> 00:19:23,399
Speaker 3: when the fans are on the field, the game is

437
00:19:23,440 --> 00:19:29,000
Speaker 3: not important anymore. Somebody's got to watch and make it important.

438
00:19:29,520 --> 00:19:31,960
Speaker 7: And y'all have worked with so many different people over

439
00:19:32,000 --> 00:19:34,760
Speaker 7: the years. Have y'all ever turned down to artists writing

440
00:19:34,800 --> 00:19:38,119
Speaker 7: for an artist or producing because I ain't trusting with

441
00:19:38,200 --> 00:19:40,119
Speaker 7: y'all music or it just didn't align with y'all.

442
00:19:41,320 --> 00:19:43,639
Speaker 3: Yeah, we've turned down things, for sure, but not for

443
00:19:43,920 --> 00:19:45,960
Speaker 3: that reason. We didn't feel like we were the best

444
00:19:46,119 --> 00:19:50,359
Speaker 3: people for the job. So we are fans of the

445
00:19:50,400 --> 00:19:53,920
Speaker 3: people that we work with. We're fans of music, and

446
00:19:54,080 --> 00:19:58,440
Speaker 3: we love music, retro and forward whatever, and we want

447
00:19:58,440 --> 00:20:00,959
Speaker 3: to protect it. So we protect picked ourselves by not

448
00:20:01,040 --> 00:20:02,680
Speaker 3: doing something that we're not inspired by.

449
00:20:03,080 --> 00:20:06,080
Speaker 1: I'd like to say we we we don't really. If

450
00:20:06,160 --> 00:20:09,920
Speaker 1: we say no, it's always with a butt. It's like no.

451
00:20:10,520 --> 00:20:13,080
Speaker 1: But you know who would be really good for this

452
00:20:13,520 --> 00:20:16,720
Speaker 1: is this person? So we redirect. A lot of times

453
00:20:16,760 --> 00:20:19,680
Speaker 1: we will redirect and get the right people involved, or

454
00:20:19,720 --> 00:20:22,640
Speaker 1: a lot of times we will advocate. We were talking

455
00:20:22,640 --> 00:20:24,320
Speaker 1: about it the other day, so Pink is up for

456
00:20:24,400 --> 00:20:27,200
Speaker 1: the Rock and Roll Hall of Fame this year. Girl Yeah,

457
00:20:27,480 --> 00:20:30,399
Speaker 1: and Pink came to Minneapolis to do work on some

458
00:20:30,400 --> 00:20:33,280
Speaker 1: stuff with us, and we said, well, you play us

459
00:20:33,320 --> 00:20:35,239
Speaker 1: what you got so far, and she started playing all

460
00:20:35,280 --> 00:20:36,919
Speaker 1: this stuff and it was the stuff that Linda Perry

461
00:20:36,920 --> 00:20:39,720
Speaker 1: did with her and Dallas Austin did with her. And

462
00:20:39,720 --> 00:20:41,280
Speaker 1: we were like, what do you need us for? You said,

463
00:20:41,320 --> 00:20:43,640
Speaker 1: you got it. You got a record right And she said, well,

464
00:20:43,760 --> 00:20:46,080
Speaker 1: LA thinks that you know, because it's so different from

465
00:20:46,080 --> 00:20:47,720
Speaker 1: what I did before, because her first album was a

466
00:20:47,800 --> 00:20:50,280
Speaker 1: very R and B album. And I said okay. So

467
00:20:50,359 --> 00:20:52,640
Speaker 1: we called La and I said, La, I said, take

468
00:20:52,680 --> 00:20:54,679
Speaker 1: your record company hat off for a minute and just

469
00:20:54,680 --> 00:20:56,440
Speaker 1: put your musician hat on. I just wanted to give

470
00:20:56,440 --> 00:20:58,840
Speaker 1: you two examples, and I said. The first one was

471
00:20:58,840 --> 00:21:01,280
Speaker 1: a girl in Canada. She was popular in Canada, had

472
00:21:01,280 --> 00:21:03,480
Speaker 1: a few hits and stuff. She came to America. She

473
00:21:03,480 --> 00:21:05,320
Speaker 1: made a record called Jagged Little Pill and he said,

474
00:21:05,400 --> 00:21:07,480
Speaker 1: Alanis Morris sat and I said yeah. And I said,

475
00:21:07,480 --> 00:21:09,159
Speaker 1: then there was a guy I said, he had a

476
00:21:09,240 --> 00:21:11,840
Speaker 1: you know, double platinum album, big record. I said, the

477
00:21:11,880 --> 00:21:14,919
Speaker 1: next album. He came out, changed his whole style, had

478
00:21:14,920 --> 00:21:17,520
Speaker 1: bikinis and lakewarmers, in a trench coat. He said Prince

479
00:21:17,680 --> 00:21:19,640
Speaker 1: and I said yeah. And he said, so you're telling

480
00:21:19,680 --> 00:21:23,119
Speaker 1: me you think Pink is Prince and Atlantis morrissat and

481
00:21:23,160 --> 00:21:26,280
Speaker 1: I said yes. I said, now put your record company back,

482
00:21:26,400 --> 00:21:29,600
Speaker 1: your hat back on. You have your first single. He said,

483
00:21:29,640 --> 00:21:32,280
Speaker 1: what's that? I said, get the party started, because that

484
00:21:32,440 --> 00:21:34,840
Speaker 1: song will not lose her audience that she already has,

485
00:21:34,880 --> 00:21:36,720
Speaker 1: but it's going to start gaining her that audience where

486
00:21:36,720 --> 00:21:39,480
Speaker 1: she's trying to go. And I remember when the album

487
00:21:39,600 --> 00:21:42,600
Speaker 1: came out, like three months later, everybody started calling us.

488
00:21:42,640 --> 00:21:44,399
Speaker 1: Because this is before internet or anything. You couldn't just

489
00:21:44,440 --> 00:21:46,320
Speaker 1: text people. They would call us and they go, what

490
00:21:46,359 --> 00:21:48,480
Speaker 1: DoD y'all do on Pink's album? We said, we didn't

491
00:21:48,480 --> 00:21:51,000
Speaker 1: do nothing on the album. Well, she thanks you in

492
00:21:51,000 --> 00:21:52,639
Speaker 1: the liner notes, she said, thank you Jimmy jam and

493
00:21:52,720 --> 00:21:54,240
Speaker 1: Terry Lewis, and I said, oh, we made a phone call,

494
00:21:55,920 --> 00:21:57,520
Speaker 1: so that's it. So we've done a lot of that,

495
00:21:57,600 --> 00:22:00,280
Speaker 1: so that wasn't a no, but it was you know,

496
00:22:00,480 --> 00:22:02,480
Speaker 1: you got what you need right here. You don't really

497
00:22:02,480 --> 00:22:03,400
Speaker 1: need anything from us.

498
00:22:04,080 --> 00:22:05,800
Speaker 6: Wohden it last night because you know you keep saying

499
00:22:05,800 --> 00:22:08,280
Speaker 6: that you know that music that makes your hair stand

500
00:22:08,359 --> 00:22:09,920
Speaker 6: up on your own. When the last time you felt

501
00:22:10,000 --> 00:22:10,760
Speaker 6: like that about some.

502
00:22:10,760 --> 00:22:17,760
Speaker 1: Music yesterday when we heard Open My Heart by Yolanda Atoms. Wow,

503
00:22:17,840 --> 00:22:20,159
Speaker 1: that's when when? Because people always ask us, you know

504
00:22:20,200 --> 00:22:23,200
Speaker 1: our favorite song, and we always say, you know, it's

505
00:22:23,240 --> 00:22:24,680
Speaker 1: the song I always say, I would put it like

506
00:22:24,720 --> 00:22:26,720
Speaker 1: this favorite is tough, because there can be a whole

507
00:22:26,720 --> 00:22:29,320
Speaker 1: lot of reasons something is your favorite, But I think

508
00:22:29,359 --> 00:22:31,640
Speaker 1: that I always say. My analogy is always, if there's

509
00:22:31,680 --> 00:22:33,960
Speaker 1: a time capsule, the time capsule says jam and Lewis

510
00:22:34,000 --> 00:22:35,680
Speaker 1: on it, and one hundred years from now, the aliens

511
00:22:35,720 --> 00:22:38,520
Speaker 1: come down or whatever, they open the time capsule, and

512
00:22:38,560 --> 00:22:41,240
Speaker 1: the song that would play for me would be Optimistic

513
00:22:41,240 --> 00:22:43,920
Speaker 1: by the Sounds of Blackness. Listen to it at least

514
00:22:43,920 --> 00:22:46,080
Speaker 1: three times a week. Okay, so that song to me

515
00:22:46,200 --> 00:22:48,600
Speaker 1: because it says because that song would tell you everything.

516
00:22:48,680 --> 00:22:51,159
Speaker 1: If you didn't know us, never heard of us, that

517
00:22:51,240 --> 00:22:53,400
Speaker 1: song would tell you everything you'd want to know about us.

518
00:22:53,840 --> 00:22:57,160
Speaker 1: And so you know our rhythm, our melodic sense, our

519
00:22:57,400 --> 00:23:00,120
Speaker 1: you know, our our sense of lyric, all of those

520
00:23:00,320 --> 00:23:02,880
Speaker 1: types of things. And then Terry always says in one,

521
00:23:02,960 --> 00:23:05,880
Speaker 1: not even number two, but one A would be Open

522
00:23:05,960 --> 00:23:08,600
Speaker 1: my Heart Eulanda Adams for that same reason that you

523
00:23:08,640 --> 00:23:11,159
Speaker 1: can't listen to that song. And Terry would always talk

524
00:23:11,160 --> 00:23:13,560
Speaker 1: about how people would pull over and Sylvia Roone, you know,

525
00:23:13,880 --> 00:23:18,080
Speaker 1: chairman of of of at the time Electra Records, when

526
00:23:18,119 --> 00:23:20,080
Speaker 1: she said, do you guys want to do with Eulanda Adams?

527
00:23:20,080 --> 00:23:21,920
Speaker 1: We were trying to sign Eulana Adams at that point,

528
00:23:22,000 --> 00:23:24,120
Speaker 1: and we said, yeah, we'll do Yulanda and we did

529
00:23:24,160 --> 00:23:27,159
Speaker 1: the song and I remember she said, oh man, that

530
00:23:27,359 --> 00:23:29,879
Speaker 1: song gave me chills, It made me cry it, you

531
00:23:29,880 --> 00:23:31,480
Speaker 1: know whatever, and we were like cool. And I remember

532
00:23:31,480 --> 00:23:33,040
Speaker 1: they put out a couple of singles, but it wasn't

533
00:23:33,040 --> 00:23:35,720
Speaker 1: that single, and we were like, yo, Sylvia, what happened

534
00:23:35,760 --> 00:23:38,000
Speaker 1: to open my heart? And she said that, you know,

535
00:23:38,400 --> 00:23:40,480
Speaker 1: as a record company person would say, well, you know

536
00:23:40,480 --> 00:23:42,080
Speaker 1: it's summertime. You know, we got to be up tempo

537
00:23:42,160 --> 00:23:44,400
Speaker 1: and we got to be whatever and were like, yeah,

538
00:23:44,440 --> 00:23:46,920
Speaker 1: but it made you cry. And I remember she gave

539
00:23:46,920 --> 00:23:49,280
Speaker 1: it to I think it was Elroy at a GCI

540
00:23:49,320 --> 00:23:53,840
Speaker 1: in Chicago. Okay, she gave it to him. He played

541
00:23:53,840 --> 00:23:57,880
Speaker 1: it the next morning, I guess whoever the morning jock

542
00:23:58,119 --> 00:24:01,240
Speaker 1: was was like, who's this record? Everybody's calling me about

543
00:24:01,240 --> 00:24:03,640
Speaker 1: this record you played last night. What is that record?

544
00:24:03,640 --> 00:24:05,600
Speaker 1: I don't even have that record? And it was Yulanda

545
00:24:05,720 --> 00:24:07,840
Speaker 1: And at that point they knew, Okay, yeah, this thing's

546
00:24:07,880 --> 00:24:09,800
Speaker 1: gonna go. Forget that it's a ballad in the middle

547
00:24:09,800 --> 00:24:11,920
Speaker 1: of the summer. It didn't matter, and of course it

548
00:24:12,040 --> 00:24:15,120
Speaker 1: changed everybody's lives in a positive way. So I think

549
00:24:15,160 --> 00:24:16,720
Speaker 1: those are the kind of records that we want to

550
00:24:16,760 --> 00:24:19,919
Speaker 1: be involved with. And I love that, you know the

551
00:24:19,960 --> 00:24:23,240
Speaker 1: records that sometimes that happens, it's records that we've helped create.

552
00:24:23,280 --> 00:24:25,159
Speaker 1: But we always say God creates the records. We're just

553
00:24:25,160 --> 00:24:26,639
Speaker 1: the delivery system. Absolutely.

554
00:24:26,760 --> 00:24:29,399
Speaker 6: And another thing I wanted to ask, why does pop

555
00:24:29,560 --> 00:24:33,840
Speaker 6: music often you looked at as a white genre when

556
00:24:33,880 --> 00:24:36,680
Speaker 6: it was black a black producer like a Quincy Jones

557
00:24:36,760 --> 00:24:38,600
Speaker 6: and a black artist like a Michael Jackson and black

558
00:24:38,640 --> 00:24:41,680
Speaker 6: producers like You two and a black artist like Janet

559
00:24:41,720 --> 00:24:44,800
Speaker 6: Jackson who changed the trajectory of pop music well pop.

560
00:24:44,960 --> 00:24:47,480
Speaker 3: I think that the intention of pop was only to

561
00:24:47,840 --> 00:24:51,520
Speaker 3: refer to it as popular, and I don't think it

562
00:24:51,600 --> 00:24:56,520
Speaker 3: was race or gender specific at that point. I think

563
00:24:57,240 --> 00:25:03,720
Speaker 3: people have a need to own everything. White people, yes, okay,

564
00:25:07,240 --> 00:25:10,520
Speaker 3: I have the need to claim everything and I can't.

565
00:25:10,600 --> 00:25:13,320
Speaker 3: I think that messed the game up. Like I actually

566
00:25:13,359 --> 00:25:16,520
Speaker 3: prefer how they do it in Europe, Like there's one

567
00:25:16,640 --> 00:25:18,520
Speaker 3: chart and if you on it, you want it, and

568
00:25:18,600 --> 00:25:22,439
Speaker 3: if you're not, you're not. So if the competition is

569
00:25:22,480 --> 00:25:26,320
Speaker 3: fair at that point, let the games begin and let

570
00:25:26,359 --> 00:25:29,560
Speaker 3: the music speak for itself. So I don't know it's

571
00:25:29,600 --> 00:25:32,199
Speaker 3: a way to separate. What's the difference between gospel and

572
00:25:32,280 --> 00:25:37,359
Speaker 3: Christian one is white and one is black.

573
00:25:39,880 --> 00:25:40,680
Speaker 1: I haven't thought about that.

574
00:25:41,080 --> 00:25:44,680
Speaker 3: Yeah, so so so everybody needs they feel the need

575
00:25:44,720 --> 00:25:46,000
Speaker 3: to put things in boxes.

576
00:25:46,800 --> 00:25:51,040
Speaker 5: But we're talking about God. We're talking about God, same God, right.

577
00:25:51,280 --> 00:25:54,560
Speaker 4: I think, how do y'all feel about the Rock and

578
00:25:54,640 --> 00:25:57,520
Speaker 4: Roll Hall of Fame conversation and Ozzy Osbourne gun in

579
00:25:57,560 --> 00:26:00,159
Speaker 4: trouble again for saying that like hip hop artists R

580
00:26:00,200 --> 00:26:08,600
Speaker 4: and B artists shouldn't be I'm sorry confused that ye

581
00:26:10,400 --> 00:26:13,240
Speaker 4: white person Gen Simms. Yes, he got in trouble again

582
00:26:13,240 --> 00:26:16,600
Speaker 4: because he was saying that black basically artists that are

583
00:26:16,680 --> 00:26:19,040
Speaker 4: hip hop or R and B should not be.

584
00:26:18,960 --> 00:26:22,640
Speaker 2: The title is rock and Roll Hall of Fame Rome.

585
00:26:22,680 --> 00:26:24,719
Speaker 3: That's kind of pissy, but you know what I mean,

586
00:26:25,119 --> 00:26:28,280
Speaker 3: that's how he feels, and that he's trying to protect

587
00:26:28,560 --> 00:26:32,359
Speaker 3: himself and that because black folks created rock and roll.

588
00:26:33,200 --> 00:26:36,200
Speaker 3: So how can he be mad at the other people

589
00:26:36,240 --> 00:26:40,480
Speaker 3: that are getting in because they created the genre that

590
00:26:40,760 --> 00:26:44,440
Speaker 3: you specifically want to claim. So you can't be mad

591
00:26:44,960 --> 00:26:47,639
Speaker 3: at other people for getting in because you can be.

592
00:26:48,119 --> 00:26:50,200
Speaker 5: It just doesn't work, just done.

593
00:26:50,240 --> 00:26:53,800
Speaker 1: Yeah, it doesn't work on any level. Well, I mean,

594
00:26:53,840 --> 00:26:55,360
Speaker 1: if you think about the Rock and Roll Hall of Fame,

595
00:26:55,400 --> 00:26:57,000
Speaker 1: the first people that were inducted in the rock and

596
00:26:57,119 --> 00:26:59,520
Speaker 1: Roll Hall of Fame right at the very beginning, you know,

597
00:26:59,560 --> 00:27:03,399
Speaker 1: you had know Chuck Berry in Fast Domino, and you

598
00:27:03,400 --> 00:27:07,159
Speaker 1: know it was the black pioneers, the people little Richard like,

599
00:27:07,240 --> 00:27:10,280
Speaker 1: the people that really invented what is known as rock

600
00:27:10,320 --> 00:27:13,840
Speaker 1: and roll, and rock and roll was not at the origin,

601
00:27:14,240 --> 00:27:16,800
Speaker 1: was not a white dude with long hair, and a

602
00:27:16,840 --> 00:27:20,520
Speaker 1: guitar that was not what it was. It morphed into that.

603
00:27:21,320 --> 00:27:24,720
Speaker 1: But I think we see now it's changing to be

604
00:27:24,840 --> 00:27:27,080
Speaker 1: more inclusive. And also rock and roll is more of

605
00:27:27,080 --> 00:27:30,080
Speaker 1: an attitude than a genre of music anyway, you know.

606
00:27:30,480 --> 00:27:33,840
Speaker 1: And I think hip hop if anybody embodies you know,

607
00:27:34,119 --> 00:27:39,359
Speaker 1: aggressiveness different you know, neis coming through adversity to make music.

608
00:27:39,760 --> 00:27:42,160
Speaker 1: That's the hip hop community. So to me, that's as

609
00:27:42,240 --> 00:27:43,960
Speaker 1: rock and roll as it gets.

610
00:27:44,200 --> 00:27:46,639
Speaker 4: And he credits them as well when he talks about it,

611
00:27:46,680 --> 00:27:48,719
Speaker 4: but it's just like the irony of like that credit

612
00:27:48,760 --> 00:27:51,800
Speaker 4: and then the separation, and then it sparks a whole

613
00:27:51,800 --> 00:27:54,280
Speaker 4: conversation again about that barrier and that guideline.

614
00:27:54,359 --> 00:27:56,159
Speaker 3: Yeah, well maybe they should just call it the Hall

615
00:27:56,240 --> 00:28:03,040
Speaker 3: of Fame. Fame Yeah, if you want to be you know,

616
00:28:03,800 --> 00:28:07,760
Speaker 3: specific in a way that is general. You know, it's

617
00:28:07,800 --> 00:28:10,880
Speaker 3: about the music, isn't it about the contributions, isn't it?

618
00:28:11,280 --> 00:28:13,359
Speaker 1: Well? I think I think the importance of it is

619
00:28:13,400 --> 00:28:17,520
Speaker 1: that I think the music, the conversations around music are

620
00:28:17,520 --> 00:28:21,040
Speaker 1: always great. So if somebody has to say something that's

621
00:28:21,160 --> 00:28:26,560
Speaker 1: you know, slightly off, you know, just off, I guess ignorant. Okay,

622
00:28:27,000 --> 00:28:29,040
Speaker 1: then I think it's great that we have the conversation

623
00:28:29,080 --> 00:28:31,640
Speaker 1: about it because it keeps music important and keeps it relevant.

624
00:28:31,880 --> 00:28:33,720
Speaker 1: And I'm glad we have the conversations. And I think,

625
00:28:33,760 --> 00:28:36,040
Speaker 1: you know, once again for younger people, we're coming at

626
00:28:36,040 --> 00:28:38,520
Speaker 1: it from I mean, we're coming from old guys, you know.

627
00:28:38,920 --> 00:28:42,000
Speaker 1: But I think that everybody needs to know that conversation

628
00:28:42,080 --> 00:28:44,120
Speaker 1: and how those kinds of things happen, because otherwise you

629
00:28:44,160 --> 00:28:45,880
Speaker 1: think that it's just a status quo. You know, the

630
00:28:45,920 --> 00:28:48,200
Speaker 1: things were always like that, I mean, a whole different thing.

631
00:28:48,240 --> 00:28:51,120
Speaker 1: But I know my kids, for instance, when my kids

632
00:28:51,120 --> 00:28:55,240
Speaker 1: were growing up, Obama was the president, they thought, oh,

633
00:28:55,280 --> 00:28:57,800
Speaker 1: that's normal, that's what it is. And it's like, no, no, no, no,

634
00:28:57,840 --> 00:29:00,200
Speaker 1: you do it's not normal. And now they see what

635
00:29:00,240 --> 00:29:03,160
Speaker 1: the new normal is and they're like, whoa wait a minute, now,

636
00:29:03,240 --> 00:29:05,920
Speaker 1: you know, because they historically don't don't have that. So

637
00:29:06,120 --> 00:29:09,440
Speaker 1: I think you have to have the context. And I

638
00:29:09,480 --> 00:29:11,440
Speaker 1: think that. But I love that the Rock and Roll

639
00:29:11,440 --> 00:29:13,880
Speaker 1: Hall of Fame, and the other thing about that is

640
00:29:13,880 --> 00:29:17,240
Speaker 1: the people to vote on that that room is changing

641
00:29:17,560 --> 00:29:19,080
Speaker 1: a lot. I mean because it goes to the fan

642
00:29:19,200 --> 00:29:21,600
Speaker 1: vote also, but that room in that room is changing,

643
00:29:22,080 --> 00:29:25,160
Speaker 1: and so I think that there's a need to you know,

644
00:29:25,520 --> 00:29:27,920
Speaker 1: we people like Luther Vandross on the ballot this year,

645
00:29:27,960 --> 00:29:29,920
Speaker 1: which I think, you know, think about Luther Vandross. He

646
00:29:30,000 --> 00:29:32,920
Speaker 1: was a major contributor to David Bowie. Yeah, you know,

647
00:29:33,480 --> 00:29:35,600
Speaker 1: so I just think that the connections and those types

648
00:29:35,640 --> 00:29:38,520
Speaker 1: of things are really good. But I think the conversations

649
00:29:38,520 --> 00:29:41,200
Speaker 1: are really healthy to have. You know, the debates are healthy,

650
00:29:41,640 --> 00:29:43,240
Speaker 1: and the buffs got to go. I know they got

651
00:29:43,240 --> 00:29:43,320
Speaker 1: to go.

652
00:29:43,360 --> 00:29:45,160
Speaker 6: I got one last question when it's all said and done.

653
00:29:45,280 --> 00:29:46,880
Speaker 6: Do you want Jimmy, Jame and Terry Lewis to be

654
00:29:46,920 --> 00:29:50,240
Speaker 6: remembered for the hits? Are for the blueprint y'all created

655
00:29:50,240 --> 00:29:52,680
Speaker 6: for producers to control their own destinies.

656
00:29:54,280 --> 00:29:58,880
Speaker 1: Ooh, it's a good question. Well, I always say story,

657
00:29:58,880 --> 00:30:03,040
Speaker 1: I always say about that, is it? Michael Jackson asked?

658
00:30:03,160 --> 00:30:05,719
Speaker 1: He said, how do you want to be remembered? And

659
00:30:05,760 --> 00:30:07,240
Speaker 1: I just said, I want to be remembered as a

660
00:30:07,320 --> 00:30:10,960
Speaker 1: nice guy. And he said, no, no, no, no, no. Is

661
00:30:11,000 --> 00:30:13,720
Speaker 1: it because of all her hit records or that you

662
00:30:13,840 --> 00:30:16,600
Speaker 1: sold somebody? I said, no, no, no, that's all statistical stuff.

663
00:30:17,360 --> 00:30:19,800
Speaker 1: So like a chart position, that's statistical. I said, I

664
00:30:19,800 --> 00:30:21,400
Speaker 1: want to be remembered as a nice guy. And about

665
00:30:21,440 --> 00:30:23,840
Speaker 1: a year later I'd sampled some of michael Texas stuff

666
00:30:24,440 --> 00:30:26,080
Speaker 1: and they said, oh, you'll never clear that. You'll never

667
00:30:26,080 --> 00:30:28,280
Speaker 1: clear that. And I called Michael. He called back and

668
00:30:28,320 --> 00:30:30,080
Speaker 1: he says, I know you want to ask me a question,

669
00:30:30,080 --> 00:30:32,760
Speaker 1: but can I just tell you Whenever they asked me

670
00:30:32,800 --> 00:30:34,200
Speaker 1: what it's like working with you guys, I just go

671
00:30:35,120 --> 00:30:35,920
Speaker 1: Jimmy jam is.

672
00:30:35,840 --> 00:30:37,400
Speaker 6: The nicest guy.

673
00:30:37,640 --> 00:30:39,320
Speaker 1: And I said thanks Michael, and he goes, yeah, yeah,

674
00:30:39,360 --> 00:30:41,280
Speaker 1: I'll clear it. Have John Bran could call and I'll

675
00:30:41,320 --> 00:30:43,440
Speaker 1: clear the sample and whatever. We ended up not even

676
00:30:43,520 --> 00:30:45,600
Speaker 1: using the sample. But my point was is that was

677
00:30:45,600 --> 00:30:47,520
Speaker 1: the impression. And I said to Michael, I said to

678
00:30:47,560 --> 00:30:49,280
Speaker 1: Good News Michael, I said, when people asked me what

679
00:30:49,320 --> 00:30:51,280
Speaker 1: it was like to work with you, I tell them

680
00:30:51,320 --> 00:30:54,440
Speaker 1: the exact same thing. He's a nice guy, so I

681
00:30:54,440 --> 00:30:56,560
Speaker 1: always want I would always go for that over the talent.

682
00:30:56,760 --> 00:30:59,360
Speaker 1: But the way you articulated as sort of a blueprint

683
00:30:59,440 --> 00:31:01,560
Speaker 1: or sort of a you know, an inspiration or all

684
00:31:01,600 --> 00:31:03,760
Speaker 1: of that, that's what we would like to be. I

685
00:31:03,800 --> 00:31:06,000
Speaker 1: think you know that. I mean, the hits are great

686
00:31:06,040 --> 00:31:08,320
Speaker 1: in the moment, but once again, as I talked about

687
00:31:08,320 --> 00:31:10,800
Speaker 1: earlier with Prince you know, Prince had some big hits,

688
00:31:11,320 --> 00:31:13,360
Speaker 1: but his effect on people and the fact that we're

689
00:31:13,400 --> 00:31:16,440
Speaker 1: even sitting here right now. We want to be that

690
00:31:16,600 --> 00:31:18,400
Speaker 1: for people. We want to be the reason that they're

691
00:31:18,440 --> 00:31:20,479
Speaker 1: sitting here and being able to do what it is

692
00:31:20,480 --> 00:31:22,320
Speaker 1: that they do and for to have them say, I mean,

693
00:31:22,360 --> 00:31:24,640
Speaker 1: I'll tell you we're talking about you know, you know,

694
00:31:24,720 --> 00:31:28,240
Speaker 1: white people. Charlie Pooth. Charlie Pooth came on the thing

695
00:31:28,280 --> 00:31:31,280
Speaker 1: we did the other day and he was like, y'all

696
00:31:31,360 --> 00:31:33,680
Speaker 1: the reason I even make chords, the way I make

697
00:31:33,720 --> 00:31:35,840
Speaker 1: my chords and that kind of stuff. You know. So

698
00:31:35,960 --> 00:31:38,960
Speaker 1: that's the kind of Charlie is good dude, right, But

699
00:31:39,120 --> 00:31:40,920
Speaker 1: you want that's the kind of impact you want to have.

700
00:31:40,960 --> 00:31:43,480
Speaker 1: And I think that means a lot to us to

701
00:31:44,000 --> 00:31:44,360
Speaker 1: have that.

702
00:31:44,800 --> 00:31:47,600
Speaker 3: And I would just add a little bit of sauce

703
00:31:47,640 --> 00:31:52,800
Speaker 3: on that, Sam, which is really nice, Jim jam But

704
00:31:53,920 --> 00:31:57,400
Speaker 3: I think from the age that we came into this,

705
00:31:57,520 --> 00:32:00,000
Speaker 3: you know, there were people before, certainly Gamble and Health,

706
00:32:00,600 --> 00:32:03,680
Speaker 3: who was our blueprint, you know, Quincy Jones, who was

707
00:32:03,720 --> 00:32:04,440
Speaker 3: like a mentor.

708
00:32:06,560 --> 00:32:10,560
Speaker 5: I love the way our career arc and.

709
00:32:11,000 --> 00:32:16,200
Speaker 3: Business acumen helped to shape the business side of it

710
00:32:16,600 --> 00:32:18,720
Speaker 3: for producers that came after us.

711
00:32:18,760 --> 00:32:19,520
Speaker 5: Now, although that.

712
00:32:21,240 --> 00:32:24,440
Speaker 3: That's all changed now because nobody gets paid now because

713
00:32:24,440 --> 00:32:29,040
Speaker 3: of streaming. But we actually made the producers have some

714
00:32:29,080 --> 00:32:33,240
Speaker 3: power at a certain point because before they were just tools,

715
00:32:34,160 --> 00:32:39,760
Speaker 3: and we became personalities and tools, and that helped us.

716
00:32:39,840 --> 00:32:42,640
Speaker 3: Just like you guys are. They all are personalities. So

717
00:32:43,480 --> 00:32:46,000
Speaker 3: that gives the voice even a louder bullhorn.

718
00:32:46,120 --> 00:32:49,400
Speaker 5: So we were able to advocate for all the people that

719
00:32:49,440 --> 00:32:49,840
Speaker 5: we love.

720
00:32:50,000 --> 00:32:53,040
Speaker 3: You know, I love musicians, I love for artists, I

721
00:32:53,080 --> 00:32:58,120
Speaker 3: love producers, anybody who's creating music. And Kenny Gamble said

722
00:32:58,120 --> 00:33:01,200
Speaker 3: it best because as my mentor, we would always talk

723
00:33:01,240 --> 00:33:03,200
Speaker 3: to him about things. He said, you know, our music

724
00:33:03,280 --> 00:33:06,280
Speaker 3: is supposed to be pure, wholesome. It's supposed to feed

725
00:33:06,320 --> 00:33:08,760
Speaker 3: and nourish us. So we have to be careful with

726
00:33:08,880 --> 00:33:11,800
Speaker 3: what we do in terms of what we create for

727
00:33:11,920 --> 00:33:12,760
Speaker 3: our communities.

728
00:33:13,440 --> 00:33:16,200
Speaker 5: And I still believe that. But this room for all

729
00:33:16,240 --> 00:33:16,680
Speaker 5: of it.

730
00:33:17,200 --> 00:33:19,360
Speaker 3: You know, But for every you know, piece of fried

731
00:33:19,440 --> 00:33:20,880
Speaker 3: chicken you eat, you better eat a salad.

732
00:33:23,040 --> 00:33:28,520
Speaker 2: Ladies and gentlemen, Jimmy joining us, and you know, anytime

733
00:33:28,560 --> 00:33:29,880
Speaker 2: you guys are in town, pull up on.

734
00:33:29,880 --> 00:33:33,200
Speaker 6: Us please, and tickets can be purchased for their residency

735
00:33:33,240 --> 00:33:34,880
Speaker 6: at a volt tear.

736
00:33:35,640 --> 00:33:39,960
Speaker 2: LV dot com, LV dot com April seventeen through the

737
00:33:39,960 --> 00:33:42,040
Speaker 2: twenty six And thank you brothers again, thank you.

738
00:33:42,360 --> 00:33:43,160
Speaker 1: It's the Breakfast Club.

739
00:33:43,160 --> 00:33:48,520
Speaker 6: Good morning, every day up, Breakfast Club.

740
00:33:49,080 --> 00:33:50,000
Speaker 1: Finish for y'all. Done,