WEBVTT - Questlove Supreme: Dallas Austin Part 1

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio. All Right,

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<v Speaker 1>my verse might be weak.

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<v Speaker 2>Supremo Supremo, Roll Call, Supremo, Supremo, Role Called Supremo, Something Supremo,

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<v Speaker 2>Roll Call, Suprema So Supremo roll Call.

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<v Speaker 1>I'm out of ideas. Yeah, I'm so afraid. Yeah, somebody help. Yeah,

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<v Speaker 1>I ain't too proud Supreme So Supreme, Roll Supremo. Roll

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<v Speaker 1>My name is Fante. Yeah, I ain't trying to be funny.

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<v Speaker 3>Yeah.

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<v Speaker 1>If I'm just gonna keep it real, yeah, I like

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<v Speaker 1>must be the.

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<v Speaker 2>Money Supremo Roll Suprema Supremo roll Call.

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<v Speaker 1>My name is Sugar.

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<v Speaker 4>Yeah, and I got my booster. Yeah, so I could

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<v Speaker 4>be here.

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<v Speaker 1>Yeah with this great producer.

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<v Speaker 2>Suprema Supreme, Roll Suprema Supremo roll Call.

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<v Speaker 4>It's like yeah and Jesus Christ.

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<v Speaker 1>Yeah that was Austin's music.

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<v Speaker 4>Yeah, change my life.

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<v Speaker 2>Roll Call Supremo, Supremo, Roll Call Suprema Names Dallas.

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<v Speaker 4>Yeah, I'm here for show. Yeah, I love Yeah, gonna

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<v Speaker 4>give you some more.

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<v Speaker 2>Roll card Supreme sun Supremo, roll Call, Suprema Some Supremo,

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<v Speaker 2>roll Call, Supremo Supremo, Roll Call Supreme.

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<v Speaker 1>Supremo Roll Call all right, ladies and gentlemen, this quest love.

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<v Speaker 1>That's Fane, that's like you, and that's a sugar Steve.

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<v Speaker 1>And I'm being built somewhere else to me street. Look,

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<v Speaker 1>I could take twelve minutes. Look, ain't you proud to

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<v Speaker 1>bait sweak?

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<v Speaker 4>Just one of them days.

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<v Speaker 1>After the back hit him up style Aisha. I like them, Yo,

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<v Speaker 1>Sammy got like a yeah yeah dog. I was not

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<v Speaker 1>ready for that because he still has his baby face troops.

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<v Speaker 1>I will always love you. The fucking motown Philly must

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<v Speaker 1>be the money, must be, must playground beyond playground. Where

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<v Speaker 1>did you get that little squeaky thing? I'm gonna ask

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<v Speaker 1>you all your production. I just know that this show

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<v Speaker 1>is more about the creative process. Please don't go wait

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<v Speaker 1>for my Baby's got a secret. Yo. I need some justice.

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<v Speaker 1>I need some justice for silly ho. I think that

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<v Speaker 1>that guy raftic. I'm sorry the boys mine. They don't

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<v Speaker 1>care about us. It's all that ship. I have so

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<v Speaker 1>many questions about Too Bad Man, But Yo, I was

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<v Speaker 1>two seconds year old. I could have sworn. I remember

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<v Speaker 1>when I brought Tasty and I was like, oh damn,

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<v Speaker 1>okay for real, yell y'all y'all, y'all hooking up. I'll

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<v Speaker 1>get more mature to Jawin. I didn't know he did

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<v Speaker 1>trick me, dude, I'm pretty What about I can go on?

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<v Speaker 1>What about your friends, Ladies and gentlemen. This doesn't happen often.

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<v Speaker 1>Is going to be a super producer episode, one of

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<v Speaker 1>the greatest producers. Just how do you get here? We

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<v Speaker 1>don't know? Did you that? This is literally no? I'm sorry.

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<v Speaker 1>I normally do all these long accolades take twelve minutes,

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<v Speaker 1>but you know that's for the seven hour Jimmy Jam episode.

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<v Speaker 1>You lucky. He's definitely about to do five hours. He

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<v Speaker 1>just don't know it yet. Anyway, Ladies and gentle right out.

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<v Speaker 1>That's why I'm rushing. Ladies and gentlemen. Dallas Austin is

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<v Speaker 1>left supreme.

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<v Speaker 4>Yes, yes, yes, yes.

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<v Speaker 1>We are here. This is our Atlanta series and uh

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<v Speaker 1>we we've been here for a while and just wearing

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<v Speaker 1>the same clothes every five weeks. How how are you,

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<v Speaker 1>mister Austin.

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<v Speaker 4>I'm good man, I'm really good.

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<v Speaker 1>I gotta say. The day that we're speaking is the

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<v Speaker 1>twenty sixth anniversary of the ill adelph Half Life release,

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<v Speaker 1>of which the very song we worked on was at

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<v Speaker 1>Dark Studios. Yeah, we did Panic and started episodes at

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<v Speaker 1>Dark Yep. We were just and we cold knocked. I

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<v Speaker 1>think we just knocked and it was like, you know,

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<v Speaker 1>can we get a studio room real quick? And all

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<v Speaker 1>I remember was you were there recording the Fishbone record,

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<v Speaker 1>and Joy was there too, And this is the first

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<v Speaker 1>time that I saw Angelo. He was very much in

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<v Speaker 1>love with that Therman. Oh my god, dog, if you

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<v Speaker 1>if you can hear, like if I had the stems

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<v Speaker 1>to Panic on Tarik's vocal track, you can still hear

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<v Speaker 1>like the bleeding through the wall, that's my memories of Dark.

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<v Speaker 4>But now, thank you very much for doing this with

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<v Speaker 4>this man. And we couldn't I didn't know what to

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<v Speaker 4>do with that thing. It was like you couldn't control

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<v Speaker 4>the there man.

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<v Speaker 1>So and he was just.

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<v Speaker 4>He was determined to use it on the record. It's

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<v Speaker 4>almost impossible to put it into him, dude. And that's

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<v Speaker 4>bleeding over into this session, dude.

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<v Speaker 1>Like he would just be in the hallway and like

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<v Speaker 1>it was like he was doing like that's just like

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<v Speaker 1>four hours straight your legacy. N Steep said, we're just

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<v Speaker 1>gonna dive right into it. Where's your first musical memory.

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<v Speaker 4>My stepdad played for James Brown, who was Jimmy Nolan.

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<v Speaker 1>And Nolan is mother. That's the show.

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<v Speaker 4>So this is crazy, So I'll wake up with him.

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<v Speaker 1>Jimmy Chank no one, Yeah, does Wynney Melboy nor this does.

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<v Speaker 1>I don't know have you ever mentioned this.

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<v Speaker 4>I don't know if I mentioned do Windy before. But

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<v Speaker 4>every morning I would wake up in third grade and

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<v Speaker 4>play guitar with him, and he would teach me to

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<v Speaker 4>play with my fingers like this, think think it, you know,

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<v Speaker 4>and I would probably smoke a little bit of a

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<v Speaker 4>joint and then go to school because it was it was,

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<v Speaker 4>you know, seventies and stuff. So my mom, my mom

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<v Speaker 4>owned the nightclub and in Columbus, Georgia, and during the

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<v Speaker 4>sixties it was segregated so that when Tina Turner, James Brown,

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<v Speaker 4>anybody came to town, they had to come perform, you know,

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<v Speaker 4>in my dad's party club, stay in that area, eating

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<v Speaker 4>the soul food restaurant that's right there, and you know,

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<v Speaker 4>so I came up kind of in the nightclub restaurant

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<v Speaker 4>business first. And there's a lot of seventies you know,

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<v Speaker 4>wanna be bands and blue shag carpet and clavinet horners,

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<v Speaker 4>and you know, so my mom doing books. I'm running

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<v Speaker 4>around playing on their equipment every day. And Jimmy would

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<v Speaker 4>be on the road and whenever he would come back,

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<v Speaker 4>then I would sit and play guitar with him, and

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<v Speaker 4>then I would go on the road with the Jay

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<v Speaker 4>Bees like when I was, when I was like sevens.

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<v Speaker 1>Everything literally this literally took every question out of my head.

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<v Speaker 1>I'm still fed up that I'm sitting next to someone

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<v Speaker 1>that knew Jimmy Chank Nolan. Yeah, man like hurl and

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<v Speaker 1>cheese and Jimmy Chank Nolan. Are I mean, the the

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<v Speaker 1>wonder twins of syncopated rhythm.

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<v Speaker 4>They're just and and I don't know why. Oh no,

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<v Speaker 4>I'm a mom.

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<v Speaker 1>You know.

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<v Speaker 4>I was just so so into music, you know, so

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<v Speaker 4>crazy about music. But uh yeah, I went on the

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<v Speaker 4>road with the JB's one summer and I rode the

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<v Speaker 4>bus with them the whole time. And we see Charles

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<v Speaker 4>Sinclair Maceio. I would be under the organ while Charles

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<v Speaker 4>is rehearsing, right while they're practicing, I would be under

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<v Speaker 4>the organ playing with cars or like you know, playing

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<v Speaker 4>a little pianos and stuff and this is how crazy

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<v Speaker 4>this is that it goes full circle. So Captain Bruton

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<v Speaker 4>had a thing of B and my. When she first

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<v Speaker 4>got to being My, she says, was going to honor

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<v Speaker 4>James Brown and we want you Pharrell, Chad Rodney Jerkins all,

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<v Speaker 4>y'all going to be the JB's.

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<v Speaker 1>Wowharrell got on drums and started for What it Is

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<v Speaker 1>YO called the night before. The said, y'all, I'm about

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<v Speaker 1>to do mind power with James Brown. This is that nice?

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<v Speaker 4>Is that night? So we all in rehearsal, and for

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<v Speaker 4>one everybody's like, that's going to be impossible to getting together.

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<v Speaker 4>So we all in rehearsal doing it. What it is

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<v Speaker 4>is what it is. I'm playing the same chinky notes

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<v Speaker 4>I was playing in third grade, right you know, I'm like,

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<v Speaker 4>this is getting surreal. It's giving me a trip. And

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<v Speaker 4>so by the time we hit the stage with James

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<v Speaker 4>and I didn't you know, I was little, so I

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<v Speaker 4>didn't know how much you remember me or not to

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<v Speaker 4>follow my history of music or not. But soon he

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<v Speaker 4>saw me on the stage, he goes to me, that's

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<v Speaker 4>Jim and Nolan's boy right there. And then they started

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<v Speaker 4>talking about how he knew me since I was little

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<v Speaker 4>used to see me under the organ and all this

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<v Speaker 4>kind of stuff. And but it was a trip going

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<v Speaker 4>on the road with them because I remember this one

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<v Speaker 4>time where you know, they were all lined up, the

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<v Speaker 4>band was the JB's and then when James in the

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<v Speaker 4>dress room get ready to come out, and they out

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<v Speaker 4>there just talking doing that thing you spoke a cigarettes

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<v Speaker 4>s talking trash whatever, and this dude comes out and

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<v Speaker 4>he walks out and he slapped the hell out of

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<v Speaker 4>all of them, and I was so terrified. I didn't

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<v Speaker 4>know what to do. I was just like, what just happened?

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<v Speaker 4>You know what I'm saying. All of a sudden, it

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<v Speaker 4>was just like he walked right through and went straight

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<v Speaker 4>to the stage, and then they went to the stage

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<v Speaker 4>and started playing. And so afterwards, you know, as a kid,

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<v Speaker 4>you're still just like in your own version of shock,

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<v Speaker 4>like what just happened? Right, And Jimmy said to me said, man,

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<v Speaker 4>you know he does that to get attention, so almost

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<v Speaker 4>like the face.

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<v Speaker 3>I'm sorry, we say, slapped on the face.

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<v Speaker 1>Yeah it was.

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<v Speaker 4>You know, I feel like, you know, get your attention

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<v Speaker 4>off the bat if you feel like he's playing too

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<v Speaker 4>much or you're not serious about what's about to happen.

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<v Speaker 4>You don't know what he'll do. He'll leave you if

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<v Speaker 4>somebody mess up. He lead a whole band. He wasn't

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<v Speaker 4>playing Soma back then. You could nobody, nobody Internet back then,

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<v Speaker 4>but it was it was part of what really started me.

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<v Speaker 4>He started shaping me into playing. You know, I started

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<v Speaker 4>on guitar, and then the guitar started hurting my fingers,

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<v Speaker 4>so I started playing keyboards. And then from that point

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<v Speaker 4>I was.

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<v Speaker 1>Just and you all self taught, like no formal lessons

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<v Speaker 1>or none of that.

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<v Speaker 4>Self taught about Cassio started with the Casio calculator and

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<v Speaker 4>man asked my mom to get me a big one

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<v Speaker 4>every Christmas, and then worked my way up to it

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<v Speaker 4>rolling j X three.

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<v Speaker 1>P went to Big Boy.

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<v Speaker 4>Well, it took me a while.

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<v Speaker 1>Sk one.

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<v Speaker 4>I was at the skate one, but I couldn't play

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<v Speaker 4>in the local bands. And if I didn't have a

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<v Speaker 4>keyboard for it, a real keyboard, right. Yeah, So my

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<v Speaker 4>brother financed it. Was twelve hundred dollars. He financed it

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<v Speaker 4>for five years.

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<v Speaker 1>Wow, he played ten thousand dollars for that.

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<v Speaker 5>Yeah.

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<v Speaker 4>He would sneaking in concerts, like because my mom's restaurant

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<v Speaker 4>in Columbus was down the street from the auditorium. Then

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<v Speaker 4>I went to every concert, so I seen the Mothership Land.

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<v Speaker 4>That was one of my first concerts.

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<v Speaker 1>Yeah, tell me about the conscerts you saw when you're

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<v Speaker 1>a kid.

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<v Speaker 4>That's one of the first ones. Because I said, Mom,

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<v Speaker 4>you know George Clinton, They're coming to town and probably

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<v Speaker 4>mean funka delic and the roof is going to open

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<v Speaker 4>up and the Spaceship's going to come in. And she said, well, honey,

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<v Speaker 4>I don't think that's going to happen. I said, you

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<v Speaker 4>didn't see the commercials. Look at the marcial on TV.

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<v Speaker 4>The space Ship's coming in. I gotta see this. So

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<v Speaker 4>she's like, all right, well, I just don't want you

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<v Speaker 4>to be disappointed. So I go to the concert. My

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<v Speaker 4>brother would always take me to the concerts. He would

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<v Speaker 4>sneak me in with a snare drum that was mid

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<v Speaker 4>from school, like saying it was a Zapp's drummer, and

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<v Speaker 4>you know, yeah, my brother was always everybody was in

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<v Speaker 4>with all their music. So so like when we got

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<v Speaker 4>to the concert and I'm watching the show and all

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<v Speaker 4>of a sudden start doing the swinging down with chariot

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<v Speaker 4>stop and I'm like, here comes, here comes gonna open up.

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<v Speaker 4>And I didn't realize as a kid how it was happening,

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<v Speaker 4>but I know the spaceship came down on the stage,

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<v Speaker 4>you know, and I was just like blown away from

0:11:33.760 --> 0:11:36.000
<v Speaker 4>it and all the costumes and watching Bootsye and watching

0:11:36.240 --> 0:11:38.120
<v Speaker 4>like the whole you know, I was able.

0:11:38.000 --> 0:11:40.719
<v Speaker 1>To see you got to see Glenn Goins call down

0:11:41.120 --> 0:11:41.600
<v Speaker 1>you heard.

0:11:41.520 --> 0:11:44.520
<v Speaker 4>Seeing the whole thing bro like the same one you

0:11:44.559 --> 0:11:46.280
<v Speaker 4>can watch on the old seventies fields to see it.

0:11:46.600 --> 0:11:48.760
<v Speaker 4>And when George comes out with the whole cane and

0:11:48.880 --> 0:11:52.000
<v Speaker 4>that happened, you know, And think about my Mom's restaurant,

0:11:52.120 --> 0:11:54.000
<v Speaker 4>was that I was able to meet all these people

0:11:54.400 --> 0:11:56.120
<v Speaker 4>before I ever ever worked with them and knew them.

0:11:56.240 --> 0:11:58.280
<v Speaker 1>So they would come to the restaurant afterwards, they.

0:11:58.160 --> 0:12:00.240
<v Speaker 4>Would go before and because the soul Food restaur run

0:12:00.360 --> 0:12:03.600
<v Speaker 4>and then that was the closest restaurant to the venue,

0:12:03.640 --> 0:12:05.760
<v Speaker 4>to the auditorium. It was only one place. So every

0:12:05.880 --> 0:12:09.439
<v Speaker 4>time he's Roger zapped line of Richie Commodore's wing and

0:12:09.520 --> 0:12:11.960
<v Speaker 4>fire all these people. I've seen him when I was little.

0:12:12.040 --> 0:12:13.520
<v Speaker 4>My Mom's restaurant, did.

0:12:13.400 --> 0:12:14.880
<v Speaker 3>You ever is it ever a circle back to some

0:12:14.960 --> 0:12:15.800
<v Speaker 3>of these fos.

0:12:17.080 --> 0:12:20.360
<v Speaker 4>Was a little boy, especially George. You know George has

0:12:20.360 --> 0:12:23.160
<v Speaker 4>been since the times you were there. George was around then.

0:12:23.440 --> 0:12:24.960
<v Speaker 4>That's when he was really starting to hang around us.

0:12:25.000 --> 0:12:30.280
<v Speaker 4>He worked, right, Yeah, I did Hollywood but him, Lionel, Richie,

0:12:30.400 --> 0:12:33.160
<v Speaker 4>all of them. I got Natalie Cole. They must be

0:12:33.240 --> 0:12:36.240
<v Speaker 4>so proud of you, like damn, yeah, it was. It's

0:12:36.240 --> 0:12:37.080
<v Speaker 4>a full circle trip.

0:12:37.320 --> 0:12:40.400
<v Speaker 1>You know, what was your favorite Parliament album?

0:12:42.080 --> 0:12:44.360
<v Speaker 4>I was in the Cosmic Slops album first with Maggie

0:12:44.400 --> 0:12:46.839
<v Speaker 4>Brain and you know, just because my brothers and that

0:12:47.000 --> 0:12:48.280
<v Speaker 4>was just playing over and over and over.

0:12:48.320 --> 0:12:51.080
<v Speaker 1>How much older were your brothers in you like five

0:12:51.240 --> 0:12:53.760
<v Speaker 1>years you know, so like you the middle or your baby?

0:12:53.960 --> 0:12:54.520
<v Speaker 4>I'm the baby.

0:12:55.960 --> 0:13:01.760
<v Speaker 1>Yeah, I thought that who's the hype man for another

0:13:01.800 --> 0:13:02.320
<v Speaker 1>bad creation?

0:13:03.559 --> 0:13:03.760
<v Speaker 4>Yeah?

0:13:03.840 --> 0:13:07.840
<v Speaker 1>That's that was your brother. Okay, I'm sorry, I thought

0:13:07.840 --> 0:13:08.280
<v Speaker 1>that was your brother.

0:13:08.320 --> 0:13:10.240
<v Speaker 4>That's your that's my cousin aunt son.

0:13:10.440 --> 0:13:12.240
<v Speaker 5>That was like an urban legend when we was younger,

0:13:12.360 --> 0:13:13.559
<v Speaker 5>like you know this, okay.

0:13:13.559 --> 0:13:16.760
<v Speaker 4>Right, all of us was down in Columbus, Man and

0:13:16.840 --> 0:13:20.439
<v Speaker 4>then my brother who brought the keyboard end up breaking

0:13:20.480 --> 0:13:22.079
<v Speaker 4>my off plane. Get it up one day from the time,

0:13:22.280 --> 0:13:23.880
<v Speaker 4>over and over and over and over again, because that's

0:13:23.880 --> 0:13:25.920
<v Speaker 4>how we learned how to play right. And my brother

0:13:26.160 --> 0:13:27.559
<v Speaker 4>came in one day some months they cleaned up the

0:13:27.640 --> 0:13:29.280
<v Speaker 4>room and I wasn't listening, so he picked the keyboard

0:13:29.320 --> 0:13:33.040
<v Speaker 4>up through it broke it. I tripped out, flipped. My

0:13:33.120 --> 0:13:35.559
<v Speaker 4>mom's restaurant was connected to the house we stayed in

0:13:35.760 --> 0:13:37.920
<v Speaker 4>that at that time, so it was like soul food

0:13:37.960 --> 0:13:40.760
<v Speaker 4>restaurant and downtown Columbus. So everything was going down, like

0:13:40.960 --> 0:13:43.360
<v Speaker 4>everything was going down, and it was just bad. It

0:13:43.480 --> 0:13:44.560
<v Speaker 4>was just just dark.

0:13:44.840 --> 0:13:47.599
<v Speaker 1>And so he broke your keyboard, the one he paid for.

0:13:48.160 --> 0:13:55.040
<v Speaker 4>Yeah, I tried to kill him, but I was so little,

0:13:55.040 --> 0:13:56.439
<v Speaker 4>you know, when you're little, you don't know better. So

0:13:56.640 --> 0:13:58.240
<v Speaker 4>you know, I ran down stairs my one restaurant and

0:13:58.240 --> 0:14:01.040
<v Speaker 4>get a knife, run upstairs and crying what was going on?

0:14:01.520 --> 0:14:03.240
<v Speaker 4>Because that keyboard was the only thing that got me

0:14:03.280 --> 0:14:05.599
<v Speaker 4>into bands with people that was like bigger, you know,

0:14:05.720 --> 0:14:07.920
<v Speaker 4>like Kevin Bradshaw and now who ended up being like

0:14:07.960 --> 0:14:10.839
<v Speaker 4>Basic Black. They had bands, you know, So I wanted

0:14:10.880 --> 0:14:13.160
<v Speaker 4>to play in the band and be like doctor Fink

0:14:13.200 --> 0:14:15.080
<v Speaker 4>forar real, like Jimmy Jay and for real and now

0:14:15.120 --> 0:14:15.960
<v Speaker 4>you just ruin my dream.

0:14:16.080 --> 0:14:18.200
<v Speaker 3>So and how old are you now are you talking about.

0:14:18.120 --> 0:14:22.560
<v Speaker 1>Twelve, Speaking of which, we found this out recently that

0:14:22.760 --> 0:14:28.440
<v Speaker 1>Prince initially wrote Get It Up Brick for Brick. They

0:14:28.520 --> 0:14:32.640
<v Speaker 1>didn't like it. Episode.

0:14:32.720 --> 0:14:36.200
<v Speaker 4>Oh my god, I was. I was a straight up fanatic.

0:14:36.320 --> 0:14:38.720
<v Speaker 4>I was a Prince time fanatic. I was such a

0:14:38.760 --> 0:14:40.840
<v Speaker 4>fanatic that that's how I learned to play everything, because

0:14:40.840 --> 0:14:43.000
<v Speaker 4>I would go home every day and learn get it

0:14:43.080 --> 0:14:44.960
<v Speaker 4>Up Solo. I'll go home every day and learn cool,

0:14:45.400 --> 0:14:51.360
<v Speaker 4>go home every day like girl and all this stuff.

0:14:51.480 --> 0:14:52.960
<v Speaker 4>And I was so little that, you know, you just

0:14:53.000 --> 0:14:54.400
<v Speaker 4>sat there and did it over and over and over

0:14:54.400 --> 0:14:56.280
<v Speaker 4>and over and over again. And by the time I

0:14:56.360 --> 0:14:58.760
<v Speaker 4>got to be twelve, you know, I was really good.

0:14:59.400 --> 0:15:01.440
<v Speaker 4>By the time broke my keyboard, That's what made me

0:15:01.520 --> 0:15:04.680
<v Speaker 4>move to Atlanta, because I told my mom. I was like, yo,

0:15:05.200 --> 0:15:07.840
<v Speaker 4>it's a Greyhound bus station around the street. So he

0:15:07.880 --> 0:15:10.200
<v Speaker 4>broke my keyboard. I went to the bus station. I'm like,

0:15:10.240 --> 0:15:11.680
<v Speaker 4>I'm going to Atlanta twelve.

0:15:12.240 --> 0:15:13.920
<v Speaker 3>I don't understand how that well, she.

0:15:13.960 --> 0:15:14.960
<v Speaker 4>Didn't need At first.

0:15:16.760 --> 0:15:19.840
<v Speaker 1>You ran away with you announced that you're running away

0:15:19.840 --> 0:15:22.520
<v Speaker 1>from home, and then stop you.

0:15:22.640 --> 0:15:24.200
<v Speaker 4>I went to the bus station. I'm waiting on the

0:15:24.240 --> 0:15:26.520
<v Speaker 4>bus like and it's late at night. So my mom

0:15:26.640 --> 0:15:28.600
<v Speaker 4>was like, yo, what are you doing? Like he broke

0:15:28.640 --> 0:15:30.680
<v Speaker 4>my keyboard. I can't be a big producer. I got

0:15:30.760 --> 0:15:32.040
<v Speaker 4>to get to Atlanta, and.

0:15:32.120 --> 0:15:34.080
<v Speaker 3>She was like what and what you're getting too in

0:15:34.080 --> 0:15:36.320
<v Speaker 3>Atlanta for because at the time because my auntie, but

0:15:36.440 --> 0:15:38.720
<v Speaker 3>my auntie lived up here and it was still not there,

0:15:38.880 --> 0:15:41.640
<v Speaker 3>and I knew something else could happen here, you know,

0:15:41.920 --> 0:15:44.040
<v Speaker 3>like you still had Brick and still had Cameo, and

0:15:44.120 --> 0:15:46.840
<v Speaker 3>you still had sos BN and like, you know, Atlanta

0:15:46.880 --> 0:15:49.040
<v Speaker 3>Rhythm sections and all this stuff was going on back there.

0:15:49.160 --> 0:15:54.320
<v Speaker 1>In your mind. Like at least if I'm twelve, you

0:15:54.440 --> 0:15:58.280
<v Speaker 1>know what I knew of Atlanta pre Like when Bobby

0:15:58.360 --> 0:16:00.560
<v Speaker 1>Brown came down then I was like, Okay, something's about

0:16:00.560 --> 0:16:03.880
<v Speaker 1>to happen. But before then, the only person I knew

0:16:04.120 --> 0:16:08.040
<v Speaker 1>that like bragged about Atlanta back then was people bricing.

0:16:07.760 --> 0:16:09.640
<v Speaker 4>People bricon a cameo.

0:16:09.960 --> 0:16:12.400
<v Speaker 1>Right, But I didn't know even like not even reading

0:16:12.440 --> 0:16:17.520
<v Speaker 1>the labels, Like you know, I'm just saying that. Why again,

0:16:17.560 --> 0:16:19.600
<v Speaker 1>you're twelve, So I'm glad you kind of went next

0:16:19.680 --> 0:16:23.200
<v Speaker 1>door instead of like, yeah, two thousand miles away. Why

0:16:23.400 --> 0:16:27.040
<v Speaker 1>was in New York or Hollywood not on your.

0:16:27.440 --> 0:16:30.320
<v Speaker 4>Radar, because I've been to Atlanta. We would come up

0:16:30.360 --> 0:16:32.480
<v Speaker 4>on the weekends and they had the biggest music store,

0:16:32.640 --> 0:16:34.680
<v Speaker 4>like Rhythm City or something was called, and like so

0:16:34.720 --> 0:16:36.360
<v Speaker 4>you look at the Yellow Pages and it was like

0:16:36.840 --> 0:16:38.520
<v Speaker 4>that was the closest dream I could see for real.

0:16:38.840 --> 0:16:40.760
<v Speaker 4>You know, It's like, if I get up there, I

0:16:40.800 --> 0:16:42.320
<v Speaker 4>can go to the music shop, so I can do this.

0:16:42.440 --> 0:16:44.360
<v Speaker 4>I can do that. But I just knew that Columbus

0:16:44.440 --> 0:16:46.120
<v Speaker 4>wasn't the place for it. And so my mom came

0:16:46.240 --> 0:16:48.280
<v Speaker 4>the next day. She came said, look, okay, it's late

0:16:48.320 --> 0:16:50.640
<v Speaker 4>at night. I know you're stubborn, I know you're mad.

0:16:51.080 --> 0:16:52.720
<v Speaker 4>Just come on back to the house and we talk

0:16:52.800 --> 0:16:54.880
<v Speaker 4>about it. And no busses are leaving the night anyway,

0:16:55.040 --> 0:16:57.080
<v Speaker 4>so you know, come on back home. It's fine, we

0:16:57.080 --> 0:16:59.320
<v Speaker 4>can we can do it tomorrow. So I went back home,

0:17:00.000 --> 0:17:02.800
<v Speaker 4>woke up the next day. Was he there, Oh yeah, no,

0:17:02.880 --> 0:17:04.720
<v Speaker 4>he was going drinking, but wises by then he was like.

0:17:06.200 --> 0:17:06.639
<v Speaker 1>He know that.

0:17:06.920 --> 0:17:09.439
<v Speaker 4>He realized at that point, how you know what that happened?

0:17:09.560 --> 0:17:09.679
<v Speaker 3>Right?

0:17:09.960 --> 0:17:13.199
<v Speaker 4>And so the next day I got up during the daytime,

0:17:13.280 --> 0:17:15.680
<v Speaker 4>I went down to my mom's cash register in the restaurant,

0:17:16.040 --> 0:17:18.320
<v Speaker 4>got me like twenty forty bucks, went back to Grayund

0:17:18.320 --> 0:17:20.760
<v Speaker 4>bus station and then now it was full long. Now

0:17:20.800 --> 0:17:22.920
<v Speaker 4>it was daytime. The buses are leaving. So she comes

0:17:22.920 --> 0:17:25.159
<v Speaker 4>back around again and she was like, yo, what are

0:17:25.200 --> 0:17:27.320
<v Speaker 4>you doing. I'm like, I'm going to Atlanta. I can't

0:17:27.359 --> 0:17:29.159
<v Speaker 4>I can't say down here, who broke my keyboard? All

0:17:29.200 --> 0:17:30.879
<v Speaker 4>my brothers are like, you know, in jail a lot

0:17:31.000 --> 0:17:32.719
<v Speaker 4>like we had a lot of just jail and darkness.

0:17:32.720 --> 0:17:33.879
<v Speaker 4>So as me and my mom were really.

0:17:33.760 --> 0:17:36.440
<v Speaker 1>Close and it's absolutely not repairable.

0:17:37.119 --> 0:17:39.960
<v Speaker 4>It was reparable, it just didn't look like it. The

0:17:40.000 --> 0:17:41.920
<v Speaker 4>two first the two keys came off the beginning. You know,

0:17:42.080 --> 0:17:43.399
<v Speaker 4>oh you mean the keyboard.

0:17:43.400 --> 0:17:44.480
<v Speaker 1>I thought you meant the relationship.

0:17:45.760 --> 0:17:49.080
<v Speaker 4>Yeah, the keyboard. Well well then you know, my mom

0:17:49.200 --> 0:17:51.760
<v Speaker 4>was like, well, look, if you're not determined, you that stubborn,

0:17:51.960 --> 0:17:54.439
<v Speaker 4>then give me some time to sell the restaurant. I'm

0:17:54.440 --> 0:17:55.399
<v Speaker 4>going with you. You're not leaving me.

0:17:55.640 --> 0:17:58.399
<v Speaker 1>Wait time out. She's willing to do that for you.

0:17:58.560 --> 0:18:00.800
<v Speaker 4>She did that. That's your best face. That's how I

0:18:00.840 --> 0:18:03.000
<v Speaker 4>got to Atlanta. So she came up sold the restaurants.

0:18:03.720 --> 0:18:05.640
<v Speaker 4>My dad was really he was really prominent in Columbus.

0:18:05.720 --> 0:18:07.119
<v Speaker 4>He did a lot of stuff with the city, did

0:18:07.160 --> 0:18:08.560
<v Speaker 4>a lot of stuff with the streets, and you know,

0:18:08.720 --> 0:18:10.720
<v Speaker 4>gangsters and all this stuff. He was just that guy.

0:18:11.359 --> 0:18:14.159
<v Speaker 4>So you know, I was just like, nothing's down here

0:18:14.200 --> 0:18:17.520
<v Speaker 4>for us except for legacy. He left and some problems

0:18:17.520 --> 0:18:19.200
<v Speaker 4>with police and all this kind of stuff. Let's just go.

0:18:19.520 --> 0:18:21.440
<v Speaker 4>And so we left, came to Atlanta. She got a

0:18:21.520 --> 0:18:23.280
<v Speaker 4>job at po Folks on Old National. I moved to

0:18:23.320 --> 0:18:26.719
<v Speaker 4>College Park, and she she didn't even know how much

0:18:26.800 --> 0:18:28.919
<v Speaker 4>money to ask for because she was always self employing

0:18:28.960 --> 0:18:32.119
<v Speaker 4>a little restaurant. So she started making twelve thousand a

0:18:32.200 --> 0:18:34.920
<v Speaker 4>year and I started going to school sometimes.

0:18:35.640 --> 0:18:36.240
<v Speaker 1>How long was that.

0:18:36.280 --> 0:18:38.600
<v Speaker 5>Period between the bus station and y'all actually moving.

0:18:38.960 --> 0:18:41.840
<v Speaker 4>About about almost eighty eight months to a year.

0:18:41.920 --> 0:18:42.240
<v Speaker 1>Oh wow.

0:18:43.160 --> 0:18:45.120
<v Speaker 4>By time when she was like, all right, let me situated,

0:18:45.200 --> 0:18:46.680
<v Speaker 4>let me figure it out. Where am I going to work?

0:18:46.720 --> 0:18:48.960
<v Speaker 4>How do I sell this? How do I you know?

0:18:50.160 --> 0:18:53.480
<v Speaker 4>Because my father he got killed in front of us

0:18:53.520 --> 0:18:56.640
<v Speaker 4>when he was when I was two, right, because he yeah,

0:18:56.800 --> 0:19:00.200
<v Speaker 4>he had his nightclub and his restaurant and just who

0:19:00.640 --> 0:19:02.160
<v Speaker 4>had a dream or something and he was a friend

0:19:02.200 --> 0:19:04.160
<v Speaker 4>of his that my uncle beat him with a pipe

0:19:04.200 --> 0:19:06.280
<v Speaker 4>or something crazy. But just some craziness, and he came

0:19:06.320 --> 0:19:08.160
<v Speaker 4>down to shoot my uncle at the restaurant. My dad

0:19:08.240 --> 0:19:10.680
<v Speaker 4>was standing in the door, so he shot him first

0:19:10.960 --> 0:19:13.120
<v Speaker 4>and then came in where I was playing with my uncle.

0:19:13.240 --> 0:19:17.480
<v Speaker 4>Came in and shot my uncle and then jetted, So

0:19:17.720 --> 0:19:19.040
<v Speaker 4>I mean they called him. He went to jail, but

0:19:19.160 --> 0:19:21.000
<v Speaker 4>then my dad didn't end up making it. My mom

0:19:21.080 --> 0:19:22.840
<v Speaker 4>had to take over the club and take over the

0:19:22.960 --> 0:19:26.520
<v Speaker 4>responsibility of the nightclub and the restaurant. Now the nightclub

0:19:26.640 --> 0:19:29.240
<v Speaker 4>is full of all the politicians I know now in Atlanta,

0:19:30.600 --> 0:19:35.119
<v Speaker 4>heemps Street, Twustler, Jean Griffin, like all you know that

0:19:35.440 --> 0:19:38.320
<v Speaker 4>Jean Griffin, That Gene Griffin's bottomne growing up too with

0:19:38.440 --> 0:19:38.760
<v Speaker 4>my dad.

0:19:39.760 --> 0:19:43.960
<v Speaker 1>What was Jene Griffin exactly? Besides the name that always

0:19:44.240 --> 0:19:47.240
<v Speaker 1>was in Teddy Riley's place place. I don't know what

0:19:47.320 --> 0:19:49.680
<v Speaker 1>he looks like. I just know that I've seen his

0:19:49.840 --> 0:19:50.360
<v Speaker 1>name a lot.

0:19:50.960 --> 0:19:54.440
<v Speaker 4>Geen Griffin was one of the most notorious the gangsters

0:19:54.480 --> 0:19:57.480
<v Speaker 4>back then. He was the sugv oh Beyond. They wasn't

0:19:57.520 --> 0:20:00.880
<v Speaker 4>playing him and Bill Underwood. Who's to the Johnny guil

0:20:01.560 --> 0:20:03.040
<v Speaker 4>out of New York they had? They had New York

0:20:03.080 --> 0:20:04.960
<v Speaker 4>on lock that was back in the in the you know,

0:20:05.560 --> 0:20:08.040
<v Speaker 4>post Frank Lucas, Frank Lucas Day. That was all during

0:20:08.080 --> 0:20:08.400
<v Speaker 4>that time.

0:20:08.480 --> 0:20:10.800
<v Speaker 1>So was Atlanta his base, and he would work out

0:20:10.800 --> 0:20:12.320
<v Speaker 1>in New York or was New York his base, and

0:20:12.440 --> 0:20:13.800
<v Speaker 1>then I got some shit down south.

0:20:13.640 --> 0:20:15.520
<v Speaker 4>To Columbus in New York was his base. So they

0:20:15.520 --> 0:20:17.199
<v Speaker 4>would take it from New York to Columbus and then

0:20:17.240 --> 0:20:20.880
<v Speaker 4>distribute out through Georgian, Atlanta and every everywhere else, heroin Coke,

0:20:20.960 --> 0:20:23.200
<v Speaker 4>whatever they were they were doing. And so we knew

0:20:23.320 --> 0:20:25.080
<v Speaker 4>Gene Griffin when when I was a little I knew

0:20:25.119 --> 0:20:28.320
<v Speaker 4>Gene from being married to my Auntie and being gangster

0:20:28.440 --> 0:20:30.120
<v Speaker 4>and them showing up with Meet coats on and Meet

0:20:30.200 --> 0:20:33.080
<v Speaker 4>Hats and Maserati's and you know, guns and just the

0:20:33.200 --> 0:20:35.679
<v Speaker 4>whole seventies. You know what you what you're doing at

0:20:35.720 --> 0:20:38.760
<v Speaker 4>the time. It wasn't until so Jane went to jail

0:20:39.240 --> 0:20:42.120
<v Speaker 4>right for for a long time. And during that time,

0:20:42.720 --> 0:20:45.560
<v Speaker 4>Andrea got Teddy and Guy, but Teddy was already signed

0:20:45.600 --> 0:20:48.639
<v Speaker 4>the Gene before that were kids at work. Okay, So

0:20:48.720 --> 0:20:51.480
<v Speaker 4>when he got out, he came out saying, Hey, I

0:20:51.600 --> 0:20:53.680
<v Speaker 4>want my guy, I want my I want my producer back.

0:20:54.440 --> 0:20:56.440
<v Speaker 4>So his a little episode with him and Andre because

0:20:56.440 --> 0:20:58.200
<v Speaker 4>he because they were in guy and he didn't want

0:20:58.200 --> 0:21:00.720
<v Speaker 4>to give him guys. So Joe Buzzy was like, yo, okay,

0:21:01.720 --> 0:21:04.439
<v Speaker 4>let's stop the turmo. You take Teddy God stays over

0:21:04.480 --> 0:21:06.920
<v Speaker 4>here with us and then we'll So that's how Teddy

0:21:07.000 --> 0:21:09.240
<v Speaker 4>ended up being producing with Gene. Ah.

0:21:09.600 --> 0:21:10.480
<v Speaker 1>So mom, let him go.

0:21:10.640 --> 0:21:12.280
<v Speaker 4>Now check this out. My mom's at work at pos

0:21:12.280 --> 0:21:15.760
<v Speaker 4>Folks one day right now, I'm up here. I did

0:21:15.960 --> 0:21:18.640
<v Speaker 4>Hey mister DJ with Joice everybody, and so now I'm

0:21:18.640 --> 0:21:19.919
<v Speaker 4>not like my sixteen you know.

0:21:21.040 --> 0:21:22.320
<v Speaker 1>Time you did that at sixteen?

0:21:23.040 --> 0:21:23.280
<v Speaker 4>Yeah?

0:21:23.640 --> 0:21:25.520
<v Speaker 1>Wow? Wait? Was that you were in the Batman shirt

0:21:25.600 --> 0:21:26.080
<v Speaker 1>on Soul Train?

0:21:26.400 --> 0:21:32.560
<v Speaker 4>Yes, exactly. I was also in some got into some

0:21:32.800 --> 0:21:35.280
<v Speaker 4>contracts with her that will work for higher contracts. But

0:21:35.400 --> 0:21:37.080
<v Speaker 4>she was the first one to really get me to

0:21:37.800 --> 0:21:40.520
<v Speaker 4>Jerald Buzzby into doing troop and doing stuff like that

0:21:40.600 --> 0:21:42.920
<v Speaker 4>at that age. Found out it was I was in

0:21:43.000 --> 0:21:45.520
<v Speaker 4>some work for higher contracts that wasn't good contracts, right.

0:21:45.920 --> 0:21:48.480
<v Speaker 4>And so one day my mom's at work at Pole

0:21:48.520 --> 0:21:52.119
<v Speaker 4>Folks and she gets a call from Jean Griffin. Okay, oh,

0:21:52.680 --> 0:21:56.560
<v Speaker 4>and she's like, she don't understand right because the Gen

0:21:56.640 --> 0:21:59.879
<v Speaker 4>Griffin that she knows was in jail was gangster, was

0:22:00.200 --> 0:22:01.720
<v Speaker 4>running with my dad and him back then. So she

0:22:01.840 --> 0:22:04.640
<v Speaker 4>knows that Gene, but she had no idea. So he's like, ball,

0:22:04.680 --> 0:22:06.320
<v Speaker 4>I gotta get in touch with Dallas. He needs to

0:22:06.400 --> 0:22:10.120
<v Speaker 4>understand I'm doing music. And she's like what, And then

0:22:10.200 --> 0:22:12.720
<v Speaker 4>she calls me and said, oh no, Dallas, she ain't.

0:22:12.720 --> 0:22:17.840
<v Speaker 4>Griffin called. I said, who, said, Gene Griffin? What do

0:22:17.920 --> 0:22:20.359
<v Speaker 4>he want with you? I said, I don't know. What

0:22:20.720 --> 0:22:22.359
<v Speaker 4>do you want with me? She said, I don't know.

0:22:22.400 --> 0:22:26.160
<v Speaker 4>He said something about Teddy Rally and I said, oh wait,

0:22:26.400 --> 0:22:28.440
<v Speaker 4>because I was always seeing Gene Griffin's name, but I

0:22:28.480 --> 0:22:30.720
<v Speaker 4>didn't know it was him. I thought it was somebody

0:22:30.760 --> 0:22:34.840
<v Speaker 4>else together. And then when I did, I'm like, oh man.

0:22:34.920 --> 0:22:36.960
<v Speaker 4>So I called him. He's like, Yo, if your dad

0:22:37.000 --> 0:22:38.520
<v Speaker 4>knew I was letting you out be out here like that,

0:22:38.600 --> 0:22:40.280
<v Speaker 4>you turn over in his grave. Boy, I got to

0:22:40.280 --> 0:22:41.920
<v Speaker 4>come back and protect you, you know. So it turned

0:22:43.080 --> 0:22:47.000
<v Speaker 4>into that, and so then they moved to Atlanta. He

0:22:47.119 --> 0:22:50.359
<v Speaker 4>was the first one, really like, you know, getting Teddy

0:22:50.920 --> 0:22:54.160
<v Speaker 4>one hundred thousand dollars a track was unheard of. Getting

0:22:54.200 --> 0:22:56.840
<v Speaker 4>producers that much money was just insane. He was first.

0:22:56.920 --> 0:22:59.200
<v Speaker 4>Teddy was the first one getting that kind of money

0:23:00.000 --> 0:23:02.719
<v Speaker 4>because because of Gene, you know, and what he did

0:23:02.760 --> 0:23:05.679
<v Speaker 4>that was really smart was he was trying to when

0:23:05.720 --> 0:23:07.359
<v Speaker 4>Teddy got really big. What he did was he did

0:23:07.440 --> 0:23:09.840
<v Speaker 4>production deals everywhere, but he never did a label deal, right,

0:23:10.359 --> 0:23:12.880
<v Speaker 4>so he could keep putting them at different places. Well,

0:23:13.280 --> 0:23:18.600
<v Speaker 4>Gene owned Sony Music. It's called Sounds of New York. Right.

0:23:18.680 --> 0:23:21.600
<v Speaker 1>I was wondering how that. I remember when Teddy we

0:23:21.680 --> 0:23:23.360
<v Speaker 1>had today Yes.

0:23:24.119 --> 0:23:27.400
<v Speaker 4>Really want hand, right, that was on Sounds of New York.

0:23:27.720 --> 0:23:31.720
<v Speaker 1>Right, I was wondering how Sony allowed that to happen.

0:23:32.119 --> 0:23:32.679
<v Speaker 1>They didn't.

0:23:32.720 --> 0:23:35.520
<v Speaker 4>That's why they came in and disrupted him and Teddy

0:23:35.560 --> 0:23:37.960
<v Speaker 4>and everything else because you know, he had to write

0:23:38.000 --> 0:23:39.920
<v Speaker 4>to Sony Music because it sounds of New York and

0:23:40.240 --> 0:23:43.119
<v Speaker 4>so they were Columbia back then, and so he was

0:23:43.160 --> 0:23:45.280
<v Speaker 4>so disruptive with everything he was doing at the time.

0:23:45.480 --> 0:23:48.760
<v Speaker 4>He was like sugar so but he was he was

0:23:48.880 --> 0:23:51.399
<v Speaker 4>real real with it. So you know, they kind of

0:23:51.440 --> 0:23:53.600
<v Speaker 4>wanted to separate them and Teddy and get Teddy away

0:23:53.600 --> 0:23:57.280
<v Speaker 4>from under him, and so people Teddy to Virginia.

0:23:57.640 --> 0:24:00.800
<v Speaker 1>But does that stop a cat like Gene is Atlanta,

0:24:01.000 --> 0:24:03.080
<v Speaker 1>New York, and that like I can easily get to

0:24:03.560 --> 0:24:04.200
<v Speaker 1>Virginia Beach.

0:24:04.359 --> 0:24:07.000
<v Speaker 4>Well he he he, you know, he was still it

0:24:07.080 --> 0:24:08.679
<v Speaker 4>was dispute where it's still be getting money. But then

0:24:08.720 --> 0:24:10.439
<v Speaker 4>Jean said, Okay, fuck it, I'm gona go to Atlanta

0:24:10.800 --> 0:24:14.240
<v Speaker 4>and he started Basic Black to be his a new guy. Remember, yeah, yeah,

0:24:15.400 --> 0:24:17.399
<v Speaker 4>so that started up. But by the time, you know,

0:24:17.640 --> 0:24:19.760
<v Speaker 4>he's he's Gene, He's rolling in all the Teddy roll

0:24:19.800 --> 0:24:20.120
<v Speaker 4>of money.

0:24:20.119 --> 0:24:24.440
<v Speaker 1>Anyway, Now, can we assume that, hey, mister DJ, was

0:24:24.520 --> 0:24:27.120
<v Speaker 1>your first debut as a producer.

0:24:27.880 --> 0:24:30.040
<v Speaker 4>Yeah, I mean I did a couple of little things

0:24:30.080 --> 0:24:32.440
<v Speaker 4>before that, but that was the first one to get

0:24:33.040 --> 0:24:35.840
<v Speaker 4>on the level. Yeah. And then Dougie Fresh said my

0:24:35.920 --> 0:24:37.400
<v Speaker 4>name in the record. I thought I was just gonna

0:24:37.480 --> 0:24:40.440
<v Speaker 4>die like Joe Dallas, It's time to rock, right, And

0:24:40.600 --> 0:24:43.840
<v Speaker 4>I was in. I was on Mahland and some Renner

0:24:43.880 --> 0:24:46.600
<v Speaker 4>card like sixteen seventeen would work with Joyce and I

0:24:46.640 --> 0:24:48.200
<v Speaker 4>heard her on the radio and I heard my name

0:24:48.240 --> 0:24:50.920
<v Speaker 4>and I was like, God, this is it this. I've

0:24:50.960 --> 0:24:52.439
<v Speaker 4>been waiting to do this all my life. And then

0:24:52.640 --> 0:24:54.760
<v Speaker 4>so and then every time from that point I had

0:24:54.800 --> 0:24:56.280
<v Speaker 4>a record, I would go to mahul into the same

0:24:56.320 --> 0:24:58.200
<v Speaker 4>spot and listen there.

0:24:58.840 --> 0:25:06.120
<v Speaker 1>Really yeah, what gear were you recording on at that time,

0:25:06.359 --> 0:25:07.880
<v Speaker 1>you make that Joyce Findarella, every.

0:25:07.800 --> 0:25:09.840
<v Speaker 4>Dude, it was an r ex. It was the Yamaha

0:25:10.280 --> 0:25:12.560
<v Speaker 4>drum machine that just came out with back then, and

0:25:12.800 --> 0:25:13.880
<v Speaker 4>did it sounded really thin.

0:25:14.640 --> 0:25:16.119
<v Speaker 1>I was gonna say, when you get to the bridge,

0:25:16.840 --> 0:25:19.920
<v Speaker 1>like what I remember the song like the verse was

0:25:20.000 --> 0:25:22.119
<v Speaker 1>high powered and the course is. But then when you

0:25:22.160 --> 0:25:25.560
<v Speaker 1>all get to the bridge was a sonic difference without

0:25:25.600 --> 0:25:27.119
<v Speaker 1>the samples and stuff on top of it.

0:25:27.440 --> 0:25:30.040
<v Speaker 4>So I had and you know, back then sampling, you

0:25:30.040 --> 0:25:32.520
<v Speaker 4>can only sample this long, so it's on like clafter this,

0:25:33.400 --> 0:25:36.040
<v Speaker 4>uh one too, James Brown, That's only that's all the

0:25:36.080 --> 0:25:38.320
<v Speaker 4>sample link that you had, so it's going clapter this clap, clap,

0:25:38.400 --> 0:25:41.720
<v Speaker 4>claffter this over and over. But it was like, you know,

0:25:41.840 --> 0:25:43.600
<v Speaker 4>it was the closest thing to swing at the time,

0:25:43.800 --> 0:25:46.480
<v Speaker 4>the new Jack swing. And then when Joe Buzzby heard that,

0:25:46.920 --> 0:25:50.320
<v Speaker 4>he said, uh yo, man, I got this group don't

0:25:50.320 --> 0:25:51.800
<v Speaker 4>want you to work with but I don't. I don't

0:25:51.800 --> 0:25:53.200
<v Speaker 4>think Joyce should work on with you. I think you

0:25:53.200 --> 0:25:55.919
<v Speaker 4>should do it by yourself. I said, okay, you had

0:25:55.960 --> 0:25:58.720
<v Speaker 4>to call boys them men, says Mike Bevans group. But

0:25:58.840 --> 0:26:01.359
<v Speaker 4>I think you're influence is better without her, you know,

0:26:01.359 --> 0:26:02.960
<v Speaker 4>because she would come mix the records and stuff too.

0:26:03.040 --> 0:26:05.560
<v Speaker 4>So listened to like I Will Always Love You from Trube.

0:26:06.000 --> 0:26:08.120
<v Speaker 4>It's a lot dinner to meet and than other songs

0:26:08.160 --> 0:26:10.600
<v Speaker 4>I was doing after your trademark was my drums and

0:26:10.760 --> 0:26:11.000
<v Speaker 4>got the.

0:26:11.600 --> 0:26:15.199
<v Speaker 1>Leg From my point of view, like as a fan listening,

0:26:15.840 --> 0:26:19.879
<v Speaker 1>it was impossible at least back then ninety ninety one

0:26:20.000 --> 0:26:23.680
<v Speaker 1>to escape the bomb squad. Oh my god, how influential.

0:26:23.680 --> 0:26:26.560
<v Speaker 1>Because the thing is is that even though they did

0:26:26.840 --> 0:26:30.640
<v Speaker 1>an awesome job on the Poison record, which is basically

0:26:30.840 --> 0:26:35.639
<v Speaker 1>like seventy maybe eighty percent samples and whatever, but you know,

0:26:35.680 --> 0:26:37.879
<v Speaker 1>I mean a lot of this stuff was atonal, but

0:26:38.080 --> 0:26:40.240
<v Speaker 1>I mean you just took that shit to the hilt.

0:26:40.960 --> 0:26:45.560
<v Speaker 1>And I always wondered your level of just chaotic production

0:26:46.920 --> 0:26:51.879
<v Speaker 1>without without sort of a linear melodic thing like I

0:26:51.960 --> 0:26:53.879
<v Speaker 1>mean I had to the Back is a great example,

0:26:54.280 --> 0:26:56.480
<v Speaker 1>like there really is a melody there. So it's like

0:26:57.320 --> 0:26:59.600
<v Speaker 1>when you're writing this stuff, and again, I know, the

0:26:59.720 --> 0:27:02.399
<v Speaker 1>cha to form of production at the time, especially with

0:27:02.560 --> 0:27:07.600
<v Speaker 1>like Teddy doing more nuanced steady New Jackson, you know,

0:27:07.720 --> 0:27:10.120
<v Speaker 1>by the numbers thing, but you were just like the wow, wow,

0:27:10.200 --> 0:27:12.879
<v Speaker 1>West with it. How hard was it for you to

0:27:13.040 --> 0:27:15.280
<v Speaker 1>convince not the acts, because I feel like you and

0:27:15.320 --> 0:27:17.200
<v Speaker 1>the acts were like of age and all that stuff,

0:27:18.000 --> 0:27:19.639
<v Speaker 1>but like the buzz bees of the world, like the

0:27:19.800 --> 0:27:23.000
<v Speaker 1>older I'm assuming these guys are at least forty years old, Like,

0:27:23.520 --> 0:27:26.959
<v Speaker 1>how do you convince them that cram and forty two

0:27:27.040 --> 0:27:30.680
<v Speaker 1>gazillion samples in something is like that's what they want?

0:27:31.760 --> 0:27:33.720
<v Speaker 4>Yeah, it was a lot of samples, bro, Like I

0:27:33.760 --> 0:27:35.040
<v Speaker 4>wanted to be I wanted to be in the Bomb

0:27:35.040 --> 0:27:37.240
<v Speaker 4>Squad so bad. Hay shockoling them. I was like I

0:27:37.280 --> 0:27:40.160
<v Speaker 4>was going down the Green Street like studios and I'll

0:27:40.200 --> 0:27:41.800
<v Speaker 4>see Mike Bibbins and then working with them, and I

0:27:41.920 --> 0:27:44.320
<v Speaker 4>was like, man, the Bomb Squad. It was just so

0:27:44.440 --> 0:27:46.680
<v Speaker 4>incredible how they would take all these samples that was

0:27:46.800 --> 0:27:49.080
<v Speaker 4>just like out of nowhere and make sure that they

0:27:49.119 --> 0:27:50.560
<v Speaker 4>were out of tune and make sure that they had

0:27:50.600 --> 0:27:52.240
<v Speaker 4>nothing to do with each other, make sure they was

0:27:52.640 --> 0:27:55.000
<v Speaker 4>So I would take that same formula right now, I

0:27:55.000 --> 0:27:56.760
<v Speaker 4>would do that, but then I would write a regular

0:27:56.800 --> 0:27:58.359
<v Speaker 4>song on top of it. Like so if think about

0:27:58.359 --> 0:27:59.639
<v Speaker 4>just took all that other way and then write a

0:27:59.720 --> 0:28:01.320
<v Speaker 4>song I had to the back right or what about

0:28:01.320 --> 0:28:03.480
<v Speaker 4>your Friends as a song because I always knew that,

0:28:03.600 --> 0:28:05.560
<v Speaker 4>Like production is a vehicle, but you got to have

0:28:05.640 --> 0:28:08.080
<v Speaker 4>a song, and you gotta cram that song in three minutes,

0:28:08.240 --> 0:28:09.920
<v Speaker 4>and you got it usually have two hours to tell

0:28:09.920 --> 0:28:11.639
<v Speaker 4>it in the movie. You got like two minutes now,

0:28:11.680 --> 0:28:13.520
<v Speaker 4>but three minutes back then to tell a story in

0:28:13.600 --> 0:28:16.760
<v Speaker 4>the song. So then if you took all the way,

0:28:16.760 --> 0:28:19.400
<v Speaker 4>you can hear the song, all the keyboards, all the strings,

0:28:19.520 --> 0:28:21.240
<v Speaker 4>everything's on there. And just like I had to ignore

0:28:21.280 --> 0:28:23.320
<v Speaker 4>all the samples and don't think anything about them.

0:28:23.760 --> 0:28:27.160
<v Speaker 1>So how hard is that if you have a singer

0:28:28.119 --> 0:28:32.280
<v Speaker 1>that doesn't have something to and the thing is like

0:28:32.480 --> 0:28:34.159
<v Speaker 1>I'm here in the final like we're here in the

0:28:34.200 --> 0:28:37.040
<v Speaker 1>final mix. Yeah, but I'm certain with like ain't too

0:28:37.080 --> 0:28:39.440
<v Speaker 1>Proud to Bath like it was just like not completely mixed,

0:28:39.480 --> 0:28:40.520
<v Speaker 1>and there's.

0:28:40.400 --> 0:28:42.760
<v Speaker 4>So much noise in that song, Like right, radio wouldn't

0:28:42.760 --> 0:28:44.160
<v Speaker 4>play it because they had so much noise in it.

0:28:44.200 --> 0:28:46.080
<v Speaker 4>At first, it was just like there was like no

0:28:47.320 --> 0:28:49.480
<v Speaker 4>it was like when they when they first took it

0:28:49.520 --> 0:28:52.000
<v Speaker 4>the radio, they were just like no, it's like what

0:28:52.280 --> 0:28:54.280
<v Speaker 4>is this. No, it's too much noise. It's like it's

0:28:54.280 --> 0:28:56.040
<v Speaker 4>just too much noise. And then she said she was

0:28:56.040 --> 0:28:59.360
<v Speaker 4>saying two inches of yeah, I rock. It was like no,

0:29:00.120 --> 0:29:02.640
<v Speaker 4>just know. And so then Lamon Bolls came back. He

0:29:02.720 --> 0:29:04.120
<v Speaker 4>used to work at a face and he was just like,

0:29:04.240 --> 0:29:06.440
<v Speaker 4>you know what, they got to see the girls first,

0:29:07.120 --> 0:29:08.800
<v Speaker 4>trying to take them in through this. It's too there's

0:29:08.800 --> 0:29:10.640
<v Speaker 4>too much noise. It's too they don't get it. It's

0:29:10.640 --> 0:29:15.040
<v Speaker 4>too oh yeah, they went to radio first like usual,

0:29:15.120 --> 0:29:18.160
<v Speaker 4>but then radio is like, nah, too much noise. And

0:29:18.240 --> 0:29:20.200
<v Speaker 4>then when they shot the video and he said, yo, Mike,

0:29:20.320 --> 0:29:22.040
<v Speaker 4>check one too one too. If we saw the video,

0:29:22.080 --> 0:29:24.480
<v Speaker 4>everybody's like, oh, we get it now, and that's what

0:29:24.640 --> 0:29:27.920
<v Speaker 4>really set the girls off. And then but like sample

0:29:27.960 --> 0:29:31.200
<v Speaker 4>clearances hadn't came in yet. It's kind of like the blockchain.

0:29:31.640 --> 0:29:34.560
<v Speaker 4>It was like sample clearances was like something that we

0:29:35.040 --> 0:29:37.040
<v Speaker 4>all did. We all got a hold to it for fun.

0:29:37.160 --> 0:29:39.200
<v Speaker 4>Now we could do whatever we want. Nobody ever done

0:29:39.240 --> 0:29:41.720
<v Speaker 4>that before. Nobody's ever taken somebody's song and and then

0:29:41.840 --> 0:29:43.880
<v Speaker 4>recorded it and sung something different on top of it,

0:29:44.120 --> 0:29:45.840
<v Speaker 4>like they was doing remakes, but not that. That's when

0:29:45.880 --> 0:29:48.160
<v Speaker 4>y'all was pissing off all the old everybody, and nobody

0:29:48.240 --> 0:29:48.800
<v Speaker 4>knew how to clear it.

0:29:48.840 --> 0:29:53.239
<v Speaker 1>Nobody that it would take like one of us our

0:29:53.320 --> 0:29:55.400
<v Speaker 1>generation and they like, oh that snare came from there,

0:29:55.400 --> 0:29:55.720
<v Speaker 1>and then.

0:29:55.960 --> 0:29:57.960
<v Speaker 4>Dude, okay, but look at it like this though, So

0:29:58.240 --> 0:30:01.400
<v Speaker 4>if you got fly Robin Fly, right, then you got

0:30:01.440 --> 0:30:03.600
<v Speaker 4>the average white man, and then you got cool in

0:30:03.680 --> 0:30:06.120
<v Speaker 4>the gang, that's right, and then you got parliament, right,

0:30:06.400 --> 0:30:09.080
<v Speaker 4>and then you got not a thick Okay, there's thirty

0:30:09.120 --> 0:30:12.560
<v Speaker 4>people in these group, right right. So when they started

0:30:12.600 --> 0:30:14.440
<v Speaker 4>to break down the sample clearances and said, okay, we

0:30:14.480 --> 0:30:15.920
<v Speaker 4>figured this out, we got to go back and get

0:30:15.920 --> 0:30:16.560
<v Speaker 4>these people paid.

0:30:16.600 --> 0:30:19.360
<v Speaker 1>Oh no, yeah, I saw the credit.

0:30:20.400 --> 0:30:23.680
<v Speaker 4>Oh my god, like zero point one percent to the

0:30:23.720 --> 0:30:25.680
<v Speaker 4>horn players. You won't go into this like because you

0:30:25.720 --> 0:30:27.480
<v Speaker 4>didn't realize that each one of those samples has so

0:30:27.600 --> 0:30:31.080
<v Speaker 4>many people connected to it. And I would have I

0:30:31.080 --> 0:30:33.720
<v Speaker 4>would have like twenty five, twenty five to thirty samples

0:30:33.800 --> 0:30:35.200
<v Speaker 4>going across the board and it would just like mute

0:30:35.240 --> 0:30:37.440
<v Speaker 4>out different ones at different times and whatever. But like

0:30:37.840 --> 0:30:40.760
<v Speaker 4>it was so it became crazy. And if you notice,

0:30:40.760 --> 0:30:43.000
<v Speaker 4>by the time we got to the second record with Creeper,

0:30:43.160 --> 0:30:46.680
<v Speaker 4>just like just one straight right right, Rick, But even.

0:30:46.920 --> 0:30:49.720
<v Speaker 1>At that time was still it didn't sound like nothing else. Okay,

0:30:50.120 --> 0:30:53.320
<v Speaker 1>I'm so glad you mentioned this because they're the craziest

0:30:53.560 --> 0:30:56.800
<v Speaker 1>story of my life. Where and I'm talking about this

0:30:56.960 --> 0:31:01.520
<v Speaker 1>the shine Head situation. So I guess the story of

0:31:01.600 --> 0:31:08.520
<v Speaker 1>Creep is Hey Young World. So I guess slick Rick

0:31:08.720 --> 0:31:14.120
<v Speaker 1>never cleared the guess who's back shine Head sample on

0:31:14.280 --> 0:31:20.680
<v Speaker 1>Hey Young World? I guess who's back? Right, So then

0:31:20.760 --> 0:31:25.000
<v Speaker 1>you guys use that and so Shinas people try to

0:31:25.040 --> 0:31:28.000
<v Speaker 1>go after you guys for it. You're like, no, we

0:31:28.160 --> 0:31:30.960
<v Speaker 1>cleared Hey Young World through slick Rick. Yeah, like we

0:31:31.120 --> 0:31:34.600
<v Speaker 1>cleared here's the clearance. And they're like yeah, but so

0:31:34.720 --> 0:31:37.400
<v Speaker 1>can you explain that situation? Like how like did you

0:31:37.600 --> 0:31:42.720
<v Speaker 1>wind up clearing shine Head sample for depth Jam?

0:31:42.920 --> 0:31:44.920
<v Speaker 4>They had to go back and be cause again, at

0:31:44.960 --> 0:31:48.120
<v Speaker 4>that time, nobody was it was all new and you know,

0:31:48.200 --> 0:31:49.680
<v Speaker 4>so they had to go back and pay him to

0:31:50.200 --> 0:31:51.880
<v Speaker 4>you know they slick I mean they had to go

0:31:52.000 --> 0:31:53.800
<v Speaker 4>and situate him not being paid for him not only

0:31:53.920 --> 0:31:55.680
<v Speaker 4>that but from Hey Young World too.

0:31:56.080 --> 0:31:58.720
<v Speaker 1>Yeah. But I'm saying like, did you guys have to

0:32:01.840 --> 0:32:05.720
<v Speaker 1>like is is Seine had a first generational sample on

0:32:06.320 --> 0:32:10.320
<v Speaker 1>Creep or did you tell them at def Jam, like, YO,

0:32:10.600 --> 0:32:13.360
<v Speaker 1>clear this shit the right way? So that way marshes straight.

0:32:13.440 --> 0:32:15.640
<v Speaker 4>Yeah, because when we cleared it through them and they

0:32:15.720 --> 0:32:18.160
<v Speaker 4>cleared they cleared it, then that's when he popped up

0:32:18.160 --> 0:32:20.400
<v Speaker 4>and hold on. But that's my you know, right, I

0:32:20.440 --> 0:32:22.160
<v Speaker 4>thought it was slick Rick, didn't even I thought it

0:32:22.200 --> 0:32:25.160
<v Speaker 4>was I thought it was Dougie Fresh or slick Rick,

0:32:25.200 --> 0:32:26.680
<v Speaker 4>and somebody said, I guess's back, but I thought it

0:32:26.720 --> 0:32:29.120
<v Speaker 4>belonged to the song. And when they did come back

0:32:29.160 --> 0:32:31.640
<v Speaker 4>and clear it, then they had to go back and

0:32:31.760 --> 0:32:33.840
<v Speaker 4>take care of him for not only that, but for

0:32:34.480 --> 0:32:36.720
<v Speaker 4>for young World or what hey, young World was going

0:32:36.800 --> 0:32:39.880
<v Speaker 4>to generate coming up, you know, because he's never gotten

0:32:39.920 --> 0:32:41.360
<v Speaker 4>take care of for it because people didn't know to

0:32:41.360 --> 0:32:42.280
<v Speaker 4>clear samples back then.

0:32:42.360 --> 0:32:45.840
<v Speaker 1>I thought they forced you to pay for both as

0:32:46.440 --> 0:32:48.800
<v Speaker 1>here's shining hit, this is for creep, and then since

0:32:48.800 --> 0:32:50.160
<v Speaker 1>they didn't do it, here's hey you.

0:32:50.160 --> 0:32:51.880
<v Speaker 4>On the world like nodve Jum, had to go take

0:32:51.880 --> 0:32:52.239
<v Speaker 4>care of him.

0:32:52.640 --> 0:32:56.400
<v Speaker 1>Okay, I guess if anyone makes any reference to any

0:32:56.920 --> 0:33:01.560
<v Speaker 1>parts of the song that Aaron Fuchs owns on anything.

0:33:01.640 --> 0:33:04.840
<v Speaker 1>So in the case of otis because Kanye and Jay

0:33:04.920 --> 0:33:09.520
<v Speaker 1>said Jay is chilling, Yay is chilling. Oh yeah, yeah,

0:33:10.080 --> 0:33:14.680
<v Speaker 1>So Aaron Fuchs was like Hello, Natt Robinson, they're sampling

0:33:14.760 --> 0:33:17.480
<v Speaker 1>our song. And you know, Nat and milk d were like, no,

0:33:17.640 --> 0:33:21.400
<v Speaker 1>that's that's like like rappers don't shoot suit no, no,

0:33:21.560 --> 0:33:23.320
<v Speaker 1>but yeah, rappers just don't suit. Like you know, if

0:33:23.360 --> 0:33:25.520
<v Speaker 1>Premiere scratches your ship, you think it's an honor. Like oh,

0:33:25.600 --> 0:33:30.000
<v Speaker 1>he said, but lititious people. And I'm talking very official

0:33:30.040 --> 0:33:33.920
<v Speaker 1>because even when I talk about AF he tries to

0:33:33.920 --> 0:33:37.840
<v Speaker 1>get lititious with me. But you know, that was that

0:33:37.960 --> 0:33:40.760
<v Speaker 1>was a a messy situation. So yeah, I always wanted

0:33:40.800 --> 0:33:44.400
<v Speaker 1>to know that shine his situation with creep Man.

0:33:44.640 --> 0:33:47.040
<v Speaker 4>It's crazy, as you know, when Sampling came around like that,

0:33:47.200 --> 0:33:50.880
<v Speaker 4>George Clinton obviously had you know, the whole West Coast

0:33:50.920 --> 0:33:53.520
<v Speaker 4>sound period, but nobody know how to clear and he

0:33:53.560 --> 0:33:56.320
<v Speaker 4>had signed over so many different contracts to different people

0:33:57.360 --> 0:33:59.440
<v Speaker 4>back then. You know, he was just selling stuff and

0:33:59.800 --> 0:34:02.280
<v Speaker 4>that on the road, partying and not keeping up with anything,

0:34:02.320 --> 0:34:04.120
<v Speaker 4>and nobody ever knew this was gonna happen. Nobody ever

0:34:04.240 --> 0:34:06.400
<v Speaker 4>knew that Sampling would come around the corner and and

0:34:06.800 --> 0:34:09.680
<v Speaker 4>you know, change people's lives like that, And so he

0:34:09.760 --> 0:34:11.600
<v Speaker 4>had to get cockered in them to try to help

0:34:11.840 --> 0:34:15.960
<v Speaker 4>undo a lot of his stuff because George Clint samples

0:34:16.320 --> 0:34:18.040
<v Speaker 4>him and James Brown, they have to be the most right.

0:34:18.120 --> 0:34:21.560
<v Speaker 4>I would think he just just.

0:34:23.080 --> 0:34:26.160
<v Speaker 1>Got his contractual financial things straight.

0:34:26.800 --> 0:34:28.520
<v Speaker 4>You know, I got I have. I have a lot

0:34:28.560 --> 0:34:31.360
<v Speaker 4>of the I have the Funkadelic Masters, to Cosmic Slock

0:34:31.719 --> 0:34:36.200
<v Speaker 4>to Needy, your friends with. Well, George gave him to me.

0:34:36.400 --> 0:34:39.040
<v Speaker 1>Okay, yeah, wow, that's amazing.

0:34:39.520 --> 0:34:42.000
<v Speaker 4>George gave him to me, and I had him baked.

0:34:42.400 --> 0:34:44.880
<v Speaker 4>You know, the Master's baked. But you can hear, like

0:34:46.960 --> 0:34:48.640
<v Speaker 4>when you go and you listen to each one of them,

0:34:48.680 --> 0:34:52.000
<v Speaker 4>it's just like you get chills because the moment is

0:34:52.080 --> 0:34:52.879
<v Speaker 4>captured on that tape.

0:34:52.960 --> 0:34:53.319
<v Speaker 1>You can hear.

0:34:53.440 --> 0:34:59.560
<v Speaker 4>You can hear him like something about really yeah, and

0:35:00.000 --> 0:35:01.239
<v Speaker 4>all of them had to be in the room together

0:35:01.239 --> 0:35:02.680
<v Speaker 4>at the same time when they were doing it. I'm

0:35:02.680 --> 0:35:03.160
<v Speaker 4>sorry about it.

0:35:03.160 --> 0:35:08.080
<v Speaker 1>That's you. That's your.

0:35:09.480 --> 0:35:12.320
<v Speaker 4>Yo. Let me tell you something. I love that record

0:35:12.640 --> 0:35:15.919
<v Speaker 4>so much, right that those are the best pop songs

0:35:15.920 --> 0:35:16.360
<v Speaker 4>ever written.

0:35:16.480 --> 0:35:16.719
<v Speaker 1>Right, So.

0:35:20.520 --> 0:35:24.120
<v Speaker 3>That's somebody else's bring That's is the full everybody, Yeah,

0:35:24.120 --> 0:35:25.360
<v Speaker 3>that's it, that's it totally.

0:35:25.960 --> 0:35:27.840
<v Speaker 4>I tweeted it when I heard that. I used to

0:35:27.880 --> 0:35:29.719
<v Speaker 4>love the song so much. I just tweeted it one day.

0:35:29.719 --> 0:35:31.600
<v Speaker 4>I just I love this song right, And the manager

0:35:31.600 --> 0:35:34.960
<v Speaker 4>tweeted me back like are you serious, yes, you want

0:35:34.960 --> 0:35:36.400
<v Speaker 4>to work with her? I'm like, yes, I did three

0:35:36.480 --> 0:35:40.520
<v Speaker 4>or four songs on the Album's Greatest made her whole life.

0:35:40.920 --> 0:35:45.400
<v Speaker 1>So Nixon Channel, who engineered the Public Enemy records, he

0:35:45.600 --> 0:35:48.400
<v Speaker 1>told me, he said, you'll never believe this, but we

0:35:48.520 --> 0:35:51.480
<v Speaker 1>never automated it once. And I was like, what is

0:35:51.640 --> 0:35:55.479
<v Speaker 1>the mixing process like? And He's like, you know, Keith,

0:35:56.440 --> 0:36:00.839
<v Speaker 1>Keith and Eric were such sticklers, well, mainly to save

0:36:00.960 --> 0:36:04.799
<v Speaker 1>money kind of the way that when I forgot Ray

0:36:04.880 --> 0:36:08.800
<v Speaker 1>Parker Jr. Tolst that Barry White never overdubbed because he

0:36:08.800 --> 0:36:10.959
<v Speaker 1>didn't want to pay for overtime. So like everyone played

0:36:11.000 --> 0:36:15.000
<v Speaker 1>it once. But Nixon Santo showed me the nine eleven

0:36:15.040 --> 0:36:19.560
<v Speaker 1>base head tracking sheets and literally like they're like Eric

0:36:19.600 --> 0:36:23.080
<v Speaker 1>Sadler's like, you know, eighty one bars cut off that.

0:36:23.480 --> 0:36:26.120
<v Speaker 1>So they would do everything ahead of time before tracking.

0:36:27.200 --> 0:36:30.279
<v Speaker 1>Is that how you track your things? Or like is

0:36:30.320 --> 0:36:32.120
<v Speaker 1>it just you drop it and then you mix it

0:36:32.160 --> 0:36:33.480
<v Speaker 1>at the end like everyone else does.

0:36:33.520 --> 0:36:34.799
<v Speaker 4>I would drop it and mix it at the end,

0:36:34.880 --> 0:36:38.600
<v Speaker 4>but I would have like you know, back at that time,

0:36:38.640 --> 0:36:42.080
<v Speaker 4>the engineers like dave Way or like you know, your

0:36:42.120 --> 0:36:45.600
<v Speaker 4>find Timmy Register was crazy mixing back then.

0:36:45.600 --> 0:36:47.600
<v Speaker 1>But that was your main guy for TLC or I

0:36:47.840 --> 0:36:48.800
<v Speaker 1>used dave Way a lot back.

0:36:48.719 --> 0:36:51.440
<v Speaker 4>Because Teddy was using dave Way, okay, and then Alvin

0:36:51.480 --> 0:36:54.360
<v Speaker 4>Spikes of course, but it was they would have a

0:36:54.440 --> 0:36:57.200
<v Speaker 4>fit at first. Okay, give me a second to forget

0:36:57.239 --> 0:36:59.120
<v Speaker 4>this out because I would have so many tracks and

0:36:59.160 --> 0:37:00.800
<v Speaker 4>then so many samp and how do you put the

0:37:00.840 --> 0:37:03.040
<v Speaker 4>samples and embedded back in the track so that the

0:37:03.120 --> 0:37:05.359
<v Speaker 4>courts stand out and so that so the ruff will

0:37:05.400 --> 0:37:07.200
<v Speaker 4>sound a lot different than when they were mixed. Because

0:37:07.600 --> 0:37:09.040
<v Speaker 4>unless I said, well him, you know, we kind of

0:37:09.080 --> 0:37:11.239
<v Speaker 4>make the roughs and then you know, give him a

0:37:11.239 --> 0:37:13.920
<v Speaker 4>sketch for the mixer. But if you just sent it

0:37:14.000 --> 0:37:16.200
<v Speaker 4>to a mix engineer, you're just like, no, this is crazy,

0:37:16.239 --> 0:37:16.799
<v Speaker 4>but it's working.

0:37:17.440 --> 0:37:18.680
<v Speaker 1>Was Leslie was he mixing?

0:37:19.239 --> 0:37:23.680
<v Speaker 4>Not yet? He hadn't came in yet, Leslie Leslie Brathway. Okay,

0:37:24.400 --> 0:37:26.279
<v Speaker 4>But Leslie went to you know, he's at full sale.

0:37:26.320 --> 0:37:28.160
<v Speaker 4>So he came in as an intern first, and then

0:37:28.520 --> 0:37:30.680
<v Speaker 4>from that point he just started going at it like

0:37:30.840 --> 0:37:32.320
<v Speaker 4>you know, I just knew that he was going to

0:37:33.080 --> 0:37:35.560
<v Speaker 4>get there, you know, So him coming in and then

0:37:35.719 --> 0:37:38.400
<v Speaker 4>being my engineer, my courten engineer, and then I was

0:37:38.400 --> 0:37:40.600
<v Speaker 4>working on Madonna's Secret when he did the rough mix

0:37:40.640 --> 0:37:42.759
<v Speaker 4>to it, she was like, I like that mix better. Wow,

0:37:42.960 --> 0:37:45.120
<v Speaker 4>And that's what kind of kicked off his his like mixing.

0:37:45.520 --> 0:37:48.520
<v Speaker 1>Uh. I was going to ask, are you a demo

0:37:48.680 --> 0:37:49.360
<v Speaker 1>itist person?

0:37:49.600 --> 0:37:51.160
<v Speaker 4>Do you know what it's horrible?

0:37:51.640 --> 0:37:52.399
<v Speaker 1>Or your artist demo?

0:37:52.840 --> 0:37:54.920
<v Speaker 4>I learned to At first, I was horrible because I

0:37:54.920 --> 0:37:57.520
<v Speaker 4>was a total demo itist person. But then the whole

0:37:57.600 --> 0:38:00.440
<v Speaker 4>First Boys, the Man album, the two album, that's all

0:38:00.480 --> 0:38:06.040
<v Speaker 4>the rough mixes word yeah, thank you. Before that this

0:38:06.160 --> 0:38:12.359
<v Speaker 4>some time Motown Philly, SoSE don't go the song so right.

0:38:12.520 --> 0:38:16.160
<v Speaker 4>So that's all these records. When Jero Buzzby told me

0:38:16.200 --> 0:38:17.680
<v Speaker 4>he was I had Dave Wade mixed the whole album.

0:38:17.840 --> 0:38:20.680
<v Speaker 4>But then Jero Buzzy said, you know what, I like

0:38:20.719 --> 0:38:23.680
<v Speaker 4>the roughs better. Man. No, don't do that to me. Man,

0:38:23.960 --> 0:38:26.439
<v Speaker 4>you know, I gotta sound better. I can't let people

0:38:26.480 --> 0:38:27.719
<v Speaker 4>like Teddy here that don't sound good.

0:38:27.800 --> 0:38:27.960
<v Speaker 5>You know.

0:38:28.960 --> 0:38:30.520
<v Speaker 4>He's like, no, these roughs are this is it. I

0:38:30.600 --> 0:38:33.239
<v Speaker 4>think we're going with the roughs, and I didn't want

0:38:33.239 --> 0:38:34.640
<v Speaker 4>to listen to the record when it came out.

0:38:34.840 --> 0:38:37.680
<v Speaker 1>Okay, so and now I'm like Crazy Sexy Cool, which

0:38:37.760 --> 0:38:43.080
<v Speaker 1>obviously is you know, there's multiple producers, multiple producers, but

0:38:43.239 --> 0:38:46.000
<v Speaker 1>who's the alpha producer? Are you there doing the mastering

0:38:46.040 --> 0:38:47.040
<v Speaker 1>and the sequencing as well?

0:38:47.520 --> 0:38:49.520
<v Speaker 4>When it got too Crazy Sexy Cool by that time,

0:38:50.440 --> 0:38:52.480
<v Speaker 4>like when I was doing the on a TLC tip

0:38:52.640 --> 0:38:56.080
<v Speaker 4>record and you just capture records? Are you capturing the

0:38:56.120 --> 0:38:58.200
<v Speaker 4>moment that just happened to you? Do you recorded an

0:38:58.200 --> 0:38:59.759
<v Speaker 4>event that just happened to you? That's why you call

0:38:59.800 --> 0:39:04.160
<v Speaker 4>it record. So we were just whatever we were doing,

0:39:04.320 --> 0:39:05.680
<v Speaker 4>you know, we acted it out. We would just had

0:39:05.719 --> 0:39:07.719
<v Speaker 4>the studio twenty four seven and recording it right. So

0:39:07.880 --> 0:39:10.680
<v Speaker 4>that album came out to be more cohesive as like, okay,

0:39:10.760 --> 0:39:12.680
<v Speaker 4>you can tell that that's kind of what happened. Somebody

0:39:12.760 --> 0:39:15.640
<v Speaker 4>had the same person kind of did it all. By

0:39:15.680 --> 0:39:18.480
<v Speaker 4>the time we got to Crazy Sexy Cool and the

0:39:18.520 --> 0:39:21.120
<v Speaker 4>girl sold all those records and all the madness had

0:39:21.200 --> 0:39:22.840
<v Speaker 4>happened in LA and then you know when they come

0:39:22.880 --> 0:39:25.400
<v Speaker 4>in and say, okay, now, let us let us go situate,

0:39:25.520 --> 0:39:27.359
<v Speaker 4>let us bring in, let us do this, let us right.

0:39:27.560 --> 0:39:30.120
<v Speaker 4>And it wasn't until and I was I was like

0:39:31.239 --> 0:39:33.239
<v Speaker 4>weird on that because I would go they would go say, yo,

0:39:33.320 --> 0:39:35.000
<v Speaker 4>you start the project because you know what to do,

0:39:35.239 --> 0:39:36.560
<v Speaker 4>and then we will come in and fill in the

0:39:36.600 --> 0:39:39.839
<v Speaker 4>blanks and bring in stuff, right. So or I would

0:39:39.880 --> 0:39:42.240
<v Speaker 4>go and say, okay, here's here's four or five songs.

0:39:42.440 --> 0:39:44.320
<v Speaker 4>Let me find the other ones that will fit in

0:39:44.600 --> 0:39:46.960
<v Speaker 4>from Babyface or from this person or that person. Right

0:39:47.480 --> 0:39:49.200
<v Speaker 4>by the time we got the crazy sexy cool, it

0:39:49.320 --> 0:39:52.200
<v Speaker 4>was like LA was trying to make I think sure

0:39:52.280 --> 0:39:55.000
<v Speaker 4>that they didn't fail in that sense. So it was

0:39:55.160 --> 0:39:57.799
<v Speaker 4>like song song song, song, song song, right. But by

0:39:57.840 --> 0:39:59.640
<v Speaker 4>the time and then he wasn't going to put creep out.

0:40:00.360 --> 0:40:02.879
<v Speaker 4>He shot the video we've heard, we heard, he shot

0:40:02.920 --> 0:40:06.399
<v Speaker 4>three videos, shot three videos. Yeah, and then he wasn't

0:40:06.440 --> 0:40:08.400
<v Speaker 4>gonna put it out. And so then he went to

0:40:08.480 --> 0:40:10.480
<v Speaker 4>Clive and said that. Clive was like he Clive called me,

0:40:10.520 --> 0:40:14.000
<v Speaker 4>It's like, nope, La is wrong. He's like, and this

0:40:14.040 --> 0:40:15.360
<v Speaker 4>is the first time I ever heard this thing. He

0:40:15.440 --> 0:40:17.880
<v Speaker 4>goes and that Miles Davids horn sound you having there

0:40:18.040 --> 0:40:19.840
<v Speaker 4>is going to get you a Grammy. And I was like,

0:40:19.880 --> 0:40:24.920
<v Speaker 4>what Miles David's horn sound. Yeah, I was se So

0:40:25.040 --> 0:40:26.759
<v Speaker 4>I was the same way. But that's that's funny because

0:40:26.760 --> 0:40:28.560
<v Speaker 4>that's how he interpreted. But what I was doing is

0:40:28.920 --> 0:40:31.920
<v Speaker 4>I had creep up on my MPC sixty for a week, right.

0:40:32.440 --> 0:40:35.080
<v Speaker 4>I would come in and sing the song, not save

0:40:35.200 --> 0:40:36.960
<v Speaker 4>it and just be like, oh man, I think it's

0:40:36.960 --> 0:40:41.399
<v Speaker 4>not too country, keep it on the download. But I'm like, well,

0:40:41.880 --> 0:40:43.520
<v Speaker 4>but I kept singing it every day, So I was like,

0:40:43.600 --> 0:40:45.400
<v Speaker 4>you know what, let me just get Debrak Killers to

0:40:45.400 --> 0:40:46.880
<v Speaker 4>come to the demo so I can get out of

0:40:46.920 --> 0:40:49.920
<v Speaker 4>my head. Right, So I wrote the whole song, had

0:40:49.960 --> 0:40:51.920
<v Speaker 4>to come sing it, and I couldn't find a simile crash,

0:40:52.200 --> 0:40:55.000
<v Speaker 4>but I like, so I just like, oh man, I

0:40:55.080 --> 0:40:56.640
<v Speaker 4>put this in because like you know, Pete Rock and

0:40:56.640 --> 0:40:57.400
<v Speaker 4>everybody would put the.

0:40:59.320 --> 0:40:59.920
<v Speaker 1>Right right right.

0:41:00.600 --> 0:41:03.080
<v Speaker 4>So I found that put it in there and didn't

0:41:03.120 --> 0:41:04.760
<v Speaker 4>think of it as anything there will be a signature.

0:41:04.920 --> 0:41:06.759
<v Speaker 4>It was just like, hey, this is the horn hit

0:41:06.840 --> 0:41:09.600
<v Speaker 4>on the one. But Cloud was like that, Miles David's

0:41:09.600 --> 0:41:11.080
<v Speaker 4>horn sound is going to get your Grammy. You know

0:41:11.280 --> 0:41:12.480
<v Speaker 4>what Miles David sound.

0:41:12.680 --> 0:41:17.400
<v Speaker 5>Davis horn sound, and it's not even its sounds, not his.

0:41:17.719 --> 0:41:20.160
<v Speaker 4>That was the closest thing that Cloud could write related.

0:41:21.320 --> 0:41:23.359
<v Speaker 1>Yeah, I was going to say, even to this day

0:41:24.200 --> 0:41:27.280
<v Speaker 1>when Creep is still like maybe the first twenty records

0:41:27.400 --> 0:41:30.520
<v Speaker 1>that I spend when I do DJ gigs and when

0:41:30.560 --> 0:41:34.080
<v Speaker 1>it comes in it's it's almost the effect. And it's

0:41:34.120 --> 0:41:37.040
<v Speaker 1>weird because like that record used to be Troy, Like

0:41:37.239 --> 0:41:40.319
<v Speaker 1>whenever you spend the top of Yeah, they reminisce over

0:41:40.400 --> 0:41:44.880
<v Speaker 1>you place goes panthemonium and then you know, after fifteen

0:41:44.960 --> 0:41:49.280
<v Speaker 1>twenty years then silence can save you. Yeah, the generation

0:41:49.360 --> 0:41:52.680
<v Speaker 1>will change, but Creep has never lost its luster.

0:41:52.880 --> 0:41:54.320
<v Speaker 5>It gives you a chance to get on the floor.

0:41:54.520 --> 0:41:56.319
<v Speaker 5>The first fifteen thirty second to give you a chance

0:41:56.360 --> 0:41:57.399
<v Speaker 5>to get on the floor, and then you can really

0:41:57.600 --> 0:41:57.840
<v Speaker 5>drink that.

0:41:58.400 --> 0:42:01.640
<v Speaker 1>But just when people hear it, it's almost like I

0:42:01.760 --> 0:42:04.640
<v Speaker 1>hear the screams of when I was fourteen years old

0:42:04.680 --> 0:42:08.160
<v Speaker 1>in ninth grade, Like that's that's what that's these I hear. Wait.

0:42:08.719 --> 0:42:11.200
<v Speaker 1>So at the time when I was we were living

0:42:11.239 --> 0:42:15.560
<v Speaker 1>in London, when Crazy Sexy Cool came out, there was

0:42:16.480 --> 0:42:18.640
<v Speaker 1>this white singer that.

0:42:19.080 --> 0:42:22.839
<v Speaker 4>Did Texas, Charlene SPITERI right yo.

0:42:23.600 --> 0:42:27.680
<v Speaker 1>I was like is it me or all right? Give

0:42:27.719 --> 0:42:32.160
<v Speaker 1>me give me another? Non Jermaine kind of like a

0:42:32.239 --> 0:42:34.600
<v Speaker 1>person ra feels, you know, like when the song comes

0:42:34.640 --> 0:42:38.640
<v Speaker 1>out if you like white Diamonds, You're like, yeah, was

0:42:38.680 --> 0:42:41.000
<v Speaker 1>it me or when you When I heard this song,

0:42:41.680 --> 0:42:43.520
<v Speaker 1>we we being mentor of bus like we'll come on

0:42:43.680 --> 0:42:46.160
<v Speaker 1>MTV or whatever, and I was like, Yo, this is

0:42:46.200 --> 0:42:47.319
<v Speaker 1>the this is creep.

0:42:47.480 --> 0:42:50.080
<v Speaker 4>That is creep. And they came. My publisher called me

0:42:50.080 --> 0:42:53.000
<v Speaker 4>and say, yo, I always want to group Texas, and

0:42:53.280 --> 0:42:56.799
<v Speaker 4>they've done this song called once in a Lifetime Lifetime yep.

0:43:00.040 --> 0:43:02.319
<v Speaker 4>And so they've played the song for me. They say,

0:43:02.360 --> 0:43:05.399
<v Speaker 4>you got two choices. They said, well, they actually did

0:43:05.440 --> 0:43:07.640
<v Speaker 4>it because they really really like you and they wanted

0:43:07.680 --> 0:43:09.799
<v Speaker 4>a song to sound like yours. So either you could

0:43:09.840 --> 0:43:11.239
<v Speaker 4>sue them for that, or you could work with them.

0:43:11.600 --> 0:43:13.920
<v Speaker 4>I said, well, why don't I work with them? And

0:43:14.120 --> 0:43:16.880
<v Speaker 4>I worked with him. I did so millions of records

0:43:16.880 --> 0:43:19.000
<v Speaker 4>with him on the song I did with him in demand,

0:43:19.280 --> 0:43:20.719
<v Speaker 4>like years after it.

0:43:21.440 --> 0:43:23.879
<v Speaker 1>Yo, man, I've been for twenty years trying to figure

0:43:23.920 --> 0:43:27.080
<v Speaker 1>out they ran it. They ran that join in Europe

0:43:27.120 --> 0:43:29.279
<v Speaker 1>forever and then I just stopped hearing it. But I

0:43:29.360 --> 0:43:32.000
<v Speaker 1>always wanted to know if it's that. I mean that

0:43:32.120 --> 0:43:35.360
<v Speaker 1>always happens in songwriting, like even to this day, like

0:43:35.400 --> 0:43:38.759
<v Speaker 1>I always see the example on the original reels of

0:43:39.000 --> 0:43:43.479
<v Speaker 1>Fleetwood Max Dreams. It still says the Spinner's Idea number

0:43:43.480 --> 0:43:44.920
<v Speaker 1>three because they were making I'll.

0:43:44.760 --> 0:43:47.640
<v Speaker 4>Be around yep, and Stevie Nix was doing what she's

0:43:47.680 --> 0:43:49.520
<v Speaker 4>doing a step actually doing little Red.

0:43:49.440 --> 0:43:51.960
<v Speaker 1>Corvette, yeah exactly, you know, and got them to come

0:43:52.040 --> 0:43:52.239
<v Speaker 1>in and.

0:43:52.560 --> 0:43:55.040
<v Speaker 4>Yeah, because then you would that's kind of how they

0:43:55.040 --> 0:43:57.400
<v Speaker 4>would look at stuff. You know, you only got this

0:43:57.480 --> 0:43:59.600
<v Speaker 4>many notes. It's twelve notes in there, so that's got

0:43:59.719 --> 0:44:01.960
<v Speaker 4>to make everything you've ever heard in your life, all

0:44:02.000 --> 0:44:04.800
<v Speaker 4>the jazz, all the classicals, or the hip hop or

0:44:04.960 --> 0:44:06.839
<v Speaker 4>R and B, all the pop is made between here

0:44:07.000 --> 0:44:10.120
<v Speaker 4>and here. That's all. That's what so genius about music

0:44:10.200 --> 0:44:13.400
<v Speaker 4>because and you're gonna run across it again. It's just

0:44:13.440 --> 0:44:15.680
<v Speaker 4>impossible not to. And that's why every reggae song gonna

0:44:15.680 --> 0:44:17.480
<v Speaker 4>sound pretty much alike. And that's why you know, you

0:44:17.560 --> 0:44:19.520
<v Speaker 4>had the thing with with for Real and them talking

0:44:19.520 --> 0:44:22.400
<v Speaker 4>about bloodlines. But it's like you're starting to run out

0:44:22.440 --> 0:44:26.080
<v Speaker 4>of even you're starting to run out of combinations, right.

0:44:31.000 --> 0:44:36.919
<v Speaker 1>The question I had about sequencing an album is when

0:44:37.040 --> 0:44:42.399
<v Speaker 1>you're sequencing Coolie on Harmony the album, I always wanted

0:44:42.400 --> 0:44:45.879
<v Speaker 1>to ask producers, whoever the executive producer is like how

0:44:46.000 --> 0:44:48.040
<v Speaker 1>much balls do you have to start an album off

0:44:48.080 --> 0:44:51.920
<v Speaker 1>for the ballot that you know when, especially when you

0:44:52.040 --> 0:44:55.320
<v Speaker 1>have Motown Philly in your pocket. And yes, I see Motown.

0:44:55.480 --> 0:44:59.560
<v Speaker 1>I do see Motown Philly as a side to Adrenaline

0:44:59.600 --> 0:45:03.520
<v Speaker 1>banger thing. But y'all didn't once say like, maybe we

0:45:03.560 --> 0:45:06.240
<v Speaker 1>should start this record with man Motown Philly.

0:45:06.480 --> 0:45:10.520
<v Speaker 4>Please don't go yeah under pressure and like it was

0:45:11.160 --> 0:45:13.200
<v Speaker 4>we're kind of trying to. I would se quince records

0:45:13.239 --> 0:45:15.000
<v Speaker 4>like this most of the time, where I would say, okay,

0:45:15.080 --> 0:45:17.920
<v Speaker 4>well have the mood right, So y'a don't want to

0:45:17.920 --> 0:45:19.560
<v Speaker 4>have a fast on slow song, fast on slow song.

0:45:19.600 --> 0:45:21.600
<v Speaker 4>You want to have like here's your flask, here's your mids,

0:45:21.640 --> 0:45:23.879
<v Speaker 4>and then slow it down towards the kind of towards

0:45:23.920 --> 0:45:26.040
<v Speaker 4>the end of it. When he did Crazy Sexy Cool,

0:45:26.040 --> 0:45:29.040
<v Speaker 4>obviously that was la right, and I was. I felt

0:45:29.080 --> 0:45:31.920
<v Speaker 4>little more disconnected from Crazy Sexy Cool than the first one,

0:45:33.400 --> 0:45:36.080
<v Speaker 4>just because it felt to be patched up, not patched up,

0:45:36.080 --> 0:45:39.200
<v Speaker 4>but it felt like a bunch of different even that

0:45:39.360 --> 0:45:41.239
<v Speaker 4>was supposed to be the thing tied it together. But

0:45:41.719 --> 0:45:45.279
<v Speaker 4>who did different people like you going to do something

0:45:45.360 --> 0:45:48.279
<v Speaker 4>not oh damn, But it was just because at a

0:45:48.360 --> 0:45:50.160
<v Speaker 4>certain point I did all all. You know, you can

0:45:50.200 --> 0:45:51.400
<v Speaker 4>go in and start off and you do all these

0:45:51.440 --> 0:45:53.640
<v Speaker 4>songs and then you start to say okay, then he starts, okay, well,

0:45:53.680 --> 0:45:54.960
<v Speaker 4>now I'll put this person in. Now we'll put that

0:45:55.000 --> 0:45:56.759
<v Speaker 4>person in that won't let somebody listen to all your stuff.

0:45:56.760 --> 0:45:58.319
<v Speaker 4>And then we're gonna put somebody else in to try

0:45:58.360 --> 0:46:01.080
<v Speaker 4>to do better than yours. And we had this thing

0:46:01.160 --> 0:46:04.800
<v Speaker 4>before me organizing and Jermaine we've known each other since

0:46:05.400 --> 0:46:08.399
<v Speaker 4>the skating rinks, so since we were like sixteen, since

0:46:08.440 --> 0:46:10.640
<v Speaker 4>I first got to Atlanta, you know, me and JD

0:46:10.719 --> 0:46:13.160
<v Speaker 4>actually go over his house with his mom and make

0:46:13.239 --> 0:46:15.840
<v Speaker 4>beats on Jermaine's m PC and the mom would you know,

0:46:15.920 --> 0:46:19.160
<v Speaker 4>feed us Teddy Grams with kool Aid or whatever, and

0:46:20.239 --> 0:46:22.200
<v Speaker 4>so we would just be like, yeah, you know, that's

0:46:22.239 --> 0:46:23.719
<v Speaker 4>just what we were doing. We were young and not

0:46:24.040 --> 0:46:27.240
<v Speaker 4>just in the high school and all this and didn't

0:46:27.239 --> 0:46:29.360
<v Speaker 4>really you know, dressing the kids at the mall and

0:46:29.920 --> 0:46:31.560
<v Speaker 4>kind of just doing you know, just having fun. So

0:46:31.640 --> 0:46:33.279
<v Speaker 4>we really didn't know and think about how it was

0:46:33.320 --> 0:46:38.520
<v Speaker 4>going to blow up. And myself, Rico, Jermaine, we had,

0:46:39.280 --> 0:46:41.400
<v Speaker 4>you know, after we started to come up we ended

0:46:41.440 --> 0:46:44.200
<v Speaker 4>up doing all of the face records. That was all

0:46:44.239 --> 0:46:45.839
<v Speaker 4>the records right there, Me and Jermaine and Rico.

0:46:46.440 --> 0:46:50.160
<v Speaker 1>Yeah, at one point Highland places that that was the Yeah,

0:46:50.200 --> 0:46:50.960
<v Speaker 1>that was yeah.

0:46:51.320 --> 0:46:54.040
<v Speaker 4>So at one point I hit, I hit. We had

0:46:54.040 --> 0:46:56.160
<v Speaker 4>all got way off track, like we wasn't messing with

0:46:56.239 --> 0:46:58.399
<v Speaker 4>each other. We were just like way off.

0:46:58.360 --> 0:47:01.080
<v Speaker 1>Track when didn't get competitive.

0:47:01.040 --> 0:47:02.479
<v Speaker 4>It got competitive like after crazy.

0:47:03.280 --> 0:47:06.040
<v Speaker 1>How did you feel about waterfalls? Because even La said

0:47:06.120 --> 0:47:09.120
<v Speaker 1>himself like he saved organized noise for last.

0:47:09.640 --> 0:47:11.919
<v Speaker 4>Well, I love I love the waterfalls. See, I knew

0:47:11.920 --> 0:47:13.239
<v Speaker 4>all of them. These are like all my guys in

0:47:13.239 --> 0:47:15.040
<v Speaker 4>the first place, because we all hung out the skating

0:47:15.080 --> 0:47:17.160
<v Speaker 4>rink and stuff together before La even knew any of us.

0:47:17.800 --> 0:47:19.839
<v Speaker 4>So we felt like when La kind of came to town,

0:47:20.080 --> 0:47:23.080
<v Speaker 4>he was the opportunity. But we was more crazy about babyface,

0:47:23.560 --> 0:47:25.640
<v Speaker 4>you know, but we couldn't really access Yeah, we could

0:47:25.719 --> 0:47:27.640
<v Speaker 4>really act face like that. It was like La came

0:47:27.760 --> 0:47:29.480
<v Speaker 4>to the forefront and it was like, hey, by the

0:47:29.520 --> 0:47:31.800
<v Speaker 4>time we got the crazy, sexy cool, we realized. I

0:47:31.880 --> 0:47:33.279
<v Speaker 4>called him one day and I said, yo, man, And

0:47:33.320 --> 0:47:35.839
<v Speaker 4>we had all this ABC criss Cross beef and all

0:47:35.880 --> 0:47:38.319
<v Speaker 4>that stuff. When it was kids and it just turned

0:47:38.360 --> 0:47:39.960
<v Speaker 4>into a bunch of mess in the first place. But

0:47:41.000 --> 0:47:42.600
<v Speaker 4>I called Jamain and one day and said, yo, man,

0:47:42.640 --> 0:47:44.759
<v Speaker 4>you know we didn't have a meeting you and we

0:47:44.840 --> 0:47:46.359
<v Speaker 4>go come meet me at this restaurant and don't bring

0:47:46.360 --> 0:47:48.319
<v Speaker 4>any security. What you mean, don't bring those.

0:47:48.200 --> 0:47:50.319
<v Speaker 1>Security set up? I was like, I can't.

0:47:51.440 --> 0:47:53.120
<v Speaker 4>We don't need security. We've been knowing each other since

0:47:53.200 --> 0:47:56.680
<v Speaker 4>high school, but we've been way off. Yeah, everybody don't

0:47:56.680 --> 0:47:58.960
<v Speaker 4>make money and went on their own thing. So we

0:47:59.040 --> 0:48:02.080
<v Speaker 4>had a meeting with him, and I said, uh, help you. Sorry,

0:48:02.480 --> 0:48:04.279
<v Speaker 4>you don't like that, So I said there, I said, yo, man,

0:48:04.640 --> 0:48:06.360
<v Speaker 4>what's going on with us? Like you ever noticed that

0:48:06.520 --> 0:48:08.319
<v Speaker 4>we all work on with face records, but we don't

0:48:08.360 --> 0:48:10.560
<v Speaker 4>work on any of our own records together. Like you

0:48:10.680 --> 0:48:12.759
<v Speaker 4>never worked this before? Jamaine did first night? I said,

0:48:12.760 --> 0:48:15.360
<v Speaker 4>you never worked on Monica, I never worked on Escape.

0:48:15.640 --> 0:48:20.160
<v Speaker 4>You never worked on working something? What's going on? Jamaine

0:48:20.239 --> 0:48:22.960
<v Speaker 4>goes well, Lay said, man, you don't really like my stuff?

0:48:23.520 --> 0:48:24.840
<v Speaker 4>And I said what damn well? They told me you

0:48:24.880 --> 0:48:27.880
<v Speaker 4>don't like my stuff, and then away goes with it,

0:48:27.960 --> 0:48:29.480
<v Speaker 4>told me that neither one of y'all like my stuff.

0:48:31.600 --> 0:48:34.360
<v Speaker 1>That he meant it that he wanted friction between the

0:48:34.440 --> 0:48:36.440
<v Speaker 1>three of you, so that way you be competitive.

0:48:36.080 --> 0:48:38.840
<v Speaker 4>Competitive, and so he gave us the book for Christmas,

0:48:39.000 --> 0:48:40.720
<v Speaker 4>The Art of War. None of us have paid attention

0:48:40.800 --> 0:48:46.080
<v Speaker 4>to it. God gave us pulled on this in the

0:48:46.120 --> 0:48:48.960
<v Speaker 4>first place, and so we from that point we was like, okay,

0:48:49.000 --> 0:48:51.719
<v Speaker 4>we gotta stop because Atlanta small for us to be

0:48:51.800 --> 0:48:53.960
<v Speaker 4>separated and we would glue to the whole thing is

0:48:54.000 --> 0:48:56.279
<v Speaker 4>like that didn't make any sense because we don't function

0:48:56.400 --> 0:48:56.960
<v Speaker 4>like that down here.

0:48:57.520 --> 0:48:59.400
<v Speaker 5>That's when the Monica relationships stopped.

0:48:59.480 --> 0:49:01.200
<v Speaker 4>When the Monica relationship started the first night.

0:49:01.320 --> 0:49:04.960
<v Speaker 1>Okay, okay, for those of us that aren't Atlanta adjacent,

0:49:05.080 --> 0:49:07.479
<v Speaker 1>and I know that your connection to the atl film,

0:49:08.000 --> 0:49:13.160
<v Speaker 1>could you explain to us outsiders about skate culture in

0:49:13.320 --> 0:49:16.240
<v Speaker 1>Atlanta and how important it is or the epicenter.

0:49:16.520 --> 0:49:19.080
<v Speaker 4>Man, it was the only other outlet, you know. So

0:49:19.160 --> 0:49:21.040
<v Speaker 4>when I did, I did drum Line first, right, and

0:49:21.120 --> 0:49:23.600
<v Speaker 4>everybody kind of said, okay. It brought the margin bands

0:49:23.600 --> 0:49:26.160
<v Speaker 4>to the forefront. And then I had atl It was

0:49:26.200 --> 0:49:28.279
<v Speaker 4>called jelly Beans. I had that movie at the same time.

0:49:28.680 --> 0:49:31.279
<v Speaker 4>It was based out because the skate rink was called

0:49:31.320 --> 0:49:34.360
<v Speaker 4>jelly Beans. That me and t Bos and organized Noise

0:49:34.360 --> 0:49:36.040
<v Speaker 4>and Devine Stevens and all of us went to the

0:49:36.080 --> 0:49:38.320
<v Speaker 4>skate rink every Sunday. So what the trip is is.

0:49:38.360 --> 0:49:40.880
<v Speaker 4>Then after I did drum Line, Fox was like, Okay,

0:49:41.360 --> 0:49:42.920
<v Speaker 4>he's got the skate Ring movie, so we're gonna put

0:49:42.920 --> 0:49:46.520
<v Speaker 4>out Roadbounds because I took so I take. I had

0:49:46.520 --> 0:49:48.600
<v Speaker 4>taken another movie to Warner Brothers. And so then when

0:49:48.600 --> 0:49:50.759
<v Speaker 4>they put out Roadbounds, want to call me? It was like, Yo,

0:49:51.480 --> 0:49:53.160
<v Speaker 4>we can't make a skate rink movie. It just put

0:49:53.200 --> 0:49:54.600
<v Speaker 4>that one out. That's not gonna make sense.

0:49:54.800 --> 0:49:56.960
<v Speaker 3>Oh Acl is old, So it was a yo.

0:49:57.080 --> 0:49:59.040
<v Speaker 4>Yeah. So then so I looked at it. I said,

0:49:59.040 --> 0:50:01.279
<v Speaker 4>well look man, that's a period piece. I was like,

0:50:01.360 --> 0:50:04.759
<v Speaker 4>that's like watching the Wood, Like I said, but we're

0:50:04.760 --> 0:50:07.320
<v Speaker 4>doing this now in Atlanta right now to day on

0:50:07.480 --> 0:50:10.520
<v Speaker 4>Sundays they are skating skating Yeah right now.

0:50:10.800 --> 0:50:15.920
<v Speaker 1>Okay crazy anyway, so good.

0:50:16.239 --> 0:50:17.760
<v Speaker 4>He got it from me and me and Jamaine.

0:50:17.760 --> 0:50:18.759
<v Speaker 3>He didn't change land that.

0:50:18.800 --> 0:50:22.480
<v Speaker 1>Way like tied Babyloney and Randy Gardner on his I

0:50:22.640 --> 0:50:26.680
<v Speaker 1>g like, I was like, I didn't bring it back.

0:50:26.840 --> 0:50:27.440
<v Speaker 1>That's all I know.

0:50:27.600 --> 0:50:30.880
<v Speaker 4>That's the last skaters I know, right, If you go

0:50:30.960 --> 0:50:33.920
<v Speaker 4>to Cascade on Sundays and you get us. Jermaina called

0:50:33.960 --> 0:50:35.560
<v Speaker 4>me and be like, Yo, Sunday, what you're doing, Let's skate.

0:50:35.800 --> 0:50:38.120
<v Speaker 3>I can see Jermaine hand on somebody's back.

0:50:38.239 --> 0:50:42.680
<v Speaker 4>Like we went to New York for the for the Flippers,

0:50:42.920 --> 0:50:47.319
<v Speaker 4>right because Jimmy Ivan and them opening, Yes, who went

0:50:47.360 --> 0:50:49.080
<v Speaker 4>to New York for that? But yeah, the skate culture

0:50:49.120 --> 0:50:52.160
<v Speaker 4>here has always been super strong still And when I

0:50:52.200 --> 0:50:54.000
<v Speaker 4>did at l the crazy part about it is I

0:50:54.040 --> 0:50:56.480
<v Speaker 4>went and got the same guys that was skating with

0:50:56.480 --> 0:50:58.839
<v Speaker 4>because they're still skating. So all those dudes in the movie,

0:50:58.880 --> 0:51:00.680
<v Speaker 4>they still they cascade, They're still skating.

0:51:00.719 --> 0:51:02.520
<v Speaker 1>That's Atlanta.

0:51:02.880 --> 0:51:03.160
<v Speaker 4>That's it.

0:51:03.560 --> 0:51:05.000
<v Speaker 1>Do you skate board as well?

0:51:05.040 --> 0:51:05.320
<v Speaker 3>Or is it?

0:51:05.440 --> 0:51:06.520
<v Speaker 4>Like is that escape cool?

0:51:06.560 --> 0:51:06.840
<v Speaker 1>Skating?

0:51:07.200 --> 0:51:09.440
<v Speaker 4>Skateboarding when we were younger, but then once we started

0:51:09.440 --> 0:51:11.600
<v Speaker 4>getting to the because our skate culture hits so competitive,

0:51:11.880 --> 0:51:13.719
<v Speaker 4>like when we have out like ten people in the

0:51:13.800 --> 0:51:18.359
<v Speaker 4>line and you know, get out of the way, get

0:51:18.360 --> 0:51:18.759
<v Speaker 4>out the way.

0:51:19.560 --> 0:51:21.960
<v Speaker 1>It does the express line have to be the outer line?

0:51:22.600 --> 0:51:26.759
<v Speaker 1>A good question? What about geriatric skating? Excuse me?

0:51:28.040 --> 0:51:30.120
<v Speaker 4>And then be going so fast, like once you get going,

0:51:30.160 --> 0:51:32.319
<v Speaker 4>you don't realize how fast you're really going, and if

0:51:32.360 --> 0:51:34.239
<v Speaker 4>you fall like all the people in your line, they're

0:51:34.239 --> 0:51:37.759
<v Speaker 4>gonna get it, so like it becomes really intense driving.

0:51:37.560 --> 0:51:39.520
<v Speaker 5>When you open the door. Though that you opened the

0:51:39.600 --> 0:51:42.520
<v Speaker 5>drum Line door. So you told one story about one movie.

0:51:42.600 --> 0:51:44.080
<v Speaker 5>Can you got to tell us a little something that

0:51:44.160 --> 0:51:45.840
<v Speaker 5>we don't know about this movie and the fact that

0:51:45.960 --> 0:51:48.080
<v Speaker 5>why did you choose that era of your life? Because

0:51:48.080 --> 0:51:49.560
<v Speaker 5>what we know right now is you got a couple

0:51:49.600 --> 0:51:53.560
<v Speaker 5>of movies about three or five of your life, So please.

0:51:53.360 --> 0:51:55.719
<v Speaker 4>Well it was it was when I first pitched drum Line.

0:51:55.719 --> 0:51:57.239
<v Speaker 4>I was in a meeting with Fox and they were

0:51:57.239 --> 0:51:59.640
<v Speaker 4>asking me about musicals, like, hey man, we need to

0:51:59.719 --> 0:52:01.479
<v Speaker 4>try to find a way to do cool musicals again.

0:52:01.520 --> 0:52:04.000
<v Speaker 4>And then I said, we can't break out doing singing

0:52:04.040 --> 0:52:05.840
<v Speaker 4>in the rain. It ain't happened. We need an excuse,

0:52:05.960 --> 0:52:08.160
<v Speaker 4>like a marching band. And it was like a marching band,

0:52:08.200 --> 0:52:10.319
<v Speaker 4>what's interesting about that? And in the meeting, I was like, Oh,

0:52:10.360 --> 0:52:12.080
<v Speaker 4>it's about this kid that can't read music and he's

0:52:12.160 --> 0:52:14.279
<v Speaker 4>in his marching band. And I kind of pitched the

0:52:14.320 --> 0:52:16.759
<v Speaker 4>whole my story to them in the meeting, and then

0:52:16.880 --> 0:52:18.279
<v Speaker 4>a couple of days later they called back and said,

0:52:18.520 --> 0:52:20.879
<v Speaker 4>we want to make this film and I'm all right, cool.

0:52:20.920 --> 0:52:23.520
<v Speaker 4>So we started making it. We started like developing it

0:52:23.960 --> 0:52:25.879
<v Speaker 4>and by the time the script got to a point

0:52:25.880 --> 0:52:28.919
<v Speaker 4>where it was by a girl Sean, shehips at first,

0:52:28.960 --> 0:52:30.600
<v Speaker 4>but she just did bring it on to or something.

0:52:31.120 --> 0:52:33.440
<v Speaker 4>And so when they wrote it, I was like, I

0:52:33.560 --> 0:52:36.560
<v Speaker 4>was like, oh no, this ain't it, lunch, this ain't it.

0:52:37.320 --> 0:52:40.200
<v Speaker 4>And then and so Fox was like, oh, that's not it. Okay,

0:52:40.280 --> 0:52:42.200
<v Speaker 4>Well we're going to put it in you know, We're

0:52:42.200 --> 0:52:43.759
<v Speaker 4>gonna sit it over here there and let it just sit.

0:52:44.120 --> 0:52:45.640
<v Speaker 4>And I'm like, no, we'll give it back to me.

0:52:46.040 --> 0:52:47.440
<v Speaker 4>I said, no, no, no, we don't. We can't give

0:52:47.480 --> 0:52:49.400
<v Speaker 4>it back to you, you know, because we bought it

0:52:49.560 --> 0:52:52.000
<v Speaker 4>and we want to put it put it in a turnaround,

0:52:52.000 --> 0:52:53.880
<v Speaker 4>which is like they got it. They on it. They

0:52:53.880 --> 0:52:55.280
<v Speaker 4>don't want to make it, but they don't want nobody

0:52:55.280 --> 0:52:57.960
<v Speaker 4>else to make it either, because if it happens, then

0:52:58.000 --> 0:52:58.600
<v Speaker 4>it doesn't look right.

0:52:58.680 --> 0:53:00.800
<v Speaker 1>Right. So now the movies sitting you mean, if to

0:53:00.840 --> 0:53:03.840
<v Speaker 1>get successful, then not through them, not through them, like

0:53:03.880 --> 0:53:05.000
<v Speaker 1>they're sitting on an artist, right.

0:53:05.440 --> 0:53:07.120
<v Speaker 4>So they have so many movies they put in turn

0:53:07.160 --> 0:53:08.959
<v Speaker 4>around where they just sit and then later on they'll

0:53:08.960 --> 0:53:10.080
<v Speaker 4>go back and go, oh, you know what. We got

0:53:10.120 --> 0:53:12.600
<v Speaker 4>one of those somewhere, you know. So it was sitting,

0:53:12.600 --> 0:53:13.680
<v Speaker 4>and it was sitting, and I was like, I got

0:53:13.800 --> 0:53:15.960
<v Speaker 4>to get my movie back. So I called Quincy Jones

0:53:16.800 --> 0:53:18.760
<v Speaker 4>and I said, yo, man. One of the things Quincy

0:53:18.800 --> 0:53:21.160
<v Speaker 4>showed me before was I was at his house one

0:53:21.200 --> 0:53:23.879
<v Speaker 4>time and he goes, uh, Dallas, look at them, look

0:53:23.880 --> 0:53:25.400
<v Speaker 4>at his video. So I look at the video and

0:53:25.440 --> 0:53:28.880
<v Speaker 4>this operah Danny Glover, and they look busted like they

0:53:29.000 --> 0:53:30.359
<v Speaker 4>just got off the bus at the West Day the mall.

0:53:30.400 --> 0:53:33.799
<v Speaker 4>They got on greens. I mean, they looked like rough,

0:53:34.239 --> 0:53:36.200
<v Speaker 4>and they're in this like high school theater and they

0:53:36.239 --> 0:53:39.680
<v Speaker 4>rehearsing lines for the color purple and so, and you

0:53:39.719 --> 0:53:42.400
<v Speaker 4>can see the VHS tape at the bottom and stuff.

0:53:42.680 --> 0:53:44.480
<v Speaker 4>So he's going on, he said, So let me ask

0:53:44.560 --> 0:53:48.120
<v Speaker 4>a question. Who's holding the camera? I said, you are,

0:53:48.800 --> 0:53:52.560
<v Speaker 4>said nope, Steven Spielberg. Wow, I said, he's holding the

0:53:52.600 --> 0:53:56.760
<v Speaker 4>camquarter So yeah, he said, because I needed a scene,

0:53:56.920 --> 0:53:58.600
<v Speaker 4>a train scene. It was gonna cost me more than

0:53:58.680 --> 0:54:00.520
<v Speaker 4>thirteen million to make the movie. And they were saying

0:54:00.560 --> 0:54:02.759
<v Speaker 4>that black movies don't go over seven million, so they

0:54:02.800 --> 0:54:04.960
<v Speaker 4>wasn't gonna give it to me. So when I got

0:54:05.000 --> 0:54:06.879
<v Speaker 4>my friend Steven and I said, okay, Steven, you direct

0:54:06.920 --> 0:54:08.960
<v Speaker 4>this for me? He said yeah, he said okay, So

0:54:09.080 --> 0:54:11.520
<v Speaker 4>that turned everything around. I said, oh, that's why, Stephen.

0:54:11.719 --> 0:54:15.680
<v Speaker 4>I never understood Steven Spielberg direct the color. So he

0:54:15.800 --> 0:54:17.920
<v Speaker 4>goes this. He said, this one. I'm gonna tell you.

0:54:18.560 --> 0:54:20.719
<v Speaker 4>Want to get that movie made? Find a friend of

0:54:20.760 --> 0:54:25.239
<v Speaker 4>yours that's jewishne that was a show. Check out what

0:54:25.239 --> 0:54:28.319
<v Speaker 4>I did. I called Jody Gerson, that my publisher. She's

0:54:28.360 --> 0:54:30.520
<v Speaker 4>my publisher at the time. So I said, Jody, when

0:54:30.640 --> 0:54:32.719
<v Speaker 4>she said I need to find somebody Jewish, you might,

0:54:33.120 --> 0:54:34.920
<v Speaker 4>you might closest Jewish friend. How do I get this

0:54:35.000 --> 0:54:37.120
<v Speaker 4>movie made? She sayes, okay, can I come on as

0:54:37.120 --> 0:54:39.160
<v Speaker 4>a producer? I said yeah. She said cool, because IM

0:54:39.160 --> 0:54:41.759
<v Speaker 4>gonna bring my other friend Wendy fine him. I said,

0:54:41.760 --> 0:54:43.560
<v Speaker 4>who is that? She said, well, she just finished for

0:54:43.680 --> 0:54:49.439
<v Speaker 4>at Going Castaway. So I walked back in Fox. Years later,

0:54:49.680 --> 0:54:51.040
<v Speaker 4>I was trying to talk them out of the movie.

0:54:51.560 --> 0:54:52.880
<v Speaker 4>I want to get this movie back because I was

0:54:52.920 --> 0:54:56.799
<v Speaker 4>gonna take it someone else. But you know, but when

0:54:56.800 --> 0:54:58.040
<v Speaker 4>they find him, is gonna work on the with me?

0:54:58.120 --> 0:55:01.600
<v Speaker 4>They said what they said on you got Wendy fined

0:55:01.640 --> 0:55:03.960
<v Speaker 4>him to work on this marching band movie. It's black.

0:55:04.080 --> 0:55:06.719
<v Speaker 4>I'm like yeah. She said, okay, well, I'm gonna tell

0:55:06.760 --> 0:55:09.439
<v Speaker 4>you like this, Can it take place in college? I said,

0:55:09.440 --> 0:55:11.279
<v Speaker 4>it's bigger in college than in high school. She said, okay,

0:55:11.280 --> 0:55:12.719
<v Speaker 4>we got to make this movie. I said, I'm trying

0:55:12.760 --> 0:55:14.200
<v Speaker 4>to talk y'all out of it. Said no, no, we

0:55:14.239 --> 0:55:15.400
<v Speaker 4>got to make this movie. I was like, oh, it's

0:55:15.400 --> 0:55:18.200
<v Speaker 4>just a hip hop kid can't read music. They got

0:55:18.280 --> 0:55:20.000
<v Speaker 4>to make it. So Wendy was like, all right, I

0:55:20.120 --> 0:55:22.919
<v Speaker 4>have no idea what this is about. I'm just gonna

0:55:23.000 --> 0:55:24.480
<v Speaker 4>ford you off. I'm probably gonna make a lot of

0:55:24.480 --> 0:55:27.520
<v Speaker 4>money and you're not if it's successful. But I'm gonna

0:55:27.520 --> 0:55:29.239
<v Speaker 4>make it so you can make the movie exactly how

0:55:29.280 --> 0:55:31.000
<v Speaker 4>you want to make it. And so when I came

0:55:31.040 --> 0:55:33.640
<v Speaker 4>back to Atlanta and I was in Miami during that time,

0:55:33.640 --> 0:55:35.360
<v Speaker 4>I had move and started doing Blue Cant Trail and

0:55:35.520 --> 0:55:38.080
<v Speaker 4>Pink and Black and all this stuff out of Miami.

0:55:39.200 --> 0:55:41.160
<v Speaker 4>I came back and Charlotte was like, Yo, you got

0:55:41.239 --> 0:55:42.839
<v Speaker 4>to come back. They're scouting for drum Mind and they

0:55:42.880 --> 0:55:44.920
<v Speaker 4>need you here for locations and all this and that.

0:55:45.320 --> 0:55:47.560
<v Speaker 4>So then it started to turn real and I'm like,

0:55:47.560 --> 0:55:49.440
<v Speaker 4>all right, this is this is about you know, I'm

0:55:49.440 --> 0:55:51.759
<v Speaker 4>looking at Orlando Jones and Jamie Fox and different people

0:55:51.840 --> 0:55:55.400
<v Speaker 4>for the Doctor Lee. And as we were starting to

0:55:55.719 --> 0:55:57.600
<v Speaker 4>get going and it started to really turn into the

0:55:57.680 --> 0:56:00.359
<v Speaker 4>movie and the script and stuff started to get developed way.

0:56:00.680 --> 0:56:04.520
<v Speaker 4>But in Tina Chisholm, who she's incredible and she kind

0:56:04.560 --> 0:56:05.960
<v Speaker 4>of like you know, from that point she knew how

0:56:05.960 --> 0:56:07.440
<v Speaker 4>to tell my stories because she would be around me

0:56:07.440 --> 0:56:10.520
<v Speaker 4>all the time. So we went back start shooting the movie.

0:56:10.560 --> 0:56:13.160
<v Speaker 4>Here everybody, I called to all the rappers like nope,

0:56:13.760 --> 0:56:15.799
<v Speaker 4>they said, no, a movie about a band I called Lula.

0:56:15.840 --> 0:56:17.400
<v Speaker 4>I called everybody, Oh yo, I need this party the

0:56:17.440 --> 0:56:18.840
<v Speaker 4>rapper for the field, And I think they thought I

0:56:18.880 --> 0:56:19.799
<v Speaker 4>was doing I got the hook up.

0:56:19.880 --> 0:56:25.800
<v Speaker 1>That's how you got Petil, That's how I got so Ludasa.

0:56:26.120 --> 0:56:27.320
<v Speaker 1>Who was your initial asks?

0:56:27.680 --> 0:56:30.680
<v Speaker 4>Luda was Lula was first? Who else was it out here?

0:56:30.760 --> 0:56:34.319
<v Speaker 4>Then it's like two more Atlanta. You know, I think

0:56:34.320 --> 0:56:38.560
<v Speaker 4>it was outcast, but nobody knew the magnitude because you know,

0:56:38.840 --> 0:56:41.680
<v Speaker 4>in all fairness, nobody had seen anything like it to

0:56:41.760 --> 0:56:43.919
<v Speaker 4>hit Atlanta. And so then as I'm making the movie,

0:56:44.640 --> 0:56:46.200
<v Speaker 4>he got to a point where it started to go

0:56:46.239 --> 0:56:49.680
<v Speaker 4>over budget because obviously I'm recording three hundred piece marching

0:56:49.760 --> 0:56:51.920
<v Speaker 4>bands that I have to use for playback. So I

0:56:51.960 --> 0:56:54.160
<v Speaker 4>got to record them first, write the songs like they're out,

0:56:54.239 --> 0:56:56.120
<v Speaker 4>now record them on the marching band, so use it

0:56:56.200 --> 0:56:59.080
<v Speaker 4>for playback at the field. Right started going over budget,

0:56:59.200 --> 0:57:03.839
<v Speaker 4>So then Fox call they said, Yo, this movie's turning

0:57:03.840 --> 0:57:06.400
<v Speaker 4>into an eighteen million dollar movie instead of a fifteen thirteen.

0:57:06.600 --> 0:57:09.279
<v Speaker 4>Put white people in it. We need white bands, like

0:57:09.320 --> 0:57:14.000
<v Speaker 4>a white band bands. So he's like, I don't care,

0:57:14.160 --> 0:57:16.960
<v Speaker 4>it's a pop movie. Now white bands, So now I

0:57:17.040 --> 0:57:22.120
<v Speaker 4>gotta go. Yeah, so I got Georgia State, Georgia Tech.

0:57:22.320 --> 0:57:27.439
<v Speaker 4>And he's just like and I'm like, dude, I can't

0:57:27.440 --> 0:57:29.000
<v Speaker 4>put this. This looks horrible. I can't put this in

0:57:29.040 --> 0:57:30.920
<v Speaker 4>the movie. Already, the bands don't want to be in

0:57:31.000 --> 0:57:32.120
<v Speaker 4>the movie because they don't want to lose.

0:57:32.160 --> 0:57:35.400
<v Speaker 5>Like shout out to fam you and our film, our

0:57:35.480 --> 0:57:36.080
<v Speaker 5>film cruise.

0:57:36.840 --> 0:57:38.960
<v Speaker 4>Yeah, well y'all family was not going to drum line

0:57:39.000 --> 0:57:40.880
<v Speaker 4>because it's like we're not losing to nobody. Yeah. It

0:57:41.040 --> 0:57:43.840
<v Speaker 4>was like, OK, well that's why we're making a fake band,

0:57:44.320 --> 0:57:46.720
<v Speaker 4>because we don't want anybody's band to lose to anybody

0:57:46.960 --> 0:57:49.640
<v Speaker 4>you know what I'm saying. They said, nope, we don't

0:57:49.640 --> 0:57:50.520
<v Speaker 4>care if it's a fake bab.

0:57:51.360 --> 0:57:52.120
<v Speaker 1>With another title.

0:57:53.520 --> 0:57:57.240
<v Speaker 4>They just didn't want to have family losing Tou North Atlanta,

0:57:57.280 --> 0:57:58.320
<v Speaker 4>at which ain't even.

0:57:58.240 --> 0:58:02.040
<v Speaker 1>A school school colors, but it wasn't you know.

0:58:02.280 --> 0:58:05.120
<v Speaker 4>Yeah, But but so I put the white bands in

0:58:05.560 --> 0:58:07.280
<v Speaker 4>and then at the end I looked, I said, this

0:58:07.360 --> 0:58:09.640
<v Speaker 4>is horrible. This is making these schools look really bad,

0:58:09.680 --> 0:58:11.800
<v Speaker 4>and that's not what it's supposed to do either. So

0:58:12.480 --> 0:58:14.400
<v Speaker 4>I said, you got to find some kind of narrative line,

0:58:14.440 --> 0:58:15.800
<v Speaker 4>and so, w how am I going to do this?

0:58:15.920 --> 0:58:18.400
<v Speaker 4>So I went to I went to the school Morris Brown,

0:58:18.440 --> 0:58:21.240
<v Speaker 4>and I saw this white kid Brown. So, this white

0:58:21.280 --> 0:58:24.440
<v Speaker 4>kid in the band with red hair, and I was like, so,

0:58:24.560 --> 0:58:27.080
<v Speaker 4>how did you get here? Tell me your story. He's like, man,

0:58:27.120 --> 0:58:28.640
<v Speaker 4>I lived down the street. I always wanted to be

0:58:28.720 --> 0:58:30.800
<v Speaker 4>in this band since I was little. I was like, okay,

0:58:30.840 --> 0:58:34.040
<v Speaker 4>there we got we got to catch now. And then

0:58:34.240 --> 0:58:35.960
<v Speaker 4>by the time I edited the movie and took all

0:58:35.960 --> 0:58:37.880
<v Speaker 4>the white bands out, then you know, you look on

0:58:37.920 --> 0:58:39.640
<v Speaker 4>the DVD, it still got the white bands in there.

0:58:39.800 --> 0:58:42.000
<v Speaker 4>For like they caught white bands. It is all white

0:58:42.680 --> 0:58:45.080
<v Speaker 4>and you look at Georgia Tech Georgia, you know. But

0:58:45.200 --> 0:58:47.480
<v Speaker 4>then the great part about it was, you know, seeing

0:58:47.800 --> 0:58:51.040
<v Speaker 4>when drum line, when I finally got it right, because

0:58:51.080 --> 0:58:52.600
<v Speaker 4>I always said it didn't belong to me, it belongs

0:58:52.600 --> 0:58:54.520
<v Speaker 4>to everybody in the band. I'm telling my story, but

0:58:54.560 --> 0:58:57.320
<v Speaker 4>if I don't tell it like I gotta get I

0:58:57.360 --> 0:58:58.800
<v Speaker 4>gotta get it right. I gotta hit it on the

0:58:58.840 --> 0:59:00.480
<v Speaker 4>head and it's right. If I get it wrong, it's

0:59:00.600 --> 0:59:03.480
<v Speaker 4>just no right. And so on the release date, I

0:59:03.480 --> 0:59:05.080
<v Speaker 4>would go around to the theaters and see him sold

0:59:05.120 --> 0:59:07.240
<v Speaker 4>out in Atlanta and everybody would be in marchin band outfits.

0:59:07.400 --> 0:59:07.640
<v Speaker 5>Wow.

0:59:08.680 --> 0:59:10.919
<v Speaker 4>Me and my mom would just ride around being like dang.

0:59:11.120 --> 0:59:11.200
<v Speaker 3>Now.

0:59:11.240 --> 0:59:14.400
<v Speaker 4>It took me ten years, ten years of every day

0:59:14.640 --> 0:59:17.280
<v Speaker 4>making that film. And then because I wanted to do

0:59:17.360 --> 0:59:19.360
<v Speaker 4>atl next, they tried to get me to go to

0:59:19.440 --> 0:59:21.640
<v Speaker 4>New Orleans, and so I ended up bringing the New

0:59:21.720 --> 0:59:24.360
<v Speaker 4>Orleans bill to Atlanta and passing the film bill here.

0:59:25.160 --> 0:59:29.600
<v Speaker 1>So that's why, that's that's why people come to shooting Atlanta.

0:59:29.800 --> 0:59:31.200
<v Speaker 3>Yeah, it's Tyler Perry, thank.

0:59:31.120 --> 0:59:33.360
<v Speaker 4>You all of sh I have cost me like two

0:59:33.400 --> 0:59:35.040
<v Speaker 4>and a grand passing that bill. Back then, I had

0:59:35.080 --> 0:59:35.760
<v Speaker 4>to lobbying.

0:59:36.280 --> 0:59:39.640
<v Speaker 1>So you're the reason why that Georgia logo comes on

0:59:40.000 --> 0:59:41.880
<v Speaker 1>down there every everything. Wow.

0:59:42.120 --> 0:59:44.000
<v Speaker 4>Wow, you know, I was just trying to get atl

0:59:44.040 --> 0:59:48.479
<v Speaker 4>done back then, and so Governor Purdue he basically said, okay,

0:59:48.520 --> 0:59:49.840
<v Speaker 4>well I don't know what to do. You tell us

0:59:49.880 --> 0:59:51.960
<v Speaker 4>what to do, and we kind of came up with

0:59:52.000 --> 0:59:54.280
<v Speaker 4>the plan. That's the Georgia film bill now and the

0:59:54.640 --> 0:59:56.640
<v Speaker 4>ribbon Cuttin spoke at the G eight summit and all

0:59:56.680 --> 0:59:59.120
<v Speaker 4>that stuff on. We haf for Georgia so we can

0:59:59.160 --> 1:00:00.280
<v Speaker 4>have what we have now going on.

1:00:02.440 --> 1:00:05.280
<v Speaker 5>Hey y'all, it's like here from Team Supreme. Okay, so

1:00:05.480 --> 1:00:07.240
<v Speaker 5>right here is where we're going to end part one

1:00:07.400 --> 1:00:10.400
<v Speaker 5>of The Quest Left Supreme with Dallas Austin. You're gonna

1:00:10.440 --> 1:00:12.840
<v Speaker 5>want to stay tuned for part two because this is

1:00:12.880 --> 1:00:16.040
<v Speaker 5>when Dallas talks about working with Michael Jackson and Madonna

1:00:16.480 --> 1:00:18.840
<v Speaker 5>and he tells some really dope stories about the group

1:00:18.920 --> 1:00:22.120
<v Speaker 5>illegal and producing must be the money for Dion Sanders.

1:00:22.280 --> 1:00:24.840
<v Speaker 3>Remember that this was like one of.

1:00:24.880 --> 1:00:27.520
<v Speaker 5>Our favorite episodes, and don't forget we were actually live

1:00:27.680 --> 1:00:31.000
<v Speaker 5>in Atlanta for this, So make sure you check out

1:00:31.040 --> 1:00:33.479
<v Speaker 5>part two when it becomes available, see y'all.

1:00:35.680 --> 1:00:42.800
<v Speaker 1>Quest Left Supreme is a production of iHeartRadio. For more

1:00:42.840 --> 1:00:46.840
<v Speaker 1>podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,

1:00:47.280 --> 1:00:49.000
<v Speaker 1>or wherever you listen to your favorite shows.