Speaker 1: Quest Love Supreme is a production of iHeartRadio. All Right,
Speaker 1: my verse might be weak.
Speaker 2: Supremo Supremo, Roll Call, Supremo, Supremo, Role Called Supremo, Something Supremo,
Speaker 2: Roll Call, Suprema So Supremo roll Call.
Speaker 1: I'm out of ideas. Yeah, I'm so afraid. Yeah, somebody help. Yeah,
Speaker 1: I ain't too proud Supreme So Supreme, Roll Supremo. Roll
Speaker 1: My name is Fante. Yeah, I ain't trying to be funny.
Speaker 3: Yeah.
Speaker 1: If I'm just gonna keep it real, yeah, I like
Speaker 1: must be the.
Speaker 2: Money Supremo Roll Suprema Supremo roll Call.
Speaker 1: My name is Sugar.
Speaker 4: Yeah, and I got my booster. Yeah, so I could
Speaker 4: be here.
Speaker 1: Yeah with this great producer.
Speaker 2: Suprema Supreme, Roll Suprema Supremo roll Call.
Speaker 4: It's like yeah and Jesus Christ.
Speaker 1: Yeah that was Austin's music.
Speaker 4: Yeah, change my life.
Speaker 2: Roll Call Supremo, Supremo, Roll Call Suprema Names Dallas.
Speaker 4: Yeah, I'm here for show. Yeah, I love Yeah, gonna
Speaker 4: give you some more.
Speaker 2: Roll card Supreme sun Supremo, roll Call, Suprema Some Supremo,
Speaker 2: roll Call, Supremo Supremo, Roll Call Supreme.
Speaker 1: Supremo Roll Call all right, ladies and gentlemen, this quest love.
Speaker 1: That's Fane, that's like you, and that's a sugar Steve.
Speaker 1: And I'm being built somewhere else to me street. Look,
Speaker 1: I could take twelve minutes. Look, ain't you proud to
Speaker 1: bait sweak?
Speaker 4: Just one of them days.
Speaker 1: After the back hit him up style Aisha. I like them, Yo,
Speaker 1: Sammy got like a yeah yeah dog. I was not
Speaker 1: ready for that because he still has his baby face troops.
Speaker 1: I will always love you. The fucking motown Philly must
Speaker 1: be the money, must be, must playground beyond playground. Where
Speaker 1: did you get that little squeaky thing? I'm gonna ask
Speaker 1: you all your production. I just know that this show
Speaker 1: is more about the creative process. Please don't go wait
Speaker 1: for my Baby's got a secret. Yo. I need some justice.
Speaker 1: I need some justice for silly ho. I think that
Speaker 1: that guy raftic. I'm sorry the boys mine. They don't
Speaker 1: care about us. It's all that ship. I have so
Speaker 1: many questions about Too Bad Man, But Yo, I was
Speaker 1: two seconds year old. I could have sworn. I remember
Speaker 1: when I brought Tasty and I was like, oh damn,
Speaker 1: okay for real, yell y'all y'all, y'all hooking up. I'll
Speaker 1: get more mature to Jawin. I didn't know he did
Speaker 1: trick me, dude, I'm pretty What about I can go on?
Speaker 1: What about your friends, Ladies and gentlemen. This doesn't happen often.
Speaker 1: Is going to be a super producer episode, one of
Speaker 1: the greatest producers. Just how do you get here? We
Speaker 1: don't know? Did you that? This is literally no? I'm sorry.
Speaker 1: I normally do all these long accolades take twelve minutes,
Speaker 1: but you know that's for the seven hour Jimmy Jam episode.
Speaker 1: You lucky. He's definitely about to do five hours. He
Speaker 1: just don't know it yet. Anyway, Ladies and gentle right out.
Speaker 1: That's why I'm rushing. Ladies and gentlemen. Dallas Austin is
Speaker 1: left supreme.
Speaker 4: Yes, yes, yes, yes.
Speaker 1: We are here. This is our Atlanta series and uh
Speaker 1: we we've been here for a while and just wearing
Speaker 1: the same clothes every five weeks. How how are you,
Speaker 1: mister Austin.
Speaker 4: I'm good man, I'm really good.
Speaker 1: I gotta say. The day that we're speaking is the
Speaker 1: twenty sixth anniversary of the ill adelph Half Life release,
Speaker 1: of which the very song we worked on was at
Speaker 1: Dark Studios. Yeah, we did Panic and started episodes at
Speaker 1: Dark Yep. We were just and we cold knocked. I
Speaker 1: think we just knocked and it was like, you know,
Speaker 1: can we get a studio room real quick? And all
Speaker 1: I remember was you were there recording the Fishbone record,
Speaker 1: and Joy was there too, And this is the first
Speaker 1: time that I saw Angelo. He was very much in
Speaker 1: love with that Therman. Oh my god, dog, if you
Speaker 1: if you can hear, like if I had the stems
Speaker 1: to Panic on Tarik's vocal track, you can still hear
Speaker 1: like the bleeding through the wall, that's my memories of Dark.
Speaker 4: But now, thank you very much for doing this with
Speaker 4: this man. And we couldn't I didn't know what to
Speaker 4: do with that thing. It was like you couldn't control
Speaker 4: the there man.
Speaker 1: So and he was just.
Speaker 4: He was determined to use it on the record. It's
Speaker 4: almost impossible to put it into him, dude. And that's
Speaker 4: bleeding over into this session, dude.
Speaker 1: Like he would just be in the hallway and like
Speaker 1: it was like he was doing like that's just like
Speaker 1: four hours straight your legacy. N Steep said, we're just
Speaker 1: gonna dive right into it. Where's your first musical memory.
Speaker 4: My stepdad played for James Brown, who was Jimmy Nolan.
Speaker 1: And Nolan is mother. That's the show.
Speaker 4: So this is crazy, So I'll wake up with him.
Speaker 1: Jimmy Chank no one, Yeah, does Wynney Melboy nor this does.
Speaker 1: I don't know have you ever mentioned this.
Speaker 4: I don't know if I mentioned do Windy before. But
Speaker 4: every morning I would wake up in third grade and
Speaker 4: play guitar with him, and he would teach me to
Speaker 4: play with my fingers like this, think think it, you know,
Speaker 4: and I would probably smoke a little bit of a
Speaker 4: joint and then go to school because it was it was,
Speaker 4: you know, seventies and stuff. So my mom, my mom
Speaker 4: owned the nightclub and in Columbus, Georgia, and during the
Speaker 4: sixties it was segregated so that when Tina Turner, James Brown,
Speaker 4: anybody came to town, they had to come perform, you know,
Speaker 4: in my dad's party club, stay in that area, eating
Speaker 4: the soul food restaurant that's right there, and you know,
Speaker 4: so I came up kind of in the nightclub restaurant
Speaker 4: business first. And there's a lot of seventies you know,
Speaker 4: wanna be bands and blue shag carpet and clavinet horners,
Speaker 4: and you know, so my mom doing books. I'm running
Speaker 4: around playing on their equipment every day. And Jimmy would
Speaker 4: be on the road and whenever he would come back,
Speaker 4: then I would sit and play guitar with him, and
Speaker 4: then I would go on the road with the Jay
Speaker 4: Bees like when I was, when I was like sevens.
Speaker 1: Everything literally this literally took every question out of my head.
Speaker 1: I'm still fed up that I'm sitting next to someone
Speaker 1: that knew Jimmy Chank Nolan. Yeah, man like hurl and
Speaker 1: cheese and Jimmy Chank Nolan. Are I mean, the the
Speaker 1: wonder twins of syncopated rhythm.
Speaker 4: They're just and and I don't know why. Oh no,
Speaker 4: I'm a mom.
Speaker 1: You know.
Speaker 4: I was just so so into music, you know, so
Speaker 4: crazy about music. But uh yeah, I went on the
Speaker 4: road with the JB's one summer and I rode the
Speaker 4: bus with them the whole time. And we see Charles
Speaker 4: Sinclair Maceio. I would be under the organ while Charles
Speaker 4: is rehearsing, right while they're practicing, I would be under
Speaker 4: the organ playing with cars or like you know, playing
Speaker 4: a little pianos and stuff and this is how crazy
Speaker 4: this is that it goes full circle. So Captain Bruton
Speaker 4: had a thing of B and my. When she first
Speaker 4: got to being My, she says, was going to honor
Speaker 4: James Brown and we want you Pharrell, Chad Rodney Jerkins all,
Speaker 4: y'all going to be the JB's.
Speaker 1: Wowharrell got on drums and started for What it Is
Speaker 1: YO called the night before. The said, y'all, I'm about
Speaker 1: to do mind power with James Brown. This is that nice?
Speaker 4: Is that night? So we all in rehearsal, and for
Speaker 4: one everybody's like, that's going to be impossible to getting together.
Speaker 4: So we all in rehearsal doing it. What it is
Speaker 4: is what it is. I'm playing the same chinky notes
Speaker 4: I was playing in third grade, right you know, I'm like,
Speaker 4: this is getting surreal. It's giving me a trip. And
Speaker 4: so by the time we hit the stage with James
Speaker 4: and I didn't you know, I was little, so I
Speaker 4: didn't know how much you remember me or not to
Speaker 4: follow my history of music or not. But soon he
Speaker 4: saw me on the stage, he goes to me, that's
Speaker 4: Jim and Nolan's boy right there. And then they started
Speaker 4: talking about how he knew me since I was little
Speaker 4: used to see me under the organ and all this
Speaker 4: kind of stuff. And but it was a trip going
Speaker 4: on the road with them because I remember this one
Speaker 4: time where you know, they were all lined up, the
Speaker 4: band was the JB's and then when James in the
Speaker 4: dress room get ready to come out, and they out
Speaker 4: there just talking doing that thing you spoke a cigarettes
Speaker 4: s talking trash whatever, and this dude comes out and
Speaker 4: he walks out and he slapped the hell out of
Speaker 4: all of them, and I was so terrified. I didn't
Speaker 4: know what to do. I was just like, what just happened?
Speaker 4: You know what I'm saying. All of a sudden, it
Speaker 4: was just like he walked right through and went straight
Speaker 4: to the stage, and then they went to the stage
Speaker 4: and started playing. And so afterwards, you know, as a kid,
Speaker 4: you're still just like in your own version of shock,
Speaker 4: like what just happened? Right, And Jimmy said to me said, man,
Speaker 4: you know he does that to get attention, so almost
Speaker 4: like the face.
Speaker 3: I'm sorry, we say, slapped on the face.
Speaker 1: Yeah it was.
Speaker 4: You know, I feel like, you know, get your attention
Speaker 4: off the bat if you feel like he's playing too
Speaker 4: much or you're not serious about what's about to happen.
Speaker 4: You don't know what he'll do. He'll leave you if
Speaker 4: somebody mess up. He lead a whole band. He wasn't
Speaker 4: playing Soma back then. You could nobody, nobody Internet back then,
Speaker 4: but it was it was part of what really started me.
Speaker 4: He started shaping me into playing. You know, I started
Speaker 4: on guitar, and then the guitar started hurting my fingers,
Speaker 4: so I started playing keyboards. And then from that point
Speaker 4: I was.
Speaker 1: Just and you all self taught, like no formal lessons
Speaker 1: or none of that.
Speaker 4: Self taught about Cassio started with the Casio calculator and
Speaker 4: man asked my mom to get me a big one
Speaker 4: every Christmas, and then worked my way up to it
Speaker 4: rolling j X three.
Speaker 1: P went to Big Boy.
Speaker 4: Well, it took me a while.
Speaker 1: Sk one.
Speaker 4: I was at the skate one, but I couldn't play
Speaker 4: in the local bands. And if I didn't have a
Speaker 4: keyboard for it, a real keyboard, right. Yeah, So my
Speaker 4: brother financed it. Was twelve hundred dollars. He financed it
Speaker 4: for five years.
Speaker 1: Wow, he played ten thousand dollars for that.
Speaker 5: Yeah.
Speaker 4: He would sneaking in concerts, like because my mom's restaurant
Speaker 4: in Columbus was down the street from the auditorium. Then
Speaker 4: I went to every concert, so I seen the Mothership Land.
Speaker 4: That was one of my first concerts.
Speaker 1: Yeah, tell me about the conscerts you saw when you're
Speaker 1: a kid.
Speaker 4: That's one of the first ones. Because I said, Mom,
Speaker 4: you know George Clinton, They're coming to town and probably
Speaker 4: mean funka delic and the roof is going to open
Speaker 4: up and the Spaceship's going to come in. And she said, well, honey,
Speaker 4: I don't think that's going to happen. I said, you
Speaker 4: didn't see the commercials. Look at the marcial on TV.
Speaker 4: The space Ship's coming in. I gotta see this. So
Speaker 4: she's like, all right, well, I just don't want you
Speaker 4: to be disappointed. So I go to the concert. My
Speaker 4: brother would always take me to the concerts. He would
Speaker 4: sneak me in with a snare drum that was mid
Speaker 4: from school, like saying it was a Zapp's drummer, and
Speaker 4: you know, yeah, my brother was always everybody was in
Speaker 4: with all their music. So so like when we got
Speaker 4: to the concert and I'm watching the show and all
Speaker 4: of a sudden start doing the swinging down with chariot
Speaker 4: stop and I'm like, here comes, here comes gonna open up.
Speaker 4: And I didn't realize as a kid how it was happening,
Speaker 4: but I know the spaceship came down on the stage,
Speaker 4: you know, and I was just like blown away from
Speaker 4: it and all the costumes and watching Bootsye and watching
Speaker 4: like the whole you know, I was able.
Speaker 1: To see you got to see Glenn Goins call down
Speaker 1: you heard.
Speaker 4: Seeing the whole thing bro like the same one you
Speaker 4: can watch on the old seventies fields to see it.
Speaker 4: And when George comes out with the whole cane and
Speaker 4: that happened, you know, And think about my Mom's restaurant,
Speaker 4: was that I was able to meet all these people
Speaker 4: before I ever ever worked with them and knew them.
Speaker 1: So they would come to the restaurant afterwards, they.
Speaker 4: Would go before and because the soul Food restaur run
Speaker 4: and then that was the closest restaurant to the venue,
Speaker 4: to the auditorium. It was only one place. So every
Speaker 4: time he's Roger zapped line of Richie Commodore's wing and
Speaker 4: fire all these people. I've seen him when I was little.
Speaker 4: My Mom's restaurant, did.
Speaker 3: You ever is it ever a circle back to some
Speaker 3: of these fos.
Speaker 4: Was a little boy, especially George. You know George has
Speaker 4: been since the times you were there. George was around then.
Speaker 4: That's when he was really starting to hang around us.
Speaker 4: He worked, right, Yeah, I did Hollywood but him, Lionel, Richie,
Speaker 4: all of them. I got Natalie Cole. They must be
Speaker 4: so proud of you, like damn, yeah, it was. It's
Speaker 4: a full circle trip.
Speaker 1: You know, what was your favorite Parliament album?
Speaker 4: I was in the Cosmic Slops album first with Maggie
Speaker 4: Brain and you know, just because my brothers and that
Speaker 4: was just playing over and over and over.
Speaker 1: How much older were your brothers in you like five
Speaker 1: years you know, so like you the middle or your baby?
Speaker 4: I'm the baby.
Speaker 1: Yeah, I thought that who's the hype man for another
Speaker 1: bad creation?
Speaker 4: Yeah?
Speaker 1: That's that was your brother. Okay, I'm sorry, I thought
Speaker 1: that was your brother.
Speaker 4: That's your that's my cousin aunt son.
Speaker 5: That was like an urban legend when we was younger,
Speaker 5: like you know this, okay.
Speaker 4: Right, all of us was down in Columbus, Man and
Speaker 4: then my brother who brought the keyboard end up breaking
Speaker 4: my off plane. Get it up one day from the time,
Speaker 4: over and over and over and over again, because that's
Speaker 4: how we learned how to play right. And my brother
Speaker 4: came in one day some months they cleaned up the
Speaker 4: room and I wasn't listening, so he picked the keyboard
Speaker 4: up through it broke it. I tripped out, flipped. My
Speaker 4: mom's restaurant was connected to the house we stayed in
Speaker 4: that at that time, so it was like soul food
Speaker 4: restaurant and downtown Columbus. So everything was going down, like
Speaker 4: everything was going down, and it was just bad. It
Speaker 4: was just just dark.
Speaker 1: And so he broke your keyboard, the one he paid for.
Speaker 4: Yeah, I tried to kill him, but I was so little,
Speaker 4: you know, when you're little, you don't know better. So
Speaker 4: you know, I ran down stairs my one restaurant and
Speaker 4: get a knife, run upstairs and crying what was going on?
Speaker 4: Because that keyboard was the only thing that got me
Speaker 4: into bands with people that was like bigger, you know,
Speaker 4: like Kevin Bradshaw and now who ended up being like
Speaker 4: Basic Black. They had bands, you know, So I wanted
Speaker 4: to play in the band and be like doctor Fink
Speaker 4: forar real, like Jimmy Jay and for real and now
Speaker 4: you just ruin my dream.
Speaker 3: So and how old are you now are you talking about.
Speaker 1: Twelve, Speaking of which, we found this out recently that
Speaker 1: Prince initially wrote Get It Up Brick for Brick. They
Speaker 1: didn't like it. Episode.
Speaker 4: Oh my god, I was. I was a straight up fanatic.
Speaker 4: I was a Prince time fanatic. I was such a
Speaker 4: fanatic that that's how I learned to play everything, because
Speaker 4: I would go home every day and learn get it
Speaker 4: Up Solo. I'll go home every day and learn cool,
Speaker 4: go home every day like girl and all this stuff.
Speaker 4: And I was so little that, you know, you just
Speaker 4: sat there and did it over and over and over
Speaker 4: and over and over again. And by the time I
Speaker 4: got to be twelve, you know, I was really good.
Speaker 4: By the time broke my keyboard, That's what made me
Speaker 4: move to Atlanta, because I told my mom. I was like, yo,
Speaker 4: it's a Greyhound bus station around the street. So he
Speaker 4: broke my keyboard. I went to the bus station. I'm like,
Speaker 4: I'm going to Atlanta twelve.
Speaker 3: I don't understand how that well, she.
Speaker 4: Didn't need At first.
Speaker 1: You ran away with you announced that you're running away
Speaker 1: from home, and then stop you.
Speaker 4: I went to the bus station. I'm waiting on the
Speaker 4: bus like and it's late at night. So my mom
Speaker 4: was like, yo, what are you doing? Like he broke
Speaker 4: my keyboard. I can't be a big producer. I got
Speaker 4: to get to Atlanta, and.
Speaker 3: She was like what and what you're getting too in
Speaker 3: Atlanta for because at the time because my auntie, but
Speaker 3: my auntie lived up here and it was still not there,
Speaker 3: and I knew something else could happen here, you know,
Speaker 3: like you still had Brick and still had Cameo, and
Speaker 3: you still had sos BN and like, you know, Atlanta
Speaker 3: Rhythm sections and all this stuff was going on back there.
Speaker 1: In your mind. Like at least if I'm twelve, you
Speaker 1: know what I knew of Atlanta pre Like when Bobby
Speaker 1: Brown came down then I was like, Okay, something's about
Speaker 1: to happen. But before then, the only person I knew
Speaker 1: that like bragged about Atlanta back then was people bricing.
Speaker 4: People bricon a cameo.
Speaker 1: Right, But I didn't know even like not even reading
Speaker 1: the labels, Like you know, I'm just saying that. Why again,
Speaker 1: you're twelve, So I'm glad you kind of went next
Speaker 1: door instead of like, yeah, two thousand miles away. Why
Speaker 1: was in New York or Hollywood not on your.
Speaker 4: Radar, because I've been to Atlanta. We would come up
Speaker 4: on the weekends and they had the biggest music store,
Speaker 4: like Rhythm City or something was called, and like so
Speaker 4: you look at the Yellow Pages and it was like
Speaker 4: that was the closest dream I could see for real.
Speaker 4: You know, It's like, if I get up there, I
Speaker 4: can go to the music shop, so I can do this.
Speaker 4: I can do that. But I just knew that Columbus
Speaker 4: wasn't the place for it. And so my mom came
Speaker 4: the next day. She came said, look, okay, it's late
Speaker 4: at night. I know you're stubborn, I know you're mad.
Speaker 4: Just come on back to the house and we talk
Speaker 4: about it. And no busses are leaving the night anyway,
Speaker 4: so you know, come on back home. It's fine, we
Speaker 4: can we can do it tomorrow. So I went back home,
Speaker 4: woke up the next day. Was he there, Oh yeah, no,
Speaker 4: he was going drinking, but wises by then he was like.
Speaker 1: He know that.
Speaker 4: He realized at that point, how you know what that happened?
Speaker 3: Right?
Speaker 4: And so the next day I got up during the daytime,
Speaker 4: I went down to my mom's cash register in the restaurant,
Speaker 4: got me like twenty forty bucks, went back to Grayund
Speaker 4: bus station and then now it was full long. Now
Speaker 4: it was daytime. The buses are leaving. So she comes
Speaker 4: back around again and she was like, yo, what are
Speaker 4: you doing. I'm like, I'm going to Atlanta. I can't
Speaker 4: I can't say down here, who broke my keyboard? All
Speaker 4: my brothers are like, you know, in jail a lot
Speaker 4: like we had a lot of just jail and darkness.
Speaker 4: So as me and my mom were really.
Speaker 1: Close and it's absolutely not repairable.
Speaker 4: It was reparable, it just didn't look like it. The
Speaker 4: two first the two keys came off the beginning. You know,
Speaker 4: oh you mean the keyboard.
Speaker 1: I thought you meant the relationship.
Speaker 4: Yeah, the keyboard. Well well then you know, my mom
Speaker 4: was like, well, look, if you're not determined, you that stubborn,
Speaker 4: then give me some time to sell the restaurant. I'm
Speaker 4: going with you. You're not leaving me.
Speaker 1: Wait time out. She's willing to do that for you.
Speaker 4: She did that. That's your best face. That's how I
Speaker 4: got to Atlanta. So she came up sold the restaurants.
Speaker 4: My dad was really he was really prominent in Columbus.
Speaker 4: He did a lot of stuff with the city, did
Speaker 4: a lot of stuff with the streets, and you know,
Speaker 4: gangsters and all this stuff. He was just that guy.
Speaker 4: So you know, I was just like, nothing's down here
Speaker 4: for us except for legacy. He left and some problems
Speaker 4: with police and all this kind of stuff. Let's just go.
Speaker 4: And so we left, came to Atlanta. She got a
Speaker 4: job at po Folks on Old National. I moved to
Speaker 4: College Park, and she she didn't even know how much
Speaker 4: money to ask for because she was always self employing
Speaker 4: a little restaurant. So she started making twelve thousand a
Speaker 4: year and I started going to school sometimes.
Speaker 1: How long was that.
Speaker 5: Period between the bus station and y'all actually moving.
Speaker 4: About about almost eighty eight months to a year.
Speaker 1: Oh wow.
Speaker 4: By time when she was like, all right, let me situated,
Speaker 4: let me figure it out. Where am I going to work?
Speaker 4: How do I sell this? How do I you know?
Speaker 4: Because my father he got killed in front of us
Speaker 4: when he was when I was two, right, because he yeah,
Speaker 4: he had his nightclub and his restaurant and just who
Speaker 4: had a dream or something and he was a friend
Speaker 4: of his that my uncle beat him with a pipe
Speaker 4: or something crazy. But just some craziness, and he came
Speaker 4: down to shoot my uncle at the restaurant. My dad
Speaker 4: was standing in the door, so he shot him first
Speaker 4: and then came in where I was playing with my uncle.
Speaker 4: Came in and shot my uncle and then jetted, So
Speaker 4: I mean they called him. He went to jail, but
Speaker 4: then my dad didn't end up making it. My mom
Speaker 4: had to take over the club and take over the
Speaker 4: responsibility of the nightclub and the restaurant. Now the nightclub
Speaker 4: is full of all the politicians I know now in Atlanta,
Speaker 4: heemps Street, Twustler, Jean Griffin, like all you know that
Speaker 4: Jean Griffin, That Gene Griffin's bottomne growing up too with
Speaker 4: my dad.
Speaker 1: What was Jene Griffin exactly? Besides the name that always
Speaker 1: was in Teddy Riley's place place. I don't know what
Speaker 1: he looks like. I just know that I've seen his
Speaker 1: name a lot.
Speaker 4: Geen Griffin was one of the most notorious the gangsters
Speaker 4: back then. He was the sugv oh Beyond. They wasn't
Speaker 4: playing him and Bill Underwood. Who's to the Johnny guil
Speaker 4: out of New York they had? They had New York
Speaker 4: on lock that was back in the in the you know,
Speaker 4: post Frank Lucas, Frank Lucas Day. That was all during
Speaker 4: that time.
Speaker 1: So was Atlanta his base, and he would work out
Speaker 1: in New York or was New York his base, and
Speaker 1: then I got some shit down south.
Speaker 4: To Columbus in New York was his base. So they
Speaker 4: would take it from New York to Columbus and then
Speaker 4: distribute out through Georgian, Atlanta and every everywhere else, heroin Coke,
Speaker 4: whatever they were they were doing. And so we knew
Speaker 4: Gene Griffin when when I was a little I knew
Speaker 4: Gene from being married to my Auntie and being gangster
Speaker 4: and them showing up with Meet coats on and Meet
Speaker 4: Hats and Maserati's and you know, guns and just the
Speaker 4: whole seventies. You know what you what you're doing at
Speaker 4: the time. It wasn't until so Jane went to jail
Speaker 4: right for for a long time. And during that time,
Speaker 4: Andrea got Teddy and Guy, but Teddy was already signed
Speaker 4: the Gene before that were kids at work. Okay, So
Speaker 4: when he got out, he came out saying, Hey, I
Speaker 4: want my guy, I want my I want my producer back.
Speaker 4: So his a little episode with him and Andre because
Speaker 4: he because they were in guy and he didn't want
Speaker 4: to give him guys. So Joe Buzzy was like, yo, okay,
Speaker 4: let's stop the turmo. You take Teddy God stays over
Speaker 4: here with us and then we'll So that's how Teddy
Speaker 4: ended up being producing with Gene. Ah.
Speaker 1: So mom, let him go.
Speaker 4: Now check this out. My mom's at work at pos
Speaker 4: Folks one day right now, I'm up here. I did
Speaker 4: Hey mister DJ with Joice everybody, and so now I'm
Speaker 4: not like my sixteen you know.
Speaker 1: Time you did that at sixteen?
Speaker 4: Yeah?
Speaker 1: Wow? Wait? Was that you were in the Batman shirt
Speaker 1: on Soul Train?
Speaker 4: Yes, exactly. I was also in some got into some
Speaker 4: contracts with her that will work for higher contracts. But
Speaker 4: she was the first one to really get me to
Speaker 4: Jerald Buzzby into doing troop and doing stuff like that
Speaker 4: at that age. Found out it was I was in
Speaker 4: some work for higher contracts that wasn't good contracts, right.
Speaker 4: And so one day my mom's at work at Pole
Speaker 4: Folks and she gets a call from Jean Griffin. Okay, oh,
Speaker 4: and she's like, she don't understand right because the Gen
Speaker 4: Griffin that she knows was in jail was gangster, was
Speaker 4: running with my dad and him back then. So she
Speaker 4: knows that Gene, but she had no idea. So he's like, ball,
Speaker 4: I gotta get in touch with Dallas. He needs to
Speaker 4: understand I'm doing music. And she's like what, And then
Speaker 4: she calls me and said, oh no, Dallas, she ain't.
Speaker 4: Griffin called. I said, who, said, Gene Griffin? What do
Speaker 4: he want with you? I said, I don't know. What
Speaker 4: do you want with me? She said, I don't know.
Speaker 4: He said something about Teddy Rally and I said, oh wait,
Speaker 4: because I was always seeing Gene Griffin's name, but I
Speaker 4: didn't know it was him. I thought it was somebody
Speaker 4: else together. And then when I did, I'm like, oh man.
Speaker 4: So I called him. He's like, Yo, if your dad
Speaker 4: knew I was letting you out be out here like that,
Speaker 4: you turn over in his grave. Boy, I got to
Speaker 4: come back and protect you, you know. So it turned
Speaker 4: into that, and so then they moved to Atlanta. He
Speaker 4: was the first one, really like, you know, getting Teddy
Speaker 4: one hundred thousand dollars a track was unheard of. Getting
Speaker 4: producers that much money was just insane. He was first.
Speaker 4: Teddy was the first one getting that kind of money
Speaker 4: because because of Gene, you know, and what he did
Speaker 4: that was really smart was he was trying to when
Speaker 4: Teddy got really big. What he did was he did
Speaker 4: production deals everywhere, but he never did a label deal, right,
Speaker 4: so he could keep putting them at different places. Well,
Speaker 4: Gene owned Sony Music. It's called Sounds of New York. Right.
Speaker 1: I was wondering how that. I remember when Teddy we
Speaker 1: had today Yes.
Speaker 4: Really want hand, right, that was on Sounds of New York.
Speaker 1: Right, I was wondering how Sony allowed that to happen.
Speaker 1: They didn't.
Speaker 4: That's why they came in and disrupted him and Teddy
Speaker 4: and everything else because you know, he had to write
Speaker 4: to Sony Music because it sounds of New York and
Speaker 4: so they were Columbia back then, and so he was
Speaker 4: so disruptive with everything he was doing at the time.
Speaker 4: He was like sugar so but he was he was
Speaker 4: real real with it. So you know, they kind of
Speaker 4: wanted to separate them and Teddy and get Teddy away
Speaker 4: from under him, and so people Teddy to Virginia.
Speaker 1: But does that stop a cat like Gene is Atlanta,
Speaker 1: New York, and that like I can easily get to
Speaker 1: Virginia Beach.
Speaker 4: Well he he he, you know, he was still it
Speaker 4: was dispute where it's still be getting money. But then
Speaker 4: Jean said, Okay, fuck it, I'm gona go to Atlanta
Speaker 4: and he started Basic Black to be his a new guy. Remember, yeah, yeah,
Speaker 4: so that started up. But by the time, you know,
Speaker 4: he's he's Gene, He's rolling in all the Teddy roll
Speaker 4: of money.
Speaker 1: Anyway, Now, can we assume that, hey, mister DJ, was
Speaker 1: your first debut as a producer.
Speaker 4: Yeah, I mean I did a couple of little things
Speaker 4: before that, but that was the first one to get
Speaker 4: on the level. Yeah. And then Dougie Fresh said my
Speaker 4: name in the record. I thought I was just gonna
Speaker 4: die like Joe Dallas, It's time to rock, right, And
Speaker 4: I was in. I was on Mahland and some Renner
Speaker 4: card like sixteen seventeen would work with Joyce and I
Speaker 4: heard her on the radio and I heard my name
Speaker 4: and I was like, God, this is it this. I've
Speaker 4: been waiting to do this all my life. And then
Speaker 4: so and then every time from that point I had
Speaker 4: a record, I would go to mahul into the same
Speaker 4: spot and listen there.
Speaker 1: Really yeah, what gear were you recording on at that time,
Speaker 1: you make that Joyce Findarella, every.
Speaker 4: Dude, it was an r ex. It was the Yamaha
Speaker 4: drum machine that just came out with back then, and
Speaker 4: did it sounded really thin.
Speaker 1: I was gonna say, when you get to the bridge,
Speaker 1: like what I remember the song like the verse was
Speaker 1: high powered and the course is. But then when you
Speaker 1: all get to the bridge was a sonic difference without
Speaker 1: the samples and stuff on top of it.
Speaker 4: So I had and you know, back then sampling, you
Speaker 4: can only sample this long, so it's on like clafter this,
Speaker 4: uh one too, James Brown, That's only that's all the
Speaker 4: sample link that you had, so it's going clapter this clap, clap,
Speaker 4: claffter this over and over. But it was like, you know,
Speaker 4: it was the closest thing to swing at the time,
Speaker 4: the new Jack swing. And then when Joe Buzzby heard that,
Speaker 4: he said, uh yo, man, I got this group don't
Speaker 4: want you to work with but I don't. I don't
Speaker 4: think Joyce should work on with you. I think you
Speaker 4: should do it by yourself. I said, okay, you had
Speaker 4: to call boys them men, says Mike Bevans group. But
Speaker 4: I think you're influence is better without her, you know,
Speaker 4: because she would come mix the records and stuff too.
Speaker 4: So listened to like I Will Always Love You from Trube.
Speaker 4: It's a lot dinner to meet and than other songs
Speaker 4: I was doing after your trademark was my drums and
Speaker 4: got the.
Speaker 1: Leg From my point of view, like as a fan listening,
Speaker 1: it was impossible at least back then ninety ninety one
Speaker 1: to escape the bomb squad. Oh my god, how influential.
Speaker 1: Because the thing is is that even though they did
Speaker 1: an awesome job on the Poison record, which is basically
Speaker 1: like seventy maybe eighty percent samples and whatever, but you know,
Speaker 1: I mean a lot of this stuff was atonal, but
Speaker 1: I mean you just took that shit to the hilt.
Speaker 1: And I always wondered your level of just chaotic production
Speaker 1: without without sort of a linear melodic thing like I
Speaker 1: mean I had to the Back is a great example,
Speaker 1: like there really is a melody there. So it's like
Speaker 1: when you're writing this stuff, and again, I know, the
Speaker 1: cha to form of production at the time, especially with
Speaker 1: like Teddy doing more nuanced steady New Jackson, you know,
Speaker 1: by the numbers thing, but you were just like the wow, wow,
Speaker 1: West with it. How hard was it for you to
Speaker 1: convince not the acts, because I feel like you and
Speaker 1: the acts were like of age and all that stuff,
Speaker 1: but like the buzz bees of the world, like the
Speaker 1: older I'm assuming these guys are at least forty years old, Like,
Speaker 1: how do you convince them that cram and forty two
Speaker 1: gazillion samples in something is like that's what they want?
Speaker 4: Yeah, it was a lot of samples, bro, Like I
Speaker 4: wanted to be I wanted to be in the Bomb
Speaker 4: Squad so bad. Hay shockoling them. I was like I
Speaker 4: was going down the Green Street like studios and I'll
Speaker 4: see Mike Bibbins and then working with them, and I
Speaker 4: was like, man, the Bomb Squad. It was just so
Speaker 4: incredible how they would take all these samples that was
Speaker 4: just like out of nowhere and make sure that they
Speaker 4: were out of tune and make sure that they had
Speaker 4: nothing to do with each other, make sure they was
Speaker 4: So I would take that same formula right now, I
Speaker 4: would do that, but then I would write a regular
Speaker 4: song on top of it. Like so if think about
Speaker 4: just took all that other way and then write a
Speaker 4: song I had to the back right or what about
Speaker 4: your Friends as a song because I always knew that,
Speaker 4: Like production is a vehicle, but you got to have
Speaker 4: a song, and you gotta cram that song in three minutes,
Speaker 4: and you got it usually have two hours to tell
Speaker 4: it in the movie. You got like two minutes now,
Speaker 4: but three minutes back then to tell a story in
Speaker 4: the song. So then if you took all the way,
Speaker 4: you can hear the song, all the keyboards, all the strings,
Speaker 4: everything's on there. And just like I had to ignore
Speaker 4: all the samples and don't think anything about them.
Speaker 1: So how hard is that if you have a singer
Speaker 1: that doesn't have something to and the thing is like
Speaker 1: I'm here in the final like we're here in the
Speaker 1: final mix. Yeah, but I'm certain with like ain't too
Speaker 1: Proud to Bath like it was just like not completely mixed,
Speaker 1: and there's.
Speaker 4: So much noise in that song, Like right, radio wouldn't
Speaker 4: play it because they had so much noise in it.
Speaker 4: At first, it was just like there was like no
Speaker 4: it was like when they when they first took it
Speaker 4: the radio, they were just like no, it's like what
Speaker 4: is this. No, it's too much noise. It's like it's
Speaker 4: just too much noise. And then she said she was
Speaker 4: saying two inches of yeah, I rock. It was like no,
Speaker 4: just know. And so then Lamon Bolls came back. He
Speaker 4: used to work at a face and he was just like,
Speaker 4: you know what, they got to see the girls first,
Speaker 4: trying to take them in through this. It's too there's
Speaker 4: too much noise. It's too they don't get it. It's
Speaker 4: too oh yeah, they went to radio first like usual,
Speaker 4: but then radio is like, nah, too much noise. And
Speaker 4: then when they shot the video and he said, yo, Mike,
Speaker 4: check one too one too. If we saw the video,
Speaker 4: everybody's like, oh, we get it now, and that's what
Speaker 4: really set the girls off. And then but like sample
Speaker 4: clearances hadn't came in yet. It's kind of like the blockchain.
Speaker 4: It was like sample clearances was like something that we
Speaker 4: all did. We all got a hold to it for fun.
Speaker 4: Now we could do whatever we want. Nobody ever done
Speaker 4: that before. Nobody's ever taken somebody's song and and then
Speaker 4: recorded it and sung something different on top of it,
Speaker 4: like they was doing remakes, but not that. That's when
Speaker 4: y'all was pissing off all the old everybody, and nobody
Speaker 4: knew how to clear it.
Speaker 1: Nobody that it would take like one of us our
Speaker 1: generation and they like, oh that snare came from there,
Speaker 1: and then.
Speaker 4: Dude, okay, but look at it like this though, So
Speaker 4: if you got fly Robin Fly, right, then you got
Speaker 4: the average white man, and then you got cool in
Speaker 4: the gang, that's right, and then you got parliament, right,
Speaker 4: and then you got not a thick Okay, there's thirty
Speaker 4: people in these group, right right. So when they started
Speaker 4: to break down the sample clearances and said, okay, we
Speaker 4: figured this out, we got to go back and get
Speaker 4: these people paid.
Speaker 1: Oh no, yeah, I saw the credit.
Speaker 4: Oh my god, like zero point one percent to the
Speaker 4: horn players. You won't go into this like because you
Speaker 4: didn't realize that each one of those samples has so
Speaker 4: many people connected to it. And I would have I
Speaker 4: would have like twenty five, twenty five to thirty samples
Speaker 4: going across the board and it would just like mute
Speaker 4: out different ones at different times and whatever. But like
Speaker 4: it was so it became crazy. And if you notice,
Speaker 4: by the time we got to the second record with Creeper,
Speaker 4: just like just one straight right right, Rick, But even.
Speaker 1: At that time was still it didn't sound like nothing else. Okay,
Speaker 1: I'm so glad you mentioned this because they're the craziest
Speaker 1: story of my life. Where and I'm talking about this
Speaker 1: the shine Head situation. So I guess the story of
Speaker 1: Creep is Hey Young World. So I guess slick Rick
Speaker 1: never cleared the guess who's back shine Head sample on
Speaker 1: Hey Young World? I guess who's back? Right, So then
Speaker 1: you guys use that and so Shinas people try to
Speaker 1: go after you guys for it. You're like, no, we
Speaker 1: cleared Hey Young World through slick Rick. Yeah, like we
Speaker 1: cleared here's the clearance. And they're like yeah, but so
Speaker 1: can you explain that situation? Like how like did you
Speaker 1: wind up clearing shine Head sample for depth Jam?
Speaker 4: They had to go back and be cause again, at
Speaker 4: that time, nobody was it was all new and you know,
Speaker 4: so they had to go back and pay him to
Speaker 4: you know they slick I mean they had to go
Speaker 4: and situate him not being paid for him not only
Speaker 4: that but from Hey Young World too.
Speaker 1: Yeah. But I'm saying like, did you guys have to
Speaker 1: like is is Seine had a first generational sample on
Speaker 1: Creep or did you tell them at def Jam, like, YO,
Speaker 1: clear this shit the right way? So that way marshes straight.
Speaker 4: Yeah, because when we cleared it through them and they
Speaker 4: cleared they cleared it, then that's when he popped up
Speaker 4: and hold on. But that's my you know, right, I
Speaker 4: thought it was slick Rick, didn't even I thought it
Speaker 4: was I thought it was Dougie Fresh or slick Rick,
Speaker 4: and somebody said, I guess's back, but I thought it
Speaker 4: belonged to the song. And when they did come back
Speaker 4: and clear it, then they had to go back and
Speaker 4: take care of him for not only that, but for
Speaker 4: for young World or what hey, young World was going
Speaker 4: to generate coming up, you know, because he's never gotten
Speaker 4: take care of for it because people didn't know to
Speaker 4: clear samples back then.
Speaker 1: I thought they forced you to pay for both as
Speaker 1: here's shining hit, this is for creep, and then since
Speaker 1: they didn't do it, here's hey you.
Speaker 4: On the world like nodve Jum, had to go take
Speaker 4: care of him.
Speaker 1: Okay, I guess if anyone makes any reference to any
Speaker 1: parts of the song that Aaron Fuchs owns on anything.
Speaker 1: So in the case of otis because Kanye and Jay
Speaker 1: said Jay is chilling, Yay is chilling. Oh yeah, yeah,
Speaker 1: So Aaron Fuchs was like Hello, Natt Robinson, they're sampling
Speaker 1: our song. And you know, Nat and milk d were like, no,
Speaker 1: that's that's like like rappers don't shoot suit no, no,
Speaker 1: but yeah, rappers just don't suit. Like you know, if
Speaker 1: Premiere scratches your ship, you think it's an honor. Like oh,
Speaker 1: he said, but lititious people. And I'm talking very official
Speaker 1: because even when I talk about AF he tries to
Speaker 1: get lititious with me. But you know, that was that
Speaker 1: was a a messy situation. So yeah, I always wanted
Speaker 1: to know that shine his situation with creep Man.
Speaker 4: It's crazy, as you know, when Sampling came around like that,
Speaker 4: George Clinton obviously had you know, the whole West Coast
Speaker 4: sound period, but nobody know how to clear and he
Speaker 4: had signed over so many different contracts to different people
Speaker 4: back then. You know, he was just selling stuff and
Speaker 4: that on the road, partying and not keeping up with anything,
Speaker 4: and nobody ever knew this was gonna happen. Nobody ever
Speaker 4: knew that Sampling would come around the corner and and
Speaker 4: you know, change people's lives like that, And so he
Speaker 4: had to get cockered in them to try to help
Speaker 4: undo a lot of his stuff because George Clint samples
Speaker 4: him and James Brown, they have to be the most right.
Speaker 4: I would think he just just.
Speaker 1: Got his contractual financial things straight.
Speaker 4: You know, I got I have. I have a lot
Speaker 4: of the I have the Funkadelic Masters, to Cosmic Slock
Speaker 4: to Needy, your friends with. Well, George gave him to me.
Speaker 1: Okay, yeah, wow, that's amazing.
Speaker 4: George gave him to me, and I had him baked.
Speaker 4: You know, the Master's baked. But you can hear, like
Speaker 4: when you go and you listen to each one of them,
Speaker 4: it's just like you get chills because the moment is
Speaker 4: captured on that tape.
Speaker 1: You can hear.
Speaker 4: You can hear him like something about really yeah, and
Speaker 4: all of them had to be in the room together
Speaker 4: at the same time when they were doing it. I'm
Speaker 4: sorry about it.
Speaker 1: That's you. That's your.
Speaker 4: Yo. Let me tell you something. I love that record
Speaker 4: so much, right that those are the best pop songs
Speaker 4: ever written.
Speaker 1: Right, So.
Speaker 3: That's somebody else's bring That's is the full everybody, Yeah,
Speaker 3: that's it, that's it totally.
Speaker 4: I tweeted it when I heard that. I used to
Speaker 4: love the song so much. I just tweeted it one day.
Speaker 4: I just I love this song right, And the manager
Speaker 4: tweeted me back like are you serious, yes, you want
Speaker 4: to work with her? I'm like, yes, I did three
Speaker 4: or four songs on the Album's Greatest made her whole life.
Speaker 1: So Nixon Channel, who engineered the Public Enemy records, he
Speaker 1: told me, he said, you'll never believe this, but we
Speaker 1: never automated it once. And I was like, what is
Speaker 1: the mixing process like? And He's like, you know, Keith,
Speaker 1: Keith and Eric were such sticklers, well, mainly to save
Speaker 1: money kind of the way that when I forgot Ray
Speaker 1: Parker Jr. Tolst that Barry White never overdubbed because he
Speaker 1: didn't want to pay for overtime. So like everyone played
Speaker 1: it once. But Nixon Santo showed me the nine eleven
Speaker 1: base head tracking sheets and literally like they're like Eric
Speaker 1: Sadler's like, you know, eighty one bars cut off that.
Speaker 1: So they would do everything ahead of time before tracking.
Speaker 1: Is that how you track your things? Or like is
Speaker 1: it just you drop it and then you mix it
Speaker 1: at the end like everyone else does.
Speaker 4: I would drop it and mix it at the end,
Speaker 4: but I would have like you know, back at that time,
Speaker 4: the engineers like dave Way or like you know, your
Speaker 4: find Timmy Register was crazy mixing back then.
Speaker 1: But that was your main guy for TLC or I
Speaker 1: used dave Way a lot back.
Speaker 4: Because Teddy was using dave Way, okay, and then Alvin
Speaker 4: Spikes of course, but it was they would have a
Speaker 4: fit at first. Okay, give me a second to forget
Speaker 4: this out because I would have so many tracks and
Speaker 4: then so many samp and how do you put the
Speaker 4: samples and embedded back in the track so that the
Speaker 4: courts stand out and so that so the ruff will
Speaker 4: sound a lot different than when they were mixed. Because
Speaker 4: unless I said, well him, you know, we kind of
Speaker 4: make the roughs and then you know, give him a
Speaker 4: sketch for the mixer. But if you just sent it
Speaker 4: to a mix engineer, you're just like, no, this is crazy,
Speaker 4: but it's working.
Speaker 1: Was Leslie was he mixing?
Speaker 4: Not yet? He hadn't came in yet, Leslie Leslie Brathway. Okay,
Speaker 4: But Leslie went to you know, he's at full sale.
Speaker 4: So he came in as an intern first, and then
Speaker 4: from that point he just started going at it like
Speaker 4: you know, I just knew that he was going to
Speaker 4: get there, you know, So him coming in and then
Speaker 4: being my engineer, my courten engineer, and then I was
Speaker 4: working on Madonna's Secret when he did the rough mix
Speaker 4: to it, she was like, I like that mix better. Wow,
Speaker 4: And that's what kind of kicked off his his like mixing.
Speaker 1: Uh. I was going to ask, are you a demo
Speaker 1: itist person?
Speaker 4: Do you know what it's horrible?
Speaker 1: Or your artist demo?
Speaker 4: I learned to At first, I was horrible because I
Speaker 4: was a total demo itist person. But then the whole
Speaker 4: First Boys, the Man album, the two album, that's all
Speaker 4: the rough mixes word yeah, thank you. Before that this
Speaker 4: some time Motown Philly, SoSE don't go the song so right.
Speaker 4: So that's all these records. When Jero Buzzby told me
Speaker 4: he was I had Dave Wade mixed the whole album.
Speaker 4: But then Jero Buzzy said, you know what, I like
Speaker 4: the roughs better. Man. No, don't do that to me. Man,
Speaker 4: you know, I gotta sound better. I can't let people
Speaker 4: like Teddy here that don't sound good.
Speaker 5: You know.
Speaker 4: He's like, no, these roughs are this is it. I
Speaker 4: think we're going with the roughs, and I didn't want
Speaker 4: to listen to the record when it came out.
Speaker 1: Okay, so and now I'm like Crazy Sexy Cool, which
Speaker 1: obviously is you know, there's multiple producers, multiple producers, but
Speaker 1: who's the alpha producer? Are you there doing the mastering
Speaker 1: and the sequencing as well?
Speaker 4: When it got too Crazy Sexy Cool by that time,
Speaker 4: like when I was doing the on a TLC tip
Speaker 4: record and you just capture records? Are you capturing the
Speaker 4: moment that just happened to you? Do you recorded an
Speaker 4: event that just happened to you? That's why you call
Speaker 4: it record. So we were just whatever we were doing,
Speaker 4: you know, we acted it out. We would just had
Speaker 4: the studio twenty four seven and recording it right. So
Speaker 4: that album came out to be more cohesive as like, okay,
Speaker 4: you can tell that that's kind of what happened. Somebody
Speaker 4: had the same person kind of did it all. By
Speaker 4: the time we got to Crazy Sexy Cool and the
Speaker 4: girl sold all those records and all the madness had
Speaker 4: happened in LA and then you know when they come
Speaker 4: in and say, okay, now, let us let us go situate,
Speaker 4: let us bring in, let us do this, let us right.
Speaker 4: And it wasn't until and I was I was like
Speaker 4: weird on that because I would go they would go say, yo,
Speaker 4: you start the project because you know what to do,
Speaker 4: and then we will come in and fill in the
Speaker 4: blanks and bring in stuff, right. So or I would
Speaker 4: go and say, okay, here's here's four or five songs.
Speaker 4: Let me find the other ones that will fit in
Speaker 4: from Babyface or from this person or that person. Right
Speaker 4: by the time we got the crazy sexy cool, it
Speaker 4: was like LA was trying to make I think sure
Speaker 4: that they didn't fail in that sense. So it was
Speaker 4: like song song song, song, song song, right. But by
Speaker 4: the time and then he wasn't going to put creep out.
Speaker 4: He shot the video we've heard, we heard, he shot
Speaker 4: three videos, shot three videos. Yeah, and then he wasn't
Speaker 4: gonna put it out. And so then he went to
Speaker 4: Clive and said that. Clive was like he Clive called me,
Speaker 4: It's like, nope, La is wrong. He's like, and this
Speaker 4: is the first time I ever heard this thing. He
Speaker 4: goes and that Miles Davids horn sound you having there
Speaker 4: is going to get you a Grammy. And I was like,
Speaker 4: what Miles David's horn sound. Yeah, I was se So
Speaker 4: I was the same way. But that's that's funny because
Speaker 4: that's how he interpreted. But what I was doing is
Speaker 4: I had creep up on my MPC sixty for a week, right.
Speaker 4: I would come in and sing the song, not save
Speaker 4: it and just be like, oh man, I think it's
Speaker 4: not too country, keep it on the download. But I'm like, well,
Speaker 4: but I kept singing it every day, So I was like,
Speaker 4: you know what, let me just get Debrak Killers to
Speaker 4: come to the demo so I can get out of
Speaker 4: my head. Right, So I wrote the whole song, had
Speaker 4: to come sing it, and I couldn't find a simile crash,
Speaker 4: but I like, so I just like, oh man, I
Speaker 4: put this in because like you know, Pete Rock and
Speaker 4: everybody would put the.
Speaker 1: Right right right.
Speaker 4: So I found that put it in there and didn't
Speaker 4: think of it as anything there will be a signature.
Speaker 4: It was just like, hey, this is the horn hit
Speaker 4: on the one. But Cloud was like that, Miles David's
Speaker 4: horn sound is going to get your Grammy. You know
Speaker 4: what Miles David sound.
Speaker 5: Davis horn sound, and it's not even its sounds, not his.
Speaker 4: That was the closest thing that Cloud could write related.
Speaker 1: Yeah, I was going to say, even to this day
Speaker 1: when Creep is still like maybe the first twenty records
Speaker 1: that I spend when I do DJ gigs and when
Speaker 1: it comes in it's it's almost the effect. And it's
Speaker 1: weird because like that record used to be Troy, Like
Speaker 1: whenever you spend the top of Yeah, they reminisce over
Speaker 1: you place goes panthemonium and then you know, after fifteen
Speaker 1: twenty years then silence can save you. Yeah, the generation
Speaker 1: will change, but Creep has never lost its luster.
Speaker 5: It gives you a chance to get on the floor.
Speaker 5: The first fifteen thirty second to give you a chance
Speaker 5: to get on the floor, and then you can really
Speaker 5: drink that.
Speaker 1: But just when people hear it, it's almost like I
Speaker 1: hear the screams of when I was fourteen years old
Speaker 1: in ninth grade, Like that's that's what that's these I hear. Wait.
Speaker 1: So at the time when I was we were living
Speaker 1: in London, when Crazy Sexy Cool came out, there was
Speaker 1: this white singer that.
Speaker 4: Did Texas, Charlene SPITERI right yo.
Speaker 1: I was like is it me or all right? Give
Speaker 1: me give me another? Non Jermaine kind of like a
Speaker 1: person ra feels, you know, like when the song comes
Speaker 1: out if you like white Diamonds, You're like, yeah, was
Speaker 1: it me or when you When I heard this song,
Speaker 1: we we being mentor of bus like we'll come on
Speaker 1: MTV or whatever, and I was like, Yo, this is
Speaker 1: the this is creep.
Speaker 4: That is creep. And they came. My publisher called me
Speaker 4: and say, yo, I always want to group Texas, and
Speaker 4: they've done this song called once in a Lifetime Lifetime yep.
Speaker 4: And so they've played the song for me. They say,
Speaker 4: you got two choices. They said, well, they actually did
Speaker 4: it because they really really like you and they wanted
Speaker 4: a song to sound like yours. So either you could
Speaker 4: sue them for that, or you could work with them.
Speaker 4: I said, well, why don't I work with them? And
Speaker 4: I worked with him. I did so millions of records
Speaker 4: with him on the song I did with him in demand,
Speaker 4: like years after it.
Speaker 1: Yo, man, I've been for twenty years trying to figure
Speaker 1: out they ran it. They ran that join in Europe
Speaker 1: forever and then I just stopped hearing it. But I
Speaker 1: always wanted to know if it's that. I mean that
Speaker 1: always happens in songwriting, like even to this day, like
Speaker 1: I always see the example on the original reels of
Speaker 1: Fleetwood Max Dreams. It still says the Spinner's Idea number
Speaker 1: three because they were making I'll.
Speaker 4: Be around yep, and Stevie Nix was doing what she's
Speaker 4: doing a step actually doing little Red.
Speaker 1: Corvette, yeah exactly, you know, and got them to come
Speaker 1: in and.
Speaker 4: Yeah, because then you would that's kind of how they
Speaker 4: would look at stuff. You know, you only got this
Speaker 4: many notes. It's twelve notes in there, so that's got
Speaker 4: to make everything you've ever heard in your life, all
Speaker 4: the jazz, all the classicals, or the hip hop or
Speaker 4: R and B, all the pop is made between here
Speaker 4: and here. That's all. That's what so genius about music
Speaker 4: because and you're gonna run across it again. It's just
Speaker 4: impossible not to. And that's why every reggae song gonna
Speaker 4: sound pretty much alike. And that's why you know, you
Speaker 4: had the thing with with for Real and them talking
Speaker 4: about bloodlines. But it's like you're starting to run out
Speaker 4: of even you're starting to run out of combinations, right.
Speaker 1: The question I had about sequencing an album is when
Speaker 1: you're sequencing Coolie on Harmony the album, I always wanted
Speaker 1: to ask producers, whoever the executive producer is like how
Speaker 1: much balls do you have to start an album off
Speaker 1: for the ballot that you know when, especially when you
Speaker 1: have Motown Philly in your pocket. And yes, I see Motown.
Speaker 1: I do see Motown Philly as a side to Adrenaline
Speaker 1: banger thing. But y'all didn't once say like, maybe we
Speaker 1: should start this record with man Motown Philly.
Speaker 4: Please don't go yeah under pressure and like it was
Speaker 4: we're kind of trying to. I would se quince records
Speaker 4: like this most of the time, where I would say, okay,
Speaker 4: well have the mood right, So y'a don't want to
Speaker 4: have a fast on slow song, fast on slow song.
Speaker 4: You want to have like here's your flask, here's your mids,
Speaker 4: and then slow it down towards the kind of towards
Speaker 4: the end of it. When he did Crazy Sexy Cool,
Speaker 4: obviously that was la right, and I was. I felt
Speaker 4: little more disconnected from Crazy Sexy Cool than the first one,
Speaker 4: just because it felt to be patched up, not patched up,
Speaker 4: but it felt like a bunch of different even that
Speaker 4: was supposed to be the thing tied it together. But
Speaker 4: who did different people like you going to do something
Speaker 4: not oh damn, But it was just because at a
Speaker 4: certain point I did all all. You know, you can
Speaker 4: go in and start off and you do all these
Speaker 4: songs and then you start to say okay, then he starts, okay, well,
Speaker 4: now I'll put this person in. Now we'll put that
Speaker 4: person in that won't let somebody listen to all your stuff.
Speaker 4: And then we're gonna put somebody else in to try
Speaker 4: to do better than yours. And we had this thing
Speaker 4: before me organizing and Jermaine we've known each other since
Speaker 4: the skating rinks, so since we were like sixteen, since
Speaker 4: I first got to Atlanta, you know, me and JD
Speaker 4: actually go over his house with his mom and make
Speaker 4: beats on Jermaine's m PC and the mom would you know,
Speaker 4: feed us Teddy Grams with kool Aid or whatever, and
Speaker 4: so we would just be like, yeah, you know, that's
Speaker 4: just what we were doing. We were young and not
Speaker 4: just in the high school and all this and didn't
Speaker 4: really you know, dressing the kids at the mall and
Speaker 4: kind of just doing you know, just having fun. So
Speaker 4: we really didn't know and think about how it was
Speaker 4: going to blow up. And myself, Rico, Jermaine, we had,
Speaker 4: you know, after we started to come up we ended
Speaker 4: up doing all of the face records. That was all
Speaker 4: the records right there, Me and Jermaine and Rico.
Speaker 1: Yeah, at one point Highland places that that was the Yeah,
Speaker 1: that was yeah.
Speaker 4: So at one point I hit, I hit. We had
Speaker 4: all got way off track, like we wasn't messing with
Speaker 4: each other. We were just like way off.
Speaker 1: Track when didn't get competitive.
Speaker 4: It got competitive like after crazy.
Speaker 1: How did you feel about waterfalls? Because even La said
Speaker 1: himself like he saved organized noise for last.
Speaker 4: Well, I love I love the waterfalls. See, I knew
Speaker 4: all of them. These are like all my guys in
Speaker 4: the first place, because we all hung out the skating
Speaker 4: rink and stuff together before La even knew any of us.
Speaker 4: So we felt like when La kind of came to town,
Speaker 4: he was the opportunity. But we was more crazy about babyface,
Speaker 4: you know, but we couldn't really access Yeah, we could
Speaker 4: really act face like that. It was like La came
Speaker 4: to the forefront and it was like, hey, by the
Speaker 4: time we got the crazy, sexy cool, we realized. I
Speaker 4: called him one day and I said, yo, man, And
Speaker 4: we had all this ABC criss Cross beef and all
Speaker 4: that stuff. When it was kids and it just turned
Speaker 4: into a bunch of mess in the first place. But
Speaker 4: I called Jamain and one day and said, yo, man,
Speaker 4: you know we didn't have a meeting you and we
Speaker 4: go come meet me at this restaurant and don't bring
Speaker 4: any security. What you mean, don't bring those.
Speaker 1: Security set up? I was like, I can't.
Speaker 4: We don't need security. We've been knowing each other since
Speaker 4: high school, but we've been way off. Yeah, everybody don't
Speaker 4: make money and went on their own thing. So we
Speaker 4: had a meeting with him, and I said, uh, help you. Sorry,
Speaker 4: you don't like that, So I said there, I said, yo, man,
Speaker 4: what's going on with us? Like you ever noticed that
Speaker 4: we all work on with face records, but we don't
Speaker 4: work on any of our own records together. Like you
Speaker 4: never worked this before? Jamaine did first night? I said,
Speaker 4: you never worked on Monica, I never worked on Escape.
Speaker 4: You never worked on working something? What's going on? Jamaine
Speaker 4: goes well, Lay said, man, you don't really like my stuff?
Speaker 4: And I said what damn well? They told me you
Speaker 4: don't like my stuff, and then away goes with it,
Speaker 4: told me that neither one of y'all like my stuff.
Speaker 1: That he meant it that he wanted friction between the
Speaker 1: three of you, so that way you be competitive.
Speaker 4: Competitive, and so he gave us the book for Christmas,
Speaker 4: The Art of War. None of us have paid attention
Speaker 4: to it. God gave us pulled on this in the
Speaker 4: first place, and so we from that point we was like, okay,
Speaker 4: we gotta stop because Atlanta small for us to be
Speaker 4: separated and we would glue to the whole thing is
Speaker 4: like that didn't make any sense because we don't function
Speaker 4: like that down here.
Speaker 5: That's when the Monica relationships stopped.
Speaker 4: When the Monica relationship started the first night.
Speaker 1: Okay, okay, for those of us that aren't Atlanta adjacent,
Speaker 1: and I know that your connection to the atl film,
Speaker 1: could you explain to us outsiders about skate culture in
Speaker 1: Atlanta and how important it is or the epicenter.
Speaker 4: Man, it was the only other outlet, you know. So
Speaker 4: when I did, I did drum Line first, right, and
Speaker 4: everybody kind of said, okay. It brought the margin bands
Speaker 4: to the forefront. And then I had atl It was
Speaker 4: called jelly Beans. I had that movie at the same time.
Speaker 4: It was based out because the skate rink was called
Speaker 4: jelly Beans. That me and t Bos and organized Noise
Speaker 4: and Devine Stevens and all of us went to the
Speaker 4: skate rink every Sunday. So what the trip is is.
Speaker 4: Then after I did drum Line, Fox was like, Okay,
Speaker 4: he's got the skate Ring movie, so we're gonna put
Speaker 4: out Roadbounds because I took so I take. I had
Speaker 4: taken another movie to Warner Brothers. And so then when
Speaker 4: they put out Roadbounds, want to call me? It was like, Yo,
Speaker 4: we can't make a skate rink movie. It just put
Speaker 4: that one out. That's not gonna make sense.
Speaker 3: Oh Acl is old, So it was a yo.
Speaker 4: Yeah. So then so I looked at it. I said,
Speaker 4: well look man, that's a period piece. I was like,
Speaker 4: that's like watching the Wood, Like I said, but we're
Speaker 4: doing this now in Atlanta right now to day on
Speaker 4: Sundays they are skating skating Yeah right now.
Speaker 1: Okay crazy anyway, so good.
Speaker 4: He got it from me and me and Jamaine.
Speaker 3: He didn't change land that.
Speaker 1: Way like tied Babyloney and Randy Gardner on his I
Speaker 1: g like, I was like, I didn't bring it back.
Speaker 1: That's all I know.
Speaker 4: That's the last skaters I know, right, If you go
Speaker 4: to Cascade on Sundays and you get us. Jermaina called
Speaker 4: me and be like, Yo, Sunday, what you're doing, Let's skate.
Speaker 3: I can see Jermaine hand on somebody's back.
Speaker 4: Like we went to New York for the for the Flippers,
Speaker 4: right because Jimmy Ivan and them opening, Yes, who went
Speaker 4: to New York for that? But yeah, the skate culture
Speaker 4: here has always been super strong still And when I
Speaker 4: did at l the crazy part about it is I
Speaker 4: went and got the same guys that was skating with
Speaker 4: because they're still skating. So all those dudes in the movie,
Speaker 4: they still they cascade, They're still skating.
Speaker 1: That's Atlanta.
Speaker 4: That's it.
Speaker 1: Do you skate board as well?
Speaker 3: Or is it?
Speaker 4: Like is that escape cool?
Speaker 1: Skating?
Speaker 4: Skateboarding when we were younger, but then once we started
Speaker 4: getting to the because our skate culture hits so competitive,
Speaker 4: like when we have out like ten people in the
Speaker 4: line and you know, get out of the way, get
Speaker 4: out the way.
Speaker 1: It does the express line have to be the outer line?
Speaker 1: A good question? What about geriatric skating? Excuse me?
Speaker 4: And then be going so fast, like once you get going,
Speaker 4: you don't realize how fast you're really going, and if
Speaker 4: you fall like all the people in your line, they're
Speaker 4: gonna get it, so like it becomes really intense driving.
Speaker 5: When you open the door. Though that you opened the
Speaker 5: drum Line door. So you told one story about one movie.
Speaker 5: Can you got to tell us a little something that
Speaker 5: we don't know about this movie and the fact that
Speaker 5: why did you choose that era of your life? Because
Speaker 5: what we know right now is you got a couple
Speaker 5: of movies about three or five of your life, So please.
Speaker 4: Well it was it was when I first pitched drum Line.
Speaker 4: I was in a meeting with Fox and they were
Speaker 4: asking me about musicals, like, hey man, we need to
Speaker 4: try to find a way to do cool musicals again.
Speaker 4: And then I said, we can't break out doing singing
Speaker 4: in the rain. It ain't happened. We need an excuse,
Speaker 4: like a marching band. And it was like a marching band,
Speaker 4: what's interesting about that? And in the meeting, I was like, Oh,
Speaker 4: it's about this kid that can't read music and he's
Speaker 4: in his marching band. And I kind of pitched the
Speaker 4: whole my story to them in the meeting, and then
Speaker 4: a couple of days later they called back and said,
Speaker 4: we want to make this film and I'm all right, cool.
Speaker 4: So we started making it. We started like developing it
Speaker 4: and by the time the script got to a point
Speaker 4: where it was by a girl Sean, shehips at first,
Speaker 4: but she just did bring it on to or something.
Speaker 4: And so when they wrote it, I was like, I
Speaker 4: was like, oh no, this ain't it, lunch, this ain't it.
Speaker 4: And then and so Fox was like, oh, that's not it. Okay,
Speaker 4: Well we're going to put it in you know, We're
Speaker 4: gonna sit it over here there and let it just sit.
Speaker 4: And I'm like, no, we'll give it back to me.
Speaker 4: I said, no, no, no, we don't. We can't give
Speaker 4: it back to you, you know, because we bought it
Speaker 4: and we want to put it put it in a turnaround,
Speaker 4: which is like they got it. They on it. They
Speaker 4: don't want to make it, but they don't want nobody
Speaker 4: else to make it either, because if it happens, then
Speaker 4: it doesn't look right.
Speaker 1: Right. So now the movies sitting you mean, if to
Speaker 1: get successful, then not through them, not through them, like
Speaker 1: they're sitting on an artist, right.
Speaker 4: So they have so many movies they put in turn
Speaker 4: around where they just sit and then later on they'll
Speaker 4: go back and go, oh, you know what. We got
Speaker 4: one of those somewhere, you know. So it was sitting,
Speaker 4: and it was sitting, and I was like, I got
Speaker 4: to get my movie back. So I called Quincy Jones
Speaker 4: and I said, yo, man. One of the things Quincy
Speaker 4: showed me before was I was at his house one
Speaker 4: time and he goes, uh, Dallas, look at them, look
Speaker 4: at his video. So I look at the video and
Speaker 4: this operah Danny Glover, and they look busted like they
Speaker 4: just got off the bus at the West Day the mall.
Speaker 4: They got on greens. I mean, they looked like rough,
Speaker 4: and they're in this like high school theater and they
Speaker 4: rehearsing lines for the color purple and so, and you
Speaker 4: can see the VHS tape at the bottom and stuff.
Speaker 4: So he's going on, he said, So let me ask
Speaker 4: a question. Who's holding the camera? I said, you are,
Speaker 4: said nope, Steven Spielberg. Wow, I said, he's holding the
Speaker 4: camquarter So yeah, he said, because I needed a scene,
Speaker 4: a train scene. It was gonna cost me more than
Speaker 4: thirteen million to make the movie. And they were saying
Speaker 4: that black movies don't go over seven million, so they
Speaker 4: wasn't gonna give it to me. So when I got
Speaker 4: my friend Steven and I said, okay, Steven, you direct
Speaker 4: this for me? He said yeah, he said okay, So
Speaker 4: that turned everything around. I said, oh, that's why, Stephen.
Speaker 4: I never understood Steven Spielberg direct the color. So he
Speaker 4: goes this. He said, this one. I'm gonna tell you.
Speaker 4: Want to get that movie made? Find a friend of
Speaker 4: yours that's jewishne that was a show. Check out what
Speaker 4: I did. I called Jody Gerson, that my publisher. She's
Speaker 4: my publisher at the time. So I said, Jody, when
Speaker 4: she said I need to find somebody Jewish, you might,
Speaker 4: you might closest Jewish friend. How do I get this
Speaker 4: movie made? She sayes, okay, can I come on as
Speaker 4: a producer? I said yeah. She said cool, because IM
Speaker 4: gonna bring my other friend Wendy fine him. I said,
Speaker 4: who is that? She said, well, she just finished for
Speaker 4: at Going Castaway. So I walked back in Fox. Years later,
Speaker 4: I was trying to talk them out of the movie.
Speaker 4: I want to get this movie back because I was
Speaker 4: gonna take it someone else. But you know, but when
Speaker 4: they find him, is gonna work on the with me?
Speaker 4: They said what they said on you got Wendy fined
Speaker 4: him to work on this marching band movie. It's black.
Speaker 4: I'm like yeah. She said, okay, well, I'm gonna tell
Speaker 4: you like this, Can it take place in college? I said,
Speaker 4: it's bigger in college than in high school. She said, okay,
Speaker 4: we got to make this movie. I said, I'm trying
Speaker 4: to talk y'all out of it. Said no, no, we
Speaker 4: got to make this movie. I was like, oh, it's
Speaker 4: just a hip hop kid can't read music. They got
Speaker 4: to make it. So Wendy was like, all right, I
Speaker 4: have no idea what this is about. I'm just gonna
Speaker 4: ford you off. I'm probably gonna make a lot of
Speaker 4: money and you're not if it's successful. But I'm gonna
Speaker 4: make it so you can make the movie exactly how
Speaker 4: you want to make it. And so when I came
Speaker 4: back to Atlanta and I was in Miami during that time,
Speaker 4: I had move and started doing Blue Cant Trail and
Speaker 4: Pink and Black and all this stuff out of Miami.
Speaker 4: I came back and Charlotte was like, Yo, you got
Speaker 4: to come back. They're scouting for drum Mind and they
Speaker 4: need you here for locations and all this and that.
Speaker 4: So then it started to turn real and I'm like,
Speaker 4: all right, this is this is about you know, I'm
Speaker 4: looking at Orlando Jones and Jamie Fox and different people
Speaker 4: for the Doctor Lee. And as we were starting to
Speaker 4: get going and it started to really turn into the
Speaker 4: movie and the script and stuff started to get developed way.
Speaker 4: But in Tina Chisholm, who she's incredible and she kind
Speaker 4: of like you know, from that point she knew how
Speaker 4: to tell my stories because she would be around me
Speaker 4: all the time. So we went back start shooting the movie.
Speaker 4: Here everybody, I called to all the rappers like nope,
Speaker 4: they said, no, a movie about a band I called Lula.
Speaker 4: I called everybody, Oh yo, I need this party the
Speaker 4: rapper for the field, And I think they thought I
Speaker 4: was doing I got the hook up.
Speaker 1: That's how you got Petil, That's how I got so Ludasa.
Speaker 1: Who was your initial asks?
Speaker 4: Luda was Lula was first? Who else was it out here?
Speaker 4: Then it's like two more Atlanta. You know, I think
Speaker 4: it was outcast, but nobody knew the magnitude because you know,
Speaker 4: in all fairness, nobody had seen anything like it to
Speaker 4: hit Atlanta. And so then as I'm making the movie,
Speaker 4: he got to a point where it started to go
Speaker 4: over budget because obviously I'm recording three hundred piece marching
Speaker 4: bands that I have to use for playback. So I
Speaker 4: got to record them first, write the songs like they're out,
Speaker 4: now record them on the marching band, so use it
Speaker 4: for playback at the field. Right started going over budget,
Speaker 4: So then Fox call they said, Yo, this movie's turning
Speaker 4: into an eighteen million dollar movie instead of a fifteen thirteen.
Speaker 4: Put white people in it. We need white bands, like
Speaker 4: a white band bands. So he's like, I don't care,
Speaker 4: it's a pop movie. Now white bands, So now I
Speaker 4: gotta go. Yeah, so I got Georgia State, Georgia Tech.
Speaker 4: And he's just like and I'm like, dude, I can't
Speaker 4: put this. This looks horrible. I can't put this in
Speaker 4: the movie. Already, the bands don't want to be in
Speaker 4: the movie because they don't want to lose.
Speaker 5: Like shout out to fam you and our film, our
Speaker 5: film cruise.
Speaker 4: Yeah, well y'all family was not going to drum line
Speaker 4: because it's like we're not losing to nobody. Yeah. It
Speaker 4: was like, OK, well that's why we're making a fake band,
Speaker 4: because we don't want anybody's band to lose to anybody
Speaker 4: you know what I'm saying. They said, nope, we don't
Speaker 4: care if it's a fake bab.
Speaker 1: With another title.
Speaker 4: They just didn't want to have family losing Tou North Atlanta,
Speaker 4: at which ain't even.
Speaker 1: A school school colors, but it wasn't you know.
Speaker 4: Yeah, But but so I put the white bands in
Speaker 4: and then at the end I looked, I said, this
Speaker 4: is horrible. This is making these schools look really bad,
Speaker 4: and that's not what it's supposed to do either. So
Speaker 4: I said, you got to find some kind of narrative line,
Speaker 4: and so, w how am I going to do this?
Speaker 4: So I went to I went to the school Morris Brown,
Speaker 4: and I saw this white kid Brown. So, this white
Speaker 4: kid in the band with red hair, and I was like, so,
Speaker 4: how did you get here? Tell me your story. He's like, man,
Speaker 4: I lived down the street. I always wanted to be
Speaker 4: in this band since I was little. I was like, okay,
Speaker 4: there we got we got to catch now. And then
Speaker 4: by the time I edited the movie and took all
Speaker 4: the white bands out, then you know, you look on
Speaker 4: the DVD, it still got the white bands in there.
Speaker 4: For like they caught white bands. It is all white
Speaker 4: and you look at Georgia Tech Georgia, you know. But
Speaker 4: then the great part about it was, you know, seeing
Speaker 4: when drum line, when I finally got it right, because
Speaker 4: I always said it didn't belong to me, it belongs
Speaker 4: to everybody in the band. I'm telling my story, but
Speaker 4: if I don't tell it like I gotta get I
Speaker 4: gotta get it right. I gotta hit it on the
Speaker 4: head and it's right. If I get it wrong, it's
Speaker 4: just no right. And so on the release date, I
Speaker 4: would go around to the theaters and see him sold
Speaker 4: out in Atlanta and everybody would be in marchin band outfits.
Speaker 5: Wow.
Speaker 4: Me and my mom would just ride around being like dang.
Speaker 3: Now.
Speaker 4: It took me ten years, ten years of every day
Speaker 4: making that film. And then because I wanted to do
Speaker 4: atl next, they tried to get me to go to
Speaker 4: New Orleans, and so I ended up bringing the New
Speaker 4: Orleans bill to Atlanta and passing the film bill here.
Speaker 1: So that's why, that's that's why people come to shooting Atlanta.
Speaker 3: Yeah, it's Tyler Perry, thank.
Speaker 4: You all of sh I have cost me like two
Speaker 4: and a grand passing that bill. Back then, I had
Speaker 4: to lobbying.
Speaker 1: So you're the reason why that Georgia logo comes on
Speaker 1: down there every everything. Wow.
Speaker 4: Wow, you know, I was just trying to get atl
Speaker 4: done back then, and so Governor Purdue he basically said, okay,
Speaker 4: well I don't know what to do. You tell us
Speaker 4: what to do, and we kind of came up with
Speaker 4: the plan. That's the Georgia film bill now and the
Speaker 4: ribbon Cuttin spoke at the G eight summit and all
Speaker 4: that stuff on. We haf for Georgia so we can
Speaker 4: have what we have now going on.
Speaker 5: Hey y'all, it's like here from Team Supreme. Okay, so
Speaker 5: right here is where we're going to end part one
Speaker 5: of The Quest Left Supreme with Dallas Austin. You're gonna
Speaker 5: want to stay tuned for part two because this is
Speaker 5: when Dallas talks about working with Michael Jackson and Madonna
Speaker 5: and he tells some really dope stories about the group
Speaker 5: illegal and producing must be the money for Dion Sanders.
Speaker 3: Remember that this was like one of.
Speaker 5: Our favorite episodes, and don't forget we were actually live
Speaker 5: in Atlanta for this, So make sure you check out
Speaker 5: part two when it becomes available, see y'all.
Speaker 1: Quest Left Supreme is a production of iHeartRadio. For more
Speaker 1: podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,
Speaker 1: or wherever you listen to your favorite shows.