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Speaker 1: Of Course Love Supreme is a production of iHeartRadio. This

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Speaker 1: classic episode was produced by the team at Pandora.

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Speaker 2: Yo, y'all check it out.

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Speaker 1: It's Fonte fantigolo here with this week's QLs classic. All right,

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Speaker 1: this week we talked to the man, the member of

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Speaker 1: the legend, Marley Mal. This one was originally released January eleventh,

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Speaker 1: twenty seventeen.

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Speaker 3: And listen, it's Mally Mal.

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Speaker 1: You already know what it is, Marlly Mal Juice crew,

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Speaker 1: you talking everything ll mamasa to knock you out. He

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Speaker 1: shared some of the studio secrets and talks about how

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Speaker 1: he earned the spot as a legend in the really

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Speaker 1: New York City scene. This is an incredible episode with

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Speaker 1: one of my favorite producers of all time. Get into it.

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Speaker 3: QLs classic.

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Speaker 2: Alright you Peaci.

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Speaker 4: Primo self Primo rod ca so Primo self Premo, roll

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Speaker 4: call Suprema something. Tell me Selpremo roll call Suprema something

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Speaker 4: something Supremo roll call.

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Speaker 1: My name is Questo. Yeah, I know the time there

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Speaker 1: weep in the rocks. Yeah, at the jump of a dime.

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Speaker 4: Suprema something, Supremo role called Suprema son something, Supremo role.

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Speaker 3: My name is fante. Yeah, I got so much soul.

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Speaker 1: Yeah, West Love Supreme.

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Speaker 3: Yeah, and we in control God.

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Speaker 4: Suprema something something, Supremo, Role call, Suprema something Supremo, role call.

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Speaker 1: My name is Steve, yeah, without a flaw. Yeah, they

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Speaker 1: call me sugar.

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Speaker 3: Yeah, Supremo, roll call, Suprema Son Supremo, roll call Bill.

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Speaker 5: Yeah, to the extreme yea dropping bars Yeah, Chris Love Supreme,

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Speaker 5: ro car Suprema.

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Speaker 4: Son, Suprema, roll call Suprema Son Son Supremo, roll call rhyming.

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Speaker 3: Yeah, I have no skills. Yeah, so what's my name?

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Speaker 4: Yeah, call me, Oh, Suprema Son, Suprema, roll call Supremo.

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Speaker 6: Yeah, wit New Year's Blessings. Yeah, I can't wait to play.

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Speaker 4: Yeah, roll Suprema, So Suprema, roll call Suprema So Supremo.

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Speaker 4: Role called.

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Speaker 3: My name is Morley. Yeah, it's all on me. Yeah,

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Speaker 3: when we get through.

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Speaker 1: Yeah, what's it for me?

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Speaker 4: Oh, Sprema Son, Son Supremo, roll call Suprema Son, Son,

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Speaker 4: Suprema Role, Suprema, Supremo, Role, Suprema Son Supremo Role.

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Speaker 1: Ladies and gentlemen. Ladies and gentlemen, Welcome to another episode

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Speaker 1: of Course Love Supreme, the first of this new year.

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Speaker 3: Happy New Year to all of you, Supreme.

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Speaker 1: Yes we made it. We we Yes it did not

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Speaker 1: drink ourselves at all. Last year, we did not drink

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Speaker 1: ourselves whatsoever. No, I'm your host, quest Love, and we

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Speaker 1: have another really great show in store for you. On

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Speaker 1: the show today, we have one of the most important

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Speaker 1: people in hip hop history. And that's not an exaggeration. No,

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Speaker 1: but I'm known to exaggerate. I'm known to go full

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Speaker 1: extreme on everything. But no, seriously, you know, no, seriously,

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Speaker 1: I would no for real, this this this, this man

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Speaker 1: was a pioneer and and he is history. And I

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Speaker 1: don't want to make it sound like it's it's it's

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Speaker 1: old in the past, but this man is one of

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Speaker 1: the most important figures in mind. His DNA runs through everybody, Yes,

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Speaker 1: in the development of some of the best moments in

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Speaker 1: hip hop history. Hey, hey, hey, I don't breathe dust. Now,

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Speaker 1: let's welcome our elder tell let's just give it up

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Speaker 1: for Mollie. Mam, Hey, hey, what's going on?

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Speaker 4: It's going on?

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Speaker 3: Lest Hello, how are you?

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Speaker 2: How are you? Thank you?

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Speaker 1: Thank you for coming?

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Speaker 3: Uh you know to be here?

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Speaker 1: You know you called and I gotta come here. At

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Speaker 1: the drop of a dime. You came, you came. Yes, Uh,

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Speaker 1: we have so many questions, uh for starters. I'm really

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Speaker 1: glad that you're here because for all of the folklore

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Speaker 1: that we've heard about hip hop history in the Bronx

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Speaker 1: and the in the Bronx and the Bronx and the

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Speaker 1: Bronx and the Bronx, I know that the other girls

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Speaker 1: have their history too, and that's rarely, rarely.

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Speaker 3: Rarely heard about, no doubt, no doubt.

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Speaker 1: And I know that you were born in Queens Queens

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Speaker 1: Queensbridge Projects, you know, ninety six buildings of terror AKA,

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Speaker 1: you know, But that's why I was brought up in

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Speaker 1: l I C. Queens Bridge Projects. Really, so you were

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Speaker 1: born there and you born and raised there.

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Speaker 3: I lived there all my life.

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Speaker 1: I mean my mom's she was there before I was born,

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Speaker 1: you know, and then you know, then when I'm when

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Speaker 1: I was born, then we moved to another apartment, and

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Speaker 1: then we was there for forty more years.

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Speaker 6: You know.

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Speaker 1: I'm lucky enough to be able to get my mom's

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Speaker 1: up a house in my career later on in life

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Speaker 1: and finally move out the project. But my moms was

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Speaker 1: there for over forty forty joints. Wow, So what was hardcore?

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Speaker 1: So what was what is the history of hip hop

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Speaker 1: coming to queens? Like to hear to hear the focalos

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Speaker 1: say it was only in the Bronx and only in

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Speaker 1: the Bronx, But I mean for you to be as

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Speaker 1: legendary as you were, you are you telling me that

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Speaker 1: you had to travel all the way to the Bronx

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Speaker 1: to get well. The first time I ever heard hip hop,

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Speaker 1: it was I was in high school because we had

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Speaker 1: DJs and queens. There was more on the on the

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Speaker 1: disco tip, you know, because when you when you when

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Speaker 1: you look at hip hop and what they did for

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Speaker 1: and coined the phrase hip hop around what they were doing.

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Speaker 1: It was a little different from what everybody else was

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Speaker 1: doing in the city. You know, when Cool Herk had

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Speaker 1: his parties, he was playing the break parts of the

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Speaker 1: of the music and queens they was playing the whole mute,

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Speaker 1: the whole record, the whole song, the whole song, but

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Speaker 1: they was taking the break sections. And you know that's

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Speaker 1: why I could say that. You know, everybody had DJs,

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Speaker 1: everybody had their movement, everybody had they toasters on the mic.

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Speaker 1: But I could tell you that that that hip hop element.

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Speaker 1: It definitely came from Cool Herk because he was the

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Speaker 1: first person. And maybe it wasn't on beat, you know

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Speaker 1: what I'm saying. I heard the tape site right right,

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Speaker 1: really right, It wasn't really on beat, but you know

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Speaker 1: they were.

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Speaker 3: They brought something different.

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Speaker 1: They was playing at the break big part of Apache

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Speaker 1: where in Queens would have played the whole record. So

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Speaker 1: did you just come out the gate love of music?

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Speaker 1: Like how did music and spending your life like in

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Speaker 1: your childhood? It got to me because my older brother

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Speaker 1: Larry Ladd in the in the record The Bridge last year,

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Speaker 1: it was like Jappie Jack Gas cool brother by the

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Speaker 1: name of Gas t Tom and then my brother Larry Ladd.

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Speaker 1: It was early DJs in Queensbridge and the Bridge record

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Speaker 1: because you know, in the Bridge record, we was just stating,

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Speaker 1: you know, what we saw growing up, right, So we

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Speaker 1: were stating the things that we saw. We never said

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Speaker 1: hip hop started in that rhyme. Yeah we know that,

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Speaker 1: but you know, we just was describing things we've seen

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Speaker 1: growing up. And my older brother was a DJ and

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Speaker 1: you know, my stepfather kind of you know, talked them

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Speaker 1: out of being the DJ and like yo, you know,

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Speaker 1: you know, there's no real money in that. You don't

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Speaker 1: going to service man going to service. So he went

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Speaker 1: to service bathing, you know. But it was all good

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Speaker 1: because he went to the service and he worked at

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Speaker 1: NASA and retired from NASA, so he did really well.

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Speaker 4: You know.

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Speaker 1: I took the DJ route who records. Yeah, that's why

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Speaker 1: you know my record, my my library's kind of extensive

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Speaker 1: because I got their records when he left. I had

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Speaker 1: a tachi, I had, you know, a lot of the

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Speaker 1: records that I was sampling was their records. So you

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Speaker 1: have a natural version, right had their original the African

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Speaker 1: woman with the other on the other side, the colorful one.

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Speaker 3: Wow. Yeah, okay, So what.

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Speaker 1: Was digging like back then? If there wasn't a thing

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Speaker 1: that's digging culture. I mean, for me, digging was just

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Speaker 1: going to my brother's creates at that stuff they used

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Speaker 1: to play because they were dancer guys. They was you know,

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Speaker 1: there was there was break dancers before break dances. Everybody

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Speaker 1: was a dancer. On every DJ crew had like their

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Speaker 1: dance crew with them. I could just say it like

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Speaker 1: there you go. So in older records they used to play.

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Speaker 1: Digging for me was just going through some of my

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Speaker 1: brother's old records that they used to play, because I

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Speaker 1: used to see them play a lot of records, and

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Speaker 1: by the time I got to be a DJ, I

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Speaker 1: would remember a lot of stuff that would make the

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Speaker 1: party move. And I would just go right into my

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Speaker 1: brother's records and then h to be honest, a lot

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Speaker 1: of the records that I would find and start sampling.

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Speaker 1: Then they would make those breakbeat records. After this around

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Speaker 1: my brother, I started DJing around about seventy eight or

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Speaker 1: seventy seven. I got the bug. There was like a

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Speaker 1: song called Disco seventy seven out I had drums on it,

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Speaker 1: and you know, and I heard that. I was like,

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Speaker 1: oh okay, And I played at a you know, a

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Speaker 1: house party in Queensboro. It was probably around that time.

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Speaker 1: But before that, my brother and them was dj and

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Speaker 1: in the park. They was the first DJs to come

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Speaker 1: out in Queensbridge. It was the first time, you know,

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Speaker 1: ground zero hip hop was my brother and them doing

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Speaker 1: they break they dancing and all that in the middle

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Speaker 1: of the block. And so that, you know, then everybody

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Speaker 1: else started DJing out there. So would they They would

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Speaker 1: throw the parties in, Yeah, they would throw the part

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Speaker 1: and Queens and Queensbridge Center, or they would be on

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Speaker 1: the block first. Then it got so big way they

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Speaker 1: had to take it to the river park across the street,

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Speaker 1: Queensbridge Park. So how in my in my mind, I'm

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Speaker 1: thinking the folklore of you know, the park jam that

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Speaker 1: you always hear hip hop a story and speak of

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Speaker 1: all right, being as though you've seen every level of

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Speaker 1: presentation from the park jams to full blowing concerts straight

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Speaker 1: from the tapes. You gotta start with the tapes that

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Speaker 1: was just circulating the city first. But what I want

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Speaker 1: to know is what were the sound systems really like? Oh, okay, right, well,

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Speaker 1: I could tell you, to be honest, I'm gonna just

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Speaker 1: go down the line. The Bronx they had like a

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Speaker 1: lot of house speakers put together, like a lot of

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Speaker 1: people putting this, you know, like housing them together. Ye're

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Speaker 1: putting their house speakers together, piling them up, taping them together.

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Speaker 1: And that's how they used to come out, which was

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Speaker 1: cool because you had to use what you had, right

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Speaker 1: and Queens they had a little bit more money so

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Speaker 1: that the sound systems was a little better. The King

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Speaker 1: Charles and these guys used to come out with you know,

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Speaker 1: they had. They had rich Al Long systems, really rich

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Speaker 1: store them like they believe me, King Charles and them,

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Speaker 1: they they had I believe they had the Richid Long system.

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Speaker 1: And you know Twins had a Richid Long Sis. Disco

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Speaker 1: Twins had Richid Long births. The Queen's Guys was coming

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Speaker 1: out with the birth is Brooklyn now since the Caribbean

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Speaker 1: and Brooklyn was always bumping forever. You know, there was

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Speaker 1: always Eastern Parkway, so that rubbed off on the DJs.

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Speaker 1: So so when you was coming through on Eastern Parkway

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Speaker 1: with the Jamaican music, somebody figured out, Yo, you don't

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Speaker 1: got to be playing Jamaican music with this music, with

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Speaker 1: this sound, you could.

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Speaker 3: Put hip You could put Thisco, regular records, regular records.

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Speaker 1: So Brooklyn was banging with systems because Eastern Parkway was

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Speaker 1: always the ship okay, and and it kind of rubbed

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Speaker 1: off because you got to think about, this is what's

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Speaker 1: never mentioned in hip hop and the creation of hip hop.

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Speaker 3: And I was formed, Jamaica has a big influence on

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Speaker 3: how it was started.

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Speaker 1: Here you look at the main people, the main players, Hirk,

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Speaker 1: you know the system guys. You know the sound system

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Speaker 1: guys used to come out the you know, what's his name,

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Speaker 1: Pete DJ Jones and you know all these guys used

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Speaker 1: to come out with big systems, right what's his name?

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Speaker 1: King Charles was Jamaican. He had one of the biggest

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Speaker 1: systems in the city back in the days. So just

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Speaker 1: let our listeners know in Jamaica, like the more bass

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Speaker 1: you had, the more bass cabins you had, you know,

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Speaker 1: stomach rumbling inducing, right, Basis that was the important factor

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Speaker 1: right now when you speak with cool Herk, he was

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Speaker 1: basically probably jamming, bringing his music out. For what he's

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Speaker 1: seen when he's in Jamaica as a kid, the music

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Speaker 1: was always out. He got to America, you was boring

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Speaker 1: around here bringing the music out. You're talking about, I see,

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Speaker 1: let's go to the park, Let's take it to the

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Speaker 1: let's have a party of it, bring the music out,

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Speaker 1: the sounds.

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Speaker 3: What are you talking about? Let me show you what

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Speaker 3: I'm talking about.

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Speaker 1: He did it. Then he probably got bored and playing

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Speaker 1: the whole record to get down part Oh, that's the

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Speaker 1: part of everybody get excited about. I'm gonna do a

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Speaker 1: whole party, which is playing nose. That's what he said,

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Speaker 1: and that's how it started. I just gonna play the

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Speaker 1: hot part of the records. That's it. You were playing

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Speaker 1: these parks in seventy seven. No, I was watching the

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Speaker 1: Disco Twins, my brother and them was playing probably about

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Speaker 1: seventy five ish, seventy four ish and three ish. By

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Speaker 1: then my brother went to the service. I started seeing

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Speaker 1: the Disco Twins come I got in high school. I

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Speaker 1: heard rap for the first time, and you know, I

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Speaker 1: had formed my own little crew. I was a little

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Speaker 1: DJ around the way. We wasn't we wasn't doing we

255
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Speaker 1: wasn't we wasn't rocking break beats. We just we was

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Speaker 1: doing what we saw. Okay, you get what I'm saying.

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Speaker 1: So we saw the Disco Twins in our area, so

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Speaker 1: obviously we was following that. But when I heard rap

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Speaker 1: and got my crew together, the game changed. I'm assuming

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Speaker 1: that around seventy eight, seventy nine, it hits you or like,

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Speaker 1: how are those tapes come from the Bronx? How do

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Speaker 1: they go to queens? Like?

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Speaker 3: All right?

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Speaker 1: So it was it was weird because those tapes in

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Speaker 1: the early part of hip hop, man, you know, when

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Speaker 1: they was only doing it in the Bronx and Harlem,

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Speaker 1: those tapes would go throughout the city like fucking like

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Speaker 1: the Internet, right, they were spread throughout town like the Internet.

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Speaker 1: Everybody would be coming to school with one of those tapes,

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Speaker 1: and you know, it was the greatest thing about that time.

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Speaker 1: You know, the schools were so integrated in New York

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Speaker 1: City at that point. You have people from Harlem in

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Speaker 1: your school. You have people from the Bronx in your school.

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Speaker 1: You know, you have people from Queens. So one good

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Speaker 1: thing I can say about the schools in New York

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Speaker 1: City you was able to see everybody's style because everybody

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Speaker 1: was it was all integrated. You know, people was from

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Speaker 1: Manhattan in your school, so you got to see what

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Speaker 1: they was doing in Manhattan. I was in a school

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Speaker 1: called Manhattan High. We act dudes from the Bronx. So

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Speaker 1: what would they doing in lunchtime? If somebody wasn't over

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Speaker 1: there beating on the table, somebody was coming through a

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Speaker 1: big radio playing a breakout tape with echoes, and everybody's like, oh,

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Speaker 1: and I'm like, I heard somebody rhyming over dance with

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Speaker 1: the drummers beat. It changed my life, really, yeah, that

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Speaker 1: changed my life.

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Speaker 2: I heard it.

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Speaker 1: It was this way before rappers light and yeah, yeah, yeah,

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Speaker 1: this before rappers. I heard it was just a breakout

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Speaker 1: tape and you know it was dancing drummers beat and

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Speaker 1: of course they was cutting it off beat because you

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Speaker 1: know they ain't probably didn't have Q yet. But he

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Speaker 1: was out there talking and going to freak out out

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Speaker 1: and they had the echo on it. It was burnt.

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Speaker 1: He was going yeah, yeah, yes, yes, y'all y'all.

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Speaker 3: And the echo out YO.

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Speaker 1: Me and Polo looked at each other because Polo was

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Speaker 1: in my school DJ he was in my school.

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Speaker 3: We looked at each other like, yo, what is wow?

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Speaker 3: And Yo.

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Speaker 1: The rest was like it was yo. I went and

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Speaker 1: started a crew, a short shot crew in Queensbridge after that, and.

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Speaker 3: I was on my way.

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Speaker 1: At Queensbridge is this time like if you live there

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Speaker 1: all your life, why are you recognizing a three year

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Speaker 1: old Nazia Jones? Do you see that's navee old prodigy

307
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Speaker 1: the little the toy guns in the window. I wasn't.

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Speaker 3: It wasn't quite like that.

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Speaker 1: The funny thing about Proligy wasn't from the Bridge but Havoc.

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Speaker 1: He actually lived in Burnoff Fowler's building because it's so

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Speaker 1: much burnoff foul from the Peace Boys that also yeah, yeah,

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Speaker 1: he's from QB. He sings, he sings with the Rolling

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Speaker 1: Stones right now. Yeah, yeah, so he they lived in

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Speaker 1: the same building. Damn like lightning struck twice in that building.

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Speaker 1: So the Peace Boys, that whole family is from that.

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Speaker 3: Burno Off Fouler and his brother Fred and yeah and

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Speaker 3: his sister. I never knew that.

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Speaker 1: Yeah, from Queensland.

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Speaker 3: Now. I was in the next building from that making

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Speaker 3: all my hits.

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Speaker 1: Really yeah.

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Speaker 3: That was on twelfth Street.

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Speaker 1: So I used to hear Havoc's uncle blasting the music

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Speaker 1: out of his window on the fourth because the Fowlers,

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Speaker 1: I think they lived on the first or the second

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Speaker 1: in the building. And then the Anything Dimples delved in

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Speaker 1: the next building. So it was a lot happening on

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Speaker 1: twelve Street right there. So you would have the system

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Speaker 1: battles of the windows, yes, yes, yes, and right in

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Speaker 1: the windows your own radio. It was battling right out

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Speaker 1: the window. And that's that was the house where I

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Speaker 1: made like Everybody's president. That was the house where I

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Speaker 1: would watch the people walk across the block and go

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Speaker 1: to the train stage and if they wouldn't stop dancing,

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Speaker 1: if they wouldn't stop and start dancing, I would scrap

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Speaker 1: the beat.

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Speaker 3: What right, So I knew I was blasting out, nobody

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Speaker 3: would stop and go.

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Speaker 1: Oh oh oh, I'll probably scrap the beat and start

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Speaker 1: something else until I see somebody do that.

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Speaker 3: And those are the most of the beasts that I kept.

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Speaker 6: That's dope research, Like that's.

343
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Speaker 3: Like we should go back.

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Speaker 1: It's like your very gordy sandwich to yeah, yeah, dolloaded sandwich.

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Speaker 1: Where do you make the transition from? Because I guess

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Speaker 1: the first time that I heard of you that a

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00:17:56,280 --> 00:18:05,520
Speaker 1: Leams record was really really big in Philadelphia and that

348
00:18:05,640 --> 00:18:08,359
Speaker 1: was le Roy Burgess, right, yes, it definitely wasn't the Isleens.

349
00:18:08,760 --> 00:18:11,520
Speaker 1: What's funny? What's funny about? That's like that's where I

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Speaker 1: was headed before. Kind of well, okay, explain explain to

351
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Speaker 1: me the edit culture because I know that between like

352
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Speaker 1: eighty two and eighty four it was like the Latin rascals. Uh,

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Speaker 1: I mean, who else were was in that world where

354
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Speaker 1: they used those like the art noise hard drums and

355
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Speaker 1: you know what I mean, like.

356
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Speaker 3: Like jelly Bean was in that. So you were about

357
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Speaker 3: to go that route first.

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Speaker 1: I was there because you know, you got to think,

359
00:18:40,840 --> 00:18:43,600
Speaker 1: like you know, the great Daryl Payne also lived on

360
00:18:43,680 --> 00:18:46,239
Speaker 1: my block in Queensbridge too, so he wrote a lot

361
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Speaker 1: of records like thanks to you. You know, yes, I

362
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Speaker 1: can't even sit there and mention records. But he lived

363
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Speaker 1: on the block. So Andre Booth was there. It was

364
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Speaker 1: like it was so musical in Queensbridge. These guys had

365
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Speaker 1: records before me on the radio.

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Speaker 2: You know.

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Speaker 1: Andre Booth made this beat his mind, rock shock and

368
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Speaker 1: all of that. All these dudes lived in my hood.

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Speaker 1: And I'm looking at these guys like, wow, these are gods.

370
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Speaker 1: Their music is on the radio.

371
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Speaker 3: I'm not even a DJ yet.

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Speaker 1: I'm trying to hang around these guys, you know what

373
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Speaker 1: I'm saying, and you know, and and and and figure

374
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Speaker 1: out what they're doing in the studio. And Andre gave

375
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Speaker 1: me a shot to hang out, and he introduced me

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Speaker 1: to Arthur Baker. And that's how I started, you know,

377
00:19:23,640 --> 00:19:25,960
Speaker 1: that's how I started. Matter of fact, the first session

378
00:19:26,000 --> 00:19:30,000
Speaker 1: I ever went to with him was Jazzy's Insation. So

379
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Speaker 1: you were an apprentice of Arthur Baker. Yes, yea Baker

380
00:19:34,160 --> 00:19:42,159
Speaker 1: was dog the things you learned, So Arthur Baker is

381
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Speaker 1: I mean pretty much uh, you know, planning from planning, breakers, revenge,

382
00:19:48,600 --> 00:19:51,359
Speaker 1: on the beat Street and I believe did he not

383
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Speaker 1: have a handing candy girls? Of course? Of course.

384
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Speaker 3: Addition, that's why Dimple's d record was on street Wise Party.

385
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Speaker 1: Okay my first record, boy, I thought it was Sucker

386
00:20:02,440 --> 00:20:05,920
Speaker 1: DJ's Yeah, Sucker DJ's DJs that was on Party Time,

387
00:20:06,560 --> 00:20:08,680
Speaker 1: the Party Time. It was on Party Time label. That

388
00:20:08,800 --> 00:20:11,440
Speaker 1: was because I remember it's yours being on the Party

389
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Speaker 1: Time def jam right, So who owned Party Time? That

390
00:20:15,160 --> 00:20:18,440
Speaker 1: was Arthur Baker, I believe, and I think later on

391
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Speaker 1: they broke off and went to with Russell with that.

392
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Speaker 1: I do believe. You mean to tell me that Rick

393
00:20:24,359 --> 00:20:26,760
Speaker 1: Rubin and Arthur ber Baker could have been a combo

394
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Speaker 1: and it fell apart and then I don't know the

395
00:20:30,600 --> 00:20:35,000
Speaker 1: things you learn, yeahs to investigate. Yeah, so it could

396
00:20:35,040 --> 00:20:39,040
Speaker 1: have been something by that point, like what how legendary

397
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Speaker 1: was Arthur Baker's status?

398
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Speaker 3: To be honest, when he first heard My Dimples the demo,

399
00:20:47,600 --> 00:20:50,119
Speaker 3: he was working in a warehouse in a story of

400
00:20:50,200 --> 00:20:52,520
Speaker 3: Queen's Okay, we want to go see him at a

401
00:20:52,520 --> 00:20:56,119
Speaker 3: warehouse at lunchtime. So it was nothing popping from yet,

402
00:20:57,480 --> 00:21:00,720
Speaker 3: not even Planet Rock or it was starting the label

403
00:21:00,720 --> 00:21:03,080
Speaker 3: because we had Party time, and that was the beginning

404
00:21:03,119 --> 00:21:05,000
Speaker 3: of the label. That was like one of the first

405
00:21:05,080 --> 00:21:07,600
Speaker 3: two records off the label. So when he first started

406
00:21:07,680 --> 00:21:11,520
Speaker 3: dropping Hiss dropping his joints, he heard my demo at

407
00:21:11,600 --> 00:21:14,840
Speaker 3: lunch break in the story at a warehouse next to

408
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Speaker 3: the story of projects.

409
00:21:16,760 --> 00:21:21,240
Speaker 1: So he's working what equipment now around? I guess it's

410
00:21:21,320 --> 00:21:24,639
Speaker 1: eighty three, eighty two, eighty three or what equipment are

411
00:21:24,680 --> 00:21:27,800
Speaker 1: you using this? At this time, I had a four

412
00:21:27,920 --> 00:21:31,560
Speaker 1: tracker set in my house, a task scan that barret

413
00:21:31,600 --> 00:21:35,720
Speaker 1: from my dude, Paul. It wasn't even mine, okay, so

414
00:21:35,840 --> 00:21:39,160
Speaker 1: you were just and I made mally scratch off that one.

415
00:21:39,359 --> 00:21:41,640
Speaker 1: But I'm saying, like, what what drum machine? What drum

416
00:21:43,000 --> 00:21:45,159
Speaker 1: I had? Mally scratch? I made it off of my

417
00:21:46,480 --> 00:21:50,359
Speaker 1: eight oh eight triggered by my Corg SD. It was

418
00:21:50,400 --> 00:21:53,800
Speaker 1: a sample of our delay for one second sampler our delay,

419
00:21:54,640 --> 00:21:57,240
Speaker 1: and it had but the important part on it, it

420
00:21:57,359 --> 00:22:00,879
Speaker 1: had trigger inputs on the back, so that enabled me

421
00:22:01,000 --> 00:22:03,840
Speaker 1: to trigger off my eight or eight to whatever sound

422
00:22:03,920 --> 00:22:05,880
Speaker 1: I had in there. So that's how I was able

423
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Speaker 1: to make my beats.

424
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Speaker 3: So this is leading me to science.

425
00:22:09,440 --> 00:22:14,040
Speaker 1: It's science. This is leading me to believe that you

426
00:22:14,480 --> 00:22:17,960
Speaker 1: actually read the manual instructions on your drum machines, because

427
00:22:18,040 --> 00:22:19,960
Speaker 1: with most people I know, they were just like I

428
00:22:20,040 --> 00:22:24,200
Speaker 1: taught myself for blah blah blah taught me. I learned triggering, triggering,

429
00:22:24,640 --> 00:22:28,600
Speaker 1: I call it triggerology from working at Unique Recording, because

430
00:22:28,640 --> 00:22:30,400
Speaker 1: you know, if I was working there with authoring them,

431
00:22:30,680 --> 00:22:33,240
Speaker 1: believe me, all every record that was ever made and

432
00:22:33,359 --> 00:22:36,240
Speaker 1: that eraror was made at Unique, So was he working

433
00:22:36,320 --> 00:22:39,399
Speaker 1: on there was there was already into triggering, Like there

434
00:22:39,440 --> 00:22:42,320
Speaker 1: was already into triggering drum sounds on all they dance stuff.

435
00:22:43,600 --> 00:22:44,600
Speaker 3: Wow, already?

436
00:22:48,680 --> 00:22:50,879
Speaker 1: So can you explain how that because it sounded so

437
00:22:52,040 --> 00:22:56,600
Speaker 1: it sounds so futuristic, I mean, especially in eighty three

438
00:22:56,720 --> 00:22:59,800
Speaker 1: eighty four. I mean this is pretty much the club

439
00:23:00,280 --> 00:23:05,040
Speaker 1: break dance soundtrack of that period, right, but this is

440
00:23:05,160 --> 00:23:07,840
Speaker 1: not made with musicians. I mean, first of all, were

441
00:23:07,880 --> 00:23:10,960
Speaker 1: you just accepting the fact that there has to be

442
00:23:11,200 --> 00:23:15,320
Speaker 1: a new way to make music and make dance music

443
00:23:15,520 --> 00:23:18,360
Speaker 1: and all this technology I have to learn?

444
00:23:19,320 --> 00:23:21,480
Speaker 3: Yeah, I mean especially at that studio, Like yeah, I was.

445
00:23:21,560 --> 00:23:25,200
Speaker 1: I was very very very fortunate because the guy Bobby

446
00:23:25,320 --> 00:23:28,040
Speaker 1: Nathan that own Unique, he was like a tech head.

447
00:23:28,600 --> 00:23:30,960
Speaker 1: Anything that came out he would want to be the

448
00:23:31,000 --> 00:23:33,480
Speaker 1: first studio in New York to have it. Come make

449
00:23:33,520 --> 00:23:35,720
Speaker 1: your shit over here, because we got the Cinclavia. They

450
00:23:35,760 --> 00:23:39,960
Speaker 1: had the Sintclavia before anybody had it. They had the Cinclavia,

451
00:23:40,000 --> 00:23:43,639
Speaker 1: they had the Emulator. Feel like they had that. They

452
00:23:43,720 --> 00:23:47,640
Speaker 1: had everything before everybody. They had the Emulator, they had everything.

453
00:23:47,760 --> 00:23:50,240
Speaker 1: That's how I was playing the Emulator and Release Yourself.

454
00:23:50,320 --> 00:23:51,960
Speaker 1: They didn't even have a twelve hundred out yet.

455
00:23:52,359 --> 00:23:54,560
Speaker 3: Let me, I do want to play that version?

456
00:23:55,000 --> 00:23:58,000
Speaker 1: What makes it? Because you're not you didn't produce the

457
00:23:58,160 --> 00:24:02,600
Speaker 1: actual Leroy Burgess deuced right with them and them and

458
00:24:02,640 --> 00:24:06,480
Speaker 1: the Aleans brothers, the Twin brothers. What's so weird about

459
00:24:06,520 --> 00:24:10,879
Speaker 1: this is that Women's got the Philadelphia like this is

460
00:24:10,960 --> 00:24:13,639
Speaker 1: on side too. It's like the Dove version, right, but

461
00:24:13,800 --> 00:24:17,560
Speaker 1: somehow that became the only verson to play. I've never

462
00:24:17,640 --> 00:24:25,240
Speaker 1: even heard the actual proper the radio edit, like so yeah, okay,

463
00:24:25,320 --> 00:24:29,440
Speaker 1: this this definitely ruled my summer in in Philadelphia during

464
00:24:29,520 --> 00:24:36,320
Speaker 1: all the eighties. Uh is Release Yourself the remix by

465
00:24:36,480 --> 00:24:40,439
Speaker 1: the what they were called the Fantastic Yeah, the Fantastic Alleens.

466
00:24:40,720 --> 00:24:43,880
Speaker 1: You gotta put that that sus Love Supreme only on fand.

467
00:24:55,440 --> 00:24:56,680
Speaker 3: So that was release yourself.

468
00:24:58,240 --> 00:25:00,680
Speaker 1: One of the was this your first remix or that

469
00:25:01,040 --> 00:25:03,800
Speaker 1: was that was actually one of my first remixes that

470
00:25:03,880 --> 00:25:05,960
Speaker 1: I've done. That was one of the hottest ones. And

471
00:25:06,359 --> 00:25:09,000
Speaker 1: that's where I was going musically, That's where I was going.

472
00:25:09,080 --> 00:25:11,080
Speaker 1: I was not even thinking about hip hop. Yeah. I

473
00:25:11,200 --> 00:25:13,760
Speaker 1: read in your interview with NPR a couple years ago

474
00:25:13,760 --> 00:25:15,040
Speaker 1: you were saying that you were kind of hit it

475
00:25:15,080 --> 00:25:16,840
Speaker 1: more towards the electronics side of things. Yeah.

476
00:25:16,840 --> 00:25:17,880
Speaker 3: I mean, come on, I grew up.

477
00:25:17,800 --> 00:25:21,440
Speaker 1: With for Giorgio Moroder. Bro Georgio Moroda made me a producer.

478
00:25:21,600 --> 00:25:24,600
Speaker 1: You made me want to get into technology because they

479
00:25:24,720 --> 00:25:28,160
Speaker 1: was doing things way before everybody in Germany.

480
00:25:28,240 --> 00:25:31,240
Speaker 3: You gotta hear they was triggering in the sixties.

481
00:25:32,119 --> 00:25:34,439
Speaker 1: Come on, sorry, I'm looking at these guys like, yo,

482
00:25:34,560 --> 00:25:36,680
Speaker 1: they way ahead everybody over here. I'm trying to be

483
00:25:36,800 --> 00:25:39,840
Speaker 1: like them. How did they make I feel love? Sound

484
00:25:39,960 --> 00:25:40,119
Speaker 1: like that?

485
00:25:40,880 --> 00:25:41,640
Speaker 3: It bugged me out.

486
00:25:41,720 --> 00:25:46,160
Speaker 1: So by that point, your goal was to elevate club music,

487
00:25:46,280 --> 00:25:48,800
Speaker 1: and like, what was your feelings of hip hop at

488
00:25:48,840 --> 00:25:50,200
Speaker 1: the time you were looking at hip hop. I didn't

489
00:25:50,200 --> 00:25:54,040
Speaker 1: even say I didn't like hip hop. I was wait,

490
00:25:54,160 --> 00:25:59,080
Speaker 1: what I did not expect. I liked hip hop tapes.

491
00:25:59,880 --> 00:26:02,159
Speaker 1: I love the hip hop tapes, but I didn't like

492
00:26:02,280 --> 00:26:06,680
Speaker 1: hip hop records. I didn't really like hip hop records.

493
00:26:06,720 --> 00:26:09,440
Speaker 1: I was like, so when you hear when you heard

494
00:26:09,480 --> 00:26:12,000
Speaker 1: love rap, you weren't like, I gotta grab for these

495
00:26:12,280 --> 00:26:14,960
Speaker 1: love Wrap that was later on. Love Wrap was a

496
00:26:14,960 --> 00:26:16,520
Speaker 1: little bit well no, No, I just meant like there

497
00:26:16,640 --> 00:26:18,720
Speaker 1: was some note that was that was moment that was

498
00:26:18,840 --> 00:26:21,560
Speaker 1: kind of like later on. But the early joints, like

499
00:26:21,640 --> 00:26:24,680
Speaker 1: the King Tins come on. You get what I'm saying.

500
00:26:25,160 --> 00:26:27,560
Speaker 1: Even even even as a DJ, you didn't think like, Okay,

501
00:26:27,680 --> 00:26:29,879
Speaker 1: this will keep the party going, this is what the

502
00:26:30,000 --> 00:26:36,080
Speaker 1: kids want. Nah, that is shocking, God of hip hop,

503
00:26:36,760 --> 00:26:38,920
Speaker 1: because I have to spend time, right, you have to

504
00:26:38,920 --> 00:26:40,919
Speaker 1: think about the time records that That's why I had

505
00:26:40,960 --> 00:26:44,880
Speaker 1: to That's why I come change things. But hear me out.

506
00:26:45,280 --> 00:26:46,960
Speaker 3: You gotta hear me out. You get what I'm saying.

507
00:26:47,000 --> 00:26:48,880
Speaker 1: Cause first I was like, yo, I don't I don't really,

508
00:26:49,080 --> 00:26:51,080
Speaker 1: I don't like where it's going. Because when I first

509
00:26:51,160 --> 00:26:54,439
Speaker 1: heard rap, it was off of a tape. It was scratching,

510
00:26:55,040 --> 00:26:57,720
Speaker 1: it was echoes, it was breakbeats. It was like an

511
00:26:57,760 --> 00:27:00,920
Speaker 1: occasional gunshot from from a a fight at the you know,

512
00:27:00,960 --> 00:27:03,960
Speaker 1: because the tapes you see sometimes and with a shootout.

513
00:27:04,520 --> 00:27:06,840
Speaker 1: Oh yeah, everybody scuffling and running and it stand to

514
00:27:06,880 --> 00:27:08,040
Speaker 1: the tape, Oh it was a shootout.

515
00:27:08,080 --> 00:27:11,919
Speaker 3: Oh the party was but anyway, But you.

516
00:27:11,920 --> 00:27:13,639
Speaker 1: Know, so once it got on Wax, you felt it

517
00:27:13,720 --> 00:27:16,680
Speaker 1: got too horigonized, and I felt that it didn't sound

518
00:27:16,840 --> 00:27:20,359
Speaker 1: like what I fell in love with. It wasn't.

519
00:27:20,600 --> 00:27:21,840
Speaker 3: It wasn't James Brown.

520
00:27:22,680 --> 00:27:25,359
Speaker 1: You get what I'm saying, because I see the tapes

521
00:27:25,400 --> 00:27:27,720
Speaker 1: I was getting, come on you you throwing on funky

522
00:27:27,800 --> 00:27:29,639
Speaker 1: drummer and they rhyming with the echoes over that.

523
00:27:30,000 --> 00:27:31,359
Speaker 3: Now you want to give me a.

524
00:27:31,480 --> 00:27:34,600
Speaker 1: Band playing good Times And I'm supposed to be impressed

525
00:27:34,920 --> 00:27:36,920
Speaker 1: after I was been cutting up good Times and seeing

526
00:27:36,920 --> 00:27:39,440
Speaker 1: the crowd react to how they reacted to the real

527
00:27:39,480 --> 00:27:41,840
Speaker 1: stuff and the real deep and a realm on it.

528
00:27:41,960 --> 00:27:44,600
Speaker 3: So when the records came out, I was like, no, it.

529
00:27:44,640 --> 00:27:48,240
Speaker 1: Ain't like that. That's weird because I mean, having no

530
00:27:48,440 --> 00:27:53,280
Speaker 1: knowledge of that. I mean I would listen to I

531
00:27:53,320 --> 00:27:56,399
Speaker 1: would listen to something like uh okay, take like sugar

532
00:27:56,480 --> 00:28:01,600
Speaker 1: Hill Groove. I knew about catch groove because I grew

533
00:28:01,680 --> 00:28:08,200
Speaker 1: up next door to a DJ, so I always remembered

534
00:28:08,920 --> 00:28:13,680
Speaker 1: hearing right and always knows he always played the like

535
00:28:13,720 --> 00:28:16,480
Speaker 1: our rooms were adjacent to each other and our households.

536
00:28:16,520 --> 00:28:19,080
Speaker 1: So I always remember that break. As a drummer, I

537
00:28:19,160 --> 00:28:23,200
Speaker 1: remember that break and didn't put two and two together

538
00:28:23,359 --> 00:28:27,320
Speaker 1: that like, oh, okay, sugar Hill is just approximating. It

539
00:28:27,359 --> 00:28:29,320
Speaker 1: didn't hit me until I was older that I got

540
00:28:29,440 --> 00:28:31,720
Speaker 1: what they were doing, that the technology wasn't there to

541
00:28:31,880 --> 00:28:36,480
Speaker 1: really to really reproduce what that moment was. So you're

542
00:28:36,560 --> 00:28:39,760
Speaker 1: saying that by that point nothing on sugar Hill. I

543
00:28:39,920 --> 00:28:43,400
Speaker 1: was no. I was not impressed because you know, even

544
00:28:43,440 --> 00:28:46,000
Speaker 1: when I have the DJ for Magic, I wasn't. I

545
00:28:46,120 --> 00:28:48,200
Speaker 1: wasn't a hip hop DJ. I was a blender. I

546
00:28:48,280 --> 00:28:50,760
Speaker 1: was playing in the clubs already. I was doing disco.

547
00:28:51,120 --> 00:28:52,840
Speaker 6: So what was the first record that you heard on

548
00:28:52,960 --> 00:28:56,800
Speaker 6: wax beyond your own that you was like, all right, maybe.

549
00:28:59,680 --> 00:29:02,320
Speaker 1: It could have been around maybe around around love rap

550
00:29:02,360 --> 00:29:06,440
Speaker 1: because of the beat was so hot. That sounded like

551
00:29:06,480 --> 00:29:08,520
Speaker 1: a breakbeat to me. So that's when it got a

552
00:29:08,560 --> 00:29:10,960
Speaker 1: little better. But the earliest shit I couldn't. I couldn't

553
00:29:10,960 --> 00:29:13,320
Speaker 1: stomach it. I was like, nah, this ain't going nowhere, but.

554
00:29:15,080 --> 00:29:15,560
Speaker 3: Yo, beat this.

555
00:29:15,600 --> 00:29:17,560
Speaker 1: She ain't going nowhere, I'm saying in my mind. But

556
00:29:17,720 --> 00:29:21,840
Speaker 1: you know, it kept going and then mister Magic started

557
00:29:21,840 --> 00:29:24,160
Speaker 1: playing it. And I wasn't even listening to mister Magic.

558
00:29:24,400 --> 00:29:27,719
Speaker 1: So was he established? Yeah, before you even started ding

559
00:29:27,760 --> 00:29:29,400
Speaker 1: with him, Yes, he was. He was on the radio

560
00:29:29,480 --> 00:29:32,880
Speaker 1: playing rap music already. I was a disco DJ playing

561
00:29:32,920 --> 00:29:36,680
Speaker 1: at Pegasus. He was on the radio playing rat Okay.

562
00:29:37,080 --> 00:29:40,640
Speaker 1: At what point was he on the radio? He went

563
00:29:40,680 --> 00:29:44,000
Speaker 1: to WHBI I had to be I had to be

564
00:29:44,160 --> 00:29:49,520
Speaker 1: like had to be like seventies. It was in the

565
00:29:49,600 --> 00:29:52,000
Speaker 1: seventies or something like, so he has long history, has

566
00:29:52,000 --> 00:29:54,440
Speaker 1: seventy eight seventy nine is maybe early eighties something like that.

567
00:29:54,840 --> 00:29:57,040
Speaker 1: He started going on the radio. But at that point

568
00:29:57,120 --> 00:29:59,640
Speaker 1: I wasn't even into the I wasn't even I was

569
00:29:59,720 --> 00:30:02,000
Speaker 1: one of the believe that wasn't going nowhere until it

570
00:30:02,080 --> 00:30:03,200
Speaker 1: started getting a little better.

571
00:30:04,080 --> 00:30:04,920
Speaker 3: When did it get better?

572
00:30:05,000 --> 00:30:05,160
Speaker 2: To you?

573
00:30:07,720 --> 00:30:12,960
Speaker 1: Sucker mcs ah tell me about Larry Like right, Sucker

574
00:30:13,080 --> 00:30:16,240
Speaker 1: mcs gave me hope. It gave me so much hope.

575
00:30:16,240 --> 00:30:19,360
Speaker 1: I made Sucker DJs my first record.

576
00:30:19,760 --> 00:30:20,760
Speaker 3: That's a mighty statement.

577
00:30:21,200 --> 00:30:23,760
Speaker 1: Uh you know what I'm saying, I want I want

578
00:30:23,760 --> 00:30:25,960
Speaker 1: I want to run Socker DJ's real. So Dimple's D

579
00:30:26,880 --> 00:30:29,720
Speaker 1: from your what building? When she in She's from twelve

580
00:30:29,760 --> 00:30:30,600
Speaker 1: Street and Queens Bridge.

581
00:30:30,600 --> 00:30:32,960
Speaker 3: She lived in that same Royd buildings, burn Off, Foul

582
00:30:33,040 --> 00:30:34,040
Speaker 3: and Havoc and I.

583
00:30:34,120 --> 00:30:36,680
Speaker 1: Lived in Okay. So this is your official first production,

584
00:30:37,200 --> 00:30:40,520
Speaker 1: my official first the response to soccers from run DMC.

585
00:30:57,400 --> 00:31:00,760
Speaker 1: I was m the night I was sell good, so

586
00:31:00,880 --> 00:31:01,720
Speaker 1: the film was right.

587
00:31:01,960 --> 00:31:03,760
Speaker 6: I came to the party for a different kind of

588
00:31:03,840 --> 00:31:04,880
Speaker 6: actions and next thing.

589
00:31:04,840 --> 00:31:06,520
Speaker 1: I know, I was doing with Michael Jason out.

590
00:31:07,080 --> 00:31:08,840
Speaker 3: This is Quest Love Supreme on Pandora.

591
00:31:09,000 --> 00:31:12,400
Speaker 1: You just heard Sucker DJ's by Dimple's D and today's

592
00:31:12,400 --> 00:31:15,800
Speaker 1: guest legendary DJ and hip hop producer Marley mal This

593
00:31:16,000 --> 00:31:18,400
Speaker 1: is on a lyndrum Lynn Drum. I even THOUGHTS and

594
00:31:18,520 --> 00:31:22,240
Speaker 1: I went to Unique, I rented two hours of time.

595
00:31:22,480 --> 00:31:23,960
Speaker 1: It was thirty five dollars an hour.

596
00:31:24,280 --> 00:31:24,960
Speaker 3: You had to rent it.

597
00:31:25,120 --> 00:31:26,400
Speaker 1: Yes, I had to rent it. You couldn't do it

598
00:31:26,440 --> 00:31:28,120
Speaker 1: by on their back. No, no, no, I wasn't even

599
00:31:28,120 --> 00:31:29,600
Speaker 1: working there, y'all. I just lived in the neighborhood.

600
00:31:29,600 --> 00:31:30,600
Speaker 3: The studio was up the street.

601
00:31:30,960 --> 00:31:32,880
Speaker 1: I heard they had a Lynn drum in there, and

602
00:31:33,280 --> 00:31:35,800
Speaker 1: I and I got it was thirty five hours an hour.

603
00:31:35,840 --> 00:31:38,160
Speaker 1: I got two hours of time. I went there and

604
00:31:38,200 --> 00:31:40,040
Speaker 1: tapped out a few beats and recorded them on my

605
00:31:40,120 --> 00:31:42,280
Speaker 1: four track, and I took the four track home and.

606
00:31:42,320 --> 00:31:44,800
Speaker 3: She did her vocals in my living room. Wow.

607
00:31:47,080 --> 00:31:51,000
Speaker 1: So the setup in your house, I believe the Rock

608
00:31:51,040 --> 00:31:52,400
Speaker 1: and Roll Hall of Fame has a.

609
00:31:53,880 --> 00:31:55,320
Speaker 3: Matching. Have you seen it?

610
00:31:55,680 --> 00:31:58,920
Speaker 1: It's like a mock setup of what your studio would

611
00:31:58,920 --> 00:32:00,760
Speaker 1: look like, at least at the when I was visiting

612
00:32:00,800 --> 00:32:02,720
Speaker 1: the Rock and Roll Hall of Famer. This is like

613
00:32:02,880 --> 00:32:05,320
Speaker 1: back in two thousand and four, two thousand and five,

614
00:32:05,960 --> 00:32:08,520
Speaker 1: What is your home system looking like? At this point,

615
00:32:08,720 --> 00:32:11,440
Speaker 1: I had like a little four track, a sunboard and

616
00:32:11,560 --> 00:32:14,760
Speaker 1: that was it. So what were your neighbors thinking at

617
00:32:14,800 --> 00:32:17,400
Speaker 1: this moment? They probably was thinking, well, I wish he

618
00:32:17,400 --> 00:32:20,560
Speaker 1: would turn that shit down sometimes and take to speak

619
00:32:20,600 --> 00:32:25,920
Speaker 1: out the damn window. So at that time in the eighties,

620
00:32:26,080 --> 00:32:31,160
Speaker 1: did you feel secure with like your livelihood inside that

621
00:32:31,200 --> 00:32:33,320
Speaker 1: building or was it just that you never left it

622
00:32:34,240 --> 00:32:35,360
Speaker 1: for anything to happen.

623
00:32:35,680 --> 00:32:37,480
Speaker 3: No, I just never left it for anything that happened.

624
00:32:37,520 --> 00:32:39,840
Speaker 1: Plus, I was the neighborhood DJ that you know, people

625
00:32:39,920 --> 00:32:42,240
Speaker 1: was getting famous, and people would sit outside my building

626
00:32:42,360 --> 00:32:44,200
Speaker 1: just to see who's coming to my house.

627
00:32:44,560 --> 00:32:46,000
Speaker 3: So it was all good at that point.

628
00:32:46,720 --> 00:32:49,400
Speaker 1: Okay, I want to ask about your pop art period. Yeah,

629
00:32:49,480 --> 00:32:53,560
Speaker 1: because I instally thought you were a Philly guy. Right,

630
00:32:53,720 --> 00:32:56,600
Speaker 1: I'm from Philadelphia, you know I got I got a

631
00:32:56,640 --> 00:32:57,400
Speaker 1: shout Philly out.

632
00:32:57,680 --> 00:33:00,560
Speaker 3: How did you meet the Goodmans? Dude?

633
00:33:00,760 --> 00:33:03,840
Speaker 1: Philly put me on really in hip hop, man, I

634
00:33:03,920 --> 00:33:06,560
Speaker 1: gotta say it, because if it wasn't for Lawrence and

635
00:33:06,640 --> 00:33:10,280
Speaker 1: then with Rox Sans Revenge, Rox Sans Revenge was pinnacle

636
00:33:10,320 --> 00:33:12,920
Speaker 1: for me. Okay, that was like a pinnacle point in

637
00:33:13,000 --> 00:33:18,040
Speaker 1: my career when I got tooken serious after that. Before that,

638
00:33:18,120 --> 00:33:20,760
Speaker 1: I was, you know, dj on doing this some round doing,

639
00:33:21,120 --> 00:33:23,840
Speaker 1: you know, trying to put out these other records and

640
00:33:23,880 --> 00:33:28,000
Speaker 1: these something no examples. It blew up and Philly put

641
00:33:28,080 --> 00:33:31,400
Speaker 1: me on, put us on, just to let our listeners know.

642
00:33:31,600 --> 00:33:38,600
Speaker 1: So around nineteen eighty four, a group of Brooklyn producers

643
00:33:39,040 --> 00:33:44,680
Speaker 1: Full Force Right Right, put together a record called Roxanne

644
00:33:44,760 --> 00:33:49,960
Speaker 1: Roxanne That's right TFO. One of the actually, am I

645
00:33:50,120 --> 00:33:52,320
Speaker 1: incorrect for saying that that might be the first time

646
00:33:52,440 --> 00:33:56,360
Speaker 1: that an actual break beat was used or modern hip

647
00:33:56,400 --> 00:34:01,120
Speaker 1: hop because big beat, that's right break Orange educated rapper

648
00:34:01,200 --> 00:34:06,360
Speaker 1: second verse. So I don't know what it was about

649
00:34:06,440 --> 00:34:10,360
Speaker 1: this record, but I mean it's the typical storyline of

650
00:34:10,440 --> 00:34:12,880
Speaker 1: three guys trying to kick it to a female and

651
00:34:13,040 --> 00:34:17,680
Speaker 1: they all get rejected and somehow. I mean, this was

652
00:34:17,800 --> 00:34:22,000
Speaker 1: one of the first viral moments. I mean, if it's

653
00:34:22,040 --> 00:34:25,479
Speaker 1: social media were invented, this would be the trending number

654
00:34:25,480 --> 00:34:29,480
Speaker 1: one trending topic because as a result, so many response

655
00:34:29,600 --> 00:34:33,040
Speaker 1: records came out for Roxanne Roxanne, and we didn't even

656
00:34:33,120 --> 00:34:35,120
Speaker 1: meant I didn't even mean for it to be a record.

657
00:34:35,200 --> 00:34:38,440
Speaker 1: Once again, this was another Marly Mall exclusive. I want

658
00:34:38,520 --> 00:34:41,080
Speaker 1: to have a special record for me being a DJ,

659
00:34:41,560 --> 00:34:43,480
Speaker 1: and someone heard it and made a record out of it.

660
00:34:46,360 --> 00:34:49,000
Speaker 1: I wanted to dub plate special with a female talking

661
00:34:49,000 --> 00:34:51,239
Speaker 1: about I'm rock sand and I played it on Mister

662
00:34:51,360 --> 00:34:52,560
Speaker 1: Magic Show and it was.

663
00:34:52,680 --> 00:34:53,360
Speaker 3: It was fire.

664
00:34:53,400 --> 00:34:56,440
Speaker 1: It was like I played a few days before Christmas.

665
00:34:56,920 --> 00:34:59,640
Speaker 1: By Christmas Eve, it was number one on Billboard. How

666
00:34:59,680 --> 00:35:02,719
Speaker 1: did you rox Sante Chante? She lived on my block

667
00:35:02,800 --> 00:35:05,480
Speaker 1: in Queensbridge, and she know she used to always see

668
00:35:05,520 --> 00:35:08,120
Speaker 1: her and the siphers on the block. You know, she

669
00:35:08,200 --> 00:35:10,480
Speaker 1: used to always be insiph as her a dude named

670
00:35:10,520 --> 00:35:13,960
Speaker 1: Infinite and empty Shan. There was like battling everybody on

671
00:35:14,320 --> 00:35:16,320
Speaker 1: twelve Street, and I used to always see them. And

672
00:35:16,320 --> 00:35:18,480
Speaker 1: you know, one day she she was doing her laundry.

673
00:35:19,120 --> 00:35:21,440
Speaker 1: You know, she said, Yo, knocked on my door.

674
00:35:21,520 --> 00:35:21,640
Speaker 6: Yo.

675
00:35:22,040 --> 00:35:23,520
Speaker 3: You know you like that rock Sanding record.

676
00:35:23,560 --> 00:35:25,560
Speaker 1: I said, Yo, She's like, Yo, I got something for that.

677
00:35:25,880 --> 00:35:28,040
Speaker 1: I'm thinking that myself. Well, I have a special dub play.

678
00:35:28,239 --> 00:35:28,920
Speaker 3: Oh, come do that.

679
00:35:29,560 --> 00:35:30,160
Speaker 1: So she came.

680
00:35:30,840 --> 00:35:31,719
Speaker 3: We dub played it.

681
00:35:31,800 --> 00:35:34,120
Speaker 1: Up and one take she ran back down was doing

682
00:35:34,120 --> 00:35:40,799
Speaker 1: her laundry. She did it between the laundry break. Yes, yeah,

683
00:35:41,320 --> 00:35:47,960
Speaker 1: the space brother seriously near one take yeah, one take,

684
00:35:48,000 --> 00:35:50,360
Speaker 1: one take we got to had one cassette playing the

685
00:35:50,480 --> 00:35:54,040
Speaker 1: instrument through another cassette recording, and she got on the mic,

686
00:35:54,360 --> 00:35:57,239
Speaker 1: did her thing on one take, ran back downstairs, and

687
00:35:57,360 --> 00:35:59,400
Speaker 1: the next week she was a star. Are there two

688
00:35:59,520 --> 00:36:02,279
Speaker 1: versions of the Yes we have to we do it? Yeah.

689
00:36:02,280 --> 00:36:05,160
Speaker 1: I feel like I've heard the original twelve is I

690
00:36:05,239 --> 00:36:06,800
Speaker 1: heard with the she asked.

691
00:36:06,760 --> 00:36:10,800
Speaker 3: One that the ask yo, let me explain.

692
00:36:10,960 --> 00:36:13,040
Speaker 1: It wasn't as exciting. But then I heard a version

693
00:36:13,080 --> 00:36:16,600
Speaker 1: when she's like really screaming and explain. The first version

694
00:36:16,680 --> 00:36:20,480
Speaker 1: that came out, they took the version that we played

695
00:36:20,520 --> 00:36:22,480
Speaker 1: on the radio and pressed that one up and that

696
00:36:22,560 --> 00:36:24,840
Speaker 1: was the first batch of records that went out, the

697
00:36:25,040 --> 00:36:26,920
Speaker 1: version I played off the radio. I didn't give him

698
00:36:26,920 --> 00:36:29,279
Speaker 1: the master. We gave him a copy of us playing

699
00:36:29,320 --> 00:36:30,040
Speaker 1: it on the radio.

700
00:36:31,560 --> 00:36:33,080
Speaker 3: Oh my good Oh my goodness.

701
00:36:33,120 --> 00:36:34,719
Speaker 1: That's why he said that, because he said that on

702
00:36:34,800 --> 00:36:35,240
Speaker 1: the radio.

703
00:36:35,400 --> 00:36:37,720
Speaker 3: Oh my goodness. I thought that was part of the record.

704
00:36:37,880 --> 00:36:39,719
Speaker 1: Oh No, that was that was That was him live

705
00:36:39,800 --> 00:36:41,800
Speaker 1: on the radio saying, oh my goodness after he played it.

706
00:36:43,160 --> 00:36:44,400
Speaker 3: We gotta play this, yo.

707
00:36:44,680 --> 00:36:49,880
Speaker 1: This is Roxanne's Revenge on court only on Pandora with

708
00:36:49,960 --> 00:36:51,520
Speaker 1: the great mally Man. Will be right back.

709
00:37:03,600 --> 00:37:06,600
Speaker 6: My name is don't know. I just a cold rock

710
00:37:06,680 --> 00:37:09,439
Speaker 6: up bunny, and I said, I'm at you see you guys,

711
00:37:09,520 --> 00:37:11,360
Speaker 6: and you know it's to let me tell you and

712
00:37:11,480 --> 00:37:12,239
Speaker 6: explained them.

713
00:37:17,680 --> 00:37:19,680
Speaker 1: All right, this quest some supreme. We're here talking to

714
00:37:19,760 --> 00:37:22,800
Speaker 1: hip hop producer Marley More about his days as a

715
00:37:22,880 --> 00:37:25,680
Speaker 1: legend in the making so and also a hook singers

716
00:37:28,600 --> 00:37:32,279
Speaker 1: singing days. So were you a part of the other

717
00:37:32,440 --> 00:37:35,440
Speaker 1: Roxannes that came out? Because I saw Roxanne doctor and

718
00:37:37,440 --> 00:37:39,440
Speaker 1: well there was the real Rocks, the real Rocks and

719
00:37:39,560 --> 00:37:42,920
Speaker 1: rock Real Rocks. Was the Puerto Rican girl with the.

720
00:37:42,920 --> 00:37:45,440
Speaker 3: Blond here the forces.

721
00:37:45,880 --> 00:37:49,280
Speaker 6: Okay, doctor Roxane, that's the original.

722
00:37:49,160 --> 00:37:50,279
Speaker 1: Right, he was the first one.

723
00:37:50,800 --> 00:37:51,160
Speaker 3: There you go.

724
00:37:51,280 --> 00:37:55,040
Speaker 1: She was the first one. So at any point was

725
00:37:55,120 --> 00:37:57,360
Speaker 1: there I mean, in our heads we're just thinking like,

726
00:37:57,960 --> 00:38:00,839
Speaker 1: oh man, bloodshed caltfight's going to happen. But at any

727
00:38:00,920 --> 00:38:06,080
Speaker 1: point did you ever kick it with full force or

728
00:38:06,600 --> 00:38:09,759
Speaker 1: the thought of the idea of you know, doing something

729
00:38:09,760 --> 00:38:12,799
Speaker 1: together or whatever. No, I think that went right out

730
00:38:12,840 --> 00:38:14,400
Speaker 1: the window as soon as they came with, you know,

731
00:38:14,480 --> 00:38:16,640
Speaker 1: they tried to do a real rock saying yeah, but

732
00:38:16,760 --> 00:38:19,200
Speaker 1: she was she was. She was dope. Yes, she didn't

733
00:38:19,200 --> 00:38:21,719
Speaker 1: have to fire off Chante, but she was really dope,

734
00:38:22,040 --> 00:38:24,279
Speaker 1: and you know, and you know after that, I mean,

735
00:38:24,360 --> 00:38:26,560
Speaker 1: Chante was the last one standing at the end of

736
00:38:26,600 --> 00:38:29,520
Speaker 1: the day. Chante was really the first one that did it.

737
00:38:30,200 --> 00:38:31,839
Speaker 1: She was on all the tours, she got on Fresh

738
00:38:31,920 --> 00:38:33,800
Speaker 1: Fest with all that, you get what I'm saying. She

739
00:38:34,000 --> 00:38:36,880
Speaker 1: she she had us on private planes real quick, really,

740
00:38:37,120 --> 00:38:42,160
Speaker 1: and I didn't even have a call yet. So at

741
00:38:42,200 --> 00:38:45,520
Speaker 1: this rate you're saying that this was catching on national.

742
00:38:45,680 --> 00:38:45,839
Speaker 2: Yeah.

743
00:38:46,040 --> 00:38:49,239
Speaker 1: Yeah, we had sometime three shows in one day and

744
00:38:49,360 --> 00:38:51,279
Speaker 1: we had a private plane so we could be here,

745
00:38:51,640 --> 00:38:53,080
Speaker 1: go there, and then go to the next show and

746
00:38:53,239 --> 00:38:56,840
Speaker 1: just you know, it was just that away from like

747
00:38:56,920 --> 00:39:00,000
Speaker 1: what were the gigs like? Was it just try State northeat.

748
00:39:00,920 --> 00:39:03,680
Speaker 1: We would go you know, we would go to we

749
00:39:03,760 --> 00:39:09,080
Speaker 1: went to Cincinnati, then we would go to what's that Pennsylvania? Okay,

750
00:39:09,120 --> 00:39:13,480
Speaker 1: then we'll go to you know, maybe Ohio or something

751
00:39:13,560 --> 00:39:15,920
Speaker 1: like that. We would do it like that and just

752
00:39:16,000 --> 00:39:17,920
Speaker 1: hit the one song and one and done and two

753
00:39:18,000 --> 00:39:21,000
Speaker 1: songs and be out, you know, one song and I

754
00:39:21,080 --> 00:39:23,080
Speaker 1: played eight o eight when he just doing the freestyle

755
00:39:23,600 --> 00:39:26,480
Speaker 1: and then we'd be out. Really, now you pick somebody

756
00:39:26,520 --> 00:39:28,840
Speaker 1: out of the crowded this and get the crowd amped up.

757
00:39:29,800 --> 00:39:33,200
Speaker 1: She was on a Millie Jackson who taught him like,

758
00:39:33,360 --> 00:39:38,120
Speaker 1: so are you are you who's teaching the the entertainment

759
00:39:38,239 --> 00:39:43,879
Speaker 1: aspect of your juice crews? How tell you something? Mister

760
00:39:44,040 --> 00:39:47,680
Speaker 1: Magic was very If you think he was rude on

761
00:39:47,760 --> 00:39:50,920
Speaker 1: the radio to other artists, you couldn't imagine how he

762
00:39:50,960 --> 00:39:54,160
Speaker 1: would be to us as artists, like you ain't wearing

763
00:39:54,200 --> 00:39:55,319
Speaker 1: that ship on stage with us.

764
00:39:55,560 --> 00:39:58,160
Speaker 3: You're not going out like that, Oh motherfucker.

765
00:39:57,640 --> 00:40:02,200
Speaker 1: You ain't ready. He told Cae many times, Yo, you

766
00:40:02,280 --> 00:40:04,120
Speaker 1: ain't going out on stage with your hair like that.

767
00:40:04,800 --> 00:40:06,920
Speaker 1: And and then that's when Kine got started getting the

768
00:40:06,920 --> 00:40:07,840
Speaker 1: hot top fade.

769
00:40:08,640 --> 00:40:10,040
Speaker 3: Before you had a big old afro.

770
00:40:10,480 --> 00:40:14,239
Speaker 1: What yeah, the seventies iry some damn that's the Magic

771
00:40:14,239 --> 00:40:16,840
Speaker 1: would have hated me. I know, mister Magic saying he's like,

772
00:40:16,880 --> 00:40:18,759
Speaker 1: you can't go on stage like that represent with us.

773
00:40:19,080 --> 00:40:20,960
Speaker 1: Then all of a sudden, King came back with the

774
00:40:21,040 --> 00:40:21,640
Speaker 1: hot top fake.

775
00:40:21,920 --> 00:40:22,320
Speaker 3: There you go.

776
00:40:22,440 --> 00:40:24,840
Speaker 1: But it worked because he's kind of marketing them looking like,

777
00:40:25,360 --> 00:40:27,320
Speaker 1: you know, if you're gonna be the ladies man, you

778
00:40:27,400 --> 00:40:30,600
Speaker 1: can't be the ladies man like that. So oh, there

779
00:40:30,600 --> 00:40:32,239
Speaker 1: you go. Now that's the look that we're looking for,

780
00:40:32,560 --> 00:40:35,440
Speaker 1: and they went with it. And and that's why came

781
00:40:35,520 --> 00:40:37,600
Speaker 1: was the sex symbol out of us. I guess we

782
00:40:38,000 --> 00:40:42,200
Speaker 1: should we shouldn't note that. Uh, what's notable about Marley's

783
00:40:42,200 --> 00:40:45,800
Speaker 1: presence in hip hop. It's the fact that you know

784
00:40:46,000 --> 00:40:50,920
Speaker 1: you represent will represent a wave of one of the

785
00:40:50,960 --> 00:40:53,680
Speaker 1: first families in hip hop. There you as opposed to

786
00:40:53,920 --> 00:40:57,719
Speaker 1: just you know, individual acts coming out at the time.

787
00:40:58,040 --> 00:40:59,960
Speaker 3: And we're speaking of the Jews.

788
00:41:00,640 --> 00:41:03,760
Speaker 1: So did you and mister Magic have this grand scheme

789
00:41:03,880 --> 00:41:06,680
Speaker 1: like we're gonna develop acts and then I'll play them

790
00:41:06,719 --> 00:41:08,320
Speaker 1: on our radio show, and you'll spin it on the

791
00:41:08,480 --> 00:41:09,160
Speaker 1: radio show.

792
00:41:09,040 --> 00:41:11,279
Speaker 3: And you know it was you know what it was.

793
00:41:11,640 --> 00:41:14,600
Speaker 1: We're in such a battle man, you got to think

794
00:41:14,600 --> 00:41:17,239
Speaker 1: it was battle mode. A lot of songs we made

795
00:41:17,360 --> 00:41:21,239
Speaker 1: was ammunition to fight Red and Chuck on Kiss FM.

796
00:41:22,320 --> 00:41:27,040
Speaker 1: Explain all right, explain the initial rivalry between Red and

797
00:41:27,200 --> 00:41:29,320
Speaker 1: all right, this is how it all started. Mister Magic

798
00:41:29,440 --> 00:41:32,400
Speaker 1: was on the radio and BLS for about a year.

799
00:41:32,520 --> 00:41:35,080
Speaker 1: Then then Kiss FM decided, Hey, they went in over

800
00:41:35,120 --> 00:41:36,960
Speaker 1: there with that rep. Let's get it. Let's get a

801
00:41:37,000 --> 00:41:40,560
Speaker 1: wrap show too. They got they got Jazzy Jay first.

802
00:41:40,760 --> 00:41:42,480
Speaker 1: Matter of fact, I think it was it got Jazzy

803
00:41:42,600 --> 00:41:44,200
Speaker 1: j first. He did it for a minute, he didn't

804
00:41:44,280 --> 00:41:46,560
Speaker 1: like it. He passed it on the Red. Then Red

805
00:41:46,600 --> 00:41:50,239
Speaker 1: and Chuck started splitting it. And then after a while, okay,

806
00:41:50,520 --> 00:41:52,000
Speaker 1: now we was doing it for a year and then

807
00:41:52,040 --> 00:41:54,279
Speaker 1: they started coming up. So that second summer, oh, it

808
00:41:54,400 --> 00:41:57,560
Speaker 1: was brutal in the city. Now it's two stations playing

809
00:41:57,640 --> 00:42:01,360
Speaker 1: rap on the weekends. Now, all right, this is before

810
00:42:01,400 --> 00:42:03,840
Speaker 1: the summer actually when school was in this was this

811
00:42:04,040 --> 00:42:06,920
Speaker 1: was just before that summer when everybody went to school

812
00:42:06,960 --> 00:42:10,680
Speaker 1: with a new regular tape or mister Magic tape every

813
00:42:11,160 --> 00:42:14,920
Speaker 1: Monday back in school. You heard what they played, hen

814
00:42:14,960 --> 00:42:17,080
Speaker 1: it is, So we started, we started blowing up. Then

815
00:42:17,080 --> 00:42:19,640
Speaker 1: those tapes would go around the world. Those tapes would

816
00:42:19,640 --> 00:42:21,759
Speaker 1: travel to Philly. You get what I'm saying, y'all would

817
00:42:21,760 --> 00:42:24,600
Speaker 1: get those tapes down south. I know people down south

818
00:42:24,840 --> 00:42:27,799
Speaker 1: and Atlanta was slinging tapes. You get what I'm saying.

819
00:42:27,840 --> 00:42:30,200
Speaker 1: So those tapes were moving around. So it started a

820
00:42:30,360 --> 00:42:34,680
Speaker 1: big radio rivalry, Kiss FM against w b l S.

821
00:42:35,960 --> 00:42:39,719
Speaker 1: And now now all of a sudden, now I need

822
00:42:39,760 --> 00:42:42,960
Speaker 1: AMMO because mister Magic was the type of person you know,

823
00:42:43,080 --> 00:42:45,480
Speaker 1: God rest his soul. He was good at heart, but

824
00:42:45,600 --> 00:42:47,200
Speaker 1: he would get on the air and this this is

825
00:42:47,239 --> 00:42:49,560
Speaker 1: an artist. So that means that artists would be mad

826
00:42:49,600 --> 00:42:53,040
Speaker 1: at him out of ass on millions?

827
00:42:54,840 --> 00:42:56,040
Speaker 3: Was he really talking about them?

828
00:42:56,160 --> 00:42:59,440
Speaker 1: Yo? One day I played the public and in the

829
00:42:59,480 --> 00:43:03,000
Speaker 1: middle of the record, he yo, Mally Mary turned that off.

830
00:43:03,000 --> 00:43:04,560
Speaker 3: He could cut his Michael, turn that off.

831
00:43:04,640 --> 00:43:06,640
Speaker 1: I turned it off, your man, no more music from

832
00:43:06,680 --> 00:43:09,560
Speaker 1: the Sockers quick.

833
00:43:11,440 --> 00:43:15,160
Speaker 3: And I was like, I just start. I'm looking at him, like, Yo,

834
00:43:15,239 --> 00:43:16,160
Speaker 3: what did you just say?

835
00:43:16,320 --> 00:43:16,480
Speaker 1: Man?

836
00:43:16,840 --> 00:43:16,960
Speaker 2: Yo?

837
00:43:17,160 --> 00:43:19,320
Speaker 1: Because I'm the DJ with you, I don't want to

838
00:43:19,760 --> 00:43:21,640
Speaker 1: like we want to air together, like what did you

839
00:43:21,800 --> 00:43:22,120
Speaker 1: just say?

840
00:43:22,840 --> 00:43:23,839
Speaker 3: No more music from the sucker?

841
00:43:23,920 --> 00:43:24,640
Speaker 2: So it went by.

842
00:43:25,000 --> 00:43:27,759
Speaker 1: Then a few weeks later PubL Agatay put that on

843
00:43:27,880 --> 00:43:30,640
Speaker 1: the on their record. When somebody took the recording of

844
00:43:30,760 --> 00:43:32,360
Speaker 1: him saying it on the show and put it on

845
00:43:32,520 --> 00:43:33,080
Speaker 1: the record.

846
00:43:33,719 --> 00:43:36,240
Speaker 3: He is speaking of the beginning of pol Amborum Flavor,

847
00:43:36,320 --> 00:43:37,160
Speaker 3: which is I.

848
00:43:37,239 --> 00:43:40,440
Speaker 1: Guarantee you no more music byd a Sucker, no more

849
00:43:40,560 --> 00:43:44,319
Speaker 1: music bind the suckers, no more music by the suckers. Yo, man,

850
00:43:46,160 --> 00:43:48,560
Speaker 1: So how did how does Biz enter? And how do

851
00:43:48,680 --> 00:43:54,840
Speaker 1: you see Biz more than just a sidekick as a start? Like,

852
00:43:54,920 --> 00:43:57,680
Speaker 1: how do you how did you first meet him? Well? Crazy,

853
00:43:57,680 --> 00:43:59,040
Speaker 1: I was walking down the street and I was like, Yo,

854
00:43:59,120 --> 00:44:01,200
Speaker 1: there's a be box in the building. And I'm like,

855
00:44:01,320 --> 00:44:06,200
Speaker 1: come on, man, for real, beat box schmek box. You

856
00:44:06,320 --> 00:44:07,840
Speaker 1: thought it was a fat Yeah, I was like come on.

857
00:44:08,239 --> 00:44:10,760
Speaker 1: I'm like, I'm like, Yo, Doggie Fresh is out, Buffy

858
00:44:10,880 --> 00:44:14,160
Speaker 1: Buffy's out. Ain't nobody touching them dudes? You get what

859
00:44:14,200 --> 00:44:16,279
Speaker 1: I'm saying. Like it's gonna be hard. I said, I

860
00:44:16,280 --> 00:44:18,480
Speaker 1: don't even want a hair dude. But he's like, you know,

861
00:44:18,600 --> 00:44:21,520
Speaker 1: but you got to check him out, Mam Yo, he's phenomenal.

862
00:44:21,680 --> 00:44:23,920
Speaker 1: He's something special. So I go back to the building.

863
00:44:24,680 --> 00:44:26,960
Speaker 1: He's doing a beat box in the building. All of

864
00:44:27,000 --> 00:44:31,759
Speaker 1: a sudden, when he went right, bro, come to my

865
00:44:31,800 --> 00:44:35,440
Speaker 1: house to mom. Bro, you dope kid. That was like

866
00:44:35,800 --> 00:44:38,040
Speaker 1: he blew me away. He started I want to, I

867
00:44:38,160 --> 00:44:46,600
Speaker 1: want to. My name is bis Mark. I was like, yo,

868
00:44:47,200 --> 00:44:49,279
Speaker 1: if you're crazy enough to chop your neck in front

869
00:44:49,280 --> 00:44:53,080
Speaker 1: of me. So at that point, did you feel like

870
00:44:53,560 --> 00:44:56,879
Speaker 1: did you feel like, Okay, I could make anyone a star?

871
00:44:57,080 --> 00:44:58,800
Speaker 1: Like did you figure out like you knew what the

872
00:44:58,880 --> 00:45:02,640
Speaker 1: formula was to make the streets feel With Biz? It

873
00:45:02,680 --> 00:45:04,279
Speaker 1: was kind of like an experiment. I knew that he

874
00:45:04,320 --> 00:45:07,080
Speaker 1: could have been a good attraction to what we was doing.

875
00:45:07,400 --> 00:45:10,200
Speaker 1: I was like, wow, he's real entertaining. That was dope.

876
00:45:10,640 --> 00:45:12,400
Speaker 3: You know, maybe he could he could rock with us.

877
00:45:12,800 --> 00:45:15,000
Speaker 1: And you know, once he got to me, Chante, Shanta

878
00:45:15,239 --> 00:45:17,440
Speaker 1: and him got very close and he started opening up

879
00:45:17,480 --> 00:45:20,040
Speaker 1: for Shante. And once I seen the reaction of the

880
00:45:20,120 --> 00:45:22,600
Speaker 1: crowd when he started opening with Chante, I was like, Wow,

881
00:45:23,040 --> 00:45:25,120
Speaker 1: he's extra special. What was Biz doing?

882
00:45:25,120 --> 00:45:26,839
Speaker 6: When you like? How old was he when you met him?

883
00:45:27,560 --> 00:45:29,400
Speaker 1: He was he had to be like it looked like

884
00:45:29,440 --> 00:45:33,279
Speaker 1: he was about eighteen or nineteen or something like that.

885
00:45:33,480 --> 00:45:35,799
Speaker 1: He's like, you know, just like a young skinny kid

886
00:45:35,920 --> 00:45:38,640
Speaker 1: coming to the hood. Yo. He stayed for the whole weekend.

887
00:45:38,880 --> 00:45:43,000
Speaker 1: Finally saw me Sunday. Everybody's like, yo, he was out

888
00:45:43,000 --> 00:45:43,640
Speaker 1: here all weekend.

889
00:45:44,000 --> 00:45:44,120
Speaker 4: Yo.

890
00:45:44,200 --> 00:45:45,319
Speaker 3: He was out here a funny dude.

891
00:45:45,400 --> 00:45:46,239
Speaker 2: He was out here hanging up.

892
00:45:46,280 --> 00:45:48,239
Speaker 1: We just sat on the park bench, wait, brung out

893
00:45:48,800 --> 00:45:51,880
Speaker 1: the whole weekend in Queen's Bridge.

894
00:45:53,360 --> 00:45:55,440
Speaker 3: He just hung out with everybody. So that was just

895
00:45:55,560 --> 00:45:55,759
Speaker 3: the thing.

896
00:45:55,840 --> 00:45:59,239
Speaker 1: Do I'm gonna go to Queens Ridge Project? Yeah, But

897
00:45:59,800 --> 00:46:01,600
Speaker 1: that's why I had to move because you know a

898
00:46:01,640 --> 00:46:04,920
Speaker 1: few females would do that too, and they would get violated.

899
00:46:05,000 --> 00:46:06,279
Speaker 1: So I was like, let me move at it because

900
00:46:06,280 --> 00:46:09,719
Speaker 1: I want to be responsible. R oh, I know, I

901
00:46:09,800 --> 00:46:14,640
Speaker 1: thank you to him. Come on, man, that was happening

902
00:46:14,680 --> 00:46:16,080
Speaker 1: too much. So I was like, you know, let me

903
00:46:16,440 --> 00:46:19,279
Speaker 1: I got to get up out of here. Okay, So

904
00:46:19,520 --> 00:46:24,080
Speaker 1: are you still going to proper studios to do the

905
00:46:24,160 --> 00:46:27,400
Speaker 1: pre production and coming into your crib to know it's

906
00:46:27,480 --> 00:46:29,359
Speaker 1: right in the living room in Queen's Bridge.

907
00:46:29,120 --> 00:46:31,720
Speaker 3: With a task him with the assume.

908
00:46:31,719 --> 00:46:35,239
Speaker 1: At this point, the SB twelve, the infamous reel the

909
00:46:35,320 --> 00:46:40,120
Speaker 1: real or you're the real? Yeah, like how many outlets

910
00:46:40,200 --> 00:46:42,960
Speaker 1: did you have to like it? Because I was.

911
00:46:43,040 --> 00:46:44,040
Speaker 3: Electricity go out?

912
00:46:44,320 --> 00:46:44,520
Speaker 4: Nah?

913
00:46:44,640 --> 00:46:45,080
Speaker 3: NOA it was.

914
00:46:45,160 --> 00:46:47,799
Speaker 1: It was pretty cool. I mean it sounds like a lot.

915
00:46:48,160 --> 00:46:51,839
Speaker 1: I had a shabby, shitty little studio and made all

916
00:46:51,880 --> 00:46:54,600
Speaker 1: those records. It sounds like yo, when you hear the records,

917
00:46:54,600 --> 00:46:57,440
Speaker 1: they sound so big and elaborate. But dude, I was

918
00:46:57,440 --> 00:47:00,359
Speaker 1: sitting there on like a shitty ester. Quick, you say,

919
00:47:00,440 --> 00:47:03,279
Speaker 1: nobody beat some business was just just that was some

920
00:47:04,200 --> 00:47:05,960
Speaker 1: some mcguira miracle like that.

921
00:47:06,000 --> 00:47:07,440
Speaker 3: Wasn't It wasn't a miracle.

922
00:47:07,520 --> 00:47:09,759
Speaker 1: But the way I would make records, I mean, come on,

923
00:47:09,960 --> 00:47:12,400
Speaker 1: I'm triggering from an eight a eight the post from

924
00:47:12,440 --> 00:47:15,000
Speaker 1: the eight away is triggering each sample is separately. I

925
00:47:15,000 --> 00:47:17,600
Speaker 1: didn't have a twelve hundred yeat. This is before twelve hundreds.

926
00:47:18,040 --> 00:47:21,200
Speaker 1: They didn't even have twelve hundred. Yeah, I'm sampling drums

927
00:47:21,440 --> 00:47:23,880
Speaker 1: before they even made twelve hundreds to do that. So

928
00:47:24,280 --> 00:47:27,760
Speaker 1: I got I got three samplers here with trigger inputs

929
00:47:27,800 --> 00:47:29,960
Speaker 1: on the back the times, the low times, in the

930
00:47:30,000 --> 00:47:32,560
Speaker 1: high times, just triggering my drum sounds. And I'm using

931
00:47:32,600 --> 00:47:34,200
Speaker 1: a regular eight a weight from the eighth eight and

932
00:47:34,280 --> 00:47:36,440
Speaker 1: a regular high from the hot eight O eight, but

933
00:47:36,600 --> 00:47:37,680
Speaker 1: those are my drum sounds.

934
00:47:37,719 --> 00:47:39,520
Speaker 3: Those three samplers was triggering.

935
00:47:39,560 --> 00:47:42,400
Speaker 1: So it was kind of like mcgiverish because yeah, they

936
00:47:42,440 --> 00:47:44,640
Speaker 1: didn't have that technology, right, I kind of like me,

937
00:47:44,840 --> 00:47:48,040
Speaker 1: I thought of it. So you and Grandmaster Flash. Grandmaster Flash, like,

938
00:47:48,239 --> 00:47:51,160
Speaker 1: I want to, you know, invent a system that lets

939
00:47:51,200 --> 00:47:53,320
Speaker 1: me hear the music before I'm DJing it, and you

940
00:47:53,600 --> 00:47:56,840
Speaker 1: are I want to. I want to you're inventing triggering

941
00:47:56,960 --> 00:48:00,400
Speaker 1: without the idea of triggering, right, I'm inventing twelve hundreds

942
00:48:00,400 --> 00:48:02,799
Speaker 1: and the whole the whole software program or how they're

943
00:48:02,800 --> 00:48:05,560
Speaker 1: doing it, probably before it was even made, because nobody

944
00:48:06,680 --> 00:48:08,960
Speaker 1: the twelve the twelve s P twelve came out after that.

945
00:48:10,800 --> 00:48:13,920
Speaker 1: I thought you did that on a twelve No, no, okay.

946
00:48:14,040 --> 00:48:18,600
Speaker 1: So what was your Ben Franklin Eureka moment? Because I

947
00:48:18,680 --> 00:48:22,280
Speaker 1: think our listeners should know that more than any producer,

948
00:48:23,480 --> 00:48:27,680
Speaker 1: you're the one that figured it out a way to

949
00:48:27,920 --> 00:48:31,560
Speaker 1: take what's on a record and put it through technology

950
00:48:31,680 --> 00:48:35,560
Speaker 1: so that we could wrap over that instead without you know,

951
00:48:35,840 --> 00:48:37,840
Speaker 1: without DJ going back and forth of all the stuff.

952
00:48:37,880 --> 00:48:40,680
Speaker 1: So like, what was your what was your Eureka moment?

953
00:48:40,800 --> 00:48:44,080
Speaker 1: Like wait, I can do that. One day we was

954
00:48:44,160 --> 00:48:47,600
Speaker 1: working at Unique and I was like trying to sample

955
00:48:47,680 --> 00:48:50,240
Speaker 1: something else, and I think the snare went through by mistake,

956
00:48:50,360 --> 00:48:52,439
Speaker 1: and I was like rocking the snare with the beat,

957
00:48:52,880 --> 00:48:55,839
Speaker 1: and I'm like, that shit sound hot right there. Turn

958
00:48:55,880 --> 00:48:57,839
Speaker 1: the other one down. Turn that shit, turn original down,

959
00:48:57,920 --> 00:49:01,839
Speaker 1: turn out, turn that line drum down. I'm playing playing

960
00:49:01,880 --> 00:49:03,680
Speaker 1: what I was doing with the with the beat. It

961
00:49:03,760 --> 00:49:05,320
Speaker 1: sounded so much better. I was like, yo, could we

962
00:49:05,360 --> 00:49:06,960
Speaker 1: put this on track? And I put it on track

963
00:49:07,040 --> 00:49:10,520
Speaker 1: and I sat there. I was like, hold up, this

964
00:49:10,719 --> 00:49:13,520
Speaker 1: means I could take any record I have at home,

965
00:49:13,640 --> 00:49:18,200
Speaker 1: any kick snare, make my own pattern with their kicking sneer.

966
00:49:19,840 --> 00:49:24,239
Speaker 1: I think I never interned anymore after that day. I

967
00:49:24,360 --> 00:49:27,239
Speaker 1: think that was my last day of internship. I think

968
00:49:27,320 --> 00:49:30,000
Speaker 1: I never returned. I returned as Mally Mal later to

969
00:49:30,040 --> 00:49:32,560
Speaker 1: do mixes and be famous, but I was never intern

970
00:49:32,680 --> 00:49:34,880
Speaker 1: no more after that. Okay, so you run home with

971
00:49:35,000 --> 00:49:37,120
Speaker 1: the equipment, or you run into your own equipment. I

972
00:49:37,200 --> 00:49:39,439
Speaker 1: went home. I went around the corner to sam Ash

973
00:49:39,520 --> 00:49:43,160
Speaker 1: and brought little two little samplers. Like I'm thinking back then,

974
00:49:43,360 --> 00:49:46,440
Speaker 1: this is super expensive and hard to acquire. No, they

975
00:49:46,520 --> 00:49:48,799
Speaker 1: had little samplers for guitar players back in the day.

976
00:49:48,840 --> 00:49:50,200
Speaker 1: You know how they got there. You could play along

977
00:49:50,239 --> 00:49:52,120
Speaker 1: with it and play right, right, something they plays a

978
00:49:52,160 --> 00:49:54,080
Speaker 1: little thing, they play along with it, right, That's what

979
00:49:54,200 --> 00:49:54,920
Speaker 1: it was back then.

980
00:49:55,120 --> 00:49:56,080
Speaker 3: I had a sampler like that.

981
00:49:56,280 --> 00:49:59,120
Speaker 1: First I had a trigger on it, and I figured

982
00:49:59,120 --> 00:50:02,120
Speaker 1: I could put sound from the record in there and

983
00:50:02,239 --> 00:50:09,320
Speaker 1: trigger it. I ever wanted to know, okay, okay, And

984
00:50:09,400 --> 00:50:11,399
Speaker 1: so these records you were recording, still at your crib,

985
00:50:11,600 --> 00:50:15,040
Speaker 1: still at the crib, my matter fact, my first real

986
00:50:15,120 --> 00:50:18,040
Speaker 1: sampler was that was a little box that was this

987
00:50:18,160 --> 00:50:20,880
Speaker 1: for guitar player that then you know they have the

988
00:50:20,960 --> 00:50:23,080
Speaker 1: loops on it. Yeah, the thing that you do, the

989
00:50:23,120 --> 00:50:25,920
Speaker 1: little cork box little thing. That was my first sampler.

990
00:50:25,960 --> 00:50:28,320
Speaker 1: But I bought one with a trigger on it because

991
00:50:28,320 --> 00:50:31,800
Speaker 1: I already was working at Unique and I used to see, oh, trigger,

992
00:50:31,880 --> 00:50:33,000
Speaker 1: everybody's trigger happy.

993
00:50:33,400 --> 00:50:35,200
Speaker 3: The post is popping everything off in here.

994
00:50:35,480 --> 00:50:37,040
Speaker 1: Hold, if I could get a sample that pulls to

995
00:50:37,080 --> 00:50:39,080
Speaker 1: pop off too, I could put what I want in

996
00:50:39,160 --> 00:50:40,880
Speaker 1: there and it's gonna do what I wanted to do.

997
00:50:41,280 --> 00:50:43,040
Speaker 1: What was your first thing that you broke that you

998
00:50:43,080 --> 00:50:46,560
Speaker 1: were like, oh god, I've discovered a new way of

999
00:50:47,960 --> 00:50:50,480
Speaker 1: let me see, and was it Nobody Beats the Biz?

1000
00:50:50,760 --> 00:50:53,800
Speaker 1: Or it could have been Nobody Beats the Biz that

1001
00:50:54,040 --> 00:50:56,360
Speaker 1: they could have been that and and make the music.

1002
00:50:57,320 --> 00:50:59,920
Speaker 1: It was aund make the music time around me, because

1003
00:51:00,040 --> 00:51:02,760
Speaker 1: I remember I used to like that Isaac Case piano

1004
00:51:03,320 --> 00:51:06,480
Speaker 1: and when when I messed around and remembered how you

1005
00:51:06,560 --> 00:51:07,759
Speaker 1: know in hip hop they used to play it in

1006
00:51:07,880 --> 00:51:10,640
Speaker 1: forty five to make it have that certain tone, And

1007
00:51:10,719 --> 00:51:13,279
Speaker 1: I was like, if I could make that certain tone

1008
00:51:13,320 --> 00:51:16,520
Speaker 1: with my own beat, it would be phenomenal. And then

1009
00:51:16,960 --> 00:51:18,839
Speaker 1: once I made that, I kind of knew I was here.

1010
00:51:18,920 --> 00:51:21,440
Speaker 1: I was like, wow, that right there because I was

1011
00:51:21,520 --> 00:51:24,360
Speaker 1: able to take my own kicking, my own snare, go

1012
00:51:24,520 --> 00:51:27,480
Speaker 1: in the mic and go and make my own high hat.

1013
00:51:28,600 --> 00:51:31,759
Speaker 1: Wa wait wait wait wait wait wait wait wait wait what.

1014
00:51:35,680 --> 00:51:37,719
Speaker 3: What you just saying? Say that one more time?

1015
00:51:37,920 --> 00:51:39,880
Speaker 1: I was able to go to the samble and go

1016
00:51:40,840 --> 00:51:42,680
Speaker 1: in it and be able to play it back like

1017
00:51:42,760 --> 00:51:43,640
Speaker 1: a shaker.

1018
00:51:45,600 --> 00:51:45,960
Speaker 3: Ghetto.

1019
00:51:46,040 --> 00:51:47,080
Speaker 2: Come on, I have nothing.

1020
00:51:49,280 --> 00:51:54,839
Speaker 1: I've always wondered what that was, because the thing that's

1021
00:51:54,840 --> 00:51:56,440
Speaker 1: so Doba about it is that when we would do

1022
00:51:56,560 --> 00:51:59,080
Speaker 1: that beat like in the lunch room, that's how we.

1023
00:51:59,120 --> 00:52:02,040
Speaker 3: Were all do it the same way with my mouth.

1024
00:52:02,160 --> 00:52:04,359
Speaker 3: There you go. That's real quick.

1025
00:52:05,719 --> 00:52:06,960
Speaker 6: Oh my goodness.

1026
00:52:07,120 --> 00:52:18,840
Speaker 2: Wow, wow, yo, I want you I want to.

1027
00:52:19,800 --> 00:52:21,279
Speaker 3: That's not a want to.

1028
00:52:22,040 --> 00:52:24,879
Speaker 1: It isn't now that I know what it is. Wow,

1029
00:52:25,320 --> 00:52:26,359
Speaker 1: now that you hear it, now.

1030
00:52:26,360 --> 00:52:29,560
Speaker 3: That you know it's not like it wasn't the Dougie

1031
00:52:29,600 --> 00:52:32,600
Speaker 3: Fresh Shaker. Yeah, yeah, because that's exactly what it was.

1032
00:52:32,680 --> 00:52:32,879
Speaker 2: Yeah.

1033
00:52:33,880 --> 00:52:34,080
Speaker 1: Yeah.

1034
00:52:34,080 --> 00:52:36,320
Speaker 3: I was going to ask because I know when for

1035
00:52:36,440 --> 00:52:40,080
Speaker 3: the show with Teddy Riley, like, what was that.

1036
00:52:40,120 --> 00:52:43,640
Speaker 1: A DMX DMX because I have a DMX and it

1037
00:52:43,840 --> 00:52:49,359
Speaker 1: doesn't sound that wow, it's just like and I would

1038
00:52:49,360 --> 00:52:53,359
Speaker 1: try to tune it down. It doesn't sound that way

1039
00:52:54,160 --> 00:52:59,960
Speaker 1: off an email on. Yeah, but I figured after that

1040
00:53:00,160 --> 00:53:03,160
Speaker 1: record right there, I had it, and and to be honest,

1041
00:53:03,480 --> 00:53:07,000
Speaker 1: I kept my drum sounds in my samplers for about

1042
00:53:07,040 --> 00:53:07,319
Speaker 1: a week.

1043
00:53:07,719 --> 00:53:10,640
Speaker 3: I made about a week's worth of beats before it was.

1044
00:53:11,000 --> 00:53:13,440
Speaker 1: Yeah, but the bridge was one of them. Stunt of

1045
00:53:13,480 --> 00:53:16,440
Speaker 1: the Block was on Eric Beats, President Drums was one

1046
00:53:16,480 --> 00:53:19,040
Speaker 1: of them. So at that point I was like, I

1047
00:53:19,160 --> 00:53:22,200
Speaker 1: kept those drums sounds in. Was there a way to

1048
00:53:22,239 --> 00:53:25,600
Speaker 1: save it? I was saying cards right now, I had

1049
00:53:25,640 --> 00:53:27,879
Speaker 1: it on real, So I had on real. That's where

1050
00:53:27,880 --> 00:53:30,640
Speaker 1: the infamous reel. Okay, infamous reel was my hard job.

1051
00:53:30,719 --> 00:53:32,960
Speaker 1: We got to talk about him, Piace the President, We

1052
00:53:33,080 --> 00:53:39,040
Speaker 1: gotta talk about him. Piece the President. I know Munch

1053
00:53:39,120 --> 00:53:43,600
Speaker 1: has been said about like the importance of funky drummers placing.

1054
00:53:43,320 --> 00:53:46,080
Speaker 3: The panfe the President is the greatest break meet up.

1055
00:53:46,160 --> 00:53:48,760
Speaker 1: But yeah, I do feel that in Peace to President

1056
00:53:49,040 --> 00:53:54,799
Speaker 1: is probably the common man's break beat. First of all,

1057
00:53:55,120 --> 00:53:58,480
Speaker 1: ultimate beats and breaks wasn't out yet, right, So thus,

1058
00:54:00,960 --> 00:54:01,920
Speaker 1: how did you run across?

1059
00:54:01,960 --> 00:54:03,759
Speaker 3: And was it just like a source record that you

1060
00:54:03,800 --> 00:54:05,359
Speaker 3: were like, this will do well.

1061
00:54:05,560 --> 00:54:08,879
Speaker 1: I got it. I got my version, my forty five. Yeah,

1062
00:54:08,880 --> 00:54:15,160
Speaker 1: I saw Aaron Fuchs. Wow. Now see, I gotta be

1063
00:54:15,239 --> 00:54:18,279
Speaker 1: careful because he's bunked a few shots at me.

1064
00:54:19,040 --> 00:54:21,480
Speaker 3: I know about with him peach. But he gave me

1065
00:54:21,520 --> 00:54:23,239
Speaker 3: it because what happened. He gave it to you.

1066
00:54:23,680 --> 00:54:25,880
Speaker 1: Listen. I used to This is when I lived in

1067
00:54:25,960 --> 00:54:29,560
Speaker 1: Queen's Bridge on Vernon Tough City Records was on Vernon Boulevard,

1068
00:54:30,080 --> 00:54:34,840
Speaker 1: Queens in Long Island City, like a few blocks down, okay,

1069
00:54:35,040 --> 00:54:37,160
Speaker 1: and you know, and you know, and I was just

1070
00:54:37,239 --> 00:54:38,960
Speaker 1: coming up and he's like, look, I want you to

1071
00:54:39,239 --> 00:54:41,040
Speaker 1: go in the studio with spoony G. I can't really

1072
00:54:41,080 --> 00:54:42,840
Speaker 1: pay you, but I could give you a handful of

1073
00:54:42,920 --> 00:54:45,560
Speaker 1: forty fives. Now you got to think about it. Aaron

1074
00:54:45,640 --> 00:54:47,920
Speaker 1: Fuchs was the editor god You did the Godfather.

1075
00:54:48,000 --> 00:54:51,320
Speaker 3: That's what I'm trying to tell you. I thought that

1076
00:54:51,960 --> 00:54:54,600
Speaker 3: you did that. Yeah, I did The Godfather, right.

1077
00:54:55,280 --> 00:54:56,560
Speaker 1: Here's The Godfather by Spoony G.

1078
00:54:56,760 --> 00:54:56,880
Speaker 2: Yes.

1079
00:54:57,239 --> 00:55:00,359
Speaker 3: Yeah, I'm sorry, I'm right now, and take it off.

1080
00:55:01,080 --> 00:55:01,719
Speaker 3: Of course he did.

1081
00:55:01,840 --> 00:55:02,000
Speaker 2: Yeah.

1082
00:55:02,080 --> 00:55:04,759
Speaker 1: Yeah, So when I was doing those records, he didn't

1083
00:55:04,760 --> 00:55:06,200
Speaker 1: have money to pay me, so he would say, hey,

1084
00:55:06,560 --> 00:55:08,959
Speaker 1: since he was the editor of Billboard for funking soul

1085
00:55:09,040 --> 00:55:12,160
Speaker 1: in the sixties, so you're ready to know his record collection.

1086
00:55:14,320 --> 00:55:15,520
Speaker 3: So he would always say, I.

1087
00:55:15,560 --> 00:55:17,640
Speaker 1: Got a handful of forty fives for your here. And

1088
00:55:17,719 --> 00:55:20,160
Speaker 1: there was so many rarities and that shit. Every time

1089
00:55:20,480 --> 00:55:22,160
Speaker 1: I was like, okay, let me go make a record

1090
00:55:22,200 --> 00:55:24,439
Speaker 1: for him and get his break beats break, he paid

1091
00:55:24,440 --> 00:55:27,880
Speaker 1: me with no forty fives, bro and piece to President

1092
00:55:27,920 --> 00:55:31,040
Speaker 1: happened to be one of them. The irony of everything

1093
00:55:31,160 --> 00:55:33,080
Speaker 1: is that he was the person that gave me a

1094
00:55:33,160 --> 00:55:35,480
Speaker 1: piece to President on a trade like that, and was

1095
00:55:35,560 --> 00:55:37,360
Speaker 1: later to come back and sue.

1096
00:55:40,280 --> 00:55:43,839
Speaker 3: For using that very break He gave me Wow, okay,

1097
00:55:44,080 --> 00:55:44,759
Speaker 3: what is yours?

1098
00:55:45,719 --> 00:55:46,000
Speaker 1: Okay?

1099
00:55:46,400 --> 00:55:48,800
Speaker 3: I had a situation where.

1100
00:55:50,400 --> 00:55:53,279
Speaker 1: All right, I gotta be very careful because some certain

1101
00:55:53,320 --> 00:55:58,480
Speaker 1: people were very regitious with what do you mean by

1102
00:55:58,600 --> 00:56:03,640
Speaker 1: certain people? Exactly? That's that's exactly how he approached me

1103
00:56:03,719 --> 00:56:05,960
Speaker 1: to like, what do you mean leeches.

1104
00:56:06,120 --> 00:56:06,160
Speaker 4: No.

1105
00:56:07,440 --> 00:56:12,040
Speaker 1: At the time, there was a situation with where jay

1106
00:56:12,120 --> 00:56:16,520
Speaker 1: Z and Kanye west otis in which we all know

1107
00:56:16,680 --> 00:56:21,480
Speaker 1: that Kanye ends the rhyme with Jay is chilling. Yeah,

1108
00:56:21,600 --> 00:56:22,040
Speaker 1: that's right.

1109
00:56:22,160 --> 00:56:23,680
Speaker 3: He did come after him for that, right.

1110
00:56:24,080 --> 00:56:29,320
Speaker 1: And you know from what I know is that he

1111
00:56:30,760 --> 00:56:36,839
Speaker 1: approached h What's light in Milk's Father's na They were like, yo,

1112
00:56:37,400 --> 00:56:39,239
Speaker 1: he's quoting our song.

1113
00:56:39,400 --> 00:56:40,000
Speaker 2: Go get him.

1114
00:56:40,160 --> 00:56:41,960
Speaker 1: And they were like, well, no, it's just an homage.

1115
00:56:42,120 --> 00:56:44,680
Speaker 1: Like it's not we don't consider it biting. It's just

1116
00:56:44,719 --> 00:56:47,400
Speaker 1: an homage. At the end of at the end of

1117
00:56:47,440 --> 00:56:51,040
Speaker 1: the day, I hear that the amount was somewhere close

1118
00:56:51,080 --> 00:56:53,920
Speaker 1: to two million. My thing is that the very thing

1119
00:56:54,080 --> 00:56:58,440
Speaker 1: and this probably extends to me and Boss Bill's argument

1120
00:56:59,120 --> 00:57:05,200
Speaker 1: about amens versus body on that one, I'm as versus biting, uh.

1121
00:57:05,480 --> 00:57:06,479
Speaker 3: Stealing somebody style.

1122
00:57:06,600 --> 00:57:10,640
Speaker 1: Well, yeah, it's like for me, a person like George

1123
00:57:10,680 --> 00:57:13,439
Speaker 1: Clinton has it where it's like he gives you great

1124
00:57:13,600 --> 00:57:17,640
Speaker 1: rates to take his stuff, and then you keep coming.

1125
00:57:17,440 --> 00:57:23,160
Speaker 3: Back for more. Right, keep the keep the prices in

1126
00:57:23,160 --> 00:57:24,440
Speaker 3: the streets, and everybody come back.

1127
00:57:24,840 --> 00:57:29,080
Speaker 1: The problem the situation with with Aaron Fuchs is that

1128
00:57:30,080 --> 00:57:33,000
Speaker 1: he acquired the rights to impeach the president and then

1129
00:57:33,080 --> 00:57:36,520
Speaker 1: he just went law suit crazy. Now I noticed that

1130
00:57:37,120 --> 00:57:40,200
Speaker 1: all these seven figure lawsuits were always aimed the deaf JAM.

1131
00:57:41,040 --> 00:57:44,560
Speaker 1: So I don't know if maybe he has a beef

1132
00:57:44,560 --> 00:57:49,200
Speaker 1: with Russell or yeah, because like certain and pre president

1133
00:57:49,320 --> 00:57:52,600
Speaker 1: usage got on, you know, he let it slide, but

1134
00:57:52,720 --> 00:57:55,280
Speaker 1: with def Jam it was like one million, one million,

1135
00:57:55,440 --> 00:58:00,479
Speaker 1: one million, one million budget. Probably. Yeah, what is your feeling,

1136
00:58:00,560 --> 00:58:03,720
Speaker 1: I mean, especially in twenty sixteen in which I feel

1137
00:58:03,760 --> 00:58:06,760
Speaker 1: as though we need more and beats the president, right

1138
00:58:07,560 --> 00:58:09,320
Speaker 1: unless and I'm not I don't want to be that

1139
00:58:09,440 --> 00:58:12,640
Speaker 1: guy that's like discouraging the future marlies of the world

1140
00:58:12,720 --> 00:58:14,840
Speaker 1: to not push forward technology.

1141
00:58:15,040 --> 00:58:15,440
Speaker 3: Right, But.

1142
00:58:17,080 --> 00:58:20,320
Speaker 1: If everyone is just trying to cash in on laying

1143
00:58:20,360 --> 00:58:22,160
Speaker 1: a trap, I feel like it's laying a trap. Right,

1144
00:58:22,400 --> 00:58:24,680
Speaker 1: I'm gonna take I'm gonna take the most popular breakbeat

1145
00:58:24,880 --> 00:58:27,760
Speaker 1: right and sue you if you use it. I'm gonna

1146
00:58:27,760 --> 00:58:30,560
Speaker 1: give it to the most popular producer, let him use it,

1147
00:58:30,680 --> 00:58:32,480
Speaker 1: get it hot in the streets. Then I'm gonna go

1148
00:58:33,000 --> 00:58:36,080
Speaker 1: get the rights to it and sue every motherfucker that

1149
00:58:36,280 --> 00:58:39,560
Speaker 1: use so And that's what happened.

1150
00:58:39,880 --> 00:58:43,560
Speaker 3: What is he is he just living off of I

1151
00:58:43,640 --> 00:58:47,840
Speaker 3: mean the theme the scrubs? Like, no, I think that.

1152
00:58:48,000 --> 00:58:50,040
Speaker 1: You know, he looks at it as his business. You know,

1153
00:58:50,160 --> 00:58:52,320
Speaker 1: somebody's got to do it, you know, I feel his way,

1154
00:58:52,400 --> 00:58:54,800
Speaker 1: that's his way. I'm just to me, he's looking at

1155
00:58:54,840 --> 00:58:56,680
Speaker 1: it as business. You know what. It's like, that's the

1156
00:58:56,800 --> 00:59:01,480
Speaker 1: story of like music, like paying chess artists with cadillacs

1157
00:59:01,560 --> 00:59:03,600
Speaker 1: and now look at it, you know what.

1158
00:59:03,640 --> 00:59:04,200
Speaker 3: It's kind of like.

1159
00:59:04,480 --> 00:59:07,360
Speaker 1: It's kind of like when the whole bubble bursted with

1160
00:59:07,480 --> 00:59:10,000
Speaker 1: sampling itself, when they found out that you could make

1161
00:59:10,080 --> 00:59:13,680
Speaker 1: money off assuing everybody, everybody went buck wow. At first,

1162
00:59:13,760 --> 00:59:15,840
Speaker 1: it was like, you know, yeah, we're just doing it

1163
00:59:15,880 --> 00:59:17,479
Speaker 1: because it sounds hot or whatever whatever.

1164
00:59:17,840 --> 00:59:19,440
Speaker 3: We're not even really thinking about it like that.

1165
00:59:20,000 --> 00:59:22,040
Speaker 1: Once somebody figured it out that yo, you could get

1166
00:59:22,080 --> 00:59:25,320
Speaker 1: sue for that, everybody went buck wow. It became a business,

1167
00:59:25,640 --> 00:59:26,760
Speaker 1: and that kind of fucked.

1168
00:59:26,560 --> 00:59:29,200
Speaker 3: The music up. Everybody started using doing keyboards, right.

1169
00:59:30,680 --> 00:59:33,000
Speaker 6: Is it fairer if it's going back to the arts.

1170
00:59:33,000 --> 00:59:35,240
Speaker 6: Is that the problem is that the people most times

1171
00:59:35,320 --> 00:59:37,800
Speaker 6: the breakbeats or whoever originally owns it, it's not going

1172
00:59:37,840 --> 00:59:39,960
Speaker 6: back to that person who really made the music. Is

1173
00:59:40,040 --> 00:59:40,760
Speaker 6: that the problem?

1174
00:59:41,200 --> 00:59:44,480
Speaker 1: If he were about like making sure the honey drippers

1175
00:59:44,840 --> 00:59:45,480
Speaker 1: were straight?

1176
00:59:45,880 --> 00:59:46,000
Speaker 7: Right?

1177
00:59:46,720 --> 00:59:49,360
Speaker 1: Like a good example now is the most one of

1178
00:59:49,400 --> 00:59:52,480
Speaker 1: the most popular comedy shows on right now today the

1179
00:59:53,720 --> 00:59:59,919
Speaker 1: Workaholics their theme songs, Yeah, skinny Boys, human job box.

1180
01:00:00,760 --> 01:00:05,040
Speaker 1: Like none of those guys are They're not even aware

1181
01:00:05,200 --> 01:00:07,880
Speaker 1: that there is a subculture of comedy now that like

1182
01:00:07,960 --> 01:00:11,760
Speaker 1: when I spend that song now, like any millennials losing

1183
01:00:11,760 --> 01:00:15,160
Speaker 1: their minds because they're thinking, I'm spending the work the

1184
01:00:15,240 --> 01:00:18,200
Speaker 1: Workaholics team, like, oh, this is a real song. And

1185
01:00:18,280 --> 01:00:20,800
Speaker 1: once I did the investigation, like none of those guys are.

1186
01:00:20,880 --> 01:00:23,919
Speaker 1: They sold their publishing and it's just like it's one

1187
01:00:23,960 --> 01:00:25,960
Speaker 1: guy that's like just getting rich off the work of

1188
01:00:25,960 --> 01:00:26,560
Speaker 1: Aholics team.

1189
01:00:27,040 --> 01:00:28,960
Speaker 6: So then that's the case. So if it was directly

1190
01:00:29,000 --> 01:00:30,800
Speaker 6: the artist, you would feel a little differently about it.

1191
01:00:31,480 --> 01:00:33,040
Speaker 6: Marvin Gaye was alive, so.

1192
01:00:33,440 --> 01:00:35,720
Speaker 1: Yeah, but I meant, do you feel paranoid because the

1193
01:00:35,800 --> 01:00:43,560
Speaker 1: thing is that your drums have single handedly fed and

1194
01:00:43,840 --> 01:00:49,440
Speaker 1: up the game of hip hop between eighty five and

1195
01:00:49,560 --> 01:00:52,440
Speaker 1: eighty seven and still to this day, Like that is

1196
01:00:52,760 --> 01:00:55,800
Speaker 1: you building those drums? Like how do you feel about it?

1197
01:00:55,920 --> 01:00:56,040
Speaker 2: Now?

1198
01:00:56,480 --> 01:00:58,920
Speaker 3: I feel? And is he trying to come? Has he

1199
01:00:59,000 --> 01:00:59,840
Speaker 3: ever tried to come to you?

1200
01:01:00,240 --> 01:01:00,400
Speaker 8: Four?

1201
01:01:01,240 --> 01:01:04,920
Speaker 3: Just snares and high hats and nah, that's.

1202
01:01:04,840 --> 01:01:08,560
Speaker 1: One thing that you can notice when you when you

1203
01:01:08,640 --> 01:01:11,200
Speaker 1: just have a kick or a snare from it, he

1204
01:01:11,280 --> 01:01:13,240
Speaker 1: doesn't go at you. Kind of I'm just maybe I'm

1205
01:01:13,320 --> 01:01:16,080
Speaker 1: letting some out the bag. But I noticed whenever it's

1206
01:01:18,080 --> 01:01:20,880
Speaker 1: he getting you. But if it's like god, right, just

1207
01:01:20,920 --> 01:01:23,760
Speaker 1: a straight up snare, right, He's like, oh, you can't

1208
01:01:23,800 --> 01:01:25,360
Speaker 1: really prove it the way he could prove a loop.

1209
01:01:26,120 --> 01:01:27,760
Speaker 1: How did y'all put up settling?

1210
01:01:28,680 --> 01:01:31,360
Speaker 3: I mean without money? Whatever? Details? Did y'all end up

1211
01:01:31,360 --> 01:01:32,120
Speaker 3: settling the round the way?

1212
01:01:32,200 --> 01:01:32,400
Speaker 1: Girl?

1213
01:01:32,560 --> 01:01:32,600
Speaker 6: No?

1214
01:01:32,840 --> 01:01:33,360
Speaker 3: I paid him.

1215
01:01:33,400 --> 01:01:35,040
Speaker 1: I paid him. It was like a settlement and he

1216
01:01:35,080 --> 01:01:37,320
Speaker 1: got like a one time payment and kept it moving.

1217
01:01:38,520 --> 01:01:40,240
Speaker 1: I believe it. I believe that's how it went.

1218
01:01:44,600 --> 01:01:44,960
Speaker 3: All right.

1219
01:01:45,160 --> 01:01:49,320
Speaker 1: So this leads to the infamous real and yes, and

1220
01:01:49,520 --> 01:01:53,320
Speaker 1: you're you're what I call the not the manum from heaven.

1221
01:01:53,400 --> 01:01:56,560
Speaker 1: But the two loads of fishing five pieces of bread

1222
01:01:56,680 --> 01:01:59,320
Speaker 1: or is it five pieces of fishing, two loads of bread,

1223
01:01:59,640 --> 01:02:05,040
Speaker 1: fishing five loves? Yeah, So so because you're not saving

1224
01:02:05,520 --> 01:02:09,600
Speaker 1: these sounds on disc. No disc was here yet, because

1225
01:02:09,600 --> 01:02:12,640
Speaker 1: there wasn't no way of saving. There was nothing digital yet.

1226
01:02:13,160 --> 01:02:15,840
Speaker 1: They didn't have floppy disc for our samples yet because

1227
01:02:15,840 --> 01:02:18,400
Speaker 1: there was no twelve hundred yet. Right, So what I

1228
01:02:18,440 --> 01:02:21,720
Speaker 1: would do is put my drum sounds on a reel,

1229
01:02:22,000 --> 01:02:26,160
Speaker 1: put like one kickbar and then leader, the next snaire,

1230
01:02:26,320 --> 01:02:32,320
Speaker 1: co leader, the next kick, boom, high hats whatever. I

1231
01:02:32,400 --> 01:02:35,320
Speaker 1: had all my reels, all my sounds on one reel,

1232
01:02:36,120 --> 01:02:37,360
Speaker 1: and you know, that's how I used to go around.

1233
01:02:37,360 --> 01:02:39,120
Speaker 3: I used to go with the artists. We used to

1234
01:02:39,160 --> 01:02:40,000
Speaker 3: sit there with the reel.

1235
01:02:40,280 --> 01:02:41,120
Speaker 1: What kick you want to use?

1236
01:02:41,200 --> 01:02:41,480
Speaker 2: Boom?

1237
01:02:41,720 --> 01:02:42,440
Speaker 3: But I like that.

1238
01:02:43,560 --> 01:02:45,640
Speaker 1: I like that, and that's how to make it for real. Yeah,

1239
01:02:45,680 --> 01:02:49,200
Speaker 1: that's has to sit down, sit down with them. He customized,

1240
01:02:49,640 --> 01:02:50,880
Speaker 1: like we gotta start doing that.

1241
01:02:52,520 --> 01:02:53,160
Speaker 2: I think we do that.

1242
01:02:54,240 --> 01:02:55,760
Speaker 1: Yeah, you do that, you play like you like that

1243
01:02:55,880 --> 01:02:57,680
Speaker 1: and you know you play certain things. But I was

1244
01:02:57,760 --> 01:03:00,480
Speaker 1: just playing drum sounds for them, not even loops, just

1245
01:03:00,800 --> 01:03:04,080
Speaker 1: godd shoo, that's not Oh. Then I would sit there,

1246
01:03:04,320 --> 01:03:07,280
Speaker 1: blow those in, make a quick beat, put put a

1247
01:03:07,560 --> 01:03:11,280
Speaker 1: put whatever to it, and then let them rhyme. Put

1248
01:03:11,320 --> 01:03:13,439
Speaker 1: the put the snare in the high hat on one track,

1249
01:03:13,520 --> 01:03:16,120
Speaker 1: put the kick in the baseline on the other track,

1250
01:03:16,240 --> 01:03:18,640
Speaker 1: put the rhymes on one track, and sampling on the

1251
01:03:18,880 --> 01:03:20,640
Speaker 1: other fourth track, and we got a record.

1252
01:03:20,760 --> 01:03:20,920
Speaker 4: Man.

1253
01:03:21,360 --> 01:03:21,640
Speaker 3: Okay.

1254
01:03:21,920 --> 01:03:27,240
Speaker 1: Now with that said, I gotta ask you, when you

1255
01:03:27,360 --> 01:03:36,960
Speaker 1: hear this intro, what are you thinking on? For years

1256
01:03:37,520 --> 01:03:41,240
Speaker 1: it never dawned on me. I don't know why. For

1257
01:03:41,440 --> 01:03:44,000
Speaker 1: some reason, I kind of like blocked that record out

1258
01:03:44,040 --> 01:03:49,960
Speaker 1: of my psychic for like years. Probably no, it never

1259
01:03:50,080 --> 01:03:53,200
Speaker 1: nothing that it. They have existed. I probably never listened

1260
01:03:53,240 --> 01:03:56,160
Speaker 1: to it. I heard it, but didn't listen to it.

1261
01:03:56,640 --> 01:03:58,400
Speaker 1: If you know what I mean, It is possible to

1262
01:03:58,520 --> 01:04:02,920
Speaker 1: ignore something and be willfully ignorant. Like there's one particular

1263
01:04:03,000 --> 01:04:06,400
Speaker 1: artist in hip hop I can honestly say I've never

1264
01:04:06,640 --> 01:04:09,160
Speaker 1: even I mean, this is like a Bonafi. Everybody in

1265
01:04:09,160 --> 01:04:12,880
Speaker 1: their mother loves this product. I haven't heard it once

1266
01:04:13,000 --> 01:04:15,840
Speaker 1: like I will. So as far as you're concerned, right,

1267
01:04:16,680 --> 01:04:20,640
Speaker 1: criminal minded just never existed. No, I'm that record right there,

1268
01:04:20,680 --> 01:04:28,280
Speaker 1: We're talking that record South Bronx well the Bridges Over.

1269
01:04:28,360 --> 01:04:31,960
Speaker 1: When when Bridges Over came out, I was like, I

1270
01:04:32,080 --> 01:04:35,760
Speaker 1: heard it, but I didn't, you know, it didn't. It didn't.

1271
01:04:36,040 --> 01:04:36,440
Speaker 3: It didn't.

1272
01:04:37,680 --> 01:04:39,600
Speaker 1: It didn't hit me like that was my drum sound.

1273
01:04:40,800 --> 01:04:42,680
Speaker 1: It didn't hit me like that because I kind of like.

1274
01:04:45,320 --> 01:04:46,000
Speaker 3: To be honest.

1275
01:04:46,200 --> 01:04:48,960
Speaker 1: To be honest, I never thought that, Like when Chris

1276
01:04:49,200 --> 01:04:51,840
Speaker 1: first came at us, I was like, now, who's stupid

1277
01:04:51,920 --> 01:04:57,360
Speaker 1: enough to I was like, Yo, who's stupid enough to

1278
01:04:57,400 --> 01:05:01,200
Speaker 1: believe this dude? Who's stupid enough to believe that he's

1279
01:05:01,200 --> 01:05:03,280
Speaker 1: saying that we said something we didn't say. Who's that

1280
01:05:03,440 --> 01:05:06,800
Speaker 1: dumb to believe this motherfucker? And I was like, That's

1281
01:05:06,840 --> 01:05:09,360
Speaker 1: when I realized, Yo, hip hop dumb it in the motherfucker.

1282
01:05:11,040 --> 01:05:14,960
Speaker 1: I was like, God, damn, who's yo? When he first came,

1283
01:05:15,000 --> 01:05:16,800
Speaker 1: I was like, Yo, who's gonna believe this dude? We

1284
01:05:16,880 --> 01:05:19,920
Speaker 1: never said that? And we the motherfucker Juice Crew because

1285
01:05:19,960 --> 01:05:23,160
Speaker 1: we got Kinge g Rap So and so nigga who

1286
01:05:23,280 --> 01:05:24,400
Speaker 1: gonna believe that ship?

1287
01:05:25,720 --> 01:05:27,280
Speaker 3: And we and then everybody.

1288
01:05:27,640 --> 01:05:30,120
Speaker 1: I was like, God, this nigga's a good, good con

1289
01:05:30,600 --> 01:05:33,640
Speaker 1: He caught ya niggas, he caught a lot of motherfuckers.

1290
01:05:33,960 --> 01:05:36,600
Speaker 1: My assumption was that it was something deeper than just

1291
01:05:37,280 --> 01:05:41,280
Speaker 1: him defending behind the Bronx. Anybody wasn't from the Bronx.

1292
01:05:42,600 --> 01:05:44,920
Speaker 1: To see what I'm saying. He wasn't fron the Bee.

1293
01:05:45,000 --> 01:05:46,880
Speaker 1: So where is he from? He was from Brooklyn and

1294
01:05:47,120 --> 01:05:54,200
Speaker 1: the Homeless Shelter Christ is from and Skylar Rock was

1295
01:05:54,280 --> 01:05:57,240
Speaker 1: from the Bee. You get what I'm saying, Please explain?

1296
01:05:57,400 --> 01:05:59,000
Speaker 1: And I was like saying to mysel yo, who gonna

1297
01:05:59,000 --> 01:05:59,280
Speaker 1: believe this?

1298
01:05:59,400 --> 01:05:59,600
Speaker 2: Dude?

1299
01:05:59,680 --> 01:06:03,120
Speaker 1: But then but then I started really realizing that, you know,

1300
01:06:03,280 --> 01:06:07,200
Speaker 1: I started realizing that that common sense wasn't as common

1301
01:06:07,240 --> 01:06:10,920
Speaker 1: as I thought. And I was like, so I kind

1302
01:06:10,960 --> 01:06:12,880
Speaker 1: of after that, I kind of backed away from hip hop.

1303
01:06:13,080 --> 01:06:16,400
Speaker 1: I was like, oh, let me just sp but everything

1304
01:06:16,480 --> 01:06:18,720
Speaker 1: was already done. I backed the way, looked at it.

1305
01:06:19,360 --> 01:06:21,240
Speaker 1: I said, I know what I'm gonna do. We throw

1306
01:06:21,400 --> 01:06:25,440
Speaker 1: Let me throw cane on these niggas real quick. Got raw,

1307
01:06:26,280 --> 01:06:27,920
Speaker 1: you know what I'm saying. After raw, I was like, Yo,

1308
01:06:28,280 --> 01:06:31,400
Speaker 1: now I'm back. I felt good again about it, but

1309
01:06:31,440 --> 01:06:33,120
Speaker 1: I stepped back after while. So you felt as some

1310
01:06:33,200 --> 01:06:35,800
Speaker 1: sort of way between eighty five eighty sixcess, I felt

1311
01:06:35,800 --> 01:06:38,800
Speaker 1: I felt real, you know, I felt real crazy. I

1312
01:06:38,880 --> 01:06:40,680
Speaker 1: was like, Yo, how the fuck niggas believe this dude?

1313
01:06:41,360 --> 01:06:42,200
Speaker 1: And that's real talk.

1314
01:06:42,400 --> 01:06:47,800
Speaker 3: Why what happened? Like, oh, like play record, I.

1315
01:06:47,880 --> 01:06:49,640
Speaker 1: Tell you exactly what happened. He tried to get in

1316
01:06:49,680 --> 01:06:52,600
Speaker 1: the Juice crew up the day I lost lost my

1317
01:06:52,720 --> 01:06:56,400
Speaker 1: reel up at power Play. He they was they saw

1318
01:06:56,520 --> 01:06:59,160
Speaker 1: mister Magic and me in the studio with Shante. Please

1319
01:06:59,240 --> 01:07:02,520
Speaker 1: mister Magic, listen to our demo. Please please you Marlly man,

1320
01:07:02,560 --> 01:07:02,800
Speaker 1: come in.

1321
01:07:02,760 --> 01:07:04,600
Speaker 3: The room and come in the room with me.

1322
01:07:04,840 --> 01:07:06,680
Speaker 1: So I, hey, these niggas ship. So I was like,

1323
01:07:06,680 --> 01:07:07,920
Speaker 1: all right, I'll walk in the room with you. So

1324
01:07:07,920 --> 01:07:09,360
Speaker 1: I'll go in the room with him. It's like the

1325
01:07:09,400 --> 01:07:12,080
Speaker 1: Buggy Down production, all of them. They're in the room like, yo,

1326
01:07:12,160 --> 01:07:14,200
Speaker 1: please mister Magic, Oh thank you for coming in. Yo,

1327
01:07:14,320 --> 01:07:15,720
Speaker 1: this is a demo And they put it on and

1328
01:07:15,760 --> 01:07:18,040
Speaker 1: plat it loud on the room like this, jumping around.

1329
01:07:18,560 --> 01:07:20,919
Speaker 1: He goes. He goes off to the console and shut

1330
01:07:21,040 --> 01:07:25,960
Speaker 1: that ship down. She was bullshit, man, shut that in

1331
01:07:26,000 --> 01:07:27,520
Speaker 1: front of them, yo. He said that straight in front

1332
01:07:27,520 --> 01:07:28,520
Speaker 1: of this ship is straight. God.

1333
01:07:28,680 --> 01:07:30,400
Speaker 3: Do you remember what was it? A song that later

1334
01:07:30,520 --> 01:07:31,560
Speaker 3: came out? You remember what it was?

1335
01:07:31,640 --> 01:07:34,479
Speaker 1: I don't know. I probably never heard that ship again.

1336
01:07:34,760 --> 01:07:35,000
Speaker 2: You know what?

1337
01:07:35,680 --> 01:07:35,960
Speaker 3: You know what?

1338
01:07:36,720 --> 01:07:40,800
Speaker 1: All right, so peep it. They they they had like

1339
01:07:41,000 --> 01:07:43,440
Speaker 1: four or five songs like no no, no.

1340
01:07:43,560 --> 01:07:44,120
Speaker 2: No, no, no no.

1341
01:07:44,880 --> 01:07:47,640
Speaker 1: Set they played that one song that he turned down

1342
01:07:47,800 --> 01:07:49,600
Speaker 1: was like, Yo, turned the volume down.

1343
01:07:49,480 --> 01:07:51,760
Speaker 3: In the middle of them jumping around the room trying

1344
01:07:51,800 --> 01:07:52,200
Speaker 3: to sell it.

1345
01:07:52,760 --> 01:07:54,640
Speaker 1: He was like, Yo, this is God, but you want

1346
01:07:54,680 --> 01:07:57,880
Speaker 1: your niggas want real hip hop rock, sane chante, Molly

1347
01:07:58,000 --> 01:08:03,640
Speaker 1: mal mister Magic, juice true and walked out. So that's why.

1348
01:08:03,920 --> 01:08:06,480
Speaker 1: And then when he's leaving the studio, I didn't want

1349
01:08:06,480 --> 01:08:08,480
Speaker 1: to stay in the studio because he dissed them, so

1350
01:08:08,600 --> 01:08:10,000
Speaker 1: I was trying to get out of there with them

1351
01:08:10,320 --> 01:08:10,800
Speaker 1: and I left.

1352
01:08:10,880 --> 01:08:14,440
Speaker 3: My real wait, how many who was in beat? Like

1353
01:08:14,600 --> 01:08:15,640
Speaker 3: was it Scott Chris?

1354
01:08:16,400 --> 01:08:16,640
Speaker 1: It was?

1355
01:08:17,000 --> 01:08:18,160
Speaker 3: It was a lot of It was like a whole

1356
01:08:18,240 --> 01:08:19,000
Speaker 3: room full of people.

1357
01:08:19,080 --> 01:08:21,240
Speaker 1: It was like, that's what I'm asking It was like

1358
01:08:21,479 --> 01:08:23,240
Speaker 1: it was it was all of them, all of them

1359
01:08:23,240 --> 01:08:25,120
Speaker 1: because they were so happy to see mister Magic, and

1360
01:08:25,360 --> 01:08:27,360
Speaker 1: they were such a fans of mister Magic, and he

1361
01:08:27,439 --> 01:08:30,000
Speaker 1: dissed them. So it didn't come off like Yo, we

1362
01:08:30,080 --> 01:08:32,000
Speaker 1: about to fuck him up, or like I mean he

1363
01:08:32,160 --> 01:08:34,840
Speaker 1: was that was mister magic man. He was arrogant and

1364
01:08:35,160 --> 01:08:39,360
Speaker 1: liked that back in the day. So retaliation, the retaliation

1365
01:08:39,600 --> 01:08:43,200
Speaker 1: set didn't even get into the minds of hip hoppers

1366
01:08:43,240 --> 01:08:45,400
Speaker 1: back then, right right, He's like, yo, I'm gonna get

1367
01:08:45,400 --> 01:08:47,040
Speaker 1: them back. That was only one way in. I mean,

1368
01:08:47,280 --> 01:08:49,439
Speaker 1: couldn't you him? Then where do you go? Right? And

1369
01:08:49,520 --> 01:08:52,160
Speaker 1: then what happened too? And see you got to think

1370
01:08:52,160 --> 01:08:55,160
Speaker 1: about it. Now, this is even before BDP was down

1371
01:08:55,240 --> 01:08:58,519
Speaker 1: with red alert. They gave read the record, Red jumped

1372
01:08:58,560 --> 01:09:02,680
Speaker 1: on with them because now he had needed he needed ammunition,

1373
01:09:03,320 --> 01:09:06,360
Speaker 1: so he jumped in their crew. You get what I mean,

1374
01:09:06,439 --> 01:09:08,680
Speaker 1: You get what I'm saying. So now now when I've

1375
01:09:08,680 --> 01:09:11,479
Speaker 1: seen the whole wave of the Bronx supporting, I was like,

1376
01:09:13,600 --> 01:09:17,200
Speaker 1: we didn't say that, but yo, the wind was already

1377
01:09:17,240 --> 01:09:19,479
Speaker 1: blowing on the fire at that point, so it was

1378
01:09:19,520 --> 01:09:22,320
Speaker 1: already spread. And like nobody stood back and say, oh,

1379
01:09:22,360 --> 01:09:26,080
Speaker 1: them niggas never said that. You're talking about stupid, right,

1380
01:09:26,880 --> 01:09:28,519
Speaker 1: you know what I'm saying. So it never it never

1381
01:09:28,600 --> 01:09:30,560
Speaker 1: got cleared. So I looked at the whole ship for

1382
01:09:30,680 --> 01:09:35,840
Speaker 1: years like, damn, well have you heard pre criminal minded

1383
01:09:35,880 --> 01:09:39,840
Speaker 1: b DP? All right, I gotta play events like on

1384
01:09:40,000 --> 01:09:44,599
Speaker 1: the box set of criminal minded. There's like they're eighty

1385
01:09:44,680 --> 01:09:47,960
Speaker 1: five eighty six stuff, which is like private demos. Yes,

1386
01:09:48,400 --> 01:09:51,439
Speaker 1: you probably heard this. This is advanced by Boogie Delle Productions.

1387
01:10:02,640 --> 01:10:05,840
Speaker 1: Out of this magic was like, come on, man, they

1388
01:10:05,880 --> 01:10:08,360
Speaker 1: got upset, but you know, but that gave them that

1389
01:10:08,720 --> 01:10:12,000
Speaker 1: fuel right there. But I'm saying, where's that real right now?

1390
01:10:12,320 --> 01:10:13,320
Speaker 1: Which one my drum? Real?

1391
01:10:13,640 --> 01:10:19,040
Speaker 3: I got that all day? If I don't I walk

1392
01:10:19,080 --> 01:10:20,759
Speaker 3: around with that. If I didn't known you want.

1393
01:10:20,680 --> 01:10:22,559
Speaker 1: That, I would I would have brought that we wanted.

1394
01:10:24,479 --> 01:10:26,640
Speaker 1: I got that out, to be honest. I want to

1395
01:10:26,640 --> 01:10:28,679
Speaker 1: bake it right now. See what sounds is on that bitch?

1396
01:10:29,160 --> 01:10:31,240
Speaker 1: That's dad ass. I would love this because that that

1397
01:10:31,520 --> 01:10:33,960
Speaker 1: that kick in, that snin. You gotta know that in

1398
01:10:34,080 --> 01:10:36,800
Speaker 1: peace the president the way it sounds like that. And

1399
01:10:36,920 --> 01:10:40,519
Speaker 1: I know if anybody ever uses any sample from that real,

1400
01:10:40,560 --> 01:10:43,920
Speaker 1: because you know how certain popcorn on your samples that

1401
01:10:44,000 --> 01:10:46,240
Speaker 1: you know at a certain spot. I didn't play my

1402
01:10:46,400 --> 01:10:48,800
Speaker 1: peach so much back in the day that by the

1403
01:10:48,880 --> 01:10:51,080
Speaker 1: time I sampled, it was that much static on it.

1404
01:10:51,560 --> 01:10:54,760
Speaker 1: And I had that static on top billing. I had

1405
01:10:54,800 --> 01:10:57,920
Speaker 1: that static on everybody's president. I had that static on

1406
01:10:58,040 --> 01:11:01,200
Speaker 1: fucking funky cole Medina. You get what I'm saying. There's

1407
01:11:01,439 --> 01:11:03,800
Speaker 1: too many records. I had hit that static where you

1408
01:11:03,960 --> 01:11:07,600
Speaker 1: can't tell me you didn't sample my ship. See, I

1409
01:11:07,760 --> 01:11:11,360
Speaker 1: was under the impression that. See I'm so glad we're

1410
01:11:11,360 --> 01:11:15,200
Speaker 1: having this conversation because in my mind I'm thinking that

1411
01:11:15,479 --> 01:11:19,200
Speaker 1: this is where Paul c And said, g of Ultra

1412
01:11:19,280 --> 01:11:23,000
Speaker 1: Manetic come into play. Oh, said found the real So

1413
01:11:23,120 --> 01:11:28,920
Speaker 1: let's move on. Really, yes, so that explains all right?

1414
01:11:29,680 --> 01:11:31,839
Speaker 1: Over because he tapped out the beat for the bridges

1415
01:11:31,880 --> 01:11:38,679
Speaker 1: over said G Yes, that explains everything. Also, of course

1416
01:11:40,000 --> 01:11:41,400
Speaker 1: you gotta tell him what song is it?

1417
01:11:42,200 --> 01:11:44,600
Speaker 2: What's this is.

1418
01:11:47,160 --> 01:11:51,320
Speaker 3: One of the like this beat you brought, Yes, one

1419
01:11:51,360 --> 01:11:52,240
Speaker 3: of these skill so.

1420
01:12:00,920 --> 01:12:03,160
Speaker 1: You got its next in there?

1421
01:12:04,120 --> 01:12:04,560
Speaker 2: You hear it.

1422
01:12:05,160 --> 01:12:06,400
Speaker 3: I'm telling you I lost my reel.

1423
01:12:06,439 --> 01:12:10,120
Speaker 1: They went crazy, but that's okay to you, though it

1424
01:12:10,240 --> 01:12:11,599
Speaker 1: was it was all good because.

1425
01:12:11,360 --> 01:12:12,560
Speaker 3: I found it. I found it, you know.

1426
01:12:12,680 --> 01:12:15,519
Speaker 1: To be honest, I'm glad they made those records because

1427
01:12:15,880 --> 01:12:19,400
Speaker 1: those records right there helped motivate hip hop. Now they

1428
01:12:19,520 --> 01:12:21,439
Speaker 1: following what the fuck I'm doing? You get what I'm saying.

1429
01:12:21,800 --> 01:12:23,760
Speaker 1: So I had you all in my grips because you

1430
01:12:23,880 --> 01:12:26,600
Speaker 1: have my reel making all these beads. Now, this is

1431
01:12:26,680 --> 01:12:29,719
Speaker 1: really starting to make sense to me because I thought

1432
01:12:29,760 --> 01:12:33,880
Speaker 1: you produced our hometown hero steady beat No Doubt before

1433
01:12:33,920 --> 01:12:37,400
Speaker 1: I let go. This was like a big yes song

1434
01:12:37,479 --> 01:12:44,360
Speaker 1: in Philadelphia. Yeah your drums, Yeah, of course. I think

1435
01:12:44,479 --> 01:12:46,160
Speaker 1: Lawrence was mad at me and took my drums and

1436
01:12:46,240 --> 01:12:50,120
Speaker 1: made a record. So it's just like, are people making

1437
01:12:50,200 --> 01:12:51,080
Speaker 1: copies of this reel?

1438
01:12:52,479 --> 01:12:52,640
Speaker 6: You know?

1439
01:12:52,800 --> 01:12:56,760
Speaker 3: Once? Once I put it on the bridge, yeah, it was.

1440
01:12:56,880 --> 01:12:57,280
Speaker 2: It was open.

1441
01:12:57,360 --> 01:12:59,080
Speaker 1: It was open, was the beginning of the bridge. It

1442
01:12:59,160 --> 01:13:02,080
Speaker 1: was open, so you could your peoples grabbing it from there.

1443
01:13:02,840 --> 01:13:05,320
Speaker 1: Eric B's president, you know, Milk said he y'all, I

1444
01:13:05,360 --> 01:13:07,600
Speaker 1: didn't use your bridge. I'll us president Due. It's the

1445
01:13:07,640 --> 01:13:12,840
Speaker 1: same real bro, if you got it from there, it's

1446
01:13:12,920 --> 01:13:17,040
Speaker 1: the same drum sound. Buddy, what was the story with

1447
01:13:17,680 --> 01:13:22,679
Speaker 1: beat Bider Now? So llll releases? This is really way

1448
01:13:22,760 --> 01:13:26,240
Speaker 1: to beat well? No, Well, I thought it was over

1449
01:13:26,360 --> 01:13:32,160
Speaker 1: Rock the Bells because right now the thing is originally

1450
01:13:33,200 --> 01:13:34,880
Speaker 1: Rick Rubin told me there's a version of Rock the

1451
01:13:34,920 --> 01:13:37,639
Speaker 1: Bells where he's doing it over uh the Peter Piper

1452
01:13:37,680 --> 01:13:40,880
Speaker 1: Brick take me to the Martin gro My Bob James

1453
01:13:41,520 --> 01:13:44,000
Speaker 1: and then run barked on him like, no, we got

1454
01:13:44,080 --> 01:13:44,680
Speaker 1: some ship like that.

1455
01:13:45,280 --> 01:13:46,000
Speaker 3: You can't do that.

1456
01:13:46,320 --> 01:13:46,519
Speaker 2: Wow.

1457
01:13:46,840 --> 01:13:49,200
Speaker 1: And so then Rick and l I'll go back and

1458
01:13:49,320 --> 01:13:52,760
Speaker 1: do it over the trouble Front break and then did

1459
01:13:52,920 --> 01:13:57,720
Speaker 1: another version of which mc shan claims that you know

1460
01:13:58,600 --> 01:14:02,519
Speaker 1: this is so what's really weird is that at least

1461
01:14:02,880 --> 01:14:07,280
Speaker 1: four records for like early records of yours are confrontational

1462
01:14:07,360 --> 01:14:11,599
Speaker 1: records of some sort between Rocks and between my early

1463
01:14:11,680 --> 01:14:14,760
Speaker 1: records was kind of like frustration records, kind of like

1464
01:14:15,240 --> 01:14:16,840
Speaker 1: matter of fact, if there was meant to be records,

1465
01:14:16,880 --> 01:14:19,720
Speaker 1: I did start going at people because all right, we

1466
01:14:19,880 --> 01:14:22,200
Speaker 1: made the Rock Sande record, it did what it did.

1467
01:14:22,280 --> 01:14:23,840
Speaker 1: I made the Dimples record, it did what it did.

1468
01:14:23,920 --> 01:14:26,000
Speaker 1: I'm like, oh, ship, I can make these type of

1469
01:14:26,040 --> 01:14:30,479
Speaker 1: records like a go at motherfuckers. So I never knew

1470
01:14:30,520 --> 01:14:32,720
Speaker 1: about this beef with LLLL or at least like I mean,

1471
01:14:33,080 --> 01:14:37,040
Speaker 1: it didn't really escalate, but I mean, did LLLL even

1472
01:14:37,680 --> 01:14:40,680
Speaker 1: realize that it was? It was diverted by Was it

1473
01:14:40,760 --> 01:14:42,320
Speaker 1: a New York thing? No, no, it was it was

1474
01:14:42,360 --> 01:14:43,280
Speaker 1: diverted by b DP.

1475
01:14:44,520 --> 01:14:44,640
Speaker 2: Oh.

1476
01:14:44,720 --> 01:14:47,280
Speaker 1: Once that came in, Yeah, it was like yeah, yeah,

1477
01:14:47,840 --> 01:14:51,160
Speaker 1: have you heard be By? Yeah? Did you hear you

1478
01:14:51,240 --> 01:14:55,120
Speaker 1: heard the remix of Rock the Bells. Yeah, the original,

1479
01:14:55,960 --> 01:14:59,560
Speaker 1: the other version the other boom yeah, that one. So

1480
01:14:59,680 --> 01:15:02,200
Speaker 1: it was just so this came out first, or that

1481
01:15:03,280 --> 01:15:04,800
Speaker 1: the real Rock the Bells came out first and the

1482
01:15:04,840 --> 01:15:07,360
Speaker 1: remix came later. And when we heard the remix was like, yo,

1483
01:15:07,400 --> 01:15:10,519
Speaker 1: hold up, that's the fuck that is Mally Scratchby. It

1484
01:15:10,560 --> 01:15:13,280
Speaker 1: was boom boom, bab boom bat boom back boom boom,

1485
01:15:13,320 --> 01:15:16,880
Speaker 1: boom ba ba boom. We was like, and he's and

1486
01:15:16,960 --> 01:15:19,280
Speaker 1: then he's talking about rocking the Bells over the same beat.

1487
01:15:19,280 --> 01:15:22,360
Speaker 1: He was like, hold up, that's the same same pattern.

1488
01:15:22,880 --> 01:15:25,360
Speaker 1: I think you were the first person to really introduced

1489
01:15:25,360 --> 01:15:28,439
Speaker 1: the idea of a dub or an instrumental, because I

1490
01:15:28,479 --> 01:15:32,240
Speaker 1: think before hip hop hip hop twelve inches didn't have

1491
01:15:32,360 --> 01:15:36,040
Speaker 1: the instrumental on it, right. I remember one like maybe

1492
01:15:36,560 --> 01:15:39,720
Speaker 1: sugar Hill Birthday Rhymes, they had a instrumental on the back.

1493
01:15:40,360 --> 01:15:44,760
Speaker 1: But you would always do something where it's what we

1494
01:15:44,920 --> 01:15:48,800
Speaker 1: now call the TV version. So when when you when

1495
01:15:48,800 --> 01:15:52,680
Speaker 1: you're mixing the studio, the TV version is it's it's

1496
01:15:52,720 --> 01:15:58,519
Speaker 1: an instrumental and it's an occasional background vocal guide. So

1497
01:15:58,800 --> 01:16:00,960
Speaker 1: the MC knows where they are in the song, right,

1498
01:16:01,680 --> 01:16:04,320
Speaker 1: So like if I'm doing the Freshman to Belly, it'd

1499
01:16:04,320 --> 01:16:09,960
Speaker 1: be like, now this is yeah, yes, yes, upside that

1500
01:16:10,760 --> 01:16:14,800
Speaker 1: right right? Like what made you? I believe you like

1501
01:16:14,880 --> 01:16:17,080
Speaker 1: one of the first to do a dub or whatever,

1502
01:16:17,240 --> 01:16:19,360
Speaker 1: like was it for the purpose of doing it live

1503
01:16:19,680 --> 01:16:21,679
Speaker 1: or no? You know I used to do that because

1504
01:16:21,800 --> 01:16:24,080
Speaker 1: you noticed a lot of my records from back then.

1505
01:16:24,240 --> 01:16:28,400
Speaker 1: I never gave instrumentals up to this day. See to

1506
01:16:28,520 --> 01:16:31,519
Speaker 1: this day, I found some instrumentals from like key Gats,

1507
01:16:31,600 --> 01:16:32,880
Speaker 1: like how'd you get that?

1508
01:16:33,200 --> 01:16:33,360
Speaker 2: Right?

1509
01:16:33,840 --> 01:16:37,280
Speaker 1: I never gave instrumentals up because I didn't want nobody

1510
01:16:37,400 --> 01:16:39,519
Speaker 1: rhyming over my beat other than the artists. I didn't

1511
01:16:39,520 --> 01:16:41,320
Speaker 1: want nobody coming out with mixed tapes. I don't want

1512
01:16:41,360 --> 01:16:46,800
Speaker 1: nobody coming out with stuff. Yeah. I didn't want all that.

1513
01:16:46,920 --> 01:16:49,000
Speaker 1: So I was like I wanted to when I put

1514
01:16:49,040 --> 01:16:51,280
Speaker 1: this record out, only they gonna rhyme. You're only gonna

1515
01:16:51,280 --> 01:16:54,000
Speaker 1: hear them rhyming over it. I never even gave you

1516
01:16:54,040 --> 01:16:56,479
Speaker 1: a space to rhyme on those dubs. I would always

1517
01:16:56,479 --> 01:16:59,040
Speaker 1: put the vocals up, put fuck you up a little.

1518
01:16:59,240 --> 01:17:02,960
Speaker 1: You're not gonna get clean sixteen, no clean eight because

1519
01:17:02,960 --> 01:17:04,559
Speaker 1: you're not gonna be rhyming over my beats.

1520
01:17:04,760 --> 01:17:05,799
Speaker 3: I had to give up something.

1521
01:17:06,200 --> 01:17:08,439
Speaker 1: I wasn't giving up that instrumental so let me And

1522
01:17:08,560 --> 01:17:10,920
Speaker 1: plus I was, you know, I used to love Jamaican

1523
01:17:11,000 --> 01:17:13,600
Speaker 1: dub music back in the day. I grew up of

1524
01:17:13,680 --> 01:17:15,439
Speaker 1: a lot of that, you know, so I used to

1525
01:17:15,479 --> 01:17:18,200
Speaker 1: always hear my Jamaican doesn't I always figure to myself

1526
01:17:18,520 --> 01:17:21,760
Speaker 1: why hip hop don't have dub versions, you know, you know,

1527
01:17:21,920 --> 01:17:25,040
Speaker 1: kind of like when I was in Unique learning the equipment.

1528
01:17:25,360 --> 01:17:27,640
Speaker 1: I was learning the echoes, the quarter echoes, the so

1529
01:17:27,800 --> 01:17:30,439
Speaker 1: and sos. So I was like, always like, damn, it

1530
01:17:30,520 --> 01:17:32,720
Speaker 1: would be hot to have, you know, to give it

1531
01:17:32,840 --> 01:17:37,720
Speaker 1: that reggae flavor whatever, like certain certain words and you know.

1532
01:17:38,479 --> 01:17:40,240
Speaker 1: And plus you know in disco they was, you know,

1533
01:17:40,360 --> 01:17:42,320
Speaker 1: doing that a little bit too, So you know, I

1534
01:17:42,400 --> 01:17:45,400
Speaker 1: was like hearing some like garage versions of stuff they

1535
01:17:45,439 --> 01:17:47,200
Speaker 1: would have, like the echos, I was like, damn, they

1536
01:17:47,400 --> 01:17:48,960
Speaker 1: need to ad in hip hop too. So that's another

1537
01:17:49,000 --> 01:17:56,519
Speaker 1: reason why I went with it with the Bridge. I

1538
01:17:56,600 --> 01:18:01,120
Speaker 1: guess that probably the most notable all even you chopping

1539
01:18:01,200 --> 01:18:07,360
Speaker 1: up and peached the President. I always noticed that I

1540
01:18:07,439 --> 01:18:11,640
Speaker 1: would say that that record, if anything starts what I

1541
01:18:11,960 --> 01:18:17,680
Speaker 1: feel will be the accessory noise period of hip hop gotcha, which, uh,

1542
01:18:18,880 --> 01:18:23,160
Speaker 1: I guess you took Magic disco machines scratching. Yeah, I

1543
01:18:23,240 --> 01:18:27,120
Speaker 1: flipped it backwards. That backwards sound wasn't a mistake. That

1544
01:18:27,360 --> 01:18:29,439
Speaker 1: was I want to use scratching because I already you know,

1545
01:18:29,600 --> 01:18:31,479
Speaker 1: I was into my break beats. I already knew I

1546
01:18:31,600 --> 01:18:32,240
Speaker 1: liked scratching.

1547
01:18:32,880 --> 01:18:33,559
Speaker 3: When I used it.

1548
01:18:33,720 --> 01:18:36,920
Speaker 1: Forward with the beat, it didn't make sense really, you

1549
01:18:37,000 --> 01:18:40,519
Speaker 1: know when it was because it was like, it wouldn't

1550
01:18:40,520 --> 01:18:45,040
Speaker 1: have made sense because them I flipped it backwards and

1551
01:18:45,160 --> 01:18:48,240
Speaker 1: played it backwards and triggered it and ran it with

1552
01:18:48,439 --> 01:18:50,839
Speaker 1: I ran it up against the kick because it's triggered

1553
01:18:50,880 --> 01:18:55,599
Speaker 1: off the kick. It created something special. So I was like, Wow,

1554
01:18:55,680 --> 01:18:57,800
Speaker 1: this is real special. I never heard nothing like this

1555
01:18:57,960 --> 01:19:01,000
Speaker 1: on a record ever before. I'm turn this bitch up.

1556
01:19:01,520 --> 01:19:04,360
Speaker 1: So what are he's talking about is there's there's a

1557
01:19:04,400 --> 01:19:09,000
Speaker 1: break by the magic disco machine called scratching, which normally

1558
01:19:09,280 --> 01:19:12,200
Speaker 1: I mean it's a hip hop staple and most hip

1559
01:19:12,200 --> 01:19:18,479
Speaker 1: hop DJs will it's called a stab if there is

1560
01:19:18,560 --> 01:19:20,800
Speaker 1: if there's a horn part in the record with a

1561
01:19:20,920 --> 01:19:24,400
Speaker 1: good kick under it, that's your exclamation point. If you're

1562
01:19:24,400 --> 01:19:26,880
Speaker 1: a DJ. So when you when you're MC's rhyming over

1563
01:19:26,880 --> 01:19:30,720
Speaker 1: a beat and you want to that's your important that's

1564
01:19:30,720 --> 01:19:34,080
Speaker 1: your fist through the door. So what Marley basically did

1565
01:19:34,400 --> 01:19:44,640
Speaker 1: was reversed it to create the bridge, which is h

1566
01:19:48,920 --> 01:19:51,519
Speaker 1: and a little bit of echo to reverse an echo.

1567
01:19:54,439 --> 01:19:56,840
Speaker 3: So what is on your mind at this point?

1568
01:19:56,920 --> 01:20:02,920
Speaker 1: Because this is extremely unorthodox, right, that's that's pre public enemy.

1569
01:20:03,560 --> 01:20:08,040
Speaker 1: I know, you the verse that public What is on

1570
01:20:08,160 --> 01:20:11,080
Speaker 1: your mind when you're doing this? I mean that must

1571
01:20:11,120 --> 01:20:12,800
Speaker 1: have been you know, I mean when I made that

1572
01:20:13,960 --> 01:20:16,560
Speaker 1: and and the funny thing about making that record that

1573
01:20:16,640 --> 01:20:19,960
Speaker 1: wasn't even supposed to be a record that was interlude

1574
01:20:20,080 --> 01:20:25,760
Speaker 1: music for Queensbridge Day? Wait what that song was interlude

1575
01:20:25,920 --> 01:20:30,960
Speaker 1: music for Queensbridge Day. So because there was you know,

1576
01:20:31,000 --> 01:20:33,559
Speaker 1: there's so many bands in Queensbridge. Like I mentioned, there

1577
01:20:33,640 --> 01:20:35,519
Speaker 1: was many bands. So they used to have Queensbridge Day

1578
01:20:35,560 --> 01:20:37,160
Speaker 1: and the band used to perform. It wasn't even hip

1579
01:20:37,160 --> 01:20:40,640
Speaker 1: hop yet, So what bands are performing at Queensbridge? Like

1580
01:20:40,760 --> 01:20:45,960
Speaker 1: I said, Fred Fowl and all the residents used to

1581
01:20:46,000 --> 01:20:48,880
Speaker 1: come out because it was band heavy. Dale Payne used

1582
01:20:48,880 --> 01:20:51,720
Speaker 1: to have his artists out there. Andre Booth used to

1583
01:20:52,080 --> 01:20:55,280
Speaker 1: get busy. He used to have his artists, you know, everybody.

1584
01:20:55,360 --> 01:20:55,479
Speaker 2: You know.

1585
01:20:55,600 --> 01:20:57,840
Speaker 3: They had Cinnamon used to come out there with dal

1586
01:20:58,000 --> 01:21:00,240
Speaker 3: Payne thanks to you. So they was a lot, you know.

1587
01:21:00,840 --> 01:21:04,040
Speaker 1: So we was just I said, yo, Shan, let's make

1588
01:21:04,080 --> 01:21:06,479
Speaker 1: a song for intermission, music for tomorrow.

1589
01:21:08,120 --> 01:21:09,320
Speaker 3: Wait.

1590
01:21:13,120 --> 01:21:15,800
Speaker 1: Yeah, that wasn't supposed to be a record. I told

1591
01:21:15,840 --> 01:21:17,719
Speaker 1: you a lot of my stuff wasn't supposed to be records.

1592
01:21:18,000 --> 01:21:19,519
Speaker 1: I didn't get into this some of the great hip

1593
01:21:19,520 --> 01:21:21,519
Speaker 1: hop stories. It's just like, let me throw something together

1594
01:21:21,720 --> 01:21:25,320
Speaker 1: right right right, change someone's life real quick. Sometimes you

1595
01:21:25,360 --> 01:21:27,120
Speaker 1: don't try, You just do what in your heart and

1596
01:21:27,200 --> 01:21:30,280
Speaker 1: it just happens. I wasn't trying to I wasn't trying

1597
01:21:30,320 --> 01:21:34,040
Speaker 1: to become what what happened to this day. I was

1598
01:21:34,120 --> 01:21:37,080
Speaker 1: just I just wanted something hot for me to battle

1599
01:21:37,120 --> 01:21:39,360
Speaker 1: it on the radio and just come with some heat

1600
01:21:39,439 --> 01:21:41,120
Speaker 1: every week. I had to. I had to come with

1601
01:21:41,280 --> 01:21:45,160
Speaker 1: heat because you know, everybody was going against us. I

1602
01:21:45,240 --> 01:21:49,280
Speaker 1: had to create my own crew, my own ammunition.

1603
01:21:49,800 --> 01:21:51,080
Speaker 3: And it worked.

1604
01:21:51,720 --> 01:21:54,240
Speaker 1: So when the final products done, like, what are people

1605
01:21:54,320 --> 01:21:57,400
Speaker 1: looking at? Because we didn't know I'm going to ask

1606
01:21:57,439 --> 01:21:59,320
Speaker 1: a teenager. And I was very much aware of the

1607
01:21:59,400 --> 01:22:01,800
Speaker 1: song when it came out when I was fifteen, we

1608
01:22:01,880 --> 01:22:03,720
Speaker 1: were just like I thought, I was like, is that

1609
01:22:03,840 --> 01:22:04,599
Speaker 1: a fire truck?

1610
01:22:04,720 --> 01:22:07,200
Speaker 3: Like, what the hell is that noise?

1611
01:22:07,240 --> 01:22:09,000
Speaker 1: Like we could not, for the life of us figure

1612
01:22:09,000 --> 01:22:10,559
Speaker 1: out what it was or what you all were trying

1613
01:22:10,600 --> 01:22:13,120
Speaker 1: to convey, right, But it's just I just I was

1614
01:22:13,320 --> 01:22:18,200
Speaker 1: conveying mass hysteria, madness because when you know, I already

1615
01:22:18,240 --> 01:22:20,960
Speaker 1: knew that in piece to President kicking sneer was already

1616
01:22:21,040 --> 01:22:24,080
Speaker 1: head bopping material. And if you put some some fire

1617
01:22:24,200 --> 01:22:27,519
Speaker 1: behind it, which that noise was, I just figured that

1618
01:22:27,640 --> 01:22:30,519
Speaker 1: it's it's like a it's like an undeniable And we

1619
01:22:30,600 --> 01:22:34,160
Speaker 1: played this song about about four times that time in

1620
01:22:34,240 --> 01:22:37,360
Speaker 1: the park. Everybody was loving it. And you know, unfortunately

1621
01:22:38,080 --> 01:22:41,920
Speaker 1: somebody got killed that night at a peace rally. Oh

1622
01:22:42,160 --> 01:22:44,639
Speaker 1: the first day we played that in the park. Later

1623
01:22:44,720 --> 01:22:47,519
Speaker 1: on somebody got killed, damn. So it was it's kind

1624
01:22:47,560 --> 01:22:52,160
Speaker 1: of weird. The Queensbridge I know of where mob deepest

1625
01:22:52,240 --> 01:22:55,519
Speaker 1: rhyming about like yo, I might not make it tomorrow.

1626
01:22:56,280 --> 01:22:58,800
Speaker 1: Where does that come into play? Is this eighty seven

1627
01:22:58,880 --> 01:23:02,360
Speaker 1: to eighty is I mean Cracker Queen's Bridge. I think

1628
01:23:02,640 --> 01:23:04,760
Speaker 1: by the time that really started happening, the crack ever

1629
01:23:04,840 --> 01:23:09,759
Speaker 1: started really getting higher and higher. I think that's probably

1630
01:23:09,800 --> 01:23:12,280
Speaker 1: at the point when I moved out the hood, because

1631
01:23:12,479 --> 01:23:14,960
Speaker 1: it was getting out of control. Really, I mean it

1632
01:23:15,040 --> 01:23:16,720
Speaker 1: was like night of the Living base heads on the

1633
01:23:16,760 --> 01:23:19,080
Speaker 1: block type, you know, people walking through the lights is

1634
01:23:19,120 --> 01:23:21,400
Speaker 1: out on the block, and it turned into a different

1635
01:23:21,439 --> 01:23:23,880
Speaker 1: place at night, you know, And I was like, you know,

1636
01:23:24,280 --> 01:23:26,439
Speaker 1: that's when I decided to move to a story like

1637
01:23:26,520 --> 01:23:29,320
Speaker 1: how did you and mc shan hook up? One day

1638
01:23:29,320 --> 01:23:31,439
Speaker 1: I met Shann. I was in the river park. I

1639
01:23:31,560 --> 01:23:37,759
Speaker 1: believe I was probably writing rhymes. I was probably sitting

1640
01:23:37,800 --> 01:23:42,320
Speaker 1: in the park writing rhymes and I saw him riding

1641
01:23:42,360 --> 01:23:45,800
Speaker 1: his mini bike, and you know, he told me that

1642
01:23:45,880 --> 01:23:47,680
Speaker 1: he could rap, and I was like, Oh, that's what's up.

1643
01:23:47,720 --> 01:23:49,479
Speaker 1: That's cool. He told me, I gotta rhyme about you.

1644
01:23:49,840 --> 01:23:52,479
Speaker 1: I gotta rap about you. I'm like, all right, cool,

1645
01:23:52,800 --> 01:23:54,519
Speaker 1: he said. I said, well, just you know, bring about

1646
01:23:54,520 --> 01:23:56,760
Speaker 1: my house. One day, about a week later, he came

1647
01:23:56,840 --> 01:24:00,040
Speaker 1: by my house with it written on a bag and

1648
01:24:00,120 --> 01:24:03,160
Speaker 1: it was mall, he'scratched the full Master us when he's

1649
01:24:03,160 --> 01:24:05,680
Speaker 1: the dad that's on a right that was actually on

1650
01:24:05,760 --> 01:24:08,680
Speaker 1: the air records. So I mean of your arsenal, I mean,

1651
01:24:08,840 --> 01:24:13,040
Speaker 1: where does Shan rink. As far as the mcs that

1652
01:24:13,160 --> 01:24:16,920
Speaker 1: you've worked with, Shan he he ranks, he got, he

1653
01:24:17,000 --> 01:24:19,120
Speaker 1: got his number one status and a few things with me.

1654
01:24:19,680 --> 01:24:23,120
Speaker 1: He has a certain tone. His voice is like an instrument,

1655
01:24:23,960 --> 01:24:26,400
Speaker 1: you know what I'm saying. Certain people they could rhyme

1656
01:24:26,520 --> 01:24:29,760
Speaker 1: and talk and singers too. Some people could sing, but

1657
01:24:29,880 --> 01:24:32,960
Speaker 1: some people's voices are an instrument. And his voice is

1658
01:24:33,000 --> 01:24:34,519
Speaker 1: an instrument. Like the tone of it.

1659
01:24:36,479 --> 01:24:37,479
Speaker 3: Yeah, it's like an instrument.

1660
01:24:37,479 --> 01:24:40,280
Speaker 1: It's like a horn. It's like it's like a it's

1661
01:24:40,320 --> 01:24:42,640
Speaker 1: like an instrument. So I give him that.

1662
01:24:42,800 --> 01:24:43,519
Speaker 3: He's really though.

1663
01:24:43,560 --> 01:24:45,599
Speaker 1: And his rhymes, you know, you gotta think he made

1664
01:24:45,680 --> 01:24:46,400
Speaker 1: Jane back in the.

1665
01:24:46,479 --> 01:24:47,599
Speaker 2: Day, Jane.

1666
01:24:47,920 --> 01:24:51,479
Speaker 1: My mom loved that, you know what I'm saying. Yeah,

1667
01:24:51,560 --> 01:24:55,320
Speaker 1: my mom actually loves Jane. Stops Jane and my dad

1668
01:24:55,360 --> 01:24:57,519
Speaker 1: see it is positive. They're talking about not doing cracks.

1669
01:24:57,800 --> 01:25:00,320
Speaker 1: And he had the song about Cocaine. It was that

1670
01:25:00,520 --> 01:25:02,519
Speaker 1: love story, right, how he fell in love with this

1671
01:25:02,680 --> 01:25:04,479
Speaker 1: girl and at the end of the story it was

1672
01:25:05,040 --> 01:25:08,880
Speaker 1: her name was Cocaine. Oh, so you know he was

1673
01:25:09,000 --> 01:25:12,640
Speaker 1: kind of visualizing those those little rhymes kind of like we.

1674
01:25:13,120 --> 01:25:14,640
Speaker 3: Were you doing live shows with him as well?

1675
01:25:14,800 --> 01:25:16,160
Speaker 1: Yeah, I was. I was just DJ for me. So

1676
01:25:16,280 --> 01:25:18,640
Speaker 1: what was his what was his what was the crowd responsible?

1677
01:25:18,680 --> 01:25:20,360
Speaker 1: Like he had him he was he was he was

1678
01:25:20,400 --> 01:25:22,040
Speaker 1: like he was getting the ladies. He had like left

1679
01:25:22,080 --> 01:25:24,200
Speaker 1: me lonely out too. So yeah, he had his run.

1680
01:25:24,320 --> 01:25:26,200
Speaker 1: He had just definitely had a hard run with the chicks.

1681
01:25:26,680 --> 01:25:29,080
Speaker 1: Chicks Chicks used to like she before I bring.

1682
01:25:29,040 --> 01:25:33,920
Speaker 3: Up Kane which More eighty eight, I gotta.

1683
01:25:33,760 --> 01:25:37,840
Speaker 1: Know about your your your your your brief time with

1684
01:25:38,080 --> 01:25:41,920
Speaker 1: with with Rock Kemp, which mm hmm.

1685
01:25:42,640 --> 01:25:44,960
Speaker 3: I've seen a few shan things.

1686
01:25:44,800 --> 01:25:47,680
Speaker 1: Where he's like why did it whatever? Like what is

1687
01:25:48,200 --> 01:25:53,080
Speaker 1: what is the story of Eric Breeze President and well

1688
01:25:53,240 --> 01:25:55,560
Speaker 1: Eric b eric Bee was like a roommate to me

1689
01:25:55,920 --> 01:25:58,200
Speaker 1: and Queens. But he used to come, you know, come

1690
01:25:58,280 --> 01:26:00,479
Speaker 1: stay at the crib. He's from Queens, you know, he's

1691
01:26:00,520 --> 01:26:05,280
Speaker 1: actually from Corona. Queen's all East Elmhurst, one of them.

1692
01:26:05,479 --> 01:26:07,000
Speaker 1: But it's the same, you know, same kind of thing.

1693
01:26:07,080 --> 01:26:08,840
Speaker 1: But he used to hang out with him. Pol Or

1694
01:26:08,840 --> 01:26:11,120
Speaker 1: Pole introduced me to him, and you know he started

1695
01:26:11,160 --> 01:26:13,200
Speaker 1: hanging out with me then you know, starting not going home,

1696
01:26:13,280 --> 01:26:16,280
Speaker 1: really hanging out showing at the crib. You know, he

1697
01:26:16,360 --> 01:26:19,200
Speaker 1: used to see a lot of people come through then

1698
01:26:19,400 --> 01:26:21,000
Speaker 1: you know when he's like, yo, I got a rap up.

1699
01:26:21,000 --> 01:26:22,640
Speaker 1: You know, I want to bring a wrap up, you know,

1700
01:26:22,720 --> 01:26:26,240
Speaker 1: and he, you know, the first day, he said somebody

1701
01:26:26,400 --> 01:26:29,040
Speaker 1: was gonna come. I believe it was Freddie Fox. He

1702
01:26:29,080 --> 01:26:32,040
Speaker 1: didn't show up, so he could have been Freddie Fox.

1703
01:26:32,240 --> 01:26:34,080
Speaker 3: Wait, Freddy Fox should have been over that beat.

1704
01:26:34,840 --> 01:26:36,479
Speaker 1: Whoever would have showed up probably would have got it

1705
01:26:37,640 --> 01:26:39,360
Speaker 1: because we you know, we just had you know, he

1706
01:26:39,439 --> 01:26:41,080
Speaker 1: was just ready for a session, So who knows what

1707
01:26:41,160 --> 01:26:43,200
Speaker 1: we would have made, you get what I'm saying. So

1708
01:26:43,360 --> 01:26:45,320
Speaker 1: obviously he didn't show up, so he said, I got

1709
01:26:45,360 --> 01:26:46,760
Speaker 1: somebody coming to the next day, which was Ra.

1710
01:26:47,400 --> 01:26:50,240
Speaker 3: So Ro came and we made my melody first. Now

1711
01:26:50,720 --> 01:26:51,640
Speaker 3: you had to think about it.

1712
01:26:51,920 --> 01:26:55,559
Speaker 1: I was just just getting in the studio with Caine,

1713
01:26:56,479 --> 01:26:59,120
Speaker 1: just you know, Kin was just writing for biz, so

1714
01:26:59,280 --> 01:27:01,599
Speaker 1: I was I was kind of like secretly making Kine

1715
01:27:01,640 --> 01:27:04,800
Speaker 1: album on the low, okay, because the record company act

1716
01:27:04,920 --> 01:27:06,600
Speaker 1: like he wasn't an artist, and I already knew it

1717
01:27:06,720 --> 01:27:08,720
Speaker 1: that he that he was dope, so I would just

1718
01:27:08,800 --> 01:27:11,280
Speaker 1: record him when when when bears would be late kind

1719
01:27:11,320 --> 01:27:14,160
Speaker 1: of thing, right, So he's getting an album together, So

1720
01:27:14,280 --> 01:27:18,400
Speaker 1: I'm working with Kine now rock Kim Kane and now

1721
01:27:18,520 --> 01:27:20,400
Speaker 1: rock Kim wanted to do my melody. Now now I

1722
01:27:20,479 --> 01:27:23,840
Speaker 1: was already rhyming, you know, fucking with g rapping Kine. Well,

1723
01:27:23,880 --> 01:27:28,320
Speaker 1: they was like one yeah, right right now he wanted.

1724
01:27:28,560 --> 01:27:31,120
Speaker 1: Now he came with my melody, which was like it

1725
01:27:31,320 --> 01:27:33,800
Speaker 1: was like so different at my house from what we

1726
01:27:34,000 --> 01:27:37,080
Speaker 1: was doing. It was mad slow. It was like it

1727
01:27:37,200 --> 01:27:38,840
Speaker 1: was a head bober. It was dope, but it was

1728
01:27:38,920 --> 01:27:41,600
Speaker 1: like a head bobber. Listen to record, and you know

1729
01:27:42,040 --> 01:27:44,120
Speaker 1: before he had came, you know, just the sessions before

1730
01:27:44,280 --> 01:27:46,800
Speaker 1: was like all energetic. So I was like, yo, sham man,

1731
01:27:46,880 --> 01:27:51,280
Speaker 1: recording man, real quick, wow, record the vocals, man, i'mna

1732
01:27:51,280 --> 01:27:53,320
Speaker 1: go over here real I'm running, you know, back and

1733
01:27:53,600 --> 01:27:55,840
Speaker 1: go program something else, go tap out something else.

1734
01:27:56,120 --> 01:27:57,840
Speaker 3: Just record his vocals. I wan't see all come out.

1735
01:27:58,240 --> 01:27:59,000
Speaker 3: You get what I'm saying.

1736
01:28:01,000 --> 01:28:03,439
Speaker 1: Shan was a He would hang around the studio and

1737
01:28:03,560 --> 01:28:06,880
Speaker 1: learn and see what we was doing and learn learn

1738
01:28:07,000 --> 01:28:08,479
Speaker 1: how you know, learn Oh wow.

1739
01:28:08,360 --> 01:28:09,960
Speaker 3: This is how you do the vocals.

1740
01:28:10,000 --> 01:28:11,880
Speaker 1: Oh this is how you do this. So he was

1741
01:28:11,960 --> 01:28:13,840
Speaker 1: he was learning. He was he was an artist, but

1742
01:28:13,920 --> 01:28:16,800
Speaker 1: he was more of apprentice learner. He wanted to learn

1743
01:28:16,800 --> 01:28:19,960
Speaker 1: how to make make the music too. So I was like,

1744
01:28:21,080 --> 01:28:22,960
Speaker 1: I was set it up. I set it up when

1745
01:28:22,960 --> 01:28:24,160
Speaker 1: he went over there and went to the board and

1746
01:28:24,680 --> 01:28:27,240
Speaker 1: punched it up, and okay, all right, I'm going to

1747
01:28:27,280 --> 01:28:29,200
Speaker 1: equ you and EQ and no. I just left it

1748
01:28:29,240 --> 01:28:31,000
Speaker 1: ready for him, and yo, just record him. I'll be

1749
01:28:31,080 --> 01:28:33,080
Speaker 1: right back. You get what I'm saying. I taught him

1750
01:28:33,080 --> 01:28:35,960
Speaker 1: out of punching, you know, I was teaching shann how

1751
01:28:36,000 --> 01:28:37,559
Speaker 1: to do all. So I was like, all right, let

1752
01:28:37,600 --> 01:28:40,479
Speaker 1: me see if you nice record him. I'll be right back.

1753
01:28:40,520 --> 01:28:42,160
Speaker 1: So I went in the other room probably tapped out

1754
01:28:42,160 --> 01:28:45,080
Speaker 1: another beat while he was doing the vocals to My melody.

1755
01:28:45,120 --> 01:28:46,360
Speaker 1: By the time I came back out, I was like

1756
01:28:47,280 --> 01:28:52,040
Speaker 1: came out and like I was like, damn, I like this,

1757
01:28:52,200 --> 01:28:54,760
Speaker 1: but it doesn't have the energy of what I've been

1758
01:28:54,800 --> 01:28:55,680
Speaker 1: doing where I'm at.

1759
01:28:57,160 --> 01:28:58,519
Speaker 3: You know what I'm saying. It was it was dope,

1760
01:28:58,600 --> 01:28:59,519
Speaker 3: but it was like.

1761
01:29:01,120 --> 01:29:03,519
Speaker 1: When everything else I was doing with that, it was

1762
01:29:03,600 --> 01:29:06,519
Speaker 1: like out here, my melody was the perfect song to

1763
01:29:06,600 --> 01:29:09,120
Speaker 1: do the wa right right, right, right right, because like

1764
01:29:10,120 --> 01:29:13,920
Speaker 1: that came out right, I just remember, right, this is

1765
01:29:14,000 --> 01:29:17,240
Speaker 1: my melody by rock him Eric being rock him.

1766
01:29:18,320 --> 01:29:24,640
Speaker 3: It's slow, It's like what eighty. What's the yeah for

1767
01:29:24,720 --> 01:29:25,000
Speaker 3: the year.

1768
01:29:25,040 --> 01:29:41,400
Speaker 1: It went with the year the base check out my

1769
01:29:41,479 --> 01:29:42,519
Speaker 1: melody hands out of.

1770
01:29:44,120 --> 01:29:45,240
Speaker 3: A beat of yours.

1771
01:29:50,400 --> 01:29:52,799
Speaker 1: That beat right there was probably just on the spot makeup.

1772
01:29:55,640 --> 01:30:00,080
Speaker 1: And then I believe that Eric Be probably liked that.

1773
01:30:00,160 --> 01:30:05,400
Speaker 1: Doom Doom, Doom, Doom, Doom doom the baseline, but when

1774
01:30:05,400 --> 01:30:07,560
Speaker 1: you hear it changed. Since I only had a Casiot

1775
01:30:08,320 --> 01:30:10,760
Speaker 1: Season one O one and I was able to just

1776
01:30:11,520 --> 01:30:14,560
Speaker 1: have one MIDI program running, I was just changing the

1777
01:30:15,400 --> 01:30:17,639
Speaker 1: sound with the MIDI still playing, so it's going.

1778
01:30:17,680 --> 01:30:19,360
Speaker 3: Doom doom, doom, and then the bell.

1779
01:30:21,040 --> 01:30:23,720
Speaker 1: Then you had the other sounds. I'm just changing the

1780
01:30:23,800 --> 01:30:29,800
Speaker 1: patches playing the keyboards. That was me. That was me, Yeah, yeah, yeah,

1781
01:30:29,800 --> 01:30:32,479
Speaker 1: I start. Yeah, I started playing keyboards back then. But

1782
01:30:32,560 --> 01:30:34,400
Speaker 1: then I got bored with it and I kind of stopped.

1783
01:30:34,400 --> 01:30:36,960
Speaker 1: I don't know why I ever stopped, but after you know,

1784
01:30:37,040 --> 01:30:40,120
Speaker 1: around everybody's president. I played those base that baseline and

1785
01:30:40,200 --> 01:30:43,600
Speaker 1: that one, so I was learning a little about the keyboards,

1786
01:30:43,640 --> 01:30:46,120
Speaker 1: but for some reason I stopped. I don't know, I

1787
01:30:46,240 --> 01:30:50,040
Speaker 1: just stopped. But in your mind, you're not thinking like

1788
01:30:50,360 --> 01:30:53,360
Speaker 1: this this is a new revolution right here. No, I

1789
01:30:53,520 --> 01:30:56,000
Speaker 1: just thinking that we finished the session and I'm gonna

1790
01:30:56,000 --> 01:30:57,599
Speaker 1: move on to the next one because I got beats

1791
01:30:57,640 --> 01:31:05,639
Speaker 1: to make. So how long before Eric Be's President gets me? Well,

1792
01:31:05,720 --> 01:31:09,760
Speaker 1: we made that, and I gave him a copy of

1793
01:31:09,880 --> 01:31:12,640
Speaker 1: what we did in the studio that day. And the

1794
01:31:12,760 --> 01:31:16,240
Speaker 1: next week I heard all over the radio, Wait.

1795
01:31:16,160 --> 01:31:19,799
Speaker 3: What's the time between my melody and Eric Beings President?

1796
01:31:19,840 --> 01:31:23,000
Speaker 1: How many days? It was? About the following week I

1797
01:31:23,080 --> 01:31:26,040
Speaker 1: heard on the radio, Well I heard, I heard, I

1798
01:31:26,160 --> 01:31:29,320
Speaker 1: started hearing it on the radio. And still then you

1799
01:31:29,400 --> 01:31:31,439
Speaker 1: didn't think like, no, I knew, I knew, I knew,

1800
01:31:31,479 --> 01:31:34,000
Speaker 1: I knew. I believe me. When I made Erb's President

1801
01:31:34,120 --> 01:31:37,240
Speaker 1: Duke's I already knew that that was gonna be this,

1802
01:31:37,479 --> 01:31:39,160
Speaker 1: that was gonna be it, because that was more of

1803
01:31:39,240 --> 01:31:41,160
Speaker 1: where I was at. You notice, I was at make

1804
01:31:41,200 --> 01:31:43,200
Speaker 1: the music with your mouth, beiz the bridge and all

1805
01:31:43,240 --> 01:31:46,480
Speaker 1: of that. And even then I think ninety seven btpms

1806
01:31:46,560 --> 01:31:50,000
Speaker 1: was a little slow for you, because by that point

1807
01:31:50,600 --> 01:31:53,599
Speaker 1: all your choices were like but one twelve like super fast.

1808
01:31:53,760 --> 01:31:56,080
Speaker 1: I know, but the you make the music and then

1809
01:31:56,120 --> 01:31:58,320
Speaker 1: nobody beat the biz was over there. You give what

1810
01:31:58,360 --> 01:32:00,560
Speaker 1: I'm saying. Those was real good hits for me. So

1811
01:32:00,680 --> 01:32:02,000
Speaker 1: I was like, yo, I want to be over there.

1812
01:32:02,120 --> 01:32:04,000
Speaker 1: That's why I was trying to go, and that's why

1813
01:32:04,000 --> 01:32:06,320
Speaker 1: I want to bring Raw. I want to bring him there.

1814
01:32:07,040 --> 01:32:08,760
Speaker 1: I want to bring him right right right to where

1815
01:32:08,760 --> 01:32:11,840
Speaker 1: I was at with super fast and not not too fast,

1816
01:32:12,240 --> 01:32:15,120
Speaker 1: but you know where people can understand you and and dance.

1817
01:32:16,280 --> 01:32:17,080
Speaker 3: You get what I'm saying.

1818
01:32:17,200 --> 01:32:21,559
Speaker 1: I will say that because by this point, I'll say

1819
01:32:21,640 --> 01:32:25,880
Speaker 1: that between you and the Bomb Squad, both of you

1820
01:32:26,000 --> 01:32:33,800
Speaker 1: guys pretty much revolutionizing and leading the pack of the

1821
01:32:33,920 --> 01:32:36,200
Speaker 1: new wave of hip hop, which is like just this

1822
01:32:36,560 --> 01:32:41,720
Speaker 1: sonic assault matching the time period I was like your

1823
01:32:42,000 --> 01:32:48,559
Speaker 1: your version of the the panic sound was definitely more

1824
01:32:48,720 --> 01:32:51,240
Speaker 1: I mean, it was more danceable and dance like. You

1825
01:32:51,320 --> 01:32:53,960
Speaker 1: could still play Raw to this day. You can still

1826
01:32:54,000 --> 01:32:59,000
Speaker 1: play Poison to this day, whereas I mean, you know,

1827
01:32:59,240 --> 01:33:02,640
Speaker 1: just the the engineering of some of the stuff on

1828
01:33:02,760 --> 01:33:06,639
Speaker 1: Nation of Millions is so dense that it doesn't doesn't

1829
01:33:06,800 --> 01:33:09,160
Speaker 1: cut through, Like how many, how many? How long is

1830
01:33:09,160 --> 01:33:12,519
Speaker 1: it taking you to mix the stuff? And no, you

1831
01:33:12,600 --> 01:33:14,519
Speaker 1: know a lot of that stuff was made in mastering.

1832
01:33:15,400 --> 01:33:18,120
Speaker 1: I had very good guys master and I her powers.

1833
01:33:18,760 --> 01:33:21,040
Speaker 1: I'm coughing bats back in the day I heard I

1834
01:33:21,080 --> 01:33:24,840
Speaker 1: had her powers dude, so I would come. He would

1835
01:33:24,840 --> 01:33:27,160
Speaker 1: hate yo. Let me tell you, he would hate to

1836
01:33:27,200 --> 01:33:30,360
Speaker 1: see me coming bro right, because you know I'm coming

1837
01:33:30,400 --> 01:33:32,439
Speaker 1: with some ship from the living room. Oh here come Mollie.

1838
01:33:32,960 --> 01:33:35,559
Speaker 1: I gotta fix this ship. But by the time I left,

1839
01:33:35,640 --> 01:33:41,840
Speaker 1: mastering them fucking yo them ships was like coom colmom.

1840
01:33:42,280 --> 01:33:43,960
Speaker 1: He really fixed a lot of my song. My song

1841
01:33:44,080 --> 01:33:46,840
Speaker 1: was made on on four tracks in the crib without

1842
01:33:46,880 --> 01:33:51,240
Speaker 1: dB X. Are you mcs using pop stoppers? Just straight

1843
01:33:51,320 --> 01:33:53,639
Speaker 1: up like what type of mic? I had a sure

1844
01:33:53,720 --> 01:33:58,720
Speaker 1: mic without the without the bubble, without Wow. That's why, Mike,

1845
01:33:58,960 --> 01:34:02,360
Speaker 1: That's why my melody sounds so screechy in his voice.

1846
01:34:02,840 --> 01:34:07,240
Speaker 1: Roxanne sound so screechy some sham records and king because

1847
01:34:07,280 --> 01:34:11,960
Speaker 1: I had a fucked up Mike Tarik refuses. Tarik will

1848
01:34:12,000 --> 01:34:16,720
Speaker 1: do eight of his vocals on like a sure fifty eight. Yeah,

1849
01:34:17,760 --> 01:34:22,320
Speaker 1: hoping to get that. That just rhyming with the distortion. Yeah,

1850
01:34:22,600 --> 01:34:24,960
Speaker 1: you gotta take the top off that ball. There was

1851
01:34:25,200 --> 01:34:27,200
Speaker 1: there was rhyming with the ball off. I didn't even

1852
01:34:27,200 --> 01:34:28,280
Speaker 1: have a ball. Were so broke?

1853
01:34:33,520 --> 01:34:34,760
Speaker 3: Do you still have that? Yes?

1854
01:34:34,840 --> 01:34:38,479
Speaker 1: I do. I still got that, Mike. I can still

1855
01:34:38,520 --> 01:34:40,120
Speaker 1: got that. If you if i'd have known he was

1856
01:34:40,120 --> 01:34:41,400
Speaker 1: going to talk about that A brought out.

1857
01:34:41,920 --> 01:34:43,400
Speaker 3: That's more. I always be bringing it with me.

1858
01:34:43,600 --> 01:34:45,519
Speaker 6: Have one got to they got any of your stuff

1859
01:34:45,560 --> 01:34:48,439
Speaker 6: in the new Smithsonian and DC, I feel like maybe

1860
01:34:48,439 --> 01:34:48,920
Speaker 6: they need to.

1861
01:34:49,200 --> 01:34:52,280
Speaker 3: Yeah, maybe after this it could happen.

1862
01:34:53,120 --> 01:34:56,880
Speaker 1: Oh, it's trust me. Actually, I think shout out to

1863
01:34:57,200 --> 01:35:01,519
Speaker 1: Timothy at the Smithsonian. I think she's a Yeah, I'm

1864
01:35:01,720 --> 01:35:04,280
Speaker 1: meet with her. Give her more artifacts there. That's a

1865
01:35:04,320 --> 01:35:06,560
Speaker 1: cool thing about the Smithsonian For a pack rack like me.

1866
01:35:07,120 --> 01:35:09,720
Speaker 1: I could just give her the stuff and she is

1867
01:35:09,760 --> 01:35:19,120
Speaker 1: the hip hop Yeah, absolutely make the connection. How does

1868
01:35:19,200 --> 01:35:24,400
Speaker 1: Caine enter the well the picture? Let me let me

1869
01:35:24,439 --> 01:35:28,800
Speaker 1: finish with the Eric Bees President because the beat from

1870
01:35:28,920 --> 01:35:31,760
Speaker 1: Eric B's President came from a song that I made

1871
01:35:31,840 --> 01:35:35,040
Speaker 1: called Stun of the Block by Tragedy. I'm gonna send

1872
01:35:35,080 --> 01:35:36,519
Speaker 1: you it. We're gonna put it on this but it

1873
01:35:36,560 --> 01:35:38,840
Speaker 1: came from a song called Stun of the Block and

1874
01:35:39,200 --> 01:35:43,479
Speaker 1: you know the funky cuts because DJ hot Day used

1875
01:35:43,479 --> 01:35:46,800
Speaker 1: to be Tragedy's DJ. So I made a song called

1876
01:35:46,840 --> 01:35:48,759
Speaker 1: Stun of the Block right after super Kids.

1877
01:35:49,360 --> 01:35:51,360
Speaker 3: The Tragedy Won't Happen to Me.

1878
01:35:51,920 --> 01:35:54,400
Speaker 1: Made that and then the follow up song was a

1879
01:35:54,880 --> 01:35:57,439
Speaker 1: song called Stun of the Block. Now Stun of the

1880
01:35:57,479 --> 01:36:00,800
Speaker 1: Block had Eric Be's President kicks in there at the pattern.

1881
01:36:06,080 --> 01:36:06,400
Speaker 2: All of that.

1882
01:36:07,120 --> 01:36:10,000
Speaker 1: But when I did everybody's president since I couldn't make

1883
01:36:10,040 --> 01:36:12,600
Speaker 1: Stun of the Block a record because they couldn't they

1884
01:36:12,680 --> 01:36:15,160
Speaker 1: was too young to talk about stunts stunts on the block.

1885
01:36:15,200 --> 01:36:18,400
Speaker 1: How old was Strategedy? He probably was about probably about

1886
01:36:18,840 --> 01:36:20,719
Speaker 1: twelve when he made Stunt of the Block of twelve

1887
01:36:20,800 --> 01:36:24,960
Speaker 1: or thirteen, very very young. He's like, wait, speaking of which,

1888
01:36:26,040 --> 01:36:28,559
Speaker 1: I don't want I don't want to miss it. Craig

1889
01:36:28,600 --> 01:36:33,559
Speaker 1: g Yeah, did you produce Veronica like all the stuff that.

1890
01:36:33,600 --> 01:36:34,360
Speaker 3: He did for pop Art?

1891
01:36:34,479 --> 01:36:36,479
Speaker 1: Right, A lot of stuff he did for pop Art?

1892
01:36:36,479 --> 01:36:39,559
Speaker 1: I did produce a lot of it in the earlier stuff. Yeah,

1893
01:36:39,600 --> 01:36:43,200
Speaker 1: oh god, okay, okay, yeah. So so what basically happened.

1894
01:36:43,479 --> 01:36:46,439
Speaker 1: I took the drums from Stunt of the Block to

1895
01:36:46,680 --> 01:36:50,320
Speaker 1: turn everything down, just kept the drums, then put over

1896
01:36:50,439 --> 01:36:53,719
Speaker 1: like a fat rat baseline over it. So I already

1897
01:36:53,840 --> 01:36:58,439
Speaker 1: had that drum pattern already for another record. I sent

1898
01:36:58,479 --> 01:37:01,080
Speaker 1: I'm gonna send you all that for this so wow,

1899
01:37:01,520 --> 01:37:03,479
Speaker 1: and then and then you could hear it. You can

1900
01:37:03,520 --> 01:37:05,960
Speaker 1: hear it. It's the same drums, same everything, but it's

1901
01:37:05,960 --> 01:37:08,680
Speaker 1: different music. But I couldn't. I had to erase all

1902
01:37:08,720 --> 01:37:10,920
Speaker 1: of that ship. I don't even have Stunning the Block more.

1903
01:37:10,960 --> 01:37:12,760
Speaker 1: But I got the mixes, but I had to erase

1904
01:37:12,800 --> 01:37:14,479
Speaker 1: everything on the master you need to make a dub

1905
01:37:15,160 --> 01:37:18,080
Speaker 1: I got. I got the copies, mixes and instrumental and

1906
01:37:18,080 --> 01:37:20,840
Speaker 1: all that, but I don't have the master because the

1907
01:37:21,080 --> 01:37:21,840
Speaker 1: beat was so hot.

1908
01:37:21,880 --> 01:37:22,800
Speaker 3: It's Verbody's president.

1909
01:37:22,840 --> 01:37:24,880
Speaker 1: If I didn't erase what was there, you wouldn't have

1910
01:37:24,960 --> 01:37:26,559
Speaker 1: the foundation of Eric Being's president.

1911
01:37:27,360 --> 01:37:29,479
Speaker 3: Okay, I guess that's so sorthy second.

1912
01:37:31,040 --> 01:37:33,160
Speaker 1: In my mind at the funeral for Stunning the Block,

1913
01:37:33,320 --> 01:37:36,720
Speaker 1: like you never made it right, right right? I got

1914
01:37:36,760 --> 01:37:38,320
Speaker 1: the mixes though, I got you know, all types of

1915
01:37:38,360 --> 01:37:41,040
Speaker 1: mixes from it, but I don't have the actual multi track.

1916
01:37:41,320 --> 01:37:45,559
Speaker 1: But I got so by this point, is the SB

1917
01:37:45,680 --> 01:37:47,679
Speaker 1: twelve now your instrument of choice?

1918
01:37:48,040 --> 01:37:48,080
Speaker 6: No?

1919
01:37:49,479 --> 01:37:53,040
Speaker 1: You're still no. Let this be a note that that

1920
01:37:53,360 --> 01:37:57,040
Speaker 1: all the great hip hop producers still hold.

1921
01:37:58,400 --> 01:38:02,200
Speaker 3: True their their weapon of choice. Yeah, I mean I

1922
01:38:02,280 --> 01:38:03,559
Speaker 3: still have a few of them.

1923
01:38:03,720 --> 01:38:05,840
Speaker 1: So you say Ninth is still using fruity.

1924
01:38:05,600 --> 01:38:08,120
Speaker 3: Loops, he I think he is.

1925
01:38:09,560 --> 01:38:12,080
Speaker 1: I mean, at one point in time he was heavy

1926
01:38:12,160 --> 01:38:15,720
Speaker 1: on on machine, right, So I think he's using machine now,

1927
01:38:15,760 --> 01:38:18,519
Speaker 1: but I want to say back in like twenty it's

1928
01:38:18,720 --> 01:38:21,920
Speaker 1: like maybe twenty twelve thirteen, he sent me like a

1929
01:38:22,000 --> 01:38:25,240
Speaker 1: whole batch. She was like, yo, new fruity joints, all

1930
01:38:25,320 --> 01:38:26,080
Speaker 1: fruity loop beats.

1931
01:38:26,120 --> 01:38:28,280
Speaker 3: He went back to it. So yeah, he's still He's

1932
01:38:28,320 --> 01:38:30,439
Speaker 3: still on it. And you know what me, I moved

1933
01:38:30,520 --> 01:38:31,040
Speaker 3: I moved on.

1934
01:38:31,280 --> 01:38:34,320
Speaker 1: I mean, I could still use the old stuff, but

1935
01:38:34,400 --> 01:38:36,680
Speaker 1: I have my twelve hundreds, but I do use my

1936
01:38:37,040 --> 01:38:39,439
Speaker 1: my renaissance and going to the twelve hundred mold because

1937
01:38:39,479 --> 01:38:41,599
Speaker 1: it feels kind of like a twelve hundred, does it though?

1938
01:38:41,880 --> 01:38:44,280
Speaker 1: I mean the sound, not the feel. The sound a

1939
01:38:44,280 --> 01:38:49,960
Speaker 1: little ashy okay renaissance, but it doesn't it didn't do

1940
01:38:50,000 --> 01:38:53,559
Speaker 1: it like this doesn't feel the same. I still, I mean,

1941
01:38:53,560 --> 01:38:56,479
Speaker 1: I've learned on machine, but I'm still like I'm still

1942
01:38:56,560 --> 01:38:59,519
Speaker 1: grabbing the my weapon of choices in the two thousand.

1943
01:39:00,000 --> 01:39:01,240
Speaker 1: I do have a twelve hundred.

1944
01:39:00,960 --> 01:39:01,519
Speaker 3: Big o DC.

1945
01:39:01,600 --> 01:39:04,280
Speaker 1: You got the two thousand. I use logic in reasons

1946
01:39:04,360 --> 01:39:06,800
Speaker 1: right now, I'm a logic guy or reasons. So you're

1947
01:39:06,840 --> 01:39:09,840
Speaker 1: not afraid of technology, No, I move with it. I'm

1948
01:39:09,880 --> 01:39:12,160
Speaker 1: not getting left behind at all because if I would

1949
01:39:12,200 --> 01:39:13,960
Speaker 1: have been the person to get left behind, I probably

1950
01:39:13,960 --> 01:39:17,800
Speaker 1: would have been sampling. You get what I'm saying. I

1951
01:39:17,880 --> 01:39:20,000
Speaker 1: probably would have never sampled that first thing and used

1952
01:39:20,040 --> 01:39:22,599
Speaker 1: it for what it was at that point. I'm always

1953
01:39:22,600 --> 01:39:24,840
Speaker 1: the one to grab technology and and use it for

1954
01:39:24,960 --> 01:39:26,320
Speaker 1: what I need it for. You're going to make it

1955
01:39:26,360 --> 01:39:28,360
Speaker 1: for what you're making it for, but I'm going to

1956
01:39:28,520 --> 01:39:31,479
Speaker 1: use it for what I need it for. I see.

1957
01:39:32,320 --> 01:39:36,400
Speaker 1: So in eighty eight, is I mean, are you overwhelmed

1958
01:39:36,439 --> 01:39:39,880
Speaker 1: at this point because you're making the Going Off record,

1959
01:39:40,000 --> 01:39:44,439
Speaker 1: You're making Cane's record, You're making Chante's stuff. Yeah, cool,

1960
01:39:44,479 --> 01:39:46,200
Speaker 1: g raps about the end of the photo and how

1961
01:39:46,360 --> 01:39:47,960
Speaker 1: and how long would you spending on these records? Just

1962
01:39:48,080 --> 01:39:49,880
Speaker 1: real quick, like how long would it take to make

1963
01:39:50,880 --> 01:39:53,280
Speaker 1: Going Off? We're making a record? Like we're making two

1964
01:39:53,320 --> 01:39:55,920
Speaker 1: records a day type type thing. Was like it was

1965
01:39:56,000 --> 01:39:59,240
Speaker 1: like an assembly line. We're making two records a day.

1966
01:39:59,640 --> 01:40:03,160
Speaker 1: Who's next, what's tomorrow? Sessions after session? Every day is

1967
01:40:03,160 --> 01:40:05,240
Speaker 1: a session? Is it still in your kitchen?

1968
01:40:05,920 --> 01:40:06,160
Speaker 3: This way?

1969
01:40:06,200 --> 01:40:07,960
Speaker 1: After I moved to a story, it became like an

1970
01:40:08,000 --> 01:40:13,360
Speaker 1: assembly line. That's when I met Kan. So talk about King.

1971
01:40:13,680 --> 01:40:16,400
Speaker 1: Now King comes to my door business. Late one day

1972
01:40:16,960 --> 01:40:20,400
Speaker 1: he comes to my door. Yeah I'm thinking. I'm thinking

1973
01:40:20,439 --> 01:40:22,360
Speaker 1: he's trying to stick me up because now I lived

1974
01:40:22,360 --> 01:40:22,840
Speaker 1: in the story.

1975
01:40:23,000 --> 01:40:25,920
Speaker 3: Finally, I was like, what do you want to get paranoid?

1976
01:40:26,120 --> 01:40:30,559
Speaker 3: You know? Now I go downstairs. It's a dude.

1977
01:40:30,760 --> 01:40:32,960
Speaker 1: Some dogs can do it at the door, Like, yo,

1978
01:40:33,000 --> 01:40:35,200
Speaker 1: I don't even know this dude. I don't know why

1979
01:40:35,200 --> 01:40:37,479
Speaker 1: I even buzzed him in my building. He got to

1980
01:40:37,560 --> 01:40:39,120
Speaker 1: the door. I'm like, there, I don't even know this dude.

1981
01:40:39,160 --> 01:40:40,840
Speaker 1: I left buzz him in the building at the door,

1982
01:40:41,280 --> 01:40:44,559
Speaker 1: I'm like, yo, ship, he's like upstairs, so it's only

1983
01:40:44,600 --> 01:40:46,240
Speaker 1: one of him. It's only me and him. So I'm like, yo,

1984
01:40:46,680 --> 01:40:48,360
Speaker 1: it's not two of them. So it's just gonna have

1985
01:40:48,439 --> 01:40:50,479
Speaker 1: to be me and dukes. You get what I'm saying.

1986
01:40:50,560 --> 01:40:57,200
Speaker 1: So so anyway, like you know, I opened my door

1987
01:40:57,280 --> 01:41:00,280
Speaker 1: like I have a little halfway and ships jo what up? Like, yo,

1988
01:41:00,360 --> 01:41:04,080
Speaker 1: I'm here to meet Bizz. Oh yeah, I'm like, so

1989
01:41:05,520 --> 01:41:09,519
Speaker 1: I write business rhymes. I say, oh you do, so

1990
01:41:09,680 --> 01:41:13,920
Speaker 1: tell me a rhyme that you wrote for biz And

1991
01:41:14,000 --> 01:41:16,719
Speaker 1: he said some ship that never came out yet. Okay.

1992
01:41:17,000 --> 01:41:18,760
Speaker 1: I was like, oh, this is nik official because how

1993
01:41:18,760 --> 01:41:20,599
Speaker 1: are you gonna know that? I was like, all right,

1994
01:41:20,680 --> 01:41:22,200
Speaker 1: come in. So I let him in the ship and

1995
01:41:22,240 --> 01:41:27,200
Speaker 1: we're sitting there. We're sitting there talking and ship. We're

1996
01:41:27,200 --> 01:41:28,720
Speaker 1: sitting there. You know, he's telling me that, you.

1997
01:41:28,760 --> 01:41:30,160
Speaker 2: Know, rhyme a little.

1998
01:41:30,439 --> 01:41:32,720
Speaker 1: You know, I never heard myself on the on the

1999
01:41:32,840 --> 01:41:35,479
Speaker 1: mic on the on the so and so you know,

2000
01:41:35,720 --> 01:41:38,320
Speaker 1: I'm like, oh whatever. So you know, we're sitting there.

2001
01:41:38,400 --> 01:41:41,599
Speaker 1: Biz kind of late, so you know, I said, fuck,

2002
01:41:41,720 --> 01:41:44,160
Speaker 1: let me throwing, throwing, fucking I'll take you there beat

2003
01:41:45,200 --> 01:41:49,679
Speaker 1: you had it made already. Yeah, matter of fact, he said,

2004
01:41:49,720 --> 01:41:51,519
Speaker 1: let's run. I like to rhyme off. I take you that.

2005
01:41:51,600 --> 01:41:53,160
Speaker 1: So I chopped it up real quick and put it there.

2006
01:41:53,520 --> 01:41:56,880
Speaker 1: Then then the ship had Big Dady, you know that ship.

2007
01:41:57,240 --> 01:41:59,439
Speaker 1: And I caught that and started like, He's like, oh,

2008
01:42:00,080 --> 01:42:01,960
Speaker 1: so that's gonna be kind of bond that I made that.

2009
01:42:02,080 --> 01:42:04,000
Speaker 1: He rhymed off that, and that was kind of like

2010
01:42:04,040 --> 01:42:07,640
Speaker 1: his first little demo before BIZ got there, did or

2011
01:42:07,800 --> 01:42:11,720
Speaker 1: was he? He wass already big Daddy, But when he

2012
01:42:11,840 --> 01:42:13,519
Speaker 1: rhymed ing that, I knew. I was like, Yo, this

2013
01:42:13,640 --> 01:42:16,080
Speaker 1: nigga is way different from everybody I'm fucking with here.

2014
01:42:16,760 --> 01:42:18,000
Speaker 1: This Nigga is the ship.

2015
01:42:19,560 --> 01:42:22,080
Speaker 3: This niggas he's the real ship.

2016
01:42:22,439 --> 01:42:24,880
Speaker 1: Because the diction was righty at the voice, and I

2017
01:42:24,960 --> 01:42:27,439
Speaker 1: was like, Yo, Nigga kind of dice and and I

2018
01:42:27,520 --> 01:42:29,280
Speaker 1: went back to the record coming Yo Biz right is

2019
01:42:29,320 --> 01:42:29,679
Speaker 1: the ship?

2020
01:42:30,920 --> 01:42:32,559
Speaker 3: Yo Biz writing new artists.

2021
01:42:33,240 --> 01:42:36,680
Speaker 1: They told me so well, and so on the low,

2022
01:42:36,760 --> 01:42:39,679
Speaker 1: I would just record, you know, I would just record

2023
01:42:39,760 --> 01:42:41,400
Speaker 1: more with him every time he would come.

2024
01:42:41,439 --> 01:42:43,920
Speaker 3: I'm recording a little more with him, get more, ammo.

2025
01:42:44,439 --> 01:42:45,920
Speaker 1: And then after a while I was like, yo, we

2026
01:42:46,280 --> 01:42:49,880
Speaker 1: had his album done, ship, but I kind of I

2027
01:42:50,000 --> 01:42:54,800
Speaker 1: kind of did his his earlier recordings around bisbeeing late

2028
01:42:56,960 --> 01:43:06,320
Speaker 1: son's lateness to Thank's career. Well, you know, especially the

2029
01:43:06,360 --> 01:43:08,960
Speaker 1: first record, because that's how we first bonded off, the

2030
01:43:09,040 --> 01:43:11,360
Speaker 1: first you know, the first little thing and at that

2031
01:43:11,479 --> 01:43:13,840
Speaker 1: time in hip hop, because you know, you just say

2032
01:43:13,920 --> 01:43:16,920
Speaker 1: so freely, like, well, Kane was business writer. Was there

2033
01:43:17,120 --> 01:43:20,120
Speaker 1: any kind of stigma in terms of being a m

2034
01:43:20,240 --> 01:43:23,840
Speaker 1: C that had a writer? You know that The funny

2035
01:43:23,880 --> 01:43:29,080
Speaker 1: thing nobody with Biz, I mean nobody never won at

2036
01:43:29,200 --> 01:43:31,920
Speaker 1: him for they probably didn't even know that he didn't

2037
01:43:32,040 --> 01:43:33,800
Speaker 1: write the Vapors first, you know what I'm saying.

2038
01:43:33,800 --> 01:43:35,760
Speaker 3: They didn't know Caine wrote the Vapors for him.

2039
01:43:36,240 --> 01:43:38,840
Speaker 1: You know, Biz rhymes when he wrote a rhyme, it

2040
01:43:39,000 --> 01:43:41,640
Speaker 1: was like a fun, happy rhyme, but any rhyme that

2041
01:43:42,040 --> 01:43:47,040
Speaker 1: made a lot of sense. He wrote the toilet.

2042
01:43:49,160 --> 01:43:49,679
Speaker 2: Most likely.

2043
01:43:51,600 --> 01:43:51,800
Speaker 4: You know.

2044
01:43:55,960 --> 01:43:59,000
Speaker 1: Has Biz always spelled his name in every rhyme he's

2045
01:43:59,040 --> 01:44:05,439
Speaker 1: ever spent to be that that was the selling point too.

2046
01:44:05,560 --> 01:44:10,000
Speaker 1: He understood marketing very early. I feel you're there in

2047
01:44:10,040 --> 01:44:12,080
Speaker 1: the last hour of this very special court Lovel Supreme

2048
01:44:12,120 --> 01:44:14,400
Speaker 1: interview with the legendary Marley Maaul who just told us

2049
01:44:14,439 --> 01:44:17,680
Speaker 1: about working with some of the best c's of the

2050
01:44:17,760 --> 01:44:20,559
Speaker 1: eighties and not even dating it. I think of all

2051
01:44:20,640 --> 01:44:23,800
Speaker 1: time period of all time, Yes, definitely of all time.

2052
01:44:25,200 --> 01:44:28,759
Speaker 1: So Kin and g Rap in the same crew because

2053
01:44:29,160 --> 01:44:32,760
Speaker 1: that version of Raw that I heard where they just

2054
01:44:33,400 --> 01:44:34,360
Speaker 1: why didn't that come come?

2055
01:44:34,560 --> 01:44:34,600
Speaker 2: What?

2056
01:44:35,040 --> 01:44:39,360
Speaker 1: Yeah, like, well why did I even make the B

2057
01:44:39,640 --> 01:44:44,599
Speaker 1: side of the real version? Your man g Rat rhymed

2058
01:44:44,640 --> 01:44:47,560
Speaker 1: all the way to the end. He killed it, you know,

2059
01:44:47,680 --> 01:44:50,720
Speaker 1: he was like g Rap, I mean it was that

2060
01:44:50,800 --> 01:44:53,360
Speaker 1: was a real battle. That was it was really going

2061
01:44:53,600 --> 01:44:57,320
Speaker 1: on that that was like really because at that point

2062
01:44:59,360 --> 01:45:02,800
Speaker 1: Kane was getting so famous in the crew and g

2063
01:45:03,000 --> 01:45:05,360
Speaker 1: Rap been here already, so he was like trying to

2064
01:45:05,400 --> 01:45:07,439
Speaker 1: hold He was around before k Right, he was around

2065
01:45:07,479 --> 01:45:11,240
Speaker 1: before Kaneka. Yeah, he was around before Kane. So you know,

2066
01:45:11,439 --> 01:45:16,240
Speaker 1: the the new cat against the the you know, the

2067
01:45:16,400 --> 01:45:18,519
Speaker 1: the street rapper, you give what I'm saying. G rap

2068
01:45:18,600 --> 01:45:22,280
Speaker 1: was always that the hard rapper with with with Polo.

2069
01:45:23,040 --> 01:45:26,639
Speaker 1: Now they get to clash on the record going off

2070
01:45:26,680 --> 01:45:30,679
Speaker 1: on a crazy beat. Oh man, that ship was crazy

2071
01:45:30,840 --> 01:45:33,400
Speaker 1: when they killed that raw ship. So even then, did

2072
01:45:33,479 --> 01:45:36,720
Speaker 1: you feel like there's some historical shit? Yeah? I knew

2073
01:45:36,800 --> 01:45:38,560
Speaker 1: right there because it was like the it was my

2074
01:45:38,720 --> 01:45:41,320
Speaker 1: Titans right there going at it. It was clash of

2075
01:45:41,360 --> 01:45:45,120
Speaker 1: the Titans. It was clash of the Titans for us. Yeah,

2076
01:45:45,479 --> 01:45:47,439
Speaker 1: it was crazy. So this leads to.

2077
01:45:49,760 --> 01:45:50,200
Speaker 3: The story.

2078
01:45:50,560 --> 01:45:53,760
Speaker 1: Well I have two stories of the symphony, Okay, One

2079
01:45:56,520 --> 01:46:00,200
Speaker 1: Why was Shan not on the symphony? Mm hmm too

2080
01:46:01,080 --> 01:46:02,960
Speaker 1: why was Kane obviously not.

2081
01:46:06,720 --> 01:46:07,639
Speaker 3: My first person?

2082
01:46:11,479 --> 01:46:14,920
Speaker 1: Well, basically, you know we made that record when we

2083
01:46:15,040 --> 01:46:17,680
Speaker 1: left the photo shoot on the back when we all

2084
01:46:17,720 --> 01:46:20,040
Speaker 1: standing and from this plane was that we rented that

2085
01:46:20,160 --> 01:46:20,679
Speaker 1: It was a prop.

2086
01:46:22,000 --> 01:46:23,519
Speaker 3: There was a prop. Everything was a problem.

2087
01:46:23,560 --> 01:46:29,720
Speaker 1: You started many unreachable, right of course. I just thought like,

2088
01:46:30,120 --> 01:46:31,240
Speaker 1: oh that's what we gotta do.

2089
01:46:31,360 --> 01:46:34,280
Speaker 3: We gotta make it. One day when we yeah, no doubt,

2090
01:46:34,880 --> 01:46:39,040
Speaker 3: you know, I was I was told that. The first

2091
01:46:39,080 --> 01:46:39,960
Speaker 3: Instagram front of.

2092
01:46:42,320 --> 01:46:43,920
Speaker 1: He's like, yo, you know, he was like, yeah, we

2093
01:46:44,000 --> 01:46:46,040
Speaker 1: get in front of a plane. We looked like we're

2094
01:46:46,080 --> 01:46:48,960
Speaker 1: doing it. We looked like we, you know, we're really

2095
01:46:49,040 --> 01:46:50,800
Speaker 1: doing it. So we got in front of that. You know,

2096
01:46:50,840 --> 01:46:53,559
Speaker 1: we got in front of that plane and people thought

2097
01:46:53,600 --> 01:46:55,600
Speaker 1: we was really doing it. And yes, we thought you

2098
01:46:55,680 --> 01:46:57,600
Speaker 1: were doing it. And then guess what happened? Then we

2099
01:46:57,680 --> 01:47:00,320
Speaker 1: started really doing it. It's like sometime you you know,

2100
01:47:00,680 --> 01:47:03,280
Speaker 1: you speaking into existence like that, and we kind of did.

2101
01:47:03,360 --> 01:47:05,840
Speaker 1: And next thing, you know, I mean, that wasn't my

2102
01:47:05,920 --> 01:47:08,760
Speaker 1: first time being there private joint. I was already experienced

2103
01:47:08,800 --> 01:47:11,880
Speaker 1: the experience in the Chante Area era, you know what

2104
01:47:11,960 --> 01:47:15,000
Speaker 1: I mean. So, but we stood in front of those

2105
01:47:15,080 --> 01:47:16,519
Speaker 1: and looked like we just came from off tour. It

2106
01:47:16,560 --> 01:47:20,960
Speaker 1: looked like we're so busy. And wow, after that, after that,

2107
01:47:21,160 --> 01:47:23,840
Speaker 1: those pictures came out and everybody saw that we really

2108
01:47:23,880 --> 01:47:28,760
Speaker 1: started getting that busy. They came right in. Well that

2109
01:47:29,040 --> 01:47:32,280
Speaker 1: that inspired and and for shar not being on the record,

2110
01:47:32,320 --> 01:47:34,400
Speaker 1: he you know, he just he didn't, you know, he

2111
01:47:34,800 --> 01:47:37,680
Speaker 1: didn't show up. He's supposed to come, he said, I'll

2112
01:47:37,720 --> 01:47:39,960
Speaker 1: meet you o there and he just didn't come. And

2113
01:47:40,040 --> 01:47:42,479
Speaker 1: you know, I put does he regret it? I don't know.

2114
01:47:42,560 --> 01:47:46,040
Speaker 3: You may have to ask him when you get him here.

2115
01:47:46,080 --> 01:47:46,439
Speaker 7: You not.

2116
01:47:46,560 --> 01:47:48,240
Speaker 3: Once it was just like damn, I wanted to be

2117
01:47:48,320 --> 01:47:50,520
Speaker 3: on that, Like I would have been salty.

2118
01:47:51,000 --> 01:47:52,680
Speaker 1: You know, but that was a big record because look

2119
01:47:52,680 --> 01:47:55,320
Speaker 1: what would have did for imagine if that was in

2120
01:47:55,439 --> 01:47:57,960
Speaker 1: dudes arsenal, it could have been you know, maybe a

2121
01:47:58,040 --> 01:48:01,880
Speaker 1: little different situation, a different turnout. It could have been

2122
01:48:01,920 --> 01:48:04,240
Speaker 1: a little different. I mean not to say anything you

2123
01:48:04,320 --> 01:48:06,400
Speaker 1: know bad would do, but you know he could have

2124
01:48:06,439 --> 01:48:09,160
Speaker 1: had that in his arson or like yo' chefing what

2125
01:48:09,840 --> 01:48:11,760
Speaker 1: you know what I'm saying. And that means a lot

2126
01:48:11,840 --> 01:48:14,880
Speaker 1: because master it's considered the greatest, one of the greatest

2127
01:48:14,920 --> 01:48:17,280
Speaker 1: pos there you go, so that that's that the first

2128
01:48:18,640 --> 01:48:22,360
Speaker 1: I mean, he had the crash crew and all those guys,

2129
01:48:22,760 --> 01:48:25,000
Speaker 1: but this is like a posse of guys that wasn't

2130
01:48:25,000 --> 01:48:28,280
Speaker 1: a crew, right, there's a posse of guys that you know,

2131
01:48:28,400 --> 01:48:30,760
Speaker 1: we we and juice crew, but we could hold our own.

2132
01:48:31,479 --> 01:48:33,360
Speaker 1: Anybody could hold their own kind of I can make

2133
01:48:33,400 --> 01:48:35,599
Speaker 1: my own record and still stand. But you know, master

2134
01:48:35,680 --> 01:48:38,280
Speaker 1: ast very well from being the first person on that record,

2135
01:48:39,280 --> 01:48:40,960
Speaker 1: you know, And I put him there as a filler,

2136
01:48:41,280 --> 01:48:46,760
Speaker 1: trying to put him there just in case he wasn't

2137
01:48:46,760 --> 01:48:49,479
Speaker 1: even supposed to really stay there. Get you get what

2138
01:48:49,640 --> 01:48:50,400
Speaker 1: you're holding out for.

2139
01:48:52,080 --> 01:49:00,920
Speaker 3: For whoever was supposed to show you mind? Who did

2140
01:49:01,000 --> 01:49:03,880
Speaker 3: you think was gonna was it raw?

2141
01:49:05,120 --> 01:49:06,720
Speaker 1: Like do you think rock Ken would have held his

2142
01:49:06,800 --> 01:49:08,680
Speaker 1: own on the on this video that that was too

2143
01:49:08,720 --> 01:49:11,120
Speaker 1: slow for him? He would have been dope because he

2144
01:49:11,200 --> 01:49:13,400
Speaker 1: rock He rock be his president, so he would have

2145
01:49:13,479 --> 01:49:17,040
Speaker 1: killed that symphony. I think, to be honest, I would

2146
01:49:17,080 --> 01:49:23,000
Speaker 1: have always liked to hear I think Chante. If Chante

2147
01:49:23,160 --> 01:49:29,720
Speaker 1: was on a symphony, Boddy we she you know, I

2148
01:49:29,840 --> 01:49:31,160
Speaker 1: always I wanted her to be on it. But I

2149
01:49:31,240 --> 01:49:34,000
Speaker 1: had a record with her already on my album, so

2150
01:49:34,120 --> 01:49:36,920
Speaker 1: I you know, I had a record bracket. Yeah, what

2151
01:49:37,160 --> 01:49:40,640
Speaker 1: was up with the war between or the back of

2152
01:49:40,880 --> 01:49:44,240
Speaker 1: I mean they didn't necessarily respond, but like what was

2153
01:49:44,280 --> 01:49:46,680
Speaker 1: her feeling at that time? Was it like all these

2154
01:49:46,720 --> 01:49:51,040
Speaker 1: females are blowing up with these pop hits, and you

2155
01:49:51,120 --> 01:49:54,639
Speaker 1: know when it's my turn? Because by that point, Salt

2156
01:49:54,680 --> 01:49:58,280
Speaker 1: and Pepper was kicking in. I know that whack it

2157
01:49:58,400 --> 01:50:02,719
Speaker 1: was probably aimed at even them or JJ fat whatever,

2158
01:50:03,439 --> 01:50:07,120
Speaker 1: but even I guess she even addressed it on H

2159
01:50:09,040 --> 01:50:13,800
Speaker 1: Bad Sister, the first cut on the solo record that

2160
01:50:13,920 --> 01:50:16,400
Speaker 1: she did. I believe she was her feeling at that time,

2161
01:50:16,560 --> 01:50:18,000
Speaker 1: was it like when's it going to be my turn?

2162
01:50:18,120 --> 01:50:20,439
Speaker 1: Or she just wasn't a fan of of you know,

2163
01:50:20,520 --> 01:50:22,960
Speaker 1: because she was kind of hardcore rap and going at

2164
01:50:23,000 --> 01:50:25,800
Speaker 1: people in the crowd, and you know, she just wasn't

2165
01:50:25,840 --> 01:50:28,479
Speaker 1: with that pop thing yet. I mean it's before pop

2166
01:50:28,640 --> 01:50:31,840
Speaker 1: was proven, you know what I mean. Okay, so you

2167
01:50:31,920 --> 01:50:36,080
Speaker 1: know she probably didn't appreciate being you know, rapping and

2168
01:50:36,320 --> 01:50:38,840
Speaker 1: going hard and then they come in with it sounded

2169
01:50:38,880 --> 01:50:40,200
Speaker 1: like a son and they didn't even try to make

2170
01:50:40,240 --> 01:50:41,200
Speaker 1: and it went really well.

2171
01:50:42,040 --> 01:50:42,360
Speaker 3: It's like.

2172
01:50:43,960 --> 01:50:46,080
Speaker 1: It just got lucky, you know, not lucky, but you

2173
01:50:46,160 --> 01:50:48,280
Speaker 1: know it just went well. Sometimes you don't put effort

2174
01:50:48,320 --> 01:50:50,840
Speaker 1: into something. You just rock out and say what you

2175
01:50:50,960 --> 01:50:52,960
Speaker 1: feel and put it in the atmosphere and it could

2176
01:50:53,000 --> 01:50:54,760
Speaker 1: work out. But there's some people that go in the

2177
01:50:54,800 --> 01:50:56,839
Speaker 1: studio and bus day ass and it don't become anything.

2178
01:50:58,240 --> 01:51:00,840
Speaker 1: So you know, maybe she just felt that yo, I'm

2179
01:51:00,880 --> 01:51:02,840
Speaker 1: putting in work and all they gotta do is that

2180
01:51:03,000 --> 01:51:05,640
Speaker 1: and pop and that. You know, but certain things are

2181
01:51:05,640 --> 01:51:09,439
Speaker 1: for certain people, you know what I mean. One thing

2182
01:51:09,479 --> 01:51:16,160
Speaker 1: about Kane though, uh, I noticed that he was sort

2183
01:51:16,160 --> 01:51:20,400
Speaker 1: of the neutral member of the Jews crew, whereas even

2184
01:51:21,560 --> 01:51:28,240
Speaker 1: Chris would shot him out on BDP records. But I mean,

2185
01:51:28,280 --> 01:51:30,679
Speaker 1: what was his position on being a Jewe crew member?

2186
01:51:30,800 --> 01:51:35,360
Speaker 3: Like, was it like, yo, why are you cool?

2187
01:51:35,680 --> 01:51:35,840
Speaker 6: You know?

2188
01:51:36,040 --> 01:51:36,200
Speaker 3: Was it?

2189
01:51:36,960 --> 01:51:40,280
Speaker 1: To be honest, they always had a special friendship. Okay,

2190
01:51:40,439 --> 01:51:45,240
Speaker 1: Karas one and and and and Kane. I believe that

2191
01:51:46,200 --> 01:51:48,840
Speaker 1: Karas One and Miss Melody moved Kine out of his

2192
01:51:49,280 --> 01:51:52,240
Speaker 1: place in Brooklyn when he first got his condo for

2193
01:51:52,400 --> 01:51:54,519
Speaker 1: his first album, you ge know what I'm saying. So

2194
01:51:54,560 --> 01:51:59,599
Speaker 1: they always had a special a friendship way before friendship. Okay,

2195
01:52:00,040 --> 01:52:03,519
Speaker 1: So so was that weird or awkward like I'm in

2196
01:52:03,600 --> 01:52:06,760
Speaker 1: the Juice Crew now? Well, I guess that's something they

2197
01:52:06,840 --> 01:52:11,920
Speaker 1: had to deal with. I mean, because Keros didn't mention

2198
01:52:12,040 --> 01:52:15,200
Speaker 1: him on any records. Right, And by this point is

2199
01:52:15,320 --> 01:52:19,120
Speaker 1: mister Magic even a factor in eighty seven eighty eight

2200
01:52:19,520 --> 01:52:23,519
Speaker 1: at that point, mister Magic, I would say by the

2201
01:52:24,360 --> 01:52:29,680
Speaker 1: eighty by the early nineties, he probably he wasn't much

2202
01:52:29,720 --> 01:52:33,040
Speaker 1: of a factor with everybody. Anybody was their own person.

2203
01:52:33,160 --> 01:52:36,240
Speaker 1: Then I wasn't on the radio with him anymore. I

2204
01:52:36,400 --> 01:52:39,240
Speaker 1: was doing starting to do in Control because I had

2205
01:52:39,280 --> 01:52:41,479
Speaker 1: an in Control album out. Put it out in what

2206
01:52:41,640 --> 01:52:42,639
Speaker 1: eighty nine?

2207
01:52:42,960 --> 01:52:43,000
Speaker 7: No?

2208
01:52:43,160 --> 01:52:46,200
Speaker 1: Eighty eighty eight, I got the budget in eighty seven,

2209
01:52:46,520 --> 01:52:50,240
Speaker 1: bought a house. You get what I'm saying. So at

2210
01:52:50,280 --> 01:52:54,160
Speaker 1: any point during this period, is this a no pun

2211
01:52:54,240 --> 01:52:57,760
Speaker 1: intended a water under the bridge moment? Like have you

2212
01:52:57,960 --> 01:53:01,840
Speaker 1: ever not run into BDP in those years and been

2213
01:53:01,960 --> 01:53:03,759
Speaker 1: like all right, let's talk.

2214
01:53:03,680 --> 01:53:05,679
Speaker 3: And you know what the funny thing? I took it serious.

2215
01:53:05,800 --> 01:53:09,120
Speaker 1: I wasn't fucking with them dudes. Okay, you ain't see

2216
01:53:09,160 --> 01:53:11,800
Speaker 1: me on no commercials, no Sprike commercials. I was not

2217
01:53:11,960 --> 01:53:14,120
Speaker 1: fucking with them, bro, really.

2218
01:53:14,160 --> 01:53:17,240
Speaker 3: Because everybody they were trying to take your livelihood.

2219
01:53:16,800 --> 01:53:19,320
Speaker 1: Right, I'm like, dude, you know I ain't improved how

2220
01:53:19,400 --> 01:53:22,000
Speaker 1: y'all came so fuck y'all. So I never did nothing

2221
01:53:22,080 --> 01:53:23,879
Speaker 1: with them. Nothing.

2222
01:53:24,760 --> 01:53:26,959
Speaker 3: I mean, I wanted to be in a Spike commercial.

2223
01:53:27,040 --> 01:53:29,559
Speaker 3: So even when the shan did the Spike commercial wanted

2224
01:53:29,600 --> 01:53:31,800
Speaker 3: me in there, I said, no, I ain't fucking with it.

2225
01:53:32,120 --> 01:53:33,800
Speaker 1: I'm not fucking with y'all. They may used to be

2226
01:53:33,920 --> 01:53:36,720
Speaker 1: though they could do all that, but you didn't see

2227
01:53:36,760 --> 01:53:39,200
Speaker 1: my face in there. You ain't seen me, fucking So

2228
01:53:39,320 --> 01:53:42,200
Speaker 1: took a long time for y'all to finally have that conversation.

2229
01:53:42,360 --> 01:53:45,040
Speaker 1: And yeah, we finally, you know, because I never I

2230
01:53:45,160 --> 01:53:48,000
Speaker 1: never really understood why he was mad at us. I'm like, dude,

2231
01:53:48,120 --> 01:53:50,840
Speaker 1: I'm always thought in my mind, why why why why

2232
01:53:50,920 --> 01:53:53,000
Speaker 1: he was mad at us? Dude? We the motherfucking Juice Coupe.

2233
01:53:53,280 --> 01:53:57,559
Speaker 1: We out here saving hip hop. Yeah, we are here

2234
01:53:57,600 --> 01:53:59,960
Speaker 1: saving hip hop, dude, and you got something to say.

2235
01:54:00,160 --> 01:54:02,000
Speaker 1: So I never understood why he was mad until one

2236
01:54:02,120 --> 01:54:05,840
Speaker 1: day I read his bio and in his bio he

2237
01:54:05,920 --> 01:54:09,360
Speaker 1: said it all happened with a chance meeting with mister Magic,

2238
01:54:09,720 --> 01:54:12,880
Speaker 1: and he described what happened, and I remembered that day.

2239
01:54:13,600 --> 01:54:15,800
Speaker 3: I said, oh, that was those motherfuckers.

2240
01:54:17,400 --> 01:54:20,679
Speaker 1: Then it all came to me, Oh, they was mad

2241
01:54:20,760 --> 01:54:24,800
Speaker 1: because that's the niggas, that magic shit. He dissed them

2242
01:54:24,840 --> 01:54:26,640
Speaker 1: and slammed the door and left me in there with

2243
01:54:26,680 --> 01:54:28,280
Speaker 1: them out. So on your mind when you're hearing the

2244
01:54:28,280 --> 01:54:31,760
Speaker 1: bridges over, it's coming from someone totally random that had nothing.

2245
01:54:31,520 --> 01:54:32,760
Speaker 5: To do with right.

2246
01:54:32,960 --> 01:54:33,240
Speaker 1: I didn't.

2247
01:54:33,240 --> 01:54:34,720
Speaker 3: I didn't understand where it was coming from.

2248
01:54:35,520 --> 01:54:38,160
Speaker 1: And and I guess what. And I didn't even explore why.

2249
01:54:38,560 --> 01:54:40,600
Speaker 1: I didn't give a fuck, so I just like, yeah,

2250
01:54:40,640 --> 01:54:42,160
Speaker 1: fuck it, let me just walk away for a minute.

2251
01:54:42,240 --> 01:54:44,960
Speaker 1: I never really realized until I read his bio in

2252
01:54:45,040 --> 01:54:47,000
Speaker 1: the nineties. I was like hot in ninety seven and

2253
01:54:47,040 --> 01:54:49,920
Speaker 1: Tracy's office Tracy Chlordy's office. One day and I was

2254
01:54:49,960 --> 01:54:53,080
Speaker 1: going through bios. I saw PDPs off bdp's bio. I

2255
01:54:53,120 --> 01:54:54,720
Speaker 1: was like, oh, this looks interesting.

2256
01:54:55,040 --> 01:54:57,680
Speaker 3: See what they say about the Let me read this right,

2257
01:54:57,880 --> 01:54:58,720
Speaker 3: and I'm going through it.

2258
01:54:59,040 --> 01:55:01,480
Speaker 1: It all happened one day mister Magic got power Play

2259
01:55:01,520 --> 01:55:04,600
Speaker 1: Studio and he dissed us. I said, this ship never happened.

2260
01:55:04,640 --> 01:55:11,440
Speaker 1: Then I said, oh, motherfuckers. And this was like this

2261
01:55:11,600 --> 01:55:13,200
Speaker 1: had to be ten years later, y'ah.

2262
01:55:13,120 --> 01:55:15,440
Speaker 6: Wow, So how long did it take then for you

2263
01:55:15,560 --> 01:55:18,560
Speaker 6: to when you see him again at some point? Now

2264
01:55:18,560 --> 01:55:21,160
Speaker 6: that yeah, after I found out after.

2265
01:55:21,040 --> 01:55:23,160
Speaker 1: One day, it was like, yo, meet the way me

2266
01:55:23,240 --> 01:55:26,160
Speaker 1: and Chris met each other. I don't know where it

2267
01:55:26,320 --> 01:55:28,920
Speaker 1: was at wasn't it was in a revolving door in

2268
01:55:29,000 --> 01:55:33,960
Speaker 1: the building. Dudes, I swear to god, dukes. I was

2269
01:55:34,040 --> 01:55:35,960
Speaker 1: on one side of revolving though he was on the other.

2270
01:55:36,000 --> 01:55:38,120
Speaker 1: I looked at him, he looked at that. That was

2271
01:55:38,160 --> 01:55:40,000
Speaker 1: the first time we ever met each other.

2272
01:55:40,240 --> 01:55:40,440
Speaker 6: Kid.

2273
01:55:43,320 --> 01:55:45,120
Speaker 1: So I came outside and I said, Yo, what up.

2274
01:55:45,160 --> 01:55:47,000
Speaker 1: He's like, YO, what up? And then we started talking.

2275
01:55:47,080 --> 01:55:47,520
Speaker 1: I said yo.

2276
01:55:47,840 --> 01:55:48,880
Speaker 3: I was like, Yo, that was y'all.

2277
01:55:48,920 --> 01:55:51,840
Speaker 1: That power play y'all said y'all. I never knew why

2278
01:55:51,960 --> 01:55:53,600
Speaker 1: y'all had beef, he said, yo.

2279
01:55:54,600 --> 01:55:57,360
Speaker 3: Then he started explaining it and I was like why.

2280
01:55:57,480 --> 01:55:58,880
Speaker 1: I was like, Yo, that was y'all.

2281
01:55:58,920 --> 01:56:00,600
Speaker 3: I was like, Yo, that's that's it was crazy. It

2282
01:56:00,720 --> 01:56:02,080
Speaker 3: just fucked my head up.

2283
01:56:02,240 --> 01:56:04,680
Speaker 1: The bridges over was the original stand yep.

2284
01:56:07,960 --> 01:56:08,880
Speaker 3: Great analogy.

2285
01:56:13,000 --> 01:56:15,840
Speaker 1: Then so after that we spoke, and then after that

2286
01:56:15,920 --> 01:56:18,120
Speaker 1: we got pretty cool. And then one day he called

2287
01:56:18,120 --> 01:56:23,000
Speaker 1: me and said, Yo, yots do album. I didn't really

2288
01:56:23,080 --> 01:56:25,600
Speaker 1: talk to him until like it had to be like

2289
01:56:27,080 --> 01:56:29,440
Speaker 1: two thousand. Damn.

2290
01:56:30,640 --> 01:56:33,240
Speaker 3: I wasn't fucking with them at all.

2291
01:56:38,120 --> 01:56:41,000
Speaker 1: I appreciate, at least as a as a fan, that

2292
01:56:42,480 --> 01:56:47,440
Speaker 1: it didn't escalate further. Whereas you know, that seems to

2293
01:56:47,480 --> 01:56:52,440
Speaker 1: be the ongoing narrative for anything post ninety five ninety

2294
01:56:52,480 --> 01:56:55,000
Speaker 1: six hip hop, no doubt, But I mean, was it

2295
01:56:55,160 --> 01:56:57,160
Speaker 1: just that that wasn't even an option?

2296
01:56:57,680 --> 01:57:01,160
Speaker 3: Or were you careful and where you went? Like I'm

2297
01:57:01,200 --> 01:57:02,520
Speaker 3: not going I.

2298
01:57:02,560 --> 01:57:04,160
Speaker 1: Mean, I wasn't the one to go hang out in

2299
01:57:04,200 --> 01:57:06,800
Speaker 1: the Bronx at two in the morning, you know what

2300
01:57:06,840 --> 01:57:09,240
Speaker 1: I'm saying with that shit going on. But but I

2301
01:57:09,400 --> 01:57:12,320
Speaker 1: wasn't a fever. I was in the disco fever with

2302
01:57:12,480 --> 01:57:14,800
Speaker 1: magic a lot and nothing that nothing ever happened to me.

2303
01:57:14,880 --> 01:57:16,640
Speaker 1: I used to be there all the time in the Bronx,

2304
01:57:17,280 --> 01:57:19,960
Speaker 1: You get what I'm saying. So did you not club

2305
01:57:20,000 --> 01:57:22,480
Speaker 1: a lot? But would you go to very like do

2306
01:57:22,560 --> 01:57:25,640
Speaker 1: you have Latin Quarter stories or or the rooftop or Yeah,

2307
01:57:25,760 --> 01:57:28,040
Speaker 1: I would go. I would go check it out. I

2308
01:57:28,040 --> 01:57:30,320
Speaker 1: would check it out. What was your spot in New

2309
01:57:30,400 --> 01:57:33,600
Speaker 1: York too? I used to like Latin Quarter back in

2310
01:57:33,680 --> 01:57:36,120
Speaker 1: the day. I used to like Latin Quarter was the ship?

2311
01:57:36,240 --> 01:57:38,440
Speaker 1: Would you go just to testing? I would go check

2312
01:57:38,520 --> 01:57:41,240
Speaker 1: it out? Union Square? I used to like Union Square.

2313
01:57:41,600 --> 01:57:43,480
Speaker 1: The last show at Union Square was me and Shan

2314
01:57:43,760 --> 01:57:45,760
Speaker 1: and then the place got shut down after that, never

2315
01:57:45,840 --> 01:57:48,960
Speaker 1: to open again. Really turned into so you go to

2316
01:57:49,040 --> 01:57:51,560
Speaker 1: Latin Quarter even though that was Red's home. Yeah, I

2317
01:57:51,600 --> 01:57:53,280
Speaker 1: would go there, you know, just stop over there and

2318
01:57:53,280 --> 01:57:56,680
Speaker 1: see what's going on? Because he wasn't playing at night. Okay,

2319
01:57:56,760 --> 01:57:58,240
Speaker 1: you know what I'm saying. He would be like maybe

2320
01:57:58,320 --> 01:58:01,720
Speaker 1: on Saturday night he would be there. Yeah. So for you,

2321
01:58:01,840 --> 01:58:04,080
Speaker 1: what's the typical night at Latin Quarter like which I

2322
01:58:04,120 --> 01:58:07,240
Speaker 1: would go through see the ball busters move out their way.

2323
01:58:09,400 --> 01:58:11,440
Speaker 1: It was like a cruel people like that. You gotta

2324
01:58:11,440 --> 01:58:13,880
Speaker 1: think about. That's the time of the when everybody was

2325
01:58:13,920 --> 01:58:15,680
Speaker 1: wild and in New York, say, it's like fifty people

2326
01:58:15,680 --> 01:58:18,200
Speaker 1: will walk around and just terrorize the block and you

2327
01:58:18,320 --> 01:58:21,040
Speaker 1: weren't noyed at all. I would step back. I would

2328
01:58:21,040 --> 01:58:22,680
Speaker 1: always step back, and you know a lot of people

2329
01:58:22,680 --> 01:58:24,240
Speaker 1: would know who I am, like, Yo, what I mom?

2330
01:58:24,320 --> 01:58:24,920
Speaker 3: And just give me that.

2331
01:58:25,400 --> 01:58:29,320
Speaker 1: I never had problems like that. Never, Never in the

2332
01:58:29,360 --> 01:58:30,040
Speaker 1: streets out here.

2333
01:58:30,280 --> 01:58:30,480
Speaker 2: Never.

2334
01:58:30,560 --> 01:58:33,040
Speaker 1: I don't be having because I don't. I don't present

2335
01:58:33,120 --> 01:58:35,640
Speaker 1: that type of energy, you know what I mean. It's like,

2336
01:58:35,720 --> 01:58:37,839
Speaker 1: you know, I don't got no attitude. I'm good with everybody.

2337
01:58:38,240 --> 01:58:41,600
Speaker 1: I'm giving slapping people DAPs, taking my pictures. You know,

2338
01:58:41,960 --> 01:58:44,600
Speaker 1: people always got loved when they see me. Most people's

2339
01:58:44,680 --> 01:58:47,320
Speaker 1: producers are doing something and they you know, in mind

2340
01:58:47,360 --> 01:58:49,480
Speaker 1: what I did, Yo, Yo, thank you for so and so.

2341
01:58:49,800 --> 01:58:51,600
Speaker 1: Thank you for at wherever I go. I never got

2342
01:58:51,680 --> 01:58:53,640
Speaker 1: to be I don't. I don't be having beef like

2343
01:58:53,760 --> 01:58:55,880
Speaker 1: that because I don't, you know, it's just not like that.

2344
01:58:55,920 --> 01:58:56,160
Speaker 1: I don't.

2345
01:58:56,160 --> 01:58:57,440
Speaker 3: I don't carry that type of energy.

2346
01:58:58,080 --> 01:59:00,480
Speaker 1: So how would you test a record, Like if you

2347
01:59:00,680 --> 01:59:05,640
Speaker 1: had an example of like a record you had that

2348
01:59:05,760 --> 01:59:08,320
Speaker 1: you wanted the DJ, like, would you use those clubs

2349
01:59:08,360 --> 01:59:09,640
Speaker 1: to test to see? Oh?

2350
01:59:09,720 --> 01:59:10,800
Speaker 3: Yeah, that would.

2351
01:59:10,960 --> 01:59:12,720
Speaker 1: I'll see what they're playing, see what's hot, see what

2352
01:59:12,760 --> 01:59:15,600
Speaker 1: they fucking with seeing you know, see what you know,

2353
01:59:15,680 --> 01:59:16,400
Speaker 1: see what they're playing.

2354
01:59:16,440 --> 01:59:19,040
Speaker 3: What was your greatest story reaction of like this is

2355
01:59:19,120 --> 01:59:19,720
Speaker 3: just gonna work?

2356
01:59:19,800 --> 01:59:22,200
Speaker 1: Like, oh, when I used to see that, already knew

2357
01:59:22,200 --> 01:59:25,360
Speaker 1: public Ending was public Enemy was a go because anytime

2358
01:59:25,440 --> 01:59:27,600
Speaker 1: Public Enemy music would play in any of those clubs

2359
01:59:27,640 --> 01:59:30,320
Speaker 1: back in the day, regardless of what Magic said, they

2360
01:59:30,360 --> 01:59:33,240
Speaker 1: ship was popping. But I'm in for your records. For me,

2361
01:59:33,720 --> 01:59:37,040
Speaker 1: nobody beats the biz. Nobody the biz was big for me.

2362
01:59:38,240 --> 01:59:41,520
Speaker 1: Something for the radio was extra big for me. Wow, yeah,

2363
01:59:41,840 --> 01:59:45,280
Speaker 1: tell me about that record preps ever find out like,

2364
01:59:46,280 --> 01:59:48,680
Speaker 1: what's that to me? Is one of the most that

2365
01:59:48,880 --> 01:59:52,080
Speaker 1: that's that's a genius moment in sampling. Yeah for you

2366
01:59:52,440 --> 01:59:54,240
Speaker 1: day Yeah. One day I was watching the movie and

2367
01:59:54,320 --> 01:59:57,280
Speaker 1: I just saw it. I was like, Yo, that was dope,

2368
01:59:58,920 --> 02:00:02,280
Speaker 1: and I had the v back and I just went

2369
02:00:02,320 --> 02:00:06,120
Speaker 1: straight to their car with the VHS and the prince.

2370
02:00:06,160 --> 02:00:09,040
Speaker 3: Ever did they even get wise to it?

2371
02:00:09,960 --> 02:00:14,840
Speaker 1: They cleared it from me one days. Label mats. You

2372
02:00:14,920 --> 02:00:17,840
Speaker 1: don't get what I said, So one day I'll leave it.

2373
02:00:18,560 --> 02:00:23,800
Speaker 1: I'll leave it at that. Never mind.

2374
02:00:25,880 --> 02:00:27,240
Speaker 3: What I'm saying.

2375
02:00:27,280 --> 02:00:29,560
Speaker 1: Hold up, I'm saying that they used it, and they

2376
02:00:29,720 --> 02:00:31,360
Speaker 1: used it in something and cleared it back from me.

2377
02:00:31,720 --> 02:00:33,800
Speaker 1: Didn't know where it came from. That's all I'm saying.

2378
02:00:35,360 --> 02:00:37,480
Speaker 3: This one a little bit, all right.

2379
02:00:38,280 --> 02:00:41,520
Speaker 1: They used something for the radio and cleared it with me.

2380
02:00:42,960 --> 02:00:49,080
Speaker 1: Yeah wait I hmm, okay, I'm gonna play visit someone

2381
02:00:49,120 --> 02:00:51,200
Speaker 1: with radio and I gotta figure out what he just

2382
02:00:51,320 --> 02:00:54,840
Speaker 1: dropped in my lat This is benchmarky something for the radio.

2383
02:00:57,160 --> 02:01:20,240
Speaker 1: Sho yo, stop playing around bringing the baby. Okay. So,

2384
02:01:20,440 --> 02:01:22,800
Speaker 1: for those who don't know, like, Under the Chair Moon

2385
02:01:22,920 --> 02:01:27,040
Speaker 1: is one of my favorite b C films of all time.

2386
02:01:28,240 --> 02:01:31,400
Speaker 1: Boss Bill can the classic follow up The Purple Ring. Yeah,

2387
02:01:32,160 --> 02:01:33,280
Speaker 1: I think it's a classic.

2388
02:01:33,320 --> 02:01:33,960
Speaker 3: I think it is too.

2389
02:01:34,240 --> 02:01:37,080
Speaker 1: It is it is, even though you know critics are

2390
02:01:37,880 --> 02:01:38,400
Speaker 1: it's out of it?

2391
02:01:38,640 --> 02:01:41,560
Speaker 3: You don't like it? I did not like Under the

2392
02:01:41,640 --> 02:01:43,600
Speaker 3: Chair moan. But well no, no, let me say this.

2393
02:01:43,920 --> 02:01:45,600
Speaker 3: It is a classic the film.

2394
02:01:50,400 --> 02:01:51,080
Speaker 1: It's a classic.

2395
02:01:51,200 --> 02:01:52,800
Speaker 3: But for all the all the wrong reasons.

2396
02:01:52,920 --> 02:01:54,400
Speaker 2: No, but it is classic.

2397
02:01:54,520 --> 02:01:55,160
Speaker 1: It is classic.

2398
02:01:55,960 --> 02:01:57,600
Speaker 3: I actually went to the movies to see that.

2399
02:01:57,760 --> 02:01:58,000
Speaker 1: Wow.

2400
02:01:58,400 --> 02:01:58,880
Speaker 2: I did too.

2401
02:01:59,000 --> 02:02:00,880
Speaker 3: I cut Church Is Wow.

2402
02:02:01,320 --> 02:02:03,400
Speaker 1: Yes, and coming after Proper Rain, it was just like,

2403
02:02:03,480 --> 02:02:04,360
Speaker 1: what the fuck is this?

2404
02:02:05,760 --> 02:02:09,080
Speaker 3: He's expanding expanding, So.

2405
02:02:10,680 --> 02:02:14,120
Speaker 1: Are you allowed to tell the meta story of it

2406
02:02:14,360 --> 02:02:15,000
Speaker 1: or no?

2407
02:02:15,160 --> 02:02:16,000
Speaker 3: We'll just leave it at that.

2408
02:02:16,200 --> 02:02:18,440
Speaker 1: Okay. I don't know if the remix ever came out,

2409
02:02:18,480 --> 02:02:20,840
Speaker 1: but I know one day I was approached by they

2410
02:02:20,880 --> 02:02:26,640
Speaker 1: team to clear that for a remix that they were doing,

2411
02:02:26,720 --> 02:02:28,840
Speaker 1: and they used something for the radio that is the

2412
02:02:28,960 --> 02:02:31,640
Speaker 1: most mind blowing awesome hisst story.

2413
02:02:31,800 --> 02:02:34,040
Speaker 9: Well, it's kind of like the J Swift remix of

2414
02:02:35,440 --> 02:02:37,560
Speaker 9: Let It Go, Let It Go resamples Dorothy Parker.

2415
02:02:38,080 --> 02:02:40,080
Speaker 1: Yeah, but does he cleared himself?

2416
02:02:40,400 --> 02:02:42,560
Speaker 3: He has to clear it? I don't know, for like,

2417
02:02:42,680 --> 02:02:44,280
Speaker 3: does Prince have to clear a print sample on his

2418
02:02:44,320 --> 02:02:44,760
Speaker 3: own record?

2419
02:02:45,520 --> 02:02:50,200
Speaker 1: That's I mean, probably through that publishing if it's a

2420
02:02:50,240 --> 02:02:52,960
Speaker 1: different publisher. Because I got a lot of titles and

2421
02:02:53,040 --> 02:02:56,480
Speaker 1: a different different administrators for different songs. So if I

2422
02:02:56,520 --> 02:02:58,600
Speaker 1: have a different administrator for something, I probably would have

2423
02:02:58,680 --> 02:03:00,680
Speaker 1: to clear it with the other side.

2424
02:03:01,720 --> 02:03:04,840
Speaker 3: Wow, So can you measure not cleaning your own temple?

2425
02:03:05,040 --> 02:03:05,160
Speaker 4: Right?

2426
02:03:05,480 --> 02:03:11,040
Speaker 1: Getting sued by yourself? So i'msuing myself so real quick

2427
02:03:11,480 --> 02:03:15,000
Speaker 1: for for raw yes to get that, to get that

2428
02:03:15,600 --> 02:03:19,840
Speaker 1: naked drum break, right? Am I assuming that you went

2429
02:03:19,880 --> 02:03:22,840
Speaker 1: to the UK to pick up the twelve inch of

2430
02:03:22,960 --> 02:03:26,440
Speaker 1: Bobby Birds, I'm coming to get that because that wasn't

2431
02:03:27,640 --> 02:03:30,960
Speaker 1: in circulation at that point. So you would like, was

2432
02:03:31,040 --> 02:03:35,080
Speaker 1: this from your your your your traveling to Europe?

2433
02:03:35,120 --> 02:03:37,760
Speaker 3: And like, what is your digging game like?

2434
02:03:38,120 --> 02:03:41,000
Speaker 1: As far as at that point I was, I was

2435
02:03:41,080 --> 02:03:45,400
Speaker 1: digging kind of hard because I was, you know, ahead

2436
02:03:45,400 --> 02:03:47,800
Speaker 1: of everybody and trying to stay ahead of a body

2437
02:03:47,840 --> 02:03:50,120
Speaker 1: when it came to these kicks and snares I want

2438
02:03:50,160 --> 02:03:52,120
Speaker 1: to have, you know. But the funny thing is the

2439
02:03:52,160 --> 02:03:54,120
Speaker 1: more I Doug, the more I realized that in Peace

2440
02:03:54,160 --> 02:03:57,440
Speaker 1: to President was the ship I could never I couldn't

2441
02:03:57,440 --> 02:04:00,440
Speaker 1: never stop. Yes, it was hard to find ship that

2442
02:04:00,800 --> 02:04:02,800
Speaker 1: that top that one, and you know that made the

2443
02:04:02,880 --> 02:04:05,880
Speaker 1: most hits. So you know, I would go to every country.

2444
02:04:05,920 --> 02:04:08,000
Speaker 1: I would go to. Of course, I would go raide

2445
02:04:08,280 --> 02:04:12,000
Speaker 1: the record stores and look for certain artists and certain things,

2446
02:04:12,080 --> 02:04:15,280
Speaker 1: you know, certain situations. You know. I used to always

2447
02:04:15,360 --> 02:04:17,840
Speaker 1: do that, but then after a while, you know, I would.

2448
02:04:18,440 --> 02:04:20,200
Speaker 1: I'm the type of guy like this, I love them

2449
02:04:20,240 --> 02:04:23,840
Speaker 1: and leave them dukes. I sample him and and and

2450
02:04:24,080 --> 02:04:25,800
Speaker 1: once I put it down, I could lose the record.

2451
02:04:26,640 --> 02:04:29,080
Speaker 1: Maybe I don't have it no more. I sample it,

2452
02:04:29,680 --> 02:04:31,920
Speaker 1: and it could be there once I got it in

2453
02:04:32,080 --> 02:04:34,880
Speaker 1: digital form, I might lose the wax or whatever.

2454
02:04:35,520 --> 02:04:36,120
Speaker 3: You know what I'm saying.

2455
02:04:36,160 --> 02:04:38,400
Speaker 1: I'm kind of like that, once I sample it for me,

2456
02:04:38,880 --> 02:04:40,720
Speaker 1: I know, you know, a lot of a lot of times,

2457
02:04:41,360 --> 02:04:44,640
Speaker 1: like like those original and Peace to President records that

2458
02:04:44,680 --> 02:04:45,080
Speaker 1: I sample.

2459
02:04:45,480 --> 02:04:47,040
Speaker 3: I don't know what those forty five is that, dude.

2460
02:04:47,600 --> 02:04:49,560
Speaker 1: A lot of a lot of my records, Like I

2461
02:04:49,680 --> 02:04:51,840
Speaker 1: got like a place full of records that I don't

2462
02:04:51,880 --> 02:04:53,840
Speaker 1: I don't keep up with. Where what is?

2463
02:04:54,440 --> 02:04:56,080
Speaker 3: You know, I don't know this is the section for that.

2464
02:04:56,400 --> 02:04:58,160
Speaker 3: I don't really do that. I just need somebody to.

2465
02:04:58,440 --> 02:05:01,840
Speaker 1: Start start doing that, because there's cats like me and

2466
02:05:02,960 --> 02:05:06,080
Speaker 1: maybe about fifty other cats there are now just in

2467
02:05:06,600 --> 02:05:11,320
Speaker 1: the present, you know, preserving history business of you know,

2468
02:05:12,040 --> 02:05:14,320
Speaker 1: I'm certain that wherever that forty five is and your

2469
02:05:14,360 --> 02:05:18,840
Speaker 1: storage been or whatever like that is, I got it.

2470
02:05:18,960 --> 02:05:21,800
Speaker 1: And but the bottom beat to the Symphony on drums,

2471
02:05:21,840 --> 02:05:29,520
Speaker 1: that that was an Aaron Fuchs hookup too. I don't

2472
02:05:29,520 --> 02:05:31,760
Speaker 1: even know what the hell at is. That's a crazy beat.

2473
02:05:32,200 --> 02:05:34,720
Speaker 1: I was always trying to figure out how you had

2474
02:05:35,000 --> 02:05:39,640
Speaker 1: access to all these rare forty fives that I will

2475
02:05:39,720 --> 02:05:43,600
Speaker 1: be charged forty dollars, fifty dollars sixty seventy eighty ninety

2476
02:05:43,680 --> 02:05:47,800
Speaker 1: dollars going to Japan to get you know, there they'll

2477
02:05:47,840 --> 02:05:51,720
Speaker 1: sell you synthetic substitution forty five for like two hundred bucks.

2478
02:05:52,480 --> 02:05:55,880
Speaker 1: And I'm like, you have these records. So yeah, he

2479
02:05:56,000 --> 02:05:58,400
Speaker 1: gave he gave me a lot, and he gave me

2480
02:05:58,440 --> 02:06:01,760
Speaker 1: substitution back in the day too, got that on forty

2481
02:06:02,000 --> 02:06:05,160
Speaker 1: forty five. All right, so we got time to talk

2482
02:06:05,200 --> 02:06:11,080
Speaker 1: about Uncleel Yeah, I always got Yeah, give us the story,

2483
02:06:11,240 --> 02:06:13,760
Speaker 1: like how I mean, at this point, you have the

2484
02:06:13,800 --> 02:06:16,680
Speaker 1: world in your hands. You you you came with rock Sand,

2485
02:06:16,760 --> 02:06:21,360
Speaker 1: you came with Chan, you came with Caine, He came

2486
02:06:21,400 --> 02:06:23,120
Speaker 1: with Master as he came with Kraigg.

2487
02:06:24,720 --> 02:06:25,800
Speaker 3: Then I left the Juice Crew.

2488
02:06:25,920 --> 02:06:27,880
Speaker 1: That's right, you went to Uptown for a second. That's right.

2489
02:06:28,080 --> 02:06:30,680
Speaker 1: I had left the Juice Crew because how how it

2490
02:06:30,840 --> 02:06:32,840
Speaker 1: was like at that point, I got tired of it.

2491
02:06:32,880 --> 02:06:35,480
Speaker 1: I was like, Dukes, man, I did all this, Yo,

2492
02:06:35,600 --> 02:06:37,880
Speaker 1: I made like four albums this year. I only made

2493
02:06:37,920 --> 02:06:40,800
Speaker 1: two hundred thousand dollars. I was a staff producer with

2494
02:06:40,920 --> 02:06:43,160
Speaker 1: Cold Chilling, and I was like, yo, I only made

2495
02:06:43,200 --> 02:06:46,160
Speaker 1: I made four albums that year, and I was making

2496
02:06:46,200 --> 02:06:48,880
Speaker 1: two hundred thousand dollars a year. And I'm like, Dukes,

2497
02:06:48,920 --> 02:06:52,200
Speaker 1: I could make one album and get three fifty four hundred.

2498
02:06:52,920 --> 02:06:53,760
Speaker 3: You get what I'm saying.

2499
02:06:54,080 --> 02:06:55,880
Speaker 1: So I was like, that was it. After I did

2500
02:06:55,920 --> 02:06:57,560
Speaker 1: those four albums, I broke out.

2501
02:06:57,840 --> 02:06:58,240
Speaker 4: So that was what.

2502
02:06:58,840 --> 02:07:00,840
Speaker 1: You didn't really do none of this, I'm gonna say

2503
02:07:00,840 --> 02:07:02,160
Speaker 1: you never did no one sophomore.

2504
02:07:02,520 --> 02:07:03,360
Speaker 3: Let me tell you what I did.

2505
02:07:03,520 --> 02:07:05,640
Speaker 1: To be honest with Cold Chilling, our doctor dre them,

2506
02:07:05,680 --> 02:07:08,560
Speaker 1: I just walked away. I was like, y'all can have this,

2507
02:07:08,720 --> 02:07:09,560
Speaker 1: y'all do this go ahead?

2508
02:07:10,000 --> 02:07:12,600
Speaker 3: Was a row.

2509
02:07:14,200 --> 02:07:16,920
Speaker 1: At that point, I mean, there wasn't. It wasn't nothing,

2510
02:07:17,000 --> 02:07:19,600
Speaker 1: nothing crazy like that. It's just that I figured I

2511
02:07:19,640 --> 02:07:22,200
Speaker 1: could make more money over here. So I took that

2512
02:07:22,280 --> 02:07:25,800
Speaker 1: took Tragedy, Craig g and we went we went our way,

2513
02:07:26,400 --> 02:07:29,000
Speaker 1: and then I was working with Heavy D. I had

2514
02:07:29,120 --> 02:07:31,440
Speaker 1: hits with Heavy D that started toppling what I was

2515
02:07:31,480 --> 02:07:34,080
Speaker 1: doing over there. You get what I'm saying. I made

2516
02:07:34,160 --> 02:07:35,720
Speaker 1: a lot of good records at Cold Chill, and we

2517
02:07:35,800 --> 02:07:38,720
Speaker 1: had a lot of good a lot of good historical

2518
02:07:38,840 --> 02:07:42,160
Speaker 1: records Chilling. Yeah, I mean, yeah, you kind of built that.

2519
02:07:42,400 --> 02:07:47,240
Speaker 1: But those are not my most successful records in my catalog.

2520
02:07:47,560 --> 02:07:47,960
Speaker 2: I get it.

2521
02:07:48,000 --> 02:07:51,760
Speaker 1: But from a from a sentimental standpoint, we're always going

2522
02:07:51,840 --> 02:07:55,200
Speaker 1: to think, oh, raw, aproach the rich, all that stuff,

2523
02:07:55,720 --> 02:07:57,600
Speaker 1: you know, But those are not the ones you know

2524
02:07:57,800 --> 02:08:00,200
Speaker 1: those are those are great records, but those are out

2525
02:08:00,200 --> 02:08:01,920
Speaker 1: my grossing records that I could live off of to

2526
02:08:02,000 --> 02:08:05,600
Speaker 1: this day. I feel you understand. So it's a difference.

2527
02:08:06,560 --> 02:08:09,080
Speaker 1: You know, I can't retire off that ship unless somebody

2528
02:08:09,200 --> 02:08:12,560
Speaker 1: sample it, you know what I mean. Before before you

2529
02:08:12,600 --> 02:08:16,280
Speaker 1: get into ll right, Okay, you work with Tragedy when

2530
02:08:16,320 --> 02:08:19,800
Speaker 1: he was twelve, and then when he changed to Intelligent Hitler,

2531
02:08:19,960 --> 02:08:23,600
Speaker 1: right that that I think that Intelligent Hitler record is

2532
02:08:23,680 --> 02:08:26,080
Speaker 1: probably one of your most slept on the rest of

2533
02:08:26,120 --> 02:08:35,840
Speaker 1: the president. Yeah, yeah, yeah, because that's come out party.

2534
02:08:35,880 --> 02:08:37,760
Speaker 1: That was my come out party. Bro, that was my

2535
02:08:37,880 --> 02:08:40,640
Speaker 1: come out party where I'm away from cold chilling. I'm

2536
02:08:40,680 --> 02:08:43,000
Speaker 1: doing what the funk I want right now I got

2537
02:08:43,120 --> 02:08:46,440
Speaker 1: I got this militant black dude that's one of throws

2538
02:08:46,520 --> 02:08:49,000
Speaker 1: fists up and pump the pump the issue.

2539
02:08:49,280 --> 02:08:52,320
Speaker 3: Let's go black and proud. Rest the president?

2540
02:08:52,440 --> 02:08:54,640
Speaker 1: What when you made that beat like that?

2541
02:08:54,960 --> 02:08:57,240
Speaker 2: To me was like, yeah, the President?

2542
02:08:57,600 --> 02:09:01,640
Speaker 3: Yeah, that and and intelligence was due?

2543
02:09:04,320 --> 02:09:05,120
Speaker 1: What sample was that?

2544
02:09:06,600 --> 02:09:09,480
Speaker 3: What sample is that we remade that?

2545
02:09:09,840 --> 02:09:14,040
Speaker 1: We remade that for game period and didn't That's just

2546
02:09:14,160 --> 02:09:16,080
Speaker 1: I put it on the shelf. But that was one

2547
02:09:16,120 --> 02:09:20,760
Speaker 1: of my favorite Marley mal Piano lines. I can't, I can't,

2548
02:09:21,080 --> 02:09:21,840
Speaker 1: I can't reveal it.

2549
02:09:23,040 --> 02:09:24,680
Speaker 3: Come on, man, I could reveal it.

2550
02:09:25,640 --> 02:09:26,480
Speaker 1: I can't reveal it.

2551
02:09:26,840 --> 02:09:29,040
Speaker 3: Not even in private, not on the air.

2552
02:09:29,200 --> 02:09:35,520
Speaker 1: But but but you know you, I think that's when

2553
02:09:35,560 --> 02:09:38,800
Speaker 1: I first left, you know, I started working with Heavy

2554
02:09:39,120 --> 02:09:41,040
Speaker 1: and I went to uptowns. They loved me. Yeah, I

2555
02:09:41,080 --> 02:09:43,000
Speaker 1: did girls, they loved me. I did Overweight Loves in

2556
02:09:43,080 --> 02:09:47,240
Speaker 1: the house, I worked on what else weight Loves and

2557
02:09:47,240 --> 02:09:49,800
Speaker 1: the house girls they love me. Mister big stuff, you

2558
02:09:49,880 --> 02:09:53,520
Speaker 1: get what you worked on that too. I was part

2559
02:09:53,560 --> 02:09:56,000
Speaker 1: of it. So and then the Uptown's kicking it. So

2560
02:09:57,960 --> 02:10:00,720
Speaker 1: so that's when id I left the Juice. I broke out.

2561
02:10:00,760 --> 02:10:03,280
Speaker 1: I was like, I'm not fucking I'm done. I did

2562
02:10:03,440 --> 02:10:05,920
Speaker 1: enough that I'm gonna do. You know what I'm saying.

2563
02:10:05,960 --> 02:10:07,680
Speaker 1: I didn't want to. I don't want to even you know.

2564
02:10:07,760 --> 02:10:09,560
Speaker 1: I just went over there and started working with them.

2565
02:10:10,040 --> 02:10:13,160
Speaker 1: So started developing heavy with the Biz and Caine and

2566
02:10:14,200 --> 02:10:17,160
Speaker 1: and got with Teddy Riley. Yeah. Can't out with Teddy,

2567
02:10:17,240 --> 02:10:20,200
Speaker 1: I know, but I get a job done with jam

2568
02:10:20,840 --> 02:10:22,800
Speaker 1: Like I like that. That was a good joint.

2569
02:10:23,680 --> 02:10:24,280
Speaker 2: He was cool.

2570
02:10:24,520 --> 02:10:25,720
Speaker 1: I mean it was.

2571
02:10:25,800 --> 02:10:30,720
Speaker 3: It was good, but it wasn't. It wasn't and it

2572
02:10:30,840 --> 02:10:33,200
Speaker 3: wasn't what people expected to hear from him at that point.

2573
02:10:33,280 --> 02:10:38,440
Speaker 1: I know, but I always considered side to its aid.

2574
02:10:39,240 --> 02:10:45,920
Speaker 3: As the deep voice, the dark gable and more this.

2575
02:10:48,000 --> 02:10:51,000
Speaker 1: You know, I wish you because that that was leading

2576
02:10:51,080 --> 02:10:54,120
Speaker 1: to taste of chocolate. It was just like, okay, Very

2577
02:10:54,200 --> 02:10:57,160
Speaker 1: White and Alison Williams. He left about.

2578
02:10:58,920 --> 02:10:59,520
Speaker 2: No wrong with it.

2579
02:11:00,200 --> 02:11:00,800
Speaker 3: That's what I'm saying.

2580
02:11:01,360 --> 02:11:09,920
Speaker 1: Barry White, Yeah, yeah, are you doing this to actually

2581
02:11:09,920 --> 02:11:12,040
Speaker 1: wait a minute, know you did the day your mind.

2582
02:11:12,040 --> 02:11:14,640
Speaker 3: I t J Swan.

2583
02:11:14,680 --> 02:11:16,920
Speaker 1: We didn't talk about we gotta talk about TJ Swan.

2584
02:11:17,040 --> 02:11:18,440
Speaker 3: We're and who, well.

2585
02:11:18,280 --> 02:11:22,760
Speaker 1: Who TJ Swan? Who is the TJ t J Swan

2586
02:11:22,960 --> 02:11:26,480
Speaker 1: was brought on? Because I see t J Swan. It's

2587
02:11:26,600 --> 02:11:30,400
Speaker 1: not there's some another artist with t J Swan that

2588
02:11:31,960 --> 02:11:35,960
Speaker 1: is not the singing t J Swan. Right, Yeah, it

2589
02:11:36,080 --> 02:11:37,440
Speaker 1: was a few. It's like it was a t J

2590
02:11:37,560 --> 02:11:40,840
Speaker 1: Swan before him. It was like another dude rhyming. Then

2591
02:11:40,880 --> 02:11:42,760
Speaker 1: it was a singing guy. It was. It was it

2592
02:11:42,840 --> 02:11:45,240
Speaker 1: was somebody that made a record before even he made.

2593
02:11:45,320 --> 02:11:47,360
Speaker 3: You know, I thought his record was going to come out.

2594
02:11:47,600 --> 02:11:47,800
Speaker 1: It was.

2595
02:11:48,040 --> 02:11:48,840
Speaker 3: It was supposed he was.

2596
02:11:49,080 --> 02:11:54,960
Speaker 1: He was signed to Arista a side deal, Davis. Let

2597
02:11:55,000 --> 02:11:59,360
Speaker 1: me tell you something. Let me tell you to be honest.

2598
02:12:00,920 --> 02:12:03,800
Speaker 1: Stop stopping. There was supposed to be a t J

2599
02:12:03,960 --> 02:12:04,960
Speaker 1: Swan and Whitney.

2600
02:12:05,120 --> 02:12:05,400
Speaker 6: Do it.

2601
02:12:07,880 --> 02:12:07,920
Speaker 7: You?

2602
02:12:12,600 --> 02:12:17,160
Speaker 1: I'm not lying t J and Whitney.

2603
02:12:17,480 --> 02:12:21,120
Speaker 3: Yo, oh god, you.

2604
02:12:22,800 --> 02:12:23,160
Speaker 2: Want to know.

2605
02:12:24,760 --> 02:12:26,560
Speaker 1: Like the.

2606
02:12:28,080 --> 02:12:29,520
Speaker 3: Let me play? Let me wait?

2607
02:12:29,680 --> 02:12:33,000
Speaker 1: Is he still gonna let me lonely? Lord Jesus christ

2608
02:12:33,040 --> 02:12:39,640
Speaker 1: one is the best worst singer ever? Wait wait, I

2609
02:12:39,680 --> 02:12:42,200
Speaker 1: gotta find I gotta let me play.

2610
02:12:42,280 --> 02:12:45,720
Speaker 2: Let me lone you speech?

2611
02:12:46,120 --> 02:12:49,320
Speaker 1: She told me her name gave him and when I

2612
02:12:49,440 --> 02:12:52,320
Speaker 1: stepped and she sat a better call. It took about

2613
02:12:52,400 --> 02:12:52,720
Speaker 1: him up.

2614
02:12:52,920 --> 02:12:54,000
Speaker 3: She was finally mom.

2615
02:12:54,320 --> 02:12:55,560
Speaker 2: Everything was going school.

2616
02:12:55,680 --> 02:12:56,880
Speaker 3: We were doing fun.

2617
02:12:57,560 --> 02:12:59,480
Speaker 8: After a while, it wasn't a thing.

2618
02:12:59,800 --> 02:13:01,080
Speaker 1: We either holding hands.

2619
02:13:01,120 --> 02:13:02,360
Speaker 3: So she was under my wings.

2620
02:13:02,400 --> 02:13:05,320
Speaker 1: She wings, but in my ear, I'm the one and coolie.

2621
02:13:05,360 --> 02:13:07,520
Speaker 3: But she framed with another man and not me.

2622
02:13:07,800 --> 02:13:15,240
Speaker 1: No, Marvel's Marlin Williams, one of my idols, the reason

2623
02:13:15,320 --> 02:13:19,120
Speaker 1: why I even have nineteen jobs today, has.

2624
02:13:19,040 --> 02:13:19,800
Speaker 6: Just sold me.

2625
02:13:21,440 --> 02:13:27,920
Speaker 1: That TJ. Swan, the Loneius Jerome Swann was about to

2626
02:13:28,040 --> 02:13:29,760
Speaker 1: record with Whitney.

2627
02:13:29,840 --> 02:13:31,880
Speaker 3: For to be honest, it was.

2628
02:13:31,960 --> 02:13:34,320
Speaker 1: It was like a deal that Clive was like, your

2629
02:13:34,400 --> 02:13:37,600
Speaker 1: Clod was like, yo, I want TJ Swan because because

2630
02:13:37,640 --> 02:13:40,280
Speaker 1: TJ Swan was on all these all these street songs.

2631
02:13:40,480 --> 02:13:42,400
Speaker 3: You get what I'm saying, make the music with.

2632
02:13:42,440 --> 02:13:45,640
Speaker 1: Your mouth, piz. Nobody beats the biz, and I think

2633
02:13:45,680 --> 02:13:47,360
Speaker 1: they wanted some of that. They wanted some of that,

2634
02:13:48,160 --> 02:13:50,360
Speaker 1: you get what I'm saying, right, because they started their

2635
02:13:50,520 --> 02:13:53,640
Speaker 1: division in the eighty eight with Eddie Murphy's brother.

2636
02:13:53,960 --> 02:13:58,080
Speaker 2: Yeah, I did.

2637
02:13:58,560 --> 02:14:03,880
Speaker 1: That was relative right, So you think it was Whitney

2638
02:14:03,920 --> 02:14:06,280
Speaker 1: to put the knicks on it, like no, no, no, no, no, no,

2639
02:14:08,000 --> 02:14:11,160
Speaker 1: it's something happened with Cold Chilling where he was going

2640
02:14:11,240 --> 02:14:14,160
Speaker 1: to put put out Swan and then a cole came

2641
02:14:14,200 --> 02:14:16,600
Speaker 1: from somebody at Cold Chilling and he didn't want to

2642
02:14:16,640 --> 02:14:18,760
Speaker 1: be involved with going back and forth. So he's like, yo,

2643
02:14:18,840 --> 02:14:21,800
Speaker 1: he's going to pass on this one. But you know,

2644
02:14:22,720 --> 02:14:29,480
Speaker 1: you know that's that's basically what it was. We're here

2645
02:14:29,520 --> 02:14:34,120
Speaker 1: with Malle mal Uh talking about the career that could

2646
02:14:34,120 --> 02:14:39,280
Speaker 1: have been the great t J. Swan, So we kind

2647
02:14:39,320 --> 02:14:43,920
Speaker 1: of joke about how on the show Unsung, like hip

2648
02:14:43,960 --> 02:14:46,320
Speaker 1: hop is always the villain, like for a lot of

2649
02:14:46,360 --> 02:14:47,400
Speaker 1: these soul bhoops.

2650
02:14:47,280 --> 02:14:51,200
Speaker 3: And then hip hop came and destroyed, you know, their career.

2651
02:14:52,400 --> 02:14:57,640
Speaker 1: But New Jack Swing is slowly coming around the corner

2652
02:14:58,040 --> 02:15:03,440
Speaker 1: and is sort of edging traditional hip hop as the

2653
02:15:04,520 --> 02:15:06,440
Speaker 1: new choice or whatever, Like, how are you adjusting it

2654
02:15:06,520 --> 02:15:08,960
Speaker 1: to it? Because now I'm starting to hear like at

2655
02:15:09,280 --> 02:15:11,360
Speaker 1: least on live on stage and some of the stuff

2656
02:15:11,400 --> 02:15:17,720
Speaker 1: that the bumpy basslines that that that fresh Prince baseline

2657
02:15:18,360 --> 02:15:22,160
Speaker 1: right right right right, So how are you adjusting to

2658
02:15:23,560 --> 02:15:25,880
Speaker 1: To be honest, I mean, I accept the New Jack's

2659
02:15:26,080 --> 02:15:28,240
Speaker 1: Swing when it came in because I really admired what

2660
02:15:28,880 --> 02:15:31,360
Speaker 1: Teddy was doing back then because one thing I could

2661
02:15:31,360 --> 02:15:33,120
Speaker 1: tell you about Teddy. He was the guy that was

2662
02:15:33,720 --> 02:15:36,960
Speaker 1: taking hip hop sounds and putting it to R and

2663
02:15:37,080 --> 02:15:40,480
Speaker 1: B and key right, And I was like, Wow, that's

2664
02:15:40,600 --> 02:15:44,320
Speaker 1: kind of dope. That's like different. So I started I

2665
02:15:44,400 --> 02:15:47,000
Speaker 1: started doing some remix like that too, kind of like

2666
02:15:47,080 --> 02:15:50,160
Speaker 1: you know, I've produced the feel a few songs with

2667
02:15:50,480 --> 02:15:53,640
Speaker 1: a little bouncy be baseline, round Away Girl and one

2668
02:15:53,680 --> 02:15:58,080
Speaker 1: of those little baselines. You get what I'm saying. So

2669
02:15:58,600 --> 02:16:00,560
Speaker 1: I kind of made a few joins. It's like that too,

2670
02:16:00,640 --> 02:16:04,120
Speaker 1: because you believe me, I used that that Yamaha that

2671
02:16:05,520 --> 02:16:05,720
Speaker 1: I was.

2672
02:16:05,720 --> 02:16:08,400
Speaker 3: Going to ask, what is what is your keyboard choice?

2673
02:16:09,960 --> 02:16:10,480
Speaker 1: Like what is it?

2674
02:16:10,600 --> 02:16:10,960
Speaker 3: Back then?

2675
02:16:11,400 --> 02:16:16,760
Speaker 1: That was a Yamaha t Z, a small little module

2676
02:16:17,360 --> 02:16:20,200
Speaker 1: that the base base. Anybody was using that one just before.

2677
02:16:20,400 --> 02:16:22,120
Speaker 1: I wanted to touch on this before we forgot, because

2678
02:16:22,160 --> 02:16:24,480
Speaker 1: I think like no one ever talks about these guys.

2679
02:16:24,760 --> 02:16:28,920
Speaker 1: The Flex. Oh yes, the Flex were the guys are

2680
02:16:28,920 --> 02:16:32,640
Speaker 1: singing on Darren Lighty Around the Way Girl. How do

2681
02:16:32,720 --> 02:16:33,200
Speaker 1: you know this?

2682
02:16:33,800 --> 02:16:35,640
Speaker 3: I was waiting for that album to come out after

2683
02:16:36,600 --> 02:16:39,760
Speaker 3: and the Flex also had do you know this? Mamas?

2684
02:16:39,760 --> 02:16:42,840
Speaker 1: They lecked you out on Around the Way search.

2685
02:16:43,959 --> 02:16:45,320
Speaker 3: Now, let me read the liner notes.

2686
02:16:46,000 --> 02:16:48,480
Speaker 1: But let me explain what happened to them after this, okay,

2687
02:16:48,480 --> 02:16:54,440
Speaker 1: who They became very very big after Around the Way girl,

2688
02:16:54,520 --> 02:16:56,800
Speaker 1: But you may not know you're about to drop I'm

2689
02:16:56,800 --> 02:16:57,720
Speaker 1: about to drop a bomb.

2690
02:16:57,800 --> 02:16:58,440
Speaker 3: Let me get it righty.

2691
02:17:00,120 --> 02:17:04,880
Speaker 1: They they produced Jehen, they produced Jahen. So all the

2692
02:17:04,959 --> 02:17:08,680
Speaker 1: backgrounds is one of the guys, Cliff Lighty, he does

2693
02:17:08,720 --> 02:17:12,800
Speaker 1: all Johann's backgrounds. Could it beat it? Every Jaen background?

2694
02:17:13,480 --> 02:17:17,280
Speaker 1: Cliff Lighty is doing all right. Chris his brother, his brother,

2695
02:17:17,360 --> 02:17:22,520
Speaker 1: that's the different set of Lighties. His brother Darren produces.

2696
02:17:22,720 --> 02:17:25,760
Speaker 3: In touch due to hight Wow.

2697
02:17:26,600 --> 02:17:26,760
Speaker 1: Yes.

2698
02:17:29,800 --> 02:17:31,400
Speaker 3: And then what else did they do?

2699
02:17:31,520 --> 02:17:31,800
Speaker 2: They did?

2700
02:17:32,240 --> 02:17:32,600
Speaker 3: They did?

2701
02:17:32,800 --> 02:17:34,600
Speaker 1: Like it was so many records they did.

2702
02:17:34,640 --> 02:17:34,920
Speaker 3: They did?

2703
02:17:37,280 --> 02:17:37,680
Speaker 1: What else?

2704
02:17:37,760 --> 02:17:37,880
Speaker 2: Oh?

2705
02:17:38,080 --> 02:17:40,160
Speaker 1: And then Eric from the group became in Black Street.

2706
02:17:41,040 --> 02:17:44,320
Speaker 3: Oh Eric, Wow.

2707
02:17:46,720 --> 02:17:49,040
Speaker 1: I'm trying to tell you. So all of them, all

2708
02:17:49,040 --> 02:17:51,760
Speaker 1: of them did very very well after Around Away Girl.

2709
02:17:52,240 --> 02:17:53,760
Speaker 3: That was kind of like an intro for them. But

2710
02:17:53,879 --> 02:17:54,800
Speaker 3: you know, Cliff did.

2711
02:17:55,840 --> 02:17:56,199
Speaker 1: Of course.

2712
02:17:56,360 --> 02:17:57,840
Speaker 3: I walked in the sand Mash one day.

2713
02:18:00,160 --> 02:18:02,840
Speaker 1: There's a lot of visitings. I walked into sam Ash

2714
02:18:02,959 --> 02:18:06,600
Speaker 1: one day. I was looking at a keyboard. The salesman

2715
02:18:06,720 --> 02:18:08,280
Speaker 1: was showing me on the keyboard, say he it does this,

2716
02:18:08,800 --> 02:18:10,600
Speaker 1: it does this. Boom boom, it does this. He made

2717
02:18:10,640 --> 02:18:11,320
Speaker 1: a beat right in frame.

2718
02:18:11,400 --> 02:18:12,800
Speaker 3: I was like, oh, that ship is hot.

2719
02:18:13,080 --> 02:18:16,080
Speaker 1: Give me two of those, right, I get it home.

2720
02:18:16,120 --> 02:18:20,240
Speaker 1: I can't do nothing. I go back to the store. Yo,

2721
02:18:20,360 --> 02:18:22,680
Speaker 1: my man, I can't do none of that. He's like, Yo,

2722
02:18:22,800 --> 02:18:23,760
Speaker 1: it's so easy. He did it.

2723
02:18:23,920 --> 02:18:25,600
Speaker 3: I was like, Yo, hold up, man, how much you

2724
02:18:25,720 --> 02:18:26,160
Speaker 3: making him?

2725
02:18:26,200 --> 02:18:26,280
Speaker 6: Bro?

2726
02:18:26,520 --> 02:18:35,240
Speaker 1: That was Darren Lighty, straight up changing people's lives. How

2727
02:18:35,320 --> 02:18:36,720
Speaker 1: much you're working. How much you get up here in

2728
02:18:36,800 --> 02:18:39,280
Speaker 1: sam mash Because I could double that, y'all. He quit

2729
02:18:39,400 --> 02:18:42,760
Speaker 1: that day, came up to the house, It hits, and

2730
02:18:43,280 --> 02:18:46,400
Speaker 1: that was it. We was good and we started and

2731
02:18:46,480 --> 02:18:49,240
Speaker 1: we started making on the spot, and he showed me.

2732
02:18:49,480 --> 02:18:53,640
Speaker 1: He became my programmer. And then into the picture now

2733
02:18:53,879 --> 02:18:56,920
Speaker 1: ll I was he was. I was doing my radio

2734
02:18:56,920 --> 02:18:59,480
Speaker 1: show and he's promoting Walking with the Panther, And you know,

2735
02:18:59,680 --> 02:19:03,440
Speaker 1: I knew wasn't the greatest album for him, but I

2736
02:19:03,560 --> 02:19:04,800
Speaker 1: still was giving them crops.

2737
02:19:05,560 --> 02:19:06,720
Speaker 3: I still giving them problem.

2738
02:19:09,600 --> 02:19:12,720
Speaker 1: Look it came out dropping them and like it was,

2739
02:19:13,520 --> 02:19:14,039
Speaker 1: it was joint.

2740
02:19:14,160 --> 02:19:14,840
Speaker 3: Jingling was on.

2741
02:19:16,120 --> 02:19:16,560
Speaker 1: I didn't like.

2742
02:19:17,959 --> 02:19:19,320
Speaker 2: I like, I didn't like.

2743
02:19:20,080 --> 02:19:21,560
Speaker 3: That's what got me on. I said, yo, let me

2744
02:19:21,640 --> 02:19:22,360
Speaker 3: remix that joint.

2745
02:19:22,400 --> 02:19:26,200
Speaker 1: When you said running niggas over like reading that, Trucker said,

2746
02:19:26,200 --> 02:19:30,960
Speaker 1: oh yeah, said okay, and then Brian vocals that was

2747
02:19:31,080 --> 02:19:36,000
Speaker 1: Jim Kelly's karate. Yeah, that was like, bro, you didn't

2748
02:19:36,040 --> 02:19:39,480
Speaker 1: like that dropping them Nitro? Uh what else? I like

2749
02:19:39,920 --> 02:19:47,640
Speaker 1: the joint on side to know, like squad had four

2750
02:19:47,760 --> 02:19:52,720
Speaker 1: good joints on that you didn't like Big four with

2751
02:19:52,920 --> 02:19:53,480
Speaker 1: your drums.

2752
02:19:54,800 --> 02:19:58,360
Speaker 3: Yes you said four right, like twenty songs on it.

2753
02:19:58,760 --> 02:19:59,600
Speaker 2: Yeah, it did you know?

2754
02:19:59,720 --> 02:20:01,360
Speaker 8: Okay, you know what I and it had your my

2755
02:20:01,480 --> 02:20:10,040
Speaker 8: heart on it in two different worlds. Now, look here's

2756
02:20:10,080 --> 02:20:14,359
Speaker 8: the thing. Here's the thing, all right, And that wasn't.

2757
02:20:14,200 --> 02:20:19,640
Speaker 1: TJ Swan walking with the panther is sentimental to me.

2758
02:20:20,280 --> 02:20:22,279
Speaker 1: I just graduated high school.

2759
02:20:22,879 --> 02:20:23,879
Speaker 3: It just came out.

2760
02:20:24,640 --> 02:20:26,960
Speaker 1: I was curious to figure out if LLLL was going

2761
02:20:27,000 --> 02:20:30,640
Speaker 1: to graduate to break beat. So the fact that dropping

2762
02:20:30,720 --> 02:20:33,959
Speaker 1: him used the meters joining I was like, okay, he's

2763
02:20:34,520 --> 02:20:38,280
Speaker 1: he's because LL is always like an indicator for what

2764
02:20:38,840 --> 02:20:41,040
Speaker 1: will he jumped to that next level or not, you

2765
02:20:41,120 --> 02:20:41,560
Speaker 1: know what I mean?

2766
02:20:42,480 --> 02:20:44,680
Speaker 3: And so I don't know.

2767
02:20:44,840 --> 02:20:47,680
Speaker 1: Maybe it was the fact that I just graduated high school,

2768
02:20:47,720 --> 02:20:51,480
Speaker 1: which was like it is. I like a lot of

2769
02:20:51,480 --> 02:20:55,600
Speaker 1: shitty music too when I was a teenager. It's okay, yeah,

2770
02:20:55,640 --> 02:20:59,800
Speaker 1: but he was, but he was definitely promoted. I like

2771
02:21:01,200 --> 02:21:03,160
Speaker 1: the Jingling Baby. I didn't like that.

2772
02:21:04,680 --> 02:21:08,680
Speaker 6: Like that remix was like, am I assuming? I'm just

2773
02:21:08,720 --> 02:21:10,120
Speaker 6: going to ask the one that I'm used to is

2774
02:21:10,160 --> 02:21:10,840
Speaker 6: the may.

2775
02:21:11,680 --> 02:21:12,360
Speaker 1: One in the videos?

2776
02:21:15,400 --> 02:21:20,120
Speaker 9: Right, he says, dance to the remixing glove Yeah, with

2777
02:21:20,200 --> 02:21:21,439
Speaker 9: the walking into sun side.

2778
02:21:21,920 --> 02:21:23,360
Speaker 3: And so you remixed it.

2779
02:21:23,720 --> 02:21:25,360
Speaker 1: They gave me a shot. They gave me a shot

2780
02:21:25,440 --> 02:21:27,200
Speaker 1: to remix that, and you know, we remixed it and

2781
02:21:27,280 --> 02:21:30,080
Speaker 1: it came out pretty well, did well. And then we

2782
02:21:30,160 --> 02:21:32,080
Speaker 1: went in the studio kind of on our own and

2783
02:21:32,160 --> 02:21:36,240
Speaker 1: started making an album without authorready from the station, I mean,

2784
02:21:36,280 --> 02:21:39,240
Speaker 1: from his label. We just started making come to the crib,

2785
02:21:39,320 --> 02:21:43,039
Speaker 1: let's make some joints. Boom, We like five in four

2786
02:21:43,120 --> 02:21:46,560
Speaker 1: and six in seven and then boom boom. Actually, you know,

2787
02:21:46,600 --> 02:21:49,879
Speaker 1: we bring it to Russell and he heard booming systems

2788
02:21:50,320 --> 02:21:50,840
Speaker 1: and that was it.

2789
02:21:51,040 --> 02:21:51,320
Speaker 3: Boom.

2790
02:21:51,360 --> 02:21:53,480
Speaker 1: You're like, yo, yo, y'all want to.

2791
02:21:53,440 --> 02:21:54,879
Speaker 3: Do an album, Yo, it's done already.

2792
02:21:55,120 --> 02:21:58,280
Speaker 1: Why'd you do two versus a booming system? Because we

2793
02:21:58,360 --> 02:22:01,120
Speaker 1: needed an edited version and we need one for one

2794
02:22:01,280 --> 02:22:04,000
Speaker 1: was for radio. I mean the in Vogue version was

2795
02:22:04,040 --> 02:22:06,960
Speaker 1: the version that I heard that one. Okay, I heard

2796
02:22:07,000 --> 02:22:09,240
Speaker 1: that first on radio, and then when I brought the remix,

2797
02:22:09,760 --> 02:22:11,840
Speaker 1: I heard the like they're both on the on the single.

2798
02:22:12,080 --> 02:22:14,160
Speaker 3: They were on a single. Yeah, both mixes were on

2799
02:22:14,200 --> 02:22:16,440
Speaker 3: a single, but on the album it was a different one.

2800
02:22:16,480 --> 02:22:18,959
Speaker 1: See Philly radio just played the in Vogue version, right,

2801
02:22:19,080 --> 02:22:20,720
Speaker 1: So when I brought the record, I was ready for

2802
02:22:20,800 --> 02:22:21,920
Speaker 1: that and I heard the baseline.

2803
02:22:21,920 --> 02:22:23,200
Speaker 3: I was like, wait a minute, it's changed.

2804
02:22:23,720 --> 02:22:26,120
Speaker 1: But I actually liked the alun version better now. But

2805
02:22:26,200 --> 02:22:30,920
Speaker 1: I always wanted to know, like, yes, I didn't want

2806
02:22:30,959 --> 02:22:33,840
Speaker 1: it to be because we came. We made Booming System.

2807
02:22:33,879 --> 02:22:36,800
Speaker 1: It was straight off of in Vogue. It was straight

2808
02:22:36,879 --> 02:22:37,640
Speaker 1: off of in Vogue.

2809
02:22:38,200 --> 02:22:39,840
Speaker 3: You just loot it. Yeah, I just looped it up

2810
02:22:39,879 --> 02:22:40,560
Speaker 3: and let them go.

2811
02:22:41,040 --> 02:22:44,240
Speaker 1: But then we put the record out and but the

2812
02:22:44,400 --> 02:22:48,000
Speaker 1: guys from in Vogue, the producers, they was like, yeah,

2813
02:22:48,000 --> 02:22:50,120
Speaker 1: we're gonna, so you go ahead, bro, we're gonna.

2814
02:22:50,560 --> 02:22:55,400
Speaker 3: But was that a infuse trap? It wasn't take them.

2815
02:22:55,400 --> 02:22:59,600
Speaker 1: But to be honest, that's one thing I can say

2816
02:22:59,600 --> 02:23:01,480
Speaker 1: about them. Back in them days, they was like go ahead, bro,

2817
02:23:01,640 --> 02:23:03,840
Speaker 1: that's a banger. They was like, yo, you got it.

2818
02:23:04,440 --> 02:23:05,360
Speaker 3: I was like really.

2819
02:23:05,520 --> 02:23:07,360
Speaker 1: They was like they just gave it up. They saw

2820
02:23:07,440 --> 02:23:09,879
Speaker 1: the vision because they knew right would make their ship

2821
02:23:10,040 --> 02:23:13,320
Speaker 1: right even more official, right right. So they didn't even

2822
02:23:13,360 --> 02:23:14,960
Speaker 1: go at me. It's like your go ahead, little brother,

2823
02:23:15,080 --> 02:23:17,480
Speaker 1: young brother, go ahead, bro. They did me like that,

2824
02:23:17,600 --> 02:23:19,879
Speaker 1: and that was real good. They're like the only cast

2825
02:23:19,959 --> 02:23:24,959
Speaker 1: that ever did that. Boy, there's like, go ahead, little brother,

2826
02:23:25,240 --> 02:23:25,800
Speaker 1: do your thing.

2827
02:23:25,879 --> 02:23:26,000
Speaker 2: Man.

2828
02:23:26,040 --> 02:23:28,000
Speaker 1: I was like, whoa, okay, and we're gonna fuck with

2829
02:23:28,080 --> 02:23:32,080
Speaker 1: you with that. Wow, just just do this remix for us.

2830
02:23:35,920 --> 02:23:38,280
Speaker 1: Then they hit me with the oh we want you

2831
02:23:38,360 --> 02:23:39,720
Speaker 1: to remix hold On?

2832
02:23:41,040 --> 02:23:41,800
Speaker 3: Did you Yeah?

2833
02:23:41,800 --> 02:23:44,400
Speaker 1: I remixed out Yeah, so that's solid. Yeah.

2834
02:23:44,440 --> 02:23:45,959
Speaker 3: So it was like it was like a trade off.

2835
02:23:46,120 --> 02:23:47,160
Speaker 3: They didn't even bother me.

2836
02:23:47,240 --> 02:23:50,160
Speaker 1: I was like, wow, so did you feel pressure because

2837
02:23:50,160 --> 02:23:53,480
Speaker 1: at that point I know that like Ll got booed

2838
02:23:53,600 --> 02:23:56,760
Speaker 1: at the Apollo and you know, it was a new

2839
02:23:56,879 --> 02:23:59,640
Speaker 1: generation and now his fate was in your hands. I

2840
02:23:59,760 --> 02:24:02,240
Speaker 1: felt no pressure with them because I already knew. I

2841
02:24:02,320 --> 02:24:03,880
Speaker 1: knew what I could do for l I think that

2842
02:24:04,600 --> 02:24:07,920
Speaker 1: everything I've done to cold Chilling with cold Chilling with

2843
02:24:08,120 --> 02:24:11,360
Speaker 1: Heavy to up that point got me ready to get

2844
02:24:11,400 --> 02:24:12,320
Speaker 1: that Grammy with L.

2845
02:24:13,280 --> 02:24:15,160
Speaker 3: You get what I'm saying. You know, it's kind of

2846
02:24:15,200 --> 02:24:15,880
Speaker 3: like I was in training.

2847
02:24:15,920 --> 02:24:18,280
Speaker 1: I was in training all my life, sparring and getting

2848
02:24:18,360 --> 02:24:20,680
Speaker 1: up to the building myself in the ranks to get

2849
02:24:20,720 --> 02:24:23,600
Speaker 1: with LLL and get that real shot. You get what

2850
02:24:23,640 --> 02:24:26,160
Speaker 1: I'm saying. Because by the time we did that, you know,

2851
02:24:26,520 --> 02:24:28,600
Speaker 1: it was great for his career and great for my career.

2852
02:24:28,920 --> 02:24:30,800
Speaker 6: What is the right to now see ll be the

2853
02:24:30,879 --> 02:24:33,400
Speaker 6: ambassador for the Grammys Because here we are, like years later,

2854
02:24:33,520 --> 02:24:35,960
Speaker 6: and he is the man. He's basically the spokesperson.

2855
02:24:36,120 --> 02:24:38,360
Speaker 3: Of course. Believe me, I fox with him all the time.

2856
02:24:38,440 --> 02:24:41,160
Speaker 1: Believe me, when he do these shows, I'm calling his

2857
02:24:41,240 --> 02:24:43,440
Speaker 1: ass before he hit that stage, and we always talking

2858
02:24:43,959 --> 02:24:45,000
Speaker 1: and I'm fucking with him.

2859
02:24:45,040 --> 02:24:47,720
Speaker 3: We laughing like a fuck. It's my dude. I fox

2860
02:24:47,800 --> 02:24:48,760
Speaker 3: with him, you know what I'm saying.

2861
02:24:49,000 --> 02:24:51,120
Speaker 1: Before he do most of those shows, he always get

2862
02:24:51,200 --> 02:24:52,800
Speaker 1: a call for me, and we you know, I know

2863
02:24:52,879 --> 02:24:54,800
Speaker 1: they tape them early, So I catch him in the

2864
02:24:54,840 --> 02:24:56,880
Speaker 1: morning and fuck with him, you know what I'm saying,

2865
02:24:57,720 --> 02:24:59,360
Speaker 1: And we'd be laughing our ass off, and he go

2866
02:24:59,440 --> 02:25:01,120
Speaker 1: over there and I tell him and the next day

2867
02:25:01,120 --> 02:25:03,120
Speaker 1: I called me Yo, Yo, Yeah, Thish was so and

2868
02:25:03,200 --> 02:25:05,480
Speaker 1: so I'm proud of you because I'm proud of that dude, man,

2869
02:25:06,600 --> 02:25:10,279
Speaker 1: real proud of it was the folklore of his process,

2870
02:25:10,400 --> 02:25:13,200
Speaker 1: real where he like had to go back to his

2871
02:25:13,320 --> 02:25:17,160
Speaker 1: grandmom's basement and and right and getting that mood.

2872
02:25:17,280 --> 02:25:19,400
Speaker 3: And yeah, he lived that much.

2873
02:25:19,600 --> 02:25:23,120
Speaker 1: He still had that Queen's residence where I believe he

2874
02:25:23,240 --> 02:25:26,280
Speaker 1: still they still own that residence there. But when we did,

2875
02:25:27,640 --> 02:25:31,160
Speaker 1: Mama said, knock you out. He literally came and lived

2876
02:25:31,200 --> 02:25:31,680
Speaker 1: at my house.

2877
02:25:33,160 --> 02:25:34,880
Speaker 3: He was that serious. But did he feel like I

2878
02:25:34,959 --> 02:25:35,680
Speaker 3: have something to prove?

2879
02:25:36,200 --> 02:25:36,880
Speaker 1: I'm sure he did.

2880
02:25:37,000 --> 02:25:38,960
Speaker 3: Yeah, he had a lot to prove after walking with

2881
02:25:39,040 --> 02:25:39,240
Speaker 3: the pant.

2882
02:25:40,920 --> 02:25:44,080
Speaker 1: Did he feel like a man like I still got

2883
02:25:44,200 --> 02:25:47,160
Speaker 1: to come with it because because it's still yielded hits

2884
02:25:47,360 --> 02:25:49,360
Speaker 1: like Big Ol'd but was still getting played on.

2885
02:25:50,480 --> 02:25:50,960
Speaker 3: I forgot that.

2886
02:25:51,040 --> 02:25:54,400
Speaker 1: But he wasn't joined. I think loved. I think to

2887
02:25:54,520 --> 02:25:57,760
Speaker 1: be honest, he knew what he wanted you get him.

2888
02:25:57,760 --> 02:25:59,879
Speaker 1: He wanted the respect and he knew what he wanted.

2889
02:26:00,080 --> 02:26:01,320
Speaker 1: He came and told me, He's like, yo, you know,

2890
02:26:01,400 --> 02:26:02,240
Speaker 1: he started telling me the story.

2891
02:26:02,320 --> 02:26:02,400
Speaker 7: Yo.

2892
02:26:02,440 --> 02:26:04,240
Speaker 1: When I first heard Kane, I was like, oh my god.

2893
02:26:04,280 --> 02:26:05,640
Speaker 1: When I first heard someone so I was like, oh

2894
02:26:05,680 --> 02:26:08,280
Speaker 1: my god. He's like, Yo, how could I do this?

2895
02:26:08,600 --> 02:26:10,720
Speaker 1: You know, I'm like, yo, come on, you give what

2896
02:26:10,760 --> 02:26:13,800
Speaker 1: I'm saying. Prep gave him the prep give what I'm saying.

2897
02:26:13,840 --> 02:26:15,760
Speaker 1: And we went in there and just tore niggas down.

2898
02:26:15,879 --> 02:26:18,880
Speaker 1: At least give me the story of like making that record.

2899
02:26:19,400 --> 02:26:21,440
Speaker 1: Did you know it was monumental or was it just like, yeah,

2900
02:26:21,520 --> 02:26:25,920
Speaker 1: here's another beat. I kind of felt that in a

2901
02:26:26,000 --> 02:26:32,879
Speaker 1: way what it is because Bobcat, you know DJ Bobcat.

2902
02:26:32,959 --> 02:26:36,240
Speaker 1: You know, he had he had the sample, he had this, Yeah,

2903
02:26:36,440 --> 02:26:38,040
Speaker 1: he had to kind of he had he had the

2904
02:26:38,320 --> 02:26:41,080
Speaker 1: he had it sampled up on a disc, and you know,

2905
02:26:41,160 --> 02:26:42,960
Speaker 1: he was going through sounds and he was playing that

2906
02:26:43,680 --> 02:26:45,879
Speaker 1: and then I just added a drum to it, kind

2907
02:26:45,920 --> 02:26:49,200
Speaker 1: of filtered it, flipped it and and you know, we

2908
02:26:49,320 --> 02:26:51,160
Speaker 1: let and then I let my you know, I let

2909
02:26:51,240 --> 02:26:55,440
Speaker 1: my dude. You know, sometimes what has started happening with

2910
02:26:55,520 --> 02:26:57,920
Speaker 1: me after awhile I started, I started not want to

2911
02:26:57,959 --> 02:27:00,959
Speaker 1: record people. Vocals sound familiar.

2912
02:27:01,760 --> 02:27:02,560
Speaker 3: I hate recording.

2913
02:27:02,879 --> 02:27:05,959
Speaker 1: Yes, yeah, sometimes, you know I started after a while,

2914
02:27:06,240 --> 02:27:08,720
Speaker 1: I want to make the beats, but I can't. I

2915
02:27:08,800 --> 02:27:11,480
Speaker 1: can't stomach sitting here doing the vocals too much.

2916
02:27:11,920 --> 02:27:14,800
Speaker 3: So so only someone that knows the pain. Yeah, so

2917
02:27:15,000 --> 02:27:19,439
Speaker 3: so so I said that day, I said to my engineer.

2918
02:27:19,240 --> 02:27:23,520
Speaker 1: Just record ll vocals, you know, recorded right, And I

2919
02:27:23,600 --> 02:27:26,320
Speaker 1: stood back and he was easily wind and then pressed

2920
02:27:26,680 --> 02:27:29,600
Speaker 1: play and record and but LLL didn't know what was

2921
02:27:29,640 --> 02:27:35,440
Speaker 1: going and he said, come on, man, and then the

2922
02:27:35,520 --> 02:27:39,680
Speaker 1: beat dropped, and I was like, so that was real.

2923
02:27:40,000 --> 02:27:40,960
Speaker 3: That wasn't getting annoyed.

2924
02:27:41,080 --> 02:27:44,400
Speaker 1: That was really him screaming at the engineer. Poor engineers.

2925
02:27:44,720 --> 02:27:51,160
Speaker 1: I was like a hip hop engineer start with, start

2926
02:27:51,240 --> 02:27:54,120
Speaker 1: with all the abuse that engineers have to take it

2927
02:27:54,200 --> 02:27:59,440
Speaker 1: the rappers and management. I had a question about, uh,

2928
02:28:00,160 --> 02:28:04,039
Speaker 1: to knock you out milky cereals, not milky cereal, mister

2929
02:28:04,120 --> 02:28:07,080
Speaker 1: good Ball, the little snippet. Nah, no, I'm saying, happened

2930
02:28:07,080 --> 02:28:12,840
Speaker 1: to me, happen yo, It's so funny. He's just we

2931
02:28:13,040 --> 02:28:15,280
Speaker 1: just decided to give it out a crazy intro. He

2932
02:28:15,400 --> 02:28:18,200
Speaker 1: just said that just to bug out. Yeah, yeah, he's

2933
02:28:18,200 --> 02:28:21,160
Speaker 1: just give it a crazy intro. And Murder Graham was

2934
02:28:21,280 --> 02:28:24,560
Speaker 1: just yeah, Murder Graham was his little story about.

2935
02:28:25,480 --> 02:28:28,119
Speaker 3: But I've been like, was it supposed to be live? Oh, yeah,

2936
02:28:28,120 --> 02:28:28,960
Speaker 3: it's supposed to be live.

2937
02:28:29,959 --> 02:28:31,800
Speaker 1: We kind of made that up to be live put

2938
02:28:31,840 --> 02:28:35,160
Speaker 1: the crowd in the back. But I think they tried

2939
02:28:35,200 --> 02:28:37,199
Speaker 1: to sue us for using the name rap Mania. Things

2940
02:28:37,240 --> 02:28:41,320
Speaker 1: coming out everywhere? Really, yeah, it's coming out of every everywhere.

2941
02:28:41,400 --> 02:28:45,119
Speaker 1: I'm like, come on, really, do anybody have a copy

2942
02:28:45,200 --> 02:28:48,600
Speaker 1: of rap Mania? Yeah, I think they tried to sue us.

2943
02:28:48,720 --> 02:28:51,600
Speaker 1: I've been trying to find that. That's crazy. It was

2944
02:28:51,640 --> 02:28:54,240
Speaker 1: a pay per view concert where Redman went out of

2945
02:28:54,320 --> 02:28:57,800
Speaker 1: his mind with the on the monitor. Man. I not

2946
02:28:58,080 --> 02:29:00,800
Speaker 1: that this was pre this was we read. Yeah, this

2947
02:29:01,000 --> 02:29:03,920
Speaker 1: was like ninety You gotta do some research somebody finding

2948
02:29:04,000 --> 02:29:04,560
Speaker 1: rap Mania.

2949
02:29:05,120 --> 02:29:05,320
Speaker 2: Wow.

2950
02:29:05,720 --> 02:29:09,160
Speaker 9: Yeah, Okay, I remember because I remember asking my parents

2951
02:29:09,240 --> 02:29:10,560
Speaker 9: to get it on pay per.

2952
02:29:10,560 --> 02:29:11,200
Speaker 4: View and they were like no.

2953
02:29:11,400 --> 02:29:13,400
Speaker 1: And that's why we put Live at rat Mania on

2954
02:29:13,480 --> 02:29:14,840
Speaker 1: it because he was trying to act like he was

2955
02:29:14,920 --> 02:29:20,440
Speaker 1: on rat Mania. Okay, okay, So that cheesy rat blues

2956
02:29:20,560 --> 02:29:22,920
Speaker 1: was it was. It was his story talking about how

2957
02:29:23,240 --> 02:29:27,000
Speaker 1: they treated him after walking with the panther.

2958
02:29:27,440 --> 02:29:28,800
Speaker 3: Cheesy rat You ain't all that.

2959
02:29:29,800 --> 02:29:30,440
Speaker 1: It just hit me.

2960
02:29:31,400 --> 02:29:33,560
Speaker 3: He did to the Break of Dawn as well. Yeah,

2961
02:29:33,760 --> 02:29:35,120
Speaker 3: so that makes number five like.

2962
02:29:38,480 --> 02:29:39,800
Speaker 1: Handle the whole way you are?

2963
02:29:40,240 --> 02:29:40,440
Speaker 6: Yeah?

2964
02:29:41,800 --> 02:29:43,360
Speaker 3: Who else was got this? Another?

2965
02:29:44,040 --> 02:29:44,480
Speaker 2: He got.

2966
02:29:46,160 --> 02:29:50,600
Speaker 1: Hammer and yeah, yeah, or I know about Iced Tea

2967
02:29:50,680 --> 02:29:54,600
Speaker 1: and Ham, but I didn't know that Hammer and him

2968
02:29:54,640 --> 02:29:57,200
Speaker 1: had yeah situation, Yeah, yeah, it was. It was he

2969
02:29:57,240 --> 02:30:01,920
Speaker 1: had beef with Hammer Iced Tea and he went at

2970
02:30:02,000 --> 02:30:04,120
Speaker 1: all three of them onto the Break of Dawn. Did

2971
02:30:04,240 --> 02:30:06,880
Speaker 1: not know that break And by the time ninety one,

2972
02:30:06,959 --> 02:30:08,960
Speaker 1: like Mod was kind of I mean that was it

2973
02:30:09,120 --> 02:30:11,800
Speaker 1: was over much because New Jack was kind of like

2974
02:30:11,959 --> 02:30:14,200
Speaker 1: going where it was going, you know what I mean.

2975
02:30:14,480 --> 02:30:17,200
Speaker 1: And and a lot of these tracks was kind of

2976
02:30:17,240 --> 02:30:19,760
Speaker 1: he was on that New Jackson hard. Yeah, all New

2977
02:30:19,840 --> 02:30:23,640
Speaker 1: Jack track you Rise and Shine Go see the Doctor earlier.

2978
02:30:25,200 --> 02:30:33,160
Speaker 1: Ain't that you know what I'm saying? Okay, But he

2979
02:30:33,240 --> 02:30:36,000
Speaker 1: was always lyrical though, who do you think in the

2980
02:30:36,080 --> 02:30:38,680
Speaker 1: battle wise we think of rock on Mod l what

2981
02:30:38,760 --> 02:30:39,840
Speaker 1: do you think lyrically?

2982
02:30:40,280 --> 02:30:40,480
Speaker 2: Yeah?

2983
02:30:41,000 --> 02:30:41,840
Speaker 1: Did you like Let's Go?

2984
02:30:42,560 --> 02:30:44,440
Speaker 3: I like let's go. I like let's go. We we

2985
02:30:45,040 --> 02:30:55,640
Speaker 3: did the lant lazy so much a liter ration.

2986
02:31:02,160 --> 02:31:05,959
Speaker 1: Yeah, No, I like Let's go. But lyrically I think

2987
02:31:06,040 --> 02:31:08,200
Speaker 1: that was like for me, like watching the L and

2988
02:31:08,560 --> 02:31:10,640
Speaker 1: MO d Like, I always respect the mod because he

2989
02:31:10,720 --> 02:31:14,720
Speaker 1: really was the only guy from like the original like

2990
02:31:14,920 --> 02:31:18,800
Speaker 1: original original, the results. He's the only one that survived,

2991
02:31:18,840 --> 02:31:21,200
Speaker 1: you know what I'm saying. So I always respected him.

2992
02:31:21,440 --> 02:31:22,960
Speaker 1: I just think it was a time where it was

2993
02:31:23,000 --> 02:31:25,000
Speaker 1: a thing where it was really like you were saying

2994
02:31:25,040 --> 02:31:27,240
Speaker 1: earlier maw like the old line versus the new line,

2995
02:31:27,320 --> 02:31:31,480
Speaker 1: and to me like mo d had lyrics, but Llll

2996
02:31:31,560 --> 02:31:33,520
Speaker 1: could take your shirt off and nigga, it didn't matter

2997
02:31:33,640 --> 02:31:35,560
Speaker 1: no more, you know what I'm saying. So it was

2998
02:31:35,680 --> 02:31:38,200
Speaker 1: like it was just kind of he was I think

2999
02:31:38,280 --> 02:31:42,680
Speaker 1: he was as a lyricist, mod was dope, but he

3000
02:31:43,200 --> 02:31:45,320
Speaker 1: was just kind of his time had passed at that point.

3001
02:31:46,000 --> 02:31:49,720
Speaker 1: I think of the two LL responses, I mean, to

3002
02:31:49,800 --> 02:31:54,240
Speaker 1: the Break of Dawn was my favorite. But again I'm

3003
02:31:54,280 --> 02:31:56,280
Speaker 1: a music guy, so no, I'm with you. I like

3004
02:31:56,320 --> 02:31:59,840
Speaker 1: to the Break because cool. It was like it was

3005
02:31:59,920 --> 02:32:02,280
Speaker 1: like it was either cool al or like Holland jet

3006
02:32:03,520 --> 02:32:05,800
Speaker 1: so and always like just the cool. How did you

3007
02:32:05,879 --> 02:32:08,480
Speaker 1: get cool l delivery on that song instead of his

3008
02:32:08,560 --> 02:32:09,520
Speaker 1: house I had?

3009
02:32:10,160 --> 02:32:14,080
Speaker 3: I told him, And we can't scream no more. Basically,

3010
02:32:14,520 --> 02:32:14,879
Speaker 3: we can't.

3011
02:32:14,920 --> 02:32:18,360
Speaker 1: We can't be we can't be angry on records because

3012
02:32:18,400 --> 02:32:21,400
Speaker 1: you gotta take a different approach. You gotta, you gotta

3013
02:32:21,760 --> 02:32:23,680
Speaker 1: instead of screaming at him, you gotta talk to him,

3014
02:32:24,400 --> 02:32:27,200
Speaker 1: and that's what we did, kind of like with Jingling, right,

3015
02:32:28,520 --> 02:32:29,400
Speaker 1: that's when I told him.

3016
02:32:29,280 --> 02:32:29,960
Speaker 3: I like, yo, we can't.

3017
02:32:30,000 --> 02:32:30,120
Speaker 2: Oh.

3018
02:32:30,160 --> 02:32:31,920
Speaker 1: He wanted to be super aggressive, right, he wanted to

3019
02:32:31,920 --> 02:32:33,920
Speaker 1: do his vocals over the other way, kind of like

3020
02:32:34,000 --> 02:32:39,240
Speaker 1: the first ones. I was like, no, no, no, we're

3021
02:32:39,280 --> 02:32:41,160
Speaker 1: not gonna We're not gonna really do that at this time.

3022
02:32:41,800 --> 02:32:42,959
Speaker 1: Let's let's let's like, you know.

3023
02:32:43,480 --> 02:32:45,880
Speaker 9: It's actually interesting, you said, because I first heard the

3024
02:32:46,240 --> 02:32:47,800
Speaker 9: biggest change in the L's voice the first time I

3025
02:32:47,800 --> 02:32:48,600
Speaker 9: heard booming system.

3026
02:32:49,400 --> 02:32:51,680
Speaker 1: It sounded like a completely I didn't even know it

3027
02:32:51,879 --> 02:32:53,480
Speaker 1: was I didn't know it was them.

3028
02:32:53,800 --> 02:32:55,280
Speaker 3: It just came on. I was like, who the fuck

3029
02:32:55,400 --> 02:32:55,520
Speaker 3: is this?

3030
02:32:55,840 --> 02:32:59,160
Speaker 1: And yeah, yeah, there was a lot of effects on

3031
02:32:59,240 --> 02:32:59,800
Speaker 1: the voice too.

3032
02:33:04,840 --> 02:33:05,680
Speaker 3: So let me ask.

3033
02:33:07,520 --> 02:33:12,199
Speaker 1: Because there's always the end to the yang, let's jump

3034
02:33:12,280 --> 02:33:18,520
Speaker 1: three years later, fourteen shots of the Dome. Okay, no, god.

3035
02:33:21,959 --> 02:33:23,680
Speaker 3: No, because it was all.

3036
02:33:23,920 --> 02:33:29,320
Speaker 1: Like I remember that being the first review in the

3037
02:33:29,440 --> 02:33:34,760
Speaker 1: source that had consequences to it, and Russell was not

3038
02:33:35,000 --> 02:33:41,760
Speaker 1: having that. And you know, the original mind Squad review

3039
02:33:41,879 --> 02:33:47,560
Speaker 1: like the first time that their record review could influence

3040
02:33:48,680 --> 02:33:54,480
Speaker 1: their reader and it causing a response or maybe a

3041
02:33:54,600 --> 02:33:58,440
Speaker 1: retaliation or not for someone in hip hop. Was that

3042
02:33:58,560 --> 02:34:03,480
Speaker 1: Walking with the Panther record. So what was different about

3043
02:34:03,520 --> 02:34:07,520
Speaker 1: the process of fourteen Shots in the Doom? Then Mama

3044
02:34:07,560 --> 02:34:10,640
Speaker 1: said knock you out because big, big, big difference.

3045
02:34:10,760 --> 02:34:11,920
Speaker 3: It should have been.

3046
02:34:13,879 --> 02:34:16,040
Speaker 1: It's supposed to be the follow up to should have

3047
02:34:16,040 --> 02:34:19,400
Speaker 1: been Victory Last, Right, But guess what. Guess who started

3048
02:34:19,440 --> 02:34:25,160
Speaker 1: acting around that time. Guess Michael J No, No, guess

3049
02:34:25,200 --> 02:34:26,800
Speaker 1: who went to go do the Toy in the middle

3050
02:34:26,800 --> 02:34:30,440
Speaker 1: of my project? Yeah?

3051
02:34:30,480 --> 02:34:34,000
Speaker 3: The Toys was uh Robin Willis.

3052
02:34:33,760 --> 02:34:36,400
Speaker 1: Right, right, So that's kind of what happened with that project.

3053
02:34:36,440 --> 02:34:38,800
Speaker 1: In the middle of the project, we in the zone,

3054
02:34:39,480 --> 02:34:41,760
Speaker 1: was in the zone. Next thing, you know, we all

3055
02:34:41,760 --> 02:34:44,640
Speaker 1: gotta go wait for nine months to go do a movie.

3056
02:34:45,440 --> 02:34:46,920
Speaker 1: I'm like, dukes, We're in the.

3057
02:34:46,920 --> 02:34:47,760
Speaker 3: Middle of an album.

3058
02:34:48,879 --> 02:34:49,280
Speaker 4: M mm.

3059
02:34:49,640 --> 02:34:51,760
Speaker 1: So how long did Mama said knock you out? Take

3060
02:34:52,000 --> 02:34:55,440
Speaker 1: to record the album? Like two weeks or some ship

3061
02:34:55,720 --> 02:34:58,039
Speaker 1: and then wait, fourteen shots. It was like real quick,

3062
02:34:58,240 --> 02:34:59,880
Speaker 1: he just knocked it out. Yeah. We was banging the

3063
02:35:00,080 --> 02:35:03,000
Speaker 1: down like knock it out. Yeah, we've been banging them

3064
02:35:03,040 --> 02:35:03,879
Speaker 1: down like nothing.

3065
02:35:04,080 --> 02:35:04,440
Speaker 3: I told you.

3066
02:35:04,640 --> 02:35:06,760
Speaker 1: He came and lived lived up the crib upstate. So

3067
02:35:07,320 --> 02:35:09,480
Speaker 1: we was making maybe two records a day, and then

3068
02:35:09,560 --> 02:35:12,080
Speaker 1: fourteen shots was how long? Fourteen shots took about a

3069
02:35:12,160 --> 02:35:14,440
Speaker 1: year and some change to make. Because fourteen shots took

3070
02:35:14,480 --> 02:35:18,400
Speaker 1: fourteen months, it's too long because now you know, now

3071
02:35:18,920 --> 02:35:22,320
Speaker 1: you know he's coming like a week for like a

3072
02:35:22,440 --> 02:35:24,640
Speaker 1: record or two. I'm like, dudes, we can't, we can't

3073
02:35:24,640 --> 02:35:28,440
Speaker 1: make records like this, bro we we wasn't the same formula.

3074
02:35:29,320 --> 02:35:32,760
Speaker 1: So you feel that the disrupted rhythm. Yeah, of not

3075
02:35:32,920 --> 02:35:35,240
Speaker 1: bouncing off each other one hundred percent, that's exactly what

3076
02:35:35,320 --> 02:35:36,600
Speaker 1: they God, now you're scaring me.

3077
02:35:38,360 --> 02:35:41,880
Speaker 3: Stop looking at me like that serious, because he do wan.

3078
02:35:42,200 --> 02:35:44,840
Speaker 1: He started, you know, making movies and then all of

3079
02:35:44,879 --> 02:35:47,000
Speaker 1: a sudden, we wasn't in the studio as much.

3080
02:35:47,120 --> 02:35:48,160
Speaker 3: We wasn't vibing like that.

3081
02:35:48,959 --> 02:35:53,280
Speaker 1: Every wait, everyone listened. Everyone's looking at me like, all right,

3082
02:35:53,360 --> 02:35:55,119
Speaker 1: mister nineteen jobs, you better.

3083
02:35:56,440 --> 02:36:01,240
Speaker 3: Dropped everything this next week hearing this story.

3084
02:36:01,400 --> 02:36:03,160
Speaker 1: But what it was though, you know, it's like he

3085
02:36:03,240 --> 02:36:05,560
Speaker 1: started focusing and you know, he did good on that

3086
02:36:05,720 --> 02:36:09,240
Speaker 1: movie and then all of a sudden, you know, that's

3087
02:36:09,240 --> 02:36:12,000
Speaker 1: when that's when the movie starts. You know, the movie

3088
02:36:12,080 --> 02:36:14,080
Speaker 1: started coming in and the TV and all of that,

3089
02:36:14,640 --> 02:36:17,480
Speaker 1: and you know, the album didn't really do well like

3090
02:36:17,560 --> 02:36:19,320
Speaker 1: it should have because we I didn't have no real

3091
02:36:19,400 --> 02:36:19,960
Speaker 1: time to do it.

3092
02:36:20,440 --> 02:36:21,160
Speaker 3: I ain't have no time.

3093
02:36:21,240 --> 02:36:24,840
Speaker 1: And then if I made something six months ago, this

3094
02:36:24,879 --> 02:36:27,920
Speaker 1: ship ain't hot. Now you get what I'm saying. When

3095
02:36:27,959 --> 02:36:30,400
Speaker 1: we when we made the other album, that ship was

3096
02:36:30,440 --> 02:36:33,040
Speaker 1: so hot off the press, Yo, the fucking reels were

3097
02:36:33,040 --> 02:36:36,840
Speaker 1: still warm. You get what I'm saying. Did you do Crossroads?

3098
02:36:38,440 --> 02:36:41,680
Speaker 1: I was involved with it? I was I was involved.

3099
02:36:42,440 --> 02:36:47,560
Speaker 1: I was involved with Yeah, they made him make that.

3100
02:36:50,040 --> 02:36:52,200
Speaker 3: Wait was his dad in the picture right now?

3101
02:36:52,400 --> 02:36:53,720
Speaker 4: Or ah?

3102
02:36:59,200 --> 02:37:02,560
Speaker 3: Because like the hollering came back, the screaming, you know

3103
02:37:02,600 --> 02:37:03,000
Speaker 3: what I say.

3104
02:37:04,000 --> 02:37:04,240
Speaker 2: I was.

3105
02:37:05,760 --> 02:37:09,320
Speaker 3: As I'm trying to say, all the screaming came back well.

3106
02:37:09,240 --> 02:37:13,080
Speaker 1: Because he probably felt especially after the heat of doing

3107
02:37:13,160 --> 02:37:21,720
Speaker 1: it on MTV unplug You remember the years that and

3108
02:37:21,879 --> 02:37:26,680
Speaker 1: he did it at the MTV Awards were like a

3109
02:37:26,920 --> 02:37:30,760
Speaker 1: ninety piece band at the MT Yeah hit me twelve times.

3110
02:37:33,040 --> 02:37:34,400
Speaker 2: Yeah, he was right.

3111
02:37:34,640 --> 02:37:35,959
Speaker 3: You probably couldn't tell him nothing.

3112
02:37:36,040 --> 02:37:36,680
Speaker 1: He was back.

3113
02:37:37,760 --> 02:37:41,000
Speaker 3: Ah man, he telling me that he had to.

3114
02:37:41,879 --> 02:37:44,960
Speaker 1: If he had more focus and did it in a

3115
02:37:45,200 --> 02:37:48,600
Speaker 1: concise time period of maybe a month or so, it

3116
02:37:48,600 --> 02:37:49,840
Speaker 1: would have been a different.

3117
02:37:50,240 --> 02:37:53,320
Speaker 3: I believe if there was no Toy movie. That was

3118
02:37:53,360 --> 02:37:53,840
Speaker 3: a weird.

3119
02:37:55,600 --> 02:37:59,080
Speaker 7: And then when I saw that was dudes, that was

3120
02:37:59,160 --> 02:38:02,040
Speaker 7: a weird fucking we did we did this for that.

3121
02:38:05,160 --> 02:38:06,200
Speaker 7: We blew an album for that.

3122
02:38:08,400 --> 02:38:13,120
Speaker 1: Ye, because the movie didn't do well, Wait, let's not

3123
02:38:13,440 --> 02:38:18,520
Speaker 1: totally tank it, because I mean back was a classic

3124
02:38:19,320 --> 02:38:24,640
Speaker 1: back and Pink Cookies that remix. Though the the movie

3125
02:38:25,640 --> 02:38:30,560
Speaker 1: yes crazy like they were, yes, they were. There was

3126
02:38:30,640 --> 02:38:32,480
Speaker 1: there was little there was. There was moments on there,

3127
02:38:32,760 --> 02:38:38,320
Speaker 1: but it wasn't enough moments was like stand man stand.

3128
02:38:40,120 --> 02:38:47,360
Speaker 1: So after that, like was the feeling the aftermath of well,

3129
02:38:48,120 --> 02:38:50,320
Speaker 1: I mean that's when I think the track masters took

3130
02:38:50,360 --> 02:38:53,520
Speaker 1: over and then probably took all my beat loops and

3131
02:38:53,680 --> 02:38:56,000
Speaker 1: made everybody beats and you know, did what they did.

3132
02:38:57,200 --> 02:38:59,959
Speaker 1: But no, I mean you still have Lords. You still

3133
02:39:00,000 --> 02:39:03,160
Speaker 1: oh yeah, Lord? Yeah. I moved on them with Lords.

3134
02:39:03,480 --> 02:39:06,840
Speaker 1: And that's when Lords started popping. Funky child Lords of

3135
02:39:06,840 --> 02:39:09,080
Speaker 1: the Underground And how did you meet them? Because they're straight,

3136
02:39:09,160 --> 02:39:12,120
Speaker 1: they're Jersey. Well, I had I had an idea of

3137
02:39:12,200 --> 02:39:15,760
Speaker 1: a group called Lords of the Underground. I had the name,

3138
02:39:16,080 --> 02:39:17,760
Speaker 1: but I was looking for somebody who would be Lords

3139
02:39:17,800 --> 02:39:20,440
Speaker 1: of the Underground. And I saw them performing. They used

3140
02:39:20,440 --> 02:39:23,480
Speaker 1: to be a group called New Jersey Funk. Oh yeah,

3141
02:39:23,520 --> 02:39:26,040
Speaker 1: it's a better name, Lords under That's what I'm saying.

3142
02:39:26,320 --> 02:39:28,400
Speaker 1: So so when I saw them performed, I said, oh,

3143
02:39:28,440 --> 02:39:29,920
Speaker 1: that's the Lords of the Underground. So I was like, look,

3144
02:39:29,920 --> 02:39:31,959
Speaker 1: I'm looking to do a group called Lords of the Underground,

3145
02:39:32,760 --> 02:39:34,680
Speaker 1: and would you all like to be him? And they're

3146
02:39:34,680 --> 02:39:37,560
Speaker 1: like yeah, because they had the energy and everything, and

3147
02:39:37,720 --> 02:39:39,959
Speaker 1: you know, and we made a little history with them.

3148
02:39:40,040 --> 02:39:41,080
Speaker 3: They did really well.

3149
02:39:41,600 --> 02:39:45,960
Speaker 1: Yeah yeah, I mean well Psycho was that when Psycho

3150
02:39:46,120 --> 02:39:50,000
Speaker 1: came out, that was the ninety three beat, the freestyle

3151
02:39:50,120 --> 02:39:54,800
Speaker 1: over wow and and Philly Wow. I didn't even know.

3152
02:39:55,720 --> 02:39:58,320
Speaker 1: You know, the funny thing about putting out these records, Yeah,

3153
02:39:58,360 --> 02:40:01,840
Speaker 1: it's the funny thing about dropping all of these records. Reasonally,

3154
02:40:02,000 --> 02:40:03,680
Speaker 1: I don't know how well they do. Like you said,

3155
02:40:03,760 --> 02:40:09,840
Speaker 1: that was an excellent rhyme and beat and the yeah, yeah,

3156
02:40:10,720 --> 02:40:13,680
Speaker 1: that's what every cat in Philly wanted. The freestyle wow,

3157
02:40:14,520 --> 02:40:18,480
Speaker 1: piece of Philly right right there. That's real talk man. Wow.

3158
02:40:18,920 --> 02:40:22,360
Speaker 3: Yeah, Like I felt like you were because that was

3159
02:40:22,520 --> 02:40:23,680
Speaker 3: you really.

3160
02:40:25,240 --> 02:40:29,039
Speaker 1: Not even graduating, but again updating your sound to modern

3161
02:40:29,120 --> 02:40:33,880
Speaker 1: hip hop. There you go. And I felt like, oh, okay,

3162
02:40:34,160 --> 02:40:38,400
Speaker 1: Marley's on a mission to really like not revenge, but

3163
02:40:38,600 --> 02:40:41,240
Speaker 1: like to let y'all know, like I'm still in this.

3164
02:40:41,360 --> 02:40:42,000
Speaker 2: Mom and.

3165
02:40:44,520 --> 02:40:45,119
Speaker 7: It is hard.

3166
02:40:45,280 --> 02:40:48,840
Speaker 1: It's hard for people to last that long and still

3167
02:40:49,120 --> 02:40:51,160
Speaker 1: remain ahead of the curve with that sort of thing.

3168
02:40:51,280 --> 02:40:53,920
Speaker 1: So yeah, no doubt. I think with Psycho, I wanted

3169
02:40:53,959 --> 02:40:56,160
Speaker 1: to take it there. I definitely want to take it

3170
02:40:56,240 --> 02:40:58,440
Speaker 1: there because I felt there was a new group I

3171
02:40:58,520 --> 02:41:00,080
Speaker 1: want to come with, like a whole new sound and

3172
02:41:00,240 --> 02:41:03,320
Speaker 1: a whole new look for it. And you know, Psycho

3173
02:41:03,400 --> 02:41:05,440
Speaker 1: did what it did, and then you know we had

3174
02:41:05,480 --> 02:41:07,320
Speaker 1: to bust him in the head with Chief Rocker and

3175
02:41:07,400 --> 02:41:12,200
Speaker 1: all that other ship. Yes, he's the k Death. Where

3176
02:41:12,240 --> 02:41:15,600
Speaker 1: are they now, I'm lords they performing? Does one of

3177
02:41:15,600 --> 02:41:18,440
Speaker 1: them live in Paris? Oh yeah, the DJ lives in Paris,

3178
02:41:20,959 --> 02:41:23,720
Speaker 1: do it all? You know, he's running Jersey and Funky.

3179
02:41:23,879 --> 02:41:26,760
Speaker 1: He's in North Carolina. And you know they still to

3180
02:41:26,840 --> 02:41:30,280
Speaker 1: all over the world. They still every summer they going

3181
02:41:30,320 --> 02:41:31,480
Speaker 1: to those festivals.

3182
02:41:32,000 --> 02:41:32,560
Speaker 3: They rocking.

3183
02:41:32,760 --> 02:41:36,720
Speaker 1: They never stopped yet, that's all. Like I said, yeah, yeah,

3184
02:41:36,720 --> 02:41:40,960
Speaker 1: they're still going. Just to make sure, all right, we're

3185
02:41:41,000 --> 02:41:43,360
Speaker 1: about to wrap up the show, because you know, you

3186
02:41:43,640 --> 02:41:47,440
Speaker 1: probably have a nine hour story. But I always wanted

3187
02:41:47,480 --> 02:41:50,600
Speaker 1: to know the deal with on the reil with not Nice?

3188
02:41:51,480 --> 02:41:53,879
Speaker 1: Where did that come from? Like, was that initially supposed

3189
02:41:53,879 --> 02:41:57,280
Speaker 1: to be on Allmatic or yeah it was. It was

3190
02:41:57,360 --> 02:42:00,600
Speaker 1: originally supposed to be on it. And when he was

3191
02:42:00,640 --> 02:42:03,560
Speaker 1: making his album, he you know, just after he did

3192
02:42:03,600 --> 02:42:05,760
Speaker 1: a few singles and he was working on his album

3193
02:42:06,400 --> 02:42:10,600
Speaker 1: and Biggie was out, and you know, he had a concern.

3194
02:42:11,520 --> 02:42:14,320
Speaker 1: He came to visit me. I was surprised. One day

3195
02:42:14,400 --> 02:42:16,800
Speaker 1: Nozzle was at my door up state. Oh shit, no,

3196
02:42:16,840 --> 02:42:19,760
Speaker 1: I just here, what up? Baby? Were talking and we talked, say, yo,

3197
02:42:19,800 --> 02:42:22,000
Speaker 1: I'm ready to work on my thing, you know, making

3198
02:42:22,040 --> 02:42:24,560
Speaker 1: my album. He said, Yo, he said, you think people

3199
02:42:24,720 --> 02:42:28,040
Speaker 1: still gonna like me? I was like, this is for

3200
02:42:28,160 --> 02:42:28,760
Speaker 1: the second album.

3201
02:42:29,120 --> 02:42:30,959
Speaker 3: This is like that album. This is one.

3202
02:42:31,040 --> 02:42:32,600
Speaker 1: He was working on the album because he had the

3203
02:42:32,640 --> 02:42:36,320
Speaker 1: singles out first and the barbecue, you know, the barbecue

3204
02:42:36,400 --> 02:42:38,720
Speaker 1: was out, so he was he was hot. But then

3205
02:42:38,800 --> 02:42:42,039
Speaker 1: Biggie came. You get what I'm saying, And he came like, Yo,

3206
02:42:42,120 --> 02:42:44,960
Speaker 1: you think you think they're gonna still love me? I'm like, dude,

3207
02:42:45,040 --> 02:42:47,720
Speaker 1: you the nigga that said fucking you. You know, he

3208
02:42:47,800 --> 02:42:50,760
Speaker 1: went to Jeff of snuffing Jesus, nigga, nobody's gonna ever

3209
02:42:50,840 --> 02:42:55,440
Speaker 1: forget that. I said, matter of fact, let me throw

3210
02:42:55,600 --> 02:42:57,280
Speaker 1: let me show you something, let me throw you on something.

3211
02:42:57,280 --> 02:42:59,600
Speaker 1: So I threw up on the real beat, and his

3212
02:42:59,760 --> 02:43:01,440
Speaker 1: man and everybody and is like, oh.

3213
02:43:01,480 --> 02:43:04,400
Speaker 3: Shit, it's aunt adventage though, like, how how long have

3214
02:43:04,440 --> 02:43:04,920
Speaker 3: you had that on?

3215
02:43:06,160 --> 02:43:06,480
Speaker 4: That was?

3216
02:43:07,040 --> 02:43:07,440
Speaker 3: I had that.

3217
02:43:07,680 --> 02:43:09,600
Speaker 1: I kind of like held that out for him because

3218
02:43:09,600 --> 02:43:12,480
Speaker 1: I already knew that nads were murder this ship. Certain

3219
02:43:12,520 --> 02:43:15,040
Speaker 1: beats I just hold out for certain artists. I could

3220
02:43:15,080 --> 02:43:17,120
Speaker 1: just hear like, I just gotta I gotta beat with

3221
02:43:17,879 --> 02:43:20,560
Speaker 1: Action brons, and you know, I had to beat that

3222
02:43:20,640 --> 02:43:22,959
Speaker 1: I know that would fit action. One day I met him, Yo,

3223
02:43:23,000 --> 02:43:24,280
Speaker 1: I got something for you, threw it on him and

3224
02:43:24,520 --> 02:43:27,520
Speaker 1: we got a joint. But you know, sometimes sometimes I

3225
02:43:27,640 --> 02:43:29,400
Speaker 1: just hold out a beat for something. I feel that

3226
02:43:29,480 --> 02:43:31,560
Speaker 1: to go to an artist. So I put him on

3227
02:43:31,640 --> 02:43:33,840
Speaker 1: on the reel and and he loved it.

3228
02:43:34,560 --> 02:43:34,840
Speaker 3: He did.

3229
02:43:34,879 --> 02:43:37,480
Speaker 1: People will in verse on it, and his people kept

3230
02:43:37,520 --> 02:43:38,920
Speaker 1: telling him, yo, that's the ship.

3231
02:43:39,040 --> 02:43:39,720
Speaker 2: That's the ship.

3232
02:43:40,160 --> 02:43:41,720
Speaker 3: Yo, Yo, God, that's the ship.

3233
02:43:42,160 --> 02:43:46,400
Speaker 1: So time went by, the album was almost finished. I'm like,

3234
02:43:46,440 --> 02:43:48,840
Speaker 1: I guess he ain't gonna use this ship, damn you

3235
02:43:48,879 --> 02:43:49,520
Speaker 1: get what I'm saying.

3236
02:43:49,600 --> 02:43:51,200
Speaker 3: So I was like, fuck it.

3237
02:43:51,720 --> 02:43:53,880
Speaker 1: His album came out, he didn't use it, so I

3238
02:43:53,959 --> 02:43:58,600
Speaker 1: fucked around and put Cormega on it and Screwball. You

3239
02:43:58,680 --> 02:44:01,080
Speaker 1: get what I'm saying. So it's like a QB song.

3240
02:44:01,440 --> 02:44:02,800
Speaker 1: So I wasn't trying to put it. I was just

3241
02:44:03,000 --> 02:44:05,160
Speaker 1: making a song just to you know, just have a

3242
02:44:05,280 --> 02:44:08,440
Speaker 1: tape around the hood fucking celebration with all. There was

3243
02:44:08,560 --> 02:44:12,240
Speaker 1: never no tape with Mega Damn and Screwball on it.

3244
02:44:12,640 --> 02:44:15,600
Speaker 1: And then I think he heard it, and then when

3245
02:44:15,720 --> 02:44:17,640
Speaker 1: he's like, then he really didn't want to use it.

3246
02:44:18,280 --> 02:44:19,120
Speaker 3: But then when he did the.

3247
02:44:19,120 --> 02:44:22,960
Speaker 1: Anniversary ten years later for Ill madd, He's like, yo,

3248
02:44:23,000 --> 02:44:24,600
Speaker 1: that was supposed to be on the joint. Let me

3249
02:44:24,680 --> 02:44:26,560
Speaker 1: put it on a ten year anniversary version.

3250
02:44:27,280 --> 02:44:28,199
Speaker 3: So that's why he went.

3251
02:44:28,160 --> 02:44:31,760
Speaker 1: Back in, did his vocals back over, and then used

3252
02:44:31,760 --> 02:44:34,320
Speaker 1: it as his record. But it was originally supposed to

3253
02:44:34,360 --> 02:44:36,760
Speaker 1: be on the first album, I see. So that's why

3254
02:44:36,840 --> 02:44:38,800
Speaker 1: he put it on the tenth anniversary as a bonus

3255
02:44:38,840 --> 02:44:41,640
Speaker 1: because it was supposed to be there. So all the

3256
02:44:42,120 --> 02:44:44,800
Speaker 1: projects that you've done in your career, and you've never

3257
02:44:44,959 --> 02:44:47,640
Speaker 1: never stopped making music, like you made the collaboration record

3258
02:44:47,680 --> 02:44:51,320
Speaker 1: with Kris One. Finally and all like, what is your

3259
02:44:52,120 --> 02:44:56,680
Speaker 1: what is your proudest moment as a creator. My proudest

3260
02:44:56,800 --> 02:45:03,320
Speaker 1: moment as a creator is watching TV watching myself win

3261
02:45:03,680 --> 02:45:07,199
Speaker 1: a Grammy when they, you know, they mentioned our song

3262
02:45:07,680 --> 02:45:10,440
Speaker 1: and they mentioned the artists and who produced it. I

3263
02:45:10,520 --> 02:45:12,280
Speaker 1: saw it on TV. I didn't even go because I

3264
02:45:12,480 --> 02:45:16,000
Speaker 1: didn't even think we was gonna win what and you know,

3265
02:45:16,080 --> 02:45:19,440
Speaker 1: and plus because they wasn't they wasn't presenting our award.

3266
02:45:19,600 --> 02:45:22,280
Speaker 1: Yeah right, so they say and tonight, so and so

3267
02:45:22,560 --> 02:45:23,240
Speaker 1: you get what I'm saying.

3268
02:45:23,280 --> 02:45:25,120
Speaker 3: So they put us in that. And when I heard that,

3269
02:45:25,240 --> 02:45:25,840
Speaker 3: I was like wow.

3270
02:45:26,200 --> 02:45:28,080
Speaker 1: I was home. I was like wow. People started calling

3271
02:45:28,120 --> 02:45:30,600
Speaker 1: me yo, you gotta grammy. I was like, oh, ship.

3272
02:45:31,000 --> 02:45:33,080
Speaker 1: So that was like one of my proudest moments. It's

3273
02:45:33,160 --> 02:45:35,200
Speaker 1: like it all boiled down to that. Where do you

3274
02:45:35,280 --> 02:45:45,080
Speaker 1: keep your grammy in the studio? Okay, keep its doorstopping,

3275
02:45:45,320 --> 02:45:46,400
Speaker 1: yeah yeah, whatever?

3276
02:45:46,520 --> 02:45:49,000
Speaker 3: In the bathroom toilet paper holder?

3277
02:45:49,720 --> 02:45:52,360
Speaker 1: Greatest place to put your grammy? Man, Yeah, no doubt.

3278
02:45:52,400 --> 02:45:57,880
Speaker 5: Where Bill was in a shelf at my house, in

3279
02:45:57,959 --> 02:46:03,199
Speaker 5: the toilet, in the toilet, okay, next to some other ship.

3280
02:46:05,320 --> 02:46:05,520
Speaker 2: Dog.

3281
02:46:05,800 --> 02:46:10,119
Speaker 1: I've learned so much about I'm mind blowing, like how

3282
02:46:10,200 --> 02:46:17,920
Speaker 1: much I'm still working through the whole sho. Wow.

3283
02:46:19,120 --> 02:46:22,320
Speaker 5: I'm never using real high hats again, that's I tell you, man,

3284
02:46:22,400 --> 02:46:23,279
Speaker 5: I'm just talking.

3285
02:46:23,400 --> 02:46:25,800
Speaker 1: Because we're so you know, we so we're just using

3286
02:46:25,840 --> 02:46:28,640
Speaker 1: anything we could, you could, how to funk the mic,

3287
02:46:28,959 --> 02:46:31,400
Speaker 1: you know, some stuff that didn't work as you say this,

3288
02:46:32,280 --> 02:46:34,640
Speaker 1: all right? You remember the group Switch used to be

3289
02:46:34,720 --> 02:46:39,960
Speaker 1: on motel if you can, if you can listen to

3290
02:46:40,080 --> 02:46:42,680
Speaker 1: their second album, switch To they had a single called

3291
02:46:42,720 --> 02:46:46,560
Speaker 1: the Best Beat in Town. Now that I think of it,

3292
02:46:48,760 --> 02:46:53,680
Speaker 1: the high hat on that was them, the Beatles too,

3293
02:46:54,240 --> 02:46:58,360
Speaker 1: for what's it's some ship like you can hear them.

3294
02:47:01,240 --> 02:47:03,480
Speaker 1: I have to say, Okay, I'm not making that up.

3295
02:47:03,520 --> 02:47:07,360
Speaker 1: That's true. No, No, I'm gonna go home. Listen REVOLVERSNA

3296
02:47:07,360 --> 02:47:16,400
Speaker 1: beat your ass. So that's fine. Well Marley, uh well, no,

3297
02:47:16,480 --> 02:47:19,080
Speaker 1: we gotta do a reflection, Yes, reflections.

3298
02:47:19,440 --> 02:47:21,359
Speaker 3: Where do we start? Font Tikolo?

3299
02:47:22,120 --> 02:47:24,520
Speaker 2: Man? What have I learned?

3300
02:47:24,560 --> 02:47:25,400
Speaker 3: What do we learn today?

3301
02:47:25,480 --> 02:47:25,640
Speaker 6: Man?

3302
02:47:25,800 --> 02:47:25,959
Speaker 2: Man?

3303
02:47:26,080 --> 02:47:29,120
Speaker 1: I think I learned, you know, just so much? It

3304
02:47:29,320 --> 02:47:32,560
Speaker 1: uh really for me, just hearing Marty's story, it just

3305
02:47:32,640 --> 02:47:35,480
Speaker 1: reinforced for me to just kind of stay on the

3306
02:47:35,640 --> 02:47:39,199
Speaker 1: path on that I'm on so much of our early records,

3307
02:47:39,400 --> 02:47:42,440
Speaker 1: you know what I'm saying with little brother, and you know,

3308
02:47:42,720 --> 02:47:46,040
Speaker 1: they were just done on really primitive equipment, and you know,

3309
02:47:46,200 --> 02:47:48,800
Speaker 1: even to the point that when you know, after you know,

3310
02:47:48,879 --> 02:47:50,960
Speaker 1: you get some bread or whatever and you can build

3311
02:47:51,000 --> 02:47:55,240
Speaker 1: your own studio. My studio now is still pretty basic,

3312
02:47:55,320 --> 02:47:56,760
Speaker 1: you know what I'm saying. It's not a whole lot

3313
02:47:56,800 --> 02:47:59,280
Speaker 1: of gadgets, and it's still pretty much a small space.

3314
02:47:59,600 --> 02:48:01,760
Speaker 1: So just hear that all these classic records that I

3315
02:48:01,879 --> 02:48:04,840
Speaker 1: grew up listening to were essentially made just you know,

3316
02:48:05,000 --> 02:48:07,440
Speaker 1: in some in his kitchen or at his crib. I mean,

3317
02:48:07,520 --> 02:48:10,720
Speaker 1: that's it just shows to me. I think, just you know,

3318
02:48:10,800 --> 02:48:12,840
Speaker 1: it ain't really about what you got. It's not about

3319
02:48:12,920 --> 02:48:15,280
Speaker 1: the gear. It's about the person that's using it, you

3320
02:48:15,360 --> 02:48:17,400
Speaker 1: know what I mean. And just to hear the story

3321
02:48:17,480 --> 02:48:21,360
Speaker 1: of how you triggered samples before there was an SP

3322
02:48:21,800 --> 02:48:24,960
Speaker 1: I mean, I remember trying to work in SP by

3323
02:48:25,040 --> 02:48:26,680
Speaker 1: my you know when it actually came out and I

3324
02:48:26,800 --> 02:48:28,760
Speaker 1: was like, what in the hell. So just to even

3325
02:48:28,800 --> 02:48:31,879
Speaker 1: be doing it back then, it's really amazing. But but nah, man,

3326
02:48:31,959 --> 02:48:34,520
Speaker 1: this is his his career for me is a big

3327
02:48:35,080 --> 02:48:38,960
Speaker 1: inspiration and you know, this is my first time seeing

3328
02:48:39,160 --> 02:48:41,000
Speaker 1: Bally since ship oh three.

3329
02:48:41,240 --> 02:48:42,520
Speaker 3: Like future Flavors.

3330
02:48:42,560 --> 02:48:48,160
Speaker 1: Well, we came up me Pete Rock, uh little brother

3331
02:48:48,360 --> 02:48:51,039
Speaker 1: the ninth Pool. We all came up there and uh

3332
02:48:51,400 --> 02:48:53,560
Speaker 1: we did it at his crib, Sugar.

3333
02:48:53,320 --> 02:48:54,800
Speaker 3: Steve, what did you learn?

3334
02:48:56,000 --> 02:48:56,120
Speaker 4: Uh?

3335
02:48:56,400 --> 02:49:01,120
Speaker 10: Infinite stuff tonight? As an engineer, it's very interesting to

3336
02:49:01,200 --> 02:49:04,360
Speaker 10: hear the early days of sampling and all the use

3337
02:49:04,440 --> 02:49:06,959
Speaker 10: what you got, the type of technology that I started

3338
02:49:07,000 --> 02:49:09,880
Speaker 10: out doing too on a double cassette deck, not a

3339
02:49:09,959 --> 02:49:10,440
Speaker 10: four track.

3340
02:49:10,879 --> 02:49:14,279
Speaker 1: But and then all this stuff about.

3341
02:49:15,840 --> 02:49:20,359
Speaker 10: About how you were creating those songs that became classics

3342
02:49:20,440 --> 02:49:22,800
Speaker 10: for it just for your for your radio show, and

3343
02:49:22,959 --> 02:49:26,600
Speaker 10: making that connection between you know, the old school DJs

3344
02:49:27,360 --> 02:49:31,440
Speaker 10: advancing things into the DJs making their own their own beats,

3345
02:49:31,720 --> 02:49:35,040
Speaker 10: you know, and you know that's it's a big connection

3346
02:49:35,200 --> 02:49:38,440
Speaker 10: to make, you know, to understand how hip hop started.

3347
02:49:39,240 --> 02:49:44,560
Speaker 3: Yes, lessons a bell Boss Bill, it's the high hats Man.

3348
02:49:46,640 --> 02:49:48,680
Speaker 9: It's the most mind blowing thing because one that's one

3349
02:49:48,680 --> 02:49:50,880
Speaker 9: of my favorite beats ever and it's mostly because of

3350
02:49:50,920 --> 02:49:54,120
Speaker 9: those high hats. So just to find out that your

3351
02:49:54,200 --> 02:49:55,800
Speaker 9: mouth is the source of those high hats, it's kind

3352
02:49:55,800 --> 02:49:56,640
Speaker 9: of fucked my head up.

3353
02:49:57,000 --> 02:50:01,920
Speaker 3: So that yeah, that's a major takeaway from me. I'm sorry,

3354
02:50:02,080 --> 02:50:03,720
Speaker 3: I wish I had something more substantial.

3355
02:50:03,760 --> 02:50:07,080
Speaker 1: But that dude that blew he dropped many bombed to night,

3356
02:50:07,280 --> 02:50:08,880
Speaker 1: blew my mind, unpaid Bill.

3357
02:50:09,320 --> 02:50:11,480
Speaker 5: The visionaries and icons that come on the show all

3358
02:50:11,560 --> 02:50:15,440
Speaker 5: come from these places where they people that live around

3359
02:50:15,480 --> 02:50:18,160
Speaker 5: them are in the next apartment or whatever, are are

3360
02:50:18,520 --> 02:50:22,359
Speaker 5: integral parts of their visionary peaty right, which is amazing.

3361
02:50:22,600 --> 02:50:25,640
Speaker 5: And so like with with Marley, it's like Queen's Bridge

3362
02:50:25,680 --> 02:50:27,560
Speaker 5: and all the people in the thing, And like with

3363
02:50:27,760 --> 02:50:30,000
Speaker 5: Ray Parker was Detroit, right and all the people out

3364
02:50:30,000 --> 02:50:33,560
Speaker 5: of Detroit, And both of you did the same thing

3365
02:50:33,680 --> 02:50:36,280
Speaker 5: is when we asked you a question that we didn't

3366
02:50:36,280 --> 02:50:38,800
Speaker 5: know the answer to, like did you do this? Both

3367
02:50:38,840 --> 02:50:42,280
Speaker 5: of you said, of course I did. Like where, Like

3368
02:50:42,720 --> 02:50:47,119
Speaker 5: that's the dumbest fucking question. And I love that, man,

3369
02:50:47,680 --> 02:50:50,680
Speaker 5: shut up, which is how I feel on the show

3370
02:50:50,920 --> 02:50:51,720
Speaker 5: just about every day.

3371
02:50:53,200 --> 02:50:54,039
Speaker 1: It's a lesson for all.

3372
02:50:54,200 --> 02:50:57,200
Speaker 3: No, I'm joking, but yes, I love that part of it.

3373
02:50:57,320 --> 02:50:57,520
Speaker 1: Thank you.

3374
02:50:59,879 --> 02:51:02,120
Speaker 6: I knew you were a legend before we had to

3375
02:51:02,240 --> 02:51:05,120
Speaker 6: sit down, However, I did not know you were a

3376
02:51:05,320 --> 02:51:09,560
Speaker 6: national treasure. And I feel like the rest of the world.

3377
02:51:10,440 --> 02:51:12,240
Speaker 6: It just needs to be acknowledged. And I really hope

3378
02:51:12,280 --> 02:51:14,560
Speaker 6: that you know, you and the mere continue this conversation

3379
02:51:14,680 --> 02:51:17,400
Speaker 6: with the Smithsonian, because I don't feel like there should

3380
02:51:17,400 --> 02:51:21,879
Speaker 6: be a Smithsonian with the history of our culture, includes

3381
02:51:22,080 --> 02:51:24,240
Speaker 6: of hip hop, and you not be there yet.

3382
02:51:24,640 --> 02:51:26,080
Speaker 3: We need to get that board back.

3383
02:51:26,360 --> 02:51:35,039
Speaker 6: We don't even need whatever whatever you got God, yeah, yeah,

3384
02:51:35,240 --> 02:51:36,920
Speaker 6: that's what I just I just learned it, like you

3385
02:51:37,000 --> 02:51:38,879
Speaker 6: need to be. It needs to be a foreword by

3386
02:51:38,920 --> 02:51:43,040
Speaker 6: Marley on every like hip hop blog that MC's or

3387
02:51:43,120 --> 02:51:44,520
Speaker 6: DJs think that it's their bible.

3388
02:51:44,760 --> 02:51:52,160
Speaker 1: Like Marley, I really appreciate the fact that you had

3389
02:51:52,920 --> 02:51:57,720
Speaker 1: so much experience in this business and you remembered a

3390
02:51:57,879 --> 02:52:02,200
Speaker 1: lot of detail, because that's that's kind of one of

3391
02:52:02,240 --> 02:52:07,000
Speaker 1: the hardest things about a show of this caliber, where

3392
02:52:07,280 --> 02:52:11,000
Speaker 1: you know, details become real shaky, and you know, people

3393
02:52:11,080 --> 02:52:14,280
Speaker 1: don't remember things, and you know, I feel it's like

3394
02:52:14,360 --> 02:52:18,640
Speaker 1: really important to document the stories and keep the tradition

3395
02:52:18,760 --> 02:52:22,840
Speaker 1: and the history going. I'm mind blown by so many things,

3396
02:52:22,959 --> 02:52:26,640
Speaker 1: but let me, I feel very validated with the it's

3397
02:52:26,680 --> 02:52:31,640
Speaker 1: all about the guitar pedals. I just did an instagram.

3398
02:52:31,720 --> 02:52:33,680
Speaker 1: Think about that, right that you're putting the drums. Yes,

3399
02:52:33,840 --> 02:52:36,680
Speaker 1: I'm and I'm going back to now. You can't tell

3400
02:52:36,760 --> 02:52:41,760
Speaker 1: me nothing, It's all about guitar, guitar pedals. Well, I

3401
02:52:41,800 --> 02:52:44,440
Speaker 1: thank you very much for your time, Marley Man, give

3402
02:52:44,480 --> 02:52:45,400
Speaker 1: it up, Ladies, and Jail.

3403
02:52:54,280 --> 02:52:54,520
Speaker 2: West.

3404
02:52:54,560 --> 02:52:58,600
Speaker 1: Love Supreme is production of iHeartRadio. This classic episode was

3405
02:52:58,680 --> 02:53:06,840
Speaker 1: produced by the team at Pandora. For more podcasts from iHeartRadio,

3406
02:53:07,000 --> 02:53:10,720
Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

3407
02:53:10,760 --> 02:53:11,680
Speaker 1: to your favorite shows.