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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

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Speaker 2: Ladies and gentlemen, Welcome to another episode of Quest Love Supreme.

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Speaker 3: You know it's course love Team Supreme is with men.

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Speaker 4: Well, yeah, hello, hey man, I'm doing man, I'm excited.

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Speaker 5: I'm good.

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Speaker 3: Too, I'm excited. Yeah.

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Speaker 2: I think I think we're allowed to stay excited as

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Speaker 2: the person that is on every zoom pitch. I think

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Speaker 2: everyone's excited. It's the equivalent of say Macbeth in the theater,

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Speaker 2: not be on a zoom and say everyone's excited. It's like,

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Speaker 2: that's the depth nail, not.

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Speaker 4: To apply it to every zoom. This is this is

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Speaker 4: specifically an exciting zoom.

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Speaker 3: Right, this is not a business meeting. So yeah, you know, Suger, Steve, whatever.

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Speaker 6: Bro, Hi, I'm mayor, Hi Team Supreme.

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Speaker 3: Hi, Shaggy, how's everything doing.

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Speaker 6: I'm good?

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Speaker 2: Just give it away, now, give it away now, Steve,

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Speaker 2: Let's edit that. Let's edit that. Hey Steve, how you doing, bro?

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Speaker 3: Hey Shaggy? Frantic a little man, how's it going down?

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Speaker 3: There was Li Man finishing up my dinner. I want

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Speaker 3: to be eating on camera. Yeah, just let it go

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Speaker 3: to a black screen.

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Speaker 2: I think Fante should be like the neighbor on home

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Speaker 2: where we just.

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Speaker 3: See.

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Speaker 6: I think the fact that we were talking off camera

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Speaker 6: before you got in kind of got into.

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Speaker 7: We never supposed to talk before he gets on cameras.

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Speaker 7: What are you talking about?

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Speaker 3: No, we didn't.

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Speaker 7: No, no, no, no, no, no.

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Speaker 6: No, it wasn't me. We weren't talking about anything other

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Speaker 6: than the fact that I was complimented where she lives.

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Speaker 3: You like her background?

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Speaker 7: No, no, no, he was shaving mistake. It's cool we

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Speaker 7: get in. You're breaking the rude Shaggy to introduce.

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Speaker 2: Okay, fuck it all right, Shaggy is on the shows.

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Speaker 3: I mean, we're part of.

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Speaker 4: Telling you I'm in Oh, I'm in the merk Inglewood.

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Speaker 4: But he wasn't really making fun of that. He's making

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Speaker 4: fun of the fact that I live in California, which

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Speaker 4: is has a you know, it has has some ship

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Speaker 4: with it. But he has a home in Florida. So

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Speaker 4: I told him he needs to step back.

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Speaker 3: Oh, you're not You're not a California person at all.

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Speaker 6: No, it's not that I'm not at California. I'm just

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Speaker 6: looking at it. I said, there's only one box ticked.

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Speaker 6: It's great weather. You get up and you feel amazing.

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Speaker 6: But if you sit down and take the rest of boxes,

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Speaker 6: I'm like, you know, there's month slides, fires, I'm.

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Speaker 4: Like, there's act there's Karen Bass, there's gathering.

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Speaker 7: I'm like, don't even.

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Speaker 6: Know, there's so many, there's so instinct. But you know,

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Speaker 6: we we we we agree to disagree.

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Speaker 7: Yes, very true.

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Speaker 2: All right, So technically speaking, I should do a proper introduction,

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Speaker 2: all right, So I will say that I've we probably

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Speaker 2: had a conversation with every musician, every walk of life,

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Speaker 2: but I don't think I've ever had an in depth

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Speaker 2: conversation with anyone in the in the dance hall reggae world.

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Speaker 2: I mean, if you discount super Cats complaining that I

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Speaker 2: wasn't good on drums at the roots, jamp.

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Speaker 8: Don't feel better, don't feel aboud it complains about a

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Speaker 8: lot of people.

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Speaker 6: Don't feel bad. He cussed me out totally.

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Speaker 2: Yeah, someone told me that it's actually a badge of

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Speaker 2: honor if if you cuss, it is it is.

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Speaker 6: It is. And I'm not cutting. But I'll tell you what.

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Speaker 6: Super Cat was one of the first person to give

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Speaker 6: me microphone when I was in Brooklyn back and Flatbush,

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Speaker 6: back in the days when I was a young guy,

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Speaker 6: and he would bring the microphone and give it to

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Speaker 6: me because everybody's fighting, you know, just spit on the mic,

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Speaker 6: and he always give me so he could say anything

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Speaker 6: about me. I'm telling you that because he was that guy.

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Speaker 2: It's funny you say that I really wanted to do

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Speaker 2: this episode, because I mean, I've said it a few

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Speaker 2: times before, but our guest today saved the roots. Yeah,

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Speaker 2: I will say that if it weren't for our guest today,

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Speaker 2: none of this. I'm not saying none of this would

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Speaker 2: be possible, but I know for a fact, very directly

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Speaker 2: that the fruits and that overfloweth monetary nature of our

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Speaker 2: guests and his art for him definitely came.

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Speaker 3: As a an.

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Speaker 2: Eleventh hour saving grace slash life wrath if you will,

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Speaker 2: for my band, which you know, I will say to

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Speaker 2: the end of the time that Shaggy is alright with me.

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Speaker 2: He's done so many legendary things. I mean, he's so

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Speaker 2: over forty million units, has over eight hundred million streams.

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Speaker 3: I mean, he's collaborated with the best. I mean, name it,

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Speaker 3: from Shaka.

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Speaker 2: Khan the Eve to Janet Jackson, Cardi b Max Dey

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Speaker 2: Priest back to Levy to to the Maytals. Dude, even

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Speaker 2: I mean, right now, the gold standards to get billions

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Speaker 2: of streams on TikTok, he's done that as well, like

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Speaker 2: you know, and right now we're here to celebrate his

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Speaker 2: new project. First of all, I mean you and Sting together.

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Speaker 2: That's all right, we already gave it away at the

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Speaker 2: top of the show. Ladies and gentlemen, welcome Shaggy.

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Speaker 6: Yes very much. Question you know, you know what I

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Speaker 6: gotta you put a lot of a lot of weight

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Speaker 6: on my shoulder their quest because it's not the first

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Speaker 6: time I've heard you said that, And yeah, I'm meaning

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Speaker 6: to see you and talk to you about that. You're

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Speaker 6: putting a lot of that's a lot of weight on

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Speaker 6: my should mind.

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Speaker 7: People to his story.

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Speaker 2: But basically, you know, I think with the way that

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Speaker 2: a successful record label can operate, I mean, yes, everybody wants,

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Speaker 2: you know, a vast array of artists on their label

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Speaker 2: and whatnot, but you know the label also needs like

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Speaker 2: and earner. And you know it wasn't me was so

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Speaker 2: inescapable in.

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Speaker 3: Ninety eight ninety nine.

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Speaker 2: That basically we were kind of wondering where, like we'd

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Speaker 2: spend a lot of money on Things Fall Apart, And

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Speaker 2: you know, it's kind of like if you've ever seen

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Speaker 2: what's a Adam Sandler's movie that I thought he should

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Speaker 2: have got nominated for Oscar for or Uncut Gyms. The

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Speaker 2: industry is a lot like Uncut Gyms where you got

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Speaker 2: to rob Peter to pay Paul. So oftentimes, you know,

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Speaker 2: I'll read about my favorite records getting made and they'll

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Speaker 2: say like, well, we have to take some money from

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Speaker 2: the Doobie Brothers project to pay for this project, and da.

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Speaker 3: Da da da.

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Speaker 2: In our case, I will say that a good portion

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Speaker 2: of the promotion that we had to do for Things

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Speaker 2: Fall Apart, the videos we had to do, the promotions,

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Speaker 2: the ads we had to take.

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Speaker 3: Out, all those things.

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Speaker 2: Definitely, our an R said you guys better be lucky

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Speaker 2: for a shaggy success because this is how we're paying

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Speaker 2: for your budget.

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Speaker 6: So you know, you know what it is to quest

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Speaker 6: it was it was a very strange climate. That whole

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Speaker 6: company was a strange climate, you know. It was you

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Speaker 6: really didn't have an urban department. We didn't in that company.

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Speaker 6: A lot of people need to know that it is

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Speaker 6: a very pop based and I was lucky to have

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Speaker 6: these records that started as none of those songs were

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Speaker 6: singles or I never picked as single, but they ended

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Speaker 6: up becoming big pop records and really saved me because

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Speaker 6: when I came in there, you know, there was no

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Speaker 6: but I wasn't the same space as the roots, you know,

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Speaker 6: I was not.

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Speaker 5: I wasn't getting budgets either.

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Speaker 6: It just so happened that we had a song I

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Speaker 6: was right at the minute to be dropped. And then

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Speaker 6: because the first two singles came out was Dancing Shout

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Speaker 6: and Oh, and they flopped and a DJ out of

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Speaker 6: Hawaii started to play it wasn't me. After the fifth play,

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Speaker 6: it just lit up his phone and it just continued

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Speaker 6: to spread. And that's what saved my ass because I

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Speaker 6: was about to be on the chopping block, you know,

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Speaker 6: just like just like you guys, it was just what

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Speaker 6: it was. And they weren't planning to spend money because

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Speaker 6: it was just not a company that really was focused

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Speaker 6: around marketing urban music. I just it was just not

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Speaker 6: that kind of a climate in that company. It wasn't

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Speaker 6: It wasn't that.

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Speaker 4: And did you ever skip the line and go right

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Speaker 4: to pop? Right because that was it felt like it

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Speaker 4: didn't have right.

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Speaker 6: It actually went to pop and then came back.

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Speaker 3: To earth that.

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Speaker 6: Yeah, it's just it's just it was like it became

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Speaker 6: pop and then you know, you know what is the

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Speaker 6: clubs was sucking with it so much that you know,

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Speaker 6: urban raiders say, well, you know the club is doing,

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Speaker 6: we might as well play it, you know, we know,

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Speaker 6: you know, we know the White Stations is playing it.

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Speaker 6: You know, but really and truly in every ghetto club

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Speaker 6: they're saying, it wasn't me, so let me rock with it,

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Speaker 6: you know what I'm saying. And if you think about it,

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Speaker 6: Angel wasn't as lucky. Angel continued to stay pop and

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Speaker 6: didn't get back, didn't go back in it because it

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Speaker 6: was never a club joint, so it didn't really connect

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Speaker 6: like that, you know, while bombasketballso from a previous album

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Speaker 6: that was also club and then ended up going to

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Speaker 6: pop and then urban urban started playing it again. So

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Speaker 6: it was just a strange climate at that time, especially

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Speaker 6: for Rega.

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Speaker 2: Who was that DJ, because that DJ is also the

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Speaker 2: one that the one in Hawaii is also the one

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Speaker 2: that broke in all my life for Casey and Jojo

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Speaker 2: and Jojo they have the same situation where they were

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Speaker 2: about to you know that one's about to flop then,

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Speaker 2: and that's the thing, like I don't think. Well, I

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Speaker 2: mean like, like you can also explain it since like ninety seven,

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Speaker 2: there was one movie that came out that sort of

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Speaker 2: explained how radio works called Before the Music Dies, that

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Speaker 2: came out like two thousand and four.

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Speaker 3: But you know, ninety seven when.

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Speaker 2: I guess what I can call the clear channel era

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Speaker 2: of radio comes into play, where now people have to

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Speaker 2: pre program the music like right, weeks weeks ahead of time.

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Speaker 4: Now it's blowing my mind because I'm like pop pop

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Speaker 4: DJs don't break records, right, So the fact that this

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Speaker 4: one did and then broke these two black records that

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Speaker 4: start go back to a black radio when black radio

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Speaker 4: usually starts, it's it's blowing.

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Speaker 7: It's a mind blower.

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Speaker 3: Yeah.

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Speaker 2: Well, actually, let me ask you because I mean, I

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Speaker 2: know you haven't been on terrestrial radio for a minute,

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Speaker 2: but just during the time period when you were on radio,

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Speaker 2: like how far advanced, Like when do they actually start

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Speaker 2: feeding the machine and saying like, Okay, we're gonna play

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Speaker 2: this be song fourteen times a day and they pick

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Speaker 2: this specific time like they do playlist. Yeah, when does

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Speaker 2: that programming start.

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Speaker 7: I mean, you know, it's a process.

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Speaker 4: It's also like record reps coming to the station from

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Speaker 4: that was a big thing, you know, when it comes

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Speaker 4: to y'all being represented in a way, right, it's like

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Speaker 4: what the record rep is selling, what's their priority, and

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Speaker 4: then once it's the priority, depending on the artists, sometimes

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Speaker 4: since it's a priority and it's an artist and maybe

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Speaker 4: the label, you know, it's all kind of dynamics.

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Speaker 7: But it's never it's never.

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Speaker 4: Shaggy has always been different in that way because it's

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Speaker 4: never been pop breaking records and just naturally that happening.

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Speaker 4: That's a natural thing, and that doesn't happen right Shaggy.

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Speaker 6: I think a lot of it boils down to the

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Speaker 6: demographic you know. I mean when you look at at

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Speaker 6: that time, they're going to look at what urban music

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Speaker 6: is selling, you know, and then they're going to look

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Speaker 6: at what reggae is. Now. There's a big argument now

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Speaker 6: where they say that reggae is you know, less than

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Speaker 6: five percent of the global market share. You know, so

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Speaker 6: you can't expect any major company or any company to

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Speaker 6: be putting major money into any act that is less

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Speaker 6: than five percent of the market share. My argument to

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Speaker 6: that is, when has it ever not been less than

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Speaker 6: five percent? You know when I when I was selling

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Speaker 6: forty million records, it was three percent. You know, after me,

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Speaker 6: then you had Sean Paul and everybody it became popular.

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Speaker 6: Before then, it was never on radio. I was the

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Speaker 6: guy that got it on radio. So it was always

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Speaker 6: less than five percent, you know what I mean, nothing

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Speaker 6: has ever changed on that. And these record companies they

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Speaker 6: invest based on that. So it's not gut, it's you know,

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Speaker 6: so when when I'm doing these numbers and they're like,

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Speaker 6: oh shit, we didn't know that could happen, and so

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Speaker 6: they ended up chasing. Now you sell ten million records,

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Speaker 6: you think they're going to be like, well, you know,

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Speaker 6: he just did it. Let's try and let's invest again

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Speaker 6: and do that. They're looking at it like, yeah, that

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Speaker 6: I ain't never got one off. That's one off, and

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Speaker 6: they can think of it as that.

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Speaker 2: Now where we are now today, you're seeing other genres

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Speaker 2: as sort of with the DNA of dance hang reggae,

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Speaker 2: Like I know that African music, okay, so I have

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Speaker 2: to call it West African.

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Speaker 4: I mean, I'm just saying you a lot of it

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Speaker 4: is from Nigeria. Now we don't get into afrobeat versus afrobeats,

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Speaker 4: and I want no parts of that.

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Speaker 2: But what I'm basically asking is like between reggae tone

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Speaker 2: and West African music and now with dance hall, are

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Speaker 2: you finding it now?

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Speaker 3: Are people generally trying to lump.

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Speaker 2: Like an entire genre of non Americanized rap, non Americanized

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Speaker 2: pop into this mold that you now have to fit

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Speaker 2: into in twenty twenty two, where say, you know, the

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Speaker 2: average Joe from Kansas might not know the difference between

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Speaker 2: the music that you're doing and the music that Jave

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Speaker 2: Balvin was doing and the music that Yeah Yeah or

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Speaker 2: Bad Bunny or or you know or whoever is.

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Speaker 6: What's so crazy is there? You know there's a history

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Speaker 6: on this. You know that Yankee called me sometime last

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Speaker 6: year and asked me because there was a documentary shot

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Speaker 6: supposed to be on Netflix that really talks about reggaeton.

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Speaker 6: He couldn't tell the story of reggaeton because he was there,

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Speaker 6: it was before him, but he knew that he knew that,

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Speaker 6: I know, you know what I mean? So I and

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Speaker 6: and and the starting of regaton started by a guy

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Speaker 6: by the name of El Gringo out out from Puerto

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Speaker 6: Rico out of Brooklyn, and El Gringo he went to

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Speaker 6: prison and then there and then El Henero right ended

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Speaker 6: up doing dance all records in Spanish right, which was

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Speaker 6: put out on VP. And there was a guy Carl Miller,

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Speaker 6: who literally was the guy that was producing these songs

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Speaker 6: for VP Records. L Naro ended up blowing up. Now,

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Speaker 6: the crazy part about it is El Noro and I

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Speaker 6: went to Erasmus Hall in Brooklyn and we were in

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Speaker 6: the lunch room, and the lunch room had the Puerto

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Speaker 6: Rican click, the Panamanian click, the Jamaican click, you know

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Speaker 6: what I mean, the Haitian click. And we would be

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Speaker 6: on the book benches and we'll beat and spit freestyles

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Speaker 6: and people get around right exactly, and Elenoral would be

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Speaker 6: over there doing the same thing in Spanish out of there,

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Speaker 6: and so him and I that's how we became friends

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Speaker 6: because I used to spit it on the bench and

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Speaker 6: over there, and then he started to make these dance

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Speaker 6: on these old Chaparine record Now, the beat of regeton

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Speaker 6: is called dem boold you know that quest right, So

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Speaker 6: it's called it's called yes, it comes from its It

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Speaker 6: comes from Chaparax Stemba now Elena All and them used

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Speaker 6: to do these reggae records, these stance All records over

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Speaker 6: in Spanish and that became Spanish reggae. Carl at VP

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Speaker 6: ended up calling it reggae tone, and through mispronunciation over

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Speaker 6: here it became guitar. That is the beginning of what

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Speaker 6: is reggae tar, which started out.

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Speaker 3: Of that d You see our faces right.

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Speaker 5: Now, like Tago Calderon and those guys.

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Speaker 6: Was that it was after Tego was after this. There

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Speaker 6: was a guy up out of out of Browns called

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Speaker 6: Gunghi Rivera who used to have these big nightclubs and

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Speaker 6: he was the one that used to promote a lot

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Speaker 6: of these Spanish reggae acts right that used to be

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Speaker 6: uptown around that time. Gungi was was a major force

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Speaker 6: in the development of it, you know what I mean?

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Speaker 6: And that was what it is.

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Speaker 7: Are you in this documentary?

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Speaker 6: Well, yeah, they called me to tell the story because

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Speaker 6: you know, in fairness to a lot of these newer acts,

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Speaker 6: they don't know that story.

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Speaker 3: So you literally were there to witness like the incubation.

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Speaker 6: Yeah, I was there to the whole thing. I was

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Speaker 6: part of the whole thing.

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Speaker 4: This is why I'm starting, This is why I'm excited

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Speaker 4: to say he's a national treasure.

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Speaker 3: Why doesn't the world know this?

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Speaker 6: Nobody asked, but it is documented. I can tell you

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Speaker 6: it is true. Now say, say, for instance, when we

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Speaker 6: did Afrobeat, Now let's go to the Africa, West Africa,

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Speaker 6: as you would say. I used to go to Uganda, Kenya, Tanzania,

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Speaker 6: all these places, and I would play stadiums because the

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Speaker 6: main music of those country was dance all. It was

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Speaker 6: not zook or or you wasn't here in Felakute or

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Speaker 6: any of these guys. It was dance all in the

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Speaker 6: streets and the clubs of Nigeria or any any of

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Speaker 6: these places. It's dance all. And so we would go.

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Speaker 6: I would go there, play stadiums, and a lot of

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Speaker 6: these artists would would open for us. You know, you're

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Speaker 6: talking a lot of these artists that you see a

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Speaker 6: big art the Afrobean artist opens on a lot of

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Speaker 6: shows down there. Wow, you know what I mean? We

340
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Speaker 6: could go back even further. When you look at you know,

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Speaker 6: there's a lot of opening You're talking about the Spice

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Speaker 6: Girl open for Shaggy and in domestic you know what

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Speaker 6: I mean. You know, I mean in sync. We used

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Speaker 6: to do road shows in Europe at that time where

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Speaker 6: they open for us. So it's it's been it.

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Speaker 7: Is Man Kennedy Center, Anna.

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Speaker 6: It's been a whole journey of how that that would

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Speaker 6: be going because I've been good for thirty odd years,

349
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Speaker 6: you know, of of doing that. So in the afrobeat,

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Speaker 6: if you listen it, it is really influenced by dance

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Speaker 6: all right, even though they have developed their own sound, right,

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Speaker 6: but it was really kind of influence from that.

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Speaker 9: What is the correlation or the I guess the relationship

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Speaker 9: between like dancehall and also what is called lover's rock,

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Speaker 9: like I guess the so lovers rock.

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Speaker 6: Okay, So if you look at what Jamaican music started from,

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Speaker 6: and start from a beat called mental mental into ska

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Speaker 6: Scott into what's known as rock steady exactly, and it's

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Speaker 6: really about the shuffle that makes it go chick, chick chick,

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Speaker 6: and then there you go reggae chi chi. It's a

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Speaker 6: different vibe of how it's done. It's really about the

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Speaker 6: tempo and the feel of it that moves it from

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Speaker 6: a ska to a rock steady and rock Steady is.

364
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Speaker 6: Out of rock Steady came what is known as lovers rock.

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Speaker 6: What lovers rock is, it's that one drop reggae and

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Speaker 6: people sing these beautiful love songs, and white became lovers

367
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Speaker 6: rock is because they used to do a lot of covers,

368
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Speaker 6: like a lot of these big reggae songs we're called.

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Speaker 6: Take for instance, you look at Let's Just Go, Let's

370
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Speaker 6: Just Go, even one of the biggest all right, and

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Speaker 6: these are white boys, and and it blew up because

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Speaker 6: they white, but it also blew up because they were

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Speaker 6: just great covers. Red Red Wine by U B. Forty

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Speaker 6: was originally Neil Diamond that red Run, but they did

375
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Speaker 6: it over in reggae and it became now Neil Diamond.

376
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Speaker 6: When he's singing, he does reggae version.

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Speaker 3: Right better.

378
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Speaker 5: Yeah, knowledge, I didn't even know that was a cover.

379
00:20:32,560 --> 00:20:34,040
Speaker 5: I didn't know that was his reggae.

380
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Speaker 6: Sounds like I can't help Falling in love right right

381
00:20:39,880 --> 00:20:42,320
Speaker 6: was Elvis Presley, but was done by U. B. Forty.

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Speaker 6: Then then you have the other flip side of it,

383
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Speaker 6: you know, like girls just want to have fun. Cyndey

384
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Speaker 6: Lapool was based Drummer Based was done by Slian Robbie

385
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Speaker 6: to the biggest you know what I mean.

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Speaker 2: So there's there's a lot, Jimmy, you're telling me that

387
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Speaker 2: Slie Robbie are the rhythm section there.

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Speaker 6: There were session musicians in in in uh in America.

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Speaker 2: I know that, but I could have thought Philly's on

390
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Speaker 2: the Hooters. Why know they wrote it, but I don't know.

391
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Speaker 6: But the drummond bass of it, the groove of that

392
00:21:17,320 --> 00:21:23,520
Speaker 6: was like, right, that's why, Cindy, but you might have

393
00:21:23,560 --> 00:21:29,359
Speaker 6: to join Spreme and then and then even with with

394
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Speaker 6: with songs like of course, you know, Steve the Wonder

395
00:21:32,080 --> 00:21:34,520
Speaker 6: wrote a lot of of of a couple of songs

396
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Speaker 6: for the Third World also yes, uh right, yes, yes,

397
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Speaker 6: And a lot of people think that now that we

398
00:21:43,880 --> 00:21:45,840
Speaker 6: find loved, which was done by a heavy d which

399
00:21:45,880 --> 00:21:48,560
Speaker 6: was also made popular by Third World, but the original,

400
00:21:48,760 --> 00:21:49,800
Speaker 6: the original was the O J.

401
00:21:51,000 --> 00:21:53,640
Speaker 4: Yes, yeah, we get yeah, yeah.

402
00:21:55,280 --> 00:21:55,440
Speaker 3: Yeah.

403
00:21:57,119 --> 00:22:01,080
Speaker 6: So it's it's when you think of the blend of

404
00:22:01,200 --> 00:22:03,960
Speaker 6: music of how stuff is and even those early Grace

405
00:22:03,960 --> 00:22:08,280
Speaker 6: Stones records which were which were sly robbis yeah, totally,

406
00:22:08,359 --> 00:22:11,359
Speaker 6: you know what I mean, Compass Point Gwyn Guthrie. So

407
00:22:11,400 --> 00:22:15,240
Speaker 6: you look at the building of Island Records and what

408
00:22:15,320 --> 00:22:17,919
Speaker 6: it is was was reggae based. You look at somebody

409
00:22:18,000 --> 00:22:21,879
Speaker 6: like Chris Blackwell who founded Too and YouTube was a

410
00:22:22,119 --> 00:22:27,560
Speaker 6: it was a YouTube was a folk band when he

411
00:22:27,840 --> 00:22:31,320
Speaker 6: discovered those guys and he transformed them into a rock band.

412
00:22:32,000 --> 00:22:34,879
Speaker 6: You know, it was kind of a Christian style folk band.

413
00:22:35,160 --> 00:22:37,320
Speaker 2: Wait, you're dropping so many bombs right now. Just to

414
00:22:37,320 --> 00:22:39,920
Speaker 2: make sure, you said, Gwen Gutthie. So you're saying, ain't

415
00:22:39,960 --> 00:22:45,680
Speaker 2: nothing going on? But the rent is also yes, Sam, yes, yes,

416
00:22:46,280 --> 00:22:50,520
Speaker 2: ain't no damn that makes total sense. Man, Yeah, yeah, okay, Wait, I.

417
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Speaker 3: Want more education, but I got to know your life.

418
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Speaker 2: Yeah, what was your very first musical memory?

419
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Speaker 6: My first music memory was my grandmother used to play.

420
00:23:08,640 --> 00:23:12,840
Speaker 6: We were from a poor neighborhood in Kingston, Raytown and

421
00:23:13,000 --> 00:23:16,080
Speaker 6: from a place called with small fishing village in Raytown

422
00:23:16,359 --> 00:23:18,760
Speaker 6: where I was on Charlotte Street. We live in one room.

423
00:23:18,800 --> 00:23:21,520
Speaker 6: My grandmother used to play a lot of radio because

424
00:23:21,520 --> 00:23:25,200
Speaker 6: we didn't have television, and I, as a katie, used

425
00:23:25,240 --> 00:23:28,280
Speaker 6: to think that the guy was in the radio singing.

426
00:23:28,480 --> 00:23:33,439
Speaker 6: I had no idea there was records. I used to

427
00:23:33,960 --> 00:23:38,640
Speaker 6: listen to these really wonderful records. But I remember writing

428
00:23:38,680 --> 00:23:42,800
Speaker 6: my own song, and it's called your Mind. My very

429
00:23:42,840 --> 00:23:48,439
Speaker 6: first song. I was probably i'd say around eight nine

430
00:23:48,520 --> 00:23:50,480
Speaker 6: years old or some shit. I said, You're a mine,

431
00:23:50,520 --> 00:23:54,520
Speaker 6: You're a mine, You're a mine, your mine, You're really really.

432
00:23:54,200 --> 00:23:59,879
Speaker 10: Mine, and my love come, I love is ever last,

433
00:24:00,080 --> 00:24:04,120
Speaker 10: and your freedom line of view, and flower you light

434
00:24:04,280 --> 00:24:05,760
Speaker 10: up my life every hour.

435
00:24:06,080 --> 00:24:08,199
Speaker 6: And as long as I can't remember the lyrics after that,

436
00:24:08,240 --> 00:24:11,000
Speaker 6: but that was my first thing I ever written, just

437
00:24:11,080 --> 00:24:13,800
Speaker 6: in my head by listening to the radio. So the

438
00:24:13,920 --> 00:24:17,200
Speaker 6: radio was a comfort for me where music was concerned,

439
00:24:17,520 --> 00:24:21,840
Speaker 6: and I just really listened all of those songs, and

440
00:24:21,880 --> 00:24:26,320
Speaker 6: there was songs like Mahelia Jackson was a big thing

441
00:24:26,359 --> 00:24:30,600
Speaker 6: in my house, even early songs like I don't know

442
00:24:30,600 --> 00:24:35,320
Speaker 6: if you know, you guys familiar with Toots and the Maytows,

443
00:24:35,520 --> 00:24:39,760
Speaker 6: you know, yeah, exactly a big Toots fan. My grandmother was,

444
00:24:39,800 --> 00:24:41,800
Speaker 6: you know. I mean, so a lot of these records.

445
00:24:42,000 --> 00:24:45,200
Speaker 6: Bing Crosby was a big thing. That King Cole was

446
00:24:45,240 --> 00:24:47,560
Speaker 6: a big thing in my in my household. So on

447
00:24:47,640 --> 00:24:50,960
Speaker 6: Sundays in Jamaica, it goes that type of music goes

448
00:24:51,000 --> 00:24:53,320
Speaker 6: well with chicken and rice and peace, which is when

449
00:24:53,320 --> 00:24:57,439
Speaker 6: we were doing these Sinatra records, These Sinatra records. You know,

450
00:24:58,480 --> 00:25:03,080
Speaker 6: we're repertoires that I too, and growing up on Sundays

451
00:25:03,119 --> 00:25:08,439
Speaker 6: because reggae in Jamaica didn't start playing till the I

452
00:25:08,440 --> 00:25:10,840
Speaker 6: would say probably around the eighties.

453
00:25:11,680 --> 00:25:14,200
Speaker 4: Somebody told me that in Jamaica, that's the first big

454
00:25:14,240 --> 00:25:17,080
Speaker 4: superstar in Jamaica was like Bob Marley for real, Like

455
00:25:17,119 --> 00:25:20,160
Speaker 4: they were like, for real, that's the.

456
00:25:20,000 --> 00:25:24,239
Speaker 6: Large, large largest, he's the large. Yeah, he's he's the

457
00:25:24,359 --> 00:25:27,760
Speaker 6: largest one. But there were people like, for instance, reggae

458
00:25:27,840 --> 00:25:31,920
Speaker 6: music was looked down on. It was get I was.

459
00:25:31,840 --> 00:25:35,000
Speaker 2: Going to ask, how how does that work with Okay,

460
00:25:35,040 --> 00:25:40,320
Speaker 2: every American, every j American that I know is super

461
00:25:40,640 --> 00:25:46,480
Speaker 2: super conservative mm hmm. And you know, I always wanted

462
00:25:46,520 --> 00:25:50,840
Speaker 2: to know how did Jamaican natives that are like the

463
00:25:50,920 --> 00:25:54,680
Speaker 2: parents of my Jamaican friends who are strictly Christian don't

464
00:25:54,880 --> 00:25:58,200
Speaker 2: like you know, uh, secular music and all that stuff.

465
00:25:58,640 --> 00:26:02,400
Speaker 2: How does that message with the culture of like Bob

466
00:26:02,440 --> 00:26:08,240
Speaker 2: Marley and like was that the gangster rap of the time?

467
00:26:08,320 --> 00:26:13,320
Speaker 6: War Now, any Jamaican you know that is in that

468
00:26:13,440 --> 00:26:16,800
Speaker 6: kind of I tity for the lack of a better word,

469
00:26:16,880 --> 00:26:20,160
Speaker 6: kind of a person they were uptowners. So there's two things.

470
00:26:20,200 --> 00:26:23,760
Speaker 6: There's downtown and there's uptown. The uptown are the more

471
00:26:24,880 --> 00:26:29,520
Speaker 6: privileged class of people. You know what I'm saying. There's

472
00:26:29,560 --> 00:26:31,919
Speaker 6: the crazy story that Bob Marley lived on a street

473
00:26:31,960 --> 00:26:36,240
Speaker 6: called Hope Road, where is where Tough Gong is back

474
00:26:36,240 --> 00:26:40,880
Speaker 6: in the days. That's the same street that the King's houses,

475
00:26:40,920 --> 00:26:43,720
Speaker 6: which is where the Queen's resident is. Oh, that's where

476
00:26:44,080 --> 00:26:46,960
Speaker 6: that's the same that's the same street that the that

477
00:26:47,040 --> 00:26:49,880
Speaker 6: the Prime Minister's residences are. You know what I mean

478
00:26:50,000 --> 00:26:52,639
Speaker 6: when you look, when you look at it, that house

479
00:26:52,680 --> 00:26:56,119
Speaker 6: that Bob Marley lived in fifty six Hope World was actually.

480
00:26:55,760 --> 00:26:59,119
Speaker 11: Purchased by Chris Blackwell, which was a white Jamaican that

481
00:26:59,240 --> 00:27:02,320
Speaker 11: lived around the corner at a place called Terra Nova

482
00:27:02,520 --> 00:27:05,800
Speaker 11: that is now a hotel, which was his original home.

483
00:27:06,760 --> 00:27:09,840
Speaker 6: So it took it took a British, well, a Jamaica

484
00:27:09,960 --> 00:27:13,399
Speaker 6: white guy to actually buy that because there's a rastafar

485
00:27:13,480 --> 00:27:17,399
Speaker 6: and Bob wouldn't have been able to purchase that because

486
00:27:17,440 --> 00:27:20,320
Speaker 6: it was because it was what's known as classism in

487
00:27:20,400 --> 00:27:23,520
Speaker 6: Jamaica back in the days. So then so when you

488
00:27:23,520 --> 00:27:26,160
Speaker 6: look at Yellow Man and these guys, those guys at

489
00:27:26,240 --> 00:27:30,159
Speaker 6: one point in Jamaica. If you were a certain color,

490
00:27:30,320 --> 00:27:34,920
Speaker 6: you couldn't come past the halfway tree clock because that's

491
00:27:35,000 --> 00:27:37,640
Speaker 6: how it was because you ain't from that class. After

492
00:27:37,640 --> 00:27:40,440
Speaker 6: a certain hour, you're not up there. This is this

493
00:27:40,480 --> 00:27:41,560
Speaker 6: is years.

494
00:27:41,440 --> 00:27:43,040
Speaker 4: Because to be from that class you had to be

495
00:27:43,160 --> 00:27:45,520
Speaker 4: lighter and more affiliated with exactly.

496
00:27:45,840 --> 00:27:51,600
Speaker 6: So for me, I'm from the British rule the it's

497
00:27:51,640 --> 00:27:55,639
Speaker 6: just it's just if you're talking about colonialism, you know

498
00:27:55,800 --> 00:27:59,119
Speaker 6: from that that's inherited now, you know what I'm saying.

499
00:27:59,520 --> 00:28:02,560
Speaker 6: So as it goes, you see people coming into all

500
00:28:02,600 --> 00:28:05,160
Speaker 6: of this where you see uptowners now started to do

501
00:28:05,760 --> 00:28:08,720
Speaker 6: dance all you know what I'm saying. Like like take

502
00:28:08,760 --> 00:28:12,640
Speaker 6: for instance, like a Sean Paul is up he's from

503
00:28:12,680 --> 00:28:16,560
Speaker 6: the uptown. Junagan is from the uptown. Because those guys

504
00:28:16,920 --> 00:28:19,680
Speaker 6: are from parents that you know, when Bob Barley made money,

505
00:28:19,720 --> 00:28:23,280
Speaker 6: he went to Whole pro that's uptown. Yeah, Junigan. A

506
00:28:23,359 --> 00:28:26,520
Speaker 6: guy like Junigan would go to you know, a good

507
00:28:26,520 --> 00:28:28,960
Speaker 6: school and goes to while another set of people, now

508
00:28:29,080 --> 00:28:30,760
Speaker 6: they're from the streets of the streets, the hood of

509
00:28:30,800 --> 00:28:33,119
Speaker 6: the hood. You thought, well, seeve you gotten deep on

510
00:28:33,240 --> 00:28:35,240
Speaker 6: the gardens your top of the hood, the hood, the

511
00:28:35,240 --> 00:28:37,520
Speaker 6: hood you know what I'm saying. But after a while,

512
00:28:37,560 --> 00:28:40,920
Speaker 6: it's kind of became one when when the uptown kids

513
00:28:40,960 --> 00:28:44,360
Speaker 6: started to do it, then it started to become accepted.

514
00:28:44,600 --> 00:28:47,560
Speaker 9: You mentioned Yellow Man earlier, and I've read uh some

515
00:28:47,880 --> 00:28:50,360
Speaker 9: like stuff about him, just about how some of the

516
00:28:50,360 --> 00:28:53,440
Speaker 9: struggles he faced, like being because he was albino, and like.

517
00:28:53,480 --> 00:28:56,520
Speaker 6: It was a bino. The crazy thing about Yellow Man

518
00:28:57,320 --> 00:29:00,720
Speaker 6: is here's an albino guy. That's a guy that made

519
00:29:00,760 --> 00:29:01,920
Speaker 6: me want to get into music.

520
00:29:02,200 --> 00:29:04,320
Speaker 5: That's right, Okay, gotcha right?

521
00:29:04,360 --> 00:29:07,400
Speaker 6: Because I saw I went to a dance at Skateland,

522
00:29:07,440 --> 00:29:12,200
Speaker 6: which is a popular venue, and he spit his lyrics

523
00:29:12,920 --> 00:29:15,960
Speaker 6: and walked out. Yeah, well some other I think it

524
00:29:16,000 --> 00:29:17,520
Speaker 6: was I get to married. He had all the big

525
00:29:17,560 --> 00:29:19,840
Speaker 6: records at the time, walked and spit his lyrics and

526
00:29:19,880 --> 00:29:22,040
Speaker 6: walk out, and the whole dance walked out with him.

527
00:29:22,080 --> 00:29:24,680
Speaker 6: I was like, damn, I want to be that guy.

528
00:29:25,800 --> 00:29:28,240
Speaker 6: But but the crazy thing that he was an albino,

529
00:29:28,800 --> 00:29:31,280
Speaker 6: you know what I mean, which is also looked down

530
00:29:31,320 --> 00:29:33,240
Speaker 6: at in Jamaica. No, you know, he was like yo,

531
00:29:33,720 --> 00:29:35,720
Speaker 6: they called him. And he was at a place called

532
00:29:35,800 --> 00:29:39,320
Speaker 6: Poor Hopes at the time, which is kind of an

533
00:29:39,440 --> 00:29:42,720
Speaker 6: orphanage in a way that it came aroun right and

534
00:29:42,760 --> 00:29:45,240
Speaker 6: he rose out of that to become one of the superstar.

535
00:29:45,280 --> 00:29:49,600
Speaker 6: And now I always say to shift culture, it takes

536
00:29:49,640 --> 00:29:56,720
Speaker 6: a superstar, that means a star with superhero like talent, charisma, work, ethic,

537
00:29:57,440 --> 00:30:01,960
Speaker 6: charm right to shift because if you look at Yellow Man,

538
00:30:02,560 --> 00:30:04,640
Speaker 6: he didn't have a movement behind him, but the world

539
00:30:04,680 --> 00:30:08,120
Speaker 6: stopping took notice because he was a superstar, a star

540
00:30:08,160 --> 00:30:12,080
Speaker 6: with superhero like talent, chaparanks. He walked in the room.

541
00:30:12,080 --> 00:30:14,400
Speaker 6: You want to know who the fuck is that? That's

542
00:30:14,480 --> 00:30:19,520
Speaker 6: a superstar? You got stars, and stars will okay promote culture,

543
00:30:19,720 --> 00:30:22,880
Speaker 6: but are they gonna shift culture? You know what I'm saying.

544
00:30:23,360 --> 00:30:26,600
Speaker 6: And those are the guys that shift culture with superhero

545
00:30:26,720 --> 00:30:29,360
Speaker 6: like talent right where they don't need lights and they

546
00:30:29,440 --> 00:30:32,200
Speaker 6: don't need cranes throwing them out. They don't even need

547
00:30:32,240 --> 00:30:35,160
Speaker 6: a record company spending money. They just got that shit.

548
00:30:35,360 --> 00:30:37,440
Speaker 6: That swade they walk in and they open them to

549
00:30:37,560 --> 00:30:40,720
Speaker 6: everybody be like, who the fuck is that? That motherfucker

550
00:30:40,800 --> 00:30:44,000
Speaker 6: is the shit? That's what those guys are. Those are

551
00:30:44,040 --> 00:30:46,360
Speaker 6: that's the stars. And you have people who knew how

552
00:30:46,360 --> 00:30:48,920
Speaker 6: to find those. If you look at say you look

553
00:30:48,920 --> 00:30:51,440
Speaker 6: at everybody, say you look at all the billionaires. Now

554
00:30:52,160 --> 00:30:54,080
Speaker 6: you look at and question. You can understand this. You

555
00:30:54,160 --> 00:30:58,080
Speaker 6: got Kanye and then you got No No, but you

556
00:30:58,080 --> 00:31:01,680
Speaker 6: could understand. You're gonna understand what I'm saying. I'm playing. Yeah,

557
00:31:02,000 --> 00:31:04,360
Speaker 6: you got you got Kanye and you got Rihanna. Both

558
00:31:04,360 --> 00:31:09,680
Speaker 6: of them are billionaires or whatever. Right? Who is their lego? Jay? Right? Right?

559
00:31:10,040 --> 00:31:12,120
Speaker 6: And you look at you look at Nikki, and you

560
00:31:12,160 --> 00:31:15,920
Speaker 6: look at Drake. Who is their lego? Okay? You look

561
00:31:15,960 --> 00:31:19,200
Speaker 6: at fifty, You look at eminem you look you look

562
00:31:19,240 --> 00:31:24,440
Speaker 6: at uh A Snoop, who is his lego? Dray? You

563
00:31:24,480 --> 00:31:27,800
Speaker 6: look at Lisha Keys. Lisia Keys arguably one of the greatest,

564
00:31:28,200 --> 00:31:31,760
Speaker 6: you know, songwriter, singer, songwriter. But let's let's face it.

565
00:31:31,840 --> 00:31:34,920
Speaker 6: She got Clive Davis her first she had She didn't

566
00:31:34,960 --> 00:31:37,080
Speaker 6: have to have a worry like me and you was

567
00:31:37,120 --> 00:31:39,640
Speaker 6: where we gotta sit down and worry about whether we

568
00:31:39,720 --> 00:31:42,080
Speaker 6: got budgets or we got marketing. And she got all

569
00:31:42,080 --> 00:31:44,400
Speaker 6: of that. Clive major shadow of that. And guess what

570
00:31:44,640 --> 00:31:50,120
Speaker 6: her first interview was, Oprah. And if you think about

571
00:31:50,160 --> 00:31:56,800
Speaker 6: it now, who is our lego? Rick rick You guys

572
00:31:56,800 --> 00:31:58,960
Speaker 6: in the half leg Ricky guys in the half the lego,

573
00:31:59,080 --> 00:32:00,959
Speaker 6: you know what I'm saying. So, and I'm not against

574
00:32:00,960 --> 00:32:03,680
Speaker 6: the leg up. I'm for it, you know what I'm saying.

575
00:32:04,000 --> 00:32:07,800
Speaker 6: But in our culture, they have not been those opportunities

576
00:32:07,840 --> 00:32:08,160
Speaker 6: a lot.

577
00:32:08,480 --> 00:32:10,840
Speaker 7: Well, you're giving the layup, you're giving it now.

578
00:32:11,360 --> 00:32:13,080
Speaker 6: So that's all I do. If you look at the

579
00:32:13,400 --> 00:32:15,400
Speaker 6: if you look at the pattern of things that I do.

580
00:32:16,440 --> 00:32:21,120
Speaker 6: I did Summertime with an unknown artist named Rayvon Right.

581
00:32:21,200 --> 00:32:23,720
Speaker 6: I did It Wasn't Me with an unknown artist named

582
00:32:23,800 --> 00:32:27,000
Speaker 6: Rick Ra. I did Angel with an unknown artist named Ravon.

583
00:32:27,280 --> 00:32:29,680
Speaker 6: I did I Need Your Love with two unknown artists

584
00:32:29,760 --> 00:32:33,160
Speaker 6: named Mohambi and Fadi. I did Banana with Ann which

585
00:32:33,200 --> 00:32:36,600
Speaker 6: is the billion dollar, the two billion stream on TikTok

586
00:32:36,840 --> 00:32:39,800
Speaker 6: with an unknown artist name named Conqueror. And then I

587
00:32:39,880 --> 00:32:42,200
Speaker 6: just did Spice of one hundred and fifty million streams.

588
00:32:43,000 --> 00:32:45,840
Speaker 6: So I always look for that. Yeah, I look for

589
00:32:45,920 --> 00:32:49,080
Speaker 6: those records, those artists that have that thing, and I

590
00:32:49,160 --> 00:32:51,280
Speaker 6: go and I put that in there, and I make

591
00:32:51,360 --> 00:32:54,440
Speaker 6: those type of records because I'm not privileged to have

592
00:32:54,520 --> 00:32:58,760
Speaker 6: budgets and rollouts, you know what I'm saying. So I

593
00:32:58,880 --> 00:32:59,640
Speaker 6: just do what I can.

594
00:33:01,960 --> 00:33:03,959
Speaker 2: This is already one of the half hour and it's

595
00:33:04,000 --> 00:33:06,080
Speaker 2: probably one of the greatest educations that I've had of

596
00:33:06,360 --> 00:33:11,400
Speaker 2: twenty twenty two from a person that's watched the Heart.

597
00:33:11,520 --> 00:33:16,280
Speaker 2: They fall like a billion times, is okay? So if

598
00:33:16,760 --> 00:33:24,080
Speaker 2: you are trying to establish yourself and not go to America,

599
00:33:24,120 --> 00:33:27,080
Speaker 2: there's just a difference between. You know, half of the

600
00:33:27,120 --> 00:33:30,080
Speaker 2: hip hop world came from Jamaica, but they had to

601
00:33:30,080 --> 00:33:33,480
Speaker 2: come to New York for us to shine. But if

602
00:33:33,520 --> 00:33:37,760
Speaker 2: you're in Jamaica and you want to get put on,

603
00:33:38,800 --> 00:33:40,000
Speaker 2: what is the route?

604
00:33:40,280 --> 00:33:42,840
Speaker 3: Like what's can you walk me through?

605
00:33:43,760 --> 00:33:43,880
Speaker 6: Now?

606
00:33:43,920 --> 00:33:47,080
Speaker 2: I know it's different now because of like digital colonialism,

607
00:33:47,200 --> 00:33:49,120
Speaker 2: like you do one viral thing on YouTube and then

608
00:33:49,120 --> 00:33:53,600
Speaker 2: maybe make it, But say, okay, in the eighties, if

609
00:33:53,600 --> 00:33:56,920
Speaker 2: you want to get put on, how does what's the

610
00:33:57,040 --> 00:33:58,600
Speaker 2: what's the maze?

611
00:33:59,520 --> 00:34:02,280
Speaker 5: The sort of had a circuits.

612
00:34:03,720 --> 00:34:04,040
Speaker 3: Journey.

613
00:34:04,160 --> 00:34:07,960
Speaker 6: Yes, well to me, I'm glad you said now and then,

614
00:34:08,000 --> 00:34:10,439
Speaker 6: because it's totally different now than what it was then.

615
00:34:10,880 --> 00:34:15,160
Speaker 6: You know, back then it was highly it was highly

616
00:34:15,200 --> 00:34:20,440
Speaker 6: dependent on the sound system. So the sound system was

617
00:34:20,440 --> 00:34:22,759
Speaker 6: where you would go and freestyle. This is where we're

618
00:34:22,760 --> 00:34:25,200
Speaker 6: a super cat these guys come from. So you have

619
00:34:25,280 --> 00:34:28,840
Speaker 6: the Kilimanjaro, you have King Tubby's, you have Johnny's sound system,

620
00:34:29,200 --> 00:34:32,839
Speaker 6: you have all these sound systems. Those sound systems were

621
00:34:32,920 --> 00:34:36,040
Speaker 6: what the ghetto kids could get on and spit. So

622
00:34:36,080 --> 00:34:40,840
Speaker 6: they'll have these street dances, and on these street dances, anybody,

623
00:34:40,920 --> 00:34:42,920
Speaker 6: if you were good in the neighborhood and you and

624
00:34:43,239 --> 00:34:45,520
Speaker 6: you spitting on the streets and people are hearing you,

625
00:34:45,520 --> 00:34:47,920
Speaker 6: you create your little fan base. And it was once

626
00:34:47,960 --> 00:34:50,000
Speaker 6: a community. No, you get on that mic and you

627
00:34:50,080 --> 00:34:51,960
Speaker 6: get heard, you know what I mean. They used to

628
00:34:51,960 --> 00:34:55,239
Speaker 6: have a thing called the Tasties talent contests, which was

629
00:34:55,280 --> 00:34:58,799
Speaker 6: also a big way for people to get discovered back

630
00:34:58,800 --> 00:35:01,320
Speaker 6: in Jamaica, back in the early days, you know what

631
00:35:01,320 --> 00:35:03,120
Speaker 6: I mean. So the sound system was where it was

632
00:35:03,280 --> 00:35:05,200
Speaker 6: where because I even start I started on a sound

633
00:35:05,200 --> 00:35:07,640
Speaker 6: system out of Brooklyn too at the same time. That's

634
00:35:07,640 --> 00:35:10,240
Speaker 6: how I ended up on Gibralto sound System and created

635
00:35:10,239 --> 00:35:12,640
Speaker 6: my bus with in Brooklyn where I was at you know,

636
00:35:12,719 --> 00:35:15,840
Speaker 6: Starlight Ballroom, Builtmore Ballroom, all of that at that time,

637
00:35:16,200 --> 00:35:18,440
Speaker 6: and created my own little buzz and my own little name.

638
00:35:18,440 --> 00:35:20,160
Speaker 6: When I started doing Big Up and Mompy and all

639
00:35:20,200 --> 00:35:22,840
Speaker 6: those records, you know what I'm saying. But I started

640
00:35:23,080 --> 00:35:27,440
Speaker 6: for onsound systems. So that was it. Nowadays they got this.

641
00:35:30,280 --> 00:35:33,920
Speaker 6: You know, you don't need to like these kids artists.

642
00:35:34,000 --> 00:35:37,600
Speaker 6: Now they'll do work like you know you when you

643
00:35:37,640 --> 00:35:40,399
Speaker 6: were promoting the roots. I'm sure you traveled all over

644
00:35:40,440 --> 00:35:43,359
Speaker 6: the world and did regional radio and shit like that.

645
00:35:43,640 --> 00:35:45,560
Speaker 6: You know what I'm saying. They don't do that. Now

646
00:35:45,600 --> 00:35:47,280
Speaker 6: they do a click of the button and say, hey,

647
00:35:47,120 --> 00:35:48,040
Speaker 6: there goes promo.

648
00:35:49,280 --> 00:35:50,879
Speaker 5: But it's a different challenge. I mean, they don't.

649
00:35:50,880 --> 00:35:52,759
Speaker 9: We don't do like the radio and stuff, but it

650
00:35:52,840 --> 00:35:55,480
Speaker 9: is you can press that click of a button. But

651
00:35:55,560 --> 00:35:59,120
Speaker 9: the bottleneck is now everyone can press that button. So

652
00:35:59,160 --> 00:36:01,600
Speaker 9: now you're fighting for the attention even if you don't

653
00:36:01,680 --> 00:36:04,400
Speaker 9: you know, have the budgets or whatever, the talent with

654
00:36:04,520 --> 00:36:07,239
Speaker 9: the attention or the talent, right, you're just fighting for

655
00:36:07,280 --> 00:36:09,239
Speaker 9: the attention because everyone but you see, I.

656
00:36:09,960 --> 00:36:13,480
Speaker 6: Disagree in some in one sense, I agree that there's

657
00:36:13,520 --> 00:36:17,080
Speaker 6: a lot of them. But if your true talent, you

658
00:36:17,120 --> 00:36:19,279
Speaker 6: could get through, because if you look at it, there's

659
00:36:19,320 --> 00:36:23,960
Speaker 6: a lot of bullshit. You know what I'm saying. If

660
00:36:24,000 --> 00:36:26,319
Speaker 6: you if you one of those guys that I'm saying,

661
00:36:26,360 --> 00:36:28,319
Speaker 6: you say that when you walk and you ain't got

662
00:36:28,320 --> 00:36:30,600
Speaker 6: to get your ship and be like, the fuck is that?

663
00:36:31,520 --> 00:36:34,719
Speaker 6: You're gonna know? You? You know, it's just gonna It's

664
00:36:34,760 --> 00:36:37,880
Speaker 6: like when you saw Coffee did that freestyle and everybody

665
00:36:38,120 --> 00:36:41,279
Speaker 6: looked up when she was on BBC one Extra and

666
00:36:41,280 --> 00:36:43,799
Speaker 6: she did that freestyle beside chronics and you're like, the

667
00:36:43,800 --> 00:36:48,360
Speaker 6: fuck is that? You know what I mean, You're curiosity

668
00:36:48,400 --> 00:36:50,960
Speaker 6: just jump and she ad was one freestyle, shen't do

669
00:36:51,040 --> 00:36:54,680
Speaker 6: nothing crazy issue, but it was just so special you

670
00:36:54,719 --> 00:36:57,719
Speaker 6: wanted to know who the hell that was. And so

671
00:36:57,840 --> 00:37:00,120
Speaker 6: no matter, you will get through the clutter if you're

672
00:37:00,320 --> 00:37:03,440
Speaker 6: that good and you have to be that, you just

673
00:37:03,520 --> 00:37:05,839
Speaker 6: got to be that. I always tell artists, I said,

674
00:37:05,960 --> 00:37:08,520
Speaker 6: you want to cut you the clutter? You gotta perfect

675
00:37:08,600 --> 00:37:09,400
Speaker 6: your craft?

676
00:37:11,520 --> 00:37:15,880
Speaker 2: What does that entail in terms of reggae culture? Like

677
00:37:15,920 --> 00:37:18,719
Speaker 2: I know in hip hop culture, you know, the very

678
00:37:18,719 --> 00:37:22,480
Speaker 2: beginning to Reak spent a lot of time in dictionary

679
00:37:22,560 --> 00:37:26,520
Speaker 2: learning words he never knew before, you know, constantly like

680
00:37:26,560 --> 00:37:30,040
Speaker 2: what's what's impressive for a dancehall artist too?

681
00:37:30,840 --> 00:37:34,760
Speaker 3: Is it melodic delivery? Is it words?

682
00:37:34,920 --> 00:37:37,680
Speaker 2: Is it the rhythm that he happens to be rhyming over?

683
00:37:37,880 --> 00:37:40,319
Speaker 6: Like what it's really what you bring to that you

684
00:37:40,360 --> 00:37:43,000
Speaker 6: just said to he studied the dictionary. That was what

685
00:37:43,080 --> 00:37:45,560
Speaker 6: he brought to the table that was different from everybody else.

686
00:37:45,960 --> 00:37:48,920
Speaker 6: It's really what you're bringing to the table right to

687
00:37:49,360 --> 00:37:51,359
Speaker 6: set you apart. Because everybody could sit there and say

688
00:37:51,360 --> 00:37:54,360
Speaker 6: they're gonna spit lyrics, But what is that that special

689
00:37:54,440 --> 00:37:57,160
Speaker 6: lot style that you're going to bring that's gonna set

690
00:37:57,200 --> 00:38:01,480
Speaker 6: you apart? For me, yeah, I was lyrical, but I

691
00:38:01,520 --> 00:38:04,640
Speaker 6: also had this voice. Yeah blaha, long time buster, grow

692
00:38:04,680 --> 00:38:08,160
Speaker 6: them onto jail. Reck that ship. Just set me the

693
00:38:08,160 --> 00:38:17,920
Speaker 6: funk apart. Wait, that was where that was recognizable something Wait, stop.

694
00:38:20,000 --> 00:38:24,240
Speaker 3: Wait, how did you developed that voice?

695
00:38:25,680 --> 00:38:28,240
Speaker 6: I was in the military. I used to run cadences.

696
00:38:28,280 --> 00:38:29,440
Speaker 7: This is the story I've been waiting for.

697
00:38:29,600 --> 00:38:31,520
Speaker 6: Okay. Yeah, I used to run and see and say

698
00:38:31,719 --> 00:38:37,200
Speaker 6: I don't know, but I have been told see where's panished?

699
00:38:37,520 --> 00:38:39,719
Speaker 6: I used to sing because the drill instructures we talked

700
00:38:39,719 --> 00:38:42,319
Speaker 6: to you like that boy drop and give a toy boar.

701
00:38:43,040 --> 00:38:45,160
Speaker 6: You know, they put that voice, and so I used

702
00:38:45,200 --> 00:38:48,600
Speaker 6: to mock them as as as a joke because it

703
00:38:48,680 --> 00:38:53,919
Speaker 6: made came from I.

704
00:38:53,840 --> 00:38:58,200
Speaker 3: Swear man, wait till I tell Higgins this, Steve.

705
00:38:59,320 --> 00:39:02,120
Speaker 6: And then and then the crazy part is I ended

706
00:39:02,200 --> 00:39:06,799
Speaker 6: up singing. I ended up doing Old Carolina in that voice. Yeah,

707
00:39:07,640 --> 00:39:09,719
Speaker 6: because if you listen, all right, if you ever listened

708
00:39:09,719 --> 00:39:14,680
Speaker 6: to that song called Bigger, Big Up, Big Up Big, Notice,

709
00:39:14,960 --> 00:39:17,520
Speaker 6: notice that's a that's a different tone of voice than

710
00:39:17,560 --> 00:39:19,640
Speaker 6: the Old Carolina, even if I.

711
00:39:19,719 --> 00:39:26,560
Speaker 12: Tell you about that, yeah, big up, right, that ricket

712
00:39:26,600 --> 00:39:28,640
Speaker 12: is a different tone of voice, you know.

713
00:39:29,280 --> 00:39:30,759
Speaker 6: And then I went ahead and did that.

714
00:39:31,520 --> 00:39:34,239
Speaker 4: Yeah, I didn't already fell on the floor before y'all

715
00:39:34,239 --> 00:39:36,719
Speaker 4: even got on the line. I'm just trying to I'm

716
00:39:37,320 --> 00:39:41,640
Speaker 4: blocking me. I my mind talking about it. It comes

717
00:39:41,640 --> 00:39:44,480
Speaker 4: from a Southern He took a Southern a mirror.

718
00:39:45,880 --> 00:39:49,640
Speaker 2: Wow, you took a Southern dialect, like like a drill sergeant.

719
00:39:50,960 --> 00:39:52,640
Speaker 6: Yeah. Wow.

720
00:39:53,040 --> 00:39:54,600
Speaker 3: The more you know, and.

721
00:39:54,680 --> 00:39:56,120
Speaker 6: Just kind of worked that worked with that.

722
00:39:56,800 --> 00:39:59,200
Speaker 3: So when did you move to the United States?

723
00:39:59,680 --> 00:40:01,480
Speaker 6: I would I came to you. I was in nineteen

724
00:40:01,640 --> 00:40:02,239
Speaker 6: eighty five.

725
00:40:03,160 --> 00:40:04,680
Speaker 5: Oh wow, okay, Oh, so.

726
00:40:04,800 --> 00:40:09,200
Speaker 3: You came to these states specifically to go to the army. No.

727
00:40:09,280 --> 00:40:11,840
Speaker 6: I came to the States. My mom was a journalist

728
00:40:11,920 --> 00:40:17,440
Speaker 6: in Jamaica, the main newspaper here called the Gleaner, the

729
00:40:17,520 --> 00:40:21,600
Speaker 6: Daily Gleaner, and my mother she migrated to the States

730
00:40:21,640 --> 00:40:24,920
Speaker 6: and I'm being I'm an only child. So I ended

731
00:40:25,000 --> 00:40:28,520
Speaker 6: up coming to America where her years afterwards, when I

732
00:40:28,520 --> 00:40:31,440
Speaker 6: was living with my grandmother in Jamaica, and in nineteen

733
00:40:31,440 --> 00:40:33,680
Speaker 6: eighty five I came up and it was a culture shock.

734
00:40:33,719 --> 00:40:38,280
Speaker 6: I lived that in New York Avenue between Tilden and Beverly,

735
00:40:38,400 --> 00:40:41,440
Speaker 6: in a building called the Irma. I can't remember it.

736
00:40:41,760 --> 00:40:46,360
Speaker 6: I went to Rasmus Fall and I just kind of

737
00:40:46,400 --> 00:40:49,720
Speaker 6: it was a shot well culture shop because I'm seeing snow.

738
00:40:49,800 --> 00:40:51,880
Speaker 6: And I think what shocked me the most was that

739
00:40:51,880 --> 00:40:57,040
Speaker 6: people did their laundries and laundromats because I could. I

740
00:40:57,040 --> 00:40:58,960
Speaker 6: couldn't because we did it in our backyard and the

741
00:40:59,000 --> 00:41:03,239
Speaker 6: holiday last Yeah. And I couldn't believe that people would

742
00:41:03,320 --> 00:41:06,360
Speaker 6: let people touch their draws like they would foe draws

743
00:41:06,400 --> 00:41:10,160
Speaker 6: and that I was. I was embarrassed when I went

744
00:41:10,200 --> 00:41:14,200
Speaker 6: to the launder back with my mother because people seeing

745
00:41:14,200 --> 00:41:17,200
Speaker 6: my draws. I was like, I couldn't believe that. I

746
00:41:17,239 --> 00:41:21,040
Speaker 6: was just I was just raised different. He was like,

747
00:41:21,800 --> 00:41:23,640
Speaker 6: You're gonna just You're gonna just fold your draws in

748
00:41:23,640 --> 00:41:25,880
Speaker 6: front of everybody like that, what the buck? Yeah? You

749
00:41:26,320 --> 00:41:27,680
Speaker 6: so to me, it was like that. So it was

750
00:41:27,719 --> 00:41:29,880
Speaker 6: a it was a big culture shop, but it was

751
00:41:29,920 --> 00:41:33,960
Speaker 6: also a melting pot because I didn't know there were Haitians,

752
00:41:34,320 --> 00:41:36,440
Speaker 6: and I didn't know there were Trinidadians. I didn't know

753
00:41:36,520 --> 00:41:39,760
Speaker 6: that there were Panamanians. I didn't know. I just knew Jamaica.

754
00:41:40,000 --> 00:41:43,560
Speaker 6: And then I started to figure out different people's cultures

755
00:41:43,600 --> 00:41:46,880
Speaker 6: and realize that they all were similar. That you know

756
00:41:46,920 --> 00:41:49,360
Speaker 6: a lot of them really embodied dance all and reggae,

757
00:41:49,400 --> 00:41:51,400
Speaker 6: and I was a kid that really soaked all of

758
00:41:51,400 --> 00:41:51,759
Speaker 6: that up.

759
00:41:56,360 --> 00:42:01,440
Speaker 2: How did witnessing American hip hop affect you when you

760
00:42:01,520 --> 00:42:01,960
Speaker 2: got here?

761
00:42:02,920 --> 00:42:05,200
Speaker 6: I went to Erasmus that had a lot of like

762
00:42:05,320 --> 00:42:08,080
Speaker 6: Special Lead was there. I had a lot of rappers

763
00:42:08,080 --> 00:42:11,240
Speaker 6: that came out of that school. So hip hop was apart.

764
00:42:11,320 --> 00:42:13,480
Speaker 6: It was a beat box era. So it's you know,

765
00:42:14,080 --> 00:42:18,520
Speaker 6: Slick Rick was Jamaican, you know, Dougie Fresh was. It

766
00:42:18,640 --> 00:42:24,239
Speaker 6: was that whole vibe. So the all that ship, it

767
00:42:24,320 --> 00:42:26,719
Speaker 6: was things that I was like, you know, so that

768
00:42:26,920 --> 00:42:29,359
Speaker 6: even when you guys had Rozelle, you know that I

769
00:42:29,400 --> 00:42:31,919
Speaker 6: was a big fan of Osh because you know, he

770
00:42:31,960 --> 00:42:33,279
Speaker 6: did that ship, you know what I mean? I think

771
00:42:33,640 --> 00:42:35,799
Speaker 6: I think when when we Houston died, we were at

772
00:42:35,800 --> 00:42:41,120
Speaker 6: the same day house and and that's when we did

773
00:42:41,760 --> 00:42:45,319
Speaker 6: a little freestyle thing with Rozelle at that time, so

774
00:42:45,440 --> 00:42:48,120
Speaker 6: I was into hip hop from that point of course.

775
00:42:48,160 --> 00:42:50,360
Speaker 6: Then I ended up knowing cool Her down the line

776
00:42:50,400 --> 00:42:52,719
Speaker 6: and realized how the whole thing come.

777
00:42:52,800 --> 00:42:55,080
Speaker 3: But so wait, what high school? What high school?

778
00:42:55,120 --> 00:42:58,560
Speaker 6: Was this? Erasmas Hall. It's the second and high oldest

779
00:42:58,600 --> 00:43:01,080
Speaker 6: high school in the United States. It's actually the high

780
00:43:01,080 --> 00:43:05,760
Speaker 6: school that Clive Davis started Arista out of, and where

781
00:43:05,960 --> 00:43:10,560
Speaker 6: Barbarus treisand graduated from a lot of huge, huge superstars

782
00:43:10,640 --> 00:43:13,279
Speaker 6: name there. It's in the heart of Flatbush. It's right

783
00:43:13,320 --> 00:43:15,880
Speaker 6: on Flatbush Avenue in Church, you know what I'm saying.

784
00:43:16,239 --> 00:43:19,440
Speaker 6: And that's where that's in Brooklyn, That's where I was,

785
00:43:19,560 --> 00:43:23,360
Speaker 6: I was at and that whole vibe, you know, it

786
00:43:23,520 --> 00:43:27,160
Speaker 6: is just where this this whole energy came from.

787
00:43:27,880 --> 00:43:29,480
Speaker 3: You came here in eighty five, so I guess you

788
00:43:29,560 --> 00:43:31,000
Speaker 3: were sixteen?

789
00:43:31,840 --> 00:43:36,360
Speaker 2: Yeah, yeah, all right, So what were your by that point?

790
00:43:36,400 --> 00:43:38,640
Speaker 3: What were your life goals in terms.

791
00:43:38,280 --> 00:43:41,920
Speaker 6: Of I wanted to be popular because because my my

792
00:43:42,440 --> 00:43:49,400
Speaker 6: mother dressed me funny. You know what's school. Yeah, that's

793
00:43:49,400 --> 00:43:51,640
Speaker 6: an old school Jamaican woman that you know. She she

794
00:43:51,640 --> 00:43:53,480
Speaker 6: would give me her jacket, you know, and she got

795
00:43:53,520 --> 00:43:56,279
Speaker 6: pink innad and light blue and shed and you know

796
00:43:56,719 --> 00:43:59,640
Speaker 6: the funk. I know, you know, she pours. I'm going

797
00:43:59,680 --> 00:44:02,200
Speaker 6: to school. You know, I wonder why nobody is, you know,

798
00:44:02,440 --> 00:44:05,080
Speaker 6: is being friends with me, you know, except the la

799
00:44:05,080 --> 00:44:10,279
Speaker 6: Haitian kids that he dress worse than me. So so,

800
00:44:10,840 --> 00:44:13,520
Speaker 6: but after a while, I had Once I started doing

801
00:44:13,680 --> 00:44:17,239
Speaker 6: was spitting lyrics. I became popular, and I realized that

802
00:44:17,280 --> 00:44:19,800
Speaker 6: if I I started talking, i'd see a little cutie.

803
00:44:19,800 --> 00:44:22,239
Speaker 6: I talk about her hair, you know, you know, or

804
00:44:22,440 --> 00:44:24,920
Speaker 6: bamboo hair, ear rings, and you know, I had to

805
00:44:25,000 --> 00:44:28,360
Speaker 6: talk about her boots and her sheepskin jacket, and you know,

806
00:44:28,400 --> 00:44:30,360
Speaker 6: I talk about all of that and spitting a rhyme.

807
00:44:30,600 --> 00:44:36,040
Speaker 6: I get a number, and I realized, oh ship, I

808
00:44:36,200 --> 00:44:40,880
Speaker 6: get chicks like this, okay, And I did music. I

809
00:44:40,880 --> 00:44:42,799
Speaker 6: wish I could say something deeper than that, but I

810
00:44:42,960 --> 00:44:48,080
Speaker 6: really pussy like that. I got into music because I

811
00:44:48,080 --> 00:44:50,440
Speaker 6: wanted to get laid. You know, I.

812
00:44:50,040 --> 00:44:53,280
Speaker 5: Realized, I think that's everyone.

813
00:44:53,000 --> 00:44:57,480
Speaker 2: Alone, bro, you know, I realized that I split lyrics.

814
00:44:57,520 --> 00:44:59,799
Speaker 6: I was a ghetto superstar. I got these local hits

815
00:45:00,160 --> 00:45:02,120
Speaker 6: into clubs for free. I drink for free, and I

816
00:45:02,120 --> 00:45:04,280
Speaker 6: walked out with the hottest chick and I was in heaven.

817
00:45:04,800 --> 00:45:06,799
Speaker 6: I was like, this is what I want to do.

818
00:45:07,200 --> 00:45:10,239
Speaker 6: So for me, you know, I love what yellow Man

819
00:45:10,280 --> 00:45:12,440
Speaker 6: did and I was fascinated by that. But when I

820
00:45:12,480 --> 00:45:15,960
Speaker 6: was in Brooklyn, there was no real outlet for dancer.

821
00:45:16,400 --> 00:45:18,840
Speaker 6: So my mother was like, you need to go do

822
00:45:18,920 --> 00:45:22,520
Speaker 6: something with yourself. And so I started to sell drugs,

823
00:45:22,560 --> 00:45:24,560
Speaker 6: you know. I started to sell weed. You know. I

824
00:45:24,600 --> 00:45:27,120
Speaker 6: was on clarks On nostri and you know what I mean.

825
00:45:27,200 --> 00:45:29,560
Speaker 6: And then had a spot down at Gates Avenue. So

826
00:45:29,600 --> 00:45:33,040
Speaker 6: you got into weed and coked and started, you know, hustling.

827
00:45:33,280 --> 00:45:35,160
Speaker 6: That's what. That's what because every Jamaica and I and

828
00:45:35,200 --> 00:45:36,680
Speaker 6: all my uncles they're all hustlers.

829
00:45:36,680 --> 00:45:39,719
Speaker 4: So us, especially in New York, they had the good

830
00:45:39,719 --> 00:45:40,959
Speaker 4: weed all the Jamaica.

831
00:45:41,480 --> 00:45:44,759
Speaker 6: Yeah, until after a while, motherfuckers start getting locked start

832
00:45:44,800 --> 00:45:46,680
Speaker 6: getting locked up, and you'd be like, Okay, I got

833
00:45:46,680 --> 00:45:48,680
Speaker 6: to get out of this shit, you know. And so

834
00:45:48,840 --> 00:45:51,160
Speaker 6: and so I went into the military. That's how I

835
00:45:51,280 --> 00:45:53,760
Speaker 6: ended up in the military. I walked down the Flatbush

836
00:45:53,800 --> 00:45:56,160
Speaker 6: Avenue at the junction and walked in and looked at

837
00:45:56,680 --> 00:45:59,200
Speaker 6: all the uniforms and looked at the Marines, and said, yeah,

838
00:45:59,200 --> 00:46:00,759
Speaker 6: I could get some chicks that I can get laid

839
00:46:00,800 --> 00:46:07,640
Speaker 6: to that. I want to know, that's the hardest, the hardest.

840
00:46:08,280 --> 00:46:11,160
Speaker 6: I didn't know. I just the uniform looked the best though,

841
00:46:12,520 --> 00:46:14,919
Speaker 6: because really, because really, if you think about it, who

842
00:46:14,960 --> 00:46:16,680
Speaker 6: wants to be in the In the Navy, there were

843
00:46:16,680 --> 00:46:20,319
Speaker 6: were a bell bottom bro a bell, but you know

844
00:46:20,440 --> 00:46:22,600
Speaker 6: there's got that little thing that looked like a blouse.

845
00:46:24,840 --> 00:46:32,080
Speaker 6: You make it right now. So for me, the Marines

846
00:46:32,160 --> 00:46:34,480
Speaker 6: just look like that, you know that that dressed blue

847
00:46:34,480 --> 00:46:37,439
Speaker 6: ship and that yo bro. I was like, yo, that ship,

848
00:46:37,840 --> 00:46:42,080
Speaker 6: I want to do that. And then this guy called Perez, uh,

849
00:46:42,239 --> 00:46:44,640
Speaker 6: sergeant Perez, I remember his name, that come in and

850
00:46:44,680 --> 00:46:47,640
Speaker 6: it's like, yo, you know he was my recruiter and

851
00:46:48,000 --> 00:46:49,399
Speaker 6: I want to get out of here by next week.

852
00:46:49,440 --> 00:46:51,279
Speaker 6: It's like, I can't get you off this. I get

853
00:46:51,320 --> 00:46:52,640
Speaker 6: you two weeks from now. I was like, if I

854
00:46:52,640 --> 00:46:54,840
Speaker 6: ain't going out next week, I ain't going and he,

855
00:46:55,000 --> 00:46:56,759
Speaker 6: you know, kind of worked some things. I ended up

856
00:46:56,800 --> 00:46:57,960
Speaker 6: going in two weeks after that is.

857
00:46:58,000 --> 00:46:59,920
Speaker 4: Wait where did you go? And then when did you

858
00:47:00,080 --> 00:47:02,200
Speaker 4: realized that you was in the Marines? And that was different.

859
00:47:02,800 --> 00:47:04,480
Speaker 6: I didn't know I was in the Marines because I

860
00:47:04,480 --> 00:47:07,239
Speaker 6: passed all the tests right, and I went to North

861
00:47:07,280 --> 00:47:12,919
Speaker 6: Carolina on the busy U a candler Jones. Yeah, June

862
00:47:12,960 --> 00:47:15,719
Speaker 6: stepped out on them yellow footprints and they just start screaming,

863
00:47:15,920 --> 00:47:20,359
Speaker 6: screaming in my face. Yeah nor North Carolina. Yeah, so

864
00:47:20,640 --> 00:47:22,680
Speaker 6: I accept them one of them yellow footprints and they

865
00:47:22,760 --> 00:47:26,120
Speaker 6: just start screaming at me and spitting, chewing tobacco, and

866
00:47:26,360 --> 00:47:28,120
Speaker 6: it was you know, so I chucked him because I'm

867
00:47:28,200 --> 00:47:31,360
Speaker 6: I'm from Brooksly and I was like years and I

868
00:47:31,400 --> 00:47:33,200
Speaker 6: see like six of them come down on me. I

869
00:47:33,280 --> 00:47:34,520
Speaker 6: was like, okay, that's a bad idea.

870
00:47:37,719 --> 00:47:41,839
Speaker 2: As a teenager, were you super rebellious?

871
00:47:42,120 --> 00:47:45,400
Speaker 3: Like what is it to be in the American Army?

872
00:47:45,520 --> 00:47:49,800
Speaker 2: Like in terms of like do you realize like, okay,

873
00:47:50,440 --> 00:47:52,560
Speaker 2: this is something that has a lot of discipline and

874
00:47:52,600 --> 00:47:55,200
Speaker 2: we got to wake up five in the morning to.

875
00:47:55,320 --> 00:47:56,520
Speaker 3: A bunch of or at least this is what I

876
00:47:56,520 --> 00:47:57,400
Speaker 3: see on television.

877
00:47:57,520 --> 00:48:02,000
Speaker 6: But being an only child a very strict mother, I

878
00:48:02,040 --> 00:48:06,560
Speaker 6: was I was very good. Like I would come yeah,

879
00:48:06,560 --> 00:48:09,120
Speaker 6: I would come home from school and I'd be the

880
00:48:09,160 --> 00:48:10,719
Speaker 6: only person so I knew where the key was on

881
00:48:10,800 --> 00:48:13,600
Speaker 6: the under the map. I'd go and I make myself

882
00:48:13,640 --> 00:48:16,560
Speaker 6: a sandwich. I do my homework because my mom would

883
00:48:16,560 --> 00:48:19,439
Speaker 6: whoop ass. It wasn't you know my my mom would

884
00:48:19,520 --> 00:48:22,440
Speaker 6: send you for the ship to whoop your ass. You

885
00:48:22,520 --> 00:48:26,879
Speaker 6: know you'd be like get yeah, yeah, that's when I'm saying, yeah,

886
00:48:27,160 --> 00:48:29,080
Speaker 6: go get that ship, you know what I mean. So,

887
00:48:29,200 --> 00:48:32,840
Speaker 6: and it and the beatings was not it was you

888
00:48:32,920 --> 00:48:35,400
Speaker 6: know them was some legendary or ass whooping, you know

889
00:48:35,440 --> 00:48:37,120
Speaker 6: what I mean. So I was raised on that. So

890
00:48:37,200 --> 00:48:41,319
Speaker 6: for me coming to America, I was always very disciplined

891
00:48:41,320 --> 00:48:43,480
Speaker 6: and on it. I really didn't get into too many trouble.

892
00:48:43,520 --> 00:48:47,040
Speaker 6: But I also like nice things and I and I

893
00:48:47,080 --> 00:48:49,040
Speaker 6: wanted to be fly and I wanted to be you

894
00:48:49,080 --> 00:48:51,640
Speaker 6: know what I mean. So if if I worked at

895
00:48:51,680 --> 00:48:55,920
Speaker 6: Basket Robbins for one day, you know, I had a

896
00:48:55,920 --> 00:48:58,400
Speaker 6: little apron on a little thing and the chicken there

897
00:48:58,440 --> 00:49:01,000
Speaker 6: was a hot Puerto Rican chick came and and she

898
00:49:01,120 --> 00:49:05,040
Speaker 6: wanted you know, started asking needs to scooping her ice cream.

899
00:49:05,200 --> 00:49:11,160
Speaker 6: Just didn't look cool. I was like, this ain't medo.

900
00:49:12,320 --> 00:49:14,600
Speaker 6: I was out shack.

901
00:49:15,000 --> 00:49:17,520
Speaker 4: How far did you get? And you're really your hands

902
00:49:17,560 --> 00:49:19,080
Speaker 4: registered as weapons?

903
00:49:19,400 --> 00:49:22,640
Speaker 6: I don't know if my hands are registered as a weapon,

904
00:49:22,719 --> 00:49:25,480
Speaker 6: but I was in the first Gulf War. I did

905
00:49:29,440 --> 00:49:30,320
Speaker 6: Dore's a storm.

906
00:49:30,120 --> 00:49:33,279
Speaker 7: Yet respect not bad, must respect.

907
00:49:33,080 --> 00:49:36,560
Speaker 6: Thank you. I did four years. But I didn't come

908
00:49:36,600 --> 00:49:38,720
Speaker 6: out as funny. I didn't come out as a model Marine.

909
00:49:38,760 --> 00:49:42,640
Speaker 6: I came out one above a private. I got demoted twice.

910
00:49:43,520 --> 00:49:49,399
Speaker 3: Wait demoted? Yeah, how did you get demoted for a wall?

911
00:49:49,440 --> 00:49:52,279
Speaker 6: Because I would? I would drive from North Carolina to

912
00:49:52,360 --> 00:49:55,520
Speaker 6: New York every weekend and you're not supposed to go

913
00:49:55,560 --> 00:49:59,440
Speaker 6: outside of a fifty mile radius, and I would drive,

914
00:49:59,080 --> 00:50:02,319
Speaker 6: would I? I did it Oh Carolina and big up

915
00:50:02,360 --> 00:50:05,719
Speaker 6: in my uniform on a weekend and went back in

916
00:50:05,880 --> 00:50:09,600
Speaker 6: on soup circle in on forty second Street. They had

917
00:50:09,640 --> 00:50:11,719
Speaker 6: to think called soup circles where you'd jump in the

918
00:50:11,800 --> 00:50:14,480
Speaker 6: van and they'd take you back. And so I did

919
00:50:14,520 --> 00:50:17,399
Speaker 6: those records in my uniform, you know what I mean.

920
00:50:17,440 --> 00:50:19,239
Speaker 6: And I would drive, and if I drive, i'd drive

921
00:50:19,280 --> 00:50:22,920
Speaker 6: down in my uniform so that most of the state

922
00:50:22,960 --> 00:50:26,760
Speaker 6: troopers were ex military, so they stopped you. They'd be like, okay,

923
00:50:26,760 --> 00:50:29,239
Speaker 6: slow down, Marine and let you go. So I would

924
00:50:29,239 --> 00:50:32,440
Speaker 6: always drive in my uniform and I'd come to and

925
00:50:32,640 --> 00:50:35,480
Speaker 6: link up with Sting International, who was a DJ out

926
00:50:35,520 --> 00:50:37,520
Speaker 6: of Brooklyn, at the time, and you know, and was

927
00:50:37,560 --> 00:50:40,200
Speaker 6: my early producer, and we would make records and I'd

928
00:50:40,239 --> 00:50:42,479
Speaker 6: go right back in. So my early records like mom Pid,

929
00:50:42,480 --> 00:50:44,880
Speaker 6: those songs when it happened, I was in the military.

930
00:50:44,880 --> 00:50:45,759
Speaker 6: I didn't even know they were.

931
00:50:45,680 --> 00:50:46,320
Speaker 5: Hot in Brooklyn.

932
00:50:46,400 --> 00:50:47,080
Speaker 6: They were just hot.

933
00:50:47,800 --> 00:50:48,120
Speaker 3: Wow.

934
00:50:48,280 --> 00:50:50,319
Speaker 5: And were those records put out on a label or

935
00:50:50,360 --> 00:50:51,160
Speaker 5: how did the business work?

936
00:50:51,200 --> 00:50:52,600
Speaker 6: Yeah, it was a little. There was a little. There

937
00:50:52,600 --> 00:50:55,880
Speaker 6: was a guy called Ben Sokolov. His brother was Will Sokolov.

938
00:50:56,200 --> 00:51:00,720
Speaker 6: Will Sokalov had Oh yeah, Will Sokolov had the Sleeping

939
00:51:00,800 --> 00:51:04,960
Speaker 6: Bag label. Yes, you know what I'm saying. Yeah, so

940
00:51:04,960 --> 00:51:08,360
Speaker 6: so so I did a record called Gunshot, which was

941
00:51:08,400 --> 00:51:11,640
Speaker 6: a big record that was blowing up on Sleeping Jazzy.

942
00:51:11,680 --> 00:51:15,800
Speaker 6: Jeff would know about that record because he loved that. Yeah,

943
00:51:15,840 --> 00:51:19,160
Speaker 6: so I right, and that was on Sleeping Bag. And

944
00:51:19,200 --> 00:51:22,560
Speaker 6: Ben Sokolov was his brother that had this label called Signet,

945
00:51:22,960 --> 00:51:25,240
Speaker 6: And then I would put all of those early records

946
00:51:25,320 --> 00:51:28,399
Speaker 6: like Big Up and Mompey. All those records came out

947
00:51:28,440 --> 00:51:34,359
Speaker 6: e'tn old Carolina came out initially on Signet. Yeah, but

948
00:51:34,400 --> 00:51:35,960
Speaker 6: then he tried, he tried some. When I got I

949
00:51:35,960 --> 00:51:38,279
Speaker 6: got signed for a million dollars in nineteen ninety three,

950
00:51:38,320 --> 00:51:41,279
Speaker 6: the biggest amount in the history of dance, all the

951
00:51:41,320 --> 00:51:43,799
Speaker 6: reggae at that time. And then he was trying to

952
00:51:43,960 --> 00:51:45,800
Speaker 6: you know, he was trying to do the E G

953
00:51:46,000 --> 00:51:48,359
Speaker 6: E B GB on me. You know, yes, we had

954
00:51:48,360 --> 00:51:52,759
Speaker 6: to cut that nigga loose Wait, we had to cut

955
00:51:52,760 --> 00:51:54,879
Speaker 6: on boy and loose Jack.

956
00:51:56,800 --> 00:51:58,680
Speaker 2: I always wanted to know this because I don't I

957
00:51:58,719 --> 00:52:02,800
Speaker 2: don't know if I know vin musician that served in

958
00:52:02,840 --> 00:52:08,600
Speaker 2: any of the Bush one era wars. But when they're

959
00:52:08,640 --> 00:52:12,120
Speaker 2: going to send you guys to kuwait, what's going through

960
00:52:12,120 --> 00:52:15,120
Speaker 2: your mind? Because you know, before that period, all we

961
00:52:15,200 --> 00:52:17,799
Speaker 2: knew was Vietnam, And I think that America had this

962
00:52:17,840 --> 00:52:21,680
Speaker 2: whole like never again, like we'll never get into another

963
00:52:21,719 --> 00:52:24,960
Speaker 2: war ever again in this lifetime. And then like I remember,

964
00:52:25,239 --> 00:52:29,480
Speaker 2: like when they may be announcement, especially in ninety one,

965
00:52:29,560 --> 00:52:33,520
Speaker 2: that yeah, we're going to go to war, you know

966
00:52:33,600 --> 00:52:36,680
Speaker 2: that that was like a I mean, now, a tragedy

967
00:52:36,719 --> 00:52:40,960
Speaker 2: happens and then it's just like drop something, you know, right,

968
00:52:41,000 --> 00:52:44,600
Speaker 2: But you know, back then it was like, Yo, what's

969
00:52:44,640 --> 00:52:48,680
Speaker 2: gonna happen? So like in your mind, what were your thoughts?

970
00:52:49,560 --> 00:52:52,000
Speaker 6: My thoughts at that point was to hate the dude

971
00:52:52,040 --> 00:52:54,480
Speaker 6: that actually convinced me to go in the military, a

972
00:52:54,520 --> 00:52:58,719
Speaker 6: guy called Mark. I forgot his last name. He was

973
00:52:58,719 --> 00:53:00,719
Speaker 6: my boy. It was like, oh yeah, in the military.

974
00:53:00,800 --> 00:53:03,560
Speaker 6: And then when I signed up, he had tried to

975
00:53:03,560 --> 00:53:05,879
Speaker 6: send a letter to me saying, don't come into this ship.

976
00:53:05,920 --> 00:53:09,200
Speaker 6: Don't come into this ship. Already I was already done.

977
00:53:09,200 --> 00:53:11,719
Speaker 6: I was like that asshole, here I am. People do

978
00:53:11,880 --> 00:53:14,840
Speaker 6: twenty years in the military and they get a paycheck

979
00:53:14,880 --> 00:53:17,720
Speaker 6: for the rest of their life. I do four years

980
00:53:17,719 --> 00:53:21,680
Speaker 6: and I'm in a fucking war, Like what are the odds?

981
00:53:21,800 --> 00:53:25,040
Speaker 6: And That's what was going through my mind as far

982
00:53:25,080 --> 00:53:28,359
Speaker 6: as my life is concerned. It really gave me an

983
00:53:28,400 --> 00:53:32,160
Speaker 6: opportunity to be thankful or take a lot of things,

984
00:53:32,280 --> 00:53:34,360
Speaker 6: not take a lot of things for granted. Like I

985
00:53:34,440 --> 00:53:37,200
Speaker 6: used to take my mom's cooking for granted because I

986
00:53:37,400 --> 00:53:39,120
Speaker 6: was thinking that I'm gonna go to my next door

987
00:53:39,160 --> 00:53:41,920
Speaker 6: neighbors his mom cooked better, you know what I'm saying,

988
00:53:42,040 --> 00:53:44,879
Speaker 6: or whatever it is. And I would get up out

989
00:53:44,880 --> 00:53:48,520
Speaker 6: of my bed and not not make it. When I

990
00:53:48,560 --> 00:53:50,520
Speaker 6: was in the war, I was sleeping on a cop

991
00:53:51,360 --> 00:53:55,640
Speaker 6: you know, our sleeping bag, or and then I was

992
00:53:55,680 --> 00:54:03,080
Speaker 6: eating mrs Yeah, and then and I never me it

993
00:54:03,120 --> 00:54:07,680
Speaker 6: was ready to eat. It's it's like it's yeah, pre

994
00:54:07,880 --> 00:54:12,200
Speaker 6: read process process military food. And then I would I

995
00:54:12,239 --> 00:54:14,600
Speaker 6: would have to dig a hole to take a dump.

996
00:54:15,040 --> 00:54:17,600
Speaker 6: And it's so much ship that hits you. Then you

997
00:54:17,680 --> 00:54:20,680
Speaker 6: realize that, oh ship, you had a lot of things

998
00:54:20,719 --> 00:54:23,200
Speaker 6: good that you didn't realize. So when I got out

999
00:54:23,280 --> 00:54:26,439
Speaker 6: the military, I was a changed person in so many

1000
00:54:26,480 --> 00:54:31,920
Speaker 6: ways because I realized what not to take for granted,

1001
00:54:32,040 --> 00:54:33,479
Speaker 6: you know what I'm saying, there's a lot of things

1002
00:54:33,480 --> 00:54:35,920
Speaker 6: that really So while I was in there, I didn't

1003
00:54:35,960 --> 00:54:38,360
Speaker 6: fear for my life. So because we were so gunn

1004
00:54:38,440 --> 00:54:41,919
Speaker 6: hold about and in the military, in the in the war,

1005
00:54:41,960 --> 00:54:45,120
Speaker 6: it was hurry up and wait. So literally we fought

1006
00:54:45,120 --> 00:54:46,920
Speaker 6: the war for about two days. The rest of it

1007
00:54:47,000 --> 00:54:50,520
Speaker 6: was you know, running around and moving around. The two

1008
00:54:50,600 --> 00:54:53,600
Speaker 6: days of two to three days of heavy fighting. Then

1009
00:54:53,640 --> 00:54:55,480
Speaker 6: they stopped. It was where it was in the shell.

1010
00:54:55,520 --> 00:55:01,080
Speaker 6: And those three days was crazy. We were we moved.

1011
00:55:01,200 --> 00:55:02,399
Speaker 5: Yeah, you came back home.

1012
00:55:02,480 --> 00:55:04,360
Speaker 9: Did you like have to go through any kind of

1013
00:55:04,400 --> 00:55:07,719
Speaker 9: therapy or counseling just to kind of Resinah?

1014
00:55:08,160 --> 00:55:10,400
Speaker 6: No, that was that was the easiest war because you

1015
00:55:10,480 --> 00:55:14,120
Speaker 6: got low It wasn't like Afghanistan or this place. You know,

1016
00:55:14,160 --> 00:55:16,759
Speaker 6: the Gulf War was a cake walcome player to the

1017
00:55:16,800 --> 00:55:19,200
Speaker 6: rest of those bro you know what I mean. It

1018
00:55:19,239 --> 00:55:21,719
Speaker 6: was low casualty, and I get it. You know, we

1019
00:55:21,840 --> 00:55:24,359
Speaker 6: lost people, So one son or daughter from my mama

1020
00:55:24,440 --> 00:55:28,600
Speaker 6: or pop is not low casualty. But in the pat

1021
00:55:28,760 --> 00:55:33,920
Speaker 6: of things, yeah, it's considered low low casualty. So I

1022
00:55:34,040 --> 00:55:38,680
Speaker 6: got out, you know, unfazed by it, but in a

1023
00:55:38,719 --> 00:55:45,000
Speaker 6: way very thankful, very appreciative, and very aware of how

1024
00:55:45,080 --> 00:55:48,640
Speaker 6: fortunate I am, you know, And I never looked back.

1025
00:55:49,239 --> 00:55:52,520
Speaker 2: Once you once you signed the dotted line and the

1026
00:55:52,680 --> 00:55:57,319
Speaker 2: government owns you, Yeah, how fast can you get out

1027
00:55:57,360 --> 00:55:57,600
Speaker 2: of it?

1028
00:55:57,719 --> 00:56:00,440
Speaker 3: Like I'm certain that And basically four years you got

1029
00:56:00,560 --> 00:56:01,200
Speaker 3: to do your four years.

1030
00:56:01,320 --> 00:56:02,959
Speaker 7: Okay, it's high school college.

1031
00:56:02,840 --> 00:56:03,960
Speaker 3: Unless you get kicked out.

1032
00:56:04,400 --> 00:56:06,160
Speaker 6: Unless you get kicked out. Yeah, and if you get

1033
00:56:06,239 --> 00:56:09,680
Speaker 6: kicked out, then you know you you can't own and

1034
00:56:09,719 --> 00:56:12,600
Speaker 6: you can't hold any government jobs, you know what I mean.

1035
00:56:13,960 --> 00:56:16,040
Speaker 6: There's so many things that you can't do once you

1036
00:56:16,080 --> 00:56:20,640
Speaker 6: get kicked out issues.

1037
00:56:20,840 --> 00:56:25,160
Speaker 3: Government as in like garbage man two, like even.

1038
00:56:25,080 --> 00:56:28,279
Speaker 6: Anything police, anything, any you can't do any of these

1039
00:56:28,360 --> 00:56:31,160
Speaker 6: those things. There's certain things you just can't do when

1040
00:56:31,160 --> 00:56:34,120
Speaker 6: you're out. If you look at Walt Disney, when you

1041
00:56:34,160 --> 00:56:37,200
Speaker 6: always see Walt Disney sitting down, if you notice there's

1042
00:56:37,200 --> 00:56:39,960
Speaker 6: always those pictures behind him, there was one that was

1043
00:56:40,040 --> 00:56:43,520
Speaker 6: upside down. That was his dishonored with discharge.

1044
00:56:44,040 --> 00:56:48,400
Speaker 7: Oh wow, all.

1045
00:56:48,360 --> 00:56:54,400
Speaker 2: Right, hey, hey, there's a major history of like Jimmy Hendrick,

1046
00:56:54,680 --> 00:56:58,560
Speaker 2: Rick James, Like, yeah, people that I.

1047
00:56:58,520 --> 00:57:01,240
Speaker 6: Was not a model marine. I came one of PFC.

1048
00:57:01,400 --> 00:57:03,400
Speaker 6: But if you go to Paris, Holland, now my picture

1049
00:57:03,440 --> 00:57:10,080
Speaker 6: is like shaggy, they sell me. Yeah, they used me

1050
00:57:10,280 --> 00:57:11,200
Speaker 6: a cruit these days.

1051
00:57:12,840 --> 00:57:15,960
Speaker 9: How did you transition, because you know, being in the military,

1052
00:57:16,120 --> 00:57:19,040
Speaker 9: that's like very you know, rigid, it's you structure, you have,

1053
00:57:19,440 --> 00:57:23,680
Speaker 9: you know, time every day. How was the transition going

1054
00:57:23,720 --> 00:57:26,520
Speaker 9: into the music business where nothing is structured?

1055
00:57:27,400 --> 00:57:28,880
Speaker 5: How did you make that transition?

1056
00:57:29,880 --> 00:57:32,240
Speaker 6: I think it's what set me apart from everybody else,

1057
00:57:32,360 --> 00:57:36,240
Speaker 6: certainly in downs, you know, apart from me having a

1058
00:57:36,320 --> 00:57:40,520
Speaker 6: sound on a different style of music. I will I saw, Yeah,

1059
00:57:40,560 --> 00:57:43,439
Speaker 6: I was professional, I was on time, I worked really

1060
00:57:43,520 --> 00:57:47,280
Speaker 6: hard and you know, and it really set me apart

1061
00:57:47,280 --> 00:57:50,480
Speaker 6: from everybody else. That's that's what really did. So that

1062
00:57:50,480 --> 00:57:53,560
Speaker 6: transition wasn't hard because I was I was in the

1063
00:57:53,600 --> 00:57:54,520
Speaker 6: military doing that.

1064
00:57:55,160 --> 00:57:57,720
Speaker 2: Let it be known that Shaggy might be the first

1065
00:57:57,800 --> 00:58:01,640
Speaker 2: QLs guest that showed up ten minutes early before the

1066
00:58:01,720 --> 00:58:05,800
Speaker 2: interview started. I was in a car on the way

1067
00:58:05,800 --> 00:58:07,920
Speaker 2: home from the tonight show and they're like, he's here already.

1068
00:58:07,960 --> 00:58:10,440
Speaker 3: I'm like, yo, man, I didn't even get to my apartment.

1069
00:58:11,440 --> 00:58:13,480
Speaker 7: Correct the Shaggy, go ahead, correct.

1070
00:58:13,240 --> 00:58:20,600
Speaker 6: Them fifteen minutes early, not ten, just making me do pushups.

1071
00:58:20,720 --> 00:58:31,320
Speaker 2: Well, Shaggy, I always wanted to know this, Okay. So

1072
00:58:32,360 --> 00:58:36,800
Speaker 2: when I started to seriously DJ, especially, you know, there

1073
00:58:36,840 --> 00:58:40,800
Speaker 2: was the period where a lot of the I guess

1074
00:58:40,960 --> 00:58:44,960
Speaker 2: the WP record compilation stuff started coming out, and basically,

1075
00:58:45,040 --> 00:58:49,600
Speaker 2: you know, you have a gazillion Okay, First of all,

1076
00:58:50,000 --> 00:58:50,760
Speaker 2: what would I call?

1077
00:58:52,400 --> 00:58:52,720
Speaker 3: Okay?

1078
00:58:52,760 --> 00:58:56,280
Speaker 2: So if someone looks at someone in hip hop and

1079
00:58:56,360 --> 00:58:59,200
Speaker 2: the person that's doing the rhyme or whatever, we'll say, okay,

1080
00:58:59,200 --> 00:59:03,640
Speaker 2: that's the MC the rap Yeah. I know that technically

1081
00:59:03,720 --> 00:59:06,400
Speaker 2: you guys are DJs, but like, what would you commonly

1082
00:59:06,480 --> 00:59:10,080
Speaker 2: call the person with the microphone in dance all culture?

1083
00:59:11,560 --> 00:59:13,760
Speaker 3: Are you calling him an MC or a rapper?

1084
00:59:14,600 --> 00:59:21,280
Speaker 6: DJ? DJ music? Say what? So? DJ? They used to

1085
00:59:21,320 --> 00:59:24,960
Speaker 6: call it back in the day toasting, like like the

1086
00:59:24,960 --> 00:59:29,400
Speaker 6: British will call it toasting. But in dance culture in Jamaica,

1087
00:59:29,560 --> 00:59:32,440
Speaker 6: say you use a DJ to this day, my nickname

1088
00:59:32,520 --> 00:59:32,880
Speaker 6: is DJ.

1089
00:59:33,440 --> 00:59:36,040
Speaker 7: Like in the back with the records, who is he

1090
00:59:36,720 --> 00:59:37,320
Speaker 7: select them?

1091
00:59:38,440 --> 00:59:39,520
Speaker 6: I knew that I was just.

1092
00:59:39,520 --> 00:59:40,680
Speaker 7: Testing everybody else.

1093
00:59:41,200 --> 00:59:42,480
Speaker 6: I knew that right.

1094
00:59:44,000 --> 00:59:44,800
Speaker 7: Select that I got.

1095
00:59:44,920 --> 00:59:48,960
Speaker 2: You can you tell me the process, especially you know,

1096
00:59:49,240 --> 00:59:52,200
Speaker 2: starting in at least eighty seven eighty eight, when like

1097
00:59:52,880 --> 00:59:56,640
Speaker 2: dance all is really really finding it's it's legs.

1098
00:59:56,680 --> 01:00:00,560
Speaker 3: How do rhythms get distributed?

1099
01:00:00,640 --> 01:00:01,400
Speaker 6: Like, how are you.

1100
01:00:01,320 --> 01:00:05,000
Speaker 2: Guys aware that yo? Okay, let's let's take the most

1101
01:00:05,000 --> 01:00:09,000
Speaker 2: infamous one, which is the SLI and Robbie Murdercy wrote rhythm.

1102
01:00:09,160 --> 01:00:09,920
Speaker 6: Yeah.

1103
01:00:10,560 --> 01:00:12,880
Speaker 2: Now, you know, we live in a time where you

1104
01:00:12,920 --> 01:00:15,920
Speaker 2: can pick up your iPhone and something goes viral. But

1105
01:00:16,480 --> 01:00:20,160
Speaker 2: how are people aware that there's a new rhythm ready

1106
01:00:20,200 --> 01:00:23,840
Speaker 2: to be like right for business in which you know,

1107
01:00:23,960 --> 01:00:26,920
Speaker 2: I can rhyme over this or or not rhyme toast

1108
01:00:26,960 --> 01:00:27,280
Speaker 2: over this.

1109
01:00:29,040 --> 01:00:33,120
Speaker 6: Well you know that particular rhythm. A lot of people

1110
01:00:33,200 --> 01:00:37,880
Speaker 6: don't know that Robbie Shakespeare wasn't really on that it

1111
01:00:38,000 --> 01:00:43,240
Speaker 6: was really it was really sly. Now team their team.

1112
01:00:43,040 --> 01:00:46,760
Speaker 13: Has Slier Robbie, but right, Robbie really didn't play based

1113
01:00:46,760 --> 01:00:49,400
Speaker 13: on that. It was really, it was really and Robbie

1114
01:00:49,400 --> 01:00:53,120
Speaker 13: has been a very very close friend of mine for years,

1115
01:00:53,160 --> 01:00:53,360
Speaker 13: you know.

1116
01:00:53,520 --> 01:00:58,720
Speaker 6: But that rhythm itself, you know, it was made with

1117
01:00:58,720 --> 01:01:04,320
Speaker 6: with akadem Is, some Plyers and they did two songs

1118
01:01:04,320 --> 01:01:07,000
Speaker 6: on it. I think Pliers did Bam Bam, which was

1119
01:01:07,280 --> 01:01:12,920
Speaker 6: a cover of the old twots right, and then and

1120
01:01:12,960 --> 01:01:16,120
Speaker 6: then they did Murder she wrote, And those were the

1121
01:01:16,160 --> 01:01:19,400
Speaker 6: two records. First. It didn't become a rhythm until after

1122
01:01:19,480 --> 01:01:22,400
Speaker 6: that where people sly started to make it as a

1123
01:01:22,480 --> 01:01:25,160
Speaker 6: ridden for other people to do and started doing different Okay.

1124
01:01:25,000 --> 01:01:26,480
Speaker 4: I'm gonna just say it, you guys, because I'm gonna

1125
01:01:26,480 --> 01:01:28,040
Speaker 4: say it for the folks that don't know.

1126
01:01:28,120 --> 01:01:29,560
Speaker 7: Just tell them what the rhythm is. Tell them what

1127
01:01:29,600 --> 01:01:30,000
Speaker 7: the rhythm is.

1128
01:01:30,560 --> 01:01:33,720
Speaker 2: The background so like don't you notice like sometimes you'll

1129
01:01:33,760 --> 01:01:37,040
Speaker 2: hear the same song, you'll hear the same musical bath

1130
01:01:37,120 --> 01:01:39,080
Speaker 2: drop everybody like.

1131
01:01:41,360 --> 01:01:47,680
Speaker 5: Way back the the what was the right right? And

1132
01:01:47,960 --> 01:01:50,320
Speaker 5: that was that's the rhythm.

1133
01:01:50,520 --> 01:01:52,960
Speaker 6: So the Wally rhythm is done by Lanky Marsden, who

1134
01:01:53,040 --> 01:01:55,520
Speaker 6: was also a protege of Slim Robbie to be honest

1135
01:01:55,520 --> 01:01:58,880
Speaker 6: with you and and Leanky Marsden is one of the

1136
01:01:59,000 --> 01:02:03,439
Speaker 6: arrangers on this new album with Me and Sting. Yeah,

1137
01:02:03,480 --> 01:02:08,160
Speaker 6: so he created that and did Sean Paul Get Busy

1138
01:02:08,200 --> 01:02:09,800
Speaker 6: and all of those records and then he wanted to

1139
01:02:09,800 --> 01:02:13,840
Speaker 6: know Letting Go and all that. Yeah, that record that

1140
01:02:13,960 --> 01:02:15,520
Speaker 6: was a very popular ridden too.

1141
01:02:16,480 --> 01:02:19,120
Speaker 2: Well, I'm just asking from the musical standpoint. So say,

1142
01:02:19,160 --> 01:02:23,360
Speaker 2: if I make a beat, right, I produce something, Yeah, do.

1143
01:02:23,400 --> 01:02:25,120
Speaker 3: I want everyone to rhyme over it?

1144
01:02:25,160 --> 01:02:27,280
Speaker 2: And am I getting paid like the person that does

1145
01:02:28,080 --> 01:02:34,520
Speaker 2: the rhythm to or whatever d like when he does

1146
01:02:34,560 --> 01:02:37,640
Speaker 2: that rhythm and then like thirty people are rhyming and

1147
01:02:37,720 --> 01:02:39,840
Speaker 2: releasing records on that rhythm.

1148
01:02:40,160 --> 01:02:41,960
Speaker 3: Am I getting paid thirty times?

1149
01:02:42,080 --> 01:02:45,600
Speaker 6: Or am I just yes you are? Okay, oh yes

1150
01:02:45,600 --> 01:02:48,440
Speaker 6: you are? Because because each song, each song is a

1151
01:02:48,440 --> 01:02:51,400
Speaker 6: new composition. So little Me d uh oh is a

1152
01:02:51,440 --> 01:02:57,800
Speaker 6: different composition, Sean Paul uh, get Busy is a different composition.

1153
01:02:58,280 --> 01:03:00,600
Speaker 6: So wonder yeah you know what I mean.

1154
01:03:01,320 --> 01:03:05,120
Speaker 2: So there's no there's no like territorial pissing, Like I

1155
01:03:05,120 --> 01:03:07,520
Speaker 2: don't know, like if I made something dope like grinding

1156
01:03:07,640 --> 01:03:10,440
Speaker 2: by the clips, if the clips rhyme are over grind

1157
01:03:10,560 --> 01:03:14,479
Speaker 2: and I would figure that Pharrell wouldn't want anyone else

1158
01:03:14,520 --> 01:03:18,160
Speaker 2: to have that musical backdrop except for the artisty intensive.

1159
01:03:17,840 --> 01:03:21,560
Speaker 6: Yeah, but if you, but but if you, if you're

1160
01:03:21,560 --> 01:03:24,160
Speaker 6: in the business of money, you're going to have dope, right,

1161
01:03:26,240 --> 01:03:26,440
Speaker 6: you know.

1162
01:03:26,600 --> 01:03:29,200
Speaker 5: Said jacking your ship. But if you're saying it.

1163
01:03:29,120 --> 01:03:31,439
Speaker 6: Like, all right, take a bridge, you got you got,

1164
01:03:31,600 --> 01:03:34,280
Speaker 6: Sting did every berth you take and then Puffy did

1165
01:03:34,320 --> 01:03:36,919
Speaker 6: it over with I'll be miss you, it's the same

1166
01:03:37,040 --> 01:03:38,600
Speaker 6: be Sting.

1167
01:03:38,480 --> 01:03:42,640
Speaker 4: Got paid twice and now you'll just like Mary's samples

1168
01:03:42,640 --> 01:03:44,040
Speaker 4: are marrying into the rhythm.

1169
01:03:46,000 --> 01:03:47,920
Speaker 6: You know, It's just it's the same ship, you know,

1170
01:03:48,280 --> 01:03:51,000
Speaker 6: So if you I want that to happen. Nowadays, it's

1171
01:03:51,040 --> 01:03:54,080
Speaker 6: not as popular to have rhythms again as much. You know,

1172
01:03:54,160 --> 01:03:57,200
Speaker 6: it's not it doesn't dominate like that. It's mainly an

1173
01:03:57,200 --> 01:04:00,400
Speaker 6: Internet really changed that. So you'll see people do you know,

1174
01:04:00,480 --> 01:04:05,560
Speaker 6: because YouTube is where most Jamaicans consume. They're they're they're streaming,

1175
01:04:06,160 --> 01:04:10,080
Speaker 6: so they'll be buying into these songs. And it's too easy,

1176
01:04:10,800 --> 01:04:13,080
Speaker 6: you know, to just get into different different songs.

1177
01:04:13,120 --> 01:04:15,200
Speaker 3: Now, well, that's my next question.

1178
01:04:15,320 --> 01:04:18,320
Speaker 2: I was about to say, like I haven't seen a

1179
01:04:18,400 --> 01:04:20,560
Speaker 2: new rhythm since like two.

1180
01:04:20,360 --> 01:04:24,600
Speaker 3: Thousand and seven. Almost it's almost like it it went out.

1181
01:04:24,800 --> 01:04:29,120
Speaker 3: So for you, where is dancehall culture?

1182
01:04:29,680 --> 01:04:34,040
Speaker 2: I have a feeling that, like, is there something new

1183
01:04:35,360 --> 01:04:37,960
Speaker 2: that the younger generation is embracing.

1184
01:04:37,560 --> 01:04:39,880
Speaker 6: Chronics Chronics is a part of the new generation. I

1185
01:04:39,880 --> 01:04:41,240
Speaker 6: would think, you know.

1186
01:04:41,280 --> 01:04:42,560
Speaker 3: These are old soul.

1187
01:04:43,040 --> 01:04:45,480
Speaker 6: Yeah, but but but but there that's a guy where

1188
01:04:45,800 --> 01:04:49,600
Speaker 6: the music that he made was appealing to the young,

1189
01:04:50,080 --> 01:04:53,200
Speaker 6: young guys, but also to older people. You know what

1190
01:04:53,200 --> 01:04:56,320
Speaker 6: I'm saying, People fuck with Chronics who were old people

1191
01:04:56,360 --> 01:04:58,960
Speaker 6: were young, you know what I'm saying. But as far

1192
01:04:59,000 --> 01:05:02,240
Speaker 6: as that, as far as dance All, now, you know,

1193
01:05:02,480 --> 01:05:05,240
Speaker 6: if you look at what dance all is right now,

1194
01:05:05,880 --> 01:05:09,080
Speaker 6: it's a different kind of a sound. But what dance

1195
01:05:09,120 --> 01:05:12,560
Speaker 6: all is looking for is that superhero star that I'm

1196
01:05:12,560 --> 01:05:15,760
Speaker 6: telling you about to really make it cool and shift it.

1197
01:05:16,160 --> 01:05:18,040
Speaker 6: You know, the sound might very well be there. It's

1198
01:05:18,080 --> 01:05:22,000
Speaker 6: a combination of two things, a sound, right and the

1199
01:05:22,120 --> 01:05:26,960
Speaker 6: artists and the star. Because you could sing something backwards

1200
01:05:26,960 --> 01:05:29,000
Speaker 6: in the Hebrew. If you cool enough doing it, you're

1201
01:05:29,000 --> 01:05:31,600
Speaker 6: gonna grab onto it. Do you get what I'm saying.

1202
01:05:32,600 --> 01:05:37,520
Speaker 2: Is there a lack of a certain type of charisma? Yeah,

1203
01:05:37,560 --> 01:05:39,040
Speaker 2: I mean the same way that there will never be

1204
01:05:39,080 --> 01:05:41,120
Speaker 2: another Michael Jackson, There'll never be another prince.

1205
01:05:41,640 --> 01:05:43,680
Speaker 6: And I'm gonna break it down to you. I'm gonna

1206
01:05:43,680 --> 01:05:46,080
Speaker 6: tell you why I'm break it down to you. There

1207
01:05:46,160 --> 01:05:49,040
Speaker 6: is a lack of that because you might have somebody

1208
01:05:49,040 --> 01:05:54,440
Speaker 6: who's really talented, but they don't have charisma. Or you

1209
01:05:54,560 --> 01:05:57,080
Speaker 6: might have somebody that got the charisma but he can't

1210
01:05:57,120 --> 01:05:59,760
Speaker 6: spit real well. Or you might have somebody that got

1211
01:05:59,760 --> 01:06:03,680
Speaker 6: the rithman he could spit well, but then the person's lazy, ship,

1212
01:06:03,960 --> 01:06:05,640
Speaker 6: don't want to do no interviews, don't want to go

1213
01:06:05,760 --> 01:06:08,320
Speaker 6: nothing now and so, or you might have somebody got

1214
01:06:08,400 --> 01:06:09,919
Speaker 6: all of that, but they got to manage it. That's

1215
01:06:09,920 --> 01:06:12,200
Speaker 6: just a fucking idiot, you know what I'm saying. So

1216
01:06:12,240 --> 01:06:14,240
Speaker 6: when you when you look at it, if you to

1217
01:06:14,560 --> 01:06:18,160
Speaker 6: get a superstar, that super you gotta have all of

1218
01:06:18,200 --> 01:06:21,600
Speaker 6: that lined up. Take for instance, you look at Afrobeat.

1219
01:06:22,120 --> 01:06:25,040
Speaker 6: Everybody say Afrobeat has been coming forever, blah blah blah

1220
01:06:25,080 --> 01:06:28,240
Speaker 6: blah blah blah blah. Okay, but you look at Berna

1221
01:06:28,280 --> 01:06:30,240
Speaker 6: boy right now is the biggest in the world. Now.

1222
01:06:30,280 --> 01:06:32,200
Speaker 6: If you go to like Nigeria and talk to problem

1223
01:06:32,200 --> 01:06:35,000
Speaker 6: the average person to be like bernaboy, is that guy?

1224
01:06:35,040 --> 01:06:37,280
Speaker 6: You know what I mean? You go because same ship

1225
01:06:37,360 --> 01:06:39,479
Speaker 6: that go on a different day with a different artist,

1226
01:06:39,800 --> 01:06:41,840
Speaker 6: you know, the same shit with me. Oh shah, yeah,

1227
01:06:41,920 --> 01:06:43,560
Speaker 6: ain't that you know? Whatever it is?

1228
01:06:44,000 --> 01:06:45,600
Speaker 3: So whoever the popular one is.

1229
01:06:45,880 --> 01:06:49,280
Speaker 6: But what sets burn a boy apart? That's that's the

1230
01:06:49,320 --> 01:06:52,959
Speaker 6: guy that did the work, Because how are you gonna

1231
01:06:53,000 --> 01:06:57,280
Speaker 6: tell the guys in Africa? Africa is a continent. These

1232
01:06:57,360 --> 01:07:00,360
Speaker 6: guys are driving Lamborghinis and Ferrari. You're gonna tell him

1233
01:07:00,400 --> 01:07:02,600
Speaker 6: to come over here and do quest Love show for free?

1234
01:07:03,880 --> 01:07:07,520
Speaker 6: I fuck got it. It takes. It takes. It takes

1235
01:07:07,560 --> 01:07:10,840
Speaker 6: a different mindset of a guy to be like, you

1236
01:07:10,880 --> 01:07:13,760
Speaker 6: know what, I'm seeing a bigger picture here. I'm gonna

1237
01:07:13,800 --> 01:07:17,080
Speaker 6: go do Quest's ship for free, and I'm gonna and

1238
01:07:17,120 --> 01:07:20,800
Speaker 6: I'm gonna come from fifteen minutes early and make sure

1239
01:07:21,040 --> 01:07:24,760
Speaker 6: that that motherfucker see me when he comes. I mean,

1240
01:07:25,080 --> 01:07:27,200
Speaker 6: and it ain't money for that guy, it's it is

1241
01:07:27,360 --> 01:07:29,880
Speaker 6: really a bigger picture of where he wants to go.

1242
01:07:30,240 --> 01:07:33,560
Speaker 6: That's that's what Bernard boy hats. That's the guy that

1243
01:07:33,680 --> 01:07:35,680
Speaker 6: decided that he's gonna do it. Now, what's gonna happen

1244
01:07:35,720 --> 01:07:37,640
Speaker 6: now is once he gets that, you're gonna see a

1245
01:07:37,640 --> 01:07:40,280
Speaker 6: lot of motherfuckers who was driving him car be like, yo,

1246
01:07:40,320 --> 01:07:41,600
Speaker 6: I want to be as big as that might. Yo,

1247
01:07:41,640 --> 01:07:44,280
Speaker 6: he ain't shit fuck that. You know, they're gonna start

1248
01:07:44,280 --> 01:07:47,160
Speaker 6: to work now because he's now setting that trend of

1249
01:07:47,200 --> 01:07:49,680
Speaker 6: what to do. You know this, right after Shaggy, there

1250
01:07:49,720 --> 01:07:53,720
Speaker 6: was a Shan Paul I mean, and that then because Trent,

1251
01:07:53,920 --> 01:07:56,240
Speaker 6: you know this right after remember what motherfuckers used to

1252
01:07:56,320 --> 01:07:59,800
Speaker 6: do until Jay started putting on suits, you know, and

1253
01:07:59,600 --> 01:08:02,920
Speaker 6: and and put it fitted on, and then motherfuckers became

1254
01:08:03,200 --> 01:08:06,840
Speaker 6: instead of rappers, they became wounds, you know, and remember that.

1255
01:08:06,960 --> 01:08:10,080
Speaker 6: And Jade came with a model. You know, he went Beyonce.

1256
01:08:10,440 --> 01:08:12,520
Speaker 6: I saw fifty do an interview the other day and say,

1257
01:08:13,200 --> 01:08:15,240
Speaker 6: we know why j madde because he signed that contract?

1258
01:08:15,280 --> 01:08:21,960
Speaker 6: What contract Beyonce? Because because Beyonce was this leverage. Because

1259
01:08:22,000 --> 01:08:24,360
Speaker 6: you're gonna have a different conversation now when you got

1260
01:08:24,360 --> 01:08:27,200
Speaker 6: Beyonce in the room, you know what I'm saying. That's

1261
01:08:27,200 --> 01:08:29,360
Speaker 6: the difference. And if you if you look at the model,

1262
01:08:29,439 --> 01:08:33,600
Speaker 6: it became okay. So what came after that? Kanye and

1263
01:08:33,640 --> 01:08:39,240
Speaker 6: Kim same model, Swiss and Alicia same model right right now,

1264
01:08:39,240 --> 01:08:43,120
Speaker 6: you got Cardi b and and same same model, you know.

1265
01:08:43,200 --> 01:08:46,600
Speaker 6: I mean it's it's been patterned because it was blueprinted

1266
01:08:46,640 --> 01:08:51,200
Speaker 6: by Jay and you saw that it worked and you

1267
01:08:51,320 --> 01:08:54,080
Speaker 6: followed it. You know what I'm saying, That's all we're

1268
01:08:54,080 --> 01:08:57,000
Speaker 6: trying to do in dance all is create that mold.

1269
01:08:57,520 --> 01:09:00,840
Speaker 6: That'd be like, oh ship, that's blueprinted. This motherfuck made that.

1270
01:09:01,400 --> 01:09:03,600
Speaker 6: I'm gonna fuck with that, and you might do a

1271
01:09:03,640 --> 01:09:05,559
Speaker 6: spin off of it. And they got me exactly the

1272
01:09:05,560 --> 01:09:08,519
Speaker 6: same way. But you know, you got something as a

1273
01:09:08,560 --> 01:09:10,240
Speaker 6: guide to bring you there.

1274
01:09:10,320 --> 01:09:12,960
Speaker 4: But making that next shaggy it's more of a challenge,

1275
01:09:13,040 --> 01:09:15,519
Speaker 4: I think than people even know, because I was I

1276
01:09:15,600 --> 01:09:17,200
Speaker 4: was just thinking about this as we were talking about

1277
01:09:17,200 --> 01:09:19,000
Speaker 4: these other records that came out during the time when

1278
01:09:19,040 --> 01:09:22,519
Speaker 4: you did, like even with the murder she Wroats or flex.

1279
01:09:23,560 --> 01:09:26,839
Speaker 4: The other one thing that you have and that nobody

1280
01:09:26,840 --> 01:09:29,400
Speaker 4: ever did, and we don't want to admit this as Americans,

1281
01:09:29,760 --> 01:09:31,719
Speaker 4: is that we knew what the fuck you was saying,

1282
01:09:32,080 --> 01:09:35,880
Speaker 4: because for like the rest of those records, we were But.

1283
01:09:35,880 --> 01:09:39,400
Speaker 6: That was calculated. I figured it out, you know what

1284
01:09:39,400 --> 01:09:42,800
Speaker 6: I mean. I took I knew motherfuckers like reggae because

1285
01:09:42,840 --> 01:09:46,160
Speaker 6: they liked the cadences and the floor. I took dance

1286
01:09:46,200 --> 01:09:49,559
Speaker 6: all cadences. But I just spoke to Queen's English. So

1287
01:09:49,600 --> 01:09:51,599
Speaker 6: I put a little patrol word there and there. But

1288
01:09:51,640 --> 01:09:53,679
Speaker 6: then I made it clear enough a lot of things.

1289
01:09:53,720 --> 01:09:56,719
Speaker 6: One big party and you're still young. Well, who's gonna

1290
01:09:56,760 --> 01:09:59,120
Speaker 6: have their back when it's all dumb? It's all go

1291
01:09:59,280 --> 01:10:01,960
Speaker 6: the way you have that accent that is there. But

1292
01:10:02,120 --> 01:10:04,840
Speaker 6: that was deliberate. It was an accident.

1293
01:10:04,920 --> 01:10:06,920
Speaker 4: But to the point where people questioned, But to the

1294
01:10:06,960 --> 01:10:09,479
Speaker 4: point where people questioned your validity as like, let.

1295
01:10:09,439 --> 01:10:10,519
Speaker 7: Me tell you that from Jamaica.

1296
01:10:10,960 --> 01:10:13,960
Speaker 6: Ya, dude, that ship killed It made me and killed

1297
01:10:13,960 --> 01:10:16,479
Speaker 6: me at the same time. It made me because I

1298
01:10:16,520 --> 01:10:18,600
Speaker 6: got on every single radio and my records would be

1299
01:10:18,920 --> 01:10:21,200
Speaker 6: it killed me. Couldn't be like that nigga ain't real Jamaican.

1300
01:10:21,840 --> 01:10:23,920
Speaker 6: You don't hear that motherfucker. You know what I'm saying.

1301
01:10:24,400 --> 01:10:27,000
Speaker 6: That motherfucker in Jamaican, And I am more Jamaican than

1302
01:10:27,040 --> 01:10:29,439
Speaker 6: all that motherfuckers because I'm not. I'm from the gutters

1303
01:10:29,439 --> 01:10:34,280
Speaker 6: of Jamaica. I'm from the Jamaica, And I mean I

1304
01:10:34,320 --> 01:10:37,200
Speaker 6: did everything Jamaican out of there. But at the end

1305
01:10:37,200 --> 01:10:40,640
Speaker 6: of the day, as history absorbs you after a while.

1306
01:10:40,760 --> 01:10:42,559
Speaker 7: That story wasn't shaggy though.

1307
01:10:42,600 --> 01:10:44,640
Speaker 4: That part of the story was never told about you

1308
01:10:44,920 --> 01:10:47,240
Speaker 4: because of the fact that you skipped and went to

1309
01:10:47,240 --> 01:10:49,720
Speaker 4: that pop thing. So everybody who was pushing toward that

1310
01:10:49,800 --> 01:10:52,120
Speaker 4: direction had no idea that we wanted to hear that

1311
01:10:52,200 --> 01:10:54,800
Speaker 4: story necessary and.

1312
01:10:54,720 --> 01:10:56,760
Speaker 6: I didn't want I didn't want to go pop. I

1313
01:10:56,840 --> 01:11:00,240
Speaker 6: just go where there understood, understand because if you because

1314
01:11:00,280 --> 01:11:02,000
Speaker 6: if you think about there's another guy that was in

1315
01:11:02,040 --> 01:11:06,519
Speaker 6: my company, his name was Bob Marley. Yes, I noticed

1316
01:11:06,560 --> 01:11:09,320
Speaker 6: that Bob Marley was never played on black radio.

1317
01:11:09,520 --> 01:11:11,519
Speaker 7: Yes, yes, he was played.

1318
01:11:11,680 --> 01:11:15,360
Speaker 6: He was played on rock radio. Yes. It's so ironic

1319
01:11:15,439 --> 01:11:18,800
Speaker 6: now that that Marley has now become a symbol of

1320
01:11:18,920 --> 01:11:23,800
Speaker 6: black people and and the black struggle, but was not embraced.

1321
01:11:23,880 --> 01:11:26,880
Speaker 4: You're right, it's funny because it was truly black radio's fault,

1322
01:11:27,200 --> 01:11:30,960
Speaker 4: not black people, which my mother always makes it clear, like,

1323
01:11:31,000 --> 01:11:33,760
Speaker 4: don't get it twisted. I saw the documentary too. We

1324
01:11:33,800 --> 01:11:34,559
Speaker 4: fucked with him.

1325
01:11:35,200 --> 01:11:39,640
Speaker 6: Radio did not exactly exactly, So it's so ironic. And

1326
01:11:39,680 --> 01:11:42,080
Speaker 6: then what was so what was so crazy is that

1327
01:11:42,120 --> 01:11:44,760
Speaker 6: the Marley music that you hear now that is now

1328
01:11:44,840 --> 01:11:51,679
Speaker 6: the blueprint of reggae music was actually a hybrid because

1329
01:11:52,280 --> 01:11:56,320
Speaker 6: of because of rock. Because let me show you Chris Blackwell.

1330
01:11:56,840 --> 01:12:00,000
Speaker 6: To get to get reggae to be played on rock record,

1331
01:12:00,680 --> 01:12:04,080
Speaker 6: he hired a session musicians to do overdubs and a

1332
01:12:04,120 --> 01:12:07,800
Speaker 6: lot of the original Whalers records created a high and

1333
01:12:07,880 --> 01:12:11,080
Speaker 6: created a hybrid. And that's how and those records are

1334
01:12:11,120 --> 01:12:14,200
Speaker 6: now the blueprint of what reggae music is now. If

1335
01:12:14,200 --> 01:12:16,559
Speaker 6: you look at it, even with Sting and the Police,

1336
01:12:16,600 --> 01:12:18,479
Speaker 6: Sting used to idols. Sting told me this that he

1337
01:12:18,600 --> 01:12:24,559
Speaker 6: tried to to emolate. He tried to immolate a family man,

1338
01:12:24,640 --> 01:12:27,240
Speaker 6: and and and the Whales and all of these reggae bands,

1339
01:12:27,400 --> 01:12:29,600
Speaker 6: and what he created, he couldn't do it. So what

1340
01:12:29,680 --> 01:12:33,080
Speaker 6: he ended up doing was a hybrid version of it,

1341
01:12:33,120 --> 01:12:34,439
Speaker 6: which became the sound.

1342
01:12:34,240 --> 01:12:38,760
Speaker 3: Of the Yeah right.

1343
01:12:39,920 --> 01:12:42,240
Speaker 6: It became white rege and and and if you look

1344
01:12:42,320 --> 01:12:44,679
Speaker 6: at if you look at the Police, they were really

1345
01:12:44,720 --> 01:12:49,160
Speaker 6: the first white reggae band that sold millions, you know.

1346
01:12:49,240 --> 01:12:51,680
Speaker 6: And then if you look at it now at all

1347
01:12:51,760 --> 01:12:53,400
Speaker 6: the rest of the band, you look at, you be

1348
01:12:53,560 --> 01:12:56,840
Speaker 6: forty All of these bands that have sold over ten

1349
01:12:56,920 --> 01:13:00,320
Speaker 6: million are massive. They're all white. You be forty, no

1350
01:13:00,400 --> 01:13:04,960
Speaker 6: doubt a bass you know, no way right. Even now,

1351
01:13:05,680 --> 01:13:10,360
Speaker 6: the two biggest reggae bands is Soldia and Revolution, white

1352
01:13:10,400 --> 01:13:11,040
Speaker 6: reggae bands.

1353
01:13:11,120 --> 01:13:13,280
Speaker 7: I was with Spice in that fight. She should should

1354
01:13:13,280 --> 01:13:13,479
Speaker 7: have won.

1355
01:13:13,560 --> 01:13:16,200
Speaker 6: Josh got out one matter of fact. Matter of fact,

1356
01:13:16,200 --> 01:13:21,439
Speaker 6: Bob Marley was arguably the biggest reggae artists of all times.

1357
01:13:21,479 --> 01:13:23,519
Speaker 6: Only Number one was I Shot the Sheriff. That was

1358
01:13:23,560 --> 01:13:26,200
Speaker 6: done by the white guy, Eric Eric Clapton.

1359
01:13:27,160 --> 01:13:31,240
Speaker 4: Wow, you got to teach this master class.

1360
01:13:31,280 --> 01:13:33,599
Speaker 7: Shaggy damn Shaggy.

1361
01:13:35,160 --> 01:13:35,360
Speaker 6: Yeah.

1362
01:13:35,479 --> 01:13:39,080
Speaker 2: When when you're when you're having this initial success with

1363
01:13:39,080 --> 01:13:42,719
Speaker 2: with Caroline and all these hits, you know you're you're

1364
01:13:43,160 --> 01:13:48,640
Speaker 2: now stepping into spaces and territories that are you know,

1365
01:13:48,840 --> 01:13:53,559
Speaker 2: only for you know, the elite artists. And so what's

1366
01:13:53,600 --> 01:13:58,959
Speaker 2: that experience like like now getting to play these stadiums

1367
01:13:58,960 --> 01:14:01,720
Speaker 2: and doing these shows that otherwise you know you're not

1368
01:14:01,840 --> 01:14:06,360
Speaker 2: doing these, like local run of the mill nightclubs.

1369
01:14:05,760 --> 01:14:07,720
Speaker 7: And sound systems.

1370
01:14:09,120 --> 01:14:13,320
Speaker 6: I tell you what, I never felt accepted. I believe

1371
01:14:13,360 --> 01:14:17,800
Speaker 6: that I was never felt accepted in any of it.

1372
01:14:17,840 --> 01:14:20,880
Speaker 6: I always felt out of place, even though I was

1373
01:14:20,920 --> 01:14:23,000
Speaker 6: in the room with some of these big names and

1374
01:14:23,040 --> 01:14:26,960
Speaker 6: I sold those numbers. I never felt like I was

1375
01:14:27,840 --> 01:14:30,439
Speaker 6: accepted as part of it. It was like, Okay, he's

1376
01:14:30,479 --> 01:14:31,120
Speaker 6: just a thing.

1377
01:14:32,880 --> 01:14:34,280
Speaker 3: Oh you got lucky and you're here.

1378
01:14:34,960 --> 01:14:39,639
Speaker 2: So even when you like, performed from Michael Jackson at MSG,

1379
01:14:40,479 --> 01:14:43,160
Speaker 2: because I think he actually said I love this song

1380
01:14:43,280 --> 01:14:44,480
Speaker 2: I saw it was about.

1381
01:14:44,720 --> 01:14:47,320
Speaker 6: Yeah, he said it was his favorite record. But Michael

1382
01:14:47,360 --> 01:14:49,720
Speaker 6: gave me a speech. Like I spoke to Michael and

1383
01:14:49,760 --> 01:14:52,320
Speaker 6: he gave me a speech. And when you're talking to

1384
01:14:52,360 --> 01:14:55,160
Speaker 6: Michael Jackson and he knows everything about your album more

1385
01:14:55,200 --> 01:14:59,960
Speaker 6: than you, Wow, you realized that that person is stud

1386
01:15:01,800 --> 01:15:03,960
Speaker 6: like he was. He was asking me a BYuT album tracks,

1387
01:15:04,280 --> 01:15:05,920
Speaker 6: not singles, album tracks.

1388
01:15:06,360 --> 01:15:10,799
Speaker 2: Quick backstory, Mike, So Michael Jackson before streaming culture, Michael

1389
01:15:10,840 --> 01:15:15,920
Speaker 2: had like four dudes every week, like four guys would

1390
01:15:16,000 --> 01:15:18,320
Speaker 2: have to study every chart around the world.

1391
01:15:19,160 --> 01:15:20,080
Speaker 3: Yeah, and then make.

1392
01:15:20,120 --> 01:15:26,200
Speaker 2: Michael Jackson a compilation of every top twenty chart for

1393
01:15:26,320 --> 01:15:30,000
Speaker 2: every country in the world. So every Monday morning, Michael

1394
01:15:30,120 --> 01:15:37,240
Speaker 2: Jackson's getting a new compilation of whatever is like just

1395
01:15:37,280 --> 01:15:39,719
Speaker 2: got into the top twenty and he's studying it.

1396
01:15:40,040 --> 01:15:42,880
Speaker 6: And he Likelive Davis, Clive Davis did the same thing.

1397
01:15:43,479 --> 01:15:46,400
Speaker 2: Yeah, Okay, and then if he likes what he hears,

1398
01:15:46,439 --> 01:15:47,920
Speaker 2: then he studies that.

1399
01:15:48,200 --> 01:15:49,240
Speaker 3: Artist whole history.

1400
01:15:49,479 --> 01:15:49,719
Speaker 6: Yeah.

1401
01:15:50,080 --> 01:15:52,360
Speaker 3: Yeah, it was explains why he takes like six years

1402
01:15:52,360 --> 01:15:53,679
Speaker 3: between records, so he's busy.

1403
01:15:54,920 --> 01:15:58,120
Speaker 6: So Michael for me was a validation because for one,

1404
01:15:58,160 --> 01:16:00,519
Speaker 6: I didn't even know the guy named my name. Right,

1405
01:16:00,840 --> 01:16:04,599
Speaker 6: Imagine how shocked I was that I got the invite.

1406
01:16:04,680 --> 01:16:07,960
Speaker 6: I'm like, I'm dansall, are you serious? Or the genre?

1407
01:16:08,080 --> 01:16:11,400
Speaker 6: I'm like yeah, And and and that I was going

1408
01:16:11,479 --> 01:16:13,560
Speaker 6: to be on Prime Time singing that ship you know

1409
01:16:13,600 --> 01:16:15,799
Speaker 6: what I'm saying, and then he reacted out. He reacted

1410
01:16:16,120 --> 01:16:18,880
Speaker 6: So that was that was a moment for me. So

1411
01:16:19,000 --> 01:16:22,360
Speaker 6: that was a part of the validation for me. But

1412
01:16:22,439 --> 01:16:26,040
Speaker 6: I think the biggest validation I got was Sting. That

1413
01:16:26,040 --> 01:16:29,200
Speaker 6: that was the biggest validation for me. That, like Sting

1414
01:16:30,600 --> 01:16:33,160
Speaker 6: restored every confidence that I was lacking.

1415
01:16:34,120 --> 01:16:36,640
Speaker 3: Talk about it. How did you guys meet?

1416
01:16:36,960 --> 01:16:39,680
Speaker 6: You know? Funny enough, I'm mixeding in two thousand and

1417
01:16:39,720 --> 01:16:42,880
Speaker 6: four and Antwerp and I jumped on stage and did

1418
01:16:43,520 --> 01:16:46,000
Speaker 6: rock sand and I never saw him again into years after.

1419
01:16:47,600 --> 01:16:48,759
Speaker 3: Was that the Police reunion?

1420
01:16:49,560 --> 01:16:51,559
Speaker 6: No, it wasn't produce unit. He was just you know,

1421
01:16:51,600 --> 01:16:55,519
Speaker 6: doing on his own No, he did rock yeah on

1422
01:16:55,560 --> 01:16:57,240
Speaker 6: his own. Yeah, he does that every d It's his song,

1423
01:16:57,280 --> 01:16:59,840
Speaker 6: he wrote, He wrote, all so it's good. Well that.

1424
01:16:59,880 --> 01:17:03,479
Speaker 2: But normally, normally when I see Sting, you know, I

1425
01:17:03,880 --> 01:17:07,320
Speaker 2: get jazzy Sting or whatever, like he never touches his.

1426
01:17:07,280 --> 01:17:10,800
Speaker 6: Nose, you know, he's that. That night he did and

1427
01:17:11,240 --> 01:17:14,160
Speaker 6: we ended up broking in Antwerp. I was on a

1428
01:17:14,240 --> 01:17:16,639
Speaker 6: thing called Night of the Problems with Me. James Brown,

1429
01:17:16,680 --> 01:17:20,120
Speaker 6: sending Law pointed, sister, all of us was there. It

1430
01:17:20,160 --> 01:17:22,240
Speaker 6: was a big orchestra thing. We were there for a month,

1431
01:17:22,840 --> 01:17:25,040
Speaker 6: you know, and wow, and that's when I met James

1432
01:17:25,040 --> 01:17:28,719
Speaker 6: Brown too, who took a liking to me and kicked

1433
01:17:28,720 --> 01:17:31,240
Speaker 6: my door in and gave me a full fucking sit

1434
01:17:31,400 --> 01:17:32,240
Speaker 6: down one evening.

1435
01:17:33,520 --> 01:17:34,280
Speaker 3: What was that like?

1436
01:17:34,960 --> 01:17:39,240
Speaker 6: He walked into my dressing room with a with a

1437
01:17:39,280 --> 01:17:42,439
Speaker 6: bodyguard guy behind him and the dude that always put

1438
01:17:42,600 --> 01:17:46,040
Speaker 6: the thing over his shoulders and and he walked in

1439
01:17:46,200 --> 01:17:49,680
Speaker 6: and said and said, he says, sit down, I want

1440
01:17:49,680 --> 01:17:52,519
Speaker 6: to talk to you. And I was like, oh ship,

1441
01:17:52,560 --> 01:17:55,160
Speaker 6: I'm not getting like a James Brown beat down or something.

1442
01:17:57,120 --> 01:17:59,360
Speaker 6: So I sat and then he was like, let me

1443
01:17:59,360 --> 01:18:01,160
Speaker 6: tell you something. I don't watch you every night.

1444
01:18:02,160 --> 01:18:04,080
Speaker 12: I seen them come. I see him go. I've been

1445
01:18:04,120 --> 01:18:07,840
Speaker 12: to your country, a part of Molly. Let me tell

1446
01:18:07,840 --> 01:18:10,559
Speaker 12: you something. You good, you the truth, you funny. You

1447
01:18:10,560 --> 01:18:11,599
Speaker 12: need to let me see both sides.

1448
01:18:12,520 --> 01:18:14,519
Speaker 6: And I'm looking at him, say, let me tell you something.

1449
01:18:14,600 --> 01:18:18,040
Speaker 6: Can take away your woman, your house, your car, your money.

1450
01:18:18,400 --> 01:18:19,400
Speaker 6: There's one thing that never.

1451
01:18:19,240 --> 01:18:22,479
Speaker 12: Take away from you your talent. And as long as

1452
01:18:22,479 --> 01:18:25,360
Speaker 12: you have your talent, you're a rich man. Keep doing

1453
01:18:25,400 --> 01:18:28,400
Speaker 12: you doing, God bless you. Get up and walked out.

1454
01:18:28,920 --> 01:18:33,960
Speaker 6: That was my James Brown you know moment. And I

1455
01:18:34,000 --> 01:18:36,679
Speaker 6: was like, because he would because he would come out

1456
01:18:36,720 --> 01:18:39,200
Speaker 6: on the stage like all of us. We have these

1457
01:18:39,280 --> 01:18:41,200
Speaker 6: orchestra that was playing that we would come out every

1458
01:18:41,240 --> 01:18:43,560
Speaker 6: now and then and play different different songs, and he

1459
01:18:43,600 --> 01:18:46,720
Speaker 6: would come out every time it was my segment. He

1460
01:18:46,840 --> 01:18:48,519
Speaker 6: pulled a chair up and he just sit down and

1461
01:18:48,520 --> 01:18:53,960
Speaker 6: watch wow and then yeah. And then I would be like, mister, mister,

1462
01:18:54,040 --> 01:18:55,880
Speaker 6: they would say, mister Brown. I'd be like, god father,

1463
01:18:56,760 --> 01:19:00,000
Speaker 6: you'd always and he comes in and you know you always.

1464
01:19:00,520 --> 01:19:02,840
Speaker 6: It was hollering at me like that, and it just

1465
01:19:02,880 --> 01:19:04,479
Speaker 6: really took a liking to me. For some reason. I

1466
01:19:04,560 --> 01:19:06,040
Speaker 6: heard it was a hard ass. But he was like,

1467
01:19:06,800 --> 01:19:08,880
Speaker 6: really just a really cool guy to me. For some reason,

1468
01:19:09,040 --> 01:19:11,240
Speaker 6: he just you know, he just liked me, you know.

1469
01:19:12,000 --> 01:19:14,760
Speaker 6: So we were there doing that and then Sting came

1470
01:19:14,800 --> 01:19:17,720
Speaker 6: in and for one night that and we gave up

1471
01:19:17,720 --> 01:19:19,320
Speaker 6: the night and that's the first time I met him.

1472
01:19:19,680 --> 01:19:23,599
Speaker 6: Years afterwards, Markin Kiirzenbaum, who was my a n r

1473
01:19:23,720 --> 01:19:27,240
Speaker 6: at at Geffen when you know, you remember that time

1474
01:19:27,280 --> 01:19:33,320
Speaker 6: when mc HA turned into Geffen. Remember, so Martin Martin

1475
01:19:33,680 --> 01:19:36,360
Speaker 6: was the head of international and he was the only

1476
01:19:36,439 --> 01:19:39,960
Speaker 6: person that really championed my my project at that time

1477
01:19:40,600 --> 01:19:43,680
Speaker 6: with Asexy Lady and these other records, and so I

1478
01:19:43,760 --> 01:19:46,759
Speaker 6: decided to say, hey, that guy championed me. I told Jimmy,

1479
01:19:46,760 --> 01:19:49,320
Speaker 6: I want him to be my an R. And so

1480
01:19:49,600 --> 01:19:51,880
Speaker 6: Martin and I became really good friends. Martin then did

1481
01:19:51,960 --> 01:19:56,000
Speaker 6: cher Tree label and signed Lady Gaga and LMFAO and

1482
01:19:56,080 --> 01:20:00,519
Speaker 6: all of these big, big, bigger bands. And when Martin

1483
01:20:00,600 --> 01:20:04,479
Speaker 6: left Interscop, he started managing Sting because he was also

1484
01:20:04,560 --> 01:20:07,479
Speaker 6: stings A and r FI years and he just thought

1485
01:20:07,560 --> 01:20:09,639
Speaker 6: he knew me and new Sting and just thought that

1486
01:20:10,160 --> 01:20:13,120
Speaker 6: we would get along. And I had a song called

1487
01:20:13,120 --> 01:20:16,519
Speaker 6: Don't Make Me Wait, and Martin says I love that song,

1488
01:20:17,160 --> 01:20:19,120
Speaker 6: could you send it to me? So I sent it

1489
01:20:19,120 --> 01:20:21,080
Speaker 6: to him and I'm in the student in LA. When

1490
01:20:21,120 --> 01:20:23,120
Speaker 6: I send it to him, I'm doing some ship and

1491
01:20:23,160 --> 01:20:26,760
Speaker 6: Sting walked in singing it and he was like, do maybe,

1492
01:20:26,760 --> 01:20:29,639
Speaker 6: come on, Shaguless, make this a hit. I was like, oh,

1493
01:20:30,880 --> 01:20:33,880
Speaker 6: it happened. Yeah, it was like really And we sat

1494
01:20:33,920 --> 01:20:36,720
Speaker 6: there and he looks at me and he says, now,

1495
01:20:36,720 --> 01:20:39,400
Speaker 6: I want you to produce me. I wanted to be authentic.

1496
01:20:39,439 --> 01:20:42,280
Speaker 6: This is your this is your genre. I want you

1497
01:20:42,360 --> 01:20:44,600
Speaker 6: to and I'm like, you want me to produce you?

1498
01:20:45,680 --> 01:20:48,160
Speaker 6: That's what? What's that?

1499
01:20:49,120 --> 01:20:49,439
Speaker 4: I hear?

1500
01:20:49,479 --> 01:20:51,000
Speaker 3: He's hard to take instruction.

1501
01:20:51,160 --> 01:20:53,800
Speaker 6: So no, he's very easy, he said, one of the

1502
01:20:53,840 --> 01:20:56,679
Speaker 6: easiest guys. You could do. The other thing, you could

1503
01:20:56,720 --> 01:20:59,680
Speaker 6: realize what Sting is that when he's creating. If he

1504
01:20:59,760 --> 01:21:03,519
Speaker 6: comes up with something and you like it and he

1505
01:21:03,680 --> 01:21:07,720
Speaker 6: likes it, just know he's doing thirty more of them

1506
01:21:07,760 --> 01:21:11,280
Speaker 6: and he might come back to the original. Wow, that's

1507
01:21:11,320 --> 01:21:15,599
Speaker 6: his process. It might be frustrating to you that if

1508
01:21:15,640 --> 01:21:19,120
Speaker 6: you hear that one that you like, he's not okay,

1509
01:21:19,200 --> 01:21:20,840
Speaker 6: I know you like that. Okay, we'll put that in

1510
01:21:20,840 --> 01:21:22,759
Speaker 6: the pocket. Now I got thirty more to do.

1511
01:21:24,080 --> 01:21:25,639
Speaker 3: Right, so you gotta have patience.

1512
01:21:25,960 --> 01:21:29,559
Speaker 4: Dumb question, guys, Shaggy, are you the first reggae artist

1513
01:21:29,640 --> 01:21:31,320
Speaker 4: the thing is work with.

1514
01:21:32,120 --> 01:21:33,519
Speaker 6: I don't, I don't, I don't know. I don't think

1515
01:21:33,520 --> 01:21:35,599
Speaker 6: this thing has worked with so many people, But I'm

1516
01:21:35,920 --> 01:21:38,200
Speaker 6: I'm the first one an album.

1517
01:21:38,280 --> 01:21:40,679
Speaker 3: Yeah yeah, yeah.

1518
01:21:40,520 --> 01:21:43,120
Speaker 6: He's never he's never done a full album with anyone

1519
01:21:43,800 --> 01:21:46,160
Speaker 6: like that. Man do a full album together and it

1520
01:21:46,200 --> 01:21:49,479
Speaker 6: was a camaraderie. We met each other and just and

1521
01:21:49,640 --> 01:21:52,400
Speaker 6: just was like we had more fun than music and

1522
01:21:52,479 --> 01:21:56,120
Speaker 6: we just started laughing and just it just happened.

1523
01:21:56,760 --> 01:21:59,400
Speaker 2: We performed with each other, like I think right before

1524
01:21:59,400 --> 01:22:03,960
Speaker 2: the pandemic, the summer before and when I got the record,

1525
01:22:04,160 --> 01:22:06,080
Speaker 2: I always wanted to know, why did you guys name

1526
01:22:06,120 --> 01:22:09,559
Speaker 2: it forty four eight seven six?

1527
01:22:10,360 --> 01:22:11,920
Speaker 6: Well? Who was just trying to be creative?

1528
01:22:12,960 --> 01:22:14,880
Speaker 3: What's the what's the significance behind the number?

1529
01:22:15,000 --> 01:22:17,920
Speaker 6: So? So four four is the eric is the is

1530
01:22:17,960 --> 01:22:20,639
Speaker 6: the phone code when you're in the uk U prison?

1531
01:22:21,040 --> 01:22:22,080
Speaker 6: Plus four four.

1532
01:22:22,160 --> 01:22:25,200
Speaker 3: Oh plus four four eight seventy six.

1533
01:22:25,400 --> 01:22:27,720
Speaker 6: And eight seventy six is Jamaica. So it's four four

1534
01:22:27,800 --> 01:22:40,840
Speaker 6: to eight six Yeah, yeah, yeah.

1535
01:22:36,160 --> 01:22:39,360
Speaker 2: Before we close, I definitely want to get to this

1536
01:22:39,360 --> 01:22:44,599
Speaker 2: this new project. So come like I did not see

1537
01:22:44,640 --> 01:22:49,240
Speaker 2: this coming. Now, Yeah, I'm a Sinatra fan. Like, tell me,

1538
01:22:49,760 --> 01:22:54,080
Speaker 2: tell me the genesis of how you came up with

1539
01:22:54,080 --> 01:22:56,520
Speaker 2: this idea. I'm going to do Frank Sinatra covers.

1540
01:22:56,920 --> 01:22:59,599
Speaker 6: We were on tour on the four four eight seventy

1541
01:22:59,600 --> 01:23:03,439
Speaker 6: six two and we had a day off in like Norway,

1542
01:23:03,600 --> 01:23:06,439
Speaker 6: one of these places, and we're on the fields on

1543
01:23:06,479 --> 01:23:09,280
Speaker 6: a boat. Sting says, let's let's take a boat out

1544
01:23:09,320 --> 01:23:11,360
Speaker 6: and just hang out for the day. And then we

1545
01:23:11,400 --> 01:23:14,880
Speaker 6: were out there and it was me and Dominic Miller's guitarists,

1546
01:23:14,920 --> 01:23:17,920
Speaker 6: and we're all out there on the boat. We had

1547
01:23:18,000 --> 01:23:20,439
Speaker 6: drinks and everything, and then he jumped off into the

1548
01:23:20,479 --> 01:23:22,840
Speaker 6: water and started swimming, and I was like, I do

1549
01:23:22,920 --> 01:23:27,679
Speaker 6: that ship, That's just that's just cold. I'm Jamaican, right,

1550
01:23:29,800 --> 01:23:30,200
Speaker 6: ain't me?

1551
01:23:30,320 --> 01:23:30,439
Speaker 7: Bro?

1552
01:23:31,479 --> 01:23:34,759
Speaker 6: So I just he jump off and sing and started

1553
01:23:34,760 --> 01:23:38,280
Speaker 6: to swim in there him and dominate, and I said,

1554
01:23:38,320 --> 01:23:40,360
Speaker 6: I'm staying on the boat. So while they was out

1555
01:23:40,360 --> 01:23:43,320
Speaker 6: there swimming, I'm like, okay, let me put on some music.

1556
01:23:43,360 --> 01:23:46,600
Speaker 6: So I just put on some Sinatra because I like

1557
01:23:46,680 --> 01:23:49,559
Speaker 6: Sinatra and I was raised on Sinatra in Jamaica, Like

1558
01:23:49,600 --> 01:23:52,439
Speaker 6: I say, it's Sunday music. So I just started playing

1559
01:23:52,439 --> 01:23:55,720
Speaker 6: it from my phone and then Sting was coming back

1560
01:23:55,800 --> 01:23:58,200
Speaker 6: up on the boat and I was singing along to it,

1561
01:23:58,560 --> 01:24:01,559
Speaker 6: and he just looked at me and says, yo, that's

1562
01:24:01,640 --> 01:24:04,960
Speaker 6: your key. I'm like okay. I was like, no, no, no,

1563
01:24:05,360 --> 01:24:08,200
Speaker 6: you have the same You have the same tone as

1564
01:24:08,360 --> 01:24:11,280
Speaker 6: as Sinatra. That's he's a base tendor, you're a base

1565
01:24:11,360 --> 01:24:14,240
Speaker 6: tenor that's And so he's going to meet with all

1566
01:24:14,280 --> 01:24:16,120
Speaker 6: this ship and I'm like all right, well, yeah, sure,

1567
01:24:16,160 --> 01:24:20,040
Speaker 6: whatever you know. And then we started talking and he said, well,

1568
01:24:20,080 --> 01:24:21,640
Speaker 6: we'll be cool if we did this in reggae and

1569
01:24:21,640 --> 01:24:24,519
Speaker 6: blah blah blah, all this shit. The ship stayed away

1570
01:24:25,120 --> 01:24:28,479
Speaker 6: to like this is before the pandemic alledge to just

1571
01:24:28,479 --> 01:24:33,080
Speaker 6: sit around with ain done ship. And then last year,

1572
01:24:33,439 --> 01:24:34,680
Speaker 6: at the top of the year, he looks at me,

1573
01:24:34,720 --> 01:24:37,360
Speaker 6: he says, what the year before, he says, you know,

1574
01:24:37,400 --> 01:24:40,479
Speaker 6: we should. He was doing this thing in Vegas, we

1575
01:24:40,600 --> 01:24:44,000
Speaker 6: call it the Residence Residency, and I went out there

1576
01:24:44,040 --> 01:24:46,880
Speaker 6: to do to the Residency and sat and kind of

1577
01:24:46,960 --> 01:24:48,960
Speaker 6: jumped on stage of the night and we were backstage

1578
01:24:49,320 --> 01:24:51,599
Speaker 6: and I started singing the Sinatra shit again and he's

1579
01:24:51,640 --> 01:24:53,680
Speaker 6: playing and ship and he says, Shay, we should do this.

1580
01:24:54,120 --> 01:24:56,720
Speaker 6: I'm like, all right again, I'm not thinking nothing, and

1581
01:24:56,760 --> 01:24:58,639
Speaker 6: he's like, what are you doing the top of the year,

1582
01:24:59,120 --> 01:25:01,880
Speaker 6: I said, I'm going to be Myami. He says, let's

1583
01:25:01,920 --> 01:25:04,240
Speaker 6: do it. And then top of the year he came

1584
01:25:04,360 --> 01:25:07,760
Speaker 6: to my house in Miami and he called me and said, oh,

1585
01:25:07,760 --> 01:25:09,519
Speaker 6: we're going to do it. So I ended up flying

1586
01:25:09,520 --> 01:25:11,920
Speaker 6: some musicians up and we did it in my at

1587
01:25:11,920 --> 01:25:14,000
Speaker 6: my house, in my student in my house in Miami

1588
01:25:14,520 --> 01:25:16,679
Speaker 6: and started doing it there. By the end of the week,

1589
01:25:16,720 --> 01:25:18,639
Speaker 6: I had like eight songs. I was like, oh, Ship,

1590
01:25:18,680 --> 01:25:21,000
Speaker 6: this has really happened and it really sounded it. And

1591
01:25:21,000 --> 01:25:22,840
Speaker 6: then we ended up going to Jamaica. Now we got

1592
01:25:22,840 --> 01:25:25,760
Speaker 6: like Dean Fraser, Lanky Mars, then we got all the

1593
01:25:25,800 --> 01:25:28,640
Speaker 6: original dudes, We got all the backgrounds done, and then

1594
01:25:28,680 --> 01:25:32,439
Speaker 6: we ended up going to l a At Capitol into

1595
01:25:32,520 --> 01:25:36,960
Speaker 6: Sinatras and we did like you know the yeah, yeah

1596
01:25:37,000 --> 01:25:39,120
Speaker 6: we did it original, Yeah.

1597
01:25:38,720 --> 01:25:39,400
Speaker 3: We weren't there.

1598
01:25:39,479 --> 01:25:47,960
Speaker 6: Yeah, yeah, it's trippy. It's yeah, it's trippy, you know

1599
01:25:47,960 --> 01:25:50,000
Speaker 6: what I mean. And so we ended up doing that

1600
01:25:50,080 --> 01:25:53,439
Speaker 6: and then it was Rob who'd done was good at

1601
01:25:53,439 --> 01:25:58,800
Speaker 6: that repertoire that Sting brought in, you know, and we

1602
01:25:58,840 --> 01:26:03,240
Speaker 6: had to because most reggae records are good on two chords,

1603
01:26:03,520 --> 01:26:06,519
Speaker 6: you know this, and it's the most reggae records are

1604
01:26:06,560 --> 01:26:09,840
Speaker 6: two chords, and Sinatra is you know, four or five

1605
01:26:10,000 --> 01:26:14,240
Speaker 6: six chord changes. We had to figure out the genius

1606
01:26:14,400 --> 01:26:16,720
Speaker 6: was how to figure it out to make it not

1607
01:26:16,880 --> 01:26:20,200
Speaker 6: be more jazz than reggae, because if it's too jazz,

1608
01:26:20,640 --> 01:26:23,200
Speaker 6: then it's just gonna be corny. And if it's too reggae,

1609
01:26:23,240 --> 01:26:25,320
Speaker 6: then it's got enough jazz. So you have to take

1610
01:26:25,360 --> 01:26:30,040
Speaker 6: the right amount of chords out to make it work.

1611
01:26:30,760 --> 01:26:33,080
Speaker 6: And if that was strip it down, and that was

1612
01:26:33,200 --> 01:26:36,479
Speaker 6: experimental because if it won't too much, then it would

1613
01:26:36,520 --> 01:26:39,120
Speaker 6: be you know, it would be two corn if it's

1614
01:26:39,160 --> 01:26:42,360
Speaker 6: too much and right, you know, And it became it

1615
01:26:42,400 --> 01:26:46,840
Speaker 6: became a really really hard process, and it took Sting

1616
01:26:46,960 --> 01:26:50,200
Speaker 6: really hearing what he was saying. All the vocals was

1617
01:26:50,240 --> 01:26:53,040
Speaker 6: produced by Sting, like he sat there with me and

1618
01:26:53,160 --> 01:26:56,840
Speaker 6: taught me every note the piano, just like nope, nope,

1619
01:26:56,880 --> 01:26:59,800
Speaker 6: not that, nope, not that, nope, not you know, and

1620
01:27:00,040 --> 01:27:04,200
Speaker 6: really cracked on me to make sure that I got yeah,

1621
01:27:04,320 --> 01:27:06,680
Speaker 6: cracked the whip to make sure that I did. I

1622
01:27:06,760 --> 01:27:08,800
Speaker 6: did average about two songs a day.

1623
01:27:09,320 --> 01:27:15,200
Speaker 3: What was the most challenging song in the songbook? To conquered?

1624
01:27:15,720 --> 01:27:19,960
Speaker 6: Lucky a Lady was hard, because yeah, Lucky a Lady

1625
01:27:20,040 --> 01:27:24,960
Speaker 6: was really really hard and Saturday night and I would think,

1626
01:27:25,320 --> 01:27:30,000
Speaker 6: I think that's life was also cha, Yeah it was.

1627
01:27:30,040 --> 01:27:32,920
Speaker 6: It was alright, and you know it, and it's it's

1628
01:27:32,960 --> 01:27:35,360
Speaker 6: really just he wanted it, like he says. He kept

1629
01:27:35,400 --> 01:27:39,320
Speaker 6: saying to me, don't do Sinatra. I don't want Sinatra.

1630
01:27:39,439 --> 01:27:42,880
Speaker 6: I want Shaggy. And it was important for him to

1631
01:27:42,920 --> 01:27:47,400
Speaker 6: get that you're you're doing Sinatra songs, you're in the

1632
01:27:47,400 --> 01:27:51,680
Speaker 6: same registers, and but don't do Sinatra. I want you

1633
01:27:51,720 --> 01:27:55,240
Speaker 6: to because I had a tendency of mimicking people, mimiced

1634
01:27:55,400 --> 01:27:59,120
Speaker 6: to that. I was like, no, I want Shaggy, you know,

1635
01:27:59,240 --> 01:27:59,720
Speaker 6: and he was.

1636
01:27:59,760 --> 01:28:03,000
Speaker 2: He was adamant about So at one point, you took

1637
01:28:03,040 --> 01:28:06,439
Speaker 2: your trademark voice away to try to clean like Sinatra.

1638
01:28:06,560 --> 01:28:08,800
Speaker 6: No, no, it wasn't even that I would still use

1639
01:28:08,840 --> 01:28:11,880
Speaker 6: that voice, but just the way Sinatra would sing it.

1640
01:28:12,600 --> 01:28:15,720
Speaker 6: Note for note, I was copying that and he didn't

1641
01:28:15,760 --> 01:28:19,200
Speaker 6: want that. It's like I want shaggy. You know it's

1642
01:28:19,280 --> 01:28:22,240
Speaker 6: gonna be it's gonna you gotta bring that reggae flavored.

1643
01:28:22,320 --> 01:28:25,680
Speaker 6: It's reggae. I want that shaggy, you know. And he

1644
01:28:25,800 --> 01:28:28,720
Speaker 6: was he was very adamant about it. I mean talking

1645
01:28:28,760 --> 01:28:31,800
Speaker 6: when I say every line, man, I mean, we would.

1646
01:28:32,280 --> 01:28:35,240
Speaker 6: He was really on it. He's and if you work

1647
01:28:35,280 --> 01:28:38,200
Speaker 6: with Sting, this guy is there. He's ever on time.

1648
01:28:38,280 --> 01:28:41,240
Speaker 6: He's you know, he's early always, you know, and he's

1649
01:28:41,280 --> 01:28:44,880
Speaker 6: always beat you there. So you know, and I lived

1650
01:28:45,000 --> 01:28:47,680
Speaker 6: at my studio and he'll be there before I get up,

1651
01:28:48,800 --> 01:28:52,640
Speaker 6: and I'm like, dude, come on, man, you know what

1652
01:28:52,640 --> 01:28:57,000
Speaker 6: I mean. And so he'll be there, y'all that challenge. Yeah,

1653
01:28:57,040 --> 01:28:59,439
Speaker 6: and he'd do it in the day, straight down and

1654
01:28:59,479 --> 01:29:03,120
Speaker 6: he'll buy six seven o'clock, will stop. And that's how

1655
01:29:03,160 --> 01:29:06,040
Speaker 6: we work every day. It was never a late night nothing.

1656
01:29:06,320 --> 01:29:08,880
Speaker 6: By seven o'clock. We would probably go, you know, I'm

1657
01:29:08,880 --> 01:29:10,640
Speaker 6: gonna meet him at the bar by eight or so.

1658
01:29:10,800 --> 01:29:12,519
Speaker 6: By nineties like okay, I'm going to bed, you know

1659
01:29:12,520 --> 01:29:15,280
Speaker 6: what I mean. That's always you well, have like a

1660
01:29:15,320 --> 01:29:16,720
Speaker 6: glass of wine or something like that.

1661
01:29:17,080 --> 01:29:18,200
Speaker 5: How did you get your name.

1662
01:29:23,760 --> 01:29:25,960
Speaker 3: Because you can't related.

1663
01:29:26,680 --> 01:29:28,560
Speaker 7: Your curl pattern is undefined.

1664
01:29:29,360 --> 01:29:31,000
Speaker 6: Let me tell you, let me tell you something I was.

1665
01:29:31,120 --> 01:29:34,719
Speaker 6: I was skinny and I had a lot of hair,

1666
01:29:34,800 --> 01:29:38,200
Speaker 6: and they call me shaggy dog, shaggy dog. And then

1667
01:29:38,240 --> 01:29:41,720
Speaker 6: I was in England even like yeah, and then I

1668
01:29:41,760 --> 01:29:45,879
Speaker 6: went to England and found out that Shagman something else. Yeah. Yeah.

1669
01:29:47,840 --> 01:29:49,920
Speaker 6: I was like like that ship cool.

1670
01:29:55,240 --> 01:29:58,719
Speaker 7: You that was the whole world.

1671
01:29:58,840 --> 01:30:01,519
Speaker 6: Like I'm like, I'm like, oh, ship, that's that's what

1672
01:30:01,560 --> 01:30:03,759
Speaker 6: it means. Almost the love of love.

1673
01:30:04,960 --> 01:30:12,840
Speaker 7: Shot a mirror. If this the wise sag, he not.

1674
01:30:12,920 --> 01:30:14,240
Speaker 7: He's not in the Rock and Roll Hall of Fame.

1675
01:30:14,320 --> 01:30:15,639
Speaker 7: We need the Rock roll Hall of Fame.

1676
01:30:15,760 --> 01:30:18,800
Speaker 4: We need the Kennedy Center Honors.

1677
01:30:19,160 --> 01:30:22,840
Speaker 6: Treasure was a treasure.

1678
01:30:24,439 --> 01:30:28,679
Speaker 9: So BOMBASTI I mean, just tell us about how your

1679
01:30:28,720 --> 01:30:32,160
Speaker 9: life changes when you have a huge record.

1680
01:30:32,560 --> 01:30:36,320
Speaker 6: I signed I did on Carolina. It became number one

1681
01:30:36,320 --> 01:30:39,800
Speaker 6: in the British chart. It was massive, like and it

1682
01:30:39,920 --> 01:30:42,960
Speaker 6: was number one and almost so and Kim Berry signed me,

1683
01:30:43,000 --> 01:30:46,920
Speaker 6: who was the co founder of Virgin. Kim Berry had

1684
01:30:47,040 --> 01:30:50,400
Speaker 6: signed that record and I was in the bidding world

1685
01:30:50,479 --> 01:30:53,920
Speaker 6: with Chris Blackwell and Kim Berry. Now I wanted to

1686
01:30:53,960 --> 01:30:56,160
Speaker 6: go with Island Records because that's where all my reggae

1687
01:30:56,200 --> 01:30:59,479
Speaker 6: eros were right and and and Susan Newman who was

1688
01:30:59,560 --> 01:31:03,120
Speaker 6: Chris black was right hand and me got really really friendly.

1689
01:31:03,160 --> 01:31:06,400
Speaker 6: She really loved me. She picked me from the airport.

1690
01:31:06,479 --> 01:31:07,800
Speaker 6: She would rock with me all the time. So I

1691
01:31:07,840 --> 01:31:09,439
Speaker 6: really wanted to be on that label. I was friend

1692
01:31:09,479 --> 01:31:13,200
Speaker 6: with Apache Indian at that time. Him and I used

1693
01:31:13,200 --> 01:31:15,360
Speaker 6: to hang out in London and he was on that label.

1694
01:31:15,640 --> 01:31:17,360
Speaker 6: So I really wanted to be on that label. And

1695
01:31:17,400 --> 01:31:21,360
Speaker 6: I was driving to go sign a deal memo and

1696
01:31:21,400 --> 01:31:24,360
Speaker 6: my manager got a call from Ken Barry offering me

1697
01:31:24,400 --> 01:31:27,160
Speaker 6: a million pounds at that time in nineteen ninety three,

1698
01:31:27,160 --> 01:31:30,120
Speaker 6: which is on Earth, and I think Chris Blackwell was

1699
01:31:30,160 --> 01:31:31,800
Speaker 6: offering me something like one hundred and fifty to two

1700
01:31:31,840 --> 01:31:36,240
Speaker 6: hundred thousand pounds bullshit money. And I went there. I

1701
01:31:36,280 --> 01:31:39,639
Speaker 6: was like, okay, can you match it? And Chris was like, well,

1702
01:31:39,680 --> 01:31:41,120
Speaker 6: you know, it's a little bit too rich for me,

1703
01:31:41,200 --> 01:31:43,680
Speaker 6: you know, I mean, I've never paid that much for

1704
01:31:43,680 --> 01:31:46,679
Speaker 6: reguy artists. I'm not about to know he paid four

1705
01:31:46,680 --> 01:31:50,519
Speaker 6: thousand dollars for the mark for the Morrow even finished up.

1706
01:31:51,400 --> 01:31:56,519
Speaker 6: So I'm just I'm just letting you know. So, So

1707
01:31:56,560 --> 01:31:58,400
Speaker 6: I went with Ken Burry because he gave me a

1708
01:31:58,400 --> 01:32:02,280
Speaker 6: bit of offer, and then when it happened, Old Carolina happened.

1709
01:32:03,000 --> 01:32:06,680
Speaker 6: You know, I did Boombastic, And when I did Boombastic,

1710
01:32:07,680 --> 01:32:10,639
Speaker 6: it came out and debuted at number one. The first

1711
01:32:10,720 --> 01:32:13,640
Speaker 6: day was out and it was the first time in

1712
01:32:13,960 --> 01:32:16,880
Speaker 6: reggae or dance all history that any reggae dance or

1713
01:32:16,920 --> 01:32:19,639
Speaker 6: record would debut on the British chart at number one.

1714
01:32:19,680 --> 01:32:22,120
Speaker 6: And ken Berry called me and he says, Shaggy, congratulations,

1715
01:32:22,160 --> 01:32:24,840
Speaker 6: you're number one. I'm like, what's number one? The song?

1716
01:32:24,880 --> 01:32:26,120
Speaker 6: I said, we just put it out. He says, yes

1717
01:32:26,160 --> 01:32:28,760
Speaker 6: to debuted at number one. He says, wow, he says,

1718
01:32:28,800 --> 01:32:30,640
Speaker 6: and then he says, I wonder what Chris would be

1719
01:32:30,680 --> 01:32:35,040
Speaker 6: thinking now. And I said, and I said, I said, well,

1720
01:32:35,120 --> 01:32:37,280
Speaker 6: you know, Chris, you know he said, he you know,

1721
01:32:37,360 --> 01:32:39,960
Speaker 6: he couldn't. It's reggae. It was going to make that

1722
01:32:40,040 --> 01:32:42,240
Speaker 6: much funny, he says, funny should say that I made

1723
01:32:42,280 --> 01:32:44,760
Speaker 6: my million back on Old Carolina. It was top five

1724
01:32:44,800 --> 01:32:47,320
Speaker 6: in every country. This is just this is just the

1725
01:32:47,439 --> 01:32:51,639
Speaker 6: book debuted at number one and it was the first

1726
01:32:51,680 --> 01:32:54,559
Speaker 6: time in the history. And the crazy part about it.

1727
01:32:54,600 --> 01:32:56,160
Speaker 6: When I was doing that record, I was in a

1728
01:32:56,200 --> 01:32:59,519
Speaker 6: car drive in to the h CNF studio in Long

1729
01:32:59,520 --> 01:33:02,680
Speaker 6: Island and I had the track on. I had the

1730
01:33:02,720 --> 01:33:05,439
Speaker 6: track on a cassette and it was cassette back in

1731
01:33:05,479 --> 01:33:09,200
Speaker 6: the days, and I'm playing it and all I could

1732
01:33:09,280 --> 01:33:11,599
Speaker 6: do all like all like the only vibe the record,

1733
01:33:11,640 --> 01:33:15,240
Speaker 6: the song gave, the beat gave me was just moaning.

1734
01:33:15,360 --> 01:33:17,920
Speaker 6: I just kept moaning on the record. I moaned the

1735
01:33:17,960 --> 01:33:24,040
Speaker 6: whole drive. I just whoa roa mm hmm loveall loveall

1736
01:33:25,479 --> 01:33:29,519
Speaker 6: ro roa. And so when I got to the studio

1737
01:33:29,920 --> 01:33:32,599
Speaker 6: and Sting International put it up on on on the tape,

1738
01:33:32,880 --> 01:33:34,120
Speaker 6: you know, I just went around there.

1739
01:33:34,120 --> 01:33:47,880
Speaker 14: I just started moaning. Fun fustic Ron still looked at

1740
01:33:47,880 --> 01:33:50,439
Speaker 14: me and said, yo, motherfuck. He got for some lyrics

1741
01:33:50,439 --> 01:33:50,920
Speaker 14: and that ship.

1742
01:33:51,520 --> 01:33:53,240
Speaker 6: I like what you're saying, but you and it's a

1743
01:33:53,360 --> 01:33:59,799
Speaker 6: smooth just like saw fun like talking. And those records

1744
01:33:59,800 --> 01:34:02,080
Speaker 6: were all freestyle. I never wrote those records. I just

1745
01:34:02,760 --> 01:34:05,360
Speaker 6: it was started from moaning, wait what.

1746
01:34:06,880 --> 01:34:11,599
Speaker 2: Wait, the irony, the irony of you telling the story.

1747
01:34:11,800 --> 01:34:17,400
Speaker 2: Because even in the story of Let's get it on.

1748
01:34:18,360 --> 01:34:21,200
Speaker 3: Yeah, and this is real, because.

1749
01:34:23,960 --> 01:34:26,200
Speaker 2: The version of Let's get it On that we know

1750
01:34:27,680 --> 01:34:32,200
Speaker 2: was a freestyle because basically the moment he saw Jan

1751
01:34:32,320 --> 01:34:33,720
Speaker 2: Hunter walk in the room.

1752
01:34:34,280 --> 01:34:36,400
Speaker 3: He was showing off and he freestyled.

1753
01:34:38,240 --> 01:34:40,680
Speaker 9: Yeah, the original Let's get It On. It was like

1754
01:34:40,680 --> 01:34:41,679
Speaker 9: a political song.

1755
01:34:41,760 --> 01:34:44,160
Speaker 3: It was like like let's let's get organized, let's get

1756
01:34:44,160 --> 01:34:45,240
Speaker 3: it on, right.

1757
01:34:45,760 --> 01:34:49,320
Speaker 6: Yeah, but crazy part. Crazy part I did those moaning

1758
01:34:49,680 --> 01:34:52,840
Speaker 6: not on the on because the Marvin Gaye version that

1759
01:34:52,920 --> 01:34:55,519
Speaker 6: you know of Let's Get It On that is on

1760
01:34:55,760 --> 01:34:59,719
Speaker 6: Bombastic was a remix. Oh, so that there's an original

1761
01:34:59,800 --> 01:35:02,719
Speaker 6: rich the original, which was big in every other country

1762
01:35:02,760 --> 01:35:03,839
Speaker 6: except the United States.

1763
01:35:04,439 --> 01:35:05,160
Speaker 3: I should know this.

1764
01:35:06,800 --> 01:35:10,720
Speaker 6: The Marvin Gaye version that you know happens to be

1765
01:35:11,320 --> 01:35:16,400
Speaker 6: only in North in America. That's it. In every country

1766
01:35:16,400 --> 01:35:19,519
Speaker 6: in the world. The original is the hip record.

1767
01:35:19,760 --> 01:35:23,240
Speaker 2: So when you perform it, you do which version depending

1768
01:35:23,280 --> 01:35:24,080
Speaker 2: on what America.

1769
01:35:24,840 --> 01:35:29,280
Speaker 6: Yes, in America, I use the Marvin gay Everywhere else

1770
01:35:29,320 --> 01:35:31,840
Speaker 6: in the country I go to the original reggae version,

1771
01:35:32,000 --> 01:35:34,320
Speaker 6: which is massive. Yeah. Wow.

1772
01:35:34,479 --> 01:35:37,320
Speaker 2: Well wait, since you told that story, then I need

1773
01:35:37,320 --> 01:35:41,920
Speaker 2: to know. Did you ever find out what Virgin thought

1774
01:35:42,280 --> 01:35:45,360
Speaker 2: once you went to to m c A with it.

1775
01:35:45,360 --> 01:35:49,240
Speaker 2: It wasn't me because I'm almost certain that they said like, okay,

1776
01:35:49,320 --> 01:35:50,320
Speaker 2: well we have one hit.

1777
01:35:51,040 --> 01:35:54,320
Speaker 6: So ken Berry, who is of course the head of

1778
01:35:54,560 --> 01:35:58,120
Speaker 6: Virgin ended up moving on. There's the craziest thing. After that,

1779
01:35:58,800 --> 01:36:01,000
Speaker 6: I got that record. I ended up doing Maxi Priest's

1780
01:36:01,080 --> 01:36:03,080
Speaker 6: album at that time, and we did that Girl, which

1781
01:36:03,120 --> 01:36:07,400
Speaker 6: was also a top five record, right and then and

1782
01:36:07,439 --> 01:36:10,559
Speaker 6: then I put another record out and and it came

1783
01:36:10,640 --> 01:36:13,439
Speaker 6: up the same day Princess Diana died, and they just

1784
01:36:13,439 --> 01:36:16,040
Speaker 6: stopped playing records. They just played Candle in the Wind

1785
01:36:16,120 --> 01:36:16,960
Speaker 6: on every radio station.

1786
01:36:17,600 --> 01:36:20,400
Speaker 3: You're right, You're right, and.

1787
01:36:19,640 --> 01:36:24,040
Speaker 6: And and so and so my record tanked and my

1788
01:36:24,120 --> 01:36:27,360
Speaker 6: album tanked. And there's a guy that was the head

1789
01:36:27,400 --> 01:36:29,680
Speaker 6: of the record company, Ken Barryott now moved on to

1790
01:36:29,840 --> 01:36:32,519
Speaker 6: running you know, because he had success with Me and

1791
01:36:32,600 --> 01:36:35,240
Speaker 6: Letty Kravitz and Janets, so he was a big wig now.

1792
01:36:35,320 --> 01:36:39,680
Speaker 6: So they ended up running EMI, the Holy Emi, And

1793
01:36:39,720 --> 01:36:42,839
Speaker 6: there was a guy called Paul Conroy who became the president,

1794
01:36:42,920 --> 01:36:44,640
Speaker 6: and he just did not know what the fuck to

1795
01:36:44,680 --> 01:36:47,439
Speaker 6: do with me. It's like his dance Alid and so

1796
01:36:47,479 --> 01:36:51,040
Speaker 6: they dropped me, and they dropped me and Maxie and

1797
01:36:51,080 --> 01:36:54,200
Speaker 6: signed the next dance all Sensation at the time, which

1798
01:36:54,240 --> 01:36:54,640
Speaker 6: was being the.

1799
01:36:54,680 --> 01:37:00,719
Speaker 4: Man Wow OK, and same money.

1800
01:37:01,479 --> 01:37:04,400
Speaker 6: They dropped me, they signed Beanie Man and they were

1801
01:37:04,439 --> 01:37:06,040
Speaker 6: trying to get it's out of it and out of

1802
01:37:06,640 --> 01:37:08,639
Speaker 6: sitting there trying to did the Maya record. A couple

1803
01:37:08,640 --> 01:37:12,320
Speaker 6: of those records was going Patrick Moxey who was the

1804
01:37:12,360 --> 01:37:17,519
Speaker 6: father of He was at Payday. He ended up being

1805
01:37:17,840 --> 01:37:20,320
Speaker 6: the head of the head of A and R at

1806
01:37:20,320 --> 01:37:23,880
Speaker 6: that time and running Virgin that at that time and

1807
01:37:23,920 --> 01:37:25,760
Speaker 6: the whole Janet thing and he put Beanie Man with

1808
01:37:25,840 --> 01:37:29,080
Speaker 6: Janet Jackson all that ship. So it was so crazy

1809
01:37:29,080 --> 01:37:32,240
Speaker 6: about that is in the time that was going on,

1810
01:37:32,360 --> 01:37:36,280
Speaker 6: jam and Lewis decided to do a project for How

1811
01:37:36,400 --> 01:37:41,800
Speaker 6: Stella Got her Groove back. Yeah, they did the soundtrack

1812
01:37:41,880 --> 01:37:46,360
Speaker 6: and so I talked about that all right. Here the

1813
01:37:46,400 --> 01:37:50,719
Speaker 6: crazy part now Terry McMillan, who actually the story was about,

1814
01:37:50,720 --> 01:37:53,719
Speaker 6: who was the writer and she she did the story

1815
01:37:53,880 --> 01:37:58,559
Speaker 6: autobiography about herself and her courting of this guy and

1816
01:37:58,600 --> 01:38:02,400
Speaker 6: her He told Terry Lewis that you got to get

1817
01:38:02,439 --> 01:38:06,639
Speaker 6: Shaggy on that soundtrack because me and my man used

1818
01:38:06,640 --> 01:38:13,880
Speaker 6: to fuck to that boombastic record and Jamaica. That is

1819
01:38:15,400 --> 01:38:18,479
Speaker 6: true fucking story. And that's how Terry Lewis came to

1820
01:38:18,560 --> 01:38:21,880
Speaker 6: New York, found me and say Shaggy, I want to

1821
01:38:21,880 --> 01:38:24,599
Speaker 6: play a track. And the track had oh boy, I

1822
01:38:24,640 --> 01:38:27,719
Speaker 6: love you so and I just start when he started playing,

1823
01:38:27,760 --> 01:38:29,400
Speaker 6: I was like, I hold him on a load to

1824
01:38:29,439 --> 01:38:31,920
Speaker 6: make him oist and wet old him manoload to make

1825
01:38:32,000 --> 01:38:35,479
Speaker 6: him own and sweat sweet suckle into five clean now.

1826
01:38:35,640 --> 01:38:38,640
Speaker 6: And he's like, oh shit, oh ship, And I'm just

1827
01:38:38,760 --> 01:38:42,840
Speaker 6: in awe because I'm in Jimmy jamming. Terry fucking Lewis like,

1828
01:38:43,439 --> 01:38:46,240
Speaker 6: what the fuck. Then Terry is like, oh man, you ship,

1829
01:38:46,520 --> 01:38:49,840
Speaker 6: ship ship, oh ship. He called Jimmy because Jimmy was there.

1830
01:38:49,840 --> 01:38:51,400
Speaker 6: He called Jimmy's so, oh man, you need to hit

1831
01:38:51,479 --> 01:38:54,519
Speaker 6: this ship. This fucking ship, he was like. And then

1832
01:38:54,560 --> 01:38:56,559
Speaker 6: he started playing a bunch of records and it got

1833
01:38:56,600 --> 01:38:59,240
Speaker 6: like Mary J. Blige and Casey and Georgia and Boys

1834
01:38:59,280 --> 01:39:01,559
Speaker 6: to Bend and fucking Prince and all that. I was like,

1835
01:39:01,560 --> 01:39:03,400
Speaker 6: oh ship, my record ain't gonna make it. Fuck that'sh it.

1836
01:39:04,760 --> 01:39:07,040
Speaker 6: And just so it happened, they ended up putting the

1837
01:39:07,120 --> 01:39:10,240
Speaker 6: soundtrack out because at that time, when the movie came out,

1838
01:39:10,240 --> 01:39:12,360
Speaker 6: you put the soundtrack out without a saying, and you

1839
01:39:12,439 --> 01:39:15,040
Speaker 6: put the soundtrack out and radio just out of just

1840
01:39:15,040 --> 01:39:17,840
Speaker 6: started playing the track with me in Janet, but we

1841
01:39:17,920 --> 01:39:20,600
Speaker 6: didn't have single rights that song, so he couldn't be

1842
01:39:20,640 --> 01:39:25,400
Speaker 6: a side, couldn't. So we ended up shooting a video.

1843
01:39:25,479 --> 01:39:28,000
Speaker 6: Eventually the record stop blowing up and I was just

1844
01:39:28,000 --> 01:39:31,080
Speaker 6: going from station to station working it, and then we

1845
01:39:31,200 --> 01:39:33,639
Speaker 6: ended up doing a video. But when I did a video,

1846
01:39:33,800 --> 01:39:36,400
Speaker 6: now if you look at the video online, you'll see

1847
01:39:36,400 --> 01:39:39,719
Speaker 6: that Angela Bassett and Whoopee Goldberg's or who was singing

1848
01:39:39,720 --> 01:39:43,880
Speaker 6: the hook. Janet wasn't in it, yeah, because we couldn't

1849
01:39:43,920 --> 01:39:46,960
Speaker 6: get her. We couldn't get it. They wouldn't And I

1850
01:39:47,000 --> 01:39:49,519
Speaker 6: was a little reggae guy. She was a major, major

1851
01:39:49,600 --> 01:39:52,880
Speaker 6: pop stars. They were in virgin Patrick Moxley wasn't going

1852
01:39:52,960 --> 01:39:54,280
Speaker 6: to get it give her to me either at that

1853
01:39:54,320 --> 01:39:58,439
Speaker 6: point because he had just dropped me. They drop and

1854
01:39:58,560 --> 01:40:01,439
Speaker 6: Cige Beanie. Now I catched this fucking record and it

1855
01:40:01,520 --> 01:40:03,960
Speaker 6: was like, I ain't giving you Janet that you meet

1856
01:40:03,960 --> 01:40:07,080
Speaker 6: me look, and then doing a join.

1857
01:40:07,040 --> 01:40:10,240
Speaker 8: With Janet with the Neptunes exactly, which that sold a

1858
01:40:10,240 --> 01:40:15,639
Speaker 8: little bit of them, so I don't right, I mean,

1859
01:40:15,960 --> 01:40:18,000
Speaker 8: And then and and the Neptunes did that.

1860
01:40:17,920 --> 01:40:20,679
Speaker 6: Ship and they spent two million on video and old

1861
01:40:20,680 --> 01:40:23,360
Speaker 6: Ship and My Ship became number one. And then right

1862
01:40:23,400 --> 01:40:26,080
Speaker 6: after that, the next record that really popped up for me.

1863
01:40:26,320 --> 01:40:28,200
Speaker 3: Was was it wasn't me?

1864
01:40:28,280 --> 01:40:29,800
Speaker 6: And then I was off, Yeah it was off?

1865
01:40:31,479 --> 01:40:33,800
Speaker 5: Was that another kind of like freestyles? It wasn't me?

1866
01:40:33,840 --> 01:40:34,360
Speaker 6: It was that?

1867
01:40:34,439 --> 01:40:35,000
Speaker 5: What was that?

1868
01:40:35,200 --> 01:40:37,760
Speaker 6: It wasn't me? It wasn't me. I got from I

1869
01:40:37,840 --> 01:40:41,400
Speaker 6: was watching Yeah, Eddie Murphy, I was watching Raw.

1870
01:40:42,280 --> 01:40:43,040
Speaker 5: Yeah, yeah, it wasn't me.

1871
01:40:43,280 --> 01:40:45,960
Speaker 6: Yeah yeah. And I saw that and I was was like, yo,

1872
01:40:46,000 --> 01:40:49,200
Speaker 6: that's the song. And I just we just cultivated from Raw.

1873
01:40:49,600 --> 01:40:53,320
Speaker 6: I saw Eddie and and Bahamas a total man because

1874
01:40:53,320 --> 01:40:54,720
Speaker 6: we were we were back there. I was like, you know,

1875
01:40:54,800 --> 01:40:56,400
Speaker 6: you know, I took that whole ship from it. And

1876
01:40:56,439 --> 01:40:58,000
Speaker 6: he said, so, motherfucker, you owe me wrong.

1877
01:40:58,320 --> 01:40:58,920
Speaker 7: I knew he was.

1878
01:41:02,720 --> 01:41:05,479
Speaker 4: At this point, Shaggy, I know the answer to you

1879
01:41:05,520 --> 01:41:07,880
Speaker 4: feeling like you're getting your flowers from America, I feel

1880
01:41:07,880 --> 01:41:10,320
Speaker 4: like you, I don't know if I'm assuming that that's

1881
01:41:10,360 --> 01:41:12,720
Speaker 4: like not as much, but I wanted to know how

1882
01:41:12,760 --> 01:41:15,080
Speaker 4: do you feel about getting your flowers from the folks

1883
01:41:15,080 --> 01:41:17,479
Speaker 4: at Jamaica, Like do you feel at this point that

1884
01:41:17,560 --> 01:41:20,040
Speaker 4: they are you respected as a legend that you are?

1885
01:41:20,600 --> 01:41:22,760
Speaker 4: And it felt like that while you do because if

1886
01:41:22,760 --> 01:41:24,360
Speaker 4: you doing a Spice record, I felt like that was

1887
01:41:24,360 --> 01:41:27,160
Speaker 4: a beautiful kind of wrap around like they respect you,

1888
01:41:27,160 --> 01:41:29,120
Speaker 4: you respect them, or or is that just.

1889
01:41:29,040 --> 01:41:32,360
Speaker 6: As It's been a journey. It's been a journey from

1890
01:41:32,439 --> 01:41:37,120
Speaker 6: me being starting at dancehall, then becoming pop and then

1891
01:41:37,240 --> 01:41:41,320
Speaker 6: not having no respect at home to me doing a

1892
01:41:41,360 --> 01:41:46,360
Speaker 6: song called church I literally got off gifting to do

1893
01:41:46,439 --> 01:41:48,599
Speaker 6: dance All if you if you remember quest the record

1894
01:41:48,640 --> 01:41:52,360
Speaker 6: called some of Them, some of them with with Olivier,

1895
01:41:52,680 --> 01:41:55,879
Speaker 6: with Olivia I ended I ended up doing that record

1896
01:41:56,320 --> 01:41:58,360
Speaker 6: even though the record company didn't want me to do

1897
01:41:58,400 --> 01:42:00,800
Speaker 6: that record, because I wanted to do dance you know

1898
01:42:00,800 --> 01:42:02,720
Speaker 6: what I'm saying, And I knew that I had to

1899
01:42:02,760 --> 01:42:04,920
Speaker 6: get back into dance All to get the street back.

1900
01:42:05,320 --> 01:42:07,439
Speaker 6: And then right after that, when it put it out,

1901
01:42:07,560 --> 01:42:09,360
Speaker 6: it didn't do very well because they didn't know what

1902
01:42:09,439 --> 01:42:12,120
Speaker 6: to do with it, and then they dropped me. And right

1903
01:42:12,160 --> 01:42:15,320
Speaker 6: after they dropped me, I wrote Church Eden, which was

1904
01:42:15,360 --> 01:42:18,680
Speaker 6: a massive nineteen weeks number one in the dance hall,

1905
01:42:19,080 --> 01:42:22,799
Speaker 6: and then just overnight everybody in the streets started fucking

1906
01:42:22,840 --> 01:42:26,759
Speaker 6: with me, and then the prime minister at the time,

1907
01:42:27,439 --> 01:42:30,040
Speaker 6: Portia Simpson, was a woman. She was the first woman

1908
01:42:30,160 --> 01:42:34,880
Speaker 6: running for prime minister, and she ended up using strength

1909
01:42:34,920 --> 01:42:37,519
Speaker 6: of a Woman as her theme song, and every little

1910
01:42:37,520 --> 01:42:40,160
Speaker 6: ghetto kid was singing that shit, and that became massive.

1911
01:42:40,240 --> 01:42:43,000
Speaker 6: And then I ended up doing my charity concert, which

1912
01:42:43,080 --> 01:42:45,120
Speaker 6: was Shaggy and Friends, where I raised money for the

1913
01:42:45,120 --> 01:42:49,360
Speaker 6: Bustamande Hospital for Children, you know, and I had everybody

1914
01:42:49,360 --> 01:42:52,759
Speaker 6: from Lauren Hill to fucking voice them into everybody. Sting

1915
01:42:52,920 --> 01:42:55,519
Speaker 6: was the last person that did it, and I'd done that,

1916
01:42:55,560 --> 01:42:58,280
Speaker 6: so it became a respectful thing after a while where

1917
01:42:58,320 --> 01:43:00,640
Speaker 6: people be like, Okay, just do is the true to

1918
01:43:00,920 --> 01:43:02,320
Speaker 6: I'm fucking with him? You know what I mean? And

1919
01:43:02,360 --> 01:43:05,639
Speaker 6: that became that, and so it became that, and I

1920
01:43:05,680 --> 01:43:08,240
Speaker 6: had the respect of Jamaica, but I didn't have the

1921
01:43:08,280 --> 01:43:12,200
Speaker 6: respect of the industry. The industry was still like, Okay,

1922
01:43:12,240 --> 01:43:19,240
Speaker 6: this guy isn't authentic. And that came in part with

1923
01:43:19,760 --> 01:43:23,400
Speaker 6: Sting saying, you know, this guy is a genius or

1924
01:43:23,600 --> 01:43:26,880
Speaker 6: as he would put it on interviews, which blew my

1925
01:43:27,000 --> 01:43:30,639
Speaker 6: mind because I think of him as like a musical

1926
01:43:30,800 --> 01:43:34,360
Speaker 6: genius god. But he would have these conversations like I've

1927
01:43:34,360 --> 01:43:36,960
Speaker 6: never seen anybody write songs as fast as this guy

1928
01:43:37,439 --> 01:43:39,880
Speaker 6: and does it and he doesn't play an instrument, and

1929
01:43:40,000 --> 01:43:43,040
Speaker 6: it's always and it always freaked him out. He always says,

1930
01:43:43,080 --> 01:43:47,000
Speaker 6: I don't understand how you're so melodic and don't play

1931
01:43:47,040 --> 01:43:48,800
Speaker 6: you know, it's just it's all in your head. And

1932
01:43:49,040 --> 01:43:51,519
Speaker 6: I'll sit around a mic and freestyle. Could we come

1933
01:43:51,520 --> 01:43:54,240
Speaker 6: from that? And I'm spitting these melodies and shit like that,

1934
01:43:54,280 --> 01:43:56,759
Speaker 6: and we go down the right learryside and be like okay.

1935
01:43:56,960 --> 01:44:00,080
Speaker 6: So he would get that, So he validated me on

1936
01:44:00,160 --> 01:44:05,719
Speaker 6: that level. This true validation comes now from the Spice record,

1937
01:44:06,160 --> 01:44:09,400
Speaker 6: which I wrote, you know uh and got was a

1938
01:44:09,439 --> 01:44:12,799
Speaker 6: shaggy record first, and I literally took it and flipped

1939
01:44:12,840 --> 01:44:15,320
Speaker 6: it to the Spice and then we put Sean Ball

1940
01:44:15,400 --> 01:44:18,880
Speaker 6: on it, and that became not just a massive record

1941
01:44:19,120 --> 01:44:21,200
Speaker 6: on the global side of things, but it's all on

1942
01:44:21,320 --> 01:44:24,640
Speaker 6: a big TikTok record, but it was the streets and

1943
01:44:25,800 --> 01:44:27,920
Speaker 6: it was produced by me. It was good. And then

1944
01:44:28,360 --> 01:44:30,320
Speaker 6: and then there were other things too, like for instance,

1945
01:44:30,840 --> 01:44:35,960
Speaker 6: Cartel did slow Motion, which was a record was one

1946
01:44:35,960 --> 01:44:38,320
Speaker 6: of his first big records, which which I produced and

1947
01:44:38,320 --> 01:44:40,880
Speaker 6: put on my leg you know what I'm saying, and

1948
01:44:40,880 --> 01:44:42,560
Speaker 6: and and and you know, because I went there and

1949
01:44:42,560 --> 01:44:44,680
Speaker 6: took his voice and everything and got it, got it done.

1950
01:44:44,720 --> 01:44:47,599
Speaker 6: And there's so many other reggae records, dance, all records

1951
01:44:47,640 --> 01:44:50,519
Speaker 6: that I've done that were big that people didn't know

1952
01:44:50,600 --> 01:44:53,160
Speaker 6: I wrote, but I wrote you know what I mean,

1953
01:44:53,240 --> 01:44:56,120
Speaker 6: I'm talking hardcore ship like cheek.

1954
01:44:55,840 --> 01:44:59,000
Speaker 14: A Gallic you don't care remember me see and our

1955
01:44:59,160 --> 01:45:01,280
Speaker 14: air probably amount of money.

1956
01:45:01,040 --> 01:45:04,639
Speaker 6: That all of these Shiit maxipriests whatever your eyes can see.

1957
01:45:04,680 --> 01:45:07,920
Speaker 6: All of these records were records that were street records

1958
01:45:07,920 --> 01:45:12,120
Speaker 6: that I either wrote or produced. And then so after

1959
01:45:12,120 --> 01:45:14,519
Speaker 6: a while people just started to be like, Okay, yeah,

1960
01:45:14,880 --> 01:45:15,720
Speaker 6: we're fucking with him.

1961
01:45:18,320 --> 01:45:22,200
Speaker 2: Well that was actually my question, like, is so thank you?

1962
01:45:22,400 --> 01:45:25,400
Speaker 2: Is there anything that you have yet to achieve? Like

1963
01:45:25,439 --> 01:45:29,760
Speaker 2: because I know, like you know, over tievers might necessarily

1964
01:45:30,040 --> 01:45:32,960
Speaker 2: feel like there's one more itch.

1965
01:45:32,840 --> 01:45:34,800
Speaker 3: They got to scratch and that sort of thing.

1966
01:45:34,840 --> 01:45:37,680
Speaker 2: And I know that even for us, like we've had

1967
01:45:37,720 --> 01:45:41,080
Speaker 2: that same journey where you know, our audience who does

1968
01:45:41,120 --> 01:45:44,479
Speaker 2: not look like us, embraces this ship out of us,

1969
01:45:44,520 --> 01:45:48,640
Speaker 2: and you know, but we longed for our hometown, our

1970
01:45:49,080 --> 01:45:51,760
Speaker 2: peoples to really embrace us, which I feel like, you know,

1971
01:45:51,800 --> 01:45:54,280
Speaker 2: with this next project we're doing, we're going to get

1972
01:45:54,280 --> 01:45:54,759
Speaker 2: that moment.

1973
01:45:54,800 --> 01:45:57,480
Speaker 3: But yeah, no, you answer the question.

1974
01:45:57,360 --> 01:45:59,360
Speaker 6: To me, would you? And I'm just going to get

1975
01:45:59,400 --> 01:46:02,960
Speaker 6: this for you. When I remember sitting with your band

1976
01:46:02,960 --> 01:46:04,160
Speaker 6: and I was, you know, I was talking I think

1977
01:46:04,200 --> 01:46:05,439
Speaker 6: it was your trumpet player or something.

1978
01:46:05,479 --> 01:46:10,720
Speaker 15: I was talking to it and we're talking about just

1979
01:46:10,760 --> 01:46:16,320
Speaker 15: how this gig, the late night game affected your whole ship.

1980
01:46:16,400 --> 01:46:18,200
Speaker 6: And he was like, Hey, it's a different thing. You know.

1981
01:46:18,240 --> 01:46:21,480
Speaker 6: We got we got dental and medical.

1982
01:46:24,640 --> 01:46:26,120
Speaker 3: I got the best teeth in the business, bro.

1983
01:46:26,960 --> 01:46:31,200
Speaker 6: And it dawned on me at that point. I was like, Wow, Yeah,

1984
01:46:31,280 --> 01:46:34,400
Speaker 6: that's that's some real ship you could and and what

1985
01:46:34,439 --> 01:46:37,519
Speaker 6: you have done with the platform. You know, even when

1986
01:46:37,880 --> 01:46:39,680
Speaker 6: I was so I think I saw you and just

1987
01:46:39,800 --> 01:46:42,559
Speaker 6: was telling you how genuinely happy I was to see

1988
01:46:42,560 --> 01:46:46,559
Speaker 6: you when the night even though it was really crowded

1989
01:46:46,560 --> 01:46:50,639
Speaker 6: with that bullshit that happened. But you know, but you

1990
01:46:50,880 --> 01:46:53,439
Speaker 6: I was just really because I kind of know your journey,

1991
01:46:53,960 --> 01:46:56,320
Speaker 6: you know, you know, and and and I know even

1992
01:46:56,360 --> 01:46:58,439
Speaker 6: some of it even to Scott, because when I was

1993
01:46:58,479 --> 01:47:01,160
Speaker 6: in Miami with Scott and just kind of see how

1994
01:47:01,200 --> 01:47:03,840
Speaker 6: the whole ship go and just know your journey being

1995
01:47:03,880 --> 01:47:06,640
Speaker 6: on an MCA, and just to see what you have

1996
01:47:06,800 --> 01:47:10,439
Speaker 6: done with the platform, you know what I mean, it

1997
01:47:10,520 --> 01:47:13,040
Speaker 6: is it is just commendable and I just want to

1998
01:47:13,080 --> 01:47:15,200
Speaker 6: take that time out to say thank you brother. You

1999
01:47:15,240 --> 01:47:17,040
Speaker 6: know what I mean. I appreciate it has not gone

2000
01:47:17,240 --> 01:47:18,280
Speaker 6: on unnoticed.

2001
01:47:19,200 --> 01:47:23,200
Speaker 3: Thank you, man, dude, this is this has been amazing.

2002
01:47:23,240 --> 01:47:27,400
Speaker 2: I'm not blowing smoking whatever like and I'm not even

2003
01:47:27,439 --> 01:47:30,639
Speaker 2: trying trying to kick it like oh well, I little expectation. No,

2004
01:47:30,920 --> 01:47:34,160
Speaker 2: but man, like you, I need to. I gotta tell

2005
01:47:34,200 --> 01:47:40,519
Speaker 2: the world like you are. You're a historian, like right now,

2006
01:47:40,720 --> 01:47:45,080
Speaker 2: history and misinformation is like for me, that's like almost

2007
01:47:45,200 --> 01:47:48,920
Speaker 2: job one, like uncovering history, making sure that you know,

2008
01:47:49,040 --> 01:47:50,520
Speaker 2: we we know our culture.

2009
01:47:50,200 --> 01:47:53,600
Speaker 7: And that findings findings exactly.

2010
01:47:53,720 --> 01:47:56,720
Speaker 3: So this this is a very important episode of course.

2011
01:47:56,800 --> 01:47:58,680
Speaker 3: Love Suprema. I thank you for doing this for us.

2012
01:47:58,720 --> 01:48:00,880
Speaker 6: Man, thank you, thank you, and I appreciate it.

2013
01:48:01,320 --> 01:48:04,960
Speaker 2: I want to be having sugar, Steve ye unpaid Bill.

2014
01:48:05,439 --> 01:48:09,559
Speaker 2: It's quest Love, Quest Love Supreme. Another classic, under the Bus,

2015
01:48:09,640 --> 01:48:11,479
Speaker 2: under the Hood and the Notch. I don't know, like

2016
01:48:11,520 --> 01:48:14,519
Speaker 2: the proper clue. What should I say, Steve, I don't know.

2017
01:48:16,640 --> 01:48:16,840
Speaker 3: You know.

2018
01:48:17,080 --> 01:48:18,400
Speaker 1: Shaggy is a Christmas album.

2019
01:48:18,520 --> 01:48:22,040
Speaker 5: Merry Christmas, Shaggy.

2020
01:48:22,320 --> 01:48:26,200
Speaker 6: Yeah, It's a Christmas album of dancer because when we

2021
01:48:26,200 --> 01:48:29,439
Speaker 6: were young, all week. All we got at Christmas was

2022
01:48:29,439 --> 01:48:33,760
Speaker 6: that Bing Crosby the record Christmas record, and my grandmother

2023
01:48:34,080 --> 01:48:36,760
Speaker 6: killed me with that ship. It was like, I'm like,

2024
01:48:37,040 --> 01:48:40,240
Speaker 6: and ain't nothing Bing Crosby is singing. Ain't nothing was

2025
01:48:40,640 --> 01:48:44,320
Speaker 6: looking like because I'm in Jamaica, there's no no you

2026
01:48:44,360 --> 01:48:47,320
Speaker 6: know what I mean, There's no there's no Santa Claus

2027
01:48:47,320 --> 01:48:50,000
Speaker 6: in the chimney, there's no none of that. It don't

2028
01:48:50,000 --> 01:48:52,920
Speaker 6: look like my Christmas. So I wanted to do an

2029
01:48:53,320 --> 01:48:59,000
Speaker 6: album that looked like how my Christmas Christmas, which was

2030
01:48:59,080 --> 01:49:00,960
Speaker 6: ragging them up in christ with some Christmas in the

2031
01:49:01,000 --> 01:49:03,600
Speaker 6: Islands and those songs that's on that record. And I

2032
01:49:03,760 --> 01:49:08,360
Speaker 6: got from Neil to to Ding Dong to Julia Reid

2033
01:49:08,880 --> 01:49:13,439
Speaker 6: to Bounty Killer, everybody on singing Bounty Killer beating him

2034
01:49:13,439 --> 01:49:16,280
Speaker 6: at everybody shouldn't see. All of them is on this

2035
01:49:16,400 --> 01:49:21,519
Speaker 6: record singing or versions of our dance off Christmas records,

2036
01:49:21,600 --> 01:49:25,759
Speaker 6: Christmas songs. You know, I mean, it ain't Mariah carry ship,

2037
01:49:25,800 --> 01:49:26,320
Speaker 6: but you know.

2038
01:49:30,040 --> 01:49:35,680
Speaker 7: It we can smoke to it.

2039
01:49:36,360 --> 01:49:39,400
Speaker 3: Brother, Thank thank you, man. I appreciate you for doing

2040
01:49:39,400 --> 01:49:40,559
Speaker 3: this the salad and talking to.

2041
01:49:40,560 --> 01:49:43,400
Speaker 5: Us so much.

2042
01:49:43,439 --> 01:49:43,639
Speaker 6: Man.

2043
01:49:44,080 --> 01:49:45,800
Speaker 2: All right, all right, well we'll see all the next

2044
01:49:45,800 --> 01:49:54,000
Speaker 2: go around, of course, Love Supreme Brother Shaggy.

2045
01:50:02,840 --> 01:50:11,000
Speaker 1: What above Supreme is a production of iHeartRadio. For more

2046
01:50:11,040 --> 01:50:15,519
Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

2047
01:50:15,560 --> 01:50:17,160
Speaker 1: wherever you listen to your favorite shows.