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

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Speaker 1: episode was produced by the team at Pandora. Ladies and gentlemen.

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Speaker 2: My name is Quest Love and this is QLs classic

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Speaker 2: and we go back with our how Randy Jackson, you know,

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Speaker 2: not American idol Randy Jackson, but the original.

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Speaker 3: Randy Jackson of the Jackson five of the Jacksons. Yes,

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Speaker 3: the youngest Jackson, well next to Janet. You know, we

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Speaker 3: get into it. We talk a lot about his career,

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Speaker 3: him joining his brothers at such a young age, his

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Speaker 3: life as a producer and as a songwriter, the memories

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Speaker 3: of the family.

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Speaker 1: So this is all the way from.

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Speaker 3: Halloween, October thirty first, twenty eighteen.

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Speaker 1: Randy Jackson Quest.

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Speaker 4: Loves Supreme, Suprema son, so supreme role called supreme son

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Speaker 4: son supremea role called subdremer some suprema role called supreme son,

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Speaker 4: so SUPREMEA.

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Speaker 5: My name is Questlove. This is my show. I cannot

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Speaker 5: think of a rhyme scheme.

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Speaker 1: To go with.

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Speaker 4: Supremer suprema role called Suprema son, Suprema role.

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Speaker 1: Car her name is Sugar. Yeah, I love to dance. Yeah,

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Speaker 1: oh ship right, just give me that one more chance.

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Speaker 4: Son Son Supremo.

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Speaker 1: Role called Supreme Son something Supreme role came.

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Speaker 4: Yeah, yeah, yeah, Rome Supreme Supreme to your mind subprime

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Speaker 4: roll call.

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Speaker 6: My name is Randy. Yeah, I'm happy to be here. Yeah,

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Speaker 6: folks and Hendrix. Yeah, We're gonna have a party.

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Speaker 4: Ro call Supreme Son Sun SUPREMEA roll call Supreme Suprema,

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Speaker 4: roll call Supreme SUPREMEA roll call.

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Speaker 1: Sun Suppreme Mo roll call Damn he lives. Yeah.

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Speaker 5: Q TIP should be a stand to himself, Randy de Sondam.

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Speaker 5: Ladies and gentlemen, welcome to UH. I always say it's

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Speaker 5: a special. Every every episode is a special. QLs.

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Speaker 1: Once again, I call you all anemic Supreme. Shout out.

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Speaker 5: No, but y'all here, you know, shout out to UH

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Speaker 5: fan Ticicolo and his countertops, his countertops and you know

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Speaker 5: I'm being Bill's is like living on Sesame Street now right, So.

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Speaker 1: Shouldn't you shout out to people who are actually here? Yes?

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Speaker 2: Here?

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Speaker 5: Okay, hello, light Yeah, you two. We got Sugar Steve

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Speaker 5: and your network and UH boss Bill. Yeah all right, So,

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Speaker 5: ladies and gentlemen, I.

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Speaker 1: Interest for us. By the way, you guys always do this.

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Speaker 1: Here's these two schmuts. Yeah, it depends, it depends, it depends. Uh.

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Speaker 5: We we travel all over to various studios, but you know,

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Speaker 5: Electric Ladies like our home home. Oh yeah, I should

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Speaker 5: let you guys know that we're here at Electric Lady Studios,

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Speaker 5: House of Hendricks, House of Whodoo, House of Wonder and

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Speaker 5: Roy Airs. And I didn't even until I walked in

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Speaker 5: the until yeah so and shout out to Electric Lady

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Speaker 5: for finally pulling the roots record up.

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Speaker 1: I kind of forgot that, you know, I didn't know

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Speaker 1: if they knew that I recorded here as well.

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Speaker 5: So anyway, ladies and gentlemen, I'll say that I've you know,

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Speaker 5: I've mean many a brew haha over the musical influences

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Speaker 5: of my childhood, you know, like Stevievis and Prints that,

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Speaker 5: and Dyla This and Michael This and Quincy Vet and

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Speaker 5: Steve Rohn whatever. But I'll say that in prepping for

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Speaker 5: this episode, I slowly kind of realized that our guest

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Speaker 5: today is probably more influential to me personally than I

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Speaker 5: give them credit for. And you know, basically because of

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Speaker 5: the timing and the influence of what we know as

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Speaker 5: the Jackson five of the Jacksons was absolutely inescapable in

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Speaker 5: the seventies if you were growing up black in the seventies,

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Speaker 5: and they were pretty much more than entertainers or even superheroes.

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Speaker 5: They were damn near like an occupation because I probably

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Speaker 5: asked more times as a kid, you want to be

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Speaker 5: a little Randy Jackson when you grow up, So you know,

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Speaker 5: Randy Jackson to me was more an occupation than an

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Speaker 5: actual personality. And I guess that sort of planned to seed.

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Speaker 5: And I'll say that you know his influence all my life.

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Speaker 5: I'll share stories of his influence on my life throughout

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Speaker 5: the show. Stories for me, wanted to be a percussionist

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Speaker 5: to various punishments I received as a child.

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Speaker 1: In the name of trying to stunt like Randy Jackson.

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Speaker 5: Anyway, even on the low of me joining the Rock

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Speaker 5: and Roll Hall of Fame Committee to right the wrong

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Speaker 5: of his omission in that institution, I personally believe he

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Speaker 5: should be alongside his five brothers in the Rock and

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Speaker 5: Roll Hall of Fame. And I'm actually trying like hell

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Speaker 5: to make that happen and to write that wrong, because

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Speaker 5: in my opinion, it was his contributions that was key

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Speaker 5: to taking them, you know, to adults and us taking

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Speaker 5: them seriously. This is I feel like it's like a.

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Speaker 1: Memorial my father. He's like snoring. Anyway, I'm just saying welcome.

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Speaker 1: We want to welcome to the show.

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Speaker 5: Singer, percussionist, producer, arranger, superhero and I'm putting out their

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Speaker 5: future Hall of Famer Stephen Randall Jackson to.

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Speaker 1: Quest Lip Supreme.

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Speaker 6: Thank you think you think of anything?

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Speaker 1: Yeah, you know, the show's over, so thank you. How

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Speaker 1: how are you today, I'm good.

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Speaker 6: I'm good. I just got in uh last night from England.

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Speaker 6: I'm good. What part of London are you living in?

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Speaker 6: Central Belgravey Central? I can walk everywhere. It's to walk, yeah,

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Speaker 6: I uh.

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Speaker 5: Shortly before, at the beginning of the Roots career, we

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Speaker 5: actually we quote speaking of hendricks we pulled a hendricks

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Speaker 5: By I'll say, creatively, exiling to London and living there

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Speaker 5: for about I loved it because I mean, at least

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Speaker 5: in ninety four, you know, we we felt like there

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Speaker 5: was a space for us creatively as a band, because

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Speaker 5: you know, the idea of a band was becoming extinct

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Speaker 5: in the United States, and you know, so we lived

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Speaker 5: in Kennistown, in the northern part of London, like in

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Speaker 5: the Canadam market, right, yeah, for like five years. But

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Speaker 5: how long have you been living in there? I mean

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Speaker 5: we kept our flat there from like ninety three. We

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Speaker 5: needed an apartment there, so that way it wouldn't be expensive,

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Speaker 5: like to go to Switzerland, come.

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Speaker 1: Back to Philly and come back to Philly. Yeah. If

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Speaker 1: we had a hub over in Europe, then we could

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Speaker 1: just stay in Europe and work over there.

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Speaker 6: It's about three years now. Yeah, man, yeah, you know,

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Speaker 6: it's interesting when you're there. They asked us. Had a

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Speaker 6: great appreciation from me music in the history of music.

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Speaker 6: It's like that's all I love about Lendon. It's like

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Speaker 6: they love music, jazz.

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Speaker 1: Ronnie Scott's yeah, oh yeah Scott. Yeah.

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Speaker 6: And then like every weekend.

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Speaker 5: Damn Square in Leicester Square and yeah Ronnie Scott's, man,

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Speaker 5: what is is that a jazz club? It's a jazz club.

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Speaker 5: I think I last saw when did like two weeks there. Uh,

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Speaker 5: and I was, well, I saw these four of those shows,

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Speaker 5: and I was kind of amazed at the fact that

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Speaker 5: he was just going off the cup for each show.

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Speaker 5: So for him to be such anti Miles, you know,

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Speaker 5: I was shocked that he kept it spontaneous.

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Speaker 1: So, so you you like it over there? I do.

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Speaker 1: I do.

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Speaker 6: You know, I like the music scene. It's something different,

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Speaker 6: you know, it's nice, cool cool. Yeah, and they love

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Speaker 6: American music of course, you know it's it's no secret,

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Speaker 6: but it's nice cool.

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Speaker 5: I'll see, So I will say that, uh you of

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Speaker 5: course you're you're in New York right now, yes, because

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Speaker 5: I am. You're you're kind of the helm of your

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Speaker 5: or partnering with your sister.

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Speaker 6: Yeah, I'm yeah, I'm here in New York and Bay Area, LA.

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Speaker 6: So I'm traveling between like four places all the time.

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Speaker 5: Oh, you got helps all over the place. That's the dream,

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Speaker 5: that's the absolute dream. So I want to start from

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Speaker 5: the beginning. So what were your earliest memories of growing up?

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Speaker 5: And I assume that you were born in Gary and yeah,

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Speaker 5: I was, I was fella.

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Speaker 6: Yeah yeah, what was really? We used to go up

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Speaker 6: to South Bend. I got all the bitch folks up there.

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Speaker 1: You were.

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Speaker 6: We were poor, So you go from South Bend. So

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Speaker 6: I wish I had that car. You know, it's like, yeah,

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Speaker 6: that's my car.

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Speaker 1: Everyone plays that's my car.

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Speaker 6: That's right, everybody plays that.

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Speaker 1: So what were your earliest memories of what you were

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Speaker 1: growing up in.

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Speaker 6: But Gary was an interesting place because it's like growing

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Speaker 6: up there's like gang violence and it's pretty serious, pretty bad.

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Speaker 6: But we had a father who was like, the gangs

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Speaker 6: were scared of our father, Like, those are Joe's boys,

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Speaker 6: you know, their daddy crazy, don't mess with them. It

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Speaker 6: was like, so you know, he he did his best

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Speaker 6: to keep us out of the streets, right. So you know,

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Speaker 6: we were just in the house playing instruments. But Gary

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Speaker 6: was a great experience. It's a home is always home. Actually,

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Speaker 6: I've been spending a lot of time there lately, so

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Speaker 6: it's nice Yoh yeah, in fact, I'm going back on

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Speaker 6: after year.

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Speaker 1: Wait what home?

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Speaker 6: Back to Gary? So you guys, you're still on the

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Speaker 6: home there. That's twenty three hundred Jackson. That's six hundred

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Speaker 6: and fifty Squire House. We still have it. Really, Yeah, it's.

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Speaker 1: Is it a museum piece now or is it just

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Speaker 1: like is it open for the public to see you?

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Speaker 6: Yeah, they want to make a museum, mane, But we

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Speaker 6: just want to make it for people to see, but

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Speaker 6: keep it home. Like this room is much the house

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Speaker 6: can fit in this room.

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Speaker 1: Really.

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Speaker 6: Yeah, So we had two bedrooms. My parents slept in

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Speaker 6: the master bedroom, and Mean Marlon Jackie, Tito, Jermaine, Michael Jackie,

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Speaker 6: we slept in the other bedroom. In the Toya Ribi

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Speaker 6: and Janet slept on the so for in a living room.

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Speaker 6: Mean Marlin and Michael slept in the middle bunk. Jackie

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Speaker 6: had the bottom bunk by himself and Tito had the

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Speaker 6: top top. Tito and jermainicas have I slept in between

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Speaker 6: Michael and marnin they both would pee on me.

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Speaker 1: Like it was gross. It was it was gross, you know,

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Speaker 1: but uh littally sounded like a wou teen childhood.

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Speaker 5: Yeah, hey man, wow, hold up, I see got a

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Speaker 5: living Hey, so it's it's for me, like I know

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Speaker 5: that you were, I mean assuming that the idea of

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Speaker 5: the Jackson five started in sixty five. You're sixty one,

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Speaker 5: sixty I was born in sixty one, all right, so

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Speaker 5: you were four?

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Speaker 1: Yeah when they started, did you feel like, oh, this

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Speaker 1: is me too?

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Speaker 6: Or was it like it's funny my brothers started. Yeah,

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Speaker 6: like sixty five, and I remember when I went you

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Speaker 6: back became like a hit. They had a local hit,

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Speaker 6: a big boy. Yeah, you know it was hit Chicago hit.

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Speaker 6: It some other places. But when I went you back

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Speaker 6: became a hit. I was stelling Gary and uh my

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Speaker 6: mother came to the room and woke me up. Just

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Speaker 6: listen to this was on the radio. I'm like, is

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Speaker 6: that them? Because yes, we ought to sight and we

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Speaker 6: were going out to La. A few days later we

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Speaker 6: went to La. It was like culture shock. Man, I'd

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Speaker 6: seen I had never seen like homes in the hills.

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Speaker 1: That's what I was flat, Like, what was it like

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Speaker 1: for you to it was?

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Speaker 6: It was? It was overwhelming, like and I was like

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Speaker 6: my eyes were I mean, I don't know what the

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Speaker 6: thing was it was. It was scary in a way

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Speaker 6: because all the things I had seen on the view master.

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Speaker 1: Wow, the view master.

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Speaker 6: Yea, so all the things I looked at them right right,

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Speaker 6: So all the things I seen on the view master

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Speaker 6: at home, dreaming one day I'm gonna go here. Maybe

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Speaker 6: now I'm seeing it in person and these big homes

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Speaker 6: and Disneyland and you know the one thing that was

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Speaker 6: really freaked me out with school buses. Really, I'm from

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Speaker 6: We walked in school and I was eight years old

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Speaker 6: walking to school and Snow taller than me, you know,

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Speaker 6: but but right, but school bus is coming to pick

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Speaker 6: you up in front of your house. I was like, what,

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Speaker 6: this is great, this is awesome. But it was a

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Speaker 6: great experience. Man, it was like changed me up a lot.

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Speaker 1: When did you move? When did you officially move? Della?

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Speaker 6: It was nineteen seventy one.

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Speaker 1: Wow, okay, so you were ten years old?

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Speaker 6: Ten years old? Yeah, it's ten.

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Speaker 5: So I know about the first concert with Well, first

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Speaker 5: of all, how did you finally convince.

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Speaker 6: Your family like, okay, begetting the music thing?

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Speaker 1: Yeah, well, to get.

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Speaker 6: They weren't with it because at the time of the

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Speaker 6: true story and some people might not want to hear

240
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Speaker 6: the story. But my dad always wanted me to be

241
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Speaker 6: in the band. But I think Motown thought that add

242
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Speaker 6: a six brother it would confuse everybody. So we're gonna

243
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Speaker 6: see Jackson six. It's just confused. So I said, okay,

244
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Speaker 6: I got to figure out I'd get my way into this.

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Speaker 6: So I started just playing everything I could. Like in

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Speaker 6: our house in La we had a recording studio that

247
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Speaker 6: had like this place had drums, guitars, piano, So I

248
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Speaker 6: would go around the room. I would come home from school,

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Speaker 6: do my homework. I'd be in the studio until I

250
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Speaker 6: went to bed, my brother's be touring whatever. But that

251
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Speaker 6: was my every day. But I didn't know that I

252
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Speaker 6: was developing skills at the time that would you know,

253
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Speaker 6: you know, pay off for me later. But I was

254
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Speaker 6: at home playing the piano. Then I turned on the

255
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Speaker 6: board and started making songs and tracks and playing all

256
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Speaker 6: the parts on the tracks, and playing the guitar part

257
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Speaker 6: and playing the bass part. And then I paid a

258
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Speaker 6: little trumpet and I try to do everything. So as

259
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Speaker 6: time went on, things got a little bit better, a

260
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Speaker 6: little bit better.

261
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Speaker 1: And then.

262
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Speaker 6: We went to CBS Records where we were where we

263
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Speaker 6: started writing our own songs. So by that time, my writing,

264
00:16:05,360 --> 00:16:10,240
Speaker 6: that's what came through. But I meant for the appearance

265
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Speaker 6: where you came out to do ah, I think a

266
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Speaker 6: brand new thing or what happened was yeah, So what

267
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Speaker 6: happened even before I was officially a part of the band,

268
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Speaker 6: I had sang on songs like a dance machine get

269
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Speaker 6: it Together. I was singing on all the songs. So

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Speaker 6: I would go in the students sing on the songs,

271
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Speaker 6: but they wouldn't put my face on the album because

272
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Speaker 6: it was just confusing.

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Speaker 1: It's rather so yeah, So I was already.

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Speaker 6: Involved in singing and touring, yeah, and touring for years,

275
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Speaker 6: playing percussion touring, but I wasn't officially involved because the

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Speaker 6: sixth brother was going to be confusingly.

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Speaker 5: Yeah, okay, so at the time when you guys were performing,

278
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Speaker 5: it was still Ronnie on keyboards and John Johnny so

279
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Speaker 5: that was definitely your brother Jermaine on bass.

280
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Speaker 6: And yeah yeah yeah yo he Jamaine Jamaine Jamainic can play. Yo.

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Speaker 1: I was gonna say, like on that Indiana concert, Uh,

282
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Speaker 1: you can play. Yeah. He was kind of killing on

283
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Speaker 1: some James Jamison.

284
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Speaker 5: So yeah, So at least back then as far as

285
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Speaker 5: because I want to compare or at least.

286
00:17:24,320 --> 00:17:26,080
Speaker 1: Find out the difference between.

287
00:17:28,080 --> 00:17:32,840
Speaker 5: Touring life in seventy two, seventy three, seventy four versus

288
00:17:34,400 --> 00:17:37,840
Speaker 5: ten years later the Victory Tour, which I'm sure as

289
00:17:37,880 --> 00:17:41,520
Speaker 5: like apples and oranges, but at least for back then, Uh,

290
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Speaker 5: Like I'm noticing that, uh, your brother's microphones sometimes it'd

291
00:17:48,400 --> 00:17:51,199
Speaker 5: be two or three of them taped together. As far

292
00:17:51,280 --> 00:17:57,600
Speaker 5: as technology is concerned, how were what would the could

293
00:17:57,640 --> 00:17:59,720
Speaker 5: you recall back then with like what the what the

294
00:18:00,880 --> 00:18:03,879
Speaker 5: as far as the the placement of speakers and all

295
00:18:03,920 --> 00:18:04,720
Speaker 5: those things.

296
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Speaker 6: Like that's that's a good question in terms of recording, well.

297
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Speaker 5: Not recording, just live because I know that the standard

298
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Speaker 5: for the standard for what what back line is today

299
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Speaker 5: versus back then. And you guys were playing stadiums, Like

300
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Speaker 5: if I was in the nosebleed, could I physically hear

301
00:18:26,280 --> 00:18:29,639
Speaker 5: what you guys were doing or it was just just

302
00:18:29,840 --> 00:18:32,840
Speaker 5: there to see physically what But back then, you know,

303
00:18:32,920 --> 00:18:35,960
Speaker 5: we didn't have like pro tools or technology and things

304
00:18:36,040 --> 00:18:38,640
Speaker 5: like that, so yeah, monitors or any of them. Yeah,

305
00:18:38,760 --> 00:18:43,360
Speaker 5: so everything was like real time, hands on, like as

306
00:18:43,400 --> 00:18:47,359
Speaker 5: you see it. And I remember like.

307
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Speaker 6: Choco was doing our sound. But we had our guy

308
00:18:52,119 --> 00:18:57,320
Speaker 6: named uh name Rusty Okay, that song guy back then

309
00:18:57,480 --> 00:19:00,400
Speaker 6: we use the same guy from Texas and be tour.

310
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Speaker 6: He was he was amazing. He's just he just had

311
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Speaker 6: a nice touching me. And during the show, I would somehow,

312
00:19:09,560 --> 00:19:11,760
Speaker 6: you know, figure out how to go out out in

313
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Speaker 6: the audience and in the disguise because I had to

314
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Speaker 6: hear the sound like what. Yeah, Like I'm the one,

315
00:19:19,200 --> 00:19:21,840
Speaker 6: I like my brothers, I'm the one who like pays

316
00:19:21,840 --> 00:19:24,080
Speaker 6: attention to all that stuff. It's like some of your

317
00:19:24,080 --> 00:19:27,959
Speaker 6: technically Yeah, I'm like I'm at every sound check I mean,

318
00:19:28,040 --> 00:19:30,000
Speaker 6: I got to hear the sound. It's got to sound right.

319
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Speaker 6: So I would sneak out there and hear a sound,

320
00:19:32,200 --> 00:19:34,640
Speaker 6: you know, doing a break and somebody's doing the solo.

321
00:19:34,640 --> 00:19:35,720
Speaker 6: I mean, like check it out.

322
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Speaker 1: We need the drums, you know.

323
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Speaker 6: So because you got a song. Even though we listened

324
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Speaker 6: to tapes afterwards, it's still not the same because the

325
00:19:43,000 --> 00:19:46,280
Speaker 6: tapes are just direct, but you're not hearing the way

326
00:19:46,280 --> 00:19:49,680
Speaker 6: it sounds out there. But you know, in those days,

327
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Speaker 6: I think there was a a naturalness to it because

328
00:19:57,720 --> 00:20:01,280
Speaker 6: of the the analog and just everything in real time

329
00:20:02,040 --> 00:20:05,600
Speaker 6: that's missing today. You know, you know what I'm talking about.

330
00:20:05,800 --> 00:20:12,000
Speaker 6: It's missing today, and that those things that a little

331
00:20:12,040 --> 00:20:13,600
Speaker 6: bit out of sync or made a little bit of

332
00:20:13,640 --> 00:20:17,639
Speaker 6: flat all ads to making it sound great. It's all

333
00:20:17,720 --> 00:20:19,040
Speaker 6: part of the great. And you know what I'm talking about,

334
00:20:19,040 --> 00:20:21,840
Speaker 6: it's like it makes it human. It gives it a

335
00:20:21,920 --> 00:20:25,080
Speaker 6: human element that's missing today. Everything's kind of too perfect

336
00:20:25,720 --> 00:20:28,639
Speaker 6: in a sense, and I feel that music loses its

337
00:20:28,760 --> 00:20:32,000
Speaker 6: dynamics now today. Sometimes I can put on a song

338
00:20:32,080 --> 00:20:34,720
Speaker 6: today and I can't tell if it's the beginning, middle

339
00:20:34,720 --> 00:20:36,440
Speaker 6: of the end, because it sounds the same straight through.

340
00:20:37,359 --> 00:20:39,600
Speaker 6: But in those days, you can tell what the beginning

341
00:20:39,600 --> 00:20:41,800
Speaker 6: of the middle of the end buss because it had

342
00:20:41,840 --> 00:20:45,040
Speaker 6: Beene dynamics and sometimes the temple would change from the

343
00:20:45,080 --> 00:20:47,280
Speaker 6: beginning of the song to the end song. Even that

344
00:20:48,160 --> 00:20:49,600
Speaker 6: was kind of a cool thing, you know.

345
00:20:50,200 --> 00:20:54,120
Speaker 1: Fluctuation. Yeah, it breathes, yes too.

346
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Speaker 5: I'll say that, at least for you guys. In my eyes,

347
00:21:00,040 --> 00:21:02,160
Speaker 5: you guys are like the first people to really benefit

348
00:21:03,560 --> 00:21:09,600
Speaker 5: the post civil rights era glory or the post dream

349
00:21:09,720 --> 00:21:14,760
Speaker 5: of what Martin was talking about, as far as like

350
00:21:14,840 --> 00:21:17,320
Speaker 5: you arriving in la and being of age and really

351
00:21:17,440 --> 00:21:20,440
Speaker 5: just benefiting, not saying that you guys haven't gone through

352
00:21:21,720 --> 00:21:25,520
Speaker 5: what most of Black America goes through in life. If anything,

353
00:21:25,720 --> 00:21:30,240
Speaker 5: you probably have business stories of double standards, and we'll

354
00:21:30,240 --> 00:21:31,320
Speaker 5: get into that, but.

355
00:21:33,000 --> 00:21:33,800
Speaker 1: Just on the.

356
00:21:37,160 --> 00:21:42,760
Speaker 5: Just on the offset of of of what was it

357
00:21:42,960 --> 00:21:45,280
Speaker 5: like to I mean, I mean, I don't want to

358
00:21:45,320 --> 00:21:51,879
Speaker 5: say black Beatlemania, but just the idea of, yeah, what

359
00:21:52,560 --> 00:21:56,800
Speaker 5: was that actually like to be in a situation where

360
00:21:56,880 --> 00:21:59,680
Speaker 5: you're pretty much having to run for your life, run

361
00:22:00,000 --> 00:22:00,400
Speaker 5: every day?

362
00:22:01,000 --> 00:22:02,840
Speaker 1: And was it just like one Bill Braid trying to

363
00:22:02,880 --> 00:22:04,720
Speaker 1: protect the six of you guys or what?

364
00:22:04,920 --> 00:22:07,040
Speaker 6: Yeah, it was at one time and you know, it's

365
00:22:07,160 --> 00:22:15,119
Speaker 6: like it was interesting because I mean, yeah, it was

366
00:22:15,160 --> 00:22:16,399
Speaker 6: literally running for your life.

367
00:22:18,440 --> 00:22:19,159
Speaker 1: There was a few.

368
00:22:19,080 --> 00:22:22,480
Speaker 6: Times we were actually really scared and we got pretty dangerous.

369
00:22:22,760 --> 00:22:27,760
Speaker 6: I mean, in those days, we could never finish a

370
00:22:27,800 --> 00:22:30,840
Speaker 6: full show because they would actually rush the stage and

371
00:22:30,960 --> 00:22:33,560
Speaker 6: the stage would actually collapsed because all of the pressure

372
00:22:33,560 --> 00:22:35,840
Speaker 6: and the weight against the stage, it would fall. So

373
00:22:36,000 --> 00:22:39,560
Speaker 6: we Bill would be on the stage looking at the stage,

374
00:22:39,680 --> 00:22:41,320
Speaker 6: and we'd be looking at him. He's had his he'd

375
00:22:41,359 --> 00:22:44,040
Speaker 6: have his hand up, a signal, a signal. As soon

376
00:22:44,040 --> 00:22:45,560
Speaker 6: as he put his hand down, and he's dropped your

377
00:22:45,560 --> 00:22:49,960
Speaker 6: instrument to run. He's watching, he's watching, and we're still playing.

378
00:22:50,640 --> 00:22:55,680
Speaker 6: We're looking at him. As soon as he goes like this,

379
00:22:56,400 --> 00:22:59,399
Speaker 6: it means go because the stage is clapping, fans are

380
00:22:59,480 --> 00:23:00,919
Speaker 6: rushing stage, and we got to get out of.

381
00:23:03,000 --> 00:23:03,160
Speaker 1: Man.

382
00:23:03,200 --> 00:23:05,720
Speaker 5: I'm just you know, did you guys actually invent like

383
00:23:05,840 --> 00:23:09,440
Speaker 5: the idea of entourages and because I mean, there's no

384
00:23:09,520 --> 00:23:13,480
Speaker 5: one parallel to that in black music at least, like

385
00:23:13,640 --> 00:23:17,080
Speaker 5: you know, I don't see girls chasing Parliament Funkadelic that

386
00:23:17,200 --> 00:23:19,800
Speaker 5: way or yeah, exactly, so.

387
00:23:21,760 --> 00:23:22,000
Speaker 1: Just the.

388
00:23:23,720 --> 00:23:25,760
Speaker 5: Just a trial, I mean, things that we take advantage

389
00:23:25,800 --> 00:23:28,160
Speaker 5: of now you know. I mean, I'm explaining to people

390
00:23:28,240 --> 00:23:30,920
Speaker 5: what the idea of a greeter at the airport means,

391
00:23:31,160 --> 00:23:33,920
Speaker 5: or a back durance or that sort of thing. But

392
00:23:35,480 --> 00:23:39,160
Speaker 5: you guys have to kind of find out the hard way.

393
00:23:39,640 --> 00:23:42,000
Speaker 5: And I'm certain that there weren't five star hotels at

394
00:23:42,040 --> 00:23:42,679
Speaker 5: the beginning, so.

395
00:23:43,960 --> 00:23:48,760
Speaker 6: Ends and the Hilton's, and Hilton was the five star, right,

396
00:23:49,000 --> 00:23:52,120
Speaker 6: but a lot of Ramona ends.

397
00:23:52,240 --> 00:23:56,239
Speaker 5: And did it ever get tired of? Did it ever

398
00:23:56,280 --> 00:23:58,720
Speaker 5: get tired? Like were you at one point? Were you

399
00:23:58,840 --> 00:24:01,560
Speaker 5: just over it? Like Okay, this is not fun anymore?

400
00:24:01,640 --> 00:24:05,640
Speaker 5: Like where's my wallet? Or someone broke my room again?

401
00:24:06,280 --> 00:24:10,119
Speaker 6: You know, we had touring. It's like, you know, you

402
00:24:10,240 --> 00:24:13,360
Speaker 6: have fun on tours, like everybody becomes one family. It's

403
00:24:13,359 --> 00:24:15,080
Speaker 6: a lot of jokes, a lot of laughing. You make

404
00:24:15,119 --> 00:24:18,200
Speaker 6: it fun. And right around the middle of the tour

405
00:24:18,240 --> 00:24:21,760
Speaker 6: you can get a little stale. Then towards the end

406
00:24:21,800 --> 00:24:24,560
Speaker 6: it starts getting fun. Everybody knows getting going home, but

407
00:24:24,960 --> 00:24:27,840
Speaker 6: it starts getting fun. But man, it's it's a lot

408
00:24:27,920 --> 00:24:29,639
Speaker 6: of fun. Was it more of the grasses green? On

409
00:24:29,720 --> 00:24:31,960
Speaker 6: the other side though, Like I wish I was home

410
00:24:32,920 --> 00:24:35,280
Speaker 6: playing with my car collection on my court, and you

411
00:24:35,359 --> 00:24:42,800
Speaker 6: probably had rule like a tyco he probably had. Like yeah,

412
00:24:42,960 --> 00:24:45,680
Speaker 6: so I mean was it more like, ah, man, we

413
00:24:45,760 --> 00:24:49,240
Speaker 6: could to spend what places? Didn't you like to travel?

414
00:24:49,440 --> 00:24:53,879
Speaker 5: Like even now I'm starting to appreciate Europe, but in

415
00:24:53,960 --> 00:24:56,480
Speaker 5: the midst of it, like I couldn't stand, like we

416
00:24:56,560 --> 00:24:58,119
Speaker 5: got to do three months in Europe and.

417
00:24:59,640 --> 00:25:01,920
Speaker 1: I hate this really well.

418
00:25:02,160 --> 00:25:06,520
Speaker 5: I mean, first of all, like you know, we I'll say,

419
00:25:06,520 --> 00:25:08,760
Speaker 5: the roots were at least like the money wasn't rolling

420
00:25:08,800 --> 00:25:11,720
Speaker 5: in for the first ten years. So for me, Europe

421
00:25:11,840 --> 00:25:16,399
Speaker 5: was just like the worst hotels and living off of

422
00:25:17,880 --> 00:25:21,720
Speaker 5: this you know, twenty four hour McDonald's and back line

423
00:25:21,880 --> 00:25:22,679
Speaker 5: like that sort of thing.

424
00:25:23,480 --> 00:25:28,200
Speaker 1: But for you it was like you enjoyed it.

425
00:25:29,040 --> 00:25:32,280
Speaker 6: Yeah, I mean there are some places that we didn't

426
00:25:32,359 --> 00:25:36,280
Speaker 6: like going to too much, you know, you know, not

427
00:25:36,400 --> 00:25:38,800
Speaker 6: because based on the crowd. Like yeah, not because of

428
00:25:38,800 --> 00:25:41,280
Speaker 6: the crowd. I mean once we hit the stage and

429
00:25:42,320 --> 00:25:44,800
Speaker 6: and the people and the fans were there, it was

430
00:25:44,840 --> 00:25:47,600
Speaker 6: all love. But some of these racist towns it was

431
00:25:47,920 --> 00:25:51,560
Speaker 6: pretty roughs experienced that even as the Jackson fine walking

432
00:25:51,600 --> 00:25:56,280
Speaker 6: down the street, where was I and this guy was

433
00:25:56,320 --> 00:26:03,159
Speaker 6: able to laune a watermelon at me? Was able laughing

434
00:26:03,520 --> 00:26:07,920
Speaker 6: and man walking down the street in South Carolina or something.

435
00:26:08,200 --> 00:26:08,400
Speaker 1: Yeah.

436
00:26:08,560 --> 00:26:10,879
Speaker 6: Oh for real, Yeah, keep me in the back of

437
00:26:10,920 --> 00:26:14,520
Speaker 6: the head with it. Yeah, yeah, it was.

438
00:26:14,600 --> 00:26:14,760
Speaker 4: It was.

439
00:26:14,840 --> 00:26:16,040
Speaker 6: It was rough some places.

440
00:26:16,200 --> 00:26:16,280
Speaker 1: Uh.

441
00:26:16,840 --> 00:26:19,840
Speaker 6: We're always get threats from the from the KKK all

442
00:26:19,920 --> 00:26:20,240
Speaker 6: the time.

443
00:26:20,359 --> 00:26:23,639
Speaker 1: Seriously, Yes, this is the stuff we never heard of.

444
00:26:23,800 --> 00:26:25,919
Speaker 6: Oh yeah, there'd be threats a few times. I had

445
00:26:25,960 --> 00:26:29,600
Speaker 6: to walk on stage with a bulletproof vest Yeah what

446
00:26:30,160 --> 00:26:33,080
Speaker 6: underneath my custom I had a bulletproof vesta.

447
00:26:34,640 --> 00:26:43,320
Speaker 5: Threats Triumph era, Destiny era era Yeah seriously yeah, yeah, Yo,

448
00:26:46,119 --> 00:26:49,640
Speaker 5: Victory Tour, we had a we had a really bad threat.

449
00:26:49,680 --> 00:26:52,240
Speaker 6: The FBI came out. They they were in the trees.

450
00:26:52,400 --> 00:26:54,639
Speaker 6: We had a feat there was bombs. It was some

451
00:26:55,680 --> 00:26:59,399
Speaker 6: hate organizations and uh and that was the first one

452
00:26:59,440 --> 00:27:02,480
Speaker 6: on stage and victortorre I had that whole thing on. Yeah,

453
00:27:02,560 --> 00:27:04,879
Speaker 6: the armor, yeah, and then the bulletproof vest on into that,

454
00:27:05,000 --> 00:27:07,720
Speaker 6: and I was like, it's crazy. Seriously, we did the show.

455
00:27:08,359 --> 00:27:09,200
Speaker 6: We didn't stop y'all.

456
00:27:09,280 --> 00:27:10,000
Speaker 1: Never let that out.

457
00:27:10,359 --> 00:27:13,720
Speaker 6: No, that's crazy because we didn't know. You let that out,

458
00:27:13,800 --> 00:27:16,760
Speaker 6: you may get more people copycats. So we're going to

459
00:27:16,880 --> 00:27:17,440
Speaker 6: keep this quiet.

460
00:27:18,280 --> 00:27:21,359
Speaker 1: I can't even imagine, like the Jackson's in the era

461
00:27:21,480 --> 00:27:26,920
Speaker 1: of social media, Like if that were a thing, it

462
00:27:26,960 --> 00:27:33,280
Speaker 1: would have been they were social media. There's one particular.

463
00:27:34,880 --> 00:27:37,200
Speaker 5: Show that I see a lot of, or at least

464
00:27:37,320 --> 00:27:40,760
Speaker 5: like small shots of, but there's no clips of what

465
00:27:40,920 --> 00:27:43,240
Speaker 5: was the experience of. Do you remember anything about you

466
00:27:43,280 --> 00:27:44,520
Speaker 5: guys's trip to Jamaica?

467
00:27:45,119 --> 00:27:47,920
Speaker 1: Yes, because I see that photo of you guys hanging

468
00:27:47,920 --> 00:27:49,880
Speaker 1: with Bob Marley and that's all I see.

469
00:27:49,960 --> 00:27:52,240
Speaker 6: But what was Yeah, we went to his house and

470
00:27:52,280 --> 00:27:55,800
Speaker 6: stay there before he passed away, and I remember it

471
00:27:55,920 --> 00:28:00,639
Speaker 6: was cool. It was a cool experience. In fact, they

472
00:28:00,680 --> 00:28:04,560
Speaker 6: did the documentary and when there's one part of the

473
00:28:05,520 --> 00:28:08,800
Speaker 6: really yeah, the most recent one I think has came out.

474
00:28:08,840 --> 00:28:10,639
Speaker 1: But so you guys were hip to who he was

475
00:28:11,640 --> 00:28:12,359
Speaker 1: because I feel like.

476
00:28:13,440 --> 00:28:15,440
Speaker 6: He was nice. He was He invited us over.

477
00:28:15,960 --> 00:28:17,879
Speaker 1: We we uh we did.

478
00:28:17,960 --> 00:28:21,119
Speaker 6: We did a show there Jamaica, some shows there. He

479
00:28:21,240 --> 00:28:24,600
Speaker 6: invited us over and we had a good time. It

480
00:28:24,760 --> 00:28:25,080
Speaker 6: was cool.

481
00:28:27,480 --> 00:28:33,080
Speaker 5: There's the period that I particularly enjoyed, and I'm sure

482
00:28:33,160 --> 00:28:34,960
Speaker 5: a lot of it has to do with like my

483
00:28:35,160 --> 00:28:44,280
Speaker 5: age and finally seeing you guys, which you know, I've

484
00:28:44,320 --> 00:28:46,560
Speaker 5: read various brothers like either roll their eyes at the

485
00:28:46,600 --> 00:28:49,959
Speaker 5: period or whatever. But for me, like you know, uh,

486
00:28:51,520 --> 00:28:58,280
Speaker 5: the Variety Show era Jackson's, the Vegas era Jackson's, Like,

487
00:28:58,640 --> 00:29:03,320
Speaker 5: I particularly like that stuff because it's well.

488
00:29:03,560 --> 00:29:06,400
Speaker 6: What people don't know about those things, like even the

489
00:29:06,480 --> 00:29:10,800
Speaker 6: Vegas stuff even excuse me, and even the Variety Show.

490
00:29:12,000 --> 00:29:18,800
Speaker 6: We that show was really successful. Yeah, but we we

491
00:29:19,040 --> 00:29:21,040
Speaker 6: limited to just ten shows and we didn't want to

492
00:29:21,080 --> 00:29:24,720
Speaker 6: do any more than that. And the same thing with Vegas.

493
00:29:24,720 --> 00:29:27,040
Speaker 6: We don't want to go back to Vegas because we

494
00:29:27,160 --> 00:29:29,360
Speaker 6: wanted to do more music. We wanted to make it

495
00:29:29,400 --> 00:29:32,160
Speaker 6: more musical, not just like for us, it wasn't just

496
00:29:32,200 --> 00:29:35,160
Speaker 6: about going to Vegas, you know, doing the show and

497
00:29:35,280 --> 00:29:38,000
Speaker 6: making good money. We wanted to keep your musical at

498
00:29:38,040 --> 00:29:39,680
Speaker 6: the time. We went to going to the studio, make

499
00:29:39,720 --> 00:29:42,160
Speaker 6: more albums, record and take it to our next level.

500
00:29:42,240 --> 00:29:44,600
Speaker 5: But your brother said that, you know, to do Vegas

501
00:29:44,760 --> 00:29:46,400
Speaker 5: or at least to do the Variety Show was more

502
00:29:46,480 --> 00:29:47,320
Speaker 5: like old hat.

503
00:29:47,400 --> 00:29:50,200
Speaker 6: And yeah, we didn't. We only did ten ten shows.

504
00:29:50,520 --> 00:29:52,360
Speaker 5: So even in doing the show, it was sort of

505
00:29:52,400 --> 00:29:55,280
Speaker 5: like this is corny, like we rather we enjoyed it,

506
00:29:55,520 --> 00:29:58,560
Speaker 5: but we didn't want that to be our brand.

507
00:29:58,640 --> 00:30:01,920
Speaker 6: We didn't want to be rep you know, variety Show. No,

508
00:30:03,000 --> 00:30:09,080
Speaker 6: we said we want to make great albums, perform in

509
00:30:09,200 --> 00:30:12,680
Speaker 6: some large stadiums, and make people happy.

510
00:30:13,360 --> 00:30:17,960
Speaker 5: So by the mid seventies especially, we know that you guys,

511
00:30:18,160 --> 00:30:24,360
Speaker 5: uh exit it for Motown in seventy five, and part

512
00:30:24,360 --> 00:30:25,959
Speaker 5: of the reason was that, you know, you wanted your

513
00:30:26,000 --> 00:30:26,680
Speaker 5: independence and.

514
00:30:29,840 --> 00:30:31,959
Speaker 1: Doing production and writing.

515
00:30:32,880 --> 00:30:37,840
Speaker 5: How like, how frustrating was it to watch Marvin and

516
00:30:38,200 --> 00:30:44,200
Speaker 5: especially Stevie, who was at the apex of his you know,

517
00:30:44,480 --> 00:30:47,560
Speaker 5: of the peak of his powers by that period, for

518
00:30:47,720 --> 00:30:50,160
Speaker 5: you guys not to be able to get the trust

519
00:30:50,240 --> 00:30:54,200
Speaker 5: to do the same thing. And were you even developing

520
00:30:54,280 --> 00:30:58,640
Speaker 5: songs where you play them songs like here this is Motown. Yeah, no,

521
00:30:59,360 --> 00:31:04,880
Speaker 5: we weren't playing And so it was. It was still

522
00:31:05,000 --> 00:31:07,960
Speaker 5: very new in the Motown days in the sense and

523
00:31:09,080 --> 00:31:13,040
Speaker 5: we were all very young, and so the songs were

524
00:31:13,080 --> 00:31:17,400
Speaker 5: written produced. But Stevie and Marvin they were like family.

525
00:31:17,920 --> 00:31:20,080
Speaker 5: They would always be around at the house. Stevie is

526
00:31:20,120 --> 00:31:21,680
Speaker 5: like a third cousin of our Did you know that?

527
00:31:23,080 --> 00:31:23,600
Speaker 1: Oh? Literally?

528
00:31:23,720 --> 00:31:26,480
Speaker 6: Yeah? Literally, yeah, I didn't know. A lot of people

529
00:31:26,480 --> 00:31:28,160
Speaker 6: don't know that. I don't know. We never talked about.

530
00:31:28,480 --> 00:31:29,760
Speaker 6: I was talking to him the other day. We were

531
00:31:29,760 --> 00:31:32,479
Speaker 6: talking about nobody knows that to us, But he's related

532
00:31:32,520 --> 00:31:39,920
Speaker 6: to us through our mother, so but it was like

533
00:31:40,320 --> 00:31:43,120
Speaker 6: they're always around. It's like we're just kind of family.

534
00:31:43,200 --> 00:31:48,800
Speaker 6: And and what greater experience can you have than to

535
00:31:48,920 --> 00:31:51,360
Speaker 6: be playing basketball with Marvin then going to the studio

536
00:31:51,920 --> 00:31:54,920
Speaker 6: and just just you know what I mean. So h

537
00:31:56,400 --> 00:31:58,080
Speaker 6: I look at I look back at those days, and

538
00:31:58,160 --> 00:32:02,239
Speaker 6: it's like, how could you not learn? You know, how

539
00:32:02,280 --> 00:32:06,800
Speaker 6: could you not learn by being by such great, iconic,

540
00:32:07,280 --> 00:32:09,920
Speaker 6: you know, musical people.

541
00:32:10,720 --> 00:32:14,000
Speaker 5: So was it officially put to you that we want

542
00:32:14,080 --> 00:32:18,480
Speaker 5: you officially in the group circa seventy five seventy six

543
00:32:18,800 --> 00:32:21,320
Speaker 5: or was it just assumed like, okay, you now feel

544
00:32:21,360 --> 00:32:21,800
Speaker 5: in the spot?

545
00:32:22,080 --> 00:32:28,000
Speaker 6: And no, it was it was officially. I was already

546
00:32:28,160 --> 00:32:33,640
Speaker 6: in the group, but it wasn't publicly right, okay exposed.

547
00:32:36,600 --> 00:32:40,960
Speaker 6: It was when we left Motown. I think because of

548
00:32:41,000 --> 00:32:43,960
Speaker 6: the writing and the songs I'd written that it became

549
00:32:45,440 --> 00:32:51,560
Speaker 6: public And the first song on well, first we went,

550
00:32:51,680 --> 00:32:53,240
Speaker 6: we did the Gamble and Hof stuff and that was

551
00:32:53,280 --> 00:32:56,640
Speaker 6: another great experience with Kenny Gamble Leon How those guys

552
00:32:56,720 --> 00:32:57,600
Speaker 6: are amazing.

553
00:32:58,240 --> 00:33:00,360
Speaker 1: Yeah, the first time I got to see you guys

554
00:33:00,440 --> 00:33:00,880
Speaker 1: in person.

555
00:33:02,000 --> 00:33:06,160
Speaker 5: Philly International was literally next door to my elementary school,

556
00:33:06,320 --> 00:33:07,120
Speaker 5: so usually.

557
00:33:08,360 --> 00:33:12,600
Speaker 1: During recess. Uh, I wouldn't.

558
00:33:12,600 --> 00:33:15,520
Speaker 5: I've seen you guys maybe like once or twice run

559
00:33:15,600 --> 00:33:19,440
Speaker 5: through Philly International. Yeah, there's on Broad Street three thirteen.

560
00:33:20,360 --> 00:33:24,400
Speaker 5: A lot of times you'd see Pendergrass and his voice

561
00:33:24,520 --> 00:33:29,880
Speaker 5: just yeah, yeah, yeah, posted out front and you're a girl,

562
00:33:31,080 --> 00:33:34,760
Speaker 5: yeah yeah, and then it's like, oh, Teddy must be outside.

563
00:33:35,000 --> 00:33:38,000
Speaker 5: But that was pretty much like my first second third

564
00:33:38,080 --> 00:33:40,520
Speaker 5: grade experiences were just seeing that.

565
00:33:42,040 --> 00:33:42,520
Speaker 1: I know that.

566
00:33:43,600 --> 00:33:46,680
Speaker 5: I want to know what the songwriting process was like

567
00:33:46,840 --> 00:33:50,240
Speaker 5: once you guys got your chance, because uh, I think

568
00:33:50,280 --> 00:33:52,440
Speaker 5: on the first album you get, there's two songs, correct,

569
00:33:52,960 --> 00:33:55,840
Speaker 5: there's blues Away and there is a style of life.

570
00:33:55,960 --> 00:33:59,600
Speaker 1: I think the last song on Inside No no No,

571
00:33:59,720 --> 00:34:00,840
Speaker 1: that's go in places.

572
00:34:01,800 --> 00:34:06,480
Speaker 6: So you're talking about the first the first album, the album, yeah,

573
00:34:06,520 --> 00:34:07,520
Speaker 6: blues Away and style.

574
00:34:08,239 --> 00:34:13,880
Speaker 1: So you're going to epic where you guys sing.

575
00:34:14,040 --> 00:34:18,239
Speaker 5: Initially to Ron and those guys like yo, we want

576
00:34:18,280 --> 00:34:21,600
Speaker 5: to produce this entire album was just like a baby steps.

577
00:34:21,880 --> 00:34:23,440
Speaker 5: I think we'll give you one of two songs and

578
00:34:23,480 --> 00:34:27,319
Speaker 5: see what happens. But nowadays, like artists have a lot

579
00:34:27,400 --> 00:34:29,239
Speaker 5: more freedom to do what they want, you know, right,

580
00:34:29,440 --> 00:34:33,280
Speaker 5: you know, but in those days, it's all about developing

581
00:34:33,480 --> 00:34:37,120
Speaker 5: artists and recordly it was actually spending money on developing artists.

582
00:34:37,480 --> 00:34:39,759
Speaker 5: So you have to prove yourself as a writer. You

583
00:34:40,080 --> 00:34:41,440
Speaker 5: could come in like they wouldn't let you come in

584
00:34:41,560 --> 00:34:43,719
Speaker 5: and just write and produce and everything you did. So

585
00:34:44,440 --> 00:34:48,640
Speaker 5: they I think they wanted to. They let us do

586
00:34:48,719 --> 00:34:51,360
Speaker 5: two songs and see how that worked. That was like

587
00:34:52,160 --> 00:34:55,719
Speaker 5: kind of a trial. So how many to get to

588
00:34:55,800 --> 00:34:57,719
Speaker 5: those two songs? How many songs did you guys have

589
00:34:57,840 --> 00:35:00,680
Speaker 5: to prepare through just to get to Okay, we like

590
00:35:00,800 --> 00:35:01,120
Speaker 5: these two.

591
00:35:01,360 --> 00:35:10,840
Speaker 6: Yeah, it was it was for us writing. There's always

592
00:35:10,880 --> 00:35:14,360
Speaker 6: been like I've never sat down and say, Okay, I

593
00:35:14,480 --> 00:35:17,160
Speaker 6: need to write this song. It always just it's kind

594
00:35:17,200 --> 00:35:20,040
Speaker 6: of a fun thing and it always comes out of fun. Okay,

595
00:35:20,080 --> 00:35:22,200
Speaker 6: and this happens we always as brothers. We would always

596
00:35:22,200 --> 00:35:23,960
Speaker 6: get in the room. That's funny becausehen we get in

597
00:35:24,000 --> 00:35:25,719
Speaker 6: the room, like when we work in those songs, we

598
00:35:25,800 --> 00:35:28,839
Speaker 6: get in the room for the first I would say

599
00:35:30,320 --> 00:35:34,480
Speaker 6: two three days we just talked. It could be about anything.

600
00:35:34,480 --> 00:35:36,640
Speaker 6: It could be about the Lakers, could it could be

601
00:35:37,320 --> 00:35:41,840
Speaker 6: But we were also writing, were also developing because we

602
00:35:41,880 --> 00:35:43,920
Speaker 6: hadn't seen each other while getting comfortable with each other,

603
00:35:44,400 --> 00:35:47,320
Speaker 6: so that natural thing can come out, you know. So

604
00:35:47,440 --> 00:35:49,840
Speaker 6: we talk all day, we played laugh, then we go

605
00:35:49,920 --> 00:35:52,200
Speaker 6: play a little basketball, you know, and then we eat.

606
00:35:52,280 --> 00:35:56,040
Speaker 6: Then we go home, never writing, never, never picked up instrument,

607
00:35:56,560 --> 00:35:59,279
Speaker 6: do the same thing. Then about the third day, you know,

608
00:35:59,400 --> 00:36:02,680
Speaker 6: we start writing. Okay, that sounds good. You know, let's

609
00:36:02,719 --> 00:36:02,880
Speaker 6: do that.

610
00:36:03,840 --> 00:36:06,280
Speaker 5: So as far as the division of labor is concerned,

611
00:36:06,440 --> 00:36:09,120
Speaker 5: like are you at the piano or yeah? Do you

612
00:36:09,520 --> 00:36:12,520
Speaker 5: your other brothers play instruments as well? You know, Jermaine plays,

613
00:36:12,520 --> 00:36:14,480
Speaker 5: and that it always kind of starts with the piano.

614
00:36:14,880 --> 00:36:17,040
Speaker 5: As music today, the rest things start with the piano.

615
00:36:17,440 --> 00:36:18,000
Speaker 1: So I'm.

616
00:36:19,880 --> 00:36:23,120
Speaker 6: I'm at the piano playing some some core progressions and

617
00:36:23,120 --> 00:36:27,480
Speaker 6: structures and things and and creating some grooves and you know,

618
00:36:28,400 --> 00:36:30,480
Speaker 6: maybe this brother at that, their brother at that, and

619
00:36:31,880 --> 00:36:33,080
Speaker 6: it comes together.

620
00:36:33,320 --> 00:36:35,759
Speaker 5: Okay, and then you presented the gamble on huff and

621
00:36:35,800 --> 00:36:42,640
Speaker 5: then yeah, that sort of thing. So the transition that

622
00:36:42,880 --> 00:36:49,920
Speaker 5: leads to the Destiny album, which is weird because I

623
00:36:50,000 --> 00:36:54,360
Speaker 5: guess me as a kid, I didn't see whether or not,

624
00:36:54,600 --> 00:36:58,160
Speaker 5: you know, if Going Places was a commercial disappointment or not.

625
00:36:58,520 --> 00:37:01,600
Speaker 5: I mean, I liked that record, but again, you know,

626
00:37:02,480 --> 00:37:04,799
Speaker 5: I'm six years old, so I don't know any better,

627
00:37:05,440 --> 00:37:11,040
Speaker 5: But what was the what was your general feeling with

628
00:37:11,480 --> 00:37:15,719
Speaker 5: going places that led to kind of the do or

629
00:37:15,800 --> 00:37:18,479
Speaker 5: die perception of what Destiny represented for you guys.

630
00:37:18,719 --> 00:37:23,400
Speaker 6: Well, Sony it was it was Bibby Colombia. What recall

631
00:37:24,320 --> 00:37:26,160
Speaker 6: that Sony was like the anti guy.

632
00:37:26,960 --> 00:37:28,960
Speaker 1: From Blood, Sweat and Tears by Columbia, but.

633
00:37:29,000 --> 00:37:36,800
Speaker 6: You know the drummer, Yeah, and he and they he

634
00:37:37,000 --> 00:37:42,480
Speaker 6: and CBS at the time, Sony CBS trusted us to

635
00:37:42,920 --> 00:37:48,000
Speaker 6: write and produce our own album, Destiny.

636
00:37:48,280 --> 00:37:50,600
Speaker 5: But what was the meeting that said, look, guys, we

637
00:37:50,800 --> 00:37:53,120
Speaker 5: really have an album in us that we want to

638
00:37:53,200 --> 00:37:54,360
Speaker 5: do ourselves without.

639
00:37:54,600 --> 00:37:57,239
Speaker 6: Okay, well, we always wanted to do that, so we

640
00:37:57,320 --> 00:37:59,520
Speaker 6: always felt that we were ready, but they didn't know.

641
00:38:00,040 --> 00:38:03,160
Speaker 6: Said what you asking. We felt that we were ready,

642
00:38:04,080 --> 00:38:10,439
Speaker 6: but they didn't know if we were ready. And after

643
00:38:10,560 --> 00:38:13,760
Speaker 6: we had done the the the two albums with Gambling

644
00:38:13,880 --> 00:38:24,160
Speaker 6: Huff and for the third album, we submitted these some

645
00:38:24,360 --> 00:38:26,399
Speaker 6: songs and they liked all of them.

646
00:38:28,000 --> 00:38:29,840
Speaker 5: So they're demos for all the songs that are on

647
00:38:30,000 --> 00:38:34,359
Speaker 5: Destiny before. Yes, and was that the mosut operanti back then?

648
00:38:34,480 --> 00:38:38,520
Speaker 5: Like you had to make a full scale demo before that?

649
00:38:38,760 --> 00:38:43,160
Speaker 5: Even Yeah, can you imagine that, Steve, that's my life. Yes,

650
00:38:43,400 --> 00:38:46,000
Speaker 5: I can't imagine it. Actually, I don't have to imagine it.

651
00:38:46,120 --> 00:38:48,240
Speaker 6: And and and you know these are demos without computers

652
00:38:48,239 --> 00:38:49,840
Speaker 6: and the full skulled demo.

653
00:38:51,239 --> 00:38:56,520
Speaker 5: And so how full scale was the Ensino studio, which

654
00:38:56,560 --> 00:38:59,800
Speaker 5: I assume that you guys did all of your was

655
00:38:59,840 --> 00:39:02,040
Speaker 5: it just was it full scale enough for you to

656
00:39:02,080 --> 00:39:03,000
Speaker 5: actually record there?

657
00:39:03,360 --> 00:39:03,560
Speaker 1: Yes?

658
00:39:03,920 --> 00:39:08,759
Speaker 6: Oh yes, absolutely. There was a drum booth. Everything was there,

659
00:39:09,320 --> 00:39:15,520
Speaker 6: so we could do a full called demo. And so

660
00:39:15,680 --> 00:39:19,080
Speaker 6: here we thinking they're gonna pick one or two tracks

661
00:39:19,120 --> 00:39:23,040
Speaker 6: or whatever like that, but they like everything. They're like, wow,

662
00:39:23,760 --> 00:39:28,000
Speaker 6: this is this is nice. So we were happy about

663
00:39:28,000 --> 00:39:31,239
Speaker 6: that of course, and UH just grateful to have the

664
00:39:31,280 --> 00:39:38,320
Speaker 6: opportunity to do it ourselves. And Bobby also uh and

665
00:39:38,440 --> 00:39:41,600
Speaker 6: Akison also produced it with us.

666
00:39:42,840 --> 00:39:48,160
Speaker 5: I recall, so, can you tell the story or or

667
00:39:48,320 --> 00:39:50,160
Speaker 5: the genesis of how shake your Body that?

668
00:39:50,360 --> 00:39:53,280
Speaker 1: Like from start to finish? How how that song got written?

669
00:39:53,760 --> 00:39:54,920
Speaker 6: It's funny because.

670
00:39:59,560 --> 00:40:00,160
Speaker 1: Like, like that.

671
00:40:02,160 --> 00:40:05,360
Speaker 6: That groove was a grou that I played. I started

672
00:40:05,400 --> 00:40:08,239
Speaker 6: playing the crew like thirteen or fourteen, So.

673
00:40:08,320 --> 00:40:10,760
Speaker 1: You've had those those piano chords in your head.

674
00:40:10,600 --> 00:40:15,520
Speaker 6: For the longest. The baseline. Mm hmm, you know the

675
00:40:15,600 --> 00:40:20,240
Speaker 6: bass line. I was influenced by Teddy's.

676
00:40:23,400 --> 00:40:25,799
Speaker 1: What did I tell you? You don't get that, don't

677
00:40:25,800 --> 00:40:28,440
Speaker 1: get fun, get loose? All right? I told this a

678
00:40:28,480 --> 00:40:32,279
Speaker 1: feeling games right, And he's like, I don't think so, but.

679
00:40:32,560 --> 00:40:37,080
Speaker 6: Yeah, yeah, yeah, I was in the baseline that I

680
00:40:37,160 --> 00:40:38,400
Speaker 6: was influenced by the baseline.

681
00:40:38,480 --> 00:40:42,719
Speaker 1: Yeah, like most songs are derivative of other ideas you hear, and.

682
00:40:43,040 --> 00:40:45,960
Speaker 6: Yeah, just more because I was around Teddy and the

683
00:40:46,040 --> 00:40:49,640
Speaker 6: whole Philadelphia International, it just came out that way and.

684
00:40:51,960 --> 00:40:53,040
Speaker 1: Okay, shows over now.

685
00:40:55,719 --> 00:40:56,640
Speaker 6: Yeah, so you're right.

686
00:40:57,120 --> 00:41:02,600
Speaker 5: And only say that because, as as a watcher of

687
00:41:03,960 --> 00:41:10,799
Speaker 5: what's happening, whenever Rerun would dance on that show, they

688
00:41:10,840 --> 00:41:13,200
Speaker 5: would do and you know, like when when when people

689
00:41:13,440 --> 00:41:16,919
Speaker 5: score and place music on on TV shows, of course

690
00:41:16,960 --> 00:41:19,640
Speaker 5: they don't license the real song. They get somebody to

691
00:41:19,719 --> 00:41:23,239
Speaker 5: do a sound alike of it, and their version of

692
00:41:23,360 --> 00:41:28,440
Speaker 5: it was somewhere the thin line between Teddy's song and

693
00:41:28,520 --> 00:41:30,200
Speaker 5: what would shake your body down to the ground. So

694
00:41:30,360 --> 00:41:33,200
Speaker 5: whenever I think of Rerun dancing, I'm thinking of both songs.

695
00:41:33,239 --> 00:41:36,320
Speaker 5: And I was like, I wonder if their experiences in

696
00:41:36,440 --> 00:41:37,480
Speaker 5: Philly sort of.

697
00:41:39,000 --> 00:41:41,600
Speaker 1: Brought that on. Yeah, I always said that shake was

698
00:41:42,520 --> 00:41:45,279
Speaker 1: the sort of somewhere between got to Give it Up

699
00:41:45,480 --> 00:41:53,920
Speaker 1: and and and Teddy's song. So the song is eight

700
00:41:54,040 --> 00:41:55,920
Speaker 1: minutes and it's.

701
00:41:59,120 --> 00:42:04,239
Speaker 5: It's it's linear and goes ahead without a bridge without yeah,

702
00:42:04,400 --> 00:42:07,160
Speaker 5: but yet it works. So as far as structuring the

703
00:42:07,280 --> 00:42:09,200
Speaker 5: song is concerned, how did you guys.

704
00:42:09,280 --> 00:42:14,600
Speaker 6: Well, you know, and and that was wasn't it like

705
00:42:14,680 --> 00:42:18,359
Speaker 6: the disco the dance era, everybody just want to dance,

706
00:42:18,400 --> 00:42:21,719
Speaker 6: So we want to have that write one song. And

707
00:42:21,880 --> 00:42:26,800
Speaker 6: it's funny because before we even before we even recorded

708
00:42:26,840 --> 00:42:29,799
Speaker 6: that song, we knew that that would be the song

709
00:42:30,120 --> 00:42:32,960
Speaker 6: from that album. You know, we knew it that that

710
00:42:33,160 --> 00:42:37,160
Speaker 6: that would be the track. And it started with with

711
00:42:37,520 --> 00:42:45,359
Speaker 6: a groove and and melody, but then we had Tom

712
00:42:45,440 --> 00:42:48,840
Speaker 6: Tom eighty four, the all these great people just to

713
00:42:48,880 --> 00:42:52,160
Speaker 6: add all these layers to to give it structure and.

714
00:42:56,960 --> 00:42:57,640
Speaker 1: Right, you know, and.

715
00:42:59,360 --> 00:43:03,680
Speaker 6: Just so it wasn't too repetitive and boring.

716
00:43:04,560 --> 00:43:07,040
Speaker 5: To jump off that real quick because you just mentioned strings,

717
00:43:08,600 --> 00:43:11,640
Speaker 5: How did you guys enlist Claire Fisher to do?

718
00:43:12,840 --> 00:43:19,480
Speaker 6: Uh, push me away? That's interesting. We always like Claire's work.

719
00:43:20,400 --> 00:43:22,560
Speaker 6: Were you a fan of ask Rufus? Yeah? A man

720
00:43:23,280 --> 00:43:25,440
Speaker 6: you read everything about the credits.

721
00:43:25,680 --> 00:43:28,480
Speaker 5: No, well, yeah, I mean I know Claire like where

722
00:43:28,560 --> 00:43:35,319
Speaker 5: clear stands, So oh no, no stands stands meaning we're yeah, yeah,

723
00:43:36,320 --> 00:43:41,560
Speaker 5: shout out to eminem stand as in the Eminem terms.

724
00:43:41,640 --> 00:43:45,200
Speaker 5: It's a nice way of saying fanatic word near stalker.

725
00:43:46,120 --> 00:43:50,040
Speaker 5: But uh no any from that, ask rufus. Record means

726
00:43:50,360 --> 00:43:53,200
Speaker 5: everything does, and thus you know that influenced Prince. That's

727
00:43:53,239 --> 00:43:56,320
Speaker 5: why Prince used Claire on his record and stuff. So

728
00:43:57,920 --> 00:44:03,719
Speaker 5: ask Rufus hearing that, yes, really yes, who was? So

729
00:44:03,960 --> 00:44:08,320
Speaker 5: were you the one that who was who was the

730
00:44:08,400 --> 00:44:10,920
Speaker 5: taste maker of the group, the one that listened to

731
00:44:11,000 --> 00:44:12,839
Speaker 5: the most records? And you know you gotta check this out.

732
00:44:13,880 --> 00:44:15,040
Speaker 5: We all do, we all did.

733
00:44:15,520 --> 00:44:18,839
Speaker 1: What was your record collection? Like, nks for stealing my question,

734
00:44:19,120 --> 00:44:20,839
Speaker 1: I'm sorry one question.

735
00:44:22,000 --> 00:44:26,960
Speaker 6: But for us, it was just like our house was

736
00:44:27,080 --> 00:44:27,640
Speaker 6: just musical.

737
00:44:28,320 --> 00:44:28,880
Speaker 1: I mean it was.

738
00:44:30,680 --> 00:44:34,080
Speaker 6: Not a record but we just always it was like

739
00:44:34,600 --> 00:44:38,200
Speaker 6: we just liked music a lot. And my mom is

740
00:44:38,280 --> 00:44:41,840
Speaker 6: like everybody was. We just we just loved music and

741
00:44:45,000 --> 00:44:48,840
Speaker 6: it was part of life. It wasn't like, hey, it

742
00:44:48,960 --> 00:44:50,880
Speaker 6: wasn't business to us. It was it was a life.

743
00:44:51,320 --> 00:44:53,880
Speaker 6: It's a life. So with something good came out. I

744
00:44:53,880 --> 00:44:59,160
Speaker 6: don't care what it was. We liked it, from country

745
00:44:59,239 --> 00:45:02,440
Speaker 6: music to to R and B to rock, whatever it was.

746
00:45:02,880 --> 00:45:06,080
Speaker 6: I mean, we liked and we appreciated it.

747
00:45:06,920 --> 00:45:12,120
Speaker 1: So in general, now I got okay, goohd. In my family,

748
00:45:17,360 --> 00:45:18,200
Speaker 1: it was always.

749
00:45:20,600 --> 00:45:25,880
Speaker 6: I mean, I mean yeah, yeah, I mean Jackie was

750
00:45:26,040 --> 00:45:30,040
Speaker 6: all green. Okay, everything our green, like he was like,

751
00:45:31,120 --> 00:45:33,960
Speaker 6: I mean, he was like al green was it? So

752
00:45:34,120 --> 00:45:35,719
Speaker 6: we always heard we had enough, we had a.

753
00:45:35,719 --> 00:45:38,480
Speaker 1: Lot of our green. Wait was there just one stereo

754
00:45:38,520 --> 00:45:40,840
Speaker 1: in the house. Yeah, and then see you know.

755
00:45:41,120 --> 00:45:48,640
Speaker 6: Yeah, Marn's Morn's table and uh so Jackie was out

756
00:45:49,000 --> 00:45:57,560
Speaker 6: all green. Michael was like Sylvan Croft, uh the motown stuff.

757
00:45:58,239 --> 00:46:00,839
Speaker 6: And I was always like the grooves, Seals and Croft.

758
00:46:00,960 --> 00:46:03,120
Speaker 6: Ye wait a second, go back.

759
00:46:03,160 --> 00:46:05,799
Speaker 1: That was the first. That's the first name that came

760
00:46:05,880 --> 00:46:09,080
Speaker 1: to mind. Yeah, I mean name cover.

761
00:46:09,400 --> 00:46:16,200
Speaker 7: No, it's no summer Breeze, They're not okay, I'm sorry, yeah,

762
00:46:16,320 --> 00:46:17,959
Speaker 7: it makes okay wow.

763
00:46:18,840 --> 00:46:22,040
Speaker 6: And I always like more grooves. But because Michael and

764
00:46:22,120 --> 00:46:26,239
Speaker 6: my room together, uh, he would always take authority over

765
00:46:26,320 --> 00:46:28,560
Speaker 6: what music would be playing because I was younger than him, right,

766
00:46:28,800 --> 00:46:32,319
Speaker 6: So so it was like Silsan Croft bread.

767
00:46:33,600 --> 00:46:36,240
Speaker 7: Stuff like that. And rock, So I started to appreciate

768
00:46:36,280 --> 00:46:40,640
Speaker 7: that stuff. Okay, what was it about, uh, seals and

769
00:46:40,680 --> 00:46:43,239
Speaker 7: crofts and bread? It was like harmonies, that was.

770
00:46:44,840 --> 00:46:54,680
Speaker 6: Harmonies and melodies. Wow Ah, in America, we all liked America. Okay,

771
00:46:54,960 --> 00:46:58,759
Speaker 6: America was moody blues. I used to like, I like,

772
00:46:58,880 --> 00:47:06,120
Speaker 6: I like moody blues growing up. Yeah. Yeah, and then

773
00:47:06,160 --> 00:47:08,880
Speaker 6: I love Joni Mitchell. I was a kid in school.

774
00:47:09,800 --> 00:47:19,359
Speaker 6: List the Summer Ones or which? Okay, so well that's

775
00:47:19,440 --> 00:47:21,960
Speaker 6: one question I forgot. What is your what's your.

776
00:47:24,440 --> 00:47:28,279
Speaker 5: Your Desert Island five albums like your go to even now,

777
00:47:28,480 --> 00:47:28,960
Speaker 5: like you're.

778
00:47:31,160 --> 00:47:40,200
Speaker 1: Hm hmm, that's such an unfair question. It's like like

779
00:47:40,280 --> 00:47:40,840
Speaker 1: a week.

780
00:47:41,120 --> 00:47:48,400
Speaker 6: Nowadays because music's yeah, it's overwhelming. It's because like, and

781
00:47:48,520 --> 00:47:51,080
Speaker 6: I still listen to a lot of Monk, like Thelonious Monk.

782
00:47:51,160 --> 00:47:52,920
Speaker 6: I'm just like, this is like a genius to me.

783
00:47:53,880 --> 00:47:57,040
Speaker 6: And I mean sometimes I stay like three or four

784
00:47:57,080 --> 00:48:00,279
Speaker 6: in the mornings just on YouTube just watching them because

785
00:48:00,360 --> 00:48:02,360
Speaker 6: i mean, just he was doing something in the style

786
00:48:02,440 --> 00:48:05,920
Speaker 6: of doing it with so unorthodox and with some rings

787
00:48:06,000 --> 00:48:12,840
Speaker 6: on it, you know. So I'm like, I mean, I

788
00:48:13,560 --> 00:48:14,960
Speaker 6: appreciate a lot of Stevie.

789
00:48:16,000 --> 00:48:21,440
Speaker 5: Those albums, Monk's studio attitude to his engineer Teo is

790
00:48:21,440 --> 00:48:22,200
Speaker 5: one of my favorite.

791
00:48:22,560 --> 00:48:27,680
Speaker 1: Moving on Stevie Stevie. You're gonna tell him about Stevie.

792
00:48:27,840 --> 00:48:31,440
Speaker 5: Yeah, so that that that roads back there is actually

793
00:48:31,560 --> 00:48:35,040
Speaker 5: Stevie's uh the Roads from Music of My Mind and

794
00:48:35,400 --> 00:48:38,960
Speaker 5: Talking Book and was intervisions here as well. No, I

795
00:48:39,000 --> 00:48:41,840
Speaker 5: think just two yeah, talking Book of musical Yeah, he

796
00:48:41,920 --> 00:48:47,640
Speaker 5: recorded Musical my Mind and Talking Book here. Steve is

797
00:48:47,680 --> 00:48:50,799
Speaker 5: all right for I'll say twenty years ago, we've been

798
00:48:52,080 --> 00:48:56,760
Speaker 5: uh in the studio, starting with d'angelo's Voodoo album.

799
00:48:57,400 --> 00:49:00,239
Speaker 1: So we will watch that. That the loone, this.

800
00:49:00,280 --> 00:49:05,880
Speaker 5: Monk documentary where uh, Felonius would be at the piano,

801
00:49:06,680 --> 00:49:09,480
Speaker 5: and then he tell Teo his his engineer, all right,

802
00:49:09,520 --> 00:49:11,239
Speaker 5: play the tape back, and then t was like, I

803
00:49:11,280 --> 00:49:14,759
Speaker 5: didn't record that. Then Tolio said, all right, I want

804
00:49:14,800 --> 00:49:16,400
Speaker 5: to hear it, and he's like, no, I didn't record it.

805
00:49:16,440 --> 00:49:18,000
Speaker 5: All right, just play it back for me. I didn't

806
00:49:18,000 --> 00:49:26,160
Speaker 5: record it. So that's our relationship Teo and Felonious. Hey question, uh,

807
00:49:27,520 --> 00:49:32,320
Speaker 5: I I don't know who I asked this, uh about

808
00:49:32,360 --> 00:49:36,600
Speaker 5: the Doobie Brothers incident, but who was it? Doobies were

809
00:49:36,600 --> 00:49:38,680
Speaker 5: always good. Doubies are good friends of ours.

810
00:49:38,840 --> 00:49:42,480
Speaker 1: Michael, that's right, Michael was on the Okay, I forgot

811
00:49:42,480 --> 00:49:43,160
Speaker 1: who's on the show.

812
00:49:43,920 --> 00:49:47,440
Speaker 5: Yeah, I read no, no, no, what I was reading

813
00:49:48,280 --> 00:49:51,560
Speaker 5: there's a there's an old press photo of the Jackson's

814
00:49:51,600 --> 00:49:54,680
Speaker 5: and the Doobies on stage and it says like a

815
00:49:54,880 --> 00:49:59,040
Speaker 5: there was a long, long, long train run and shake

816
00:49:59,080 --> 00:50:02,560
Speaker 5: your body down to the gri around mess performance. What

817
00:50:02,719 --> 00:50:04,680
Speaker 5: was the connection between the two. Were you the same

818
00:50:04,800 --> 00:50:09,360
Speaker 5: manager of publicists? Now, we had mutual friends, and the

819
00:50:09,480 --> 00:50:11,719
Speaker 5: guy that we went to school with, we grew up

820
00:50:11,760 --> 00:50:14,440
Speaker 5: with became like their publicists.

821
00:50:15,040 --> 00:50:15,880
Speaker 1: Okay, So.

822
00:50:17,920 --> 00:50:20,480
Speaker 6: So we would go to their shows and the Doobies, man,

823
00:50:20,520 --> 00:50:23,880
Speaker 6: they're just a bunch of nice guys, extremely talented. Like

824
00:50:25,400 --> 00:50:27,680
Speaker 6: I like all their music. Blackwater it's one of my

825
00:50:27,760 --> 00:50:34,280
Speaker 6: favorite songs of theirs. But yeah, that's how it happened.

826
00:50:34,440 --> 00:50:40,080
Speaker 6: And so when they would perform sometimes I remember, I

827
00:50:40,120 --> 00:50:42,960
Speaker 6: think that photo you may have seen was could have

828
00:50:43,040 --> 00:50:46,520
Speaker 6: been at the form Okay, it seemed like.

829
00:50:46,560 --> 00:50:49,279
Speaker 1: It was at a smaller club. Yeah, it was like

830
00:50:49,320 --> 00:50:51,200
Speaker 1: a small I don't know.

831
00:50:52,440 --> 00:50:55,879
Speaker 6: We had been on stage a few times together. Yeah,

832
00:50:55,960 --> 00:50:57,280
Speaker 6: but that's just friends.

833
00:50:58,440 --> 00:50:58,680
Speaker 1: Okay.

834
00:50:58,760 --> 00:51:06,000
Speaker 5: So speaking of concerts. Oh hell yeah, because I got

835
00:51:06,040 --> 00:51:08,120
Speaker 5: on punishment for this thing. This is one of this

836
00:51:08,200 --> 00:51:10,239
Speaker 5: is one of two Randy.

837
00:51:10,080 --> 00:51:16,000
Speaker 1: U punishments for me. Who's idea was it for you

838
00:51:16,239 --> 00:51:18,319
Speaker 1: to be the daredevil of the group?

839
00:51:18,880 --> 00:51:18,920
Speaker 5: Me?

840
00:51:19,520 --> 00:51:21,400
Speaker 6: It was an idea. It was who I was.

841
00:51:24,120 --> 00:51:26,440
Speaker 1: Okay, for our listeners that don't know.

842
00:51:29,560 --> 00:51:33,200
Speaker 6: I've come, I've changed a lot lately, thanks to God.

843
00:51:34,080 --> 00:51:35,560
Speaker 1: No, no, no, I've just been daredevil.

844
00:51:35,600 --> 00:51:40,960
Speaker 5: In terms of any time that pyrotechniques or any explosion

845
00:51:41,239 --> 00:51:45,600
Speaker 5: was introduced in any Jackson show, it's usually at the

846
00:51:45,680 --> 00:51:49,319
Speaker 5: hands of Randy, And so I'm wondering, like, is there okay?

847
00:51:49,960 --> 00:51:51,320
Speaker 1: Like how is it conceptualized?

848
00:51:51,400 --> 00:51:54,000
Speaker 5: Like, Okay, after I do this solo, then I'm gonna

849
00:51:54,040 --> 00:51:56,239
Speaker 5: throw this flash paper down and this explosion is going

850
00:51:56,280 --> 00:51:59,719
Speaker 5: to happen because the seven year old's watching this, right,

851
00:52:00,120 --> 00:52:04,279
Speaker 5: and then he sees his grandmom's speed stick in the bathroom.

852
00:52:05,480 --> 00:52:08,640
Speaker 1: And damn near such a South Philadelphia house with fire.

853
00:52:09,040 --> 00:52:16,120
Speaker 1: I think we're almost Thanks Randy, I appreciate that. Where'd

854
00:52:16,160 --> 00:52:17,120
Speaker 1: you get this idea from?

855
00:52:17,520 --> 00:52:19,440
Speaker 6: I think we were putting a other those shows.

856
00:52:19,840 --> 00:52:22,000
Speaker 1: I mean, was it dug hitting?

857
00:52:22,160 --> 00:52:27,920
Speaker 6: Like who's the that stuff? Like duck hitting stuff? The

858
00:52:27,960 --> 00:52:31,600
Speaker 6: power technics all that. We were doing that back in

859
00:52:31,680 --> 00:52:33,520
Speaker 6: the seventies exactly.

860
00:52:33,920 --> 00:52:40,200
Speaker 5: So even when you do yourself in the like did

861
00:52:40,280 --> 00:52:42,360
Speaker 5: you see where you going to kiss shows? Or like

862
00:52:42,560 --> 00:52:44,360
Speaker 5: what was the what was the genesis of.

863
00:52:44,800 --> 00:52:47,600
Speaker 1: It's it's just I think that.

864
00:52:52,440 --> 00:52:59,719
Speaker 6: As band in the seventies right back then you want

865
00:52:59,800 --> 00:53:03,279
Speaker 6: to kind of open things up. It's a little bit

866
00:53:03,320 --> 00:53:08,160
Speaker 6: more exciting, you know. And Puss was also relative. Like

867
00:53:08,200 --> 00:53:09,879
Speaker 6: I had a lab. I had a lab at home,

868
00:53:10,280 --> 00:53:13,040
Speaker 6: chemistry lab. I tried to blow stuff and try.

869
00:53:13,000 --> 00:53:17,360
Speaker 1: To make what, wow, Randy Jackson the unibomber.

870
00:53:17,480 --> 00:53:22,480
Speaker 6: You know, you know those little chimstry laps for you

871
00:53:22,800 --> 00:53:24,919
Speaker 6: right you're talking about right, So I had one of those,

872
00:53:25,480 --> 00:53:31,000
Speaker 6: and you used to have one of those. Yeah, they

873
00:53:31,040 --> 00:53:34,000
Speaker 6: don't have those anymore house they're too dangerous now. But

874
00:53:34,120 --> 00:53:35,800
Speaker 6: back in those days you get a chemistry lab and

875
00:53:36,320 --> 00:53:37,240
Speaker 6: make bombs and stuff.

876
00:53:38,800 --> 00:53:40,279
Speaker 1: Yeah, but.

877
00:53:43,040 --> 00:53:46,120
Speaker 6: You know, yeah, that's all that stuff just we just

878
00:53:46,200 --> 00:53:48,959
Speaker 6: wanted to do something different, excitement, a little bit more fun.

879
00:53:49,040 --> 00:53:52,080
Speaker 6: And and uh when you think about like play a

880
00:53:52,160 --> 00:53:53,680
Speaker 6: solo than throw blow up a bomb.

881
00:53:55,480 --> 00:53:58,920
Speaker 1: And but I'm saying physically it doesn't make sense. But no, no, no,

882
00:53:59,040 --> 00:53:59,520
Speaker 1: that's the thing.

883
00:53:59,680 --> 00:54:03,399
Speaker 5: Seeing it, it was exciting as hell because even when

884
00:54:04,520 --> 00:54:08,600
Speaker 5: like I didn't get to see the first two Destiny runs,

885
00:54:09,640 --> 00:54:13,040
Speaker 5: so usually it's someone in my class come back explain it.

886
00:54:13,160 --> 00:54:17,800
Speaker 1: Like then the next thing, you know, this explosion goes.

887
00:54:17,640 --> 00:54:20,920
Speaker 5: Off and you're just trying to imagine, like what is

888
00:54:21,000 --> 00:54:23,560
Speaker 5: happening on The Jackson Show. But then again it's like,

889
00:54:23,920 --> 00:54:26,920
Speaker 5: you know, earth Wind and Fire is introducing lasers and

890
00:54:27,040 --> 00:54:32,440
Speaker 5: levitation and this stuff, and parliaments doing theatrics. Like between

891
00:54:32,480 --> 00:54:35,680
Speaker 5: the three camps, between the Jackson's, the p Funk and

892
00:54:35,840 --> 00:54:39,360
Speaker 5: the the Earth Wind and Fire camp, there was like

893
00:54:39,480 --> 00:54:43,319
Speaker 5: a rush to hoo can out theatrics each other.

894
00:54:44,200 --> 00:54:46,880
Speaker 1: And so was that a thing where you guys like

895
00:54:47,000 --> 00:54:47,560
Speaker 1: going to peep.

896
00:54:47,760 --> 00:54:49,360
Speaker 6: Did you ever go to p Funk shows and be

897
00:54:49,520 --> 00:54:54,600
Speaker 6: like yo, Space and earth Wind and Fire they had

898
00:54:54,680 --> 00:54:58,880
Speaker 6: the theatrics and we were huge Earth Winding Fire fans,

899
00:54:59,000 --> 00:55:06,040
Speaker 6: just the musicianship Larry Down, just huge fans of theirs.

900
00:55:06,080 --> 00:55:07,960
Speaker 6: And I would just go in the studio just watch them,

901
00:55:08,280 --> 00:55:12,960
Speaker 6: just watch watch, watch watch, like the original eighty eight Keys.

902
00:55:13,520 --> 00:55:17,000
Speaker 5: Just stop to wait too soon. I'm sorry, idiot, I

903
00:55:17,040 --> 00:55:21,680
Speaker 5: don't mean that, I'm sorry. You would just show up

904
00:55:21,680 --> 00:55:25,080
Speaker 5: with people like it's weird, like albums that you know

905
00:55:25,320 --> 00:55:28,960
Speaker 5: that are landmark or whatever. You're just hey, I'll show

906
00:55:29,000 --> 00:55:32,880
Speaker 5: up in and yeah and visit Like how many what

907
00:55:33,200 --> 00:55:37,080
Speaker 5: what Landmark sessions have you or witnessed too that you

908
00:55:37,160 --> 00:55:38,279
Speaker 5: didn't know at the time, Like.

909
00:55:39,080 --> 00:55:42,279
Speaker 6: I was there when another other friends of ours for

910
00:55:42,400 --> 00:55:47,320
Speaker 6: total when they were making South Africa, right, yeah, mixing

911
00:55:47,360 --> 00:55:50,480
Speaker 6: it up us there. Those dudes are like so talented,

912
00:55:50,960 --> 00:55:54,600
Speaker 6: great people, great guys. They went to receive a high

913
00:55:54,600 --> 00:55:56,400
Speaker 6: school which was like right around the corner from the

914
00:55:56,440 --> 00:55:59,040
Speaker 6: school we went to. But they were just very talented people.

915
00:55:59,160 --> 00:56:01,320
Speaker 5: Okay, this is the fourth time eged in school, so

916
00:56:01,520 --> 00:56:05,200
Speaker 5: even after moving to La you guys were still in

917
00:56:05,280 --> 00:56:06,720
Speaker 5: a regular high school experience.

918
00:56:07,520 --> 00:56:10,719
Speaker 6: Yes, how does that happen because or not? How does

919
00:56:10,760 --> 00:56:13,680
Speaker 6: it happen? Like when we were off a tour, we

920
00:56:13,840 --> 00:56:17,440
Speaker 6: went to regular school. When we toured, we had teachers

921
00:56:17,560 --> 00:56:25,320
Speaker 6: that traveled with us tutors. It was an issue. It

922
00:56:25,600 --> 00:56:29,360
Speaker 6: was a little bit of an issue, but we'll be

923
00:56:29,400 --> 00:56:30,239
Speaker 6: able to get it down.

924
00:56:32,320 --> 00:56:34,160
Speaker 5: So it wasn't a thing Like I mean, did it

925
00:56:34,200 --> 00:56:37,320
Speaker 5: feel awkward? Like okay, now we're going to try normally

926
00:56:37,520 --> 00:56:38,040
Speaker 5: for a second.

927
00:56:38,360 --> 00:56:41,080
Speaker 6: Yeah, and it was an issue, you know, the girls

928
00:56:43,680 --> 00:56:44,200
Speaker 6: with the girls.

929
00:56:46,360 --> 00:56:47,439
Speaker 1: I didn't even get to that part.

930
00:56:49,000 --> 00:56:53,000
Speaker 7: Yeah, were there like bullies in your I'm going to

931
00:56:53,040 --> 00:56:54,080
Speaker 7: beat up a Jackson today?

932
00:56:54,200 --> 00:56:57,239
Speaker 6: Yes? Yes, the jealousy and this and that.

933
00:56:58,680 --> 00:57:03,440
Speaker 5: So how do you how how do you navigate I

934
00:57:03,520 --> 00:57:06,960
Speaker 5: mean just general safety? How do you navigate safety and

935
00:57:07,200 --> 00:57:09,520
Speaker 5: be normal? Because it's like you're either going to just

936
00:57:09,600 --> 00:57:13,840
Speaker 5: stay behind the gates of haven herths.

937
00:57:13,920 --> 00:57:15,360
Speaker 6: Right or that's what it was.

938
00:57:15,560 --> 00:57:18,080
Speaker 5: I really want to go see Rocky too at the

939
00:57:18,160 --> 00:57:21,520
Speaker 5: movie theater. And is it like you have to wear

940
00:57:21,560 --> 00:57:25,040
Speaker 5: a hat or yeah? I think do I call you Stephen?

941
00:57:25,080 --> 00:57:26,360
Speaker 5: In the high school and in.

942
00:57:26,360 --> 00:57:31,880
Speaker 6: The beginning, like we kind of didn't realize the enormity

943
00:57:31,920 --> 00:57:35,040
Speaker 6: of the success and until we came home and you

944
00:57:35,200 --> 00:57:36,560
Speaker 6: go to the market and you go to the stores

945
00:57:36,600 --> 00:57:38,600
Speaker 6: and people look at you, following and taking pictures and

946
00:57:38,640 --> 00:57:42,120
Speaker 6: all that, and then you start to realize, you know,

947
00:57:43,160 --> 00:57:47,080
Speaker 6: even in your private life, you know, it's it's still

948
00:57:47,160 --> 00:57:50,040
Speaker 6: that you started to think, Wow, it's kind of weird,

949
00:57:50,240 --> 00:57:54,960
Speaker 6: but but yeah, it was that element was there. But

950
00:57:55,120 --> 00:57:56,400
Speaker 6: that's all part of it, though, is like.

951
00:57:57,840 --> 00:58:00,600
Speaker 1: That's what it is. You know, this is what you

952
00:58:00,640 --> 00:58:01,120
Speaker 1: signed up for.

953
00:58:01,480 --> 00:58:03,040
Speaker 6: Yeah, I get it what you signed up for?

954
00:58:03,080 --> 00:58:05,640
Speaker 1: All right, quick second punishment? All right, go ahead.

955
00:58:07,000 --> 00:58:08,320
Speaker 4: So I have to ask this question.

956
00:58:09,720 --> 00:58:10,280
Speaker 1: This episode.

957
00:58:10,960 --> 00:58:22,440
Speaker 6: Yeah, yes, every time. Yes, I remember, I'll never forget

958
00:58:22,480 --> 00:58:24,680
Speaker 6: this story. And my brothers they were here. If our

959
00:58:24,720 --> 00:58:26,720
Speaker 6: brothers were in this room, I wasn't they tell you

960
00:58:26,800 --> 00:58:31,560
Speaker 6: this story because I love it. We had done it

961
00:58:33,520 --> 00:58:35,560
Speaker 6: a couple of nights at the forum, I think it was,

962
00:58:36,520 --> 00:58:40,920
Speaker 6: and I was what year I was ten years old?

963
00:58:41,000 --> 00:58:43,680
Speaker 6: I think I was very young, nine ten so.

964
00:58:44,040 --> 00:58:46,320
Speaker 1: Looking through the windows period, Yeah, yeah, okay.

965
00:58:46,720 --> 00:58:46,800
Speaker 4: And.

966
00:58:49,800 --> 00:58:55,240
Speaker 6: Came home. My mom says, okay, Rannie, it's your turn

967
00:58:55,840 --> 00:59:02,160
Speaker 6: to take out the cabbage. Then I'm just I've been

968
00:59:02,240 --> 00:59:06,439
Speaker 6: on stage fromt of eighteen thousand people. I'm coming home

969
00:59:06,840 --> 00:59:09,440
Speaker 6: and she's telling me to take out the garbage. So

970
00:59:09,600 --> 00:59:21,040
Speaker 6: I said, I said, Mom, I have fans right right.

971
00:59:22,200 --> 00:59:24,960
Speaker 6: You know where this is going. You know how your

972
00:59:24,960 --> 00:59:26,120
Speaker 6: parents just give you that look?

973
00:59:26,360 --> 00:59:26,600
Speaker 1: I know.

974
00:59:26,720 --> 00:59:32,840
Speaker 6: And my father's eating, he stops eating, you know, and

975
00:59:32,960 --> 00:59:34,320
Speaker 6: they just gave you that look. I said, Mom, I

976
00:59:34,400 --> 00:59:36,160
Speaker 6: have fans. Now, I said, why don't I just call

977
00:59:36,200 --> 00:59:41,040
Speaker 6: my fan club? Yeah, my mom, she said, she says,

978
00:59:42,000 --> 00:59:55,360
Speaker 6: are you serious? One of those looks I'm like okay, okay, yeah, yeah,

979
00:59:55,680 --> 00:59:59,720
Speaker 6: so we did them. We did them after a huge

980
00:59:59,760 --> 01:00:03,240
Speaker 6: ex hour. We come home, rake the leagues, take out

981
01:00:03,280 --> 01:00:04,600
Speaker 6: the garbage, and do the dishes.

982
01:00:05,640 --> 01:00:10,480
Speaker 1: That was it. So the division of domestic labor was

983
01:00:10,480 --> 01:00:11,280
Speaker 1: still in effect.

984
01:00:11,320 --> 01:00:17,840
Speaker 5: Oh yeah, man, okay, all right, speaking of parents and punishments.

985
01:00:18,640 --> 01:00:23,800
Speaker 1: The second one, okay, so, uh watching.

986
01:00:25,480 --> 01:00:32,640
Speaker 5: Soul Trained tenth anniversary show, Randy's playing what I believe

987
01:00:32,800 --> 01:00:35,920
Speaker 5: is the fine line between what a key tar is

988
01:00:36,280 --> 01:00:39,960
Speaker 5: and a very miniature roads on a guitar strap.

989
01:00:40,680 --> 01:00:44,920
Speaker 1: Yeah, so I get the bright idea.

990
01:00:45,320 --> 01:00:47,240
Speaker 6: That's before they had keyboards.

991
01:00:47,360 --> 01:00:52,280
Speaker 1: Yeah, I know, I know. And so I was like, yo,

992
01:00:52,440 --> 01:00:54,040
Speaker 1: that's I wanted to play that. And so.

993
01:00:55,960 --> 01:01:02,080
Speaker 5: I go to my dad's keyboard players Wolitzer no, yeah,

994
01:01:02,400 --> 01:01:06,560
Speaker 5: and I take the lakes off the waltzer.

995
01:01:07,560 --> 01:01:08,080
Speaker 6: Was that heavy?

996
01:01:08,680 --> 01:01:10,240
Speaker 5: Well I was eight at the time, so yeah, it

997
01:01:10,320 --> 01:01:14,000
Speaker 5: was kind of heavy, and uh yeah, I dropped that

998
01:01:14,080 --> 01:01:15,040
Speaker 5: walletzer and.

999
01:01:16,520 --> 01:01:21,840
Speaker 1: That was the one, Yeah that that was a bad punishment.

1000
01:01:22,320 --> 01:01:26,080
Speaker 5: All I remember was the day I tried to discott,

1001
01:01:26,160 --> 01:01:29,560
Speaker 5: like I dropped the wallets because I couldn't figure out

1002
01:01:29,680 --> 01:01:32,360
Speaker 5: like how to put the guitar struck, Like there was

1003
01:01:32,640 --> 01:01:33,400
Speaker 5: nothing on the side.

1004
01:01:33,440 --> 01:01:35,200
Speaker 1: So I was like, all right, I'll just carry it,

1005
01:01:36,520 --> 01:01:40,280
Speaker 1: and I dropped it, and uh.

1006
01:01:42,000 --> 01:01:45,480
Speaker 5: I just remember like my punishments were, you know, were

1007
01:01:47,000 --> 01:01:50,200
Speaker 5: besides no, besides the belt, Yeah, there was there. There

1008
01:01:50,280 --> 01:01:53,400
Speaker 5: was carpar punishment, but then we're really hit at home

1009
01:01:53,560 --> 01:01:59,400
Speaker 5: was either no soul train or music, and central heating

1010
01:01:59,520 --> 01:02:02,400
Speaker 5: was out there year like I just got central heating

1011
01:02:02,520 --> 01:02:07,120
Speaker 5: by heat wave and they took my average white band

1012
01:02:07,160 --> 01:02:09,040
Speaker 5: and my central heating away from me.

1013
01:02:09,440 --> 01:02:12,120
Speaker 1: And so thanks for Randy. I appreciate that.

1014
01:02:13,320 --> 01:02:13,880
Speaker 6: I'm sorry.

1015
01:02:14,360 --> 01:02:15,320
Speaker 1: That's not his fault.

1016
01:02:15,400 --> 01:02:15,560
Speaker 4: Man.

1017
01:02:18,120 --> 01:02:21,000
Speaker 1: Yeah, He's made it look so cool.

1018
01:02:21,080 --> 01:02:21,240
Speaker 4: Man.

1019
01:02:21,760 --> 01:02:24,600
Speaker 1: I was just like, okay, wait, so what was it?

1020
01:02:24,760 --> 01:02:28,800
Speaker 1: Because that wasn't a key tar? No? Was it a roads?

1021
01:02:29,160 --> 01:02:29,680
Speaker 1: What was it?

1022
01:02:29,800 --> 01:02:29,840
Speaker 4: No?

1023
01:02:30,040 --> 01:02:30,400
Speaker 6: That was that?

1024
01:02:31,120 --> 01:02:31,520
Speaker 1: What was that?

1025
01:02:33,080 --> 01:02:33,120
Speaker 4: That?

1026
01:02:33,440 --> 01:02:41,040
Speaker 6: That was? I remember that because because I also used

1027
01:02:41,080 --> 01:02:45,400
Speaker 6: it on Dick Clark bandstand.

1028
01:02:45,080 --> 01:02:47,600
Speaker 1: All all the dustinies or like that was your Yeah,

1029
01:02:47,720 --> 01:02:48,840
Speaker 1: we had a stand up.

1030
01:02:48,760 --> 01:02:51,200
Speaker 6: Roads, you know, we we we have these techies. That

1031
01:02:52,400 --> 01:02:54,400
Speaker 6: that one particularly was something that was made for me

1032
01:02:55,560 --> 01:03:01,480
Speaker 6: and uh yeah, I play about it. But what I

1033
01:03:01,640 --> 01:03:05,640
Speaker 6: liked about that that one was was the was the

1034
01:03:05,680 --> 01:03:10,520
Speaker 6: bottom portion the baseline right right right? That's cool?

1035
01:03:11,160 --> 01:03:12,920
Speaker 1: Uh I see, I see now.

1036
01:03:14,040 --> 01:03:16,120
Speaker 5: Yeah, I was like that it must have been heavy

1037
01:03:16,280 --> 01:03:19,439
Speaker 5: to play and dance to, but you made a little

1038
01:03:19,800 --> 01:03:24,560
Speaker 5: effortless and it wasn't effortless at all. We got to

1039
01:03:24,600 --> 01:03:27,040
Speaker 5: ask about how can I be sure and love song

1040
01:03:27,080 --> 01:03:27,439
Speaker 5: for kids?

1041
01:03:28,320 --> 01:03:28,680
Speaker 1: All right?

1042
01:03:28,800 --> 01:03:33,360
Speaker 5: So you made a single right before Dance Destiny in

1043
01:03:33,400 --> 01:03:36,800
Speaker 5: seventy eight. So what was what was the initial plan?

1044
01:03:37,520 --> 01:03:37,640
Speaker 4: Uh?

1045
01:03:37,920 --> 01:03:42,480
Speaker 5: As far as were you actively trying to pursue a

1046
01:03:43,440 --> 01:03:45,880
Speaker 5: full recording album or I think.

1047
01:03:50,240 --> 01:03:53,200
Speaker 6: The vision of my father with all of us, even

1048
01:03:53,240 --> 01:03:56,520
Speaker 6: with Janet, he was always trying to get us to

1049
01:03:56,600 --> 01:04:01,400
Speaker 6: do things on our own solo career and Janet and that,

1050
01:04:02,200 --> 01:04:03,920
Speaker 6: and so you wanted me to make a song how

1051
01:04:03,960 --> 01:04:07,800
Speaker 6: can I be sure? And that's how that happened.

1052
01:04:09,080 --> 01:04:12,200
Speaker 5: Do you want to do solo stuff or were you comfortable?

1053
01:04:12,480 --> 01:04:17,280
Speaker 5: Because I know that I've always been. I've always been like,

1054
01:04:17,440 --> 01:04:21,600
Speaker 5: I like being in the back, I like writing and creating.

1055
01:04:21,720 --> 01:04:25,919
Speaker 5: I'm all about music. I just want to do the music,

1056
01:04:26,520 --> 01:04:31,880
Speaker 5: you know, And I love performing. Mean the camera part

1057
01:04:31,920 --> 01:04:35,400
Speaker 5: of it. I like the cameras. It's okay, but I

1058
01:04:35,480 --> 01:04:38,200
Speaker 5: mean I don't hate it. But it's all about where

1059
01:04:38,240 --> 01:04:38,840
Speaker 5: we are right now.

1060
01:04:39,960 --> 01:04:45,240
Speaker 6: Yeah, man, So you prefer studios because because I can

1061
01:04:45,400 --> 01:04:47,640
Speaker 6: enjoy music at home as much as I could for me,

1062
01:04:48,240 --> 01:04:50,760
Speaker 6: I can enjoy music at home, playing it, writing it

1063
01:04:51,520 --> 01:04:54,040
Speaker 6: almost as much as big on the stage. I mean,

1064
01:04:54,080 --> 01:04:57,000
Speaker 6: I I just like it. You know, by the time

1065
01:04:57,040 --> 01:05:00,200
Speaker 6: I wake up, I go to bed. I mean still

1066
01:05:00,240 --> 01:05:00,960
Speaker 6: a fan of music.

1067
01:05:01,880 --> 01:05:02,320
Speaker 1: Okay you.

1068
01:05:04,040 --> 01:05:12,480
Speaker 5: Speaking of which, the Triumph album question number one. Who

1069
01:05:12,600 --> 01:05:13,520
Speaker 5: engineered that record?

1070
01:05:18,800 --> 01:05:20,480
Speaker 6: A guy named Bill.

1071
01:05:21,760 --> 01:05:22,040
Speaker 4: He was.

1072
01:05:22,160 --> 01:05:25,640
Speaker 6: I'm telling you he engineered earthmen and fire. That's why

1073
01:05:25,720 --> 01:05:28,120
Speaker 6: we chose him. I'm trying to get it full name.

1074
01:05:28,120 --> 01:05:30,800
Speaker 6: I gotta look at the credits. I've never thought of

1075
01:05:30,880 --> 01:05:37,760
Speaker 6: it from that. Yeah why Okay, So because engineers are great.

1076
01:05:38,160 --> 01:05:41,360
Speaker 1: Shout outs to Rusty. Shout outs to Bill.

1077
01:05:42,800 --> 01:05:42,840
Speaker 4: No.

1078
01:05:42,960 --> 01:05:47,720
Speaker 1: No, only because okay thee So I'm his engineer. Yeah?

1079
01:05:47,880 --> 01:05:48,440
Speaker 1: So in.

1080
01:05:50,480 --> 01:05:55,040
Speaker 5: Am I am I pursuit of I collect stems now

1081
01:05:55,920 --> 01:05:59,360
Speaker 5: m and well previously, when I was teaching at n

1082
01:05:59,440 --> 01:06:02,680
Speaker 5: y U, I use stems to demonstrate for the class.

1083
01:06:03,200 --> 01:06:06,240
Speaker 5: So the thing is, when I got the Triumph stems

1084
01:06:07,520 --> 01:06:14,000
Speaker 5: and started doing my rough mixes, I don't know, I

1085
01:06:14,320 --> 01:06:17,439
Speaker 5: feel like the equuing that I did brought more life

1086
01:06:17,480 --> 01:06:23,040
Speaker 5: to it, made it more fuller sounding and whatnot. And

1087
01:06:23,120 --> 01:06:24,920
Speaker 5: then when I was listening to the originals, I was like,

1088
01:06:25,000 --> 01:06:29,160
Speaker 5: why does this sound so compressed? And so I always

1089
01:06:29,200 --> 01:06:33,480
Speaker 5: wanted to know what the process was in making the

1090
01:06:33,560 --> 01:06:36,760
Speaker 5: Triumph record. Now I also realized that one thing I

1091
01:06:36,800 --> 01:06:41,480
Speaker 5: didn't take into consideration is that you're only given sixteen

1092
01:06:41,520 --> 01:06:44,920
Speaker 5: minutes aside of a record because there's a lot of edits.

1093
01:06:45,080 --> 01:06:49,480
Speaker 6: I didn't even know that was an API console. I remember,

1094
01:06:50,160 --> 01:06:55,360
Speaker 6: so you had those five fifty a's eqs on those

1095
01:06:56,080 --> 01:07:01,480
Speaker 6: very punchy signing console, the old APIs and uh but

1096
01:07:01,600 --> 01:07:05,760
Speaker 6: also can be a little mid rangeye, also in the middle,

1097
01:07:06,600 --> 01:07:10,840
Speaker 6: not really after the mid range in Bottomy, not on

1098
01:07:10,960 --> 01:07:11,400
Speaker 6: the highs.

1099
01:07:12,320 --> 01:07:16,240
Speaker 1: So but hm.

1100
01:07:18,440 --> 01:07:22,120
Speaker 7: So mix dan tract on on API. Okay, I see,

1101
01:07:22,600 --> 01:07:27,640
Speaker 7: So it's not necessarily overcompressed. It's just maybe just dark, right,

1102
01:07:28,840 --> 01:07:32,920
Speaker 7: it's dark definitely Actually with both of those records.

1103
01:07:34,800 --> 01:07:38,520
Speaker 6: The same engineer on both of the records, as recall

1104
01:07:39,080 --> 01:07:41,320
Speaker 6: Desty and Triumph. Yeah, the same engineer.

1105
01:07:41,560 --> 01:07:46,000
Speaker 1: So speak of Greg filling games and how he was

1106
01:07:46,040 --> 01:07:47,080
Speaker 1: brought into the fold.

1107
01:07:49,000 --> 01:07:50,160
Speaker 6: How was it.

1108
01:07:51,640 --> 01:07:54,240
Speaker 1: You guys pursuing him with the label saying hey we want.

1109
01:07:54,040 --> 01:07:58,560
Speaker 6: To be Okay, it's funny because like the songs I wrote,

1110
01:07:58,800 --> 01:08:01,160
Speaker 6: Greg Greg can play them than me, which is great.

1111
01:08:01,200 --> 01:08:03,080
Speaker 6: He made he made him sound great.

1112
01:08:03,200 --> 01:08:07,840
Speaker 1: I was like, cool, I'm with it, but uh, were

1113
01:08:07,880 --> 01:08:09,440
Speaker 1: you tracking your songs.

1114
01:08:11,040 --> 01:08:14,640
Speaker 6: And something like something and stuff on like don't stop,

1115
01:08:14,800 --> 01:08:16,360
Speaker 6: you get enough, Like we tracked that stuff just like that,

1116
01:08:16,439 --> 01:08:22,040
Speaker 6: those demos. There's demos for the other stuff up if.

1117
01:08:21,280 --> 01:08:23,840
Speaker 1: You worked on Off the Wall as well. Okay, so.

1118
01:08:25,520 --> 01:08:27,600
Speaker 6: I'll get to some of those demos and stuff you

1119
01:08:27,640 --> 01:08:31,560
Speaker 6: want to hear. Definitely, Yeah, we would always track it

1120
01:08:32,280 --> 01:08:32,519
Speaker 6: like that.

1121
01:08:32,640 --> 01:08:32,720
Speaker 1: But.

1122
01:08:35,720 --> 01:08:45,680
Speaker 6: We wanted to bring someone like Gregan two. Greg was

1123
01:08:46,240 --> 01:08:47,840
Speaker 6: played with Stevie and all that kind of stuff, but

1124
01:08:48,360 --> 01:08:50,040
Speaker 6: he had just he hadn't he hadn't been with Stevie

1125
01:08:50,080 --> 01:08:54,040
Speaker 6: a long time. And well we brought him in and

1126
01:08:54,280 --> 01:08:58,160
Speaker 6: uh he's been he's been with our family ever since then.

1127
01:08:58,360 --> 01:08:58,639
Speaker 1: Okay.

1128
01:09:00,080 --> 01:09:04,559
Speaker 5: I was going to say the the unorthodox rhythm nature

1129
01:09:04,760 --> 01:09:08,360
Speaker 5: of Shaky Body Down to the Ground was such a risk,

1130
01:09:09,640 --> 01:09:12,280
Speaker 5: and it was a risk in nineteen seventy eight, seventy

1131
01:09:12,439 --> 01:09:15,360
Speaker 5: nine in the era disco where it was just like

1132
01:09:16,640 --> 01:09:20,400
Speaker 5: four on the floor and one hundred and twenty nine bpms,

1133
01:09:20,520 --> 01:09:25,280
Speaker 5: whereas Shaky Body Down, in my opinion, is more of

1134
01:09:25,400 --> 01:09:30,800
Speaker 5: a high powered funk song than a disco song, and

1135
01:09:31,640 --> 01:09:36,719
Speaker 5: because there's no definite one as far as the drums,

1136
01:09:36,760 --> 01:09:39,680
Speaker 5: like for some reason, like history is showing that the

1137
01:09:39,760 --> 01:09:41,760
Speaker 5: drums are supposed to establish where the one was.

1138
01:09:43,200 --> 01:09:46,120
Speaker 1: Were there any concerns like, yo, we're putting our eggs

1139
01:09:46,160 --> 01:09:47,000
Speaker 1: in this basket.

1140
01:09:47,360 --> 01:09:52,160
Speaker 5: And because when and on the on the on the stems,

1141
01:09:54,200 --> 01:09:57,240
Speaker 5: Ed Green is drumming, right, yeah, Barry White drummer.

1142
01:09:57,880 --> 01:10:00,800
Speaker 6: Yeah, I had that sound at that right.

1143
01:10:01,000 --> 01:10:01,960
Speaker 1: But here's the funny thing.

1144
01:10:02,360 --> 01:10:05,280
Speaker 5: So at the very beginning, there's there's in the in

1145
01:10:05,360 --> 01:10:10,599
Speaker 5: the pre roll of of of those stems for twenty seconds,

1146
01:10:11,600 --> 01:10:17,559
Speaker 5: I hear you and your brother Michael at ed Greens

1147
01:10:17,640 --> 01:10:21,280
Speaker 5: bruth saying don't do any feels, just keep it straight,

1148
01:10:22,240 --> 01:10:24,759
Speaker 5: no feels, and you hear him say got it, no feels,

1149
01:10:25,400 --> 01:10:27,920
Speaker 5: and I was like, whoa, that's that's that's weird to hear.

1150
01:10:28,720 --> 01:10:33,640
Speaker 5: And the thing is that his track alone made it,

1151
01:10:34,680 --> 01:10:37,880
Speaker 5: made it disco. And this is without hearing the overdubs

1152
01:10:37,880 --> 01:10:39,639
Speaker 5: of the tom toms in the in the high at

1153
01:10:40,479 --> 01:10:45,200
Speaker 5: So in the final mix when it turns out to

1154
01:10:45,320 --> 01:10:48,960
Speaker 5: be what it was and it's a revolutionary ass ship,

1155
01:10:51,280 --> 01:10:53,760
Speaker 5: were there any concerns or was just like the ajournaline

1156
01:10:53,800 --> 01:10:56,120
Speaker 5: of the song, like, yo, there's nothing like this, and.

1157
01:10:57,760 --> 01:11:03,120
Speaker 1: And let's go with it. Let's over the risk. You know.

1158
01:11:03,200 --> 01:11:07,519
Speaker 6: It's interesting because we always felt special about that song.

1159
01:11:08,360 --> 01:11:11,479
Speaker 6: It's like it just had that thing on it. And

1160
01:11:13,960 --> 01:11:18,120
Speaker 6: I remember putting ad on that song when we when

1161
01:11:18,120 --> 01:11:28,680
Speaker 6: we did the track, because and he he has he

1162
01:11:28,760 --> 01:11:31,200
Speaker 6: has a signature sound, you know what I'm talking about.

1163
01:11:31,200 --> 01:11:34,040
Speaker 6: This He is with a kick, you know, and it's

1164
01:11:34,120 --> 01:11:36,800
Speaker 6: kind of a lazy kick. But it's but but it's

1165
01:11:36,840 --> 01:11:43,040
Speaker 6: but it's but it worked. And but that drum beat

1166
01:11:43,840 --> 01:11:48,400
Speaker 6: was was was a little bit awkward to just say yeah.

1167
01:11:48,520 --> 01:11:51,240
Speaker 6: And but now I know, like a lot of drummers

1168
01:11:51,280 --> 01:11:53,880
Speaker 6: appreciate that. They always say, man, that drum beat. Now

1169
01:11:53,880 --> 01:11:55,000
Speaker 6: all the drummers play that beat.

1170
01:11:55,880 --> 01:12:01,439
Speaker 1: But at the time where you can earn when it

1171
01:12:01,520 --> 01:12:02,800
Speaker 1: was formulated.

1172
01:12:02,400 --> 01:12:03,120
Speaker 6: Too much of a risk.

1173
01:12:03,640 --> 01:12:05,360
Speaker 1: We thought about that a little bit because it was

1174
01:12:05,640 --> 01:12:10,200
Speaker 1: it wasn't it was it was right, it wasn't defined

1175
01:12:10,439 --> 01:12:12,519
Speaker 1: right right, it was it wasn't for.

1176
01:12:13,200 --> 01:12:18,040
Speaker 6: On the floor and I had them I'm two and

1177
01:12:18,160 --> 01:12:23,439
Speaker 6: four but yeah, but uh it's too and four.

1178
01:12:23,479 --> 01:12:24,280
Speaker 1: But it.

1179
01:12:26,479 --> 01:12:28,360
Speaker 6: It was a little bit of a risk, but we

1180
01:12:28,520 --> 01:12:30,720
Speaker 6: were confident in the song of it, like like like

1181
01:12:30,840 --> 01:12:33,400
Speaker 6: the song and it.

1182
01:12:33,479 --> 01:12:35,360
Speaker 1: Was just a groove to us. It was just it

1183
01:12:35,439 --> 01:12:36,080
Speaker 1: was just a groove.

1184
01:12:37,160 --> 01:12:39,080
Speaker 5: What was Sony's reaction to it when you played it

1185
01:12:39,120 --> 01:12:41,560
Speaker 5: to them, where they're like, okay, this is it? Or

1186
01:12:41,600 --> 01:12:44,519
Speaker 5: were they too like, hey, this needs to be three

1187
01:12:44,600 --> 01:12:48,240
Speaker 5: minutes and there's no hook. I mean there's no bridge

1188
01:12:48,360 --> 01:12:52,280
Speaker 5: and the drums are all over the place like where

1189
01:12:52,280 --> 01:12:55,120
Speaker 5: they initially was Bobby like, we don't know.

1190
01:12:55,520 --> 01:12:58,200
Speaker 6: No, they they they liked that song a lot and

1191
01:12:58,240 --> 01:13:00,280
Speaker 6: they and they we like things I Do for you.

1192
01:13:01,920 --> 01:13:05,679
Speaker 6: That was a groove to us. And uh, a quick question,

1193
01:13:07,840 --> 01:13:11,840
Speaker 6: how much of influence was Jupiter on that song Things

1194
01:13:11,840 --> 01:13:16,360
Speaker 6: that You Yes, Jupiter by earth Wooden Fire. That's interesting

1195
01:13:16,840 --> 01:13:19,040
Speaker 6: because I wanted to know, you know why the five

1196
01:13:19,120 --> 01:13:22,360
Speaker 6: minutes later in the fifteen seconds later correlation between the

1197
01:13:22,479 --> 01:13:26,360
Speaker 6: two songs. But you know, it's funny because it's like

1198
01:13:26,600 --> 01:13:32,760
Speaker 6: for me, all right, wonder Fire, Like at the time,

1199
01:13:32,800 --> 01:13:37,720
Speaker 6: I didn't realize it would just come out of me

1200
01:13:37,840 --> 01:13:39,920
Speaker 6: that way. Like even like so like all Night Dancing

1201
01:13:40,200 --> 01:13:42,840
Speaker 6: if you listen to the Icy Brothers, but I was listening.

1202
01:13:42,840 --> 01:13:45,240
Speaker 6: I was listening to a lot of Icy then, so

1203
01:13:45,360 --> 01:13:46,720
Speaker 6: you like like dud.

1204
01:13:47,720 --> 01:13:51,479
Speaker 1: That is ok I never never thought that till right now.

1205
01:13:51,720 --> 01:13:55,160
Speaker 6: Harvest for the world, right ship, it is.

1206
01:13:56,720 --> 01:13:58,200
Speaker 1: All right now, I'm gonna listen to it a whole

1207
01:13:58,280 --> 01:13:59,639
Speaker 1: different right right right.

1208
01:14:00,880 --> 01:14:03,080
Speaker 6: So all those things are like influences.

1209
01:14:04,960 --> 01:14:12,960
Speaker 5: Oh shit, I never all right forty years later now

1210
01:14:13,200 --> 01:14:16,560
Speaker 5: now I'm just kidding forty years lay now I get it.

1211
01:14:17,840 --> 01:14:21,000
Speaker 5: Oh damn, this is literally why he started this show

1212
01:14:21,200 --> 01:14:23,080
Speaker 5: to find out something exactly like that.

1213
01:14:26,760 --> 01:14:33,240
Speaker 1: Oh shit, that's crazy. Okay, I have more Destiny questions. Okay.

1214
01:14:33,800 --> 01:14:42,040
Speaker 5: Another thing, speaking of the title track of Destiny, whenever

1215
01:14:42,680 --> 01:14:45,240
Speaker 5: these songs are performed on shows, when you guys are

1216
01:14:45,280 --> 01:14:51,639
Speaker 5: promoting them, there's always that slow motion moment, which, again

1217
01:14:51,800 --> 01:14:54,840
Speaker 5: in post production when you're watching it is like the

1218
01:14:54,960 --> 01:15:02,479
Speaker 5: crazy shit ever, But I can only imagine how much

1219
01:15:02,600 --> 01:15:06,559
Speaker 5: leeway are you guys given to before you make these

1220
01:15:06,600 --> 01:15:10,400
Speaker 5: appearances on Midnight Special on Soldier and on American Bandstand.

1221
01:15:10,080 --> 01:15:16,280
Speaker 1: Or Sunny and Share or whatever the production techniques of

1222
01:15:17,120 --> 01:15:17,479
Speaker 1: the show.

1223
01:15:18,560 --> 01:15:22,479
Speaker 5: Like for me, just to just to control our mix

1224
01:15:22,840 --> 01:15:26,360
Speaker 5: on Letterman was like a nightmare, like can we please

1225
01:15:26,479 --> 01:15:27,280
Speaker 5: eq our things?

1226
01:15:27,320 --> 01:15:28,040
Speaker 1: And can we do that?

1227
01:15:28,680 --> 01:15:28,800
Speaker 4: Man?

1228
01:15:29,160 --> 01:15:33,479
Speaker 5: You guys are doing actual production like jumping in slow

1229
01:15:33,560 --> 01:15:35,479
Speaker 5: motion and all these things that.

1230
01:15:35,840 --> 01:15:36,599
Speaker 6: It wasn't easy.

1231
01:15:36,920 --> 01:15:38,760
Speaker 1: I know this, How did you guy?

1232
01:15:39,600 --> 01:15:43,080
Speaker 6: I get your question? It wasn't easy. It's like fighting

1233
01:15:43,200 --> 01:15:46,320
Speaker 6: for what we want to do and a lot of times,

1234
01:15:47,320 --> 01:15:48,519
Speaker 6: you know, they didn't want to do it, but we

1235
01:15:48,760 --> 01:15:49,320
Speaker 6: fought hard.

1236
01:15:50,680 --> 01:15:55,559
Speaker 5: We fought hard for it, yo, because it was happening

1237
01:15:55,640 --> 01:15:57,160
Speaker 5: out of the time where I'm not saying that you

1238
01:15:57,200 --> 01:16:02,559
Speaker 5: guys didn't have leverage, but you know, these these even

1239
01:16:02,560 --> 01:16:05,400
Speaker 5: when we're watching on YouTube now, these things like videos,

1240
01:16:06,280 --> 01:16:09,960
Speaker 5: and I always wanted to know what was the conversation

1241
01:16:10,320 --> 01:16:14,599
Speaker 5: that granted you the open door to Okay, this particular part, you're.

1242
01:16:14,479 --> 01:16:17,160
Speaker 1: Gonna slow it down and we're all gonna jump. It's

1243
01:16:17,200 --> 01:16:19,320
Speaker 1: gonna look silly now, but when you do it in

1244
01:16:19,400 --> 01:16:22,280
Speaker 1: slow motion, it's gonna look crazy.

1245
01:16:23,160 --> 01:16:26,240
Speaker 6: Yeah, even like the video was one of the first

1246
01:16:26,320 --> 01:16:28,439
Speaker 6: music videos made was can you feel it right?

1247
01:16:28,840 --> 01:16:32,519
Speaker 5: Well, actually blame it on the boogie yeah with a

1248
01:16:32,560 --> 01:16:34,840
Speaker 5: reflection thing? Right, that's scared of shit out of me

1249
01:16:34,920 --> 01:16:40,519
Speaker 5: as a kid like you literally scared? Whose concept was that?

1250
01:16:44,680 --> 01:16:45,439
Speaker 1: Did they come to you? Guys?

1251
01:16:45,520 --> 01:16:50,160
Speaker 5: Look, we have this new reflective sometimes how long did

1252
01:16:50,200 --> 01:16:50,840
Speaker 5: it take to shoot that?

1253
01:16:52,920 --> 01:16:53,280
Speaker 1: A day?

1254
01:16:54,040 --> 01:16:57,840
Speaker 6: But a lot of times Mike, what have these crazy

1255
01:16:57,880 --> 01:17:00,920
Speaker 6: ideas they want to do? And then we talk about it,

1256
01:17:01,280 --> 01:17:03,080
Speaker 6: you know, he sell us on it and we were like,

1257
01:17:03,160 --> 01:17:05,559
Speaker 6: that's really cool. Then we all fight for but they didn't.

1258
01:17:05,600 --> 01:17:07,120
Speaker 6: But a lot of these guys didn't want to do that,

1259
01:17:09,479 --> 01:17:11,599
Speaker 6: you know, And but we fight for it. We didn't

1260
01:17:11,600 --> 01:17:14,439
Speaker 6: have to fight for it. And sometimes you've had to

1261
01:17:14,520 --> 01:17:17,200
Speaker 6: fight for a lot sometimes just to what's normal to

1262
01:17:17,320 --> 01:17:21,200
Speaker 6: us now. Exactly it's normal now, but back in those days,

1263
01:17:21,520 --> 01:17:23,160
Speaker 6: you had to fight for it. But keep in mind

1264
01:17:23,240 --> 01:17:26,840
Speaker 6: back in those days, like there is no relationship between

1265
01:17:26,880 --> 01:17:30,760
Speaker 6: television and music. In those days, it was separate. Now

1266
01:17:30,960 --> 01:17:34,960
Speaker 6: it's all kind of together. You want to watch the show,

1267
01:17:35,040 --> 01:17:37,320
Speaker 6: you watch it. Everyone was on YouTube or something like that.

1268
01:17:37,400 --> 01:17:40,640
Speaker 6: It's like everything is. It's all social media, it's all communicating,

1269
01:17:40,760 --> 01:17:44,160
Speaker 6: so some of them in those days things it's more compartmentalized,

1270
01:17:44,800 --> 01:17:45,519
Speaker 6: a little bit separate.

1271
01:17:47,360 --> 01:17:49,920
Speaker 5: Yeah, because I feel as though if I would have

1272
01:17:50,080 --> 01:17:52,439
Speaker 5: done that, I would have been talked out of it, like, look, man,

1273
01:17:52,800 --> 01:17:55,160
Speaker 5: we don't got a budget. You're asking for a lot.

1274
01:17:55,320 --> 01:17:57,720
Speaker 5: Just go in there and performing and get it out

1275
01:17:57,760 --> 01:18:00,559
Speaker 5: of there. Yeah, pretty much.

1276
01:18:02,160 --> 01:18:02,559
Speaker 4: So with.

1277
01:18:04,280 --> 01:18:13,720
Speaker 5: With the Triumph record, uh you Yeah, you're you're you're

1278
01:18:13,720 --> 01:18:16,280
Speaker 5: sharing lead with Mike on on can you Feel It?

1279
01:18:17,479 --> 01:18:20,000
Speaker 6: You know that song who says she was talking about

1280
01:18:20,680 --> 01:18:25,920
Speaker 6: songs let me know drop the Bond. I love the

1281
01:18:26,000 --> 01:18:30,800
Speaker 6: song the Beads made called Tragedy. And if you listen

1282
01:18:30,840 --> 01:18:38,920
Speaker 6: to tragedy, m ding ding ching ching ding ding ding

1283
01:18:39,200 --> 01:18:40,160
Speaker 6: ding ding ding.

1284
01:18:40,560 --> 01:18:40,720
Speaker 5: Uh.

1285
01:18:42,120 --> 01:18:44,639
Speaker 1: Okay, that's how it came to be you. Mike wrote

1286
01:18:44,680 --> 01:18:52,680
Speaker 1: that together and Jackie. Damn. Okay, I see, I see now,

1287
01:18:52,720 --> 01:18:57,920
Speaker 1: I'm sorry people, I'm I'm I'm like my poor brain

1288
01:18:58,080 --> 01:18:59,160
Speaker 1: right yeah, man, I'm just.

1289
01:18:59,320 --> 01:19:06,519
Speaker 6: Like at the time when you're creating that, I'm not

1290
01:19:06,680 --> 01:19:10,160
Speaker 6: thinking tragedy now and now that I'm older.

1291
01:19:10,840 --> 01:19:13,080
Speaker 1: I think it back. Well, that sounds like harvest for

1292
01:19:13,160 --> 01:19:13,400
Speaker 1: the world.

1293
01:19:13,439 --> 01:19:15,479
Speaker 6: I wasn't thinking about it then it just came out

1294
01:19:15,520 --> 01:19:20,120
Speaker 6: of me naturally because those were my influences, you know, dude.

1295
01:19:20,160 --> 01:19:22,120
Speaker 5: I mean that's how it is. I mean, hip hop

1296
01:19:22,200 --> 01:19:24,720
Speaker 5: is more blatant about it because you literally sample it.

1297
01:19:24,840 --> 01:19:28,080
Speaker 5: But I mean, like most songs are the ideas of

1298
01:19:28,200 --> 01:19:32,479
Speaker 5: other songs. I mean, James Brown just did the ideas

1299
01:19:32,520 --> 01:19:36,080
Speaker 5: of his own songs. He was his own source. But

1300
01:19:36,280 --> 01:19:41,360
Speaker 5: pretty much Jesus Christ, that is mind blowing to me

1301
01:19:42,160 --> 01:19:45,439
Speaker 5: because yeah, I now see because tragedy in my mind,

1302
01:19:45,520 --> 01:19:46,240
Speaker 5: tragedy is like.

1303
01:19:48,080 --> 01:19:51,200
Speaker 1: Three horses running in the wild, but.

1304
01:19:51,280 --> 01:19:52,880
Speaker 6: It's like very triumphant.

1305
01:19:56,120 --> 01:19:57,879
Speaker 1: Exactly exactly.

1306
01:19:59,160 --> 01:20:02,599
Speaker 5: So was this creat Was this created thinking that, okay,

1307
01:20:03,160 --> 01:20:06,160
Speaker 5: when we do this in concert, this is going to

1308
01:20:06,160 --> 01:20:09,000
Speaker 5: be our flag Plannet, Yeah, this is going to be

1309
01:20:09,120 --> 01:20:10,160
Speaker 5: our our opening.

1310
01:20:10,840 --> 01:20:12,720
Speaker 6: Can you feel it? That was the opening? And the

1311
01:20:12,760 --> 01:20:14,000
Speaker 6: closes always shake your body.

1312
01:20:14,600 --> 01:20:18,080
Speaker 1: I see, I see, yeah man, And we'll be right

1313
01:20:18,160 --> 01:20:20,640
Speaker 1: back after quest. Those brain recollaculates.

1314
01:20:28,040 --> 01:20:31,639
Speaker 5: So even even though even though triumph is quote produced

1315
01:20:31,680 --> 01:20:35,360
Speaker 5: by the Jacksons, like who's who's holding fifty one percent

1316
01:20:35,439 --> 01:20:38,479
Speaker 5: of the weight? Who's like, someone has to be the

1317
01:20:38,600 --> 01:20:43,280
Speaker 5: alpha to be like, okay, make these decisions or is

1318
01:20:43,360 --> 01:20:47,719
Speaker 5: it always and those five of you and I can't

1319
01:20:47,720 --> 01:20:50,360
Speaker 5: imagine that the five of you are just so damn agreeable.

1320
01:20:52,080 --> 01:20:54,080
Speaker 1: Someone has to be like, I don't like that idea.

1321
01:20:54,160 --> 01:20:56,400
Speaker 6: When we were when we were produced Michael's vocal and

1322
01:20:57,320 --> 01:20:59,960
Speaker 6: the rest of us in that studio producing this vocal,

1323
01:21:01,640 --> 01:21:04,760
Speaker 6: that's how it was really. Yeah, So it wasn't It

1324
01:21:05,160 --> 01:21:07,679
Speaker 6: wasn't like one or two of us because it's interesting

1325
01:21:07,760 --> 01:21:09,960
Speaker 6: because no, it was all of us in that room,

1326
01:21:10,479 --> 01:21:13,559
Speaker 6: and Jackie can hear a line, or I could hear something,

1327
01:21:13,680 --> 01:21:16,240
Speaker 6: or we hear something. Now a lot of times Michael

1328
01:21:16,240 --> 01:21:18,240
Speaker 6: and I would create the song. You write the song,

1329
01:21:18,600 --> 01:21:21,320
Speaker 6: but it's all of us collectively that made it magic.

1330
01:21:22,880 --> 01:21:23,439
Speaker 1: I see.

1331
01:21:25,280 --> 01:21:27,800
Speaker 5: I got an exit, not exit from the studio. But

1332
01:21:29,800 --> 01:21:33,200
Speaker 5: I think we should mention what what is the the

1333
01:21:33,640 --> 01:21:34,960
Speaker 5: preparation period.

1334
01:21:36,200 --> 01:21:39,200
Speaker 1: Of your shows? And your performances?

1335
01:21:40,720 --> 01:21:41,360
Speaker 6: Can't touts me.

1336
01:21:42,920 --> 01:21:46,200
Speaker 1: Well in general? Like was there regular?

1337
01:21:46,479 --> 01:21:46,600
Speaker 6: Was it?

1338
01:21:46,800 --> 01:21:50,800
Speaker 5: Like? Okay, Thursday and Friday nights are five hours in

1339
01:21:50,880 --> 01:21:53,479
Speaker 5: the room rehearsing dance steps? Like how are you guys?

1340
01:21:54,800 --> 01:22:00,160
Speaker 5: How are house choreography? So when you guys are are

1341
01:22:01,520 --> 01:22:08,360
Speaker 5: prepping choreography and let's start with choreography first of all?

1342
01:22:09,160 --> 01:22:09,920
Speaker 1: Is that a long?

1343
01:22:10,320 --> 01:22:15,000
Speaker 6: Yes, yes, it's a long because the thing about it

1344
01:22:15,200 --> 01:22:17,400
Speaker 6: is like I didn't really want to dance and move,

1345
01:22:17,479 --> 01:22:19,599
Speaker 6: but Michael always wanted me to because I just wanted

1346
01:22:19,600 --> 01:22:22,920
Speaker 6: to play instruments and sing and play. No many you

1347
01:22:22,960 --> 01:22:26,840
Speaker 6: gotta move, Come on, you can dance, okay, But but

1348
01:22:28,840 --> 01:22:35,720
Speaker 6: like we like like to this day, like our work

1349
01:22:35,840 --> 01:22:40,800
Speaker 6: ethic hasn't changed, like Janet, when Janet and I think

1350
01:22:40,840 --> 01:22:42,800
Speaker 6: a lot a lot of her dancers always surprised, like

1351
01:22:42,880 --> 01:22:44,920
Speaker 6: when she gets ready to go on tour the way

1352
01:22:44,960 --> 01:22:47,760
Speaker 6: she works as the way we worked twenty something years ago.

1353
01:22:48,120 --> 01:22:50,400
Speaker 6: I mean it's like it hasn't changed. And I think

1354
01:22:50,439 --> 01:22:53,880
Speaker 6: that's that's like we you know, it's like we take

1355
01:22:53,920 --> 01:22:56,720
Speaker 6: it seriously and we break for lunch and dinner, but

1356
01:22:56,800 --> 01:23:01,040
Speaker 6: we it's every day, all day, and and tell us right,

1357
01:23:02,240 --> 01:23:08,960
Speaker 6: and we take it seriously so literally for our I mean,

1358
01:23:09,200 --> 01:23:12,320
Speaker 6: just give me a rough number all day the term

1359
01:23:12,400 --> 01:23:15,439
Speaker 6: you wake up, break for lunch, and break for dinner,

1360
01:23:16,200 --> 01:23:17,679
Speaker 6: and time you go to sleep the next.

1361
01:23:17,600 --> 01:23:21,160
Speaker 1: Day, even post I mean assuming that.

1362
01:23:24,160 --> 01:23:27,599
Speaker 5: Not childhood where you know, like Motown and your father

1363
01:23:27,760 --> 01:23:31,320
Speaker 5: whoever is watching rehearsals, but assuming that you guys were

1364
01:23:31,360 --> 01:23:34,439
Speaker 5: just doing this on your own as adults. Into the

1365
01:23:34,600 --> 01:23:43,160
Speaker 5: Destiny Triumphant, it was just yeah, straight rehearsals. And I

1366
01:23:43,200 --> 01:23:45,240
Speaker 5: would think would they be separated? I mean, would it

1367
01:23:45,280 --> 01:23:47,280
Speaker 5: be like, Okay, this for boreography and this is for

1368
01:23:47,479 --> 01:23:47,840
Speaker 5: music and.

1369
01:23:47,880 --> 01:23:50,360
Speaker 6: This is for harmony, Like how normally I would I

1370
01:23:50,400 --> 01:23:53,120
Speaker 6: would start with music first, and being in the band,

1371
01:23:53,240 --> 01:23:54,759
Speaker 6: we start going over with the music separately.

1372
01:23:55,640 --> 01:24:00,320
Speaker 1: So Jonathan Moffatt and Jonathan Mike mn and all those guys. Man,

1373
01:24:00,400 --> 01:24:04,240
Speaker 1: you know these are LA heavyweights. Man, y'all, y'all build.

1374
01:24:04,320 --> 01:24:09,679
Speaker 6: Jonathan Moffa was a kid who walked through the studio.

1375
01:24:09,800 --> 01:24:13,360
Speaker 6: He's seventeen years old. Was he sixteen? Seventeen? He was

1376
01:24:13,400 --> 01:24:14,880
Speaker 6: seventeen from Newton, from New Orleans?

1377
01:24:15,160 --> 01:24:18,880
Speaker 1: Okay, when did he join you guys? What year was that?

1378
01:24:19,280 --> 01:24:19,880
Speaker 1: What year was that?

1379
01:24:20,479 --> 01:24:23,120
Speaker 6: So sure you sure you know him?

1380
01:24:24,120 --> 01:24:28,439
Speaker 5: I met him twice in my life. But yeah, so

1381
01:24:28,560 --> 01:24:29,920
Speaker 5: he was seventeen when he first started.

1382
01:24:30,160 --> 01:24:31,240
Speaker 1: Yes, okay, so.

1383
01:24:31,320 --> 01:24:33,040
Speaker 6: He walked in. He's you know, he's cool. He was

1384
01:24:33,080 --> 01:24:35,760
Speaker 6: real cool, and he wears pants are real high. He

1385
01:24:35,880 --> 01:24:39,479
Speaker 6: had some shining James browns and shoes and he was relaxed.

1386
01:24:40,000 --> 01:24:41,719
Speaker 6: Like this dude is too cool to play drums.

1387
01:24:41,840 --> 01:24:42,000
Speaker 7: You know.

1388
01:24:42,840 --> 01:24:44,679
Speaker 6: He sat on the drums and it was like, yeah,

1389
01:24:45,760 --> 01:24:50,640
Speaker 6: this guy can play. He plays hard, right, Okay, he's solid, right,

1390
01:24:50,800 --> 01:24:51,920
Speaker 6: He's a great concert player.

1391
01:24:53,479 --> 01:25:01,240
Speaker 1: Also David Williams, David whom yes by him? Yeah, like

1392
01:25:01,439 --> 01:25:03,840
Speaker 1: where where did he come from? His David Williams with

1393
01:25:04,520 --> 01:25:08,040
Speaker 1: guitar players, just like he's like a machine. Where's he

1394
01:25:08,160 --> 01:25:11,720
Speaker 1: from Virginia? Anything about him?

1395
01:25:11,720 --> 01:25:17,880
Speaker 6: He's from Virginia. He's from uh uh West Virginia. David Williams.

1396
01:25:18,120 --> 01:25:21,240
Speaker 1: Okay, how long when did he join you guys, East Virginia?

1397
01:25:21,600 --> 01:25:23,880
Speaker 6: What is it like like Norfolk or something like that?

1398
01:25:24,000 --> 01:25:29,800
Speaker 6: Okay he started, David Williams. Was he had a hit

1399
01:25:29,880 --> 01:25:35,760
Speaker 6: song out what with Don't hold Back? If it fields good,

1400
01:25:35,960 --> 01:25:42,080
Speaker 6: too bad? Don't hold Back in a group or in

1401
01:25:42,880 --> 01:25:48,120
Speaker 6: Chanson the uh Chanson? Yeah, he had a.

1402
01:25:57,800 --> 01:26:08,519
Speaker 8: If it feels good damn anything bough So but David, Yeah,

1403
01:26:08,560 --> 01:26:09,519
Speaker 8: it's he can play.

1404
01:26:09,640 --> 01:26:13,320
Speaker 1: I mean, rhythm is so precise a one point.

1405
01:26:15,800 --> 01:26:19,760
Speaker 6: His playing adds a flavor to every track. It's like

1406
01:26:20,920 --> 01:26:26,080
Speaker 6: it's just at that little thing that that makes it right. Yes,

1407
01:26:26,720 --> 01:26:28,600
Speaker 6: and you notice he always had those guitar licks and

1408
01:26:28,600 --> 01:26:32,839
Speaker 6: all the tracks like amazing musician.

1409
01:26:33,880 --> 01:26:40,760
Speaker 1: So you too, I know that Wolf. Really what you

1410
01:26:40,840 --> 01:26:49,840
Speaker 1: want discuss right now? Should how much? How much?

1411
01:26:49,840 --> 01:26:51,880
Speaker 4: Is so?

1412
01:26:53,520 --> 01:26:55,560
Speaker 6: Am I right? On the song Don't hold Back? Is

1413
01:26:55,600 --> 01:26:55,760
Speaker 6: that it?

1414
01:27:01,200 --> 01:27:01,439
Speaker 1: Damn?

1415
01:27:02,200 --> 01:27:02,360
Speaker 2: Oh?

1416
01:27:02,439 --> 01:27:06,480
Speaker 1: Yeah, it's there, yeah, chances.

1417
01:27:06,840 --> 01:27:10,920
Speaker 6: Chance and chance on Chang song. Yeah but they said

1418
01:27:11,000 --> 01:27:14,880
Speaker 6: chance chance song. We gotta get that, ye damn.

1419
01:27:17,680 --> 01:27:22,000
Speaker 1: So I know Bill Wolfer and uh wow, who was

1420
01:27:22,040 --> 01:27:27,640
Speaker 1: the the tech not uh ah? Greg mentioned him? What

1421
01:27:28,560 --> 01:27:38,000
Speaker 1: it was James James James jameson Junior. Wow, Wow, the

1422
01:27:38,080 --> 01:27:46,760
Speaker 1: one in eighty three is that we gotta peep that ship. Wait,

1423
01:27:47,040 --> 01:27:51,040
Speaker 1: I'm like cop one for me too. Thank you. We're

1424
01:27:51,120 --> 01:27:55,679
Speaker 1: records shopping, we're records stopping it and of Yourrandy right now. Sorry?

1425
01:27:58,800 --> 01:27:59,320
Speaker 4: So with.

1426
01:28:02,160 --> 01:28:06,680
Speaker 5: Uh with with the with the band and were you

1427
01:28:06,920 --> 01:28:10,600
Speaker 5: so you would conduct rehearsals and you're the okay.

1428
01:28:10,520 --> 01:28:13,439
Speaker 6: Music and then and then the brothers at the same

1429
01:28:13,520 --> 01:28:16,760
Speaker 6: time we would be singing and doing choreography and I

1430
01:28:17,360 --> 01:28:20,160
Speaker 6: go back and forth. So we have it right with

1431
01:28:20,240 --> 01:28:22,160
Speaker 6: the animals. We have it. We just put it together.

1432
01:28:23,560 --> 01:28:26,760
Speaker 1: There it is, I see, okay, good.

1433
01:28:27,240 --> 01:28:29,360
Speaker 7: I'm I'm I'm maybe going a little out of sequence here.

1434
01:28:29,479 --> 01:28:33,360
Speaker 7: Maybe I'm not the choices of the album titles. I'm sorry,

1435
01:28:33,479 --> 01:28:38,960
Speaker 7: I know your time about love, Triumph, Victory, destiny.

1436
01:28:39,720 --> 01:28:40,280
Speaker 1: That's very good.

1437
01:28:40,439 --> 01:28:40,960
Speaker 2: Was this uh?

1438
01:28:41,520 --> 01:28:43,599
Speaker 7: Was this some kind of a marketing scheme, like we're

1439
01:28:43,800 --> 01:28:46,120
Speaker 7: you know, we're gonna just call this thing victory and

1440
01:28:46,600 --> 01:28:49,240
Speaker 7: and it you know, hope it becomes number one or

1441
01:28:49,479 --> 01:28:50,320
Speaker 7: or was that just a.

1442
01:28:51,560 --> 01:28:53,559
Speaker 6: It's a very it's a very good. That's very good.

1443
01:28:53,960 --> 01:29:00,599
Speaker 6: We are sitting around and we wanted to make albums

1444
01:29:00,680 --> 01:29:06,599
Speaker 6: and that have to do with positive thinking and power

1445
01:29:06,680 --> 01:29:10,800
Speaker 6: and just accomplishment and things like that. So they're all like,

1446
01:29:12,840 --> 01:29:15,439
Speaker 6: we're going to stand on this one hundred foot stone

1447
01:29:17,880 --> 01:29:22,160
Speaker 6: who conceptualized the album covers and because it was like

1448
01:29:22,240 --> 01:29:24,720
Speaker 6: the black version of like Blue Oyster cult, Like, yeah,

1449
01:29:25,200 --> 01:29:29,240
Speaker 6: that's CBS Records, Okay, But you know it's funny because.

1450
01:29:31,160 --> 01:29:31,639
Speaker 1: What are.

1451
01:29:33,479 --> 01:29:37,280
Speaker 6: Motown influence? We all we also love rock music a lot.

1452
01:29:38,520 --> 01:29:41,160
Speaker 5: Yeah, I was gonna say, because even now you're just like, yeah,

1453
01:29:41,200 --> 01:29:42,559
Speaker 5: I went to Dosconda, I went to.

1454
01:29:44,360 --> 01:29:49,240
Speaker 6: Like you were just open to growing up in Hollywood heels,

1455
01:29:50,600 --> 01:29:52,920
Speaker 6: you know. You know, I used to walk home from

1456
01:29:52,960 --> 01:29:58,360
Speaker 6: school and George Harris living like abobb us at the time,

1457
01:29:58,439 --> 01:30:00,519
Speaker 6: and that seems big white rosewies and get me right

1458
01:30:00,800 --> 01:30:04,080
Speaker 6: up to the house where we lived below and up

1459
01:30:04,160 --> 01:30:08,559
Speaker 6: So and Bowie and all those guys. They were all

1460
01:30:09,200 --> 01:30:12,640
Speaker 6: in those days. Everybody was around the same area, you know,

1461
01:30:12,720 --> 01:30:14,760
Speaker 6: so it just how could you not be influenced about it?

1462
01:30:15,280 --> 01:30:17,599
Speaker 6: You know, how could that not happen?

1463
01:30:18,280 --> 01:30:20,040
Speaker 1: Wow, that's crazy.

1464
01:30:20,760 --> 01:30:22,400
Speaker 5: This is something that just hit me right now that

1465
01:30:22,720 --> 01:30:28,080
Speaker 5: I totally missed. And the wave at Ebany and Jet

1466
01:30:28,160 --> 01:30:32,000
Speaker 5: covered this. It was like I remember seeing girls like

1467
01:30:32,160 --> 01:30:37,280
Speaker 5: crying to the knees. You gotta tell me what happened

1468
01:30:37,280 --> 01:30:40,760
Speaker 5: with the car accident in nineteen eighty what happened only

1469
01:30:41,000 --> 01:30:43,120
Speaker 5: the first time I've heard the jaws of life, like

1470
01:30:43,160 --> 01:30:46,479
Speaker 5: the way that Randy Jackson escapes the jaws of life.

1471
01:30:46,360 --> 01:30:50,160
Speaker 6: And like, yeah, they have these hydraulic scissors that cut

1472
01:30:50,200 --> 01:30:55,920
Speaker 6: the current. Hav got me out as I am like

1473
01:30:56,439 --> 01:30:57,080
Speaker 6: the Daredevil.

1474
01:30:57,720 --> 01:30:58,080
Speaker 1: Okay.

1475
01:30:58,560 --> 01:31:02,400
Speaker 6: And I moved out when I was seventeen o and

1476
01:31:02,520 --> 01:31:05,720
Speaker 6: that was like my brothers can believe that.

1477
01:31:05,880 --> 01:31:06,240
Speaker 1: I talked.

1478
01:31:06,280 --> 01:31:07,880
Speaker 6: My parents said to that you.

1479
01:31:07,920 --> 01:31:09,760
Speaker 1: Didn't have to get married or anything. You just moved out.

1480
01:31:09,800 --> 01:31:13,240
Speaker 6: And I moved out, and basically I told him my mom,

1481
01:31:13,280 --> 01:31:16,680
Speaker 6: I said, look, I want to move out. She's like

1482
01:31:16,760 --> 01:31:19,760
Speaker 6: what I said, my own place something I'm going to

1483
01:31:19,800 --> 01:31:22,640
Speaker 6: be at. I'm gonna do it anyway. It's like I

1484
01:31:22,720 --> 01:31:24,000
Speaker 6: want to live with my fan club.

1485
01:31:26,960 --> 01:31:36,080
Speaker 1: You got the last word on the garbage. So so.

1486
01:31:38,160 --> 01:31:41,720
Speaker 6: I did. I moved out right, and I stayed up

1487
01:31:41,840 --> 01:31:44,400
Speaker 6: standing in the oak Wood Garden. You know the oak

1488
01:31:44,439 --> 01:31:48,160
Speaker 6: Wood apartments on Bourbank. Every band has stayed there, Okay,

1489
01:31:48,400 --> 01:31:50,800
Speaker 6: in La, I know where Burbank is. Yeah, the garden

1490
01:31:50,840 --> 01:31:55,439
Speaker 6: apartments and I was staying there and I remember I

1491
01:31:55,600 --> 01:32:01,000
Speaker 6: was watching the Super Bowl and I want to see

1492
01:32:01,000 --> 01:32:03,479
Speaker 6: the Rims that just lost to the Pittsburgh Steelers.

1493
01:32:04,160 --> 01:32:08,479
Speaker 1: Okay, and I was hungry. Yes, I'm sorry Pittsburgh fan,

1494
01:32:08,560 --> 01:32:10,599
Speaker 1: but good yeah, me too.

1495
01:32:11,400 --> 01:32:13,400
Speaker 6: The Swan I have his jersey or.

1496
01:32:14,920 --> 01:32:16,200
Speaker 1: Yeah damn. Okay.

1497
01:32:16,600 --> 01:32:18,519
Speaker 6: Then but then he didn't like it because I dated

1498
01:32:18,600 --> 01:32:19,639
Speaker 6: his ex wife later.

1499
01:32:20,560 --> 01:32:20,640
Speaker 5: But.

1500
01:32:22,479 --> 01:32:24,200
Speaker 6: At the time I didn't know it. I didn't know.

1501
01:32:24,560 --> 01:32:25,280
Speaker 6: He's a great guy.

1502
01:32:25,479 --> 01:32:25,799
Speaker 1: Okay.

1503
01:32:26,200 --> 01:32:33,639
Speaker 6: So anyway, I was hungry and it was raining like crazy,

1504
01:32:34,479 --> 01:32:36,400
Speaker 6: so I'm like, it's nothing in the house. I was

1505
01:32:36,439 --> 01:32:37,960
Speaker 6: going to go down to go over to the market

1506
01:32:37,960 --> 01:32:42,760
Speaker 6: and get something to eat. And I'm driving there's there's Mercedes,

1507
01:32:43,720 --> 01:32:50,839
Speaker 6: and it just hit this pothole, starts spinning, just crashed

1508
01:32:51,680 --> 01:32:54,040
Speaker 6: near the Hollywood Bowl, right there where the Hollywood Bowl is,

1509
01:32:55,000 --> 01:32:58,720
Speaker 6: and uh, cars on fire and YadA, YadA, YadA. And

1510
01:32:58,800 --> 01:33:01,559
Speaker 6: it's so funny because my parents had some friends over

1511
01:33:02,880 --> 01:33:08,599
Speaker 6: and they had been over late hanging out and they

1512
01:33:08,600 --> 01:33:10,760
Speaker 6: would driving home and my mom said, Okay, call us

1513
01:33:10,760 --> 01:33:12,400
Speaker 6: when you get home because it's raining out. I want

1514
01:33:12,400 --> 01:33:14,280
Speaker 6: to make sure you get home safe. To their friends,

1515
01:33:14,320 --> 01:33:18,040
Speaker 6: they said, okay, so he goes home. He calls my

1516
01:33:18,160 --> 01:33:19,880
Speaker 6: mom and he goes and so we made it home.

1517
01:33:19,920 --> 01:33:24,320
Speaker 6: He goes, God, we just saw the worst cards of it. Yeah,

1518
01:33:24,720 --> 01:33:26,920
Speaker 6: he's like, I hope that I hope that person's okay,

1519
01:33:27,439 --> 01:33:29,439
Speaker 6: but it doesn't. It doesn't look good. She my mother

1520
01:33:29,479 --> 01:33:36,680
Speaker 6: goes really, he goes, yeah, damn yo, man, when that

1521
01:33:36,880 --> 01:33:39,800
Speaker 6: news Wait, where were you born all?

1522
01:33:40,360 --> 01:33:44,040
Speaker 1: So you're like one dog?

1523
01:33:44,320 --> 01:33:47,840
Speaker 6: Yeah, it was yeah the day that ship hit. It's

1524
01:33:47,880 --> 01:33:50,479
Speaker 6: one of those things can change your life. Because like

1525
01:33:50,600 --> 01:33:53,840
Speaker 6: I flat lined and stopped breathing. They had to put

1526
01:33:53,920 --> 01:34:00,240
Speaker 6: those those you Yeah, so it was that serious. Yeah,

1527
01:34:00,280 --> 01:34:01,000
Speaker 6: I was that serious.

1528
01:34:02,520 --> 01:34:03,639
Speaker 1: So how did you manage to walk?

1529
01:34:03,720 --> 01:34:05,200
Speaker 6: Because I think I had to learn how to walk

1530
01:34:05,200 --> 01:34:07,240
Speaker 6: all over again. I was paralyzed.

1531
01:34:09,000 --> 01:34:11,599
Speaker 1: I literally wheelchair bend or crutches, bew.

1532
01:34:11,760 --> 01:34:15,040
Speaker 6: Wheelchair and I had to start with the pickup. And

1533
01:34:15,120 --> 01:34:21,920
Speaker 6: I remember its Magic Johnson who just started with the

1534
01:34:22,000 --> 01:34:28,280
Speaker 6: Lakers at the time, and and I went to doctor Curlin,

1535
01:34:29,080 --> 01:34:32,600
Speaker 6: who was a trainer was for the Lakers, to the

1536
01:34:32,640 --> 01:34:35,600
Speaker 6: whole medical facility there and that's where IVER see a

1537
01:34:35,600 --> 01:34:38,000
Speaker 6: physical therapy and learned how to walk.

1538
01:34:39,280 --> 01:34:42,280
Speaker 5: So the time they're telling you you're pretty much not

1539
01:34:42,320 --> 01:34:48,880
Speaker 5: going to walk I never walk again. Wait the time

1540
01:34:49,040 --> 01:34:56,400
Speaker 5: lapse between eighty and the recording of the album, and yeah,

1541
01:34:56,400 --> 01:34:57,519
Speaker 5: it's funny because the tour.

1542
01:34:59,080 --> 01:35:01,679
Speaker 1: Yeah, I mean wrestling with your brothers on stage before

1543
01:35:01,720 --> 01:35:03,479
Speaker 1: you explode them again.

1544
01:35:07,479 --> 01:35:12,679
Speaker 6: That's yeah, that's crazy. Like after each one of those shows,

1545
01:35:13,680 --> 01:35:16,080
Speaker 6: I was like taking an ice bath. So you were

1546
01:35:16,120 --> 01:35:19,240
Speaker 6: in pain doing the Trump show. Yeah it was painful,

1547
01:35:19,320 --> 01:35:21,320
Speaker 6: but you were dancing your ass off. Yeah, but it's

1548
01:35:21,720 --> 01:35:24,160
Speaker 6: it was it was painful. So I was like, yeah,

1549
01:35:24,400 --> 01:35:27,680
Speaker 6: I swollen ice in it respect Randy Jackson. I just

1550
01:35:27,800 --> 01:35:31,559
Speaker 6: thought Yeah. In my mind, I was just like, wow,

1551
01:35:31,680 --> 01:35:36,840
Speaker 6: it's a miracle, like he's back, but not knowing that yeah,

1552
01:35:38,720 --> 01:35:41,000
Speaker 6: oh man, hats off?

1553
01:35:41,080 --> 01:35:47,559
Speaker 1: Man? Is that is crazy? Wait? Did we just mean.

1554
01:35:49,080 --> 01:35:54,240
Speaker 6: There's no way I'll let my brothers leave me. That's

1555
01:35:54,360 --> 01:35:56,000
Speaker 6: like we're going to figure this out?

1556
01:35:57,760 --> 01:35:57,960
Speaker 1: Yeah?

1557
01:35:58,960 --> 01:36:01,200
Speaker 5: Was that even a question? Where is it just like, Okay, well,

1558
01:36:01,320 --> 01:36:03,040
Speaker 5: how bought the physical therapist with me on tour?

1559
01:36:03,720 --> 01:36:04,000
Speaker 1: Sor right?

1560
01:36:04,080 --> 01:36:06,160
Speaker 6: So we had them on tour and I was like,

1561
01:36:06,280 --> 01:36:08,200
Speaker 6: there's no way we make this happen.

1562
01:36:09,680 --> 01:36:10,479
Speaker 1: You made it happen.

1563
01:36:11,240 --> 01:36:16,840
Speaker 5: Yeah, I meant you're doing the In my mind, I'm

1564
01:36:16,840 --> 01:36:19,760
Speaker 5: playing like the working Day and Night, twisty thing and.

1565
01:36:21,560 --> 01:36:22,360
Speaker 6: The twisty piano.

1566
01:36:22,760 --> 01:36:27,840
Speaker 5: No, just the jumping thing, and I'm like, you're you're okay,

1567
01:36:28,080 --> 01:36:31,920
Speaker 5: you you did it. What was your of the tours

1568
01:36:31,920 --> 01:36:34,120
Speaker 5: that you've done with your brothers? What was your favorite.

1569
01:36:41,920 --> 01:36:42,559
Speaker 1: The tour.

1570
01:36:45,840 --> 01:36:50,240
Speaker 6: Before the Destiny tour.

1571
01:36:53,960 --> 01:36:59,040
Speaker 5: So there's a Victory, there's Triumph, there's Destiny part too,

1572
01:36:59,120 --> 01:37:01,040
Speaker 5: which sort of like kind of off the wall, and

1573
01:37:01,080 --> 01:37:05,240
Speaker 5: then there's the Destiny Tour that I yeah.

1574
01:37:14,840 --> 01:37:18,000
Speaker 6: The Destiny Tour. I liked Stacey Lattisaws. I think opening

1575
01:37:18,080 --> 01:37:22,360
Speaker 6: up for us first one I saw you were there. Yeah,

1576
01:37:22,479 --> 01:37:27,640
Speaker 6: Philly h Triumph, Triumph Atie one was really nice. I

1577
01:37:27,800 --> 01:37:32,679
Speaker 6: enjoyed that tour. LTD was That's right. LTD was bad.

1578
01:37:34,360 --> 01:37:36,880
Speaker 5: Okay, So Jeffrey was on our show, and I always

1579
01:37:36,920 --> 01:37:42,759
Speaker 5: wanted to know, usually with opening acts and big production,

1580
01:37:44,160 --> 01:37:47,640
Speaker 5: it's problematic, especially with technology.

1581
01:37:47,160 --> 01:37:49,960
Speaker 1: Being the way it was and LTD being a damn

1582
01:37:50,000 --> 01:37:54,639
Speaker 1: near eleven member group. How nightmare?

1583
01:37:55,320 --> 01:37:57,639
Speaker 5: How much of a nightmare scenario is it when acts

1584
01:37:57,680 --> 01:38:01,080
Speaker 5: are opening for you guys and it's okay, we have

1585
01:38:01,160 --> 01:38:02,880
Speaker 5: to kill our set and bring there.

1586
01:38:03,439 --> 01:38:06,960
Speaker 6: You know, It's always been with my brothers, with us

1587
01:38:07,000 --> 01:38:09,560
Speaker 6: on tour. It's always like family, you know, so it

1588
01:38:09,920 --> 01:38:11,040
Speaker 6: was never an issue.

1589
01:38:11,640 --> 01:38:15,400
Speaker 1: And but l t D.

1590
01:38:16,160 --> 01:38:17,559
Speaker 6: They used to come to our house and hang out

1591
01:38:18,040 --> 01:38:20,439
Speaker 6: all the time anyway, So Osborne and his brother they

1592
01:38:20,439 --> 01:38:22,920
Speaker 6: would just say, come over the house, my mom makes

1593
01:38:22,920 --> 01:38:24,240
Speaker 6: food everybody.

1594
01:38:24,320 --> 01:38:28,559
Speaker 1: I'm like, were you guys school with the Osmond's Like, yeah,

1595
01:38:28,760 --> 01:38:29,120
Speaker 1: they have to.

1596
01:38:29,120 --> 01:38:30,800
Speaker 6: Come up to my mom make food for everybody. He

1597
01:38:30,920 --> 01:38:34,000
Speaker 6: was like family, all.

1598
01:38:33,960 --> 01:38:36,160
Speaker 5: Right, can you name one act that you guys were

1599
01:38:36,280 --> 01:38:39,680
Speaker 5: just like, I don't know, Tavars, y'all go back to

1600
01:38:39,720 --> 01:38:47,280
Speaker 5: Boston like ours too? Yeah, Actually, what what were there

1601
01:38:47,400 --> 01:38:51,479
Speaker 5: relations with any other other bands your your age? Because

1602
01:38:51,600 --> 01:38:54,360
Speaker 5: I think of the five Stairsteps or the Silvers.

1603
01:38:54,720 --> 01:38:57,240
Speaker 6: For friends come up with all the time back in

1604
01:38:57,280 --> 01:39:00,880
Speaker 6: the day. Silver's too glen to me. On the other day,

1605
01:39:01,880 --> 01:39:06,599
Speaker 6: they did our show great people, talented man, that's really good.

1606
01:39:07,760 --> 01:39:08,599
Speaker 6: Great humble guy.

1607
01:39:08,720 --> 01:39:15,519
Speaker 5: Huh yeah, absolutely absolutely so. Just you guys were switchling.

1608
01:39:15,960 --> 01:39:21,160
Speaker 5: I'm about to say Stockholmers, Uhva, Geneva. I'm sorry, thank you,

1609
01:39:21,640 --> 01:39:26,960
Speaker 5: You're welcome, thank you switching, thank you, Steve. See, you

1610
01:39:27,000 --> 01:39:28,240
Speaker 5: guys were just neutral zone.

1611
01:39:28,360 --> 01:39:33,560
Speaker 1: There was never a a competition, like no, we gotta.

1612
01:39:33,760 --> 01:39:36,800
Speaker 6: Know we you know, those are whenever we toured, like

1613
01:39:37,640 --> 01:39:40,479
Speaker 6: LaBelle opened up for us. We were kids, and even

1614
01:39:40,560 --> 01:39:44,400
Speaker 6: with Patty, it's like Patty used to braid our hair.

1615
01:39:44,479 --> 01:39:47,240
Speaker 6: Patty used to braid me and my hair. Really you

1616
01:39:47,320 --> 01:39:50,120
Speaker 6: can't before we were to stays those back in those days.

1617
01:39:51,080 --> 01:39:53,400
Speaker 1: I was going to say, maintaining Patty could do hair

1618
01:39:53,680 --> 01:39:55,680
Speaker 1: and she did. You know, she did it cook too.

1619
01:39:59,360 --> 01:40:06,040
Speaker 1: Wait what are you again? Great story? Bill? Thanks?

1620
01:40:06,400 --> 01:40:09,800
Speaker 5: No, Well, one has to braid hair to keep their

1621
01:40:09,880 --> 01:40:12,680
Speaker 5: afro full, right, so you guys might have to do

1622
01:40:12,800 --> 01:40:14,599
Speaker 5: that as well. This is one of the rare times

1623
01:40:14,600 --> 01:40:17,599
Speaker 5: where my afro's out normally, just so I can make

1624
01:40:17,680 --> 01:40:18,120
Speaker 5: it through.

1625
01:40:18,000 --> 01:40:21,920
Speaker 1: Life or whatever, Like I braid it, Okay, he braids it.

1626
01:40:22,560 --> 01:40:26,080
Speaker 5: Yeah, so okay. So even so, there was corn Roll

1627
01:40:26,120 --> 01:40:35,400
Speaker 5: era Jackson. Yes, no, we have those big dookie braids.

1628
01:40:35,439 --> 01:40:39,320
Speaker 5: So you know, I see that's how that's how they Okay,

1629
01:40:39,479 --> 01:40:41,360
Speaker 5: that's good to know because I just thought, like, oh,

1630
01:40:41,439 --> 01:40:45,280
Speaker 5: you guys woke up like this, like like full afro

1631
01:40:45,479 --> 01:40:50,519
Speaker 5: every day, no BedHead, no, yeah, little did I know? Okay,

1632
01:40:50,760 --> 01:40:55,840
Speaker 5: I see that. So the period, the post the post

1633
01:40:56,160 --> 01:41:03,799
Speaker 5: UH triumph period that leads UH to the victory tour.

1634
01:41:05,840 --> 01:41:08,519
Speaker 6: That during that time. It was a really fun time,

1635
01:41:09,479 --> 01:41:13,559
Speaker 6: like from triumph to victory, that whole. So between eighty

1636
01:41:13,640 --> 01:41:17,400
Speaker 6: one and yeah, because you had that off the wall, right,

1637
01:41:19,040 --> 01:41:19,280
Speaker 6: were you.

1638
01:41:19,320 --> 01:41:22,360
Speaker 5: Part of any of the pre production of what will

1639
01:41:22,400 --> 01:41:26,960
Speaker 5: become thriller? Only because uh, what's his name?

1640
01:41:28,200 --> 01:41:33,639
Speaker 1: Steve Geneva? Shut up, Steve? What's his name? What's his name?

1641
01:41:34,160 --> 01:41:40,600
Speaker 1: All right? He used to have a like a like

1642
01:41:40,640 --> 01:41:43,160
Speaker 1: an urban report. Is it Steve Ivory?

1643
01:41:43,920 --> 01:41:48,760
Speaker 5: I think it's Steve Ivory, Steve Ivy now, but he

1644
01:41:48,880 --> 01:41:51,519
Speaker 5: was like an apprentice under lead Bareley. All right, so

1645
01:41:51,640 --> 01:41:53,760
Speaker 5: this Kathleen Steve Ivory does this?

1646
01:41:54,240 --> 01:41:56,519
Speaker 6: Uh? I know it's Steve Ivory.

1647
01:41:56,840 --> 01:42:02,519
Speaker 1: They one, Yeah, Well, okay, so he he's at Encino

1648
01:42:03,280 --> 01:42:07,479
Speaker 1: and in the studio with you guys. This is pre

1649
01:42:07,840 --> 01:42:11,400
Speaker 1: this is like what is this eighty one?

1650
01:42:11,600 --> 01:42:15,479
Speaker 5: So I'm assuming that this is what's leading to be

1651
01:42:15,840 --> 01:42:19,240
Speaker 5: well yeah, because he says specifically for Michael's new solo records,

1652
01:42:19,280 --> 01:42:21,439
Speaker 5: So thriller is not even a thought, but what will

1653
01:42:21,560 --> 01:42:27,360
Speaker 5: become that? And it's the article is more about the

1654
01:42:27,439 --> 01:42:29,800
Speaker 5: technology that they're discovering.

1655
01:42:30,000 --> 01:42:35,160
Speaker 1: And I believe that a lin drum first makes its

1656
01:42:35,200 --> 01:42:36,800
Speaker 1: appearance in this thing.

1657
01:42:36,960 --> 01:42:39,560
Speaker 5: And so he's like describing like you know, now a

1658
01:42:39,640 --> 01:42:41,960
Speaker 5: drummer is inside a machine and not needed for da

1659
01:42:42,040 --> 01:42:44,320
Speaker 5: da da da. Like reading this, I'm like, yo, like

1660
01:42:44,439 --> 01:42:49,560
Speaker 5: the Jacksons have some futuristic just naming these like synthesizers

1661
01:42:49,680 --> 01:42:53,720
Speaker 5: and someone I don't know if you or I don't

1662
01:42:53,720 --> 01:42:55,920
Speaker 5: know who the engineer was at Havenhurst at the time

1663
01:42:56,000 --> 01:43:00,560
Speaker 5: at was working. He was like, well, one day, you know,

1664
01:43:00,960 --> 01:43:05,799
Speaker 5: they'll invent machines that will correct your singing, and every.

1665
01:43:05,600 --> 01:43:07,360
Speaker 1: One in the rooms like, no, that'll be the end

1666
01:43:07,400 --> 01:43:08,680
Speaker 1: of music and da da da da da.

1667
01:43:08,720 --> 01:43:11,560
Speaker 5: But if I could find this article, it's almost like

1668
01:43:11,840 --> 01:43:15,680
Speaker 5: you guys are talking about what's going to happen in

1669
01:43:15,840 --> 01:43:20,040
Speaker 5: forty years in music, but joking like that will never happen.

1670
01:43:20,439 --> 01:43:23,880
Speaker 6: But you know those days, I mean yes, I mean

1671
01:43:24,520 --> 01:43:26,880
Speaker 6: like like I said, like, we didn't really think about

1672
01:43:26,960 --> 01:43:30,160
Speaker 6: like if I was doing something I needed based part Jamaine,

1673
01:43:30,479 --> 01:43:31,760
Speaker 6: what are you doing, come on and play this part

1674
01:43:31,800 --> 01:43:33,680
Speaker 6: real quick. It's like that's what it was like.

1675
01:43:33,880 --> 01:43:35,760
Speaker 5: So even after he left the group, he was still

1676
01:43:35,920 --> 01:43:43,880
Speaker 5: active and yeah, okay, that's how it was, and yeah, wow,

1677
01:43:44,000 --> 01:43:46,000
Speaker 5: we wouldn't really we just it's just.

1678
01:43:46,000 --> 01:43:46,439
Speaker 1: What it was.

1679
01:43:48,160 --> 01:43:51,240
Speaker 7: See, can you tell those of us who don't know

1680
01:43:51,400 --> 01:43:56,120
Speaker 7: every single thing about you already? Sorry what your contributions

1681
01:43:56,120 --> 01:43:57,000
Speaker 7: were to Off the Wall?

1682
01:44:02,160 --> 01:44:02,280
Speaker 4: Uh?

1683
01:44:02,640 --> 01:44:07,479
Speaker 1: Yeah, credited, non credit, non credit? Come on, now we

1684
01:44:07,600 --> 01:44:11,040
Speaker 1: know what time is? Yeah? Either I want either want?

1685
01:44:12,479 --> 01:44:14,519
Speaker 5: Well, first of all, I mean you're there. We've heard

1686
01:44:14,560 --> 01:44:18,120
Speaker 5: the Working Day Night demo. That was hilarious, by the way.

1687
01:44:18,640 --> 01:44:21,160
Speaker 6: Yeah, was it always like that? Yeah? I see how

1688
01:44:21,200 --> 01:44:25,799
Speaker 6: it's my playing struggle m like, like I could hear these.

1689
01:44:25,680 --> 01:44:28,120
Speaker 1: Parts in my head. That's you playing that line.

1690
01:44:28,200 --> 01:44:31,519
Speaker 6: Yeah, but playing them it's like walking through and I

1691
01:44:31,560 --> 01:44:34,200
Speaker 6: can hear the base and the same thing with the

1692
01:44:34,920 --> 01:44:36,000
Speaker 6: don't stop teeing it enough?

1693
01:44:37,080 --> 01:44:38,720
Speaker 4: Do do?

1694
01:44:39,280 --> 01:44:39,320
Speaker 1: Do?

1695
01:44:40,240 --> 01:44:40,280
Speaker 4: Do?

1696
01:44:41,240 --> 01:44:43,160
Speaker 1: So this time? Can I assume that he's singing you

1697
01:44:43,320 --> 01:44:46,320
Speaker 1: what he hears in his head? Who Michael?

1698
01:44:46,680 --> 01:44:49,400
Speaker 6: Michael would sing? Michael didn't know chords.

1699
01:44:50,000 --> 01:44:52,040
Speaker 1: Okay, so he's uh singing to you.

1700
01:44:52,400 --> 01:44:56,560
Speaker 6: Singing singing the melody? What he would it be like?

1701
01:44:56,680 --> 01:44:59,400
Speaker 6: And I try to create the harm? Yeah yeah, yeah,

1702
01:44:59,520 --> 01:45:00,880
Speaker 6: so that's how it happened.

1703
01:45:01,800 --> 01:45:05,880
Speaker 1: I see, Yeah we did the credit thing.

1704
01:45:07,280 --> 01:45:10,200
Speaker 6: Yeah, but but it was but it was like my

1705
01:45:10,280 --> 01:45:16,600
Speaker 6: whole thing is like percussion and were those coke bottles? Yeah? Percussion,

1706
01:45:17,160 --> 01:45:20,920
Speaker 6: And but I also played percussion on the keyboards like

1707
01:45:22,320 --> 01:45:24,160
Speaker 6: in those days, And I didn't realize it at the time,

1708
01:45:24,680 --> 01:45:26,880
Speaker 6: but it was very percussive in a way. It's just

1709
01:45:26,960 --> 01:45:32,439
Speaker 6: the grooves, right, Yeah, there were avion and coke bottles.

1710
01:45:33,600 --> 01:45:35,320
Speaker 1: Yeah, thanks, okay.

1711
01:45:37,320 --> 01:45:40,280
Speaker 6: And I remember because when they went to record that

1712
01:45:40,439 --> 01:45:46,799
Speaker 6: song in the studio, for some reason, they couldn't recreate

1713
01:45:46,880 --> 01:45:50,559
Speaker 6: that saying groove. Even though demos aren't perfect, they often

1714
01:45:50,800 --> 01:45:54,719
Speaker 6: have a feel that you just can't can't recreate.

1715
01:45:55,760 --> 01:45:57,479
Speaker 1: Do you get demo artists? Yeah?

1716
01:45:58,800 --> 01:46:04,120
Speaker 6: So how how come I went to the studio and

1717
01:46:05,280 --> 01:46:10,479
Speaker 6: I brought in my bottles and and and and that's

1718
01:46:10,479 --> 01:46:13,080
Speaker 6: what we did on the song. And then it had

1719
01:46:13,120 --> 01:46:14,160
Speaker 6: that swing to it.

1720
01:46:16,880 --> 01:46:19,719
Speaker 1: So that's you doing it, not pulling into the constant. Okay,

1721
01:46:19,920 --> 01:46:26,200
Speaker 1: I see, I see. How of of all of your siblings,

1722
01:46:27,040 --> 01:46:28,519
Speaker 1: who are you the closest to, Like.

1723
01:46:29,280 --> 01:46:30,559
Speaker 6: Jenna and I have always been close.

1724
01:46:31,000 --> 01:46:31,400
Speaker 1: We're little.

1725
01:46:31,520 --> 01:46:34,280
Speaker 6: You're like, you'd be hard pressed to find a find

1726
01:46:34,320 --> 01:46:38,040
Speaker 6: a photograph a family chop that I'm in the Jena

1727
01:46:38,120 --> 01:46:41,599
Speaker 6: is not somewhere near me. She like followed me around. Yeah,

1728
01:46:41,680 --> 01:46:43,800
Speaker 6: we'd fight like cats and dogs, but couldn't stand to

1729
01:46:43,800 --> 01:46:50,200
Speaker 6: be away from each other at the same time. See me,

1730
01:46:50,360 --> 01:46:52,160
Speaker 6: Janet and Michael was pretty much a click because were

1731
01:46:52,160 --> 01:46:54,960
Speaker 6: three youngest. We hung out all together all the time.

1732
01:46:55,640 --> 01:46:56,120
Speaker 1: And then.

1733
01:46:58,360 --> 01:47:02,280
Speaker 6: Jermaine and Tito clicks because they play guitars. There were clicks.

1734
01:47:02,760 --> 01:47:05,200
Speaker 6: Jackie kind of did his own thing, and Mona did

1735
01:47:05,240 --> 01:47:07,559
Speaker 6: his own thing, but he had Jermaine. Tito was kind

1736
01:47:07,560 --> 01:47:10,000
Speaker 6: of a clique because the whole guitar thing, and you know,

1737
01:47:10,640 --> 01:47:13,360
Speaker 6: went to Walton with John McClean at the same school

1738
01:47:13,400 --> 01:47:14,240
Speaker 6: and all that kind of stuff.

1739
01:47:17,040 --> 01:47:20,840
Speaker 5: Another yeah, I got it, just like the night John

1740
01:47:20,920 --> 01:47:24,840
Speaker 5: McLean episode, All right, John, let me get you one day, pal,

1741
01:47:25,120 --> 01:47:25,479
Speaker 5: trust me.

1742
01:47:27,520 --> 01:47:28,920
Speaker 4: So for.

1743
01:47:31,479 --> 01:47:36,920
Speaker 5: I know that there weren't immediate plans after the Triumph album.

1744
01:47:37,280 --> 01:47:39,639
Speaker 5: So the preparation for Motown twenty five?

1745
01:47:41,760 --> 01:47:44,080
Speaker 1: What what was that into?

1746
01:47:44,200 --> 01:47:44,800
Speaker 4: What was that? Like?

1747
01:47:45,760 --> 01:47:46,960
Speaker 6: It's funny because.

1748
01:47:48,880 --> 01:47:53,560
Speaker 5: We did Motive Did you have a relationship with Susanna

1749
01:47:53,600 --> 01:47:56,280
Speaker 5: pez to that of yeah, your brothers?

1750
01:47:56,360 --> 01:47:59,640
Speaker 6: Like, but I didn't know I was going to be

1751
01:47:59,680 --> 01:48:02,080
Speaker 6: doing that show until the day of that show.

1752
01:48:02,640 --> 01:48:08,760
Speaker 1: Wait what wait? What ever? Wasn't expecting met I.

1753
01:48:08,760 --> 01:48:13,479
Speaker 6: Didn't know it to the day that show. Doing that show,

1754
01:48:14,360 --> 01:48:18,559
Speaker 6: I was wasted out of my mind from dental surgery

1755
01:48:19,800 --> 01:48:21,680
Speaker 6: and you can probably know them. Right after that, we

1756
01:48:21,760 --> 01:48:25,920
Speaker 6: did USA for Africa, and I was still recovering from

1757
01:48:26,040 --> 01:48:29,360
Speaker 6: dental surgery, like I had a serious operation and I

1758
01:48:29,520 --> 01:48:34,920
Speaker 6: was like, loopy, really yeah, And but I went and

1759
01:48:35,000 --> 01:48:38,439
Speaker 6: did that show, did the other so I see.

1760
01:48:39,720 --> 01:48:41,960
Speaker 1: The preparation.

1761
01:48:42,560 --> 01:48:45,240
Speaker 5: The Victory album for me feels more distorted, as in,

1762
01:48:46,439 --> 01:48:48,559
Speaker 5: here's our solo projects on this one album.

1763
01:48:49,439 --> 01:48:50,960
Speaker 1: So I'll ask about your song.

1764
01:48:52,120 --> 01:48:54,559
Speaker 5: And also Austin asked me to ask you about Phil

1765
01:48:54,640 --> 01:48:58,840
Speaker 5: collins reaction to One More Chance. He also said he

1766
01:48:59,320 --> 01:49:02,880
Speaker 5: probably won't tell you, but ask him anyway. He told

1767
01:49:02,920 --> 01:49:05,320
Speaker 5: me two questions to ask you he wanted to. He

1768
01:49:05,400 --> 01:49:07,559
Speaker 5: said that you were in the car with Michael when

1769
01:49:07,600 --> 01:49:10,320
Speaker 5: Michael first heard Win Doves Cry and the Rose Voice.

1770
01:49:11,040 --> 01:49:13,880
Speaker 5: He says, tell the Win Doves Cry Rose War story

1771
01:49:14,160 --> 01:49:17,320
Speaker 5: and the Phil Collins One More Chance story.

1772
01:49:20,360 --> 01:49:29,760
Speaker 6: No, let's cool, awesome, it's amazing. Yeah, when when you know,

1773
01:49:29,800 --> 01:49:33,160
Speaker 6: when One More Night came out, I got a phone

1774
01:49:33,200 --> 01:49:40,120
Speaker 6: call from then CBS and they wanted to sue Wait, wait,

1775
01:49:40,320 --> 01:49:43,160
Speaker 6: he was trying to come at you. No, CBS wanted

1776
01:49:43,160 --> 01:49:46,200
Speaker 6: to sue Collins. So one More Night because when Night

1777
01:49:46,280 --> 01:49:50,439
Speaker 6: came out after oh, I came out after ship. Okay,

1778
01:49:50,600 --> 01:49:55,800
Speaker 6: but I had heard from Nathan East. Yeah, Nathan told

1779
01:49:55,840 --> 01:49:58,760
Speaker 6: me something. As told me that Phil Collins really loved

1780
01:49:58,800 --> 01:49:59,439
Speaker 6: One More Chance.

1781
01:50:00,120 --> 01:50:00,600
Speaker 1: He loves that.

1782
01:50:00,680 --> 01:50:02,400
Speaker 6: That's like his favorite Sony plays it all the time.

1783
01:50:03,640 --> 01:50:05,439
Speaker 6: And one time I was in a.

1784
01:50:07,160 --> 01:50:07,680
Speaker 1: Long time.

1785
01:50:07,800 --> 01:50:10,280
Speaker 6: I was in rex Hall Pharmacy, you know, the one

1786
01:50:10,320 --> 01:50:12,639
Speaker 6: on the corner of Los Cienaga and Beverly. You've seen it, okay,

1787
01:50:13,000 --> 01:50:16,720
Speaker 6: I know, right across from the Beverly Center. And Phil

1788
01:50:16,760 --> 01:50:22,840
Speaker 6: Hollins walked in. We're in the same as, and he goes, hey, hey,

1789
01:50:22,880 --> 01:50:25,639
Speaker 6: you're in. I said, hey, yeah, you're Phil Collins. Yeah,

1790
01:50:26,200 --> 01:50:30,519
Speaker 6: and he goes, yeah, no, I'm sorry, that was me, sir.

1791
01:50:31,400 --> 01:50:32,080
Speaker 1: He looked at me.

1792
01:50:33,640 --> 01:50:40,479
Speaker 6: You guys are funny. That's so, she says, uh, he

1793
01:50:40,600 --> 01:50:44,200
Speaker 6: wrote that tune One More Chance. I go, yeah, here's yeah,

1794
01:50:44,200 --> 01:50:47,320
Speaker 6: it's nice tune because I like it. And then he

1795
01:50:47,360 --> 01:50:51,200
Speaker 6: said the other song coming up, that's that was influenced.

1796
01:50:51,960 --> 01:50:56,479
Speaker 6: He's he's a I mean that's that album Face Value.

1797
01:50:57,040 --> 01:51:02,160
Speaker 6: And I played that album. Yeah, man, I played that

1798
01:51:02,240 --> 01:51:09,000
Speaker 6: album forever. Its tonight. Yeah when First County, brilliantly talented guy.

1799
01:51:09,439 --> 01:51:17,000
Speaker 6: But I told no, you're not gonna suit. It's just music. Uh.

1800
01:51:17,640 --> 01:51:22,840
Speaker 7: First of all, there's major similarities in the in the music,

1801
01:51:22,920 --> 01:51:26,200
Speaker 7: but second of all, it's called one More Night. I

1802
01:51:26,320 --> 01:51:30,679
Speaker 7: mean I know, but if you're gonna steal something, change

1803
01:51:30,720 --> 01:51:31,920
Speaker 7: the fucking title.

1804
01:51:31,680 --> 01:51:36,040
Speaker 6: More than that, you know, like one more let me

1805
01:51:36,120 --> 01:51:39,840
Speaker 6: tell you some But for me, it's like, it's just music.

1806
01:51:40,400 --> 01:51:41,479
Speaker 6: It's not mine that came from.

1807
01:51:41,760 --> 01:51:43,200
Speaker 1: But he kept the.

1808
01:51:43,280 --> 01:51:48,719
Speaker 7: Production to like the background vocals in the reverb choice,

1809
01:51:48,880 --> 01:51:51,720
Speaker 7: it's it's very perspectives.

1810
01:51:51,800 --> 01:51:59,040
Speaker 1: Yeah, it's very influenced, but I'm not saying just one

1811
01:51:59,040 --> 01:52:02,240
Speaker 1: more chances of favorite on on the victory album, what.

1812
01:52:06,920 --> 01:52:08,000
Speaker 6: Really thank You?

1813
01:52:09,800 --> 01:52:16,040
Speaker 1: Yeah? It should have been contender, Like what made her?

1814
01:52:16,400 --> 01:52:17,400
Speaker 1: What made her want to do that?

1815
01:52:17,800 --> 01:52:19,120
Speaker 6: That's always been your favorite song?

1816
01:52:20,360 --> 01:52:24,200
Speaker 1: Yeah, it's it should have been in Contender, man, it

1817
01:52:24,240 --> 01:52:32,679
Speaker 1: should have been contender. What uh were you? Why didn't

1818
01:52:32,680 --> 01:52:37,800
Speaker 1: you say that for your solo? I mean, I don't know.

1819
01:52:37,880 --> 01:52:39,360
Speaker 5: It's kind of weird because it's like when you're in

1820
01:52:39,439 --> 01:52:43,320
Speaker 5: the Jackson's you have to keep the legacy and the

1821
01:52:43,439 --> 01:52:47,639
Speaker 5: brand alive. But by that point, you guys are all stars,

1822
01:52:49,120 --> 01:52:52,400
Speaker 5: and even in my mind, I'm like, yo, this would

1823
01:52:52,439 --> 01:52:55,040
Speaker 5: have been this would have been a highlight on his

1824
01:52:55,160 --> 01:52:55,840
Speaker 5: solo record.

1825
01:52:56,840 --> 01:53:00,040
Speaker 7: I don't know, It's like it was the song I

1826
01:53:00,160 --> 01:53:03,880
Speaker 7: written at that particular time. How come I wasn't a single?

1827
01:53:07,640 --> 01:53:11,080
Speaker 6: It's a good question because because because when CBS, one

1828
01:53:11,120 --> 01:53:15,320
Speaker 6: of the Sue phil I said no, I said, I don't.

1829
01:53:15,360 --> 01:53:17,360
Speaker 6: I don't want to be involved with Sue and somebody

1830
01:53:17,960 --> 01:53:21,040
Speaker 6: over a song. You know, it should have been a single,

1831
01:53:22,200 --> 01:53:28,280
Speaker 6: So don't you know, should don't don't? Sue? Yeah, he

1832
01:53:28,880 --> 01:53:31,479
Speaker 6: recognized it was a good song, So all.

1833
01:53:31,439 --> 01:53:36,080
Speaker 5: Right, exactly how why weren't any of the songs ever

1834
01:53:36,200 --> 01:53:40,839
Speaker 5: performed on the tour? What song any of the songs

1835
01:53:40,920 --> 01:53:42,120
Speaker 5: on the Victory.

1836
01:53:43,080 --> 01:53:50,920
Speaker 6: You know what? That's a very good question because after

1837
01:53:51,000 --> 01:53:54,120
Speaker 6: that tour was over, I have the thought to myself,

1838
01:53:54,240 --> 01:53:56,200
Speaker 6: why don't we called any of the songs from Victory?

1839
01:53:58,360 --> 01:54:03,280
Speaker 1: Yeah? Not true or your Body? I mean it would

1840
01:54:03,320 --> 01:54:04,960
Speaker 1: have been you know Yeah.

1841
01:54:06,280 --> 01:54:10,160
Speaker 5: I thought maybe perhaps like you guys were translating the

1842
01:54:10,200 --> 01:54:15,400
Speaker 5: Triumph tour for the bigger audience that well, yeah, had

1843
01:54:15,439 --> 01:54:18,320
Speaker 5: come in to had come into play. When when prepping

1844
01:54:18,439 --> 01:54:23,560
Speaker 5: that tour, was it just an unspoken thing like this

1845
01:54:23,760 --> 01:54:26,400
Speaker 5: has to be the biggest thing ever, like we have

1846
01:54:26,600 --> 01:54:30,439
Speaker 5: to outdo literally anyone that's ever.

1847
01:54:31,880 --> 01:54:33,040
Speaker 6: It's funny because.

1848
01:54:37,640 --> 01:54:39,800
Speaker 5: And it's so weird because in hindsight, like at the

1849
01:54:39,880 --> 01:54:43,240
Speaker 5: time it was controversial and everybody's brew high.

1850
01:54:43,120 --> 01:54:46,440
Speaker 1: And thirty dollars a ticket, he back to thirty like thirty.

1851
01:54:47,000 --> 01:54:47,800
Speaker 1: I'll put it this way.

1852
01:54:49,160 --> 01:54:53,080
Speaker 5: I just Drake is charging three hundred dollars for Madison

1853
01:54:53,120 --> 01:54:55,160
Speaker 5: Square Garden and I gotta buy four of them things

1854
01:54:55,240 --> 01:54:59,320
Speaker 5: for my assistant. So twelve hundred dollars to see Drake

1855
01:54:59,400 --> 01:55:04,040
Speaker 5: at MSG versus thirty dollars victory tour. I know there's

1856
01:55:04,040 --> 01:55:08,000
Speaker 5: a difference between eighty four inflation and twenty and eighteen,

1857
01:55:08,120 --> 01:55:08,520
Speaker 5: but I'm just.

1858
01:55:10,800 --> 01:55:12,600
Speaker 1: Yeah, but I'm just saying that.

1859
01:55:17,400 --> 01:55:20,520
Speaker 4: But for.

1860
01:55:22,280 --> 01:55:25,120
Speaker 5: The hell that you guys were put through to execute

1861
01:55:25,160 --> 01:55:30,680
Speaker 5: this tour, in hindsight, do you still.

1862
01:55:34,240 --> 01:55:37,520
Speaker 1: Do you have any regrets about it? Or no? In fact,

1863
01:55:38,960 --> 01:55:41,640
Speaker 1: because it literally said the standard for where we are now.

1864
01:55:42,000 --> 01:55:43,800
Speaker 6: A lot of people didn't want us to do that tour.

1865
01:55:44,360 --> 01:55:48,560
Speaker 6: A lot of people said it couldn't be done. No

1866
01:55:48,920 --> 01:55:53,040
Speaker 6: black acts were doing things like that, soning out like

1867
01:55:54,040 --> 01:55:59,120
Speaker 6: five stadium nights, So can you seven nights at Dodger Stadium?

1868
01:55:59,280 --> 01:56:01,800
Speaker 5: Can you speak on Because the thing is is that

1869
01:56:02,160 --> 01:56:04,839
Speaker 5: like watching young we just think like, oh, the Jacksons

1870
01:56:04,880 --> 01:56:10,120
Speaker 5: could do anything. And yeah, the constant narrative I hear

1871
01:56:10,640 --> 01:56:12,640
Speaker 5: is that we had to fight for it. We had

1872
01:56:12,680 --> 01:56:13,200
Speaker 5: to fight for it.

1873
01:56:13,280 --> 01:56:14,840
Speaker 1: We had to fight for it always that you know,

1874
01:56:15,640 --> 01:56:17,240
Speaker 1: it was just to get a seat at the table.

1875
01:56:17,800 --> 01:56:21,280
Speaker 6: Yeah. It wasn't that we thought. We didn't think we

1876
01:56:21,360 --> 01:56:23,640
Speaker 6: were better than everybody else. We never thought that, but

1877
01:56:23,840 --> 01:56:27,400
Speaker 6: just it was just our quest for always being the

1878
01:56:27,440 --> 01:56:30,080
Speaker 6: best that we could be and to do more. We

1879
01:56:30,160 --> 01:56:35,760
Speaker 6: were never satisfied with ourselves. We always wanted more. We

1880
01:56:35,880 --> 01:56:39,720
Speaker 6: always wanted to do better and do more, and and

1881
01:56:40,800 --> 01:56:45,600
Speaker 6: that's just how we grew up. But I remember specifically

1882
01:56:46,120 --> 01:56:49,640
Speaker 6: the Victory tour. In the meetings we had before the tour,

1883
01:56:50,080 --> 01:56:53,560
Speaker 6: we said what we wanted to do coming off of

1884
01:56:53,720 --> 01:57:00,760
Speaker 6: like five six straight multi platinum albums consecutively, from Destiny

1885
01:57:00,880 --> 01:57:04,120
Speaker 6: to Triumph, Off the Wall, you know, all these albums.

1886
01:57:05,840 --> 01:57:08,720
Speaker 6: Piller I said, Okay, that's what we want to do,

1887
01:57:08,800 --> 01:57:11,280
Speaker 6: and they said, so now were be able to do this.

1888
01:57:11,440 --> 01:57:12,480
Speaker 6: People are not going to come out.

1889
01:57:13,560 --> 01:57:16,040
Speaker 1: Wait, they said they're not going to come out. I

1890
01:57:16,120 --> 01:57:18,960
Speaker 1: said it seriously.

1891
01:57:19,680 --> 01:57:25,440
Speaker 6: My father said he said no, he said no, I'd

1892
01:57:25,480 --> 01:57:28,280
Speaker 6: be there, And I think don King at the time

1893
01:57:29,080 --> 01:57:33,200
Speaker 6: helped to make that happen, so with.

1894
01:57:35,640 --> 01:57:39,360
Speaker 5: His presence and again now now I'm realizing that can

1895
01:57:39,480 --> 01:57:44,520
Speaker 5: have happened without don King really yeah, so okay, So

1896
01:57:44,640 --> 01:57:49,120
Speaker 5: with that, so modern promoters and rock they were. Was

1897
01:57:49,200 --> 01:57:51,440
Speaker 5: there such thing as al Haman back in eighty four?

1898
01:57:51,640 --> 01:57:55,440
Speaker 6: And our Hayman was he small potatoes all him and

1899
01:57:55,480 --> 01:58:00,400
Speaker 6: got to start from my father, my father. Yeah, my

1900
01:58:00,560 --> 01:58:02,800
Speaker 6: father was always like, I'm going to make sure the

1901
01:58:02,840 --> 01:58:06,360
Speaker 6: black guys have a chance in promoting. So he'd always,

1902
01:58:07,000 --> 01:58:09,400
Speaker 6: you know, get a black guy as a shot, you know,

1903
01:58:09,520 --> 01:58:13,280
Speaker 6: because in those days they wouldn't they wouldn't let black

1904
01:58:13,320 --> 01:58:19,240
Speaker 6: promoters promoting them black acts. You still have that problem today, yeah, right, yeah,

1905
01:58:19,360 --> 01:58:25,120
Speaker 6: you do only yeah, so, and but he would always

1906
01:58:25,120 --> 01:58:29,560
Speaker 6: saw our Hyman was a young Harvard grad who right, Yeah, does.

1907
01:58:29,480 --> 01:58:33,400
Speaker 1: The name Shep Gordon mean anything to you? Chef's a

1908
01:58:33,440 --> 01:58:35,280
Speaker 1: good friend of Bars. Good for the show.

1909
01:58:35,360 --> 01:58:38,040
Speaker 5: Yeah, I'm going after this interview tonight, I'm going to

1910
01:58:38,120 --> 01:58:45,280
Speaker 5: Chep's house. Okay, Oh sorry, That's why I bank for this,

1911
01:58:46,360 --> 01:58:48,480
Speaker 5: That's why I bank for the interview. Twelve afternoon, I'm

1912
01:58:48,480 --> 01:58:53,560
Speaker 5: going straight to the airport. But in my mind he

1913
01:58:53,880 --> 01:58:57,040
Speaker 5: was the Black Whisper. Yeah, you know, got Teddy out

1914
01:58:57,080 --> 01:59:03,200
Speaker 5: of his situation and whatnot. And I mean at the time,

1915
01:59:03,520 --> 01:59:05,080
Speaker 5: what was it about demand?

1916
01:59:05,200 --> 01:59:06,680
Speaker 6: And where does she live now?

1917
01:59:07,040 --> 01:59:08,480
Speaker 1: In mal Okay?

1918
01:59:08,680 --> 01:59:10,320
Speaker 6: Wow, you're going to Hawaii?

1919
01:59:10,360 --> 01:59:15,440
Speaker 5: Huh yes, off for a few days and uh yeah, Look,

1920
01:59:15,520 --> 01:59:18,080
Speaker 5: if it were up to me, I'd work twenty four

1921
01:59:18,080 --> 01:59:18,440
Speaker 5: to seven.

1922
01:59:18,760 --> 01:59:26,720
Speaker 1: That's cool. Take a break, bro, go to Hawaii? All right?

1923
01:59:26,920 --> 01:59:29,960
Speaker 1: But wait, did you guys ever take vacations in the

1924
01:59:30,000 --> 01:59:30,960
Speaker 1: heyday of the Jacksons?

1925
01:59:31,120 --> 01:59:34,160
Speaker 6: No, yeah, it's you don't take vacations.

1926
01:59:35,200 --> 01:59:38,360
Speaker 5: Yeah, yo, because when you never know when it'll stop

1927
01:59:38,480 --> 01:59:42,600
Speaker 5: or whatever, like, you gotta keep going and rest. Was

1928
01:59:42,640 --> 01:59:46,000
Speaker 5: there ever any fear of Okay, I guess now I

1929
01:59:46,040 --> 01:59:49,320
Speaker 5: can bring up the princess you what what was the

1930
01:59:49,520 --> 01:59:51,400
Speaker 5: general feelings about princes?

1931
01:59:52,560 --> 01:59:54,840
Speaker 1: Wait? What was the prince story in the Rose Voice?

1932
01:59:59,480 --> 02:00:03,880
Speaker 6: I forget some of these things. I remember when Dove's Cry, like,

1933
02:00:04,000 --> 02:00:05,480
Speaker 6: your general feeling is okay, prince?

1934
02:00:05,560 --> 02:00:07,440
Speaker 1: Did you honestly his music? And I did?

1935
02:00:07,680 --> 02:00:11,520
Speaker 6: Okay, I wasn't that crazy about doves Cry when I

1936
02:00:11,560 --> 02:00:12,080
Speaker 6: first heard it.

1937
02:00:12,440 --> 02:00:13,360
Speaker 1: It was a risky song.

1938
02:00:13,520 --> 02:00:16,600
Speaker 6: Yeah, I mean, it's a great song, but at the

1939
02:00:16,640 --> 02:00:20,640
Speaker 6: time I wasn't it just I mean, like I like

1940
02:00:20,720 --> 02:00:26,160
Speaker 6: the other stuff. First of all, genius, Prince an amazing talent,

1941
02:00:27,800 --> 02:00:30,320
Speaker 6: But Dove's cry wasn't one of my favorites. It was

1942
02:00:30,360 --> 02:00:33,280
Speaker 6: the other stuff that I like, Okay, soft and wet.

1943
02:00:33,800 --> 02:00:35,680
Speaker 1: But did he I mean it was his?

1944
02:00:39,640 --> 02:00:39,800
Speaker 5: Was he?

1945
02:00:43,720 --> 02:00:43,760
Speaker 1: No?

1946
02:00:44,320 --> 02:00:48,080
Speaker 6: But but to Michael it was exactly like I.

1947
02:00:48,080 --> 02:00:51,920
Speaker 5: Mean, pre MTV embracing Prince or like I'm talking about

1948
02:00:51,960 --> 02:00:57,240
Speaker 5: Prince just before empt because obviously, once your brother breaks

1949
02:00:57,280 --> 02:01:00,400
Speaker 5: the barriers at MTV, then MTV was like, oh, what

1950
02:01:00,520 --> 02:01:05,160
Speaker 5: other cool black people can Prince? And now okay, now

1951
02:01:05,200 --> 02:01:09,480
Speaker 5: the elevator's crowded. But before then was it even a thought?

1952
02:01:09,840 --> 02:01:11,839
Speaker 5: I mean, like, is your sister's even covered?

1953
02:01:16,120 --> 02:01:16,600
Speaker 1: M hm.

1954
02:01:18,520 --> 02:01:22,280
Speaker 6: Yeah yeah yeah, Like I like, I love, I feel

1955
02:01:22,320 --> 02:01:25,520
Speaker 6: for you. Okay, but Dove's cry wasn't one of my favorites,

1956
02:01:26,880 --> 02:01:29,920
Speaker 6: but I love everything else. Were you at the house

1957
02:01:30,040 --> 02:01:31,440
Speaker 6: in Havenhurst when you visited?

1958
02:01:32,800 --> 02:01:32,840
Speaker 4: No?

1959
02:01:33,000 --> 02:01:36,680
Speaker 6: But he always used to call up and you would

1960
02:01:36,720 --> 02:01:39,320
Speaker 6: call up, yeah, like one of them talk to La

1961
02:01:39,360 --> 02:01:44,520
Speaker 6: Toya and I and I would always like hang up

1962
02:01:44,560 --> 02:01:54,320
Speaker 6: on people have a hard time. But because Princeville called

1963
02:01:54,360 --> 02:02:00,160
Speaker 6: up and be like yeah, La Toya, I'm like, who

1964
02:02:00,240 --> 02:02:05,800
Speaker 6: is this never say hello. He's like he was like, yeah, LaToya.

1965
02:02:06,000 --> 02:02:08,520
Speaker 6: He has a deep voice and it's like LaToya. I

1966
02:02:08,640 --> 02:02:13,920
Speaker 6: was like, okay, click real, yeah, LaToya get mad at me.

1967
02:02:17,040 --> 02:02:17,960
Speaker 1: I wasn't ready for that.

1968
02:02:21,360 --> 02:02:23,520
Speaker 6: She would get mad at me, but yeah, I wasn't

1969
02:02:23,520 --> 02:02:25,120
Speaker 6: ready for that. I have a hang up on many

1970
02:02:25,160 --> 02:02:25,839
Speaker 6: of her boyfriends.

1971
02:02:25,920 --> 02:02:27,800
Speaker 1: So I was I was that.

1972
02:02:30,000 --> 02:02:33,640
Speaker 6: Bobby too. Oh yeah, Bobby. I get him the worst time.

1973
02:02:34,280 --> 02:02:41,720
Speaker 1: Really, Oh damn? Okay. So you're family Pipo, Yeah.

1974
02:02:43,000 --> 02:02:43,480
Speaker 6: Exactly.

1975
02:02:45,320 --> 02:02:48,720
Speaker 1: Okay, you do the same to your sisters. Oh no,

1976
02:02:49,720 --> 02:02:52,040
Speaker 1: you know, get my sisters out there are sucking and

1977
02:02:52,640 --> 02:02:56,480
Speaker 1: free reign that that was my so okay.

1978
02:02:56,600 --> 02:02:59,320
Speaker 5: So your moved to an m with Randy, the Randy

1979
02:02:59,360 --> 02:03:02,400
Speaker 5: and the Gypsy Project, the McClain side.

1980
02:03:03,800 --> 02:03:07,680
Speaker 1: Okay, So why did it take you wait? That came

1981
02:03:07,720 --> 02:03:10,520
Speaker 1: out in eighties eighty nine.

1982
02:03:11,640 --> 02:03:15,840
Speaker 6: At the time, and it was being sold to Universal.

1983
02:03:17,560 --> 02:03:18,240
Speaker 1: Okay, and.

1984
02:03:19,880 --> 02:03:23,840
Speaker 6: That whole project was done. But everybody like, you know,

1985
02:03:24,000 --> 02:03:26,920
Speaker 6: like when when when it in those days when the

1986
02:03:26,960 --> 02:03:30,000
Speaker 6: record label was being sold, people wouldn't didn't want to

1987
02:03:30,000 --> 02:03:31,440
Speaker 6: go to go in the office anymore.

1988
02:03:31,760 --> 02:03:31,920
Speaker 1: You know.

1989
02:03:32,520 --> 02:03:35,080
Speaker 6: That meanings that they're going to consolidate and downsize a

1990
02:03:35,120 --> 02:03:39,480
Speaker 6: lot of people would lose their jobs. So a lot

1991
02:03:39,520 --> 02:03:41,880
Speaker 6: of people just didn't work and the record didn't get

1992
02:03:41,880 --> 02:03:44,880
Speaker 6: worked and it took a I'm surprised it even got done,

1993
02:03:45,640 --> 02:03:50,720
Speaker 6: but it was like at that time and it was

1994
02:03:50,800 --> 02:03:54,360
Speaker 6: basically had basically basically cashed out they moved to Universal,

1995
02:03:55,280 --> 02:03:55,959
Speaker 6: So because.

1996
02:03:55,760 --> 02:03:58,120
Speaker 5: It was a transitional period, they got lost in that

1997
02:03:59,520 --> 02:04:05,080
Speaker 5: interesting Yeah, yeah, really well we were on MC at

1998
02:04:05,120 --> 02:04:12,560
Speaker 5: the time when MCA had just gotten sold to the label,

1999
02:04:12,840 --> 02:04:17,720
Speaker 5: so it's too Geffen an inner scope. So we had

2000
02:04:17,760 --> 02:04:19,240
Speaker 5: an album that that suffered.

2001
02:04:19,720 --> 02:04:22,040
Speaker 6: Yeah, and that happens in those transitional periods. People get

2002
02:04:22,120 --> 02:04:25,240
Speaker 6: laid off and people you know. All right, So before

2003
02:04:25,280 --> 02:04:31,080
Speaker 6: I wrap up the show, I would like to take

2004
02:04:31,080 --> 02:04:37,920
Speaker 6: a different angle, can we hear do you have a

2005
02:04:38,480 --> 02:04:40,600
Speaker 6: story of you and your brother Michael.

2006
02:04:40,400 --> 02:04:41,440
Speaker 1: Just a normal.

2007
02:04:42,960 --> 02:04:48,080
Speaker 5: Just something that we don't know, like you guys you know,

2008
02:04:48,840 --> 02:04:52,520
Speaker 5: have three point shootout contests or or.

2009
02:04:54,160 --> 02:04:58,320
Speaker 1: Just something that we don't know about you and your

2010
02:04:58,480 --> 02:04:59,720
Speaker 1: your brother's relationship.

2011
02:05:01,280 --> 02:05:04,200
Speaker 6: It was it was music, martial arts, believe it or not,

2012
02:05:04,400 --> 02:05:08,200
Speaker 6: martial arts, martial arts. We all we all wanted to

2013
02:05:08,200 --> 02:05:11,880
Speaker 6: be Bruce Lee. Actually, we actually have Bruce Lee's brother

2014
02:05:13,280 --> 02:05:16,240
Speaker 6: who was our trainer teaching us what so we had

2015
02:05:16,360 --> 02:05:16,920
Speaker 6: good training?

2016
02:05:17,240 --> 02:05:21,200
Speaker 5: Yeah, I was going to say on the Soul Training episode, Uh,

2017
02:05:22,920 --> 02:05:26,760
Speaker 5: there's a clip of Randy on crutches and Joe actually

2018
02:05:26,800 --> 02:05:30,360
Speaker 5: says that. Don says, well, what happened to Randy? And

2019
02:05:30,920 --> 02:05:35,000
Speaker 5: Joe's like, Randy's a kung fu cat. So and it's

2020
02:05:35,160 --> 02:05:37,320
Speaker 5: where did you kick your foot through the windows?

2021
02:05:37,640 --> 02:05:42,480
Speaker 1: Yeah? Shower door? Oh m hm.

2022
02:05:45,040 --> 02:05:49,000
Speaker 5: So the future for you now in developing your label

2023
02:05:51,720 --> 02:05:54,560
Speaker 5: is this, This is will Circle down now your hotown.

2024
02:05:55,200 --> 02:06:01,320
Speaker 6: Well, it's funny because for me, I I try to

2025
02:06:01,400 --> 02:06:06,080
Speaker 6: keep it as organic as possible. And even with Janet

2026
02:06:07,800 --> 02:06:13,400
Speaker 6: because we we we we uh partnered on everything but

2027
02:06:13,480 --> 02:06:21,720
Speaker 6: the new song that on your show, and but for me,

2028
02:06:23,280 --> 02:06:26,960
Speaker 6: we just wanna be natural about it. There's for for

2029
02:06:27,080 --> 02:06:31,800
Speaker 6: the for Rhythm Nations label. We're not gonna sign a

2030
02:06:31,880 --> 02:06:35,440
Speaker 6: lot of people because we want to whoever we sign,

2031
02:06:36,360 --> 02:06:38,360
Speaker 6: we want to make sure it does it well. And

2032
02:06:38,440 --> 02:06:41,120
Speaker 6: there's a girl from Wells who's touring with Her name

2033
02:06:41,240 --> 02:06:45,360
Speaker 6: is Rebecca James. Okay, this girl can come in this room.

2034
02:06:45,440 --> 02:06:48,080
Speaker 6: She's twenty one, come in this room and make magic

2035
02:06:48,160 --> 02:06:51,840
Speaker 6: happen all by herself. Really, but she's but she writes

2036
02:06:51,880 --> 02:06:52,720
Speaker 6: and sings gospel.

2037
02:06:53,120 --> 02:06:53,360
Speaker 1: Okay.

2038
02:06:53,360 --> 02:06:55,040
Speaker 6: So when I first heard, I didn't believe it was her,

2039
02:06:55,840 --> 02:06:57,440
Speaker 6: and I said, well, come to my house. I'm gonna

2040
02:06:57,480 --> 02:06:59,960
Speaker 6: hear you play and sing and in person in life.

2041
02:07:00,720 --> 02:07:03,600
Speaker 6: So she did it and it says, okay, I played

2042
02:07:03,600 --> 02:07:05,560
Speaker 6: it for Janet and jenne Go's Brandy. We need that

2043
02:07:05,720 --> 02:07:08,480
Speaker 6: voice on stage and back up. So she's touring with

2044
02:07:08,600 --> 02:07:11,360
Speaker 6: Janet and we're working on her album right now. Wow,

2045
02:07:11,440 --> 02:07:15,080
Speaker 6: it's coming. She's really talented, an amazing songwriter. So you'll

2046
02:07:15,080 --> 02:07:21,640
Speaker 6: be hearing about her. Rebecca James, Yeah from Wells all right,

2047
02:07:23,560 --> 02:07:27,200
Speaker 6: but that's it. We're just you know, to me, music

2048
02:07:27,360 --> 02:07:29,920
Speaker 6: is a gift from God. We all have this gift.

2049
02:07:31,200 --> 02:07:36,480
Speaker 6: It's an amazing gift that God gives us to help

2050
02:07:36,520 --> 02:07:38,600
Speaker 6: bring the world together. And that's just not I'm not

2051
02:07:38,680 --> 02:07:41,920
Speaker 6: trying to be like, but it's true. It's like music

2052
02:07:42,000 --> 02:07:45,640
Speaker 6: makes you feel good, you know. It's like, right, it does. Yeah,

2053
02:07:45,720 --> 02:07:48,280
Speaker 6: It's like, I mean, I love drums, I love instruments.

2054
02:07:49,000 --> 02:07:51,920
Speaker 6: I still love going to the music store and playing

2055
02:07:51,920 --> 02:07:53,840
Speaker 6: the different drums. You like doing that too, It's like

2056
02:07:53,920 --> 02:07:58,760
Speaker 6: it's still fun. Yeah, right, it's like playing right, let's play.

2057
02:07:58,840 --> 02:08:01,640
Speaker 1: Time go to the store. Old say, do you still

2058
02:08:01,640 --> 02:08:05,240
Speaker 1: play drums? How come you never played drums as opposed.

2059
02:08:04,960 --> 02:08:09,920
Speaker 6: To Bond because I did play drums. I played drums

2060
02:08:10,120 --> 02:08:13,680
Speaker 6: like I trained foot in the beginning when it came

2061
02:08:13,720 --> 02:08:17,720
Speaker 6: to us. First I started playing drums. Then we played

2062
02:08:17,840 --> 02:08:21,480
Speaker 6: percussion because Johnny was playing drums, so I just went

2063
02:08:21,920 --> 02:08:22,480
Speaker 6: to percussion.

2064
02:08:23,080 --> 02:08:24,640
Speaker 1: Oh and keyboards.

2065
02:08:25,120 --> 02:08:27,480
Speaker 6: Yeah, you could have I played drums.

2066
02:08:27,760 --> 02:08:32,880
Speaker 1: Okay, now I know that. Yes, we forgot. And then

2067
02:08:32,880 --> 02:08:37,120
Speaker 1: when we're at Victory, mm hmm, what happened.

2068
02:08:41,120 --> 02:08:46,080
Speaker 6: There's a lot of things happened with the whole Victory album,

2069
02:08:47,800 --> 02:08:48,640
Speaker 6: the whole concept.

2070
02:08:49,200 --> 02:08:52,680
Speaker 5: I'm talking about literally the cover there was a double soldier.

2071
02:08:53,320 --> 02:08:56,800
Speaker 5: There was, and then in later pressings the dove is going.

2072
02:08:56,920 --> 02:09:01,200
Speaker 6: Really you guys notice everything talk about also, like like

2073
02:09:01,440 --> 02:09:04,560
Speaker 6: like the white glove thing that Michael. The way that

2074
02:09:04,680 --> 02:09:08,360
Speaker 6: happened was, that's an interesting story. So Bill Whitten, who

2075
02:09:08,360 --> 02:09:11,280
Speaker 6: does our wardrobe, and he had this white glove for

2076
02:09:11,400 --> 02:09:13,920
Speaker 6: Jackie to wear. Jackie said, man, I'm not wearing a

2077
02:09:14,080 --> 02:09:18,920
Speaker 6: white glove. Jackie took the glove off and throw the

2078
02:09:19,000 --> 02:09:21,200
Speaker 6: Micael He goes, man, you wear us, I'm not gonna

2079
02:09:21,240 --> 02:09:26,040
Speaker 6: wear it. That's how it happened. No one gloves one glove.

2080
02:09:26,080 --> 02:09:28,520
Speaker 6: Michael put the Jackie's away where you dance, you wear

2081
02:09:28,560 --> 02:09:31,280
Speaker 6: his glove, Michael, so I can put it on, said,

2082
02:09:31,320 --> 02:09:33,839
Speaker 6: I'm wearing it. So that's how it happened.

2083
02:09:34,120 --> 02:09:37,680
Speaker 5: That is the mic drop statement. Thank you, uh Randy,

2084
02:09:37,720 --> 02:09:42,320
Speaker 5: I appreciate it, Thank you, thank you. Another episode of

2085
02:09:42,360 --> 02:09:45,320
Speaker 5: Anemic Supreme with sugarst.

2086
02:09:46,640 --> 02:09:47,160
Speaker 4: Boss Bill.

2087
02:09:47,640 --> 02:09:52,080
Speaker 5: Shout out to Fontela, Liyah and uh on paid Bill.

2088
02:09:52,360 --> 02:09:53,920
Speaker 5: We will see you on the next go around. Thank

2089
02:09:53,920 --> 02:09:57,000
Speaker 5: you very much. This was Questlove Supreme only on Pandora.

2090
02:09:57,120 --> 02:10:08,640
Speaker 1: All Right, What's Love Supreme is a production of iHeartRadio.

2091
02:10:09,160 --> 02:10:12,520
Speaker 1: This classic episode was produced by the team at Pandora.

2092
02:10:17,920 --> 02:10:22,320
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

2093
02:10:22,760 --> 02:10:24,440
Speaker 1: or wherever you listen to your favorite shows.