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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.

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Speaker 2: All Right, y'all, it's Laia and it's time for another

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Speaker 2: Questlove Supreme classic. This week we continue with part two

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Speaker 2: of Salaam Remy. Yep and part two Salam talks about

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Speaker 2: making it in the music business, helping Amy Winehouse shape

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Speaker 2: her style, and he even shares tales from the Latin quada. Yeah,

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Speaker 2: that and so much more. So, Let's get ready for

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Speaker 2: Part two of Salaam Remy from May Sewod twenty eighteen.

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Speaker 3: Last week, or part one of the Quest Love Supreme

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Speaker 3: interview with Salam Remy. We talked about an early work

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Speaker 3: with acts like Critis Blow, Nfcrail and the House Rockers,

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Speaker 3: and touched upon his work with Fugies, including their breakout

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Speaker 3: single the Remix of Napio. Salam also contributed Fujilo to

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Speaker 3: the group's wildly successful second album, The Score. We in

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Speaker 3: depart one with a question about how the success of

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Speaker 3: that album affected the members of the Food US.

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Speaker 4: Here's Samsung.

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Speaker 3: In hindsight and you know, part family member and part

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Speaker 3: outside of looking at whatever do you think that after

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Speaker 3: eighteen million copies of that album sold. Did it serve

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Speaker 3: them well or not?

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Speaker 4: Hmm?

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Speaker 3: Not like regrets if you could go back and redoing

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Speaker 3: it again, it.

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Speaker 4: Whatever, But in the aftermath of it, like I think

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Speaker 4: ultimately asserved him really well. I mean, I have this

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Speaker 4: thing with artists who who have done ten million albums.

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Speaker 4: What happens after that? You know, whether it was Usher's Confessions,

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Speaker 4: whether it was you know not many artists have been

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Speaker 4: able to come back and having a dull moment where

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Speaker 4: they did it twice. I think Black Eyed Peas might

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Speaker 4: have done that a couple times in a row.

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Speaker 2: You know.

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Speaker 4: For Lauren Hill's career, it was the score into miseducation,

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Speaker 4: because I still see the score is almost like a

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Speaker 4: frank to back the black or like you know what

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Speaker 4: I'm saying. It's like a movement. Even though blunting of

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Speaker 4: reality was there, there was something to follow up on

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Speaker 4: that now gave you credibility. It gave everyone the opportunity

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Speaker 4: to know your name, so now you had to just

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Speaker 4: deliver on your next piece of work, not necessarily just

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Speaker 4: have all those pieces. I think it served them well

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Speaker 4: to now get their art and their ability to still

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Speaker 4: all eat to this day. You know, based upon something

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Speaker 4: that came out twenty two years ago.

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Speaker 5: Why didn't you guys ever do anything else? Because after

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Speaker 5: yeah that, y'all never you were no mis education were The.

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Speaker 4: Last thing I did was the Sweetest Thing remix with

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Speaker 4: the Swat Saw. Yeah, so that was probably the last

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Speaker 4: thing I did. But you know, just in general, my

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Speaker 4: conversation and who I am is something that's kind of happy.

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Speaker 4: So I wasn't gonna fit into a sad song mode.

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Speaker 4: It wasn't gonna work even you know, people talk to

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Speaker 4: me about, you know, even my work with Amy Winehouse

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Speaker 4: and they're like it sad songs. I'm like, nah, she's

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Speaker 4: talking shit the whole time, like maybe in the morning

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Speaker 4: when your dick works, or like the lyrics are all

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Speaker 4: about their tongue in cheek. You know, Yeah, I cheated

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Speaker 4: on you, but I heard love is blind, Like it's

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Speaker 4: all smarter. It's not love is a losing game. It's

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Speaker 4: not super sad mad records. It's like I'm gonna snap

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Speaker 4: on you until you break. Basically, I was trying.

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Speaker 2: To get me pumps in my roll call, but I

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Speaker 2: couldn't get the rhyme.

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Speaker 4: But Jesus, actually that's something I wrote that I actually

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Speaker 4: had prior to the meeting.

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Speaker 2: This is a story.

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Speaker 3: Was trying to get me pumped. Story from right now, dog,

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Speaker 3: I didn't even get that. I didn't even get the

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Speaker 3: nods yet.

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Speaker 4: Basically, this twisted pinky is the story.

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Speaker 3: I have a.

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Speaker 4: Yeah, I dislocated it. And basically, there's a friend of

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Speaker 4: mine who I recently just told three weeks ago where

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Speaker 4: the story came from. But they showed up at my

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Speaker 4: house with the home girl. They were really drunk. They

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Speaker 4: couldn't get anywhere. They got alcohol poisoning. Cool, all right,

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Speaker 4: it's cool. I'm gonna go get y'all some water. Next morning,

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Speaker 4: I tripped in my staircase. I hit my hand. I

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Speaker 4: have my finger in two pieces. I'm like, oh, I

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Speaker 4: can't play guitar. I can't play nothing. I'm my only

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Speaker 4: broken bone in life. So I'm like, oh, word that.

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Speaker 4: Later that day, I'm like, yo, where y'all at? I'm

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Speaker 4: at the studio. My fingers twisted? Oh we in DC

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Speaker 4: at the All Star game? Word all right? Cool? And

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Speaker 4: then the lyrics for that song basically wrote itself. Ouch,

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Speaker 4: well that was cute. All there you go?

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Speaker 3: How did you I know? I'm quasi okay, See you

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Speaker 3: didn't work on Miss Education obviously, What did you do

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Speaker 3: between ninety nine and now? It just comes in the

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Speaker 3: picture with two thousand.

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Speaker 4: And two, two thousand and one and one?

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Speaker 3: Yeah, what'd you do?

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Speaker 4: Ninety nine? What was I doing? Ninety nine? Ninety nine?

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Speaker 4: I bought sound Works, which is underneath Studio fifty four,

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Speaker 4: so that became my studio base. I was working on

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Speaker 4: a lot of my own label stuff. I had all

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Speaker 4: my artists went to jail, Major Stress. I had a

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Speaker 4: group called Major Stress. One of those people went to jail.

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Speaker 4: Ross t has had a nine to six million dollar record,

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Speaker 4: so Ross had his whole album done. Ross went to jail.

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Speaker 3: Is he still out up now?

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Speaker 4: He's We've been out for a long time. But basically

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Speaker 4: that happened. Then I bought my studio, and then I

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Speaker 4: just started experiment that. I produced a group actually from

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Speaker 4: Philly called Live and Direct, these four young brothers who

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Speaker 4: sing and did some stuff.

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Speaker 3: And what else?

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Speaker 4: Ninety nine? Yeah, I worked on Richard Sally before that.

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Speaker 4: I'm trying to think what else came out around now.

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Speaker 4: I was helping Angie Martinez with an up close and

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Speaker 4: personal album.

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Speaker 3: When you work on it when you work with an artist, like,

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Speaker 3: is there any sort of modus operandi that or what

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Speaker 3: do you look for when you decide Okay, I'm gonna

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Speaker 3: mess with them.

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Speaker 4: Sometimes it's a relationship with somebody that brought them to me.

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Speaker 4: But at this given point, I've kind of crystallized it.

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Speaker 4: I'm into people with distinctive voices and what I really do.

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Speaker 4: You know, some people are just like, well, I made

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Speaker 4: the beat and then I'm now I'm fitting this person

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Speaker 4: onto it. I really try to talk to someone to

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Speaker 4: get figure out where's the resondents in their voice and

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Speaker 4: then also on their lyrical voice. Then once I figure

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Speaker 4: out where that is, I'm just trying to get them

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Speaker 4: to illuminate and now build music around it. So by

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Speaker 4: asking people what's their favorite songs? What are you like,

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Speaker 4: what's the thing that you write to all the time,

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Speaker 4: everything else, I start getting a picture for who they

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Speaker 4: are and who I wanna. I'm pretty much taking myself

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Speaker 4: as a fan, like I don't know who you are?

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Speaker 4: And now does their voice number one make me inspired?

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Speaker 4: Like you know, whenever I'm working with Oas, I wanna

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Speaker 4: hear the smoke mouth, I don't wanna hear nah sitting

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Speaker 4: on the chair. That's like book of Ram's voice. I

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Speaker 4: wanna hear you know, the poison voice. That's where it came.

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Speaker 4: I was like, Yo, that sound like you had your

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Speaker 4: gold fronts in your mouth and a mouthful of smoke.

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Speaker 4: So I wanna hear that little extra energy into it.

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Speaker 4: I wanna hear something that really sounds like people at

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Speaker 4: their best. And really it's just great voices and then

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Speaker 4: the ability to tell a story. If lyrically a bust

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Speaker 4: of windows can continue to tell a story. If you know,

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Speaker 4: I heard love song when I first heard me, she

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Speaker 4: started singing, Amy started singing girl from Epanema, and then

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Speaker 4: you know, the first thing we wrote was I her

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Speaker 4: love is Blind and Cherry's so they were all about

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Speaker 4: like the voices and the story. And then that inspires

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Speaker 4: me to now sit down and work on a sonic

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Speaker 4: pilote that I feel like you no good companies.

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Speaker 2: So obvious follow up question and who's the twenty eighteen

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Speaker 2: distinctive voice that you're in that's motivating you that you

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Speaker 2: haven't the roots?

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Speaker 4: The roots has been the new thing.

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Speaker 3: Yeah, it's just we're I want to I want to

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Speaker 3: come to him with with definite song ideas first, and

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Speaker 3: then he can play rich can we get the rap sing?

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Speaker 3: I mean, we'll do all that, but we're gonna have

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Speaker 3: to have material first, So we're just we've been fishing

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Speaker 3: the last two years creating songs, and now okay, so

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Speaker 3: we'll bring to him the roots.

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Speaker 2: Give me somebody, Wait, can I just ask? Yes? We

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Speaker 2: rap a hole land we all over.

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Speaker 4: Honestly, I'm still looking for the voices, so I'm still

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Speaker 4: open and looking for I heard some voices here and there,

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Speaker 4: but I'm just definitely looking for new voices to kind

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Speaker 4: of inspire me. I'm at that point though, I'll be

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Speaker 4: forty six in a few weeks, and I'm kind of like,

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Speaker 4: at fifty I need thriller. So I'm looking for the

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Speaker 4: opportunity to be able to take someone who's either around

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Speaker 4: already and helped them make that record that now pushes

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Speaker 4: it past it. I look at it like how someone

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Speaker 4: would have looked at Pharrell prior to Happy and said,

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Speaker 4: oh man, you did it all already. Your day was there,

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Speaker 4: and he still made the biggest record of his career

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Speaker 4: at a point where when somebody wasn't necessarily looking for

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Speaker 4: So I still feel like you know now I have

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Speaker 4: a blister on my finger. I've been sitting there playing

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Speaker 4: my upright base for last few weeks, trying to find

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Speaker 4: something that resonates with me first and then resonates with

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Speaker 4: my peers, and then resonates with the world.

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Speaker 3: Yeah, as I said before the brutes, there we go.

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Speaker 3: How did you meet nas now?

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Speaker 4: As I met like during that early period of men

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Speaker 4: Ncannelly went to junior high together. So when Ock and

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Speaker 4: Knives were running around trying to look for deals, I

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Speaker 4: would always see Knaves with him. But during two thousand

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Speaker 4: and one I ran into him when he was working

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Speaker 4: on the album. He had a verse on the Fatty

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Speaker 4: Girl song that I don't think ever came out, and

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Speaker 4: I was doing a record for the album. Actually had

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Speaker 4: the only record that I actually never got paid for,

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Speaker 4: Thank you Shark. It was a Beanie Man song called

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Speaker 4: Batman Business. So that's the only song I never got

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Speaker 4: well yeah, somehow, I don't know how they got away

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Speaker 4: with that, But anyhow.

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Speaker 3: Wait had an album, was.

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Speaker 2: Right?

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Speaker 3: I had a copy? Yeah, that was the That was

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Speaker 3: the Chicken Grease drum and Spanish guitar era.

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Speaker 4: I ain't like that exactly A song on that album

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Speaker 4: something like that from I think right basically, but during

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Speaker 4: that time, so I ran into the nods in La.

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Speaker 4: He's like, yo, you got any beasts on you? He

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Speaker 4: was kind of out there just laying low, and then

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Speaker 4: I sent him he came to you. Well, I saw

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Speaker 4: him at that session, so I'd already met him before

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Speaker 4: and passing the New York. But I saw him at

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Speaker 4: the session because I was there to record Beanie Man

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Speaker 4: and our recording. It was like during Grammy week or

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Speaker 4: something like that, and then he was at the studio,

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Speaker 4: so he was like, Yo, what's up? Oh dad, Yo,

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Speaker 4: you know another calf from New York? What's going on?

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Speaker 4: You got anything on you? So I gave him whatever

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Speaker 4: beat CD I had with me. Then he exchanged beam

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Speaker 4: two way numbers and then he he was like he

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Speaker 4: texted me like, yo, I need some murder music, something

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Speaker 4: that sound like whatever it was. So then I created

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Speaker 4: what became what Goes Around. I sat in the studio

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Speaker 4: and messed with my organs and roads and pretty much

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Speaker 4: composed that track, and then I sent him that maybe

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Speaker 4: a couple other joints, and then when he heard it,

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Speaker 4: he was like, yo, I don't have anything that even

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Speaker 4: feels like this because once again I was on his

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Speaker 4: jazz musician even like when he talks about omatic, he's

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Speaker 4: like he wanted stuff that musically put you in a

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Speaker 4: mood and then put the drums to it, not just

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Speaker 4: something that was like running quick like g rat So

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Speaker 4: the what goes around was that, And then he came

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Speaker 4: back to New York and we started recording.

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Speaker 3: What do you think about his I mean much has

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Speaker 3: been said about from every hip hop stand on the

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Speaker 3: internet and many a chat board about his choice of

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Speaker 3: music right not matching the greatness of his words or

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Speaker 3: whatever like them not meeting. So I mean, at the time,

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Speaker 3: were you figuring out, Okay, this is finally a chance

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Speaker 3: for me to give him what he needs or.

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Speaker 4: I don't know if I was there. I mean this

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Speaker 4: was like the Nosal Domas album was just out, So

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Speaker 4: the Notional Domins album wasn't anyone's favorite NAS album at

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Speaker 4: that time. I think that, you know, it was the

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Speaker 4: leftover whatever happened, you know, still for me, I was

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Speaker 4: still and hate Me Now mode, which I always look

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Speaker 4: at it and go who and hip hop actually got

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Speaker 4: away outside of part time Sucker by carres One, but

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Speaker 4: actually rhyming on something that sounded like that. But you know,

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Speaker 4: as hip hop purists heads, by the time we got

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Speaker 4: to it was written, and I was like, there's no large,

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Speaker 4: there's no primos, no tip like nothing of Dad. Okay,

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Speaker 4: there's one primo. Like I didn't get enough I liked.

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Speaker 3: Did you asking why he didn't?

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Speaker 4: Well, the reason why I think that during it was

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Speaker 4: written time he wanted to start. It was written with Mally,

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Speaker 4: so that's where on the Rail and True dialect came from.

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Speaker 4: And then Malli played it on the radio, and then

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Speaker 4: he was upset because Mally played True or on the

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Speaker 4: Rail with you know, put Screwball or whoever on it.

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Speaker 4: So then that's when he was like, y'all need to

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Speaker 4: find producers. So then he went to got with track

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Speaker 4: Masters and they built what they built, which you know,

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Speaker 4: to be honest, if he didn't ever go and make

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Speaker 4: himself into a platinum artist one way or another, he

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Speaker 4: might not still be around. So he did, you know,

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Speaker 4: follow the series. He followed his instinct and did whatever

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Speaker 4: it was he wanted to do with that. But I

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Speaker 4: also also he felt like everybody else was roming in

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Speaker 4: his flow, so he had to find a way to

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Speaker 4: do something different, because if he just kept vombing in

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Speaker 4: the same flow and everybody else was, it was wearing

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Speaker 4: it down. So I mean, from my perspective, it was

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Speaker 4: just like, all right, yo, we never linked. We both

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Speaker 4: had similar tastes. We both will go rebel without a pause.

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Speaker 4: We would still listening to an album and go oh

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Speaker 4: not story to tell us my joint Like we still

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Speaker 4: picked the same We both know what you want to eat,

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Speaker 4: all right, cool fried chicken, macari and cheese canny yams.

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Speaker 4: Like we the same. We have like mirrored kind of

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Speaker 4: lives and even a lot of the musicians that were

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Speaker 4: in his dad's band or the same cast that I

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Speaker 4: work with all the time. So I don't know. If

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Speaker 4: I had a perspective like I'm gonna do this, I

283
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Speaker 4: was just like, it'd be dope if we did some stuff.

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Speaker 4: And at one point, like the night when the night

285
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Speaker 4: before the uh Lauren Hill Unplug was recorded, she came

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Speaker 4: down to the studio while we were there and played

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Speaker 4: us all the songs. So that's the reason why she

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Speaker 4: was hoarse.

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Speaker 3: She was pretty mu.

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Speaker 4: She plays us a lot of songs and no point

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Speaker 4: did you go wait, wait, wait, save you she wanted

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Speaker 4: to let me hear the song. So it was dad,

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Speaker 4: it was getting late, and he left and then that

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Speaker 4: was that. But you know the bottom line is that

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Speaker 4: was part of the recording being out.

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Speaker 6: It was.

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Speaker 4: But then she was also like, you know what if

298
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Speaker 4: my voice cracks, it cracks, you don't like it.

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Speaker 3: Be out of it.

300
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Speaker 4: Yoh, you don't like me unless I pay this makeup

301
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Speaker 4: artist and that headdresser, then you don't like me. You

302
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Speaker 4: like what I just paid for. That was that. But

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Speaker 4: my point is with nas, I just think it was

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Speaker 4: us also finding the chemistry to where we he's able

305
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Speaker 4: to come to me with idad. Yo, let's I was

306
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Speaker 4: listening to Bitches Brew yesterday, were all right cool, and

307
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Speaker 4: I called my dud Yo got the bass clarinet, and

308
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Speaker 4: then we just go all over there, y'all was listening

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Speaker 4: to some Bessie Smith or something like that, and then

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Speaker 4: I would just go in that direction. So we have

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Speaker 4: loads of records that were just musically matched in that way.

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Speaker 3: And so are you able you're able to make beat

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Speaker 3: to a real time in front of your client?

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Speaker 4: Yeah, oh man, I'll do that most of the time. Actually,

315
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Speaker 4: that's most of my records are either while they're on

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Speaker 4: the way or coming down the hall, or because I'm

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Speaker 4: taking off of what they're saying. I'm actually vibbing off

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Speaker 4: of their energy and what they're talking about, and I'm

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Speaker 4: asking him what do you like because I'm trying to

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Speaker 4: figure out what notes actually resonate with them that's going

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Speaker 4: to get them writing. And sometimes you know, with nas

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Speaker 4: if he likes a particular beat, he'll write twelve verses

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Speaker 4: to the same track and then I'll move him around

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Speaker 4: and start building new tracks to him.

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Speaker 3: Answer something for me, and this is nerdsure what drums

326
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Speaker 3: did you use for for Zonatte? I can tell that

327
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Speaker 3: is that a James break? This of course it is

328
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Speaker 3: because the bongos sound so familiar. I was never once

329
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Speaker 3: had occur to me. Just spin it backwards to you

330
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Speaker 3: can hear what it is man.

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Speaker 4: But basically I mean that that's been funny because the

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Speaker 4: standard world loves or hates that record. There are stands

333
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Speaker 4: who hate that record like that was part of the

334
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Speaker 4: I hate what Salaam does with a conversation. I'm telling

335
00:17:09,440 --> 00:17:11,359
Speaker 4: you there's a lot of people that that that was

336
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Speaker 4: like basically that that eraror But for me, the two

337
00:17:13,960 --> 00:17:16,760
Speaker 4: things one. I never put my name on records, so

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Speaker 4: when you hear him yell my name on it, I

339
00:17:18,840 --> 00:17:21,800
Speaker 4: wasn't there. They mixed it without me, So I never

340
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Speaker 4: would do that. I wouldn't let him do that because

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Speaker 4: I feel like, if the record's gonna be dope, then

342
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Speaker 4: like it because you like it, not because you said

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Speaker 4: my name. So I don't tag records. I don't go

344
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Speaker 4: I'm gonna make you dance like I want the record

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Speaker 4: to make you dance, not actually tell you that. And

346
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Speaker 4: it wasn't mixed that. And then Kate Slave was in

347
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Speaker 4: the room when I was actually making that track, and

348
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Speaker 4: it was the same day like when I may probably

349
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Speaker 4: get down, So I was just sitting there messing with

350
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Speaker 4: different James vibes. And if you listen to how Noad

351
00:17:49,680 --> 00:17:52,280
Speaker 4: sounds on the record differently from how Jungle and Wiz

352
00:17:52,359 --> 00:17:54,119
Speaker 4: sound on the records. Some people have different films of

353
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Speaker 4: Brave Hearts, so they sound, you know, jungles versus this

354
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Speaker 4: wizard that. But if you actually hear him cutting straight

355
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Speaker 4: across it with his k solo type flow, you kind

356
00:18:02,040 --> 00:18:04,840
Speaker 4: of hear more like what the record's rough really felt like.

357
00:18:05,119 --> 00:18:07,320
Speaker 4: So the drums were crispy, and popping. The bass was

358
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Speaker 4: on it, but it was me just being backwards, poor

359
00:18:10,000 --> 00:18:11,879
Speaker 4: Reverd meets pe That's what it was.

360
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Speaker 3: I've never been in a chat room where they said that, you're.

361
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Speaker 5: Yeah, I've seen it on Okay, play it before seriously Yeah,

362
00:18:22,160 --> 00:18:23,520
Speaker 5: probably yeah.

363
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Speaker 4: Damn that's the world. But I mean, just in general,

364
00:18:26,400 --> 00:18:30,600
Speaker 4: our work isn't really about beats all the time. Sometimes

365
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Speaker 4: it's about different levels of song. And the reality is

366
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Speaker 4: Nas picks his albums based upon what he said, not

367
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Speaker 4: based upon who had the snare of the week, And

368
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Speaker 4: if the beat is too loud, he won't even actually

369
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Speaker 4: rhyme on it, like it sounds like it's yelling at

370
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Speaker 4: me turn it down.

371
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Speaker 3: Yo. It's something some like successful platinum rappers hate loud

372
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Speaker 3: music or loud drums. I think Jay once told me

373
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Speaker 3: once like, you know, like he doesn't want anything to

374
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Speaker 3: upstage his voice outdo him. Okay, So they go more

375
00:19:02,680 --> 00:19:05,800
Speaker 3: for base than for big ass yeah, and.

376
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Speaker 4: For NAS's moves and chord changes and other stuff. Because

377
00:19:08,680 --> 00:19:11,879
Speaker 4: once again, a lot of you know, outside of Tupac,

378
00:19:11,920 --> 00:19:14,320
Speaker 4: who would stack his vocals with six tracks or fifty,

379
00:19:14,359 --> 00:19:17,240
Speaker 4: who might do a few Jay or Nas, they most

380
00:19:17,240 --> 00:19:20,280
Speaker 4: of the time, have one vocal track, one vocal track

381
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Speaker 4: that's telling you everything you got to hear at whatever

382
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Speaker 4: tone he wants to tell it.

383
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Speaker 3: Them that's stacking your voice, rhyming on. I hate when

384
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Speaker 3: that's that.

385
00:19:27,480 --> 00:19:31,680
Speaker 4: It's it's a sound for that. That's the t I

386
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Speaker 4: that's the certain people will do that.

387
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Speaker 3: Okay, I'm saving the best for less. All right, Well

388
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Speaker 3: damn let me get because Jasmine too. I want to

389
00:19:41,840 --> 00:19:44,919
Speaker 3: get to I gotta get to that. I gotta get

390
00:19:44,960 --> 00:19:46,240
Speaker 3: to Amy. Got it?

391
00:19:46,680 --> 00:19:46,720
Speaker 2: So?

392
00:19:47,080 --> 00:19:47,960
Speaker 3: How did you just?

393
00:19:48,920 --> 00:19:51,320
Speaker 4: How did you even like Amy?

394
00:19:51,600 --> 00:19:51,639
Speaker 6: So?

395
00:19:51,800 --> 00:19:54,560
Speaker 4: I did a record for Left Eye during that two

396
00:19:54,560 --> 00:19:57,800
Speaker 4: thousand and one period, that solo record. Yeah, it was

397
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Speaker 4: a record called Black Party.

398
00:19:59,520 --> 00:20:01,080
Speaker 3: Yeah you.

399
00:20:02,560 --> 00:20:06,480
Speaker 4: Probably did Block Party. It was.

400
00:20:08,080 --> 00:20:09,800
Speaker 3: The Super and Over.

401
00:20:09,920 --> 00:20:12,760
Speaker 4: Yeah, it was weird. Basically, what happened with that record

402
00:20:12,920 --> 00:20:15,880
Speaker 4: is that La Reid had really wanted her to sign

403
00:20:15,960 --> 00:20:18,600
Speaker 4: up to do that TLC album that was supposed to

404
00:20:18,640 --> 00:20:20,960
Speaker 4: get worked on at that time, and she wouldn't do it.

405
00:20:21,680 --> 00:20:25,200
Speaker 4: So she marked Pittive first. Like he took a break

406
00:20:25,320 --> 00:20:27,520
Speaker 4: after I think Big Past, couple of things, went back

407
00:20:27,520 --> 00:20:31,240
Speaker 4: to school and that became his first an R project

408
00:20:31,320 --> 00:20:33,399
Speaker 4: he needed to do. And then he hit me up

409
00:20:33,480 --> 00:20:34,840
Speaker 4: like yo, you work on different stuff.

410
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Speaker 3: Whatever it was.

411
00:20:35,480 --> 00:20:38,119
Speaker 4: So then we linked and I did the block party record,

412
00:20:38,119 --> 00:20:39,879
Speaker 4: which was for me. It was always a thing of

413
00:20:40,680 --> 00:20:43,560
Speaker 4: I have a theme like with Miss Dynamite with many

414
00:20:43,680 --> 00:20:45,560
Speaker 4: artists where I just need them people to feel like

415
00:20:45,600 --> 00:20:48,159
Speaker 4: they're a regular person from around the way. So that

416
00:20:48,359 --> 00:20:52,080
Speaker 4: was meant to be Lisa's block party in Philly. You

417
00:20:52,160 --> 00:20:54,800
Speaker 4: know the sound of it. What's your name, Lisa and

418
00:20:54,920 --> 00:20:57,119
Speaker 4: where you're from? Ninth Street. It was just supposed to

419
00:20:57,160 --> 00:21:00,360
Speaker 4: be an energy of a block party and having fun

420
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Speaker 4: and come we dance with me ke on Bryce and

421
00:21:03,880 --> 00:21:06,800
Speaker 4: me kind of messing around doing that and you know,

422
00:21:07,000 --> 00:21:09,360
Speaker 4: just even using the Columbus song with the udu drum.

423
00:21:09,440 --> 00:21:12,360
Speaker 4: That's all I track it really is. It's a kick yep.

424
00:21:12,560 --> 00:21:16,480
Speaker 4: So this Columbus song, a du drum and a kick,

425
00:21:16,880 --> 00:21:19,680
Speaker 4: and basically it was just kind of floating on its own. Well,

426
00:21:19,760 --> 00:21:23,200
Speaker 4: and you know, I got somebody to do your It

427
00:21:23,320 --> 00:21:26,000
Speaker 4: was just a play, play around record. So however it is,

428
00:21:26,119 --> 00:21:30,040
Speaker 4: that record becomes her single, and they were supposed to

429
00:21:30,040 --> 00:21:32,840
Speaker 4: shoot it on the block party in Brooklyn, and then

430
00:21:32,920 --> 00:21:36,000
Speaker 4: somehow they go shoot a video somewhere else and it

431
00:21:36,080 --> 00:21:39,560
Speaker 4: doesn't pan out. But anyhow, Amy Winehouse, here's this record,

432
00:21:39,600 --> 00:21:41,560
Speaker 4: and it says, whoever could figure out what to do

433
00:21:41,680 --> 00:21:44,600
Speaker 4: with that record is who I need to produce me.

434
00:21:44,720 --> 00:21:47,040
Speaker 4: They're gonna know what to do with me. So she

435
00:21:47,200 --> 00:21:49,119
Speaker 4: goes mostly unlikely.

436
00:21:50,400 --> 00:21:51,520
Speaker 3: Example of a record.

437
00:21:52,240 --> 00:21:55,520
Speaker 4: Yeah, well, once again it was Amy's heir where she

438
00:21:55,720 --> 00:21:58,480
Speaker 4: wanted to be, so she was like, that's who it is.

439
00:21:58,560 --> 00:22:02,640
Speaker 4: So they went to EMI Music Publishing in London really

440
00:22:02,680 --> 00:22:05,400
Speaker 4: trying to get to me, ended up getting signed. During

441
00:22:05,480 --> 00:22:11,639
Speaker 4: this interim left eye passes. I moved to Miami. I'm like,

442
00:22:11,840 --> 00:22:15,600
Speaker 4: if it's not good people, good music, good money, don't

443
00:22:15,600 --> 00:22:18,960
Speaker 4: call me. I'm semi retired. Or if it's good people

444
00:22:19,040 --> 00:22:21,760
Speaker 4: and good music, the money's gonna come. So that's been

445
00:22:21,840 --> 00:22:25,920
Speaker 4: my mode since two when I first moved, and what

446
00:22:26,080 --> 00:22:28,760
Speaker 4: I looked after she passed. At the first day that

447
00:22:28,880 --> 00:22:32,119
Speaker 4: I met Amy was May twenty first, May twenty seventh,

448
00:22:32,280 --> 00:22:37,360
Speaker 4: two thousand and two, Leftour's birthday. So it comes back

449
00:22:37,400 --> 00:22:41,360
Speaker 4: around so basically, and that's what it was. She came

450
00:22:41,440 --> 00:22:44,879
Speaker 4: in and got moved, and London convinced me to meet her.

451
00:22:45,160 --> 00:22:47,400
Speaker 4: Just take the meeting, and I was like, just leave

452
00:22:47,400 --> 00:22:50,080
Speaker 4: me alone, No, just take the meeting meet her, and

453
00:22:50,960 --> 00:22:53,400
Speaker 4: she walked in. She had a little guitar and Nick

454
00:22:53,440 --> 00:22:55,840
Speaker 4: Shamanski was with her, and I was like, all right,

455
00:22:56,000 --> 00:22:58,919
Speaker 4: so what are we gonna do? And she pulls out

456
00:22:58,960 --> 00:23:01,240
Speaker 4: a guitar and she starts singing and girl from Epanoma

457
00:23:01,440 --> 00:23:04,200
Speaker 4: and those high ceilings in her room and the whole

458
00:23:04,280 --> 00:23:06,239
Speaker 4: room lit up, and I was like, oh, you can

459
00:23:06,359 --> 00:23:09,400
Speaker 4: sing because from the demos I heard of Amy Amy

460
00:23:09,400 --> 00:23:11,000
Speaker 4: Amy and other stuff. I couldn't tell her phone it

461
00:23:11,040 --> 00:23:13,520
Speaker 4: was another one to be Erica, mime or whatever else,

462
00:23:14,119 --> 00:23:17,320
Speaker 4: and I wasn't really I was like, Eh, leave me alone,

463
00:23:17,680 --> 00:23:21,920
Speaker 4: this isn't it. And basically that's was the start of it.

464
00:23:22,000 --> 00:23:25,040
Speaker 4: And then that day we wrote Cherry and I heard

465
00:23:25,080 --> 00:23:26,000
Speaker 4: Love is Blind.

466
00:23:28,720 --> 00:23:30,640
Speaker 3: When she passed Where were you when you got the word?

467
00:23:30,800 --> 00:23:32,000
Speaker 4: I was in London. I was on my way to

468
00:23:32,080 --> 00:23:39,600
Speaker 4: the house. Basically, she had messed up the tour. She

469
00:23:39,720 --> 00:23:41,560
Speaker 4: was like, ah, I think I messed up the toy

470
00:23:41,680 --> 00:23:43,280
Speaker 4: where she didn't want to go on in the first place,

471
00:23:44,040 --> 00:23:46,480
Speaker 4: So now I can go to Nicki's wedding. Nick who

472
00:23:46,560 --> 00:23:48,399
Speaker 4: I met her with in the first place, was getting married.

473
00:23:48,440 --> 00:23:51,120
Speaker 4: That was the manager that she wrote No Rehab whatever else.

474
00:23:51,119 --> 00:23:53,560
Speaker 4: About but they were in similar in age. She might

475
00:23:53,600 --> 00:23:55,320
Speaker 4: be a year or two older than her, and it

476
00:23:55,400 --> 00:23:57,040
Speaker 4: was like her brother. So it was like, now we

477
00:23:57,119 --> 00:23:58,920
Speaker 4: can go. I can go to Nicky's wedding. Okay. Cool.

478
00:24:00,000 --> 00:24:02,879
Speaker 4: The wedding was on Sunday and at Lucian's house whose Nikaus,

479
00:24:02,960 --> 00:24:03,639
Speaker 4: Lucian's nephew.

480
00:24:04,480 --> 00:24:04,919
Speaker 6: I was.

481
00:24:06,400 --> 00:24:09,040
Speaker 4: Got there on Thursday. I'm always talking to the security

482
00:24:09,080 --> 00:24:11,840
Speaker 4: guards and they'll just making y'o. I'll go on, eh,

483
00:24:12,200 --> 00:24:16,080
Speaker 4: boss over here, cool, we're having our conversation, and I

484
00:24:16,240 --> 00:24:19,800
Speaker 4: was like, yo, you know what. She wasn't drinking for

485
00:24:19,880 --> 00:24:21,680
Speaker 4: like ten days before that, and she started drinking a

486
00:24:21,680 --> 00:24:23,400
Speaker 4: little bit. I was like, you know what, I'm gonna

487
00:24:23,400 --> 00:24:26,359
Speaker 4: come on Saturday and make sure she's good. I was

488
00:24:26,440 --> 00:24:28,840
Speaker 4: in Shepherd's Bush, not far away from where she was at,

489
00:24:28,880 --> 00:24:31,159
Speaker 4: but I was like, I'm gonna go and you know,

490
00:24:31,240 --> 00:24:33,320
Speaker 4: make sure she's good before we go to Lucian's house

491
00:24:33,359 --> 00:24:35,600
Speaker 4: on Sunday, just so no mess starts at the wedding

492
00:24:35,640 --> 00:24:38,040
Speaker 4: where she might say something crazy. But it was supposed

493
00:24:38,040 --> 00:24:41,680
Speaker 4: to be all jokes. Cool. And then Saturday, when I

494
00:24:41,880 --> 00:24:43,679
Speaker 4: called me I at the Jerk Chicken spot, y'all want

495
00:24:43,760 --> 00:24:45,960
Speaker 4: something and bring some food. Then he hit me back

496
00:24:45,960 --> 00:24:47,919
Speaker 4: and said she passed. She passed on a Friday night,

497
00:24:49,040 --> 00:24:51,440
Speaker 4: so I was close by and they didn't get a

498
00:24:51,520 --> 00:24:52,439
Speaker 4: chance to d go see her.

499
00:24:52,720 --> 00:24:54,879
Speaker 2: Can you tell us something like dope about amy that

500
00:24:54,960 --> 00:24:57,840
Speaker 2: most people wouldn't know that, like you got to experience

501
00:24:57,880 --> 00:24:59,040
Speaker 2: that you wish that people would know.

502
00:25:01,680 --> 00:25:01,880
Speaker 3: One.

503
00:25:02,840 --> 00:25:10,520
Speaker 4: She's an absolute comedian. It's constant, constant, constant, got something

504
00:25:10,600 --> 00:25:13,560
Speaker 4: smart to say, like every fourth bar of the minute,

505
00:25:14,080 --> 00:25:17,240
Speaker 4: like you're not gonna get past three bars, and then

506
00:25:17,280 --> 00:25:22,800
Speaker 4: she's not gonna say something smart about somebody something. Yeah,

507
00:25:22,840 --> 00:25:25,600
Speaker 4: that was that. And then also she remembers stuff. Her

508
00:25:25,680 --> 00:25:28,959
Speaker 4: memory was like super sharp. So if she remember your

509
00:25:29,040 --> 00:25:32,760
Speaker 4: daughter must be nine hours or Brianna right, okay, Like

510
00:25:32,880 --> 00:25:36,359
Speaker 4: she knew everybody's kids, their names, where all the pieces

511
00:25:36,400 --> 00:25:39,480
Speaker 4: were of people that she maybe hardly saw, but like

512
00:25:39,680 --> 00:25:42,639
Speaker 4: really had a strong memory and sense of who and

513
00:25:42,840 --> 00:25:47,240
Speaker 4: what and kind of her perspective of why super uh

514
00:25:48,440 --> 00:25:52,240
Speaker 4: impulsive and serious. Hey see that song? Can you delete

515
00:25:52,280 --> 00:25:55,960
Speaker 4: it for my iTunes so it'll never play again? Like

516
00:25:56,080 --> 00:25:57,800
Speaker 4: it was that like half her iTunes on a shuffle

517
00:25:57,800 --> 00:25:59,680
Speaker 4: and if something place she didn't like just deleted. I

518
00:25:59,760 --> 00:26:01,080
Speaker 4: never want to hear it again, thank you?

519
00:26:02,040 --> 00:26:03,840
Speaker 5: Was the What did you think of the documentary? Did

520
00:26:03,840 --> 00:26:05,840
Speaker 5: you think was that a good representation of what she

521
00:26:05,920 --> 00:26:06,320
Speaker 5: really was?

522
00:26:06,960 --> 00:26:13,480
Speaker 4: I think the documentary was it was insightful for a

523
00:26:13,520 --> 00:26:17,359
Speaker 4: lot of people who only saw her as you know,

524
00:26:18,600 --> 00:26:21,879
Speaker 4: a mind of herself trouble at a certain point at

525
00:26:21,920 --> 00:26:23,720
Speaker 4: that point. But it was also being able to show

526
00:26:23,840 --> 00:26:27,160
Speaker 4: humanized part of it. But what I didn't like about

527
00:26:27,200 --> 00:26:32,480
Speaker 4: the documentary was that it villainized her father, which you know,

528
00:26:33,200 --> 00:26:36,879
Speaker 4: my friend, Yes, but that was that man's daughter, and

529
00:26:37,000 --> 00:26:40,879
Speaker 4: you don't turn around and put that man in a

530
00:26:41,080 --> 00:26:46,879
Speaker 4: history book on video as but however you want to

531
00:26:46,880 --> 00:26:49,800
Speaker 4: spend it, that's your perspective. So I didn't agree with that,

532
00:26:50,040 --> 00:26:52,000
Speaker 4: and you also don't turn around and say well, but

533
00:26:52,080 --> 00:26:55,040
Speaker 4: then also the Amy Wild's foundation, it's England, didn't have

534
00:26:55,160 --> 00:26:59,600
Speaker 4: any go away rehabs. There were none there, so they're

535
00:26:59,600 --> 00:27:02,440
Speaker 4: actually opening those things. They're doing many different things that

536
00:27:02,560 --> 00:27:05,160
Speaker 4: are possible. You just took the negative and then left

537
00:27:05,200 --> 00:27:07,920
Speaker 4: it at the negative because it suited your narrative better.

538
00:27:08,400 --> 00:27:10,159
Speaker 4: And that's what I don't like about the idea of

539
00:27:10,320 --> 00:27:14,159
Speaker 4: someone else having the ability to taint your story one

540
00:27:14,200 --> 00:27:16,119
Speaker 4: way or another. It's like you know, the truth in

541
00:27:16,320 --> 00:27:19,960
Speaker 4: many different people's eyes is from their eyes. But that's

542
00:27:20,119 --> 00:27:22,560
Speaker 4: not I wouldn't do that. That's not right.

543
00:27:27,359 --> 00:27:29,359
Speaker 5: Oh, how do you navigate just sitting there talking to

544
00:27:29,400 --> 00:27:32,000
Speaker 5: you seem to be pretty laid back, like introverted dude,

545
00:27:32,040 --> 00:27:35,639
Speaker 5: How do you navigate the networking part of.

546
00:27:35,760 --> 00:27:38,040
Speaker 3: The game because you don't seem to be like to

547
00:27:38,119 --> 00:27:40,040
Speaker 3: go out and party and you know.

548
00:27:40,200 --> 00:27:42,400
Speaker 4: Nah, I did that in the nineties.

549
00:27:42,520 --> 00:27:42,960
Speaker 3: That's over.

550
00:27:44,160 --> 00:27:47,560
Speaker 4: I think in general, it's really first things first. You know,

551
00:27:47,680 --> 00:27:50,720
Speaker 4: the reason why I've been in my space creating. I

552
00:27:50,840 --> 00:27:53,800
Speaker 4: feel like the quality of products starts the conversation. So

553
00:27:53,920 --> 00:27:56,600
Speaker 4: there was a point when God moved. My publisher in

554
00:27:56,680 --> 00:27:58,760
Speaker 4: London was like, hey, you don't want to be forty

555
00:27:58,800 --> 00:28:00,639
Speaker 4: with a beat tape? Like what are you gonna do?

556
00:28:01,480 --> 00:28:04,840
Speaker 4: And I really took that on the marrow early thirties.

557
00:28:07,440 --> 00:28:09,280
Speaker 4: He said, you don't want to be forty with a

558
00:28:09,320 --> 00:28:11,879
Speaker 4: beat tape? What are you gonna do? And basically, you know,

559
00:28:12,119 --> 00:28:13,760
Speaker 4: I was like, what was that? You're playing number three again?

560
00:28:13,800 --> 00:28:14,359
Speaker 4: Y'all crazy?

561
00:28:14,600 --> 00:28:14,719
Speaker 3: Right?

562
00:28:15,560 --> 00:28:17,359
Speaker 4: Like you know, I stressed out about it.

563
00:28:17,560 --> 00:28:19,159
Speaker 3: Fore it sounded like the Neptunes on us.

564
00:28:19,440 --> 00:28:21,520
Speaker 4: You know what I'm saying? That movie you know what

565
00:28:21,600 --> 00:28:23,560
Speaker 4: I'm saying, So it's going to go through it. But

566
00:28:23,640 --> 00:28:27,320
Speaker 4: basically I just looked at it like, yeah, you're right.

567
00:28:27,520 --> 00:28:30,159
Speaker 4: So you know, I attacked the Hollywood side of it

568
00:28:30,600 --> 00:28:33,560
Speaker 4: in my thirties and really, you know, got a splace

569
00:28:33,680 --> 00:28:36,080
Speaker 4: in Hollywood and really got at the movies and you know,

570
00:28:36,160 --> 00:28:38,479
Speaker 4: did the Sex and the City movies and scored Tyson

571
00:28:38,520 --> 00:28:41,200
Speaker 4: and really took some time to learn the whole process

572
00:28:41,240 --> 00:28:44,560
Speaker 4: of what it takes to do that by scoring TV

573
00:28:44,720 --> 00:28:47,320
Speaker 4: shows and different all that stuff. And then you know,

574
00:28:47,560 --> 00:28:52,600
Speaker 4: by the time I was forty, then Amy had just passed,

575
00:28:52,600 --> 00:28:54,080
Speaker 4: so I was like that I met her after my

576
00:28:54,160 --> 00:28:56,360
Speaker 4: thirtieth birthday and she was going before my fortieth, but

577
00:28:56,440 --> 00:28:59,520
Speaker 4: she came and did something. So then I decided to go.

578
00:28:59,640 --> 00:29:02,760
Speaker 4: And you know, don't have my labels as Sony Flying

579
00:29:02,800 --> 00:29:05,320
Speaker 4: Boot a Lot in their Life sign, the mac Wilde sign,

580
00:29:05,440 --> 00:29:09,000
Speaker 4: the Coyote, all those different bands. So I still felt

581
00:29:09,040 --> 00:29:12,440
Speaker 4: like I was taking a coach's job and you know,

582
00:29:12,680 --> 00:29:15,280
Speaker 4: shaping it that way. And then now that I've learned,

583
00:29:15,640 --> 00:29:17,719
Speaker 4: you know, I had to share lead the record by

584
00:29:17,800 --> 00:29:19,320
Speaker 4: own me on my label, and I was like, oh,

585
00:29:19,360 --> 00:29:21,880
Speaker 4: a billion streams, Oh this should do well. Oh, let

586
00:29:21,920 --> 00:29:24,520
Speaker 4: me see. Oh this is how y'all kind of stick? Okay, cool?

587
00:29:24,800 --> 00:29:26,560
Speaker 4: So now I just understand, you know, I watched a

588
00:29:26,600 --> 00:29:33,000
Speaker 4: lot of Narcos. Pablo will go to Bolletvia and put

589
00:29:33,040 --> 00:29:34,640
Speaker 4: it in cabs and do what he needed to do

590
00:29:34,880 --> 00:29:36,600
Speaker 4: in order to have the product. And if we don't

591
00:29:36,640 --> 00:29:39,800
Speaker 4: have the product, then there's no conversation. There's no reason why,

592
00:29:40,600 --> 00:29:42,680
Speaker 4: you know, I'm not even gonna say, America, this planet

593
00:29:42,920 --> 00:29:45,360
Speaker 4: is allowing large black men to come in and take

594
00:29:45,440 --> 00:29:47,800
Speaker 4: their money out of their pocket unless I have goods.

595
00:29:49,760 --> 00:29:50,720
Speaker 2: So so.

596
00:29:54,120 --> 00:29:57,160
Speaker 4: We just went all over the place. I guess the

597
00:29:57,200 --> 00:29:58,320
Speaker 4: most important question is.

598
00:29:58,560 --> 00:30:04,240
Speaker 3: One, how did how were you Amy and Mark able

599
00:30:04,360 --> 00:30:07,880
Speaker 3: to assuming that you guys never were in the room

600
00:30:07,960 --> 00:30:08,680
Speaker 3: at the same time.

601
00:30:08,920 --> 00:30:10,920
Speaker 4: I never saw until Little War shows.

602
00:30:11,200 --> 00:30:19,400
Speaker 3: Okay, how how were you and Mark Ronson able to

603
00:30:21,080 --> 00:30:25,680
Speaker 3: sonically sort of achieve this have the same achievements on

604
00:30:26,960 --> 00:30:29,120
Speaker 3: Back to Black and make it sound like a cohesive record,

605
00:30:29,160 --> 00:30:32,120
Speaker 3: because I still feel like one person produced that record.

606
00:30:32,360 --> 00:30:38,840
Speaker 3: And why in God's name didn't Yeah, the song that

607
00:30:38,920 --> 00:30:41,800
Speaker 3: opens the UK version of the album not make a

608
00:30:42,920 --> 00:30:48,720
Speaker 3: addiction addicted addicted why did that make the American version

609
00:30:48,800 --> 00:30:50,560
Speaker 3: of the album? Because that to me was like my

610
00:30:50,600 --> 00:30:51,680
Speaker 3: favorite song on the album.

611
00:30:51,960 --> 00:30:55,680
Speaker 4: They took it off actually, So for your first question,

612
00:30:56,520 --> 00:30:59,920
Speaker 4: it's Amy. Amy tied the album together all the songs.

613
00:31:00,080 --> 00:31:04,200
Speaker 4: So we actually just recently did a documentary with Jeremy

614
00:31:04,280 --> 00:31:06,560
Speaker 4: who's done like Catcher Fire and all that other stuff.

615
00:31:07,320 --> 00:31:10,760
Speaker 4: The Phil Conns runs, which should be I guess coming

616
00:31:10,800 --> 00:31:12,720
Speaker 4: out sometimes soon. I think he's doing it a can

617
00:31:13,480 --> 00:31:17,000
Speaker 4: in a couple of weeks. But basically all the songs

618
00:31:17,040 --> 00:31:19,760
Speaker 4: that I did on Back to Black were recorded in

619
00:31:19,880 --> 00:31:22,360
Speaker 4: between Frank and Back to Black, So all of my

620
00:31:22,480 --> 00:31:26,720
Speaker 4: songs were really written first. So Addicted and Just Friends

621
00:31:26,800 --> 00:31:30,480
Speaker 4: were written to be Christmas bonus songs for Frank that

622
00:31:30,600 --> 00:31:34,080
Speaker 4: we never ended up doing. So then We're written probably

623
00:31:34,160 --> 00:31:38,280
Speaker 4: the end of three into four somewhere around there before

624
00:31:38,320 --> 00:31:41,280
Speaker 4: everything else. It was written in like probably the end

625
00:31:41,320 --> 00:31:46,240
Speaker 4: of four, and then Me and mister Jones, which was

626
00:31:46,280 --> 00:31:51,760
Speaker 4: originally fuck Rad was around, and Tears Drive was actually

627
00:31:51,800 --> 00:31:54,760
Speaker 4: written during that pair of process as a ballad which

628
00:31:54,880 --> 00:31:55,600
Speaker 4: we sped up later.

629
00:31:55,920 --> 00:31:58,360
Speaker 3: But basically, so your songs came first, and then Ronson

630
00:31:58,400 --> 00:31:59,080
Speaker 3: came in right so.

631
00:31:59,200 --> 00:32:02,640
Speaker 4: Her whole mode, the recording which you know she got

632
00:32:02,720 --> 00:32:05,000
Speaker 4: for me, which was basically we sit down and she

633
00:32:05,200 --> 00:32:08,480
Speaker 4: might be playing guitar or just doing something basic, and

634
00:32:08,520 --> 00:32:10,320
Speaker 4: we would get the whole entire song and then I

635
00:32:10,360 --> 00:32:13,720
Speaker 4: would do the arrangements. So that's how she got accustom

636
00:32:13,760 --> 00:32:16,160
Speaker 4: to writing. So by the time she went to Mark,

637
00:32:16,840 --> 00:32:18,680
Speaker 4: we'd already gone to the record store. We bought the

638
00:32:18,720 --> 00:32:20,680
Speaker 4: five or Ls, we bought the Shangry Loves, we bought

639
00:32:20,720 --> 00:32:22,680
Speaker 4: all the pieces. She already knew these are the things

640
00:32:22,760 --> 00:32:24,520
Speaker 4: that I was around Blank. I was listening to this,

641
00:32:24,960 --> 00:32:27,280
Speaker 4: I'm listening to you all My Destiny by Paul Anko.

642
00:32:27,320 --> 00:32:29,560
Speaker 4: I'm listening to all these different records, and she knew

643
00:32:29,560 --> 00:32:32,800
Speaker 4: where she wanted to go. I'd started doing it when

644
00:32:32,840 --> 00:32:35,440
Speaker 4: she got with Mark. They continued and wrote some more

645
00:32:35,880 --> 00:32:37,520
Speaker 4: and then she was like, well, Dag, I still have

646
00:32:37,640 --> 00:32:41,080
Speaker 4: these songs. I want to use them. So me, me

647
00:32:41,160 --> 00:32:44,400
Speaker 4: and mister Jones, which I had virgins that are kind

648
00:32:44,440 --> 00:32:46,720
Speaker 4: of more jazzy, was like, hey, why don't we put

649
00:32:46,720 --> 00:32:47,680
Speaker 4: a walking guitar on that?

650
00:32:47,880 --> 00:32:48,040
Speaker 3: You know?

651
00:32:49,400 --> 00:32:51,080
Speaker 4: And then she remember when I was doing bridging the

652
00:32:51,160 --> 00:32:54,880
Speaker 4: Gap for nas that ol' Daro was like chick boom,

653
00:32:55,320 --> 00:32:57,560
Speaker 4: CHICKI boom, So that was kind of she was like,

654
00:32:57,720 --> 00:32:59,800
Speaker 4: let's put the chicken boom in the walking guitar on

655
00:33:00,040 --> 00:33:02,920
Speaker 4: me and mister Jones and then that version becomes that

656
00:33:04,120 --> 00:33:05,680
Speaker 4: tears drawing their own. I just felt like there was

657
00:33:05,720 --> 00:33:09,000
Speaker 4: too many ballads. All Amy songs were written at eighty

658
00:33:09,040 --> 00:33:12,920
Speaker 4: two beats permitted, kind of in similar chord frames, and

659
00:33:13,040 --> 00:33:14,520
Speaker 4: I was like, we got to speed it up. I

660
00:33:14,640 --> 00:33:19,720
Speaker 4: had a multi tue, ain't a mount high enough, and

661
00:33:19,840 --> 00:33:21,880
Speaker 4: I was like, I was listening to it without the

662
00:33:21,960 --> 00:33:23,040
Speaker 4: song on it, and I was like, you know what,

663
00:33:23,080 --> 00:33:24,680
Speaker 4: you could sing it over there. She couldn't figure it

664
00:33:24,720 --> 00:33:26,360
Speaker 4: out for the longest, so I ended up singing it

665
00:33:26,400 --> 00:33:28,360
Speaker 4: and then she re sang it over me and then

666
00:33:28,400 --> 00:33:30,080
Speaker 4: we did the whole track over. So that was the

667
00:33:30,120 --> 00:33:32,160
Speaker 4: reason for it, just to give something that was the

668
00:33:32,840 --> 00:33:36,200
Speaker 4: obvious up, up up thing, you know. When we did

669
00:33:36,280 --> 00:33:39,000
Speaker 4: the modulation on the original, she was like, no, no, no,

670
00:33:39,120 --> 00:33:41,480
Speaker 4: it's gonna sound cool and gang take that off. So

671
00:33:42,160 --> 00:33:43,720
Speaker 4: it was cinarently putting that in pocket.

672
00:33:44,120 --> 00:33:47,720
Speaker 3: Were you using the same studio because I mean, now,

673
00:33:48,120 --> 00:33:52,040
Speaker 3: especially in the age of of where we are now

674
00:33:52,080 --> 00:33:56,720
Speaker 3: with plugins, and really I mean this album being a

675
00:33:56,800 --> 00:34:01,040
Speaker 3: pioneering record and re establishing that nostalgia cure. Even though yes,

676
00:34:01,160 --> 00:34:04,840
Speaker 3: I know that DAP Tone was you know, doing their

677
00:34:04,920 --> 00:34:07,200
Speaker 3: thing for at least like six years with Sharon Jones

678
00:34:07,280 --> 00:34:07,600
Speaker 3: or whatnot.

679
00:34:07,880 --> 00:34:11,319
Speaker 4: But did we use the same studio for walk songs

680
00:34:11,360 --> 00:34:11,880
Speaker 4: and my songs?

681
00:34:12,040 --> 00:34:12,080
Speaker 6: No?

682
00:34:12,280 --> 00:34:16,160
Speaker 3: No, I'm just how did you I'm especially for like fuckery, like,

683
00:34:16,280 --> 00:34:19,560
Speaker 3: were you using your studio you always used.

684
00:34:19,520 --> 00:34:22,560
Speaker 4: Or actually at that time all the songs for Back

685
00:34:22,600 --> 00:34:25,400
Speaker 4: to Black the studio that is now my studio in

686
00:34:25,560 --> 00:34:27,719
Speaker 4: my house. She walked into my living room and I

687
00:34:27,800 --> 00:34:30,319
Speaker 4: had two story high ceilings, and She's like, I want

688
00:34:30,320 --> 00:34:33,400
Speaker 4: to sing right here, And I was like what She's like, no,

689
00:34:33,480 --> 00:34:35,400
Speaker 4: can I sing right here? So I basically put a

690
00:34:35,520 --> 00:34:39,080
Speaker 4: kit and put a piano and my amps and everything

691
00:34:39,160 --> 00:34:41,880
Speaker 4: into my living room. So the sound of me and

692
00:34:42,000 --> 00:34:45,719
Speaker 4: mister Jones is the sound of my living room. Wow,

693
00:34:46,440 --> 00:34:48,680
Speaker 4: that is the room. And she's singing standing in the

694
00:34:48,719 --> 00:34:52,160
Speaker 4: middle of the floor with the you know, pretty much

695
00:34:52,160 --> 00:34:54,000
Speaker 4: a forty seven in the middle of the room, a

696
00:34:54,040 --> 00:34:56,520
Speaker 4: little carpet underneath for the drums. Everything is in the room,

697
00:34:56,560 --> 00:34:58,160
Speaker 4: and then we would just move stuff around it.

698
00:34:58,760 --> 00:35:02,000
Speaker 3: I would just I would just never think that achieving

699
00:35:02,640 --> 00:35:06,080
Speaker 3: that that sonic quality was even possible, because even with

700
00:35:06,239 --> 00:35:10,759
Speaker 3: Steve and I at Electric Ladies studios, like, you know,

701
00:35:11,360 --> 00:35:14,239
Speaker 3: one would think that with the you know, some of

702
00:35:14,320 --> 00:35:18,799
Speaker 3: the mics and the amps and the equipment is still

703
00:35:18,840 --> 00:35:23,480
Speaker 3: from when Jimmy Hendricks was there, right, But I wouldn't

704
00:35:23,480 --> 00:35:26,280
Speaker 3: even fathom or think that that sound could be achieved.

705
00:35:27,000 --> 00:35:29,080
Speaker 3: And so honestly, he's telling you make it sound like

706
00:35:29,120 --> 00:35:31,719
Speaker 3: the fifties, Like how long? How long was the work

707
00:35:31,760 --> 00:35:33,920
Speaker 3: processing until you finally found a way to make them

708
00:35:33,960 --> 00:35:34,759
Speaker 3: drums sound like?

709
00:35:35,840 --> 00:35:37,920
Speaker 4: Honestly, I would give a lot of credit to my

710
00:35:38,000 --> 00:35:42,279
Speaker 4: recording engineer, Frank Cicaro. How old is he? Frank is

711
00:35:42,719 --> 00:35:47,120
Speaker 4: probably thirty eight thirty nine now at that time he

712
00:35:47,239 --> 00:35:55,239
Speaker 4: was in his twenties. But Frank was also a He

713
00:35:55,440 --> 00:35:57,560
Speaker 4: liked music. He was a hip hop head and he

714
00:35:57,719 --> 00:36:00,840
Speaker 4: liked beatles. He like everything else. We recorded my songs

715
00:36:01,040 --> 00:36:03,359
Speaker 4: on Back to Black on a through a Digito eight

716
00:36:03,480 --> 00:36:07,560
Speaker 4: using digital performer, Like it was like basically stompbox. We've

717
00:36:07,600 --> 00:36:09,640
Speaker 4: read about how Rick Rubin or different people would get

718
00:36:09,680 --> 00:36:11,879
Speaker 4: a house and kind of record. I didn't have any

719
00:36:11,920 --> 00:36:14,360
Speaker 4: equipment at the house. I had a studio downtown, but

720
00:36:14,480 --> 00:36:16,200
Speaker 4: it was like, okay, we're going to record here. So

721
00:36:16,400 --> 00:36:19,360
Speaker 4: he basically looked around it, and I knew what I

722
00:36:19,440 --> 00:36:21,200
Speaker 4: wanted to hear, and he knew what I wanted to hear,

723
00:36:21,280 --> 00:36:23,799
Speaker 4: and he captured you know, even what we were able

724
00:36:23,880 --> 00:36:27,200
Speaker 4: to do with the Motown replay in that space. It

725
00:36:27,320 --> 00:36:29,480
Speaker 4: was kind of like, you know, musicians was like, how

726
00:36:29,520 --> 00:36:31,239
Speaker 4: are you going to do this? The horns were all done,

727
00:36:31,800 --> 00:36:34,799
Speaker 4: you know, on a what is it the rolling eight

728
00:36:34,920 --> 00:36:41,439
Speaker 4: track recorder sixteen eighty recorded in New York in the room,

729
00:36:41,480 --> 00:36:43,839
Speaker 4: you know, Vincent Henry, who was my ace musician who's

730
00:36:43,840 --> 00:36:47,640
Speaker 4: played on everything from somebody Else's guid to Jiggy to

731
00:36:47,920 --> 00:36:50,400
Speaker 4: whatever else. He would just be sending me horns in

732
00:36:50,480 --> 00:36:53,440
Speaker 4: different pieces, all the flutes and all the arrangements and

733
00:36:53,640 --> 00:36:55,680
Speaker 4: putting pieces together. But the way we were able to

734
00:36:55,719 --> 00:36:59,719
Speaker 4: put it back together, reamp it, put it through some

735
00:37:00,080 --> 00:37:03,760
Speaker 4: music man's still have all you know, my sound works mics,

736
00:37:03,800 --> 00:37:07,600
Speaker 4: the tlms and forty sevens capture it back. But we

737
00:37:07,680 --> 00:37:12,400
Speaker 4: knew what we wanted to hear, So that process, I

738
00:37:12,480 --> 00:37:14,440
Speaker 4: can't say it was hard. It was just about focus

739
00:37:14,600 --> 00:37:17,680
Speaker 4: and knowing what we liked and basically, you know, as

740
00:37:18,360 --> 00:37:21,320
Speaker 4: you know, collecting stuff that feels and sounds like breakbeats.

741
00:37:21,360 --> 00:37:23,600
Speaker 4: So when you're saying, no, get me the greens there,

742
00:37:23,760 --> 00:37:25,600
Speaker 4: and you know exactly why you're going for it, and

743
00:37:25,640 --> 00:37:28,920
Speaker 4: everybody else might just be oblivious. It's a similar process

744
00:37:29,080 --> 00:37:29,920
Speaker 4: of just getting through it.

745
00:37:30,040 --> 00:37:32,080
Speaker 3: But I never thought it was the equipment. I always

746
00:37:32,080 --> 00:37:35,040
Speaker 3: thought it was the engineering, and I just never had

747
00:37:36,239 --> 00:37:38,920
Speaker 3: the you know, until I heard Back to Black, I

748
00:37:39,040 --> 00:37:42,400
Speaker 3: was like, Okay, then it is possible to achieve the sound.

749
00:37:42,560 --> 00:37:46,520
Speaker 3: But even then, once, I mean once I figured it out,

750
00:37:46,600 --> 00:37:50,239
Speaker 3: it was you know, like by twenty ten, almost like

751
00:37:51,560 --> 00:37:55,040
Speaker 3: even five six years after Back to Black came out, I.

752
00:37:55,160 --> 00:37:57,640
Speaker 4: Just yeah, I mean we really worked at it. And

753
00:37:57,719 --> 00:38:00,359
Speaker 4: then this stuff that I did, even in New York,

754
00:38:00,440 --> 00:38:03,360
Speaker 4: that kind of has that type of energy for me.

755
00:38:03,480 --> 00:38:06,840
Speaker 4: It was a thing where I was collecting records and

756
00:38:06,960 --> 00:38:09,040
Speaker 4: I always liked the record so my dad was like

757
00:38:09,120 --> 00:38:11,239
Speaker 4: luper vandels. I'm like, all right, cool. But the reason

758
00:38:11,280 --> 00:38:14,160
Speaker 4: why I was sampling incredible bongo band was because of

759
00:38:14,200 --> 00:38:17,319
Speaker 4: the sonics. It wasn't just because King Ericson was killing.

760
00:38:17,400 --> 00:38:20,000
Speaker 4: Then when Michael Wiener gave me a bunch of things,

761
00:38:20,040 --> 00:38:21,400
Speaker 4: I was still trying to figure out. I think I

762
00:38:21,480 --> 00:38:23,080
Speaker 4: might even sent you one one time when we did

763
00:38:23,200 --> 00:38:26,640
Speaker 4: love Steme, I was trying to make the sonic feel

764
00:38:26,719 --> 00:38:28,880
Speaker 4: ass urgent, you know, and that's really what it is like.

765
00:38:28,960 --> 00:38:29,080
Speaker 3: You know.

766
00:38:29,239 --> 00:38:31,600
Speaker 4: Even when I'm recording NAS, I'm trying to get the

767
00:38:31,760 --> 00:38:33,840
Speaker 4: sonic energy. So I'm staying next to that speak and

768
00:38:33,920 --> 00:38:36,960
Speaker 4: I feel like I'm moving. I'm imagining what Paradise Garage

769
00:38:37,040 --> 00:38:39,040
Speaker 4: feels like. I'm imagining what the red zone feels like.

770
00:38:39,040 --> 00:38:41,480
Speaker 4: I'm imagining what the fever sounds like. And if the

771
00:38:41,600 --> 00:38:46,200
Speaker 4: sonic warfare as I call it, doesn't actually hit you

772
00:38:46,360 --> 00:38:49,360
Speaker 4: the way it should, that's as important as the lyrics

773
00:38:49,400 --> 00:38:51,840
Speaker 4: being stronger than the kick. If the lyrics hit you

774
00:38:51,880 --> 00:38:53,719
Speaker 4: the right, waste rebel without a pose, like, how do

775
00:38:53,840 --> 00:38:57,920
Speaker 4: we get back to that? That's intensity in the samples.

776
00:38:58,040 --> 00:39:01,960
Speaker 4: That's also intensity and engineering insensity and the lyrics. It's

777
00:39:01,960 --> 00:39:04,719
Speaker 4: about the way it's all coming together and then ultimately

778
00:39:04,800 --> 00:39:07,520
Speaker 4: how it's captured. If that song had a different mix,

779
00:39:07,800 --> 00:39:09,960
Speaker 4: it might not have ever been what it was. And

780
00:39:10,040 --> 00:39:13,520
Speaker 4: I think that, you know, having that understanding and feeling

781
00:39:13,600 --> 00:39:16,520
Speaker 4: that way about certain pieces of music, I'm twisting knobs

782
00:39:16,560 --> 00:39:17,319
Speaker 4: until I feel it.

783
00:39:17,440 --> 00:39:21,719
Speaker 3: Which leads me to we're getting to the end of

784
00:39:21,800 --> 00:39:24,160
Speaker 3: this journey. But let's start the rapid fire Ship, the

785
00:39:24,239 --> 00:39:30,560
Speaker 3: random questions which leads me to get retarded. Now, yeah,

786
00:39:30,640 --> 00:39:35,360
Speaker 3: with cannabis. Oh he would do that. Yes, that record

787
00:39:35,600 --> 00:39:37,200
Speaker 3: who I thought did though.

788
00:39:37,320 --> 00:39:40,040
Speaker 4: No Ship was funky.

789
00:39:41,320 --> 00:39:47,160
Speaker 3: First of all, what with the Hawaiian guitar thing, and

790
00:39:49,640 --> 00:39:53,160
Speaker 3: it was just it was such a radical record that

791
00:39:53,440 --> 00:39:57,359
Speaker 3: I I liked it, but I was just like, why

792
00:39:58,120 --> 00:39:59,239
Speaker 3: what the hell was all think?

793
00:39:59,440 --> 00:40:02,400
Speaker 4: So basically what some people do they now call it,

794
00:40:02,440 --> 00:40:04,200
Speaker 4: I think rhythm moole that or something like that. Yeah,

795
00:40:04,400 --> 00:40:07,040
Speaker 4: I had a wall of records in my apartment and

796
00:40:07,480 --> 00:40:09,799
Speaker 4: what I say is, grab me three records, and whatever

797
00:40:09,880 --> 00:40:13,399
Speaker 4: three records you grab, I gotta make something. And that's

798
00:40:13,440 --> 00:40:15,960
Speaker 4: the three records I pulled to that day La Boppers,

799
00:40:16,600 --> 00:40:20,359
Speaker 4: Chantey and Biz and I Want You And that's where

800
00:40:20,360 --> 00:40:23,279
Speaker 4: it came from. So I basically had those records and

801
00:40:23,360 --> 00:40:30,640
Speaker 4: I was like, uh, well, want to get retard. That's

802
00:40:30,680 --> 00:40:32,120
Speaker 4: what I picked off of the records. I could have

803
00:40:32,160 --> 00:40:34,000
Speaker 4: sampled something else off the records, but that's what I

804
00:40:34,080 --> 00:40:36,520
Speaker 4: caught and how it fell together.

805
00:40:36,840 --> 00:40:40,239
Speaker 3: Now and recording that, I'm certain that the energy and

806
00:40:40,320 --> 00:40:43,800
Speaker 3: the excitement was in the air because the buzz on

807
00:40:43,920 --> 00:40:48,480
Speaker 3: cannabis couldn't get any hotter. It was like, what the

808
00:40:48,719 --> 00:40:51,880
Speaker 3: energy that Eminem had. I feel like Eminem is the

809
00:40:52,800 --> 00:40:55,880
Speaker 3: and we can't discount the fact that Eminem's whiteness.

810
00:40:56,160 --> 00:40:59,200
Speaker 4: Uh, we can't discount whiteness, right.

811
00:40:59,320 --> 00:41:02,879
Speaker 3: We can't. Just but what I'm just saying, man, At

812
00:41:02,920 --> 00:41:06,560
Speaker 3: one time in nineteen ninety six, there was hope and

813
00:41:06,840 --> 00:41:09,600
Speaker 3: energy in the air that Cannabis was going to be

814
00:41:09,680 --> 00:41:12,399
Speaker 3: the underground lyrical master beast from the East, the Lost

815
00:41:12,440 --> 00:41:15,560
Speaker 3: Boys Joint like was his like his Winter Wars Verse,

816
00:41:15,680 --> 00:41:18,200
Speaker 3: the very, yes, the very Even the first time I

817
00:41:18,280 --> 00:41:22,000
Speaker 3: met Jay through Common, he was like, Yo, I can't

818
00:41:22,000 --> 00:41:25,520
Speaker 3: wait to hear this Cannabis right, can see what he got? So, boy,

819
00:41:26,200 --> 00:41:33,160
Speaker 3: what were your feelings of what went wrong? Would you say?

820
00:41:33,320 --> 00:41:34,840
Speaker 3: That was the first CD I ever sold back to

821
00:41:34,920 --> 00:41:40,560
Speaker 3: the story to d So yeah, well, no, I thought,

822
00:41:41,000 --> 00:41:43,520
Speaker 3: I thought, did that record because I didn't like I

823
00:41:43,600 --> 00:41:44,439
Speaker 3: didn't like that joint?

824
00:41:51,120 --> 00:41:51,480
Speaker 6: No, no, no, no.

825
00:41:51,760 --> 00:41:54,719
Speaker 3: It took a minute, but it was just like when

826
00:41:54,760 --> 00:41:58,680
Speaker 3: I heard the Hawaiian Loop and I was just like,

827
00:42:00,160 --> 00:42:02,239
Speaker 3: all right, this is obviously some next ship that I'm

828
00:42:02,320 --> 00:42:03,800
Speaker 3: just not up or you're not ready for.

829
00:42:04,680 --> 00:42:06,520
Speaker 2: So did you kill Cannabis.

830
00:42:08,360 --> 00:42:10,279
Speaker 3: One of the No, that was actually one of the

831
00:42:10,360 --> 00:42:12,960
Speaker 3: only joints Wait knock up.

832
00:42:14,719 --> 00:42:19,400
Speaker 5: That I like, second Round Knockout, but I knew it

833
00:42:19,440 --> 00:42:23,720
Speaker 5: was at least Death Day is All Time, March.

834
00:42:23,680 --> 00:42:28,759
Speaker 4: Night, Your Mom, your first, second, and third ball, and.

835
00:42:28,800 --> 00:42:30,759
Speaker 3: I knew it was over for Cannabis. Like I don't

836
00:42:30,760 --> 00:42:32,239
Speaker 3: know if y'all remember like when they used to have

837
00:42:32,440 --> 00:42:32,759
Speaker 3: the thing.

838
00:42:32,880 --> 00:42:36,640
Speaker 5: It was on MTV and it was like basically they

839
00:42:36,640 --> 00:42:38,000
Speaker 5: would like play a video and then they would have

840
00:42:38,160 --> 00:42:40,479
Speaker 5: like people like talking about it, give their opinions whatever,

841
00:42:41,000 --> 00:42:42,799
Speaker 5: and yeah, it was like a kids of this type

842
00:42:42,840 --> 00:42:47,120
Speaker 5: joint and they played Cannabis second Round Knockout, and I

843
00:42:47,200 --> 00:42:50,200
Speaker 5: remember it was like these four like teenage like white

844
00:42:50,520 --> 00:42:53,000
Speaker 5: kids and they were all like, oh, well, you know

845
00:42:53,320 --> 00:42:56,320
Speaker 5: he's he just sounds so angry and you know he

846
00:42:56,520 --> 00:42:58,720
Speaker 5: just this guy. Just they were like this in the record.

847
00:42:58,760 --> 00:43:00,520
Speaker 5: And when I said, I was just like, it's a

848
00:43:00,680 --> 00:43:02,000
Speaker 5: rap because the hood like this.

849
00:43:02,239 --> 00:43:04,479
Speaker 3: We loved it. That was like the hip hop heads

850
00:43:04,560 --> 00:43:07,040
Speaker 3: loved that record. But when I saw that, I mean,

851
00:43:07,200 --> 00:43:09,360
Speaker 3: my perspective disconnect was.

852
00:43:09,920 --> 00:43:13,319
Speaker 4: My perspective on Cannabis's record. First, I didn't expect him

853
00:43:13,360 --> 00:43:15,680
Speaker 4: to keep that track because we did that one, but

854
00:43:15,800 --> 00:43:18,760
Speaker 4: we all just sol did a record called Doomsday News,

855
00:43:19,360 --> 00:43:21,879
Speaker 4: which was the track that y Cleft used for Where

856
00:43:21,960 --> 00:43:29,960
Speaker 4: Fuji's At years later dan Boom Boom boom. It start

857
00:43:30,040 --> 00:43:33,400
Speaker 4: us off the Eclectic album. It's the first song. So

858
00:43:33,600 --> 00:43:36,719
Speaker 4: that was actually on Cannabis' album. And you know, that

859
00:43:36,840 --> 00:43:39,080
Speaker 4: was a track that at one point hay shokole, you

860
00:43:39,160 --> 00:43:41,880
Speaker 4: know two weade me or something at the time, and

861
00:43:42,000 --> 00:43:43,840
Speaker 4: that'sked me to do beats for public enemy things. So

862
00:43:43,920 --> 00:43:46,440
Speaker 4: that's what my mindset was with it. That was the

863
00:43:46,520 --> 00:43:48,279
Speaker 4: song I actually thought he was going to keep because

864
00:43:48,320 --> 00:43:51,000
Speaker 4: it meant something. For whatever reason, he decided not to

865
00:43:51,200 --> 00:43:53,600
Speaker 4: use it. And I think, you know, Cannabis had beat

866
00:43:53,640 --> 00:43:56,279
Speaker 4: selection issues as far as I was gonna say, but

867
00:43:57,000 --> 00:44:00,560
Speaker 4: basically he always had the lyrics, but he just kind

868
00:44:00,600 --> 00:44:03,919
Speaker 4: of pushed the wrong way with it. And the things

869
00:44:03,960 --> 00:44:06,480
Speaker 4: that I actually recorded with him that people never heard

870
00:44:06,640 --> 00:44:07,960
Speaker 4: was I made him switch his flow. I was like,

871
00:44:08,000 --> 00:44:09,839
Speaker 4: you said, the best m seed died on Martial Life.

872
00:44:10,160 --> 00:44:13,760
Speaker 4: Look how many different flows Biggie has. Now you're just rhyming, rhyming,

873
00:44:13,880 --> 00:44:15,920
Speaker 4: rhyming to the point where somebody, man, there was a

874
00:44:15,920 --> 00:44:17,880
Speaker 4: guy downstairs, he was rhyming crazy. I was just Canna

875
00:44:17,880 --> 00:44:21,160
Speaker 4: bits ignoring him, and then after a while you raperly

876
00:44:21,200 --> 00:44:23,399
Speaker 4: wrapped yourself to a point where no one actually would

877
00:44:23,440 --> 00:44:25,239
Speaker 4: hear how great your lyrics were because you gave it

878
00:44:25,320 --> 00:44:29,719
Speaker 4: to all to us in the same cadence, which was unfortunate.

879
00:44:30,280 --> 00:44:31,640
Speaker 4: And you know, I did a lot of records with

880
00:44:31,719 --> 00:44:35,080
Speaker 4: him that I thought were really dope, but he just basically.

881
00:44:37,239 --> 00:44:39,440
Speaker 2: A way, I don't need to change my flows the lyrics.

882
00:44:40,840 --> 00:44:42,880
Speaker 4: He just he turned into a computer. Really, I mean

883
00:44:42,920 --> 00:44:44,600
Speaker 4: he was rhyming. He was fron of the first people

884
00:44:44,600 --> 00:44:46,400
Speaker 4: I saw that would write their rhymes in the computer

885
00:44:46,520 --> 00:44:48,600
Speaker 4: and be moving around. But it was just like, you're

886
00:44:48,640 --> 00:44:52,239
Speaker 4: so smart. You outsmart yourself to the human connection, to

887
00:44:52,440 --> 00:44:56,200
Speaker 4: the actual ability to really have a conversation in your

888
00:44:56,280 --> 00:44:58,960
Speaker 4: songs on top of being able to rap really well.

889
00:45:00,160 --> 00:45:05,399
Speaker 3: Every cannabis experience I had starts with a starting the beat,

890
00:45:05,719 --> 00:45:08,839
Speaker 3: like him getting on stage, and then like mid first

891
00:45:09,040 --> 00:45:11,200
Speaker 3: wait wait wait wait wait wait wait wait, and then

892
00:45:11,280 --> 00:45:14,759
Speaker 3: he has to let you know exactly what.

893
00:45:14,920 --> 00:45:22,680
Speaker 6: He said, yeah, because that's the ugi in the movie Surprise.

894
00:45:24,080 --> 00:45:27,439
Speaker 3: It's likest.

895
00:45:27,480 --> 00:45:29,880
Speaker 5: And that's the thing is like, if if you have

896
00:45:29,960 --> 00:45:32,680
Speaker 5: to explain the punchline, then it's not a good punchline,

897
00:45:33,400 --> 00:45:35,040
Speaker 5: if you don't get it, just off rip, if you

898
00:45:35,120 --> 00:45:38,239
Speaker 5: got to break down, and that ship as well. It

899
00:45:38,320 --> 00:45:41,560
Speaker 5: really wasn't That album was one of the many things

900
00:45:41,600 --> 00:45:47,200
Speaker 5: that happened in nineteen ninety seven that just really.

901
00:45:48,840 --> 00:45:52,239
Speaker 3: Killed the momentum that the idea of New York was

902
00:45:52,280 --> 00:45:58,960
Speaker 3: having in hip hop and MC There's Canvas Door.

903
00:45:59,120 --> 00:46:01,160
Speaker 4: Yeah, that was their free s I mean, you know

904
00:46:02,320 --> 00:46:05,200
Speaker 4: had successful, right, but that was that was like the

905
00:46:06,200 --> 00:46:10,680
Speaker 4: Cole Kendrick Drake was the Cannabis Norway Freestyle on not

906
00:46:10,840 --> 00:46:13,160
Speaker 4: ainety seven, and they all seem like they had to

907
00:46:13,200 --> 00:46:15,719
Speaker 4: go and just Cannabis didn't keep delivering records. That's all

908
00:46:15,760 --> 00:46:18,120
Speaker 4: it comes down to. You know, having the greatest talent,

909
00:46:18,239 --> 00:46:20,240
Speaker 4: being the best musician doesn't mean you're the best composer.

910
00:46:20,360 --> 00:46:22,200
Speaker 4: Being the best singer doesn't mean you have a good song.

911
00:46:22,440 --> 00:46:24,960
Speaker 3: So is that the producer's responsibility or is that the

912
00:46:25,120 --> 00:46:27,920
Speaker 3: artists respect Sometimes the artist has too much power and

913
00:46:28,000 --> 00:46:29,680
Speaker 3: they just don't want to get out of their own way.

914
00:46:29,800 --> 00:46:31,880
Speaker 4: You know, we all know some really really great talent

915
00:46:32,000 --> 00:46:34,640
Speaker 4: that can't make a record or get it together. You know,

916
00:46:34,840 --> 00:46:37,359
Speaker 4: thirty years in I could play records that I did

917
00:46:37,440 --> 00:46:39,719
Speaker 4: twenty years ago. Wow, this is great. Whatever happened to them,

918
00:46:40,360 --> 00:46:42,960
Speaker 4: Let me try to find them. We drive up the

919
00:46:43,080 --> 00:46:46,520
Speaker 4: right alley, yo, like that, that's what it is, and

920
00:46:46,680 --> 00:46:55,400
Speaker 4: it's unfortunate, but it's real. Jasmine talk about Jasmine. Jasmine

921
00:46:55,400 --> 00:46:57,719
Speaker 4: Sullivan's for me. It's like, you know, kind of where

922
00:46:57,760 --> 00:47:02,560
Speaker 4: I want to be core business, great voice, great stories,

923
00:47:02,920 --> 00:47:04,840
Speaker 4: and then I just got to find a good bassline.

924
00:47:05,480 --> 00:47:07,360
Speaker 4: And you know, I worked with Jasmine when she was

925
00:47:07,400 --> 00:47:09,360
Speaker 4: on Job, when she was thirteen or fourteen, so we

926
00:47:09,440 --> 00:47:13,120
Speaker 4: already had somewhat of familiarity by the time she was

927
00:47:13,280 --> 00:47:17,480
Speaker 4: on J Records, and then Peter Edge really wanted her

928
00:47:17,560 --> 00:47:20,120
Speaker 4: to sing. She cut a version of There's a Song

929
00:47:20,480 --> 00:47:23,000
Speaker 4: that Keon Brice I really did. That was on Nasa

930
00:47:23,120 --> 00:47:27,040
Speaker 4: and the Well on the Shit, and then basically she

931
00:47:27,120 --> 00:47:29,640
Speaker 4: cut a version of it. But then during that session

932
00:47:29,680 --> 00:47:31,960
Speaker 4: we also did Lions, Tigers and Beers as My Ship

933
00:47:32,200 --> 00:47:35,520
Speaker 4: and another song, and basically she sang Lions, Tigers and Bears.

934
00:47:35,560 --> 00:47:38,000
Speaker 4: The idea I was like, all right, hold up, gave

935
00:47:38,040 --> 00:47:39,840
Speaker 4: her a click track and then I just started playing

936
00:47:39,920 --> 00:47:42,759
Speaker 4: around it and then she finished the song to the track,

937
00:47:43,239 --> 00:47:45,359
Speaker 4: and that became my mode of working where she might

938
00:47:45,440 --> 00:47:47,880
Speaker 4: sing me an idea or tell me an idea of record,

939
00:47:48,280 --> 00:47:49,440
Speaker 4: and then I would flush it out.

940
00:47:49,520 --> 00:47:49,640
Speaker 3: You know.

941
00:47:49,760 --> 00:47:52,759
Speaker 4: Ten seconds was like that she had a thing and

942
00:47:52,840 --> 00:47:55,360
Speaker 4: then I just took it, played it, and expanded on

943
00:47:55,440 --> 00:47:59,719
Speaker 4: it whatever she was hearing. But our chemistry was like

944
00:47:59,800 --> 00:48:01,800
Speaker 4: you certain people I have large bodies of work with

945
00:48:02,000 --> 00:48:06,400
Speaker 4: just because we just work together when we work, and

946
00:48:06,560 --> 00:48:09,080
Speaker 4: I probably have forty songs with Jasmine.

947
00:48:08,680 --> 00:48:12,960
Speaker 2: Then no way describe her her songwriting, because I feel

948
00:48:13,000 --> 00:48:15,360
Speaker 2: like that's one of the appeals to Jasmine too, the

949
00:48:15,400 --> 00:48:15,719
Speaker 2: way she.

950
00:48:16,400 --> 00:48:18,919
Speaker 3: Yeah, she just go to the point.

951
00:48:19,200 --> 00:48:22,960
Speaker 4: The reality is that you know, unfortunately, unfortunately, I've been

952
00:48:23,000 --> 00:48:24,479
Speaker 4: able to work with a lot of people who write

953
00:48:24,480 --> 00:48:27,680
Speaker 4: auto biographically. So there's a lot of stuff she said

954
00:48:27,719 --> 00:48:29,320
Speaker 4: in the songs that she either went through or she

955
00:48:29,400 --> 00:48:31,719
Speaker 4: did not. Much of it is just straight up imagine.

956
00:48:32,400 --> 00:48:34,479
Speaker 4: And then now when they're at a really happy point

957
00:48:34,480 --> 00:48:36,640
Speaker 4: in their life for a certain point the song that

958
00:48:37,520 --> 00:48:39,719
Speaker 4: they don't know how they feel about the song, so

959
00:48:39,840 --> 00:48:41,600
Speaker 4: then that's not necessarily what they want to express at

960
00:48:41,640 --> 00:48:43,840
Speaker 4: that point. I'll put it, and that slows down the

961
00:48:44,239 --> 00:48:45,000
Speaker 4: records coming out.

962
00:48:45,040 --> 00:48:47,160
Speaker 3: I'll put it this way. You and I both know.

963
00:48:48,880 --> 00:48:51,600
Speaker 4: The victim who got his card busted.

964
00:48:53,880 --> 00:48:58,560
Speaker 3: We do anyway, No, it's like that and always did

965
00:48:58,600 --> 00:48:59,640
Speaker 3: you work on the second album?

966
00:49:00,000 --> 00:49:01,400
Speaker 4: I worked on all albums. Today.

967
00:49:01,880 --> 00:49:05,480
Speaker 3: I played drums on I don't know if you're an

968
00:49:05,480 --> 00:49:07,000
Speaker 3: Ambell record, that's the one.

969
00:49:07,440 --> 00:49:08,480
Speaker 4: Okay. Yeah.

970
00:49:08,680 --> 00:49:10,680
Speaker 3: They brought me the track and I played. But when

971
00:49:10,719 --> 00:49:12,000
Speaker 3: I was listening to the lyrics, I was.

972
00:49:12,000 --> 00:49:13,399
Speaker 4: Like, yeah, crazy redemption song.

973
00:49:13,480 --> 00:49:14,479
Speaker 2: Did she go to that ship?

974
00:49:14,880 --> 00:49:17,840
Speaker 4: Yeah, no she didn't. That's the same person that she

975
00:49:17,920 --> 00:49:19,920
Speaker 4: did the other thing. Well that's all that's that was.

976
00:49:20,640 --> 00:49:23,520
Speaker 3: There's no way that she went through those lyrics and redemption.

977
00:49:23,360 --> 00:49:27,759
Speaker 4: Because the lyrics and redemption one verse is her as

978
00:49:27,920 --> 00:49:31,480
Speaker 4: the person who's doing it, and the other verses her experiencing.

979
00:49:31,760 --> 00:49:36,439
Speaker 3: Oh man, but did herself? Did she go through that ship? Yeah?

980
00:49:36,640 --> 00:49:39,040
Speaker 3: All right. They brought me a song Redemption to you know,

981
00:49:39,280 --> 00:49:42,239
Speaker 3: just put your drums on it. And I didn't bother

982
00:49:42,440 --> 00:49:44,640
Speaker 3: to even listen to the song before I started. I

983
00:49:44,800 --> 00:49:47,239
Speaker 3: just I said, you know, Steve, did you know? Put

984
00:49:47,239 --> 00:49:49,000
Speaker 3: it on the reel and I'm a drum to it

985
00:49:49,200 --> 00:49:54,480
Speaker 3: first take and my jaw was dropping because me and

986
00:49:54,760 --> 00:49:57,040
Speaker 3: Layah new Jasmine when she was sneaking in the Black

987
00:49:57,120 --> 00:50:00,440
Speaker 3: Lily Ages as a ten year older. This is the

988
00:50:00,480 --> 00:50:05,239
Speaker 3: same person to whom like her dad and rich with

989
00:50:05,719 --> 00:50:09,640
Speaker 3: big the club owner let this nine year old girl

990
00:50:09,840 --> 00:50:10,920
Speaker 3: come upstairs.

991
00:50:11,000 --> 00:50:12,799
Speaker 2: This day goes everywhere with her.

992
00:50:12,880 --> 00:50:16,160
Speaker 3: But all right, you know she does she does.

993
00:50:17,560 --> 00:50:21,520
Speaker 4: Yeah, man, some of that was also metaphorical. Yeah, I

994
00:50:21,680 --> 00:50:25,320
Speaker 4: was like the rock, I know that I need you.

995
00:50:25,400 --> 00:50:27,439
Speaker 4: I wasn't supposed to be here, but I need that rock.

996
00:50:28,480 --> 00:50:32,000
Speaker 3: Like that's not I get it, but it's just still

997
00:50:32,160 --> 00:50:35,120
Speaker 3: the fact that this ain't the year on my mind

998
00:50:35,200 --> 00:50:42,120
Speaker 3: all the time. Your hair is very I'm just like,

999
00:50:42,239 --> 00:50:44,880
Speaker 3: she's a mature like, you know, so what what are her?

1000
00:50:45,080 --> 00:50:46,200
Speaker 4: Just her goals and.

1001
00:50:48,280 --> 00:50:50,640
Speaker 3: What she wants because I also know that she feels

1002
00:50:50,680 --> 00:50:54,279
Speaker 3: a certain way that the world's embracing Adele who is

1003
00:50:54,360 --> 00:50:57,840
Speaker 3: her age and not her And yes, besides the captain

1004
00:50:57,880 --> 00:51:02,120
Speaker 3: obvious reasons, well she's mentioned that, you know, we're well

1005
00:51:02,160 --> 00:51:04,000
Speaker 3: I don't even know if she's on social media anymore.

1006
00:51:05,239 --> 00:51:07,600
Speaker 4: She will pop up once every month or two. I mean,

1007
00:51:07,640 --> 00:51:10,480
Speaker 4: the thing is right now, I mean I was around

1008
00:51:10,520 --> 00:51:12,960
Speaker 4: a few months ago. I just think she's happy, you know,

1009
00:51:13,000 --> 00:51:16,440
Speaker 4: because when many people when they get to work and

1010
00:51:16,480 --> 00:51:18,880
Speaker 4: when they're really young, at some point they want to

1011
00:51:18,920 --> 00:51:22,040
Speaker 4: catch up on life and not necessarily revolve their life

1012
00:51:22,080 --> 00:51:26,080
Speaker 4: around of recording or touring schedule. So from what I

1013
00:51:26,120 --> 00:51:29,840
Speaker 4: can capture, that's just where it's at. And she has music,

1014
00:51:30,000 --> 00:51:31,640
Speaker 4: like you know, we got together for a couple of days,

1015
00:51:31,680 --> 00:51:34,480
Speaker 4: and chemistry wise, stuff comes up all the time. It's

1016
00:51:34,600 --> 00:51:37,719
Speaker 4: just is that the priority is this record right now.

1017
00:51:37,840 --> 00:51:39,359
Speaker 4: You know, I think some music's gonna come out really

1018
00:51:39,400 --> 00:51:42,719
Speaker 4: soon though, but in general, you know, yeah, could you

1019
00:51:42,920 --> 00:51:44,080
Speaker 4: do that insecure? All right?

1020
00:51:44,120 --> 00:51:44,319
Speaker 6: Cool?

1021
00:51:45,760 --> 00:51:48,960
Speaker 4: Great, she would just do it, But it's Jasmine's pen

1022
00:51:49,320 --> 00:51:52,120
Speaker 4: is next, next, next level. And I think for me

1023
00:51:52,280 --> 00:51:54,200
Speaker 4: it was the thing where when I first worked with her,

1024
00:51:54,280 --> 00:51:56,040
Speaker 4: you know, the labels like get Harold Lily and get

1025
00:51:56,080 --> 00:51:58,960
Speaker 4: this person in and I was like nah. And by

1026
00:51:59,080 --> 00:52:02,279
Speaker 4: working onliness and then Bush your windows, they were able

1027
00:52:02,360 --> 00:52:04,800
Speaker 4: to see that her pen was better than everyone else's.

1028
00:52:05,200 --> 00:52:09,400
Speaker 4: The same with you know, helping Lawrence Penn from Fuji

1029
00:52:09,480 --> 00:52:13,080
Speaker 4: time into where it became, or helping Miguel you know,

1030
00:52:13,160 --> 00:52:15,480
Speaker 4: who had written many songs, but kind of helping them

1031
00:52:15,520 --> 00:52:17,680
Speaker 4: focus on different things with all I want to use,

1032
00:52:18,120 --> 00:52:22,560
Speaker 4: helping Jazzmin be able to folk Amy. You know, Amy

1033
00:52:22,719 --> 00:52:26,800
Speaker 4: had different people that wrote you send me flying stuff

1034
00:52:26,840 --> 00:52:29,360
Speaker 4: with her, but her pen was better than everyone else's.

1035
00:52:29,440 --> 00:52:32,880
Speaker 4: And you know, I kind of playoff. I asked the

1036
00:52:32,960 --> 00:52:35,680
Speaker 4: right questions while we're recording to help people kind of

1037
00:52:35,719 --> 00:52:37,040
Speaker 4: do it, and then I make them do it on

1038
00:52:37,120 --> 00:52:40,319
Speaker 4: their own. And sometimes it's challenging that they get mad

1039
00:52:40,400 --> 00:52:43,239
Speaker 4: and don't like it, and sometimes they actually rise to

1040
00:52:43,360 --> 00:52:43,880
Speaker 4: the occasion.

1041
00:52:44,400 --> 00:52:46,520
Speaker 3: When you walked in earlier, you talked about working on

1042
00:52:46,719 --> 00:52:51,120
Speaker 3: Miguel's new record, which is a total He was not

1043
00:52:51,239 --> 00:52:53,520
Speaker 3: the artist I expected him to be, Like when when

1044
00:52:53,560 --> 00:52:55,200
Speaker 3: he first came out the bet again, I thought it

1045
00:52:55,239 --> 00:52:58,440
Speaker 3: was just a regular R and B artist. Okay, you're

1046
00:52:58,480 --> 00:53:02,200
Speaker 3: on and he's stepped outside of that box. So I mean,

1047
00:53:02,320 --> 00:53:05,360
Speaker 3: how did how did how did he manage to do that?

1048
00:53:05,640 --> 00:53:06,040
Speaker 2: Like is?

1049
00:53:06,760 --> 00:53:10,000
Speaker 4: I think once again, it was just seeing all the possibilities,

1050
00:53:10,120 --> 00:53:12,560
Speaker 4: you know, from all I want is you toime that

1051
00:53:12,680 --> 00:53:15,120
Speaker 4: wasn't necessarily who he was. Miguel Haben signed since I

1052
00:53:15,160 --> 00:53:18,480
Speaker 4: think he was fifteen or sixteen, and he did Quickie

1053
00:53:19,280 --> 00:53:21,680
Speaker 4: and Sure Thing, which were you know, his number ones

1054
00:53:21,800 --> 00:53:24,440
Speaker 4: while he was still in another production deal years ago.

1055
00:53:25,000 --> 00:53:26,839
Speaker 4: So by the time he was really getting a chance

1056
00:53:26,920 --> 00:53:29,520
Speaker 4: to make his record, it was really Kaleidoscope Dream and

1057
00:53:30,080 --> 00:53:34,719
Speaker 4: we actually did how Many Drinks and All I wanted you.

1058
00:53:34,840 --> 00:53:36,000
Speaker 4: This is the first day I met him. When we

1059
00:53:36,000 --> 00:53:38,080
Speaker 4: first start how many drinks, He's like, it's two R

1060
00:53:38,080 --> 00:53:39,440
Speaker 4: and B. I don't want to be in the Donelle

1061
00:53:39,520 --> 00:53:41,799
Speaker 4: Jones land. I'd rather do something else. Give me something

1062
00:53:41,840 --> 00:53:44,040
Speaker 4: like guitar he was, and he said he didn't want

1063
00:53:44,080 --> 00:53:45,440
Speaker 4: to do that, so he was like, yo, give me

1064
00:53:45,520 --> 00:53:47,319
Speaker 4: something with guitars. So that's why I did the all.

1065
00:53:47,360 --> 00:53:49,040
Speaker 4: I gave him All I Wanted You track, which I

1066
00:53:49,040 --> 00:53:51,680
Speaker 4: originally made for ce Lo, but it was just like

1067
00:53:52,040 --> 00:53:54,560
Speaker 4: his guitar is yes, So then he went for it

1068
00:53:55,200 --> 00:53:57,600
Speaker 4: and it became what it was. And it was still

1069
00:53:57,680 --> 00:53:59,160
Speaker 4: like him trying to find hmself because he's like this

1070
00:53:59,320 --> 00:54:01,000
Speaker 4: so East coast and that's you in Mark with that

1071
00:54:01,120 --> 00:54:03,359
Speaker 4: New York I'm from the West coast. All right, cool,

1072
00:54:03,440 --> 00:54:06,120
Speaker 4: here take this Lyarry Shiffer beef, you know. And that

1073
00:54:06,200 --> 00:54:08,799
Speaker 4: became Kalidescope dream because I gave him the d beat

1074
00:54:09,400 --> 00:54:13,160
Speaker 4: equivalent of the opposite, and then he Kalidescope dream and

1075
00:54:13,239 --> 00:54:16,040
Speaker 4: then he played the entro the Parliamental. But the end

1076
00:54:16,080 --> 00:54:18,239
Speaker 4: of the day, his signature, j'all todate is a Dawn,

1077
00:54:18,320 --> 00:54:21,239
Speaker 4: which is all produced by Miguel. That's him, you know,

1078
00:54:21,440 --> 00:54:24,560
Speaker 4: in his studio closet room, you know, in a late

1079
00:54:24,680 --> 00:54:27,040
Speaker 4: night just zoning, and you know he has one of

1080
00:54:27,080 --> 00:54:28,920
Speaker 4: those before I let go ad libs at the end

1081
00:54:28,960 --> 00:54:31,440
Speaker 4: where people just know that song down to a certain

1082
00:54:31,480 --> 00:54:33,840
Speaker 4: point and he's developed into that. And then you know,

1083
00:54:34,080 --> 00:54:36,480
Speaker 4: his last album, wild Heart, he did a lot of

1084
00:54:36,520 --> 00:54:39,239
Speaker 4: stuff that maybe wasn't received the way he wanted it to.

1085
00:54:39,400 --> 00:54:42,279
Speaker 4: But that's part of, you know, the creative, long term

1086
00:54:42,400 --> 00:54:44,680
Speaker 4: process where you just make a record or y'all don't

1087
00:54:44,680 --> 00:54:47,040
Speaker 4: hear it yet, Okay, cool, y'all get back to that one.

1088
00:54:47,760 --> 00:54:49,880
Speaker 4: Take another one here, here's where you are now. So

1089
00:54:50,040 --> 00:54:52,640
Speaker 4: you know, skytt Walker has been something different and come through,

1090
00:54:52,680 --> 00:54:56,239
Speaker 4: and Chill was just me pushing him, you know, he

1091
00:54:56,320 --> 00:54:59,560
Speaker 4: didn't feel like recording, and I went and sat on

1092
00:54:59,600 --> 00:55:02,320
Speaker 4: the kit and started just hitting the sticks and being funny.

1093
00:55:02,600 --> 00:55:05,640
Speaker 4: And then eventually I was like, let's put on SoundCloud tonight,

1094
00:55:05,800 --> 00:55:08,800
Speaker 4: what tonight, let's go and then he, you know, I

1095
00:55:08,840 --> 00:55:10,279
Speaker 4: got him to do it a few days later, but

1096
00:55:10,400 --> 00:55:12,200
Speaker 4: we put it up and it's been there for a

1097
00:55:12,239 --> 00:55:14,600
Speaker 4: couple of years. But still people like the song. They

1098
00:55:14,719 --> 00:55:16,520
Speaker 4: like what they like and you can't stop that. So

1099
00:55:16,640 --> 00:55:19,760
Speaker 4: two years later, Cool Cold's on it. It's the new single,

1100
00:55:19,920 --> 00:55:22,880
Speaker 4: the video shot. All right, Cole, that's great. But for me,

1101
00:55:23,560 --> 00:55:27,520
Speaker 4: Miguel still hasn't even really hot all of his potential yet.

1102
00:55:27,880 --> 00:55:29,920
Speaker 4: He's still four albums and he probably got another five

1103
00:55:30,040 --> 00:55:30,600
Speaker 4: or six in them.

1104
00:55:35,560 --> 00:55:37,879
Speaker 3: When you did Mac wild Stuff, I was still calling

1105
00:55:37,880 --> 00:55:41,640
Speaker 3: them Michael Lee from the and I was when he said,

1106
00:55:41,680 --> 00:55:44,480
Speaker 3: like I was working with Salon m I'm like, I

1107
00:55:44,600 --> 00:55:48,080
Speaker 3: was like, yeat out of here. I never knew are

1108
00:55:48,160 --> 00:55:52,000
Speaker 3: you going to continue to work with him? And how

1109
00:55:52,040 --> 00:55:54,840
Speaker 3: are you able to convince him when he could have

1110
00:55:54,920 --> 00:55:59,919
Speaker 3: easily uh, you know, going young?

1111
00:56:00,520 --> 00:56:02,840
Speaker 2: He know the good shit though, right.

1112
00:56:03,600 --> 00:56:05,600
Speaker 4: More than anything else. How we first thinked that was

1113
00:56:06,120 --> 00:56:07,640
Speaker 4: I was in LA when I met him, and then

1114
00:56:07,800 --> 00:56:09,360
Speaker 4: he would always come out of studio and we'd be

1115
00:56:09,400 --> 00:56:12,840
Speaker 4: talking about the lack of duck sauce in LA and

1116
00:56:13,120 --> 00:56:16,640
Speaker 4: just like real you know, missing New York basically. So

1117
00:56:16,719 --> 00:56:17,960
Speaker 4: he would come by and I was a fan of

1118
00:56:18,040 --> 00:56:19,600
Speaker 4: him from the wire, but he was out there doing

1119
00:56:19,640 --> 00:56:21,400
Speaker 4: nine on two or zero, but he would come by

1120
00:56:21,440 --> 00:56:24,880
Speaker 4: my sessions while I was working on Miguel or C. J.

1121
00:56:25,040 --> 00:56:27,279
Speaker 4: Hilton or whoever else. He'd just be around me doing

1122
00:56:27,320 --> 00:56:31,520
Speaker 4: stuff and I heard him singing on something that I

1123
00:56:31,600 --> 00:56:34,239
Speaker 4: think worked with Warren Campbell worked on this record called

1124
00:56:34,320 --> 00:56:37,640
Speaker 4: Cold that he had and I heard and I was like, okay, cool,

1125
00:56:37,719 --> 00:56:39,840
Speaker 4: your voice is getting there. And he had some ability.

1126
00:56:40,440 --> 00:56:42,680
Speaker 4: But I was also jumping off my label at Sony,

1127
00:56:42,680 --> 00:56:44,279
Speaker 4: and I was like, all right, cool, here's the one

1128
00:56:44,360 --> 00:56:47,759
Speaker 4: two punch. If you can sing these records, then I

1129
00:56:47,800 --> 00:56:50,280
Speaker 4: can cut an album on you in a month. Everybody's

1130
00:56:50,280 --> 00:56:53,000
Speaker 4: gonna love you because you came from TV, and you know,

1131
00:56:53,280 --> 00:56:55,040
Speaker 4: we can jump it off real quick. And that's basically

1132
00:56:55,120 --> 00:56:58,000
Speaker 4: what I did. Over the Christmas holiday. He cut on it,

1133
00:56:58,160 --> 00:57:01,880
Speaker 4: He wrote Hanny, he sang a Rico love song, a

1134
00:57:01,960 --> 00:57:03,840
Speaker 4: faunt La Roy's song, and he nailed it. And I

1135
00:57:03,920 --> 00:57:05,279
Speaker 4: just brought him down to Miami for a couple of

1136
00:57:05,360 --> 00:57:10,840
Speaker 4: days and he showed more than you know, anyone's potential

1137
00:57:10,920 --> 00:57:12,359
Speaker 4: thought of him. So I was like, cool, soon as

1138
00:57:12,360 --> 00:57:15,000
Speaker 4: you finished TV in March, we're gonna cut your album

1139
00:57:15,040 --> 00:57:16,680
Speaker 4: in a month. You're gonna shoot some videos and then

1140
00:57:16,840 --> 00:57:18,680
Speaker 4: I have you done before you gotta go back to TV.

1141
00:57:19,480 --> 00:57:22,080
Speaker 4: And that album became what it was, but it also

1142
00:57:23,000 --> 00:57:26,760
Speaker 4: was definite Grammy nominated, and it felt right. And also

1143
00:57:26,800 --> 00:57:28,840
Speaker 4: it's just like a stamping time. That's how I feel

1144
00:57:28,880 --> 00:57:31,280
Speaker 4: about it. You know, at that time I stopped kind

1145
00:57:31,320 --> 00:57:33,240
Speaker 4: of doing records, but I just really felt like it

1146
00:57:33,400 --> 00:57:37,760
Speaker 4: was a good expression of how we felt about New

1147
00:57:37,840 --> 00:57:39,680
Speaker 4: York r and being also caught at a time when

1148
00:57:40,080 --> 00:57:43,240
Speaker 4: everybody in New York was like Atlanta's taking over. He go,

1149
00:57:43,400 --> 00:57:45,680
Speaker 4: Eric be for president, every be for president. Oh, mav

1150
00:57:45,760 --> 00:57:47,720
Speaker 4: Deep puts my favorite joint. And then what I did was,

1151
00:57:47,760 --> 00:57:51,040
Speaker 4: instead of sampling the old records, I went to Primo,

1152
00:57:51,160 --> 00:57:53,160
Speaker 4: I went to Pete. I went to Havoc and was like, nah,

1153
00:57:53,320 --> 00:57:55,960
Speaker 4: you're gonna produce it with me, get your disc out,

1154
00:57:56,080 --> 00:57:59,080
Speaker 4: and now cut them a check rather than paying a

1155
00:57:59,160 --> 00:58:01,760
Speaker 4: sample for something else. So Primo went back to the

1156
00:58:01,840 --> 00:58:04,960
Speaker 4: disc and got me the group on pieces and reprogrammed it.

1157
00:58:05,600 --> 00:58:07,920
Speaker 4: Pete pulled out s P twelve hundred discs. We did that,

1158
00:58:08,200 --> 00:58:11,360
Speaker 4: you know, Havoc redid that beat. That wasn't actually the sample,

1159
00:58:11,880 --> 00:58:14,120
Speaker 4: but we was able to kind of put it together.

1160
00:58:14,160 --> 00:58:15,880
Speaker 4: And then they got their points, they got published, and

1161
00:58:15,960 --> 00:58:19,160
Speaker 4: they got new bread and that to me was also

1162
00:58:19,400 --> 00:58:22,600
Speaker 4: me you know, paying back my computing, paying back my

1163
00:58:22,640 --> 00:58:24,240
Speaker 4: community because if I would have cleared a sample, they

1164
00:58:24,240 --> 00:58:25,520
Speaker 4: still would never seen the check.

1165
00:58:25,440 --> 00:58:25,720
Speaker 3: Off of it.

1166
00:58:26,200 --> 00:58:28,200
Speaker 2: But Mac was still and he was the perfect artist

1167
00:58:28,240 --> 00:58:29,680
Speaker 2: because at the end of the day he had the

1168
00:58:29,760 --> 00:58:31,760
Speaker 2: link to Wu Tang. He had that, and then he

1169
00:58:31,800 --> 00:58:33,880
Speaker 2: had an It was like, oh that.

1170
00:58:34,200 --> 00:58:36,600
Speaker 4: When the first time I went everything. When Meth came

1171
00:58:36,640 --> 00:58:38,800
Speaker 4: to the studio to do the hook on on the album,

1172
00:58:38,840 --> 00:58:40,360
Speaker 4: he was like, who's been messing with him? I was like,

1173
00:58:41,720 --> 00:58:44,480
Speaker 4: what you mean, Like who you been messing with? I'm like,

1174
00:58:45,040 --> 00:58:47,760
Speaker 4: what are you talking about? Things like like who who's

1175
00:58:47,760 --> 00:58:49,920
Speaker 4: been doing this stuff? I was like, oh me, He's

1176
00:58:49,920 --> 00:58:51,520
Speaker 4: like because I heard some stuff before. It sounded like

1177
00:58:51,520 --> 00:58:53,080
Speaker 4: he was in a little, you know, rat house with

1178
00:58:53,160 --> 00:58:55,840
Speaker 4: his boys. It sounded like a whole other level. But

1179
00:58:55,920 --> 00:58:57,640
Speaker 4: once again I saw the potential on him, like he

1180
00:58:57,720 --> 00:59:00,680
Speaker 4: still has more potential than these actually he realized. And

1181
00:59:00,760 --> 00:59:03,880
Speaker 4: then his last project, After Hours, is something that he did.

1182
00:59:03,960 --> 00:59:05,600
Speaker 4: We did love in the nineties when he was doing

1183
00:59:06,280 --> 00:59:09,480
Speaker 4: the breaks on, so we had like some project, some

1184
00:59:09,560 --> 00:59:11,560
Speaker 4: songs we didn't put out, and then you know, he

1185
00:59:11,680 --> 00:59:14,120
Speaker 4: was moving on to doing other stuff. So he did

1186
00:59:14,160 --> 00:59:16,400
Speaker 4: his Body and Clive record with Wild and he had

1187
00:59:16,440 --> 00:59:18,080
Speaker 4: his after Hours record that he wanted to put out,

1188
00:59:18,120 --> 00:59:19,600
Speaker 4: and I was like, you know what, just go ahead

1189
00:59:19,680 --> 00:59:21,720
Speaker 4: and do do it your way. But I still you

1190
00:59:21,760 --> 00:59:25,640
Speaker 4: know again or yeah for sure, for sure it's like

1191
00:59:25,800 --> 00:59:28,640
Speaker 4: no low Bro basically and he's still passed through. Y'all.

1192
00:59:28,640 --> 00:59:30,360
Speaker 4: Gota come to Miami and vibe with you or whatever

1193
00:59:30,360 --> 00:59:31,560
Speaker 4: it is. I probably seeing them all.

1194
00:59:32,240 --> 00:59:35,880
Speaker 3: Okay, how did Hiatus? How did you discover them?

1195
00:59:36,720 --> 00:59:42,880
Speaker 4: Uh? Deep Prosper actually Deep Prosper, Deep Prosper people. Deep

1196
00:59:42,960 --> 00:59:45,400
Speaker 4: Prosper actually brought that to me and was like, Yo,

1197
00:59:45,480 --> 00:59:49,040
Speaker 4: there's this band. Theyre on band Camp. They kind of crazy.

1198
00:59:49,720 --> 00:59:51,680
Speaker 4: You know, you're doing some stuff with your labor, SOY

1199
00:59:51,800 --> 00:59:53,760
Speaker 4: tell me for something there. And I was basically walking

1200
00:59:53,760 --> 00:59:56,600
Speaker 4: around Sony going if I had a young Amy winehouse,

1201
00:59:56,640 --> 00:59:59,000
Speaker 4: where am I going to put that out? So I

1202
00:59:59,080 --> 01:00:03,960
Speaker 4: went to the master Works Jazz Classical department and Chuck Mitchell,

1203
01:00:04,000 --> 01:00:06,240
Speaker 4: who was at VERB and did many different things and

1204
01:00:06,320 --> 01:00:08,640
Speaker 4: work you know, at downbeating things over the years and

1205
01:00:09,400 --> 01:00:12,360
Speaker 4: was a great writer and as well. I was like, look,

1206
01:00:12,840 --> 01:00:14,800
Speaker 4: I want to bring back Buddha records, cause Sony, your

1207
01:00:14,840 --> 01:00:16,479
Speaker 4: own Buddha. But they didn't have it for the world.

1208
01:00:16,880 --> 01:00:19,840
Speaker 4: So then I was like, well, since you can't do Buddha,

1209
01:00:19,920 --> 01:00:21,840
Speaker 4: let me do Flying Buddha, which was you know, flying

1210
01:00:21,920 --> 01:00:26,240
Speaker 4: Dutchman meets Buddha and Hi. This was you know, they

1211
01:00:26,280 --> 01:00:28,240
Speaker 4: didn't want to do a deal with anybody, but they

1212
01:00:28,280 --> 01:00:30,800
Speaker 4: wanted to work with me, so that was just something great.

1213
01:00:30,840 --> 01:00:32,840
Speaker 4: That way, I was able to pick up what they

1214
01:00:32,880 --> 01:00:35,320
Speaker 4: already had and talked Tomahawk, sent it to Tip, who

1215
01:00:35,360 --> 01:00:38,680
Speaker 4: doesn't like most stuff. He surprisingly said he wanted a

1216
01:00:38,760 --> 01:00:41,200
Speaker 4: rhyme on it. Cool. I was nominated, and then for

1217
01:00:41,280 --> 01:00:43,600
Speaker 4: their second album, I was able to kind of get

1218
01:00:43,640 --> 01:00:46,280
Speaker 4: in and I didn't really mess with them too much

1219
01:00:46,320 --> 01:00:48,000
Speaker 4: on a let them record. I was going to say

1220
01:00:48,720 --> 01:00:50,920
Speaker 4: there was a lot in there all over that the

1221
01:00:51,040 --> 01:00:53,320
Speaker 4: album is like, you know, there was basically I took

1222
01:00:53,400 --> 01:00:55,600
Speaker 4: all of our schooling and everything we ever know and

1223
01:00:55,760 --> 01:00:59,000
Speaker 4: poured it in one record. They got it off their chests,

1224
01:00:59,680 --> 01:01:01,840
Speaker 4: but at the same time, it was so much being

1225
01:01:01,880 --> 01:01:04,600
Speaker 4: there and Breathing Underwater still got nominated, and you know

1226
01:01:04,800 --> 01:01:08,680
Speaker 4: Drakes and Drake's sample and Drake's sample the beginning of

1227
01:01:08,800 --> 01:01:10,800
Speaker 4: building a Ladder, which is the only two things that

1228
01:01:10,840 --> 01:01:12,520
Speaker 4: I messed with them about. I made him recut and

1229
01:01:12,600 --> 01:01:15,520
Speaker 4: breathing underwater till it felt like what I saw them

1230
01:01:15,560 --> 01:01:18,240
Speaker 4: doing boiler and on the rooftop. That's really their performance

1231
01:01:19,120 --> 01:01:21,439
Speaker 4: and building the ladder.

1232
01:01:21,520 --> 01:01:23,160
Speaker 3: You know, the intro wasn't right when you get a

1233
01:01:23,200 --> 01:01:25,640
Speaker 3: group like that, like are you ever afraid that you'll

1234
01:01:25,680 --> 01:01:30,479
Speaker 3: take because what makes them unique is that they're not pop,

1235
01:01:30,800 --> 01:01:35,000
Speaker 3: that they're not easily digestible. But it's also like, do

1236
01:01:35,080 --> 01:01:37,040
Speaker 3: you feel like, oh, I wouldn't be a smart producer

1237
01:01:37,040 --> 01:01:39,680
Speaker 3: if I didn't tell them this is a hook, this

1238
01:01:39,840 --> 01:01:41,320
Speaker 3: is sixteen bars, this is.

1239
01:01:41,920 --> 01:01:43,600
Speaker 4: I think it was partially that, And I mean they

1240
01:01:43,720 --> 01:01:47,000
Speaker 4: really want to be their own thing anyway, so they

1241
01:01:47,080 --> 01:01:50,560
Speaker 4: didn't really feel that type of pressure For me. Sometimes

1242
01:01:50,680 --> 01:01:52,200
Speaker 4: Napal would definitely be like, I don't want to make

1243
01:01:52,240 --> 01:01:54,360
Speaker 4: pop songs, but my thing is like do I do?

1244
01:01:54,640 --> 01:01:56,320
Speaker 4: That's the way I kind of look at it with them.

1245
01:01:56,800 --> 01:01:59,880
Speaker 4: If we go to Stevie's do I do all those

1246
01:02:00,000 --> 01:02:02,280
Speaker 4: notes in the middle of the hook? Cool? That sounds

1247
01:02:02,320 --> 01:02:04,400
Speaker 4: like something Hiatus might want to play. So a little

1248
01:02:04,560 --> 01:02:08,000
Speaker 4: less return the forever, a little bit more do I do. Still,

1249
01:02:08,000 --> 01:02:09,720
Speaker 4: they're going to be who they are and really be

1250
01:02:09,960 --> 01:02:14,080
Speaker 4: musically pushing the envelope at all times, but if we

1251
01:02:14,120 --> 01:02:17,000
Speaker 4: could still get something in between it that actually, you know,

1252
01:02:17,080 --> 01:02:19,760
Speaker 4: sticks it, because ultimately Knockamaraw was great, but it was

1253
01:02:19,840 --> 01:02:21,600
Speaker 4: love You a whole bunch of times in the middle,

1254
01:02:21,600 --> 01:02:23,680
Speaker 4: and nobody really knew that she was talking about something

1255
01:02:23,720 --> 01:02:25,800
Speaker 4: a lot deeper than that. But it was like, hand

1256
01:02:25,840 --> 01:02:28,320
Speaker 4: on my doling, love you, Okay, we know what you said.

1257
01:02:28,440 --> 01:02:28,800
Speaker 3: That was it.

1258
01:02:29,400 --> 01:02:31,920
Speaker 4: So you know, they have other songs that they'll develop

1259
01:02:32,000 --> 01:02:33,320
Speaker 4: to it. That's the way I feel about it. You know,

1260
01:02:33,760 --> 01:02:36,160
Speaker 4: in the album of two, I don't think any artist

1261
01:02:36,280 --> 01:02:38,600
Speaker 4: just nails their whole life. They kind of got to

1262
01:02:38,640 --> 01:02:40,439
Speaker 4: get to that point. And now they're at the point

1263
01:02:40,960 --> 01:02:43,200
Speaker 4: where you know, they're recording now and it's gonna come

1264
01:02:43,200 --> 01:02:43,640
Speaker 4: out different.

1265
01:02:43,680 --> 01:02:45,400
Speaker 3: Yeah, the Lung was my record on that. On the

1266
01:02:45,480 --> 01:02:46,240
Speaker 3: Choose Your Weapon that was.

1267
01:02:47,320 --> 01:02:50,080
Speaker 4: That album is just like it's like it's a double album.

1268
01:02:50,200 --> 01:02:53,120
Speaker 4: To me, it's like every song has three different changement

1269
01:02:53,880 --> 01:02:56,560
Speaker 4: moves and changes. But they also they took a lot

1270
01:02:56,640 --> 01:02:59,080
Speaker 4: out of them, so now they'll probably do shorter packages

1271
01:02:59,120 --> 01:03:01,439
Speaker 4: and have more because they still you know, they found

1272
01:03:01,560 --> 01:03:04,880
Speaker 4: dedicated fans who will sit there for three hours and

1273
01:03:05,040 --> 01:03:07,600
Speaker 4: not know all the words, but they will try their

1274
01:03:07,640 --> 01:03:11,040
Speaker 4: best to and we just got to sit and watch them, like, yeah,

1275
01:03:11,160 --> 01:03:15,360
Speaker 4: I mean, I'm amazed by their actual overall talent and

1276
01:03:15,400 --> 01:03:17,120
Speaker 4: then also what they get out of just being for

1277
01:03:17,280 --> 01:03:19,240
Speaker 4: them on stage. They kill it most of the times

1278
01:03:19,280 --> 01:03:20,200
Speaker 4: they don't even have background.

1279
01:03:20,840 --> 01:03:23,640
Speaker 3: Are there any artists that you regret not working with

1280
01:03:23,760 --> 01:03:26,800
Speaker 3: that you should have or you know, any close calls.

1281
01:03:28,560 --> 01:03:33,760
Speaker 4: I'm just had to do and it didn't happen or nah?

1282
01:03:34,040 --> 01:03:37,880
Speaker 4: I think that the only thing that, like I say,

1283
01:03:37,960 --> 01:03:40,600
Speaker 4: is that sometimes things don't happen when they could have.

1284
01:03:40,840 --> 01:03:43,520
Speaker 4: I can't say that there's real regret. You know, some

1285
01:03:43,640 --> 01:03:45,880
Speaker 4: of the most talented people I've met I haven't gotten

1286
01:03:45,880 --> 01:03:47,480
Speaker 4: a chance to make records with. You know, there's an

1287
01:03:47,520 --> 01:03:50,200
Speaker 4: artist called We put out an EP called House of

1288
01:03:50,360 --> 01:03:55,880
Speaker 4: Cry by a girl named Cry in Chicago, probably one

1289
01:03:55,920 --> 01:04:00,600
Speaker 4: of the most talented, savant level people I've ever met,

1290
01:04:00,800 --> 01:04:05,120
Speaker 4: just as far as engineers, records themselves, sings octaves and octaves,

1291
01:04:05,680 --> 01:04:08,440
Speaker 4: but just marketing wise, I couldn't pull it together as

1292
01:04:08,480 --> 01:04:11,200
Speaker 4: a label to make her management Dad management all of

1293
01:04:11,280 --> 01:04:13,200
Speaker 4: it work. But at the end of the day, you know,

1294
01:04:13,400 --> 01:04:15,880
Speaker 4: I have sixty songs someone that I felt like still

1295
01:04:16,440 --> 01:04:20,240
Speaker 4: give me goosebumps. At first note. You know, across the board,

1296
01:04:20,680 --> 01:04:23,280
Speaker 4: I think that there are opportunities where some people just

1297
01:04:23,480 --> 01:04:26,640
Speaker 4: don't actually meet their mark, and hopefully at some point

1298
01:04:26,720 --> 01:04:27,040
Speaker 4: they will.

1299
01:04:27,120 --> 01:04:27,240
Speaker 2: You know.

1300
01:04:27,280 --> 01:04:30,760
Speaker 4: It's almost like a lot of Sugarman's out there online.

1301
01:04:31,280 --> 01:04:33,840
Speaker 4: House of c I EP is out there. Oh ok,

1302
01:04:34,200 --> 01:04:39,200
Speaker 4: it's actually is really strong. Did we miss anything? I meant, well,

1303
01:04:39,200 --> 01:04:43,320
Speaker 4: there's gazillion things you've done that we didn't go. Did

1304
01:04:43,360 --> 01:04:44,320
Speaker 4: you do the Ziggy uh?

1305
01:04:45,040 --> 01:04:45,520
Speaker 3: Toss it up?

1306
01:04:45,560 --> 01:04:49,280
Speaker 4: The low Key remix? That was all jiggy stuff I produced.

1307
01:04:49,280 --> 01:04:52,240
Speaker 4: That was my first group. That Dad was basically like,

1308
01:04:53,920 --> 01:04:55,560
Speaker 4: you going to school. So I was in school for

1309
01:04:55,640 --> 01:04:57,960
Speaker 4: business management, and I was like, well, I need six

1310
01:04:58,040 --> 01:05:01,360
Speaker 4: months off to do this album. So after that, if

1311
01:05:01,360 --> 01:05:02,840
Speaker 4: I don't get no work, I'll go back to school.

1312
01:05:03,360 --> 01:05:04,080
Speaker 3: I never went back.

1313
01:05:04,320 --> 01:05:06,720
Speaker 4: So that was my first full project.

1314
01:05:08,480 --> 01:05:09,720
Speaker 3: So the roots album, no.

1315
01:05:13,320 --> 01:05:15,360
Speaker 4: Stream of thoughts, you know, the flow of it.

1316
01:05:16,440 --> 01:05:17,640
Speaker 3: Well, we didn't reveal.

1317
01:05:17,440 --> 01:05:20,280
Speaker 2: Everything, all right, cool, I didn't understand.

1318
01:05:20,520 --> 01:05:23,320
Speaker 3: We just let that slide past the five people. Great,

1319
01:05:23,400 --> 01:05:27,040
Speaker 3: thank you. Anyway, this this damn near a double episode. Yeah,

1320
01:05:27,560 --> 01:05:32,760
Speaker 3: Jesus got a two week episode. Anyway, salim yo man,

1321
01:05:32,920 --> 01:05:36,680
Speaker 3: this is this is probably this is one of my

1322
01:05:36,800 --> 01:05:38,960
Speaker 3: I love these. I didn't know you do that did

1323
01:05:39,080 --> 01:05:43,320
Speaker 3: that episode where you know and and for real, man

1324
01:05:43,400 --> 01:05:45,800
Speaker 3: like seriously, like just as a kid like growing up,

1325
01:05:45,920 --> 01:05:49,560
Speaker 3: whenever I saw salam remy remix on a record. It

1326
01:05:49,920 --> 01:05:51,480
Speaker 3: so just thank you for all you did.

1327
01:05:51,600 --> 01:05:54,240
Speaker 4: You know, And it's so crazy you just said as

1328
01:05:54,280 --> 01:05:59,440
Speaker 4: a kid, because I'm sitting on sometimes I feel it

1329
01:05:59,640 --> 01:06:00,880
Speaker 4: and some times I feel it.

1330
01:06:00,960 --> 01:06:02,640
Speaker 3: Like I'm thirty.

1331
01:06:02,680 --> 01:06:05,080
Speaker 5: I'm thirty nine, So like work them many like super

1332
01:06:05,120 --> 01:06:08,200
Speaker 5: Cat Dollary my baby, but you get it y hot.

1333
01:06:08,280 --> 01:06:12,560
Speaker 3: Yeah that was like ninety two. I was thirteen. We

1334
01:06:12,680 --> 01:06:15,280
Speaker 3: also have to get you on Chat with Sugar, which

1335
01:06:15,320 --> 01:06:21,280
Speaker 3: is even which even deeper rabbit hole of information of music.

1336
01:06:21,560 --> 01:06:24,880
Speaker 3: Wait a minute, we like that. Wait, speaking of Instagram, Yeah,

1337
01:06:25,160 --> 01:06:28,400
Speaker 3: you and Steve. You and Steve do something very weird.

1338
01:06:29,360 --> 01:06:32,400
Speaker 3: Your Instagram is nothing but just clips of the moment.

1339
01:06:32,440 --> 01:06:34,320
Speaker 3: First of all, how high level clips?

1340
01:06:34,400 --> 01:06:37,680
Speaker 4: You just take them off YouTube and YouTube sometimes daily

1341
01:06:37,800 --> 01:06:40,720
Speaker 4: motion just looking for sometimes I'm actually searching on Instagram

1342
01:06:40,840 --> 01:06:41,640
Speaker 4: just by hashtag.

1343
01:06:42,120 --> 01:06:44,480
Speaker 3: I was about to say, run out of ideas, like.

1344
01:06:45,520 --> 01:06:47,880
Speaker 4: You know what it was for me over the last year,

1345
01:06:49,000 --> 01:06:51,120
Speaker 4: I really felt like it was just at that thing

1346
01:06:51,160 --> 01:06:52,560
Speaker 4: you know, we get to a point in life where

1347
01:06:52,600 --> 01:06:54,360
Speaker 4: we made a lot of records and I'm like, Okay,

1348
01:06:54,520 --> 01:06:56,840
Speaker 4: why am I making these? You know, when I'm working

1349
01:06:56,920 --> 01:06:59,720
Speaker 4: with artists, I'm making records to Oh, so what do

1350
01:06:59,720 --> 01:07:02,000
Speaker 4: you want? Or you liked it so you don't like that, Okay,

1351
01:07:02,320 --> 01:07:05,920
Speaker 4: I'm catering to them. I'm cooking for them. And I

1352
01:07:06,080 --> 01:07:07,680
Speaker 4: needed to get to a point where if I'm just

1353
01:07:07,800 --> 01:07:09,960
Speaker 4: making what I want to make. Erase the black boy,

1354
01:07:10,040 --> 01:07:12,120
Speaker 4: he raced the white boy, and this is just me

1355
01:07:12,280 --> 01:07:15,720
Speaker 4: hearing it. I wanted to find my baseline. I wanted

1356
01:07:15,760 --> 01:07:17,360
Speaker 4: to figure out where it was. So then I looked

1357
01:07:17,400 --> 01:07:22,320
Speaker 4: at it like core business, great voices, great baselines, great story.

1358
01:07:22,440 --> 01:07:25,400
Speaker 4: So I just started looking at different people, Marvin Gaye,

1359
01:07:25,480 --> 01:07:27,840
Speaker 4: Dennis Brown, the people I really liked, and then looking

1360
01:07:28,280 --> 01:07:31,320
Speaker 4: at just watching clips of people sing to see what's

1361
01:07:31,360 --> 01:07:33,520
Speaker 4: coming out of their mouths singing. I'm still looking for

1362
01:07:33,600 --> 01:07:36,280
Speaker 4: that voice. I'm looking to be wild by somebody who

1363
01:07:36,320 --> 01:07:37,960
Speaker 4: can do it, but that also knows how to tell

1364
01:07:38,000 --> 01:07:40,320
Speaker 4: a story and write it. So that's really where it

1365
01:07:40,440 --> 01:07:42,760
Speaker 4: was born from. So I just stopped putting pictures of

1366
01:07:42,840 --> 01:07:45,320
Speaker 4: myself online, which that haven't been in it since last

1367
01:07:45,400 --> 01:07:48,800
Speaker 4: year May and then just continue to feed music and

1368
01:07:48,960 --> 01:07:51,000
Speaker 4: talk to me through that firewall. I mean talking about

1369
01:07:51,040 --> 01:07:53,760
Speaker 4: that then social media. It ain't really got none to say.

1370
01:07:53,880 --> 01:07:58,560
Speaker 3: But as we get further and further away from the church, right,

1371
01:08:00,000 --> 01:08:03,680
Speaker 3: do you think it's even remotely possible now for those

1372
01:08:03,800 --> 01:08:07,760
Speaker 3: unique voices? Like for me, like I love drum so

1373
01:08:07,960 --> 01:08:13,480
Speaker 3: much because he has a voice that's like when I

1374
01:08:13,520 --> 01:08:16,439
Speaker 3: first it's like old dirty bass or whatever, like just

1375
01:08:16,520 --> 01:08:19,000
Speaker 3: a very unique sounding voice.

1376
01:08:19,960 --> 01:08:22,880
Speaker 4: Do you feel as though like it might sound different

1377
01:08:23,000 --> 01:08:29,200
Speaker 4: because it's mustache, I'm just playing drum.

1378
01:08:30,680 --> 01:08:32,400
Speaker 3: No, But I've been like, no, no, no, not feeling

1379
01:08:32,560 --> 01:08:34,560
Speaker 3: to find unique voices. I'm looking for that.

1380
01:08:34,680 --> 01:08:38,000
Speaker 4: There's still something that I feel like is uh tribal

1381
01:08:38,920 --> 01:08:41,920
Speaker 4: for me, for all of us, there's still a level

1382
01:08:42,120 --> 01:08:45,400
Speaker 4: of you know, they'll have my Tata salad uh concept

1383
01:08:45,479 --> 01:08:48,679
Speaker 4: where I just like know you go to any person

1384
01:08:48,760 --> 01:08:50,439
Speaker 4: that label, say I made a record, call who made

1385
01:08:50,479 --> 01:08:52,280
Speaker 4: the Tata Salad, and maybe black person in America's on BIB.

1386
01:08:52,320 --> 01:08:53,760
Speaker 4: We're gonna sell for million copies. They don't know what

1387
01:08:53,800 --> 01:08:58,120
Speaker 4: I'm talking about. Doug Morris, Clive Davis, Jamie Van Newson. Cool.

1388
01:08:58,160 --> 01:09:01,200
Speaker 4: But if you go to the most Black American people

1389
01:09:01,280 --> 01:09:03,439
Speaker 4: and go. This is basically how I kept live alive.

1390
01:09:03,479 --> 01:09:09,160
Speaker 4: On Jasmine's first album, Peter, It's tatuside leave it alone.

1391
01:09:09,280 --> 01:09:11,800
Speaker 4: What do you mean? This is something that I feel

1392
01:09:12,040 --> 01:09:15,000
Speaker 4: that's a butt of oather and some Sam Spoon. It

1393
01:09:15,120 --> 01:09:17,000
Speaker 4: was not a jam that you're saying is a number one.

1394
01:09:17,040 --> 01:09:19,280
Speaker 4: It's not a copyright, but it's something that's making me

1395
01:09:19,600 --> 01:09:22,360
Speaker 4: know that she knows where I know. She's giving me

1396
01:09:22,520 --> 01:09:25,759
Speaker 4: something that takes me home. And when we hear those songs,

1397
01:09:25,840 --> 01:09:28,000
Speaker 4: when we hear the songs that are on our barbecue playlists,

1398
01:09:28,000 --> 01:09:30,639
Speaker 4: when we hear that music that resonates with it, when

1399
01:09:30,640 --> 01:09:33,080
Speaker 4: we hear cranes in the sky, what is that? Where

1400
01:09:33,120 --> 01:09:35,360
Speaker 4: did that happen before? I don't know where it happened before,

1401
01:09:35,439 --> 01:09:38,760
Speaker 4: but it feels right. It's under my skin. I think

1402
01:09:38,880 --> 01:09:41,400
Speaker 4: that that's what we're missing. As far as even the

1403
01:09:41,439 --> 01:09:45,719
Speaker 4: analog conversation, the analog no motion that happens with musicians

1404
01:09:45,960 --> 01:09:48,439
Speaker 4: is that, you know, sometimes when I'm just trying to

1405
01:09:48,479 --> 01:09:50,840
Speaker 4: show writers or you know, I'm doing camps in my house,

1406
01:09:50,880 --> 01:09:53,600
Speaker 4: sometimes I'm like, everybody's sing amazing grace. Just pick a

1407
01:09:53,680 --> 01:09:55,760
Speaker 4: note and we just sing. Now, put your hands out

1408
01:09:55,800 --> 01:09:57,960
Speaker 4: while we do it. We just feel it. There's something

1409
01:09:58,040 --> 01:10:01,160
Speaker 4: else a resonance, and vocal is a resonance, and the

1410
01:10:01,280 --> 01:10:04,920
Speaker 4: sonics is resonance and the music that needs to happen

1411
01:10:05,640 --> 01:10:08,280
Speaker 4: deep man. Yeah, so I mean just just within it.

1412
01:10:08,360 --> 01:10:10,880
Speaker 4: I just feel like that there's something sonically that happens.

1413
01:10:10,920 --> 01:10:12,920
Speaker 4: It's how I feel about when the organ hits this

1414
01:10:13,040 --> 01:10:15,080
Speaker 4: at a certain time. I want to still feel open,

1415
01:10:15,160 --> 01:10:17,320
Speaker 4: but I also need that movement because if I ain't

1416
01:10:17,320 --> 01:10:20,960
Speaker 4: getting that thing, No, I like this. This hern level

1417
01:10:21,000 --> 01:10:24,680
Speaker 4: of music that's gonna take me somewhere. Wow, Ox Tell

1418
01:10:24,800 --> 01:10:32,920
Speaker 4: Gravy Brown got something dogs. Yeah, there we go.

1419
01:10:33,200 --> 01:10:35,920
Speaker 3: Oh bru, I thank you very much for coming on.

1420
01:10:36,120 --> 01:10:39,519
Speaker 4: Question, thanks for having me. I'm the opportunity to run

1421
01:10:39,640 --> 01:10:40,040
Speaker 4: my mouth.

1422
01:10:40,680 --> 01:10:44,600
Speaker 3: Man, this is my favorite moments you know, of the

1423
01:10:44,720 --> 01:10:45,400
Speaker 3: history of the show.

1424
01:10:45,800 --> 01:10:47,600
Speaker 4: Learn It's like, we could probably do another with like

1425
01:10:47,720 --> 01:10:49,960
Speaker 4: five hours if I'm still asking you questions, but we'll

1426
01:10:49,960 --> 01:10:50,280
Speaker 4: get to that.

1427
01:10:50,360 --> 01:10:50,800
Speaker 2: Give them one.

1428
01:10:50,960 --> 01:10:56,800
Speaker 3: Just please, I have one more question. No, come on,

1429
01:10:56,960 --> 01:10:58,920
Speaker 3: you guys want me to ask this question, because what's

1430
01:10:58,960 --> 01:11:01,320
Speaker 3: the what's the like We're going to have a hip

1431
01:11:01,320 --> 01:11:03,880
Speaker 3: hop pioneer from New York and not as.

1432
01:11:06,040 --> 01:11:21,240
Speaker 6: Oh god, I can see you a hole that ship.

1433
01:11:22,520 --> 01:11:23,120
Speaker 4: Latin Quarters.

1434
01:11:25,200 --> 01:11:28,000
Speaker 3: They would clown me because I would always have Latin

1435
01:11:28,080 --> 01:11:31,800
Speaker 3: Quarter questions for all of our mid mid classic era

1436
01:11:32,000 --> 01:11:34,840
Speaker 3: hip hop acts, and they got tired of me asking

1437
01:11:34,960 --> 01:11:35,760
Speaker 3: Latin Quarter questions.

1438
01:11:35,800 --> 01:11:39,800
Speaker 7: All the different people always kind of tell more or

1439
01:11:39,840 --> 01:11:46,000
Speaker 7: less to say, yeah, jacket, I.

1440
01:11:46,000 --> 01:11:50,320
Speaker 4: Can tell you you have. I've been quarter a couple

1441
01:11:50,320 --> 01:11:50,599
Speaker 4: of times.

1442
01:11:51,280 --> 01:11:52,320
Speaker 3: I played for real.

1443
01:11:56,800 --> 01:11:59,680
Speaker 6: Because a Mexican boys.

1444
01:12:04,080 --> 01:12:09,679
Speaker 4: He is she worked Latin Quarter. I've been there twice

1445
01:12:09,680 --> 01:12:12,080
Speaker 4: when my dad was on promotion. So then he would

1446
01:12:12,120 --> 01:12:15,200
Speaker 4: take me with him. No, I saw, you know, take

1447
01:12:15,240 --> 01:12:17,200
Speaker 4: me up to be a let's see mister magic. You know,

1448
01:12:17,280 --> 01:12:19,000
Speaker 4: I gotta get something the red alert. So I went

1449
01:12:19,080 --> 01:12:21,920
Speaker 4: in the Latin Quarter. Paradise was outside at the door.

1450
01:12:23,600 --> 01:12:24,240
Speaker 3: STEVEE D.

1451
01:12:25,920 --> 01:12:28,560
Speaker 4: Yeah, I was like fourteen thirteen fourteen. I was the

1452
01:12:28,640 --> 01:12:30,160
Speaker 4: ice cap. I had a Curtis blow record out.

1453
01:12:30,160 --> 01:12:30,800
Speaker 3: I was bad.

1454
01:12:32,720 --> 01:12:36,000
Speaker 4: But basically uh Stevie D from Foursome D's was there,

1455
01:12:36,040 --> 01:12:39,680
Speaker 4: and the mank Jerry curls on top, fade earrings in

1456
01:12:39,720 --> 01:12:40,639
Speaker 4: his ears, everything.

1457
01:12:40,760 --> 01:12:42,719
Speaker 3: He had a twelve hair style.

1458
01:12:43,120 --> 01:12:46,240
Speaker 4: He had a bodyguard with him pretty much the same thing.

1459
01:12:46,320 --> 01:12:50,920
Speaker 4: His name was Katon. He looked. It's like a basically

1460
01:12:51,040 --> 01:12:55,559
Speaker 4: strong orangerting colored coat, light skin, almost like a freckle

1461
01:12:55,680 --> 01:12:59,200
Speaker 4: faced redhead dude. But mad Cock diesel because you know,

1462
01:12:59,280 --> 01:13:03,000
Speaker 4: Latin Quarters was really rough. But stevd from forsles what's

1463
01:13:03,040 --> 01:13:05,200
Speaker 4: going in there? You know that? I guess it was

1464
01:13:05,240 --> 01:13:08,680
Speaker 4: right around ten the lovetime, maybe just after that I

1465
01:13:08,800 --> 01:13:12,639
Speaker 4: walked upstairs. You go up turn around because also I'd

1466
01:13:12,680 --> 01:13:14,479
Speaker 4: always like being over there because the arcade was right

1467
01:13:14,600 --> 01:13:17,559
Speaker 4: underneath what the Latin Quarters was, So that block there

1468
01:13:17,600 --> 01:13:20,000
Speaker 4: was an arcade, and that where you can pretty much

1469
01:13:20,040 --> 01:13:24,120
Speaker 4: walk through between Seventh Avenue and Broadway underneath where that

1470
01:13:24,280 --> 01:13:26,280
Speaker 4: was at. And whenever we were at studios in the area,

1471
01:13:26,320 --> 01:13:27,920
Speaker 4: I'd always want to go to the arcade. But anyhow,

1472
01:13:28,000 --> 01:13:30,280
Speaker 4: we get up in the Latin Quarters. I see scott

1473
01:13:30,360 --> 01:13:34,320
Speaker 4: Land Rock standing downstairs by the booth. I see Eric

1474
01:13:34,400 --> 01:13:38,200
Speaker 4: b I see Bizz Red Alert's up in the booth.

1475
01:13:38,240 --> 01:13:39,760
Speaker 4: My Dad's like, stay right here, I'm gonna go get

1476
01:13:39,800 --> 01:13:43,479
Speaker 4: Red Alert. The record. Red Alert teases the beginning of

1477
01:13:43,560 --> 01:13:47,160
Speaker 4: Rebel without a pause, Brothers and Sisters. He sees some

1478
01:13:47,360 --> 01:13:50,280
Speaker 4: kids running from the back like yo, he about to

1479
01:13:50,280 --> 01:13:52,280
Speaker 4: play it. He about to play it. They get over

1480
01:13:52,360 --> 01:13:55,760
Speaker 4: to the dance floor, brothers and sisters. I don't know

1481
01:13:55,800 --> 01:13:58,320
Speaker 4: if this World's coming to Rebel comes on. That's probably

1482
01:13:58,320 --> 01:14:00,320
Speaker 4: one of the first times I'm hearing it and the

1483
01:14:00,400 --> 01:14:02,360
Speaker 4: kids in the middle of the dance floor doing like

1484
01:14:02,479 --> 01:14:04,679
Speaker 4: the crazy dances to revel without a pose.

1485
01:14:17,320 --> 01:14:18,960
Speaker 2: No no no no no no no no. So Lom

1486
01:14:19,040 --> 01:14:21,320
Speaker 2: had a question for you. We remember we have you

1487
01:14:21,400 --> 01:14:22,840
Speaker 2: said before we get out, you can at least get

1488
01:14:22,840 --> 01:14:23,760
Speaker 2: one of his three hundred out.

1489
01:14:23,800 --> 01:14:25,479
Speaker 4: I was just saying, what's your questions?

1490
01:14:25,960 --> 01:14:29,360
Speaker 3: Yes, I'll have some music ready for you to critique.

1491
01:14:28,960 --> 01:14:31,880
Speaker 2: And let him ask you. You don't know what he about.

1492
01:14:32,080 --> 01:14:37,240
Speaker 4: Even going there. Actually it's something a lot more. I

1493
01:14:37,360 --> 01:14:40,919
Speaker 4: heard a story about you doing something with your drum technique,

1494
01:14:41,479 --> 01:14:46,080
Speaker 4: whereas in you were slowing tapes down crazy and then

1495
01:14:46,160 --> 01:14:49,120
Speaker 4: speeding them up with a really big kick. But I

1496
01:14:49,320 --> 01:14:52,840
Speaker 4: wasn't really clear on your process of doing that, Like

1497
01:14:53,080 --> 01:14:55,080
Speaker 4: was that like something that you developed? How did you

1498
01:14:55,240 --> 01:14:57,400
Speaker 4: arrive at I'm going to slow this tape.

1499
01:14:57,400 --> 01:15:02,320
Speaker 3: Speeding, only very speeding, because once I discovered that Prince

1500
01:15:02,479 --> 01:15:05,960
Speaker 3: was very speeding his voice on Erotic City, and really

1501
01:15:06,240 --> 01:15:09,120
Speaker 3: Stevie Wonder was very speeding his voice on maybe your

1502
01:15:09,160 --> 01:15:16,559
Speaker 3: baby early roots demos or back when we were Black

1503
01:15:16,640 --> 01:15:20,160
Speaker 3: to the Future. I had my dad's task him four

1504
01:15:20,280 --> 01:15:24,200
Speaker 3: track thing. I realized, like, oh, I can slowly drew drones,

1505
01:15:24,600 --> 01:15:29,080
Speaker 3: you know. And so I guess I was being a

1506
01:15:29,240 --> 01:15:36,280
Speaker 3: you know, the a pseudo. I was trying to figure

1507
01:15:36,280 --> 01:15:43,920
Speaker 3: out like techniques to get a better kick sound. So

1508
01:15:44,240 --> 01:15:45,840
Speaker 3: I'll say, for like a lot of the do you

1509
01:15:45,960 --> 01:15:52,000
Speaker 3: want more record, I would I would play the initial

1510
01:15:52,080 --> 01:15:56,680
Speaker 3: drum tracks at at a at a higher was I

1511
01:15:56,760 --> 01:16:01,720
Speaker 3: p s of Steve? Yeah, yeah, the higher and then

1512
01:16:02,000 --> 01:16:04,640
Speaker 3: and then we and then it was low. I mean

1513
01:16:04,720 --> 01:16:06,479
Speaker 3: it really didn't. It only served me well for you

1514
01:16:06,600 --> 01:16:09,880
Speaker 3: got me, you would slow it down. You totally blinked yourself.

1515
01:16:09,920 --> 01:16:11,479
Speaker 2: You said we would go high and then we would.

1516
01:16:11,800 --> 01:16:13,120
Speaker 3: Oh and then slowed down normally.

1517
01:16:13,240 --> 01:16:15,920
Speaker 4: I mean, yeah, it's too saying you got me is

1518
01:16:15,960 --> 01:16:18,160
Speaker 4: where you crystallize it, because it actually worked to the

1519
01:16:18,240 --> 01:16:20,320
Speaker 4: level where you wanted to. It got all the way through.

1520
01:16:20,479 --> 01:16:23,880
Speaker 3: Well, yeah, that's not the natural snares down. I very

1521
01:16:23,920 --> 01:16:26,640
Speaker 3: speeded the tape down, and you got me that I

1522
01:16:26,680 --> 01:16:29,200
Speaker 3: always wanted you to, well just all of it, the

1523
01:16:29,280 --> 01:16:34,920
Speaker 3: whole thing. Once Jill and Scott did uh Jill and Scott.

1524
01:16:35,360 --> 01:16:38,320
Speaker 3: That's funny. I was going to details.

1525
01:16:38,960 --> 01:16:39,000
Speaker 6: No.

1526
01:16:41,720 --> 01:16:45,200
Speaker 3: Jill and Scott did the initial track to a click track,

1527
01:16:45,320 --> 01:16:49,840
Speaker 3: and then I came in afterwards to to drum to it.

1528
01:16:50,080 --> 01:16:52,679
Speaker 3: At first I did it normal, and then it sounds special.

1529
01:16:53,200 --> 01:16:55,639
Speaker 3: So then I very speeded the tape slow and drummed

1530
01:16:55,640 --> 01:16:57,400
Speaker 3: to it. And then when we played it back at

1531
01:16:57,439 --> 01:17:00,280
Speaker 3: normal speed, it sounded like a higher pitch. And then

1532
01:17:00,320 --> 01:17:01,960
Speaker 3: when I was like, oh I could do drumming bass,

1533
01:17:02,040 --> 01:17:06,599
Speaker 3: this is out. It's like my favorite. Thank you. It's

1534
01:17:06,680 --> 01:17:07,840
Speaker 3: not my favorite, but you know.

1535
01:17:08,439 --> 01:17:09,920
Speaker 2: Like when can you do part two to that song?

1536
01:17:10,000 --> 01:17:11,600
Speaker 2: Like can you finish it? And it just really go in.

1537
01:17:13,160 --> 01:17:15,000
Speaker 3: I've done it before. I did it on Break You Off.

1538
01:17:15,080 --> 01:17:18,320
Speaker 3: I did it on Water Break You Off. My trick

1539
01:17:18,360 --> 01:17:20,880
Speaker 3: will Break You Off was I didn't want y'all to

1540
01:17:20,960 --> 01:17:23,960
Speaker 3: think that we were like being greasy R and B.

1541
01:17:25,360 --> 01:17:28,120
Speaker 3: So at the mastering session, I was like, yo, just

1542
01:17:28,160 --> 01:17:31,439
Speaker 3: give me two days and I said I got to

1543
01:17:31,439 --> 01:17:33,559
Speaker 3: add three more minutes of this song to wash away

1544
01:17:33,680 --> 01:17:36,680
Speaker 3: what you thought was the greasy R and B. So

1545
01:17:37,000 --> 01:17:39,800
Speaker 3: so because the version break You Off, that jurrel At

1546
01:17:39,920 --> 01:17:42,120
Speaker 3: is all right. There's eleven versions.

1547
01:17:42,520 --> 01:17:43,960
Speaker 2: That was a good story, and.

1548
01:17:44,360 --> 01:17:49,240
Speaker 3: Jerrel Avert actually gave the better performance. I will say

1549
01:17:49,320 --> 01:17:53,280
Speaker 3: that somewhere. Well, shit, I don't know. Maybe the phrenologe

1550
01:17:53,400 --> 01:17:54,240
Speaker 3: reels have burned too.

1551
01:17:54,320 --> 01:17:54,680
Speaker 4: I don't know.

1552
01:17:55,320 --> 01:17:59,640
Speaker 3: Oh yeah, like a lot of a lot of universals

1553
01:18:00,320 --> 01:18:04,800
Speaker 3: reels and old movies like Lot number five, which unfortunately

1554
01:18:05,040 --> 01:18:08,360
Speaker 3: is the I guess he said. The letters P through

1555
01:18:08,680 --> 01:18:13,600
Speaker 3: T got damaged. So we lost all of do you

1556
01:18:13,680 --> 01:18:16,160
Speaker 3: Want More? We can't find do you want Way? I

1557
01:18:16,240 --> 01:18:19,439
Speaker 3: can't find three songs on I can't find no Great

1558
01:18:19,479 --> 01:18:23,759
Speaker 3: Pretender episodes or uh.

1559
01:18:29,760 --> 01:18:30,880
Speaker 4: Uh if you've seen it.

1560
01:18:31,520 --> 01:18:36,280
Speaker 3: Probably yeah, I can't find the two inch reels, nor

1561
01:18:36,439 --> 01:18:39,840
Speaker 3: the dats nor the half inch reels. Oh wow, so yeah,

1562
01:18:39,920 --> 01:18:42,920
Speaker 3: like pretty much we owned the masters to those songs. Yeah,

1563
01:18:43,200 --> 01:18:46,200
Speaker 3: I think about like yeah, like thirty I think like

1564
01:18:46,360 --> 01:18:49,160
Speaker 3: thirty three of our reels got this story and a

1565
01:18:49,240 --> 01:18:51,240
Speaker 3: lot of do you Want More? And so as far

1566
01:18:51,280 --> 01:18:55,040
Speaker 3: as like extras and yeah, that's not happening with your

1567
01:18:55,080 --> 01:18:58,240
Speaker 3: answers some how you feeling definitely now, we definitely got

1568
01:18:58,320 --> 01:19:01,679
Speaker 3: two parts of it. Anyway, Thank you, thank you someone

1569
01:19:01,800 --> 01:19:04,320
Speaker 3: for coming, Yes, thank you for having won't we have

1570
01:19:04,439 --> 01:19:07,080
Speaker 3: a boss? Bill on paipe Bill Sugar Steve star of

1571
01:19:07,439 --> 01:19:11,760
Speaker 3: Chat with Sugar, Sugar Network on the Sugar Network, our

1572
01:19:11,760 --> 01:19:16,320
Speaker 3: own Ted Turner, Fonziegelo and it's like, yeah, this is

1573
01:19:16,439 --> 01:19:20,960
Speaker 3: Quest Love. Uh, And this is Quest Love. Why do

1574
01:19:21,040 --> 01:19:24,760
Speaker 3: I sound so tired? This is Quest Love Supreme And

1575
01:19:24,920 --> 01:19:26,479
Speaker 3: we'll see you next go around.

1576
01:19:26,600 --> 01:19:26,880
Speaker 4: Thank you.

1577
01:19:36,840 --> 01:19:40,559
Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

1578
01:19:40,600 --> 01:19:47,599
Speaker 1: episode was produced by the team at Pandora. For more

1579
01:19:47,640 --> 01:19:51,640
Speaker 1: podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,

1580
01:19:52,080 --> 01:19:53,759
Speaker 1: or wherever you listen to your favorite shows.