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

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Speaker 2: Yo.

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Speaker 3: It's Up Everybody. It's Fontigelow from Questlove Supreme. We are

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Speaker 3: back with part two of our conversation with Nada Michael Walton.

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Speaker 4: This is an amazing two parter.

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Speaker 3: If you haven't, please check out part one where Narrata

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Speaker 3: talks about his Michigan upbringing, his deeply transformational time with

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Speaker 3: the Maha Vishnu orchestruct Who Little Brother, Sample, Plug, Plug,

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Speaker 3: Chikaia and Board. Is April Jazz Appreciation Month, and this

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Speaker 3: two parter certainly celebrates the genre and culture and I

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Speaker 3: would shape so much music outside of the genre.

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Speaker 4: Enjoy.

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Speaker 1: There's a question I've been dying to know in the

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Speaker 1: mid seventies jazz cats Now in the case if you're

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Speaker 1: Miles David's disciple, I understand, Like m two May already

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Speaker 1: explained to us that Miles' dependency he was getting out

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Speaker 1: of control in the early seventies and then he's basically

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Speaker 1: not too functional and the bands left without work and

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Speaker 1: they're basically like, well we got to pay the rent,

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Speaker 1: and you know, m to May and Reggie Lucas of

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Speaker 1: Miles Davis's you Know band were like, well, shit, we

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Speaker 1: got to write some hits to pay the bills.

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Speaker 2: Yeah, can you explain.

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Speaker 1: To me why there was such a mass exodus of

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Speaker 1: fusion musicians of jazz musicians that all of a sudden

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Speaker 1: in the mid seventies became the architects and the proprietors

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Speaker 1: of some of the poppiest songs we've ever heard.

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Speaker 2: It's almost like a complete opposite. What was the.

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Speaker 1: Transitional decision process to get out of fusion and into

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Speaker 1: pop music?

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Speaker 2: Very good? I got you my third solo album, we

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Speaker 2: call Awakening. I was cutting it in La Stevie Wonders

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Speaker 2: studio and Wayne Anderson was one of the producer type

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Speaker 2: people with me and his teams and all that. And

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Speaker 2: then I got a call after I was cutting that music.

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Speaker 2: You know some cool stuff that Jim Dellahant from Atlantic,

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Speaker 2: who's my an r. He said, you know what, if

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Speaker 2: you don't have a hit on this next album, we're

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Speaker 2: going to drop you. And that was the word of

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Speaker 2: death to me. I knew that things were going through

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Speaker 2: a change. He told me. He said, in New York

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Speaker 2: this goes hot now dancing the Steve fifty four people. Really,

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Speaker 2: it's like a big craze. We really suggest that you

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Speaker 2: come to New York and see what's going on. And

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Speaker 2: I did, and when I went there, I felt what

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Speaker 2: he was talking about. It was on firewood dance, and

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Speaker 2: that wasn't hard for me because I'm raised with motime,

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Speaker 2: I'm raised with people all kind of music. So after

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Speaker 2: I cut the Awakening stuff in California, I decided to

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Speaker 2: make Side Side one that was strictly for dance and

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Speaker 2: saved my career and not be dropped. And I used

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Speaker 2: the examples of Rick James, you and I. He was

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Speaker 2: a good person for me to kind of draw from

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Speaker 2: because it was live drums, it was funky, it was live,

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Speaker 2: it was horns, things I loved, and it was a

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Speaker 2: style I could pull off. So in my hotel room

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Speaker 2: at the Hilton in my I got a Clavenet in

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Speaker 2: the Roads in my room and I wrote four jams

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Speaker 2: and I don't want nobody else won those jams. And

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Speaker 2: I was so lucky to get Bobby clem Out from

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Speaker 2: Power Station to be my engineer. What records he made

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Speaker 2: with Chic on Good Times. I had never heard a

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Speaker 2: more beautiful record than fucking good Times. And it haven't

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Speaker 2: be my engineer to get my drum sound. Yeah. See,

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Speaker 2: so I'm cutting those records. I don't want nobody else.

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Speaker 2: And then guess what else. Now, I got Randy Brecker

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Speaker 2: coming to come in with Michael Brecker and David sam

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Speaker 2: want to put horns on my jam. So it's real

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Speaker 2: musicians see it. So I'm happy. And then they said

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Speaker 2: you got to use the cat who's big of a

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Speaker 2: disco named Patrick Patrick Adams. Yes, because his name in

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Speaker 2: the disco world with the strings and learning, he does well.

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Speaker 2: Make sure you you know. So I said, okay, so

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Speaker 2: you know. And he didn't come around there that much,

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Speaker 2: but you might come out of love with a little

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Speaker 2: sound on something to do a little thing a little

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Speaker 2: and he was cool. What I'm saying is cutting that music.

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Speaker 2: And then when I had success with that sound, it

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Speaker 2: saved my career. At that time, I didn't want to

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Speaker 2: be dropped. I wanted to be a strong person to

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Speaker 2: make it. I just got married. I want to take

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Speaker 2: care of my life. And it's fusionary music as we know,

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Speaker 2: it was going away the people in the fans, for

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Speaker 2: example Garden Love Light, that album didn't sell that much.

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Speaker 2: I wasn't I wasn't like some overnight star people. They

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Speaker 2: were not They were not supporting, but they supposedly loved

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Speaker 2: the fusion at those times going forward in the seventies

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Speaker 2: early on, yes, but not those years. Those years it

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Speaker 2: was a change up going on. Even even Lenning whiteouldn't

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Speaker 2: my man return to forever? Those everything's kind of like, NA,

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Speaker 2: So what are you gonna do? Be you know what

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Speaker 2: I mean? If you're gonna support me, fine, we're making money,

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Speaker 2: no money, I'm going I'm going to save my life.

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Speaker 2: I did, brother, I got. I'm happy I did. It

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Speaker 2: was wonderful, wonderful, and every out I do I was put,

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Speaker 2: you know, a Son's dancing type jam on there. So

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Speaker 2: I can still do that and I love it. Right,

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Speaker 2: But I'm about having a radio hit and making some money,

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Speaker 2: so I'm not shining shoes.

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Speaker 1: I know that you've had Randy Jackson in your stable

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Speaker 1: since he was a teenager, and not Michael's brother, but

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Speaker 1: Randy Jackson, American idol, r Andy Jackson since he was sixteen, seventeen,

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Speaker 1: eighteen years old, I believe, But I always thought that

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Speaker 1: was him killing I should have loved you. Someone told

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Speaker 1: me like two weeks ago, that was TM Stevens.

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Speaker 2: That's right, Please, can.

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Speaker 1: You please tell me just about Tim Stevens and tell

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Speaker 1: me what it was like working with them.

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Speaker 2: Team's a genius. I was in New York, I still

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Speaker 2: lived in New York. I met Tiam before I moved

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Speaker 2: to California seventy eight, So in seventy seven round those

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Speaker 2: years I met t him. You know, he'd be like

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Speaker 2: the stee you wonder the bass. He had that kind

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Speaker 2: of power, that kind of energy, like a like just

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Speaker 2: a huge band with the strength of God in his hands.

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Speaker 2: And they could play bookoo like that to be popping

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Speaker 2: the two in the four as he's playing with lines

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Speaker 2: right and just he was playing with a show called

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Speaker 2: Your Arms Too Short, the Box of God. And he

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Speaker 2: had a drummer named Howie Great from Queen's and how

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Speaker 2: he became my connection out in the Queen's area. All

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Speaker 2: those good drummers out and people ou in Queen's area too. See,

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Speaker 2: so now here's TM Steve. I mean, all these new

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Speaker 2: cats are coming up with the great skills. And then

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Speaker 2: as it worked out, I had to do a tour

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Speaker 2: for I don't know a best dance with you, So

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Speaker 2: I had to put a band together. So I asked

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Speaker 2: tam drummer my touring band, you know, and Philip's says,

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Speaker 2: out of at Berkeley to play keyboards, and Pat throw

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Speaker 2: from Automatic man from California, come and play guitars and

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Speaker 2: put a hot band together and toured, and then came

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Speaker 2: time for my fourth so wouldcome Dance of Life. And

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Speaker 2: now I'm living in San Francisco, so I thought, I'll

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Speaker 2: bring TM Stevens out here to work out this new

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Speaker 2: material with me. And I know I still have to

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Speaker 2: have another hit. I'll be dropped. So as it worked out,

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Speaker 2: I brought him to California, be a little warehouse in Oakland.

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Speaker 2: I said, team will play a game with you. I'm

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Speaker 2: gonna play this groove on the drums, And every time

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Speaker 2: I hit the hit, the symbol changed baselines and he'd

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Speaker 2: be playing the baseline whatever it is right now. Then

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Speaker 2: I had the symbol again, he changed. I crancked a

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Speaker 2: symbol again, he changed. Then finally, crap, should I that

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Speaker 2: was that's his massive baseline. Ran Jackson wasn't around then.

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Speaker 2: That came. He came later, but I didn't think I

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Speaker 2: find anyone whould play. I should have loved you like

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Speaker 2: TM Stevens. He's the most massive cat in the world.

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Speaker 1: For the longest I thought it was when you know,

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Speaker 1: it came out when I was eight, so I thought

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Speaker 1: it was chic initially. Yeah, but shit, I'm just realizing now.

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Speaker 1: Before she passed away, we had Ali Willis on the show, Yes,

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Speaker 1: and she was this mind blowing that we knew our

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Speaker 1: whole discography only because a lot of the work that

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Speaker 1: she did wound up being like iconic samples that we

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Speaker 1: would later gravitate towards. And so she was kind of

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Speaker 1: weirded out that we knew her history. But how did

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Speaker 1: you link up with her to write that song?

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Speaker 2: Well, okay, she's in LA I'm in San Francisco, and

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Speaker 2: I hear about her work because of the Maurice White

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Speaker 2: earthmen and fire stuff that I was exploding with her

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Speaker 2: name on it, right, I knew she was mean somehow

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Speaker 2: or other. I came into touch with her because of

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Speaker 2: her publishing people, the company she was part of, Almo Irving,

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Speaker 2: and I could find her number. Then when I talked

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Speaker 2: on the phone, come to find out she's from Damn,

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Speaker 2: my hometown, Detroit, Michigan. I'm from Kalamazoo, She's from Detroit.

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Speaker 2: So we had a kind of a bond immediately, and

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Speaker 2: that I loved what she was doing. She said, well,

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Speaker 2: come down to my house. So I did. I brought

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Speaker 2: my eye should Love you down to her house. And

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Speaker 2: our house was all what's that word? When everything's like

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Speaker 2: old fashioned looking old dolls and old things and everything old.

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Speaker 2: We've been there a career before, so that was kind

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Speaker 2: of wow. Okay, But we sat down and wrote the

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Speaker 2: lyrics for I Should Love and she was just mean

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Speaker 2: how her brain thought, you know, okay, that's so wait.

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Speaker 1: She she's had that house of kitsch art.

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Speaker 2: There was trues, No, there's two. Was first house she

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Speaker 2: had was become a smaller apartment house. It wasn't a

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Speaker 2: big one, it was smaller, but it had all that

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Speaker 2: stuff in it. Then later on, as we became even

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Speaker 2: closer and friendlier over over years, then she got the

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Speaker 2: bigger house that you're talking about, and we were always

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Speaker 2: tight then too.

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Speaker 1: Tell me about the process of going into producing and

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Speaker 1: what did you learn that you couldn't apply for yourself,

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Speaker 1: that you wound up giving two other artists.

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Speaker 2: Well, at that time I was hot with that I

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Speaker 2: Should have Loved you time, all right, those records? Why

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Speaker 2: did you turn me on. And I asked Henry Allen,

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Speaker 2: who was the president of Contillion Records. He's a partner

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Speaker 2: with Atlantic Records. Black gentleman, Henry Allen. You gotta know

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Speaker 2: about Henry Allen's He and his team. They had signed

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Speaker 2: Stacy when she was about eleven and they made recording

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Speaker 2: but it wasn't doing well. So I said, Henry, you

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Speaker 2: know this girl, Stacy, why don't you let me do

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Speaker 2: some songs on her. I'll do four songs. If you

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Speaker 2: like him, I'll finished the album. If you don't like me,

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Speaker 2: I haven't lost much as four songs. And he said,

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Speaker 2: you know what, it's a good idea, go dude, do her.

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Speaker 2: So I took it very, very seriously. This is my

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Speaker 2: first real shot at pop production. My first jazz production

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Speaker 2: was just before that, a cat named Don Cherry. Then

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Speaker 2: now I'm gone to Restauranta Rose more jazz, you know,

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Speaker 2: with Tony Williams and Lenny all that stuff in the

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Speaker 2: pop world. Yes, it was Stacey Lantisa. So then I

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Speaker 2: wrote these songs with a girl named Bunny Hull Buddy.

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Speaker 2: It came to my house in San Francisco and my

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Speaker 2: wife at the time, Lisa Lisa Walden. I wrote these

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Speaker 2: songs let Me be your Angel. Dynamite jumped to the beat,

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Speaker 2: and I flew to go to Stacy's house. She had

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Speaker 2: a very small house and like a little spin at

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Speaker 2: piano and I just got on her piano and just

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Speaker 2: kind of went through these teach teaching me the songs

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Speaker 2: so make sure the keys are writing and all that,

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Speaker 2: And then came back to San Francisco at the Sauce

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Speaker 2: Leedo record Plant where Prince then made his first album.

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Speaker 2: In there, I got my big drum sound Tommy Tommy Fly,

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Speaker 2: the same guy that did for James' records on the

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Speaker 2: Maybe Angel Dyning My jo got a great sound with

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Speaker 2: my band Karado guitar, TM on bass, Frank Martin on keyboards,

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Speaker 2: and laid that stuff out. Mike gives strings, laid it out.

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Speaker 2: Then went to Power Station to get her vocals on

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Speaker 2: those songs, and here she said, about eleven years old,

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Speaker 2: that big voice you hear, and just I wanted to

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Speaker 2: get it just right, and we did and it became

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Speaker 2: his for us. So I'm just very very very very

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Speaker 2: very proud of that time. And it opened up a

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Speaker 2: lot of doors from me because because of that cam

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Speaker 2: then Clive Davis calling and everybody else calling because I

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Speaker 2: had that kind of sucessful stage and the stays actually

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Speaker 2: to open them for Michael Jackson and Jackson five. That's

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Speaker 2: how to get big. She got with Tim Steven's on base.

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Speaker 3: I was on to ask what their work with Stacy

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Speaker 3: and then also going on with Sha Nice and Tevin Campbell.

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Speaker 3: What was kind of your I guess you're your formula

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Speaker 3: for working with children, because that's something that's really hard

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Speaker 3: to do, like to write material that is can't sell,

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Speaker 3: but it's also his aging appropriate.

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Speaker 4: You know what I'm saying.

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Speaker 3: How did you kind of figure that out? And you know,

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Speaker 3: kind of find that balance.

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Speaker 2: You have to have a great hook. The hook is

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Speaker 2: worth will always save you as far as making money

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Speaker 2: on music business. The hook, of course, and I'm always

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Speaker 2: aware of, like, well, who is it Stacy, she's eleven twelve.

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Speaker 2: This whole angel concept is always cool, you know, and

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Speaker 2: then she could talk. You know, you might think I'm

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Speaker 2: too young to understand, but don't be fooled. You know,

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Speaker 2: like a child, you know, I look into your eyes

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Speaker 2: and I know someday, you know, I'll make you mine.

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Speaker 2: I don't make kiddie music that doesn't work. I learned

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Speaker 2: from Michael Jackson the early I want you back. You

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Speaker 2: know those records. You got to make records. Everyone can

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Speaker 2: party to faboots. So I didn't travel make kiddie records.

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Speaker 2: You mentioned Shoannie Wilson. She came here, she was sixteen,

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Speaker 2: and I said, right down seven song title, and she

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Speaker 2: did justish, I hate to be lonely. I love your

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Speaker 2: smile and I want my to keyboard, and just wrote

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Speaker 2: those songs and God blessed me just I love I

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Speaker 2: love you know smiles. Just looking at her, you can

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Speaker 2: feel the energy coming off her and that smile, she's gone.

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Speaker 2: That's what it was. Tavin Campbell, when Quincy Jones brought

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Speaker 2: him here, I looked at him just so beautiful, thin,

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Speaker 2: a genius thinger like Whitney said, well you need you

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Speaker 2: need the song, showcase your voice and like a big

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Speaker 2: a tour the fours man. I said, which what you

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Speaker 2: want to do, Tavin? Yeah, tell me what you want

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Speaker 2: me to do. That's just that's simple. Then you gotta

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Speaker 2: put the big modulation so you can really go on.

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Speaker 1: Right right right. Jimmy Jam kind of teases me because

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Speaker 1: when I was a kid, whenever a song would modulate

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Speaker 1: that would scare me. And so because it sounds dramatic. Yeah,

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Speaker 1: and so wait, but here's the thing, you you know, often,

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Speaker 1: in my obsession with historical firsts, I will actually say

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Speaker 1: that if someone were to be credited with like the

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Speaker 1: really first attempt at New Jack Swing, yeah, I would

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Speaker 1: say Attack of the Name Game might be the first

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Speaker 1: experimentation of making a singer sing on a backtrack, that is,

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Speaker 1: that could be made for hip hop. All right, So

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Speaker 1: for those that don't know, was it the Sneaking Out album?

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Speaker 2: Yeah? Yeah, so stay, I see a lot of songs.

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Speaker 1: I mean, well, I know she had albums before let

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Speaker 1: Me Be Your Angel, So I would say her fourth album,

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Speaker 1: maybe a third.

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Speaker 2: Or fourth album. Yeah, But there's a.

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Speaker 1: Song Attack of the Name Game, which even when I

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Speaker 1: heard it as eleven year old, I was like, oh,

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Speaker 1: this is kind of made for me. Like this this

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Speaker 1: isn't a song that my dad would gravitate towards because

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Speaker 1: this sounds like rap music that I like, what was

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Speaker 1: the process in trying to go there?

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Speaker 2: Thank you? That's very cool man. Two things. One borrowing

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Speaker 2: from the sixties idea of you know, a banana fan

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Speaker 2: of fol fan of me and my mom. Man had

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Speaker 2: taken that vibe, which I actually to pay them for,

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Speaker 2: which I didn't mind because I love the College sept

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Speaker 2: And then I joined that with Yes I did, Yes,

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Speaker 2: I did. And then I joined that with my brain

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Speaker 2: and made my own version of tom Time Club, which

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Speaker 2: was so hot in New York, Tino.

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Speaker 4: Yeah, I take all.

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Speaker 2: Those things and mix them together. I mean, let the

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Speaker 2: listeners know. Yeah.

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Speaker 1: Attack of the Name Game is what Mariah sampled for

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Speaker 1: a heartbreaker.

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Speaker 2: Heartbreaker, Yeah, that's right, that's right. So I was always

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Speaker 2: looking to New York and even London too, was always

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Speaker 2: gonna be the next wave. So I caught that wave, man,

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Speaker 2: and I'm just you know, and then I've got Stacy

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Speaker 2: to do that. The thing one when her brother became

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Speaker 2: that kind of a sound talking like the alien from space. See,

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Speaker 2: I thought that was you. That was her brother. Okay.

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Speaker 1: If there's two human beings that I've seen that were

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Speaker 1: otherworldly to me as far as like they're just on

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Speaker 1: some almost pleadian alien level type of person, I've never

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Speaker 1: seen Angela Bouefield give a normal interview on television.

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Speaker 5: Okay, So can you please describe because I've never seen

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Speaker 5: a person put their humor out front, and like she

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Speaker 5: always had a joke or a punchline, like maybe Vesta

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Speaker 5: is in third place, like I'll see Tatsa Vega. Vesta

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Speaker 5: and Angela Bouefield were like almost personalities.

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Speaker 2: What was Angela Bufield? Like? Open hearted, funny, But I

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Speaker 2: must tell you perfect pitch. It's so beautiful how she

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Speaker 2: hears and how she can hit her notes and just

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Speaker 2: make everything so musical. She's extremely musical. I was a

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Speaker 2: fan of her stuff, you know, before I ever worked

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Speaker 2: with her. You know, I try and those records she

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Speaker 2: put out with Grusoon Dave Grusoon, which is beautiful. So

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Speaker 2: then when Clyde Davis asked me to work with with Angela,

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Speaker 2: he first picked the song of something about You and

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Speaker 2: a few of those type of ideas. But after I

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Speaker 2: got to know her, I know that she liked the funk.

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Speaker 2: To see that, I got excited and I came on

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Speaker 2: one morning on my profit keyboard and my drum machine,

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Speaker 2: my the machines and just made a demo. But I

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Speaker 2: don't make demos some big records, but cutt an idea

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Speaker 2: of too tough for her because I knew that she

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Speaker 2: liked the funk, and that was the most cutting ede

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Speaker 2: stuf I stuff I could do. At that time. I said,

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Speaker 2: and it's just coming in and to sing on this

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Speaker 2: for me, and she did, and she got so excited

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Speaker 2: she called Clive now to getting a hit. But I

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Speaker 2: was really just wanted to be like raw a dude

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Speaker 2: and done done, done, done like that, all that kind

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Speaker 2: of thing, you know. And and we all we also

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Speaker 2: had a lot of license to be a little little

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Speaker 2: raunchy and lyrics now because now Prince will be on

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Speaker 2: the scene a lot of things to be on the scene.

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Speaker 2: You could be a little bit cutting edge on the

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Speaker 2: lyric in R and B and get away with it.

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Speaker 2: So all those things kind of came into factor. But

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Speaker 2: I love Angela. You know, she's had a little stroke.

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Speaker 2: Now we're still talking to her and all she's all,

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Speaker 2: I want to know what's going on, you know. But

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Speaker 2: we made I Maderee albums for Lange, both for three albums,

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Speaker 2: a lot of music, and she taught me how to them.

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Speaker 2: Going to Whitney Houston. I have to say that my

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Speaker 2: discipline with with the way Angela gave me knowing how

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Speaker 2: to if I only have three hours with it within

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Speaker 2: three hours here, three hours, but two hours year. I

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Speaker 2: knew how to cut vocals now because of Angela Beaufield.

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Speaker 1: So before we get to Whitney, Yeah, one I want

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Speaker 1: to know, like, how do you climb the mountain? That

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Speaker 1: is Clive Davis because of his just no nonsense, no

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Speaker 1: bullshit kind of like give me the hit, take me

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Speaker 1: to the mountaintop. What is your first meetings with Clive?

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Speaker 1: Like like, how does he know that he can put

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Speaker 1: his trust in you to deliver what is needed?

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Speaker 2: I think when he heard let me be your Angel,

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Speaker 2: he called me the telephone and he said, you know,

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Speaker 2: how are you doing this? It was like a question

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Speaker 2: to me, It's like, huh, how am I doing this? Well,

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Speaker 2: I'm from Michigan, Callum's in Michigan. We love music and

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Speaker 2: we just that's what we do. That's it.

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Speaker 6: I said.

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Speaker 2: From me, He goes, well, how would you want to

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Speaker 2: work with some of my artists, you know, like Angel

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Speaker 2: the Boatfield. That's how it started. Just that's that humble.

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Speaker 2: And then after I did the trust with Angel doing

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Speaker 2: those records came then Phyllis Hyman and uh then then

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Speaker 2: not long after that, he said, Dione Warrick. That's mine,

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Speaker 2: you know, Burke Backrecks Hal David is like, oh my god, healthy,

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Speaker 2: you know, the Windows of the World, all that music.

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Speaker 2: So that was mind belonged even to think about meeting

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Speaker 2: that Dione Warwick. I put my little thirteen songs together,

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Speaker 2: went to La d her home, and Dion was not

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Speaker 2: feeling my music. So I came back home and I

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Speaker 2: called Clive. I said, Dion is not feeling my music.

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Speaker 2: He said, don't worry, which I thought was very very kind.

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Speaker 2: He said don't worry. He said, how about Aarretha Franklin.

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Speaker 2: How about Aretha Franklin? Right? He said, just here for

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Speaker 2: a phone call? Okay? And I did, and I called

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Speaker 2: Aretha and I'm so glad. I had my pen and

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Speaker 2: paper and everything ready because I had no idea how

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Speaker 2: deep she is? Can I can? I? Can I tell

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Speaker 2: that story for you right now? Absolutely? Okay? I call Aretha.

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Speaker 2: He she says, hi, And I said, well, what do

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Speaker 2: you do for fun? You know, I'm just trying to

400
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Speaker 2: break it down, you know, you Detroit, what do you

401
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Speaker 2: do for fun? That's when she showed me who she is.

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Speaker 2: She goes, hm, you know, maybe I not. I go

403
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Speaker 2: out to a nightclub. You know, maybe in the corner.

404
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Speaker 2: I see a guy like, you know, he looks, he

405
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Speaker 2: looks at me. I look at him. It's like, who's zooming?

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Speaker 2: Then he feels he's got me with the fish hup

407
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Speaker 2: off the hook? Who's zooming? Who the fish hump off

408
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Speaker 2: the hook? That's how she talked. That's who she is.

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Speaker 2: I was like, so that was I wasn't ready for

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Speaker 2: all that, but I took that stuff. I said, resting

411
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Speaker 2: my partner, we gotta write a song with this Who's

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Speaker 2: who fishing off the hook? She's crazy, man, It's crazy.

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Speaker 2: That's how that happened. So that was Clyde Davis. Just

414
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Speaker 2: give her a call.

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Speaker 1: I believe that you can meditate and manifest whatever it

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Speaker 1: is that you want to achieve in life. But I

417
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Speaker 1: mean to be honest with you. When you're starting the

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Speaker 1: Whitney Euston debut album, I mean, are you thinking that

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Speaker 1: this person's about to be the Mount Rushmore of pop

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Speaker 1: music as we know it at that time? Or were

421
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Speaker 1: they just planning like respectable you know black Casief numbers

422
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Speaker 1: like she's gonna go gold and platinum, maybe double platinum.

423
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Speaker 1: Like coming into the door, do you know what you

424
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Speaker 1: guys were gunning for.

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Speaker 2: Okay, that's very beautiful. Thank you for the honor and

426
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Speaker 2: the love to give me. I can feel it when

427
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Speaker 2: you're talking to me, and what it does is it

428
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Speaker 2: makes me really think about what you're asking. So what

429
00:22:59,560 --> 00:23:03,480
Speaker 2: I want to say is this. When I'm in the automat,

430
00:23:03,520 --> 00:23:05,199
Speaker 2: I wasn't at Tarban studio shop. I was still in

431
00:23:05,200 --> 00:23:08,359
Speaker 2: the city at the automat cutting a Wreatha Franklin, getting

432
00:23:08,400 --> 00:23:11,280
Speaker 2: ready for Wretha Franklin. When the phone call came from

433
00:23:11,359 --> 00:23:16,200
Speaker 2: Jerry Griffin, the an R of Arista, Narda, you got

434
00:23:16,240 --> 00:23:19,200
Speaker 2: to make time for Whitney Houston, and I said, no,

435
00:23:20,440 --> 00:23:23,359
Speaker 2: I'm working on Retha Franklin. I cannot lose my focus.

436
00:23:23,720 --> 00:23:26,159
Speaker 2: He goes, yeah, I know, but you don't want to

437
00:23:26,200 --> 00:23:29,480
Speaker 2: miss this younger we've signed who's gonna be big. But

438
00:23:30,520 --> 00:23:33,000
Speaker 2: and also I gotta tell you, Narda, she is Sissy

439
00:23:33,040 --> 00:23:36,120
Speaker 2: Houston's daughter. And then I had to stop and think

440
00:23:36,680 --> 00:23:39,439
Speaker 2: Sissy Houston saying background a garden, love life, take me,

441
00:23:39,560 --> 00:23:43,560
Speaker 2: take me, take me to the God, the Light. And

442
00:23:43,760 --> 00:23:45,440
Speaker 2: when the corner was a little eleven year old girl

443
00:23:45,480 --> 00:23:48,040
Speaker 2: that was her daughter. I met with this little girl

444
00:23:48,040 --> 00:23:54,679
Speaker 2: which was eleven. Oh yeah, I said, well, you know,

445
00:23:55,480 --> 00:23:58,760
Speaker 2: I'm busy. He goes, we have a hook a song.

446
00:23:58,920 --> 00:24:00,720
Speaker 2: How will I know? Let me send you the idea.

447
00:24:00,960 --> 00:24:05,000
Speaker 2: She sent me the idea, heard howl. I know. Cool. Cool, course,

448
00:24:05,520 --> 00:24:08,760
Speaker 2: I call Hi back to Jerry. There's no verses. I mean,

449
00:24:08,800 --> 00:24:10,320
Speaker 2: if I'm getting involved, I gotta write some verses for

450
00:24:10,359 --> 00:24:13,280
Speaker 2: this thing. Finish. It's gonna make a strong song because

451
00:24:13,320 --> 00:24:16,600
Speaker 2: let me ask the writers. He called the writers, call

452
00:24:16,640 --> 00:24:20,160
Speaker 2: me back right to stay fine. Now it's on.

453
00:24:21,160 --> 00:24:21,560
Speaker 4: Yeah.

454
00:24:21,600 --> 00:24:24,080
Speaker 2: So instead of doing another I read the song that day,

455
00:24:25,000 --> 00:24:29,879
Speaker 2: I told Randy Jackson, Krodo Preston, Walter Auson, Avia, Frank

456
00:24:29,920 --> 00:24:33,159
Speaker 2: Martin Dave phrase of my team, We're gonna do a

457
00:24:33,160 --> 00:24:35,760
Speaker 2: song called howell I know for Whitney Houston today And

458
00:24:35,800 --> 00:24:37,200
Speaker 2: I just went to the piano and banged it out

459
00:24:37,520 --> 00:24:42,400
Speaker 2: and put a verses up. I know, here's the one

460
00:24:42,440 --> 00:24:44,760
Speaker 2: of that kind of spirit and they cut the hell

461
00:24:44,760 --> 00:24:46,439
Speaker 2: out of it. And that was the time. Now Randy's

462
00:24:46,440 --> 00:24:57,199
Speaker 2: playing this mo bass with one finger took a So

463
00:24:57,280 --> 00:25:01,720
Speaker 2: we had this team, this hybrid like a Motown Corporation

464
00:25:01,880 --> 00:25:05,160
Speaker 2: sound with the newest technology that we needed to be

465
00:25:05,680 --> 00:25:09,240
Speaker 2: competitive with Clints and Michael Jackson, Quincy Jones and everybody

466
00:25:09,280 --> 00:25:12,040
Speaker 2: else is doing records. So we put that thing down.

467
00:25:13,760 --> 00:25:15,719
Speaker 2: Then I called with the Funcus. I hadn't spoken her yet,

468
00:25:15,720 --> 00:25:18,760
Speaker 2: and I said, listen, I'm making the verse really high.

469
00:25:18,800 --> 00:25:21,520
Speaker 2: Can you sing Hi to? Yeah? I sing Hi No.

470
00:25:21,560 --> 00:25:23,600
Speaker 2: I said, no, no, no, no, no, I'm cutting in San Francisco.

471
00:25:23,720 --> 00:25:25,520
Speaker 2: I'm a fly to New York to go meet you

472
00:25:26,920 --> 00:25:29,399
Speaker 2: with a tape. If it's the wrong key, we'll get

473
00:25:29,400 --> 00:25:29,800
Speaker 2: we're off.

474
00:25:30,920 --> 00:25:31,120
Speaker 6: Yeah.

475
00:25:31,200 --> 00:25:35,080
Speaker 2: She says, no, no, I can sing hid all right.

476
00:25:35,119 --> 00:25:37,040
Speaker 2: And then I went to New York. And when I

477
00:25:37,040 --> 00:25:39,399
Speaker 2: go to New York at the media sound with Michael

478
00:25:39,600 --> 00:25:43,240
Speaker 2: Barbiero with my injury, he was brilliant. He knew the

479
00:25:43,280 --> 00:25:48,200
Speaker 2: right Mike, I like this noyman, beautiful Mike. Or we're

480
00:25:48,240 --> 00:25:51,280
Speaker 2: in the studio making it. Everything's sounding good before she

481
00:25:51,320 --> 00:25:54,440
Speaker 2: even walks in. And when she walked in, Now I'm

482
00:25:54,480 --> 00:25:58,200
Speaker 2: gonna talk to you straight up. She was so beautiful.

483
00:25:59,359 --> 00:26:02,280
Speaker 2: Just to put your eyes on her was just like,

484
00:26:03,840 --> 00:26:07,359
Speaker 2: my god, now I'm understanding. We don't even heard her sing.

485
00:26:07,800 --> 00:26:11,840
Speaker 2: Just looking at her, she's just the cheek, thumbs, the fingers.

486
00:26:12,359 --> 00:26:16,920
Speaker 2: She's nineteen, Okay, okay, I'm trying to understand here. Now

487
00:26:17,520 --> 00:26:20,040
Speaker 2: go by the mic, sing the song, and God bless her.

488
00:26:20,080 --> 00:26:22,480
Speaker 2: She knew that song of plenty song that been with her,

489
00:26:22,600 --> 00:26:24,800
Speaker 2: That was the only song she knew. How long is she?

490
00:26:24,800 --> 00:26:27,840
Speaker 2: She was ready for it first album and she blew

491
00:26:27,920 --> 00:26:30,719
Speaker 2: that song. Man, she killed that song like what you're

492
00:26:30,760 --> 00:26:33,720
Speaker 2: hearing on that record. All that power and spitting and

493
00:26:34,680 --> 00:26:38,760
Speaker 2: also control of the head voice to the chest voice,

494
00:26:38,960 --> 00:26:40,879
Speaker 2: the chest voice back to the head voice. It was

495
00:26:40,920 --> 00:26:44,560
Speaker 2: all effortless. I said, well, do you know what we've

496
00:26:44,560 --> 00:26:46,199
Speaker 2: done about four or five takes this and you're so

497
00:26:46,280 --> 00:26:48,280
Speaker 2: tight on that. I need to keep beating this horse.

498
00:26:48,280 --> 00:26:49,960
Speaker 2: What we're gonna do now is do a few doublings,

499
00:26:50,119 --> 00:26:52,600
Speaker 2: a few harmonies, and you want you to come listen

500
00:26:52,600 --> 00:26:54,560
Speaker 2: to it? And she double? I want her double? She harmon,

501
00:26:54,760 --> 00:26:56,679
Speaker 2: want hear I said, come listen to it on the

502
00:26:56,680 --> 00:27:01,000
Speaker 2: playback in the control room. If you were me and

503
00:27:01,080 --> 00:27:06,400
Speaker 2: I'm her, she's looking at me like this. She's looking

504
00:27:06,400 --> 00:27:10,080
Speaker 2: at me like that. I've never had anyone stare at

505
00:27:10,080 --> 00:27:14,320
Speaker 2: me like that. The hollandlds bluring all the speakers, healing it,

506
00:27:14,720 --> 00:27:17,480
Speaker 2: and she's looking at me like do you hear that.

507
00:27:20,400 --> 00:27:24,320
Speaker 2: Do you hear that? Now? It's like a Muhammad Ali moment,

508
00:27:24,760 --> 00:27:26,159
Speaker 2: like you know, I'm the greatest, but I'm saying that

509
00:27:26,280 --> 00:27:33,800
Speaker 2: just like now I'm realizing, damn, this is incredible and

510
00:27:33,960 --> 00:27:35,560
Speaker 2: I'm bless us man. That's what I want to tell you.

511
00:27:35,600 --> 00:27:36,959
Speaker 2: That's when it hit me that, yeah, no, we're on

512
00:27:36,960 --> 00:27:39,000
Speaker 2: to something that's going to be like huge. I have

513
00:27:39,040 --> 00:27:39,719
Speaker 2: one question.

514
00:27:40,000 --> 00:27:45,359
Speaker 1: Okay, you do something on that song. I've never heard

515
00:27:45,480 --> 00:27:50,040
Speaker 1: in the history of pop music. I've never heard somebody

516
00:27:51,760 --> 00:27:54,040
Speaker 1: like because the thing is, you're building up drama, like

517
00:27:54,119 --> 00:27:55,879
Speaker 1: go to the if he loves me, if he loves me,

518
00:27:55,920 --> 00:27:56,760
Speaker 1: not think right.

519
00:27:57,640 --> 00:27:58,800
Speaker 2: That is a ramp.

520
00:27:59,000 --> 00:28:01,600
Speaker 1: You're building up to something, and when you build up

521
00:28:01,640 --> 00:28:06,080
Speaker 1: to it, you modulate to a lower key. I've never

522
00:28:06,160 --> 00:28:08,840
Speaker 1: heard that in the history.

523
00:28:08,440 --> 00:28:09,240
Speaker 2: Of pop music.

524
00:28:09,680 --> 00:28:13,720
Speaker 1: What was the thought behind because you know, again, modulation

525
00:28:13,760 --> 00:28:16,240
Speaker 1: is supposed to be the dramatic moment where you higher

526
00:28:16,840 --> 00:28:18,800
Speaker 1: and but yet like.

527
00:28:19,119 --> 00:28:24,160
Speaker 4: I'm almost like I need to get down.

528
00:28:26,240 --> 00:28:29,240
Speaker 2: How did you know that would come off? To be

529
00:28:29,280 --> 00:28:31,919
Speaker 2: honest with you, before I even met with me, I

530
00:28:32,040 --> 00:28:34,720
Speaker 2: work out the song in the studio and maybe I

531
00:28:34,800 --> 00:28:36,639
Speaker 2: even get like one of my singers, my girl singers

532
00:28:36,720 --> 00:28:38,640
Speaker 2: come and just lay out the idea so I know

533
00:28:38,720 --> 00:28:40,960
Speaker 2: it all works before I even go anywhere. I have

534
00:28:41,040 --> 00:28:43,560
Speaker 2: a few different demo demo singers, but Kitty Behope at

535
00:28:43,560 --> 00:28:46,080
Speaker 2: that time was one of my go tos to work

536
00:28:46,120 --> 00:28:47,560
Speaker 2: out my ideas that it was all going to be

537
00:28:47,600 --> 00:28:51,040
Speaker 2: like strong. That's what I always do. Put to make

538
00:28:51,080 --> 00:28:53,800
Speaker 2: a blueprint so that when I get with a singer,

539
00:28:53,840 --> 00:28:55,600
Speaker 2: if something doesn't work out, well, no, I know this work,

540
00:28:55,680 --> 00:28:59,200
Speaker 2: please do this. So that's how it worked it out,

541
00:28:59,400 --> 00:29:02,160
Speaker 2: knowing it'd be great because it sounded great, and I

542
00:29:02,240 --> 00:29:05,600
Speaker 2: put the backgrounds on it, the ideas. Everything worked out

543
00:29:05,920 --> 00:29:08,600
Speaker 2: so that when I see Whitney it's powerful. But then

544
00:29:08,720 --> 00:29:11,120
Speaker 2: after I did it with her, it was so incredible.

545
00:29:11,240 --> 00:29:12,840
Speaker 2: I said, can you get your mom to come down

546
00:29:12,880 --> 00:29:15,320
Speaker 2: and join on the background, And she did income Sissy

547
00:29:15,360 --> 00:29:17,880
Speaker 2: Houston with her troop and then they're singing it. But

548
00:29:17,920 --> 00:29:20,120
Speaker 2: then I said, no, you go to join your mother.

549
00:29:20,560 --> 00:29:22,840
Speaker 2: Now that was the sound of all knowe again she

550
00:29:23,520 --> 00:29:25,720
Speaker 2: know the lead, but she's also part of the background

551
00:29:25,840 --> 00:29:30,120
Speaker 2: with her mom. That's power. So all that power, you

552
00:29:30,520 --> 00:29:33,240
Speaker 2: don't know where is going up or down, it's just power.

553
00:29:35,520 --> 00:29:42,840
Speaker 1: Unfortunately, I hate the way that transitioning death makes me

554
00:29:43,400 --> 00:29:47,680
Speaker 1: appreciate or listen to someone's music, Like when a person

555
00:29:47,720 --> 00:29:50,880
Speaker 1: transitions and I go back to their catalog, then I

556
00:29:50,960 --> 00:29:56,800
Speaker 1: hear something. It's like another chamber opens. Yes, so before

557
00:29:56,840 --> 00:29:59,080
Speaker 1: I ask you, because the thing is is that I

558
00:29:59,160 --> 00:30:01,480
Speaker 1: feel like right now and you know, I'm a DJ

559
00:30:01,680 --> 00:30:06,680
Speaker 1: that that is very active and still spinning records, and

560
00:30:08,000 --> 00:30:10,760
Speaker 1: I feel as though I want to dance with somebody

561
00:30:11,640 --> 00:30:17,720
Speaker 1: is going through its September phase. Matter of fact, like

562
00:30:18,320 --> 00:30:21,480
Speaker 1: what I call the smells like teen spirit effect. That's

563
00:30:21,560 --> 00:30:23,720
Speaker 1: what I want to dance with somebody. Because of course

564
00:30:23,720 --> 00:30:27,320
Speaker 1: it's like, Okay, we're celebrating her and whatnot. But please

565
00:30:27,400 --> 00:30:31,640
Speaker 1: tell me what the air was like and the tension

566
00:30:32,400 --> 00:30:37,520
Speaker 1: of working on the second album where you guys now

567
00:30:37,720 --> 00:30:42,280
Speaker 1: have to first of all, are you ever thinking of like, Okay,

568
00:30:43,760 --> 00:30:46,440
Speaker 1: I gotta live up to it, like you know, when

569
00:30:46,480 --> 00:30:48,480
Speaker 1: you're working on rock a lot or whatever for like

570
00:30:48,480 --> 00:30:51,040
Speaker 1: Aretha's next records or whatever, Like I gotta I got

571
00:30:51,120 --> 00:30:54,160
Speaker 1: a top freeway of love. I gotta what's your creative

572
00:30:54,200 --> 00:30:57,920
Speaker 1: process in terms of like following up, like what.

573
00:30:58,000 --> 00:31:00,720
Speaker 2: Was the difference between it? There are a few things

574
00:31:00,720 --> 00:31:04,200
Speaker 2: I want to say. Clive Davis decided early on after

575
00:31:04,240 --> 00:31:07,880
Speaker 2: the success and fastest rising hit of the Howl I Know,

576
00:31:08,200 --> 00:31:10,480
Speaker 2: being the number one on the third album of the

577
00:31:10,760 --> 00:31:14,080
Speaker 2: third number one off that record going so big. Then

578
00:31:14,120 --> 00:31:16,520
Speaker 2: he called me to meet him at the bungalow, his

579
00:31:16,600 --> 00:31:20,600
Speaker 2: bungalow in Beverly Hills. It wasn't long after How I Know.

580
00:31:21,000 --> 00:31:22,720
Speaker 2: Then he says, come meet me. So I go to

581
00:31:22,720 --> 00:31:25,720
Speaker 2: meet him. He plays for me I wouldn't dance for

582
00:31:25,760 --> 00:31:28,600
Speaker 2: Somebody Loves Me as a demo, the same people who

583
00:31:28,640 --> 00:31:30,480
Speaker 2: worked on how I Know. But the demo is kind

584
00:31:30,480 --> 00:31:33,720
Speaker 2: of like very poppy, like a Rodeo Cet type of record.

585
00:31:33,720 --> 00:31:37,560
Speaker 2: But it's cool. Oh you can hear the hook in there.

586
00:31:37,680 --> 00:31:42,080
Speaker 2: But the track is just so popular. I'm going immediately,

587
00:31:42,080 --> 00:31:43,480
Speaker 2: I'm thinking, how am I going to make this a

588
00:31:43,480 --> 00:31:46,960
Speaker 2: ghetto record? You know, really make a badass for the

589
00:31:47,000 --> 00:31:49,760
Speaker 2: black people on the North side of Kalamazoo and around

590
00:31:49,760 --> 00:31:52,960
Speaker 2: the world. That's why my money immediately goes. Then he

591
00:31:53,000 --> 00:31:55,400
Speaker 2: played me a few more songs he wanted for where

592
00:31:55,400 --> 00:31:57,960
Speaker 2: It Broke Our Arts Go, and maybe one or two more,

593
00:31:58,760 --> 00:32:00,760
Speaker 2: and I played him with a pressing glass. Songs you

594
00:32:00,800 --> 00:32:02,640
Speaker 2: know the Preston written, so.

595
00:32:02,600 --> 00:32:05,280
Speaker 1: You're saying he's planning this even as the first album

596
00:32:05,280 --> 00:32:06,440
Speaker 1: has yet to really.

597
00:32:06,520 --> 00:32:09,720
Speaker 2: Yeah, he's your first time was still you know, but

598
00:32:10,120 --> 00:32:12,560
Speaker 2: now he's like he decided because wouldn't I worked so

599
00:32:12,640 --> 00:32:15,720
Speaker 2: fast on how I know, we turned in so fast

600
00:32:15,720 --> 00:32:18,680
Speaker 2: that he wants a fast second album kind of be

601
00:32:18,760 --> 00:32:22,720
Speaker 2: able to pick up on this success. So I get it,

602
00:32:23,320 --> 00:32:25,320
Speaker 2: and he plays me these ideas, and then I come

603
00:32:25,400 --> 00:32:26,800
Speaker 2: back to the same room when I'm sitting here with

604
00:32:26,840 --> 00:32:28,160
Speaker 2: you right now, which I want you to come make

605
00:32:28,280 --> 00:32:33,720
Speaker 2: your record tart band studios, same studio. Yeah, this is it. Wow, Okay,

606
00:32:34,760 --> 00:32:38,160
Speaker 2: And I get Randy Jackson. Who I do. I'm that

607
00:32:38,320 --> 00:32:43,520
Speaker 2: one finger's synthesizer bass crowder, my Italian style guitar. Walter

608
00:32:43,560 --> 00:32:46,560
Speaker 2: Snavi has not become a big producer yet for Titanic

609
00:32:46,560 --> 00:32:48,880
Speaker 2: and all that and Mariah he's he's one of our

610
00:32:48,880 --> 00:32:52,680
Speaker 2: stable cats, Preston Glass and my genius engineer of David Frasier.

611
00:32:53,560 --> 00:32:55,920
Speaker 2: And I just take these ideas that these Karl clave

612
00:32:55,960 --> 00:32:58,440
Speaker 2: has given me and just put my thing on it,

613
00:32:59,120 --> 00:33:03,160
Speaker 2: our thing on it, which means Quincy Jones taught me

614
00:33:04,320 --> 00:33:09,400
Speaker 2: an out house bottom with a pent house view, and

615
00:33:09,440 --> 00:33:12,520
Speaker 2: I put the vocals down the lead vocals and the

616
00:33:12,640 --> 00:33:16,080
Speaker 2: backing vocals, so it sounds like a finished record on

617
00:33:16,240 --> 00:33:18,680
Speaker 2: five songs, and one of those songs would be the

618
00:33:18,680 --> 00:33:20,080
Speaker 2: Odds of brother song for the Love of You, because

619
00:33:20,120 --> 00:33:22,760
Speaker 2: Whitney wanted to do that. So before Whitney ever comes

620
00:33:22,800 --> 00:33:25,520
Speaker 2: in the room, it's all ready for her and and

621
00:33:25,520 --> 00:33:28,240
Speaker 2: and we are efficient because don't forget I put Disciple grew.

622
00:33:28,400 --> 00:33:31,480
Speaker 2: I'm like, I'm like a I'm like an army. I'm

623
00:33:31,520 --> 00:33:34,000
Speaker 2: like an army. There's no drinking, there's no smoking, there's

624
00:33:34,000 --> 00:33:37,600
Speaker 2: no drugs. It's this vegetarian life, just like an army.

625
00:33:38,400 --> 00:33:39,680
Speaker 2: Like your fallon show, You're on.

626
00:33:42,000 --> 00:33:42,160
Speaker 6: It.

627
00:33:42,200 --> 00:33:44,280
Speaker 2: That's how it was in his room. So when she

628
00:33:44,400 --> 00:33:47,880
Speaker 2: came here, I played for her I Somebody Loves Me.

629
00:33:48,400 --> 00:33:51,360
Speaker 2: She was like, wow, I never heard it like that.

630
00:33:52,400 --> 00:33:54,000
Speaker 2: And then I played for the song. I mean, she

631
00:33:54,040 --> 00:33:56,520
Speaker 2: didn't even like which is where broken Hearts go? And

632
00:33:56,560 --> 00:33:58,280
Speaker 2: I played her that. I said, does this cup for you? Now?

633
00:33:58,960 --> 00:34:01,720
Speaker 2: Then she goes, Now, I'm starting to get it because

634
00:34:01,760 --> 00:34:04,680
Speaker 2: now it's for her. Got the right basis, like, got

635
00:34:04,680 --> 00:34:08,200
Speaker 2: the black on it. That's cool. So what I'm saying

636
00:34:08,200 --> 00:34:10,520
Speaker 2: to you is I have to all say this now.

637
00:34:11,040 --> 00:34:13,840
Speaker 2: The first song that she sang in this room was

638
00:34:13,840 --> 00:34:15,480
Speaker 2: a song by the Isis for the Love of You.

639
00:34:16,120 --> 00:34:17,879
Speaker 2: And what was so great about doing that song first,

640
00:34:17,920 --> 00:34:19,440
Speaker 2: because she said, I know that song. I'm not even

641
00:34:19,520 --> 00:34:21,160
Speaker 2: learned of the songs yet, but I know that for

642
00:34:21,239 --> 00:34:22,880
Speaker 2: love of You, So going on, I can sing that.

643
00:34:23,040 --> 00:34:26,040
Speaker 2: So she sang that. I said, there are backing vocals

644
00:34:26,040 --> 00:34:28,759
Speaker 2: on for the love you stack your voice, so we

645
00:34:28,840 --> 00:34:32,680
Speaker 2: started stacking her voice twenty forty times, so it's all

646
00:34:32,719 --> 00:34:34,840
Speaker 2: the harms are her voice. And she came back in

647
00:34:34,920 --> 00:34:38,800
Speaker 2: the studio to hear. Now she's hearing like angels her voice,

648
00:34:40,960 --> 00:34:42,439
Speaker 2: and I see the look on her face, and she's

649
00:34:42,440 --> 00:34:45,760
Speaker 2: getting inspired by the sound of her her voice. Stacked

650
00:34:45,760 --> 00:34:48,920
Speaker 2: that many times, and I said, tomorrow we're gonna do

651
00:34:49,400 --> 00:34:52,280
Speaker 2: I want to dance somebody who loves me. She said, okay,

652
00:34:53,040 --> 00:34:56,000
Speaker 2: because she's high. Now she's excited by the sound of

653
00:34:56,120 --> 00:35:00,279
Speaker 2: her voice. And next day she came in and we

654
00:35:00,640 --> 00:35:03,279
Speaker 2: ran through it spoon feeding because you didn't know it.

655
00:35:03,520 --> 00:35:06,440
Speaker 2: Do the verse, do the verse, you know, do do

656
00:35:06,600 --> 00:35:09,240
Speaker 2: a course, do a course, do an of course, Pagna.

657
00:35:09,560 --> 00:35:11,280
Speaker 2: Put the whole thing together. Now go to the outro

658
00:35:11,440 --> 00:35:14,279
Speaker 2: and just go crazy for me. And she stumbled upon.

659
00:35:14,440 --> 00:35:16,480
Speaker 2: Say you wanna dance? Don't you want to? Don't you

660
00:35:16,480 --> 00:35:19,040
Speaker 2: want to dance? Say you wanna dance? Don't you want

661
00:35:19,080 --> 00:35:20,320
Speaker 2: to dance? That you want to dance?

662
00:35:20,760 --> 00:35:21,560
Speaker 7: Oh don't you want to?

663
00:35:21,880 --> 00:35:25,480
Speaker 2: Say you want to dance? Oh? Yeah? Man? Oh well

664
00:35:25,680 --> 00:35:28,239
Speaker 2: something body ruler that came out of her. I was like, damn,

665
00:35:28,440 --> 00:35:30,279
Speaker 2: I'm changing everything to go with that. With that, now

666
00:35:30,360 --> 00:35:33,839
Speaker 2: that's gonna be the the highlight at the very end

667
00:35:33,840 --> 00:35:37,400
Speaker 2: to go to right. That came out of her. So

668
00:35:37,480 --> 00:35:41,640
Speaker 2: I'm saying God came through. But I will say we

669
00:35:41,719 --> 00:35:43,520
Speaker 2: knew we wanted to make records that would last forever.

670
00:35:43,640 --> 00:35:46,520
Speaker 2: We pray about it. She loved Jesus. We pray about it,

671
00:35:47,080 --> 00:35:50,600
Speaker 2: you know, Dear Lord Jesus Savior and all that. You know.

672
00:35:51,680 --> 00:35:59,359
Speaker 2: Let me do my best work. Very devoted the weather

673
00:35:59,360 --> 00:36:00,759
Speaker 2: people want to you are not.

674
00:36:01,880 --> 00:36:09,400
Speaker 1: You are probably the most bullseye standard of what we

675
00:36:09,560 --> 00:36:13,120
Speaker 1: know as the eighties pop sounds. I know that Prince

676
00:36:13,239 --> 00:36:16,000
Speaker 1: was an architect, I know that Michael was a god

677
00:36:16,080 --> 00:36:18,720
Speaker 1: and all that stuff, But who does the person who's

678
00:36:18,719 --> 00:36:23,520
Speaker 1: the standard? You know, because you're doing starships nothing like.

679
00:36:23,760 --> 00:36:26,880
Speaker 1: I can only imagine what your life is like once

680
00:36:27,560 --> 00:36:31,680
Speaker 1: you have the success with Whitney, But first of all,

681
00:36:31,880 --> 00:36:36,120
Speaker 1: it's like who was your who was your guide to

682
00:36:36,200 --> 00:36:38,640
Speaker 1: even because I feel like every creator needs something to

683
00:36:38,680 --> 00:36:41,840
Speaker 1: sponge off of, to be like, all right, this is

684
00:36:41,840 --> 00:36:44,239
Speaker 1: where I'm gonna create. But what did the effect of

685
00:36:44,280 --> 00:36:49,400
Speaker 1: the Whitney albums have on you in terms of, you know, demand,

686
00:36:49,440 --> 00:36:50,400
Speaker 1: I need you to do my record.

687
00:36:50,400 --> 00:36:51,280
Speaker 2: I need you to do my record.

688
00:36:51,280 --> 00:36:54,279
Speaker 1: You gotta like because I'm certain now if people are

689
00:36:54,600 --> 00:37:00,279
Speaker 1: hiring you, they're expecting you to contribute the song that's

690
00:37:00,320 --> 00:37:03,040
Speaker 1: going to also bring them to twelve billion units and

691
00:37:03,200 --> 00:37:05,000
Speaker 1: sixty million units, Like is.

692
00:37:05,000 --> 00:37:07,680
Speaker 2: Filler even a thing to you? Like?

693
00:37:07,800 --> 00:37:11,160
Speaker 1: Or even allowed the freedom to just write a song

694
00:37:11,200 --> 00:37:12,640
Speaker 1: that's not going to be it, but this is really

695
00:37:12,719 --> 00:37:14,960
Speaker 1: clever song and da da da da da, Like what

696
00:37:15,080 --> 00:37:15,600
Speaker 1: is your life?

697
00:37:15,760 --> 00:37:17,520
Speaker 2: I'd be allowed to write it. I'd be allowed to

698
00:37:17,520 --> 00:37:21,239
Speaker 2: write it. But I was always knowing this is kb

699
00:37:21,320 --> 00:37:28,080
Speaker 2: Alex quiet storm format song. This is top ten format song.

700
00:37:28,680 --> 00:37:33,239
Speaker 2: This is R and B top ten song. I can

701
00:37:33,280 --> 00:37:36,640
Speaker 2: differentiate because don't forget at that time, we don't talk

702
00:37:36,640 --> 00:37:39,479
Speaker 2: about it, but I'll talk to you now. Any artist

703
00:37:39,560 --> 00:37:42,880
Speaker 2: that came through our door, black artist, we had always

704
00:37:42,880 --> 00:37:45,680
Speaker 2: think how we're going to break them first on black radio,

705
00:37:46,120 --> 00:37:49,279
Speaker 2: R and B radio, we could just think pop. You

706
00:37:49,320 --> 00:37:51,719
Speaker 2: just think, yeah, you want to get the bob, but

707
00:37:51,840 --> 00:37:53,640
Speaker 2: you have to first go through your R and B door.

708
00:37:54,360 --> 00:37:58,799
Speaker 2: So we knew those worlds R and B pop course

709
00:37:58,800 --> 00:38:03,160
Speaker 2: of course country, you know, jazz and then quiet storm

710
00:38:03,160 --> 00:38:06,960
Speaker 2: a hybrid easygoing music which now becomes smooth jazz whatever

711
00:38:06,960 --> 00:38:10,640
Speaker 2: that is. So we knew the different categories. You had

712
00:38:10,640 --> 00:38:13,040
Speaker 2: to know that as a producer because if you didn't,

713
00:38:13,080 --> 00:38:14,560
Speaker 2: you couldn't make it. As a producer. You had to

714
00:38:14,600 --> 00:38:16,560
Speaker 2: be making no, no, this is going to be doing.

715
00:38:16,680 --> 00:38:18,239
Speaker 2: This is going to give us the army radio, and

716
00:38:18,239 --> 00:38:19,759
Speaker 2: then we have enough of the hook to go to

717
00:38:19,800 --> 00:38:22,920
Speaker 2: p operate and do well. Even the thinking with Clive

718
00:38:23,000 --> 00:38:30,200
Speaker 2: Davis and Arista putting out You Give Good Love first

719
00:38:30,680 --> 00:38:34,839
Speaker 2: was to ingratiate Mom and Pops and black radio and

720
00:38:34,840 --> 00:38:39,200
Speaker 2: our black community that she's ours. Before they came with

721
00:38:39,239 --> 00:38:40,600
Speaker 2: a saving on my left for you and how I

722
00:38:40,640 --> 00:38:44,200
Speaker 2: know that's for the world. That was a very thought

723
00:38:44,200 --> 00:38:47,399
Speaker 2: about decision. You see what I'm saying. That's how it

724
00:38:47,440 --> 00:38:49,399
Speaker 2: was at that time. Everything had to be a certain way.

725
00:38:49,400 --> 00:38:51,279
Speaker 2: It was a black artist, a pop artist that you

726
00:38:51,280 --> 00:38:53,800
Speaker 2: mentioned Starship. I'm not worrying about that because they already

727
00:38:54,120 --> 00:38:58,359
Speaker 2: that's great slick. We love Mickey Thomas, killer Singer. It's

728
00:38:58,400 --> 00:39:00,160
Speaker 2: a band that we all know. They already had. We

729
00:39:00,200 --> 00:39:03,319
Speaker 2: built this city and Sarah, they had damn hits, you

730
00:39:03,320 --> 00:39:08,520
Speaker 2: know mean. So I got my electronic drums, Shott, I

731
00:39:08,560 --> 00:39:14,000
Speaker 2: got good studs, got good d put that funk drive

732
00:39:14,080 --> 00:39:16,920
Speaker 2: on it. On a Dyan Warren song that became her

733
00:39:16,960 --> 00:39:19,760
Speaker 2: first number one, and it was so strong I knocked

734
00:39:19,760 --> 00:39:22,360
Speaker 2: myself out of number one. George Michael Reath the Franklin

735
00:39:22,360 --> 00:39:24,719
Speaker 2: the way me knocked myself out the number one. That's

736
00:39:24,719 --> 00:39:26,920
Speaker 2: how I was at that time. Because the drums, the

737
00:39:27,000 --> 00:39:30,600
Speaker 2: sound I knew was the power. You have to have it,

738
00:39:30,680 --> 00:39:33,799
Speaker 2: and we changed the sound to be like mighty. And

739
00:39:33,840 --> 00:39:36,720
Speaker 2: don't forget what our competition was. Your a friend, Prince,

740
00:39:37,280 --> 00:39:39,399
Speaker 2: he had the hell of the drums. He knew it.

741
00:39:40,280 --> 00:39:42,480
Speaker 2: And not only did he know it, he puts you.

742
00:39:42,640 --> 00:39:44,879
Speaker 2: He put his foot up your butt about it. Those

743
00:39:44,920 --> 00:39:48,400
Speaker 2: drum chacks you put down. Look at grupple rain and stout.

744
00:39:49,440 --> 00:39:55,560
Speaker 2: The sound is almighty. He was a mean scientist and

745
00:39:55,719 --> 00:39:58,440
Speaker 2: everyone you wanted to be competitive, you better be able

746
00:39:58,480 --> 00:40:01,080
Speaker 2: to get down with it with these new machines or

747
00:40:01,120 --> 00:40:01,640
Speaker 2: you're out.

748
00:40:02,760 --> 00:40:07,239
Speaker 1: Could you also tell me about Areitha and Whitney's It

749
00:40:07,320 --> 00:40:10,440
Speaker 1: isn't it? Wasn't it ever going to be like did

750
00:40:10,480 --> 00:40:13,840
Speaker 1: they do them together or what was that those sessions?

751
00:40:13,920 --> 00:40:16,799
Speaker 2: Like, well, there's two two different record you talk about.

752
00:40:16,800 --> 00:40:19,880
Speaker 2: Now you're talking. You asked first about the George Michael record.

753
00:40:19,920 --> 00:40:22,879
Speaker 2: I'm excited, okay, I am too. I am too man,

754
00:40:24,520 --> 00:40:27,080
Speaker 2: I am too okay, So dig on I knew waiting

755
00:40:27,080 --> 00:40:29,640
Speaker 2: for me as a Clive Davis pick. Clive said, I

756
00:40:29,680 --> 00:40:32,600
Speaker 2: met with George Michael. He wants to do a song

757
00:40:32,640 --> 00:40:35,920
Speaker 2: with Aretha. He loves the Aretha. I said, okay, and he

758
00:40:35,960 --> 00:40:38,680
Speaker 2: said I found this song. I'm gonna send it to you.

759
00:40:38,960 --> 00:40:42,040
Speaker 2: And then Clive sent me the song and powerful song.

760
00:40:42,040 --> 00:40:44,960
Speaker 2: I went from me, but again it's the magic of

761
00:40:45,000 --> 00:40:47,719
Speaker 2: my team to bring those chimes with Crawdle on the

762
00:40:47,760 --> 00:40:52,480
Speaker 2: Syns guitar on the very beginning against the drum. You

763
00:40:52,520 --> 00:40:54,399
Speaker 2: have to understand at that time you had to have

764
00:40:54,480 --> 00:40:58,400
Speaker 2: this new sound before anybody opened the mouths this The

765
00:40:58,440 --> 00:41:00,759
Speaker 2: sound of the record had to be like Ahead, kind

766
00:41:00,760 --> 00:41:05,839
Speaker 2: of like Motown. Was the hit No You won't hit

767
00:41:06,040 --> 00:41:09,279
Speaker 2: you know what I mean. So in the electronic world,

768
00:41:09,600 --> 00:41:11,000
Speaker 2: we have to put that thing down it sounds good

769
00:41:11,040 --> 00:41:13,200
Speaker 2: in this room, and then lay it all out with

770
00:41:13,400 --> 00:41:17,520
Speaker 2: the vocals back in vocals, all sounding finished. And then

771
00:41:17,520 --> 00:41:21,239
Speaker 2: when I went to Detroit, I've had three days and

772
00:41:21,440 --> 00:41:23,840
Speaker 2: they were on tape. So we only have ten tracks.

773
00:41:23,840 --> 00:41:26,719
Speaker 2: A piece for a reth Inn for George. Wreatha comes

774
00:41:26,719 --> 00:41:30,400
Speaker 2: in the first day, lays out her verses and choruses

775
00:41:30,560 --> 00:41:32,480
Speaker 2: and then not blowing on the end. I want to

776
00:41:32,520 --> 00:41:35,279
Speaker 2: save that for a live thing with George. Then the

777
00:41:35,280 --> 00:41:38,440
Speaker 2: next day comes in, George Areatha's not there. George is

778
00:41:38,560 --> 00:41:43,800
Speaker 2: very nervous. He's very nervous, and he's a control freak.

779
00:41:44,440 --> 00:41:47,320
Speaker 2: He's only produced himself. He's only had one guy produced

780
00:41:47,360 --> 00:41:51,680
Speaker 2: him from that dude thing, you know, it's Chris. Besides that,

781
00:41:51,680 --> 00:41:55,600
Speaker 2: he's done his own masterpieces. So we have ten tracks

782
00:41:55,640 --> 00:41:57,040
Speaker 2: for George. I'm gonna just say this because this is

783
00:41:57,080 --> 00:42:00,680
Speaker 2: important for my life. George goes on the mic and

784
00:42:00,719 --> 00:42:05,720
Speaker 2: he sings the song, and he goes almost through damn

785
00:42:06,600 --> 00:42:10,240
Speaker 2: ten those tracks. He goes through those damn ten tracks,

786
00:42:11,040 --> 00:42:13,839
Speaker 2: and I happen to know the first four tracks are

787
00:42:13,920 --> 00:42:16,719
Speaker 2: my record because he was so strong. As he's gone

788
00:42:16,760 --> 00:42:19,160
Speaker 2: to the sixth and seventh and eighth track is diminishing

789
00:42:19,200 --> 00:42:21,920
Speaker 2: a little bit. He says to me, go back over

790
00:42:22,000 --> 00:42:26,319
Speaker 2: those first tracks. I want to do more vocals. And

791
00:42:26,360 --> 00:42:28,520
Speaker 2: that's when I became a producer, and I said, no,

792
00:42:28,520 --> 00:42:33,520
Speaker 2: we're not doing that. These four tracks, that's my record,

793
00:42:33,920 --> 00:42:36,359
Speaker 2: that's the record. You think you're getting better, but in

794
00:42:36,360 --> 00:42:37,279
Speaker 2: fact you're diminishing.

795
00:42:37,680 --> 00:42:40,200
Speaker 1: How do you Jedi mind trick an artist to get

796
00:42:40,239 --> 00:42:41,480
Speaker 1: out of their head.

797
00:42:41,920 --> 00:42:43,239
Speaker 2: You have to say dis trust me. That's all you

798
00:42:43,239 --> 00:42:46,200
Speaker 2: got to do. Because you say, go home, let me

799
00:42:46,440 --> 00:42:49,279
Speaker 2: comp this. When you come back tomorrow, I play, I

800
00:42:49,320 --> 00:42:52,240
Speaker 2: sleep all night, go home. I'm gonna put it together.

801
00:42:53,120 --> 00:42:55,520
Speaker 2: And when you hear tomorrow, you're come in fresh to

802
00:42:55,600 --> 00:42:57,279
Speaker 2: do your backing vote. You come in fresh to your

803
00:42:57,320 --> 00:43:00,279
Speaker 2: ad libs with the Queen. Get your Rest's be the

804
00:43:00,360 --> 00:43:02,480
Speaker 2: challenge and if anything bothers you tomorrow, then we can

805
00:43:02,520 --> 00:43:04,000
Speaker 2: do that. After I've had a chance to call him

806
00:43:04,000 --> 00:43:07,080
Speaker 2: through what I know is my hit record. Then he

807
00:43:07,120 --> 00:43:09,640
Speaker 2: said okay, But he looked at me like, who are

808
00:43:09,680 --> 00:43:10,920
Speaker 2: you to talk to like this? You know, he looked

809
00:43:10,920 --> 00:43:14,239
Speaker 2: at me like, you know who you think you are? Bad.

810
00:43:14,320 --> 00:43:16,520
Speaker 2: Let him know, George, you think you're getting better, but

811
00:43:16,560 --> 00:43:20,560
Speaker 2: in fact these first tracks were mighty. So then he

812
00:43:20,880 --> 00:43:24,480
Speaker 2: just he gave in. He gave in the next day.

813
00:43:24,680 --> 00:43:27,600
Speaker 2: That was genius because now he's meeting the queen, and

814
00:43:27,640 --> 00:43:29,640
Speaker 2: the queen's happened to meeting him because he's a big star.

815
00:43:30,239 --> 00:43:32,920
Speaker 2: And then what it is, we have two mics. I

816
00:43:32,960 --> 00:43:35,200
Speaker 2: have enough to do four rounds of ad lits on

817
00:43:35,200 --> 00:43:39,799
Speaker 2: the ending with two tracks a piece. And Aretha goes

818
00:43:39,840 --> 00:43:42,400
Speaker 2: easy on those first tracks. She's, you know, just feeling

819
00:43:42,400 --> 00:43:43,960
Speaker 2: them out like a prize It's like a prize fighter.

820
00:43:44,640 --> 00:43:48,560
Speaker 2: She's a fucking prize Fighter's a prize fighter. On the

821
00:43:48,560 --> 00:43:51,719
Speaker 2: third and fourth go rounds, she let him have it, man,

822
00:43:52,200 --> 00:43:55,640
Speaker 2: And that's on that record. Would you hear? And he stunned,

823
00:43:55,640 --> 00:44:00,200
Speaker 2: He's stopped because he could have a power no one can.

824
00:44:00,920 --> 00:44:03,919
Speaker 2: So what I'm saying to you is, I'm very proud

825
00:44:03,920 --> 00:44:06,400
Speaker 2: of that record now on because it's number one because

826
00:44:06,840 --> 00:44:09,480
Speaker 2: the friendship that Jeorde and I made of him trusting

827
00:44:09,520 --> 00:44:13,640
Speaker 2: me and me having to be strong to say no stopping.

828
00:44:14,239 --> 00:44:16,680
Speaker 2: So like that, I can tell you, did you do.

829
00:44:16,680 --> 00:44:19,200
Speaker 1: The same process Whitney and Aretha? Like, do you prefer

830
00:44:19,280 --> 00:44:21,920
Speaker 1: them to sing apart or that song they were together.

831
00:44:22,600 --> 00:44:24,920
Speaker 1: Cut the tracks here, go to Detroit. You're not it

832
00:44:25,000 --> 00:44:27,240
Speaker 1: sound with my enginet dave phrase. We fly together.

833
00:44:27,600 --> 00:44:29,759
Speaker 2: It sound in the same studios where George Wilt be

834
00:44:29,800 --> 00:44:32,600
Speaker 2: hanging out. I know we won't the funk all that

835
00:44:32,600 --> 00:44:33,880
Speaker 2: stuff in the whole same rooms.

836
00:44:34,320 --> 00:44:37,879
Speaker 1: Q tip has that board? Now who does Q tip

837
00:44:37,960 --> 00:44:40,000
Speaker 1: has the API board?

838
00:44:40,040 --> 00:44:44,720
Speaker 2: Yes? Okay board? So what was that session?

839
00:44:45,800 --> 00:44:48,440
Speaker 1: It's again like you have two women at the top

840
00:44:48,480 --> 00:44:50,879
Speaker 1: of their game, two gods at the top of their game.

841
00:44:51,800 --> 00:44:56,319
Speaker 1: How are you refereeing how the song's gonna go? Well

842
00:44:56,400 --> 00:44:58,400
Speaker 1: that you're allowed to tell me, And I can tell

843
00:44:58,480 --> 00:44:59,520
Speaker 1: by the look on your face.

844
00:45:00,120 --> 00:45:04,719
Speaker 2: You gotta hold some stuff back. They're both in heaven.

845
00:45:04,760 --> 00:45:06,520
Speaker 2: They're both looking down upon us right now on the

846
00:45:07,120 --> 00:45:10,920
Speaker 2: hairs and they and they give me love because it

847
00:45:11,040 --> 00:45:13,440
Speaker 2: was love. But this is what I gotta share with you,

848
00:45:13,520 --> 00:45:16,840
Speaker 2: which you know, Aretha Franklin, I mentioned to you a

849
00:45:16,840 --> 00:45:19,840
Speaker 2: prize fighter. It is true Whitney Houston's one of the

850
00:45:19,880 --> 00:45:25,320
Speaker 2: greatest of all time. But Aretha Whitney with Aretha Wreatha

851
00:45:25,440 --> 00:45:27,279
Speaker 2: was a little girl when her mother sang back up

852
00:45:27,280 --> 00:45:30,520
Speaker 2: on those hits with Aretha reada's a little girl, Whitney's

853
00:45:30,520 --> 00:45:34,120
Speaker 2: little girl around those sessions. So Aretha to Whitney is

854
00:45:34,160 --> 00:45:37,359
Speaker 2: like Auntie re read like, let us Auntie ree Red

855
00:45:37,520 --> 00:45:39,480
Speaker 2: so sweet like that. So here I'm gonna go with.

856
00:45:39,880 --> 00:45:42,960
Speaker 2: I'm sitting at the board. Whitney is sitting on the floor.

857
00:45:43,120 --> 00:45:44,800
Speaker 2: We get there early. She's on the floor. Time. You

858
00:45:45,000 --> 00:45:47,239
Speaker 2: can't read this here. She's just frost leg on the floor.

859
00:45:47,600 --> 00:45:49,959
Speaker 2: When Aretha comes to the door in her fur coat

860
00:45:50,080 --> 00:45:54,520
Speaker 2: and her prize fighter mode, like when the Narrow goes

861
00:45:54,520 --> 00:45:57,080
Speaker 2: into his modes to make his movies. Already in character.

862
00:45:57,280 --> 00:46:00,640
Speaker 2: She's in character to take this man or keep her man.

863
00:46:02,200 --> 00:46:03,759
Speaker 2: So she looks at me, she goes, where is she?

864
00:46:04,360 --> 00:46:07,080
Speaker 2: That kind of harsh like that? Where is she? Where

865
00:46:07,160 --> 00:46:11,160
Speaker 2: is she? Now? You throw me off? Where is she? Wait? Oh, oh,

866
00:46:11,200 --> 00:46:15,520
Speaker 2: you mean Whitney. She's right here on the floor. And

867
00:46:15,520 --> 00:46:19,000
Speaker 2: then she peers down and look at Whitney. You know. Oh,

868
00:46:19,960 --> 00:46:25,600
Speaker 2: so you're miss Houston and Whitney's life Auntie Reary. The

869
00:46:25,680 --> 00:46:28,600
Speaker 2: cast was spelt right there. The song would be like,

870
00:46:29,400 --> 00:46:30,800
Speaker 2: how are you going to take my man? How you

871
00:46:30,880 --> 00:46:33,880
Speaker 2: gonna even sing about taking my man? She put that

872
00:46:33,880 --> 00:46:35,720
Speaker 2: that that that thing on the right from the very beginning,

873
00:46:36,880 --> 00:46:41,840
Speaker 2: and from the very beginning we did the song. Whitney

874
00:46:42,080 --> 00:46:46,560
Speaker 2: is so effortless at that time with her vocals, she

875
00:46:46,719 --> 00:46:48,880
Speaker 2: did the most killer if I've ever heard her do.

876
00:46:50,880 --> 00:46:53,080
Speaker 2: And then she left because she could feel that it

877
00:46:53,200 --> 00:46:57,520
Speaker 2: wasn't a good vibe. And Retha stated, and Retha said,

878
00:46:57,640 --> 00:46:58,919
Speaker 2: go to that part of the tape where she said

879
00:46:58,920 --> 00:47:01,799
Speaker 2: she did that that cred thing. She didn't pushed me

880
00:47:01,800 --> 00:47:06,560
Speaker 2: in right after it, okay, And we did, and she

881
00:47:06,760 --> 00:47:08,560
Speaker 2: punched me out there again. Make sure I do what

882
00:47:08,600 --> 00:47:10,399
Speaker 2: I want to do, because she wanted to make sure

883
00:47:10,440 --> 00:47:12,520
Speaker 2: she was bringing her fire as strong as what we're

884
00:47:12,560 --> 00:47:16,520
Speaker 2: dead done, just effortlessly, and we did. And then when

885
00:47:16,520 --> 00:47:18,840
Speaker 2: she got what she won, which was killer, she left.

886
00:47:19,040 --> 00:47:20,839
Speaker 2: But then she called me up on the phone and said,

887
00:47:21,200 --> 00:47:24,480
Speaker 2: do you think I was too harsh today? Said, well,

888
00:47:24,800 --> 00:47:27,480
Speaker 2: you might want to give her. He a phone call, says, yes,

889
00:47:27,560 --> 00:47:29,759
Speaker 2: I will. She said I wasn't character for the song.

890
00:47:29,800 --> 00:47:33,000
Speaker 2: I said, I know you were, Damn. When you're in character,

891
00:47:33,040 --> 00:47:35,839
Speaker 2: I mean, you're like, you're like life to death. Man.

892
00:47:36,320 --> 00:47:37,000
Speaker 2: But that's the thing.

893
00:47:37,080 --> 00:47:41,440
Speaker 1: I always see a duet as like a collaboration. I

894
00:47:41,560 --> 00:47:44,800
Speaker 1: never like I'm not thinking that like Michael Jackson and

895
00:47:44,840 --> 00:47:48,480
Speaker 1: Paul McCartney about to start brawling, you know, like I'm

896
00:47:48,480 --> 00:47:51,000
Speaker 1: an out sing you, you're out singing me. I think,

897
00:47:51,120 --> 00:47:55,200
Speaker 1: as the average listener, I wouldn't listen from the standpoint

898
00:47:55,280 --> 00:47:58,760
Speaker 1: of like who's going to win this battle? I'm thinking

899
00:47:58,760 --> 00:48:01,080
Speaker 1: of like how are they going to to create magic together?

900
00:48:01,120 --> 00:48:04,359
Speaker 1: It's so weird that how artists getting their heads. Well, wait,

901
00:48:04,440 --> 00:48:05,959
Speaker 1: I might as well throw one. One thing is because

902
00:48:05,960 --> 00:48:09,799
Speaker 1: if I remember correctly, I believe on that record the

903
00:48:09,920 --> 00:48:15,279
Speaker 1: opening song is James Brown and Aretha Franklin. Yes, how

904
00:48:15,440 --> 00:48:19,040
Speaker 1: how was that session? Because I've talked to Full Force

905
00:48:19,120 --> 00:48:23,719
Speaker 1: before about working with James Brown, and there's there's a

906
00:48:23,719 --> 00:48:26,799
Speaker 1: lot of puncheons and whatnot, like like.

907
00:48:26,920 --> 00:48:29,640
Speaker 2: James, James was is my hero. You know, you're a drummer,

908
00:48:29,680 --> 00:48:33,080
Speaker 2: so you know the power of Cole Sweat, The power

909
00:48:33,160 --> 00:48:35,040
Speaker 2: Cole Sweat with what they put down was just like

910
00:48:35,200 --> 00:48:37,640
Speaker 2: so far ahead. If you want to be respected as

911
00:48:37,640 --> 00:48:38,799
Speaker 2: any kind drummer, you have to be able to play

912
00:48:38,800 --> 00:48:42,480
Speaker 2: Coled Cole Sweat. And so here I am in this

913
00:48:42,640 --> 00:48:45,600
Speaker 2: room with James Brown. You call mister Brown, You'll call

914
00:48:45,680 --> 00:48:49,520
Speaker 2: him James, mister Brown, and we had he said, I

915
00:48:49,560 --> 00:48:52,479
Speaker 2: want a few cards, And first of all, he thought,

916
00:48:52,480 --> 00:48:54,279
Speaker 2: where is she? He wanted to see Aretha. I said,

917
00:48:54,320 --> 00:48:56,719
Speaker 2: we she's not here. You're coming in and sing your parts,

918
00:48:56,719 --> 00:48:58,360
Speaker 2: and I'm gonna go to try but her parts. So

919
00:48:58,400 --> 00:49:00,560
Speaker 2: he was sad because you really had a kind of

920
00:49:00,600 --> 00:49:03,480
Speaker 2: a romantic thing in his mind about Aretha. Right, it'd

921
00:49:03,480 --> 00:49:05,280
Speaker 2: be great that the king and the queen came together.

922
00:49:05,360 --> 00:49:09,120
Speaker 2: And he was all there, you know. So we made

923
00:49:09,160 --> 00:49:11,280
Speaker 2: these big Q cards. So here I'm holding big Q cards.

924
00:49:11,560 --> 00:49:13,760
Speaker 2: You know, I'm kind of throwing away as he's singing

925
00:49:13,920 --> 00:49:17,560
Speaker 2: the song, throwing cue cards. But that's how he recorded.

926
00:49:18,040 --> 00:49:20,200
Speaker 2: And he's a killer just doing his grunts and his

927
00:49:20,200 --> 00:49:22,400
Speaker 2: stuff and then reading the Q card and kind of

928
00:49:22,400 --> 00:49:25,200
Speaker 2: being spontaneous. It was a killer session. I loved him.

929
00:49:25,239 --> 00:49:27,520
Speaker 2: I loved you. And also we had a I knew

930
00:49:27,520 --> 00:49:29,359
Speaker 2: he less like organ, so I have my organ in here.

931
00:49:29,400 --> 00:49:30,799
Speaker 2: You go and fill up with the organ play that

932
00:49:31,440 --> 00:49:34,680
Speaker 2: you need. Yeah I would, Yeah, no, I would, because

933
00:49:34,680 --> 00:49:36,920
Speaker 2: I know I make him happy. See and then he

934
00:49:36,920 --> 00:49:39,960
Speaker 2: will say, use the only one keeping the funk alive. Damn,

935
00:49:40,000 --> 00:49:41,960
Speaker 2: mister Brown, thank you for saying that, use the only

936
00:49:42,040 --> 00:49:45,040
Speaker 2: one chieving the funk alive damn Okay. So then I

937
00:49:45,080 --> 00:49:46,960
Speaker 2: went back and put Aretha on Andreatha killed it too.

938
00:49:47,520 --> 00:49:49,279
Speaker 2: He just wasn't meant to be. And Prince, you're bro

939
00:49:50,160 --> 00:49:52,799
Speaker 2: did the remix on that record? Did you know that right?

940
00:49:53,360 --> 00:49:56,440
Speaker 2: That's right? I okay, I heard I heard an outtake

941
00:49:56,520 --> 00:49:59,239
Speaker 2: of it. You are correct? Yeah.

942
00:49:59,640 --> 00:50:01,960
Speaker 1: I apologize for hogging this entire interview.

943
00:50:02,120 --> 00:50:03,520
Speaker 2: Do you have any questions?

944
00:50:03,760 --> 00:50:06,880
Speaker 4: I wanted to ask about the Temptations stay.

945
00:50:07,920 --> 00:50:10,279
Speaker 3: I just thought that was just a brilliant move of

946
00:50:10,320 --> 00:50:13,799
Speaker 3: sampling my girl to make a new song. So tell

947
00:50:13,840 --> 00:50:15,360
Speaker 3: me about how that record came together and what that

948
00:50:15,400 --> 00:50:16,000
Speaker 3: session was like.

949
00:50:16,040 --> 00:50:20,720
Speaker 2: Man, I love the Temptations, Temptations four tops. That all

950
00:50:20,760 --> 00:50:23,000
Speaker 2: that movement out of the motown list is just staggering.

951
00:50:23,840 --> 00:50:25,719
Speaker 2: We're still learning from that catalog. We're still learning from

952
00:50:25,719 --> 00:50:28,120
Speaker 2: most people. We're still learning. We're still trying to be

953
00:50:28,160 --> 00:50:30,480
Speaker 2: half as good. That's what they put what they did. Man,

954
00:50:30,480 --> 00:50:33,279
Speaker 2: we're just so the work Temptations is a big deal.

955
00:50:33,280 --> 00:50:36,080
Speaker 2: And then Otis Williams is the only living memory when

956
00:50:36,120 --> 00:50:40,080
Speaker 2: I worked with him, and I loved his wisdom, so

957
00:50:40,160 --> 00:50:41,799
Speaker 2: it brought some out of me after I met with him,

958
00:50:42,000 --> 00:50:44,400
Speaker 2: to record some songs. It brought this out of me

959
00:50:44,440 --> 00:50:46,839
Speaker 2: to kind of go, what can I do that would

960
00:50:46,840 --> 00:50:51,640
Speaker 2: just really be something different? And I just God said,

961
00:50:52,160 --> 00:50:55,839
Speaker 2: you sample the beginning of My Girl boom boom boom

962
00:50:56,239 --> 00:50:59,520
Speaker 2: boom boom boom boom boom boom boom boom boom, you know,

963
00:50:59,680 --> 00:51:01,640
Speaker 2: and put a new song on top kind of what

964
00:51:01,719 --> 00:51:03,400
Speaker 2: was coming out in New York. Again, you had a

965
00:51:03,440 --> 00:51:07,240
Speaker 2: lot of cats taking other records and putting different songs

966
00:51:07,280 --> 00:51:10,160
Speaker 2: on top. So it wasn't a new a brand new thing,

967
00:51:10,200 --> 00:51:11,680
Speaker 2: but it's a brand new thing to do for the temptation,

968
00:51:11,719 --> 00:51:15,080
Speaker 2: that's you know what I mean. So that's where did

969
00:51:15,160 --> 00:51:19,200
Speaker 2: stay tune the moon and Baby rock Me Slow like

970
00:51:19,239 --> 00:51:23,400
Speaker 2: I want to rock you on top of My Girl?

971
00:51:23,840 --> 00:51:25,640
Speaker 2: So I had to guess Wigie Robinson half the song

972
00:51:25,760 --> 00:51:28,759
Speaker 2: because he wrote my Girl no problem, and we got

973
00:51:28,800 --> 00:51:30,480
Speaker 2: to know the other half. And it became a hit

974
00:51:30,520 --> 00:51:32,040
Speaker 2: for us, and they got a platinum record band of

975
00:51:32,160 --> 00:51:33,920
Speaker 2: all those years here there plotum and then they're going for

976
00:51:33,960 --> 00:51:35,520
Speaker 2: the Grammy and all that stuff. So it made me

977
00:51:35,640 --> 00:51:37,480
Speaker 2: very happy. But that's what it was. I was just

978
00:51:37,520 --> 00:51:40,600
Speaker 2: really wanting to have a hit, and I thought, if

979
00:51:40,640 --> 00:51:43,200
Speaker 2: I take something old like a wedding, something old, something new,

980
00:51:43,800 --> 00:51:45,160
Speaker 2: that might be the thing. And it was.

981
00:51:50,600 --> 00:51:55,240
Speaker 1: When you're approached about Mariah Carrey's first album, Yes, Now,

982
00:51:55,360 --> 00:52:01,440
Speaker 1: unlike Whitney Houston, which again nobody had a ankling of

983
00:52:01,440 --> 00:52:05,600
Speaker 1: a clue, what was headed down the road? Now that

984
00:52:05,719 --> 00:52:09,840
Speaker 1: you know that there's a standard a road to follow.

985
00:52:11,280 --> 00:52:16,279
Speaker 1: When Tommy and Donnie are bringing you Mariah Carey, are

986
00:52:16,280 --> 00:52:20,440
Speaker 1: they putting the invisible pressure on you to put some

987
00:52:20,520 --> 00:52:22,520
Speaker 1: numbers on the board, just like you did for your

988
00:52:22,560 --> 00:52:23,440
Speaker 1: other star student.

989
00:52:24,880 --> 00:52:27,319
Speaker 2: Yeah, no, there are. We're not talking numbers, We're not

990
00:52:27,320 --> 00:52:30,440
Speaker 2: talking pressure. It's just the first folk call get from Tommy,

991
00:52:30,520 --> 00:52:33,040
Speaker 2: not Donnie. Donnie I knew from working with Clive. Now

992
00:52:33,080 --> 00:52:34,760
Speaker 2: he's over Sony, but I didn't even have a relationship

993
00:52:34,800 --> 00:52:37,560
Speaker 2: to him and Sony yet. So it's really Tommy called me.

994
00:52:38,160 --> 00:52:40,520
Speaker 2: He says, I found this girl and I want to

995
00:52:40,560 --> 00:52:46,359
Speaker 2: send you a picture and a song on her, and

996
00:52:46,440 --> 00:52:48,640
Speaker 2: then you know, and if you like her, let me know,

997
00:52:48,800 --> 00:52:52,040
Speaker 2: said he said, But don't mack my babe. Okay, all right,

998
00:52:52,239 --> 00:53:01,280
Speaker 2: I'm married. And the mail come was a little tiny

999
00:53:01,280 --> 00:53:06,000
Speaker 2: slide of her that big and a cassette. So I

1000
00:53:06,040 --> 00:53:07,479
Speaker 2: listened to the casset and said, oh, yeah, she sounds

1001
00:53:07,560 --> 00:53:09,480
Speaker 2: really nice, you know, so I let her know. You know,

1002
00:53:09,600 --> 00:53:12,279
Speaker 2: she's whatever I'm hearing is cool. Would you fly to

1003
00:53:12,280 --> 00:53:14,880
Speaker 2: New York come Meter? I said yes, I will, because

1004
00:53:14,880 --> 00:53:17,560
Speaker 2: don't forget, Matola was a present for Sonya, now a

1005
00:53:17,640 --> 00:53:20,399
Speaker 2: big lady. I knew if he had his attention on something,

1006
00:53:20,600 --> 00:53:22,880
Speaker 2: it could be like something we really want to like

1007
00:53:22,960 --> 00:53:25,000
Speaker 2: take serious. So here I go to New York, come Meter.

1008
00:53:25,760 --> 00:53:28,560
Speaker 2: And in all respect Mariah, when I first met he

1009
00:53:28,680 --> 00:53:31,439
Speaker 2: was extremely shy, not the Mariah you see now where

1010
00:53:31,480 --> 00:53:33,840
Speaker 2: she's up front and talking and you know, and like

1011
00:53:33,920 --> 00:53:36,919
Speaker 2: there's the she would have them hair on one side

1012
00:53:36,920 --> 00:53:39,680
Speaker 2: of her face and talk to you with the hair

1013
00:53:39,719 --> 00:53:44,640
Speaker 2: on one side of the face, very quiet. And I

1014
00:53:44,640 --> 00:53:46,759
Speaker 2: would say, well, we're like, well, what do you what

1015
00:53:46,880 --> 00:53:50,160
Speaker 2: artists do you like? You know? Oh, I like George Michael.

1016
00:53:51,480 --> 00:53:53,400
Speaker 2: That's great. I just work with George Michael. You know,

1017
00:53:53,800 --> 00:53:55,799
Speaker 2: just did that. I know you're waiting for me, So

1018
00:53:55,840 --> 00:53:58,000
Speaker 2: I said, you know what, why don't we go? I

1019
00:53:58,040 --> 00:53:59,400
Speaker 2: can hear you singing a Michae. Let's just go to

1020
00:53:59,480 --> 00:54:01,799
Speaker 2: some studio and just not to sit on and talk.

1021
00:54:01,840 --> 00:54:04,000
Speaker 2: Let's go and do some music. So we did. We

1022
00:54:04,040 --> 00:54:06,040
Speaker 2: went over to Sony Studio, a mike for her, a

1023
00:54:06,080 --> 00:54:09,279
Speaker 2: mike for me, and my friend wrote piano and we

1024
00:54:09,320 --> 00:54:12,200
Speaker 2: wrote four songs. And I was surprised how fast she writes,

1025
00:54:12,239 --> 00:54:14,200
Speaker 2: and then I was surprised how good she sings. Then

1026
00:54:14,200 --> 00:54:15,920
Speaker 2: I was even more surprised that she could do like

1027
00:54:15,920 --> 00:54:20,440
Speaker 2: a young Michael Jackson. Well, like, that's not easy to

1028
00:54:20,480 --> 00:54:24,520
Speaker 2: be like to imitate a young Michael Jackson. She could

1029
00:54:24,560 --> 00:54:27,640
Speaker 2: do that. Then it hit me who I was messing

1030
00:54:27,680 --> 00:54:31,160
Speaker 2: with that it wasn't just some other whatever. How did

1031
00:54:31,160 --> 00:54:35,000
Speaker 2: you discover the whistle? Because you unleashed the whistle to

1032
00:54:35,040 --> 00:54:38,880
Speaker 2: the world. Well in honesty vision of love where she

1033
00:54:38,920 --> 00:54:41,320
Speaker 2: goes it in that big whistle. She cut that vocal

1034
00:54:41,360 --> 00:54:43,479
Speaker 2: on her own with her other cat. I didn't cut

1035
00:54:43,480 --> 00:54:47,000
Speaker 2: that whistle. They had already cut that jam. Well, I

1036
00:54:47,040 --> 00:54:49,560
Speaker 2: got with her. I did a jam called I Don't

1037
00:54:49,560 --> 00:54:51,359
Speaker 2: want to cry, I don't want to cry, My bad,

1038
00:54:51,440 --> 00:54:53,680
Speaker 2: my bad, okay okay, And then I got and then

1039
00:54:53,680 --> 00:54:56,080
Speaker 2: we got into all that on that record, knowing, wow,

1040
00:54:56,880 --> 00:54:58,439
Speaker 2: you know she could do it. So then we really

1041
00:54:58,480 --> 00:55:01,160
Speaker 2: just perfected it and just got what she wanted. And

1042
00:55:01,200 --> 00:55:03,319
Speaker 2: then I started realizing what a perfection she is. She

1043
00:55:03,360 --> 00:55:04,879
Speaker 2: even had me send that tape back in your because

1044
00:55:04,880 --> 00:55:08,839
Speaker 2: she wanted to fix on one riff, only send tape

1045
00:55:08,840 --> 00:55:12,520
Speaker 2: across the country, well one rift, which already genius it was,

1046
00:55:13,239 --> 00:55:15,960
Speaker 2: but we did. That's how I realized what her standard

1047
00:55:16,040 --> 00:55:18,400
Speaker 2: was at that time. She wanted me so shy to now,

1048
00:55:18,520 --> 00:55:21,920
Speaker 2: being like, send me the tape. So we did. We

1049
00:55:22,000 --> 00:55:23,800
Speaker 2: got it back and it wasn't that much different, but

1050
00:55:24,680 --> 00:55:27,200
Speaker 2: she was a damn killer. And then from there Tommy says,

1051
00:55:27,719 --> 00:55:30,040
Speaker 2: what you're doing on these songs, I want Vision of

1052
00:55:30,120 --> 00:55:32,600
Speaker 2: Love to sound like and the album. So then they

1053
00:55:32,640 --> 00:55:34,000
Speaker 2: sent us Vision and then we just we went in

1054
00:55:34,080 --> 00:55:37,279
Speaker 2: and made Vision little sound more just the track and

1055
00:55:37,400 --> 00:55:39,360
Speaker 2: with her voice and everything like what we're doing on

1056
00:55:39,440 --> 00:55:42,400
Speaker 2: the other music. That's what we did. And then she exploded. Man,

1057
00:55:42,520 --> 00:55:43,360
Speaker 2: she just exploded.

1058
00:55:44,520 --> 00:55:48,040
Speaker 1: So is that part exhausting because you know, La and

1059
00:55:48,120 --> 00:55:50,120
Speaker 1: Face said the same thing, jam and Lewis said the

1060
00:55:50,160 --> 00:55:53,320
Speaker 1: same thing, which is basically, before you even work with

1061
00:55:53,400 --> 00:55:55,360
Speaker 1: an artist, you have to go and get to know

1062
00:55:55,520 --> 00:55:58,719
Speaker 1: them and spend time with them. Is there a situation

1063
00:55:58,880 --> 00:56:02,560
Speaker 1: in which it was a struggle to get the artist

1064
00:56:02,640 --> 00:56:06,040
Speaker 1: to be vulnerable, to trust you to okay, you.

1065
00:56:06,080 --> 00:56:07,360
Speaker 2: Know what I do? You know, Quesse, I got you.

1066
00:56:07,680 --> 00:56:09,520
Speaker 2: You know, I did a quest. I pushed past it.

1067
00:56:10,160 --> 00:56:13,759
Speaker 2: I ignore it. Try this, try that, try this so

1068
00:56:14,000 --> 00:56:18,719
Speaker 2: fast they're off balance. Now before you know it, things

1069
00:56:18,760 --> 00:56:19,760
Speaker 2: are just magically happening.

1070
00:56:20,520 --> 00:56:23,200
Speaker 1: What was the hardest song you had to cut? Like,

1071
00:56:23,719 --> 00:56:26,640
Speaker 1: go back, recall it, recall it, recall a Lover for Life?

1072
00:56:26,840 --> 00:56:29,440
Speaker 2: Why wasn't happy with Lover for Life for Whitney? And

1073
00:56:29,520 --> 00:56:32,640
Speaker 2: not because cut it great? But he had a demo

1074
00:56:32,760 --> 00:56:34,400
Speaker 2: of it, and the demo had a bass rum pattern

1075
00:56:34,440 --> 00:56:37,520
Speaker 2: on five, it wasn't in four. Kept changing. I thought

1076
00:56:37,560 --> 00:56:39,480
Speaker 2: that wasn't going to be the way because you wouldn't

1077
00:56:39,520 --> 00:56:42,000
Speaker 2: even land on one. So he cut it. I cut

1078
00:56:42,040 --> 00:56:44,000
Speaker 2: it my way. I cut it in Needa Baker way,

1079
00:56:44,000 --> 00:56:46,480
Speaker 2: I cut it defetd in ways you know. But he

1080
00:56:46,520 --> 00:56:48,320
Speaker 2: couldn't get happy. I said, well, what is it with

1081
00:56:48,440 --> 00:56:51,200
Speaker 2: this thing? You know? Was the demo? I love? But

1082
00:56:51,280 --> 00:56:53,800
Speaker 2: the demo, just so you know, the base trump is

1083
00:56:53,920 --> 00:56:56,480
Speaker 2: moving and it's not landing on down beach, which we

1084
00:56:56,560 --> 00:56:59,359
Speaker 2: expect as listeners in a way, he goes, well, maybe

1085
00:56:59,360 --> 00:57:01,279
Speaker 2: that's why I like it about that demo, that it's

1086
00:57:01,320 --> 00:57:04,880
Speaker 2: kind of floating. I go, well, then let me do

1087
00:57:05,000 --> 00:57:07,280
Speaker 2: that if that's what it is, and then he was happy.

1088
00:57:08,000 --> 00:57:12,680
Speaker 2: He wanted the base to move around, so yeah, then

1089
00:57:12,719 --> 00:57:14,560
Speaker 2: we got happy. So when you have the hardest song

1090
00:57:14,840 --> 00:57:17,280
Speaker 2: was the hardest song. It was just discovering when people

1091
00:57:17,400 --> 00:57:20,479
Speaker 2: like a demo and they liked something that working about

1092
00:57:20,480 --> 00:57:24,480
Speaker 2: a demo, and you got to realize, what is he

1093
00:57:24,680 --> 00:57:25,360
Speaker 2: like about that thing?

1094
00:57:25,440 --> 00:57:25,560
Speaker 6: You know?

1095
00:57:27,600 --> 00:57:31,680
Speaker 1: Wow, one of the most heartbreaking things. I think when

1096
00:57:32,160 --> 00:57:38,800
Speaker 1: she passed away, I believe I heard you say that

1097
00:57:38,960 --> 00:57:41,560
Speaker 1: you guys were considering cutting brainstorms.

1098
00:57:41,640 --> 00:57:45,720
Speaker 2: Loving is really my game. Yes, she was crazy about

1099
00:57:45,720 --> 00:57:47,360
Speaker 2: that record. I didn't even know that record that much.

1100
00:57:47,560 --> 00:57:52,800
Speaker 2: She was saying, yeah, yes, And I said, oh, I've

1101
00:57:52,840 --> 00:57:57,520
Speaker 2: heard it just I love that record. Would you cut

1102
00:57:57,600 --> 00:58:00,439
Speaker 2: it for me? Said sure, I will, honey, I dodn't

1103
00:58:00,440 --> 00:58:02,840
Speaker 2: think you want me to do. And I cut it

1104
00:58:03,200 --> 00:58:05,880
Speaker 2: and I cut it, and it was mean, it's in

1105
00:58:05,960 --> 00:58:10,320
Speaker 2: my vault right now. She cut her vocals. No, so

1106
00:58:10,600 --> 00:58:12,360
Speaker 2: I called this estate. I called down to that she

1107
00:58:12,440 --> 00:58:15,000
Speaker 2: in Atlanta. Oh, well, she's just not feeling well. I

1108
00:58:15,040 --> 00:58:17,480
Speaker 2: want to sing right now now, and now she's going

1109
00:58:17,520 --> 00:58:18,960
Speaker 2: off to do it to it now she's doing it.

1110
00:58:19,000 --> 00:58:21,360
Speaker 2: Would always be like something going on. I said, but

1111
00:58:21,840 --> 00:58:26,200
Speaker 2: I'm bringing what she's asking for. Well, she just can't

1112
00:58:26,200 --> 00:58:27,520
Speaker 2: do it. So we never could get her to sing it.

1113
00:58:27,920 --> 00:58:30,800
Speaker 2: And then I saw her for the last time after

1114
00:58:30,840 --> 00:58:33,760
Speaker 2: I cut it at one of those Clive things the

1115
00:58:34,000 --> 00:58:36,640
Speaker 2: year before she passed, right, you know, and she came

1116
00:58:36,680 --> 00:58:38,720
Speaker 2: and jumped on me. We just like hugged and kissed them.

1117
00:58:39,080 --> 00:58:41,160
Speaker 2: Ran Jackson was a witnessing it. It's like, oh my god,

1118
00:58:41,280 --> 00:58:44,400
Speaker 2: you know, and she just loved each other. And I said,

1119
00:58:44,440 --> 00:58:46,200
Speaker 2: I got it. I cut what you want me to cut?

1120
00:58:46,520 --> 00:58:50,200
Speaker 2: Oh I want to sing it? Yeah, I know, let's

1121
00:58:50,280 --> 00:58:52,800
Speaker 2: do it. But it wasn't to be.

1122
00:58:53,320 --> 00:58:56,840
Speaker 1: Yeah, man, Like Balita Woods of Brainstorm was like one

1123
00:58:56,880 --> 00:59:02,080
Speaker 1: of the most unsung champions of soul singing. When people

1124
00:59:02,120 --> 00:59:03,920
Speaker 1: think of Brainstorm, they think of this must be in

1125
00:59:04,000 --> 00:59:06,400
Speaker 1: heaven for quiet Storm.

1126
00:59:06,480 --> 00:59:08,560
Speaker 2: But like Lovan is really my game was like that

1127
00:59:08,720 --> 00:59:10,360
Speaker 2: was a thing, like I remember that when I was

1128
00:59:10,400 --> 00:59:13,280
Speaker 2: a kid. But you but you have to say one

1129
00:59:13,320 --> 00:59:15,200
Speaker 2: more thing. It was Whitney. Also, Sugists suggests that I

1130
00:59:15,280 --> 00:59:18,320
Speaker 2: cut on every woman for Bodyguard. That wasn't Clyde, that

1131
00:59:18,400 --> 00:59:22,040
Speaker 2: was Whitney. So she had a really good idea, you know,

1132
00:59:22,320 --> 00:59:24,080
Speaker 2: of what she wanted to get into like that record

1133
00:59:24,120 --> 00:59:25,440
Speaker 2: you love a brainstorm. So there you go.

1134
00:59:26,200 --> 00:59:28,240
Speaker 1: Ah, all right, I might as well asking, because I'm

1135
00:59:28,280 --> 00:59:29,800
Speaker 1: not going to have an opportunity to ever again.

1136
00:59:30,920 --> 00:59:31,280
Speaker 4: What was it?

1137
00:59:31,440 --> 00:59:33,959
Speaker 2: What was it like working with with with Eddie Murphy

1138
00:59:34,000 --> 00:59:37,400
Speaker 2: because you did push your mouth on me, love Eddie, Eddie.

1139
00:59:37,480 --> 00:59:46,240
Speaker 2: Eddie came here man first, Yes you're in the video. Yeah,

1140
00:59:47,400 --> 00:59:51,480
Speaker 2: I'm a massive Eddie fanh and and Rick James at

1141
00:59:51,480 --> 00:59:53,520
Speaker 2: the Sauce Wield studio. You know they did the Parer

1142
00:59:53,720 --> 00:59:57,040
Speaker 2: Party at the time. Wow, you know, they had massive success.

1143
00:59:57,080 --> 00:59:59,960
Speaker 2: So Eddie was like swinging. It wasn't like some joke anymore.

1144
01:00:00,000 --> 01:00:04,360
Speaker 2: I was like, you're you're recording artists, man. So I said, well,

1145
01:00:04,400 --> 01:00:06,320
Speaker 2: what do you want to write about? What kind of

1146
01:00:06,360 --> 01:00:07,880
Speaker 2: song you want to do? I said, you know, just

1147
01:00:07,920 --> 01:00:09,600
Speaker 2: give me some inspression what you want to talk about?

1148
01:00:10,280 --> 01:00:12,440
Speaker 2: And he said, put your mouth on me.

1149
01:00:15,160 --> 01:00:20,680
Speaker 1: Okay, but you me his version of kiss or something like, yeah,

1150
01:00:21,240 --> 01:00:22,200
Speaker 1: that's the vibe.

1151
01:00:22,480 --> 01:00:26,760
Speaker 2: Yeah, I figure, just vibe, just vibe. And we did it,

1152
01:00:27,520 --> 01:00:31,600
Speaker 2: you know, and I loved him and he again all

1153
01:00:31,600 --> 01:00:34,520
Speaker 2: those great voices in here, Michael, everybody, Elvis, pred anything.

1154
01:00:35,280 --> 01:00:37,560
Speaker 2: He's just a gifted cat man and but very quiet

1155
01:00:37,560 --> 01:00:41,080
Speaker 2: when he's not working that are discovered. Kind like Richard

1156
01:00:41,080 --> 01:00:43,120
Speaker 2: Pryor these great comedians are very quiet when they're not

1157
01:00:43,400 --> 01:00:43,920
Speaker 2: doing what they do.

1158
01:00:44,600 --> 01:00:46,240
Speaker 4: They live in their head. You gotta you know, you

1159
01:00:46,320 --> 01:00:48,439
Speaker 4: gotta you know it makes sense.

1160
01:00:49,240 --> 01:00:51,200
Speaker 3: Well, this is my question. I just wanted to ask

1161
01:00:51,280 --> 01:00:54,280
Speaker 3: about a song. It was on the last My Visional

1162
01:00:54,320 --> 01:00:58,040
Speaker 3: album and you wrote called in My Life. Do you

1163
01:00:58,200 --> 01:01:01,320
Speaker 3: remember about anything about that session of writing?

1164
01:01:01,960 --> 01:01:04,680
Speaker 2: That was the most beautiful album done at Honky Chateau

1165
01:01:04,960 --> 01:01:07,600
Speaker 2: in France, out in the country, and it was so

1166
01:01:07,680 --> 01:01:10,200
Speaker 2: beautiful because we had this massive room and it was

1167
01:01:10,240 --> 01:01:13,560
Speaker 2: like a kind of a barn in that the back window,

1168
01:01:13,680 --> 01:01:16,400
Speaker 2: back door behind my drums could open so you could

1169
01:01:16,400 --> 01:01:19,400
Speaker 2: see the whole comfry side out back behind my drums,

1170
01:01:19,600 --> 01:01:21,880
Speaker 2: which took me more time to mic the drums and

1171
01:01:21,920 --> 01:01:24,800
Speaker 2: get the sound I wanted because the openness. But in

1172
01:01:24,960 --> 01:01:28,040
Speaker 2: that room was just so pastoral in the feeling. And

1173
01:01:28,160 --> 01:01:32,760
Speaker 2: that's when we cut on that album, all this high synthesizer, guitar,

1174
01:01:33,360 --> 01:01:35,360
Speaker 2: inner worlds and miles out. It was just like, oh

1175
01:01:35,480 --> 01:01:39,840
Speaker 2: my God. After all that, then Vishnu said thank you

1176
01:01:40,120 --> 01:01:45,840
Speaker 2: for the flowers and trees and just this beautiful little

1177
01:01:45,880 --> 01:01:48,600
Speaker 2: thing now kind of chime on something, you know, whatever

1178
01:01:48,640 --> 01:01:50,560
Speaker 2: I bring to it a little bridge area. But it

1179
01:01:50,640 --> 01:01:54,120
Speaker 2: was really Vishnu that had that. Thank you for and

1180
01:01:54,760 --> 01:01:58,560
Speaker 2: Harold King came to me make it Kunga's acoustic piano

1181
01:01:59,000 --> 01:02:03,520
Speaker 2: completely opposite. Were just cut and you know, if it's

1182
01:02:03,520 --> 01:02:05,560
Speaker 2: just something else, man, I gotta say about that guy, man, he.

1183
01:02:05,560 --> 01:02:08,360
Speaker 3: Said, no, man, we my group, my right group, our

1184
01:02:08,400 --> 01:02:11,800
Speaker 3: little brother. We actually we sampled that song like and

1185
01:02:11,920 --> 01:02:12,680
Speaker 3: we cleared it.

1186
01:02:13,080 --> 01:02:14,720
Speaker 4: And it was like literally at the.

1187
01:02:14,800 --> 01:02:17,280
Speaker 3: Last minute, we you know, had our people working on

1188
01:02:17,360 --> 01:02:19,360
Speaker 3: this stuff, but we hadn't heard anything. And so a

1189
01:02:19,440 --> 01:02:22,560
Speaker 3: buddy of mine had played with my vision in his band.

1190
01:02:23,840 --> 01:02:25,480
Speaker 3: He was like, yo, man, I got his email, we

1191
01:02:25,520 --> 01:02:29,040
Speaker 3: can try. I'm like, all right, I'll try. Jill emailed

1192
01:02:29,080 --> 01:02:30,680
Speaker 3: and was like, hey man, this is my group. By

1193
01:02:30,680 --> 01:02:31,400
Speaker 3: tell him what it is.

1194
01:02:31,760 --> 01:02:34,640
Speaker 4: He was on vacation with his family and he's like,

1195
01:02:34,680 --> 01:02:37,240
Speaker 4: hey man, I'm on vacation, but you know, I think

1196
01:02:37,320 --> 01:02:39,520
Speaker 4: it's great. You know, we'll do it, and and they

1197
01:02:39,600 --> 01:02:42,400
Speaker 4: cleared it and so thank you man, like that was

1198
01:02:42,480 --> 01:02:43,600
Speaker 4: a beautiful song and.

1199
01:02:45,560 --> 01:02:47,880
Speaker 1: Is there do you have a close but no cigar

1200
01:02:48,240 --> 01:02:50,800
Speaker 1: moment in an artist he was supposed to work with.

1201
01:02:51,360 --> 01:02:53,720
Speaker 2: Not on work, but you know there are a few.

1202
01:02:54,040 --> 01:02:58,560
Speaker 2: I met with Madonna and the album What Year Well

1203
01:02:58,800 --> 01:03:01,800
Speaker 2: she had just made. I gave her those high heels

1204
01:03:01,840 --> 01:03:04,040
Speaker 2: that she wore that it's not called Borderline, the yellow

1205
01:03:04,400 --> 01:03:07,160
Speaker 2: high heels that those get from me. She can't visit me.

1206
01:03:07,200 --> 01:03:09,080
Speaker 2: I picked up the airport in sant San Francisco. We

1207
01:03:09,160 --> 01:03:11,640
Speaker 2: had a great meeting. She loves Stacy Lattisol. She loved

1208
01:03:11,640 --> 01:03:13,560
Speaker 2: my music with Stacy, but she's hot on that kind

1209
01:03:13,560 --> 01:03:16,280
Speaker 2: of vib And then she went to New York. But

1210
01:03:16,360 --> 01:03:18,360
Speaker 2: a weekly she called said, you know what, I'm going

1211
01:03:18,400 --> 01:03:22,040
Speaker 2: to stay in New York. I'm working now. Rogers said, okay.

1212
01:03:22,360 --> 01:03:24,560
Speaker 2: She goes, I'm just loving New York. I go, I

1213
01:03:24,640 --> 01:03:25,920
Speaker 2: get it. I get it. I get it because I

1214
01:03:25,960 --> 01:03:28,720
Speaker 2: wasn't hopped about of here relaxing. You know. She goes.

1215
01:03:29,720 --> 01:03:36,000
Speaker 2: Then she made lack a version. Damn you gifted in Borderline. Yeah,

1216
01:03:39,760 --> 01:03:40,440
Speaker 2: it's crazy.

1217
01:03:42,520 --> 01:03:45,760
Speaker 8: I need my one two questions, and I just got

1218
01:03:45,880 --> 01:03:47,960
Speaker 8: to pick your brain about a couple of names that

1219
01:03:48,520 --> 01:03:51,360
Speaker 8: our viewers may or may not remember or no from

1220
01:03:51,720 --> 01:03:55,840
Speaker 8: your early days as drummer. I'm a big CTI Records

1221
01:03:55,880 --> 01:03:58,560
Speaker 8: Fan as people might know, Creed Taylor and you worked

1222
01:03:58,600 --> 01:04:03,880
Speaker 8: with Alan Holdsworth on an album called Velvet Darkness in

1223
01:04:04,000 --> 01:04:04,920
Speaker 8: nineteen seventy six.

1224
01:04:05,040 --> 01:04:09,360
Speaker 2: Do you have any memories of those sessions and Alan, Yes,

1225
01:04:10,520 --> 01:04:12,720
Speaker 2: Alan asked me to come and record them as ct

1226
01:04:12,880 --> 01:04:15,040
Speaker 2: and I. He's a guitar player, by the way, Yes,

1227
01:04:15,160 --> 01:04:17,080
Speaker 2: he's one of the most brilliant guitar players in the world,

1228
01:04:17,200 --> 01:04:20,480
Speaker 2: Alan Holdsworth, and we all know he's very sensitive. And

1229
01:04:20,600 --> 01:04:22,080
Speaker 2: I go in there and on keyboards as a cat.

1230
01:04:22,160 --> 01:04:25,720
Speaker 2: It was from Tony Williams band Ala Pasquad clavin at

1231
01:04:25,800 --> 01:04:30,600
Speaker 2: keys and on basis from weather Port Alfonso Johnson, Oh wow.

1232
01:04:31,040 --> 01:04:33,520
Speaker 2: And I go into with my drum kit. It's a

1233
01:04:33,600 --> 01:04:36,760
Speaker 2: white gratch kid with the enameled double painted on the inside,

1234
01:04:36,760 --> 01:04:40,360
Speaker 2: which sounds they aren't like vibes clear, but they're but

1235
01:04:40,440 --> 01:04:44,680
Speaker 2: they're mighty like that would. And so then Alan starts

1236
01:04:44,720 --> 01:04:47,640
Speaker 2: showing us these songs and as he saw it, shows

1237
01:04:47,680 --> 01:04:49,680
Speaker 2: the song. Then we play the song and they would

1238
01:04:49,800 --> 01:04:52,760
Speaker 2: cut it. Then we'd maybee cut it maybe a second time,

1239
01:04:52,960 --> 01:04:55,160
Speaker 2: and that will be that. Then you know, we kind

1240
01:04:55,200 --> 01:04:57,400
Speaker 2: of went thro those songs like that. In his mind,

1241
01:04:57,400 --> 01:04:59,160
Speaker 2: he's thinking He's just kind of showing us the songs

1242
01:04:59,200 --> 01:05:01,080
Speaker 2: and we're going to, you know, come back another time

1243
01:05:01,120 --> 01:05:04,480
Speaker 2: or whatever you think. I don't know, but Creed Taylor

1244
01:05:04,560 --> 01:05:08,520
Speaker 2: and Rudy van Gelo, the great engineer, they were loving

1245
01:05:08,560 --> 01:05:11,080
Speaker 2: it and that was what they wanted to get, that live, fresh,

1246
01:05:11,240 --> 01:05:13,120
Speaker 2: raw vibe. And then they wanted to put it out

1247
01:05:13,800 --> 01:05:15,960
Speaker 2: and Alan wanted to do more, do more takes and

1248
01:05:16,000 --> 01:05:18,080
Speaker 2: whatever you wanted to do, you know. So it's some

1249
01:05:18,200 --> 01:05:21,800
Speaker 2: discrepancy between his got concept and maybe what theirs was.

1250
01:05:22,480 --> 01:05:24,080
Speaker 2: But I was just doing what I was asked to

1251
01:05:24,160 --> 01:05:26,720
Speaker 2: do and being paid to do whatever it was. So

1252
01:05:27,280 --> 01:05:30,720
Speaker 2: that was the album. It came out, and I'm proud

1253
01:05:30,760 --> 01:05:32,160
Speaker 2: of it. I'm proud of say I worked with Alban

1254
01:05:32,360 --> 01:05:34,240
Speaker 2: was worth. Also, I want to say one more thing.

1255
01:05:34,320 --> 01:05:38,120
Speaker 2: In that same room, there were two pianos, black pianos

1256
01:05:38,320 --> 01:05:39,560
Speaker 2: that were owned by Rudy van geld with was a

1257
01:05:39,600 --> 01:05:43,600
Speaker 2: great engineer that Herbie Hancock or silver these genius had

1258
01:05:43,640 --> 01:05:46,240
Speaker 2: played on these damn pianos. And his wife had cancer,

1259
01:05:46,320 --> 01:05:48,360
Speaker 2: so he needed some money, so he said, I want

1260
01:05:48,360 --> 01:05:50,560
Speaker 2: to sell one of my pianos. I just made forty

1261
01:05:50,600 --> 01:05:54,959
Speaker 2: thousand dollars with wired sales and Jeff Beck, so I said,

1262
01:05:54,960 --> 01:05:56,600
Speaker 2: I'll buy one of these pianos, and I bought it

1263
01:05:56,680 --> 01:06:02,200
Speaker 2: and that became my piano for letting be Angel everywhere.

1264
01:06:02,240 --> 01:06:04,000
Speaker 2: I love all my hits on that same piano, So

1265
01:06:04,400 --> 01:06:06,920
Speaker 2: that's part of that connection wise investment.

1266
01:06:08,000 --> 01:06:08,560
Speaker 1: Goddamn.

1267
01:06:09,160 --> 01:06:12,560
Speaker 8: You also played on a historic recording on a Jocko

1268
01:06:12,680 --> 01:06:16,000
Speaker 8: Pistorius record with Sam and Dave and come on, come over.

1269
01:06:16,480 --> 01:06:17,560
Speaker 8: Do you have any memories of that?

1270
01:06:17,800 --> 01:06:18,000
Speaker 2: Yeah?

1271
01:06:18,000 --> 01:06:18,200
Speaker 1: I do.

1272
01:06:18,840 --> 01:06:21,120
Speaker 2: Jocko and I have care friends from Miami. That's where

1273
01:06:21,120 --> 01:06:23,640
Speaker 2: I first met him. That's why I suggested I bring

1274
01:06:23,720 --> 01:06:25,640
Speaker 2: him to Weatherport. When I was asked journal weather Report,

1275
01:06:25,640 --> 01:06:26,680
Speaker 2: I don't want to join with it, but I want

1276
01:06:26,680 --> 01:06:28,600
Speaker 2: to go tyy Bowhen and do rock and rollet panel

1277
01:06:28,640 --> 01:06:32,160
Speaker 2: the stage and go that way. And they said, well,

1278
01:06:32,200 --> 01:06:33,520
Speaker 2: can you bring a baseball? And said, well, I know

1279
01:06:33,600 --> 01:06:38,600
Speaker 2: a cat crazy named Jocko Florida, so Joe's I think

1280
01:06:38,600 --> 01:06:40,000
Speaker 2: I've heard him. So we flew him out to LA

1281
01:06:40,680 --> 01:06:43,640
Speaker 2: and he came and does this great gam called Canniball

1282
01:06:43,640 --> 01:06:47,200
Speaker 2: and Black Market. He starts playing that song and add

1283
01:06:47,240 --> 01:06:49,640
Speaker 2: all this stuff to because you so had so much ideas,

1284
01:06:50,040 --> 01:06:52,200
Speaker 2: and then Joe stops in the middle and says, don't

1285
01:06:52,240 --> 01:06:54,320
Speaker 2: put that shit on my song, and it kind of

1286
01:06:54,400 --> 01:06:58,360
Speaker 2: freezes Jocko, you know what I mean. And what it

1287
01:06:58,440 --> 01:07:03,360
Speaker 2: does is it makes Jocko come Jocko. Now he's more thoughtful.

1288
01:07:03,480 --> 01:07:06,800
Speaker 2: Everything he plays puts it in the right place, and

1289
01:07:07,520 --> 01:07:11,000
Speaker 2: people kind of go, damn. He is genius. After that,

1290
01:07:11,160 --> 01:07:13,120
Speaker 2: he joined that band and made Weather Heavy Weather, with

1291
01:07:13,200 --> 01:07:16,480
Speaker 2: a remark you made teen Town those great pieces. He

1292
01:07:16,600 --> 01:07:19,800
Speaker 2: does a solo album and then because we're friends, he

1293
01:07:19,880 --> 01:07:21,200
Speaker 2: has to me to come player, come on, come over.

1294
01:07:21,600 --> 01:07:24,040
Speaker 2: And I went to place on top of a garage,

1295
01:07:24,080 --> 01:07:26,920
Speaker 2: the home studio of the great drummer Bobby calling me

1296
01:07:26,920 --> 01:07:30,440
Speaker 2: from Blood Footing Tears. He was a produce set album.

1297
01:07:31,000 --> 01:07:32,920
Speaker 2: So this is his studio on top of the garage

1298
01:07:33,120 --> 01:07:37,600
Speaker 2: where I played his drums, a royal horn, cats, Tom Malone,

1299
01:07:37,680 --> 01:07:40,400
Speaker 2: those type people, and then the rhythm section all in

1300
01:07:40,400 --> 01:07:45,560
Speaker 2: the same room with Jocko and Sam Moore. Maybe like that. Yeah,

1301
01:07:46,040 --> 01:07:54,360
Speaker 2: it was live, just the funk, but didn't the funk,

1302
01:07:54,400 --> 01:07:56,640
Speaker 2: you know, it's like one or two things. That was it.

1303
01:07:57,560 --> 01:08:01,880
Speaker 2: But Jocko is mean in heaven right now you're looking down.

1304
01:08:02,360 --> 01:08:04,360
Speaker 2: He's mean. He's like all lay on the base mean.

1305
01:08:06,640 --> 01:08:10,560
Speaker 1: My final question, because every hip hop producer will kill

1306
01:08:10,640 --> 01:08:14,680
Speaker 1: me if I don't ask this. Because both you and

1307
01:08:14,960 --> 01:08:21,160
Speaker 1: Ed Green are credited with drumming on Come Dancing. Who

1308
01:08:21,400 --> 01:08:24,599
Speaker 1: is playing the actual breakbeat at the top of that song?

1309
01:08:24,800 --> 01:08:27,920
Speaker 2: Is that you or Ed Green? Mean I wrote that song,

1310
01:08:28,400 --> 01:08:30,680
Speaker 2: that I cut the song? Yeah, And then later on

1311
01:08:30,800 --> 01:08:32,840
Speaker 2: when I heard on the record, after I bought the record.

1312
01:08:32,920 --> 01:08:36,479
Speaker 2: Quite frankly, I heard ed greena on there and it

1313
01:08:36,600 --> 01:08:38,479
Speaker 2: was cool because he just made a little even fatter.

1314
01:08:39,640 --> 01:08:42,880
Speaker 2: They overdubed the moments, making fatter. It's like damn. I

1315
01:08:43,479 --> 01:08:45,120
Speaker 2: In fact, in fact that all the Jon Hammer stuff,

1316
01:08:45,120 --> 01:08:46,680
Speaker 2: all that stuff, I'm wired. I didn't hear any of

1317
01:08:46,680 --> 01:08:49,759
Speaker 2: stuff till it came out and bought it. John overdubbed

1318
01:08:49,760 --> 01:08:51,880
Speaker 2: all his stuff, ed bring it. Overdubbed this thing. That's

1319
01:08:51,920 --> 01:08:54,080
Speaker 2: how it was. In fact, Jon Hammer didn mixed the album.

1320
01:08:54,080 --> 01:08:56,400
Speaker 2: It wasn't even mixed by Beatle producer George Martin. It

1321
01:08:56,479 --> 01:08:59,120
Speaker 2: was mixed by Yon because Jeff went up there and

1322
01:08:59,200 --> 01:09:02,000
Speaker 2: fell in love. That's what you want to ad you sound,

1323
01:09:02,040 --> 01:09:03,040
Speaker 2: and that's what it was. Man.

1324
01:09:03,880 --> 01:09:07,880
Speaker 9: So I started out boom Scott boom, Scott boom, boom,

1325
01:09:07,880 --> 01:09:13,439
Speaker 9: Scot boom, boom boom Scott boom Scott boom book boom

1326
01:09:13,640 --> 01:09:18,200
Speaker 9: boom bang. I don't don't gang a boom bump a

1327
01:09:18,280 --> 01:09:22,840
Speaker 9: boom pump skany pump, oh bull skang a boom bum skag.

1328
01:09:23,200 --> 01:09:24,040
Speaker 2: I all that.

1329
01:09:24,200 --> 01:09:27,080
Speaker 1: Yeah, fans of a Balloon, Mind State and day La

1330
01:09:27,240 --> 01:09:29,560
Speaker 1: Soul are very familiar with that drum break in.

1331
01:09:30,560 --> 01:09:32,400
Speaker 2: I had to ask that question. It's it's the song

1332
01:09:32,560 --> 01:09:35,559
Speaker 2: they sampled on a area codes. Look.

1333
01:09:36,439 --> 01:09:40,120
Speaker 1: I have to say that very rarely does an episode

1334
01:09:40,960 --> 01:09:42,560
Speaker 1: of Quest of Supreme.

1335
01:09:43,439 --> 01:09:46,800
Speaker 2: Go beyond what I thought it would be.

1336
01:09:47,160 --> 01:09:50,519
Speaker 1: And the fact that there's even twelve more hours of

1337
01:09:50,600 --> 01:09:54,839
Speaker 1: questions I have for you shows how much of a god.

1338
01:09:54,760 --> 01:09:56,240
Speaker 2: You are in your creativity.

1339
01:09:56,640 --> 01:10:00,800
Speaker 1: And I just simply want to thank you for taking

1340
01:10:00,840 --> 01:10:03,720
Speaker 1: the time out for these last almost two hours to

1341
01:10:04,360 --> 01:10:07,439
Speaker 1: share these stories, man, because like the world doesn't know

1342
01:10:07,800 --> 01:10:11,720
Speaker 1: how awesome you are man, and you know, I just

1343
01:10:11,760 --> 01:10:12,320
Speaker 1: say thank.

1344
01:10:12,200 --> 01:10:14,519
Speaker 2: You, thank you, ques Man. I'm a fan of I

1345
01:10:14,640 --> 01:10:16,760
Speaker 2: love your work. I love your brin's how you bring

1346
01:10:16,800 --> 01:10:18,600
Speaker 2: a tuba in with your drums on the shows and

1347
01:10:18,640 --> 01:10:24,120
Speaker 2: things like that. You bring these eclectic things. Wow, that's

1348
01:10:24,200 --> 01:10:27,080
Speaker 2: keeping the funk raw Man, So dig you man would

1349
01:10:27,080 --> 01:10:28,800
Speaker 2: love to work on something with you when I'm out

1350
01:10:28,840 --> 01:10:29,160
Speaker 2: there next.

1351
01:10:29,200 --> 01:10:31,680
Speaker 1: We got to meet in person and shop it up

1352
01:10:31,680 --> 01:10:33,479
Speaker 1: for something, so we'll definitely the same in contact.

1353
01:10:34,920 --> 01:10:35,120
Speaker 2: Yeah.

1354
01:10:35,439 --> 01:10:38,759
Speaker 1: On behalf of the family of Quest Love Supreme, font Tigoelo,

1355
01:10:39,600 --> 01:10:40,200
Speaker 1: super Bill.

1356
01:10:40,479 --> 01:10:41,559
Speaker 2: I'm giving them new names.

1357
01:10:42,960 --> 01:10:48,640
Speaker 1: Steve, Layah cousin, Jake and Brittany and Fontigelo and the

1358
01:10:48,760 --> 01:10:53,799
Speaker 1: Great Narta Michael Walton. This is an awesome damn episode

1359
01:10:53,800 --> 01:10:54,719
Speaker 1: of Quest Love Supreme.

1360
01:10:54,920 --> 01:10:57,080
Speaker 4: We've been waiting on this one for a long time. Man, seriously,

1361
01:10:57,120 --> 01:10:57,800
Speaker 4: thank you for doing it.

1362
01:10:58,800 --> 01:11:00,680
Speaker 2: Cats man, I really love it. This has been a

1363
01:11:00,720 --> 01:11:03,000
Speaker 2: highlight for me. I knew it was coming, and uh,

1364
01:11:03,200 --> 01:11:05,439
Speaker 2: you know, bag type of thing is that when you interviews,

1365
01:11:05,920 --> 01:11:07,360
Speaker 2: you know, you want to make sure you're saying the

1366
01:11:07,439 --> 01:11:10,519
Speaker 2: right things, that you're giving the love. And a lot

1367
01:11:10,520 --> 01:11:12,439
Speaker 2: of our people were talking about and having the jockal

1368
01:11:12,439 --> 01:11:14,960
Speaker 2: on that we through the Whitney's and they're looking down

1369
01:11:15,360 --> 01:11:18,120
Speaker 2: and with us right now. Like what you say, man,

1370
01:11:18,160 --> 01:11:21,240
Speaker 2: you better keep keep keep me alive. At'll be forgetting

1371
01:11:21,240 --> 01:11:25,960
Speaker 2: about me now. I'll whoop you. We'll see on the

1372
01:11:26,000 --> 01:11:26,639
Speaker 2: next go around.

1373
01:11:26,720 --> 01:11:32,080
Speaker 7: Thank you, hey, thank y'all for listening to Quest Love Supreme.

1374
01:11:32,840 --> 01:11:35,240
Speaker 6: This podcast is hosted by an alf Ro, a mouth,

1375
01:11:35,400 --> 01:11:38,040
Speaker 6: a rapper, an engineer, and a man with too many

1376
01:11:38,120 --> 01:11:40,720
Speaker 6: jobs aka A mere quest Love Thompson, Why are You

1377
01:11:40,760 --> 01:11:41,080
Speaker 6: a Saint?

1378
01:11:41,120 --> 01:11:43,480
Speaker 7: Clair Fonte, Coleman, Sugar, Steve.

1379
01:11:43,360 --> 01:11:48,639
Speaker 6: Mandel, and I'm Table the executive producers who get paid

1380
01:11:48,640 --> 01:11:49,680
Speaker 6: the big bucks A.

1381
01:11:49,720 --> 01:11:53,400
Speaker 7: Mere quest Love Thompson, Sean g and Brian Calhoun ask

1382
01:11:53,479 --> 01:11:54,000
Speaker 7: them for money.

1383
01:11:54,560 --> 01:11:57,040
Speaker 6: Produced by the people who do all the real work

1384
01:11:57,240 --> 01:12:01,000
Speaker 6: Britney Benjamin, Jake Payne and Yes, why you is Saint Claire?

1385
01:12:01,640 --> 01:12:04,480
Speaker 6: And by another person who doesn't real work Alex Conroy

1386
01:12:05,400 --> 01:12:06,840
Speaker 6: and those who approved the real work.

1387
01:12:07,000 --> 01:12:09,240
Speaker 7: Produced for iHeart by Noah Brown.

1388
01:12:12,160 --> 01:12:14,960
Speaker 2: Much Love Supreme is a production of iHeart Radio.

1389
01:12:19,240 --> 01:12:22,479
Speaker 1: For more podcasts from iHeart Radio, visit the iHeartRadio app,

1390
01:12:22,720 --> 01:12:25,759
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.