WEBVTT - Questlove Supreme: Narada Michael Walden Part 2

0:00:00.160 --> 0:00:04.000
<v Speaker 1>Quest Love Supreme is a production of iHeartRadio.

0:00:05.680 --> 0:00:05.840
<v Speaker 2>Yo.

0:00:05.920 --> 0:00:09.399
<v Speaker 3>It's Up Everybody. It's Fontigelow from Questlove Supreme. We are

0:00:09.440 --> 0:00:12.639
<v Speaker 3>back with part two of our conversation with Nada Michael Walton.

0:00:13.039 --> 0:00:14.600
<v Speaker 4>This is an amazing two parter.

0:00:14.760 --> 0:00:17.400
<v Speaker 3>If you haven't, please check out part one where Narrata

0:00:17.440 --> 0:00:21.279
<v Speaker 3>talks about his Michigan upbringing, his deeply transformational time with

0:00:21.320 --> 0:00:25.160
<v Speaker 3>the Maha Vishnu orchestruct Who Little Brother, Sample, Plug, Plug,

0:00:25.400 --> 0:00:29.479
<v Speaker 3>Chikaia and Board. Is April Jazz Appreciation Month, and this

0:00:29.600 --> 0:00:32.720
<v Speaker 3>two parter certainly celebrates the genre and culture and I

0:00:32.720 --> 0:00:34.960
<v Speaker 3>would shape so much music outside of the genre.

0:00:35.240 --> 0:00:39.800
<v Speaker 4>Enjoy.

0:00:45.240 --> 0:00:49.680
<v Speaker 1>There's a question I've been dying to know in the

0:00:49.680 --> 0:00:54.080
<v Speaker 1>mid seventies jazz cats Now in the case if you're

0:00:54.160 --> 0:00:57.120
<v Speaker 1>Miles David's disciple, I understand, Like m two May already

0:00:57.120 --> 0:01:01.160
<v Speaker 1>explained to us that Miles' dependency he was getting out

0:01:01.160 --> 0:01:05.680
<v Speaker 1>of control in the early seventies and then he's basically

0:01:05.760 --> 0:01:09.880
<v Speaker 1>not too functional and the bands left without work and

0:01:09.959 --> 0:01:13.360
<v Speaker 1>they're basically like, well we got to pay the rent,

0:01:13.560 --> 0:01:17.880
<v Speaker 1>and you know, m to May and Reggie Lucas of

0:01:17.920 --> 0:01:21.240
<v Speaker 1>Miles Davis's you Know band were like, well, shit, we

0:01:21.319 --> 0:01:24.720
<v Speaker 1>got to write some hits to pay the bills.

0:01:25.040 --> 0:01:27.600
<v Speaker 2>Yeah, can you explain.

0:01:27.240 --> 0:01:33.039
<v Speaker 1>To me why there was such a mass exodus of

0:01:33.680 --> 0:01:38.040
<v Speaker 1>fusion musicians of jazz musicians that all of a sudden

0:01:38.120 --> 0:01:42.760
<v Speaker 1>in the mid seventies became the architects and the proprietors

0:01:42.920 --> 0:01:46.039
<v Speaker 1>of some of the poppiest songs we've ever heard.

0:01:46.080 --> 0:01:50.400
<v Speaker 2>It's almost like a complete opposite. What was the.

0:01:50.400 --> 0:01:57.200
<v Speaker 1>Transitional decision process to get out of fusion and into

0:01:57.240 --> 0:01:57.840
<v Speaker 1>pop music?

0:01:58.240 --> 0:02:01.080
<v Speaker 2>Very good? I got you my third solo album, we

0:02:01.200 --> 0:02:05.600
<v Speaker 2>call Awakening. I was cutting it in La Stevie Wonders

0:02:05.640 --> 0:02:09.320
<v Speaker 2>studio and Wayne Anderson was one of the producer type

0:02:09.320 --> 0:02:11.400
<v Speaker 2>people with me and his teams and all that. And

0:02:11.400 --> 0:02:13.120
<v Speaker 2>then I got a call after I was cutting that music.

0:02:13.120 --> 0:02:18.600
<v Speaker 2>You know some cool stuff that Jim Dellahant from Atlantic,

0:02:18.720 --> 0:02:20.880
<v Speaker 2>who's my an r. He said, you know what, if

0:02:20.919 --> 0:02:23.200
<v Speaker 2>you don't have a hit on this next album, we're

0:02:23.240 --> 0:02:25.800
<v Speaker 2>going to drop you. And that was the word of

0:02:25.800 --> 0:02:28.840
<v Speaker 2>death to me. I knew that things were going through

0:02:28.840 --> 0:02:30.959
<v Speaker 2>a change. He told me. He said, in New York

0:02:31.160 --> 0:02:34.600
<v Speaker 2>this goes hot now dancing the Steve fifty four people. Really,

0:02:34.600 --> 0:02:37.760
<v Speaker 2>it's like a big craze. We really suggest that you

0:02:38.720 --> 0:02:42.520
<v Speaker 2>come to New York and see what's going on. And

0:02:42.560 --> 0:02:45.720
<v Speaker 2>I did, and when I went there, I felt what

0:02:45.760 --> 0:02:49.840
<v Speaker 2>he was talking about. It was on firewood dance, and

0:02:49.880 --> 0:02:52.799
<v Speaker 2>that wasn't hard for me because I'm raised with motime,

0:02:52.800 --> 0:02:56.400
<v Speaker 2>I'm raised with people all kind of music. So after

0:02:56.440 --> 0:02:59.799
<v Speaker 2>I cut the Awakening stuff in California, I decided to

0:02:59.840 --> 0:03:03.720
<v Speaker 2>make Side Side one that was strictly for dance and

0:03:03.800 --> 0:03:06.680
<v Speaker 2>saved my career and not be dropped. And I used

0:03:06.680 --> 0:03:09.040
<v Speaker 2>the examples of Rick James, you and I. He was

0:03:09.080 --> 0:03:10.840
<v Speaker 2>a good person for me to kind of draw from

0:03:10.880 --> 0:03:13.919
<v Speaker 2>because it was live drums, it was funky, it was live,

0:03:13.960 --> 0:03:16.280
<v Speaker 2>it was horns, things I loved, and it was a

0:03:16.320 --> 0:03:18.960
<v Speaker 2>style I could pull off. So in my hotel room

0:03:18.960 --> 0:03:21.280
<v Speaker 2>at the Hilton in my I got a Clavenet in

0:03:21.320 --> 0:03:23.440
<v Speaker 2>the Roads in my room and I wrote four jams

0:03:23.760 --> 0:03:26.160
<v Speaker 2>and I don't want nobody else won those jams. And

0:03:26.200 --> 0:03:28.160
<v Speaker 2>I was so lucky to get Bobby clem Out from

0:03:28.200 --> 0:03:33.000
<v Speaker 2>Power Station to be my engineer. What records he made

0:03:33.040 --> 0:03:37.400
<v Speaker 2>with Chic on Good Times. I had never heard a

0:03:37.480 --> 0:03:40.880
<v Speaker 2>more beautiful record than fucking good Times. And it haven't

0:03:40.920 --> 0:03:44.080
<v Speaker 2>be my engineer to get my drum sound. Yeah. See,

0:03:44.280 --> 0:03:46.440
<v Speaker 2>so I'm cutting those records. I don't want nobody else.

0:03:46.480 --> 0:03:49.520
<v Speaker 2>And then guess what else. Now, I got Randy Brecker

0:03:49.560 --> 0:03:51.120
<v Speaker 2>coming to come in with Michael Brecker and David sam

0:03:51.120 --> 0:03:53.440
<v Speaker 2>want to put horns on my jam. So it's real

0:03:53.560 --> 0:03:55.760
<v Speaker 2>musicians see it. So I'm happy. And then they said

0:03:55.840 --> 0:03:57.240
<v Speaker 2>you got to use the cat who's big of a

0:03:57.320 --> 0:04:02.360
<v Speaker 2>disco named Patrick Patrick Adams. Yes, because his name in

0:04:02.360 --> 0:04:05.720
<v Speaker 2>the disco world with the strings and learning, he does well.

0:04:05.800 --> 0:04:08.800
<v Speaker 2>Make sure you you know. So I said, okay, so

0:04:09.080 --> 0:04:11.000
<v Speaker 2>you know. And he didn't come around there that much,

0:04:11.040 --> 0:04:12.119
<v Speaker 2>but you might come out of love with a little

0:04:12.120 --> 0:04:13.400
<v Speaker 2>sound on something to do a little thing a little

0:04:13.800 --> 0:04:17.640
<v Speaker 2>and he was cool. What I'm saying is cutting that music.

0:04:18.080 --> 0:04:23.920
<v Speaker 2>And then when I had success with that sound, it

0:04:24.080 --> 0:04:25.920
<v Speaker 2>saved my career. At that time, I didn't want to

0:04:25.920 --> 0:04:28.200
<v Speaker 2>be dropped. I wanted to be a strong person to

0:04:28.279 --> 0:04:30.640
<v Speaker 2>make it. I just got married. I want to take

0:04:30.680 --> 0:04:34.320
<v Speaker 2>care of my life. And it's fusionary music as we know,

0:04:34.400 --> 0:04:37.159
<v Speaker 2>it was going away the people in the fans, for

0:04:37.200 --> 0:04:41.080
<v Speaker 2>example Garden Love Light, that album didn't sell that much.

0:04:41.680 --> 0:04:45.000
<v Speaker 2>I wasn't I wasn't like some overnight star people. They

0:04:45.000 --> 0:04:47.000
<v Speaker 2>were not They were not supporting, but they supposedly loved

0:04:47.000 --> 0:04:49.520
<v Speaker 2>the fusion at those times going forward in the seventies

0:04:49.960 --> 0:04:52.520
<v Speaker 2>early on, yes, but not those years. Those years it

0:04:52.600 --> 0:04:55.360
<v Speaker 2>was a change up going on. Even even Lenning whiteouldn't

0:04:55.360 --> 0:04:57.960
<v Speaker 2>my man return to forever? Those everything's kind of like, NA,

0:04:58.839 --> 0:05:00.600
<v Speaker 2>So what are you gonna do? Be you know what

0:05:00.640 --> 0:05:03.080
<v Speaker 2>I mean? If you're gonna support me, fine, we're making money,

0:05:03.279 --> 0:05:06.440
<v Speaker 2>no money, I'm going I'm going to save my life.

0:05:07.320 --> 0:05:10.120
<v Speaker 2>I did, brother, I got. I'm happy I did. It

0:05:10.200 --> 0:05:13.840
<v Speaker 2>was wonderful, wonderful, and every out I do I was put,

0:05:14.279 --> 0:05:16.920
<v Speaker 2>you know, a Son's dancing type jam on there. So

0:05:17.120 --> 0:05:19.000
<v Speaker 2>I can still do that and I love it. Right,

0:05:19.200 --> 0:05:21.520
<v Speaker 2>But I'm about having a radio hit and making some money,

0:05:21.560 --> 0:05:22.919
<v Speaker 2>so I'm not shining shoes.

0:05:23.720 --> 0:05:26.440
<v Speaker 1>I know that you've had Randy Jackson in your stable

0:05:26.960 --> 0:05:29.640
<v Speaker 1>since he was a teenager, and not Michael's brother, but

0:05:30.440 --> 0:05:35.479
<v Speaker 1>Randy Jackson, American idol, r Andy Jackson since he was sixteen, seventeen,

0:05:35.520 --> 0:05:40.320
<v Speaker 1>eighteen years old, I believe, But I always thought that

0:05:40.440 --> 0:05:44.240
<v Speaker 1>was him killing I should have loved you. Someone told

0:05:44.240 --> 0:05:46.159
<v Speaker 1>me like two weeks ago, that was TM Stevens.

0:05:46.240 --> 0:05:48.679
<v Speaker 2>That's right, Please, can.

0:05:48.520 --> 0:05:53.200
<v Speaker 1>You please tell me just about Tim Stevens and tell

0:05:53.200 --> 0:05:54.479
<v Speaker 1>me what it was like working with them.

0:05:55.000 --> 0:05:57.680
<v Speaker 2>Team's a genius. I was in New York, I still

0:05:57.720 --> 0:05:59.360
<v Speaker 2>lived in New York. I met Tiam before I moved

0:05:59.400 --> 0:06:01.760
<v Speaker 2>to California seventy eight, So in seventy seven round those

0:06:01.839 --> 0:06:03.800
<v Speaker 2>years I met t him. You know, he'd be like

0:06:03.839 --> 0:06:05.560
<v Speaker 2>the stee you wonder the bass. He had that kind

0:06:05.560 --> 0:06:07.919
<v Speaker 2>of power, that kind of energy, like a like just

0:06:08.200 --> 0:06:12.080
<v Speaker 2>a huge band with the strength of God in his hands.

0:06:12.320 --> 0:06:17.960
<v Speaker 2>And they could play bookoo like that to be popping

0:06:18.040 --> 0:06:19.960
<v Speaker 2>the two in the four as he's playing with lines

0:06:20.560 --> 0:06:23.760
<v Speaker 2>right and just he was playing with a show called

0:06:24.320 --> 0:06:26.320
<v Speaker 2>Your Arms Too Short, the Box of God. And he

0:06:26.400 --> 0:06:28.719
<v Speaker 2>had a drummer named Howie Great from Queen's and how

0:06:28.720 --> 0:06:30.600
<v Speaker 2>he became my connection out in the Queen's area. All

0:06:30.640 --> 0:06:33.000
<v Speaker 2>those good drummers out and people ou in Queen's area too. See,

0:06:33.080 --> 0:06:34.680
<v Speaker 2>so now here's TM Steve. I mean, all these new

0:06:34.720 --> 0:06:38.000
<v Speaker 2>cats are coming up with the great skills. And then

0:06:38.040 --> 0:06:40.200
<v Speaker 2>as it worked out, I had to do a tour

0:06:40.640 --> 0:06:42.120
<v Speaker 2>for I don't know a best dance with you, So

0:06:42.120 --> 0:06:43.479
<v Speaker 2>I had to put a band together. So I asked

0:06:43.520 --> 0:06:46.599
<v Speaker 2>tam drummer my touring band, you know, and Philip's says,

0:06:46.640 --> 0:06:49.160
<v Speaker 2>out of at Berkeley to play keyboards, and Pat throw

0:06:49.240 --> 0:06:51.760
<v Speaker 2>from Automatic man from California, come and play guitars and

0:06:51.920 --> 0:06:55.200
<v Speaker 2>put a hot band together and toured, and then came

0:06:55.240 --> 0:06:58.720
<v Speaker 2>time for my fourth so wouldcome Dance of Life. And

0:06:58.760 --> 0:07:00.400
<v Speaker 2>now I'm living in San Francisco, so I thought, I'll

0:07:00.400 --> 0:07:02.720
<v Speaker 2>bring TM Stevens out here to work out this new

0:07:02.720 --> 0:07:05.080
<v Speaker 2>material with me. And I know I still have to

0:07:05.080 --> 0:07:07.560
<v Speaker 2>have another hit. I'll be dropped. So as it worked out,

0:07:07.560 --> 0:07:10.720
<v Speaker 2>I brought him to California, be a little warehouse in Oakland.

0:07:11.000 --> 0:07:13.040
<v Speaker 2>I said, team will play a game with you. I'm

0:07:13.040 --> 0:07:15.080
<v Speaker 2>gonna play this groove on the drums, And every time

0:07:15.120 --> 0:07:18.360
<v Speaker 2>I hit the hit, the symbol changed baselines and he'd

0:07:18.360 --> 0:07:20.560
<v Speaker 2>be playing the baseline whatever it is right now. Then

0:07:20.760 --> 0:07:22.800
<v Speaker 2>I had the symbol again, he changed. I crancked a

0:07:22.800 --> 0:07:37.040
<v Speaker 2>symbol again, he changed. Then finally, crap, should I that

0:07:37.160 --> 0:07:41.520
<v Speaker 2>was that's his massive baseline. Ran Jackson wasn't around then.

0:07:41.520 --> 0:07:44.000
<v Speaker 2>That came. He came later, but I didn't think I

0:07:44.360 --> 0:07:46.320
<v Speaker 2>find anyone whould play. I should have loved you like

0:07:46.360 --> 0:07:49.320
<v Speaker 2>TM Stevens. He's the most massive cat in the world.

0:07:49.880 --> 0:07:52.480
<v Speaker 1>For the longest I thought it was when you know,

0:07:52.880 --> 0:07:55.080
<v Speaker 1>it came out when I was eight, so I thought

0:07:55.080 --> 0:07:59.880
<v Speaker 1>it was chic initially. Yeah, but shit, I'm just realizing now.

0:08:00.080 --> 0:08:04.320
<v Speaker 1>Before she passed away, we had Ali Willis on the show, Yes,

0:08:04.440 --> 0:08:06.680
<v Speaker 1>and she was this mind blowing that we knew our

0:08:06.760 --> 0:08:10.960
<v Speaker 1>whole discography only because a lot of the work that

0:08:11.040 --> 0:08:14.520
<v Speaker 1>she did wound up being like iconic samples that we

0:08:14.520 --> 0:08:17.640
<v Speaker 1>would later gravitate towards. And so she was kind of

0:08:17.680 --> 0:08:20.680
<v Speaker 1>weirded out that we knew her history. But how did

0:08:20.680 --> 0:08:22.440
<v Speaker 1>you link up with her to write that song?

0:08:22.720 --> 0:08:25.240
<v Speaker 2>Well, okay, she's in LA I'm in San Francisco, and

0:08:25.320 --> 0:08:27.679
<v Speaker 2>I hear about her work because of the Maurice White

0:08:28.040 --> 0:08:30.240
<v Speaker 2>earthmen and fire stuff that I was exploding with her

0:08:30.320 --> 0:08:34.080
<v Speaker 2>name on it, right, I knew she was mean somehow

0:08:34.160 --> 0:08:35.920
<v Speaker 2>or other. I came into touch with her because of

0:08:35.920 --> 0:08:39.280
<v Speaker 2>her publishing people, the company she was part of, Almo Irving,

0:08:39.880 --> 0:08:41.880
<v Speaker 2>and I could find her number. Then when I talked

0:08:41.920 --> 0:08:44.760
<v Speaker 2>on the phone, come to find out she's from Damn,

0:08:44.800 --> 0:08:47.720
<v Speaker 2>my hometown, Detroit, Michigan. I'm from Kalamazoo, She's from Detroit.

0:08:47.960 --> 0:08:50.640
<v Speaker 2>So we had a kind of a bond immediately, and

0:08:50.640 --> 0:08:52.679
<v Speaker 2>that I loved what she was doing. She said, well,

0:08:52.679 --> 0:08:54.720
<v Speaker 2>come down to my house. So I did. I brought

0:08:54.760 --> 0:08:56.400
<v Speaker 2>my eye should Love you down to her house. And

0:08:56.400 --> 0:08:58.960
<v Speaker 2>our house was all what's that word? When everything's like

0:08:58.960 --> 0:09:02.880
<v Speaker 2>old fashioned looking old dolls and old things and everything old.

0:09:04.720 --> 0:09:08.280
<v Speaker 2>We've been there a career before, so that was kind

0:09:08.280 --> 0:09:11.160
<v Speaker 2>of wow. Okay, But we sat down and wrote the

0:09:11.200 --> 0:09:13.040
<v Speaker 2>lyrics for I Should Love and she was just mean

0:09:13.760 --> 0:09:16.679
<v Speaker 2>how her brain thought, you know, okay, that's so wait.

0:09:16.760 --> 0:09:19.439
<v Speaker 1>She she's had that house of kitsch art.

0:09:20.000 --> 0:09:22.600
<v Speaker 2>There was trues, No, there's two. Was first house she

0:09:22.679 --> 0:09:26.000
<v Speaker 2>had was become a smaller apartment house. It wasn't a

0:09:26.000 --> 0:09:27.440
<v Speaker 2>big one, it was smaller, but it had all that

0:09:27.440 --> 0:09:29.800
<v Speaker 2>stuff in it. Then later on, as we became even

0:09:29.920 --> 0:09:32.319
<v Speaker 2>closer and friendlier over over years, then she got the

0:09:32.360 --> 0:09:35.160
<v Speaker 2>bigger house that you're talking about, and we were always

0:09:35.160 --> 0:09:35.760
<v Speaker 2>tight then too.

0:09:36.040 --> 0:09:39.040
<v Speaker 1>Tell me about the process of going into producing and

0:09:39.400 --> 0:09:42.040
<v Speaker 1>what did you learn that you couldn't apply for yourself,

0:09:42.040 --> 0:09:45.480
<v Speaker 1>that you wound up giving two other artists.

0:09:45.920 --> 0:09:47.839
<v Speaker 2>Well, at that time I was hot with that I

0:09:47.880 --> 0:09:50.240
<v Speaker 2>Should have Loved you time, all right, those records? Why

0:09:50.240 --> 0:09:52.720
<v Speaker 2>did you turn me on. And I asked Henry Allen,

0:09:52.720 --> 0:09:55.560
<v Speaker 2>who was the president of Contillion Records. He's a partner

0:09:55.600 --> 0:09:59.040
<v Speaker 2>with Atlantic Records. Black gentleman, Henry Allen. You gotta know

0:09:59.040 --> 0:10:02.720
<v Speaker 2>about Henry Allen's He and his team. They had signed

0:10:02.760 --> 0:10:07.040
<v Speaker 2>Stacy when she was about eleven and they made recording

0:10:07.040 --> 0:10:09.120
<v Speaker 2>but it wasn't doing well. So I said, Henry, you

0:10:09.120 --> 0:10:11.600
<v Speaker 2>know this girl, Stacy, why don't you let me do

0:10:11.720 --> 0:10:14.920
<v Speaker 2>some songs on her. I'll do four songs. If you

0:10:14.960 --> 0:10:16.360
<v Speaker 2>like him, I'll finished the album. If you don't like me,

0:10:16.360 --> 0:10:18.760
<v Speaker 2>I haven't lost much as four songs. And he said,

0:10:18.800 --> 0:10:22.160
<v Speaker 2>you know what, it's a good idea, go dude, do her.

0:10:22.559 --> 0:10:25.280
<v Speaker 2>So I took it very, very seriously. This is my

0:10:25.320 --> 0:10:29.679
<v Speaker 2>first real shot at pop production. My first jazz production

0:10:29.800 --> 0:10:32.960
<v Speaker 2>was just before that, a cat named Don Cherry. Then

0:10:33.000 --> 0:10:35.520
<v Speaker 2>now I'm gone to Restauranta Rose more jazz, you know,

0:10:35.559 --> 0:10:38.400
<v Speaker 2>with Tony Williams and Lenny all that stuff in the

0:10:38.440 --> 0:10:42.720
<v Speaker 2>pop world. Yes, it was Stacey Lantisa. So then I

0:10:42.760 --> 0:10:45.320
<v Speaker 2>wrote these songs with a girl named Bunny Hull Buddy.

0:10:45.320 --> 0:10:47.840
<v Speaker 2>It came to my house in San Francisco and my

0:10:47.840 --> 0:10:50.840
<v Speaker 2>wife at the time, Lisa Lisa Walden. I wrote these

0:10:50.880 --> 0:10:56.319
<v Speaker 2>songs let Me be your Angel. Dynamite jumped to the beat,

0:10:56.559 --> 0:11:00.320
<v Speaker 2>and I flew to go to Stacy's house. She had

0:11:00.320 --> 0:11:02.040
<v Speaker 2>a very small house and like a little spin at

0:11:02.040 --> 0:11:04.679
<v Speaker 2>piano and I just got on her piano and just

0:11:04.760 --> 0:11:06.800
<v Speaker 2>kind of went through these teach teaching me the songs

0:11:06.800 --> 0:11:08.360
<v Speaker 2>so make sure the keys are writing and all that,

0:11:09.920 --> 0:11:12.040
<v Speaker 2>And then came back to San Francisco at the Sauce

0:11:12.120 --> 0:11:15.199
<v Speaker 2>Leedo record Plant where Prince then made his first album.

0:11:16.679 --> 0:11:20.880
<v Speaker 2>In there, I got my big drum sound Tommy Tommy Fly,

0:11:21.040 --> 0:11:23.360
<v Speaker 2>the same guy that did for James' records on the

0:11:23.360 --> 0:11:25.480
<v Speaker 2>Maybe Angel Dyning My jo got a great sound with

0:11:25.559 --> 0:11:30.360
<v Speaker 2>my band Karado guitar, TM on bass, Frank Martin on keyboards,

0:11:30.360 --> 0:11:33.439
<v Speaker 2>and laid that stuff out. Mike gives strings, laid it out.

0:11:33.679 --> 0:11:37.080
<v Speaker 2>Then went to Power Station to get her vocals on

0:11:37.120 --> 0:11:39.800
<v Speaker 2>those songs, and here she said, about eleven years old,

0:11:40.400 --> 0:11:43.960
<v Speaker 2>that big voice you hear, and just I wanted to

0:11:44.000 --> 0:11:47.360
<v Speaker 2>get it just right, and we did and it became

0:11:47.400 --> 0:11:49.959
<v Speaker 2>his for us. So I'm just very very very very

0:11:50.040 --> 0:11:52.000
<v Speaker 2>very proud of that time. And it opened up a

0:11:52.000 --> 0:11:54.559
<v Speaker 2>lot of doors from me because because of that cam

0:11:54.640 --> 0:11:58.680
<v Speaker 2>then Clive Davis calling and everybody else calling because I

0:11:58.679 --> 0:12:00.839
<v Speaker 2>had that kind of sucessful stage and the stays actually

0:12:01.200 --> 0:12:03.079
<v Speaker 2>to open them for Michael Jackson and Jackson five. That's

0:12:03.080 --> 0:12:05.400
<v Speaker 2>how to get big. She got with Tim Steven's on base.

0:12:05.960 --> 0:12:08.319
<v Speaker 3>I was on to ask what their work with Stacy

0:12:08.360 --> 0:12:11.280
<v Speaker 3>and then also going on with Sha Nice and Tevin Campbell.

0:12:11.840 --> 0:12:15.480
<v Speaker 3>What was kind of your I guess you're your formula

0:12:15.559 --> 0:12:18.839
<v Speaker 3>for working with children, because that's something that's really hard

0:12:18.880 --> 0:12:21.800
<v Speaker 3>to do, like to write material that is can't sell,

0:12:21.880 --> 0:12:23.360
<v Speaker 3>but it's also his aging appropriate.

0:12:23.640 --> 0:12:24.319
<v Speaker 4>You know what I'm saying.

0:12:24.800 --> 0:12:27.080
<v Speaker 3>How did you kind of figure that out? And you know,

0:12:27.880 --> 0:12:28.880
<v Speaker 3>kind of find that balance.

0:12:29.640 --> 0:12:31.079
<v Speaker 2>You have to have a great hook. The hook is

0:12:31.160 --> 0:12:34.280
<v Speaker 2>worth will always save you as far as making money

0:12:34.320 --> 0:12:37.360
<v Speaker 2>on music business. The hook, of course, and I'm always

0:12:37.360 --> 0:12:40.240
<v Speaker 2>aware of, like, well, who is it Stacy, she's eleven twelve.

0:12:40.600 --> 0:12:43.319
<v Speaker 2>This whole angel concept is always cool, you know, and

0:12:43.360 --> 0:12:45.280
<v Speaker 2>then she could talk. You know, you might think I'm

0:12:45.280 --> 0:12:47.920
<v Speaker 2>too young to understand, but don't be fooled. You know,

0:12:48.240 --> 0:12:50.000
<v Speaker 2>like a child, you know, I look into your eyes

0:12:50.040 --> 0:12:52.000
<v Speaker 2>and I know someday, you know, I'll make you mine.

0:12:52.320 --> 0:12:55.440
<v Speaker 2>I don't make kiddie music that doesn't work. I learned

0:12:55.440 --> 0:12:57.920
<v Speaker 2>from Michael Jackson the early I want you back. You

0:12:57.960 --> 0:13:00.640
<v Speaker 2>know those records. You got to make records. Everyone can

0:13:00.679 --> 0:13:04.720
<v Speaker 2>party to faboots. So I didn't travel make kiddie records.

0:13:04.920 --> 0:13:08.000
<v Speaker 2>You mentioned Shoannie Wilson. She came here, she was sixteen,

0:13:08.400 --> 0:13:10.080
<v Speaker 2>and I said, right down seven song title, and she

0:13:10.120 --> 0:13:12.800
<v Speaker 2>did justish, I hate to be lonely. I love your

0:13:12.840 --> 0:13:16.400
<v Speaker 2>smile and I want my to keyboard, and just wrote

0:13:16.440 --> 0:13:27.600
<v Speaker 2>those songs and God blessed me just I love I

0:13:27.679 --> 0:13:31.240
<v Speaker 2>love you know smiles. Just looking at her, you can

0:13:31.280 --> 0:13:33.840
<v Speaker 2>feel the energy coming off her and that smile, she's gone.

0:13:34.800 --> 0:13:37.280
<v Speaker 2>That's what it was. Tavin Campbell, when Quincy Jones brought

0:13:37.320 --> 0:13:42.000
<v Speaker 2>him here, I looked at him just so beautiful, thin,

0:13:43.280 --> 0:13:46.480
<v Speaker 2>a genius thinger like Whitney said, well you need you

0:13:46.480 --> 0:13:49.080
<v Speaker 2>need the song, showcase your voice and like a big

0:13:49.760 --> 0:13:54.000
<v Speaker 2>a tour the fours man. I said, which what you

0:13:54.040 --> 0:13:57.280
<v Speaker 2>want to do, Tavin? Yeah, tell me what you want

0:13:57.280 --> 0:14:01.560
<v Speaker 2>me to do. That's just that's simple. Then you gotta

0:14:01.559 --> 0:14:03.360
<v Speaker 2>put the big modulation so you can really go on.

0:14:03.400 --> 0:14:09.120
<v Speaker 1>Right right right. Jimmy Jam kind of teases me because

0:14:09.480 --> 0:14:11.760
<v Speaker 1>when I was a kid, whenever a song would modulate

0:14:11.800 --> 0:14:15.800
<v Speaker 1>that would scare me. And so because it sounds dramatic. Yeah,

0:14:16.120 --> 0:14:20.400
<v Speaker 1>and so wait, but here's the thing, you you know, often,

0:14:20.680 --> 0:14:26.200
<v Speaker 1>in my obsession with historical firsts, I will actually say

0:14:28.000 --> 0:14:32.360
<v Speaker 1>that if someone were to be credited with like the

0:14:32.440 --> 0:14:38.600
<v Speaker 1>really first attempt at New Jack Swing, yeah, I would

0:14:38.640 --> 0:14:44.200
<v Speaker 1>say Attack of the Name Game might be the first

0:14:44.280 --> 0:14:50.320
<v Speaker 1>experimentation of making a singer sing on a backtrack, that is,

0:14:51.960 --> 0:14:54.360
<v Speaker 1>that could be made for hip hop. All right, So

0:14:54.400 --> 0:14:58.120
<v Speaker 1>for those that don't know, was it the Sneaking Out album?

0:14:58.440 --> 0:15:00.800
<v Speaker 2>Yeah? Yeah, so stay, I see a lot of songs.

0:15:00.920 --> 0:15:05.200
<v Speaker 1>I mean, well, I know she had albums before let

0:15:05.240 --> 0:15:08.160
<v Speaker 1>Me Be Your Angel, So I would say her fourth album,

0:15:08.200 --> 0:15:08.840
<v Speaker 1>maybe a third.

0:15:08.760 --> 0:15:10.600
<v Speaker 2>Or fourth album. Yeah, But there's a.

0:15:10.520 --> 0:15:14.040
<v Speaker 1>Song Attack of the Name Game, which even when I

0:15:14.080 --> 0:15:16.960
<v Speaker 1>heard it as eleven year old, I was like, oh,

0:15:17.000 --> 0:15:19.560
<v Speaker 1>this is kind of made for me. Like this this

0:15:19.600 --> 0:15:21.960
<v Speaker 1>isn't a song that my dad would gravitate towards because

0:15:21.960 --> 0:15:25.320
<v Speaker 1>this sounds like rap music that I like, what was

0:15:25.320 --> 0:15:28.320
<v Speaker 1>the process in trying to go there?

0:15:29.040 --> 0:15:32.920
<v Speaker 2>Thank you? That's very cool man. Two things. One borrowing

0:15:32.960 --> 0:15:35.800
<v Speaker 2>from the sixties idea of you know, a banana fan

0:15:35.840 --> 0:15:37.200
<v Speaker 2>of fol fan of me and my mom. Man had

0:15:37.240 --> 0:15:39.400
<v Speaker 2>taken that vibe, which I actually to pay them for,

0:15:39.440 --> 0:15:41.720
<v Speaker 2>which I didn't mind because I love the College sept

0:15:42.000 --> 0:15:45.480
<v Speaker 2>And then I joined that with Yes I did, Yes,

0:15:45.560 --> 0:15:47.640
<v Speaker 2>I did. And then I joined that with my brain

0:15:48.000 --> 0:15:50.320
<v Speaker 2>and made my own version of tom Time Club, which

0:15:50.360 --> 0:15:52.760
<v Speaker 2>was so hot in New York, Tino.

0:15:54.000 --> 0:15:55.840
<v Speaker 4>Yeah, I take all.

0:15:55.640 --> 0:15:58.040
<v Speaker 2>Those things and mix them together. I mean, let the

0:15:58.120 --> 0:15:58.800
<v Speaker 2>listeners know. Yeah.

0:15:58.800 --> 0:16:01.160
<v Speaker 1>Attack of the Name Game is what Mariah sampled for

0:16:01.200 --> 0:16:02.160
<v Speaker 1>a heartbreaker.

0:16:02.200 --> 0:16:05.880
<v Speaker 2>Heartbreaker, Yeah, that's right, that's right. So I was always

0:16:05.880 --> 0:16:09.160
<v Speaker 2>looking to New York and even London too, was always

0:16:09.160 --> 0:16:11.600
<v Speaker 2>gonna be the next wave. So I caught that wave, man,

0:16:12.640 --> 0:16:14.520
<v Speaker 2>and I'm just you know, and then I've got Stacy

0:16:14.520 --> 0:16:16.520
<v Speaker 2>to do that. The thing one when her brother became

0:16:16.880 --> 0:16:21.760
<v Speaker 2>that kind of a sound talking like the alien from space. See,

0:16:21.800 --> 0:16:28.080
<v Speaker 2>I thought that was you. That was her brother. Okay.

0:16:31.480 --> 0:16:34.240
<v Speaker 1>If there's two human beings that I've seen that were

0:16:34.320 --> 0:16:38.680
<v Speaker 1>otherworldly to me as far as like they're just on

0:16:38.720 --> 0:16:45.560
<v Speaker 1>some almost pleadian alien level type of person, I've never

0:16:45.600 --> 0:16:50.080
<v Speaker 1>seen Angela Bouefield give a normal interview on television.

0:16:50.960 --> 0:16:57.520
<v Speaker 5>Okay, So can you please describe because I've never seen

0:16:57.720 --> 0:17:02.160
<v Speaker 5>a person put their humor out front, and like she

0:17:02.400 --> 0:17:05.720
<v Speaker 5>always had a joke or a punchline, like maybe Vesta

0:17:05.880 --> 0:17:09.920
<v Speaker 5>is in third place, like I'll see Tatsa Vega. Vesta

0:17:10.320 --> 0:17:13.200
<v Speaker 5>and Angela Bouefield were like almost personalities.

0:17:13.240 --> 0:17:18.240
<v Speaker 2>What was Angela Bufield? Like? Open hearted, funny, But I

0:17:18.359 --> 0:17:22.760
<v Speaker 2>must tell you perfect pitch. It's so beautiful how she

0:17:22.840 --> 0:17:25.679
<v Speaker 2>hears and how she can hit her notes and just

0:17:25.720 --> 0:17:31.760
<v Speaker 2>make everything so musical. She's extremely musical. I was a

0:17:31.760 --> 0:17:33.560
<v Speaker 2>fan of her stuff, you know, before I ever worked

0:17:33.600 --> 0:17:36.399
<v Speaker 2>with her. You know, I try and those records she

0:17:36.440 --> 0:17:41.200
<v Speaker 2>put out with Grusoon Dave Grusoon, which is beautiful. So

0:17:41.240 --> 0:17:43.440
<v Speaker 2>then when Clyde Davis asked me to work with with Angela,

0:17:44.000 --> 0:17:46.960
<v Speaker 2>he first picked the song of something about You and

0:17:46.960 --> 0:17:49.960
<v Speaker 2>a few of those type of ideas. But after I

0:17:49.960 --> 0:17:52.280
<v Speaker 2>got to know her, I know that she liked the funk.

0:17:52.280 --> 0:17:55.359
<v Speaker 2>To see that, I got excited and I came on

0:17:55.359 --> 0:17:57.480
<v Speaker 2>one morning on my profit keyboard and my drum machine,

0:17:57.480 --> 0:18:00.280
<v Speaker 2>my the machines and just made a demo. But I

0:18:00.280 --> 0:18:02.879
<v Speaker 2>don't make demos some big records, but cutt an idea

0:18:02.920 --> 0:18:05.760
<v Speaker 2>of too tough for her because I knew that she

0:18:05.880 --> 0:18:08.760
<v Speaker 2>liked the funk, and that was the most cutting ede

0:18:08.760 --> 0:18:11.320
<v Speaker 2>stuf I stuff I could do. At that time. I said,

0:18:11.359 --> 0:18:12.480
<v Speaker 2>and it's just coming in and to sing on this

0:18:12.520 --> 0:18:15.600
<v Speaker 2>for me, and she did, and she got so excited

0:18:15.600 --> 0:18:18.320
<v Speaker 2>she called Clive now to getting a hit. But I

0:18:18.400 --> 0:18:20.760
<v Speaker 2>was really just wanted to be like raw a dude

0:18:20.760 --> 0:18:27.879
<v Speaker 2>and done done, done, done like that, all that kind

0:18:27.880 --> 0:18:30.400
<v Speaker 2>of thing, you know. And and we all we also

0:18:30.440 --> 0:18:31.840
<v Speaker 2>had a lot of license to be a little little

0:18:31.880 --> 0:18:33.679
<v Speaker 2>raunchy and lyrics now because now Prince will be on

0:18:33.680 --> 0:18:34.920
<v Speaker 2>the scene a lot of things to be on the scene.

0:18:35.080 --> 0:18:36.840
<v Speaker 2>You could be a little bit cutting edge on the

0:18:36.880 --> 0:18:39.280
<v Speaker 2>lyric in R and B and get away with it.

0:18:39.680 --> 0:18:42.520
<v Speaker 2>So all those things kind of came into factor. But

0:18:42.560 --> 0:18:44.240
<v Speaker 2>I love Angela. You know, she's had a little stroke.

0:18:44.320 --> 0:18:46.640
<v Speaker 2>Now we're still talking to her and all she's all,

0:18:46.960 --> 0:18:49.480
<v Speaker 2>I want to know what's going on, you know. But

0:18:50.160 --> 0:18:52.399
<v Speaker 2>we made I Maderee albums for Lange, both for three albums,

0:18:52.400 --> 0:18:55.240
<v Speaker 2>a lot of music, and she taught me how to them.

0:18:55.280 --> 0:18:57.479
<v Speaker 2>Going to Whitney Houston. I have to say that my

0:18:58.000 --> 0:19:00.399
<v Speaker 2>discipline with with the way Angela gave me knowing how

0:19:00.440 --> 0:19:02.720
<v Speaker 2>to if I only have three hours with it within

0:19:02.760 --> 0:19:04.680
<v Speaker 2>three hours here, three hours, but two hours year. I

0:19:04.760 --> 0:19:07.679
<v Speaker 2>knew how to cut vocals now because of Angela Beaufield.

0:19:08.280 --> 0:19:11.800
<v Speaker 1>So before we get to Whitney, Yeah, one I want

0:19:11.840 --> 0:19:16.040
<v Speaker 1>to know, like, how do you climb the mountain? That

0:19:16.320 --> 0:19:22.000
<v Speaker 1>is Clive Davis because of his just no nonsense, no

0:19:22.160 --> 0:19:26.800
<v Speaker 1>bullshit kind of like give me the hit, take me

0:19:26.840 --> 0:19:30.200
<v Speaker 1>to the mountaintop. What is your first meetings with Clive?

0:19:30.359 --> 0:19:32.760
<v Speaker 1>Like like, how does he know that he can put

0:19:32.800 --> 0:19:36.639
<v Speaker 1>his trust in you to deliver what is needed?

0:19:37.960 --> 0:19:40.000
<v Speaker 2>I think when he heard let me be your Angel,

0:19:40.119 --> 0:19:43.359
<v Speaker 2>he called me the telephone and he said, you know,

0:19:45.040 --> 0:19:47.520
<v Speaker 2>how are you doing this? It was like a question

0:19:47.600 --> 0:19:51.840
<v Speaker 2>to me, It's like, huh, how am I doing this? Well,

0:19:52.240 --> 0:19:56.840
<v Speaker 2>I'm from Michigan, Callum's in Michigan. We love music and

0:19:57.640 --> 0:20:01.000
<v Speaker 2>we just that's what we do. That's it.

0:20:01.080 --> 0:20:01.520
<v Speaker 6>I said.

0:20:01.720 --> 0:20:05.600
<v Speaker 2>From me, He goes, well, how would you want to

0:20:05.600 --> 0:20:08.119
<v Speaker 2>work with some of my artists, you know, like Angel

0:20:08.119 --> 0:20:10.600
<v Speaker 2>the Boatfield. That's how it started. Just that's that humble.

0:20:11.320 --> 0:20:14.400
<v Speaker 2>And then after I did the trust with Angel doing

0:20:14.400 --> 0:20:20.600
<v Speaker 2>those records came then Phyllis Hyman and uh then then

0:20:20.680 --> 0:20:26.760
<v Speaker 2>not long after that, he said, Dione Warrick. That's mine,

0:20:26.760 --> 0:20:30.680
<v Speaker 2>you know, Burke Backrecks Hal David is like, oh my god, healthy,

0:20:31.320 --> 0:20:34.000
<v Speaker 2>you know, the Windows of the World, all that music.

0:20:34.520 --> 0:20:36.359
<v Speaker 2>So that was mind belonged even to think about meeting

0:20:36.359 --> 0:20:38.879
<v Speaker 2>that Dione Warwick. I put my little thirteen songs together,

0:20:38.960 --> 0:20:41.600
<v Speaker 2>went to La d her home, and Dion was not

0:20:41.640 --> 0:20:45.280
<v Speaker 2>feeling my music. So I came back home and I

0:20:45.359 --> 0:20:48.200
<v Speaker 2>called Clive. I said, Dion is not feeling my music.

0:20:48.960 --> 0:20:52.160
<v Speaker 2>He said, don't worry, which I thought was very very kind.

0:20:52.520 --> 0:20:54.919
<v Speaker 2>He said don't worry. He said, how about Aarretha Franklin.

0:20:56.040 --> 0:21:00.240
<v Speaker 2>How about Aretha Franklin? Right? He said, just here for

0:21:00.320 --> 0:21:06.520
<v Speaker 2>a phone call? Okay? And I did, and I called

0:21:06.560 --> 0:21:08.040
<v Speaker 2>Aretha and I'm so glad. I had my pen and

0:21:08.040 --> 0:21:10.480
<v Speaker 2>paper and everything ready because I had no idea how

0:21:10.800 --> 0:21:13.000
<v Speaker 2>deep she is? Can I can? I? Can I tell

0:21:13.000 --> 0:21:16.440
<v Speaker 2>that story for you right now? Absolutely? Okay? I call Aretha.

0:21:16.480 --> 0:21:19.159
<v Speaker 2>He she says, hi, And I said, well, what do

0:21:19.160 --> 0:21:20.440
<v Speaker 2>you do for fun? You know, I'm just trying to

0:21:20.440 --> 0:21:23.119
<v Speaker 2>break it down, you know, you Detroit, what do you

0:21:23.200 --> 0:21:26.760
<v Speaker 2>do for fun? That's when she showed me who she is.

0:21:26.840 --> 0:21:30.600
<v Speaker 2>She goes, hm, you know, maybe I not. I go

0:21:30.600 --> 0:21:33.240
<v Speaker 2>out to a nightclub. You know, maybe in the corner.

0:21:33.280 --> 0:21:35.919
<v Speaker 2>I see a guy like, you know, he looks, he

0:21:35.960 --> 0:21:38.760
<v Speaker 2>looks at me. I look at him. It's like, who's zooming?

0:21:41.840 --> 0:21:44.040
<v Speaker 2>Then he feels he's got me with the fish hup

0:21:44.080 --> 0:21:49.880
<v Speaker 2>off the hook? Who's zooming? Who the fish hump off

0:21:49.920 --> 0:21:55.000
<v Speaker 2>the hook? That's how she talked. That's who she is.

0:21:55.080 --> 0:21:56.879
<v Speaker 2>I was like, so that was I wasn't ready for

0:21:56.920 --> 0:21:59.800
<v Speaker 2>all that, but I took that stuff. I said, resting

0:22:00.480 --> 0:22:02.560
<v Speaker 2>my partner, we gotta write a song with this Who's

0:22:02.800 --> 0:22:08.040
<v Speaker 2>who fishing off the hook? She's crazy, man, It's crazy.

0:22:09.200 --> 0:22:12.480
<v Speaker 2>That's how that happened. So that was Clyde Davis. Just

0:22:12.520 --> 0:22:13.000
<v Speaker 2>give her a call.

0:22:13.520 --> 0:22:17.560
<v Speaker 1>I believe that you can meditate and manifest whatever it

0:22:17.640 --> 0:22:20.080
<v Speaker 1>is that you want to achieve in life. But I

0:22:20.119 --> 0:22:22.760
<v Speaker 1>mean to be honest with you. When you're starting the

0:22:22.800 --> 0:22:28.560
<v Speaker 1>Whitney Euston debut album, I mean, are you thinking that

0:22:28.680 --> 0:22:32.200
<v Speaker 1>this person's about to be the Mount Rushmore of pop

0:22:32.359 --> 0:22:35.120
<v Speaker 1>music as we know it at that time? Or were

0:22:35.119 --> 0:22:41.359
<v Speaker 1>they just planning like respectable you know black Casief numbers

0:22:41.400 --> 0:22:45.520
<v Speaker 1>like she's gonna go gold and platinum, maybe double platinum.

0:22:45.680 --> 0:22:48.919
<v Speaker 1>Like coming into the door, do you know what you

0:22:48.920 --> 0:22:49.879
<v Speaker 1>guys were gunning for.

0:22:50.640 --> 0:22:53.280
<v Speaker 2>Okay, that's very beautiful. Thank you for the honor and

0:22:53.280 --> 0:22:55.000
<v Speaker 2>the love to give me. I can feel it when

0:22:55.040 --> 0:22:57.040
<v Speaker 2>you're talking to me, and what it does is it

0:22:57.040 --> 0:22:59.520
<v Speaker 2>makes me really think about what you're asking. So what

0:22:59.560 --> 0:23:03.480
<v Speaker 2>I want to say is this. When I'm in the automat,

0:23:03.520 --> 0:23:05.199
<v Speaker 2>I wasn't at Tarban studio shop. I was still in

0:23:05.200 --> 0:23:08.359
<v Speaker 2>the city at the automat cutting a Wreatha Franklin, getting

0:23:08.400 --> 0:23:11.280
<v Speaker 2>ready for Wretha Franklin. When the phone call came from

0:23:11.359 --> 0:23:16.200
<v Speaker 2>Jerry Griffin, the an R of Arista, Narda, you got

0:23:16.240 --> 0:23:19.200
<v Speaker 2>to make time for Whitney Houston, and I said, no,

0:23:20.440 --> 0:23:23.359
<v Speaker 2>I'm working on Retha Franklin. I cannot lose my focus.

0:23:23.720 --> 0:23:26.159
<v Speaker 2>He goes, yeah, I know, but you don't want to

0:23:26.200 --> 0:23:29.480
<v Speaker 2>miss this younger we've signed who's gonna be big. But

0:23:30.520 --> 0:23:33.000
<v Speaker 2>and also I gotta tell you, Narda, she is Sissy

0:23:33.040 --> 0:23:36.120
<v Speaker 2>Houston's daughter. And then I had to stop and think

0:23:36.680 --> 0:23:39.439
<v Speaker 2>Sissy Houston saying background a garden, love life, take me,

0:23:39.560 --> 0:23:43.560
<v Speaker 2>take me, take me to the God, the Light. And

0:23:43.760 --> 0:23:45.440
<v Speaker 2>when the corner was a little eleven year old girl

0:23:45.480 --> 0:23:48.040
<v Speaker 2>that was her daughter. I met with this little girl

0:23:48.040 --> 0:23:54.679
<v Speaker 2>which was eleven. Oh yeah, I said, well, you know,

0:23:55.480 --> 0:23:58.760
<v Speaker 2>I'm busy. He goes, we have a hook a song.

0:23:58.920 --> 0:24:00.720
<v Speaker 2>How will I know? Let me send you the idea.

0:24:00.960 --> 0:24:05.000
<v Speaker 2>She sent me the idea, heard howl. I know. Cool. Cool, course,

0:24:05.520 --> 0:24:08.760
<v Speaker 2>I call Hi back to Jerry. There's no verses. I mean,

0:24:08.800 --> 0:24:10.320
<v Speaker 2>if I'm getting involved, I gotta write some verses for

0:24:10.359 --> 0:24:13.280
<v Speaker 2>this thing. Finish. It's gonna make a strong song because

0:24:13.320 --> 0:24:16.600
<v Speaker 2>let me ask the writers. He called the writers, call

0:24:16.640 --> 0:24:20.160
<v Speaker 2>me back right to stay fine. Now it's on.

0:24:21.160 --> 0:24:21.560
<v Speaker 4>Yeah.

0:24:21.600 --> 0:24:24.080
<v Speaker 2>So instead of doing another I read the song that day,

0:24:25.000 --> 0:24:29.879
<v Speaker 2>I told Randy Jackson, Krodo Preston, Walter Auson, Avia, Frank

0:24:29.920 --> 0:24:33.159
<v Speaker 2>Martin Dave phrase of my team, We're gonna do a

0:24:33.160 --> 0:24:35.760
<v Speaker 2>song called howell I know for Whitney Houston today And

0:24:35.800 --> 0:24:37.200
<v Speaker 2>I just went to the piano and banged it out

0:24:37.520 --> 0:24:42.400
<v Speaker 2>and put a verses up. I know, here's the one

0:24:42.440 --> 0:24:44.760
<v Speaker 2>of that kind of spirit and they cut the hell

0:24:44.760 --> 0:24:46.439
<v Speaker 2>out of it. And that was the time. Now Randy's

0:24:46.440 --> 0:24:57.199
<v Speaker 2>playing this mo bass with one finger took a So

0:24:57.280 --> 0:25:01.720
<v Speaker 2>we had this team, this hybrid like a Motown Corporation

0:25:01.880 --> 0:25:05.160
<v Speaker 2>sound with the newest technology that we needed to be

0:25:05.680 --> 0:25:09.240
<v Speaker 2>competitive with Clints and Michael Jackson, Quincy Jones and everybody

0:25:09.280 --> 0:25:12.040
<v Speaker 2>else is doing records. So we put that thing down.

0:25:13.760 --> 0:25:15.719
<v Speaker 2>Then I called with the Funcus. I hadn't spoken her yet,

0:25:15.720 --> 0:25:18.760
<v Speaker 2>and I said, listen, I'm making the verse really high.

0:25:18.800 --> 0:25:21.520
<v Speaker 2>Can you sing Hi to? Yeah? I sing Hi No.

0:25:21.560 --> 0:25:23.600
<v Speaker 2>I said, no, no, no, no, no, I'm cutting in San Francisco.

0:25:23.720 --> 0:25:25.520
<v Speaker 2>I'm a fly to New York to go meet you

0:25:26.920 --> 0:25:29.399
<v Speaker 2>with a tape. If it's the wrong key, we'll get

0:25:29.400 --> 0:25:29.800
<v Speaker 2>we're off.

0:25:30.920 --> 0:25:31.120
<v Speaker 6>Yeah.

0:25:31.200 --> 0:25:35.080
<v Speaker 2>She says, no, no, I can sing hid all right.

0:25:35.119 --> 0:25:37.040
<v Speaker 2>And then I went to New York. And when I

0:25:37.040 --> 0:25:39.399
<v Speaker 2>go to New York at the media sound with Michael

0:25:39.600 --> 0:25:43.240
<v Speaker 2>Barbiero with my injury, he was brilliant. He knew the

0:25:43.280 --> 0:25:48.200
<v Speaker 2>right Mike, I like this noyman, beautiful Mike. Or we're

0:25:48.240 --> 0:25:51.280
<v Speaker 2>in the studio making it. Everything's sounding good before she

0:25:51.320 --> 0:25:54.440
<v Speaker 2>even walks in. And when she walked in, Now I'm

0:25:54.480 --> 0:25:58.200
<v Speaker 2>gonna talk to you straight up. She was so beautiful.

0:25:59.359 --> 0:26:02.280
<v Speaker 2>Just to put your eyes on her was just like,

0:26:03.840 --> 0:26:07.359
<v Speaker 2>my god, now I'm understanding. We don't even heard her sing.

0:26:07.800 --> 0:26:11.840
<v Speaker 2>Just looking at her, she's just the cheek, thumbs, the fingers.

0:26:12.359 --> 0:26:16.920
<v Speaker 2>She's nineteen, Okay, okay, I'm trying to understand here. Now

0:26:17.520 --> 0:26:20.040
<v Speaker 2>go by the mic, sing the song, and God bless her.

0:26:20.080 --> 0:26:22.480
<v Speaker 2>She knew that song of plenty song that been with her,

0:26:22.600 --> 0:26:24.800
<v Speaker 2>That was the only song she knew. How long is she?

0:26:24.800 --> 0:26:27.840
<v Speaker 2>She was ready for it first album and she blew

0:26:27.920 --> 0:26:30.719
<v Speaker 2>that song. Man, she killed that song like what you're

0:26:30.760 --> 0:26:33.720
<v Speaker 2>hearing on that record. All that power and spitting and

0:26:34.680 --> 0:26:38.760
<v Speaker 2>also control of the head voice to the chest voice,

0:26:38.960 --> 0:26:40.879
<v Speaker 2>the chest voice back to the head voice. It was

0:26:40.920 --> 0:26:44.560
<v Speaker 2>all effortless. I said, well, do you know what we've

0:26:44.560 --> 0:26:46.199
<v Speaker 2>done about four or five takes this and you're so

0:26:46.280 --> 0:26:48.280
<v Speaker 2>tight on that. I need to keep beating this horse.

0:26:48.280 --> 0:26:49.960
<v Speaker 2>What we're gonna do now is do a few doublings,

0:26:50.119 --> 0:26:52.600
<v Speaker 2>a few harmonies, and you want you to come listen

0:26:52.600 --> 0:26:54.560
<v Speaker 2>to it? And she double? I want her double? She harmon,

0:26:54.760 --> 0:26:56.679
<v Speaker 2>want hear I said, come listen to it on the

0:26:56.680 --> 0:27:01.000
<v Speaker 2>playback in the control room. If you were me and

0:27:01.080 --> 0:27:06.400
<v Speaker 2>I'm her, she's looking at me like this. She's looking

0:27:06.400 --> 0:27:10.080
<v Speaker 2>at me like that. I've never had anyone stare at

0:27:10.080 --> 0:27:14.320
<v Speaker 2>me like that. The hollandlds bluring all the speakers, healing it,

0:27:14.720 --> 0:27:17.480
<v Speaker 2>and she's looking at me like do you hear that.

0:27:20.400 --> 0:27:24.320
<v Speaker 2>Do you hear that? Now? It's like a Muhammad Ali moment,

0:27:24.760 --> 0:27:26.159
<v Speaker 2>like you know, I'm the greatest, but I'm saying that

0:27:26.280 --> 0:27:33.800
<v Speaker 2>just like now I'm realizing, damn, this is incredible and

0:27:33.960 --> 0:27:35.560
<v Speaker 2>I'm bless us man. That's what I want to tell you.

0:27:35.600 --> 0:27:36.959
<v Speaker 2>That's when it hit me that, yeah, no, we're on

0:27:36.960 --> 0:27:39.000
<v Speaker 2>to something that's going to be like huge. I have

0:27:39.040 --> 0:27:39.719
<v Speaker 2>one question.

0:27:40.000 --> 0:27:45.359
<v Speaker 1>Okay, you do something on that song. I've never heard

0:27:45.480 --> 0:27:50.040
<v Speaker 1>in the history of pop music. I've never heard somebody

0:27:51.760 --> 0:27:54.040
<v Speaker 1>like because the thing is, you're building up drama, like

0:27:54.119 --> 0:27:55.879
<v Speaker 1>go to the if he loves me, if he loves me,

0:27:55.920 --> 0:27:56.760
<v Speaker 1>not think right.

0:27:57.640 --> 0:27:58.800
<v Speaker 2>That is a ramp.

0:27:59.000 --> 0:28:01.600
<v Speaker 1>You're building up to something, and when you build up

0:28:01.640 --> 0:28:06.080
<v Speaker 1>to it, you modulate to a lower key. I've never

0:28:06.160 --> 0:28:08.840
<v Speaker 1>heard that in the history.

0:28:08.440 --> 0:28:09.240
<v Speaker 2>Of pop music.

0:28:09.680 --> 0:28:13.720
<v Speaker 1>What was the thought behind because you know, again, modulation

0:28:13.760 --> 0:28:16.240
<v Speaker 1>is supposed to be the dramatic moment where you higher

0:28:16.840 --> 0:28:18.800
<v Speaker 1>and but yet like.

0:28:19.119 --> 0:28:24.160
<v Speaker 4>I'm almost like I need to get down.

0:28:26.240 --> 0:28:29.240
<v Speaker 2>How did you know that would come off? To be

0:28:29.280 --> 0:28:31.919
<v Speaker 2>honest with you, before I even met with me, I

0:28:32.040 --> 0:28:34.720
<v Speaker 2>work out the song in the studio and maybe I

0:28:34.800 --> 0:28:36.639
<v Speaker 2>even get like one of my singers, my girl singers

0:28:36.720 --> 0:28:38.640
<v Speaker 2>come and just lay out the idea so I know

0:28:38.720 --> 0:28:40.960
<v Speaker 2>it all works before I even go anywhere. I have

0:28:41.040 --> 0:28:43.560
<v Speaker 2>a few different demo demo singers, but Kitty Behope at

0:28:43.560 --> 0:28:46.080
<v Speaker 2>that time was one of my go tos to work

0:28:46.120 --> 0:28:47.560
<v Speaker 2>out my ideas that it was all going to be

0:28:47.600 --> 0:28:51.040
<v Speaker 2>like strong. That's what I always do. Put to make

0:28:51.080 --> 0:28:53.800
<v Speaker 2>a blueprint so that when I get with a singer,

0:28:53.840 --> 0:28:55.600
<v Speaker 2>if something doesn't work out, well, no, I know this work,

0:28:55.680 --> 0:28:59.200
<v Speaker 2>please do this. So that's how it worked it out,

0:28:59.400 --> 0:29:02.160
<v Speaker 2>knowing it'd be great because it sounded great, and I

0:29:02.240 --> 0:29:05.600
<v Speaker 2>put the backgrounds on it, the ideas. Everything worked out

0:29:05.920 --> 0:29:08.600
<v Speaker 2>so that when I see Whitney it's powerful. But then

0:29:08.720 --> 0:29:11.120
<v Speaker 2>after I did it with her, it was so incredible.

0:29:11.240 --> 0:29:12.840
<v Speaker 2>I said, can you get your mom to come down

0:29:12.880 --> 0:29:15.320
<v Speaker 2>and join on the background, And she did income Sissy

0:29:15.360 --> 0:29:17.880
<v Speaker 2>Houston with her troop and then they're singing it. But

0:29:17.920 --> 0:29:20.120
<v Speaker 2>then I said, no, you go to join your mother.

0:29:20.560 --> 0:29:22.840
<v Speaker 2>Now that was the sound of all knowe again she

0:29:23.520 --> 0:29:25.720
<v Speaker 2>know the lead, but she's also part of the background

0:29:25.840 --> 0:29:30.120
<v Speaker 2>with her mom. That's power. So all that power, you

0:29:30.520 --> 0:29:33.240
<v Speaker 2>don't know where is going up or down, it's just power.

0:29:35.520 --> 0:29:42.840
<v Speaker 1>Unfortunately, I hate the way that transitioning death makes me

0:29:43.400 --> 0:29:47.680
<v Speaker 1>appreciate or listen to someone's music, Like when a person

0:29:47.720 --> 0:29:50.880
<v Speaker 1>transitions and I go back to their catalog, then I

0:29:50.960 --> 0:29:56.800
<v Speaker 1>hear something. It's like another chamber opens. Yes, so before

0:29:56.840 --> 0:29:59.080
<v Speaker 1>I ask you, because the thing is is that I

0:29:59.160 --> 0:30:01.480
<v Speaker 1>feel like right now and you know, I'm a DJ

0:30:01.680 --> 0:30:06.680
<v Speaker 1>that that is very active and still spinning records, and

0:30:08.000 --> 0:30:10.760
<v Speaker 1>I feel as though I want to dance with somebody

0:30:11.640 --> 0:30:17.720
<v Speaker 1>is going through its September phase. Matter of fact, like

0:30:18.320 --> 0:30:21.480
<v Speaker 1>what I call the smells like teen spirit effect. That's

0:30:21.560 --> 0:30:23.720
<v Speaker 1>what I want to dance with somebody. Because of course

0:30:23.720 --> 0:30:27.320
<v Speaker 1>it's like, Okay, we're celebrating her and whatnot. But please

0:30:27.400 --> 0:30:31.640
<v Speaker 1>tell me what the air was like and the tension

0:30:32.400 --> 0:30:37.520
<v Speaker 1>of working on the second album where you guys now

0:30:37.720 --> 0:30:42.280
<v Speaker 1>have to first of all, are you ever thinking of like, Okay,

0:30:43.760 --> 0:30:46.440
<v Speaker 1>I gotta live up to it, like you know, when

0:30:46.480 --> 0:30:48.480
<v Speaker 1>you're working on rock a lot or whatever for like

0:30:48.480 --> 0:30:51.040
<v Speaker 1>Aretha's next records or whatever, Like I gotta I got

0:30:51.120 --> 0:30:54.160
<v Speaker 1>a top freeway of love. I gotta what's your creative

0:30:54.200 --> 0:30:57.920
<v Speaker 1>process in terms of like following up, like what.

0:30:58.000 --> 0:31:00.720
<v Speaker 2>Was the difference between it? There are a few things

0:31:00.720 --> 0:31:04.200
<v Speaker 2>I want to say. Clive Davis decided early on after

0:31:04.240 --> 0:31:07.880
<v Speaker 2>the success and fastest rising hit of the Howl I Know,

0:31:08.200 --> 0:31:10.480
<v Speaker 2>being the number one on the third album of the

0:31:10.760 --> 0:31:14.080
<v Speaker 2>third number one off that record going so big. Then

0:31:14.120 --> 0:31:16.520
<v Speaker 2>he called me to meet him at the bungalow, his

0:31:16.600 --> 0:31:20.600
<v Speaker 2>bungalow in Beverly Hills. It wasn't long after How I Know.

0:31:21.000 --> 0:31:22.720
<v Speaker 2>Then he says, come meet me. So I go to

0:31:22.720 --> 0:31:25.720
<v Speaker 2>meet him. He plays for me I wouldn't dance for

0:31:25.760 --> 0:31:28.600
<v Speaker 2>Somebody Loves Me as a demo, the same people who

0:31:28.640 --> 0:31:30.480
<v Speaker 2>worked on how I Know. But the demo is kind

0:31:30.480 --> 0:31:33.720
<v Speaker 2>of like very poppy, like a Rodeo Cet type of record.

0:31:33.720 --> 0:31:37.560
<v Speaker 2>But it's cool. Oh you can hear the hook in there.

0:31:37.680 --> 0:31:42.080
<v Speaker 2>But the track is just so popular. I'm going immediately,

0:31:42.080 --> 0:31:43.480
<v Speaker 2>I'm thinking, how am I going to make this a

0:31:43.480 --> 0:31:46.960
<v Speaker 2>ghetto record? You know, really make a badass for the

0:31:47.000 --> 0:31:49.760
<v Speaker 2>black people on the North side of Kalamazoo and around

0:31:49.760 --> 0:31:52.960
<v Speaker 2>the world. That's why my money immediately goes. Then he

0:31:53.000 --> 0:31:55.400
<v Speaker 2>played me a few more songs he wanted for where

0:31:55.400 --> 0:31:57.960
<v Speaker 2>It Broke Our Arts Go, and maybe one or two more,

0:31:58.760 --> 0:32:00.760
<v Speaker 2>and I played him with a pressing glass. Songs you

0:32:00.800 --> 0:32:02.640
<v Speaker 2>know the Preston written, so.

0:32:02.600 --> 0:32:05.280
<v Speaker 1>You're saying he's planning this even as the first album

0:32:05.280 --> 0:32:06.440
<v Speaker 1>has yet to really.

0:32:06.520 --> 0:32:09.720
<v Speaker 2>Yeah, he's your first time was still you know, but

0:32:10.120 --> 0:32:12.560
<v Speaker 2>now he's like he decided because wouldn't I worked so

0:32:12.640 --> 0:32:15.720
<v Speaker 2>fast on how I know, we turned in so fast

0:32:15.720 --> 0:32:18.680
<v Speaker 2>that he wants a fast second album kind of be

0:32:18.760 --> 0:32:22.720
<v Speaker 2>able to pick up on this success. So I get it,

0:32:23.320 --> 0:32:25.320
<v Speaker 2>and he plays me these ideas, and then I come

0:32:25.400 --> 0:32:26.800
<v Speaker 2>back to the same room when I'm sitting here with

0:32:26.840 --> 0:32:28.160
<v Speaker 2>you right now, which I want you to come make

0:32:28.280 --> 0:32:33.720
<v Speaker 2>your record tart band studios, same studio. Yeah, this is it. Wow, Okay,

0:32:34.760 --> 0:32:38.160
<v Speaker 2>And I get Randy Jackson. Who I do. I'm that

0:32:38.320 --> 0:32:43.520
<v Speaker 2>one finger's synthesizer bass crowder, my Italian style guitar. Walter

0:32:43.560 --> 0:32:46.560
<v Speaker 2>Snavi has not become a big producer yet for Titanic

0:32:46.560 --> 0:32:48.880
<v Speaker 2>and all that and Mariah he's he's one of our

0:32:48.880 --> 0:32:52.680
<v Speaker 2>stable cats, Preston Glass and my genius engineer of David Frasier.

0:32:53.560 --> 0:32:55.920
<v Speaker 2>And I just take these ideas that these Karl clave

0:32:55.960 --> 0:32:58.440
<v Speaker 2>has given me and just put my thing on it,

0:32:59.120 --> 0:33:03.160
<v Speaker 2>our thing on it, which means Quincy Jones taught me

0:33:04.320 --> 0:33:09.400
<v Speaker 2>an out house bottom with a pent house view, and

0:33:09.440 --> 0:33:12.520
<v Speaker 2>I put the vocals down the lead vocals and the

0:33:12.640 --> 0:33:16.080
<v Speaker 2>backing vocals, so it sounds like a finished record on

0:33:16.240 --> 0:33:18.680
<v Speaker 2>five songs, and one of those songs would be the

0:33:18.680 --> 0:33:20.080
<v Speaker 2>Odds of brother song for the Love of You, because

0:33:20.120 --> 0:33:22.760
<v Speaker 2>Whitney wanted to do that. So before Whitney ever comes

0:33:22.800 --> 0:33:25.520
<v Speaker 2>in the room, it's all ready for her and and

0:33:25.520 --> 0:33:28.240
<v Speaker 2>and we are efficient because don't forget I put Disciple grew.

0:33:28.400 --> 0:33:31.480
<v Speaker 2>I'm like, I'm like a I'm like an army. I'm

0:33:31.520 --> 0:33:34.000
<v Speaker 2>like an army. There's no drinking, there's no smoking, there's

0:33:34.000 --> 0:33:37.600
<v Speaker 2>no drugs. It's this vegetarian life, just like an army.

0:33:38.400 --> 0:33:39.680
<v Speaker 2>Like your fallon show, You're on.

0:33:42.000 --> 0:33:42.160
<v Speaker 6>It.

0:33:42.200 --> 0:33:44.280
<v Speaker 2>That's how it was in his room. So when she

0:33:44.400 --> 0:33:47.880
<v Speaker 2>came here, I played for her I Somebody Loves Me.

0:33:48.400 --> 0:33:51.360
<v Speaker 2>She was like, wow, I never heard it like that.

0:33:52.400 --> 0:33:54.000
<v Speaker 2>And then I played for the song. I mean, she

0:33:54.040 --> 0:33:56.520
<v Speaker 2>didn't even like which is where broken Hearts go? And

0:33:56.560 --> 0:33:58.280
<v Speaker 2>I played her that. I said, does this cup for you? Now?

0:33:58.960 --> 0:34:01.720
<v Speaker 2>Then she goes, Now, I'm starting to get it because

0:34:01.760 --> 0:34:04.680
<v Speaker 2>now it's for her. Got the right basis, like, got

0:34:04.680 --> 0:34:08.200
<v Speaker 2>the black on it. That's cool. So what I'm saying

0:34:08.200 --> 0:34:10.520
<v Speaker 2>to you is I have to all say this now.

0:34:11.040 --> 0:34:13.840
<v Speaker 2>The first song that she sang in this room was

0:34:13.840 --> 0:34:15.480
<v Speaker 2>a song by the Isis for the Love of You.

0:34:16.120 --> 0:34:17.879
<v Speaker 2>And what was so great about doing that song first,

0:34:17.920 --> 0:34:19.440
<v Speaker 2>because she said, I know that song. I'm not even

0:34:19.520 --> 0:34:21.160
<v Speaker 2>learned of the songs yet, but I know that for

0:34:21.239 --> 0:34:22.880
<v Speaker 2>love of You, So going on, I can sing that.

0:34:23.040 --> 0:34:26.040
<v Speaker 2>So she sang that. I said, there are backing vocals

0:34:26.040 --> 0:34:28.759
<v Speaker 2>on for the love you stack your voice, so we

0:34:28.840 --> 0:34:32.680
<v Speaker 2>started stacking her voice twenty forty times, so it's all

0:34:32.719 --> 0:34:34.840
<v Speaker 2>the harms are her voice. And she came back in

0:34:34.920 --> 0:34:38.800
<v Speaker 2>the studio to hear. Now she's hearing like angels her voice,

0:34:40.960 --> 0:34:42.439
<v Speaker 2>and I see the look on her face, and she's

0:34:42.440 --> 0:34:45.760
<v Speaker 2>getting inspired by the sound of her her voice. Stacked

0:34:45.760 --> 0:34:48.920
<v Speaker 2>that many times, and I said, tomorrow we're gonna do

0:34:49.400 --> 0:34:52.280
<v Speaker 2>I want to dance somebody who loves me. She said, okay,

0:34:53.040 --> 0:34:56.000
<v Speaker 2>because she's high. Now she's excited by the sound of

0:34:56.120 --> 0:35:00.279
<v Speaker 2>her voice. And next day she came in and we

0:35:00.640 --> 0:35:03.279
<v Speaker 2>ran through it spoon feeding because you didn't know it.

0:35:03.520 --> 0:35:06.440
<v Speaker 2>Do the verse, do the verse, you know, do do

0:35:06.600 --> 0:35:09.240
<v Speaker 2>a course, do a course, do an of course, Pagna.

0:35:09.560 --> 0:35:11.280
<v Speaker 2>Put the whole thing together. Now go to the outro

0:35:11.440 --> 0:35:14.279
<v Speaker 2>and just go crazy for me. And she stumbled upon.

0:35:14.440 --> 0:35:16.480
<v Speaker 2>Say you wanna dance? Don't you want to? Don't you

0:35:16.480 --> 0:35:19.040
<v Speaker 2>want to dance? Say you wanna dance? Don't you want

0:35:19.080 --> 0:35:20.320
<v Speaker 2>to dance? That you want to dance?

0:35:20.760 --> 0:35:21.560
<v Speaker 7>Oh don't you want to?

0:35:21.880 --> 0:35:25.480
<v Speaker 2>Say you want to dance? Oh? Yeah? Man? Oh well

0:35:25.680 --> 0:35:28.239
<v Speaker 2>something body ruler that came out of her. I was like, damn,

0:35:28.440 --> 0:35:30.279
<v Speaker 2>I'm changing everything to go with that. With that, now

0:35:30.360 --> 0:35:33.839
<v Speaker 2>that's gonna be the the highlight at the very end

0:35:33.840 --> 0:35:37.400
<v Speaker 2>to go to right. That came out of her. So

0:35:37.480 --> 0:35:41.640
<v Speaker 2>I'm saying God came through. But I will say we

0:35:41.719 --> 0:35:43.520
<v Speaker 2>knew we wanted to make records that would last forever.

0:35:43.640 --> 0:35:46.520
<v Speaker 2>We pray about it. She loved Jesus. We pray about it,

0:35:47.080 --> 0:35:50.600
<v Speaker 2>you know, Dear Lord Jesus Savior and all that. You know.

0:35:51.680 --> 0:35:59.359
<v Speaker 2>Let me do my best work. Very devoted the weather

0:35:59.360 --> 0:36:00.759
<v Speaker 2>people want to you are not.

0:36:01.880 --> 0:36:09.400
<v Speaker 1>You are probably the most bullseye standard of what we

0:36:09.560 --> 0:36:13.120
<v Speaker 1>know as the eighties pop sounds. I know that Prince

0:36:13.239 --> 0:36:16.000
<v Speaker 1>was an architect, I know that Michael was a god

0:36:16.080 --> 0:36:18.720
<v Speaker 1>and all that stuff, But who does the person who's

0:36:18.719 --> 0:36:23.520
<v Speaker 1>the standard? You know, because you're doing starships nothing like.

0:36:23.760 --> 0:36:26.880
<v Speaker 1>I can only imagine what your life is like once

0:36:27.560 --> 0:36:31.680
<v Speaker 1>you have the success with Whitney, But first of all,

0:36:31.880 --> 0:36:36.120
<v Speaker 1>it's like who was your who was your guide to

0:36:36.200 --> 0:36:38.640
<v Speaker 1>even because I feel like every creator needs something to

0:36:38.680 --> 0:36:41.840
<v Speaker 1>sponge off of, to be like, all right, this is

0:36:41.840 --> 0:36:44.239
<v Speaker 1>where I'm gonna create. But what did the effect of

0:36:44.280 --> 0:36:49.400
<v Speaker 1>the Whitney albums have on you in terms of, you know, demand,

0:36:49.440 --> 0:36:50.400
<v Speaker 1>I need you to do my record.

0:36:50.400 --> 0:36:51.280
<v Speaker 2>I need you to do my record.

0:36:51.280 --> 0:36:54.279
<v Speaker 1>You gotta like because I'm certain now if people are

0:36:54.600 --> 0:37:00.279
<v Speaker 1>hiring you, they're expecting you to contribute the song that's

0:37:00.320 --> 0:37:03.040
<v Speaker 1>going to also bring them to twelve billion units and

0:37:03.200 --> 0:37:05.000
<v Speaker 1>sixty million units, Like is.

0:37:05.000 --> 0:37:07.680
<v Speaker 2>Filler even a thing to you? Like?

0:37:07.800 --> 0:37:11.160
<v Speaker 1>Or even allowed the freedom to just write a song

0:37:11.200 --> 0:37:12.640
<v Speaker 1>that's not going to be it, but this is really

0:37:12.719 --> 0:37:14.960
<v Speaker 1>clever song and da da da da da, Like what

0:37:15.080 --> 0:37:15.600
<v Speaker 1>is your life?

0:37:15.760 --> 0:37:17.520
<v Speaker 2>I'd be allowed to write it. I'd be allowed to

0:37:17.520 --> 0:37:21.239
<v Speaker 2>write it. But I was always knowing this is kb

0:37:21.320 --> 0:37:28.080
<v Speaker 2>Alex quiet storm format song. This is top ten format song.

0:37:28.680 --> 0:37:33.239
<v Speaker 2>This is R and B top ten song. I can

0:37:33.280 --> 0:37:36.640
<v Speaker 2>differentiate because don't forget at that time, we don't talk

0:37:36.640 --> 0:37:39.479
<v Speaker 2>about it, but I'll talk to you now. Any artist

0:37:39.560 --> 0:37:42.880
<v Speaker 2>that came through our door, black artist, we had always

0:37:42.880 --> 0:37:45.680
<v Speaker 2>think how we're going to break them first on black radio,

0:37:46.120 --> 0:37:49.279
<v Speaker 2>R and B radio, we could just think pop. You

0:37:49.320 --> 0:37:51.719
<v Speaker 2>just think, yeah, you want to get the bob, but

0:37:51.840 --> 0:37:53.640
<v Speaker 2>you have to first go through your R and B door.

0:37:54.360 --> 0:37:58.799
<v Speaker 2>So we knew those worlds R and B pop course

0:37:58.800 --> 0:38:03.160
<v Speaker 2>of course country, you know, jazz and then quiet storm

0:38:03.160 --> 0:38:06.960
<v Speaker 2>a hybrid easygoing music which now becomes smooth jazz whatever

0:38:06.960 --> 0:38:10.640
<v Speaker 2>that is. So we knew the different categories. You had

0:38:10.640 --> 0:38:13.040
<v Speaker 2>to know that as a producer because if you didn't,

0:38:13.080 --> 0:38:14.560
<v Speaker 2>you couldn't make it. As a producer. You had to

0:38:14.600 --> 0:38:16.560
<v Speaker 2>be making no, no, this is going to be doing.

0:38:16.680 --> 0:38:18.239
<v Speaker 2>This is going to give us the army radio, and

0:38:18.239 --> 0:38:19.759
<v Speaker 2>then we have enough of the hook to go to

0:38:19.800 --> 0:38:22.920
<v Speaker 2>p operate and do well. Even the thinking with Clive

0:38:23.000 --> 0:38:30.200
<v Speaker 2>Davis and Arista putting out You Give Good Love first

0:38:30.680 --> 0:38:34.839
<v Speaker 2>was to ingratiate Mom and Pops and black radio and

0:38:34.840 --> 0:38:39.200
<v Speaker 2>our black community that she's ours. Before they came with

0:38:39.239 --> 0:38:40.600
<v Speaker 2>a saving on my left for you and how I

0:38:40.640 --> 0:38:44.200
<v Speaker 2>know that's for the world. That was a very thought

0:38:44.200 --> 0:38:47.399
<v Speaker 2>about decision. You see what I'm saying. That's how it

0:38:47.440 --> 0:38:49.399
<v Speaker 2>was at that time. Everything had to be a certain way.

0:38:49.400 --> 0:38:51.279
<v Speaker 2>It was a black artist, a pop artist that you

0:38:51.280 --> 0:38:53.800
<v Speaker 2>mentioned Starship. I'm not worrying about that because they already

0:38:54.120 --> 0:38:58.359
<v Speaker 2>that's great slick. We love Mickey Thomas, killer Singer. It's

0:38:58.400 --> 0:39:00.160
<v Speaker 2>a band that we all know. They already had. We

0:39:00.200 --> 0:39:03.319
<v Speaker 2>built this city and Sarah, they had damn hits, you

0:39:03.320 --> 0:39:08.520
<v Speaker 2>know mean. So I got my electronic drums, Shott, I

0:39:08.560 --> 0:39:14.000
<v Speaker 2>got good studs, got good d put that funk drive

0:39:14.080 --> 0:39:16.920
<v Speaker 2>on it. On a Dyan Warren song that became her

0:39:16.960 --> 0:39:19.760
<v Speaker 2>first number one, and it was so strong I knocked

0:39:19.760 --> 0:39:22.360
<v Speaker 2>myself out of number one. George Michael Reath the Franklin

0:39:22.360 --> 0:39:24.719
<v Speaker 2>the way me knocked myself out the number one. That's

0:39:24.719 --> 0:39:26.920
<v Speaker 2>how I was at that time. Because the drums, the

0:39:27.000 --> 0:39:30.600
<v Speaker 2>sound I knew was the power. You have to have it,

0:39:30.680 --> 0:39:33.799
<v Speaker 2>and we changed the sound to be like mighty. And

0:39:33.840 --> 0:39:36.720
<v Speaker 2>don't forget what our competition was. Your a friend, Prince,

0:39:37.280 --> 0:39:39.399
<v Speaker 2>he had the hell of the drums. He knew it.

0:39:40.280 --> 0:39:42.480
<v Speaker 2>And not only did he know it, he puts you.

0:39:42.640 --> 0:39:44.879
<v Speaker 2>He put his foot up your butt about it. Those

0:39:44.920 --> 0:39:48.400
<v Speaker 2>drum chacks you put down. Look at grupple rain and stout.

0:39:49.440 --> 0:39:55.560
<v Speaker 2>The sound is almighty. He was a mean scientist and

0:39:55.719 --> 0:39:58.440
<v Speaker 2>everyone you wanted to be competitive, you better be able

0:39:58.480 --> 0:40:01.080
<v Speaker 2>to get down with it with these new machines or

0:40:01.120 --> 0:40:01.640
<v Speaker 2>you're out.

0:40:02.760 --> 0:40:07.239
<v Speaker 1>Could you also tell me about Areitha and Whitney's It

0:40:07.320 --> 0:40:10.440
<v Speaker 1>isn't it? Wasn't it ever going to be like did

0:40:10.480 --> 0:40:13.840
<v Speaker 1>they do them together or what was that those sessions?

0:40:13.920 --> 0:40:16.799
<v Speaker 2>Like, well, there's two two different record you talk about.

0:40:16.800 --> 0:40:19.880
<v Speaker 2>Now you're talking. You asked first about the George Michael record.

0:40:19.920 --> 0:40:22.879
<v Speaker 2>I'm excited, okay, I am too. I am too man,

0:40:24.520 --> 0:40:27.080
<v Speaker 2>I am too okay, So dig on I knew waiting

0:40:27.080 --> 0:40:29.640
<v Speaker 2>for me as a Clive Davis pick. Clive said, I

0:40:29.680 --> 0:40:32.600
<v Speaker 2>met with George Michael. He wants to do a song

0:40:32.640 --> 0:40:35.920
<v Speaker 2>with Aretha. He loves the Aretha. I said, okay, and he

0:40:35.960 --> 0:40:38.680
<v Speaker 2>said I found this song. I'm gonna send it to you.

0:40:38.960 --> 0:40:42.040
<v Speaker 2>And then Clive sent me the song and powerful song.

0:40:42.040 --> 0:40:44.960
<v Speaker 2>I went from me, but again it's the magic of

0:40:45.000 --> 0:40:47.719
<v Speaker 2>my team to bring those chimes with Crawdle on the

0:40:47.760 --> 0:40:52.480
<v Speaker 2>Syns guitar on the very beginning against the drum. You

0:40:52.520 --> 0:40:54.399
<v Speaker 2>have to understand at that time you had to have

0:40:54.480 --> 0:40:58.400
<v Speaker 2>this new sound before anybody opened the mouths this The

0:40:58.440 --> 0:41:00.759
<v Speaker 2>sound of the record had to be like Ahead, kind

0:41:00.760 --> 0:41:05.839
<v Speaker 2>of like Motown. Was the hit No You won't hit

0:41:06.040 --> 0:41:09.279
<v Speaker 2>you know what I mean. So in the electronic world,

0:41:09.600 --> 0:41:11.000
<v Speaker 2>we have to put that thing down it sounds good

0:41:11.040 --> 0:41:13.200
<v Speaker 2>in this room, and then lay it all out with

0:41:13.400 --> 0:41:17.520
<v Speaker 2>the vocals back in vocals, all sounding finished. And then

0:41:17.520 --> 0:41:21.239
<v Speaker 2>when I went to Detroit, I've had three days and

0:41:21.440 --> 0:41:23.840
<v Speaker 2>they were on tape. So we only have ten tracks.

0:41:23.840 --> 0:41:26.719
<v Speaker 2>A piece for a reth Inn for George. Wreatha comes

0:41:26.719 --> 0:41:30.400
<v Speaker 2>in the first day, lays out her verses and choruses

0:41:30.560 --> 0:41:32.480
<v Speaker 2>and then not blowing on the end. I want to

0:41:32.520 --> 0:41:35.279
<v Speaker 2>save that for a live thing with George. Then the

0:41:35.280 --> 0:41:38.440
<v Speaker 2>next day comes in, George Areatha's not there. George is

0:41:38.560 --> 0:41:43.800
<v Speaker 2>very nervous. He's very nervous, and he's a control freak.

0:41:44.440 --> 0:41:47.320
<v Speaker 2>He's only produced himself. He's only had one guy produced

0:41:47.360 --> 0:41:51.680
<v Speaker 2>him from that dude thing, you know, it's Chris. Besides that,

0:41:51.680 --> 0:41:55.600
<v Speaker 2>he's done his own masterpieces. So we have ten tracks

0:41:55.640 --> 0:41:57.040
<v Speaker 2>for George. I'm gonna just say this because this is

0:41:57.080 --> 0:42:00.680
<v Speaker 2>important for my life. George goes on the mic and

0:42:00.719 --> 0:42:05.720
<v Speaker 2>he sings the song, and he goes almost through damn

0:42:06.600 --> 0:42:10.240
<v Speaker 2>ten those tracks. He goes through those damn ten tracks,

0:42:11.040 --> 0:42:13.839
<v Speaker 2>and I happen to know the first four tracks are

0:42:13.920 --> 0:42:16.719
<v Speaker 2>my record because he was so strong. As he's gone

0:42:16.760 --> 0:42:19.160
<v Speaker 2>to the sixth and seventh and eighth track is diminishing

0:42:19.200 --> 0:42:21.920
<v Speaker 2>a little bit. He says to me, go back over

0:42:22.000 --> 0:42:26.319
<v Speaker 2>those first tracks. I want to do more vocals. And

0:42:26.360 --> 0:42:28.520
<v Speaker 2>that's when I became a producer, and I said, no,

0:42:28.520 --> 0:42:33.520
<v Speaker 2>we're not doing that. These four tracks, that's my record,

0:42:33.920 --> 0:42:36.359
<v Speaker 2>that's the record. You think you're getting better, but in

0:42:36.360 --> 0:42:37.279
<v Speaker 2>fact you're diminishing.

0:42:37.680 --> 0:42:40.200
<v Speaker 1>How do you Jedi mind trick an artist to get

0:42:40.239 --> 0:42:41.480
<v Speaker 1>out of their head.

0:42:41.920 --> 0:42:43.239
<v Speaker 2>You have to say dis trust me. That's all you

0:42:43.239 --> 0:42:46.200
<v Speaker 2>got to do. Because you say, go home, let me

0:42:46.440 --> 0:42:49.279
<v Speaker 2>comp this. When you come back tomorrow, I play, I

0:42:49.320 --> 0:42:52.240
<v Speaker 2>sleep all night, go home. I'm gonna put it together.

0:42:53.120 --> 0:42:55.520
<v Speaker 2>And when you hear tomorrow, you're come in fresh to

0:42:55.600 --> 0:42:57.279
<v Speaker 2>do your backing vote. You come in fresh to your

0:42:57.320 --> 0:43:00.279
<v Speaker 2>ad libs with the Queen. Get your Rest's be the

0:43:00.360 --> 0:43:02.480
<v Speaker 2>challenge and if anything bothers you tomorrow, then we can

0:43:02.520 --> 0:43:04.000
<v Speaker 2>do that. After I've had a chance to call him

0:43:04.000 --> 0:43:07.080
<v Speaker 2>through what I know is my hit record. Then he

0:43:07.120 --> 0:43:09.640
<v Speaker 2>said okay, But he looked at me like, who are

0:43:09.680 --> 0:43:10.920
<v Speaker 2>you to talk to like this? You know, he looked

0:43:10.920 --> 0:43:14.239
<v Speaker 2>at me like, you know who you think you are? Bad.

0:43:14.320 --> 0:43:16.520
<v Speaker 2>Let him know, George, you think you're getting better, but

0:43:16.560 --> 0:43:20.560
<v Speaker 2>in fact these first tracks were mighty. So then he

0:43:20.880 --> 0:43:24.480
<v Speaker 2>just he gave in. He gave in the next day.

0:43:24.680 --> 0:43:27.600
<v Speaker 2>That was genius because now he's meeting the queen, and

0:43:27.640 --> 0:43:29.640
<v Speaker 2>the queen's happened to meeting him because he's a big star.

0:43:30.239 --> 0:43:32.920
<v Speaker 2>And then what it is, we have two mics. I

0:43:32.960 --> 0:43:35.200
<v Speaker 2>have enough to do four rounds of ad lits on

0:43:35.200 --> 0:43:39.799
<v Speaker 2>the ending with two tracks a piece. And Aretha goes

0:43:39.840 --> 0:43:42.400
<v Speaker 2>easy on those first tracks. She's, you know, just feeling

0:43:42.400 --> 0:43:43.960
<v Speaker 2>them out like a prize It's like a prize fighter.

0:43:44.640 --> 0:43:48.560
<v Speaker 2>She's a fucking prize Fighter's a prize fighter. On the

0:43:48.560 --> 0:43:51.719
<v Speaker 2>third and fourth go rounds, she let him have it, man,

0:43:52.200 --> 0:43:55.640
<v Speaker 2>And that's on that record. Would you hear? And he stunned,

0:43:55.640 --> 0:44:00.200
<v Speaker 2>He's stopped because he could have a power no one can.

0:44:00.920 --> 0:44:03.919
<v Speaker 2>So what I'm saying to you is, I'm very proud

0:44:03.920 --> 0:44:06.400
<v Speaker 2>of that record now on because it's number one because

0:44:06.840 --> 0:44:09.480
<v Speaker 2>the friendship that Jeorde and I made of him trusting

0:44:09.520 --> 0:44:13.640
<v Speaker 2>me and me having to be strong to say no stopping.

0:44:14.239 --> 0:44:16.680
<v Speaker 2>So like that, I can tell you, did you do.

0:44:16.680 --> 0:44:19.200
<v Speaker 1>The same process Whitney and Aretha? Like, do you prefer

0:44:19.280 --> 0:44:21.920
<v Speaker 1>them to sing apart or that song they were together.

0:44:22.600 --> 0:44:24.920
<v Speaker 1>Cut the tracks here, go to Detroit. You're not it

0:44:25.000 --> 0:44:27.240
<v Speaker 1>sound with my enginet dave phrase. We fly together.

0:44:27.600 --> 0:44:29.759
<v Speaker 2>It sound in the same studios where George Wilt be

0:44:29.800 --> 0:44:32.600
<v Speaker 2>hanging out. I know we won't the funk all that

0:44:32.600 --> 0:44:33.880
<v Speaker 2>stuff in the whole same rooms.

0:44:34.320 --> 0:44:37.879
<v Speaker 1>Q tip has that board? Now who does Q tip

0:44:37.960 --> 0:44:40.000
<v Speaker 1>has the API board?

0:44:40.040 --> 0:44:44.720
<v Speaker 2>Yes? Okay board? So what was that session?

0:44:45.800 --> 0:44:48.440
<v Speaker 1>It's again like you have two women at the top

0:44:48.480 --> 0:44:50.879
<v Speaker 1>of their game, two gods at the top of their game.

0:44:51.800 --> 0:44:56.319
<v Speaker 1>How are you refereeing how the song's gonna go? Well

0:44:56.400 --> 0:44:58.400
<v Speaker 1>that you're allowed to tell me, And I can tell

0:44:58.480 --> 0:44:59.520
<v Speaker 1>by the look on your face.

0:45:00.120 --> 0:45:04.719
<v Speaker 2>You gotta hold some stuff back. They're both in heaven.

0:45:04.760 --> 0:45:06.520
<v Speaker 2>They're both looking down upon us right now on the

0:45:07.120 --> 0:45:10.920
<v Speaker 2>hairs and they and they give me love because it

0:45:11.040 --> 0:45:13.440
<v Speaker 2>was love. But this is what I gotta share with you,

0:45:13.520 --> 0:45:16.840
<v Speaker 2>which you know, Aretha Franklin, I mentioned to you a

0:45:16.840 --> 0:45:19.840
<v Speaker 2>prize fighter. It is true Whitney Houston's one of the

0:45:19.880 --> 0:45:25.320
<v Speaker 2>greatest of all time. But Aretha Whitney with Aretha Wreatha

0:45:25.440 --> 0:45:27.279
<v Speaker 2>was a little girl when her mother sang back up

0:45:27.280 --> 0:45:30.520
<v Speaker 2>on those hits with Aretha reada's a little girl, Whitney's

0:45:30.520 --> 0:45:34.120
<v Speaker 2>little girl around those sessions. So Aretha to Whitney is

0:45:34.160 --> 0:45:37.359
<v Speaker 2>like Auntie re read like, let us Auntie ree Red

0:45:37.520 --> 0:45:39.480
<v Speaker 2>so sweet like that. So here I'm gonna go with.

0:45:39.880 --> 0:45:42.960
<v Speaker 2>I'm sitting at the board. Whitney is sitting on the floor.

0:45:43.120 --> 0:45:44.800
<v Speaker 2>We get there early. She's on the floor. Time. You

0:45:45.000 --> 0:45:47.239
<v Speaker 2>can't read this here. She's just frost leg on the floor.

0:45:47.600 --> 0:45:49.959
<v Speaker 2>When Aretha comes to the door in her fur coat

0:45:50.080 --> 0:45:54.520
<v Speaker 2>and her prize fighter mode, like when the Narrow goes

0:45:54.520 --> 0:45:57.080
<v Speaker 2>into his modes to make his movies. Already in character.

0:45:57.280 --> 0:46:00.640
<v Speaker 2>She's in character to take this man or keep her man.

0:46:02.200 --> 0:46:03.759
<v Speaker 2>So she looks at me, she goes, where is she?

0:46:04.360 --> 0:46:07.080
<v Speaker 2>That kind of harsh like that? Where is she? Where

0:46:07.160 --> 0:46:11.160
<v Speaker 2>is she? Now? You throw me off? Where is she? Wait? Oh, oh,

0:46:11.200 --> 0:46:15.520
<v Speaker 2>you mean Whitney. She's right here on the floor. And

0:46:15.520 --> 0:46:19.000
<v Speaker 2>then she peers down and look at Whitney. You know. Oh,

0:46:19.960 --> 0:46:25.600
<v Speaker 2>so you're miss Houston and Whitney's life Auntie Reary. The

0:46:25.680 --> 0:46:28.600
<v Speaker 2>cast was spelt right there. The song would be like,

0:46:29.400 --> 0:46:30.800
<v Speaker 2>how are you going to take my man? How you

0:46:30.880 --> 0:46:33.880
<v Speaker 2>gonna even sing about taking my man? She put that

0:46:33.880 --> 0:46:35.720
<v Speaker 2>that that that thing on the right from the very beginning,

0:46:36.880 --> 0:46:41.840
<v Speaker 2>and from the very beginning we did the song. Whitney

0:46:42.080 --> 0:46:46.560
<v Speaker 2>is so effortless at that time with her vocals, she

0:46:46.719 --> 0:46:48.880
<v Speaker 2>did the most killer if I've ever heard her do.

0:46:50.880 --> 0:46:53.080
<v Speaker 2>And then she left because she could feel that it

0:46:53.200 --> 0:46:57.520
<v Speaker 2>wasn't a good vibe. And Retha stated, and Retha said,

0:46:57.640 --> 0:46:58.919
<v Speaker 2>go to that part of the tape where she said

0:46:58.920 --> 0:47:01.799
<v Speaker 2>she did that that cred thing. She didn't pushed me

0:47:01.800 --> 0:47:06.560
<v Speaker 2>in right after it, okay, And we did, and she

0:47:06.760 --> 0:47:08.560
<v Speaker 2>punched me out there again. Make sure I do what

0:47:08.600 --> 0:47:10.399
<v Speaker 2>I want to do, because she wanted to make sure

0:47:10.440 --> 0:47:12.520
<v Speaker 2>she was bringing her fire as strong as what we're

0:47:12.560 --> 0:47:16.520
<v Speaker 2>dead done, just effortlessly, and we did. And then when

0:47:16.520 --> 0:47:18.840
<v Speaker 2>she got what she won, which was killer, she left.

0:47:19.040 --> 0:47:20.839
<v Speaker 2>But then she called me up on the phone and said,

0:47:21.200 --> 0:47:24.480
<v Speaker 2>do you think I was too harsh today? Said, well,

0:47:24.800 --> 0:47:27.480
<v Speaker 2>you might want to give her. He a phone call, says, yes,

0:47:27.560 --> 0:47:29.759
<v Speaker 2>I will. She said I wasn't character for the song.

0:47:29.800 --> 0:47:33.000
<v Speaker 2>I said, I know you were, Damn. When you're in character,

0:47:33.040 --> 0:47:35.839
<v Speaker 2>I mean, you're like, you're like life to death. Man.

0:47:36.320 --> 0:47:37.000
<v Speaker 2>But that's the thing.

0:47:37.080 --> 0:47:41.440
<v Speaker 1>I always see a duet as like a collaboration. I

0:47:41.560 --> 0:47:44.800
<v Speaker 1>never like I'm not thinking that like Michael Jackson and

0:47:44.840 --> 0:47:48.480
<v Speaker 1>Paul McCartney about to start brawling, you know, like I'm

0:47:48.480 --> 0:47:51.000
<v Speaker 1>an out sing you, you're out singing me. I think,

0:47:51.120 --> 0:47:55.200
<v Speaker 1>as the average listener, I wouldn't listen from the standpoint

0:47:55.280 --> 0:47:58.760
<v Speaker 1>of like who's going to win this battle? I'm thinking

0:47:58.760 --> 0:48:01.080
<v Speaker 1>of like how are they going to to create magic together?

0:48:01.120 --> 0:48:04.359
<v Speaker 1>It's so weird that how artists getting their heads. Well, wait,

0:48:04.440 --> 0:48:05.959
<v Speaker 1>I might as well throw one. One thing is because

0:48:05.960 --> 0:48:09.799
<v Speaker 1>if I remember correctly, I believe on that record the

0:48:09.920 --> 0:48:15.279
<v Speaker 1>opening song is James Brown and Aretha Franklin. Yes, how

0:48:15.440 --> 0:48:19.040
<v Speaker 1>how was that session? Because I've talked to Full Force

0:48:19.120 --> 0:48:23.719
<v Speaker 1>before about working with James Brown, and there's there's a

0:48:23.719 --> 0:48:26.799
<v Speaker 1>lot of puncheons and whatnot, like like.

0:48:26.920 --> 0:48:29.640
<v Speaker 2>James, James was is my hero. You know, you're a drummer,

0:48:29.680 --> 0:48:33.080
<v Speaker 2>so you know the power of Cole Sweat, The power

0:48:33.160 --> 0:48:35.040
<v Speaker 2>Cole Sweat with what they put down was just like

0:48:35.200 --> 0:48:37.640
<v Speaker 2>so far ahead. If you want to be respected as

0:48:37.640 --> 0:48:38.799
<v Speaker 2>any kind drummer, you have to be able to play

0:48:38.800 --> 0:48:42.480
<v Speaker 2>Coled Cole Sweat. And so here I am in this

0:48:42.640 --> 0:48:45.600
<v Speaker 2>room with James Brown. You call mister Brown, You'll call

0:48:45.680 --> 0:48:49.520
<v Speaker 2>him James, mister Brown, and we had he said, I

0:48:49.560 --> 0:48:52.479
<v Speaker 2>want a few cards, And first of all, he thought,

0:48:52.480 --> 0:48:54.279
<v Speaker 2>where is she? He wanted to see Aretha. I said,

0:48:54.320 --> 0:48:56.719
<v Speaker 2>we she's not here. You're coming in and sing your parts,

0:48:56.719 --> 0:48:58.360
<v Speaker 2>and I'm gonna go to try but her parts. So

0:48:58.400 --> 0:49:00.560
<v Speaker 2>he was sad because you really had a kind of

0:49:00.600 --> 0:49:03.480
<v Speaker 2>a romantic thing in his mind about Aretha. Right, it'd

0:49:03.480 --> 0:49:05.280
<v Speaker 2>be great that the king and the queen came together.

0:49:05.360 --> 0:49:09.120
<v Speaker 2>And he was all there, you know. So we made

0:49:09.160 --> 0:49:11.280
<v Speaker 2>these big Q cards. So here I'm holding big Q cards.

0:49:11.560 --> 0:49:13.760
<v Speaker 2>You know, I'm kind of throwing away as he's singing

0:49:13.920 --> 0:49:17.560
<v Speaker 2>the song, throwing cue cards. But that's how he recorded.

0:49:18.040 --> 0:49:20.200
<v Speaker 2>And he's a killer just doing his grunts and his

0:49:20.200 --> 0:49:22.400
<v Speaker 2>stuff and then reading the Q card and kind of

0:49:22.400 --> 0:49:25.200
<v Speaker 2>being spontaneous. It was a killer session. I loved him.

0:49:25.239 --> 0:49:27.520
<v Speaker 2>I loved you. And also we had a I knew

0:49:27.520 --> 0:49:29.359
<v Speaker 2>he less like organ, so I have my organ in here.

0:49:29.400 --> 0:49:30.799
<v Speaker 2>You go and fill up with the organ play that

0:49:31.440 --> 0:49:34.680
<v Speaker 2>you need. Yeah I would, Yeah, no, I would, because

0:49:34.680 --> 0:49:36.920
<v Speaker 2>I know I make him happy. See and then he

0:49:36.920 --> 0:49:39.960
<v Speaker 2>will say, use the only one keeping the funk alive. Damn,

0:49:40.000 --> 0:49:41.960
<v Speaker 2>mister Brown, thank you for saying that, use the only

0:49:42.040 --> 0:49:45.040
<v Speaker 2>one chieving the funk alive damn Okay. So then I

0:49:45.080 --> 0:49:46.960
<v Speaker 2>went back and put Aretha on Andreatha killed it too.

0:49:47.520 --> 0:49:49.279
<v Speaker 2>He just wasn't meant to be. And Prince, you're bro

0:49:50.160 --> 0:49:52.799
<v Speaker 2>did the remix on that record? Did you know that right?

0:49:53.360 --> 0:49:56.440
<v Speaker 2>That's right? I okay, I heard I heard an outtake

0:49:56.520 --> 0:49:59.239
<v Speaker 2>of it. You are correct? Yeah.

0:49:59.640 --> 0:50:01.960
<v Speaker 1>I apologize for hogging this entire interview.

0:50:02.120 --> 0:50:03.520
<v Speaker 2>Do you have any questions?

0:50:03.760 --> 0:50:06.880
<v Speaker 4>I wanted to ask about the Temptations stay.

0:50:07.920 --> 0:50:10.279
<v Speaker 3>I just thought that was just a brilliant move of

0:50:10.320 --> 0:50:13.799
<v Speaker 3>sampling my girl to make a new song. So tell

0:50:13.840 --> 0:50:15.360
<v Speaker 3>me about how that record came together and what that

0:50:15.400 --> 0:50:16.000
<v Speaker 3>session was like.

0:50:16.040 --> 0:50:20.720
<v Speaker 2>Man, I love the Temptations, Temptations four tops. That all

0:50:20.760 --> 0:50:23.000
<v Speaker 2>that movement out of the motown list is just staggering.

0:50:23.840 --> 0:50:25.719
<v Speaker 2>We're still learning from that catalog. We're still learning from

0:50:25.719 --> 0:50:28.120
<v Speaker 2>most people. We're still learning. We're still trying to be

0:50:28.160 --> 0:50:30.480
<v Speaker 2>half as good. That's what they put what they did. Man,

0:50:30.480 --> 0:50:33.279
<v Speaker 2>we're just so the work Temptations is a big deal.

0:50:33.280 --> 0:50:36.080
<v Speaker 2>And then Otis Williams is the only living memory when

0:50:36.120 --> 0:50:40.080
<v Speaker 2>I worked with him, and I loved his wisdom, so

0:50:40.160 --> 0:50:41.799
<v Speaker 2>it brought some out of me after I met with him,

0:50:42.000 --> 0:50:44.400
<v Speaker 2>to record some songs. It brought this out of me

0:50:44.440 --> 0:50:46.839
<v Speaker 2>to kind of go, what can I do that would

0:50:46.840 --> 0:50:51.640
<v Speaker 2>just really be something different? And I just God said,

0:50:52.160 --> 0:50:55.839
<v Speaker 2>you sample the beginning of My Girl boom boom boom

0:50:56.239 --> 0:50:59.520
<v Speaker 2>boom boom boom boom boom boom boom boom boom, you know,

0:50:59.680 --> 0:51:01.640
<v Speaker 2>and put a new song on top kind of what

0:51:01.719 --> 0:51:03.400
<v Speaker 2>was coming out in New York. Again, you had a

0:51:03.440 --> 0:51:07.240
<v Speaker 2>lot of cats taking other records and putting different songs

0:51:07.280 --> 0:51:10.160
<v Speaker 2>on top. So it wasn't a new a brand new thing,

0:51:10.200 --> 0:51:11.680
<v Speaker 2>but it's a brand new thing to do for the temptation,

0:51:11.719 --> 0:51:15.080
<v Speaker 2>that's you know what I mean. So that's where did

0:51:15.160 --> 0:51:19.200
<v Speaker 2>stay tune the moon and Baby rock Me Slow like

0:51:19.239 --> 0:51:23.400
<v Speaker 2>I want to rock you on top of My Girl?

0:51:23.840 --> 0:51:25.640
<v Speaker 2>So I had to guess Wigie Robinson half the song

0:51:25.760 --> 0:51:28.759
<v Speaker 2>because he wrote my Girl no problem, and we got

0:51:28.800 --> 0:51:30.480
<v Speaker 2>to know the other half. And it became a hit

0:51:30.520 --> 0:51:32.040
<v Speaker 2>for us, and they got a platinum record band of

0:51:32.160 --> 0:51:33.920
<v Speaker 2>all those years here there plotum and then they're going for

0:51:33.960 --> 0:51:35.520
<v Speaker 2>the Grammy and all that stuff. So it made me

0:51:35.640 --> 0:51:37.480
<v Speaker 2>very happy. But that's what it was. I was just

0:51:37.520 --> 0:51:40.600
<v Speaker 2>really wanting to have a hit, and I thought, if

0:51:40.640 --> 0:51:43.200
<v Speaker 2>I take something old like a wedding, something old, something new,

0:51:43.800 --> 0:51:45.160
<v Speaker 2>that might be the thing. And it was.

0:51:50.600 --> 0:51:55.240
<v Speaker 1>When you're approached about Mariah Carrey's first album, Yes, Now,

0:51:55.360 --> 0:52:01.440
<v Speaker 1>unlike Whitney Houston, which again nobody had a ankling of

0:52:01.440 --> 0:52:05.600
<v Speaker 1>a clue, what was headed down the road? Now that

0:52:05.719 --> 0:52:09.840
<v Speaker 1>you know that there's a standard a road to follow.

0:52:11.280 --> 0:52:16.279
<v Speaker 1>When Tommy and Donnie are bringing you Mariah Carey, are

0:52:16.280 --> 0:52:20.440
<v Speaker 1>they putting the invisible pressure on you to put some

0:52:20.520 --> 0:52:22.520
<v Speaker 1>numbers on the board, just like you did for your

0:52:22.560 --> 0:52:23.440
<v Speaker 1>other star student.

0:52:24.880 --> 0:52:27.319
<v Speaker 2>Yeah, no, there are. We're not talking numbers, We're not

0:52:27.320 --> 0:52:30.440
<v Speaker 2>talking pressure. It's just the first folk call get from Tommy,

0:52:30.520 --> 0:52:33.040
<v Speaker 2>not Donnie. Donnie I knew from working with Clive. Now

0:52:33.080 --> 0:52:34.760
<v Speaker 2>he's over Sony, but I didn't even have a relationship

0:52:34.800 --> 0:52:37.560
<v Speaker 2>to him and Sony yet. So it's really Tommy called me.

0:52:38.160 --> 0:52:40.520
<v Speaker 2>He says, I found this girl and I want to

0:52:40.560 --> 0:52:46.359
<v Speaker 2>send you a picture and a song on her, and

0:52:46.440 --> 0:52:48.640
<v Speaker 2>then you know, and if you like her, let me know,

0:52:48.800 --> 0:52:52.040
<v Speaker 2>said he said, But don't mack my babe. Okay, all right,

0:52:52.239 --> 0:53:01.280
<v Speaker 2>I'm married. And the mail come was a little tiny

0:53:01.280 --> 0:53:06.000
<v Speaker 2>slide of her that big and a cassette. So I

0:53:06.040 --> 0:53:07.479
<v Speaker 2>listened to the casset and said, oh, yeah, she sounds

0:53:07.560 --> 0:53:09.480
<v Speaker 2>really nice, you know, so I let her know. You know,

0:53:09.600 --> 0:53:12.279
<v Speaker 2>she's whatever I'm hearing is cool. Would you fly to

0:53:12.280 --> 0:53:14.880
<v Speaker 2>New York come Meter? I said yes, I will, because

0:53:14.880 --> 0:53:17.560
<v Speaker 2>don't forget, Matola was a present for Sonya, now a

0:53:17.640 --> 0:53:20.399
<v Speaker 2>big lady. I knew if he had his attention on something,

0:53:20.600 --> 0:53:22.880
<v Speaker 2>it could be like something we really want to like

0:53:22.960 --> 0:53:25.000
<v Speaker 2>take serious. So here I go to New York, come Meter.

0:53:25.760 --> 0:53:28.560
<v Speaker 2>And in all respect Mariah, when I first met he

0:53:28.680 --> 0:53:31.439
<v Speaker 2>was extremely shy, not the Mariah you see now where

0:53:31.480 --> 0:53:33.840
<v Speaker 2>she's up front and talking and you know, and like

0:53:33.920 --> 0:53:36.919
<v Speaker 2>there's the she would have them hair on one side

0:53:36.920 --> 0:53:39.680
<v Speaker 2>of her face and talk to you with the hair

0:53:39.719 --> 0:53:44.640
<v Speaker 2>on one side of the face, very quiet. And I

0:53:44.640 --> 0:53:46.759
<v Speaker 2>would say, well, we're like, well, what do you what

0:53:46.880 --> 0:53:50.160
<v Speaker 2>artists do you like? You know? Oh, I like George Michael.

0:53:51.480 --> 0:53:53.400
<v Speaker 2>That's great. I just work with George Michael. You know,

0:53:53.800 --> 0:53:55.799
<v Speaker 2>just did that. I know you're waiting for me, So

0:53:55.840 --> 0:53:58.000
<v Speaker 2>I said, you know what, why don't we go? I

0:53:58.040 --> 0:53:59.400
<v Speaker 2>can hear you singing a Michae. Let's just go to

0:53:59.480 --> 0:54:01.799
<v Speaker 2>some studio and just not to sit on and talk.

0:54:01.840 --> 0:54:04.000
<v Speaker 2>Let's go and do some music. So we did. We

0:54:04.040 --> 0:54:06.040
<v Speaker 2>went over to Sony Studio, a mike for her, a

0:54:06.080 --> 0:54:09.279
<v Speaker 2>mike for me, and my friend wrote piano and we

0:54:09.320 --> 0:54:12.200
<v Speaker 2>wrote four songs. And I was surprised how fast she writes,

0:54:12.239 --> 0:54:14.200
<v Speaker 2>and then I was surprised how good she sings. Then

0:54:14.200 --> 0:54:15.920
<v Speaker 2>I was even more surprised that she could do like

0:54:15.920 --> 0:54:20.440
<v Speaker 2>a young Michael Jackson. Well, like, that's not easy to

0:54:20.480 --> 0:54:24.520
<v Speaker 2>be like to imitate a young Michael Jackson. She could

0:54:24.560 --> 0:54:27.640
<v Speaker 2>do that. Then it hit me who I was messing

0:54:27.680 --> 0:54:31.160
<v Speaker 2>with that it wasn't just some other whatever. How did

0:54:31.160 --> 0:54:35.000
<v Speaker 2>you discover the whistle? Because you unleashed the whistle to

0:54:35.040 --> 0:54:38.880
<v Speaker 2>the world. Well in honesty vision of love where she

0:54:38.920 --> 0:54:41.320
<v Speaker 2>goes it in that big whistle. She cut that vocal

0:54:41.360 --> 0:54:43.479
<v Speaker 2>on her own with her other cat. I didn't cut

0:54:43.480 --> 0:54:47.000
<v Speaker 2>that whistle. They had already cut that jam. Well, I

0:54:47.040 --> 0:54:49.560
<v Speaker 2>got with her. I did a jam called I Don't

0:54:49.560 --> 0:54:51.359
<v Speaker 2>want to cry, I don't want to cry, My bad,

0:54:51.440 --> 0:54:53.680
<v Speaker 2>my bad, okay okay, And then I got and then

0:54:53.680 --> 0:54:56.080
<v Speaker 2>we got into all that on that record, knowing, wow,

0:54:56.880 --> 0:54:58.439
<v Speaker 2>you know she could do it. So then we really

0:54:58.480 --> 0:55:01.160
<v Speaker 2>just perfected it and just got what she wanted. And

0:55:01.200 --> 0:55:03.319
<v Speaker 2>then I started realizing what a perfection she is. She

0:55:03.360 --> 0:55:04.879
<v Speaker 2>even had me send that tape back in your because

0:55:04.880 --> 0:55:08.839
<v Speaker 2>she wanted to fix on one riff, only send tape

0:55:08.840 --> 0:55:12.520
<v Speaker 2>across the country, well one rift, which already genius it was,

0:55:13.239 --> 0:55:15.960
<v Speaker 2>but we did. That's how I realized what her standard

0:55:16.040 --> 0:55:18.400
<v Speaker 2>was at that time. She wanted me so shy to now,

0:55:18.520 --> 0:55:21.920
<v Speaker 2>being like, send me the tape. So we did. We

0:55:22.000 --> 0:55:23.800
<v Speaker 2>got it back and it wasn't that much different, but

0:55:24.680 --> 0:55:27.200
<v Speaker 2>she was a damn killer. And then from there Tommy says,

0:55:27.719 --> 0:55:30.040
<v Speaker 2>what you're doing on these songs, I want Vision of

0:55:30.120 --> 0:55:32.600
<v Speaker 2>Love to sound like and the album. So then they

0:55:32.640 --> 0:55:34.000
<v Speaker 2>sent us Vision and then we just we went in

0:55:34.080 --> 0:55:37.279
<v Speaker 2>and made Vision little sound more just the track and

0:55:37.400 --> 0:55:39.360
<v Speaker 2>with her voice and everything like what we're doing on

0:55:39.440 --> 0:55:42.400
<v Speaker 2>the other music. That's what we did. And then she exploded. Man,

0:55:42.520 --> 0:55:43.360
<v Speaker 2>she just exploded.

0:55:44.520 --> 0:55:48.040
<v Speaker 1>So is that part exhausting because you know, La and

0:55:48.120 --> 0:55:50.120
<v Speaker 1>Face said the same thing, jam and Lewis said the

0:55:50.160 --> 0:55:53.320
<v Speaker 1>same thing, which is basically, before you even work with

0:55:53.400 --> 0:55:55.360
<v Speaker 1>an artist, you have to go and get to know

0:55:55.520 --> 0:55:58.719
<v Speaker 1>them and spend time with them. Is there a situation

0:55:58.880 --> 0:56:02.560
<v Speaker 1>in which it was a struggle to get the artist

0:56:02.640 --> 0:56:06.040
<v Speaker 1>to be vulnerable, to trust you to okay, you.

0:56:06.080 --> 0:56:07.360
<v Speaker 2>Know what I do? You know, Quesse, I got you.

0:56:07.680 --> 0:56:09.520
<v Speaker 2>You know, I did a quest. I pushed past it.

0:56:10.160 --> 0:56:13.759
<v Speaker 2>I ignore it. Try this, try that, try this so

0:56:14.000 --> 0:56:18.719
<v Speaker 2>fast they're off balance. Now before you know it, things

0:56:18.760 --> 0:56:19.760
<v Speaker 2>are just magically happening.

0:56:20.520 --> 0:56:23.200
<v Speaker 1>What was the hardest song you had to cut? Like,

0:56:23.719 --> 0:56:26.640
<v Speaker 1>go back, recall it, recall it, recall a Lover for Life?

0:56:26.840 --> 0:56:29.440
<v Speaker 2>Why wasn't happy with Lover for Life for Whitney? And

0:56:29.520 --> 0:56:32.640
<v Speaker 2>not because cut it great? But he had a demo

0:56:32.760 --> 0:56:34.400
<v Speaker 2>of it, and the demo had a bass rum pattern

0:56:34.440 --> 0:56:37.520
<v Speaker 2>on five, it wasn't in four. Kept changing. I thought

0:56:37.560 --> 0:56:39.480
<v Speaker 2>that wasn't going to be the way because you wouldn't

0:56:39.520 --> 0:56:42.000
<v Speaker 2>even land on one. So he cut it. I cut

0:56:42.040 --> 0:56:44.000
<v Speaker 2>it my way. I cut it in Needa Baker way,

0:56:44.000 --> 0:56:46.480
<v Speaker 2>I cut it defetd in ways you know. But he

0:56:46.520 --> 0:56:48.320
<v Speaker 2>couldn't get happy. I said, well, what is it with

0:56:48.440 --> 0:56:51.200
<v Speaker 2>this thing? You know? Was the demo? I love? But

0:56:51.280 --> 0:56:53.800
<v Speaker 2>the demo, just so you know, the base trump is

0:56:53.920 --> 0:56:56.480
<v Speaker 2>moving and it's not landing on down beach, which we

0:56:56.560 --> 0:56:59.359
<v Speaker 2>expect as listeners in a way, he goes, well, maybe

0:56:59.360 --> 0:57:01.279
<v Speaker 2>that's why I like it about that demo, that it's

0:57:01.320 --> 0:57:04.880
<v Speaker 2>kind of floating. I go, well, then let me do

0:57:05.000 --> 0:57:07.280
<v Speaker 2>that if that's what it is, and then he was happy.

0:57:08.000 --> 0:57:12.680
<v Speaker 2>He wanted the base to move around, so yeah, then

0:57:12.719 --> 0:57:14.560
<v Speaker 2>we got happy. So when you have the hardest song

0:57:14.840 --> 0:57:17.280
<v Speaker 2>was the hardest song. It was just discovering when people

0:57:17.400 --> 0:57:20.479
<v Speaker 2>like a demo and they liked something that working about

0:57:20.480 --> 0:57:24.480
<v Speaker 2>a demo, and you got to realize, what is he

0:57:24.680 --> 0:57:25.360
<v Speaker 2>like about that thing?

0:57:25.440 --> 0:57:25.560
<v Speaker 6>You know?

0:57:27.600 --> 0:57:31.680
<v Speaker 1>Wow, one of the most heartbreaking things. I think when

0:57:32.160 --> 0:57:38.800
<v Speaker 1>she passed away, I believe I heard you say that

0:57:38.960 --> 0:57:41.560
<v Speaker 1>you guys were considering cutting brainstorms.

0:57:41.640 --> 0:57:45.720
<v Speaker 2>Loving is really my game. Yes, she was crazy about

0:57:45.720 --> 0:57:47.360
<v Speaker 2>that record. I didn't even know that record that much.

0:57:47.560 --> 0:57:52.800
<v Speaker 2>She was saying, yeah, yes, And I said, oh, I've

0:57:52.840 --> 0:57:57.520
<v Speaker 2>heard it just I love that record. Would you cut

0:57:57.600 --> 0:58:00.439
<v Speaker 2>it for me? Said sure, I will, honey, I dodn't

0:58:00.440 --> 0:58:02.840
<v Speaker 2>think you want me to do. And I cut it

0:58:03.200 --> 0:58:05.880
<v Speaker 2>and I cut it, and it was mean, it's in

0:58:05.960 --> 0:58:10.320
<v Speaker 2>my vault right now. She cut her vocals. No, so

0:58:10.600 --> 0:58:12.360
<v Speaker 2>I called this estate. I called down to that she

0:58:12.440 --> 0:58:15.000
<v Speaker 2>in Atlanta. Oh, well, she's just not feeling well. I

0:58:15.040 --> 0:58:17.480
<v Speaker 2>want to sing right now now, and now she's going

0:58:17.520 --> 0:58:18.960
<v Speaker 2>off to do it to it now she's doing it.

0:58:19.000 --> 0:58:21.360
<v Speaker 2>Would always be like something going on. I said, but

0:58:21.840 --> 0:58:26.200
<v Speaker 2>I'm bringing what she's asking for. Well, she just can't

0:58:26.200 --> 0:58:27.520
<v Speaker 2>do it. So we never could get her to sing it.

0:58:27.920 --> 0:58:30.800
<v Speaker 2>And then I saw her for the last time after

0:58:30.840 --> 0:58:33.760
<v Speaker 2>I cut it at one of those Clive things the

0:58:34.000 --> 0:58:36.640
<v Speaker 2>year before she passed, right, you know, and she came

0:58:36.680 --> 0:58:38.720
<v Speaker 2>and jumped on me. We just like hugged and kissed them.

0:58:39.080 --> 0:58:41.160
<v Speaker 2>Ran Jackson was a witnessing it. It's like, oh my god,

0:58:41.280 --> 0:58:44.400
<v Speaker 2>you know, and she just loved each other. And I said,

0:58:44.440 --> 0:58:46.200
<v Speaker 2>I got it. I cut what you want me to cut?

0:58:46.520 --> 0:58:50.200
<v Speaker 2>Oh I want to sing it? Yeah, I know, let's

0:58:50.280 --> 0:58:52.800
<v Speaker 2>do it. But it wasn't to be.

0:58:53.320 --> 0:58:56.840
<v Speaker 1>Yeah, man, Like Balita Woods of Brainstorm was like one

0:58:56.880 --> 0:59:02.080
<v Speaker 1>of the most unsung champions of soul singing. When people

0:59:02.120 --> 0:59:03.920
<v Speaker 1>think of Brainstorm, they think of this must be in

0:59:04.000 --> 0:59:06.400
<v Speaker 1>heaven for quiet Storm.

0:59:06.480 --> 0:59:08.560
<v Speaker 2>But like Lovan is really my game was like that

0:59:08.720 --> 0:59:10.360
<v Speaker 2>was a thing, like I remember that when I was

0:59:10.400 --> 0:59:13.280
<v Speaker 2>a kid. But you but you have to say one

0:59:13.320 --> 0:59:15.200
<v Speaker 2>more thing. It was Whitney. Also, Sugists suggests that I

0:59:15.280 --> 0:59:18.320
<v Speaker 2>cut on every woman for Bodyguard. That wasn't Clyde, that

0:59:18.400 --> 0:59:22.040
<v Speaker 2>was Whitney. So she had a really good idea, you know,

0:59:22.320 --> 0:59:24.080
<v Speaker 2>of what she wanted to get into like that record

0:59:24.120 --> 0:59:25.440
<v Speaker 2>you love a brainstorm. So there you go.

0:59:26.200 --> 0:59:28.240
<v Speaker 1>Ah, all right, I might as well asking, because I'm

0:59:28.280 --> 0:59:29.800
<v Speaker 1>not going to have an opportunity to ever again.

0:59:30.920 --> 0:59:31.280
<v Speaker 4>What was it?

0:59:31.440 --> 0:59:33.959
<v Speaker 2>What was it like working with with with Eddie Murphy

0:59:34.000 --> 0:59:37.400
<v Speaker 2>because you did push your mouth on me, love Eddie, Eddie.

0:59:37.480 --> 0:59:46.240
<v Speaker 2>Eddie came here man first, Yes you're in the video. Yeah,

0:59:47.400 --> 0:59:51.480
<v Speaker 2>I'm a massive Eddie fanh and and Rick James at

0:59:51.480 --> 0:59:53.520
<v Speaker 2>the Sauce Wield studio. You know they did the Parer

0:59:53.720 --> 0:59:57.040
<v Speaker 2>Party at the time. Wow, you know, they had massive success.

0:59:57.080 --> 0:59:59.960
<v Speaker 2>So Eddie was like swinging. It wasn't like some joke anymore.

1:00:00.000 --> 1:00:04.360
<v Speaker 2>I was like, you're you're recording artists, man. So I said, well,

1:00:04.400 --> 1:00:06.320
<v Speaker 2>what do you want to write about? What kind of

1:00:06.360 --> 1:00:07.880
<v Speaker 2>song you want to do? I said, you know, just

1:00:07.920 --> 1:00:09.600
<v Speaker 2>give me some inspression what you want to talk about?

1:00:10.280 --> 1:00:12.440
<v Speaker 2>And he said, put your mouth on me.

1:00:15.160 --> 1:00:20.680
<v Speaker 1>Okay, but you me his version of kiss or something like, yeah,

1:00:21.240 --> 1:00:22.200
<v Speaker 1>that's the vibe.

1:00:22.480 --> 1:00:26.760
<v Speaker 2>Yeah, I figure, just vibe, just vibe. And we did it,

1:00:27.520 --> 1:00:31.600
<v Speaker 2>you know, and I loved him and he again all

1:00:31.600 --> 1:00:34.520
<v Speaker 2>those great voices in here, Michael, everybody, Elvis, pred anything.

1:00:35.280 --> 1:00:37.560
<v Speaker 2>He's just a gifted cat man and but very quiet

1:00:37.560 --> 1:00:41.080
<v Speaker 2>when he's not working that are discovered. Kind like Richard

1:00:41.080 --> 1:00:43.120
<v Speaker 2>Pryor these great comedians are very quiet when they're not

1:00:43.400 --> 1:00:43.920
<v Speaker 2>doing what they do.

1:00:44.600 --> 1:00:46.240
<v Speaker 4>They live in their head. You gotta you know, you

1:00:46.320 --> 1:00:48.439
<v Speaker 4>gotta you know it makes sense.

1:00:49.240 --> 1:00:51.200
<v Speaker 3>Well, this is my question. I just wanted to ask

1:00:51.280 --> 1:00:54.280
<v Speaker 3>about a song. It was on the last My Visional

1:00:54.320 --> 1:00:58.040
<v Speaker 3>album and you wrote called in My Life. Do you

1:00:58.200 --> 1:01:01.320
<v Speaker 3>remember about anything about that session of writing?

1:01:01.960 --> 1:01:04.680
<v Speaker 2>That was the most beautiful album done at Honky Chateau

1:01:04.960 --> 1:01:07.600
<v Speaker 2>in France, out in the country, and it was so

1:01:07.680 --> 1:01:10.200
<v Speaker 2>beautiful because we had this massive room and it was

1:01:10.240 --> 1:01:13.560
<v Speaker 2>like a kind of a barn in that the back window,

1:01:13.680 --> 1:01:16.400
<v Speaker 2>back door behind my drums could open so you could

1:01:16.400 --> 1:01:19.400
<v Speaker 2>see the whole comfry side out back behind my drums,

1:01:19.600 --> 1:01:21.880
<v Speaker 2>which took me more time to mic the drums and

1:01:21.920 --> 1:01:24.800
<v Speaker 2>get the sound I wanted because the openness. But in

1:01:24.960 --> 1:01:28.040
<v Speaker 2>that room was just so pastoral in the feeling. And

1:01:28.160 --> 1:01:32.760
<v Speaker 2>that's when we cut on that album, all this high synthesizer, guitar,

1:01:33.360 --> 1:01:35.360
<v Speaker 2>inner worlds and miles out. It was just like, oh

1:01:35.480 --> 1:01:39.840
<v Speaker 2>my God. After all that, then Vishnu said thank you

1:01:40.120 --> 1:01:45.840
<v Speaker 2>for the flowers and trees and just this beautiful little

1:01:45.880 --> 1:01:48.600
<v Speaker 2>thing now kind of chime on something, you know, whatever

1:01:48.640 --> 1:01:50.560
<v Speaker 2>I bring to it a little bridge area. But it

1:01:50.640 --> 1:01:54.120
<v Speaker 2>was really Vishnu that had that. Thank you for and

1:01:54.760 --> 1:01:58.560
<v Speaker 2>Harold King came to me make it Kunga's acoustic piano

1:01:59.000 --> 1:02:03.520
<v Speaker 2>completely opposite. Were just cut and you know, if it's

1:02:03.520 --> 1:02:05.560
<v Speaker 2>just something else, man, I gotta say about that guy, man, he.

1:02:05.560 --> 1:02:08.360
<v Speaker 3>Said, no, man, we my group, my right group, our

1:02:08.400 --> 1:02:11.800
<v Speaker 3>little brother. We actually we sampled that song like and

1:02:11.920 --> 1:02:12.680
<v Speaker 3>we cleared it.

1:02:13.080 --> 1:02:14.720
<v Speaker 4>And it was like literally at the.

1:02:14.800 --> 1:02:17.280
<v Speaker 3>Last minute, we you know, had our people working on

1:02:17.360 --> 1:02:19.360
<v Speaker 3>this stuff, but we hadn't heard anything. And so a

1:02:19.440 --> 1:02:22.560
<v Speaker 3>buddy of mine had played with my vision in his band.

1:02:23.840 --> 1:02:25.480
<v Speaker 3>He was like, yo, man, I got his email, we

1:02:25.520 --> 1:02:29.040
<v Speaker 3>can try. I'm like, all right, I'll try. Jill emailed

1:02:29.080 --> 1:02:30.680
<v Speaker 3>and was like, hey man, this is my group. By

1:02:30.680 --> 1:02:31.400
<v Speaker 3>tell him what it is.

1:02:31.760 --> 1:02:34.640
<v Speaker 4>He was on vacation with his family and he's like,

1:02:34.680 --> 1:02:37.240
<v Speaker 4>hey man, I'm on vacation, but you know, I think

1:02:37.320 --> 1:02:39.520
<v Speaker 4>it's great. You know, we'll do it, and and they

1:02:39.600 --> 1:02:42.400
<v Speaker 4>cleared it and so thank you man, like that was

1:02:42.480 --> 1:02:43.600
<v Speaker 4>a beautiful song and.

1:02:45.560 --> 1:02:47.880
<v Speaker 1>Is there do you have a close but no cigar

1:02:48.240 --> 1:02:50.800
<v Speaker 1>moment in an artist he was supposed to work with.

1:02:51.360 --> 1:02:53.720
<v Speaker 2>Not on work, but you know there are a few.

1:02:54.040 --> 1:02:58.560
<v Speaker 2>I met with Madonna and the album What Year Well

1:02:58.800 --> 1:03:01.800
<v Speaker 2>she had just made. I gave her those high heels

1:03:01.840 --> 1:03:04.040
<v Speaker 2>that she wore that it's not called Borderline, the yellow

1:03:04.400 --> 1:03:07.160
<v Speaker 2>high heels that those get from me. She can't visit me.

1:03:07.200 --> 1:03:09.080
<v Speaker 2>I picked up the airport in sant San Francisco. We

1:03:09.160 --> 1:03:11.640
<v Speaker 2>had a great meeting. She loves Stacy Lattisol. She loved

1:03:11.640 --> 1:03:13.560
<v Speaker 2>my music with Stacy, but she's hot on that kind

1:03:13.560 --> 1:03:16.280
<v Speaker 2>of vib And then she went to New York. But

1:03:16.360 --> 1:03:18.360
<v Speaker 2>a weekly she called said, you know what, I'm going

1:03:18.400 --> 1:03:22.040
<v Speaker 2>to stay in New York. I'm working now. Rogers said, okay.

1:03:22.360 --> 1:03:24.560
<v Speaker 2>She goes, I'm just loving New York. I go, I

1:03:24.640 --> 1:03:25.920
<v Speaker 2>get it. I get it. I get it because I

1:03:25.960 --> 1:03:28.720
<v Speaker 2>wasn't hopped about of here relaxing. You know. She goes.

1:03:29.720 --> 1:03:36.000
<v Speaker 2>Then she made lack a version. Damn you gifted in Borderline. Yeah,

1:03:39.760 --> 1:03:40.440
<v Speaker 2>it's crazy.

1:03:42.520 --> 1:03:45.760
<v Speaker 8>I need my one two questions, and I just got

1:03:45.880 --> 1:03:47.960
<v Speaker 8>to pick your brain about a couple of names that

1:03:48.520 --> 1:03:51.360
<v Speaker 8>our viewers may or may not remember or no from

1:03:51.720 --> 1:03:55.840
<v Speaker 8>your early days as drummer. I'm a big CTI Records

1:03:55.880 --> 1:03:58.560
<v Speaker 8>Fan as people might know, Creed Taylor and you worked

1:03:58.600 --> 1:04:03.880
<v Speaker 8>with Alan Holdsworth on an album called Velvet Darkness in

1:04:04.000 --> 1:04:04.920
<v Speaker 8>nineteen seventy six.

1:04:05.040 --> 1:04:09.360
<v Speaker 2>Do you have any memories of those sessions and Alan, Yes,

1:04:10.520 --> 1:04:12.720
<v Speaker 2>Alan asked me to come and record them as ct

1:04:12.880 --> 1:04:15.040
<v Speaker 2>and I. He's a guitar player, by the way, Yes,

1:04:15.160 --> 1:04:17.080
<v Speaker 2>he's one of the most brilliant guitar players in the world,

1:04:17.200 --> 1:04:20.480
<v Speaker 2>Alan Holdsworth, and we all know he's very sensitive. And

1:04:20.600 --> 1:04:22.080
<v Speaker 2>I go in there and on keyboards as a cat.

1:04:22.160 --> 1:04:25.720
<v Speaker 2>It was from Tony Williams band Ala Pasquad clavin at

1:04:25.800 --> 1:04:30.600
<v Speaker 2>keys and on basis from weather Port Alfonso Johnson, Oh wow.

1:04:31.040 --> 1:04:33.520
<v Speaker 2>And I go into with my drum kit. It's a

1:04:33.600 --> 1:04:36.760
<v Speaker 2>white gratch kid with the enameled double painted on the inside,

1:04:36.760 --> 1:04:40.360
<v Speaker 2>which sounds they aren't like vibes clear, but they're but

1:04:40.440 --> 1:04:44.680
<v Speaker 2>they're mighty like that would. And so then Alan starts

1:04:44.720 --> 1:04:47.640
<v Speaker 2>showing us these songs and as he saw it, shows

1:04:47.680 --> 1:04:49.680
<v Speaker 2>the song. Then we play the song and they would

1:04:49.800 --> 1:04:52.760
<v Speaker 2>cut it. Then we'd maybee cut it maybe a second time,

1:04:52.960 --> 1:04:55.160
<v Speaker 2>and that will be that. Then you know, we kind

1:04:55.200 --> 1:04:57.400
<v Speaker 2>of went thro those songs like that. In his mind,

1:04:57.400 --> 1:04:59.160
<v Speaker 2>he's thinking He's just kind of showing us the songs

1:04:59.200 --> 1:05:01.080
<v Speaker 2>and we're going to, you know, come back another time

1:05:01.120 --> 1:05:04.480
<v Speaker 2>or whatever you think. I don't know, but Creed Taylor

1:05:04.560 --> 1:05:08.520
<v Speaker 2>and Rudy van Gelo, the great engineer, they were loving

1:05:08.560 --> 1:05:11.080
<v Speaker 2>it and that was what they wanted to get, that live, fresh,

1:05:11.240 --> 1:05:13.120
<v Speaker 2>raw vibe. And then they wanted to put it out

1:05:13.800 --> 1:05:15.960
<v Speaker 2>and Alan wanted to do more, do more takes and

1:05:16.000 --> 1:05:18.080
<v Speaker 2>whatever you wanted to do, you know. So it's some

1:05:18.200 --> 1:05:21.800
<v Speaker 2>discrepancy between his got concept and maybe what theirs was.

1:05:22.480 --> 1:05:24.080
<v Speaker 2>But I was just doing what I was asked to

1:05:24.160 --> 1:05:26.720
<v Speaker 2>do and being paid to do whatever it was. So

1:05:27.280 --> 1:05:30.720
<v Speaker 2>that was the album. It came out, and I'm proud

1:05:30.760 --> 1:05:32.160
<v Speaker 2>of it. I'm proud of say I worked with Alban

1:05:32.360 --> 1:05:34.240
<v Speaker 2>was worth. Also, I want to say one more thing.

1:05:34.320 --> 1:05:38.120
<v Speaker 2>In that same room, there were two pianos, black pianos

1:05:38.320 --> 1:05:39.560
<v Speaker 2>that were owned by Rudy van geld with was a

1:05:39.600 --> 1:05:43.600
<v Speaker 2>great engineer that Herbie Hancock or silver these genius had

1:05:43.640 --> 1:05:46.240
<v Speaker 2>played on these damn pianos. And his wife had cancer,

1:05:46.320 --> 1:05:48.360
<v Speaker 2>so he needed some money, so he said, I want

1:05:48.360 --> 1:05:50.560
<v Speaker 2>to sell one of my pianos. I just made forty

1:05:50.600 --> 1:05:54.959
<v Speaker 2>thousand dollars with wired sales and Jeff Beck, so I said,

1:05:54.960 --> 1:05:56.600
<v Speaker 2>I'll buy one of these pianos, and I bought it

1:05:56.680 --> 1:06:02.200
<v Speaker 2>and that became my piano for letting be Angel everywhere.

1:06:02.240 --> 1:06:04.000
<v Speaker 2>I love all my hits on that same piano, So

1:06:04.400 --> 1:06:06.920
<v Speaker 2>that's part of that connection wise investment.

1:06:08.000 --> 1:06:08.560
<v Speaker 1>Goddamn.

1:06:09.160 --> 1:06:12.560
<v Speaker 8>You also played on a historic recording on a Jocko

1:06:12.680 --> 1:06:16.000
<v Speaker 8>Pistorius record with Sam and Dave and come on, come over.

1:06:16.480 --> 1:06:17.560
<v Speaker 8>Do you have any memories of that?

1:06:17.800 --> 1:06:18.000
<v Speaker 2>Yeah?

1:06:18.000 --> 1:06:18.200
<v Speaker 1>I do.

1:06:18.840 --> 1:06:21.120
<v Speaker 2>Jocko and I have care friends from Miami. That's where

1:06:21.120 --> 1:06:23.640
<v Speaker 2>I first met him. That's why I suggested I bring

1:06:23.720 --> 1:06:25.640
<v Speaker 2>him to Weatherport. When I was asked journal weather Report,

1:06:25.640 --> 1:06:26.680
<v Speaker 2>I don't want to join with it, but I want

1:06:26.680 --> 1:06:28.600
<v Speaker 2>to go tyy Bowhen and do rock and rollet panel

1:06:28.640 --> 1:06:32.160
<v Speaker 2>the stage and go that way. And they said, well,

1:06:32.200 --> 1:06:33.520
<v Speaker 2>can you bring a baseball? And said, well, I know

1:06:33.600 --> 1:06:38.600
<v Speaker 2>a cat crazy named Jocko Florida, so Joe's I think

1:06:38.600 --> 1:06:40.000
<v Speaker 2>I've heard him. So we flew him out to LA

1:06:40.680 --> 1:06:43.640
<v Speaker 2>and he came and does this great gam called Canniball

1:06:43.640 --> 1:06:47.200
<v Speaker 2>and Black Market. He starts playing that song and add

1:06:47.240 --> 1:06:49.640
<v Speaker 2>all this stuff to because you so had so much ideas,

1:06:50.040 --> 1:06:52.200
<v Speaker 2>and then Joe stops in the middle and says, don't

1:06:52.240 --> 1:06:54.320
<v Speaker 2>put that shit on my song, and it kind of

1:06:54.400 --> 1:06:58.360
<v Speaker 2>freezes Jocko, you know what I mean. And what it

1:06:58.440 --> 1:07:03.360
<v Speaker 2>does is it makes Jocko come Jocko. Now he's more thoughtful.

1:07:03.480 --> 1:07:06.800
<v Speaker 2>Everything he plays puts it in the right place, and

1:07:07.520 --> 1:07:11.000
<v Speaker 2>people kind of go, damn. He is genius. After that,

1:07:11.160 --> 1:07:13.120
<v Speaker 2>he joined that band and made Weather Heavy Weather, with

1:07:13.200 --> 1:07:16.480
<v Speaker 2>a remark you made teen Town those great pieces. He

1:07:16.600 --> 1:07:19.800
<v Speaker 2>does a solo album and then because we're friends, he

1:07:19.880 --> 1:07:21.200
<v Speaker 2>has to me to come player, come on, come over.

1:07:21.600 --> 1:07:24.040
<v Speaker 2>And I went to place on top of a garage,

1:07:24.080 --> 1:07:26.920
<v Speaker 2>the home studio of the great drummer Bobby calling me

1:07:26.920 --> 1:07:30.440
<v Speaker 2>from Blood Footing Tears. He was a produce set album.

1:07:31.000 --> 1:07:32.920
<v Speaker 2>So this is his studio on top of the garage

1:07:33.120 --> 1:07:37.600
<v Speaker 2>where I played his drums, a royal horn, cats, Tom Malone,

1:07:37.680 --> 1:07:40.400
<v Speaker 2>those type people, and then the rhythm section all in

1:07:40.400 --> 1:07:45.560
<v Speaker 2>the same room with Jocko and Sam Moore. Maybe like that. Yeah,

1:07:46.040 --> 1:07:54.360
<v Speaker 2>it was live, just the funk, but didn't the funk,

1:07:54.400 --> 1:07:56.640
<v Speaker 2>you know, it's like one or two things. That was it.

1:07:57.560 --> 1:08:01.880
<v Speaker 2>But Jocko is mean in heaven right now you're looking down.

1:08:02.360 --> 1:08:04.360
<v Speaker 2>He's mean. He's like all lay on the base mean.

1:08:06.640 --> 1:08:10.560
<v Speaker 1>My final question, because every hip hop producer will kill

1:08:10.640 --> 1:08:14.680
<v Speaker 1>me if I don't ask this. Because both you and

1:08:14.960 --> 1:08:21.160
<v Speaker 1>Ed Green are credited with drumming on Come Dancing. Who

1:08:21.400 --> 1:08:24.599
<v Speaker 1>is playing the actual breakbeat at the top of that song?

1:08:24.800 --> 1:08:27.920
<v Speaker 2>Is that you or Ed Green? Mean I wrote that song,

1:08:28.400 --> 1:08:30.680
<v Speaker 2>that I cut the song? Yeah, And then later on

1:08:30.800 --> 1:08:32.840
<v Speaker 2>when I heard on the record, after I bought the record.

1:08:32.920 --> 1:08:36.479
<v Speaker 2>Quite frankly, I heard ed greena on there and it

1:08:36.600 --> 1:08:38.479
<v Speaker 2>was cool because he just made a little even fatter.

1:08:39.640 --> 1:08:42.880
<v Speaker 2>They overdubed the moments, making fatter. It's like damn. I

1:08:43.479 --> 1:08:45.120
<v Speaker 2>In fact, in fact that all the Jon Hammer stuff,

1:08:45.120 --> 1:08:46.680
<v Speaker 2>all that stuff, I'm wired. I didn't hear any of

1:08:46.680 --> 1:08:49.759
<v Speaker 2>stuff till it came out and bought it. John overdubbed

1:08:49.760 --> 1:08:51.880
<v Speaker 2>all his stuff, ed bring it. Overdubbed this thing. That's

1:08:51.920 --> 1:08:54.080
<v Speaker 2>how it was. In fact, Jon Hammer didn mixed the album.

1:08:54.080 --> 1:08:56.400
<v Speaker 2>It wasn't even mixed by Beatle producer George Martin. It

1:08:56.479 --> 1:08:59.120
<v Speaker 2>was mixed by Yon because Jeff went up there and

1:08:59.200 --> 1:09:02.000
<v Speaker 2>fell in love. That's what you want to ad you sound,

1:09:02.040 --> 1:09:03.040
<v Speaker 2>and that's what it was. Man.

1:09:03.880 --> 1:09:07.880
<v Speaker 9>So I started out boom Scott boom, Scott boom, boom,

1:09:07.880 --> 1:09:13.439
<v Speaker 9>Scot boom, boom boom Scott boom Scott boom book boom

1:09:13.640 --> 1:09:18.200
<v Speaker 9>boom bang. I don't don't gang a boom bump a

1:09:18.280 --> 1:09:22.840
<v Speaker 9>boom pump skany pump, oh bull skang a boom bum skag.

1:09:23.200 --> 1:09:24.040
<v Speaker 2>I all that.

1:09:24.200 --> 1:09:27.080
<v Speaker 1>Yeah, fans of a Balloon, Mind State and day La

1:09:27.240 --> 1:09:29.560
<v Speaker 1>Soul are very familiar with that drum break in.

1:09:30.560 --> 1:09:32.400
<v Speaker 2>I had to ask that question. It's it's the song

1:09:32.560 --> 1:09:35.559
<v Speaker 2>they sampled on a area codes. Look.

1:09:36.439 --> 1:09:40.120
<v Speaker 1>I have to say that very rarely does an episode

1:09:40.960 --> 1:09:42.560
<v Speaker 1>of Quest of Supreme.

1:09:43.439 --> 1:09:46.800
<v Speaker 2>Go beyond what I thought it would be.

1:09:47.160 --> 1:09:50.519
<v Speaker 1>And the fact that there's even twelve more hours of

1:09:50.600 --> 1:09:54.839
<v Speaker 1>questions I have for you shows how much of a god.

1:09:54.760 --> 1:09:56.240
<v Speaker 2>You are in your creativity.

1:09:56.640 --> 1:10:00.800
<v Speaker 1>And I just simply want to thank you for taking

1:10:00.840 --> 1:10:03.720
<v Speaker 1>the time out for these last almost two hours to

1:10:04.360 --> 1:10:07.439
<v Speaker 1>share these stories, man, because like the world doesn't know

1:10:07.800 --> 1:10:11.720
<v Speaker 1>how awesome you are man, and you know, I just

1:10:11.760 --> 1:10:12.320
<v Speaker 1>say thank.

1:10:12.200 --> 1:10:14.519
<v Speaker 2>You, thank you, ques Man. I'm a fan of I

1:10:14.640 --> 1:10:16.760
<v Speaker 2>love your work. I love your brin's how you bring

1:10:16.800 --> 1:10:18.600
<v Speaker 2>a tuba in with your drums on the shows and

1:10:18.640 --> 1:10:24.120
<v Speaker 2>things like that. You bring these eclectic things. Wow, that's

1:10:24.200 --> 1:10:27.080
<v Speaker 2>keeping the funk raw Man, So dig you man would

1:10:27.080 --> 1:10:28.800
<v Speaker 2>love to work on something with you when I'm out

1:10:28.840 --> 1:10:29.160
<v Speaker 2>there next.

1:10:29.200 --> 1:10:31.680
<v Speaker 1>We got to meet in person and shop it up

1:10:31.680 --> 1:10:33.479
<v Speaker 1>for something, so we'll definitely the same in contact.

1:10:34.920 --> 1:10:35.120
<v Speaker 2>Yeah.

1:10:35.439 --> 1:10:38.759
<v Speaker 1>On behalf of the family of Quest Love Supreme, font Tigoelo,

1:10:39.600 --> 1:10:40.200
<v Speaker 1>super Bill.

1:10:40.479 --> 1:10:41.559
<v Speaker 2>I'm giving them new names.

1:10:42.960 --> 1:10:48.640
<v Speaker 1>Steve, Layah cousin, Jake and Brittany and Fontigelo and the

1:10:48.760 --> 1:10:53.799
<v Speaker 1>Great Narta Michael Walton. This is an awesome damn episode

1:10:53.800 --> 1:10:54.719
<v Speaker 1>of Quest Love Supreme.

1:10:54.920 --> 1:10:57.080
<v Speaker 4>We've been waiting on this one for a long time. Man, seriously,

1:10:57.120 --> 1:10:57.800
<v Speaker 4>thank you for doing it.

1:10:58.800 --> 1:11:00.680
<v Speaker 2>Cats man, I really love it. This has been a

1:11:00.720 --> 1:11:03.000
<v Speaker 2>highlight for me. I knew it was coming, and uh,

1:11:03.200 --> 1:11:05.439
<v Speaker 2>you know, bag type of thing is that when you interviews,

1:11:05.920 --> 1:11:07.360
<v Speaker 2>you know, you want to make sure you're saying the

1:11:07.439 --> 1:11:10.519
<v Speaker 2>right things, that you're giving the love. And a lot

1:11:10.520 --> 1:11:12.439
<v Speaker 2>of our people were talking about and having the jockal

1:11:12.439 --> 1:11:14.960
<v Speaker 2>on that we through the Whitney's and they're looking down

1:11:15.360 --> 1:11:18.120
<v Speaker 2>and with us right now. Like what you say, man,

1:11:18.160 --> 1:11:21.240
<v Speaker 2>you better keep keep keep me alive. At'll be forgetting

1:11:21.240 --> 1:11:25.960
<v Speaker 2>about me now. I'll whoop you. We'll see on the

1:11:26.000 --> 1:11:26.639
<v Speaker 2>next go around.

1:11:26.720 --> 1:11:32.080
<v Speaker 7>Thank you, hey, thank y'all for listening to Quest Love Supreme.

1:11:32.840 --> 1:11:35.240
<v Speaker 6>This podcast is hosted by an alf Ro, a mouth,

1:11:35.400 --> 1:11:38.040
<v Speaker 6>a rapper, an engineer, and a man with too many

1:11:38.120 --> 1:11:40.720
<v Speaker 6>jobs aka A mere quest Love Thompson, Why are You

1:11:40.760 --> 1:11:41.080
<v Speaker 6>a Saint?

1:11:41.120 --> 1:11:43.480
<v Speaker 7>Clair Fonte, Coleman, Sugar, Steve.

1:11:43.360 --> 1:11:48.639
<v Speaker 6>Mandel, and I'm Table the executive producers who get paid

1:11:48.640 --> 1:11:49.680
<v Speaker 6>the big bucks A.

1:11:49.720 --> 1:11:53.400
<v Speaker 7>Mere quest Love Thompson, Sean g and Brian Calhoun ask

1:11:53.479 --> 1:11:54.000
<v Speaker 7>them for money.

1:11:54.560 --> 1:11:57.040
<v Speaker 6>Produced by the people who do all the real work

1:11:57.240 --> 1:12:01.000
<v Speaker 6>Britney Benjamin, Jake Payne and Yes, why you is Saint Claire?

1:12:01.640 --> 1:12:04.480
<v Speaker 6>And by another person who doesn't real work Alex Conroy

1:12:05.400 --> 1:12:06.840
<v Speaker 6>and those who approved the real work.

1:12:07.000 --> 1:12:09.240
<v Speaker 7>Produced for iHeart by Noah Brown.

1:12:12.160 --> 1:12:14.960
<v Speaker 2>Much Love Supreme is a production of iHeart Radio.

1:12:19.240 --> 1:12:22.479
<v Speaker 1>For more podcasts from iHeart Radio, visit the iHeartRadio app,

1:12:22.720 --> 1:12:25.759
<v Speaker 1>Apple Podcasts, or wherever you listen to your favorite shows.