1 00:00:00,160 --> 00:00:10,479 Speaker 1: Quest Love Supreme is a production of iHeartRadio. I'm in 2 00:00:10,520 --> 00:00:11,920 Speaker 1: the hair salon now, y'all. 3 00:00:11,960 --> 00:00:19,280 Speaker 2: So there we go. 4 00:00:20,239 --> 00:00:25,520 Speaker 3: All right, ladies and gentlemen, welcome to another episode, a 5 00:00:25,640 --> 00:00:34,120 Speaker 3: very detroit episode, yes, of Quest Love Supree. If you're 6 00:00:34,520 --> 00:00:39,320 Speaker 3: if you're watching our never ending soft ones on YouTube, 7 00:00:39,560 --> 00:00:43,559 Speaker 3: then you know you know why this is a very 8 00:00:43,600 --> 00:00:47,960 Speaker 3: detroit episode. If you're just listening, I ain't describing nothing 9 00:00:48,000 --> 00:00:52,600 Speaker 3: to y'all. Right now, we got Team Supreme in the house. Fanticlo, Bro, 10 00:00:53,000 --> 00:00:54,760 Speaker 3: what man, how's it going? 11 00:00:54,840 --> 00:00:56,440 Speaker 2: We're been waiting on this one for a minute, man. 12 00:00:56,720 --> 00:00:58,600 Speaker 1: We've we've been waiting for this one for a minute. 13 00:00:58,800 --> 00:01:01,600 Speaker 4: Yeah, man, Little Brother, we were honored recently in our 14 00:01:01,800 --> 00:01:06,319 Speaker 4: city in Durham with a proclamation from the mayor and 15 00:01:06,440 --> 00:01:09,080 Speaker 4: you know, so it was we're celebrating not twenty of 16 00:01:09,080 --> 00:01:11,880 Speaker 4: the year as well as Hip Hops fifty year of course. 17 00:01:12,280 --> 00:01:14,839 Speaker 4: And you know there would be no Little Brother without 18 00:01:14,840 --> 00:01:16,520 Speaker 4: the group that we have on today. 19 00:01:16,760 --> 00:01:19,760 Speaker 2: So exactly, exactly a dream come true. And I've been 20 00:01:19,760 --> 00:01:21,319 Speaker 2: waiting on this in four minute. 21 00:01:21,200 --> 00:01:22,240 Speaker 1: Sugar Steve, what up? 22 00:01:22,280 --> 00:01:22,400 Speaker 5: Bro? 23 00:01:23,160 --> 00:01:24,120 Speaker 1: What up? Everybody? 24 00:01:24,240 --> 00:01:25,959 Speaker 2: How you doing? 25 00:01:25,959 --> 00:01:29,000 Speaker 1: Actually I should say what up though, Sugar Steve, how's 26 00:01:29,040 --> 00:01:29,360 Speaker 1: it going. 27 00:01:30,160 --> 00:01:33,920 Speaker 6: Everything's good. I'm a couple of our albums have caught 28 00:01:33,959 --> 00:01:37,800 Speaker 6: fire on our record label. So but now I got 29 00:01:37,800 --> 00:01:40,720 Speaker 6: to spend my whole day shipping fucking records all over 30 00:01:40,720 --> 00:01:41,119 Speaker 6: the world. 31 00:01:41,200 --> 00:01:42,840 Speaker 1: So that's that's a good problem to have. 32 00:01:42,920 --> 00:01:48,680 Speaker 3: Man, you had a dream of your own label, and 33 00:01:49,080 --> 00:01:53,160 Speaker 3: it's happening, and you know that's amazing. Speaking of of 34 00:01:53,360 --> 00:01:56,960 Speaker 3: albums that have set the world and movements on fire, 35 00:01:57,640 --> 00:02:02,480 Speaker 3: I will say that the totality the higher legacy of 36 00:02:02,520 --> 00:02:06,480 Speaker 3: our guest today just ring strong, and not only hip 37 00:02:06,480 --> 00:02:11,200 Speaker 3: hop culture, but in music and everything from their. 38 00:02:10,960 --> 00:02:14,840 Speaker 1: Production to their delivery, to their cadence. 39 00:02:15,720 --> 00:02:18,480 Speaker 3: To be honest with you, just the love that they 40 00:02:18,560 --> 00:02:20,440 Speaker 3: have for their city of Detroit, the love that they 41 00:02:20,440 --> 00:02:25,280 Speaker 3: have for each other, for hip hop culture, for innovation, 42 00:02:26,320 --> 00:02:30,359 Speaker 3: for like doing something original. I guess you could say 43 00:02:30,400 --> 00:02:35,280 Speaker 3: that their chemistry is to me, like the most important 44 00:02:35,320 --> 00:02:39,520 Speaker 3: element that has kept the legacy of this group alive. 45 00:02:39,639 --> 00:02:44,400 Speaker 3: It's not about one specific member over another member. It's 46 00:02:44,440 --> 00:02:49,840 Speaker 3: about just the overall chemistry and the contributions that various 47 00:02:49,919 --> 00:02:52,760 Speaker 3: members have given this particular organization. 48 00:02:53,040 --> 00:02:57,720 Speaker 1: And you know, me myself, nothing will ever ever ever, 49 00:02:58,440 --> 00:02:58,840 Speaker 1: I don't know. 50 00:02:58,880 --> 00:03:01,280 Speaker 3: It's like once you get in this end industry, you 51 00:03:01,400 --> 00:03:04,360 Speaker 3: kind of see things different from a production standpoint, from 52 00:03:04,400 --> 00:03:07,359 Speaker 3: a creative standpoint, Like there's a part of your life 53 00:03:07,400 --> 00:03:09,560 Speaker 3: where music means something to you before you get in 54 00:03:09,600 --> 00:03:12,040 Speaker 3: the industry, and then there's a part of your life 55 00:03:12,080 --> 00:03:15,240 Speaker 3: when once you're in the industry, you see things. 56 00:03:15,000 --> 00:03:16,720 Speaker 1: Different, like you see everyone as a peer. 57 00:03:17,560 --> 00:03:22,360 Speaker 3: And I don't know when anything that this group has created, 58 00:03:23,160 --> 00:03:23,560 Speaker 3: I don't know. 59 00:03:23,600 --> 00:03:25,239 Speaker 1: I just I hold. 60 00:03:25,040 --> 00:03:29,280 Speaker 3: It like the Holy scriptures coming from Moses. 61 00:03:29,320 --> 00:03:29,720 Speaker 1: I don't know. 62 00:03:30,160 --> 00:03:34,120 Speaker 3: I can go on with a gazillion descriptions about how 63 00:03:34,280 --> 00:03:37,280 Speaker 3: important the legacy of this group is, especially on hip 64 00:03:37,280 --> 00:03:40,600 Speaker 3: hop's fiftieth anniversary, but you know we're going to get 65 00:03:40,640 --> 00:03:44,640 Speaker 3: to just wrap. It was something we haven't done a 66 00:03:44,640 --> 00:03:48,200 Speaker 3: long time. Friends of the show, y'all welcome Slum Village 67 00:03:48,640 --> 00:03:53,920 Speaker 3: to Quest Love Supreme. I'm sorry that was like a 68 00:03:53,960 --> 00:04:01,920 Speaker 3: lifetime achievement, right I should have been through VT wars 69 00:04:01,960 --> 00:04:05,520 Speaker 3: this week. I don't know, you know, RJ, Rice and 70 00:04:05,520 --> 00:04:08,040 Speaker 3: and and T three. Thank you man, Thank you for coming. 71 00:04:08,600 --> 00:04:10,880 Speaker 5: What's the word man? Appreciate you having us. 72 00:04:11,320 --> 00:04:13,560 Speaker 1: Thank you r J. Where are you right now. 73 00:04:13,600 --> 00:04:15,640 Speaker 5: In the studio. We're finishing up this album. 74 00:04:16,040 --> 00:04:19,440 Speaker 3: Okay, so you're you're still Detroit right now, Dylan Detroit, 75 00:04:20,120 --> 00:04:22,359 Speaker 3: all right? And T three you the same. 76 00:04:22,800 --> 00:04:24,520 Speaker 7: Yeah, I'm in Detroit at crib. 77 00:04:26,240 --> 00:04:28,279 Speaker 8: I'm just happy to be here, man, and you know, 78 00:04:28,320 --> 00:04:30,880 Speaker 8: happy to be a part of this wonderful show. 79 00:04:31,480 --> 00:04:33,400 Speaker 1: Thank you. Wait, I gotta ask y'all. 80 00:04:34,080 --> 00:04:39,719 Speaker 3: You know, I absolutely positively never miss an opportunity to 81 00:04:39,839 --> 00:04:44,599 Speaker 3: talk out how important the city of Detroit was to 82 00:04:44,839 --> 00:04:48,800 Speaker 3: my creativity. I mean, you know, in addition to just 83 00:04:49,160 --> 00:04:52,840 Speaker 3: interacting with you guys, and you know, even for about 84 00:04:52,880 --> 00:04:58,320 Speaker 3: ten for for for Dyla, anyone, I mean, even illegic 85 00:04:58,480 --> 00:05:02,320 Speaker 3: like whoever has come from the city Detroit. But a 86 00:05:02,360 --> 00:05:04,719 Speaker 3: lot of my creativity, like a lot of the music 87 00:05:04,760 --> 00:05:07,360 Speaker 3: I worked on, I technically did in that city. That's 88 00:05:07,400 --> 00:05:11,039 Speaker 3: important to me. And you know, so I feel like 89 00:05:11,080 --> 00:05:14,200 Speaker 3: I have a relationship with the city as well that 90 00:05:14,320 --> 00:05:18,280 Speaker 3: was instrumental, like between ninety seven and around like two 91 00:05:18,360 --> 00:05:21,760 Speaker 3: thousand and six. Uh, and even like when I tore 92 00:05:22,360 --> 00:05:24,719 Speaker 3: like I know places by heart, I go by myself. 93 00:05:25,320 --> 00:05:30,080 Speaker 3: Detroit's a little bit different now, like from what I'd 94 00:05:30,120 --> 00:05:32,640 Speaker 3: known it as twenty five years ago. Like just as 95 00:05:32,760 --> 00:05:35,719 Speaker 3: residents of the city, how do you guys feel about 96 00:05:36,040 --> 00:05:39,359 Speaker 3: what's happening in Detroit, Like is it progress? Like things 97 00:05:39,400 --> 00:05:43,880 Speaker 3: are just different now, like former firehouses are now like 98 00:05:43,960 --> 00:05:45,320 Speaker 3: five star hotels and. 99 00:05:46,120 --> 00:05:48,800 Speaker 5: We rebuild it, you know, Okay, And it's a good 100 00:05:48,800 --> 00:05:52,240 Speaker 5: look for the city. You know, it was desolate and 101 00:05:52,320 --> 00:05:54,719 Speaker 5: bleak for so long. You know that now we're finally 102 00:05:54,760 --> 00:05:57,160 Speaker 5: getting you know what I'm saying, that downtown back how 103 00:05:57,160 --> 00:06:00,320 Speaker 5: it's supposed to be. We finally getting the neighbor that 104 00:06:00,440 --> 00:06:03,279 Speaker 5: was run down. You know, they're tearing them down and rebuilding. 105 00:06:03,800 --> 00:06:05,960 Speaker 5: So you know, it's it's good for the city, you 106 00:06:05,960 --> 00:06:08,039 Speaker 5: know what I'm saying. And I'm happy to see it. 107 00:06:08,080 --> 00:06:09,400 Speaker 5: You know what I'm saying. Make people want to stay 108 00:06:09,400 --> 00:06:11,760 Speaker 5: in Detroit, you know what I'm saying, not ready to 109 00:06:11,760 --> 00:06:13,680 Speaker 5: get up out of here and go somewhere else. 110 00:06:14,440 --> 00:06:17,240 Speaker 3: Right, So the temptation has never been strong to be like, 111 00:06:17,279 --> 00:06:20,640 Speaker 3: all right, well let's relocate to Atlanta or like go 112 00:06:20,760 --> 00:06:21,840 Speaker 3: down south or anything. 113 00:06:22,640 --> 00:06:24,920 Speaker 5: Nah nah, not for. 114 00:06:24,920 --> 00:06:28,760 Speaker 8: Me, no, no, no, no, no, no, not for us, 115 00:06:28,800 --> 00:06:32,039 Speaker 8: because you know what, it's just the vibe, you know, 116 00:06:32,080 --> 00:06:34,560 Speaker 8: we like and you could be for yourself, you could 117 00:06:34,560 --> 00:06:36,800 Speaker 8: be you could be bothered or not bothered. 118 00:06:36,920 --> 00:06:37,559 Speaker 7: It's a choice. 119 00:06:37,560 --> 00:06:40,440 Speaker 8: You make and I think I think that's something we like, 120 00:06:40,960 --> 00:06:43,920 Speaker 8: you know, you know us, we kind of stick to ourselves. 121 00:06:44,240 --> 00:06:47,520 Speaker 7: So uh yeah, Detroit is a plus for that, you 122 00:06:47,560 --> 00:06:48,279 Speaker 7: know what I'm saying. 123 00:06:48,560 --> 00:06:50,960 Speaker 3: You know, oftentimes, like all right, take it. Take a city, 124 00:06:51,080 --> 00:06:54,800 Speaker 3: a musical city like Austin. Austin takes a pride in 125 00:06:54,839 --> 00:06:59,080 Speaker 3: its weirdness. For me, though, like the black version of 126 00:06:59,200 --> 00:07:03,120 Speaker 3: what I see all in terms of I've just never 127 00:07:03,160 --> 00:07:06,560 Speaker 3: seen a city so open. And once I realized that, 128 00:07:06,680 --> 00:07:10,560 Speaker 3: you know, you guys were raised on the Electrified Mojo 129 00:07:11,120 --> 00:07:15,640 Speaker 3: and if you know, you guys listening, go on YouTube 130 00:07:15,680 --> 00:07:19,240 Speaker 3: and just start listening to Electrifying Mojo, you got to 131 00:07:19,280 --> 00:07:23,000 Speaker 3: realize that this dude was basically one of the last 132 00:07:23,000 --> 00:07:26,760 Speaker 3: of the Mohicans in terms of there was a time 133 00:07:26,800 --> 00:07:31,440 Speaker 3: when radio really trusted its DJs to do whatever they 134 00:07:31,480 --> 00:07:33,880 Speaker 3: wanted to do. You know, now like you kind of are, 135 00:07:34,720 --> 00:07:38,280 Speaker 3: you're a prisoner of corporate radio in which the the 136 00:07:38,520 --> 00:07:42,520 Speaker 3: playlists are like predetermined before you even you know, like 137 00:07:43,200 --> 00:07:47,200 Speaker 3: September's playlist has already been determined for you. So whereas 138 00:07:47,720 --> 00:07:50,720 Speaker 3: a guy like Electrified Mojo back in the early eighties 139 00:07:50,880 --> 00:07:53,920 Speaker 3: was like just playing some of the weirdest music ever. 140 00:07:54,760 --> 00:07:55,120 Speaker 1: And so. 141 00:07:56,560 --> 00:07:59,480 Speaker 3: You know, once his listeners are growing up in immersed 142 00:07:59,520 --> 00:08:04,400 Speaker 3: in this music, it's it's like, no wonder Detroit is 143 00:08:04,440 --> 00:08:09,240 Speaker 3: such a creative hub where people just think different. Is 144 00:08:09,680 --> 00:08:14,560 Speaker 3: that weirdness still prevalent in Detroit right now as we speak, or. 145 00:08:15,920 --> 00:08:17,160 Speaker 7: I think it's still happening. 146 00:08:17,280 --> 00:08:19,880 Speaker 8: I think a lot of a lot of the people 147 00:08:19,920 --> 00:08:23,120 Speaker 8: that are the younger people that are kind of weird, 148 00:08:23,640 --> 00:08:25,800 Speaker 8: they came up after they came up on us. I 149 00:08:25,840 --> 00:08:28,400 Speaker 8: get a lot of that from people like Curtis Roach 150 00:08:28,520 --> 00:08:30,600 Speaker 8: and a couple of other camps from Detroit. 151 00:08:30,920 --> 00:08:33,640 Speaker 7: But then you know, Dray has a whole another side, 152 00:08:33,720 --> 00:08:39,520 Speaker 7: which is is hood, you know, from. 153 00:08:39,440 --> 00:08:43,199 Speaker 8: These creative people to just hood, you know what I'm saying. 154 00:08:43,520 --> 00:08:46,280 Speaker 8: And then then you got the creative hood, which is 155 00:08:46,360 --> 00:08:47,920 Speaker 8: kind of a merge of both, which is like the 156 00:08:47,960 --> 00:08:50,600 Speaker 8: side of baby, you know, something like that. 157 00:08:50,720 --> 00:08:52,080 Speaker 1: So see, that's the thing. 158 00:08:52,400 --> 00:08:56,880 Speaker 3: I even though I think you guys in the very 159 00:08:56,880 --> 00:08:59,480 Speaker 3: beginning might have been slightly defensive towards how we saw 160 00:08:59,559 --> 00:09:03,040 Speaker 3: y'all because you know, like the music was one way, 161 00:09:03,080 --> 00:09:05,560 Speaker 3: but you guys were saying something like crazy outlands ship 162 00:09:05,679 --> 00:09:09,000 Speaker 3: on top of it, like y'all justicehood and creative. 163 00:09:09,679 --> 00:09:11,480 Speaker 1: But I don't know what The. 164 00:09:11,400 --> 00:09:13,560 Speaker 3: First time I came from Detroit, I'm like, yo, this 165 00:09:14,200 --> 00:09:17,600 Speaker 3: this is like a city that will listen to Thomas 166 00:09:17,640 --> 00:09:22,520 Speaker 3: Dolby and do the Carlton but they're also going to 167 00:09:22,600 --> 00:09:25,360 Speaker 3: beat your ass if you fuck with him, like and 168 00:09:25,440 --> 00:09:27,240 Speaker 3: that's the ship I couldn't. 169 00:09:29,000 --> 00:09:32,280 Speaker 7: Right, Yeah, I mean, because you know he's always. 170 00:09:32,040 --> 00:09:35,880 Speaker 8: Been a collected Uh. We always been uh. I mean 171 00:09:35,920 --> 00:09:39,040 Speaker 8: we grew up on Tribe and NWA at the same thing. 172 00:09:39,040 --> 00:09:42,560 Speaker 8: It wasn't or, it wasn't rock jazz, it was any 173 00:09:42,679 --> 00:09:46,679 Speaker 8: music that we can find creatively, we there and then 174 00:09:46,679 --> 00:09:49,600 Speaker 8: we grew up on techno, which is totally something else, 175 00:09:49,679 --> 00:09:50,480 Speaker 8: you know in itself. 176 00:09:50,559 --> 00:09:51,240 Speaker 1: Thing that's key. 177 00:09:51,480 --> 00:09:55,760 Speaker 3: I think you guys embracing electronic music and techno is 178 00:09:55,800 --> 00:09:58,000 Speaker 3: the key to why Detroit so crazy. 179 00:09:58,880 --> 00:10:00,880 Speaker 7: Yes, yes, creatively, yes. 180 00:10:01,040 --> 00:10:04,200 Speaker 5: See, you had it at one point where they would 181 00:10:04,200 --> 00:10:06,079 Speaker 5: play all the hood stuff during the day, you know 182 00:10:06,120 --> 00:10:09,360 Speaker 5: what I'm saying, the commercial stuff. Then at nighttime when 183 00:10:09,400 --> 00:10:13,040 Speaker 5: people going to the clubs was like all techno, you 184 00:10:13,040 --> 00:10:15,400 Speaker 5: know what I'm saying, stuff like that, So our prime 185 00:10:15,480 --> 00:10:19,520 Speaker 5: time getting ready for the party was techno music. So 186 00:10:20,000 --> 00:10:22,800 Speaker 5: you know, we had the opportunity that had that balance, 187 00:10:22,880 --> 00:10:24,880 Speaker 5: you know what I'm saying, Like T was saying. 188 00:10:25,120 --> 00:10:28,120 Speaker 3: Can you take us back to the beginning to where 189 00:10:29,400 --> 00:10:32,800 Speaker 3: like if I'm looking, I guess in archaeology terms, like 190 00:10:32,840 --> 00:10:35,760 Speaker 3: if I'm looking for the spark, you know, the sticks 191 00:10:35,760 --> 00:10:40,280 Speaker 3: and students that like built the spark, Where does the 192 00:10:40,559 --> 00:10:42,959 Speaker 3: actual where does this story of slum village begin? 193 00:10:44,280 --> 00:10:50,000 Speaker 8: I would say it began in Persian High School where 194 00:10:49,800 --> 00:10:50,559 Speaker 8: we were. 195 00:10:51,080 --> 00:10:51,679 Speaker 7: You know what I'm saying. 196 00:10:51,720 --> 00:10:54,400 Speaker 8: The school, uh, you know, Persian High School, which is 197 00:10:54,440 --> 00:10:57,920 Speaker 8: this because when I was coming up to be a rapper, 198 00:10:59,360 --> 00:11:02,440 Speaker 8: you know, it was weird that was considered weird to 199 00:11:02,520 --> 00:11:05,720 Speaker 8: be a rapper, you know what I'm saying, Because it's 200 00:11:05,840 --> 00:11:08,280 Speaker 8: just so like even though it was a few rappers, 201 00:11:08,360 --> 00:11:10,640 Speaker 8: hood rappers that was out there, but what we was 202 00:11:10,679 --> 00:11:15,200 Speaker 8: on we was extra loe as extra you know, So 203 00:11:15,240 --> 00:11:21,199 Speaker 8: we were walking around you know, extra close, extra, you know, dreadlocks, 204 00:11:21,720 --> 00:11:24,800 Speaker 8: you know, we we were very were out there you. 205 00:11:24,760 --> 00:11:27,640 Speaker 7: Know early, you know, you know you know what I'm saying. 206 00:11:28,000 --> 00:11:29,560 Speaker 7: So when I. 207 00:11:29,480 --> 00:11:33,760 Speaker 8: Heard about other guys that were like me, I was like, oh, okay, 208 00:11:34,000 --> 00:11:36,319 Speaker 8: now we got a squad, you know what I'm saying. 209 00:11:36,400 --> 00:11:38,800 Speaker 8: So now that you know, I ran into Dyla because 210 00:11:38,840 --> 00:11:40,800 Speaker 8: I heard about him through this guy, through that guy 211 00:11:41,320 --> 00:11:44,080 Speaker 8: heard about by ten and then was and it just 212 00:11:44,120 --> 00:11:44,880 Speaker 8: all clicked up. 213 00:11:45,440 --> 00:11:47,640 Speaker 3: So it was it wasn't a neighborhood thing, like they 214 00:11:47,640 --> 00:11:51,040 Speaker 3: weren't your next door neighbors, like you heard about them 215 00:11:51,040 --> 00:11:52,439 Speaker 3: from the other side of town or. 216 00:11:52,960 --> 00:11:55,320 Speaker 7: I mean we're in the same neighborhood believe it or not. 217 00:11:55,800 --> 00:11:59,840 Speaker 8: But I did not know that, which is like, I mean, 218 00:12:00,160 --> 00:12:02,000 Speaker 8: in Detroit, you're not gonna come outside. 219 00:12:01,679 --> 00:12:03,720 Speaker 7: Your house and just walk around and you know, you 220 00:12:03,760 --> 00:12:04,559 Speaker 7: know what I'm saying. 221 00:12:04,600 --> 00:12:08,000 Speaker 8: So you going to your house, you know what I'm saying, 222 00:12:08,160 --> 00:12:10,600 Speaker 8: to your destination of back because you don't want no static, 223 00:12:10,880 --> 00:12:12,880 Speaker 8: you don't want nothing to happen, So you just going 224 00:12:12,920 --> 00:12:13,440 Speaker 8: to where you go. 225 00:12:13,559 --> 00:12:15,840 Speaker 7: So I even though we closed it, we all in 226 00:12:15,880 --> 00:12:17,320 Speaker 7: KNA Guardens, it was just. 227 00:12:17,360 --> 00:12:21,760 Speaker 8: Like different random parts like and had them everyone for school, 228 00:12:22,440 --> 00:12:22,640 Speaker 8: you know. 229 00:12:22,800 --> 00:12:28,000 Speaker 3: So r J Yo actually our listeners out there should 230 00:12:28,120 --> 00:12:31,800 Speaker 3: know that. I mean, you come from a lineage of 231 00:12:33,200 --> 00:12:37,120 Speaker 3: you know, Detroit hip hop being as though you know 232 00:12:37,200 --> 00:12:41,280 Speaker 3: your father is you know, the legendary RJ of RJ's 233 00:12:41,320 --> 00:12:46,360 Speaker 3: latest arrival, Like I grew up listening to shackles. 234 00:12:45,960 --> 00:12:47,400 Speaker 2: Heavy in your arms is the one for me? 235 00:12:47,440 --> 00:12:50,760 Speaker 4: That's the one, Like, yeah, exactly my rotation right now, 236 00:12:50,840 --> 00:12:51,640 Speaker 4: still on my spot. 237 00:12:51,800 --> 00:12:52,319 Speaker 1: Yeah. 238 00:12:52,400 --> 00:12:56,360 Speaker 3: So can you talk about just growing up as sort 239 00:12:56,360 --> 00:13:00,200 Speaker 3: of like lineage of Detroit culture, Like what is your 240 00:13:00,280 --> 00:13:05,320 Speaker 3: childhood like with your parents that are popping, Like, you know, 241 00:13:05,360 --> 00:13:07,000 Speaker 3: I have them on Soul Training, I have them on 242 00:13:07,080 --> 00:13:08,520 Speaker 3: you know what I mean, Like they were national, they 243 00:13:08,520 --> 00:13:10,560 Speaker 3: were always played on radio. 244 00:13:10,720 --> 00:13:13,000 Speaker 1: So what was it like just growing up in that environment? 245 00:13:13,800 --> 00:13:18,480 Speaker 5: I grew up on the road, So between them touring 246 00:13:18,520 --> 00:13:20,800 Speaker 5: and stuff, you know, like I was like out on 247 00:13:20,840 --> 00:13:23,480 Speaker 5: a Fresh Fest and you know, stuff like that with 248 00:13:23,520 --> 00:13:27,080 Speaker 5: them as a kid, with Fat Boys and run DMC 249 00:13:27,240 --> 00:13:28,720 Speaker 5: and all of that. So that's kind of how I 250 00:13:28,760 --> 00:13:29,280 Speaker 5: grew up. 251 00:13:29,600 --> 00:13:31,600 Speaker 1: So were there Jermaine sightings as well? 252 00:13:31,640 --> 00:13:33,840 Speaker 3: Because I thought Jermaine was the only kid that was 253 00:13:33,920 --> 00:13:36,600 Speaker 3: like allowed in the Fresh Fest. 254 00:13:36,600 --> 00:13:39,000 Speaker 1: Did you get to see him at all? Like nah? 255 00:13:39,120 --> 00:13:42,440 Speaker 5: Because remember I'm I'm I'm ten years younger than Tea, 256 00:13:43,600 --> 00:13:47,920 Speaker 5: ok So I was like two, okay, three years old, 257 00:13:48,520 --> 00:13:52,800 Speaker 5: so Jamine dupri was like eleven twelve, Okay, I get it. Yeah, 258 00:13:52,840 --> 00:13:57,359 Speaker 5: So between that and then you know, when they would 259 00:13:57,360 --> 00:13:59,120 Speaker 5: be on the road, when I got to a certain age, 260 00:13:59,360 --> 00:14:02,720 Speaker 5: I would be my grandmother, and my grandmother stayed in 261 00:14:02,840 --> 00:14:06,680 Speaker 5: Coney Gardens because that's where my father grew up at. 262 00:14:07,040 --> 00:14:11,520 Speaker 5: So that's how all of everybody kind of came together. 263 00:14:12,240 --> 00:14:14,920 Speaker 1: Y'all describe Cooney Gardens like we I know it as 264 00:14:14,960 --> 00:14:15,360 Speaker 1: a song. 265 00:14:15,600 --> 00:14:18,679 Speaker 3: But what is the neighborhood of kinder Gartens? 266 00:14:20,280 --> 00:14:24,320 Speaker 8: Uh, it's a hood, but it's not like you know 267 00:14:24,360 --> 00:14:25,960 Speaker 8: what I'm saying. It still got good people. It still 268 00:14:25,960 --> 00:14:28,600 Speaker 8: had a good batch of people there. It wasn't overly violent, 269 00:14:28,640 --> 00:14:31,800 Speaker 8: but it did have its hood aspects, you know what 270 00:14:31,840 --> 00:14:35,000 Speaker 8: I'm saying. We always had a nice park. I lived 271 00:14:35,120 --> 00:14:36,960 Speaker 8: right right across the street of a nice park. We 272 00:14:37,000 --> 00:14:39,480 Speaker 8: had a nice you know, place to play in whatever. 273 00:14:39,920 --> 00:14:43,400 Speaker 8: So I mean, you know, I don't know why. Uh, 274 00:14:43,440 --> 00:14:46,120 Speaker 8: you know, we had so much respect for And it's 275 00:14:46,160 --> 00:14:48,360 Speaker 8: the only neighborhood really in the hood where you see 276 00:14:48,400 --> 00:14:51,480 Speaker 8: where they got the actual the actual banner where it 277 00:14:51,520 --> 00:14:54,720 Speaker 8: says Coney Gardens, Like they named this hood. You know 278 00:14:54,760 --> 00:14:57,560 Speaker 8: what I'm saying. They really don't do that. It usually 279 00:14:57,560 --> 00:15:00,640 Speaker 8: be like East West that you know, whatever the the streeters, 280 00:15:00,680 --> 00:15:04,440 Speaker 8: but they actually named the whole neighborhood so once we 281 00:15:04,480 --> 00:15:07,160 Speaker 8: saw that, you know, we just gravitated to it because 282 00:15:08,080 --> 00:15:11,240 Speaker 8: you know, we had found each other and you know, 283 00:15:11,520 --> 00:15:13,120 Speaker 8: in this awkward little place as. 284 00:15:13,080 --> 00:15:17,280 Speaker 3: Late children of the seventies and eighties, just in your 285 00:15:17,320 --> 00:15:22,000 Speaker 3: general childhood, how aware of you guys, of the lineage 286 00:15:22,000 --> 00:15:25,280 Speaker 3: of Detroit, Like was living in Detroit just like to 287 00:15:25,440 --> 00:15:30,360 Speaker 3: you growing up in the early eighties, Like ah, man, 288 00:15:30,440 --> 00:15:33,440 Speaker 3: this town used to have something and then everyone left it, 289 00:15:33,520 --> 00:15:37,280 Speaker 3: like there's no more music left like that, was there 290 00:15:37,320 --> 00:15:42,360 Speaker 3: still a strong presence of the music lineage that the 291 00:15:42,400 --> 00:15:44,160 Speaker 3: world knows as like Detroit. 292 00:15:45,000 --> 00:15:46,920 Speaker 8: I definitely say, yeah, man, I grew up on a 293 00:15:46,960 --> 00:15:50,640 Speaker 8: Motown sound. That's it was definitely part of my household, 294 00:15:50,720 --> 00:15:54,120 Speaker 8: part of everybody. Everybody was still very proud of that. 295 00:15:54,280 --> 00:15:57,160 Speaker 8: Even though Motown had left went to Cali, you know 296 00:15:57,200 --> 00:15:58,640 Speaker 8: what I'm saying, we were still very proud of that. 297 00:15:58,640 --> 00:16:01,680 Speaker 8: We still had the Motown Museum, we still had you know, 298 00:16:01,840 --> 00:16:04,280 Speaker 8: we're still proud of all the musicians that came through. 299 00:16:04,640 --> 00:16:07,880 Speaker 8: So that was the definite just soul music in general. 300 00:16:08,400 --> 00:16:10,880 Speaker 8: We was we all grew up on that. That was 301 00:16:10,920 --> 00:16:13,880 Speaker 8: definitely part of our you know, our our bringing up. 302 00:16:14,000 --> 00:16:16,360 Speaker 4: You know what I would saying, I want to ask 303 00:16:16,440 --> 00:16:19,160 Speaker 4: y'all man specifically when you're talking about tech No earlier 304 00:16:19,680 --> 00:16:23,760 Speaker 4: New Dance Show and the scene, break that down, like, 305 00:16:24,160 --> 00:16:24,800 Speaker 4: what what. 306 00:16:24,680 --> 00:16:27,080 Speaker 2: Did that mean to to Detroit culture? 307 00:16:27,480 --> 00:16:27,720 Speaker 1: Uh? 308 00:16:27,840 --> 00:16:29,120 Speaker 7: That was everything. 309 00:16:29,200 --> 00:16:32,520 Speaker 8: Everybody used to run in the house and tune in 310 00:16:32,560 --> 00:16:34,200 Speaker 8: our version of soul trained. 311 00:16:34,680 --> 00:16:35,520 Speaker 7: You know what I'm saying. 312 00:16:35,760 --> 00:16:39,880 Speaker 8: When you see answers who became popular in the neighborhood 313 00:16:39,920 --> 00:16:42,760 Speaker 8: for showing up and and and also it broke a 314 00:16:42,760 --> 00:16:45,520 Speaker 8: lot of rappers too, a lot of up and coming 315 00:16:45,600 --> 00:16:47,760 Speaker 8: rappers they got a chance to perform on that. So 316 00:16:47,800 --> 00:16:51,840 Speaker 8: the New Dance Show was everything for us. My wife 317 00:16:51,840 --> 00:16:54,240 Speaker 8: worked at the museum now for the for the New 318 00:16:54,320 --> 00:16:56,600 Speaker 8: Dance Show, So it's it's still a part of my 319 00:16:56,640 --> 00:16:59,560 Speaker 8: life today, you know what I mean? Yeah, man, it's 320 00:16:59,600 --> 00:17:01,640 Speaker 8: it's inspired us in many ways. 321 00:17:01,840 --> 00:17:04,359 Speaker 3: I will say that the scene, you know, if you 322 00:17:04,800 --> 00:17:07,000 Speaker 3: to our listeners out there, if you've not watched it, 323 00:17:07,520 --> 00:17:12,520 Speaker 3: just to describe it. Like most most territories parts of 324 00:17:12,520 --> 00:17:15,920 Speaker 3: the United States would have their local dance show. Detroit 325 00:17:16,000 --> 00:17:19,000 Speaker 3: had the scene. I know, Chicago had a show that 326 00:17:19,080 --> 00:17:22,800 Speaker 3: was more geared to stepping. Okay, Philadelphia we had our 327 00:17:22,840 --> 00:17:26,800 Speaker 3: show called Dancing on Air, which found some success and 328 00:17:27,000 --> 00:17:30,640 Speaker 3: actually became national known as Dance Party USA. And that's 329 00:17:30,640 --> 00:17:33,000 Speaker 3: where like Kelly Rippa used to dance on the show whatever. 330 00:17:33,080 --> 00:17:36,440 Speaker 3: But oh wow, a lot of local eyes back when 331 00:17:36,560 --> 00:17:41,400 Speaker 3: dances were regional. You know, how they danced in Detroit 332 00:17:41,520 --> 00:17:44,320 Speaker 3: is not how they were dancing in Texas. And you know, 333 00:17:44,440 --> 00:17:46,640 Speaker 3: you you would only know when you were like visit 334 00:17:46,680 --> 00:17:49,520 Speaker 3: cousins in the summertime, like what kind of dance is that? 335 00:17:49,680 --> 00:17:50,080 Speaker 1: Or whatever? 336 00:17:50,200 --> 00:17:55,480 Speaker 3: So like for Detroit and dancing, do you guys know 337 00:17:55,520 --> 00:17:59,199 Speaker 3: the history of the Earl Flynn? Like what is it 338 00:17:59,320 --> 00:18:01,399 Speaker 3: about there? And then there is the Earl Flynn still 339 00:18:03,160 --> 00:18:05,800 Speaker 3: a Detroit move or is that just like one specific 340 00:18:06,359 --> 00:18:10,879 Speaker 3: generation even your history were dancing? Like I know and 341 00:18:10,880 --> 00:18:15,200 Speaker 3: and by Ten's version of Pregnant on the first Slim 342 00:18:15,320 --> 00:18:18,560 Speaker 3: Village album, it's an interlude where he's rhyming over the 343 00:18:19,160 --> 00:18:23,160 Speaker 3: Roger loop, right, you know, it's only like forty five seconds, 344 00:18:23,160 --> 00:18:26,480 Speaker 3: but he literally I read the lyrics and basically he's 345 00:18:26,480 --> 00:18:28,960 Speaker 3: saying that I came to a jit, like I came 346 00:18:28,960 --> 00:18:30,600 Speaker 3: to a party to show. 347 00:18:30,440 --> 00:18:32,159 Speaker 1: Them how I dance and they looking at me like 348 00:18:32,200 --> 00:18:32,840 Speaker 1: I'm a weirdo. 349 00:18:32,920 --> 00:18:36,679 Speaker 5: And you know, digit is a Detroit dance kind of 350 00:18:36,720 --> 00:18:40,879 Speaker 5: like Chicago got footwork, you know what I'm saying, Detroit 351 00:18:41,200 --> 00:18:43,320 Speaker 5: has its own version, you know what I'm saying, a 352 00:18:43,359 --> 00:18:47,080 Speaker 5: little more technical than the footwork. And that's what he 353 00:18:47,200 --> 00:18:49,160 Speaker 5: was talking about. He said, when I walk in there 354 00:18:49,200 --> 00:18:51,639 Speaker 5: doing my jit, they looking at me crazy, you know 355 00:18:51,640 --> 00:18:54,320 Speaker 5: what I'm saying, because he jitting and he got dreadlocks, 356 00:18:54,720 --> 00:18:58,360 Speaker 5: you know what I'm saying. So jitting was like a 357 00:18:58,359 --> 00:19:02,240 Speaker 5: cultural thing here, I'm saying, like everybody did it for 358 00:19:02,280 --> 00:19:05,920 Speaker 5: the most part, So that's kind of how it worked. 359 00:19:06,000 --> 00:19:09,320 Speaker 5: Earl Flynn was like, if I ain't mistaken to you, 360 00:19:09,359 --> 00:19:11,360 Speaker 5: that wasn't that like the gang. 361 00:19:11,240 --> 00:19:14,760 Speaker 7: Earl Flynn, he can't called the Earl Flynns. And that 362 00:19:14,920 --> 00:19:17,040 Speaker 7: was they move that they used to do to List, 363 00:19:17,160 --> 00:19:19,800 Speaker 7: That's where it came from. Yes, that's where it came from. 364 00:19:19,880 --> 00:19:20,480 Speaker 7: It was a gang. 365 00:19:20,960 --> 00:19:22,280 Speaker 1: So answer me this. 366 00:19:23,080 --> 00:19:27,399 Speaker 3: Around the Parade album period, you know, I would routinely 367 00:19:28,440 --> 00:19:31,639 Speaker 3: like Prince's relationship with Detroit is just on some other level. 368 00:19:32,440 --> 00:19:36,080 Speaker 3: Even when I would go back to old album credits 369 00:19:36,640 --> 00:19:40,199 Speaker 3: at least like from Controversy nineteen ninety nine, Purple Rain 370 00:19:40,240 --> 00:19:44,119 Speaker 3: and whatever. I mean, I didn't even realize that Prince 371 00:19:44,280 --> 00:19:48,080 Speaker 3: was Princess love for Detroit, Like all this Detroit shoutouts 372 00:19:48,080 --> 00:19:51,640 Speaker 3: start with what up though, you know? And I'm like, 373 00:19:51,920 --> 00:19:54,720 Speaker 3: Prince knows to speak? Like what does Prince know? And 374 00:19:54,840 --> 00:19:59,320 Speaker 3: if you watch like concerts in eighty six, assuming that 375 00:19:59,400 --> 00:20:02,040 Speaker 3: this is the earl Finn like where you wave your 376 00:20:02,119 --> 00:20:06,040 Speaker 3: arms back and forth, Prince was routinely So that was 377 00:20:06,119 --> 00:20:07,600 Speaker 3: Prince's version of doing. 378 00:20:09,560 --> 00:20:13,600 Speaker 1: The brother spilll a certain way like that or like no. 379 00:20:14,000 --> 00:20:16,520 Speaker 7: They have overwhelming love for him. 380 00:20:16,600 --> 00:20:19,119 Speaker 8: See you gotta think, like you said, go back to 381 00:20:19,240 --> 00:20:20,840 Speaker 8: the uh to the mojo. 382 00:20:21,880 --> 00:20:23,439 Speaker 7: Mojo broke Prince. 383 00:20:23,880 --> 00:20:28,320 Speaker 8: He would play a whole Prince album on you know 384 00:20:28,320 --> 00:20:32,919 Speaker 8: you know what I'm saying sometimes even with the curse words. 385 00:20:32,440 --> 00:20:34,320 Speaker 1: And yeah, that was like how does that happen? 386 00:20:34,600 --> 00:20:38,320 Speaker 8: And Prince call him. He would pick up the phone 387 00:20:38,320 --> 00:20:42,520 Speaker 8: and call him and thank him. So they developed a relationship, 388 00:20:43,160 --> 00:20:45,040 Speaker 8: you know what I'm saying, and they became really close. 389 00:20:45,600 --> 00:20:49,560 Speaker 8: So he helped he helped Prince break in Detroit. Man, 390 00:20:49,920 --> 00:20:52,240 Speaker 8: So you know, they they became great friends. 391 00:20:52,240 --> 00:20:52,480 Speaker 7: Man. 392 00:20:52,680 --> 00:20:52,879 Speaker 5: You know. 393 00:20:53,000 --> 00:20:53,840 Speaker 7: So it's it's just. 394 00:20:53,800 --> 00:20:58,080 Speaker 8: A dope that had that Prince incorporated so much detroited there. Yeah, 395 00:20:58,200 --> 00:21:08,520 Speaker 8: it was incredible Yeah. 396 00:21:04,240 --> 00:21:07,640 Speaker 3: When the Roots first visited. Detroit was the second American 397 00:21:07,720 --> 00:21:12,320 Speaker 3: city that we visited when we first started touring, and 398 00:21:12,520 --> 00:21:14,560 Speaker 3: the place that they took us was a spot called 399 00:21:14,560 --> 00:21:18,000 Speaker 3: the Hip Hop Shop, Okay, which I mean by that point, 400 00:21:18,040 --> 00:21:21,760 Speaker 3: Mari's Malone. You know, hip hop fashions were starting in 401 00:21:21,880 --> 00:21:24,560 Speaker 3: ninety four ninety five starting to become a little national. 402 00:21:25,000 --> 00:21:27,960 Speaker 3: It wasn't just localized, but was the Hip Hop Shop 403 00:21:28,040 --> 00:21:35,000 Speaker 3: sort of just like a localized hub for NMC back 404 00:21:35,080 --> 00:21:38,320 Speaker 3: in the early nineties or like, how talk to me 405 00:21:38,359 --> 00:21:41,560 Speaker 3: about the relationship of that establishment. 406 00:21:42,200 --> 00:21:44,440 Speaker 8: Well, we had a few establishments, but that was one 407 00:21:44,440 --> 00:21:47,840 Speaker 8: of the main ones, and that was the one that really, 408 00:21:48,080 --> 00:21:51,840 Speaker 8: you know, had the breakout artists, you know what I'm saying. 409 00:21:51,920 --> 00:21:57,439 Speaker 8: That's where Royce, Eminem and D twelve L and just 410 00:21:57,640 --> 00:21:59,919 Speaker 8: everybody was at this spot. 411 00:22:00,040 --> 00:22:02,400 Speaker 7: So this was the spot for MC's. 412 00:22:02,400 --> 00:22:02,920 Speaker 1: You go there. 413 00:22:03,400 --> 00:22:06,560 Speaker 7: It was only on Saturdays. They sold closed during the week. 414 00:22:06,840 --> 00:22:09,520 Speaker 8: Maurice made his own clothes and sold them and then 415 00:22:09,560 --> 00:22:13,000 Speaker 8: he let us have an open mic on on Saturdays. 416 00:22:13,040 --> 00:22:16,840 Speaker 8: It was hosted by Proof Recipes to Big Proof, and 417 00:22:16,880 --> 00:22:18,720 Speaker 8: you know what I'm saying, It was just it was 418 00:22:18,760 --> 00:22:20,720 Speaker 8: just something that we had some of the Illis Battles 419 00:22:21,160 --> 00:22:22,440 Speaker 8: now Swam Village. 420 00:22:22,440 --> 00:22:24,080 Speaker 7: We didn't really battle, but we used to like. 421 00:22:24,119 --> 00:22:28,680 Speaker 8: Premiere songs and play certain joints and do stuff like that. 422 00:22:28,760 --> 00:22:31,320 Speaker 8: But it was it was some dope battles there, you know. 423 00:22:31,440 --> 00:22:34,119 Speaker 8: Em had a few battles there, a bunch of people, 424 00:22:34,160 --> 00:22:35,520 Speaker 8: so it was it was it. 425 00:22:35,440 --> 00:22:36,040 Speaker 7: Was our spot. 426 00:22:36,119 --> 00:22:38,560 Speaker 8: It was our only spot really at that time. We 427 00:22:38,600 --> 00:22:41,120 Speaker 8: had a couple of nighttime spots, but that was the time. 428 00:22:41,280 --> 00:22:44,000 Speaker 8: And it was in seven mile, which is kind of 429 00:22:44,040 --> 00:22:45,840 Speaker 8: scary if seven miles. 430 00:22:47,800 --> 00:22:48,240 Speaker 7: It's like a. 431 00:22:48,320 --> 00:22:52,000 Speaker 8: Martin Luther King Boulevard, you know, type of right, But 432 00:22:52,160 --> 00:22:54,720 Speaker 8: at that time, it was all up you know what 433 00:22:54,760 --> 00:22:57,280 Speaker 8: I'm saying. Everybody went there. Did they think you had 434 00:22:57,280 --> 00:22:59,840 Speaker 8: some guys smoking weed in the car? You have some 435 00:23:00,000 --> 00:23:02,199 Speaker 8: people drinking their little beers and then going there and 436 00:23:02,240 --> 00:23:04,560 Speaker 8: do their hip hop, you know what I'm saying. And 437 00:23:04,560 --> 00:23:06,399 Speaker 8: then it was just a dope spot for us to 438 00:23:06,400 --> 00:23:09,040 Speaker 8: do it. So shout out to Marowice Malone for doing that. 439 00:23:09,080 --> 00:23:09,960 Speaker 8: Man setting that up. 440 00:23:10,760 --> 00:23:15,760 Speaker 3: In your opinion, like how how is hip hop translated 441 00:23:15,840 --> 00:23:19,360 Speaker 3: in terms of like, Okay, so a song like Ain't 442 00:23:19,400 --> 00:23:21,880 Speaker 3: No Future in Your Front? Like was that just universally 443 00:23:22,359 --> 00:23:26,000 Speaker 3: accepted by the entire hip hop community or did you 444 00:23:26,720 --> 00:23:28,600 Speaker 3: know was it like, Okay, well, you guys are more 445 00:23:28,640 --> 00:23:31,600 Speaker 3: West Coast sounding, so you know that's y'alls thing, and 446 00:23:31,640 --> 00:23:34,040 Speaker 3: we're more East Coast sounding, so this is our thing. 447 00:23:34,800 --> 00:23:39,439 Speaker 5: No, it was universal because we Detroit is like the 448 00:23:39,480 --> 00:23:44,479 Speaker 5: melting pot of every sound. We listened to Luke Intwo 449 00:23:44,560 --> 00:23:47,719 Speaker 5: Live Crew on the radio, we listened to Doctor dre 450 00:23:47,880 --> 00:23:52,160 Speaker 5: Snoop Dogg, we listened to Trot Twister, and they played 451 00:23:52,240 --> 00:23:56,640 Speaker 5: everything in Detroit. So it was just like a dope song. 452 00:23:56,920 --> 00:23:59,720 Speaker 5: Detroit just accepted it as a dope song. It wasn't 453 00:23:59,720 --> 00:24:03,240 Speaker 5: a out It sounded more Cali. It was just, you 454 00:24:03,240 --> 00:24:06,359 Speaker 5: know what I'm saying, represented the city as a whole. 455 00:24:06,920 --> 00:24:11,679 Speaker 3: Speaker on the first moment in which it's like, okay, 456 00:24:11,920 --> 00:24:14,720 Speaker 3: let's start a group. Now I know before it was 457 00:24:14,760 --> 00:24:18,520 Speaker 3: slum Village, that the name was sound. 458 00:24:19,760 --> 00:24:20,960 Speaker 5: Cinepon y. 459 00:24:22,480 --> 00:24:24,680 Speaker 2: All right, doess backwards? 460 00:24:25,080 --> 00:24:30,040 Speaker 3: Okay, oh okay. So explained to me how like the 461 00:24:30,160 --> 00:24:35,280 Speaker 3: year that starts and the group in that formation, and that. 462 00:24:35,400 --> 00:24:38,640 Speaker 7: Formation it started off, like I said, I heard about 463 00:24:38,680 --> 00:24:39,200 Speaker 7: these cats. 464 00:24:39,520 --> 00:24:42,080 Speaker 8: Number one we was dancing tiam But speaking of dancing, 465 00:24:42,320 --> 00:24:43,879 Speaker 8: everybody in my crew dance too. 466 00:24:44,000 --> 00:24:45,440 Speaker 7: By the way, you had to dance. 467 00:24:45,600 --> 00:24:46,359 Speaker 1: I can attest to this. 468 00:24:46,640 --> 00:24:49,840 Speaker 7: Yes, you know what I'm saying, So everybody in the 469 00:24:49,920 --> 00:24:50,360 Speaker 7: crew dance. 470 00:24:50,400 --> 00:24:53,800 Speaker 8: But anyway, I heard about some cats, I about Dyla 471 00:24:53,880 --> 00:24:57,040 Speaker 8: and this, and I heard about by ten. But first 472 00:24:57,119 --> 00:24:59,200 Speaker 8: it was like me and by ten and I got 473 00:24:59,240 --> 00:25:01,040 Speaker 8: with bout ten and why g first and we had 474 00:25:01,119 --> 00:25:05,040 Speaker 8: a group called hard to Pose, which one he did 475 00:25:05,119 --> 00:25:07,840 Speaker 8: two songs, but yeah, it was it was more West 476 00:25:07,920 --> 00:25:10,159 Speaker 8: Coast gangster sounding a little bit, but yeah, we had 477 00:25:10,200 --> 00:25:13,040 Speaker 8: those couple of songs. We did that, and then then 478 00:25:13,040 --> 00:25:16,080 Speaker 8: we heard about Dyla about the beats, and then while 479 00:25:16,160 --> 00:25:18,480 Speaker 8: she introduced me to that, then we decided to do 480 00:25:19,280 --> 00:25:22,560 Speaker 8: official cinepod stuff, which means we went to the studio 481 00:25:24,800 --> 00:25:28,920 Speaker 8: Mold's studio, this Hood studio, and we recorded these couple 482 00:25:28,960 --> 00:25:32,560 Speaker 8: of records and one of the records had a Flip 483 00:25:32,600 --> 00:25:36,480 Speaker 8: Wilson sample in it, so it's very zany. It was 484 00:25:37,520 --> 00:25:40,680 Speaker 8: very element that is what you what you heard from 485 00:25:40,800 --> 00:25:46,040 Speaker 8: uh uh centerpore. So the CENTERPID lineup was me, Uh, 486 00:25:46,240 --> 00:25:52,639 Speaker 8: why was uh by ten? Deyla QUD was this? 487 00:25:53,400 --> 00:25:53,560 Speaker 1: Yeah? 488 00:25:53,640 --> 00:25:56,040 Speaker 8: QD was in this because that's when dancers was really 489 00:25:56,080 --> 00:25:58,639 Speaker 8: a part of it. And QD started off dancing first, 490 00:25:58,680 --> 00:26:00,240 Speaker 8: so he was a part of it. 491 00:26:00,560 --> 00:26:03,199 Speaker 1: So you're saying that at this point, Ellmeness was kind 492 00:26:03,240 --> 00:26:04,040 Speaker 1: of all north Star. 493 00:26:04,760 --> 00:26:12,440 Speaker 8: Yeah, never stop between them and uh organized early yes, 494 00:26:12,640 --> 00:26:13,800 Speaker 8: but definitely Ellen. 495 00:26:13,680 --> 00:26:14,280 Speaker 7: S for sure. 496 00:26:14,400 --> 00:26:15,520 Speaker 1: Okay. Yeah. 497 00:26:15,640 --> 00:26:18,560 Speaker 8: So and so we made our couple of first records 498 00:26:19,080 --> 00:26:21,960 Speaker 8: on which was called rat a Tat tat the sound 499 00:26:22,080 --> 00:26:22,879 Speaker 8: of the Whack. 500 00:26:27,400 --> 00:26:29,159 Speaker 7: And you know, we all doing a chance we do 501 00:26:29,240 --> 00:26:32,400 Speaker 7: it and uh, you get you know all. 502 00:26:32,320 --> 00:26:34,080 Speaker 8: That, you know all that because everybody was doing that 503 00:26:34,400 --> 00:26:36,960 Speaker 8: at that time, and uh and then we did a 504 00:26:37,040 --> 00:26:40,440 Speaker 8: couple of records that cinepop only that before we form 505 00:26:40,520 --> 00:26:41,080 Speaker 8: Slan Village. 506 00:26:41,119 --> 00:26:43,359 Speaker 1: Sure their records, I. 507 00:26:43,400 --> 00:26:45,720 Speaker 7: Said, only two records on two records literally to. 508 00:26:46,840 --> 00:26:48,680 Speaker 1: No, no, no, I mean like physical like I can 509 00:26:48,760 --> 00:26:50,080 Speaker 1: find this own eBay records. 510 00:26:50,280 --> 00:26:51,960 Speaker 7: Oh no, not physical records. 511 00:26:52,119 --> 00:26:54,520 Speaker 1: Okay, y'all just made something. I was about to say, man, 512 00:26:54,680 --> 00:27:00,320 Speaker 1: okay records back then, Like what was the sense of 513 00:27:00,400 --> 00:27:00,960 Speaker 1: making music? 514 00:27:01,080 --> 00:27:05,720 Speaker 3: Like who was because you're naming a lot of NCA's 515 00:27:05,920 --> 00:27:08,240 Speaker 3: and a lot of beat makers, so like what was 516 00:27:08,560 --> 00:27:10,359 Speaker 3: what was the division of labor at least for that 517 00:27:10,440 --> 00:27:11,480 Speaker 3: particular project, Like. 518 00:27:13,000 --> 00:27:16,440 Speaker 7: I think why j produced one and Dyla produced one. 519 00:27:17,040 --> 00:27:22,560 Speaker 8: Put only did backgrounds and me ten Dila rapped and 520 00:27:22,760 --> 00:27:26,280 Speaker 8: U featured this one guy, this guy who was a 521 00:27:26,440 --> 00:27:27,880 Speaker 8: who turned out to be an R and B singer, 522 00:27:27,880 --> 00:27:28,600 Speaker 8: I forget his name. 523 00:27:30,080 --> 00:27:31,600 Speaker 7: Uh yeah, but yeah. 524 00:27:32,359 --> 00:27:35,400 Speaker 2: I was like, all right, right, no, I mean he underground. 525 00:27:35,440 --> 00:27:36,520 Speaker 7: He didn't he didn't blow. 526 00:27:36,359 --> 00:27:41,080 Speaker 3: Up big, but he okay, I see. And that configuration 527 00:27:42,520 --> 00:27:45,119 Speaker 3: lasted for how long? And then how did it morphed 528 00:27:45,119 --> 00:27:48,120 Speaker 3: into the second phase of the group, which I guess 529 00:27:48,280 --> 00:27:49,679 Speaker 3: is slum village. 530 00:27:50,720 --> 00:27:53,800 Speaker 8: And it maybe lasts for a few months before everybody 531 00:27:53,920 --> 00:27:57,560 Speaker 8: decided at that time that you know, dancing was kind 532 00:27:57,600 --> 00:28:00,640 Speaker 8: of been getting played out a little bit, maybe maybe 533 00:28:00,680 --> 00:28:03,400 Speaker 8: a year. Maybe dancer was getting played obviously, we don't 534 00:28:03,400 --> 00:28:06,480 Speaker 8: really need to dance with no more. And Andy was 535 00:28:06,560 --> 00:28:08,800 Speaker 8: like Dyla's beast is incredible. I don't need to be 536 00:28:08,840 --> 00:28:11,680 Speaker 8: doing no beats no more. And then it was like, well, 537 00:28:12,440 --> 00:28:15,280 Speaker 8: we only people left, so it was basically there. So 538 00:28:15,440 --> 00:28:18,000 Speaker 8: we was in the basement one day and. 539 00:28:18,920 --> 00:28:21,280 Speaker 3: Did you know it was like when you're hearing this 540 00:28:21,359 --> 00:28:26,159 Speaker 3: stuff and I've heard even in the what what we 541 00:28:26,320 --> 00:28:31,159 Speaker 3: call the camp, the camp amp Era shout out to 542 00:28:31,200 --> 00:28:38,000 Speaker 3: amp Fiddler yeah, the camp Amp era of Dyla's musical development. 543 00:28:39,880 --> 00:28:42,320 Speaker 3: Were you guys at all aware, like, all right, this 544 00:28:42,480 --> 00:28:45,760 Speaker 3: is a weird ass shit, Like I live in a 545 00:28:45,920 --> 00:28:50,000 Speaker 3: territory and still to this day, I know that a 546 00:28:50,080 --> 00:28:55,080 Speaker 3: part of my production has to appease the need to 547 00:28:55,120 --> 00:28:58,959 Speaker 3: please the barber shop in Tarik's head, you know, whereas 548 00:28:59,000 --> 00:29:01,320 Speaker 3: like sometimes I want to do some crazy, off kilter shit, 549 00:29:01,800 --> 00:29:03,600 Speaker 3: but then I'll give it to Tariqu like he ain't 550 00:29:03,640 --> 00:29:06,479 Speaker 3: gonna fuck with this because it's just too weird sounded. 551 00:29:06,880 --> 00:29:10,560 Speaker 3: But it's almost like like all those I think the 552 00:29:10,640 --> 00:29:13,360 Speaker 3: earliest song I heard from you guys is was it 553 00:29:13,640 --> 00:29:15,840 Speaker 3: here come the drums or bring the drums or. 554 00:29:16,280 --> 00:29:17,440 Speaker 7: Yeah, yeah, I know what you're talking about. 555 00:29:17,520 --> 00:29:20,880 Speaker 1: Yes about the drips, which is crazy shit, you know 556 00:29:20,880 --> 00:29:21,200 Speaker 1: what I mean. 557 00:29:21,520 --> 00:29:23,760 Speaker 3: Even the early demos of the songs that wound up 558 00:29:23,760 --> 00:29:27,920 Speaker 3: on Fantastic were just super weird, Like how is there 559 00:29:28,040 --> 00:29:32,960 Speaker 3: no filter for especially coming from Detroit, which I imagine 560 00:29:34,200 --> 00:29:36,320 Speaker 3: you have to have a protective shell of hardness to 561 00:29:36,360 --> 00:29:41,040 Speaker 3: get respect. You guys were just like anything goes and 562 00:29:41,120 --> 00:29:46,560 Speaker 3: if it's weird, it's dope, Like, yes, this is true. 563 00:29:46,960 --> 00:29:50,160 Speaker 8: I mean, I think, like I say, most of our 564 00:29:50,240 --> 00:29:54,320 Speaker 8: albums were based on comedy, so just us making each 565 00:29:54,320 --> 00:29:57,440 Speaker 8: other live is what we was really doing. So we 566 00:29:57,600 --> 00:29:59,760 Speaker 8: had dad, so we would you know, when we was 567 00:29:59,800 --> 00:30:03,240 Speaker 8: working our little factory jobs together, we basically laughing all day, 568 00:30:03,600 --> 00:30:06,360 Speaker 8: creating ideas using that for songs, just you know. 569 00:30:06,600 --> 00:30:09,040 Speaker 7: So it just basically came out of humor and it 570 00:30:09,160 --> 00:30:09,680 Speaker 7: was enough. 571 00:30:09,600 --> 00:30:11,680 Speaker 8: Of us where we felt like we could just stay 572 00:30:11,720 --> 00:30:14,000 Speaker 8: in our bubble and never be a part of the 573 00:30:14,080 --> 00:30:16,280 Speaker 8: real world almost, you know what I'm saying. 574 00:30:16,920 --> 00:30:19,600 Speaker 7: So we were just in our bubble just period. 575 00:30:20,000 --> 00:30:21,840 Speaker 3: Like when you play it for your boys and there's 576 00:30:21,880 --> 00:30:24,840 Speaker 3: no cringing, like that's a demo fast forward, Like. 577 00:30:25,880 --> 00:30:28,080 Speaker 7: All my boys was just as weird. So it was 578 00:30:28,160 --> 00:30:29,959 Speaker 7: just like we was all found each other. 579 00:30:30,240 --> 00:30:34,240 Speaker 8: It was a good hundred of us eventually, but you 580 00:30:34,320 --> 00:30:36,040 Speaker 8: know what I'm saying, But the core was like a 581 00:30:36,080 --> 00:30:39,120 Speaker 8: good team. So yeah, we was all just as weird, 582 00:30:39,160 --> 00:30:40,760 Speaker 8: and they was like the weird of the best. Oh man, 583 00:30:40,800 --> 00:30:43,760 Speaker 8: it's you know what I'm saying, Because to us, hip 584 00:30:43,800 --> 00:30:46,680 Speaker 8: hop was all new. We didn't kind of grow up 585 00:30:46,720 --> 00:30:50,120 Speaker 8: on no structure like New York did when hip hop 586 00:30:50,240 --> 00:30:51,880 Speaker 8: was a certain type of way, and you know what 587 00:30:51,960 --> 00:30:54,880 Speaker 8: I'm saying, it was just whatever I creative you can get, 588 00:30:55,560 --> 00:30:56,320 Speaker 8: you know what I'm saying. 589 00:30:56,800 --> 00:30:59,240 Speaker 3: And that's that's kind of what we incorporated for people 590 00:30:59,280 --> 00:31:02,280 Speaker 3: that so immersed pop culture? How are you getting this 591 00:31:02,400 --> 00:31:07,000 Speaker 3: stuff where? And from my first fifteen years of coming 592 00:31:07,040 --> 00:31:11,040 Speaker 3: to Detroit, there really wasn't nothing like I knew you guys, 593 00:31:11,480 --> 00:31:13,040 Speaker 3: So you guys were entertainment enough. 594 00:31:13,440 --> 00:31:18,000 Speaker 1: But for the average person, like what do you what 595 00:31:18,840 --> 00:31:19,719 Speaker 1: was there for culture? 596 00:31:20,920 --> 00:31:25,200 Speaker 7: Well? The cultures we're building this thing up, you know. 597 00:31:25,240 --> 00:31:28,440 Speaker 8: You know what I'm saying from from stone by stone, 598 00:31:28,600 --> 00:31:32,920 Speaker 8: So you you saying, Okay, when Club Gillna started coming up, 599 00:31:32,960 --> 00:31:34,920 Speaker 8: we started building up our audience where we had. 600 00:31:34,800 --> 00:31:37,720 Speaker 7: A literal following of people. 601 00:31:37,840 --> 00:31:40,520 Speaker 8: At least we can we can get one hundred people 602 00:31:40,640 --> 00:31:43,000 Speaker 8: to come to our show, you know what I'm saying. 603 00:31:43,240 --> 00:31:45,840 Speaker 7: And that's why when you hear when you hear the 604 00:31:45,920 --> 00:31:46,880 Speaker 7: Look of Love and you hear. 605 00:31:48,880 --> 00:31:51,200 Speaker 8: You hear an audience singing it, that's just fans before 606 00:31:51,240 --> 00:31:53,720 Speaker 8: we even got it got on, you know what I'm saying, 607 00:31:53,760 --> 00:31:56,920 Speaker 8: because we had already pulled up a base. He's by piece, 608 00:31:57,960 --> 00:31:59,840 Speaker 8: you know what I'm saying. As far as the movie 609 00:32:00,040 --> 00:32:01,920 Speaker 8: it is, it was one theater in the hood that 610 00:32:02,040 --> 00:32:02,960 Speaker 8: you could go through called. 611 00:32:02,800 --> 00:32:03,360 Speaker 7: A bel air. 612 00:32:04,000 --> 00:32:08,600 Speaker 1: No, no, I didn't go there. I know about the 613 00:32:08,680 --> 00:32:09,160 Speaker 1: bel Air. 614 00:32:12,160 --> 00:32:13,440 Speaker 8: I used to have to catch a bus to get 615 00:32:13,480 --> 00:32:16,640 Speaker 8: to it. But yeah, it's nice theater though, But yeah, 616 00:32:17,040 --> 00:32:18,640 Speaker 8: that's the spot. And I knew you was the movie 617 00:32:18,680 --> 00:32:21,560 Speaker 8: man because you know, we went to the movies one time. 618 00:32:21,640 --> 00:32:22,880 Speaker 8: We was on the road together somewhere. 619 00:32:23,440 --> 00:32:28,040 Speaker 1: Yeah, that's my thing. I was like, damn nothing, what 620 00:32:28,160 --> 00:32:29,040 Speaker 1: do y'all do up here? 621 00:32:29,760 --> 00:32:34,600 Speaker 3: So all right, So the thing is is that when 622 00:32:34,720 --> 00:32:38,560 Speaker 3: Fantastic is finally coming to Fruition, so what's what's the 623 00:32:38,720 --> 00:32:39,840 Speaker 3: discussion in. 624 00:32:41,600 --> 00:32:45,240 Speaker 1: Terms of like, let's we we gotta make our own tape. 625 00:32:45,280 --> 00:32:47,240 Speaker 3: And I heard there was a rumor that you guys 626 00:32:47,320 --> 00:32:52,680 Speaker 3: were initially about to sign to Ruben Rodriguez's Pendulum label. 627 00:32:54,080 --> 00:32:56,560 Speaker 8: Yeah, that was that was the possibility, but that was 628 00:32:56,720 --> 00:32:59,120 Speaker 8: that was later though a little bit later now, But yeah, 629 00:32:59,160 --> 00:32:59,720 Speaker 8: I was. 630 00:33:00,160 --> 00:33:03,360 Speaker 1: Was earlier before because I think Pendsulum came out like 631 00:33:03,520 --> 00:33:03,960 Speaker 1: ninety two. 632 00:33:04,040 --> 00:33:08,440 Speaker 5: Correct, Yeah, Pendulum is before volume uh Fantastic Volume one. 633 00:33:09,000 --> 00:33:13,200 Speaker 7: That was way popsic. Yeah Sally, that was true. Okay, Yeah, 634 00:33:13,240 --> 00:33:15,920 Speaker 7: that's what happened. Well, we were signed to John Sally 635 00:33:16,080 --> 00:33:16,680 Speaker 7: and his Dad. 636 00:33:17,240 --> 00:33:21,360 Speaker 8: They had a uh they had a place called Hoops Studio, Okay, 637 00:33:22,680 --> 00:33:25,000 Speaker 8: and uh basically they were gonna sign us they was 638 00:33:25,560 --> 00:33:28,280 Speaker 8: was it was between us and uh diggable planners. 639 00:33:29,040 --> 00:33:37,040 Speaker 3: Oh wow, oh WOWE and y'all almost Yeah, this explains it. 640 00:33:37,680 --> 00:33:41,080 Speaker 3: The thing is is that you guys sounds like when 641 00:33:41,080 --> 00:33:45,560 Speaker 3: I heard Fantastic, we were more amazed that like this 642 00:33:45,760 --> 00:33:48,120 Speaker 3: isn't it doesn't feel like a demo. This sounds it 643 00:33:48,200 --> 00:33:50,880 Speaker 3: sounds like this group has had experience before. Y'all sounded 644 00:33:51,000 --> 00:33:54,480 Speaker 3: like professional. Now Fantastic winds up in my hands in 645 00:33:54,560 --> 00:33:58,920 Speaker 3: like ninety six ninety seven, So even by ninety two, 646 00:33:59,120 --> 00:34:05,120 Speaker 3: you guys were at least set or poised to make 647 00:34:05,200 --> 00:34:11,200 Speaker 3: your grand rival or whatever. So yeah, now that makes sense. 648 00:34:11,600 --> 00:34:13,439 Speaker 3: Do you think you guys were ready for that back 649 00:34:13,480 --> 00:34:14,040 Speaker 3: then or. 650 00:34:15,719 --> 00:34:15,759 Speaker 7: No? 651 00:34:16,280 --> 00:34:18,640 Speaker 1: Are you glad how how it turned out? Yes? 652 00:34:18,880 --> 00:34:21,719 Speaker 8: Absolutely, because if we would have came out, we had 653 00:34:21,800 --> 00:34:24,200 Speaker 8: this song called is It the Magic? And it had 654 00:34:24,239 --> 00:34:28,400 Speaker 8: the upright base and it was it was everything you wanted, 655 00:34:28,480 --> 00:34:30,560 Speaker 8: a jazz slash. 656 00:34:32,400 --> 00:34:33,719 Speaker 7: Rap it could be. 657 00:34:34,000 --> 00:34:34,520 Speaker 1: It was all that. 658 00:34:34,840 --> 00:34:37,040 Speaker 8: You know what I'm saying, am Philip was on the planet. 659 00:34:37,040 --> 00:34:40,759 Speaker 8: Shout out to Phila always shown us Love. Yeah, so 660 00:34:40,920 --> 00:34:43,600 Speaker 8: that was that was that record. No, I don't think 661 00:34:43,600 --> 00:34:46,680 Speaker 8: we was ready because we were still developing styles and 662 00:34:46,840 --> 00:34:47,560 Speaker 8: I just think. 663 00:34:49,320 --> 00:34:51,520 Speaker 7: We weren't ready at that time. What do you think, Jay. 664 00:34:53,280 --> 00:34:57,920 Speaker 5: Hey Man, Yeah, that's what I say. I think it 665 00:34:58,040 --> 00:34:59,600 Speaker 5: worked out exactly how it was supposed to. 666 00:35:00,120 --> 00:35:04,480 Speaker 6: I was recently doing this radio show about the Milestone 667 00:35:04,640 --> 00:35:09,480 Speaker 6: Records label and McCoy tyner specifically, and the guy who 668 00:35:09,560 --> 00:35:12,920 Speaker 6: owned that label or and keep News, said something to 669 00:35:12,960 --> 00:35:18,759 Speaker 6: the effect of when he first met McCoy, you know, 670 00:35:18,880 --> 00:35:21,160 Speaker 6: McCoy was like, you know, you gave me this one session, 671 00:35:21,280 --> 00:35:24,920 Speaker 6: then you never called me again until until later on, 672 00:35:26,120 --> 00:35:30,439 Speaker 6: and he said, well, back then, you weren't McCoy yet. 673 00:35:31,200 --> 00:35:33,560 Speaker 6: You weren't McCoy tyner yet, meaning you know, he hadn't 674 00:35:34,640 --> 00:35:36,520 Speaker 6: developed his unique style, et cetera. 675 00:35:36,719 --> 00:35:37,600 Speaker 1: He found his voice. 676 00:35:38,160 --> 00:35:40,000 Speaker 6: So when when you all were starting out this time 677 00:35:40,080 --> 00:35:43,040 Speaker 6: period that we're talking about, was dilla dilla yet? Is 678 00:35:43,600 --> 00:35:47,360 Speaker 6: what I'm asking, like his earliest beats had he found 679 00:35:47,960 --> 00:35:50,719 Speaker 6: what we now know as what he did? The quest 680 00:35:50,760 --> 00:35:51,839 Speaker 6: could probably answer this question. 681 00:35:52,320 --> 00:35:55,440 Speaker 3: I think I think as a as a listener, there 682 00:35:55,520 --> 00:35:59,560 Speaker 3: were already signs of what was coming in the future, 683 00:36:00,760 --> 00:36:04,719 Speaker 3: So sort of like and you know, I've gotten my 684 00:36:04,800 --> 00:36:07,000 Speaker 3: hands on a lot of these, like ninety two beats, 685 00:36:07,080 --> 00:36:11,560 Speaker 3: ninety three beats. Yeah, even for back then, that was 686 00:36:11,640 --> 00:36:15,040 Speaker 3: a really unorthodox thinking that. 687 00:36:15,560 --> 00:36:15,719 Speaker 8: You know. 688 00:36:16,080 --> 00:36:20,160 Speaker 3: I was like, wow, even early, like I'm pressed to 689 00:36:20,239 --> 00:36:23,000 Speaker 3: find something that I'm like that's not really whack, Like 690 00:36:23,680 --> 00:36:25,000 Speaker 3: you see that he was searching for it. 691 00:36:25,120 --> 00:36:28,920 Speaker 1: Of course he perfects it, but I don't know that's 692 00:36:29,160 --> 00:36:32,120 Speaker 1: that to me, Like coming out the gate, it was. 693 00:36:32,120 --> 00:36:36,000 Speaker 3: An immediately like a jarring thing of like, this isn't 694 00:36:36,200 --> 00:36:40,400 Speaker 3: like how the hip hop I grew up sounding is 695 00:36:40,560 --> 00:36:43,560 Speaker 3: made so but it didn't sound like an amateur making. 696 00:36:43,640 --> 00:36:46,279 Speaker 1: It sounded like someone doing it on purpose. 697 00:36:46,560 --> 00:36:49,880 Speaker 6: Right, But you all recognized at that, even early on 698 00:36:50,120 --> 00:36:52,120 Speaker 6: that he was a special talent. 699 00:36:52,360 --> 00:36:54,360 Speaker 7: Yes, when I heard its beat, I was like, this 700 00:36:54,440 --> 00:36:56,320 Speaker 7: is it. This is it. 701 00:36:56,760 --> 00:37:00,400 Speaker 8: Early early, first of all, you think it just you 702 00:37:00,719 --> 00:37:03,279 Speaker 8: and your neighborhood, like, oh, he's just good for your neighborhood. 703 00:37:03,840 --> 00:37:06,480 Speaker 8: But then you started it started branching up. You're like, 704 00:37:06,800 --> 00:37:11,960 Speaker 8: wait a minute, this guy is really incredible and like 705 00:37:12,120 --> 00:37:13,920 Speaker 8: you know, like I said, he started off with just 706 00:37:14,000 --> 00:37:17,279 Speaker 8: a pause and Cassette took that was then went to 707 00:37:17,400 --> 00:37:19,520 Speaker 8: this and went to that learner. It was like, man, 708 00:37:19,600 --> 00:37:22,240 Speaker 8: I was amazed. I was just happy to be alone 709 00:37:22,280 --> 00:37:25,080 Speaker 8: for the ride. For the most part, before we even 710 00:37:25,160 --> 00:37:28,279 Speaker 8: got a chance to develop what slum village would come 711 00:37:28,320 --> 00:37:28,480 Speaker 8: to be. 712 00:37:28,800 --> 00:37:30,759 Speaker 7: I was just looking at him like, how's this kid? 713 00:37:31,360 --> 00:37:34,640 Speaker 7: Who my age? Well, how's he doing? You know what 714 00:37:34,680 --> 00:37:37,759 Speaker 7: I'm saying. I'm looking right away the same age, you know. 715 00:37:37,880 --> 00:37:39,880 Speaker 7: You know know what I'm saying. And he was just 716 00:37:40,000 --> 00:37:40,360 Speaker 7: killing it. 717 00:37:40,880 --> 00:37:42,640 Speaker 1: You know what I'm saying. What year were you born? 718 00:37:42,840 --> 00:37:43,160 Speaker 7: R Jay? 719 00:37:43,320 --> 00:37:45,040 Speaker 1: Like, how old were you at the time when this 720 00:37:45,239 --> 00:37:45,720 Speaker 1: is happening? 721 00:37:46,640 --> 00:37:47,160 Speaker 7: Ninety two? 722 00:37:47,440 --> 00:37:49,319 Speaker 5: I'm about eight nine years old. 723 00:37:50,520 --> 00:37:50,800 Speaker 1: Okay. 724 00:37:50,920 --> 00:37:55,040 Speaker 3: So when you're first hearing this, does it hit you different? 725 00:37:55,080 --> 00:37:57,400 Speaker 3: I think as an adult, that hits me different simply 726 00:37:57,480 --> 00:38:00,840 Speaker 3: because you know, I knew what the lay of the 727 00:38:00,960 --> 00:38:02,800 Speaker 3: land was. For me, the lay of the land was 728 00:38:02,960 --> 00:38:06,920 Speaker 3: like what tribe was doing, and what Dayla was doing, 729 00:38:06,960 --> 00:38:09,319 Speaker 3: and what public enemy was doing, what Morley mal was doing. 730 00:38:10,040 --> 00:38:12,560 Speaker 3: And so Dyla's arrival was more akin to that of 731 00:38:12,760 --> 00:38:16,440 Speaker 3: like Godzilla come to town, like wait, what the hell 732 00:38:16,520 --> 00:38:18,040 Speaker 3: is that over there? You know, that sort of thing. 733 00:38:18,560 --> 00:38:22,520 Speaker 3: But for you to come, you know, to be much younger. 734 00:38:23,680 --> 00:38:26,160 Speaker 3: It's not like you had an established lay of the 735 00:38:26,239 --> 00:38:29,239 Speaker 3: land of what once was like, oh, black and white television, 736 00:38:29,400 --> 00:38:32,680 Speaker 3: Suddenly like and the Wizard of Ours, everything turns to color. 737 00:38:32,840 --> 00:38:36,919 Speaker 1: So for you, though, like, how are you receiving this At. 738 00:38:37,280 --> 00:38:40,360 Speaker 5: A young age, I knew it was dope because he 739 00:38:40,520 --> 00:38:44,040 Speaker 5: was producing for my kids group. So he was doing 740 00:38:44,120 --> 00:38:45,160 Speaker 5: some of our demos. 741 00:38:45,640 --> 00:38:49,480 Speaker 1: Oh wow, wait, really for sure? Tell me about this. 742 00:38:49,719 --> 00:38:50,520 Speaker 1: I didn't know this. 743 00:38:51,280 --> 00:38:55,319 Speaker 5: I had a group called First It went from rich 744 00:38:55,440 --> 00:38:59,080 Speaker 5: Kids Kids you not. You know what I'm saying, And 745 00:38:59,320 --> 00:39:04,000 Speaker 5: it's always and he was and he was producing the 746 00:39:04,120 --> 00:39:08,760 Speaker 5: demos for us because of the studio. We was all signed, 747 00:39:08,880 --> 00:39:12,680 Speaker 5: so my proms had us signed. He had slum sign, 748 00:39:13,719 --> 00:39:17,960 Speaker 5: he had Paul Rosenberg, Eminem's manager, was signed to the label. 749 00:39:18,719 --> 00:39:19,680 Speaker 1: And he was rhyming. 750 00:39:20,480 --> 00:39:21,560 Speaker 2: Yeah, he was rhyming. 751 00:39:22,160 --> 00:39:23,320 Speaker 1: I need evidence. 752 00:39:24,840 --> 00:39:29,960 Speaker 7: It was dope too, Paul Bullet. Yes, it's as Skinny Supreme. 753 00:39:30,400 --> 00:39:30,880 Speaker 1: Did you know this? 754 00:39:31,880 --> 00:39:32,080 Speaker 2: Yeah? 755 00:39:32,200 --> 00:39:36,719 Speaker 4: Yeah, yeah, it's in Dan's book he talks about it 756 00:39:36,760 --> 00:39:37,200 Speaker 4: a little bit. 757 00:39:37,320 --> 00:39:37,520 Speaker 2: Yeah. 758 00:39:37,880 --> 00:39:39,800 Speaker 1: No, No, I just never heard the music. 759 00:39:40,800 --> 00:39:43,080 Speaker 2: I never heard the music, but I've heard the story. 760 00:39:43,640 --> 00:39:46,359 Speaker 1: Okay. Yeah, So it was all of us up there 761 00:39:46,640 --> 00:39:47,880 Speaker 1: and this Barack Recordings. 762 00:39:48,360 --> 00:39:51,680 Speaker 5: No, this is hoo sounds. This is in ninety two 763 00:39:51,880 --> 00:39:55,000 Speaker 5: when he opened the studio with Sally. We would go 764 00:39:55,120 --> 00:39:57,759 Speaker 5: up there and I would see him. You know, I 765 00:39:57,880 --> 00:40:00,719 Speaker 5: come home from school and seeing the make beats in 766 00:40:00,760 --> 00:40:03,279 Speaker 5: my kitchen, you know what I'm saying. So it was 767 00:40:03,440 --> 00:40:06,320 Speaker 5: just like, Okay, this is like a big brother and 768 00:40:06,360 --> 00:40:09,080 Speaker 5: I'm seeing him, you know what I'm saying. Record and 769 00:40:09,160 --> 00:40:13,080 Speaker 5: then he was making demos for us, so I always knew, 770 00:40:13,440 --> 00:40:14,560 Speaker 5: you know what I'm saying, he was dope. 771 00:40:15,280 --> 00:40:17,480 Speaker 1: So who's teaching you how to make beats at this time? 772 00:40:17,600 --> 00:40:17,640 Speaker 5: Like? 773 00:40:17,719 --> 00:40:21,480 Speaker 3: How old were you when you started messing around on machines? 774 00:40:21,600 --> 00:40:23,640 Speaker 3: What technology was at the studio? 775 00:40:24,800 --> 00:40:29,520 Speaker 5: I start making beats the first time I was on 776 00:40:29,640 --> 00:40:34,120 Speaker 5: the DMX drum machine, just programming in the drum machine, 777 00:40:34,640 --> 00:40:37,400 Speaker 5: and I was just picking up pops equipment. When I 778 00:40:37,560 --> 00:40:42,000 Speaker 5: actually started producing was around the age of thirteen fourteen, 779 00:40:42,880 --> 00:40:46,120 Speaker 5: and just being at the studio, I was like, man, 780 00:40:46,160 --> 00:40:47,680 Speaker 5: I might as well give it a shot. So I 781 00:40:47,760 --> 00:40:50,040 Speaker 5: asked my Pops and he was like, man, I'm not 782 00:40:50,600 --> 00:40:53,040 Speaker 5: teaching you nothing, you know what I'm saying, Get the machine, 783 00:40:53,239 --> 00:40:56,080 Speaker 5: figure it out if you want to do it. So 784 00:40:56,560 --> 00:40:59,560 Speaker 5: I sat there and figured it out. Eventually the guys 785 00:40:59,640 --> 00:41:02,120 Speaker 5: come to studio. He like playing some beats. This is 786 00:41:02,200 --> 00:41:08,040 Speaker 5: around like ninety seven okay, you know what I'm saying, 787 00:41:08,400 --> 00:41:11,680 Speaker 5: and ninety eight, and I played them and they laughed 788 00:41:11,680 --> 00:41:13,759 Speaker 5: at the beats. Deyla vout ten and t was just 789 00:41:13,880 --> 00:41:18,839 Speaker 5: fell out laughing, and you know, they like these beats 790 00:41:18,880 --> 00:41:22,160 Speaker 5: funny as hell. So after they leave out, you know 791 00:41:22,200 --> 00:41:24,719 Speaker 5: what I'm saying, Dylan like, yo, man, let me show 792 00:41:24,719 --> 00:41:26,960 Speaker 5: you some stuff. So he showed me, you know what 793 00:41:26,960 --> 00:41:28,680 Speaker 5: I'm saying, how to work the three thousand. 794 00:41:29,120 --> 00:41:29,480 Speaker 2: Okay. 795 00:41:29,920 --> 00:41:32,920 Speaker 5: So I'm like, okay, So he like, work on that, 796 00:41:33,080 --> 00:41:35,200 Speaker 5: and when I come back, I'm gonna show you some 797 00:41:35,320 --> 00:41:36,880 Speaker 5: more stuff. I want to hear what you're doing. So 798 00:41:37,000 --> 00:41:40,720 Speaker 5: he would come back in check up, Okay, what you got? Okay? 799 00:41:40,840 --> 00:41:42,600 Speaker 5: This is how you work the effects in the three 800 00:41:42,680 --> 00:41:46,800 Speaker 5: thousand to get delays and stuff. And then eventually, you 801 00:41:46,880 --> 00:41:49,279 Speaker 5: know what I'm saying, Corrupt came to Detroit and I 802 00:41:49,440 --> 00:41:51,880 Speaker 5: ended up producing some songs for Corrupt. 803 00:41:52,360 --> 00:41:53,279 Speaker 1: How old were you the time? 804 00:41:54,080 --> 00:41:54,560 Speaker 5: Fifteen? 805 00:41:55,280 --> 00:41:57,120 Speaker 1: Wow? Okay. 806 00:41:57,800 --> 00:42:02,000 Speaker 5: So when Dylan heard the beats that I did for Corrupt, 807 00:42:02,239 --> 00:42:06,879 Speaker 5: he was like, okay, now you ready. And then that's 808 00:42:06,960 --> 00:42:10,480 Speaker 5: when you know it just I kind of got in 809 00:42:10,560 --> 00:42:13,920 Speaker 5: a mix with that and then producing a climax with 810 00:42:14,080 --> 00:42:17,320 Speaker 5: Dylan right and mixing the record and all of that stuff. 811 00:42:17,400 --> 00:42:19,840 Speaker 5: That's how I ended up at the video shooting with 812 00:42:20,040 --> 00:42:20,359 Speaker 5: you all. 813 00:42:21,360 --> 00:42:29,760 Speaker 1: Ah nice nice damn. So you were literally young RJ. Sure, yes, literally? 814 00:42:30,520 --> 00:42:32,319 Speaker 1: So can you tell me how? 815 00:42:32,760 --> 00:42:36,719 Speaker 3: And the whole process of making Fantastic one, because for me, 816 00:42:37,880 --> 00:42:44,600 Speaker 3: the bomb at Dyla dropped on me was that he 817 00:42:44,760 --> 00:42:49,960 Speaker 3: made the music for Fantastic Volume one. After the vocals 818 00:42:50,000 --> 00:42:53,080 Speaker 3: were done. He was like, he would just do a 819 00:42:53,239 --> 00:42:57,000 Speaker 3: high hat and you guys would just rhyme to the 820 00:42:57,080 --> 00:42:57,480 Speaker 3: high hat. 821 00:42:57,800 --> 00:43:01,200 Speaker 8: I would say this number one. It is what happened though. 822 00:43:01,680 --> 00:43:06,560 Speaker 8: Volume one got done because a beat, a dumb beat. 823 00:43:07,200 --> 00:43:08,200 Speaker 8: It was the group five Ella. 824 00:43:08,239 --> 00:43:10,879 Speaker 3: Shout out to them and this saf i ella that's 825 00:43:10,960 --> 00:43:15,239 Speaker 3: on all of y'alls on hey five Ella? 826 00:43:15,640 --> 00:43:15,799 Speaker 7: Wait? 827 00:43:15,880 --> 00:43:16,520 Speaker 1: Are y'all singing? 828 00:43:16,760 --> 00:43:16,920 Speaker 5: Wait? 829 00:43:17,160 --> 00:43:19,759 Speaker 1: Is this five four three two one ll thing again? 830 00:43:19,840 --> 00:43:21,879 Speaker 1: Are y'all like beefing with each other on the song? 831 00:43:22,400 --> 00:43:22,960 Speaker 7: Yes? Yes? 832 00:43:23,080 --> 00:43:25,720 Speaker 1: Wait wait wait? I was only playing are you serious? 833 00:43:26,800 --> 00:43:30,719 Speaker 8: First of all, every song on Volume one is me 834 00:43:31,040 --> 00:43:33,120 Speaker 8: to talk about Dylan Dyla, talk about me or him 835 00:43:33,160 --> 00:43:34,040 Speaker 8: talking about boxing. 836 00:43:34,560 --> 00:43:39,839 Speaker 3: I don't even ask that question. I'm talking about other crews. Yeah, 837 00:43:39,960 --> 00:43:42,279 Speaker 3: you guys are just basically using the microphone as a 838 00:43:42,320 --> 00:43:49,200 Speaker 3: pulpit bully like method. Yes, yes, yes, you gotta give 839 00:43:49,200 --> 00:43:51,080 Speaker 3: me specifics because when. 840 00:43:50,960 --> 00:43:53,680 Speaker 7: Dylan saying, I'm still sicking niggas popping up in my crib, but. 841 00:43:53,800 --> 00:43:57,080 Speaker 8: He talking about to announced the ship about me because 842 00:43:57,200 --> 00:44:00,840 Speaker 8: this nigga he told me, he said, he'll tell you 843 00:44:00,920 --> 00:44:02,680 Speaker 8: to come to his crib and then he won't ask 844 00:44:02,719 --> 00:44:03,080 Speaker 8: it the dog. 845 00:44:03,840 --> 00:44:05,440 Speaker 7: And then he's saying, I'm pumping up, but I'm not 846 00:44:05,520 --> 00:44:08,839 Speaker 7: popping at the crib you're talking to. I walked over here. 847 00:44:10,920 --> 00:44:12,719 Speaker 1: Never knew this ship like that. 848 00:44:13,000 --> 00:44:15,040 Speaker 7: Man us to stuff like that. 849 00:44:15,320 --> 00:44:20,880 Speaker 1: Yes, and so counterfeit. Niggas be running like, yeah. 850 00:44:21,520 --> 00:44:24,319 Speaker 7: Come back, yes we That's all we did all day 851 00:44:24,520 --> 00:44:26,520 Speaker 7: was talk about each other on the bus. 852 00:44:27,160 --> 00:44:29,839 Speaker 1: You were lightly ranking on each other. 853 00:44:30,520 --> 00:44:32,800 Speaker 7: Yeah, I mean, you know, because that's kind of niggas. 854 00:44:32,840 --> 00:44:35,279 Speaker 8: We was when I don't know why the fun I'm 855 00:44:35,320 --> 00:44:39,239 Speaker 8: fucking with you, Well, that's that was a chick that 856 00:44:39,480 --> 00:44:40,400 Speaker 8: the Deyla was messing with. 857 00:44:41,040 --> 00:44:43,120 Speaker 7: That's that it was. It wasn't it wasn't, I ain't 858 00:44:43,120 --> 00:44:43,600 Speaker 7: talking about it. 859 00:44:43,680 --> 00:44:45,520 Speaker 8: But then by ten threw a couple of slick lines 860 00:44:45,560 --> 00:44:50,120 Speaker 8: in there too, though A yeah, all we used to do. 861 00:44:50,640 --> 00:44:52,480 Speaker 8: But like I said, it started off with a beef 862 00:44:52,560 --> 00:44:56,560 Speaker 8: with them, and Dylan had produced a whole tape now 863 00:44:56,640 --> 00:45:00,680 Speaker 8: Man you and came out with official nothing yet, and 864 00:45:00,800 --> 00:45:03,320 Speaker 8: they was bragging like Dyla did our stuff before he 865 00:45:03,440 --> 00:45:09,600 Speaker 8: did y'alls boom, So here come watch the hyping us up. 866 00:45:09,760 --> 00:45:12,960 Speaker 8: The first song we're gonna do is players talking about them. 867 00:45:13,440 --> 00:45:14,680 Speaker 8: That's the first song we did. 868 00:45:16,080 --> 00:45:16,520 Speaker 7: Players. 869 00:45:17,120 --> 00:45:19,160 Speaker 8: We were talking about them and this other guy from 870 00:45:19,200 --> 00:45:20,960 Speaker 8: the old hip hop scene that I was talking about 871 00:45:21,000 --> 00:45:24,040 Speaker 8: personally because we was dating the same girl, and he 872 00:45:24,120 --> 00:45:27,799 Speaker 8: got mad and I tried to anyway, but yeah, something 873 00:45:27,840 --> 00:45:31,320 Speaker 8: like that. So so that's how it all kind of started. 874 00:45:32,080 --> 00:45:32,239 Speaker 7: You know. 875 00:45:32,640 --> 00:45:35,000 Speaker 1: After that, what is the seven eight eight. 876 00:45:35,440 --> 00:45:40,040 Speaker 8: Seven eighty eight is our birthdays, So I'm I'm Dela's 877 00:45:40,160 --> 00:45:45,239 Speaker 8: February seventh, I'm uh November eighth, and by Tennis March eighth, 878 00:45:45,560 --> 00:45:47,440 Speaker 8: so it's it's just our birthdays. 879 00:45:48,040 --> 00:45:48,960 Speaker 1: So weird, all right. 880 00:45:49,640 --> 00:45:53,560 Speaker 7: So it was inspired by that. So we we did 881 00:45:53,680 --> 00:45:56,359 Speaker 7: like half of the take to just clicks and then 882 00:45:56,560 --> 00:46:00,359 Speaker 7: half we did beats. So I went off. But even 883 00:46:00,400 --> 00:46:04,320 Speaker 7: with the beats that we did. He's still remixed. It 884 00:46:04,480 --> 00:46:08,520 Speaker 7: wasn't the same either. So so that's how we did volume, 885 00:46:08,680 --> 00:46:10,080 Speaker 7: and we did it, like I said, we did. 886 00:46:09,960 --> 00:46:12,160 Speaker 8: It in a week because we had all these rhymes 887 00:46:12,200 --> 00:46:14,920 Speaker 8: that we and songs, you know what I'm saying, just 888 00:46:15,239 --> 00:46:17,960 Speaker 8: from ten years of being together. You gotta we was 889 00:46:18,000 --> 00:46:20,879 Speaker 8: together for a long time before we actually came kind 890 00:46:20,880 --> 00:46:22,160 Speaker 8: of out, you know what I'm saying. 891 00:46:22,239 --> 00:46:24,480 Speaker 2: So what did that record? Volume went on? Because it 892 00:46:24,840 --> 00:46:28,280 Speaker 2: sounds like y'all just recording on like headphone mic, like all. 893 00:46:28,200 --> 00:46:31,080 Speaker 7: Type we recorded. 894 00:46:31,120 --> 00:46:33,080 Speaker 8: We record part of it on hand phone mis we 895 00:46:33,440 --> 00:46:35,600 Speaker 8: because we had two mics, and then we had to 896 00:46:35,680 --> 00:46:38,640 Speaker 8: do part of it straight to that. So it's stuff 897 00:46:39,239 --> 00:46:41,080 Speaker 8: right to that that mean one takes. That means if 898 00:46:41,120 --> 00:46:43,320 Speaker 8: you fuck that, we had all over again, do it 899 00:46:43,320 --> 00:46:45,759 Speaker 8: again because we're doing straight to that. Then we took 900 00:46:45,840 --> 00:46:48,960 Speaker 8: part over to our ja's studio room once we got 901 00:46:49,040 --> 00:46:49,719 Speaker 8: some time to do that. 902 00:46:50,000 --> 00:46:56,839 Speaker 7: So it's all over the place with that. Yeah, that's 903 00:46:56,880 --> 00:46:58,840 Speaker 7: why we had the role because we didn't did it 904 00:46:58,880 --> 00:47:02,160 Speaker 7: like twenty seven times like oh fuck that figure? 905 00:47:02,880 --> 00:47:05,080 Speaker 8: Yeah, I mean, but I enjoyed the process and when 906 00:47:05,080 --> 00:47:07,319 Speaker 8: we made it, or we made it, if you listen 907 00:47:07,400 --> 00:47:09,440 Speaker 8: to me at the end, I was like, Ooh, I 908 00:47:09,600 --> 00:47:13,400 Speaker 8: already knew. I already like in the UH or one 909 00:47:13,440 --> 00:47:15,480 Speaker 8: of those thugs, I already knew it was gonna be 910 00:47:15,480 --> 00:47:15,960 Speaker 8: a classic. 911 00:47:16,480 --> 00:47:16,640 Speaker 1: Yeah. 912 00:47:16,640 --> 00:47:18,320 Speaker 7: I was like, ooh, this is it? 913 00:47:19,040 --> 00:47:20,480 Speaker 1: So question all right? 914 00:47:20,560 --> 00:47:23,319 Speaker 3: I always wanted to know this, and I know I'm 915 00:47:23,400 --> 00:47:25,719 Speaker 3: like asking you to remember like inside jokes from like 916 00:47:25,800 --> 00:47:29,640 Speaker 3: almost thirty years ago, but so on fat Cats song 917 00:47:30,800 --> 00:47:33,200 Speaker 3: or at least at the end of how We Bullshit 918 00:47:34,360 --> 00:47:39,000 Speaker 3: after listening to this song for like twenty five years, 919 00:47:39,080 --> 00:47:43,560 Speaker 3: I listened. I listened to UH Fantastic, like it's entirely 920 00:47:43,640 --> 00:47:45,400 Speaker 3: last night for the first time in like maybe like 921 00:47:47,200 --> 00:47:49,600 Speaker 3: maybe like five years, Like it's it's been a minute 922 00:47:49,600 --> 00:47:52,040 Speaker 3: since I just sat down and listen to any album, 923 00:47:52,160 --> 00:47:53,600 Speaker 3: and it's in its entirety. 924 00:47:54,239 --> 00:47:56,960 Speaker 1: But it finally hit me. 925 00:47:58,120 --> 00:48:01,680 Speaker 3: Am I correct in assuming that you guys, at the 926 00:48:01,719 --> 00:48:05,359 Speaker 3: time that you recorded it, the Soul Train Awards must 927 00:48:05,440 --> 00:48:09,920 Speaker 3: have just came on, because you're obviously talking about escape. 928 00:48:10,200 --> 00:48:12,359 Speaker 3: Like at the very beginning, like you guys are trying 929 00:48:12,400 --> 00:48:14,040 Speaker 3: to remember their name. You're like, you know the group, 930 00:48:14,120 --> 00:48:17,319 Speaker 3: the sings get back you see LEXI, Right, But then 931 00:48:17,360 --> 00:48:21,880 Speaker 3: there's a moment where I believe that you guys are 932 00:48:22,080 --> 00:48:27,520 Speaker 3: mocking Color Me Bads first single of their sophomore album, 933 00:48:27,680 --> 00:48:28,440 Speaker 3: Time and Change. 934 00:48:29,120 --> 00:48:34,720 Speaker 8: Yeah, yeah, that's true. That's true. Yeah yeah, because comedy. 935 00:48:34,840 --> 00:48:35,680 Speaker 8: Everything was comedy. 936 00:48:35,760 --> 00:48:36,319 Speaker 7: That is true. 937 00:48:36,480 --> 00:48:36,799 Speaker 1: All right. 938 00:48:36,840 --> 00:48:38,879 Speaker 3: Do you remember the second album that Colored Me Bad? 939 00:48:38,960 --> 00:48:43,800 Speaker 3: Did Fonte where timon Chance? Yeah, when they they decided 940 00:48:43,880 --> 00:48:48,000 Speaker 3: to enlist Bootsy in the Pfunk All Stars as their band. 941 00:48:49,000 --> 00:48:51,000 Speaker 3: Oh I missed that point, but it was really weird, 942 00:48:51,120 --> 00:48:53,719 Speaker 3: like anywhere they were going, like literally like I'm looking 943 00:48:53,760 --> 00:48:57,400 Speaker 3: at Gary Mupp and Walker and Bootsy Collins and Catfish, 944 00:48:58,160 --> 00:49:01,719 Speaker 3: but just be side guys to call me bad, not 945 00:49:01,920 --> 00:49:05,840 Speaker 3: like hey, like at least in Delight, like Delight was 946 00:49:05,880 --> 00:49:08,279 Speaker 3: like yo, yo, we got run Bouc's robber band as 947 00:49:08,360 --> 00:49:11,480 Speaker 3: our band. But literally I saw performance on the Soul 948 00:49:11,520 --> 00:49:14,960 Speaker 3: Trade Awards. Finally I looked it up, and I believe 949 00:49:15,000 --> 00:49:19,279 Speaker 3: that that's what you guys were mocking, because like, at 950 00:49:19,320 --> 00:49:21,800 Speaker 3: no point, dude, did you guys think that that was 951 00:49:21,840 --> 00:49:23,799 Speaker 3: ever going to get out or get back to them 952 00:49:23,920 --> 00:49:24,640 Speaker 3: or anything like that. 953 00:49:25,160 --> 00:49:26,920 Speaker 7: So I think I think we thought we was being 954 00:49:27,000 --> 00:49:29,040 Speaker 7: so coded that people was gonna really be. 955 00:49:29,120 --> 00:49:32,040 Speaker 8: Like, ah, you know what I'm saying, you know, it 956 00:49:32,120 --> 00:49:36,920 Speaker 8: took me a minute as possible trying to be and 957 00:49:37,000 --> 00:49:39,120 Speaker 8: that was and that was shout out to frank Nick. 958 00:49:39,160 --> 00:49:39,759 Speaker 8: That was frank Nick. 959 00:49:39,840 --> 00:49:41,359 Speaker 7: That was saying that too. That was frank Nick. 960 00:49:42,520 --> 00:49:45,319 Speaker 8: Okay, so, I mean, like I said, everything was based 961 00:49:45,360 --> 00:49:48,080 Speaker 8: on jokes comedy. I don't know why we decided to 962 00:49:48,120 --> 00:49:51,080 Speaker 8: say that before the song that that we was getting 963 00:49:51,120 --> 00:49:53,759 Speaker 8: ready to record, but we just. 964 00:49:53,840 --> 00:49:57,200 Speaker 1: Kept it like, oh, okay, what was your level of 965 00:49:57,400 --> 00:50:00,600 Speaker 1: shock that not only. 966 00:50:01,920 --> 00:50:04,719 Speaker 3: Is this going to take off in your city, but 967 00:50:04,880 --> 00:50:09,360 Speaker 3: at what point do you realize that this cassette demo 968 00:50:10,800 --> 00:50:18,080 Speaker 3: might actually be not only hip hop's most important creative 969 00:50:18,120 --> 00:50:21,600 Speaker 3: shift very quietly though, I mean not like in terms 970 00:50:21,640 --> 00:50:25,080 Speaker 3: of Doctor Dre like turning the whole world around with 971 00:50:25,320 --> 00:50:27,239 Speaker 3: the sound of the West Coast the g funk sound, 972 00:50:27,320 --> 00:50:30,759 Speaker 3: but at what point do you realize that this thing 973 00:50:31,719 --> 00:50:34,239 Speaker 3: is going to be bigger than just something local or 974 00:50:34,360 --> 00:50:38,799 Speaker 3: something that's dope for hip hop, but almost like damn 975 00:50:38,840 --> 00:50:42,200 Speaker 3: nearrow its own genre or a way of life, Like, 976 00:50:42,440 --> 00:50:43,759 Speaker 3: at what point does that hit you? 977 00:50:44,760 --> 00:50:45,360 Speaker 7: Believe it or not? 978 00:50:46,520 --> 00:50:50,880 Speaker 8: Once we got that demo or that volume one to 979 00:50:51,440 --> 00:50:56,440 Speaker 8: Q tips hands right, and he started calling this person 980 00:50:56,760 --> 00:51:01,319 Speaker 8: and people like you and the people like yeah, Jelo, 981 00:51:02,320 --> 00:51:05,160 Speaker 8: all of these people saying, oh man, that's what I'm 982 00:51:05,200 --> 00:51:08,160 Speaker 8: looking like. Okay, these are people that I admire, you 983 00:51:08,239 --> 00:51:11,160 Speaker 8: know what I'm saying, and I love their music. And 984 00:51:11,800 --> 00:51:15,080 Speaker 8: that's when you know, Okay, we do got some legs, 985 00:51:15,480 --> 00:51:17,200 Speaker 8: you know. You know what I'm saying, We got something 986 00:51:17,239 --> 00:51:19,520 Speaker 8: to stand on. But you know how long that takes 987 00:51:19,560 --> 00:51:22,200 Speaker 8: because it's word of mouth. First of all, you had 988 00:51:22,239 --> 00:51:23,120 Speaker 8: to mail the tape. 989 00:51:23,120 --> 00:51:25,080 Speaker 2: Remember, you got to add yes. 990 00:51:28,040 --> 00:51:31,560 Speaker 7: Citizism. Okay, now you gotta wait. Then they gotta listen 991 00:51:31,600 --> 00:51:31,800 Speaker 7: to it. 992 00:51:32,080 --> 00:51:32,839 Speaker 2: Then they gotta play. 993 00:51:33,000 --> 00:51:35,080 Speaker 8: Hey boy, y'all ain't in the same state. So he 994 00:51:35,560 --> 00:51:38,880 Speaker 8: but you Tip single handedly played it for everybody. 995 00:51:39,719 --> 00:51:40,439 Speaker 7: You know what I'm saying. 996 00:51:40,640 --> 00:51:40,960 Speaker 5: He did. 997 00:51:42,239 --> 00:51:45,920 Speaker 3: I can attest that the first time I heard Fantastic 998 00:51:46,000 --> 00:51:52,000 Speaker 3: Volume one, I was in Germany and living off of 999 00:51:52,080 --> 00:51:57,320 Speaker 3: per diem and weekly stipend. So you know, like you know, 1000 00:51:58,239 --> 00:52:02,440 Speaker 3: to be a broke star musician living on about three 1001 00:52:02,560 --> 00:52:07,359 Speaker 3: hundred seventy five dollars a week on your own defin 1002 00:52:07,440 --> 00:52:12,000 Speaker 3: for yourself, and the temptation, you know, to pick up 1003 00:52:12,040 --> 00:52:16,360 Speaker 3: the phone to call the United States long distance for 1004 00:52:16,480 --> 00:52:21,120 Speaker 3: twenty five minutes right right. No, literally, like I told them, 1005 00:52:21,360 --> 00:52:24,960 Speaker 3: like set up a microphone to the speakerphone. I want 1006 00:52:25,000 --> 00:52:28,880 Speaker 3: to hear this whole entire thing that was. 1007 00:52:30,160 --> 00:52:31,600 Speaker 1: That was That was a one. 1008 00:52:31,560 --> 00:52:35,560 Speaker 3: Hundred and sixty eight dollars phone call that I could 1009 00:52:35,640 --> 00:52:41,120 Speaker 3: not afford. And no, seriously, I was like, Okay, I 1010 00:52:41,200 --> 00:52:44,960 Speaker 3: can live off of Pomfrets. There's a joke in the 1011 00:52:45,040 --> 00:52:51,920 Speaker 3: roots community Pomfret's buku tamat usually after midnight when bodega's 1012 00:52:52,320 --> 00:52:55,480 Speaker 3: or like those those like late night spots that are 1013 00:52:55,760 --> 00:52:58,160 Speaker 3: about to close, right before they closed, they might like 1014 00:52:58,239 --> 00:53:02,120 Speaker 3: sell the food for cheap. When you're touring Europe, you know, 1015 00:53:02,200 --> 00:53:04,920 Speaker 3: you'll go to the kebab dude and he'll cut off 1016 00:53:04,960 --> 00:53:08,360 Speaker 3: half the price. So I was like negotiating my meals, 1017 00:53:08,520 --> 00:53:12,320 Speaker 3: like I can live off of street street kebabs, buku 1018 00:53:12,400 --> 00:53:16,120 Speaker 3: tamats and pomfretes. And at the venue, I knew I 1019 00:53:16,239 --> 00:53:18,799 Speaker 3: was good for a turkey sandwich, like you know, they 1020 00:53:18,880 --> 00:53:22,759 Speaker 3: give you food at the venue. So nah, man, I 1021 00:53:23,440 --> 00:53:27,160 Speaker 3: had to starve one week for some village over the telephone, but. 1022 00:53:29,680 --> 00:53:30,400 Speaker 7: Thanks uh. 1023 00:53:32,239 --> 00:53:35,200 Speaker 1: But on the other side of things, so is it 1024 00:53:35,320 --> 00:53:37,440 Speaker 1: jarring to be in this bubble? 1025 00:53:38,840 --> 00:53:43,319 Speaker 3: That's so influential in which on one hand people are 1026 00:53:43,400 --> 00:53:46,440 Speaker 3: embracing you, but on the other hand it's almost like 1027 00:53:47,719 --> 00:53:51,360 Speaker 3: we get to sample and taste the nectar of the 1028 00:53:51,440 --> 00:53:53,480 Speaker 3: fruit before you yourself get to. 1029 00:53:54,960 --> 00:53:55,360 Speaker 1: Enjoy that. 1030 00:53:55,719 --> 00:53:58,160 Speaker 7: Well, it's it's a lot. It was a lot for us. 1031 00:53:58,480 --> 00:54:02,200 Speaker 8: Number one out the gate got We got kicked in 1032 00:54:02,280 --> 00:54:06,120 Speaker 8: the in the in the rump because Hugh to decided 1033 00:54:06,840 --> 00:54:09,759 Speaker 8: when he we did finally get him on the record day, 1034 00:54:09,840 --> 00:54:12,880 Speaker 8: he wants to use our record as a platform to 1035 00:54:13,080 --> 00:54:14,839 Speaker 8: leave the hip hop right. 1036 00:54:15,600 --> 00:54:17,520 Speaker 1: Anyway, when I heard that verse, I was like, wait 1037 00:54:17,560 --> 00:54:19,040 Speaker 1: a minute, Right. 1038 00:54:20,920 --> 00:54:24,400 Speaker 8: So guess what New York said to slum village boom 1039 00:54:24,960 --> 00:54:27,000 Speaker 8: you you got rid of try god class. 1040 00:54:27,080 --> 00:54:29,920 Speaker 7: I was like, no, I didn't. I just wanted the first, right, 1041 00:54:32,440 --> 00:54:34,880 Speaker 7: you know what I'm saying. I just wanted the first. 1042 00:54:35,480 --> 00:54:37,320 Speaker 7: I didn't know. When I went down there, he was talking. 1043 00:54:37,440 --> 00:54:39,160 Speaker 7: I was walking with Q two Donald Street. 1044 00:54:39,160 --> 00:54:41,400 Speaker 8: He was going to to Borrow's Pizza and we was 1045 00:54:41,440 --> 00:54:43,880 Speaker 8: going to some studio or something after that, and he 1046 00:54:44,040 --> 00:54:45,800 Speaker 8: was like, man, you know, I'm really thinking about quitting. 1047 00:54:45,880 --> 00:54:49,800 Speaker 7: Man, I'm out, and then he loops up the original 1048 00:54:49,880 --> 00:54:50,600 Speaker 7: hold tight. 1049 00:54:52,880 --> 00:54:57,439 Speaker 3: Spittney's sentimental lyrics it's something about this group that makes 1050 00:54:57,480 --> 00:55:00,319 Speaker 3: people want to you know, some some sort of ours 1051 00:55:00,400 --> 00:55:07,040 Speaker 3: is release that happens that makes everybody confrontational on a 1052 00:55:07,080 --> 00:55:11,440 Speaker 3: slim Village tote. Yeah, it's it's weird. So right now 1053 00:55:12,880 --> 00:55:16,120 Speaker 3: this is this is twenty five years of of of 1054 00:55:16,200 --> 00:55:19,880 Speaker 3: a legacy of of of of this brand, way of 1055 00:55:20,000 --> 00:55:24,920 Speaker 3: this brand name, a way of life, amazing influential music 1056 00:55:25,480 --> 00:55:29,400 Speaker 3: that I deem very refreshing. Can you guys tell me, 1057 00:55:29,760 --> 00:55:34,680 Speaker 3: especially in hip hop's fiftieth year, how is hip hop 1058 00:55:35,480 --> 00:55:38,680 Speaker 3: still refreshing to you right now? 1059 00:55:39,200 --> 00:55:42,800 Speaker 8: I'm slum Villish is a space where we're just creating 1060 00:55:42,880 --> 00:55:46,720 Speaker 8: whatever we feel that that's not in the market. 1061 00:55:46,880 --> 00:55:49,360 Speaker 7: I can do me like to the total. 1062 00:55:49,719 --> 00:55:52,719 Speaker 8: So because because the label situation ain't there no more, 1063 00:55:52,760 --> 00:55:55,279 Speaker 8: you don't have to nobody said, hey, make sure you 1064 00:55:55,360 --> 00:55:58,840 Speaker 8: do it hit single or you know, make sure it 1065 00:55:58,960 --> 00:56:01,359 Speaker 8: is nobody know, where's nobody coming. 1066 00:56:01,400 --> 00:56:04,200 Speaker 7: It's wild, wild West. Everybody out there with the pistols. 1067 00:56:03,840 --> 00:56:04,319 Speaker 1: That they like. 1068 00:56:05,920 --> 00:56:07,880 Speaker 2: Anything you can hit, anything you can hit. 1069 00:56:07,960 --> 00:56:10,400 Speaker 4: It don't matter what it is. It's just you can 1070 00:56:10,480 --> 00:56:12,239 Speaker 4: deliver it to the audience and present it in a 1071 00:56:12,320 --> 00:56:16,560 Speaker 4: compelling way. It don't matter if it's trap shit, boom bapshit, whatever. 1072 00:56:18,000 --> 00:56:20,200 Speaker 7: I love it. I love that West. 1073 00:56:20,600 --> 00:56:23,000 Speaker 8: Yes, I'm out there with my with my my pistols. 1074 00:56:23,320 --> 00:56:25,759 Speaker 8: I'm ready to go. So right now I'm having the 1075 00:56:25,840 --> 00:56:29,560 Speaker 8: best time of my life making music. Right now, slum Village, I'm. 1076 00:56:29,480 --> 00:56:30,279 Speaker 1: Just living in your heart. 1077 00:56:31,080 --> 00:56:34,080 Speaker 3: It's like the beginning, Like what what you feel that's 1078 00:56:34,200 --> 00:56:36,680 Speaker 3: dope and incredible for you in your heart. 1079 00:56:36,920 --> 00:56:39,239 Speaker 1: That's what you're given to the world. 1080 00:56:40,280 --> 00:56:43,279 Speaker 6: Okay, QLs listeners, this is sugar Steve. That's where we're 1081 00:56:43,320 --> 00:56:45,640 Speaker 6: gonna stop. Part one of this two part interview with 1082 00:56:45,719 --> 00:56:48,600 Speaker 6: slum Village. Check back next week or on your podcast 1083 00:56:48,680 --> 00:56:51,200 Speaker 6: feed for Part two of this quest Love Supreme conversation 1084 00:56:51,320 --> 00:56:54,080 Speaker 6: with T three and Young RJ. In part two, they 1085 00:56:54,160 --> 00:56:57,799 Speaker 6: discussed slum Village's evolution through the years, new music, and more. 1086 00:56:57,920 --> 00:57:02,120 Speaker 1: See you there. What's Supreme is a production of iHeart Radio. 1087 00:57:04,360 --> 00:57:08,759 Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 1088 00:57:09,200 --> 00:57:10,880 Speaker 1: or wherever you listen to your favorite shows.