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Speaker 1: Of course, Love Supreme is a production of iHeartRadio. This

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Speaker 1: classic episode was produced by the team at Pandora.

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Speaker 2: What Up, QLs fam, It's like yam and This QLs

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Speaker 2: classic takes us back to a time when the whole

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Speaker 2: crew went to Los Angeles did a few interviews.

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Speaker 3: Oh, but this one right here is special. I'm talking

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Speaker 3: about Joy.

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Speaker 2: Yes, I'm taking you back to February fourteenth, twenty eighteen,

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Speaker 2: where we sat down with Joy, singer, songwriter, producer. She

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Speaker 2: talks about her debut album, how a Change, the direction

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Speaker 2: of Madonna's Bedtime Stories, working with Fishbone and her spart

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Speaker 2: in the Dungeon Family Treat, and so much more.

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Speaker 3: Check this out.

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Speaker 4: Supreme Suck Suck Supremo role called Suprema su su Supremo role,

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Speaker 4: Supremack Supremo role called.

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Speaker 1: Suprema Suck Supreme. I just got me feeling pressure. Yeah,

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Speaker 1: I'm going insane. Yeah, No Joy, Frankie Beverly reference, Yeah, Sunshine.

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Speaker 4: Supreme, Supremo road called Suprema Son Son, Suprema Road.

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Speaker 5: Quants in the building. Yeah, y'all know what I'm about. Yeah,

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Speaker 5: I made a record with Joy.

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Speaker 6: Yeah, in my house, Suprema roll Call Supremack Supreme road call.

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Speaker 1: My name is Sugar Boy. I'm your boy boy. I

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Speaker 1: bring you joy boy, I bring you a joy.

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Speaker 7: Yeah.

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Speaker 5: Supreme dumb so Supreme Role still is here. Yeah, I'm

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Speaker 5: trying to find a rhyme. Yeah, but I'm acid too,

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Speaker 5: like yah, yeah, because I ran out of time.

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Speaker 4: Supremo Something Supremo, roll call Supreme something Supreme roll.

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Speaker 2: Yeah, and I'm a little nervous. Yeah, motherfucking joy my

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Speaker 2: first rod girl.

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Speaker 8: Crush Supremo, roll call, Supremo something Supremo roll.

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Speaker 3: Sometimes they call me kitty yeah. Sometimes they call me

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Speaker 3: pussy yeah. Sometimes they call me sugar Yeah. But today

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Speaker 3: I'm gonna be.

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Speaker 8: Joy Supremo, roll call, Supremo, Suppremeo, Role, Suprema something something Suppreme.

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Speaker 3: My roll call.

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Speaker 1: Wo Thank God that's.

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Speaker 3: Free Styllar.

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Speaker 1: I'm a little rusty on that.

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Speaker 3: I'm awful.

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Speaker 1: Yeah. You can tell it's been a minute.

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Speaker 3: Black Dog. Everybody looking bad?

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Speaker 1: Yeah, exactly. Yeah, Ladies and gentlemen, welcome to another episode

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Speaker 1: of Quest Love Supreme. Uh, Quest Love and the House

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Speaker 1: We got Teams Supreme. Hello, people going, man, I was

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Speaker 1: about say have a New York I was like, no,

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Speaker 1: that's totally wrong. I don't know, you know it's gonna air,

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Speaker 1: but no, I'm good Man happy in La.

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Speaker 5: Yeah, history monk, we have to say black history mon

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Speaker 5: something I think maybe I don't know what might be

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Speaker 5: Black history, might be March, who knows.

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Speaker 1: And yeah, we we have to mention that we are

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Speaker 1: broadcasting line from the illustrious uh Westlake Audio Recording Studios.

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Speaker 1: Uh house. That the house that Michael Jaxon thriller money

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Speaker 1: built this house. Yeah, we're actually if you if you've

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Speaker 1: seen the Michael Jackson UH Bad twenty five documentary, we

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Speaker 1: are literally in the spot where like him and.

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Speaker 2: Stevie and Gary, they said that's where he wrote the

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Speaker 2: piano was where Yeah.

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Speaker 1: The piano, the girl's mind pianos behind us. I believe

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Speaker 1: that Bruce would Dean built this. This uh kind of

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Speaker 1: looks like a pyramid esque looking.

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Speaker 8: Uh uh.

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Speaker 1: You call what we're just you're engineers. It's a stage. Yeah, okay, well,

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Speaker 1: I mean you gotta come up more colorful. It's a

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Speaker 1: nice stage. That's it's sort of like a booth, but

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Speaker 1: sort of. It's very unusual. Anyway, watch the Bad twenty

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Speaker 1: five Incredible stage one of the best stages of h

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Speaker 1: but it's kind of cool to be here because even

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Speaker 1: well bad was recorded here. Young other things in the

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Speaker 1: uh the Atlantis, Moore said, helm jagged little pill. Wow,

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Speaker 1: what's done here? I'm I'm sure millions of a million

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Speaker 1: of things. We have a special guest with us today.

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Speaker 1: I will say that I could probably name three people

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Speaker 1: in history that kind of face the the the burden

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Speaker 1: of being way before their time from you know, Shuggio

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Speaker 1: is just one of those people. Betty Davis is definitely

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Speaker 1: one of those people. And I feel as though our

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Speaker 1: guest today is definitely so ahead of her time because

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Speaker 1: everything that she's ever done, other people have graciously walked

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Speaker 1: through joint well I mean, you know, I mean unfortunately

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Speaker 1: in life, some people have to pave the red carpet

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Speaker 1: or part to see for other people to walk through

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Speaker 1: effortlessly and sometimes never get the credit for it. Exactly.

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Speaker 5: Somebody got inspired those bedtime stories exactly, so the greatest

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Speaker 5: machete carry of all time.

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Speaker 1: Ladies and gentlemen, please welcome to the show. Jorge Gilly.

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Speaker 3: Good to be here with you.

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Speaker 1: I'm really glad you're here. You know, we we've been

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Speaker 1: for a long time, crossing paths and touring with each other.

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Speaker 1: But this, this is the conversation I've been dying to

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Speaker 1: have with you forever, because you know, I have so

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Speaker 1: many questions about your the path and the trail that

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Speaker 1: you blazed and and the after effects of it.

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Speaker 3: Yeah, let's talk about it.

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Speaker 1: Let's talk about I feel there's a.

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Speaker 9: Police right, that's one of my favorite So where where?

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Speaker 1: For our listeners that don't know where? Where are you?

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Speaker 1: Where were you born? Where are you from?

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Speaker 3: I was born in Nashville, Tennessee.

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Speaker 1: Hey, Nashville, that is where it? Because I thought you

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Speaker 1: were born. And I'm the king of assuming that our

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Speaker 1: guests are born in certain places. But you're not born

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Speaker 1: in Atlanta.

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Speaker 3: Where did you think I was born?

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Speaker 1: I thought you were born in Atlanta?

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Speaker 3: Did you That's not a hard That's not bad though,

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Speaker 3: a lot of people think because I spent so much

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Speaker 3: time there.

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Speaker 1: I guess Tennessee kitty, every Tennessee.

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Speaker 3: You know. I was always Tennessee slim, all right? So

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Speaker 3: you you wrapped yourself, wrapped myself, but I wrapped you

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Speaker 3: know a time down also were born and raised that tense.

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Speaker 1: You're born there? Okay? So what was what was your

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Speaker 1: childhood music environment?

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Speaker 3: Like well, I uh, I had a pretty intensive love

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Speaker 3: affair with music early on. My mama had album she

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Speaker 3: had a friend and worked at a as a DJ

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Speaker 3: or something. My mom had a bunch of hustles when

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Speaker 3: I was growing up to uh that made me feel

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Speaker 3: like we were rich, even though we weren't. Hindsight looking back,

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Speaker 3: we were absolutely not rich. But my mom worked hard,

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Speaker 3: and I UH felt I had you know, things at

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Speaker 3: my at my access. And so my mom uh had

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Speaker 3: a DJ friend and had a bunch of albums and stuff,

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Speaker 3: and I would go through those albums and listen to 'em.

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Speaker 3: And when I was really really little and my parents

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Speaker 3: were still together, Daddy listened to a lot of Johnny

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Speaker 3: guitar watching and yes, and my daddy played UH pro

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Speaker 3: a while when I was little. So we had a

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Speaker 3: little w W you know, young your father was on

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Speaker 3: the stillness right, he was, oh he's quarterbackfather too. W

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Speaker 3: And my granddaddy was a very uh well respected uh

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Speaker 3: college football coach. He was he's in there in the

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Speaker 3: Hall of fame.

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Speaker 1: Actually, when you were young, did you know that your

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Speaker 1: dad was, did you know who he was?

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Speaker 3: Like?

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Speaker 1: Did you know y'all kind of had it good.

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Speaker 3: Well, we had it good as you know, that's relative relative.

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Speaker 3: I recognize. I knew that he was talented. I knew

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Speaker 3: that people uh respected him a lot. I knew that

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Speaker 3: he had done some great things.

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Speaker 1: So he grew up in a football environment.

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Speaker 3: I grew up in a football a heavy football environment, so.

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Speaker 1: Like weekends were like holidays.

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Speaker 3: And but my family is very woman heavy also. But

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Speaker 3: the men in my family, a lot of them played football,

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Speaker 3: worked in football, so it was just, you know, the

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Speaker 3: women embraced it as well. But I didn't have to

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Speaker 3: be all up in it if I didn't want to be.

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Speaker 3: But it was deeply entrenched in the culture of me

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Speaker 3: growing up, particularly HBCU football, because my grandfather was coach

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Speaker 3: at Tennessee State, Okay, and my dad was you know,

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Speaker 3: a star player at Tennessee State as well. So the

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Speaker 3: Gilliam Yeah, the weight of the Gilliam name in Tennessee

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Speaker 3: State was like a you know, it's a lot of weight.

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Speaker 1: That meant something.

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Speaker 3: Yeah, it meant something. Did after them, I went there

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Speaker 3: for a hot second, for a high second, I went

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Speaker 3: to Tennessee State a whole semester.

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Speaker 1: Wow, you have a playing.

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Speaker 3: And all of that is such a blur like I

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Speaker 3: barely even remember, but I don't want to neglect quest

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Speaker 3: asking me about the music, though, I don't want to

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Speaker 3: neglect that part. It was a lot of P funk

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Speaker 3: and a lot of LaBelle, and it was a M radio,

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Speaker 3: which back then kind of mixed blue eyes so and

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Speaker 3: uh and you know, uh root soul as well, and

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Speaker 3: so that was constantly you know, playing it was it was.

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Speaker 3: It was a constant diet of that. And my parents

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Speaker 3: were young, and so my mom would take me to

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Speaker 3: concerts with her. I saw The Mothership Land when I

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Speaker 3: was six, and because Solid Bell performed at War Memorial Auditorium.

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Speaker 1: When just because of your your musical openness and all

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Speaker 1: the risks that you've taken and stuff, I was like, well,

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Speaker 1: certainly in your your formative years you had to have

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Speaker 1: adapted to this early. I mean there's some people that

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Speaker 1: like either you know, for beat makers, you know, they'll

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Speaker 1: start collecting records and then discover like their uncle's records

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Speaker 1: or something like that. But you know, I always felt

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Speaker 1: as though you might have gotten miss education super early.

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Speaker 1: Are you where do you fall in the sibling line?

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Speaker 1: Are you?

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Speaker 3: I'm the oldest?

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Speaker 1: Okay, then that's something weird because normally the youngest of

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Speaker 1: the brood gets the trickle down, and I'm.

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Speaker 3: The oldest on some like, I was mostly an only child.

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Speaker 1: It's weird no cousins to lots of big cousins.

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Speaker 3: But I just I was always a little bit you're

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Speaker 3: just adventures, yeah, and a little bit different from my

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Speaker 3: other the things that interest me, which is different than

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Speaker 3: everybody else. Was kind of thinking about I don't know,

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Speaker 3: future and getting married and things like that, and I

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Speaker 3: was just thinking, how to, you know, just go deeper

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Speaker 3: into the funk and expand my mind.

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Speaker 1: Querious, I knew it. Okay, that's what she's five days

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Speaker 1: from us. Yeah, but she was born like nineteen ninety.

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Speaker 1: She was one where I came out.

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Speaker 3: Yeah, okay, but.

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Speaker 1: Yeah, we'll just know, we'll go with it.

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Speaker 3: But yeah, I just was a little bit different from

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Speaker 3: my cousins. But still not a not a not a

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Speaker 3: not a secluded or introverted or weird old kid per se.

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Speaker 3: But absolutely Yeah, but that developed a little more I

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Speaker 3: think later. I was a little more risk taking. Like

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Speaker 3: I remember smoking some cigarettes and ship at the house

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Speaker 3: when I was little, like six years old. Like my

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Speaker 3: cousin made me love some cigarettes there, like maybe I

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Speaker 3: smoked them and I don't know how I ended up

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Speaker 3: being able to even light it and do it, but

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Speaker 3: I remember them like finding me and being like, let

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Speaker 3: me tell your brother, smoke cloud coming out of my

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Speaker 3: mouth when I'm like six and I was in trouble

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Speaker 3: and even like with you know, just all of my

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Speaker 3: interactions were a little different growing up. I had two

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Speaker 3: boyfriends in kindergarten the same time. Yes, I mean, you

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Speaker 3: know what I mean, and fine with it. Yeah, he was,

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Speaker 3: you know what I mean. So there's that I just

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Speaker 3: I don't know, I was just but I got in

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Speaker 3: trouble for because we were you know kind of uh,

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Speaker 3: I was just ahead of the curve. There was certain

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Speaker 3: things that are like natural explorations for little people that

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Speaker 3: all little people do, but I think my understanding of

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Speaker 3: them as a little person was much keener. And I

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Speaker 3: think because it was much keener I had, I recognized

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Speaker 3: that it wasn't as keen for everybody else, and I

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Speaker 3: think that kind of made me realize you might be

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Speaker 3: a little different. So, you know, in any interaction, no

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Speaker 3: matter what it was, you know, it was just a

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Speaker 3: little bit here with it and everybody else might have

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Speaker 3: been kind of like right there, so then I would

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Speaker 3: try to kind of backpale and kind of be back

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Speaker 3: there everybody else. But that didn't you know that only way?

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Speaker 1: How did you express it? Like work? Did you have

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Speaker 1: bands in high school or that sort of thing.

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Speaker 3: I didn't do that, but I did sing in high school.

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Speaker 3: So I was, you know, doing some challenge shows and

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Speaker 3: won some challenge shows and was a dancer for like

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Speaker 3: thirteen years to when your family know you could sing.

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Speaker 3: When I was little little, probably like maybe four or five,

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Speaker 3: my grandmother used to belong to a lady social group

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Speaker 3: called the Beautiful Lily.

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Speaker 1: That is so black and something.

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Speaker 3: I just lovely ladies. They bring you know, it's popla.

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Speaker 3: They bring a dish. They played Pikino and Vinga and

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Speaker 3: uh and I remember singing you Light of My Life

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Speaker 3: for them.

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Speaker 1: Something. That song was number one for like one hundred weeks.

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Speaker 1: Wait speaking which you Okay, if you ever get the chance,

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Speaker 1: Jimmy cast A Bunch has Yeah, if you want to

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Speaker 1: see if you can see Fante's eyebrows like just the gun,

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Speaker 1: Jimmy cases that Jimmy cast Bunch has a one of

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Speaker 1: the most jaw dropping versions of you light Up My Life.

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Speaker 1: That's hilarious, like in a bad way, like it's it's,

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Speaker 1: it's it's in a very good and terrible Brandy Watson

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Speaker 1: with the saxophone too, because saxophone, saxophone. You gotta pet

258
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Speaker 1: You Light on My Life by the Jimmy Cast a

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Speaker 1: Bunch produced by Billy Davis Jr. I'm thinking that was

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Speaker 1: That's what I was thinking.

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Speaker 5: Dimension I sang you light Up My Life in third

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Speaker 5: grade to to win this girl's heart, like I stood

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Speaker 5: up and find everybody and sang that and and stole

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Speaker 5: her away from the souther.

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Speaker 1: It works, It really worked. Yet sound wait second or

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Speaker 1: third grade something? Oh my god, forgive me okay, see you.

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Speaker 1: That's the piano from I don't believe it. Just make no,

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Speaker 1: that's true. That's the.

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Speaker 3: Line.

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Speaker 1: I don't believe it is from now And that's the

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Speaker 1: never mind. That's the piano there is that damn quick

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Speaker 1: quest love Supreme. Yeah you're a nerd? Yeah hell now

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Speaker 1: get ready. Maybe I didn't warn you.

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Speaker 3: About this before, no warning, but I figured it would

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Speaker 3: have to be if it was y'all two together, because

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Speaker 3: I'm familiar with your nerd and I'm familiar with quest nerds,

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Speaker 3: and I figured this, Yeah, I think it was gonna be.

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Speaker 1: We used the exelon you know, I sang in my

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Speaker 1: life in third grade nerd know there's nerd geek and

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Speaker 1: I love it. So you So you didn't have any bands.

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Speaker 3: Or anything, so not bands.

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Speaker 7: No.

283
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Speaker 3: I worked with after winning the Talent show and because

284
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Speaker 3: I was in tenth grade and I sung everything must change,

285
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Speaker 3: oh of course, and then I also now here's a.

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Speaker 1: Fun Apollo classic everything.

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Speaker 3: With my The pianists that accompanied me was Gary Jenkins,

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Speaker 3: who was a little g from Silk Yeah.

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Speaker 1: Wow, and.

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Speaker 3: He went to Tennessee set. He's an amazing piano player,

291
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Speaker 3: like ridiculous, and he used to do all the funerals

292
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Speaker 3: and wits and saying people's churches and you know, all

293
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Speaker 3: of that stuff around Nashville because he's from Nashville too,

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Speaker 3: and uh, and so he was my accompanyment and he

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Speaker 3: and I do edit. Uh. We started off with Nobody

296
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Speaker 3: Loves Me Like you Do, and then we segued into

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Speaker 3: everything wow and I want to tell the show. But

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Speaker 3: after that I started working with some producers in Nashville

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Speaker 3: and got in the studio. So that was when first

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Speaker 3: when I first went to the studio, I guess I

301
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Speaker 3: was about sixteen.

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Speaker 1: You know, I know that Nashville is in music city

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Speaker 1: but also primarily known as a kind of a country

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Speaker 1: country music. Yeah, but I know that songwriters down there

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Speaker 1: is Is there any sort of at least when I

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Speaker 1: say urban, I mean like to the to the sort

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Speaker 1: of cosmic funk level that you're on and that you

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Speaker 1: brought to the Atlantic community. Was there any of that

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Speaker 1: sort of culture in Tennessee at all?

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Speaker 3: Not really, But I also feel like Nashville was a

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Speaker 3: place that was sort of ripe for getting whatever you

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Speaker 3: wanted to get. There were things lots and lots of

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Speaker 3: lots and lots of cultural diversity that came artistic cultural

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Speaker 3: diversity that came through Nashville back then. So my mom,

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Speaker 3: because I was, you know, a dancer and I enjoyed

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Speaker 3: theater and I sang and stuff, my mom always had

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Speaker 3: me very plugged into all the stuff that was happening

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Speaker 3: in the city. So it's really more so a blend

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Speaker 3: of all of what I was, you know, being exposed

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Speaker 3: to at the time. Lots of theater, lots of dance,

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Speaker 3: and lots of you know, music by my choosing by

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Speaker 3: my own hand and whatever was on AM radio at

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Speaker 3: the time. But in terms of a scene like you're

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Speaker 3: talking about, no, that wasn't happening.

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Speaker 1: What was it that got you into dance? How did

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Speaker 1: you I just was.

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Speaker 3: Always dancing and shit when I was little, and my

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Speaker 3: mom put me in in la that's what mama's doing.

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Speaker 1: Yeah, okay.

330
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Speaker 3: And she also felt like I was a little clumsy

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Speaker 3: when I was little, and when I was very small,

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Speaker 3: she thought I was clumsy, and so she wanted me

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Speaker 3: to be graceful, and so she put me in That's

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Speaker 3: what she said.

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Speaker 2: She didn't do the combo, the ballet, jazz tap, I

336
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Speaker 2: did that.

337
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Speaker 3: That came later, but the root of it, it started

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Speaker 3: with ballet. The jazz and all that came once she

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Speaker 3: really saw that I had taken to the dance, okay.

340
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Speaker 3: And so probably in about maybe third grade, I started

341
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Speaker 3: taking like modern and jazz and tap and all that.

342
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Speaker 3: But from like little girl, like three years old to

343
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Speaker 3: like sixteen, I was like ballet with some jazz and

344
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Speaker 3: tap and stuff, you know, mixed in.

345
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Speaker 1: So when did you leave Tennessee?

346
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Speaker 3: I left Nashville, I guess technically I left when I

347
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Speaker 3: went to Memphis State in eighty nine, but still kind

348
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Speaker 3: of coming back and forth because I also went to

349
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Speaker 3: Tennessee State, like I said, for a semester. I guess

350
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Speaker 3: I was officially left Nashville probably in let's say ninety three.

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Speaker 3: Officially ninety two, ninety three.

352
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Speaker 1: Oh man, but wait that was the year year, now, Pendlum,

353
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Speaker 1: I was ninety ninety four.

354
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Speaker 3: Pen Bob came out. I think it dropped in ninety four,

355
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Speaker 3: but in ninety three. I think that's how that worked.

356
00:21:25,800 --> 00:21:28,840
Speaker 3: I was working on it in ninety three, Okay, So

357
00:21:28,920 --> 00:21:31,440
Speaker 3: I moved to Atlanta like top of ninety three, and

358
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Speaker 3: like by that summer I was working on Penmambot.

359
00:21:34,840 --> 00:21:38,480
Speaker 1: Wow, So why, well, I want to go. Why what

360
00:21:38,720 --> 00:21:40,159
Speaker 1: drew you to Atlanta? Why would you?

361
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Speaker 10: Now?

362
00:21:41,520 --> 00:21:45,720
Speaker 3: In ninety two, Dallas Austin came to Nashville, Okay, and

363
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Speaker 3: he was working on at that time, Holland Placed Monsters. Yeah. Yeah,

364
00:21:50,840 --> 00:21:54,800
Speaker 3: And so TLC was just like bubbling, like just going kaboom.

365
00:21:54,960 --> 00:21:56,760
Speaker 3: ABC was doing their thing and stuff. And so I

366
00:21:56,880 --> 00:21:59,800
Speaker 3: ended up meeting him at a studio there and we

367
00:22:00,200 --> 00:22:03,160
Speaker 3: hit it off instantly. I told him I was a songwriter.

368
00:22:04,080 --> 00:22:07,399
Speaker 3: I didn't say singer, cause I thought songwriter was just

369
00:22:07,560 --> 00:22:14,280
Speaker 3: more I'm serious about my shit, right, and uh, and

370
00:22:14,359 --> 00:22:15,760
Speaker 3: I played on some of my little songs on a

371
00:22:15,760 --> 00:22:17,959
Speaker 3: little demo tape and shit, one of which was Narcisse

372
00:22:17,960 --> 00:22:22,800
Speaker 3: Acuity Pie at the time, and some other stuff that

373
00:22:22,960 --> 00:22:24,800
Speaker 3: was on there, and we just hit it off, and

374
00:22:24,960 --> 00:22:26,879
Speaker 3: I knew that he was from Atlanta, and we stayed

375
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Speaker 3: in touch, and he was like, I'm really gonna be

376
00:22:29,359 --> 00:22:30,800
Speaker 3: hitting you up so we can do some stuff, and

377
00:22:30,840 --> 00:22:35,240
Speaker 3: I was kind of like whatever, And and then I

378
00:22:35,400 --> 00:22:36,800
Speaker 3: just knew that it was time for me to do

379
00:22:36,920 --> 00:22:39,800
Speaker 3: something different and leave Nashville, cause I was just down there,

380
00:22:40,080 --> 00:22:43,560
Speaker 3: kind of pilled a post, kind of hustling, feeling real

381
00:22:43,640 --> 00:22:46,800
Speaker 3: out of place, having like all these you know, grandiose

382
00:22:46,960 --> 00:22:49,080
Speaker 3: ideas and dreams for myself, but knew that they weren't

383
00:22:49,080 --> 00:22:54,159
Speaker 3: gonna be realized and in Nashville. So I left and

384
00:22:54,240 --> 00:22:57,760
Speaker 3: then my girlfriend went to Atlanta, and uh, I kind

385
00:22:57,800 --> 00:22:59,800
Speaker 3: of went down there with nothing and just never came

386
00:23:00,840 --> 00:23:01,240
Speaker 3: Where was.

387
00:23:01,200 --> 00:23:02,919
Speaker 2: Your first place in Atlanta, I'm just curious.

388
00:23:03,119 --> 00:23:06,280
Speaker 3: I lived in a place called Peachtree Hills. Well, that

389
00:23:06,359 --> 00:23:08,399
Speaker 3: was the first place by myself. That was after I

390
00:23:08,400 --> 00:23:11,119
Speaker 3: got a record deal. But me and the girlfriend that

391
00:23:11,160 --> 00:23:14,120
Speaker 3: I moved down there with, and Martin Luther. I don't

392
00:23:14,119 --> 00:23:22,159
Speaker 3: know if I lived there, of course. And that's the

393
00:23:22,200 --> 00:23:24,920
Speaker 3: brother Trey rab And, who's my boyfriend at the time,

394
00:23:25,040 --> 00:23:26,960
Speaker 3: and then two other sisters, seven of us, and we

395
00:23:27,080 --> 00:23:34,520
Speaker 3: lived in this apartment on Beuvah Highway. Yeah, Highway club.

396
00:23:35,680 --> 00:23:42,880
Speaker 1: You know what, wait, Highway strip club.

397
00:23:43,200 --> 00:23:44,280
Speaker 3: They call it.

398
00:23:45,359 --> 00:23:53,200
Speaker 1: It's a street that's called the truck stop, the street from.

399
00:23:53,119 --> 00:23:56,160
Speaker 3: The stop though in l right the hell yeah.

400
00:23:56,560 --> 00:23:56,720
Speaker 1: Yeah.

401
00:23:56,840 --> 00:23:59,359
Speaker 3: Flame is definitely still open go club, of course, not

402
00:23:59,480 --> 00:24:02,360
Speaker 3: it's a regular club, just regular at this point.

403
00:24:06,520 --> 00:24:08,399
Speaker 2: It's Atlanta, honey, just step off the plane.

404
00:24:10,040 --> 00:24:12,360
Speaker 3: But we all lived together, yeah, in Temple Hallmark.

405
00:24:12,480 --> 00:24:14,400
Speaker 1: So wow, that's great.

406
00:24:14,520 --> 00:24:14,800
Speaker 10: Seven.

407
00:24:15,040 --> 00:24:18,359
Speaker 3: Yeah. That was at the top of ninety three. And

408
00:24:18,480 --> 00:24:24,040
Speaker 3: so then I remember breaking up with the guy that

409
00:24:24,160 --> 00:24:27,959
Speaker 3: I was loving so at that time and feeling so heartbroken,

410
00:24:28,640 --> 00:24:30,240
Speaker 3: and I was just like, this is the worst thing

411
00:24:30,440 --> 00:24:33,560
Speaker 3: could ever happen. I must be about to get a

412
00:24:33,600 --> 00:24:38,080
Speaker 3: record deal, because if this is the worst, the best

413
00:24:38,160 --> 00:24:39,760
Speaker 3: thing that could happen would be there. I would get

414
00:24:39,760 --> 00:24:42,840
Speaker 3: a record deal. And probably about a month, probably about

415
00:24:42,840 --> 00:24:45,960
Speaker 3: a month later, I got a call from Dallas and

416
00:24:46,160 --> 00:24:47,920
Speaker 3: he asked me comes to the studio and he was like,

417
00:24:48,000 --> 00:24:52,000
Speaker 3: come right with me whenever they played a few songs,

418
00:24:54,000 --> 00:24:57,080
Speaker 3: one of which will be fine me and one of

419
00:24:57,160 --> 00:25:02,600
Speaker 3: which would be Sunshine right. And I just wrote to

420
00:25:02,760 --> 00:25:06,840
Speaker 3: him and of course I'm still there as a writer,

421
00:25:07,080 --> 00:25:11,159
Speaker 3: not as a as an artist per se a singer.

422
00:25:11,280 --> 00:25:13,200
Speaker 3: You know, I'm still just kind of wanting to do that.

423
00:25:14,200 --> 00:25:18,720
Speaker 3: But then after we heard how the tune sounded, he

424
00:25:18,920 --> 00:25:21,359
Speaker 3: was just like, don't you want to do this? And

425
00:25:21,600 --> 00:25:25,480
Speaker 3: it's just kind of like, yeah, I guess I do.

426
00:25:25,840 --> 00:25:28,280
Speaker 3: You know, we listened to Sunshine and Rain probably and

427
00:25:28,440 --> 00:25:32,119
Speaker 3: I'm not exaggerating, we probably listened to that probably fifty

428
00:25:32,280 --> 00:25:36,720
Speaker 3: times right to just over and over and over and

429
00:25:37,040 --> 00:25:40,000
Speaker 3: over and over after it was done. And that's what

430
00:25:40,800 --> 00:25:42,800
Speaker 3: kind of both let us know, like, yeah, we need

431
00:25:42,880 --> 00:25:45,879
Speaker 3: to move forward on this. This is something kind of else.

432
00:25:50,960 --> 00:25:54,840
Speaker 1: So was there was there any direct planning, because I

433
00:25:54,880 --> 00:25:58,480
Speaker 1: mean there's really I mean, it's kind of up in

434
00:25:58,560 --> 00:26:02,840
Speaker 1: the air on who who planted the flag first. But

435
00:26:04,240 --> 00:26:10,280
Speaker 1: I mean, you definitely weren't under the current status quo

436
00:26:10,320 --> 00:26:16,119
Speaker 1: of what music from Atlanta was supposed to be. I mean,

437
00:26:16,200 --> 00:26:19,000
Speaker 1: you weren't in a tlc umbrella, nor were you under

438
00:26:19,040 --> 00:26:24,840
Speaker 1: Brownstone or so. Yeah, And I felt like and I

439
00:26:24,880 --> 00:26:29,440
Speaker 1: could tell when someone's like trying hard to be contrary,

440
00:26:29,680 --> 00:26:34,400
Speaker 1: like you know, just you know, where everything is well

441
00:26:34,480 --> 00:26:37,920
Speaker 1: thought out and well plotted to. But it didn't feel

442
00:26:37,960 --> 00:26:40,080
Speaker 1: like that to me when I heard it. It was

443
00:26:40,160 --> 00:26:44,240
Speaker 1: like I knew it was different, but I couldn't I

444
00:26:44,320 --> 00:26:47,200
Speaker 1: couldn't quite call it. So, I mean, what was it

445
00:26:47,400 --> 00:26:48,040
Speaker 1: just a planning?

446
00:26:48,200 --> 00:26:53,600
Speaker 3: Like there wasn't any planning none. We just did it

447
00:26:54,160 --> 00:26:56,720
Speaker 3: and we did it in about two months.

448
00:26:57,240 --> 00:27:02,400
Speaker 1: Yeah. Yeah, so at the time Dallas called you the work,

449
00:27:02,720 --> 00:27:04,320
Speaker 1: you hadn't signed the deal to.

450
00:27:06,880 --> 00:27:10,560
Speaker 3: I signed the deal with through him, Okay, that came

451
00:27:10,600 --> 00:27:13,160
Speaker 3: with him, Yeah, because I was signed to him as

452
00:27:13,200 --> 00:27:17,199
Speaker 3: an artist under under actually under Limp, which was.

453
00:27:19,600 --> 00:27:22,840
Speaker 1: Rowdy was through I mean he had Rowdy.

454
00:27:23,680 --> 00:27:26,680
Speaker 3: Was on Arista though, and then Limp was on am I.

455
00:27:27,280 --> 00:27:33,720
Speaker 3: It was me and Shades of Lingo, maybe one other somebody,

456
00:27:33,800 --> 00:27:36,440
Speaker 3: maybe one other person, but one of the act. But yeah,

457
00:27:36,560 --> 00:27:38,480
Speaker 3: we were the only ones that were at am I.

458
00:27:39,280 --> 00:27:41,240
Speaker 3: But there was no plan like, there was no The

459
00:27:41,320 --> 00:27:46,639
Speaker 3: only prerequisite that I had was I wanted live instruments.

460
00:27:48,000 --> 00:27:49,200
Speaker 3: That was the only thing I came And I was

461
00:27:49,240 --> 00:27:52,240
Speaker 3: like every you know, you're well known for you know,

462
00:27:52,400 --> 00:27:54,960
Speaker 3: your beat, these R and B beats and stuff, But

463
00:27:55,520 --> 00:27:58,119
Speaker 3: that's not what I do. That doesn't really resonate with me.

464
00:27:58,200 --> 00:28:00,639
Speaker 3: It's cool, but for what I want to do, I

465
00:28:00,760 --> 00:28:03,000
Speaker 3: need the ship to be live, and if it's not live,

466
00:28:03,080 --> 00:28:04,960
Speaker 3: it needs to be freaked in some sort of way

467
00:28:05,640 --> 00:28:06,200
Speaker 3: that it's something.

468
00:28:06,280 --> 00:28:11,120
Speaker 5: He was like, Hell, yeah, well, I was gonna ask

469
00:28:11,280 --> 00:28:14,680
Speaker 5: just the question I always had, how do y'all sell

470
00:28:14,800 --> 00:28:15,240
Speaker 5: that record?

471
00:28:15,320 --> 00:28:15,359
Speaker 3: Like?

472
00:28:15,400 --> 00:28:18,240
Speaker 1: What was it like taking it to am I? Because

473
00:28:18,400 --> 00:28:20,560
Speaker 1: even now, I mean twenty plus years.

474
00:28:20,400 --> 00:28:23,600
Speaker 5: After this release, it sounds like nothing else, like it

475
00:28:23,720 --> 00:28:25,440
Speaker 5: still is in the league of his own, So like,

476
00:28:25,560 --> 00:28:27,760
Speaker 5: how do you sell that in ninety four?

477
00:28:28,240 --> 00:28:33,159
Speaker 3: In ninety four impossibly? You know, you could go at

478
00:28:33,320 --> 00:28:37,320
Speaker 3: the meetings that I had at the labels, everybody was like, Wow,

479
00:28:38,560 --> 00:28:41,160
Speaker 3: shit is fucking great. How do we sell it?

480
00:28:41,560 --> 00:28:45,520
Speaker 1: Gary Gary, Gary Harris.

481
00:28:46,720 --> 00:28:51,160
Speaker 3: Gary Harris was I don't even remember. Damn, I don't

482
00:28:51,160 --> 00:28:55,880
Speaker 3: even remember what department Gary worked then back then. Gary,

483
00:28:57,200 --> 00:28:59,160
Speaker 3: But Gary wasn't Dave. Gossip was my an.

484
00:28:59,360 --> 00:29:08,360
Speaker 5: I got got gossip demos? Yeah, because they've s mister

485
00:29:08,520 --> 00:29:10,760
Speaker 5: mister Dave right, that's no, no, no, no, no, no, No,

486
00:29:11,000 --> 00:29:12,280
Speaker 5: that's something that somebody different.

487
00:29:12,520 --> 00:29:15,680
Speaker 3: Dave Gossip was my Dave. And at that time Dave

488
00:29:15,760 --> 00:29:19,280
Speaker 3: had maybe maybe he done and from maybe like Zanella

489
00:29:19,360 --> 00:29:21,600
Speaker 3: Ice or somebody at the time, and like a few

490
00:29:21,640 --> 00:29:24,520
Speaker 3: other people, and he had and on some big projects

491
00:29:24,720 --> 00:29:26,360
Speaker 3: Black Sheep, Black Sheep, he did.

492
00:29:26,560 --> 00:29:32,280
Speaker 1: He signed Gossip signed the Roots to Mercury.

493
00:29:32,400 --> 00:29:32,920
Speaker 3: I never knew.

494
00:29:33,080 --> 00:29:36,040
Speaker 5: Oh wow, when I didn't know that, Yeah, and the

495
00:29:36,160 --> 00:29:39,880
Speaker 5: contract had they misspelled all our names on the contract

496
00:29:40,000 --> 00:29:42,520
Speaker 5: so made it nol and void in that seventy two

497
00:29:42,600 --> 00:29:45,320
Speaker 5: hour period. That's I guess that they were making a

498
00:29:45,400 --> 00:29:48,160
Speaker 5: new contract for us. Geffen came in the last minute,

499
00:29:48,240 --> 00:29:52,880
Speaker 5: like and so we went to Geffen instead, And Dave

500
00:29:53,040 --> 00:29:54,560
Speaker 5: Gossip never talked to me.

501
00:29:56,920 --> 00:30:02,920
Speaker 3: Well, Dave was good to me while I was there,

502
00:30:02,960 --> 00:30:06,160
Speaker 3: but Dave was so I just remember. What I remember

503
00:30:06,520 --> 00:30:11,120
Speaker 3: about Dave most is that the fact that Pendulum Vibe

504
00:30:11,280 --> 00:30:16,280
Speaker 3: did not get his proper shot and its fair shape

505
00:30:16,360 --> 00:30:18,600
Speaker 3: for how much he put into it, it really broke

506
00:30:19,640 --> 00:30:22,560
Speaker 3: his motherfucking heart. It broke his heart to the point

507
00:30:22,600 --> 00:30:23,920
Speaker 3: where he did step away music.

508
00:30:24,160 --> 00:30:26,360
Speaker 1: Yeah wow, i'n't heard from after that.

509
00:30:27,160 --> 00:30:30,280
Speaker 3: He was just like, I can't even like fuck all

510
00:30:30,320 --> 00:30:34,160
Speaker 3: this shit you know, now, Gods has just been chilling living,

511
00:30:34,240 --> 00:30:36,880
Speaker 3: you know, a cool civilian life as I call it,

512
00:30:37,400 --> 00:30:41,520
Speaker 3: civilian life. You stepp away from this shit. And I

513
00:30:41,600 --> 00:30:44,200
Speaker 3: love him to this day because he wrote really hard

514
00:30:44,240 --> 00:30:46,440
Speaker 3: for him. We were just kind of all we didn't

515
00:30:46,440 --> 00:30:48,720
Speaker 3: realize that there would be a machine to contend with.

516
00:30:49,000 --> 00:30:52,920
Speaker 3: I know, I didn't. I just thought that I'm doing

517
00:30:52,960 --> 00:30:57,080
Speaker 3: some shit. I recognized that ain't nobody doing what I'm doing?

518
00:30:58,880 --> 00:31:02,560
Speaker 3: What could be so hard about selling it? Like, isn't it?

519
00:31:03,840 --> 00:31:05,800
Speaker 3: What's what's the hard sale? If you put something in

520
00:31:05,800 --> 00:31:07,840
Speaker 3: front of someone, if it's great and if they've not

521
00:31:07,960 --> 00:31:10,480
Speaker 3: seen it before, won't they instantly be enamored with it

522
00:31:10,680 --> 00:31:13,000
Speaker 3: and curious about it? And won't it Like ain't that

523
00:31:13,120 --> 00:31:16,240
Speaker 3: how to fuck it go? And then I remember saying,

524
00:31:17,120 --> 00:31:19,600
Speaker 3: you know, will put me on the road, Just put

525
00:31:19,640 --> 00:31:21,440
Speaker 3: me on the road. I want to perform. Put me

526
00:31:21,520 --> 00:31:22,800
Speaker 3: on the road. If you put me on the road,

527
00:31:22,880 --> 00:31:23,640
Speaker 3: the people will come.

528
00:31:24,040 --> 00:31:26,440
Speaker 1: They wouldn't do that, Ah, they wouldn't give you to

529
00:31:26,440 --> 00:31:26,760
Speaker 1: a support.

530
00:31:26,760 --> 00:31:28,520
Speaker 3: They wouldn't get me to support. They were like, no,

531
00:31:28,640 --> 00:31:30,280
Speaker 3: we're going to really try to push it right, And

532
00:31:30,360 --> 00:31:32,080
Speaker 3: here we are in nineteen ninety four, they're trying to

533
00:31:32,200 --> 00:31:35,720
Speaker 3: push Sunshine in the fucking run up against Brownstone and

534
00:31:36,880 --> 00:31:40,240
Speaker 3: come on, And I remember very clearly them saying to

535
00:31:40,320 --> 00:31:42,360
Speaker 3: me too, if this was just a little bit more

536
00:31:42,520 --> 00:31:43,800
Speaker 3: like what's the four one one?

537
00:31:44,040 --> 00:31:45,880
Speaker 2: That's not about to ask you who were the contemporaries

538
00:31:45,920 --> 00:31:49,240
Speaker 2: at the time marriage, So what's the fore woman was

539
00:31:49,280 --> 00:31:52,200
Speaker 2: like super huge and everybody fucking love included let.

540
00:31:52,120 --> 00:31:55,360
Speaker 1: That out, me, let me ask who. Because they always

541
00:31:55,440 --> 00:31:59,520
Speaker 1: do this. It's usually like we're coming on a Monday

542
00:31:59,560 --> 00:32:01,240
Speaker 1: and they'll be like, all right, sit on the couch, guys,

543
00:32:01,760 --> 00:32:03,920
Speaker 1: I'm gonna play some remixes, just some ideas and see

544
00:32:03,920 --> 00:32:06,920
Speaker 1: if you guys like it, and then it'll be like twelve.

545
00:32:07,000 --> 00:32:09,880
Speaker 1: There's so many distortion and static remixes, like twelve of

546
00:32:09,920 --> 00:32:11,760
Speaker 1: them that never made it to the light of day.

547
00:32:12,320 --> 00:32:15,280
Speaker 1: So like, who were they trying to match you with? Like, oh,

548
00:32:15,400 --> 00:32:17,040
Speaker 1: let Eric Satin remix your thing.

549
00:32:17,040 --> 00:32:21,160
Speaker 3: Or well, because Dallas was there, they weren't really doing

550
00:32:21,440 --> 00:32:24,440
Speaker 3: a lot of that. They were just kind of because

551
00:32:24,440 --> 00:32:26,080
Speaker 3: he had the magic touch at that time, so they

552
00:32:26,080 --> 00:32:28,720
Speaker 3: weren't really doing that. They were he was really trying

553
00:32:28,720 --> 00:32:30,640
Speaker 3: to push it. From a standpoint of y'all gotta trust

554
00:32:30,720 --> 00:32:32,720
Speaker 3: me on this like we got it, like I'm telling

555
00:32:32,800 --> 00:32:35,720
Speaker 3: you this is you know, and they just weren't. They

556
00:32:35,760 --> 00:32:40,240
Speaker 3: couldn't understand how to do it. And you know, it

557
00:32:40,400 --> 00:32:42,960
Speaker 3: wasn't really about like cause it was several you know,

558
00:32:43,160 --> 00:32:45,040
Speaker 3: rock bands that I was on the label with, all

559
00:32:45,080 --> 00:32:46,920
Speaker 3: of them had to support, all of them was out

560
00:32:47,000 --> 00:32:49,720
Speaker 3: on the road. They was just fucking getting started. I

561
00:32:49,760 --> 00:32:52,440
Speaker 3: didn't understand why I couldn't hand on to a support

562
00:32:52,480 --> 00:32:53,960
Speaker 3: and why I could go on the road. Why it

563
00:32:54,000 --> 00:32:56,560
Speaker 3: wasn't important for me to build my fan base like that,

564
00:32:57,480 --> 00:33:01,920
Speaker 3: And it just wasn't looked at for it wasn't looked

565
00:33:01,960 --> 00:33:03,920
Speaker 3: at like that. By then, the death of the black

566
00:33:04,040 --> 00:33:07,640
Speaker 3: Band had really kind of already you know, occurred, except

567
00:33:07,720 --> 00:33:12,120
Speaker 3: for just these few concrete roses like your Condition and

568
00:33:12,280 --> 00:33:15,320
Speaker 3: men Conditioned and Tony Tony Tony, Like the black Band

569
00:33:15,360 --> 00:33:19,400
Speaker 3: had been reduced. It had been it was done. So

570
00:33:19,640 --> 00:33:21,800
Speaker 3: the idea of that even at that time, and they

571
00:33:21,840 --> 00:33:23,400
Speaker 3: were like, if you go out and you do shows

572
00:33:23,480 --> 00:33:27,520
Speaker 3: with dad, and I was like, a dad, you ain't

573
00:33:27,560 --> 00:33:30,640
Speaker 3: performing on no fucking dad. I mean a band, you know,

574
00:33:30,760 --> 00:33:33,080
Speaker 3: my band that I have. But at that time too,

575
00:33:33,160 --> 00:33:37,040
Speaker 3: I was rolling with a larger band and Dallas was

576
00:33:37,120 --> 00:33:40,120
Speaker 3: on keys and Colin was on but that was later,

577
00:33:40,200 --> 00:33:44,320
Speaker 3: that was after, but that was later. Like when Pendulum Vibe,

578
00:33:44,400 --> 00:33:47,000
Speaker 3: it was like Dallas and Colin Wolf and it.

579
00:33:47,120 --> 00:33:59,920
Speaker 1: Was that's crazy, like the job machine, but I got it.

580
00:34:00,000 --> 00:34:01,600
Speaker 3: That's what Yeah, this is what I want to do,

581
00:34:01,920 --> 00:34:05,320
Speaker 3: you know. And that's kind of been also that's been

582
00:34:06,440 --> 00:34:09,800
Speaker 3: a lovely bright spot over the course of my career

583
00:34:09,880 --> 00:34:11,400
Speaker 3: is that people do like to come and work with

584
00:34:11,480 --> 00:34:14,680
Speaker 3: me when they want to make a departure from kind

585
00:34:14,719 --> 00:34:17,480
Speaker 3: of what they're used to doing. Or they'll bring me

586
00:34:17,560 --> 00:34:18,960
Speaker 3: in and be like I want you on what I

587
00:34:19,040 --> 00:34:21,000
Speaker 3: do and I'm like, fine, you know I can do

588
00:34:21,120 --> 00:34:22,840
Speaker 3: that too. But a lot of people will come and

589
00:34:22,920 --> 00:34:24,200
Speaker 3: be like, I want to do some different shit, don't

590
00:34:24,200 --> 00:34:24,680
Speaker 3: want to work with you.

591
00:34:25,880 --> 00:34:26,440
Speaker 10: And I like that.

592
00:34:26,760 --> 00:34:29,040
Speaker 3: I like to be I like to be that haven

593
00:34:29,280 --> 00:34:31,759
Speaker 3: for people. I'm cool with that. But anyways, Doubts and

594
00:34:31,800 --> 00:34:34,439
Speaker 3: them were in the band. It was about probably about

595
00:34:34,480 --> 00:34:36,200
Speaker 3: eight of us at the time, and that just won't

596
00:34:36,239 --> 00:34:38,960
Speaker 3: on work at three backgrounds things, they won't gonna pay

597
00:34:39,000 --> 00:34:43,440
Speaker 3: all that shit. Yeah, at the time of us, because

598
00:34:43,440 --> 00:34:46,120
Speaker 3: it just it had to be the fullness of the

599
00:34:46,239 --> 00:34:49,160
Speaker 3: sound at that time, I hadn't tapped into my I

600
00:34:49,320 --> 00:34:53,160
Speaker 3: hadn't tapped into being able to feel comfortable enough with

601
00:34:53,520 --> 00:34:56,800
Speaker 3: something more stripped down. I figured that out by the

602
00:34:57,000 --> 00:35:01,640
Speaker 3: second album. Once I started working on Me but Cleansing

603
00:35:01,719 --> 00:35:05,160
Speaker 3: Syndrome with Fishbone, and even though it was a lot

604
00:35:05,239 --> 00:35:08,120
Speaker 3: of them in the band, I had more. I was

605
00:35:08,200 --> 00:35:10,840
Speaker 3: able to zero in more on rhythm section and what

606
00:35:11,000 --> 00:35:13,040
Speaker 3: that meant. So I was able to zero in on

607
00:35:13,120 --> 00:35:15,600
Speaker 3: that drum that bassed that guitar, and and and and

608
00:35:16,239 --> 00:35:19,000
Speaker 3: get from that what I needed. And so for a

609
00:35:19,200 --> 00:35:21,360
Speaker 3: number of years I saw all I toured with was

610
00:35:21,520 --> 00:35:27,120
Speaker 3: just drums, bass, guitar, and it was just super fucking rocking,

611
00:35:27,840 --> 00:35:30,000
Speaker 3: you know. And then that became more of a home

612
00:35:30,800 --> 00:35:33,120
Speaker 3: place for me to the point where I really didn't

613
00:35:33,120 --> 00:35:35,480
Speaker 3: want to too tough with nothing out side of that,

614
00:35:36,160 --> 00:35:37,440
Speaker 3: you know, particular setup.

615
00:35:37,719 --> 00:35:41,719
Speaker 1: What was ahead? Oh h, what was the transition? So

616
00:35:41,840 --> 00:35:44,880
Speaker 1: after penzum Vi Drop and then you started working on

617
00:35:45,040 --> 00:35:48,600
Speaker 1: Me but Clean, there's a stop in between again we

618
00:35:48,680 --> 00:35:52,319
Speaker 1: got to ask about freedom. We didn't got to talk

619
00:35:52,360 --> 00:35:56,440
Speaker 1: about the impact that pendulum vipad on a certain to

620
00:35:56,440 --> 00:35:58,360
Speaker 1: get going to get the match, but I'm wanted to

621
00:35:58,440 --> 00:36:00,920
Speaker 1: get freedom first and then get the match. Okay, So

622
00:36:01,480 --> 00:36:04,200
Speaker 1: could you talk about the the Freedom project.

623
00:36:04,440 --> 00:36:15,160
Speaker 3: Sure, Freedom came about from apparently uh uh the people

624
00:36:15,239 --> 00:36:20,360
Speaker 3: from from Panther the film at the time. Uh, I

625
00:36:20,400 --> 00:36:22,400
Speaker 3: guess maybe Polydor it was.

626
00:36:22,480 --> 00:36:26,200
Speaker 1: It was probably back with.

627
00:36:29,560 --> 00:36:32,600
Speaker 3: Polly Ground heard Freedom on the Whole Music when they

628
00:36:32,640 --> 00:36:34,760
Speaker 3: were calling up to the studio to talk to Dallas.

629
00:36:37,200 --> 00:36:41,279
Speaker 3: And when they heard it on the on the Whole music,

630
00:36:41,400 --> 00:36:43,640
Speaker 3: this is what I was told she could be at.

631
00:36:47,320 --> 00:36:49,840
Speaker 3: Sounds really great. It's a story. They heard it on

632
00:36:50,040 --> 00:36:53,520
Speaker 3: the Whole Music and decided that they want that's what

633
00:36:53,600 --> 00:36:58,400
Speaker 3: they wanted to use for the soundtrack. And then they

634
00:36:58,440 --> 00:37:03,600
Speaker 3: had this idea that they would, you know, bring in

635
00:37:04,160 --> 00:37:11,000
Speaker 3: every black female artist that was working in R and

636
00:37:11,120 --> 00:37:14,200
Speaker 3: B at the time. It was the will It was

637
00:37:14,320 --> 00:37:19,400
Speaker 3: like the female you will know, right and jeez, everybody

638
00:37:19,600 --> 00:37:25,239
Speaker 3: was there. But when I got that call that's what

639
00:37:25,280 --> 00:37:26,960
Speaker 3: they wanted to do, and that all those women were

640
00:37:27,040 --> 00:37:29,239
Speaker 3: going to be on there, artists remember being like, oh,

641
00:37:30,320 --> 00:37:32,640
Speaker 3: like this is incredible, you know, and then it was

642
00:37:32,719 --> 00:37:37,440
Speaker 3: like breathing some more life into Pendulum vibe. It was

643
00:37:37,560 --> 00:37:45,440
Speaker 3: like a good consolation for how heartbreaking it was, you know,

644
00:37:45,560 --> 00:37:47,320
Speaker 3: for to have not done what I thought it was

645
00:37:47,400 --> 00:37:49,719
Speaker 3: gonna do and for it to not have been accepted

646
00:37:49,800 --> 00:37:52,320
Speaker 3: the way I really thought that it would be accepted

647
00:37:52,400 --> 00:37:55,880
Speaker 3: and stuff, And so it it shed another light for

648
00:37:56,040 --> 00:37:58,160
Speaker 3: me on kind of what it means to have like

649
00:37:58,239 --> 00:38:02,600
Speaker 3: critical acclaim because I didn't really understand that concept at

650
00:38:02,640 --> 00:38:06,360
Speaker 3: the time either. But doing that let me know. Because

651
00:38:06,400 --> 00:38:12,920
Speaker 3: then people, the ladies, that was a really powerful experience

652
00:38:13,000 --> 00:38:16,239
Speaker 3: because all those ladies you know that I met that day,

653
00:38:16,840 --> 00:38:20,880
Speaker 3: I still have, you know, a tremendous amount of respect

654
00:38:22,200 --> 00:38:24,600
Speaker 3: for you know, and they still have a tremendous amount

655
00:38:24,640 --> 00:38:26,279
Speaker 3: of respect for me. And some of them have gone on,

656
00:38:26,480 --> 00:38:29,440
Speaker 3: you know to as sind to you know, crazy commercial

657
00:38:29,480 --> 00:38:30,320
Speaker 3: successful heights.

658
00:38:30,360 --> 00:38:32,520
Speaker 2: But it's never been another moment like that since with

659
00:38:32,640 --> 00:38:34,680
Speaker 2: a group of black female singers, I don't female.

660
00:38:34,880 --> 00:38:37,879
Speaker 1: Do they have a title for it? Like like Black

661
00:38:37,960 --> 00:38:38,759
Speaker 1: Men United? Was that?

662
00:38:38,800 --> 00:38:39,799
Speaker 3: You won't know, right?

663
00:38:40,280 --> 00:38:41,960
Speaker 1: What was the female version of it?

664
00:38:42,560 --> 00:38:42,840
Speaker 3: You know what?

665
00:38:42,960 --> 00:38:43,239
Speaker 1: It was?

666
00:38:43,719 --> 00:38:45,600
Speaker 3: Various various artists.

667
00:38:49,200 --> 00:38:52,080
Speaker 1: You'd be looking for Africa?

668
00:38:53,160 --> 00:38:54,600
Speaker 3: Should that say various?

669
00:38:55,480 --> 00:38:57,279
Speaker 5: And then so I remember you tell me so the

670
00:38:57,320 --> 00:39:00,920
Speaker 5: sweet Honey in the Rock thing you got? Oh I didn't,

671
00:39:00,920 --> 00:39:02,560
Speaker 5: I didn't even know. I thought it was your song.

672
00:39:02,600 --> 00:39:03,000
Speaker 1: I didn't know.

673
00:39:03,080 --> 00:39:08,000
Speaker 3: It was oh another heartbreak. So yeah, that was that.

674
00:39:08,239 --> 00:39:11,080
Speaker 3: Blessed my little heart sister, just baby, just out there

675
00:39:11,120 --> 00:39:13,200
Speaker 3: trying to sing something she ain't knowing nothing about, no

676
00:39:13,320 --> 00:39:18,440
Speaker 3: logistics going on, and she just get right. So my

677
00:39:18,600 --> 00:39:22,160
Speaker 3: album So Pendulum Vibe opened up with I'm Gonna Stand.

678
00:39:22,960 --> 00:39:24,920
Speaker 3: I saw Sweet Honey. My mom took me to see

679
00:39:24,920 --> 00:39:27,440
Speaker 3: Sweet Honey in the Rock at Fish Chapel when I

680
00:39:27,560 --> 00:39:31,400
Speaker 3: was in seventh grade, and it changed my life. And

681
00:39:33,920 --> 00:39:37,600
Speaker 3: I decided from that point professionally, when I would do music, whatever,

682
00:39:38,080 --> 00:39:40,600
Speaker 3: whatever project I came out with, first Sweet Honey in

683
00:39:40,640 --> 00:39:42,719
Speaker 3: the Rock, something by Sweet Honey in the Rock would

684
00:39:42,719 --> 00:39:45,000
Speaker 3: be the first thing that I would have on my records.

685
00:39:45,000 --> 00:39:47,200
Speaker 3: I would cover it in some way. So once I

686
00:39:47,320 --> 00:39:51,240
Speaker 3: got once I you know, got the deal and started

687
00:39:51,239 --> 00:39:54,479
Speaker 3: making a I was like, I'm gonna put I'm gonna

688
00:39:54,560 --> 00:39:58,640
Speaker 3: stand on this record, and I had it cleared m

689
00:39:58,719 --> 00:40:06,080
Speaker 3: I cleared it for Pendle. But again, hearing PolyGram, hearing

690
00:40:06,160 --> 00:40:10,359
Speaker 3: the ship on the whole music, they're thinking they had

691
00:40:10,520 --> 00:40:14,960
Speaker 3: no They're just thinking it's mine, right, so they weren't

692
00:40:15,000 --> 00:40:18,239
Speaker 3: even using it initially. There ended up being so many

693
00:40:18,400 --> 00:40:21,439
Speaker 3: women on the song that they didn't have enough room

694
00:40:21,680 --> 00:40:26,759
Speaker 3: to do features for all the artists, and so that's

695
00:40:26,800 --> 00:40:29,320
Speaker 3: how they decided, well, we're just gonna add that beginning

696
00:40:29,440 --> 00:40:33,839
Speaker 3: part to the song. God, And how the fuck am

697
00:40:33,840 --> 00:40:36,200
Speaker 3: I supposed to know if the people at PolyGram like

698
00:40:36,440 --> 00:40:39,760
Speaker 3: got their paperwork shit together and got clearance from Sweet

699
00:40:39,800 --> 00:40:41,840
Speaker 3: Honey in the Rock? What turns out they never got clearance.

700
00:40:41,960 --> 00:40:45,080
Speaker 3: Nobody fucking got Clarence and Bernie's Johnson Riggans suit. But

701
00:40:45,160 --> 00:40:46,680
Speaker 3: what does it have to do with you personally?

702
00:40:46,760 --> 00:40:46,920
Speaker 1: Though?

703
00:40:47,040 --> 00:40:50,319
Speaker 3: I was just because I was a writer, I'm named

704
00:40:50,360 --> 00:40:50,799
Speaker 3: in the suit.

705
00:40:51,920 --> 00:40:55,240
Speaker 1: So basically they took the interloew that was before freedom

706
00:40:55,560 --> 00:40:55,880
Speaker 1: Right and.

707
00:40:58,080 --> 00:41:00,239
Speaker 3: So so for the for the optic, for the video

708
00:41:00,440 --> 00:41:02,680
Speaker 3: and for the other Because who ended up being on

709
00:41:02,760 --> 00:41:09,360
Speaker 3: the beginning of that Vanessa Williams in Vogue maybe you know,

710
00:41:09,480 --> 00:41:13,759
Speaker 3: it was like all these profiles you know at the

711
00:41:13,840 --> 00:41:18,680
Speaker 3: time like super duper, but I ended up guesso, And

712
00:41:20,520 --> 00:41:24,160
Speaker 3: man it hurt my fucking feelings and it was just

713
00:41:24,280 --> 00:41:26,440
Speaker 3: so unfair. It's just like, how does that happen? How

714
00:41:26,520 --> 00:41:28,959
Speaker 3: do I have to take the fucking hit for this ship?

715
00:41:29,200 --> 00:41:30,960
Speaker 2: Like I had to do with that?

716
00:41:31,360 --> 00:41:34,640
Speaker 1: I didn't, I didn't, you know, did you get a

717
00:41:34,719 --> 00:41:35,360
Speaker 1: chance to talk to.

718
00:41:35,440 --> 00:41:40,800
Speaker 3: Her, Miss Bernie. I did not, And she's a fantastic,

719
00:41:40,920 --> 00:41:46,440
Speaker 3: awesome daughter to uh Toshi who's badass musician and uh

720
00:41:46,520 --> 00:41:55,759
Speaker 3: huh Reagan that's doctor that's doctor Reagan's and I don't know,

721
00:41:56,280 --> 00:42:00,520
Speaker 3: and I have a lot of mutual mutual sister friends,

722
00:42:02,040 --> 00:42:05,040
Speaker 3: but even she I've never met in person. But I

723
00:42:05,120 --> 00:42:07,480
Speaker 3: remember kind of trying to do a read to doctor

724
00:42:07,560 --> 00:42:12,000
Speaker 3: Rigan back in the day and she was like, Oh.

725
00:42:11,920 --> 00:42:14,319
Speaker 2: That's a family. Maybe he could bring y'all together.

726
00:42:18,120 --> 00:42:20,800
Speaker 1: For twenty eighteen. Can you not throw me under the

727
00:42:20,880 --> 00:42:24,600
Speaker 1: bus or my own show, please? She is the one

728
00:42:24,680 --> 00:42:27,799
Speaker 1: that's the cousin. There's a cousin of mine in the group.

729
00:42:27,840 --> 00:42:32,040
Speaker 1: I don't even know. I haven't met her either. Don't

730
00:42:32,160 --> 00:42:42,520
Speaker 1: put that gun away, please, But.

731
00:42:42,600 --> 00:42:45,120
Speaker 3: I just always figured that it would. You know, she

732
00:42:45,320 --> 00:42:47,399
Speaker 3: got to know by now that the child didn't hand

733
00:42:47,400 --> 00:42:49,120
Speaker 3: nothing to do with that ship. I know she knows,

734
00:42:49,160 --> 00:42:50,560
Speaker 3: and I just, you know, I kind of charged it

735
00:42:50,600 --> 00:42:51,920
Speaker 3: to the game. I was like, I know, I'll be

736
00:42:51,960 --> 00:42:53,880
Speaker 3: able to meet doctor Riggan one day and it'll be

737
00:42:54,000 --> 00:42:54,480
Speaker 3: all good.

738
00:42:55,719 --> 00:43:07,200
Speaker 1: Wow, I'm sorry that happened. Yea up, since this is

739
00:43:07,239 --> 00:43:08,800
Speaker 1: gonna be a lot of those stories. So let's just

740
00:43:08,880 --> 00:43:11,000
Speaker 1: go for it. Get the clean next, all right?

741
00:43:12,520 --> 00:43:15,239
Speaker 5: Oh yeah, I was just gonna how did Madonna find

742
00:43:15,280 --> 00:43:16,680
Speaker 5: out about the Pendulum Vibe?

743
00:43:21,600 --> 00:43:25,080
Speaker 3: Probably because.

744
00:43:26,719 --> 00:43:29,080
Speaker 1: She was working with my guess this guy.

745
00:43:29,520 --> 00:43:31,800
Speaker 3: I'm sorry, oh Siri that it could be.

746
00:43:31,880 --> 00:43:33,560
Speaker 1: That guy is always her hearge of the street.

747
00:43:34,239 --> 00:43:36,960
Speaker 3: It could be. And I'll say this too, I think

748
00:43:37,640 --> 00:43:41,439
Speaker 3: any people of that particular ILK at that time knew

749
00:43:41,480 --> 00:43:43,640
Speaker 3: who I was because the first person that reached out

750
00:43:43,680 --> 00:43:46,239
Speaker 3: to me, that was fucking with me was Lenny Grab

751
00:43:46,400 --> 00:43:50,520
Speaker 3: It makes sense, which is how Han Dallas ended up.

752
00:43:51,520 --> 00:43:55,320
Speaker 3: Ah okay, But but Lenny reached out like, you know,

753
00:43:55,480 --> 00:43:58,279
Speaker 3: who is this? What is the sunshine in the rain?

754
00:43:58,400 --> 00:44:03,080
Speaker 3: Who is this girl? I want to meet her? I

755
00:44:03,160 --> 00:44:05,759
Speaker 3: want to meet her, you know, And he called the

756
00:44:05,840 --> 00:44:09,440
Speaker 3: record label, found me, invited me like out with he

757
00:44:09,800 --> 00:44:11,920
Speaker 3: and his friends, and I just remember being like, well, fuck,

758
00:44:13,200 --> 00:44:13,680
Speaker 3: what's y'all?

759
00:44:14,000 --> 00:44:16,799
Speaker 1: Kind of label meets you're up?

760
00:44:17,040 --> 00:44:22,520
Speaker 3: Virgin virgin big old umbrella back then is kind of Yeah,

761
00:44:22,520 --> 00:44:24,720
Speaker 3: it wasn't too hard, not too much of a stretch,

762
00:44:24,800 --> 00:44:27,560
Speaker 3: but you know, it's just a little old meat and

763
00:44:28,840 --> 00:44:33,800
Speaker 3: then a gravitz, you know. And that was fun and

764
00:44:33,880 --> 00:44:36,440
Speaker 3: it was great to be like acknowledged and great to

765
00:44:36,560 --> 00:44:45,200
Speaker 3: be you know, uh you know acknowledged, you know, scene

766
00:44:45,440 --> 00:44:48,359
Speaker 3: for my craft, and I think through him, I think

767
00:44:49,120 --> 00:44:52,520
Speaker 3: he kind of let a lot of people know, yeah,

768
00:44:52,800 --> 00:44:55,239
Speaker 3: about what was what was happening at that time, and

769
00:44:55,440 --> 00:44:59,320
Speaker 3: then Madonna would end up reaching out for Dallas to

770
00:44:59,440 --> 00:45:02,719
Speaker 3: produce bad time stories.

771
00:45:03,320 --> 00:45:13,400
Speaker 10: Oh damn, I want to know.

772
00:45:13,760 --> 00:45:18,360
Speaker 1: Damn No, I'm just saying now it makes sense because

773
00:45:18,400 --> 00:45:22,960
Speaker 1: even with I'm Not Sorry Human Nature, I was like, yo,

774
00:45:23,160 --> 00:45:24,360
Speaker 1: that's I feel.

775
00:45:24,239 --> 00:45:30,960
Speaker 3: Like she definitely, you know, heard the album and definitely

776
00:45:31,040 --> 00:45:32,959
Speaker 3: loved it, and they definitely had to go back into

777
00:45:32,960 --> 00:45:33,960
Speaker 3: a little restructuring.

778
00:45:37,880 --> 00:45:41,719
Speaker 1: But she ended up helping you out. Though it wasn't

779
00:45:41,760 --> 00:45:42,399
Speaker 1: like beef an.

780
00:45:43,719 --> 00:45:46,240
Speaker 3: Now that motherfucker that made a phone called Steven Mozil

781
00:45:46,280 --> 00:45:56,000
Speaker 3: and I've got the Calvin Klein campaign. I'm not she

782
00:45:56,160 --> 00:45:59,920
Speaker 3: was cold. I never had any issues. She was actually fair,

783
00:46:00,160 --> 00:46:03,520
Speaker 3: very cool, Like you know the times that she.

784
00:46:03,600 --> 00:46:06,239
Speaker 2: Actually mentioned one day, like doing a show together, because

785
00:46:06,840 --> 00:46:09,479
Speaker 2: the thing is interesting because it's like, yes, that's great,

786
00:46:09,719 --> 00:46:10,960
Speaker 2: you're modeling, not singing.

787
00:46:16,280 --> 00:46:22,040
Speaker 1: We're also a Maverick associate. I just remember that myself, So.

788
00:46:22,480 --> 00:46:25,719
Speaker 9: Okay, cool, We're not.

789
00:46:25,760 --> 00:46:26,799
Speaker 1: Trying to throw salt on the game.

790
00:46:27,480 --> 00:46:29,880
Speaker 3: I just know that was real. That was Madonna. I

791
00:46:29,960 --> 00:46:31,640
Speaker 3: see your game. I picked it just.

792
00:46:31,760 --> 00:46:34,960
Speaker 1: They often retweet our shows out appreciate it.

793
00:46:36,520 --> 00:46:38,320
Speaker 3: Singing out there, so if you love them. But no,

794
00:46:38,520 --> 00:46:40,600
Speaker 3: she didn't reach out on any tip like that. I

795
00:46:40,640 --> 00:46:44,799
Speaker 3: don't know that anybody ever reached out, you.

796
00:46:44,840 --> 00:46:48,360
Speaker 1: Know what, not that we could afford to do anything

797
00:46:48,400 --> 00:46:52,359
Speaker 1: with you at the time, but definitely Gary was saying that, uh,

798
00:46:52,800 --> 00:46:55,960
Speaker 1: you were someone that we should work with. I mean

799
00:46:56,080 --> 00:47:00,880
Speaker 1: just at the time, I'll say, before we realized what

800
00:47:01,120 --> 00:47:04,120
Speaker 1: had to happen. And also you two found your own

801
00:47:04,200 --> 00:47:07,480
Speaker 1: family tree with the Dungeon family, like when you're alone,

802
00:47:08,719 --> 00:47:11,320
Speaker 1: I realized that you need a group of people. You

803
00:47:11,520 --> 00:47:15,160
Speaker 1: basically need five to seven people that do what you

804
00:47:15,320 --> 00:47:18,840
Speaker 1: do and be in a community. So well, I mean

805
00:47:18,880 --> 00:47:21,880
Speaker 1: I guess that's what you were basically going with Fishbone

806
00:47:22,080 --> 00:47:23,120
Speaker 1: with the problem. Yeah.

807
00:47:23,120 --> 00:47:28,120
Speaker 3: I did more so with them, I think than than Yeah,

808
00:47:28,680 --> 00:47:32,279
Speaker 3: like did I definitely did that with them. And I

809
00:47:32,360 --> 00:47:35,920
Speaker 3: would collaborate with DF you know, and I would go

810
00:47:36,080 --> 00:47:39,640
Speaker 3: on the road with them, not as joy though not

811
00:47:39,800 --> 00:47:42,279
Speaker 3: as an untry. I would go you know, as music

812
00:47:42,360 --> 00:47:45,880
Speaker 3: director or go as singing backs or go as you know,

813
00:47:46,000 --> 00:47:48,040
Speaker 3: doing things of that nature. When Goodie first went out

814
00:47:50,000 --> 00:47:52,160
Speaker 3: a little bit later on, I would do that music

815
00:47:52,200 --> 00:47:54,160
Speaker 3: direction and stuff for them because Lo and I just

816
00:47:54,280 --> 00:47:57,480
Speaker 3: had kind of a we knew it each other, like right,

817
00:47:57,560 --> 00:48:01,400
Speaker 3: and I could, you know, get the shit together and

818
00:48:01,520 --> 00:48:04,640
Speaker 3: make sure everything was good for them. But not as

819
00:48:04,840 --> 00:48:07,440
Speaker 3: a joy entity. No, always in a in a more

820
00:48:07,440 --> 00:48:15,160
Speaker 3: of a supporting kind of grow you know, which is fine,

821
00:48:15,600 --> 00:48:17,400
Speaker 3: you know which is whatever, because I would still do

822
00:48:17,480 --> 00:48:19,040
Speaker 3: my own shit, you know, whenever I would do my

823
00:48:19,080 --> 00:48:19,480
Speaker 3: own shit.

824
00:48:24,040 --> 00:48:28,640
Speaker 1: So I gotta ask in the most diplomatic way possible. Yes,

825
00:48:29,640 --> 00:48:31,480
Speaker 1: because we have a lot of mutual people in common.

826
00:48:31,680 --> 00:48:34,600
Speaker 1: Yes we do, but you but you and I also

827
00:48:34,800 --> 00:48:37,359
Speaker 1: have a lot of experiences in common. And I'll say

828
00:48:37,360 --> 00:48:41,920
Speaker 1: that even with whatever my weird journey is in music,

829
00:48:42,040 --> 00:48:45,319
Speaker 1: I always still felt like the bride's maid and never

830
00:48:45,400 --> 00:48:48,560
Speaker 1: the bride. And there is no feeling like the feeling

831
00:48:49,600 --> 00:48:53,839
Speaker 1: of you thinking, Okay, this is gonna be the moment,

832
00:48:53,880 --> 00:48:56,000
Speaker 1: that's gonna be the always in January like this is

833
00:48:56,040 --> 00:48:58,080
Speaker 1: gonna be okay, this is the year we're gonna get together.

834
00:48:58,560 --> 00:48:59,280
Speaker 3: And then.

835
00:49:01,800 --> 00:49:05,759
Speaker 1: Yeah, you You're like all right, cool, cool, next year,

836
00:49:06,040 --> 00:49:12,360
Speaker 1: just keep working, but how I would like to know.

837
00:49:12,520 --> 00:49:15,680
Speaker 1: And again I'm not I've never on this used the

838
00:49:15,760 --> 00:49:20,160
Speaker 1: show as a gotcha journalism or that sort of thing.

839
00:49:20,640 --> 00:49:23,640
Speaker 1: But you are literally one of the people of my

840
00:49:23,760 --> 00:49:29,640
Speaker 1: contemporaries that I could possibly think has had the same

841
00:49:29,840 --> 00:49:35,160
Speaker 1: sort of tortoise in the hair journey. Sure, So what

842
00:49:35,520 --> 00:49:38,640
Speaker 1: is that feeling with once the year start to develop

843
00:49:40,040 --> 00:49:44,560
Speaker 1: and suddenly people are open to alternative ways of seeing

844
00:49:44,719 --> 00:49:47,120
Speaker 1: R and B and I'll say your name with Erica

845
00:49:47,239 --> 00:49:53,239
Speaker 1: and everything and you not getting your turn, like, how

846
00:49:53,320 --> 00:49:58,160
Speaker 1: do you well? I've sad tears over many of Rolling

847
00:49:58,200 --> 00:50:03,640
Speaker 1: Stone cover. I've had panic attacks. Sure, I've thrown many

848
00:50:03,680 --> 00:50:06,960
Speaker 1: a coffee mug at you know, I get it, So Steve,

849
00:50:09,440 --> 00:50:12,239
Speaker 1: damn that mix. Yeah.

850
00:50:12,360 --> 00:50:18,160
Speaker 3: So here's the thing. One thing I've been pretty blessed

851
00:50:18,200 --> 00:50:21,120
Speaker 3: with is the ability, like I like when we in

852
00:50:21,200 --> 00:50:23,680
Speaker 3: the beginning of this interview, when I told you from

853
00:50:23,800 --> 00:50:28,399
Speaker 3: very little i've known, my shit ain't like everybody else's shit.

854
00:50:29,280 --> 00:50:32,879
Speaker 3: So the journey is not like everybody else's so if

855
00:50:33,320 --> 00:50:37,120
Speaker 3: and I mean, and I really really realized that early on.

856
00:50:37,760 --> 00:50:42,160
Speaker 3: So I and another thing that I don't do, and

857
00:50:42,200 --> 00:50:44,200
Speaker 3: which is probably why I've been able to keep a

858
00:50:44,239 --> 00:50:46,759
Speaker 3: lout of my zen and my sanity and check is

859
00:50:46,800 --> 00:50:48,560
Speaker 3: that I don't do a lot of I'm not a

860
00:50:48,760 --> 00:50:55,120
Speaker 3: I'm not a comparer. I don't compare myself to other people.

861
00:50:55,400 --> 00:50:57,600
Speaker 3: I don't compare what I have going on in my

862
00:50:57,719 --> 00:50:59,759
Speaker 3: life or what they have going on in their life.

863
00:51:00,239 --> 00:51:02,239
Speaker 3: Just don't do it. And this is from the jump

864
00:51:02,360 --> 00:51:04,080
Speaker 3: of your life. This is from my life. This is

865
00:51:04,120 --> 00:51:05,520
Speaker 3: not me as an artist, This is me as a

866
00:51:05,719 --> 00:51:06,160
Speaker 3: human being.

867
00:51:06,239 --> 00:51:08,120
Speaker 2: Because when we started this conversation, you said something to

868
00:51:08,160 --> 00:51:09,960
Speaker 2: me that was very ill for somebody that was your age.

869
00:51:10,000 --> 00:51:11,960
Speaker 2: You said that when old boy broke up with you,

870
00:51:12,160 --> 00:51:13,680
Speaker 2: it was one of the saddest parts of your life.

871
00:51:13,719 --> 00:51:15,440
Speaker 2: But you knew that you were about to get a

872
00:51:15,440 --> 00:51:15,799
Speaker 2: record deal.

873
00:51:15,800 --> 00:51:18,080
Speaker 3: It was already clear on what balance what checks a

874
00:51:18,120 --> 00:51:18,560
Speaker 3: lot of people.

875
00:51:18,600 --> 00:51:21,480
Speaker 2: It takes some books, some spiritual learning, some things, you know,

876
00:51:22,000 --> 00:51:23,560
Speaker 2: to really realize that moment.

877
00:51:23,800 --> 00:51:27,920
Speaker 3: No no, no book has taught me my Nothing has

878
00:51:27,960 --> 00:51:30,440
Speaker 3: taught me better than my experience and my living and

879
00:51:30,520 --> 00:51:33,480
Speaker 3: my making it through. For what keeps you saying and balanced,

880
00:51:33,520 --> 00:51:35,520
Speaker 3: Because what keeps me saying in balance is that I'm

881
00:51:35,560 --> 00:51:39,719
Speaker 3: still hearing. I know I got shit to do. That's

882
00:51:39,760 --> 00:51:43,480
Speaker 3: what keeps me saying ballence, that's I believe you know

883
00:51:43,520 --> 00:51:46,239
Speaker 3: what it is, quess here it is in a nutshell genuinely.

884
00:51:46,760 --> 00:51:50,719
Speaker 3: I believe my best work is in front of me, genuinely.

885
00:51:52,160 --> 00:51:54,120
Speaker 3: So if I didn't believe that, then I could be

886
00:51:54,239 --> 00:51:55,840
Speaker 3: mad and I could be like, well, fuck so and

887
00:51:55,960 --> 00:51:57,960
Speaker 3: so and so and so got dawn had my goddamn

888
00:51:58,000 --> 00:52:01,279
Speaker 3: shoes on at one time, and so goddamn had this,

889
00:52:01,440 --> 00:52:03,000
Speaker 3: and so and so sound like me on that and

890
00:52:03,080 --> 00:52:05,080
Speaker 3: that bitch, No, she got damn sample that doesn't even

891
00:52:05,080 --> 00:52:09,360
Speaker 3: know he got down there. No, my contemporary my peers

892
00:52:09,440 --> 00:52:12,120
Speaker 3: get mad like that about certain shit, and I have

893
00:52:12,200 --> 00:52:13,840
Speaker 3: to calm them there, like why y'all, I mean, but

894
00:52:13,960 --> 00:52:15,920
Speaker 3: why are y'all so hell being on comparing me to

895
00:52:16,040 --> 00:52:19,000
Speaker 3: the next motherfucker? Why are you so hell bent on that?

896
00:52:19,320 --> 00:52:22,920
Speaker 1: It's not because they're projecting the projecting and it's not

897
00:52:23,040 --> 00:52:23,480
Speaker 1: what it is.

898
00:52:23,760 --> 00:52:30,000
Speaker 3: I'm with it. If I did not believe that my

899
00:52:30,120 --> 00:52:35,560
Speaker 3: best work and my my finest, finest self was not

900
00:52:35,680 --> 00:52:37,200
Speaker 3: in front of me. If I didn't believe that, then

901
00:52:37,239 --> 00:52:43,120
Speaker 3: I wouldn't be fucking doing it. And it's literally that simple.

902
00:52:43,400 --> 00:52:46,160
Speaker 3: It don't mean the shit don't hurt or don't you know,

903
00:52:46,239 --> 00:52:48,120
Speaker 3: it doesn't mean that I'm not affected by those things.

904
00:52:48,160 --> 00:52:52,040
Speaker 3: It just means that I'm rooted in something that anchors

905
00:52:52,120 --> 00:52:54,480
Speaker 3: me outside of all the external noise.

906
00:52:56,480 --> 00:52:58,160
Speaker 1: How fast did it take you to realize that?

907
00:52:58,760 --> 00:52:59,040
Speaker 6: For me?

908
00:52:59,600 --> 00:53:05,200
Speaker 1: Like, I'll be honest with you last year, I'm really

909
00:53:05,480 --> 00:53:08,520
Speaker 1: truly not lying to you. I'm not lying to you,

910
00:53:08,880 --> 00:53:11,279
Speaker 1: and I'm not I'm not even saying to the point

911
00:53:11,280 --> 00:53:13,040
Speaker 1: where it's like, oh, I had to watch all my

912
00:53:13,120 --> 00:53:17,000
Speaker 1: contemporaries fall or break breakup or that sort of thing.

913
00:53:17,920 --> 00:53:21,960
Speaker 1: But you know, even though like I still don't know

914
00:53:23,040 --> 00:53:25,560
Speaker 1: where this place is where, it's like, Okay, I get

915
00:53:25,600 --> 00:53:27,759
Speaker 1: to write books and teach class and do a radio show.

916
00:53:28,800 --> 00:53:33,080
Speaker 1: But I definitely feel like I knew that my biggest

917
00:53:33,120 --> 00:53:36,080
Speaker 1: fear starting in nineteen ninety two was whether or not

918
00:53:36,200 --> 00:53:39,480
Speaker 1: I'd still be here in nineteen ninety nine. That was

919
00:53:39,560 --> 00:53:42,319
Speaker 1: like some super future shit. And I'm not even talking

920
00:53:42,360 --> 00:53:45,040
Speaker 1: about like two thousand and five or twenty fifteen or

921
00:53:45,080 --> 00:53:46,359
Speaker 1: even twenty twenty five.

922
00:53:47,200 --> 00:53:52,240
Speaker 5: But you know, I know four years is a rap career,

923
00:53:52,480 --> 00:53:55,279
Speaker 5: Like I mean, that's it's is like high school, like

924
00:53:55,400 --> 00:53:57,360
Speaker 5: literally you got four years to get your money and

925
00:53:57,400 --> 00:53:58,480
Speaker 5: then after that it's kind of like.

926
00:53:59,040 --> 00:54:01,600
Speaker 1: You know, I think I came to the conclusion that

927
00:54:01,840 --> 00:54:05,360
Speaker 1: if Tarika and I really got what we wish for,

928
00:54:07,160 --> 00:54:09,000
Speaker 1: you know along the way, you know whatever, like the

929
00:54:09,280 --> 00:54:13,520
Speaker 1: Bentley or whatever, right, we would have been assholes and dead.

930
00:54:13,680 --> 00:54:14,399
Speaker 3: I would have been dead.

931
00:54:14,800 --> 00:54:16,360
Speaker 1: Yeah, we would have been assholes.

932
00:54:17,320 --> 00:54:20,000
Speaker 3: Like inside with way way too free, way too well.

933
00:54:20,040 --> 00:54:23,120
Speaker 3: I would do because I'm a creature of desire, I

934
00:54:23,200 --> 00:54:25,960
Speaker 3: do what the funk I want to do, so and

935
00:54:26,120 --> 00:54:29,279
Speaker 3: because I'm that way, I would have just ain't what

936
00:54:29,320 --> 00:54:31,719
Speaker 3: the rigie he says that I couldn't have Yeah, I

937
00:54:31,719 --> 00:54:33,280
Speaker 3: couldn't have had it like that it had.

938
00:54:34,080 --> 00:54:37,320
Speaker 1: Like one hundred million units. But you know he was

939
00:54:37,360 --> 00:54:39,160
Speaker 1: saying like he was saying like the question is like,

940
00:54:39,200 --> 00:54:41,560
Speaker 1: you know, can you survive your success? That's the thing,

941
00:54:41,760 --> 00:54:43,839
Speaker 1: Like you can whatever because whatever it is you're into,

942
00:54:43,880 --> 00:54:46,480
Speaker 1: if it's girls, if it's dope, if it's whatever, you're

943
00:54:46,480 --> 00:54:48,520
Speaker 1: gonna get all of that that's dope, all the dope,

944
00:54:48,600 --> 00:54:51,319
Speaker 1: all the holes, all the cars, whatever it is into.

945
00:54:51,760 --> 00:54:54,560
Speaker 5: So with success, the question becomes can you survive it?

946
00:54:55,360 --> 00:54:57,880
Speaker 5: And if you get it too early? You know, that's

947
00:54:57,920 --> 00:54:58,840
Speaker 5: why allow of people.

948
00:54:58,640 --> 00:55:02,200
Speaker 3: Don't nothin I I agree, I would have. I definitely did.

949
00:55:03,360 --> 00:55:07,160
Speaker 3: The road had to be temper I just I really

950
00:55:07,239 --> 00:55:11,120
Speaker 3: look at it because now where I am in my

951
00:55:11,200 --> 00:55:16,239
Speaker 3: life now, you know, shit, some people be looking at

952
00:55:16,280 --> 00:55:20,960
Speaker 3: me like a damn shaman at this point, you know

953
00:55:21,040 --> 00:55:25,880
Speaker 3: what I'm saying. And my friends who uh you know,

954
00:55:26,160 --> 00:55:29,200
Speaker 3: do have to be under the lights, you know all

955
00:55:29,280 --> 00:55:33,960
Speaker 3: the time, you know, can find you know, some comfort

956
00:55:34,040 --> 00:55:36,920
Speaker 3: and being able to come and sit with me or

957
00:55:37,000 --> 00:55:41,840
Speaker 3: talk to me and to to to get grounded, you know,

958
00:55:42,000 --> 00:55:44,320
Speaker 3: and where they are, and and to have and to

959
00:55:45,200 --> 00:55:47,520
Speaker 3: to to gain some clarity about where they are. So

960
00:55:47,680 --> 00:55:49,560
Speaker 3: kind of what ended up happening as a result of

961
00:55:49,640 --> 00:55:52,680
Speaker 3: all these experiences and me having to process and digest

962
00:55:53,440 --> 00:55:56,240
Speaker 3: all these different things that have happened to me in career,

963
00:55:56,520 --> 00:55:59,800
Speaker 3: things I've seen, whatever's really turned me into an a

964
00:56:00,840 --> 00:56:08,279
Speaker 3: one fucking therapist without the doctorate, but a one like

965
00:56:08,840 --> 00:56:12,319
Speaker 3: a fucking one like really really, I was about to say,

966
00:56:13,960 --> 00:56:16,360
Speaker 3: please you did not want to share that info? Please

967
00:56:16,440 --> 00:56:20,520
Speaker 3: do And and that's the kind of book where I could,

968
00:56:20,880 --> 00:56:22,600
Speaker 3: But you can't touch everybody.

969
00:56:23,560 --> 00:56:25,960
Speaker 1: It's a different audio.

970
00:56:26,360 --> 00:56:26,919
Speaker 3: I need something.

971
00:56:27,440 --> 00:56:29,799
Speaker 2: I need something for the everyday man, because that which

972
00:56:29,840 --> 00:56:31,720
Speaker 2: you that's some Yeah, it's major.

973
00:56:31,880 --> 00:56:34,439
Speaker 3: It's like metal, human and ship. You're talking. Yeah, it's

974
00:56:34,560 --> 00:56:38,560
Speaker 3: just and that's and those are things that I'm you know,

975
00:56:39,400 --> 00:56:44,560
Speaker 3: those are journeys I have to to to get suited

976
00:56:44,680 --> 00:56:48,040
Speaker 3: up for with being able to put things into books

977
00:56:48,160 --> 00:56:50,279
Speaker 3: and do things like that. Because my mom, I'm so like,

978
00:56:50,880 --> 00:56:53,160
Speaker 3: just come see me. Yeah, come see me and sit

979
00:56:53,200 --> 00:56:57,000
Speaker 3: on my like you know what I'm saying, like a book,

980
00:56:57,320 --> 00:56:57,920
Speaker 3: a seminar.

981
00:56:58,719 --> 00:57:00,359
Speaker 2: Okay, I was thinking about everybody else, but I'll come

982
00:57:00,360 --> 00:57:03,960
Speaker 2: over your house everybody else.

983
00:57:03,960 --> 00:57:06,520
Speaker 1: I'm just like we're sending to your house.

984
00:57:09,360 --> 00:57:10,919
Speaker 3: About the Tears was about a month.

985
00:57:11,920 --> 00:57:13,919
Speaker 1: Yeah, because we're about to finish album for this week.

986
00:57:15,400 --> 00:57:16,720
Speaker 1: You got the off you're about to.

987
00:57:16,720 --> 00:57:21,000
Speaker 3: Go, will take it camp quite you know, I'm you know,

988
00:57:21,160 --> 00:57:27,200
Speaker 3: cos bring my medicine with me to bring will have

989
00:57:27,360 --> 00:57:30,200
Speaker 3: my own medicine. You may bring your medicine, share medicine.

990
00:57:31,840 --> 00:57:37,160
Speaker 1: I supposed to share prescriptions that I just want to

991
00:57:37,160 --> 00:57:42,400
Speaker 1: do some drugs. I want to be joy. Yes, Okay,

992
00:57:42,680 --> 00:57:47,840
Speaker 1: So the tenure for the Turies sweet badass song the

993
00:57:48,200 --> 00:57:50,920
Speaker 1: fish moone period? Did I pronounced that right?

994
00:57:51,400 --> 00:57:54,800
Speaker 5: The tenure is that what you're saying, said Jim Cheery,

995
00:57:59,480 --> 00:58:04,040
Speaker 5: Sorry to Tree like, no, not not Mary Poppins. That

996
00:58:04,200 --> 00:58:11,000
Speaker 5: you think the mythic man, the flow man was quote

997
00:58:11,040 --> 00:58:15,880
Speaker 5: Mary Poppins, Jim Jim three, Mary Poppins.

998
00:58:16,240 --> 00:58:16,880
Speaker 3: You never seen Mary?

999
00:58:17,040 --> 00:58:19,240
Speaker 1: You were never but I knew that.

1000
00:58:19,520 --> 00:58:21,160
Speaker 3: But you're really gonna love.

1001
00:58:21,120 --> 00:58:26,440
Speaker 1: It, planning on watching in the next Nigga, who watched

1002
00:58:26,480 --> 00:58:27,160
Speaker 1: all the Friends?

1003
00:58:27,800 --> 00:58:28,840
Speaker 3: You better watched Mary Popps.

1004
00:58:29,160 --> 00:58:30,960
Speaker 1: I had nothing to do. I was in Malloy alone.

1005
00:58:31,080 --> 00:58:33,400
Speaker 7: You could have watched Mary Poppins to watch Friends, and

1006
00:58:35,000 --> 00:58:37,840
Speaker 7: the randomness it would have been over sooner, the randomness

1007
00:58:37,880 --> 00:58:39,880
Speaker 7: of it. You're gonna check it out one time late night.

1008
00:58:39,960 --> 00:58:42,400
Speaker 7: You totally are, like, I watched.

1009
00:58:42,560 --> 00:58:45,800
Speaker 1: I will watch Mary Poppins. Thank you anyway, pronounce this

1010
00:58:45,880 --> 00:58:46,560
Speaker 1: fishbone al.

1011
00:58:48,040 --> 00:58:48,160
Speaker 2: As.

1012
00:58:49,040 --> 00:58:51,080
Speaker 1: Y'all just looked at me like you don't know what

1013
00:58:51,240 --> 00:58:51,560
Speaker 1: this is?

1014
00:58:52,000 --> 00:58:54,320
Speaker 5: No, No, I was just I thought you were saying

1015
00:58:54,440 --> 00:58:57,680
Speaker 5: Jimmy cheery, because Jimmy Cheery sauce is like the sau steak.

1016
00:59:00,000 --> 00:59:11,439
Speaker 1: About. I was like, so we we actually not many

1017
00:59:11,440 --> 00:59:16,600
Speaker 1: people well not many people know. I think one third

1018
00:59:16,680 --> 00:59:20,600
Speaker 1: of our third album, Philadelph Half Life, we recorded at

1019
00:59:20,720 --> 00:59:28,680
Speaker 1: dark Yeah, and I was gonna say, how did how

1020
00:59:28,720 --> 00:59:30,080
Speaker 1: did you guys? Pull?

1021
00:59:30,600 --> 00:59:33,440
Speaker 10: Uh? Uh?

1022
00:59:34,400 --> 00:59:37,760
Speaker 1: I'm about to say Norwood Angelo Angelo away from that

1023
00:59:38,080 --> 00:59:44,960
Speaker 1: goddamn Thurman miss Sherman. Well, he practiced that ship like

1024
00:59:45,280 --> 00:59:47,480
Speaker 1: seven hours a day, he did, and that.

1025
00:59:47,600 --> 00:59:50,480
Speaker 3: It was newly discovered for him at the time. And

1026
00:59:50,560 --> 00:59:53,640
Speaker 3: it's still a part like once it came and never left.

1027
00:59:53,680 --> 00:59:56,080
Speaker 3: Now that's still a part of the Fishbone show. But he's,

1028
00:59:56,160 --> 00:59:58,520
Speaker 3: you know, masterful with that now.

1029
00:59:58,920 --> 01:00:02,560
Speaker 1: Back in ninety seven, he wouldn't answer questions.

1030
01:00:02,320 --> 01:00:03,040
Speaker 3: Like he.

1031
01:00:08,160 --> 01:00:08,600
Speaker 10: Loved it.

1032
01:00:08,800 --> 01:00:10,200
Speaker 3: He loved it so deep and hard.

1033
01:00:11,760 --> 01:00:17,640
Speaker 1: So just being in that chaotic environment, what was that like?

1034
01:00:18,000 --> 01:00:18,520
Speaker 3: Wonderful?

1035
01:00:19,000 --> 01:00:20,600
Speaker 1: Oh okay, you embraced that.

1036
01:00:20,720 --> 01:00:21,360
Speaker 3: I embraced it.

1037
01:00:22,400 --> 01:00:23,040
Speaker 1: I'm not good at.

1038
01:00:23,040 --> 01:00:25,080
Speaker 3: Chaos my kind of freedom. And see I am. I

1039
01:00:25,120 --> 01:00:26,080
Speaker 3: don't do well with order.

1040
01:00:28,600 --> 01:00:37,240
Speaker 1: Broke up after three weeks. I'm disciplined follow the rules.

1041
01:00:38,120 --> 01:00:39,160
Speaker 1: You with me.

1042
01:00:41,640 --> 01:00:44,280
Speaker 3: So much that I'm not following the rules. I just

1043
01:00:44,440 --> 01:00:47,240
Speaker 3: recognized that the rules. You know what I'm I'm not

1044
01:00:47,320 --> 01:00:50,000
Speaker 3: going to yield so easily to someone else's control. And

1045
01:00:50,080 --> 01:00:52,800
Speaker 3: I'm not going to be rambunctious or fucked up about it,

1046
01:00:53,120 --> 01:00:57,720
Speaker 3: but I will if I want to get found, I'm

1047
01:00:57,720 --> 01:00:59,320
Speaker 3: gonna have to make some ulse. I can't be here.

1048
01:01:00,560 --> 01:01:01,040
Speaker 3: It's like that.

1049
01:01:06,000 --> 01:01:10,840
Speaker 1: Come a second, talk to me.

1050
01:01:10,960 --> 01:01:14,400
Speaker 3: But I'm also super respectful and super nurturing of other

1051
01:01:14,520 --> 01:01:18,240
Speaker 3: people's ways and how other people are. So I have

1052
01:01:18,360 --> 01:01:20,240
Speaker 3: a lot My mama is. You know, she got a

1053
01:01:20,240 --> 01:01:22,560
Speaker 3: little animal thing, a little bit with her. You know,

1054
01:01:22,640 --> 01:01:24,880
Speaker 3: my auntie, you got a little aiming where they real neat,

1055
01:01:25,000 --> 01:01:30,400
Speaker 3: real orderly. And I appreciate that deeply. It's just not me.

1056
01:01:30,760 --> 01:01:32,680
Speaker 3: So I can do it for a time, I just

1057
01:01:32,760 --> 01:01:35,880
Speaker 3: can't exist in it. How many beatings you get before

1058
01:01:35,880 --> 01:01:41,120
Speaker 3: they were just like about to say, all I heard

1059
01:01:41,200 --> 01:01:46,520
Speaker 3: was yeah, a lot growing up, and just after a

1060
01:01:46,560 --> 01:01:49,400
Speaker 3: point they were just like, y'all, this is just how

1061
01:01:49,440 --> 01:01:53,320
Speaker 3: she gonna be. But that time period with them was

1062
01:01:54,400 --> 01:01:59,040
Speaker 3: really wonderful. I had met Angelo. He was doing a

1063
01:01:59,120 --> 01:02:03,280
Speaker 3: Doctor Mad Vibe thing in Atlanta, and I went to it,

1064
01:02:04,600 --> 01:02:06,160
Speaker 3: and I was so excited because of course I'm a

1065
01:02:06,240 --> 01:02:09,280
Speaker 3: fan from uh, you know, from.

1066
01:02:09,320 --> 01:02:11,320
Speaker 1: From from their southern California.

1067
01:02:11,400 --> 01:02:15,560
Speaker 3: Then yes, and and I remember seeing them on soul training.

1068
01:02:15,560 --> 01:02:20,640
Speaker 3: I remember them performing Freddy's Dead and every day Sunshine training.

1069
01:02:20,720 --> 01:02:24,640
Speaker 3: It was fucking killer. And so I met Angelo there

1070
01:02:24,720 --> 01:02:29,200
Speaker 3: and he was super funny and insane and awesome and wonderful,

1071
01:02:29,640 --> 01:02:31,400
Speaker 3: and he was like, man, we just lost our deal

1072
01:02:31,560 --> 01:02:36,360
Speaker 3: with who they was at Sony or c Sony at

1073
01:02:36,400 --> 01:02:38,080
Speaker 3: the time, because the last time and they didn't think

1074
01:02:38,120 --> 01:02:43,600
Speaker 3: maybe give a monkey a brain, which is a great thing.

1075
01:02:44,720 --> 01:02:46,480
Speaker 3: And he was like, so Fisherman doesn't have a deal.

1076
01:02:46,560 --> 01:02:49,560
Speaker 3: And I was like, what, how does fish have a deal?

1077
01:02:49,680 --> 01:02:54,760
Speaker 1: And I said, you were the bridge to Dallas.

1078
01:02:55,000 --> 01:03:01,440
Speaker 3: Yes. Wow, So I said, y'all gonna have a fucking

1079
01:03:01,480 --> 01:03:04,720
Speaker 3: record deal. Y'all gonna do that ship here in Atlanta.

1080
01:03:05,160 --> 01:03:08,760
Speaker 3: He was like, I was like, we're going to we

1081
01:03:08,840 --> 01:03:11,400
Speaker 3: want to study it. So I took Angeloa to meet Dallas,

1082
01:03:12,880 --> 01:03:16,000
Speaker 3: and of course Dallas was like, fucking fishbone dude, like

1083
01:03:17,280 --> 01:03:20,880
Speaker 3: you're going you being cool because he's a quiet, kind

1084
01:03:20,920 --> 01:03:23,120
Speaker 3: of reserved cat back then, still kind of his but

1085
01:03:23,440 --> 01:03:25,280
Speaker 3: he was real kind of quiet a shot back then,

1086
01:03:26,440 --> 01:03:29,560
Speaker 3: but he was freaking out on the inside and uh.

1087
01:03:30,400 --> 01:03:32,800
Speaker 3: And they started a dialogue about it, and he made

1088
01:03:32,880 --> 01:03:35,640
Speaker 3: that he pushed that ship through pretty quick because once

1089
01:03:35,680 --> 01:03:37,360
Speaker 3: he found out he could really do it, he was

1090
01:03:37,440 --> 01:03:40,280
Speaker 3: just like, you know, so exetraally pushed that forward and

1091
01:03:40,360 --> 01:03:42,960
Speaker 3: the guys ended up spending a tremendous amount of time

1092
01:03:43,120 --> 01:03:47,800
Speaker 3: in Atlanta over the next year. So here's Fishbone said

1093
01:03:48,160 --> 01:03:55,000
Speaker 3: in Atlanta like during like ninety yeah, at the dungeon,

1094
01:03:55,040 --> 01:03:57,120
Speaker 3: and you know they meet U GK. Because I mean

1095
01:03:57,160 --> 01:04:00,800
Speaker 3: PIMC shouts him out on on Roden dirty at the end,

1096
01:04:00,840 --> 01:04:02,959
Speaker 3: he shouts out Fishbone because he spent I mean, because

1097
01:04:02,960 --> 01:04:05,200
Speaker 3: you know they were we were very good friends, you

1098
01:04:05,280 --> 01:04:09,280
Speaker 3: know at the time, blending pimple like our family getting

1099
01:04:09,320 --> 01:04:13,000
Speaker 3: out we're married, and and they ended up just spending

1100
01:04:13,000 --> 01:04:14,600
Speaker 3: a lot of time with them too, because they were

1101
01:04:14,600 --> 01:04:17,200
Speaker 3: just a ron. So here it's like UGK, it's Fishbone,

1102
01:04:17,360 --> 01:04:22,200
Speaker 3: it's cass Is Goodie, it's you know me. It's like

1103
01:04:22,400 --> 01:04:22,800
Speaker 3: it was just.

1104
01:04:22,880 --> 01:04:26,120
Speaker 1: This, you know, back down, describe what working with Dallas

1105
01:04:26,280 --> 01:04:30,480
Speaker 1: is like, because i mean, again, you know, what was

1106
01:04:30,520 --> 01:04:32,200
Speaker 1: his first joint, mister dj would.

1107
01:04:34,720 --> 01:04:37,400
Speaker 3: Yeah, so I mean he was a child, you know,

1108
01:04:37,520 --> 01:04:38,760
Speaker 3: he was in high school age.

1109
01:04:39,000 --> 01:04:42,440
Speaker 1: Yeah. But to have that range of being a new

1110
01:04:42,560 --> 01:04:46,120
Speaker 1: Jack proprietory TLC and just going to the new soul

1111
01:04:46,240 --> 01:04:48,280
Speaker 1: like sort of swimming to that and then to go

1112
01:04:48,560 --> 01:04:53,560
Speaker 1: all over the place, how was he able to because

1113
01:04:53,600 --> 01:04:55,840
Speaker 1: he's churning out the hits for everybody at this point,

1114
01:04:56,360 --> 01:04:59,120
Speaker 1: how is he able to devote time to you to

1115
01:04:59,280 --> 01:05:04,160
Speaker 1: them to TLC to Madonna to like just keep all

1116
01:05:04,240 --> 01:05:04,360
Speaker 1: of this.

1117
01:05:04,800 --> 01:05:05,520
Speaker 5: It was a lot.

1118
01:05:05,840 --> 01:05:08,200
Speaker 3: I can't remember it being a lot for him.

1119
01:05:09,320 --> 01:05:09,920
Speaker 1: Was it a lot for you?

1120
01:05:10,000 --> 01:05:10,160
Speaker 3: Though?

1121
01:05:10,160 --> 01:05:12,320
Speaker 1: I mean in terms of like, hello, are you picking up?

1122
01:05:12,800 --> 01:05:16,880
Speaker 3: No, it wasn't that way for me only because like

1123
01:05:17,000 --> 01:05:20,040
Speaker 3: that's not like the same age, same exact age, and

1124
01:05:20,560 --> 01:05:23,120
Speaker 3: how things were structured with us back then. It was

1125
01:05:23,160 --> 01:05:26,240
Speaker 3: a little more family dynamicish, so it was a little

1126
01:05:26,320 --> 01:05:28,640
Speaker 3: more like that's my part, and if his mama's cooking

1127
01:05:28,720 --> 01:05:30,439
Speaker 3: on Sunday, I'm going over to the house, like which

1128
01:05:30,440 --> 01:05:32,200
Speaker 3: he would have everybody come over with his mama's house

1129
01:05:32,240 --> 01:05:34,440
Speaker 3: on Sunday. But like they would do these regular occurrences.

1130
01:05:34,480 --> 01:05:36,840
Speaker 3: If he said a student he's working, I'm going by

1131
01:05:36,880 --> 01:05:38,640
Speaker 3: the studio, he gonna hit me, I'm at the studio.

1132
01:05:38,920 --> 01:05:42,600
Speaker 3: I didn't. Necessarily, I didn't have problems with accessibility with him.

1133
01:05:42,640 --> 01:05:46,439
Speaker 3: No one did. He wasn't an inaccessible person at the time.

1134
01:05:46,640 --> 01:05:50,000
Speaker 3: If you were working with him, he could get ghosts

1135
01:05:50,320 --> 01:05:53,840
Speaker 3: like you know, the best of whoever. But but I

1136
01:05:53,920 --> 01:05:57,560
Speaker 3: didn't have that problem, and I didn't see him thinking

1137
01:05:57,640 --> 01:05:59,840
Speaker 3: back that shit, han't you just call out all that shit?

1138
01:06:00,160 --> 01:06:02,200
Speaker 3: I was like, damn, he was young as fuck back then,

1139
01:06:02,240 --> 01:06:04,280
Speaker 3: and he was doing all that shit like I hadn't

1140
01:06:04,280 --> 01:06:06,640
Speaker 3: even thought about it like that, and so I guess

1141
01:06:06,680 --> 01:06:08,640
Speaker 3: he handled it, you know, as best he could and

1142
01:06:08,720 --> 01:06:11,440
Speaker 3: did a pretty decent, like a job of it because

1143
01:06:11,480 --> 01:06:14,240
Speaker 3: he was working on I mean, but cleansing Syndrome. We

1144
01:06:14,320 --> 01:06:15,800
Speaker 3: were working on that at the same time. They were

1145
01:06:15,880 --> 01:06:19,400
Speaker 3: doing Chim Jim was at the same time, and then

1146
01:06:21,760 --> 01:06:23,920
Speaker 3: whatever else he was doing. Because at that point too,

1147
01:06:24,000 --> 01:06:26,880
Speaker 3: you know, everybody's calling you for these individual tracks and

1148
01:06:27,280 --> 01:06:29,360
Speaker 3: you know, you got to work on remixes and you're

1149
01:06:29,400 --> 01:06:34,200
Speaker 3: doing all kind of shit everybody. I didn't have any

1150
01:06:34,400 --> 01:06:37,600
Speaker 3: accessibility problems with him. He was great to work with.

1151
01:06:37,920 --> 01:06:43,160
Speaker 3: He was adventurous, he was rooted and soul and funk.

1152
01:06:43,280 --> 01:06:46,080
Speaker 3: He was, you know, a James Brown student, you know,

1153
01:06:46,160 --> 01:06:49,320
Speaker 3: an old soul student, a pfunk student. So we had

1154
01:06:49,360 --> 01:06:51,400
Speaker 3: a lot in common. He was just doing this R

1155
01:06:51,480 --> 01:06:53,840
Speaker 3: and B. You know, he had gone heavy into this

1156
01:06:54,080 --> 01:06:58,480
Speaker 3: new urban R and B sound, but his roots were

1157
01:06:58,600 --> 01:07:02,800
Speaker 3: in the shit that I fucked with. So it it

1158
01:07:02,960 --> 01:07:05,200
Speaker 3: was always, you know, a pleasure, very easy you know

1159
01:07:05,320 --> 01:07:11,439
Speaker 3: to work with. It was that was that or yes,

1160
01:07:11,720 --> 01:07:14,880
Speaker 3: it was supposed to be a me, but cleansing is

1161
01:07:14,960 --> 01:07:21,000
Speaker 3: like my black albums never commercially released.

1162
01:07:21,680 --> 01:07:22,280
Speaker 1: What happened?

1163
01:07:23,400 --> 01:07:27,320
Speaker 3: So em I fault bout two weeks before Amimba was

1164
01:07:27,360 --> 01:07:28,280
Speaker 3: supposed to come out.

1165
01:07:29,680 --> 01:07:33,360
Speaker 1: Em I folded, and the label prior to that, they

1166
01:07:33,400 --> 01:07:35,000
Speaker 1: were with it. They were like, we're gonna put it out.

1167
01:07:35,040 --> 01:07:36,400
Speaker 1: We're gonna put it out, okay.

1168
01:07:36,200 --> 01:07:37,640
Speaker 3: Cool, And then the label folded.

1169
01:07:37,960 --> 01:07:40,400
Speaker 1: So then it was like, did they have the video

1170
01:07:40,400 --> 01:07:41,480
Speaker 1: out for Ghetto Superstar and.

1171
01:07:41,560 --> 01:07:45,800
Speaker 3: The video for Ghetto Superstar had just dropped. Oh no,

1172
01:07:46,160 --> 01:07:48,640
Speaker 3: it hadn't come out yet. Because here's what ended up happening.

1173
01:07:48,800 --> 01:07:51,400
Speaker 3: Once em I folded, Dallas hurried up and got another

1174
01:07:51,480 --> 01:07:55,200
Speaker 3: situation together with this other cat. I can't even remember.

1175
01:07:55,760 --> 01:07:57,960
Speaker 3: Maybe V not V two. I don't want to get

1176
01:07:58,000 --> 01:07:58,440
Speaker 3: that wrong.

1177
01:07:59,640 --> 01:07:59,800
Speaker 1: Was it?

1178
01:08:00,600 --> 01:08:02,000
Speaker 5: No, I know you're talking about because he put out

1179
01:08:02,080 --> 01:08:05,240
Speaker 5: was that the young Sad and Blue Wow put that.

1180
01:08:07,200 --> 01:08:08,840
Speaker 1: Free World? Yeah?

1181
01:08:09,200 --> 01:08:09,680
Speaker 3: Free World?

1182
01:08:10,000 --> 01:08:13,160
Speaker 1: Was I had that single in college?

1183
01:08:19,160 --> 01:08:24,240
Speaker 3: Oh wow, when I'm so tired on there? Does it happen?

1184
01:08:24,640 --> 01:08:26,120
Speaker 1: I don't think that's on there, but it's the one

1185
01:08:26,160 --> 01:08:28,600
Speaker 1: with the pink cover. Yeah, yeah, maybe it.

1186
01:08:28,560 --> 01:08:33,760
Speaker 3: Doesn't because I'm so tired. Was a lot of people

1187
01:08:33,800 --> 01:08:35,559
Speaker 3: that have that because that wasn't on like the big,

1188
01:08:35,760 --> 01:08:38,920
Speaker 3: the more widely distributed sam when people have the one

1189
01:08:38,920 --> 01:08:39,519
Speaker 3: when I'm so tired.

1190
01:08:40,680 --> 01:08:42,120
Speaker 1: It was like the college sampler.

1191
01:08:44,800 --> 01:08:46,639
Speaker 3: Free World. So he ended up cooking up a little

1192
01:08:46,680 --> 01:08:50,240
Speaker 3: deal real quick, put that together, got some money behind ship,

1193
01:08:50,320 --> 01:08:54,000
Speaker 3: and then we shot the video for Ghetto Superstar, and

1194
01:08:54,080 --> 01:08:59,519
Speaker 3: then Ghetto Superstar was really take off. It was doing well.

1195
01:08:59,560 --> 01:09:01,479
Speaker 3: It had been like kind of pulled into that whole

1196
01:09:01,600 --> 01:09:04,479
Speaker 3: MTV regular play list when they would do little R

1197
01:09:04,520 --> 01:09:08,559
Speaker 3: and B Ship back then and whatever. And then Free

1198
01:09:08,600 --> 01:09:14,320
Speaker 3: World folded. Yeah, Jesus, and then I was just like,

1199
01:09:14,840 --> 01:09:22,320
Speaker 3: there's a roote on my life. There's a fucking curse

1200
01:09:22,400 --> 01:09:25,960
Speaker 3: on me. There has to be. This is some bullshit. No, no, no,

1201
01:09:26,120 --> 01:09:28,760
Speaker 3: you were my journey, because that's not the way you said.

1202
01:09:28,800 --> 01:09:30,439
Speaker 3: Again I said you were like, this is my journey though,

1203
01:09:30,439 --> 01:09:33,080
Speaker 3: because but you know, even on our journey we got

1204
01:09:33,200 --> 01:09:34,120
Speaker 3: to take me sometimes.

1205
01:09:34,200 --> 01:09:40,320
Speaker 1: Okay, one thing, Yeah, where did you have your daughter?

1206
01:09:41,200 --> 01:09:44,160
Speaker 3: And that's what I was leading up to. I had

1207
01:09:44,640 --> 01:09:48,120
Speaker 3: just had keep Sire that keeps I was born in

1208
01:09:48,200 --> 01:09:53,200
Speaker 3: ninety six. Okay, so the first iteration of amba cleansing

1209
01:09:53,240 --> 01:09:56,920
Speaker 3: syndrome began before Keeping was born. And second iteration because

1210
01:09:56,920 --> 01:09:58,280
Speaker 3: I went back and added you.

1211
01:09:58,360 --> 01:10:02,120
Speaker 1: Turn me on. Wait a minute, you just said that

1212
01:10:02,479 --> 01:10:05,600
Speaker 1: she's always going to be you to me.

1213
01:10:08,000 --> 01:10:12,160
Speaker 3: Twenty one, Yeah, grown marbling, she's going to be two forever.

1214
01:10:12,439 --> 01:10:12,760
Speaker 3: I know.

1215
01:10:13,400 --> 01:10:16,120
Speaker 2: I remember working at Clark Atlanta Radio and you're walking

1216
01:10:16,200 --> 01:10:17,200
Speaker 2: in with a baby.

1217
01:10:17,439 --> 01:10:19,120
Speaker 3: That is I feel. I mean, I was going in

1218
01:10:19,200 --> 01:10:20,120
Speaker 3: the nineties, so it was weird.

1219
01:10:23,160 --> 01:10:24,000
Speaker 1: You're only.

1220
01:10:25,640 --> 01:10:26,559
Speaker 2: A couple of years old.

1221
01:10:27,040 --> 01:10:33,559
Speaker 3: Edit. Oh but yeah, keeps twenty one should be twenty

1222
01:10:33,600 --> 01:10:34,519
Speaker 3: two in June.

1223
01:10:35,439 --> 01:10:36,920
Speaker 1: But so yeah.

1224
01:10:37,400 --> 01:10:39,360
Speaker 3: Then I went back in and I added you turned

1225
01:10:39,400 --> 01:10:41,760
Speaker 3: me on La Bell cover time the Smile, went back

1226
01:10:41,800 --> 01:10:45,320
Speaker 3: in and did something with Colin Wolf, and then I

1227
01:10:45,560 --> 01:10:49,040
Speaker 3: added Ghettle Superstar. Gettle Superstar came letter of something I

1228
01:10:49,200 --> 01:10:51,479
Speaker 3: added to me but cleansing for them to be just on.

1229
01:10:51,680 --> 01:10:57,080
Speaker 3: We don't have that one radio one, so wh're making

1230
01:10:57,120 --> 01:11:00,280
Speaker 3: it added that one and there's one I'm missing. I'm

1231
01:11:00,400 --> 01:11:03,560
Speaker 3: sorry I forget, but yeah, so it was too It

1232
01:11:03,680 --> 01:11:09,680
Speaker 3: was before keep Beat, before and after keeping Uh thank

1233
01:11:09,760 --> 01:11:20,559
Speaker 3: you Danne Line does by that. Yeah, yeah, I'm sorry.

1234
01:11:21,680 --> 01:11:25,120
Speaker 3: So the two you know, it was before keeping after

1235
01:11:25,200 --> 01:11:28,280
Speaker 3: Keeping Me, But Cleinsington drums took a while to come out.

1236
01:11:28,320 --> 01:11:30,439
Speaker 3: I started working on it in ninety five and then

1237
01:11:30,520 --> 01:11:34,559
Speaker 3: it actually came out in uh ninety seven, well, didn't

1238
01:11:34,680 --> 01:11:36,599
Speaker 3: actually come out. Was finished with it in ninety seven.

1239
01:11:36,680 --> 01:11:38,960
Speaker 3: As it was about to be released, everything all the

1240
01:11:39,040 --> 01:11:42,760
Speaker 3: plugs got pulled. So I just after that, That's really

1241
01:11:42,800 --> 01:11:44,880
Speaker 3: what made me kind of go deeper into being more

1242
01:11:45,000 --> 01:11:47,439
Speaker 3: of the wind beneath other people's wings because it was

1243
01:11:47,479 --> 01:11:50,000
Speaker 3: a little too I didn't know how much I had

1244
01:11:50,120 --> 01:11:52,519
Speaker 3: left in me to get kicked in my kicked in

1245
01:11:52,600 --> 01:11:56,360
Speaker 3: my chest like that, A shotgun blasted in my chest like.

1246
01:11:56,439 --> 01:11:59,439
Speaker 1: That, another Ghetto Super started coming out.

1247
01:12:02,120 --> 01:12:04,240
Speaker 2: I was I'm trying to get it out of my

1248
01:12:04,320 --> 01:12:06,240
Speaker 2: head because every time I hear the title, the other

1249
01:12:06,320 --> 01:12:07,800
Speaker 2: one comes in my head, and I'm trying to get

1250
01:12:07,840 --> 01:12:08,200
Speaker 2: it out.

1251
01:12:08,880 --> 01:12:10,800
Speaker 3: What I tell you, I don't like this motherfucking ask

1252
01:12:10,880 --> 01:12:11,320
Speaker 3: to this day.

1253
01:12:13,840 --> 01:12:18,840
Speaker 1: I'm sorry, oh problem. I'm hugging you right now. Okay,

1254
01:12:18,960 --> 01:12:21,519
Speaker 1: I'm hugging I remember thinking like, is this how y'all

1255
01:12:21,600 --> 01:12:22,000
Speaker 1: gonna do it?

1256
01:12:22,080 --> 01:12:24,759
Speaker 3: It's just gonna be the black Like it's just gonna

1257
01:12:24,840 --> 01:12:25,720
Speaker 3: it's gonna be like this.

1258
01:12:26,640 --> 01:12:26,920
Speaker 1: Hide it.

1259
01:12:29,160 --> 01:12:32,160
Speaker 3: Were just gone. And I remember, and it was always

1260
01:12:32,200 --> 01:12:37,240
Speaker 3: these situations, whether it was just enough, what you're doing

1261
01:12:37,479 --> 01:12:40,120
Speaker 3: is legal for it to be okay, and you can't

1262
01:12:41,640 --> 01:12:45,080
Speaker 3: soon nobody here. It's only the moral like you just

1263
01:12:45,479 --> 01:12:47,479
Speaker 3: doubt what you're gonna do. You only have that, but

1264
01:12:47,600 --> 01:12:49,439
Speaker 3: you don't have like a legal leg to stand on

1265
01:12:49,600 --> 01:12:57,320
Speaker 3: and ship, so you just gotta be like shrug. Wait,

1266
01:12:57,360 --> 01:12:58,320
Speaker 3: but we talked about keeping.

1267
01:12:58,360 --> 01:13:01,000
Speaker 2: We didn't talk about her debut you before she was

1268
01:13:01,080 --> 01:13:03,080
Speaker 2: even born, and how that I felt like that was

1269
01:13:03,080 --> 01:13:06,840
Speaker 2: the whole history making moment on screen Indiangelo's video.

1270
01:13:06,960 --> 01:13:11,240
Speaker 3: Yes, well that was that was she was in She

1271
01:13:11,360 --> 01:13:13,040
Speaker 3: was in there, okay, because I was about to say

1272
01:13:13,040 --> 01:13:15,960
Speaker 3: I thought that was face in China, but China was

1273
01:13:16,000 --> 01:13:17,320
Speaker 3: a little thing. But I was pregnant.

1274
01:13:17,400 --> 01:13:17,559
Speaker 11: Yeah.

1275
01:13:20,720 --> 01:13:23,680
Speaker 3: With the bikini sheer moment, it was a moment.

1276
01:13:23,920 --> 01:13:27,639
Speaker 2: Were you did you have questions like was the bikini?

1277
01:13:28,000 --> 01:13:29,240
Speaker 2: Did you say I'm going to do it, but I

1278
01:13:29,320 --> 01:13:30,280
Speaker 2: must be in my bikini?

1279
01:13:30,439 --> 01:13:33,400
Speaker 3: No, I came. I just came dressed to the video.

1280
01:13:33,520 --> 01:13:35,960
Speaker 3: That was just her regular It was a summer day. No,

1281
01:13:36,280 --> 01:13:38,919
Speaker 3: it was you're gonna be they want you video.

1282
01:13:38,800 --> 01:13:40,400
Speaker 1: And I was, and I'm gonna shut ship down.

1283
01:13:40,720 --> 01:13:44,240
Speaker 3: And I'm on bikini with this ship dressing him and

1284
01:13:44,400 --> 01:13:44,680
Speaker 3: this and.

1285
01:13:44,720 --> 01:13:49,280
Speaker 1: What video was and I bet you nobody can plain.

1286
01:13:50,080 --> 01:13:52,960
Speaker 3: And that was and that was the day I met Erica.

1287
01:13:53,439 --> 01:13:56,000
Speaker 1: Really wow because she was in the video in the.

1288
01:13:56,040 --> 01:14:00,960
Speaker 3: Video the first drop, that was her first little Wow.

1289
01:14:01,040 --> 01:14:03,920
Speaker 3: That's crazy, first seeing you know, first seeing her on

1290
01:14:04,040 --> 01:14:06,559
Speaker 3: the screen. And that was my first time meeting her,

1291
01:14:06,640 --> 01:14:09,240
Speaker 3: and my first time meeting Faith that day too. And

1292
01:14:09,320 --> 01:14:12,920
Speaker 3: Faith was pregnant with little little c J at the time.

1293
01:14:13,439 --> 01:14:15,280
Speaker 2: That's crazy because then the dim in between what was

1294
01:14:15,320 --> 01:14:17,760
Speaker 2: the video? It was it Erica's video where you were

1295
01:14:17,840 --> 01:14:18,240
Speaker 2: in the car.

1296
01:14:18,439 --> 01:14:20,880
Speaker 3: I just have a visual of I haven't been in

1297
01:14:20,960 --> 01:14:24,120
Speaker 3: any easy no, you know what, who are you thinking?

1298
01:14:25,040 --> 01:14:29,519
Speaker 1: No, you're thinking of Lucy Lucy bro I wasn't think

1299
01:14:29,600 --> 01:14:32,640
Speaker 1: couldn't be because you're in don mess with my man, right, I.

1300
01:14:32,680 --> 01:14:35,799
Speaker 3: Am not in the mess with because I'm in without

1301
01:14:35,920 --> 01:14:40,720
Speaker 3: you and you those because you know my I came

1302
01:14:40,760 --> 01:14:44,400
Speaker 3: in at the telling very just to finish up awar

1303
01:14:44,560 --> 01:14:45,479
Speaker 3: season and the tour.

1304
01:14:46,560 --> 01:14:50,880
Speaker 1: That was it. What was transition. I feel like you're

1305
01:14:51,040 --> 01:14:55,680
Speaker 1: just then fix it.

1306
01:14:56,439 --> 01:14:58,720
Speaker 3: I'm fix it. Yeah, it's like a fix It's like

1307
01:14:58,840 --> 01:15:01,720
Speaker 3: some fixer ship. It really is fix it with no

1308
01:15:01,840 --> 01:15:05,400
Speaker 3: drama like deliver and low key you don't end up

1309
01:15:05,400 --> 01:15:11,320
Speaker 3: in flow. Seriously, Yeah, we.

1310
01:15:11,400 --> 01:15:20,559
Speaker 1: Have heard about that wisdom. Where's her jingle? I'm sorry? Yeah,

1311
01:15:20,640 --> 01:15:24,519
Speaker 1: I'm sorry, I'm sorry. That was your first brilliant moment

1312
01:15:24,600 --> 01:15:25,800
Speaker 1: of comedy on the show.

1313
01:15:27,320 --> 01:15:34,200
Speaker 3: Only took almost two years. That was pretty phone call

1314
01:15:34,280 --> 01:15:37,200
Speaker 3: at the eleventh hour, you know that was I would

1315
01:15:37,280 --> 01:15:39,639
Speaker 3: have you had to say no, I've had to say

1316
01:15:39,880 --> 01:15:42,320
Speaker 3: to a to a lot of things.

1317
01:15:43,160 --> 01:15:45,880
Speaker 1: Who did you say no, I can't do the project

1318
01:15:46,000 --> 01:15:47,439
Speaker 1: right now? Or I'm good?

1319
01:15:48,040 --> 01:15:48,400
Speaker 10: You know what?

1320
01:15:48,760 --> 01:15:55,160
Speaker 1: Like your weirdest offer, my weirdest offer, girls, that would

1321
01:15:55,160 --> 01:15:55,919
Speaker 1: have been hilarious.

1322
01:15:56,000 --> 01:16:02,400
Speaker 3: That's my weirdest offer. Child, I don't even know. I

1323
01:16:02,479 --> 01:16:03,200
Speaker 3: can't even.

1324
01:16:04,560 --> 01:16:04,840
Speaker 1: So much.

1325
01:16:04,920 --> 01:16:09,280
Speaker 3: Damn shit my brain, I don't know. I don't know.

1326
01:16:09,600 --> 01:16:11,439
Speaker 3: You could ask me this probably in two hours, and

1327
01:16:11,439 --> 01:16:15,240
Speaker 3: I'd be like child, it was that one. But right,

1328
01:16:15,840 --> 01:16:18,960
Speaker 3: I can't think of what my weirdest one would be.

1329
01:16:19,280 --> 01:16:20,320
Speaker 1: But I have to say.

1330
01:16:23,720 --> 01:16:28,000
Speaker 3: The stuff that the universe will shoot at me, the

1331
01:16:28,120 --> 01:16:31,719
Speaker 3: universe that it'll be tough, fucked up, kind of hard

1332
01:16:32,000 --> 01:16:37,439
Speaker 3: kind of lessons and stuff. But it's not it ain't

1333
01:16:37,520 --> 01:16:40,920
Speaker 3: nothing that I can't you know, stand by, And it

1334
01:16:40,960 --> 01:16:42,640
Speaker 3: ain't nothing that I can't be like well, you know,

1335
01:16:42,760 --> 01:16:46,000
Speaker 3: I'm always proud of the work. So anything that I've done,

1336
01:16:46,240 --> 01:16:49,560
Speaker 3: I'm still proud of the work, you know, my involvement in.

1337
01:16:49,680 --> 01:16:51,400
Speaker 3: But I can't really I can't think right now of

1338
01:16:51,520 --> 01:16:53,640
Speaker 3: what the what I've turned down where I was like,

1339
01:16:54,000 --> 01:16:56,120
Speaker 3: probably because once I turned something down, I'm through with

1340
01:16:56,160 --> 01:16:58,320
Speaker 3: that and I don't think about that no more. I don't.

1341
01:16:58,479 --> 01:17:03,800
Speaker 3: I don't store that no. Well, but working with you know,

1342
01:17:04,120 --> 01:17:06,360
Speaker 3: getting a call from Ray it was cool because I

1343
01:17:06,479 --> 01:17:08,439
Speaker 3: was just like, you know, I'll be on the lips

1344
01:17:08,560 --> 01:17:10,439
Speaker 3: of my name, will be on the lips of some

1345
01:17:10,680 --> 01:17:13,720
Speaker 3: you know, some folks in the demographic that otherwise absolutely

1346
01:17:13,760 --> 01:17:17,200
Speaker 3: wouldn't know who I was. So and he's the homie.

1347
01:17:17,920 --> 01:17:22,400
Speaker 1: And were you shot that like oh okay or is

1348
01:17:22,479 --> 01:17:26,280
Speaker 1: it like whatever? Like I mean, are you I don't

1349
01:17:26,280 --> 01:17:29,760
Speaker 1: mean in a jaded centema, I mean, but is it

1350
01:17:29,960 --> 01:17:30,839
Speaker 1: just like yeah.

1351
01:17:30,960 --> 01:17:33,880
Speaker 3: Okay, it's a job. It was a job like I

1352
01:17:33,920 --> 01:17:35,479
Speaker 3: looked at it like a job that I can do

1353
01:17:36,560 --> 01:17:38,720
Speaker 3: for now, Like that's what it looked like, like this

1354
01:17:38,880 --> 01:17:41,560
Speaker 3: is a good temporary gig and I'm gonna do it.

1355
01:17:42,520 --> 01:17:45,120
Speaker 1: We'd playing them back because I also forgot that we

1356
01:17:45,240 --> 01:17:50,680
Speaker 1: toured uh uh during the goodie my period. Yeah. And

1357
01:17:50,800 --> 01:17:51,960
Speaker 1: also so it's like.

1358
01:17:52,160 --> 01:17:54,439
Speaker 3: I was pregnant then too, where you have to sort

1359
01:17:54,479 --> 01:17:56,760
Speaker 3: of not or you kind of have to.

1360
01:17:57,240 --> 01:17:59,080
Speaker 1: Is it weird laying in the cut and being a

1361
01:17:59,160 --> 01:17:59,639
Speaker 1: team member.

1362
01:17:59,840 --> 01:18:01,560
Speaker 3: I've been doing it for so long now, like you

1363
01:18:01,680 --> 01:18:04,479
Speaker 3: have to remember after me, but cleansing syndrome that really

1364
01:18:04,640 --> 01:18:11,880
Speaker 3: started me to being to scale back. I wasn't so

1365
01:18:12,120 --> 01:18:15,519
Speaker 3: in pursuit of the spotlight and I just wanted to work,

1366
01:18:17,160 --> 01:18:19,000
Speaker 3: you know what I'm saying. So once I just got

1367
01:18:19,040 --> 01:18:20,519
Speaker 3: to that point, I was just like, I just want

1368
01:18:20,520 --> 01:18:23,240
Speaker 3: to work and I'm not so you know whatever. And

1369
01:18:23,960 --> 01:18:26,160
Speaker 3: I think for other people it's far more weird than

1370
01:18:26,200 --> 01:18:29,320
Speaker 3: it is because people have these these notions of me

1371
01:18:30,600 --> 01:18:32,680
Speaker 3: and what they think I am and how they think

1372
01:18:32,760 --> 01:18:34,960
Speaker 3: I am and all this type of ship and so

1373
01:18:35,080 --> 01:18:35,960
Speaker 3: then when they meet.

1374
01:18:35,840 --> 01:18:40,680
Speaker 1: Me they like that. Yeah. I think people of like

1375
01:18:40,960 --> 01:18:44,479
Speaker 1: what fame being a successful musician.

1376
01:18:44,720 --> 01:18:46,160
Speaker 3: Musician is like you.

1377
01:18:46,200 --> 01:18:48,000
Speaker 1: Can be a success and nobody know.

1378
01:18:49,560 --> 01:18:54,040
Speaker 3: Yeah, Like, and that's why I'm you know, I don't

1379
01:18:54,080 --> 01:18:56,960
Speaker 3: give a fuck about that. Other part of fame is

1380
01:18:57,040 --> 01:19:00,680
Speaker 3: not even controllable enough for me to want it, you know,

1381
01:19:00,800 --> 01:19:04,000
Speaker 3: like it doesn't offer freedom. I'm too. I I I

1382
01:19:05,280 --> 01:19:08,800
Speaker 3: live and die by my freedom, and fame doesn't offer

1383
01:19:08,920 --> 01:19:12,519
Speaker 3: a tremendous amount of freedom. It has perks, but it

1384
01:19:12,640 --> 01:19:13,919
Speaker 3: doesn't it's enslaving.

1385
01:19:14,120 --> 01:19:16,479
Speaker 1: Yeah, it's the exact opposite. Yeah, freedom, it is.

1386
01:19:16,680 --> 01:19:18,559
Speaker 3: And so I don't. I ain't never been tillated by

1387
01:19:18,880 --> 01:19:23,360
Speaker 3: that particular part. I've only felt the I know that

1388
01:19:23,400 --> 01:19:25,680
Speaker 3: when you do good art, the fame tends to come

1389
01:19:25,800 --> 01:19:28,439
Speaker 3: with it. So if I had to endure the fame

1390
01:19:29,439 --> 01:19:31,280
Speaker 3: to produce the good art, then I would do it.

1391
01:19:31,600 --> 01:19:34,280
Speaker 3: But that part of it so so me kind of

1392
01:19:34,320 --> 01:19:36,240
Speaker 3: stepping back and being like, well, I just do work

1393
01:19:36,240 --> 01:19:38,240
Speaker 3: with other people. That was a that wasn't a hard

1394
01:19:38,320 --> 01:19:41,120
Speaker 3: decision to make. That was like, A I want to work.

1395
01:19:41,680 --> 01:19:44,320
Speaker 3: B I just say, mean, I'm tired of all that

1396
01:19:44,439 --> 01:19:46,680
Speaker 3: other part of ship anyway, and I'm just who the

1397
01:19:46,720 --> 01:19:48,439
Speaker 3: fuck I am, and I'm just gonna fucking be that

1398
01:19:48,600 --> 01:19:50,000
Speaker 3: and do that and raise my child.

1399
01:19:50,280 --> 01:19:52,519
Speaker 5: And yeah, if you were famous, I think me and

1400
01:19:52,600 --> 01:19:56,040
Speaker 5: you couldn't have been sitting outside the Dennis or whatever chilling.

1401
01:19:58,320 --> 01:19:58,719
Speaker 1: That moment.

1402
01:19:58,760 --> 01:20:00,880
Speaker 3: It would have been something totally different exactly. And see,

1403
01:20:00,920 --> 01:20:04,719
Speaker 3: I I I have to be able to sit outside

1404
01:20:04,760 --> 01:20:07,599
Speaker 3: of Dennis with my folks sometimes, you know what I'm saying,

1405
01:20:07,640 --> 01:20:08,960
Speaker 3: like I have to be able to do that in

1406
01:20:09,080 --> 01:20:13,640
Speaker 3: this life? You miss who you miss Denny's. No, No,

1407
01:20:13,840 --> 01:20:15,120
Speaker 3: not at all. It just happened.

1408
01:20:16,240 --> 01:20:19,040
Speaker 2: No, I was just saying in those moments because he's

1409
01:20:19,040 --> 01:20:22,880
Speaker 2: so it's opposite in that way, like what you're talking about, like.

1410
01:20:22,920 --> 01:20:27,640
Speaker 1: That outside of my illustrious apartment about twelve Ace is up.

1411
01:20:27,840 --> 01:20:30,799
Speaker 5: You got that fancy Denny's, the only, the only Denny's

1412
01:20:30,840 --> 01:20:32,960
Speaker 5: in Manhattan. So I'm very familiar.

1413
01:20:33,160 --> 01:20:35,000
Speaker 3: It was a metaphor for life.

1414
01:20:35,160 --> 01:20:38,519
Speaker 1: I know. But then I love radio on Perade sometimes anyway,

1415
01:20:41,080 --> 01:20:43,240
Speaker 1: So yeah, maybe like twice a week I'm at that

1416
01:20:43,360 --> 01:20:44,920
Speaker 1: Denny's connected. Yeah.

1417
01:20:45,479 --> 01:20:47,439
Speaker 3: And the other thing too, I have to say, is

1418
01:20:47,600 --> 01:20:51,839
Speaker 3: that famous my kind of fame or how I'm famous?

1419
01:20:52,200 --> 01:20:57,960
Speaker 3: You know my way I'm famous. It's it's different because

1420
01:20:58,160 --> 01:21:00,240
Speaker 3: people I don't. I don't deal with a lot of

1421
01:21:00,439 --> 01:21:03,760
Speaker 3: foolishness and ridiculousness to other people, Like people fuck with

1422
01:21:03,920 --> 01:21:04,479
Speaker 3: me because.

1423
01:21:04,280 --> 01:21:07,280
Speaker 1: They fucked with me, not because other people fuck with you.

1424
01:21:08,040 --> 01:21:11,040
Speaker 3: People to fuck with me, robbing you exactly, you know,

1425
01:21:11,160 --> 01:21:14,640
Speaker 3: And so I don't have like a fickle anybody that

1426
01:21:14,800 --> 01:21:17,759
Speaker 3: was my you know that came along as a supporter

1427
01:21:18,160 --> 01:21:20,400
Speaker 3: of what I do from Pendulum. By they still here.

1428
01:21:21,640 --> 01:21:23,800
Speaker 3: You know, I ain't lost. No, ain't nobody like I

1429
01:21:23,840 --> 01:21:26,640
Speaker 3: don't fuck with Joyan no moo she wet or she

1430
01:21:26,800 --> 01:21:29,240
Speaker 3: don't do whatever. I didn't like that other album and shit,

1431
01:21:29,280 --> 01:21:35,559
Speaker 3: But no, everybody still supports me, stays down, goes though

1432
01:21:35,640 --> 01:21:39,240
Speaker 3: with me, and believes in my ability to continue to

1433
01:21:39,360 --> 01:21:40,639
Speaker 3: produce good work.

1434
01:21:41,120 --> 01:21:42,439
Speaker 1: Yeah. I remember.

1435
01:21:42,600 --> 01:21:45,200
Speaker 5: I mean when we did the record together for those

1436
01:21:45,320 --> 01:21:48,080
Speaker 5: albums in twenty fifteen, I was just still getting in

1437
01:21:48,160 --> 01:21:48,400
Speaker 5: my head.

1438
01:21:48,439 --> 01:21:51,240
Speaker 1: I was telling my well, now wife, you know what

1439
01:21:51,280 --> 01:21:53,639
Speaker 1: I'm saying. I was like, Joy is on the way

1440
01:21:53,760 --> 01:21:56,800
Speaker 1: to the house, Like you understand, Joy about to be

1441
01:21:56,920 --> 01:21:59,479
Speaker 1: in my house. She's like, what what you mean?

1442
01:21:59,479 --> 01:22:00,960
Speaker 5: I'm like, Yo, you understand I met her when I

1443
01:22:01,000 --> 01:22:03,680
Speaker 5: was fucking fourteen and now in my house, Like so

1444
01:22:04,160 --> 01:22:06,400
Speaker 5: just to see that come full circle, like to meet

1445
01:22:06,479 --> 01:22:09,080
Speaker 5: you when we were at Yeah, you were doing an

1446
01:22:09,120 --> 01:22:11,559
Speaker 5: in store. I think I like skipped school to come

1447
01:22:11,640 --> 01:22:13,280
Speaker 5: see you promote Pendulum Vibe.

1448
01:22:13,439 --> 01:22:17,960
Speaker 1: It was her and Jay Row Damn it was coming

1449
01:22:18,000 --> 01:22:20,439
Speaker 1: to Weird come. It was both.

1450
01:22:21,280 --> 01:22:27,760
Speaker 5: It was both and uh and gangster. Yeah yeah, and

1451
01:22:27,880 --> 01:22:29,880
Speaker 5: yeah they came to the store and I was there

1452
01:22:29,960 --> 01:22:31,680
Speaker 5: and we saw we were there. We were there to

1453
01:22:31,720 --> 01:22:33,439
Speaker 5: see Jay Row and we didn't even know that she

1454
01:22:33,640 --> 01:22:33,960
Speaker 5: was coming.

1455
01:22:34,040 --> 01:22:36,120
Speaker 1: It was just you know, Jay was like I would

1456
01:22:36,120 --> 01:22:39,240
Speaker 1: go see j Row. So then she showed up tall

1457
01:22:39,360 --> 01:22:40,320
Speaker 1: with like the orange hair.

1458
01:22:40,360 --> 01:22:41,360
Speaker 3: It was like, who is that?

1459
01:22:41,520 --> 01:22:46,280
Speaker 5: And so they gave us the Sunshine and the Rain tape.

1460
01:22:46,400 --> 01:22:48,800
Speaker 5: It was just the single that was the It was

1461
01:22:48,880 --> 01:22:51,160
Speaker 5: like the yellow like orange.

1462
01:22:51,520 --> 01:22:52,040
Speaker 3: It was yellow.

1463
01:22:52,280 --> 01:22:54,800
Speaker 1: Yeah, it was the yellow tape. Were just like, all right,

1464
01:22:54,840 --> 01:22:56,400
Speaker 1: what is this? Like all right, well I check it.

1465
01:22:56,400 --> 01:22:58,519
Speaker 5: Out and we took it home and it had the

1466
01:22:58,600 --> 01:22:59,960
Speaker 5: same It had the song on one side of it

1467
01:23:00,080 --> 01:23:01,640
Speaker 5: and the instrument on the other and we used to

1468
01:23:01,640 --> 01:23:02,479
Speaker 5: freestyle issue.

1469
01:23:04,200 --> 01:23:07,720
Speaker 1: Yeah, Yo, that was it. I was like, we used

1470
01:23:07,760 --> 01:23:09,479
Speaker 1: to yeah that instrumental man.

1471
01:23:10,360 --> 01:23:12,920
Speaker 3: That's what the guys from you said when I met them.

1472
01:23:13,000 --> 01:23:15,840
Speaker 3: We were sitting in the dungeon freestyling this y. When

1473
01:23:15,840 --> 01:23:17,080
Speaker 3: I came into the studio, they were like.

1474
01:23:17,120 --> 01:23:21,160
Speaker 7: That's the Shining Girl went ship wow.

1475
01:23:23,040 --> 01:23:24,160
Speaker 1: Yeah yeah.

1476
01:23:24,640 --> 01:23:26,639
Speaker 5: So yeah, that was to go from there to actually

1477
01:23:26,640 --> 01:23:28,720
Speaker 5: be able to sit and co write and produce a

1478
01:23:28,760 --> 01:23:30,839
Speaker 5: record with Joy and that was a great experience.

1479
01:23:31,000 --> 01:23:34,519
Speaker 1: I thank you. She enjoy sat on like in my crib,

1480
01:23:34,640 --> 01:23:38,320
Speaker 1: Like we was just in my crib and bang. That

1481
01:23:40,080 --> 01:23:40,439
Speaker 1: so dope.

1482
01:23:40,920 --> 01:23:43,679
Speaker 2: Since we're talking about experiences and recording, I just because

1483
01:23:43,800 --> 01:23:45,920
Speaker 2: in my mind you were part of the Equimini like

1484
01:23:46,120 --> 01:23:48,280
Speaker 2: recording era, right, were you a part.

1485
01:23:48,120 --> 01:23:50,520
Speaker 1: Of the No you came in Aliens.

1486
01:23:50,720 --> 01:23:54,800
Speaker 2: No, you came in at Aliens. I was like, yeah,

1487
01:23:55,200 --> 01:23:56,880
Speaker 2: because I feel like at some point we would hear

1488
01:23:56,920 --> 01:23:58,160
Speaker 2: you in the background.

1489
01:23:59,760 --> 01:24:02,479
Speaker 3: Yeah, I am on the album before, I guess I'm

1490
01:24:02,520 --> 01:24:04,720
Speaker 3: saying before that. I guess that is what I was saying.

1491
01:24:05,439 --> 01:24:07,479
Speaker 3: You asked me specifically about a cuemina.

1492
01:24:07,640 --> 01:24:08,040
Speaker 1: Is that what you have?

1493
01:24:08,160 --> 01:24:10,759
Speaker 2: I'm asking about that just that time period in Atlanta

1494
01:24:11,880 --> 01:24:14,800
Speaker 2: and that feeling. Yeah, I was there, Yeah, and its

1495
01:24:15,040 --> 01:24:18,200
Speaker 2: like from an outsider, it just looked like another world

1496
01:24:18,280 --> 01:24:21,240
Speaker 2: of heaven, I guess based on the players in that

1497
01:24:21,400 --> 01:24:24,599
Speaker 2: whole situation. And I was just curious from your perspective, again,

1498
01:24:24,640 --> 01:24:25,559
Speaker 2: that's that's perception.

1499
01:24:26,360 --> 01:24:29,160
Speaker 3: But what was it really like? Like during that time

1500
01:24:29,240 --> 01:24:35,439
Speaker 3: in Atlanta? Amongst from there was a renaissance happening. That's

1501
01:24:35,479 --> 01:24:38,519
Speaker 3: what I'm saying. You know, at that time we.

1502
01:24:39,479 --> 01:24:45,919
Speaker 1: Lived for the romantic perception of it. It was delicious,

1503
01:24:45,960 --> 01:24:53,439
Speaker 1: like was it like magical time and I went on deep.

1504
01:24:53,920 --> 01:24:56,040
Speaker 3: I mean, at times it could be there was some

1505
01:24:56,200 --> 01:24:56,880
Speaker 3: magical moment.

1506
01:24:57,320 --> 01:24:58,880
Speaker 1: Okay, you have to tell the story.

1507
01:24:59,479 --> 01:25:01,320
Speaker 5: The reason why you said you have to tell the

1508
01:25:01,360 --> 01:25:04,559
Speaker 5: story and do the impression of Rico singing you may

1509
01:25:04,680 --> 01:25:06,120
Speaker 5: die please.

1510
01:25:07,840 --> 01:25:11,160
Speaker 1: You don't remember telling you this, but dude, oh god,

1511
01:25:11,320 --> 01:25:11,600
Speaker 1: she was.

1512
01:25:11,880 --> 01:25:15,360
Speaker 5: She was very, very elevated. But it was the story

1513
01:25:15,439 --> 01:25:18,599
Speaker 5: of how Rico had an idea for you may die.

1514
01:25:20,520 --> 01:25:25,120
Speaker 3: Organized Away can have amazing ideas about melodies, but ric

1515
01:25:25,160 --> 01:25:33,840
Speaker 3: Away cannot see at all, like not at all, and

1516
01:25:33,960 --> 01:25:34,960
Speaker 3: so he was trying to.

1517
01:25:37,479 --> 01:25:38,519
Speaker 1: Yeah, it was so perfect.

1518
01:25:39,560 --> 01:25:45,840
Speaker 3: He was trying to, you know, convey how he wanted

1519
01:25:45,920 --> 01:25:51,160
Speaker 3: the melody to go. And I feel like he was

1520
01:25:51,240 --> 01:25:54,720
Speaker 3: this guy because you know, you can't be sure that's

1521
01:25:54,760 --> 01:26:01,000
Speaker 3: how you say. And that was actually Peaches that particular part.

1522
01:26:02,280 --> 01:26:04,080
Speaker 3: But as we're you know, Peace's not kind of coming

1523
01:26:04,160 --> 01:26:06,519
Speaker 3: up with how we you know go and floated it

1524
01:26:06,560 --> 01:26:06,920
Speaker 3: and went.

1525
01:26:06,880 --> 01:26:12,840
Speaker 11: And so y'all should do a life you can be

1526
01:26:13,200 --> 01:26:19,519
Speaker 11: sure a lot to get Hi, you may learn to.

1527
01:26:19,680 --> 01:26:25,200
Speaker 3: You God, you may die or some ship like that,

1528
01:26:26,120 --> 01:26:30,240
Speaker 3: and he did, but just completely out of tune. But

1529
01:26:30,920 --> 01:26:32,880
Speaker 3: you know what, he kind of means because you can

1530
01:26:33,200 --> 01:26:34,760
Speaker 3: and you know what the music is doing, and so

1531
01:26:34,840 --> 01:26:41,560
Speaker 3: you like actual week won't he kind of wants it

1532
01:26:41,720 --> 01:26:45,200
Speaker 3: like that. So then we end up, you know, pulling,

1533
01:26:45,680 --> 01:26:48,479
Speaker 3: get a couple of more lyrics out, and then Peaches

1534
01:26:48,520 --> 01:26:50,280
Speaker 3: puts a thing on it and I put the you

1535
01:26:50,400 --> 01:26:55,760
Speaker 3: know the backs and can you tell the babies the significance.

1536
01:26:55,760 --> 01:26:56,840
Speaker 2: I mean, I was in college when I used to

1537
01:26:56,840 --> 01:26:59,640
Speaker 2: see you girls performing and I'm just amazing. But tell

1538
01:26:59,720 --> 01:27:03,360
Speaker 2: people the significance of Peaches to the movement the music.

1539
01:27:05,680 --> 01:27:14,479
Speaker 3: Well. Wild Peach is a funk rock band from Dallas, Texas,

1540
01:27:15,800 --> 01:27:22,759
Speaker 3: comprised of Myrna Screechy, Peach Brown, and David wild Brown.

1541
01:27:23,880 --> 01:27:29,439
Speaker 3: Peaches passed in two thousand and seven. Yeah, it's been

1542
01:27:29,520 --> 01:27:37,080
Speaker 3: overtemed almost eleven uh Peaches in Atlanta And it was

1543
01:27:37,160 --> 01:27:39,160
Speaker 3: interesting because I met Peaches around the same time that

1544
01:27:39,240 --> 01:27:40,640
Speaker 3: I met Fishbone.

1545
01:27:42,439 --> 01:27:43,360
Speaker 1: Through the.

1546
01:27:44,960 --> 01:27:48,160
Speaker 3: Rock lockdown scene, because it was a people don't know

1547
01:27:48,240 --> 01:27:51,120
Speaker 3: that Atlanta had a cool ass black rock scene happening

1548
01:27:51,920 --> 01:27:55,479
Speaker 3: in the early nineties. There were lots of different bands,

1549
01:27:57,080 --> 01:28:01,639
Speaker 3: Naked Truth and Wild Peach and w Liinsteine and follow

1550
01:28:01,720 --> 01:28:06,320
Speaker 3: for Now and uh Moby's Trip and Love Joy and

1551
01:28:06,439 --> 01:28:07,920
Speaker 3: it was a lot of bands. And because what I

1552
01:28:08,040 --> 01:28:11,000
Speaker 3: did live, even though I was classified as R and B,

1553
01:28:11,880 --> 01:28:15,280
Speaker 3: what I did live translated as something more like funk rock.

1554
01:28:16,080 --> 01:28:19,120
Speaker 3: So I ended up meeting Peaches and becoming really good

1555
01:28:19,160 --> 01:28:22,000
Speaker 3: friends with her, and she was just like this.

1556
01:28:25,640 --> 01:28:25,880
Speaker 1: She is.

1557
01:28:26,040 --> 01:28:32,680
Speaker 3: She was just this incredible performer, incredible writer, incredible vocalist.

1558
01:28:35,880 --> 01:28:39,040
Speaker 3: And it happened to be that we bought out really

1559
01:28:39,080 --> 01:28:44,479
Speaker 3: good shitting each other and and we worked really well together.

1560
01:28:44,600 --> 01:28:48,200
Speaker 3: So we started just lacing you know, people's backs land

1561
01:28:48,240 --> 01:28:50,439
Speaker 3: in particular with the guys and the DF because I

1562
01:28:50,520 --> 01:28:54,519
Speaker 3: ended up introducing them to introducing Dave and and and

1563
01:28:54,920 --> 01:28:56,479
Speaker 3: Peaches to Toda.

1564
01:28:56,840 --> 01:29:01,479
Speaker 1: Really yeah, wow, I don't know, yeah, m hm.

1565
01:29:02,000 --> 01:29:12,280
Speaker 3: I am the bridge, but yeah, you know, And so

1566
01:29:12,880 --> 01:29:17,280
Speaker 3: that's how they ended up linking up. And from the

1567
01:29:17,439 --> 01:29:20,040
Speaker 3: initial you know, like it started off with Peacha singing

1568
01:29:20,120 --> 01:29:26,320
Speaker 3: backgrounds was with me and with a couple other sisters

1569
01:29:26,320 --> 01:29:27,559
Speaker 3: that were kind of interchange out.

1570
01:29:28,360 --> 01:29:28,479
Speaker 1: Uh.

1571
01:29:29,479 --> 01:29:32,360
Speaker 3: Later on Kesa Jackson will come in and she would

1572
01:29:32,439 --> 01:29:37,360
Speaker 3: end up being a staple there as well. Later, but

1573
01:29:37,479 --> 01:29:43,639
Speaker 3: it was Peach not in the beginning, and that blend

1574
01:29:43,800 --> 01:29:45,880
Speaker 3: and that was vocal just all that ship was killed

1575
01:29:45,960 --> 01:29:50,400
Speaker 3: but Peaches was you know, on the ground level from

1576
01:29:50,439 --> 01:29:54,600
Speaker 3: the building of things, and I bought her with me,

1577
01:29:54,840 --> 01:29:56,960
Speaker 3: and once she was you know, got in there, and

1578
01:29:57,000 --> 01:29:59,320
Speaker 3: then they were able to check out, you know, the

1579
01:29:59,439 --> 01:30:02,160
Speaker 3: band for the themselves and stuff. Then everybody just you know,

1580
01:30:02,400 --> 01:30:04,400
Speaker 3: they started loving them too. But they had already been

1581
01:30:04,520 --> 01:30:08,839
Speaker 3: doing their Wild Peach thing on the scene in Atlanta,

1582
01:30:08,880 --> 01:30:10,560
Speaker 3: and they had had like a major record deal with

1583
01:30:10,640 --> 01:30:12,639
Speaker 3: something that didn't you know, one of those things where

1584
01:30:13,200 --> 01:30:14,160
Speaker 3: they damn sure didn't know.

1585
01:30:14,160 --> 01:30:20,479
Speaker 1: What to do. Damn show didn't anything locally.

1586
01:30:20,479 --> 01:30:25,240
Speaker 3: They didn't, but they would do shows and they have

1587
01:30:25,520 --> 01:30:27,840
Speaker 3: these incredible ass songs that people still and I think

1588
01:30:27,920 --> 01:30:31,680
Speaker 3: Wild is gonna do a full release of a I

1589
01:30:31,720 --> 01:30:34,040
Speaker 3: think he's working on something pretty special, I think for

1590
01:30:34,120 --> 01:30:37,840
Speaker 3: her and for them, because the the what they brought

1591
01:30:37,880 --> 01:30:42,360
Speaker 3: to the table freed all of us up. Because they

1592
01:30:42,400 --> 01:30:46,080
Speaker 3: were also a little bit older than us, so they

1593
01:30:46,200 --> 01:30:50,240
Speaker 3: had just mold you know, the most seasoning on the

1594
01:30:50,320 --> 01:30:58,799
Speaker 3: thing too. But Peachers was a fantastic writer, a fantastic vocalist,

1595
01:31:00,640 --> 01:31:08,599
Speaker 3: killer fucking vocal stylist, and unlike you know, anything before

1596
01:31:08,920 --> 01:31:14,320
Speaker 3: or since. Yeah, absolutely, she's my sister and I fucking

1597
01:31:14,400 --> 01:31:15,400
Speaker 3: miss her. Every day.

1598
01:31:16,040 --> 01:31:22,599
Speaker 1: You mentioned something earlier, and I know that a really

1599
01:31:22,640 --> 01:31:27,880
Speaker 1: big influence on your life. Uh as far as your

1600
01:31:28,000 --> 01:31:33,160
Speaker 1: your your music was Betty Davis, could you talk about

1601
01:31:33,800 --> 01:31:35,800
Speaker 1: her influence on you? And have you ever gotten to

1602
01:31:35,880 --> 01:31:37,960
Speaker 1: meet her and have it one on one? And you

1603
01:31:38,160 --> 01:31:45,200
Speaker 1: never got to meet her? No, she's still Yeah, they're there.

1604
01:31:45,479 --> 01:31:52,320
Speaker 1: I mean there's still talks of her life, her bio

1605
01:31:52,520 --> 01:31:59,720
Speaker 1: in the movie whatever. But but she's very yeah, extremely reclusive.

1606
01:32:00,800 --> 01:32:03,280
Speaker 1: She's sort of like giving notes to the producers of

1607
01:32:03,320 --> 01:32:05,920
Speaker 1: the movie, like not in front of them and that

1608
01:32:06,080 --> 01:32:07,920
Speaker 1: sort of thing. I think she just wants to remain

1609
01:32:07,960 --> 01:32:11,680
Speaker 1: a mystery. But have you made attempts to try to

1610
01:32:13,360 --> 01:32:15,040
Speaker 1: or is that one of the heroes that you don't

1611
01:32:15,080 --> 01:32:17,160
Speaker 1: I don't ever want to meet my heroes, you know what.

1612
01:32:17,280 --> 01:32:19,840
Speaker 3: I don't give a shit about that about the meeting

1613
01:32:19,880 --> 01:32:21,479
Speaker 3: of heroes and things like that.

1614
01:32:21,680 --> 01:32:23,280
Speaker 1: So you would never like to have to sit down

1615
01:32:23,320 --> 01:32:24,320
Speaker 1: with her, and just I would.

1616
01:32:24,520 --> 01:32:26,000
Speaker 3: And that's what I'm saying. I don't care. I don't

1617
01:32:26,040 --> 01:32:28,040
Speaker 3: have any like, oh my god, that's my hero and

1618
01:32:28,080 --> 01:32:30,400
Speaker 3: then you meet them in the point now, because I

1619
01:32:30,520 --> 01:32:32,719
Speaker 3: know people with life is fucking crazy. It takes people

1620
01:32:32,800 --> 01:32:35,720
Speaker 3: down through that any goddamn thing could happen. Like for

1621
01:32:35,840 --> 01:32:38,360
Speaker 3: what I've created about you in my mind, that doesn't

1622
01:32:38,360 --> 01:32:40,519
Speaker 3: necessarily mean that that's how you're gonna be in. That's fine.

1623
01:32:40,640 --> 01:32:42,200
Speaker 3: I ain't gonna hold it against you. I ain't got

1624
01:32:42,240 --> 01:32:43,920
Speaker 3: shit to do with how bad ass that shit was

1625
01:32:43,960 --> 01:32:46,000
Speaker 3: that you created and influence it out of me. So

1626
01:32:47,600 --> 01:32:49,200
Speaker 3: but yeah, I haven't talked to her. I would love

1627
01:32:49,320 --> 01:32:50,680
Speaker 3: to one day when the time is right, but I

1628
01:32:50,680 --> 01:32:53,559
Speaker 3: would never want to push that. I wouldn't want none

1629
01:32:53,600 --> 01:32:55,080
Speaker 3: of that. I would only wants be able to do

1630
01:32:55,160 --> 01:32:56,640
Speaker 3: that if that's something she wanted to do, because I

1631
01:32:56,680 --> 01:33:00,880
Speaker 3: know people have tried to get and I like, don't, don't,

1632
01:33:00,960 --> 01:33:02,760
Speaker 3: don't do that. Just need to know I'm out here

1633
01:33:02,760 --> 01:33:03,559
Speaker 3: and at our rifle.

1634
01:33:03,920 --> 01:33:07,080
Speaker 1: Quick quick backdrop for our listeners that don't know Betty

1635
01:33:07,160 --> 01:33:12,519
Speaker 1: Davis uh ex wife of Miles Davis. Pretty much. I

1636
01:33:13,040 --> 01:33:17,320
Speaker 1: guess you could say it was basically yeah, and and

1637
01:33:17,720 --> 01:33:20,880
Speaker 1: sort of what you've been describing as you building the

1638
01:33:20,920 --> 01:33:21,599
Speaker 1: Atlanta scene.

1639
01:33:21,640 --> 01:33:23,160
Speaker 3: I mean, she she was a connector.

1640
01:33:23,320 --> 01:33:27,400
Speaker 1: She was a connector. Yeah, she was extremely important. And

1641
01:33:28,000 --> 01:33:30,280
Speaker 1: the funk direction that slide took with theirs a ride

1642
01:33:30,320 --> 01:33:36,000
Speaker 1: going on. Actually there's a tattoo on her ass that

1643
01:33:36,120 --> 01:33:42,040
Speaker 1: literally says that this ass invented fusion. So yeah, she was.

1644
01:33:42,160 --> 01:33:47,400
Speaker 1: She was very key to Miles's bitches brew development and

1645
01:33:47,560 --> 01:33:52,760
Speaker 1: on the corner and also with Herbie doing his funk

1646
01:33:52,800 --> 01:33:55,720
Speaker 1: stuff with the head Hunters and Chameleons.

1647
01:33:55,760 --> 01:33:57,760
Speaker 3: So how many wives did Miles have? I'm just I'm

1648
01:33:57,760 --> 01:34:01,080
Speaker 3: trying to place her for She's not one that you

1649
01:34:01,200 --> 01:34:05,320
Speaker 3: probably would have seen because people really only talk. It's

1650
01:34:05,360 --> 01:34:07,840
Speaker 3: mostly Cicily Tyson that people talk about that he was

1651
01:34:07,920 --> 01:34:11,760
Speaker 3: married to, and then maybe the one other who was Yeah, yeah,

1652
01:34:12,400 --> 01:34:14,439
Speaker 3: but people don't really talk about because.

1653
01:34:13,960 --> 01:34:15,960
Speaker 1: It was so quick, but she had she had a

1654
01:34:16,040 --> 01:34:20,400
Speaker 1: singing career. Kind of weird speaking of the sly thing

1655
01:34:20,560 --> 01:34:24,000
Speaker 1: Slide would be so notoriously late to these studio sessions

1656
01:34:24,040 --> 01:34:29,360
Speaker 1: that yeah, that basically the Family Stone be chilling like

1657
01:34:29,479 --> 01:34:32,160
Speaker 1: this during like the ride going on seventy one period

1658
01:34:32,960 --> 01:34:36,320
Speaker 1: that she just come around the studio and sli be

1659
01:34:36,439 --> 01:34:39,800
Speaker 1: going for days and missing. And that's basically how the

1660
01:34:39,920 --> 01:34:43,599
Speaker 1: Family Stone became her because Greg Erica produced the first album, right, yeah,

1661
01:34:43,960 --> 01:34:47,240
Speaker 1: exactly what I mean. But it's Jerry and Cynthia and

1662
01:34:47,560 --> 01:34:52,360
Speaker 1: and Freddie Stone. Yeah, yeah, pretty much.

1663
01:34:53,520 --> 01:34:57,439
Speaker 3: Yeah, yeah, but but you but I didn't know that

1664
01:34:57,560 --> 01:34:59,400
Speaker 3: particular piece. So it's because Slo would be so late

1665
01:34:59,400 --> 01:35:00,760
Speaker 3: and shit out to and the baby coming out, and

1666
01:35:00,840 --> 01:35:02,400
Speaker 3: she just ended up getting tight with everybody and they

1667
01:35:02,439 --> 01:35:03,840
Speaker 3: just stopped playing for her too.

1668
01:35:04,000 --> 01:35:07,559
Speaker 1: He'd be going for three four weeks, Mayde be sitting,

1669
01:35:07,640 --> 01:35:08,920
Speaker 1: so they was like, all right, let's work on her

1670
01:35:08,960 --> 01:35:12,439
Speaker 1: own shit. So that's how that initial album came to be.

1671
01:35:13,120 --> 01:35:16,720
Speaker 1: But yeah, like, why did you gravitate towards Did you

1672
01:35:16,760 --> 01:35:19,240
Speaker 1: feel the need to like maybe take the time that

1673
01:35:20,760 --> 01:35:21,240
Speaker 1: she had?

1674
01:35:21,360 --> 01:35:26,280
Speaker 3: And I didn't feel that until I found out about her,

1675
01:35:26,800 --> 01:35:29,240
Speaker 3: and I found out about her later in my life.

1676
01:35:29,240 --> 01:35:31,800
Speaker 3: I was already grown once I found out about her.

1677
01:35:33,880 --> 01:35:35,800
Speaker 3: I found out about her when I was working on

1678
01:35:36,280 --> 01:35:37,639
Speaker 3: Amba cleansing syndrome.

1679
01:35:38,360 --> 01:35:39,479
Speaker 1: Oh man, that makes sense.

1680
01:35:40,280 --> 01:35:45,959
Speaker 3: And Fishbone introduced me to her up but specifically Norwood

1681
01:35:46,080 --> 01:35:51,840
Speaker 3: Fish and jb Okay, and they were just like, cause,

1682
01:35:51,880 --> 01:35:53,880
Speaker 3: you know, we had been jamming together and doing shit together,

1683
01:35:54,200 --> 01:35:55,760
Speaker 3: on the road together and doing all that stuff, and

1684
01:35:56,560 --> 01:35:58,560
Speaker 3: it was just like, have you are you familiar with

1685
01:35:58,640 --> 01:36:01,840
Speaker 3: Betty Davis? Have you heard that? I was like the actress,

1686
01:36:02,160 --> 01:36:09,360
Speaker 3: you know, right, like Kim Curs. They're like no, Miles

1687
01:36:09,479 --> 01:36:12,360
Speaker 3: Davis's sex wife, and I was just like no, and

1688
01:36:12,439 --> 01:36:15,719
Speaker 3: they were like, hold up. And then they had because

1689
01:36:15,720 --> 01:36:17,839
Speaker 3: at that time everybody still had like, you know, cosette

1690
01:36:18,040 --> 01:36:20,360
Speaker 3: rare cassettes and ship that they would like keep put on.

1691
01:36:21,120 --> 01:36:24,040
Speaker 3: They went back there and pulled out focus sets of

1692
01:36:24,400 --> 01:36:27,080
Speaker 3: her ship and the first ship they played for me

1693
01:36:27,360 --> 01:36:29,840
Speaker 3: was if I Met Look Good God. And the first

1694
01:36:29,920 --> 01:36:31,000
Speaker 3: time I heard I member, I.

1695
01:36:31,120 --> 01:36:31,600
Speaker 1: Was just like.

1696
01:36:33,479 --> 01:36:38,880
Speaker 3: Mother a Like seriously, it was like a right, like

1697
01:36:39,040 --> 01:36:41,800
Speaker 3: some missing link type shit because the only person I

1698
01:36:41,880 --> 01:36:44,080
Speaker 3: had really felt connected to like that from when I

1699
01:36:44,240 --> 01:36:46,560
Speaker 3: was really little was like Mannie Riperton's voice used to

1700
01:36:46,640 --> 01:36:48,680
Speaker 3: do me like that, it resonated, it had a thing

1701
01:36:48,800 --> 01:36:51,120
Speaker 3: with me. And then I had a very in depth

1702
01:36:51,160 --> 01:36:55,640
Speaker 3: relationship with Sad as a teenager musically, and so there

1703
01:36:55,680 --> 01:36:58,280
Speaker 3: were just these things that you know, like there were

1704
01:36:58,840 --> 01:37:01,120
Speaker 3: certain but there was always something missing. There was nothing

1705
01:37:01,600 --> 01:37:04,800
Speaker 3: outside of like LaBelle and Funkadelic that spoke to like

1706
01:37:05,000 --> 01:37:08,360
Speaker 3: the go to all parts of me, but I didn't

1707
01:37:08,439 --> 01:37:11,519
Speaker 3: really And I love Tina Turner as well in a

1708
01:37:11,600 --> 01:37:17,639
Speaker 3: hardcore way for sure, but I didn't have I didn't

1709
01:37:18,120 --> 01:37:20,920
Speaker 3: There was still something missing in terms I hadn't seen

1710
01:37:21,040 --> 01:37:25,200
Speaker 3: that other part of myself in anybody else. And when

1711
01:37:25,240 --> 01:37:27,760
Speaker 3: I heard that part of myself and anybody else, and

1712
01:37:27,800 --> 01:37:31,559
Speaker 3: so when they let me hear that, I was just like, okay,

1713
01:37:31,600 --> 01:37:34,400
Speaker 3: So for all the new Beatty Davis people, because now

1714
01:37:34,400 --> 01:37:35,880
Speaker 3: I'm in it. I'm in her. You got me. I

1715
01:37:36,600 --> 01:37:39,519
Speaker 3: wasn't familiar. Give us a cheesy what's the album that

1716
01:37:39,600 --> 01:37:39,880
Speaker 3: you think?

1717
01:37:40,000 --> 01:37:40,040
Speaker 2: Like?

1718
01:37:40,120 --> 01:37:41,679
Speaker 3: Can you start with the first one. I'll just start

1719
01:37:41,720 --> 01:37:43,479
Speaker 3: the title Dave crank it up.

1720
01:37:43,479 --> 01:37:47,920
Speaker 1: I start from just three, yeah, four, So.

1721
01:37:48,320 --> 01:37:49,800
Speaker 3: I see Nasty Gown. I just want to go to

1722
01:37:49,920 --> 01:37:54,479
Speaker 3: it because it's just that's okay. But as start with

1723
01:37:54,520 --> 01:37:56,960
Speaker 3: the first, start with the first one, start with that one,

1724
01:37:57,040 --> 01:37:58,720
Speaker 3: and then go to the last.

1725
01:37:58,800 --> 01:38:03,439
Speaker 1: Albe was she started dating Addicted to Love Robert Palmer?

1726
01:38:03,520 --> 01:38:04,120
Speaker 1: Robert Farmer?

1727
01:38:04,280 --> 01:38:05,519
Speaker 3: Really that makes sense?

1728
01:38:05,600 --> 01:38:08,400
Speaker 1: Yeah, like yeah, oh, she was dating Robert Palmer?

1729
01:38:08,479 --> 01:38:10,200
Speaker 3: Like what a minute, But you said addicted to love?

1730
01:38:10,600 --> 01:38:13,160
Speaker 1: Well, that's why I was thinking of Robert Palmer. But yes,

1731
01:38:13,320 --> 01:38:17,360
Speaker 1: she started dating him, uh seventy eight, seventy nine, and

1732
01:38:17,760 --> 01:38:20,400
Speaker 1: he got her a deal on island and they made

1733
01:38:20,439 --> 01:38:24,960
Speaker 1: a record and then never released it. A sucker like

1734
01:38:25,120 --> 01:38:31,440
Speaker 1: me like went to Bleaker Bob's put a few Benjamins

1735
01:38:31,520 --> 01:38:35,280
Speaker 1: on it on the acid Tate. Oh wow, re released

1736
01:38:35,320 --> 01:38:35,960
Speaker 1: like two years later.

1737
01:38:35,960 --> 01:38:45,599
Speaker 3: I like, originally yeah, but that expanded me and opened

1738
01:38:45,640 --> 01:38:47,280
Speaker 3: me up in another kind of way, and I just

1739
01:38:47,400 --> 01:38:50,920
Speaker 3: felt instantly like and I saw so much of my

1740
01:38:51,880 --> 01:38:57,519
Speaker 3: self in her and in her journey, and I just

1741
01:38:58,320 --> 01:39:01,000
Speaker 3: you know, it changed me. It's one of those, you know,

1742
01:39:01,560 --> 01:39:02,800
Speaker 3: one of those moments in your life.

1743
01:39:03,439 --> 01:39:05,880
Speaker 1: Do you have any aspirations or hopes to at least

1744
01:39:07,320 --> 01:39:10,200
Speaker 1: be a part of her biopic or the telling of

1745
01:39:10,280 --> 01:39:11,720
Speaker 1: her story or Oh I would love to.

1746
01:39:12,320 --> 01:39:16,679
Speaker 3: I would absolutely love to. I would absolutely I would

1747
01:39:16,760 --> 01:39:18,120
Speaker 3: like somebody to do the ship before I get to

1748
01:39:18,240 --> 01:39:18,599
Speaker 3: go down.

1749
01:39:28,000 --> 01:39:30,000
Speaker 1: I have one more question, because I know we got

1750
01:39:30,040 --> 01:39:33,120
Speaker 1: a wraps in, but what it seems so obvious to me,

1751
01:39:33,439 --> 01:39:37,560
Speaker 1: Why have you not made a complete full album with

1752
01:39:38,640 --> 01:39:43,840
Speaker 1: organized noise or would that have been too obvious? Well

1753
01:39:43,920 --> 01:39:47,960
Speaker 1: not obvious, like you know, I mean, were you comfort

1754
01:39:48,120 --> 01:39:51,360
Speaker 1: with Dallas? You know, like you work well with Dallas?

1755
01:39:51,479 --> 01:39:54,240
Speaker 1: And has there ever been a thing like why don't

1756
01:39:54,240 --> 01:39:56,320
Speaker 1: you produce your work well.

1757
01:39:56,200 --> 01:40:00,280
Speaker 3: With whoever I'm working with, whoever want to work Has

1758
01:40:00,320 --> 01:40:03,280
Speaker 3: the conversation ever come up I'm working about them doing

1759
01:40:03,360 --> 01:40:04,160
Speaker 3: a whole album.

1760
01:40:04,800 --> 01:40:05,320
Speaker 1: They did.

1761
01:40:05,960 --> 01:40:09,200
Speaker 3: They did quite a few, you know, they did, but

1762
01:40:09,360 --> 01:40:11,880
Speaker 3: not an entire album. But not an entire album. No,

1763
01:40:12,120 --> 01:40:18,679
Speaker 3: I've not done an entire album with anybody since Pendlam Black.

1764
01:40:19,320 --> 01:40:20,920
Speaker 1: But I do feel that.

1765
01:40:23,080 --> 01:40:25,920
Speaker 3: I've worked with different producers on different ships.

1766
01:40:26,520 --> 01:40:31,320
Speaker 1: I would have loved to heard their production, and I

1767
01:40:31,439 --> 01:40:34,880
Speaker 1: just feel as though, because they did it so well

1768
01:40:34,960 --> 01:40:37,160
Speaker 1: with Cast and they did it so well with Goodie

1769
01:40:37,200 --> 01:40:38,080
Speaker 1: Mob and stuff.

1770
01:40:37,880 --> 01:40:41,240
Speaker 3: It was talk of doing it several times. It just

1771
01:40:41,320 --> 01:40:47,920
Speaker 3: didn't happen. It just didn't happen. But that was always talk.

1772
01:40:48,000 --> 01:40:48,200
Speaker 1: It was.

1773
01:40:48,479 --> 01:40:50,240
Speaker 3: It was talk of a full Joy album. It was

1774
01:40:50,280 --> 01:40:53,400
Speaker 3: talk of pil Trick Gangster Click album. It was talk of,

1775
01:40:54,280 --> 01:40:57,439
Speaker 3: you know, a full Heroin album, which was me, Peaches

1776
01:40:57,439 --> 01:41:00,960
Speaker 3: and Stephanie at the time. It was talks of a well, uh,

1777
01:41:01,280 --> 01:41:03,120
Speaker 3: you know, it's been lots of talks. It's just it

1778
01:41:03,240 --> 01:41:06,800
Speaker 3: just wasn't something that came to where do.

1779
01:41:06,880 --> 01:41:11,120
Speaker 1: Things stand now, just as far as where things are

1780
01:41:11,240 --> 01:41:15,000
Speaker 1: with the family, like it's just completely separate. This person's here,

1781
01:41:15,080 --> 01:41:17,640
Speaker 1: this person there, this person's up there, this person's down there.

1782
01:41:18,520 --> 01:41:25,479
Speaker 3: I mean, then you know, I'm in any situation, I'm

1783
01:41:25,520 --> 01:41:29,160
Speaker 3: in it. I'm always the lone wolf. Even if I'm

1784
01:41:29,960 --> 01:41:33,599
Speaker 3: family affiliated, I'm still the lone wolf. You know wherever

1785
01:41:33,720 --> 01:41:38,200
Speaker 3: I am so, Uh, everybody's good. I don't see everybody.

1786
01:41:38,240 --> 01:41:41,000
Speaker 3: I'm out here, you know, everybody else is in Atlanta.

1787
01:41:42,800 --> 01:41:46,519
Speaker 3: But everything is fine with the you know, like, people

1788
01:41:46,560 --> 01:41:49,160
Speaker 3: are still cool, people still work together, people still talk

1789
01:41:49,240 --> 01:41:50,840
Speaker 3: people each other.

1790
01:41:51,880 --> 01:41:53,080
Speaker 1: You played me some Sleepy stuff.

1791
01:41:54,479 --> 01:41:54,679
Speaker 11: Yeah.

1792
01:41:54,760 --> 01:41:57,120
Speaker 3: I don't know when sleep is gonna put his uh

1793
01:41:57,600 --> 01:42:00,160
Speaker 3: stuff out, but I think he is gonna do it

1794
01:42:00,400 --> 01:42:02,920
Speaker 3: fucking soon. Yeah.

1795
01:42:03,160 --> 01:42:06,360
Speaker 1: Oh man, you have to tell us about being a

1796
01:42:06,439 --> 01:42:07,160
Speaker 1: bang bang girl.

1797
01:42:07,880 --> 01:42:15,920
Speaker 3: Oh what a bang bang girl? Uh? So the cool

1798
01:42:16,160 --> 01:42:19,920
Speaker 3: thing that has happened, as like I said, the behind

1799
01:42:19,960 --> 01:42:24,599
Speaker 3: the scenes shit is cool. I'm fine with it. Since

1800
01:42:24,640 --> 01:42:27,160
Speaker 3: I've been living in LA, one of my cool hustles

1801
01:42:27,160 --> 01:42:31,200
Speaker 3: has been, you know, doing vocals for some for a

1802
01:42:31,320 --> 01:42:35,840
Speaker 3: lot of pop music, and in particular working with Max Martin.

1803
01:42:37,720 --> 01:42:44,559
Speaker 3: I received a call from uh name, who's the homie

1804
01:42:44,600 --> 01:42:46,400
Speaker 3: that I grew up with in Nashville who asked me

1805
01:42:46,479 --> 01:42:51,639
Speaker 3: to put together three ladies, uh some LaBelle esque type

1806
01:42:52,000 --> 01:42:56,800
Speaker 3: vocals h And I said okay, And I made a

1807
01:42:56,840 --> 01:42:59,280
Speaker 3: couple of phone calls to some ladies who I knew

1808
01:42:59,320 --> 01:43:02,040
Speaker 3: I could sing well with and they were available at

1809
01:43:02,080 --> 01:43:05,240
Speaker 3: the time, and we went to a session. We were

1810
01:43:05,280 --> 01:43:08,720
Speaker 3: only supposed to do one song for Max Martin and

1811
01:43:08,840 --> 01:43:10,719
Speaker 3: it was for something we were working on for Ariana

1812
01:43:10,760 --> 01:43:14,240
Speaker 3: Grande when we got there and it turned out to

1813
01:43:14,520 --> 01:43:19,920
Speaker 3: be Bang Bang, and so we did that one and

1814
01:43:20,880 --> 01:43:26,160
Speaker 3: we ended up doing like four more Jesse j and

1815
01:43:26,200 --> 01:43:33,800
Speaker 3: Ariana Grana. So wait a minute, she's singing vocal, so

1816
01:43:33,880 --> 01:43:36,720
Speaker 3: we did vocal. I did back back in vocals. So

1817
01:43:36,800 --> 01:43:39,040
Speaker 3: I've just been for the last few years. I've had

1818
01:43:39,120 --> 01:43:42,960
Speaker 3: some some pretty consistent work doing backs with Max Martin

1819
01:43:43,120 --> 01:43:47,559
Speaker 3: with other producers. Are you are you cool with Saya Garrett?

1820
01:43:47,600 --> 01:43:55,360
Speaker 3: Y'all have some similar parallel situations. I know Sayda's husband Eric,

1821
01:43:55,920 --> 01:43:59,000
Speaker 3: because I know Erica because she was married used to

1822
01:43:59,040 --> 01:44:04,920
Speaker 3: be married to my friend KP years ago. Uh huh.

1823
01:44:05,240 --> 01:44:07,200
Speaker 3: But I've never met Miss Saida and she's the ship,

1824
01:44:07,439 --> 01:44:14,439
Speaker 3: but I've never met her and she's the fucking bond. Yeah,

1825
01:44:14,560 --> 01:44:17,439
Speaker 3: and I respect all of her ship and just she's

1826
01:44:17,640 --> 01:44:21,360
Speaker 3: just the ship that's like Jesus ship. And maybe I

1827
01:44:21,439 --> 01:44:23,679
Speaker 3: have met her once but it was just very in passing.

1828
01:44:23,760 --> 01:44:25,840
Speaker 3: It wasn't anything too in depth. But yeah, the bang

1829
01:44:25,920 --> 01:44:30,559
Speaker 3: Bang grew Me and tar Stans and and uh uh

1830
01:44:31,160 --> 01:44:40,720
Speaker 3: in donbiight ye. So the three of us have been

1831
01:44:40,760 --> 01:44:42,639
Speaker 3: doing for the past few years and it's been it's

1832
01:44:42,680 --> 01:44:44,880
Speaker 3: been really cool. We haven't done anything in a bit,

1833
01:44:45,080 --> 01:44:48,200
Speaker 3: but so happy that y'all are like working and killing it. Yes,

1834
01:44:48,520 --> 01:44:50,320
Speaker 3: but we did. We've done a lot and it led

1835
01:44:50,400 --> 01:44:52,439
Speaker 3: to other work. So it's like with us doing that

1836
01:44:52,600 --> 01:44:54,439
Speaker 3: for him and with that going so well, then it

1837
01:44:54,520 --> 01:44:56,160
Speaker 3: was like other people that were reaching out with ship

1838
01:44:56,400 --> 01:44:59,720
Speaker 3: those girls and we just end them calling ourselves a

1839
01:44:59,760 --> 01:45:01,439
Speaker 3: bang girls because that was the first thing that we

1840
01:45:01,560 --> 01:45:04,160
Speaker 3: sung on together, and because Max was calling us statute

1841
01:45:04,600 --> 01:45:07,000
Speaker 3: and bragging that he didn't want nobody but the Bank

1842
01:45:07,080 --> 01:45:07,559
Speaker 3: Bank girls.

1843
01:45:09,360 --> 01:45:10,800
Speaker 1: Thought you were talking.

1844
01:45:12,720 --> 01:45:15,679
Speaker 2: Wait though, that's like a whole supergroup, joy hold one.

1845
01:45:16,120 --> 01:45:19,679
Speaker 3: Well it is, But you know, girl, we're just gonna

1846
01:45:19,720 --> 01:45:25,120
Speaker 3: work checks, dude, I mean check us out individually.

1847
01:45:25,720 --> 01:45:37,240
Speaker 1: That's the check you're talking about, joy A. Sorry, final questions.

1848
01:45:38,520 --> 01:45:43,600
Speaker 5: The Ray Ray intro, Yeah, that's that's what you have

1849
01:45:43,720 --> 01:45:45,599
Speaker 5: been a part of, like two of the greatest intro

1850
01:45:45,800 --> 01:45:50,400
Speaker 5: albums intro to albums ever and Ray Ray Thank.

1851
01:45:50,240 --> 01:45:53,439
Speaker 3: You, Ray left Me Alone. He was working on that project.

1852
01:45:53,479 --> 01:45:55,080
Speaker 3: He just left me in the studio.

1853
01:45:55,680 --> 01:45:56,880
Speaker 1: Whatever, dude, can.

1854
01:45:56,760 --> 01:45:57,519
Speaker 3: You write me something?

1855
01:45:57,560 --> 01:46:00,479
Speaker 1: I was like, and what I said was, I love that.

1856
01:46:01,120 --> 01:46:03,080
Speaker 3: I was like, I'm gonna write you. I'm gonna write

1857
01:46:03,120 --> 01:46:06,280
Speaker 3: your intro song. I'm gonna write your intro some theme music.

1858
01:46:06,400 --> 01:46:08,960
Speaker 3: That's what I said. Like I got me. I was like,

1859
01:46:08,960 --> 01:46:11,400
Speaker 3: I'm gonna give you something. It'll be your version. It's like, okay.

1860
01:46:11,600 --> 01:46:13,160
Speaker 3: So he left me in then and I wrote to

1861
01:46:17,320 --> 01:46:19,120
Speaker 3: making Mighty in l A.

1862
01:46:20,560 --> 01:46:28,400
Speaker 1: Yeah, but that's right right.

1863
01:46:30,400 --> 01:46:35,679
Speaker 3: We almost had a Joynte duet. Everybody else.

1864
01:46:39,400 --> 01:46:51,040
Speaker 1: You can kiss my entire black he is.

1865
01:46:53,320 --> 01:46:55,040
Speaker 3: But yeah, that was one I love. That's one of

1866
01:46:55,120 --> 01:46:58,200
Speaker 3: my favorite things I've done. It was very funny making it.

1867
01:46:58,479 --> 01:46:59,560
Speaker 9: It was and he loved it.

1868
01:46:59,680 --> 01:47:02,560
Speaker 3: So I was glad that, you know, glad I was

1869
01:47:02,640 --> 01:47:03,840
Speaker 3: able to Was that given?

1870
01:47:04,600 --> 01:47:07,840
Speaker 1: Was that after before y'all did I'm So Famous? After

1871
01:47:08,000 --> 01:47:10,160
Speaker 1: that was after okay all right? Yeah, that was after

1872
01:47:10,280 --> 01:47:12,040
Speaker 1: I thank you that. But I want to infess it

1873
01:47:12,120 --> 01:47:14,280
Speaker 1: to the world. Thank you, thank you, I love I'm

1874
01:47:14,320 --> 01:47:14,799
Speaker 1: so famous.

1875
01:47:14,920 --> 01:47:17,240
Speaker 3: Thank you, Slam the Bombers.

1876
01:47:17,560 --> 01:47:20,439
Speaker 1: Yeah, dance Yesterday's dance Yesterday. That's my favorite one.

1877
01:47:20,560 --> 01:47:22,080
Speaker 3: Thank you, Thank you.

1878
01:47:22,400 --> 01:47:26,479
Speaker 1: Is there a new albumm Yes when when when we sing?

1879
01:47:26,479 --> 01:47:29,760
Speaker 3: It was January twenty first, Jerry twenty field. I'm sorry

1880
01:47:29,800 --> 01:47:31,240
Speaker 3: my birthday birthday.

1881
01:47:31,960 --> 01:47:34,519
Speaker 1: So it's already out now, all right, Yes.

1882
01:47:34,479 --> 01:47:35,040
Speaker 2: That's what I'm here.

1883
01:47:35,640 --> 01:47:40,680
Speaker 3: It's already yeahend to you. What the album is called, sir,

1884
01:47:40,800 --> 01:47:41,800
Speaker 3: Rebecca Holy Love?

1885
01:47:42,880 --> 01:47:45,519
Speaker 1: Yeah? Why you changed your Twitter name? I was like,

1886
01:47:45,840 --> 01:47:46,599
Speaker 1: must be a new album?

1887
01:47:47,960 --> 01:47:48,080
Speaker 3: Is that?

1888
01:47:48,320 --> 01:47:50,040
Speaker 1: Is that like a fierce type thing or is there

1889
01:47:50,080 --> 01:47:50,760
Speaker 1: a story behind that?

1890
01:47:50,960 --> 01:47:56,599
Speaker 3: Well, you know, I'm Tennessee slim. It's just another alias

1891
01:47:57,160 --> 01:48:02,639
Speaker 3: Rebecca Savage, Immortal and Righteous Rebecca Holy Love. Us about

1892
01:48:02,680 --> 01:48:09,160
Speaker 3: Rebecca Rebecca is the you know, a woman fully realized

1893
01:48:09,200 --> 01:48:15,920
Speaker 3: stepping into her Christ's heads face and fully realizing the

1894
01:48:16,600 --> 01:48:21,760
Speaker 3: wrong you know, the the not too much difference, uh

1895
01:48:23,560 --> 01:48:26,160
Speaker 3: what really almost well, the duality of things. That's what

1896
01:48:26,240 --> 01:48:28,519
Speaker 3: she She's a woman who realizes the duality of things.

1897
01:48:28,600 --> 01:48:34,439
Speaker 3: And she's forgiving and uh accepting, and she's peaceful and

1898
01:48:34,640 --> 01:48:42,280
Speaker 3: she uh resists the confinements of constructs and she'll get

1899
01:48:42,360 --> 01:48:44,760
Speaker 3: I mean she could also you know, help you bury

1900
01:48:44,840 --> 01:48:49,840
Speaker 3: the body. But she can also she can also you know,

1901
01:48:50,120 --> 01:48:54,559
Speaker 3: be your ball and sooth you. She can do that too.

1902
01:48:56,280 --> 01:48:56,560
Speaker 3: Thank you.

1903
01:49:00,520 --> 01:49:02,640
Speaker 1: Ship Okay, I was hoping to get in there. I

1904
01:49:02,720 --> 01:49:05,879
Speaker 1: was like, damn independent, absolutely fantastic.

1905
01:49:06,080 --> 01:49:09,559
Speaker 3: M hm mm hmm. We and the fan and got

1906
01:49:09,600 --> 01:49:12,840
Speaker 3: a cool little team. We're just gonna keep We're gonna

1907
01:49:12,840 --> 01:49:14,240
Speaker 3: take it one step at the time and just keep

1908
01:49:14,320 --> 01:49:17,160
Speaker 3: pushing that joker. You're going tour with Forward. I am

1909
01:49:17,240 --> 01:49:18,840
Speaker 3: going to to it. I need a booking agent. That's

1910
01:49:18,880 --> 01:49:20,920
Speaker 3: what I'm looking for now. I need somebody to book

1911
01:49:21,000 --> 01:49:22,280
Speaker 3: these shows.

1912
01:49:22,560 --> 01:49:25,920
Speaker 1: All right, from your now to the ears of the

1913
01:49:26,080 --> 01:49:35,200
Speaker 1: hardest work. Listening to a podcast that should be Questo Supreme,

1914
01:49:35,400 --> 01:49:38,880
Speaker 1: God's favorite podcast. Yes, that's it.

1915
01:49:39,360 --> 01:49:42,400
Speaker 3: But I'm excited, and uh, I'm excited about the work

1916
01:49:42,439 --> 01:49:46,920
Speaker 3: I produced. H hands on, I produced, I say four

1917
01:49:48,200 --> 01:50:02,760
Speaker 3: and I work with brook the Low. Yeah, I mean god, damn,

1918
01:50:02,840 --> 01:50:03,880
Speaker 3: y'all didn't respond like that.

1919
01:50:07,439 --> 01:50:10,920
Speaker 1: We didn't expect to hear Brooks and Christmas.

1920
01:50:12,360 --> 01:50:12,559
Speaker 3: Yeah.

1921
01:50:12,920 --> 01:50:15,720
Speaker 5: We were literally just talking about this before you got here,

1922
01:50:15,760 --> 01:50:19,040
Speaker 5: about how like you know, artists, I mean not to

1923
01:50:19,040 --> 01:50:22,640
Speaker 5: say they got drafted, well yeah, gotted, and also just

1924
01:50:22,720 --> 01:50:26,080
Speaker 5: how like artists that are you know, of the older generation,

1925
01:50:26,680 --> 01:50:29,120
Speaker 5: how they need to work with like the new Jacks

1926
01:50:29,160 --> 01:50:31,599
Speaker 5: that grew up listening to them, you know, what I'm saying,

1927
01:50:31,680 --> 01:50:32,920
Speaker 5: like they need that and you don't.

1928
01:50:33,160 --> 01:50:34,760
Speaker 1: You don't really see too much of that now, you

1929
01:50:34,840 --> 01:50:35,240
Speaker 1: know what I mean.

1930
01:50:35,320 --> 01:50:37,960
Speaker 3: I mean just like half and half. He's one of them,

1931
01:50:38,040 --> 01:50:41,679
Speaker 3: and then he's not. You were not that young. He's

1932
01:50:41,720 --> 01:50:45,400
Speaker 3: not forty either, But they're the they're the ogs of

1933
01:50:45,520 --> 01:50:48,960
Speaker 3: the younger badasses that now exactly they were around to

1934
01:50:49,080 --> 01:50:53,680
Speaker 3: see it. They weren't the younger and they're trailblazers and

1935
01:50:53,920 --> 01:50:58,000
Speaker 3: kick ass fucking originals, you know. But I'm excited. Brooke

1936
01:50:58,040 --> 01:51:00,880
Speaker 3: did an amazing James fantastic.

1937
01:51:01,360 --> 01:51:05,040
Speaker 1: Observation on note, this is the first time in all

1938
01:51:05,120 --> 01:51:11,080
Speaker 1: these episodes that I've seen Bill get genuinely excited about

1939
01:51:11,320 --> 01:51:14,600
Speaker 1: music coming out, Like you awakened something in him that

1940
01:51:14,840 --> 01:51:17,160
Speaker 1: has been dead for so long.

1941
01:51:18,120 --> 01:51:18,519
Speaker 3: Excited.

1942
01:51:19,439 --> 01:51:22,639
Speaker 1: Wow, because he hates everything.

1943
01:51:22,720 --> 01:51:24,960
Speaker 3: I mean, I'm and I'm I'm pleased with the album

1944
01:51:25,080 --> 01:51:26,720
Speaker 3: is you know, it's fucking bumped. I can't wait for

1945
01:51:26,800 --> 01:51:30,320
Speaker 3: the show. It's bumping. It's bass heavy, it's mostly up Temple,

1946
01:51:31,000 --> 01:51:33,640
Speaker 3: Ship Jam, mid Temple and up Temple, and it's a

1947
01:51:33,720 --> 01:51:37,400
Speaker 3: couple of you know, slow ones. On book is a

1948
01:51:37,520 --> 01:51:41,040
Speaker 3: drum smith and a and a and a hardcore techner

1949
01:51:41,320 --> 01:51:41,920
Speaker 3: yes he is.

1950
01:51:42,160 --> 01:51:44,120
Speaker 5: And for those of those listening that don't know who

1951
01:51:44,200 --> 01:51:47,240
Speaker 5: Brook is, he produced Miguel's a Door, right, Yes he did, and.

1952
01:51:49,160 --> 01:51:50,600
Speaker 1: I think well he was. It was part of the

1953
01:51:50,600 --> 01:51:52,879
Speaker 1: Grammy performance at least.

1954
01:51:52,920 --> 01:51:53,439
Speaker 3: But he did.

1955
01:51:53,800 --> 01:51:57,400
Speaker 1: Yeah, he produced a gouble of the US.

1956
01:51:59,200 --> 01:52:02,759
Speaker 3: Yeah, but but yeah, he's just a ridiculous tunes smith.

1957
01:52:03,800 --> 01:52:07,160
Speaker 3: And and it really helped me get my drums together.

1958
01:52:09,080 --> 01:52:12,360
Speaker 3: I'm fine with my beats be five, but I needed

1959
01:52:12,439 --> 01:52:14,800
Speaker 3: help getting them like chunky, like the sonics of them,

1960
01:52:14,800 --> 01:52:16,040
Speaker 3: getting them wide and full.

1961
01:52:16,960 --> 01:52:20,880
Speaker 1: He really helped me, saying you take long tedious trump

1962
01:52:20,920 --> 01:52:29,840
Speaker 1: sells on stage, just joking anyway, just playing anyway, Joey,

1963
01:52:30,360 --> 01:52:32,840
Speaker 1: we thank you. This is this is like our first

1964
01:52:32,880 --> 01:52:34,720
Speaker 1: world cover. I feel like I know you now it

1965
01:52:34,880 --> 01:52:36,360
Speaker 1: is our first.

1966
01:52:38,000 --> 01:52:39,519
Speaker 3: Well, no, this is, I said. Remember we had a

1967
01:52:39,640 --> 01:52:42,960
Speaker 3: really great conversation at Dark when I let you listen

1968
01:52:43,120 --> 01:52:44,439
Speaker 3: to Star.

1969
01:52:45,360 --> 01:52:48,280
Speaker 1: Yes, yes, you can talk about that record at all.

1970
01:52:48,560 --> 01:52:50,920
Speaker 1: We didn't need to start kitting that was that was

1971
01:52:51,000 --> 01:52:56,360
Speaker 1: record you and rafter he know he did. Tennessee, he

1972
01:52:56,800 --> 01:52:59,599
Speaker 1: was exactly producer. That's one of my favorite one.

1973
01:52:59,640 --> 01:53:02,439
Speaker 3: He said. Well, Tennessee, sim is the bond, he says,

1974
01:53:02,840 --> 01:53:04,519
Speaker 3: and this is out of his mouth. He says, I

1975
01:53:04,560 --> 01:53:06,760
Speaker 3: didn't produce that record. I just played bass on a

1976
01:53:06,800 --> 01:53:10,240
Speaker 3: couple of songs, That's.

1977
01:53:09,160 --> 01:53:09,679
Speaker 9: What he said.

1978
01:53:09,720 --> 01:53:10,160
Speaker 10: That's nice.

1979
01:53:10,160 --> 01:53:12,280
Speaker 3: And he says, you produced that record, and I did.

1980
01:53:12,400 --> 01:53:15,280
Speaker 3: And I am like that with all of my projects.

1981
01:53:15,400 --> 01:53:19,880
Speaker 3: But I choose wisely on who I choose to work

1982
01:53:19,920 --> 01:53:22,439
Speaker 3: with because they bring out the best in me and

1983
01:53:22,560 --> 01:53:24,479
Speaker 3: I them. So I appreciate Ray for that. But yeah,

1984
01:53:24,479 --> 01:53:27,519
Speaker 3: Tennse simm was one of my favorite. Now that was half.

1985
01:53:28,240 --> 01:53:30,599
Speaker 3: Some of it was Dallas, some of it was Organized Noise,

1986
01:53:30,680 --> 01:53:34,560
Speaker 3: some of it was Raphael and this other cat. I

1987
01:53:34,640 --> 01:53:39,439
Speaker 3: can't even remember that brother's name right now, Andre something fuck,

1988
01:53:40,160 --> 01:53:42,920
Speaker 3: I don't remember. But those were the people that worked

1989
01:53:42,960 --> 01:53:46,320
Speaker 3: on Star Kitty. So I was already out from under

1990
01:53:46,400 --> 01:53:47,040
Speaker 3: Dallas at that.

1991
01:53:47,160 --> 01:53:47,640
Speaker 1: Time, and.

1992
01:53:50,240 --> 01:53:52,080
Speaker 3: I'm glad to be here. I'm glad I was here.

1993
01:53:52,120 --> 01:53:52,599
Speaker 3: It was fun.

1994
01:53:53,920 --> 01:53:57,200
Speaker 1: Thank you. Well, you're awesome too.

1995
01:53:57,240 --> 01:54:00,919
Speaker 3: Thank you, and I appreciate it. We think the look amazing.

1996
01:54:01,040 --> 01:54:02,920
Speaker 3: I can't see you here, so I just want everybody.

1997
01:54:02,640 --> 01:54:04,280
Speaker 1: To know we'll get all the looks.

1998
01:54:04,320 --> 01:54:09,040
Speaker 3: Andre Betts, Andre Betts, thank you, and brother and b

1999
01:54:09,240 --> 01:54:14,519
Speaker 3: T T T and human Nature. I'm like, wait and

2000
01:54:14,800 --> 01:54:15,679
Speaker 3: Bets he did get.

2001
01:54:15,560 --> 01:54:18,639
Speaker 1: On okay on the album Yeah we got him Andre

2002
01:54:18,760 --> 01:54:21,760
Speaker 1: Betts all right well, or be half of the team

2003
01:54:21,840 --> 01:54:28,760
Speaker 1: Supreme fan take a little uh boss Billy and our

2004
01:54:28,880 --> 01:54:31,320
Speaker 1: guests Joy, Thank you very much. Thank you for the

2005
01:54:31,400 --> 01:54:35,280
Speaker 1: confooks at west Lake Audio. This is an awesome experience.

2006
01:54:35,360 --> 01:54:38,200
Speaker 1: Shout out the bubbles. Shout out the bubbles. Yeah, bubbles,

2007
01:54:38,280 --> 01:54:40,280
Speaker 1: room up there, bubble looking down over us.

2008
01:54:41,400 --> 01:54:43,600
Speaker 2: Thank you Coco, because we are bringing out the year

2009
01:54:43,600 --> 01:54:44,760
Speaker 2: with a female engineer.

2010
01:54:44,920 --> 01:54:45,160
Speaker 3: Bam.

2011
01:54:52,040 --> 01:54:58,440
Speaker 1: All right, y'all, or when we have a Team Supreme.

2012
01:54:58,520 --> 01:55:00,560
Speaker 1: This is Quest Love Man. We'll see you on the

2013
01:55:00,600 --> 01:55:12,720
Speaker 1: next go round. Thank you very much. Quest Love Supreme

2014
01:55:12,840 --> 01:55:16,640
Speaker 1: is a production of iHeartRadio. This classic episode was produced

2015
01:55:16,640 --> 01:55:23,480
Speaker 1: by the team at Pandora. For more podcasts from iHeartRadio,

2016
01:55:23,640 --> 01:55:27,360
Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

2017
01:55:27,400 --> 01:55:28,320
Speaker 1: to your favorite shows.