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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Good People,

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Speaker 1: Good People, What's up? Welcome back to Part two of

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Speaker 1: QLs Musical Memories. I'm your host quest Love and I've

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Speaker 1: asked his questions to hundreds, truly hundreds of people. You

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Speaker 1: haven't checked out Part one, now's the time, but right now,

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Speaker 1: here's part two. This one has a series of unique answers. Also,

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Speaker 1: every one of these episodes are available to stream wherever

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Speaker 1: you get your podcasts and on the iHeart app. Right

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Speaker 1: about now, we're going to start with one of my

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Speaker 1: musical heroes. All right, this guy man drummer of the

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Speaker 1: Average White Band. He's drummed on so many records by

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Speaker 1: Shaka Khan and Just the God. This is Steve Farhon.

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Speaker 1: He shared a story about tap dancing. Ironically, that's all

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Speaker 1: I also got into drumming, you know, I had to

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Speaker 1: learn to tap dance first, coordinate my feet. And he

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Speaker 1: taught us also about how tab dancing taught him about

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Speaker 1: race and culture living in Brighton, England. So let's go

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Speaker 1: back to twenty twenty two with the great Steve FERRONI can.

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Speaker 2: You tell me what your first musical memory was?

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Speaker 3: Well, you know what, I was told.

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Speaker 4: Was that I used to sit in the high chair

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Speaker 4: and we didn't have TV back then. We had radio, okay,

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Speaker 4: And I'd sit in the high chair with my spoon

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Speaker 4: eating and then some music would come on and I'd

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Speaker 4: start banging my spoon on the on the on the

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Speaker 4: high chair, on the table there to just keep in

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Speaker 4: time with whatever music was on the radio. And that's

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Speaker 4: was when they decided that my grand my grandma, my grandmother,

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Speaker 4: and my mother decided that I needed to channel that

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Speaker 4: that ability somewhere. So my grandmother was a big fan

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Speaker 4: of tap dancing. She loved Fred Astaire and Jim Kelly

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Speaker 4: and Tic Tac Toe and those guys. She was aware

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Speaker 4: of them, and so she sent me the tap dancing

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Speaker 4: school when I was better, as soon as I could,

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Speaker 4: about three years old.

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Speaker 5: Yeah, I was going to say, I just discovered that

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Speaker 5: about you maybe a week ago when I was doing

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Speaker 5: my research, and that's kind of my entry.

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Speaker 1: And too.

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Speaker 2: Drums.

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Speaker 5: I went to perform in art school in the first grade,

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Speaker 5: and it was one of those situations where you go

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Speaker 5: to your drum lesson and the drums are right there

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Speaker 5: and you're sort of like, let me at him, let

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Speaker 5: me at him, and they're like nope, and they point

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Speaker 5: to a practice pad on the corner, and you got

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Speaker 5: to learn, like your roommate's like, it's almost like I

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Speaker 5: had to practice to work my way up to the

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Speaker 5: drum set. But even before I got to the practice pad, Yeah,

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Speaker 5: I had to take tap dance. So yeah, yeah, all

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Speaker 5: that bojangles me and my shadow like like I was,

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Speaker 5: I was a hoofer, Like.

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Speaker 2: Were you good at it? That was pretty good at it?

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Speaker 6: Yeah, that was pretty good at it.

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Speaker 4: I want medals and stuff.

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Speaker 2: Really, can you can you still hoof now? Or is

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Speaker 2: that I.

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Speaker 3: Had a neat replacement that light on my feet anymore?

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Speaker 3: But I could probably, I can probably I can do

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Speaker 3: a timestep still, Okay.

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Speaker 2: Yeah, Like around around maybe nine, age nine or age ten.

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Speaker 5: I kind of eased out of that and just became

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Speaker 5: strictly like music.

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Speaker 6: Well, you know, I have.

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Speaker 4: To say my first, like my moment that you had,

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Speaker 4: that you said that you had with Average White Band,

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Speaker 4: I had when I was about five years old. My

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Speaker 4: parents used to take me. They used to take me.

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Speaker 4: We had this I guess you call it Vaudeville or

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Speaker 4: something like that. Vaudeville there was a theater called the

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Speaker 4: Hippodrome and the Beatles played there actually, so it's kind

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Speaker 4: of Bingo Hall now I think it is. But this

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Speaker 4: is one of those theaters got sort of neglected and

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Speaker 4: sort of let go little theater and uh and and

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Speaker 4: they used to take me there to see these shows

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Speaker 4: and and you know, usually it was comedians and pantomime

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Speaker 4: at Christmas and stuff. And they took me there to

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Speaker 4: see this show. And there was a band. There was

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Speaker 4: a band, a close harmony group called the Deep River Boys.

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Speaker 6: Deep from Brooklyn.

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Speaker 4: Oh really okay, and they were very very big on

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Speaker 4: Radio Luxembourg. Was was where you would where people would

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Speaker 4: go to to listen to something other than the BBC,

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Speaker 4: because the BBC used to just play classical music and

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Speaker 4: it wasn't they didn't play anything at all, you know.

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Speaker 4: So you go to Radio Luxembourg and you tune into

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Speaker 4: Radio Luxembourg and they had a show on there and

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Speaker 4: and I guess they also was it was also a

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Speaker 4: show that was that was that was good for like uh,

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Speaker 4: the the American forces were all over Europe at that point.

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Speaker 4: They had the basis of France and Germany and and

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Speaker 4: uh and and so they used to be on that

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Speaker 4: on on the American Forces Broadcasting. But they had a

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Speaker 4: regular show on this on this and they on Radio

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Speaker 4: Luxembourg and they appeared at the Hippodron. So my parents

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Speaker 4: took me down there and they did maybe it was

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Speaker 4: kind of like gospel music, but I'd never heard anything

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Speaker 4: like that, and I got really excited and started dancing

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Speaker 4: around in the in the audience listening to this music

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Speaker 4: is like, what's this?

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Speaker 7: You know?

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Speaker 4: Oh?

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Speaker 6: Wow?

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Speaker 3: Well is that ehen you find vanilla ice cream? You

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Speaker 3: give a vanilla I skream to a baby first time

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Speaker 3: they have it, They're like, why didn't you give me

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Speaker 3: this before?

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Speaker 4: You know?

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Speaker 8: You get this baby food? Why where was this vanilla

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Speaker 8: ice cream?

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Speaker 9: Well?

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Speaker 4: That was what what what I got with from their music,

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Speaker 4: And they sent them manager there too me and they

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Speaker 4: brought me backstage and befriended, befriended me.

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Speaker 3: They made me Deep River Boys number six, and that

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Speaker 3: was the time. That was when I found out that

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Speaker 3: I was black. Oh word, okay, yeah, I had no idea.

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Speaker 3: I had no idea that I was black until I

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Speaker 3: went and saw these guys. And they took me back

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Speaker 3: back to my parents, my grand my mom and my

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Speaker 3: grandmother took me backstage to meet them, you know, with

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Speaker 3: the they I've been invited back and I looked at

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Speaker 3: these guys and they were six foot tall, which was

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Speaker 3: then back then was gigantic, was a giant. And I said,

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Speaker 3: I wish I could be black black you guys, back

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Speaker 3: then we never said black was colored because it was disrespectful.

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Speaker 3: It was disrespectful to say black black. Then I wish

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Speaker 3: I was colored like you.

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Speaker 4: And this guy Harry Douglas, who I stayed in touch

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Speaker 4: with for years, he passed away sometimes sometime ago.

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Speaker 2: Oh, you maintained a friendship with him.

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Speaker 8: Yes, all through the years.

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Speaker 3: Yes, it was just amazing.

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Speaker 5: And uh and there the first Americans that you interacted

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Speaker 5: with as well.

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Speaker 2: Yes, how weird was it to hear? Did they have

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Speaker 2: an accent to you?

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Speaker 10: I didn't even know. I was just like, I was

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Speaker 10: just so sweet. I mean that's how they sang. And

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Speaker 10: they sang, they sang like, yeah, we heard. It seemed

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Speaker 10: like we sort of heard about America.

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Speaker 4: I think we had TV by then, So there a

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Speaker 4: couple of TV series that we've seen, not much of

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Speaker 4: a TV little thing like this black bohite thing, right,

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Speaker 4: But but Harry Douglas looked at me and he and

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Speaker 4: he said to me, he says, you know, tonight I'm

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Speaker 4: going to cast a spell. And when you wake up

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Speaker 4: tomorrow morning, you go look in the mirror and you

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Speaker 4: and you'll be you'll be colored like we are. Sleep.

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Speaker 3: I went to sleep, and then I got up and

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Speaker 3: I went to the mirror, and yes, it was.

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Speaker 6: Anything more about it.

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Speaker 2: Oh god, that's a great story.

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Speaker 1: Yeah, all right, that was Steve Farona, the average white band. Uh,

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Speaker 1: he's played with so many giants. Next up, another great storyteller.

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Speaker 1: You know, we gave our flowers to the one and

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Speaker 1: only Tevin Campbell. What was your first musical memory in life?

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Speaker 11: My aunt giving me the Amazing Grace album, the Franklin

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Speaker 11: Mazin Grace album on the vinyl.

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Speaker 8: She gave that to me when I was I think

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Speaker 8: I was.

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Speaker 11: That was the first album that I listened to continuously.

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Speaker 8: Ah, I think I was maybe eight or nine. She

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Speaker 8: gave it to you.

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Speaker 1: So her version of Holy Holy is just like, come on, man,

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Speaker 1: what were we talking about?

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Speaker 8: Well, her version of Amazing Grace is, Yeah, it's incredible.

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Speaker 11: I mean though the song was written by Amon, I

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Speaker 11: didn't know that till years after a couple of years ago,

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Speaker 11: I learned that.

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Speaker 8: But anyway, she like, no, yeah, yeah, it does, it does.

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Speaker 5: What was it like for you to see the film

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Speaker 5: version of that after having lived with it so long?

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Speaker 9: You mean you mean the her refas film version?

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Speaker 1: She you know, when she was a she they tried

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Speaker 1: to bring it out maybe like you know, like twenty

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Speaker 1: years ago, and because of some sort of contractual dispute,

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Speaker 1: she didn't allow it, so of course she had to

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Speaker 1: pass away.

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Speaker 9: Were you able to see the documentary or the concert

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Speaker 9: the film.

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Speaker 11: The Amazing Grace Yeah, yeah, yeah, yeah, yeah yeah, sorry, yeah.

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Speaker 11: I thought it was beautiful in a point in her

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Speaker 11: life where she was very happy, not that she wasn't

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Speaker 11: happy at any point in her life, but she was glowing,

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Speaker 11: and she was she had this afro and it was

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Speaker 11: just beautiful, man, And you know, seeing her in her element,

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Speaker 11: I think it was the.

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Speaker 8: Most beautiful thing. I think that people were touched by

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Speaker 8: seeing that film.

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Speaker 11: Because you don't a lot of people don't know that

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Speaker 11: she sat and played that pid piano a lot of

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Speaker 11: the songs that.

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Speaker 8: She did, and a lot of songs on an Amazing Grace.

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Speaker 11: Album too, So to see her sitting there in her element,

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Speaker 11: playing behind her and singing.

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Speaker 8: It's just amazing all the time.

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Speaker 5: So that most people don't know that she's like just

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Speaker 5: as good as a piano player.

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Speaker 1: She is.

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Speaker 5: Yeah, it's important for people to see that.

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Speaker 1: Here's Bernadette Cooper of Climax. Can you tell me what

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Speaker 1: your first musical memory was?

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Speaker 12: Wow, when you say musical memory like.

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Speaker 1: Band that I now just from as a baby, Like

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Speaker 1: what like the very first musical memory as a child.

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Speaker 12: Of course, you know, Aretha Franklin was my was my

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Speaker 12: played in my household when there was happy times, when

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Speaker 12: they were sad times. So Rita was a person that

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Speaker 12: I used to listen to and follow her lyrics and

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Speaker 12: her and her vocal movements and her hooks, and and

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Speaker 12: it made me a better writer by the Rita Franklin songs.

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Speaker 12: And then of course moving on Dio Daddo, Remember Dio Daddo. Yeah, yeah,

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Speaker 12: it was a little bit of all those guys. Jeff Beck,

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Speaker 12: you know, I really got into that scene and kind

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Speaker 12: of in the high school, junior high school era.

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Speaker 8: But yeah, I would.

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Speaker 1: Say, what was your first musical memory?

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Speaker 13: My dad, my father, we were in a in a

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Speaker 13: yard in the backyard in Outlan HALLI school, small little town,

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Speaker 13: and it was like five o'clock in the afternoon. Everything's

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Speaker 13: kind of gives gold you know, when the sound goes down,

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Speaker 13: everything looks golden. And my father he was over there

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Speaker 13: teaching me how to read and one of me teaching

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Speaker 13: me how to play the violin. So he happened, opened

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Speaker 13: up the violin case rather the violin put it put

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Speaker 13: it up here like this, and then he goes.

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Speaker 2: Meta, which means look meta. Then he went and I'm

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Speaker 2: like what. And then a bird.

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Speaker 13: Comes over this, a little lance lance on this street,

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Speaker 13: and he was he goes best, do you see? He

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Speaker 13: goes bess one more time?

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Speaker 14: Bird.

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Speaker 13: If you could talk to the birds, you could talk

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Speaker 13: to people.

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Speaker 14: Get it.

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Speaker 1: And I was like, and that was Carlos Santana. And

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Speaker 1: you can add bird calls to as many talents.

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Speaker 14: Oh.

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Speaker 1: Speaking of which, wow, here's Mars day. Maris, what was

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Speaker 1: your what was your first musical memory?

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00:12:27,480 --> 00:12:28,400
Speaker 6: It went way.

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Speaker 15: Back, you know, because I kind of just came into

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Speaker 15: the world with the notion that I was going to

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Speaker 15: be involved with music, you know, born in fifty six,

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Speaker 15: you know, and I can remember listening to the Beatles

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Speaker 15: on our little am radio that we had, and you know,

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Speaker 15: then later remember doing you know the James Brown running

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Speaker 15: around my.

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Speaker 16: You know, the house in the projects and fruit of

251
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Speaker 16: the looms on doing the splits, trying to do James

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Speaker 16: round and all that, and then sixty four comes around.

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Speaker 16: We were one of the first you know, let you

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Speaker 16: know how what priorities were back then, but we had

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Speaker 16: one of the first color TVs in the projects all that.

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00:13:13,280 --> 00:13:16,840
Speaker 16: Back then, I was watching Bandstand Man, and I'm watching

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Speaker 16: the Supremes at four tops, you know, all these motown

258
00:13:21,160 --> 00:13:25,080
Speaker 16: acts on Bandstand and I was like, that's what I

259
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Speaker 16: want to do, you know.

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Speaker 6: So those were my early memories, you know, of music.

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Speaker 6: But I just it was just in.

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Speaker 1: My blood, all right. So you know, last episode in

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Speaker 1: part one of this compilation, I gave you one musical memory.

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Speaker 1: Part two, I'll give you another musical memory. Jimmy Jam

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Speaker 1: would make fun of me during the pandemic when I

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Speaker 1: was like DJ and online and you can read the

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Speaker 1: comments as you DJ. Jimmy Jam always noticed that I

268
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Speaker 1: would let the listeners know when a particular song scared

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00:14:03,880 --> 00:14:06,920
Speaker 1: me in my childhood, and I realized that I never

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00:14:07,160 --> 00:14:11,400
Speaker 1: liked songs that had a modulation in it, like whenever

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Speaker 1: there's a dramatic key change. I was never a fan

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00:14:15,520 --> 00:14:19,400
Speaker 1: of that, Like it just sounded scary, real scary, And

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00:14:19,440 --> 00:14:25,000
Speaker 1: that's how it's always been great. Example Aretha Franklin's classic

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Speaker 1: covering of Bobby Woomex I'm in Love. There's like a

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Speaker 1: moment where there's like a bridge and then they go

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Speaker 1: to this modulation key change, and then Eric Martin and

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00:14:38,280 --> 00:14:43,760
Speaker 1: Jerry Wexler put extra extra reverb on Aretha's voice, and

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00:14:44,760 --> 00:14:49,280
Speaker 1: you know, like I now know like gospel singing sort

279
00:14:49,280 --> 00:14:54,400
Speaker 1: of comes from pain and whatnot. But yeah, I don't know.

280
00:14:54,680 --> 00:14:56,880
Speaker 1: Just to my four year old ears, man, I don't

281
00:14:56,920 --> 00:14:59,440
Speaker 1: know if it sounds like she was being murdered or whatever.

282
00:14:59,720 --> 00:15:03,680
Speaker 1: So that's like a scary moment to hear. But also

283
00:15:04,640 --> 00:15:09,200
Speaker 1: the beginning of me not liking modulation starts once again

284
00:15:09,200 --> 00:15:13,840
Speaker 1: in my childhood. Three years old. Yeah, someone called child

285
00:15:13,960 --> 00:15:17,920
Speaker 1: services for all the shit that happened during my third

286
00:15:18,000 --> 00:15:21,720
Speaker 1: year of life. My sister and I are staying in

287
00:15:22,040 --> 00:15:25,720
Speaker 1: Alta Dina, California, in my aunt's house while my parents

288
00:15:25,720 --> 00:15:30,120
Speaker 1: are recording the Congress Alley album, the same Congress Alley

289
00:15:30,160 --> 00:15:33,400
Speaker 1: album that Doctor dre used on a nothing but a

290
00:15:33,440 --> 00:15:36,360
Speaker 1: g thing. I mentioned that a few times, my parents

291
00:15:36,440 --> 00:15:39,520
Speaker 1: being a sample of those voices in the hook.

292
00:15:39,920 --> 00:15:41,640
Speaker 14: Oh yeah.

293
00:15:41,720 --> 00:15:46,800
Speaker 1: Anyway, So again in a bathtub, taking a bath, get

294
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Speaker 1: out the bath and rambunctious two year old. I'm just

295
00:15:51,320 --> 00:15:54,720
Speaker 1: running around, running around, and I slip and fall and

296
00:15:54,760 --> 00:15:59,760
Speaker 1: I land kind of on my left side on our

297
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Speaker 1: hot radiator. And the radiator has to be especially like

298
00:16:03,560 --> 00:16:05,640
Speaker 1: back in the day radiators. Like now we have like

299
00:16:06,400 --> 00:16:10,920
Speaker 1: you know, thermostats, and usually the heat comes from you know,

300
00:16:11,000 --> 00:16:13,920
Speaker 1: like ventilators that are in the sky. But back in

301
00:16:13,960 --> 00:16:16,440
Speaker 1: the day, man, they used to be on the ground,

302
00:16:16,560 --> 00:16:19,080
Speaker 1: and they used to be burning and hot, like thinking

303
00:16:19,120 --> 00:16:21,120
Speaker 1: of the equivalent of like an iron, just put an

304
00:16:21,160 --> 00:16:24,120
Speaker 1: iron on and then just touch an iron, like that's

305
00:16:24,160 --> 00:16:27,400
Speaker 1: how houses were heated back in the early seventies. And

306
00:16:27,480 --> 00:16:32,560
Speaker 1: I slipped and my entire leg hits the radiator, and

307
00:16:33,200 --> 00:16:35,840
Speaker 1: according to my sister, I think I had like second

308
00:16:35,840 --> 00:16:40,960
Speaker 1: degree burns, but I was just screaming in pain. But

309
00:16:41,480 --> 00:16:44,760
Speaker 1: right when this was happening, Soul Train was on and

310
00:16:44,840 --> 00:16:48,160
Speaker 1: Curtis Mayfield was doing Freddy's Dead And there's a part

311
00:16:48,240 --> 00:16:51,720
Speaker 1: in the middle of Freddy's Dead where they just briefly

312
00:16:52,880 --> 00:16:57,760
Speaker 1: go to C sharp minor and a bunch of trombones

313
00:16:58,760 --> 00:17:04,959
Speaker 1: and trumpets have the plunger, you know, like when New

314
00:17:05,119 --> 00:17:08,920
Speaker 1: Orleans band uses the plunger, like that sort of thing,

315
00:17:08,960 --> 00:17:13,280
Speaker 1: and they're doing that line and Freddy's Dead man.

316
00:17:14,560 --> 00:17:16,120
Speaker 14: And ah Man.

317
00:17:16,320 --> 00:17:19,800
Speaker 1: I was never a fan of C sharp. C sharp

318
00:17:20,240 --> 00:17:22,359
Speaker 1: minor is one of the keys that I don't like,

319
00:17:22,359 --> 00:17:25,600
Speaker 1: Like when something scary happens in the movies or whatever,

320
00:17:25,840 --> 00:17:28,000
Speaker 1: like that's the that's the key I don't want to

321
00:17:28,040 --> 00:17:31,199
Speaker 1: hear for some reason. But any song that had a

322
00:17:31,200 --> 00:17:34,399
Speaker 1: modulation after that I was not a fan of. Maybe

323
00:17:34,440 --> 00:17:37,280
Speaker 1: with the exception. The only one that passed that test,

324
00:17:37,320 --> 00:17:41,840
Speaker 1: I'll say was Stevie Wonder's Golden Lady, which used to,

325
00:17:42,640 --> 00:17:45,480
Speaker 1: you know, at the end of the song, every four

326
00:17:45,600 --> 00:17:48,920
Speaker 1: bars it would just go higher and hire and hire.

327
00:17:49,119 --> 00:17:56,240
Speaker 1: So that's another distinctive memory from my childhood. What was

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00:17:56,280 --> 00:17:58,439
Speaker 1: your first musical memory in life?

329
00:17:58,960 --> 00:17:59,639
Speaker 6: The Beatles.

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00:18:00,280 --> 00:18:02,760
Speaker 17: I was two years old, and it's the first not

331
00:18:02,840 --> 00:18:09,280
Speaker 17: only musical memory, it's my first memory. I would imagine

332
00:18:09,359 --> 00:18:13,159
Speaker 17: the thought. I almost vaguely think I remember a picture

333
00:18:13,160 --> 00:18:16,640
Speaker 17: of my father being banished from my life my biological father.

334
00:18:17,320 --> 00:18:18,960
Speaker 17: But obviously I would have suppressed that if it was

335
00:18:18,960 --> 00:18:22,520
Speaker 17: a negative emotion. But at the age of two, I remember.

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00:18:22,880 --> 00:18:26,800
Speaker 8: She loves you, yeah, yeah, and oh you.

337
00:18:28,720 --> 00:18:29,560
Speaker 6: No no no, no no.

338
00:18:29,760 --> 00:18:31,800
Speaker 17: If you don't understand, I want to hold your hand,

339
00:18:31,840 --> 00:18:35,520
Speaker 17: and she loves you. That that is the earliest memory

340
00:18:35,560 --> 00:18:37,840
Speaker 17: I have. And I just think it's so awesome that

341
00:18:38,160 --> 00:18:42,000
Speaker 17: it was a musical memory as well, because nothing you

342
00:18:42,040 --> 00:18:44,439
Speaker 17: know that that was the music that woke up my

343
00:18:44,520 --> 00:18:47,080
Speaker 17: consciousness to the fact that I was existing in that life.

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Speaker 14: So that was my first memory.

345
00:18:50,440 --> 00:18:54,800
Speaker 17: I also remember seeing Breakfast at Tiffany's on television when

346
00:18:54,840 --> 00:18:58,640
Speaker 17: it came on in nineteen sixty four, I think also too,

347
00:18:59,240 --> 00:19:04,000
Speaker 17: or somewhere around thereabouts. And I remember my mother buying

348
00:19:04,040 --> 00:19:08,040
Speaker 17: me some Batman cards because that was my first hero

349
00:19:08,280 --> 00:19:11,600
Speaker 17: was Batman. So those memories around the same time. They

350
00:19:11,640 --> 00:19:13,440
Speaker 17: were all the East Ards New Jersey memories.

351
00:19:15,040 --> 00:19:20,440
Speaker 1: And that was the great Sanata Matreya from our twenty

352
00:19:20,480 --> 00:19:22,879
Speaker 1: twenty four to one on one interview, and this is

353
00:19:22,960 --> 00:19:26,440
Speaker 1: John oots back in twenty twenty two with a really

354
00:19:26,520 --> 00:19:29,840
Speaker 1: touching memory of my father's music. Hope you enjoy it.

355
00:19:31,280 --> 00:19:33,560
Speaker 9: Do you know your first musical memory was.

356
00:19:33,920 --> 00:19:35,919
Speaker 6: I sure do. I absolutely do.

357
00:19:37,280 --> 00:19:40,560
Speaker 18: Right after we moved to Pennsylvania, there was a place

358
00:19:40,680 --> 00:19:44,160
Speaker 18: not too far away called Willa Grove Amusement Park. Okay,

359
00:19:44,200 --> 00:19:47,400
Speaker 18: and now it was an airbase as well, but anyway,

360
00:19:48,000 --> 00:19:50,280
Speaker 18: at the time it was an amusement park and my

361
00:19:50,640 --> 00:19:54,400
Speaker 18: folks took me there and Bill Haley and the Comments

362
00:19:54,480 --> 00:19:57,840
Speaker 18: were playing in the band show. And I don't know

363
00:19:57,840 --> 00:20:00,800
Speaker 18: if you remember, but Bill Haley was from Camden, of course,

364
00:20:01,200 --> 00:20:05,640
Speaker 18: and so I was like I was probably four maybe,

365
00:20:05,920 --> 00:20:07,879
Speaker 18: and of course, you know, I had had this musical

366
00:20:07,920 --> 00:20:09,760
Speaker 18: sensibility at the time, even though though I was a

367
00:20:09,760 --> 00:20:10,280
Speaker 18: little kid.

368
00:20:10,640 --> 00:20:12,600
Speaker 6: And I remember running down to the stage.

369
00:20:12,680 --> 00:20:15,040
Speaker 18: It was the band show, so the stage was only

370
00:20:15,119 --> 00:20:18,360
Speaker 18: maybe two feet high, and I remember being this little

371
00:20:18,440 --> 00:20:20,320
Speaker 18: kid and I ran right down to the band shell.

372
00:20:20,760 --> 00:20:21,520
Speaker 6: And I remember the.

373
00:20:22,119 --> 00:20:25,480
Speaker 18: Bass player, the upright bass player. At one point in

374
00:20:25,480 --> 00:20:28,320
Speaker 18: the show, he rode his bass like a horse, and

375
00:20:29,200 --> 00:20:31,879
Speaker 18: I thought that was the most amazing things I'd ever seen.

376
00:20:32,240 --> 00:20:34,320
Speaker 18: And that actually the first live music I ever heard

377
00:20:34,440 --> 00:20:35,440
Speaker 18: was Rock around the Clock.

378
00:20:35,520 --> 00:20:37,960
Speaker 6: And and uh, you know Bill Haley in the.

379
00:20:37,880 --> 00:20:43,480
Speaker 5: Comets really, so they were just performing at the.

380
00:20:42,680 --> 00:20:45,160
Speaker 6: They were in the they were performing at the Amusement Park.

381
00:20:45,240 --> 00:20:49,000
Speaker 5: Yeah, I was going to say, I think I believe

382
00:20:49,240 --> 00:20:54,080
Speaker 5: that I too saw a latter day Bill Haley Beforemat.

383
00:20:54,840 --> 00:20:56,800
Speaker 9: Then we used to we we had something called the

384
00:20:56,840 --> 00:20:57,480
Speaker 9: Steel Pier.

385
00:20:57,880 --> 00:20:59,800
Speaker 6: Oh yeah, I played at the Steel Pier.

386
00:21:00,480 --> 00:21:02,720
Speaker 9: Yeah, still here in a Lank City. It was in

387
00:21:02,840 --> 00:21:04,439
Speaker 9: Lank City, right or wild Wood Yep.

388
00:21:04,280 --> 00:21:05,399
Speaker 6: No, it was in Atlantic City.

389
00:21:05,480 --> 00:21:08,680
Speaker 18: And when I was a really little kid, around five

390
00:21:08,760 --> 00:21:12,160
Speaker 18: or six, I sang at something called Tony Grant Stars

391
00:21:12,200 --> 00:21:14,720
Speaker 18: of Tomorrow, which was a kitty.

392
00:21:15,920 --> 00:21:17,600
Speaker 6: Talent show at the Steel Pier.

393
00:21:18,480 --> 00:21:21,200
Speaker 9: In my dating myself, I had mentioned the word Al Alberts.

394
00:21:21,240 --> 00:21:23,800
Speaker 5: Where you do you remember the Al albert show case

395
00:21:23,800 --> 00:21:24,120
Speaker 5: at all?

396
00:21:24,320 --> 00:21:25,239
Speaker 6: Yeah? Yeah, it was.

397
00:21:25,320 --> 00:21:27,040
Speaker 18: It was around that time, and there was a guy

398
00:21:27,119 --> 00:21:30,679
Speaker 18: and it was actually before Dick Clark took over Bandstand

399
00:21:31,200 --> 00:21:34,159
Speaker 18: and it was what was his name? There was a

400
00:21:34,160 --> 00:21:36,840
Speaker 18: different host before Dick Clark, but it was during that

401
00:21:36,880 --> 00:21:37,520
Speaker 18: period of time.

402
00:21:37,520 --> 00:21:38,960
Speaker 6: It was in the mid fifties.

403
00:21:39,640 --> 00:21:42,119
Speaker 5: And uh so you you were there for like the

404
00:21:42,840 --> 00:21:44,440
Speaker 5: do Op era of Philadelphia.

405
00:21:45,200 --> 00:21:48,600
Speaker 18: Yeah, du Op and Jerry Blavitt and all that stuff.

406
00:21:48,680 --> 00:21:50,480
Speaker 18: Jerry Blavitt was a big hero of mine.

407
00:21:50,520 --> 00:21:51,399
Speaker 6: Yeah, how was.

408
00:21:51,440 --> 00:21:54,600
Speaker 18: That the radio show that he used to do from

409
00:21:55,080 --> 00:21:57,200
Speaker 18: I think it was from Trenton where he'd play all

410
00:21:57,240 --> 00:22:00,879
Speaker 18: B sides and man, I heard, you know songs like

411
00:22:01,040 --> 00:22:05,800
Speaker 18: Viola by the Versatones and you know and Guided Missiles

412
00:22:06,040 --> 00:22:08,640
Speaker 18: and you know these songs that were just unbelievable.

413
00:22:08,880 --> 00:22:10,080
Speaker 6: And you know your.

414
00:22:09,920 --> 00:22:12,120
Speaker 18: Your your father man Lee Andrews and the Hearts. Man,

415
00:22:12,480 --> 00:22:16,560
Speaker 18: I mean, you know, tick tick ticking of the clock.

416
00:22:16,640 --> 00:22:18,000
Speaker 6: He got a.

417
00:22:22,280 --> 00:22:26,000
Speaker 1: Can you tell me what your first musical memory was?

418
00:22:27,600 --> 00:22:28,000
Speaker 6: Oh?

419
00:22:28,080 --> 00:22:33,240
Speaker 19: Man, first musical memory. My grandmother had like one of

420
00:22:33,320 --> 00:22:36,919
Speaker 19: those big consoles that has like the eight track player

421
00:22:37,480 --> 00:22:40,320
Speaker 19: and the record player and the speakers built in. And

422
00:22:40,359 --> 00:22:45,040
Speaker 19: I remember being really young, maybe four, and messing around

423
00:22:45,080 --> 00:22:49,919
Speaker 19: with all the vinyl yes and pulling out some of

424
00:22:49,960 --> 00:22:52,159
Speaker 19: the albums and had them all on the floor, and

425
00:22:52,200 --> 00:22:53,840
Speaker 19: my Grandma's like what you're doing, you know, like don't

426
00:22:53,880 --> 00:22:56,280
Speaker 19: break them and all this, and I remember her putting

427
00:22:56,280 --> 00:23:01,320
Speaker 19: on the Thriller album. I remember here. I remember hearing

428
00:23:01,320 --> 00:23:04,040
Speaker 19: the speakers because it's like a tube system, remember them

429
00:23:04,040 --> 00:23:07,439
Speaker 19: warm up, and then I could hear, you know, songs

430
00:23:07,480 --> 00:23:10,679
Speaker 19: of Thriller coming out of the speakers and being like,

431
00:23:10,760 --> 00:23:14,520
Speaker 19: what the hell is this, you know, kind of kind

432
00:23:14,520 --> 00:23:16,760
Speaker 19: of amazed in the name of by the whole thing,

433
00:23:16,960 --> 00:23:19,159
Speaker 19: not just the music, but just all of it. You know,

434
00:23:19,840 --> 00:23:21,679
Speaker 19: the warmth of it coming on?

435
00:23:23,000 --> 00:23:27,560
Speaker 1: Was that your kind of I don't mean come to

436
00:23:27,640 --> 00:23:31,240
Speaker 1: Jesus moment, but for you, was that like the moment

437
00:23:31,240 --> 00:23:36,040
Speaker 1: where it's like, Okay, well I want to also express

438
00:23:36,119 --> 00:23:38,440
Speaker 1: myself in this way through music or.

439
00:23:39,880 --> 00:23:40,120
Speaker 20: Nah.

440
00:23:40,440 --> 00:23:42,800
Speaker 19: So no, not really, I mean I had that kind

441
00:23:42,800 --> 00:23:46,159
Speaker 19: of moment when I was eleven. I I was in

442
00:23:46,200 --> 00:23:49,560
Speaker 19: middle school and in my school, I don't know what

443
00:23:49,640 --> 00:23:53,080
Speaker 19: if a grade eleven is fifth or sixth grade, and

444
00:23:54,560 --> 00:23:57,000
Speaker 19: there was a band from our school that had rented

445
00:23:57,000 --> 00:23:59,399
Speaker 19: out our gym and they were gonna put on a show.

446
00:24:00,000 --> 00:24:01,960
Speaker 19: And I remember all throughout the day everybody was asking,

447
00:24:01,960 --> 00:24:03,199
Speaker 19: are you gonna go to the show? You're gonna go

448
00:24:03,240 --> 00:24:04,840
Speaker 19: to the show? I was like, I don't know, I'll

449
00:24:04,840 --> 00:24:06,679
Speaker 19: see if I can get there. And so I get

450
00:24:06,720 --> 00:24:08,359
Speaker 19: to the gym and I'm by myself, and I remember

451
00:24:08,359 --> 00:24:10,439
Speaker 19: being like super anxious because I don't really know anybody

452
00:24:10,520 --> 00:24:13,920
Speaker 19: at well, and the band plays and a musing them

453
00:24:13,920 --> 00:24:15,760
Speaker 19: play on stage and kids I went to school with.

454
00:24:16,480 --> 00:24:19,240
Speaker 19: It was like I didn't know these kids could do this.

455
00:24:20,000 --> 00:24:22,160
Speaker 19: There were so talented. Look at the effects that having

456
00:24:22,200 --> 00:24:24,879
Speaker 19: on people. It was songs that I liked and I knew,

457
00:24:24,920 --> 00:24:27,040
Speaker 19: and it was like the coolest thing I had ever seen.

458
00:24:27,119 --> 00:24:29,840
Speaker 19: And it was in that moment standing in the gym

459
00:24:30,200 --> 00:24:32,200
Speaker 19: that I knew I wanted to be in a band,

460
00:24:32,359 --> 00:24:34,320
Speaker 19: and I wanted to make my own music and I

461
00:24:34,320 --> 00:24:35,840
Speaker 19: wanted to be up there like they were. Like, I

462
00:24:35,920 --> 00:24:37,800
Speaker 19: think that was the come to Jesus moment for me.

463
00:24:39,160 --> 00:24:46,240
Speaker 5: Okay, how long before you found other people that sort

464
00:24:46,280 --> 00:24:50,119
Speaker 5: of had a common love for music? Like was music

465
00:24:50,240 --> 00:24:53,399
Speaker 5: something that you kept close to the chest? Or like

466
00:24:53,440 --> 00:24:55,840
Speaker 5: how big was the music community down there?

467
00:24:56,920 --> 00:25:00,879
Speaker 19: It was? It was so small. I had to teach

468
00:25:00,920 --> 00:25:03,080
Speaker 19: people how to play music to be in a band.

469
00:25:03,680 --> 00:25:03,960
Speaker 14: Wow.

470
00:25:04,040 --> 00:25:06,760
Speaker 19: So I would go teach myself the instruments, and then

471
00:25:06,800 --> 00:25:08,439
Speaker 19: I would go back to school and I would just

472
00:25:08,480 --> 00:25:10,440
Speaker 19: try to find a kid with some sort of musical

473
00:25:10,480 --> 00:25:13,159
Speaker 19: talent like rhythm, and I'd be like, Okay, hey, do

474
00:25:13,160 --> 00:25:14,800
Speaker 19: you want to learn how to play bass guitar? Like

475
00:25:14,840 --> 00:25:16,480
Speaker 19: do you want learn how to play drums? And I

476
00:25:16,480 --> 00:25:19,480
Speaker 19: would tutor them and see if that get to appointment

477
00:25:19,560 --> 00:25:23,040
Speaker 19: where we could make music together. Some yes, but a

478
00:25:23,080 --> 00:25:25,480
Speaker 19: lot no, Like it just didn't happen. I was trying

479
00:25:25,480 --> 00:25:27,840
Speaker 19: to make it happen. And it wasn't until I was

480
00:25:27,880 --> 00:25:31,399
Speaker 19: probably like sixteen years old that I finally met some

481
00:25:31,520 --> 00:25:34,440
Speaker 19: kids who also were interested in making music. And that

482
00:25:35,200 --> 00:25:38,439
Speaker 19: was Zach Zach copple Bassis for Albama Shakes. And then

483
00:25:38,880 --> 00:25:41,760
Speaker 19: he's Fogg who became a guitar player, and it was them.

484
00:25:41,880 --> 00:25:43,760
Speaker 19: So this whole thing really started from my school.

485
00:25:45,400 --> 00:25:49,280
Speaker 1: Was guitar your very first instrument of choice? Or did

486
00:25:49,280 --> 00:25:50,760
Speaker 1: you play other instruments as well?

487
00:25:52,119 --> 00:25:56,080
Speaker 19: My first instrument, I guess technically is like piano, and

488
00:25:56,119 --> 00:26:04,880
Speaker 19: then drums, drummer, heart and then basically yeah, yeah, yeah,

489
00:26:04,920 --> 00:26:06,399
Speaker 19: a lot of my yeah, a lot of the drums

490
00:26:06,400 --> 00:26:09,480
Speaker 19: on my new record. I programmed those drums. I'm not

491
00:26:09,520 --> 00:26:11,760
Speaker 19: saying I could play them like that, but I can

492
00:26:11,840 --> 00:26:15,399
Speaker 19: hear it, you know. And uh yeah. Then I learned bass,

493
00:26:15,400 --> 00:26:17,639
Speaker 19: and then I only learned guitar because I had to.

494
00:26:18,200 --> 00:26:21,520
Speaker 19: I didn't really want to play guitar really, no, I

495
00:26:21,520 --> 00:26:22,919
Speaker 19: want to be in the rhythm section. I just one

496
00:26:23,000 --> 00:26:23,879
Speaker 19: I want to play bass.

497
00:26:24,840 --> 00:26:25,880
Speaker 14: What is the gap though?

498
00:26:25,880 --> 00:26:26,080
Speaker 9: Wait?

499
00:26:26,160 --> 00:26:28,760
Speaker 21: The gap in between you knowing you wanted to do

500
00:26:28,840 --> 00:26:32,080
Speaker 21: this and you teaching folks that the music.

501
00:26:31,920 --> 00:26:33,160
Speaker 2: Like, how are you learning.

502
00:26:33,240 --> 00:26:37,000
Speaker 14: You never kind of said that yet, Well you just yeah.

503
00:26:37,080 --> 00:26:40,159
Speaker 19: So at firstly I didn't have those instruments like drums.

504
00:26:40,200 --> 00:26:43,840
Speaker 19: I could have access to drums because there were a

505
00:26:43,880 --> 00:26:45,680
Speaker 19: set of drums at our school, so I could go

506
00:26:45,720 --> 00:26:48,879
Speaker 19: play those drums after school. When it came to bass guitar,

507
00:26:49,320 --> 00:26:51,200
Speaker 19: I would just borrow one from one of the rich kids,

508
00:26:51,200 --> 00:26:52,800
Speaker 19: because like, I don't know what it was about school, Well,

509
00:26:52,840 --> 00:26:56,520
Speaker 19: all the rich kids had a bass guitar. Let me

510
00:26:56,560 --> 00:26:58,199
Speaker 19: borrow it, you know, and they let me borrow it.

511
00:26:58,240 --> 00:27:00,840
Speaker 19: And so I taught myself how to do that. And

512
00:27:00,920 --> 00:27:05,879
Speaker 19: the guitar my my sister had a guitar like tucked

513
00:27:05,880 --> 00:27:08,120
Speaker 19: away back in the closets, like one of those jcpenny

514
00:27:08,119 --> 00:27:10,720
Speaker 19: guitars that looks like a Less Paul and it's like

515
00:27:11,000 --> 00:27:13,240
Speaker 19: it's like one hundred and fifty pounds. And that's what

516
00:27:13,320 --> 00:27:16,840
Speaker 19: I learned on was that guitar. So I was teaching myself.

517
00:27:17,200 --> 00:27:18,080
Speaker 14: How long did it take?

518
00:27:19,000 --> 00:27:23,480
Speaker 19: I mean, I haven't mastered any of those instruments, right,

519
00:27:23,520 --> 00:27:27,160
Speaker 19: that's what we're doing, okay, no, no, no, no no no. Honestly,

520
00:27:27,320 --> 00:27:29,159
Speaker 19: I was just learning as I went. So if I

521
00:27:29,160 --> 00:27:31,879
Speaker 19: picked something up, I would make something with it. I

522
00:27:31,880 --> 00:27:34,520
Speaker 19: would just learn as I went. So from from the

523
00:27:34,600 --> 00:27:36,240
Speaker 19: very beginning, I wanted to make my own music. That

524
00:27:36,359 --> 00:27:38,119
Speaker 19: was like the whole goal, that was like the whole purpose.

525
00:27:38,720 --> 00:27:42,040
Speaker 19: But when I was originally learning, I had to learn

526
00:27:42,119 --> 00:27:43,040
Speaker 19: other people's songs.

527
00:27:43,320 --> 00:27:43,800
Speaker 6: So I just.

528
00:27:43,720 --> 00:27:46,720
Speaker 19: Started with stuff that was easy, like like blink on

529
00:27:46,800 --> 00:27:48,919
Speaker 19: a two, and I was like, kind of things like

530
00:27:48,960 --> 00:27:51,160
Speaker 19: that that are pretty easy power chord stuff, you know.

531
00:27:51,840 --> 00:27:53,840
Speaker 1: So I'm going to ask you, am I the only

532
00:27:53,840 --> 00:27:54,760
Speaker 1: one that goes through this?

533
00:27:55,400 --> 00:27:58,720
Speaker 5: Like sometimes when we'll ask people about their childhood, you're

534
00:27:58,760 --> 00:28:02,040
Speaker 5: thinking about your childhood, you but then you realize that

535
00:28:02,119 --> 00:28:05,800
Speaker 5: their childhood is actually your adulthood, like.

536
00:28:08,640 --> 00:28:11,840
Speaker 1: Childhood, and I'm like, wait a minute. I was thirty

537
00:28:11,840 --> 00:28:15,440
Speaker 1: three years old when that came out, like pretty.

538
00:28:15,600 --> 00:28:17,160
Speaker 2: Don't do the math, don't do the math.

539
00:28:17,359 --> 00:28:17,879
Speaker 14: Don't do it.

540
00:28:17,920 --> 00:28:18,440
Speaker 6: Don't do it.

541
00:28:18,440 --> 00:28:18,840
Speaker 9: It hurts.

542
00:28:18,920 --> 00:28:20,520
Speaker 14: I give my feelings hurt.

543
00:28:20,800 --> 00:28:24,240
Speaker 1: I guess when we first played together was at the

544
00:28:24,320 --> 00:28:28,240
Speaker 1: Rock and Roll Hall of Fame in Cleveland and we

545
00:28:28,240 --> 00:28:33,240
Speaker 1: were doing a tribute for Big Mama Thornton. In your childhood,

546
00:28:33,480 --> 00:28:36,359
Speaker 1: was there did anyone ever put you onto her? Or

547
00:28:36,480 --> 00:28:38,400
Speaker 1: was it like later in life when you discovered her

548
00:28:38,720 --> 00:28:42,760
Speaker 1: I'm for a so called music historian. I you know,

549
00:28:42,840 --> 00:28:46,000
Speaker 1: I admit, and I'm ashamed of it that I was

550
00:28:46,000 --> 00:28:48,760
Speaker 1: probably in my mid forties before someone explained to me

551
00:28:48,800 --> 00:28:52,320
Speaker 1: who Big Mama Thornton was, even though like I've heard

552
00:28:52,360 --> 00:28:54,640
Speaker 1: hound Dog and all that stuff all my life, but.

553
00:28:55,400 --> 00:28:57,400
Speaker 19: I remember doing his sister though.

554
00:28:57,680 --> 00:29:00,000
Speaker 2: Oh my god, I talk about it.

555
00:29:01,680 --> 00:29:04,560
Speaker 1: You know what you want to edit that? Yes? Yeah,

556
00:29:04,560 --> 00:29:08,120
Speaker 1: and quest Love makes mistakes. Yes, I had a brain fart.

557
00:29:08,280 --> 00:29:12,720
Speaker 1: I'm sorry he was a historian quest Love things.

558
00:29:12,840 --> 00:29:16,560
Speaker 5: I'm sorry. I meant sisters at a thought. Yeah, were

559
00:29:16,560 --> 00:29:19,120
Speaker 5: you at all familiar with her in your childhood or

560
00:29:20,080 --> 00:29:21,440
Speaker 5: did that come to you later in life?

561
00:29:22,280 --> 00:29:25,120
Speaker 19: It definitely came to me later in life, maybe mid twenties.

562
00:29:25,200 --> 00:29:29,600
Speaker 19: Mid twenties is when I started getting curious about these

563
00:29:30,120 --> 00:29:34,400
Speaker 19: women blues players, right, And then I had started hearing about, well,

564
00:29:34,440 --> 00:29:37,000
Speaker 19: there's this woman that kind of inspired Chuck Berry and

565
00:29:37,320 --> 00:29:40,560
Speaker 19: inspired of us Presley and had the electric guitar. And

566
00:29:41,560 --> 00:29:43,520
Speaker 19: someone told me about it because I played an SG

567
00:29:44,200 --> 00:29:45,960
Speaker 19: and they're like, oh this like sister was at a tharpe.

568
00:29:46,000 --> 00:29:47,000
Speaker 6: She also put a SG.

569
00:29:47,080 --> 00:29:50,320
Speaker 19: She put an SG custom in white, and I was like, oh,

570
00:29:50,400 --> 00:29:52,480
Speaker 19: I've never heard of her, so I started looking into

571
00:29:52,480 --> 00:29:54,840
Speaker 19: her stuff and I was like, the stuff she's actually

572
00:29:54,840 --> 00:29:59,760
Speaker 19: playing on the guitar is so unique. It's it's her

573
00:30:00,240 --> 00:30:03,080
Speaker 19: on that guitar. Nobody else is doing it. It's crazy.

574
00:30:03,120 --> 00:30:05,960
Speaker 19: It's actually hard, it's hard to play how she's playing.

575
00:30:06,440 --> 00:30:09,120
Speaker 19: And so that's when I kind of started diving into

576
00:30:09,120 --> 00:30:11,000
Speaker 19: her stuff and in her story, which her story is

577
00:30:11,000 --> 00:30:12,000
Speaker 19: really interesting as well.

578
00:30:13,320 --> 00:30:16,960
Speaker 1: And that was Brittany Howard. And here's Ellie Reid from

579
00:30:17,040 --> 00:30:19,920
Speaker 1: part one of our epic three parter.

580
00:30:21,360 --> 00:30:21,520
Speaker 8: La.

581
00:30:21,680 --> 00:30:27,800
Speaker 1: What was your very first musical memory, first musical memory ever,

582
00:30:28,200 --> 00:30:32,800
Speaker 1: like ever your first thought of music? What? Like, what's

583
00:30:32,920 --> 00:30:33,400
Speaker 1: it might be?

584
00:30:33,600 --> 00:30:35,800
Speaker 5: It might be a little hazy, but I think that

585
00:30:35,880 --> 00:30:42,040
Speaker 5: it was growing up Cincinnati, Ohio in the kitchen, small kitchen,

586
00:30:43,320 --> 00:30:48,000
Speaker 5: transistor radio in the window, and I think it was

587
00:30:48,120 --> 00:30:52,720
Speaker 5: It's my party and I cry if I want to. Yes,

588
00:30:53,040 --> 00:30:55,160
Speaker 5: I think it was that because for some reason I

589
00:30:55,200 --> 00:30:58,720
Speaker 5: remember that name, Quincy Jones. Don't know why, but like

590
00:30:58,800 --> 00:31:01,720
Speaker 5: I knew that name as a baby and it never left,

591
00:31:01,800 --> 00:31:04,880
Speaker 5: you know. I think it was that or it was

592
00:31:04,920 --> 00:31:08,360
Speaker 5: something from Motown, right, like one of those dancing in

593
00:31:08,400 --> 00:31:09,000
Speaker 5: the streets.

594
00:31:09,000 --> 00:31:12,320
Speaker 9: So I can't exactly I was very young.

595
00:31:12,400 --> 00:31:16,080
Speaker 5: But the one that the one that got me though,

596
00:31:16,160 --> 00:31:19,440
Speaker 5: the one that, like the life changing moment, was when

597
00:31:19,480 --> 00:31:23,160
Speaker 5: I heard give the drummer some and and cold sweat

598
00:31:23,240 --> 00:31:27,920
Speaker 5: James Brown. That moment, like that was that the world stopped.

599
00:31:28,160 --> 00:31:33,560
Speaker 5: So speaking of Cincinnati. Oh, by the way, uh, in

600
00:31:33,600 --> 00:31:36,080
Speaker 5: case our listeners don't know, not many people know that

601
00:31:36,200 --> 00:31:39,680
Speaker 5: Quincy Jones produced Leslie Gore's It's My Party. That's his

602
00:31:39,840 --> 00:31:44,240
Speaker 5: very first, very first hits as a as a pop producer.

603
00:31:44,920 --> 00:31:48,400
Speaker 1: I was going to say that I noticed, at least

604
00:31:48,400 --> 00:31:53,560
Speaker 1: from what Bootsie told me and just from observing that

605
00:31:54,640 --> 00:32:00,440
Speaker 1: anyone who's in proximity of King Records and their whole

606
00:32:00,480 --> 00:32:05,719
Speaker 1: operation had their life changed, either as someone that works

607
00:32:05,800 --> 00:32:08,960
Speaker 1: inside of King Records or the studio or the factory,

608
00:32:09,120 --> 00:32:12,880
Speaker 1: or someone like Boucie Collins did hung in the alleyway

609
00:32:12,880 --> 00:32:15,440
Speaker 1: and just hoped maybe one day we'll get used or

610
00:32:15,480 --> 00:32:16,160
Speaker 1: something like that.

611
00:32:16,640 --> 00:32:16,920
Speaker 14: Yep.

612
00:32:17,160 --> 00:32:21,080
Speaker 1: But because there's a five year of five to ten year.

613
00:32:20,920 --> 00:32:27,160
Speaker 5: Age discrepancy of you and Boucie's generation, right, how did

614
00:32:27,280 --> 00:32:31,360
Speaker 5: the James Brown Ohio effect? And Plus this also explains

615
00:32:31,400 --> 00:32:35,240
Speaker 5: why Ohio is the funk capital of the United States

616
00:32:35,280 --> 00:32:40,120
Speaker 5: because I mean basically, King Records moved their operations to Cincinnati,

617
00:32:40,840 --> 00:32:45,200
Speaker 5: and basically at a time period in which the ripple

618
00:32:45,240 --> 00:32:48,240
Speaker 5: effects started happening even in other cities like Funk just

619
00:32:48,280 --> 00:32:53,880
Speaker 5: spread throughout Dayton, Columbus, Cleveland, been all over. So just

620
00:32:54,040 --> 00:32:57,880
Speaker 5: as a ten year old, were you aware of James

621
00:32:57,960 --> 00:33:02,880
Speaker 5: Brown's presence in the city. I feel like I didn't

622
00:33:03,040 --> 00:33:06,320
Speaker 5: know it officially, but I felt the presence. Like the

623
00:33:06,360 --> 00:33:09,280
Speaker 5: first Contenter ever went to was a James Brown concert

624
00:33:09,560 --> 00:33:13,320
Speaker 5: at the Cincinnati Convention Center, and I hung outside and

625
00:33:13,360 --> 00:33:17,040
Speaker 5: I met Maceio Parker, and that that was a big

626
00:33:17,080 --> 00:33:20,360
Speaker 5: deal for me, like literally walking down the street outside

627
00:33:20,480 --> 00:33:25,440
Speaker 5: the convention Center. And also King Records was like a

628
00:33:25,480 --> 00:33:29,120
Speaker 5: few doors down from like my karate school as a kid, Right,

629
00:33:29,200 --> 00:33:32,480
Speaker 5: So I would go to karate school, but when I

630
00:33:32,480 --> 00:33:35,920
Speaker 5: wait on the bus, right take the bus home afterwards,

631
00:33:35,960 --> 00:33:39,160
Speaker 5: and I knew that that was King Records. So I

632
00:33:39,240 --> 00:33:41,840
Speaker 5: never saw a soul, but I would just stare at it.

633
00:33:42,480 --> 00:33:45,880
Speaker 5: I felt drawn to it. But then as I got

634
00:33:46,000 --> 00:33:50,880
Speaker 5: like slightly older, all the musicians in Cincinnati were all

635
00:33:50,920 --> 00:33:56,000
Speaker 5: so impacted by Bootsy and James Brown, but more Bootsy

636
00:33:56,280 --> 00:33:59,600
Speaker 5: to be honest, right, James was like the godfather of soul.

637
00:34:00,120 --> 00:34:05,160
Speaker 5: Bootsy was our local superstar. So everything that Bootsy did,

638
00:34:05,200 --> 00:34:08,520
Speaker 5: we all, you know, aspire to do. Bootsy holds his

639
00:34:08,560 --> 00:34:11,160
Speaker 5: base this way, so you hold your base like Bootsy. Right,

640
00:34:11,480 --> 00:34:13,680
Speaker 5: Bootsy wears these kind of shoes, so he has these.

641
00:34:13,920 --> 00:34:17,440
Speaker 5: Everything was about whatever Boots he did was the magic.

642
00:34:17,600 --> 00:34:21,240
Speaker 5: You know, he was like a god to us. James

643
00:34:21,280 --> 00:34:25,239
Speaker 5: Brown needed Booty more than Boots. He needed James even

644
00:34:25,280 --> 00:34:30,319
Speaker 5: though Boosy needed that guidance, right, Yeah, James Brown needed

645
00:34:30,320 --> 00:34:34,799
Speaker 5: that validation of you know, the next generation respecting him.

646
00:34:35,480 --> 00:34:37,440
Speaker 9: And what was the first song, super bad.

647
00:34:38,320 --> 00:34:42,239
Speaker 5: Very first song sex Machine? Sex Machine was bootsy very

648
00:34:42,239 --> 00:34:44,600
Speaker 5: first one. Yeah, okay, you got it.

649
00:34:44,640 --> 00:34:47,480
Speaker 1: There's there's an amazing all right, So they did that

650
00:34:47,560 --> 00:34:51,080
Speaker 1: song in two takes, and there's a there's a really amazing,

651
00:34:52,400 --> 00:34:55,480
Speaker 1: rare dialogue for James. Like if you listen to James's

652
00:34:55,480 --> 00:35:00,239
Speaker 1: out takes, normally it's sarcasm or I mean not like

653
00:35:00,320 --> 00:35:02,760
Speaker 1: mean spirited, but like if they mess up or whatever,

654
00:35:04,000 --> 00:35:07,520
Speaker 1: you'll you'll hear him like chastise the engineer or something

655
00:35:07,560 --> 00:35:11,759
Speaker 1: like that. But when they do the second take of

656
00:35:11,920 --> 00:35:14,960
Speaker 1: sex Machine, there's like a forty five minute conversation of

657
00:35:15,040 --> 00:35:17,600
Speaker 1: James just like you hear him walking in the studio

658
00:35:18,160 --> 00:35:22,000
Speaker 1: and tell them like like being encouraging almost like which

659
00:35:22,040 --> 00:35:25,600
Speaker 1: is rare for James Brown. But he's like obviously knows

660
00:35:25,640 --> 00:35:29,080
Speaker 1: like these these six seventeen eighteen year old kids are

661
00:35:29,120 --> 00:35:31,840
Speaker 1: really really scared right now, and he's just oh, no,

662
00:35:32,000 --> 00:35:34,719
Speaker 1: you got it, man, Like you can do it, like,

663
00:35:34,800 --> 00:35:38,279
Speaker 1: which is wow, compared to the rest of what James does,

664
00:35:38,440 --> 00:35:41,880
Speaker 1: like on the other takes or whatnot, Like it's almost

665
00:35:41,960 --> 00:35:45,320
Speaker 1: like he knew that he was dealing with children, you

666
00:35:45,400 --> 00:35:45,840
Speaker 1: know what, I'm.

667
00:35:45,760 --> 00:35:56,560
Speaker 5: Right, So, yeah, some sensitivity and he's yeah, that's great.

668
00:35:57,320 --> 00:35:57,680
Speaker 14: All right.

669
00:35:57,760 --> 00:36:03,080
Speaker 1: Here is a DJ Premiere Premiere fun fact about Premiere

670
00:36:03,840 --> 00:36:07,120
Speaker 1: secret comedian. See that was Premier playing piano right now.

671
00:36:07,719 --> 00:36:11,880
Speaker 1: So to be fair, when this episode aired in twenty seventeen,

672
00:36:12,080 --> 00:36:14,600
Speaker 1: I didn't ask the question. We were just in the

673
00:36:14,600 --> 00:36:19,560
Speaker 1: studio talking and Premiere shared this. But it fits. You know,

674
00:36:19,880 --> 00:36:21,799
Speaker 1: whenever the two of us get to talking, we have

675
00:36:21,840 --> 00:36:24,280
Speaker 1: a lot to say. So Premiere.

676
00:36:26,160 --> 00:36:30,240
Speaker 21: For me, it was my mom is an art teacher

677
00:36:30,640 --> 00:36:33,680
Speaker 21: and she just had so many records in the house.

678
00:36:33,760 --> 00:36:35,840
Speaker 21: You know, the rules were, don't touch the top of

679
00:36:35,840 --> 00:36:38,279
Speaker 21: the record only all the edges or you get a.

680
00:36:39,239 --> 00:36:41,400
Speaker 14: Do we call it a whooping? Not a spank and

681
00:36:41,480 --> 00:36:41,960
Speaker 14: a whooping?

682
00:36:42,800 --> 00:36:45,439
Speaker 21: I touched the top because I just wanted to see

683
00:36:45,719 --> 00:36:46,600
Speaker 21: what is touch on the top?

684
00:36:46,680 --> 00:36:48,600
Speaker 14: Do she goes, you got your fingerprints on it? Your

685
00:36:48,640 --> 00:36:50,200
Speaker 14: dumb motherfucker's.

686
00:36:53,000 --> 00:36:53,080
Speaker 9: Like?

687
00:36:53,200 --> 00:36:55,640
Speaker 21: And then I mean I got plenty of whipons because

688
00:36:55,960 --> 00:36:59,640
Speaker 21: you know, I looked at records as a toy, because

689
00:36:59,680 --> 00:37:02,760
Speaker 21: the labels was what attracted me. The way they looked

690
00:37:02,840 --> 00:37:06,240
Speaker 21: when they spun. I was really attracted to the labels.

691
00:37:06,320 --> 00:37:08,760
Speaker 21: You know, It's like, wow, Motown, the way it looked

692
00:37:08,760 --> 00:37:11,080
Speaker 21: in Tamala, dark skinned Motown versus light.

693
00:37:13,680 --> 00:37:18,359
Speaker 14: Yeah. Oh, like the blue versus the yellow, and the.

694
00:37:17,840 --> 00:37:21,439
Speaker 1: Motel was the yellow in the brown. Harry Winner once

695
00:37:22,000 --> 00:37:26,640
Speaker 1: at Universal explained to me that because Motown used eighteen

696
00:37:26,800 --> 00:37:30,480
Speaker 1: different factories across the United States UH to print it,

697
00:37:30,960 --> 00:37:33,920
Speaker 1: like they didn't do their own pressing, it was never consistent.

698
00:37:34,120 --> 00:37:36,560
Speaker 1: So the ink would be consistent. So you would have

699
00:37:36,600 --> 00:37:40,400
Speaker 1: some Motown print that had a very dark queue to it,

700
00:37:41,239 --> 00:37:44,839
Speaker 1: and then you had a lighter Motown. But sometimes even

701
00:37:44,880 --> 00:37:50,480
Speaker 1: the Tamala would be a very dark label versus a

702
00:37:50,560 --> 00:37:54,840
Speaker 1: light one, like it would just Gordy. It would depend

703
00:37:54,920 --> 00:37:57,840
Speaker 1: on you know what pressing plant used.

704
00:37:58,280 --> 00:38:00,799
Speaker 21: Yeah, but the labels always fascinated me, just the way

705
00:38:00,800 --> 00:38:02,440
Speaker 21: and look when it's fun. And then on top of that,

706
00:38:02,800 --> 00:38:05,120
Speaker 21: you know you had semi even not semi auto. You know,

707
00:38:05,160 --> 00:38:07,719
Speaker 21: they went to semi automatics, but it little almost like

708
00:38:07,760 --> 00:38:11,560
Speaker 21: a gun. But they even fully automatic turntables, which at

709
00:38:11,600 --> 00:38:13,279
Speaker 21: that time my mother called it a record player, not

710
00:38:13,400 --> 00:38:17,440
Speaker 21: a turntable. So seeing her stack the spindle with the

711
00:38:17,960 --> 00:38:20,319
Speaker 21: that looks like a bottle rocket or whatever, and stack

712
00:38:20,440 --> 00:38:23,160
Speaker 21: that and then puts five forty fives on there and

713
00:38:23,239 --> 00:38:26,000
Speaker 21: let the arm hold it, and then the arm goes up,

714
00:38:26,120 --> 00:38:28,920
Speaker 21: touches it, goes back, the record drops in it. I'm like,

715
00:38:28,960 --> 00:38:31,360
Speaker 21: how does it know to land there?

716
00:38:31,600 --> 00:38:31,719
Speaker 4: Like?

717
00:38:32,320 --> 00:38:35,400
Speaker 14: You know, so I took her as apart, which got me.

718
00:38:36,560 --> 00:38:38,480
Speaker 21: That gets you because I wanted to see the mechanics

719
00:38:38,520 --> 00:38:40,600
Speaker 21: of what's making it do that and you know where

720
00:38:40,600 --> 00:38:40,960
Speaker 21: to land.

721
00:38:41,000 --> 00:38:42,160
Speaker 14: And then on top of it, when you put a.

722
00:38:43,680 --> 00:38:46,000
Speaker 21: Twelve, you know, an album, it knew to start at

723
00:38:46,040 --> 00:38:48,040
Speaker 21: the album where it's like, how's it no go here?

724
00:38:48,160 --> 00:38:49,840
Speaker 21: But on the forty five goes all the way insigne

725
00:38:49,840 --> 00:38:51,120
Speaker 21: and lands right on the tank.

726
00:38:51,239 --> 00:38:52,400
Speaker 14: I was in the juke boxes too.

727
00:38:52,400 --> 00:38:54,640
Speaker 21: I would just stay at the jukebox because almost any

728
00:38:54,680 --> 00:38:56,600
Speaker 21: restaurant back then had a juke box, and I would

729
00:38:56,600 --> 00:38:59,000
Speaker 21: just stare at and watch it shuffle the records, and

730
00:38:59,000 --> 00:39:02,919
Speaker 21: then you know, like that, that's why he's like happy Days.

731
00:39:03,640 --> 00:39:03,919
Speaker 14: I don't.

732
00:39:05,640 --> 00:39:09,400
Speaker 1: I do not feel would you? Would you rotate records

733
00:39:09,400 --> 00:39:11,319
Speaker 1: without even listening to it, just see what it looked

734
00:39:11,320 --> 00:39:16,040
Speaker 1: like spilling? Were you biased against labels that you didn't like?

735
00:39:17,000 --> 00:39:21,799
Speaker 1: Copy wise, even if I had good music, did you

736
00:39:21,920 --> 00:39:22,920
Speaker 1: judge it on the label?

737
00:39:23,840 --> 00:39:25,319
Speaker 14: Judge it on the label like I do now?

738
00:39:25,360 --> 00:39:28,680
Speaker 1: Like I never like Capital so it took me a

739
00:39:28,719 --> 00:39:30,439
Speaker 1: long time, like especially.

740
00:39:30,160 --> 00:39:34,440
Speaker 22: Old swimming purple or orange like Nat King cole Cat

741
00:39:34,560 --> 00:39:37,279
Speaker 22: black with a rainbow around. Yeah, that's why I never

742
00:39:37,360 --> 00:39:40,200
Speaker 22: touched my dad's Capitol record right, took me wrong to

743
00:39:40,200 --> 00:39:41,400
Speaker 22: get the Beatles.

744
00:39:40,960 --> 00:39:44,839
Speaker 1: And Beach Boys like Yeah, label who was the like

745
00:39:44,880 --> 00:39:47,759
Speaker 1: the one I used? Like scary labels used to scare me.

746
00:39:47,800 --> 00:39:50,839
Speaker 1: I never liked Buddha, yeah, with the little man at

747
00:39:50,840 --> 00:39:57,160
Speaker 1: the bottom, like Kurd Time Curtains. But here's the thing

748
00:39:58,200 --> 00:40:01,560
Speaker 1: you like Kurt Time. Yeah, I scared.

749
00:40:02,920 --> 00:40:04,719
Speaker 14: Literally face say that.

750
00:40:04,760 --> 00:40:09,040
Speaker 1: At the same I would never to listen to if

751
00:40:09,080 --> 00:40:11,760
Speaker 1: there's Hell below, we all gotta go. We're all gonna

752
00:40:11,800 --> 00:40:15,600
Speaker 1: go with all that psychedelic echo effect to it in

753
00:40:15,719 --> 00:40:18,879
Speaker 1: the dark. As a three year old watching that Kurt

754
00:40:18,880 --> 00:40:22,880
Speaker 1: Time label, Nah, but I'd be obsessed with it, like

755
00:40:23,360 --> 00:40:25,440
Speaker 1: make him put it on. Then I run upstairs and

756
00:40:25,480 --> 00:40:26,239
Speaker 1: hide on the cover.

757
00:40:27,360 --> 00:40:27,800
Speaker 14: I don't.

758
00:40:27,800 --> 00:40:29,960
Speaker 21: I hit under the covers when Jaws came out because

759
00:40:30,000 --> 00:40:31,920
Speaker 21: I thought the shot could come in, and I'm like,

760
00:40:32,239 --> 00:40:34,000
Speaker 21: and if you think about it, the shot can't swim

761
00:40:34,040 --> 00:40:36,920
Speaker 21: without water. But I just remember going to see Jaws

762
00:40:36,920 --> 00:40:38,799
Speaker 21: with my family and just.

763
00:40:38,760 --> 00:40:40,640
Speaker 14: That boom doom, doom, doom, doom, doom doom.

764
00:40:41,040 --> 00:40:44,480
Speaker 21: I was so scared of staying by myself, you know,

765
00:40:44,560 --> 00:40:46,759
Speaker 21: my my parents let us stay by myself at a

766
00:40:46,800 --> 00:40:49,120
Speaker 21: young age because it's just like that in the South,

767
00:40:49,160 --> 00:40:51,719
Speaker 21: you know, you know, you leave your door unlocked and

768
00:40:51,719 --> 00:40:56,760
Speaker 21: people just walk in, you know, like I'm from that, Like, hey,

769
00:40:57,200 --> 00:41:02,320
Speaker 21: your dad, oh it's not you know, unchained fively. I

770
00:41:02,400 --> 00:41:04,600
Speaker 21: learned that when I came to New York and my

771
00:41:05,080 --> 00:41:07,080
Speaker 21: mom's from Baltimore. So even when we used to stay

772
00:41:07,080 --> 00:41:09,879
Speaker 21: at my grandmother's house, same thing. They had all these

773
00:41:10,239 --> 00:41:12,960
Speaker 21: like all these locks and You're just like, damn, you.

774
00:41:12,920 --> 00:41:14,239
Speaker 14: Know, what's the you know?

775
00:41:14,440 --> 00:41:16,759
Speaker 21: But then you see the corner store right outside the

776
00:41:17,160 --> 00:41:20,640
Speaker 21: house where everybody's fighting and screaming and breaking glass, and

777
00:41:20,640 --> 00:41:20,960
Speaker 21: I'm like.

778
00:41:22,239 --> 00:41:24,279
Speaker 14: I want to go back to Texas, you know.

779
00:41:24,360 --> 00:41:26,359
Speaker 21: And then you get to the teenage Agent where it's like, yo,

780
00:41:26,440 --> 00:41:27,840
Speaker 21: I love all this violence stuff.

781
00:41:28,920 --> 00:41:32,239
Speaker 14: And that's when the changes started. The change started to come.

782
00:41:32,560 --> 00:41:36,680
Speaker 1: Your father, your father, he was a professor at PRAI Review.

783
00:41:36,760 --> 00:41:40,640
Speaker 14: Yeah, yeah, and he was my dean. Imagine that. So

784
00:41:40,680 --> 00:41:44,000
Speaker 14: you went for free? No? Well, I mean yeah, he

785
00:41:44,040 --> 00:41:49,600
Speaker 14: paid for it. What was computer science? But none of

786
00:41:49,600 --> 00:41:53,960
Speaker 14: those languages exist, you know. I took for tran and basic.

787
00:41:54,400 --> 00:41:58,160
Speaker 1: Yeah no, no, no, you can't get your receipt back.

788
00:42:01,120 --> 00:42:05,360
Speaker 1: So wait, if the if the turntable was such a

789
00:42:05,480 --> 00:42:11,640
Speaker 1: sacred holy ground in your household? What happened the very

790
00:42:11,719 --> 00:42:14,920
Speaker 1: first time you ever heard the Adventures of Grandmaster Flash

791
00:42:15,000 --> 00:42:18,520
Speaker 1: on the Wheels is still? Did you hear it as

792
00:42:18,560 --> 00:42:21,520
Speaker 1: a youngster in Texas?

793
00:42:21,840 --> 00:42:22,640
Speaker 14: No? I was.

794
00:42:23,320 --> 00:42:24,920
Speaker 21: I was going back and forth. Yeah, but I was

795
00:42:24,960 --> 00:42:27,640
Speaker 21: going back and forth because my grandfather lived in Brooklyn.

796
00:42:27,640 --> 00:42:30,440
Speaker 21: That's how the first Brooklyn connection happened. Because he ustaill.

797
00:42:30,480 --> 00:42:33,920
Speaker 21: He lived in Brooklyn, so being staying with him, he

798
00:42:34,000 --> 00:42:35,839
Speaker 21: and I used to always go to I was really

799
00:42:35,840 --> 00:42:38,560
Speaker 21: in the in the pinball games heavy as a kid,

800
00:42:38,760 --> 00:42:41,000
Speaker 21: so he's always take me to Playland in tom Square

801
00:42:41,200 --> 00:42:43,040
Speaker 21: and then we always go to a Yankee game. So

802
00:42:43,200 --> 00:42:45,799
Speaker 21: I was so used to going to baseball games with him.

803
00:42:45,960 --> 00:42:47,680
Speaker 21: That's how I got into baseball. I played that played

804
00:42:47,719 --> 00:42:50,359
Speaker 21: when I was young, and that he's the one that

805
00:42:50,400 --> 00:42:52,160
Speaker 21: got me into that. And then he used to tour

806
00:42:52,680 --> 00:42:55,800
Speaker 21: with his band and he played trombone, trumpet, guitar and

807
00:42:56,120 --> 00:42:56,920
Speaker 21: upright bass.

808
00:42:57,200 --> 00:42:58,600
Speaker 14: So he used to always show me all.

809
00:42:58,480 --> 00:42:59,959
Speaker 21: The pictures like, yeah, this is when I was in German,

810
00:43:00,280 --> 00:43:01,879
Speaker 21: this is when I was here, just when I was there.

811
00:43:01,920 --> 00:43:04,640
Speaker 14: And I remember his wife, Rooney, God bless her.

812
00:43:04,640 --> 00:43:09,200
Speaker 21: She's always going, oh, Bill, there you go. He loves

813
00:43:09,200 --> 00:43:11,600
Speaker 21: to brag about all the places he's been. But for me,

814
00:43:11,680 --> 00:43:15,120
Speaker 21: it was like, wow, all this music took you all

815
00:43:15,160 --> 00:43:17,520
Speaker 21: these places, you know, So I wanted to do that

816
00:43:17,560 --> 00:43:18,040
Speaker 21: same thing.

817
00:43:18,080 --> 00:43:19,680
Speaker 14: See yeah, but so.

818
00:43:19,280 --> 00:43:21,759
Speaker 1: So it wasn't like you scratched on the home term

819
00:43:21,840 --> 00:43:23,399
Speaker 1: table and nah, not then.

820
00:43:23,440 --> 00:43:26,080
Speaker 21: But by the time scratching came out, I just was

821
00:43:26,239 --> 00:43:28,239
Speaker 21: wanted to figure out how they able to bring it

822
00:43:28,320 --> 00:43:32,080
Speaker 21: back like that. And then my homie who's still a

823
00:43:32,080 --> 00:43:33,120
Speaker 21: friend of mine, RP.

824
00:43:33,320 --> 00:43:33,640
Speaker 14: Coler.

825
00:43:33,680 --> 00:43:36,160
Speaker 21: His name is Randy Pettis. He went to my college.

826
00:43:36,239 --> 00:43:39,200
Speaker 21: So I didn't really understand the scratching aspect as far

827
00:43:39,200 --> 00:43:41,799
Speaker 21: as how they're making the record come back until like

828
00:43:41,880 --> 00:43:45,160
Speaker 21: nineteen eighty five, when when eighty four, I'm sorry, eighty

829
00:43:45,160 --> 00:43:47,839
Speaker 21: four when I was in college, cause I graduated high

830
00:43:47,840 --> 00:43:48,520
Speaker 21: school in eighty four.

831
00:43:48,600 --> 00:43:50,200
Speaker 14: My freshman year in college, I went.

832
00:43:50,280 --> 00:43:52,080
Speaker 21: I went to summer school just so I just wanted

833
00:43:52,080 --> 00:43:54,400
Speaker 21: to be in college so bad, because you know, just

834
00:43:54,400 --> 00:43:55,880
Speaker 21: to get away hang out with all the people.

835
00:43:56,000 --> 00:43:56,719
Speaker 14: And we don't.

836
00:43:56,719 --> 00:43:59,200
Speaker 21: We only live five minutes from the college, but it's

837
00:43:59,239 --> 00:44:02,239
Speaker 21: still a different way now. On the dorms and with

838
00:44:02,320 --> 00:44:04,120
Speaker 21: the boys, we're drinking, we're doing all the stuff that

839
00:44:04,160 --> 00:44:05,960
Speaker 21: and that that you want to do away from your parents.

840
00:44:06,040 --> 00:44:10,160
Speaker 21: And and uh, I just remember, man, he was scratching

841
00:44:10,880 --> 00:44:13,400
Speaker 21: and and he had these felt pads on there, and

842
00:44:13,080 --> 00:44:16,400
Speaker 21: I was like, yo, how are you doing that? And

843
00:44:16,400 --> 00:44:17,319
Speaker 21: and he.

844
00:44:17,280 --> 00:44:18,800
Speaker 14: Was like, I'll show you. He's come to my dorm.

845
00:44:18,920 --> 00:44:19,759
Speaker 14: And I went to this dorm.

846
00:44:19,840 --> 00:44:22,400
Speaker 21: He showed me how to cut on his old big Gemini.

847
00:44:22,480 --> 00:44:25,000
Speaker 21: It was a big Gemini mixer. It was silver with

848
00:44:25,080 --> 00:44:28,000
Speaker 21: wood on the side. That's all I remember, the big silver.

849
00:44:28,200 --> 00:44:29,960
Speaker 14: Damn. He had to run to get the cross fader,

850
00:44:30,080 --> 00:44:33,359
Speaker 14: you know, and he was and the way, the way,

851
00:44:33,560 --> 00:44:34,439
Speaker 14: the way the dorms were.

852
00:44:34,360 --> 00:44:36,279
Speaker 21: Set up shot the Holly Hall that was, that was

853
00:44:36,360 --> 00:44:39,400
Speaker 21: the dorm of all the wildness. He the way he

854
00:44:39,440 --> 00:44:40,839
Speaker 21: had to set up he a two on the right

855
00:44:40,960 --> 00:44:41,960
Speaker 21: because he couldn't.

856
00:44:42,120 --> 00:44:42,520
Speaker 14: He couldn't.

857
00:44:42,880 --> 00:44:45,160
Speaker 21: He couldn't do nothing right because well he cult left

858
00:44:45,200 --> 00:44:48,320
Speaker 21: and right, but only when he was doing the gigs

859
00:44:48,600 --> 00:44:50,680
Speaker 21: at his whole, at his dorm, he would set him

860
00:44:50,760 --> 00:44:52,440
Speaker 21: up on the right. So, being I got so used

861
00:44:52,480 --> 00:44:54,440
Speaker 21: to learning it that way, I just stuck with that

862
00:44:54,480 --> 00:44:56,759
Speaker 21: way I could. You know, I got better now where

863
00:44:56,880 --> 00:44:59,160
Speaker 21: you have to cross over and everything, but now I

864
00:44:59,160 --> 00:45:01,600
Speaker 21: don't want him that But if it's set up that way,

865
00:45:01,680 --> 00:45:04,040
Speaker 21: I'm still nice to do it with him on the

866
00:45:04,120 --> 00:45:06,160
Speaker 21: right or And then the second thing that led me

867
00:45:06,239 --> 00:45:09,120
Speaker 21: just keeping on the right was when Malcolm Claren and

868
00:45:09,160 --> 00:45:11,280
Speaker 21: the world famous Supreme Team came out with the album

869
00:45:11,360 --> 00:45:14,799
Speaker 21: d You Like Scratching? You see the turntable together, Yeah,

870
00:45:14,840 --> 00:45:17,520
Speaker 21: the turntables together on the cover and the mixer is

871
00:45:17,560 --> 00:45:19,560
Speaker 21: a GLI mixer in the front. So I was like,

872
00:45:19,600 --> 00:45:21,359
Speaker 21: I want to do that, but I'm just gonna move

873
00:45:21,400 --> 00:45:23,520
Speaker 21: them back over like the way RP taught me.

874
00:45:25,160 --> 00:45:28,400
Speaker 1: All Right, So when anyone ever asked me, like, what

875
00:45:28,520 --> 00:45:32,920
Speaker 1: is the most exemplary episode to listen to? I always

876
00:45:32,960 --> 00:45:37,680
Speaker 1: referred them to the Great Jimmy Jam one of my

877
00:45:37,840 --> 00:45:43,279
Speaker 1: favorite QLs episodes of all time, talking about musical diversity

878
00:45:43,680 --> 00:45:44,520
Speaker 1: and his upbringing.

879
00:45:46,280 --> 00:45:50,719
Speaker 20: My earliest memories were always, you know, I always loved

880
00:45:50,719 --> 00:45:55,440
Speaker 20: the harmony groups. I loved Seals and Cross America America Wow. Yeah,

881
00:45:55,640 --> 00:45:59,440
Speaker 20: you know that kind of stuff. Bred that was. I mean,

882
00:45:59,440 --> 00:46:01,400
Speaker 20: to this day, that's the way I stacked my harmonies

883
00:46:01,440 --> 00:46:04,120
Speaker 20: because of the way they sang those songs. Back then,

884
00:46:04,600 --> 00:46:08,240
Speaker 20: a little bit later in life, I liked, like, around

885
00:46:08,239 --> 00:46:10,040
Speaker 20: the time I met Terry, I was really into Chicago

886
00:46:10,160 --> 00:46:13,040
Speaker 20: that was. That was my favorite band ever, you know,

887
00:46:13,480 --> 00:46:16,120
Speaker 20: and me and Terry both loved them, And then Terry

888
00:46:16,160 --> 00:46:17,920
Speaker 20: then turned me on to when I met him, he

889
00:46:17,960 --> 00:46:20,800
Speaker 20: turned me on too, earth Wind and Fired, Tower of Power,

890
00:46:20,960 --> 00:46:24,680
Speaker 20: New Birth. I met Terry in seventy two. Okay, yeah,

891
00:46:24,719 --> 00:46:27,040
Speaker 20: so we're just we're talking last days in time, Earth Winding,

892
00:46:27,080 --> 00:46:30,200
Speaker 20: Fire and music in my mind Stevie Wonder. You know,

893
00:46:30,239 --> 00:46:32,560
Speaker 20: these were the albums and Terry turned me on to those.

894
00:46:33,440 --> 00:46:36,480
Speaker 1: Black radio You didn't have no black radio experience at

895
00:46:36,480 --> 00:46:38,200
Speaker 1: the age of ten twelve.

896
00:46:38,360 --> 00:46:41,360
Speaker 20: There wasn't a black radio experience for me. When I

897
00:46:41,360 --> 00:46:44,360
Speaker 20: got into high school, I was really into or junior

898
00:46:44,440 --> 00:46:46,600
Speaker 20: high and into high school, I was really into Gambling,

899
00:46:46,640 --> 00:46:50,120
Speaker 20: Huff and everything coming out of Philadelphia. Blue Magic was

900
00:46:50,160 --> 00:46:53,120
Speaker 20: my favorite all time group. I know everybody was into Stylistics,

901
00:46:53,160 --> 00:46:54,319
Speaker 20: but Blue Magic was my group.

902
00:46:54,400 --> 00:46:56,920
Speaker 1: But how could you hear it or see it?

903
00:46:56,920 --> 00:46:56,960
Speaker 9: Was?

904
00:46:58,239 --> 00:47:01,480
Speaker 20: Oh, yeah, Soul Train definitely was on and you definitely

905
00:47:01,480 --> 00:47:04,560
Speaker 20: would hear it on Soul Train. But I I remember

906
00:47:04,840 --> 00:47:07,920
Speaker 20: I had a friend of mine whose dad was an

907
00:47:07,920 --> 00:47:09,839
Speaker 20: executive of music Land, which is one of the big

908
00:47:09,960 --> 00:47:11,840
Speaker 20: retail stores back in the day. So he used to

909
00:47:11,880 --> 00:47:15,799
Speaker 20: get every single record that came out. And my thing

910
00:47:15,880 --> 00:47:17,640
Speaker 20: was I was always a big liner note reader and

911
00:47:17,680 --> 00:47:22,120
Speaker 20: a big label reader. So my thing was we all

912
00:47:22,120 --> 00:47:28,560
Speaker 20: collective and bill yes. So my whole thing was, I

913
00:47:28,560 --> 00:47:30,840
Speaker 20: remember there were records that would come out and I

914
00:47:30,880 --> 00:47:34,319
Speaker 20: would particularly during the Motown era because I really I

915
00:47:34,360 --> 00:47:37,440
Speaker 20: really loved the Motown records, all of that stuff. The

916
00:47:37,480 --> 00:47:40,640
Speaker 20: Holland Dozer Holland, like I remember I did. I remember

917
00:47:40,719 --> 00:47:43,320
Speaker 20: looking at a Supremes album at a like a family

918
00:47:43,320 --> 00:47:46,160
Speaker 20: reunion or something back in sixty two or something or

919
00:47:46,200 --> 00:47:47,879
Speaker 20: sixty so I was like three or four years old,

920
00:47:47,880 --> 00:47:50,400
Speaker 20: and I remember that Holland Dozer Holland it was. The

921
00:47:50,480 --> 00:47:53,640
Speaker 20: album was called The Supreme sing Holland Dozer HOLLANDLD Record,

922
00:47:53,760 --> 00:47:56,320
Speaker 20: and I the gold record, right. I had no idea

923
00:47:56,480 --> 00:47:59,600
Speaker 20: what that meant. I kept going, what does this mean

924
00:48:00,200 --> 00:48:03,600
Speaker 20: mean they singing Holland Dozer Holland, And somebody explained to me, no,

925
00:48:03,800 --> 00:48:06,160
Speaker 20: they wrote the songs. The girls are the singers, but

926
00:48:06,200 --> 00:48:08,840
Speaker 20: somebody wrote the songs, and something went off in my

927
00:48:08,880 --> 00:48:12,040
Speaker 20: head at that point. That always made me look who

928
00:48:12,080 --> 00:48:15,200
Speaker 20: wrote it, who produced it? And so I remember like

929
00:48:15,600 --> 00:48:17,879
Speaker 20: all the Motown records would be the first ones I'd

930
00:48:17,920 --> 00:48:20,200
Speaker 20: always go to. And I remember like staring at the

931
00:48:20,239 --> 00:48:23,560
Speaker 20: first time I heard I Want You Back Jackson five,

932
00:48:24,400 --> 00:48:27,719
Speaker 20: and you know Dinnah Ross and Dinah Ross presents the

933
00:48:27,760 --> 00:48:30,360
Speaker 20: Jackson five and I thought, oh, wow, that's cool, and

934
00:48:30,400 --> 00:48:31,879
Speaker 20: I looked down the record. I'm like, well, I don't

935
00:48:31,880 --> 00:48:35,520
Speaker 20: see Donna Ross's name anywhere on here. There's some dudes

936
00:48:35,520 --> 00:48:39,759
Speaker 20: called the somebody. I gotta find out who the corporation is,

937
00:48:39,800 --> 00:48:40,000
Speaker 20: you know.

938
00:48:40,040 --> 00:48:40,640
Speaker 9: So that was.

939
00:48:40,600 --> 00:48:45,440
Speaker 20: Always my my thing and and I knew that because

940
00:48:45,440 --> 00:48:47,600
Speaker 20: what I learned was there were certain there were groups

941
00:48:47,640 --> 00:48:50,960
Speaker 20: I like, but it was all about who produced them.

942
00:48:51,160 --> 00:48:53,200
Speaker 20: Like it was. It was like, you know, like Eddie

943
00:48:53,280 --> 00:48:55,919
Speaker 20: Kendricks could come out with a song and I would

944
00:48:55,960 --> 00:48:59,200
Speaker 20: be like, Yeah, that's okay. And then you come out

945
00:48:59,200 --> 00:49:01,160
Speaker 20: with a song, I go oh, oh, I love that song. Okay,

946
00:49:01,160 --> 00:49:04,200
Speaker 20: who did that song? Okay, Leonard Caston and you know,

947
00:49:04,360 --> 00:49:08,399
Speaker 20: Frank Wilson and okay. And then I'd hear another song

948
00:49:08,440 --> 00:49:10,799
Speaker 20: that had nothing to do with Eddie Kendricks, but I'd go, oh,

949
00:49:10,800 --> 00:49:13,160
Speaker 20: I like that track. Who did that? And it'd be

950
00:49:13,200 --> 00:49:15,799
Speaker 20: the same dudes, right, And that's when I got That's

951
00:49:15,800 --> 00:49:19,360
Speaker 20: when I started going, Okay, that's that's my thing. And

952
00:49:19,680 --> 00:49:22,680
Speaker 20: so for me, that's what always excited me, and that's what,

953
00:49:22,960 --> 00:49:25,719
Speaker 20: you know, ultimately made me want to become a songwriter

954
00:49:25,760 --> 00:49:26,400
Speaker 20: and a producer.

955
00:49:28,640 --> 00:49:32,600
Speaker 1: We're gonna close with Adam Levine. This is from an

956
00:49:32,640 --> 00:49:36,160
Speaker 1: End Studio in twenty twenty four episode, and it really

957
00:49:36,200 --> 00:49:41,160
Speaker 1: just captures the rabbit holeness of QLs, Eddie Grant into

958
00:49:41,239 --> 00:49:44,719
Speaker 1: Cat Stevens and everywhere in between. And we'll close this

959
00:49:44,800 --> 00:49:47,080
Speaker 1: and we'll catch up with you guys soon. All right,

960
00:49:47,120 --> 00:49:51,840
Speaker 1: thank you. What was your very first musical memory in life?

961
00:49:53,640 --> 00:49:57,120
Speaker 7: And I know the first record I bought other than

962
00:49:57,120 --> 00:49:59,920
Speaker 7: my parents playing music in the car, right, which probably

963
00:50:00,040 --> 00:50:03,640
Speaker 7: always the Beatles. This is so funny, but I remember

964
00:50:03,840 --> 00:50:09,319
Speaker 7: very distinctly buying the Eddie Grant Electric Avenue. Electric that

965
00:50:09,400 --> 00:50:11,600
Speaker 7: I like it was, but it was like like a tick.

966
00:50:11,719 --> 00:50:14,160
Speaker 7: I played the song like my parents were like I

967
00:50:14,200 --> 00:50:15,400
Speaker 7: never need to hear the song.

968
00:50:15,280 --> 00:50:19,520
Speaker 1: Again, so what uh, it's not unusual. It's to John mlaney,

969
00:50:20,160 --> 00:50:21,400
Speaker 1: that's what electric Avenue was.

970
00:50:21,440 --> 00:50:22,000
Speaker 14: To use the kid.

971
00:50:22,280 --> 00:50:24,560
Speaker 7: It was like it was like ad nauseum all day long.

972
00:50:24,920 --> 00:50:26,879
Speaker 7: Please God, I don't ever want to hear it again.

973
00:50:26,960 --> 00:50:33,000
Speaker 1: That song comes on, that song holds up, dude. Jimmy

974
00:50:33,040 --> 00:50:36,560
Speaker 1: wanted him on the show to do Electric Avenue, and

975
00:50:36,640 --> 00:50:39,000
Speaker 1: the first thing he wanted to do, you know, like

976
00:50:39,400 --> 00:50:42,040
Speaker 1: artists might have that smells like teen spirit moment where

977
00:50:42,080 --> 00:50:44,959
Speaker 1: they don't want to do the song that they're known for.

978
00:50:45,000 --> 00:50:47,680
Speaker 7: Like Bobby mcfairn, like like, you know, like I want

979
00:50:47,719 --> 00:50:53,880
Speaker 7: to do like play that so and so listen to

980
00:50:53,920 --> 00:50:56,360
Speaker 7: the song and realize what it's about and then realize

981
00:50:56,360 --> 00:50:56,799
Speaker 7: he should play.

982
00:50:56,840 --> 00:50:58,880
Speaker 1: Okay, when he came on the show, you remember this, Steve,

983
00:50:59,239 --> 00:51:02,399
Speaker 1: he wanted to do like a different version of it.

984
00:51:02,920 --> 00:51:04,480
Speaker 1: He wanted to mix it with it. I don't want

985
00:51:04,520 --> 00:51:06,880
Speaker 1: to dance like the other minor hits that.

986
00:51:06,760 --> 00:51:07,319
Speaker 14: He wanted to do.

987
00:51:07,360 --> 00:51:10,560
Speaker 1: The B side, time Warp Yes, yo, Wait, so do

988
00:51:10,600 --> 00:51:14,440
Speaker 1: you know about time Warp? No, dude, So time Warp is.

989
00:51:15,160 --> 00:51:18,200
Speaker 1: I didn't even notice this, but we've all heard time Warp.

990
00:51:18,960 --> 00:51:22,399
Speaker 1: So Time Warris is kind of a song of his

991
00:51:22,800 --> 00:51:25,320
Speaker 1: that was like a B side that wound up being

992
00:51:26,000 --> 00:51:28,360
Speaker 1: not him going rogue the only way I can describe it,

993
00:51:28,400 --> 00:51:31,680
Speaker 1: you know, like dog was a donut on Cat Stevens's record. Wow,

994
00:51:31,760 --> 00:51:32,800
Speaker 1: that's a metaphor.

995
00:51:32,920 --> 00:51:33,759
Speaker 14: That is a deep cut.

996
00:51:34,960 --> 00:51:40,120
Speaker 1: It's like an instrumental. Right, it's an instrumental. Okay, So Encyclopedia.

997
00:51:41,520 --> 00:51:46,000
Speaker 1: In seventy seven, Cat Stevens had a synthesizer endorsement deal

998
00:51:46,040 --> 00:51:49,040
Speaker 1: with the company of which he promised, like, Okay, one

999
00:51:49,040 --> 00:51:51,680
Speaker 1: of these songs, I'll play your instruments on the record.

1000
00:51:51,880 --> 00:51:55,040
Speaker 1: But Cat Stevens ain't necessarily a synth based artist, he's

1001
00:51:55,040 --> 00:51:59,840
Speaker 1: like acoustic yeah, you don't say right, And so basically

1002
00:52:00,120 --> 00:52:03,040
Speaker 1: that the penultimate cut, like the song before the album ends,

1003
00:52:03,440 --> 00:52:06,880
Speaker 1: he did a quickie, little four minute demonstration song of

1004
00:52:06,920 --> 00:52:11,000
Speaker 1: this new drum machine and whatever, and it actually fucked

1005
00:52:11,000 --> 00:52:13,640
Speaker 1: around and wound up being like a bee boy classic.

1006
00:52:14,440 --> 00:52:19,600
Speaker 7: But who's about right now Stevens, which into Adam, let's

1007
00:52:19,600 --> 00:52:23,319
Speaker 7: get Seddie and then back to my mind just exploded.

1008
00:52:26,400 --> 00:52:31,640
Speaker 1: This is dog wasn't donut by uh oh okay, yeah right,

1009
00:52:31,800 --> 00:52:35,319
Speaker 1: which is basically like this is that's what you went?

1010
00:52:35,480 --> 00:52:37,279
Speaker 3: Adams, Like, where do we start with this?

1011
00:52:37,360 --> 00:52:42,520
Speaker 1: He that's not castaing. It is because he contractually had

1012
00:52:42,560 --> 00:52:45,520
Speaker 1: to make a song up with all this darm machines.

1013
00:52:46,160 --> 00:52:47,520
Speaker 7: That's a weird contractualbligation.

1014
00:52:47,560 --> 00:52:50,319
Speaker 1: Nineteen seventy seven. He was the first with the like

1015
00:52:50,640 --> 00:52:52,920
Speaker 1: Lynn drum and all that stuff. So he made this

1016
00:52:52,960 --> 00:52:56,160
Speaker 1: ship and of course the b boy community press work

1017
00:52:56,680 --> 00:52:59,520
Speaker 1: immediately picked up on it and it became a classic

1018
00:52:59,560 --> 00:53:02,319
Speaker 1: unbetown to him. But the same way Eddie Grant. Eddie

1019
00:53:02,360 --> 00:53:07,000
Speaker 1: Grant did kind of an Overheim synthesizer song called time Work,

1020
00:53:07,160 --> 00:53:09,359
Speaker 1: which is he had.

1021
00:53:09,320 --> 00:53:11,320
Speaker 7: A foot in that door already though that the cast

1022
00:53:11,320 --> 00:53:13,799
Speaker 7: even ship is crazy. Yeah, I never heard anything like

1023
00:53:13,800 --> 00:53:16,120
Speaker 7: that in my life from him, Like, what was that?

1024
00:53:16,160 --> 00:53:16,719
Speaker 1: I want to hear it.

1025
00:53:16,760 --> 00:53:19,160
Speaker 2: I didn't know, right, none of us knew what it

1026
00:53:19,160 --> 00:53:19,399
Speaker 2: was him.

1027
00:53:19,760 --> 00:53:21,000
Speaker 8: You've got to get this.

1028
00:53:21,239 --> 00:53:24,160
Speaker 1: So this, this is the B side of Electric Avenue.

1029
00:53:28,680 --> 00:53:32,520
Speaker 1: So basically, at Paradise Garage this became an anthem. And

1030
00:53:32,560 --> 00:53:35,000
Speaker 1: if it's played at Paradise Garage, it also means that

1031
00:53:35,080 --> 00:53:37,680
Speaker 1: at Crocker is also playing it on his radio show.

1032
00:53:38,239 --> 00:53:43,240
Speaker 1: So Eddie Grant wanted to come and do Time.

1033
00:53:43,120 --> 00:53:45,480
Speaker 14: Ward came back, We got full circle.

1034
00:53:46,040 --> 00:53:49,359
Speaker 1: I'm there, I'm very focused in the morning, and now

1035
00:53:49,400 --> 00:53:57,280
Speaker 1: the show's over. Thank you very much, Eddie Grant. Really anyway,

1036
00:53:57,360 --> 00:53:59,120
Speaker 1: so you loved Electric Avenue.

1037
00:54:01,960 --> 00:54:03,760
Speaker 2: He came and wanted to do the B side.

1038
00:54:03,960 --> 00:54:05,200
Speaker 7: Yeah, he's just crazy.

1039
00:54:05,440 --> 00:54:09,400
Speaker 1: Jimmy is always watching the music guests from his dressing

1040
00:54:09,440 --> 00:54:11,919
Speaker 1: room or his office because he has a monitor in there,

1041
00:54:12,400 --> 00:54:14,200
Speaker 1: and he tries not to come out and freak out

1042
00:54:14,200 --> 00:54:16,200
Speaker 1: the people that early in the morning. But that's the

1043
00:54:16,200 --> 00:54:19,400
Speaker 1: one time in which you know, we're like, okay, so

1044
00:54:19,440 --> 00:54:21,879
Speaker 1: we'll do one verse of Electric Avenue and then we'll

1045
00:54:21,880 --> 00:54:23,960
Speaker 1: do Time Warp, and which you're not singing at all.

1046
00:54:24,800 --> 00:54:28,560
Speaker 1: Jimmy ran in and it was like, guys, no, I

1047
00:54:28,680 --> 00:54:31,719
Speaker 1: need you to do electric avenue. And then at that

1048
00:54:31,960 --> 00:54:34,680
Speaker 1: he wanted to do like a blues harmonica version of it.

1049
00:54:34,760 --> 00:54:38,160
Speaker 7: Oh god, yeah, yeah, yeah, that's hard when that's like

1050
00:54:38,440 --> 00:54:40,240
Speaker 7: we had, right.

1051
00:54:40,080 --> 00:54:42,000
Speaker 5: We had to wrestle him out of that and just

1052
00:54:42,000 --> 00:54:45,000
Speaker 5: do regular ass letric avenue.

1053
00:54:45,000 --> 00:54:48,440
Speaker 1: You guys had already like sampled all the weird little samples.

1054
00:54:48,000 --> 00:54:51,880
Speaker 5: In all the little all those little stuff Burbson's frame.

1055
00:54:52,520 --> 00:54:55,200
Speaker 1: It's like Ray Parker not doing Ghostbusters some ship like that.

1056
00:54:55,440 --> 00:54:56,520
Speaker 14: True, Yeah's true.

1057
00:54:56,800 --> 00:55:05,800
Speaker 1: So Huey lewis not doing Ghostbusters. Thank you for listening

1058
00:55:05,840 --> 00:55:09,680
Speaker 1: to Quest Love Supreme Hosted by Amir quest Love, Thompson,

1059
00:55:09,960 --> 00:55:14,880
Speaker 1: Why You, Saint Clair Sugar, Steve Mandell, and unpaid Bill Sherman.

1060
00:55:15,680 --> 00:55:20,840
Speaker 1: Executive producers are Mira quest Love, Thompson, Sean g and

1061
00:55:20,960 --> 00:55:28,120
Speaker 1: Brian Calhoun. Produced by Brady Benjamin Cousin, Jake Payne, Eliah

1062
00:55:28,200 --> 00:55:33,879
Speaker 1: Saint Clair, edited by Alex Conroy. Produced by iHeart by

1063
00:55:33,920 --> 00:55:39,200
Speaker 1: Noel Brown West Love Supreme is a production of iHeart Radio.

1064
00:55:42,360 --> 00:55:45,319
Speaker 1: For more podcasts from iHeart Radio, visit the iHeart Radio

1065
00:55:45,400 --> 00:55:48,920
Speaker 1: app Apple podcasts, or wherever you listen to your favorite shows.