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Speaker 1: The Quest Left Show is a production of iHeart Radio.

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Speaker 2: So I'm just slowly realizing that I've not done my

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Speaker 2: elaborate intros. I'm so busy in preparing the interviews. But

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Speaker 2: this is the Quest Left Show QLs. And in case

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Speaker 2: you're later riving to us, what can I say, ladies

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Speaker 2: and gentlemen, this is the Ernie and Bert of funk,

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Speaker 2: the Shields and yard Nw of soul.

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Speaker 1: Features in herb of the Get Down.

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Speaker 2: You know, the Sherlock, Holmes and Watson of BOUCHI A wow, wow.

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Speaker 2: This is the Lennon McCartney of Jam and Lewis. I

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Speaker 2: can't believe this moment is happening, but it is happening.

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Speaker 2: Forty top ten hits, sixteen of them, number one producer

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Speaker 2: of the year, accolades, anything that we can award them.

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Speaker 1: They've accomplished. Members of one of.

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Speaker 2: The last best funk bands that matter pre hip hop.

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Speaker 1: I have to make that distinction.

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Speaker 2: And it's telling that you're the last album that you

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Speaker 2: two participated and literally is the blueprint of hip hop.

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Speaker 2: I mean, there's ghostwriting, there's digital programming and technology, there's

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Speaker 2: extended jams, there's edit mistakes, there's dirty mixing, There's Pimpson

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Speaker 2: Jigglo and Ho Talk.

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Speaker 1: There's Hyja daughter Hodja, datis there here? Designer fashion disc tracks,

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Speaker 1: comedy skits, thoughts on the police, songs about new dances,

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Speaker 1: affirmational songs about wanting.

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Speaker 2: To live the good life like it's literally what time

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Speaker 2: is it to me? Is the blueprint of hip hop?

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Speaker 2: And here we are in twenty twenty six. I can't

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Speaker 2: believe I said that twenty twenty six six. Taping this

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Speaker 2: in the month that will mark the fortieth anniversary of

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Speaker 2: their landmark production of an album called Control thought would

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Speaker 2: be rather apropos as they're celebrating the beginning or promoting

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Speaker 2: their Nothing but Hits residency in Las Vegas with Ruben

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Speaker 2: Stutter and Shanice Wilson, and I cannot believe this is happening.

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Speaker 2: Jimmy jam here Lewis, thank you for doing the Quest

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Speaker 2: Left show.

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Speaker 1: Thank you for being here. At that long intro that

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Speaker 1: I just have to bring.

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Speaker 3: Up the top of mind, believe it.

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Speaker 1: That was a great That's a great intro. I like that.

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Speaker 1: Real what do we do? Ernie and Burda, the Ernie

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Speaker 1: and Burda funk?

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Speaker 3: Wow?

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Speaker 1: I like that it's a new Moniker bird.

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Speaker 3: That would have been good man, that would have been good.

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Speaker 1: Yeah.

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Speaker 2: All right, So when did the conversation start of wanting

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Speaker 2: to do a residency.

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Speaker 1: Well, I'll tell you for me.

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Speaker 4: The conversation started a long time ago when we when

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Speaker 4: The Time performed on the Grammys with rihannat I was

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Speaker 4: the fiftieth anniversary of the Grammy. So what eighteen years ago?

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Speaker 4: I guess yes. And I was a chairman of the

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Speaker 4: Recording Academy at that point, and I remember after we

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Speaker 4: performed with Rihanna, everybody backstage said what are you guys

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Speaker 4: going to do next? And we were like next, No,

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Speaker 4: this is just we just a one off. We just

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Speaker 4: got together. But there was a guy in Vegas that

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Speaker 4: saw us, and Tony Braxton was doing shows at the

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Speaker 4: Flamingo and she was having some health problem, so they

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Speaker 4: wanted to get somebody in there to you know, take

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Speaker 4: some of the dates, and so we ended up as

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Speaker 4: the Time going in and doing three weeks of residency

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Speaker 4: there and we loved it.

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Speaker 1: We loved it. We totally got why.

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Speaker 4: You know, Celine Dion was parked there and you know,

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Speaker 4: don I think Donnie and Marie were coming in after us,

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Speaker 4: you know, so we totally we and Donnie would come

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Speaker 4: to our shows like he loved the time. So anyway,

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Speaker 4: I will say the seed got planted there just then

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Speaker 4: that we liked the idea of doing it, got it.

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Speaker 2: I'm laughing also because you brought that up. And first

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Speaker 2: time a rental car mine never got towed. I parked

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Speaker 2: in Donnie spot at that residence.

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Speaker 3: Anyway, So no, I love that.

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Speaker 4: So to fast forward when we went in the Songwriters

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Speaker 4: Hall of Fame that we were asked what do we

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Speaker 4: want to do? What do you want to do that

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Speaker 4: you haven't done yet? And Babyface happened to be on

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Speaker 4: the red carpet right next to us, and we said, well,

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Speaker 4: we'd like to do a record with Babyface. So we

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Speaker 4: did that, which I went off the list. Yes, we

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Speaker 4: said we would like to finish the album that we started,

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Speaker 4: you know, thirty years ago or whenever. It was the

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Speaker 4: Jam and Lewis Volume one album, which we did, so

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Speaker 4: we checked that off. The third thing we said was

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Speaker 4: we'd like to go and perform our catalog, which we've

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Speaker 4: never done, and we would like to do that. And

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Speaker 4: so you know, I don't know some I don't know,

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Speaker 4: seven or eight years after that, we now have the

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Speaker 4: opportunity to do it and for us to return to

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Speaker 4: the roots unintended of where we started as musicians. Before

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Speaker 4: we were songwriters and before we were producers, we were

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Speaker 4: simply guys in a local band playing everybody else's hits.

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Speaker 4: So now we get to be guys in a local

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Speaker 4: band playing our own hits. Got it, And that's the

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Speaker 4: fun of it. I know it's one step out of time.

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Speaker 2: But you guys also have a catalog that is jukebox

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Speaker 2: brought wayworthy. Have you planned talking segments on like, well

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Speaker 2: we did this song in nineteen eighty five, and.

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Speaker 5: Well we certainly do that, you know, okay, Jimmy jam

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Speaker 5: is one of the greatest orators in YouTube.

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Speaker 1: Terry Lewis, by the way, in history. You know, I

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Speaker 1: talk hell, you talk great.

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Speaker 2: Actually, No, My favorite part of doing press for the

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Speaker 2: Slime Stone, which I had to thank you both for doing.

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Speaker 2: My favorite part of doing the press junket for SLY

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Speaker 2: is when people realize that you two were three thousand

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Speaker 2: miles apart, and literally there were points where we could

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Speaker 2: sync up your answers and it was like you're the

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Speaker 2: run DMC of documentary interviews. Also Okay, now, but you're

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Speaker 2: always Jimmy David Terry Lewis.

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Speaker 5: Yeah, yeah, Well, you know, the experiences are the experiences.

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Speaker 5: I mean there's a three size to every story, his

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Speaker 5: side by side of the truth, right like in Somewhere,

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Speaker 5: we park it in the middle, somewhere, gotcha and we

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Speaker 5: figure it out.

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Speaker 1: Well.

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Speaker 4: I think the thing with Terry is that Terry I

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Speaker 4: always say that what it takes me a paragraph to say,

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Speaker 4: Terry can say in a sentence. And that's what makes

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Speaker 4: him such a great lyricist, his efficiency of words, because

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Speaker 4: I tend to be long winded. But the other part

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Speaker 4: about that is if something's important to Terry, he will talk.

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Speaker 4: When we went in the Rock and Roll Hall of Fame,

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Speaker 4: Terry talked. I was the most I heard him talk.

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Speaker 4: But his mom was out there, his family was out there,

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Speaker 4: and that was a really meaningful moment. And the fact

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Speaker 4: that he's here with you now, questlove doing this show.

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Speaker 3: I can't believe it, believe it.

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Speaker 4: It's things that are important to Terry. He has a

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Speaker 4: great filter for that, and this is and doing your

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Speaker 4: show today is very important.

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Speaker 5: So that's why part of my filter is I have

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Speaker 5: no filter, you know, I just I see it, tell

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Speaker 5: you how I see it.

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Speaker 1: I accept that, and I'm good with that.

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Speaker 5: You know, and I'm okay with being challenged. But I'm

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Speaker 5: also going to challenge whatever.

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Speaker 1: To be prepared for it. Yeah, yeah, right, you.

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Speaker 5: Know, because my mother always told me, she said, you

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Speaker 5: got one mouth, two of everything else. Make sure you

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Speaker 5: use your mouth accordingly, you know, So everything else.

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Speaker 3: Is double time.

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Speaker 5: I'm watching, I'm listening, you know, I'm contemplating, I'm doing

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Speaker 5: all those things. You know, I'm breathing good everything, but

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Speaker 5: my mouth is gonna stay shut because everything else has

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Speaker 5: to work double time.

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Speaker 1: Okay, how do you guys decide on a song list? Well,

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Speaker 1: deciding is kind of what's happening. It's still happening right now.

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Speaker 4: Yeah, it's still happening right now. I think there's the

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Speaker 4: obvious songs that we want to do that we not

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Speaker 4: only were successful chart wise and in people's minds, you know,

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Speaker 4: are culturally significant to people, but also our fun to play.

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Speaker 1: You know.

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Speaker 4: God, there's some songs that are probably big hits that

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Speaker 4: probably aren't that fun to play honestly, and we don't

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Speaker 4: maybe feel we do them that great but I think

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Speaker 4: that's kind of the way we'll start. I mean, we'll

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Speaker 4: start with the there's some of the obvious ones, particularly

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Speaker 4: when it comes to the storytelling of it, right, you know,

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Speaker 4: just be good to me, tell me if you still care.

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Speaker 4: Back in that in that era, Encore, which was our

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Speaker 4: first official Billboard number one song on the R and

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Speaker 4: B charts, you know, Tender Love, which was our first

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Speaker 4: top ten pop record. And then obviously we have to

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Speaker 4: cover you know, the Janet Jacksons and new additions, the

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Speaker 4: voice to men Sarelle and Alexander O'Neill, you know, and

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Speaker 4: all of those things. So those are the things that

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Speaker 4: will go in there. We'll throw a couple surprises in there.

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Speaker 4: And it hasn't been mastered yet.

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Speaker 1: No.

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Speaker 4: We did a kind of a test run. Terry called

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Speaker 4: it the Folo test run, which was a fear of

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Speaker 4: looking old. Terry said, I don't want to be on

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Speaker 4: stage looking old. So we ended up doing over the

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Speaker 4: past couple of years. I think we've done sixteen shows

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Speaker 4: in Japan. We did a festival all.

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Speaker 1: Right, to work out the key. Yeah, we gotta we

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Speaker 1: got it.

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Speaker 4: We had to see whether we could do it, and

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Speaker 4: we were doing two shows a night, two nine minute

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Speaker 4: shows a night in Japan at the Blue Note at

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Speaker 4: the Blue at the at Billboard Live with the glass

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Speaker 4: behind you.

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Speaker 2: Yes and okay, yeah yeah that used to be Blue Note,

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Speaker 2: now it's Billboard.

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Speaker 1: Okay, you're right, Okay.

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Speaker 4: So anyway, we you know, that kind of gave us

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Speaker 4: the proof in the pudding, so to speak. Uh, and

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Speaker 4: then the kind of curation process happened in Atlanta. We

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Speaker 4: did a show and we had everybody from you know,

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Speaker 4: Yolana Adams to Deborah Cox to Chante Moore to Jordan

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Speaker 4: Knight from New Kids on the Block. Yeah, I mean

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Speaker 4: it was it was an amazing show and show. Yeah,

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Speaker 4: And what happened was things like, for instance, we started

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Speaker 4: performing one of Usher's songs, but Usher was sitting in

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Speaker 4: the front row. So Ruben Stuttard, who's one of our singers,

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Speaker 4: he walked over to you know, over the ushers, right,

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Speaker 4: So Usher comes up and hits bad Girl and hits

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Speaker 4: you Remind Me and you know that kind of thing.

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Speaker 4: So we've kind of all taking all of those things

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Speaker 4: together is kind of what we want to try to

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Speaker 4: pull off in Vegas because it'll be us. But then

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Speaker 4: you know, we always say you never know who's gonna show.

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Speaker 2: Okay, so this is what I have to ask about curation.

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Speaker 2: Am I the only person that works backwards? What do

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Speaker 2: you mean if it's an album or now movie or

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Speaker 2: whatever or setless? The first thing I want to know

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Speaker 2: is what is the song I'm gonna send them home

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Speaker 2: with and how I want them to.

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Speaker 1: Feel as they're walking to the car.

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Speaker 2: So it's almost like, in my mind, I feel like

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Speaker 2: the first fifteen minutes people remember, you know, you describe it,

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Speaker 2: and then Michael Jackson floated in from the Free Exposing

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Speaker 2: or earth Wind and Fire whatever. And in the case

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Speaker 2: of Root shows, I mean we've had disaster ass all right,

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Speaker 2: too much patron for that person.

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Speaker 1: No, but I find that the last.

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Speaker 2: Ten minutes of the show, it's almost like the Men

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Speaker 2: in Black flashy thing that will make you forget you

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Speaker 2: saw a kick ass show. So that's right, But right

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Speaker 2: now you're just trying to figure out the perfect ninety

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Speaker 2: minutes and yeah, okay.

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Speaker 4: We we know what we like to end with or

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Speaker 4: kind of the feeling, and we do want to leave

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Speaker 4: the audience with a kind of an elevated feeling. So

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Speaker 4: obviously optimistic is going to close the show. Maybe maybe well,

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Speaker 4: we have other songs that kind of do that same thing.

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Speaker 1: Interestingly enough, okay, and.

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Speaker 4: We've actually used some of those different songs and you'll

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Speaker 4: be surprised how effective they actually are.

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Speaker 2: So, I mean, unlike the Gamble and Huff or the

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Speaker 2: Motown Catalog whatever, I'll say that, you guys are probably

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Speaker 2: the first super catalog that we also have sort of

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Speaker 2: visual and very specific sound patch memories with. So I

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Speaker 2: don't think I can ever listen to if it isn't

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Speaker 2: love and in my head start doing the dances that

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Speaker 2: they do, which obviously that's not there, But like, is

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Speaker 2: it intimidating for the artists that you guys are having

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Speaker 2: to handle the duties to also think about the fact like, okay,

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Speaker 2: am I gonna have to put my hat on my

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Speaker 2: foot at the end of this performance?

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Speaker 4: Or no, I don't think so. I think some things

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Speaker 4: lend themselves to the live performance. God, and some things

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Speaker 4: because of like you say, the choreography or the visual

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Speaker 4: memory that you have of certain things, we have to

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Speaker 4: figure out clever ways to do that. But you know,

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Speaker 4: we have you know, a huge screen, oh yeah, visual

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Speaker 4: and we have you know, so we're able to.

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Speaker 1: Use the visual stuff that we have.

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Speaker 4: And by the way, a song like if it is

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Speaker 4: in love, for instance, the audience will do the choreography.

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Speaker 4: We don't have to do the choreography. Okay, they know

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Speaker 4: how to do that, but yeah, each song. We treat it,

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Speaker 4: each song differently and try to present it in the

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Speaker 4: best way. And one of the things for me and

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Speaker 4: I guess people will call this like, well, it's not

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Speaker 4: even a humble brag, but it's the thing I like

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Speaker 4: about our show and what we've been able to do

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Speaker 4: thus far, is it's the most true reproductions of the songs.

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Speaker 4: You know, obviously, you know, whether you're going to a

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Speaker 4: Janet show or a New Edition show or Mary J. Blige,

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Speaker 4: you're gonna hear our songs, got it. But something about

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Speaker 4: the way we perform them and the way we create

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Speaker 4: them on stage, I think is a little different because

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Speaker 4: we know it's like the chef's kitchen. We know how

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Speaker 4: those sounds were derived, and we know the mix that's

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Speaker 4: supposed to be there right on those So as you're

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Speaker 4: watching a live show, part of the thrill hopefully is

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Speaker 4: hearing these songs the way they were really intended to

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Speaker 4: be you know, you hear the production, and you hear

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Speaker 4: the things we can put into it, the spices and

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Speaker 4: little things we can put into it to make it

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Speaker 4: really come to life.

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Speaker 2: In the pre pro toolslization and pre ninety five, I mean,

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Speaker 2: it's always happened, but in that era, in the beginning era,

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Speaker 2: let's say between eighty five and ninety five. Okay, So

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Speaker 2: there was a particular monster successful funk band whom I

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Speaker 2: found a clip of their concert in nineteen eighty five,

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Speaker 2: and they're performing it as a band, but none of

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Speaker 2: the patches that are familiar there, so it's not giving

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Speaker 2: me that omph. Now, one of the things that I

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Speaker 2: was worried about when I first saw the Rhythm Nation

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Speaker 2: show in nineteen ninety, I was like, man, they're not

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Speaker 2: going to get the patches right, Like there's too many

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Speaker 2: trademarks and all the little or the snapping next noises

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Speaker 2: you guys have for snaps or whatever. And I was

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Speaker 2: shocked that, you know, I didn't know about I don't

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Speaker 2: know how the technology was executed backman, as opposed to

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Speaker 2: now where this is on.

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Speaker 1: Yeah, you know, on.

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Speaker 2: Stage, but when you guys send your acts out into

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Speaker 2: the world, and I'm talking about Alexander and Charrell and

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Speaker 2: SOS band in addition to Janet, were you guys also

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Speaker 2: on hand for their bands and the musicians they chose,

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Speaker 2: and here's the patches you'll need to pull these off

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Speaker 2: or you.

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Speaker 5: Just in the early days we kind of were especially

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Speaker 5: for like Sharille and alex Okay, we would.

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Speaker 1: They would rehearse at our.

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Speaker 5: Place, yeah, and we would help them choose the band

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Speaker 5: and give them patches.

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Speaker 1: Okay.

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Speaker 2: So when Prince broke up the Revolution eighty six, his

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Speaker 2: first move was she would take me to the Bay

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Speaker 2: Area and let's get the baddest musicians ever. And then

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Speaker 2: I'll say, in the early arts, Philly had that reputation,

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Speaker 2: you know, like between Bill Jolly or Washington or Adam Blackstone,

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Speaker 2: Omar Edwards shout out to man Man. They were pretty

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Speaker 2: much like I know at least seventy Philly musicians that

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Speaker 2: are actively working until there were no more. And then

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Speaker 2: I'll say, like glassper put On for Houston, they were

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Speaker 2: next twenty thirty musicians from Houston and now kind of running.

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Speaker 2: But who were in eighty five when you were like, yo,

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Speaker 2: these guys will kick ass, Like where's the hot bed

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Speaker 2: of the best musician's hands down that you guys would pick,

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Speaker 2: or were you loyal to Minnesota?

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Speaker 1: Was there expectation for you guys to look out for

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Speaker 1: all the bands from the north side Minneapolis and stuff?

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Speaker 5: But that's all you knew, Like that was our world,

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Speaker 5: Like we never knew how we compared to everybody outside

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Speaker 5: of Minneapolis. We only knew how we all compared to

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Speaker 5: each other.

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Speaker 1: But then we all laugh at LA musicians. At one

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Speaker 1: point we never went to.

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Speaker 5: LA because we were in Minneapolis, and that's what we

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Speaker 5: couldn't afford to get to Alis. Okay, we were just young, broke,

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Speaker 5: and you know, we were playing in local bands, competing

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Speaker 5: against each other for the same the same opportunities got him,

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Speaker 5: and so that was the pot, you know. So was

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Speaker 5: the crabs in the barrel, and one crab got out.

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Speaker 5: Prince was that crab.

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Speaker 3: And then he.

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Speaker 5: Reached back down and he brought a few guys out

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Speaker 5: with him and then gave us all hope, and then yeah,

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Speaker 5: so on and so forth. Cynthia Johnson, who was in

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Speaker 5: Flight Times, got out and she sang Funky Town. You know,

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Speaker 5: it was the number one song in the world. It's like, well,

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Speaker 5: maybe we are kind of valid here. Maybe we do

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Speaker 5: have something special here. But there was always jazz musicians

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Speaker 5: and other people in Minneapolis that would play and they

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Speaker 5: were super dope.

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Speaker 1: Yeah.

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Speaker 5: Yeah, Craig Peterson, Peterson family, I mean not even not

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Speaker 5: even talking about that Peterson family, about the black Craig

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Speaker 5: Peterson's black Peters.

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Speaker 3: Oh yeah, it's a black Peters. Okay, just like there's

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Speaker 3: a black O'Neill.

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Speaker 1: That's right. What is the Irish?

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Speaker 5: Yeah, But you know, we were just comparing ourselves to

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Speaker 5: each other because we didn't know, and we weren't white,

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Speaker 5: so we never got into the white gloves right, And

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Speaker 5: they would get in the clubs and play black music,

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Speaker 5: but they were never as funky as us, but they

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Speaker 5: got the gig. So I guess we thought we weren't

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Speaker 5: good enough.

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Speaker 1: I have to say that.

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Speaker 2: Maybe once or twice a year I have to go

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Speaker 2: to Minnesota and kiss a specific ring to get clearance

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Speaker 2: in person. Most times I make a weekend of it,

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Speaker 2: and on Sundays I go to where Margie I used

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Speaker 2: to sing bunkers, Yes, bunkers, And I don't mean it's

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Speaker 2: an insulting way, like I love the fact that it's still.

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Speaker 1: Like ninety one in there.

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Speaker 2: Yeah it's as it was, yeah, which I kind of

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Speaker 2: dug and but even as funky as it was, Like,

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Speaker 2: was that just the normal?

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Speaker 3: But no, that wasn't it?

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Speaker 5: Oh?

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Speaker 1: Okay, that was so not everybody was Sonny Thompson.

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Speaker 4: No, no, oh god damn certainly not Sonny Thompson. Hell no, yeah, yeah, yeah,

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Speaker 4: I love no Sonny times in the debot of Funk

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Speaker 4: like he puts then, because.

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Speaker 1: He's the nicest guy to be in DMS and all

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Speaker 1: that stuff, I'm.

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Speaker 5: Like, overly ridiculous. As a musician. Yeah, wow, he's a

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Speaker 5: savant as a musician. He was playing the based upside down,

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00:20:01,359 --> 00:20:04,720
Speaker 5: played the guitar upside down. People don't know he's a

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Speaker 5: great singer. I spoke to him a few weeks ago.

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Speaker 5: It's like, man, people don't even know, like all your talent. Yeah,

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Speaker 5: Prince made you a bass player, but that's not what he.

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Speaker 3: Taught Prince how to play.

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Speaker 1: Get just what I was gonna say it.

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Speaker 5: Okay, So that was different because they were the different guys.

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Speaker 5: Sonny was one of those guys, Prince was one of

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Speaker 5: those guys, and everybody else was kind of regular. You know,

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Speaker 5: you had Andre Simone, who was a great musician, you know,

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Speaker 5: just all the charisma in the world, could play his

389
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Speaker 5: ass off, you know, look good, you know, but on

390
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Speaker 5: the stage with Prince, who was super dope in every way.

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Speaker 5: He's gonna give Prince some competition, you know, because the

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Speaker 5: girls are gonna be hollering for Prince, but they're gonna

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Speaker 5: be hollering just as a loud for Andre Simone.

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Speaker 1: No, yeah, I can attest you. O.

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Speaker 2: Why was Shanese and Ruben perfect fits for this particular review?

396
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Speaker 2: And how many music are there in total for this project?

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Speaker 1: Oh?

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Speaker 4: In the band? Okay, so yeah, the band is real.

399
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Speaker 4: We're leaning. Mean we got literally drummer, keyboards and guitar.

400
00:21:10,800 --> 00:21:13,760
Speaker 4: Terry handle's the bass. I handled the keyboards, and then

401
00:21:13,880 --> 00:21:16,840
Speaker 4: rub one keyboard player, one keyboard player, and then myself.

402
00:21:17,400 --> 00:21:18,760
Speaker 4: Oh yeah so that's too.

403
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Speaker 3: I count myself as a one keyboard player. That's super dope.

404
00:21:22,280 --> 00:21:25,760
Speaker 1: Yeah, super dope and dope. He's mushysical director. Yeah, okay,

405
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Speaker 1: I mean what else you know, like somebody got pressed.

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Speaker 4: Exactly. So here's the thing. Because of the range and

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00:21:34,520 --> 00:21:38,520
Speaker 4: repertoire that you have to do if you're looking for

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Speaker 4: someone that can sing and make and convincingly sing by

409
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Speaker 4: the way. It's not like copying the way it was

410
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Speaker 4: sung necessarily, but who can sing it make it their own,

411
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Speaker 4: But you know, give it that respect of you know,

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Speaker 4: hitting those notes correctly and hitting those things the way

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Speaker 4: that people want to sing along with the song, because

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Speaker 4: that's the thing you you want to give people the

415
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Speaker 4: memory of what it is. So you need somebody.

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Speaker 1: He was versatile and Ruben stuttered.

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Speaker 4: Besides obviously being an American Idol winner, the first one,

418
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Speaker 4: which is pretty cool, he can handle when we say

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Speaker 4: we're gonna do an Alexandra O'Neil song, We're gonna do

420
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Speaker 4: an Usher song, we're gonna do a New Edition song,

421
00:22:16,520 --> 00:22:20,200
Speaker 4: We're gonna do Johnny gillsong, so on and so forth,

422
00:22:20,440 --> 00:22:24,119
Speaker 4: and he can handle it all. And he can handle

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00:22:24,200 --> 00:22:29,399
Speaker 4: up tempos as well as ballads. And he's a great entertainer.

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Speaker 4: I don't know you've ever seen his Luther show that

425
00:22:31,720 --> 00:22:34,840
Speaker 4: he does, but he's a great entertainer. He's great with

426
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Speaker 4: the audience. They fall in love with him, and so

427
00:22:37,680 --> 00:22:40,520
Speaker 4: he was perfect for the male side of it. For

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Speaker 4: the female side, the toughest person to sing is Janet.

429
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Speaker 4: Janet is very specific in the way she breathes, in

430
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Speaker 4: the way she finishes her notes, and all that kind

431
00:22:51,960 --> 00:22:56,160
Speaker 4: of stuff. Shawnee besides being a Star Search winner, which

432
00:22:56,160 --> 00:22:59,240
Speaker 4: is interesting because Star Search is now back, but she

433
00:22:59,400 --> 00:23:02,200
Speaker 4: once starts when she was, you know, ten years older whatever,

434
00:23:02,200 --> 00:23:05,520
Speaker 4: She was really young. But she also then signed to

435
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Speaker 4: A and M Records. John McClain signed her to an

436
00:23:07,440 --> 00:23:10,320
Speaker 4: M Records, the elusive John MacLean, the elusive John McLain.

437
00:23:10,440 --> 00:23:15,040
Speaker 4: And so so she was like a Janet disciple, like

438
00:23:15,119 --> 00:23:20,679
Speaker 4: she knew every Janet note, every run, every choreography step.

439
00:23:20,960 --> 00:23:24,560
Speaker 4: She knew everything. And so once again, when we're trying

440
00:23:24,600 --> 00:23:27,400
Speaker 4: to do those songs and we need somebody that can

441
00:23:27,440 --> 00:23:31,639
Speaker 4: really dig into those and know the detail of the

442
00:23:31,680 --> 00:23:34,480
Speaker 4: way the phrasing happens and all that, Johnice was the

443
00:23:34,480 --> 00:23:37,520
Speaker 4: perfect person. But also you can throw her, you know,

444
00:23:37,600 --> 00:23:40,440
Speaker 4: Yolanda Adams, right, you can you know, you can throw

445
00:23:40,440 --> 00:23:42,480
Speaker 4: her Mary J. Blige, or you can throw all these

446
00:23:42,480 --> 00:23:45,479
Speaker 4: different singers, and she's got ranged she can do it.

447
00:23:45,520 --> 00:23:48,639
Speaker 4: So they're the perfect foundation for what we do. And

448
00:23:48,720 --> 00:23:52,200
Speaker 4: they have no fear, like literally we'll switch a song

449
00:23:52,280 --> 00:23:54,359
Speaker 4: or an arrangement up on the day that we're going

450
00:23:54,440 --> 00:23:57,240
Speaker 4: to do it and they're just into it. They're just like, Okay, yeah,

451
00:23:57,280 --> 00:23:59,200
Speaker 4: we got it, you know, so they're perfect.

452
00:23:59,280 --> 00:23:59,480
Speaker 1: Yeah.

453
00:23:59,480 --> 00:24:02,040
Speaker 2: When I found that Shiness was the singer, I was like, oh,

454
00:24:02,119 --> 00:24:05,280
Speaker 2: this is per actually weird enough. I think I found

455
00:24:05,320 --> 00:24:08,440
Speaker 2: out about the residency the day that Brian Lauren passed

456
00:24:08,440 --> 00:24:11,679
Speaker 2: away yes and shout out to So I went back

457
00:24:11,720 --> 00:24:14,640
Speaker 2: to listen to first record and realized like, oh man,

458
00:24:14,680 --> 00:24:15,440
Speaker 2: this is like the.

459
00:24:15,359 --> 00:24:17,440
Speaker 1: Perfect choice for this review.

460
00:24:18,160 --> 00:24:20,320
Speaker 2: All right, So I have questions to ask about a

461
00:24:20,359 --> 00:24:23,199
Speaker 2: few and yes, I'm not going to do the twelve

462
00:24:23,200 --> 00:24:29,520
Speaker 2: hour jamming lewis what I really want to do, but

463
00:24:29,560 --> 00:24:32,040
Speaker 2: I do have a few questions about some of your clients.

464
00:24:32,280 --> 00:24:33,760
Speaker 1: I want to start with that. So best band.

465
00:24:34,200 --> 00:24:36,919
Speaker 2: One thing I always wanted to know was, like, you know,

466
00:24:37,040 --> 00:24:40,560
Speaker 2: eighty two eighty three for me was like a transitional year,

467
00:24:41,119 --> 00:24:41,720
Speaker 2: especially for.

468
00:24:41,720 --> 00:24:42,440
Speaker 1: The Black band.

469
00:24:43,200 --> 00:24:46,640
Speaker 2: And this is a band that had three albums previous

470
00:24:46,680 --> 00:24:50,480
Speaker 2: before you guys came to them, and they were a

471
00:24:50,560 --> 00:24:53,000
Speaker 2: band in the studio. If you listen to those first

472
00:24:53,040 --> 00:24:56,040
Speaker 2: three records, I think right now we're dealing with to

473
00:24:56,280 --> 00:24:57,480
Speaker 2: AI or not AI.

474
00:24:58,040 --> 00:25:01,040
Speaker 1: The nineties was like to copy pas or not copy paste?

475
00:25:01,040 --> 00:25:01,320
Speaker 1: All right?

476
00:25:01,359 --> 00:25:03,080
Speaker 2: You did the course once and we'll just you know,

477
00:25:04,119 --> 00:25:06,760
Speaker 2: right in the eighties was to sample, not to sample,

478
00:25:07,280 --> 00:25:09,880
Speaker 2: But do you have to explain to a band like

479
00:25:10,040 --> 00:25:13,000
Speaker 2: we have drum machines now and technology that you're not

480
00:25:13,119 --> 00:25:16,520
Speaker 2: needed not not needed for it, but for you to

481
00:25:16,560 --> 00:25:18,320
Speaker 2: work your sauce? Like do you have to convince them

482
00:25:18,320 --> 00:25:20,120
Speaker 2: that you don't have to play this as a band

483
00:25:20,160 --> 00:25:22,320
Speaker 2: it will sound better the way that we're presenting it

484
00:25:22,320 --> 00:25:22,560
Speaker 2: to you.

485
00:25:23,280 --> 00:25:24,840
Speaker 5: I don't think we ever had to do that. I

486
00:25:24,880 --> 00:25:29,840
Speaker 5: think we just had ideas, concepts. So we were fans

487
00:25:29,880 --> 00:25:31,720
Speaker 5: of SOS. I mean, take your Time to do it

488
00:25:31,760 --> 00:25:34,240
Speaker 5: right was a huge hit, yeah right, you know, but

489
00:25:34,640 --> 00:25:37,120
Speaker 5: past that, I mean I don't even remember another song.

490
00:25:38,200 --> 00:25:41,480
Speaker 5: And so we had our ideas as fans of take

491
00:25:41,520 --> 00:25:44,399
Speaker 5: your Time doing writ in the SOS band and Mary

492
00:25:44,480 --> 00:25:47,840
Speaker 5: Davis in that voice kind of what we could do,

493
00:25:48,520 --> 00:25:52,120
Speaker 5: and at that time we it wasn't even an eight

494
00:25:52,200 --> 00:25:53,960
Speaker 5: h eight I think we had I think it was

495
00:25:53,960 --> 00:25:56,399
Speaker 5: a three or three. It was a little tiny, little

496
00:25:56,440 --> 00:26:00,600
Speaker 5: tiny drum machine that make basically the same sounds stay.

497
00:26:00,400 --> 00:26:01,040
Speaker 3: Eight oh eight.

498
00:26:01,160 --> 00:26:03,199
Speaker 5: But when we went to try to record it, we

499
00:26:03,240 --> 00:26:05,480
Speaker 5: could only do it out in stereo.

500
00:26:05,600 --> 00:26:07,399
Speaker 1: Out we could are not individuals.

501
00:26:07,440 --> 00:26:09,399
Speaker 5: We couldn't stem it out and there was no midy

502
00:26:09,440 --> 00:26:13,040
Speaker 5: for it, and so they brought an eight o eight

503
00:26:13,280 --> 00:26:15,280
Speaker 5: and that's how we got into doing eight o eight.

504
00:26:16,240 --> 00:26:18,879
Speaker 2: When the eight eight first arrived to you guys, is

505
00:26:18,920 --> 00:26:21,119
Speaker 2: it like well, I mean, you came from Prince World,

506
00:26:21,160 --> 00:26:23,399
Speaker 2: so obviously you know what a Len drum machine was.

507
00:26:23,480 --> 00:26:25,280
Speaker 1: Yes. Yes, But were you.

508
00:26:25,240 --> 00:26:29,359
Speaker 2: Guys totally one with us or was it as controversial

509
00:26:29,440 --> 00:26:30,359
Speaker 2: as AI is.

510
00:26:30,280 --> 00:26:32,560
Speaker 1: Now like musician.

511
00:26:32,760 --> 00:26:37,200
Speaker 5: No, it only really factored into a drummer's world because

512
00:26:37,240 --> 00:26:39,480
Speaker 5: some of the drummers were you're gonna use that drum

513
00:26:39,520 --> 00:26:42,960
Speaker 5: machine and hating on it just because they were threatened

514
00:26:43,560 --> 00:26:47,520
Speaker 5: in terms of the usability of it, because that that

515
00:26:47,680 --> 00:26:50,480
Speaker 5: meant that you didn't need a drummer, got it. But

516
00:26:50,840 --> 00:26:53,880
Speaker 5: as a bass player, I never liked drum machines because.

517
00:26:53,600 --> 00:26:56,160
Speaker 3: It doesn't move. It doesn't let me be slippery.

518
00:26:56,280 --> 00:26:57,440
Speaker 1: You have to be married to the drumm.

519
00:26:57,520 --> 00:27:00,400
Speaker 5: Yeah, it's gotta I gotta stay right with the beat

520
00:27:00,400 --> 00:27:02,719
Speaker 5: that that I can't got it.

521
00:27:02,800 --> 00:27:03,600
Speaker 3: I can't move it.

522
00:27:04,320 --> 00:27:07,520
Speaker 2: Okay, So I have to ask a question about and

523
00:27:07,640 --> 00:27:11,119
Speaker 2: I joke with you in this upside down with a side.

524
00:27:12,040 --> 00:27:15,800
Speaker 2: When Mary Davis got just be good to me? Was

525
00:27:15,800 --> 00:27:18,400
Speaker 2: she fine with it? Only because I think one day

526
00:27:18,440 --> 00:27:23,439
Speaker 2: it hit me that, like she's basically like I forgot

527
00:27:23,480 --> 00:27:27,400
Speaker 2: who I said to So Mary's cool like her man

528
00:27:27,440 --> 00:27:28,560
Speaker 2: having side chicks or whatever.

529
00:27:28,600 --> 00:27:30,800
Speaker 1: It's like, as long as he comes home to her,

530
00:27:30,840 --> 00:27:33,480
Speaker 1: that's all she said. Wow, she co signed that.

531
00:27:33,600 --> 00:27:36,640
Speaker 2: And the weird thing was someone listed like at least

532
00:27:36,640 --> 00:27:38,800
Speaker 2: five other songs like that, one of them being upside

533
00:27:38,840 --> 00:27:42,159
Speaker 2: Down by Dinah Ross. But at the time was a

534
00:27:42,240 --> 00:27:45,480
Speaker 2: song just so irresistible that there wasn't a protest for

535
00:27:45,600 --> 00:27:48,240
Speaker 2: Mary's in Like, wait a minute, I.

536
00:27:48,200 --> 00:27:52,200
Speaker 5: Don't think Mary ever protests did anything that we, okay

537
00:27:52,280 --> 00:27:55,200
Speaker 5: would suggest. But I think the sign of the times,

538
00:27:55,200 --> 00:27:58,200
Speaker 5: bro like just the women that I grew up, right,

539
00:27:58,840 --> 00:28:01,440
Speaker 5: is like I was raised by women, got it?

540
00:28:02,000 --> 00:28:03,200
Speaker 3: All the women were side.

541
00:28:03,000 --> 00:28:06,560
Speaker 2: Chicks, Oh dude, A product of.

542
00:28:08,080 --> 00:28:12,320
Speaker 1: Both of my parents, right, So.

543
00:28:12,359 --> 00:28:15,119
Speaker 3: Like I don't I don't know any different.

544
00:28:15,200 --> 00:28:17,840
Speaker 5: It's like that was accepted, you know, bring the check

545
00:28:17,880 --> 00:28:19,800
Speaker 5: home and I'll see you monday.

546
00:28:20,160 --> 00:28:20,359
Speaker 1: You know.

547
00:28:21,880 --> 00:28:25,200
Speaker 5: I was like this, they come home on Friday, drop

548
00:28:25,240 --> 00:28:27,600
Speaker 5: off the check, and I'm where you're going. I would

549
00:28:27,600 --> 00:28:30,440
Speaker 5: be out in the streets and then that's that's what

550
00:28:30,480 --> 00:28:33,320
Speaker 5: it was. But you know that's also where that that

551
00:28:33,440 --> 00:28:35,440
Speaker 5: song Who's making Love to the Old Lady? While you

552
00:28:35,560 --> 00:28:36,320
Speaker 5: was out making.

553
00:28:36,119 --> 00:28:36,960
Speaker 1: Love every joy?

554
00:28:37,320 --> 00:28:40,000
Speaker 2: Yes, that's right, all the jos out there, Yes, right

555
00:28:40,120 --> 00:28:44,040
Speaker 2: when you guys were taking on full albums entire projects.

556
00:28:44,440 --> 00:28:46,920
Speaker 2: Was there ever like double lapping in other words, like

557
00:28:46,960 --> 00:28:50,200
Speaker 2: when you're doing your fair album, are you also subsequently

558
00:28:50,240 --> 00:28:52,800
Speaker 2: working on heartbreak? Or was it always a role of

559
00:28:52,920 --> 00:28:56,480
Speaker 2: just one project at a time with our client and

560
00:28:56,520 --> 00:28:59,440
Speaker 2: when we're done, we'll book another.

561
00:29:01,520 --> 00:29:04,480
Speaker 5: It started out that way. It started out that way,

562
00:29:04,640 --> 00:29:07,000
Speaker 5: is you know, there wasn't that much work. I mean,

563
00:29:07,080 --> 00:29:10,080
Speaker 5: we were just doing the work that came, the opportunities

564
00:29:10,080 --> 00:29:10,480
Speaker 5: that came.

565
00:29:10,560 --> 00:29:13,480
Speaker 3: We try to meet the consideration at that point.

566
00:29:14,080 --> 00:29:16,440
Speaker 5: But it became a time where it was coming so

567
00:29:16,600 --> 00:29:20,080
Speaker 5: fast where we had to pull in friends and give

568
00:29:20,120 --> 00:29:23,040
Speaker 5: other opportunities out and we had to split.

569
00:29:22,800 --> 00:29:23,840
Speaker 3: Up sometimes, you know.

570
00:29:24,480 --> 00:29:27,160
Speaker 5: And sometimes I have this thing about being the sixth toe,

571
00:29:27,960 --> 00:29:31,880
Speaker 5: because I think you have though it's a bad thing

572
00:29:32,560 --> 00:29:34,880
Speaker 5: if you stay in that shoe too long, because it

573
00:29:34,920 --> 00:29:37,680
Speaker 5: doesn't allow like an artist like Janet to grow and

574
00:29:37,720 --> 00:29:41,280
Speaker 5: become the writer that she's become. So for me, writing

575
00:29:41,360 --> 00:29:44,840
Speaker 5: everything for Janet is not good because I want to

576
00:29:44,880 --> 00:29:47,480
Speaker 5: I want to hear Janet's voice, even if we have

577
00:29:47,560 --> 00:29:50,920
Speaker 5: to do things to alter to change it or correct

578
00:29:50,920 --> 00:29:53,880
Speaker 5: it or make it work, I still want to hear

579
00:29:53,920 --> 00:29:54,400
Speaker 5: her voice.

580
00:29:54,440 --> 00:29:57,600
Speaker 3: I want her ideas to be interjected, so you.

581
00:29:57,560 --> 00:30:01,520
Speaker 5: Know, her ownership of a project, or Usher's ownership of

582
00:30:01,560 --> 00:30:02,080
Speaker 5: a project.

583
00:30:02,160 --> 00:30:05,680
Speaker 3: It is just more involved. You get people like Maria.

584
00:30:05,440 --> 00:30:09,400
Speaker 5: Who just naturally is a great writer, or she learned

585
00:30:09,440 --> 00:30:11,920
Speaker 5: over the years I'm sure from somebody, but when we

586
00:30:12,000 --> 00:30:15,280
Speaker 5: start working with her, she was already accomplished, and that

587
00:30:15,400 --> 00:30:18,000
Speaker 5: was a whole different thing. So you don't need to

588
00:30:18,000 --> 00:30:20,560
Speaker 5: feed into it. But when I'm the sixth toe, I

589
00:30:20,600 --> 00:30:23,200
Speaker 5: try to move out and do something else.

590
00:30:23,880 --> 00:30:24,080
Speaker 1: Yep.

591
00:30:24,240 --> 00:30:26,240
Speaker 2: So there have been situations where you just work on

592
00:30:26,280 --> 00:30:29,000
Speaker 2: the music and be like you take it first and

593
00:30:29,000 --> 00:30:30,160
Speaker 2: then see what you get or.

594
00:30:31,520 --> 00:30:34,400
Speaker 5: Let them take it, yeah, and then see if I

595
00:30:34,440 --> 00:30:35,400
Speaker 5: can get something better.

596
00:30:35,760 --> 00:30:36,080
Speaker 1: Yeah.

597
00:30:36,320 --> 00:30:39,680
Speaker 4: Actually, Janet and Usher are great examples of kind of

598
00:30:39,720 --> 00:30:42,240
Speaker 4: the way that some of that would work. Now, we

599
00:30:42,280 --> 00:30:46,960
Speaker 4: would pretty much clear the calendars for Janet just because

600
00:30:47,000 --> 00:30:49,480
Speaker 4: we were always doing the whole albums. A lot of

601
00:30:49,520 --> 00:30:51,760
Speaker 4: times with the artists, we weren't doing the whole albums

602
00:30:52,080 --> 00:30:55,240
Speaker 4: with Janet, we were, and of course doing it under

603
00:30:55,320 --> 00:30:57,040
Speaker 4: a lot of scrutiny and a lot of you know,

604
00:30:57,320 --> 00:30:59,560
Speaker 4: and a lot to follow up, you know, because once

605
00:30:59,560 --> 00:31:01,400
Speaker 4: you have that first one, the follow up is always

606
00:31:01,440 --> 00:31:01,960
Speaker 4: the toughest.

607
00:31:02,840 --> 00:31:05,959
Speaker 2: Is there ever a deadline as far as I mean,

608
00:31:06,000 --> 00:31:09,880
Speaker 2: obviously I was assuming Janet, it's over when it's over, Well,

609
00:31:10,160 --> 00:31:10,840
Speaker 2: well no, but we.

610
00:31:10,800 --> 00:31:13,720
Speaker 4: Always tried to adhere to the deadlines. Now, back in

611
00:31:13,760 --> 00:31:15,720
Speaker 4: those days, you had to be done with the album

612
00:31:15,800 --> 00:31:18,400
Speaker 4: like three months before it actually came out for the press.

613
00:31:18,640 --> 00:31:19,080
Speaker 1: I remember.

614
00:31:19,120 --> 00:31:21,920
Speaker 4: The thing that was the most frustrating part of that

615
00:31:22,320 --> 00:31:26,320
Speaker 4: was not the recording, but the credits. There was such

616
00:31:26,360 --> 00:31:29,800
Speaker 4: a premium on making sure that the credits were correct,

617
00:31:29,960 --> 00:31:33,080
Speaker 4: and that was the thing. It's like, we don't need

618
00:31:33,080 --> 00:31:35,880
Speaker 4: you to turn in the actual music yet, but we

619
00:31:35,960 --> 00:31:38,200
Speaker 4: do need the credits, and it's like, and what if you.

620
00:31:38,200 --> 00:31:41,120
Speaker 2: Switch up last minute. I've been in that situation.

621
00:31:41,440 --> 00:31:41,640
Speaker 1: Yeah.

622
00:31:41,760 --> 00:31:43,920
Speaker 3: So that was just because the artwork had to be done.

623
00:31:44,080 --> 00:31:46,040
Speaker 1: Artwork, yeah, all those all those things.

624
00:31:46,120 --> 00:31:46,680
Speaker 3: That's funny.

625
00:31:46,720 --> 00:31:49,800
Speaker 5: Once you pressed up a bunch of artwork wrong and

626
00:31:50,320 --> 00:31:53,160
Speaker 5: you have to change it, there's just a lost leader.

627
00:31:52,960 --> 00:31:54,200
Speaker 1: Like got it gone?

628
00:31:54,560 --> 00:31:58,360
Speaker 4: But I think with Janet I think Terry in some ways,

629
00:31:58,600 --> 00:32:00,760
Speaker 4: and I hate to even use the now, but I

630
00:32:00,800 --> 00:32:03,160
Speaker 4: think in some ways he looked at Janet and I

631
00:32:03,400 --> 00:32:06,880
Speaker 4: and we had such a close kind of relationship, in

632
00:32:06,920 --> 00:32:10,120
Speaker 4: a close kind of bond that Terry would always kind

633
00:32:10,120 --> 00:32:13,160
Speaker 4: of be like, I'm here when you need me. You know,

634
00:32:13,680 --> 00:32:15,160
Speaker 4: I think I told you the story about living in

635
00:32:15,200 --> 00:32:17,320
Speaker 4: the world. They didn't make. So Jane and I were

636
00:32:17,360 --> 00:32:19,160
Speaker 4: in the studio working and then we saw some stuff

637
00:32:19,160 --> 00:32:21,880
Speaker 4: on CNN about a school shooting, right, and we're trying

638
00:32:21,920 --> 00:32:23,160
Speaker 4: to figure out, Oh, we got to write a song.

639
00:32:23,200 --> 00:32:24,640
Speaker 4: We got to figure that out. We got to figure

640
00:32:24,640 --> 00:32:27,160
Speaker 4: that out. Terry walks into the studio. He was building

641
00:32:27,200 --> 00:32:29,360
Speaker 4: our new studio at that point in time. He walks

642
00:32:29,360 --> 00:32:31,000
Speaker 4: in with a carpet sample in one hand and a

643
00:32:31,520 --> 00:32:34,080
Speaker 4: wallpaper in the other hand, and he goes, Hey, which

644
00:32:34,080 --> 00:32:36,800
Speaker 4: one of these do you think is the one. We're like, no, no, Terry,

645
00:32:36,840 --> 00:32:39,400
Speaker 4: we got this song, man, we got this idea. You know,

646
00:32:39,520 --> 00:32:41,280
Speaker 4: it's the kids, man, The kids are mess you know,

647
00:32:41,320 --> 00:32:43,440
Speaker 4: they're getting messed up and it's not their fault. And

648
00:32:43,480 --> 00:32:46,000
Speaker 4: we give this whole, big long dissertation of what the

649
00:32:46,040 --> 00:32:50,280
Speaker 4: song is, and Terry just goes living in the world.

650
00:32:50,040 --> 00:32:50,880
Speaker 1: They didn't make.

651
00:32:52,280 --> 00:32:55,120
Speaker 4: Who said yeah, and he goes in the conference room

652
00:32:55,200 --> 00:32:59,200
Speaker 4: about five ten minutes later, hands us the lyrics and goes, okay,

653
00:32:59,200 --> 00:33:00,400
Speaker 4: now which wallpaper and.

654
00:33:02,440 --> 00:33:02,560
Speaker 6: So.

655
00:33:03,240 --> 00:33:06,200
Speaker 4: But that was a case where you know, we said, oh,

656
00:33:06,200 --> 00:33:08,520
Speaker 4: we need Terry for this, like we're not going to

657
00:33:08,520 --> 00:33:12,320
Speaker 4: be able to figure this out. Vice versa with Usher.

658
00:33:12,960 --> 00:33:15,760
Speaker 4: So I worked with Usher first on the Kazam soundtrack

659
00:33:16,000 --> 00:33:18,720
Speaker 4: on Shack's movie. We did a song called swear I'm

660
00:33:18,720 --> 00:33:20,840
Speaker 4: in love Usher.

661
00:33:22,960 --> 00:33:26,800
Speaker 1: I've been on an airplanes so you know, there you go.

662
00:33:27,240 --> 00:33:30,200
Speaker 4: So Usher came up literally for the day and we

663
00:33:30,280 --> 00:33:32,160
Speaker 4: just did the song real quick, and Terry wasn't there,

664
00:33:32,160 --> 00:33:34,560
Speaker 4: and we did the song real quick, and so fast

665
00:33:34,600 --> 00:33:36,840
Speaker 4: forward maybe a year later or something like that, or

666
00:33:36,840 --> 00:33:39,720
Speaker 4: maybe a little later, and Terry literally came into my

667
00:33:39,800 --> 00:33:43,480
Speaker 4: office and said, Jim, I think I'm ready to retire.

668
00:33:44,240 --> 00:33:47,479
Speaker 4: M I was like, I said, yes, yeah, I'll let

669
00:33:47,560 --> 00:33:50,760
Speaker 4: Terry tell the story and then I'll wrap up the analogy.

670
00:33:50,320 --> 00:33:54,480
Speaker 2: Because music wasn't using English by this point. Well, no,

671
00:33:54,520 --> 00:33:56,960
Speaker 2: you come with your complete sentences in your poetry.

672
00:33:57,120 --> 00:34:02,080
Speaker 3: I mean, I'm simply complex. It's like just check it out.

673
00:34:02,240 --> 00:34:05,920
Speaker 5: Like I just started feeling like people were just phoning

674
00:34:05,960 --> 00:34:10,040
Speaker 5: it in. Nobody wanted to really work, nobody wanted to explore,

675
00:34:10,120 --> 00:34:12,520
Speaker 5: nobody wanted to do things outside.

676
00:34:12,040 --> 00:34:15,520
Speaker 3: Of the box. They just everybody was just phoned it in.

677
00:34:15,640 --> 00:34:17,160
Speaker 3: I didn't feel it anymore.

678
00:34:17,320 --> 00:34:20,319
Speaker 5: And you know, I'm one of those kind of people

679
00:34:20,360 --> 00:34:22,520
Speaker 5: where I feel like, if I make the perfect record,

680
00:34:22,560 --> 00:34:25,640
Speaker 5: that's the day I retire. And if I don't feel

681
00:34:25,680 --> 00:34:27,480
Speaker 5: like I can better what I used to do, then

682
00:34:27,560 --> 00:34:29,319
Speaker 5: I'm going to do something else because there's a lot

683
00:34:29,320 --> 00:34:32,200
Speaker 5: of things to do. So I just felt like I

684
00:34:32,239 --> 00:34:36,279
Speaker 5: wasn't progressing and nobody wanted to kind of inspire me

685
00:34:36,440 --> 00:34:39,560
Speaker 5: to do anything different. So I was like, yo, man,

686
00:34:39,600 --> 00:34:42,840
Speaker 5: I can I can do something different. Jam was like, well,

687
00:34:43,160 --> 00:34:46,920
Speaker 5: not me. I'm loving this whatever. But I told him that,

688
00:34:47,040 --> 00:34:51,200
Speaker 5: you know, just being candid, Man, I can't remember it.

689
00:34:51,239 --> 00:34:51,560
Speaker 1: I can't.

690
00:34:52,320 --> 00:34:55,880
Speaker 4: I'm going to put the well the album, I'll tell

691
00:34:55,920 --> 00:34:59,080
Speaker 4: you the album that derived from it was the eighty

692
00:34:59,080 --> 00:34:59,879
Speaker 4: seven on one album.

693
00:35:00,360 --> 00:35:05,800
Speaker 1: I said, it's yeah two thousand and one in the title. Yeah,

694
00:35:05,840 --> 00:35:06,319
Speaker 1: there you go.

695
00:35:06,800 --> 00:35:08,680
Speaker 4: So I said to Terry because he said nobody was

696
00:35:08,719 --> 00:35:10,799
Speaker 4: inspiring him and we and that's one of the things.

697
00:35:10,840 --> 00:35:13,480
Speaker 4: I mean, really the songs that we write come from

698
00:35:13,480 --> 00:35:16,720
Speaker 4: the inspiration of working with the artists, and I mentioned

699
00:35:16,800 --> 00:35:18,759
Speaker 4: Usher to Terry. I said, man, you got to get

700
00:35:18,760 --> 00:35:21,359
Speaker 4: with Usher. I said, this dude, you'd love him, You'd

701
00:35:21,400 --> 00:35:23,480
Speaker 4: love him. And I remember we had Usher come to

702
00:35:23,480 --> 00:35:26,680
Speaker 4: town actually initially to finish a song that he had

703
00:35:26,719 --> 00:35:31,160
Speaker 4: already started, and then that turned out so well that

704
00:35:31,360 --> 00:35:31,960
Speaker 4: I'm telling you.

705
00:35:32,000 --> 00:35:34,839
Speaker 1: When Usher and Terry met it.

706
00:35:34,880 --> 00:35:38,319
Speaker 4: Was like literally, you know, like love at first sight

707
00:35:38,920 --> 00:35:41,840
Speaker 4: got it because Usher had all these ideas and Terry could,

708
00:35:41,960 --> 00:35:44,200
Speaker 4: you know, even though he he has no filter, but

709
00:35:44,239 --> 00:35:46,400
Speaker 4: he can filter other people and he can go no, no, no,

710
00:35:46,480 --> 00:35:49,439
Speaker 4: Let's focus on this lyric and this melody and this

711
00:35:49,760 --> 00:35:52,080
Speaker 4: kind of stuff, right. And then there was a song

712
00:35:52,080 --> 00:35:53,920
Speaker 4: we had written for actually a girl that we ended

713
00:35:54,000 --> 00:35:57,239
Speaker 4: up not working with that. Terry said, Jim, remember that

714
00:35:57,320 --> 00:35:59,839
Speaker 4: song we had with that melody that went to dun

715
00:36:00,960 --> 00:36:02,680
Speaker 4: and whatever it was. I said, oh, yeah, I remember that.

716
00:36:02,719 --> 00:36:04,560
Speaker 4: He said I'm gonna do something with that. I'm gonna

717
00:36:04,560 --> 00:36:05,040
Speaker 4: do something with that.

718
00:36:05,880 --> 00:36:06,040
Speaker 1: Well.

719
00:36:06,040 --> 00:36:08,279
Speaker 4: By the time that evening ended, which was kind of

720
00:36:08,280 --> 00:36:10,560
Speaker 4: the three of us. The next day, when Usher came

721
00:36:10,600 --> 00:36:12,600
Speaker 4: back to the studio, I took my ass to the

722
00:36:12,640 --> 00:36:15,000
Speaker 4: other room because I did not need to be there.

723
00:36:15,200 --> 00:36:18,440
Speaker 4: They needed to have their time together. So in that case,

724
00:36:18,480 --> 00:36:21,840
Speaker 4: I was a six toe. And it was interesting because

725
00:36:21,960 --> 00:36:24,880
Speaker 4: Usher spoke on our There's a jam In Lewis documentary

726
00:36:24,880 --> 00:36:28,000
Speaker 4: that's being done, and one of the things I heard

727
00:36:28,080 --> 00:36:30,239
Speaker 4: Usher say that I never really knew until I heard

728
00:36:30,280 --> 00:36:33,560
Speaker 4: him say in the documentary was he thought I didn't

729
00:36:33,680 --> 00:36:36,520
Speaker 4: like him because I was never around.

730
00:36:38,080 --> 00:36:40,720
Speaker 1: And he would go to Terry. He go, Terry, where's

731
00:36:40,760 --> 00:36:43,839
Speaker 1: jam An He'd go, oh, He's over there. He's over there.

732
00:36:44,040 --> 00:36:45,839
Speaker 4: He's like, why did he never come around? He never

733
00:36:45,880 --> 00:36:48,200
Speaker 4: comes around? And then one day he wanted to do

734
00:36:48,280 --> 00:36:50,239
Speaker 4: a song that was like he wanted to do kind

735
00:36:50,280 --> 00:36:53,239
Speaker 4: of a tender love type of song, and he said

736
00:36:53,280 --> 00:36:54,640
Speaker 4: to Terry, man, I want to do one of those

737
00:36:54,680 --> 00:36:57,600
Speaker 4: tender love type, you know, ballads with the piano and stuff.

738
00:36:57,880 --> 00:36:59,719
Speaker 4: And then Terry goes, oh, you got to talk to

739
00:36:59,800 --> 00:37:03,000
Speaker 4: jam I'm about that, and so then he sends, you know,

740
00:37:03,080 --> 00:37:05,400
Speaker 4: Usher over to me and we ended up doing a

741
00:37:05,400 --> 00:37:08,120
Speaker 4: song can you Help Me God, which was yeah. So

742
00:37:08,360 --> 00:37:11,319
Speaker 4: at that point was when Usher realized that it was

743
00:37:11,360 --> 00:37:13,600
Speaker 4: just one of those things where I'm around if I'm needed,

744
00:37:14,280 --> 00:37:16,640
Speaker 4: but you guys don't really need me. You know, you

745
00:37:16,680 --> 00:37:19,640
Speaker 4: guys got it. You you have that that that magic.

746
00:37:31,320 --> 00:37:34,160
Speaker 2: When you take on a client. Do you have songs

747
00:37:34,200 --> 00:37:36,799
Speaker 2: already and like hear these songs? What do you think?

748
00:37:36,920 --> 00:37:38,680
Speaker 2: Or is it like do you do it on the

749
00:37:38,680 --> 00:37:41,360
Speaker 2: spot with him? Like do they want the horse and

750
00:37:41,400 --> 00:37:43,799
Speaker 2: pony show or that it's the mirrors of it all.

751
00:37:44,200 --> 00:37:45,360
Speaker 3: Definitely a combination.

752
00:37:45,719 --> 00:37:49,440
Speaker 4: Yeah, I mean we we always prided ourselves on the

753
00:37:49,440 --> 00:37:51,520
Speaker 4: best comblem we could ever get from an artist. When

754
00:37:51,719 --> 00:37:54,960
Speaker 4: would be when an artist would say, oh, I love this, this,

755
00:37:54,960 --> 00:37:57,400
Speaker 4: this is the way I should sound. And I remember

756
00:37:57,440 --> 00:38:00,719
Speaker 4: the best one though was Berry White. I remember on

757
00:38:00,840 --> 00:38:03,400
Speaker 4: Barry White. We were working at that point. We still

758
00:38:03,480 --> 00:38:06,000
Speaker 4: had Prospective Records, but we had taken over the whole

759
00:38:06,000 --> 00:38:08,000
Speaker 4: Black department of A and M Records because they were

760
00:38:08,040 --> 00:38:09,680
Speaker 4: shutting at that point, they were shutting down all the

761
00:38:09,680 --> 00:38:13,399
Speaker 4: black departments. This is like mid nineties, and so they said,

762
00:38:13,440 --> 00:38:15,239
Speaker 4: we'll keep the Black department if you guys want to

763
00:38:15,320 --> 00:38:17,000
Speaker 4: run it, and we didn't want to run it.

764
00:38:17,160 --> 00:38:17,799
Speaker 1: But wait, they.

765
00:38:19,640 --> 00:38:22,920
Speaker 4: At the time was there, Yeah, but it was happening.

766
00:38:23,000 --> 00:38:26,120
Speaker 4: It was it was a industry wide thing that was happening.

767
00:38:26,280 --> 00:38:28,399
Speaker 4: They were getting rid of the black divisions at all

768
00:38:28,440 --> 00:38:31,760
Speaker 4: the labels and so oh yeah, because.

769
00:38:31,560 --> 00:38:33,160
Speaker 2: We were the getting pigs for Hey, we're going to

770
00:38:33,200 --> 00:38:35,880
Speaker 2: start a black division. So I just thought like there

771
00:38:35,920 --> 00:38:38,080
Speaker 2: was a fever out there. I didn't realize that there

772
00:38:38,080 --> 00:38:38,600
Speaker 2: was a drought.

773
00:38:38,680 --> 00:38:40,200
Speaker 1: Oh yeah, No, there was definitely a drought.

774
00:38:40,719 --> 00:38:44,120
Speaker 5: And so well, black music had become pop music at

775
00:38:44,120 --> 00:38:47,480
Speaker 5: that point too, got it. So the pop department was

776
00:38:47,480 --> 00:38:50,920
Speaker 5: taking all that revenue and shoving it back into their department,

777
00:38:51,840 --> 00:38:54,120
Speaker 5: and they were getting rid of the urban department because

778
00:38:54,560 --> 00:38:56,360
Speaker 5: all of us pop anyway got it.

779
00:38:57,080 --> 00:39:00,200
Speaker 4: So we ended up on Barry White. We said, well,

780
00:39:00,200 --> 00:39:03,279
Speaker 4: produce a couple of songs on Barry. And we did

781
00:39:03,320 --> 00:39:06,160
Speaker 4: these two songs, and I remember, you know, I would

782
00:39:06,160 --> 00:39:09,239
Speaker 4: always do the demos of the songs, right, So I'm

783
00:39:09,280 --> 00:39:12,680
Speaker 4: on there like yeah, baby that I'm doing my very

784
00:39:12,680 --> 00:39:14,719
Speaker 4: white voice the whole thing.

785
00:39:14,840 --> 00:39:15,040
Speaker 1: Right.

786
00:39:15,239 --> 00:39:17,680
Speaker 4: So he comes to town, we play him the song

787
00:39:18,600 --> 00:39:22,000
Speaker 4: and when the song goes off, he just doesn't say anything.

788
00:39:22,560 --> 00:39:24,560
Speaker 4: And we always called him mister White. He was never buried.

789
00:39:24,560 --> 00:39:26,759
Speaker 4: It was mister White. He said, mister White, what do

790
00:39:26,800 --> 00:39:29,680
Speaker 4: you think. We sat there for a second, then he

791
00:39:29,760 --> 00:39:35,719
Speaker 4: reared back with this big laugh. And he said, oh, sounds.

792
00:39:35,400 --> 00:39:40,440
Speaker 1: Like me, and we said, sounds like me.

793
00:39:41,280 --> 00:39:43,759
Speaker 4: That's what you want all artists to feel if we

794
00:39:43,800 --> 00:39:45,680
Speaker 4: wrote a song for them, we would want them to

795
00:39:45,680 --> 00:39:48,520
Speaker 4: feel like that's their song. And he felt like that's

796
00:39:48,920 --> 00:39:51,239
Speaker 4: my song. When he said that, you knew that was

797
00:39:51,239 --> 00:39:51,799
Speaker 4: the green light.

798
00:39:51,880 --> 00:39:53,759
Speaker 1: Yes see, I would have been scared because I wanted

799
00:39:53,840 --> 00:39:57,239
Speaker 1: to say it feels like me. Yeah, so okay, he says,

800
00:39:57,320 --> 00:39:58,000
Speaker 1: sounds like me.

801
00:39:58,239 --> 00:40:01,680
Speaker 2: I'm about to say you nailed it, actually, and how

802
00:40:01,719 --> 00:40:06,080
Speaker 2: you guys captured it was you took it from a

803
00:40:06,200 --> 00:40:10,640
Speaker 2: very specific sounding Barry White song that wouldn't be captain obviously.

804
00:40:10,640 --> 00:40:12,920
Speaker 2: I think anyone else would try to instantly try to

805
00:40:13,000 --> 00:40:15,400
Speaker 2: bow chick awhow out their way and said I'm going

806
00:40:15,440 --> 00:40:17,960
Speaker 2: to love you little yes, yeah, like if it were

807
00:40:18,040 --> 00:40:22,360
Speaker 2: Dan Hartman. Oh God, you know that I got you.

808
00:40:22,400 --> 00:40:22,799
Speaker 1: I got you.

809
00:40:22,680 --> 00:40:25,480
Speaker 2: You feel your gravity record with Jess Brown exactly. I

810
00:40:25,480 --> 00:40:27,600
Speaker 2: actually thought it was very tasteful for how you you

811
00:40:27,640 --> 00:40:28,839
Speaker 2: guys handled that we had.

812
00:40:28,960 --> 00:40:31,479
Speaker 4: I'll tell you one more quick one that we felt

813
00:40:31,520 --> 00:40:33,840
Speaker 4: the same way about was we love the Isley Brothers

814
00:40:33,920 --> 00:40:38,920
Speaker 4: and Chris Jasper for me, keyboard wise, moviie, that's my

815
00:40:38,920 --> 00:40:41,640
Speaker 4: my guru as far as writing an inspiration for the

816
00:40:41,680 --> 00:40:44,480
Speaker 4: way that I did chords and all that stuff. And

817
00:40:44,520 --> 00:40:46,279
Speaker 4: I remember when the Isley Brothers were going to come

818
00:40:46,320 --> 00:40:48,240
Speaker 4: to town and we had this song called.

819
00:40:48,040 --> 00:40:48,880
Speaker 1: You're All I Need.

820
00:40:49,640 --> 00:40:53,160
Speaker 4: And I remember I hadn't even sung the demo to

821
00:40:53,200 --> 00:40:56,520
Speaker 4: it yet, so when we started playing it, I started singing,

822
00:40:56,760 --> 00:40:59,600
Speaker 4: and so it was Ernie and Ron in the room

823
00:41:00,120 --> 00:41:02,239
Speaker 4: and I start singing and I go, dad.

824
00:41:04,560 --> 00:41:09,560
Speaker 1: Like that, and then Ron goes like he knew where

825
00:41:09,560 --> 00:41:10,920
Speaker 1: it was going. I got it.

826
00:41:10,960 --> 00:41:14,200
Speaker 4: And then Ernie goes, you got an acoustic guitar. It

827
00:41:14,280 --> 00:41:17,440
Speaker 4: was like yeah, and he starts playing, and that's when

828
00:41:17,480 --> 00:41:19,560
Speaker 4: you knew you nailed it. And that's one of the

829
00:41:19,560 --> 00:41:23,759
Speaker 4: things I think is probably our superpower as writers and

830
00:41:23,800 --> 00:41:28,080
Speaker 4: producers is being able to analyze what somebody has done before,

831
00:41:28,160 --> 00:41:32,160
Speaker 4: what worked, what didn't work, and then making that song

832
00:41:32,400 --> 00:41:35,839
Speaker 4: it feels like them Linel Ritchie was a funny one

833
00:41:35,880 --> 00:41:38,759
Speaker 4: because you didn't realize we did the players right.

834
00:41:38,840 --> 00:41:41,719
Speaker 1: There's two versions of the chat. Yeah. Now I feel

835
00:41:41,760 --> 00:41:42,960
Speaker 1: bad that he's not in the chat.

836
00:41:43,800 --> 00:41:47,360
Speaker 2: I have a chat group of every producer known, but

837
00:41:47,400 --> 00:41:49,120
Speaker 2: I made a specific one just for him to come

838
00:41:49,160 --> 00:41:53,799
Speaker 2: in and whatever but when we listened to I Want

839
00:41:53,840 --> 00:41:57,879
Speaker 2: to Take You Down, I was actually mad as shit,

840
00:41:58,640 --> 00:42:02,000
Speaker 2: Like that's the first time I got mad at you guys.

841
00:42:02,160 --> 00:42:04,680
Speaker 2: And why would they give him such a banger like that.

842
00:42:04,800 --> 00:42:07,200
Speaker 1: I don't know. It's just like, but.

843
00:42:07,200 --> 00:42:09,040
Speaker 4: See the first song we did with Lionel, because we

844
00:42:09,080 --> 00:42:11,440
Speaker 4: said with Lionel, we want to take you back to

845
00:42:11,480 --> 00:42:12,520
Speaker 4: the Commodore's days.

846
00:42:12,719 --> 00:42:14,080
Speaker 1: Yeah, and we did a.

847
00:42:14,000 --> 00:42:18,160
Speaker 4: Song called Don't Want to Lose You the Soul Train video, Yes, exactly, and.

848
00:42:18,160 --> 00:42:21,360
Speaker 1: He when he heard that song, he once again he

849
00:42:21,480 --> 00:42:23,239
Speaker 1: just was kind of like he just kind of listening.

850
00:42:23,000 --> 00:42:26,760
Speaker 4: And I'm like, oh, oh girl, and I'm doing basically

851
00:42:26,800 --> 00:42:31,400
Speaker 4: Lonel Richie and he goes man, he said, y'all literally

852
00:42:31,520 --> 00:42:34,479
Speaker 4: just wrote like my song, Like I know that's my song,

853
00:42:34,560 --> 00:42:36,600
Speaker 4: but I couldn't write it because I've already written that song.

854
00:42:36,640 --> 00:42:39,200
Speaker 1: But you guys wrote a new my song. You know,

855
00:42:39,480 --> 00:42:39,879
Speaker 1: got it.

856
00:42:40,080 --> 00:42:42,560
Speaker 4: And that was always the best compliment to me that

857
00:42:42,640 --> 00:42:45,000
Speaker 4: you would get from people with any any artists.

858
00:42:45,160 --> 00:42:47,759
Speaker 2: Okay, so when you take on a client, and I

859
00:42:47,880 --> 00:42:51,320
Speaker 2: know sometimes a client will come in with a team,

860
00:42:52,239 --> 00:42:57,400
Speaker 2: a best friend, a sibling, a manager micromanaging an r

861
00:42:57,520 --> 00:43:01,200
Speaker 2: or whatever. I'm certain now you're your Jedi mind trick

862
00:43:01,239 --> 00:43:05,600
Speaker 2: games are like superb Yeah, I was going to say,

863
00:43:06,480 --> 00:43:10,160
Speaker 2: without naming a name, how do you communicate with each

864
00:43:10,160 --> 00:43:15,920
Speaker 2: other when you want to have a conversation, but you

865
00:43:16,040 --> 00:43:18,920
Speaker 2: have to communicate without letting off that you're going to

866
00:43:19,040 --> 00:43:21,880
Speaker 2: Jedi mind trick them, or you know, just do one

867
00:43:21,920 --> 00:43:23,280
Speaker 2: more take or.

868
00:43:23,680 --> 00:43:24,440
Speaker 3: Just let it flow.

869
00:43:24,520 --> 00:43:28,640
Speaker 5: Man, you know you don't Jedi mind trick that that

870
00:43:28,760 --> 00:43:32,000
Speaker 5: is the Jedi mind trick. Oh yeah, okay, you just

871
00:43:32,080 --> 00:43:35,880
Speaker 5: let it flow. Like I'm not looking for anything perfect.

872
00:43:35,920 --> 00:43:39,000
Speaker 5: Everything to me is perfectly imperfect anyway, So that's just

873
00:43:39,080 --> 00:43:42,640
Speaker 5: part of what it is. And we just let it flow.

874
00:43:42,840 --> 00:43:46,879
Speaker 5: And what's best wins. So I love when artists think

875
00:43:46,920 --> 00:43:51,120
Speaker 5: they know, are you either give somebody some rope to the.

876
00:43:51,400 --> 00:43:54,640
Speaker 3: Man, I'll let you go out there, I'll let you

877
00:43:54,680 --> 00:43:55,800
Speaker 3: go and I'll listen.

878
00:43:56,200 --> 00:43:58,879
Speaker 5: And I said, okay, one more time, one more time,

879
00:43:59,160 --> 00:44:02,520
Speaker 5: ten more time. Pretre is it how you like it yet?

880
00:44:02,680 --> 00:44:05,640
Speaker 3: M Oh you got it? Okay, why don't we try

881
00:44:05,680 --> 00:44:06,160
Speaker 3: it my way?

882
00:44:06,320 --> 00:44:06,680
Speaker 1: All right?

883
00:44:06,760 --> 00:44:08,879
Speaker 3: So let's get it. That's how I am.

884
00:44:09,120 --> 00:44:11,080
Speaker 2: I'm that way with usher, by the way, but that's

885
00:44:11,120 --> 00:44:13,600
Speaker 2: just on the But who is a stubborn artist that

886
00:44:13,600 --> 00:44:16,000
Speaker 2: you don't mind saying is stubborn as far as like

887
00:44:16,120 --> 00:44:20,040
Speaker 2: wanting to do chase perfection or this isn't right.

888
00:44:20,719 --> 00:44:25,080
Speaker 5: Well, I mean, hey, Shaka was the other way. I

889
00:44:25,120 --> 00:44:27,480
Speaker 5: did enough, that's enough, but it's not right.

890
00:44:27,520 --> 00:44:27,800
Speaker 1: Baby.

891
00:44:27,880 --> 00:44:31,120
Speaker 2: Oh I forgot those Oh you forgot. There's there's the

892
00:44:31,480 --> 00:44:32,719
Speaker 2: one or two takes and that's it.

893
00:44:32,800 --> 00:44:34,120
Speaker 1: That's it. You know you got it.

894
00:44:34,160 --> 00:44:36,439
Speaker 5: But yeah, but your timing is bad and your pitch

895
00:44:36,560 --> 00:44:38,920
Speaker 5: is bad. And certainly I can tune it, but you

896
00:44:38,960 --> 00:44:40,680
Speaker 5: can sing it faster than I can tune it.

897
00:44:40,960 --> 00:44:43,840
Speaker 2: Can you say that what you pulled on punches? No,

898
00:44:44,440 --> 00:44:46,359
Speaker 2: you're the good back cop of being back cop.

899
00:44:46,480 --> 00:44:49,600
Speaker 3: No, I'm just honest. You know, you know, fact doesn't

900
00:44:49,640 --> 00:44:50,480
Speaker 3: care how you feel.

901
00:44:51,160 --> 00:44:52,960
Speaker 5: I'm gonna say what I got to say, and you

902
00:44:52,960 --> 00:44:54,920
Speaker 5: could take it out you want to take it now.

903
00:44:55,360 --> 00:44:56,720
Speaker 3: This is gonna be your record forever.

904
00:44:57,160 --> 00:44:58,960
Speaker 5: Yes, I'm gonna be done with it in a couple

905
00:44:59,000 --> 00:45:01,040
Speaker 5: of hours here, if this is what you're gonna give me.

906
00:45:01,160 --> 00:45:04,680
Speaker 1: Have you said these words of people? Yes, yes, I'm not.

907
00:45:05,200 --> 00:45:08,120
Speaker 5: I'm not trying to argue with people about stuff this

908
00:45:08,560 --> 00:45:11,399
Speaker 5: arm Well, we all try to win the record game,

909
00:45:11,520 --> 00:45:13,360
Speaker 5: like we all try to make the best record we

910
00:45:13,440 --> 00:45:14,120
Speaker 5: possibly can.

911
00:45:14,560 --> 00:45:15,239
Speaker 1: I asked Sting.

912
00:45:15,320 --> 00:45:18,080
Speaker 5: We work with Sting on some products, okay, And I

913
00:45:18,120 --> 00:45:20,080
Speaker 5: asked thing. I said, well, how many times do you

914
00:45:20,160 --> 00:45:22,960
Speaker 5: like to sing something? He said not very many? And

915
00:45:23,040 --> 00:45:26,920
Speaker 5: I said, all right, bro right, So that's that's what

916
00:45:27,080 --> 00:45:29,360
Speaker 5: that's whatever it is, that's what it's gonna be.

917
00:45:29,680 --> 00:45:31,480
Speaker 3: So this is the best we gonna get.

918
00:45:32,600 --> 00:45:35,319
Speaker 1: Wait a minute, okay, I've not heard this song. Oh

919
00:45:35,360 --> 00:45:38,200
Speaker 1: it's called my Funny Friend in Me, Oh from the kitchen,

920
00:45:38,320 --> 00:45:41,640
Speaker 1: you know what? I think I went to the premiums

921
00:45:42,040 --> 00:45:47,319
Speaker 1: Premier No, No, what's the Disney theater on? Yeah, the

922
00:45:47,640 --> 00:45:50,000
Speaker 1: El Capitan, right, I think.

923
00:45:49,840 --> 00:45:52,320
Speaker 2: I went there once because I didn't know this existed,

924
00:45:53,000 --> 00:45:54,680
Speaker 2: and I had to go to Disney.

925
00:45:54,440 --> 00:45:56,759
Speaker 1: For some reason. I didn't know the whole thing, like

926
00:45:56,760 --> 00:45:58,560
Speaker 1: they do a magic show, none of that, like ladies

927
00:45:58,560 --> 00:46:01,240
Speaker 1: and gentlemen. Sting and he came and performed this song.

928
00:46:01,480 --> 00:46:02,600
Speaker 1: We performed with him.

929
00:46:02,800 --> 00:46:03,440
Speaker 3: Did I see you?

930
00:46:03,480 --> 00:46:04,399
Speaker 1: Guys? You saw us?

931
00:46:04,440 --> 00:46:06,560
Speaker 4: And that was the thing. When the movie ended, the

932
00:46:06,640 --> 00:46:09,439
Speaker 4: screen came up right and we started playing. I didn't

933
00:46:09,440 --> 00:46:11,759
Speaker 4: know you were there? Yes, yeah, because my son was there.

934
00:46:11,840 --> 00:46:14,200
Speaker 4: Tyler had just been born. He was maybe four years old.

935
00:46:14,239 --> 00:46:16,040
Speaker 1: Five years old. I had to pull for some reason.

936
00:46:16,080 --> 00:46:19,040
Speaker 1: I don't know what it was. Yeah, but okay, yeah,

937
00:46:19,160 --> 00:46:21,920
Speaker 1: how about that? Wow, I didn't realize it.

938
00:46:21,920 --> 00:46:25,759
Speaker 2: Sting is one of my favorite incorrect harmony person if

939
00:46:25,760 --> 00:46:28,879
Speaker 2: you're a fan of the Police, his harmony choices are

940
00:46:28,960 --> 00:46:32,880
Speaker 2: so they're correct, but they're incorrect because he doesn't do

941
00:46:32,920 --> 00:46:33,640
Speaker 2: the full chord.

942
00:46:33,680 --> 00:46:35,359
Speaker 1: He might do like the yes, the.

943
00:46:35,320 --> 00:46:38,080
Speaker 2: First and the fifth and the seventh chord. That's flash yes,

944
00:46:38,800 --> 00:46:39,680
Speaker 2: but I love it.

945
00:46:39,880 --> 00:46:43,200
Speaker 1: In that case, if someone has a trademark or something

946
00:46:43,239 --> 00:46:45,680
Speaker 1: like that, like again, do you just let him roll

947
00:46:45,719 --> 00:46:47,120
Speaker 1: with it or absolutely?

948
00:46:47,239 --> 00:46:49,799
Speaker 5: That's the style matters more than anything to me. I

949
00:46:49,840 --> 00:46:54,640
Speaker 5: mean correct, not correct. You know that's arbitrary. But you know,

950
00:46:54,680 --> 00:46:57,399
Speaker 5: if you got a style, man, if people can recognize

951
00:46:57,440 --> 00:47:01,080
Speaker 5: your work right away, they hear a few notes and

952
00:47:01,120 --> 00:47:05,440
Speaker 5: they say all that, and then you got something. Now

953
00:47:05,480 --> 00:47:08,239
Speaker 5: we got something to work with. Now let's figure out

954
00:47:08,320 --> 00:47:10,600
Speaker 5: how to make that style into something cool.

955
00:47:11,719 --> 00:47:11,920
Speaker 3: You know.

956
00:47:12,040 --> 00:47:13,520
Speaker 4: I think when we were working I remember when we

957
00:47:13,520 --> 00:47:16,239
Speaker 4: were working with Mary J. Blige, and I remember we

958
00:47:16,280 --> 00:47:17,880
Speaker 4: played her a bunch of songs because we had done

959
00:47:17,920 --> 00:47:20,040
Speaker 4: a bunch of whole all kinds of different kind of

960
00:47:20,080 --> 00:47:22,200
Speaker 4: sounding songs for her because we were trying to expand

961
00:47:22,200 --> 00:47:24,400
Speaker 4: you know, what she was doing, and she didn't like

962
00:47:24,440 --> 00:47:27,279
Speaker 4: any of them, and she was just like and we.

963
00:47:27,160 --> 00:47:28,719
Speaker 1: Were like, well, Mary, what are you looking for it?

964
00:47:28,840 --> 00:47:31,960
Speaker 1: How do you take rejection? I'm cool with it?

965
00:47:32,280 --> 00:47:32,760
Speaker 3: Absolutely.

966
00:47:32,880 --> 00:47:36,520
Speaker 2: Yeah, we never took you don't have someone has someone

967
00:47:36,560 --> 00:47:38,799
Speaker 2: turned down a song that like you later gave to

968
00:47:38,840 --> 00:47:41,680
Speaker 2: someone else's like it worked?

969
00:47:41,960 --> 00:47:42,680
Speaker 1: Probably it?

970
00:47:42,760 --> 00:47:45,040
Speaker 4: Probably so, although we didn't do a lot of that

971
00:47:45,080 --> 00:47:48,960
Speaker 4: because we were so specific in making our songs for

972
00:47:49,080 --> 00:47:53,279
Speaker 4: a specific artists. The one I mentioned earlier that ended

973
00:47:53,360 --> 00:47:55,799
Speaker 4: up with with Usher, which ended up being a song

974
00:47:55,840 --> 00:47:58,880
Speaker 4: called Towirk It Out, which was a pretty big record

975
00:47:58,920 --> 00:48:01,360
Speaker 4: for him just as an album cut, But that was

976
00:48:01,360 --> 00:48:03,319
Speaker 4: for another artist. But it was just a melody and

977
00:48:03,360 --> 00:48:05,640
Speaker 4: we had never really got with that artist other than

978
00:48:05,680 --> 00:48:08,040
Speaker 4: we did get it was her artist. We got with

979
00:48:08,120 --> 00:48:10,840
Speaker 4: her one time and just were like, it just was

980
00:48:10,960 --> 00:48:11,840
Speaker 4: it wasn't compatible.

981
00:48:12,080 --> 00:48:12,440
Speaker 1: Got it.

982
00:48:12,440 --> 00:48:14,040
Speaker 4: It was one where somebody thought it would be a

983
00:48:14,040 --> 00:48:16,160
Speaker 4: great idea if we got together and it just wasn't.

984
00:48:16,600 --> 00:48:19,840
Speaker 1: How long in the process do you know if it's

985
00:48:19,880 --> 00:48:20,640
Speaker 1: not going to work?

986
00:48:21,920 --> 00:48:24,000
Speaker 4: I think you know pretty much immediately. But we would

987
00:48:24,000 --> 00:48:27,120
Speaker 4: do our homework before we would even work with an artist,

988
00:48:27,200 --> 00:48:30,239
Speaker 4: we'd always have long conversation or we'd try to meet

989
00:48:30,280 --> 00:48:32,520
Speaker 4: with them and we would try to see I mean,

990
00:48:32,560 --> 00:48:35,720
Speaker 4: and having conversations with them. Everybody has their own dialect,

991
00:48:35,760 --> 00:48:37,759
Speaker 4: their own way that they talk, their own phrases and

992
00:48:37,800 --> 00:48:40,160
Speaker 4: those kinds of things, and we would always kind of

993
00:48:40,160 --> 00:48:42,680
Speaker 4: sit and talk, and as the talking was happening, there'd

994
00:48:42,680 --> 00:48:45,080
Speaker 4: be certain phrases or certain ways they say, or certain

995
00:48:45,120 --> 00:48:47,640
Speaker 4: subjects they'd want to talk about, and then we would

996
00:48:47,920 --> 00:48:49,759
Speaker 4: then you know, Terry would be writing stuff down. I

997
00:48:49,800 --> 00:48:52,040
Speaker 4: might be sitting at a piano and just playing some chords,

998
00:48:52,360 --> 00:48:54,799
Speaker 4: and if if all of a sudden in the conversation,

999
00:48:55,360 --> 00:48:56,000
Speaker 4: they'll go.

1000
00:48:56,760 --> 00:48:57,680
Speaker 1: Wait, what's that? What's that?

1001
00:48:57,719 --> 00:49:01,080
Speaker 4: What's that you just played? Be like, oh, that was

1002
00:49:01,520 --> 00:49:04,120
Speaker 4: just this, and then Terry will go do you hear

1003
00:49:04,160 --> 00:49:06,200
Speaker 4: something for that? And they might hit a little bit

1004
00:49:06,200 --> 00:49:08,480
Speaker 4: of a melody and something, and then Terry would go, well,

1005
00:49:08,480 --> 00:49:11,680
Speaker 4: that sounds like, you know, I love something blah blah blah.

1006
00:49:11,719 --> 00:49:15,040
Speaker 4: And so when those kinds of organic things happen, I

1007
00:49:15,080 --> 00:49:17,560
Speaker 4: think that's when we would know that, yeah, this is

1008
00:49:17,600 --> 00:49:19,800
Speaker 4: the right artist. But we would also have to feel

1009
00:49:19,800 --> 00:49:21,920
Speaker 4: like we were the best people for doing that.

1010
00:49:22,000 --> 00:49:22,880
Speaker 1: Artist got it.

1011
00:49:22,960 --> 00:49:26,440
Speaker 4: There were so many artists that we kind of turned away.

1012
00:49:26,880 --> 00:49:28,680
Speaker 4: A big one because he's on the Rock and Roll

1013
00:49:28,719 --> 00:49:30,760
Speaker 4: Hall of Fame ballot this year is Pink.

1014
00:49:32,080 --> 00:49:33,600
Speaker 1: So Pink you know.

1015
00:49:34,320 --> 00:49:37,640
Speaker 4: Roger Davies, the manager, he wanted her to come to

1016
00:49:37,640 --> 00:49:40,799
Speaker 4: Minneapolis because she was making this rock record and they

1017
00:49:40,800 --> 00:49:42,840
Speaker 4: were scared. They were like, you know, we got to

1018
00:49:42,840 --> 00:49:43,920
Speaker 4: put some R and B songs on.

1019
00:49:43,920 --> 00:49:46,279
Speaker 1: Here, so we cool. So Pink comes up.

1020
00:49:47,080 --> 00:49:49,839
Speaker 4: We instantly wrote a song something about girlfriend, but I

1021
00:49:49,840 --> 00:49:52,759
Speaker 4: just can't remember what it was. But we instantly wrote

1022
00:49:52,760 --> 00:49:55,239
Speaker 4: a song and it was it was cool. And then

1023
00:49:55,239 --> 00:49:57,799
Speaker 4: we said what are you looking for? And she said, oh,

1024
00:49:57,800 --> 00:49:59,640
Speaker 4: the record company just feels like, you know, I'm gonna

1025
00:49:59,640 --> 00:50:03,120
Speaker 4: lose my audience and whatever. We said, oh wow. We

1026
00:50:03,160 --> 00:50:05,600
Speaker 4: said can we hear what you've got so far? And

1027
00:50:05,640 --> 00:50:08,319
Speaker 4: she said, okay. So she plays us the record and

1028
00:50:08,360 --> 00:50:11,560
Speaker 4: it's all the Linda Perry stuff. There's some Dallas Austin stuff.

1029
00:50:12,680 --> 00:50:15,680
Speaker 4: I think it's brilliant, and so we're like, you don't

1030
00:50:15,680 --> 00:50:18,680
Speaker 4: need us, you got your record and she said, yeah,

1031
00:50:18,719 --> 00:50:20,800
Speaker 4: well La read kind of feels like whatever.

1032
00:50:20,920 --> 00:50:21,200
Speaker 1: Whatever.

1033
00:50:21,600 --> 00:50:24,000
Speaker 4: We said, Oh okay, I said, we'll call La. So

1034
00:50:24,080 --> 00:50:26,279
Speaker 4: I called La and I said, hey, man, let me

1035
00:50:26,280 --> 00:50:28,399
Speaker 4: have a comment. Oh, he goes house, Pink coming, Hou's

1036
00:50:28,400 --> 00:50:30,120
Speaker 4: Pink coming. I said, La, it's coming.

1037
00:50:30,160 --> 00:50:30,399
Speaker 1: Cool.

1038
00:50:30,440 --> 00:50:33,160
Speaker 4: But I said, you don't really need us on this project.

1039
00:50:33,640 --> 00:50:34,920
Speaker 4: He said what do you mean? And I said, let

1040
00:50:34,960 --> 00:50:36,680
Speaker 4: me give you two examples. I said, there was a

1041
00:50:36,680 --> 00:50:39,080
Speaker 4: girl in Canada. She was okay, she was selling records.

1042
00:50:39,120 --> 00:50:41,359
Speaker 4: She was, you know, nice pop star, nice thing. Said

1043
00:50:41,400 --> 00:50:43,360
Speaker 4: she came to America. She made a record called Jagged

1044
00:50:43,400 --> 00:50:46,080
Speaker 4: Little Pill. He said, Atlantis Morris that. I said, yeah.

1045
00:50:46,360 --> 00:50:47,480
Speaker 4: I said, Then there's this guy.

1046
00:50:47,600 --> 00:50:49,160
Speaker 1: I said. He had a you know, like a double

1047
00:50:49,200 --> 00:50:52,399
Speaker 1: platinum album, like a top ten single. You know he's

1048
00:50:52,480 --> 00:50:54,399
Speaker 1: kicking butt. You know it's going to be great.

1049
00:50:54,640 --> 00:50:56,200
Speaker 4: And I said, the next album comes out with some

1050
00:50:56,280 --> 00:50:58,319
Speaker 4: leg warmers and a trench coat and bikinis.

1051
00:50:58,800 --> 00:51:01,640
Speaker 1: And he goes Prince and I said yeah.

1052
00:51:01,680 --> 00:51:04,160
Speaker 4: And I said okay, now, because I told him, take

1053
00:51:04,200 --> 00:51:07,719
Speaker 4: your record company hat off. And I said that and

1054
00:51:07,760 --> 00:51:10,840
Speaker 4: then I said now, I said take your record company

1055
00:51:10,840 --> 00:51:11,200
Speaker 4: hat off.

1056
00:51:11,680 --> 00:51:14,160
Speaker 1: So he says, are you telling me you think Pink

1057
00:51:14,360 --> 00:51:15,719
Speaker 1: is Prince.

1058
00:51:15,440 --> 00:51:18,680
Speaker 4: And Alanis morriseaid a star, yep, and I said yes,

1059
00:51:19,400 --> 00:51:21,759
Speaker 4: And I said now put your record company hat back on.

1060
00:51:22,480 --> 00:51:24,799
Speaker 4: You have your first single, and he said, what's that.

1061
00:51:24,920 --> 00:51:27,359
Speaker 4: I said, get the party started. And he said why.

1062
00:51:27,440 --> 00:51:28,960
Speaker 4: I said, because get the party started.

1063
00:51:29,360 --> 00:51:31,160
Speaker 1: See it at the.

1064
00:51:31,080 --> 00:51:34,120
Speaker 4: Time, Well, at least that wasn't what he was telling them,

1065
00:51:34,600 --> 00:51:38,040
Speaker 4: you know, And he said, I said, because, I said,

1066
00:51:38,239 --> 00:51:41,719
Speaker 4: it keeps her old audience. I mean, they won't be

1067
00:51:41,719 --> 00:51:44,680
Speaker 4: offended by that record, but it will bring in her

1068
00:51:44,760 --> 00:51:47,000
Speaker 4: a new audience for her in the direction that she

1069
00:51:47,080 --> 00:51:50,120
Speaker 4: wants to go. And I remember then, you know, three

1070
00:51:50,360 --> 00:51:53,440
Speaker 4: months later, four months later, the album comes out and

1071
00:51:53,480 --> 00:51:56,120
Speaker 4: everybody called us because this is pre internet and all

1072
00:51:56,160 --> 00:51:59,239
Speaker 4: that stuff, So we were getting phone calls what y'all

1073
00:51:59,280 --> 00:52:01,840
Speaker 4: do on pink sut So we didn't do anything on

1074
00:52:01,880 --> 00:52:05,000
Speaker 4: her album. They said, well in the credit she thanks you.

1075
00:52:05,080 --> 00:52:06,840
Speaker 4: She says thank you Jimmy jam and Terry Lewis, and

1076
00:52:06,840 --> 00:52:09,520
Speaker 4: I said, oh, we made a phone call. So we

1077
00:52:09,560 --> 00:52:12,400
Speaker 4: had a lot of situations like that where we turned

1078
00:52:12,400 --> 00:52:15,480
Speaker 4: something down, or we said ABC, the English Group after

1079
00:52:15,560 --> 00:52:19,879
Speaker 4: we did the Human League ABC, they were trying to make.

1080
00:52:19,880 --> 00:52:21,600
Speaker 4: They said we're trying to make a Jam and Lewis record.

1081
00:52:21,640 --> 00:52:24,640
Speaker 4: We said, okay, cool, and we said play us what

1082
00:52:24,640 --> 00:52:26,040
Speaker 4: you got they said, we want you guys to produce

1083
00:52:26,080 --> 00:52:26,359
Speaker 4: this song.

1084
00:52:26,440 --> 00:52:28,040
Speaker 1: We said, okay, cool. We go there.

1085
00:52:28,040 --> 00:52:30,240
Speaker 4: I think we're at A and M and they play

1086
00:52:30,280 --> 00:52:34,360
Speaker 4: this song and we're like listening to it and Terry

1087
00:52:34,360 --> 00:52:38,560
Speaker 4: said when the song went off, Terry said, I got

1088
00:52:38,600 --> 00:52:40,719
Speaker 4: four words for you, and they say, what's that?

1089
00:52:41,160 --> 00:52:45,040
Speaker 1: He said, put that shit out? Oh, and they said,

1090
00:52:45,280 --> 00:52:47,200
Speaker 1: what do you mean put that shit out? They said, we said,

1091
00:52:47,320 --> 00:52:50,520
Speaker 1: put that shit out. You don't need us on this record.

1092
00:52:50,880 --> 00:52:52,440
Speaker 1: They were like, oh, well, we don't know.

1093
00:52:52,719 --> 00:52:54,920
Speaker 4: It was How to Be a Millionaire ended up being

1094
00:52:54,960 --> 00:52:57,160
Speaker 4: a huge record for them, but it was one of

1095
00:52:57,160 --> 00:52:59,400
Speaker 4: those things where you know we're not I'll give you

1096
00:52:59,440 --> 00:53:01,319
Speaker 4: one last ample of it. Well, I'm thinking about it.

1097
00:53:02,200 --> 00:53:05,520
Speaker 4: Clive Davis calls us to New York. He says, I'm

1098
00:53:05,520 --> 00:53:09,000
Speaker 4: working on a Wreatha Franklin record and we think, you know,

1099
00:53:09,000 --> 00:53:11,320
Speaker 4: we'd like you for you guys to do and Clive's

1100
00:53:11,320 --> 00:53:13,840
Speaker 4: thing was do but we just need if you do

1101
00:53:14,000 --> 00:53:16,200
Speaker 4: demos of whatever, And we'd always go Clive, we don't

1102
00:53:16,200 --> 00:53:18,279
Speaker 4: do demos. And we said who else is on the

1103
00:53:18,320 --> 00:53:20,960
Speaker 4: record and he named a couple people, right, and then

1104
00:53:21,000 --> 00:53:24,520
Speaker 4: he goes and then there's this young fella Oh, he's

1105
00:53:24,600 --> 00:53:27,520
Speaker 4: kind of new uh narrati Michael Walden and we.

1106
00:53:27,520 --> 00:53:31,080
Speaker 1: Said, oh, he's the one, he's the one. Michael. Well,

1107
00:53:31,080 --> 00:53:34,239
Speaker 1: he's kind of untested and he's kind of what I said, untested.

1108
00:53:34,400 --> 00:53:36,040
Speaker 1: I said no, no, no, no, I said no, he's

1109
00:53:36,080 --> 00:53:40,640
Speaker 1: a serious musician. He's the one. Fast forward three months later,

1110
00:53:41,160 --> 00:53:42,640
Speaker 1: Free Way of Love. You could have been on a

1111
00:53:42,680 --> 00:53:43,520
Speaker 1: whom zoom and who.

1112
00:53:44,080 --> 00:53:48,320
Speaker 2: Yeah, did you know about the intimidating factor of wreatha Franklin.

1113
00:53:47,920 --> 00:53:50,759
Speaker 1: Back then, No, we had a whole concept of what

1114
00:53:50,800 --> 00:53:51,680
Speaker 1: we wanted to do with the wreath.

1115
00:53:51,800 --> 00:53:54,839
Speaker 4: Well, he's eighty five pre control like and you were

1116
00:53:54,960 --> 00:53:57,280
Speaker 4: fine with just being like em were.

1117
00:53:57,120 --> 00:54:00,560
Speaker 1: Good because not everything was meant for us. I don't

1118
00:54:00,600 --> 00:54:04,520
Speaker 1: know how I say the words no. I'm learning now. Yeah. Yeah,

1119
00:54:04,960 --> 00:54:07,400
Speaker 1: but it's also like my thirty fourth year in show business. Well,

1120
00:54:07,440 --> 00:54:08,879
Speaker 1: but it wasn't for us.

1121
00:54:08,880 --> 00:54:11,319
Speaker 4: It never was no. And by the way, the no

1122
00:54:11,600 --> 00:54:17,000
Speaker 4: for us it was always a no with a butt no.

1123
00:54:17,280 --> 00:54:19,520
Speaker 4: But you know who would be really great for this

1124
00:54:19,680 --> 00:54:23,200
Speaker 4: would be this person or you should go see this person.

1125
00:54:23,400 --> 00:54:25,920
Speaker 4: We did a lot of that, and even with Lionel

1126
00:54:25,960 --> 00:54:28,160
Speaker 4: Ritchie when he first called us on the Dancing on

1127
00:54:28,200 --> 00:54:30,040
Speaker 4: the scene Land album is when he first called us

1128
00:54:30,480 --> 00:54:33,400
Speaker 4: and we said he wanted one record. He said, I

1129
00:54:33,440 --> 00:54:36,399
Speaker 4: just need one record, and we're like, nah, come back

1130
00:54:36,400 --> 00:54:37,560
Speaker 4: when you need three records.

1131
00:54:38,560 --> 00:54:40,279
Speaker 1: He just didn't want a one off. No, we didn't

1132
00:54:40,280 --> 00:54:41,120
Speaker 1: want to do a one off.

1133
00:54:41,160 --> 00:54:43,680
Speaker 4: We wanted to do We wanted to explore him, and

1134
00:54:43,719 --> 00:54:46,359
Speaker 4: we were a fan enough where we felt we could

1135
00:54:46,400 --> 00:54:48,960
Speaker 4: tell a story in the three songs we did got

1136
00:54:49,000 --> 00:54:51,200
Speaker 4: you know whatever. Those three songs were four songs, So

1137
00:54:51,280 --> 00:54:52,560
Speaker 4: that was the way we looked at it. And we

1138
00:54:52,640 --> 00:54:54,840
Speaker 4: just never felt like we had to be the perfect

1139
00:54:54,840 --> 00:54:57,120
Speaker 4: person for it, and if we saw somebody else that

1140
00:54:57,280 --> 00:54:59,960
Speaker 4: was the perfect person, then that's what we try to

1141
00:55:00,200 --> 00:55:01,440
Speaker 4: you know, moving in that direction.

1142
00:55:01,840 --> 00:55:02,160
Speaker 3: Yeah.

1143
00:55:02,200 --> 00:55:04,120
Speaker 5: And the other side of it too is that we've

1144
00:55:04,160 --> 00:55:07,759
Speaker 5: never been afraid of being rejected, Like that's how we

1145
00:55:07,840 --> 00:55:09,040
Speaker 5: got to do Janet.

1146
00:55:09,080 --> 00:55:15,799
Speaker 1: Yeah, that's I'm sorry. Laugh The sharing story Sharon.

1147
00:55:15,600 --> 00:55:17,920
Speaker 3: Yeah, yeah, boy, we got rejected.

1148
00:55:18,000 --> 00:55:19,839
Speaker 1: Have you I'm not mad?

1149
00:55:20,000 --> 00:55:24,359
Speaker 2: Guys ever came across there after that, yes, yes, yeah,

1150
00:55:24,480 --> 00:55:26,600
Speaker 2: And did she sort of say like damn.

1151
00:55:27,000 --> 00:55:29,319
Speaker 4: She didn't say this directly to me, but what I

1152
00:55:29,360 --> 00:55:33,279
Speaker 4: heard from someone who is a relative of hers was

1153
00:55:33,320 --> 00:55:35,719
Speaker 4: that she was intimidated by us. She didn't feel she

1154
00:55:35,880 --> 00:55:39,239
Speaker 4: was worthy of us, and at.

1155
00:55:39,160 --> 00:55:42,319
Speaker 3: That time, there was not much to be worthy of.

1156
00:55:42,440 --> 00:55:44,680
Speaker 4: Yeah, I mean we had a couple of hits, but yeah,

1157
00:55:44,719 --> 00:55:46,759
Speaker 4: it was Yeah, it was nothing to be afraid of.

1158
00:55:46,920 --> 00:55:48,640
Speaker 4: Yeah right, yeah, nothing to be afraid of. And I

1159
00:55:48,640 --> 00:55:50,520
Speaker 4: think people were maybe, I mean I think she was

1160
00:55:50,520 --> 00:55:51,440
Speaker 4: a little intimidated.

1161
00:55:52,160 --> 00:55:53,919
Speaker 1: Yes, when people getting their own way. Man.

1162
00:55:54,040 --> 00:55:56,920
Speaker 5: Yeah, but you know, like I said, we're boys from Minneapolis, man,

1163
00:55:58,520 --> 00:55:59,680
Speaker 5: like we're used to rejection.

1164
00:55:59,800 --> 00:56:11,800
Speaker 3: That that was just part of the day.

1165
00:56:14,000 --> 00:56:15,880
Speaker 2: When Mary is saying like I don't like this, I

1166
00:56:15,920 --> 00:56:19,600
Speaker 2: don't like that if you're creating on the spot, I

1167
00:56:19,640 --> 00:56:21,799
Speaker 2: guess as a drummer, I feel like everything for me

1168
00:56:22,160 --> 00:56:24,000
Speaker 2: has to be the feeling the pace and the pulse

1169
00:56:24,040 --> 00:56:26,840
Speaker 2: and the drummer. So you know, when I'm creating stuff,

1170
00:56:27,800 --> 00:56:31,279
Speaker 2: I'm on drums. But like, how do you make the

1171
00:56:31,400 --> 00:56:35,719
Speaker 2: person see the vision if it's just like you gotta

1172
00:56:35,719 --> 00:56:38,160
Speaker 2: procure them something real quick and you know the exact

1173
00:56:38,280 --> 00:56:39,680
Speaker 2: drum patches you want to use.

1174
00:56:39,719 --> 00:56:44,280
Speaker 4: Well, so with Mary in that particular case, So in Mary,

1175
00:56:44,560 --> 00:56:46,719
Speaker 4: like I say, we had put together a bunch of

1176
00:56:46,760 --> 00:56:49,799
Speaker 4: tracks just to have some ideas, just to play her,

1177
00:56:49,840 --> 00:56:51,400
Speaker 4: just to get a feel of what it was she

1178
00:56:51,480 --> 00:56:54,040
Speaker 4: was trying to do. When she didn't like the three

1179
00:56:54,120 --> 00:56:56,480
Speaker 4: or four things that we played her, we said, what

1180
00:56:56,680 --> 00:56:59,360
Speaker 4: is it that you're looking for? And she said, I

1181
00:56:59,360 --> 00:57:03,240
Speaker 4: want something that's sounds like me. And we were like, okay,

1182
00:57:03,280 --> 00:57:06,399
Speaker 4: something that sounds like you. Okay, cool. Well we got

1183
00:57:06,400 --> 00:57:09,000
Speaker 4: this other track here, and we played the track with

1184
00:57:09,080 --> 00:57:13,160
Speaker 4: the child no no, Love is All we Need would

1185
00:57:13,200 --> 00:57:15,520
Speaker 4: end up becoming love is All We Need. And when

1186
00:57:15,520 --> 00:57:18,080
Speaker 4: that record came on, boom boom butter the boom to boom,

1187
00:57:18,560 --> 00:57:20,360
Speaker 4: the doom to doom, and she got up and started

1188
00:57:20,400 --> 00:57:24,440
Speaker 4: doing the Mary J. Blige dance her and her sister. Yeah,

1189
00:57:24,520 --> 00:57:27,240
Speaker 4: she started hitting that dance and she said, oh, hell yeah,

1190
00:57:27,400 --> 00:57:29,640
Speaker 4: this one I'm talking about, this one I'm talking about

1191
00:57:30,400 --> 00:57:34,880
Speaker 4: And we said, yeah, but isn't Puffy giving you songs

1192
00:57:34,920 --> 00:57:35,120
Speaker 4: like this?

1193
00:57:35,920 --> 00:57:38,200
Speaker 1: She said, I ain't working with Puffy. Got it?

1194
00:57:38,240 --> 00:57:40,800
Speaker 4: And then we said, oh okay. Well then we got

1195
00:57:40,800 --> 00:57:43,600
Speaker 4: this other one, which was everything, and she heard that

1196
00:57:43,720 --> 00:57:45,600
Speaker 4: and she was like, oh my god, this is it,

1197
00:57:45,680 --> 00:57:48,080
Speaker 4: this is it. So those are the kind of things

1198
00:57:48,120 --> 00:57:50,480
Speaker 4: that that kind of happened. So when we gave her

1199
00:57:50,520 --> 00:57:52,320
Speaker 4: exactly what it was, she wanted. We thought she was

1200
00:57:52,320 --> 00:57:54,960
Speaker 4: already getting that from someone else, so we were like, Okay,

1201
00:57:54,960 --> 00:57:56,680
Speaker 4: well we'll try to take her in another you know,

1202
00:57:56,720 --> 00:57:57,800
Speaker 4: Puffy's got that handled.

1203
00:57:57,960 --> 00:58:00,400
Speaker 1: We'll go in this direction with her.

1204
00:58:00,040 --> 00:58:03,440
Speaker 2: Your post heartbreak phase, were you two at all concerned?

1205
00:58:03,640 --> 00:58:06,360
Speaker 2: And I look, I know the correct answer is yes,

1206
00:58:06,400 --> 00:58:08,800
Speaker 2: we have to go linear and change with the times

1207
00:58:08,840 --> 00:58:12,520
Speaker 2: and not be sentimental and move forward, move Ford, YadA, YadA, YadA.

1208
00:58:12,600 --> 00:58:14,680
Speaker 1: But there are.

1209
00:58:14,800 --> 00:58:20,320
Speaker 2: Especially after nineteen ninety five, in which I'm getting you know,

1210
00:58:20,320 --> 00:58:22,480
Speaker 2: it's one thing where you have an album and you

1211
00:58:22,520 --> 00:58:25,439
Speaker 2: read credits and all that stuff. But during the CD era,

1212
00:58:26,240 --> 00:58:29,320
Speaker 2: occasionally I read the books or whatever. But I honestly

1213
00:58:29,360 --> 00:58:32,320
Speaker 2: didn't know that y'all did Bad Girl, or like half

1214
00:58:32,360 --> 00:58:34,880
Speaker 2: the stuff y'all did. I didn't even realize it was

1215
00:58:34,920 --> 00:58:37,040
Speaker 2: you guys until like years later, Like.

1216
00:58:37,880 --> 00:58:39,600
Speaker 1: That doesn't even sound like them.

1217
00:58:40,760 --> 00:58:43,400
Speaker 2: Was there ever a conversation that you two had like

1218
00:58:44,880 --> 00:58:50,000
Speaker 2: we have to modernize and be present with where music's

1219
00:58:50,040 --> 00:58:50,640
Speaker 2: going today.

1220
00:58:51,680 --> 00:58:54,880
Speaker 5: I don't think we ever think like that. Okay, what

1221
00:58:55,000 --> 00:58:59,680
Speaker 5: feels best? You know, I never think about modern or

1222
00:58:59,720 --> 00:59:02,800
Speaker 5: any that. I mean, if you keep up with technology,

1223
00:59:02,840 --> 00:59:05,960
Speaker 5: I guess you'll be modern I guess to a certain degree,

1224
00:59:06,600 --> 00:59:09,200
Speaker 5: but you know, I have a way of thinking about things,

1225
00:59:09,240 --> 00:59:11,520
Speaker 5: you know. I know most people don't know what they like.

1226
00:59:11,560 --> 00:59:14,080
Speaker 5: They like what they know. So if you can get

1227
00:59:14,080 --> 00:59:18,320
Speaker 5: something that they can recognize as part of their DNA,

1228
00:59:18,560 --> 00:59:21,680
Speaker 5: then you got something or the start of something.

1229
00:59:22,440 --> 00:59:26,720
Speaker 2: So I thought Love he was very smart because that

1230
00:59:26,840 --> 00:59:29,600
Speaker 2: wasn't a captain obvious sample, right unless you have the

1231
00:59:29,600 --> 00:59:30,240
Speaker 2: Globe record.

1232
00:59:30,360 --> 00:59:32,120
Speaker 1: Yeah, that's right, that's right, you know.

1233
00:59:32,600 --> 00:59:35,840
Speaker 2: So even to me, like I was like, okay, well

1234
00:59:35,840 --> 00:59:38,440
Speaker 2: they're going there, but they're going to another.

1235
00:59:39,160 --> 00:59:39,400
Speaker 1: Yeah.

1236
00:59:39,440 --> 00:59:41,040
Speaker 3: But that's how Jam samples.

1237
00:59:41,040 --> 00:59:44,600
Speaker 5: He he samples different, but other people, I mean, his

1238
00:59:44,720 --> 00:59:46,920
Speaker 5: loops are just different, by.

1239
00:59:46,800 --> 00:59:48,600
Speaker 4: The way, I will say on that record when you're

1240
00:59:48,600 --> 00:59:52,800
Speaker 4: talking about somebody that isn't quite bringing the performance. So

1241
00:59:52,840 --> 00:59:55,600
Speaker 4: the interesting thing was when Nas came up to do

1242
00:59:55,680 --> 00:59:59,360
Speaker 4: is rap, and I remember it was the first time.

1243
00:59:59,520 --> 01:00:02,040
Speaker 4: I mean, we terry and I don't drink so, but

1244
01:00:02,120 --> 01:00:03,880
Speaker 4: I remember there was all of a sudden, a bunch

1245
01:00:03,880 --> 01:00:08,560
Speaker 4: of guinness at the studio, okay, and I remember Nas

1246
01:00:08,640 --> 01:00:12,000
Speaker 4: went in to do his rap, and you know, we

1247
01:00:12,080 --> 01:00:15,480
Speaker 4: didn't fancy ourselves as rap producers. But he goes in

1248
01:00:15,520 --> 01:00:17,920
Speaker 4: and does his rap and he does, you know, three

1249
01:00:18,000 --> 01:00:21,280
Speaker 4: or four takes and stuff, and Mary's like, yeah, yeah,

1250
01:00:21,320 --> 01:00:22,360
Speaker 4: this is great, this is great.

1251
01:00:22,360 --> 01:00:25,120
Speaker 1: And we're kind of going. We're like, dude, are you

1252
01:00:25,120 --> 01:00:27,280
Speaker 1: sure you want to do another one? He's like, no, no,

1253
01:00:27,400 --> 01:00:27,800
Speaker 1: this is it.

1254
01:00:27,840 --> 01:00:28,200
Speaker 3: I got it.

1255
01:00:28,240 --> 01:00:29,720
Speaker 1: I got it. Cool. Okay cool.

1256
01:00:30,000 --> 01:00:34,200
Speaker 4: So we mixed the record, we send the record and

1257
01:00:34,240 --> 01:00:36,440
Speaker 4: he goes, oh no, hell no, I got to come

1258
01:00:36,480 --> 01:00:39,200
Speaker 4: back and do redo that rap. It's like, okay, cool,

1259
01:00:39,240 --> 01:00:40,640
Speaker 4: and so he did, and of course he killed it

1260
01:00:40,680 --> 01:00:43,480
Speaker 4: when he came back. But that was kind of interesting.

1261
01:00:43,520 --> 01:00:45,240
Speaker 4: I mean, because I'm not going to say to nas.

1262
01:00:45,400 --> 01:00:47,800
Speaker 4: I mean, we weren't experts in rap, so it's like,

1263
01:00:47,880 --> 01:00:49,680
Speaker 4: if you think this is good, I mean, you know

1264
01:00:49,760 --> 01:00:51,840
Speaker 4: your standards. If you think this is up to your standards,

1265
01:00:51,840 --> 01:00:53,240
Speaker 4: then we're not going to argue with you.

1266
01:00:53,400 --> 01:00:55,840
Speaker 2: Hasn't a rap group ever approached you guys, a rap

1267
01:00:55,920 --> 01:00:58,040
Speaker 2: artist ever approached you guys about producing them?

1268
01:00:58,520 --> 01:01:01,680
Speaker 4: You know, Snoop did, and we had some great ashes

1269
01:01:01,760 --> 01:01:03,640
Speaker 4: for him. Oh my god, when he wanted the eight

1270
01:01:03,680 --> 01:01:06,040
Speaker 4: oh eight and he won. I don't even know what

1271
01:01:06,080 --> 01:01:08,640
Speaker 4: he wanted. I just remember we had like I thought

1272
01:01:08,640 --> 01:01:11,960
Speaker 4: it was like a magic session, like it blew his mind, like,

1273
01:01:12,240 --> 01:01:14,000
Speaker 4: because we were just coming up with song after song,

1274
01:01:14,080 --> 01:01:17,000
Speaker 4: track after track, and he was like, oh man, yeah, yeah, okay,

1275
01:01:17,000 --> 01:01:18,640
Speaker 4: I gotta really think on this. I gotta really think

1276
01:01:18,680 --> 01:01:20,200
Speaker 4: on this. So maybe he didn't really like it. I

1277
01:01:20,240 --> 01:01:22,960
Speaker 4: don't know, but we never ended up doing a thing

1278
01:01:22,960 --> 01:01:25,800
Speaker 4: on him. Let's see, we were in the old studio,

1279
01:01:25,880 --> 01:01:29,760
Speaker 4: so two thousand and eight, maybe seven, two thousand and eight,

1280
01:01:30,000 --> 01:01:31,240
Speaker 4: around that period of time.

1281
01:01:31,440 --> 01:01:32,680
Speaker 1: Yeah, I want to say, yeah.

1282
01:01:32,600 --> 01:01:34,560
Speaker 4: And we did, and we had I don't know, we

1283
01:01:34,600 --> 01:01:37,959
Speaker 4: probably did ten tracks on him something like that, and.

1284
01:01:38,280 --> 01:01:42,040
Speaker 1: They're still in existence. They're on a hard drive somewhere.

1285
01:01:42,120 --> 01:01:43,040
Speaker 3: Yeah, somewhere, yep.

1286
01:01:43,120 --> 01:01:45,280
Speaker 1: Yeah, are they timeless enough to still come out now?

1287
01:01:45,400 --> 01:01:48,480
Speaker 4: Or I'd have to listen to him. I don't remember him.

1288
01:01:48,560 --> 01:01:52,840
Speaker 4: I just remember the vibe was great because we wanted,

1289
01:01:52,920 --> 01:01:55,080
Speaker 4: you know, we kind of felt like we always wanted

1290
01:01:55,080 --> 01:01:57,200
Speaker 4: to blow the artist's minds when they came in. We

1291
01:01:57,200 --> 01:02:01,200
Speaker 4: wanted to surprise him, and you know, whatever their expectation was,

1292
01:02:01,200 --> 01:02:02,840
Speaker 4: we wanted to try to blow them away. And snoop,

1293
01:02:02,880 --> 01:02:05,680
Speaker 4: we were such big fans of his and we knew

1294
01:02:05,920 --> 01:02:08,440
Speaker 4: we always treated it like we're fans of the person

1295
01:02:08,480 --> 01:02:11,760
Speaker 4: that's coming in. So what would we want to hear

1296
01:02:11,840 --> 01:02:13,520
Speaker 4: if we had gone to the record store and picked

1297
01:02:13,560 --> 01:02:16,760
Speaker 4: that record up or that CD up? What would we

1298
01:02:16,800 --> 01:02:18,840
Speaker 4: want to hear on that CD? And now was the

1299
01:02:18,840 --> 01:02:19,960
Speaker 4: songs we would try to create?

1300
01:02:20,080 --> 01:02:20,360
Speaker 1: Got it?

1301
01:02:20,400 --> 01:02:21,800
Speaker 4: And we did that with Snoop. But we had some

1302
01:02:21,840 --> 01:02:24,240
Speaker 4: great stuff. But we you know, we actually forged a

1303
01:02:24,240 --> 01:02:25,920
Speaker 4: great relationship because of that.

1304
01:02:26,560 --> 01:02:30,800
Speaker 1: I have a question about Charelle's product. Would you say

1305
01:02:30,800 --> 01:02:34,440
Speaker 1: that she's kind of the testing ground for jam and Lewis,

1306
01:02:34,480 --> 01:02:38,800
Speaker 1: because you know, I listened to her entire discography that

1307
01:02:38,840 --> 01:02:41,760
Speaker 1: you guys did in the last two weeks and noticed

1308
01:02:41,800 --> 01:02:47,560
Speaker 1: that you guys used way different drum machines, different ideas.

1309
01:02:47,840 --> 01:02:50,640
Speaker 1: Where that saxophone come from? I never heard this before? Whatever?

1310
01:02:51,160 --> 01:02:53,640
Speaker 2: So was she always a testing ground for you to

1311
01:02:53,720 --> 01:02:56,640
Speaker 2: see how far you can push.

1312
01:02:57,920 --> 01:03:03,000
Speaker 1: Ideas? Or was that a mental telect No.

1313
01:03:02,720 --> 01:03:06,000
Speaker 4: No, it's a it's a great question, great observation.

1314
01:03:06,560 --> 01:03:08,360
Speaker 2: The other thing is, because I know that you're also

1315
01:03:08,440 --> 01:03:10,920
Speaker 2: responsible for the secreence thing, I forgot to ask you

1316
01:03:10,960 --> 01:03:14,560
Speaker 2: this on a fair by then I was in Columbia House,

1317
01:03:14,600 --> 01:03:16,560
Speaker 2: so I got affair. The first week it came out,

1318
01:03:17,520 --> 01:03:21,720
Speaker 2: Discreet had a different intro on it. I have a

1319
01:03:21,800 --> 01:03:24,560
Speaker 2: version of a fair where Discreet has her and a

1320
01:03:24,560 --> 01:03:28,720
Speaker 2: party talking to her girlfriend whatever at the intro and

1321
01:03:28,760 --> 01:03:34,920
Speaker 2: then now on streaming, Discreet starts with her saying backwards,

1322
01:03:35,280 --> 01:03:35,880
Speaker 2: what's the next song?

1323
01:03:36,000 --> 01:03:38,880
Speaker 1: Jimmy jam? But yes, it's backwards. Why were there two

1324
01:03:39,040 --> 01:03:41,000
Speaker 1: versions of that? Was that?

1325
01:03:41,080 --> 01:03:42,919
Speaker 4: I have no idea. I'd have to hear the one

1326
01:03:43,000 --> 01:03:45,440
Speaker 4: the other version that you have. You know there's two

1327
01:03:45,480 --> 01:03:47,640
Speaker 4: off the walls, right okay?

1328
01:03:47,960 --> 01:03:49,120
Speaker 1: I mean I know there's with.

1329
01:03:49,160 --> 01:03:51,040
Speaker 2: You without the collapse, and there's Get on the Floor

1330
01:03:51,080 --> 01:03:53,760
Speaker 2: without a guitar part, and then like there's two uh,

1331
01:03:53,800 --> 01:03:54,920
Speaker 2: there's two talking books?

1332
01:03:55,840 --> 01:03:56,000
Speaker 1: Right.

1333
01:03:56,040 --> 01:03:58,640
Speaker 4: Wait, isn't there with You at the Sunshine of My Life?

1334
01:03:58,640 --> 01:04:00,600
Speaker 4: Because there's the ones with the horns and that has

1335
01:04:00,640 --> 01:04:03,840
Speaker 4: the horns dun d d and there's the one the

1336
01:04:03,880 --> 01:04:06,680
Speaker 4: original album didn't have those horns sections.

1337
01:04:07,600 --> 01:04:11,240
Speaker 1: I gotta check that. Okay, I didn't know that, but no,

1338
01:04:11,440 --> 01:04:13,640
Speaker 1: I was just wanted to know was their method of

1339
01:04:14,520 --> 01:04:16,919
Speaker 1: did you hear mid thing? Like, ah, that's the wrong

1340
01:04:17,000 --> 01:04:20,600
Speaker 1: version they put keys up version and did you switch?

1341
01:04:20,880 --> 01:04:22,880
Speaker 4: I don't remember, So now I'm gonna have to jog

1342
01:04:22,920 --> 01:04:24,400
Speaker 4: my memory and find out about that.

1343
01:04:24,640 --> 01:04:29,000
Speaker 2: And because you guys also handled the sequencing of the record.

1344
01:04:29,360 --> 01:04:32,760
Speaker 2: Why is Everything I Missed at Home like whenever song

1345
01:04:32,840 --> 01:04:36,560
Speaker 2: is like the fourth song on side too? And this

1346
01:04:36,680 --> 01:04:39,000
Speaker 2: is also from a guy whose biggest single was the

1347
01:04:39,040 --> 01:04:40,000
Speaker 2: third to last song on.

1348
01:04:40,920 --> 01:04:43,520
Speaker 1: Like an hour into it. Why did y'all put that

1349
01:04:43,560 --> 01:04:43,960
Speaker 1: so late?

1350
01:04:44,000 --> 01:04:47,200
Speaker 2: When I figured Everything I Missed at Home would least

1351
01:04:47,200 --> 01:04:49,959
Speaker 2: be on side one and hit him.

1352
01:04:49,840 --> 01:04:51,919
Speaker 1: With it, But because it was kind of its own thought.

1353
01:04:52,040 --> 01:04:55,160
Speaker 4: And when we sequenced albums, I mean, we use different

1354
01:04:55,160 --> 01:04:59,360
Speaker 4: philosophy for different artists, but I know on a lot

1355
01:04:59,400 --> 01:05:01,439
Speaker 4: of times we would put the up tempos up front

1356
01:05:01,480 --> 01:05:04,720
Speaker 4: and we would try to in some way segue them together,

1357
01:05:04,760 --> 01:05:06,280
Speaker 4: which I think I know on the Affair album we

1358
01:05:06,320 --> 01:05:10,520
Speaker 4: did that. We segued the first three songs together, And

1359
01:05:10,600 --> 01:05:13,720
Speaker 4: so I think I don't think. I think Everything I

1360
01:05:13,720 --> 01:05:16,000
Speaker 4: Missed at Home was the first song on the B side,

1361
01:05:16,040 --> 01:05:18,439
Speaker 4: if I'm not mistaken, though I think it did lead

1362
01:05:18,480 --> 01:05:19,200
Speaker 4: the B side.

1363
01:05:19,440 --> 01:05:21,160
Speaker 3: You asked something about like Sharill.

1364
01:05:21,480 --> 01:05:21,840
Speaker 1: Was she.

1365
01:05:24,280 --> 01:05:27,480
Speaker 5: Yes, yeah, And I have to say to a certain

1366
01:05:27,480 --> 01:05:30,560
Speaker 5: degree yes, because she had was fine with this.

1367
01:05:31,080 --> 01:05:34,480
Speaker 1: Yes, Yes, she actually revered it. Yes, she was a

1368
01:05:34,480 --> 01:05:36,760
Speaker 1: guinea pig for a lot of stuff and was happy. Yeah.

1369
01:05:37,000 --> 01:05:40,440
Speaker 5: Yeah, we learned how to work a studio recording her album.

1370
01:05:41,480 --> 01:05:45,560
Speaker 5: We actually tried to work hard to find her songs

1371
01:05:45,600 --> 01:05:50,960
Speaker 5: because she's such a quirky person her personality, and she

1372
01:05:51,040 --> 01:05:53,520
Speaker 5: has a quirky voice, so you have to find the

1373
01:05:53,560 --> 01:05:56,120
Speaker 5: songs that fit her personality.

1374
01:05:56,440 --> 01:05:57,600
Speaker 1: Got it, you know.

1375
01:05:57,840 --> 01:06:00,200
Speaker 4: So we had an engineer walk out on us when

1376
01:06:00,240 --> 01:06:02,480
Speaker 4: we were doing the album that was just Saturday Love

1377
01:06:02,520 --> 01:06:05,200
Speaker 4: on it, and the engineer just walked out on us,

1378
01:06:05,200 --> 01:06:08,040
Speaker 4: and so we had to figure out how to record ourselves.

1379
01:06:08,360 --> 01:06:09,840
Speaker 4: And we just said, we're never going to be dependent

1380
01:06:09,920 --> 01:06:12,160
Speaker 4: on somebody because of late hours or it's just no,

1381
01:06:12,680 --> 01:06:14,800
Speaker 4: it was a business. It was a business thing we

1382
01:06:14,800 --> 01:06:17,560
Speaker 4: were gonna They wanted to be partners with us on

1383
01:06:17,600 --> 01:06:21,240
Speaker 4: a studio and so we were like, okay, great, let's

1384
01:06:21,240 --> 01:06:21,520
Speaker 4: do it.

1385
01:06:21,800 --> 01:06:24,080
Speaker 1: And so we ended up its Steve.

1386
01:06:24,680 --> 01:06:26,160
Speaker 3: Yeah, it was different Steve.

1387
01:06:26,480 --> 01:06:31,240
Speaker 4: Well, different Steve. No, it's a difference, not Steve No,

1388
01:06:31,240 --> 01:06:33,400
Speaker 4: no worries. No, it was a different Steve and his

1389
01:06:33,520 --> 01:06:36,600
Speaker 4: partner and they had actually creation audio down their basement

1390
01:06:36,640 --> 01:06:38,920
Speaker 4: of their house, and that's what we did. Didn't mean

1391
01:06:38,960 --> 01:06:40,800
Speaker 4: to turn you on. We did the Change album, Change

1392
01:06:40,800 --> 01:06:43,040
Speaker 4: a Heart down. A lot of it down there anyway,

1393
01:06:43,440 --> 01:06:44,600
Speaker 4: our member, our accountant.

1394
01:06:45,080 --> 01:06:47,120
Speaker 3: No, it was I did the numbers.

1395
01:06:47,800 --> 01:06:51,560
Speaker 5: I showed them the Clarence and good motherfucker, you can't

1396
01:06:51,600 --> 01:06:55,880
Speaker 5: have an old studio, Puncy, don't don't have a studio, Clarence.

1397
01:06:56,240 --> 01:06:59,120
Speaker 5: These are the numbers. And if we're bringing the work,

1398
01:07:00,080 --> 01:07:02,600
Speaker 5: we need a studio, we're gonna pay somebody for a studio.

1399
01:07:03,520 --> 01:07:07,200
Speaker 5: Look at the numbers. He looked at him, said, you

1400
01:07:07,240 --> 01:07:12,400
Speaker 5: know what, you're right. Fuck ship. So you know he's

1401
01:07:12,480 --> 01:07:15,480
Speaker 5: pissed about it. So you know, we went back to

1402
01:07:15,560 --> 01:07:19,520
Speaker 5: the guys and told him like, okay, so your expertise,

1403
01:07:20,080 --> 01:07:22,400
Speaker 5: we're still willing to work with you. You know, you

1404
01:07:22,400 --> 01:07:26,760
Speaker 5: could be studio manager, you could be engineer, whatever, but

1405
01:07:27,120 --> 01:07:28,680
Speaker 5: we're not gonna co own this thing.

1406
01:07:29,640 --> 01:07:32,520
Speaker 4: And they weren't, but they know they weren't. But see

1407
01:07:32,520 --> 01:07:34,080
Speaker 4: they weren't bringing anything into it.

1408
01:07:34,280 --> 01:07:34,440
Speaker 1: Yeah.

1409
01:07:34,800 --> 01:07:37,200
Speaker 3: Our thing was we're buying the building.

1410
01:07:37,240 --> 01:07:40,240
Speaker 1: We're buying the building, we're buying the equipment that's going

1411
01:07:40,280 --> 01:07:40,920
Speaker 1: in the building.

1412
01:07:41,280 --> 01:07:42,760
Speaker 3: You can manage it for us.

1413
01:07:42,920 --> 01:07:44,880
Speaker 4: So and because that was the thing. So what I

1414
01:07:44,880 --> 01:07:46,600
Speaker 4: was gonna say was the accountant we had at the

1415
01:07:46,600 --> 01:07:50,480
Speaker 4: time was actually Byron Frank, who is you know, the

1416
01:07:50,520 --> 01:07:53,400
Speaker 4: girl runs First Avenue. Yes, her dad okay, it was

1417
01:07:53,400 --> 01:07:56,280
Speaker 4: her dad. He was our first accountant and he and

1418
01:07:56,320 --> 01:07:58,400
Speaker 4: I know, he said, well, wait a minute, if it's

1419
01:07:58,400 --> 01:08:02,320
Speaker 4: a partnership, you guys are buying the building, are they

1420
01:08:02,360 --> 01:08:04,439
Speaker 4: bringing their equipment? And we're like no, no, we're gonna

1421
01:08:04,440 --> 01:08:07,680
Speaker 4: buy equipment. And then he said, so what are they bringing.

1422
01:08:07,960 --> 01:08:10,760
Speaker 4: They're not bringing anything, and so that was the thing.

1423
01:08:10,840 --> 01:08:14,080
Speaker 4: So anyway, so Steve Wese is his name, So he

1424
01:08:14,160 --> 01:08:15,880
Speaker 4: was cool with it. He was like, well, you know what,

1425
01:08:15,920 --> 01:08:18,519
Speaker 4: I'll just engineer. That's fine. But his partner, I think

1426
01:08:18,600 --> 01:08:20,400
Speaker 4: maybe felt left out in the called and so with

1427
01:08:20,560 --> 01:08:24,439
Speaker 4: solidarity to his partner, he just walked away. And we

1428
01:08:24,439 --> 01:08:26,400
Speaker 4: were in the middle of working on the Charrell album,

1429
01:08:26,720 --> 01:08:28,920
Speaker 4: so Charill became literally the guinea pig.

1430
01:08:29,640 --> 01:08:30,719
Speaker 1: Like she'd put.

1431
01:08:30,560 --> 01:08:32,640
Speaker 4: Headphones on and we go take your headphones off, all

1432
01:08:32,680 --> 01:08:34,720
Speaker 4: we plug in these this is Did you.

1433
01:08:34,640 --> 01:08:37,080
Speaker 1: Have enough knowledge on how to run it? That's a

1434
01:08:37,120 --> 01:08:38,040
Speaker 1: funny thing about it, that.

1435
01:08:38,880 --> 01:08:41,000
Speaker 3: Basic knowledge from live performance.

1436
01:08:41,320 --> 01:08:44,280
Speaker 5: Yes, okay, so you know you know how to patch

1437
01:08:44,360 --> 01:08:46,599
Speaker 5: this here and get this here and we blew up

1438
01:08:46,640 --> 01:08:47,839
Speaker 5: some speakers and some headphone.

1439
01:08:47,920 --> 01:08:48,760
Speaker 1: Yeah, we definitely did.

1440
01:08:48,880 --> 01:08:51,439
Speaker 5: But you know, plugging in the wrong stuff and we

1441
01:08:51,479 --> 01:08:52,800
Speaker 5: recorded everything too hot.

1442
01:08:53,040 --> 01:08:53,519
Speaker 1: Yeah.

1443
01:08:54,000 --> 01:08:56,599
Speaker 4: But but the thing about a patch bay is like

1444
01:08:56,680 --> 01:08:59,880
Speaker 4: you have to almost learn it hands on, to watch

1445
01:09:00,000 --> 01:09:01,720
Speaker 4: an engineer do it and know where to plug that

1446
01:09:01,760 --> 01:09:03,439
Speaker 4: in and then plug that in and all that looks

1447
01:09:03,479 --> 01:09:06,679
Speaker 4: like spaghetti junction, right, And that was the thing. Once

1448
01:09:06,720 --> 01:09:10,320
Speaker 4: we figured out how to do it ourselves, we were

1449
01:09:10,320 --> 01:09:13,679
Speaker 4: then self sufficient, and all the other writers and producers

1450
01:09:13,720 --> 01:09:16,000
Speaker 4: that we would bring in, we teach them how to

1451
01:09:16,040 --> 01:09:17,680
Speaker 4: do it and we go, You guys can run your

1452
01:09:17,680 --> 01:09:21,040
Speaker 4: own sessions because we never wanted to be dependent on

1453
01:09:21,080 --> 01:09:22,000
Speaker 4: anybody else.

1454
01:09:24,080 --> 01:09:26,240
Speaker 1: Pretty much in a lot of.

1455
01:09:26,200 --> 01:09:28,840
Speaker 4: Ways because because it's one thing to tell somebody what

1456
01:09:28,880 --> 01:09:31,560
Speaker 4: you want to get. Like, particularly when we do vocals,

1457
01:09:32,000 --> 01:09:34,439
Speaker 4: Terry always runs his own vocals. He never has an engineer,

1458
01:09:34,439 --> 01:09:36,679
Speaker 4: because you could have an engineer and you go grab

1459
01:09:36,720 --> 01:09:39,200
Speaker 4: that again or get that one part or whatever, and

1460
01:09:39,240 --> 01:09:41,040
Speaker 4: it's like, no, just do it yourself. You know what

1461
01:09:41,160 --> 01:09:42,559
Speaker 4: it is you're trying to get.

1462
01:09:42,840 --> 01:09:43,040
Speaker 3: Yeah.

1463
01:09:43,080 --> 01:09:46,960
Speaker 5: We learned in the destructive years, like you were recording

1464
01:09:47,000 --> 01:09:49,720
Speaker 5: to tape, yeah, and so if you punched in on

1465
01:09:49,760 --> 01:09:54,760
Speaker 5: something it was officially gone sound heavy, yes, But when

1466
01:09:54,800 --> 01:09:56,759
Speaker 5: pro tools came, you know, you could make a mistake,

1467
01:09:56,920 --> 01:09:59,679
Speaker 5: punch in anywhere and be you know, fix it later.

1468
01:10:00,320 --> 01:10:01,599
Speaker 3: Yeah, we'll pull it out later.

1469
01:10:01,720 --> 01:10:02,080
Speaker 1: Yeah, you know.

1470
01:10:03,040 --> 01:10:05,880
Speaker 2: All right, So alexandro Neil I already know the Sambo's

1471
01:10:05,960 --> 01:10:10,080
Speaker 2: pancake story best story of all time. However, you know,

1472
01:10:10,760 --> 01:10:13,960
Speaker 2: listen to Innocent. I always wondered, like, okay, so what

1473
01:10:14,560 --> 01:10:18,519
Speaker 2: in an alternate universe if Alex was the leader of

1474
01:10:18,560 --> 01:10:22,479
Speaker 2: the time, do you think that Alex would have actually

1475
01:10:23,400 --> 01:10:27,519
Speaker 2: air quote played ball at least enough to get through

1476
01:10:27,560 --> 01:10:34,040
Speaker 2: the first two albums? In other words, knowing Prince's task

1477
01:10:34,160 --> 01:10:39,040
Speaker 2: master reputation and already what you've said about Alex and

1478
01:10:39,160 --> 01:10:41,840
Speaker 2: the whole deal at the pancake spot and him walking

1479
01:10:41,880 --> 01:10:45,840
Speaker 2: out or whatever. Listen to Jam's nine hour interview based

1480
01:10:45,880 --> 01:10:49,000
Speaker 2: on Alex talking himself out at the time. Do you

1481
01:10:49,000 --> 01:10:52,680
Speaker 2: think you would have wound up with the same results

1482
01:10:53,320 --> 01:10:58,120
Speaker 2: if Alex Because if you listen to Innocent, which is

1483
01:10:58,160 --> 01:11:00,200
Speaker 2: an o my age or not to get it.

1484
01:11:00,200 --> 01:11:05,400
Speaker 1: Up, Yes, I was like, yeah, this I could see

1485
01:11:05,439 --> 01:11:05,800
Speaker 1: it working.

1486
01:11:06,320 --> 01:11:08,719
Speaker 2: Mars is also a character and whatnot, and there's humor

1487
01:11:08,720 --> 01:11:12,439
Speaker 2: and all that stuff, But is Alex easily mouldible and

1488
01:11:12,520 --> 01:11:15,040
Speaker 2: the way that Prince groomed Mars into the character that

1489
01:11:15,120 --> 01:11:15,479
Speaker 2: he was.

1490
01:11:16,680 --> 01:11:18,960
Speaker 1: Would Alex had been that mouldible.

1491
01:11:18,640 --> 01:11:23,080
Speaker 5: No, no, no, but Alex would be flexible. You understand,

1492
01:11:23,160 --> 01:11:26,360
Speaker 5: Alex is probably one of the most versatile vocalists that

1493
01:11:26,439 --> 01:11:29,560
Speaker 5: I know. Like, if there was one male vocalist I

1494
01:11:29,560 --> 01:11:34,360
Speaker 5: could choose to be, Alex would be the guy. Got

1495
01:11:34,400 --> 01:11:39,200
Speaker 5: it because he can rock up tempo the same way

1496
01:11:39,240 --> 01:11:43,320
Speaker 5: he can rock a ballot, and he could go across genres.

1497
01:11:43,320 --> 01:11:46,360
Speaker 5: He could do country, he can do pop, he could

1498
01:11:46,360 --> 01:11:49,840
Speaker 5: do new wave at that point in time, and the

1499
01:11:49,880 --> 01:11:51,120
Speaker 5: time was supposed to be a.

1500
01:11:51,080 --> 01:11:51,960
Speaker 3: New wave band.

1501
01:11:53,240 --> 01:11:55,439
Speaker 2: Okay, I know there was a period in eighty one,

1502
01:11:55,640 --> 01:11:59,599
Speaker 2: especially when you watch the bus boys and trading places

1503
01:11:59,600 --> 01:12:01,080
Speaker 2: and everyone was doing the Carlton.

1504
01:12:00,800 --> 01:12:04,679
Speaker 1: And all that stuff. I almost feel like the black

1505
01:12:04,840 --> 01:12:05,639
Speaker 1: version of a New Way.

1506
01:12:05,720 --> 01:12:12,040
Speaker 2: And you know, I've watched Ozone, Alligator Woman by a

1507
01:12:12,080 --> 01:12:17,160
Speaker 2: cameo and whatnot, and look, Okay, after high School was

1508
01:12:17,200 --> 01:12:19,520
Speaker 2: like one of my favorite time songs, like it's associated

1509
01:12:19,520 --> 01:12:22,840
Speaker 2: with the good memory of my life. But like, did

1510
01:12:22,840 --> 01:12:26,120
Speaker 2: you guys really think that, like, okay, this new wave

1511
01:12:26,200 --> 01:12:30,320
Speaker 2: thing is really going to stick in this is were

1512
01:12:30,320 --> 01:12:33,040
Speaker 2: you really prepared to the new waves?

1513
01:12:33,040 --> 01:12:35,800
Speaker 1: Seemed like a Noah's Arc that was going to that

1514
01:12:35,840 --> 01:12:38,160
Speaker 1: you were going to hang on to. I don't think

1515
01:12:38,200 --> 01:12:38,959
Speaker 1: we think.

1516
01:12:38,720 --> 01:12:41,080
Speaker 3: Of genres like that though. I really don't.

1517
01:12:41,120 --> 01:12:44,639
Speaker 5: I think where we were, all that stuff was budding

1518
01:12:44,680 --> 01:12:47,960
Speaker 5: and spinning in our orbit all the time. I mean,

1519
01:12:48,320 --> 01:12:50,639
Speaker 5: the least amount of things that we would get would

1520
01:12:50,640 --> 01:12:55,439
Speaker 5: probably be R and B. There was always pop, pop, rock, rock,

1521
01:12:56,360 --> 01:13:01,240
Speaker 5: you know, new wave, grunge. All that stuff was coming

1522
01:13:01,240 --> 01:13:03,840
Speaker 5: out of Seventh Avenue was seventh at.

1523
01:13:05,000 --> 01:13:05,679
Speaker 3: First Avenue.

1524
01:13:05,760 --> 01:13:09,599
Speaker 2: But was there a passion for it like for some people, yes,

1525
01:13:09,640 --> 01:13:12,479
Speaker 2: did you see it as like people saw hip hop,

1526
01:13:13,320 --> 01:13:14,519
Speaker 2: I gotta do some new Jack swing?

1527
01:13:14,680 --> 01:13:17,880
Speaker 5: For for us, I'd never seen saw any of it

1528
01:13:17,920 --> 01:13:21,280
Speaker 5: as like the holy grail of anything.

1529
01:13:21,320 --> 01:13:24,720
Speaker 3: It was just music, you know, So you like this

1530
01:13:25,080 --> 01:13:26,160
Speaker 3: if you don't like that.

1531
01:13:26,600 --> 01:13:30,400
Speaker 4: Yeah, we liked playing that song. I remember that we

1532
01:13:30,439 --> 01:13:33,960
Speaker 4: played it on the first tour and we loved playing it.

1533
01:13:35,760 --> 01:13:37,800
Speaker 4: But yeah, I don't. I kind of agree with Terry there.

1534
01:13:37,800 --> 01:13:40,759
Speaker 4: I don't really think and we weren't thinking. We certainly

1535
01:13:40,760 --> 01:13:43,479
Speaker 4: weren't thinking in terms of, oh, this is going to

1536
01:13:43,560 --> 01:13:47,439
Speaker 4: revolutionize where music is that kind of thing. We just

1537
01:13:47,479 --> 01:13:49,439
Speaker 4: thought it was a great album, and our whole thing

1538
01:13:49,600 --> 01:13:52,320
Speaker 4: was like, let's learn these songs, but let's do them

1539
01:13:52,400 --> 01:13:55,320
Speaker 4: better than the album, you know, and better subjective obviously,

1540
01:13:55,360 --> 01:13:56,679
Speaker 4: but that was our whole.

1541
01:13:56,840 --> 01:14:01,400
Speaker 2: So part two that question is because I can't imagine

1542
01:14:02,840 --> 01:14:05,800
Speaker 2: just Alex, you know, the way that the first Time

1543
01:14:05,840 --> 01:14:07,640
Speaker 2: album was made with just Mars and Prince in the

1544
01:14:07,720 --> 01:14:12,160
Speaker 2: room together. I can't imagine Alex and Prince just being

1545
01:14:12,760 --> 01:14:15,400
Speaker 2: like in that sort of intimate setting. So I would

1546
01:14:15,400 --> 01:14:19,040
Speaker 2: almost think that he would want the band there at

1547
01:14:19,120 --> 01:14:22,200
Speaker 2: least bounce off of to awkward with that lead singer.

1548
01:14:22,640 --> 01:14:25,800
Speaker 2: Do you think that maybe perhaps you guys would have

1549
01:14:29,040 --> 01:14:33,320
Speaker 2: had a different presentation of the music. Yeah, it had

1550
01:14:33,400 --> 01:14:37,360
Speaker 2: Alex been it would be different, better, not as good.

1551
01:14:37,479 --> 01:14:39,800
Speaker 1: I mean, I don't know, would have been different.

1552
01:14:39,840 --> 01:14:43,960
Speaker 5: It would have been different, and not in a bad way,

1553
01:14:44,200 --> 01:14:44,759
Speaker 5: just different.

1554
01:14:45,280 --> 01:14:45,559
Speaker 1: You know.

1555
01:14:45,840 --> 01:14:50,759
Speaker 5: Mores Mores even developed into that personality that made those

1556
01:14:50,760 --> 01:14:54,080
Speaker 5: songs work, and so by the time the album was

1557
01:14:54,160 --> 01:14:58,680
Speaker 5: yelling into an album, Moors was the personality that was

1558
01:14:58,720 --> 01:15:02,599
Speaker 5: being structured within those songs. Had those songs been done

1559
01:15:02,640 --> 01:15:05,240
Speaker 5: for Alex, Alex already.

1560
01:15:04,880 --> 01:15:07,400
Speaker 3: Had a personality, got it okay?

1561
01:15:07,439 --> 01:15:10,960
Speaker 5: And so Alex was a bad He had some songs

1562
01:15:10,960 --> 01:15:14,479
Speaker 5: that he had done with other people that were very

1563
01:15:14,600 --> 01:15:16,639
Speaker 5: very new wave songs.

1564
01:15:18,080 --> 01:15:19,120
Speaker 1: Oh yeah, he sure did.

1565
01:15:19,400 --> 01:15:24,479
Speaker 5: Yeah that that were good and we performed some of

1566
01:15:24,520 --> 01:15:28,360
Speaker 5: them sometimes. So yeah, that that was just part of

1567
01:15:28,400 --> 01:15:31,760
Speaker 5: the DNA of the day. It's like, that kind of

1568
01:15:31,760 --> 01:15:33,960
Speaker 5: stuff is happening. And if we can play that stuff

1569
01:15:33,960 --> 01:15:36,720
Speaker 5: and get in and play Seventh Street entry Ship.

1570
01:15:36,479 --> 01:15:38,479
Speaker 3: We can get in there and get a gig. We're

1571
01:15:38,479 --> 01:15:41,439
Speaker 3: gonna play that, like just like we play some poker.

1572
01:15:42,200 --> 01:15:45,639
Speaker 6: I was going to say, you had to do whatever

1573
01:15:45,680 --> 01:15:48,960
Speaker 6: you had to do to get the gig if you're

1574
01:15:49,200 --> 01:15:57,519
Speaker 6: in Alabama or if you're in Houston, are they like okay?

1575
01:15:57,960 --> 01:16:02,040
Speaker 2: Only because I know Princess rockabilly Elvis thing. I've seen

1576
01:16:02,080 --> 01:16:04,080
Speaker 2: many a time show where you guys, do everybody dance

1577
01:16:04,120 --> 01:16:08,519
Speaker 2: to the beat? Which is the most untime sounding was

1578
01:16:08,520 --> 01:16:09,840
Speaker 2: that ever recorded on?

1579
01:16:10,680 --> 01:16:11,839
Speaker 3: I think a live version?

1580
01:16:13,360 --> 01:16:13,799
Speaker 1: Okay?

1581
01:16:14,000 --> 01:16:17,280
Speaker 2: But like do they if you know, Minneapolis is open

1582
01:16:17,320 --> 01:16:19,960
Speaker 2: to it, maybe New York and LA are open to it.

1583
01:16:20,000 --> 01:16:23,639
Speaker 1: When you go to Black Towns or whatever.

1584
01:16:24,800 --> 01:16:26,799
Speaker 4: Well, you know what was funny was would the reaction

1585
01:16:26,880 --> 01:16:29,360
Speaker 4: be different if you do something outside of the funk genre.

1586
01:16:30,120 --> 01:16:32,320
Speaker 4: I just remember the reaction that we did. We did

1587
01:16:32,320 --> 01:16:34,439
Speaker 4: a you know, we call it the Chitlin Circuit tour,

1588
01:16:34,960 --> 01:16:38,320
Speaker 4: and it basically was two station wagons and we were

1589
01:16:38,320 --> 01:16:43,160
Speaker 4: down south. We were North Carolina, South Carolina, Georgia. You know,

1590
01:16:43,280 --> 01:16:45,799
Speaker 4: we were doing all those dates down in that area.

1591
01:16:46,479 --> 01:16:48,439
Speaker 4: And I remember the well, the first date we did,

1592
01:16:48,920 --> 01:16:51,479
Speaker 4: the club had a big pillar in the middle of

1593
01:16:51,520 --> 01:16:53,479
Speaker 4: it that was kind of on the stage, and we

1594
01:16:53,560 --> 01:16:56,920
Speaker 4: had our manager road manager was named Jamie Shoop.

1595
01:16:56,960 --> 01:16:58,360
Speaker 1: I know Jamis Jamie.

1596
01:16:58,760 --> 01:17:00,639
Speaker 4: Jamie came in there and she was trying to get

1597
01:17:00,640 --> 01:17:03,360
Speaker 4: them to take the pole away and they said, no,

1598
01:17:03,479 --> 01:17:05,640
Speaker 4: that's a load bearing call. That's holding the roof up, like,

1599
01:17:05,680 --> 01:17:08,280
Speaker 4: we can't get rid of that. And those are the

1600
01:17:08,360 --> 01:17:10,960
Speaker 4: kind of gigs we were doing. They'd be like literally

1601
01:17:11,360 --> 01:17:14,040
Speaker 4: like if you were More's day, I'd be sitting here

1602
01:17:14,040 --> 01:17:16,000
Speaker 4: at the table, Terry'd be sitting here at the table,

1603
01:17:17,640 --> 01:17:20,960
Speaker 4: and the girl would be in the front up right

1604
01:17:20,960 --> 01:17:22,599
Speaker 4: where you are, and the girl would be sitting there

1605
01:17:22,600 --> 01:17:26,520
Speaker 4: look watching you sing and you hit like the fiat baby.

1606
01:17:27,800 --> 01:17:28,120
Speaker 1: Nigga.

1607
01:17:28,200 --> 01:17:31,880
Speaker 3: Don't you do that that?

1608
01:17:32,760 --> 01:17:35,360
Speaker 1: Oh man? It was. It was the craziest thing.

1609
01:17:35,760 --> 01:17:38,840
Speaker 4: But I remember when we got about three gigs in,

1610
01:17:39,720 --> 01:17:41,720
Speaker 4: we got to one club was so messed up. They

1611
01:17:41,720 --> 01:17:43,800
Speaker 4: wouldn't even let us play. They didn't they didn't even

1612
01:17:43,880 --> 01:17:45,760
Speaker 4: let us get out the car, you know, and we

1613
01:17:45,840 --> 01:17:47,640
Speaker 4: still we still snuck to the club to see what

1614
01:17:47,680 --> 01:17:51,519
Speaker 4: it was like because we were just headed. But in

1615
01:17:51,680 --> 01:17:56,760
Speaker 4: none g Greensboro, North Carolina, Cosmos.

1616
01:17:57,240 --> 01:18:00,280
Speaker 1: Okay, that's my home, my dad's home down.

1617
01:18:00,360 --> 01:18:07,519
Speaker 4: Okay, what happened? We turned that place. They loved us.

1618
01:18:07,760 --> 01:18:10,519
Speaker 4: They loved our guitar solo, they loved our makeup, they

1619
01:18:10,560 --> 01:18:13,960
Speaker 4: loved our permed hair, they loved everything about us. And

1620
01:18:14,000 --> 01:18:16,679
Speaker 4: it was the first time that it felt like, oh, okay,

1621
01:18:16,720 --> 01:18:19,040
Speaker 4: this could work, this could work, this could work other

1622
01:18:19,120 --> 01:18:22,559
Speaker 4: than Detroit. Well, Detroit and Detroit came after that because

1623
01:18:22,560 --> 01:18:25,000
Speaker 4: we did we did the Chilin I think we did

1624
01:18:25,000 --> 01:18:27,240
Speaker 4: the Chilin Circuit tour first, right, and.

1625
01:18:27,200 --> 01:18:29,839
Speaker 1: Then I think we did Detroit or do we do Detroit?

1626
01:18:29,880 --> 01:18:31,479
Speaker 1: You're right, because we only had the single out. We

1627
01:18:31,840 --> 01:18:32,280
Speaker 1: get it up.

1628
01:18:32,560 --> 01:18:36,519
Speaker 5: Detroit first and that was wonderful. Detroit was and then

1629
01:18:36,560 --> 01:18:38,800
Speaker 5: we went everywhere else and it wasn't so wide, it

1630
01:18:38,840 --> 01:18:42,800
Speaker 5: wasn't so wonderful. So that's that's why I always tell you.

1631
01:18:42,080 --> 01:18:45,080
Speaker 3: Don't get you can't get good.

1632
01:18:45,120 --> 01:18:47,760
Speaker 5: You gotta get booed to get good because you've got

1633
01:18:47,800 --> 01:18:49,320
Speaker 5: to let you know what you don't have.

1634
01:18:49,520 --> 01:18:53,280
Speaker 1: So you've had some audiences with indifference.

1635
01:18:53,720 --> 01:19:01,360
Speaker 4: Inference Atlanta, it was like it might have. And we

1636
01:19:01,360 --> 01:19:05,599
Speaker 4: were so excited to get to Atlanta, particularly after Charlotte

1637
01:19:05,640 --> 01:19:08,559
Speaker 4: was so good, Greensboro was so good, and then Atlanta

1638
01:19:08,680 --> 01:19:10,000
Speaker 4: was like the next gig, and we were like, oh,

1639
01:19:10,000 --> 01:19:10,920
Speaker 4: we're gonna kill Atlanta.

1640
01:19:10,960 --> 01:19:13,000
Speaker 1: We're thinking, oh, we're gonna kill Progressive.

1641
01:19:13,160 --> 01:19:17,559
Speaker 4: I swear to god. Atlanta was like cardboard cutouts. Like

1642
01:19:17,640 --> 01:19:19,760
Speaker 4: we look out in the audience and it was like

1643
01:19:19,800 --> 01:19:21,320
Speaker 4: everybody was just like this.

1644
01:19:21,240 --> 01:19:23,240
Speaker 3: Yeah, because Atlanta has its own thing.

1645
01:19:24,920 --> 01:19:26,919
Speaker 1: But what was hitting in eighty one in Atlanta?

1646
01:19:27,280 --> 01:19:30,920
Speaker 7: Not only people, not us. You might be some zapp

1647
01:19:31,280 --> 01:19:33,200
Speaker 7: you stand on your head with the jocks. Oh yeah,

1648
01:19:33,479 --> 01:19:35,880
Speaker 7: I'll tell you rogers killed. They would kill us in

1649
01:19:35,920 --> 01:19:38,679
Speaker 7: the South. That show would kill us Texas.

1650
01:19:38,760 --> 01:19:42,040
Speaker 2: I was gonna say, Okay, So I saw a recent

1651
01:19:42,080 --> 01:19:45,280
Speaker 2: performance of heat Wave. There's an entire heat Wave concert

1652
01:19:45,360 --> 01:19:49,080
Speaker 2: on YouTube about an hour long. They did everything but

1653
01:19:49,280 --> 01:19:51,840
Speaker 2: like the cheerleading stuff from Yeah. I mean at one

1654
01:19:51,840 --> 01:19:53,840
Speaker 2: point they did a human pyramid thing where they're like

1655
01:19:53,880 --> 01:19:54,840
Speaker 2: standing on each other's soul.

1656
01:19:54,880 --> 01:19:58,200
Speaker 1: That's right. Was there ever talks like yo, we have

1657
01:19:58,320 --> 01:20:02,120
Speaker 1: to do acrobatics and and no, no, not at all.

1658
01:20:02,200 --> 01:20:03,679
Speaker 1: But y'all look so cool.

1659
01:20:04,920 --> 01:20:07,280
Speaker 2: One, you look conservative, and I know Black people are

1660
01:20:07,400 --> 01:20:08,200
Speaker 2: very conservative.

1661
01:20:08,800 --> 01:20:12,120
Speaker 1: You're wearing church gear. You look coolish. That didn't fly

1662
01:20:12,200 --> 01:20:12,519
Speaker 1: at all.

1663
01:20:13,439 --> 01:20:14,840
Speaker 3: No, I think we look good.

1664
01:20:15,200 --> 01:20:20,000
Speaker 1: Yeah it was Martins. They good with hecklers. We didn't have. Yeah,

1665
01:20:20,000 --> 01:20:21,000
Speaker 1: we didn't have hecklers.

1666
01:20:21,040 --> 01:20:22,720
Speaker 3: We did. We just did our ship man.

1667
01:20:23,040 --> 01:20:23,679
Speaker 1: They were just cold.

1668
01:20:23,920 --> 01:20:25,960
Speaker 4: We didn't have heckler's. It was more just that they

1669
01:20:26,040 --> 01:20:28,479
Speaker 4: they just didn't look there. We don't know, they just yeah,

1670
01:20:28,520 --> 01:20:29,160
Speaker 4: they didn't get it.

1671
01:20:30,200 --> 01:20:30,760
Speaker 1: Yeah, it was that.

1672
01:20:30,800 --> 01:20:33,160
Speaker 4: Why is the guitar player wearing all pink with a

1673
01:20:33,200 --> 01:20:39,759
Speaker 4: pink guitar eyeliner with eyeliner on doing a crazy ass solo?

1674
01:20:39,920 --> 01:20:41,760
Speaker 1: Like what is that? Black people don't do that?

1675
01:20:41,960 --> 01:20:43,320
Speaker 3: Yeah, we need some fault.

1676
01:20:43,640 --> 01:20:45,400
Speaker 4: Well, it's just like the way that just the way

1677
01:20:45,439 --> 01:20:48,200
Speaker 4: you you talked about how SLY was so different from

1678
01:20:48,280 --> 01:20:50,639
Speaker 4: the other acts that were out. That was the way

1679
01:20:50,640 --> 01:20:53,240
Speaker 4: the time was to people, particularly like in the South,

1680
01:20:53,400 --> 01:20:54,799
Speaker 4: like Detroit loved us.

1681
01:20:55,120 --> 01:20:58,720
Speaker 2: They tot I literally thought you the purpose of you

1682
01:20:58,760 --> 01:21:04,760
Speaker 2: guys was to spread the gospel of old boy in

1683
01:21:04,800 --> 01:21:08,120
Speaker 2: the most conservative, safe way. No, I didn't mentioned in

1684
01:21:08,320 --> 01:21:12,840
Speaker 2: that doc that Prince was last. I know that the

1685
01:21:12,880 --> 01:21:18,759
Speaker 2: Time got my attention first. Yeah, and then okay, well

1686
01:21:19,000 --> 01:21:21,920
Speaker 2: let me round it off and listen to Prince, see

1687
01:21:21,920 --> 01:21:22,519
Speaker 2: what he's up to you.

1688
01:21:22,600 --> 01:21:24,000
Speaker 1: And then it was like, oh shit.

1689
01:21:23,920 --> 01:21:27,160
Speaker 5: But you know why Prince wanted to do the Time anyway,

1690
01:21:27,240 --> 01:21:31,000
Speaker 5: It just became his alter ego product. It's like he

1691
01:21:31,080 --> 01:21:33,400
Speaker 5: had an outlet. He wanted to do R and B

1692
01:21:33,520 --> 01:21:36,720
Speaker 5: and new wave and all those different things, but he

1693
01:21:36,880 --> 01:21:40,559
Speaker 5: was going in the rock direction, pop direction. He didn't

1694
01:21:40,600 --> 01:21:42,720
Speaker 5: want to be down in this slumming with us, but

1695
01:21:42,920 --> 01:21:44,840
Speaker 5: he still had the need to do that because he

1696
01:21:44,920 --> 01:21:47,800
Speaker 5: loved it, and so we became that alter ego band.

1697
01:21:47,840 --> 01:21:51,600
Speaker 2: I'm just shocked that even then. I'm not saying that

1698
01:21:51,720 --> 01:21:54,000
Speaker 2: all that you guys were safe. You guys were in

1699
01:21:54,160 --> 01:21:56,360
Speaker 2: w A at least of my parents. You were in

1700
01:21:56,520 --> 01:22:01,439
Speaker 2: w and but at the full army, you guys would

1701
01:22:01,479 --> 01:22:05,040
Speaker 2: probably be safest gateway drug.

1702
01:22:05,600 --> 01:22:07,479
Speaker 3: Yeah, but we were first.

1703
01:22:07,600 --> 01:22:09,120
Speaker 4: Yeah, it was gonna we were first, But we were

1704
01:22:09,120 --> 01:22:12,200
Speaker 4: also very down to earth because Prince, if you think

1705
01:22:12,200 --> 01:22:14,599
Speaker 4: about the controversy tour, even by that point, in time.

1706
01:22:15,240 --> 01:22:17,719
Speaker 4: Prince was about. He was about being a rock star,

1707
01:22:18,120 --> 01:22:20,160
Speaker 4: got it. We were just about going out and kicking

1708
01:22:20,200 --> 01:22:22,479
Speaker 4: some mass. We're just gonna play. I remember with very

1709
01:22:22,520 --> 01:22:25,799
Speaker 4: first gig we ever did, Pittsburgh, Pennsylvania, and I remember

1710
01:22:25,880 --> 01:22:28,200
Speaker 4: we got in like the day before and we're just

1711
01:22:28,240 --> 01:22:30,599
Speaker 4: walking around downtown. You know, we got our coats on,

1712
01:22:30,880 --> 01:22:32,599
Speaker 4: got our hats on, were walking around downtown.

1713
01:22:32,680 --> 01:22:35,439
Speaker 1: People are going, ain't you all the time? All six

1714
01:22:35,479 --> 01:22:39,400
Speaker 1: of y'all, all six of us, ain't you all the time? Okay?

1715
01:22:39,479 --> 01:22:43,920
Speaker 4: And we go, yeah, the only got no bodyguards or nothing.

1716
01:22:43,920 --> 01:22:48,040
Speaker 4: We said no, and y'all walking down just Pittsburgh, just

1717
01:22:48,040 --> 01:22:48,879
Speaker 4: downtown Pittsburgh.

1718
01:22:49,040 --> 01:22:52,080
Speaker 1: We're like, yeah, They're like, oh, these motherfuckers are crazy,

1719
01:22:52,080 --> 01:22:52,240
Speaker 1: you know.

1720
01:22:53,080 --> 01:22:55,400
Speaker 4: So we already had that reputation, like, oh man, these

1721
01:22:55,439 --> 01:22:56,720
Speaker 4: dudes are crazy.

1722
01:22:56,920 --> 01:22:57,519
Speaker 1: They walk in.

1723
01:22:57,560 --> 01:22:59,160
Speaker 4: I saw them walking down at the mall. Man, they

1724
01:22:59,160 --> 01:23:02,160
Speaker 4: didn't have no curity, they didn't have nothing. But we

1725
01:23:02,160 --> 01:23:04,240
Speaker 4: didn't think of ourselves like that. We were just like

1726
01:23:04,479 --> 01:23:07,320
Speaker 4: out exploring. But people had that, you know, that thought

1727
01:23:07,320 --> 01:23:10,240
Speaker 4: about us. I'm a project kid, so I'm not. I'm

1728
01:23:10,320 --> 01:23:12,599
Speaker 4: never afraid of black folks, got it.

1729
01:23:12,840 --> 01:23:14,719
Speaker 5: You know what I'm saying, so I can go anywhere

1730
01:23:14,720 --> 01:23:17,639
Speaker 5: around black folks and I'm okay, got it. Okay, So

1731
01:23:17,760 --> 01:23:20,320
Speaker 5: I don't care if I'm in Pittsburgh or Chicago or

1732
01:23:20,360 --> 01:23:23,800
Speaker 5: wherever I feel comfortable in my own skin, because I'm

1733
01:23:23,800 --> 01:23:26,840
Speaker 5: going to be aware. I know what's up. But you

1734
01:23:26,880 --> 01:23:30,000
Speaker 5: know people are not used to artists being like that.

1735
01:23:30,240 --> 01:23:33,920
Speaker 4: Right, Yeah, because they weren't asking for autographs. No, they

1736
01:23:33,960 --> 01:23:35,639
Speaker 4: were just like, y're.

1737
01:23:35,520 --> 01:23:38,839
Speaker 3: Just out here around, y'all, just out here. I remember

1738
01:23:38,880 --> 01:23:41,919
Speaker 3: we used to have to go to wash our clothes.

1739
01:23:42,240 --> 01:23:44,160
Speaker 5: Yeah, because you know, at that point, we were making

1740
01:23:44,200 --> 01:23:47,000
Speaker 5: like less than one hundred and fifty bucks, and so

1741
01:23:47,040 --> 01:23:49,160
Speaker 5: we would have to we were on tour with dirty

1742
01:23:49,160 --> 01:23:50,200
Speaker 5: clothes we had to wash.

1743
01:23:51,000 --> 01:23:51,960
Speaker 3: We know, we had to go.

1744
01:23:52,240 --> 01:23:58,040
Speaker 5: Man it got draws too many, but we had to

1745
01:23:58,040 --> 01:24:00,960
Speaker 5: go to the laundry mat sitting a love. We didn't

1746
01:24:01,000 --> 01:24:04,880
Speaker 5: have people to wash our clothes and stuff. We had

1747
01:24:04,920 --> 01:24:06,480
Speaker 5: to go do that stuff ourselves.

1748
01:24:07,040 --> 01:24:07,839
Speaker 1: That still happens.

1749
01:24:08,080 --> 01:24:08,640
Speaker 3: Yeah.

1750
01:24:08,720 --> 01:24:11,200
Speaker 1: I was in Philly once literally happened to be at

1751
01:24:11,200 --> 01:24:15,439
Speaker 1: a red light, looked at my left one off I said,

1752
01:24:15,520 --> 01:24:19,559
Speaker 1: was that Amy literally Amy Winehouse doing her laundry in

1753
01:24:19,640 --> 01:24:21,640
Speaker 1: downtown Philadelphia, And I was like, the hell are you

1754
01:24:21,680 --> 01:24:25,000
Speaker 1: doing here? She said the same thing, like I don't

1755
01:24:25,000 --> 01:24:26,880
Speaker 1: have a staff yet I still do my clothes and

1756
01:24:26,920 --> 01:24:31,000
Speaker 1: so that that's still that still happens.

1757
01:24:30,800 --> 01:24:32,000
Speaker 3: That's what's real.

1758
01:24:32,120 --> 01:24:48,080
Speaker 1: Like it is, are you singing harmony on seven seven seven?

1759
01:24:48,360 --> 01:24:48,639
Speaker 3: Yes?

1760
01:24:49,320 --> 01:24:50,840
Speaker 1: Agony? I'm going through whatever. Yeah.

1761
01:24:50,880 --> 01:24:53,000
Speaker 2: I was like, that's one voice I don't know at all,

1762
01:24:53,080 --> 01:24:55,240
Speaker 2: and that for the longest that didn't know who that was?

1763
01:24:55,280 --> 01:24:57,400
Speaker 3: All right, that Prince told me to go in and

1764
01:24:57,400 --> 01:24:57,760
Speaker 3: do that.

1765
01:24:58,000 --> 01:24:58,400
Speaker 1: Got it?

1766
01:24:58,479 --> 01:25:02,280
Speaker 2: Okay, So I'm gonna name seven songs funny, how time flies.

1767
01:25:03,120 --> 01:25:06,400
Speaker 2: There is a question I forgot to ask some days

1768
01:25:06,400 --> 01:25:12,240
Speaker 2: to night the body that loves you rope burn, love scene,

1769
01:25:13,280 --> 01:25:15,599
Speaker 2: especially love scene, would you mind?

1770
01:25:16,400 --> 01:25:19,439
Speaker 1: And warmth? Do you know what these songs have in common?

1771
01:25:20,840 --> 01:25:24,160
Speaker 1: Which one of you?

1772
01:25:24,240 --> 01:25:28,040
Speaker 2: Okay, here's the thing, Like my friendship with jan has

1773
01:25:28,080 --> 01:25:30,439
Speaker 2: developed deeper, probably in the last six or seven years,

1774
01:25:31,000 --> 01:25:34,759
Speaker 2: where it's not fan worship. Like now we're like casual

1775
01:25:34,840 --> 01:25:36,639
Speaker 2: and you know, we crack jokes and all this stuff.

1776
01:25:37,120 --> 01:25:41,200
Speaker 2: But clearly there's a duplicitous two sides the Janet thing.

1777
01:25:42,760 --> 01:25:47,920
Speaker 2: And for someone who's notoriously publicly or I'll do the

1778
01:25:47,960 --> 01:25:54,559
Speaker 2: other peep performatively shy how do you track vocals when

1779
01:25:55,640 --> 01:25:58,960
Speaker 2: she's insinuating orgasms or it? And the thing is we're

1780
01:25:58,960 --> 01:26:02,240
Speaker 2: watching the evolution of her sexuality for each I remember

1781
01:26:02,360 --> 01:26:04,639
Speaker 2: interviews where she was like, I didn't play funny out times,

1782
01:26:04,800 --> 01:26:07,720
Speaker 2: and that's the safest of this what I mentioned. But

1783
01:26:07,840 --> 01:26:11,040
Speaker 2: each each album, you you push it further and further

1784
01:26:11,080 --> 01:26:13,840
Speaker 2: and further. So do you do a lights have to

1785
01:26:13,840 --> 01:26:16,720
Speaker 2: be completely off, Like when I'm doing vocals and I'm

1786
01:26:16,760 --> 01:26:19,880
Speaker 2: just doing like, uh whatever, everyone's.

1787
01:26:19,400 --> 01:26:23,679
Speaker 1: Out this montherfucker. They can go out the building, lights off, whatever.

1788
01:26:23,720 --> 01:26:25,600
Speaker 1: Even the engineer is like, out of there. I got

1789
01:26:25,720 --> 01:26:28,839
Speaker 1: to be alone. How do you.

1790
01:26:28,720 --> 01:26:32,880
Speaker 2: Build that trust one when she's tracking vocals, especially on

1791
01:26:32,920 --> 01:26:36,920
Speaker 2: the slow songs. Does she just program herself to execute it?

1792
01:26:37,800 --> 01:26:37,920
Speaker 1: Well?

1793
01:26:37,960 --> 01:26:39,720
Speaker 4: I think there's probably a little of both, but she

1794
01:26:39,800 --> 01:26:43,559
Speaker 4: definitely programs herself to execute it. The lights are all

1795
01:26:43,680 --> 01:26:46,320
Speaker 4: off and by the way, completely off, and there's no

1796
01:26:46,360 --> 01:26:47,240
Speaker 4: engineer in the room.

1797
01:26:47,280 --> 01:26:50,439
Speaker 1: There's nobody in the room. It's you know, yeah, only me.

1798
01:26:51,240 --> 01:26:54,240
Speaker 4: So you have to track the vocals, yes, unfortunately or

1799
01:26:54,280 --> 01:26:56,080
Speaker 4: not unfortunate, but yes, I have to do it.

1800
01:26:56,280 --> 01:26:58,320
Speaker 1: I have to do the heavy lifting here, yes, yeah,

1801
01:26:58,880 --> 01:27:01,719
Speaker 1: But you also have to mix the song and rewind

1802
01:27:01,720 --> 01:27:02,880
Speaker 1: and mix it and mix it and mix it.

1803
01:27:02,920 --> 01:27:06,560
Speaker 4: And that more than yeah, what do you call it?

1804
01:27:06,680 --> 01:27:16,320
Speaker 4: I have to comp the vocal right.

1805
01:27:14,880 --> 01:27:17,840
Speaker 2: Well, I think one time I asked I don't know

1806
01:27:17,840 --> 01:27:21,960
Speaker 2: if I think I asked Lawrence once like, you know, well,

1807
01:27:22,439 --> 01:27:25,920
Speaker 2: Prince play you guys everything. And I gave an example,

1808
01:27:26,040 --> 01:27:28,280
Speaker 2: like you know, when he made let's pretend and married,

1809
01:27:28,400 --> 01:27:30,479
Speaker 2: like he's like, yay, guys, check this out, or.

1810
01:27:30,439 --> 01:27:33,840
Speaker 1: Even do me baby, Do me baby? Is probably his

1811
01:27:34,120 --> 01:27:37,960
Speaker 1: greatest vocal per formance ever. I know there's a vulnerability

1812
01:27:38,160 --> 01:27:42,200
Speaker 1: and a drive to act like Prince, but then when

1813
01:27:42,200 --> 01:27:44,639
Speaker 1: the lights are out, you go back to normal or whatever.

1814
01:27:44,920 --> 01:27:49,040
Speaker 1: But like, does it not get awkward or with Janet? No,

1815
01:27:49,560 --> 01:27:53,080
Speaker 1: I know it wasn't ever awkward at all. It was

1816
01:27:53,120 --> 01:27:55,120
Speaker 1: actually funny. I mean a lot of those tracks. I

1817
01:27:55,120 --> 01:27:56,800
Speaker 1: mean I think you have a lot of those stems.

1818
01:27:57,360 --> 01:28:00,559
Speaker 4: She'll laugh at the end or she'll you know, it's

1819
01:28:00,600 --> 01:28:02,719
Speaker 4: just kind of almost like playing a part.

1820
01:28:02,960 --> 01:28:07,479
Speaker 2: You know, people like that. Scary people like that scare

1821
01:28:07,560 --> 01:28:11,200
Speaker 2: me where it's like I know one person like that

1822
01:28:11,479 --> 01:28:12,599
Speaker 2: literally by.

1823
01:28:12,520 --> 01:28:14,040
Speaker 1: Day, Hey how you doing to me? No?

1824
01:28:13,920 --> 01:28:14,559
Speaker 3: No, no, no no.

1825
01:28:15,040 --> 01:28:17,200
Speaker 1: And Richard Pride does this the next thing.

1826
01:28:17,240 --> 01:28:17,920
Speaker 3: Motherfuck it?

1827
01:28:18,040 --> 01:28:21,599
Speaker 2: Like literally, yes, And I just I just wondered about

1828
01:28:21,600 --> 01:28:24,240
Speaker 2: the psychology or at least the relationship or the trust

1829
01:28:24,400 --> 01:28:26,800
Speaker 2: that does it ever get awkward at all?

1830
01:28:28,200 --> 01:28:29,479
Speaker 1: No? Not really?

1831
01:28:29,760 --> 01:28:33,040
Speaker 4: And yeah, and I think trust is the word there.

1832
01:28:33,320 --> 01:28:36,280
Speaker 4: I mean, it's just if you think about the life

1833
01:28:36,400 --> 01:28:38,760
Speaker 4: and the evolution of it that she was going through,

1834
01:28:38,880 --> 01:28:42,360
Speaker 4: you know, forty years ago, control she was making that transition.

1835
01:28:42,400 --> 01:28:44,439
Speaker 4: But part of her transition I think we've talked about

1836
01:28:44,439 --> 01:28:46,840
Speaker 4: this is when she was going out talking about going

1837
01:28:46,880 --> 01:28:49,840
Speaker 4: out on her own. That trip to Minneapolis was her

1838
01:28:49,920 --> 01:28:52,200
Speaker 4: going out on her own. Where she had to drive

1839
01:28:52,200 --> 01:28:55,519
Speaker 4: herself around, was her and her girlfriend Melanie. She had

1840
01:28:55,520 --> 01:28:58,639
Speaker 4: to drive herself around. We gave her a Thomas Guide

1841
01:28:58,640 --> 01:29:01,320
Speaker 4: because there was no GPS point in time. She had

1842
01:29:01,360 --> 01:29:03,240
Speaker 4: to get from the hotel to the studio. She had

1843
01:29:03,240 --> 01:29:06,320
Speaker 4: to drive herself. We gave her a map to Blockbuster Video,

1844
01:29:06,360 --> 01:29:07,360
Speaker 4: We gave her a map.

1845
01:29:07,120 --> 01:29:10,040
Speaker 1: To the sushi place as she liked. And that was it.

1846
01:29:10,400 --> 01:29:12,080
Speaker 4: So all of this kind of going out on my

1847
01:29:12,160 --> 01:29:14,280
Speaker 4: own and being my own person and all that, that

1848
01:29:14,439 --> 01:29:17,519
Speaker 4: was all happening in Minneapolis in real time as we

1849
01:29:17,520 --> 01:29:20,960
Speaker 4: were writing the album. You know, Nasty about you know,

1850
01:29:21,040 --> 01:29:23,720
Speaker 4: guys that were bothering her and stuff, and people said,

1851
01:29:24,040 --> 01:29:26,880
Speaker 4: I think those guys are bothering Janet, you should whatever, whatever,

1852
01:29:26,920 --> 01:29:27,880
Speaker 4: and we're like, we're watching it.

1853
01:29:27,880 --> 01:29:30,480
Speaker 1: We're cool. And then she came over afterwards and she said,

1854
01:29:30,720 --> 01:29:32,120
Speaker 1: you see those guys were bothering me.

1855
01:29:32,120 --> 01:29:34,320
Speaker 4: Did you see those guys? We said, yeah, why didn't

1856
01:29:34,320 --> 01:29:36,599
Speaker 4: you come over and help me? And we said, well,

1857
01:29:36,840 --> 01:29:39,040
Speaker 4: you're over here now, so everything must have been okay.

1858
01:29:39,600 --> 01:29:42,559
Speaker 4: And she was like, oh, yeah, I guess. So, you know,

1859
01:29:42,760 --> 01:29:45,519
Speaker 4: it's like learn to take care of yourself. And so

1860
01:29:45,600 --> 01:29:47,280
Speaker 4: that was very much what it was. But because of that,

1861
01:29:47,280 --> 01:29:50,320
Speaker 4: that's how the trust developed over that, and then we

1862
01:29:50,360 --> 01:29:53,040
Speaker 4: gave her more responsibility on Rhythm Nation, we gave her

1863
01:29:53,040 --> 01:29:56,439
Speaker 4: even more responsibility. She got into the fact of knowing

1864
01:29:56,479 --> 01:29:58,479
Speaker 4: that she's going to be writing, like she's going to

1865
01:29:58,479 --> 01:30:00,680
Speaker 4: be a writer now, and came in with ideas and

1866
01:30:00,720 --> 01:30:03,599
Speaker 4: things she wanted to do, and the trust just grows

1867
01:30:03,680 --> 01:30:05,479
Speaker 4: and the next you know, the evolution of that was

1868
01:30:05,479 --> 01:30:08,880
Speaker 4: some days tonight, you know, where you know, I'd always

1869
01:30:08,880 --> 01:30:11,160
Speaker 4: say it'd be worth a weight well, you know, or

1870
01:30:11,240 --> 01:30:13,640
Speaker 4: sub day is tonight, you know, But yeah, it was

1871
01:30:13,720 --> 01:30:16,479
Speaker 4: just kind of the evolution of somebody kind of growing up.

1872
01:30:17,360 --> 01:30:19,479
Speaker 1: But there's no trepidation on her part, like, guys, I

1873
01:30:19,520 --> 01:30:22,240
Speaker 1: don't know if I should be doing this or no,

1874
01:30:22,520 --> 01:30:24,160
Speaker 1: she no, or she the agitator.

1875
01:30:24,880 --> 01:30:26,960
Speaker 4: No, she wasn't really the agitator, but it was I

1876
01:30:26,960 --> 01:30:30,000
Speaker 4: guess it was mutual agitation. Like it just was kind

1877
01:30:30,000 --> 01:30:32,360
Speaker 4: of I always liked the idea of that on the

1878
01:30:32,439 --> 01:30:36,639
Speaker 4: song and kind of laying yourself bare and being honest

1879
01:30:36,680 --> 01:30:40,040
Speaker 4: on the record. And you know, listen, sex was part

1880
01:30:40,400 --> 01:30:44,000
Speaker 4: of the record, so got yeah, I just but but no,

1881
01:30:44,080 --> 01:30:46,360
Speaker 4: it never was really awkward and we were, like I said,

1882
01:30:46,400 --> 01:30:48,680
Speaker 4: the lights were always out. We weren't looking at each

1883
01:30:48,680 --> 01:30:49,680
Speaker 4: other one that kind of thing.

1884
01:30:49,800 --> 01:30:51,439
Speaker 1: So I don't know if I ever shared the story.

1885
01:30:51,479 --> 01:30:55,960
Speaker 2: But right after nine to eleven, maybe a month later,

1886
01:30:56,520 --> 01:31:02,639
Speaker 2: the two thousand and one All for You, All for You, Yeah,

1887
01:31:02,880 --> 01:31:06,439
Speaker 2: it came to the WACOVI Center in Philly, and this

1888
01:31:06,560 --> 01:31:09,360
Speaker 2: is the first time I'm testing the waters to see

1889
01:31:10,000 --> 01:31:12,960
Speaker 2: am my niche artist or and my quest love like

1890
01:31:13,640 --> 01:31:16,000
Speaker 2: meet my peers or whatever. And you know, I had

1891
01:31:16,000 --> 01:31:18,759
Speaker 2: a friend that worked at Virgin because because of years

1892
01:31:18,760 --> 01:31:19,440
Speaker 2: with DiAngelo.

1893
01:31:19,760 --> 01:31:21,320
Speaker 1: Yes, I was like, hey can I can I get it?

1894
01:31:21,520 --> 01:31:23,200
Speaker 2: And I was like, oh, my first free tickets and

1895
01:31:23,200 --> 01:31:24,519
Speaker 2: stuff and backstage injury.

1896
01:31:24,560 --> 01:31:25,360
Speaker 1: I was like, oh cool.

1897
01:31:25,960 --> 01:31:31,559
Speaker 2: And so I'm in the third row and I know

1898
01:31:31,600 --> 01:31:34,920
Speaker 2: what's coming. I've seen about four or five shows throughout

1899
01:31:34,960 --> 01:31:37,000
Speaker 2: the years, and I know, okay, there's there's gonna be

1900
01:31:37,040 --> 01:31:39,400
Speaker 2: the lap dance song or whatever the song is.

1901
01:31:39,479 --> 01:31:41,840
Speaker 1: Yes, And I just happened to be.

1902
01:31:42,040 --> 01:31:44,400
Speaker 2: Right in the sweet spot in the front row and

1903
01:31:44,439 --> 01:31:49,280
Speaker 2: she finishes the last three words of I Get Lonely

1904
01:31:49,560 --> 01:31:55,439
Speaker 2: and she entered the song, Oh h what is suspension.

1905
01:31:56,800 --> 01:32:02,719
Speaker 1: You? And I looking at me and I'm like about

1906
01:32:02,720 --> 01:32:05,639
Speaker 1: to get I was with James Poorser and we were

1907
01:32:05,640 --> 01:32:08,520
Speaker 1: literally freaking out like it was almost like a recreation

1908
01:32:08,680 --> 01:32:12,960
Speaker 1: of of What's Happening Gang at the Doobie brother Show.

1909
01:32:13,520 --> 01:32:20,360
Speaker 1: Yeah right, and I'm looking like uh and I head

1910
01:32:20,400 --> 01:32:23,280
Speaker 1: to the stage and the security guys like no him,

1911
01:32:24,040 --> 01:32:25,200
Speaker 1: and it's a guy behind me.

1912
01:32:26,320 --> 01:32:30,599
Speaker 2: But this is all on the jumbo trunk for all

1913
01:32:30,600 --> 01:32:33,200
Speaker 2: of Philadelphia to see the pie in my face moment.

1914
01:32:33,320 --> 01:32:34,439
Speaker 1: And yeah, to this.

1915
01:32:34,400 --> 01:32:36,720
Speaker 3: Day, you were imagining you on the stage.

1916
01:32:37,000 --> 01:32:38,320
Speaker 1: Yeah, like tying up and there.

1917
01:32:41,160 --> 01:32:46,280
Speaker 2: I love it all right, It never you know, it's weird.

1918
01:32:46,520 --> 01:32:50,040
Speaker 2: You remember ABC in concert. Yes, so I know this

1919
01:32:50,120 --> 01:32:54,040
Speaker 2: show was recorded because they showed four or five songs.

1920
01:32:54,040 --> 01:32:58,759
Speaker 1: You can not that particular song was shown somewhere in history.

1921
01:32:59,000 --> 01:33:02,280
Speaker 1: It's it's there somewhere. Then we're gonna find that.

1922
01:33:02,520 --> 01:33:05,840
Speaker 2: All right, I'm gonna do rapid random all right. What

1923
01:33:05,920 --> 01:33:08,280
Speaker 2: other talents do you guys have that we don't know about?

1924
01:33:08,640 --> 01:33:12,240
Speaker 2: What's your mean talent? Are you good cooks? Are you

1925
01:33:12,240 --> 01:33:12,960
Speaker 2: good at fishing?

1926
01:33:13,200 --> 01:33:14,880
Speaker 3: I can cook cause I like to eat.

1927
01:33:16,240 --> 01:33:17,759
Speaker 1: When's the last time you cooked for yourself?

1928
01:33:18,200 --> 01:33:19,160
Speaker 3: Probably the other day?

1929
01:33:19,720 --> 01:33:20,280
Speaker 1: What did you make?

1930
01:33:20,840 --> 01:33:23,519
Speaker 3: I made some Sloppy Joe's. Man, my wife was talking. Oh,

1931
01:33:23,920 --> 01:33:25,840
Speaker 3: my wife was talking about me like a dog.

1932
01:33:26,240 --> 01:33:27,240
Speaker 1: Can I tell you something?

1933
01:33:28,680 --> 01:33:31,519
Speaker 2: Because I have an office job and you know, currently

1934
01:33:31,600 --> 01:33:34,320
Speaker 2: dating someone that's like forcing me to really be a

1935
01:33:34,360 --> 01:33:37,880
Speaker 2: health nutting. Look, I can't afford to do my old ways,

1936
01:33:38,600 --> 01:33:42,000
Speaker 2: but I get a cheat day. And actually last week

1937
01:33:42,080 --> 01:33:44,200
Speaker 2: I had a craven. I've not had a Sloppy Joe

1938
01:33:44,360 --> 01:33:46,280
Speaker 2: like I think at all in the two thousands, Like

1939
01:33:46,360 --> 01:33:50,240
Speaker 2: there is some foods that escape the decades, And I

1940
01:33:50,360 --> 01:33:53,160
Speaker 2: was like, I remember Sloppy Joe's And I googled on

1941
01:33:53,280 --> 01:33:54,920
Speaker 2: uber eat who makes a lot, And sure, enough.

1942
01:33:55,479 --> 01:33:58,880
Speaker 1: I had my first sloppy joe like last week.

1943
01:33:59,120 --> 01:33:59,880
Speaker 3: Was it good?

1944
01:34:00,160 --> 01:34:02,800
Speaker 1: Yes? I miss sloppy It's great.

1945
01:34:02,880 --> 01:34:05,320
Speaker 5: That's what I'm talking about because my daughter and my

1946
01:34:05,439 --> 01:34:08,080
Speaker 5: wife talk about me like adult because I like sloppy Joe's.

1947
01:34:08,400 --> 01:34:10,160
Speaker 5: Make my ground turkey sloppy Joe's.

1948
01:34:10,720 --> 01:34:13,479
Speaker 3: It's very simple. It takes me about ten minutes and

1949
01:34:13,800 --> 01:34:15,599
Speaker 3: I have a pot of sloppy Joe's. I could eat

1950
01:34:15,640 --> 01:34:16,360
Speaker 3: it for the whole week.

1951
01:34:17,560 --> 01:34:21,400
Speaker 4: Well are you cook it all? Well no, not really.

1952
01:34:21,560 --> 01:34:23,840
Speaker 4: But the one thing I'll say about the sloppy Joe.

1953
01:34:23,960 --> 01:34:27,439
Speaker 4: So for my birthday every year, that's what my mom

1954
01:34:27,479 --> 01:34:28,920
Speaker 4: would always make sloppy Joe's.

1955
01:34:29,000 --> 01:34:30,960
Speaker 1: That was like my favorite thing.

1956
01:34:31,240 --> 01:34:34,680
Speaker 4: Yes, and I haven't probably had sloppy Joe's anywhere in

1957
01:34:34,800 --> 01:34:37,320
Speaker 4: the two thousands. But Terry Lewis, the next time you

1958
01:34:37,400 --> 01:34:39,840
Speaker 4: make sloppy Joe's, would you please bring them to please

1959
01:34:39,920 --> 01:34:40,920
Speaker 4: bring some to the studio.

1960
01:34:41,080 --> 01:34:42,599
Speaker 1: No, I love sloppy joe.

1961
01:34:42,760 --> 01:34:45,639
Speaker 3: I'll make a turkey burger or some chili by the way.

1962
01:34:45,840 --> 01:34:47,840
Speaker 1: By the way, turkey burger. So the funny thing was

1963
01:34:47,960 --> 01:34:49,920
Speaker 1: back in the day, so Terry was.

1964
01:34:50,080 --> 01:34:52,640
Speaker 4: I called him a chickatarian right because he wasn't a vegetarian,

1965
01:34:52,720 --> 01:34:55,360
Speaker 4: but he wouldn't eat red meat. And I was a

1966
01:34:55,439 --> 01:34:58,040
Speaker 4: burger fiend, Like I love burger, burger, burger right. And

1967
01:34:58,080 --> 01:34:59,919
Speaker 4: I remember I go to his house for a barbecue

1968
01:35:00,680 --> 01:35:02,760
Speaker 4: and he's on the grill and he hands me a

1969
01:35:02,840 --> 01:35:03,880
Speaker 4: burger and.

1970
01:35:03,920 --> 01:35:06,720
Speaker 1: I'm like, oh, cool, cool. I bite into it. I'm like,

1971
01:35:06,800 --> 01:35:08,960
Speaker 1: oh my god, Terry, this is the greatest burger man.

1972
01:35:09,040 --> 01:35:12,760
Speaker 1: This is amazing. He said it's turkey. I said, there's

1973
01:35:13,240 --> 01:35:16,360
Speaker 1: no way, there's no way this is turkey. Because now

1974
01:35:16,880 --> 01:35:20,760
Speaker 1: because he had the consistency, I'm telling you, I've never

1975
01:35:20,800 --> 01:35:22,680
Speaker 1: had a turkey. That's the best turkey burger I've ever

1976
01:35:22,720 --> 01:35:25,640
Speaker 1: had in my life. Because he had it, the consistency

1977
01:35:25,720 --> 01:35:29,600
Speaker 1: of it. There was no false anything to it. Got it.

1978
01:35:29,840 --> 01:35:32,880
Speaker 4: And the same thing like his turkey chili. The one

1979
01:35:33,000 --> 01:35:36,320
Speaker 4: thing that Janet every time she comes to town, the

1980
01:35:36,439 --> 01:35:39,880
Speaker 4: turkey chili. She goes, Terry, will you make some turkey chili?

1981
01:35:40,240 --> 01:35:45,479
Speaker 1: Like she wants to the studio. He's serious at home

1982
01:35:45,560 --> 01:35:48,200
Speaker 1: and bring it. Yeah, Okay.

1983
01:35:48,520 --> 01:35:50,960
Speaker 2: The studio that you guys held the longest residency, and

1984
01:35:51,160 --> 01:35:55,280
Speaker 2: what was always the typical go to an electric lady

1985
01:35:55,520 --> 01:35:57,360
Speaker 2: all we ate was Chinese to the point where I

1986
01:35:57,800 --> 01:35:59,800
Speaker 2: had to stop eating it only because it's like so

1987
01:36:00,080 --> 01:36:04,599
Speaker 2: routine and every day. But like, what is the I mean,

1988
01:36:04,680 --> 01:36:07,400
Speaker 2: I've assume that your longest residency was flight Time Studios

1989
01:36:07,439 --> 01:36:09,240
Speaker 2: and Minneapolis.

1990
01:36:09,400 --> 01:36:12,960
Speaker 1: Yeah, yeah, oh that's interesting, man.

1991
01:36:13,000 --> 01:36:14,800
Speaker 3: We never really had a food habit.

1992
01:36:15,360 --> 01:36:18,839
Speaker 4: Okay, yeah, I mean we in Minneapolis, our restaurant was Rudolph's.

1993
01:36:18,920 --> 01:36:21,439
Speaker 5: Yes, we will go to Rude because we leave and

1994
01:36:21,720 --> 01:36:23,720
Speaker 5: Rudoh stayed up in like til two or three in the.

1995
01:36:23,760 --> 01:36:27,519
Speaker 1: Mor Yes, exactly, Okay, yeah, that was probably spot or.

1996
01:36:27,560 --> 01:36:30,000
Speaker 5: If we needed something quick, Perkins was right around the

1997
01:36:30,160 --> 01:36:30,600
Speaker 5: Perkins was.

1998
01:36:30,640 --> 01:36:32,040
Speaker 1: Right around the corner of the other. But we used

1999
01:36:32,040 --> 01:36:35,759
Speaker 1: to right but we also used to hit Red Lobster.

2000
01:36:35,960 --> 01:36:36,439
Speaker 3: Oh yeah.

2001
01:36:36,560 --> 01:36:38,880
Speaker 4: And the funny thing is the waitress that used to

2002
01:36:39,200 --> 01:36:44,720
Speaker 4: get us at Red Lobster is now Byron Allen's wife. Wait, yeah,

2003
01:36:45,040 --> 01:36:49,080
Speaker 4: that one, Yes, she had yeah and she used okay, yeah,

2004
01:36:49,160 --> 01:36:50,680
Speaker 4: she came up, She came up.

2005
01:36:51,160 --> 01:36:51,920
Speaker 1: She was our waitress.

2006
01:36:52,080 --> 01:36:54,240
Speaker 4: She was our waitress at Red Lobster when we used

2007
01:36:54,240 --> 01:36:55,559
Speaker 4: to go over there because there was a Red Lobster

2008
01:36:55,720 --> 01:36:57,720
Speaker 4: just right up the street from the flight Time, our

2009
01:36:57,720 --> 01:37:00,400
Speaker 4: big flight time, the second flight we had yeah, yeah,

2010
01:37:00,600 --> 01:37:03,160
Speaker 4: so yeah, but I gotta go rd Labster, I know. Sorry,

2011
01:37:04,200 --> 01:37:07,760
Speaker 4: we want to Nickel Art Songs Art Songs Wings, that's right, Yeah,

2012
01:37:07,800 --> 01:37:08,840
Speaker 4: a place called art Songs.

2013
01:37:08,920 --> 01:37:10,160
Speaker 1: Yeah, that will wing place.

2014
01:37:10,280 --> 01:37:13,080
Speaker 2: When's the last time you two been the Oh god,

2015
01:37:13,680 --> 01:37:17,000
Speaker 2: how do you feel about Minnesota? I totally forgot that

2016
01:37:17,160 --> 01:37:22,599
Speaker 2: you guys are from the hot bed of all political activity.

2017
01:37:22,680 --> 01:37:25,320
Speaker 1: Now, when's the last time you guys have been to Minnesota?

2018
01:37:25,439 --> 01:37:27,799
Speaker 1: Like talk to family members?

2019
01:37:28,400 --> 01:37:32,280
Speaker 4: Yeah, well my dad is up there still and corn bread,

2020
01:37:32,680 --> 01:37:35,680
Speaker 4: having bread, still doing this thing. I haven't been up

2021
01:37:35,760 --> 01:37:39,479
Speaker 4: there since kind of all that stuff went down, got it.

2022
01:37:39,640 --> 01:37:42,479
Speaker 4: My dad's getting inducted in the Minnesota Hall of Fame,

2023
01:37:42,520 --> 01:37:43,719
Speaker 4: I think for music or something.

2024
01:37:44,120 --> 01:37:45,080
Speaker 1: I am going to go up for that.

2025
01:37:45,240 --> 01:37:46,920
Speaker 4: I am going to go up for his ninety ninth

2026
01:37:47,000 --> 01:37:51,639
Speaker 4: birthday in April, and so I will spend some time

2027
01:37:51,720 --> 01:37:53,360
Speaker 4: up there. But I haven't been up there since all that.

2028
01:37:53,680 --> 01:37:57,519
Speaker 4: But obviously it's heartbreaking because it's kind of like, you know,

2029
01:37:58,439 --> 01:38:02,600
Speaker 4: people coming over they weren't invited, you know, Yes, and

2030
01:38:03,280 --> 01:38:04,720
Speaker 4: Terry had I mean, I like he can say it

2031
01:38:04,760 --> 01:38:06,560
Speaker 4: better than me, but he had a great analogy. It's like,

2032
01:38:06,640 --> 01:38:09,320
Speaker 4: you know, when somebody comes over to your house uninvited,

2033
01:38:10,200 --> 01:38:13,040
Speaker 4: and you go, okay, you're not invited, and then they

2034
01:38:13,120 --> 01:38:15,439
Speaker 4: walk in, but they got mud on their shoes and

2035
01:38:15,520 --> 01:38:17,679
Speaker 4: now they're tracking through your house and it's like, okay,

2036
01:38:17,840 --> 01:38:19,439
Speaker 4: you know what, you weren't invited, but at least if

2037
01:38:19,479 --> 01:38:21,200
Speaker 4: you're going to come in, at least take your shoes,

2038
01:38:21,520 --> 01:38:24,080
Speaker 4: you at least be respectful. And I think that's the

2039
01:38:24,160 --> 01:38:27,639
Speaker 4: thing it's heartbreaking about. It has this inspired some sort

2040
01:38:27,680 --> 01:38:31,839
Speaker 4: of firing you guys to you know. I know sometimes

2041
01:38:31,920 --> 01:38:34,120
Speaker 4: people will be like, ah, there's a moment for an

2042
01:38:34,120 --> 01:38:38,439
Speaker 4: anthem and it never works. But I agree when watching it,

2043
01:38:39,439 --> 01:38:41,320
Speaker 4: was there something where you felt the need to.

2044
01:38:43,640 --> 01:38:47,280
Speaker 3: It doesn't inspire song for me, got it? It inspires anger.

2045
01:38:47,600 --> 01:38:51,439
Speaker 5: Yeah, Like I still have a majority of my family there.

2046
01:38:51,479 --> 01:38:59,639
Speaker 5: I have sisters, son, nephews, nieces, grandson and just watching

2047
01:38:59,680 --> 01:39:04,679
Speaker 5: how the just disrespecting our community and where I used

2048
01:39:04,680 --> 01:39:05,000
Speaker 5: to live.

2049
01:39:05,800 --> 01:39:09,439
Speaker 3: They tried that ship, but they didn't they didn't last.

2050
01:39:09,840 --> 01:39:13,240
Speaker 5: It didn't work because you know, so everybody got guns,

2051
01:39:13,320 --> 01:39:15,800
Speaker 5: so nobody cares about that ship. Like okay, you pull it,

2052
01:39:15,880 --> 01:39:18,160
Speaker 5: We're gonna pull it, and you know they know where

2053
01:39:18,200 --> 01:39:20,920
Speaker 5: to go. It's like they don't they don't go. They

2054
01:39:20,960 --> 01:39:25,519
Speaker 5: don't come to LA and go South Central. They know

2055
01:39:25,920 --> 01:39:27,559
Speaker 5: East LA. They ain't going there.

2056
01:39:27,640 --> 01:39:30,519
Speaker 3: They y'all can y'all can play if you want to.

2057
01:39:31,840 --> 01:39:36,000
Speaker 3: Y'all could be Yeah, yeah, you could be tough over there,

2058
01:39:36,120 --> 01:39:36,840
Speaker 3: but over here.

2059
01:39:37,640 --> 01:39:40,360
Speaker 4: By the way, I will say about an anthem, which

2060
01:39:40,360 --> 01:39:43,200
Speaker 4: I thought was very cool because I was talking to

2061
01:39:43,280 --> 01:39:47,639
Speaker 4: John Landau about something that Bruce was doing for the Grammys,

2062
01:39:48,520 --> 01:39:50,720
Speaker 4: and literally the same day that he was doing the

2063
01:39:50,800 --> 01:39:53,680
Speaker 4: thing for the Grammys, which was a voiceover thing. The

2064
01:39:53,760 --> 01:39:56,200
Speaker 4: same day he was doing that, he actually recorded. That

2065
01:39:56,320 --> 01:39:59,599
Speaker 4: same weekend he actually recorded the Minneapolis song. And then

2066
01:39:59,680 --> 01:40:02,360
Speaker 4: I know in talking to Tom Morello that he was

2067
01:40:02,400 --> 01:40:04,400
Speaker 4: going to come up and actually do a show up there.

2068
01:40:06,040 --> 01:40:10,360
Speaker 4: And to me, musically, that was the statement that needed

2069
01:40:10,400 --> 01:40:12,320
Speaker 4: to be made. It didn't need to come from us.

2070
01:40:12,479 --> 01:40:14,600
Speaker 4: I mean we made a statement, I mean just a

2071
01:40:15,000 --> 01:40:18,320
Speaker 4: you know, a talking statement. But no, we didn't feel

2072
01:40:18,360 --> 01:40:20,760
Speaker 4: like necessarily inspired by a song. I mean, if we do,

2073
01:40:21,200 --> 01:40:24,320
Speaker 4: we'll definitely do one. But I don't think that was

2074
01:40:24,439 --> 01:40:25,280
Speaker 4: our thought.

2075
01:40:26,479 --> 01:40:29,320
Speaker 5: Yeah, I think the thought is to try to help

2076
01:40:29,360 --> 01:40:32,360
Speaker 5: the people who need help on the ground, like they

2077
01:40:32,439 --> 01:40:35,360
Speaker 5: need financial help, they need sustenance, they need food, they

2078
01:40:35,479 --> 01:40:38,519
Speaker 5: need you know, day care, they need whatever. I mean,

2079
01:40:39,560 --> 01:40:44,000
Speaker 5: these people are invading the privacy of these people and

2080
01:40:45,000 --> 01:40:46,799
Speaker 5: people just losing out on life.

2081
01:40:46,600 --> 01:40:47,720
Speaker 3: And that's not right.

2082
01:40:49,240 --> 01:40:53,640
Speaker 2: Who's the sloppy one as far as what, who's organized

2083
01:40:54,040 --> 01:40:57,160
Speaker 2: and who's sloppy between you two? Just in terms of

2084
01:40:58,479 --> 01:41:01,479
Speaker 2: Tarik will clean higher tour bus with his two brush,

2085
01:41:01,880 --> 01:41:06,640
Speaker 2: organize everything perfectly. I'm the sloppiest disorganized human being on

2086
01:41:06,720 --> 01:41:07,479
Speaker 2: it can find.

2087
01:41:08,960 --> 01:41:13,519
Speaker 1: I have organized messes. I have a pile of stuff,

2088
01:41:13,600 --> 01:41:16,519
Speaker 1: but I know, I know it's in that pile somewhere. Okay.

2089
01:41:16,800 --> 01:41:19,960
Speaker 5: Yeah, I think he's more organized in his computer than

2090
01:41:20,000 --> 01:41:22,479
Speaker 5: I would be. Okay, but I have more stuff in

2091
01:41:22,560 --> 01:41:25,519
Speaker 5: my computer than he would, gotcha. But as far as cleaning,

2092
01:41:25,600 --> 01:41:27,439
Speaker 5: I mean, I grew up in Barnetta's house and then

2093
01:41:27,479 --> 01:41:31,320
Speaker 5: Barnetta's house man ship, and man I woke up every weekend.

2094
01:41:31,400 --> 01:41:34,400
Speaker 5: Man I was cleaning until like one or two o'clock.

2095
01:41:34,720 --> 01:41:34,960
Speaker 1: Got it.

2096
01:41:35,160 --> 01:41:38,320
Speaker 5: You know, I'm washing the woodwork, the walls, the cleaning

2097
01:41:38,400 --> 01:41:43,200
Speaker 5: the kitchen, you know, shoveling, raking, whatever.

2098
01:41:44,439 --> 01:41:46,720
Speaker 1: Who's the punctual one of you two?

2099
01:41:47,920 --> 01:41:52,599
Speaker 4: Terry definitely are you five minutes early before the meeting

2100
01:41:53,400 --> 01:41:54,519
Speaker 4: or an hour early before.

2101
01:41:54,680 --> 01:41:59,880
Speaker 3: It just depends on what the meeting. To be honest with, you.

2102
01:42:01,080 --> 01:42:03,560
Speaker 4: Choose your spots. Okay, I'm always five minutes later with

2103
01:42:03,680 --> 01:42:05,760
Speaker 4: ten minutes later. Just I don't know why, I just stam.

2104
01:42:06,680 --> 01:42:12,599
Speaker 4: Since eighty three, have you too, ever had a real argument.

2105
01:42:13,920 --> 01:42:16,400
Speaker 4: We haven't had a real argument since seventy three when

2106
01:42:16,439 --> 01:42:18,479
Speaker 4: we met. We've never had an argument.

2107
01:42:18,720 --> 01:42:23,439
Speaker 2: No, never, You guys never came close to fisticups. Me too,

2108
01:42:23,439 --> 01:42:26,960
Speaker 2: recat one fistfight. Okay, you've never had one.

2109
01:42:27,000 --> 01:42:27,360
Speaker 3: Who won?

2110
01:42:31,600 --> 01:42:35,920
Speaker 5: So that's the point, Like who won? Like nobody wins

2111
01:42:36,000 --> 01:42:40,160
Speaker 5: in that that's degrees are losing, right, got it? So

2112
01:42:41,280 --> 01:42:43,160
Speaker 5: that is not even an option. That's not even the

2113
01:42:43,240 --> 01:42:45,240
Speaker 5: mature way of thinking to me.

2114
01:42:45,439 --> 01:42:47,880
Speaker 4: We always think about it as the difference between an

2115
01:42:47,960 --> 01:42:50,800
Speaker 4: argument and a disagreement. So an argument is something you're

2116
01:42:50,800 --> 01:42:54,439
Speaker 4: trying to win. A disagreement is something you're trying to solve.

2117
01:42:55,320 --> 01:42:58,400
Speaker 4: So we look at yes we disagree on things, but

2118
01:42:58,520 --> 01:43:01,800
Speaker 4: we try to find whether it's my way or his way,

2119
01:43:02,160 --> 01:43:05,160
Speaker 4: but what's the best way? And once we figure out

2120
01:43:05,439 --> 01:43:07,640
Speaker 4: the best way, then there may be a discussion on

2121
01:43:07,800 --> 01:43:10,479
Speaker 4: the best way to get there to the best way.

2122
01:43:11,280 --> 01:43:14,040
Speaker 4: But an argument if I win an argument against Terry,

2123
01:43:14,280 --> 01:43:16,960
Speaker 4: why would I ever want to see my partner lose

2124
01:43:17,439 --> 01:43:21,040
Speaker 4: at something, and particularly something that I'm responsible for. Just

2125
01:43:21,080 --> 01:43:23,880
Speaker 4: doesn't make sense. So the arguing thing, we've never had

2126
01:43:23,920 --> 01:43:25,680
Speaker 4: an argument, okay.

2127
01:43:25,479 --> 01:43:29,000
Speaker 1: So what if there is a little bit too much

2128
01:43:29,080 --> 01:43:32,120
Speaker 1: words in the bridge or whatever, like, okay, it takes

2129
01:43:32,160 --> 01:43:34,920
Speaker 1: something out? Yeah, I mean what if you don't agree

2130
01:43:35,080 --> 01:43:36,320
Speaker 1: like no, I want no, no, no.

2131
01:43:36,720 --> 01:43:38,920
Speaker 5: If he feels that adamant about it, it's okay, put

2132
01:43:38,960 --> 01:43:41,160
Speaker 5: that shit back in, right, I don't care like that

2133
01:43:41,439 --> 01:43:43,840
Speaker 5: is I know my value.

2134
01:43:44,280 --> 01:43:49,120
Speaker 3: I value his opinion. I value it. It's okay, it's

2135
01:43:49,200 --> 01:43:51,960
Speaker 3: okay not to be right. It's okay not to be wrong.

2136
01:43:52,640 --> 01:43:55,320
Speaker 5: Let's just do what's best, what's going to work. Let's

2137
01:43:55,360 --> 01:43:58,280
Speaker 5: achieve a result that is desirable by all.

2138
01:43:58,880 --> 01:44:02,880
Speaker 4: I mean, we always go off of feeling, and the

2139
01:44:03,000 --> 01:44:05,720
Speaker 4: feeling is is right. And when we even when we're

2140
01:44:05,800 --> 01:44:07,920
Speaker 4: mixing or we're doing something and there might be a

2141
01:44:08,000 --> 01:44:11,000
Speaker 4: vocal and sometimes what will happen is because Terry tends

2142
01:44:11,000 --> 01:44:13,000
Speaker 4: to do I always call him vocal master, he ends

2143
01:44:13,080 --> 01:44:15,120
Speaker 4: up doing a lot of the vocals. By the way,

2144
01:44:15,160 --> 01:44:17,400
Speaker 4: I'll mention because we talked about usher a little earlier

2145
01:44:18,439 --> 01:44:21,200
Speaker 4: when we did You Remind Me with Usher. That was

2146
01:44:21,280 --> 01:44:25,120
Speaker 4: one where Usher had already done a vocal and la

2147
01:44:25,200 --> 01:44:28,599
Speaker 4: Reid said that vocal ain't good enough and he said,

2148
01:44:28,880 --> 01:44:30,840
Speaker 4: but the only I told him he has to go

2149
01:44:30,960 --> 01:44:33,200
Speaker 4: back and redo the vocal, and he said, the only

2150
01:44:33,280 --> 01:44:35,439
Speaker 4: person I'm going to do a vocal with is Terry Lewis.

2151
01:44:36,520 --> 01:44:39,000
Speaker 4: And so him and Terry redid the vocal and La

2152
01:44:39,120 --> 01:44:41,400
Speaker 4: Reid said, it's either going to be the first single

2153
01:44:41,840 --> 01:44:45,160
Speaker 4: or off the album. And of course it was the

2154
01:44:45,200 --> 01:44:49,040
Speaker 4: first single. And when number one, thank goodness for Terry Lewis.

2155
01:44:49,080 --> 01:44:51,880
Speaker 4: But Terry Lewis's vocal master. And it was funny because

2156
01:44:51,920 --> 01:44:55,400
Speaker 4: Mary J. Blige when we did what was the one

2157
01:44:55,439 --> 01:44:59,240
Speaker 4: on our album that we did Spinning? We did Spinning,

2158
01:45:00,000 --> 01:45:03,240
Speaker 4: and I remember Mary said when we sent her to

2159
01:45:03,240 --> 01:45:05,360
Speaker 4: the mix of the song, she said, I love this

2160
01:45:05,520 --> 01:45:06,280
Speaker 4: vocal on this song.

2161
01:45:06,360 --> 01:45:09,000
Speaker 1: This might be my best vocal. Terry Lewis killed me

2162
01:45:09,080 --> 01:45:10,760
Speaker 1: on this vocal. He killed me on this vocal.

2163
01:45:11,040 --> 01:45:13,200
Speaker 4: Said yeah, but that's what Terry's point like, I don't

2164
01:45:13,200 --> 01:45:15,080
Speaker 4: want people to be lazy. I want them to really,

2165
01:45:15,640 --> 01:45:17,720
Speaker 4: you know, give their best, you know example of what

2166
01:45:17,840 --> 01:45:20,040
Speaker 4: they do. Got it so all of those things are

2167
01:45:20,080 --> 01:45:22,240
Speaker 4: like really important. But at the end of the day, yeah,

2168
01:45:22,360 --> 01:45:25,320
Speaker 4: if we feel passionate about a thing. So sometimes Terry

2169
01:45:25,360 --> 01:45:27,320
Speaker 4: will do a vocal. There'll be two or three vocals

2170
01:45:27,360 --> 01:45:30,800
Speaker 4: that are really good, and at a certain point he'll go, jam,

2171
01:45:30,800 --> 01:45:32,519
Speaker 4: I'm listening to this and whatever, and he'll listen and

2172
01:45:32,600 --> 01:45:37,080
Speaker 4: sometimes I'll go, I love this line right here, but

2173
01:45:37,200 --> 01:45:40,160
Speaker 4: it's clashing with this other line. Well, of course, now

2174
01:45:40,240 --> 01:45:42,720
Speaker 4: we have Terry can go, oh, you know what, I'll

2175
01:45:42,760 --> 01:45:44,519
Speaker 4: just move this line up a beat or up a

2176
01:45:44,920 --> 01:45:47,599
Speaker 4: measure or you know that kind of thing, and somehow

2177
01:45:47,640 --> 01:45:49,439
Speaker 4: we just come to a conclusion where it all works,

2178
01:45:49,439 --> 01:45:51,920
Speaker 4: where it makes us both feel, you know, really good

2179
01:45:51,960 --> 01:45:52,240
Speaker 4: about it.

2180
01:45:53,000 --> 01:45:56,240
Speaker 1: Okay, last question, can you give me a really good

2181
01:45:56,439 --> 01:46:03,599
Speaker 1: jelly Bean Johnson's story? Well, what is this show?

2182
01:46:03,880 --> 01:46:08,680
Speaker 3: What is a good one? Oh god, how do we classify?

2183
01:46:10,000 --> 01:46:13,240
Speaker 2: First of all of all the time members, he actually

2184
01:46:13,240 --> 01:46:15,400
Speaker 2: has the funniest interviews because he just.

2185
01:46:17,400 --> 01:46:21,120
Speaker 1: Zero fuck's given. Yeah, and I feel like people respect

2186
01:46:21,160 --> 01:46:23,519
Speaker 1: him for that. If he's like that in real life. No,

2187
01:46:23,720 --> 01:46:24,680
Speaker 1: that's him, that's him.

2188
01:46:25,280 --> 01:46:32,679
Speaker 5: Yeah, He's he's jumpy, grumpy. He's the grumpy jumpy uncle.

2189
01:46:33,520 --> 01:46:39,920
Speaker 5: That's who jelly Bean is really yeah, you know, you know.

2190
01:46:41,280 --> 01:46:44,960
Speaker 4: Yeah, right, and then things like he we'ld always be

2191
01:46:45,000 --> 01:46:46,960
Speaker 4: cracking up. But like things like we'd go to a

2192
01:46:47,040 --> 01:46:51,160
Speaker 4: restaurant and order food, and uh, there'd always be a

2193
01:46:51,200 --> 01:46:54,360
Speaker 4: discrepancy on the solid. He never wanted a salad. They'd

2194
01:46:54,400 --> 01:46:55,960
Speaker 4: always go, what do you want a salad? What kind

2195
01:46:55,960 --> 01:46:57,040
Speaker 4: of dressing you want on your salads?

2196
01:46:57,040 --> 01:47:04,160
Speaker 1: I don't want no, mother want to salad rabbit. No.

2197
01:47:04,360 --> 01:47:06,920
Speaker 3: Jelly Bean was one of a time.

2198
01:47:07,040 --> 01:47:09,599
Speaker 1: Man. Okay, you can edit this out, but I am

2199
01:47:09,640 --> 01:47:11,840
Speaker 1: going to tell you this one story because.

2200
01:47:11,600 --> 01:47:13,639
Speaker 4: We were on the road back. It was a chilling

2201
01:47:13,680 --> 01:47:17,080
Speaker 4: circuit days. It might have been the controversy to our days.

2202
01:47:17,640 --> 01:47:21,840
Speaker 4: And he was seeing new girl, and so we used

2203
01:47:21,840 --> 01:47:24,040
Speaker 4: to listen to everybody's door to see whether they were

2204
01:47:24,080 --> 01:47:26,120
Speaker 4: there or not, because you know, never could really tell.

2205
01:47:27,479 --> 01:47:32,280
Speaker 4: And we heard jelly Bean, you know yeah, and he said,

2206
01:47:33,280 --> 01:47:35,080
Speaker 4: and you guys know, you guys can't use this.

2207
01:47:35,200 --> 01:47:35,479
Speaker 1: I can't.

2208
01:47:37,720 --> 01:47:38,479
Speaker 3: Yeah, you don't do that.

2209
01:47:40,080 --> 01:47:42,360
Speaker 1: You got you got you gotta Yeah, I can't do it.

2210
01:47:43,320 --> 01:47:51,160
Speaker 1: Let him, let him because he'll come back. Jimmy jam.

2211
01:47:52,520 --> 01:47:52,960
Speaker 3: I heard.

2212
01:47:55,560 --> 01:47:57,639
Speaker 1: Yeah, I ain't gonna say it, but anyway, but but Yeah,

2213
01:47:57,720 --> 01:47:58,639
Speaker 1: Bean was great.

2214
01:47:58,680 --> 01:48:00,640
Speaker 4: And you know, like I say, he's one that was

2215
01:48:00,680 --> 01:48:04,040
Speaker 4: responsible for me being a keyboard player because when I

2216
01:48:04,160 --> 01:48:05,920
Speaker 4: met Terry and we were going to put a band

2217
01:48:05,960 --> 01:48:08,840
Speaker 4: together and I was playing drums for my dad, you know,

2218
01:48:09,080 --> 01:48:12,240
Speaker 4: I was his drummer and Terry said, let's put a

2219
01:48:12,240 --> 01:48:12,599
Speaker 4: band together.

2220
01:48:12,600 --> 01:48:14,080
Speaker 1: I said, cool, I'll get my drum set. He said.

2221
01:48:14,240 --> 01:48:17,160
Speaker 4: Terry said, I oh need a drummer, and I was like, oh,

2222
01:48:17,720 --> 01:48:19,600
Speaker 4: it was jelly Bean Johnson. He had it as a

2223
01:48:19,640 --> 01:48:21,599
Speaker 4: drummer and he said, you should be a keyboard player.

2224
01:48:21,600 --> 01:48:23,519
Speaker 4: Your dad plays keyboards, you should be a keyboard player.

2225
01:48:24,320 --> 01:48:26,800
Speaker 4: I said, Okay, that's good logic, right, that's right. So

2226
01:48:26,960 --> 01:48:29,040
Speaker 4: that's why I'm a keyboard player to this day because

2227
01:48:29,040 --> 01:48:29,960
Speaker 4: of jelly Bean Johnson.

2228
01:48:30,840 --> 01:48:33,479
Speaker 2: Well, I think I've said everything I need to say

2229
01:48:33,479 --> 01:48:37,320
Speaker 2: about you guys, your absolute heroes, and I appreciate you

2230
01:48:37,400 --> 01:48:39,720
Speaker 2: guys taking the time out to talk with us.

2231
01:48:39,960 --> 01:48:43,160
Speaker 4: And I cannot wait. How long is the residency going

2232
01:48:43,240 --> 01:48:46,639
Speaker 4: for It's just a limited residency. It's six nights we're

2233
01:48:46,640 --> 01:48:50,479
Speaker 4: going to do between April seventeenth and April twenty sixth,

2234
01:48:50,760 --> 01:48:52,559
Speaker 4: so we'll have a couple of days off in between.

2235
01:48:52,680 --> 01:48:55,479
Speaker 4: But yeah, it's just going to be six days and

2236
01:48:55,920 --> 01:48:59,880
Speaker 4: it's an intimate space. It's a small space, beautiful space.

2237
01:49:00,160 --> 01:49:01,280
Speaker 1: It's it's gorgeous.

2238
01:49:01,439 --> 01:49:05,920
Speaker 3: I mean, it's elegant, totally totally yeah.

2239
01:49:06,280 --> 01:49:09,639
Speaker 1: Ok, yeah, you got to drink with the I wear

2240
01:49:09,760 --> 01:49:10,839
Speaker 1: my good crocks.

2241
01:49:12,560 --> 01:49:16,360
Speaker 4: There you go, you gotts. But but no, it's it's

2242
01:49:16,360 --> 01:49:18,240
Speaker 4: going to be a lot of fun and quest love.

2243
01:49:18,280 --> 01:49:20,439
Speaker 4: Can I just say yes? First of all, I'll just

2244
01:49:20,479 --> 01:49:21,280
Speaker 4: start by saying.

2245
01:49:21,080 --> 01:49:23,080
Speaker 3: How proud we are of you.

2246
01:49:23,439 --> 01:49:23,720
Speaker 1: Thank you.

2247
01:49:26,240 --> 01:49:28,519
Speaker 4: Just you know, when you talk about people that really

2248
01:49:28,680 --> 01:49:32,280
Speaker 4: elevate music and elevate culture, you're one of the people

2249
01:49:32,360 --> 01:49:35,040
Speaker 4: that does it in such a cool way. But I

2250
01:49:35,120 --> 01:49:37,519
Speaker 4: think I tried to articulate this to you before, and

2251
01:49:37,560 --> 01:49:40,400
Speaker 4: I'm probably not going to quite say it right, But

2252
01:49:41,000 --> 01:49:46,040
Speaker 4: because of your curiosity and your willingness to ask questions,

2253
01:49:46,080 --> 01:49:48,120
Speaker 4: people assume you know everything.

2254
01:49:48,720 --> 01:49:50,600
Speaker 1: And you know a lot. But the reason you know

2255
01:49:50,680 --> 01:49:53,280
Speaker 1: a lot is because you ask the questions you have.

2256
01:49:53,680 --> 01:49:58,080
Speaker 4: I'm a student, want to know, Yank, But for someone

2257
01:49:58,200 --> 01:50:00,840
Speaker 4: to be as elevated as you are as far as

2258
01:50:00,920 --> 01:50:04,360
Speaker 4: your knowledge, I hear you have conversations with people and

2259
01:50:04,439 --> 01:50:08,360
Speaker 4: you never make people feel like they're less smart than you,

2260
01:50:09,120 --> 01:50:11,320
Speaker 4: and there's a there's a tell that to the roots.

2261
01:50:15,720 --> 01:50:17,439
Speaker 4: I mean, yeah, but I mean, I just I just

2262
01:50:17,520 --> 01:50:20,920
Speaker 4: think that there's something so special about that. The people

2263
01:50:21,000 --> 01:50:24,240
Speaker 4: feel very comfortable. Thank you, and as watching you learn

2264
01:50:24,320 --> 01:50:26,080
Speaker 4: and going, oh, wait, he didn't know that, you know

2265
01:50:26,160 --> 01:50:27,960
Speaker 4: that kind of kind of what happened earlier. There was

2266
01:50:28,200 --> 01:50:29,840
Speaker 4: something we talked about and yes you didn't know that,

2267
01:50:30,200 --> 01:50:33,599
Speaker 4: but it's not like it feels right. It feels like, yeah,

2268
01:50:33,640 --> 01:50:35,400
Speaker 4: but now that makes you curious, and now I'm gonna

2269
01:50:35,400 --> 01:50:37,360
Speaker 4: find out about that. And that's the way we all are.

2270
01:50:37,920 --> 01:50:40,160
Speaker 4: So thank you for that, and thank you for having

2271
01:50:40,240 --> 01:50:45,640
Speaker 4: me back on again. I know, And we got him,

2272
01:50:45,840 --> 01:50:47,640
Speaker 4: and we got we got Terry Lewis, and thank you

2273
01:50:47,720 --> 01:50:50,880
Speaker 4: and I and thank you for allowing people to see

2274
01:50:51,680 --> 01:50:54,120
Speaker 4: the brilliance that I get to see every day with

2275
01:50:54,280 --> 01:50:57,120
Speaker 4: Terry Lewis. I mean, Terry Lewis is the most amazing

2276
01:50:57,240 --> 01:51:01,360
Speaker 4: human being I know. And I can't articulated enough. But

2277
01:51:01,520 --> 01:51:04,320
Speaker 4: when you see us together and you hear his thoughts

2278
01:51:04,400 --> 01:51:07,320
Speaker 4: and his way of going about doing things, you realize

2279
01:51:08,080 --> 01:51:10,519
Speaker 4: why I'm the lucky one here to have him in

2280
01:51:10,560 --> 01:51:10,880
Speaker 4: my life.

2281
01:51:10,920 --> 01:51:11,479
Speaker 3: We both lucky.

2282
01:51:11,600 --> 01:51:14,360
Speaker 5: Jimmy jam Yes, but but but I did come up

2283
01:51:14,400 --> 01:51:19,719
Speaker 5: with a jelly Bean story. Oh okay, well you're gonna

2284
01:51:19,720 --> 01:51:21,519
Speaker 5: really like this because it mimics you.

2285
01:51:21,720 --> 01:51:21,880
Speaker 4: Man.

2286
01:51:23,160 --> 01:51:28,280
Speaker 3: He lived and breathed music. He loved music more than

2287
01:51:28,360 --> 01:51:29,440
Speaker 3: he loved himself.

2288
01:51:30,360 --> 01:51:36,599
Speaker 5: And I mean there wasn't a true musician, just savant

2289
01:51:36,840 --> 01:51:44,439
Speaker 5: actually annoying artists, annoying music. Jelly Bean loved music, man.

2290
01:51:45,360 --> 01:51:48,720
Speaker 5: That's one thing I could say about Jellybean. Do youve

2291
01:51:48,800 --> 01:51:50,080
Speaker 5: or take some of the rest of the ship.

2292
01:51:51,120 --> 01:51:53,880
Speaker 3: But man, my brother, he was. He was true to

2293
01:51:53,960 --> 01:51:54,960
Speaker 3: the game, man for sure.

2294
01:51:55,080 --> 01:51:55,720
Speaker 1: That's all we need.

2295
01:51:56,040 --> 01:51:59,439
Speaker 5: Yeah, and he got me into the game because music

2296
01:51:59,560 --> 01:52:02,160
Speaker 5: wasn't my thing. I wanted to be a doctor, medical doctor,

2297
01:52:02,520 --> 01:52:05,320
Speaker 5: and I didn't know it. Yeah, but I was an athlete,

2298
01:52:05,600 --> 01:52:12,720
Speaker 5: you know. Was all city football, state track champion, played basketball, anything.

2299
01:52:12,400 --> 01:52:14,080
Speaker 3: With the Ball brothers.

2300
01:52:14,200 --> 01:52:16,800
Speaker 5: All right, Okay, they say Prince could play I wood

2301
01:52:16,840 --> 01:52:25,360
Speaker 5: Prince as any sport whatever, But that doesn't matter.

2302
01:52:25,520 --> 01:52:26,680
Speaker 3: What matters was that.

2303
01:52:27,040 --> 01:52:30,479
Speaker 5: These guys were all my friends, man, and we hooped,

2304
01:52:30,920 --> 01:52:32,080
Speaker 5: we played music together.

2305
01:52:32,200 --> 01:52:32,280
Speaker 1: Man.

2306
01:52:32,360 --> 01:52:35,040
Speaker 3: They taught me how to love music, and I really

2307
01:52:35,120 --> 01:52:35,720
Speaker 3: thank him for that.

2308
01:52:36,080 --> 01:52:40,760
Speaker 1: That's beautiful. Well, Terry Lewis Jimmy jim reversing it this

2309
01:52:40,880 --> 01:52:41,479
Speaker 1: one time only.

2310
01:52:42,120 --> 01:52:44,439
Speaker 2: Thank you very much. We definitely got our money's worth

2311
01:52:44,479 --> 01:52:48,760
Speaker 2: and Quest Love Showers. You got it and we will

2312
01:52:48,760 --> 01:52:50,760
Speaker 2: see you on the next go round. Quest Love Show,

2313
01:52:50,840 --> 01:52:58,960
Speaker 2: Thank You. Quest Love Show is hosted by Me Mirror

2314
01:52:59,040 --> 01:53:03,360
Speaker 2: Quest Love Thompson. The executive producers are Sean g Brian

2315
01:53:03,479 --> 01:53:09,439
Speaker 2: Calhoun and Me. Produced by Brittany Benjamin and Jake Payne.

2316
01:53:10,520 --> 01:53:15,839
Speaker 2: Produced for iHeart by Noel Brown, Edited by Alex Conny.

2317
01:53:16,560 --> 01:53:22,000
Speaker 2: iHeart Video support by Mark Canton, Logos Graphics and animation

2318
01:53:22,120 --> 01:53:28,880
Speaker 2: by Nick Lowe. Additional support by Lance Coleman. Special thanks

2319
01:53:28,920 --> 01:53:35,920
Speaker 2: to Kathy Brown. Special thanks to Sugar Steve Mandel. Please subscribe, rate, review,

2320
01:53:36,080 --> 01:53:39,680
Speaker 2: and share The Quest Love Show wherever you stream a podcasts,

2321
01:53:40,040 --> 01:53:41,760
Speaker 2: and make sure you follow us on social media.

2322
01:53:42,320 --> 01:53:47,880
Speaker 1: That's at q LS. Check out hundreds and hundreds of

2323
01:53:48,000 --> 01:53:51,360
Speaker 1: QLs episodes, including the Quest Love Supreme Shows and our

2324
01:53:51,439 --> 01:53:57,599
Speaker 1: podcast archives, Quest Loup Shows and productions of iHeart Radio.