WEBVTT - Jimmy Jam & Terry Lewis 0:00:00.240 --> 0:00:03.680 The Quest Left Show is a production of iHeart Radio. 0:00:21.120 --> 0:00:24.640 So I'm just slowly realizing that I've not done my 0:00:24.840 --> 0:00:28.800 elaborate intros. I'm so busy in preparing the interviews. But 0:00:29.000 --> 0:00:32.640 this is the Quest Left Show QLs. And in case 0:00:32.680 --> 0:00:35.320 you're later riving to us, what can I say, ladies 0:00:35.320 --> 0:00:39.600 and gentlemen, this is the Ernie and Bert of funk, 0:00:40.320 --> 0:00:45.239 the Shields and yard Nw of soul. 0:00:45.560 --> 0:00:47.320 Features in herb of the Get Down. 0:00:47.560 --> 0:00:51.320 You know, the Sherlock, Holmes and Watson of BOUCHI A wow, wow. 0:00:51.600 --> 0:00:55.160 This is the Lennon McCartney of Jam and Lewis. I 0:00:55.240 --> 0:00:58.040 can't believe this moment is happening, but it is happening. 0:00:58.840 --> 0:01:04.120 Forty top ten hits, sixteen of them, number one producer 0:01:04.160 --> 0:01:06.520 of the year, accolades, anything that we can award them. 0:01:06.560 --> 0:01:09.840 They've accomplished. Members of one of. 0:01:09.800 --> 0:01:15.200 The last best funk bands that matter pre hip hop. 0:01:15.560 --> 0:01:17.679 I have to make that distinction. 0:01:18.440 --> 0:01:21.440 And it's telling that you're the last album that you 0:01:21.480 --> 0:01:26.240 two participated and literally is the blueprint of hip hop. 0:01:27.120 --> 0:01:32.039 I mean, there's ghostwriting, there's digital programming and technology, there's 0:01:32.080 --> 0:01:38.280 extended jams, there's edit mistakes, there's dirty mixing, There's Pimpson 0:01:38.360 --> 0:01:39.360 Jigglo and Ho Talk. 0:01:39.480 --> 0:01:47.360 There's Hyja daughter Hodja, datis there here? Designer fashion disc tracks, 0:01:48.080 --> 0:01:53.800 comedy skits, thoughts on the police, songs about new dances, 0:01:54.520 --> 0:01:56.600 affirmational songs about wanting. 0:01:56.320 --> 0:01:59.120 To live the good life like it's literally what time 0:01:59.240 --> 0:02:01.280 is it to me? Is the blueprint of hip hop? 0:02:01.720 --> 0:02:05.520 And here we are in twenty twenty six. I can't 0:02:05.520 --> 0:02:08.240 believe I said that twenty twenty six six. Taping this 0:02:08.639 --> 0:02:12.920 in the month that will mark the fortieth anniversary of 0:02:12.960 --> 0:02:17.480 their landmark production of an album called Control thought would 0:02:17.480 --> 0:02:21.480 be rather apropos as they're celebrating the beginning or promoting 0:02:21.520 --> 0:02:26.120 their Nothing but Hits residency in Las Vegas with Ruben 0:02:26.160 --> 0:02:30.519 Stutter and Shanice Wilson, and I cannot believe this is happening. 0:02:31.040 --> 0:02:34.359 Jimmy jam here Lewis, thank you for doing the Quest 0:02:34.400 --> 0:02:34.760 Left show. 0:02:34.800 --> 0:02:37.080 Thank you for being here. At that long intro that 0:02:37.160 --> 0:02:38.040 I just have to bring. 0:02:37.960 --> 0:02:39.080 Up the top of mind, believe it. 0:02:39.200 --> 0:02:42.040 That was a great That's a great intro. I like that. 0:02:42.560 --> 0:02:44.800 Real what do we do? Ernie and Burda, the Ernie 0:02:44.800 --> 0:02:45.440 and Burda funk? 0:02:45.600 --> 0:02:45.880 Wow? 0:02:45.960 --> 0:02:50.560 I like that it's a new Moniker bird. 0:02:53.040 --> 0:02:54.520 That would have been good man, that would have been good. 0:02:54.720 --> 0:02:54.919 Yeah. 0:02:55.120 --> 0:02:58.160 All right, So when did the conversation start of wanting 0:02:58.200 --> 0:02:59.480 to do a residency. 0:03:00.240 --> 0:03:01.800 Well, I'll tell you for me. 0:03:01.960 --> 0:03:04.639 The conversation started a long time ago when we when 0:03:04.680 --> 0:03:08.520 The Time performed on the Grammys with rihannat I was 0:03:08.520 --> 0:03:11.359 the fiftieth anniversary of the Grammy. So what eighteen years ago? 0:03:11.400 --> 0:03:13.440 I guess yes. And I was a chairman of the 0:03:13.480 --> 0:03:17.480 Recording Academy at that point, and I remember after we 0:03:17.639 --> 0:03:21.959 performed with Rihanna, everybody backstage said what are you guys 0:03:22.040 --> 0:03:24.960 going to do next? And we were like next, No, 0:03:25.080 --> 0:03:26.880 this is just we just a one off. We just 0:03:26.919 --> 0:03:29.440 got together. But there was a guy in Vegas that 0:03:29.560 --> 0:03:33.120 saw us, and Tony Braxton was doing shows at the 0:03:33.120 --> 0:03:36.000 Flamingo and she was having some health problem, so they 0:03:36.000 --> 0:03:38.280 wanted to get somebody in there to you know, take 0:03:38.280 --> 0:03:40.280 some of the dates, and so we ended up as 0:03:40.360 --> 0:03:43.400 the Time going in and doing three weeks of residency 0:03:43.440 --> 0:03:45.520 there and we loved it. 0:03:45.800 --> 0:03:48.040 We loved it. We totally got why. 0:03:48.240 --> 0:03:51.040 You know, Celine Dion was parked there and you know, 0:03:51.800 --> 0:03:54.440 don I think Donnie and Marie were coming in after us, 0:03:54.480 --> 0:03:58.840 you know, so we totally we and Donnie would come 0:03:58.840 --> 0:04:02.400 to our shows like he loved the time. So anyway, 0:04:03.680 --> 0:04:05.760 I will say the seed got planted there just then 0:04:05.920 --> 0:04:08.440 that we liked the idea of doing it, got it. 0:04:08.840 --> 0:04:13.120 I'm laughing also because you brought that up. And first 0:04:13.120 --> 0:04:16.800 time a rental car mine never got towed. I parked 0:04:16.800 --> 0:04:19.360 in Donnie spot at that residence. 0:04:21.680 --> 0:04:23.200 Anyway, So no, I love that. 0:04:23.440 --> 0:04:26.200 So to fast forward when we went in the Songwriters 0:04:26.240 --> 0:04:28.240 Hall of Fame that we were asked what do we 0:04:28.279 --> 0:04:30.159 want to do? What do you want to do that 0:04:30.240 --> 0:04:32.880 you haven't done yet? And Babyface happened to be on 0:04:32.920 --> 0:04:34.600 the red carpet right next to us, and we said, well, 0:04:34.640 --> 0:04:36.880 we'd like to do a record with Babyface. So we 0:04:36.920 --> 0:04:39.160 did that, which I went off the list. Yes, we 0:04:39.200 --> 0:04:41.680 said we would like to finish the album that we started, 0:04:41.720 --> 0:04:43.960 you know, thirty years ago or whenever. It was the 0:04:44.040 --> 0:04:46.680 Jam and Lewis Volume one album, which we did, so 0:04:46.720 --> 0:04:48.880 we checked that off. The third thing we said was 0:04:49.240 --> 0:04:52.479 we'd like to go and perform our catalog, which we've 0:04:52.640 --> 0:04:55.720 never done, and we would like to do that. And 0:04:55.760 --> 0:04:58.000 so you know, I don't know some I don't know, 0:04:58.040 --> 0:05:00.839 seven or eight years after that, we now have the 0:05:00.880 --> 0:05:03.800 opportunity to do it and for us to return to 0:05:03.839 --> 0:05:08.440 the roots unintended of where we started as musicians. Before 0:05:08.440 --> 0:05:10.960 we were songwriters and before we were producers, we were 0:05:11.000 --> 0:05:14.359 simply guys in a local band playing everybody else's hits. 0:05:14.760 --> 0:05:16.599 So now we get to be guys in a local 0:05:16.640 --> 0:05:19.280 band playing our own hits. Got it, And that's the 0:05:19.720 --> 0:05:21.680 fun of it. I know it's one step out of time. 0:05:22.320 --> 0:05:27.760 But you guys also have a catalog that is jukebox 0:05:27.839 --> 0:05:32.360 brought wayworthy. Have you planned talking segments on like, well 0:05:32.360 --> 0:05:34.120 we did this song in nineteen eighty five, and. 0:05:35.640 --> 0:05:39.080 Well we certainly do that, you know, okay, Jimmy jam 0:05:39.200 --> 0:05:41.800 is one of the greatest orators in YouTube. 0:05:42.040 --> 0:05:45.039 Terry Lewis, by the way, in history. You know, I 0:05:45.120 --> 0:05:47.160 talk hell, you talk great. 0:05:47.440 --> 0:05:50.120 Actually, No, My favorite part of doing press for the 0:05:50.120 --> 0:05:52.760 Slime Stone, which I had to thank you both for doing. 0:05:53.200 --> 0:05:56.120 My favorite part of doing the press junket for SLY 0:05:56.640 --> 0:06:01.159 is when people realize that you two were three thousand 0:06:01.240 --> 0:06:04.360 miles apart, and literally there were points where we could 0:06:04.839 --> 0:06:07.680 sync up your answers and it was like you're the 0:06:07.720 --> 0:06:15.240 run DMC of documentary interviews. Also Okay, now, but you're 0:06:15.240 --> 0:06:16.800 always Jimmy David Terry Lewis. 0:06:16.880 --> 0:06:19.960 Yeah, yeah, Well, you know, the experiences are the experiences. 0:06:20.040 --> 0:06:22.920 I mean there's a three size to every story, his 0:06:23.040 --> 0:06:25.279 side by side of the truth, right like in Somewhere, 0:06:25.279 --> 0:06:28.159 we park it in the middle, somewhere, gotcha and we 0:06:28.200 --> 0:06:28.880 figure it out. 0:06:29.279 --> 0:06:29.440 Well. 0:06:29.480 --> 0:06:32.080 I think the thing with Terry is that Terry I 0:06:32.120 --> 0:06:34.640 always say that what it takes me a paragraph to say, 0:06:34.839 --> 0:06:37.520 Terry can say in a sentence. And that's what makes 0:06:37.560 --> 0:06:42.040 him such a great lyricist, his efficiency of words, because 0:06:42.080 --> 0:06:45.200 I tend to be long winded. But the other part 0:06:45.240 --> 0:06:50.080 about that is if something's important to Terry, he will talk. 0:06:50.800 --> 0:06:52.520 When we went in the Rock and Roll Hall of Fame, 0:06:53.240 --> 0:06:55.240 Terry talked. I was the most I heard him talk. 0:06:55.279 --> 0:06:57.480 But his mom was out there, his family was out there, 0:06:58.080 --> 0:07:01.040 and that was a really meaningful moment. And the fact 0:07:01.040 --> 0:07:04.360 that he's here with you now, questlove doing this show. 0:07:04.400 --> 0:07:06.800 I can't believe it, believe it. 0:07:06.800 --> 0:07:09.320 It's things that are important to Terry. He has a 0:07:09.320 --> 0:07:11.560 great filter for that, and this is and doing your 0:07:11.560 --> 0:07:13.320 show today is very important. 0:07:13.400 --> 0:07:15.440 So that's why part of my filter is I have 0:07:15.480 --> 0:07:18.000 no filter, you know, I just I see it, tell 0:07:18.040 --> 0:07:18.920 you how I see it. 0:07:19.080 --> 0:07:21.360 I accept that, and I'm good with that. 0:07:21.280 --> 0:07:25.920 You know, and I'm okay with being challenged. But I'm 0:07:25.920 --> 0:07:28.320 also going to challenge whatever. 0:07:28.400 --> 0:07:31.960 To be prepared for it. Yeah, yeah, right, you. 0:07:31.960 --> 0:07:33.880 Know, because my mother always told me, she said, you 0:07:33.960 --> 0:07:38.000 got one mouth, two of everything else. Make sure you 0:07:38.080 --> 0:07:42.679 use your mouth accordingly, you know, So everything else. 0:07:42.560 --> 0:07:43.200 Is double time. 0:07:43.240 --> 0:07:46.880 I'm watching, I'm listening, you know, I'm contemplating, I'm doing 0:07:46.880 --> 0:07:50.160 all those things. You know, I'm breathing good everything, but 0:07:50.200 --> 0:07:52.600 my mouth is gonna stay shut because everything else has 0:07:52.640 --> 0:07:53.480 to work double time. 0:07:53.840 --> 0:07:57.720 Okay, how do you guys decide on a song list? Well, 0:07:57.880 --> 0:08:01.040 deciding is kind of what's happening. It's still happening right now. 0:08:01.080 --> 0:08:03.880 Yeah, it's still happening right now. I think there's the 0:08:03.960 --> 0:08:07.760 obvious songs that we want to do that we not 0:08:07.880 --> 0:08:11.800 only were successful chart wise and in people's minds, you know, 0:08:12.280 --> 0:08:16.120 are culturally significant to people, but also our fun to play. 0:08:16.400 --> 0:08:16.600 You know. 0:08:16.880 --> 0:08:19.520 God, there's some songs that are probably big hits that 0:08:19.520 --> 0:08:22.600 probably aren't that fun to play honestly, and we don't 0:08:22.640 --> 0:08:26.040 maybe feel we do them that great but I think 0:08:26.040 --> 0:08:27.600 that's kind of the way we'll start. I mean, we'll 0:08:27.600 --> 0:08:31.000 start with the there's some of the obvious ones, particularly 0:08:31.040 --> 0:08:33.600 when it comes to the storytelling of it, right, you know, 0:08:33.760 --> 0:08:36.000 just be good to me, tell me if you still care. 0:08:36.040 --> 0:08:38.880 Back in that in that era, Encore, which was our 0:08:38.880 --> 0:08:42.440 first official Billboard number one song on the R and 0:08:42.440 --> 0:08:45.400 B charts, you know, Tender Love, which was our first 0:08:45.760 --> 0:08:50.080 top ten pop record. And then obviously we have to 0:08:50.080 --> 0:08:52.680 cover you know, the Janet Jacksons and new additions, the 0:08:52.800 --> 0:08:56.560 voice to men Sarelle and Alexander O'Neill, you know, and 0:08:56.640 --> 0:08:58.319 all of those things. So those are the things that 0:08:58.360 --> 0:09:01.040 will go in there. We'll throw a couple surprises in there. 0:09:01.320 --> 0:09:03.400 And it hasn't been mastered yet. 0:09:03.800 --> 0:09:04.040 No. 0:09:04.360 --> 0:09:07.760 We did a kind of a test run. Terry called 0:09:07.760 --> 0:09:10.840 it the Folo test run, which was a fear of 0:09:10.920 --> 0:09:13.800 looking old. Terry said, I don't want to be on 0:09:13.920 --> 0:09:16.599 stage looking old. So we ended up doing over the 0:09:16.640 --> 0:09:18.840 past couple of years. I think we've done sixteen shows 0:09:18.840 --> 0:09:25.320 in Japan. We did a festival all. 0:09:23.240 --> 0:09:25.360 Right, to work out the key. Yeah, we gotta we 0:09:25.400 --> 0:09:25.640 got it. 0:09:25.679 --> 0:09:27.080 We had to see whether we could do it, and 0:09:27.120 --> 0:09:29.520 we were doing two shows a night, two nine minute 0:09:29.520 --> 0:09:32.480 shows a night in Japan at the Blue Note at 0:09:32.480 --> 0:09:35.680 the Blue at the at Billboard Live with the glass 0:09:35.760 --> 0:09:36.200 behind you. 0:09:36.320 --> 0:09:39.439 Yes and okay, yeah yeah that used to be Blue Note, 0:09:39.480 --> 0:09:40.120 now it's Billboard. 0:09:40.120 --> 0:09:41.080 Okay, you're right, Okay. 0:09:41.160 --> 0:09:44.120 So anyway, we you know, that kind of gave us 0:09:44.120 --> 0:09:46.640 the proof in the pudding, so to speak. Uh, and 0:09:46.679 --> 0:09:49.960 then the kind of curation process happened in Atlanta. We 0:09:50.000 --> 0:09:54.320 did a show and we had everybody from you know, 0:09:54.440 --> 0:09:59.679 Yolana Adams to Deborah Cox to Chante Moore to Jordan 0:09:59.760 --> 0:10:02.600 Knight from New Kids on the Block. Yeah, I mean 0:10:02.640 --> 0:10:05.439 it was it was an amazing show and show. Yeah, 0:10:05.480 --> 0:10:08.680 And what happened was things like, for instance, we started 0:10:08.720 --> 0:10:11.640 performing one of Usher's songs, but Usher was sitting in 0:10:11.679 --> 0:10:14.680 the front row. So Ruben Stuttard, who's one of our singers, 0:10:14.800 --> 0:10:18.760 he walked over to you know, over the ushers, right, 0:10:19.200 --> 0:10:21.920 So Usher comes up and hits bad Girl and hits 0:10:21.960 --> 0:10:24.079 you Remind Me and you know that kind of thing. 0:10:24.160 --> 0:10:26.880 So we've kind of all taking all of those things 0:10:26.920 --> 0:10:28.959 together is kind of what we want to try to 0:10:29.000 --> 0:10:31.480 pull off in Vegas because it'll be us. But then 0:10:31.720 --> 0:10:33.880 you know, we always say you never know who's gonna show. 0:10:34.400 --> 0:10:37.000 Okay, so this is what I have to ask about curation. 0:10:37.480 --> 0:10:41.760 Am I the only person that works backwards? What do 0:10:41.800 --> 0:10:44.360 you mean if it's an album or now movie or 0:10:44.400 --> 0:10:47.680 whatever or setless? The first thing I want to know 0:10:48.480 --> 0:10:50.480 is what is the song I'm gonna send them home 0:10:50.520 --> 0:10:52.079 with and how I want them to. 0:10:52.000 --> 0:10:54.439 Feel as they're walking to the car. 0:10:54.600 --> 0:10:57.120 So it's almost like, in my mind, I feel like 0:10:57.640 --> 0:11:02.079 the first fifteen minutes people remember, you know, you describe it, 0:11:02.080 --> 0:11:05.600 and then Michael Jackson floated in from the Free Exposing 0:11:05.720 --> 0:11:08.160 or earth Wind and Fire whatever. And in the case 0:11:08.200 --> 0:11:11.880 of Root shows, I mean we've had disaster ass all right, 0:11:12.040 --> 0:11:13.480 too much patron for that person. 0:11:13.640 --> 0:11:17.880 No, but I find that the last. 0:11:17.559 --> 0:11:20.280 Ten minutes of the show, it's almost like the Men 0:11:20.320 --> 0:11:24.160 in Black flashy thing that will make you forget you 0:11:24.200 --> 0:11:26.920 saw a kick ass show. So that's right, But right 0:11:26.960 --> 0:11:28.880 now you're just trying to figure out the perfect ninety 0:11:28.920 --> 0:11:31.600 minutes and yeah, okay. 0:11:31.320 --> 0:11:34.319 We we know what we like to end with or 0:11:34.440 --> 0:11:36.959 kind of the feeling, and we do want to leave 0:11:37.000 --> 0:11:40.360 the audience with a kind of an elevated feeling. So 0:11:40.400 --> 0:11:49.959 obviously optimistic is going to close the show. Maybe maybe well, 0:11:49.760 --> 0:11:52.240 we have other songs that kind of do that same thing. 0:11:52.280 --> 0:11:53.680 Interestingly enough, okay, and. 0:11:55.160 --> 0:11:57.840 We've actually used some of those different songs and you'll 0:11:57.840 --> 0:12:00.200 be surprised how effective they actually are. 0:12:00.360 --> 0:12:03.760 So, I mean, unlike the Gamble and Huff or the 0:12:03.800 --> 0:12:07.320 Motown Catalog whatever, I'll say that, you guys are probably 0:12:07.480 --> 0:12:11.480 the first super catalog that we also have sort of 0:12:11.559 --> 0:12:18.440 visual and very specific sound patch memories with. So I 0:12:18.480 --> 0:12:21.880 don't think I can ever listen to if it isn't 0:12:21.960 --> 0:12:26.200 love and in my head start doing the dances that 0:12:26.240 --> 0:12:30.840 they do, which obviously that's not there, But like, is 0:12:30.840 --> 0:12:34.480 it intimidating for the artists that you guys are having 0:12:34.480 --> 0:12:37.360 to handle the duties to also think about the fact like, okay, 0:12:37.520 --> 0:12:39.000 am I gonna have to put my hat on my 0:12:39.000 --> 0:12:40.720 foot at the end of this performance? 0:12:40.920 --> 0:12:44.800 Or no, I don't think so. I think some things 0:12:44.960 --> 0:12:48.920 lend themselves to the live performance. God, and some things 0:12:49.240 --> 0:12:53.280 because of like you say, the choreography or the visual 0:12:53.360 --> 0:12:56.920 memory that you have of certain things, we have to 0:12:56.920 --> 0:12:59.680 figure out clever ways to do that. But you know, 0:12:59.679 --> 0:13:02.760 we have you know, a huge screen, oh yeah, visual 0:13:02.800 --> 0:13:04.719 and we have you know, so we're able to. 0:13:04.760 --> 0:13:06.559 Use the visual stuff that we have. 0:13:06.720 --> 0:13:08.280 And by the way, a song like if it is 0:13:08.320 --> 0:13:11.319 in love, for instance, the audience will do the choreography. 0:13:11.360 --> 0:13:15.280 We don't have to do the choreography. Okay, they know 0:13:15.320 --> 0:13:17.520 how to do that, but yeah, each song. We treat it, 0:13:17.559 --> 0:13:19.680 each song differently and try to present it in the 0:13:19.720 --> 0:13:22.240 best way. And one of the things for me and 0:13:22.320 --> 0:13:25.400 I guess people will call this like, well, it's not 0:13:25.440 --> 0:13:28.600 even a humble brag, but it's the thing I like 0:13:28.640 --> 0:13:30.480 about our show and what we've been able to do 0:13:30.520 --> 0:13:35.360 thus far, is it's the most true reproductions of the songs. 0:13:35.880 --> 0:13:37.840 You know, obviously, you know, whether you're going to a 0:13:37.880 --> 0:13:40.160 Janet show or a New Edition show or Mary J. Blige, 0:13:40.160 --> 0:13:43.240 you're gonna hear our songs, got it. But something about 0:13:43.240 --> 0:13:46.000 the way we perform them and the way we create 0:13:46.040 --> 0:13:48.280 them on stage, I think is a little different because 0:13:48.280 --> 0:13:50.920 we know it's like the chef's kitchen. We know how 0:13:51.000 --> 0:13:53.719 those sounds were derived, and we know the mix that's 0:13:53.720 --> 0:13:56.720 supposed to be there right on those So as you're 0:13:56.720 --> 0:14:03.200 watching a live show, part of the thrill hopefully is 0:14:03.240 --> 0:14:05.840 hearing these songs the way they were really intended to 0:14:05.920 --> 0:14:08.160 be you know, you hear the production, and you hear 0:14:08.600 --> 0:14:10.760 the things we can put into it, the spices and 0:14:10.920 --> 0:14:13.080 little things we can put into it to make it 0:14:13.080 --> 0:14:24.960 really come to life. 0:14:26.360 --> 0:14:34.960 In the pre pro toolslization and pre ninety five, I mean, 0:14:35.760 --> 0:14:38.480 it's always happened, but in that era, in the beginning era, 0:14:38.560 --> 0:14:41.520 let's say between eighty five and ninety five. Okay, So 0:14:41.560 --> 0:14:46.640 there was a particular monster successful funk band whom I 0:14:46.720 --> 0:14:50.920 found a clip of their concert in nineteen eighty five, 0:14:52.440 --> 0:14:55.560 and they're performing it as a band, but none of 0:14:55.560 --> 0:14:58.920 the patches that are familiar there, so it's not giving 0:14:58.960 --> 0:15:02.600 me that omph. Now, one of the things that I 0:15:02.680 --> 0:15:05.360 was worried about when I first saw the Rhythm Nation 0:15:05.480 --> 0:15:09.400 show in nineteen ninety, I was like, man, they're not 0:15:09.440 --> 0:15:12.200 going to get the patches right, Like there's too many 0:15:12.200 --> 0:15:17.040 trademarks and all the little or the snapping next noises 0:15:17.160 --> 0:15:19.920 you guys have for snaps or whatever. And I was 0:15:19.960 --> 0:15:22.840 shocked that, you know, I didn't know about I don't 0:15:22.840 --> 0:15:25.840 know how the technology was executed backman, as opposed to 0:15:25.920 --> 0:15:26.760 now where this is on. 0:15:27.240 --> 0:15:28.200 Yeah, you know, on. 0:15:28.160 --> 0:15:32.640 Stage, but when you guys send your acts out into 0:15:32.640 --> 0:15:35.520 the world, and I'm talking about Alexander and Charrell and 0:15:36.200 --> 0:15:40.400 SOS band in addition to Janet, were you guys also 0:15:40.720 --> 0:15:45.040 on hand for their bands and the musicians they chose, 0:15:45.120 --> 0:15:48.400 and here's the patches you'll need to pull these off 0:15:48.800 --> 0:15:49.120 or you. 0:15:49.200 --> 0:15:52.320 Just in the early days we kind of were especially 0:15:52.360 --> 0:15:55.960 for like Sharille and alex Okay, we would. 0:15:55.720 --> 0:15:56.720 They would rehearse at our. 0:15:56.640 --> 0:15:59.480 Place, yeah, and we would help them choose the band 0:16:00.240 --> 0:16:01.920 and give them patches. 0:16:02.160 --> 0:16:02.440 Okay. 0:16:02.440 --> 0:16:05.960 So when Prince broke up the Revolution eighty six, his 0:16:06.560 --> 0:16:09.240 first move was she would take me to the Bay 0:16:09.280 --> 0:16:13.160 Area and let's get the baddest musicians ever. And then 0:16:13.280 --> 0:16:16.320 I'll say, in the early arts, Philly had that reputation, 0:16:16.800 --> 0:16:21.479 you know, like between Bill Jolly or Washington or Adam Blackstone, 0:16:21.600 --> 0:16:25.960 Omar Edwards shout out to man Man. They were pretty 0:16:26.000 --> 0:16:29.080 much like I know at least seventy Philly musicians that 0:16:29.160 --> 0:16:32.560 are actively working until there were no more. And then 0:16:32.680 --> 0:16:36.040 I'll say, like glassper put On for Houston, they were 0:16:36.120 --> 0:16:39.720 next twenty thirty musicians from Houston and now kind of running. 0:16:40.080 --> 0:16:44.320 But who were in eighty five when you were like, yo, 0:16:44.680 --> 0:16:47.200 these guys will kick ass, Like where's the hot bed 0:16:47.480 --> 0:16:51.320 of the best musician's hands down that you guys would pick, 0:16:52.160 --> 0:16:53.840 or were you loyal to Minnesota? 0:16:54.120 --> 0:16:57.480 Was there expectation for you guys to look out for 0:16:57.680 --> 0:17:01.080 all the bands from the north side Minneapolis and stuff? 0:17:01.160 --> 0:17:03.280 But that's all you knew, Like that was our world, 0:17:03.760 --> 0:17:08.119 Like we never knew how we compared to everybody outside 0:17:08.200 --> 0:17:11.399 of Minneapolis. We only knew how we all compared to 0:17:11.440 --> 0:17:11.920 each other. 0:17:12.000 --> 0:17:14.120 But then we all laugh at LA musicians. At one 0:17:14.119 --> 0:17:15.880 point we never went to. 0:17:15.920 --> 0:17:22.320 LA because we were in Minneapolis, and that's what we 0:17:22.320 --> 0:17:25.960 couldn't afford to get to Alis. Okay, we were just young, broke, 0:17:26.600 --> 0:17:29.360 and you know, we were playing in local bands, competing 0:17:29.400 --> 0:17:33.560 against each other for the same the same opportunities got him, 0:17:33.800 --> 0:17:36.320 and so that was the pot, you know. So was 0:17:36.320 --> 0:17:38.840 the crabs in the barrel, and one crab got out. 0:17:38.880 --> 0:17:39.879 Prince was that crab. 0:17:41.000 --> 0:17:41.520 And then he. 0:17:41.560 --> 0:17:43.880 Reached back down and he brought a few guys out 0:17:43.920 --> 0:17:47.680 with him and then gave us all hope, and then yeah, 0:17:47.760 --> 0:17:50.760 so on and so forth. Cynthia Johnson, who was in 0:17:50.880 --> 0:17:53.959 Flight Times, got out and she sang Funky Town. You know, 0:17:54.040 --> 0:17:56.120 it was the number one song in the world. It's like, well, 0:17:56.600 --> 0:17:59.080 maybe we are kind of valid here. Maybe we do 0:17:59.160 --> 0:18:03.800 have something special here. But there was always jazz musicians 0:18:03.840 --> 0:18:08.400 and other people in Minneapolis that would play and they 0:18:08.400 --> 0:18:09.600 were super dope. 0:18:11.119 --> 0:18:11.359 Yeah. 0:18:11.440 --> 0:18:17.080 Yeah, Craig Peterson, Peterson family, I mean not even not 0:18:17.119 --> 0:18:20.560 even talking about that Peterson family, about the black Craig 0:18:20.600 --> 0:18:23.280 Peterson's black Peters. 0:18:23.280 --> 0:18:26.760 Oh yeah, it's a black Peters. Okay, just like there's 0:18:26.760 --> 0:18:27.480 a black O'Neill. 0:18:28.280 --> 0:18:30.320 That's right. What is the Irish? 0:18:30.400 --> 0:18:33.199 Yeah, But you know, we were just comparing ourselves to 0:18:33.240 --> 0:18:37.439 each other because we didn't know, and we weren't white, 0:18:37.480 --> 0:18:40.720 so we never got into the white gloves right, And 0:18:40.760 --> 0:18:42.840 they would get in the clubs and play black music, 0:18:43.800 --> 0:18:47.200 but they were never as funky as us, but they 0:18:47.240 --> 0:18:49.919 got the gig. So I guess we thought we weren't 0:18:49.960 --> 0:18:50.520 good enough. 0:18:50.800 --> 0:18:51.760 I have to say that. 0:18:53.600 --> 0:18:55.600 Maybe once or twice a year I have to go 0:18:55.640 --> 0:19:01.200 to Minnesota and kiss a specific ring to get clearance 0:19:01.520 --> 0:19:04.440 in person. Most times I make a weekend of it, 0:19:05.000 --> 0:19:09.880 and on Sundays I go to where Margie I used 0:19:09.880 --> 0:19:13.760 to sing bunkers, Yes, bunkers, And I don't mean it's 0:19:13.800 --> 0:19:16.960 an insulting way, like I love the fact that it's still. 0:19:17.680 --> 0:19:18.880 Like ninety one in there. 0:19:19.000 --> 0:19:22.800 Yeah it's as it was, yeah, which I kind of 0:19:22.880 --> 0:19:26.400 dug and but even as funky as it was, Like, 0:19:27.040 --> 0:19:28.040 was that just the normal? 0:19:29.080 --> 0:19:31.120 But no, that wasn't it? 0:19:31.640 --> 0:19:31.800 Oh? 0:19:31.800 --> 0:19:34.080 Okay, that was so not everybody was Sonny Thompson. 0:19:34.560 --> 0:19:39.840 No, no, oh god damn certainly not Sonny Thompson. Hell no, yeah, yeah, yeah, 0:19:40.760 --> 0:19:45.280 I love no Sonny times in the debot of Funk 0:19:45.440 --> 0:19:49.680 like he puts then, because. 0:19:49.480 --> 0:19:51.719 He's the nicest guy to be in DMS and all 0:19:51.760 --> 0:19:52.720 that stuff, I'm. 0:19:52.560 --> 0:19:57.080 Like, overly ridiculous. As a musician. Yeah, wow, he's a 0:19:57.119 --> 0:20:01.200 savant as a musician. He was playing the based upside down, 0:20:01.359 --> 0:20:04.720 played the guitar upside down. People don't know he's a 0:20:04.760 --> 0:20:07.000 great singer. I spoke to him a few weeks ago. 0:20:07.359 --> 0:20:10.480 It's like, man, people don't even know, like all your talent. Yeah, 0:20:10.520 --> 0:20:13.680 Prince made you a bass player, but that's not what he. 0:20:13.680 --> 0:20:14.520 Taught Prince how to play. 0:20:14.560 --> 0:20:16.800 Get just what I was gonna say it. 0:20:17.000 --> 0:20:21.480 Okay, So that was different because they were the different guys. 0:20:21.480 --> 0:20:23.520 Sonny was one of those guys, Prince was one of 0:20:23.560 --> 0:20:26.800 those guys, and everybody else was kind of regular. You know, 0:20:26.920 --> 0:20:29.959 you had Andre Simone, who was a great musician, you know, 0:20:30.320 --> 0:20:33.240 just all the charisma in the world, could play his 0:20:33.320 --> 0:20:36.959 ass off, you know, look good, you know, but on 0:20:37.000 --> 0:20:40.919 the stage with Prince, who was super dope in every way. 0:20:41.560 --> 0:20:45.280 He's gonna give Prince some competition, you know, because the 0:20:45.320 --> 0:20:47.520 girls are gonna be hollering for Prince, but they're gonna 0:20:47.520 --> 0:20:49.480 be hollering just as a loud for Andre Simone. 0:20:49.640 --> 0:20:52.679 No, yeah, I can attest you. O. 0:20:53.960 --> 0:20:58.840 Why was Shanese and Ruben perfect fits for this particular review? 0:20:58.920 --> 0:21:03.040 And how many music are there in total for this project? 0:21:03.720 --> 0:21:03.920 Oh? 0:21:03.920 --> 0:21:06.040 In the band? Okay, so yeah, the band is real. 0:21:06.080 --> 0:21:10.199 We're leaning. Mean we got literally drummer, keyboards and guitar. 0:21:10.800 --> 0:21:13.760 Terry handle's the bass. I handled the keyboards, and then 0:21:13.880 --> 0:21:16.840 rub one keyboard player, one keyboard player, and then myself. 0:21:17.400 --> 0:21:18.760 Oh yeah so that's too. 0:21:19.200 --> 0:21:22.200 I count myself as a one keyboard player. That's super dope. 0:21:22.280 --> 0:21:25.760 Yeah, super dope and dope. He's mushysical director. Yeah, okay, 0:21:25.880 --> 0:21:29.080 I mean what else you know, like somebody got pressed. 0:21:30.440 --> 0:21:34.480 Exactly. So here's the thing. Because of the range and 0:21:34.520 --> 0:21:38.520 repertoire that you have to do if you're looking for 0:21:38.640 --> 0:21:42.320 someone that can sing and make and convincingly sing by 0:21:42.320 --> 0:21:44.240 the way. It's not like copying the way it was 0:21:44.280 --> 0:21:48.120 sung necessarily, but who can sing it make it their own, 0:21:48.400 --> 0:21:51.000 But you know, give it that respect of you know, 0:21:51.119 --> 0:21:54.040 hitting those notes correctly and hitting those things the way 0:21:54.040 --> 0:21:55.600 that people want to sing along with the song, because 0:21:55.600 --> 0:21:57.280 that's the thing you you want to give people the 0:21:57.359 --> 0:22:00.000 memory of what it is. So you need somebody. 0:22:00.000 --> 0:22:02.280 He was versatile and Ruben stuttered. 0:22:03.200 --> 0:22:06.120 Besides obviously being an American Idol winner, the first one, 0:22:06.160 --> 0:22:10.240 which is pretty cool, he can handle when we say 0:22:10.480 --> 0:22:13.320 we're gonna do an Alexandra O'Neil song, We're gonna do 0:22:13.359 --> 0:22:16.480 an Usher song, we're gonna do a New Edition song, 0:22:16.520 --> 0:22:20.200 We're gonna do Johnny gillsong, so on and so forth, 0:22:20.440 --> 0:22:24.119 and he can handle it all. And he can handle 0:22:24.200 --> 0:22:29.399 up tempos as well as ballads. And he's a great entertainer. 0:22:29.560 --> 0:22:31.679 I don't know you've ever seen his Luther show that 0:22:31.720 --> 0:22:34.840 he does, but he's a great entertainer. He's great with 0:22:34.920 --> 0:22:37.320 the audience. They fall in love with him, and so 0:22:37.680 --> 0:22:40.520 he was perfect for the male side of it. For 0:22:40.600 --> 0:22:45.000 the female side, the toughest person to sing is Janet. 0:22:45.960 --> 0:22:48.760 Janet is very specific in the way she breathes, in 0:22:48.840 --> 0:22:51.920 the way she finishes her notes, and all that kind 0:22:51.960 --> 0:22:56.160 of stuff. Shawnee besides being a Star Search winner, which 0:22:56.160 --> 0:22:59.240 is interesting because Star Search is now back, but she 0:22:59.400 --> 0:23:02.200 once starts when she was, you know, ten years older whatever, 0:23:02.200 --> 0:23:05.520 She was really young. But she also then signed to 0:23:05.520 --> 0:23:07.280 A and M Records. John McClain signed her to an 0:23:07.440 --> 0:23:10.320 M Records, the elusive John MacLean, the elusive John McLain. 0:23:10.440 --> 0:23:15.040 And so so she was like a Janet disciple, like 0:23:15.119 --> 0:23:20.679 she knew every Janet note, every run, every choreography step. 0:23:20.960 --> 0:23:24.560 She knew everything. And so once again, when we're trying 0:23:24.600 --> 0:23:27.400 to do those songs and we need somebody that can 0:23:27.440 --> 0:23:31.639 really dig into those and know the detail of the 0:23:31.680 --> 0:23:34.480 way the phrasing happens and all that, Johnice was the 0:23:34.480 --> 0:23:37.520 perfect person. But also you can throw her, you know, 0:23:37.600 --> 0:23:40.440 Yolanda Adams, right, you can you know, you can throw 0:23:40.440 --> 0:23:42.480 her Mary J. Blige, or you can throw all these 0:23:42.480 --> 0:23:45.479 different singers, and she's got ranged she can do it. 0:23:45.520 --> 0:23:48.639 So they're the perfect foundation for what we do. And 0:23:48.720 --> 0:23:52.200 they have no fear, like literally we'll switch a song 0:23:52.280 --> 0:23:54.359 or an arrangement up on the day that we're going 0:23:54.440 --> 0:23:57.240 to do it and they're just into it. They're just like, Okay, yeah, 0:23:57.280 --> 0:23:59.200 we got it, you know, so they're perfect. 0:23:59.280 --> 0:23:59.480 Yeah. 0:23:59.480 --> 0:24:02.040 When I found that Shiness was the singer, I was like, oh, 0:24:02.119 --> 0:24:05.280 this is per actually weird enough. I think I found 0:24:05.320 --> 0:24:08.440 out about the residency the day that Brian Lauren passed 0:24:08.440 --> 0:24:11.679 away yes and shout out to So I went back 0:24:11.720 --> 0:24:14.640 to listen to first record and realized like, oh man, 0:24:14.680 --> 0:24:15.440 this is like the. 0:24:15.359 --> 0:24:17.440 Perfect choice for this review. 0:24:18.160 --> 0:24:20.320 All right, So I have questions to ask about a 0:24:20.359 --> 0:24:23.199 few and yes, I'm not going to do the twelve 0:24:23.200 --> 0:24:29.520 hour jamming lewis what I really want to do, but 0:24:29.560 --> 0:24:32.040 I do have a few questions about some of your clients. 0:24:32.280 --> 0:24:33.760 I want to start with that. So best band. 0:24:34.200 --> 0:24:36.919 One thing I always wanted to know was, like, you know, 0:24:37.040 --> 0:24:40.560 eighty two eighty three for me was like a transitional year, 0:24:41.119 --> 0:24:41.720 especially for. 0:24:41.720 --> 0:24:42.440 The Black band. 0:24:43.200 --> 0:24:46.640 And this is a band that had three albums previous 0:24:46.680 --> 0:24:50.480 before you guys came to them, and they were a 0:24:50.560 --> 0:24:53.000 band in the studio. If you listen to those first 0:24:53.040 --> 0:24:56.040 three records, I think right now we're dealing with to 0:24:56.280 --> 0:24:57.480 AI or not AI. 0:24:58.040 --> 0:25:01.040 The nineties was like to copy pas or not copy paste? 0:25:01.040 --> 0:25:01.320 All right? 0:25:01.359 --> 0:25:03.080 You did the course once and we'll just you know, 0:25:04.119 --> 0:25:06.760 right in the eighties was to sample, not to sample, 0:25:07.280 --> 0:25:09.880 But do you have to explain to a band like 0:25:10.040 --> 0:25:13.000 we have drum machines now and technology that you're not 0:25:13.119 --> 0:25:16.520 needed not not needed for it, but for you to 0:25:16.560 --> 0:25:18.320 work your sauce? Like do you have to convince them 0:25:18.320 --> 0:25:20.120 that you don't have to play this as a band 0:25:20.160 --> 0:25:22.320 it will sound better the way that we're presenting it 0:25:22.320 --> 0:25:22.560 to you. 0:25:23.280 --> 0:25:24.840 I don't think we ever had to do that. I 0:25:24.880 --> 0:25:29.840 think we just had ideas, concepts. So we were fans 0:25:29.880 --> 0:25:31.720 of SOS. I mean, take your Time to do it 0:25:31.760 --> 0:25:34.240 right was a huge hit, yeah right, you know, but 0:25:34.640 --> 0:25:37.120 past that, I mean I don't even remember another song. 0:25:38.200 --> 0:25:41.480 And so we had our ideas as fans of take 0:25:41.520 --> 0:25:44.399 your Time doing writ in the SOS band and Mary 0:25:44.480 --> 0:25:47.840 Davis in that voice kind of what we could do, 0:25:48.520 --> 0:25:52.120 and at that time we it wasn't even an eight 0:25:52.200 --> 0:25:53.960 h eight I think we had I think it was 0:25:53.960 --> 0:25:56.399 a three or three. It was a little tiny, little 0:25:56.440 --> 0:26:00.600 tiny drum machine that make basically the same sounds stay. 0:26:00.400 --> 0:26:01.040 Eight oh eight. 0:26:01.160 --> 0:26:03.199 But when we went to try to record it, we 0:26:03.240 --> 0:26:05.480 could only do it out in stereo. 0:26:05.600 --> 0:26:07.399 Out we could are not individuals. 0:26:07.440 --> 0:26:09.399 We couldn't stem it out and there was no midy 0:26:09.440 --> 0:26:13.040 for it, and so they brought an eight o eight 0:26:13.280 --> 0:26:15.280 and that's how we got into doing eight o eight. 0:26:16.240 --> 0:26:18.879 When the eight eight first arrived to you guys, is 0:26:18.920 --> 0:26:21.119 it like well, I mean, you came from Prince World, 0:26:21.160 --> 0:26:23.399 so obviously you know what a Len drum machine was. 0:26:23.480 --> 0:26:25.280 Yes. Yes, But were you. 0:26:25.240 --> 0:26:29.359 Guys totally one with us or was it as controversial 0:26:29.440 --> 0:26:30.359 as AI is. 0:26:30.280 --> 0:26:32.560 Now like musician. 0:26:32.760 --> 0:26:37.200 No, it only really factored into a drummer's world because 0:26:37.240 --> 0:26:39.480 some of the drummers were you're gonna use that drum 0:26:39.520 --> 0:26:42.960 machine and hating on it just because they were threatened 0:26:43.560 --> 0:26:47.520 in terms of the usability of it, because that that 0:26:47.680 --> 0:26:50.480 meant that you didn't need a drummer, got it. But 0:26:50.840 --> 0:26:53.880 as a bass player, I never liked drum machines because. 0:26:53.600 --> 0:26:56.160 It doesn't move. It doesn't let me be slippery. 0:26:56.280 --> 0:26:57.440 You have to be married to the drumm. 0:26:57.520 --> 0:27:00.400 Yeah, it's gotta I gotta stay right with the beat 0:27:00.400 --> 0:27:02.719 that that I can't got it. 0:27:02.800 --> 0:27:03.600 I can't move it. 0:27:04.320 --> 0:27:07.520 Okay, So I have to ask a question about and 0:27:07.640 --> 0:27:11.119 I joke with you in this upside down with a side. 0:27:12.040 --> 0:27:15.800 When Mary Davis got just be good to me? Was 0:27:15.800 --> 0:27:18.400 she fine with it? Only because I think one day 0:27:18.440 --> 0:27:23.439 it hit me that, like she's basically like I forgot 0:27:23.480 --> 0:27:27.400 who I said to So Mary's cool like her man 0:27:27.440 --> 0:27:28.560 having side chicks or whatever. 0:27:28.600 --> 0:27:30.800 It's like, as long as he comes home to her, 0:27:30.840 --> 0:27:33.480 that's all she said. Wow, she co signed that. 0:27:33.600 --> 0:27:36.640 And the weird thing was someone listed like at least 0:27:36.640 --> 0:27:38.800 five other songs like that, one of them being upside 0:27:38.840 --> 0:27:42.159 Down by Dinah Ross. But at the time was a 0:27:42.240 --> 0:27:45.480 song just so irresistible that there wasn't a protest for 0:27:45.600 --> 0:27:48.240 Mary's in Like, wait a minute, I. 0:27:48.200 --> 0:27:52.200 Don't think Mary ever protests did anything that we, okay 0:27:52.280 --> 0:27:55.200 would suggest. But I think the sign of the times, 0:27:55.200 --> 0:27:58.200 bro like just the women that I grew up, right, 0:27:58.840 --> 0:28:01.440 is like I was raised by women, got it? 0:28:02.000 --> 0:28:03.200 All the women were side. 0:28:03.000 --> 0:28:06.560 Chicks, Oh dude, A product of. 0:28:08.080 --> 0:28:12.320 Both of my parents, right, So. 0:28:12.359 --> 0:28:15.119 Like I don't I don't know any different. 0:28:15.200 --> 0:28:17.840 It's like that was accepted, you know, bring the check 0:28:17.880 --> 0:28:19.800 home and I'll see you monday. 0:28:20.160 --> 0:28:20.359 You know. 0:28:21.880 --> 0:28:25.200 I was like this, they come home on Friday, drop 0:28:25.240 --> 0:28:27.600 off the check, and I'm where you're going. I would 0:28:27.600 --> 0:28:30.440 be out in the streets and then that's that's what 0:28:30.480 --> 0:28:33.320 it was. But you know that's also where that that 0:28:33.440 --> 0:28:35.440 song Who's making Love to the Old Lady? While you 0:28:35.560 --> 0:28:36.320 was out making. 0:28:36.119 --> 0:28:36.960 Love every joy? 0:28:37.320 --> 0:28:40.000 Yes, that's right, all the jos out there, Yes, right 0:28:40.120 --> 0:28:44.040 when you guys were taking on full albums entire projects. 0:28:44.440 --> 0:28:46.920 Was there ever like double lapping in other words, like 0:28:46.960 --> 0:28:50.200 when you're doing your fair album, are you also subsequently 0:28:50.240 --> 0:28:52.800 working on heartbreak? Or was it always a role of 0:28:52.920 --> 0:28:56.480 just one project at a time with our client and 0:28:56.520 --> 0:28:59.440 when we're done, we'll book another. 0:29:01.520 --> 0:29:04.480 It started out that way. It started out that way, 0:29:04.640 --> 0:29:07.000 is you know, there wasn't that much work. I mean, 0:29:07.080 --> 0:29:10.080 we were just doing the work that came, the opportunities 0:29:10.080 --> 0:29:10.480 that came. 0:29:10.560 --> 0:29:13.480 We try to meet the consideration at that point. 0:29:14.080 --> 0:29:16.440 But it became a time where it was coming so 0:29:16.600 --> 0:29:20.080 fast where we had to pull in friends and give 0:29:20.120 --> 0:29:23.040 other opportunities out and we had to split. 0:29:22.800 --> 0:29:23.840 Up sometimes, you know. 0:29:24.480 --> 0:29:27.160 And sometimes I have this thing about being the sixth toe, 0:29:27.960 --> 0:29:31.880 because I think you have though it's a bad thing 0:29:32.560 --> 0:29:34.880 if you stay in that shoe too long, because it 0:29:34.920 --> 0:29:37.680 doesn't allow like an artist like Janet to grow and 0:29:37.720 --> 0:29:41.280 become the writer that she's become. So for me, writing 0:29:41.360 --> 0:29:44.840 everything for Janet is not good because I want to 0:29:44.880 --> 0:29:47.480 I want to hear Janet's voice, even if we have 0:29:47.560 --> 0:29:50.920 to do things to alter to change it or correct 0:29:50.920 --> 0:29:53.880 it or make it work, I still want to hear 0:29:53.920 --> 0:29:54.400 her voice. 0:29:54.440 --> 0:29:57.600 I want her ideas to be interjected, so you. 0:29:57.560 --> 0:30:01.520 Know, her ownership of a project, or Usher's ownership of 0:30:01.560 --> 0:30:02.080 a project. 0:30:02.160 --> 0:30:05.680 It is just more involved. You get people like Maria. 0:30:05.440 --> 0:30:09.400 Who just naturally is a great writer, or she learned 0:30:09.440 --> 0:30:11.920 over the years I'm sure from somebody, but when we 0:30:12.000 --> 0:30:15.280 start working with her, she was already accomplished, and that 0:30:15.400 --> 0:30:18.000 was a whole different thing. So you don't need to 0:30:18.000 --> 0:30:20.560 feed into it. But when I'm the sixth toe, I 0:30:20.600 --> 0:30:23.200 try to move out and do something else. 0:30:23.880 --> 0:30:24.080 Yep. 0:30:24.240 --> 0:30:26.240 So there have been situations where you just work on 0:30:26.280 --> 0:30:29.000 the music and be like you take it first and 0:30:29.000 --> 0:30:30.160 then see what you get or. 0:30:31.520 --> 0:30:34.400 Let them take it, yeah, and then see if I 0:30:34.440 --> 0:30:35.400 can get something better. 0:30:35.760 --> 0:30:36.080 Yeah. 0:30:36.320 --> 0:30:39.680 Actually, Janet and Usher are great examples of kind of 0:30:39.720 --> 0:30:42.240 the way that some of that would work. Now, we 0:30:42.280 --> 0:30:46.960 would pretty much clear the calendars for Janet just because 0:30:47.000 --> 0:30:49.480 we were always doing the whole albums. A lot of 0:30:49.520 --> 0:30:51.760 times with the artists, we weren't doing the whole albums 0:30:52.080 --> 0:30:55.240 with Janet, we were, and of course doing it under 0:30:55.320 --> 0:30:57.040 a lot of scrutiny and a lot of you know, 0:30:57.320 --> 0:30:59.560 and a lot to follow up, you know, because once 0:30:59.560 --> 0:31:01.400 you have that first one, the follow up is always 0:31:01.440 --> 0:31:01.960 the toughest. 0:31:02.840 --> 0:31:05.959 Is there ever a deadline as far as I mean, 0:31:06.000 --> 0:31:09.880 obviously I was assuming Janet, it's over when it's over, Well, 0:31:10.160 --> 0:31:10.840 well no, but we. 0:31:10.800 --> 0:31:13.720 Always tried to adhere to the deadlines. Now, back in 0:31:13.760 --> 0:31:15.720 those days, you had to be done with the album 0:31:15.800 --> 0:31:18.400 like three months before it actually came out for the press. 0:31:18.640 --> 0:31:19.080 I remember. 0:31:19.120 --> 0:31:21.920 The thing that was the most frustrating part of that 0:31:22.320 --> 0:31:26.320 was not the recording, but the credits. There was such 0:31:26.360 --> 0:31:29.800 a premium on making sure that the credits were correct, 0:31:29.960 --> 0:31:33.080 and that was the thing. It's like, we don't need 0:31:33.080 --> 0:31:35.880 you to turn in the actual music yet, but we 0:31:35.960 --> 0:31:38.200 do need the credits, and it's like, and what if you. 0:31:38.200 --> 0:31:41.120 Switch up last minute. I've been in that situation. 0:31:41.440 --> 0:31:41.640 Yeah. 0:31:41.760 --> 0:31:43.920 So that was just because the artwork had to be done. 0:31:44.080 --> 0:31:46.040 Artwork, yeah, all those all those things. 0:31:46.120 --> 0:31:46.680 That's funny. 0:31:46.720 --> 0:31:49.800 Once you pressed up a bunch of artwork wrong and 0:31:50.320 --> 0:31:53.160 you have to change it, there's just a lost leader. 0:31:52.960 --> 0:31:54.200 Like got it gone? 0:31:54.560 --> 0:31:58.360 But I think with Janet I think Terry in some ways, 0:31:58.600 --> 0:32:00.760 and I hate to even use the now, but I 0:32:00.800 --> 0:32:03.160 think in some ways he looked at Janet and I 0:32:03.400 --> 0:32:06.880 and we had such a close kind of relationship, in 0:32:06.920 --> 0:32:10.120 a close kind of bond that Terry would always kind 0:32:10.120 --> 0:32:13.160 of be like, I'm here when you need me. You know, 0:32:13.680 --> 0:32:15.160 I think I told you the story about living in 0:32:15.200 --> 0:32:17.320 the world. They didn't make. So Jane and I were 0:32:17.360 --> 0:32:19.160 in the studio working and then we saw some stuff 0:32:19.160 --> 0:32:21.880 on CNN about a school shooting, right, and we're trying 0:32:21.920 --> 0:32:23.160 to figure out, Oh, we got to write a song. 0:32:23.200 --> 0:32:24.640 We got to figure that out. We got to figure 0:32:24.640 --> 0:32:27.160 that out. Terry walks into the studio. He was building 0:32:27.200 --> 0:32:29.360 our new studio at that point in time. He walks 0:32:29.360 --> 0:32:31.000 in with a carpet sample in one hand and a 0:32:31.520 --> 0:32:34.080 wallpaper in the other hand, and he goes, Hey, which 0:32:34.080 --> 0:32:36.800 one of these do you think is the one. We're like, no, no, Terry, 0:32:36.840 --> 0:32:39.400 we got this song, man, we got this idea. You know, 0:32:39.520 --> 0:32:41.280 it's the kids, man, The kids are mess you know, 0:32:41.320 --> 0:32:43.440 they're getting messed up and it's not their fault. And 0:32:43.480 --> 0:32:46.000 we give this whole, big long dissertation of what the 0:32:46.040 --> 0:32:50.280 song is, and Terry just goes living in the world. 0:32:50.040 --> 0:32:50.880 They didn't make. 0:32:52.280 --> 0:32:55.120 Who said yeah, and he goes in the conference room 0:32:55.200 --> 0:32:59.200 about five ten minutes later, hands us the lyrics and goes, okay, 0:32:59.200 --> 0:33:00.400 now which wallpaper and. 0:33:02.440 --> 0:33:02.560 So. 0:33:03.240 --> 0:33:06.200 But that was a case where you know, we said, oh, 0:33:06.200 --> 0:33:08.520 we need Terry for this, like we're not going to 0:33:08.520 --> 0:33:12.320 be able to figure this out. Vice versa with Usher. 0:33:12.960 --> 0:33:15.760 So I worked with Usher first on the Kazam soundtrack 0:33:16.000 --> 0:33:18.720 on Shack's movie. We did a song called swear I'm 0:33:18.720 --> 0:33:20.840 in love Usher. 0:33:22.960 --> 0:33:26.800 I've been on an airplanes so you know, there you go. 0:33:27.240 --> 0:33:30.200 So Usher came up literally for the day and we 0:33:30.280 --> 0:33:32.160 just did the song real quick, and Terry wasn't there, 0:33:32.160 --> 0:33:34.560 and we did the song real quick, and so fast 0:33:34.600 --> 0:33:36.840 forward maybe a year later or something like that, or 0:33:36.840 --> 0:33:39.720 maybe a little later, and Terry literally came into my 0:33:39.800 --> 0:33:43.480 office and said, Jim, I think I'm ready to retire. 0:33:44.240 --> 0:33:47.479 M I was like, I said, yes, yeah, I'll let 0:33:47.560 --> 0:33:50.760 Terry tell the story and then I'll wrap up the analogy. 0:33:50.320 --> 0:33:54.480 Because music wasn't using English by this point. Well, no, 0:33:54.520 --> 0:33:56.960 you come with your complete sentences in your poetry. 0:33:57.120 --> 0:34:02.080 I mean, I'm simply complex. It's like just check it out. 0:34:02.240 --> 0:34:05.920 Like I just started feeling like people were just phoning 0:34:05.960 --> 0:34:10.040 it in. Nobody wanted to really work, nobody wanted to explore, 0:34:10.120 --> 0:34:12.520 nobody wanted to do things outside. 0:34:12.040 --> 0:34:15.520 Of the box. They just everybody was just phoned it in. 0:34:15.640 --> 0:34:17.160 I didn't feel it anymore. 0:34:17.320 --> 0:34:20.319 And you know, I'm one of those kind of people 0:34:20.360 --> 0:34:22.520 where I feel like, if I make the perfect record, 0:34:22.560 --> 0:34:25.640 that's the day I retire. And if I don't feel 0:34:25.680 --> 0:34:27.480 like I can better what I used to do, then 0:34:27.560 --> 0:34:29.319 I'm going to do something else because there's a lot 0:34:29.320 --> 0:34:32.200 of things to do. So I just felt like I 0:34:32.239 --> 0:34:36.279 wasn't progressing and nobody wanted to kind of inspire me 0:34:36.440 --> 0:34:39.560 to do anything different. So I was like, yo, man, 0:34:39.600 --> 0:34:42.840 I can I can do something different. Jam was like, well, 0:34:43.160 --> 0:34:46.920 not me. I'm loving this whatever. But I told him that, 0:34:47.040 --> 0:34:51.200 you know, just being candid, Man, I can't remember it. 0:34:51.239 --> 0:34:51.560 I can't. 0:34:52.320 --> 0:34:55.880 I'm going to put the well the album, I'll tell 0:34:55.920 --> 0:34:59.080 you the album that derived from it was the eighty 0:34:59.080 --> 0:34:59.879 seven on one album. 0:35:00.360 --> 0:35:05.800 I said, it's yeah two thousand and one in the title. Yeah, 0:35:05.840 --> 0:35:06.319 there you go. 0:35:06.800 --> 0:35:08.680 So I said to Terry because he said nobody was 0:35:08.719 --> 0:35:10.799 inspiring him and we and that's one of the things. 0:35:10.840 --> 0:35:13.480 I mean, really the songs that we write come from 0:35:13.480 --> 0:35:16.720 the inspiration of working with the artists, and I mentioned 0:35:16.800 --> 0:35:18.759 Usher to Terry. I said, man, you got to get 0:35:18.760 --> 0:35:21.359 with Usher. I said, this dude, you'd love him, You'd 0:35:21.400 --> 0:35:23.480 love him. And I remember we had Usher come to 0:35:23.480 --> 0:35:26.680 town actually initially to finish a song that he had 0:35:26.719 --> 0:35:31.160 already started, and then that turned out so well that 0:35:31.360 --> 0:35:31.960 I'm telling you. 0:35:32.000 --> 0:35:34.839 When Usher and Terry met it. 0:35:34.880 --> 0:35:38.319 Was like literally, you know, like love at first sight 0:35:38.920 --> 0:35:41.840 got it because Usher had all these ideas and Terry could, 0:35:41.960 --> 0:35:44.200 you know, even though he he has no filter, but 0:35:44.239 --> 0:35:46.400 he can filter other people and he can go no, no, no, 0:35:46.480 --> 0:35:49.439 Let's focus on this lyric and this melody and this 0:35:49.760 --> 0:35:52.080 kind of stuff, right. And then there was a song 0:35:52.080 --> 0:35:53.920 we had written for actually a girl that we ended 0:35:54.000 --> 0:35:57.239 up not working with that. Terry said, Jim, remember that 0:35:57.320 --> 0:35:59.839 song we had with that melody that went to dun 0:36:00.960 --> 0:36:02.680 and whatever it was. I said, oh, yeah, I remember that. 0:36:02.719 --> 0:36:04.560 He said I'm gonna do something with that. I'm gonna 0:36:04.560 --> 0:36:05.040 do something with that. 0:36:05.880 --> 0:36:06.040 Well. 0:36:06.040 --> 0:36:08.279 By the time that evening ended, which was kind of 0:36:08.280 --> 0:36:10.560 the three of us. The next day, when Usher came 0:36:10.600 --> 0:36:12.600 back to the studio, I took my ass to the 0:36:12.640 --> 0:36:15.000 other room because I did not need to be there. 0:36:15.200 --> 0:36:18.440 They needed to have their time together. So in that case, 0:36:18.480 --> 0:36:21.840 I was a six toe. And it was interesting because 0:36:21.960 --> 0:36:24.880 Usher spoke on our There's a jam In Lewis documentary 0:36:24.880 --> 0:36:28.000 that's being done, and one of the things I heard 0:36:28.080 --> 0:36:30.239 Usher say that I never really knew until I heard 0:36:30.280 --> 0:36:33.560 him say in the documentary was he thought I didn't 0:36:33.680 --> 0:36:36.520 like him because I was never around. 0:36:38.080 --> 0:36:40.720 And he would go to Terry. He go, Terry, where's 0:36:40.760 --> 0:36:43.839 jam An He'd go, oh, He's over there. He's over there. 0:36:44.040 --> 0:36:45.839 He's like, why did he never come around? He never 0:36:45.880 --> 0:36:48.200 comes around? And then one day he wanted to do 0:36:48.280 --> 0:36:50.239 a song that was like he wanted to do kind 0:36:50.280 --> 0:36:53.239 of a tender love type of song, and he said 0:36:53.280 --> 0:36:54.640 to Terry, man, I want to do one of those 0:36:54.680 --> 0:36:57.600 tender love type, you know, ballads with the piano and stuff. 0:36:57.880 --> 0:36:59.719 And then Terry goes, oh, you got to talk to 0:36:59.800 --> 0:37:03.000 jam I'm about that, and so then he sends, you know, 0:37:03.080 --> 0:37:05.400 Usher over to me and we ended up doing a 0:37:05.400 --> 0:37:08.120 song can you Help Me God, which was yeah. So 0:37:08.360 --> 0:37:11.319 at that point was when Usher realized that it was 0:37:11.360 --> 0:37:13.600 just one of those things where I'm around if I'm needed, 0:37:14.280 --> 0:37:16.640 but you guys don't really need me. You know, you 0:37:16.680 --> 0:37:19.640 guys got it. You you have that that that magic. 0:37:31.320 --> 0:37:34.160 When you take on a client. Do you have songs 0:37:34.200 --> 0:37:36.799 already and like hear these songs? What do you think? 0:37:36.920 --> 0:37:38.680 Or is it like do you do it on the 0:37:38.680 --> 0:37:41.360 spot with him? Like do they want the horse and 0:37:41.400 --> 0:37:43.799 pony show or that it's the mirrors of it all. 0:37:44.200 --> 0:37:45.360 Definitely a combination. 0:37:45.719 --> 0:37:49.440 Yeah, I mean we we always prided ourselves on the 0:37:49.440 --> 0:37:51.520 best comblem we could ever get from an artist. When 0:37:51.719 --> 0:37:54.960 would be when an artist would say, oh, I love this, this, 0:37:54.960 --> 0:37:57.400 this is the way I should sound. And I remember 0:37:57.440 --> 0:38:00.719 the best one though was Berry White. I remember on 0:38:00.840 --> 0:38:03.400 Barry White. We were working at that point. We still 0:38:03.480 --> 0:38:06.000 had Prospective Records, but we had taken over the whole 0:38:06.000 --> 0:38:08.000 Black department of A and M Records because they were 0:38:08.040 --> 0:38:09.680 shutting at that point, they were shutting down all the 0:38:09.680 --> 0:38:13.399 black departments. This is like mid nineties, and so they said, 0:38:13.440 --> 0:38:15.239 we'll keep the Black department if you guys want to 0:38:15.320 --> 0:38:17.000 run it, and we didn't want to run it. 0:38:17.160 --> 0:38:17.799 But wait, they. 0:38:19.640 --> 0:38:22.920 At the time was there, Yeah, but it was happening. 0:38:23.000 --> 0:38:26.120 It was it was a industry wide thing that was happening. 0:38:26.280 --> 0:38:28.399 They were getting rid of the black divisions at all 0:38:28.440 --> 0:38:31.760 the labels and so oh yeah, because. 0:38:31.560 --> 0:38:33.160 We were the getting pigs for Hey, we're going to 0:38:33.200 --> 0:38:35.880 start a black division. So I just thought like there 0:38:35.920 --> 0:38:38.080 was a fever out there. I didn't realize that there 0:38:38.080 --> 0:38:38.600 was a drought. 0:38:38.680 --> 0:38:40.200 Oh yeah, No, there was definitely a drought. 0:38:40.719 --> 0:38:44.120 And so well, black music had become pop music at 0:38:44.120 --> 0:38:47.480 that point too, got it. So the pop department was 0:38:47.480 --> 0:38:50.920 taking all that revenue and shoving it back into their department, 0:38:51.840 --> 0:38:54.120 and they were getting rid of the urban department because 0:38:54.560 --> 0:38:56.360 all of us pop anyway got it. 0:38:57.080 --> 0:39:00.200 So we ended up on Barry White. We said, well, 0:39:00.200 --> 0:39:03.279 produce a couple of songs on Barry. And we did 0:39:03.320 --> 0:39:06.160 these two songs, and I remember, you know, I would 0:39:06.160 --> 0:39:09.239 always do the demos of the songs, right, So I'm 0:39:09.280 --> 0:39:12.680 on there like yeah, baby that I'm doing my very 0:39:12.680 --> 0:39:14.719 white voice the whole thing. 0:39:14.840 --> 0:39:15.040 Right. 0:39:15.239 --> 0:39:17.680 So he comes to town, we play him the song 0:39:18.600 --> 0:39:22.000 and when the song goes off, he just doesn't say anything. 0:39:22.560 --> 0:39:24.560 And we always called him mister White. He was never buried. 0:39:24.560 --> 0:39:26.759 It was mister White. He said, mister White, what do 0:39:26.800 --> 0:39:29.680 you think. We sat there for a second, then he 0:39:29.760 --> 0:39:35.719 reared back with this big laugh. And he said, oh, sounds. 0:39:35.400 --> 0:39:40.440 Like me, and we said, sounds like me. 0:39:41.280 --> 0:39:43.759 That's what you want all artists to feel if we 0:39:43.800 --> 0:39:45.680 wrote a song for them, we would want them to 0:39:45.680 --> 0:39:48.520 feel like that's their song. And he felt like that's 0:39:48.920 --> 0:39:51.239 my song. When he said that, you knew that was 0:39:51.239 --> 0:39:51.799 the green light. 0:39:51.880 --> 0:39:53.759 Yes see, I would have been scared because I wanted 0:39:53.840 --> 0:39:57.239 to say it feels like me. Yeah, so okay, he says, 0:39:57.320 --> 0:39:58.000 sounds like me. 0:39:58.239 --> 0:40:01.680 I'm about to say you nailed it, actually, and how 0:40:01.719 --> 0:40:06.080 you guys captured it was you took it from a 0:40:06.200 --> 0:40:10.640 very specific sounding Barry White song that wouldn't be captain obviously. 0:40:10.640 --> 0:40:12.920 I think anyone else would try to instantly try to 0:40:13.000 --> 0:40:15.400 bow chick awhow out their way and said I'm going 0:40:15.440 --> 0:40:17.960 to love you little yes, yeah, like if it were 0:40:18.040 --> 0:40:22.360 Dan Hartman. Oh God, you know that I got you. 0:40:22.400 --> 0:40:22.799 I got you. 0:40:22.680 --> 0:40:25.480 You feel your gravity record with Jess Brown exactly. I 0:40:25.480 --> 0:40:27.600 actually thought it was very tasteful for how you you 0:40:27.640 --> 0:40:28.839 guys handled that we had. 0:40:28.960 --> 0:40:31.479 I'll tell you one more quick one that we felt 0:40:31.520 --> 0:40:33.840 the same way about was we love the Isley Brothers 0:40:33.920 --> 0:40:38.920 and Chris Jasper for me, keyboard wise, moviie, that's my 0:40:38.920 --> 0:40:41.640 my guru as far as writing an inspiration for the 0:40:41.680 --> 0:40:44.480 way that I did chords and all that stuff. And 0:40:44.520 --> 0:40:46.279 I remember when the Isley Brothers were going to come 0:40:46.320 --> 0:40:48.240 to town and we had this song called. 0:40:48.040 --> 0:40:48.880 You're All I Need. 0:40:49.640 --> 0:40:53.160 And I remember I hadn't even sung the demo to 0:40:53.200 --> 0:40:56.520 it yet, so when we started playing it, I started singing, 0:40:56.760 --> 0:40:59.600 and so it was Ernie and Ron in the room 0:41:00.120 --> 0:41:02.239 and I start singing and I go, dad. 0:41:04.560 --> 0:41:09.560 Like that, and then Ron goes like he knew where 0:41:09.560 --> 0:41:10.920 it was going. I got it. 0:41:10.960 --> 0:41:14.200 And then Ernie goes, you got an acoustic guitar. It 0:41:14.280 --> 0:41:17.440 was like yeah, and he starts playing, and that's when 0:41:17.480 --> 0:41:19.560 you knew you nailed it. And that's one of the 0:41:19.560 --> 0:41:23.759 things I think is probably our superpower as writers and 0:41:23.800 --> 0:41:28.080 producers is being able to analyze what somebody has done before, 0:41:28.160 --> 0:41:32.160 what worked, what didn't work, and then making that song 0:41:32.400 --> 0:41:35.839 it feels like them Linel Ritchie was a funny one 0:41:35.880 --> 0:41:38.759 because you didn't realize we did the players right. 0:41:38.840 --> 0:41:41.719 There's two versions of the chat. Yeah. Now I feel 0:41:41.760 --> 0:41:42.960 bad that he's not in the chat. 0:41:43.800 --> 0:41:47.360 I have a chat group of every producer known, but 0:41:47.400 --> 0:41:49.120 I made a specific one just for him to come 0:41:49.160 --> 0:41:53.799 in and whatever but when we listened to I Want 0:41:53.840 --> 0:41:57.879 to Take You Down, I was actually mad as shit, 0:41:58.640 --> 0:42:02.000 Like that's the first time I got mad at you guys. 0:42:02.160 --> 0:42:04.680 And why would they give him such a banger like that. 0:42:04.800 --> 0:42:07.200 I don't know. It's just like, but. 0:42:07.200 --> 0:42:09.040 See the first song we did with Lionel, because we 0:42:09.080 --> 0:42:11.440 said with Lionel, we want to take you back to 0:42:11.480 --> 0:42:12.520 the Commodore's days. 0:42:12.719 --> 0:42:14.080 Yeah, and we did a. 0:42:14.000 --> 0:42:18.160 Song called Don't Want to Lose You the Soul Train video, Yes, exactly, and. 0:42:18.160 --> 0:42:21.360 He when he heard that song, he once again he 0:42:21.480 --> 0:42:23.239 just was kind of like he just kind of listening. 0:42:23.000 --> 0:42:26.760 And I'm like, oh, oh girl, and I'm doing basically 0:42:26.800 --> 0:42:31.400 Lonel Richie and he goes man, he said, y'all literally 0:42:31.520 --> 0:42:34.479 just wrote like my song, Like I know that's my song, 0:42:34.560 --> 0:42:36.600 but I couldn't write it because I've already written that song. 0:42:36.640 --> 0:42:39.200 But you guys wrote a new my song. You know, 0:42:39.480 --> 0:42:39.879 got it. 0:42:40.080 --> 0:42:42.560 And that was always the best compliment to me that 0:42:42.640 --> 0:42:45.000 you would get from people with any any artists. 0:42:45.160 --> 0:42:47.759 Okay, so when you take on a client, and I 0:42:47.880 --> 0:42:51.320 know sometimes a client will come in with a team, 0:42:52.239 --> 0:42:57.400 a best friend, a sibling, a manager micromanaging an r 0:42:57.520 --> 0:43:01.200 or whatever. I'm certain now you're your Jedi mind trick 0:43:01.239 --> 0:43:05.600 games are like superb Yeah, I was going to say, 0:43:06.480 --> 0:43:10.160 without naming a name, how do you communicate with each 0:43:10.160 --> 0:43:15.920 other when you want to have a conversation, but you 0:43:16.040 --> 0:43:18.920 have to communicate without letting off that you're going to 0:43:19.040 --> 0:43:21.880 Jedi mind trick them, or you know, just do one 0:43:21.920 --> 0:43:23.280 more take or. 0:43:23.680 --> 0:43:24.440 Just let it flow. 0:43:24.520 --> 0:43:28.640 Man, you know you don't Jedi mind trick that that 0:43:28.760 --> 0:43:32.000 is the Jedi mind trick. Oh yeah, okay, you just 0:43:32.080 --> 0:43:35.880 let it flow. Like I'm not looking for anything perfect. 0:43:35.920 --> 0:43:39.000 Everything to me is perfectly imperfect anyway, So that's just 0:43:39.080 --> 0:43:42.640 part of what it is. And we just let it flow. 0:43:42.840 --> 0:43:46.879 And what's best wins. So I love when artists think 0:43:46.920 --> 0:43:51.120 they know, are you either give somebody some rope to the. 0:43:51.400 --> 0:43:54.640 Man, I'll let you go out there, I'll let you 0:43:54.680 --> 0:43:55.800 go and I'll listen. 0:43:56.200 --> 0:43:58.879 And I said, okay, one more time, one more time, 0:43:59.160 --> 0:44:02.520 ten more time. Pretre is it how you like it yet? 0:44:02.680 --> 0:44:05.640 M Oh you got it? Okay, why don't we try 0:44:05.680 --> 0:44:06.160 it my way? 0:44:06.320 --> 0:44:06.680 All right? 0:44:06.760 --> 0:44:08.879 So let's get it. That's how I am. 0:44:09.120 --> 0:44:11.080 I'm that way with usher, by the way, but that's 0:44:11.120 --> 0:44:13.600 just on the But who is a stubborn artist that 0:44:13.600 --> 0:44:16.000 you don't mind saying is stubborn as far as like 0:44:16.120 --> 0:44:20.040 wanting to do chase perfection or this isn't right. 0:44:20.719 --> 0:44:25.080 Well, I mean, hey, Shaka was the other way. I 0:44:25.120 --> 0:44:27.480 did enough, that's enough, but it's not right. 0:44:27.520 --> 0:44:27.800 Baby. 0:44:27.880 --> 0:44:31.120 Oh I forgot those Oh you forgot. There's there's the 0:44:31.480 --> 0:44:32.719 one or two takes and that's it. 0:44:32.800 --> 0:44:34.120 That's it. You know you got it. 0:44:34.160 --> 0:44:36.439 But yeah, but your timing is bad and your pitch 0:44:36.560 --> 0:44:38.920 is bad. And certainly I can tune it, but you 0:44:38.960 --> 0:44:40.680 can sing it faster than I can tune it. 0:44:40.960 --> 0:44:43.840 Can you say that what you pulled on punches? No, 0:44:44.440 --> 0:44:46.359 you're the good back cop of being back cop. 0:44:46.480 --> 0:44:49.600 No, I'm just honest. You know, you know, fact doesn't 0:44:49.640 --> 0:44:50.480 care how you feel. 0:44:51.160 --> 0:44:52.960 I'm gonna say what I got to say, and you 0:44:52.960 --> 0:44:54.920 could take it out you want to take it now. 0:44:55.360 --> 0:44:56.720 This is gonna be your record forever. 0:44:57.160 --> 0:44:58.960 Yes, I'm gonna be done with it in a couple 0:44:59.000 --> 0:45:01.040 of hours here, if this is what you're gonna give me. 0:45:01.160 --> 0:45:04.680 Have you said these words of people? Yes, yes, I'm not. 0:45:05.200 --> 0:45:08.120 I'm not trying to argue with people about stuff this 0:45:08.560 --> 0:45:11.399 arm Well, we all try to win the record game, 0:45:11.520 --> 0:45:13.360 like we all try to make the best record we 0:45:13.440 --> 0:45:14.120 possibly can. 0:45:14.560 --> 0:45:15.239 I asked Sting. 0:45:15.320 --> 0:45:18.080 We work with Sting on some products, okay, And I 0:45:18.120 --> 0:45:20.080 asked thing. I said, well, how many times do you 0:45:20.160 --> 0:45:22.960 like to sing something? He said not very many? And 0:45:23.040 --> 0:45:26.920 I said, all right, bro right, So that's that's what 0:45:27.080 --> 0:45:29.360 that's whatever it is, that's what it's gonna be. 0:45:29.680 --> 0:45:31.480 So this is the best we gonna get. 0:45:32.600 --> 0:45:35.319 Wait a minute, okay, I've not heard this song. Oh 0:45:35.360 --> 0:45:38.200 it's called my Funny Friend in Me, Oh from the kitchen, 0:45:38.320 --> 0:45:41.640 you know what? I think I went to the premiums 0:45:42.040 --> 0:45:47.319 Premier No, No, what's the Disney theater on? Yeah, the 0:45:47.640 --> 0:45:50.000 El Capitan, right, I think. 0:45:49.840 --> 0:45:52.320 I went there once because I didn't know this existed, 0:45:53.000 --> 0:45:54.680 and I had to go to Disney. 0:45:54.440 --> 0:45:56.759 For some reason. I didn't know the whole thing, like 0:45:56.760 --> 0:45:58.560 they do a magic show, none of that, like ladies 0:45:58.560 --> 0:46:01.240 and gentlemen. Sting and he came and performed this song. 0:46:01.480 --> 0:46:02.600 We performed with him. 0:46:02.800 --> 0:46:03.440 Did I see you? 0:46:03.480 --> 0:46:04.399 Guys? You saw us? 0:46:04.440 --> 0:46:06.560 And that was the thing. When the movie ended, the 0:46:06.640 --> 0:46:09.439 screen came up right and we started playing. I didn't 0:46:09.440 --> 0:46:11.759 know you were there? Yes, yeah, because my son was there. 0:46:11.840 --> 0:46:14.200 Tyler had just been born. He was maybe four years old. 0:46:14.239 --> 0:46:16.040 Five years old. I had to pull for some reason. 0:46:16.080 --> 0:46:19.040 I don't know what it was. Yeah, but okay, yeah, 0:46:19.160 --> 0:46:21.920 how about that? Wow, I didn't realize it. 0:46:21.920 --> 0:46:25.759 Sting is one of my favorite incorrect harmony person if 0:46:25.760 --> 0:46:28.879 you're a fan of the Police, his harmony choices are 0:46:28.960 --> 0:46:32.880 so they're correct, but they're incorrect because he doesn't do 0:46:32.920 --> 0:46:33.640 the full chord. 0:46:33.680 --> 0:46:35.359 He might do like the yes, the. 0:46:35.320 --> 0:46:38.080 First and the fifth and the seventh chord. That's flash yes, 0:46:38.800 --> 0:46:39.680 but I love it. 0:46:39.880 --> 0:46:43.200 In that case, if someone has a trademark or something 0:46:43.239 --> 0:46:45.680 like that, like again, do you just let him roll 0:46:45.719 --> 0:46:47.120 with it or absolutely? 0:46:47.239 --> 0:46:49.799 That's the style matters more than anything to me. I 0:46:49.840 --> 0:46:54.640 mean correct, not correct. You know that's arbitrary. But you know, 0:46:54.680 --> 0:46:57.399 if you got a style, man, if people can recognize 0:46:57.440 --> 0:47:01.080 your work right away, they hear a few notes and 0:47:01.120 --> 0:47:05.440 they say all that, and then you got something. Now 0:47:05.480 --> 0:47:08.239 we got something to work with. Now let's figure out 0:47:08.320 --> 0:47:10.600 how to make that style into something cool. 0:47:11.719 --> 0:47:11.920 You know. 0:47:12.040 --> 0:47:13.520 I think when we were working I remember when we 0:47:13.520 --> 0:47:16.239 were working with Mary J. Blige, and I remember we 0:47:16.280 --> 0:47:17.880 played her a bunch of songs because we had done 0:47:17.920 --> 0:47:20.040 a bunch of whole all kinds of different kind of 0:47:20.080 --> 0:47:22.200 sounding songs for her because we were trying to expand 0:47:22.200 --> 0:47:24.400 you know, what she was doing, and she didn't like 0:47:24.440 --> 0:47:27.279 any of them, and she was just like and we. 0:47:27.160 --> 0:47:28.719 Were like, well, Mary, what are you looking for it? 0:47:28.840 --> 0:47:31.960 How do you take rejection? I'm cool with it? 0:47:32.280 --> 0:47:32.760 Absolutely. 0:47:32.880 --> 0:47:36.520 Yeah, we never took you don't have someone has someone 0:47:36.560 --> 0:47:38.799 turned down a song that like you later gave to 0:47:38.840 --> 0:47:41.680 someone else's like it worked? 0:47:41.960 --> 0:47:42.680 Probably it? 0:47:42.760 --> 0:47:45.040 Probably so, although we didn't do a lot of that 0:47:45.080 --> 0:47:48.960 because we were so specific in making our songs for 0:47:49.080 --> 0:47:53.279 a specific artists. The one I mentioned earlier that ended 0:47:53.360 --> 0:47:55.799 up with with Usher, which ended up being a song 0:47:55.840 --> 0:47:58.880 called Towirk It Out, which was a pretty big record 0:47:58.920 --> 0:48:01.360 for him just as an album cut, But that was 0:48:01.360 --> 0:48:03.319 for another artist. But it was just a melody and 0:48:03.360 --> 0:48:05.640 we had never really got with that artist other than 0:48:05.680 --> 0:48:08.040 we did get it was her artist. We got with 0:48:08.120 --> 0:48:10.840 her one time and just were like, it just was 0:48:10.960 --> 0:48:11.840 it wasn't compatible. 0:48:12.080 --> 0:48:12.440 Got it. 0:48:12.440 --> 0:48:14.040 It was one where somebody thought it would be a 0:48:14.040 --> 0:48:16.160 great idea if we got together and it just wasn't. 0:48:16.600 --> 0:48:19.840 How long in the process do you know if it's 0:48:19.880 --> 0:48:20.640 not going to work? 0:48:21.920 --> 0:48:24.000 I think you know pretty much immediately. But we would 0:48:24.000 --> 0:48:27.120 do our homework before we would even work with an artist, 0:48:27.200 --> 0:48:30.239 we'd always have long conversation or we'd try to meet 0:48:30.280 --> 0:48:32.520 with them and we would try to see I mean, 0:48:32.560 --> 0:48:35.720 and having conversations with them. Everybody has their own dialect, 0:48:35.760 --> 0:48:37.759 their own way that they talk, their own phrases and 0:48:37.800 --> 0:48:40.160 those kinds of things, and we would always kind of 0:48:40.160 --> 0:48:42.680 sit and talk, and as the talking was happening, there'd 0:48:42.680 --> 0:48:45.080 be certain phrases or certain ways they say, or certain 0:48:45.120 --> 0:48:47.640 subjects they'd want to talk about, and then we would 0:48:47.920 --> 0:48:49.759 then you know, Terry would be writing stuff down. I 0:48:49.800 --> 0:48:52.040 might be sitting at a piano and just playing some chords, 0:48:52.360 --> 0:48:54.799 and if if all of a sudden in the conversation, 0:48:55.360 --> 0:48:56.000 they'll go. 0:48:56.760 --> 0:48:57.680 Wait, what's that? What's that? 0:48:57.719 --> 0:49:01.080 What's that you just played? Be like, oh, that was 0:49:01.520 --> 0:49:04.120 just this, and then Terry will go do you hear 0:49:04.160 --> 0:49:06.200 something for that? And they might hit a little bit 0:49:06.200 --> 0:49:08.480 of a melody and something, and then Terry would go, well, 0:49:08.480 --> 0:49:11.680 that sounds like, you know, I love something blah blah blah. 0:49:11.719 --> 0:49:15.040 And so when those kinds of organic things happen, I 0:49:15.080 --> 0:49:17.560 think that's when we would know that, yeah, this is 0:49:17.600 --> 0:49:19.800 the right artist. But we would also have to feel 0:49:19.800 --> 0:49:21.920 like we were the best people for doing that. 0:49:22.000 --> 0:49:22.880 Artist got it. 0:49:22.960 --> 0:49:26.440 There were so many artists that we kind of turned away. 0:49:26.880 --> 0:49:28.680 A big one because he's on the Rock and Roll 0:49:28.719 --> 0:49:30.760 Hall of Fame ballot this year is Pink. 0:49:32.080 --> 0:49:33.600 So Pink you know. 0:49:34.320 --> 0:49:37.640 Roger Davies, the manager, he wanted her to come to 0:49:37.640 --> 0:49:40.799 Minneapolis because she was making this rock record and they 0:49:40.800 --> 0:49:42.840 were scared. They were like, you know, we got to 0:49:42.840 --> 0:49:43.920 put some R and B songs on. 0:49:43.920 --> 0:49:46.279 Here, so we cool. So Pink comes up. 0:49:47.080 --> 0:49:49.839 We instantly wrote a song something about girlfriend, but I 0:49:49.840 --> 0:49:52.759 just can't remember what it was. But we instantly wrote 0:49:52.760 --> 0:49:55.239 a song and it was it was cool. And then 0:49:55.239 --> 0:49:57.799 we said what are you looking for? And she said, oh, 0:49:57.800 --> 0:49:59.640 the record company just feels like, you know, I'm gonna 0:49:59.640 --> 0:50:03.120 lose my audience and whatever. We said, oh wow. We 0:50:03.160 --> 0:50:05.600 said can we hear what you've got so far? And 0:50:05.640 --> 0:50:08.319 she said, okay. So she plays us the record and 0:50:08.360 --> 0:50:11.560 it's all the Linda Perry stuff. There's some Dallas Austin stuff. 0:50:12.680 --> 0:50:15.680 I think it's brilliant, and so we're like, you don't 0:50:15.680 --> 0:50:18.680 need us, you got your record and she said, yeah, 0:50:18.719 --> 0:50:20.800 well La read kind of feels like whatever. 0:50:20.920 --> 0:50:21.200 Whatever. 0:50:21.600 --> 0:50:24.000 We said, Oh okay, I said, we'll call La. So 0:50:24.080 --> 0:50:26.279 I called La and I said, hey, man, let me 0:50:26.280 --> 0:50:28.399 have a comment. Oh, he goes house, Pink coming, Hou's 0:50:28.400 --> 0:50:30.120 Pink coming. I said, La, it's coming. 0:50:30.160 --> 0:50:30.399 Cool. 0:50:30.440 --> 0:50:33.160 But I said, you don't really need us on this project. 0:50:33.640 --> 0:50:34.920 He said what do you mean? And I said, let 0:50:34.960 --> 0:50:36.680 me give you two examples. I said, there was a 0:50:36.680 --> 0:50:39.080 girl in Canada. She was okay, she was selling records. 0:50:39.120 --> 0:50:41.359 She was, you know, nice pop star, nice thing. Said 0:50:41.400 --> 0:50:43.360 she came to America. She made a record called Jagged 0:50:43.400 --> 0:50:46.080 Little Pill. He said, Atlantis Morris that. I said, yeah. 0:50:46.360 --> 0:50:47.480 I said, Then there's this guy. 0:50:47.600 --> 0:50:49.160 I said. He had a you know, like a double 0:50:49.200 --> 0:50:52.399 platinum album, like a top ten single. You know he's 0:50:52.480 --> 0:50:54.399 kicking butt. You know it's going to be great. 0:50:54.640 --> 0:50:56.200 And I said, the next album comes out with some 0:50:56.280 --> 0:50:58.319 leg warmers and a trench coat and bikinis. 0:50:58.800 --> 0:51:01.640 And he goes Prince and I said yeah. 0:51:01.680 --> 0:51:04.160 And I said okay, now, because I told him, take 0:51:04.200 --> 0:51:07.719 your record company hat off. And I said that and 0:51:07.760 --> 0:51:10.840 then I said now, I said take your record company 0:51:10.840 --> 0:51:11.200 hat off. 0:51:11.680 --> 0:51:14.160 So he says, are you telling me you think Pink 0:51:14.360 --> 0:51:15.719 is Prince. 0:51:15.440 --> 0:51:18.680 And Alanis morriseaid a star, yep, and I said yes, 0:51:19.400 --> 0:51:21.759 And I said now put your record company hat back on. 0:51:22.480 --> 0:51:24.799 You have your first single, and he said, what's that. 0:51:24.920 --> 0:51:27.359 I said, get the party started. And he said why. 0:51:27.440 --> 0:51:28.960 I said, because get the party started. 0:51:29.360 --> 0:51:31.160 See it at the. 0:51:31.080 --> 0:51:34.120 Time, Well, at least that wasn't what he was telling them, 0:51:34.600 --> 0:51:38.040 you know, And he said, I said, because, I said, 0:51:38.239 --> 0:51:41.719 it keeps her old audience. I mean, they won't be 0:51:41.719 --> 0:51:44.680 offended by that record, but it will bring in her 0:51:44.760 --> 0:51:47.000 a new audience for her in the direction that she 0:51:47.080 --> 0:51:50.120 wants to go. And I remember then, you know, three 0:51:50.360 --> 0:51:53.440 months later, four months later, the album comes out and 0:51:53.480 --> 0:51:56.120 everybody called us because this is pre internet and all 0:51:56.160 --> 0:51:59.239 that stuff, So we were getting phone calls what y'all 0:51:59.280 --> 0:52:01.840 do on pink sut So we didn't do anything on 0:52:01.880 --> 0:52:05.000 her album. They said, well in the credit she thanks you. 0:52:05.080 --> 0:52:06.840 She says thank you Jimmy jam and Terry Lewis, and 0:52:06.840 --> 0:52:09.520 I said, oh, we made a phone call. So we 0:52:09.560 --> 0:52:12.400 had a lot of situations like that where we turned 0:52:12.400 --> 0:52:15.480 something down, or we said ABC, the English Group after 0:52:15.560 --> 0:52:19.879 we did the Human League ABC, they were trying to make. 0:52:19.880 --> 0:52:21.600 They said we're trying to make a Jam and Lewis record. 0:52:21.640 --> 0:52:24.640 We said, okay, cool, and we said play us what 0:52:24.640 --> 0:52:26.040 you got they said, we want you guys to produce 0:52:26.080 --> 0:52:26.359 this song. 0:52:26.440 --> 0:52:28.040 We said, okay, cool. We go there. 0:52:28.040 --> 0:52:30.240 I think we're at A and M and they play 0:52:30.280 --> 0:52:34.360 this song and we're like listening to it and Terry 0:52:34.360 --> 0:52:38.560 said when the song went off, Terry said, I got 0:52:38.600 --> 0:52:40.719 four words for you, and they say, what's that? 0:52:41.160 --> 0:52:45.040 He said, put that shit out? Oh, and they said, 0:52:45.280 --> 0:52:47.200 what do you mean put that shit out? They said, we said, 0:52:47.320 --> 0:52:50.520 put that shit out. You don't need us on this record. 0:52:50.880 --> 0:52:52.440 They were like, oh, well, we don't know. 0:52:52.719 --> 0:52:54.920 It was How to Be a Millionaire ended up being 0:52:54.960 --> 0:52:57.160 a huge record for them, but it was one of 0:52:57.160 --> 0:52:59.400 those things where you know we're not I'll give you 0:52:59.440 --> 0:53:01.319 one last ample of it. Well, I'm thinking about it. 0:53:02.200 --> 0:53:05.520 Clive Davis calls us to New York. He says, I'm 0:53:05.520 --> 0:53:09.000 working on a Wreatha Franklin record and we think, you know, 0:53:09.000 --> 0:53:11.320 we'd like you for you guys to do and Clive's 0:53:11.320 --> 0:53:13.840 thing was do but we just need if you do 0:53:14.000 --> 0:53:16.200 demos of whatever, And we'd always go Clive, we don't 0:53:16.200 --> 0:53:18.279 do demos. And we said who else is on the 0:53:18.320 --> 0:53:20.960 record and he named a couple people, right, and then 0:53:21.000 --> 0:53:24.520 he goes and then there's this young fella Oh, he's 0:53:24.600 --> 0:53:27.520 kind of new uh narrati Michael Walden and we. 0:53:27.520 --> 0:53:31.080 Said, oh, he's the one, he's the one. Michael. Well, 0:53:31.080 --> 0:53:34.239 he's kind of untested and he's kind of what I said, untested. 0:53:34.400 --> 0:53:36.040 I said no, no, no, no, I said no, he's 0:53:36.080 --> 0:53:40.640 a serious musician. He's the one. Fast forward three months later, 0:53:41.160 --> 0:53:42.640 Free Way of Love. You could have been on a 0:53:42.680 --> 0:53:43.520 whom zoom and who. 0:53:44.080 --> 0:53:48.320 Yeah, did you know about the intimidating factor of wreatha Franklin. 0:53:47.920 --> 0:53:50.759 Back then, No, we had a whole concept of what 0:53:50.800 --> 0:53:51.680 we wanted to do with the wreath. 0:53:51.800 --> 0:53:54.839 Well, he's eighty five pre control like and you were 0:53:54.960 --> 0:53:57.280 fine with just being like em were. 0:53:57.120 --> 0:54:00.560 Good because not everything was meant for us. I don't 0:54:00.600 --> 0:54:04.520 know how I say the words no. I'm learning now. Yeah. Yeah, 0:54:04.960 --> 0:54:07.400 but it's also like my thirty fourth year in show business. Well, 0:54:07.440 --> 0:54:08.879 but it wasn't for us. 0:54:08.880 --> 0:54:11.319 It never was no. And by the way, the no 0:54:11.600 --> 0:54:17.000 for us it was always a no with a butt no. 0:54:17.280 --> 0:54:19.520 But you know who would be really great for this 0:54:19.680 --> 0:54:23.200 would be this person or you should go see this person. 0:54:23.400 --> 0:54:25.920 We did a lot of that, and even with Lionel 0:54:25.960 --> 0:54:28.160 Ritchie when he first called us on the Dancing on 0:54:28.200 --> 0:54:30.040 the scene Land album is when he first called us 0:54:30.480 --> 0:54:33.400 and we said he wanted one record. He said, I 0:54:33.440 --> 0:54:36.399 just need one record, and we're like, nah, come back 0:54:36.400 --> 0:54:37.560 when you need three records. 0:54:38.560 --> 0:54:40.279 He just didn't want a one off. No, we didn't 0:54:40.280 --> 0:54:41.120 want to do a one off. 0:54:41.160 --> 0:54:43.680 We wanted to do We wanted to explore him, and 0:54:43.719 --> 0:54:46.359 we were a fan enough where we felt we could 0:54:46.400 --> 0:54:48.960 tell a story in the three songs we did got 0:54:49.000 --> 0:54:51.200 you know whatever. Those three songs were four songs, So 0:54:51.280 --> 0:54:52.560 that was the way we looked at it. And we 0:54:52.640 --> 0:54:54.840 just never felt like we had to be the perfect 0:54:54.840 --> 0:54:57.120 person for it, and if we saw somebody else that 0:54:57.280 --> 0:54:59.960 was the perfect person, then that's what we try to 0:55:00.200 --> 0:55:01.440 you know, moving in that direction. 0:55:01.840 --> 0:55:02.160 Yeah. 0:55:02.200 --> 0:55:04.120 And the other side of it too is that we've 0:55:04.160 --> 0:55:07.759 never been afraid of being rejected, Like that's how we 0:55:07.840 --> 0:55:09.040 got to do Janet. 0:55:09.080 --> 0:55:15.799 Yeah, that's I'm sorry. Laugh The sharing story Sharon. 0:55:15.600 --> 0:55:17.920 Yeah, yeah, boy, we got rejected. 0:55:18.000 --> 0:55:19.839 Have you I'm not mad? 0:55:20.000 --> 0:55:24.359 Guys ever came across there after that, yes, yes, yeah, 0:55:24.480 --> 0:55:26.600 And did she sort of say like damn. 0:55:27.000 --> 0:55:29.319 She didn't say this directly to me, but what I 0:55:29.360 --> 0:55:33.279 heard from someone who is a relative of hers was 0:55:33.320 --> 0:55:35.719 that she was intimidated by us. She didn't feel she 0:55:35.880 --> 0:55:39.239 was worthy of us, and at. 0:55:39.160 --> 0:55:42.319 That time, there was not much to be worthy of. 0:55:42.440 --> 0:55:44.680 Yeah, I mean we had a couple of hits, but yeah, 0:55:44.719 --> 0:55:46.759 it was Yeah, it was nothing to be afraid of. 0:55:46.920 --> 0:55:48.640 Yeah right, yeah, nothing to be afraid of. And I 0:55:48.640 --> 0:55:50.520 think people were maybe, I mean I think she was 0:55:50.520 --> 0:55:51.440 a little intimidated. 0:55:52.160 --> 0:55:53.919 Yes, when people getting their own way. Man. 0:55:54.040 --> 0:55:56.920 Yeah, but you know, like I said, we're boys from Minneapolis, man, 0:55:58.520 --> 0:55:59.680 like we're used to rejection. 0:55:59.800 --> 0:56:11.800 That that was just part of the day. 0:56:14.000 --> 0:56:15.880 When Mary is saying like I don't like this, I 0:56:15.920 --> 0:56:19.600 don't like that if you're creating on the spot, I 0:56:19.640 --> 0:56:21.799 guess as a drummer, I feel like everything for me 0:56:22.160 --> 0:56:24.000 has to be the feeling the pace and the pulse 0:56:24.040 --> 0:56:26.840 and the drummer. So you know, when I'm creating stuff, 0:56:27.800 --> 0:56:31.279 I'm on drums. But like, how do you make the 0:56:31.400 --> 0:56:35.719 person see the vision if it's just like you gotta 0:56:35.719 --> 0:56:38.160 procure them something real quick and you know the exact 0:56:38.280 --> 0:56:39.680 drum patches you want to use. 0:56:39.719 --> 0:56:44.280 Well, so with Mary in that particular case, So in Mary, 0:56:44.560 --> 0:56:46.719 like I say, we had put together a bunch of 0:56:46.760 --> 0:56:49.799 tracks just to have some ideas, just to play her, 0:56:49.840 --> 0:56:51.400 just to get a feel of what it was she 0:56:51.480 --> 0:56:54.040 was trying to do. When she didn't like the three 0:56:54.120 --> 0:56:56.480 or four things that we played her, we said, what 0:56:56.680 --> 0:56:59.360 is it that you're looking for? And she said, I 0:56:59.360 --> 0:57:03.240 want something that's sounds like me. And we were like, okay, 0:57:03.280 --> 0:57:06.399 something that sounds like you. Okay, cool. Well we got 0:57:06.400 --> 0:57:09.000 this other track here, and we played the track with 0:57:09.080 --> 0:57:13.160 the child no no, Love is All we Need would 0:57:13.200 --> 0:57:15.520 end up becoming love is All We Need. And when 0:57:15.520 --> 0:57:18.080 that record came on, boom boom butter the boom to boom, 0:57:18.560 --> 0:57:20.360 the doom to doom, and she got up and started 0:57:20.400 --> 0:57:24.440 doing the Mary J. Blige dance her and her sister. Yeah, 0:57:24.520 --> 0:57:27.240 she started hitting that dance and she said, oh, hell yeah, 0:57:27.400 --> 0:57:29.640 this one I'm talking about, this one I'm talking about 0:57:30.400 --> 0:57:34.880 And we said, yeah, but isn't Puffy giving you songs 0:57:34.920 --> 0:57:35.120 like this? 0:57:35.920 --> 0:57:38.200 She said, I ain't working with Puffy. Got it? 0:57:38.240 --> 0:57:40.800 And then we said, oh okay. Well then we got 0:57:40.800 --> 0:57:43.600 this other one, which was everything, and she heard that 0:57:43.720 --> 0:57:45.600 and she was like, oh my god, this is it, 0:57:45.680 --> 0:57:48.080 this is it. So those are the kind of things 0:57:48.120 --> 0:57:50.480 that that kind of happened. So when we gave her 0:57:50.520 --> 0:57:52.320 exactly what it was, she wanted. We thought she was 0:57:52.320 --> 0:57:54.960 already getting that from someone else, so we were like, Okay, 0:57:54.960 --> 0:57:56.680 well we'll try to take her in another you know, 0:57:56.720 --> 0:57:57.800 Puffy's got that handled. 0:57:57.960 --> 0:58:00.400 We'll go in this direction with her. 0:58:00.040 --> 0:58:03.440 Your post heartbreak phase, were you two at all concerned? 0:58:03.640 --> 0:58:06.360 And I look, I know the correct answer is yes, 0:58:06.400 --> 0:58:08.800 we have to go linear and change with the times 0:58:08.840 --> 0:58:12.520 and not be sentimental and move forward, move Ford, YadA, YadA, YadA. 0:58:12.600 --> 0:58:14.680 But there are. 0:58:14.800 --> 0:58:20.320 Especially after nineteen ninety five, in which I'm getting you know, 0:58:20.320 --> 0:58:22.480 it's one thing where you have an album and you 0:58:22.520 --> 0:58:25.439 read credits and all that stuff. But during the CD era, 0:58:26.240 --> 0:58:29.320 occasionally I read the books or whatever. But I honestly 0:58:29.360 --> 0:58:32.320 didn't know that y'all did Bad Girl, or like half 0:58:32.360 --> 0:58:34.880 the stuff y'all did. I didn't even realize it was 0:58:34.920 --> 0:58:37.040 you guys until like years later, Like. 0:58:37.880 --> 0:58:39.600 That doesn't even sound like them. 0:58:40.760 --> 0:58:43.400 Was there ever a conversation that you two had like 0:58:44.880 --> 0:58:50.000 we have to modernize and be present with where music's 0:58:50.040 --> 0:58:50.640 going today. 0:58:51.680 --> 0:58:54.880 I don't think we ever think like that. Okay, what 0:58:55.000 --> 0:58:59.680 feels best? You know, I never think about modern or 0:58:59.720 --> 0:59:02.800 any that. I mean, if you keep up with technology, 0:59:02.840 --> 0:59:05.960 I guess you'll be modern I guess to a certain degree, 0:59:06.600 --> 0:59:09.200 but you know, I have a way of thinking about things, 0:59:09.240 --> 0:59:11.520 you know. I know most people don't know what they like. 0:59:11.560 --> 0:59:14.080 They like what they know. So if you can get 0:59:14.080 --> 0:59:18.320 something that they can recognize as part of their DNA, 0:59:18.560 --> 0:59:21.680 then you got something or the start of something. 0:59:22.440 --> 0:59:26.720 So I thought Love he was very smart because that 0:59:26.840 --> 0:59:29.600 wasn't a captain obvious sample, right unless you have the 0:59:29.600 --> 0:59:30.240 Globe record. 0:59:30.360 --> 0:59:32.120 Yeah, that's right, that's right, you know. 0:59:32.600 --> 0:59:35.840 So even to me, like I was like, okay, well 0:59:35.840 --> 0:59:38.440 they're going there, but they're going to another. 0:59:39.160 --> 0:59:39.400 Yeah. 0:59:39.440 --> 0:59:41.040 But that's how Jam samples. 0:59:41.040 --> 0:59:44.600 He he samples different, but other people, I mean, his 0:59:44.720 --> 0:59:46.920 loops are just different, by. 0:59:46.800 --> 0:59:48.600 The way, I will say on that record when you're 0:59:48.600 --> 0:59:52.800 talking about somebody that isn't quite bringing the performance. So 0:59:52.840 --> 0:59:55.600 the interesting thing was when Nas came up to do 0:59:55.680 --> 0:59:59.360 is rap, and I remember it was the first time. 0:59:59.520 --> 1:00:02.040 I mean, we terry and I don't drink so, but 1:00:02.120 --> 1:00:03.880 I remember there was all of a sudden, a bunch 1:00:03.880 --> 1:00:08.560 of guinness at the studio, okay, and I remember Nas 1:00:08.640 --> 1:00:12.000 went in to do his rap, and you know, we 1:00:12.080 --> 1:00:15.480 didn't fancy ourselves as rap producers. But he goes in 1:00:15.520 --> 1:00:17.920 and does his rap and he does, you know, three 1:00:18.000 --> 1:00:21.280 or four takes and stuff, and Mary's like, yeah, yeah, 1:00:21.320 --> 1:00:22.360 this is great, this is great. 1:00:22.360 --> 1:00:25.120 And we're kind of going. We're like, dude, are you 1:00:25.120 --> 1:00:27.280 sure you want to do another one? He's like, no, no, 1:00:27.400 --> 1:00:27.800 this is it. 1:00:27.840 --> 1:00:28.200 I got it. 1:00:28.240 --> 1:00:29.720 I got it. Cool. Okay cool. 1:00:30.000 --> 1:00:34.200 So we mixed the record, we send the record and 1:00:34.240 --> 1:00:36.440 he goes, oh no, hell no, I got to come 1:00:36.480 --> 1:00:39.200 back and do redo that rap. It's like, okay, cool, 1:00:39.240 --> 1:00:40.640 and so he did, and of course he killed it 1:00:40.680 --> 1:00:43.480 when he came back. But that was kind of interesting. 1:00:43.520 --> 1:00:45.240 I mean, because I'm not going to say to nas. 1:00:45.400 --> 1:00:47.800 I mean, we weren't experts in rap, so it's like, 1:00:47.880 --> 1:00:49.680 if you think this is good, I mean, you know 1:00:49.760 --> 1:00:51.840 your standards. If you think this is up to your standards, 1:00:51.840 --> 1:00:53.240 then we're not going to argue with you. 1:00:53.400 --> 1:00:55.840 Hasn't a rap group ever approached you guys, a rap 1:00:55.920 --> 1:00:58.040 artist ever approached you guys about producing them? 1:00:58.520 --> 1:01:01.680 You know, Snoop did, and we had some great ashes 1:01:01.760 --> 1:01:03.640 for him. Oh my god, when he wanted the eight 1:01:03.680 --> 1:01:06.040 oh eight and he won. I don't even know what 1:01:06.080 --> 1:01:08.640 he wanted. I just remember we had like I thought 1:01:08.640 --> 1:01:11.960 it was like a magic session, like it blew his mind, like, 1:01:12.240 --> 1:01:14.000 because we were just coming up with song after song, 1:01:14.080 --> 1:01:17.000 track after track, and he was like, oh man, yeah, yeah, okay, 1:01:17.000 --> 1:01:18.640 I gotta really think on this. I gotta really think 1:01:18.680 --> 1:01:20.200 on this. So maybe he didn't really like it. I 1:01:20.240 --> 1:01:22.960 don't know, but we never ended up doing a thing 1:01:22.960 --> 1:01:25.800 on him. Let's see, we were in the old studio, 1:01:25.880 --> 1:01:29.760 so two thousand and eight, maybe seven, two thousand and eight, 1:01:30.000 --> 1:01:31.240 around that period of time. 1:01:31.440 --> 1:01:32.680 Yeah, I want to say, yeah. 1:01:32.600 --> 1:01:34.560 And we did, and we had I don't know, we 1:01:34.600 --> 1:01:37.959 probably did ten tracks on him something like that, and. 1:01:38.280 --> 1:01:42.040 They're still in existence. They're on a hard drive somewhere. 1:01:42.120 --> 1:01:43.040 Yeah, somewhere, yep. 1:01:43.120 --> 1:01:45.280 Yeah, are they timeless enough to still come out now? 1:01:45.400 --> 1:01:48.480 Or I'd have to listen to him. I don't remember him. 1:01:48.560 --> 1:01:52.840 I just remember the vibe was great because we wanted, 1:01:52.920 --> 1:01:55.080 you know, we kind of felt like we always wanted 1:01:55.080 --> 1:01:57.200 to blow the artist's minds when they came in. We 1:01:57.200 --> 1:02:01.200 wanted to surprise him, and you know, whatever their expectation was, 1:02:01.200 --> 1:02:02.840 we wanted to try to blow them away. And snoop, 1:02:02.880 --> 1:02:05.680 we were such big fans of his and we knew 1:02:05.920 --> 1:02:08.440 we always treated it like we're fans of the person 1:02:08.480 --> 1:02:11.760 that's coming in. So what would we want to hear 1:02:11.840 --> 1:02:13.520 if we had gone to the record store and picked 1:02:13.560 --> 1:02:16.760 that record up or that CD up? What would we 1:02:16.800 --> 1:02:18.840 want to hear on that CD? And now was the 1:02:18.840 --> 1:02:19.960 songs we would try to create? 1:02:20.080 --> 1:02:20.360 Got it? 1:02:20.400 --> 1:02:21.800 And we did that with Snoop. But we had some 1:02:21.840 --> 1:02:24.240 great stuff. But we you know, we actually forged a 1:02:24.240 --> 1:02:25.920 great relationship because of that. 1:02:26.560 --> 1:02:30.800 I have a question about Charelle's product. Would you say 1:02:30.800 --> 1:02:34.440 that she's kind of the testing ground for jam and Lewis, 1:02:34.480 --> 1:02:38.800 because you know, I listened to her entire discography that 1:02:38.840 --> 1:02:41.760 you guys did in the last two weeks and noticed 1:02:41.800 --> 1:02:47.560 that you guys used way different drum machines, different ideas. 1:02:47.840 --> 1:02:50.640 Where that saxophone come from? I never heard this before? Whatever? 1:02:51.160 --> 1:02:53.640 So was she always a testing ground for you to 1:02:53.720 --> 1:02:56.640 see how far you can push. 1:02:57.920 --> 1:03:03.000 Ideas? Or was that a mental telect No. 1:03:02.720 --> 1:03:06.000 No, it's a it's a great question, great observation. 1:03:06.560 --> 1:03:08.360 The other thing is, because I know that you're also 1:03:08.440 --> 1:03:10.920 responsible for the secreence thing, I forgot to ask you 1:03:10.960 --> 1:03:14.560 this on a fair by then I was in Columbia House, 1:03:14.600 --> 1:03:16.560 so I got affair. The first week it came out, 1:03:17.520 --> 1:03:21.720 Discreet had a different intro on it. I have a 1:03:21.800 --> 1:03:24.560 version of a fair where Discreet has her and a 1:03:24.560 --> 1:03:28.720 party talking to her girlfriend whatever at the intro and 1:03:28.760 --> 1:03:34.920 then now on streaming, Discreet starts with her saying backwards, 1:03:35.280 --> 1:03:35.880 what's the next song? 1:03:36.000 --> 1:03:38.880 Jimmy jam? But yes, it's backwards. Why were there two 1:03:39.040 --> 1:03:41.000 versions of that? Was that? 1:03:41.080 --> 1:03:42.919 I have no idea. I'd have to hear the one 1:03:43.000 --> 1:03:45.440 the other version that you have. You know there's two 1:03:45.480 --> 1:03:47.640 off the walls, right okay? 1:03:47.960 --> 1:03:49.120 I mean I know there's with. 1:03:49.160 --> 1:03:51.040 You without the collapse, and there's Get on the Floor 1:03:51.080 --> 1:03:53.760 without a guitar part, and then like there's two uh, 1:03:53.800 --> 1:03:54.920 there's two talking books? 1:03:55.840 --> 1:03:56.000 Right. 1:03:56.040 --> 1:03:58.640 Wait, isn't there with You at the Sunshine of My Life? 1:03:58.640 --> 1:04:00.600 Because there's the ones with the horns and that has 1:04:00.640 --> 1:04:03.840 the horns dun d d and there's the one the 1:04:03.880 --> 1:04:06.680 original album didn't have those horns sections. 1:04:07.600 --> 1:04:11.240 I gotta check that. Okay, I didn't know that, but no, 1:04:11.440 --> 1:04:13.640 I was just wanted to know was their method of 1:04:14.520 --> 1:04:16.919 did you hear mid thing? Like, ah, that's the wrong 1:04:17.000 --> 1:04:20.600 version they put keys up version and did you switch? 1:04:20.880 --> 1:04:22.880 I don't remember, So now I'm gonna have to jog 1:04:22.920 --> 1:04:24.400 my memory and find out about that. 1:04:24.640 --> 1:04:29.000 And because you guys also handled the sequencing of the record. 1:04:29.360 --> 1:04:32.760 Why is Everything I Missed at Home like whenever song 1:04:32.840 --> 1:04:36.560 is like the fourth song on side too? And this 1:04:36.680 --> 1:04:39.000 is also from a guy whose biggest single was the 1:04:39.040 --> 1:04:40.000 third to last song on. 1:04:40.920 --> 1:04:43.520 Like an hour into it. Why did y'all put that 1:04:43.560 --> 1:04:43.960 so late? 1:04:44.000 --> 1:04:47.200 When I figured Everything I Missed at Home would least 1:04:47.200 --> 1:04:49.959 be on side one and hit him. 1:04:49.840 --> 1:04:51.919 With it, But because it was kind of its own thought. 1:04:52.040 --> 1:04:55.160 And when we sequenced albums, I mean, we use different 1:04:55.160 --> 1:04:59.360 philosophy for different artists, but I know on a lot 1:04:59.400 --> 1:05:01.439 of times we would put the up tempos up front 1:05:01.480 --> 1:05:04.720 and we would try to in some way segue them together, 1:05:04.760 --> 1:05:06.280 which I think I know on the Affair album we 1:05:06.320 --> 1:05:10.520 did that. We segued the first three songs together, And 1:05:10.600 --> 1:05:13.720 so I think I don't think. I think Everything I 1:05:13.720 --> 1:05:16.000 Missed at Home was the first song on the B side, 1:05:16.040 --> 1:05:18.439 if I'm not mistaken, though I think it did lead 1:05:18.480 --> 1:05:19.200 the B side. 1:05:19.440 --> 1:05:21.160 You asked something about like Sharill. 1:05:21.480 --> 1:05:21.840 Was she. 1:05:24.280 --> 1:05:27.480 Yes, yeah, And I have to say to a certain 1:05:27.480 --> 1:05:30.560 degree yes, because she had was fine with this. 1:05:31.080 --> 1:05:34.480 Yes, Yes, she actually revered it. Yes, she was a 1:05:34.480 --> 1:05:36.760 guinea pig for a lot of stuff and was happy. Yeah. 1:05:37.000 --> 1:05:40.440 Yeah, we learned how to work a studio recording her album. 1:05:41.480 --> 1:05:45.560 We actually tried to work hard to find her songs 1:05:45.600 --> 1:05:50.960 because she's such a quirky person her personality, and she 1:05:51.040 --> 1:05:53.520 has a quirky voice, so you have to find the 1:05:53.560 --> 1:05:56.120 songs that fit her personality. 1:05:56.440 --> 1:05:57.600 Got it, you know. 1:05:57.840 --> 1:06:00.200 So we had an engineer walk out on us when 1:06:00.240 --> 1:06:02.480 we were doing the album that was just Saturday Love 1:06:02.520 --> 1:06:05.200 on it, and the engineer just walked out on us, 1:06:05.200 --> 1:06:08.040 and so we had to figure out how to record ourselves. 1:06:08.360 --> 1:06:09.840 And we just said, we're never going to be dependent 1:06:09.920 --> 1:06:12.160 on somebody because of late hours or it's just no, 1:06:12.680 --> 1:06:14.800 it was a business. It was a business thing we 1:06:14.800 --> 1:06:17.560 were gonna They wanted to be partners with us on 1:06:17.600 --> 1:06:21.240 a studio and so we were like, okay, great, let's 1:06:21.240 --> 1:06:21.520 do it. 1:06:21.800 --> 1:06:24.080 And so we ended up its Steve. 1:06:24.680 --> 1:06:26.160 Yeah, it was different Steve. 1:06:26.480 --> 1:06:31.240 Well, different Steve. No, it's a difference, not Steve No, 1:06:31.240 --> 1:06:33.400 no worries. No, it was a different Steve and his 1:06:33.520 --> 1:06:36.600 partner and they had actually creation audio down their basement 1:06:36.640 --> 1:06:38.920 of their house, and that's what we did. Didn't mean 1:06:38.960 --> 1:06:40.800 to turn you on. We did the Change album, Change 1:06:40.800 --> 1:06:43.040 a Heart down. A lot of it down there anyway, 1:06:43.440 --> 1:06:44.600 our member, our accountant. 1:06:45.080 --> 1:06:47.120 No, it was I did the numbers. 1:06:47.800 --> 1:06:51.560 I showed them the Clarence and good motherfucker, you can't 1:06:51.600 --> 1:06:55.880 have an old studio, Puncy, don't don't have a studio, Clarence. 1:06:56.240 --> 1:06:59.120 These are the numbers. And if we're bringing the work, 1:07:00.080 --> 1:07:02.600 we need a studio, we're gonna pay somebody for a studio. 1:07:03.520 --> 1:07:07.200 Look at the numbers. He looked at him, said, you 1:07:07.240 --> 1:07:12.400 know what, you're right. Fuck ship. So you know he's 1:07:12.480 --> 1:07:15.480 pissed about it. So you know, we went back to 1:07:15.560 --> 1:07:19.520 the guys and told him like, okay, so your expertise, 1:07:20.080 --> 1:07:22.400 we're still willing to work with you. You know, you 1:07:22.400 --> 1:07:26.760 could be studio manager, you could be engineer, whatever, but 1:07:27.120 --> 1:07:28.680 we're not gonna co own this thing. 1:07:29.640 --> 1:07:32.520 And they weren't, but they know they weren't. But see 1:07:32.520 --> 1:07:34.080 they weren't bringing anything into it. 1:07:34.280 --> 1:07:34.440 Yeah. 1:07:34.800 --> 1:07:37.200 Our thing was we're buying the building. 1:07:37.240 --> 1:07:40.240 We're buying the building, we're buying the equipment that's going 1:07:40.280 --> 1:07:40.920 in the building. 1:07:41.280 --> 1:07:42.760 You can manage it for us. 1:07:42.920 --> 1:07:44.880 So and because that was the thing. So what I 1:07:44.880 --> 1:07:46.600 was gonna say was the accountant we had at the 1:07:46.600 --> 1:07:50.480 time was actually Byron Frank, who is you know, the 1:07:50.520 --> 1:07:53.400 girl runs First Avenue. Yes, her dad okay, it was 1:07:53.400 --> 1:07:56.280 her dad. He was our first accountant and he and 1:07:56.320 --> 1:07:58.400 I know, he said, well, wait a minute, if it's 1:07:58.400 --> 1:08:02.320 a partnership, you guys are buying the building, are they 1:08:02.360 --> 1:08:04.439 bringing their equipment? And we're like no, no, we're gonna 1:08:04.440 --> 1:08:07.680 buy equipment. And then he said, so what are they bringing. 1:08:07.960 --> 1:08:10.760 They're not bringing anything, and so that was the thing. 1:08:10.840 --> 1:08:14.080 So anyway, so Steve Wese is his name, So he 1:08:14.160 --> 1:08:15.880 was cool with it. He was like, well, you know what, 1:08:15.920 --> 1:08:18.519 I'll just engineer. That's fine. But his partner, I think 1:08:18.600 --> 1:08:20.400 maybe felt left out in the called and so with 1:08:20.560 --> 1:08:24.439 solidarity to his partner, he just walked away. And we 1:08:24.439 --> 1:08:26.400 were in the middle of working on the Charrell album, 1:08:26.720 --> 1:08:28.920 so Charill became literally the guinea pig. 1:08:29.640 --> 1:08:30.719 Like she'd put. 1:08:30.560 --> 1:08:32.640 Headphones on and we go take your headphones off, all 1:08:32.680 --> 1:08:34.720 we plug in these this is Did you. 1:08:34.640 --> 1:08:37.080 Have enough knowledge on how to run it? That's a 1:08:37.120 --> 1:08:38.040 funny thing about it, that. 1:08:38.880 --> 1:08:41.000 Basic knowledge from live performance. 1:08:41.320 --> 1:08:44.280 Yes, okay, so you know you know how to patch 1:08:44.360 --> 1:08:46.599 this here and get this here and we blew up 1:08:46.640 --> 1:08:47.839 some speakers and some headphone. 1:08:47.920 --> 1:08:48.760 Yeah, we definitely did. 1:08:48.880 --> 1:08:51.439 But you know, plugging in the wrong stuff and we 1:08:51.479 --> 1:08:52.800 recorded everything too hot. 1:08:53.040 --> 1:08:53.519 Yeah. 1:08:54.000 --> 1:08:56.599 But but the thing about a patch bay is like 1:08:56.680 --> 1:08:59.880 you have to almost learn it hands on, to watch 1:09:00.000 --> 1:09:01.720 an engineer do it and know where to plug that 1:09:01.760 --> 1:09:03.439 in and then plug that in and all that looks 1:09:03.479 --> 1:09:06.679 like spaghetti junction, right, And that was the thing. Once 1:09:06.720 --> 1:09:10.320 we figured out how to do it ourselves, we were 1:09:10.320 --> 1:09:13.679 then self sufficient, and all the other writers and producers 1:09:13.720 --> 1:09:16.000 that we would bring in, we teach them how to 1:09:16.040 --> 1:09:17.680 do it and we go, You guys can run your 1:09:17.680 --> 1:09:21.040 own sessions because we never wanted to be dependent on 1:09:21.080 --> 1:09:22.000 anybody else. 1:09:24.080 --> 1:09:26.240 Pretty much in a lot of. 1:09:26.200 --> 1:09:28.840 Ways because because it's one thing to tell somebody what 1:09:28.880 --> 1:09:31.560 you want to get. Like, particularly when we do vocals, 1:09:32.000 --> 1:09:34.439 Terry always runs his own vocals. He never has an engineer, 1:09:34.439 --> 1:09:36.679 because you could have an engineer and you go grab 1:09:36.720 --> 1:09:39.200 that again or get that one part or whatever, and 1:09:39.240 --> 1:09:41.040 it's like, no, just do it yourself. You know what 1:09:41.160 --> 1:09:42.559 it is you're trying to get. 1:09:42.840 --> 1:09:43.040 Yeah. 1:09:43.080 --> 1:09:46.960 We learned in the destructive years, like you were recording 1:09:47.000 --> 1:09:49.720 to tape, yeah, and so if you punched in on 1:09:49.760 --> 1:09:54.760 something it was officially gone sound heavy, yes, But when 1:09:54.800 --> 1:09:56.759 pro tools came, you know, you could make a mistake, 1:09:56.920 --> 1:09:59.679 punch in anywhere and be you know, fix it later. 1:10:00.320 --> 1:10:01.599 Yeah, we'll pull it out later. 1:10:01.720 --> 1:10:02.080 Yeah, you know. 1:10:03.040 --> 1:10:05.880 All right, So alexandro Neil I already know the Sambo's 1:10:05.960 --> 1:10:10.080 pancake story best story of all time. However, you know, 1:10:10.760 --> 1:10:13.960 listen to Innocent. I always wondered, like, okay, so what 1:10:14.560 --> 1:10:18.519 in an alternate universe if Alex was the leader of 1:10:18.560 --> 1:10:22.479 the time, do you think that Alex would have actually 1:10:23.400 --> 1:10:27.519 air quote played ball at least enough to get through 1:10:27.560 --> 1:10:34.040 the first two albums? In other words, knowing Prince's task 1:10:34.160 --> 1:10:39.040 master reputation and already what you've said about Alex and 1:10:39.160 --> 1:10:41.840 the whole deal at the pancake spot and him walking 1:10:41.880 --> 1:10:45.840 out or whatever. Listen to Jam's nine hour interview based 1:10:45.880 --> 1:10:49.000 on Alex talking himself out at the time. Do you 1:10:49.000 --> 1:10:52.680 think you would have wound up with the same results 1:10:53.320 --> 1:10:58.120 if Alex Because if you listen to Innocent, which is 1:10:58.160 --> 1:11:00.200 an o my age or not to get it. 1:11:00.200 --> 1:11:05.400 Up, Yes, I was like, yeah, this I could see 1:11:05.439 --> 1:11:05.800 it working. 1:11:06.320 --> 1:11:08.719 Mars is also a character and whatnot, and there's humor 1:11:08.720 --> 1:11:12.439 and all that stuff, But is Alex easily mouldible and 1:11:12.520 --> 1:11:15.040 the way that Prince groomed Mars into the character that 1:11:15.120 --> 1:11:15.479 he was. 1:11:16.680 --> 1:11:18.960 Would Alex had been that mouldible. 1:11:18.640 --> 1:11:23.080 No, no, no, but Alex would be flexible. You understand, 1:11:23.160 --> 1:11:26.360 Alex is probably one of the most versatile vocalists that 1:11:26.439 --> 1:11:29.560 I know. Like, if there was one male vocalist I 1:11:29.560 --> 1:11:34.360 could choose to be, Alex would be the guy. Got 1:11:34.400 --> 1:11:39.200 it because he can rock up tempo the same way 1:11:39.240 --> 1:11:43.320 he can rock a ballot, and he could go across genres. 1:11:43.320 --> 1:11:46.360 He could do country, he can do pop, he could 1:11:46.360 --> 1:11:49.840 do new wave at that point in time, and the 1:11:49.880 --> 1:11:51.120 time was supposed to be a. 1:11:51.080 --> 1:11:51.960 New wave band. 1:11:53.240 --> 1:11:55.439 Okay, I know there was a period in eighty one, 1:11:55.640 --> 1:11:59.599 especially when you watch the bus boys and trading places 1:11:59.600 --> 1:12:01.080 and everyone was doing the Carlton. 1:12:00.800 --> 1:12:04.679 And all that stuff. I almost feel like the black 1:12:04.840 --> 1:12:05.639 version of a New Way. 1:12:05.720 --> 1:12:12.040 And you know, I've watched Ozone, Alligator Woman by a 1:12:12.080 --> 1:12:17.160 cameo and whatnot, and look, Okay, after high School was 1:12:17.200 --> 1:12:19.520 like one of my favorite time songs, like it's associated 1:12:19.520 --> 1:12:22.840 with the good memory of my life. But like, did 1:12:22.840 --> 1:12:26.120 you guys really think that, like, okay, this new wave 1:12:26.200 --> 1:12:30.320 thing is really going to stick in this is were 1:12:30.320 --> 1:12:33.040 you really prepared to the new waves? 1:12:33.040 --> 1:12:35.800 Seemed like a Noah's Arc that was going to that 1:12:35.840 --> 1:12:38.160 you were going to hang on to. I don't think 1:12:38.200 --> 1:12:38.959 we think. 1:12:38.720 --> 1:12:41.080 Of genres like that though. I really don't. 1:12:41.120 --> 1:12:44.639 I think where we were, all that stuff was budding 1:12:44.680 --> 1:12:47.960 and spinning in our orbit all the time. I mean, 1:12:48.320 --> 1:12:50.639 the least amount of things that we would get would 1:12:50.640 --> 1:12:55.439 probably be R and B. There was always pop, pop, rock, rock, 1:12:56.360 --> 1:13:01.240 you know, new wave, grunge. All that stuff was coming 1:13:01.240 --> 1:13:03.840 out of Seventh Avenue was seventh at. 1:13:05.000 --> 1:13:05.679 First Avenue. 1:13:05.760 --> 1:13:09.599 But was there a passion for it like for some people, yes, 1:13:09.640 --> 1:13:12.479 did you see it as like people saw hip hop, 1:13:13.320 --> 1:13:14.519 I gotta do some new Jack swing? 1:13:14.680 --> 1:13:17.880 For for us, I'd never seen saw any of it 1:13:17.920 --> 1:13:21.280 as like the holy grail of anything. 1:13:21.320 --> 1:13:24.720 It was just music, you know, So you like this 1:13:25.080 --> 1:13:26.160 if you don't like that. 1:13:26.600 --> 1:13:30.400 Yeah, we liked playing that song. I remember that we 1:13:30.439 --> 1:13:33.960 played it on the first tour and we loved playing it. 1:13:35.760 --> 1:13:37.800 But yeah, I don't. I kind of agree with Terry there. 1:13:37.800 --> 1:13:40.759 I don't really think and we weren't thinking. We certainly 1:13:40.760 --> 1:13:43.479 weren't thinking in terms of, oh, this is going to 1:13:43.560 --> 1:13:47.439 revolutionize where music is that kind of thing. We just 1:13:47.479 --> 1:13:49.439 thought it was a great album, and our whole thing 1:13:49.600 --> 1:13:52.320 was like, let's learn these songs, but let's do them 1:13:52.400 --> 1:13:55.320 better than the album, you know, and better subjective obviously, 1:13:55.360 --> 1:13:56.679 but that was our whole. 1:13:56.840 --> 1:14:01.400 So part two that question is because I can't imagine 1:14:02.840 --> 1:14:05.800 just Alex, you know, the way that the first Time 1:14:05.840 --> 1:14:07.640 album was made with just Mars and Prince in the 1:14:07.720 --> 1:14:12.160 room together. I can't imagine Alex and Prince just being 1:14:12.760 --> 1:14:15.400 like in that sort of intimate setting. So I would 1:14:15.400 --> 1:14:19.040 almost think that he would want the band there at 1:14:19.120 --> 1:14:22.200 least bounce off of to awkward with that lead singer. 1:14:22.640 --> 1:14:25.800 Do you think that maybe perhaps you guys would have 1:14:29.040 --> 1:14:33.320 had a different presentation of the music. Yeah, it had 1:14:33.400 --> 1:14:37.360 Alex been it would be different, better, not as good. 1:14:37.479 --> 1:14:39.800 I mean, I don't know, would have been different. 1:14:39.840 --> 1:14:43.960 It would have been different, and not in a bad way, 1:14:44.200 --> 1:14:44.759 just different. 1:14:45.280 --> 1:14:45.559 You know. 1:14:45.840 --> 1:14:50.759 Mores Mores even developed into that personality that made those 1:14:50.760 --> 1:14:54.080 songs work, and so by the time the album was 1:14:54.160 --> 1:14:58.680 yelling into an album, Moors was the personality that was 1:14:58.720 --> 1:15:02.599 being structured within those songs. Had those songs been done 1:15:02.640 --> 1:15:05.240 for Alex, Alex already. 1:15:04.880 --> 1:15:07.400 Had a personality, got it okay? 1:15:07.439 --> 1:15:10.960 And so Alex was a bad He had some songs 1:15:10.960 --> 1:15:14.479 that he had done with other people that were very 1:15:14.600 --> 1:15:16.639 very new wave songs. 1:15:18.080 --> 1:15:19.120 Oh yeah, he sure did. 1:15:19.400 --> 1:15:24.479 Yeah that that were good and we performed some of 1:15:24.520 --> 1:15:28.360 them sometimes. So yeah, that that was just part of 1:15:28.400 --> 1:15:31.760 the DNA of the day. It's like, that kind of 1:15:31.760 --> 1:15:33.960 stuff is happening. And if we can play that stuff 1:15:33.960 --> 1:15:36.720 and get in and play Seventh Street entry Ship. 1:15:36.479 --> 1:15:38.479 We can get in there and get a gig. We're 1:15:38.479 --> 1:15:41.439 gonna play that, like just like we play some poker. 1:15:42.200 --> 1:15:45.639 I was going to say, you had to do whatever 1:15:45.680 --> 1:15:48.960 you had to do to get the gig if you're 1:15:49.200 --> 1:15:57.519 in Alabama or if you're in Houston, are they like okay? 1:15:57.960 --> 1:16:02.040 Only because I know Princess rockabilly Elvis thing. I've seen 1:16:02.080 --> 1:16:04.080 many a time show where you guys, do everybody dance 1:16:04.120 --> 1:16:08.519 to the beat? Which is the most untime sounding was 1:16:08.520 --> 1:16:09.840 that ever recorded on? 1:16:10.680 --> 1:16:11.839 I think a live version? 1:16:13.360 --> 1:16:13.799 Okay? 1:16:14.000 --> 1:16:17.280 But like do they if you know, Minneapolis is open 1:16:17.320 --> 1:16:19.960 to it, maybe New York and LA are open to it. 1:16:20.000 --> 1:16:23.639 When you go to Black Towns or whatever. 1:16:24.800 --> 1:16:26.799 Well, you know what was funny was would the reaction 1:16:26.880 --> 1:16:29.360 be different if you do something outside of the funk genre. 1:16:30.120 --> 1:16:32.320 I just remember the reaction that we did. We did 1:16:32.320 --> 1:16:34.439 a you know, we call it the Chitlin Circuit tour, 1:16:34.960 --> 1:16:38.320 and it basically was two station wagons and we were 1:16:38.320 --> 1:16:43.160 down south. We were North Carolina, South Carolina, Georgia. You know, 1:16:43.280 --> 1:16:45.799 we were doing all those dates down in that area. 1:16:46.479 --> 1:16:48.439 And I remember the well, the first date we did, 1:16:48.920 --> 1:16:51.479 the club had a big pillar in the middle of 1:16:51.520 --> 1:16:53.479 it that was kind of on the stage, and we 1:16:53.560 --> 1:16:56.920 had our manager road manager was named Jamie Shoop. 1:16:56.960 --> 1:16:58.360 I know Jamis Jamie. 1:16:58.760 --> 1:17:00.639 Jamie came in there and she was trying to get 1:17:00.640 --> 1:17:03.360 them to take the pole away and they said, no, 1:17:03.479 --> 1:17:05.640 that's a load bearing call. That's holding the roof up, like, 1:17:05.680 --> 1:17:08.280 we can't get rid of that. And those are the 1:17:08.360 --> 1:17:10.960 kind of gigs we were doing. They'd be like literally 1:17:11.360 --> 1:17:14.040 like if you were More's day, I'd be sitting here 1:17:14.040 --> 1:17:16.000 at the table, Terry'd be sitting here at the table, 1:17:17.640 --> 1:17:20.960 and the girl would be in the front up right 1:17:20.960 --> 1:17:22.599 where you are, and the girl would be sitting there 1:17:22.600 --> 1:17:26.520 look watching you sing and you hit like the fiat baby. 1:17:27.800 --> 1:17:28.120 Nigga. 1:17:28.200 --> 1:17:31.880 Don't you do that that? 1:17:32.760 --> 1:17:35.360 Oh man? It was. It was the craziest thing. 1:17:35.760 --> 1:17:38.840 But I remember when we got about three gigs in, 1:17:39.720 --> 1:17:41.720 we got to one club was so messed up. They 1:17:41.720 --> 1:17:43.800 wouldn't even let us play. They didn't they didn't even 1:17:43.880 --> 1:17:45.760 let us get out the car, you know, and we 1:17:45.840 --> 1:17:47.640 still we still snuck to the club to see what 1:17:47.680 --> 1:17:51.519 it was like because we were just headed. But in 1:17:51.680 --> 1:17:56.760 none g Greensboro, North Carolina, Cosmos. 1:17:57.240 --> 1:18:00.280 Okay, that's my home, my dad's home down. 1:18:00.360 --> 1:18:07.519 Okay, what happened? We turned that place. They loved us. 1:18:07.760 --> 1:18:10.519 They loved our guitar solo, they loved our makeup, they 1:18:10.560 --> 1:18:13.960 loved our permed hair, they loved everything about us. And 1:18:14.000 --> 1:18:16.679 it was the first time that it felt like, oh, okay, 1:18:16.720 --> 1:18:19.040 this could work, this could work, this could work other 1:18:19.120 --> 1:18:22.559 than Detroit. Well, Detroit and Detroit came after that because 1:18:22.560 --> 1:18:25.000 we did we did the Chilin I think we did 1:18:25.000 --> 1:18:27.240 the Chilin Circuit tour first, right, and. 1:18:27.200 --> 1:18:29.839 Then I think we did Detroit or do we do Detroit? 1:18:29.880 --> 1:18:31.479 You're right, because we only had the single out. We 1:18:31.840 --> 1:18:32.280 get it up. 1:18:32.560 --> 1:18:36.519 Detroit first and that was wonderful. Detroit was and then 1:18:36.560 --> 1:18:38.800 we went everywhere else and it wasn't so wide, it 1:18:38.840 --> 1:18:42.800 wasn't so wonderful. So that's that's why I always tell you. 1:18:42.080 --> 1:18:45.080 Don't get you can't get good. 1:18:45.120 --> 1:18:47.760 You gotta get booed to get good because you've got 1:18:47.800 --> 1:18:49.320 to let you know what you don't have. 1:18:49.520 --> 1:18:53.280 So you've had some audiences with indifference. 1:18:53.720 --> 1:19:01.360 Inference Atlanta, it was like it might have. And we 1:19:01.360 --> 1:19:05.599 were so excited to get to Atlanta, particularly after Charlotte 1:19:05.640 --> 1:19:08.559 was so good, Greensboro was so good, and then Atlanta 1:19:08.680 --> 1:19:10.000 was like the next gig, and we were like, oh, 1:19:10.000 --> 1:19:10.920 we're gonna kill Atlanta. 1:19:10.960 --> 1:19:13.000 We're thinking, oh, we're gonna kill Progressive. 1:19:13.160 --> 1:19:17.559 I swear to god. Atlanta was like cardboard cutouts. Like 1:19:17.640 --> 1:19:19.760 we look out in the audience and it was like 1:19:19.800 --> 1:19:21.320 everybody was just like this. 1:19:21.240 --> 1:19:23.240 Yeah, because Atlanta has its own thing. 1:19:24.920 --> 1:19:26.919 But what was hitting in eighty one in Atlanta? 1:19:27.280 --> 1:19:30.920 Not only people, not us. You might be some zapp 1:19:31.280 --> 1:19:33.200 you stand on your head with the jocks. Oh yeah, 1:19:33.479 --> 1:19:35.880 I'll tell you rogers killed. They would kill us in 1:19:35.920 --> 1:19:38.679 the South. That show would kill us Texas. 1:19:38.760 --> 1:19:42.040 I was gonna say, Okay, So I saw a recent 1:19:42.080 --> 1:19:45.280 performance of heat Wave. There's an entire heat Wave concert 1:19:45.360 --> 1:19:49.080 on YouTube about an hour long. They did everything but 1:19:49.280 --> 1:19:51.840 like the cheerleading stuff from Yeah. I mean at one 1:19:51.840 --> 1:19:53.840 point they did a human pyramid thing where they're like 1:19:53.880 --> 1:19:54.840 standing on each other's soul. 1:19:54.880 --> 1:19:58.200 That's right. Was there ever talks like yo, we have 1:19:58.320 --> 1:20:02.120 to do acrobatics and and no, no, not at all. 1:20:02.200 --> 1:20:03.679 But y'all look so cool. 1:20:04.920 --> 1:20:07.280 One, you look conservative, and I know Black people are 1:20:07.400 --> 1:20:08.200 very conservative. 1:20:08.800 --> 1:20:12.120 You're wearing church gear. You look coolish. That didn't fly 1:20:12.200 --> 1:20:12.519 at all. 1:20:13.439 --> 1:20:14.840 No, I think we look good. 1:20:15.200 --> 1:20:20.000 Yeah it was Martins. They good with hecklers. We didn't have. Yeah, 1:20:20.000 --> 1:20:21.000 we didn't have hecklers. 1:20:21.040 --> 1:20:22.720 We did. We just did our ship man. 1:20:23.040 --> 1:20:23.679 They were just cold. 1:20:23.920 --> 1:20:25.960 We didn't have heckler's. It was more just that they 1:20:26.040 --> 1:20:28.479 they just didn't look there. We don't know, they just yeah, 1:20:28.520 --> 1:20:29.160 they didn't get it. 1:20:30.200 --> 1:20:30.760 Yeah, it was that. 1:20:30.800 --> 1:20:33.160 Why is the guitar player wearing all pink with a 1:20:33.200 --> 1:20:39.759 pink guitar eyeliner with eyeliner on doing a crazy ass solo? 1:20:39.920 --> 1:20:41.760 Like what is that? Black people don't do that? 1:20:41.960 --> 1:20:43.320 Yeah, we need some fault. 1:20:43.640 --> 1:20:45.400 Well, it's just like the way that just the way 1:20:45.439 --> 1:20:48.200 you you talked about how SLY was so different from 1:20:48.280 --> 1:20:50.639 the other acts that were out. That was the way 1:20:50.640 --> 1:20:53.240 the time was to people, particularly like in the South, 1:20:53.400 --> 1:20:54.799 like Detroit loved us. 1:20:55.120 --> 1:20:58.720 They tot I literally thought you the purpose of you 1:20:58.760 --> 1:21:04.760 guys was to spread the gospel of old boy in 1:21:04.800 --> 1:21:08.120 the most conservative, safe way. No, I didn't mentioned in 1:21:08.320 --> 1:21:12.840 that doc that Prince was last. I know that the 1:21:12.880 --> 1:21:18.759 Time got my attention first. Yeah, and then okay, well 1:21:19.000 --> 1:21:21.920 let me round it off and listen to Prince, see 1:21:21.920 --> 1:21:22.519 what he's up to you. 1:21:22.600 --> 1:21:24.000 And then it was like, oh shit. 1:21:23.920 --> 1:21:27.160 But you know why Prince wanted to do the Time anyway, 1:21:27.240 --> 1:21:31.000 It just became his alter ego product. It's like he 1:21:31.080 --> 1:21:33.400 had an outlet. He wanted to do R and B 1:21:33.520 --> 1:21:36.720 and new wave and all those different things, but he 1:21:36.880 --> 1:21:40.559 was going in the rock direction, pop direction. He didn't 1:21:40.600 --> 1:21:42.720 want to be down in this slumming with us, but 1:21:42.920 --> 1:21:44.840 he still had the need to do that because he 1:21:44.920 --> 1:21:47.800 loved it, and so we became that alter ego band. 1:21:47.840 --> 1:21:51.600 I'm just shocked that even then. I'm not saying that 1:21:51.720 --> 1:21:54.000 all that you guys were safe. You guys were in 1:21:54.160 --> 1:21:56.360 w A at least of my parents. You were in 1:21:56.520 --> 1:22:01.439 w and but at the full army, you guys would 1:22:01.479 --> 1:22:05.040 probably be safest gateway drug. 1:22:05.600 --> 1:22:07.479 Yeah, but we were first. 1:22:07.600 --> 1:22:09.120 Yeah, it was gonna we were first, But we were 1:22:09.120 --> 1:22:12.200 also very down to earth because Prince, if you think 1:22:12.200 --> 1:22:14.599 about the controversy tour, even by that point, in time. 1:22:15.240 --> 1:22:17.719 Prince was about. He was about being a rock star, 1:22:18.120 --> 1:22:20.160 got it. We were just about going out and kicking 1:22:20.200 --> 1:22:22.479 some mass. We're just gonna play. I remember with very 1:22:22.520 --> 1:22:25.799 first gig we ever did, Pittsburgh, Pennsylvania, and I remember 1:22:25.880 --> 1:22:28.200 we got in like the day before and we're just 1:22:28.240 --> 1:22:30.599 walking around downtown. You know, we got our coats on, 1:22:30.880 --> 1:22:32.599 got our hats on, were walking around downtown. 1:22:32.680 --> 1:22:35.439 People are going, ain't you all the time? All six 1:22:35.479 --> 1:22:39.400 of y'all, all six of us, ain't you all the time? Okay? 1:22:39.479 --> 1:22:43.920 And we go, yeah, the only got no bodyguards or nothing. 1:22:43.920 --> 1:22:48.040 We said no, and y'all walking down just Pittsburgh, just 1:22:48.040 --> 1:22:48.879 downtown Pittsburgh. 1:22:49.040 --> 1:22:52.080 We're like, yeah, They're like, oh, these motherfuckers are crazy, 1:22:52.080 --> 1:22:52.240 you know. 1:22:53.080 --> 1:22:55.400 So we already had that reputation, like, oh man, these 1:22:55.439 --> 1:22:56.720 dudes are crazy. 1:22:56.920 --> 1:22:57.519 They walk in. 1:22:57.560 --> 1:22:59.160 I saw them walking down at the mall. Man, they 1:22:59.160 --> 1:23:02.160 didn't have no curity, they didn't have nothing. But we 1:23:02.160 --> 1:23:04.240 didn't think of ourselves like that. We were just like 1:23:04.479 --> 1:23:07.320 out exploring. But people had that, you know, that thought 1:23:07.320 --> 1:23:10.240 about us. I'm a project kid, so I'm not. I'm 1:23:10.320 --> 1:23:12.599 never afraid of black folks, got it. 1:23:12.840 --> 1:23:14.719 You know what I'm saying, so I can go anywhere 1:23:14.720 --> 1:23:17.639 around black folks and I'm okay, got it. Okay, So 1:23:17.760 --> 1:23:20.320 I don't care if I'm in Pittsburgh or Chicago or 1:23:20.360 --> 1:23:23.800 wherever I feel comfortable in my own skin, because I'm 1:23:23.800 --> 1:23:26.840 going to be aware. I know what's up. But you 1:23:26.880 --> 1:23:30.000 know people are not used to artists being like that. 1:23:30.240 --> 1:23:33.920 Right, Yeah, because they weren't asking for autographs. No, they 1:23:33.960 --> 1:23:35.639 were just like, y're. 1:23:35.520 --> 1:23:38.839 Just out here around, y'all, just out here. I remember 1:23:38.880 --> 1:23:41.919 we used to have to go to wash our clothes. 1:23:42.240 --> 1:23:44.160 Yeah, because you know, at that point, we were making 1:23:44.200 --> 1:23:47.000 like less than one hundred and fifty bucks, and so 1:23:47.040 --> 1:23:49.160 we would have to we were on tour with dirty 1:23:49.160 --> 1:23:50.200 clothes we had to wash. 1:23:51.000 --> 1:23:51.960 We know, we had to go. 1:23:52.240 --> 1:23:58.040 Man it got draws too many, but we had to 1:23:58.040 --> 1:24:00.960 go to the laundry mat sitting a love. We didn't 1:24:01.000 --> 1:24:04.880 have people to wash our clothes and stuff. We had 1:24:04.920 --> 1:24:06.480 to go do that stuff ourselves. 1:24:07.040 --> 1:24:07.839 That still happens. 1:24:08.080 --> 1:24:08.640 Yeah. 1:24:08.720 --> 1:24:11.200 I was in Philly once literally happened to be at 1:24:11.200 --> 1:24:15.439 a red light, looked at my left one off I said, 1:24:15.520 --> 1:24:19.559 was that Amy literally Amy Winehouse doing her laundry in 1:24:19.640 --> 1:24:21.640 downtown Philadelphia, And I was like, the hell are you 1:24:21.680 --> 1:24:25.000 doing here? She said the same thing, like I don't 1:24:25.000 --> 1:24:26.880 have a staff yet I still do my clothes and 1:24:26.920 --> 1:24:31.000 so that that's still that still happens. 1:24:30.800 --> 1:24:32.000 That's what's real. 1:24:32.120 --> 1:24:48.080 Like it is, are you singing harmony on seven seven seven? 1:24:48.360 --> 1:24:48.639 Yes? 1:24:49.320 --> 1:24:50.840 Agony? I'm going through whatever. Yeah. 1:24:50.880 --> 1:24:53.000 I was like, that's one voice I don't know at all, 1:24:53.080 --> 1:24:55.240 and that for the longest that didn't know who that was? 1:24:55.280 --> 1:24:57.400 All right, that Prince told me to go in and 1:24:57.400 --> 1:24:57.760 do that. 1:24:58.000 --> 1:24:58.400 Got it? 1:24:58.479 --> 1:25:02.280 Okay, So I'm gonna name seven songs funny, how time flies. 1:25:03.120 --> 1:25:06.400 There is a question I forgot to ask some days 1:25:06.400 --> 1:25:12.240 to night the body that loves you rope burn, love scene, 1:25:13.280 --> 1:25:15.599 especially love scene, would you mind? 1:25:16.400 --> 1:25:19.439 And warmth? Do you know what these songs have in common? 1:25:20.840 --> 1:25:24.160 Which one of you? 1:25:24.240 --> 1:25:28.040 Okay, here's the thing, Like my friendship with jan has 1:25:28.080 --> 1:25:30.439 developed deeper, probably in the last six or seven years, 1:25:31.000 --> 1:25:34.759 where it's not fan worship. Like now we're like casual 1:25:34.840 --> 1:25:36.639 and you know, we crack jokes and all this stuff. 1:25:37.120 --> 1:25:41.200 But clearly there's a duplicitous two sides the Janet thing. 1:25:42.760 --> 1:25:47.920 And for someone who's notoriously publicly or I'll do the 1:25:47.960 --> 1:25:54.559 other peep performatively shy how do you track vocals when 1:25:55.640 --> 1:25:58.960 she's insinuating orgasms or it? And the thing is we're 1:25:58.960 --> 1:26:02.240 watching the evolution of her sexuality for each I remember 1:26:02.360 --> 1:26:04.639 interviews where she was like, I didn't play funny out times, 1:26:04.800 --> 1:26:07.720 and that's the safest of this what I mentioned. But 1:26:07.840 --> 1:26:11.040 each each album, you you push it further and further 1:26:11.080 --> 1:26:13.840 and further. So do you do a lights have to 1:26:13.840 --> 1:26:16.720 be completely off, Like when I'm doing vocals and I'm 1:26:16.760 --> 1:26:19.880 just doing like, uh whatever, everyone's. 1:26:19.400 --> 1:26:23.679 Out this montherfucker. They can go out the building, lights off, whatever. 1:26:23.720 --> 1:26:25.600 Even the engineer is like, out of there. I got 1:26:25.720 --> 1:26:28.839 to be alone. How do you. 1:26:28.720 --> 1:26:32.880 Build that trust one when she's tracking vocals, especially on 1:26:32.920 --> 1:26:36.920 the slow songs. Does she just program herself to execute it? 1:26:37.800 --> 1:26:37.920 Well? 1:26:37.960 --> 1:26:39.720 I think there's probably a little of both, but she 1:26:39.800 --> 1:26:43.559 definitely programs herself to execute it. The lights are all 1:26:43.680 --> 1:26:46.320 off and by the way, completely off, and there's no 1:26:46.360 --> 1:26:47.240 engineer in the room. 1:26:47.280 --> 1:26:50.439 There's nobody in the room. It's you know, yeah, only me. 1:26:51.240 --> 1:26:54.240 So you have to track the vocals, yes, unfortunately or 1:26:54.280 --> 1:26:56.080 not unfortunate, but yes, I have to do it. 1:26:56.280 --> 1:26:58.320 I have to do the heavy lifting here, yes, yeah, 1:26:58.880 --> 1:27:01.719 But you also have to mix the song and rewind 1:27:01.720 --> 1:27:02.880 and mix it and mix it and mix it. 1:27:02.920 --> 1:27:06.560 And that more than yeah, what do you call it? 1:27:06.680 --> 1:27:16.320 I have to comp the vocal right. 1:27:14.880 --> 1:27:17.840 Well, I think one time I asked I don't know 1:27:17.840 --> 1:27:21.960 if I think I asked Lawrence once like, you know, well, 1:27:22.439 --> 1:27:25.920 Prince play you guys everything. And I gave an example, 1:27:26.040 --> 1:27:28.280 like you know, when he made let's pretend and married, 1:27:28.400 --> 1:27:30.479 like he's like, yay, guys, check this out, or. 1:27:30.439 --> 1:27:33.840 Even do me baby, Do me baby? Is probably his 1:27:34.120 --> 1:27:37.960 greatest vocal per formance ever. I know there's a vulnerability 1:27:38.160 --> 1:27:42.200 and a drive to act like Prince, but then when 1:27:42.200 --> 1:27:44.639 the lights are out, you go back to normal or whatever. 1:27:44.920 --> 1:27:49.040 But like, does it not get awkward or with Janet? No, 1:27:49.560 --> 1:27:53.080 I know it wasn't ever awkward at all. It was 1:27:53.120 --> 1:27:55.120 actually funny. I mean a lot of those tracks. I 1:27:55.120 --> 1:27:56.800 mean I think you have a lot of those stems. 1:27:57.360 --> 1:28:00.559 She'll laugh at the end or she'll you know, it's 1:28:00.600 --> 1:28:02.719 just kind of almost like playing a part. 1:28:02.960 --> 1:28:07.479 You know, people like that. Scary people like that scare 1:28:07.560 --> 1:28:11.200 me where it's like I know one person like that 1:28:11.479 --> 1:28:12.599 literally by. 1:28:12.520 --> 1:28:14.040 Day, Hey how you doing to me? No? 1:28:13.920 --> 1:28:14.559 No, no, no no. 1:28:15.040 --> 1:28:17.200 And Richard Pride does this the next thing. 1:28:17.240 --> 1:28:17.920 Motherfuck it? 1:28:18.040 --> 1:28:21.599 Like literally, yes, And I just I just wondered about 1:28:21.600 --> 1:28:24.240 the psychology or at least the relationship or the trust 1:28:24.400 --> 1:28:26.800 that does it ever get awkward at all? 1:28:28.200 --> 1:28:29.479 No? Not really? 1:28:29.760 --> 1:28:33.040 And yeah, and I think trust is the word there. 1:28:33.320 --> 1:28:36.280 I mean, it's just if you think about the life 1:28:36.400 --> 1:28:38.760 and the evolution of it that she was going through, 1:28:38.880 --> 1:28:42.360 you know, forty years ago, control she was making that transition. 1:28:42.400 --> 1:28:44.439 But part of her transition I think we've talked about 1:28:44.439 --> 1:28:46.840 this is when she was going out talking about going 1:28:46.880 --> 1:28:49.840 out on her own. That trip to Minneapolis was her 1:28:49.920 --> 1:28:52.200 going out on her own. Where she had to drive 1:28:52.200 --> 1:28:55.519 herself around, was her and her girlfriend Melanie. She had 1:28:55.520 --> 1:28:58.639 to drive herself around. We gave her a Thomas Guide 1:28:58.640 --> 1:29:01.320 because there was no GPS point in time. She had 1:29:01.360 --> 1:29:03.240 to get from the hotel to the studio. She had 1:29:03.240 --> 1:29:06.320 to drive herself. We gave her a map to Blockbuster Video, 1:29:06.360 --> 1:29:07.360 We gave her a map. 1:29:07.120 --> 1:29:10.040 To the sushi place as she liked. And that was it. 1:29:10.400 --> 1:29:12.080 So all of this kind of going out on my 1:29:12.160 --> 1:29:14.280 own and being my own person and all that, that 1:29:14.439 --> 1:29:17.519 was all happening in Minneapolis in real time as we 1:29:17.520 --> 1:29:20.960 were writing the album. You know, Nasty about you know, 1:29:21.040 --> 1:29:23.720 guys that were bothering her and stuff, and people said, 1:29:24.040 --> 1:29:26.880 I think those guys are bothering Janet, you should whatever, whatever, 1:29:26.920 --> 1:29:27.880 and we're like, we're watching it. 1:29:27.880 --> 1:29:30.480 We're cool. And then she came over afterwards and she said, 1:29:30.720 --> 1:29:32.120 you see those guys were bothering me. 1:29:32.120 --> 1:29:34.320 Did you see those guys? We said, yeah, why didn't 1:29:34.320 --> 1:29:36.599 you come over and help me? And we said, well, 1:29:36.840 --> 1:29:39.040 you're over here now, so everything must have been okay. 1:29:39.600 --> 1:29:42.559 And she was like, oh, yeah, I guess. So, you know, 1:29:42.760 --> 1:29:45.519 it's like learn to take care of yourself. And so 1:29:45.600 --> 1:29:47.280 that was very much what it was. But because of that, 1:29:47.280 --> 1:29:50.320 that's how the trust developed over that, and then we 1:29:50.360 --> 1:29:53.040 gave her more responsibility on Rhythm Nation, we gave her 1:29:53.040 --> 1:29:56.439 even more responsibility. She got into the fact of knowing 1:29:56.479 --> 1:29:58.479 that she's going to be writing, like she's going to 1:29:58.479 --> 1:30:00.680 be a writer now, and came in with ideas and 1:30:00.720 --> 1:30:03.599 things she wanted to do, and the trust just grows 1:30:03.680 --> 1:30:05.479 and the next you know, the evolution of that was 1:30:05.479 --> 1:30:08.880 some days tonight, you know, where you know, I'd always 1:30:08.880 --> 1:30:11.160 say it'd be worth a weight well, you know, or 1:30:11.240 --> 1:30:13.640 sub day is tonight, you know, But yeah, it was 1:30:13.720 --> 1:30:16.479 just kind of the evolution of somebody kind of growing up. 1:30:17.360 --> 1:30:19.479 But there's no trepidation on her part, like, guys, I 1:30:19.520 --> 1:30:22.240 don't know if I should be doing this or no, 1:30:22.520 --> 1:30:24.160 she no, or she the agitator. 1:30:24.880 --> 1:30:26.960 No, she wasn't really the agitator, but it was I 1:30:26.960 --> 1:30:30.000 guess it was mutual agitation. Like it just was kind 1:30:30.000 --> 1:30:32.360 of I always liked the idea of that on the 1:30:32.439 --> 1:30:36.639 song and kind of laying yourself bare and being honest 1:30:36.680 --> 1:30:40.040 on the record. And you know, listen, sex was part 1:30:40.400 --> 1:30:44.000 of the record, so got yeah, I just but but no, 1:30:44.080 --> 1:30:46.360 it never was really awkward and we were, like I said, 1:30:46.400 --> 1:30:48.680 the lights were always out. We weren't looking at each 1:30:48.680 --> 1:30:49.680 other one that kind of thing. 1:30:49.800 --> 1:30:51.439 So I don't know if I ever shared the story. 1:30:51.479 --> 1:30:55.960 But right after nine to eleven, maybe a month later, 1:30:56.520 --> 1:31:02.639 the two thousand and one All for You, All for You, Yeah, 1:31:02.880 --> 1:31:06.439 it came to the WACOVI Center in Philly, and this 1:31:06.560 --> 1:31:09.360 is the first time I'm testing the waters to see 1:31:10.000 --> 1:31:12.960 am my niche artist or and my quest love like 1:31:13.640 --> 1:31:16.000 meet my peers or whatever. And you know, I had 1:31:16.000 --> 1:31:18.759 a friend that worked at Virgin because because of years 1:31:18.760 --> 1:31:19.440 with DiAngelo. 1:31:19.760 --> 1:31:21.320 Yes, I was like, hey can I can I get it? 1:31:21.520 --> 1:31:23.200 And I was like, oh, my first free tickets and 1:31:23.200 --> 1:31:24.519 stuff and backstage injury. 1:31:24.560 --> 1:31:25.360 I was like, oh cool. 1:31:25.960 --> 1:31:31.559 And so I'm in the third row and I know 1:31:31.600 --> 1:31:34.920 what's coming. I've seen about four or five shows throughout 1:31:34.960 --> 1:31:37.000 the years, and I know, okay, there's there's gonna be 1:31:37.040 --> 1:31:39.400 the lap dance song or whatever the song is. 1:31:39.479 --> 1:31:41.840 Yes, And I just happened to be. 1:31:42.040 --> 1:31:44.400 Right in the sweet spot in the front row and 1:31:44.439 --> 1:31:49.280 she finishes the last three words of I Get Lonely 1:31:49.560 --> 1:31:55.439 and she entered the song, Oh h what is suspension. 1:31:56.800 --> 1:32:02.719 You? And I looking at me and I'm like about 1:32:02.720 --> 1:32:05.639 to get I was with James Poorser and we were 1:32:05.640 --> 1:32:08.520 literally freaking out like it was almost like a recreation 1:32:08.680 --> 1:32:12.960 of of What's Happening Gang at the Doobie brother Show. 1:32:13.520 --> 1:32:20.360 Yeah right, and I'm looking like uh and I head 1:32:20.400 --> 1:32:23.280 to the stage and the security guys like no him, 1:32:24.040 --> 1:32:25.200 and it's a guy behind me. 1:32:26.320 --> 1:32:30.599 But this is all on the jumbo trunk for all 1:32:30.600 --> 1:32:33.200 of Philadelphia to see the pie in my face moment. 1:32:33.320 --> 1:32:34.439 And yeah, to this. 1:32:34.400 --> 1:32:36.720 Day, you were imagining you on the stage. 1:32:37.000 --> 1:32:38.320 Yeah, like tying up and there. 1:32:41.160 --> 1:32:46.280 I love it all right, It never you know, it's weird. 1:32:46.520 --> 1:32:50.040 You remember ABC in concert. Yes, so I know this 1:32:50.120 --> 1:32:54.040 show was recorded because they showed four or five songs. 1:32:54.040 --> 1:32:58.759 You can not that particular song was shown somewhere in history. 1:32:59.000 --> 1:33:02.280 It's it's there somewhere. Then we're gonna find that. 1:33:02.520 --> 1:33:05.840 All right, I'm gonna do rapid random all right. What 1:33:05.920 --> 1:33:08.280 other talents do you guys have that we don't know about? 1:33:08.640 --> 1:33:12.240 What's your mean talent? Are you good cooks? Are you 1:33:12.240 --> 1:33:12.960 good at fishing? 1:33:13.200 --> 1:33:14.880 I can cook cause I like to eat. 1:33:16.240 --> 1:33:17.759 When's the last time you cooked for yourself? 1:33:18.200 --> 1:33:19.160 Probably the other day? 1:33:19.720 --> 1:33:20.280 What did you make? 1:33:20.840 --> 1:33:23.519 I made some Sloppy Joe's. Man, my wife was talking. Oh, 1:33:23.920 --> 1:33:25.840 my wife was talking about me like a dog. 1:33:26.240 --> 1:33:27.240 Can I tell you something? 1:33:28.680 --> 1:33:31.519 Because I have an office job and you know, currently 1:33:31.600 --> 1:33:34.320 dating someone that's like forcing me to really be a 1:33:34.360 --> 1:33:37.880 health nutting. Look, I can't afford to do my old ways, 1:33:38.600 --> 1:33:42.000 but I get a cheat day. And actually last week 1:33:42.080 --> 1:33:44.200 I had a craven. I've not had a Sloppy Joe 1:33:44.360 --> 1:33:46.280 like I think at all in the two thousands, Like 1:33:46.360 --> 1:33:50.240 there is some foods that escape the decades, And I 1:33:50.360 --> 1:33:53.160 was like, I remember Sloppy Joe's And I googled on 1:33:53.280 --> 1:33:54.920 uber eat who makes a lot, And sure, enough. 1:33:55.479 --> 1:33:58.880 I had my first sloppy joe like last week. 1:33:59.120 --> 1:33:59.880 Was it good? 1:34:00.160 --> 1:34:02.800 Yes? I miss sloppy It's great. 1:34:02.880 --> 1:34:05.320 That's what I'm talking about because my daughter and my 1:34:05.439 --> 1:34:08.080 wife talk about me like adult because I like sloppy Joe's. 1:34:08.400 --> 1:34:10.160 Make my ground turkey sloppy Joe's. 1:34:10.720 --> 1:34:13.479 It's very simple. It takes me about ten minutes and 1:34:13.800 --> 1:34:15.599 I have a pot of sloppy Joe's. I could eat 1:34:15.640 --> 1:34:16.360 it for the whole week. 1:34:17.560 --> 1:34:21.400 Well are you cook it all? Well no, not really. 1:34:21.560 --> 1:34:23.840 But the one thing I'll say about the sloppy Joe. 1:34:23.960 --> 1:34:27.439 So for my birthday every year, that's what my mom 1:34:27.479 --> 1:34:28.920 would always make sloppy Joe's. 1:34:29.000 --> 1:34:30.960 That was like my favorite thing. 1:34:31.240 --> 1:34:34.680 Yes, and I haven't probably had sloppy Joe's anywhere in 1:34:34.800 --> 1:34:37.320 the two thousands. But Terry Lewis, the next time you 1:34:37.400 --> 1:34:39.840 make sloppy Joe's, would you please bring them to please 1:34:39.920 --> 1:34:40.920 bring some to the studio. 1:34:41.080 --> 1:34:42.599 No, I love sloppy joe. 1:34:42.760 --> 1:34:45.639 I'll make a turkey burger or some chili by the way. 1:34:45.840 --> 1:34:47.840 By the way, turkey burger. So the funny thing was 1:34:47.960 --> 1:34:49.920 back in the day, so Terry was. 1:34:50.080 --> 1:34:52.640 I called him a chickatarian right because he wasn't a vegetarian, 1:34:52.720 --> 1:34:55.360 but he wouldn't eat red meat. And I was a 1:34:55.439 --> 1:34:58.040 burger fiend, Like I love burger, burger, burger right. And 1:34:58.080 --> 1:34:59.919 I remember I go to his house for a barbecue 1:35:00.680 --> 1:35:02.760 and he's on the grill and he hands me a 1:35:02.840 --> 1:35:03.880 burger and. 1:35:03.920 --> 1:35:06.720 I'm like, oh, cool, cool. I bite into it. I'm like, 1:35:06.800 --> 1:35:08.960 oh my god, Terry, this is the greatest burger man. 1:35:09.040 --> 1:35:12.760 This is amazing. He said it's turkey. I said, there's 1:35:13.240 --> 1:35:16.360 no way, there's no way this is turkey. Because now 1:35:16.880 --> 1:35:20.760 because he had the consistency, I'm telling you, I've never 1:35:20.800 --> 1:35:22.680 had a turkey. That's the best turkey burger I've ever 1:35:22.720 --> 1:35:25.640 had in my life. Because he had it, the consistency 1:35:25.720 --> 1:35:29.600 of it. There was no false anything to it. Got it. 1:35:29.840 --> 1:35:32.880 And the same thing like his turkey chili. The one 1:35:33.000 --> 1:35:36.320 thing that Janet every time she comes to town, the 1:35:36.439 --> 1:35:39.880 turkey chili. She goes, Terry, will you make some turkey chili? 1:35:40.240 --> 1:35:45.479 Like she wants to the studio. He's serious at home 1:35:45.560 --> 1:35:48.200 and bring it. Yeah, Okay. 1:35:48.520 --> 1:35:50.960 The studio that you guys held the longest residency, and 1:35:51.160 --> 1:35:55.280 what was always the typical go to an electric lady 1:35:55.520 --> 1:35:57.360 all we ate was Chinese to the point where I 1:35:57.800 --> 1:35:59.800 had to stop eating it only because it's like so 1:36:00.080 --> 1:36:04.599 routine and every day. But like, what is the I mean, 1:36:04.680 --> 1:36:07.400 I've assume that your longest residency was flight Time Studios 1:36:07.439 --> 1:36:09.240 and Minneapolis. 1:36:09.400 --> 1:36:12.960 Yeah, yeah, oh that's interesting, man. 1:36:13.000 --> 1:36:14.800 We never really had a food habit. 1:36:15.360 --> 1:36:18.839 Okay, yeah, I mean we in Minneapolis, our restaurant was Rudolph's. 1:36:18.920 --> 1:36:21.439 Yes, we will go to Rude because we leave and 1:36:21.720 --> 1:36:23.720 Rudoh stayed up in like til two or three in the. 1:36:23.760 --> 1:36:27.519 Mor Yes, exactly, Okay, yeah, that was probably spot or. 1:36:27.560 --> 1:36:30.000 If we needed something quick, Perkins was right around the 1:36:30.160 --> 1:36:30.600 Perkins was. 1:36:30.640 --> 1:36:32.040 Right around the corner of the other. But we used 1:36:32.040 --> 1:36:35.759 to right but we also used to hit Red Lobster. 1:36:35.960 --> 1:36:36.439 Oh yeah. 1:36:36.560 --> 1:36:38.880 And the funny thing is the waitress that used to 1:36:39.200 --> 1:36:44.720 get us at Red Lobster is now Byron Allen's wife. Wait, yeah, 1:36:45.040 --> 1:36:49.080 that one, Yes, she had yeah and she used okay, yeah, 1:36:49.160 --> 1:36:50.680 she came up, She came up. 1:36:51.160 --> 1:36:51.920 She was our waitress. 1:36:52.080 --> 1:36:54.240 She was our waitress at Red Lobster when we used 1:36:54.240 --> 1:36:55.559 to go over there because there was a Red Lobster 1:36:55.720 --> 1:36:57.720 just right up the street from the flight Time, our 1:36:57.720 --> 1:37:00.400 big flight time, the second flight we had yeah, yeah, 1:37:00.600 --> 1:37:03.160 so yeah, but I gotta go rd Labster, I know. Sorry, 1:37:04.200 --> 1:37:07.760 we want to Nickel Art Songs Art Songs Wings, that's right, Yeah, 1:37:07.800 --> 1:37:08.840 a place called art Songs. 1:37:08.920 --> 1:37:10.160 Yeah, that will wing place. 1:37:10.280 --> 1:37:13.080 When's the last time you two been the Oh god, 1:37:13.680 --> 1:37:17.000 how do you feel about Minnesota? I totally forgot that 1:37:17.160 --> 1:37:22.599 you guys are from the hot bed of all political activity. 1:37:22.680 --> 1:37:25.320 Now, when's the last time you guys have been to Minnesota? 1:37:25.439 --> 1:37:27.799 Like talk to family members? 1:37:28.400 --> 1:37:32.280 Yeah, well my dad is up there still and corn bread, 1:37:32.680 --> 1:37:35.680 having bread, still doing this thing. I haven't been up 1:37:35.760 --> 1:37:39.479 there since kind of all that stuff went down, got it. 1:37:39.640 --> 1:37:42.479 My dad's getting inducted in the Minnesota Hall of Fame, 1:37:42.520 --> 1:37:43.719 I think for music or something. 1:37:44.120 --> 1:37:45.080 I am going to go up for that. 1:37:45.240 --> 1:37:46.920 I am going to go up for his ninety ninth 1:37:47.000 --> 1:37:51.639 birthday in April, and so I will spend some time 1:37:51.720 --> 1:37:53.360 up there. But I haven't been up there since all that. 1:37:53.680 --> 1:37:57.519 But obviously it's heartbreaking because it's kind of like, you know, 1:37:58.439 --> 1:38:02.600 people coming over they weren't invited, you know, Yes, and 1:38:03.280 --> 1:38:04.720 Terry had I mean, I like he can say it 1:38:04.760 --> 1:38:06.560 better than me, but he had a great analogy. It's like, 1:38:06.640 --> 1:38:09.320 you know, when somebody comes over to your house uninvited, 1:38:10.200 --> 1:38:13.040 and you go, okay, you're not invited, and then they 1:38:13.120 --> 1:38:15.439 walk in, but they got mud on their shoes and 1:38:15.520 --> 1:38:17.679 now they're tracking through your house and it's like, okay, 1:38:17.840 --> 1:38:19.439 you know what, you weren't invited, but at least if 1:38:19.479 --> 1:38:21.200 you're going to come in, at least take your shoes, 1:38:21.520 --> 1:38:24.080 you at least be respectful. And I think that's the 1:38:24.160 --> 1:38:27.639 thing it's heartbreaking about. It has this inspired some sort 1:38:27.680 --> 1:38:31.839 of firing you guys to you know. I know sometimes 1:38:31.920 --> 1:38:34.120 people will be like, ah, there's a moment for an 1:38:34.120 --> 1:38:38.439 anthem and it never works. But I agree when watching it, 1:38:39.439 --> 1:38:41.320 was there something where you felt the need to. 1:38:43.640 --> 1:38:47.280 It doesn't inspire song for me, got it? It inspires anger. 1:38:47.600 --> 1:38:51.439 Yeah, Like I still have a majority of my family there. 1:38:51.479 --> 1:38:59.639 I have sisters, son, nephews, nieces, grandson and just watching 1:38:59.680 --> 1:39:04.679 how the just disrespecting our community and where I used 1:39:04.680 --> 1:39:05.000 to live. 1:39:05.800 --> 1:39:09.439 They tried that ship, but they didn't they didn't last. 1:39:09.840 --> 1:39:13.240 It didn't work because you know, so everybody got guns, 1:39:13.320 --> 1:39:15.800 so nobody cares about that ship. Like okay, you pull it, 1:39:15.880 --> 1:39:18.160 We're gonna pull it, and you know they know where 1:39:18.200 --> 1:39:20.920 to go. It's like they don't they don't go. They 1:39:20.960 --> 1:39:25.519 don't come to LA and go South Central. They know 1:39:25.920 --> 1:39:27.559 East LA. They ain't going there. 1:39:27.640 --> 1:39:30.519 They y'all can y'all can play if you want to. 1:39:31.840 --> 1:39:36.000 Y'all could be Yeah, yeah, you could be tough over there, 1:39:36.120 --> 1:39:36.840 but over here. 1:39:37.640 --> 1:39:40.360 By the way, I will say about an anthem, which 1:39:40.360 --> 1:39:43.200 I thought was very cool because I was talking to 1:39:43.280 --> 1:39:47.639 John Landau about something that Bruce was doing for the Grammys, 1:39:48.520 --> 1:39:50.720 and literally the same day that he was doing the 1:39:50.800 --> 1:39:53.680 thing for the Grammys, which was a voiceover thing. The 1:39:53.760 --> 1:39:56.200 same day he was doing that, he actually recorded. That 1:39:56.320 --> 1:39:59.599 same weekend he actually recorded the Minneapolis song. And then 1:39:59.680 --> 1:40:02.360 I know in talking to Tom Morello that he was 1:40:02.400 --> 1:40:04.400 going to come up and actually do a show up there. 1:40:06.040 --> 1:40:10.360 And to me, musically, that was the statement that needed 1:40:10.400 --> 1:40:12.320 to be made. It didn't need to come from us. 1:40:12.479 --> 1:40:14.600 I mean we made a statement, I mean just a 1:40:15.000 --> 1:40:18.320 you know, a talking statement. But no, we didn't feel 1:40:18.360 --> 1:40:20.760 like necessarily inspired by a song. I mean, if we do, 1:40:21.200 --> 1:40:24.320 we'll definitely do one. But I don't think that was 1:40:24.439 --> 1:40:25.280 our thought. 1:40:26.479 --> 1:40:29.320 Yeah, I think the thought is to try to help 1:40:29.360 --> 1:40:32.360 the people who need help on the ground, like they 1:40:32.439 --> 1:40:35.360 need financial help, they need sustenance, they need food, they 1:40:35.479 --> 1:40:38.519 need you know, day care, they need whatever. I mean, 1:40:39.560 --> 1:40:44.000 these people are invading the privacy of these people and 1:40:45.000 --> 1:40:46.799 people just losing out on life. 1:40:46.600 --> 1:40:47.720 And that's not right. 1:40:49.240 --> 1:40:53.640 Who's the sloppy one as far as what, who's organized 1:40:54.040 --> 1:40:57.160 and who's sloppy between you two? Just in terms of 1:40:58.479 --> 1:41:01.479 Tarik will clean higher tour bus with his two brush, 1:41:01.880 --> 1:41:06.640 organize everything perfectly. I'm the sloppiest disorganized human being on 1:41:06.720 --> 1:41:07.479 it can find. 1:41:08.960 --> 1:41:13.519 I have organized messes. I have a pile of stuff, 1:41:13.600 --> 1:41:16.519 but I know, I know it's in that pile somewhere. Okay. 1:41:16.800 --> 1:41:19.960 Yeah, I think he's more organized in his computer than 1:41:20.000 --> 1:41:22.479 I would be. Okay, but I have more stuff in 1:41:22.560 --> 1:41:25.519 my computer than he would, gotcha. But as far as cleaning, 1:41:25.600 --> 1:41:27.439 I mean, I grew up in Barnetta's house and then 1:41:27.479 --> 1:41:31.320 Barnetta's house man ship, and man I woke up every weekend. 1:41:31.400 --> 1:41:34.400 Man I was cleaning until like one or two o'clock. 1:41:34.720 --> 1:41:34.960 Got it. 1:41:35.160 --> 1:41:38.320 You know, I'm washing the woodwork, the walls, the cleaning 1:41:38.400 --> 1:41:43.200 the kitchen, you know, shoveling, raking, whatever. 1:41:44.439 --> 1:41:46.720 Who's the punctual one of you two? 1:41:47.920 --> 1:41:52.599 Terry definitely are you five minutes early before the meeting 1:41:53.400 --> 1:41:54.519 or an hour early before. 1:41:54.680 --> 1:41:59.880 It just depends on what the meeting. To be honest with, you. 1:42:01.080 --> 1:42:03.560 Choose your spots. Okay, I'm always five minutes later with 1:42:03.680 --> 1:42:05.760 ten minutes later. Just I don't know why, I just stam. 1:42:06.680 --> 1:42:12.599 Since eighty three, have you too, ever had a real argument. 1:42:13.920 --> 1:42:16.400 We haven't had a real argument since seventy three when 1:42:16.439 --> 1:42:18.479 we met. We've never had an argument. 1:42:18.720 --> 1:42:23.439 No, never, You guys never came close to fisticups. Me too, 1:42:23.439 --> 1:42:26.960 recat one fistfight. Okay, you've never had one. 1:42:27.000 --> 1:42:27.360 Who won? 1:42:31.600 --> 1:42:35.920 So that's the point, Like who won? Like nobody wins 1:42:36.000 --> 1:42:40.160 in that that's degrees are losing, right, got it? So 1:42:41.280 --> 1:42:43.160 that is not even an option. That's not even the 1:42:43.240 --> 1:42:45.240 mature way of thinking to me. 1:42:45.439 --> 1:42:47.880 We always think about it as the difference between an 1:42:47.960 --> 1:42:50.800 argument and a disagreement. So an argument is something you're 1:42:50.800 --> 1:42:54.439 trying to win. A disagreement is something you're trying to solve. 1:42:55.320 --> 1:42:58.400 So we look at yes we disagree on things, but 1:42:58.520 --> 1:43:01.800 we try to find whether it's my way or his way, 1:43:02.160 --> 1:43:05.160 but what's the best way? And once we figure out 1:43:05.439 --> 1:43:07.640 the best way, then there may be a discussion on 1:43:07.800 --> 1:43:10.479 the best way to get there to the best way. 1:43:11.280 --> 1:43:14.040 But an argument if I win an argument against Terry, 1:43:14.280 --> 1:43:16.960 why would I ever want to see my partner lose 1:43:17.439 --> 1:43:21.040 at something, and particularly something that I'm responsible for. Just 1:43:21.080 --> 1:43:23.880 doesn't make sense. So the arguing thing, we've never had 1:43:23.920 --> 1:43:25.680 an argument, okay. 1:43:25.479 --> 1:43:29.000 So what if there is a little bit too much 1:43:29.080 --> 1:43:32.120 words in the bridge or whatever, like, okay, it takes 1:43:32.160 --> 1:43:34.920 something out? Yeah, I mean what if you don't agree 1:43:35.080 --> 1:43:36.320 like no, I want no, no, no. 1:43:36.720 --> 1:43:38.920 If he feels that adamant about it, it's okay, put 1:43:38.960 --> 1:43:41.160 that shit back in, right, I don't care like that 1:43:41.439 --> 1:43:43.840 is I know my value. 1:43:44.280 --> 1:43:49.120 I value his opinion. I value it. It's okay, it's 1:43:49.200 --> 1:43:51.960 okay not to be right. It's okay not to be wrong. 1:43:52.640 --> 1:43:55.320 Let's just do what's best, what's going to work. Let's 1:43:55.360 --> 1:43:58.280 achieve a result that is desirable by all. 1:43:58.880 --> 1:44:02.880 I mean, we always go off of feeling, and the 1:44:03.000 --> 1:44:05.720 feeling is is right. And when we even when we're 1:44:05.800 --> 1:44:07.920 mixing or we're doing something and there might be a 1:44:08.000 --> 1:44:11.000 vocal and sometimes what will happen is because Terry tends 1:44:11.000 --> 1:44:13.000 to do I always call him vocal master, he ends 1:44:13.080 --> 1:44:15.120 up doing a lot of the vocals. By the way, 1:44:15.160 --> 1:44:17.400 I'll mention because we talked about usher a little earlier 1:44:18.439 --> 1:44:21.200 when we did You Remind Me with Usher. That was 1:44:21.280 --> 1:44:25.120 one where Usher had already done a vocal and la 1:44:25.200 --> 1:44:28.599 Reid said that vocal ain't good enough and he said, 1:44:28.880 --> 1:44:30.840 but the only I told him he has to go 1:44:30.960 --> 1:44:33.200 back and redo the vocal, and he said, the only 1:44:33.280 --> 1:44:35.439 person I'm going to do a vocal with is Terry Lewis. 1:44:36.520 --> 1:44:39.000 And so him and Terry redid the vocal and La 1:44:39.120 --> 1:44:41.400 Reid said, it's either going to be the first single 1:44:41.840 --> 1:44:45.160 or off the album. And of course it was the 1:44:45.200 --> 1:44:49.040 first single. And when number one, thank goodness for Terry Lewis. 1:44:49.080 --> 1:44:51.880 But Terry Lewis's vocal master. And it was funny because 1:44:51.920 --> 1:44:55.400 Mary J. Blige when we did what was the one 1:44:55.439 --> 1:44:59.240 on our album that we did Spinning? We did Spinning, 1:45:00.000 --> 1:45:03.240 and I remember Mary said when we sent her to 1:45:03.240 --> 1:45:05.360 the mix of the song, she said, I love this 1:45:05.520 --> 1:45:06.280 vocal on this song. 1:45:06.360 --> 1:45:09.000 This might be my best vocal. Terry Lewis killed me 1:45:09.080 --> 1:45:10.760 on this vocal. He killed me on this vocal. 1:45:11.040 --> 1:45:13.200 Said yeah, but that's what Terry's point like, I don't 1:45:13.200 --> 1:45:15.080 want people to be lazy. I want them to really, 1:45:15.640 --> 1:45:17.720 you know, give their best, you know example of what 1:45:17.840 --> 1:45:20.040 they do. Got it so all of those things are 1:45:20.080 --> 1:45:22.240 like really important. But at the end of the day, yeah, 1:45:22.360 --> 1:45:25.320 if we feel passionate about a thing. So sometimes Terry 1:45:25.360 --> 1:45:27.320 will do a vocal. There'll be two or three vocals 1:45:27.360 --> 1:45:30.800 that are really good, and at a certain point he'll go, jam, 1:45:30.800 --> 1:45:32.519 I'm listening to this and whatever, and he'll listen and 1:45:32.600 --> 1:45:37.080 sometimes I'll go, I love this line right here, but 1:45:37.200 --> 1:45:40.160 it's clashing with this other line. Well, of course, now 1:45:40.240 --> 1:45:42.720 we have Terry can go, oh, you know what, I'll 1:45:42.760 --> 1:45:44.519 just move this line up a beat or up a 1:45:44.920 --> 1:45:47.599 measure or you know that kind of thing, and somehow 1:45:47.640 --> 1:45:49.439 we just come to a conclusion where it all works, 1:45:49.439 --> 1:45:51.920 where it makes us both feel, you know, really good 1:45:51.960 --> 1:45:52.240 about it. 1:45:53.000 --> 1:45:56.240 Okay, last question, can you give me a really good 1:45:56.439 --> 1:46:03.599 jelly Bean Johnson's story? Well, what is this show? 1:46:03.880 --> 1:46:08.680 What is a good one? Oh god, how do we classify? 1:46:10.000 --> 1:46:13.240 First of all of all the time members, he actually 1:46:13.240 --> 1:46:15.400 has the funniest interviews because he just. 1:46:17.400 --> 1:46:21.120 Zero fuck's given. Yeah, and I feel like people respect 1:46:21.160 --> 1:46:23.519 him for that. If he's like that in real life. No, 1:46:23.720 --> 1:46:24.680 that's him, that's him. 1:46:25.280 --> 1:46:32.679 Yeah, He's he's jumpy, grumpy. He's the grumpy jumpy uncle. 1:46:33.520 --> 1:46:39.920 That's who jelly Bean is really yeah, you know, you know. 1:46:41.280 --> 1:46:44.960 Yeah, right, and then things like he we'ld always be 1:46:45.000 --> 1:46:46.960 cracking up. But like things like we'd go to a 1:46:47.040 --> 1:46:51.160 restaurant and order food, and uh, there'd always be a 1:46:51.200 --> 1:46:54.360 discrepancy on the solid. He never wanted a salad. They'd 1:46:54.400 --> 1:46:55.960 always go, what do you want a salad? What kind 1:46:55.960 --> 1:46:57.040 of dressing you want on your salads? 1:46:57.040 --> 1:47:04.160 I don't want no, mother want to salad rabbit. No. 1:47:04.360 --> 1:47:06.920 Jelly Bean was one of a time. 1:47:07.040 --> 1:47:09.599 Man. Okay, you can edit this out, but I am 1:47:09.640 --> 1:47:11.840 going to tell you this one story because. 1:47:11.600 --> 1:47:13.639 We were on the road back. It was a chilling 1:47:13.680 --> 1:47:17.080 circuit days. It might have been the controversy to our days. 1:47:17.640 --> 1:47:21.840 And he was seeing new girl, and so we used 1:47:21.840 --> 1:47:24.040 to listen to everybody's door to see whether they were 1:47:24.080 --> 1:47:26.120 there or not, because you know, never could really tell. 1:47:27.479 --> 1:47:32.280 And we heard jelly Bean, you know yeah, and he said, 1:47:33.280 --> 1:47:35.080 and you guys know, you guys can't use this. 1:47:35.200 --> 1:47:35.479 I can't. 1:47:37.720 --> 1:47:38.479 Yeah, you don't do that. 1:47:40.080 --> 1:47:42.360 You got you got you gotta Yeah, I can't do it. 1:47:43.320 --> 1:47:51.160 Let him, let him because he'll come back. Jimmy jam. 1:47:52.520 --> 1:47:52.960 I heard. 1:47:55.560 --> 1:47:57.639 Yeah, I ain't gonna say it, but anyway, but but Yeah, 1:47:57.720 --> 1:47:58.639 Bean was great. 1:47:58.680 --> 1:48:00.640 And you know, like I say, he's one that was 1:48:00.680 --> 1:48:04.040 responsible for me being a keyboard player because when I 1:48:04.160 --> 1:48:05.920 met Terry and we were going to put a band 1:48:05.960 --> 1:48:08.840 together and I was playing drums for my dad, you know, 1:48:09.080 --> 1:48:12.240 I was his drummer and Terry said, let's put a 1:48:12.240 --> 1:48:12.599 band together. 1:48:12.600 --> 1:48:14.080 I said, cool, I'll get my drum set. He said. 1:48:14.240 --> 1:48:17.160 Terry said, I oh need a drummer, and I was like, oh, 1:48:17.720 --> 1:48:19.600 it was jelly Bean Johnson. He had it as a 1:48:19.640 --> 1:48:21.599 drummer and he said, you should be a keyboard player. 1:48:21.600 --> 1:48:23.519 Your dad plays keyboards, you should be a keyboard player. 1:48:24.320 --> 1:48:26.800 I said, Okay, that's good logic, right, that's right. So 1:48:26.960 --> 1:48:29.040 that's why I'm a keyboard player to this day because 1:48:29.040 --> 1:48:29.960 of jelly Bean Johnson. 1:48:30.840 --> 1:48:33.479 Well, I think I've said everything I need to say 1:48:33.479 --> 1:48:37.320 about you guys, your absolute heroes, and I appreciate you 1:48:37.400 --> 1:48:39.720 guys taking the time out to talk with us. 1:48:39.960 --> 1:48:43.160 And I cannot wait. How long is the residency going 1:48:43.240 --> 1:48:46.639 for It's just a limited residency. It's six nights we're 1:48:46.640 --> 1:48:50.479 going to do between April seventeenth and April twenty sixth, 1:48:50.760 --> 1:48:52.559 so we'll have a couple of days off in between. 1:48:52.680 --> 1:48:55.479 But yeah, it's just going to be six days and 1:48:55.920 --> 1:48:59.880 it's an intimate space. It's a small space, beautiful space. 1:49:00.160 --> 1:49:01.280 It's it's gorgeous. 1:49:01.439 --> 1:49:05.920 I mean, it's elegant, totally totally yeah. 1:49:06.280 --> 1:49:09.639 Ok, yeah, you got to drink with the I wear 1:49:09.760 --> 1:49:10.839 my good crocks. 1:49:12.560 --> 1:49:16.360 There you go, you gotts. But but no, it's it's 1:49:16.360 --> 1:49:18.240 going to be a lot of fun and quest love. 1:49:18.280 --> 1:49:20.439 Can I just say yes? First of all, I'll just 1:49:20.479 --> 1:49:21.280 start by saying. 1:49:21.080 --> 1:49:23.080 How proud we are of you. 1:49:23.439 --> 1:49:23.720 Thank you. 1:49:26.240 --> 1:49:28.519 Just you know, when you talk about people that really 1:49:28.680 --> 1:49:32.280 elevate music and elevate culture, you're one of the people 1:49:32.360 --> 1:49:35.040 that does it in such a cool way. But I 1:49:35.120 --> 1:49:37.519 think I tried to articulate this to you before, and 1:49:37.560 --> 1:49:40.400 I'm probably not going to quite say it right, But 1:49:41.000 --> 1:49:46.040 because of your curiosity and your willingness to ask questions, 1:49:46.080 --> 1:49:48.120 people assume you know everything. 1:49:48.720 --> 1:49:50.600 And you know a lot. But the reason you know 1:49:50.680 --> 1:49:53.280 a lot is because you ask the questions you have. 1:49:53.680 --> 1:49:58.080 I'm a student, want to know, Yank, But for someone 1:49:58.200 --> 1:50:00.840 to be as elevated as you are as far as 1:50:00.920 --> 1:50:04.360 your knowledge, I hear you have conversations with people and 1:50:04.439 --> 1:50:08.360 you never make people feel like they're less smart than you, 1:50:09.120 --> 1:50:11.320 and there's a there's a tell that to the roots. 1:50:15.720 --> 1:50:17.439 I mean, yeah, but I mean, I just I just 1:50:17.520 --> 1:50:20.920 think that there's something so special about that. The people 1:50:21.000 --> 1:50:24.240 feel very comfortable. Thank you, and as watching you learn 1:50:24.320 --> 1:50:26.080 and going, oh, wait, he didn't know that, you know 1:50:26.160 --> 1:50:27.960 that kind of kind of what happened earlier. There was 1:50:28.200 --> 1:50:29.840 something we talked about and yes you didn't know that, 1:50:30.200 --> 1:50:33.599 but it's not like it feels right. It feels like, yeah, 1:50:33.640 --> 1:50:35.400 but now that makes you curious, and now I'm gonna 1:50:35.400 --> 1:50:37.360 find out about that. And that's the way we all are. 1:50:37.920 --> 1:50:40.160 So thank you for that, and thank you for having 1:50:40.240 --> 1:50:45.640 me back on again. I know, And we got him, 1:50:45.840 --> 1:50:47.640 and we got we got Terry Lewis, and thank you 1:50:47.720 --> 1:50:50.880 and I and thank you for allowing people to see 1:50:51.680 --> 1:50:54.120 the brilliance that I get to see every day with 1:50:54.280 --> 1:50:57.120 Terry Lewis. I mean, Terry Lewis is the most amazing 1:50:57.240 --> 1:51:01.360 human being I know. And I can't articulated enough. But 1:51:01.520 --> 1:51:04.320 when you see us together and you hear his thoughts 1:51:04.400 --> 1:51:07.320 and his way of going about doing things, you realize 1:51:08.080 --> 1:51:10.519 why I'm the lucky one here to have him in 1:51:10.560 --> 1:51:10.880 my life. 1:51:10.920 --> 1:51:11.479 We both lucky. 1:51:11.600 --> 1:51:14.360 Jimmy jam Yes, but but but I did come up 1:51:14.400 --> 1:51:19.719 with a jelly Bean story. Oh okay, well you're gonna 1:51:19.720 --> 1:51:21.519 really like this because it mimics you. 1:51:21.720 --> 1:51:21.880 Man. 1:51:23.160 --> 1:51:28.280 He lived and breathed music. He loved music more than 1:51:28.360 --> 1:51:29.440 he loved himself. 1:51:30.360 --> 1:51:36.599 And I mean there wasn't a true musician, just savant 1:51:36.840 --> 1:51:44.439 actually annoying artists, annoying music. Jelly Bean loved music, man. 1:51:45.360 --> 1:51:48.720 That's one thing I could say about Jellybean. Do youve 1:51:48.800 --> 1:51:50.080 or take some of the rest of the ship. 1:51:51.120 --> 1:51:53.880 But man, my brother, he was. He was true to 1:51:53.960 --> 1:51:54.960 the game, man for sure. 1:51:55.080 --> 1:51:55.720 That's all we need. 1:51:56.040 --> 1:51:59.439 Yeah, and he got me into the game because music 1:51:59.560 --> 1:52:02.160 wasn't my thing. I wanted to be a doctor, medical doctor, 1:52:02.520 --> 1:52:05.320 and I didn't know it. Yeah, but I was an athlete, 1:52:05.600 --> 1:52:12.720 you know. Was all city football, state track champion, played basketball, anything. 1:52:12.400 --> 1:52:14.080 With the Ball brothers. 1:52:14.200 --> 1:52:16.800 All right, Okay, they say Prince could play I wood 1:52:16.840 --> 1:52:25.360 Prince as any sport whatever, But that doesn't matter. 1:52:25.520 --> 1:52:26.680 What matters was that. 1:52:27.040 --> 1:52:30.479 These guys were all my friends, man, and we hooped, 1:52:30.920 --> 1:52:32.080 we played music together. 1:52:32.200 --> 1:52:32.280 Man. 1:52:32.360 --> 1:52:35.040 They taught me how to love music, and I really 1:52:35.120 --> 1:52:35.720 thank him for that. 1:52:36.080 --> 1:52:40.760 That's beautiful. Well, Terry Lewis Jimmy jim reversing it this 1:52:40.880 --> 1:52:41.479 one time only. 1:52:42.120 --> 1:52:44.439 Thank you very much. We definitely got our money's worth 1:52:44.479 --> 1:52:48.760 and Quest Love Showers. You got it and we will 1:52:48.760 --> 1:52:50.760 see you on the next go round. Quest Love Show, 1:52:50.840 --> 1:52:58.960 Thank You. Quest Love Show is hosted by Me Mirror 1:52:59.040 --> 1:53:03.360 Quest Love Thompson. The executive producers are Sean g Brian 1:53:03.479 --> 1:53:09.439 Calhoun and Me. Produced by Brittany Benjamin and Jake Payne. 1:53:10.520 --> 1:53:15.839 Produced for iHeart by Noel Brown, Edited by Alex Conny. 1:53:16.560 --> 1:53:22.000 iHeart Video support by Mark Canton, Logos Graphics and animation 1:53:22.120 --> 1:53:28.880 by Nick Lowe. Additional support by Lance Coleman. Special thanks 1:53:28.920 --> 1:53:35.920 to Kathy Brown. Special thanks to Sugar Steve Mandel. Please subscribe, rate, review, 1:53:36.080 --> 1:53:39.680 and share The Quest Love Show wherever you stream a podcasts, 1:53:40.040 --> 1:53:41.760 and make sure you follow us on social media. 1:53:42.320 --> 1:53:47.880 That's at q LS. Check out hundreds and hundreds of 1:53:48.000 --> 1:53:51.360 QLs episodes, including the Quest Love Supreme Shows and our 1:53:51.439 --> 1:53:57.599 podcast archives, Quest Loup Shows and productions of iHeart Radio.