1 00:00:00,240 --> 00:00:07,520 Speaker 1: The Quest Left Show is a production of iHeart Radio 2 00:00:12,840 --> 00:00:16,360 Speaker 1: slight Encore. Because I will regret this, and I know 3 00:00:16,400 --> 00:00:19,560 Speaker 1: you want to go home, just answer one question from me. 4 00:00:20,920 --> 00:00:26,119 Speaker 1: I think of your entire discography, your most ambitious song 5 00:00:26,160 --> 00:00:31,360 Speaker 1: and production ever was the title track to Michael Jackson's 6 00:00:31,400 --> 00:00:35,839 Speaker 1: History album, just based on all the chaos and all 7 00:00:35,840 --> 00:00:39,199 Speaker 1: those things happening. I think I texted you about it. 8 00:00:39,240 --> 00:00:42,599 Speaker 1: I don't think I asked you about it on the show. No, 9 00:00:42,680 --> 00:00:45,960 Speaker 1: we didn't get that far on the show. But the 10 00:00:46,040 --> 00:00:51,720 Speaker 1: thing is is that it's so ambitious that it's not 11 00:00:51,800 --> 00:00:55,960 Speaker 1: a single right when you're working on filler. And here's 12 00:00:56,000 --> 00:00:59,000 Speaker 1: the thing, I believe the Son of a true Artist 13 00:00:59,360 --> 00:01:02,280 Speaker 1: is based on the If you're talking to Stevie's catalog, 14 00:01:02,360 --> 00:01:05,120 Speaker 1: I'm not talking about the singles chosen, Prince, I'm not 15 00:01:05,120 --> 00:01:06,279 Speaker 1: talking about the singles chosen. 16 00:01:06,319 --> 00:01:11,440 Speaker 2: I like the filler, Yes, I agree, And I. 17 00:01:11,400 --> 00:01:13,360 Speaker 1: Know it's Michael, and I knows you know you're able 18 00:01:13,360 --> 00:01:15,760 Speaker 1: to be blinded by the michaelness of it all. But 19 00:01:16,480 --> 00:01:20,920 Speaker 1: I mean, why did you guys work so hard on 20 00:01:21,000 --> 00:01:25,080 Speaker 1: such an ambitious sounding song, especially in ninety five when 21 00:01:25,120 --> 00:01:29,200 Speaker 1: I know this wasn't invented yet. Right now with this 22 00:01:29,280 --> 00:01:31,520 Speaker 1: and everything that's you know, and I know he's always 23 00:01:31,520 --> 00:01:34,760 Speaker 1: pushed to the limit. Let's go further. When History the 24 00:01:34,880 --> 00:01:39,000 Speaker 1: song first started, was it just a regular ass song? 25 00:01:39,080 --> 00:01:41,759 Speaker 1: And then it was like him like, like, how did 26 00:01:41,760 --> 00:01:44,280 Speaker 1: you get it to what it is now? The most 27 00:01:45,480 --> 00:01:47,760 Speaker 1: at least he did it in concert, yeah, oh yeah, 28 00:01:47,800 --> 00:01:49,840 Speaker 1: which I thought he would never do in concert. I'm like, right, 29 00:01:49,880 --> 00:01:51,240 Speaker 1: I can't even play this, but I know. 30 00:01:51,440 --> 00:01:53,960 Speaker 2: No. He ended his the History tour, he ended with 31 00:01:54,000 --> 00:01:57,800 Speaker 2: that song. And so the idea of History was that, 32 00:01:57,920 --> 00:02:00,320 Speaker 2: you know, he had an album called History, and we 33 00:02:00,360 --> 00:02:04,000 Speaker 2: always thought there should be a song that explains the 34 00:02:04,040 --> 00:02:08,680 Speaker 2: title track or what that is. And we had the 35 00:02:08,680 --> 00:02:11,360 Speaker 2: the groove that was on the verse of that song, 36 00:02:12,120 --> 00:02:17,040 Speaker 2: which was right, that kind of thing. We had that 37 00:02:17,960 --> 00:02:20,200 Speaker 2: and he loved that part. 38 00:02:19,960 --> 00:02:20,480 Speaker 1: Of the song. 39 00:02:20,560 --> 00:02:23,520 Speaker 2: But then he said, but it should go somewhere, and 40 00:02:23,560 --> 00:02:26,880 Speaker 2: we said, okay, cool. So the way we envisioned it was, 41 00:02:27,440 --> 00:02:30,640 Speaker 2: let's go to a nice B section bridge and then 42 00:02:30,720 --> 00:02:33,960 Speaker 2: let's go to a very single long course, you know, 43 00:02:34,280 --> 00:02:37,320 Speaker 2: every day create your history, Like we just thought that 44 00:02:37,480 --> 00:02:40,040 Speaker 2: was the perfect thing. But the idea was sonically to 45 00:02:40,160 --> 00:02:43,600 Speaker 2: have each section almost be like a movement right, and 46 00:02:43,680 --> 00:02:46,120 Speaker 2: so then you know, so we had Elmer Bernstein with 47 00:02:46,200 --> 00:02:49,200 Speaker 2: a you know, seventy six piece orchestra. We had boys 48 00:02:49,320 --> 00:02:54,280 Speaker 2: them in Wait those weren't samples, No, no, wait, we 49 00:02:54,320 --> 00:02:55,240 Speaker 2: had Almer Bernstein. 50 00:02:55,560 --> 00:02:58,000 Speaker 1: Yeah, he had Michael Jackson. Bu budget yeah you got. 51 00:02:58,080 --> 00:03:00,519 Speaker 2: Yeah, it's a whole different budget thing. 52 00:03:00,639 --> 00:03:02,600 Speaker 1: But it sounds so old, I know. 53 00:03:02,720 --> 00:03:04,600 Speaker 2: Oh yeah, yeah, no, well we treated I mean, we 54 00:03:04,760 --> 00:03:08,040 Speaker 2: made stuff sound old and made like some of the 55 00:03:08,040 --> 00:03:09,880 Speaker 2: there were speeches that are on there from. 56 00:03:11,360 --> 00:03:12,480 Speaker 1: Yes, we know we did. 57 00:03:12,200 --> 00:03:14,120 Speaker 2: We created all that kind of stuff. 58 00:03:14,480 --> 00:03:16,320 Speaker 1: Oh, because literally when I heard it, I was like, oh, 59 00:03:16,520 --> 00:03:18,520 Speaker 1: Jam and Luis are going bomb squad on us. Yea, 60 00:03:18,760 --> 00:03:20,920 Speaker 1: I didn't realize that. Now I have further respect for 61 00:03:20,960 --> 00:03:21,400 Speaker 1: it that it was. 62 00:03:21,440 --> 00:03:24,040 Speaker 2: Actually yeah, a lot of it was we would take 63 00:03:24,080 --> 00:03:26,960 Speaker 2: something and really screw it up so that it sounded, 64 00:03:27,120 --> 00:03:29,840 Speaker 2: you know, that kind of vibe. The thing that was 65 00:03:30,080 --> 00:03:33,280 Speaker 2: I won't say frustrating about it was that as the 66 00:03:33,360 --> 00:03:35,880 Speaker 2: deadline for the album was coming up, there was a 67 00:03:35,880 --> 00:03:37,720 Speaker 2: song we did called Tabloid Junkie. 68 00:03:37,920 --> 00:03:38,360 Speaker 1: Yeah. 69 00:03:38,240 --> 00:03:41,680 Speaker 2: A Tabloid Junkie was the most easy song to mix, 70 00:03:41,800 --> 00:03:43,960 Speaker 2: should have been anyway, the most easy song to mix, 71 00:03:44,320 --> 00:03:45,880 Speaker 2: And I remember the week. We had a week to 72 00:03:45,880 --> 00:03:49,400 Speaker 2: get done. So I remember Monday, we mixed Tabloid Junkie. 73 00:03:50,320 --> 00:03:53,640 Speaker 2: Michael comes in and listens to it and he goes, yeah, that. 74 00:03:53,640 --> 00:03:54,440 Speaker 1: Sounds really good. 75 00:03:54,600 --> 00:03:56,800 Speaker 3: Would you just turn up the hand claps a little bit. 76 00:03:56,920 --> 00:03:58,320 Speaker 1: Yes, we turn up the handclaps. 77 00:03:58,640 --> 00:04:02,800 Speaker 2: Okay, make me a dad and we'll we'll resumed tomorrow 78 00:04:02,880 --> 00:04:03,200 Speaker 2: or whatever. 79 00:04:03,240 --> 00:04:03,840 Speaker 1: So we do that. 80 00:04:05,440 --> 00:04:09,680 Speaker 2: Next day, exactly the same thing. Next day, exactly the 81 00:04:09,720 --> 00:04:13,320 Speaker 2: same thing. We were like, Michael, this other song to mix, 82 00:04:13,520 --> 00:04:17,479 Speaker 2: this history song, and we said, can we take because 83 00:04:17,520 --> 00:04:22,680 Speaker 2: at the time there were digital recorders, reel to reel recorders. Yes, 84 00:04:22,960 --> 00:04:27,520 Speaker 2: they had forty eight tracks on each machine. We had 85 00:04:28,520 --> 00:04:30,760 Speaker 2: all the boys, de Men's tracks and all of that 86 00:04:30,800 --> 00:04:35,880 Speaker 2: stuff on one reel, forty eight tracks of vocals, we 87 00:04:35,960 --> 00:04:40,200 Speaker 2: had forty eight tracks of the track itself, We had 88 00:04:40,240 --> 00:04:43,760 Speaker 2: forty eight tracks of you know, the Elmer Bernstein Orchestra, 89 00:04:44,480 --> 00:04:46,640 Speaker 2: and we had another tape that had all of Michael's 90 00:04:46,680 --> 00:04:51,920 Speaker 2: vocals on it. Thank you. We said, can we consolidate 91 00:04:52,320 --> 00:04:55,200 Speaker 2: all of these down, like we can just make and 92 00:04:55,520 --> 00:04:57,880 Speaker 2: get everything maybe on two tapes, so maybe it's going 93 00:04:57,920 --> 00:05:00,440 Speaker 2: to be ninety six tracks, but we can get everything 94 00:05:00,480 --> 00:05:02,000 Speaker 2: down no, we. 95 00:05:01,960 --> 00:05:02,479 Speaker 1: Don't want to. 96 00:05:03,040 --> 00:05:04,520 Speaker 2: We don't want to do that just in case we 97 00:05:04,560 --> 00:05:06,800 Speaker 2: want to come back. And it was like Michael, we 98 00:05:06,800 --> 00:05:09,760 Speaker 2: don't have just in case time here, Like we need 99 00:05:09,760 --> 00:05:13,440 Speaker 2: to just mix this record. So Steve Hodge mixed the record. 100 00:05:13,640 --> 00:05:16,040 Speaker 2: We did it at Larrbie North which is now men 101 00:05:16,080 --> 00:05:21,479 Speaker 2: in Mariquan studio. We literally had two machines in one room, 102 00:05:22,080 --> 00:05:26,640 Speaker 2: two machines in another room, two mix boards because there 103 00:05:26,680 --> 00:05:29,799 Speaker 2: wasn't enough room on one mixboard to handle all this stuff. 104 00:05:30,160 --> 00:05:33,440 Speaker 2: And literally as we're mixing, we're walking between the two 105 00:05:33,560 --> 00:05:38,960 Speaker 2: studios to get this mixed done, and we work like 106 00:05:39,040 --> 00:05:41,000 Speaker 2: probably forty eight hours. I don't think we went home. 107 00:05:41,040 --> 00:05:42,880 Speaker 2: I think we worked the Thursday and Friday to get 108 00:05:42,880 --> 00:05:46,599 Speaker 2: at home. We go to mastering. Think Bernie Grumman mastered 109 00:05:46,920 --> 00:05:50,320 Speaker 2: or Brian Garner, one of the two mastered it, and 110 00:05:50,640 --> 00:05:54,720 Speaker 2: we're thinking, okay, who at least we made it. We 111 00:05:54,760 --> 00:05:58,679 Speaker 2: don't hear anything, you know, for a long time until 112 00:05:58,680 --> 00:05:59,960 Speaker 2: the album's actually out. 113 00:06:01,120 --> 00:06:02,880 Speaker 1: No, we put history on. 114 00:06:03,400 --> 00:06:06,400 Speaker 2: He had gone back and redone the mix, and what 115 00:06:06,480 --> 00:06:09,919 Speaker 2: he did was he loved hand claps. He put the 116 00:06:09,920 --> 00:06:12,600 Speaker 2: hand claps in the whole song and the whole idea 117 00:06:12,720 --> 00:06:16,200 Speaker 2: was each section sounded sonically different, so there were big 118 00:06:16,240 --> 00:06:18,920 Speaker 2: hand claps in the one part, there was no handclaps 119 00:06:18,960 --> 00:06:20,760 Speaker 2: in the next part. Then there was a kind of 120 00:06:20,800 --> 00:06:23,320 Speaker 2: a building where it started with a few people singing, 121 00:06:23,560 --> 00:06:26,200 Speaker 2: then more people, and as a singing rose, there was 122 00:06:26,200 --> 00:06:28,720 Speaker 2: more hand claps, and it got bigger and bigger. He 123 00:06:28,760 --> 00:06:32,440 Speaker 2: totally got rid of all that and everything was just 124 00:06:32,480 --> 00:06:34,480 Speaker 2: these handclaps throughout the whole song, and we were. 125 00:06:34,400 --> 00:06:37,919 Speaker 1: Just, do you have a version of your version? Probably somewhere, 126 00:06:37,920 --> 00:06:41,520 Speaker 1: we do, probably somewhere. Thank you for my encore question. 127 00:06:41,600 --> 00:06:42,320 Speaker 1: I appreciate that. 128 00:06:50,040 --> 00:06:52,240 Speaker 3: What's going on everyone? This is cousin Jake, one of 129 00:06:52,240 --> 00:06:55,839 Speaker 3: the producers of the Questlove Show. This is another mini episode. 130 00:06:55,839 --> 00:06:58,720 Speaker 3: I'm sitting here with the man himself, Questlove. We've been 131 00:06:58,720 --> 00:07:00,800 Speaker 3: taking a lot of the feedback and questions that you 132 00:07:00,839 --> 00:07:04,159 Speaker 3: have been coming up with from episodes, and recently we 133 00:07:04,240 --> 00:07:06,799 Speaker 3: ran an incredible interview something you've been trying to chase 134 00:07:06,839 --> 00:07:10,640 Speaker 3: down forever. Not just Jimmy jam coming back to QLs, 135 00:07:10,720 --> 00:07:13,560 Speaker 3: but you got Terry Lewis yes and kind of on 136 00:07:14,640 --> 00:07:17,560 Speaker 3: very short notice for us, and it turned into an 137 00:07:17,600 --> 00:07:21,680 Speaker 3: incredible conversation. I love that At the top. You know, 138 00:07:22,480 --> 00:07:26,280 Speaker 3: Jimmy even says he speaks in paragraphs. Terry speaks in 139 00:07:26,560 --> 00:07:29,360 Speaker 3: very succinct, kind of thought bomb sentences. 140 00:07:29,360 --> 00:07:30,720 Speaker 1: Wow, what a gift to have. 141 00:07:32,120 --> 00:07:33,600 Speaker 3: I mean, you went Torik Kanda, right. 142 00:07:34,120 --> 00:07:37,120 Speaker 1: Turka is very curt short to the point, and I'm 143 00:07:37,200 --> 00:07:41,120 Speaker 1: still explaining what an aquarium does you know from back 144 00:07:41,160 --> 00:07:42,480 Speaker 1: in nineteen ninety nine. You know. 145 00:07:42,600 --> 00:07:44,480 Speaker 3: The nice thing is is that interview. And just for 146 00:07:44,560 --> 00:07:46,680 Speaker 3: folks that know that happened at night. A lot of 147 00:07:46,720 --> 00:07:50,320 Speaker 3: the Quest Love Show tapings this year have been in 148 00:07:50,400 --> 00:07:54,480 Speaker 3: the late morning, early afternoon. That one because it was 149 00:07:54,480 --> 00:07:56,720 Speaker 3: on a short whim we did. We didn't do it 150 00:07:56,720 --> 00:07:59,520 Speaker 3: at iHeart. We did at CDM Studios. They kind of 151 00:07:59,520 --> 00:08:02,360 Speaker 3: had a hard out at like eleven eleven thirty. You 152 00:08:02,600 --> 00:08:04,880 Speaker 3: just finished the cameras. For those that have been wondering 153 00:08:04,920 --> 00:08:07,960 Speaker 3: on the YouTube, why the last thirty minutes are just 154 00:08:07,960 --> 00:08:09,360 Speaker 3: a montage of photos. 155 00:08:10,040 --> 00:08:12,080 Speaker 1: Oh wow, we ran out of tape. 156 00:08:12,160 --> 00:08:14,640 Speaker 3: Yeah, because it's funny enough and we can talk about 157 00:08:14,640 --> 00:08:16,800 Speaker 3: it here. Like I couldn't be there. I was up 158 00:08:16,840 --> 00:08:18,920 Speaker 3: in the morning. We tape Jamie Lee Curtis the same day, 159 00:08:18,960 --> 00:08:21,480 Speaker 3: and then my co producer Brittany came up for jam 160 00:08:21,480 --> 00:08:22,240 Speaker 3: and Lewis team. 161 00:08:22,360 --> 00:08:24,720 Speaker 1: Okay, and I asked you that morning. 162 00:08:24,760 --> 00:08:26,200 Speaker 3: I'm like, yo, what are you planning? You're like, oh man, 163 00:08:26,240 --> 00:08:27,000 Speaker 3: I need like an hour? 164 00:08:28,280 --> 00:08:29,800 Speaker 1: Oh god, you sorry? 165 00:08:29,920 --> 00:08:33,240 Speaker 3: No, how could you apologize to you already know? Yeah, 166 00:08:33,240 --> 00:08:35,280 Speaker 3: it turned into what it turned into, but we held 167 00:08:35,320 --> 00:08:37,920 Speaker 3: one thing back. We just gave it in this episode, 168 00:08:38,000 --> 00:08:41,280 Speaker 3: or I'm about we'll give it right now. You ask 169 00:08:41,360 --> 00:08:42,920 Speaker 3: him on the way out, like literally, you guys are 170 00:08:42,920 --> 00:08:46,199 Speaker 3: grabbing your drinks, packing up, they're flipping lights off. Yeah, 171 00:08:46,200 --> 00:08:49,680 Speaker 3: shout out to Kathleen Conti at CDM. And you asked 172 00:08:49,960 --> 00:08:52,800 Speaker 3: a question about the Michael Jackson History album. Yeah, and 173 00:08:52,840 --> 00:08:55,080 Speaker 3: just they talked about it in a really cool way. 174 00:08:55,679 --> 00:09:01,559 Speaker 1: Yeah. You know, this will mark Jams his third time 175 00:09:01,600 --> 00:09:06,160 Speaker 1: on QLs. He did his Mammoth seven hour thing before 176 00:09:06,360 --> 00:09:09,480 Speaker 1: and then I forgot that. We talked to him pandemic 177 00:09:09,520 --> 00:09:12,760 Speaker 1: right and during the pandemic on online as well, and 178 00:09:12,800 --> 00:09:15,720 Speaker 1: even then we still didn't really get to like nineteen 179 00:09:15,760 --> 00:09:20,160 Speaker 1: ninety five ninety six. Whatever was in my head at 180 00:09:20,160 --> 00:09:24,680 Speaker 1: the time was they just mentioned Babyface, and I know 181 00:09:25,040 --> 00:09:28,920 Speaker 1: the Babyface story with Michael Jackson is they gave Michael 182 00:09:28,960 --> 00:09:33,040 Speaker 1: Jackson one month and Lionel Richie sort of came to 183 00:09:33,080 --> 00:09:38,040 Speaker 1: them and said, hey, don't let Michael stall you out 184 00:09:38,360 --> 00:09:42,120 Speaker 1: and take you out the game, because he will try 185 00:09:42,120 --> 00:09:45,960 Speaker 1: to hold on to you like exclusively, and unless you're 186 00:09:46,000 --> 00:09:48,800 Speaker 1: creating like the Lord Jesus Christ, like a person like 187 00:09:48,960 --> 00:09:53,200 Speaker 1: Teddy Riley could probably afford to take even I mean, 188 00:09:53,320 --> 00:09:56,839 Speaker 1: you know, minds you, Teddy Riley did this started the 189 00:09:56,920 --> 00:10:01,160 Speaker 1: Dangerous work in like nineteen ninety and so, so I 190 00:10:01,200 --> 00:10:04,640 Speaker 1: mean that was really the year, like he really got 191 00:10:04,720 --> 00:10:08,120 Speaker 1: popping in eighty seven, eighty eight, all that momentum, right, Like, 192 00:10:08,200 --> 00:10:10,720 Speaker 1: if he didn't have Dangerous to do, I'm almost certain 193 00:10:10,720 --> 00:10:13,559 Speaker 1: that Teddy Riley could have probably knocked out like maybe 194 00:10:13,640 --> 00:10:17,400 Speaker 1: twelve more projects or songs of that sort of thing. 195 00:10:17,440 --> 00:10:22,200 Speaker 1: But like Lonal Richie basically told babyfaces, don't let him 196 00:10:22,440 --> 00:10:25,320 Speaker 1: wear you out to the point where you're saying no 197 00:10:25,480 --> 00:10:28,320 Speaker 1: to the other artists because he keeps making you do 198 00:10:28,400 --> 00:10:30,960 Speaker 1: something over and over again. Of course, Michael makes them. 199 00:10:31,480 --> 00:10:33,240 Speaker 1: I forget the name of the song that they did, 200 00:10:33,960 --> 00:10:36,160 Speaker 1: but you know, it was going on a month and 201 00:10:36,200 --> 00:10:38,640 Speaker 1: they were just like, all right, we're out, and so 202 00:10:39,800 --> 00:10:42,200 Speaker 1: I remember them telling me that they did scream kind 203 00:10:42,200 --> 00:10:45,520 Speaker 1: of in record time because they had already created the 204 00:10:45,559 --> 00:10:48,160 Speaker 1: track ahead of time, and usually artists like to be 205 00:10:48,240 --> 00:10:50,640 Speaker 1: there for the process of you know, but they just 206 00:10:50,679 --> 00:10:54,200 Speaker 1: played a track and he instantly felt, you know, the 207 00:10:54,200 --> 00:10:56,600 Speaker 1: scream song. So that was half the work right there. 208 00:10:57,320 --> 00:11:02,080 Speaker 1: But History was the first time that I was slightly 209 00:11:03,440 --> 00:11:08,160 Speaker 1: slightly and people who are young like get mad at 210 00:11:08,160 --> 00:11:10,679 Speaker 1: me for saying this. This This is my version of 211 00:11:10,679 --> 00:11:13,320 Speaker 1: saying that Prince's first ten albums count and then you know, 212 00:11:13,360 --> 00:11:17,920 Speaker 1: everything else is whatever. The thing I didn't like about 213 00:11:17,960 --> 00:11:20,120 Speaker 1: History was because he had such a chip on his 214 00:11:20,120 --> 00:11:24,679 Speaker 1: shoulder to try to prove something, and I know his 215 00:11:25,400 --> 00:11:30,400 Speaker 1: preference for perfection, where if it's too perfect, you're going 216 00:11:30,480 --> 00:11:34,240 Speaker 1: to just get numb after the fourth song, and you 217 00:11:34,400 --> 00:11:39,120 Speaker 1: need highs and lows. You need to hear human Like 218 00:11:39,840 --> 00:11:42,120 Speaker 1: we take advantage of Off the Wall because it's like, oh, 219 00:11:42,160 --> 00:11:44,679 Speaker 1: it's a great album, but we're also just responding to 220 00:11:44,800 --> 00:11:49,559 Speaker 1: like a collaboration of actual human beings and spirits captured 221 00:11:49,600 --> 00:11:53,439 Speaker 1: the stuff that you don't hear through a microphone, right 222 00:11:54,280 --> 00:11:59,680 Speaker 1: And if it's too perfect, it just wears you out. 223 00:12:00,240 --> 00:12:02,520 Speaker 1: You know, it's like enough already, I get it. You 224 00:12:02,520 --> 00:12:06,560 Speaker 1: have the loudest kicks ever, the highest snare ever. Your 225 00:12:06,760 --> 00:12:10,600 Speaker 1: engineer is panning stuff in a circle that no one 226 00:12:10,600 --> 00:12:14,640 Speaker 1: else can do. And so by the time I got 227 00:12:14,640 --> 00:12:19,319 Speaker 1: to History, I was just worn out and really didn't 228 00:12:19,360 --> 00:12:22,280 Speaker 1: listen to it. But you know, for the record, I've 229 00:12:22,320 --> 00:12:25,320 Speaker 1: also went on record in my book to say that 230 00:12:25,800 --> 00:12:30,400 Speaker 1: I have a problem with penultimates and last songs, Like 231 00:12:30,520 --> 00:12:33,120 Speaker 1: I don't watch any series the last two episodes of 232 00:12:33,520 --> 00:12:36,920 Speaker 1: streaming series, I don't watch until I know there's another season. 233 00:12:37,480 --> 00:12:42,480 Speaker 1: And so with the History album, like with Smile, the 234 00:12:42,600 --> 00:12:45,760 Speaker 1: Charlie Chaplin cover and Yeah, I think I tuned out 235 00:12:45,760 --> 00:12:51,160 Speaker 1: after Smile because that's way too sad to listen to. Yeah, 236 00:12:51,360 --> 00:12:55,880 Speaker 1: And so when I finally got to History, God damn. 237 00:12:57,360 --> 00:13:01,160 Speaker 1: History is like the most ambitious. It's like Michael Jackson's 238 00:13:01,240 --> 00:13:05,720 Speaker 1: version of Neither of the Living bass Heads by Public Enemy. 239 00:13:06,080 --> 00:13:10,319 Speaker 1: If your hip hop head of a certain ilk and 240 00:13:10,880 --> 00:13:14,400 Speaker 1: you respect certain type of arrangements like it, just the 241 00:13:14,480 --> 00:13:17,800 Speaker 1: song goes all over the place, and it's so ambitious. 242 00:13:17,920 --> 00:13:19,720 Speaker 1: And it was a record in ninety four, so I 243 00:13:19,840 --> 00:13:24,000 Speaker 1: know that MacBook pros and the tools we use now 244 00:13:24,600 --> 00:13:28,360 Speaker 1: weren't you. So I meant a lot that song was 245 00:13:28,400 --> 00:13:31,360 Speaker 1: too ambitious for its own good, and I just hit 246 00:13:31,440 --> 00:13:33,960 Speaker 1: jam up one night, like yo, man, like I know 247 00:13:35,160 --> 00:13:42,120 Speaker 1: that this song came with like like a sacrifice or 248 00:13:42,160 --> 00:13:45,080 Speaker 1: something like what did you have to give up? Like 249 00:13:45,240 --> 00:13:48,040 Speaker 1: your your marriage could be in trouble because it's like, no, 250 00:13:48,120 --> 00:13:50,160 Speaker 1: I got a Mike's called me to the studio whatever, 251 00:13:50,200 --> 00:13:51,720 Speaker 1: and I think he told me a story of like 252 00:13:52,840 --> 00:13:55,599 Speaker 1: there's a really important Lakers game that he wanted to 253 00:13:55,640 --> 00:13:59,520 Speaker 1: see between like it was either MJ and Magic's like 254 00:13:59,640 --> 00:14:04,320 Speaker 1: last last thing together or something. Yeah, and he like 255 00:14:04,440 --> 00:14:07,080 Speaker 1: Mike was like no, like I gotta cut vocals again 256 00:14:07,120 --> 00:14:08,880 Speaker 1: and da da da da da, and He's like, yeah, 257 00:14:09,760 --> 00:14:12,480 Speaker 1: it's like a really important game. But yeah, no, but 258 00:14:14,559 --> 00:14:17,120 Speaker 1: like when the spirit, you know, he does the Michael 259 00:14:17,200 --> 00:14:20,040 Speaker 1: Jagon when the Spirit hits me thing. So I'd like, 260 00:14:20,200 --> 00:14:22,880 Speaker 1: I I think I listened to that song because I 261 00:14:22,960 --> 00:14:26,800 Speaker 1: know like a lot was sacrificed humanity behind it, yeah, 262 00:14:26,880 --> 00:14:29,920 Speaker 1: to make it happen. So maybe that's why I resonate 263 00:14:29,960 --> 00:14:39,760 Speaker 1: with it. 264 00:14:42,240 --> 00:14:44,560 Speaker 3: We got three questions that came out of that episode. 265 00:14:45,120 --> 00:14:47,520 Speaker 3: I might add a fourth. This is a real easy one, 266 00:14:47,520 --> 00:14:51,000 Speaker 3: but you're the person to ask. Lyles Leland. I hope. 267 00:14:51,000 --> 00:14:54,000 Speaker 3: I said that right. Asked, is there an instrumental version 268 00:14:54,280 --> 00:14:59,800 Speaker 3: of Chill Sauce by the time in existence Chili sauce? Oh, chill, Yeah, 269 00:15:00,080 --> 00:15:02,000 Speaker 3: Chili sauce not in. 270 00:15:02,760 --> 00:15:05,600 Speaker 1: You know what. Instrumentals are hard to come by in 271 00:15:05,720 --> 00:15:11,160 Speaker 1: Prince world. There's I mean, unless you like have access 272 00:15:11,160 --> 00:15:15,720 Speaker 1: to the stems or whatever. The only time sketch that 273 00:15:15,840 --> 00:15:18,800 Speaker 1: I have that doesn't have any vocals on it. For 274 00:15:18,840 --> 00:15:25,680 Speaker 1: some reason, I have the work reel of the Walk, 275 00:15:27,040 --> 00:15:29,520 Speaker 1: and I don't even know how I got it. But essentially, 276 00:15:29,920 --> 00:15:32,920 Speaker 1: if you listen to Chlorine Bacon Skin, which is this 277 00:15:33,080 --> 00:15:39,440 Speaker 1: Prince at Mars goofing a round on Drummond bass, the 278 00:15:39,520 --> 00:15:44,240 Speaker 1: same thing for the Walk, except Prince's playing in C 279 00:15:44,360 --> 00:15:49,240 Speaker 1: sharp minor so instead of the ki of A. But yeah, 280 00:15:49,480 --> 00:15:52,800 Speaker 1: I do not know of there being an instrumental of 281 00:15:52,880 --> 00:15:53,520 Speaker 1: Chili Sauce. 282 00:15:53,720 --> 00:15:56,880 Speaker 3: Have you ever experienced a duo as in sync as 283 00:15:57,000 --> 00:15:57,760 Speaker 3: Jamin Lewis. 284 00:15:57,800 --> 00:16:03,960 Speaker 1: I have not experienced a duo as instinct of Jam 285 00:16:03,960 --> 00:16:09,240 Speaker 1: and Lewis. However, I know a trio and I will 286 00:16:09,360 --> 00:16:17,080 Speaker 1: probably say the most ideal relationship between three entities that 287 00:16:17,160 --> 00:16:22,680 Speaker 1: are creatives that I have not seen one spot nor 288 00:16:22,800 --> 00:16:28,440 Speaker 1: wrinkle when Dave was here with us, I would look 289 00:16:28,600 --> 00:16:32,480 Speaker 1: at the friendship of Dayla Soul with absolute envy, Like 290 00:16:32,520 --> 00:16:36,960 Speaker 1: there's no song or album they created that made me 291 00:16:37,200 --> 00:16:40,080 Speaker 1: more enviable than just the bond that they have with 292 00:16:40,120 --> 00:16:44,000 Speaker 1: each other. Like you've heard Maco laugh a lot on 293 00:16:44,800 --> 00:16:49,440 Speaker 1: Daylight Rocket like that really thing. Yeah, So, I mean 294 00:16:49,480 --> 00:16:55,160 Speaker 1: there's at least twenty moments where I've either walked back 295 00:16:55,240 --> 00:16:58,680 Speaker 1: by a dressing room or like say what up to 296 00:16:58,720 --> 00:17:00,200 Speaker 1: them as they're pulling up to a van and we 297 00:17:00,240 --> 00:17:03,320 Speaker 1: would do like you know Coyle shows together whatever, Like 298 00:17:03,800 --> 00:17:10,280 Speaker 1: Dave will say something and then Macio will laugh and 299 00:17:10,960 --> 00:17:13,960 Speaker 1: kind of post rounds it up with like the eye roll, 300 00:17:14,080 --> 00:17:18,720 Speaker 1: like this guy, Like I didn't know that adult, non 301 00:17:19,000 --> 00:17:24,719 Speaker 1: high school friends could be at that level where the 302 00:17:24,800 --> 00:17:29,400 Speaker 1: roots just got to that level. We're that level on stage, 303 00:17:30,200 --> 00:17:33,359 Speaker 1: which is how I prefer it. I'm more to myself 304 00:17:33,400 --> 00:17:36,960 Speaker 1: off stage, so I can't even say I might be 305 00:17:37,040 --> 00:17:41,520 Speaker 1: the problem in that equasy. So, and the other group 306 00:17:42,600 --> 00:17:46,640 Speaker 1: is the Beastie Boys touring with them like post ill communication, 307 00:17:47,480 --> 00:17:51,640 Speaker 1: they got super enlightened, and so you know, we thought 308 00:17:51,680 --> 00:17:53,240 Speaker 1: we were doing the License to Ill tour. 309 00:17:54,119 --> 00:17:55,680 Speaker 3: You mean at that point when they were getting into 310 00:17:55,680 --> 00:17:56,320 Speaker 3: bettering freedom. 311 00:17:56,560 --> 00:17:59,040 Speaker 1: Yeah, like we thought we were walking into at least 312 00:17:59,080 --> 00:18:02,040 Speaker 1: Paul's boutique. The boys and all right, where's the beer cannon, 313 00:18:02,200 --> 00:18:04,320 Speaker 1: where's the where's the women at? Wait? What are these 314 00:18:04,400 --> 00:18:07,520 Speaker 1: kids doing here? And wait, you guys are playing basketball? Yeah, 315 00:18:07,600 --> 00:18:12,639 Speaker 1: you could travel with your own basketball court and humus again. 316 00:18:13,680 --> 00:18:16,679 Speaker 1: And literally I think Kamoral and I kind of had 317 00:18:16,800 --> 00:18:20,320 Speaker 1: like a disappointed thing, like, man, they're all like nice 318 00:18:20,359 --> 00:18:24,359 Speaker 1: and family men and joking with each other like that 319 00:18:24,520 --> 00:18:30,800 Speaker 1: was our introduction to that synergy. But even then when 320 00:18:30,840 --> 00:18:35,040 Speaker 1: when y'aut passed, That's the thing I actually remember is 321 00:18:35,320 --> 00:18:38,360 Speaker 1: just they kind of had like a magic circle thing 322 00:18:38,400 --> 00:18:40,880 Speaker 1: happening before they go on stage, like they just get 323 00:18:40,920 --> 00:18:44,040 Speaker 1: each other hyped up and stand in their circle, arms 324 00:18:44,040 --> 00:18:46,680 Speaker 1: around each other like it's, you know, like they're about 325 00:18:46,720 --> 00:18:49,320 Speaker 1: to conquer the world or whatever. So I've seen that 326 00:18:49,359 --> 00:18:50,000 Speaker 1: a few times. 327 00:18:50,000 --> 00:18:55,080 Speaker 3: So yeah, trios, last question in this jam and Lewis 328 00:18:55,080 --> 00:18:58,120 Speaker 3: Batch and this week is appropriate to ask when we're 329 00:18:58,119 --> 00:19:04,200 Speaker 3: recording this overall favorite Prince deep cut today, my. 330 00:19:04,280 --> 00:19:07,080 Speaker 1: Favorite deep cut? When do we put this on the air. 331 00:19:07,440 --> 00:19:09,520 Speaker 3: We'll probably put this on the air next week. 332 00:19:09,440 --> 00:19:13,280 Speaker 1: All right, So I'm happy to announce. Actually it went 333 00:19:13,400 --> 00:19:16,199 Speaker 1: live as we're taping this. I believe like maybe it 334 00:19:16,240 --> 00:19:21,000 Speaker 1: went up like maybe ten minutes ago. Rolling Stone assigned 335 00:19:21,000 --> 00:19:26,360 Speaker 1: me my first real task in crafting for the tenth 336 00:19:26,400 --> 00:19:30,879 Speaker 1: anniversary of Prince's passing. They asked me to just put 337 00:19:30,920 --> 00:19:38,000 Speaker 1: together like ten of my favorite print songs. And you know, 338 00:19:38,040 --> 00:19:40,479 Speaker 1: I know I've used this cliche before, but you know 339 00:19:41,160 --> 00:19:43,040 Speaker 1: I'm not going to get in trouble for trying to 340 00:19:43,119 --> 00:19:47,320 Speaker 1: name my favorite oxygen gas. For that, I took in right. 341 00:19:47,760 --> 00:19:51,080 Speaker 1: So I went a step further and I said, well, 342 00:19:51,600 --> 00:19:53,080 Speaker 1: can I do more than ten? They were like, well, 343 00:19:53,119 --> 00:19:55,439 Speaker 1: do you have time to do more than ten? So 344 00:19:55,480 --> 00:19:58,600 Speaker 1: I fucked them around and wrote a whole damn book. 345 00:19:59,160 --> 00:20:02,200 Speaker 1: I wound up doing two hundred, and then it started 346 00:20:02,200 --> 00:20:04,639 Speaker 1: to turn into a memoir, because again I have this 347 00:20:04,920 --> 00:20:06,960 Speaker 1: where it happened to turn and shit into me once 348 00:20:06,960 --> 00:20:11,080 Speaker 1: I get the assignment. However, for Rolling Stone, I whittled 349 00:20:11,119 --> 00:20:14,719 Speaker 1: it down to one hundred songs in which and I 350 00:20:14,840 --> 00:20:21,399 Speaker 1: was very specific in not trying to craft like Prince's 351 00:20:21,520 --> 00:20:24,399 Speaker 1: best songs or like my rankings, because that gets you 352 00:20:24,440 --> 00:20:28,400 Speaker 1: in trouble. So I will say that these are very 353 00:20:28,440 --> 00:20:33,200 Speaker 1: specific to how these songs affected me, and a lot 354 00:20:33,240 --> 00:20:34,920 Speaker 1: of your favorites are there, A lot of your non 355 00:20:34,920 --> 00:20:40,200 Speaker 1: favorites are there. So yeah, it's live on Rollingstone dot com. 356 00:20:40,280 --> 00:20:45,959 Speaker 1: Right now, I will quickly read one hundred to ninety 357 00:20:46,240 --> 00:20:48,680 Speaker 1: and then of course you have to if you buy 358 00:20:48,680 --> 00:20:50,760 Speaker 1: the physical copy of Rolling Stone they have my top 359 00:20:50,800 --> 00:20:53,240 Speaker 1: ten in there. If you go online you will see 360 00:20:53,680 --> 00:20:58,320 Speaker 1: the remaining ninety. All right, So number one hundred is 361 00:20:58,400 --> 00:21:02,720 Speaker 1: alphabet street. Number ninety nine is in a large room 362 00:21:02,760 --> 00:21:09,400 Speaker 1: with no light. Ninety eight is visions slash dream Factory. 363 00:21:10,200 --> 00:21:14,919 Speaker 1: Number ninety seven is uptown. Number ninety six is she 364 00:21:15,119 --> 00:21:21,800 Speaker 1: Spoke to Me. Ninety five is thirteen by Madhouse, ninety 365 00:21:21,840 --> 00:21:26,720 Speaker 1: four is purple Music. Ninety three is our Destiny slash 366 00:21:26,840 --> 00:21:31,840 Speaker 1: Roadhouse Garden, ninety two is anti Christian, ninety one is 367 00:21:31,840 --> 00:21:35,040 Speaker 1: why you want to treat me so bad? And ninety 368 00:21:35,480 --> 00:21:38,520 Speaker 1: is another lever hole in your head the twelve inch 369 00:21:38,800 --> 00:21:42,240 Speaker 1: version only. So those are a ten for. 370 00:21:42,240 --> 00:21:44,880 Speaker 3: You and you over delivered on that question. Thank you. 371 00:21:44,920 --> 00:21:47,639 Speaker 3: Just as a general reminder, please if you go to 372 00:21:47,760 --> 00:21:52,240 Speaker 3: Questlovesupreme dot com, the original name of the former podcast, 373 00:21:52,560 --> 00:21:55,439 Speaker 3: there's a contact to us form write your questions that 374 00:21:55,520 --> 00:21:58,119 Speaker 3: is the best way to send them. Otherwise, DM the 375 00:21:58,280 --> 00:22:04,520 Speaker 3: QLs channel. Do not Questlove. You'll never get received. Yeah, 376 00:22:04,520 --> 00:22:07,199 Speaker 3: but thank you. And also I know we asked this 377 00:22:07,280 --> 00:22:09,240 Speaker 3: a lot, but I think when we changed our name, 378 00:22:09,840 --> 00:22:13,840 Speaker 3: our reviews changed in Apple podcasts. Please, if that's how 379 00:22:13,840 --> 00:22:16,240 Speaker 3: you consume, leave us a review, give us a rating, 380 00:22:16,720 --> 00:22:19,480 Speaker 3: spread the word. It's how we do this week to week. 381 00:22:19,600 --> 00:22:20,679 Speaker 3: Thank you all, Thank you. 382 00:22:42,200 --> 00:22:44,760 Speaker 1: Quest Love Show is a production of iHeartRadio.