WEBVTT - Jimmy Jam & Terry Lewis Michael Jackson HIStory Bonus Segment + Twin Cities Mailbag Questions

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<v Speaker 1>The Quest Left Show is a production of iHeart Radio

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<v Speaker 1>slight Encore. Because I will regret this, and I know

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<v Speaker 1>you want to go home, just answer one question from me.

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<v Speaker 1>I think of your entire discography, your most ambitious song

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<v Speaker 1>and production ever was the title track to Michael Jackson's

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<v Speaker 1>History album, just based on all the chaos and all

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<v Speaker 1>those things happening. I think I texted you about it.

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<v Speaker 1>I don't think I asked you about it on the show. No,

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<v Speaker 1>we didn't get that far on the show. But the

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<v Speaker 1>thing is is that it's so ambitious that it's not

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<v Speaker 1>a single right when you're working on filler. And here's

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<v Speaker 1>the thing, I believe the Son of a true Artist

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<v Speaker 1>is based on the If you're talking to Stevie's catalog,

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<v Speaker 1>I'm not talking about the singles chosen, Prince, I'm not

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<v Speaker 1>talking about the singles chosen.

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<v Speaker 2>I like the filler, Yes, I agree, And I.

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<v Speaker 1>Know it's Michael, and I knows you know you're able

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<v Speaker 1>to be blinded by the michaelness of it all. But

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<v Speaker 1>I mean, why did you guys work so hard on

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<v Speaker 1>such an ambitious sounding song, especially in ninety five when

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<v Speaker 1>I know this wasn't invented yet. Right now with this

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<v Speaker 1>and everything that's you know, and I know he's always

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<v Speaker 1>pushed to the limit. Let's go further. When History the

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<v Speaker 1>song first started, was it just a regular ass song?

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<v Speaker 1>And then it was like him like, like, how did

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<v Speaker 1>you get it to what it is now? The most

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<v Speaker 1>at least he did it in concert, yeah, oh yeah,

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<v Speaker 1>which I thought he would never do in concert. I'm like, right,

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<v Speaker 1>I can't even play this, but I know.

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<v Speaker 2>No. He ended his the History tour, he ended with

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<v Speaker 2>that song. And so the idea of History was that,

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<v Speaker 2>you know, he had an album called History, and we

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<v Speaker 2>always thought there should be a song that explains the

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<v Speaker 2>title track or what that is. And we had the

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<v Speaker 2>the groove that was on the verse of that song,

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<v Speaker 2>which was right, that kind of thing. We had that

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<v Speaker 2>and he loved that part.

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<v Speaker 1>Of the song.

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<v Speaker 2>But then he said, but it should go somewhere, and

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<v Speaker 2>we said, okay, cool. So the way we envisioned it was,

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<v Speaker 2>let's go to a nice B section bridge and then

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<v Speaker 2>let's go to a very single long course, you know,

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<v Speaker 2>every day create your history, Like we just thought that

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<v Speaker 2>was the perfect thing. But the idea was sonically to

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<v Speaker 2>have each section almost be like a movement right, and

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<v Speaker 2>so then you know, so we had Elmer Bernstein with

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<v Speaker 2>a you know, seventy six piece orchestra. We had boys

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<v Speaker 2>them in Wait those weren't samples, No, no, wait, we

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<v Speaker 2>had Almer Bernstein.

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<v Speaker 1>Yeah, he had Michael Jackson. Bu budget yeah you got.

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<v Speaker 2>Yeah, it's a whole different budget thing.

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<v Speaker 1>But it sounds so old, I know.

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<v Speaker 2>Oh yeah, yeah, no, well we treated I mean, we

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<v Speaker 2>made stuff sound old and made like some of the

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<v Speaker 2>there were speeches that are on there from.

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<v Speaker 1>Yes, we know we did.

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<v Speaker 2>We created all that kind of stuff.

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<v Speaker 1>Oh, because literally when I heard it, I was like, oh,

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<v Speaker 1>Jam and Luis are going bomb squad on us. Yea,

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<v Speaker 1>I didn't realize that. Now I have further respect for

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<v Speaker 1>it that it was.

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<v Speaker 2>Actually yeah, a lot of it was we would take

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<v Speaker 2>something and really screw it up so that it sounded,

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<v Speaker 2>you know, that kind of vibe. The thing that was

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<v Speaker 2>I won't say frustrating about it was that as the

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<v Speaker 2>deadline for the album was coming up, there was a

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<v Speaker 2>song we did called Tabloid Junkie.

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<v Speaker 1>Yeah.

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<v Speaker 2>A Tabloid Junkie was the most easy song to mix,

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<v Speaker 2>should have been anyway, the most easy song to mix,

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<v Speaker 2>And I remember the week. We had a week to

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<v Speaker 2>get done. So I remember Monday, we mixed Tabloid Junkie.

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<v Speaker 2>Michael comes in and listens to it and he goes, yeah, that.

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<v Speaker 1>Sounds really good.

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<v Speaker 3>Would you just turn up the hand claps a little bit.

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<v Speaker 1>Yes, we turn up the handclaps.

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<v Speaker 2>Okay, make me a dad and we'll we'll resumed tomorrow

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<v Speaker 2>or whatever.

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<v Speaker 1>So we do that.

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<v Speaker 2>Next day, exactly the same thing. Next day, exactly the

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<v Speaker 2>same thing. We were like, Michael, this other song to mix,

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<v Speaker 2>this history song, and we said, can we take because

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<v Speaker 2>at the time there were digital recorders, reel to reel recorders. Yes,

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<v Speaker 2>they had forty eight tracks on each machine. We had

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<v Speaker 2>all the boys, de Men's tracks and all of that

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<v Speaker 2>stuff on one reel, forty eight tracks of vocals, we

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<v Speaker 2>had forty eight tracks of the track itself, We had

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<v Speaker 2>forty eight tracks of you know, the Elmer Bernstein Orchestra,

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<v Speaker 2>and we had another tape that had all of Michael's

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<v Speaker 2>vocals on it. Thank you. We said, can we consolidate

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<v Speaker 2>all of these down, like we can just make and

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<v Speaker 2>get everything maybe on two tapes, so maybe it's going

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<v Speaker 2>to be ninety six tracks, but we can get everything

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<v Speaker 2>down no, we.

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<v Speaker 1>Don't want to.

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<v Speaker 2>We don't want to do that just in case we

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<v Speaker 2>want to come back. And it was like Michael, we

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<v Speaker 2>don't have just in case time here, Like we need

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<v Speaker 2>to just mix this record. So Steve Hodge mixed the record.

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<v Speaker 2>We did it at Larrbie North which is now men

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<v Speaker 2>in Mariquan studio. We literally had two machines in one room,

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<v Speaker 2>two machines in another room, two mix boards because there

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<v Speaker 2>wasn't enough room on one mixboard to handle all this stuff.

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<v Speaker 2>And literally as we're mixing, we're walking between the two

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<v Speaker 2>studios to get this mixed done, and we work like

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<v Speaker 2>probably forty eight hours. I don't think we went home.

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<v Speaker 2>I think we worked the Thursday and Friday to get

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<v Speaker 2>at home. We go to mastering. Think Bernie Grumman mastered

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<v Speaker 2>or Brian Garner, one of the two mastered it, and

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<v Speaker 2>we're thinking, okay, who at least we made it. We

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<v Speaker 2>don't hear anything, you know, for a long time until

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<v Speaker 2>the album's actually out.

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<v Speaker 1>No, we put history on.

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<v Speaker 2>He had gone back and redone the mix, and what

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<v Speaker 2>he did was he loved hand claps. He put the

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<v Speaker 2>hand claps in the whole song and the whole idea

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<v Speaker 2>was each section sounded sonically different, so there were big

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<v Speaker 2>hand claps in the one part, there was no handclaps

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<v Speaker 2>in the next part. Then there was a kind of

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<v Speaker 2>a building where it started with a few people singing,

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<v Speaker 2>then more people, and as a singing rose, there was

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<v Speaker 2>more hand claps, and it got bigger and bigger. He

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<v Speaker 2>totally got rid of all that and everything was just

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<v Speaker 2>these handclaps throughout the whole song, and we were.

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<v Speaker 1>Just, do you have a version of your version? Probably somewhere,

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<v Speaker 1>we do, probably somewhere. Thank you for my encore question.

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<v Speaker 1>I appreciate that.

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<v Speaker 3>What's going on everyone? This is cousin Jake, one of

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<v Speaker 3>the producers of the Questlove Show. This is another mini episode.

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<v Speaker 3>I'm sitting here with the man himself, Questlove. We've been

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<v Speaker 3>taking a lot of the feedback and questions that you

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<v Speaker 3>have been coming up with from episodes, and recently we

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<v Speaker 3>ran an incredible interview something you've been trying to chase

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<v Speaker 3>down forever. Not just Jimmy jam coming back to QLs,

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<v Speaker 3>but you got Terry Lewis yes and kind of on

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<v Speaker 3>very short notice for us, and it turned into an

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<v Speaker 3>incredible conversation. I love that At the top. You know,

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<v Speaker 3>Jimmy even says he speaks in paragraphs. Terry speaks in

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<v Speaker 3>very succinct, kind of thought bomb sentences.

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<v Speaker 1>Wow, what a gift to have.

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<v Speaker 3>I mean, you went Torik Kanda, right.

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<v Speaker 1>Turka is very curt short to the point, and I'm

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<v Speaker 1>still explaining what an aquarium does you know from back

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<v Speaker 1>in nineteen ninety nine. You know.

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<v Speaker 3>The nice thing is is that interview. And just for

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<v Speaker 3>folks that know that happened at night. A lot of

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<v Speaker 3>the Quest Love Show tapings this year have been in

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<v Speaker 3>the late morning, early afternoon. That one because it was

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<v Speaker 3>on a short whim we did. We didn't do it

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<v Speaker 3>at iHeart. We did at CDM Studios. They kind of

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<v Speaker 3>had a hard out at like eleven eleven thirty. You

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<v Speaker 3>just finished the cameras. For those that have been wondering

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<v Speaker 3>on the YouTube, why the last thirty minutes are just

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<v Speaker 3>a montage of photos.

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<v Speaker 1>Oh wow, we ran out of tape.

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<v Speaker 3>Yeah, because it's funny enough and we can talk about

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<v Speaker 3>it here. Like I couldn't be there. I was up

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<v Speaker 3>in the morning. We tape Jamie Lee Curtis the same day,

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<v Speaker 3>and then my co producer Brittany came up for jam

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<v Speaker 3>and Lewis team.

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<v Speaker 1>Okay, and I asked you that morning.

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<v Speaker 3>I'm like, yo, what are you planning? You're like, oh man,

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<v Speaker 3>I need like an hour?

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<v Speaker 1>Oh god, you sorry?

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<v Speaker 3>No, how could you apologize to you already know? Yeah,

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<v Speaker 3>it turned into what it turned into, but we held

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<v Speaker 3>one thing back. We just gave it in this episode,

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<v Speaker 3>or I'm about we'll give it right now. You ask

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<v Speaker 3>him on the way out, like literally, you guys are

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<v Speaker 3>grabbing your drinks, packing up, they're flipping lights off. Yeah,

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<v Speaker 3>shout out to Kathleen Conti at CDM. And you asked

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<v Speaker 3>a question about the Michael Jackson History album. Yeah, and

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<v Speaker 3>just they talked about it in a really cool way.

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<v Speaker 1>Yeah. You know, this will mark Jams his third time

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<v Speaker 1>on QLs. He did his Mammoth seven hour thing before

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<v Speaker 1>and then I forgot that. We talked to him pandemic

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<v Speaker 1>right and during the pandemic on online as well, and

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<v Speaker 1>even then we still didn't really get to like nineteen

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<v Speaker 1>ninety five ninety six. Whatever was in my head at

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<v Speaker 1>the time was they just mentioned Babyface, and I know

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<v Speaker 1>the Babyface story with Michael Jackson is they gave Michael

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<v Speaker 1>Jackson one month and Lionel Richie sort of came to

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<v Speaker 1>them and said, hey, don't let Michael stall you out

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<v Speaker 1>and take you out the game, because he will try

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<v Speaker 1>to hold on to you like exclusively, and unless you're

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<v Speaker 1>creating like the Lord Jesus Christ, like a person like

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<v Speaker 1>Teddy Riley could probably afford to take even I mean,

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<v Speaker 1>you know, minds you, Teddy Riley did this started the

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<v Speaker 1>Dangerous work in like nineteen ninety and so, so I

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<v Speaker 1>mean that was really the year, like he really got

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<v Speaker 1>popping in eighty seven, eighty eight, all that momentum, right, Like,

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<v Speaker 1>if he didn't have Dangerous to do, I'm almost certain

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<v Speaker 1>that Teddy Riley could have probably knocked out like maybe

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<v Speaker 1>twelve more projects or songs of that sort of thing.

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<v Speaker 1>But like Lonal Richie basically told babyfaces, don't let him

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<v Speaker 1>wear you out to the point where you're saying no

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<v Speaker 1>to the other artists because he keeps making you do

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<v Speaker 1>something over and over again. Of course, Michael makes them.

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<v Speaker 1>I forget the name of the song that they did,

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<v Speaker 1>but you know, it was going on a month and

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<v Speaker 1>they were just like, all right, we're out, and so

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<v Speaker 1>I remember them telling me that they did scream kind

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<v Speaker 1>of in record time because they had already created the

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<v Speaker 1>track ahead of time, and usually artists like to be

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<v Speaker 1>there for the process of you know, but they just

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<v Speaker 1>played a track and he instantly felt, you know, the

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<v Speaker 1>scream song. So that was half the work right there.

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<v Speaker 1>But History was the first time that I was slightly

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<v Speaker 1>slightly and people who are young like get mad at

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<v Speaker 1>me for saying this. This This is my version of

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<v Speaker 1>saying that Prince's first ten albums count and then you know,

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<v Speaker 1>everything else is whatever. The thing I didn't like about

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<v Speaker 1>History was because he had such a chip on his

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<v Speaker 1>shoulder to try to prove something, and I know his

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<v Speaker 1>preference for perfection, where if it's too perfect, you're going

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<v Speaker 1>to just get numb after the fourth song, and you

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<v Speaker 1>need highs and lows. You need to hear human Like

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<v Speaker 1>we take advantage of Off the Wall because it's like, oh,

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<v Speaker 1>it's a great album, but we're also just responding to

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<v Speaker 1>like a collaboration of actual human beings and spirits captured

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<v Speaker 1>the stuff that you don't hear through a microphone, right

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<v Speaker 1>And if it's too perfect, it just wears you out.

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<v Speaker 1>You know, it's like enough already, I get it. You

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<v Speaker 1>have the loudest kicks ever, the highest snare ever. Your

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<v Speaker 1>engineer is panning stuff in a circle that no one

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<v Speaker 1>else can do. And so by the time I got

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<v Speaker 1>to History, I was just worn out and really didn't

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<v Speaker 1>listen to it. But you know, for the record, I've

0:12:22.320 --> 0:12:25.320
<v Speaker 1>also went on record in my book to say that

0:12:25.800 --> 0:12:30.400
<v Speaker 1>I have a problem with penultimates and last songs, Like

0:12:30.520 --> 0:12:33.120
<v Speaker 1>I don't watch any series the last two episodes of

0:12:33.520 --> 0:12:36.920
<v Speaker 1>streaming series, I don't watch until I know there's another season.

0:12:37.480 --> 0:12:42.480
<v Speaker 1>And so with the History album, like with Smile, the

0:12:42.600 --> 0:12:45.760
<v Speaker 1>Charlie Chaplin cover and Yeah, I think I tuned out

0:12:45.760 --> 0:12:51.160
<v Speaker 1>after Smile because that's way too sad to listen to. Yeah,

0:12:51.360 --> 0:12:55.880
<v Speaker 1>And so when I finally got to History, God damn.

0:12:57.360 --> 0:13:01.160
<v Speaker 1>History is like the most ambitious. It's like Michael Jackson's

0:13:01.240 --> 0:13:05.720
<v Speaker 1>version of Neither of the Living bass Heads by Public Enemy.

0:13:06.080 --> 0:13:10.319
<v Speaker 1>If your hip hop head of a certain ilk and

0:13:10.880 --> 0:13:14.400
<v Speaker 1>you respect certain type of arrangements like it, just the

0:13:14.480 --> 0:13:17.800
<v Speaker 1>song goes all over the place, and it's so ambitious.

0:13:17.920 --> 0:13:19.720
<v Speaker 1>And it was a record in ninety four, so I

0:13:19.840 --> 0:13:24.000
<v Speaker 1>know that MacBook pros and the tools we use now

0:13:24.600 --> 0:13:28.360
<v Speaker 1>weren't you. So I meant a lot that song was

0:13:28.400 --> 0:13:31.360
<v Speaker 1>too ambitious for its own good, and I just hit

0:13:31.440 --> 0:13:33.960
<v Speaker 1>jam up one night, like yo, man, like I know

0:13:35.160 --> 0:13:42.120
<v Speaker 1>that this song came with like like a sacrifice or

0:13:42.160 --> 0:13:45.080
<v Speaker 1>something like what did you have to give up? Like

0:13:45.240 --> 0:13:48.040
<v Speaker 1>your your marriage could be in trouble because it's like, no,

0:13:48.120 --> 0:13:50.160
<v Speaker 1>I got a Mike's called me to the studio whatever,

0:13:50.200 --> 0:13:51.720
<v Speaker 1>and I think he told me a story of like

0:13:52.840 --> 0:13:55.599
<v Speaker 1>there's a really important Lakers game that he wanted to

0:13:55.640 --> 0:13:59.520
<v Speaker 1>see between like it was either MJ and Magic's like

0:13:59.640 --> 0:14:04.320
<v Speaker 1>last last thing together or something. Yeah, and he like

0:14:04.440 --> 0:14:07.080
<v Speaker 1>Mike was like no, like I gotta cut vocals again

0:14:07.120 --> 0:14:08.880
<v Speaker 1>and da da da da da, and He's like, yeah,

0:14:09.760 --> 0:14:12.480
<v Speaker 1>it's like a really important game. But yeah, no, but

0:14:14.559 --> 0:14:17.120
<v Speaker 1>like when the spirit, you know, he does the Michael

0:14:17.200 --> 0:14:20.040
<v Speaker 1>Jagon when the Spirit hits me thing. So I'd like,

0:14:20.200 --> 0:14:22.880
<v Speaker 1>I I think I listened to that song because I

0:14:22.960 --> 0:14:26.800
<v Speaker 1>know like a lot was sacrificed humanity behind it, yeah,

0:14:26.880 --> 0:14:29.920
<v Speaker 1>to make it happen. So maybe that's why I resonate

0:14:29.960 --> 0:14:39.760
<v Speaker 1>with it.

0:14:42.240 --> 0:14:44.560
<v Speaker 3>We got three questions that came out of that episode.

0:14:45.120 --> 0:14:47.520
<v Speaker 3>I might add a fourth. This is a real easy one,

0:14:47.520 --> 0:14:51.000
<v Speaker 3>but you're the person to ask. Lyles Leland. I hope.

0:14:51.000 --> 0:14:54.000
<v Speaker 3>I said that right. Asked, is there an instrumental version

0:14:54.280 --> 0:14:59.800
<v Speaker 3>of Chill Sauce by the time in existence Chili sauce? Oh, chill, Yeah,

0:15:00.080 --> 0:15:02.000
<v Speaker 3>Chili sauce not in.

0:15:02.760 --> 0:15:05.600
<v Speaker 1>You know what. Instrumentals are hard to come by in

0:15:05.720 --> 0:15:11.160
<v Speaker 1>Prince world. There's I mean, unless you like have access

0:15:11.160 --> 0:15:15.720
<v Speaker 1>to the stems or whatever. The only time sketch that

0:15:15.840 --> 0:15:18.800
<v Speaker 1>I have that doesn't have any vocals on it. For

0:15:18.840 --> 0:15:25.680
<v Speaker 1>some reason, I have the work reel of the Walk,

0:15:27.040 --> 0:15:29.520
<v Speaker 1>and I don't even know how I got it. But essentially,

0:15:29.920 --> 0:15:32.920
<v Speaker 1>if you listen to Chlorine Bacon Skin, which is this

0:15:33.080 --> 0:15:39.440
<v Speaker 1>Prince at Mars goofing a round on Drummond bass, the

0:15:39.520 --> 0:15:44.240
<v Speaker 1>same thing for the Walk, except Prince's playing in C

0:15:44.360 --> 0:15:49.240
<v Speaker 1>sharp minor so instead of the ki of A. But yeah,

0:15:49.480 --> 0:15:52.800
<v Speaker 1>I do not know of there being an instrumental of

0:15:52.880 --> 0:15:53.520
<v Speaker 1>Chili Sauce.

0:15:53.720 --> 0:15:56.880
<v Speaker 3>Have you ever experienced a duo as in sync as

0:15:57.000 --> 0:15:57.760
<v Speaker 3>Jamin Lewis.

0:15:57.800 --> 0:16:03.960
<v Speaker 1>I have not experienced a duo as instinct of Jam

0:16:03.960 --> 0:16:09.240
<v Speaker 1>and Lewis. However, I know a trio and I will

0:16:09.360 --> 0:16:17.080
<v Speaker 1>probably say the most ideal relationship between three entities that

0:16:17.160 --> 0:16:22.680
<v Speaker 1>are creatives that I have not seen one spot nor

0:16:22.800 --> 0:16:28.440
<v Speaker 1>wrinkle when Dave was here with us, I would look

0:16:28.600 --> 0:16:32.480
<v Speaker 1>at the friendship of Dayla Soul with absolute envy, Like

0:16:32.520 --> 0:16:36.960
<v Speaker 1>there's no song or album they created that made me

0:16:37.200 --> 0:16:40.080
<v Speaker 1>more enviable than just the bond that they have with

0:16:40.120 --> 0:16:44.000
<v Speaker 1>each other. Like you've heard Maco laugh a lot on

0:16:44.800 --> 0:16:49.440
<v Speaker 1>Daylight Rocket like that really thing. Yeah, So, I mean

0:16:49.480 --> 0:16:55.160
<v Speaker 1>there's at least twenty moments where I've either walked back

0:16:55.240 --> 0:16:58.680
<v Speaker 1>by a dressing room or like say what up to

0:16:58.720 --> 0:17:00.200
<v Speaker 1>them as they're pulling up to a van and we

0:17:00.240 --> 0:17:03.320
<v Speaker 1>would do like you know Coyle shows together whatever, Like

0:17:03.800 --> 0:17:10.280
<v Speaker 1>Dave will say something and then Macio will laugh and

0:17:10.960 --> 0:17:13.960
<v Speaker 1>kind of post rounds it up with like the eye roll,

0:17:14.080 --> 0:17:18.720
<v Speaker 1>like this guy, Like I didn't know that adult, non

0:17:19.000 --> 0:17:24.719
<v Speaker 1>high school friends could be at that level where the

0:17:24.800 --> 0:17:29.400
<v Speaker 1>roots just got to that level. We're that level on stage,

0:17:30.200 --> 0:17:33.359
<v Speaker 1>which is how I prefer it. I'm more to myself

0:17:33.400 --> 0:17:36.960
<v Speaker 1>off stage, so I can't even say I might be

0:17:37.040 --> 0:17:41.520
<v Speaker 1>the problem in that equasy. So, and the other group

0:17:42.600 --> 0:17:46.640
<v Speaker 1>is the Beastie Boys touring with them like post ill communication,

0:17:47.480 --> 0:17:51.640
<v Speaker 1>they got super enlightened, and so you know, we thought

0:17:51.680 --> 0:17:53.240
<v Speaker 1>we were doing the License to Ill tour.

0:17:54.119 --> 0:17:55.680
<v Speaker 3>You mean at that point when they were getting into

0:17:55.680 --> 0:17:56.320
<v Speaker 3>bettering freedom.

0:17:56.560 --> 0:17:59.040
<v Speaker 1>Yeah, like we thought we were walking into at least

0:17:59.080 --> 0:18:02.040
<v Speaker 1>Paul's boutique. The boys and all right, where's the beer cannon,

0:18:02.200 --> 0:18:04.320
<v Speaker 1>where's the where's the women at? Wait? What are these

0:18:04.400 --> 0:18:07.520
<v Speaker 1>kids doing here? And wait, you guys are playing basketball? Yeah,

0:18:07.600 --> 0:18:12.639
<v Speaker 1>you could travel with your own basketball court and humus again.

0:18:13.680 --> 0:18:16.679
<v Speaker 1>And literally I think Kamoral and I kind of had

0:18:16.800 --> 0:18:20.320
<v Speaker 1>like a disappointed thing, like, man, they're all like nice

0:18:20.359 --> 0:18:24.359
<v Speaker 1>and family men and joking with each other like that

0:18:24.520 --> 0:18:30.800
<v Speaker 1>was our introduction to that synergy. But even then when

0:18:30.840 --> 0:18:35.040
<v Speaker 1>when y'aut passed, That's the thing I actually remember is

0:18:35.320 --> 0:18:38.360
<v Speaker 1>just they kind of had like a magic circle thing

0:18:38.400 --> 0:18:40.880
<v Speaker 1>happening before they go on stage, like they just get

0:18:40.920 --> 0:18:44.040
<v Speaker 1>each other hyped up and stand in their circle, arms

0:18:44.040 --> 0:18:46.680
<v Speaker 1>around each other like it's, you know, like they're about

0:18:46.720 --> 0:18:49.320
<v Speaker 1>to conquer the world or whatever. So I've seen that

0:18:49.359 --> 0:18:50.000
<v Speaker 1>a few times.

0:18:50.000 --> 0:18:55.080
<v Speaker 3>So yeah, trios, last question in this jam and Lewis

0:18:55.080 --> 0:18:58.120
<v Speaker 3>Batch and this week is appropriate to ask when we're

0:18:58.119 --> 0:19:04.200
<v Speaker 3>recording this overall favorite Prince deep cut today, my.

0:19:04.280 --> 0:19:07.080
<v Speaker 1>Favorite deep cut? When do we put this on the air.

0:19:07.440 --> 0:19:09.520
<v Speaker 3>We'll probably put this on the air next week.

0:19:09.440 --> 0:19:13.280
<v Speaker 1>All right, So I'm happy to announce. Actually it went

0:19:13.400 --> 0:19:16.199
<v Speaker 1>live as we're taping this. I believe like maybe it

0:19:16.240 --> 0:19:21.000
<v Speaker 1>went up like maybe ten minutes ago. Rolling Stone assigned

0:19:21.000 --> 0:19:26.360
<v Speaker 1>me my first real task in crafting for the tenth

0:19:26.400 --> 0:19:30.879
<v Speaker 1>anniversary of Prince's passing. They asked me to just put

0:19:30.920 --> 0:19:38.000
<v Speaker 1>together like ten of my favorite print songs. And you know,

0:19:38.040 --> 0:19:40.479
<v Speaker 1>I know I've used this cliche before, but you know

0:19:41.160 --> 0:19:43.040
<v Speaker 1>I'm not going to get in trouble for trying to

0:19:43.119 --> 0:19:47.320
<v Speaker 1>name my favorite oxygen gas. For that, I took in right.

0:19:47.760 --> 0:19:51.080
<v Speaker 1>So I went a step further and I said, well,

0:19:51.600 --> 0:19:53.080
<v Speaker 1>can I do more than ten? They were like, well,

0:19:53.119 --> 0:19:55.439
<v Speaker 1>do you have time to do more than ten? So

0:19:55.480 --> 0:19:58.600
<v Speaker 1>I fucked them around and wrote a whole damn book.

0:19:59.160 --> 0:20:02.200
<v Speaker 1>I wound up doing two hundred, and then it started

0:20:02.200 --> 0:20:04.639
<v Speaker 1>to turn into a memoir, because again I have this

0:20:04.920 --> 0:20:06.960
<v Speaker 1>where it happened to turn and shit into me once

0:20:06.960 --> 0:20:11.080
<v Speaker 1>I get the assignment. However, for Rolling Stone, I whittled

0:20:11.119 --> 0:20:14.719
<v Speaker 1>it down to one hundred songs in which and I

0:20:14.840 --> 0:20:21.399
<v Speaker 1>was very specific in not trying to craft like Prince's

0:20:21.520 --> 0:20:24.399
<v Speaker 1>best songs or like my rankings, because that gets you

0:20:24.440 --> 0:20:28.400
<v Speaker 1>in trouble. So I will say that these are very

0:20:28.440 --> 0:20:33.200
<v Speaker 1>specific to how these songs affected me, and a lot

0:20:33.240 --> 0:20:34.920
<v Speaker 1>of your favorites are there, A lot of your non

0:20:34.920 --> 0:20:40.200
<v Speaker 1>favorites are there. So yeah, it's live on Rollingstone dot com.

0:20:40.280 --> 0:20:45.959
<v Speaker 1>Right now, I will quickly read one hundred to ninety

0:20:46.240 --> 0:20:48.680
<v Speaker 1>and then of course you have to if you buy

0:20:48.680 --> 0:20:50.760
<v Speaker 1>the physical copy of Rolling Stone they have my top

0:20:50.800 --> 0:20:53.240
<v Speaker 1>ten in there. If you go online you will see

0:20:53.680 --> 0:20:58.320
<v Speaker 1>the remaining ninety. All right, So number one hundred is

0:20:58.400 --> 0:21:02.720
<v Speaker 1>alphabet street. Number ninety nine is in a large room

0:21:02.760 --> 0:21:09.400
<v Speaker 1>with no light. Ninety eight is visions slash dream Factory.

0:21:10.200 --> 0:21:14.919
<v Speaker 1>Number ninety seven is uptown. Number ninety six is she

0:21:15.119 --> 0:21:21.800
<v Speaker 1>Spoke to Me. Ninety five is thirteen by Madhouse, ninety

0:21:21.840 --> 0:21:26.720
<v Speaker 1>four is purple Music. Ninety three is our Destiny slash

0:21:26.840 --> 0:21:31.840
<v Speaker 1>Roadhouse Garden, ninety two is anti Christian, ninety one is

0:21:31.840 --> 0:21:35.040
<v Speaker 1>why you want to treat me so bad? And ninety

0:21:35.480 --> 0:21:38.520
<v Speaker 1>is another lever hole in your head the twelve inch

0:21:38.800 --> 0:21:42.240
<v Speaker 1>version only. So those are a ten for.

0:21:42.240 --> 0:21:44.880
<v Speaker 3>You and you over delivered on that question. Thank you.

0:21:44.920 --> 0:21:47.639
<v Speaker 3>Just as a general reminder, please if you go to

0:21:47.760 --> 0:21:52.240
<v Speaker 3>Questlovesupreme dot com, the original name of the former podcast,

0:21:52.560 --> 0:21:55.439
<v Speaker 3>there's a contact to us form write your questions that

0:21:55.520 --> 0:21:58.119
<v Speaker 3>is the best way to send them. Otherwise, DM the

0:21:58.280 --> 0:22:04.520
<v Speaker 3>QLs channel. Do not Questlove. You'll never get received. Yeah,

0:22:04.520 --> 0:22:07.199
<v Speaker 3>but thank you. And also I know we asked this

0:22:07.280 --> 0:22:09.240
<v Speaker 3>a lot, but I think when we changed our name,

0:22:09.840 --> 0:22:13.840
<v Speaker 3>our reviews changed in Apple podcasts. Please, if that's how

0:22:13.840 --> 0:22:16.240
<v Speaker 3>you consume, leave us a review, give us a rating,

0:22:16.720 --> 0:22:19.480
<v Speaker 3>spread the word. It's how we do this week to week.

0:22:19.600 --> 0:22:20.679
<v Speaker 3>Thank you all, Thank you.

0:22:42.200 --> 0:22:44.760
<v Speaker 1>Quest Love Show is a production of iHeartRadio.