1
00:00:00,880 --> 00:00:03,760
Speaker 1: Ladies and gentlemen. We talked so much about Lenny Kravitz's

2
00:00:03,840 --> 00:00:06,720
Speaker 1: life in Part one of Course Love Supreme Interview with

3
00:00:06,840 --> 00:00:10,560
Speaker 1: Lenny Kravitz. Uh So check that episode out and now

4
00:00:10,640 --> 00:00:13,960
Speaker 1: here's part two of our exclusive two part interview with

5
00:00:14,040 --> 00:00:25,120
Speaker 1: a great Lenny Kravitz of Course Love Supreme. So when

6
00:00:25,160 --> 00:00:28,280
Speaker 1: you got to Mama said, Mama said, was a complete

7
00:00:28,320 --> 00:00:32,160
Speaker 1: reaction to what was going on. That's one, at least

8
00:00:32,200 --> 00:00:36,599
Speaker 1: at myself mine too. It might be of the old ones,

9
00:00:36,720 --> 00:00:39,360
Speaker 1: might be my favorite. Is it hard for you to? Okay?

10
00:00:39,400 --> 00:00:41,520
Speaker 1: So I'm saying, is that the type of album where

11
00:00:41,560 --> 00:00:45,680
Speaker 1: you're like, you're done with it? And that's well, I'm

12
00:00:45,720 --> 00:00:48,520
Speaker 1: done with every album when it's done. I'm done with everything.

13
00:00:48,560 --> 00:00:52,120
Speaker 1: Once it's finished, I'm onto the next. But um, I

14
00:00:52,200 --> 00:00:54,760
Speaker 1: love that record, and uh I don't regret a thing,

15
00:00:54,920 --> 00:00:57,640
Speaker 1: you know, But the pressure of you still singing like

16
00:00:57,720 --> 00:01:00,720
Speaker 1: in it over till it's over, Like in your mind,

17
00:01:01,000 --> 00:01:03,800
Speaker 1: is she's still the target of that song? Like can you?

18
00:01:03,960 --> 00:01:05,880
Speaker 1: I mean, it's her song, you know. And it's actually

19
00:01:05,959 --> 00:01:08,880
Speaker 1: really interesting because I mean, we're we're best friends. We're

20
00:01:08,880 --> 00:01:12,440
Speaker 1: back to brother and sister, we're best friends. I'm with

21
00:01:12,800 --> 00:01:15,759
Speaker 1: her kids, her husband were all together. Everybody's it's one

22
00:01:15,760 --> 00:01:18,160
Speaker 1: big family, which is the way it should be. But

23
00:01:18,560 --> 00:01:20,679
Speaker 1: she came to She hadn't been to a show in

24
00:01:21,800 --> 00:01:25,039
Speaker 1: a million years since we were together. She had not

25
00:01:25,080 --> 00:01:27,800
Speaker 1: been to a show, and she came to a show

26
00:01:27,840 --> 00:01:31,560
Speaker 1: on the Struck tour, and she was with Zoe. And

27
00:01:31,600 --> 00:01:34,720
Speaker 1: it's the first time Zoe's seen her mom at my show.

28
00:01:35,160 --> 00:01:38,840
Speaker 1: So here's all of us and I'm singing these songs.

29
00:01:40,120 --> 00:01:45,000
Speaker 1: I my mama said that her. Your mama wasn't at

30
00:01:45,000 --> 00:01:47,760
Speaker 1: the show too in New York. Yes, were you there

31
00:01:47,760 --> 00:01:51,760
Speaker 1: at the Webster? Yes, and we're doing those clubs. Wait,

32
00:01:51,800 --> 00:01:53,480
Speaker 1: that's the first time she saw you? Yes, in the

33
00:01:53,520 --> 00:02:02,560
Speaker 1: second Yes, I want but she it was I looked up.

34
00:02:03,040 --> 00:02:05,040
Speaker 1: I wasn't. I didn't know if I looked up, and

35
00:02:05,040 --> 00:02:09,120
Speaker 1: I saw I was watching her hands and both of

36
00:02:09,120 --> 00:02:12,160
Speaker 1: them with this look on their face. And it was

37
00:02:12,200 --> 00:02:14,040
Speaker 1: beautiful because it was it was the first for all

38
00:02:14,080 --> 00:02:17,440
Speaker 1: of us, right, And then I guess towards the end

39
00:02:17,480 --> 00:02:20,200
Speaker 1: of the show, they actually ran out, went to the

40
00:02:21,080 --> 00:02:24,160
Speaker 1: to the DELI went to the shop and got flowers

41
00:02:24,160 --> 00:02:28,080
Speaker 1: and were throwing flowers at the stage. It was a thing.

42
00:02:28,480 --> 00:02:30,359
Speaker 1: It was beautiful. I had hoped for a little bit

43
00:02:30,400 --> 00:02:34,800
Speaker 1: because I was, you know, watching her like I was

44
00:02:34,800 --> 00:02:37,560
Speaker 1: turning on to freaker out, but I kept watching her

45
00:02:37,760 --> 00:02:39,840
Speaker 1: like watching I was like, Yo, she's really engaged in this.

46
00:02:39,960 --> 00:02:44,920
Speaker 1: And you know you remember that moment where like interrupted

47
00:02:44,960 --> 00:02:53,880
Speaker 1: the right you want a different world. Why do you

48
00:02:53,880 --> 00:02:58,880
Speaker 1: see what we're dealing with here? I mean I was

49
00:02:58,919 --> 00:03:03,640
Speaker 1: on that. I was on that it. No, it was.

50
00:03:03,680 --> 00:03:08,320
Speaker 1: It was really cool to see how amicable. So no,

51
00:03:08,480 --> 00:03:10,600
Speaker 1: the record is is a beautiful memory and I have

52
00:03:10,680 --> 00:03:13,840
Speaker 1: no problem with those songs. Are singing him or what was?

53
00:03:13,960 --> 00:03:20,440
Speaker 1: Can I ask what was her reaction to first hearing it? Then? Yeah,

54
00:03:20,600 --> 00:03:23,120
Speaker 1: I don't know. At that point it was it wasn't

55
00:03:23,160 --> 00:03:26,600
Speaker 1: It wasn't like that. So it wasn't like you finished it,

56
00:03:26,680 --> 00:03:36,080
Speaker 1: I'm not you know. Yeah. It was more more than

57
00:03:36,120 --> 00:03:41,720
Speaker 1: anything in the world. Was that one was a state

58
00:03:41,760 --> 00:03:45,080
Speaker 1: of depression. There was a two week period where I

59
00:03:45,080 --> 00:03:48,760
Speaker 1: didn't sleep where I was. I had had a guy

60
00:03:48,800 --> 00:03:53,080
Speaker 1: living with me, like just watching me like I was

61
00:03:53,320 --> 00:03:55,640
Speaker 1: ready to jump out the window. It was bad. I

62
00:03:55,680 --> 00:03:58,120
Speaker 1: wasn't sleeping, I wasn't eating. You can hear that shit

63
00:03:58,240 --> 00:04:00,800
Speaker 1: in your voice. That song was cut on a on

64
00:04:00,840 --> 00:04:03,920
Speaker 1: a what was it called Porter Studio. It was caught

65
00:04:03,920 --> 00:04:09,160
Speaker 1: on the Porter Studio on a cassette the track, uh,

66
00:04:09,760 --> 00:04:11,280
Speaker 1: and then I and then I and then I went

67
00:04:11,360 --> 00:04:14,960
Speaker 1: to Waterfront and then I over did the overdubs. But

68
00:04:15,080 --> 00:04:17,359
Speaker 1: we started on a cassette in this room and this

69
00:04:17,480 --> 00:04:22,520
Speaker 1: laft that man, I was gone, that that song was

70
00:04:22,560 --> 00:04:24,760
Speaker 1: the was was the deepest period of that record for

71
00:04:24,800 --> 00:04:28,880
Speaker 1: me emotionally, which was more than anything in this world.

72
00:04:28,960 --> 00:04:31,599
Speaker 1: I'm one of I'm glad you said that because I've

73
00:04:31,640 --> 00:04:34,480
Speaker 1: been trying to figure out it was the drum sound

74
00:04:34,520 --> 00:04:36,520
Speaker 1: for that. Let's just buy a four track already or

75
00:04:36,880 --> 00:04:41,160
Speaker 1: dig one out of your eighteen stories. I think I

76
00:04:41,200 --> 00:04:45,720
Speaker 1: think it's the Alessies, the little Gray Alessies, a little

77
00:04:45,720 --> 00:04:49,320
Speaker 1: flat one, the curve, that drum machine with the tape slap.

78
00:04:50,600 --> 00:04:53,320
Speaker 1: And also, yeah, the reason why I knew that it

79
00:04:53,400 --> 00:04:56,760
Speaker 1: was real because you you sang so dry on it.

80
00:04:57,440 --> 00:05:00,000
Speaker 1: It was just like some fifty seven line around the apart.

81
00:05:00,480 --> 00:05:03,159
Speaker 1: Yeah you're saying no, but even your vocal like you

82
00:05:03,200 --> 00:05:08,200
Speaker 1: didn't put you didn't do any inflections on it. And

83
00:05:08,240 --> 00:05:11,440
Speaker 1: I was just like yo, and I was cheering for you.

84
00:05:12,320 --> 00:05:18,040
Speaker 1: Listen to this ship. It was because when I heard it,

85
00:05:17,480 --> 00:05:21,120
Speaker 1: you know one of those songs, you know, one of

86
00:05:21,160 --> 00:05:23,120
Speaker 1: those songs you can just got rewind over and over.

87
00:05:23,680 --> 00:05:26,760
Speaker 1: And I had the cassette, so you know, I get

88
00:05:26,800 --> 00:05:31,800
Speaker 1: the anything. Yeah. Yeah, And then like I wore that

89
00:05:31,839 --> 00:05:34,359
Speaker 1: tape out and I was just like, all right, Lenny,

90
00:05:34,920 --> 00:05:38,840
Speaker 1: I believe in this performance. You gotta. I felt if

91
00:05:38,880 --> 00:05:41,960
Speaker 1: you did a video, no, actually you probably went to

92
00:05:42,040 --> 00:05:44,640
Speaker 1: jail and you gotta restrain in order. I was like,

93
00:05:44,960 --> 00:05:48,560
Speaker 1: you gotta say anything this song. You gotta set up

94
00:05:48,600 --> 00:05:56,080
Speaker 1: on her lorn recording the video that's called harassment because

95
00:06:00,000 --> 00:06:08,680
Speaker 1: you know why is that street harassment? That's a real thing.

96
00:06:09,600 --> 00:06:12,320
Speaker 1: But let me ask this because you you were straight honest,

97
00:06:12,360 --> 00:06:14,960
Speaker 1: and it's it's great as a fan, like people appreciate

98
00:06:15,040 --> 00:06:16,800
Speaker 1: that you had the first album that was about falling

99
00:06:16,839 --> 00:06:18,480
Speaker 1: in love and then you had the other album that was,

100
00:06:18,640 --> 00:06:21,520
Speaker 1: you know, about the opposite. And I guess as an artist,

101
00:06:21,560 --> 00:06:23,400
Speaker 1: when you're sitting there writing this album, you're going through

102
00:06:23,440 --> 00:06:25,000
Speaker 1: all your emotions. You're like, I gotta get to shut

103
00:06:25,000 --> 00:06:26,800
Speaker 1: out and get it out. But then you put the

104
00:06:26,880 --> 00:06:29,000
Speaker 1: album out and you have to do promo and press

105
00:06:29,040 --> 00:06:33,240
Speaker 1: around it, right, So yeah, like, how do you do that,

106
00:06:33,400 --> 00:06:35,600
Speaker 1: and at what point? And even now, like, I'm so

107
00:06:35,720 --> 00:06:37,880
Speaker 1: grateful that you are open and you're still not tired

108
00:06:37,920 --> 00:06:40,560
Speaker 1: of talking about this chapter because it's important to your

109
00:06:40,880 --> 00:06:42,760
Speaker 1: love it. On the tour now, I'm singing songs that

110
00:06:42,880 --> 00:06:45,560
Speaker 1: I'm doing saying by my Woman and different songs from

111
00:06:45,600 --> 00:06:47,920
Speaker 1: that album. I mean, but how do you do that? Like,

112
00:06:48,040 --> 00:06:50,400
Speaker 1: how do you do the promo off of these albums?

113
00:06:50,480 --> 00:06:52,520
Speaker 1: Too different? Well, then I'm sure it was a different thing,

114
00:06:52,600 --> 00:06:55,840
Speaker 1: but now they're just these like beautiful memories you know

115
00:06:56,000 --> 00:07:01,640
Speaker 1: in parts of my life that you know, Um, they're

116
00:07:01,640 --> 00:07:07,040
Speaker 1: still there. How did how did you? Were you disappointing

117
00:07:07,120 --> 00:07:10,600
Speaker 1: that black radio didn't really pick up one in over

118
00:07:10,680 --> 00:07:13,200
Speaker 1: till its obver because I felt, I don't know what.

119
00:07:13,360 --> 00:07:16,040
Speaker 1: The TV started playing the ship out on the charts

120
00:07:16,080 --> 00:07:18,000
Speaker 1: that went number so the pop would have been that

121
00:07:18,120 --> 00:07:22,840
Speaker 1: straight pop that was number two with a bullet because uh,

122
00:07:23,160 --> 00:07:25,360
Speaker 1: what's his name? Had that Robin Hood song? That would

123
00:07:25,400 --> 00:07:29,640
Speaker 1: not they had that. They had that movie money and

124
00:07:29,760 --> 00:07:35,239
Speaker 1: I sat id number two with a bullet three weeks

125
00:07:35,880 --> 00:07:37,880
Speaker 1: and they put that last bit of money on that

126
00:07:38,040 --> 00:07:43,120
Speaker 1: thing as four number three. Um, so I went number two.

127
00:07:43,120 --> 00:07:44,200
Speaker 1: I don't know what it did on the R and

128
00:07:44,240 --> 00:07:45,960
Speaker 1: B charts. I don't even did they even did they

129
00:07:46,000 --> 00:07:48,520
Speaker 1: even promoted to not to say that Black radio couldn't

130
00:07:48,520 --> 00:07:50,840
Speaker 1: just picked it up, but did they even sell it promoted?

131
00:07:51,120 --> 00:07:53,720
Speaker 1: Black radio always used to kind of be like, yeah,

132
00:07:53,800 --> 00:07:58,160
Speaker 1: that's nice, you know, like I go do promotion. Did

133
00:07:58,200 --> 00:08:01,320
Speaker 1: they send you to Jack the Rapper or the rapper?

134
00:08:03,000 --> 00:08:09,559
Speaker 1: Prince Prince did Jack the Rapper? R and B people?

135
00:08:09,640 --> 00:08:19,920
Speaker 1: Did Jack company Kevin Hart so much? My kids? No,

136
00:08:20,600 --> 00:08:23,160
Speaker 1: no b R E, no Gavin, no Jack the Rapper.

137
00:08:23,160 --> 00:08:27,760
Speaker 1: I'm guessing b r A sounds familiar. That was black

138
00:08:27,880 --> 00:08:32,199
Speaker 1: radio X wasn't. But it was like I would go.

139
00:08:32,320 --> 00:08:35,880
Speaker 1: But I did do Soul Train, yeah, the right, because

140
00:08:35,880 --> 00:08:38,880
Speaker 1: we loved it. But it was always like all right, great,

141
00:08:39,120 --> 00:08:42,000
Speaker 1: could do an interview joke and then it's like, yeah,

142
00:08:42,080 --> 00:08:46,280
Speaker 1: we'll play it twice. That's how that's yours. That's what

143
00:08:46,320 --> 00:08:48,680
Speaker 1: I'm saying. That it went number ten on R. Okay,

144
00:08:48,880 --> 00:08:53,280
Speaker 1: that's not bad because we knew, we knew he existed,

145
00:08:53,360 --> 00:08:55,000
Speaker 1: we knew we loved the music. We just didn't know

146
00:08:55,080 --> 00:08:58,199
Speaker 1: we couldn't. It was just not what they wanted. I've

147
00:08:58,280 --> 00:09:03,720
Speaker 1: never I guess besides that, I don't know, I don't,

148
00:09:03,720 --> 00:09:08,199
Speaker 1: I don't remember. But black radio. You know you're big

149
00:09:08,240 --> 00:09:20,640
Speaker 1: on Russian jew radio. What's thet st with with with

150
00:09:21,640 --> 00:09:26,480
Speaker 1: Gonna go My way? Um and things? Totally breaking this?

151
00:09:26,679 --> 00:09:28,600
Speaker 1: First of all, how did it happen? Now? How did

152
00:09:28,640 --> 00:09:33,120
Speaker 1: you finally break the ceiling into one track? First of all,

153
00:09:33,600 --> 00:09:36,839
Speaker 1: who knew that that track had nothing to do with

154
00:09:37,280 --> 00:09:45,040
Speaker 1: Hit Records Radio? No dude, it did. But post Team Spirit,

155
00:09:45,200 --> 00:09:49,040
Speaker 1: adrenaline rock was still a thing. It just felt. It

156
00:09:49,120 --> 00:09:52,559
Speaker 1: felt like a locomotive train. I didn't see it, Okay,

157
00:09:52,600 --> 00:09:55,319
Speaker 1: I didn't see it coming. We cut the track. We

158
00:09:55,440 --> 00:10:00,880
Speaker 1: cut that track in five minutes because of the state,

159
00:10:00,880 --> 00:10:03,480
Speaker 1: because another session was coming in. I was still on

160
00:10:03,640 --> 00:10:06,680
Speaker 1: that tip even on my third album. The next session

161
00:10:06,800 --> 00:10:11,160
Speaker 1: was coming in. I couldn't even block that out. There's

162
00:10:11,240 --> 00:10:13,719
Speaker 1: some there's some great feeling Games taught us called the

163
00:10:13,800 --> 00:10:18,280
Speaker 1: alpha state, where when you don't overthink ship and and

164
00:10:18,440 --> 00:10:21,400
Speaker 1: don't and you just do it and don't you know,

165
00:10:21,559 --> 00:10:24,160
Speaker 1: we're like this and the next clients in the lounge

166
00:10:24,280 --> 00:10:26,319
Speaker 1: and it's like it's getting that thing where we're kind

167
00:10:26,320 --> 00:10:29,160
Speaker 1: of five minutes over there thing and they get and

168
00:10:29,240 --> 00:10:35,000
Speaker 1: we're in there. Da da damn that puts your subconscious

169
00:10:35,120 --> 00:10:38,199
Speaker 1: in the state of perfection that you're not even aware of.

170
00:10:38,800 --> 00:10:41,400
Speaker 1: And then I had the track. I went home, wrote

171
00:10:41,440 --> 00:10:43,480
Speaker 1: the lyric and the melody because it was just a jam.

172
00:10:43,679 --> 00:10:47,000
Speaker 1: I had no idea of melody. Wrote these words, wrote

173
00:10:47,000 --> 00:10:50,080
Speaker 1: that sang it. It was like, Okay, record comes out.

174
00:10:50,080 --> 00:10:52,760
Speaker 1: They just said it's gonna be a single. They're working

175
00:10:52,840 --> 00:10:55,520
Speaker 1: it and working it and working it, trying to make

176
00:10:55,559 --> 00:11:00,199
Speaker 1: it happen. Weeks going by, nothing's happening. I think big

177
00:11:00,280 --> 00:11:02,960
Speaker 1: part of the success of that song was the visual

178
00:11:03,880 --> 00:11:08,160
Speaker 1: I met um Well, not well that, yeah, Cindy begin

179
00:11:09,080 --> 00:11:12,200
Speaker 1: came out of it, but but um marc Romanic, the director.

180
00:11:13,320 --> 00:11:15,360
Speaker 1: I met him, threw Jeff Earroff, who signed me, and

181
00:11:15,960 --> 00:11:18,280
Speaker 1: we took a walk on the East River and talked

182
00:11:18,280 --> 00:11:22,160
Speaker 1: about let's make a video and the space and then

183
00:11:22,320 --> 00:11:27,120
Speaker 1: and the light and then then that came. Then MTV

184
00:11:27,320 --> 00:11:31,599
Speaker 1: didn't want to play it. They're pushing and pushing. Not

185
00:11:31,760 --> 00:11:35,120
Speaker 1: at first, you gotta like work and get it on

186
00:11:35,200 --> 00:11:36,959
Speaker 1: the thing, and then the slow thing and then and

187
00:11:37,040 --> 00:11:41,160
Speaker 1: then you were already already pretty established. But you know

188
00:11:42,440 --> 00:11:45,160
Speaker 1: it was it didn't happen right away. They worked that

189
00:11:45,320 --> 00:11:51,720
Speaker 1: record for But when it was about to go away,

190
00:11:51,920 --> 00:11:54,679
Speaker 1: it was about to be done, and something happened and

191
00:11:54,800 --> 00:11:58,199
Speaker 1: then just went blam and that was hit. You know,

192
00:11:58,760 --> 00:12:01,839
Speaker 1: that was it? Yeah, but it was a moment. It

193
00:12:01,920 --> 00:12:12,679
Speaker 1: was a moment. It almost didn't happen. Damn, Wait a minute.

194
00:12:12,720 --> 00:12:15,079
Speaker 1: You want to go to that show you I forgot

195
00:12:15,160 --> 00:12:19,880
Speaker 1: You produced one of my favorite records, Vanessa Paradis debut. Okay,

196
00:12:20,120 --> 00:12:27,280
Speaker 1: you're so smart. You always you always get it backchally okaysa.

197
00:12:28,320 --> 00:12:31,040
Speaker 1: I was producing Vanessa's album at the same time, and

198
00:12:31,120 --> 00:12:36,040
Speaker 1: it was Vanessa waiting to come to her session, so

199
00:12:36,960 --> 00:12:38,760
Speaker 1: it was her session, but I had to still work

200
00:12:39,000 --> 00:12:41,599
Speaker 1: right but she was ready to then come in it

201
00:12:41,679 --> 00:12:48,040
Speaker 1: was her time, and it was like she can't hear

202
00:12:48,080 --> 00:12:53,880
Speaker 1: this well, it was kind of like we were cutting tracks.

203
00:12:54,000 --> 00:12:59,400
Speaker 1: I was cutting tracks for her that obviously would have

204
00:12:59,440 --> 00:13:03,280
Speaker 1: been too too hard for her. But when I when

205
00:13:03,360 --> 00:13:05,160
Speaker 1: we first were cutting it, I didn't know who it

206
00:13:05,240 --> 00:13:07,240
Speaker 1: was for. I was doing my stuff and I was

207
00:13:07,320 --> 00:13:09,719
Speaker 1: doing Vanessa's at the same time, so it was just like,

208
00:13:10,080 --> 00:13:15,360
Speaker 1: let's just hurry up and just take this one home. Yeah. Yeah,

209
00:13:16,000 --> 00:13:19,280
Speaker 1: So that record was made at the same time. Hoboken. Also,

210
00:13:19,720 --> 00:13:21,880
Speaker 1: all of that was in Hoboken. Yeah, the Vanessa Parity

211
00:13:21,960 --> 00:13:24,880
Speaker 1: Record and are you gonna come out? I did everything

212
00:13:24,960 --> 00:13:29,839
Speaker 1: up to Circus in there. Circus was part of New York,

213
00:13:29,920 --> 00:13:35,120
Speaker 1: part Bahamas. Yeah, and wait we're in Hoboken. And it

214
00:13:35,240 --> 00:13:37,480
Speaker 1: was a building called the Della Quilla Building was it's

215
00:13:37,679 --> 00:13:41,520
Speaker 1: fifteenth in Washington and it was this big ugly brown

216
00:13:41,600 --> 00:13:47,360
Speaker 1: and yellow yellow windows, spray painted sweat shop. Factory people people,

217
00:13:47,360 --> 00:13:51,000
Speaker 1: and they're making purses and sweaters and ship still now

218
00:13:51,080 --> 00:13:58,040
Speaker 1: it's a fabulous condominium everything. Yeah, damn. But it was

219
00:13:58,120 --> 00:14:01,160
Speaker 1: waterfront Yeah. Wait, so the T Building that is it now?

220
00:14:01,240 --> 00:14:03,040
Speaker 1: The T Building, I don't know what it's at the

221
00:14:03,240 --> 00:14:05,160
Speaker 1: end that he didn't wash. It's at the end, that

222
00:14:05,280 --> 00:14:07,960
Speaker 1: big building. And they used to be like a smoke stack.

223
00:14:08,000 --> 00:14:11,160
Speaker 1: I don't know if that's gone. Are still there? But yeah, wow,

224
00:14:11,720 --> 00:14:21,760
Speaker 1: okay you skipped over. You have a change. Okay. So

225
00:14:22,040 --> 00:14:26,720
Speaker 1: my number one question about it, yes, why did they

226
00:14:26,920 --> 00:14:31,120
Speaker 1: not clear security of the first world? Because I just

227
00:14:31,200 --> 00:14:32,640
Speaker 1: chucked like do you feel a certain way? He was

228
00:14:32,680 --> 00:14:34,440
Speaker 1: like no, you know what, I don't care. We had

229
00:14:34,480 --> 00:14:37,280
Speaker 1: a thing for a minute. They were like they were like, well,

230
00:14:37,320 --> 00:14:38,880
Speaker 1: we're gonna come after you. And I was like, well,

231
00:14:39,760 --> 00:14:41,840
Speaker 1: you sampled it from this and added and then I

232
00:14:41,920 --> 00:14:45,320
Speaker 1: don't know it, but is the version of drummer? Right?

233
00:14:47,800 --> 00:14:53,680
Speaker 1: I forgot the original sample. It's no, no, it's Iom

234
00:14:53,720 --> 00:14:57,600
Speaker 1: trying to do funky drummer on the drum machine. It was.

235
00:14:57,840 --> 00:15:07,040
Speaker 1: But once I got the yeah, I recognized what Joanna

236
00:15:07,040 --> 00:15:14,440
Speaker 1: came from because there's a cowboy in there. It's just yeah,

237
00:15:15,360 --> 00:15:21,160
Speaker 1: you're right. So at the time, like, uh, well, I

238
00:15:21,320 --> 00:15:25,040
Speaker 1: was in the studio doing this thing, and I had

239
00:15:25,080 --> 00:15:30,480
Speaker 1: this guy with me, um who I was going to

240
00:15:30,560 --> 00:15:32,840
Speaker 1: play the drums or do something, but they don't have

241
00:15:32,880 --> 00:15:34,840
Speaker 1: the mics together. So I was like, I just need

242
00:15:34,920 --> 00:15:37,120
Speaker 1: a beat. That's kind of like this I needed. And

243
00:15:37,440 --> 00:15:39,920
Speaker 1: this guy gave me the beat. I didn't know what

244
00:15:40,000 --> 00:15:43,160
Speaker 1: I didn't even know what it was. He's just like, here,

245
00:15:43,600 --> 00:15:46,040
Speaker 1: use this, and I was like, oh, ship, that's bad.

246
00:15:46,160 --> 00:15:50,200
Speaker 1: I mean, that's that's great, right, And then I put

247
00:15:50,240 --> 00:15:52,960
Speaker 1: the strings and the stuff, and and then I don't know,

248
00:15:52,960 --> 00:15:55,640
Speaker 1: if you know, when Madonna's talking, I'm in the back

249
00:15:55,720 --> 00:15:59,880
Speaker 1: singing this melody falsetto that was meant to be the

250
00:16:00,080 --> 00:16:03,200
Speaker 1: That was the scratch track of the melody of the song.

251
00:16:03,720 --> 00:16:08,240
Speaker 1: But then afterwards you know Ingrid wrote the words to

252
00:16:08,920 --> 00:16:12,840
Speaker 1: to to the song, and she started writing this poetry

253
00:16:12,920 --> 00:16:15,440
Speaker 1: thing to it. So I was like, okay, well that's dope.

254
00:16:15,960 --> 00:16:18,440
Speaker 1: So we just left my melody in the back as

255
00:16:18,520 --> 00:16:22,080
Speaker 1: this sort of distant voice. Do you do you know

256
00:16:22,360 --> 00:16:25,760
Speaker 1: the story of the master reel or the master reel

257
00:16:25,960 --> 00:16:29,840
Speaker 1: of Justify My Love? I think this happened after the fact. Okay,

258
00:16:29,960 --> 00:16:34,680
Speaker 1: so we're working on our album. Whoever the assistant engineer

259
00:16:34,920 --> 00:16:40,280
Speaker 1: was for for Justified My Love. I guess there's once

260
00:16:40,640 --> 00:16:42,520
Speaker 1: the final mix was done or whatever, and they're like,

261
00:16:42,720 --> 00:16:46,200
Speaker 1: because we cut Madonna. It wasn't the Waterfront. She wasn't

262
00:16:46,200 --> 00:16:50,000
Speaker 1: gonna come out to Jersey, so it was placed in

263
00:16:50,040 --> 00:16:51,920
Speaker 1: the city. I don't New York. The studio that I

264
00:16:51,920 --> 00:16:53,720
Speaker 1: don't even he was the remember which one it was, right,

265
00:16:53,920 --> 00:16:56,600
Speaker 1: So he was he's there during the time when you're

266
00:16:56,600 --> 00:17:03,200
Speaker 1: cutting vocals with Madonna, and so all right, something happens

267
00:17:03,560 --> 00:17:07,399
Speaker 1: and he says he got fired from He said it

268
00:17:07,480 --> 00:17:10,760
Speaker 1: wasn't you or or you know, but the studio fired

269
00:17:10,840 --> 00:17:17,040
Speaker 1: him because, uh he accidentally erased or chipped a bad

270
00:17:17,280 --> 00:17:20,600
Speaker 1: edit or like accidentally a race part of her vocal

271
00:17:21,240 --> 00:17:25,520
Speaker 1: voke right at the at the end of the process

272
00:17:26,080 --> 00:17:30,960
Speaker 1: by accident and he got fired, and but you weren't

273
00:17:30,960 --> 00:17:33,320
Speaker 1: aware of that. So the story is going completely nowhere.

274
00:17:37,440 --> 00:17:40,119
Speaker 1: But I have a follow up question. Have you ever

275
00:17:40,160 --> 00:17:47,200
Speaker 1: heard I'll Be Sure's version of Justify Your Love? Why

276
00:17:47,240 --> 00:17:51,879
Speaker 1: do you know it was? It was a B side

277
00:17:52,000 --> 00:17:54,520
Speaker 1: to remember on the second time he did the duet

278
00:17:54,560 --> 00:17:57,920
Speaker 1: with Diana Ross, no matter, it's the B side of that,

279
00:17:58,000 --> 00:18:00,439
Speaker 1: and it has Joe Casey Haley singing on it too.

280
00:18:01,520 --> 00:18:03,760
Speaker 1: It was basically, Wow, I did not know it's called

281
00:18:03,840 --> 00:18:08,879
Speaker 1: owl Justify your Love waits on YouTube? It on YouTube?

282
00:18:09,040 --> 00:18:17,879
Speaker 1: Ship will know that a l oh, that's dope, l

283
00:18:18,240 --> 00:18:23,000
Speaker 1: apotrophe l as an owl will owl justified? How do

284
00:18:23,040 --> 00:18:31,000
Speaker 1: you know thet you got? You got no because I'm

285
00:18:31,119 --> 00:18:36,000
Speaker 1: I'm a big I'll be Short fan. You're really Wait

286
00:18:36,160 --> 00:18:43,600
Speaker 1: when we're at it, Wait what dudes like when I

287
00:18:43,720 --> 00:18:46,080
Speaker 1: missed that one? I didn't know. I'm afraid to listen

288
00:18:46,119 --> 00:18:47,840
Speaker 1: to this. It was a bestie. I didn't expect many

289
00:18:47,840 --> 00:18:52,520
Speaker 1: people to say. It does play right here on Quest

290
00:18:52,560 --> 00:18:56,639
Speaker 1: Little Supreme with Lady Kravitz. And then after that, can

291
00:18:56,680 --> 00:19:03,080
Speaker 1: we play the young Black Teenagers version to oh Am

292
00:19:03,080 --> 00:19:18,200
Speaker 1: at the Beach? I'm not saying anything sing oh whoa writers,

293
00:19:18,280 --> 00:19:22,200
Speaker 1: I'll be short. English is Lenny Kravitz and chub Rock.

294
00:19:22,880 --> 00:19:25,480
Speaker 1: Little chump Rock is on this. I forgot. Oh my god,

295
00:19:25,760 --> 00:19:30,040
Speaker 1: Varty swing Joe to see Oh he's us he's an

296
00:19:30,040 --> 00:19:37,560
Speaker 1: example too, this weekend. That's a that's beautiful. That's Joe,

297
00:19:37,600 --> 00:19:40,200
Speaker 1: Joe singing just well my love. That sounds like it

298
00:19:40,200 --> 00:19:47,360
Speaker 1: should be in the in the sex scene. And boomerang whistle,

299
00:19:49,440 --> 00:19:54,040
Speaker 1: oh there is that was on every record during that time,

300
00:19:54,320 --> 00:20:01,520
Speaker 1: and flute like, yeah, it's not it sounds like boomerang.

301
00:20:01,840 --> 00:20:06,680
Speaker 1: This sounds like strong saying. But but the commercial world,

302
00:20:06,800 --> 00:20:13,040
Speaker 1: he let old boy do his own feeling. Jerdy let

303
00:20:13,080 --> 00:20:23,040
Speaker 1: him to do vagina. Yeah, the thing that happens never changed,

304
00:20:23,080 --> 00:20:28,400
Speaker 1: Boss Bill, my brothers I you weren't seeing no checks

305
00:20:28,400 --> 00:20:31,600
Speaker 1: from this. It was a B side, so yeah, it

306
00:20:31,600 --> 00:20:34,639
Speaker 1: was only se for like what two weeks. My god,

307
00:20:39,560 --> 00:20:43,440
Speaker 1: I'm sorry, we don't like me And that was a

308
00:20:43,520 --> 00:20:51,119
Speaker 1: questions bring Jesus Christ? Alright, alright, that was I justified

309
00:20:51,280 --> 00:20:53,359
Speaker 1: because the thing was I would expect to do that

310
00:20:53,560 --> 00:20:58,560
Speaker 1: like ten years down the line, second second album, second album,

311
00:20:58,600 --> 00:21:02,680
Speaker 1: bro Private Times and the whole now Jesus Christ on

312
00:21:02,760 --> 00:21:05,439
Speaker 1: the B side of that, Diana Danna Rosta. Is there

313
00:21:05,440 --> 00:21:09,960
Speaker 1: any other Lenny Kravitz treats that we don't know about? Yeah,

314
00:21:10,960 --> 00:21:18,600
Speaker 1: I got one, the I'm over here, Uh, the the

315
00:21:19,119 --> 00:21:21,399
Speaker 1: Mick Jaggers song, the Bill Wither's song you did with

316
00:21:21,480 --> 00:21:26,920
Speaker 1: Mick Jack you produced. I I'm very happy that I

317
00:21:27,000 --> 00:21:30,040
Speaker 1: did that, But I had nothing. Rick Rubin produced it. Okay,

318
00:21:30,359 --> 00:21:32,639
Speaker 1: but and I love Rick and Rick's one of my

319
00:21:32,760 --> 00:21:35,760
Speaker 1: dearest friends. Did you not produce a Mick Jagger? I

320
00:21:35,840 --> 00:21:39,040
Speaker 1: produced a song called God Gave Me Everything on nix

321
00:21:39,840 --> 00:21:44,600
Speaker 1: next solo record, Okay, on Goddess in the Doorway. Okay,

322
00:21:44,800 --> 00:21:49,639
Speaker 1: yeah you're talking about but use me? Yeah it was

323
00:21:49,680 --> 00:21:54,160
Speaker 1: all right. Wait make Jacker did use me with Lenny.

324
00:21:54,280 --> 00:21:58,840
Speaker 1: Yeah it was me being a Bill Withers man. And

325
00:21:59,280 --> 00:22:02,120
Speaker 1: I you know, I'm happy I did it and it's cool.

326
00:22:02,240 --> 00:22:09,159
Speaker 1: But sorry, yeah it sounds really good. But okay, I

327
00:22:09,280 --> 00:22:12,960
Speaker 1: have I have a general I have a general rule

328
00:22:13,040 --> 00:22:15,680
Speaker 1: about like working with your idols or whatever, like people

329
00:22:15,680 --> 00:22:18,040
Speaker 1: that you learn because it could go one way or

330
00:22:18,119 --> 00:22:21,080
Speaker 1: the other where if they're too famous, you can't tell

331
00:22:21,160 --> 00:22:23,720
Speaker 1: them nothing. But I had them to do with it,

332
00:22:23,760 --> 00:22:25,720
Speaker 1: like it wasn't my production, It wasn't my thing. It

333
00:22:25,840 --> 00:22:30,000
Speaker 1: wasn't it just you know, did you wish you had

334
00:22:30,160 --> 00:22:33,359
Speaker 1: control that song? I mean, did they check you out

335
00:22:33,400 --> 00:22:35,399
Speaker 1: of your old Okay, that's what I'm trying to go

336
00:22:35,520 --> 00:22:39,280
Speaker 1: with it. Was it too clean? Yeah it was, but

337
00:22:40,280 --> 00:22:47,639
Speaker 1: it was we're talking about Bill Withers. But then again

338
00:22:48,240 --> 00:22:52,160
Speaker 1: it was a matter what. It was different, and that's cool.

339
00:22:52,400 --> 00:22:54,920
Speaker 1: You know it was different. But just in looking back,

340
00:22:55,080 --> 00:22:57,600
Speaker 1: I know you're not trying to drive anybody under the

341
00:22:57,760 --> 00:23:00,720
Speaker 1: drive anybody, roll anybody over the bus. I get on

342
00:23:00,800 --> 00:23:05,520
Speaker 1: a Mick Jagger album, Oh shit, I am Oh, you

343
00:23:05,680 --> 00:23:14,760
Speaker 1: just snitched on me. I forgot only a couple of

344
00:23:14,800 --> 00:23:17,359
Speaker 1: years ago. I forgot. I'm looking up he got like

345
00:23:18,320 --> 00:23:19,920
Speaker 1: I want to know, But it wasn't. It was like

346
00:23:20,280 --> 00:23:22,960
Speaker 1: he did a project with which Marley at the moment,

347
00:23:23,280 --> 00:23:28,000
Speaker 1: it's like the probably probably it's like d Marley Johnstone.

348
00:23:29,040 --> 00:23:33,920
Speaker 1: They had a band Dave Stewart. Yeah, it was on

349
00:23:34,040 --> 00:23:38,520
Speaker 1: the thing was Alfie soundtrack, right, they did a whole

350
00:23:38,560 --> 00:23:42,920
Speaker 1: album and like the thing was he called me directly

351
00:23:44,080 --> 00:23:46,040
Speaker 1: and I thought it was Jimmy trying to funk with me.

352
00:23:47,600 --> 00:23:51,000
Speaker 1: It was no, you know, Mick Jack and I was like,

353
00:23:51,400 --> 00:23:53,879
Speaker 1: all right, just like everyone that has that type of

354
00:23:53,920 --> 00:23:56,560
Speaker 1: story where it takes you fifteen minutes to believe it.

355
00:23:56,640 --> 00:23:58,680
Speaker 1: I hung up. I called Jimmy. I'm like a waiting.

356
00:23:58,800 --> 00:24:03,560
Speaker 1: Jimmy's like, no, it wasn't me. And finally I realized

357
00:24:03,600 --> 00:24:07,600
Speaker 1: that it was Mick Jagger calling me, and but I

358
00:24:07,680 --> 00:24:12,040
Speaker 1: love Nick. I mean, jack Man, you must say no

359
00:24:12,160 --> 00:24:14,440
Speaker 1: what to a lot though, right because you don't. It's

360
00:24:14,480 --> 00:24:16,200
Speaker 1: not like you're the you always say yes to a

361
00:24:16,240 --> 00:24:18,720
Speaker 1: lot of things like this was Lenny produced. Disney wrote

362
00:24:18,760 --> 00:24:20,560
Speaker 1: this me did it like I say yes to you

363
00:24:24,280 --> 00:24:25,840
Speaker 1: to give me to shut up because it's gonna work.

364
00:24:30,720 --> 00:24:33,719
Speaker 1: I don't I know. That's just trying to push your

365
00:24:33,720 --> 00:24:41,240
Speaker 1: button over there. Gold film your reactions late on. Hold on,

366
00:24:41,880 --> 00:24:45,240
Speaker 1: I say yes to you. See what you don't know

367
00:24:45,320 --> 00:24:50,119
Speaker 1: that have a glandular problem. Start you don't start sweating.

368
00:24:50,840 --> 00:25:03,680
Speaker 1: I can have a GLANDI I have a glandier. It

369
00:25:03,840 --> 00:25:06,040
Speaker 1: just went from a pickle. We're trying to push this

370
00:25:06,160 --> 00:25:09,600
Speaker 1: timeline here to get him out something else. Because I

371
00:25:09,600 --> 00:25:11,840
Speaker 1: would talk to her today and yeah, she told me

372
00:25:11,840 --> 00:25:15,120
Speaker 1: to tell you she loves you. She's probably after they've

373
00:25:15,160 --> 00:25:20,399
Speaker 1: been on the show. I talked to Creed that that

374
00:25:20,520 --> 00:25:23,280
Speaker 1: was a moment. That's that's when I was making a

375
00:25:23,280 --> 00:25:26,960
Speaker 1: live I know, the same time, both those at the

376
00:25:27,000 --> 00:25:31,280
Speaker 1: same time in the Bahamas. Yeah, she's and she got robbed.

377
00:25:31,840 --> 00:25:35,920
Speaker 1: She got robbed. They didn't know what to do. She

378
00:25:36,040 --> 00:25:38,320
Speaker 1: was just earlier. I think she was early. She super early.

379
00:25:38,560 --> 00:25:41,280
Speaker 1: She was super early. The label like folded, it was

380
00:25:41,359 --> 00:25:43,639
Speaker 1: like a whole it was. She still Freddy too, so

381
00:25:43,800 --> 00:25:49,080
Speaker 1: that was like I was in college. But it's those

382
00:25:49,160 --> 00:25:53,040
Speaker 1: that know no that record Lane Sleep. They're stole it

383
00:25:53,080 --> 00:25:56,159
Speaker 1: from me. So you know, you know what I did,

384
00:25:56,280 --> 00:25:59,760
Speaker 1: steal it from you? You gave me. Yeah, my bad.

385
00:26:00,040 --> 00:26:02,440
Speaker 1: That's sorry, that's cool, but I got your jobs. So

386
00:26:02,760 --> 00:26:05,760
Speaker 1: you know we even though we are. But will y'all

387
00:26:05,800 --> 00:26:10,119
Speaker 1: ever meet again? Absolutely, We've been talking about it, that thing.

388
00:26:10,400 --> 00:26:13,000
Speaker 1: I've just been so busy finishing this record. But yes,

389
00:26:14,119 --> 00:26:18,320
Speaker 1: that would be just a pleasure with five that rate.

390
00:26:18,560 --> 00:26:23,920
Speaker 1: We skipped an albums. Oh yes, back to the Boss.

391
00:26:25,520 --> 00:26:31,000
Speaker 1: Yes we did Circus. Why why did everybody like that record?

392
00:26:31,119 --> 00:26:33,280
Speaker 1: I don't get it. I remember the lead wasn't they

393
00:26:33,280 --> 00:26:36,280
Speaker 1: had to leave ruined? Was it vibe or I don't

394
00:26:36,320 --> 00:26:38,720
Speaker 1: know it was. I remember that I wanted to read

395
00:26:38,720 --> 00:26:40,320
Speaker 1: in an early review on it, and it was either

396
00:26:40,560 --> 00:26:42,760
Speaker 1: vibe but they gave you the lead review and they

397
00:26:42,840 --> 00:26:44,760
Speaker 1: were kind of dismissive about it. They wouldn't have got that.

398
00:26:44,880 --> 00:26:48,159
Speaker 1: But the thing is, and my fan like the like

399
00:26:48,280 --> 00:26:52,240
Speaker 1: the fan fans, that's their record. Yeah, yeah, it's But

400
00:26:52,400 --> 00:26:57,320
Speaker 1: the thing is is that have we known any musician

401
00:26:58,320 --> 00:27:02,960
Speaker 1: two make a song about a genre that they don't

402
00:27:03,000 --> 00:27:06,520
Speaker 1: like it anymore and it's ever worked, Like there's a

403
00:27:07,520 --> 00:27:09,080
Speaker 1: there's a hip hop is dead, there's a rock and

404
00:27:09,160 --> 00:27:10,879
Speaker 1: roll is dead there And then Prince answered me with

405
00:27:11,160 --> 00:27:14,560
Speaker 1: rock and rolls rocket apples and he called me. He's

406
00:27:14,560 --> 00:27:19,639
Speaker 1: like he said that it was I that was for you.

407
00:27:20,359 --> 00:27:22,000
Speaker 1: Oh yeah, that was the answer to rock and roll

408
00:27:22,040 --> 00:27:32,280
Speaker 1: is dead or always wait it's circus, Lenny, like electric

409
00:27:32,320 --> 00:27:36,800
Speaker 1: circus is too common? Isn't that a circus thing? Black

410
00:27:36,800 --> 00:27:38,879
Speaker 1: people need to stop making albums named r a circus.

411
00:27:39,040 --> 00:27:44,800
Speaker 1: I'm just I'm just because I'm still I don't circus

412
00:27:44,920 --> 00:27:49,240
Speaker 1: was all the craziness now of all that was going on. Yeah,

413
00:27:49,280 --> 00:27:52,879
Speaker 1: but fame was crazy, but you were still you were

414
00:27:52,920 --> 00:27:55,040
Speaker 1: still My mom was dying, like it was just like

415
00:27:55,400 --> 00:27:58,040
Speaker 1: my world of the circus. It was a complete upside

416
00:27:58,080 --> 00:28:02,800
Speaker 1: down thing that was happening. Um, I never felt as

417
00:28:02,840 --> 00:28:07,560
Speaker 1: though you were off of your your off your deam

418
00:28:08,080 --> 00:28:12,440
Speaker 1: as far as I know, right straight Philly felt used

419
00:28:12,440 --> 00:28:15,360
Speaker 1: off your deam with as far as your silence are concerned.

420
00:28:15,600 --> 00:28:19,680
Speaker 1: So I didn't consider the Departure record saying like like

421
00:28:20,240 --> 00:28:21,959
Speaker 1: I mean, it was different. It was a left turn

422
00:28:22,000 --> 00:28:23,280
Speaker 1: after I get on my way, and of course the

423
00:28:23,359 --> 00:28:26,240
Speaker 1: label was like, we want one more of those. And

424
00:28:26,600 --> 00:28:29,160
Speaker 1: you know, then I went and made circus and took

425
00:28:29,200 --> 00:28:32,959
Speaker 1: all these weird photographs and made weird videos and you know, um,

426
00:28:33,160 --> 00:28:36,840
Speaker 1: it was that moment. So were you nervous about uh,

427
00:28:37,280 --> 00:28:40,440
Speaker 1: losing the momentum? Not at all? Making Okay, not at all.

428
00:28:40,480 --> 00:28:43,560
Speaker 1: I didn't care. Why didn't you care? Because I was.

429
00:28:43,760 --> 00:28:46,680
Speaker 1: I never thought about any of this. I just did

430
00:28:47,120 --> 00:28:49,280
Speaker 1: what came out of me, and that that for me

431
00:28:49,440 --> 00:28:53,280
Speaker 1: is this success, you know, freedom, just this is how

432
00:28:53,360 --> 00:28:54,800
Speaker 1: I feel. This is the music, This is what we

433
00:28:54,880 --> 00:28:57,520
Speaker 1: get right now, whether we like it or not, This

434
00:28:57,600 --> 00:29:01,040
Speaker 1: is what we get. This is real, you know. And

435
00:29:01,080 --> 00:29:02,920
Speaker 1: then you've got songs in there like that, you know,

436
00:29:03,000 --> 00:29:07,200
Speaker 1: I can't get you off my mind and and yeah

437
00:29:09,160 --> 00:29:12,440
Speaker 1: tunnel Vision and yeah, I remember just reading the review

438
00:29:12,520 --> 00:29:15,400
Speaker 1: and then at the time I went to the thing

439
00:29:15,520 --> 00:29:18,400
Speaker 1: was the warehouse music that was in the mall was

440
00:29:18,600 --> 00:29:20,680
Speaker 1: at the time, and they had it on the listening station,

441
00:29:21,120 --> 00:29:22,840
Speaker 1: and so I just listened to and I was like, damn,

442
00:29:23,000 --> 00:29:25,400
Speaker 1: like it don't I didn't get where the flat was

443
00:29:25,480 --> 00:29:27,360
Speaker 1: coming from. It was just it was just out there.

444
00:29:27,360 --> 00:29:28,520
Speaker 1: It was just it was just kind of an out

445
00:29:28,560 --> 00:29:32,280
Speaker 1: there record, man. But I think in general, and you know,

446
00:29:32,520 --> 00:29:36,360
Speaker 1: it's kind of been unspoken here, but I also feel

447
00:29:38,320 --> 00:29:42,560
Speaker 1: that critically you've gotten a lot of double standard flak

448
00:29:43,960 --> 00:29:48,040
Speaker 1: um oh that. Yeah. And it's like the things they

449
00:29:48,080 --> 00:29:51,200
Speaker 1: were later calling people genius for they were talgging me for. Yeah,

450
00:29:51,200 --> 00:29:52,640
Speaker 1: and I'm saying, you've been in the room with me,

451
00:29:53,120 --> 00:29:57,240
Speaker 1: like when okay, hope they don't kick me off the committee.

452
00:29:57,840 --> 00:30:00,640
Speaker 1: But when we go to Rolling Stone to to vote

453
00:30:01,600 --> 00:30:06,360
Speaker 1: for the rock and room like that room controls like

454
00:30:07,360 --> 00:30:12,440
Speaker 1: all the critical reviews of you know, of it's their opinions,

455
00:30:12,720 --> 00:30:19,240
Speaker 1: and I, yeah, I definitely see people being protective of there,

456
00:30:19,360 --> 00:30:21,640
Speaker 1: you know, their teenage history and feeling some sort of

457
00:30:21,680 --> 00:30:25,000
Speaker 1: way that you know, I mean, so that's never bothered you,

458
00:30:25,120 --> 00:30:27,760
Speaker 1: like a reviewers never. I don't I mean, yeah, you

459
00:30:27,960 --> 00:30:31,560
Speaker 1: you read some bullshit about yourself. It's just like you

460
00:30:31,600 --> 00:30:34,480
Speaker 1: can tell the reviewers got a thing. I mean, I've

461
00:30:34,480 --> 00:30:36,000
Speaker 1: seen those duties. I was like, damn, dude, I like

462
00:30:36,120 --> 00:30:41,000
Speaker 1: slap his mama, like I've seen that, you know. But

463
00:30:41,320 --> 00:30:45,440
Speaker 1: whatever whatever he said that like did I sleep at

464
00:30:45,440 --> 00:30:49,200
Speaker 1: your girl or something like the album should not cause this.

465
00:30:49,560 --> 00:30:52,520
Speaker 1: I'm enjoying. I'm enjoying the journey and I'm still here.

466
00:30:53,320 --> 00:30:57,720
Speaker 1: So like I'm I'm just grateful, blessed, like I'm I'm

467
00:30:57,760 --> 00:30:59,640
Speaker 1: all good with it, and you're like a living legends

468
00:30:59,680 --> 00:31:01,240
Speaker 1: or I think to the day, even if you left

469
00:31:01,320 --> 00:31:04,000
Speaker 1: this world today, doesn't you would still be there and

470
00:31:04,080 --> 00:31:11,000
Speaker 1: nothing matter. I was just saying, welcome, plening in perspective

471
00:31:11,040 --> 00:31:12,920
Speaker 1: that at this point it don't matter. You're free, you

472
00:31:12,960 --> 00:31:14,440
Speaker 1: can do what you want, and you are a legends.

473
00:31:14,440 --> 00:31:16,000
Speaker 1: So that's the right of a legend there. You know,

474
00:31:16,640 --> 00:31:19,160
Speaker 1: you're a young living legend, but you are. Thank you, man, dear,

475
00:31:19,320 --> 00:31:38,280
Speaker 1: thank you mama. So with five, thank you professing low Sorry,

476
00:31:38,280 --> 00:31:40,479
Speaker 1: I know you're doing this sound for me. It's all

477
00:31:40,560 --> 00:31:48,400
Speaker 1: good man, I'm happy to be. We're going to get um. Yeah,

478
00:31:48,440 --> 00:31:51,280
Speaker 1: but I definitely have questions about the new records. So yeah, yeah,

479
00:31:51,400 --> 00:31:57,160
Speaker 1: but we're good, okay. Questions five. That was a record

480
00:31:57,240 --> 00:31:59,200
Speaker 1: I bought that I was working at a record slore

481
00:31:59,280 --> 00:32:04,320
Speaker 1: that summer and I'm bought it, purchased. I purchased, Yeah, yeah, yeah.

482
00:32:04,360 --> 00:32:07,440
Speaker 1: I have a history of stealing music before you could

483
00:32:07,440 --> 00:32:10,040
Speaker 1: go on, before you going now, I stole in the

484
00:32:10,120 --> 00:32:15,160
Speaker 1: Real World and Sidewalk Harressment. No, that Sidewalk Correst. But no,

485
00:32:15,320 --> 00:32:17,600
Speaker 1: I bought that record because that was the first single

486
00:32:17,680 --> 00:32:21,040
Speaker 1: the um that if you can't say no everywhere, like

487
00:32:21,120 --> 00:32:25,080
Speaker 1: that ship that was America. Yeah, how did you get

488
00:32:25,160 --> 00:32:29,280
Speaker 1: Mila Djovic to do that? Joint? Is that her name right? Yeah?

489
00:32:31,240 --> 00:32:42,200
Speaker 1: Jojevich okay, j So no you didn't. Joch Is like

490
00:32:43,160 --> 00:32:49,120
Speaker 1: we've been calling her um smart caller okay yeah, smart

491
00:32:49,200 --> 00:32:55,120
Speaker 1: caller um. But that record was I I took a

492
00:32:55,160 --> 00:32:58,760
Speaker 1: different turn sonically. Yeah. I started playing drama, started playing

493
00:32:58,800 --> 00:33:03,720
Speaker 1: with some metric stuff, started looping some stuff. Um. Actually

494
00:33:03,760 --> 00:33:06,320
Speaker 1: it was Billy Corgan that turned me onto some gear

495
00:33:07,040 --> 00:33:11,320
Speaker 1: um from on the same label and we were friendly

496
00:33:11,400 --> 00:33:13,200
Speaker 1: and he's like, man, you gotta start using this and

497
00:33:13,360 --> 00:33:17,640
Speaker 1: check this out because that was because that was and

498
00:33:17,720 --> 00:33:19,240
Speaker 1: that was when the Smashing poem was that was the

499
00:33:19,720 --> 00:33:23,480
Speaker 1: Door album. Yeah, so that was so he turned me

500
00:33:23,520 --> 00:33:25,040
Speaker 1: on to some gear and some stuff. I just started

501
00:33:25,080 --> 00:33:28,840
Speaker 1: to play around with us and I went to the

502
00:33:29,000 --> 00:33:30,680
Speaker 1: I started the record of New York. I had a

503
00:33:30,680 --> 00:33:34,640
Speaker 1: studio on thirty fifth Street between Lex and Third Um.

504
00:33:34,720 --> 00:33:36,520
Speaker 1: I had like a little carriage house and I built

505
00:33:36,560 --> 00:33:40,320
Speaker 1: a studio in there, and which ended up being like

506
00:33:40,360 --> 00:33:44,160
Speaker 1: a big hangout for a while, turned into a nightclub

507
00:33:44,880 --> 00:33:47,880
Speaker 1: and yeah, you you'd come in there at night and

508
00:33:47,960 --> 00:33:51,680
Speaker 1: you'd see you two and Bobby Brown and Naomi Campbell

509
00:33:51,800 --> 00:33:54,000
Speaker 1: and this went and I mean it was it was.

510
00:33:54,160 --> 00:33:56,960
Speaker 1: It was the spot for a while, you know. Was

511
00:33:57,040 --> 00:33:59,080
Speaker 1: that the lyrics on that song? That is that based

512
00:33:59,120 --> 00:34:02,160
Speaker 1: on a real situation that you were going through? Uh

513
00:34:02,720 --> 00:34:09,279
Speaker 1: if you can't say no? Yeah? Yeah, yeah, But I've

514
00:34:09,320 --> 00:34:12,080
Speaker 1: never heard of you like that because that was one

515
00:34:12,120 --> 00:34:13,920
Speaker 1: of those songs that, like, I mean, it came out.

516
00:34:13,960 --> 00:34:15,960
Speaker 1: It's nice. So I was like nineteen, so you know,

517
00:34:16,040 --> 00:34:17,760
Speaker 1: I was listening to it. I'm like, Okay, this is dope.

518
00:34:18,080 --> 00:34:20,239
Speaker 1: But then just later that song is kind of a

519
00:34:20,280 --> 00:34:22,719
Speaker 1: bug out. Yeah, I'm like, God, when you think about

520
00:34:22,719 --> 00:34:26,480
Speaker 1: what you're really saying, like damn if you can't, if

521
00:34:26,520 --> 00:34:31,520
Speaker 1: you cheat, just think of me. Oh god, the savagery.

522
00:34:32,239 --> 00:34:36,600
Speaker 1: But but that was a dope record. And then of

523
00:34:36,680 --> 00:34:38,239
Speaker 1: course when that came out as the first single, people

524
00:34:38,239 --> 00:34:41,680
Speaker 1: were like, after all the rocks that like yeah, Then

525
00:34:41,680 --> 00:34:44,520
Speaker 1: then they were like what's that? But then fly Away

526
00:34:45,360 --> 00:34:47,680
Speaker 1: which but by the way, was not on the album.

527
00:34:48,560 --> 00:34:52,560
Speaker 1: The album was done, mastered, turned in and I'm still

528
00:34:52,600 --> 00:34:58,239
Speaker 1: in the Bahamas working with Cree And one day the engineer, um,

529
00:34:58,640 --> 00:35:02,759
Speaker 1: who's this guy Tearing Manning? Great engineer who Terry who

530
00:35:02,880 --> 00:35:05,359
Speaker 1: ran Compass Point but he cut all he cut all

531
00:35:05,400 --> 00:35:09,800
Speaker 1: that Al Green and Staples Station Brothers, right, huh didn't

532
00:35:09,840 --> 00:35:12,759
Speaker 1: he didn't? Terry also dude Isley Brothers as well. No,

533
00:35:13,000 --> 00:35:18,000
Speaker 1: that was my engineer, Tom Edmonds, who who had a

534
00:35:18,080 --> 00:35:21,160
Speaker 1: live guy who he did the album but don't Say

535
00:35:21,200 --> 00:35:23,799
Speaker 1: good Night and all that stuff, say you will, don't

536
00:35:23,840 --> 00:35:27,000
Speaker 1: say goodnight? Can we go again? How did you work

537
00:35:27,080 --> 00:35:30,160
Speaker 1: with that guy? He was my live guy for years

538
00:35:31,120 --> 00:35:34,919
Speaker 1: and then he cut the funk album that's coming later.

539
00:35:35,760 --> 00:35:38,320
Speaker 1: He cut a lot of that record. We went to

540
00:35:38,400 --> 00:35:42,480
Speaker 1: New Orleans. He's still so there was a point where

541
00:35:42,719 --> 00:35:45,160
Speaker 1: we started messing around and doing some stuff and his

542
00:35:45,320 --> 00:35:52,520
Speaker 1: engineer brings in this bucket for the collapsa. How I

543
00:35:53,000 --> 00:35:56,040
Speaker 1: learned that from the brothers. Yeah, they wet their hands

544
00:35:56,160 --> 00:36:02,120
Speaker 1: and and that's what. Yeah, that's Tom Edmonds. Shout out

545
00:36:02,160 --> 00:36:06,239
Speaker 1: to Tom Edmonds. Well also, I mean five, I know that, Um, well,

546
00:36:06,239 --> 00:36:09,040
Speaker 1: when you were promoting five on television, like, I know

547
00:36:09,160 --> 00:36:12,640
Speaker 1: that your mom's death was a big part of the

548
00:36:12,800 --> 00:36:17,319
Speaker 1: development of this record. What thinking of you? Yes, yes, yes, yes,

549
00:36:17,480 --> 00:36:22,160
Speaker 1: but what prevented you from I mean, were you at

550
00:36:22,200 --> 00:36:25,880
Speaker 1: the time. I know that you distraught with with her

551
00:36:25,960 --> 00:36:28,799
Speaker 1: passing like this could have easily went another way where

552
00:36:28,840 --> 00:36:30,520
Speaker 1: it's like an album to her. It's funny to be

553
00:36:30,680 --> 00:36:36,920
Speaker 1: joyous like she died during circus, right, um, And I

554
00:36:37,080 --> 00:36:40,160
Speaker 1: kind of went through the whole morning thing. I went

555
00:36:40,320 --> 00:36:43,880
Speaker 1: right back on tour like a week after the funeral,

556
00:36:43,960 --> 00:36:47,920
Speaker 1: and I was back on the road, and um, by

557
00:36:47,960 --> 00:36:49,680
Speaker 1: the time I got finished with all that, and he

558
00:36:49,800 --> 00:36:51,800
Speaker 1: gone through it and then the tour and took some

559
00:36:51,920 --> 00:36:54,759
Speaker 1: time and went to go make five. I was having

560
00:36:54,800 --> 00:36:58,880
Speaker 1: such a good time with Cree. Cree brought so much

561
00:36:58,960 --> 00:37:01,879
Speaker 1: laughter into my life and we we laugh every day,

562
00:37:02,120 --> 00:37:05,360
Speaker 1: crack up. She's so funny. And I was kind of

563
00:37:05,360 --> 00:37:07,480
Speaker 1: I kind of started her record. Then I got into mine,

564
00:37:07,560 --> 00:37:09,279
Speaker 1: and I go back to hers, but we were all

565
00:37:09,320 --> 00:37:11,799
Speaker 1: there together. It'd be like, all right, today you're off.

566
00:37:11,800 --> 00:37:13,640
Speaker 1: I'm gonna do my thing. Tomorrow we're gonna do you.

567
00:37:14,640 --> 00:37:20,160
Speaker 1: And I was in the Bahamas. Um z Alwey's mom

568
00:37:20,280 --> 00:37:22,440
Speaker 1: allowed Zoe to come down. I put her in school.

569
00:37:22,520 --> 00:37:24,799
Speaker 1: She was there for almost a year. I put her

570
00:37:24,840 --> 00:37:28,239
Speaker 1: in school in Nasaw, and so I was in a

571
00:37:28,280 --> 00:37:31,279
Speaker 1: good place. I had family down there, and all of

572
00:37:31,320 --> 00:37:34,239
Speaker 1: these beautiful songs came out. You know, the record was

573
00:37:34,400 --> 00:37:37,560
Speaker 1: very uplifting. You had a fresh new sound. Oh but

574
00:37:37,640 --> 00:37:39,760
Speaker 1: back to fly Away. So Flyaway wasn't on the record.

575
00:37:40,600 --> 00:37:45,759
Speaker 1: Um Terry had a a park amplifier like a it's

576
00:37:45,760 --> 00:37:48,640
Speaker 1: like a marshal in the in the room, and I

577
00:37:48,680 --> 00:37:51,080
Speaker 1: was like, oh, I want to try that. So I

578
00:37:51,160 --> 00:37:54,560
Speaker 1: plugged in a guitar. And when you play a guitar

579
00:37:54,760 --> 00:37:57,319
Speaker 1: through a certain amp, certain guitar through a certain amp,

580
00:37:57,600 --> 00:37:59,840
Speaker 1: it makes you go to certain chords because you know

581
00:38:00,040 --> 00:38:03,080
Speaker 1: this that oh wow, these cords are really fat right here.

582
00:38:03,840 --> 00:38:07,000
Speaker 1: That's where the riff came from, just listening to this amplifier.

583
00:38:07,600 --> 00:38:09,920
Speaker 1: And then I was like, maybe just I don't know.

584
00:38:10,000 --> 00:38:11,960
Speaker 1: I just messed around with it, cut a B side

585
00:38:12,080 --> 00:38:16,839
Speaker 1: or something, and cut the song. Had the track going

586
00:38:17,880 --> 00:38:20,560
Speaker 1: then I didn't have the words or the melody yet.

587
00:38:21,040 --> 00:38:23,440
Speaker 1: I was driving Zoe to school every day in this

588
00:38:23,600 --> 00:38:27,560
Speaker 1: jeep that I had along the ocean, just driving, driving fast,

589
00:38:27,640 --> 00:38:30,400
Speaker 1: driving to school, playing this track for like three or

590
00:38:30,440 --> 00:38:32,719
Speaker 1: four days with Zoe and the car, and then the

591
00:38:32,840 --> 00:38:34,960
Speaker 1: lyrics and the whole they came to me. I cut it.

592
00:38:36,040 --> 00:38:39,279
Speaker 1: A friend of mine heard it. It was like, that

593
00:38:39,560 --> 00:38:42,160
Speaker 1: song is incredible. I said, yeah, but it's not on

594
00:38:42,239 --> 00:38:44,640
Speaker 1: the album. It's I don't know. This guy begged me,

595
00:38:45,360 --> 00:38:48,640
Speaker 1: good friend. He's like, I beg you please put this

596
00:38:48,719 --> 00:38:50,719
Speaker 1: song on the record. I will not be your friend

597
00:38:50,719 --> 00:38:53,880
Speaker 1: anymore you don't put this song on the record. And

598
00:38:54,000 --> 00:38:55,919
Speaker 1: he was like, and I'm like, the record is done,

599
00:38:57,120 --> 00:38:59,719
Speaker 1: called Virgin. We worked. There's another song. I'm sorry we

600
00:38:59,800 --> 00:39:06,440
Speaker 1: have to read anyway. The rest is yeah. I always

601
00:39:06,480 --> 00:39:10,360
Speaker 1: wanted to know why did you feel the need to

602
00:39:10,480 --> 00:39:17,000
Speaker 1: cut your signature locks. I didn't what happened with fly

603
00:39:17,080 --> 00:39:20,040
Speaker 1: away video that's whatever. First, No, no, no, no, what happened?

604
00:39:20,200 --> 00:39:22,040
Speaker 1: This is this is And I was like, no, no,

605
00:39:22,200 --> 00:39:26,160
Speaker 1: this is the truth. I went up to So's mom's house,

606
00:39:26,320 --> 00:39:30,040
Speaker 1: spent to Panga to visit her, and we're hanging out.

607
00:39:30,320 --> 00:39:32,600
Speaker 1: We're smoking a joint and we're chilling, and she's like,

608
00:39:32,800 --> 00:39:36,120
Speaker 1: you know what, you need to cut your hair. You

609
00:39:36,200 --> 00:39:41,040
Speaker 1: need to change your energy. It's time. And I was like, huh.

610
00:39:42,239 --> 00:39:45,440
Speaker 1: Home girl left the room and came back with a

611
00:39:45,640 --> 00:39:57,759
Speaker 1: razor blade and she's like, you got She's like, you

612
00:39:57,880 --> 00:39:59,880
Speaker 1: gotta do it, like she didn't cut them short and

613
00:40:00,040 --> 00:40:03,400
Speaker 1: and she cut him with a razorbla Like you know

614
00:40:03,480 --> 00:40:06,560
Speaker 1: how much time that takes? Like you know what love

615
00:40:06,680 --> 00:40:10,040
Speaker 1: you have to have for a woman for her to

616
00:40:10,120 --> 00:40:14,160
Speaker 1: convince you to cut your hair. Dude, where however, Lisa

617
00:40:14,239 --> 00:40:20,680
Speaker 1: fitting the shave living like Lisa's hair still locked. Oh

618
00:40:20,800 --> 00:40:31,759
Speaker 1: she's she's she's flourishing, She's flourishing. Was this an easy sell? Dude?

619
00:40:31,800 --> 00:40:36,440
Speaker 1: I was sitting there and I was hot. I'm like,

620
00:40:36,840 --> 00:40:39,279
Speaker 1: I'm like starting to buy it because I'm like, she's like,

621
00:40:40,360 --> 00:40:50,520
Speaker 1: I'm a d Sampson. This mom like the swod because

622
00:40:50,640 --> 00:40:53,440
Speaker 1: because I remember, but it came from a place of

623
00:40:53,680 --> 00:40:55,160
Speaker 1: it came from a place to love it did it

624
00:40:55,280 --> 00:40:58,520
Speaker 1: wasn't shady, but actually got it more women. And then

625
00:40:58,600 --> 00:41:00,040
Speaker 1: I was like, and then I was like, you on

626
00:41:00,120 --> 00:41:03,920
Speaker 1: what if? Because this this thing came with me right

627
00:41:04,280 --> 00:41:06,440
Speaker 1: the concerts and the hair flying. I was like, if

628
00:41:06,520 --> 00:41:08,880
Speaker 1: I could get over without it, that means that I

629
00:41:09,120 --> 00:41:11,120
Speaker 1: you know what I mean. So I was like, so

630
00:41:11,280 --> 00:41:14,080
Speaker 1: you don't want hair to define you and all that bush. No,

631
00:41:14,200 --> 00:41:18,920
Speaker 1: he's not his hair, you know, nigga my hair. That

632
00:41:22,760 --> 00:41:24,759
Speaker 1: because I remember that that that was It was a

633
00:41:24,760 --> 00:41:27,200
Speaker 1: good call because when the album came out in the cover,

634
00:41:27,480 --> 00:41:29,479
Speaker 1: that's because like, yo, he got Because the first video

635
00:41:29,480 --> 00:41:34,600
Speaker 1: I had to my dreads were like they were cut, Yeah,

636
00:41:34,600 --> 00:41:36,040
Speaker 1: you have to cut. I was like, oh, literally got

637
00:41:36,160 --> 00:41:40,320
Speaker 1: you got the number five. But it wasn't cut like that.

638
00:41:40,440 --> 00:41:43,279
Speaker 1: It was just like kind of bumping and like little afro.

639
00:41:43,440 --> 00:41:45,840
Speaker 1: But it was like yeah, man, so that's what happened.

640
00:41:45,880 --> 00:41:49,120
Speaker 1: It was a stony guy I got scared with with

641
00:41:49,320 --> 00:41:52,520
Speaker 1: with Baby Mama. I saw what happened. I saw what

642
00:41:52,600 --> 00:41:57,759
Speaker 1: happened was his name is sold submistive people on their head.

643
00:41:57,960 --> 00:42:01,000
Speaker 1: It's a rap where people their hair is a rep.

644
00:42:01,120 --> 00:42:03,080
Speaker 1: But the funny part it took so long for her

645
00:42:03,120 --> 00:42:05,080
Speaker 1: to do it. At some point the high war off

646
00:42:05,440 --> 00:42:07,719
Speaker 1: and you had to be like one node I was staying.

647
00:42:07,840 --> 00:42:09,560
Speaker 1: I was staying at the Beverly Hills Hotel. I got

648
00:42:09,600 --> 00:42:10,960
Speaker 1: back to the hotel and I looked at me and

649
00:42:11,040 --> 00:42:13,440
Speaker 1: I was like, oh, the part of you feel, part

650
00:42:13,480 --> 00:42:15,880
Speaker 1: of you feel like y'all getting back together. No, no, no, no,

651
00:42:15,960 --> 00:42:18,520
Speaker 1: there was none of that. Your hair, someone has I

652
00:42:18,600 --> 00:42:23,280
Speaker 1: have it. I have it so today though, that belongs

653
00:42:23,280 --> 00:42:30,439
Speaker 1: to Zoe. Put your back mocked again. I'm coming coming

654
00:42:30,520 --> 00:42:37,040
Speaker 1: forward again. It was coming forward? Yeah, did you? I'm

655
00:42:37,080 --> 00:42:40,600
Speaker 1: good friends with Gershy Gina Gersho. Are you you went

656
00:42:40,640 --> 00:42:45,400
Speaker 1: to high school? We went high school together, okay, bound, Sorry,

657
00:42:45,520 --> 00:42:56,000
Speaker 1: that's your reference Jennifer Tilly and she was, yeah, I

658
00:42:56,120 --> 00:43:01,839
Speaker 1: forgot about part part one. My reference is there? Yeah,

659
00:43:02,160 --> 00:43:04,759
Speaker 1: there was? How do you know this? That's not true?

660
00:43:04,800 --> 00:43:08,920
Speaker 1: Red Buck Cinemas scares the sh out mean like they

661
00:43:09,000 --> 00:43:14,319
Speaker 1: know ship broke Cocktail? I like, mad h Yeah. How

662
00:43:14,320 --> 00:43:18,919
Speaker 1: about show Girls? The altimate, the alternate B movie? They say,

663
00:43:19,120 --> 00:43:24,799
Speaker 1: such a good movie, Come on, movies, genius. Show Girls

664
00:43:24,920 --> 00:43:28,120
Speaker 1: is my reference for like when something so bad it's good, Like, yeah,

665
00:43:28,160 --> 00:43:30,360
Speaker 1: that's that's what I'm saying. I say show Girls, But

666
00:43:30,440 --> 00:43:33,640
Speaker 1: Gina Crushan and show Girls was such a fucking pimp.

667
00:43:33,800 --> 00:43:37,520
Speaker 1: And like gangster. I'm sorry, I've seen it a lot.

668
00:43:38,080 --> 00:43:47,080
Speaker 1: Just yell at movies. Yeah, don't you get that Gena

669
00:43:47,120 --> 00:43:51,400
Speaker 1: I get because she she wants to start a because

670
00:43:51,400 --> 00:43:54,760
Speaker 1: she plays she sorry, and he played with Bob Dylan.

671
00:43:56,280 --> 00:43:59,560
Speaker 1: That's something you could do professionally played juice harp, best

672
00:43:59,680 --> 00:44:03,600
Speaker 1: name of the instrument ever. Wait a minute, me, me

673
00:44:03,760 --> 00:44:06,120
Speaker 1: and she she came out and played juice hard with

674
00:44:06,239 --> 00:44:10,440
Speaker 1: us at uh at our first uh not loud blues

675
00:44:10,640 --> 00:44:17,759
Speaker 1: at a in Tennessee. Bam Bluze. That's a Spikey movie. Yeah,

676
00:44:20,280 --> 00:44:35,640
Speaker 1: what is in Tennessee? Pump unt something? Yeah? Black festival people? Okay,

677
00:44:36,640 --> 00:44:40,239
Speaker 1: because I got so bad question? Um, all right, let's

678
00:44:40,239 --> 00:44:44,080
Speaker 1: go random. What's nice? Leny five five? Lenny Leny Yeah,

679
00:44:44,160 --> 00:44:53,200
Speaker 1: let's go damn the rapid Fire Okay on the new record? Okay,

680
00:44:53,239 --> 00:44:56,479
Speaker 1: oh wow the song? Low? Am I detecting a Michael

681
00:44:56,560 --> 00:45:02,239
Speaker 1: Jackson influencing your vocal performance? Um? Because it ends with

682
00:45:02,360 --> 00:45:07,960
Speaker 1: the whole whole That was very Michael. Wait what do

683
00:45:08,040 --> 00:45:10,320
Speaker 1: you say that is Michael? He's singing background on the record.

684
00:45:11,040 --> 00:45:15,440
Speaker 1: Say you worked with him when we worked together, and

685
00:45:15,520 --> 00:45:19,919
Speaker 1: I whoa I produced? Well? Yeah, well on his version

686
00:45:19,960 --> 00:45:23,680
Speaker 1: it was called Another Day. It's the same song. Storm

687
00:45:23,800 --> 00:45:28,520
Speaker 1: was initially Jackson song. I did it from Michael when

688
00:45:28,560 --> 00:45:32,600
Speaker 1: he was doing Invincible, right, but they didn't put it

689
00:45:32,680 --> 00:45:35,920
Speaker 1: on the record. John was putting the record together with Michael.

690
00:45:36,600 --> 00:45:38,359
Speaker 1: They said it was too hard, and michaels like, I'm

691
00:45:38,360 --> 00:45:41,799
Speaker 1: gonna save it for my next record because he loved

692
00:45:41,800 --> 00:45:44,520
Speaker 1: the track. So it didn't come out, and I thought,

693
00:45:44,600 --> 00:45:46,200
Speaker 1: I was like, it's never gonna come out. So then

694
00:45:46,239 --> 00:45:49,400
Speaker 1: I went and cut it as Storm, but made it

695
00:45:49,760 --> 00:45:52,640
Speaker 1: kind of smooth, right. But it was written the way

696
00:45:52,800 --> 00:45:57,480
Speaker 1: I did it for Michael. So we had worked on

697
00:45:57,600 --> 00:46:01,440
Speaker 1: stuff at Marvin's room in l A at John Studio

698
00:46:02,000 --> 00:46:04,800
Speaker 1: John McClay studio. That's where we cut that stuff. So

699
00:46:05,760 --> 00:46:08,240
Speaker 1: we had worked on different tracks and we had different stuff,

700
00:46:08,320 --> 00:46:13,040
Speaker 1: and so I had ad libs that, um were to

701
00:46:13,160 --> 00:46:18,080
Speaker 1: this groove in anyway. Um, I put it on. Yeah,

702
00:46:18,160 --> 00:46:22,160
Speaker 1: that is Michael. You're like fighting hard. I was like,

703
00:46:22,239 --> 00:46:24,560
Speaker 1: I've never heard Linny channel Michael. No, no, no, that

704
00:46:24,719 --> 00:46:27,080
Speaker 1: that is Michael. So wait when you got a call

705
00:46:27,200 --> 00:46:32,440
Speaker 1: to work with Michael Jackson, um, you felt like, Okay,

706
00:46:32,560 --> 00:46:34,759
Speaker 1: he's worth investigating. He said, write me a song and

707
00:46:34,880 --> 00:46:38,640
Speaker 1: produce a song for me John. He went through John

708
00:46:39,680 --> 00:46:42,719
Speaker 1: John called me. We met in the studio and I

709
00:46:43,040 --> 00:46:45,160
Speaker 1: wrote I wrote the song like a couple of days

710
00:46:45,200 --> 00:46:47,320
Speaker 1: before he came in. I was like, I'm might saying me.

711
00:46:47,360 --> 00:46:50,080
Speaker 1: I'm like, what am I gonna do? So I wrote

712
00:46:50,080 --> 00:46:52,359
Speaker 1: this song from where I thought his point of view

713
00:46:52,440 --> 00:46:55,800
Speaker 1: might have been at that time. Um, and I wrote

714
00:46:55,840 --> 00:46:57,600
Speaker 1: that song and then he came in. He was like,

715
00:46:58,000 --> 00:47:01,520
Speaker 1: you tracked up Marvin's room too, so you can go

716
00:47:01,640 --> 00:47:04,560
Speaker 1: to any studio. It's harder. Just pray to God. It's

717
00:47:04,600 --> 00:47:07,880
Speaker 1: hard nail myself. It's harder because yes, I figured you

718
00:47:08,080 --> 00:47:10,760
Speaker 1: want to track when people are going with the Lenny Kravitz,

719
00:47:11,480 --> 00:47:13,719
Speaker 1: that you want to do it at your spots, that

720
00:47:13,719 --> 00:47:16,200
Speaker 1: there's some times when you just can't, you know. So

721
00:47:16,560 --> 00:47:18,920
Speaker 1: did it there? And uh it was it was an

722
00:47:18,960 --> 00:47:22,840
Speaker 1: amazing a few days really he was. It wasn't overwhelming.

723
00:47:23,719 --> 00:47:26,719
Speaker 1: I mean he started out, He's like, Okay, I taught

724
00:47:26,800 --> 00:47:28,480
Speaker 1: him the song, so I'm teaching in the song. I'm

725
00:47:28,480 --> 00:47:30,160
Speaker 1: writing the lyrics out for him, putting it on the

726
00:47:30,760 --> 00:47:34,319
Speaker 1: on the music stands, and he's like, Lenny, I want

727
00:47:34,360 --> 00:47:38,560
Speaker 1: to do it exactly the way you hear it, So

728
00:47:38,719 --> 00:47:45,520
Speaker 1: you stop me when I mess up? Okay, So no,

729
00:47:45,880 --> 00:47:52,839
Speaker 1: he was humble, sweet giving. So we start and within

730
00:47:52,920 --> 00:47:56,080
Speaker 1: the first couple of notes, he's not phrasing the melody correctly,

731
00:47:56,080 --> 00:47:59,400
Speaker 1: and I'm like, how do I correct my car? You

732
00:47:59,440 --> 00:48:01,480
Speaker 1: know what I mean? Really, I'm gonna stop this brother,

733
00:48:01,640 --> 00:48:07,960
Speaker 1: like and he's out there and he's you know, you know,

734
00:48:08,400 --> 00:48:12,080
Speaker 1: and I was like, um, you gotta lay back here,

735
00:48:12,719 --> 00:48:16,799
Speaker 1: and I said, it goes like this man, we did

736
00:48:16,880 --> 00:48:20,200
Speaker 1: that all day and he's like, no, I want you

737
00:48:20,280 --> 00:48:26,439
Speaker 1: to stop me. And so it was like, even even

738
00:48:26,520 --> 00:48:29,200
Speaker 1: when being polite, I always I think it's a test

739
00:48:29,200 --> 00:48:32,879
Speaker 1: of wills because you're not the first person that gave

740
00:48:32,960 --> 00:48:35,959
Speaker 1: me a story where it's like a mammoth Michael Jackson

741
00:48:36,040 --> 00:48:41,719
Speaker 1: recording session that even though it's you know, he's blacke

742
00:48:41,760 --> 00:48:46,040
Speaker 1: and that he's gonna work you to the bone until

743
00:48:46,120 --> 00:48:48,200
Speaker 1: he feels it's correct, which I never feel that he

744
00:48:48,280 --> 00:48:50,839
Speaker 1: feels that any He worked about him his card man

745
00:48:51,160 --> 00:48:56,600
Speaker 1: and and uh, and he worked hard. And then then

746
00:48:56,600 --> 00:48:58,239
Speaker 1: when it got time for the ad libs at the end,

747
00:48:58,280 --> 00:49:00,400
Speaker 1: it was like he's screaming's at the top of his

748
00:49:00,560 --> 00:49:04,239
Speaker 1: voice and all that you know, he's like he's he's

749
00:49:04,239 --> 00:49:07,120
Speaker 1: warming up with Seth Riggs, and then he's like, letting,

750
00:49:08,120 --> 00:49:11,719
Speaker 1: I got thirty minutes, I'm gonna i'mnna have no voice

751
00:49:11,920 --> 00:49:14,440
Speaker 1: the three minutes, so you get all these ad libs now,

752
00:49:15,440 --> 00:49:17,360
Speaker 1: and he just gives it to you. I mean, blood

753
00:49:17,440 --> 00:49:19,759
Speaker 1: comes out of him. I mean, and then he's like

754
00:49:19,840 --> 00:49:22,279
Speaker 1: and then that's it. You know, I was gonna ask

755
00:49:22,320 --> 00:49:24,359
Speaker 1: he gives it to you. I was gonna ask, though,

756
00:49:24,560 --> 00:49:30,800
Speaker 1: if ladder I'm trying to say ladder day Michael Jackson,

757
00:49:30,880 --> 00:49:36,560
Speaker 1: but like post a post dangerous Michael Jackson, I always felt,

758
00:49:37,600 --> 00:49:39,560
Speaker 1: which is wearing me out because he has the best

759
00:49:39,719 --> 00:49:44,919
Speaker 1: vocal coach on earth with Seth Riggs, but because he's

760
00:49:44,920 --> 00:49:48,440
Speaker 1: saying with such a fire and anger in his stomach

761
00:49:49,160 --> 00:49:56,479
Speaker 1: Post when it got really right, yeah, which is like, dude,

762
00:49:56,560 --> 00:49:58,960
Speaker 1: you're you're going to destroy your voice. But he was

763
00:49:59,400 --> 00:50:03,360
Speaker 1: so known as having a beautiful velvet tenor, and he

764
00:50:03,520 --> 00:50:05,799
Speaker 1: stopped using any but then he would give you butterflies.

765
00:50:06,760 --> 00:50:09,680
Speaker 1: But even again, I heard that initially the track Attrack

766
00:50:09,760 --> 00:50:13,120
Speaker 1: is smooth on the harmonies, but I heard initially that

767
00:50:13,520 --> 00:50:18,479
Speaker 1: they had to convince him just come naked with your voice,

768
00:50:18,520 --> 00:50:23,839
Speaker 1: that your old school, you know, and not comes right,

769
00:50:24,120 --> 00:50:27,560
Speaker 1: And so I was asking, like, did you ever once

770
00:50:27,680 --> 00:50:30,920
Speaker 1: think like let me write him a song that forces

771
00:50:31,000 --> 00:50:35,040
Speaker 1: them to use his singing, his singing velvet voice, which

772
00:50:35,080 --> 00:50:38,920
Speaker 1: he rarely used post I went straight for the like, Okay,

773
00:50:39,000 --> 00:50:42,000
Speaker 1: let's give him like a dirty Diana, give him the

774
00:50:42,120 --> 00:50:45,080
Speaker 1: rock thing, you know. So that's why I went there. Yeah, yeah,

775
00:50:45,120 --> 00:50:49,279
Speaker 1: I love the Just Players remix of Storm your version

776
00:50:49,640 --> 00:50:52,680
Speaker 1: Storm Just Remix. Love this? How did that come to be?

777
00:50:53,880 --> 00:51:05,239
Speaker 1: You guys? Uh? The Black Department, that's it? Blacking this up?

778
00:51:06,960 --> 00:51:13,040
Speaker 1: I really want to know how did Heavy D producing? Guns?

779
00:51:13,080 --> 00:51:17,920
Speaker 1: And Rosy Heavy used to come hang out at my

780
00:51:18,000 --> 00:51:20,800
Speaker 1: house in Miami because he was friends with my assistant.

781
00:51:21,840 --> 00:51:25,520
Speaker 1: We were friends from back in the day. And he's like,

782
00:51:25,800 --> 00:51:29,719
Speaker 1: I got this track, and I mean it was just

783
00:51:29,800 --> 00:51:33,600
Speaker 1: a phone call, right, It wasn't bad, No, no, no,

784
00:51:33,719 --> 00:51:36,520
Speaker 1: it's because at the top of it it was like

785
00:51:36,680 --> 00:51:45,960
Speaker 1: heavy Weight. Yeah, any Kravitz had de production, you bastard

786
00:51:46,160 --> 00:51:49,120
Speaker 1: one thing. Yeah. I never even though I knew he

787
00:51:49,640 --> 00:51:52,320
Speaker 1: was doing tracks and stuff, because like I didn't know

788
00:51:52,400 --> 00:51:56,799
Speaker 1: he was producing, he was producing hard. And even when

789
00:51:56,840 --> 00:51:59,040
Speaker 1: I heard the results and like, oh you're really producing,

790
00:51:59,200 --> 00:52:05,840
Speaker 1: I still didn't want to register that bum was producing.

791
00:52:06,680 --> 00:52:08,759
Speaker 1: So how did you guys sell it to Jay? No?

792
00:52:08,920 --> 00:52:10,560
Speaker 1: I had nothing to do it. I got the call it.

793
00:52:10,880 --> 00:52:13,719
Speaker 1: This is what's going down? Oh, like, come do it

794
00:52:14,000 --> 00:52:17,920
Speaker 1: like Jay did it. So the first day was already

795
00:52:17,960 --> 00:52:20,279
Speaker 1: on it. Okay, okay, they just wanted me to sing

796
00:52:20,360 --> 00:52:25,320
Speaker 1: the hook and play guitar. Yeah. So, yeah, there was

797
00:52:25,560 --> 00:52:27,719
Speaker 1: another record and I cannot remember the name of it.

798
00:52:27,880 --> 00:52:31,560
Speaker 1: A couple of years back. You did uh a remix competition.

799
00:52:31,719 --> 00:52:37,880
Speaker 1: It was absolutely right, the jazz and OV remix of

800
00:52:37,960 --> 00:52:40,480
Speaker 1: that ship man Like, I don't even know if you

801
00:52:40,520 --> 00:52:42,960
Speaker 1: even know. He probably doesn't know that. I'd have to hear.

802
00:52:43,920 --> 00:52:50,160
Speaker 1: There were just so many yeah, like ship like I

803
00:52:50,239 --> 00:52:52,520
Speaker 1: might need to put that back in my set, that

804
00:52:52,560 --> 00:52:55,160
Speaker 1: whole back again. Wait, what albums it it was? It

805
00:52:55,200 --> 00:52:57,880
Speaker 1: wasn't on an album. It wasn't it, Just like I

806
00:52:58,000 --> 00:53:01,239
Speaker 1: wasn't Where was that in ants? Someone I don't know,

807
00:53:01,400 --> 00:53:05,080
Speaker 1: some studio cutting that thing. Yeah, it's what I don't

808
00:53:05,080 --> 00:53:07,799
Speaker 1: remember the name of these. It was gonna breathe Okay,

809
00:53:09,440 --> 00:53:11,960
Speaker 1: absolute cravits, Absolute cravit. Yeah, that's why I remember it,

810
00:53:12,000 --> 00:53:13,960
Speaker 1: as I knew that would the name of the song. Um,

811
00:53:14,640 --> 00:53:17,200
Speaker 1: but yeah, it was a competition or not a competition,

812
00:53:17,280 --> 00:53:19,480
Speaker 1: but yeah, it was like because like a bunch of

813
00:53:19,520 --> 00:53:21,480
Speaker 1: guys had a bunch of guys. Yeah yeah, my buddy

814
00:53:21,560 --> 00:53:26,879
Speaker 1: Eric Rose and he did a remix. Uh sooner your

815
00:53:27,280 --> 00:53:32,319
Speaker 1: acting career we didn't get Yeah, wait, I gotta damn

816
00:53:32,440 --> 00:53:39,200
Speaker 1: can I hijack this place because I know we thank you?

817
00:53:40,200 --> 00:53:44,320
Speaker 1: Um okay, so one of the one of the things

818
00:53:44,400 --> 00:53:48,359
Speaker 1: that I love best about your career. Wait a minute,

819
00:53:48,600 --> 00:53:53,040
Speaker 1: one last music questions. You've been promising this funk album

820
00:53:53,160 --> 00:54:01,719
Speaker 1: forever and it's coming. I am I I am crying

821
00:54:01,800 --> 00:54:04,640
Speaker 1: wolf right. Is it still called negrophilia? Because I love

822
00:54:04,719 --> 00:54:09,959
Speaker 1: that time love that. But what I'm doing reason raised

823
00:54:09,960 --> 00:54:14,239
Speaker 1: by ration came out. Now that record is pretty much

824
00:54:14,239 --> 00:54:18,480
Speaker 1: it's like nine point nine said done. Um, I'm gonna

825
00:54:18,480 --> 00:54:20,719
Speaker 1: be making a film to it. That's all I say.

826
00:54:20,800 --> 00:54:23,200
Speaker 1: I wanted to say too much, And that's what's gonna

827
00:54:23,200 --> 00:54:25,880
Speaker 1: be coming next. So I'll just give you that's waiting for.

828
00:54:26,160 --> 00:54:27,960
Speaker 1: But yes, it's gonna be I've been waiting for this

829
00:54:28,080 --> 00:54:32,439
Speaker 1: record with film or or like film like okay, movie,

830
00:54:33,040 --> 00:54:36,399
Speaker 1: and that's gonna be the soundtrack. Oh yeah, just please

831
00:54:36,400 --> 00:54:40,320
Speaker 1: don't let it be the super Fly remake. No, I

832
00:54:40,440 --> 00:54:48,440
Speaker 1: promise super remix promise. I'm getting scared. You mean the

833
00:54:48,520 --> 00:54:50,120
Speaker 1: one that's coming out, Yeah, the one that's coming out,

834
00:54:50,480 --> 00:54:55,120
Speaker 1: don't Jackson speaking of super Fly Remix super Fly Return,

835
00:54:56,120 --> 00:54:59,279
Speaker 1: that was weird. That's on with Iced Tea, right, Yeah, yeah. Man.

836
00:54:59,320 --> 00:55:02,160
Speaker 1: I got a phone call from the label I kept,

837
00:55:02,600 --> 00:55:05,600
Speaker 1: and they were like, we need you to fix this track.

838
00:55:06,560 --> 00:55:09,200
Speaker 1: So they sent me the tracks and they made me

839
00:55:09,280 --> 00:55:11,520
Speaker 1: take all the instruments off, and I had to play

840
00:55:11,560 --> 00:55:14,000
Speaker 1: all the instruments over again to make it sound like

841
00:55:14,040 --> 00:55:18,200
Speaker 1: Curtis Mayfield ish, you know that's And I was like, well,

842
00:55:18,239 --> 00:55:20,520
Speaker 1: I'll do anything for Curtis. You know, he gave me

843
00:55:20,600 --> 00:55:25,879
Speaker 1: his bass player. But we're on my first tour. Lebron Scott, Lucky,

844
00:55:25,960 --> 00:55:28,799
Speaker 1: Scott's brother. Lucky's the one who's on the actual super

845
00:55:28,840 --> 00:55:32,200
Speaker 1: Fly record. His little brother Lebron, who unfortunately just passed

846
00:55:32,840 --> 00:55:35,719
Speaker 1: a few months ago. Um was my bass player. And

847
00:55:35,920 --> 00:55:39,920
Speaker 1: I used to go to Curtis shows and I love

848
00:55:40,040 --> 00:55:42,800
Speaker 1: the bass player, and then basically I became friends. I

849
00:55:42,880 --> 00:55:44,600
Speaker 1: was like, man, we'd love you to join the band

850
00:55:44,600 --> 00:55:48,799
Speaker 1: and Curtis. Curtis gave the blessing. He's like, you, what's

851
00:55:48,840 --> 00:55:50,520
Speaker 1: his name was your sex one playing for a second

852
00:55:50,680 --> 00:55:56,680
Speaker 1: Day for three albums. Yeah, we went past her. But

853
00:55:56,760 --> 00:55:58,839
Speaker 1: can I just ask the first time you ever heard

854
00:55:58,880 --> 00:56:04,719
Speaker 1: Cindy Blackman because we said, but Cindy black Men. I

855
00:56:04,920 --> 00:56:09,000
Speaker 1: was friends with a guy named Anton Roney, who's Wallace

856
00:56:09,080 --> 00:56:12,600
Speaker 1: Roni's brother. Wallace Rooney's trumpet the Mile they call him,

857
00:56:12,640 --> 00:56:17,120
Speaker 1: like the Miles, kind of protege, like his brother's sax player.

858
00:56:18,440 --> 00:56:21,560
Speaker 1: I knew did some sessions for me, and he knew

859
00:56:21,600 --> 00:56:26,239
Speaker 1: Cindy for Cindy was at the time dating Wallace and

860
00:56:27,239 --> 00:56:29,560
Speaker 1: and I was at the time living at Rick Ruben's

861
00:56:29,600 --> 00:56:36,400
Speaker 1: house in l a And um with those dogs, yeah, Shampa,

862
00:56:36,760 --> 00:56:39,759
Speaker 1: and one's name is Shampa after the other one's name.

863
00:56:39,760 --> 00:56:43,120
Speaker 1: They were this black dreadlock dogs. Zoe used to man,

864
00:56:43,280 --> 00:56:46,120
Speaker 1: Zoe was so scared of those dogs because he could

865
00:56:46,560 --> 00:56:49,120
Speaker 1: face and scared. She used to run screaming from the ones.

866
00:56:51,080 --> 00:56:53,239
Speaker 1: But mama dog runs and then the little babies run

867
00:56:53,320 --> 00:56:58,200
Speaker 1: behind like I love those dogs. But anyway, Um, I

868
00:56:58,280 --> 00:57:01,359
Speaker 1: was having a drum audition. All these drummers were coming

869
00:57:01,400 --> 00:57:05,919
Speaker 1: from all over the place, including Andy Kravitz, Yes he did.

870
00:57:06,719 --> 00:57:11,440
Speaker 1: And River Phoenix brought me a drummer. River had a

871
00:57:11,520 --> 00:57:13,640
Speaker 1: friend that was like his best friend, that was his drummer.

872
00:57:14,239 --> 00:57:15,719
Speaker 1: Was the last time I saw River. He brought this

873
00:57:15,800 --> 00:57:18,920
Speaker 1: drummer from Florida. And then there was also another drummer

874
00:57:18,960 --> 00:57:23,280
Speaker 1: that auditioned and he died for his name. I ended

875
00:57:23,360 --> 00:57:26,320
Speaker 1: up giving him to Robert Plant and Jimmy Page, not

876
00:57:26,480 --> 00:57:30,960
Speaker 1: giving but recommending. I want to know why you didn't

877
00:57:31,040 --> 00:57:34,000
Speaker 1: choose Andy Kravitz. I almost did, because he was coming

878
00:57:34,040 --> 00:57:38,520
Speaker 1: with some bottom madness. But Cindy Blackman boy, she came

879
00:57:38,600 --> 00:57:41,440
Speaker 1: with the fire. She was playing all that Elvin Jones,

880
00:57:43,720 --> 00:57:48,320
Speaker 1: I mean, just killing and she was fine. Side yes,

881
00:57:48,920 --> 00:57:52,600
Speaker 1: side note. I used to enter at rough House Studio

882
00:57:52,680 --> 00:57:59,120
Speaker 1: for in Philly where that's that's right. Andy was so

883
00:58:00,080 --> 00:58:04,240
Speaker 1: the day he got that call, it was like he

884
00:58:04,400 --> 00:58:08,320
Speaker 1: knew it was like mama, and he had my name, yes,

885
00:58:09,120 --> 00:58:11,680
Speaker 1: and he you know, his attitude was sort of like,

886
00:58:12,280 --> 00:58:20,000
Speaker 1: you know, like and then like the sitcom flasterback the

887
00:58:20,160 --> 00:58:27,960
Speaker 1: next Monday, okay, and that was the last time a

888
00:58:28,040 --> 00:58:29,880
Speaker 1: black woman to the job for my wife. I was

889
00:58:29,920 --> 00:58:33,200
Speaker 1: rehearsing at the Lyric Theater on forty second Street, which

890
00:58:33,240 --> 00:58:35,600
Speaker 1: is the theater and taxi driver where he takes Civil

891
00:58:35,640 --> 00:58:38,480
Speaker 1: Shepherd to go see the part that was that theater.

892
00:58:41,400 --> 00:58:45,640
Speaker 1: Why would you use that spot? It was for sale

893
00:58:45,680 --> 00:58:47,240
Speaker 1: at the time for like two dollars. That should have

894
00:58:47,280 --> 00:58:50,040
Speaker 1: bought it. This is before the clean up, before the

895
00:58:50,120 --> 00:58:54,480
Speaker 1: second Street. We were rehearsing there because it didn't call ship. Well,

896
00:58:54,520 --> 00:58:57,040
Speaker 1: that's where Anny Kravit showed up and he man he

897
00:58:57,240 --> 00:59:02,080
Speaker 1: was playing where. Uh. I haven't talked to him since

898
00:59:02,320 --> 00:59:05,880
Speaker 1: I had a record too. No, no, I interned at

899
00:59:06,040 --> 00:59:09,920
Speaker 1: Roughhouse and then uh, my last day I've been turning.

900
00:59:10,680 --> 00:59:15,800
Speaker 1: I asked Chris Swartz and Joe Niccolo Joe Butcher brow

901
00:59:16,520 --> 00:59:19,880
Speaker 1: dollars to pay for my pass the popcorn video. They

902
00:59:19,920 --> 00:59:22,000
Speaker 1: paid for it. I entered and they paid for the

903
00:59:22,840 --> 00:59:25,920
Speaker 1: player from Philly named Mike Tyler. Yes, I do, pops

904
00:59:25,960 --> 00:59:28,880
Speaker 1: cool of Pike. Mike Tyler was one of the guys

905
00:59:29,000 --> 00:59:33,640
Speaker 1: in that Black Duran Durant. Of course, of course Tony,

906
00:59:34,320 --> 00:59:43,040
Speaker 1: couple other guys. It's like the Great is the super Friends.

907
00:59:43,680 --> 00:59:46,720
Speaker 1: I still seem he ended up in Amsterdam. Yeah he

908
00:59:47,120 --> 00:59:49,640
Speaker 1: had it. Yeah, he's got a Dutch lady and kids

909
00:59:49,720 --> 00:59:52,560
Speaker 1: and yeah, you know Mike Tyler, he's playing with l Mama,

910
00:59:52,600 --> 01:00:06,560
Speaker 1: said Knock you out the blonde hug. Yeah, it's so weird,

911
01:00:06,920 --> 01:00:13,560
Speaker 1: like clear jabe no, no real talk. Okay, So when

912
01:00:13,600 --> 01:00:16,320
Speaker 1: I have done this, that's for real. That's why did

913
01:00:16,400 --> 01:00:24,600
Speaker 1: you date? Because the best. Here's the thing though, when

914
01:00:24,760 --> 01:00:28,720
Speaker 1: I inducted LLL at the Kennedy Center Honors, right and

915
01:00:28,880 --> 01:00:32,080
Speaker 1: total audience, straight up. The reason why I use secret,

916
01:00:32,720 --> 01:00:37,400
Speaker 1: it's because ll you said that in one of all

917
01:00:37,440 --> 01:00:42,680
Speaker 1: those people it was my Chappelle leafed his asso. But

918
01:00:42,840 --> 01:00:48,640
Speaker 1: it's true because secret keeps you dry. And it's like, up, hey,

919
01:00:48,920 --> 01:00:55,720
Speaker 1: secret made for that question, that little sexy octopus. I

920
01:00:55,840 --> 01:01:13,000
Speaker 1: can't anyway you're really taking it? Tell me so, okay,

921
01:01:13,160 --> 01:01:15,640
Speaker 1: looking for a week years ago Hungry Games, how did

922
01:01:15,680 --> 01:01:17,240
Speaker 1: that come about? I loved you in that role. I

923
01:01:17,360 --> 01:01:20,200
Speaker 1: got a phone call. That's it. It's that simple. I

924
01:01:20,240 --> 01:01:24,640
Speaker 1: didn't audition. I got a phone call. Well, Gary, you

925
01:01:24,760 --> 01:01:28,320
Speaker 1: got a great phone. Just wait, how do people get

926
01:01:28,320 --> 01:01:35,840
Speaker 1: your number? The director saw pressure. I just like I

927
01:01:35,920 --> 01:01:37,720
Speaker 1: had like a day to like I was on tour

928
01:01:38,160 --> 01:01:40,200
Speaker 1: at least, like just coming for a day. Just this

929
01:01:40,320 --> 01:01:42,440
Speaker 1: little part. You could do it in a day. And

930
01:01:42,520 --> 01:01:45,080
Speaker 1: I came in and did that. And then the director

931
01:01:45,120 --> 01:01:47,640
Speaker 1: of Hunger Games saw that and just like I'm doing

932
01:01:47,680 --> 01:01:49,640
Speaker 1: this movie it's called Hunger Games, just these books and

933
01:01:49,720 --> 01:01:53,920
Speaker 1: didn't I didn't know anything about it. And then I

934
01:01:54,000 --> 01:01:55,320
Speaker 1: had to go get the book and read it and

935
01:01:55,400 --> 01:01:57,640
Speaker 1: then and I was like, okay, I'll I'll do it,

936
01:01:57,840 --> 01:02:00,760
Speaker 1: like having no idea it was going to be like

937
01:02:00,800 --> 01:02:04,320
Speaker 1: a phenomenon, but after doing pressures and all that emotion

938
01:02:04,360 --> 01:02:06,360
Speaker 1: and stuff that it took that role like Hunger Games

939
01:02:06,400 --> 01:02:08,480
Speaker 1: must have been like okay, no, but it was cool.

940
01:02:08,480 --> 01:02:12,320
Speaker 1: It was actually that we rehearsed a little bit the scenes.

941
01:02:12,440 --> 01:02:14,080
Speaker 1: It was it was I mean, you know, I'm I'm

942
01:02:14,280 --> 01:02:17,000
Speaker 1: sitting there doing scenes with Jennifer Lawrence and all these folks.

943
01:02:17,000 --> 01:02:19,280
Speaker 1: I mean, it was. It was cool. It was different

944
01:02:19,600 --> 01:02:23,280
Speaker 1: with your new the movie that you're almost doing Negrophilia.

945
01:02:23,480 --> 01:02:26,240
Speaker 1: Are you acting in that? I shall be yes, okay,

946
01:02:26,640 --> 01:02:29,560
Speaker 1: directing as well or just quite possibly. Okay, did you

947
01:02:29,600 --> 01:02:32,240
Speaker 1: read it? No? I mean I came up with like

948
01:02:32,520 --> 01:02:36,439
Speaker 1: the story, but I'm having a writer, a proper writer.

949
01:02:36,680 --> 01:02:40,200
Speaker 1: Really we're trying to get much out of Yeah, that's it. No,

950
01:02:40,400 --> 01:02:42,040
Speaker 1: I just really did you as an actor? Man? I like,

951
01:02:42,080 --> 01:02:44,720
Speaker 1: thank you more of it? Thank you? And you said

952
01:02:44,760 --> 01:02:46,720
Speaker 1: how easy it was for Hunger Games to get you.

953
01:02:46,760 --> 01:02:49,080
Speaker 1: But how did Lee Daniels get you for that role

954
01:02:49,160 --> 01:02:52,960
Speaker 1: for that movie at the time? Phone, he said, But

955
01:02:53,040 --> 01:02:59,600
Speaker 1: that role wasn't simple enough. Just to telephone came for me,

956
01:03:00,600 --> 01:03:08,480
Speaker 1: A little messaging in the bottle, Yes, Atlantic Star, I was.

957
01:03:10,080 --> 01:03:13,520
Speaker 1: I was thinking, Mr Telephone Man by New Edition. That's

958
01:03:13,520 --> 01:03:17,360
Speaker 1: Mary Parker Jr. You're you're, You're, you're error lank Stars,

959
01:03:17,400 --> 01:03:21,000
Speaker 1: secret lovers. But this this is the and M for

960
01:03:21,160 --> 01:03:25,720
Speaker 1: Barbara Weathers before their black period. This is like your heart, Yeah,

961
01:03:25,760 --> 01:03:30,360
Speaker 1: if your heart isn't in it the back part man. Okay,

962
01:03:30,400 --> 01:03:33,040
Speaker 1: So anyway, well you asked him, Oh, Lee Daniels. So

963
01:03:33,160 --> 01:03:35,680
Speaker 1: I was having dinner one night at Mr. Chio and

964
01:03:36,760 --> 01:03:43,080
Speaker 1: here's some old school I'm sitting I'm sitting at Baskias

965
01:03:43,120 --> 01:03:45,880
Speaker 1: table up on the top there where they already thinking.

966
01:03:46,440 --> 01:03:50,560
Speaker 1: And Lee Daniels is sitting across the room with Julian Schnabel,

967
01:03:50,840 --> 01:03:54,120
Speaker 1: the artist and director. Painter and director. Julian brings him

968
01:03:54,120 --> 01:03:57,640
Speaker 1: over because I've known Julian Well, I met Julian million

969
01:03:57,720 --> 01:04:00,760
Speaker 1: years ago. I actually was supposed to play basket Yard

970
01:04:01,560 --> 01:04:06,520
Speaker 1: in that movie, but I turned it down, right. Jeffrey

971
01:04:06,560 --> 01:04:08,440
Speaker 1: Wright was genius, but here's here's what happened. I had

972
01:04:08,440 --> 01:04:10,280
Speaker 1: just gotten off the Let Love Rule. Now we're going

973
01:04:10,320 --> 01:04:12,600
Speaker 1: another story. I had just gotten out of the off

974
01:04:12,680 --> 01:04:15,040
Speaker 1: of the Let Love Rule tour, and Julian was like,

975
01:04:15,080 --> 01:04:16,800
Speaker 1: I'm making this movie about John Michelle. I want you

976
01:04:16,840 --> 01:04:18,720
Speaker 1: to play John Michelle. I'm gonna come over and I'm

977
01:04:18,720 --> 01:04:20,800
Speaker 1: gonna start teaching you how to paint. And da da

978
01:04:20,840 --> 01:04:24,480
Speaker 1: da da da dath. I was living in the building

979
01:04:24,880 --> 01:04:27,560
Speaker 1: with this guy Shangy, who is a character in the

980
01:04:27,680 --> 01:04:32,240
Speaker 1: movie who um was one of John Michelle's friends, and

981
01:04:32,400 --> 01:04:34,400
Speaker 1: he was just like, you know, you can't do this

982
01:04:35,240 --> 01:04:39,040
Speaker 1: the scripted. But I loved Julian and it was just

983
01:04:39,160 --> 01:04:41,840
Speaker 1: like because I knew him, and I just and and

984
01:04:41,960 --> 01:04:43,320
Speaker 1: I had just come off from my tour and I

985
01:04:43,440 --> 01:04:46,120
Speaker 1: was trying to become Lenny Kravis. I was trying to

986
01:04:46,200 --> 01:04:48,800
Speaker 1: become myself, and I felt like I didn't want to

987
01:04:48,880 --> 01:04:57,840
Speaker 1: play somebody else. Not only that John Michelle's girlfriend who

988
01:04:58,640 --> 01:05:00,720
Speaker 1: was best friends with my old friend and the one

989
01:05:00,760 --> 01:05:04,760
Speaker 1: who found him dead, right, she had some things. It

990
01:05:04,880 --> 01:05:06,800
Speaker 1: just was the whole thing I was too close to.

991
01:05:06,960 --> 01:05:10,720
Speaker 1: All that was a side note and shameless plug I

992
01:05:11,080 --> 01:05:15,760
Speaker 1: talked about well, I didn't know that. Hell yeah, because

993
01:05:15,800 --> 01:05:17,520
Speaker 1: I didn't know that you were the person they talked about.

994
01:05:17,520 --> 01:05:20,160
Speaker 1: Her name was Kelly, a girl who is Johnny Chelsea.

995
01:05:20,240 --> 01:05:25,280
Speaker 1: But okay, So, but I talked about Julian because David

996
01:05:25,360 --> 01:05:27,640
Speaker 1: and Julian sort of had words about each other. David

997
01:05:27,800 --> 01:05:32,320
Speaker 1: I talked about Uh Bowie because he played he played right,

998
01:05:32,440 --> 01:05:35,760
Speaker 1: he played Andrew Worl. But yeah, I chameless plug. I

999
01:05:35,960 --> 01:05:40,520
Speaker 1: talked about Julian uh and uh Creative Quest my fourth book,

1000
01:05:40,720 --> 01:05:50,240
Speaker 1: Creative Quests. So the Lee came over, Lee Daniels. Julian

1001
01:05:50,320 --> 01:05:52,920
Speaker 1: Charon brings Lee over. Lee wants to meet you. Lee.

1002
01:05:52,920 --> 01:05:54,440
Speaker 1: It's like I've been trying to get you. I've been

1003
01:05:54,440 --> 01:05:55,720
Speaker 1: trying to find you. I wanted you to be in

1004
01:05:55,800 --> 01:05:58,800
Speaker 1: Monster's Ball, and I didn't getting a phone call. I can't.

1005
01:05:59,240 --> 01:06:02,840
Speaker 1: Nobody called me back. Your people. I don't know what

1006
01:06:02,920 --> 01:06:08,919
Speaker 1: you're talking about. So he he wanted to I really

1007
01:06:08,960 --> 01:06:12,040
Speaker 1: he was, but I knew nothing about him reaching out

1008
01:06:12,120 --> 01:06:15,480
Speaker 1: to me. I had seen those films, yes, but um,

1009
01:06:16,360 --> 01:06:18,640
Speaker 1: and then there was a movie that he wanted me

1010
01:06:18,720 --> 01:06:21,680
Speaker 1: to star in that was this really hardcore movie that

1011
01:06:21,800 --> 01:06:23,920
Speaker 1: he never ended up making because it was soup for

1012
01:06:24,040 --> 01:06:26,959
Speaker 1: me to say, Lee thought it was extra hardcore, tells

1013
01:06:27,000 --> 01:06:37,640
Speaker 1: you how hardcore was Hane crazy? Hardcore crazy and life

1014
01:06:37,720 --> 01:06:41,560
Speaker 1: and anyway, So he's like, until we make this movie,

1015
01:06:42,040 --> 01:06:44,680
Speaker 1: why don't you just come and play this part? And

1016
01:06:44,760 --> 01:06:47,480
Speaker 1: then again in The Butler. We never ended up making

1017
01:06:47,760 --> 01:06:50,840
Speaker 1: this film that I was supposed to start. But he

1018
01:06:50,920 --> 01:06:52,240
Speaker 1: got me to do what he wanted me to do,

1019
01:06:52,640 --> 01:06:55,280
Speaker 1: what he wanted me to do. But um, but it

1020
01:06:55,400 --> 01:06:57,080
Speaker 1: was great. Man. I got to work in these films

1021
01:06:57,120 --> 01:07:02,000
Speaker 1: and you know, Lenny, Yeah, I'm a guy. The greatest

1022
01:07:02,160 --> 01:07:05,920
Speaker 1: night of my life. Okay, do you remember the dinner

1023
01:07:06,320 --> 01:07:09,200
Speaker 1: remember after you saw The Butler for the first time,

1024
01:07:10,120 --> 01:07:13,200
Speaker 1: and the dinner that we went to at the Japanese

1025
01:07:13,240 --> 01:07:19,520
Speaker 1: restaurant at end? Yes, who was that lawyer who was telling?

1026
01:07:19,720 --> 01:07:24,000
Speaker 1: Was that your friend? Or was that Cuba Gooding? Who

1027
01:07:24,080 --> 01:07:29,440
Speaker 1: was that Cuba's friend? That is the most mac Like,

1028
01:07:30,440 --> 01:07:33,000
Speaker 1: I can't this is what I learned this night, so

1029
01:07:33,400 --> 01:07:37,400
Speaker 1: the entire Yes, he's the great. I need that guy almost.

1030
01:07:37,480 --> 01:07:40,000
Speaker 1: I gotta find Cuba. You wouldn't even know he was

1031
01:07:40,120 --> 01:07:44,800
Speaker 1: this big like defense lawyer, Like you think I love

1032
01:07:46,800 --> 01:07:48,720
Speaker 1: I don't know his name? Do you think I love

1033
01:07:48,800 --> 01:07:51,880
Speaker 1: telling stories? This guy was born to tell his story

1034
01:07:51,960 --> 01:07:55,520
Speaker 1: like he he deserves to be at any dinner party whatsoever.

1035
01:07:55,640 --> 01:07:59,840
Speaker 1: The entire Butler cast just watches. That was your first

1036
01:07:59,840 --> 01:08:03,040
Speaker 1: time I'm seeing complete Okay, so they all saw the

1037
01:08:03,120 --> 01:08:06,640
Speaker 1: complete Butler whatever, and Zoey and I were at and

1038
01:08:07,040 --> 01:08:09,440
Speaker 1: and she tells them like, you know, Dad's gonna join us,

1039
01:08:09,440 --> 01:08:11,080
Speaker 1: And they were all sitting that a little booth in

1040
01:08:11,120 --> 01:08:13,600
Speaker 1: the back we got was three but then it was

1041
01:08:13,680 --> 01:08:16,519
Speaker 1: like three thousand people, so everyone came. So what I

1042
01:08:16,640 --> 01:08:21,240
Speaker 1: learned this night was one the way that Forest Whittaker.

1043
01:08:22,560 --> 01:08:25,800
Speaker 1: It takes Forest Whittaker two months to prepare for role

1044
01:08:25,840 --> 01:08:28,320
Speaker 1: to get into character. So if there's an accent or

1045
01:08:28,520 --> 01:08:34,840
Speaker 1: you know whatever, it is physically exactly, I think the

1046
01:08:34,920 --> 01:08:39,240
Speaker 1: time before he was just I mean Scotland, right. So

1047
01:08:39,880 --> 01:08:42,639
Speaker 1: the thing was he couldn't join us at the dinner

1048
01:08:43,680 --> 01:08:46,200
Speaker 1: because he literally his process of getting rid of a

1049
01:08:46,320 --> 01:08:53,040
Speaker 1: character is crying. So he had a hood he had

1050
01:08:53,320 --> 01:08:56,200
Speaker 1: he had a hoodie on and some dark glasses and

1051
01:08:56,320 --> 01:08:58,679
Speaker 1: he's not the Butler anymore. He was done. So once

1052
01:08:58,720 --> 01:09:01,720
Speaker 1: he saw the movie and the only way for him

1053
01:09:02,040 --> 01:09:05,760
Speaker 1: to become Fest Whittaker again, he walked from where's the

1054
01:09:05,840 --> 01:09:09,479
Speaker 1: restaurant like in in downtown Rebecca. So he walked from

1055
01:09:11,080 --> 01:09:15,240
Speaker 1: he walked from Tribeca all the way to Harlem, and

1056
01:09:15,479 --> 01:09:23,640
Speaker 1: he said every films, it's not even like cheesecas. He's like, no,

1057
01:09:23,800 --> 01:09:27,240
Speaker 1: but this is amazing to me because he's such as

1058
01:09:28,479 --> 01:09:32,439
Speaker 1: he's such a method actor that the only way for

1059
01:09:32,640 --> 01:09:35,679
Speaker 1: him to come back down to being Forest Whittaker again

1060
01:09:36,200 --> 01:09:41,080
Speaker 1: is he has to physically boo in in sob the

1061
01:09:41,240 --> 01:09:45,439
Speaker 1: character out. So he walks. So that's why he couldn't

1062
01:09:45,479 --> 01:09:50,320
Speaker 1: join it for dinner. But Cuba came came and he

1063
01:09:50,560 --> 01:09:54,280
Speaker 1: was down. He was always down, Dude, I need Cuba

1064
01:09:54,360 --> 01:09:58,360
Speaker 1: and his lawyer on the show to talk shit. Yeah,

1065
01:09:59,680 --> 01:10:02,320
Speaker 1: whatever her thoughts of the story. I mean at the

1066
01:10:02,439 --> 01:10:11,240
Speaker 1: time he was dealing with Lindsay Lohan and appearances and

1067
01:10:11,400 --> 01:10:14,160
Speaker 1: the thing like, I only heard his side of the conversation,

1068
01:10:14,920 --> 01:10:18,599
Speaker 1: and I realized that, uh, because she was in court

1069
01:10:18,680 --> 01:10:21,719
Speaker 1: every week, that's the only way for her to really

1070
01:10:22,360 --> 01:10:26,760
Speaker 1: generate any sort of like hide money monetary action was

1071
01:10:26,800 --> 01:10:33,040
Speaker 1: the weird designers to court. So it would be waaying,

1072
01:10:33,080 --> 01:10:35,479
Speaker 1: what no, well, Gucci, no, no, no, no no, We'll

1073
01:10:35,520 --> 01:10:37,439
Speaker 1: call me back when you can work and then you

1074
01:10:37,680 --> 01:10:40,840
Speaker 1: tell this like we were there for four hours. I

1075
01:10:40,920 --> 01:10:45,800
Speaker 1: thought it was your boy, Cuba's boy. Yeah. Yeah, this

1076
01:10:45,880 --> 01:10:48,040
Speaker 1: guy doesn't look like a lawyer, looks like one of

1077
01:10:48,080 --> 01:10:50,920
Speaker 1: the beastie boys when he's not in got a calf

1078
01:10:51,120 --> 01:10:55,880
Speaker 1: and you know, New York kid. But yeah, Lenny, I

1079
01:10:55,920 --> 01:11:00,519
Speaker 1: gotta ask you something before we stop. Uh you. Yeah,

1080
01:11:00,600 --> 01:11:06,360
Speaker 1: I'm realizing now that your entire story has definitely affected

1081
01:11:07,800 --> 01:11:12,160
Speaker 1: my career just based on whatever you're associated with back then,

1082
01:11:12,439 --> 01:11:17,120
Speaker 1: rippling and like whatever, but the one move you did

1083
01:11:17,200 --> 01:11:20,679
Speaker 1: that definitely affected my career and I'm so happy about

1084
01:11:20,720 --> 01:11:25,920
Speaker 1: I got one thing up on yeah, mm, which is

1085
01:11:26,080 --> 01:11:32,760
Speaker 1: your design business? And first of all, where did this

1086
01:11:32,960 --> 01:11:37,559
Speaker 1: come from? Like you wanting to like you're the most

1087
01:11:37,720 --> 01:11:44,599
Speaker 1: buzzed about, spoken about and talked about furniture designer, art

1088
01:11:44,680 --> 01:11:48,240
Speaker 1: deco person. I've ever like the way they talk about

1089
01:11:48,360 --> 01:11:54,080
Speaker 1: you at at at Sandow and Culture and Commerce mm

1090
01:11:54,160 --> 01:11:58,160
Speaker 1: hmm is crazy to me. But what I want to

1091
01:11:58,240 --> 01:11:59,920
Speaker 1: know is you and I were in the audience of

1092
01:12:00,000 --> 01:12:03,439
Speaker 1: the same time when this happened. So we're in an

1093
01:12:03,439 --> 01:12:12,320
Speaker 1: audience during a legendary Kanye Brant Oh that which one right, right? Right? Okay?

1094
01:12:12,360 --> 01:12:14,600
Speaker 1: So basically no, he didn't know I was there. I

1095
01:12:14,840 --> 01:12:18,880
Speaker 1: know this. I had just landed in New York, decided

1096
01:12:18,920 --> 01:12:21,559
Speaker 1: to go, went through the back door Master Square guard.

1097
01:12:21,600 --> 01:12:24,000
Speaker 1: He had no idea I was there. I know this.

1098
01:12:24,520 --> 01:12:27,800
Speaker 1: And the thing was when I walked by you like

1099
01:12:28,040 --> 01:12:30,400
Speaker 1: once once, it was like twenty five minutes, I was like,

1100
01:12:30,680 --> 01:12:35,040
Speaker 1: I gotta go. So I walked and Chris Rock was

1101
01:12:35,120 --> 01:12:39,800
Speaker 1: there too. What do you do? He wasn't. Who's that

1102
01:12:39,920 --> 01:12:45,439
Speaker 1: with about to say? Stringer Bill, y'all just so cool?

1103
01:12:45,520 --> 01:12:47,120
Speaker 1: Drop another name? I don't know, it don't matter it

1104
01:12:47,200 --> 01:12:50,040
Speaker 1: just anybody. I mean, Kanye isn't down, so everybody. But

1105
01:12:50,120 --> 01:12:51,800
Speaker 1: I didn't see you. I didn't see you right now.

1106
01:12:52,080 --> 01:12:55,800
Speaker 1: You were sitting he was right, And so I walked

1107
01:12:55,840 --> 01:13:01,120
Speaker 1: past you and then and looked at you. You gotta

1108
01:13:01,120 --> 01:13:07,760
Speaker 1: made me a drop of name song and we and

1109
01:13:07,800 --> 01:13:13,320
Speaker 1: we strugged at each other's wife. Yeah, and we strugged

1110
01:13:13,320 --> 01:13:16,360
Speaker 1: at each other. And but what you don't know is

1111
01:13:16,640 --> 01:13:20,040
Speaker 1: that is what I said it in the motion. All right,

1112
01:13:20,080 --> 01:13:23,120
Speaker 1: here's the deal. Like Culture and Climate, I became the

1113
01:13:23,200 --> 01:13:27,160
Speaker 1: original Nick in Paris that night. Yes, what I want

1114
01:13:27,160 --> 01:13:30,160
Speaker 1: to know is number one, how long have you been

1115
01:13:30,280 --> 01:13:35,200
Speaker 1: working with culture and commerce and sand for years? But this,

1116
01:13:35,560 --> 01:13:37,840
Speaker 1: this whole thing started back in those lofts in New

1117
01:13:37,920 --> 01:13:41,160
Speaker 1: York City, my first album. I didn't have money to

1118
01:13:41,200 --> 01:13:43,680
Speaker 1: buy furniture. I didn't have money to decorate, but I

1119
01:13:43,920 --> 01:13:47,840
Speaker 1: loved vibe and ambiance and you know, creating that whole thing.

1120
01:13:47,960 --> 01:13:50,800
Speaker 1: So in Soho at that time, you know, when I

1121
01:13:50,880 --> 01:13:55,080
Speaker 1: was living in Soho, and in I mean Soho was

1122
01:13:55,600 --> 01:13:59,680
Speaker 1: Broom Street was kind of nasty. We had rats, we

1123
01:13:59,800 --> 01:14:02,800
Speaker 1: got a bunch of my friends got got held up

1124
01:14:02,840 --> 01:14:05,160
Speaker 1: a knife point in my building. I mean, it was

1125
01:14:06,000 --> 01:14:07,919
Speaker 1: it was that kind of it was all artists spotting

1126
01:14:07,960 --> 01:14:10,760
Speaker 1: around and um, so I would anyway. I would find

1127
01:14:10,760 --> 01:14:14,880
Speaker 1: furniture on the street and remake it and and make

1128
01:14:15,000 --> 01:14:20,280
Speaker 1: stuff and it do I want? Do you? Shelec sounds

1129
01:14:20,320 --> 01:14:26,639
Speaker 1: like a personal question. So, um, what what I'm saying

1130
01:14:26,760 --> 01:14:32,400
Speaker 1: is the last time you asked that? Do you not select?

1131
01:14:32,560 --> 01:14:35,720
Speaker 1: I mean, but just as far as because when some

1132
01:14:35,840 --> 01:14:41,400
Speaker 1: people listen to me, when people design, they're not hands

1133
01:14:41,439 --> 01:14:45,320
Speaker 1: on designers. They don't select, they don't whittle, they don't

1134
01:14:45,880 --> 01:14:52,439
Speaker 1: they outsourced. He's like, like, I know what it is.

1135
01:14:52,560 --> 01:14:55,320
Speaker 1: I'm just saying you don't get a comment. Yeah, I'm

1136
01:14:55,360 --> 01:14:59,680
Speaker 1: just saying that you actually do the designing you you know,

1137
01:14:59,840 --> 01:15:02,559
Speaker 1: he yeah, you can. You hands not a license thing.

1138
01:15:02,600 --> 01:15:04,200
Speaker 1: You just take my name and then just throw it

1139
01:15:04,240 --> 01:15:06,760
Speaker 1: on exactly moment. That's what I'm trying to get with, right,

1140
01:15:07,680 --> 01:15:11,280
Speaker 1: And so at his well, I know that Latifa was

1141
01:15:11,360 --> 01:15:14,599
Speaker 1: your first major Well that was the first, well I've

1142
01:15:14,600 --> 01:15:18,080
Speaker 1: never done a set before. That was the first, the

1143
01:15:18,160 --> 01:15:21,800
Speaker 1: original QLs. But I mean we've been doing hotels and

1144
01:15:21,920 --> 01:15:25,400
Speaker 1: condos and products, and you know for the long you know,

1145
01:15:25,720 --> 01:15:27,840
Speaker 1: from a you know, a role es date toned to

1146
01:15:27,880 --> 01:15:32,200
Speaker 1: a like a camera to this that working with late

1147
01:15:32,280 --> 01:15:34,640
Speaker 1: Star did they come did they come to you? They

1148
01:15:34,680 --> 01:15:38,080
Speaker 1: came to you first? Correct? So that's the thing. So

1149
01:15:38,240 --> 01:15:42,720
Speaker 1: basically this twenty five minute rent was and which ran

1150
01:15:42,880 --> 01:15:46,080
Speaker 1: is this which was basically about how he wanted to

1151
01:15:46,200 --> 01:15:49,400
Speaker 1: manage design. He was basically just saying, like, you know

1152
01:15:49,600 --> 01:15:52,920
Speaker 1: the whole like, let me design hotels. I wanted to

1153
01:15:53,360 --> 01:15:56,120
Speaker 1: that one. The thing was he had been trying to

1154
01:15:57,400 --> 01:16:02,479
Speaker 1: break into a particular firm, this firm mhm uh to

1155
01:16:02,680 --> 01:16:05,320
Speaker 1: use him. And by the way, is he not killing

1156
01:16:05,400 --> 01:16:08,640
Speaker 1: it Like with with the shoes, he wants more, he

1157
01:16:08,720 --> 01:16:15,200
Speaker 1: wants more, He wants more from Jolly Murphy white Wall

1158
01:16:15,640 --> 01:16:19,600
Speaker 1: I forgot about that wall, a white wall. Yeah, and

1159
01:16:20,000 --> 01:16:26,800
Speaker 1: and they they didn't take his phone calls, mainly because

1160
01:16:26,880 --> 01:16:29,080
Speaker 1: it's a week come to you, you don't come to us.

1161
01:16:29,120 --> 01:16:31,160
Speaker 1: But how did I get I don't remember how it started?

1162
01:16:31,200 --> 01:16:34,559
Speaker 1: Remember what the thing is? You remember how it started?

1163
01:16:34,720 --> 01:16:36,920
Speaker 1: You don't because you don't know your buzz yo. Like

1164
01:16:37,080 --> 01:16:40,560
Speaker 1: for for all of us crabs in the pot, we

1165
01:16:40,800 --> 01:16:43,600
Speaker 1: know that you broke to the other side for you

1166
01:16:43,880 --> 01:16:48,600
Speaker 1: to design for culture and commerce. That's some secret illuminati.

1167
01:16:49,880 --> 01:16:55,040
Speaker 1: Damn you. I didn't so okay, I rarely, I mean

1168
01:16:55,120 --> 01:16:58,400
Speaker 1: I might spoil a roots project or whatever. But half

1169
01:16:58,439 --> 01:17:00,639
Speaker 1: a time when like some it like oh I didn't

1170
01:17:00,640 --> 01:17:02,760
Speaker 1: know you wrote a book. I just really like to

1171
01:17:02,880 --> 01:17:05,599
Speaker 1: make sure some ship is done before I say ahead

1172
01:17:05,640 --> 01:17:07,600
Speaker 1: of time. Oh you know next year, IM gonna have

1173
01:17:07,600 --> 01:17:09,760
Speaker 1: a book coming out DA. But I mean I will

1174
01:17:09,800 --> 01:17:15,200
Speaker 1: say that once you once you were with that firm,

1175
01:17:15,960 --> 01:17:22,160
Speaker 1: I I took a meeting with him, and yeah, I

1176
01:17:22,240 --> 01:17:25,800
Speaker 1: got I got it started. It started telling about it

1177
01:17:25,920 --> 01:17:28,680
Speaker 1: started with Philip start because he came and saw my

1178
01:17:28,800 --> 01:17:32,479
Speaker 1: work in Paris and he's like, you need to be

1179
01:17:32,600 --> 01:17:34,680
Speaker 1: doing this for real. And I was like, what do

1180
01:17:34,760 --> 01:17:38,800
Speaker 1: you mean? He's like, you're really good. I like what

1181
01:17:38,960 --> 01:17:41,639
Speaker 1: you're doing. I see it. I feel like this. I'm

1182
01:17:41,640 --> 01:17:43,960
Speaker 1: gonna hook you up with my people. That's what happened.

1183
01:17:44,160 --> 01:17:46,640
Speaker 1: And then Philip start ushered me in. So, I mean,

1184
01:17:46,680 --> 01:17:48,280
Speaker 1: did he come to the apartment be like you designed

1185
01:17:48,439 --> 01:17:50,519
Speaker 1: playing in my house and he looked at everything. You

1186
01:17:50,560 --> 01:17:52,160
Speaker 1: look at the furniture I made, look at the design,

1187
01:17:52,240 --> 01:17:54,519
Speaker 1: look at all the stuff, the wallpaper we've made. He

1188
01:17:54,600 --> 01:17:57,280
Speaker 1: looked at everything, and he was just like, really like,

1189
01:17:57,479 --> 01:17:59,880
Speaker 1: you need to be doing this. And I was like, yeah,

1190
01:18:00,080 --> 01:18:02,719
Speaker 1: you know, I do it, but he was he looked

1191
01:18:02,760 --> 01:18:04,800
Speaker 1: at me like, no, you need to do this. You

1192
01:18:04,840 --> 01:18:06,760
Speaker 1: should be doing this for real. So I'm going to

1193
01:18:06,840 --> 01:18:10,160
Speaker 1: hook up with my people. That was it sex thing

1194
01:18:10,400 --> 01:18:13,080
Speaker 1: I got, you know, I mean Releach start you know,

1195
01:18:13,360 --> 01:18:15,840
Speaker 1: I kind of minded the way that you didn't super

1196
01:18:15,880 --> 01:18:19,920
Speaker 1: pimpot like the secret It's known in the design world

1197
01:18:20,880 --> 01:18:23,040
Speaker 1: what a monster you are, Like, I mean, have you

1198
01:18:23,080 --> 01:18:24,960
Speaker 1: been up for awards or any of that sort of thing.

1199
01:18:26,080 --> 01:18:29,439
Speaker 1: But we've got great projects. Do you have an official titles?

1200
01:18:29,560 --> 01:18:31,320
Speaker 1: For the longest, it was like, no one knew what

1201
01:18:31,600 --> 01:18:34,360
Speaker 1: you're going to call yours? Gravis Design for name of

1202
01:18:34,360 --> 01:18:37,040
Speaker 1: the company yeah. Yeah, we have an office on Crosby Street.

1203
01:18:37,320 --> 01:18:39,800
Speaker 1: And you said there is an everyday person like lying

1204
01:18:39,880 --> 01:18:42,600
Speaker 1: situation that if they wanted to have a do you

1205
01:18:42,640 --> 01:18:49,200
Speaker 1: have some thank you one day? And we did? We

1206
01:18:49,360 --> 01:18:51,160
Speaker 1: we did, we did. I did a line for CB

1207
01:18:51,320 --> 01:18:54,920
Speaker 1: two that's not part of their permanent yeah thing, which

1208
01:18:55,240 --> 01:19:01,920
Speaker 1: is that's accessible. You're gonna get where is pa? Thank you? Okay,

1209
01:19:02,200 --> 01:19:05,799
Speaker 1: I'm just getting to a someone busted. Are just that ikea?

1210
01:19:05,880 --> 01:19:09,200
Speaker 1: But I'm ready to what's up? Anything? You want to

1211
01:19:09,320 --> 01:19:18,639
Speaker 1: make it for you? Sorry? Let me please. She put

1212
01:19:18,640 --> 01:19:22,840
Speaker 1: the jacket on like it don't matter no more. He said,

1213
01:19:23,640 --> 01:19:33,080
Speaker 1: the jacket glance. You don't between that last minute. But

1214
01:19:33,160 --> 01:19:38,240
Speaker 1: if I take it off, it's like those glans are

1215
01:19:38,240 --> 01:19:41,920
Speaker 1: not a pro. I do want to because I want

1216
01:19:41,960 --> 01:19:44,240
Speaker 1: to say I just spoke and I thought it was

1217
01:19:44,320 --> 01:19:53,720
Speaker 1: Paul Shaffer. I thought I thought he pushed just like him. Bro,

1218
01:19:55,080 --> 01:19:57,960
Speaker 1: that's a compliment. I think I can't. I thought he

1219
01:19:58,000 --> 01:20:00,000
Speaker 1: pushed the button. Let me. I just want to say,

1220
01:20:00,000 --> 01:20:01,519
Speaker 1: I'll take you up on your offer because I just

1221
01:20:01,600 --> 01:20:04,240
Speaker 1: moved into a new place, so don't make jokes. I

1222
01:20:04,360 --> 01:20:09,519
Speaker 1: moved to Hollywood, Hollywood, Hollywood. Are you living in l a. Yeah,

1223
01:20:09,600 --> 01:20:13,680
Speaker 1: it's a long story, because that's a problem at all.

1224
01:20:13,800 --> 01:20:16,080
Speaker 1: Take ship. I mean, no, no, no, I just thought

1225
01:20:16,080 --> 01:20:17,920
Speaker 1: we were all. I thought this was a New York

1226
01:20:17,960 --> 01:20:23,000
Speaker 1: crew here sound especially I'm from day and then kind

1227
01:20:23,040 --> 01:20:29,479
Speaker 1: of raising Phillyward High School across the street at Bannocker Clark, Atlanta. Yeah,

1228
01:20:29,760 --> 01:20:33,200
Speaker 1: so this is about to be the most fun show

1229
01:20:33,280 --> 01:20:35,679
Speaker 1: there is. I was about to say, because you actually

1230
01:20:35,760 --> 01:20:37,519
Speaker 1: let us do a double episode, that's all I want

1231
01:20:37,520 --> 01:20:43,200
Speaker 1: to shout out to Carl and Donovan is like, what

1232
01:20:43,360 --> 01:20:46,880
Speaker 1: the I appreciate this man. I was waiting for the

1233
01:20:46,920 --> 01:20:49,160
Speaker 1: food to come out, and you know we would. We

1234
01:20:49,280 --> 01:20:51,720
Speaker 1: tried that the first episode with my routol and we

1235
01:20:51,760 --> 01:20:55,760
Speaker 1: all fell sleep. You know, culinary, you know I used

1236
01:20:55,760 --> 01:20:58,080
Speaker 1: to feed, but then like we should have a seed here.

1237
01:20:58,240 --> 01:21:02,000
Speaker 1: It was behold like stole thing back there, Like you know,

1238
01:21:02,400 --> 01:21:06,240
Speaker 1: I just have a private chef. Guys in from over

1239
01:21:06,280 --> 01:21:09,760
Speaker 1: the world. I love food, you know, that's the whole

1240
01:21:09,840 --> 01:21:13,680
Speaker 1: thing too. So yeah, you know, boss, I need us

1241
01:21:13,720 --> 01:21:15,599
Speaker 1: eat it on the air because people will be tuning

1242
01:21:15,600 --> 01:21:18,240
Speaker 1: in the microphone. We can do it maybe during it.

1243
01:21:18,280 --> 01:21:19,840
Speaker 1: Back in the day, I used to eat his chicken.

1244
01:21:20,520 --> 01:21:24,240
Speaker 1: Yeah that's right. The picture of you with them. Oh yeah,

1245
01:21:24,400 --> 01:21:26,640
Speaker 1: that's how we did take a picture. Yeah, that was

1246
01:21:26,720 --> 01:21:30,600
Speaker 1: early Instagram days. You're there the ground floor. Are you

1247
01:21:30,720 --> 01:21:33,920
Speaker 1: like vegan now or I go through well? Last year

1248
01:21:33,920 --> 01:21:37,439
Speaker 1: I was raw, raw vegan. Yeah, I was gonna say,

1249
01:21:37,560 --> 01:21:40,120
Speaker 1: how can you still looking with a teenager? Yeah, I'm

1250
01:21:40,120 --> 01:21:44,679
Speaker 1: gonna need to know. I'm going nutritionus number, trainer's number.

1251
01:21:46,080 --> 01:21:47,800
Speaker 1: Do you know what gaming weight is? Or having a

1252
01:21:47,840 --> 01:21:51,800
Speaker 1: stomach or because I gotta launch you back, launch you

1253
01:21:51,880 --> 01:21:54,880
Speaker 1: back off season, I can you know, have a little fun.

1254
01:21:55,000 --> 01:21:57,680
Speaker 1: But you know, like do you work out like you

1255
01:21:57,760 --> 01:21:59,479
Speaker 1: just seem like I do. I work stuck in a

1256
01:21:59,520 --> 01:22:02,960
Speaker 1: teenage work out and I eat clean. You know if

1257
01:22:03,000 --> 01:22:05,920
Speaker 1: you could, would you just retire and get fat? There's

1258
01:22:05,920 --> 01:22:10,600
Speaker 1: a side of me. See, there's a big inside of me.

1259
01:22:13,960 --> 01:22:18,519
Speaker 1: You don't know. You don't understand. You don't know. I understand.

1260
01:22:18,600 --> 01:22:27,240
Speaker 1: Her name is Mabel. I can get like I would

1261
01:22:27,320 --> 01:22:30,679
Speaker 1: shock you if I was just saying like like forget

1262
01:22:30,680 --> 01:22:35,080
Speaker 1: about it, like like let's just go. Yeah, I mean

1263
01:22:35,120 --> 01:22:38,519
Speaker 1: I can do it, So I keep I keep her

1264
01:22:38,600 --> 01:22:44,320
Speaker 1: at bay. Speaking of running, Speaking of running and jogging

1265
01:22:44,360 --> 01:22:47,280
Speaker 1: and working out, what happened that day in Miami with

1266
01:22:47,360 --> 01:22:50,840
Speaker 1: the cops. Oh bank robber man. That's the song I

1267
01:22:51,600 --> 01:22:54,000
Speaker 1: ended up on that record. Yeah. I was jogging in

1268
01:22:54,080 --> 01:22:56,880
Speaker 1: Miami and outside of my neighborhood just a little bit,

1269
01:22:57,640 --> 01:23:01,120
Speaker 1: and a bank had been robbed at that time. And

1270
01:23:01,240 --> 01:23:04,439
Speaker 1: I was wearing like army fatigues and a T shirt.

1271
01:23:04,479 --> 01:23:07,000
Speaker 1: And apparently the guy who robbed a bank was wearing

1272
01:23:07,400 --> 01:23:10,439
Speaker 1: army fatigues and a T shirt. And I got guns

1273
01:23:10,560 --> 01:23:16,719
Speaker 1: to my fara, four or five six cars, guns pointed,

1274
01:23:16,920 --> 01:23:19,519
Speaker 1: pulled out me and my boy jogging. It was like,

1275
01:23:19,920 --> 01:23:22,080
Speaker 1: froz that that wasn't the first I've had guns in

1276
01:23:22,120 --> 01:23:24,680
Speaker 1: my head before. Did you say, dude, I'm Lenny Kravitz. No,

1277
01:23:24,760 --> 01:23:30,040
Speaker 1: I didn't say No, he's and and my the guy

1278
01:23:30,080 --> 01:23:32,360
Speaker 1: who's running with me is like he works with me

1279
01:23:32,479 --> 01:23:35,680
Speaker 1: and the security too, and he's like kind of child like.

1280
01:23:35,760 --> 01:23:39,040
Speaker 1: He's like, um, look at him, did you see who?

1281
01:23:39,720 --> 01:23:41,760
Speaker 1: Not that it matters. I could robbed a bank, right,

1282
01:23:41,880 --> 01:23:45,040
Speaker 1: but they were and they were doing the thing where

1283
01:23:45,479 --> 01:23:47,760
Speaker 1: so they had like five six cars guns drawn. We're

1284
01:23:47,800 --> 01:23:51,120
Speaker 1: sitting there against the car they're waiting to drive the

1285
01:23:51,200 --> 01:23:56,640
Speaker 1: woman who's like eighty from the bank. If it's me

1286
01:23:56,800 --> 01:24:00,559
Speaker 1: and all I'm seeing is like the Hurricane movie and yeah,

1287
01:24:00,880 --> 01:24:04,240
Speaker 1: this one. And I was just like, oh God, and

1288
01:24:04,360 --> 01:24:07,400
Speaker 1: she drove by. I saw her drive by slow, She's

1289
01:24:07,439 --> 01:24:10,479
Speaker 1: looking out the window. And they left me and then

1290
01:24:10,560 --> 01:24:12,200
Speaker 1: they find out who I was, and then it was

1291
01:24:12,280 --> 01:24:14,080
Speaker 1: a whole I'm so sorry. I'm so sorry. I'm so

1292
01:24:14,120 --> 01:24:18,000
Speaker 1: sorry that. Yeah, but this is definitely gonna be your

1293
01:24:18,040 --> 01:24:21,120
Speaker 1: fifty million dollar wall seat. I just didn't want to

1294
01:24:21,160 --> 01:24:24,200
Speaker 1: get shot. You're not thinking about none of that stuff?

1295
01:24:24,760 --> 01:24:32,080
Speaker 1: Flow rider. Wow, I'm sorry. Yeah, you did the thing

1296
01:24:32,240 --> 01:24:34,920
Speaker 1: for the Chris Rock Show, right, that's right? Can I

1297
01:24:34,960 --> 01:24:46,040
Speaker 1: get a copy of what's alright? So? What questions are

1298
01:24:46,080 --> 01:24:47,840
Speaker 1: we going to to text each other that we forgot

1299
01:24:47,920 --> 01:24:50,759
Speaker 1: to ask? We did for ness of parodies, we did designs,

1300
01:24:51,479 --> 01:24:54,160
Speaker 1: we did the acting. Oh I got one, I got one.

1301
01:24:54,760 --> 01:24:59,599
Speaker 1: Um in the eighties, what were the alternative black people

1302
01:24:59,640 --> 01:25:02,280
Speaker 1: listening too? I've always wanted that, like, aside from like

1303
01:25:02,360 --> 01:25:05,560
Speaker 1: Fishbone and Bad Brains, like what other black musicians that

1304
01:25:05,680 --> 01:25:07,600
Speaker 1: was kind of that was just kind of a Fishbone,

1305
01:25:07,760 --> 01:25:10,280
Speaker 1: Bad Babs of course, Bob Marley, but everybody was listening

1306
01:25:10,400 --> 01:25:13,080
Speaker 1: by mine? What were you listening to? The Trouble Funky

1307
01:25:13,360 --> 01:25:16,400
Speaker 1: travel Funk. I used to go to them shows? Man?

1308
01:25:18,280 --> 01:25:23,760
Speaker 1: What used to go to the Palladium? Race Jones? Did

1309
01:25:23,800 --> 01:25:25,960
Speaker 1: you name my five albums yet? No? He didn't. He's

1310
01:25:26,000 --> 01:25:28,200
Speaker 1: got one. I had that written down first. Well, you

1311
01:25:28,280 --> 01:25:30,040
Speaker 1: asked me during the time I was making that level lu,

1312
01:25:30,160 --> 01:25:36,679
Speaker 1: But what are your five albums of life? That's hard man? Okay, alright,

1313
01:25:37,560 --> 01:25:41,280
Speaker 1: you're gonna have the name everyone gets because we're going

1314
01:25:41,360 --> 01:25:45,519
Speaker 1: to close on those. Did you ask, Oh, yeah, I

1315
01:25:45,560 --> 01:25:50,640
Speaker 1: think I got Almos anything anything, anything? Okay, let love

1316
01:25:50,760 --> 01:25:55,800
Speaker 1: Rule Time. What were your five albums? Inter Visions? Okay,

1317
01:25:56,000 --> 01:26:06,080
Speaker 1: Talking Book, Access, Bold is Love Yah. Um, that's three? Um? Wow?

1318
01:26:09,760 --> 01:26:11,840
Speaker 1: What else was I listening to at that time? Oh?

1319
01:26:12,560 --> 01:26:19,040
Speaker 1: Bob Marley, um uh, Catch a Fire, Um, Pink Floyd,

1320
01:26:19,120 --> 01:26:23,200
Speaker 1: Dark Side at the Moon. Okay, Now it's a sub question.

1321
01:26:23,560 --> 01:26:27,800
Speaker 1: Who what did you get him to after you were

1322
01:26:27,840 --> 01:26:32,639
Speaker 1: Lenny Kravitz as in like late in the game, mm hmmm.

1323
01:26:32,960 --> 01:26:35,599
Speaker 1: Like I didn't grow up on the Beatles. My dad

1324
01:26:35,680 --> 01:26:38,360
Speaker 1: had it, but I was like whatever. But then after

1325
01:26:38,760 --> 01:26:41,439
Speaker 1: a billion Paul's boutique samples that I was like, hey,

1326
01:26:41,560 --> 01:26:43,920
Speaker 1: wait a minute, and then I got into the Beetles.

1327
01:26:44,640 --> 01:26:47,680
Speaker 1: But who's the one artist that we'd be shocked that

1328
01:26:47,760 --> 01:26:57,120
Speaker 1: you got into after the age of That's a good question. Um, well,

1329
01:26:58,640 --> 01:27:01,000
Speaker 1: the one thing that I mentioned did John Lennon solo

1330
01:27:01,080 --> 01:27:05,639
Speaker 1: material knew nothing about it? Knew nothing about it? Yeah,

1331
01:27:06,479 --> 01:27:16,960
Speaker 1: all right, last ding. Your entire uh Bahamas Barhamas are

1332
01:27:17,000 --> 01:27:25,240
Speaker 1: permuter Bahamas. Okay, entire state in the Bahamas is on fire. Okay,

1333
01:27:26,640 --> 01:27:32,320
Speaker 1: what five things are you saving? Mm hmmm not all

1334
01:27:32,479 --> 01:27:37,360
Speaker 1: human beings are already out? My gold top les Paul,

1335
01:27:37,439 --> 01:27:41,639
Speaker 1: that's been on every record since probably gonna go my way.

1336
01:27:42,640 --> 01:27:48,160
Speaker 1: It's my number one studio guitar uh to this day. Yep,

1337
01:27:48,280 --> 01:27:53,760
Speaker 1: I'm still there. Um what else is going? Let's see,

1338
01:27:53,840 --> 01:27:57,040
Speaker 1: I don't have a lot there. Um, it's mostly gear,

1339
01:27:58,280 --> 01:28:01,439
Speaker 1: so everything in my house. I'm well, I got a

1340
01:28:01,479 --> 01:28:05,800
Speaker 1: Paul Evans console that's in my house. Can you carry that? Wait?

1341
01:28:06,520 --> 01:28:10,200
Speaker 1: Another bucket list question that's got I want that the

1342
01:28:10,320 --> 01:28:13,760
Speaker 1: Beatles time out. The Beatles board on the beach. Was

1343
01:28:13,840 --> 01:28:16,160
Speaker 1: that some real ship or just some meet up ship? No,

1344
01:28:16,320 --> 01:28:19,880
Speaker 1: it was there for years. I heard a story that

1345
01:28:20,040 --> 01:28:24,280
Speaker 1: you found an old Beatles board. No, No, I I

1346
01:28:24,479 --> 01:28:27,240
Speaker 1: owned the Beatles. I owned the Abbey Road equipment that

1347
01:28:27,320 --> 01:28:30,160
Speaker 1: the four track, the two track, and the tape machine.

1348
01:28:31,520 --> 01:28:36,920
Speaker 1: Your mom is like, we gotta get down. Question I

1349
01:28:37,000 --> 01:28:39,559
Speaker 1: swear the last question. Yeah, I I own the beat

1350
01:28:40,520 --> 01:28:42,840
Speaker 1: Since since are you gonna go? My way? Still use

1351
01:28:42,920 --> 01:28:47,679
Speaker 1: that board? I just sold it. Why it's a Beatles board,

1352
01:28:48,800 --> 01:28:53,800
Speaker 1: you know why? It was just I wasn't using it

1353
01:28:53,880 --> 01:28:58,600
Speaker 1: so much anymore. I have other Beetle inputs, and I

1354
01:28:58,720 --> 01:29:02,200
Speaker 1: was like, you know what, it's sitting here, and somebody

1355
01:29:02,240 --> 01:29:05,600
Speaker 1: offered me a lot of bread for it. There you go,

1356
01:29:06,240 --> 01:29:08,200
Speaker 1: that makes sense. You know. Sometimes you got just move

1357
01:29:08,280 --> 01:29:11,160
Speaker 1: things around, all right? So your goal is Paul, Yeah,

1358
01:29:11,840 --> 01:29:18,920
Speaker 1: Paul Evan's console out of my house. Um. I have

1359
01:29:19,000 --> 01:29:22,320
Speaker 1: a collection of gold records in my studio that are

1360
01:29:22,920 --> 01:29:26,880
Speaker 1: from famous artists. These are pop culture artifacts. So I've

1361
01:29:26,920 --> 01:29:30,640
Speaker 1: got Hendricks. I've got Hendricks only made four albums. I

1362
01:29:30,720 --> 01:29:33,599
Speaker 1: have two of his Goal records. I have from Access, Boldness,

1363
01:29:33,680 --> 01:29:36,640
Speaker 1: Love and are You Experience. I have Slides records. I

1364
01:29:36,720 --> 01:29:40,080
Speaker 1: have Beatle records. I have Icontina records. I have Chain

1365
01:29:40,160 --> 01:29:44,160
Speaker 1: of Fools. Uh, you know a wreath. I've got the Who.

1366
01:29:44,360 --> 01:29:46,439
Speaker 1: I have a whole collection like these are the ones

1367
01:29:46,479 --> 01:29:48,120
Speaker 1: that are awarded to those to those people, but they

1368
01:29:48,160 --> 01:29:51,200
Speaker 1: don't have many more and they got So that's four

1369
01:29:51,360 --> 01:29:57,760
Speaker 1: things and then uh, the fifth thing would be uh,

1370
01:29:58,320 --> 01:30:01,760
Speaker 1: I have the working lyrics to Sergeant Pepper's when Paul

1371
01:30:01,800 --> 01:30:12,400
Speaker 1: wrote it, Wow, Mike, motherfucking drop right and behalf boss

1372
01:30:12,479 --> 01:30:19,960
Speaker 1: Bill Sugar Steve Fantigolo and it's like, let thank you

1373
01:30:21,960 --> 01:30:28,719
Speaker 1: everything life, yes right here, yes, ah, this is gonna

1374
01:30:29,000 --> 01:30:33,960
Speaker 1: They're gonna hear all this part. I mean, you know,

1375
01:30:34,080 --> 01:30:39,640
Speaker 1: Jimmy jam gave us an extra four hours seventh and

1376
01:30:39,760 --> 01:30:42,040
Speaker 1: he still asked me for like, you know, I'll tell

1377
01:30:42,040 --> 01:30:44,599
Speaker 1: you what. We'll come back in a few months when

1378
01:30:44,640 --> 01:30:46,479
Speaker 1: I get back in New York and we'll do three

1379
01:30:46,520 --> 01:30:49,160
Speaker 1: and four. I gotta hear a tour stories. Thank you

1380
01:30:49,320 --> 01:30:51,599
Speaker 1: finished the rest of the album, and we'll hear what's

1381
01:30:51,600 --> 01:30:57,040
Speaker 1: going on. Yeah, we're still waiting for the blackout love

1382
01:30:57,120 --> 01:31:01,120
Speaker 1: that title. It's Philia time right now. Anyway. This is

1383
01:31:01,360 --> 01:31:06,120
Speaker 1: Quest Love new album, Question Love Supreme. Wait wait when

1384
01:31:06,240 --> 01:31:12,800
Speaker 1: is the apration? When is it out? Yes? September, September, September,

1385
01:31:14,680 --> 01:31:17,080
Speaker 1: be honest, September. Man, all right, thank you very much,

1386
01:31:17,520 --> 01:31:21,040
Speaker 1: appreciate it. Good night, ladies and gentlemen. This Question Love,

1387
01:31:41,080 --> 01:31:43,479
Speaker 1: Quest Love Supreme was the production of I heart Radio.

1388
01:31:43,840 --> 01:31:46,639
Speaker 1: This classic episode was produced by the team at Pandora