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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Here we Go,

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Speaker 1: Just follow Us.

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Speaker 2: Supremo role called Supremo, Supremo role called Supremo Sound, Supremo

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Speaker 2: role called Supremo Sound Sound so Premo.

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Speaker 3: Some say I'm crazy, some say I'm ill. Yeah, fuck

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Speaker 3: you talking about.

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Speaker 2: Premo Supremo Supremo Sound Supremo.

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Speaker 4: My name is Fante. I ain't hard to find, Yeah,

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Speaker 4: and I'm not like Sally.

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Speaker 1: I got a two track.

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Speaker 2: Mine Supremo ro cal suremo Son, Sure.

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Speaker 1: Here's a little story, Yeah about Sugar Steve. Yeah, she

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Speaker 1: wanted Diamond, gave her.

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Speaker 5: The d.

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Speaker 1: H R Supreme.

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Speaker 6: It's like no time to rest, It's time to learn

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Speaker 6: from hip hop's finest.

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Speaker 5: My name is Diamond, my beast, the best. Yeah, I'm

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Speaker 5: down in the A now. Should have put my man quest.

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Speaker 1: So free, so.

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Speaker 2: Freemo, so some Supremo roll Son.

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Speaker 5: So you like the.

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Speaker 1: Learning a new button every week?

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Speaker 3: Uh yeah, ladies and gentlemen, welcome to another episode of

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Speaker 3: Quest Love Supreme.

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Speaker 1: I'm your host Quest Love.

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Speaker 3: You know we're down here in the A in Atlanta

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Speaker 3: doing our first drafts of in person episodes. It's been

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Speaker 3: three years and uh, you know, glad to be with

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Speaker 3: the fan. Spoke to unpaid Bill this morning. He's fine,

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Speaker 3: chill with Grover and Oscar and then on Sesame Street

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Speaker 3: on a Saturday. Wait, today, Saturday, right right now. When

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Speaker 3: I got into uber it is one, I was like, oh, damn,

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Speaker 3: it is Saturday.

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Speaker 1: Oh it's you go to work. You go to work.

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Speaker 1: It's Saturday. I mean, probably not when they're airing this,

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Speaker 1: but yeah, I'm all yeah, I'm just all messed up.

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Speaker 7: No more days of play.

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Speaker 1: I thought it was Thursday. Damn. Okay, it's like that. Anyway.

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Speaker 1: How are you doing.

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Speaker 7: I'm doing Oh, I am doing great. We're back in

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Speaker 7: the A. I'll barely recognize it. I ain't been here

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Speaker 7: in twenty years.

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Speaker 4: I love it.

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Speaker 3: I'm kind of mad because I'm here in the A,

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Speaker 3: but I've yet to go to stroke Ris and probably

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Speaker 3: is that.

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Speaker 6: Like a new Strokers. I don't even what the hell

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Speaker 6: is that. I'm from the Magic City.

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Speaker 1: Gentleman.

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Speaker 3: You know, okay, this is what I'm learning about my

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Speaker 3: Atlanta trip number one. You know, it was sort of

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Speaker 3: a topic of the past, but now I get the

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Speaker 3: feeling that people actually go to the strip clubs here

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Speaker 3: just to eat.

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Speaker 7: So I heard Magic Cities.

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Speaker 3: Just everyone behind the cameras was like, ain't like somebody.

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Speaker 3: I was like, nobody, you want to hear Magic It

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Speaker 3: has the best wings ever.

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Speaker 7: I hear the Diamond got really quiet when we start

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Speaker 7: talking about.

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Speaker 3: Listen all right yesterday. I know always said this like

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Speaker 3: this is my favorite shows. But any any chance that

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Speaker 3: I get to nerd out on the production techniques that

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Speaker 3: really drew me to hip hop and drew office to

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Speaker 3: hip hop. No matter who you're like, it's it's always

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Speaker 3: a good episode. And so this gentleman has been forced

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Speaker 3: to record with even before his solo career, like the

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Speaker 3: work that he's done. You know, it's this strong city.

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Speaker 3: I don't a strong city at all associated with Aaron Fuchs.

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Speaker 3: Anytime I see the words, I just get I'm afraid

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Speaker 3: even if I say, the label might get litigious. So

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Speaker 3: that was that was Jazzy J and Rocky Buchano, Right, okay,

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Speaker 3: all right, well yeah, Ali, the resume is strong, like

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Speaker 3: some of my my my favorite producer moments comes from

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Speaker 3: this gentleman years. I mean, we all of his records,

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Speaker 3: uh Suns, Bunts and hip hop Hatred. I got to

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Speaker 3: ask you about your your Sophomore, Hatred, Passionate Infidelity like Dome, Peace,

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Speaker 3: the Gotham and now your brand new joint the Review,

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Speaker 3: which is excellent work. You've been doing quality, excellent work,

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Speaker 3: and sometimes it's easy to sort of take for rand it.

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Speaker 3: People do excellent work and they often get overlooked, and

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Speaker 3: when top five lists and top ten lists are named,

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Speaker 3: and you know, sometimes a person so effortless that you

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Speaker 3: tend to forget their contributions.

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Speaker 1: But you know, that's what quest Love Supreme is for.

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Speaker 1: So that's it.

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Speaker 3: Let's welcome the one and only, finally, finally, Diamond D.

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Speaker 3: Am I allowed to call you Diamond?

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Speaker 5: Now?

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Speaker 1: Course? Okay?

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Speaker 3: Number one plea were allowed? No, no, no no, But

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Speaker 3: here's the deal. I have two versions of the album.

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Speaker 1: When it was like Diamond stump blumped in here and

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Speaker 1: then there was Diamond, Well.

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Speaker 5: It was Diamond and psychoch Neurotics. Diamonds Diamond psychoch Neurotics.

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Speaker 1: So what was the situation with your name? It was

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Speaker 1: there another Diamond d like back in the day.

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Speaker 5: That I don't know what, I'm not sure, but I

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Speaker 5: think it might have been originally somebody that was signed

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Speaker 5: to Weston Records.

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Speaker 4: Wow, New York yeah. Yeah, they did Tony Garden their heartbeat,

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Speaker 4: like you.

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Speaker 8: Know, hot Shot was on that table, but I think

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Speaker 8: somebody had the name.

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Speaker 1: Yeah, okay, so.

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Speaker 3: Yeah, well, you know this is my favorite nerd out

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Speaker 3: moment on Quest Love Supreme. So I'm gonna start from

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Speaker 3: the beginning. What was your first musical memory? Time out?

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Speaker 3: Let me go to og style. Where were you born?

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Speaker 8: I was born in Manhattan, New York hospital.

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Speaker 1: Wow, I never heard any yeah, get to get to

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Speaker 1: it all right, all right, was raised in the Bronx. Okay,

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Speaker 1: your first musical memory sitting.

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Speaker 8: In my uncle's room and him just playing music.

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Speaker 5: He had a large vinyl collection, So I was just

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Speaker 5: sitting in his room like eight nine years old and

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Speaker 5: just listening to and play records.

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Speaker 1: What was he playing?

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Speaker 5: Everything? Mostly mostly funk, jazz, soul, you know what I mean?

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Speaker 5: Shouts out to Gary was he was?

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Speaker 3: He very ridiculous with the collection. Like I've had an

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Speaker 3: older cousin that was that way. But you couldn't touch

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Speaker 3: the wax.

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Speaker 5: And you know, yeah, definitely fresh, yeah, definitely. You know,

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Speaker 5: you know, you have to hold a record like this

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Speaker 5: with both hands. He's very meticulous about his whinys. And

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Speaker 5: then you know when I came along with the DJ hand,

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Speaker 5: you know, we had to put our hands on the record.

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Speaker 1: I was gonna say, how okay.

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Speaker 3: So I've sometimes I try and explain to people the

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Speaker 3: trouble you know, I mean' t ezy now that hip

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Speaker 3: hop is and it's about to be in its fiftieth

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Speaker 3: year for us also take for you know, for granted

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Speaker 3: it's development and how you know far it's come. But

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Speaker 3: you know, I try to explain to people that a

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Speaker 3: lot of those pioneers, you know, Flash got so much

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Speaker 3: kickback or pushback if you will, you know, because the

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Speaker 3: general idea is that you're going to destroy the needle

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Speaker 3: or destroy the belt driver, the turntable, like putting your

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Speaker 3: fingers on the grooves those are big no nose.

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Speaker 1: Yeah, I got punishment trying to.

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Speaker 3: You know, like my first introduction in scratching, of course,

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Speaker 3: was you know, grand Master Flash on the wheels of

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Speaker 3: steel and you know, trying to practice on my dad's

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Speaker 3: you know, while he's not looking and see what happens

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Speaker 3: and you get in trouble. But yeah, like how do

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Speaker 3: you discover what that is in in the bronx? And

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Speaker 3: were you like privy to any of those like block

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Speaker 3: parties or anything.

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Speaker 5: Oh yeah, they would like right outside Noxlain it take it.

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Speaker 5: Growing up with Farvest projects, me Fat Joel fer Ness.

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Speaker 5: We would all see DJs like you.

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Speaker 8: All were in the same buildings, still the same same complex.

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Speaker 5: But we would see Gud like Grant with the Theadore

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Speaker 5: mainly theatre, sometime Flash. At that point they were already

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Speaker 5: making records, but we were able to just go downstairs

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Speaker 5: and just see these jams going on in the parks.

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Speaker 1: What was it?

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Speaker 3: What was it like seeing Because I'm assuming that you're

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Speaker 3: too young for Harlem World or right, so I'm assuming

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Speaker 3: that you're eleven or twelve year oldag seeing it. So

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Speaker 3: what how does the trickle effect happen to you? Like

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Speaker 3: where tapes the thing instantly or how do you get

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Speaker 3: the information just.

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Speaker 5: Watching it firsthand? You know you've seen people out there,

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Speaker 5: you know with boxes, you know, recording or whatever. But

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Speaker 5: we you know, I saw the firsthand. You know, when

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Speaker 5: Flash made Grand Master Fast on the Wheels of Steals,

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Speaker 5: I had already seen him do some of that, you know,

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Speaker 5: outside in the parks, cutting up good times, you know,

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Speaker 5: shit like that, but just being close in proximity to it,

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Speaker 5: is what drew me, and in fact quest when I

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Speaker 5: was a little kid, whenever I saw the DJ reach

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Speaker 5: for the damn right I'm Somebody album cover by the JB's,

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Speaker 5: you know, I would lose my mind because I knew

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Speaker 5: he was gonna play blow your Head. And that sticks

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Speaker 5: like even even now as an adult, that always sticks

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Speaker 5: out to me. A lot of times people ask me,

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Speaker 5: you know, what's the first song to draw you into

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Speaker 5: hip hop? I mentioned blow your Head. It's not a

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Speaker 5: rap record, it's just a a break bead that was

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Speaker 5: real popular, and as little kids, we would lose our

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Speaker 5: fucking mom when that shit came in.

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Speaker 3: So all right, So Chuck d once explained to me

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Speaker 3: the effect of that, because I asked, like, why would

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Speaker 3: like why was that the first record that introduced the

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Speaker 3: world to public enemy? And he explained to me that,

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Speaker 3: you know, because okay, I grew up with an old

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Speaker 3: like a father, and older uncles and older cousins, and

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Speaker 3: so they came more or less from the I mean,

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Speaker 3: I'm not saying like I inherited the critical thinking, but

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Speaker 3: the way that you know, I'm sure a classic album

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Speaker 3: comes out we all get together and discuss that shit critically.

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Speaker 3: That's how they were, you know, because my dad was

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Speaker 3: a musician and all that stuff. So in my household,

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Speaker 3: James Brown was kind of over by seventy three. Like

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Speaker 3: my I distinctly remember the very first album, my dad

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Speaker 3: panned like this is trash.

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Speaker 1: He didn't like the payback. I don't think he liked

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Speaker 1: the idea of paying fifteen ninety.

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Speaker 3: So typically, I guess back in seventy three seventy four,

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Speaker 3: an album would run three ninety nine. A single album's

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Speaker 3: like three ninety nine, maybe four ninety nine. So when

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Speaker 3: you're paying eleven twelve ninety nine for a double album

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Speaker 3: the first thing, and you know, I'm three years old,

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Speaker 3: but my dad's like, wait a minute, there's only eight

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Speaker 3: songs on this record, and it's a double record, and

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Speaker 3: each song is like a meandering I never knew what

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Speaker 3: meandering was. But like by the time you get to

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Speaker 3: that like side three times running out Fast whatever, like

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Speaker 3: twelve minutes, you know, he just took it off and

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Speaker 3: he's like, I don't like this. And so in my mind,

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Speaker 3: James Brown was over in seventy four. But Chuck details me.

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Speaker 3: He's like James Brown commercially might have had his last

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Speaker 3: heyday of string, you know, after Poblo'm taking the mess.

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Speaker 3: But he's like in the hood, we never stopped playing

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Speaker 3: good Foot and get if anything like, we brought those

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Speaker 3: singles back, but it was just hood stuff. But for

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Speaker 3: some reason, me and myself, I never liked blow your

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Speaker 3: Head because in my mind I imagined James Brown's like, Okay,

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Speaker 3: so Stevie Wonder got a moog and made miracles of

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Speaker 3: it with him. It was almost like I could see,

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Speaker 3: I could see like the bubble wrap on the floor and.

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Speaker 1: Him just and this is the thing.

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Speaker 3: Even James Brown's musicians himself will say like he was

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Speaker 3: the worst soloist of all time, correct, but one of

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Speaker 3: those guys where even if he's wrong, he's right. So

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Speaker 3: for him to do like all this like crazy solo

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Speaker 3: and and whatnot, just never understood why y'all gravitated to

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Speaker 3: that record.

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Speaker 1: It's is just to have an instrumental that was fast,

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Speaker 1: to let.

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Speaker 8: Bee boys go off or yeah, that's all it was.

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Speaker 5: You know, I'm a little kids, so I'm not really

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Speaker 5: thinking about the musicality of it, but just the effect

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Speaker 5: that I Rick had had when he was played a party,

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Speaker 5: like you know, people would lose their fucking minds, you know,

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Speaker 5: that little one part To touch on what you're saying,

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Speaker 5: I did read with read. Wesley said that James went

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Speaker 5: in there behind their backs and he put that mood

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Speaker 5: sound over the up. Yeah right, he said. It wasn't

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Speaker 5: only at first, but the eyeing is that that's what

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Speaker 5: drove it by the time these young black and brown.

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Speaker 8: Kids were listening to it, you know, in seventy eight

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Speaker 8: and seventy nine at these parties.

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Speaker 1: Yeah, I was going to say, we.

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Speaker 3: We're now an iHeart affiliate and so we're like limited

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Speaker 3: on the times that we could play songs.

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Speaker 1: But just for that you people know what we're talking about.

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Speaker 1: This is blow your head.

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Speaker 4: Oh, thank y'all.

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Speaker 7: So y'all was talking about that public enemy. No, okay,

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Speaker 7: that's exactly like, Okay, we're here now, we here, we here.

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Speaker 1: Yeah, so you know, but this is also what I

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Speaker 1: want to know.

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Speaker 3: Do you have any memories because this is kind of

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Speaker 3: the one thing that hip hop pineys really don't talk about.

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Speaker 3: But I mean, I can only put two and two

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Speaker 3: together that if it weren't for the Blackout of seventy seven,

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Speaker 3: we might not have had hip hop culture because I'm

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Speaker 3: just assuming that because of the.

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Speaker 8: Of the looting estemal, I'm a little kid doing the blackout.

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Speaker 1: But no, no, no, I'm not saying.

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Speaker 5: But I have heard stories about a lot of equipment

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Speaker 5: came into possession during the blackout, so you know it

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Speaker 5: might it definitely pushed it along a little bit, right,

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Speaker 5: But I mean it was there before that.

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Speaker 3: But what I want to know is how, because I'm

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Speaker 3: also aware that as the years and decades go by,

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Speaker 3: maybe revisionist history sets in and stories get exaggerated. But

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Speaker 3: how officially loud were these speakers at these block parties

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Speaker 3: where they like concert level size, where you gouts are

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Speaker 3: satisfied with.

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Speaker 8: Loud enough where you can hear them three blocks away?

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Speaker 1: How do you get power of electricity in a park streamline?

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Speaker 1: Believe so someone would have to risk their life climb

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Speaker 1: up the lamp post.

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Speaker 5: Or a lot of them, a lot of them knew about,

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Speaker 5: you know, equipment, so they would break it to a

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Speaker 5: lamp post, get the power lines and do some ship

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Speaker 5: in the next thing.

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Speaker 3: Now, Kwame's dad here explain that Kwame Kwami's dad used

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Speaker 3: to tell like, for the longest Kwame's father was still

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Speaker 3: the neighbors gas like he knew how to run a

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Speaker 3: line inside of their.

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Speaker 1: Inside of their basement or whatever, and.

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Speaker 7: Just yeahful people.

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Speaker 1: Exactly if nothing else.

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Speaker 3: So how old were you when you officially when you

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Speaker 3: considered yourself like all right, I'm gonna get into this

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Speaker 3: music ship.

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Speaker 5: Like, how old were you? I would say about twelve?

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Speaker 5: About twelve when I asked my mom to buy me

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Speaker 5: some turntables.

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Speaker 1: Yeah, did you want to DJ? Or yeah? No, I was.

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Speaker 5: I wanted to be a DJ. I didn't care about

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Speaker 5: ron and I just you know, I was My whole

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Speaker 5: focus was the beats, the breakbeats. I would just go

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Speaker 5: to these these jams to stand by the ropes and

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Speaker 5: try to see album covers, you know, just how they

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Speaker 5: find these little parts with the drums. That's what really

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Speaker 5: like intrigued me. You know, all of these records with

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Speaker 5: these little drum parts. So I was just drum crazy.

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Speaker 1: When you were a kid, what was the record store that.

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Speaker 8: Was like the go to the whiz Nobody Whiz. And

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Speaker 8: there was another store on Third Avenue, I remember the name.

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Speaker 5: But the first break I bought was Shangle Lie really

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Speaker 5: yeah okay, but we called it Paradixes very nice and

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Speaker 5: IRV got it. He mentioned it in documentary. He said

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Speaker 5: he used to cut that as a kid, and I

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Speaker 5: was like, oh, ship, that's crazy. But yeah, that was

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Speaker 5: the first joint I brought my own money. So yeah, yeah,

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Speaker 5: so the slick No, no, no, that's that's Frisco disco.

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Speaker 5: But Daylight so sampled this on something.

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Speaker 3: Dad ain't damn So in your mind, what was it

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Speaker 3: about it? Because in your mind, wasn't that disco. Wasn't

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Speaker 3: disco off limits?

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Speaker 5: Or no?

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Speaker 1: No, no?

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Speaker 5: A lot of breaks with disco, you know that super

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Speaker 5: sperm with disco, Frisco disco, the Mexican is just begun.

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Speaker 1: What so whatever kept people dancing long?

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Speaker 8: That was good enough for you?

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Speaker 5: I mean you know, yeah, as long as the break

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Speaker 5: was there, all I need is you Tonight by Arthur

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Speaker 5: Price sock Yo. A lot of disco joints. Serone was

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Speaker 5: a disco record. Rocket in the pocket. It's a disco

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Speaker 5: record if ah.

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Speaker 3: Okay, wait a minute, all right, So would you spend

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Speaker 3: it on thirty three or forty five?

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Speaker 5: Well, I mean forty five if you want to rhyme

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Speaker 5: into it. But on thirty three it speeds up right, Okay,

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Speaker 5: it's a disco record. Sarna is a disco artist. I

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Speaker 5: didn't know that rocket int sped up. I'm okay.

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Speaker 3: So I'm one of those people least with the basic breaks,

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Speaker 3: especially with the stuff that's more disco fied, Like I mean,

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Speaker 3: there's two ways to listen to it, and I'm yeah,

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Speaker 3: like the first maybe twenty years of my life, I'm

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Speaker 3: very guilty of needle dropping. Yeah, oh there's a drumming

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Speaker 3: and then right, but then you know those that are

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Speaker 3: really into it, they study the song to figure it.

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Speaker 1: So, like, what is your process of how much patience

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Speaker 1: do you have?

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Speaker 3: So when you go and you bend shop and you

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Speaker 3: get coming with four hundred joints or whatever, right, then.

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Speaker 1: Is it like wine? Do you just let it sit

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Speaker 1: there until you get to it?

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Speaker 5: Or it all depends on how how much patient do

350
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Speaker 5: you have to Like, no, they're not gonna sit there

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Speaker 5: too long, But in.

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Speaker 3: Your mind, is there always a part that's usable and

353
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Speaker 3: you figure out? Because maybe with Dyla. So Dylan told

354
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Speaker 3: me he Dyla never made a beat on a Sunday, okay,

355
00:19:00,480 --> 00:19:03,720
Speaker 3: And he would house clean and do chores or whatever

356
00:19:04,040 --> 00:19:07,440
Speaker 3: and just have records on and he said, you do

357
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Speaker 3: about three or four hours or whatever. You know, sometimes

358
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Speaker 3: he will record some shit and just listen to drive around.

359
00:19:14,240 --> 00:19:17,240
Speaker 3: So yeah, like, are you one of those people that, like,

360
00:19:18,119 --> 00:19:20,159
Speaker 3: you'll listen to something over and over again until it

361
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Speaker 3: hits you or you.

362
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Speaker 8: Just nah, I just go through it when I'm near.

363
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Speaker 8: But when i'm near, I'm focused.

364
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Speaker 4: How did you make the transition from you know, DJ

365
00:19:33,240 --> 00:19:37,000
Speaker 4: in to then making tracks producing wells?

366
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Speaker 5: Most producers started off as DJs, But to answer a question,

367
00:19:41,040 --> 00:19:44,399
Speaker 5: I would say, like around nineteen ninety when me and

368
00:19:44,520 --> 00:19:48,400
Speaker 5: Premier did law on this first album, The Funky Technician.

369
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Speaker 5: Well before that, it was a Master Rob I'm not

370
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Speaker 5: playing well. Well, I didn't produce that, but I bought

371
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Speaker 5: the record. Ah, Okay, I didn't know how to program.

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Speaker 5: Jazzy J programmed it that say you're Jay loop this

373
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Speaker 5: part up the clean back for the hook.

374
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Speaker 8: Put these guitars in the chorus. Yeah, I didn't know

375
00:20:07,520 --> 00:20:08,159
Speaker 8: how to work it.

376
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Speaker 3: So I got to ask you this question, of course,

377
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Speaker 3: and you know what I'm about to ask you, Okay,

378
00:20:13,600 --> 00:20:17,160
Speaker 3: So for me, you know, and outside of New York,

379
00:20:18,320 --> 00:20:24,400
Speaker 3: you know, I grew up in a three thousand record household,

380
00:20:25,560 --> 00:20:28,879
Speaker 3: of which you know, truthfully maybe only ten maybe fifteen

381
00:20:28,920 --> 00:20:31,760
Speaker 3: percent appealed to me, and the rest was just my

382
00:20:31,880 --> 00:20:35,040
Speaker 3: dad's boring stuff, like I'm not listening to Arthur price

383
00:20:35,119 --> 00:20:37,960
Speaker 3: Out and the Beatles and all this other stuff.

384
00:20:38,000 --> 00:20:40,000
Speaker 1: But of course, you know, once.

385
00:20:41,320 --> 00:20:45,600
Speaker 3: I hear Nation of Millions and suddenly like I'm like, oh,

386
00:20:45,880 --> 00:20:48,760
Speaker 3: that's that stuff, that's that stuff. That's now It's like

387
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Speaker 3: I got to go through all them records and then

388
00:20:50,760 --> 00:20:52,800
Speaker 3: I discovered like, oh god, this is how they make

389
00:20:52,920 --> 00:20:56,760
Speaker 3: hip hop. So here's the deal. So I became a

390
00:20:56,840 --> 00:21:01,560
Speaker 3: Bomb Squad junkie. Okay, me too, And I mean for me,

391
00:21:01,640 --> 00:21:05,399
Speaker 3: there's nine seminole even though they've done more, but to me,

392
00:21:05,560 --> 00:21:08,840
Speaker 3: they've done nine important documents as far as like they're

393
00:21:08,880 --> 00:21:12,520
Speaker 3: they're cannon and really like sampling laws kind of killed

394
00:21:12,560 --> 00:21:14,840
Speaker 3: them off, and you know, there's other inner issues in

395
00:21:14,920 --> 00:21:17,680
Speaker 3: the group, but for real, it's like for me, it

396
00:21:17,760 --> 00:21:21,359
Speaker 3: was always you know, Barton Rush Nation, Black Planet. I

397
00:21:21,480 --> 00:21:23,960
Speaker 3: do count because they did a majority of it poison

398
00:21:24,160 --> 00:21:28,320
Speaker 3: by BBD correct. Even the non Bomb Squad sounds songs

399
00:21:28,359 --> 00:21:34,920
Speaker 3: sounded like them. Of course, America's most wanted And for me, yeah,

400
00:21:35,400 --> 00:21:41,800
Speaker 3: and I now consider you know, Terminator's first joint but yeah.

401
00:21:41,880 --> 00:21:44,879
Speaker 3: But the last two records in their in their Cannon

402
00:21:44,960 --> 00:21:47,280
Speaker 3: that I consider part of that document, of course, was

403
00:21:47,359 --> 00:21:49,040
Speaker 3: Young Black Teenagers and Son of Berserk.

404
00:21:50,080 --> 00:21:53,480
Speaker 1: Now, when I heard Are You with Me?

405
00:21:54,600 --> 00:21:57,720
Speaker 3: I thought that was like just one of the most

406
00:21:57,800 --> 00:21:59,960
Speaker 3: craziest things I ever heard in my life, but didn't

407
00:22:00,200 --> 00:22:04,240
Speaker 3: realize that they just put the need on my record,

408
00:22:04,440 --> 00:22:08,080
Speaker 3: right you can you can sample. It's so meta, like

409
00:22:08,160 --> 00:22:11,119
Speaker 3: they sampled a sample of you.

410
00:22:11,240 --> 00:22:13,280
Speaker 5: I don't understand that. So when you heard it, what,

411
00:22:14,200 --> 00:22:16,680
Speaker 5: I flipped the funk out, But you know, it isn't

412
00:22:16,680 --> 00:22:20,000
Speaker 5: an honor like, oh my god. It was mixed feelings, honestly.

413
00:22:20,400 --> 00:22:22,800
Speaker 5: But I turned to Jazzy Jay and I said, Yo,

414
00:22:23,800 --> 00:22:27,200
Speaker 5: these dudes just basically just rhymmed over the instrumental, so

415
00:22:27,400 --> 00:22:32,120
Speaker 5: you know, but listen, Strong City was distributed by UNI, right,

416
00:22:33,320 --> 00:22:37,720
Speaker 5: Son of Berserk was sounding UNI. Yeah, but still that's

417
00:22:37,800 --> 00:22:40,560
Speaker 5: the that's the master how the publishing get worked out.

418
00:22:41,040 --> 00:22:42,439
Speaker 1: Let me all right, so let me play the ten

419
00:22:42,520 --> 00:22:43,320
Speaker 1: seconds I could play.

420
00:22:47,400 --> 00:22:48,560
Speaker 8: That's my fucking record.

421
00:22:52,440 --> 00:22:55,000
Speaker 3: Meanwhile, I'm dreaming, like, damn, I wonder what part Eric

422
00:22:55,080 --> 00:22:58,320
Speaker 3: Sadd did, like, because I see the bomb squad just

423
00:22:58,440 --> 00:23:02,119
Speaker 3: as on some synaesthesia like the way that the guitar

424
00:23:02,359 --> 00:23:05,560
Speaker 3: stems are. And then I heard what you did and

425
00:23:05,640 --> 00:23:08,160
Speaker 3: I was like, ah, damn, they just took diamonds join

426
00:23:08,240 --> 00:23:11,040
Speaker 3: and looft it. So what happened when you heard that?

427
00:23:11,880 --> 00:23:12,800
Speaker 8: I went to jazz J.

428
00:23:12,960 --> 00:23:15,720
Speaker 5: I pointed it out to him because you know, he

429
00:23:15,800 --> 00:23:19,080
Speaker 5: had a vested interest in it, and it never went

430
00:23:19,160 --> 00:23:21,880
Speaker 5: further than that. I don't know what happened. I don't

431
00:23:21,920 --> 00:23:24,760
Speaker 5: know what happened with that. I don't even know if

432
00:23:24,880 --> 00:23:27,359
Speaker 5: you know, if we were credited on the publishing side.

433
00:23:27,400 --> 00:23:28,320
Speaker 5: I just never looked back.

434
00:23:28,840 --> 00:23:31,920
Speaker 4: Wow, what was at that time? I've read, Uh, you

435
00:23:32,000 --> 00:23:34,720
Speaker 4: did an interview, this was years ago. You talked a

436
00:23:34,760 --> 00:23:38,240
Speaker 4: little bit about Wild Pitch and Stu Fine at the time.

437
00:23:38,520 --> 00:23:41,199
Speaker 4: What was he like as a businessman? How was how

438
00:23:41,280 --> 00:23:43,080
Speaker 4: did the Wild Pitch business structure work?

439
00:23:43,880 --> 00:23:46,119
Speaker 8: Well, you know Stu Fann, I'm gonna give Stewart's props.

440
00:23:46,200 --> 00:23:48,720
Speaker 5: You know, he signed Gang Star, he signed Lord Finess,

441
00:23:49,960 --> 00:23:53,240
Speaker 5: he signed Laard Professor and Maine source Chill rob G.

442
00:23:54,760 --> 00:23:58,240
Speaker 5: You know Stu Fahn and his wife Amy Finn, they

443
00:23:58,280 --> 00:24:00,360
Speaker 5: had a good ear. They had a they had that they.

444
00:24:00,320 --> 00:24:01,800
Speaker 8: Had a good ear for good hip hop.

445
00:24:04,640 --> 00:24:07,640
Speaker 5: Student never really did anything personally towards me, but being

446
00:24:07,720 --> 00:24:10,520
Speaker 5: around my man Lord for Neesse and listening to his grumblings.

447
00:24:11,560 --> 00:24:13,920
Speaker 5: You know, if your man grumbling about, you want to

448
00:24:13,920 --> 00:24:17,040
Speaker 5: grumble too, you know what I mean. So you know, yeah,

449
00:24:17,600 --> 00:24:19,840
Speaker 5: I took that shot. I made that one line at him.

450
00:24:21,720 --> 00:24:25,000
Speaker 5: He didn't really do anything to me, but oh, just

451
00:24:25,160 --> 00:24:28,239
Speaker 5: listening to Lord for Neess grumble all the time, yo,

452
00:24:29,960 --> 00:24:34,359
Speaker 5: like that, you know, man but shouts out to stup.

453
00:24:34,400 --> 00:24:36,040
Speaker 8: Fine, you know he actually.

454
00:24:37,480 --> 00:24:38,240
Speaker 1: I'm checking.

455
00:24:38,720 --> 00:24:40,800
Speaker 8: He threw me a pass later on in life on

456
00:24:40,920 --> 00:24:43,120
Speaker 8: his l L track that I that I that I did.

457
00:24:44,600 --> 00:24:48,720
Speaker 1: Anyway, he's still alive. I believe he is.

458
00:24:48,800 --> 00:24:49,399
Speaker 8: I'm not sure.

459
00:24:49,920 --> 00:24:51,919
Speaker 5: I'm not sure, but well, I Pitch has a legacy

460
00:24:52,840 --> 00:24:55,359
Speaker 5: straight up. You know, I'm believing I'm leaving off some

461
00:24:55,520 --> 00:24:56,000
Speaker 5: artists too.

462
00:24:56,160 --> 00:24:59,399
Speaker 1: But yeah forty five k well, no, no, no, I

463
00:24:59,440 --> 00:25:03,600
Speaker 1: mean he he did Gangstars, Bust the Muster move boy.

464
00:25:04,119 --> 00:25:08,600
Speaker 3: You know what Stu gave me two men back when

465
00:25:08,640 --> 00:25:14,640
Speaker 3: Search was working at Wild Pitch. Yeah, Search was like briefly,

466
00:25:15,200 --> 00:25:17,040
Speaker 3: I guess he signed OC to Wild Pitch.

467
00:25:17,119 --> 00:25:19,359
Speaker 8: Correct, correct, I left OC, that's right.

468
00:25:19,560 --> 00:25:19,760
Speaker 1: Yeah.

469
00:25:20,200 --> 00:25:22,879
Speaker 8: And were a great artists, a lot of great artists.

470
00:25:23,119 --> 00:25:25,879
Speaker 3: We were shooting Solid Treatment on my birthday and Search

471
00:25:26,240 --> 00:25:29,560
Speaker 3: hit me off with two mint copies of Buster move Boy.

472
00:25:30,320 --> 00:25:33,560
Speaker 3: But I let them ships on a radiator, so it's work.

473
00:25:34,080 --> 00:25:40,680
Speaker 1: Wow, shut up, Steve. You gotta take care of your records, damn.

474
00:25:41,880 --> 00:25:45,240
Speaker 8: So it's interesting, is Permi It wasn't producing yet.

475
00:25:45,560 --> 00:25:51,080
Speaker 1: Yeah, the pre the pre premiere. Thanks, but I was the.

476
00:25:51,080 --> 00:25:54,040
Speaker 8: Forty five King fan, so you know he's one of

477
00:25:54,119 --> 00:25:54,680
Speaker 8: my mentors.

478
00:25:54,880 --> 00:25:56,880
Speaker 1: Mentors too, that's my joint.

479
00:25:58,560 --> 00:26:01,200
Speaker 3: Okay, before I get you know, I became aware of

480
00:26:01,280 --> 00:26:03,119
Speaker 3: you even though I knew of you and didn't know

481
00:26:03,880 --> 00:26:09,240
Speaker 3: of you because cassettes they really weren't putting on credits

482
00:26:09,280 --> 00:26:11,200
Speaker 3: and all those things. And you know, I primarily brought

483
00:26:11,240 --> 00:26:12,680
Speaker 3: my joints on cassettes.

484
00:26:12,280 --> 00:26:20,000
Speaker 1: But those on the radiators, yes I did. H But

485
00:26:20,800 --> 00:26:21,119
Speaker 1: can you.

486
00:26:22,600 --> 00:26:28,679
Speaker 3: Tell me about the environment of like the record conventions

487
00:26:29,119 --> 00:26:32,879
Speaker 3: and you know, friendly competition.

488
00:26:33,359 --> 00:26:39,240
Speaker 1: Okay, just take me when you just hypothetically walked me through.

489
00:26:39,440 --> 00:26:42,440
Speaker 7: Y'all were talking about like vinyl conventions.

490
00:26:41,960 --> 00:26:44,600
Speaker 3: So they were set up record conventions and like hotels

491
00:26:44,640 --> 00:26:50,119
Speaker 3: like Hotel Pennsylvania and the Roosevelt also, So okay, so

492
00:26:50,240 --> 00:26:53,600
Speaker 3: you find out a record convention is coming, what time

493
00:26:53,680 --> 00:26:55,720
Speaker 3: do you want to get there? And who's waiting in

494
00:26:55,800 --> 00:26:57,680
Speaker 3: line already before you get there?

495
00:26:58,200 --> 00:26:59,920
Speaker 8: I mean you're liable to see anybody.

496
00:27:00,160 --> 00:27:00,359
Speaker 1: You know.

497
00:27:02,000 --> 00:27:07,040
Speaker 5: We there seven am, kid Capri Buck Wildlord fess uh

498
00:27:07,600 --> 00:27:09,040
Speaker 5: with Sean Smith.

499
00:27:08,960 --> 00:27:12,560
Speaker 8: Gerrol b Q two. You know Diler was there a

500
00:27:12,640 --> 00:27:16,760
Speaker 8: few times, Pete Rock your man, Prince B.

501
00:27:17,560 --> 00:27:20,160
Speaker 4: I heard, yeah, I heard Prince Bold get there early

502
00:27:20,280 --> 00:27:22,440
Speaker 4: and yeah, you know, Prince B.

503
00:27:22,640 --> 00:27:25,080
Speaker 5: You know why he was winning because he didn't he

504
00:27:25,119 --> 00:27:29,520
Speaker 5: didn't he didn't negotiate, he didn't haggle. We all negotiating

505
00:27:29,560 --> 00:27:33,720
Speaker 5: with dealers. Prince B oh eight hundred all right, you know,

506
00:27:34,760 --> 00:27:38,800
Speaker 5: so they loved him. One of my stuff aside, they

507
00:27:38,840 --> 00:27:41,800
Speaker 5: loved him. Everybody else was like yo, yo eight how

508
00:27:41,800 --> 00:27:45,119
Speaker 5: about seven? You know we all in there trying to

509
00:27:45,160 --> 00:27:45,639
Speaker 5: cut deals.

510
00:27:45,680 --> 00:27:49,240
Speaker 1: But Prince B. I give him as props with money.

511
00:27:49,280 --> 00:27:53,560
Speaker 3: He was good, right, Okay, So it's it's it's it's

512
00:27:53,680 --> 00:27:57,080
Speaker 3: friendly competition, but still the wild West, and you guys

513
00:27:57,119 --> 00:27:58,240
Speaker 3: are paying for gold.

514
00:27:59,720 --> 00:28:03,680
Speaker 1: And your mind? Do you already know the dealer you

515
00:28:03,800 --> 00:28:06,200
Speaker 1: want to go to? Like, how do you without the

516
00:28:06,280 --> 00:28:06,639
Speaker 1: aid of.

517
00:28:07,000 --> 00:28:10,440
Speaker 5: Yeah, well, how do you after going a few times?

518
00:28:10,520 --> 00:28:12,879
Speaker 5: You pretty much know what dealers you really want to

519
00:28:13,160 --> 00:28:17,640
Speaker 5: really want to rock with my man John eighty eight keys.

520
00:28:17,720 --> 00:28:19,560
Speaker 5: He used to be up under John all the time.

521
00:28:21,400 --> 00:28:25,760
Speaker 5: I forgot my man. What was my man's name, Bleaker Street,

522
00:28:25,840 --> 00:28:30,840
Speaker 5: Bob black Dude, I remember him. I remember my man

523
00:28:30,960 --> 00:28:34,880
Speaker 5: Bob from Boston, Me and kicking pre We like Bob

524
00:28:34,920 --> 00:28:37,640
Speaker 5: from Boston. Bob had he had the officials. I don't

525
00:28:37,640 --> 00:28:40,280
Speaker 5: know where he was getting these joints from, you know,

526
00:28:41,240 --> 00:28:43,440
Speaker 5: But a lot of good memories. I remember when the

527
00:28:43,520 --> 00:28:47,520
Speaker 5: Power of Zeus was out, okay, and everybody was on

528
00:28:47,680 --> 00:28:49,880
Speaker 5: the proud for that. But I remember one year when

529
00:28:49,920 --> 00:28:53,959
Speaker 5: it first came to our attention. It might have been

530
00:28:54,000 --> 00:28:56,640
Speaker 5: like twenty copies did and you know, we all, you know,

531
00:28:57,200 --> 00:28:59,160
Speaker 5: everybody that was in the know, we all got one.

532
00:29:00,040 --> 00:29:03,200
Speaker 8: But those are good memories, I know, I remember them days.

533
00:29:03,240 --> 00:29:07,520
Speaker 3: Whatever I was gonna say without you know, like I'll

534
00:29:07,560 --> 00:29:10,160
Speaker 3: say the generation after you, which I guess that's where

535
00:29:10,360 --> 00:29:13,600
Speaker 3: I come to play whatever. But you know, we were

536
00:29:13,600 --> 00:29:16,080
Speaker 3: always going on these wild goose chases because of the

537
00:29:16,160 --> 00:29:17,080
Speaker 3: whole biz.

538
00:29:17,320 --> 00:29:22,880
Speaker 1: Uh to say it, but you know, searching for these bellis.

539
00:29:27,440 --> 00:29:32,480
Speaker 1: But what was a real record that was just like

540
00:29:33,360 --> 00:29:34,240
Speaker 1: you heard about?

541
00:29:35,760 --> 00:29:37,320
Speaker 3: And I'm you know, I don't mean like the fake

542
00:29:37,400 --> 00:29:40,000
Speaker 3: Bellis Mandi Gras shit, but like, what was a real

543
00:29:40,320 --> 00:29:43,920
Speaker 3: like record that y'all were like you heard about or

544
00:29:44,040 --> 00:29:45,880
Speaker 3: that sort of thing that you just had to get.

545
00:29:47,440 --> 00:29:50,040
Speaker 5: Ivy from digger to digger. But for me, it was

546
00:29:51,000 --> 00:29:56,720
Speaker 5: The whipp Jenny, the album by Dave Matthews. Okay, Dave

547
00:29:56,840 --> 00:29:58,280
Speaker 5: Matthews was.

548
00:29:58,800 --> 00:30:04,280
Speaker 3: Not Dave Matthews band but James Brown former James Brown

549
00:30:04,880 --> 00:30:08,040
Speaker 3: former musical Yeah, he.

550
00:30:08,160 --> 00:30:12,920
Speaker 5: Was also attached to the d Police trio in some way,

551
00:30:13,000 --> 00:30:14,760
Speaker 5: shape or form, but he put out an album on

552
00:30:14,920 --> 00:30:20,360
Speaker 5: People Records. It's the only psychedelic funk album that was

553
00:30:20,440 --> 00:30:22,960
Speaker 5: on People People Records, So that was like always on

554
00:30:23,120 --> 00:30:23,520
Speaker 5: my list.

555
00:30:23,880 --> 00:30:26,440
Speaker 1: Besides the show is Funky down Here record?

556
00:30:27,320 --> 00:30:30,560
Speaker 5: Yeah yeah, okay, but that was James Brown, but this

557
00:30:30,800 --> 00:30:33,960
Speaker 5: was like an offshoot that is great, which made it

558
00:30:34,040 --> 00:30:34,880
Speaker 5: even more rare.

559
00:30:36,240 --> 00:30:39,680
Speaker 3: See that's that's another one, my my all right, So

560
00:30:39,880 --> 00:30:44,240
Speaker 3: Christian McBride jazz got basis. His uncle was also James

561
00:30:44,280 --> 00:30:46,920
Speaker 3: Brown freaking worked at a jazz station and we were

562
00:30:46,960 --> 00:30:52,000
Speaker 3: in high school together, so we always had Chris had

563
00:30:52,040 --> 00:30:55,720
Speaker 3: Whipper Jenny and had shows Funky down.

564
00:30:55,600 --> 00:30:59,320
Speaker 1: Here other rare albums we put them, George Rms like,

565
00:30:59,600 --> 00:31:01,239
Speaker 1: this is hard. And that's the thing.

566
00:31:01,320 --> 00:31:04,160
Speaker 3: We were never in the mind space of something's on

567
00:31:04,400 --> 00:31:07,280
Speaker 3: here that we can loop and make it work. And

568
00:31:07,360 --> 00:31:09,280
Speaker 3: only when I became older, I was like, ah, so

569
00:31:09,360 --> 00:31:10,239
Speaker 3: many drawings on here.

570
00:31:10,360 --> 00:31:14,800
Speaker 6: But yo, can I ask a really maybe dumb, fundamental

571
00:31:15,440 --> 00:31:17,880
Speaker 6: crate digging question questions?

572
00:31:17,920 --> 00:31:18,160
Speaker 1: Okay?

573
00:31:18,200 --> 00:31:21,080
Speaker 6: Because I always I couldn't never understood how you set

574
00:31:21,120 --> 00:31:22,440
Speaker 6: the price point and how you know?

575
00:31:22,880 --> 00:31:25,160
Speaker 7: I mean, I know rare issues are rare issues, but

576
00:31:25,240 --> 00:31:27,480
Speaker 7: how you know that this record is worth this?

577
00:31:28,760 --> 00:31:28,920
Speaker 1: Yes?

578
00:31:29,040 --> 00:31:29,520
Speaker 4: How do you know?

579
00:31:29,880 --> 00:31:31,520
Speaker 7: And especially when you just starting out, how do you?

580
00:31:31,800 --> 00:31:33,160
Speaker 7: And then there's a learning process.

581
00:31:35,200 --> 00:31:37,680
Speaker 5: It comes with years of digging. You know, you just

582
00:31:38,400 --> 00:31:41,200
Speaker 5: you know, the albums you see often compared the ones

583
00:31:41,280 --> 00:31:41,680
Speaker 5: you don't.

584
00:31:41,800 --> 00:31:46,120
Speaker 1: Okay, But it's also he's okay, so there's.

585
00:31:47,440 --> 00:31:48,960
Speaker 3: Maybe I should explain it at the top of the

586
00:31:49,000 --> 00:31:53,560
Speaker 3: show that what makes diming unique is so the first

587
00:31:53,640 --> 00:31:56,520
Speaker 3: generation of sampling. Of course, you know you got to

588
00:31:56,720 --> 00:31:58,200
Speaker 3: this is why I alway shout out Break Be Lou.

589
00:31:59,240 --> 00:32:03,840
Speaker 3: Break Be Lou basically took the fundamentals, like the easy stuff,

590
00:32:04,360 --> 00:32:08,280
Speaker 3: funky drummer and piece to president, like beats that you've

591
00:32:08,320 --> 00:32:11,920
Speaker 3: always heard all your you know life on those early records,

592
00:32:12,080 --> 00:32:14,480
Speaker 3: like up until the Marley maul Rick Ruben period, so

593
00:32:14,600 --> 00:32:18,520
Speaker 3: like up from up until eighty six eighty seven. So

594
00:32:18,600 --> 00:32:20,480
Speaker 3: I'll say, like the what we call the classic period

595
00:32:20,480 --> 00:32:24,280
Speaker 3: of hip hop between eighty seven kind of ninety.

596
00:32:24,120 --> 00:32:25,840
Speaker 8: Yeah, the ball squad e right.

597
00:32:26,720 --> 00:32:29,840
Speaker 3: What break Blow would do is basically just make these

598
00:32:30,000 --> 00:32:33,600
Speaker 3: compilation records, put seven songs on each record, and then

599
00:32:33,600 --> 00:32:36,480
Speaker 3: you buy that record and then you sample it. Made

600
00:32:36,520 --> 00:32:38,320
Speaker 3: it easy for dweeps like me, so I didn't have

601
00:32:38,440 --> 00:32:42,760
Speaker 3: to go spend hours in a good will because I could.

602
00:32:42,600 --> 00:32:45,400
Speaker 1: Just cheat and get the Wikipedia version of these joints.

603
00:32:46,200 --> 00:32:49,360
Speaker 3: So then you know, Diamond's part of what I call

604
00:32:50,240 --> 00:32:54,800
Speaker 3: the first wave of Renaissance beat makers, in which it's

605
00:32:54,840 --> 00:32:59,200
Speaker 3: almost equivalent to So basically there's a collective of producers

606
00:32:59,240 --> 00:33:01,600
Speaker 3: that are like, yo, we ain't gonna do the Captain

607
00:33:01,640 --> 00:33:05,760
Speaker 3: Obvice Ship and sample James Brown and Funky Drummer. We're gonna,

608
00:33:05,880 --> 00:33:08,240
Speaker 3: we're gonna, we're gonna do the hard Ship and go

609
00:33:08,400 --> 00:33:12,560
Speaker 3: in our parents' record collection and get this old you know,

610
00:33:12,680 --> 00:33:17,360
Speaker 3: Gaunt McDermott record. And so they made art out of

611
00:33:17,920 --> 00:33:22,240
Speaker 3: we were taking the chitlings like the part of the carcass.

612
00:33:21,880 --> 00:33:22,520
Speaker 1: That you know.

613
00:33:23,320 --> 00:33:25,959
Speaker 6: So y'all also made those prices go up too as

614
00:33:26,000 --> 00:33:27,600
Speaker 6: the years went by, correct, But.

615
00:33:27,640 --> 00:33:28,120
Speaker 7: That's right, you know.

616
00:33:28,240 --> 00:33:31,640
Speaker 3: But the thing is is that I want to know now,

617
00:33:31,720 --> 00:33:37,200
Speaker 3: once y'all for me, once they use some ship, Now

618
00:33:37,320 --> 00:33:39,760
Speaker 3: I'm the next generation after him. So when I got

619
00:33:39,880 --> 00:33:48,040
Speaker 3: the sound library like life, like, yeah, MANI Alexander's love

620
00:33:48,080 --> 00:33:51,080
Speaker 3: and have happiness. That's a great example. So after the

621
00:33:51,160 --> 00:33:55,400
Speaker 3: beat Nuts used that, suddenly that Manti Alexander records seventy

622
00:33:55,440 --> 00:33:55,960
Speaker 3: five bucks.

623
00:33:57,240 --> 00:34:02,280
Speaker 5: And even before that, when tip you on Gangster Bitch, yeah, yeah,

624
00:34:02,480 --> 00:34:03,360
Speaker 5: it was on the radar.

625
00:34:03,760 --> 00:34:06,120
Speaker 3: So for those who know what but what she she

626
00:34:06,200 --> 00:34:07,880
Speaker 3: set me up for a good value though, So what

627
00:34:07,960 --> 00:34:12,959
Speaker 3: I'm asking is, we're records super expensive if it hadn't been.

628
00:34:13,040 --> 00:34:14,160
Speaker 1: Utilized used yet.

629
00:34:14,200 --> 00:34:17,200
Speaker 3: All right, So say like there's a time before let's

630
00:34:17,239 --> 00:34:20,680
Speaker 3: say in eighty nine Eugene McDaniels, where no one has

631
00:34:20,760 --> 00:34:24,719
Speaker 3: sampled that record yet before tribe. Are you still paying

632
00:34:24,719 --> 00:34:26,839
Speaker 3: one hundred and fifty dollars for it? Because after Tribe

633
00:34:26,920 --> 00:34:29,200
Speaker 3: used it? I mean this is one hundred and fifty.

634
00:34:28,960 --> 00:34:33,000
Speaker 5: Bucks to a jazz collector. Yes, if I'm a jazz collector.

635
00:34:33,000 --> 00:34:35,640
Speaker 5: I'm not concerned what hip hop is doing. It's a

636
00:34:36,120 --> 00:34:42,120
Speaker 5: it's still a good body of work. It's Vinyl Eugene McDaniel's.

637
00:34:42,120 --> 00:34:44,800
Speaker 5: He only made a hand for of album, so you

638
00:34:44,880 --> 00:34:47,400
Speaker 5: know it would still be worth money. It all depends

639
00:34:47,440 --> 00:34:48,480
Speaker 5: on the individual.

640
00:34:49,080 --> 00:34:52,360
Speaker 7: Okay, what's the most you spent on a record and

641
00:34:52,440 --> 00:34:53,040
Speaker 7: what to use for?

642
00:34:53,200 --> 00:34:53,759
Speaker 4: What do you use it for?

643
00:34:53,960 --> 00:34:58,479
Speaker 3: Giving your top five most expensive joints, man, I don't

644
00:34:58,480 --> 00:35:02,279
Speaker 3: even know Quest Whip Virginie that was one of them, Okay,

645
00:35:02,280 --> 00:35:02,600
Speaker 3: because I.

646
00:35:02,680 --> 00:35:03,719
Speaker 8: Was looking, I was looking for that.

647
00:35:05,080 --> 00:35:05,520
Speaker 1: I don't know.

648
00:35:07,400 --> 00:35:09,960
Speaker 6: I just have no clue what the most expensive. I'm like,

649
00:35:10,280 --> 00:35:13,840
Speaker 6: how far can't it go? Can be a fifteen thousand dollars?

650
00:35:13,920 --> 00:35:16,759
Speaker 5: I mean, look on discogs. Yeah, you know, I think

651
00:35:17,160 --> 00:35:18,680
Speaker 5: have to be a break beat. It could just be

652
00:35:18,840 --> 00:35:20,520
Speaker 5: something that's a collective's item.

653
00:35:21,480 --> 00:35:27,520
Speaker 3: Yeah, I'll say, well definitely. You know, like quality records

654
00:35:27,520 --> 00:35:28,319
Speaker 3: are like seventy five.

655
00:35:28,360 --> 00:35:30,160
Speaker 1: I'm trying. Maybe there was one.

656
00:35:31,000 --> 00:35:33,799
Speaker 3: There's one ridiculous, Like normally if it's mint condition, then

657
00:35:33,880 --> 00:35:37,440
Speaker 3: it's whatever. Like someone tried to get me, you know,

658
00:35:37,600 --> 00:35:41,880
Speaker 3: like maybe two hundred four back before they reissued The

659
00:35:41,960 --> 00:35:42,640
Speaker 3: Sweet Charles.

660
00:35:43,760 --> 00:35:47,920
Speaker 1: Okay, and you're one of the first ones, right, you

661
00:35:48,040 --> 00:35:52,879
Speaker 1: have the first one? That was the break ever talking

662
00:35:53,040 --> 00:35:56,320
Speaker 1: to you about that? No, not yet, oh man, like

663
00:35:57,600 --> 00:35:59,040
Speaker 1: for him to shut the fuck up.

664
00:35:59,080 --> 00:36:04,400
Speaker 3: Interlew was his favorite joint on stunts, blunts, stunting blunts, so.

665
00:36:05,880 --> 00:36:06,560
Speaker 1: Him making.

666
00:36:08,120 --> 00:36:10,920
Speaker 3: Drop down and get your ego on the follow up

667
00:36:10,960 --> 00:36:13,480
Speaker 3: to Hot in Here Nelly's joint, like he was like,

668
00:36:14,040 --> 00:36:15,880
Speaker 3: that was me trying to do my diamond.

669
00:36:17,040 --> 00:36:19,920
Speaker 8: That was like his his always showed me love. But

670
00:36:20,000 --> 00:36:21,319
Speaker 8: he never told me that story yet.

671
00:36:22,239 --> 00:36:24,520
Speaker 4: How did you get signed? Get your deal as an EMC,

672
00:36:24,840 --> 00:36:26,000
Speaker 4: you know, to make your first record?

673
00:36:26,160 --> 00:36:29,760
Speaker 5: I was actually doing a demo deal for an artists

674
00:36:29,800 --> 00:36:32,080
Speaker 5: they wanted to sign. The artist name was Joe Control.

675
00:36:33,400 --> 00:36:36,719
Speaker 5: So yeah, I was just just making the Beast for him,

676
00:36:36,800 --> 00:36:38,680
Speaker 5: like a two demo deal and now ROMed on one

677
00:36:38,719 --> 00:36:42,279
Speaker 5: of them. So what were you making your tracks on

678
00:36:42,360 --> 00:36:44,759
Speaker 5: at that time? What were you making your tracks on

679
00:36:45,560 --> 00:36:51,279
Speaker 5: at that time? I had a CAI nine hundred just

680
00:36:51,360 --> 00:36:54,359
Speaker 5: a sample. Everyone has a yeah, and had an HR

681
00:36:54,480 --> 00:36:58,040
Speaker 5: sixteen eleases wow, okay, but the least is it had

682
00:36:58,120 --> 00:37:02,840
Speaker 5: sixteen pads on it, eight eight, So I had sixteen

683
00:37:02,880 --> 00:37:03,960
Speaker 5: triggers on the sample.

684
00:37:04,160 --> 00:37:08,800
Speaker 1: It's on the sampler. How many seconds? Oh plenty?

685
00:37:09,560 --> 00:37:11,360
Speaker 5: No, I you know I did my album on that.

686
00:37:11,960 --> 00:37:16,920
Speaker 5: I may flow Joe on that, I'm the score, punks

687
00:37:16,960 --> 00:37:20,279
Speaker 5: jump up to get beat down. Anything between ninety two

688
00:37:20,320 --> 00:37:23,040
Speaker 5: to ninety six. I was still using that.

689
00:37:23,280 --> 00:37:25,360
Speaker 3: Wait a minute, you got to answer this question now,

690
00:37:25,360 --> 00:37:28,879
Speaker 3: I know, like, well, first I want to know it's

691
00:37:28,880 --> 00:37:31,360
Speaker 3: it safe to say that you were Jazzy Jay's apprentice,

692
00:37:31,640 --> 00:37:36,279
Speaker 3: like his protege, no doubt, your first generation Zulu that said,

693
00:37:36,440 --> 00:37:39,520
Speaker 3: please tell me what is the drum machine that he

694
00:37:39,680 --> 00:37:41,319
Speaker 3: used on suicide.

695
00:37:41,080 --> 00:37:45,200
Speaker 1: For busy Bee? That was the SP twelve. No, that's

696
00:37:45,280 --> 00:37:47,279
Speaker 1: not a stock, Joe, you're trying to tell me that's

697
00:37:47,280 --> 00:37:47,720
Speaker 1: a stock.

698
00:37:47,880 --> 00:37:49,040
Speaker 8: The SP twelve.

699
00:37:49,320 --> 00:37:52,920
Speaker 5: Oh that'st be twelve, not the twelve hundred. The twelve

700
00:37:53,480 --> 00:37:55,719
Speaker 5: with the the floppy. This looked like a like a

701
00:37:55,840 --> 00:37:59,560
Speaker 5: seven inch dog. I sat there and I watched Jay

702
00:38:00,080 --> 00:38:05,760
Speaker 5: take Funky Drummer one two three four link link.

703
00:38:07,560 --> 00:38:07,600
Speaker 1: K.

704
00:38:09,960 --> 00:38:13,840
Speaker 8: I lost my mind, Yo, lost my mom and I

705
00:38:13,960 --> 00:38:14,680
Speaker 8: just gave it away.

706
00:38:14,760 --> 00:38:19,399
Speaker 4: But we know that's basic, right. So your first deal,

707
00:38:19,760 --> 00:38:22,640
Speaker 4: how you signed, how you were doing the demo deal

708
00:38:22,719 --> 00:38:27,000
Speaker 4: for Okay for stunts, blunts or Strong City. Well, yeah,

709
00:38:27,000 --> 00:38:29,799
Speaker 4: I guess to start with Strong City. For Strong City,

710
00:38:31,160 --> 00:38:33,439
Speaker 4: the m C in the group, his name is Rob.

711
00:38:34,560 --> 00:38:37,279
Speaker 5: Rob came to my house and said, yo, I've seen

712
00:38:37,400 --> 00:38:40,960
Speaker 5: Jazzy Jay and the Projects. I said, nah, you're lying.

713
00:38:42,200 --> 00:38:47,000
Speaker 5: He said, nah, right over there now, so I go downstairs.

714
00:38:47,080 --> 00:38:51,880
Speaker 5: Sure enough, Jay had on the first generation Death Jam jackets,

715
00:38:53,000 --> 00:38:57,200
Speaker 5: the Satin Joints all purple, and we met him. You know,

716
00:38:57,400 --> 00:38:59,520
Speaker 5: this is this is around the time when this is

717
00:39:00,120 --> 00:39:04,920
Speaker 5: but after Jazzy j had a song called cold Chilling.

718
00:39:05,040 --> 00:39:09,480
Speaker 1: In the spot right, cold rock stuff. Yes, yes, that's

719
00:39:09,560 --> 00:39:15,960
Speaker 1: the rush. Yeah, he just talked right, that's so, you know,

720
00:39:16,080 --> 00:39:17,480
Speaker 1: he helped. He helped.

721
00:39:17,800 --> 00:39:21,600
Speaker 5: He actually helped put death Jam on the map along

722
00:39:21,680 --> 00:39:25,360
Speaker 5: with It's yours. And I believe he didn't need to.

723
00:39:25,560 --> 00:39:28,040
Speaker 5: I believe he did. Yeah, I need to beat you know.

724
00:39:28,120 --> 00:39:29,920
Speaker 5: But anyway, we go over there, we meet him to

725
00:39:29,960 --> 00:39:32,719
Speaker 5: come to find out he's friends. He's friends with a

726
00:39:32,760 --> 00:39:37,120
Speaker 5: female and the Projects, and he gave us his number

727
00:39:37,560 --> 00:39:40,520
Speaker 5: and we we went to see him a few weeks

728
00:39:40,560 --> 00:39:43,520
Speaker 5: later and just developed a relationship and then he eventually

729
00:39:43,640 --> 00:39:46,960
Speaker 5: signed us. Okay, yeah, but that's how it happened. You know,

730
00:39:47,360 --> 00:39:49,920
Speaker 5: my man saw him in the jets. That was around

731
00:39:49,960 --> 00:39:53,160
Speaker 5: what year, Oh, that was like eighty eight. Okay, that's

732
00:39:53,200 --> 00:39:54,480
Speaker 5: eighty eighty eight definitely.

733
00:39:54,600 --> 00:39:57,520
Speaker 4: And then from there, how did from that situation, how

734
00:39:57,560 --> 00:39:59,560
Speaker 4: did you make it to you know, Mercury the being

735
00:39:59,719 --> 00:39:59,880
Speaker 4: you know?

736
00:40:01,040 --> 00:40:01,560
Speaker 1: Okay, so.

737
00:40:03,480 --> 00:40:06,080
Speaker 5: After the Ultimore Force came out, didn't really blow up,

738
00:40:06,239 --> 00:40:08,759
Speaker 5: but you know, we made some noise regionally.

739
00:40:10,280 --> 00:40:12,080
Speaker 1: Man, they used to play that record in North Carolina.

740
00:40:12,400 --> 00:40:15,640
Speaker 4: Yeah, like they bro it was a show they used

741
00:40:15,680 --> 00:40:17,560
Speaker 4: to have on no kind of anti It was the

742
00:40:17,600 --> 00:40:19,800
Speaker 4: Black college in Greensboro where I grew up, called the

743
00:40:19,840 --> 00:40:23,120
Speaker 4: full Moon Block Party, and they would play I'm Not

744
00:40:23,239 --> 00:40:26,160
Speaker 4: Playing And I didn't find out that was, you know

745
00:40:26,280 --> 00:40:27,560
Speaker 4: you till like years later.

746
00:40:27,600 --> 00:40:28,439
Speaker 1: I was like, what the fuck?

747
00:40:28,520 --> 00:40:30,000
Speaker 5: But I used to love that record, man, I was

748
00:40:30,040 --> 00:40:32,920
Speaker 5: like nine, and yeah, you know, that's the first records

749
00:40:32,920 --> 00:40:35,400
Speaker 5: to in corporate the blues, you know what I mean?

750
00:40:35,600 --> 00:40:39,600
Speaker 8: And I used to cut doubles of that the beginning.

751
00:40:39,920 --> 00:40:43,720
Speaker 5: I'll be king. I finally going through my grandfather's records.

752
00:40:44,160 --> 00:40:48,319
Speaker 5: He had one just like maybe like eighty four, right,

753
00:40:49,200 --> 00:40:52,640
Speaker 5: so my first year of high school. But I'm at

754
00:40:52,680 --> 00:40:55,720
Speaker 5: this point, I'm still I'm looking. I'm actively looking for beats.

755
00:40:56,719 --> 00:40:58,680
Speaker 5: And I said, oh shit, this is nice, and then

756
00:40:58,960 --> 00:41:00,760
Speaker 5: maybe a year later with another one.

757
00:41:00,640 --> 00:41:01,400
Speaker 8: But I used to cut it.

758
00:41:02,920 --> 00:41:04,680
Speaker 5: So when we got through with Jack J, I said, Yo,

759
00:41:04,719 --> 00:41:06,719
Speaker 5: we're gonna we're gonna flip this right here, because you know,

760
00:41:06,880 --> 00:41:09,640
Speaker 5: nobody really fucking with the blue and you know it's

761
00:41:09,840 --> 00:41:12,960
Speaker 5: it's a it's a funky beat. But that's how I

762
00:41:13,040 --> 00:41:16,520
Speaker 5: got signed this Strong City, how I got signed to

763
00:41:17,440 --> 00:41:19,680
Speaker 5: for the stunts blunts I was doing. I was doing

764
00:41:19,719 --> 00:41:24,000
Speaker 5: a demo for somebody iron doing it mm hmm. So

765
00:41:24,120 --> 00:41:26,400
Speaker 5: about a month later they call us down there. So

766
00:41:26,520 --> 00:41:28,080
Speaker 5: I'm like, okay, I'm about to get a check with

767
00:41:28,160 --> 00:41:32,200
Speaker 5: these motherfucking beats. So I go down there like all right, yeah,

768
00:41:32,280 --> 00:41:34,600
Speaker 5: what's up. You know, they like, Yo, we want to

769
00:41:34,640 --> 00:41:37,839
Speaker 5: sign you. I was like me, that's what's up? All right,

770
00:41:38,080 --> 00:41:40,799
Speaker 5: you know, let's do it. I wasn't even really looking

771
00:41:40,880 --> 00:41:43,840
Speaker 5: for the deal, but who was a.

772
00:41:46,520 --> 00:41:47,560
Speaker 8: Yeah he was.

773
00:41:47,760 --> 00:41:50,920
Speaker 5: He was a big shot over at Priority. He signed

774
00:41:50,960 --> 00:41:54,160
Speaker 5: special at all those groups over there.

775
00:41:55,440 --> 00:41:56,040
Speaker 8: Brian Chen.

776
00:41:58,040 --> 00:42:00,560
Speaker 5: I thought it was a little harsh to the m

777
00:42:00,719 --> 00:42:03,040
Speaker 5: seed that I was doing the demo for, but I

778
00:42:03,120 --> 00:42:05,239
Speaker 5: think they might have just broken up with some money

779
00:42:05,360 --> 00:42:08,400
Speaker 5: or something. But yeah, I actually deal just kind of

780
00:42:08,440 --> 00:42:11,400
Speaker 5: fell in my lap. But Brian's he liked the music

781
00:42:11,480 --> 00:42:13,120
Speaker 5: and he liked what I was rhyming, you know what

782
00:42:13,400 --> 00:42:14,000
Speaker 5: I was rhyming.

783
00:42:14,560 --> 00:42:17,000
Speaker 4: So and you really didn't have any intentions of ry

784
00:42:17,160 --> 00:42:17,840
Speaker 4: like being an m C.

785
00:42:18,120 --> 00:42:19,359
Speaker 8: No, it was just something I did.

786
00:42:19,960 --> 00:42:23,480
Speaker 5: But around this time, I'm around Lord Finess almost every day.

787
00:42:24,520 --> 00:42:27,719
Speaker 5: I'm around Grand Poopa Maxwell because he was signed a

788
00:42:27,760 --> 00:42:30,560
Speaker 5: Strong City also in the group, calling masses of ceremonies.

789
00:42:31,360 --> 00:42:39,920
Speaker 8: So that's right, Sexy cracked out. So I'm around these.

790
00:42:39,880 --> 00:42:43,840
Speaker 5: Dudes, and you know, it's just rubbing off on me,

791
00:42:44,640 --> 00:42:47,040
Speaker 5: even though my thing is DJing and still making beats.

792
00:42:47,640 --> 00:42:51,160
Speaker 5: But I knew how to rhyme. And one of the

793
00:42:51,239 --> 00:42:54,839
Speaker 5: first demos I recorded was Best Kept Secret. And then

794
00:42:54,880 --> 00:42:56,960
Speaker 5: when they heard that, they said, okay, we're gonna do an.

795
00:42:56,920 --> 00:42:59,680
Speaker 1: Album on you. How long did it take for you

796
00:42:59,760 --> 00:43:03,600
Speaker 1: to make that record? How on stuff? Blunts? Y? Yeah? Uh?

797
00:43:04,520 --> 00:43:07,200
Speaker 8: About eight months? Yeah, about eight months?

798
00:43:07,600 --> 00:43:10,240
Speaker 4: And at that time were they with samples and stuff?

799
00:43:10,560 --> 00:43:13,279
Speaker 4: Was it was it just you know, wild wild West shit,

800
00:43:13,440 --> 00:43:15,640
Speaker 4: just whatever? Or how did y'all handle it?

801
00:43:16,080 --> 00:43:17,560
Speaker 8: It's just a collection of records that.

802
00:43:18,600 --> 00:43:20,640
Speaker 4: In terms of clearances, like clearance samples, was they.

803
00:43:20,640 --> 00:43:21,560
Speaker 8: Well I didn't care about that.

804
00:43:21,680 --> 00:43:24,320
Speaker 5: That was a label's job, you know at that you know,

805
00:43:24,480 --> 00:43:26,640
Speaker 5: back then you just turn turn it in, give them

806
00:43:26,640 --> 00:43:29,520
Speaker 5: the names, you know, the names you want to give

807
00:43:29,560 --> 00:43:31,239
Speaker 5: them that far.

808
00:43:31,680 --> 00:43:38,960
Speaker 1: But what I want to know is were you conscious

809
00:43:39,040 --> 00:43:39,640
Speaker 1: at least.

810
00:43:41,280 --> 00:43:46,239
Speaker 3: To avoid ultimate beats and breaks or definitely because what

811
00:43:46,480 --> 00:43:48,800
Speaker 3: the party didn't get out was, you know again, like

812
00:43:49,080 --> 00:43:52,160
Speaker 3: the reason why you're part of the Way and the

813
00:43:52,520 --> 00:43:57,720
Speaker 3: renaissance guys is you know there's Premiere, yourself, Frish Professor.

814
00:43:57,880 --> 00:44:01,000
Speaker 8: That's after stuffs blunts, Ali and Tip after stuff blunts.

815
00:44:01,120 --> 00:44:01,200
Speaker 6: Right.

816
00:44:01,239 --> 00:44:04,440
Speaker 3: But I just meant when we're talking about the what

817
00:44:04,560 --> 00:44:07,640
Speaker 3: I consider the people that went outside the circle, what

818
00:44:07,760 --> 00:44:10,680
Speaker 3: I call the Ivy League circle of sampling, where you

819
00:44:10,840 --> 00:44:15,480
Speaker 3: guys are now acquiring records that aren't easily available.

820
00:44:16,440 --> 00:44:17,800
Speaker 1: That's what stands you guys apart.

821
00:44:18,000 --> 00:44:22,920
Speaker 3: But back then, was it just a general rule like no,

822
00:44:23,200 --> 00:44:26,799
Speaker 3: no more ultimate beats and breaks, no easy James Brown shit,

823
00:44:26,960 --> 00:44:29,399
Speaker 3: like I gotta find some shit that no one has

824
00:44:29,600 --> 00:44:30,680
Speaker 3: and make some shit out that.

825
00:44:30,920 --> 00:44:34,400
Speaker 5: I don't know if it was general, but amongst that

826
00:44:34,560 --> 00:44:39,120
Speaker 5: core group of diggers, we had already progressed. And you know,

827
00:44:39,280 --> 00:44:42,040
Speaker 5: me living in the Bronx a lot, Like you said,

828
00:44:42,040 --> 00:44:43,440
Speaker 5: a lot of the beats that Lou was putting on

829
00:44:43,520 --> 00:44:46,279
Speaker 5: them records we already knew about, right, you know what

830
00:44:46,360 --> 00:44:49,799
Speaker 5: I mean? So well, fuck what you heard I said.

831
00:44:50,560 --> 00:44:52,800
Speaker 5: People will always say, hey, like the way you make beats,

832
00:44:53,120 --> 00:44:54,400
Speaker 5: he doesn't use beats.

833
00:44:55,000 --> 00:44:57,080
Speaker 8: That wasn't a jab at loud. That was just me

834
00:44:57,239 --> 00:44:57,840
Speaker 8: being honest.

835
00:44:58,400 --> 00:45:02,160
Speaker 3: Yeah, I guess know, but but it pushed, it pushed

836
00:45:02,200 --> 00:45:11,799
Speaker 3: the envelope further. Correct, So in your mind, who of.

837
00:45:13,560 --> 00:45:15,319
Speaker 1: The initial.

838
00:45:16,600 --> 00:45:21,120
Speaker 3: Renaissance crew and I'm talking Pete, I'm talking Premiere, Chipping

839
00:45:21,200 --> 00:45:28,880
Speaker 3: Ali large professor, Like, who did you consider.

840
00:45:28,680 --> 00:45:34,799
Speaker 1: Like real nice with theirs? Like I got it? Well,

841
00:45:35,360 --> 00:45:38,600
Speaker 1: Like did anyone ever flipped the question? Well?

842
00:45:39,120 --> 00:45:42,080
Speaker 5: I got to start with Prince Paul for his work

843
00:45:42,160 --> 00:45:45,600
Speaker 5: on Daylight Sol's first album, which really showed me because

844
00:45:45,800 --> 00:45:47,480
Speaker 5: at that point it was a lot of James Brown

845
00:45:47,800 --> 00:45:51,680
Speaker 5: as you know Quest, but that Dayly album in eighty nine,

846
00:45:52,880 --> 00:45:55,719
Speaker 5: it opened, it opened the doors for me. Like, you know,

847
00:45:56,160 --> 00:45:58,319
Speaker 5: there's so much other stuff out here that I knew

848
00:45:58,320 --> 00:46:00,560
Speaker 5: about but really wasn't on my radar.

849
00:46:01,760 --> 00:46:03,839
Speaker 8: So I got to shout out Prince Paul.

850
00:46:04,360 --> 00:46:09,280
Speaker 5: Of course, Trip Court Quest their first albums, Jungle brothers.

851
00:46:10,360 --> 00:46:13,960
Speaker 5: All these albums influenced me out of the members you

852
00:46:14,120 --> 00:46:18,600
Speaker 5: just named, obviously Pete Rock's first album, you.

853
00:46:18,680 --> 00:46:20,680
Speaker 8: Know what I mean, and the work that me and

854
00:46:20,719 --> 00:46:23,880
Speaker 8: showbiz was doing. So you know, you just take all

855
00:46:23,960 --> 00:46:24,719
Speaker 8: of that in and.

856
00:46:24,840 --> 00:46:29,880
Speaker 3: Then has there ever been a moment where and again,

857
00:46:30,080 --> 00:46:33,359
Speaker 3: like you know, I'm listening to it like I don't

858
00:46:33,400 --> 00:46:36,920
Speaker 3: have a deal yet, so anything you guys are doing

859
00:46:36,960 --> 00:46:40,800
Speaker 3: are like, oh, man, this man from Heaven. But I

860
00:46:40,960 --> 00:46:44,440
Speaker 3: know that there comes a time where like a man,

861
00:46:44,520 --> 00:46:46,040
Speaker 3: I had that record, I should have used it first

862
00:46:46,080 --> 00:46:49,120
Speaker 3: or whatever, Like has there ever been that moment of.

863
00:46:49,360 --> 00:46:52,960
Speaker 5: Like, ah, they got to it before I did, or Yes,

864
00:46:53,200 --> 00:46:56,759
Speaker 5: it's been times like that. I know, record I've used

865
00:46:56,840 --> 00:46:58,879
Speaker 5: joints that people ran behind me and used.

866
00:47:00,040 --> 00:47:02,879
Speaker 4: It was bigger than when I did it New York

867
00:47:02,920 --> 00:47:04,160
Speaker 4: ship Buster.

868
00:47:05,360 --> 00:47:07,560
Speaker 8: Yeah yeah, yeah, yeah, that's one example.

869
00:47:07,680 --> 00:47:09,719
Speaker 1: Yeah, that's one example. But I consider that an on

870
00:47:09,840 --> 00:47:12,280
Speaker 1: man's joint, Like if years.

871
00:47:12,920 --> 00:47:14,920
Speaker 8: He told me that's what it was, I was definitely that.

872
00:47:15,080 --> 00:47:16,920
Speaker 4: Yeah, just the two of us chub Rock.

873
00:47:17,400 --> 00:47:17,600
Speaker 1: Yeah.

874
00:47:18,600 --> 00:47:21,560
Speaker 8: DJ Scratch said when he when he did that, he

875
00:47:21,640 --> 00:47:23,640
Speaker 8: had never heard I went from mine before what.

876
00:47:25,280 --> 00:47:27,600
Speaker 5: He said, he was on the road. D Jane from

877
00:47:28,320 --> 00:47:32,160
Speaker 5: the Hit Squad in ninety two and Stunts. Blunt wasn't

878
00:47:32,200 --> 00:47:34,239
Speaker 5: on his radar. I couldn't call I couldn't call dude

879
00:47:34,239 --> 00:47:39,279
Speaker 5: a liar, you know, trumb trub Rock. He used the

880
00:47:39,400 --> 00:47:44,600
Speaker 5: Albi King joint after me. That's effects. They want effects.

881
00:47:45,160 --> 00:47:47,640
Speaker 5: I used that for law for Neess first. Ah wow,

882
00:47:48,040 --> 00:47:49,000
Speaker 5: I mean I can go on and on.

883
00:47:49,400 --> 00:47:51,600
Speaker 1: Yeah, I forgot about that one. Yeah.

884
00:47:51,840 --> 00:47:54,320
Speaker 3: I think in general, a lot of a lot of

885
00:47:54,360 --> 00:47:56,520
Speaker 3: people when they create, Like I think there are people

886
00:47:56,560 --> 00:47:59,800
Speaker 3: that are creators and then people are listeners, right Like

887
00:48:00,080 --> 00:48:04,600
Speaker 3: I'm a listener, so I'll absorb it. But yeah, oftentimes

888
00:48:04,640 --> 00:48:09,440
Speaker 3: I'll meet creators that aren't hipto. But that's in all

889
00:48:09,600 --> 00:48:13,759
Speaker 3: parts of music, you know, Yes, you know. I would

890
00:48:13,760 --> 00:48:18,080
Speaker 3: ask the revolution, like was Prince sitting around like damn,

891
00:48:18,080 --> 00:48:19,920
Speaker 3: I gotta beat Thriller and like that sort of thing,

892
00:48:20,000 --> 00:48:23,719
Speaker 3: like was he? And I think Lisa told me, like

893
00:48:24,520 --> 00:48:27,080
Speaker 3: Prince listening to Thriller like for the first time, it's completion,

894
00:48:27,360 --> 00:48:32,560
Speaker 3: like I think when they were on when the last tour,

895
00:48:32,719 --> 00:48:35,719
Speaker 3: like the Parade Tour in eighty six, but for the

896
00:48:35,840 --> 00:48:38,600
Speaker 3: most part they had to put him on this shit.

897
00:48:39,120 --> 00:48:41,920
Speaker 4: My joint off the record my favorite joint off Stars

898
00:48:41,960 --> 00:48:43,520
Speaker 4: Blunts was Check one two.

899
00:48:44,320 --> 00:48:47,799
Speaker 8: That was like, yeah, that's my favorite joint too, really yeah,

900
00:48:47,920 --> 00:48:48,680
Speaker 8: just the feel of it.

901
00:48:48,880 --> 00:48:52,080
Speaker 4: Yeah, And like I always the thing I always liked

902
00:48:52,160 --> 00:48:54,680
Speaker 4: about you because you know, I think with producers, I

903
00:48:54,760 --> 00:48:57,360
Speaker 4: think there's something about producers that rhyme that y'all have

904
00:48:57,440 --> 00:49:01,319
Speaker 4: an understanding of just really using y'all voices as an

905
00:49:01,480 --> 00:49:04,359
Speaker 4: instrument and like complimenting a beat rather than just I'm

906
00:49:04,360 --> 00:49:05,879
Speaker 4: gonna bar you the fuck up, you know what I mean,

907
00:49:06,040 --> 00:49:09,319
Speaker 4: Like you Pete Deyler resting peace, like you know, y'all

908
00:49:09,320 --> 00:49:11,560
Speaker 4: all had to think. And so I wanted to ask

909
00:49:11,640 --> 00:49:14,160
Speaker 4: you about one of my favorite verses of yours, like

910
00:49:14,640 --> 00:49:17,880
Speaker 4: whatn't on your album the way you started off Runaway

911
00:49:17,920 --> 00:49:21,200
Speaker 4: Slave Bill Digger going Back on the Block with my

912
00:49:21,320 --> 00:49:23,640
Speaker 4: Name and Quinn right right. What do you remember about

913
00:49:23,680 --> 00:49:25,920
Speaker 4: that session or if it in the making of that album,

914
00:49:25,920 --> 00:49:28,279
Speaker 4: because that's like in terms of y'all's crew, like.

915
00:49:28,560 --> 00:49:31,120
Speaker 8: That album, those were good times. Yeah, we were all

916
00:49:31,160 --> 00:49:32,080
Speaker 8: in the studio together.

917
00:49:33,120 --> 00:49:36,080
Speaker 5: I wrote it on the spot, you know, and Quincy

918
00:49:36,160 --> 00:49:38,120
Speaker 5: had that album out Back on the Block, you know,

919
00:49:38,320 --> 00:49:40,839
Speaker 5: so it was a cultural reference, you know, a pop

920
00:49:40,920 --> 00:49:48,880
Speaker 5: cultural reference. Yeah, I mean, shit, it's crazy. Those a

921
00:49:48,880 --> 00:49:51,080
Speaker 5: lot of good memories. You know, back when we all

922
00:49:51,200 --> 00:49:51,920
Speaker 5: we were.

923
00:49:51,719 --> 00:49:54,520
Speaker 8: Just all forming. We already we already we had already

924
00:49:54,560 --> 00:49:56,239
Speaker 8: known each other for years. We all grew up with

925
00:49:56,320 --> 00:49:56,680
Speaker 8: each other.

926
00:49:56,840 --> 00:49:59,040
Speaker 5: But around that time we were was like, yo, you know,

927
00:49:59,120 --> 00:50:02,840
Speaker 5: we can all come to ever try to form, you know,

928
00:50:03,000 --> 00:50:07,520
Speaker 5: and make a statement, you know, and then I would

929
00:50:07,520 --> 00:50:10,320
Speaker 5: definitely say d I t C definitely pushed the culture

930
00:50:10,400 --> 00:50:14,920
Speaker 5: forward as far as you know, trying to dig for

931
00:50:15,120 --> 00:50:19,480
Speaker 5: music that wasn't touched already. Well, just trying to stand apart.

932
00:50:20,520 --> 00:50:24,600
Speaker 3: I'll say, the first time I was really aware of

933
00:50:24,800 --> 00:50:28,400
Speaker 3: your existence, like for real, of course is in a

934
00:50:28,520 --> 00:50:31,840
Speaker 3: lot of us. It was a show business on the

935
00:50:31,920 --> 00:50:34,520
Speaker 3: low in theory? Correct, How did that come?

936
00:50:35,000 --> 00:50:36,160
Speaker 1: How did that? That's crazy?

937
00:50:36,600 --> 00:50:38,319
Speaker 5: You know I went there to play beats for Tip

938
00:50:39,800 --> 00:50:42,520
Speaker 5: had chopped just to play. Yeah, I went, you know,

939
00:50:43,000 --> 00:50:45,440
Speaker 5: I went there. I chopped up to Jimi Hendrix joining.

940
00:50:45,520 --> 00:50:48,319
Speaker 5: He was really feeling it and he knew I had

941
00:50:48,360 --> 00:50:54,120
Speaker 5: a deal and Poolba Pooba was on the track originally

942
00:50:55,560 --> 00:50:58,640
Speaker 5: and the label felt he says some things he shouldn't

943
00:50:58,640 --> 00:51:02,320
Speaker 5: have said, and Tips say your Pool, you know, I

944
00:51:02,400 --> 00:51:04,239
Speaker 5: really want you on here, but the label wants you

945
00:51:04,320 --> 00:51:08,040
Speaker 5: to you know, change first up, okay, and you know

946
00:51:08,840 --> 00:51:11,239
Speaker 5: Pool by ninety one ninety two, Pool Boy was like.

947
00:51:11,239 --> 00:51:12,359
Speaker 8: I ain't changing shit.

948
00:51:12,400 --> 00:51:14,680
Speaker 1: Couldn't tell them anything, right, you know what I mean?

949
00:51:15,120 --> 00:51:18,959
Speaker 5: Now, the gods it's a Doctor X and Jamal, they like, shit,

950
00:51:19,000 --> 00:51:20,520
Speaker 5: we want to be on this fucking record.

951
00:51:21,280 --> 00:51:22,400
Speaker 1: You know, we love trip.

952
00:51:23,160 --> 00:51:25,160
Speaker 8: So while I'm near tips like yo, you want to

953
00:51:25,160 --> 00:51:28,160
Speaker 8: be on the joint, I'm like, hell, yeah, you know

954
00:51:28,200 --> 00:51:28,600
Speaker 8: what I mean?

955
00:51:28,800 --> 00:51:31,520
Speaker 1: And I wrote it on the spot.

956
00:51:32,040 --> 00:51:33,960
Speaker 3: That's a that's a notable. I mean, even though it's

957
00:51:34,040 --> 00:51:36,680
Speaker 3: not a debut, right, but for a lot of us,

958
00:51:36,719 --> 00:51:37,600
Speaker 3: we feel like that was.

959
00:51:37,640 --> 00:51:40,879
Speaker 8: Like conceded my album. So it was like an alley open.

960
00:51:40,920 --> 00:51:42,400
Speaker 1: It was a great set up. It was a great sep.

961
00:51:43,440 --> 00:51:46,840
Speaker 1: You know what, kids, Uncle, it's time for the return of.

962
00:51:50,400 --> 00:51:50,600
Speaker 5: Yeah.

963
00:51:51,000 --> 00:51:54,520
Speaker 3: Oh yes, you thought I was gonna have Dyan. You

964
00:51:54,640 --> 00:51:56,600
Speaker 3: thought we was gonna have him on the show and

965
00:51:56,960 --> 00:51:58,879
Speaker 3: and not do a round a bit.

966
00:51:59,040 --> 00:51:59,560
Speaker 1: You guessed it.

967
00:52:00,040 --> 00:52:02,000
Speaker 7: It's been a minute, all right.

968
00:52:02,239 --> 00:52:07,160
Speaker 1: So I do this to every beat maker that I respect,

969
00:52:08,320 --> 00:52:12,080
Speaker 1: in which you know, again I'm adhering to the rule.

970
00:52:14,040 --> 00:52:14,200
Speaker 5: I know.

971
00:52:14,280 --> 00:52:16,960
Speaker 1: It's like I feel like there's like forty two warriors

972
00:52:17,040 --> 00:52:21,480
Speaker 1: in the already cleared with Jake. He knows what time

973
00:52:21,560 --> 00:52:23,719
Speaker 1: it is. We good, all right?

974
00:52:23,840 --> 00:52:28,520
Speaker 3: So one, I'm gonna upgrade the game because Fante always

975
00:52:28,560 --> 00:52:32,880
Speaker 3: insists on playing even though I'm no. I'm gonna let

976
00:52:32,920 --> 00:52:35,080
Speaker 3: you win this too, because I've uped the game. This

977
00:52:35,120 --> 00:52:37,080
Speaker 3: is what happens when you're when you're on a in

978
00:52:37,160 --> 00:52:39,200
Speaker 3: quarantine and COVID, you think of new ways to do.

979
00:52:39,800 --> 00:52:42,080
Speaker 1: So I'm the bit you can't guess it here? Is

980
00:52:42,120 --> 00:52:45,480
Speaker 1: that the idea all of you in all right. So

981
00:52:45,680 --> 00:52:49,279
Speaker 1: what I'm gonna do is, I'm going to play a

982
00:52:49,400 --> 00:52:54,920
Speaker 1: list of Captain Obvious songs of which I've isolated a

983
00:52:55,200 --> 00:52:58,920
Speaker 1: specific part to see if you can identify the sample.

984
00:53:00,360 --> 00:53:00,600
Speaker 1: I think.

985
00:53:00,680 --> 00:53:03,520
Speaker 3: I think you're up for this. This one's very easy

986
00:53:04,880 --> 00:53:09,279
Speaker 3: and I'm allowed. I will allow to clues because you know, yeah,

987
00:53:09,280 --> 00:53:14,160
Speaker 3: I need it, all right? Sample number one? What is

988
00:53:14,239 --> 00:53:17,520
Speaker 3: this sample? And I've detuned it to throw you off.

989
00:53:22,440 --> 00:53:23,600
Speaker 3: Let me know when you need a clue.

990
00:53:30,680 --> 00:53:35,920
Speaker 4: I don't even know what d tuning means. So oh

991
00:53:36,080 --> 00:53:39,000
Speaker 4: that's a uh, it's a it's I don't want to

992
00:53:39,160 --> 00:53:40,400
Speaker 4: I know, I don't want to say it. If you

993
00:53:40,480 --> 00:53:43,360
Speaker 4: know I know what it is. It's a it's a

994
00:53:44,560 --> 00:53:45,759
Speaker 4: say it it's uh.

995
00:53:45,840 --> 00:53:46,520
Speaker 1: It's walking by?

996
00:53:46,640 --> 00:53:46,759
Speaker 6: Right?

997
00:53:47,760 --> 00:53:47,960
Speaker 4: Yeah?

998
00:53:48,320 --> 00:53:50,920
Speaker 8: What nice?

999
00:53:51,040 --> 00:53:54,120
Speaker 1: Nice? Nice? Here we go de tuned number two.

1000
00:53:55,880 --> 00:53:56,520
Speaker 4: Oh, I got that.

1001
00:54:00,160 --> 00:54:02,759
Speaker 1: What it was used to say it? If you know

1002
00:54:02,840 --> 00:54:03,080
Speaker 1: it's it.

1003
00:54:04,640 --> 00:54:05,200
Speaker 8: I'm not right.

1004
00:54:05,280 --> 00:54:05,799
Speaker 4: I'm not right.

1005
00:54:05,920 --> 00:54:11,000
Speaker 6: I was like, is a ball involved? No, okay, sounds

1006
00:54:11,040 --> 00:54:12,480
Speaker 6: like boss. I don't know why I thought that song.

1007
00:54:13,719 --> 00:54:14,560
Speaker 8: I don't know what that is.

1008
00:54:14,800 --> 00:54:17,000
Speaker 4: Okay, let me love it.

1009
00:54:19,480 --> 00:54:24,880
Speaker 3: All okay, now press constructions the messenger used on n

1010
00:54:25,040 --> 00:54:26,880
Speaker 3: w WA's I ain't doing all right that that was

1011
00:54:26,880 --> 00:54:27,560
Speaker 3: a little advanced.

1012
00:54:27,560 --> 00:54:32,799
Speaker 1: I'm sorry. Number three, h.

1013
00:54:35,400 --> 00:54:42,919
Speaker 8: H nothing a piece.

1014
00:54:43,000 --> 00:54:43,759
Speaker 1: I don't know what that is.

1015
00:54:47,120 --> 00:54:53,880
Speaker 4: H Oh, that's a that's ah, it's scarface. Use it

1016
00:54:53,920 --> 00:54:54,680
Speaker 4: for money in the power?

1017
00:54:54,680 --> 00:54:54,919
Speaker 1: I don't.

1018
00:54:54,920 --> 00:54:56,280
Speaker 4: I don't know the original break.

1019
00:54:57,520 --> 00:55:02,000
Speaker 1: Yeah, I love serename Barry Damn.

1020
00:55:02,040 --> 00:55:05,040
Speaker 6: Maybe I made this a little to it Manning.

1021
00:55:05,200 --> 00:55:06,080
Speaker 1: Yeah, yeah, you see.

1022
00:55:06,320 --> 00:55:08,920
Speaker 3: I gotta throw off the smell first, man. I want

1023
00:55:08,960 --> 00:55:11,040
Speaker 3: to come out of the captain. I like, all right,

1024
00:55:11,080 --> 00:55:12,239
Speaker 3: here we go. Number four?

1025
00:55:15,760 --> 00:55:15,920
Speaker 8: Is that?

1026
00:55:26,760 --> 00:55:26,920
Speaker 6: Uh?

1027
00:55:28,280 --> 00:55:29,359
Speaker 4: I hear the end of that's there?

1028
00:55:29,480 --> 00:55:31,279
Speaker 1: It's a good old time funk delic.

1029
00:55:31,880 --> 00:55:34,960
Speaker 8: Yeah, yeah, don't say nothing. That's the fucking delic.

1030
00:55:35,480 --> 00:55:38,319
Speaker 1: Yes, good old music, good old music music.

1031
00:55:38,440 --> 00:55:44,239
Speaker 5: Yes you're correct that magic Tones first, right by the

1032
00:55:44,320 --> 00:55:45,080
Speaker 5: magic Tones.

1033
00:55:45,560 --> 00:55:50,680
Speaker 3: All right, Yes you're right, boy. I just found that

1034
00:55:50,880 --> 00:55:54,759
Speaker 3: forty five. I was like both on westbound right, and

1035
00:55:54,880 --> 00:55:58,160
Speaker 3: that's even better. Yes, that is even better. And I

1036
00:55:58,200 --> 00:55:59,839
Speaker 3: gotta talk to you about your forty five game.

1037
00:56:00,440 --> 00:56:07,800
Speaker 1: All right? This is number five that James Brown.

1038
00:56:10,120 --> 00:56:24,239
Speaker 4: No, oh, that's a Bill Withers. Uh oh no, it's

1039
00:56:24,280 --> 00:56:25,239
Speaker 4: a Harlem.

1040
00:56:28,320 --> 00:56:36,560
Speaker 1: Close yeah, use me, I don't all right, let me

1041
00:56:36,640 --> 00:56:38,319
Speaker 1: not de tune it to throw you out.

1042
00:56:43,480 --> 00:56:47,520
Speaker 7: Could everybody get a fair chance sometimes, you know, I.

1043
00:56:47,560 --> 00:56:49,360
Speaker 1: Mean you know, of course, I just.

1044
00:56:51,280 --> 00:56:51,440
Speaker 4: Two.

1045
00:56:53,320 --> 00:57:12,239
Speaker 1: I think you could do number six. I don't know

1046
00:57:12,360 --> 00:57:23,480
Speaker 1: this one. That bongo's not Steve. You don't know this.

1047
00:57:24,560 --> 00:57:29,520
Speaker 4: Oh it's jazz. No, okay, it's not anything.

1048
00:57:31,240 --> 00:57:34,320
Speaker 1: I have no idea, said maybe Staples.

1049
00:57:35,960 --> 00:57:43,600
Speaker 5: Oh crazy Eddie Kendricks. The little snippets like yeah, that's

1050
00:57:43,640 --> 00:57:45,320
Speaker 5: why he won't he won't play two seconds.

1051
00:57:46,080 --> 00:57:49,760
Speaker 1: Well, I'm only allowed to play two seconds, so that's

1052
00:57:49,840 --> 00:57:50,960
Speaker 1: like a half of a second.

1053
00:57:51,680 --> 00:57:51,960
Speaker 8: I think.

1054
00:57:53,320 --> 00:57:55,400
Speaker 1: All right. See now I feel bad for this next

1055
00:57:55,440 --> 00:57:59,680
Speaker 1: one because it's only the reverb, but all right, I

1056
00:57:59,720 --> 00:58:00,760
Speaker 1: won't he tuned this one.

1057
00:58:04,440 --> 00:58:09,000
Speaker 7: See every song I hear is I think it's Brenda Russell.

1058
00:58:10,840 --> 00:58:22,320
Speaker 1: I mean no, no, no, no, that's what. H oh

1059
00:58:22,400 --> 00:58:22,880
Speaker 1: that ain't no.

1060
00:58:23,800 --> 00:58:25,640
Speaker 4: I have no idea what this is. I know different.

1061
00:58:27,920 --> 00:58:34,439
Speaker 7: Really, I don't know that one good one, the first

1062
00:58:34,480 --> 00:58:35,000
Speaker 7: one to do that.

1063
00:58:35,640 --> 00:58:36,760
Speaker 8: That's her records, her record.

1064
00:58:36,800 --> 00:58:40,440
Speaker 1: I know that. Shout out to Slim Robbie, right, that's right,

1065
00:58:40,920 --> 00:58:41,960
Speaker 1: so the Kings.

1066
00:58:42,840 --> 00:58:47,280
Speaker 3: I would say that when Miles Davis is ex wife

1067
00:58:47,360 --> 00:58:51,400
Speaker 3: Betty Davis, she signed the Island Records in seventy seven

1068
00:58:51,680 --> 00:58:53,800
Speaker 3: to make a fourth record that was supposed to make

1069
00:58:53,800 --> 00:58:55,800
Speaker 3: her a star of it because she's so headstrong and

1070
00:58:55,920 --> 00:59:00,240
Speaker 3: producing right in her own joints. He dropped her, and

1071
00:59:00,320 --> 00:59:06,520
Speaker 3: then Chris Chris Blackwell, and then you know she just

1072
00:59:06,560 --> 00:59:07,840
Speaker 3: fade into obscurity.

1073
00:59:07,920 --> 00:59:08,880
Speaker 1: But basically.

1074
00:59:10,440 --> 00:59:14,920
Speaker 3: Slim Robbie had brought Grace to his attention and instead

1075
00:59:14,920 --> 00:59:16,800
Speaker 3: he signed Grace Jones to Island Records and.

1076
00:59:18,240 --> 00:59:19,720
Speaker 1: Was supposed to Betty Davis's record.

1077
00:59:20,400 --> 00:59:22,840
Speaker 3: I mean not, I don't know for I mean, Chris

1078
00:59:22,920 --> 00:59:24,760
Speaker 3: definitely had visions on what he wanted her to do,

1079
00:59:24,960 --> 00:59:27,160
Speaker 3: but like part of her story was like I write

1080
00:59:27,160 --> 00:59:29,920
Speaker 3: and I control. She got the Commodore as the record

1081
00:59:30,080 --> 00:59:34,520
Speaker 3: like I didn't realize, like it was heard songs for

1082
00:59:34,600 --> 00:59:36,520
Speaker 3: the commodoors that got them to deal with Motown. They

1083
00:59:36,560 --> 00:59:37,800
Speaker 3: offer her a deal and she's like, do I own

1084
00:59:37,800 --> 00:59:40,480
Speaker 3: my publisher and they're like, nope. She wrote that Harlem

1085
00:59:40,560 --> 00:59:44,120
Speaker 3: song that I used for the Chambers Brothers, and like

1086
00:59:44,240 --> 00:59:45,920
Speaker 3: she wrote a whole bunch of songs. But then they'd

1087
00:59:45,960 --> 00:59:47,520
Speaker 3: be like, yo, you want to deal and she's like,

1088
00:59:47,600 --> 00:59:50,880
Speaker 3: if only I owe my music one So, because she

1089
00:59:51,000 --> 00:59:53,240
Speaker 3: was so headstrong on a jawin, they just kind of

1090
00:59:53,280 --> 00:59:55,800
Speaker 3: got black Paul, all right, these are my last two.

1091
00:59:57,200 --> 01:00:01,520
Speaker 1: And I won't detune it. Number games freaking me out. Yes,

1092
01:00:03,040 --> 01:00:07,520
Speaker 1: there's two events. Let's go, let's let's see. Oh that's uh.

1093
01:00:09,120 --> 01:00:15,240
Speaker 3: Yeah, that's eug McDaniel's Freedom and Death Dance. All right,

1094
01:00:16,200 --> 01:00:19,080
Speaker 3: this is one that all of you should know. And

1095
01:00:19,200 --> 01:00:20,680
Speaker 3: I am de two ing because I feel like it's

1096
01:00:20,720 --> 01:00:21,760
Speaker 3: Captain Obvious.

1097
01:00:30,360 --> 01:00:32,480
Speaker 1: Slid Stone close, but.

1098
01:00:32,600 --> 01:00:35,560
Speaker 4: No, I'm out.

1099
01:00:39,000 --> 01:00:39,640
Speaker 7: The airport.

1100
01:00:44,520 --> 01:00:50,240
Speaker 1: Oh is that one, two, three, four or five? Yeah? Yeah?

1101
01:00:52,440 --> 01:00:54,320
Speaker 3: I could tell your eyes like you that you kind

1102
01:00:54,360 --> 01:00:56,480
Speaker 3: of knew where it was. All right, I will go

1103
01:00:56,640 --> 01:00:58,200
Speaker 3: home and retool my game.

1104
01:00:58,360 --> 01:00:58,680
Speaker 1: Damnit.

1105
01:00:59,200 --> 01:01:02,280
Speaker 7: It was fun. Anybody won this outside of Fante, any

1106
01:01:02,320 --> 01:01:02,800
Speaker 7: of our guests.

1107
01:01:03,280 --> 01:01:08,080
Speaker 1: Fante always beats them all, just I think just Blaze

1108
01:01:08,200 --> 01:01:11,360
Speaker 1: was the closest and Pete Peeple was pretty good. One

1109
01:01:11,560 --> 01:01:13,160
Speaker 1: was well, I was unfair to people. I was doing

1110
01:01:13,200 --> 01:01:17,160
Speaker 1: like high hats with people before I peteknew him to

1111
01:01:17,320 --> 01:01:18,160
Speaker 1: that was crazy.

1112
01:01:18,560 --> 01:01:21,680
Speaker 4: I was gonna ask you about your second album because

1113
01:01:21,880 --> 01:01:24,240
Speaker 4: that was the one for me, Like, I mean that

1114
01:01:24,480 --> 01:01:26,400
Speaker 4: was like my album. It was you know, I was

1115
01:01:26,880 --> 01:01:30,680
Speaker 4: I think like sixteen that came out and by of

1116
01:01:30,840 --> 01:01:35,720
Speaker 4: all your singles, man, the Hiatus bro like talk about

1117
01:01:35,760 --> 01:01:38,840
Speaker 4: putting out that album at the time, this is ninety seven.

1118
01:01:38,920 --> 01:01:42,600
Speaker 4: Well yeah, so this is like the head this is

1119
01:01:42,680 --> 01:01:47,000
Speaker 4: like bad Boy, you know, like all the what radio was.

1120
01:01:47,200 --> 01:01:49,040
Speaker 4: So how did you figure out kind of your lane

1121
01:01:49,080 --> 01:01:49,840
Speaker 4: in the midst of all that.

1122
01:01:50,480 --> 01:01:53,360
Speaker 8: Well, the plan was to just you know, still still

1123
01:01:53,480 --> 01:01:54,600
Speaker 8: do Diamond D, but.

1124
01:01:56,280 --> 01:01:58,120
Speaker 5: Just have you know, to have a little more radio

1125
01:01:58,360 --> 01:02:04,200
Speaker 5: accessible joints comparing stunts blunting hip hop. So uh, I

1126
01:02:04,320 --> 01:02:07,520
Speaker 5: did the joint with UH with Veronica Cream and Sunshine.

1127
01:02:07,600 --> 01:02:11,919
Speaker 5: She was signing Mercury Records at the time. But yeah,

1128
01:02:12,040 --> 01:02:14,520
Speaker 5: good memories the Hiatus. A lot of people thought that

1129
01:02:14,600 --> 01:02:16,760
Speaker 5: I that I sampled Swahili.

1130
01:02:16,360 --> 01:02:20,720
Speaker 1: Land for that. Jean showed me that record was bro.

1131
01:02:21,080 --> 01:02:21,760
Speaker 1: But it's not that.

1132
01:02:22,840 --> 01:02:26,960
Speaker 5: You know, hey, me and Dylan, we both we both

1133
01:02:27,040 --> 01:02:30,000
Speaker 5: influenced each other. You know, Dyla went on Dyla has

1134
01:02:30,320 --> 01:02:34,040
Speaker 5: going on record to say I was one of his influences.

1135
01:02:34,640 --> 01:02:36,600
Speaker 5: You know, the same with Pete, the same with Premiere.

1136
01:02:37,400 --> 01:02:39,480
Speaker 5: You know, we all influenced each other. But that was

1137
01:02:39,560 --> 01:02:42,080
Speaker 5: not Swahili Land. You know, those who know where the

1138
01:02:42,120 --> 01:02:48,520
Speaker 5: sample came from your no, but yeah, and you know

1139
01:02:48,600 --> 01:02:52,760
Speaker 5: the album. What I learned was in the process of

1140
01:02:52,800 --> 01:02:56,520
Speaker 5: recording that album was you know, we all we all

1141
01:02:56,560 --> 01:02:59,320
Speaker 5: want to be signed directly to a major label. But

1142
01:02:59,440 --> 01:03:02,160
Speaker 5: in hinds like I should have stayed with the label

1143
01:03:02,200 --> 01:03:05,080
Speaker 5: that signed me, which was Chemistry. I should have stayed

1144
01:03:05,080 --> 01:03:09,400
Speaker 5: with them because they would have cheerleaders. And when I

1145
01:03:09,520 --> 01:03:12,480
Speaker 5: was on Mercury, I was just another artist. They were

1146
01:03:12,520 --> 01:03:15,040
Speaker 5: excited about me, but they weren't as excited as the

1147
01:03:15,040 --> 01:03:18,040
Speaker 5: people at Chemistry Records were Chemistry, they were your translators

1148
01:03:18,160 --> 01:03:21,200
Speaker 5: for Mercury. Well, I was signed in Chemistry first. You know,

1149
01:03:21,360 --> 01:03:23,800
Speaker 5: Brian Chen was over there, so he was the one

1150
01:03:23,880 --> 01:03:27,200
Speaker 5: fighting for me. Once I with the Mercury, you know

1151
01:03:29,440 --> 01:03:35,680
Speaker 5: Hansen is over there, will.

1152
01:03:38,360 --> 01:03:41,440
Speaker 4: I think they had I think only they had. It

1153
01:03:41,560 --> 01:03:42,840
Speaker 4: was scratched over.

1154
01:03:42,760 --> 01:03:45,920
Speaker 1: There at that time there, you know what I mean,

1155
01:03:47,000 --> 01:03:51,680
Speaker 1: there were really uh we remember I told you that

1156
01:03:51,800 --> 01:03:57,760
Speaker 1: we got the contract that Mercury, So yeah, Brian and

1157
01:04:00,880 --> 01:04:01,440
Speaker 1: we signed.

1158
01:04:01,640 --> 01:04:04,400
Speaker 3: We even went to the Jingle Jangle. We went to

1159
01:04:04,440 --> 01:04:08,160
Speaker 3: the Legal Jangle video shoot that Friday. They took us

1160
01:04:08,160 --> 01:04:10,960
Speaker 3: out to dinner and we're like, yo, we're gonna be

1161
01:04:11,080 --> 01:04:12,480
Speaker 3: down with Black Sheep and everything. And this is the

1162
01:04:12,560 --> 01:04:15,680
Speaker 3: first time I'm hear in jingle Jangle and that the

1163
01:04:15,720 --> 01:04:16,680
Speaker 3: way the piano.

1164
01:04:16,480 --> 01:04:18,560
Speaker 1: Just dropped down. Shit. We was like, yo, we made it,

1165
01:04:18,680 --> 01:04:19,160
Speaker 1: We made it.

1166
01:04:19,960 --> 01:04:23,040
Speaker 3: And we get the We get the contract. And because

1167
01:04:23,080 --> 01:04:29,400
Speaker 3: they misspelled meaning to Rikan Malik's names, that clinical era, right,

1168
01:04:29,680 --> 01:04:32,760
Speaker 3: but crucial era, because I guess when three or more

1169
01:04:32,800 --> 01:04:34,600
Speaker 3: people in the party are misspelled, they have to give

1170
01:04:34,640 --> 01:04:40,920
Speaker 3: you a new contract. Kenyata's assistant forgot to FedEx Us

1171
01:04:41,640 --> 01:04:44,280
Speaker 3: Thursday to Friday the new contracts. So they were like,

1172
01:04:44,280 --> 01:04:46,880
Speaker 3: all right, look, we'll sit it Saturday delivery, you'll get

1173
01:04:46,920 --> 01:04:47,400
Speaker 3: it Monday.

1174
01:04:47,520 --> 01:04:48,120
Speaker 1: You'll be cool.

1175
01:04:48,640 --> 01:04:51,240
Speaker 3: And they gave Wendy Goldstein enough time to land a

1176
01:04:51,320 --> 01:04:53,760
Speaker 3: plane and we Horse and Pony Show.

1177
01:04:54,320 --> 01:04:56,040
Speaker 1: We didn't think we was going to sign to this ship, so.

1178
01:04:56,160 --> 01:04:58,560
Speaker 3: We just asked for the world and she gave it

1179
01:04:58,640 --> 01:05:01,680
Speaker 3: to us and we were like, okay, we're going to

1180
01:05:01,760 --> 01:05:03,800
Speaker 3: get and literally that's what happened.

1181
01:05:04,160 --> 01:05:04,600
Speaker 1: I got that.

1182
01:05:04,760 --> 01:05:06,640
Speaker 8: That might have been a better move anyway, in hindsight,

1183
01:05:06,720 --> 01:05:07,280
Speaker 8: I'm still here.

1184
01:05:11,920 --> 01:05:14,680
Speaker 4: I wanted to ask you two specific records to your

1185
01:05:14,680 --> 01:05:21,080
Speaker 4: favorite records and your catalog for me, Pharaoh munch uh Shine.

1186
01:05:21,480 --> 01:05:25,240
Speaker 8: Ah right right right, people don't. People don't mention that record.

1187
01:05:25,400 --> 01:05:25,560
Speaker 5: Man.

1188
01:05:25,960 --> 01:05:28,240
Speaker 4: They mentioned the Light more. Oh well yeah, I mean

1189
01:05:28,360 --> 01:05:30,960
Speaker 4: you tall it light, but yeah, like Shine, that was

1190
01:05:31,040 --> 01:05:31,360
Speaker 4: the one.

1191
01:05:32,200 --> 01:05:33,440
Speaker 1: Yeah. Yo.

1192
01:05:33,960 --> 01:05:35,840
Speaker 8: March was like, yo, you got got something for me?

1193
01:05:35,960 --> 01:05:36,800
Speaker 1: D I was like yeah.

1194
01:05:36,960 --> 01:05:39,640
Speaker 5: So you know, I sent them like two joints and

1195
01:05:39,800 --> 01:05:42,080
Speaker 5: I was one of them. I didn't really make it

1196
01:05:42,200 --> 01:05:45,280
Speaker 5: necessarily with him in mind, but I knew something like

1197
01:05:45,400 --> 01:05:48,800
Speaker 5: that that's bouncy, the way the baseline bounces off the

1198
01:05:49,120 --> 01:05:52,640
Speaker 5: keys and the xylophones, that he might like it, you know,

1199
01:05:52,840 --> 01:05:54,960
Speaker 5: And that's that's one of my favorite joints that I

1200
01:05:54,960 --> 01:05:55,600
Speaker 5: ever produced.

1201
01:05:55,680 --> 01:05:57,440
Speaker 4: Nah that Joe, I love that record, that one and

1202
01:05:57,560 --> 01:06:01,800
Speaker 4: also as well, Oh my god, I lost it. What

1203
01:06:01,960 --> 01:06:06,480
Speaker 4: the score, but uh, it's a recent it's magic Evan

1204
01:06:07,760 --> 01:06:08,800
Speaker 4: hell Evan l.

1205
01:06:09,040 --> 01:06:10,920
Speaker 8: Right, it sounds like nat lists but it's not.

1206
01:06:11,560 --> 01:06:13,920
Speaker 1: Yes, yeah, talk about that.

1207
01:06:14,160 --> 01:06:14,320
Speaker 4: Man?

1208
01:06:14,520 --> 01:06:16,240
Speaker 1: Was that just you just send it to them?

1209
01:06:16,280 --> 01:06:17,520
Speaker 4: Like how did that come come together?

1210
01:06:17,960 --> 01:06:18,200
Speaker 5: Yeah?

1211
01:06:18,240 --> 01:06:20,680
Speaker 8: I just you know, I just sent them the joint and.

1212
01:06:22,640 --> 01:06:26,360
Speaker 5: You know the step Brothers that was Alchemists in Evidence

1213
01:06:27,440 --> 01:06:29,920
Speaker 5: and they were like yeah, we we we want we

1214
01:06:30,120 --> 01:06:33,400
Speaker 5: want to touch this one up. And once once they

1215
01:06:33,480 --> 01:06:37,800
Speaker 5: laid the vocals, I added the uh you know the

1216
01:06:39,360 --> 01:06:42,360
Speaker 5: oh man, what's the name of that group? It's magic

1217
01:06:43,400 --> 01:06:45,920
Speaker 5: right right, right, Well, what's the name of that what's

1218
01:06:45,920 --> 01:06:54,960
Speaker 5: the name of the group? That's feel feels? But I knew,

1219
01:06:55,080 --> 01:06:58,920
Speaker 5: but that's when it came together. Dude, Yeah, that's crazy.

1220
01:06:58,960 --> 01:07:00,320
Speaker 4: We got to talk to score though, I mean, we

1221
01:07:00,360 --> 01:07:01,840
Speaker 4: gotta like the score.

1222
01:07:02,360 --> 01:07:04,040
Speaker 1: I gotta kind of mention something.

1223
01:07:05,000 --> 01:07:08,240
Speaker 3: Even though there was like a little friendly there was

1224
01:07:08,280 --> 01:07:11,960
Speaker 3: a little occasional friendly jabin between the two groups groups.

1225
01:07:12,840 --> 01:07:15,840
Speaker 3: The roots of the fujis oh okay, But you know

1226
01:07:16,560 --> 01:07:21,240
Speaker 3: it's weird because in this age, in this age of misinformation,

1227
01:07:21,960 --> 01:07:24,320
Speaker 3: you know, you hear something and you think and you

1228
01:07:24,440 --> 01:07:28,040
Speaker 3: act on things without verifying first, Like mad people getting

1229
01:07:28,080 --> 01:07:30,600
Speaker 3: our ears like, yo, man, I heard the Fuji system,

1230
01:07:30,880 --> 01:07:33,320
Speaker 3: but everybody was in our ears the day that the

1231
01:07:33,400 --> 01:07:37,360
Speaker 3: Score came out. And at the very beginning, why Cliff says,

1232
01:07:38,080 --> 01:07:41,840
Speaker 3: you rock it, lie, but you ain't saying nothing, and

1233
01:07:42,040 --> 01:07:46,320
Speaker 3: yo that like if I could just go back and

1234
01:07:46,480 --> 01:07:51,280
Speaker 3: tell twenty four year old Amir Tariq, like, dog, verify

1235
01:07:51,400 --> 01:07:54,960
Speaker 3: some shit first before you bust a shot out. But

1236
01:07:55,160 --> 01:07:57,640
Speaker 3: in our minds, like we were always we were already

1237
01:07:57,680 --> 01:08:02,320
Speaker 3: hearing shit. I mean again personally, no, no, we toured together,

1238
01:08:02,360 --> 01:08:05,959
Speaker 3: we were friends, but it was definitely like, oh, they're

1239
01:08:05,960 --> 01:08:09,720
Speaker 3: going to blow up for real, for real. And when

1240
01:08:09,760 --> 01:08:11,520
Speaker 3: we heard that, we're like, yo, you think that. We

1241
01:08:11,680 --> 01:08:15,160
Speaker 3: had like conversations like, yo, are they talking about us?

1242
01:08:15,200 --> 01:08:16,760
Speaker 3: You rocket live but you ain't saying nothing.

1243
01:08:17,040 --> 01:08:17,320
Speaker 1: Whatever.

1244
01:08:18,560 --> 01:08:21,759
Speaker 8: Oh that's from one of the earlier records.

1245
01:08:21,840 --> 01:08:25,280
Speaker 3: I know that, So shout out to Salam Remy for

1246
01:08:25,360 --> 01:08:28,160
Speaker 3: putting me on the heat. But it was after the fact,

1247
01:08:28,640 --> 01:08:30,719
Speaker 3: and so we might have made a song called.

1248
01:08:30,560 --> 01:08:30,920
Speaker 1: What they Do.

1249
01:08:32,640 --> 01:08:37,599
Speaker 3: So that's I never and ironically they is the twenty

1250
01:08:37,640 --> 01:08:39,760
Speaker 3: sixth anniversary of Hiladelph Half life.

1251
01:08:39,800 --> 01:08:46,200
Speaker 1: Somebody to remind me, Yeah, yeah, dude, yeah, but talk

1252
01:08:46,240 --> 01:08:46,600
Speaker 1: about what.

1253
01:08:47,040 --> 01:08:49,559
Speaker 3: When has have you ever played a beat for an

1254
01:08:49,680 --> 01:08:52,120
Speaker 3: artist that they fronted on that you had to give

1255
01:08:52,160 --> 01:08:52,880
Speaker 3: another artist that?

1256
01:08:53,240 --> 01:08:53,439
Speaker 4: Yeah?

1257
01:08:54,000 --> 01:08:55,960
Speaker 1: Hell yeah, like who should have gotten what?

1258
01:08:56,880 --> 01:08:59,680
Speaker 5: I'm not going to name names, but no, no, no, no,

1259
01:08:59,800 --> 01:09:02,960
Speaker 5: but it happens. You know, somebody passed on something to somebody.

1260
01:09:03,479 --> 01:09:06,320
Speaker 8: You know. It's just like it's just like women, right,

1261
01:09:07,240 --> 01:09:09,479
Speaker 8: was one man's trash, next man's treasure?

1262
01:09:10,160 --> 01:09:10,840
Speaker 1: Right, you know what I mean?

1263
01:09:11,200 --> 01:09:11,720
Speaker 5: Just like man?

1264
01:09:12,400 --> 01:09:16,839
Speaker 1: Yeah? Right yeah, yeah, definitely that too. That to downtown

1265
01:09:17,920 --> 01:09:25,240
Speaker 1: damn dude. Yeah, before we wrap, I gotta talk dude

1266
01:09:25,280 --> 01:09:27,160
Speaker 1: for me. Let's do it for me.

1267
01:09:27,720 --> 01:09:27,920
Speaker 5: Man.

1268
01:09:28,640 --> 01:09:33,000
Speaker 3: First of all, can you on on streaming? I can't

1269
01:09:33,040 --> 01:09:34,679
Speaker 3: find Grown Man Talk nowhere?

1270
01:09:35,479 --> 01:09:36,720
Speaker 8: Uh yeah, it's not on there.

1271
01:09:36,920 --> 01:09:38,680
Speaker 1: And that to me, you got to put it on there,

1272
01:09:39,040 --> 01:09:39,519
Speaker 1: you must.

1273
01:09:39,760 --> 01:09:42,800
Speaker 8: Yeah, And I feel always like the fifty ways.

1274
01:09:43,000 --> 01:09:44,640
Speaker 1: No time will heal you?

1275
01:09:44,840 --> 01:09:47,720
Speaker 3: Like no, no, no, no, just the whole joint like

1276
01:09:47,920 --> 01:09:50,479
Speaker 3: us right right right right, but hitting like just that

1277
01:09:50,640 --> 01:09:54,160
Speaker 3: whole joint because it came to mixtape. Yeah, but it's

1278
01:09:54,200 --> 01:09:57,280
Speaker 3: so unexpected and I wasn't expecting it, right And but

1279
01:09:57,439 --> 01:10:00,400
Speaker 3: for you, why do you because even with the review,

1280
01:10:00,479 --> 01:10:05,040
Speaker 3: like you're still after a while, like after album number five,

1281
01:10:05,160 --> 01:10:07,960
Speaker 3: number six. Most cats might just phone it in and

1282
01:10:08,080 --> 01:10:09,920
Speaker 3: be like, all right, you'll give me seven thousand for

1283
01:10:09,960 --> 01:10:13,280
Speaker 3: a quickie record here whatever. But when I still hear

1284
01:10:13,320 --> 01:10:17,560
Speaker 3: your stuff, it's like you still care, right, And but

1285
01:10:17,720 --> 01:10:20,800
Speaker 3: for you, like what keeps you motivated?

1286
01:10:20,920 --> 01:10:21,840
Speaker 1: Like in your mind?

1287
01:10:21,880 --> 01:10:23,760
Speaker 3: Are you like, yo, I'm gonna fuck somebody up with

1288
01:10:23,800 --> 01:10:25,720
Speaker 3: this in the way I play, like even the way

1289
01:10:25,840 --> 01:10:28,080
Speaker 3: you did the joint with pass On review with the

1290
01:10:28,120 --> 01:10:28,839
Speaker 3: Flying High.

1291
01:10:28,680 --> 01:10:30,040
Speaker 1: Commodore's joint right right.

1292
01:10:30,760 --> 01:10:33,240
Speaker 3: That killed me, man, because I didn't even think about

1293
01:10:33,240 --> 01:10:35,400
Speaker 3: that shit, but like, how long have you had that

1294
01:10:35,520 --> 01:10:37,120
Speaker 3: in your pocket Flying High?

1295
01:10:37,840 --> 01:10:38,040
Speaker 1: Yes?

1296
01:10:39,760 --> 01:10:42,559
Speaker 8: Oh wow, it's always been back here. I just never

1297
01:10:42,640 --> 01:10:43,320
Speaker 8: really got to it.

1298
01:10:43,880 --> 01:10:46,559
Speaker 5: And then when I when I when I approached pause,

1299
01:10:46,640 --> 01:10:49,600
Speaker 5: he said, yo, send me a joint. I say, you

1300
01:10:49,680 --> 01:10:51,840
Speaker 5: know what, I'm gonna flip that. I'm gonna flip something

1301
01:10:51,880 --> 01:10:55,080
Speaker 5: that I can hear daylight soul on. And that's definitely

1302
01:10:55,160 --> 01:10:57,120
Speaker 5: I can hear daylight on. And you know, as soon

1303
01:10:57,160 --> 01:10:58,840
Speaker 5: as he heard it, he sent me the verse back

1304
01:10:58,880 --> 01:11:00,360
Speaker 5: maybe like forty eight hours later.

1305
01:11:01,439 --> 01:11:05,240
Speaker 3: Just like once a year, somebody will loop something that's

1306
01:11:05,439 --> 01:11:08,160
Speaker 3: just like it's not a loop, it's just different parts.

1307
01:11:08,720 --> 01:11:12,920
Speaker 1: But just that, just like, why not think about this ship?

1308
01:11:13,560 --> 01:11:14,439
Speaker 1: Oh man, I wouldn't.

1309
01:11:14,439 --> 01:11:19,800
Speaker 4: I gotta ask you Edog busted and alcoholics the next level?

1310
01:11:20,280 --> 01:11:25,600
Speaker 5: Oh yeah, yeah, yeah yeah, bas talk about what I

1311
01:11:25,720 --> 01:11:27,840
Speaker 5: forgot about that. But somebody brought that up to my

1312
01:11:27,880 --> 01:11:31,280
Speaker 5: attention not too long ago, I guess because Edog's version

1313
01:11:31,360 --> 01:11:35,200
Speaker 5: didn't really do what it's supposed to do. I changed

1314
01:11:35,240 --> 01:11:38,720
Speaker 5: the drums up, right, I changed the drums up and

1315
01:11:39,560 --> 01:11:40,840
Speaker 5: the licks picked it up from there.

1316
01:11:42,200 --> 01:11:44,720
Speaker 8: You know, I'm I'm gonna tell you something else that

1317
01:11:44,920 --> 01:11:47,360
Speaker 8: that y'all might not know. There's a song. There's a

1318
01:11:47,479 --> 01:11:51,680
Speaker 8: song bys called Petty People. You know that song? No,

1319
01:11:53,000 --> 01:11:54,599
Speaker 8: it's on a Wild Cowboys album.

1320
01:11:55,040 --> 01:11:55,400
Speaker 1: I got it.

1321
01:11:55,760 --> 01:11:59,320
Speaker 5: Pulls up real quick play quick second. I made two

1322
01:11:59,400 --> 01:12:03,200
Speaker 5: beats on this day. That was one of them, and

1323
01:12:03,320 --> 01:12:04,280
Speaker 5: the score was the other.

1324
01:12:04,960 --> 01:12:05,280
Speaker 1: Wow.

1325
01:12:06,760 --> 01:12:08,920
Speaker 8: Yes, I cut the same drums.

1326
01:12:09,600 --> 01:12:11,880
Speaker 4: And this is for the people in the Rule where

1327
01:12:11,920 --> 01:12:13,720
Speaker 4: I went to school, like this.

1328
01:12:17,640 --> 01:12:18,040
Speaker 5: Right right?

1329
01:12:20,000 --> 01:12:23,360
Speaker 1: Oh yeah, that is it is wow. But also.

1330
01:12:25,920 --> 01:12:30,400
Speaker 3: Speaking of veto g Man the streets of the ghetto

1331
01:12:30,479 --> 01:12:33,640
Speaker 3: jor man, Oh I was crazy. But this is this

1332
01:12:33,720 --> 01:12:37,240
Speaker 3: is what I want to ask you, because that specifically,

1333
01:12:38,240 --> 01:12:42,080
Speaker 3: how are you like, what is your micro chopping game

1334
01:12:42,160 --> 01:12:44,360
Speaker 3: into because there will be some joints.

1335
01:12:45,600 --> 01:12:49,000
Speaker 1: That will fluctuate, uh speed wise.

1336
01:12:49,240 --> 01:12:51,680
Speaker 3: As far as looping, I happen to know that the

1337
01:12:51,760 --> 01:12:57,320
Speaker 3: source of that sample is one of them things where

1338
01:12:58,120 --> 01:13:01,439
Speaker 3: I can't loop it perfectly. And my chopping game wasn't

1339
01:13:01,439 --> 01:13:03,040
Speaker 3: good enough for it. You know, it wasn't like we

1340
01:13:03,120 --> 01:13:05,880
Speaker 3: had able to to just stretch it on or whatever.

1341
01:13:06,520 --> 01:13:11,599
Speaker 3: But like, how aggressive are you to force something to work?

1342
01:13:11,600 --> 01:13:14,519
Speaker 3: Because that's definitely one of them joints because it wasn't

1343
01:13:14,560 --> 01:13:16,760
Speaker 3: the looping part. This is the fact when you got

1344
01:13:16,880 --> 01:13:19,000
Speaker 3: to add drums and everything on top of it, then

1345
01:13:19,040 --> 01:13:21,600
Speaker 3: you realize, oh, my ship might be off whatever. And

1346
01:13:21,800 --> 01:13:26,280
Speaker 3: that's that particular loop on streets of the ghetto. That

1347
01:13:26,760 --> 01:13:34,760
Speaker 3: and I'll play a little bit right right even there,

1348
01:13:34,800 --> 01:13:38,600
Speaker 3: I hear a little gap in there where. But for you, like,

1349
01:13:39,840 --> 01:13:42,720
Speaker 3: how determined are you to make some shit work? Like

1350
01:13:43,000 --> 01:13:45,559
Speaker 3: as far as your chopping game, And.

1351
01:13:47,120 --> 01:13:49,800
Speaker 5: I mean, if I can loop, if I can loop it, well,

1352
01:13:49,800 --> 01:13:51,920
Speaker 5: if I can create a loop, I'll be able to

1353
01:13:51,960 --> 01:13:52,880
Speaker 5: put the drums under it.

1354
01:13:53,960 --> 01:13:56,760
Speaker 8: You know, that's the easy part.

1355
01:13:57,120 --> 01:14:01,040
Speaker 3: It sounds easy to just the regular the ear, but

1356
01:14:01,400 --> 01:14:04,800
Speaker 3: knowing the frustration of there's some records in which you

1357
01:14:04,920 --> 01:14:08,840
Speaker 3: might find that magic four bar loop and then they

1358
01:14:08,920 --> 01:14:12,799
Speaker 3: might fluctuate or whatever, and unless you're good at micro chopping,

1359
01:14:13,520 --> 01:14:15,559
Speaker 3: you might be asked that that that.

1360
01:14:15,680 --> 01:14:18,960
Speaker 5: Loop right there, that was just a two bar loop,

1361
01:14:19,439 --> 01:14:21,560
Speaker 5: and the drummer was pretty on point for that. But

1362
01:14:21,640 --> 01:14:24,800
Speaker 5: they are awesome, the awesome joints were the drums a

1363
01:14:24,840 --> 01:14:28,440
Speaker 5: little off and you have to really like go in between.

1364
01:14:28,720 --> 01:14:30,240
Speaker 1: Right, you know, and do what you do.

1365
01:14:30,720 --> 01:14:33,600
Speaker 3: I feel, Yeah, you came to Atlanta, you know, and

1366
01:14:33,680 --> 01:14:38,120
Speaker 3: there's a slew of New Yorkers that have migrated down south,

1367
01:14:38,960 --> 01:14:40,679
Speaker 3: a lot of them in North Carolina and whatnot?

1368
01:14:42,160 --> 01:14:45,000
Speaker 1: What is it like? What is it about this city

1369
01:14:45,080 --> 01:14:47,280
Speaker 1: that attracted you to come here?

1370
01:14:47,560 --> 01:14:52,000
Speaker 8: And do you find I didn't come in for the music.

1371
01:14:52,160 --> 01:14:55,760
Speaker 5: I came here because, you know, I looked at what

1372
01:14:57,080 --> 01:15:00,479
Speaker 5: three hundred thousand would get you in New York, and

1373
01:15:00,600 --> 01:15:02,880
Speaker 5: I looked at with three hundred thousand would get you

1374
01:15:03,040 --> 01:15:03,439
Speaker 5: down here.

1375
01:15:04,240 --> 01:15:05,040
Speaker 8: I didn't come down.

1376
01:15:04,880 --> 01:15:07,160
Speaker 7: Here everybody's first motivation for I didn't.

1377
01:15:06,920 --> 01:15:09,160
Speaker 5: Come down here for the music. I was already coming

1378
01:15:09,240 --> 01:15:14,439
Speaker 5: down here doing a lot of work with Dallas, Austin Joy,

1379
01:15:14,680 --> 01:15:18,040
Speaker 5: Shades of Lingo, Illegal Me and Eric Sermon so I

1380
01:15:18,280 --> 01:15:22,519
Speaker 5: know I was already down here, but the house did

1381
01:15:22,600 --> 01:15:26,720
Speaker 5: crumb snatches, right, crumb snatches I had. I had a

1382
01:15:26,840 --> 01:15:30,719
Speaker 5: nice house and not far from Livingston, New Jersey, nice spot.

1383
01:15:31,760 --> 01:15:32,599
Speaker 8: I sould at.

1384
01:15:35,479 --> 01:15:35,519
Speaker 6: No.

1385
01:15:35,760 --> 01:15:39,639
Speaker 8: And just just what she was, what you were able

1386
01:15:39,720 --> 01:15:42,080
Speaker 8: to get for your money back then, is what really

1387
01:15:42,160 --> 01:15:43,320
Speaker 8: led me to come down here.

1388
01:15:43,479 --> 01:15:46,200
Speaker 1: How long have you been down here? Since two thousand

1389
01:15:46,200 --> 01:15:48,200
Speaker 1: and nine? She's been down here for a minute.

1390
01:15:48,280 --> 01:15:50,680
Speaker 3: Yeah, you're from the So do you feel like a

1391
01:15:50,720 --> 01:15:53,640
Speaker 3: stranger in a strange land based on what you do

1392
01:15:53,800 --> 01:15:54,840
Speaker 3: for a living man?

1393
01:15:55,200 --> 01:15:56,559
Speaker 1: Well? You know what? All right?

1394
01:15:56,960 --> 01:15:59,360
Speaker 8: They don't you know, boom back does not thrive down here.

1395
01:15:59,400 --> 01:16:01,519
Speaker 3: There is a boom but yeah, I was gonna say,

1396
01:16:01,600 --> 01:16:04,320
Speaker 3: is there So when you do your forty five sets

1397
01:16:04,320 --> 01:16:06,360
Speaker 3: and all that stuff, I don't really.

1398
01:16:06,479 --> 01:16:08,439
Speaker 8: I don't only do them here. I travel and do them.

1399
01:16:09,200 --> 01:16:09,400
Speaker 6: You know.

1400
01:16:10,280 --> 01:16:13,439
Speaker 5: I have done forty five sets here obviously, But just

1401
01:16:13,479 --> 01:16:16,479
Speaker 5: as far as being an artist, you know, you know,

1402
01:16:16,720 --> 01:16:19,720
Speaker 5: I'm still basically, you know, a boom back artist for

1403
01:16:19,840 --> 01:16:23,320
Speaker 5: lack of better words. So you know, if you're a

1404
01:16:23,360 --> 01:16:26,960
Speaker 5: boom back artist, you know you live on serious XM.

1405
01:16:27,720 --> 01:16:30,640
Speaker 5: You gotta just be comfortable with that, you know, what

1406
01:16:30,720 --> 01:16:32,920
Speaker 5: I mean. You know, it's just it's just real talk.

1407
01:16:33,000 --> 01:16:35,120
Speaker 5: And it doesn't matter if you live in Atlanta on

1408
01:16:35,240 --> 01:16:38,960
Speaker 5: any other southern city or West coast platform, right, it's

1409
01:16:39,120 --> 01:16:41,600
Speaker 5: just the music that I do. Is it hard to

1410
01:16:41,720 --> 01:16:44,120
Speaker 5: not get influenced by the culture. Like we've spoken to

1411
01:16:44,200 --> 01:16:47,479
Speaker 5: DJ Drama, who was like, yo, I'm straight backpacked. Yeah

1412
01:16:47,600 --> 01:16:50,000
Speaker 5: I want to move down here. It's like, okay, well

1413
01:16:50,680 --> 01:16:52,800
Speaker 5: I got to adjust. Yeah, well, yeah, he did what

1414
01:16:52,880 --> 01:16:55,000
Speaker 5: he had to do, and you see where he's at now.

1415
01:16:55,600 --> 01:17:00,280
Speaker 5: Shouts out to Drama, but yeah, you know, hey, well

1416
01:17:00,360 --> 01:17:03,400
Speaker 5: you know Drama when he came down there, he was

1417
01:17:03,439 --> 01:17:07,000
Speaker 5: a DJ. I'm a producer, so it's a little different,

1418
01:17:09,160 --> 01:17:12,559
Speaker 5: but definitely, you know, it rubs off, it rubs off

1419
01:17:12,640 --> 01:17:16,720
Speaker 5: on you. You realize that mm hmm cod chary to

1420
01:17:16,760 --> 01:17:19,559
Speaker 5: what people believe. There are people down here who are

1421
01:17:19,880 --> 01:17:24,000
Speaker 5: who can't spit right, you know, whether you know it

1422
01:17:24,439 --> 01:17:27,519
Speaker 5: is trap or drill or boom back whatever.

1423
01:17:28,479 --> 01:17:31,920
Speaker 8: You know, just you know, stereotypes are just that I feel.

1424
01:17:32,560 --> 01:17:34,680
Speaker 5: But you know, it's a good balance for me to

1425
01:17:34,720 --> 01:17:36,080
Speaker 5: be down here because I know I'm up in New

1426
01:17:36,160 --> 01:17:38,840
Speaker 5: York almost every month anyway, I know, for the past

1427
01:17:38,880 --> 01:17:39,559
Speaker 5: ten years.

1428
01:17:39,760 --> 01:17:43,519
Speaker 3: Well, brother man, Yo, thank you. We we finally made

1429
01:17:43,560 --> 01:17:47,920
Speaker 3: this joint happen. And you know, I'm just I'm happy

1430
01:17:47,960 --> 01:17:51,160
Speaker 3: we finally got to come and give you flowers and

1431
01:17:51,240 --> 01:17:54,120
Speaker 3: nerd out on on on your history and your catalog. Man,

1432
01:17:54,160 --> 01:17:57,679
Speaker 3: I appreciate having me Diamond deladies and gentlemen. Of course

1433
01:17:57,760 --> 01:18:02,760
Speaker 3: Love Supreme all right, so on behalf of Sugar Steve

1434
01:18:02,920 --> 01:18:05,680
Speaker 3: like fon Tickeolo and unpaid Bill.

1435
01:18:05,920 --> 01:18:09,519
Speaker 1: This is Quest Love and the Immortal Diamond d. We'll

1436
01:18:09,520 --> 01:18:10,960
Speaker 1: see you on the next go around on the Quest

1437
01:18:11,000 --> 01:18:21,840
Speaker 1: Love Supreme. Peace. Quest Love Supreme is a production of iHeartRadio.

1438
01:18:25,800 --> 01:18:30,200
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1439
01:18:30,640 --> 01:18:32,360
Speaker 1: or wherever you listen to your favorite shows.