Speaker 1: Quest Love Supreme is a production of iHeartRadio. Here we Go,
Speaker 1: Just follow Us.
Speaker 2: Supremo role called Supremo, Supremo role called Supremo Sound, Supremo
Speaker 2: role called Supremo Sound Sound so Premo.
Speaker 3: Some say I'm crazy, some say I'm ill. Yeah, fuck
Speaker 3: you talking about.
Speaker 2: Premo Supremo Supremo Sound Supremo.
Speaker 4: My name is Fante. I ain't hard to find, Yeah,
Speaker 4: and I'm not like Sally.
Speaker 1: I got a two track.
Speaker 2: Mine Supremo ro cal suremo Son, Sure.
Speaker 1: Here's a little story, Yeah about Sugar Steve. Yeah, she
Speaker 1: wanted Diamond, gave her.
Speaker 5: The d.
Speaker 1: H R Supreme.
Speaker 6: It's like no time to rest, It's time to learn
Speaker 6: from hip hop's finest.
Speaker 5: My name is Diamond, my beast, the best. Yeah, I'm
Speaker 5: down in the A now. Should have put my man quest.
Speaker 1: So free, so.
Speaker 2: Freemo, so some Supremo roll Son.
Speaker 5: So you like the.
Speaker 1: Learning a new button every week?
Speaker 3: Uh yeah, ladies and gentlemen, welcome to another episode of
Speaker 3: Quest Love Supreme.
Speaker 1: I'm your host Quest Love.
Speaker 3: You know we're down here in the A in Atlanta
Speaker 3: doing our first drafts of in person episodes. It's been
Speaker 3: three years and uh, you know, glad to be with
Speaker 3: the fan. Spoke to unpaid Bill this morning. He's fine,
Speaker 3: chill with Grover and Oscar and then on Sesame Street
Speaker 3: on a Saturday. Wait, today, Saturday, right right now. When
Speaker 3: I got into uber it is one, I was like, oh, damn,
Speaker 3: it is Saturday.
Speaker 1: Oh it's you go to work. You go to work.
Speaker 1: It's Saturday. I mean, probably not when they're airing this,
Speaker 1: but yeah, I'm all yeah, I'm just all messed up.
Speaker 7: No more days of play.
Speaker 1: I thought it was Thursday. Damn. Okay, it's like that. Anyway.
Speaker 1: How are you doing.
Speaker 7: I'm doing Oh, I am doing great. We're back in
Speaker 7: the A. I'll barely recognize it. I ain't been here
Speaker 7: in twenty years.
Speaker 4: I love it.
Speaker 3: I'm kind of mad because I'm here in the A,
Speaker 3: but I've yet to go to stroke Ris and probably
Speaker 3: is that.
Speaker 6: Like a new Strokers. I don't even what the hell
Speaker 6: is that. I'm from the Magic City.
Speaker 1: Gentleman.
Speaker 3: You know, okay, this is what I'm learning about my
Speaker 3: Atlanta trip number one. You know, it was sort of
Speaker 3: a topic of the past, but now I get the
Speaker 3: feeling that people actually go to the strip clubs here
Speaker 3: just to eat.
Speaker 7: So I heard Magic Cities.
Speaker 3: Just everyone behind the cameras was like, ain't like somebody.
Speaker 3: I was like, nobody, you want to hear Magic It
Speaker 3: has the best wings ever.
Speaker 7: I hear the Diamond got really quiet when we start
Speaker 7: talking about.
Speaker 3: Listen all right yesterday. I know always said this like
Speaker 3: this is my favorite shows. But any any chance that
Speaker 3: I get to nerd out on the production techniques that
Speaker 3: really drew me to hip hop and drew office to
Speaker 3: hip hop. No matter who you're like, it's it's always
Speaker 3: a good episode. And so this gentleman has been forced
Speaker 3: to record with even before his solo career, like the
Speaker 3: work that he's done. You know, it's this strong city.
Speaker 3: I don't a strong city at all associated with Aaron Fuchs.
Speaker 3: Anytime I see the words, I just get I'm afraid
Speaker 3: even if I say, the label might get litigious. So
Speaker 3: that was that was Jazzy J and Rocky Buchano, Right, okay,
Speaker 3: all right, well yeah, Ali, the resume is strong, like
Speaker 3: some of my my my favorite producer moments comes from
Speaker 3: this gentleman years. I mean, we all of his records,
Speaker 3: uh Suns, Bunts and hip hop Hatred. I got to
Speaker 3: ask you about your your Sophomore, Hatred, Passionate Infidelity like Dome, Peace,
Speaker 3: the Gotham and now your brand new joint the Review,
Speaker 3: which is excellent work. You've been doing quality, excellent work,
Speaker 3: and sometimes it's easy to sort of take for rand it.
Speaker 3: People do excellent work and they often get overlooked, and
Speaker 3: when top five lists and top ten lists are named,
Speaker 3: and you know, sometimes a person so effortless that you
Speaker 3: tend to forget their contributions.
Speaker 1: But you know, that's what quest Love Supreme is for.
Speaker 1: So that's it.
Speaker 3: Let's welcome the one and only, finally, finally, Diamond D.
Speaker 3: Am I allowed to call you Diamond?
Speaker 5: Now?
Speaker 1: Course? Okay?
Speaker 3: Number one plea were allowed? No, no, no no, But
Speaker 3: here's the deal. I have two versions of the album.
Speaker 1: When it was like Diamond stump blumped in here and
Speaker 1: then there was Diamond, Well.
Speaker 5: It was Diamond and psychoch Neurotics. Diamonds Diamond psychoch Neurotics.
Speaker 1: So what was the situation with your name? It was
Speaker 1: there another Diamond d like back in the day.
Speaker 5: That I don't know what, I'm not sure, but I
Speaker 5: think it might have been originally somebody that was signed
Speaker 5: to Weston Records.
Speaker 4: Wow, New York yeah. Yeah, they did Tony Garden their heartbeat,
Speaker 4: like you.
Speaker 8: Know, hot Shot was on that table, but I think
Speaker 8: somebody had the name.
Speaker 1: Yeah, okay, so.
Speaker 3: Yeah, well, you know this is my favorite nerd out
Speaker 3: moment on Quest Love Supreme. So I'm gonna start from
Speaker 3: the beginning. What was your first musical memory? Time out?
Speaker 3: Let me go to og style. Where were you born?
Speaker 8: I was born in Manhattan, New York hospital.
Speaker 1: Wow, I never heard any yeah, get to get to
Speaker 1: it all right, all right, was raised in the Bronx. Okay,
Speaker 1: your first musical memory sitting.
Speaker 8: In my uncle's room and him just playing music.
Speaker 5: He had a large vinyl collection, So I was just
Speaker 5: sitting in his room like eight nine years old and
Speaker 5: just listening to and play records.
Speaker 1: What was he playing?
Speaker 5: Everything? Mostly mostly funk, jazz, soul, you know what I mean?
Speaker 5: Shouts out to Gary was he was?
Speaker 3: He very ridiculous with the collection. Like I've had an
Speaker 3: older cousin that was that way. But you couldn't touch
Speaker 3: the wax.
Speaker 5: And you know, yeah, definitely fresh, yeah, definitely. You know,
Speaker 5: you know, you have to hold a record like this
Speaker 5: with both hands. He's very meticulous about his whinys. And
Speaker 5: then you know when I came along with the DJ hand,
Speaker 5: you know, we had to put our hands on the record.
Speaker 1: I was gonna say, how okay.
Speaker 3: So I've sometimes I try and explain to people the
Speaker 3: trouble you know, I mean' t ezy now that hip
Speaker 3: hop is and it's about to be in its fiftieth
Speaker 3: year for us also take for you know, for granted
Speaker 3: it's development and how you know far it's come. But
Speaker 3: you know, I try to explain to people that a
Speaker 3: lot of those pioneers, you know, Flash got so much
Speaker 3: kickback or pushback if you will, you know, because the
Speaker 3: general idea is that you're going to destroy the needle
Speaker 3: or destroy the belt driver, the turntable, like putting your
Speaker 3: fingers on the grooves those are big no nose.
Speaker 1: Yeah, I got punishment trying to.
Speaker 3: You know, like my first introduction in scratching, of course,
Speaker 3: was you know, grand Master Flash on the wheels of
Speaker 3: steel and you know, trying to practice on my dad's
Speaker 3: you know, while he's not looking and see what happens
Speaker 3: and you get in trouble. But yeah, like how do
Speaker 3: you discover what that is in in the bronx? And
Speaker 3: were you like privy to any of those like block
Speaker 3: parties or anything.
Speaker 5: Oh yeah, they would like right outside Noxlain it take it.
Speaker 5: Growing up with Farvest projects, me Fat Joel fer Ness.
Speaker 5: We would all see DJs like you.
Speaker 8: All were in the same buildings, still the same same complex.
Speaker 5: But we would see Gud like Grant with the Theadore
Speaker 5: mainly theatre, sometime Flash. At that point they were already
Speaker 5: making records, but we were able to just go downstairs
Speaker 5: and just see these jams going on in the parks.
Speaker 1: What was it?
Speaker 3: What was it like seeing Because I'm assuming that you're
Speaker 3: too young for Harlem World or right, so I'm assuming
Speaker 3: that you're eleven or twelve year oldag seeing it. So
Speaker 3: what how does the trickle effect happen to you? Like
Speaker 3: where tapes the thing instantly or how do you get
Speaker 3: the information just.
Speaker 5: Watching it firsthand? You know you've seen people out there,
Speaker 5: you know with boxes, you know, recording or whatever. But
Speaker 5: we you know, I saw the firsthand. You know, when
Speaker 5: Flash made Grand Master Fast on the Wheels of Steals,
Speaker 5: I had already seen him do some of that, you know,
Speaker 5: outside in the parks, cutting up good times, you know,
Speaker 5: shit like that, but just being close in proximity to it,
Speaker 5: is what drew me, and in fact quest when I
Speaker 5: was a little kid, whenever I saw the DJ reach
Speaker 5: for the damn right I'm Somebody album cover by the JB's,
Speaker 5: you know, I would lose my mind because I knew
Speaker 5: he was gonna play blow your Head. And that sticks
Speaker 5: like even even now as an adult, that always sticks
Speaker 5: out to me. A lot of times people ask me,
Speaker 5: you know, what's the first song to draw you into
Speaker 5: hip hop? I mentioned blow your Head. It's not a
Speaker 5: rap record, it's just a a break bead that was
Speaker 5: real popular, and as little kids, we would lose our
Speaker 5: fucking mom when that shit came in.
Speaker 3: So all right, So Chuck d once explained to me
Speaker 3: the effect of that, because I asked, like, why would
Speaker 3: like why was that the first record that introduced the
Speaker 3: world to public enemy? And he explained to me that,
Speaker 3: you know, because okay, I grew up with an old
Speaker 3: like a father, and older uncles and older cousins, and
Speaker 3: so they came more or less from the I mean,
Speaker 3: I'm not saying like I inherited the critical thinking, but
Speaker 3: the way that you know, I'm sure a classic album
Speaker 3: comes out we all get together and discuss that shit critically.
Speaker 3: That's how they were, you know, because my dad was
Speaker 3: a musician and all that stuff. So in my household,
Speaker 3: James Brown was kind of over by seventy three. Like
Speaker 3: my I distinctly remember the very first album, my dad
Speaker 3: panned like this is trash.
Speaker 1: He didn't like the payback. I don't think he liked
Speaker 1: the idea of paying fifteen ninety.
Speaker 3: So typically, I guess back in seventy three seventy four,
Speaker 3: an album would run three ninety nine. A single album's
Speaker 3: like three ninety nine, maybe four ninety nine. So when
Speaker 3: you're paying eleven twelve ninety nine for a double album
Speaker 3: the first thing, and you know, I'm three years old,
Speaker 3: but my dad's like, wait a minute, there's only eight
Speaker 3: songs on this record, and it's a double record, and
Speaker 3: each song is like a meandering I never knew what
Speaker 3: meandering was. But like by the time you get to
Speaker 3: that like side three times running out Fast whatever, like
Speaker 3: twelve minutes, you know, he just took it off and
Speaker 3: he's like, I don't like this. And so in my mind,
Speaker 3: James Brown was over in seventy four. But Chuck details me.
Speaker 3: He's like James Brown commercially might have had his last
Speaker 3: heyday of string, you know, after Poblo'm taking the mess.
Speaker 3: But he's like in the hood, we never stopped playing
Speaker 3: good Foot and get if anything like, we brought those
Speaker 3: singles back, but it was just hood stuff. But for
Speaker 3: some reason, me and myself, I never liked blow your
Speaker 3: Head because in my mind I imagined James Brown's like, Okay,
Speaker 3: so Stevie Wonder got a moog and made miracles of
Speaker 3: it with him. It was almost like I could see,
Speaker 3: I could see like the bubble wrap on the floor and.
Speaker 1: Him just and this is the thing.
Speaker 3: Even James Brown's musicians himself will say like he was
Speaker 3: the worst soloist of all time, correct, but one of
Speaker 3: those guys where even if he's wrong, he's right. So
Speaker 3: for him to do like all this like crazy solo
Speaker 3: and and whatnot, just never understood why y'all gravitated to
Speaker 3: that record.
Speaker 1: It's is just to have an instrumental that was fast,
Speaker 1: to let.
Speaker 8: Bee boys go off or yeah, that's all it was.
Speaker 5: You know, I'm a little kids, so I'm not really
Speaker 5: thinking about the musicality of it, but just the effect
Speaker 5: that I Rick had had when he was played a party,
Speaker 5: like you know, people would lose their fucking minds, you know,
Speaker 5: that little one part To touch on what you're saying,
Speaker 5: I did read with read. Wesley said that James went
Speaker 5: in there behind their backs and he put that mood
Speaker 5: sound over the up. Yeah right, he said. It wasn't
Speaker 5: only at first, but the eyeing is that that's what
Speaker 5: drove it by the time these young black and brown.
Speaker 8: Kids were listening to it, you know, in seventy eight
Speaker 8: and seventy nine at these parties.
Speaker 1: Yeah, I was going to say, we.
Speaker 3: We're now an iHeart affiliate and so we're like limited
Speaker 3: on the times that we could play songs.
Speaker 1: But just for that you people know what we're talking about.
Speaker 1: This is blow your head.
Speaker 4: Oh, thank y'all.
Speaker 7: So y'all was talking about that public enemy. No, okay,
Speaker 7: that's exactly like, Okay, we're here now, we here, we here.
Speaker 1: Yeah, so you know, but this is also what I
Speaker 1: want to know.
Speaker 3: Do you have any memories because this is kind of
Speaker 3: the one thing that hip hop pineys really don't talk about.
Speaker 3: But I mean, I can only put two and two
Speaker 3: together that if it weren't for the Blackout of seventy seven,
Speaker 3: we might not have had hip hop culture because I'm
Speaker 3: just assuming that because of the.
Speaker 8: Of the looting estemal, I'm a little kid doing the blackout.
Speaker 1: But no, no, no, I'm not saying.
Speaker 5: But I have heard stories about a lot of equipment
Speaker 5: came into possession during the blackout, so you know it
Speaker 5: might it definitely pushed it along a little bit, right,
Speaker 5: But I mean it was there before that.
Speaker 3: But what I want to know is how, because I'm
Speaker 3: also aware that as the years and decades go by,
Speaker 3: maybe revisionist history sets in and stories get exaggerated. But
Speaker 3: how officially loud were these speakers at these block parties
Speaker 3: where they like concert level size, where you gouts are
Speaker 3: satisfied with.
Speaker 8: Loud enough where you can hear them three blocks away?
Speaker 1: How do you get power of electricity in a park streamline?
Speaker 1: Believe so someone would have to risk their life climb
Speaker 1: up the lamp post.
Speaker 5: Or a lot of them, a lot of them knew about,
Speaker 5: you know, equipment, so they would break it to a
Speaker 5: lamp post, get the power lines and do some ship
Speaker 5: in the next thing.
Speaker 3: Now, Kwame's dad here explain that Kwame Kwami's dad used
Speaker 3: to tell like, for the longest Kwame's father was still
Speaker 3: the neighbors gas like he knew how to run a
Speaker 3: line inside of their.
Speaker 1: Inside of their basement or whatever, and.
Speaker 7: Just yeahful people.
Speaker 1: Exactly if nothing else.
Speaker 3: So how old were you when you officially when you
Speaker 3: considered yourself like all right, I'm gonna get into this
Speaker 3: music ship.
Speaker 5: Like, how old were you? I would say about twelve?
Speaker 5: About twelve when I asked my mom to buy me
Speaker 5: some turntables.
Speaker 1: Yeah, did you want to DJ? Or yeah? No, I was.
Speaker 5: I wanted to be a DJ. I didn't care about
Speaker 5: ron and I just you know, I was My whole
Speaker 5: focus was the beats, the breakbeats. I would just go
Speaker 5: to these these jams to stand by the ropes and
Speaker 5: try to see album covers, you know, just how they
Speaker 5: find these little parts with the drums. That's what really
Speaker 5: like intrigued me. You know, all of these records with
Speaker 5: these little drum parts. So I was just drum crazy.
Speaker 1: When you were a kid, what was the record store that.
Speaker 8: Was like the go to the whiz Nobody Whiz. And
Speaker 8: there was another store on Third Avenue, I remember the name.
Speaker 5: But the first break I bought was Shangle Lie really
Speaker 5: yeah okay, but we called it Paradixes very nice and
Speaker 5: IRV got it. He mentioned it in documentary. He said
Speaker 5: he used to cut that as a kid, and I
Speaker 5: was like, oh, ship, that's crazy. But yeah, that was
Speaker 5: the first joint I brought my own money. So yeah, yeah,
Speaker 5: so the slick No, no, no, that's that's Frisco disco.
Speaker 5: But Daylight so sampled this on something.
Speaker 3: Dad ain't damn So in your mind, what was it
Speaker 3: about it? Because in your mind, wasn't that disco. Wasn't
Speaker 3: disco off limits?
Speaker 5: Or no?
Speaker 1: No, no?
Speaker 5: A lot of breaks with disco, you know that super
Speaker 5: sperm with disco, Frisco disco, the Mexican is just begun.
Speaker 1: What so whatever kept people dancing long?
Speaker 8: That was good enough for you?
Speaker 5: I mean you know, yeah, as long as the break
Speaker 5: was there, all I need is you Tonight by Arthur
Speaker 5: Price sock Yo. A lot of disco joints. Serone was
Speaker 5: a disco record. Rocket in the pocket. It's a disco
Speaker 5: record if ah.
Speaker 3: Okay, wait a minute, all right, So would you spend
Speaker 3: it on thirty three or forty five?
Speaker 5: Well, I mean forty five if you want to rhyme
Speaker 5: into it. But on thirty three it speeds up right, Okay,
Speaker 5: it's a disco record. Sarna is a disco artist. I
Speaker 5: didn't know that rocket int sped up. I'm okay.
Speaker 3: So I'm one of those people least with the basic breaks,
Speaker 3: especially with the stuff that's more disco fied, Like I mean,
Speaker 3: there's two ways to listen to it, and I'm yeah,
Speaker 3: like the first maybe twenty years of my life, I'm
Speaker 3: very guilty of needle dropping. Yeah, oh there's a drumming
Speaker 3: and then right, but then you know those that are
Speaker 3: really into it, they study the song to figure it.
Speaker 1: So, like, what is your process of how much patience
Speaker 1: do you have?
Speaker 3: So when you go and you bend shop and you
Speaker 3: get coming with four hundred joints or whatever, right, then.
Speaker 1: Is it like wine? Do you just let it sit
Speaker 1: there until you get to it?
Speaker 5: Or it all depends on how how much patient do
Speaker 5: you have to Like, no, they're not gonna sit there
Speaker 5: too long, But in.
Speaker 3: Your mind, is there always a part that's usable and
Speaker 3: you figure out? Because maybe with Dyla. So Dylan told
Speaker 3: me he Dyla never made a beat on a Sunday, okay,
Speaker 3: And he would house clean and do chores or whatever
Speaker 3: and just have records on and he said, you do
Speaker 3: about three or four hours or whatever. You know, sometimes
Speaker 3: he will record some shit and just listen to drive around.
Speaker 3: So yeah, like, are you one of those people that, like,
Speaker 3: you'll listen to something over and over again until it
Speaker 3: hits you or you.
Speaker 8: Just nah, I just go through it when I'm near.
Speaker 8: But when i'm near, I'm focused.
Speaker 4: How did you make the transition from you know, DJ
Speaker 4: in to then making tracks producing wells?
Speaker 5: Most producers started off as DJs, But to answer a question,
Speaker 5: I would say, like around nineteen ninety when me and
Speaker 5: Premier did law on this first album, The Funky Technician.
Speaker 5: Well before that, it was a Master Rob I'm not
Speaker 5: playing well. Well, I didn't produce that, but I bought
Speaker 5: the record. Ah, Okay, I didn't know how to program.
Speaker 5: Jazzy J programmed it that say you're Jay loop this
Speaker 5: part up the clean back for the hook.
Speaker 8: Put these guitars in the chorus. Yeah, I didn't know
Speaker 8: how to work it.
Speaker 3: So I got to ask you this question, of course,
Speaker 3: and you know what I'm about to ask you, Okay,
Speaker 3: So for me, you know, and outside of New York,
Speaker 3: you know, I grew up in a three thousand record household,
Speaker 3: of which you know, truthfully maybe only ten maybe fifteen
Speaker 3: percent appealed to me, and the rest was just my
Speaker 3: dad's boring stuff, like I'm not listening to Arthur price
Speaker 3: Out and the Beatles and all this other stuff.
Speaker 1: But of course, you know, once.
Speaker 3: I hear Nation of Millions and suddenly like I'm like, oh,
Speaker 3: that's that stuff, that's that stuff. That's now It's like
Speaker 3: I got to go through all them records and then
Speaker 3: I discovered like, oh god, this is how they make
Speaker 3: hip hop. So here's the deal. So I became a
Speaker 3: Bomb Squad junkie. Okay, me too, And I mean for me,
Speaker 3: there's nine seminole even though they've done more, but to me,
Speaker 3: they've done nine important documents as far as like they're
Speaker 3: they're cannon and really like sampling laws kind of killed
Speaker 3: them off, and you know, there's other inner issues in
Speaker 3: the group, but for real, it's like for me, it
Speaker 3: was always you know, Barton Rush Nation, Black Planet. I
Speaker 3: do count because they did a majority of it poison
Speaker 3: by BBD correct. Even the non Bomb Squad sounds songs
Speaker 3: sounded like them. Of course, America's most wanted And for me, yeah,
Speaker 3: and I now consider you know, Terminator's first joint but yeah.
Speaker 3: But the last two records in their in their Cannon
Speaker 3: that I consider part of that document, of course, was
Speaker 3: Young Black Teenagers and Son of Berserk.
Speaker 1: Now, when I heard Are You with Me?
Speaker 3: I thought that was like just one of the most
Speaker 3: craziest things I ever heard in my life, but didn't
Speaker 3: realize that they just put the need on my record,
Speaker 3: right you can you can sample. It's so meta, like
Speaker 3: they sampled a sample of you.
Speaker 5: I don't understand that. So when you heard it, what,
Speaker 5: I flipped the funk out, But you know, it isn't
Speaker 5: an honor like, oh my god. It was mixed feelings, honestly.
Speaker 5: But I turned to Jazzy Jay and I said, Yo,
Speaker 5: these dudes just basically just rhymmed over the instrumental, so
Speaker 5: you know, but listen, Strong City was distributed by UNI, right,
Speaker 5: Son of Berserk was sounding UNI. Yeah, but still that's
Speaker 5: the that's the master how the publishing get worked out.
Speaker 1: Let me all right, so let me play the ten
Speaker 1: seconds I could play.
Speaker 8: That's my fucking record.
Speaker 3: Meanwhile, I'm dreaming, like, damn, I wonder what part Eric
Speaker 3: Sadd did, like, because I see the bomb squad just
Speaker 3: as on some synaesthesia like the way that the guitar
Speaker 3: stems are. And then I heard what you did and
Speaker 3: I was like, ah, damn, they just took diamonds join
Speaker 3: and looft it. So what happened when you heard that?
Speaker 8: I went to jazz J.
Speaker 5: I pointed it out to him because you know, he
Speaker 5: had a vested interest in it, and it never went
Speaker 5: further than that. I don't know what happened. I don't
Speaker 5: know what happened with that. I don't even know if
Speaker 5: you know, if we were credited on the publishing side.
Speaker 5: I just never looked back.
Speaker 4: Wow, what was at that time? I've read, Uh, you
Speaker 4: did an interview, this was years ago. You talked a
Speaker 4: little bit about Wild Pitch and Stu Fine at the time.
Speaker 4: What was he like as a businessman? How was how
Speaker 4: did the Wild Pitch business structure work?
Speaker 8: Well, you know Stu Fann, I'm gonna give Stewart's props.
Speaker 5: You know, he signed Gang Star, he signed Lord Finess,
Speaker 5: he signed Laard Professor and Maine source Chill rob G.
Speaker 5: You know Stu Fahn and his wife Amy Finn, they
Speaker 5: had a good ear. They had a they had that they.
Speaker 8: Had a good ear for good hip hop.
Speaker 5: Student never really did anything personally towards me, but being
Speaker 5: around my man Lord for Neesse and listening to his grumblings.
Speaker 5: You know, if your man grumbling about, you want to
Speaker 5: grumble too, you know what I mean. So you know, yeah,
Speaker 5: I took that shot. I made that one line at him.
Speaker 5: He didn't really do anything to me, but oh, just
Speaker 5: listening to Lord for Neess grumble all the time, yo,
Speaker 5: like that, you know, man but shouts out to stup.
Speaker 8: Fine, you know he actually.
Speaker 1: I'm checking.
Speaker 8: He threw me a pass later on in life on
Speaker 8: his l L track that I that I that I did.
Speaker 1: Anyway, he's still alive. I believe he is.
Speaker 8: I'm not sure.
Speaker 5: I'm not sure, but well, I Pitch has a legacy
Speaker 5: straight up. You know, I'm believing I'm leaving off some
Speaker 5: artists too.
Speaker 1: But yeah forty five k well, no, no, no, I
Speaker 1: mean he he did Gangstars, Bust the Muster move boy.
Speaker 3: You know what Stu gave me two men back when
Speaker 3: Search was working at Wild Pitch. Yeah, Search was like briefly,
Speaker 3: I guess he signed OC to Wild Pitch.
Speaker 8: Correct, correct, I left OC, that's right.
Speaker 1: Yeah.
Speaker 8: And were a great artists, a lot of great artists.
Speaker 3: We were shooting Solid Treatment on my birthday and Search
Speaker 3: hit me off with two mint copies of Buster move Boy.
Speaker 3: But I let them ships on a radiator, so it's work.
Speaker 1: Wow, shut up, Steve. You gotta take care of your records, damn.
Speaker 8: So it's interesting, is Permi It wasn't producing yet.
Speaker 1: Yeah, the pre the pre premiere. Thanks, but I was the.
Speaker 8: Forty five King fan, so you know he's one of
Speaker 8: my mentors.
Speaker 1: Mentors too, that's my joint.
Speaker 3: Okay, before I get you know, I became aware of
Speaker 3: you even though I knew of you and didn't know
Speaker 3: of you because cassettes they really weren't putting on credits
Speaker 3: and all those things. And you know, I primarily brought
Speaker 3: my joints on cassettes.
Speaker 1: But those on the radiators, yes I did. H But
Speaker 1: can you.
Speaker 3: Tell me about the environment of like the record conventions
Speaker 3: and you know, friendly competition.
Speaker 1: Okay, just take me when you just hypothetically walked me through.
Speaker 7: Y'all were talking about like vinyl conventions.
Speaker 3: So they were set up record conventions and like hotels
Speaker 3: like Hotel Pennsylvania and the Roosevelt also, So okay, so
Speaker 3: you find out a record convention is coming, what time
Speaker 3: do you want to get there? And who's waiting in
Speaker 3: line already before you get there?
Speaker 8: I mean you're liable to see anybody.
Speaker 1: You know.
Speaker 5: We there seven am, kid Capri Buck Wildlord fess uh
Speaker 5: with Sean Smith.
Speaker 8: Gerrol b Q two. You know Diler was there a
Speaker 8: few times, Pete Rock your man, Prince B.
Speaker 4: I heard, yeah, I heard Prince Bold get there early
Speaker 4: and yeah, you know, Prince B.
Speaker 5: You know why he was winning because he didn't he
Speaker 5: didn't he didn't negotiate, he didn't haggle. We all negotiating
Speaker 5: with dealers. Prince B oh eight hundred all right, you know,
Speaker 5: so they loved him. One of my stuff aside, they
Speaker 5: loved him. Everybody else was like yo, yo eight how
Speaker 5: about seven? You know we all in there trying to
Speaker 5: cut deals.
Speaker 1: But Prince B. I give him as props with money.
Speaker 3: He was good, right, Okay, So it's it's it's it's
Speaker 3: friendly competition, but still the wild West, and you guys
Speaker 3: are paying for gold.
Speaker 1: And your mind? Do you already know the dealer you
Speaker 1: want to go to? Like, how do you without the
Speaker 1: aid of.
Speaker 5: Yeah, well, how do you after going a few times?
Speaker 5: You pretty much know what dealers you really want to
Speaker 5: really want to rock with my man John eighty eight keys.
Speaker 5: He used to be up under John all the time.
Speaker 5: I forgot my man. What was my man's name, Bleaker Street,
Speaker 5: Bob black Dude, I remember him. I remember my man
Speaker 5: Bob from Boston, Me and kicking pre We like Bob
Speaker 5: from Boston. Bob had he had the officials. I don't
Speaker 5: know where he was getting these joints from, you know,
Speaker 5: But a lot of good memories. I remember when the
Speaker 5: Power of Zeus was out, okay, and everybody was on
Speaker 5: the proud for that. But I remember one year when
Speaker 5: it first came to our attention. It might have been
Speaker 5: like twenty copies did and you know, we all, you know,
Speaker 5: everybody that was in the know, we all got one.
Speaker 8: But those are good memories, I know, I remember them days.
Speaker 3: Whatever I was gonna say without you know, like I'll
Speaker 3: say the generation after you, which I guess that's where
Speaker 3: I come to play whatever. But you know, we were
Speaker 3: always going on these wild goose chases because of the
Speaker 3: whole biz.
Speaker 1: Uh to say it, but you know, searching for these bellis.
Speaker 1: But what was a real record that was just like
Speaker 1: you heard about?
Speaker 3: And I'm you know, I don't mean like the fake
Speaker 3: Bellis Mandi Gras shit, but like, what was a real
Speaker 3: like record that y'all were like you heard about or
Speaker 3: that sort of thing that you just had to get.
Speaker 5: Ivy from digger to digger. But for me, it was
Speaker 5: The whipp Jenny, the album by Dave Matthews. Okay, Dave
Speaker 5: Matthews was.
Speaker 3: Not Dave Matthews band but James Brown former James Brown
Speaker 3: former musical Yeah, he.
Speaker 5: Was also attached to the d Police trio in some way,
Speaker 5: shape or form, but he put out an album on
Speaker 5: People Records. It's the only psychedelic funk album that was
Speaker 5: on People People Records, So that was like always on
Speaker 5: my list.
Speaker 1: Besides the show is Funky down Here record?
Speaker 5: Yeah yeah, okay, but that was James Brown, but this
Speaker 5: was like an offshoot that is great, which made it
Speaker 5: even more rare.
Speaker 3: See that's that's another one, my my all right, So
Speaker 3: Christian McBride jazz got basis. His uncle was also James
Speaker 3: Brown freaking worked at a jazz station and we were
Speaker 3: in high school together, so we always had Chris had
Speaker 3: Whipper Jenny and had shows Funky down.
Speaker 1: Here other rare albums we put them, George Rms like,
Speaker 1: this is hard. And that's the thing.
Speaker 3: We were never in the mind space of something's on
Speaker 3: here that we can loop and make it work. And
Speaker 3: only when I became older, I was like, ah, so
Speaker 3: many drawings on here.
Speaker 6: But yo, can I ask a really maybe dumb, fundamental
Speaker 6: crate digging question questions?
Speaker 1: Okay?
Speaker 6: Because I always I couldn't never understood how you set
Speaker 6: the price point and how you know?
Speaker 7: I mean, I know rare issues are rare issues, but
Speaker 7: how you know that this record is worth this?
Speaker 1: Yes?
Speaker 4: How do you know?
Speaker 7: And especially when you just starting out, how do you?
Speaker 7: And then there's a learning process.
Speaker 5: It comes with years of digging. You know, you just
Speaker 5: you know, the albums you see often compared the ones
Speaker 5: you don't.
Speaker 1: Okay, But it's also he's okay, so there's.
Speaker 3: Maybe I should explain it at the top of the
Speaker 3: show that what makes diming unique is so the first
Speaker 3: generation of sampling. Of course, you know you got to
Speaker 3: this is why I alway shout out Break Be Lou.
Speaker 3: Break Be Lou basically took the fundamentals, like the easy stuff,
Speaker 3: funky drummer and piece to president, like beats that you've
Speaker 3: always heard all your you know life on those early records,
Speaker 3: like up until the Marley maul Rick Ruben period, so
Speaker 3: like up from up until eighty six eighty seven. So
Speaker 3: I'll say, like the what we call the classic period
Speaker 3: of hip hop between eighty seven kind of ninety.
Speaker 8: Yeah, the ball squad e right.
Speaker 3: What break Blow would do is basically just make these
Speaker 3: compilation records, put seven songs on each record, and then
Speaker 3: you buy that record and then you sample it. Made
Speaker 3: it easy for dweeps like me, so I didn't have
Speaker 3: to go spend hours in a good will because I could.
Speaker 1: Just cheat and get the Wikipedia version of these joints.
Speaker 3: So then you know, Diamond's part of what I call
Speaker 3: the first wave of Renaissance beat makers, in which it's
Speaker 3: almost equivalent to So basically there's a collective of producers
Speaker 3: that are like, yo, we ain't gonna do the Captain
Speaker 3: Obvice Ship and sample James Brown and Funky Drummer. We're gonna,
Speaker 3: we're gonna, we're gonna do the hard Ship and go
Speaker 3: in our parents' record collection and get this old you know,
Speaker 3: Gaunt McDermott record. And so they made art out of
Speaker 3: we were taking the chitlings like the part of the carcass.
Speaker 1: That you know.
Speaker 6: So y'all also made those prices go up too as
Speaker 6: the years went by, correct, But.
Speaker 7: That's right, you know.
Speaker 3: But the thing is is that I want to know now,
Speaker 3: once y'all for me, once they use some ship, Now
Speaker 3: I'm the next generation after him. So when I got
Speaker 3: the sound library like life, like, yeah, MANI Alexander's love
Speaker 3: and have happiness. That's a great example. So after the
Speaker 3: beat Nuts used that, suddenly that Manti Alexander records seventy
Speaker 3: five bucks.
Speaker 5: And even before that, when tip you on Gangster Bitch, yeah, yeah,
Speaker 5: it was on the radar.
Speaker 3: So for those who know what but what she she
Speaker 3: set me up for a good value though, So what
Speaker 3: I'm asking is, we're records super expensive if it hadn't been.
Speaker 1: Utilized used yet.
Speaker 3: All right, So say like there's a time before let's
Speaker 3: say in eighty nine Eugene McDaniels, where no one has
Speaker 3: sampled that record yet before tribe. Are you still paying
Speaker 3: one hundred and fifty dollars for it? Because after Tribe
Speaker 3: used it? I mean this is one hundred and fifty.
Speaker 5: Bucks to a jazz collector. Yes, if I'm a jazz collector.
Speaker 5: I'm not concerned what hip hop is doing. It's a
Speaker 5: it's still a good body of work. It's Vinyl Eugene McDaniel's.
Speaker 5: He only made a hand for of album, so you
Speaker 5: know it would still be worth money. It all depends
Speaker 5: on the individual.
Speaker 7: Okay, what's the most you spent on a record and
Speaker 7: what to use for?
Speaker 4: What do you use it for?
Speaker 3: Giving your top five most expensive joints, man, I don't
Speaker 3: even know Quest Whip Virginie that was one of them, Okay,
Speaker 3: because I.
Speaker 8: Was looking, I was looking for that.
Speaker 1: I don't know.
Speaker 6: I just have no clue what the most expensive. I'm like,
Speaker 6: how far can't it go? Can be a fifteen thousand dollars?
Speaker 5: I mean, look on discogs. Yeah, you know, I think
Speaker 5: have to be a break beat. It could just be
Speaker 5: something that's a collective's item.
Speaker 3: Yeah, I'll say, well definitely. You know, like quality records
Speaker 3: are like seventy five.
Speaker 1: I'm trying. Maybe there was one.
Speaker 3: There's one ridiculous, Like normally if it's mint condition, then
Speaker 3: it's whatever. Like someone tried to get me, you know,
Speaker 3: like maybe two hundred four back before they reissued The
Speaker 3: Sweet Charles.
Speaker 1: Okay, and you're one of the first ones, right, you
Speaker 1: have the first one? That was the break ever talking
Speaker 1: to you about that? No, not yet, oh man, like
Speaker 1: for him to shut the fuck up.
Speaker 3: Interlew was his favorite joint on stunts, blunts, stunting blunts, so.
Speaker 1: Him making.
Speaker 3: Drop down and get your ego on the follow up
Speaker 3: to Hot in Here Nelly's joint, like he was like,
Speaker 3: that was me trying to do my diamond.
Speaker 8: That was like his his always showed me love. But
Speaker 8: he never told me that story yet.
Speaker 4: How did you get signed? Get your deal as an EMC,
Speaker 4: you know, to make your first record?
Speaker 5: I was actually doing a demo deal for an artists
Speaker 5: they wanted to sign. The artist name was Joe Control.
Speaker 5: So yeah, I was just just making the Beast for him,
Speaker 5: like a two demo deal and now ROMed on one
Speaker 5: of them. So what were you making your tracks on
Speaker 5: at that time? What were you making your tracks on
Speaker 5: at that time? I had a CAI nine hundred just
Speaker 5: a sample. Everyone has a yeah, and had an HR
Speaker 5: sixteen eleases wow, okay, but the least is it had
Speaker 5: sixteen pads on it, eight eight, So I had sixteen
Speaker 5: triggers on the sample.
Speaker 1: It's on the sampler. How many seconds? Oh plenty?
Speaker 5: No, I you know I did my album on that.
Speaker 5: I may flow Joe on that, I'm the score, punks
Speaker 5: jump up to get beat down. Anything between ninety two
Speaker 5: to ninety six. I was still using that.
Speaker 3: Wait a minute, you got to answer this question now,
Speaker 3: I know, like, well, first I want to know it's
Speaker 3: it safe to say that you were Jazzy Jay's apprentice,
Speaker 3: like his protege, no doubt, your first generation Zulu that said,
Speaker 3: please tell me what is the drum machine that he
Speaker 3: used on suicide.
Speaker 1: For busy Bee? That was the SP twelve. No, that's
Speaker 1: not a stock, Joe, you're trying to tell me that's
Speaker 1: a stock.
Speaker 8: The SP twelve.
Speaker 5: Oh that'st be twelve, not the twelve hundred. The twelve
Speaker 5: with the the floppy. This looked like a like a
Speaker 5: seven inch dog. I sat there and I watched Jay
Speaker 5: take Funky Drummer one two three four link link.
Speaker 1: K.
Speaker 8: I lost my mind, Yo, lost my mom and I
Speaker 8: just gave it away.
Speaker 4: But we know that's basic, right. So your first deal,
Speaker 4: how you signed, how you were doing the demo deal
Speaker 4: for Okay for stunts, blunts or Strong City. Well, yeah,
Speaker 4: I guess to start with Strong City. For Strong City,
Speaker 4: the m C in the group, his name is Rob.
Speaker 5: Rob came to my house and said, yo, I've seen
Speaker 5: Jazzy Jay and the Projects. I said, nah, you're lying.
Speaker 5: He said, nah, right over there now, so I go downstairs.
Speaker 5: Sure enough, Jay had on the first generation Death Jam jackets,
Speaker 5: the Satin Joints all purple, and we met him. You know,
Speaker 5: this is this is around the time when this is
Speaker 5: but after Jazzy j had a song called cold Chilling.
Speaker 1: In the spot right, cold rock stuff. Yes, yes, that's
Speaker 1: the rush. Yeah, he just talked right, that's so, you know,
Speaker 1: he helped. He helped.
Speaker 5: He actually helped put death Jam on the map along
Speaker 5: with It's yours. And I believe he didn't need to.
Speaker 5: I believe he did. Yeah, I need to beat you know.
Speaker 5: But anyway, we go over there, we meet him to
Speaker 5: come to find out he's friends. He's friends with a
Speaker 5: female and the Projects, and he gave us his number
Speaker 5: and we we went to see him a few weeks
Speaker 5: later and just developed a relationship and then he eventually
Speaker 5: signed us. Okay, yeah, but that's how it happened. You know,
Speaker 5: my man saw him in the jets. That was around
Speaker 5: what year, Oh, that was like eighty eight. Okay, that's
Speaker 5: eighty eighty eight definitely.
Speaker 4: And then from there, how did from that situation, how
Speaker 4: did you make it to you know, Mercury the being
Speaker 4: you know?
Speaker 1: Okay, so.
Speaker 5: After the Ultimore Force came out, didn't really blow up,
Speaker 5: but you know, we made some noise regionally.
Speaker 1: Man, they used to play that record in North Carolina.
Speaker 4: Yeah, like they bro it was a show they used
Speaker 4: to have on no kind of anti It was the
Speaker 4: Black college in Greensboro where I grew up, called the
Speaker 4: full Moon Block Party, and they would play I'm Not
Speaker 4: Playing And I didn't find out that was, you know
Speaker 4: you till like years later.
Speaker 1: I was like, what the fuck?
Speaker 5: But I used to love that record, man, I was
Speaker 5: like nine, and yeah, you know, that's the first records
Speaker 5: to in corporate the blues, you know what I mean?
Speaker 8: And I used to cut doubles of that the beginning.
Speaker 5: I'll be king. I finally going through my grandfather's records.
Speaker 5: He had one just like maybe like eighty four, right,
Speaker 5: so my first year of high school. But I'm at
Speaker 5: this point, I'm still I'm looking. I'm actively looking for beats.
Speaker 5: And I said, oh shit, this is nice, and then
Speaker 5: maybe a year later with another one.
Speaker 8: But I used to cut it.
Speaker 5: So when we got through with Jack J, I said, Yo,
Speaker 5: we're gonna we're gonna flip this right here, because you know,
Speaker 5: nobody really fucking with the blue and you know it's
Speaker 5: it's a it's a funky beat. But that's how I
Speaker 5: got signed this Strong City, how I got signed to
Speaker 5: for the stunts blunts I was doing. I was doing
Speaker 5: a demo for somebody iron doing it mm hmm. So
Speaker 5: about a month later they call us down there. So
Speaker 5: I'm like, okay, I'm about to get a check with
Speaker 5: these motherfucking beats. So I go down there like all right, yeah,
Speaker 5: what's up. You know, they like, Yo, we want to
Speaker 5: sign you. I was like me, that's what's up? All right,
Speaker 5: you know, let's do it. I wasn't even really looking
Speaker 5: for the deal, but who was a.
Speaker 8: Yeah he was.
Speaker 5: He was a big shot over at Priority. He signed
Speaker 5: special at all those groups over there.
Speaker 8: Brian Chen.
Speaker 5: I thought it was a little harsh to the m
Speaker 5: seed that I was doing the demo for, but I
Speaker 5: think they might have just broken up with some money
Speaker 5: or something. But yeah, I actually deal just kind of
Speaker 5: fell in my lap. But Brian's he liked the music
Speaker 5: and he liked what I was rhyming, you know what
Speaker 5: I was rhyming.
Speaker 4: So and you really didn't have any intentions of ry
Speaker 4: like being an m C.
Speaker 8: No, it was just something I did.
Speaker 5: But around this time, I'm around Lord Finess almost every day.
Speaker 5: I'm around Grand Poopa Maxwell because he was signed a
Speaker 5: Strong City also in the group, calling masses of ceremonies.
Speaker 8: So that's right, Sexy cracked out. So I'm around these.
Speaker 5: Dudes, and you know, it's just rubbing off on me,
Speaker 5: even though my thing is DJing and still making beats.
Speaker 5: But I knew how to rhyme. And one of the
Speaker 5: first demos I recorded was Best Kept Secret. And then
Speaker 5: when they heard that, they said, okay, we're gonna do an.
Speaker 1: Album on you. How long did it take for you
Speaker 1: to make that record? How on stuff? Blunts? Y? Yeah? Uh?
Speaker 8: About eight months? Yeah, about eight months?
Speaker 4: And at that time were they with samples and stuff?
Speaker 4: Was it was it just you know, wild wild West shit,
Speaker 4: just whatever? Or how did y'all handle it?
Speaker 8: It's just a collection of records that.
Speaker 4: In terms of clearances, like clearance samples, was they.
Speaker 8: Well I didn't care about that.
Speaker 5: That was a label's job, you know at that you know,
Speaker 5: back then you just turn turn it in, give them
Speaker 5: the names, you know, the names you want to give
Speaker 5: them that far.
Speaker 1: But what I want to know is were you conscious
Speaker 1: at least.
Speaker 3: To avoid ultimate beats and breaks or definitely because what
Speaker 3: the party didn't get out was, you know again, like
Speaker 3: the reason why you're part of the Way and the
Speaker 3: renaissance guys is you know there's Premiere, yourself, Frish Professor.
Speaker 8: That's after stuffs blunts, Ali and Tip after stuff blunts.
Speaker 6: Right.
Speaker 3: But I just meant when we're talking about the what
Speaker 3: I consider the people that went outside the circle, what
Speaker 3: I call the Ivy League circle of sampling, where you
Speaker 3: guys are now acquiring records that aren't easily available.
Speaker 1: That's what stands you guys apart.
Speaker 3: But back then, was it just a general rule like no,
Speaker 3: no more ultimate beats and breaks, no easy James Brown shit,
Speaker 3: like I gotta find some shit that no one has
Speaker 3: and make some shit out that.
Speaker 5: I don't know if it was general, but amongst that
Speaker 5: core group of diggers, we had already progressed. And you know,
Speaker 5: me living in the Bronx a lot, Like you said,
Speaker 5: a lot of the beats that Lou was putting on
Speaker 5: them records we already knew about, right, you know what
Speaker 5: I mean? So well, fuck what you heard I said.
Speaker 5: People will always say, hey, like the way you make beats,
Speaker 5: he doesn't use beats.
Speaker 8: That wasn't a jab at loud. That was just me
Speaker 8: being honest.
Speaker 3: Yeah, I guess know, but but it pushed, it pushed
Speaker 3: the envelope further. Correct, So in your mind, who of.
Speaker 1: The initial.
Speaker 3: Renaissance crew and I'm talking Pete, I'm talking Premiere, Chipping
Speaker 3: Ali large professor, Like, who did you consider.
Speaker 1: Like real nice with theirs? Like I got it? Well,
Speaker 1: Like did anyone ever flipped the question? Well?
Speaker 5: I got to start with Prince Paul for his work
Speaker 5: on Daylight Sol's first album, which really showed me because
Speaker 5: at that point it was a lot of James Brown
Speaker 5: as you know Quest, but that Dayly album in eighty nine,
Speaker 5: it opened, it opened the doors for me. Like, you know,
Speaker 5: there's so much other stuff out here that I knew
Speaker 5: about but really wasn't on my radar.
Speaker 8: So I got to shout out Prince Paul.
Speaker 5: Of course, Trip Court Quest their first albums, Jungle brothers.
Speaker 5: All these albums influenced me out of the members you
Speaker 5: just named, obviously Pete Rock's first album, you.
Speaker 8: Know what I mean, and the work that me and
Speaker 8: showbiz was doing. So you know, you just take all
Speaker 8: of that in and.
Speaker 3: Then has there ever been a moment where and again,
Speaker 3: like you know, I'm listening to it like I don't
Speaker 3: have a deal yet, so anything you guys are doing
Speaker 3: are like, oh, man, this man from Heaven. But I
Speaker 3: know that there comes a time where like a man,
Speaker 3: I had that record, I should have used it first
Speaker 3: or whatever, Like has there ever been that moment of.
Speaker 5: Like, ah, they got to it before I did, or Yes,
Speaker 5: it's been times like that. I know, record I've used
Speaker 5: joints that people ran behind me and used.
Speaker 4: It was bigger than when I did it New York
Speaker 4: ship Buster.
Speaker 8: Yeah yeah, yeah, yeah, that's one example.
Speaker 1: Yeah, that's one example. But I consider that an on
Speaker 1: man's joint, Like if years.
Speaker 8: He told me that's what it was, I was definitely that.
Speaker 4: Yeah, just the two of us chub Rock.
Speaker 1: Yeah.
Speaker 8: DJ Scratch said when he when he did that, he
Speaker 8: had never heard I went from mine before what.
Speaker 5: He said, he was on the road. D Jane from
Speaker 5: the Hit Squad in ninety two and Stunts. Blunt wasn't
Speaker 5: on his radar. I couldn't call I couldn't call dude
Speaker 5: a liar, you know, trumb trub Rock. He used the
Speaker 5: Albi King joint after me. That's effects. They want effects.
Speaker 5: I used that for law for Neess first. Ah wow,
Speaker 5: I mean I can go on and on.
Speaker 1: Yeah, I forgot about that one. Yeah.
Speaker 3: I think in general, a lot of a lot of
Speaker 3: people when they create, Like I think there are people
Speaker 3: that are creators and then people are listeners, right Like
Speaker 3: I'm a listener, so I'll absorb it. But yeah, oftentimes
Speaker 3: I'll meet creators that aren't hipto. But that's in all
Speaker 3: parts of music, you know, Yes, you know. I would
Speaker 3: ask the revolution, like was Prince sitting around like damn,
Speaker 3: I gotta beat Thriller and like that sort of thing,
Speaker 3: like was he? And I think Lisa told me, like
Speaker 3: Prince listening to Thriller like for the first time, it's completion,
Speaker 3: like I think when they were on when the last tour,
Speaker 3: like the Parade Tour in eighty six, but for the
Speaker 3: most part they had to put him on this shit.
Speaker 4: My joint off the record my favorite joint off Stars
Speaker 4: Blunts was Check one two.
Speaker 8: That was like, yeah, that's my favorite joint too, really yeah,
Speaker 8: just the feel of it.
Speaker 4: Yeah, And like I always the thing I always liked
Speaker 4: about you because you know, I think with producers, I
Speaker 4: think there's something about producers that rhyme that y'all have
Speaker 4: an understanding of just really using y'all voices as an
Speaker 4: instrument and like complimenting a beat rather than just I'm
Speaker 4: gonna bar you the fuck up, you know what I mean,
Speaker 4: Like you Pete Deyler resting peace, like you know, y'all
Speaker 4: all had to think. And so I wanted to ask
Speaker 4: you about one of my favorite verses of yours, like
Speaker 4: whatn't on your album the way you started off Runaway
Speaker 4: Slave Bill Digger going Back on the Block with my
Speaker 4: Name and Quinn right right. What do you remember about
Speaker 4: that session or if it in the making of that album,
Speaker 4: because that's like in terms of y'all's crew, like.
Speaker 8: That album, those were good times. Yeah, we were all
Speaker 8: in the studio together.
Speaker 5: I wrote it on the spot, you know, and Quincy
Speaker 5: had that album out Back on the Block, you know,
Speaker 5: so it was a cultural reference, you know, a pop
Speaker 5: cultural reference. Yeah, I mean, shit, it's crazy. Those a
Speaker 5: lot of good memories. You know, back when we all
Speaker 5: we were.
Speaker 8: Just all forming. We already we already we had already
Speaker 8: known each other for years. We all grew up with
Speaker 8: each other.
Speaker 5: But around that time we were was like, yo, you know,
Speaker 5: we can all come to ever try to form, you know,
Speaker 5: and make a statement, you know, and then I would
Speaker 5: definitely say d I t C definitely pushed the culture
Speaker 5: forward as far as you know, trying to dig for
Speaker 5: music that wasn't touched already. Well, just trying to stand apart.
Speaker 3: I'll say, the first time I was really aware of
Speaker 3: your existence, like for real, of course is in a
Speaker 3: lot of us. It was a show business on the
Speaker 3: low in theory? Correct, How did that come?
Speaker 1: How did that? That's crazy?
Speaker 5: You know I went there to play beats for Tip
Speaker 5: had chopped just to play. Yeah, I went, you know,
Speaker 5: I went there. I chopped up to Jimi Hendrix joining.
Speaker 5: He was really feeling it and he knew I had
Speaker 5: a deal and Poolba Pooba was on the track originally
Speaker 5: and the label felt he says some things he shouldn't
Speaker 5: have said, and Tips say your Pool, you know, I
Speaker 5: really want you on here, but the label wants you
Speaker 5: to you know, change first up, okay, and you know
Speaker 5: Pool by ninety one ninety two, Pool Boy was like.
Speaker 8: I ain't changing shit.
Speaker 1: Couldn't tell them anything, right, you know what I mean?
Speaker 5: Now, the gods it's a Doctor X and Jamal, they like, shit,
Speaker 5: we want to be on this fucking record.
Speaker 1: You know, we love trip.
Speaker 8: So while I'm near tips like yo, you want to
Speaker 8: be on the joint, I'm like, hell, yeah, you know
Speaker 8: what I mean?
Speaker 1: And I wrote it on the spot.
Speaker 3: That's a that's a notable. I mean, even though it's
Speaker 3: not a debut, right, but for a lot of us,
Speaker 3: we feel like that was.
Speaker 8: Like conceded my album. So it was like an alley open.
Speaker 1: It was a great set up. It was a great sep.
Speaker 1: You know what, kids, Uncle, it's time for the return of.
Speaker 5: Yeah.
Speaker 3: Oh yes, you thought I was gonna have Dyan. You
Speaker 3: thought we was gonna have him on the show and
Speaker 3: and not do a round a bit.
Speaker 1: You guessed it.
Speaker 7: It's been a minute, all right.
Speaker 1: So I do this to every beat maker that I respect,
Speaker 1: in which you know, again I'm adhering to the rule.
Speaker 5: I know.
Speaker 1: It's like I feel like there's like forty two warriors
Speaker 1: in the already cleared with Jake. He knows what time
Speaker 1: it is. We good, all right?
Speaker 3: So one, I'm gonna upgrade the game because Fante always
Speaker 3: insists on playing even though I'm no. I'm gonna let
Speaker 3: you win this too, because I've uped the game. This
Speaker 3: is what happens when you're when you're on a in
Speaker 3: quarantine and COVID, you think of new ways to do.
Speaker 1: So I'm the bit you can't guess it here? Is
Speaker 1: that the idea all of you in all right. So
Speaker 1: what I'm gonna do is, I'm going to play a
Speaker 1: list of Captain Obvious songs of which I've isolated a
Speaker 1: specific part to see if you can identify the sample.
Speaker 1: I think.
Speaker 3: I think you're up for this. This one's very easy
Speaker 3: and I'm allowed. I will allow to clues because you know, yeah,
Speaker 3: I need it, all right? Sample number one? What is
Speaker 3: this sample? And I've detuned it to throw you off.
Speaker 3: Let me know when you need a clue.
Speaker 4: I don't even know what d tuning means. So oh
Speaker 4: that's a uh, it's a it's I don't want to
Speaker 4: I know, I don't want to say it. If you
Speaker 4: know I know what it is. It's a it's a
Speaker 4: say it it's uh.
Speaker 1: It's walking by?
Speaker 6: Right?
Speaker 4: Yeah?
Speaker 8: What nice?
Speaker 1: Nice? Nice? Here we go de tuned number two.
Speaker 4: Oh, I got that.
Speaker 1: What it was used to say it? If you know
Speaker 1: it's it.
Speaker 8: I'm not right.
Speaker 4: I'm not right.
Speaker 6: I was like, is a ball involved? No, okay, sounds
Speaker 6: like boss. I don't know why I thought that song.
Speaker 8: I don't know what that is.
Speaker 4: Okay, let me love it.
Speaker 3: All okay, now press constructions the messenger used on n
Speaker 3: w WA's I ain't doing all right that that was
Speaker 3: a little advanced.
Speaker 1: I'm sorry. Number three, h.
Speaker 8: H nothing a piece.
Speaker 1: I don't know what that is.
Speaker 4: H Oh, that's a that's ah, it's scarface. Use it
Speaker 4: for money in the power?
Speaker 1: I don't.
Speaker 4: I don't know the original break.
Speaker 1: Yeah, I love serename Barry Damn.
Speaker 6: Maybe I made this a little to it Manning.
Speaker 1: Yeah, yeah, you see.
Speaker 3: I gotta throw off the smell first, man. I want
Speaker 3: to come out of the captain. I like, all right,
Speaker 3: here we go. Number four?
Speaker 8: Is that?
Speaker 6: Uh?
Speaker 4: I hear the end of that's there?
Speaker 1: It's a good old time funk delic.
Speaker 8: Yeah, yeah, don't say nothing. That's the fucking delic.
Speaker 1: Yes, good old music, good old music music.
Speaker 5: Yes you're correct that magic Tones first, right by the
Speaker 5: magic Tones.
Speaker 3: All right, Yes you're right, boy. I just found that
Speaker 3: forty five. I was like both on westbound right, and
Speaker 3: that's even better. Yes, that is even better. And I
Speaker 3: gotta talk to you about your forty five game.
Speaker 1: All right? This is number five that James Brown.
Speaker 4: No, oh, that's a Bill Withers. Uh oh no, it's
Speaker 4: a Harlem.
Speaker 1: Close yeah, use me, I don't all right, let me
Speaker 1: not de tune it to throw you out.
Speaker 7: Could everybody get a fair chance sometimes, you know, I.
Speaker 1: Mean you know, of course, I just.
Speaker 4: Two.
Speaker 1: I think you could do number six. I don't know
Speaker 1: this one. That bongo's not Steve. You don't know this.
Speaker 4: Oh it's jazz. No, okay, it's not anything.
Speaker 1: I have no idea, said maybe Staples.
Speaker 5: Oh crazy Eddie Kendricks. The little snippets like yeah, that's
Speaker 5: why he won't he won't play two seconds.
Speaker 1: Well, I'm only allowed to play two seconds, so that's
Speaker 1: like a half of a second.
Speaker 8: I think.
Speaker 1: All right. See now I feel bad for this next
Speaker 1: one because it's only the reverb, but all right, I
Speaker 1: won't he tuned this one.
Speaker 7: See every song I hear is I think it's Brenda Russell.
Speaker 1: I mean no, no, no, no, that's what. H oh
Speaker 1: that ain't no.
Speaker 4: I have no idea what this is. I know different.
Speaker 7: Really, I don't know that one good one, the first
Speaker 7: one to do that.
Speaker 8: That's her records, her record.
Speaker 1: I know that. Shout out to Slim Robbie, right, that's right,
Speaker 1: so the Kings.
Speaker 3: I would say that when Miles Davis is ex wife
Speaker 3: Betty Davis, she signed the Island Records in seventy seven
Speaker 3: to make a fourth record that was supposed to make
Speaker 3: her a star of it because she's so headstrong and
Speaker 3: producing right in her own joints. He dropped her, and
Speaker 3: then Chris Chris Blackwell, and then you know she just
Speaker 3: fade into obscurity.
Speaker 1: But basically.
Speaker 3: Slim Robbie had brought Grace to his attention and instead
Speaker 3: he signed Grace Jones to Island Records and.
Speaker 1: Was supposed to Betty Davis's record.
Speaker 3: I mean not, I don't know for I mean, Chris
Speaker 3: definitely had visions on what he wanted her to do,
Speaker 3: but like part of her story was like I write
Speaker 3: and I control. She got the Commodore as the record
Speaker 3: like I didn't realize, like it was heard songs for
Speaker 3: the commodoors that got them to deal with Motown. They
Speaker 3: offer her a deal and she's like, do I own
Speaker 3: my publisher and they're like, nope. She wrote that Harlem
Speaker 3: song that I used for the Chambers Brothers, and like
Speaker 3: she wrote a whole bunch of songs. But then they'd
Speaker 3: be like, yo, you want to deal and she's like,
Speaker 3: if only I owe my music one So, because she
Speaker 3: was so headstrong on a jawin, they just kind of
Speaker 3: got black Paul, all right, these are my last two.
Speaker 1: And I won't detune it. Number games freaking me out. Yes,
Speaker 1: there's two events. Let's go, let's let's see. Oh that's uh.
Speaker 3: Yeah, that's eug McDaniel's Freedom and Death Dance. All right,
Speaker 3: this is one that all of you should know. And
Speaker 3: I am de two ing because I feel like it's
Speaker 3: Captain Obvious.
Speaker 1: Slid Stone close, but.
Speaker 4: No, I'm out.
Speaker 7: The airport.
Speaker 1: Oh is that one, two, three, four or five? Yeah? Yeah?
Speaker 3: I could tell your eyes like you that you kind
Speaker 3: of knew where it was. All right, I will go
Speaker 3: home and retool my game.
Speaker 1: Damnit.
Speaker 7: It was fun. Anybody won this outside of Fante, any
Speaker 7: of our guests.
Speaker 1: Fante always beats them all, just I think just Blaze
Speaker 1: was the closest and Pete Peeple was pretty good. One
Speaker 1: was well, I was unfair to people. I was doing
Speaker 1: like high hats with people before I peteknew him to
Speaker 1: that was crazy.
Speaker 4: I was gonna ask you about your second album because
Speaker 4: that was the one for me, Like, I mean that
Speaker 4: was like my album. It was you know, I was
Speaker 4: I think like sixteen that came out and by of
Speaker 4: all your singles, man, the Hiatus bro like talk about
Speaker 4: putting out that album at the time, this is ninety seven.
Speaker 4: Well yeah, so this is like the head this is
Speaker 4: like bad Boy, you know, like all the what radio was.
Speaker 4: So how did you figure out kind of your lane
Speaker 4: in the midst of all that.
Speaker 8: Well, the plan was to just you know, still still
Speaker 8: do Diamond D, but.
Speaker 5: Just have you know, to have a little more radio
Speaker 5: accessible joints comparing stunts blunting hip hop. So uh, I
Speaker 5: did the joint with UH with Veronica Cream and Sunshine.
Speaker 5: She was signing Mercury Records at the time. But yeah,
Speaker 5: good memories the Hiatus. A lot of people thought that
Speaker 5: I that I sampled Swahili.
Speaker 1: Land for that. Jean showed me that record was bro.
Speaker 1: But it's not that.
Speaker 5: You know, hey, me and Dylan, we both we both
Speaker 5: influenced each other. You know, Dyla went on Dyla has
Speaker 5: going on record to say I was one of his influences.
Speaker 5: You know, the same with Pete, the same with Premiere.
Speaker 5: You know, we all influenced each other. But that was
Speaker 5: not Swahili Land. You know, those who know where the
Speaker 5: sample came from your no, but yeah, and you know
Speaker 5: the album. What I learned was in the process of
Speaker 5: recording that album was you know, we all we all
Speaker 5: want to be signed directly to a major label. But
Speaker 5: in hinds like I should have stayed with the label
Speaker 5: that signed me, which was Chemistry. I should have stayed
Speaker 5: with them because they would have cheerleaders. And when I
Speaker 5: was on Mercury, I was just another artist. They were
Speaker 5: excited about me, but they weren't as excited as the
Speaker 5: people at Chemistry Records were Chemistry, they were your translators
Speaker 5: for Mercury. Well, I was signed in Chemistry first. You know,
Speaker 5: Brian Chen was over there, so he was the one
Speaker 5: fighting for me. Once I with the Mercury, you know
Speaker 5: Hansen is over there, will.
Speaker 4: I think they had I think only they had. It
Speaker 4: was scratched over.
Speaker 1: There at that time there, you know what I mean,
Speaker 1: there were really uh we remember I told you that
Speaker 1: we got the contract that Mercury, So yeah, Brian and
Speaker 1: we signed.
Speaker 3: We even went to the Jingle Jangle. We went to
Speaker 3: the Legal Jangle video shoot that Friday. They took us
Speaker 3: out to dinner and we're like, yo, we're gonna be
Speaker 3: down with Black Sheep and everything. And this is the
Speaker 3: first time I'm hear in jingle Jangle and that the
Speaker 3: way the piano.
Speaker 1: Just dropped down. Shit. We was like, yo, we made it,
Speaker 1: We made it.
Speaker 3: And we get the We get the contract. And because
Speaker 3: they misspelled meaning to Rikan Malik's names, that clinical era, right,
Speaker 3: but crucial era, because I guess when three or more
Speaker 3: people in the party are misspelled, they have to give
Speaker 3: you a new contract. Kenyata's assistant forgot to FedEx Us
Speaker 3: Thursday to Friday the new contracts. So they were like,
Speaker 3: all right, look, we'll sit it Saturday delivery, you'll get
Speaker 3: it Monday.
Speaker 1: You'll be cool.
Speaker 3: And they gave Wendy Goldstein enough time to land a
Speaker 3: plane and we Horse and Pony Show.
Speaker 1: We didn't think we was going to sign to this ship, so.
Speaker 3: We just asked for the world and she gave it
Speaker 3: to us and we were like, okay, we're going to
Speaker 3: get and literally that's what happened.
Speaker 1: I got that.
Speaker 8: That might have been a better move anyway, in hindsight,
Speaker 8: I'm still here.
Speaker 4: I wanted to ask you two specific records to your
Speaker 4: favorite records and your catalog for me, Pharaoh munch uh Shine.
Speaker 8: Ah right right right, people don't. People don't mention that record.
Speaker 5: Man.
Speaker 4: They mentioned the Light more. Oh well yeah, I mean
Speaker 4: you tall it light, but yeah, like Shine, that was
Speaker 4: the one.
Speaker 1: Yeah. Yo.
Speaker 8: March was like, yo, you got got something for me?
Speaker 1: D I was like yeah.
Speaker 5: So you know, I sent them like two joints and
Speaker 5: I was one of them. I didn't really make it
Speaker 5: necessarily with him in mind, but I knew something like
Speaker 5: that that's bouncy, the way the baseline bounces off the
Speaker 5: keys and the xylophones, that he might like it, you know,
Speaker 5: And that's that's one of my favorite joints that I
Speaker 5: ever produced.
Speaker 4: Nah that Joe, I love that record, that one and
Speaker 4: also as well, Oh my god, I lost it. What
Speaker 4: the score, but uh, it's a recent it's magic Evan
Speaker 4: hell Evan l.
Speaker 8: Right, it sounds like nat lists but it's not.
Speaker 1: Yes, yeah, talk about that.
Speaker 4: Man?
Speaker 1: Was that just you just send it to them?
Speaker 4: Like how did that come come together?
Speaker 5: Yeah?
Speaker 8: I just you know, I just sent them the joint and.
Speaker 5: You know the step Brothers that was Alchemists in Evidence
Speaker 5: and they were like yeah, we we we want we
Speaker 5: want to touch this one up. And once once they
Speaker 5: laid the vocals, I added the uh you know the
Speaker 5: oh man, what's the name of that group? It's magic
Speaker 5: right right, right, Well, what's the name of that what's
Speaker 5: the name of the group? That's feel feels? But I knew,
Speaker 5: but that's when it came together. Dude, Yeah, that's crazy.
Speaker 4: We got to talk to score though, I mean, we
Speaker 4: gotta like the score.
Speaker 1: I gotta kind of mention something.
Speaker 3: Even though there was like a little friendly there was
Speaker 3: a little occasional friendly jabin between the two groups groups.
Speaker 3: The roots of the fujis oh okay, But you know
Speaker 3: it's weird because in this age, in this age of misinformation,
Speaker 3: you know, you hear something and you think and you
Speaker 3: act on things without verifying first, Like mad people getting
Speaker 3: our ears like, yo, man, I heard the Fuji system,
Speaker 3: but everybody was in our ears the day that the
Speaker 3: Score came out. And at the very beginning, why Cliff says,
Speaker 3: you rock it, lie, but you ain't saying nothing, and
Speaker 3: yo that like if I could just go back and
Speaker 3: tell twenty four year old Amir Tariq, like, dog, verify
Speaker 3: some shit first before you bust a shot out. But
Speaker 3: in our minds, like we were always we were already
Speaker 3: hearing shit. I mean again personally, no, no, we toured together,
Speaker 3: we were friends, but it was definitely like, oh, they're
Speaker 3: going to blow up for real, for real. And when
Speaker 3: we heard that, we're like, yo, you think that. We
Speaker 3: had like conversations like, yo, are they talking about us?
Speaker 3: You rocket live but you ain't saying nothing.
Speaker 1: Whatever.
Speaker 8: Oh that's from one of the earlier records.
Speaker 3: I know that, So shout out to Salam Remy for
Speaker 3: putting me on the heat. But it was after the fact,
Speaker 3: and so we might have made a song called.
Speaker 1: What they Do.
Speaker 3: So that's I never and ironically they is the twenty
Speaker 3: sixth anniversary of Hiladelph Half life.
Speaker 1: Somebody to remind me, Yeah, yeah, dude, yeah, but talk
Speaker 1: about what.
Speaker 3: When has have you ever played a beat for an
Speaker 3: artist that they fronted on that you had to give
Speaker 3: another artist that?
Speaker 4: Yeah?
Speaker 1: Hell yeah, like who should have gotten what?
Speaker 5: I'm not going to name names, but no, no, no, no,
Speaker 5: but it happens. You know, somebody passed on something to somebody.
Speaker 8: You know. It's just like it's just like women, right,
Speaker 8: was one man's trash, next man's treasure?
Speaker 1: Right, you know what I mean?
Speaker 5: Just like man?
Speaker 1: Yeah? Right yeah, yeah, definitely that too. That to downtown
Speaker 1: damn dude. Yeah, before we wrap, I gotta talk dude
Speaker 1: for me. Let's do it for me.
Speaker 5: Man.
Speaker 3: First of all, can you on on streaming? I can't
Speaker 3: find Grown Man Talk nowhere?
Speaker 8: Uh yeah, it's not on there.
Speaker 1: And that to me, you got to put it on there,
Speaker 1: you must.
Speaker 8: Yeah, And I feel always like the fifty ways.
Speaker 1: No time will heal you?
Speaker 3: Like no, no, no, no, just the whole joint like
Speaker 3: us right right right right, but hitting like just that
Speaker 3: whole joint because it came to mixtape. Yeah, but it's
Speaker 3: so unexpected and I wasn't expecting it, right And but
Speaker 3: for you, why do you because even with the review,
Speaker 3: like you're still after a while, like after album number five,
Speaker 3: number six. Most cats might just phone it in and
Speaker 3: be like, all right, you'll give me seven thousand for
Speaker 3: a quickie record here whatever. But when I still hear
Speaker 3: your stuff, it's like you still care, right, And but
Speaker 3: for you, like what keeps you motivated?
Speaker 1: Like in your mind?
Speaker 3: Are you like, yo, I'm gonna fuck somebody up with
Speaker 3: this in the way I play, like even the way
Speaker 3: you did the joint with pass On review with the
Speaker 3: Flying High.
Speaker 1: Commodore's joint right right.
Speaker 3: That killed me, man, because I didn't even think about
Speaker 3: that shit, but like, how long have you had that
Speaker 3: in your pocket Flying High?
Speaker 1: Yes?
Speaker 8: Oh wow, it's always been back here. I just never
Speaker 8: really got to it.
Speaker 5: And then when I when I when I approached pause,
Speaker 5: he said, yo, send me a joint. I say, you
Speaker 5: know what, I'm gonna flip that. I'm gonna flip something
Speaker 5: that I can hear daylight soul on. And that's definitely
Speaker 5: I can hear daylight on. And you know, as soon
Speaker 5: as he heard it, he sent me the verse back
Speaker 5: maybe like forty eight hours later.
Speaker 3: Just like once a year, somebody will loop something that's
Speaker 3: just like it's not a loop, it's just different parts.
Speaker 1: But just that, just like, why not think about this ship?
Speaker 1: Oh man, I wouldn't.
Speaker 4: I gotta ask you Edog busted and alcoholics the next level?
Speaker 5: Oh yeah, yeah, yeah yeah, bas talk about what I
Speaker 5: forgot about that. But somebody brought that up to my
Speaker 5: attention not too long ago, I guess because Edog's version
Speaker 5: didn't really do what it's supposed to do. I changed
Speaker 5: the drums up, right, I changed the drums up and
Speaker 5: the licks picked it up from there.
Speaker 8: You know, I'm I'm gonna tell you something else that
Speaker 8: that y'all might not know. There's a song. There's a
Speaker 8: song bys called Petty People. You know that song? No,
Speaker 8: it's on a Wild Cowboys album.
Speaker 1: I got it.
Speaker 5: Pulls up real quick play quick second. I made two
Speaker 5: beats on this day. That was one of them, and
Speaker 5: the score was the other.
Speaker 1: Wow.
Speaker 8: Yes, I cut the same drums.
Speaker 4: And this is for the people in the Rule where
Speaker 4: I went to school, like this.
Speaker 5: Right right?
Speaker 1: Oh yeah, that is it is wow. But also.
Speaker 3: Speaking of veto g Man the streets of the ghetto
Speaker 3: jor man, Oh I was crazy. But this is this
Speaker 3: is what I want to ask you, because that specifically,
Speaker 3: how are you like, what is your micro chopping game
Speaker 3: into because there will be some joints.
Speaker 1: That will fluctuate, uh speed wise.
Speaker 3: As far as looping, I happen to know that the
Speaker 3: source of that sample is one of them things where
Speaker 3: I can't loop it perfectly. And my chopping game wasn't
Speaker 3: good enough for it. You know, it wasn't like we
Speaker 3: had able to to just stretch it on or whatever.
Speaker 3: But like, how aggressive are you to force something to work?
Speaker 3: Because that's definitely one of them joints because it wasn't
Speaker 3: the looping part. This is the fact when you got
Speaker 3: to add drums and everything on top of it, then
Speaker 3: you realize, oh, my ship might be off whatever. And
Speaker 3: that's that particular loop on streets of the ghetto. That
Speaker 3: and I'll play a little bit right right even there,
Speaker 3: I hear a little gap in there where. But for you, like,
Speaker 3: how determined are you to make some shit work? Like
Speaker 3: as far as your chopping game, And.
Speaker 5: I mean, if I can loop, if I can loop it, well,
Speaker 5: if I can create a loop, I'll be able to
Speaker 5: put the drums under it.
Speaker 8: You know, that's the easy part.
Speaker 3: It sounds easy to just the regular the ear, but
Speaker 3: knowing the frustration of there's some records in which you
Speaker 3: might find that magic four bar loop and then they
Speaker 3: might fluctuate or whatever, and unless you're good at micro chopping,
Speaker 3: you might be asked that that that.
Speaker 5: Loop right there, that was just a two bar loop,
Speaker 5: and the drummer was pretty on point for that. But
Speaker 5: they are awesome, the awesome joints were the drums a
Speaker 5: little off and you have to really like go in between.
Speaker 1: Right, you know, and do what you do.
Speaker 3: I feel, Yeah, you came to Atlanta, you know, and
Speaker 3: there's a slew of New Yorkers that have migrated down south,
Speaker 3: a lot of them in North Carolina and whatnot?
Speaker 1: What is it like? What is it about this city
Speaker 1: that attracted you to come here?
Speaker 8: And do you find I didn't come in for the music.
Speaker 5: I came here because, you know, I looked at what
Speaker 5: three hundred thousand would get you in New York, and
Speaker 5: I looked at with three hundred thousand would get you
Speaker 5: down here.
Speaker 8: I didn't come down.
Speaker 7: Here everybody's first motivation for I didn't.
Speaker 5: Come down here for the music. I was already coming
Speaker 5: down here doing a lot of work with Dallas, Austin Joy,
Speaker 5: Shades of Lingo, Illegal Me and Eric Sermon so I
Speaker 5: know I was already down here, but the house did
Speaker 5: crumb snatches, right, crumb snatches I had. I had a
Speaker 5: nice house and not far from Livingston, New Jersey, nice spot.
Speaker 8: I sould at.
Speaker 6: No.
Speaker 8: And just just what she was, what you were able
Speaker 8: to get for your money back then, is what really
Speaker 8: led me to come down here.
Speaker 1: How long have you been down here? Since two thousand
Speaker 1: and nine? She's been down here for a minute.
Speaker 3: Yeah, you're from the So do you feel like a
Speaker 3: stranger in a strange land based on what you do
Speaker 3: for a living man?
Speaker 1: Well? You know what? All right?
Speaker 8: They don't you know, boom back does not thrive down here.
Speaker 3: There is a boom but yeah, I was gonna say,
Speaker 3: is there So when you do your forty five sets
Speaker 3: and all that stuff, I don't really.
Speaker 8: I don't only do them here. I travel and do them.
Speaker 6: You know.
Speaker 5: I have done forty five sets here obviously, But just
Speaker 5: as far as being an artist, you know, you know,
Speaker 5: I'm still basically, you know, a boom back artist for
Speaker 5: lack of better words. So you know, if you're a
Speaker 5: boom back artist, you know you live on serious XM.
Speaker 5: You gotta just be comfortable with that, you know, what
Speaker 5: I mean. You know, it's just it's just real talk.
Speaker 5: And it doesn't matter if you live in Atlanta on
Speaker 5: any other southern city or West coast platform, right, it's
Speaker 5: just the music that I do. Is it hard to
Speaker 5: not get influenced by the culture. Like we've spoken to
Speaker 5: DJ Drama, who was like, yo, I'm straight backpacked. Yeah
Speaker 5: I want to move down here. It's like, okay, well
Speaker 5: I got to adjust. Yeah, well, yeah, he did what
Speaker 5: he had to do, and you see where he's at now.
Speaker 5: Shouts out to Drama, but yeah, you know, hey, well
Speaker 5: you know Drama when he came down there, he was
Speaker 5: a DJ. I'm a producer, so it's a little different,
Speaker 5: but definitely, you know, it rubs off, it rubs off
Speaker 5: on you. You realize that mm hmm cod chary to
Speaker 5: what people believe. There are people down here who are
Speaker 5: who can't spit right, you know, whether you know it
Speaker 5: is trap or drill or boom back whatever.
Speaker 8: You know, just you know, stereotypes are just that I feel.
Speaker 5: But you know, it's a good balance for me to
Speaker 5: be down here because I know I'm up in New
Speaker 5: York almost every month anyway, I know, for the past
Speaker 5: ten years.
Speaker 3: Well, brother man, Yo, thank you. We we finally made
Speaker 3: this joint happen. And you know, I'm just I'm happy
Speaker 3: we finally got to come and give you flowers and
Speaker 3: nerd out on on on your history and your catalog. Man,
Speaker 3: I appreciate having me Diamond deladies and gentlemen. Of course
Speaker 3: Love Supreme all right, so on behalf of Sugar Steve
Speaker 3: like fon Tickeolo and unpaid Bill.
Speaker 1: This is Quest Love and the Immortal Diamond d. We'll
Speaker 1: see you on the next go around on the Quest
Speaker 1: Love Supreme. Peace. Quest Love Supreme is a production of iHeartRadio.
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