1
00:00:00,160 --> 00:00:03,040
Speaker 1: Quest Love Supreme is a production of iHeartRadio.

2
00:00:10,320 --> 00:00:11,080
Speaker 2: I'm just so.

3
00:00:10,960 --> 00:00:14,400
Speaker 3: Happy that everybody showed up for this. DoD damn so

4
00:00:14,440 --> 00:00:17,720
Speaker 3: I'm happy. You God damn you got missed the Coleman here.

5
00:00:17,800 --> 00:00:23,479
Speaker 4: I'm fin you want to know.

6
00:00:24,520 --> 00:00:25,800
Speaker 1: What let's start.

7
00:00:26,440 --> 00:00:28,680
Speaker 5: I can already tell that this episode of Quest Love

8
00:00:28,760 --> 00:00:31,200
Speaker 5: Supreme is going to be a special one.

9
00:00:31,480 --> 00:00:32,280
Speaker 1: What can I say?

10
00:00:32,760 --> 00:00:35,440
Speaker 5: I've known and worked with these gentlemen when I first

11
00:00:35,800 --> 00:00:40,080
Speaker 5: got into the game. Oftentimes we talk about sort of

12
00:00:40,080 --> 00:00:45,800
Speaker 5: pioneering shift change of where hip hop went in the

13
00:00:45,880 --> 00:00:49,320
Speaker 5: early nineties, what we call the Renaissance period of hip hop,

14
00:00:49,320 --> 00:00:51,720
Speaker 5: and often you hear the names, you know, Pete Rock, Premiere,

15
00:00:52,560 --> 00:00:57,000
Speaker 5: the Uma, and you know Diamond D. Not to mention,

16
00:00:57,080 --> 00:00:59,600
Speaker 5: I mean, it's not strictly New York. There was DJ

17
00:00:59,680 --> 00:01:02,320
Speaker 5: Quick on the West Coast. Of course, Doctor Dre was

18
00:01:02,360 --> 00:01:04,679
Speaker 5: doing stuff. Got to give a shot out to Prince

19
00:01:04,720 --> 00:01:10,440
Speaker 5: Paul and also Extra p Lrish Professor organized Noise down South.

20
00:01:10,520 --> 00:01:14,279
Speaker 1: Like there was a whole Jay Swift on the West Coast.

21
00:01:14,520 --> 00:01:19,960
Speaker 5: There's a whole slew of producers that basically built upon.

22
00:01:19,920 --> 00:01:24,600
Speaker 1: What Marley Ma and the Bomb Squad. I know.

23
00:01:24,640 --> 00:01:27,960
Speaker 5: There's a lot of legends that I'm missing when doing

24
00:01:27,959 --> 00:01:33,440
Speaker 5: this introduction. But for me, these two gentlemen are a

25
00:01:33,480 --> 00:01:37,240
Speaker 5: part of a movement that often doesn't get enough credit

26
00:01:37,720 --> 00:01:43,160
Speaker 5: for their level of hip hop production, their grimy level

27
00:01:43,200 --> 00:01:45,959
Speaker 5: of hip hop production. And you know, they put numbers

28
00:01:45,959 --> 00:01:48,560
Speaker 5: on the boards, and we just don't say it because

29
00:01:48,600 --> 00:01:51,800
Speaker 5: it's so effortless. But yet and still, you know, if

30
00:01:51,840 --> 00:01:54,240
Speaker 5: you watch, you can tell the sign of a good

31
00:01:54,240 --> 00:01:57,520
Speaker 5: producer based on all these freestyle videos you see from

32
00:01:57,560 --> 00:02:01,040
Speaker 5: the nineties, whatnot what's the music back drop they choose?

33
00:02:01,080 --> 00:02:05,000
Speaker 5: And I guarantee you these gentlemen definitely have numbers on

34
00:02:05,000 --> 00:02:09,120
Speaker 5: the boards as far as just really bringing a sound

35
00:02:09,160 --> 00:02:12,239
Speaker 5: to New York, defining the sound of New York, even

36
00:02:12,520 --> 00:02:15,560
Speaker 5: the roots work with him back in ninety five. But

37
00:02:15,560 --> 00:02:18,040
Speaker 5: more than that, I just love to also state the

38
00:02:18,080 --> 00:02:22,120
Speaker 5: fact that, despite what they like to let onto the public,

39
00:02:22,720 --> 00:02:26,080
Speaker 5: these are the two nicest nerds I've.

40
00:02:25,880 --> 00:02:27,880
Speaker 1: Ever met in my life.

41
00:02:29,440 --> 00:02:34,040
Speaker 5: My habit of speaking Elizabethan and proper Gilded Age era

42
00:02:34,240 --> 00:02:38,920
Speaker 5: English really comes from these two. To this day, i'd say, sir, ma'am,

43
00:02:39,360 --> 00:02:40,360
Speaker 5: I learned from these two.

44
00:02:40,840 --> 00:02:44,560
Speaker 2: No way, no way, no super way.

45
00:02:45,840 --> 00:02:49,679
Speaker 5: Don't deny it, ladies and gentlemen, please welcome Evil T

46
00:02:50,720 --> 00:02:55,160
Speaker 5: and his brother Mister Walker, known as the Beat minus

47
00:02:55,560 --> 00:02:56,840
Speaker 5: on Quest Loves the pre.

48
00:02:58,520 --> 00:03:03,000
Speaker 2: Thank you made Mama, I'm mad.

49
00:03:06,040 --> 00:03:10,919
Speaker 6: You you be great man.

50
00:03:12,400 --> 00:03:16,160
Speaker 7: What was doing for the past two weeks?

51
00:03:16,480 --> 00:03:22,640
Speaker 8: Yo? Cush up supreme? Like, what's going crazy?

52
00:03:23,360 --> 00:03:23,640
Speaker 2: Man?

53
00:03:24,000 --> 00:03:26,320
Speaker 5: This is just we we just having a normal account,

54
00:03:26,720 --> 00:03:28,960
Speaker 5: like we're gonna bust it up like we normally do.

55
00:03:29,040 --> 00:03:31,520
Speaker 5: We don't do it enough. And I'm so glad because

56
00:03:31,520 --> 00:03:35,320
Speaker 5: it's been a hot minute. I'll just start with my

57
00:03:35,360 --> 00:03:37,960
Speaker 5: first question. How are you guys? How's it going.

58
00:03:38,320 --> 00:03:42,160
Speaker 2: We're good, We're good. We're living. We're living, that's what

59
00:03:42,200 --> 00:03:42,600
Speaker 2: we're doing.

60
00:03:43,280 --> 00:03:46,840
Speaker 8: I'm having fun. I don't know about wal I'm having fun.

61
00:03:47,960 --> 00:03:50,400
Speaker 1: That's all you can do. That is all you can do.

62
00:03:51,360 --> 00:03:53,880
Speaker 1: Where are you guys right now as we speak? What? What?

63
00:03:53,880 --> 00:03:56,000
Speaker 1: What part of the world are you guys in right now?

64
00:03:56,320 --> 00:04:00,160
Speaker 2: We are in Bushwick, Brooklyn. The same house. Yeah, that

65
00:04:00,560 --> 00:04:04,120
Speaker 2: same the same listen, the same crib that my mother

66
00:04:04,240 --> 00:04:06,600
Speaker 2: branged this bump ass dude home.

67
00:04:09,720 --> 00:04:10,280
Speaker 8: That's me.

68
00:04:12,360 --> 00:04:14,640
Speaker 3: That house right, This is the house that we made

69
00:04:14,640 --> 00:04:17,120
Speaker 3: all our records in and stuff like.

70
00:04:17,160 --> 00:04:22,200
Speaker 5: Wait, I have a question to ask because oftentimes I

71
00:04:22,240 --> 00:04:28,800
Speaker 5: have a theory that whenever someone channels in magic, especially

72
00:04:28,800 --> 00:04:33,160
Speaker 5: with music, and specifically I'm thinking about Prince and I'm

73
00:04:33,160 --> 00:04:37,599
Speaker 5: thinking about the Rizza as well, they'll come with a cavalcade.

74
00:04:37,080 --> 00:04:38,159
Speaker 1: Just an entire.

75
00:04:39,520 --> 00:04:43,599
Speaker 5: Slew of you know what I call manna from heaven

76
00:04:44,279 --> 00:04:48,520
Speaker 5: that they particularly create in a certain spot. In Prince's case,

77
00:04:49,880 --> 00:04:56,800
Speaker 5: his his bedroom turned studio. In THESS case Stapleton, you

78
00:04:56,839 --> 00:05:01,280
Speaker 5: know at at in his project basement making those classic

79
00:05:01,320 --> 00:05:04,640
Speaker 5: Wu Tang records, and then what happens is, you know,

80
00:05:04,680 --> 00:05:09,400
Speaker 5: they hit payday and then they upgrade, and then it's not.

81
00:05:09,320 --> 00:05:11,040
Speaker 1: Quite the same anymore.

82
00:05:10,720 --> 00:05:15,480
Speaker 5: Is there a specific reason why that you're you're still

83
00:05:15,680 --> 00:05:17,960
Speaker 5: in the same Like, is there a formula for you

84
00:05:18,040 --> 00:05:20,479
Speaker 5: guys that that you feel will jinx you if you

85
00:05:20,520 --> 00:05:23,880
Speaker 5: were to move elsewhere besides the basement.

86
00:05:24,760 --> 00:05:27,560
Speaker 2: This is the family house. So we just chose to stay.

87
00:05:27,640 --> 00:05:29,279
Speaker 2: I mean I moved out.

88
00:05:29,120 --> 00:05:31,600
Speaker 3: For like five years when my son was born. I

89
00:05:31,600 --> 00:05:35,760
Speaker 3: have moved to Flatbush, but I kept like my records here.

90
00:05:36,320 --> 00:05:38,279
Speaker 3: I have moved my equipment, but I kept like my

91
00:05:38,400 --> 00:05:41,520
Speaker 3: records and all my stuff here, so I kept coming Black. Plus,

92
00:05:41,560 --> 00:05:45,040
Speaker 3: he had like the main part of the studio here,

93
00:05:45,080 --> 00:05:46,080
Speaker 3: so I had to come back.

94
00:05:46,960 --> 00:05:49,839
Speaker 7: It's what it is, is like, well, you know, on

95
00:05:49,839 --> 00:05:52,040
Speaker 7: the walk left, of course I stole his recollection.

96
00:05:52,800 --> 00:05:53,839
Speaker 8: I got to talk about that.

97
00:05:54,720 --> 00:05:57,039
Speaker 1: But isn't it kind of like both of y'alls?

98
00:05:57,440 --> 00:06:01,520
Speaker 2: Yeah, Fridays if we're trying to be nice, it's it's

99
00:06:01,720 --> 00:06:03,800
Speaker 2: it's you know, it's both for ours, you know.

100
00:06:04,920 --> 00:06:08,440
Speaker 7: Fifty to fifty for some reason, for some reason, sixty forty,

101
00:06:08,800 --> 00:06:12,800
Speaker 7: but uh whatever, being here this is this is where

102
00:06:12,880 --> 00:06:17,000
Speaker 7: this is like it like it's no way to explain it,

103
00:06:17,040 --> 00:06:19,200
Speaker 7: like this is I feel like this is where we belong,

104
00:06:20,080 --> 00:06:22,440
Speaker 7: you know what I'm saying, Like everything started here, like

105
00:06:22,800 --> 00:06:27,520
Speaker 7: and this actual kitchen is where you know, me Bucking

106
00:06:27,680 --> 00:06:31,240
Speaker 7: five did our stuff like this kitchen and the next room,

107
00:06:31,279 --> 00:06:33,640
Speaker 7: which used to be Walt's bedroom now is the studio.

108
00:06:34,480 --> 00:06:37,720
Speaker 7: This is where everything started. And it's like, well else,

109
00:06:37,839 --> 00:06:41,400
Speaker 7: you know, like, yo, this is it. That's all I

110
00:06:41,400 --> 00:06:42,320
Speaker 7: can say. This is it.

111
00:06:43,120 --> 00:06:45,080
Speaker 1: What's the age difference between you two?

112
00:06:45,600 --> 00:06:46,279
Speaker 2: Three years?

113
00:06:46,600 --> 00:06:47,520
Speaker 8: Yeah? Three years?

114
00:06:47,800 --> 00:06:51,000
Speaker 3: I'm the older I'm the older brother. Okay, I was

115
00:06:51,040 --> 00:06:52,520
Speaker 3: the brother that wasn't supposed to make it.

116
00:06:52,560 --> 00:06:53,840
Speaker 8: And you know what.

117
00:06:57,480 --> 00:07:01,520
Speaker 2: Wait yeah you're like yo, that's oh that big Okay,

118
00:07:03,000 --> 00:07:04,400
Speaker 2: what are you talking about.

119
00:07:04,880 --> 00:07:08,120
Speaker 9: And he was the baby, like, oh.

120
00:07:08,160 --> 00:07:12,480
Speaker 3: My god, he was when I was young, because I'm

121
00:07:12,520 --> 00:07:14,960
Speaker 3: the I was the first DJ the family, and of

122
00:07:15,000 --> 00:07:18,240
Speaker 3: course I was the first one to do production. But

123
00:07:18,800 --> 00:07:22,080
Speaker 3: my mother kept cold signing for e. You know, little

124
00:07:22,080 --> 00:07:25,040
Speaker 3: brother always going to hang with big brother. So every

125
00:07:25,040 --> 00:07:26,960
Speaker 3: time my mother would be like, you're gonna let him.

126
00:07:26,920 --> 00:07:30,120
Speaker 2: DJ, I said no, no, Ma, I can't. He said no,

127
00:07:30,200 --> 00:07:33,760
Speaker 2: take your brother with you. And this guy used to

128
00:07:34,240 --> 00:07:37,320
Speaker 2: he used to mix off beat and every day was

129
00:07:37,720 --> 00:07:41,440
Speaker 2: all over the place, and my mother was his biggest cheerleader.

130
00:07:41,960 --> 00:07:44,280
Speaker 2: That's my baby, My stop it.

131
00:07:44,680 --> 00:07:46,800
Speaker 7: But you know what it is though, I got into

132
00:07:47,080 --> 00:07:50,720
Speaker 7: you know what, Walk got into DJing because he wanted to,

133
00:07:50,840 --> 00:07:51,760
Speaker 7: like that was his thing.

134
00:07:52,480 --> 00:07:55,920
Speaker 8: And I got into it because I was jealous of war.

135
00:07:57,440 --> 00:08:00,840
Speaker 7: And it was like he's deep Jane and getting all

136
00:08:00,880 --> 00:08:02,440
Speaker 7: this attention and it's all.

137
00:08:02,320 --> 00:08:04,560
Speaker 8: Cool, and I was like, I'm cool too.

138
00:08:05,480 --> 00:08:06,440
Speaker 2: You mean I ain't cool.

139
00:08:06,960 --> 00:08:09,720
Speaker 8: I'm better than him. I was trash.

140
00:08:11,160 --> 00:08:15,920
Speaker 5: So what what was your first musical memory in life?

141
00:08:17,040 --> 00:08:21,560
Speaker 3: My father bringing home a bunch of records, Like he

142
00:08:21,640 --> 00:08:24,200
Speaker 3: used to bring records home all the time because he

143
00:08:24,240 --> 00:08:26,440
Speaker 3: used to work on construction sites and stuff like that,

144
00:08:26,960 --> 00:08:29,480
Speaker 3: and he had brang home like a pile of records,

145
00:08:29,560 --> 00:08:33,080
Speaker 3: and I just went towards this one record and I

146
00:08:33,120 --> 00:08:36,120
Speaker 3: still have that record to this day, Diana Ross presents

147
00:08:36,280 --> 00:08:36,959
Speaker 3: Jackson five.

148
00:08:37,800 --> 00:08:38,200
Speaker 1: Oh wow.

149
00:08:38,520 --> 00:08:41,800
Speaker 3: And I just that made me fall in love with

150
00:08:42,559 --> 00:08:47,000
Speaker 3: collecting records. And the first song I ever fell in

151
00:08:47,040 --> 00:08:50,400
Speaker 3: love with, like this song stayed in my head was

152
00:08:50,400 --> 00:08:52,800
Speaker 3: Living for the City Stevie Wonder. That was the first

153
00:08:52,840 --> 00:08:53,880
Speaker 3: song I fell in love.

154
00:08:53,679 --> 00:08:56,679
Speaker 1: With, staying.

155
00:08:56,720 --> 00:08:59,160
Speaker 5: When you're saying he brought the record, you mean dumpster

156
00:08:59,280 --> 00:09:02,280
Speaker 5: diving or your father would go record shopping.

157
00:09:02,679 --> 00:09:05,360
Speaker 3: No, he would bring someone would give him a polo

158
00:09:05,440 --> 00:09:07,840
Speaker 3: records and you would just bring the records home. So

159
00:09:07,920 --> 00:09:10,719
Speaker 3: he was doing the original beat mining before me and

160
00:09:10,800 --> 00:09:11,199
Speaker 3: my brother.

161
00:09:11,800 --> 00:09:14,880
Speaker 5: Yeah, what's the family unit?

162
00:09:15,080 --> 00:09:17,320
Speaker 1: Is it just you two are siblings or do you

163
00:09:17,320 --> 00:09:18,199
Speaker 1: have other siblings?

164
00:09:18,440 --> 00:09:22,040
Speaker 3: Well, we have a half older half sister who lives

165
00:09:22,080 --> 00:09:25,120
Speaker 3: in Harlem from my father, and then we had a

166
00:09:25,200 --> 00:09:27,720
Speaker 3: younger sister that passed away in two thousand and time.

167
00:09:28,120 --> 00:09:32,120
Speaker 5: Yeah, okay, were they musically inclined as well or was

168
00:09:32,160 --> 00:09:33,439
Speaker 5: it just you two just me?

169
00:09:34,400 --> 00:09:38,000
Speaker 2: Yeah, here's a secret for everybody. And I'm about to

170
00:09:38,080 --> 00:09:41,760
Speaker 2: embarrass my brother up to Jacksonville so much, we made

171
00:09:41,840 --> 00:09:44,880
Speaker 2: our own singing group. And I was Michael. I was

172
00:09:44,920 --> 00:09:46,280
Speaker 2: Michael and Jackson.

173
00:09:48,120 --> 00:09:48,640
Speaker 8: Mackie.

174
00:09:48,960 --> 00:09:51,840
Speaker 2: He was Jermaine. My mother used to have two fuster kids.

175
00:09:52,040 --> 00:09:57,400
Speaker 2: They were Marlon and Randy or whatever Mark and I

176
00:09:57,559 --> 00:09:59,920
Speaker 2: was Jackie because I was the oldest, and I was Michael.

177
00:10:00,160 --> 00:10:01,160
Speaker 2: I was the lead singer.

178
00:10:01,360 --> 00:10:04,400
Speaker 1: Tito's not getting respect, and.

179
00:10:03,600 --> 00:10:05,840
Speaker 2: He was Malling, and they were Malling and Tito.

180
00:10:07,360 --> 00:10:10,240
Speaker 5: Yo, I'm gonna tell you something. You have to be

181
00:10:10,280 --> 00:10:13,880
Speaker 5: a certain age to know that. For good four to

182
00:10:14,000 --> 00:10:18,559
Speaker 5: five year run, right, the Jackson's were like the Black

183
00:10:18,640 --> 00:10:19,320
Speaker 5: super Friends.

184
00:10:20,320 --> 00:10:23,400
Speaker 1: And I guarantee you.

185
00:10:22,640 --> 00:10:26,319
Speaker 5: Like anyone that had any sign of any music, healthy whatever,

186
00:10:26,920 --> 00:10:29,560
Speaker 5: we would just say, lookyo, let's play Jackson five. And seriously,

187
00:10:29,760 --> 00:10:33,800
Speaker 5: we just act like we were the Jackson five. I know,

188
00:10:34,120 --> 00:10:36,520
Speaker 5: like is like I was born in the eighties. I'm

189
00:10:36,520 --> 00:10:37,360
Speaker 5: sorry the nineties.

190
00:10:37,559 --> 00:10:39,120
Speaker 4: No, no, no, we had no audition, I got you.

191
00:10:39,160 --> 00:10:41,040
Speaker 4: I'm just I'm using it as a metaphor, like, oh

192
00:10:41,200 --> 00:10:41,920
Speaker 4: with new addition.

193
00:10:42,640 --> 00:10:45,240
Speaker 1: Yeah right now, because Jackson five was way before you.

194
00:10:45,720 --> 00:10:47,520
Speaker 2: Everybody knows that Jackson five.

195
00:10:47,920 --> 00:10:50,800
Speaker 3: Everybody like oh hell yeah, yeah, everybody knows what the

196
00:10:50,840 --> 00:10:52,320
Speaker 3: Jackson five put down everybody.

197
00:10:52,679 --> 00:10:55,160
Speaker 4: Everybody wasn't making choreography to it on the playground though.

198
00:10:55,200 --> 00:10:56,439
Speaker 9: That's a certain.

199
00:10:56,240 --> 00:11:01,960
Speaker 5: Error, right right, A man, they're they're they were the

200
00:11:01,960 --> 00:11:03,720
Speaker 5: first black super Friends.

201
00:11:03,440 --> 00:11:06,400
Speaker 2: So right, you know.

202
00:11:05,600 --> 00:11:08,079
Speaker 1: Obviously slow, I got stuck with Tito all the time, so.

203
00:11:08,160 --> 00:11:10,200
Speaker 2: You know I was when they had their own cartoon,

204
00:11:10,280 --> 00:11:11,000
Speaker 2: like I was in.

205
00:11:11,320 --> 00:11:14,520
Speaker 1: Hell now, yes, yes, Wait where year were you born?

206
00:11:15,160 --> 00:11:16,240
Speaker 2: I was born in sixty eight?

207
00:11:17,400 --> 00:11:19,880
Speaker 1: Okay, so you watch my old son?

208
00:11:20,320 --> 00:11:22,280
Speaker 2: Oh not old?

209
00:11:22,559 --> 00:11:23,800
Speaker 8: So you old son?

210
00:11:24,080 --> 00:11:27,480
Speaker 9: You three years younger son? What are you doing? Three

211
00:11:27,520 --> 00:11:28,640
Speaker 9: years younger? Three years younger?

212
00:11:28,640 --> 00:11:28,840
Speaker 1: Though?

213
00:11:28,960 --> 00:11:31,520
Speaker 9: Three? Three three three?

214
00:11:32,120 --> 00:11:35,959
Speaker 5: At what age did do Ward like finally get your respect?

215
00:11:36,200 --> 00:11:39,520
Speaker 5: Well as far as like production is concerned, not production,

216
00:11:39,600 --> 00:11:43,440
Speaker 5: but DJ or were you the don't touch my equipment

217
00:11:43,480 --> 00:11:44,920
Speaker 5: type or were you.

218
00:11:44,880 --> 00:11:48,520
Speaker 2: The yeah, wait, don't touch my equipment types.

219
00:11:48,320 --> 00:11:49,720
Speaker 1: Of e yes?

220
00:11:50,000 --> 00:11:53,120
Speaker 2: Hell yeah? And he's my little his hand has been

221
00:11:53,160 --> 00:11:56,240
Speaker 2: too greasy, he always had greasy as hands that he

222
00:11:56,440 --> 00:11:58,440
Speaker 2: ate a polo rids. And then he want to touch

223
00:11:58,480 --> 00:11:59,920
Speaker 2: the records. What kind of shits?

224
00:12:01,040 --> 00:12:05,240
Speaker 8: Yo? Let me tell you what I used to do

225
00:12:05,280 --> 00:12:05,920
Speaker 8: to walk right.

226
00:12:06,760 --> 00:12:11,839
Speaker 7: So Wall would go hang out with his friends or

227
00:12:11,920 --> 00:12:15,360
Speaker 7: go to work or whatever, you know, whatever, and As

228
00:12:15,400 --> 00:12:18,480
Speaker 7: soon as he would leave, I would walk into his

229
00:12:18,640 --> 00:12:22,760
Speaker 7: room and turn everything on practice what I seen him do,

230
00:12:24,240 --> 00:12:26,480
Speaker 7: add my touch to it to make it my style,

231
00:12:27,800 --> 00:12:30,680
Speaker 7: and turn everything off and put everything back the way

232
00:12:30,720 --> 00:12:31,480
Speaker 7: it was supposed to be.

233
00:12:32,200 --> 00:12:35,840
Speaker 2: So one day I caught it it as then I got.

234
00:12:35,679 --> 00:12:39,640
Speaker 1: Beat up, all right? So yeah, the t Joe Jackson movement.

235
00:12:41,080 --> 00:12:43,120
Speaker 5: Was at least like let me see what you can

236
00:12:43,160 --> 00:12:45,079
Speaker 5: do first and then I beat jazz, or like.

237
00:12:46,040 --> 00:12:47,559
Speaker 2: Because he's a little brother, I don't care what the

238
00:12:47,559 --> 00:12:49,440
Speaker 2: little brother had to do. I'm big brother.

239
00:12:49,600 --> 00:12:49,800
Speaker 1: You know.

240
00:12:51,120 --> 00:12:53,079
Speaker 3: I'll tell you that moment I had with my mom

241
00:12:53,160 --> 00:12:55,480
Speaker 3: and him, that was the moment I was like, all right, next,

242
00:12:55,520 --> 00:12:56,360
Speaker 3: see what he can do.

243
00:12:56,760 --> 00:12:58,760
Speaker 8: And I was horrible that man.

244
00:12:58,600 --> 00:13:00,520
Speaker 3: Could have came in and did every mix that jazzy

245
00:13:00,600 --> 00:13:02,400
Speaker 3: Jeff every day in his life and I still wouldn't

246
00:13:02,520 --> 00:13:05,600
Speaker 3: be impressed, like it was whack mom, come on, but

247
00:13:05,679 --> 00:13:06,840
Speaker 3: would never give him his prop.

248
00:13:07,200 --> 00:13:09,679
Speaker 7: You know what was what was good about that was

249
00:13:10,040 --> 00:13:12,400
Speaker 7: being that it was the big brother, little brother type thing.

250
00:13:13,080 --> 00:13:16,120
Speaker 7: It made me go, you know what, I'm gonna beat

251
00:13:16,160 --> 00:13:18,360
Speaker 7: walk at this. You know what I'm saying, Like, I'm

252
00:13:18,559 --> 00:13:21,560
Speaker 7: I'm gonna show him. I'm gonna battle him. I'm gonna

253
00:13:21,559 --> 00:13:26,120
Speaker 7: be better than him. And it made me really like

254
00:13:27,320 --> 00:13:30,400
Speaker 7: get into DJing like I was. I was on some

255
00:13:30,600 --> 00:13:33,480
Speaker 7: I was, it was something else, you know what I'm saying.

256
00:13:33,520 --> 00:13:37,720
Speaker 7: Like I thought I was the DMC champion the way

257
00:13:37,760 --> 00:13:41,920
Speaker 7: I was training to battle war, you know what I'm saying.

258
00:13:42,160 --> 00:13:46,079
Speaker 5: So you two, you two were enemies first before you decided.

259
00:13:45,720 --> 00:13:50,720
Speaker 1: To Yeah, of course, but you know, you know that

260
00:13:50,760 --> 00:13:51,240
Speaker 1: makes sense.

261
00:13:52,880 --> 00:13:57,600
Speaker 5: There's a legendary sibling DJ team that I knew in Philly,

262
00:13:57,960 --> 00:14:01,559
Speaker 5: same situation. Brother was like five years young, but the

263
00:14:01,600 --> 00:14:06,720
Speaker 5: younger brother's level of antagonizing was if his older brother

264
00:14:06,760 --> 00:14:08,839
Speaker 5: made him mad, like don't touch my equipment and beat

265
00:14:08,880 --> 00:14:13,400
Speaker 5: him up whatever, the younger brother would actually take like

266
00:14:13,480 --> 00:14:15,839
Speaker 5: one of the prize records and put it in the bathtub,

267
00:14:16,559 --> 00:14:18,000
Speaker 5: just on the records.

268
00:14:18,480 --> 00:14:24,160
Speaker 8: No, no, we no, nah records valuable. Whoa whoa?

269
00:14:24,800 --> 00:14:27,880
Speaker 2: I said, death said.

270
00:14:29,040 --> 00:14:31,000
Speaker 5: It was also like eight years old, So you know,

271
00:14:31,240 --> 00:14:34,520
Speaker 5: I mean, you do anything to antagonize now, I know

272
00:14:34,680 --> 00:14:40,280
Speaker 5: most Harlem Uptown BRONC stories had the blackout of seventy

273
00:14:40,320 --> 00:14:46,560
Speaker 5: seven to think for uh equipment, uh acquiring, But like,

274
00:14:46,720 --> 00:14:50,600
Speaker 5: how did you build your how did you build your system.

275
00:14:50,840 --> 00:14:54,080
Speaker 1: Well, in terms of being a DJ.

276
00:14:54,480 --> 00:14:55,800
Speaker 2: We did what we had to do.

277
00:14:55,880 --> 00:14:56,240
Speaker 8: My mother.

278
00:14:56,920 --> 00:15:00,000
Speaker 2: First of all, we did the regular Mickey Mouse turntable

279
00:15:00,240 --> 00:15:02,600
Speaker 2: with the whole home homemade mixer.

280
00:15:02,720 --> 00:15:05,320
Speaker 3: We did that trackic thing. I asked my mother to

281
00:15:05,360 --> 00:15:07,240
Speaker 3: buy me a turntable.

282
00:15:08,200 --> 00:15:12,680
Speaker 2: Now, my mother is an old West Indian woman from Belize,

283
00:15:12,960 --> 00:15:16,400
Speaker 2: so she's like, she don't know ages.

284
00:15:17,400 --> 00:15:19,400
Speaker 1: Oh boy, what does she buy?

285
00:15:18,560 --> 00:15:23,920
Speaker 2: He came home with a BSW belt turntable belt drive

286
00:15:24,040 --> 00:15:32,280
Speaker 2: wow belt. I looked at her and I said, thanks, mom.

287
00:15:32,440 --> 00:15:34,040
Speaker 2: And that's when I said, yo, I got to get

288
00:15:34,040 --> 00:15:35,080
Speaker 2: my own thing. I can't.

289
00:15:35,280 --> 00:15:37,680
Speaker 3: I can't. I can't deal with this with me. I

290
00:15:37,760 --> 00:15:40,120
Speaker 3: got to get my own self. So that's why I

291
00:15:40,200 --> 00:15:43,840
Speaker 3: started like this was we're going into like eighty five.

292
00:15:44,240 --> 00:15:46,600
Speaker 3: So I started working in a record store around here,

293
00:15:46,680 --> 00:15:50,160
Speaker 3: and then I'm in eighty seven. I started working at

294
00:15:50,200 --> 00:15:53,680
Speaker 3: a music factor in Jamaica, Queens. And that's when I

295
00:15:53,840 --> 00:15:55,880
Speaker 3: was like, yo, I got to get my own equipment

296
00:15:55,960 --> 00:15:58,760
Speaker 3: and saved up enough money, I mean, you know, and

297
00:15:59,040 --> 00:15:59,840
Speaker 3: got my equipment.

298
00:16:00,160 --> 00:16:04,920
Speaker 10: There you mentioned earlier did job your father? He did construction?

299
00:16:04,960 --> 00:16:06,320
Speaker 10: What did your mom? Your mother do?

300
00:16:06,680 --> 00:16:08,920
Speaker 3: He was a nurse at We used to have a

301
00:16:08,920 --> 00:16:12,520
Speaker 3: hospital out here called Williamsburg Hospital, and she used to

302
00:16:12,560 --> 00:16:14,680
Speaker 3: work over there, and then she just started to take

303
00:16:14,720 --> 00:16:15,760
Speaker 3: care of foster kids.

304
00:16:16,240 --> 00:16:18,880
Speaker 9: Oh wow, okay, yeah, how many foster kids?

305
00:16:19,160 --> 00:16:20,840
Speaker 2: It was a lot of falster kids, A.

306
00:16:20,800 --> 00:16:22,360
Speaker 9: Lot of foster kids in and out of your house.

307
00:16:22,640 --> 00:16:24,760
Speaker 2: Yeah yeah yeah.

308
00:16:24,840 --> 00:16:27,720
Speaker 1: And when you say Williamsburg not the Williamsburg that I.

309
00:16:27,720 --> 00:16:32,360
Speaker 2: Know, well no, it's different. Butchrig is not the butcher

310
00:16:32,400 --> 00:16:35,400
Speaker 2: Ridge that we know, Like the butcher growing up now

311
00:16:35,560 --> 00:16:38,240
Speaker 2: is a totally different butcher And what.

312
00:16:37,920 --> 00:16:45,000
Speaker 1: Was manse uh man mustachues?

313
00:16:45,520 --> 00:16:45,720
Speaker 9: Right?

314
00:16:45,840 --> 00:16:47,040
Speaker 2: People looking at you like.

315
00:16:47,000 --> 00:16:49,920
Speaker 4: You don't belong here, right, which means so y'all have

316
00:16:49,960 --> 00:16:53,440
Speaker 4: a nice piece of real estate right now, and congratulations

317
00:16:53,440 --> 00:16:53,640
Speaker 4: to that.

318
00:16:54,000 --> 00:16:55,600
Speaker 2: Well, I mean we will always say this is our

319
00:16:55,640 --> 00:16:56,240
Speaker 2: mama's house.

320
00:16:56,720 --> 00:16:59,480
Speaker 7: Yeah, I tell people this day I live at my

321
00:16:59,480 --> 00:17:04,119
Speaker 7: mother's base because I just loved the reaction of their face,

322
00:17:04,240 --> 00:17:06,320
Speaker 7: like how do you still?

323
00:17:08,440 --> 00:17:09,919
Speaker 4: And you god like to have a full it's a

324
00:17:09,920 --> 00:17:11,640
Speaker 4: full brownstone and everything right, like.

325
00:17:12,000 --> 00:17:15,639
Speaker 8: Right large, it's actually a townhouse.

326
00:17:16,160 --> 00:17:19,119
Speaker 7: Okay, it looks like a brownstone, so we let people

327
00:17:19,160 --> 00:17:22,119
Speaker 7: go with that, but it's actually a nineteen thirties townhouse.

328
00:17:22,600 --> 00:17:25,000
Speaker 1: Wow, what were your earliest gigs like.

329
00:17:25,000 --> 00:17:29,399
Speaker 2: Walk neighborhood stuff that's in the neighborhood, like you know,

330
00:17:29,640 --> 00:17:33,000
Speaker 2: we didn't really leave butch rigged, you know, and stuff

331
00:17:33,040 --> 00:17:36,240
Speaker 2: like that, so a lot of stuff. Mostly it started

332
00:17:36,520 --> 00:17:38,439
Speaker 2: doing the dust and butcher rigg stuff, and then we

333
00:17:38,480 --> 00:17:41,840
Speaker 2: started doing more stuff out of Brooklyn, and you know,

334
00:17:42,840 --> 00:17:44,280
Speaker 2: it eventually grew after that.

335
00:17:44,800 --> 00:17:47,560
Speaker 7: Back in the days, you had to like like you

336
00:17:47,600 --> 00:17:50,399
Speaker 7: blew up in your neighborhood, and after you grew up

337
00:17:50,400 --> 00:17:53,200
Speaker 7: in your neighborhood, you started going to other neighborhoods, and

338
00:17:53,240 --> 00:17:55,440
Speaker 7: then you started going to other boroughs, and then it

339
00:17:55,600 --> 00:17:56,160
Speaker 7: was all city.

340
00:17:56,160 --> 00:17:57,960
Speaker 8: It's like it's kind of like a feiti all city.

341
00:17:58,600 --> 00:18:00,840
Speaker 5: On with your own you're talking about like block parties

342
00:18:00,880 --> 00:18:04,199
Speaker 5: and whatnot, or just like house parties. And right for me,

343
00:18:04,560 --> 00:18:09,439
Speaker 5: like because my parents were record collectors, all those records

344
00:18:09,440 --> 00:18:12,440
Speaker 5: that wound up getting sampled later like I already had

345
00:18:12,520 --> 00:18:16,720
Speaker 5: but never knew because I just looked at my parents'

346
00:18:16,760 --> 00:18:18,040
Speaker 5: record collection as.

347
00:18:17,800 --> 00:18:20,680
Speaker 1: Like old people records, right, because.

348
00:18:20,480 --> 00:18:24,600
Speaker 5: I'm assuming that when you're doing this in the early eighties,

349
00:18:24,600 --> 00:18:27,399
Speaker 5: like collecting records and whatnot, that you're just basically getting

350
00:18:27,880 --> 00:18:30,800
Speaker 5: hip hop records and records to rock the party. Like,

351
00:18:31,200 --> 00:18:35,280
Speaker 5: I'm assuming that you're not thinking, Yo, I need this

352
00:18:35,359 --> 00:18:39,399
Speaker 5: Bob James record or you know whatever for sampling purposes.

353
00:18:39,400 --> 00:18:41,159
Speaker 1: But at what point did.

354
00:18:41,040 --> 00:18:44,520
Speaker 5: You realize that, Like were you in an open format

355
00:18:44,560 --> 00:18:46,600
Speaker 5: DJ or where you just strictly hip hop at the time,

356
00:18:46,680 --> 00:18:47,560
Speaker 5: Like what were you playing?

357
00:18:48,000 --> 00:18:51,160
Speaker 2: It starts with hip hop and then it becomes upen format. Yeah,

358
00:18:51,200 --> 00:18:54,240
Speaker 2: so you would buy, like say, to Bob James record.

359
00:18:54,280 --> 00:18:57,240
Speaker 3: You would buy the Bob James record because everybody you

360
00:18:57,320 --> 00:19:00,880
Speaker 3: had a crew, You had the guys whom the DJ,

361
00:19:01,080 --> 00:19:03,240
Speaker 3: the crew, So the MCS needs under raym on so

362
00:19:03,359 --> 00:19:05,680
Speaker 3: you would get more or less you would get take

363
00:19:05,680 --> 00:19:07,880
Speaker 3: me to the Mighty Gras and you would just buy

364
00:19:07,960 --> 00:19:09,080
Speaker 3: two copies of those.

365
00:19:09,720 --> 00:19:10,679
Speaker 1: So you on that early?

366
00:19:11,400 --> 00:19:13,680
Speaker 2: Yeah? Yeah, I was on that early, Like yeah.

367
00:19:13,480 --> 00:19:17,600
Speaker 1: Creed Lewis Flores, Rebeat lou back right.

368
00:19:17,800 --> 00:19:19,840
Speaker 2: We used to call them uptown because you had to

369
00:19:19,880 --> 00:19:21,240
Speaker 2: go uptown to get them.

370
00:19:21,480 --> 00:19:23,360
Speaker 3: Even though I worked in Jamaica cuse I ain't start

371
00:19:23,400 --> 00:19:26,760
Speaker 3: working at Jamaica until eighty seven. But like in eighty

372
00:19:26,800 --> 00:19:29,679
Speaker 3: one and eighty you would have to go uptown to

373
00:19:29,760 --> 00:19:33,080
Speaker 3: like Music Factor in forty second Street to go get

374
00:19:33,119 --> 00:19:36,480
Speaker 3: these break beats. And the break beats. Around that time,

375
00:19:36,560 --> 00:19:39,479
Speaker 3: they were already putting them on the bootleg twelve inches.

376
00:19:40,000 --> 00:19:43,840
Speaker 3: You know what I'm saying, You would Bozomico stuff.

377
00:19:43,520 --> 00:19:45,760
Speaker 8: And eat Me to the Beat records all that.

378
00:19:45,960 --> 00:19:48,960
Speaker 2: They were already putting them on that eat Me to

379
00:19:49,000 --> 00:19:51,520
Speaker 2: the Beat. You know what that is, right, big beat

380
00:19:51,600 --> 00:19:53,800
Speaker 2: on one side and on the other side.

381
00:19:53,880 --> 00:19:56,520
Speaker 5: Yeah, wait, that was back in the eighties. I thought

382
00:19:56,560 --> 00:19:58,320
Speaker 5: that was coming down in the mid nineties.

383
00:19:58,520 --> 00:20:01,879
Speaker 8: Nah, that was back. That was for ultimate breaks and beats.

384
00:20:02,119 --> 00:20:04,480
Speaker 1: Bosomko was even out in the eighties.

385
00:20:04,880 --> 00:20:09,720
Speaker 2: Boso Miko came out in eighty one. Yeah, yeah, Booo

386
00:20:09,920 --> 00:20:12,679
Speaker 2: came out, all right, Flash to the Beat on the

387
00:20:12,720 --> 00:20:13,280
Speaker 2: other side.

388
00:20:13,359 --> 00:20:15,760
Speaker 5: I was gonna say so when I heard Flash to

389
00:20:15,800 --> 00:20:19,120
Speaker 5: the Beat being played at like roller skating rinks, they

390
00:20:19,160 --> 00:20:21,000
Speaker 5: were playing the same Bosomico.

391
00:20:20,520 --> 00:20:23,200
Speaker 2: Bluele playing the Bosomico rocker. Yeah.

392
00:20:23,359 --> 00:20:24,800
Speaker 1: Man, the only way you got it?

393
00:20:24,920 --> 00:20:26,239
Speaker 2: Yeah, that's the only way you got it.

394
00:20:26,440 --> 00:20:26,720
Speaker 7: All right.

395
00:20:26,800 --> 00:20:31,000
Speaker 5: Let me let me let me explain dar okay, let

396
00:20:31,040 --> 00:20:31,840
Speaker 5: me give it tutorial.

397
00:20:32,160 --> 00:20:32,480
Speaker 2: All right.

398
00:20:32,520 --> 00:20:35,440
Speaker 5: So basically, of course, you know that during the first

399
00:20:35,480 --> 00:20:38,600
Speaker 5: generation of beat digging, you're talking about Bam Boda and

400
00:20:38,880 --> 00:20:42,960
Speaker 5: Flash and Mean Jean and grandmother was the Theodore Like, yeah,

401
00:20:42,960 --> 00:20:47,400
Speaker 5: so the first generation of course, like everyone would try

402
00:20:47,440 --> 00:20:49,480
Speaker 5: to get their their the shazama on and see what

403
00:20:49,560 --> 00:20:52,080
Speaker 5: they're playing. And of course, if you're smart enough you

404
00:20:52,119 --> 00:20:56,119
Speaker 5: don't want nobody biting you, you would wipe the label

405
00:20:56,119 --> 00:20:58,000
Speaker 5: off with water so no one can see what you

406
00:20:58,040 --> 00:21:01,840
Speaker 5: were playing, you know what I mean? Before breakbeat lou

407
00:21:02,000 --> 00:21:04,919
Speaker 5: Lewis Flores, would you say that Paul Winley was the

408
00:21:04,960 --> 00:21:07,600
Speaker 5: first super disco breaks.

409
00:21:07,400 --> 00:21:10,639
Speaker 2: Yeah, super disco breaks came out before the Ultimate breaks. Well,

410
00:21:10,680 --> 00:21:13,680
Speaker 2: the ultimate breaks and beats was the Optopus Rocket. Yeah,

411
00:21:13,720 --> 00:21:16,479
Speaker 2: right right, so, but Paul Winley came out first.

412
00:21:16,800 --> 00:21:20,199
Speaker 5: So suddenly in the eighties, in the early eighties, and

413
00:21:20,240 --> 00:21:24,400
Speaker 5: this was especially for the advantage of DJs, I e.

414
00:21:25,280 --> 00:21:30,040
Speaker 5: If Melly Mail wants to rhyme over Billy Squire's big

415
00:21:30,080 --> 00:21:34,320
Speaker 5: beat or funky Drummer or whatever has a breakbeat. Someone

416
00:21:34,440 --> 00:21:37,000
Speaker 5: came up with the idea like, yo, since I know

417
00:21:37,080 --> 00:21:39,720
Speaker 5: what all these breaks are, I'll just go to the studio,

418
00:21:40,359 --> 00:21:42,200
Speaker 5: sweeten the mix up a little bit and put these

419
00:21:42,200 --> 00:21:46,280
Speaker 5: compilations out. And then suddenly DJ's were using the compilations

420
00:21:46,280 --> 00:21:51,320
Speaker 5: called super Disco Breaks, Bozo Miko and of course by

421
00:21:51,480 --> 00:21:55,720
Speaker 5: eighty six, I will say the Wikipedia or the cliff

422
00:21:55,760 --> 00:21:59,680
Speaker 5: Notes if you're older, of breakbeat collections was called Ultimate

423
00:21:59,720 --> 00:22:00,520
Speaker 5: Breaks and Beats.

424
00:22:00,760 --> 00:22:02,040
Speaker 1: I used to thought it was. I thought it was

425
00:22:02,119 --> 00:22:02,880
Speaker 1: Ultimate Beats and.

426
00:22:02,800 --> 00:22:05,280
Speaker 5: Breaks, But like maybe last week I realized I was

427
00:22:05,280 --> 00:22:08,040
Speaker 5: staying it wrong the whole time, for the last forty years.

428
00:22:08,640 --> 00:22:10,879
Speaker 9: So very good explanation, Very good.

429
00:22:11,080 --> 00:22:14,119
Speaker 5: Yeah, So the reason why a lot of once you

430
00:22:14,160 --> 00:22:18,840
Speaker 5: get to like kind of pass the Rick Rubin, Larry Smith,

431
00:22:19,119 --> 00:22:21,720
Speaker 5: Marley Maut period of hip hop, as soon as you

432
00:22:21,760 --> 00:22:25,640
Speaker 5: get to like the Paul c period, the Fogie Down Productions,

433
00:22:25,680 --> 00:22:30,760
Speaker 5: Criminal Minded period, the early paid in full period, suddenly

434
00:22:30,840 --> 00:22:34,360
Speaker 5: you notice like everyone's using the same thing, Like, oh okay,

435
00:22:34,280 --> 00:22:38,680
Speaker 5: they're using that. Basically, it's a twenty five volume breakbeat

436
00:22:38,760 --> 00:22:42,720
Speaker 5: set with six to seven songs on them each. As

437
00:22:42,760 --> 00:22:44,520
Speaker 5: a DJ, you can go back and forward and rock

438
00:22:44,560 --> 00:22:48,000
Speaker 5: a party, and later as a producer you can sample

439
00:22:48,040 --> 00:22:52,480
Speaker 5: those things. So actually full Circle makes the beat minors

440
00:22:52,520 --> 00:22:56,840
Speaker 5: and the aforementioned Renaissance period that I mentioned earlier, you know,

441
00:22:56,960 --> 00:23:00,600
Speaker 5: large professor, Q tip trot whatever came. I'm a point,

442
00:23:00,800 --> 00:23:05,080
Speaker 5: especially after you old TV raps where everybody was the

443
00:23:05,680 --> 00:23:10,320
Speaker 5: eating from the same restaurant, and suddenly, you know, starting

444
00:23:10,320 --> 00:23:12,960
Speaker 5: with Premier, starting with Jazzy Jeff, starting with these guys,

445
00:23:12,960 --> 00:23:15,919
Speaker 5: starting with large professors, Suddenly they were like, it's the

446
00:23:16,000 --> 00:23:20,000
Speaker 5: hip hop version of what I refer to as a

447
00:23:20,119 --> 00:23:23,240
Speaker 5: Dalkaman ninety five, which is like a filmmaking technique in

448
00:23:23,280 --> 00:23:26,680
Speaker 5: which you put these challenges on yourself. So suddenly, instead

449
00:23:26,680 --> 00:23:29,640
Speaker 5: of getting shit from all to piece of breaks, you're

450
00:23:29,680 --> 00:23:32,199
Speaker 5: going to your library to that those records that no

451
00:23:32,240 --> 00:23:34,440
Speaker 5: one wants to touch. You're going to your parents' jazz

452
00:23:34,440 --> 00:23:37,800
Speaker 5: collection that nobody wants to touch. You're doing your own

453
00:23:38,040 --> 00:23:41,600
Speaker 5: digging for records outside of the cheat sheet and so.

454
00:23:42,400 --> 00:23:45,760
Speaker 4: Which may now idea of those compilations obsolete.

455
00:23:45,760 --> 00:23:47,600
Speaker 9: It like it was like no more.

456
00:23:48,280 --> 00:23:50,800
Speaker 5: No, I mean they're still around. Matter of fact, they're

457
00:23:50,840 --> 00:23:52,480
Speaker 5: on Spotify, which.

458
00:23:52,320 --> 00:23:55,680
Speaker 1: Is kind of weird. They are wow, But what's weird.

459
00:23:55,720 --> 00:23:58,800
Speaker 5: What's weird for Spotify is like I'm used to the

460
00:23:58,840 --> 00:24:04,120
Speaker 5: texture of like some of these breaks being like second generation,

461
00:24:04,440 --> 00:24:07,040
Speaker 5: Like there's a certain griminess to it when you sample

462
00:24:07,880 --> 00:24:10,320
Speaker 5: like give it Up a Turning Loose by James Brown

463
00:24:10,359 --> 00:24:13,879
Speaker 5: from that compilation that it's almost too clean when you

464
00:24:13,920 --> 00:24:17,919
Speaker 5: take it from a clear digital master version. But what

465
00:24:18,000 --> 00:24:21,880
Speaker 5: I'm amazed at is that I thought, now, my dumb

466
00:24:21,960 --> 00:24:24,280
Speaker 5: ass didn't know about break beats. Shout out to a

467
00:24:24,359 --> 00:24:27,680
Speaker 5: Damon Bennett, who's a Philadelphia musician placed with like Floatry

468
00:24:27,760 --> 00:24:30,760
Speaker 5: and Jill Scott.

469
00:24:31,240 --> 00:24:32,760
Speaker 1: He's the one that put me on a break beats.

470
00:24:32,960 --> 00:24:35,400
Speaker 5: I thought, like Bozo Miko and all that stuff came

471
00:24:35,400 --> 00:24:39,320
Speaker 5: out in like eighty nine because I didn't discover sampling

472
00:24:39,400 --> 00:24:42,760
Speaker 5: until you know, the Stevie Wonder Jamin on the one thing.

473
00:24:42,880 --> 00:24:49,879
Speaker 5: But all right, whatever, I guarantee you ninety percent of

474
00:24:50,080 --> 00:24:53,440
Speaker 5: hip hop generation didn't know about sampling until the Cosby Show.

475
00:24:53,480 --> 00:24:57,800
Speaker 5: But Emo button my mind blowing that you guys are

476
00:24:57,800 --> 00:25:00,840
Speaker 5: revealing to me that all those comp relations came out

477
00:25:00,880 --> 00:25:01,880
Speaker 5: in the early eighties.

478
00:25:02,480 --> 00:25:02,760
Speaker 1: Wow.

479
00:25:02,960 --> 00:25:05,800
Speaker 2: Yeah, it made it easier for the DJs to go

480
00:25:05,920 --> 00:25:08,040
Speaker 2: get all these records instead of searching for them. They

481
00:25:08,040 --> 00:25:10,439
Speaker 2: put them on one compilation so you don't have to

482
00:25:10,480 --> 00:25:13,880
Speaker 2: break your neck, like Rocking in the Pocket, the original Rocking.

483
00:25:13,960 --> 00:25:16,040
Speaker 2: They put it on forty five for you, and put

484
00:25:16,080 --> 00:25:17,439
Speaker 2: it on forty five for you, right.

485
00:25:17,480 --> 00:25:18,000
Speaker 1: Right, right?

486
00:25:18,080 --> 00:25:18,439
Speaker 2: Yeah?

487
00:25:18,480 --> 00:25:26,560
Speaker 5: So yeah, at what point did you realize that there's

488
00:25:26,680 --> 00:25:28,919
Speaker 5: a world out of it? Because I feel like, this

489
00:25:29,040 --> 00:25:32,199
Speaker 5: is what defines you, guys, because Ronnie Laws is not

490
00:25:32,440 --> 00:25:34,840
Speaker 5: on off my beach and breaks.

491
00:25:36,280 --> 00:25:38,920
Speaker 3: I'm gonna tell you what made I feel what made

492
00:25:38,960 --> 00:25:43,760
Speaker 3: everybody change their whole thing. I mean, it's mostly the

493
00:25:43,840 --> 00:25:49,480
Speaker 3: whole native tongue, the JB's tribe daylight movement. But whenever

494
00:25:49,520 --> 00:25:52,320
Speaker 3: you pick up a break beat to use or whatever,

495
00:25:52,480 --> 00:25:54,840
Speaker 3: I always feel like Diamond D is looking over your

496
00:25:54,840 --> 00:25:56,639
Speaker 3: shoulder saying, how do you do it?

497
00:25:57,119 --> 00:25:59,680
Speaker 2: You don't sample that, you know what I'm saying.

498
00:25:59,720 --> 00:26:03,840
Speaker 3: So you really trying to impress all the guys that

499
00:26:03,880 --> 00:26:07,560
Speaker 3: came before you. Yeah, so what you're doing is instead

500
00:26:07,560 --> 00:26:11,640
Speaker 3: of looping every James Bond record or every George Clinton record, you.

501
00:26:11,560 --> 00:26:15,960
Speaker 2: Want to go left and go yo. I got this them.

502
00:26:16,480 --> 00:26:19,280
Speaker 2: Like when you're the guy who puts the world up

503
00:26:19,320 --> 00:26:23,439
Speaker 2: on the drum beat or on the groove, it's like,

504
00:26:23,720 --> 00:26:26,080
Speaker 2: oh wait a minute, we gotta watch these guys. Like

505
00:26:26,119 --> 00:26:28,399
Speaker 2: when y'all came out with the clones, me with that

506
00:26:28,400 --> 00:26:32,600
Speaker 2: that surprise. Yeah, come on, man, you guys opened up

507
00:26:32,640 --> 00:26:33,320
Speaker 2: a whole door.

508
00:26:33,840 --> 00:26:35,800
Speaker 4: Y'all know that that trickled down all the way down

509
00:26:35,800 --> 00:26:37,800
Speaker 4: to like the folks who listen to the young kids

510
00:26:37,840 --> 00:26:41,240
Speaker 4: who now are redigging into their parents' crates, making their

511
00:26:41,280 --> 00:26:44,320
Speaker 4: own compilations. I'm saying this as I remember doing this

512
00:26:44,359 --> 00:26:47,159
Speaker 4: for my little boyfriend, like and challenging him with our

513
00:26:47,200 --> 00:26:49,880
Speaker 4: little slow jam you know mixes that we make because

514
00:26:50,200 --> 00:26:52,200
Speaker 4: I got my daddy's records and I understand this George

515
00:26:52,200 --> 00:26:53,280
Speaker 4: Benson record better now.

516
00:26:55,520 --> 00:27:01,160
Speaker 9: We did. I did, and I want that one.

517
00:27:01,040 --> 00:27:05,560
Speaker 5: Yes, she said my little boyfriend.

518
00:27:05,600 --> 00:27:09,240
Speaker 1: He was, oh, all right.

519
00:27:09,080 --> 00:27:12,239
Speaker 5: So what is the introduction to production with you too? Like,

520
00:27:12,480 --> 00:27:14,480
Speaker 5: where where's the genesis?

521
00:27:14,840 --> 00:27:18,560
Speaker 3: I was just dibbling dabbling in production, but I never

522
00:27:18,600 --> 00:27:19,920
Speaker 3: really took it serious.

523
00:27:20,200 --> 00:27:22,720
Speaker 2: I had an MC from around here. His name was

524
00:27:22,800 --> 00:27:26,480
Speaker 2: rock Jay. He passed away in uh ninety, I think

525
00:27:26,480 --> 00:27:30,679
Speaker 2: he passed away, And we were just dibbling dabbling in music.

526
00:27:30,760 --> 00:27:33,000
Speaker 3: So I never really took it serious. So, like I said,

527
00:27:33,040 --> 00:27:35,679
Speaker 3: I worked. This is when I was working in a

528
00:27:35,760 --> 00:27:39,720
Speaker 3: music factory. So I was cool with a lot of

529
00:27:39,720 --> 00:27:43,080
Speaker 3: the artists. So one day the light from Steppa Sonic

530
00:27:43,200 --> 00:27:46,080
Speaker 3: came in and he gave me a black cassette tape.

531
00:27:46,560 --> 00:27:48,439
Speaker 2: He said, yo, walk, you got to listen to this

532
00:27:48,480 --> 00:27:51,160
Speaker 2: cassette tape. This is nineteen eighty eight. I said, what's

533
00:27:51,200 --> 00:27:51,800
Speaker 2: on this cassette.

534
00:27:51,800 --> 00:27:53,119
Speaker 3: He said, Yo, trust me, I'm not going to tell

535
00:27:53,119 --> 00:27:55,000
Speaker 3: you this's on this cassette, but you got to hear this.

536
00:27:54,920 --> 00:28:00,359
Speaker 3: This is incredible. I popped the cassette in Man so

537
00:28:00,400 --> 00:28:03,600
Speaker 3: all black as set. It was it takes the nation

538
00:28:03,680 --> 00:28:06,320
Speaker 3: and millions, The Holder is back. And I heard that

539
00:28:06,440 --> 00:28:10,359
Speaker 3: album Wow, Run two End. This was before the album

540
00:28:10,440 --> 00:28:14,359
Speaker 3: got released. When I heard that album, that whole album

541
00:28:14,480 --> 00:28:16,600
Speaker 3: changed my life. When I heard that, I said, Joe,

542
00:28:16,640 --> 00:28:18,159
Speaker 3: this is it. This is what I want to do.

543
00:28:18,200 --> 00:28:20,200
Speaker 3: I want to be a producer. I want to make beats.

544
00:28:20,440 --> 00:28:23,639
Speaker 3: And that was the beginning of the beat minors.

545
00:28:23,680 --> 00:28:24,280
Speaker 2: That right there.

546
00:28:24,480 --> 00:28:24,720
Speaker 8: Yep.

547
00:28:25,320 --> 00:28:30,440
Speaker 7: And you know little brother follows big brother, so walk

548
00:28:30,600 --> 00:28:31,560
Speaker 7: got into production.

549
00:28:32,760 --> 00:28:35,840
Speaker 8: I was like, I'm better than him. So I got

550
00:28:35,880 --> 00:28:36,480
Speaker 8: into production.

551
00:28:38,240 --> 00:28:41,480
Speaker 6: What equipment were y'all using at that time? What did

552
00:28:41,480 --> 00:28:43,560
Speaker 6: you just start on tape?

553
00:28:44,520 --> 00:28:51,120
Speaker 2: And then SK one and the one hundred and it's funny.

554
00:28:51,160 --> 00:28:54,080
Speaker 7: We had an SK one and then there was a

555
00:28:54,200 --> 00:28:57,080
Speaker 7: Yamaha joint that looked like one.

556
00:28:57,360 --> 00:29:00,200
Speaker 1: That was longer, cleaner, and it was clean.

557
00:29:00,120 --> 00:29:03,440
Speaker 2: Yes, right, right, right, right, right right, I have.

558
00:29:03,480 --> 00:29:06,080
Speaker 1: That yama It's like seven seconds and way class.

559
00:29:06,640 --> 00:29:10,200
Speaker 7: Yes, yes, Then we got what we got a SK eight,

560
00:29:10,840 --> 00:29:12,440
Speaker 7: then we got SK one hundred.

561
00:29:13,520 --> 00:29:14,480
Speaker 1: They kept upgrading.

562
00:29:14,960 --> 00:29:17,920
Speaker 3: Yeah, because whatever the sampler of the moment was, we

563
00:29:17,960 --> 00:29:19,040
Speaker 3: will go out and get it.

564
00:29:19,280 --> 00:29:23,160
Speaker 8: Yeah, and got it, and then we finally got walk.

565
00:29:23,200 --> 00:29:27,320
Speaker 7: Came home one day with the Cassio Aussie one drum machine,

566
00:29:28,080 --> 00:29:30,960
Speaker 7: which is the high hat. The nicest move high hat

567
00:29:31,040 --> 00:29:33,520
Speaker 7: that they use in every record is from that machine.

568
00:29:34,040 --> 00:29:35,480
Speaker 1: Wait what what what drum machine?

569
00:29:35,520 --> 00:29:38,160
Speaker 8: Is this the Casso Ausi one.

570
00:29:38,680 --> 00:29:41,680
Speaker 5: Because the thing is is that I'm under the impression

571
00:29:41,720 --> 00:29:46,360
Speaker 5: that Cassio sk ones are just like toy machines. Now

572
00:29:46,360 --> 00:29:49,200
Speaker 5: I'm finding out, like past is now telling me like

573
00:29:49,280 --> 00:29:53,720
Speaker 5: thirty percent of three feet high and rising, I believe that, Yeah,

574
00:29:53,800 --> 00:29:56,720
Speaker 5: what was made was made on the Cassio sk one.

575
00:29:56,840 --> 00:29:59,880
Speaker 9: Yeah, talking about like literally the Casio like the key.

576
00:30:00,120 --> 00:30:03,000
Speaker 5: So I'm taking it back to the Cosby Show. I'm

577
00:30:03,000 --> 00:30:06,600
Speaker 5: telling you when we saw that jamming on the one video,

578
00:30:07,520 --> 00:30:09,800
Speaker 5: jamming on the one commercial or whatever, the jammin on

579
00:30:09,840 --> 00:30:13,280
Speaker 5: the one Stevie God, I'm sorry. Back in the day, people,

580
00:30:13,400 --> 00:30:16,760
Speaker 5: there's an episode of The Cosby Show where THEO and

581
00:30:16,840 --> 00:30:18,880
Speaker 5: Denise Malcolm, Jamal Wanner and list Money.

582
00:30:19,600 --> 00:30:21,040
Speaker 9: I'm sorry, go ahead, please get.

583
00:30:20,920 --> 00:30:24,560
Speaker 5: In the car accident, and of course the limo is

584
00:30:24,800 --> 00:30:25,600
Speaker 5: Stevie Wonders.

585
00:30:25,680 --> 00:30:26,600
Speaker 9: They crashing Stevie.

586
00:30:26,920 --> 00:30:29,760
Speaker 5: Yes, they crashed into Stevie. To get out of a lawsuit.

587
00:30:30,360 --> 00:30:35,640
Speaker 5: Stevie invites them to a studio session no litigious action,

588
00:30:36,280 --> 00:30:41,200
Speaker 5: and at the studio, Stevie Wonder samples the entire Huxtable household,

589
00:30:42,000 --> 00:30:46,960
Speaker 5: and that, to me opened up just a portal that

590
00:30:47,160 --> 00:30:48,920
Speaker 5: none of us knew existed.

591
00:30:48,960 --> 00:30:51,040
Speaker 1: Were you of age at the time, Fante, when that

592
00:30:51,080 --> 00:30:52,600
Speaker 1: episode came on? Do you remember it?

593
00:30:52,680 --> 00:30:52,800
Speaker 8: Oh?

594
00:30:52,880 --> 00:30:56,520
Speaker 6: Yeah, oh yeah, welcome, yeah, jamming on the one.

595
00:30:56,880 --> 00:30:59,240
Speaker 5: I mean we're in the same generation, but you I

596
00:30:59,280 --> 00:31:02,920
Speaker 5: would be the old brother of your Like that shit

597
00:31:02,960 --> 00:31:05,800
Speaker 5: came on when I was fourteen, So no, no.

598
00:31:05,920 --> 00:31:08,240
Speaker 10: I remember, yeah, just seeing the sampling and like the

599
00:31:08,280 --> 00:31:10,840
Speaker 10: sink Clavier because that was a music store in the

600
00:31:10,880 --> 00:31:13,200
Speaker 10: mall at that time, and I would go and mess

601
00:31:13,240 --> 00:31:15,240
Speaker 10: around with a round the d X seven. It was

602
00:31:15,240 --> 00:31:17,200
Speaker 10: around that same kind of area. Yeah, I D seven

603
00:31:17,240 --> 00:31:20,320
Speaker 10: came out and so yeah, I was. I was on

604
00:31:20,360 --> 00:31:20,840
Speaker 10: all that ship.

605
00:31:20,920 --> 00:31:21,040
Speaker 2: Bro.

606
00:31:21,600 --> 00:31:21,880
Speaker 1: Yeah.

607
00:31:21,920 --> 00:31:25,440
Speaker 5: So at the time, in eighty six, the Cassio SK

608
00:31:25,480 --> 00:31:29,800
Speaker 5: one was an affordable, cheap toy keyboard that had we

609
00:31:30,640 --> 00:31:32,520
Speaker 5: sampling like did.

610
00:31:32,400 --> 00:31:36,200
Speaker 1: You ever have an s K one? Bill? Yeah, I haven't.

611
00:31:36,240 --> 00:31:41,440
Speaker 4: Right over here, know when he was a kid, Oh way,

612
00:31:41,960 --> 00:31:44,280
Speaker 4: he really had, right yeah right now?

613
00:31:44,600 --> 00:31:48,160
Speaker 1: Yeah, I think so No, look at all that.

614
00:31:48,560 --> 00:31:50,560
Speaker 8: Yeah, I was about to say, it's a studio back there.

615
00:31:51,200 --> 00:31:54,960
Speaker 1: I don't. I forgot, I don't I used to. It was.

616
00:31:55,000 --> 00:31:56,640
Speaker 1: It was the thing that we first all played on.

617
00:31:56,880 --> 00:32:00,560
Speaker 5: Yeah, I mean, man, I just put like first words

618
00:32:00,560 --> 00:32:05,000
Speaker 5: in it, ship.

619
00:32:02,800 --> 00:32:07,040
Speaker 1: Ship ship ship ship ship. You could do your ship

620
00:32:08,200 --> 00:32:09,000
Speaker 1: right exactly.

621
00:32:09,280 --> 00:32:14,000
Speaker 5: And then suddenly we realized that it can sample records.

622
00:32:14,040 --> 00:32:16,800
Speaker 5: And then wait, where was the Where was the microphone

623
00:32:16,840 --> 00:32:18,560
Speaker 5: on this thing that you could shample into?

624
00:32:18,680 --> 00:32:20,120
Speaker 1: Was it an external or internal?

625
00:32:20,200 --> 00:32:24,120
Speaker 5: There was an internal microphone like sometimes you will put

626
00:32:24,120 --> 00:32:28,280
Speaker 5: your headphones on top of the mic. Like the purpose

627
00:32:28,440 --> 00:32:32,160
Speaker 5: again was for you to just say one word, I

628
00:32:32,200 --> 00:32:32,800
Speaker 5: got this one.

629
00:32:32,880 --> 00:32:43,160
Speaker 1: It's the same thing. That's that's the yah that's with money, Bill.

630
00:32:44,080 --> 00:32:45,719
Speaker 1: That's how you know. I grew up with Buddy.

631
00:32:46,240 --> 00:32:48,560
Speaker 5: I would ask my parents for the Yamaha one, which

632
00:32:48,640 --> 00:32:50,360
Speaker 5: is like one hundred dollars more, and they were like,

633
00:32:50,600 --> 00:32:55,800
Speaker 5: uh no, the price mark off Cassio s K one.

634
00:32:57,400 --> 00:32:59,920
Speaker 8: I think that input Jack too, a.

635
00:33:00,080 --> 00:33:01,880
Speaker 5: New version of the s k One had an input

636
00:33:01,960 --> 00:33:04,080
Speaker 5: jet Oh got, I can't hear our ratings going down?

637
00:33:04,120 --> 00:33:05,600
Speaker 1: Like, are they going to stay on this for an hour?

638
00:33:07,320 --> 00:33:10,120
Speaker 1: I'm about to take this out. We're gonna doorial and unboxing.

639
00:33:10,200 --> 00:33:10,600
Speaker 1: Here we go.

640
00:33:10,720 --> 00:33:12,240
Speaker 8: Nerd talk, people, nerd talk.

641
00:33:12,640 --> 00:33:15,200
Speaker 5: Do you still have a collection of like your first

642
00:33:15,240 --> 00:33:16,520
Speaker 5: ever beat?

643
00:33:16,800 --> 00:33:18,480
Speaker 2: No? Maybe e?

644
00:33:18,800 --> 00:33:20,000
Speaker 1: But I know you're lying.

645
00:33:21,560 --> 00:33:28,040
Speaker 7: I got, I have the cassette of Blackbom's first demos. Okay, no,

646
00:33:28,760 --> 00:33:30,520
Speaker 7: that's I think that's as far as it got. Probably

647
00:33:30,560 --> 00:33:33,680
Speaker 7: might have a beat cassette in one of my boxes

648
00:33:33,720 --> 00:33:34,160
Speaker 7: over there.

649
00:33:34,560 --> 00:33:36,440
Speaker 9: When was the moment when he got some respect on

650
00:33:36,520 --> 00:33:37,320
Speaker 9: his name for you?

651
00:33:37,920 --> 00:33:41,120
Speaker 2: And then well he started DJing in the neighborhood and

652
00:33:41,160 --> 00:33:45,080
Speaker 2: a lot of people was gravitating towards him and stuff

653
00:33:45,120 --> 00:33:48,440
Speaker 2: like that, and he was making the name, so he

654
00:33:48,600 --> 00:33:49,360
Speaker 2: just kept going.

655
00:33:49,480 --> 00:33:52,440
Speaker 3: He really was going hard with it. I was when

656
00:33:52,480 --> 00:33:55,560
Speaker 3: I was working in Queens. He was building his name

657
00:33:55,640 --> 00:33:57,560
Speaker 3: up around the way. He because he even worked in

658
00:33:57,560 --> 00:34:00,400
Speaker 3: a record store around here with Tony Touch.

659
00:34:01,000 --> 00:34:04,920
Speaker 8: Tony actually came after Oh okay, he stole my job,

660
00:34:07,120 --> 00:34:07,480
Speaker 8: so he.

661
00:34:07,520 --> 00:34:10,440
Speaker 3: Came out like he started building his name up while

662
00:34:10,560 --> 00:34:12,640
Speaker 3: you know, I was out in Queen's working.

663
00:34:12,840 --> 00:34:15,319
Speaker 5: I would always hear shout outs to you guys on

664
00:34:15,440 --> 00:34:19,640
Speaker 5: various rap songs. Right were you guys the the the

665
00:34:19,719 --> 00:34:22,960
Speaker 5: taste makers, Like I go to the record store and

666
00:34:23,000 --> 00:34:24,680
Speaker 5: then I go to you and be like, all right,

667
00:34:24,840 --> 00:34:25,520
Speaker 5: what do I need?

668
00:34:25,840 --> 00:34:28,600
Speaker 2: And then yeah, that's the way we were. And then

669
00:34:28,760 --> 00:34:32,200
Speaker 2: and then some people would bring their like Biz used

670
00:34:32,239 --> 00:34:35,440
Speaker 2: to bring his his records into test it in the

671
00:34:35,480 --> 00:34:37,960
Speaker 2: record store. Biz in LL used to bring that stuff

672
00:34:37,960 --> 00:34:40,920
Speaker 2: to the music factory to test this record before it

673
00:34:40,960 --> 00:34:43,080
Speaker 2: came out.

674
00:34:42,360 --> 00:34:44,920
Speaker 5: Like why you guys had a better system or because

675
00:34:44,920 --> 00:34:47,680
Speaker 5: that because music factories where everybody used to be at.

676
00:34:47,880 --> 00:34:50,799
Speaker 3: So every time Bizz would do something, he would bring

677
00:34:50,840 --> 00:34:54,360
Speaker 3: it Yo, this is this is this like he brang

678
00:34:54,480 --> 00:34:58,960
Speaker 3: when he he came down, he played Vapors, but Vapors

679
00:34:59,160 --> 00:35:01,840
Speaker 3: wasn't vapors. Vapors was this is something for the radio.

680
00:35:03,040 --> 00:35:05,440
Speaker 1: Wow, this is for the radio.

681
00:35:05,600 --> 00:35:09,600
Speaker 3: Right the beat right and vapors was the beat you

682
00:35:09,640 --> 00:35:11,480
Speaker 3: know it was it was this is fun something for

683
00:35:11,560 --> 00:35:15,239
Speaker 3: the radio. H Picking Bookers had actually roach clip bit

684
00:35:15,360 --> 00:35:18,279
Speaker 3: beat behind it, but he changed it. Because everybodying in

685
00:35:18,360 --> 00:35:22,840
Speaker 3: rock Kim Wow, like everybody would come and bring their stuff.

686
00:35:22,840 --> 00:35:25,680
Speaker 2: That LL would come when LLLL was working on Mama

687
00:35:25,719 --> 00:35:28,719
Speaker 2: said knock you out. He brang eat them off.

688
00:35:28,880 --> 00:35:33,640
Speaker 3: L missed the controversy which never came out. Okay, and

689
00:35:33,719 --> 00:35:35,719
Speaker 3: it was another song apart with the other song. But

690
00:35:35,760 --> 00:35:38,000
Speaker 3: they will come and test their records at the store.

691
00:35:38,480 --> 00:35:41,720
Speaker 1: And just look for a reaction of people there shopping.

692
00:35:41,600 --> 00:35:43,520
Speaker 2: Right right right.

693
00:35:43,560 --> 00:35:46,800
Speaker 5: Can you give me, like your your top five preview

694
00:35:46,840 --> 00:35:49,799
Speaker 5: moments of that of that level, Like when someone brought

695
00:35:49,840 --> 00:35:52,120
Speaker 5: some ship in and you're like, holy shit, what is this?

696
00:35:52,680 --> 00:35:55,520
Speaker 2: The biz biz used to bring a lot of stuff

697
00:35:55,800 --> 00:36:00,480
Speaker 2: to the store. I remember Large Professor bring in the

698
00:36:00,560 --> 00:36:07,480
Speaker 2: first main source twelve inch not looking at watch Roger Roger, Yeah,

699
00:36:08,160 --> 00:36:13,080
Speaker 2: Roger do his thing. Oh Man, super level seed bringing

700
00:36:13,200 --> 00:36:18,040
Speaker 2: due to James Audio two bringing top Billing, everybody would

701
00:36:18,080 --> 00:36:19,280
Speaker 2: just come and bring that stuff.

702
00:36:19,680 --> 00:36:21,399
Speaker 1: Wait time out. I have a question though.

703
00:36:21,760 --> 00:36:24,560
Speaker 5: Yes, everyone pretty much knows or at least those that

704
00:36:25,200 --> 00:36:28,480
Speaker 5: or in the no know that top Billing was just

705
00:36:28,560 --> 00:36:31,360
Speaker 5: like a b side and they were really trying to

706
00:36:31,360 --> 00:36:32,560
Speaker 5: push I like cherries?

707
00:36:33,800 --> 00:36:36,120
Speaker 1: Were they trying to push I like cherries? First?

708
00:36:36,520 --> 00:36:40,520
Speaker 2: No, the top Villain had had was making a somewhat

709
00:36:40,520 --> 00:36:44,200
Speaker 2: of a buzz, so they was pushing Top Villain okay.

710
00:36:43,960 --> 00:36:46,120
Speaker 3: Like top billing made a noise in the clubs and

711
00:36:46,560 --> 00:36:48,960
Speaker 3: on radio, like you know, so that when they was

712
00:36:49,120 --> 00:36:53,959
Speaker 3: actually because they would sell their records on consignment, meaning hey,

713
00:36:54,160 --> 00:36:58,080
Speaker 3: we'll give you a box of records. We won't pay

714
00:36:58,080 --> 00:37:01,160
Speaker 3: you until we won't pay them until we sell.

715
00:37:00,960 --> 00:37:03,959
Speaker 2: The whole box of records. Those records were going out

716
00:37:03,960 --> 00:37:04,520
Speaker 2: of the store.

717
00:37:05,640 --> 00:37:07,480
Speaker 5: Uh Hi, So you're the person that I would go

718
00:37:07,520 --> 00:37:11,480
Speaker 5: to to strike a deal, right selling out the trunk, right?

719
00:37:11,760 --> 00:37:12,000
Speaker 8: Yeah?

720
00:37:13,160 --> 00:37:13,799
Speaker 1: Can you tell me.

721
00:37:13,760 --> 00:37:17,880
Speaker 5: Those stories, like what legendary other albums of that level?

722
00:37:18,719 --> 00:37:21,880
Speaker 2: Oh man, it was really that.

723
00:37:21,880 --> 00:37:22,279
Speaker 1: That was it.

724
00:37:22,480 --> 00:37:26,200
Speaker 2: Like Main Sauce didn't get the deal with Wild Pitch yet,

725
00:37:26,239 --> 00:37:28,520
Speaker 2: but they were just coming to they bring Wick Rocker

726
00:37:28,600 --> 00:37:30,759
Speaker 2: do with things and it was creating somewhat of a

727
00:37:30,800 --> 00:37:35,000
Speaker 2: buzz and something like that. But dude, James was was

728
00:37:35,120 --> 00:37:38,440
Speaker 2: big out of our store, Like, okay, you know records

729
00:37:38,480 --> 00:37:41,440
Speaker 2: like that. We didn't we were We wasn't really because

730
00:37:41,560 --> 00:37:43,279
Speaker 2: you have to understand too, if they were doing it

731
00:37:43,320 --> 00:37:45,560
Speaker 2: in Queens, they were doing it in the Bronx, they

732
00:37:45,560 --> 00:37:48,120
Speaker 2: were doing it in Manhattan, it was doing it in Brooklyn.

733
00:37:47,760 --> 00:37:50,480
Speaker 3: So they it wasn't only us. They were going to

734
00:37:50,520 --> 00:37:53,080
Speaker 3: other stores too. We had the Wiz like right around

735
00:37:53,080 --> 00:37:55,560
Speaker 3: the corner and the wizdoms the same thing.

736
00:37:56,800 --> 00:37:59,920
Speaker 5: Yeah, but was the Wiz a like was that a

737
00:38:00,080 --> 00:38:04,359
Speaker 5: crazy eddie commercial store, I e. Like a best buy?

738
00:38:04,560 --> 00:38:07,640
Speaker 5: Or was that like a neighborhood store. I would assume

739
00:38:07,680 --> 00:38:08,200
Speaker 5: that it.

740
00:38:08,120 --> 00:38:10,080
Speaker 2: Was a change store, but it was. It was. It

741
00:38:10,160 --> 00:38:13,719
Speaker 2: was big on Jamaica Avenue. It was big. It was

742
00:38:13,760 --> 00:38:16,640
Speaker 2: big like you know when whenever we would get new releases,

743
00:38:16,680 --> 00:38:19,920
Speaker 2: new releases would come out on Tuesday, but some people

744
00:38:20,960 --> 00:38:24,759
Speaker 2: we would get our packages Friday evening so we could

745
00:38:25,320 --> 00:38:26,640
Speaker 2: put it out Monday night.

746
00:38:27,320 --> 00:38:29,640
Speaker 3: But we were cheat and put it out Friday. So

747
00:38:29,680 --> 00:38:31,840
Speaker 3: I remember when Tougher than Leather came out. We was

748
00:38:32,320 --> 00:38:34,480
Speaker 3: we we put it out and the Wiz put it out,

749
00:38:34,520 --> 00:38:36,759
Speaker 3: and the Wis were selling it lower than us. So

750
00:38:36,800 --> 00:38:37,759
Speaker 3: we called Profile like.

751
00:38:37,800 --> 00:38:45,120
Speaker 7: Yo the wind if they're selling it.

752
00:38:43,719 --> 00:38:45,480
Speaker 8: Stitches, get stitches sudden.

753
00:38:45,640 --> 00:38:48,320
Speaker 7: You're gonna sell toughing one out to the wings and

754
00:38:48,400 --> 00:38:49,440
Speaker 7: not give it to us.

755
00:38:49,760 --> 00:38:52,879
Speaker 2: So what the what Profile did was they cut they're

756
00:38:52,880 --> 00:38:55,200
Speaker 2: shipping to the Wiz and kept sending it to us.

757
00:38:55,280 --> 00:38:56,680
Speaker 2: So we had it.

758
00:38:56,800 --> 00:39:00,440
Speaker 1: Oh wowitches sound who.

759
00:39:01,960 --> 00:39:05,000
Speaker 2: Nobody? Nobody from the Wiz looking for my ass today.

760
00:39:06,560 --> 00:39:08,480
Speaker 9: Don't nobody know what the WIZ is today?

761
00:39:08,920 --> 00:39:16,760
Speaker 2: Like, Yo, y'all ain't have the wiz in Philly, y'all.

762
00:39:16,680 --> 00:39:17,880
Speaker 4: Have in d C.

763
00:39:18,400 --> 00:39:19,680
Speaker 6: Yeah, I had it in d C.

764
00:39:19,880 --> 00:39:22,080
Speaker 2: Yeah, it wasn't in North Carolina.

765
00:39:22,400 --> 00:39:23,839
Speaker 6: Nah, No, we haven't down here.

766
00:39:24,080 --> 00:39:26,880
Speaker 1: We had it in d C. No, we we had crazy.

767
00:39:27,000 --> 00:39:30,600
Speaker 5: We had crazy eddie like I mean, besides your traditional

768
00:39:30,640 --> 00:39:35,960
Speaker 5: record store crazy eddies, like probably somewhere in between our

769
00:39:36,000 --> 00:39:39,240
Speaker 5: local like our our local join was Sound of Market

770
00:39:39,680 --> 00:39:40,480
Speaker 5: twenty two and three.

771
00:39:40,600 --> 00:39:44,480
Speaker 9: Y'all have Pops Dope mom, and Pops right was dope.

772
00:39:44,680 --> 00:39:49,400
Speaker 1: Yeah, definitely, I gotta ask you. Walk Nation and millions

773
00:39:49,400 --> 00:39:50,640
Speaker 1: have the same effect on me.

774
00:39:52,120 --> 00:39:56,160
Speaker 5: And it was my dream to like even to this day,

775
00:39:56,640 --> 00:40:02,560
Speaker 5: like I still have not gotten my Bomb Squad, not

776
00:40:02,800 --> 00:40:05,560
Speaker 5: off you know what I mean, Like especially for the

777
00:40:05,600 --> 00:40:09,560
Speaker 5: type of music I'm associated with, right, but for you,

778
00:40:10,440 --> 00:40:13,799
Speaker 5: was that level of Kamakazi sampling, like something that you

779
00:40:13,920 --> 00:40:15,080
Speaker 5: wanted to do.

780
00:40:16,160 --> 00:40:20,000
Speaker 2: Yo, Bomb Squad was like next level man like. Bomb

781
00:40:20,080 --> 00:40:22,719
Speaker 2: Squad to me back then was the closest thing you

782
00:40:22,719 --> 00:40:25,319
Speaker 2: could get to the JV's and and the you know

783
00:40:25,360 --> 00:40:28,760
Speaker 2: what I'm saying, and Fred Wesley and shape the way

784
00:40:28,800 --> 00:40:31,319
Speaker 2: that the Bomb Squad did they thing, and then man,

785
00:40:31,400 --> 00:40:33,960
Speaker 2: you found out that they use like all forty eight

786
00:40:34,040 --> 00:40:37,080
Speaker 2: tracks and the sample sometimes the samples are off beat.

787
00:40:37,719 --> 00:40:40,600
Speaker 2: Like every story you hear that, it amazes you, you

788
00:40:40,600 --> 00:40:41,160
Speaker 2: know what I'm saying.

789
00:40:41,239 --> 00:40:44,080
Speaker 3: So everything that they would do, I would buy. I

790
00:40:44,160 --> 00:40:46,680
Speaker 3: don't care if it was Jody Watney. I don't care

791
00:40:46,719 --> 00:40:47,400
Speaker 3: if it was Bell b.

792
00:40:47,600 --> 00:40:48,520
Speaker 1: De Vaux, I.

793
00:40:48,440 --> 00:40:54,200
Speaker 2: Don't care what it was a young black teenagers. Anything.

794
00:40:54,239 --> 00:40:57,360
Speaker 2: I would buy for this. Yet they had Bomb Squad

795
00:40:57,400 --> 00:40:59,800
Speaker 2: on it because I was such a fan of that.

796
00:41:00,560 --> 00:41:03,000
Speaker 1: But in terms of you trying to figure out what your.

797
00:41:02,840 --> 00:41:05,880
Speaker 2: Style was, I mean, we all did it though, we

798
00:41:05,920 --> 00:41:08,279
Speaker 2: all tried to be like them, but eventually it was like, nah,

799
00:41:08,280 --> 00:41:09,640
Speaker 2: we can't. This is not us.

800
00:41:09,920 --> 00:41:14,480
Speaker 7: You gotta make It's like you know, it's it's like

801
00:41:14,760 --> 00:41:18,719
Speaker 7: with the Bomb Squad. We tried, but we knew that

802
00:41:18,920 --> 00:41:19,600
Speaker 7: wasn't us.

803
00:41:19,760 --> 00:41:21,160
Speaker 2: That wasn't us, you know.

804
00:41:21,360 --> 00:41:24,760
Speaker 7: So it's like you know how I tell people with DJing,

805
00:41:25,600 --> 00:41:27,920
Speaker 7: You see you see somebody do a scratch, You go

806
00:41:27,960 --> 00:41:29,240
Speaker 7: home practice that scratch.

807
00:41:29,640 --> 00:41:32,719
Speaker 8: Then you take that scratch and start developing it into

808
00:41:32,760 --> 00:41:35,120
Speaker 8: your own type of scratch.

809
00:41:35,160 --> 00:41:38,360
Speaker 7: You're changing around, so it becomes yours, you know what

810
00:41:38,400 --> 00:41:40,359
Speaker 7: I'm saying, Like that was like the bomb Squad thing.

811
00:41:40,680 --> 00:41:43,719
Speaker 7: We seen how they layered samples, and we seen how

812
00:41:43,719 --> 00:41:45,759
Speaker 7: they was doing that thing. We tried to do it

813
00:41:46,520 --> 00:41:49,280
Speaker 7: and we developed our own style doing that.

814
00:41:49,760 --> 00:41:51,560
Speaker 2: One thing we did take from them though, and I

815
00:41:51,640 --> 00:41:54,040
Speaker 2: still do to this day, is layer beats. Oh yeah,

816
00:41:54,680 --> 00:41:56,680
Speaker 2: like the power is like what you like it too,

817
00:41:56,760 --> 00:41:59,799
Speaker 2: and maybe funky drummer put together and stuff like that.

818
00:41:59,840 --> 00:42:00,600
Speaker 2: We did that.

819
00:42:00,680 --> 00:42:02,839
Speaker 3: We did that on Who Got the Props? We did

820
00:42:02,880 --> 00:42:06,520
Speaker 3: that on Buck Them Down. We did that like we.

821
00:42:06,480 --> 00:42:10,920
Speaker 2: Would every rack they can have a swing to it. Yeah,

822
00:42:11,040 --> 00:42:12,480
Speaker 2: And we got that from the Bomb Spot.

823
00:42:12,920 --> 00:42:17,279
Speaker 5: The introduction that the world knows you guys by, of course,

824
00:42:17,360 --> 00:42:18,280
Speaker 5: is who Got the Props?

825
00:42:18,640 --> 00:42:23,480
Speaker 1: Right? That to me was like that was a mind.

826
00:42:23,239 --> 00:42:26,240
Speaker 5: Blowing revolution to hear that back in ninety three, because

827
00:42:26,880 --> 00:42:30,840
Speaker 5: you got to understand like your average mainstream rap stuff

828
00:42:30,920 --> 00:42:35,400
Speaker 5: was like u MC's fast, you know, things like the

829
00:42:35,480 --> 00:42:39,400
Speaker 5: intro to Playground by by another bad creation like that chaotic,

830
00:42:41,120 --> 00:42:45,680
Speaker 5: heavy dancing sort of thing. How did you guys manage

831
00:42:45,719 --> 00:42:51,960
Speaker 5: to avoid that? Because for me, like Who Got the Plops?

832
00:42:52,080 --> 00:42:54,040
Speaker 5: Was slowed down? You're using.

833
00:42:55,600 --> 00:42:59,000
Speaker 1: You know, like seventies jazz, which was just unheard.

834
00:42:58,640 --> 00:43:01,400
Speaker 3: Of, Like it was still up temple though it was

835
00:43:01,440 --> 00:43:05,040
Speaker 3: like ninety eight to one hundred bpms, so it was

836
00:43:05,080 --> 00:43:09,920
Speaker 3: still up temple, but it was smooth. But you know,

837
00:43:10,160 --> 00:43:11,880
Speaker 3: on the B side, our B side was I was

838
00:43:11,880 --> 00:43:14,160
Speaker 3: just about to say that was like one hundred and

839
00:43:14,239 --> 00:43:16,200
Speaker 3: fourteen b pms and stuff like that.

840
00:43:16,239 --> 00:43:19,399
Speaker 2: And the the Beat Minors Intro to the World wasn't

841
00:43:19,400 --> 00:43:21,759
Speaker 2: even who got the props? The Beats Intro to the

842
00:43:21,760 --> 00:43:23,120
Speaker 2: World was popular. Agreemix.

843
00:43:23,880 --> 00:43:26,480
Speaker 8: Yeah, you want the base the.

844
00:43:26,480 --> 00:43:28,839
Speaker 2: East Coast remix. That was the big miner.

845
00:43:28,920 --> 00:43:30,680
Speaker 1: Yes, that was y'all, But it.

846
00:43:30,760 --> 00:43:33,719
Speaker 2: Wasn't Listen it was. It was Beat Miners, but it

847
00:43:33,760 --> 00:43:36,600
Speaker 2: wasn't Me and Evil. It was we had a Beat

848
00:43:36,600 --> 00:43:39,080
Speaker 2: Minars was a crew back in the day, and one

849
00:43:39,120 --> 00:43:41,200
Speaker 2: of the guys in the crew was on his way.

850
00:43:41,280 --> 00:43:45,120
Speaker 2: His name was ike Lee. I League was responsible for C. C.

851
00:43:45,280 --> 00:43:49,600
Speaker 2: Penison and some mantronics work and what you know he

852
00:43:49,719 --> 00:43:52,680
Speaker 2: was he was going the way to do other production

853
00:43:52,800 --> 00:43:56,160
Speaker 2: and he and that ultramagnetic agreements landed in his lap

854
00:43:56,520 --> 00:43:59,120
Speaker 2: and he was a part of Beat Miners, and he said, listen,

855
00:43:59,440 --> 00:44:01,719
Speaker 2: I'm about to do this remix and I'm gonna I'm

856
00:44:01,719 --> 00:44:05,120
Speaker 2: gonna put it under the beat minor's name, and that's

857
00:44:05,160 --> 00:44:09,000
Speaker 2: what started to Beat Miners ride was that for me

858
00:44:09,040 --> 00:44:12,640
Speaker 2: and he took the reins. I made up beat Miners,

859
00:44:12,760 --> 00:44:14,480
Speaker 2: but I was the first one to put it up

860
00:44:14,520 --> 00:44:15,520
Speaker 2: to put us on.

861
00:44:16,000 --> 00:44:17,760
Speaker 1: Yeah, so how did you guys born?

862
00:44:18,360 --> 00:44:21,200
Speaker 2: There's a bunch of friends that we were like. It

863
00:44:21,320 --> 00:44:24,240
Speaker 2: was me and him, Me and him, e Baby Paul

864
00:44:24,840 --> 00:44:27,640
Speaker 2: and ike Lee. We all met in music factory.

865
00:44:27,920 --> 00:44:32,239
Speaker 3: Music practory is like the meeting ground for for all

866
00:44:32,280 --> 00:44:32,480
Speaker 3: of this.

867
00:44:33,520 --> 00:44:35,440
Speaker 8: I didn't I didn't meet that music factory. I met

868
00:44:35,480 --> 00:44:36,240
Speaker 8: Wall at the house.

869
00:44:40,560 --> 00:44:45,560
Speaker 2: Well. Anyway, music factory was the was the meeting, the

870
00:44:45,600 --> 00:44:48,120
Speaker 2: melting pot for everything. And the only thing we had

871
00:44:48,120 --> 00:44:52,280
Speaker 2: in common was everybody just like record shopping, yeah, digging

872
00:44:52,400 --> 00:44:53,200
Speaker 2: and production.

873
00:44:53,880 --> 00:44:57,319
Speaker 3: So we just made up a crew. For the name

874
00:44:57,360 --> 00:44:59,400
Speaker 3: of the crew. The original name of the crew was

875
00:44:59,640 --> 00:45:00,640
Speaker 3: black Moon Production.

876
00:45:01,120 --> 00:45:05,959
Speaker 5: Yeah right, yeah, can you explain his moonlighting connection with please?

877
00:45:06,080 --> 00:45:06,400
Speaker 1: Please?

878
00:45:07,280 --> 00:45:07,600
Speaker 8: All right.

879
00:45:07,760 --> 00:45:10,000
Speaker 2: I was trying to make up a name for the crew, right,

880
00:45:10,560 --> 00:45:14,600
Speaker 2: and I was doodling some stings on the paper and

881
00:45:14,640 --> 00:45:16,120
Speaker 2: I just wrote down black Moon.

882
00:45:16,200 --> 00:45:18,880
Speaker 3: I was like, hmm, I like this black Moon Productions.

883
00:45:19,120 --> 00:45:22,200
Speaker 3: I'm going to use this as the name for our

884
00:45:22,200 --> 00:45:26,320
Speaker 3: production company. And I was rolling for that for a minute.

885
00:45:26,640 --> 00:45:31,520
Speaker 3: I and E's crew name was high Tech. That was

886
00:45:31,560 --> 00:45:34,920
Speaker 3: the original name for Black Moon was high Tech. I

887
00:45:34,960 --> 00:45:37,480
Speaker 3: had a friend named Everett that worked with us. He said, Yo,

888
00:45:37,600 --> 00:45:39,560
Speaker 3: you guys are always find the record. I'm gonna call

889
00:45:39,560 --> 00:45:42,120
Speaker 3: you guys beat Minors. And he was an MC two

890
00:45:42,120 --> 00:45:43,960
Speaker 3: and he made a song called beat Miners and I

891
00:45:44,000 --> 00:45:45,799
Speaker 3: was like, Yo, I really like that name.

892
00:45:46,080 --> 00:45:48,440
Speaker 2: Can I have that name? He said sure. He gives

893
00:45:48,480 --> 00:45:50,960
Speaker 2: me the name for Beat Minors. I was like, yo, okay,

894
00:45:51,000 --> 00:45:53,919
Speaker 2: I'm not using the black Moon name no more. He goes, Yo,

895
00:45:54,040 --> 00:45:57,959
Speaker 2: let me get that name for my crew, and I said, okay, sure,

896
00:45:58,400 --> 00:46:00,680
Speaker 2: that's how black Moon name started.

897
00:46:01,920 --> 00:46:05,480
Speaker 5: All right, But can you explain this alleged moonlighting uh

898
00:46:06,280 --> 00:46:07,040
Speaker 5: connection to it?

899
00:46:07,480 --> 00:46:11,359
Speaker 8: What do you mean that that was a big fan

900
00:46:11,400 --> 00:46:12,200
Speaker 8: of Moonlighting?

901
00:46:12,880 --> 00:46:15,200
Speaker 9: Please? Lord?

902
00:46:15,600 --> 00:46:15,920
Speaker 1: Hold on.

903
00:46:16,000 --> 00:46:18,120
Speaker 2: First of all, we're not giving no props the Simple

904
00:46:18,200 --> 00:46:20,040
Speaker 2: Shepherd and Bruce Bruce.

905
00:46:19,800 --> 00:46:27,239
Speaker 1: Willis with Black Moon. I ain't hear that. I heard otherwise.

906
00:46:28,719 --> 00:46:32,200
Speaker 9: No, so you weren't a fan of the show.

907
00:46:33,360 --> 00:46:34,600
Speaker 2: I love the show.

908
00:46:34,680 --> 00:46:37,440
Speaker 5: I love I heard that Sybil and Bruce their agency

909
00:46:37,520 --> 00:46:38,800
Speaker 5: was the Blue Moon agency.

910
00:46:39,120 --> 00:46:40,279
Speaker 9: Oh, I forgot, good one.

911
00:46:40,600 --> 00:46:41,000
Speaker 1: I forgot.

912
00:46:41,520 --> 00:46:44,080
Speaker 2: I said that before. I said that before, I swear

913
00:46:44,120 --> 00:46:45,960
Speaker 2: to God, I didn't even think about that until you

914
00:46:46,000 --> 00:46:46,560
Speaker 2: just said that.

915
00:46:47,520 --> 00:46:48,440
Speaker 8: I said that before.

916
00:46:48,960 --> 00:46:51,600
Speaker 5: I thought that was the genesis of how black Moon

917
00:46:51,640 --> 00:46:52,200
Speaker 5: got their name.

918
00:46:53,920 --> 00:46:56,879
Speaker 1: I was like, you dweed ass nerds. Yes, I get

919
00:46:56,880 --> 00:46:58,120
Speaker 1: it there.

920
00:47:07,800 --> 00:47:08,440
Speaker 2: That is.

921
00:47:10,600 --> 00:47:13,480
Speaker 7: Wait, so hold on, you seriously thought I said no

922
00:47:13,600 --> 00:47:14,880
Speaker 7: walk because I said that before.

923
00:47:14,920 --> 00:47:17,359
Speaker 8: That's why I Yo, I did.

924
00:47:17,520 --> 00:47:22,000
Speaker 2: I forgot it was the Blue Moon. I thought about that, Yo.

925
00:47:22,120 --> 00:47:24,880
Speaker 7: I was under the assumption because you watched you every

926
00:47:24,960 --> 00:47:29,439
Speaker 7: week Tuesdays. Tuesday plot was Moonlight and so as soon

927
00:47:29,480 --> 00:47:32,680
Speaker 7: as you know, I'm hearing blue Moon Bloemon all a sudden,

928
00:47:32,680 --> 00:47:33,960
Speaker 7: He's like, Yo, the name of the name of the

929
00:47:34,000 --> 00:47:36,200
Speaker 7: crew is black Moon Moon.

930
00:47:37,680 --> 00:47:38,239
Speaker 9: Conversation.

931
00:47:39,120 --> 00:47:42,000
Speaker 1: You have brothers, they don't have to have a conversations.

932
00:47:42,080 --> 00:47:47,799
Speaker 8: Yeah, I know when I put that out there, Yo.

933
00:47:49,040 --> 00:47:52,239
Speaker 2: Yo, you're an asshole. What on?

934
00:47:52,400 --> 00:47:52,560
Speaker 4: Man?

935
00:47:52,760 --> 00:47:53,359
Speaker 1: Just own it?

936
00:47:53,920 --> 00:48:00,200
Speaker 7: It it the way for years you telling PEP people.

937
00:48:00,440 --> 00:48:01,240
Speaker 2: I got the idea.

938
00:48:01,360 --> 00:48:03,239
Speaker 4: Yeah, Jane's head is like he said it at the

939
00:48:03,320 --> 00:48:05,880
Speaker 4: ram Bull Music Academy and twenty what were you.

940
00:48:06,080 --> 00:48:11,560
Speaker 7: Wasn't I thought that you picked you know that wasn't

941
00:48:11,560 --> 00:48:13,200
Speaker 7: the reason why?

942
00:48:13,360 --> 00:48:15,120
Speaker 1: Well it is now no pleasing?

943
00:48:15,719 --> 00:48:20,839
Speaker 2: Oh my god, oh god, we love you, Bruce, well

944
00:48:20,880 --> 00:48:22,120
Speaker 2: as we loved it.

945
00:48:22,320 --> 00:48:23,120
Speaker 8: Look it for you son?

946
00:48:28,320 --> 00:48:28,680
Speaker 1: All right?

947
00:48:28,719 --> 00:48:33,040
Speaker 5: So you formed this crew, right, and it's it's five

948
00:48:33,080 --> 00:48:33,319
Speaker 5: of you.

949
00:48:34,160 --> 00:48:37,759
Speaker 2: I got through the math. It was four me E,

950
00:48:38,520 --> 00:48:39,399
Speaker 2: Paul and Ike.

951
00:48:40,560 --> 00:48:45,520
Speaker 5: Okay, yeah, Now when did it trickle down to the

952
00:48:45,680 --> 00:48:48,120
Speaker 5: beat minors that I know? Like, what's the journey that

953
00:48:48,239 --> 00:48:53,120
Speaker 5: leads to what I assume is into the stage.

954
00:48:53,880 --> 00:48:56,800
Speaker 2: Paul was always with us, but Paul wasn't in the forefront.

955
00:48:57,520 --> 00:49:01,240
Speaker 3: Ike went off to do Oh, three boys from Newark

956
00:49:01,440 --> 00:49:04,560
Speaker 3: and you went to do like I said, C C. C.

957
00:49:04,719 --> 00:49:05,840
Speaker 2: Pennison and wait.

958
00:49:05,680 --> 00:49:07,440
Speaker 1: Three boys from New York? What are they morph into?

959
00:49:08,560 --> 00:49:08,880
Speaker 8: That was?

960
00:49:09,239 --> 00:49:11,360
Speaker 6: They were the Lauryn Hills people.

961
00:49:11,360 --> 00:49:13,520
Speaker 1: It was Vincent Oh.

962
00:49:15,640 --> 00:49:20,279
Speaker 10: Yeah, Vincent Herbert in a group. They were a production team,

963
00:49:20,760 --> 00:49:23,240
Speaker 10: Vince Herbert, Kiama Griffin, and I cannot remember the third

964
00:49:23,320 --> 00:49:23,959
Speaker 10: of his name.

965
00:49:23,960 --> 00:49:26,279
Speaker 9: Button Herbert. As in Lady Gaga.

966
00:49:26,719 --> 00:49:29,560
Speaker 5: I have a twelve inch that has Lauren Hill singing

967
00:49:29,560 --> 00:49:32,520
Speaker 5: on it. They're they're rhyming over cooling the gang's too hot,

968
00:49:32,880 --> 00:49:35,719
Speaker 5: but she's singing Michael Jackson's One More the Jackson five

969
00:49:35,800 --> 00:49:38,760
Speaker 5: is one more chance, but it's it's a group something

970
00:49:38,800 --> 00:49:41,360
Speaker 5: from Newark. But I didn't know if they were a

971
00:49:41,440 --> 00:49:43,399
Speaker 5: rap group or whatever. But I have like a white

972
00:49:43,440 --> 00:49:47,319
Speaker 5: label of Lauren Hill singing on a rap joint, like

973
00:49:47,600 --> 00:49:49,600
Speaker 5: right right before the score came out.

974
00:49:49,880 --> 00:49:51,399
Speaker 1: But I didn't know if that was a rap group

975
00:49:51,440 --> 00:49:53,640
Speaker 1: or not. Was that then more? Do you think so?

976
00:49:53,880 --> 00:49:56,000
Speaker 3: I don't think so, I think but I was already

977
00:49:56,000 --> 00:49:59,160
Speaker 3: gone because then after he left three boys from new Ark,

978
00:49:59,239 --> 00:50:00,040
Speaker 3: him and Bryce will.

979
00:50:00,080 --> 00:50:02,280
Speaker 2: And started something. Oh wow.

980
00:50:04,000 --> 00:50:07,279
Speaker 3: Then I just I used to stop doing music. I

981
00:50:07,320 --> 00:50:09,680
Speaker 3: mean he still comes in and out, but he stopped

982
00:50:09,719 --> 00:50:12,120
Speaker 3: doing music. But it was a lot of records that

983
00:50:12,200 --> 00:50:15,840
Speaker 3: I that you love that Ike really did the production

984
00:50:15,920 --> 00:50:17,520
Speaker 3: on but never got name.

985
00:50:18,600 --> 00:50:23,000
Speaker 2: Uh get at me dog Wow? He did, Dog he did?

986
00:50:23,520 --> 00:50:24,000
Speaker 2: He did.

987
00:50:24,480 --> 00:50:26,960
Speaker 1: He would sweeten them up or like mix it, or like.

988
00:50:27,040 --> 00:50:30,560
Speaker 2: He would give the demo tape to somebody. I mean,

989
00:50:30,680 --> 00:50:32,080
Speaker 2: let's put it out there. He would give it to

990
00:50:32,920 --> 00:50:35,839
Speaker 2: IRV and gave it to whoever. And I get it

991
00:50:36,080 --> 00:50:39,759
Speaker 2: somehow Daved Grease And listen, this is from what I heard.

992
00:50:39,840 --> 00:50:42,919
Speaker 3: Dame Grease got it. He either looped up the same

993
00:50:43,000 --> 00:50:46,480
Speaker 3: record or whatever. And Ike is the one who originally

994
00:50:46,480 --> 00:50:46,919
Speaker 3: did that.

995
00:50:47,160 --> 00:50:48,879
Speaker 2: I forgot What's what's the other song that I did

996
00:50:48,920 --> 00:50:49,239
Speaker 2: to e.

997
00:50:51,040 --> 00:50:51,360
Speaker 8: Wow?

998
00:50:51,760 --> 00:50:54,439
Speaker 2: I know he did the man Tronics King of the Beat,

999
00:50:55,040 --> 00:50:58,680
Speaker 2: Yeah he did, Yeah, he did that. And when he

1000
00:50:58,719 --> 00:51:00,359
Speaker 2: did it, he did on a studio four.

1001
00:51:01,480 --> 00:51:06,319
Speaker 5: Have you ever met Mantronics Curtis Mantronics never matter all right.

1002
00:51:06,360 --> 00:51:08,880
Speaker 5: I just recently found him in Germany that like he

1003
00:51:08,960 --> 00:51:12,839
Speaker 5: has my dream interview because his his era of hip hop,

1004
00:51:12,920 --> 00:51:15,839
Speaker 5: and I would say the Latin rascals like what they

1005
00:51:15,840 --> 00:51:16,520
Speaker 5: do with editing.

1006
00:51:17,000 --> 00:51:18,520
Speaker 1: Yeah, I need to.

1007
00:51:18,480 --> 00:51:23,200
Speaker 5: Know how they did that ship because oh yeah, I'll

1008
00:51:23,239 --> 00:51:26,080
Speaker 5: still listen to the first Mantronics record and Cold Getting

1009
00:51:26,160 --> 00:51:31,560
Speaker 5: Dumb right and just that level of editing and sampling

1010
00:51:31,600 --> 00:51:34,239
Speaker 5: like you you don't even hear it now, Like.

1011
00:51:34,440 --> 00:51:36,799
Speaker 2: When Mattronics went to Capitol, when he got the deal

1012
00:51:36,880 --> 00:51:40,320
Speaker 2: on Capitol, that's when I got into the yeah, the fault.

1013
00:51:40,960 --> 00:51:42,160
Speaker 8: Here's some nerd stuff for you.

1014
00:51:42,239 --> 00:51:45,200
Speaker 7: By the way, the same dude that did the editing

1015
00:51:45,239 --> 00:51:48,319
Speaker 7: on the on the Malntronics stuff that was on Sleeping Bag. Yes,

1016
00:51:48,440 --> 00:51:50,640
Speaker 7: the same guy that did the editing for Ultimate Breaks

1017
00:51:50,640 --> 00:51:54,320
Speaker 7: and Beats Chasnas.

1018
00:51:55,160 --> 00:51:59,520
Speaker 5: So when we're listening to like long Red, he did

1019
00:52:00,040 --> 00:52:00,719
Speaker 5: know you got soul.

1020
00:52:00,760 --> 00:52:01,920
Speaker 1: When they have to edit those.

1021
00:52:01,760 --> 00:52:05,400
Speaker 5: Things, that's him doing that, right, right, do you know

1022
00:52:05,400 --> 00:52:07,959
Speaker 5: if they did that by tape edit? Yeah, I'm sorry

1023
00:52:08,160 --> 00:52:11,520
Speaker 5: you again.

1024
00:52:10,280 --> 00:52:12,600
Speaker 1: Speaking inside baseball, all right.

1025
00:52:12,719 --> 00:52:15,400
Speaker 5: So of course some of those breaks were really dope,

1026
00:52:15,560 --> 00:52:19,839
Speaker 5: but they would just be two seconds, I e. I

1027
00:52:19,880 --> 00:52:23,000
Speaker 5: know you got soul that we know, like you might

1028
00:52:23,080 --> 00:52:25,279
Speaker 5: have to do some trickery to make it seem like

1029
00:52:25,440 --> 00:52:29,480
Speaker 5: it's a six bar intro, and really it's just a

1030
00:52:29,560 --> 00:52:32,840
Speaker 5: quickie one bar intro. So they would take some of

1031
00:52:32,840 --> 00:52:36,520
Speaker 5: these records and re edit them to extend it so

1032
00:52:36,640 --> 00:52:38,759
Speaker 5: that way you're not going crazy going back and forth

1033
00:52:38,800 --> 00:52:41,960
Speaker 5: on the turntables, especially with long Red. I wanted to

1034
00:52:42,040 --> 00:52:45,200
Speaker 5: know like how that shit was done because the original

1035
00:52:45,280 --> 00:52:50,960
Speaker 5: version of Mountains long Red from the Woodstock Festival, like

1036
00:52:51,040 --> 00:52:54,920
Speaker 5: the drum break goes by in seconds, whereas the compilation

1037
00:52:55,120 --> 00:52:57,080
Speaker 5: version is super extended.

1038
00:52:57,440 --> 00:52:58,640
Speaker 1: So who did those edits?

1039
00:52:59,239 --> 00:53:03,600
Speaker 7: Chuck me ah, okay, And it was all back then

1040
00:53:03,640 --> 00:53:04,680
Speaker 7: it was all taped.

1041
00:53:04,840 --> 00:53:10,000
Speaker 11: So he had to splice and ryo right, all analog

1042
00:53:10,160 --> 00:53:11,320
Speaker 11: all analogs, y'all.

1043
00:53:12,440 --> 00:53:16,600
Speaker 5: Actually, you know, to keep it really one hundred. I

1044
00:53:16,640 --> 00:53:19,759
Speaker 5: mean this is how like of course, you know we're

1045
00:53:19,800 --> 00:53:22,840
Speaker 5: saying hip hop is like we're rap music and looping

1046
00:53:22,800 --> 00:53:28,920
Speaker 5: and all that stuff. You guys would be astounded at

1047
00:53:28,960 --> 00:53:33,399
Speaker 5: the amount of cutting and pasting that I've discovered sort

1048
00:53:33,400 --> 00:53:39,719
Speaker 5: of trolling through a lot of these master tapes of acts,

1049
00:53:39,760 --> 00:53:43,919
Speaker 5: Like essentially it's it's the same thing like bands would

1050
00:53:43,920 --> 00:53:44,160
Speaker 5: go in.

1051
00:53:44,480 --> 00:53:46,000
Speaker 1: Super Freak is a great example.

1052
00:53:46,239 --> 00:53:51,200
Speaker 5: People think that Super Freak is soup the nuts four

1053
00:53:51,280 --> 00:53:54,359
Speaker 5: minute song that was played by the no They were

1054
00:53:54,360 --> 00:53:58,280
Speaker 5: fucking around in the studio and literally in the last

1055
00:53:58,320 --> 00:54:06,560
Speaker 5: seven seconds it came d Dana Da da and the

1056
00:54:06,600 --> 00:54:10,080
Speaker 5: tape cuts off. So the way you know it's a

1057
00:54:10,120 --> 00:54:12,920
Speaker 5: loop when you listen to the saxophone at the end,

1058
00:54:13,200 --> 00:54:19,720
Speaker 5: Bro Danny, that's a loop. Like, so the entire Super

1059
00:54:19,760 --> 00:54:23,680
Speaker 5: Freak is just a four bar loop that that unfortunate

1060
00:54:23,880 --> 00:54:27,640
Speaker 5: assistant engineer had to spend all night cutting tape, making

1061
00:54:27,680 --> 00:54:32,920
Speaker 5: copy cutting tape, and which is why that we're not

1062
00:54:33,000 --> 00:54:39,040
Speaker 5: asked about the breakdown. Yeah, like it's not even in rhythm,

1063
00:54:39,120 --> 00:54:42,399
Speaker 5: but there's so many slide masters. I went through, same thing,

1064
00:54:42,960 --> 00:54:46,719
Speaker 5: loose Booty, Loose Booty on Small Talk, same thing. Sh

1065
00:54:46,800 --> 00:54:50,319
Speaker 5: it is chopped in paste like all of bitches brew

1066
00:54:50,600 --> 00:54:54,040
Speaker 5: same thing so it's almost like they would have jam sessions,

1067
00:54:54,120 --> 00:54:57,160
Speaker 5: which was was there digging in the crate ship and

1068
00:54:57,200 --> 00:54:59,759
Speaker 5: then the engineer and the artists would sit and listen

1069
00:54:59,719 --> 00:55:03,000
Speaker 5: to what I like those four bars, and then the

1070
00:55:03,000 --> 00:55:04,720
Speaker 5: assistant engineer would have to make a copy.

1071
00:55:04,760 --> 00:55:06,080
Speaker 1: They go away for a day or two and he

1072
00:55:06,120 --> 00:55:08,480
Speaker 1: would have to make copies.

1073
00:55:08,480 --> 00:55:12,879
Speaker 5: And so wow, yeah, like so our level of making

1074
00:55:12,960 --> 00:55:14,640
Speaker 5: music where you listen to some shit and you loop

1075
00:55:14,680 --> 00:55:19,720
Speaker 5: it like that's been going on since yeah, which I'm

1076
00:55:19,840 --> 00:55:21,319
Speaker 5: just mind blowing the belt.

1077
00:55:21,520 --> 00:55:22,959
Speaker 2: Wow, that's crazy.

1078
00:55:23,320 --> 00:55:27,799
Speaker 5: Especially when you consider like me not really being in

1079
00:55:27,840 --> 00:55:29,840
Speaker 5: this game to be a beat maker, but as a drummer,

1080
00:55:31,239 --> 00:55:34,080
Speaker 5: like some shit like slides loose booty, I'm like, god damn,

1081
00:55:34,200 --> 00:55:37,680
Speaker 5: Like Andy Newmark is tight as shit, like he doesn't

1082
00:55:38,000 --> 00:55:40,759
Speaker 5: budge or nothing on the beat. No, they just took

1083
00:55:40,800 --> 00:55:43,799
Speaker 5: a four bar loop and just looped him across. But

1084
00:55:43,880 --> 00:55:47,200
Speaker 5: my mind is thinking, I got to play that meticulous

1085
00:55:47,200 --> 00:55:49,160
Speaker 5: the way that Andy Newmark did it for five minutes,

1086
00:55:49,200 --> 00:55:51,520
Speaker 5: but only to find out it was looped.

1087
00:55:51,800 --> 00:55:53,960
Speaker 4: So you know, quiet has kept. Do you know what

1088
00:55:54,000 --> 00:55:56,600
Speaker 4: other profession does that? And don't get any respect on

1089
00:55:56,680 --> 00:56:00,399
Speaker 4: they name for it Radio DJs, Radio DJs make their

1090
00:56:00,440 --> 00:56:04,120
Speaker 4: own instrumental, sometimes off of just like I used to

1091
00:56:04,160 --> 00:56:06,600
Speaker 4: do it. Yeah, like you like this part of the

1092
00:56:06,640 --> 00:56:08,120
Speaker 4: song and the rest of it is some bullshit. So

1093
00:56:08,120 --> 00:56:10,400
Speaker 4: I'm gonna just go in the odyssey and cut it

1094
00:56:10,480 --> 00:56:12,560
Speaker 4: up and make my own instrumental.

1095
00:56:12,960 --> 00:56:13,120
Speaker 1: Yo.

1096
00:56:13,239 --> 00:56:15,600
Speaker 2: You know who was you know who is nice on editing?

1097
00:56:16,160 --> 00:56:16,440
Speaker 1: Who?

1098
00:56:17,239 --> 00:56:22,160
Speaker 2: Angie Martine nice as.

1099
00:56:23,800 --> 00:56:25,960
Speaker 7: I went to Hot ninety seven to do a black

1100
00:56:26,000 --> 00:56:30,200
Speaker 7: some Black one promo stuff. And I've seen Angie edit

1101
00:56:30,840 --> 00:56:31,760
Speaker 7: the phone calls.

1102
00:56:32,040 --> 00:56:34,919
Speaker 8: Yeah, I believe it is not. That's how I learned

1103
00:56:34,960 --> 00:56:36,000
Speaker 8: how to edit on tape.

1104
00:56:36,360 --> 00:56:36,600
Speaker 2: Yeah.

1105
00:56:36,880 --> 00:56:39,640
Speaker 9: Wow, that's a radio DJ thing, y'all.

1106
00:56:40,040 --> 00:56:44,000
Speaker 7: I watched Aedgie Martinez edit radio like she yo, she

1107
00:56:44,160 --> 00:56:48,560
Speaker 7: was nice with it mom her tape yep, yeah, cuts

1108
00:56:48,680 --> 00:56:50,919
Speaker 7: fly saw that back in the days, what they would

1109
00:56:50,920 --> 00:56:53,200
Speaker 7: do when you were called a radio station, they would

1110
00:56:53,200 --> 00:56:56,160
Speaker 7: called the calls the tape right, and then they would

1111
00:56:56,280 --> 00:56:59,319
Speaker 7: edit it. And by time it's time to play that call,

1112
00:56:59,360 --> 00:57:00,879
Speaker 7: that edit has to be done.

1113
00:57:01,760 --> 00:57:03,279
Speaker 9: And shortened and not as long as that.

1114
00:57:04,080 --> 00:57:06,239
Speaker 8: And I've seen Angie. I seen.

1115
00:57:06,280 --> 00:57:09,480
Speaker 7: I watched Angie when we was up at Hot edit

1116
00:57:10,320 --> 00:57:13,160
Speaker 7: phone calls and I was like, yo, And when I

1117
00:57:13,200 --> 00:57:15,360
Speaker 7: went back to D and d. I went into the

1118
00:57:15,480 --> 00:57:18,400
Speaker 7: editing room and taught myself how to edit.

1119
00:57:19,480 --> 00:57:24,680
Speaker 4: You know what, Loyah, I gotta give you credit because

1120
00:57:24,720 --> 00:57:26,040
Speaker 4: I had to edit you all the time when you

1121
00:57:26,080 --> 00:57:28,160
Speaker 4: were called radio station no.

1122
00:57:29,800 --> 00:57:33,600
Speaker 5: Matter of fact. Well one, you were the only DJ

1123
00:57:33,800 --> 00:57:38,760
Speaker 5: on a commercial radio station that would let me in

1124
00:57:38,800 --> 00:57:44,280
Speaker 5: the building. That's what starters two. I forgot. The first

1125
00:57:44,320 --> 00:57:48,360
Speaker 5: time I ever seen a playback machine was you and

1126
00:57:48,800 --> 00:57:50,400
Speaker 5: I watched you edit something.

1127
00:57:50,440 --> 00:57:51,479
Speaker 1: I saw you do that.

1128
00:57:51,400 --> 00:57:54,120
Speaker 9: With the will and everything right when Keil and.

1129
00:57:54,160 --> 00:57:54,880
Speaker 1: I drove home.

1130
00:57:54,960 --> 00:57:57,080
Speaker 5: He was like, yeah, that's a playback machine. And I

1131
00:57:57,120 --> 00:57:59,400
Speaker 5: was like, yo, like why don't we do that? And

1132
00:57:59,440 --> 00:58:02,360
Speaker 5: he was like, dog, you late, Like everybody uses a

1133
00:58:02,360 --> 00:58:05,440
Speaker 5: playback machine on stage. That's why people can jump around

1134
00:58:05,440 --> 00:58:08,240
Speaker 5: without the record skipping, because they used a playback machine.

1135
00:58:08,520 --> 00:58:10,360
Speaker 8: You know. I started the playback machine.

1136
00:58:10,120 --> 00:58:14,720
Speaker 5: Right watching like you do that at the station, and

1137
00:58:14,800 --> 00:58:16,480
Speaker 5: I looked at what she was doing and on I

1138
00:58:16,520 --> 00:58:18,400
Speaker 5: was like, oh shit, we got to get one of those.

1139
00:58:18,800 --> 00:58:21,280
Speaker 8: You know who started who started the popcatch using the

1140
00:58:21,320 --> 00:58:24,320
Speaker 8: playback machine? Right? Who makes y'all?

1141
00:58:24,920 --> 00:58:28,640
Speaker 7: Tayla make Show was the first DJ ever to use

1142
00:58:29,120 --> 00:58:32,280
Speaker 7: the playback machine that made him do that. He was

1143
00:58:32,320 --> 00:58:36,320
Speaker 7: at a radio station that he's I want to use

1144
00:58:36,360 --> 00:58:38,640
Speaker 7: that because that way don't have to bring all these records.

1145
00:58:39,280 --> 00:58:40,760
Speaker 4: But when you think about it as crazy that like

1146
00:58:40,800 --> 00:58:43,520
Speaker 4: Donnie Simpson, Tom Joyner, all these people like this is

1147
00:58:43,680 --> 00:58:45,120
Speaker 4: they have to be able to do this like they

1148
00:58:45,240 --> 00:58:46,959
Speaker 4: they've done this with tape.

1149
00:58:48,640 --> 00:58:51,160
Speaker 1: Yeah, never knew that. For me.

1150
00:58:51,400 --> 00:58:58,520
Speaker 5: The trademark of your productions is of course filtering, which

1151
00:58:59,280 --> 00:59:02,960
Speaker 5: U what's what's the second song on into the stage?

1152
00:59:03,200 --> 00:59:04,720
Speaker 2: Nigger is the second song?

1153
00:59:05,080 --> 00:59:08,600
Speaker 5: Yes, filtering the baseline and whatnot. How are you guys

1154
00:59:08,640 --> 00:59:11,920
Speaker 5: knowing which equipment to use? Like assuming that you graduated

1155
00:59:11,920 --> 00:59:14,800
Speaker 5: from the SK one, Like what's the first piece of

1156
00:59:14,800 --> 00:59:17,680
Speaker 5: equipment that you got a real piece of equipment for

1157
00:59:17,760 --> 00:59:18,960
Speaker 5: what you made your stuff on?

1158
00:59:19,120 --> 00:59:19,880
Speaker 1: Like what do you use?

1159
00:59:20,280 --> 00:59:22,920
Speaker 7: That's when the costrio AUSSI one comes into play and

1160
00:59:22,960 --> 00:59:26,320
Speaker 7: then walk comes home with this sampler called the a

1161
00:59:26,440 --> 00:59:30,600
Speaker 7: Kai six twelve, right. The KI six twelve is like

1162
00:59:30,680 --> 00:59:34,000
Speaker 7: the parent of the nine hundred, the S nine hundred

1163
00:59:34,080 --> 00:59:35,080
Speaker 7: nine to fifty series.

1164
00:59:35,600 --> 00:59:37,040
Speaker 8: The only thing with the six twelve.

1165
00:59:37,240 --> 00:59:40,240
Speaker 7: Instead of instead of being able to sample eight different things,

1166
00:59:40,520 --> 00:59:42,120
Speaker 7: it only sampled one thing.

1167
00:59:43,840 --> 00:59:45,840
Speaker 8: And on the front of the.

1168
00:59:45,840 --> 00:59:51,600
Speaker 7: Six twelve is knobs and one of the knobs is

1169
00:59:51,640 --> 00:59:56,120
Speaker 7: a filter knob, and me messing around with the sampler,

1170
00:59:56,160 --> 01:00:00,440
Speaker 7: I turned the filter knob and seeing that the that it.

1171
01:00:00,360 --> 01:00:01,520
Speaker 8: Filtered the sample.

1172
01:00:02,960 --> 01:00:05,520
Speaker 7: Now I'm thinking I'm the first one to ever do this,

1173
01:00:05,800 --> 01:00:08,600
Speaker 7: But Marley already did it already.

1174
01:00:08,640 --> 01:00:09,479
Speaker 8: I just didn't know.

1175
01:00:10,040 --> 01:00:11,320
Speaker 1: Well on vapors.

1176
01:00:11,680 --> 01:00:15,600
Speaker 7: Mally did it on what's it fake? Ye, I think vapors.

1177
01:00:15,720 --> 01:00:18,840
Speaker 7: And there was something else he did that it was filtered.

1178
01:00:18,920 --> 01:00:22,800
Speaker 7: And you know Pete and tipping them was starting experiment

1179
01:00:22,840 --> 01:00:26,320
Speaker 7: with filters too. You know in my house, I'm like, yo,

1180
01:00:26,400 --> 01:00:27,640
Speaker 7: I just discovered something new.

1181
01:00:28,120 --> 01:00:30,160
Speaker 2: Like when we heard sad he got a one track mind.

1182
01:00:30,680 --> 01:00:32,120
Speaker 2: That was that.

1183
01:00:33,600 --> 01:00:38,400
Speaker 3: Opened everything. We patterned our sound after that. The reason

1184
01:00:38,440 --> 01:00:41,400
Speaker 3: why our filters sound different because we were using a

1185
01:00:41,520 --> 01:00:42,320
Speaker 3: Kai six twelve.

1186
01:00:43,120 --> 01:00:43,560
Speaker 1: Yeah.

1187
01:00:43,720 --> 01:00:46,600
Speaker 3: So what we would do is we didn't have like

1188
01:00:46,680 --> 01:00:49,040
Speaker 3: big equipment. So what we would do is whatever we

1189
01:00:49,080 --> 01:00:51,200
Speaker 3: would take our filter, filter it down and put it

1190
01:00:51,280 --> 01:00:53,800
Speaker 3: on a cathetic and then take it to the studio.

1191
01:00:54,520 --> 01:00:55,720
Speaker 2: Tell that engineer, Oh.

1192
01:00:55,680 --> 01:00:58,240
Speaker 1: Y'all are in a pre sample at home, and.

1193
01:00:58,800 --> 01:01:03,040
Speaker 2: Right right right, loop that up, loop this, sire, but

1194
01:01:03,160 --> 01:01:06,320
Speaker 2: check this out. We didn't get equipment until we did

1195
01:01:06,400 --> 01:01:06,920
Speaker 2: the shining.

1196
01:01:07,280 --> 01:01:10,120
Speaker 8: Well, we didn't get official we didn't.

1197
01:01:10,120 --> 01:01:12,120
Speaker 2: We didn't get official EQUIPMENTU til we did the shining.

1198
01:01:12,440 --> 01:01:15,000
Speaker 8: But we had the six twelve and we had to one.

1199
01:01:15,560 --> 01:01:17,720
Speaker 3: When we got the money from into the stage. We

1200
01:01:17,760 --> 01:01:20,160
Speaker 3: took that money and want to go buy equipment to

1201
01:01:20,720 --> 01:01:21,320
Speaker 3: do the shining.

1202
01:01:22,040 --> 01:01:26,920
Speaker 5: So buck them down and all the props and.

1203
01:01:29,960 --> 01:01:32,000
Speaker 8: It's no programming. It's all loops.

1204
01:01:32,680 --> 01:01:34,880
Speaker 7: It's all loops. Yeah, everything on there is there's no

1205
01:01:34,920 --> 01:01:37,000
Speaker 7: programming on that. It's just all loops.

1206
01:01:37,480 --> 01:01:40,560
Speaker 5: So when you're home, you're bringing the ingredients to the

1207
01:01:40,600 --> 01:01:43,000
Speaker 5: studio and telling the engineer.

1208
01:01:42,600 --> 01:01:43,880
Speaker 1: This is what I want, this is what I want,

1209
01:01:43,920 --> 01:01:44,400
Speaker 1: this is what I.

1210
01:01:44,800 --> 01:01:47,160
Speaker 7: What we did was we made the beat first at home,

1211
01:01:47,800 --> 01:01:51,280
Speaker 7: put it on cassette, put the different parts on cassette,

1212
01:01:51,480 --> 01:01:56,040
Speaker 7: the baseline, the drum loop one, drum loop two, noise

1213
01:01:56,480 --> 01:01:59,360
Speaker 7: main loop, and then we would go to the studio

1214
01:01:59,440 --> 01:02:03,520
Speaker 7: and be like yo, swift loop number one. That's loop

1215
01:02:03,600 --> 01:02:06,720
Speaker 7: number one, Loop this up. Okay, stop right there. Okay,

1216
01:02:07,120 --> 01:02:10,640
Speaker 7: here's the second part, loop this up. Stop right there.

1217
01:02:10,720 --> 01:02:14,800
Speaker 7: Put that on top of that on beat and loop

1218
01:02:14,920 --> 01:02:17,080
Speaker 7: number three okay, here we go, put that on top

1219
01:02:17,120 --> 01:02:19,440
Speaker 7: of that and right there like exactly like we was

1220
01:02:19,480 --> 01:02:20,400
Speaker 7: directing everything.

1221
01:02:21,200 --> 01:02:27,440
Speaker 5: Wow, we might have to soundtracking to it, just based

1222
01:02:27,560 --> 01:02:32,400
Speaker 5: on the sonic quality of it. In my mind, I'm

1223
01:02:32,400 --> 01:02:36,760
Speaker 5: thinking like, yo, man, they're using special needles on it,

1224
01:02:36,880 --> 01:02:40,280
Speaker 5: like the way that we would try to analyze and

1225
01:02:40,360 --> 01:02:44,960
Speaker 5: figure out why those drums sound so dirty, Like the

1226
01:02:45,000 --> 01:02:47,400
Speaker 5: amount of times I've had to go to Bob Power

1227
01:02:48,240 --> 01:02:53,120
Speaker 5: and play like the come Live with Me drum break?

1228
01:02:54,720 --> 01:02:57,600
Speaker 1: Yeah you laughing your ass off? Thanks? No, as hours

1229
01:02:57,640 --> 01:03:00,439
Speaker 1: I wasted at Battery Studios, shut man?

1230
01:03:01,080 --> 01:03:02,240
Speaker 9: Why you ain't just call them?

1231
01:03:02,440 --> 01:03:07,680
Speaker 1: I know them until sound treatment time? Okay, But again

1232
01:03:08,080 --> 01:03:08,640
Speaker 1: I'm just.

1233
01:03:08,560 --> 01:03:12,200
Speaker 5: Thinking like I'm thinking you guys would take your records

1234
01:03:12,720 --> 01:03:15,240
Speaker 5: and just throw them in the dirt.

1235
01:03:15,920 --> 01:03:18,479
Speaker 8: No, we didn't.

1236
01:03:19,040 --> 01:03:23,040
Speaker 2: We would. We would sample a cassette, take what we

1237
01:03:23,160 --> 01:03:26,000
Speaker 2: want and just and just take it to D n

1238
01:03:26,080 --> 01:03:28,880
Speaker 2: D and they would take it from the sampler, from

1239
01:03:28,920 --> 01:03:31,560
Speaker 2: the cassette back onto like the two.

1240
01:03:31,360 --> 01:03:36,120
Speaker 1: Inch This is why I purchased those.

1241
01:03:37,520 --> 01:03:40,000
Speaker 2: Yeah, and we ruined a lot of records messing around

1242
01:03:40,000 --> 01:03:40,520
Speaker 2: in the dirt.

1243
01:03:40,640 --> 01:03:43,880
Speaker 1: Damn is that still a two inch?

1244
01:03:43,920 --> 01:03:46,160
Speaker 2: And electric lady? Is that still machines?

1245
01:03:46,200 --> 01:03:46,440
Speaker 4: And there?

1246
01:03:46,520 --> 01:03:51,160
Speaker 5: Yeah, it's there, it's there. Okay, you know but Brooke

1247
01:03:51,200 --> 01:03:52,440
Speaker 5: Brooklyn is actually more than that.

1248
01:03:52,600 --> 01:03:55,760
Speaker 1: Like I I now like.

1249
01:03:55,880 --> 01:04:00,160
Speaker 5: The good thing about the nerdy post dat kings that

1250
01:04:00,640 --> 01:04:05,120
Speaker 5: is now like that entire crew has mastered in ways

1251
01:04:05,160 --> 01:04:08,080
Speaker 5: like I go to Electric Garden now shout out to

1252
01:04:08,080 --> 01:04:10,880
Speaker 5: to Bend at Electric Garden. And also what's my other

1253
01:04:10,880 --> 01:04:14,760
Speaker 5: spot in Brooklyn, Steve Diamond Mine? Yeah, diamond mind. Especially

1254
01:04:15,320 --> 01:04:18,960
Speaker 5: like now I could just go in and because they

1255
01:04:18,960 --> 01:04:23,800
Speaker 5: were raised on all of your music, they literally know

1256
01:04:24,040 --> 01:04:27,640
Speaker 5: the exact frequency that I can. I can be out

1257
01:04:27,680 --> 01:04:30,760
Speaker 5: there in the half hour, whereas like back in the day,

1258
01:04:30,800 --> 01:04:34,160
Speaker 5: that ship would take me months just one one frequency

1259
01:04:34,200 --> 01:04:37,920
Speaker 5: at a time, another frequency, and I didn't realize that

1260
01:04:37,960 --> 01:04:41,840
Speaker 5: you guys were pre sampling that home on cassettette.

1261
01:04:41,920 --> 01:04:42,800
Speaker 1: Cassette is the key.

1262
01:04:43,280 --> 01:04:46,080
Speaker 5: Yeah, damn man, I might have just scrap this entire

1263
01:04:46,080 --> 01:04:47,720
Speaker 5: record and just start all over again and just do

1264
01:04:47,800 --> 01:04:51,760
Speaker 5: everything on cassette.

1265
01:04:52,240 --> 01:04:55,320
Speaker 8: At the end of the day, it's like all of

1266
01:04:55,400 --> 01:04:56,760
Speaker 8: us produce the cats.

1267
01:04:56,840 --> 01:04:59,880
Speaker 7: No, we're all mad scientists, and we all have our

1268
01:05:00,000 --> 01:05:01,280
Speaker 7: way of doing things.

1269
01:05:01,800 --> 01:05:02,880
Speaker 8: You know, once we.

1270
01:05:02,880 --> 01:05:05,720
Speaker 7: Learned how to operate, once we learned how to operate

1271
01:05:05,760 --> 01:05:08,560
Speaker 7: the sp in the nine P fifty, we was doing

1272
01:05:08,600 --> 01:05:12,240
Speaker 7: stuff here but the way we was doing it was

1273
01:05:12,760 --> 01:05:15,680
Speaker 7: running it through the Mackie board, and you run it

1274
01:05:15,680 --> 01:05:18,800
Speaker 7: through the mixer before then, and you pre eq the

1275
01:05:18,920 --> 01:05:22,440
Speaker 7: drums before you sample it, so that still added a

1276
01:05:22,480 --> 01:05:23,360
Speaker 7: grit to it too.

1277
01:05:24,080 --> 01:05:26,520
Speaker 2: I didn't learn the sp until we were getting ready

1278
01:05:26,560 --> 01:05:29,560
Speaker 2: for the shining. Q Tip taught me to spow.

1279
01:05:30,120 --> 01:05:30,480
Speaker 8: I didn't.

1280
01:05:30,560 --> 01:05:32,160
Speaker 2: And you know, Q Tip is the one who named

1281
01:05:32,160 --> 01:05:37,880
Speaker 2: me mister Wall. Really, what's meter factory without mister phrase call?

1282
01:05:38,520 --> 01:05:40,360
Speaker 1: I did that. I didn't realize that you did not

1283
01:05:40,480 --> 01:05:41,200
Speaker 1: have a moniker.

1284
01:05:41,480 --> 01:05:44,360
Speaker 2: I was going with Walter do Guard. I was like,

1285
01:05:44,400 --> 01:05:45,840
Speaker 2: you know what, if Eric Sartain we could do it.

1286
01:05:45,880 --> 01:05:48,280
Speaker 11: I can do it too. I'm gonna be Walton do Guard.

1287
01:05:48,640 --> 01:05:55,960
Speaker 11: But Keith Harry Ship right exactly.

1288
01:05:56,160 --> 01:05:59,560
Speaker 2: But q tips he called me mister Wall, and I

1289
01:05:59,640 --> 01:06:00,680
Speaker 2: just took never ran with it.

1290
01:06:05,800 --> 01:06:07,760
Speaker 5: You guys were in what I call the running with

1291
01:06:07,800 --> 01:06:12,680
Speaker 5: the bulls era right of beat making. You know, can

1292
01:06:12,720 --> 01:06:15,480
Speaker 5: you tell me like how deep and involved were you

1293
01:06:15,480 --> 01:06:19,560
Speaker 5: guys with like the record conventions or y'all there like

1294
01:06:19,640 --> 01:06:22,160
Speaker 5: four in the morning waiting mm hm.

1295
01:06:22,600 --> 01:06:25,280
Speaker 3: Tiple, come pick us up. Que Tipple, com pick us up.

1296
01:06:25,520 --> 01:06:28,360
Speaker 3: At four o'clock in the morning, we were going to

1297
01:06:28,480 --> 01:06:31,160
Speaker 3: the Roosevelt Hotel thinking that we had to.

1298
01:06:31,200 --> 01:06:35,120
Speaker 2: Jump on everybody. We're like, yeah, first yo. Once we

1299
01:06:35,200 --> 01:06:38,160
Speaker 2: walk in there, we're thinking, we're there, We're number one,

1300
01:06:38,200 --> 01:06:42,320
Speaker 2: We're here. We turned to our left kid Capri and

1301
01:06:42,480 --> 01:06:46,919
Speaker 2: Pete Rock rented a room the night before.

1302
01:06:56,000 --> 01:06:59,520
Speaker 7: Rooms and they was like, as soon as the first

1303
01:06:59,600 --> 01:07:01,400
Speaker 7: dude brings his case and they're.

1304
01:07:01,200 --> 01:07:04,880
Speaker 2: Down there, y up there, Pete Rock is there already?

1305
01:07:05,280 --> 01:07:07,280
Speaker 9: Which you do the top of the mirror, what'd you do?

1306
01:07:08,200 --> 01:07:13,320
Speaker 5: I wasn't in I was in the generation after the

1307
01:07:13,360 --> 01:07:14,800
Speaker 5: slim picking for gold.

1308
01:07:14,600 --> 01:07:20,720
Speaker 1: Mining is between eighty nine and like ninety two.

1309
01:07:21,360 --> 01:07:24,960
Speaker 5: Like if you find shit during that period, then your

1310
01:07:24,960 --> 01:07:29,560
Speaker 5: life is golden. I came after the fact, and you know,

1311
01:07:29,800 --> 01:07:31,960
Speaker 5: I would just hear stories. I'd hear stories of like

1312
01:07:32,240 --> 01:07:35,880
Speaker 5: Pete b rating dealers for like he would buy like

1313
01:07:35,920 --> 01:07:39,560
Speaker 5: the entire catalog of an artist just so that you know,

1314
01:07:39,680 --> 01:07:42,120
Speaker 5: if there's eight copies of a particular record, they would

1315
01:07:42,120 --> 01:07:43,919
Speaker 5: buy them all to make sure that no one else

1316
01:07:43,920 --> 01:07:44,320
Speaker 5: took it.

1317
01:07:46,280 --> 01:07:48,000
Speaker 2: You can't stop that from happening, Like.

1318
01:07:48,000 --> 01:07:51,800
Speaker 1: Yeah, your petty is well okay, so I'll ask a question.

1319
01:07:51,920 --> 01:07:53,760
Speaker 5: Even though this is like super late in the game,

1320
01:07:55,000 --> 01:07:58,200
Speaker 5: I know that you guys were the first to use

1321
01:08:00,120 --> 01:08:02,640
Speaker 5: actually the second, because no one ever credits OC for

1322
01:08:02,760 --> 01:08:12,400
Speaker 5: using it on Uh yeah, was the first. Let's take

1323
01:08:12,440 --> 01:08:14,080
Speaker 5: it through. Who got the props? Because the thing is

1324
01:08:14,080 --> 01:08:17,400
Speaker 5: is that y'all did it first, and of course Usher

1325
01:08:17,439 --> 01:08:21,120
Speaker 5: and everybody comes behind it, like are you in the

1326
01:08:21,439 --> 01:08:23,719
Speaker 5: feel some sort of way about not getting the shine

1327
01:08:23,760 --> 01:08:27,240
Speaker 5: off at first? Or hip hop is just open sport

1328
01:08:27,320 --> 01:08:31,759
Speaker 5: and you know it's it's like a reggae rhythm anybody

1329
01:08:31,760 --> 01:08:34,799
Speaker 5: can rhyme over. Like, what is your attitude in terms

1330
01:08:34,800 --> 01:08:37,679
Speaker 5: of at the time, how did you feel as opposed

1331
01:08:37,720 --> 01:08:38,120
Speaker 5: to now.

1332
01:08:38,000 --> 01:08:38,880
Speaker 9: What's the Usher record?

1333
01:08:38,920 --> 01:08:39,120
Speaker 8: Y'all?

1334
01:08:39,200 --> 01:08:40,000
Speaker 9: What was the first?

1335
01:08:41,320 --> 01:08:43,880
Speaker 1: Here's my mind that was.

1336
01:08:43,800 --> 01:08:44,599
Speaker 6: On the first album.

1337
01:08:45,200 --> 01:08:48,040
Speaker 2: I didn't feel no type of way about the Usher thing.

1338
01:08:48,160 --> 01:08:50,559
Speaker 2: It was cool, cool, you know when I felt away

1339
01:08:50,800 --> 01:08:52,519
Speaker 2: And this is the first time I've ever said this

1340
01:08:52,640 --> 01:08:56,320
Speaker 2: in an interview, melt away when the track masters you

1341
01:08:56,560 --> 01:09:00,559
Speaker 2: sound boy Burial for Mary a Mariah character, m we

1342
01:09:00,680 --> 01:09:03,840
Speaker 2: had just bary you out.

1343
01:09:04,400 --> 01:09:08,200
Speaker 3: They went behind us, looped up our record, gave it

1344
01:09:08,240 --> 01:09:10,120
Speaker 3: to Mary first, and I guess it didn't work, or

1345
01:09:10,160 --> 01:09:11,840
Speaker 3: to get to ta give it to somebody first it

1346
01:09:11,840 --> 01:09:13,479
Speaker 3: didn't work, And they then they either get it to

1347
01:09:13,520 --> 01:09:16,680
Speaker 3: Mariah or marry after that. That's when I was like,

1348
01:09:16,760 --> 01:09:20,040
Speaker 3: come on, dude, like we just put this record out, dude,

1349
01:09:20,080 --> 01:09:22,160
Speaker 3: like let the record bring you a little bit.

1350
01:09:22,240 --> 01:09:25,560
Speaker 2: You went and went right behind us and Jack B.

1351
01:09:26,320 --> 01:09:28,160
Speaker 2: So I felt some type of way about that.

1352
01:09:28,200 --> 01:09:30,559
Speaker 8: And I kind of felt the way like that about

1353
01:09:30,560 --> 01:09:32,320
Speaker 8: intro when intro used.

1354
01:09:34,520 --> 01:09:35,400
Speaker 2: Quincy Joneston.

1355
01:09:35,840 --> 01:09:38,479
Speaker 8: Yeah, and I was like, yo, like what gentle record?

1356
01:09:38,479 --> 01:09:38,600
Speaker 4: Was that?

1357
01:09:39,280 --> 01:09:44,599
Speaker 2: Funny? How found the first thing off their second album?

1358
01:09:44,800 --> 01:09:47,240
Speaker 7: My whole thing is this, Like I don't want I'm

1359
01:09:47,240 --> 01:09:51,160
Speaker 7: not even checking for money, just be like, yeah, we

1360
01:09:51,200 --> 01:09:54,639
Speaker 7: got it from there, that's all, you know what I'm saying.

1361
01:09:54,640 --> 01:09:56,240
Speaker 7: Like that was my thing with that, And I was

1362
01:09:56,360 --> 01:10:00,840
Speaker 7: kind of tight behind that, you know. But Yo, man,

1363
01:10:00,920 --> 01:10:02,800
Speaker 7: you know Homeboy passed, so I was like, I'm not

1364
01:10:02,840 --> 01:10:04,640
Speaker 7: gonna say nothing about it because then I'm gonna look

1365
01:10:04,640 --> 01:10:05,200
Speaker 7: like I hate up.

1366
01:10:06,240 --> 01:10:10,439
Speaker 5: In terms of production, like are you guys involved at all?

1367
01:10:10,560 --> 01:10:16,960
Speaker 5: In terms of also structure of the song horses rock

1368
01:10:17,000 --> 01:10:18,880
Speaker 5: and rock, Like y'all could do that better? Da da

1369
01:10:18,960 --> 01:10:20,920
Speaker 5: D Like are you guys also?

1370
01:10:21,360 --> 01:10:21,559
Speaker 8: Yeah?

1371
01:10:21,920 --> 01:10:25,800
Speaker 5: Micromanaging as far as vocal sessions are, just like here's

1372
01:10:25,840 --> 01:10:27,280
Speaker 5: the beat all right, good luck.

1373
01:10:27,960 --> 01:10:30,640
Speaker 3: In the beginning, we wasn't really like that, like I

1374
01:10:30,680 --> 01:10:35,000
Speaker 3: would say stuff like I told after Buck did how

1375
01:10:35,000 --> 01:10:36,040
Speaker 3: many mcs he did?

1376
01:10:36,320 --> 01:10:39,840
Speaker 2: How many mcs are one tape? Right? I said to him,

1377
01:10:40,320 --> 01:10:42,200
Speaker 2: you're sure you want to keep it giving vocals that way?

1378
01:10:42,600 --> 01:10:43,439
Speaker 2: You don't want a dang it.

1379
01:10:43,640 --> 01:10:46,760
Speaker 3: He said, trust me, Walk, I'm gonna keep this the

1380
01:10:46,760 --> 01:10:49,200
Speaker 3: way it is. And I said, okay, you know what

1381
01:10:49,280 --> 01:10:52,720
Speaker 3: I'm saying. But usually we just let them go.

1382
01:10:53,200 --> 01:10:56,160
Speaker 2: But as we got older and started doing more records,

1383
01:10:56,160 --> 01:11:00,240
Speaker 2: we became more vocal about yo, do your vocals this way?

1384
01:11:00,320 --> 01:11:01,680
Speaker 2: Do this, do that, do that? You know?

1385
01:11:02,080 --> 01:11:05,160
Speaker 5: I was gonna ask, who's the one that suggested, especially

1386
01:11:05,160 --> 01:11:09,920
Speaker 5: for I Got You Open for Buckshot to use his

1387
01:11:10,040 --> 01:11:13,880
Speaker 5: laid back mellow flow instead of his hype.

1388
01:11:13,880 --> 01:11:15,240
Speaker 1: Who got the props flow?

1389
01:11:15,560 --> 01:11:17,240
Speaker 8: Oh? That was Buck? That was Buck.

1390
01:11:17,920 --> 01:11:20,760
Speaker 7: Buck came in and was like, yo, like when we

1391
01:11:20,760 --> 01:11:24,880
Speaker 7: was doing uh not even I Got you open. We

1392
01:11:24,920 --> 01:11:27,040
Speaker 7: was doing the buck him down remix.

1393
01:11:27,800 --> 01:11:32,880
Speaker 12: Fuck him down, I got you, I got you up,

1394
01:11:32,960 --> 01:11:35,639
Speaker 12: No mom sake, I got you up on was first okay, yeah,

1395
01:11:35,800 --> 01:11:39,000
Speaker 12: the buck them down remix drop, the Buck dropped after

1396
01:11:39,160 --> 01:11:42,080
Speaker 12: before after okay, okay, I'm not bad.

1397
01:11:42,360 --> 01:11:47,200
Speaker 8: It's mad long ago. I'm old. But like when when

1398
01:11:47,240 --> 01:11:50,200
Speaker 8: Buck came into the studio, it's like he just it

1399
01:11:50,280 --> 01:11:53,280
Speaker 8: was a different flow because being that we was on

1400
01:11:53,400 --> 01:11:56,200
Speaker 8: the thing where we're gonna remix everything every twelve ones

1401
01:11:56,240 --> 01:11:59,200
Speaker 8: we put out, Buck was like, Yo, if they're gonna

1402
01:11:59,280 --> 01:12:03,120
Speaker 8: change the beat, I'm change the flow, you know.

1403
01:12:03,920 --> 01:12:05,599
Speaker 1: And how did y'all feel when y'all heard it?

1404
01:12:05,720 --> 01:12:08,640
Speaker 5: Like, because it's so night and day from what he

1405
01:12:08,760 --> 01:12:12,080
Speaker 5: was known that, Like, his the original verse was super hype.

1406
01:12:12,600 --> 01:12:15,040
Speaker 5: It's almost like you know, listening to parents just don't

1407
01:12:15,120 --> 01:12:18,439
Speaker 5: understand versus summertime, Like, yeah, what the hell is this?

1408
01:12:19,000 --> 01:12:19,200
Speaker 2: Right?

1409
01:12:19,360 --> 01:12:19,439
Speaker 7: Right?

1410
01:12:19,560 --> 01:12:19,680
Speaker 8: Right?

1411
01:12:20,280 --> 01:12:25,679
Speaker 2: I think he just did whatever fit the moment. Yeah,

1412
01:12:25,720 --> 01:12:28,639
Speaker 2: we got the props, was like a more up tempo

1413
01:12:28,720 --> 01:12:32,080
Speaker 2: vib so he hit it that way. But then when

1414
01:12:32,120 --> 01:12:35,599
Speaker 2: we started slowing the record down and smoothing the records out,

1415
01:12:35,640 --> 01:12:38,080
Speaker 2: that's when he started to becomming. He came with the

1416
01:12:38,160 --> 01:12:41,120
Speaker 2: laid back style. The bad and white situation was all him.

1417
01:12:41,240 --> 01:12:41,640
Speaker 1: That was it.

1418
01:12:42,640 --> 01:12:44,200
Speaker 3: He was like, I want to rhyme off of that,

1419
01:12:44,520 --> 01:12:49,679
Speaker 3: And yeah, I was too busy trying to impress Lodge

1420
01:12:49,880 --> 01:12:53,400
Speaker 3: and Pete and Premiere and cute Tip. So I'm trying

1421
01:12:53,439 --> 01:12:56,800
Speaker 3: to find the obscure most obscure record fucking tech and

1422
01:12:56,880 --> 01:12:58,240
Speaker 3: still they wasn't thinking about that.

1423
01:12:58,320 --> 01:12:59,240
Speaker 2: There was like, Yo, we.

1424
01:12:59,280 --> 01:13:01,479
Speaker 3: Want to rhyme off with this, this and this, and

1425
01:13:01,520 --> 01:13:03,320
Speaker 3: I was like, nah, we're not going off of that.

1426
01:13:03,640 --> 01:13:05,760
Speaker 3: So Buck was like, y'all want to rhym off the

1427
01:13:05,800 --> 01:13:09,040
Speaker 3: Barry White stuff. And then one thing about Buck, he

1428
01:13:09,080 --> 01:13:10,920
Speaker 3: talks to you like he's a car salesman, so you

1429
01:13:10,960 --> 01:13:13,479
Speaker 3: don't feel like you bind a goddamn car from this dude.

1430
01:13:15,520 --> 01:13:18,200
Speaker 2: He says to me, hey, man, because Barry White was

1431
01:13:18,240 --> 01:13:21,559
Speaker 2: a gangster man. He was a gangster and we need

1432
01:13:21,600 --> 01:13:24,439
Speaker 2: to keep the gangster vibe going. And I'm looking at

1433
01:13:24,479 --> 01:13:25,719
Speaker 2: him like no, but they don't get.

1434
01:13:25,640 --> 01:13:30,599
Speaker 7: The funk away from me, yo. But at the end

1435
01:13:30,600 --> 01:13:33,559
Speaker 7: of the day, it was like, Yo, we did it.

1436
01:13:33,760 --> 01:13:35,920
Speaker 7: And that was.

1437
01:13:38,040 --> 01:13:40,760
Speaker 4: That's crazy because as a a like a I don't

1438
01:13:40,800 --> 01:13:42,439
Speaker 4: want to say a female hip hop fan in a way,

1439
01:13:42,439 --> 01:13:45,360
Speaker 4: but it just crazy that that was his motivation. Meanwhile,

1440
01:13:45,479 --> 01:13:47,320
Speaker 4: I'm sure that some of us girls was listening like,

1441
01:13:47,400 --> 01:13:49,280
Speaker 4: oh shit, this nigga can slow it down.

1442
01:13:49,320 --> 01:13:51,920
Speaker 9: This shit is dope. Like I wasn't even thinking about it.

1443
01:13:52,040 --> 01:13:54,280
Speaker 4: From a very white being a gangster. It was more

1444
01:13:54,360 --> 01:13:57,400
Speaker 4: like what Barry White's you know, public perception is.

1445
01:13:57,520 --> 01:14:01,120
Speaker 2: So that wasn't trust me, that wasn't attention. He was

1446
01:14:01,240 --> 01:14:04,280
Speaker 2: like he could try was trying to fit the moment

1447
01:14:04,520 --> 01:14:07,080
Speaker 2: and of what we were trying.

1448
01:14:06,880 --> 01:14:11,240
Speaker 5: To do production wise, like what did you learn making

1449
01:14:11,320 --> 01:14:16,120
Speaker 5: the shining that you didn't know like that production techniques

1450
01:14:16,120 --> 01:14:17,200
Speaker 5: and whatnot?

1451
01:14:17,360 --> 01:14:20,799
Speaker 1: Like how did you get wiser progression steps?

1452
01:14:21,120 --> 01:14:25,000
Speaker 2: Because we recorded into the stage from twelve midnight to

1453
01:14:25,120 --> 01:14:30,800
Speaker 2: six in the morning. So at D and D, at

1454
01:14:30,920 --> 01:14:32,639
Speaker 2: D and D twelve midnight, what.

1455
01:14:32,720 --> 01:14:34,840
Speaker 5: Is it about D and D? Like why would y'all

1456
01:14:35,000 --> 01:14:37,719
Speaker 5: use D and D? They have never flushed that toilet

1457
01:14:37,880 --> 01:14:40,000
Speaker 5: like in twenty years, Yo.

1458
01:14:40,240 --> 01:14:42,479
Speaker 2: Hold on, hold on? All the focus said, I remember

1459
01:14:42,520 --> 01:14:45,840
Speaker 2: when I bring you D D. Yeah, it was like, Yo,

1460
01:14:46,000 --> 01:14:47,760
Speaker 2: this place is crazy.

1461
01:14:48,200 --> 01:14:53,720
Speaker 1: Yeah, man, because I was a tourist from Yeah, you know,

1462
01:14:53,840 --> 01:14:54,800
Speaker 1: I've told this.

1463
01:14:54,840 --> 01:14:58,479
Speaker 5: Story before, but my favorite well, I mean D and

1464
01:14:58,520 --> 01:15:05,280
Speaker 5: D was just a grimy Yeah it was. I don't

1465
01:15:05,400 --> 01:15:07,439
Speaker 5: want to say it's like the projects of studios, but

1466
01:15:08,240 --> 01:15:11,960
Speaker 5: it was like you come in, no, it's just super grimy.

1467
01:15:11,960 --> 01:15:16,320
Speaker 5: It's like blunt ashes from yesteryear still on the floor.

1468
01:15:17,000 --> 01:15:19,880
Speaker 5: Bathrooms barely worked the day that you guys worked on

1469
01:15:19,960 --> 01:15:20,719
Speaker 5: silent treatment.

1470
01:15:21,200 --> 01:15:23,960
Speaker 1: Right when you know, the pool table is in.

1471
01:15:23,920 --> 01:15:27,639
Speaker 5: The hallway right right, right, dog, for like forty five

1472
01:15:27,640 --> 01:15:33,599
Speaker 5: minutes straight, only heard this bell ringing, sing ding thing.

1473
01:15:33,960 --> 01:15:37,280
Speaker 5: After forty five minutes of that, I snuck to the

1474
01:15:37,360 --> 01:15:40,759
Speaker 5: other room to see where that that bell was doing, right,

1475
01:15:41,479 --> 01:15:45,760
Speaker 5: And it was Premiere and kars one right, yeah, starting

1476
01:15:45,800 --> 01:15:47,960
Speaker 5: the genesis of what we would know is MC's act

1477
01:15:48,000 --> 01:15:51,599
Speaker 5: like they don't know, like they were literally working on

1478
01:15:51,640 --> 01:15:53,639
Speaker 5: that while you guys were in the b room working

1479
01:15:53,680 --> 01:15:54,800
Speaker 5: on the solid treatment.

1480
01:15:55,120 --> 01:15:57,600
Speaker 7: But actually it was backwards when a room and for

1481
01:15:57,760 --> 01:15:59,880
Speaker 7: me and them in the b room a few room

1482
01:15:59,920 --> 01:16:01,720
Speaker 7: is yeah, the room was.

1483
01:16:01,720 --> 01:16:03,519
Speaker 8: Beat monitors in the b room was Premiere.

1484
01:16:04,360 --> 01:16:07,160
Speaker 2: But you know what is right, man, D and D

1485
01:16:07,360 --> 01:16:08,759
Speaker 2: was the project of the studio.

1486
01:16:10,000 --> 01:16:12,679
Speaker 7: Here's the thing, here's the thing with D and D. Right,

1487
01:16:13,040 --> 01:16:15,000
Speaker 7: I'm gonna break down D n D. I'm break down

1488
01:16:15,120 --> 01:16:16,040
Speaker 7: the whole thing with D and D.

1489
01:16:16,280 --> 01:16:17,640
Speaker 8: Right, D and D.

1490
01:16:18,920 --> 01:16:23,559
Speaker 7: First of all, we started at Calliope. Coliop had no

1491
01:16:24,040 --> 01:16:29,280
Speaker 7: outboard gear whatsoever. The outboard gear consisted of a tape

1492
01:16:29,320 --> 01:16:35,479
Speaker 7: that a that deck, I mean a that recorder. Who

1493
01:16:36,280 --> 01:16:38,840
Speaker 7: it was a you know they had no outboard gear

1494
01:16:38,880 --> 01:16:40,280
Speaker 7: in Calliope.

1495
01:16:40,320 --> 01:16:43,240
Speaker 1: But by Power worked there in three runs.

1496
01:16:43,640 --> 01:16:46,760
Speaker 8: But that's why Bob Power is a genius.

1497
01:16:46,400 --> 01:16:47,880
Speaker 1: Because he had nothing to work with.

1498
01:16:48,120 --> 01:16:53,160
Speaker 7: Exactly right, right, Coliopy. What happened was we got kicked

1499
01:16:53,200 --> 01:16:54,080
Speaker 7: out of Calliope.

1500
01:16:54,840 --> 01:17:00,000
Speaker 5: How did you get kicked out of That means another story.

1501
01:17:00,760 --> 01:17:05,000
Speaker 2: So we're recording. I forgot we were recording maybe slave

1502
01:17:05,160 --> 01:17:09,360
Speaker 2: or something, and Havoc came to visit us in the studio.

1503
01:17:09,439 --> 01:17:12,959
Speaker 9: He said, Havoc, because.

1504
01:17:12,760 --> 01:17:15,240
Speaker 2: Havoc is on you the man. So he had came

1505
01:17:15,320 --> 01:17:19,080
Speaker 2: to the studio to visit us. And the guy who

1506
01:17:19,120 --> 01:17:21,400
Speaker 2: owned Callipe his name is Chris. He lived in Jersey.

1507
01:17:21,880 --> 01:17:25,599
Speaker 2: He left the studio to go home because again we

1508
01:17:25,640 --> 01:17:30,599
Speaker 2: recorded twelve May ninety six at six am, Havoc somehow

1509
01:17:30,600 --> 01:17:35,439
Speaker 2: tripped the alarm. Right, Chris had to come back home

1510
01:17:35,560 --> 01:17:39,160
Speaker 2: from his house all the way back to Manhattan to

1511
01:17:39,280 --> 01:17:41,720
Speaker 2: thirtieth Street, and he was mad. So he was like,

1512
01:17:41,880 --> 01:17:43,840
Speaker 2: you guys tripped the alarm. Be guys, we're doing something

1513
01:17:43,880 --> 01:17:46,599
Speaker 2: he wasn't supposed to do. You guys were banned from

1514
01:17:46,600 --> 01:17:50,599
Speaker 2: my studio. Get out, blah blah blah. So see he's

1515
01:17:50,680 --> 01:17:53,640
Speaker 2: the voisterous brother, fuck you, Well, I don't want to

1516
01:17:53,680 --> 01:17:57,200
Speaker 2: come back here time that way. And then we just left.

1517
01:17:58,760 --> 01:18:00,840
Speaker 8: Yeah, I took off. I took all my two inch

1518
01:18:00,920 --> 01:18:04,160
Speaker 8: tapes and left, like don't we out of here?

1519
01:18:04,960 --> 01:18:06,160
Speaker 1: Damn home on that night.

1520
01:18:07,040 --> 01:18:12,640
Speaker 7: The funny thing is, so that morning, I'm walking, I'm like,

1521
01:18:12,720 --> 01:18:13,920
Speaker 7: I have the two inch tapes.

1522
01:18:13,920 --> 01:18:16,560
Speaker 8: I'm taking them to Nervous Records.

1523
01:18:17,120 --> 01:18:18,679
Speaker 7: You know what I'm saying, because I'm not taking them home,

1524
01:18:19,560 --> 01:18:21,960
Speaker 7: So I'm taking them to Nervous Records.

1525
01:18:22,080 --> 01:18:24,040
Speaker 8: Nervous Records was in Times Square at the time.

1526
01:18:24,760 --> 01:18:28,439
Speaker 7: Nervous Records was on Broadway between forty third and forty fourth,

1527
01:18:28,880 --> 01:18:34,240
Speaker 7: right across from MTV. So I'm walking to Nervous Records.

1528
01:18:34,320 --> 01:18:37,920
Speaker 7: I turned the corner of Broadway. Who do I bump

1529
01:18:37,960 --> 01:18:42,040
Speaker 7: into Premiere and I'm like yo. So Premiere is like, yo,

1530
01:18:42,120 --> 01:18:44,000
Speaker 7: you know what's up with that album? How's it going?

1531
01:18:44,360 --> 01:18:46,040
Speaker 7: And I'm like, yo, man, we just got kicked out

1532
01:18:46,040 --> 01:18:49,599
Speaker 7: of Calliope blah blah blah blah. And Premiere says to me, look,

1533
01:18:50,360 --> 01:18:54,120
Speaker 7: I'm at this studio. I'm the only hip hop dude there.

1534
01:18:54,800 --> 01:18:58,720
Speaker 7: Come by and YO, check it out. You might like it.

1535
01:18:59,080 --> 01:19:01,120
Speaker 7: You can record there we beat only hip hop dudes.

1536
01:19:01,160 --> 01:19:05,960
Speaker 7: They're working And I was like beat so permire. This

1537
01:19:06,000 --> 01:19:08,920
Speaker 7: is exactly what he says to me. My session starts

1538
01:19:08,960 --> 01:19:12,440
Speaker 7: at twelve. I'll be there around three four, so come

1539
01:19:12,520 --> 01:19:14,960
Speaker 7: come come through. And I was like I And I

1540
01:19:15,160 --> 01:19:19,240
Speaker 7: went and checked out D and D. Premier showed me

1541
01:19:19,280 --> 01:19:22,240
Speaker 7: his room, which was Studio B, and I was like, Yo,

1542
01:19:22,280 --> 01:19:26,160
Speaker 7: this is dope. And then Dave from D and D

1543
01:19:26,560 --> 01:19:30,800
Speaker 7: takes me to Studio A. And when I walked into

1544
01:19:30,800 --> 01:19:36,040
Speaker 7: the Studio A, I was like, Yo, this is it.

1545
01:19:36,880 --> 01:19:39,959
Speaker 7: Like Studio A just had it sounded like my basement.

1546
01:19:40,760 --> 01:19:42,840
Speaker 7: And I turned around and looked at the outboard gear.

1547
01:19:42,880 --> 01:19:45,280
Speaker 7: I seen they had mad They had enough outboard gear

1548
01:19:45,320 --> 01:19:48,040
Speaker 7: in there, you know. And I was like, Yo, this

1549
01:19:48,200 --> 01:19:50,920
Speaker 7: is it. And what was the first session we did?

1550
01:19:50,960 --> 01:19:52,800
Speaker 2: What? Maybe I got you open?

1551
01:19:53,640 --> 01:19:54,599
Speaker 8: Yeah, I got you open.

1552
01:19:55,120 --> 01:19:56,080
Speaker 2: I think I got you open.

1553
01:19:56,760 --> 01:19:58,880
Speaker 8: Yeah, it was the first session we did there. And

1554
01:19:58,960 --> 01:20:02,120
Speaker 8: once we did the secon there, we never left.

1555
01:20:02,680 --> 01:20:04,439
Speaker 1: Wow, we never.

1556
01:20:04,320 --> 01:20:06,240
Speaker 8: Left, like and it was like And the thing about

1557
01:20:06,320 --> 01:20:10,080
Speaker 8: D and D is D and D had the sound

1558
01:20:11,320 --> 01:20:14,880
Speaker 8: like that m C I board. They had an m

1559
01:20:14,960 --> 01:20:16,120
Speaker 8: C I tape machine.

1560
01:20:18,000 --> 01:20:22,200
Speaker 7: Yeah, and it sounded nice and warm in there, like

1561
01:20:22,680 --> 01:20:25,360
Speaker 7: you know, we went to Battery. Battery was nice, but

1562
01:20:25,400 --> 01:20:29,040
Speaker 7: it was too clean for what we Yeah, and it's

1563
01:20:29,040 --> 01:20:33,200
Speaker 7: like D and D fit us right now. Now, let

1564
01:20:33,200 --> 01:20:36,840
Speaker 7: me explain the bathroom thing. The bathroom you went to

1565
01:20:37,439 --> 01:20:41,120
Speaker 7: was not the real bathroom. The real bathroom was in

1566
01:20:41,160 --> 01:20:48,639
Speaker 7: the office. That bathroom you went to was the bullshit bathroom.

1567
01:20:49,200 --> 01:20:52,040
Speaker 7: You know what I'm saying. But yeah, at the end

1568
01:20:52,080 --> 01:20:53,880
Speaker 7: of the day, we went to D and D and

1569
01:20:53,920 --> 01:20:56,840
Speaker 7: we just fell in love. And I'm the I'm the

1570
01:20:56,880 --> 01:21:00,880
Speaker 7: nerd geek nerd when it comes to like recording, and

1571
01:21:01,080 --> 01:21:04,000
Speaker 7: you know, I'm the dude that YO use the pull

1572
01:21:04,120 --> 01:21:05,439
Speaker 7: tech used it like that's me.

1573
01:21:06,880 --> 01:21:11,200
Speaker 8: Walk is just the yo. I know these walks knowledge

1574
01:21:11,200 --> 01:21:12,760
Speaker 8: of records, like.

1575
01:21:12,800 --> 01:21:14,479
Speaker 7: You know, and I tell people this all the time,

1576
01:21:14,680 --> 01:21:17,640
Speaker 7: walks knowledge of records. You're not gonna find nobody that

1577
01:21:17,680 --> 01:21:19,240
Speaker 7: has that knows more about.

1578
01:21:19,000 --> 01:21:19,559
Speaker 8: Records than war.

1579
01:21:20,880 --> 01:21:21,560
Speaker 1: I agree.

1580
01:21:21,640 --> 01:21:23,400
Speaker 7: If you if you go to Walk and say y'all

1581
01:21:23,479 --> 01:21:26,160
Speaker 7: need a record with a drum that sounds like there's

1582
01:21:26,280 --> 01:21:28,160
Speaker 7: walk not out of ten, will pick out three records

1583
01:21:28,160 --> 01:21:29,680
Speaker 7: and go, Yo, check these out.

1584
01:21:29,880 --> 01:21:30,160
Speaker 1: Wow.

1585
01:21:31,680 --> 01:21:34,400
Speaker 3: He is the nerd of the miners, and I'm the

1586
01:21:34,439 --> 01:21:39,720
Speaker 3: record guy. That's why my camera ain't working because because he's.

1587
01:21:39,080 --> 01:21:41,160
Speaker 7: Like and and even with D and D like Dan.

1588
01:21:41,280 --> 01:21:44,000
Speaker 7: The thing with D and D was, I learned how

1589
01:21:44,000 --> 01:21:48,000
Speaker 7: to engineer at D and D. Okay, like I learned

1590
01:21:48,000 --> 01:21:51,680
Speaker 7: the patch Bay, I learned what Mike t Use I

1591
01:21:51,800 --> 01:21:54,000
Speaker 7: learned like D and D is what taught me.

1592
01:21:54,200 --> 01:21:57,120
Speaker 8: The way I record today is what I learned the

1593
01:21:57,200 --> 01:21:57,559
Speaker 8: D and D.

1594
01:21:59,200 --> 01:22:04,160
Speaker 7: And you know, during those sessions, I was watching everything

1595
01:22:04,200 --> 01:22:07,320
Speaker 7: like and as a matter of fact, who got the

1596
01:22:07,520 --> 01:22:12,800
Speaker 7: props was recorded at such a sound studio with with

1597
01:22:13,120 --> 01:22:16,360
Speaker 7: uh slow Moo Son the field was the engineer. What

1598
01:22:16,560 --> 01:22:19,320
Speaker 7: happened was me and SlowMo got into a big argument

1599
01:22:19,680 --> 01:22:21,519
Speaker 7: because I was telling him how I want the record

1600
01:22:21,520 --> 01:22:25,559
Speaker 7: to sound, and slow Mo goes, oh, you think you

1601
01:22:25,600 --> 01:22:29,120
Speaker 7: know everything? You mixed the record. The mix you hear

1602
01:22:29,160 --> 01:22:32,040
Speaker 7: on that record is the mix that I did. Uh.

1603
01:22:32,400 --> 01:22:34,760
Speaker 1: He wanted to clean it up now he.

1604
01:22:34,720 --> 01:22:36,280
Speaker 8: Yeah, he wanted to clean up and he wanted to

1605
01:22:36,360 --> 01:22:37,640
Speaker 8: sound like a like.

1606
01:22:37,680 --> 01:22:39,640
Speaker 7: He was like, you gotta make the you gotta make

1607
01:22:39,640 --> 01:22:43,120
Speaker 7: the drums sound like this, ah that drum loop. Oh,

1608
01:22:43,160 --> 01:22:45,599
Speaker 7: you need a drum machine. And I'm like, no, you don't.

1609
01:22:45,720 --> 01:22:48,720
Speaker 7: I know what I'm doing here, and it you know,

1610
01:22:48,880 --> 01:22:50,960
Speaker 7: and that session was so bananas. It got to the

1611
01:22:51,000 --> 01:22:54,559
Speaker 7: point I think walk came and something was said, what

1612
01:22:54,720 --> 01:22:57,840
Speaker 7: was like, y'a mout before I killed somebody?

1613
01:22:58,680 --> 01:22:59,320
Speaker 8: Like it was that.

1614
01:22:59,439 --> 01:23:03,160
Speaker 7: Session where so bananas, like I mixed, I mixed that

1615
01:23:03,200 --> 01:23:06,639
Speaker 7: and I mixed the B side fuck it up because

1616
01:23:06,680 --> 01:23:08,920
Speaker 7: it was like, yo, I knew what sound we was

1617
01:23:08,960 --> 01:23:13,920
Speaker 7: looking for, you know, and yo, like after that, I was.

1618
01:23:13,880 --> 01:23:15,960
Speaker 8: Like, you know what we need to go we you know,

1619
01:23:16,120 --> 01:23:16,719
Speaker 8: when we went.

1620
01:23:16,600 --> 01:23:21,240
Speaker 7: To Calliope, went to Calliope because Calliope was cheap and

1621
01:23:21,280 --> 01:23:23,479
Speaker 7: Callipee was a studio that anybody was. They had like

1622
01:23:23,479 --> 01:23:27,280
Speaker 7: a special package from midnight to six am. I think

1623
01:23:27,320 --> 01:23:29,240
Speaker 7: we was getting the room for what twenty five an hour?

1624
01:23:29,320 --> 01:23:29,559
Speaker 8: Walk?

1625
01:23:30,000 --> 01:23:32,320
Speaker 1: Yeah, what was it peak hours?

1626
01:23:32,720 --> 01:23:35,880
Speaker 8: It was like what sixty eighty maybe one hundred?

1627
01:23:36,600 --> 01:23:39,599
Speaker 5: And you're saying that D and D was quote the

1628
01:23:39,640 --> 01:23:42,600
Speaker 5: non hip hop spot. What were they doing before you

1629
01:23:42,720 --> 01:23:45,880
Speaker 5: guys turned it into hip hop's own freestyle music?

1630
01:23:46,000 --> 01:23:49,519
Speaker 8: And yeah, freestyle and they did like they did the

1631
01:23:49,600 --> 01:23:50,200
Speaker 8: Fat Boys.

1632
01:23:50,240 --> 01:23:52,599
Speaker 7: Actually was like I think the first dudes that recorded there,

1633
01:23:52,640 --> 01:23:55,920
Speaker 7: the hip hop dudes, they recorded one or two records there,

1634
01:23:56,520 --> 01:24:01,960
Speaker 7: but they they did a lot of freestyle stuff. They

1635
01:24:02,000 --> 01:24:04,840
Speaker 7: did a couple of reggae records, but they was known

1636
01:24:04,840 --> 01:24:05,760
Speaker 7: for like dance.

1637
01:24:05,520 --> 01:24:09,479
Speaker 1: Stevie B And Yeah.

1638
01:24:09,960 --> 01:24:11,960
Speaker 8: One time we was in the studio and Noel was.

1639
01:24:11,920 --> 01:24:13,960
Speaker 1: There silent morning Noel.

1640
01:24:14,320 --> 01:24:16,960
Speaker 8: I'm looking at him like, what are you doing?

1641
01:24:18,439 --> 01:24:18,719
Speaker 1: Nice?

1642
01:24:19,160 --> 01:24:21,400
Speaker 8: But yeah, that's what they was. They was doing dances.

1643
01:24:21,520 --> 01:24:23,920
Speaker 2: One thing about d n D. You will meet anybody

1644
01:24:23,960 --> 01:24:26,720
Speaker 2: in dn D like people you would even think that

1645
01:24:26,800 --> 01:24:29,760
Speaker 2: would be there every Saturday. If we were record on

1646
01:24:29,840 --> 01:24:32,240
Speaker 2: a Saturday to Shina Arno will be in there doing

1647
01:24:32,240 --> 01:24:33,240
Speaker 2: her demoya.

1648
01:24:33,360 --> 01:24:34,679
Speaker 9: Wow.

1649
01:24:39,760 --> 01:24:39,880
Speaker 1: Yo.

1650
01:24:39,960 --> 01:24:42,280
Speaker 5: Can you talk about working with U Sean Price and

1651
01:24:42,479 --> 01:24:44,600
Speaker 5: like rock and rock from Helter Skelter.

1652
01:24:45,160 --> 01:24:48,280
Speaker 2: Yo, that dude was a different guy.

1653
01:24:48,479 --> 01:24:50,479
Speaker 6: Yeah.

1654
01:24:50,680 --> 01:24:54,439
Speaker 2: Your one day we started working, we were working on

1655
01:24:54,600 --> 01:24:58,280
Speaker 2: maybe the Sean and I'm not sure, but posstive news

1656
01:24:58,320 --> 01:24:59,920
Speaker 2: that came to see me in the studio.

1657
01:25:01,200 --> 01:25:03,040
Speaker 3: I bring him up, says I wanted to introduce him

1658
01:25:03,040 --> 01:25:06,799
Speaker 3: to rock and rock. So I bring Passing. First person

1659
01:25:06,800 --> 01:25:10,880
Speaker 3: we see is Sean So I said, Yo, Sean, Yo,

1660
01:25:10,960 --> 01:25:15,280
Speaker 3: Yo rock, this is my man, Mrs past Pass, this

1661
01:25:15,439 --> 01:25:19,679
Speaker 3: is rock. You know what he says to Pass Yo, Son,

1662
01:25:19,720 --> 01:25:22,880
Speaker 3: I'm nice, Son, I'm not Son. I could book you

1663
01:25:23,000 --> 01:25:25,360
Speaker 3: on this mic son, I'm nice. I'm nice.

1664
01:25:25,360 --> 01:25:30,639
Speaker 2: I bust anybody as son what what I said? Please

1665
01:25:30,680 --> 01:25:37,960
Speaker 2: excuse him? Face like yo, yo, he's impossitive face like

1666
01:25:37,960 --> 01:25:39,439
Speaker 2: Papa is like, yeah, what the is going on?

1667
01:25:39,760 --> 01:25:44,160
Speaker 3: I'm like, please excuse him. This is just how he is.

1668
01:25:44,240 --> 01:25:47,040
Speaker 3: This is this is this hen But that's how he was.

1669
01:25:47,080 --> 01:25:50,599
Speaker 5: He was like a jokest But yeah, I've seen many

1670
01:25:51,080 --> 01:25:55,000
Speaker 5: sides of him, Like right right, he could have been

1671
01:25:55,040 --> 01:25:55,519
Speaker 5: a comedian.

1672
01:25:55,880 --> 01:25:57,920
Speaker 2: Yeah, he could have been a comedian. He was a

1673
01:25:57,960 --> 01:25:59,439
Speaker 2: great guy. Man, he was a great guy.

1674
01:25:59,720 --> 01:25:59,920
Speaker 8: Yeah.

1675
01:26:00,760 --> 01:26:05,200
Speaker 1: I just got to tell you the day that we

1676
01:26:05,479 --> 01:26:07,360
Speaker 1: first heard onslaught.

1677
01:26:07,200 --> 01:26:11,360
Speaker 2: On the I remember you told me, I remember if.

1678
01:26:11,160 --> 01:26:17,200
Speaker 5: You watch us and Buster rhymes on SNL. We snuck

1679
01:26:17,280 --> 01:26:20,120
Speaker 5: eight bars of that in on like we heard it

1680
01:26:20,160 --> 01:26:23,360
Speaker 5: that day. Yeah, and we were backstage having a meet

1681
01:26:23,360 --> 01:26:26,120
Speaker 5: and like, yo, man, I want to rhyme over that ship.

1682
01:26:26,800 --> 01:26:29,320
Speaker 5: And we were like, yo, we we didn't clear the

1683
01:26:29,320 --> 01:26:30,840
Speaker 5: song with SNL like we're supposed to do.

1684
01:26:30,880 --> 01:26:31,960
Speaker 1: You say, I don't give a fuck.

1685
01:26:32,160 --> 01:26:35,080
Speaker 5: Matter of fact, I thought it's gonna spit four bars too,

1686
01:26:35,400 --> 01:26:39,080
Speaker 5: and literally like for us, we thought we was like

1687
01:26:39,120 --> 01:26:41,760
Speaker 5: committing a crime, like yo, we ain't telling Sylvia Room

1688
01:26:41,800 --> 01:26:44,639
Speaker 5: we ain't telling nothing but the last last sixteen bars

1689
01:26:44,680 --> 01:26:47,200
Speaker 5: that ship we're doing that black Moon shit and literally

1690
01:26:47,240 --> 01:26:49,000
Speaker 5: you know, that's like one of my favorite shits.

1691
01:26:50,040 --> 01:26:53,639
Speaker 2: Yeah, that's all egle D. That's all eagle D. That's

1692
01:26:53,760 --> 01:26:55,800
Speaker 2: that's my favorite black Moon record of all time.

1693
01:26:56,280 --> 01:27:00,639
Speaker 7: Yo, that record is me playing them anymore, or based

1694
01:27:00,680 --> 01:27:02,479
Speaker 7: on it, is me playing them anymore.

1695
01:27:03,160 --> 01:27:03,360
Speaker 9: Oh.

1696
01:27:03,520 --> 01:27:09,800
Speaker 5: Also, Doug on you turntables and mic, Why what was

1697
01:27:09,880 --> 01:27:11,519
Speaker 5: on your mind when you did that kick pattern?

1698
01:27:11,640 --> 01:27:12,439
Speaker 1: To this day?

1699
01:27:13,800 --> 01:27:17,320
Speaker 5: Like I never heard someone not John Jebbo starts from

1700
01:27:17,320 --> 01:27:21,679
Speaker 5: the JBS do sixteen do sixteens on the kick drum?

1701
01:27:22,840 --> 01:27:25,880
Speaker 5: Who programmed that he did all that?

1702
01:27:26,000 --> 01:27:29,960
Speaker 8: What it was was, I was following a pattern of heartbeat.

1703
01:27:30,280 --> 01:27:30,479
Speaker 1: Right.

1704
01:27:30,520 --> 01:27:33,400
Speaker 5: But that's the thing. You could have chose the other

1705
01:27:33,439 --> 01:27:34,760
Speaker 5: part where they're just playing.

1706
01:27:34,520 --> 01:27:37,879
Speaker 1: The shit normal. I E. Buddy, you chose the hardest

1707
01:27:37,880 --> 01:27:38,599
Speaker 1: part to loop.

1708
01:27:39,400 --> 01:27:44,160
Speaker 7: Yeah, but that's just me like you, you're using the

1709
01:27:44,200 --> 01:27:46,000
Speaker 7: same record, but you're trying to be different.

1710
01:27:46,040 --> 01:27:46,920
Speaker 2: You're trying to be different.

1711
01:27:46,920 --> 01:27:47,400
Speaker 1: You don't want to.

1712
01:27:47,439 --> 01:27:49,479
Speaker 2: You don't want it to sound like it's the same.

1713
01:27:50,000 --> 01:27:50,439
Speaker 2: You don't want to.

1714
01:27:50,479 --> 01:27:52,240
Speaker 3: We didn't want to sound like daylight. You know what

1715
01:27:52,280 --> 01:27:55,360
Speaker 3: I'm saying so we wanted to be a different swing.

1716
01:27:55,400 --> 01:27:59,799
Speaker 7: Yeah, Like two turntables with a mic was basically a segue.

1717
01:28:00,560 --> 01:28:02,280
Speaker 7: We used to do that on the Like the first

1718
01:28:02,280 --> 01:28:04,720
Speaker 7: time we me and you met, which was at a

1719
01:28:04,720 --> 01:28:07,679
Speaker 7: show in Philly, we did two ton tables in the mic.

1720
01:28:08,560 --> 01:28:10,160
Speaker 8: That was a segue we used.

1721
01:28:10,800 --> 01:28:12,680
Speaker 7: You know, we got back home, we was like, yo,

1722
01:28:12,760 --> 01:28:15,120
Speaker 7: we need to make that into a record now. The

1723
01:28:15,200 --> 01:28:18,120
Speaker 7: whole thing happened with Nervous where you know, we left

1724
01:28:18,120 --> 01:28:18,839
Speaker 7: Nervous records.

1725
01:28:18,840 --> 01:28:19,880
Speaker 8: Oh blah blah blah.

1726
01:28:20,400 --> 01:28:24,720
Speaker 7: And we still like when we you know, when we

1727
01:28:24,760 --> 01:28:27,719
Speaker 7: got with me and Buck sat down to do Warzon,

1728
01:28:27,920 --> 01:28:30,519
Speaker 7: Buck was like the heartbeat thing.

1729
01:28:31,360 --> 01:28:34,160
Speaker 8: We need to do that, you know. But it's like

1730
01:28:34,280 --> 01:28:35,920
Speaker 8: we you know, like I said, it was us.

1731
01:28:36,040 --> 01:28:39,280
Speaker 5: It was just so risky to put sixteen bar patterns

1732
01:28:39,320 --> 01:28:45,519
Speaker 5: on the cake drum where it was, that's just unheard of.

1733
01:28:46,040 --> 01:28:46,960
Speaker 8: I'm a nerd.

1734
01:28:47,200 --> 01:28:50,040
Speaker 5: For me, it was like I spend more times like

1735
01:28:50,560 --> 01:28:54,600
Speaker 5: why would they do that? But will eventually happen? Is

1736
01:28:54,760 --> 01:28:56,599
Speaker 5: I now do that to this day and I can't

1737
01:28:56,600 --> 01:28:57,360
Speaker 5: stop doing it?

1738
01:28:58,360 --> 01:28:58,559
Speaker 8: Yeah.

1739
01:28:58,640 --> 01:29:00,519
Speaker 5: You ever to be so obsessed with something that you

1740
01:29:00,560 --> 01:29:04,479
Speaker 5: either don't understand or you hate, and then you.

1741
01:29:04,360 --> 01:29:05,720
Speaker 1: Wind up turning to that ship.

1742
01:29:06,080 --> 01:29:06,760
Speaker 2: Yeah.

1743
01:29:06,880 --> 01:29:10,400
Speaker 1: Yeah, like right now, I'm like that pattern.

1744
01:29:10,560 --> 01:29:15,040
Speaker 5: Probably I'm still obsessed over why you did it because

1745
01:29:15,439 --> 01:29:19,679
Speaker 5: it's kind of wrong, but still right, like, there.

1746
01:29:19,520 --> 01:29:21,479
Speaker 8: To be different, man, there to be different.

1747
01:29:21,760 --> 01:29:24,920
Speaker 2: Two mic was supposed to be a House Party two. Yeah,

1748
01:29:25,640 --> 01:29:27,759
Speaker 2: it was a House Party two soundtrack.

1749
01:29:27,960 --> 01:29:33,360
Speaker 7: Oh but we recorded that record twice. We recorded it

1750
01:29:33,400 --> 01:29:38,439
Speaker 7: once and when we record the first time, that's when

1751
01:29:38,439 --> 01:29:41,759
Speaker 7: we didn't regular. We hooped up the regular part and anything.

1752
01:29:42,320 --> 01:29:44,559
Speaker 7: And when we did that, it was like, Yo, this

1753
01:29:44,600 --> 01:29:49,280
Speaker 7: is gonna be dope. And then the whole nervous thing happened.

1754
01:29:49,600 --> 01:29:53,400
Speaker 7: So after that it was like whatever, you know. And

1755
01:29:53,400 --> 01:29:55,800
Speaker 7: then when Buck was like, let's do that heartbeat thing,

1756
01:29:55,840 --> 01:29:58,680
Speaker 7: it was like, you know what, we're gonna do it,

1757
01:29:58,720 --> 01:30:01,000
Speaker 7: but we're gonna do it a little different. You know,

1758
01:30:01,080 --> 01:30:02,479
Speaker 7: We're going to try to make it sound a little

1759
01:30:02,479 --> 01:30:05,240
Speaker 7: different than everybody else's virsion of heartbeat.

1760
01:30:05,800 --> 01:30:09,080
Speaker 1: Okay, you know, you know.

1761
01:30:09,560 --> 01:30:11,639
Speaker 5: I do also want to get to the fact that

1762
01:30:11,960 --> 01:30:15,600
Speaker 5: you guys were super early Like, of course post pandemic,

1763
01:30:16,600 --> 01:30:19,360
Speaker 5: everybody was DJing online and whatnot, and you guys were

1764
01:30:19,400 --> 01:30:23,439
Speaker 5: like super early on that. What was the genesis of

1765
01:30:23,479 --> 01:30:25,880
Speaker 5: you guys starting your own internet radio station.

1766
01:30:26,760 --> 01:30:31,680
Speaker 7: In nineteen ninety six, my homeboys Mark and Randy they

1767
01:30:31,720 --> 01:30:34,840
Speaker 7: had an internet show. Now this is nineteen ninety six,

1768
01:30:36,000 --> 01:30:39,639
Speaker 7: they had an internet show called eighty AA hip Hop. Yes,

1769
01:30:40,280 --> 01:30:43,840
Speaker 7: I'm marking. Randy ran eighty A hip Hop. They came

1770
01:30:43,880 --> 01:30:46,880
Speaker 7: to me and was like, YO, can you help us

1771
01:30:46,920 --> 01:30:49,760
Speaker 7: produce this show? And I was like, YO, why not,

1772
01:30:49,920 --> 01:30:52,360
Speaker 7: let's do it. And when I went to them, they

1773
01:30:52,479 --> 01:30:55,360
Speaker 7: was like, YO, why don't you do your own thing also?

1774
01:30:56,120 --> 01:30:58,240
Speaker 7: And when they said that to me, you know, the

1775
01:30:58,280 --> 01:31:02,960
Speaker 7: first thing I did was like your walk da and

1776
01:31:03,320 --> 01:31:05,479
Speaker 7: you know, we sat down and that's how Beat minus

1777
01:31:05,560 --> 01:31:06,320
Speaker 7: radio was born.

1778
01:31:07,000 --> 01:31:10,719
Speaker 8: Like Adia hip Hop is the first hip hop station.

1779
01:31:11,960 --> 01:31:15,799
Speaker 8: Second Beat Minus Okay, when.

1780
01:31:15,600 --> 01:31:19,080
Speaker 3: We started doing it online, Macio is the one that said, Yo,

1781
01:31:19,160 --> 01:31:20,640
Speaker 3: you need guys, need to bring it over here.

1782
01:31:20,680 --> 01:31:22,280
Speaker 2: That's why we were doing it on uth stream.

1783
01:31:22,560 --> 01:31:24,920
Speaker 7: Yeah, but that's down like down the line, like we

1784
01:31:25,080 --> 01:31:26,519
Speaker 7: you know, Beat minus radio.

1785
01:31:26,560 --> 01:31:29,080
Speaker 8: We was doing that nineties nineties.

1786
01:31:29,360 --> 01:31:32,160
Speaker 7: Then the two thousand thing with the dot com thing happened,

1787
01:31:32,880 --> 01:31:37,160
Speaker 7: Pseudo which was our parent company, did so that was

1788
01:31:37,200 --> 01:31:37,920
Speaker 7: the end of it.

1789
01:31:37,840 --> 01:31:38,400
Speaker 8: For a minute.

1790
01:31:38,439 --> 01:31:40,760
Speaker 7: But we did it like we had Beat minus radio

1791
01:31:40,840 --> 01:31:43,640
Speaker 7: offline on power on our one oh five.

1792
01:31:43,400 --> 01:31:46,320
Speaker 8: Point nine WNWK for a second.

1793
01:31:46,439 --> 01:31:50,240
Speaker 7: We had it there, and then what happened was we

1794
01:31:50,760 --> 01:31:54,960
Speaker 7: kind of started again with another internet radio station. But

1795
01:31:55,080 --> 01:31:59,400
Speaker 7: that radio station they they wasn't maintaining their equipment, so

1796
01:31:59,600 --> 01:32:01,600
Speaker 7: you know, one day we went there and equipment was

1797
01:32:01,600 --> 01:32:03,280
Speaker 7: messed up, so we decided to just leave.

1798
01:32:04,800 --> 01:32:09,519
Speaker 8: Ma Co was on U stream and Maco hits us up.

1799
01:32:09,640 --> 01:32:12,439
Speaker 7: Yo, y'all need y'all need to come on you stream

1800
01:32:12,560 --> 01:32:16,160
Speaker 7: and I logged on Mao's rocking. He's like, yo, E

1801
01:32:16,400 --> 01:32:20,240
Speaker 7: set up an account, make your own yo, dude, Yo,

1802
01:32:20,400 --> 01:32:21,559
Speaker 7: you need to be on here.

1803
01:32:21,760 --> 01:32:24,080
Speaker 8: And that's what we started Beat minus Radio again. What

1804
01:32:24,160 --> 01:32:25,320
Speaker 8: year was that, Walt Night.

1805
01:32:27,200 --> 01:32:27,439
Speaker 2: Eight?

1806
01:32:28,040 --> 01:32:32,200
Speaker 7: Two thousand and eight it was, And we restarted Beat

1807
01:32:32,240 --> 01:32:35,519
Speaker 7: minus Radio online two thousand and eight, but before that

1808
01:32:35,640 --> 01:32:39,000
Speaker 7: we had, you know, we was doing Beat minus Radio

1809
01:32:39,240 --> 01:32:43,040
Speaker 7: like podcast and Beat Minus Radio off flight, so we

1810
01:32:43,120 --> 01:32:43,799
Speaker 7: kept it alive.

1811
01:32:44,960 --> 01:32:47,120
Speaker 8: But two thousand and eight.

1812
01:32:47,040 --> 01:32:50,120
Speaker 7: Was when we restarted again and we were streaming live

1813
01:32:50,240 --> 01:32:54,320
Speaker 7: from right here in the house, okay, and we've been

1814
01:32:54,360 --> 01:32:56,120
Speaker 7: doing it from two thousand and eight till now.

1815
01:32:57,360 --> 01:33:01,559
Speaker 5: So with hip hop blooming at as it has since

1816
01:33:01,600 --> 01:33:05,120
Speaker 5: you first started, thirty years ago, it's going through a

1817
01:33:05,120 --> 01:33:06,480
Speaker 5: whole giant metamorphosis.

1818
01:33:07,200 --> 01:33:08,200
Speaker 1: How have you guys.

1819
01:33:07,920 --> 01:33:13,160
Speaker 5: Been able to navigate in terms of like do you

1820
01:33:13,200 --> 01:33:17,360
Speaker 5: still get a thrill of making beats? Are you challenging

1821
01:33:17,400 --> 01:33:21,160
Speaker 5: yourself to try different ideas out or whatnot? Or is

1822
01:33:21,200 --> 01:33:23,719
Speaker 5: it like, look, this is our formula, this is our recipe.

1823
01:33:23,760 --> 01:33:24,599
Speaker 1: We're sticking to it.

1824
01:33:25,400 --> 01:33:29,040
Speaker 5: Do you still get a thrill of digging for records

1825
01:33:29,080 --> 01:33:33,040
Speaker 5: in the whole process of unearthing some gems that the

1826
01:33:33,040 --> 01:33:35,760
Speaker 5: world hasn't heard before? Like, is it still a thrill

1827
01:33:35,800 --> 01:33:37,360
Speaker 5: for you to make and create stuff?

1828
01:33:38,240 --> 01:33:40,639
Speaker 2: Yeah, that's never that's never going to die. Like, that's

1829
01:33:41,200 --> 01:33:41,920
Speaker 2: that's our thing.

1830
01:33:42,120 --> 01:33:45,719
Speaker 3: Like we still follow the blueprint that we lay down,

1831
01:33:45,880 --> 01:33:48,559
Speaker 3: but we listen to what's around us, and we listen

1832
01:33:48,600 --> 01:33:52,679
Speaker 3: to everybody, and we try to add little pieces here

1833
01:33:52,680 --> 01:33:56,599
Speaker 3: and there, but we mainly keep our same sound, you know,

1834
01:33:56,640 --> 01:34:00,439
Speaker 3: and the same technique that we've been using for the

1835
01:34:00,479 --> 01:34:00,800
Speaker 3: dick and go.

1836
01:34:00,960 --> 01:34:03,880
Speaker 2: We still go digging like all the time.

1837
01:34:04,439 --> 01:34:07,080
Speaker 8: Yeah, all the time. It's not gonna stop.

1838
01:34:07,160 --> 01:34:08,479
Speaker 1: Like to stop.

1839
01:34:08,560 --> 01:34:10,720
Speaker 7: I always tell people that it's it's new equipment, but

1840
01:34:10,760 --> 01:34:13,920
Speaker 7: it's the same people, like, you know, instead of using

1841
01:34:13,920 --> 01:34:17,160
Speaker 7: the sp in the nine point fifty. Now we use

1842
01:34:17,560 --> 01:34:23,240
Speaker 7: NPC Renaissance, NPC X, able Tin and Pluggins.

1843
01:34:23,600 --> 01:34:26,320
Speaker 5: Did it take you long to adjust to that or

1844
01:34:26,360 --> 01:34:30,080
Speaker 5: was it like were you kicking and screaming to adjust

1845
01:34:30,120 --> 01:34:30,960
Speaker 5: to change?

1846
01:34:31,800 --> 01:34:35,960
Speaker 7: Meanwise, I'm the technology dude, yep, So I'm always looking

1847
01:34:36,000 --> 01:34:40,639
Speaker 7: in and trying to figure things out. Law finess Og

1848
01:34:41,320 --> 01:34:45,080
Speaker 7: dj Og and King of Chill taught me able to.

1849
01:34:46,040 --> 01:34:52,000
Speaker 5: Okay, you know, and you know Chill is now PREMI yeah, yeah,

1850
01:34:52,080 --> 01:34:54,040
Speaker 5: Premiere's full time engineering.

1851
01:34:54,080 --> 01:34:54,519
Speaker 1: He used to be.

1852
01:34:54,920 --> 01:34:58,639
Speaker 7: He likes dj like, those are the dudes that taught

1853
01:34:58,680 --> 01:35:02,360
Speaker 7: me able to. And it's like once I learned Ableton,

1854
01:35:03,320 --> 01:35:08,519
Speaker 7: I was like, what we could do this? And you know,

1855
01:35:08,800 --> 01:35:11,400
Speaker 7: and the same thing with the Renaissance, like you know,

1856
01:35:12,479 --> 01:35:14,680
Speaker 7: at the end of the day, like it made my

1857
01:35:14,840 --> 01:35:15,639
Speaker 7: job easier.

1858
01:35:16,280 --> 01:35:17,719
Speaker 1: What's your weapon of choice now?

1859
01:35:18,400 --> 01:35:22,160
Speaker 8: NPC Renaissance are Ableton and a whole bunch of records.

1860
01:35:22,479 --> 01:35:24,479
Speaker 1: Have you ever pulled out the old tools to try

1861
01:35:24,520 --> 01:35:24,880
Speaker 1: it again?

1862
01:35:25,680 --> 01:35:26,840
Speaker 8: I still haven't plugged up.

1863
01:35:26,920 --> 01:35:29,759
Speaker 7: Like what I do is every once in a blue

1864
01:35:30,720 --> 01:35:33,720
Speaker 7: I will sneak back to the sp because here's the thing.

1865
01:35:34,439 --> 01:35:37,840
Speaker 7: Everybody wants to emulate that sound. I don't have to

1866
01:35:37,840 --> 01:35:40,800
Speaker 7: emulate that I have one. Anybody wants that nine to

1867
01:35:40,840 --> 01:35:43,040
Speaker 7: fifty sound, I don't have to emulate. I just go

1868
01:35:43,120 --> 01:35:45,120
Speaker 7: sampling a nine to fifty and then dumping into.

1869
01:35:45,000 --> 01:35:49,640
Speaker 5: Ableton because the nine fifty is the one device that

1870
01:35:49,680 --> 01:35:52,080
Speaker 5: I feel like all the gods have used and swore

1871
01:35:52,160 --> 01:35:55,519
Speaker 5: by that I'm not. First of all, I can't find

1872
01:35:55,520 --> 01:35:57,840
Speaker 5: I think once I use the nine to fifty, like

1873
01:35:58,120 --> 01:36:00,160
Speaker 5: during dew, you want more, Like Bob had one, but

1874
01:36:00,680 --> 01:36:01,640
Speaker 5: he operated it.

1875
01:36:01,720 --> 01:36:02,160
Speaker 1: I didn't.

1876
01:36:02,439 --> 01:36:05,240
Speaker 5: What is it about the nine to fifty that holds

1877
01:36:05,240 --> 01:36:09,320
Speaker 5: holy for every god of hip hop production?

1878
01:36:10,240 --> 01:36:13,559
Speaker 2: It's a warm sound. Yeah, it's a nice warm sound

1879
01:36:13,600 --> 01:36:15,120
Speaker 2: to it.

1880
01:36:15,120 --> 01:36:17,599
Speaker 7: It's like the nine to fifty has a like back

1881
01:36:17,720 --> 01:36:20,759
Speaker 7: then when they made equipment, it had different The equipment

1882
01:36:20,800 --> 01:36:23,599
Speaker 7: had different sounds. It's like, for instance, like I tell

1883
01:36:23,640 --> 01:36:26,400
Speaker 7: everybody them, the best sound in NPC is the NPC

1884
01:36:26,400 --> 01:36:27,000
Speaker 7: three thousand.

1885
01:36:27,840 --> 01:36:29,840
Speaker 8: To me, that's the best sound in MPs.

1886
01:36:29,840 --> 01:36:30,920
Speaker 2: That's the best sound in one.

1887
01:36:32,240 --> 01:36:34,599
Speaker 8: The nine fifty also had a sound.

1888
01:36:35,479 --> 01:36:39,920
Speaker 7: And when you did filters in the nine fifty, I

1889
01:36:39,960 --> 01:36:44,720
Speaker 7: don't know what it was, but it just sounded crunchier

1890
01:36:45,320 --> 01:36:46,479
Speaker 7: and heavier and.

1891
01:36:46,520 --> 01:36:48,280
Speaker 8: Better, and it had that.

1892
01:36:50,560 --> 01:36:54,280
Speaker 7: Sound that all those old records had right, Like if

1893
01:36:54,280 --> 01:36:56,360
Speaker 7: you listen to a filter on a on a on

1894
01:36:56,400 --> 01:37:04,840
Speaker 7: a black own record, it's not just the baseline, it's the.

1895
01:37:02,200 --> 01:37:04,200
Speaker 1: The undercurrent that out.

1896
01:37:04,280 --> 01:37:08,040
Speaker 7: Yeah, right, And it's like the nine fifty at at

1897
01:37:08,200 --> 01:37:11,080
Speaker 7: you know, at the same time was like the SP

1898
01:37:11,240 --> 01:37:12,360
Speaker 7: twelve hundred and nine.

1899
01:37:12,200 --> 01:37:15,600
Speaker 8: Fifty was partners You couldn't break up that partnership.

1900
01:37:17,080 --> 01:37:20,160
Speaker 2: Now, keep in mind I used it a totally different equipment,

1901
01:37:20,280 --> 01:37:28,040
Speaker 2: Like I'm using an X and NPC one. Yeah, I

1902
01:37:28,040 --> 01:37:30,800
Speaker 2: gotta go back and four, so you know I use that.

1903
01:37:30,880 --> 01:37:33,000
Speaker 2: But before that, I was on the three thousand for

1904
01:37:33,080 --> 01:37:34,599
Speaker 2: like twenty years. I was on a three thousand.

1905
01:37:35,360 --> 01:37:36,120
Speaker 1: Couldn't let it go?

1906
01:37:36,600 --> 01:37:37,800
Speaker 2: Yeah, I can can do it.

1907
01:37:38,560 --> 01:37:41,360
Speaker 7: What's the dude that Now here's the thing. What's usually

1908
01:37:41,360 --> 01:37:42,479
Speaker 7: the dude that?

1909
01:37:42,640 --> 01:37:42,760
Speaker 8: Yo?

1910
01:37:42,960 --> 01:37:46,080
Speaker 7: Like, I gotta be like your war, your war, come on,

1911
01:37:46,200 --> 01:37:48,639
Speaker 7: walk your war war.

1912
01:37:49,680 --> 01:37:54,639
Speaker 8: Like the NPC X. We was in not Guitar Center.

1913
01:37:54,720 --> 01:37:59,920
Speaker 2: We was at maybe seven.

1914
01:38:00,080 --> 01:38:04,760
Speaker 7: Ash and Walters goes, let me get the NPC X

1915
01:38:06,080 --> 01:38:07,200
Speaker 7: and I'm looking at him.

1916
01:38:07,040 --> 01:38:10,000
Speaker 8: Like, really, this is what you're gonna buy. I'm buying

1917
01:38:10,000 --> 01:38:10,639
Speaker 8: a keyboard.

1918
01:38:11,560 --> 01:38:14,599
Speaker 7: It's like, let me get the NPC X and walk

1919
01:38:14,680 --> 01:38:17,719
Speaker 7: opened like walk gets into the house and you didn't

1920
01:38:17,720 --> 01:38:19,200
Speaker 7: see what for for weeks.

1921
01:38:19,400 --> 01:38:22,360
Speaker 8: And he's right upstairs, but I didn't see him for weeks.

1922
01:38:23,240 --> 01:38:25,679
Speaker 7: But that's how we bom farre with with with stuff

1923
01:38:25,760 --> 01:38:28,040
Speaker 7: like Yo, when I learned how to use the Renaissance

1924
01:38:28,760 --> 01:38:31,720
Speaker 7: walk looks at King of Chilling goes, You're not gonna

1925
01:38:31,720 --> 01:38:33,479
Speaker 7: see eat for another few months because you're gonna be

1926
01:38:33,479 --> 01:38:33,920
Speaker 7: in the house.

1927
01:38:33,960 --> 01:38:38,639
Speaker 5: Watch I see have interview, tried the New twelve hundred,

1928
01:38:40,400 --> 01:38:48,760
Speaker 5: the Wait, the Elliott Show, all your nerd talk, Yeah,

1929
01:38:49,200 --> 01:38:51,240
Speaker 5: talk about it, the truth.

1930
01:38:51,400 --> 01:38:56,759
Speaker 7: Yes, this guy right there, man, that dude is dangerous.

1931
01:38:57,360 --> 01:38:58,040
Speaker 1: I learned from.

1932
01:39:00,360 --> 01:39:04,599
Speaker 7: Thank you, sir, thank you. You're talking about the Pioneer joints. Yes,

1933
01:39:05,080 --> 01:39:08,519
Speaker 7: you know, I'm hitting Tiger, which is the Oh you

1934
01:39:08,560 --> 01:39:13,600
Speaker 7: know Static is partners now with them. Just bought those turntables.

1935
01:39:13,640 --> 01:39:15,719
Speaker 7: I was the first DJ to use them at Hitting

1936
01:39:15,760 --> 01:39:16,719
Speaker 7: Tiger is Saturday.

1937
01:39:17,280 --> 01:39:19,400
Speaker 8: Yo. I fell in love with those turns. Yo.

1938
01:39:19,479 --> 01:39:22,840
Speaker 7: I'm really like, I'm like, Yo, Wall, We're gonna have

1939
01:39:22,880 --> 01:39:25,200
Speaker 7: to do We're gonna have to do some legal business

1940
01:39:25,240 --> 01:39:25,680
Speaker 7: because I.

1941
01:39:25,680 --> 01:39:27,800
Speaker 8: Need a pair of those turntables.

1942
01:39:28,320 --> 01:39:35,160
Speaker 7: Those turntables are incredible. I fell in love with them. Turntables.

1943
01:39:35,160 --> 01:39:37,439
Speaker 7: Like I was like, you know what these turn this?

1944
01:39:37,680 --> 01:39:40,559
Speaker 7: I gotta get a pair. I gotta get a pair.

1945
01:39:41,800 --> 01:39:42,200
Speaker 1: All right.

1946
01:39:42,400 --> 01:39:44,840
Speaker 5: Last thing I know that you guys are you're you're

1947
01:39:44,840 --> 01:39:46,880
Speaker 5: working with Chris right on? Are you doing the whole

1948
01:39:46,920 --> 01:39:49,240
Speaker 5: album or just a single with Carris One?

1949
01:39:49,680 --> 01:39:49,880
Speaker 1: No?

1950
01:39:49,960 --> 01:39:51,280
Speaker 2: That single was from our album.

1951
01:39:52,000 --> 01:39:54,840
Speaker 1: Okay, Yeah, I was the impression that you're doing an entire.

1952
01:39:55,600 --> 01:39:57,519
Speaker 2: Let me tell you this. We were supposed to. We

1953
01:39:57,640 --> 01:40:01,160
Speaker 2: have so many songs with Chris. We were supposed to,

1954
01:40:01,200 --> 01:40:04,760
Speaker 2: but it's communication broke down, like I just you.

1955
01:40:04,720 --> 01:40:12,760
Speaker 1: Know, actually, you know, I'm sorry. That's will destroy you.

1956
01:40:13,320 --> 01:40:15,760
Speaker 3: That's the first single from our album that's coming out

1957
01:40:15,800 --> 01:40:18,760
Speaker 3: in May June, Stifle Creativity.

1958
01:40:19,120 --> 01:40:19,479
Speaker 8: We got.

1959
01:40:19,920 --> 01:40:22,559
Speaker 2: That was the first single. The next single is a song.

1960
01:40:22,640 --> 01:40:30,800
Speaker 3: We have a song called Mayea that's featuring Daylight, Rachie Chappelle, Pharaohmont,

1961
01:40:30,920 --> 01:40:33,639
Speaker 3: and Corey Glover from Living Color More Records.

1962
01:40:33,640 --> 01:40:34,240
Speaker 9: What else is on there?

1963
01:40:34,280 --> 01:40:38,600
Speaker 3: Because we got of course a black Moon song. We

1964
01:40:38,680 --> 01:40:43,479
Speaker 3: got Uh Steel and Fame from m O p On

1965
01:40:43,560 --> 01:40:46,840
Speaker 3: a song, We got Rusty Jokes, we got a z

1966
01:40:47,320 --> 01:40:50,240
Speaker 3: we got our Scratch.

1967
01:40:51,920 --> 01:40:52,360
Speaker 6: Scratch.

1968
01:40:53,880 --> 01:40:57,879
Speaker 3: Yeah, we got two songs from raz Cast Bishop Lamont

1969
01:41:00,160 --> 01:41:05,080
Speaker 3: I'm trying to remember we got on the album I

1970
01:41:05,120 --> 01:41:08,479
Speaker 3: always forget keep we gotta Keith Murray on the album

1971
01:41:08,680 --> 01:41:12,559
Speaker 3: We got Apathy Apathy, so we we are got some

1972
01:41:12,640 --> 01:41:13,200
Speaker 3: things coming.

1973
01:41:13,360 --> 01:41:14,599
Speaker 2: Summertime should be fun.

1974
01:41:15,120 --> 01:41:17,479
Speaker 1: Well at the end of the day, that's what it is. Yo.

1975
01:41:17,600 --> 01:41:20,439
Speaker 5: Man, I thank you too for doing this episode with

1976
01:41:20,520 --> 01:41:23,839
Speaker 5: us everything.

1977
01:41:23,960 --> 01:41:26,160
Speaker 1: You're the nicest gentleman in music.

1978
01:41:27,200 --> 01:41:28,360
Speaker 2: Thank you so much, sir.

1979
01:41:28,800 --> 01:41:30,640
Speaker 10: I just wanted to say, man like for just as

1980
01:41:30,680 --> 01:41:33,160
Speaker 10: a longtime fan of y'all's and just you know, being

1981
01:41:33,520 --> 01:41:36,760
Speaker 10: with LB first came out, y'all were one of the first, you.

1982
01:41:36,720 --> 01:41:38,559
Speaker 6: Know, one of the ogs to really show us love.

1983
01:41:38,720 --> 01:41:39,320
Speaker 6: You know what I'm saying.

1984
01:41:39,360 --> 01:41:42,160
Speaker 10: I remember, like Evil do you come into our album

1985
01:41:42,160 --> 01:41:43,440
Speaker 10: release party and stuff.

1986
01:41:43,680 --> 01:41:45,400
Speaker 6: And I got the work we did on the breaks

1987
01:41:45,439 --> 01:41:45,920
Speaker 6: and everything.

1988
01:41:46,720 --> 01:41:48,519
Speaker 2: I remember when we met, when we met up at

1989
01:41:48,600 --> 01:41:49,240
Speaker 2: Fat Beats.

1990
01:41:49,400 --> 01:41:51,840
Speaker 6: Yes, today, I told you to meet me at.

1991
01:41:51,760 --> 01:41:53,840
Speaker 2: Fat Beats that we were out.

1992
01:41:54,320 --> 01:41:55,719
Speaker 1: Yes, you gotta understand.

1993
01:41:55,800 --> 01:41:59,040
Speaker 7: It's like I'm a fan of y'all, you know what

1994
01:41:59,080 --> 01:42:01,080
Speaker 7: I'm saying, Like just like people are fan of mine,

1995
01:42:01,479 --> 01:42:04,960
Speaker 7: Like you know, like I'm that type person where it

1996
01:42:05,000 --> 01:42:07,559
Speaker 7: doesn't hurt me to give credit where credit is due.

1997
01:42:08,400 --> 01:42:10,120
Speaker 7: You know what I'm saying, Like, Yo, if you made

1998
01:42:10,160 --> 01:42:15,960
Speaker 7: something dope, trust me, I'm like this and like y'all

1999
01:42:16,000 --> 01:42:17,920
Speaker 7: inspired me to work. You know what I'm saying. Same

2000
01:42:17,960 --> 01:42:20,960
Speaker 7: thing with with quests, cause it's like he'll like when

2001
01:42:21,000 --> 01:42:24,040
Speaker 7: they did a gos a joint where y'all loop Sadday Night.

2002
01:42:24,720 --> 01:42:28,880
Speaker 6: Oh that's without a doubt, without a doubt, without a doubt.

2003
01:42:28,920 --> 01:42:32,439
Speaker 7: Yeah, I was like, Yo, this is kind of hot,

2004
01:42:32,479 --> 01:42:35,519
Speaker 7: but his drunk playing, Like, come on, I spend plenty

2005
01:42:35,560 --> 01:42:38,200
Speaker 7: of times where I stole a kick and stole a snare.

2006
01:42:38,439 --> 01:42:39,640
Speaker 1: You know that's what it's there for.

2007
01:42:39,720 --> 01:42:43,160
Speaker 4: Man, Can I just say something real quick y'all before

2008
01:42:43,200 --> 01:42:44,880
Speaker 4: y'all go, because me and Jake were just talking about this,

2009
01:42:45,040 --> 01:42:48,519
Speaker 4: the evolution of the backpacker and where it has gone

2010
01:42:48,680 --> 01:42:49,920
Speaker 4: and all the derivatives.

2011
01:42:50,240 --> 01:42:51,120
Speaker 9: It's just a beautiful thing.

2012
01:42:51,120 --> 01:42:52,400
Speaker 4: And I know sometimes it used to be a bad

2013
01:42:52,400 --> 01:42:54,759
Speaker 4: word because when people call me a backpacker, I be offended.

2014
01:42:55,200 --> 01:42:59,200
Speaker 9: But now it is a because.

2015
01:42:58,320 --> 01:43:00,799
Speaker 4: When they was David David shiny suits to me a backpacker,

2016
01:43:00,880 --> 01:43:01,600
Speaker 4: But now I'm just saying that.

2017
01:43:02,240 --> 01:43:04,040
Speaker 1: That was calling you a backpack.

2018
01:43:03,800 --> 01:43:05,520
Speaker 2: Yeah, who the hell is calling you a backpacker?

2019
01:43:05,680 --> 01:43:07,640
Speaker 4: Back when I was going to see y'all, when I

2020
01:43:07,680 --> 01:43:09,839
Speaker 4: was going to see boot Camp Click at the Ibacks

2021
01:43:09,840 --> 01:43:11,200
Speaker 4: and everybody else was going to the go go.

2022
01:43:11,280 --> 01:43:13,439
Speaker 9: He's wearing our backpacks at the club, like yeah, we

2023
01:43:13,479 --> 01:43:14,200
Speaker 9: was backpacking.

2024
01:43:15,920 --> 01:43:19,720
Speaker 7: Yes, at the end of the day, man, I'm just

2025
01:43:19,800 --> 01:43:22,000
Speaker 7: like this, this is definitely dope.

2026
01:43:22,000 --> 01:43:22,160
Speaker 8: Man.

2027
01:43:22,200 --> 01:43:24,760
Speaker 7: I want to thank y'all man for real. Walk put

2028
01:43:24,760 --> 01:43:31,080
Speaker 7: me on to the podcast, because what was like, you want, yo.

2029
01:43:31,680 --> 01:43:35,400
Speaker 2: This is your favorite podcast? Like I love this podcast.

2030
01:43:35,640 --> 01:43:38,840
Speaker 1: I think I have my road call ready to go.

2031
01:43:39,400 --> 01:43:41,240
Speaker 2: Oh, we're gonna do it.

2032
01:43:41,760 --> 01:43:44,559
Speaker 7: Walk came in here on some Joe guess for podcast

2033
01:43:44,600 --> 01:43:46,880
Speaker 7: we're doing, and I'm looking at him like, what's wrong

2034
01:43:46,920 --> 01:43:49,080
Speaker 7: with you?

2035
01:43:49,080 --> 01:43:51,000
Speaker 1: You did that like the cartoon cheer and you did

2036
01:43:51,000 --> 01:43:56,000
Speaker 1: that like a come on, like yeah, all right.

2037
01:43:56,080 --> 01:43:59,920
Speaker 5: So normally I do my sign off shout out to

2038
01:44:00,200 --> 01:44:05,320
Speaker 5: to the family of q os, but this one time, Sir.

2039
01:44:06,120 --> 01:44:07,840
Speaker 8: Evild's on the mix.

2040
01:44:07,960 --> 01:44:09,000
Speaker 2: Come on kick it.

2041
01:44:10,280 --> 01:44:13,120
Speaker 1: Thank you very much. We will see you next week,

2042
01:44:13,840 --> 01:44:25,160
Speaker 1: all right, so much. Thank you for listening to Quest

2043
01:44:25,200 --> 01:44:25,799
Speaker 1: Love Screams.

2044
01:44:26,200 --> 01:44:29,559
Speaker 13: This podcast is hosted by a Mere quest Love Thompson,

2045
01:44:29,920 --> 01:44:33,080
Speaker 13: Big Boss Man like yeah, Saint Clair so Black and

2046
01:44:33,160 --> 01:44:38,320
Speaker 13: the Black Myself, Fontigelo, Fonte Goldman, Sugar, Steve Mandell and

2047
01:44:38,600 --> 01:44:42,679
Speaker 13: Unpaid Bill Sherman. The executive producers are a Mere Quest,

2048
01:44:42,680 --> 01:44:46,400
Speaker 13: Love Thompson, Sean g and De Gunn, Bothered Brian Calhoun,

2049
01:44:46,760 --> 01:44:51,160
Speaker 13: Produced by Britney Benjamin, My Dog Cousin, Jay Payne, My

2050
01:44:51,200 --> 01:44:54,599
Speaker 13: Motherfucking Man and like he Is Saint Clair my work

2051
01:44:54,680 --> 01:44:57,080
Speaker 13: Wife edited by Alex Conroy.

2052
01:44:57,400 --> 01:44:59,880
Speaker 1: Produced for Our Heart by Noel Brown. Thank you for

2053
01:45:00,000 --> 01:45:04,840
Speaker 1: tune and then check us out next week. What's Love

2054
01:45:04,920 --> 01:45:11,799
Speaker 1: Supreme is a production of iHeart Radio. For more podcasts

2055
01:45:11,800 --> 01:45:16,200
Speaker 1: from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever

2056
01:45:16,200 --> 01:45:17,519
Speaker 1: you listen to your favorite shows.