WEBVTT - Questlove Supreme: Da Beatminerz 0:00:00.160 --> 0:00:03.040 Quest Love Supreme is a production of iHeartRadio. 0:00:10.320 --> 0:00:11.080 I'm just so. 0:00:10.960 --> 0:00:14.400 Happy that everybody showed up for this. DoD damn so 0:00:14.440 --> 0:00:17.720 I'm happy. You God damn you got missed the Coleman here. 0:00:17.800 --> 0:00:23.479 I'm fin you want to know. 0:00:24.520 --> 0:00:25.800 What let's start. 0:00:26.440 --> 0:00:28.680 I can already tell that this episode of Quest Love 0:00:28.760 --> 0:00:31.200 Supreme is going to be a special one. 0:00:31.480 --> 0:00:32.280 What can I say? 0:00:32.760 --> 0:00:35.440 I've known and worked with these gentlemen when I first 0:00:35.800 --> 0:00:40.080 got into the game. Oftentimes we talk about sort of 0:00:40.080 --> 0:00:45.800 pioneering shift change of where hip hop went in the 0:00:45.880 --> 0:00:49.320 early nineties, what we call the Renaissance period of hip hop, 0:00:49.320 --> 0:00:51.720 and often you hear the names, you know, Pete Rock, Premiere, 0:00:52.560 --> 0:00:57.000 the Uma, and you know Diamond D. Not to mention, 0:00:57.080 --> 0:00:59.600 I mean, it's not strictly New York. There was DJ 0:00:59.680 --> 0:01:02.320 Quick on the West Coast. Of course, Doctor Dre was 0:01:02.360 --> 0:01:04.679 doing stuff. Got to give a shot out to Prince 0:01:04.720 --> 0:01:10.440 Paul and also Extra p Lrish Professor organized Noise down South. 0:01:10.520 --> 0:01:14.279 Like there was a whole Jay Swift on the West Coast. 0:01:14.520 --> 0:01:19.960 There's a whole slew of producers that basically built upon. 0:01:19.920 --> 0:01:24.600 What Marley Ma and the Bomb Squad. I know. 0:01:24.640 --> 0:01:27.960 There's a lot of legends that I'm missing when doing 0:01:27.959 --> 0:01:33.440 this introduction. But for me, these two gentlemen are a 0:01:33.480 --> 0:01:37.240 part of a movement that often doesn't get enough credit 0:01:37.720 --> 0:01:43.160 for their level of hip hop production, their grimy level 0:01:43.200 --> 0:01:45.959 of hip hop production. And you know, they put numbers 0:01:45.959 --> 0:01:48.560 on the boards, and we just don't say it because 0:01:48.600 --> 0:01:51.800 it's so effortless. But yet and still, you know, if 0:01:51.840 --> 0:01:54.240 you watch, you can tell the sign of a good 0:01:54.240 --> 0:01:57.520 producer based on all these freestyle videos you see from 0:01:57.560 --> 0:02:01.040 the nineties, whatnot what's the music back drop they choose? 0:02:01.080 --> 0:02:05.000 And I guarantee you these gentlemen definitely have numbers on 0:02:05.000 --> 0:02:09.120 the boards as far as just really bringing a sound 0:02:09.160 --> 0:02:12.239 to New York, defining the sound of New York, even 0:02:12.520 --> 0:02:15.560 the roots work with him back in ninety five. But 0:02:15.560 --> 0:02:18.040 more than that, I just love to also state the 0:02:18.080 --> 0:02:22.120 fact that, despite what they like to let onto the public, 0:02:22.720 --> 0:02:26.080 these are the two nicest nerds I've. 0:02:25.880 --> 0:02:27.880 Ever met in my life. 0:02:29.440 --> 0:02:34.040 My habit of speaking Elizabethan and proper Gilded Age era 0:02:34.240 --> 0:02:38.920 English really comes from these two. To this day, i'd say, sir, ma'am, 0:02:39.360 --> 0:02:40.360 I learned from these two. 0:02:40.840 --> 0:02:44.560 No way, no way, no super way. 0:02:45.840 --> 0:02:49.679 Don't deny it, ladies and gentlemen, please welcome Evil T 0:02:50.720 --> 0:02:55.160 and his brother Mister Walker, known as the Beat minus 0:02:55.560 --> 0:02:56.840 on Quest Loves the pre. 0:02:58.520 --> 0:03:03.000 Thank you made Mama, I'm mad. 0:03:06.040 --> 0:03:10.919 You you be great man. 0:03:12.400 --> 0:03:16.160 What was doing for the past two weeks? 0:03:16.480 --> 0:03:22.640 Yo? Cush up supreme? Like, what's going crazy? 0:03:23.360 --> 0:03:23.640 Man? 0:03:24.000 --> 0:03:26.320 This is just we we just having a normal account, 0:03:26.720 --> 0:03:28.960 like we're gonna bust it up like we normally do. 0:03:29.040 --> 0:03:31.520 We don't do it enough. And I'm so glad because 0:03:31.520 --> 0:03:35.320 it's been a hot minute. I'll just start with my 0:03:35.360 --> 0:03:37.960 first question. How are you guys? How's it going. 0:03:38.320 --> 0:03:42.160 We're good, We're good. We're living. We're living, that's what 0:03:42.200 --> 0:03:42.600 we're doing. 0:03:43.280 --> 0:03:46.840 I'm having fun. I don't know about wal I'm having fun. 0:03:47.960 --> 0:03:50.400 That's all you can do. That is all you can do. 0:03:51.360 --> 0:03:53.880 Where are you guys right now as we speak? What? What? 0:03:53.880 --> 0:03:56.000 What part of the world are you guys in right now? 0:03:56.320 --> 0:04:00.160 We are in Bushwick, Brooklyn. The same house. Yeah, that 0:04:00.560 --> 0:04:04.120 same the same listen, the same crib that my mother 0:04:04.240 --> 0:04:06.600 branged this bump ass dude home. 0:04:09.720 --> 0:04:10.280 That's me. 0:04:12.360 --> 0:04:14.640 That house right, This is the house that we made 0:04:14.640 --> 0:04:17.120 all our records in and stuff like. 0:04:17.160 --> 0:04:22.200 Wait, I have a question to ask because oftentimes I 0:04:22.240 --> 0:04:28.800 have a theory that whenever someone channels in magic, especially 0:04:28.800 --> 0:04:33.160 with music, and specifically I'm thinking about Prince and I'm 0:04:33.160 --> 0:04:37.599 thinking about the Rizza as well, they'll come with a cavalcade. 0:04:37.080 --> 0:04:38.159 Just an entire. 0:04:39.520 --> 0:04:43.599 Slew of you know what I call manna from heaven 0:04:44.279 --> 0:04:48.520 that they particularly create in a certain spot. In Prince's case, 0:04:49.880 --> 0:04:56.800 his his bedroom turned studio. In THESS case Stapleton, you 0:04:56.839 --> 0:05:01.280 know at at in his project basement making those classic 0:05:01.320 --> 0:05:04.640 Wu Tang records, and then what happens is, you know, 0:05:04.680 --> 0:05:09.400 they hit payday and then they upgrade, and then it's not. 0:05:09.320 --> 0:05:11.040 Quite the same anymore. 0:05:10.720 --> 0:05:15.480 Is there a specific reason why that you're you're still 0:05:15.680 --> 0:05:17.960 in the same Like, is there a formula for you 0:05:18.040 --> 0:05:20.479 guys that that you feel will jinx you if you 0:05:20.520 --> 0:05:23.880 were to move elsewhere besides the basement. 0:05:24.760 --> 0:05:27.560 This is the family house. So we just chose to stay. 0:05:27.640 --> 0:05:29.279 I mean I moved out. 0:05:29.120 --> 0:05:31.600 For like five years when my son was born. I 0:05:31.600 --> 0:05:35.760 have moved to Flatbush, but I kept like my records here. 0:05:36.320 --> 0:05:38.279 I have moved my equipment, but I kept like my 0:05:38.400 --> 0:05:41.520 records and all my stuff here, so I kept coming Black. Plus, 0:05:41.560 --> 0:05:45.040 he had like the main part of the studio here, 0:05:45.080 --> 0:05:46.080 so I had to come back. 0:05:46.960 --> 0:05:49.839 It's what it is, is like, well, you know, on 0:05:49.839 --> 0:05:52.040 the walk left, of course I stole his recollection. 0:05:52.800 --> 0:05:53.839 I got to talk about that. 0:05:54.720 --> 0:05:57.039 But isn't it kind of like both of y'alls? 0:05:57.440 --> 0:06:01.520 Yeah, Fridays if we're trying to be nice, it's it's 0:06:01.720 --> 0:06:03.800 it's you know, it's both for ours, you know. 0:06:04.920 --> 0:06:08.440 Fifty to fifty for some reason, for some reason, sixty forty, 0:06:08.800 --> 0:06:12.800 but uh whatever, being here this is this is where 0:06:12.880 --> 0:06:17.000 this is like it like it's no way to explain it, 0:06:17.040 --> 0:06:19.200 like this is I feel like this is where we belong, 0:06:20.080 --> 0:06:22.440 you know what I'm saying, Like everything started here, like 0:06:22.800 --> 0:06:27.520 and this actual kitchen is where you know, me Bucking 0:06:27.680 --> 0:06:31.240 five did our stuff like this kitchen and the next room, 0:06:31.279 --> 0:06:33.640 which used to be Walt's bedroom now is the studio. 0:06:34.480 --> 0:06:37.720 This is where everything started. And it's like, well else, 0:06:37.839 --> 0:06:41.400 you know, like, yo, this is it. That's all I 0:06:41.400 --> 0:06:42.320 can say. This is it. 0:06:43.120 --> 0:06:45.080 What's the age difference between you two? 0:06:45.600 --> 0:06:46.279 Three years? 0:06:46.600 --> 0:06:47.520 Yeah? Three years? 0:06:47.800 --> 0:06:51.000 I'm the older I'm the older brother. Okay, I was 0:06:51.040 --> 0:06:52.520 the brother that wasn't supposed to make it. 0:06:52.560 --> 0:06:53.840 And you know what. 0:06:57.480 --> 0:07:01.520 Wait yeah you're like yo, that's oh that big Okay, 0:07:03.000 --> 0:07:04.400 what are you talking about. 0:07:04.880 --> 0:07:08.120 And he was the baby, like, oh. 0:07:08.160 --> 0:07:12.480 My god, he was when I was young, because I'm 0:07:12.520 --> 0:07:14.960 the I was the first DJ the family, and of 0:07:15.000 --> 0:07:18.240 course I was the first one to do production. But 0:07:18.800 --> 0:07:22.080 my mother kept cold signing for e. You know, little 0:07:22.080 --> 0:07:25.040 brother always going to hang with big brother. So every 0:07:25.040 --> 0:07:26.960 time my mother would be like, you're gonna let him. 0:07:26.920 --> 0:07:30.120 DJ, I said no, no, Ma, I can't. He said no, 0:07:30.200 --> 0:07:33.760 take your brother with you. And this guy used to 0:07:34.240 --> 0:07:37.320 he used to mix off beat and every day was 0:07:37.720 --> 0:07:41.440 all over the place, and my mother was his biggest cheerleader. 0:07:41.960 --> 0:07:44.280 That's my baby, My stop it. 0:07:44.680 --> 0:07:46.800 But you know what it is though, I got into 0:07:47.080 --> 0:07:50.720 you know what, Walk got into DJing because he wanted to, 0:07:50.840 --> 0:07:51.760 like that was his thing. 0:07:52.480 --> 0:07:55.920 And I got into it because I was jealous of war. 0:07:57.440 --> 0:08:00.840 And it was like he's deep Jane and getting all 0:08:00.880 --> 0:08:02.440 this attention and it's all. 0:08:02.320 --> 0:08:04.560 Cool, and I was like, I'm cool too. 0:08:05.480 --> 0:08:06.440 You mean I ain't cool. 0:08:06.960 --> 0:08:09.720 I'm better than him. I was trash. 0:08:11.160 --> 0:08:15.920 So what what was your first musical memory in life? 0:08:17.040 --> 0:08:21.560 My father bringing home a bunch of records, Like he 0:08:21.640 --> 0:08:24.200 used to bring records home all the time because he 0:08:24.240 --> 0:08:26.440 used to work on construction sites and stuff like that, 0:08:26.960 --> 0:08:29.480 and he had brang home like a pile of records, 0:08:29.560 --> 0:08:33.080 and I just went towards this one record and I 0:08:33.120 --> 0:08:36.120 still have that record to this day, Diana Ross presents 0:08:36.280 --> 0:08:36.959 Jackson five. 0:08:37.800 --> 0:08:38.200 Oh wow. 0:08:38.520 --> 0:08:41.800 And I just that made me fall in love with 0:08:42.559 --> 0:08:47.000 collecting records. And the first song I ever fell in 0:08:47.040 --> 0:08:50.400 love with, like this song stayed in my head was 0:08:50.400 --> 0:08:52.800 Living for the City Stevie Wonder. That was the first 0:08:52.840 --> 0:08:53.880 song I fell in love. 0:08:53.679 --> 0:08:56.679 With, staying. 0:08:56.720 --> 0:08:59.160 When you're saying he brought the record, you mean dumpster 0:08:59.280 --> 0:09:02.280 diving or your father would go record shopping. 0:09:02.679 --> 0:09:05.360 No, he would bring someone would give him a polo 0:09:05.440 --> 0:09:07.840 records and you would just bring the records home. So 0:09:07.920 --> 0:09:10.719 he was doing the original beat mining before me and 0:09:10.800 --> 0:09:11.199 my brother. 0:09:11.800 --> 0:09:14.880 Yeah, what's the family unit? 0:09:15.080 --> 0:09:17.320 Is it just you two are siblings or do you 0:09:17.320 --> 0:09:18.199 have other siblings? 0:09:18.440 --> 0:09:22.040 Well, we have a half older half sister who lives 0:09:22.080 --> 0:09:25.120 in Harlem from my father, and then we had a 0:09:25.200 --> 0:09:27.720 younger sister that passed away in two thousand and time. 0:09:28.120 --> 0:09:32.120 Yeah, okay, were they musically inclined as well or was 0:09:32.160 --> 0:09:33.439 it just you two just me? 0:09:34.400 --> 0:09:38.000 Yeah, here's a secret for everybody. And I'm about to 0:09:38.080 --> 0:09:41.760 embarrass my brother up to Jacksonville so much, we made 0:09:41.840 --> 0:09:44.880 our own singing group. And I was Michael. I was 0:09:44.920 --> 0:09:46.280 Michael and Jackson. 0:09:48.120 --> 0:09:48.640 Mackie. 0:09:48.960 --> 0:09:51.840 He was Jermaine. My mother used to have two fuster kids. 0:09:52.040 --> 0:09:57.400 They were Marlon and Randy or whatever Mark and I 0:09:57.559 --> 0:09:59.920 was Jackie because I was the oldest, and I was Michael. 0:10:00.160 --> 0:10:01.160 I was the lead singer. 0:10:01.360 --> 0:10:04.400 Tito's not getting respect, and. 0:10:03.600 --> 0:10:05.840 He was Malling, and they were Malling and Tito. 0:10:07.360 --> 0:10:10.240 Yo, I'm gonna tell you something. You have to be 0:10:10.280 --> 0:10:13.880 a certain age to know that. For good four to 0:10:14.000 --> 0:10:18.559 five year run, right, the Jackson's were like the Black 0:10:18.640 --> 0:10:19.320 super Friends. 0:10:20.320 --> 0:10:23.400 And I guarantee you. 0:10:22.640 --> 0:10:26.319 Like anyone that had any sign of any music, healthy whatever, 0:10:26.920 --> 0:10:29.560 we would just say, lookyo, let's play Jackson five. And seriously, 0:10:29.760 --> 0:10:33.800 we just act like we were the Jackson five. I know, 0:10:34.120 --> 0:10:36.520 like is like I was born in the eighties. I'm 0:10:36.520 --> 0:10:37.360 sorry the nineties. 0:10:37.559 --> 0:10:39.120 No, no, no, we had no audition, I got you. 0:10:39.160 --> 0:10:41.040 I'm just I'm using it as a metaphor, like, oh 0:10:41.200 --> 0:10:41.920 with new addition. 0:10:42.640 --> 0:10:45.240 Yeah right now, because Jackson five was way before you. 0:10:45.720 --> 0:10:47.520 Everybody knows that Jackson five. 0:10:47.920 --> 0:10:50.800 Everybody like oh hell yeah, yeah, everybody knows what the 0:10:50.840 --> 0:10:52.320 Jackson five put down everybody. 0:10:52.679 --> 0:10:55.160 Everybody wasn't making choreography to it on the playground though. 0:10:55.200 --> 0:10:56.439 That's a certain. 0:10:56.240 --> 0:11:01.960 Error, right right, A man, they're they're they were the 0:11:01.960 --> 0:11:03.720 first black super Friends. 0:11:03.440 --> 0:11:06.400 So right, you know. 0:11:05.600 --> 0:11:08.079 Obviously slow, I got stuck with Tito all the time, so. 0:11:08.160 --> 0:11:10.200 You know I was when they had their own cartoon, 0:11:10.280 --> 0:11:11.000 like I was in. 0:11:11.320 --> 0:11:14.520 Hell now, yes, yes, Wait where year were you born? 0:11:15.160 --> 0:11:16.240 I was born in sixty eight? 0:11:17.400 --> 0:11:19.880 Okay, so you watch my old son? 0:11:20.320 --> 0:11:22.280 Oh not old? 0:11:22.559 --> 0:11:23.800 So you old son? 0:11:24.080 --> 0:11:27.480 You three years younger son? What are you doing? Three 0:11:27.520 --> 0:11:28.640 years younger? Three years younger? 0:11:28.640 --> 0:11:28.840 Though? 0:11:28.960 --> 0:11:31.520 Three? Three three three? 0:11:32.120 --> 0:11:35.959 At what age did do Ward like finally get your respect? 0:11:36.200 --> 0:11:39.520 Well as far as like production is concerned, not production, 0:11:39.600 --> 0:11:43.440 but DJ or were you the don't touch my equipment 0:11:43.480 --> 0:11:44.920 type or were you. 0:11:44.880 --> 0:11:48.520 The yeah, wait, don't touch my equipment types. 0:11:48.320 --> 0:11:49.720 Of e yes? 0:11:50.000 --> 0:11:53.120 Hell yeah? And he's my little his hand has been 0:11:53.160 --> 0:11:56.240 too greasy, he always had greasy as hands that he 0:11:56.440 --> 0:11:58.440 ate a polo rids. And then he want to touch 0:11:58.480 --> 0:11:59.920 the records. What kind of shits? 0:12:01.040 --> 0:12:05.240 Yo? Let me tell you what I used to do 0:12:05.280 --> 0:12:05.920 to walk right. 0:12:06.760 --> 0:12:11.839 So Wall would go hang out with his friends or 0:12:11.920 --> 0:12:15.360 go to work or whatever, you know, whatever, and As 0:12:15.400 --> 0:12:18.480 soon as he would leave, I would walk into his 0:12:18.640 --> 0:12:22.760 room and turn everything on practice what I seen him do, 0:12:24.240 --> 0:12:26.480 add my touch to it to make it my style, 0:12:27.800 --> 0:12:30.680 and turn everything off and put everything back the way 0:12:30.720 --> 0:12:31.480 it was supposed to be. 0:12:32.200 --> 0:12:35.840 So one day I caught it it as then I got. 0:12:35.679 --> 0:12:39.640 Beat up, all right? So yeah, the t Joe Jackson movement. 0:12:41.080 --> 0:12:43.120 Was at least like let me see what you can 0:12:43.160 --> 0:12:45.079 do first and then I beat jazz, or like. 0:12:46.040 --> 0:12:47.559 Because he's a little brother, I don't care what the 0:12:47.559 --> 0:12:49.440 little brother had to do. I'm big brother. 0:12:49.600 --> 0:12:49.800 You know. 0:12:51.120 --> 0:12:53.079 I'll tell you that moment I had with my mom 0:12:53.160 --> 0:12:55.480 and him, that was the moment I was like, all right, next, 0:12:55.520 --> 0:12:56.360 see what he can do. 0:12:56.760 --> 0:12:58.760 And I was horrible that man. 0:12:58.600 --> 0:13:00.520 Could have came in and did every mix that jazzy 0:13:00.600 --> 0:13:02.400 Jeff every day in his life and I still wouldn't 0:13:02.520 --> 0:13:05.600 be impressed, like it was whack mom, come on, but 0:13:05.679 --> 0:13:06.840 would never give him his prop. 0:13:07.200 --> 0:13:09.679 You know what was what was good about that was 0:13:10.040 --> 0:13:12.400 being that it was the big brother, little brother type thing. 0:13:13.080 --> 0:13:16.120 It made me go, you know what, I'm gonna beat 0:13:16.160 --> 0:13:18.360 walk at this. You know what I'm saying, Like, I'm 0:13:18.559 --> 0:13:21.560 I'm gonna show him. I'm gonna battle him. I'm gonna 0:13:21.559 --> 0:13:26.120 be better than him. And it made me really like 0:13:27.320 --> 0:13:30.400 get into DJing like I was. I was on some 0:13:30.600 --> 0:13:33.480 I was, it was something else, you know what I'm saying. 0:13:33.520 --> 0:13:37.720 Like I thought I was the DMC champion the way 0:13:37.760 --> 0:13:41.920 I was training to battle war, you know what I'm saying. 0:13:42.160 --> 0:13:46.079 So you two, you two were enemies first before you decided. 0:13:45.720 --> 0:13:50.720 To Yeah, of course, but you know, you know that 0:13:50.760 --> 0:13:51.240 makes sense. 0:13:52.880 --> 0:13:57.600 There's a legendary sibling DJ team that I knew in Philly, 0:13:57.960 --> 0:14:01.559 same situation. Brother was like five years young, but the 0:14:01.600 --> 0:14:06.720 younger brother's level of antagonizing was if his older brother 0:14:06.760 --> 0:14:08.839 made him mad, like don't touch my equipment and beat 0:14:08.880 --> 0:14:13.400 him up whatever, the younger brother would actually take like 0:14:13.480 --> 0:14:15.839 one of the prize records and put it in the bathtub, 0:14:16.559 --> 0:14:18.000 just on the records. 0:14:18.480 --> 0:14:24.160 No, no, we no, nah records valuable. Whoa whoa? 0:14:24.800 --> 0:14:27.880 I said, death said. 0:14:29.040 --> 0:14:31.000 It was also like eight years old, So you know, 0:14:31.240 --> 0:14:34.520 I mean, you do anything to antagonize now, I know 0:14:34.680 --> 0:14:40.280 most Harlem Uptown BRONC stories had the blackout of seventy 0:14:40.320 --> 0:14:46.560 seven to think for uh equipment, uh acquiring, But like, 0:14:46.720 --> 0:14:50.600 how did you build your how did you build your system. 0:14:50.840 --> 0:14:54.080 Well, in terms of being a DJ. 0:14:54.480 --> 0:14:55.800 We did what we had to do. 0:14:55.880 --> 0:14:56.240 My mother. 0:14:56.920 --> 0:15:00.000 First of all, we did the regular Mickey Mouse turntable 0:15:00.240 --> 0:15:02.600 with the whole home homemade mixer. 0:15:02.720 --> 0:15:05.320 We did that trackic thing. I asked my mother to 0:15:05.360 --> 0:15:07.240 buy me a turntable. 0:15:08.200 --> 0:15:12.680 Now, my mother is an old West Indian woman from Belize, 0:15:12.960 --> 0:15:16.400 so she's like, she don't know ages. 0:15:17.400 --> 0:15:19.400 Oh boy, what does she buy? 0:15:18.560 --> 0:15:23.920 He came home with a BSW belt turntable belt drive 0:15:24.040 --> 0:15:32.280 wow belt. I looked at her and I said, thanks, mom. 0:15:32.440 --> 0:15:34.040 And that's when I said, yo, I got to get 0:15:34.040 --> 0:15:35.080 my own thing. I can't. 0:15:35.280 --> 0:15:37.680 I can't. I can't deal with this with me. I 0:15:37.760 --> 0:15:40.120 got to get my own self. So that's why I 0:15:40.200 --> 0:15:43.840 started like this was we're going into like eighty five. 0:15:44.240 --> 0:15:46.600 So I started working in a record store around here, 0:15:46.680 --> 0:15:50.160 and then I'm in eighty seven. I started working at 0:15:50.200 --> 0:15:53.680 a music factor in Jamaica, Queens. And that's when I 0:15:53.840 --> 0:15:55.880 was like, yo, I got to get my own equipment 0:15:55.960 --> 0:15:58.760 and saved up enough money, I mean, you know, and 0:15:59.040 --> 0:15:59.840 got my equipment. 0:16:00.160 --> 0:16:04.920 There you mentioned earlier did job your father? He did construction? 0:16:04.960 --> 0:16:06.320 What did your mom? Your mother do? 0:16:06.680 --> 0:16:08.920 He was a nurse at We used to have a 0:16:08.920 --> 0:16:12.520 hospital out here called Williamsburg Hospital, and she used to 0:16:12.560 --> 0:16:14.680 work over there, and then she just started to take 0:16:14.720 --> 0:16:15.760 care of foster kids. 0:16:16.240 --> 0:16:18.880 Oh wow, okay, yeah, how many foster kids? 0:16:19.160 --> 0:16:20.840 It was a lot of falster kids, A. 0:16:20.800 --> 0:16:22.360 Lot of foster kids in and out of your house. 0:16:22.640 --> 0:16:24.760 Yeah yeah yeah. 0:16:24.840 --> 0:16:27.720 And when you say Williamsburg not the Williamsburg that I. 0:16:27.720 --> 0:16:32.360 Know, well no, it's different. Butchrig is not the butcher 0:16:32.400 --> 0:16:35.400 Ridge that we know, Like the butcher growing up now 0:16:35.560 --> 0:16:38.240 is a totally different butcher And what. 0:16:37.920 --> 0:16:45.000 Was manse uh man mustachues? 0:16:45.520 --> 0:16:45.720 Right? 0:16:45.840 --> 0:16:47.040 People looking at you like. 0:16:47.000 --> 0:16:49.920 You don't belong here, right, which means so y'all have 0:16:49.960 --> 0:16:53.440 a nice piece of real estate right now, and congratulations 0:16:53.440 --> 0:16:53.640 to that. 0:16:54.000 --> 0:16:55.600 Well, I mean we will always say this is our 0:16:55.640 --> 0:16:56.240 mama's house. 0:16:56.720 --> 0:16:59.480 Yeah, I tell people this day I live at my 0:16:59.480 --> 0:17:04.119 mother's base because I just loved the reaction of their face, 0:17:04.240 --> 0:17:06.320 like how do you still? 0:17:08.440 --> 0:17:09.919 And you god like to have a full it's a 0:17:09.920 --> 0:17:11.640 full brownstone and everything right, like. 0:17:12.000 --> 0:17:15.639 Right large, it's actually a townhouse. 0:17:16.160 --> 0:17:19.119 Okay, it looks like a brownstone, so we let people 0:17:19.160 --> 0:17:22.119 go with that, but it's actually a nineteen thirties townhouse. 0:17:22.600 --> 0:17:25.000 Wow, what were your earliest gigs like. 0:17:25.000 --> 0:17:29.399 Walk neighborhood stuff that's in the neighborhood, like you know, 0:17:29.640 --> 0:17:33.000 we didn't really leave butch rigged, you know, and stuff 0:17:33.040 --> 0:17:36.240 like that, so a lot of stuff. Mostly it started 0:17:36.520 --> 0:17:38.439 doing the dust and butcher rigg stuff, and then we 0:17:38.480 --> 0:17:41.840 started doing more stuff out of Brooklyn, and you know, 0:17:42.840 --> 0:17:44.280 it eventually grew after that. 0:17:44.800 --> 0:17:47.560 Back in the days, you had to like like you 0:17:47.600 --> 0:17:50.399 blew up in your neighborhood, and after you grew up 0:17:50.400 --> 0:17:53.200 in your neighborhood, you started going to other neighborhoods, and 0:17:53.240 --> 0:17:55.440 then you started going to other boroughs, and then it 0:17:55.600 --> 0:17:56.160 was all city. 0:17:56.160 --> 0:17:57.960 It's like it's kind of like a feiti all city. 0:17:58.600 --> 0:18:00.840 On with your own you're talking about like block parties 0:18:00.880 --> 0:18:04.199 and whatnot, or just like house parties. And right for me, 0:18:04.560 --> 0:18:09.439 like because my parents were record collectors, all those records 0:18:09.440 --> 0:18:12.440 that wound up getting sampled later like I already had 0:18:12.520 --> 0:18:16.720 but never knew because I just looked at my parents' 0:18:16.760 --> 0:18:18.040 record collection as. 0:18:17.800 --> 0:18:20.680 Like old people records, right, because. 0:18:20.480 --> 0:18:24.600 I'm assuming that when you're doing this in the early eighties, 0:18:24.600 --> 0:18:27.399 like collecting records and whatnot, that you're just basically getting 0:18:27.880 --> 0:18:30.800 hip hop records and records to rock the party. Like, 0:18:31.200 --> 0:18:35.280 I'm assuming that you're not thinking, Yo, I need this 0:18:35.359 --> 0:18:39.399 Bob James record or you know whatever for sampling purposes. 0:18:39.400 --> 0:18:41.159 But at what point did. 0:18:41.040 --> 0:18:44.520 You realize that, Like were you in an open format 0:18:44.560 --> 0:18:46.600 DJ or where you just strictly hip hop at the time, 0:18:46.680 --> 0:18:47.560 Like what were you playing? 0:18:48.000 --> 0:18:51.160 It starts with hip hop and then it becomes upen format. Yeah, 0:18:51.200 --> 0:18:54.240 so you would buy, like say, to Bob James record. 0:18:54.280 --> 0:18:57.240 You would buy the Bob James record because everybody you 0:18:57.320 --> 0:19:00.880 had a crew, You had the guys whom the DJ, 0:19:01.080 --> 0:19:03.240 the crew, So the MCS needs under raym on so 0:19:03.359 --> 0:19:05.680 you would get more or less you would get take 0:19:05.680 --> 0:19:07.880 me to the Mighty Gras and you would just buy 0:19:07.960 --> 0:19:09.080 two copies of those. 0:19:09.720 --> 0:19:10.679 So you on that early? 0:19:11.400 --> 0:19:13.680 Yeah? Yeah, I was on that early, Like yeah. 0:19:13.480 --> 0:19:17.600 Creed Lewis Flores, Rebeat lou back right. 0:19:17.800 --> 0:19:19.840 We used to call them uptown because you had to 0:19:19.880 --> 0:19:21.240 go uptown to get them. 0:19:21.480 --> 0:19:23.360 Even though I worked in Jamaica cuse I ain't start 0:19:23.400 --> 0:19:26.760 working at Jamaica until eighty seven. But like in eighty 0:19:26.800 --> 0:19:29.679 one and eighty you would have to go uptown to 0:19:29.760 --> 0:19:33.080 like Music Factor in forty second Street to go get 0:19:33.119 --> 0:19:36.480 these break beats. And the break beats. Around that time, 0:19:36.560 --> 0:19:39.479 they were already putting them on the bootleg twelve inches. 0:19:40.000 --> 0:19:43.840 You know what I'm saying, You would Bozomico stuff. 0:19:43.520 --> 0:19:45.760 And eat Me to the Beat records all that. 0:19:45.960 --> 0:19:48.960 They were already putting them on that eat Me to 0:19:49.000 --> 0:19:51.520 the Beat. You know what that is, right, big beat 0:19:51.600 --> 0:19:53.800 on one side and on the other side. 0:19:53.880 --> 0:19:56.520 Yeah, wait, that was back in the eighties. I thought 0:19:56.560 --> 0:19:58.320 that was coming down in the mid nineties. 0:19:58.520 --> 0:20:01.879 Nah, that was back. That was for ultimate breaks and beats. 0:20:02.119 --> 0:20:04.480 Bosomko was even out in the eighties. 0:20:04.880 --> 0:20:09.720 Boso Miko came out in eighty one. Yeah, yeah, Booo 0:20:09.920 --> 0:20:12.679 came out, all right, Flash to the Beat on the 0:20:12.720 --> 0:20:13.280 other side. 0:20:13.359 --> 0:20:15.760 I was gonna say so when I heard Flash to 0:20:15.800 --> 0:20:19.120 the Beat being played at like roller skating rinks, they 0:20:19.160 --> 0:20:21.000 were playing the same Bosomico. 0:20:20.520 --> 0:20:23.200 Bluele playing the Bosomico rocker. Yeah. 0:20:23.359 --> 0:20:24.800 Man, the only way you got it? 0:20:24.920 --> 0:20:26.239 Yeah, that's the only way you got it. 0:20:26.440 --> 0:20:26.720 All right. 0:20:26.800 --> 0:20:31.000 Let me let me let me explain dar okay, let 0:20:31.040 --> 0:20:31.840 me give it tutorial. 0:20:32.160 --> 0:20:32.480 All right. 0:20:32.520 --> 0:20:35.440 So basically, of course, you know that during the first 0:20:35.480 --> 0:20:38.600 generation of beat digging, you're talking about Bam Boda and 0:20:38.880 --> 0:20:42.960 Flash and Mean Jean and grandmother was the Theodore Like, yeah, 0:20:42.960 --> 0:20:47.400 so the first generation of course, like everyone would try 0:20:47.440 --> 0:20:49.480 to get their their the shazama on and see what 0:20:49.560 --> 0:20:52.080 they're playing. And of course, if you're smart enough you 0:20:52.119 --> 0:20:56.119 don't want nobody biting you, you would wipe the label 0:20:56.119 --> 0:20:58.000 off with water so no one can see what you 0:20:58.040 --> 0:21:01.840 were playing, you know what I mean? Before breakbeat lou 0:21:02.000 --> 0:21:04.919 Lewis Flores, would you say that Paul Winley was the 0:21:04.960 --> 0:21:07.600 first super disco breaks. 0:21:07.400 --> 0:21:10.639 Yeah, super disco breaks came out before the Ultimate breaks. Well, 0:21:10.680 --> 0:21:13.680 the ultimate breaks and beats was the Optopus Rocket. Yeah, 0:21:13.720 --> 0:21:16.479 right right, so, but Paul Winley came out first. 0:21:16.800 --> 0:21:20.199 So suddenly in the eighties, in the early eighties, and 0:21:20.240 --> 0:21:24.400 this was especially for the advantage of DJs, I e. 0:21:25.280 --> 0:21:30.040 If Melly Mail wants to rhyme over Billy Squire's big 0:21:30.080 --> 0:21:34.320 beat or funky Drummer or whatever has a breakbeat. Someone 0:21:34.440 --> 0:21:37.000 came up with the idea like, yo, since I know 0:21:37.080 --> 0:21:39.720 what all these breaks are, I'll just go to the studio, 0:21:40.359 --> 0:21:42.200 sweeten the mix up a little bit and put these 0:21:42.200 --> 0:21:46.280 compilations out. And then suddenly DJ's were using the compilations 0:21:46.280 --> 0:21:51.320 called super Disco Breaks, Bozo Miko and of course by 0:21:51.480 --> 0:21:55.720 eighty six, I will say the Wikipedia or the cliff 0:21:55.760 --> 0:21:59.680 Notes if you're older, of breakbeat collections was called Ultimate 0:21:59.720 --> 0:22:00.520 Breaks and Beats. 0:22:00.760 --> 0:22:02.040 I used to thought it was. I thought it was 0:22:02.119 --> 0:22:02.880 Ultimate Beats and. 0:22:02.800 --> 0:22:05.280 Breaks, But like maybe last week I realized I was 0:22:05.280 --> 0:22:08.040 staying it wrong the whole time, for the last forty years. 0:22:08.640 --> 0:22:10.879 So very good explanation, Very good. 0:22:11.080 --> 0:22:14.119 Yeah, So the reason why a lot of once you 0:22:14.160 --> 0:22:18.840 get to like kind of pass the Rick Rubin, Larry Smith, 0:22:19.119 --> 0:22:21.720 Marley Maut period of hip hop, as soon as you 0:22:21.760 --> 0:22:25.640 get to like the Paul c period, the Fogie Down Productions, 0:22:25.680 --> 0:22:30.760 Criminal Minded period, the early paid in full period, suddenly 0:22:30.840 --> 0:22:34.360 you notice like everyone's using the same thing, Like, oh okay, 0:22:34.280 --> 0:22:38.680 they're using that. Basically, it's a twenty five volume breakbeat 0:22:38.760 --> 0:22:42.720 set with six to seven songs on them each. As 0:22:42.760 --> 0:22:44.520 a DJ, you can go back and forward and rock 0:22:44.560 --> 0:22:48.000 a party, and later as a producer you can sample 0:22:48.040 --> 0:22:52.480 those things. So actually full Circle makes the beat minors 0:22:52.520 --> 0:22:56.840 and the aforementioned Renaissance period that I mentioned earlier, you know, 0:22:56.960 --> 0:23:00.600 large professor, Q tip trot whatever came. I'm a point, 0:23:00.800 --> 0:23:05.080 especially after you old TV raps where everybody was the 0:23:05.680 --> 0:23:10.320 eating from the same restaurant, and suddenly, you know, starting 0:23:10.320 --> 0:23:12.960 with Premier, starting with Jazzy Jeff, starting with these guys, 0:23:12.960 --> 0:23:15.919 starting with large professors, Suddenly they were like, it's the 0:23:16.000 --> 0:23:20.000 hip hop version of what I refer to as a 0:23:20.119 --> 0:23:23.240 Dalkaman ninety five, which is like a filmmaking technique in 0:23:23.280 --> 0:23:26.680 which you put these challenges on yourself. So suddenly, instead 0:23:26.680 --> 0:23:29.640 of getting shit from all to piece of breaks, you're 0:23:29.680 --> 0:23:32.199 going to your library to that those records that no 0:23:32.240 --> 0:23:34.440 one wants to touch. You're going to your parents' jazz 0:23:34.440 --> 0:23:37.800 collection that nobody wants to touch. You're doing your own 0:23:38.040 --> 0:23:41.600 digging for records outside of the cheat sheet and so. 0:23:42.400 --> 0:23:45.760 Which may now idea of those compilations obsolete. 0:23:45.760 --> 0:23:47.600 It like it was like no more. 0:23:48.280 --> 0:23:50.800 No, I mean they're still around. Matter of fact, they're 0:23:50.840 --> 0:23:52.480 on Spotify, which. 0:23:52.320 --> 0:23:55.680 Is kind of weird. They are wow, But what's weird. 0:23:55.720 --> 0:23:58.800 What's weird for Spotify is like I'm used to the 0:23:58.840 --> 0:24:04.120 texture of like some of these breaks being like second generation, 0:24:04.440 --> 0:24:07.040 Like there's a certain griminess to it when you sample 0:24:07.880 --> 0:24:10.320 like give it Up a Turning Loose by James Brown 0:24:10.359 --> 0:24:13.879 from that compilation that it's almost too clean when you 0:24:13.920 --> 0:24:17.919 take it from a clear digital master version. But what 0:24:18.000 --> 0:24:21.880 I'm amazed at is that I thought, now, my dumb 0:24:21.960 --> 0:24:24.280 ass didn't know about break beats. Shout out to a 0:24:24.359 --> 0:24:27.680 Damon Bennett, who's a Philadelphia musician placed with like Floatry 0:24:27.760 --> 0:24:30.760 and Jill Scott. 0:24:31.240 --> 0:24:32.760 He's the one that put me on a break beats. 0:24:32.960 --> 0:24:35.400 I thought, like Bozo Miko and all that stuff came 0:24:35.400 --> 0:24:39.320 out in like eighty nine because I didn't discover sampling 0:24:39.400 --> 0:24:42.760 until you know, the Stevie Wonder Jamin on the one thing. 0:24:42.880 --> 0:24:49.879 But all right, whatever, I guarantee you ninety percent of 0:24:50.080 --> 0:24:53.440 hip hop generation didn't know about sampling until the Cosby Show. 0:24:53.480 --> 0:24:57.800 But Emo button my mind blowing that you guys are 0:24:57.800 --> 0:25:00.840 revealing to me that all those comp relations came out 0:25:00.880 --> 0:25:01.880 in the early eighties. 0:25:02.480 --> 0:25:02.760 Wow. 0:25:02.960 --> 0:25:05.800 Yeah, it made it easier for the DJs to go 0:25:05.920 --> 0:25:08.040 get all these records instead of searching for them. They 0:25:08.040 --> 0:25:10.439 put them on one compilation so you don't have to 0:25:10.480 --> 0:25:13.880 break your neck, like Rocking in the Pocket, the original Rocking. 0:25:13.960 --> 0:25:16.040 They put it on forty five for you, and put 0:25:16.080 --> 0:25:17.439 it on forty five for you, right. 0:25:17.480 --> 0:25:18.000 Right, right? 0:25:18.080 --> 0:25:18.439 Yeah? 0:25:18.480 --> 0:25:26.560 So yeah, at what point did you realize that there's 0:25:26.680 --> 0:25:28.919 a world out of it? Because I feel like, this 0:25:29.040 --> 0:25:32.199 is what defines you, guys, because Ronnie Laws is not 0:25:32.440 --> 0:25:34.840 on off my beach and breaks. 0:25:36.280 --> 0:25:38.920 I'm gonna tell you what made I feel what made 0:25:38.960 --> 0:25:43.760 everybody change their whole thing. I mean, it's mostly the 0:25:43.840 --> 0:25:49.480 whole native tongue, the JB's tribe daylight movement. But whenever 0:25:49.520 --> 0:25:52.320 you pick up a break beat to use or whatever, 0:25:52.480 --> 0:25:54.840 I always feel like Diamond D is looking over your 0:25:54.840 --> 0:25:56.639 shoulder saying, how do you do it? 0:25:57.119 --> 0:25:59.680 You don't sample that, you know what I'm saying. 0:25:59.720 --> 0:26:03.840 So you really trying to impress all the guys that 0:26:03.880 --> 0:26:07.560 came before you. Yeah, so what you're doing is instead 0:26:07.560 --> 0:26:11.640 of looping every James Bond record or every George Clinton record, you. 0:26:11.560 --> 0:26:15.960 Want to go left and go yo. I got this them. 0:26:16.480 --> 0:26:19.280 Like when you're the guy who puts the world up 0:26:19.320 --> 0:26:23.439 on the drum beat or on the groove, it's like, 0:26:23.720 --> 0:26:26.080 oh wait a minute, we gotta watch these guys. Like 0:26:26.119 --> 0:26:28.399 when y'all came out with the clones, me with that 0:26:28.400 --> 0:26:32.600 that surprise. Yeah, come on, man, you guys opened up 0:26:32.640 --> 0:26:33.320 a whole door. 0:26:33.840 --> 0:26:35.800 Y'all know that that trickled down all the way down 0:26:35.800 --> 0:26:37.800 to like the folks who listen to the young kids 0:26:37.840 --> 0:26:41.240 who now are redigging into their parents' crates, making their 0:26:41.280 --> 0:26:44.320 own compilations. I'm saying this as I remember doing this 0:26:44.359 --> 0:26:47.159 for my little boyfriend, like and challenging him with our 0:26:47.200 --> 0:26:49.880 little slow jam you know mixes that we make because 0:26:50.200 --> 0:26:52.200 I got my daddy's records and I understand this George 0:26:52.200 --> 0:26:53.280 Benson record better now. 0:26:55.520 --> 0:27:01.160 We did. I did, and I want that one. 0:27:01.040 --> 0:27:05.560 Yes, she said my little boyfriend. 0:27:05.600 --> 0:27:09.240 He was, oh, all right. 0:27:09.080 --> 0:27:12.239 So what is the introduction to production with you too? Like, 0:27:12.480 --> 0:27:14.480 where where's the genesis? 0:27:14.840 --> 0:27:18.560 I was just dibbling dabbling in production, but I never 0:27:18.600 --> 0:27:19.920 really took it serious. 0:27:20.200 --> 0:27:22.720 I had an MC from around here. His name was 0:27:22.800 --> 0:27:26.480 rock Jay. He passed away in uh ninety, I think 0:27:26.480 --> 0:27:30.679 he passed away, And we were just dibbling dabbling in music. 0:27:30.760 --> 0:27:33.000 So I never really took it serious. So, like I said, 0:27:33.040 --> 0:27:35.679 I worked. This is when I was working in a 0:27:35.760 --> 0:27:39.720 music factory. So I was cool with a lot of 0:27:39.720 --> 0:27:43.080 the artists. So one day the light from Steppa Sonic 0:27:43.200 --> 0:27:46.080 came in and he gave me a black cassette tape. 0:27:46.560 --> 0:27:48.439 He said, yo, walk, you got to listen to this 0:27:48.480 --> 0:27:51.160 cassette tape. This is nineteen eighty eight. I said, what's 0:27:51.200 --> 0:27:51.800 on this cassette. 0:27:51.800 --> 0:27:53.119 He said, Yo, trust me, I'm not going to tell 0:27:53.119 --> 0:27:55.000 you this's on this cassette, but you got to hear this. 0:27:54.920 --> 0:28:00.359 This is incredible. I popped the cassette in Man so 0:28:00.400 --> 0:28:03.600 all black as set. It was it takes the nation 0:28:03.680 --> 0:28:06.320 and millions, The Holder is back. And I heard that 0:28:06.440 --> 0:28:10.359 album Wow, Run two End. This was before the album 0:28:10.440 --> 0:28:14.359 got released. When I heard that album, that whole album 0:28:14.480 --> 0:28:16.600 changed my life. When I heard that, I said, Joe, 0:28:16.640 --> 0:28:18.159 this is it. This is what I want to do. 0:28:18.200 --> 0:28:20.200 I want to be a producer. I want to make beats. 0:28:20.440 --> 0:28:23.639 And that was the beginning of the beat minors. 0:28:23.680 --> 0:28:24.280 That right there. 0:28:24.480 --> 0:28:24.720 Yep. 0:28:25.320 --> 0:28:30.440 And you know little brother follows big brother, so walk 0:28:30.600 --> 0:28:31.560 got into production. 0:28:32.760 --> 0:28:35.840 I was like, I'm better than him. So I got 0:28:35.880 --> 0:28:36.480 into production. 0:28:38.240 --> 0:28:41.480 What equipment were y'all using at that time? What did 0:28:41.480 --> 0:28:43.560 you just start on tape? 0:28:44.520 --> 0:28:51.120 And then SK one and the one hundred and it's funny. 0:28:51.160 --> 0:28:54.080 We had an SK one and then there was a 0:28:54.200 --> 0:28:57.080 Yamaha joint that looked like one. 0:28:57.360 --> 0:29:00.200 That was longer, cleaner, and it was clean. 0:29:00.120 --> 0:29:03.440 Yes, right, right, right, right, right right, I have. 0:29:03.480 --> 0:29:06.080 That yama It's like seven seconds and way class. 0:29:06.640 --> 0:29:10.200 Yes, yes, Then we got what we got a SK eight, 0:29:10.840 --> 0:29:12.440 then we got SK one hundred. 0:29:13.520 --> 0:29:14.480 They kept upgrading. 0:29:14.960 --> 0:29:17.920 Yeah, because whatever the sampler of the moment was, we 0:29:17.960 --> 0:29:19.040 will go out and get it. 0:29:19.280 --> 0:29:23.160 Yeah, and got it, and then we finally got walk. 0:29:23.200 --> 0:29:27.320 Came home one day with the Cassio Aussie one drum machine, 0:29:28.080 --> 0:29:30.960 which is the high hat. The nicest move high hat 0:29:31.040 --> 0:29:33.520 that they use in every record is from that machine. 0:29:34.040 --> 0:29:35.480 Wait what what what drum machine? 0:29:35.520 --> 0:29:38.160 Is this the Casso Ausi one. 0:29:38.680 --> 0:29:41.680 Because the thing is is that I'm under the impression 0:29:41.720 --> 0:29:46.360 that Cassio sk ones are just like toy machines. Now 0:29:46.360 --> 0:29:49.200 I'm finding out, like past is now telling me like 0:29:49.280 --> 0:29:53.720 thirty percent of three feet high and rising, I believe that, Yeah, 0:29:53.800 --> 0:29:56.720 what was made was made on the Cassio sk one. 0:29:56.840 --> 0:29:59.880 Yeah, talking about like literally the Casio like the key. 0:30:00.120 --> 0:30:03.000 So I'm taking it back to the Cosby Show. I'm 0:30:03.000 --> 0:30:06.600 telling you when we saw that jamming on the one video, 0:30:07.520 --> 0:30:09.800 jamming on the one commercial or whatever, the jammin on 0:30:09.840 --> 0:30:13.280 the one Stevie God, I'm sorry. Back in the day, people, 0:30:13.400 --> 0:30:16.760 there's an episode of The Cosby Show where THEO and 0:30:16.840 --> 0:30:18.880 Denise Malcolm, Jamal Wanner and list Money. 0:30:19.600 --> 0:30:21.040 I'm sorry, go ahead, please get. 0:30:20.920 --> 0:30:24.560 In the car accident, and of course the limo is 0:30:24.800 --> 0:30:25.600 Stevie Wonders. 0:30:25.680 --> 0:30:26.600 They crashing Stevie. 0:30:26.920 --> 0:30:29.760 Yes, they crashed into Stevie. To get out of a lawsuit. 0:30:30.360 --> 0:30:35.640 Stevie invites them to a studio session no litigious action, 0:30:36.280 --> 0:30:41.200 and at the studio, Stevie Wonder samples the entire Huxtable household, 0:30:42.000 --> 0:30:46.960 and that, to me opened up just a portal that 0:30:47.160 --> 0:30:48.920 none of us knew existed. 0:30:48.960 --> 0:30:51.040 Were you of age at the time, Fante, when that 0:30:51.080 --> 0:30:52.600 episode came on? Do you remember it? 0:30:52.680 --> 0:30:52.800 Oh? 0:30:52.880 --> 0:30:56.520 Yeah, oh yeah, welcome, yeah, jamming on the one. 0:30:56.880 --> 0:30:59.240 I mean we're in the same generation, but you I 0:30:59.280 --> 0:31:02.920 would be the old brother of your Like that shit 0:31:02.960 --> 0:31:05.800 came on when I was fourteen, So no, no. 0:31:05.920 --> 0:31:08.240 I remember, yeah, just seeing the sampling and like the 0:31:08.280 --> 0:31:10.840 sink Clavier because that was a music store in the 0:31:10.880 --> 0:31:13.200 mall at that time, and I would go and mess 0:31:13.240 --> 0:31:15.240 around with a round the d X seven. It was 0:31:15.240 --> 0:31:17.200 around that same kind of area. Yeah, I D seven 0:31:17.240 --> 0:31:20.320 came out and so yeah, I was. I was on 0:31:20.360 --> 0:31:20.840 all that ship. 0:31:20.920 --> 0:31:21.040 Bro. 0:31:21.600 --> 0:31:21.880 Yeah. 0:31:21.920 --> 0:31:25.440 So at the time, in eighty six, the Cassio SK 0:31:25.480 --> 0:31:29.800 one was an affordable, cheap toy keyboard that had we 0:31:30.640 --> 0:31:32.520 sampling like did. 0:31:32.400 --> 0:31:36.200 You ever have an s K one? Bill? Yeah, I haven't. 0:31:36.240 --> 0:31:41.440 Right over here, know when he was a kid, Oh way, 0:31:41.960 --> 0:31:44.280 he really had, right yeah right now? 0:31:44.600 --> 0:31:48.160 Yeah, I think so No, look at all that. 0:31:48.560 --> 0:31:50.560 Yeah, I was about to say, it's a studio back there. 0:31:51.200 --> 0:31:54.960 I don't. I forgot, I don't I used to. It was. 0:31:55.000 --> 0:31:56.640 It was the thing that we first all played on. 0:31:56.880 --> 0:32:00.560 Yeah, I mean, man, I just put like first words 0:32:00.560 --> 0:32:05.000 in it, ship. 0:32:02.800 --> 0:32:07.040 Ship ship ship ship ship. You could do your ship 0:32:08.200 --> 0:32:09.000 right exactly. 0:32:09.280 --> 0:32:14.000 And then suddenly we realized that it can sample records. 0:32:14.040 --> 0:32:16.800 And then wait, where was the Where was the microphone 0:32:16.840 --> 0:32:18.560 on this thing that you could shample into? 0:32:18.680 --> 0:32:20.120 Was it an external or internal? 0:32:20.200 --> 0:32:24.120 There was an internal microphone like sometimes you will put 0:32:24.120 --> 0:32:28.280 your headphones on top of the mic. Like the purpose 0:32:28.440 --> 0:32:32.160 again was for you to just say one word, I 0:32:32.200 --> 0:32:32.800 got this one. 0:32:32.880 --> 0:32:43.160 It's the same thing. That's that's the yah that's with money, Bill. 0:32:44.080 --> 0:32:45.719 That's how you know. I grew up with Buddy. 0:32:46.240 --> 0:32:48.560 I would ask my parents for the Yamaha one, which 0:32:48.640 --> 0:32:50.360 is like one hundred dollars more, and they were like, 0:32:50.600 --> 0:32:55.800 uh no, the price mark off Cassio s K one. 0:32:57.400 --> 0:32:59.920 I think that input Jack too, a. 0:33:00.080 --> 0:33:01.880 New version of the s k One had an input 0:33:01.960 --> 0:33:04.080 jet Oh got, I can't hear our ratings going down? 0:33:04.120 --> 0:33:05.600 Like, are they going to stay on this for an hour? 0:33:07.320 --> 0:33:10.120 I'm about to take this out. We're gonna doorial and unboxing. 0:33:10.200 --> 0:33:10.600 Here we go. 0:33:10.720 --> 0:33:12.240 Nerd talk, people, nerd talk. 0:33:12.640 --> 0:33:15.200 Do you still have a collection of like your first 0:33:15.240 --> 0:33:16.520 ever beat? 0:33:16.800 --> 0:33:18.480 No? Maybe e? 0:33:18.800 --> 0:33:20.000 But I know you're lying. 0:33:21.560 --> 0:33:28.040 I got, I have the cassette of Blackbom's first demos. Okay, no, 0:33:28.760 --> 0:33:30.520 that's I think that's as far as it got. Probably 0:33:30.560 --> 0:33:33.680 might have a beat cassette in one of my boxes 0:33:33.720 --> 0:33:34.160 over there. 0:33:34.560 --> 0:33:36.440 When was the moment when he got some respect on 0:33:36.520 --> 0:33:37.320 his name for you? 0:33:37.920 --> 0:33:41.120 And then well he started DJing in the neighborhood and 0:33:41.160 --> 0:33:45.080 a lot of people was gravitating towards him and stuff 0:33:45.120 --> 0:33:48.440 like that, and he was making the name, so he 0:33:48.600 --> 0:33:49.360 just kept going. 0:33:49.480 --> 0:33:52.440 He really was going hard with it. I was when 0:33:52.480 --> 0:33:55.560 I was working in Queens. He was building his name 0:33:55.640 --> 0:33:57.560 up around the way. He because he even worked in 0:33:57.560 --> 0:34:00.400 a record store around here with Tony Touch. 0:34:01.000 --> 0:34:04.920 Tony actually came after Oh okay, he stole my job, 0:34:07.120 --> 0:34:07.480 so he. 0:34:07.520 --> 0:34:10.440 Came out like he started building his name up while 0:34:10.560 --> 0:34:12.640 you know, I was out in Queen's working. 0:34:12.840 --> 0:34:15.319 I would always hear shout outs to you guys on 0:34:15.440 --> 0:34:19.640 various rap songs. Right were you guys the the the 0:34:19.719 --> 0:34:22.960 taste makers, Like I go to the record store and 0:34:23.000 --> 0:34:24.680 then I go to you and be like, all right, 0:34:24.840 --> 0:34:25.520 what do I need? 0:34:25.840 --> 0:34:28.600 And then yeah, that's the way we were. And then 0:34:28.760 --> 0:34:32.200 and then some people would bring their like Biz used 0:34:32.239 --> 0:34:35.440 to bring his his records into test it in the 0:34:35.480 --> 0:34:37.960 record store. Biz in LL used to bring that stuff 0:34:37.960 --> 0:34:40.920 to the music factory to test this record before it 0:34:40.960 --> 0:34:43.080 came out. 0:34:42.360 --> 0:34:44.920 Like why you guys had a better system or because 0:34:44.920 --> 0:34:47.680 that because music factories where everybody used to be at. 0:34:47.880 --> 0:34:50.799 So every time Bizz would do something, he would bring 0:34:50.840 --> 0:34:54.360 it Yo, this is this is this like he brang 0:34:54.480 --> 0:34:58.960 when he he came down, he played Vapors, but Vapors 0:34:59.160 --> 0:35:01.840 wasn't vapors. Vapors was this is something for the radio. 0:35:03.040 --> 0:35:05.440 Wow, this is for the radio. 0:35:05.600 --> 0:35:09.600 Right the beat right and vapors was the beat you 0:35:09.640 --> 0:35:11.480 know it was it was this is fun something for 0:35:11.560 --> 0:35:15.239 the radio. H Picking Bookers had actually roach clip bit 0:35:15.360 --> 0:35:18.279 beat behind it, but he changed it. Because everybodying in 0:35:18.360 --> 0:35:22.840 rock Kim Wow, like everybody would come and bring their stuff. 0:35:22.840 --> 0:35:25.680 That LL would come when LLLL was working on Mama 0:35:25.719 --> 0:35:28.719 said knock you out. He brang eat them off. 0:35:28.880 --> 0:35:33.640 L missed the controversy which never came out. Okay, and 0:35:33.719 --> 0:35:35.719 it was another song apart with the other song. But 0:35:35.760 --> 0:35:38.000 they will come and test their records at the store. 0:35:38.480 --> 0:35:41.720 And just look for a reaction of people there shopping. 0:35:41.600 --> 0:35:43.520 Right right right. 0:35:43.560 --> 0:35:46.800 Can you give me, like your your top five preview 0:35:46.840 --> 0:35:49.799 moments of that of that level, Like when someone brought 0:35:49.840 --> 0:35:52.120 some ship in and you're like, holy shit, what is this? 0:35:52.680 --> 0:35:55.520 The biz biz used to bring a lot of stuff 0:35:55.800 --> 0:36:00.480 to the store. I remember Large Professor bring in the 0:36:00.560 --> 0:36:07.480 first main source twelve inch not looking at watch Roger Roger, Yeah, 0:36:08.160 --> 0:36:13.080 Roger do his thing. Oh Man, super level seed bringing 0:36:13.200 --> 0:36:18.040 due to James Audio two bringing top Billing, everybody would 0:36:18.080 --> 0:36:19.280 just come and bring that stuff. 0:36:19.680 --> 0:36:21.399 Wait time out. I have a question though. 0:36:21.760 --> 0:36:24.560 Yes, everyone pretty much knows or at least those that 0:36:25.200 --> 0:36:28.480 or in the no know that top Billing was just 0:36:28.560 --> 0:36:31.360 like a b side and they were really trying to 0:36:31.360 --> 0:36:32.560 push I like cherries? 0:36:33.800 --> 0:36:36.120 Were they trying to push I like cherries? First? 0:36:36.520 --> 0:36:40.520 No, the top Villain had had was making a somewhat 0:36:40.520 --> 0:36:44.200 of a buzz, so they was pushing Top Villain okay. 0:36:43.960 --> 0:36:46.120 Like top billing made a noise in the clubs and 0:36:46.560 --> 0:36:48.960 on radio, like you know, so that when they was 0:36:49.120 --> 0:36:53.959 actually because they would sell their records on consignment, meaning hey, 0:36:54.160 --> 0:36:58.080 we'll give you a box of records. We won't pay 0:36:58.080 --> 0:37:01.160 you until we won't pay them until we sell. 0:37:00.960 --> 0:37:03.959 The whole box of records. Those records were going out 0:37:03.960 --> 0:37:04.520 of the store. 0:37:05.640 --> 0:37:07.480 Uh Hi, So you're the person that I would go 0:37:07.520 --> 0:37:11.480 to to strike a deal, right selling out the trunk, right? 0:37:11.760 --> 0:37:12.000 Yeah? 0:37:13.160 --> 0:37:13.799 Can you tell me. 0:37:13.760 --> 0:37:17.880 Those stories, like what legendary other albums of that level? 0:37:18.719 --> 0:37:21.880 Oh man, it was really that. 0:37:21.880 --> 0:37:22.279 That was it. 0:37:22.480 --> 0:37:26.200 Like Main Sauce didn't get the deal with Wild Pitch yet, 0:37:26.239 --> 0:37:28.520 but they were just coming to they bring Wick Rocker 0:37:28.600 --> 0:37:30.759 do with things and it was creating somewhat of a 0:37:30.800 --> 0:37:35.000 buzz and something like that. But dude, James was was 0:37:35.120 --> 0:37:38.440 big out of our store, Like, okay, you know records 0:37:38.480 --> 0:37:41.440 like that. We didn't we were We wasn't really because 0:37:41.560 --> 0:37:43.279 you have to understand too, if they were doing it 0:37:43.320 --> 0:37:45.560 in Queens, they were doing it in the Bronx, they 0:37:45.560 --> 0:37:48.120 were doing it in Manhattan, it was doing it in Brooklyn. 0:37:47.760 --> 0:37:50.480 So they it wasn't only us. They were going to 0:37:50.520 --> 0:37:53.080 other stores too. We had the Wiz like right around 0:37:53.080 --> 0:37:55.560 the corner and the wizdoms the same thing. 0:37:56.800 --> 0:37:59.920 Yeah, but was the Wiz a like was that a 0:38:00.080 --> 0:38:04.359 crazy eddie commercial store, I e. Like a best buy? 0:38:04.560 --> 0:38:07.640 Or was that like a neighborhood store. I would assume 0:38:07.680 --> 0:38:08.200 that it. 0:38:08.120 --> 0:38:10.080 Was a change store, but it was. It was. It 0:38:10.160 --> 0:38:13.719 was big on Jamaica Avenue. It was big. It was 0:38:13.760 --> 0:38:16.640 big like you know when whenever we would get new releases, 0:38:16.680 --> 0:38:19.920 new releases would come out on Tuesday, but some people 0:38:20.960 --> 0:38:24.759 we would get our packages Friday evening so we could 0:38:25.320 --> 0:38:26.640 put it out Monday night. 0:38:27.320 --> 0:38:29.640 But we were cheat and put it out Friday. So 0:38:29.680 --> 0:38:31.840 I remember when Tougher than Leather came out. We was 0:38:32.320 --> 0:38:34.480 we we put it out and the Wiz put it out, 0:38:34.520 --> 0:38:36.759 and the Wis were selling it lower than us. So 0:38:36.800 --> 0:38:37.759 we called Profile like. 0:38:37.800 --> 0:38:45.120 Yo the wind if they're selling it. 0:38:43.719 --> 0:38:45.480 Stitches, get stitches sudden. 0:38:45.640 --> 0:38:48.320 You're gonna sell toughing one out to the wings and 0:38:48.400 --> 0:38:49.440 not give it to us. 0:38:49.760 --> 0:38:52.879 So what the what Profile did was they cut they're 0:38:52.880 --> 0:38:55.200 shipping to the Wiz and kept sending it to us. 0:38:55.280 --> 0:38:56.680 So we had it. 0:38:56.800 --> 0:39:00.440 Oh wowitches sound who. 0:39:01.960 --> 0:39:05.000 Nobody? Nobody from the Wiz looking for my ass today. 0:39:06.560 --> 0:39:08.480 Don't nobody know what the WIZ is today? 0:39:08.920 --> 0:39:16.760 Like, Yo, y'all ain't have the wiz in Philly, y'all. 0:39:16.680 --> 0:39:17.880 Have in d C. 0:39:18.400 --> 0:39:19.680 Yeah, I had it in d C. 0:39:19.880 --> 0:39:22.080 Yeah, it wasn't in North Carolina. 0:39:22.400 --> 0:39:23.839 Nah, No, we haven't down here. 0:39:24.080 --> 0:39:26.880 We had it in d C. No, we we had crazy. 0:39:27.000 --> 0:39:30.600 We had crazy eddie like I mean, besides your traditional 0:39:30.640 --> 0:39:35.960 record store crazy eddies, like probably somewhere in between our 0:39:36.000 --> 0:39:39.240 local like our our local join was Sound of Market 0:39:39.680 --> 0:39:40.480 twenty two and three. 0:39:40.600 --> 0:39:44.480 Y'all have Pops Dope mom, and Pops right was dope. 0:39:44.680 --> 0:39:49.400 Yeah, definitely, I gotta ask you. Walk Nation and millions 0:39:49.400 --> 0:39:50.640 have the same effect on me. 0:39:52.120 --> 0:39:56.160 And it was my dream to like even to this day, 0:39:56.640 --> 0:40:02.560 like I still have not gotten my Bomb Squad, not 0:40:02.800 --> 0:40:05.560 off you know what I mean, Like especially for the 0:40:05.600 --> 0:40:09.560 type of music I'm associated with, right, but for you, 0:40:10.440 --> 0:40:13.799 was that level of Kamakazi sampling, like something that you 0:40:13.920 --> 0:40:15.080 wanted to do. 0:40:16.160 --> 0:40:20.000 Yo, Bomb Squad was like next level man like. Bomb 0:40:20.080 --> 0:40:22.719 Squad to me back then was the closest thing you 0:40:22.719 --> 0:40:25.319 could get to the JV's and and the you know 0:40:25.360 --> 0:40:28.760 what I'm saying, and Fred Wesley and shape the way 0:40:28.800 --> 0:40:31.319 that the Bomb Squad did they thing, and then man, 0:40:31.400 --> 0:40:33.960 you found out that they use like all forty eight 0:40:34.040 --> 0:40:37.080 tracks and the sample sometimes the samples are off beat. 0:40:37.719 --> 0:40:40.600 Like every story you hear that, it amazes you, you 0:40:40.600 --> 0:40:41.160 know what I'm saying. 0:40:41.239 --> 0:40:44.080 So everything that they would do, I would buy. I 0:40:44.160 --> 0:40:46.680 don't care if it was Jody Watney. I don't care 0:40:46.719 --> 0:40:47.400 if it was Bell b. 0:40:47.600 --> 0:40:48.520 De Vaux, I. 0:40:48.440 --> 0:40:54.200 Don't care what it was a young black teenagers. Anything. 0:40:54.239 --> 0:40:57.360 I would buy for this. Yet they had Bomb Squad 0:40:57.400 --> 0:40:59.800 on it because I was such a fan of that. 0:41:00.560 --> 0:41:03.000 But in terms of you trying to figure out what your. 0:41:02.840 --> 0:41:05.880 Style was, I mean, we all did it though, we 0:41:05.920 --> 0:41:08.279 all tried to be like them, but eventually it was like, nah, 0:41:08.280 --> 0:41:09.640 we can't. This is not us. 0:41:09.920 --> 0:41:14.480 You gotta make It's like you know, it's it's like 0:41:14.760 --> 0:41:18.719 with the Bomb Squad. We tried, but we knew that 0:41:18.920 --> 0:41:19.600 wasn't us. 0:41:19.760 --> 0:41:21.160 That wasn't us, you know. 0:41:21.360 --> 0:41:24.760 So it's like you know how I tell people with DJing, 0:41:25.600 --> 0:41:27.920 You see you see somebody do a scratch, You go 0:41:27.960 --> 0:41:29.240 home practice that scratch. 0:41:29.640 --> 0:41:32.719 Then you take that scratch and start developing it into 0:41:32.760 --> 0:41:35.120 your own type of scratch. 0:41:35.160 --> 0:41:38.360 You're changing around, so it becomes yours, you know what 0:41:38.400 --> 0:41:40.359 I'm saying, Like that was like the bomb Squad thing. 0:41:40.680 --> 0:41:43.719 We seen how they layered samples, and we seen how 0:41:43.719 --> 0:41:45.759 they was doing that thing. We tried to do it 0:41:46.520 --> 0:41:49.280 and we developed our own style doing that. 0:41:49.760 --> 0:41:51.560 One thing we did take from them though, and I 0:41:51.640 --> 0:41:54.040 still do to this day, is layer beats. Oh yeah, 0:41:54.680 --> 0:41:56.680 like the power is like what you like it too, 0:41:56.760 --> 0:41:59.799 and maybe funky drummer put together and stuff like that. 0:41:59.840 --> 0:42:00.600 We did that. 0:42:00.680 --> 0:42:02.839 We did that on Who Got the Props? We did 0:42:02.880 --> 0:42:06.520 that on Buck Them Down. We did that like we. 0:42:06.480 --> 0:42:10.920 Would every rack they can have a swing to it. Yeah, 0:42:11.040 --> 0:42:12.480 And we got that from the Bomb Spot. 0:42:12.920 --> 0:42:17.279 The introduction that the world knows you guys by, of course, 0:42:17.360 --> 0:42:18.280 is who Got the Props? 0:42:18.640 --> 0:42:23.480 Right? That to me was like that was a mind. 0:42:23.239 --> 0:42:26.240 Blowing revolution to hear that back in ninety three, because 0:42:26.880 --> 0:42:30.840 you got to understand like your average mainstream rap stuff 0:42:30.920 --> 0:42:35.400 was like u MC's fast, you know, things like the 0:42:35.480 --> 0:42:39.400 intro to Playground by by another bad creation like that chaotic, 0:42:41.120 --> 0:42:45.680 heavy dancing sort of thing. How did you guys manage 0:42:45.719 --> 0:42:51.960 to avoid that? Because for me, like Who Got the Plops? 0:42:52.080 --> 0:42:54.040 Was slowed down? You're using. 0:42:55.600 --> 0:42:59.000 You know, like seventies jazz, which was just unheard. 0:42:58.640 --> 0:43:01.400 Of, Like it was still up temple though it was 0:43:01.440 --> 0:43:05.040 like ninety eight to one hundred bpms, so it was 0:43:05.080 --> 0:43:09.920 still up temple, but it was smooth. But you know, 0:43:10.160 --> 0:43:11.880 on the B side, our B side was I was 0:43:11.880 --> 0:43:14.160 just about to say that was like one hundred and 0:43:14.239 --> 0:43:16.200 fourteen b pms and stuff like that. 0:43:16.239 --> 0:43:19.399 And the the Beat Minors Intro to the World wasn't 0:43:19.400 --> 0:43:21.759 even who got the props? The Beats Intro to the 0:43:21.760 --> 0:43:23.120 World was popular. Agreemix. 0:43:23.880 --> 0:43:26.480 Yeah, you want the base the. 0:43:26.480 --> 0:43:28.839 East Coast remix. That was the big miner. 0:43:28.920 --> 0:43:30.680 Yes, that was y'all, But it. 0:43:30.760 --> 0:43:33.719 Wasn't Listen it was. It was Beat Miners, but it 0:43:33.760 --> 0:43:36.600 wasn't Me and Evil. It was we had a Beat 0:43:36.600 --> 0:43:39.080 Minars was a crew back in the day, and one 0:43:39.120 --> 0:43:41.200 of the guys in the crew was on his way. 0:43:41.280 --> 0:43:45.120 His name was ike Lee. I League was responsible for C. C. 0:43:45.280 --> 0:43:49.600 Penison and some mantronics work and what you know he 0:43:49.719 --> 0:43:52.680 was he was going the way to do other production 0:43:52.800 --> 0:43:56.160 and he and that ultramagnetic agreements landed in his lap 0:43:56.520 --> 0:43:59.120 and he was a part of Beat Miners, and he said, listen, 0:43:59.440 --> 0:44:01.719 I'm about to do this remix and I'm gonna I'm 0:44:01.719 --> 0:44:05.120 gonna put it under the beat minor's name, and that's 0:44:05.160 --> 0:44:09.000 what started to Beat Miners ride was that for me 0:44:09.040 --> 0:44:12.640 and he took the reins. I made up beat Miners, 0:44:12.760 --> 0:44:14.480 but I was the first one to put it up 0:44:14.520 --> 0:44:15.520 to put us on. 0:44:16.000 --> 0:44:17.760 Yeah, so how did you guys born? 0:44:18.360 --> 0:44:21.200 There's a bunch of friends that we were like. It 0:44:21.320 --> 0:44:24.240 was me and him, Me and him, e Baby Paul 0:44:24.840 --> 0:44:27.640 and ike Lee. We all met in music factory. 0:44:27.920 --> 0:44:32.239 Music practory is like the meeting ground for for all 0:44:32.280 --> 0:44:32.480 of this. 0:44:33.520 --> 0:44:35.440 I didn't I didn't meet that music factory. I met 0:44:35.480 --> 0:44:36.240 Wall at the house. 0:44:40.560 --> 0:44:45.560 Well. Anyway, music factory was the was the meeting, the 0:44:45.600 --> 0:44:48.120 melting pot for everything. And the only thing we had 0:44:48.120 --> 0:44:52.280 in common was everybody just like record shopping, yeah, digging 0:44:52.400 --> 0:44:53.200 and production. 0:44:53.880 --> 0:44:57.319 So we just made up a crew. For the name 0:44:57.360 --> 0:44:59.400 of the crew. The original name of the crew was 0:44:59.640 --> 0:45:00.640 black Moon Production. 0:45:01.120 --> 0:45:05.959 Yeah right, yeah, can you explain his moonlighting connection with please? 0:45:06.080 --> 0:45:06.400 Please? 0:45:07.280 --> 0:45:07.600 All right. 0:45:07.760 --> 0:45:10.000 I was trying to make up a name for the crew, right, 0:45:10.560 --> 0:45:14.600 and I was doodling some stings on the paper and 0:45:14.640 --> 0:45:16.120 I just wrote down black Moon. 0:45:16.200 --> 0:45:18.880 I was like, hmm, I like this black Moon Productions. 0:45:19.120 --> 0:45:22.200 I'm going to use this as the name for our 0:45:22.200 --> 0:45:26.320 production company. And I was rolling for that for a minute. 0:45:26.640 --> 0:45:31.520 I and E's crew name was high Tech. That was 0:45:31.560 --> 0:45:34.920 the original name for Black Moon was high Tech. I 0:45:34.960 --> 0:45:37.480 had a friend named Everett that worked with us. He said, Yo, 0:45:37.600 --> 0:45:39.560 you guys are always find the record. I'm gonna call 0:45:39.560 --> 0:45:42.120 you guys beat Minors. And he was an MC two 0:45:42.120 --> 0:45:43.960 and he made a song called beat Miners and I 0:45:44.000 --> 0:45:45.799 was like, Yo, I really like that name. 0:45:46.080 --> 0:45:48.440 Can I have that name? He said sure. He gives 0:45:48.480 --> 0:45:50.960 me the name for Beat Minors. I was like, yo, okay, 0:45:51.000 --> 0:45:53.919 I'm not using the black Moon name no more. He goes, Yo, 0:45:54.040 --> 0:45:57.959 let me get that name for my crew, and I said, okay, sure, 0:45:58.400 --> 0:46:00.680 that's how black Moon name started. 0:46:01.920 --> 0:46:05.480 All right, But can you explain this alleged moonlighting uh 0:46:06.280 --> 0:46:07.040 connection to it? 0:46:07.480 --> 0:46:11.359 What do you mean that that was a big fan 0:46:11.400 --> 0:46:12.200 of Moonlighting? 0:46:12.880 --> 0:46:15.200 Please? Lord? 0:46:15.600 --> 0:46:15.920 Hold on. 0:46:16.000 --> 0:46:18.120 First of all, we're not giving no props the Simple 0:46:18.200 --> 0:46:20.040 Shepherd and Bruce Bruce. 0:46:19.800 --> 0:46:27.239 Willis with Black Moon. I ain't hear that. I heard otherwise. 0:46:28.719 --> 0:46:32.200 No, so you weren't a fan of the show. 0:46:33.360 --> 0:46:34.600 I love the show. 0:46:34.680 --> 0:46:37.440 I love I heard that Sybil and Bruce their agency 0:46:37.520 --> 0:46:38.800 was the Blue Moon agency. 0:46:39.120 --> 0:46:40.279 Oh, I forgot, good one. 0:46:40.600 --> 0:46:41.000 I forgot. 0:46:41.520 --> 0:46:44.080 I said that before. I said that before, I swear 0:46:44.120 --> 0:46:45.960 to God, I didn't even think about that until you 0:46:46.000 --> 0:46:46.560 just said that. 0:46:47.520 --> 0:46:48.440 I said that before. 0:46:48.960 --> 0:46:51.600 I thought that was the genesis of how black Moon 0:46:51.640 --> 0:46:52.200 got their name. 0:46:53.920 --> 0:46:56.879 I was like, you dweed ass nerds. Yes, I get 0:46:56.880 --> 0:46:58.120 it there. 0:47:07.800 --> 0:47:08.440 That is. 0:47:10.600 --> 0:47:13.480 Wait, so hold on, you seriously thought I said no 0:47:13.600 --> 0:47:14.880 walk because I said that before. 0:47:14.920 --> 0:47:17.359 That's why I Yo, I did. 0:47:17.520 --> 0:47:22.000 I forgot it was the Blue Moon. I thought about that, Yo. 0:47:22.120 --> 0:47:24.880 I was under the assumption because you watched you every 0:47:24.960 --> 0:47:29.439 week Tuesdays. Tuesday plot was Moonlight and so as soon 0:47:29.480 --> 0:47:32.680 as you know, I'm hearing blue Moon Bloemon all a sudden, 0:47:32.680 --> 0:47:33.960 He's like, Yo, the name of the name of the 0:47:34.000 --> 0:47:36.200 crew is black Moon Moon. 0:47:37.680 --> 0:47:38.239 Conversation. 0:47:39.120 --> 0:47:42.000 You have brothers, they don't have to have a conversations. 0:47:42.080 --> 0:47:47.799 Yeah, I know when I put that out there, Yo. 0:47:49.040 --> 0:47:52.239 Yo, you're an asshole. What on? 0:47:52.400 --> 0:47:52.560 Man? 0:47:52.760 --> 0:47:53.359 Just own it? 0:47:53.920 --> 0:48:00.200 It it the way for years you telling PEP people. 0:48:00.440 --> 0:48:01.240 I got the idea. 0:48:01.360 --> 0:48:03.239 Yeah, Jane's head is like he said it at the 0:48:03.320 --> 0:48:05.880 ram Bull Music Academy and twenty what were you. 0:48:06.080 --> 0:48:11.560 Wasn't I thought that you picked you know that wasn't 0:48:11.560 --> 0:48:13.200 the reason why? 0:48:13.360 --> 0:48:15.120 Well it is now no pleasing? 0:48:15.719 --> 0:48:20.839 Oh my god, oh god, we love you, Bruce, well 0:48:20.880 --> 0:48:22.120 as we loved it. 0:48:22.320 --> 0:48:23.120 Look it for you son? 0:48:28.320 --> 0:48:28.680 All right? 0:48:28.719 --> 0:48:33.040 So you formed this crew, right, and it's it's five 0:48:33.080 --> 0:48:33.319 of you. 0:48:34.160 --> 0:48:37.759 I got through the math. It was four me E, 0:48:38.520 --> 0:48:39.399 Paul and Ike. 0:48:40.560 --> 0:48:45.520 Okay, yeah, Now when did it trickle down to the 0:48:45.680 --> 0:48:48.120 beat minors that I know? Like, what's the journey that 0:48:48.239 --> 0:48:53.120 leads to what I assume is into the stage. 0:48:53.880 --> 0:48:56.800 Paul was always with us, but Paul wasn't in the forefront. 0:48:57.520 --> 0:49:01.240 Ike went off to do Oh, three boys from Newark 0:49:01.440 --> 0:49:04.560 and you went to do like I said, C C. C. 0:49:04.719 --> 0:49:05.840 Pennison and wait. 0:49:05.680 --> 0:49:07.440 Three boys from New York? What are they morph into? 0:49:08.560 --> 0:49:08.880 That was? 0:49:09.239 --> 0:49:11.360 They were the Lauryn Hills people. 0:49:11.360 --> 0:49:13.520 It was Vincent Oh. 0:49:15.640 --> 0:49:20.279 Yeah, Vincent Herbert in a group. They were a production team, 0:49:20.760 --> 0:49:23.240 Vince Herbert, Kiama Griffin, and I cannot remember the third 0:49:23.320 --> 0:49:23.959 of his name. 0:49:23.960 --> 0:49:26.279 Button Herbert. As in Lady Gaga. 0:49:26.719 --> 0:49:29.560 I have a twelve inch that has Lauren Hill singing 0:49:29.560 --> 0:49:32.520 on it. They're they're rhyming over cooling the gang's too hot, 0:49:32.880 --> 0:49:35.719 but she's singing Michael Jackson's One More the Jackson five 0:49:35.800 --> 0:49:38.760 is one more chance, but it's it's a group something 0:49:38.800 --> 0:49:41.360 from Newark. But I didn't know if they were a 0:49:41.440 --> 0:49:43.399 rap group or whatever. But I have like a white 0:49:43.440 --> 0:49:47.319 label of Lauren Hill singing on a rap joint, like 0:49:47.600 --> 0:49:49.600 right right before the score came out. 0:49:49.880 --> 0:49:51.399 But I didn't know if that was a rap group 0:49:51.440 --> 0:49:53.640 or not. Was that then more? Do you think so? 0:49:53.880 --> 0:49:56.000 I don't think so, I think but I was already 0:49:56.000 --> 0:49:59.160 gone because then after he left three boys from new Ark, 0:49:59.239 --> 0:50:00.040 him and Bryce will. 0:50:00.080 --> 0:50:02.280 And started something. Oh wow. 0:50:04.000 --> 0:50:07.279 Then I just I used to stop doing music. I 0:50:07.320 --> 0:50:09.680 mean he still comes in and out, but he stopped 0:50:09.719 --> 0:50:12.120 doing music. But it was a lot of records that 0:50:12.200 --> 0:50:15.840 I that you love that Ike really did the production 0:50:15.920 --> 0:50:17.520 on but never got name. 0:50:18.600 --> 0:50:23.000 Uh get at me dog Wow? He did, Dog he did? 0:50:23.520 --> 0:50:24.000 He did. 0:50:24.480 --> 0:50:26.960 He would sweeten them up or like mix it, or like. 0:50:27.040 --> 0:50:30.560 He would give the demo tape to somebody. I mean, 0:50:30.680 --> 0:50:32.080 let's put it out there. He would give it to 0:50:32.920 --> 0:50:35.839 IRV and gave it to whoever. And I get it 0:50:36.080 --> 0:50:39.759 somehow Daved Grease And listen, this is from what I heard. 0:50:39.840 --> 0:50:42.919 Dame Grease got it. He either looped up the same 0:50:43.000 --> 0:50:46.480 record or whatever. And Ike is the one who originally 0:50:46.480 --> 0:50:46.919 did that. 0:50:47.160 --> 0:50:48.879 I forgot What's what's the other song that I did 0:50:48.920 --> 0:50:49.239 to e. 0:50:51.040 --> 0:50:51.360 Wow? 0:50:51.760 --> 0:50:54.439 I know he did the man Tronics King of the Beat, 0:50:55.040 --> 0:50:58.680 Yeah he did, Yeah, he did that. And when he 0:50:58.719 --> 0:51:00.359 did it, he did on a studio four. 0:51:01.480 --> 0:51:06.319 Have you ever met Mantronics Curtis Mantronics never matter all right. 0:51:06.360 --> 0:51:08.880 I just recently found him in Germany that like he 0:51:08.960 --> 0:51:12.839 has my dream interview because his his era of hip hop, 0:51:12.920 --> 0:51:15.839 and I would say the Latin rascals like what they 0:51:15.840 --> 0:51:16.520 do with editing. 0:51:17.000 --> 0:51:18.520 Yeah, I need to. 0:51:18.480 --> 0:51:23.200 Know how they did that ship because oh yeah, I'll 0:51:23.239 --> 0:51:26.080 still listen to the first Mantronics record and Cold Getting 0:51:26.160 --> 0:51:31.560 Dumb right and just that level of editing and sampling 0:51:31.600 --> 0:51:34.239 like you you don't even hear it now, Like. 0:51:34.440 --> 0:51:36.799 When Mattronics went to Capitol, when he got the deal 0:51:36.880 --> 0:51:40.320 on Capitol, that's when I got into the yeah, the fault. 0:51:40.960 --> 0:51:42.160 Here's some nerd stuff for you. 0:51:42.239 --> 0:51:45.200 By the way, the same dude that did the editing 0:51:45.239 --> 0:51:48.319 on the on the Malntronics stuff that was on Sleeping Bag. Yes, 0:51:48.440 --> 0:51:50.640 the same guy that did the editing for Ultimate Breaks 0:51:50.640 --> 0:51:54.320 and Beats Chasnas. 0:51:55.160 --> 0:51:59.520 So when we're listening to like long Red, he did 0:52:00.040 --> 0:52:00.719 know you got soul. 0:52:00.760 --> 0:52:01.920 When they have to edit those. 0:52:01.760 --> 0:52:05.400 Things, that's him doing that, right, right, do you know 0:52:05.400 --> 0:52:07.959 if they did that by tape edit? Yeah, I'm sorry 0:52:08.160 --> 0:52:11.520 you again. 0:52:10.280 --> 0:52:12.600 Speaking inside baseball, all right. 0:52:12.719 --> 0:52:15.400 So of course some of those breaks were really dope, 0:52:15.560 --> 0:52:19.839 but they would just be two seconds, I e. I 0:52:19.880 --> 0:52:23.000 know you got soul that we know, like you might 0:52:23.080 --> 0:52:25.279 have to do some trickery to make it seem like 0:52:25.440 --> 0:52:29.480 it's a six bar intro, and really it's just a 0:52:29.560 --> 0:52:32.840 quickie one bar intro. So they would take some of 0:52:32.840 --> 0:52:36.520 these records and re edit them to extend it so 0:52:36.640 --> 0:52:38.759 that way you're not going crazy going back and forth 0:52:38.800 --> 0:52:41.960 on the turntables, especially with long Red. I wanted to 0:52:42.040 --> 0:52:45.200 know like how that shit was done because the original 0:52:45.280 --> 0:52:50.960 version of Mountains long Red from the Woodstock Festival, like 0:52:51.040 --> 0:52:54.920 the drum break goes by in seconds, whereas the compilation 0:52:55.120 --> 0:52:57.080 version is super extended. 0:52:57.440 --> 0:52:58.640 So who did those edits? 0:52:59.239 --> 0:53:03.600 Chuck me ah, okay, And it was all back then 0:53:03.640 --> 0:53:04.680 it was all taped. 0:53:04.840 --> 0:53:10.000 So he had to splice and ryo right, all analog 0:53:10.160 --> 0:53:11.320 all analogs, y'all. 0:53:12.440 --> 0:53:16.600 Actually, you know, to keep it really one hundred. I 0:53:16.640 --> 0:53:19.759 mean this is how like of course, you know we're 0:53:19.800 --> 0:53:22.840 saying hip hop is like we're rap music and looping 0:53:22.800 --> 0:53:28.920 and all that stuff. You guys would be astounded at 0:53:28.960 --> 0:53:33.399 the amount of cutting and pasting that I've discovered sort 0:53:33.400 --> 0:53:39.719 of trolling through a lot of these master tapes of acts, 0:53:39.760 --> 0:53:43.919 Like essentially it's it's the same thing like bands would 0:53:43.920 --> 0:53:44.160 go in. 0:53:44.480 --> 0:53:46.000 Super Freak is a great example. 0:53:46.239 --> 0:53:51.200 People think that Super Freak is soup the nuts four 0:53:51.280 --> 0:53:54.359 minute song that was played by the no They were 0:53:54.360 --> 0:53:58.280 fucking around in the studio and literally in the last 0:53:58.320 --> 0:54:06.560 seven seconds it came d Dana Da da and the 0:54:06.600 --> 0:54:10.080 tape cuts off. So the way you know it's a 0:54:10.120 --> 0:54:12.920 loop when you listen to the saxophone at the end, 0:54:13.200 --> 0:54:19.720 Bro Danny, that's a loop. Like, so the entire Super 0:54:19.760 --> 0:54:23.680 Freak is just a four bar loop that that unfortunate 0:54:23.880 --> 0:54:27.640 assistant engineer had to spend all night cutting tape, making 0:54:27.680 --> 0:54:32.920 copy cutting tape, and which is why that we're not 0:54:33.000 --> 0:54:39.040 asked about the breakdown. Yeah, like it's not even in rhythm, 0:54:39.120 --> 0:54:42.399 but there's so many slide masters. I went through, same thing, 0:54:42.960 --> 0:54:46.719 loose Booty, Loose Booty on Small Talk, same thing. Sh 0:54:46.800 --> 0:54:50.319 it is chopped in paste like all of bitches brew 0:54:50.600 --> 0:54:54.040 same thing so it's almost like they would have jam sessions, 0:54:54.120 --> 0:54:57.160 which was was there digging in the crate ship and 0:54:57.200 --> 0:54:59.759 then the engineer and the artists would sit and listen 0:54:59.719 --> 0:55:03.000 to what I like those four bars, and then the 0:55:03.000 --> 0:55:04.720 assistant engineer would have to make a copy. 0:55:04.760 --> 0:55:06.080 They go away for a day or two and he 0:55:06.120 --> 0:55:08.480 would have to make copies. 0:55:08.480 --> 0:55:12.879 And so wow, yeah, like so our level of making 0:55:12.960 --> 0:55:14.640 music where you listen to some shit and you loop 0:55:14.680 --> 0:55:19.720 it like that's been going on since yeah, which I'm 0:55:19.840 --> 0:55:21.319 just mind blowing the belt. 0:55:21.520 --> 0:55:22.959 Wow, that's crazy. 0:55:23.320 --> 0:55:27.799 Especially when you consider like me not really being in 0:55:27.840 --> 0:55:29.840 this game to be a beat maker, but as a drummer, 0:55:31.239 --> 0:55:34.080 like some shit like slides loose booty, I'm like, god damn, 0:55:34.200 --> 0:55:37.680 Like Andy Newmark is tight as shit, like he doesn't 0:55:38.000 --> 0:55:40.759 budge or nothing on the beat. No, they just took 0:55:40.800 --> 0:55:43.799 a four bar loop and just looped him across. But 0:55:43.880 --> 0:55:47.200 my mind is thinking, I got to play that meticulous 0:55:47.200 --> 0:55:49.160 the way that Andy Newmark did it for five minutes, 0:55:49.200 --> 0:55:51.520 but only to find out it was looped. 0:55:51.800 --> 0:55:53.960 So you know, quiet has kept. Do you know what 0:55:54.000 --> 0:55:56.600 other profession does that? And don't get any respect on 0:55:56.680 --> 0:56:00.399 they name for it Radio DJs, Radio DJs make their 0:56:00.440 --> 0:56:04.120 own instrumental, sometimes off of just like I used to 0:56:04.160 --> 0:56:06.600 do it. Yeah, like you like this part of the 0:56:06.640 --> 0:56:08.120 song and the rest of it is some bullshit. So 0:56:08.120 --> 0:56:10.400 I'm gonna just go in the odyssey and cut it 0:56:10.480 --> 0:56:12.560 up and make my own instrumental. 0:56:12.960 --> 0:56:13.120 Yo. 0:56:13.239 --> 0:56:15.600 You know who was you know who is nice on editing? 0:56:16.160 --> 0:56:16.440 Who? 0:56:17.239 --> 0:56:22.160 Angie Martine nice as. 0:56:23.800 --> 0:56:25.960 I went to Hot ninety seven to do a black 0:56:26.000 --> 0:56:30.200 some Black one promo stuff. And I've seen Angie edit 0:56:30.840 --> 0:56:31.760 the phone calls. 0:56:32.040 --> 0:56:34.919 Yeah, I believe it is not. That's how I learned 0:56:34.960 --> 0:56:36.000 how to edit on tape. 0:56:36.360 --> 0:56:36.600 Yeah. 0:56:36.880 --> 0:56:39.640 Wow, that's a radio DJ thing, y'all. 0:56:40.040 --> 0:56:44.000 I watched Aedgie Martinez edit radio like she yo, she 0:56:44.160 --> 0:56:48.560 was nice with it mom her tape yep, yeah, cuts 0:56:48.680 --> 0:56:50.919 fly saw that back in the days, what they would 0:56:50.920 --> 0:56:53.200 do when you were called a radio station, they would 0:56:53.200 --> 0:56:56.160 called the calls the tape right, and then they would 0:56:56.280 --> 0:56:59.319 edit it. And by time it's time to play that call, 0:56:59.360 --> 0:57:00.879 that edit has to be done. 0:57:01.760 --> 0:57:03.279 And shortened and not as long as that. 0:57:04.080 --> 0:57:06.239 And I've seen Angie. I seen. 0:57:06.280 --> 0:57:09.480 I watched Angie when we was up at Hot edit 0:57:10.320 --> 0:57:13.160 phone calls and I was like, yo, And when I 0:57:13.200 --> 0:57:15.360 went back to D and d. I went into the 0:57:15.480 --> 0:57:18.400 editing room and taught myself how to edit. 0:57:19.480 --> 0:57:24.680 You know what, Loyah, I gotta give you credit because 0:57:24.720 --> 0:57:26.040 I had to edit you all the time when you 0:57:26.080 --> 0:57:28.160 were called radio station no. 0:57:29.800 --> 0:57:33.600 Matter of fact. Well one, you were the only DJ 0:57:33.800 --> 0:57:38.760 on a commercial radio station that would let me in 0:57:38.800 --> 0:57:44.280 the building. That's what starters two. I forgot. The first 0:57:44.320 --> 0:57:48.360 time I ever seen a playback machine was you and 0:57:48.800 --> 0:57:50.400 I watched you edit something. 0:57:50.440 --> 0:57:51.479 I saw you do that. 0:57:51.400 --> 0:57:54.120 With the will and everything right when Keil and. 0:57:54.160 --> 0:57:54.880 I drove home. 0:57:54.960 --> 0:57:57.080 He was like, yeah, that's a playback machine. And I 0:57:57.120 --> 0:57:59.400 was like, yo, like why don't we do that? And 0:57:59.440 --> 0:58:02.360 he was like, dog, you late, Like everybody uses a 0:58:02.360 --> 0:58:05.440 playback machine on stage. That's why people can jump around 0:58:05.440 --> 0:58:08.240 without the record skipping, because they used a playback machine. 0:58:08.520 --> 0:58:10.360 You know. I started the playback machine. 0:58:10.120 --> 0:58:14.720 Right watching like you do that at the station, and 0:58:14.800 --> 0:58:16.480 I looked at what she was doing and on I 0:58:16.520 --> 0:58:18.400 was like, oh shit, we got to get one of those. 0:58:18.800 --> 0:58:21.280 You know who started who started the popcatch using the 0:58:21.320 --> 0:58:24.320 playback machine? Right? Who makes y'all? 0:58:24.920 --> 0:58:28.640 Tayla make Show was the first DJ ever to use 0:58:29.120 --> 0:58:32.280 the playback machine that made him do that. He was 0:58:32.320 --> 0:58:36.320 at a radio station that he's I want to use 0:58:36.360 --> 0:58:38.640 that because that way don't have to bring all these records. 0:58:39.280 --> 0:58:40.760 But when you think about it as crazy that like 0:58:40.800 --> 0:58:43.520 Donnie Simpson, Tom Joyner, all these people like this is 0:58:43.680 --> 0:58:45.120 they have to be able to do this like they 0:58:45.240 --> 0:58:46.959 they've done this with tape. 0:58:48.640 --> 0:58:51.160 Yeah, never knew that. For me. 0:58:51.400 --> 0:58:58.520 The trademark of your productions is of course filtering, which 0:58:59.280 --> 0:59:02.960 U what's what's the second song on into the stage? 0:59:03.200 --> 0:59:04.720 Nigger is the second song? 0:59:05.080 --> 0:59:08.600 Yes, filtering the baseline and whatnot. How are you guys 0:59:08.640 --> 0:59:11.920 knowing which equipment to use? Like assuming that you graduated 0:59:11.920 --> 0:59:14.800 from the SK one, Like what's the first piece of 0:59:14.800 --> 0:59:17.680 equipment that you got a real piece of equipment for 0:59:17.760 --> 0:59:18.960 what you made your stuff on? 0:59:19.120 --> 0:59:19.880 Like what do you use? 0:59:20.280 --> 0:59:22.920 That's when the costrio AUSSI one comes into play and 0:59:22.960 --> 0:59:26.320 then walk comes home with this sampler called the a 0:59:26.440 --> 0:59:30.600 Kai six twelve, right. The KI six twelve is like 0:59:30.680 --> 0:59:34.000 the parent of the nine hundred, the S nine hundred 0:59:34.080 --> 0:59:35.080 nine to fifty series. 0:59:35.600 --> 0:59:37.040 The only thing with the six twelve. 0:59:37.240 --> 0:59:40.240 Instead of instead of being able to sample eight different things, 0:59:40.520 --> 0:59:42.120 it only sampled one thing. 0:59:43.840 --> 0:59:45.840 And on the front of the. 0:59:45.840 --> 0:59:51.600 Six twelve is knobs and one of the knobs is 0:59:51.640 --> 0:59:56.120 a filter knob, and me messing around with the sampler, 0:59:56.160 --> 1:00:00.440 I turned the filter knob and seeing that the that it. 1:00:00.360 --> 1:00:01.520 Filtered the sample. 1:00:02.960 --> 1:00:05.520 Now I'm thinking I'm the first one to ever do this, 1:00:05.800 --> 1:00:08.600 But Marley already did it already. 1:00:08.640 --> 1:00:09.479 I just didn't know. 1:00:10.040 --> 1:00:11.320 Well on vapors. 1:00:11.680 --> 1:00:15.600 Mally did it on what's it fake? Ye, I think vapors. 1:00:15.720 --> 1:00:18.840 And there was something else he did that it was filtered. 1:00:18.920 --> 1:00:22.800 And you know Pete and tipping them was starting experiment 1:00:22.840 --> 1:00:26.320 with filters too. You know in my house, I'm like, yo, 1:00:26.400 --> 1:00:27.640 I just discovered something new. 1:00:28.120 --> 1:00:30.160 Like when we heard sad he got a one track mind. 1:00:30.680 --> 1:00:32.120 That was that. 1:00:33.600 --> 1:00:38.400 Opened everything. We patterned our sound after that. The reason 1:00:38.440 --> 1:00:41.400 why our filters sound different because we were using a 1:00:41.520 --> 1:00:42.320 Kai six twelve. 1:00:43.120 --> 1:00:43.560 Yeah. 1:00:43.720 --> 1:00:46.600 So what we would do is we didn't have like 1:00:46.680 --> 1:00:49.040 big equipment. So what we would do is whatever we 1:00:49.080 --> 1:00:51.200 would take our filter, filter it down and put it 1:00:51.280 --> 1:00:53.800 on a cathetic and then take it to the studio. 1:00:54.520 --> 1:00:55.720 Tell that engineer, Oh. 1:00:55.680 --> 1:00:58.240 Y'all are in a pre sample at home, and. 1:00:58.800 --> 1:01:03.040 Right right right, loop that up, loop this, sire, but 1:01:03.160 --> 1:01:06.320 check this out. We didn't get equipment until we did 1:01:06.400 --> 1:01:06.920 the shining. 1:01:07.280 --> 1:01:10.120 Well, we didn't get official we didn't. 1:01:10.120 --> 1:01:12.120 We didn't get official EQUIPMENTU til we did the shining. 1:01:12.440 --> 1:01:15.000 But we had the six twelve and we had to one. 1:01:15.560 --> 1:01:17.720 When we got the money from into the stage. We 1:01:17.760 --> 1:01:20.160 took that money and want to go buy equipment to 1:01:20.720 --> 1:01:21.320 do the shining. 1:01:22.040 --> 1:01:26.920 So buck them down and all the props and. 1:01:29.960 --> 1:01:32.000 It's no programming. It's all loops. 1:01:32.680 --> 1:01:34.880 It's all loops. Yeah, everything on there is there's no 1:01:34.920 --> 1:01:37.000 programming on that. It's just all loops. 1:01:37.480 --> 1:01:40.560 So when you're home, you're bringing the ingredients to the 1:01:40.600 --> 1:01:43.000 studio and telling the engineer. 1:01:42.600 --> 1:01:43.880 This is what I want, this is what I want, 1:01:43.920 --> 1:01:44.400 this is what I. 1:01:44.800 --> 1:01:47.160 What we did was we made the beat first at home, 1:01:47.800 --> 1:01:51.280 put it on cassette, put the different parts on cassette, 1:01:51.480 --> 1:01:56.040 the baseline, the drum loop one, drum loop two, noise 1:01:56.480 --> 1:01:59.360 main loop, and then we would go to the studio 1:01:59.440 --> 1:02:03.520 and be like yo, swift loop number one. That's loop 1:02:03.600 --> 1:02:06.720 number one, Loop this up. Okay, stop right there. Okay, 1:02:07.120 --> 1:02:10.640 here's the second part, loop this up. Stop right there. 1:02:10.720 --> 1:02:14.800 Put that on top of that on beat and loop 1:02:14.920 --> 1:02:17.080 number three okay, here we go, put that on top 1:02:17.120 --> 1:02:19.440 of that and right there like exactly like we was 1:02:19.480 --> 1:02:20.400 directing everything. 1:02:21.200 --> 1:02:27.440 Wow, we might have to soundtracking to it, just based 1:02:27.560 --> 1:02:32.400 on the sonic quality of it. In my mind, I'm 1:02:32.400 --> 1:02:36.760 thinking like, yo, man, they're using special needles on it, 1:02:36.880 --> 1:02:40.280 like the way that we would try to analyze and 1:02:40.360 --> 1:02:44.960 figure out why those drums sound so dirty, Like the 1:02:45.000 --> 1:02:47.400 amount of times I've had to go to Bob Power 1:02:48.240 --> 1:02:53.120 and play like the come Live with Me drum break? 1:02:54.720 --> 1:02:57.600 Yeah you laughing your ass off? Thanks? No, as hours 1:02:57.640 --> 1:03:00.439 I wasted at Battery Studios, shut man? 1:03:01.080 --> 1:03:02.240 Why you ain't just call them? 1:03:02.440 --> 1:03:07.680 I know them until sound treatment time? Okay, But again 1:03:08.080 --> 1:03:08.640 I'm just. 1:03:08.560 --> 1:03:12.200 Thinking like I'm thinking you guys would take your records 1:03:12.720 --> 1:03:15.240 and just throw them in the dirt. 1:03:15.920 --> 1:03:18.479 No, we didn't. 1:03:19.040 --> 1:03:23.040 We would. We would sample a cassette, take what we 1:03:23.160 --> 1:03:26.000 want and just and just take it to D n 1:03:26.080 --> 1:03:28.880 D and they would take it from the sampler, from 1:03:28.920 --> 1:03:31.560 the cassette back onto like the two. 1:03:31.360 --> 1:03:36.120 Inch This is why I purchased those. 1:03:37.520 --> 1:03:40.000 Yeah, and we ruined a lot of records messing around 1:03:40.000 --> 1:03:40.520 in the dirt. 1:03:40.640 --> 1:03:43.880 Damn is that still a two inch? 1:03:43.920 --> 1:03:46.160 And electric lady? Is that still machines? 1:03:46.200 --> 1:03:46.440 And there? 1:03:46.520 --> 1:03:51.160 Yeah, it's there, it's there. Okay, you know but Brooke 1:03:51.200 --> 1:03:52.440 Brooklyn is actually more than that. 1:03:52.600 --> 1:03:55.760 Like I I now like. 1:03:55.880 --> 1:04:00.160 The good thing about the nerdy post dat kings that 1:04:00.640 --> 1:04:05.120 is now like that entire crew has mastered in ways 1:04:05.160 --> 1:04:08.080 like I go to Electric Garden now shout out to 1:04:08.080 --> 1:04:10.880 to Bend at Electric Garden. And also what's my other 1:04:10.880 --> 1:04:14.760 spot in Brooklyn, Steve Diamond Mine? Yeah, diamond mind. Especially 1:04:15.320 --> 1:04:18.960 like now I could just go in and because they 1:04:18.960 --> 1:04:23.800 were raised on all of your music, they literally know 1:04:24.040 --> 1:04:27.640 the exact frequency that I can. I can be out 1:04:27.680 --> 1:04:30.760 there in the half hour, whereas like back in the day, 1:04:30.800 --> 1:04:34.160 that ship would take me months just one one frequency 1:04:34.200 --> 1:04:37.920 at a time, another frequency, and I didn't realize that 1:04:37.960 --> 1:04:41.840 you guys were pre sampling that home on cassettette. 1:04:41.920 --> 1:04:42.800 Cassette is the key. 1:04:43.280 --> 1:04:46.080 Yeah, damn man, I might have just scrap this entire 1:04:46.080 --> 1:04:47.720 record and just start all over again and just do 1:04:47.800 --> 1:04:51.760 everything on cassette. 1:04:52.240 --> 1:04:55.320 At the end of the day, it's like all of 1:04:55.400 --> 1:04:56.760 us produce the cats. 1:04:56.840 --> 1:04:59.880 No, we're all mad scientists, and we all have our 1:05:00.000 --> 1:05:01.280 way of doing things. 1:05:01.800 --> 1:05:02.880 You know, once we. 1:05:02.880 --> 1:05:05.720 Learned how to operate, once we learned how to operate 1:05:05.760 --> 1:05:08.560 the sp in the nine P fifty, we was doing 1:05:08.600 --> 1:05:12.240 stuff here but the way we was doing it was 1:05:12.760 --> 1:05:15.680 running it through the Mackie board, and you run it 1:05:15.680 --> 1:05:18.800 through the mixer before then, and you pre eq the 1:05:18.920 --> 1:05:22.440 drums before you sample it, so that still added a 1:05:22.480 --> 1:05:23.360 grit to it too. 1:05:24.080 --> 1:05:26.520 I didn't learn the sp until we were getting ready 1:05:26.560 --> 1:05:29.560 for the shining. Q Tip taught me to spow. 1:05:30.120 --> 1:05:30.480 I didn't. 1:05:30.560 --> 1:05:32.160 And you know, Q Tip is the one who named 1:05:32.160 --> 1:05:37.880 me mister Wall. Really, what's meter factory without mister phrase call? 1:05:38.520 --> 1:05:40.360 I did that. I didn't realize that you did not 1:05:40.480 --> 1:05:41.200 have a moniker. 1:05:41.480 --> 1:05:44.360 I was going with Walter do Guard. I was like, 1:05:44.400 --> 1:05:45.840 you know what, if Eric Sartain we could do it. 1:05:45.880 --> 1:05:48.280 I can do it too. I'm gonna be Walton do Guard. 1:05:48.640 --> 1:05:55.960 But Keith Harry Ship right exactly. 1:05:56.160 --> 1:05:59.560 But q tips he called me mister Wall, and I 1:05:59.640 --> 1:06:00.680 just took never ran with it. 1:06:05.800 --> 1:06:07.760 You guys were in what I call the running with 1:06:07.800 --> 1:06:12.680 the bulls era right of beat making. You know, can 1:06:12.720 --> 1:06:15.480 you tell me like how deep and involved were you 1:06:15.480 --> 1:06:19.560 guys with like the record conventions or y'all there like 1:06:19.640 --> 1:06:22.160 four in the morning waiting mm hm. 1:06:22.600 --> 1:06:25.280 Tiple, come pick us up. Que Tipple, com pick us up. 1:06:25.520 --> 1:06:28.360 At four o'clock in the morning, we were going to 1:06:28.480 --> 1:06:31.160 the Roosevelt Hotel thinking that we had to. 1:06:31.200 --> 1:06:35.120 Jump on everybody. We're like, yeah, first yo. Once we 1:06:35.200 --> 1:06:38.160 walk in there, we're thinking, we're there, We're number one, 1:06:38.200 --> 1:06:42.320 We're here. We turned to our left kid Capri and 1:06:42.480 --> 1:06:46.919 Pete Rock rented a room the night before. 1:06:56.000 --> 1:06:59.520 Rooms and they was like, as soon as the first 1:06:59.600 --> 1:07:01.400 dude brings his case and they're. 1:07:01.200 --> 1:07:04.880 Down there, y up there, Pete Rock is there already? 1:07:05.280 --> 1:07:07.280 Which you do the top of the mirror, what'd you do? 1:07:08.200 --> 1:07:13.320 I wasn't in I was in the generation after the 1:07:13.360 --> 1:07:14.800 slim picking for gold. 1:07:14.600 --> 1:07:20.720 Mining is between eighty nine and like ninety two. 1:07:21.360 --> 1:07:24.960 Like if you find shit during that period, then your 1:07:24.960 --> 1:07:29.560 life is golden. I came after the fact, and you know, 1:07:29.800 --> 1:07:31.960 I would just hear stories. I'd hear stories of like 1:07:32.240 --> 1:07:35.880 Pete b rating dealers for like he would buy like 1:07:35.920 --> 1:07:39.560 the entire catalog of an artist just so that you know, 1:07:39.680 --> 1:07:42.120 if there's eight copies of a particular record, they would 1:07:42.120 --> 1:07:43.919 buy them all to make sure that no one else 1:07:43.920 --> 1:07:44.320 took it. 1:07:46.280 --> 1:07:48.000 You can't stop that from happening, Like. 1:07:48.000 --> 1:07:51.800 Yeah, your petty is well okay, so I'll ask a question. 1:07:51.920 --> 1:07:53.760 Even though this is like super late in the game, 1:07:55.000 --> 1:07:58.200 I know that you guys were the first to use 1:08:00.120 --> 1:08:02.640 actually the second, because no one ever credits OC for 1:08:02.760 --> 1:08:12.400 using it on Uh yeah, was the first. Let's take 1:08:12.440 --> 1:08:14.080 it through. Who got the props? Because the thing is 1:08:14.080 --> 1:08:17.400 is that y'all did it first, and of course Usher 1:08:17.439 --> 1:08:21.120 and everybody comes behind it, like are you in the 1:08:21.439 --> 1:08:23.719 feel some sort of way about not getting the shine 1:08:23.760 --> 1:08:27.240 off at first? Or hip hop is just open sport 1:08:27.320 --> 1:08:31.759 and you know it's it's like a reggae rhythm anybody 1:08:31.760 --> 1:08:34.799 can rhyme over. Like, what is your attitude in terms 1:08:34.800 --> 1:08:37.679 of at the time, how did you feel as opposed 1:08:37.720 --> 1:08:38.120 to now. 1:08:38.000 --> 1:08:38.880 What's the Usher record? 1:08:38.920 --> 1:08:39.120 Y'all? 1:08:39.200 --> 1:08:40.000 What was the first? 1:08:41.320 --> 1:08:43.880 Here's my mind that was. 1:08:43.800 --> 1:08:44.599 On the first album. 1:08:45.200 --> 1:08:48.040 I didn't feel no type of way about the Usher thing. 1:08:48.160 --> 1:08:50.559 It was cool, cool, you know when I felt away 1:08:50.800 --> 1:08:52.519 And this is the first time I've ever said this 1:08:52.640 --> 1:08:56.320 in an interview, melt away when the track masters you 1:08:56.560 --> 1:09:00.559 sound boy Burial for Mary a Mariah character, m we 1:09:00.680 --> 1:09:03.840 had just bary you out. 1:09:04.400 --> 1:09:08.200 They went behind us, looped up our record, gave it 1:09:08.240 --> 1:09:10.120 to Mary first, and I guess it didn't work, or 1:09:10.160 --> 1:09:11.840 to get to ta give it to somebody first it 1:09:11.840 --> 1:09:13.479 didn't work, And they then they either get it to 1:09:13.520 --> 1:09:16.680 Mariah or marry after that. That's when I was like, 1:09:16.760 --> 1:09:20.040 come on, dude, like we just put this record out, dude, 1:09:20.080 --> 1:09:22.160 like let the record bring you a little bit. 1:09:22.240 --> 1:09:25.560 You went and went right behind us and Jack B. 1:09:26.320 --> 1:09:28.160 So I felt some type of way about that. 1:09:28.200 --> 1:09:30.559 And I kind of felt the way like that about 1:09:30.560 --> 1:09:32.320 intro when intro used. 1:09:34.520 --> 1:09:35.400 Quincy Joneston. 1:09:35.840 --> 1:09:38.479 Yeah, and I was like, yo, like what gentle record? 1:09:38.479 --> 1:09:38.600 Was that? 1:09:39.280 --> 1:09:44.599 Funny? How found the first thing off their second album? 1:09:44.800 --> 1:09:47.240 My whole thing is this, Like I don't want I'm 1:09:47.240 --> 1:09:51.160 not even checking for money, just be like, yeah, we 1:09:51.200 --> 1:09:54.639 got it from there, that's all, you know what I'm saying. 1:09:54.640 --> 1:09:56.240 Like that was my thing with that, And I was 1:09:56.360 --> 1:10:00.840 kind of tight behind that, you know. But Yo, man, 1:10:00.920 --> 1:10:02.800 you know Homeboy passed, so I was like, I'm not 1:10:02.840 --> 1:10:04.640 gonna say nothing about it because then I'm gonna look 1:10:04.640 --> 1:10:05.200 like I hate up. 1:10:06.240 --> 1:10:10.439 In terms of production, like are you guys involved at all? 1:10:10.560 --> 1:10:16.960 In terms of also structure of the song horses rock 1:10:17.000 --> 1:10:18.880 and rock, Like y'all could do that better? Da da 1:10:18.960 --> 1:10:20.920 D Like are you guys also? 1:10:21.360 --> 1:10:21.559 Yeah? 1:10:21.920 --> 1:10:25.800 Micromanaging as far as vocal sessions are, just like here's 1:10:25.840 --> 1:10:27.280 the beat all right, good luck. 1:10:27.960 --> 1:10:30.640 In the beginning, we wasn't really like that, like I 1:10:30.680 --> 1:10:35.000 would say stuff like I told after Buck did how 1:10:35.000 --> 1:10:36.040 many mcs he did? 1:10:36.320 --> 1:10:39.840 How many mcs are one tape? Right? I said to him, 1:10:40.320 --> 1:10:42.200 you're sure you want to keep it giving vocals that way? 1:10:42.600 --> 1:10:43.439 You don't want a dang it. 1:10:43.640 --> 1:10:46.760 He said, trust me, Walk, I'm gonna keep this the 1:10:46.760 --> 1:10:49.200 way it is. And I said, okay, you know what 1:10:49.280 --> 1:10:52.720 I'm saying. But usually we just let them go. 1:10:53.200 --> 1:10:56.160 But as we got older and started doing more records, 1:10:56.160 --> 1:11:00.240 we became more vocal about yo, do your vocals this way? 1:11:00.320 --> 1:11:01.680 Do this, do that, do that? You know? 1:11:02.080 --> 1:11:05.160 I was gonna ask, who's the one that suggested, especially 1:11:05.160 --> 1:11:09.920 for I Got You Open for Buckshot to use his 1:11:10.040 --> 1:11:13.880 laid back mellow flow instead of his hype. 1:11:13.880 --> 1:11:15.240 Who got the props flow? 1:11:15.560 --> 1:11:17.240 Oh? That was Buck? That was Buck. 1:11:17.920 --> 1:11:20.760 Buck came in and was like, yo, like when we 1:11:20.760 --> 1:11:24.880 was doing uh not even I Got you open. We 1:11:24.920 --> 1:11:27.040 was doing the buck him down remix. 1:11:27.800 --> 1:11:32.880 Fuck him down, I got you, I got you up, 1:11:32.960 --> 1:11:35.639 No mom sake, I got you up on was first okay, yeah, 1:11:35.800 --> 1:11:39.000 the buck them down remix drop, the Buck dropped after 1:11:39.160 --> 1:11:42.080 before after okay, okay, I'm not bad. 1:11:42.360 --> 1:11:47.200 It's mad long ago. I'm old. But like when when 1:11:47.240 --> 1:11:50.200 Buck came into the studio, it's like he just it 1:11:50.280 --> 1:11:53.280 was a different flow because being that we was on 1:11:53.400 --> 1:11:56.200 the thing where we're gonna remix everything every twelve ones 1:11:56.240 --> 1:11:59.200 we put out, Buck was like, Yo, if they're gonna 1:11:59.280 --> 1:12:03.120 change the beat, I'm change the flow, you know. 1:12:03.920 --> 1:12:05.599 And how did y'all feel when y'all heard it? 1:12:05.720 --> 1:12:08.640 Like, because it's so night and day from what he 1:12:08.760 --> 1:12:12.080 was known that, Like, his the original verse was super hype. 1:12:12.600 --> 1:12:15.040 It's almost like you know, listening to parents just don't 1:12:15.120 --> 1:12:18.439 understand versus summertime, Like, yeah, what the hell is this? 1:12:19.000 --> 1:12:19.200 Right? 1:12:19.360 --> 1:12:19.439 Right? 1:12:19.560 --> 1:12:19.680 Right? 1:12:20.280 --> 1:12:25.679 I think he just did whatever fit the moment. Yeah, 1:12:25.720 --> 1:12:28.639 we got the props, was like a more up tempo 1:12:28.720 --> 1:12:32.080 vib so he hit it that way. But then when 1:12:32.120 --> 1:12:35.599 we started slowing the record down and smoothing the records out, 1:12:35.640 --> 1:12:38.080 that's when he started to becomming. He came with the 1:12:38.160 --> 1:12:41.120 laid back style. The bad and white situation was all him. 1:12:41.240 --> 1:12:41.640 That was it. 1:12:42.640 --> 1:12:44.200 He was like, I want to rhyme off of that, 1:12:44.520 --> 1:12:49.679 And yeah, I was too busy trying to impress Lodge 1:12:49.880 --> 1:12:53.400 and Pete and Premiere and cute Tip. So I'm trying 1:12:53.439 --> 1:12:56.800 to find the obscure most obscure record fucking tech and 1:12:56.880 --> 1:12:58.240 still they wasn't thinking about that. 1:12:58.320 --> 1:12:59.240 There was like, Yo, we. 1:12:59.280 --> 1:13:01.479 Want to rhyme off with this, this and this, and 1:13:01.520 --> 1:13:03.320 I was like, nah, we're not going off of that. 1:13:03.640 --> 1:13:05.760 So Buck was like, y'all want to rhym off the 1:13:05.800 --> 1:13:09.040 Barry White stuff. And then one thing about Buck, he 1:13:09.080 --> 1:13:10.920 talks to you like he's a car salesman, so you 1:13:10.960 --> 1:13:13.479 don't feel like you bind a goddamn car from this dude. 1:13:15.520 --> 1:13:18.200 He says to me, hey, man, because Barry White was 1:13:18.240 --> 1:13:21.559 a gangster man. He was a gangster and we need 1:13:21.600 --> 1:13:24.439 to keep the gangster vibe going. And I'm looking at 1:13:24.479 --> 1:13:25.719 him like no, but they don't get. 1:13:25.640 --> 1:13:30.599 The funk away from me, yo. But at the end 1:13:30.600 --> 1:13:33.559 of the day, it was like, Yo, we did it. 1:13:33.760 --> 1:13:35.920 And that was. 1:13:38.040 --> 1:13:40.760 That's crazy because as a a like a I don't 1:13:40.800 --> 1:13:42.439 want to say a female hip hop fan in a way, 1:13:42.439 --> 1:13:45.360 but it just crazy that that was his motivation. Meanwhile, 1:13:45.479 --> 1:13:47.320 I'm sure that some of us girls was listening like, 1:13:47.400 --> 1:13:49.280 oh shit, this nigga can slow it down. 1:13:49.320 --> 1:13:51.920 This shit is dope. Like I wasn't even thinking about it. 1:13:52.040 --> 1:13:54.280 From a very white being a gangster. It was more 1:13:54.360 --> 1:13:57.400 like what Barry White's you know, public perception is. 1:13:57.520 --> 1:14:01.120 So that wasn't trust me, that wasn't attention. He was 1:14:01.240 --> 1:14:04.280 like he could try was trying to fit the moment 1:14:04.520 --> 1:14:07.080 and of what we were trying. 1:14:06.880 --> 1:14:11.240 To do production wise, like what did you learn making 1:14:11.320 --> 1:14:16.120 the shining that you didn't know like that production techniques 1:14:16.120 --> 1:14:17.200 and whatnot? 1:14:17.360 --> 1:14:20.799 Like how did you get wiser progression steps? 1:14:21.120 --> 1:14:25.000 Because we recorded into the stage from twelve midnight to 1:14:25.120 --> 1:14:30.800 six in the morning. So at D and D, at 1:14:30.920 --> 1:14:32.639 D and D twelve midnight, what. 1:14:32.720 --> 1:14:34.840 Is it about D and D? Like why would y'all 1:14:35.000 --> 1:14:37.719 use D and D? They have never flushed that toilet 1:14:37.880 --> 1:14:40.000 like in twenty years, Yo. 1:14:40.240 --> 1:14:42.479 Hold on, hold on? All the focus said, I remember 1:14:42.520 --> 1:14:45.840 when I bring you D D. Yeah, it was like, Yo, 1:14:46.000 --> 1:14:47.760 this place is crazy. 1:14:48.200 --> 1:14:53.720 Yeah, man, because I was a tourist from Yeah, you know, 1:14:53.840 --> 1:14:54.800 I've told this. 1:14:54.840 --> 1:14:58.479 Story before, but my favorite well, I mean D and 1:14:58.520 --> 1:15:05.280 D was just a grimy Yeah it was. I don't 1:15:05.400 --> 1:15:07.439 want to say it's like the projects of studios, but 1:15:08.240 --> 1:15:11.960 it was like you come in, no, it's just super grimy. 1:15:11.960 --> 1:15:16.320 It's like blunt ashes from yesteryear still on the floor. 1:15:17.000 --> 1:15:19.880 Bathrooms barely worked the day that you guys worked on 1:15:19.960 --> 1:15:20.719 silent treatment. 1:15:21.200 --> 1:15:23.960 Right when you know, the pool table is in. 1:15:23.920 --> 1:15:27.639 The hallway right right, right, dog, for like forty five 1:15:27.640 --> 1:15:33.599 minutes straight, only heard this bell ringing, sing ding thing. 1:15:33.960 --> 1:15:37.280 After forty five minutes of that, I snuck to the 1:15:37.360 --> 1:15:40.759 other room to see where that that bell was doing, right, 1:15:41.479 --> 1:15:45.760 And it was Premiere and kars one right, yeah, starting 1:15:45.800 --> 1:15:47.960 the genesis of what we would know is MC's act 1:15:48.000 --> 1:15:51.599 like they don't know, like they were literally working on 1:15:51.640 --> 1:15:53.639 that while you guys were in the b room working 1:15:53.680 --> 1:15:54.800 on the solid treatment. 1:15:55.120 --> 1:15:57.600 But actually it was backwards when a room and for 1:15:57.760 --> 1:15:59.880 me and them in the b room a few room 1:15:59.920 --> 1:16:01.720 is yeah, the room was. 1:16:01.720 --> 1:16:03.519 Beat monitors in the b room was Premiere. 1:16:04.360 --> 1:16:07.160 But you know what is right, man, D and D 1:16:07.360 --> 1:16:08.759 was the project of the studio. 1:16:10.000 --> 1:16:12.679 Here's the thing, here's the thing with D and D. Right, 1:16:13.040 --> 1:16:15.000 I'm gonna break down D n D. I'm break down 1:16:15.120 --> 1:16:16.040 the whole thing with D and D. 1:16:16.280 --> 1:16:17.640 Right, D and D. 1:16:18.920 --> 1:16:23.559 First of all, we started at Calliope. Coliop had no 1:16:24.040 --> 1:16:29.280 outboard gear whatsoever. The outboard gear consisted of a tape 1:16:29.320 --> 1:16:35.479 that a that deck, I mean a that recorder. Who 1:16:36.280 --> 1:16:38.840 it was a you know they had no outboard gear 1:16:38.880 --> 1:16:40.280 in Calliope. 1:16:40.320 --> 1:16:43.240 But by Power worked there in three runs. 1:16:43.640 --> 1:16:46.760 But that's why Bob Power is a genius. 1:16:46.400 --> 1:16:47.880 Because he had nothing to work with. 1:16:48.120 --> 1:16:53.160 Exactly right, right, Coliopy. What happened was we got kicked 1:16:53.200 --> 1:16:54.080 out of Calliope. 1:16:54.840 --> 1:17:00.000 How did you get kicked out of That means another story. 1:17:00.760 --> 1:17:05.000 So we're recording. I forgot we were recording maybe slave 1:17:05.160 --> 1:17:09.360 or something, and Havoc came to visit us in the studio. 1:17:09.439 --> 1:17:12.959 He said, Havoc, because. 1:17:12.760 --> 1:17:15.240 Havoc is on you the man. So he had came 1:17:15.320 --> 1:17:19.080 to the studio to visit us. And the guy who 1:17:19.120 --> 1:17:21.400 owned Callipe his name is Chris. He lived in Jersey. 1:17:21.880 --> 1:17:25.599 He left the studio to go home because again we 1:17:25.640 --> 1:17:30.599 recorded twelve May ninety six at six am, Havoc somehow 1:17:30.600 --> 1:17:35.439 tripped the alarm. Right, Chris had to come back home 1:17:35.560 --> 1:17:39.160 from his house all the way back to Manhattan to 1:17:39.280 --> 1:17:41.720 thirtieth Street, and he was mad. So he was like, 1:17:41.880 --> 1:17:43.840 you guys tripped the alarm. Be guys, we're doing something 1:17:43.880 --> 1:17:46.599 he wasn't supposed to do. You guys were banned from 1:17:46.600 --> 1:17:50.599 my studio. Get out, blah blah blah. So see he's 1:17:50.680 --> 1:17:53.640 the voisterous brother, fuck you, Well, I don't want to 1:17:53.680 --> 1:17:57.200 come back here time that way. And then we just left. 1:17:58.760 --> 1:18:00.840 Yeah, I took off. I took all my two inch 1:18:00.920 --> 1:18:04.160 tapes and left, like don't we out of here? 1:18:04.960 --> 1:18:06.160 Damn home on that night. 1:18:07.040 --> 1:18:12.640 The funny thing is, so that morning, I'm walking, I'm like, 1:18:12.720 --> 1:18:13.920 I have the two inch tapes. 1:18:13.920 --> 1:18:16.560 I'm taking them to Nervous Records. 1:18:17.120 --> 1:18:18.679 You know what I'm saying, because I'm not taking them home, 1:18:19.560 --> 1:18:21.960 So I'm taking them to Nervous Records. 1:18:22.080 --> 1:18:24.040 Nervous Records was in Times Square at the time. 1:18:24.760 --> 1:18:28.439 Nervous Records was on Broadway between forty third and forty fourth, 1:18:28.880 --> 1:18:34.240 right across from MTV. So I'm walking to Nervous Records. 1:18:34.320 --> 1:18:37.920 I turned the corner of Broadway. Who do I bump 1:18:37.960 --> 1:18:42.040 into Premiere and I'm like yo. So Premiere is like, yo, 1:18:42.120 --> 1:18:44.000 you know what's up with that album? How's it going? 1:18:44.360 --> 1:18:46.040 And I'm like, yo, man, we just got kicked out 1:18:46.040 --> 1:18:49.599 of Calliope blah blah blah blah. And Premiere says to me, look, 1:18:50.360 --> 1:18:54.120 I'm at this studio. I'm the only hip hop dude there. 1:18:54.800 --> 1:18:58.720 Come by and YO, check it out. You might like it. 1:18:59.080 --> 1:19:01.120 You can record there we beat only hip hop dudes. 1:19:01.160 --> 1:19:05.960 They're working And I was like beat so permire. This 1:19:06.000 --> 1:19:08.920 is exactly what he says to me. My session starts 1:19:08.960 --> 1:19:12.440 at twelve. I'll be there around three four, so come 1:19:12.520 --> 1:19:14.960 come come through. And I was like I And I 1:19:15.160 --> 1:19:19.240 went and checked out D and D. Premier showed me 1:19:19.280 --> 1:19:22.240 his room, which was Studio B, and I was like, Yo, 1:19:22.280 --> 1:19:26.160 this is dope. And then Dave from D and D 1:19:26.560 --> 1:19:30.800 takes me to Studio A. And when I walked into 1:19:30.800 --> 1:19:36.040 the Studio A, I was like, Yo, this is it. 1:19:36.880 --> 1:19:39.959 Like Studio A just had it sounded like my basement. 1:19:40.760 --> 1:19:42.840 And I turned around and looked at the outboard gear. 1:19:42.880 --> 1:19:45.280 I seen they had mad They had enough outboard gear 1:19:45.320 --> 1:19:48.040 in there, you know. And I was like, Yo, this 1:19:48.200 --> 1:19:50.920 is it. And what was the first session we did? 1:19:50.960 --> 1:19:52.800 What? Maybe I got you open? 1:19:53.640 --> 1:19:54.599 Yeah, I got you open. 1:19:55.120 --> 1:19:56.080 I think I got you open. 1:19:56.760 --> 1:19:58.880 Yeah, it was the first session we did there. And 1:19:58.960 --> 1:20:02.120 once we did the secon there, we never left. 1:20:02.680 --> 1:20:04.439 Wow, we never. 1:20:04.320 --> 1:20:06.240 Left, like and it was like And the thing about 1:20:06.320 --> 1:20:10.080 D and D is D and D had the sound 1:20:11.320 --> 1:20:14.880 like that m C I board. They had an m 1:20:14.960 --> 1:20:16.120 C I tape machine. 1:20:18.000 --> 1:20:22.200 Yeah, and it sounded nice and warm in there, like 1:20:22.680 --> 1:20:25.360 you know, we went to Battery. Battery was nice, but 1:20:25.400 --> 1:20:29.040 it was too clean for what we Yeah, and it's 1:20:29.040 --> 1:20:33.200 like D and D fit us right now. Now, let 1:20:33.200 --> 1:20:36.840 me explain the bathroom thing. The bathroom you went to 1:20:37.439 --> 1:20:41.120 was not the real bathroom. The real bathroom was in 1:20:41.160 --> 1:20:48.639 the office. That bathroom you went to was the bullshit bathroom. 1:20:49.200 --> 1:20:52.040 You know what I'm saying. But yeah, at the end 1:20:52.080 --> 1:20:53.880 of the day, we went to D and D and 1:20:53.920 --> 1:20:56.840 we just fell in love. And I'm the I'm the 1:20:56.880 --> 1:21:00.880 nerd geek nerd when it comes to like recording, and 1:21:01.080 --> 1:21:04.000 you know, I'm the dude that YO use the pull 1:21:04.120 --> 1:21:05.439 tech used it like that's me. 1:21:06.880 --> 1:21:11.200 Walk is just the yo. I know these walks knowledge 1:21:11.200 --> 1:21:12.760 of records, like. 1:21:12.800 --> 1:21:14.479 You know, and I tell people this all the time, 1:21:14.680 --> 1:21:17.640 walks knowledge of records. You're not gonna find nobody that 1:21:17.680 --> 1:21:19.240 has that knows more about. 1:21:19.000 --> 1:21:19.559 Records than war. 1:21:20.880 --> 1:21:21.560 I agree. 1:21:21.640 --> 1:21:23.400 If you if you go to Walk and say y'all 1:21:23.479 --> 1:21:26.160 need a record with a drum that sounds like there's 1:21:26.280 --> 1:21:28.160 walk not out of ten, will pick out three records 1:21:28.160 --> 1:21:29.680 and go, Yo, check these out. 1:21:29.880 --> 1:21:30.160 Wow. 1:21:31.680 --> 1:21:34.400 He is the nerd of the miners, and I'm the 1:21:34.439 --> 1:21:39.720 record guy. That's why my camera ain't working because because he's. 1:21:39.080 --> 1:21:41.160 Like and and even with D and D like Dan. 1:21:41.280 --> 1:21:44.000 The thing with D and D was, I learned how 1:21:44.000 --> 1:21:48.000 to engineer at D and D. Okay, like I learned 1:21:48.000 --> 1:21:51.680 the patch Bay, I learned what Mike t Use I 1:21:51.800 --> 1:21:54.000 learned like D and D is what taught me. 1:21:54.200 --> 1:21:57.120 The way I record today is what I learned the 1:21:57.200 --> 1:21:57.559 D and D. 1:21:59.200 --> 1:22:04.160 And you know, during those sessions, I was watching everything 1:22:04.200 --> 1:22:07.320 like and as a matter of fact, who got the 1:22:07.520 --> 1:22:12.800 props was recorded at such a sound studio with with 1:22:13.120 --> 1:22:16.360 uh slow Moo Son the field was the engineer. What 1:22:16.560 --> 1:22:19.320 happened was me and SlowMo got into a big argument 1:22:19.680 --> 1:22:21.519 because I was telling him how I want the record 1:22:21.520 --> 1:22:25.559 to sound, and slow Mo goes, oh, you think you 1:22:25.600 --> 1:22:29.120 know everything? You mixed the record. The mix you hear 1:22:29.160 --> 1:22:32.040 on that record is the mix that I did. Uh. 1:22:32.400 --> 1:22:34.760 He wanted to clean it up now he. 1:22:34.720 --> 1:22:36.280 Yeah, he wanted to clean up and he wanted to 1:22:36.360 --> 1:22:37.640 sound like a like. 1:22:37.680 --> 1:22:39.640 He was like, you gotta make the you gotta make 1:22:39.640 --> 1:22:43.120 the drums sound like this, ah that drum loop. Oh, 1:22:43.160 --> 1:22:45.599 you need a drum machine. And I'm like, no, you don't. 1:22:45.720 --> 1:22:48.720 I know what I'm doing here, and it you know, 1:22:48.880 --> 1:22:50.960 and that session was so bananas. It got to the 1:22:51.000 --> 1:22:54.559 point I think walk came and something was said, what 1:22:54.720 --> 1:22:57.840 was like, y'a mout before I killed somebody? 1:22:58.680 --> 1:22:59.320 Like it was that. 1:22:59.439 --> 1:23:03.160 Session where so bananas, like I mixed, I mixed that 1:23:03.200 --> 1:23:06.639 and I mixed the B side fuck it up because 1:23:06.680 --> 1:23:08.920 it was like, yo, I knew what sound we was 1:23:08.960 --> 1:23:13.920 looking for, you know, and yo, like after that, I was. 1:23:13.880 --> 1:23:15.960 Like, you know what we need to go we you know, 1:23:16.120 --> 1:23:16.719 when we went. 1:23:16.600 --> 1:23:21.240 To Calliope, went to Calliope because Calliope was cheap and 1:23:21.280 --> 1:23:23.479 Callipee was a studio that anybody was. They had like 1:23:23.479 --> 1:23:27.280 a special package from midnight to six am. I think 1:23:27.320 --> 1:23:29.240 we was getting the room for what twenty five an hour? 1:23:29.320 --> 1:23:29.559 Walk? 1:23:30.000 --> 1:23:32.320 Yeah, what was it peak hours? 1:23:32.720 --> 1:23:35.880 It was like what sixty eighty maybe one hundred? 1:23:36.600 --> 1:23:39.599 And you're saying that D and D was quote the 1:23:39.640 --> 1:23:42.600 non hip hop spot. What were they doing before you 1:23:42.720 --> 1:23:45.880 guys turned it into hip hop's own freestyle music? 1:23:46.000 --> 1:23:49.519 And yeah, freestyle and they did like they did the 1:23:49.600 --> 1:23:50.200 Fat Boys. 1:23:50.240 --> 1:23:52.599 Actually was like I think the first dudes that recorded there, 1:23:52.640 --> 1:23:55.920 the hip hop dudes, they recorded one or two records there, 1:23:56.520 --> 1:24:01.960 but they they did a lot of freestyle stuff. They 1:24:02.000 --> 1:24:04.840 did a couple of reggae records, but they was known 1:24:04.840 --> 1:24:05.760 for like dance. 1:24:05.520 --> 1:24:09.479 Stevie B And Yeah. 1:24:09.960 --> 1:24:11.960 One time we was in the studio and Noel was. 1:24:11.920 --> 1:24:13.960 There silent morning Noel. 1:24:14.320 --> 1:24:16.960 I'm looking at him like, what are you doing? 1:24:18.439 --> 1:24:18.719 Nice? 1:24:19.160 --> 1:24:21.400 But yeah, that's what they was. They was doing dances. 1:24:21.520 --> 1:24:23.920 One thing about d n D. You will meet anybody 1:24:23.960 --> 1:24:26.720 in dn D like people you would even think that 1:24:26.800 --> 1:24:29.760 would be there every Saturday. If we were record on 1:24:29.840 --> 1:24:32.240 a Saturday to Shina Arno will be in there doing 1:24:32.240 --> 1:24:33.240 her demoya. 1:24:33.360 --> 1:24:34.679 Wow. 1:24:39.760 --> 1:24:39.880 Yo. 1:24:39.960 --> 1:24:42.280 Can you talk about working with U Sean Price and 1:24:42.479 --> 1:24:44.600 like rock and rock from Helter Skelter. 1:24:45.160 --> 1:24:48.280 Yo, that dude was a different guy. 1:24:48.479 --> 1:24:50.479 Yeah. 1:24:50.680 --> 1:24:54.439 Your one day we started working, we were working on 1:24:54.600 --> 1:24:58.280 maybe the Sean and I'm not sure, but posstive news 1:24:58.320 --> 1:24:59.920 that came to see me in the studio. 1:25:01.200 --> 1:25:03.040 I bring him up, says I wanted to introduce him 1:25:03.040 --> 1:25:06.799 to rock and rock. So I bring Passing. First person 1:25:06.800 --> 1:25:10.880 we see is Sean So I said, Yo, Sean, Yo, 1:25:10.960 --> 1:25:15.280 Yo rock, this is my man, Mrs past Pass, this 1:25:15.439 --> 1:25:19.679 is rock. You know what he says to Pass Yo, Son, 1:25:19.720 --> 1:25:22.880 I'm nice, Son, I'm not Son. I could book you 1:25:23.000 --> 1:25:25.360 on this mic son, I'm nice. I'm nice. 1:25:25.360 --> 1:25:30.639 I bust anybody as son what what I said? Please 1:25:30.680 --> 1:25:37.960 excuse him? Face like yo, yo, he's impossitive face like 1:25:37.960 --> 1:25:39.439 Papa is like, yeah, what the is going on? 1:25:39.760 --> 1:25:44.160 I'm like, please excuse him. This is just how he is. 1:25:44.240 --> 1:25:47.040 This is this is this hen But that's how he was. 1:25:47.080 --> 1:25:50.599 He was like a jokest But yeah, I've seen many 1:25:51.080 --> 1:25:55.000 sides of him, Like right right, he could have been 1:25:55.040 --> 1:25:55.519 a comedian. 1:25:55.880 --> 1:25:57.920 Yeah, he could have been a comedian. He was a 1:25:57.960 --> 1:25:59.439 great guy. Man, he was a great guy. 1:25:59.720 --> 1:25:59.920 Yeah. 1:26:00.760 --> 1:26:05.200 I just got to tell you the day that we 1:26:05.479 --> 1:26:07.360 first heard onslaught. 1:26:07.200 --> 1:26:11.360 On the I remember you told me, I remember if. 1:26:11.160 --> 1:26:17.200 You watch us and Buster rhymes on SNL. We snuck 1:26:17.280 --> 1:26:20.120 eight bars of that in on like we heard it 1:26:20.160 --> 1:26:23.360 that day. Yeah, and we were backstage having a meet 1:26:23.360 --> 1:26:26.120 and like, yo, man, I want to rhyme over that ship. 1:26:26.800 --> 1:26:29.320 And we were like, yo, we we didn't clear the 1:26:29.320 --> 1:26:30.840 song with SNL like we're supposed to do. 1:26:30.880 --> 1:26:31.960 You say, I don't give a fuck. 1:26:32.160 --> 1:26:35.080 Matter of fact, I thought it's gonna spit four bars too, 1:26:35.400 --> 1:26:39.080 and literally like for us, we thought we was like 1:26:39.120 --> 1:26:41.760 committing a crime, like yo, we ain't telling Sylvia Room 1:26:41.800 --> 1:26:44.639 we ain't telling nothing but the last last sixteen bars 1:26:44.680 --> 1:26:47.200 that ship we're doing that black Moon shit and literally 1:26:47.240 --> 1:26:49.000 you know, that's like one of my favorite shits. 1:26:50.040 --> 1:26:53.639 Yeah, that's all egle D. That's all eagle D. That's 1:26:53.760 --> 1:26:55.800 that's my favorite black Moon record of all time. 1:26:56.280 --> 1:27:00.639 Yo, that record is me playing them anymore, or based 1:27:00.680 --> 1:27:02.479 on it, is me playing them anymore. 1:27:03.160 --> 1:27:03.360 Oh. 1:27:03.520 --> 1:27:09.800 Also, Doug on you turntables and mic, Why what was 1:27:09.880 --> 1:27:11.519 on your mind when you did that kick pattern? 1:27:11.640 --> 1:27:12.439 To this day? 1:27:13.800 --> 1:27:17.320 Like I never heard someone not John Jebbo starts from 1:27:17.320 --> 1:27:21.679 the JBS do sixteen do sixteens on the kick drum? 1:27:22.840 --> 1:27:25.880 Who programmed that he did all that? 1:27:26.000 --> 1:27:29.960 What it was was, I was following a pattern of heartbeat. 1:27:30.280 --> 1:27:30.479 Right. 1:27:30.520 --> 1:27:33.400 But that's the thing. You could have chose the other 1:27:33.439 --> 1:27:34.760 part where they're just playing. 1:27:34.520 --> 1:27:37.879 The shit normal. I E. Buddy, you chose the hardest 1:27:37.880 --> 1:27:38.599 part to loop. 1:27:39.400 --> 1:27:44.160 Yeah, but that's just me like you, you're using the 1:27:44.200 --> 1:27:46.000 same record, but you're trying to be different. 1:27:46.040 --> 1:27:46.920 You're trying to be different. 1:27:46.920 --> 1:27:47.400 You don't want to. 1:27:47.439 --> 1:27:49.479 You don't want it to sound like it's the same. 1:27:50.000 --> 1:27:50.439 You don't want to. 1:27:50.479 --> 1:27:52.240 We didn't want to sound like daylight. You know what 1:27:52.280 --> 1:27:55.360 I'm saying so we wanted to be a different swing. 1:27:55.400 --> 1:27:59.799 Yeah, Like two turntables with a mic was basically a segue. 1:28:00.560 --> 1:28:02.280 We used to do that on the Like the first 1:28:02.280 --> 1:28:04.720 time we me and you met, which was at a 1:28:04.720 --> 1:28:07.679 show in Philly, we did two ton tables in the mic. 1:28:08.560 --> 1:28:10.160 That was a segue we used. 1:28:10.800 --> 1:28:12.680 You know, we got back home, we was like, yo, 1:28:12.760 --> 1:28:15.120 we need to make that into a record now. The 1:28:15.200 --> 1:28:18.120 whole thing happened with Nervous where you know, we left 1:28:18.120 --> 1:28:18.839 Nervous records. 1:28:18.840 --> 1:28:19.880 Oh blah blah blah. 1:28:20.400 --> 1:28:24.720 And we still like when we you know, when we 1:28:24.760 --> 1:28:27.719 got with me and Buck sat down to do Warzon, 1:28:27.920 --> 1:28:30.519 Buck was like the heartbeat thing. 1:28:31.360 --> 1:28:34.160 We need to do that, you know. But it's like 1:28:34.280 --> 1:28:35.920 we you know, like I said, it was us. 1:28:36.040 --> 1:28:39.280 It was just so risky to put sixteen bar patterns 1:28:39.320 --> 1:28:45.519 on the cake drum where it was, that's just unheard of. 1:28:46.040 --> 1:28:46.960 I'm a nerd. 1:28:47.200 --> 1:28:50.040 For me, it was like I spend more times like 1:28:50.560 --> 1:28:54.600 why would they do that? But will eventually happen? Is 1:28:54.760 --> 1:28:56.599 I now do that to this day and I can't 1:28:56.600 --> 1:28:57.360 stop doing it? 1:28:58.360 --> 1:28:58.559 Yeah. 1:28:58.640 --> 1:29:00.519 You ever to be so obsessed with something that you 1:29:00.560 --> 1:29:04.479 either don't understand or you hate, and then you. 1:29:04.360 --> 1:29:05.720 Wind up turning to that ship. 1:29:06.080 --> 1:29:06.760 Yeah. 1:29:06.880 --> 1:29:10.400 Yeah, like right now, I'm like that pattern. 1:29:10.560 --> 1:29:15.040 Probably I'm still obsessed over why you did it because 1:29:15.439 --> 1:29:19.679 it's kind of wrong, but still right, like, there. 1:29:19.520 --> 1:29:21.479 To be different, man, there to be different. 1:29:21.760 --> 1:29:24.920 Two mic was supposed to be a House Party two. Yeah, 1:29:25.640 --> 1:29:27.759 it was a House Party two soundtrack. 1:29:27.960 --> 1:29:33.360 Oh but we recorded that record twice. We recorded it 1:29:33.400 --> 1:29:38.439 once and when we record the first time, that's when 1:29:38.439 --> 1:29:41.759 we didn't regular. We hooped up the regular part and anything. 1:29:42.320 --> 1:29:44.559 And when we did that, it was like, Yo, this 1:29:44.600 --> 1:29:49.280 is gonna be dope. And then the whole nervous thing happened. 1:29:49.600 --> 1:29:53.400 So after that it was like whatever, you know. And 1:29:53.400 --> 1:29:55.800 then when Buck was like, let's do that heartbeat thing, 1:29:55.840 --> 1:29:58.680 it was like, you know what, we're gonna do it, 1:29:58.720 --> 1:30:01.000 but we're gonna do it a little different. You know, 1:30:01.080 --> 1:30:02.479 We're going to try to make it sound a little 1:30:02.479 --> 1:30:05.240 different than everybody else's virsion of heartbeat. 1:30:05.800 --> 1:30:09.080 Okay, you know, you know. 1:30:09.560 --> 1:30:11.639 I do also want to get to the fact that 1:30:11.960 --> 1:30:15.600 you guys were super early Like, of course post pandemic, 1:30:16.600 --> 1:30:19.360 everybody was DJing online and whatnot, and you guys were 1:30:19.400 --> 1:30:23.439 like super early on that. What was the genesis of 1:30:23.479 --> 1:30:25.880 you guys starting your own internet radio station. 1:30:26.760 --> 1:30:31.680 In nineteen ninety six, my homeboys Mark and Randy they 1:30:31.720 --> 1:30:34.840 had an internet show. Now this is nineteen ninety six, 1:30:36.000 --> 1:30:39.639 they had an internet show called eighty AA hip Hop. Yes, 1:30:40.280 --> 1:30:43.840 I'm marking. Randy ran eighty A hip Hop. They came 1:30:43.880 --> 1:30:46.880 to me and was like, YO, can you help us 1:30:46.920 --> 1:30:49.760 produce this show? And I was like, YO, why not, 1:30:49.920 --> 1:30:52.360 let's do it. And when I went to them, they 1:30:52.479 --> 1:30:55.360 was like, YO, why don't you do your own thing also? 1:30:56.120 --> 1:30:58.240 And when they said that to me, you know, the 1:30:58.280 --> 1:31:02.960 first thing I did was like your walk da and 1:31:03.320 --> 1:31:05.479 you know, we sat down and that's how Beat minus 1:31:05.560 --> 1:31:06.320 radio was born. 1:31:07.000 --> 1:31:10.719 Like Adia hip Hop is the first hip hop station. 1:31:11.960 --> 1:31:15.799 Second Beat Minus Okay, when. 1:31:15.600 --> 1:31:19.080 We started doing it online, Macio is the one that said, Yo, 1:31:19.160 --> 1:31:20.640 you need guys, need to bring it over here. 1:31:20.680 --> 1:31:22.280 That's why we were doing it on uth stream. 1:31:22.560 --> 1:31:24.920 Yeah, but that's down like down the line, like we 1:31:25.080 --> 1:31:26.519 you know, Beat minus radio. 1:31:26.560 --> 1:31:29.080 We was doing that nineties nineties. 1:31:29.360 --> 1:31:32.160 Then the two thousand thing with the dot com thing happened, 1:31:32.880 --> 1:31:37.160 Pseudo which was our parent company, did so that was 1:31:37.200 --> 1:31:37.920 the end of it. 1:31:37.840 --> 1:31:38.400 For a minute. 1:31:38.439 --> 1:31:40.760 But we did it like we had Beat minus radio 1:31:40.840 --> 1:31:43.640 offline on power on our one oh five. 1:31:43.400 --> 1:31:46.320 Point nine WNWK for a second. 1:31:46.439 --> 1:31:50.240 We had it there, and then what happened was we 1:31:50.760 --> 1:31:54.960 kind of started again with another internet radio station. But 1:31:55.080 --> 1:31:59.400 that radio station they they wasn't maintaining their equipment, so 1:31:59.600 --> 1:32:01.600 you know, one day we went there and equipment was 1:32:01.600 --> 1:32:03.280 messed up, so we decided to just leave. 1:32:04.800 --> 1:32:09.519 Ma Co was on U stream and Maco hits us up. 1:32:09.640 --> 1:32:12.439 Yo, y'all need y'all need to come on you stream 1:32:12.560 --> 1:32:16.160 and I logged on Mao's rocking. He's like, yo, E 1:32:16.400 --> 1:32:20.240 set up an account, make your own yo, dude, Yo, 1:32:20.400 --> 1:32:21.559 you need to be on here. 1:32:21.760 --> 1:32:24.080 And that's what we started Beat minus Radio again. What 1:32:24.160 --> 1:32:25.320 year was that, Walt Night. 1:32:27.200 --> 1:32:27.439 Eight? 1:32:28.040 --> 1:32:32.200 Two thousand and eight it was, And we restarted Beat 1:32:32.240 --> 1:32:35.519 minus Radio online two thousand and eight, but before that 1:32:35.640 --> 1:32:39.000 we had, you know, we was doing Beat minus Radio 1:32:39.240 --> 1:32:43.040 like podcast and Beat Minus Radio off flight, so we 1:32:43.120 --> 1:32:43.799 kept it alive. 1:32:44.960 --> 1:32:47.120 But two thousand and eight. 1:32:47.040 --> 1:32:50.120 Was when we restarted again and we were streaming live 1:32:50.240 --> 1:32:54.320 from right here in the house, okay, and we've been 1:32:54.360 --> 1:32:56.120 doing it from two thousand and eight till now. 1:32:57.360 --> 1:33:01.559 So with hip hop blooming at as it has since 1:33:01.600 --> 1:33:05.120 you first started, thirty years ago, it's going through a 1:33:05.120 --> 1:33:06.480 whole giant metamorphosis. 1:33:07.200 --> 1:33:08.200 How have you guys. 1:33:07.920 --> 1:33:13.160 Been able to navigate in terms of like do you 1:33:13.200 --> 1:33:17.360 still get a thrill of making beats? Are you challenging 1:33:17.400 --> 1:33:21.160 yourself to try different ideas out or whatnot? Or is 1:33:21.200 --> 1:33:23.719 it like, look, this is our formula, this is our recipe. 1:33:23.760 --> 1:33:24.599 We're sticking to it. 1:33:25.400 --> 1:33:29.040 Do you still get a thrill of digging for records 1:33:29.080 --> 1:33:33.040 in the whole process of unearthing some gems that the 1:33:33.040 --> 1:33:35.760 world hasn't heard before? Like, is it still a thrill 1:33:35.800 --> 1:33:37.360 for you to make and create stuff? 1:33:38.240 --> 1:33:40.639 Yeah, that's never that's never going to die. Like, that's 1:33:41.200 --> 1:33:41.920 that's our thing. 1:33:42.120 --> 1:33:45.719 Like we still follow the blueprint that we lay down, 1:33:45.880 --> 1:33:48.559 but we listen to what's around us, and we listen 1:33:48.600 --> 1:33:52.679 to everybody, and we try to add little pieces here 1:33:52.680 --> 1:33:56.599 and there, but we mainly keep our same sound, you know, 1:33:56.640 --> 1:34:00.439 and the same technique that we've been using for the 1:34:00.479 --> 1:34:00.800 dick and go. 1:34:00.960 --> 1:34:03.880 We still go digging like all the time. 1:34:04.439 --> 1:34:07.080 Yeah, all the time. It's not gonna stop. 1:34:07.160 --> 1:34:08.479 Like to stop. 1:34:08.560 --> 1:34:10.720 I always tell people that it's it's new equipment, but 1:34:10.760 --> 1:34:13.920 it's the same people, like, you know, instead of using 1:34:13.920 --> 1:34:17.160 the sp in the nine point fifty. Now we use 1:34:17.560 --> 1:34:23.240 NPC Renaissance, NPC X, able Tin and Pluggins. 1:34:23.600 --> 1:34:26.320 Did it take you long to adjust to that or 1:34:26.360 --> 1:34:30.080 was it like were you kicking and screaming to adjust 1:34:30.120 --> 1:34:30.960 to change? 1:34:31.800 --> 1:34:35.960 Meanwise, I'm the technology dude, yep, So I'm always looking 1:34:36.000 --> 1:34:40.639 in and trying to figure things out. Law finess Og 1:34:41.320 --> 1:34:45.080 dj Og and King of Chill taught me able to. 1:34:46.040 --> 1:34:52.000 Okay, you know, and you know Chill is now PREMI yeah, yeah, 1:34:52.080 --> 1:34:54.040 Premiere's full time engineering. 1:34:54.080 --> 1:34:54.519 He used to be. 1:34:54.920 --> 1:34:58.639 He likes dj like, those are the dudes that taught 1:34:58.680 --> 1:35:02.360 me able to. And it's like once I learned Ableton, 1:35:03.320 --> 1:35:08.519 I was like, what we could do this? And you know, 1:35:08.800 --> 1:35:11.400 and the same thing with the Renaissance, like you know, 1:35:12.479 --> 1:35:14.680 at the end of the day, like it made my 1:35:14.840 --> 1:35:15.639 job easier. 1:35:16.280 --> 1:35:17.719 What's your weapon of choice now? 1:35:18.400 --> 1:35:22.160 NPC Renaissance are Ableton and a whole bunch of records. 1:35:22.479 --> 1:35:24.479 Have you ever pulled out the old tools to try 1:35:24.520 --> 1:35:24.880 it again? 1:35:25.680 --> 1:35:26.840 I still haven't plugged up. 1:35:26.920 --> 1:35:29.759 Like what I do is every once in a blue 1:35:30.720 --> 1:35:33.720 I will sneak back to the sp because here's the thing. 1:35:34.439 --> 1:35:37.840 Everybody wants to emulate that sound. I don't have to 1:35:37.840 --> 1:35:40.800 emulate that I have one. Anybody wants that nine to 1:35:40.840 --> 1:35:43.040 fifty sound, I don't have to emulate. I just go 1:35:43.120 --> 1:35:45.120 sampling a nine to fifty and then dumping into. 1:35:45.000 --> 1:35:49.640 Ableton because the nine fifty is the one device that 1:35:49.680 --> 1:35:52.080 I feel like all the gods have used and swore 1:35:52.160 --> 1:35:55.519 by that I'm not. First of all, I can't find 1:35:55.520 --> 1:35:57.840 I think once I use the nine to fifty, like 1:35:58.120 --> 1:36:00.160 during dew, you want more, Like Bob had one, but 1:36:00.680 --> 1:36:01.640 he operated it. 1:36:01.720 --> 1:36:02.160 I didn't. 1:36:02.439 --> 1:36:05.240 What is it about the nine to fifty that holds 1:36:05.240 --> 1:36:09.320 holy for every god of hip hop production? 1:36:10.240 --> 1:36:13.559 It's a warm sound. Yeah, it's a nice warm sound 1:36:13.600 --> 1:36:15.120 to it. 1:36:15.120 --> 1:36:17.599 It's like the nine to fifty has a like back 1:36:17.720 --> 1:36:20.759 then when they made equipment, it had different The equipment 1:36:20.800 --> 1:36:23.599 had different sounds. It's like, for instance, like I tell 1:36:23.640 --> 1:36:26.400 everybody them, the best sound in NPC is the NPC 1:36:26.400 --> 1:36:27.000 three thousand. 1:36:27.840 --> 1:36:29.840 To me, that's the best sound in MPs. 1:36:29.840 --> 1:36:30.920 That's the best sound in one. 1:36:32.240 --> 1:36:34.599 The nine fifty also had a sound. 1:36:35.479 --> 1:36:39.920 And when you did filters in the nine fifty, I 1:36:39.960 --> 1:36:44.720 don't know what it was, but it just sounded crunchier 1:36:45.320 --> 1:36:46.479 and heavier and. 1:36:46.520 --> 1:36:48.280 Better, and it had that. 1:36:50.560 --> 1:36:54.280 Sound that all those old records had right, Like if 1:36:54.280 --> 1:36:56.360 you listen to a filter on a on a on 1:36:56.400 --> 1:37:04.840 a black own record, it's not just the baseline, it's the. 1:37:02.200 --> 1:37:04.200 The undercurrent that out. 1:37:04.280 --> 1:37:08.040 Yeah, right, And it's like the nine fifty at at 1:37:08.200 --> 1:37:11.080 you know, at the same time was like the SP 1:37:11.240 --> 1:37:12.360 twelve hundred and nine. 1:37:12.200 --> 1:37:15.600 Fifty was partners You couldn't break up that partnership. 1:37:17.080 --> 1:37:20.160 Now, keep in mind I used it a totally different equipment, 1:37:20.280 --> 1:37:28.040 Like I'm using an X and NPC one. Yeah, I 1:37:28.040 --> 1:37:30.800 gotta go back and four, so you know I use that. 1:37:30.880 --> 1:37:33.000 But before that, I was on the three thousand for 1:37:33.080 --> 1:37:34.599 like twenty years. I was on a three thousand. 1:37:35.360 --> 1:37:36.120 Couldn't let it go? 1:37:36.600 --> 1:37:37.800 Yeah, I can can do it. 1:37:38.560 --> 1:37:41.360 What's the dude that Now here's the thing. What's usually 1:37:41.360 --> 1:37:42.479 the dude that? 1:37:42.640 --> 1:37:42.760 Yo? 1:37:42.960 --> 1:37:46.080 Like, I gotta be like your war, your war, come on, 1:37:46.200 --> 1:37:48.639 walk your war war. 1:37:49.680 --> 1:37:54.639 Like the NPC X. We was in not Guitar Center. 1:37:54.720 --> 1:37:59.920 We was at maybe seven. 1:38:00.080 --> 1:38:04.760 Ash and Walters goes, let me get the NPC X 1:38:06.080 --> 1:38:07.200 and I'm looking at him. 1:38:07.040 --> 1:38:10.000 Like, really, this is what you're gonna buy. I'm buying 1:38:10.000 --> 1:38:10.639 a keyboard. 1:38:11.560 --> 1:38:14.599 It's like, let me get the NPC X and walk 1:38:14.680 --> 1:38:17.719 opened like walk gets into the house and you didn't 1:38:17.720 --> 1:38:19.200 see what for for weeks. 1:38:19.400 --> 1:38:22.360 And he's right upstairs, but I didn't see him for weeks. 1:38:23.240 --> 1:38:25.679 But that's how we bom farre with with with stuff 1:38:25.760 --> 1:38:28.040 like Yo, when I learned how to use the Renaissance 1:38:28.760 --> 1:38:31.720 walk looks at King of Chilling goes, You're not gonna 1:38:31.720 --> 1:38:33.479 see eat for another few months because you're gonna be 1:38:33.479 --> 1:38:33.920 in the house. 1:38:33.960 --> 1:38:38.639 Watch I see have interview, tried the New twelve hundred, 1:38:40.400 --> 1:38:48.760 the Wait, the Elliott Show, all your nerd talk, Yeah, 1:38:49.200 --> 1:38:51.240 talk about it, the truth. 1:38:51.400 --> 1:38:56.759 Yes, this guy right there, man, that dude is dangerous. 1:38:57.360 --> 1:38:58.040 I learned from. 1:39:00.360 --> 1:39:04.599 Thank you, sir, thank you. You're talking about the Pioneer joints. Yes, 1:39:05.080 --> 1:39:08.519 you know, I'm hitting Tiger, which is the Oh you 1:39:08.560 --> 1:39:13.600 know Static is partners now with them. Just bought those turntables. 1:39:13.640 --> 1:39:15.719 I was the first DJ to use them at Hitting 1:39:15.760 --> 1:39:16.719 Tiger is Saturday. 1:39:17.280 --> 1:39:19.400 Yo. I fell in love with those turns. Yo. 1:39:19.479 --> 1:39:22.840 I'm really like, I'm like, Yo, Wall, We're gonna have 1:39:22.880 --> 1:39:25.200 to do We're gonna have to do some legal business 1:39:25.240 --> 1:39:25.680 because I. 1:39:25.680 --> 1:39:27.800 Need a pair of those turntables. 1:39:28.320 --> 1:39:35.160 Those turntables are incredible. I fell in love with them. Turntables. 1:39:35.160 --> 1:39:37.439 Like I was like, you know what these turn this? 1:39:37.680 --> 1:39:40.559 I gotta get a pair. I gotta get a pair. 1:39:41.800 --> 1:39:42.200 All right. 1:39:42.400 --> 1:39:44.840 Last thing I know that you guys are you're you're 1:39:44.840 --> 1:39:46.880 working with Chris right on? Are you doing the whole 1:39:46.920 --> 1:39:49.240 album or just a single with Carris One? 1:39:49.680 --> 1:39:49.880 No? 1:39:49.960 --> 1:39:51.280 That single was from our album. 1:39:52.000 --> 1:39:54.840 Okay, Yeah, I was the impression that you're doing an entire. 1:39:55.600 --> 1:39:57.519 Let me tell you this. We were supposed to. We 1:39:57.640 --> 1:40:01.160 have so many songs with Chris. We were supposed to, 1:40:01.200 --> 1:40:04.760 but it's communication broke down, like I just you. 1:40:04.720 --> 1:40:12.760 Know, actually, you know, I'm sorry. That's will destroy you. 1:40:13.320 --> 1:40:15.760 That's the first single from our album that's coming out 1:40:15.800 --> 1:40:18.760 in May June, Stifle Creativity. 1:40:19.120 --> 1:40:19.479 We got. 1:40:19.920 --> 1:40:22.559 That was the first single. The next single is a song. 1:40:22.640 --> 1:40:30.800 We have a song called Mayea that's featuring Daylight, Rachie Chappelle, Pharaohmont, 1:40:30.920 --> 1:40:33.639 and Corey Glover from Living Color More Records. 1:40:33.640 --> 1:40:34.240 What else is on there? 1:40:34.280 --> 1:40:38.600 Because we got of course a black Moon song. We 1:40:38.680 --> 1:40:43.479 got Uh Steel and Fame from m O p On 1:40:43.560 --> 1:40:46.840 a song, We got Rusty Jokes, we got a z 1:40:47.320 --> 1:40:50.240 we got our Scratch. 1:40:51.920 --> 1:40:52.360 Scratch. 1:40:53.880 --> 1:40:57.879 Yeah, we got two songs from raz Cast Bishop Lamont 1:41:00.160 --> 1:41:05.080 I'm trying to remember we got on the album I 1:41:05.120 --> 1:41:08.479 always forget keep we gotta Keith Murray on the album 1:41:08.680 --> 1:41:12.559 We got Apathy Apathy, so we we are got some 1:41:12.640 --> 1:41:13.200 things coming. 1:41:13.360 --> 1:41:14.599 Summertime should be fun. 1:41:15.120 --> 1:41:17.479 Well at the end of the day, that's what it is. Yo. 1:41:17.600 --> 1:41:20.439 Man, I thank you too for doing this episode with 1:41:20.520 --> 1:41:23.839 us everything. 1:41:23.960 --> 1:41:26.160 You're the nicest gentleman in music. 1:41:27.200 --> 1:41:28.360 Thank you so much, sir. 1:41:28.800 --> 1:41:30.640 I just wanted to say, man like for just as 1:41:30.680 --> 1:41:33.160 a longtime fan of y'all's and just you know, being 1:41:33.520 --> 1:41:36.760 with LB first came out, y'all were one of the first, you. 1:41:36.720 --> 1:41:38.559 Know, one of the ogs to really show us love. 1:41:38.720 --> 1:41:39.320 You know what I'm saying. 1:41:39.360 --> 1:41:42.160 I remember, like Evil do you come into our album 1:41:42.160 --> 1:41:43.440 release party and stuff. 1:41:43.680 --> 1:41:45.400 And I got the work we did on the breaks 1:41:45.439 --> 1:41:45.920 and everything. 1:41:46.720 --> 1:41:48.519 I remember when we met, when we met up at 1:41:48.600 --> 1:41:49.240 Fat Beats. 1:41:49.400 --> 1:41:51.840 Yes, today, I told you to meet me at. 1:41:51.760 --> 1:41:53.840 Fat Beats that we were out. 1:41:54.320 --> 1:41:55.719 Yes, you gotta understand. 1:41:55.800 --> 1:41:59.040 It's like I'm a fan of y'all, you know what 1:41:59.080 --> 1:42:01.080 I'm saying, Like just like people are fan of mine, 1:42:01.479 --> 1:42:04.960 Like you know, like I'm that type person where it 1:42:05.000 --> 1:42:07.559 doesn't hurt me to give credit where credit is due. 1:42:08.400 --> 1:42:10.120 You know what I'm saying, Like, Yo, if you made 1:42:10.160 --> 1:42:15.960 something dope, trust me, I'm like this and like y'all 1:42:16.000 --> 1:42:17.920 inspired me to work. You know what I'm saying. Same 1:42:17.960 --> 1:42:20.960 thing with with quests, cause it's like he'll like when 1:42:21.000 --> 1:42:24.040 they did a gos a joint where y'all loop Sadday Night. 1:42:24.720 --> 1:42:28.880 Oh that's without a doubt, without a doubt, without a doubt. 1:42:28.920 --> 1:42:32.439 Yeah, I was like, Yo, this is kind of hot, 1:42:32.479 --> 1:42:35.519 but his drunk playing, Like, come on, I spend plenty 1:42:35.560 --> 1:42:38.200 of times where I stole a kick and stole a snare. 1:42:38.439 --> 1:42:39.640 You know that's what it's there for. 1:42:39.720 --> 1:42:43.160 Man, Can I just say something real quick y'all before 1:42:43.200 --> 1:42:44.880 y'all go, because me and Jake were just talking about this, 1:42:45.040 --> 1:42:48.519 the evolution of the backpacker and where it has gone 1:42:48.680 --> 1:42:49.920 and all the derivatives. 1:42:50.240 --> 1:42:51.120 It's just a beautiful thing. 1:42:51.120 --> 1:42:52.400 And I know sometimes it used to be a bad 1:42:52.400 --> 1:42:54.759 word because when people call me a backpacker, I be offended. 1:42:55.200 --> 1:42:59.200 But now it is a because. 1:42:58.320 --> 1:43:00.799 When they was David David shiny suits to me a backpacker, 1:43:00.880 --> 1:43:01.600 But now I'm just saying that. 1:43:02.240 --> 1:43:04.040 That was calling you a backpack. 1:43:03.800 --> 1:43:05.520 Yeah, who the hell is calling you a backpacker? 1:43:05.680 --> 1:43:07.640 Back when I was going to see y'all, when I 1:43:07.680 --> 1:43:09.839 was going to see boot Camp Click at the Ibacks 1:43:09.840 --> 1:43:11.200 and everybody else was going to the go go. 1:43:11.280 --> 1:43:13.439 He's wearing our backpacks at the club, like yeah, we 1:43:13.479 --> 1:43:14.200 was backpacking. 1:43:15.920 --> 1:43:19.720 Yes, at the end of the day, man, I'm just 1:43:19.800 --> 1:43:22.000 like this, this is definitely dope. 1:43:22.000 --> 1:43:22.160 Man. 1:43:22.200 --> 1:43:24.760 I want to thank y'all man for real. Walk put 1:43:24.760 --> 1:43:31.080 me on to the podcast, because what was like, you want, yo. 1:43:31.680 --> 1:43:35.400 This is your favorite podcast? Like I love this podcast. 1:43:35.640 --> 1:43:38.840 I think I have my road call ready to go. 1:43:39.400 --> 1:43:41.240 Oh, we're gonna do it. 1:43:41.760 --> 1:43:44.559 Walk came in here on some Joe guess for podcast 1:43:44.600 --> 1:43:46.880 we're doing, and I'm looking at him like, what's wrong 1:43:46.920 --> 1:43:49.080 with you? 1:43:49.080 --> 1:43:51.000 You did that like the cartoon cheer and you did 1:43:51.000 --> 1:43:56.000 that like a come on, like yeah, all right. 1:43:56.080 --> 1:43:59.920 So normally I do my sign off shout out to 1:44:00.200 --> 1:44:05.320 to the family of q os, but this one time, Sir. 1:44:06.120 --> 1:44:07.840 Evild's on the mix. 1:44:07.960 --> 1:44:09.000 Come on kick it. 1:44:10.280 --> 1:44:13.120 Thank you very much. We will see you next week, 1:44:13.840 --> 1:44:25.160 all right, so much. Thank you for listening to Quest 1:44:25.200 --> 1:44:25.799 Love Screams. 1:44:26.200 --> 1:44:29.559 This podcast is hosted by a Mere quest Love Thompson, 1:44:29.920 --> 1:44:33.080 Big Boss Man like yeah, Saint Clair so Black and 1:44:33.160 --> 1:44:38.320 the Black Myself, Fontigelo, Fonte Goldman, Sugar, Steve Mandell and 1:44:38.600 --> 1:44:42.679 Unpaid Bill Sherman. The executive producers are a Mere Quest, 1:44:42.680 --> 1:44:46.400 Love Thompson, Sean g and De Gunn, Bothered Brian Calhoun, 1:44:46.760 --> 1:44:51.160 Produced by Britney Benjamin, My Dog Cousin, Jay Payne, My 1:44:51.200 --> 1:44:54.599 Motherfucking Man and like he Is Saint Clair my work 1:44:54.680 --> 1:44:57.080 Wife edited by Alex Conroy. 1:44:57.400 --> 1:44:59.880 Produced for Our Heart by Noel Brown. Thank you for 1:45:00.000 --> 1:45:04.840 tune and then check us out next week. What's Love 1:45:04.920 --> 1:45:11.799 Supreme is a production of iHeart Radio. For more podcasts 1:45:11.800 --> 1:45:16.200 from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever 1:45:16.200 --> 1:45:17.519 you listen to your favorite shows.