Speaker 1: Quest Love Supreme is a production of iHeartRadio.
Speaker 2: I'm just so.
Speaker 3: Happy that everybody showed up for this. DoD damn so
Speaker 3: I'm happy. You God damn you got missed the Coleman here.
Speaker 4: I'm fin you want to know.
Speaker 1: What let's start.
Speaker 5: I can already tell that this episode of Quest Love
Speaker 5: Supreme is going to be a special one.
Speaker 1: What can I say?
Speaker 5: I've known and worked with these gentlemen when I first
Speaker 5: got into the game. Oftentimes we talk about sort of
Speaker 5: pioneering shift change of where hip hop went in the
Speaker 5: early nineties, what we call the Renaissance period of hip hop,
Speaker 5: and often you hear the names, you know, Pete Rock, Premiere,
Speaker 5: the Uma, and you know Diamond D. Not to mention,
Speaker 5: I mean, it's not strictly New York. There was DJ
Speaker 5: Quick on the West Coast. Of course, Doctor Dre was
Speaker 5: doing stuff. Got to give a shot out to Prince
Speaker 5: Paul and also Extra p Lrish Professor organized Noise down South.
Speaker 1: Like there was a whole Jay Swift on the West Coast.
Speaker 5: There's a whole slew of producers that basically built upon.
Speaker 1: What Marley Ma and the Bomb Squad. I know.
Speaker 5: There's a lot of legends that I'm missing when doing
Speaker 5: this introduction. But for me, these two gentlemen are a
Speaker 5: part of a movement that often doesn't get enough credit
Speaker 5: for their level of hip hop production, their grimy level
Speaker 5: of hip hop production. And you know, they put numbers
Speaker 5: on the boards, and we just don't say it because
Speaker 5: it's so effortless. But yet and still, you know, if
Speaker 5: you watch, you can tell the sign of a good
Speaker 5: producer based on all these freestyle videos you see from
Speaker 5: the nineties, whatnot what's the music back drop they choose?
Speaker 5: And I guarantee you these gentlemen definitely have numbers on
Speaker 5: the boards as far as just really bringing a sound
Speaker 5: to New York, defining the sound of New York, even
Speaker 5: the roots work with him back in ninety five. But
Speaker 5: more than that, I just love to also state the
Speaker 5: fact that, despite what they like to let onto the public,
Speaker 5: these are the two nicest nerds I've.
Speaker 1: Ever met in my life.
Speaker 5: My habit of speaking Elizabethan and proper Gilded Age era
Speaker 5: English really comes from these two. To this day, i'd say, sir, ma'am,
Speaker 5: I learned from these two.
Speaker 2: No way, no way, no super way.
Speaker 5: Don't deny it, ladies and gentlemen, please welcome Evil T
Speaker 5: and his brother Mister Walker, known as the Beat minus
Speaker 5: on Quest Loves the pre.
Speaker 2: Thank you made Mama, I'm mad.
Speaker 6: You you be great man.
Speaker 7: What was doing for the past two weeks?
Speaker 8: Yo? Cush up supreme? Like, what's going crazy?
Speaker 2: Man?
Speaker 5: This is just we we just having a normal account,
Speaker 5: like we're gonna bust it up like we normally do.
Speaker 5: We don't do it enough. And I'm so glad because
Speaker 5: it's been a hot minute. I'll just start with my
Speaker 5: first question. How are you guys? How's it going.
Speaker 2: We're good, We're good. We're living. We're living, that's what
Speaker 2: we're doing.
Speaker 8: I'm having fun. I don't know about wal I'm having fun.
Speaker 1: That's all you can do. That is all you can do.
Speaker 1: Where are you guys right now as we speak? What? What?
Speaker 1: What part of the world are you guys in right now?
Speaker 2: We are in Bushwick, Brooklyn. The same house. Yeah, that
Speaker 2: same the same listen, the same crib that my mother
Speaker 2: branged this bump ass dude home.
Speaker 8: That's me.
Speaker 3: That house right, This is the house that we made
Speaker 3: all our records in and stuff like.
Speaker 5: Wait, I have a question to ask because oftentimes I
Speaker 5: have a theory that whenever someone channels in magic, especially
Speaker 5: with music, and specifically I'm thinking about Prince and I'm
Speaker 5: thinking about the Rizza as well, they'll come with a cavalcade.
Speaker 1: Just an entire.
Speaker 5: Slew of you know what I call manna from heaven
Speaker 5: that they particularly create in a certain spot. In Prince's case,
Speaker 5: his his bedroom turned studio. In THESS case Stapleton, you
Speaker 5: know at at in his project basement making those classic
Speaker 5: Wu Tang records, and then what happens is, you know,
Speaker 5: they hit payday and then they upgrade, and then it's not.
Speaker 1: Quite the same anymore.
Speaker 5: Is there a specific reason why that you're you're still
Speaker 5: in the same Like, is there a formula for you
Speaker 5: guys that that you feel will jinx you if you
Speaker 5: were to move elsewhere besides the basement.
Speaker 2: This is the family house. So we just chose to stay.
Speaker 2: I mean I moved out.
Speaker 3: For like five years when my son was born. I
Speaker 3: have moved to Flatbush, but I kept like my records here.
Speaker 3: I have moved my equipment, but I kept like my
Speaker 3: records and all my stuff here, so I kept coming Black. Plus,
Speaker 3: he had like the main part of the studio here,
Speaker 3: so I had to come back.
Speaker 7: It's what it is, is like, well, you know, on
Speaker 7: the walk left, of course I stole his recollection.
Speaker 8: I got to talk about that.
Speaker 1: But isn't it kind of like both of y'alls?
Speaker 2: Yeah, Fridays if we're trying to be nice, it's it's
Speaker 2: it's you know, it's both for ours, you know.
Speaker 7: Fifty to fifty for some reason, for some reason, sixty forty,
Speaker 7: but uh whatever, being here this is this is where
Speaker 7: this is like it like it's no way to explain it,
Speaker 7: like this is I feel like this is where we belong,
Speaker 7: you know what I'm saying, Like everything started here, like
Speaker 7: and this actual kitchen is where you know, me Bucking
Speaker 7: five did our stuff like this kitchen and the next room,
Speaker 7: which used to be Walt's bedroom now is the studio.
Speaker 7: This is where everything started. And it's like, well else,
Speaker 7: you know, like, yo, this is it. That's all I
Speaker 7: can say. This is it.
Speaker 1: What's the age difference between you two?
Speaker 2: Three years?
Speaker 8: Yeah? Three years?
Speaker 3: I'm the older I'm the older brother. Okay, I was
Speaker 3: the brother that wasn't supposed to make it.
Speaker 8: And you know what.
Speaker 2: Wait yeah you're like yo, that's oh that big Okay,
Speaker 2: what are you talking about.
Speaker 9: And he was the baby, like, oh.
Speaker 3: My god, he was when I was young, because I'm
Speaker 3: the I was the first DJ the family, and of
Speaker 3: course I was the first one to do production. But
Speaker 3: my mother kept cold signing for e. You know, little
Speaker 3: brother always going to hang with big brother. So every
Speaker 3: time my mother would be like, you're gonna let him.
Speaker 2: DJ, I said no, no, Ma, I can't. He said no,
Speaker 2: take your brother with you. And this guy used to
Speaker 2: he used to mix off beat and every day was
Speaker 2: all over the place, and my mother was his biggest cheerleader.
Speaker 2: That's my baby, My stop it.
Speaker 7: But you know what it is though, I got into
Speaker 7: you know what, Walk got into DJing because he wanted to,
Speaker 7: like that was his thing.
Speaker 8: And I got into it because I was jealous of war.
Speaker 7: And it was like he's deep Jane and getting all
Speaker 7: this attention and it's all.
Speaker 8: Cool, and I was like, I'm cool too.
Speaker 2: You mean I ain't cool.
Speaker 8: I'm better than him. I was trash.
Speaker 5: So what what was your first musical memory in life?
Speaker 3: My father bringing home a bunch of records, Like he
Speaker 3: used to bring records home all the time because he
Speaker 3: used to work on construction sites and stuff like that,
Speaker 3: and he had brang home like a pile of records,
Speaker 3: and I just went towards this one record and I
Speaker 3: still have that record to this day, Diana Ross presents
Speaker 3: Jackson five.
Speaker 1: Oh wow.
Speaker 3: And I just that made me fall in love with
Speaker 3: collecting records. And the first song I ever fell in
Speaker 3: love with, like this song stayed in my head was
Speaker 3: Living for the City Stevie Wonder. That was the first
Speaker 3: song I fell in love.
Speaker 1: With, staying.
Speaker 5: When you're saying he brought the record, you mean dumpster
Speaker 5: diving or your father would go record shopping.
Speaker 3: No, he would bring someone would give him a polo
Speaker 3: records and you would just bring the records home. So
Speaker 3: he was doing the original beat mining before me and
Speaker 3: my brother.
Speaker 5: Yeah, what's the family unit?
Speaker 1: Is it just you two are siblings or do you
Speaker 1: have other siblings?
Speaker 3: Well, we have a half older half sister who lives
Speaker 3: in Harlem from my father, and then we had a
Speaker 3: younger sister that passed away in two thousand and time.
Speaker 5: Yeah, okay, were they musically inclined as well or was
Speaker 5: it just you two just me?
Speaker 2: Yeah, here's a secret for everybody. And I'm about to
Speaker 2: embarrass my brother up to Jacksonville so much, we made
Speaker 2: our own singing group. And I was Michael. I was
Speaker 2: Michael and Jackson.
Speaker 8: Mackie.
Speaker 2: He was Jermaine. My mother used to have two fuster kids.
Speaker 2: They were Marlon and Randy or whatever Mark and I
Speaker 2: was Jackie because I was the oldest, and I was Michael.
Speaker 2: I was the lead singer.
Speaker 1: Tito's not getting respect, and.
Speaker 2: He was Malling, and they were Malling and Tito.
Speaker 5: Yo, I'm gonna tell you something. You have to be
Speaker 5: a certain age to know that. For good four to
Speaker 5: five year run, right, the Jackson's were like the Black
Speaker 5: super Friends.
Speaker 1: And I guarantee you.
Speaker 5: Like anyone that had any sign of any music, healthy whatever,
Speaker 5: we would just say, lookyo, let's play Jackson five. And seriously,
Speaker 5: we just act like we were the Jackson five. I know,
Speaker 5: like is like I was born in the eighties. I'm
Speaker 5: sorry the nineties.
Speaker 4: No, no, no, we had no audition, I got you.
Speaker 4: I'm just I'm using it as a metaphor, like, oh
Speaker 4: with new addition.
Speaker 1: Yeah right now, because Jackson five was way before you.
Speaker 2: Everybody knows that Jackson five.
Speaker 3: Everybody like oh hell yeah, yeah, everybody knows what the
Speaker 3: Jackson five put down everybody.
Speaker 4: Everybody wasn't making choreography to it on the playground though.
Speaker 9: That's a certain.
Speaker 5: Error, right right, A man, they're they're they were the
Speaker 5: first black super Friends.
Speaker 2: So right, you know.
Speaker 1: Obviously slow, I got stuck with Tito all the time, so.
Speaker 2: You know I was when they had their own cartoon,
Speaker 2: like I was in.
Speaker 1: Hell now, yes, yes, Wait where year were you born?
Speaker 2: I was born in sixty eight?
Speaker 1: Okay, so you watch my old son?
Speaker 2: Oh not old?
Speaker 8: So you old son?
Speaker 9: You three years younger son? What are you doing? Three
Speaker 9: years younger? Three years younger?
Speaker 1: Though?
Speaker 9: Three? Three three three?
Speaker 5: At what age did do Ward like finally get your respect?
Speaker 5: Well as far as like production is concerned, not production,
Speaker 5: but DJ or were you the don't touch my equipment
Speaker 5: type or were you.
Speaker 2: The yeah, wait, don't touch my equipment types.
Speaker 1: Of e yes?
Speaker 2: Hell yeah? And he's my little his hand has been
Speaker 2: too greasy, he always had greasy as hands that he
Speaker 2: ate a polo rids. And then he want to touch
Speaker 2: the records. What kind of shits?
Speaker 8: Yo? Let me tell you what I used to do
Speaker 8: to walk right.
Speaker 7: So Wall would go hang out with his friends or
Speaker 7: go to work or whatever, you know, whatever, and As
Speaker 7: soon as he would leave, I would walk into his
Speaker 7: room and turn everything on practice what I seen him do,
Speaker 7: add my touch to it to make it my style,
Speaker 7: and turn everything off and put everything back the way
Speaker 7: it was supposed to be.
Speaker 2: So one day I caught it it as then I got.
Speaker 1: Beat up, all right? So yeah, the t Joe Jackson movement.
Speaker 5: Was at least like let me see what you can
Speaker 5: do first and then I beat jazz, or like.
Speaker 2: Because he's a little brother, I don't care what the
Speaker 2: little brother had to do. I'm big brother.
Speaker 1: You know.
Speaker 3: I'll tell you that moment I had with my mom
Speaker 3: and him, that was the moment I was like, all right, next,
Speaker 3: see what he can do.
Speaker 8: And I was horrible that man.
Speaker 3: Could have came in and did every mix that jazzy
Speaker 3: Jeff every day in his life and I still wouldn't
Speaker 3: be impressed, like it was whack mom, come on, but
Speaker 3: would never give him his prop.
Speaker 7: You know what was what was good about that was
Speaker 7: being that it was the big brother, little brother type thing.
Speaker 7: It made me go, you know what, I'm gonna beat
Speaker 7: walk at this. You know what I'm saying, Like, I'm
Speaker 7: I'm gonna show him. I'm gonna battle him. I'm gonna
Speaker 7: be better than him. And it made me really like
Speaker 7: get into DJing like I was. I was on some
Speaker 7: I was, it was something else, you know what I'm saying.
Speaker 7: Like I thought I was the DMC champion the way
Speaker 7: I was training to battle war, you know what I'm saying.
Speaker 5: So you two, you two were enemies first before you decided.
Speaker 1: To Yeah, of course, but you know, you know that
Speaker 1: makes sense.
Speaker 5: There's a legendary sibling DJ team that I knew in Philly,
Speaker 5: same situation. Brother was like five years young, but the
Speaker 5: younger brother's level of antagonizing was if his older brother
Speaker 5: made him mad, like don't touch my equipment and beat
Speaker 5: him up whatever, the younger brother would actually take like
Speaker 5: one of the prize records and put it in the bathtub,
Speaker 5: just on the records.
Speaker 8: No, no, we no, nah records valuable. Whoa whoa?
Speaker 2: I said, death said.
Speaker 5: It was also like eight years old, So you know,
Speaker 5: I mean, you do anything to antagonize now, I know
Speaker 5: most Harlem Uptown BRONC stories had the blackout of seventy
Speaker 5: seven to think for uh equipment, uh acquiring, But like,
Speaker 5: how did you build your how did you build your system.
Speaker 1: Well, in terms of being a DJ.
Speaker 2: We did what we had to do.
Speaker 8: My mother.
Speaker 2: First of all, we did the regular Mickey Mouse turntable
Speaker 2: with the whole home homemade mixer.
Speaker 3: We did that trackic thing. I asked my mother to
Speaker 3: buy me a turntable.
Speaker 2: Now, my mother is an old West Indian woman from Belize,
Speaker 2: so she's like, she don't know ages.
Speaker 1: Oh boy, what does she buy?
Speaker 2: He came home with a BSW belt turntable belt drive
Speaker 2: wow belt. I looked at her and I said, thanks, mom.
Speaker 2: And that's when I said, yo, I got to get
Speaker 2: my own thing. I can't.
Speaker 3: I can't. I can't deal with this with me. I
Speaker 3: got to get my own self. So that's why I
Speaker 3: started like this was we're going into like eighty five.
Speaker 3: So I started working in a record store around here,
Speaker 3: and then I'm in eighty seven. I started working at
Speaker 3: a music factor in Jamaica, Queens. And that's when I
Speaker 3: was like, yo, I got to get my own equipment
Speaker 3: and saved up enough money, I mean, you know, and
Speaker 3: got my equipment.
Speaker 10: There you mentioned earlier did job your father? He did construction?
Speaker 10: What did your mom? Your mother do?
Speaker 3: He was a nurse at We used to have a
Speaker 3: hospital out here called Williamsburg Hospital, and she used to
Speaker 3: work over there, and then she just started to take
Speaker 3: care of foster kids.
Speaker 9: Oh wow, okay, yeah, how many foster kids?
Speaker 2: It was a lot of falster kids, A.
Speaker 9: Lot of foster kids in and out of your house.
Speaker 2: Yeah yeah yeah.
Speaker 1: And when you say Williamsburg not the Williamsburg that I.
Speaker 2: Know, well no, it's different. Butchrig is not the butcher
Speaker 2: Ridge that we know, Like the butcher growing up now
Speaker 2: is a totally different butcher And what.
Speaker 1: Was manse uh man mustachues?
Speaker 9: Right?
Speaker 2: People looking at you like.
Speaker 4: You don't belong here, right, which means so y'all have
Speaker 4: a nice piece of real estate right now, and congratulations
Speaker 4: to that.
Speaker 2: Well, I mean we will always say this is our
Speaker 2: mama's house.
Speaker 7: Yeah, I tell people this day I live at my
Speaker 7: mother's base because I just loved the reaction of their face,
Speaker 7: like how do you still?
Speaker 4: And you god like to have a full it's a
Speaker 4: full brownstone and everything right, like.
Speaker 8: Right large, it's actually a townhouse.
Speaker 7: Okay, it looks like a brownstone, so we let people
Speaker 7: go with that, but it's actually a nineteen thirties townhouse.
Speaker 1: Wow, what were your earliest gigs like.
Speaker 2: Walk neighborhood stuff that's in the neighborhood, like you know,
Speaker 2: we didn't really leave butch rigged, you know, and stuff
Speaker 2: like that, so a lot of stuff. Mostly it started
Speaker 2: doing the dust and butcher rigg stuff, and then we
Speaker 2: started doing more stuff out of Brooklyn, and you know,
Speaker 2: it eventually grew after that.
Speaker 7: Back in the days, you had to like like you
Speaker 7: blew up in your neighborhood, and after you grew up
Speaker 7: in your neighborhood, you started going to other neighborhoods, and
Speaker 7: then you started going to other boroughs, and then it
Speaker 7: was all city.
Speaker 8: It's like it's kind of like a feiti all city.
Speaker 5: On with your own you're talking about like block parties
Speaker 5: and whatnot, or just like house parties. And right for me,
Speaker 5: like because my parents were record collectors, all those records
Speaker 5: that wound up getting sampled later like I already had
Speaker 5: but never knew because I just looked at my parents'
Speaker 5: record collection as.
Speaker 1: Like old people records, right, because.
Speaker 5: I'm assuming that when you're doing this in the early eighties,
Speaker 5: like collecting records and whatnot, that you're just basically getting
Speaker 5: hip hop records and records to rock the party. Like,
Speaker 5: I'm assuming that you're not thinking, Yo, I need this
Speaker 5: Bob James record or you know whatever for sampling purposes.
Speaker 1: But at what point did.
Speaker 5: You realize that, Like were you in an open format
Speaker 5: DJ or where you just strictly hip hop at the time,
Speaker 5: Like what were you playing?
Speaker 2: It starts with hip hop and then it becomes upen format. Yeah,
Speaker 2: so you would buy, like say, to Bob James record.
Speaker 3: You would buy the Bob James record because everybody you
Speaker 3: had a crew, You had the guys whom the DJ,
Speaker 3: the crew, So the MCS needs under raym on so
Speaker 3: you would get more or less you would get take
Speaker 3: me to the Mighty Gras and you would just buy
Speaker 3: two copies of those.
Speaker 1: So you on that early?
Speaker 2: Yeah? Yeah, I was on that early, Like yeah.
Speaker 1: Creed Lewis Flores, Rebeat lou back right.
Speaker 2: We used to call them uptown because you had to
Speaker 2: go uptown to get them.
Speaker 3: Even though I worked in Jamaica cuse I ain't start
Speaker 3: working at Jamaica until eighty seven. But like in eighty
Speaker 3: one and eighty you would have to go uptown to
Speaker 3: like Music Factor in forty second Street to go get
Speaker 3: these break beats. And the break beats. Around that time,
Speaker 3: they were already putting them on the bootleg twelve inches.
Speaker 3: You know what I'm saying, You would Bozomico stuff.
Speaker 8: And eat Me to the Beat records all that.
Speaker 2: They were already putting them on that eat Me to
Speaker 2: the Beat. You know what that is, right, big beat
Speaker 2: on one side and on the other side.
Speaker 5: Yeah, wait, that was back in the eighties. I thought
Speaker 5: that was coming down in the mid nineties.
Speaker 8: Nah, that was back. That was for ultimate breaks and beats.
Speaker 1: Bosomko was even out in the eighties.
Speaker 2: Boso Miko came out in eighty one. Yeah, yeah, Booo
Speaker 2: came out, all right, Flash to the Beat on the
Speaker 2: other side.
Speaker 5: I was gonna say so when I heard Flash to
Speaker 5: the Beat being played at like roller skating rinks, they
Speaker 5: were playing the same Bosomico.
Speaker 2: Bluele playing the Bosomico rocker. Yeah.
Speaker 1: Man, the only way you got it?
Speaker 2: Yeah, that's the only way you got it.
Speaker 7: All right.
Speaker 5: Let me let me let me explain dar okay, let
Speaker 5: me give it tutorial.
Speaker 2: All right.
Speaker 5: So basically, of course, you know that during the first
Speaker 5: generation of beat digging, you're talking about Bam Boda and
Speaker 5: Flash and Mean Jean and grandmother was the Theodore Like, yeah,
Speaker 5: so the first generation of course, like everyone would try
Speaker 5: to get their their the shazama on and see what
Speaker 5: they're playing. And of course, if you're smart enough you
Speaker 5: don't want nobody biting you, you would wipe the label
Speaker 5: off with water so no one can see what you
Speaker 5: were playing, you know what I mean? Before breakbeat lou
Speaker 5: Lewis Flores, would you say that Paul Winley was the
Speaker 5: first super disco breaks.
Speaker 2: Yeah, super disco breaks came out before the Ultimate breaks. Well,
Speaker 2: the ultimate breaks and beats was the Optopus Rocket. Yeah,
Speaker 2: right right, so, but Paul Winley came out first.
Speaker 5: So suddenly in the eighties, in the early eighties, and
Speaker 5: this was especially for the advantage of DJs, I e.
Speaker 5: If Melly Mail wants to rhyme over Billy Squire's big
Speaker 5: beat or funky Drummer or whatever has a breakbeat. Someone
Speaker 5: came up with the idea like, yo, since I know
Speaker 5: what all these breaks are, I'll just go to the studio,
Speaker 5: sweeten the mix up a little bit and put these
Speaker 5: compilations out. And then suddenly DJ's were using the compilations
Speaker 5: called super Disco Breaks, Bozo Miko and of course by
Speaker 5: eighty six, I will say the Wikipedia or the cliff
Speaker 5: Notes if you're older, of breakbeat collections was called Ultimate
Speaker 5: Breaks and Beats.
Speaker 1: I used to thought it was. I thought it was
Speaker 1: Ultimate Beats and.
Speaker 5: Breaks, But like maybe last week I realized I was
Speaker 5: staying it wrong the whole time, for the last forty years.
Speaker 9: So very good explanation, Very good.
Speaker 5: Yeah, So the reason why a lot of once you
Speaker 5: get to like kind of pass the Rick Rubin, Larry Smith,
Speaker 5: Marley Maut period of hip hop, as soon as you
Speaker 5: get to like the Paul c period, the Fogie Down Productions,
Speaker 5: Criminal Minded period, the early paid in full period, suddenly
Speaker 5: you notice like everyone's using the same thing, Like, oh okay,
Speaker 5: they're using that. Basically, it's a twenty five volume breakbeat
Speaker 5: set with six to seven songs on them each. As
Speaker 5: a DJ, you can go back and forward and rock
Speaker 5: a party, and later as a producer you can sample
Speaker 5: those things. So actually full Circle makes the beat minors
Speaker 5: and the aforementioned Renaissance period that I mentioned earlier, you know,
Speaker 5: large professor, Q tip trot whatever came. I'm a point,
Speaker 5: especially after you old TV raps where everybody was the
Speaker 5: eating from the same restaurant, and suddenly, you know, starting
Speaker 5: with Premier, starting with Jazzy Jeff, starting with these guys,
Speaker 5: starting with large professors, Suddenly they were like, it's the
Speaker 5: hip hop version of what I refer to as a
Speaker 5: Dalkaman ninety five, which is like a filmmaking technique in
Speaker 5: which you put these challenges on yourself. So suddenly, instead
Speaker 5: of getting shit from all to piece of breaks, you're
Speaker 5: going to your library to that those records that no
Speaker 5: one wants to touch. You're going to your parents' jazz
Speaker 5: collection that nobody wants to touch. You're doing your own
Speaker 5: digging for records outside of the cheat sheet and so.
Speaker 4: Which may now idea of those compilations obsolete.
Speaker 9: It like it was like no more.
Speaker 5: No, I mean they're still around. Matter of fact, they're
Speaker 5: on Spotify, which.
Speaker 1: Is kind of weird. They are wow, But what's weird.
Speaker 5: What's weird for Spotify is like I'm used to the
Speaker 5: texture of like some of these breaks being like second generation,
Speaker 5: Like there's a certain griminess to it when you sample
Speaker 5: like give it Up a Turning Loose by James Brown
Speaker 5: from that compilation that it's almost too clean when you
Speaker 5: take it from a clear digital master version. But what
Speaker 5: I'm amazed at is that I thought, now, my dumb
Speaker 5: ass didn't know about break beats. Shout out to a
Speaker 5: Damon Bennett, who's a Philadelphia musician placed with like Floatry
Speaker 5: and Jill Scott.
Speaker 1: He's the one that put me on a break beats.
Speaker 5: I thought, like Bozo Miko and all that stuff came
Speaker 5: out in like eighty nine because I didn't discover sampling
Speaker 5: until you know, the Stevie Wonder Jamin on the one thing.
Speaker 5: But all right, whatever, I guarantee you ninety percent of
Speaker 5: hip hop generation didn't know about sampling until the Cosby Show.
Speaker 5: But Emo button my mind blowing that you guys are
Speaker 5: revealing to me that all those comp relations came out
Speaker 5: in the early eighties.
Speaker 1: Wow.
Speaker 2: Yeah, it made it easier for the DJs to go
Speaker 2: get all these records instead of searching for them. They
Speaker 2: put them on one compilation so you don't have to
Speaker 2: break your neck, like Rocking in the Pocket, the original Rocking.
Speaker 2: They put it on forty five for you, and put
Speaker 2: it on forty five for you, right.
Speaker 1: Right, right?
Speaker 2: Yeah?
Speaker 5: So yeah, at what point did you realize that there's
Speaker 5: a world out of it? Because I feel like, this
Speaker 5: is what defines you, guys, because Ronnie Laws is not
Speaker 5: on off my beach and breaks.
Speaker 3: I'm gonna tell you what made I feel what made
Speaker 3: everybody change their whole thing. I mean, it's mostly the
Speaker 3: whole native tongue, the JB's tribe daylight movement. But whenever
Speaker 3: you pick up a break beat to use or whatever,
Speaker 3: I always feel like Diamond D is looking over your
Speaker 3: shoulder saying, how do you do it?
Speaker 2: You don't sample that, you know what I'm saying.
Speaker 3: So you really trying to impress all the guys that
Speaker 3: came before you. Yeah, so what you're doing is instead
Speaker 3: of looping every James Bond record or every George Clinton record, you.
Speaker 2: Want to go left and go yo. I got this them.
Speaker 2: Like when you're the guy who puts the world up
Speaker 2: on the drum beat or on the groove, it's like,
Speaker 2: oh wait a minute, we gotta watch these guys. Like
Speaker 2: when y'all came out with the clones, me with that
Speaker 2: that surprise. Yeah, come on, man, you guys opened up
Speaker 2: a whole door.
Speaker 4: Y'all know that that trickled down all the way down
Speaker 4: to like the folks who listen to the young kids
Speaker 4: who now are redigging into their parents' crates, making their
Speaker 4: own compilations. I'm saying this as I remember doing this
Speaker 4: for my little boyfriend, like and challenging him with our
Speaker 4: little slow jam you know mixes that we make because
Speaker 4: I got my daddy's records and I understand this George
Speaker 4: Benson record better now.
Speaker 9: We did. I did, and I want that one.
Speaker 5: Yes, she said my little boyfriend.
Speaker 1: He was, oh, all right.
Speaker 5: So what is the introduction to production with you too? Like,
Speaker 5: where where's the genesis?
Speaker 3: I was just dibbling dabbling in production, but I never
Speaker 3: really took it serious.
Speaker 2: I had an MC from around here. His name was
Speaker 2: rock Jay. He passed away in uh ninety, I think
Speaker 2: he passed away, And we were just dibbling dabbling in music.
Speaker 3: So I never really took it serious. So, like I said,
Speaker 3: I worked. This is when I was working in a
Speaker 3: music factory. So I was cool with a lot of
Speaker 3: the artists. So one day the light from Steppa Sonic
Speaker 3: came in and he gave me a black cassette tape.
Speaker 2: He said, yo, walk, you got to listen to this
Speaker 2: cassette tape. This is nineteen eighty eight. I said, what's
Speaker 2: on this cassette.
Speaker 3: He said, Yo, trust me, I'm not going to tell
Speaker 3: you this's on this cassette, but you got to hear this.
Speaker 3: This is incredible. I popped the cassette in Man so
Speaker 3: all black as set. It was it takes the nation
Speaker 3: and millions, The Holder is back. And I heard that
Speaker 3: album Wow, Run two End. This was before the album
Speaker 3: got released. When I heard that album, that whole album
Speaker 3: changed my life. When I heard that, I said, Joe,
Speaker 3: this is it. This is what I want to do.
Speaker 3: I want to be a producer. I want to make beats.
Speaker 3: And that was the beginning of the beat minors.
Speaker 2: That right there.
Speaker 8: Yep.
Speaker 7: And you know little brother follows big brother, so walk
Speaker 7: got into production.
Speaker 8: I was like, I'm better than him. So I got
Speaker 8: into production.
Speaker 6: What equipment were y'all using at that time? What did
Speaker 6: you just start on tape?
Speaker 2: And then SK one and the one hundred and it's funny.
Speaker 7: We had an SK one and then there was a
Speaker 7: Yamaha joint that looked like one.
Speaker 1: That was longer, cleaner, and it was clean.
Speaker 2: Yes, right, right, right, right, right right, I have.
Speaker 1: That yama It's like seven seconds and way class.
Speaker 7: Yes, yes, Then we got what we got a SK eight,
Speaker 7: then we got SK one hundred.
Speaker 1: They kept upgrading.
Speaker 3: Yeah, because whatever the sampler of the moment was, we
Speaker 3: will go out and get it.
Speaker 8: Yeah, and got it, and then we finally got walk.
Speaker 7: Came home one day with the Cassio Aussie one drum machine,
Speaker 7: which is the high hat. The nicest move high hat
Speaker 7: that they use in every record is from that machine.
Speaker 1: Wait what what what drum machine?
Speaker 8: Is this the Casso Ausi one.
Speaker 5: Because the thing is is that I'm under the impression
Speaker 5: that Cassio sk ones are just like toy machines. Now
Speaker 5: I'm finding out, like past is now telling me like
Speaker 5: thirty percent of three feet high and rising, I believe that, Yeah,
Speaker 5: what was made was made on the Cassio sk one.
Speaker 9: Yeah, talking about like literally the Casio like the key.
Speaker 5: So I'm taking it back to the Cosby Show. I'm
Speaker 5: telling you when we saw that jamming on the one video,
Speaker 5: jamming on the one commercial or whatever, the jammin on
Speaker 5: the one Stevie God, I'm sorry. Back in the day, people,
Speaker 5: there's an episode of The Cosby Show where THEO and
Speaker 5: Denise Malcolm, Jamal Wanner and list Money.
Speaker 9: I'm sorry, go ahead, please get.
Speaker 5: In the car accident, and of course the limo is
Speaker 5: Stevie Wonders.
Speaker 9: They crashing Stevie.
Speaker 5: Yes, they crashed into Stevie. To get out of a lawsuit.
Speaker 5: Stevie invites them to a studio session no litigious action,
Speaker 5: and at the studio, Stevie Wonder samples the entire Huxtable household,
Speaker 5: and that, to me opened up just a portal that
Speaker 5: none of us knew existed.
Speaker 1: Were you of age at the time, Fante, when that
Speaker 1: episode came on? Do you remember it?
Speaker 8: Oh?
Speaker 6: Yeah, oh yeah, welcome, yeah, jamming on the one.
Speaker 5: I mean we're in the same generation, but you I
Speaker 5: would be the old brother of your Like that shit
Speaker 5: came on when I was fourteen, So no, no.
Speaker 10: I remember, yeah, just seeing the sampling and like the
Speaker 10: sink Clavier because that was a music store in the
Speaker 10: mall at that time, and I would go and mess
Speaker 10: around with a round the d X seven. It was
Speaker 10: around that same kind of area. Yeah, I D seven
Speaker 10: came out and so yeah, I was. I was on
Speaker 10: all that ship.
Speaker 2: Bro.
Speaker 1: Yeah.
Speaker 5: So at the time, in eighty six, the Cassio SK
Speaker 5: one was an affordable, cheap toy keyboard that had we
Speaker 5: sampling like did.
Speaker 1: You ever have an s K one? Bill? Yeah, I haven't.
Speaker 4: Right over here, know when he was a kid, Oh way,
Speaker 4: he really had, right yeah right now?
Speaker 1: Yeah, I think so No, look at all that.
Speaker 8: Yeah, I was about to say, it's a studio back there.
Speaker 1: I don't. I forgot, I don't I used to. It was.
Speaker 1: It was the thing that we first all played on.
Speaker 5: Yeah, I mean, man, I just put like first words
Speaker 5: in it, ship.
Speaker 1: Ship ship ship ship ship. You could do your ship
Speaker 1: right exactly.
Speaker 5: And then suddenly we realized that it can sample records.
Speaker 5: And then wait, where was the Where was the microphone
Speaker 5: on this thing that you could shample into?
Speaker 1: Was it an external or internal?
Speaker 5: There was an internal microphone like sometimes you will put
Speaker 5: your headphones on top of the mic. Like the purpose
Speaker 5: again was for you to just say one word, I
Speaker 5: got this one.
Speaker 1: It's the same thing. That's that's the yah that's with money, Bill.
Speaker 1: That's how you know. I grew up with Buddy.
Speaker 5: I would ask my parents for the Yamaha one, which
Speaker 5: is like one hundred dollars more, and they were like,
Speaker 5: uh no, the price mark off Cassio s K one.
Speaker 8: I think that input Jack too, a.
Speaker 5: New version of the s k One had an input
Speaker 5: jet Oh got, I can't hear our ratings going down?
Speaker 1: Like, are they going to stay on this for an hour?
Speaker 1: I'm about to take this out. We're gonna doorial and unboxing.
Speaker 1: Here we go.
Speaker 8: Nerd talk, people, nerd talk.
Speaker 5: Do you still have a collection of like your first
Speaker 5: ever beat?
Speaker 2: No? Maybe e?
Speaker 1: But I know you're lying.
Speaker 7: I got, I have the cassette of Blackbom's first demos. Okay, no,
Speaker 7: that's I think that's as far as it got. Probably
Speaker 7: might have a beat cassette in one of my boxes
Speaker 7: over there.
Speaker 9: When was the moment when he got some respect on
Speaker 9: his name for you?
Speaker 2: And then well he started DJing in the neighborhood and
Speaker 2: a lot of people was gravitating towards him and stuff
Speaker 2: like that, and he was making the name, so he
Speaker 2: just kept going.
Speaker 3: He really was going hard with it. I was when
Speaker 3: I was working in Queens. He was building his name
Speaker 3: up around the way. He because he even worked in
Speaker 3: a record store around here with Tony Touch.
Speaker 8: Tony actually came after Oh okay, he stole my job,
Speaker 8: so he.
Speaker 3: Came out like he started building his name up while
Speaker 3: you know, I was out in Queen's working.
Speaker 5: I would always hear shout outs to you guys on
Speaker 5: various rap songs. Right were you guys the the the
Speaker 5: taste makers, Like I go to the record store and
Speaker 5: then I go to you and be like, all right,
Speaker 5: what do I need?
Speaker 2: And then yeah, that's the way we were. And then
Speaker 2: and then some people would bring their like Biz used
Speaker 2: to bring his his records into test it in the
Speaker 2: record store. Biz in LL used to bring that stuff
Speaker 2: to the music factory to test this record before it
Speaker 2: came out.
Speaker 5: Like why you guys had a better system or because
Speaker 5: that because music factories where everybody used to be at.
Speaker 3: So every time Bizz would do something, he would bring
Speaker 3: it Yo, this is this is this like he brang
Speaker 3: when he he came down, he played Vapors, but Vapors
Speaker 3: wasn't vapors. Vapors was this is something for the radio.
Speaker 1: Wow, this is for the radio.
Speaker 3: Right the beat right and vapors was the beat you
Speaker 3: know it was it was this is fun something for
Speaker 3: the radio. H Picking Bookers had actually roach clip bit
Speaker 3: beat behind it, but he changed it. Because everybodying in
Speaker 3: rock Kim Wow, like everybody would come and bring their stuff.
Speaker 2: That LL would come when LLLL was working on Mama
Speaker 2: said knock you out. He brang eat them off.
Speaker 3: L missed the controversy which never came out. Okay, and
Speaker 3: it was another song apart with the other song. But
Speaker 3: they will come and test their records at the store.
Speaker 1: And just look for a reaction of people there shopping.
Speaker 2: Right right right.
Speaker 5: Can you give me, like your your top five preview
Speaker 5: moments of that of that level, Like when someone brought
Speaker 5: some ship in and you're like, holy shit, what is this?
Speaker 2: The biz biz used to bring a lot of stuff
Speaker 2: to the store. I remember Large Professor bring in the
Speaker 2: first main source twelve inch not looking at watch Roger Roger, Yeah,
Speaker 2: Roger do his thing. Oh Man, super level seed bringing
Speaker 2: due to James Audio two bringing top Billing, everybody would
Speaker 2: just come and bring that stuff.
Speaker 1: Wait time out. I have a question though.
Speaker 5: Yes, everyone pretty much knows or at least those that
Speaker 5: or in the no know that top Billing was just
Speaker 5: like a b side and they were really trying to
Speaker 5: push I like cherries?
Speaker 1: Were they trying to push I like cherries? First?
Speaker 2: No, the top Villain had had was making a somewhat
Speaker 2: of a buzz, so they was pushing Top Villain okay.
Speaker 3: Like top billing made a noise in the clubs and
Speaker 3: on radio, like you know, so that when they was
Speaker 3: actually because they would sell their records on consignment, meaning hey,
Speaker 3: we'll give you a box of records. We won't pay
Speaker 3: you until we won't pay them until we sell.
Speaker 2: The whole box of records. Those records were going out
Speaker 2: of the store.
Speaker 5: Uh Hi, So you're the person that I would go
Speaker 5: to to strike a deal, right selling out the trunk, right?
Speaker 8: Yeah?
Speaker 1: Can you tell me.
Speaker 5: Those stories, like what legendary other albums of that level?
Speaker 2: Oh man, it was really that.
Speaker 1: That was it.
Speaker 2: Like Main Sauce didn't get the deal with Wild Pitch yet,
Speaker 2: but they were just coming to they bring Wick Rocker
Speaker 2: do with things and it was creating somewhat of a
Speaker 2: buzz and something like that. But dude, James was was
Speaker 2: big out of our store, Like, okay, you know records
Speaker 2: like that. We didn't we were We wasn't really because
Speaker 2: you have to understand too, if they were doing it
Speaker 2: in Queens, they were doing it in the Bronx, they
Speaker 2: were doing it in Manhattan, it was doing it in Brooklyn.
Speaker 3: So they it wasn't only us. They were going to
Speaker 3: other stores too. We had the Wiz like right around
Speaker 3: the corner and the wizdoms the same thing.
Speaker 5: Yeah, but was the Wiz a like was that a
Speaker 5: crazy eddie commercial store, I e. Like a best buy?
Speaker 5: Or was that like a neighborhood store. I would assume
Speaker 5: that it.
Speaker 2: Was a change store, but it was. It was. It
Speaker 2: was big on Jamaica Avenue. It was big. It was
Speaker 2: big like you know when whenever we would get new releases,
Speaker 2: new releases would come out on Tuesday, but some people
Speaker 2: we would get our packages Friday evening so we could
Speaker 2: put it out Monday night.
Speaker 3: But we were cheat and put it out Friday. So
Speaker 3: I remember when Tougher than Leather came out. We was
Speaker 3: we we put it out and the Wiz put it out,
Speaker 3: and the Wis were selling it lower than us. So
Speaker 3: we called Profile like.
Speaker 7: Yo the wind if they're selling it.
Speaker 8: Stitches, get stitches sudden.
Speaker 7: You're gonna sell toughing one out to the wings and
Speaker 7: not give it to us.
Speaker 2: So what the what Profile did was they cut they're
Speaker 2: shipping to the Wiz and kept sending it to us.
Speaker 2: So we had it.
Speaker 1: Oh wowitches sound who.
Speaker 2: Nobody? Nobody from the Wiz looking for my ass today.
Speaker 9: Don't nobody know what the WIZ is today?
Speaker 2: Like, Yo, y'all ain't have the wiz in Philly, y'all.
Speaker 4: Have in d C.
Speaker 6: Yeah, I had it in d C.
Speaker 2: Yeah, it wasn't in North Carolina.
Speaker 6: Nah, No, we haven't down here.
Speaker 1: We had it in d C. No, we we had crazy.
Speaker 5: We had crazy eddie like I mean, besides your traditional
Speaker 5: record store crazy eddies, like probably somewhere in between our
Speaker 5: local like our our local join was Sound of Market
Speaker 5: twenty two and three.
Speaker 9: Y'all have Pops Dope mom, and Pops right was dope.
Speaker 1: Yeah, definitely, I gotta ask you. Walk Nation and millions
Speaker 1: have the same effect on me.
Speaker 5: And it was my dream to like even to this day,
Speaker 5: like I still have not gotten my Bomb Squad, not
Speaker 5: off you know what I mean, Like especially for the
Speaker 5: type of music I'm associated with, right, but for you,
Speaker 5: was that level of Kamakazi sampling, like something that you
Speaker 5: wanted to do.
Speaker 2: Yo, Bomb Squad was like next level man like. Bomb
Speaker 2: Squad to me back then was the closest thing you
Speaker 2: could get to the JV's and and the you know
Speaker 2: what I'm saying, and Fred Wesley and shape the way
Speaker 2: that the Bomb Squad did they thing, and then man,
Speaker 2: you found out that they use like all forty eight
Speaker 2: tracks and the sample sometimes the samples are off beat.
Speaker 2: Like every story you hear that, it amazes you, you
Speaker 2: know what I'm saying.
Speaker 3: So everything that they would do, I would buy. I
Speaker 3: don't care if it was Jody Watney. I don't care
Speaker 3: if it was Bell b.
Speaker 1: De Vaux, I.
Speaker 2: Don't care what it was a young black teenagers. Anything.
Speaker 2: I would buy for this. Yet they had Bomb Squad
Speaker 2: on it because I was such a fan of that.
Speaker 1: But in terms of you trying to figure out what your.
Speaker 2: Style was, I mean, we all did it though, we
Speaker 2: all tried to be like them, but eventually it was like, nah,
Speaker 2: we can't. This is not us.
Speaker 7: You gotta make It's like you know, it's it's like
Speaker 7: with the Bomb Squad. We tried, but we knew that
Speaker 7: wasn't us.
Speaker 2: That wasn't us, you know.
Speaker 7: So it's like you know how I tell people with DJing,
Speaker 7: You see you see somebody do a scratch, You go
Speaker 7: home practice that scratch.
Speaker 8: Then you take that scratch and start developing it into
Speaker 8: your own type of scratch.
Speaker 7: You're changing around, so it becomes yours, you know what
Speaker 7: I'm saying, Like that was like the bomb Squad thing.
Speaker 7: We seen how they layered samples, and we seen how
Speaker 7: they was doing that thing. We tried to do it
Speaker 7: and we developed our own style doing that.
Speaker 2: One thing we did take from them though, and I
Speaker 2: still do to this day, is layer beats. Oh yeah,
Speaker 2: like the power is like what you like it too,
Speaker 2: and maybe funky drummer put together and stuff like that.
Speaker 2: We did that.
Speaker 3: We did that on Who Got the Props? We did
Speaker 3: that on Buck Them Down. We did that like we.
Speaker 2: Would every rack they can have a swing to it. Yeah,
Speaker 2: And we got that from the Bomb Spot.
Speaker 5: The introduction that the world knows you guys by, of course,
Speaker 5: is who Got the Props?
Speaker 1: Right? That to me was like that was a mind.
Speaker 5: Blowing revolution to hear that back in ninety three, because
Speaker 5: you got to understand like your average mainstream rap stuff
Speaker 5: was like u MC's fast, you know, things like the
Speaker 5: intro to Playground by by another bad creation like that chaotic,
Speaker 5: heavy dancing sort of thing. How did you guys manage
Speaker 5: to avoid that? Because for me, like Who Got the Plops?
Speaker 5: Was slowed down? You're using.
Speaker 1: You know, like seventies jazz, which was just unheard.
Speaker 3: Of, Like it was still up temple though it was
Speaker 3: like ninety eight to one hundred bpms, so it was
Speaker 3: still up temple, but it was smooth. But you know,
Speaker 3: on the B side, our B side was I was
Speaker 3: just about to say that was like one hundred and
Speaker 3: fourteen b pms and stuff like that.
Speaker 2: And the the Beat Minors Intro to the World wasn't
Speaker 2: even who got the props? The Beats Intro to the
Speaker 2: World was popular. Agreemix.
Speaker 8: Yeah, you want the base the.
Speaker 2: East Coast remix. That was the big miner.
Speaker 1: Yes, that was y'all, But it.
Speaker 2: Wasn't Listen it was. It was Beat Miners, but it
Speaker 2: wasn't Me and Evil. It was we had a Beat
Speaker 2: Minars was a crew back in the day, and one
Speaker 2: of the guys in the crew was on his way.
Speaker 2: His name was ike Lee. I League was responsible for C. C.
Speaker 2: Penison and some mantronics work and what you know he
Speaker 2: was he was going the way to do other production
Speaker 2: and he and that ultramagnetic agreements landed in his lap
Speaker 2: and he was a part of Beat Miners, and he said, listen,
Speaker 2: I'm about to do this remix and I'm gonna I'm
Speaker 2: gonna put it under the beat minor's name, and that's
Speaker 2: what started to Beat Miners ride was that for me
Speaker 2: and he took the reins. I made up beat Miners,
Speaker 2: but I was the first one to put it up
Speaker 2: to put us on.
Speaker 1: Yeah, so how did you guys born?
Speaker 2: There's a bunch of friends that we were like. It
Speaker 2: was me and him, Me and him, e Baby Paul
Speaker 2: and ike Lee. We all met in music factory.
Speaker 3: Music practory is like the meeting ground for for all
Speaker 3: of this.
Speaker 8: I didn't I didn't meet that music factory. I met
Speaker 8: Wall at the house.
Speaker 2: Well. Anyway, music factory was the was the meeting, the
Speaker 2: melting pot for everything. And the only thing we had
Speaker 2: in common was everybody just like record shopping, yeah, digging
Speaker 2: and production.
Speaker 3: So we just made up a crew. For the name
Speaker 3: of the crew. The original name of the crew was
Speaker 3: black Moon Production.
Speaker 5: Yeah right, yeah, can you explain his moonlighting connection with please?
Speaker 1: Please?
Speaker 8: All right.
Speaker 2: I was trying to make up a name for the crew, right,
Speaker 2: and I was doodling some stings on the paper and
Speaker 2: I just wrote down black Moon.
Speaker 3: I was like, hmm, I like this black Moon Productions.
Speaker 3: I'm going to use this as the name for our
Speaker 3: production company. And I was rolling for that for a minute.
Speaker 3: I and E's crew name was high Tech. That was
Speaker 3: the original name for Black Moon was high Tech. I
Speaker 3: had a friend named Everett that worked with us. He said, Yo,
Speaker 3: you guys are always find the record. I'm gonna call
Speaker 3: you guys beat Minors. And he was an MC two
Speaker 3: and he made a song called beat Miners and I
Speaker 3: was like, Yo, I really like that name.
Speaker 2: Can I have that name? He said sure. He gives
Speaker 2: me the name for Beat Minors. I was like, yo, okay,
Speaker 2: I'm not using the black Moon name no more. He goes, Yo,
Speaker 2: let me get that name for my crew, and I said, okay, sure,
Speaker 2: that's how black Moon name started.
Speaker 5: All right, But can you explain this alleged moonlighting uh
Speaker 5: connection to it?
Speaker 8: What do you mean that that was a big fan
Speaker 8: of Moonlighting?
Speaker 9: Please? Lord?
Speaker 1: Hold on.
Speaker 2: First of all, we're not giving no props the Simple
Speaker 2: Shepherd and Bruce Bruce.
Speaker 1: Willis with Black Moon. I ain't hear that. I heard otherwise.
Speaker 9: No, so you weren't a fan of the show.
Speaker 2: I love the show.
Speaker 5: I love I heard that Sybil and Bruce their agency
Speaker 5: was the Blue Moon agency.
Speaker 9: Oh, I forgot, good one.
Speaker 1: I forgot.
Speaker 2: I said that before. I said that before, I swear
Speaker 2: to God, I didn't even think about that until you
Speaker 2: just said that.
Speaker 8: I said that before.
Speaker 5: I thought that was the genesis of how black Moon
Speaker 5: got their name.
Speaker 1: I was like, you dweed ass nerds. Yes, I get
Speaker 1: it there.
Speaker 2: That is.
Speaker 7: Wait, so hold on, you seriously thought I said no
Speaker 7: walk because I said that before.
Speaker 8: That's why I Yo, I did.
Speaker 2: I forgot it was the Blue Moon. I thought about that, Yo.
Speaker 7: I was under the assumption because you watched you every
Speaker 7: week Tuesdays. Tuesday plot was Moonlight and so as soon
Speaker 7: as you know, I'm hearing blue Moon Bloemon all a sudden,
Speaker 7: He's like, Yo, the name of the name of the
Speaker 7: crew is black Moon Moon.
Speaker 9: Conversation.
Speaker 1: You have brothers, they don't have to have a conversations.
Speaker 8: Yeah, I know when I put that out there, Yo.
Speaker 2: Yo, you're an asshole. What on?
Speaker 4: Man?
Speaker 1: Just own it?
Speaker 7: It it the way for years you telling PEP people.
Speaker 2: I got the idea.
Speaker 4: Yeah, Jane's head is like he said it at the
Speaker 4: ram Bull Music Academy and twenty what were you.
Speaker 7: Wasn't I thought that you picked you know that wasn't
Speaker 7: the reason why?
Speaker 1: Well it is now no pleasing?
Speaker 2: Oh my god, oh god, we love you, Bruce, well
Speaker 2: as we loved it.
Speaker 8: Look it for you son?
Speaker 1: All right?
Speaker 5: So you formed this crew, right, and it's it's five
Speaker 5: of you.
Speaker 2: I got through the math. It was four me E,
Speaker 2: Paul and Ike.
Speaker 5: Okay, yeah, Now when did it trickle down to the
Speaker 5: beat minors that I know? Like, what's the journey that
Speaker 5: leads to what I assume is into the stage.
Speaker 2: Paul was always with us, but Paul wasn't in the forefront.
Speaker 3: Ike went off to do Oh, three boys from Newark
Speaker 3: and you went to do like I said, C C. C.
Speaker 2: Pennison and wait.
Speaker 1: Three boys from New York? What are they morph into?
Speaker 8: That was?
Speaker 6: They were the Lauryn Hills people.
Speaker 1: It was Vincent Oh.
Speaker 10: Yeah, Vincent Herbert in a group. They were a production team,
Speaker 10: Vince Herbert, Kiama Griffin, and I cannot remember the third
Speaker 10: of his name.
Speaker 9: Button Herbert. As in Lady Gaga.
Speaker 5: I have a twelve inch that has Lauren Hill singing
Speaker 5: on it. They're they're rhyming over cooling the gang's too hot,
Speaker 5: but she's singing Michael Jackson's One More the Jackson five
Speaker 5: is one more chance, but it's it's a group something
Speaker 5: from Newark. But I didn't know if they were a
Speaker 5: rap group or whatever. But I have like a white
Speaker 5: label of Lauren Hill singing on a rap joint, like
Speaker 5: right right before the score came out.
Speaker 1: But I didn't know if that was a rap group
Speaker 1: or not. Was that then more? Do you think so?
Speaker 3: I don't think so, I think but I was already
Speaker 3: gone because then after he left three boys from new Ark,
Speaker 3: him and Bryce will.
Speaker 2: And started something. Oh wow.
Speaker 3: Then I just I used to stop doing music. I
Speaker 3: mean he still comes in and out, but he stopped
Speaker 3: doing music. But it was a lot of records that
Speaker 3: I that you love that Ike really did the production
Speaker 3: on but never got name.
Speaker 2: Uh get at me dog Wow? He did, Dog he did?
Speaker 2: He did.
Speaker 1: He would sweeten them up or like mix it, or like.
Speaker 2: He would give the demo tape to somebody. I mean,
Speaker 2: let's put it out there. He would give it to
Speaker 2: IRV and gave it to whoever. And I get it
Speaker 2: somehow Daved Grease And listen, this is from what I heard.
Speaker 3: Dame Grease got it. He either looped up the same
Speaker 3: record or whatever. And Ike is the one who originally
Speaker 3: did that.
Speaker 2: I forgot What's what's the other song that I did
Speaker 2: to e.
Speaker 8: Wow?
Speaker 2: I know he did the man Tronics King of the Beat,
Speaker 2: Yeah he did, Yeah, he did that. And when he
Speaker 2: did it, he did on a studio four.
Speaker 5: Have you ever met Mantronics Curtis Mantronics never matter all right.
Speaker 5: I just recently found him in Germany that like he
Speaker 5: has my dream interview because his his era of hip hop,
Speaker 5: and I would say the Latin rascals like what they
Speaker 5: do with editing.
Speaker 1: Yeah, I need to.
Speaker 5: Know how they did that ship because oh yeah, I'll
Speaker 5: still listen to the first Mantronics record and Cold Getting
Speaker 5: Dumb right and just that level of editing and sampling
Speaker 5: like you you don't even hear it now, Like.
Speaker 2: When Mattronics went to Capitol, when he got the deal
Speaker 2: on Capitol, that's when I got into the yeah, the fault.
Speaker 8: Here's some nerd stuff for you.
Speaker 7: By the way, the same dude that did the editing
Speaker 7: on the on the Malntronics stuff that was on Sleeping Bag. Yes,
Speaker 7: the same guy that did the editing for Ultimate Breaks
Speaker 7: and Beats Chasnas.
Speaker 5: So when we're listening to like long Red, he did
Speaker 5: know you got soul.
Speaker 1: When they have to edit those.
Speaker 5: Things, that's him doing that, right, right, do you know
Speaker 5: if they did that by tape edit? Yeah, I'm sorry
Speaker 5: you again.
Speaker 1: Speaking inside baseball, all right.
Speaker 5: So of course some of those breaks were really dope,
Speaker 5: but they would just be two seconds, I e. I
Speaker 5: know you got soul that we know, like you might
Speaker 5: have to do some trickery to make it seem like
Speaker 5: it's a six bar intro, and really it's just a
Speaker 5: quickie one bar intro. So they would take some of
Speaker 5: these records and re edit them to extend it so
Speaker 5: that way you're not going crazy going back and forth
Speaker 5: on the turntables, especially with long Red. I wanted to
Speaker 5: know like how that shit was done because the original
Speaker 5: version of Mountains long Red from the Woodstock Festival, like
Speaker 5: the drum break goes by in seconds, whereas the compilation
Speaker 5: version is super extended.
Speaker 1: So who did those edits?
Speaker 7: Chuck me ah, okay, And it was all back then
Speaker 7: it was all taped.
Speaker 11: So he had to splice and ryo right, all analog
Speaker 11: all analogs, y'all.
Speaker 5: Actually, you know, to keep it really one hundred. I
Speaker 5: mean this is how like of course, you know we're
Speaker 5: saying hip hop is like we're rap music and looping
Speaker 5: and all that stuff. You guys would be astounded at
Speaker 5: the amount of cutting and pasting that I've discovered sort
Speaker 5: of trolling through a lot of these master tapes of acts,
Speaker 5: Like essentially it's it's the same thing like bands would
Speaker 5: go in.
Speaker 1: Super Freak is a great example.
Speaker 5: People think that Super Freak is soup the nuts four
Speaker 5: minute song that was played by the no They were
Speaker 5: fucking around in the studio and literally in the last
Speaker 5: seven seconds it came d Dana Da da and the
Speaker 5: tape cuts off. So the way you know it's a
Speaker 5: loop when you listen to the saxophone at the end,
Speaker 5: Bro Danny, that's a loop. Like, so the entire Super
Speaker 5: Freak is just a four bar loop that that unfortunate
Speaker 5: assistant engineer had to spend all night cutting tape, making
Speaker 5: copy cutting tape, and which is why that we're not
Speaker 5: asked about the breakdown. Yeah, like it's not even in rhythm,
Speaker 5: but there's so many slide masters. I went through, same thing,
Speaker 5: loose Booty, Loose Booty on Small Talk, same thing. Sh
Speaker 5: it is chopped in paste like all of bitches brew
Speaker 5: same thing so it's almost like they would have jam sessions,
Speaker 5: which was was there digging in the crate ship and
Speaker 5: then the engineer and the artists would sit and listen
Speaker 5: to what I like those four bars, and then the
Speaker 5: assistant engineer would have to make a copy.
Speaker 1: They go away for a day or two and he
Speaker 1: would have to make copies.
Speaker 5: And so wow, yeah, like so our level of making
Speaker 5: music where you listen to some shit and you loop
Speaker 5: it like that's been going on since yeah, which I'm
Speaker 5: just mind blowing the belt.
Speaker 2: Wow, that's crazy.
Speaker 5: Especially when you consider like me not really being in
Speaker 5: this game to be a beat maker, but as a drummer,
Speaker 5: like some shit like slides loose booty, I'm like, god damn,
Speaker 5: Like Andy Newmark is tight as shit, like he doesn't
Speaker 5: budge or nothing on the beat. No, they just took
Speaker 5: a four bar loop and just looped him across. But
Speaker 5: my mind is thinking, I got to play that meticulous
Speaker 5: the way that Andy Newmark did it for five minutes,
Speaker 5: but only to find out it was looped.
Speaker 4: So you know, quiet has kept. Do you know what
Speaker 4: other profession does that? And don't get any respect on
Speaker 4: they name for it Radio DJs, Radio DJs make their
Speaker 4: own instrumental, sometimes off of just like I used to
Speaker 4: do it. Yeah, like you like this part of the
Speaker 4: song and the rest of it is some bullshit. So
Speaker 4: I'm gonna just go in the odyssey and cut it
Speaker 4: up and make my own instrumental.
Speaker 1: Yo.
Speaker 2: You know who was you know who is nice on editing?
Speaker 1: Who?
Speaker 2: Angie Martine nice as.
Speaker 7: I went to Hot ninety seven to do a black
Speaker 7: some Black one promo stuff. And I've seen Angie edit
Speaker 7: the phone calls.
Speaker 8: Yeah, I believe it is not. That's how I learned
Speaker 8: how to edit on tape.
Speaker 2: Yeah.
Speaker 9: Wow, that's a radio DJ thing, y'all.
Speaker 7: I watched Aedgie Martinez edit radio like she yo, she
Speaker 7: was nice with it mom her tape yep, yeah, cuts
Speaker 7: fly saw that back in the days, what they would
Speaker 7: do when you were called a radio station, they would
Speaker 7: called the calls the tape right, and then they would
Speaker 7: edit it. And by time it's time to play that call,
Speaker 7: that edit has to be done.
Speaker 9: And shortened and not as long as that.
Speaker 8: And I've seen Angie. I seen.
Speaker 7: I watched Angie when we was up at Hot edit
Speaker 7: phone calls and I was like, yo, And when I
Speaker 7: went back to D and d. I went into the
Speaker 7: editing room and taught myself how to edit.
Speaker 4: You know what, Loyah, I gotta give you credit because
Speaker 4: I had to edit you all the time when you
Speaker 4: were called radio station no.
Speaker 5: Matter of fact. Well one, you were the only DJ
Speaker 5: on a commercial radio station that would let me in
Speaker 5: the building. That's what starters two. I forgot. The first
Speaker 5: time I ever seen a playback machine was you and
Speaker 5: I watched you edit something.
Speaker 1: I saw you do that.
Speaker 9: With the will and everything right when Keil and.
Speaker 1: I drove home.
Speaker 5: He was like, yeah, that's a playback machine. And I
Speaker 5: was like, yo, like why don't we do that? And
Speaker 5: he was like, dog, you late, Like everybody uses a
Speaker 5: playback machine on stage. That's why people can jump around
Speaker 5: without the record skipping, because they used a playback machine.
Speaker 8: You know. I started the playback machine.
Speaker 5: Right watching like you do that at the station, and
Speaker 5: I looked at what she was doing and on I
Speaker 5: was like, oh shit, we got to get one of those.
Speaker 8: You know who started who started the popcatch using the
Speaker 8: playback machine? Right? Who makes y'all?
Speaker 7: Tayla make Show was the first DJ ever to use
Speaker 7: the playback machine that made him do that. He was
Speaker 7: at a radio station that he's I want to use
Speaker 7: that because that way don't have to bring all these records.
Speaker 4: But when you think about it as crazy that like
Speaker 4: Donnie Simpson, Tom Joyner, all these people like this is
Speaker 4: they have to be able to do this like they
Speaker 4: they've done this with tape.
Speaker 1: Yeah, never knew that. For me.
Speaker 5: The trademark of your productions is of course filtering, which
Speaker 5: U what's what's the second song on into the stage?
Speaker 2: Nigger is the second song?
Speaker 5: Yes, filtering the baseline and whatnot. How are you guys
Speaker 5: knowing which equipment to use? Like assuming that you graduated
Speaker 5: from the SK one, Like what's the first piece of
Speaker 5: equipment that you got a real piece of equipment for
Speaker 5: what you made your stuff on?
Speaker 1: Like what do you use?
Speaker 7: That's when the costrio AUSSI one comes into play and
Speaker 7: then walk comes home with this sampler called the a
Speaker 7: Kai six twelve, right. The KI six twelve is like
Speaker 7: the parent of the nine hundred, the S nine hundred
Speaker 7: nine to fifty series.
Speaker 8: The only thing with the six twelve.
Speaker 7: Instead of instead of being able to sample eight different things,
Speaker 7: it only sampled one thing.
Speaker 8: And on the front of the.
Speaker 7: Six twelve is knobs and one of the knobs is
Speaker 7: a filter knob, and me messing around with the sampler,
Speaker 7: I turned the filter knob and seeing that the that it.
Speaker 8: Filtered the sample.
Speaker 7: Now I'm thinking I'm the first one to ever do this,
Speaker 7: But Marley already did it already.
Speaker 8: I just didn't know.
Speaker 1: Well on vapors.
Speaker 7: Mally did it on what's it fake? Ye, I think vapors.
Speaker 7: And there was something else he did that it was filtered.
Speaker 7: And you know Pete and tipping them was starting experiment
Speaker 7: with filters too. You know in my house, I'm like, yo,
Speaker 7: I just discovered something new.
Speaker 2: Like when we heard sad he got a one track mind.
Speaker 2: That was that.
Speaker 3: Opened everything. We patterned our sound after that. The reason
Speaker 3: why our filters sound different because we were using a
Speaker 3: Kai six twelve.
Speaker 1: Yeah.
Speaker 3: So what we would do is we didn't have like
Speaker 3: big equipment. So what we would do is whatever we
Speaker 3: would take our filter, filter it down and put it
Speaker 3: on a cathetic and then take it to the studio.
Speaker 2: Tell that engineer, Oh.
Speaker 1: Y'all are in a pre sample at home, and.
Speaker 2: Right right right, loop that up, loop this, sire, but
Speaker 2: check this out. We didn't get equipment until we did
Speaker 2: the shining.
Speaker 8: Well, we didn't get official we didn't.
Speaker 2: We didn't get official EQUIPMENTU til we did the shining.
Speaker 8: But we had the six twelve and we had to one.
Speaker 3: When we got the money from into the stage. We
Speaker 3: took that money and want to go buy equipment to
Speaker 3: do the shining.
Speaker 5: So buck them down and all the props and.
Speaker 8: It's no programming. It's all loops.
Speaker 7: It's all loops. Yeah, everything on there is there's no
Speaker 7: programming on that. It's just all loops.
Speaker 5: So when you're home, you're bringing the ingredients to the
Speaker 5: studio and telling the engineer.
Speaker 1: This is what I want, this is what I want,
Speaker 1: this is what I.
Speaker 7: What we did was we made the beat first at home,
Speaker 7: put it on cassette, put the different parts on cassette,
Speaker 7: the baseline, the drum loop one, drum loop two, noise
Speaker 7: main loop, and then we would go to the studio
Speaker 7: and be like yo, swift loop number one. That's loop
Speaker 7: number one, Loop this up. Okay, stop right there. Okay,
Speaker 7: here's the second part, loop this up. Stop right there.
Speaker 7: Put that on top of that on beat and loop
Speaker 7: number three okay, here we go, put that on top
Speaker 7: of that and right there like exactly like we was
Speaker 7: directing everything.
Speaker 5: Wow, we might have to soundtracking to it, just based
Speaker 5: on the sonic quality of it. In my mind, I'm
Speaker 5: thinking like, yo, man, they're using special needles on it,
Speaker 5: like the way that we would try to analyze and
Speaker 5: figure out why those drums sound so dirty, Like the
Speaker 5: amount of times I've had to go to Bob Power
Speaker 5: and play like the come Live with Me drum break?
Speaker 1: Yeah you laughing your ass off? Thanks? No, as hours
Speaker 1: I wasted at Battery Studios, shut man?
Speaker 9: Why you ain't just call them?
Speaker 1: I know them until sound treatment time? Okay, But again
Speaker 1: I'm just.
Speaker 5: Thinking like I'm thinking you guys would take your records
Speaker 5: and just throw them in the dirt.
Speaker 8: No, we didn't.
Speaker 2: We would. We would sample a cassette, take what we
Speaker 2: want and just and just take it to D n
Speaker 2: D and they would take it from the sampler, from
Speaker 2: the cassette back onto like the two.
Speaker 1: Inch This is why I purchased those.
Speaker 2: Yeah, and we ruined a lot of records messing around
Speaker 2: in the dirt.
Speaker 1: Damn is that still a two inch?
Speaker 2: And electric lady? Is that still machines?
Speaker 4: And there?
Speaker 5: Yeah, it's there, it's there. Okay, you know but Brooke
Speaker 5: Brooklyn is actually more than that.
Speaker 1: Like I I now like.
Speaker 5: The good thing about the nerdy post dat kings that
Speaker 5: is now like that entire crew has mastered in ways
Speaker 5: like I go to Electric Garden now shout out to
Speaker 5: to Bend at Electric Garden. And also what's my other
Speaker 5: spot in Brooklyn, Steve Diamond Mine? Yeah, diamond mind. Especially
Speaker 5: like now I could just go in and because they
Speaker 5: were raised on all of your music, they literally know
Speaker 5: the exact frequency that I can. I can be out
Speaker 5: there in the half hour, whereas like back in the day,
Speaker 5: that ship would take me months just one one frequency
Speaker 5: at a time, another frequency, and I didn't realize that
Speaker 5: you guys were pre sampling that home on cassettette.
Speaker 1: Cassette is the key.
Speaker 5: Yeah, damn man, I might have just scrap this entire
Speaker 5: record and just start all over again and just do
Speaker 5: everything on cassette.
Speaker 8: At the end of the day, it's like all of
Speaker 8: us produce the cats.
Speaker 7: No, we're all mad scientists, and we all have our
Speaker 7: way of doing things.
Speaker 8: You know, once we.
Speaker 7: Learned how to operate, once we learned how to operate
Speaker 7: the sp in the nine P fifty, we was doing
Speaker 7: stuff here but the way we was doing it was
Speaker 7: running it through the Mackie board, and you run it
Speaker 7: through the mixer before then, and you pre eq the
Speaker 7: drums before you sample it, so that still added a
Speaker 7: grit to it too.
Speaker 2: I didn't learn the sp until we were getting ready
Speaker 2: for the shining. Q Tip taught me to spow.
Speaker 8: I didn't.
Speaker 2: And you know, Q Tip is the one who named
Speaker 2: me mister Wall. Really, what's meter factory without mister phrase call?
Speaker 1: I did that. I didn't realize that you did not
Speaker 1: have a moniker.
Speaker 2: I was going with Walter do Guard. I was like,
Speaker 2: you know what, if Eric Sartain we could do it.
Speaker 11: I can do it too. I'm gonna be Walton do Guard.
Speaker 11: But Keith Harry Ship right exactly.
Speaker 2: But q tips he called me mister Wall, and I
Speaker 2: just took never ran with it.
Speaker 5: You guys were in what I call the running with
Speaker 5: the bulls era right of beat making. You know, can
Speaker 5: you tell me like how deep and involved were you
Speaker 5: guys with like the record conventions or y'all there like
Speaker 5: four in the morning waiting mm hm.
Speaker 3: Tiple, come pick us up. Que Tipple, com pick us up.
Speaker 3: At four o'clock in the morning, we were going to
Speaker 3: the Roosevelt Hotel thinking that we had to.
Speaker 2: Jump on everybody. We're like, yeah, first yo. Once we
Speaker 2: walk in there, we're thinking, we're there, We're number one,
Speaker 2: We're here. We turned to our left kid Capri and
Speaker 2: Pete Rock rented a room the night before.
Speaker 7: Rooms and they was like, as soon as the first
Speaker 7: dude brings his case and they're.
Speaker 2: Down there, y up there, Pete Rock is there already?
Speaker 9: Which you do the top of the mirror, what'd you do?
Speaker 5: I wasn't in I was in the generation after the
Speaker 5: slim picking for gold.
Speaker 1: Mining is between eighty nine and like ninety two.
Speaker 5: Like if you find shit during that period, then your
Speaker 5: life is golden. I came after the fact, and you know,
Speaker 5: I would just hear stories. I'd hear stories of like
Speaker 5: Pete b rating dealers for like he would buy like
Speaker 5: the entire catalog of an artist just so that you know,
Speaker 5: if there's eight copies of a particular record, they would
Speaker 5: buy them all to make sure that no one else
Speaker 5: took it.
Speaker 2: You can't stop that from happening, Like.
Speaker 1: Yeah, your petty is well okay, so I'll ask a question.
Speaker 5: Even though this is like super late in the game,
Speaker 5: I know that you guys were the first to use
Speaker 5: actually the second, because no one ever credits OC for
Speaker 5: using it on Uh yeah, was the first. Let's take
Speaker 5: it through. Who got the props? Because the thing is
Speaker 5: is that y'all did it first, and of course Usher
Speaker 5: and everybody comes behind it, like are you in the
Speaker 5: feel some sort of way about not getting the shine
Speaker 5: off at first? Or hip hop is just open sport
Speaker 5: and you know it's it's like a reggae rhythm anybody
Speaker 5: can rhyme over. Like, what is your attitude in terms
Speaker 5: of at the time, how did you feel as opposed
Speaker 5: to now.
Speaker 9: What's the Usher record?
Speaker 8: Y'all?
Speaker 9: What was the first?
Speaker 1: Here's my mind that was.
Speaker 6: On the first album.
Speaker 2: I didn't feel no type of way about the Usher thing.
Speaker 2: It was cool, cool, you know when I felt away
Speaker 2: And this is the first time I've ever said this
Speaker 2: in an interview, melt away when the track masters you
Speaker 2: sound boy Burial for Mary a Mariah character, m we
Speaker 2: had just bary you out.
Speaker 3: They went behind us, looped up our record, gave it
Speaker 3: to Mary first, and I guess it didn't work, or
Speaker 3: to get to ta give it to somebody first it
Speaker 3: didn't work, And they then they either get it to
Speaker 3: Mariah or marry after that. That's when I was like,
Speaker 3: come on, dude, like we just put this record out, dude,
Speaker 3: like let the record bring you a little bit.
Speaker 2: You went and went right behind us and Jack B.
Speaker 2: So I felt some type of way about that.
Speaker 8: And I kind of felt the way like that about
Speaker 8: intro when intro used.
Speaker 2: Quincy Joneston.
Speaker 8: Yeah, and I was like, yo, like what gentle record?
Speaker 4: Was that?
Speaker 2: Funny? How found the first thing off their second album?
Speaker 7: My whole thing is this, Like I don't want I'm
Speaker 7: not even checking for money, just be like, yeah, we
Speaker 7: got it from there, that's all, you know what I'm saying.
Speaker 7: Like that was my thing with that, And I was
Speaker 7: kind of tight behind that, you know. But Yo, man,
Speaker 7: you know Homeboy passed, so I was like, I'm not
Speaker 7: gonna say nothing about it because then I'm gonna look
Speaker 7: like I hate up.
Speaker 5: In terms of production, like are you guys involved at all?
Speaker 5: In terms of also structure of the song horses rock
Speaker 5: and rock, Like y'all could do that better? Da da
Speaker 5: D Like are you guys also?
Speaker 8: Yeah?
Speaker 5: Micromanaging as far as vocal sessions are, just like here's
Speaker 5: the beat all right, good luck.
Speaker 3: In the beginning, we wasn't really like that, like I
Speaker 3: would say stuff like I told after Buck did how
Speaker 3: many mcs he did?
Speaker 2: How many mcs are one tape? Right? I said to him,
Speaker 2: you're sure you want to keep it giving vocals that way?
Speaker 2: You don't want a dang it.
Speaker 3: He said, trust me, Walk, I'm gonna keep this the
Speaker 3: way it is. And I said, okay, you know what
Speaker 3: I'm saying. But usually we just let them go.
Speaker 2: But as we got older and started doing more records,
Speaker 2: we became more vocal about yo, do your vocals this way?
Speaker 2: Do this, do that, do that? You know?
Speaker 5: I was gonna ask, who's the one that suggested, especially
Speaker 5: for I Got You Open for Buckshot to use his
Speaker 5: laid back mellow flow instead of his hype.
Speaker 1: Who got the props flow?
Speaker 8: Oh? That was Buck? That was Buck.
Speaker 7: Buck came in and was like, yo, like when we
Speaker 7: was doing uh not even I Got you open. We
Speaker 7: was doing the buck him down remix.
Speaker 12: Fuck him down, I got you, I got you up,
Speaker 12: No mom sake, I got you up on was first okay, yeah,
Speaker 12: the buck them down remix drop, the Buck dropped after
Speaker 12: before after okay, okay, I'm not bad.
Speaker 8: It's mad long ago. I'm old. But like when when
Speaker 8: Buck came into the studio, it's like he just it
Speaker 8: was a different flow because being that we was on
Speaker 8: the thing where we're gonna remix everything every twelve ones
Speaker 8: we put out, Buck was like, Yo, if they're gonna
Speaker 8: change the beat, I'm change the flow, you know.
Speaker 1: And how did y'all feel when y'all heard it?
Speaker 5: Like, because it's so night and day from what he
Speaker 5: was known that, Like, his the original verse was super hype.
Speaker 5: It's almost like you know, listening to parents just don't
Speaker 5: understand versus summertime, Like, yeah, what the hell is this?
Speaker 2: Right?
Speaker 7: Right?
Speaker 8: Right?
Speaker 2: I think he just did whatever fit the moment. Yeah,
Speaker 2: we got the props, was like a more up tempo
Speaker 2: vib so he hit it that way. But then when
Speaker 2: we started slowing the record down and smoothing the records out,
Speaker 2: that's when he started to becomming. He came with the
Speaker 2: laid back style. The bad and white situation was all him.
Speaker 1: That was it.
Speaker 3: He was like, I want to rhyme off of that,
Speaker 3: And yeah, I was too busy trying to impress Lodge
Speaker 3: and Pete and Premiere and cute Tip. So I'm trying
Speaker 3: to find the obscure most obscure record fucking tech and
Speaker 3: still they wasn't thinking about that.
Speaker 2: There was like, Yo, we.
Speaker 3: Want to rhyme off with this, this and this, and
Speaker 3: I was like, nah, we're not going off of that.
Speaker 3: So Buck was like, y'all want to rhym off the
Speaker 3: Barry White stuff. And then one thing about Buck, he
Speaker 3: talks to you like he's a car salesman, so you
Speaker 3: don't feel like you bind a goddamn car from this dude.
Speaker 2: He says to me, hey, man, because Barry White was
Speaker 2: a gangster man. He was a gangster and we need
Speaker 2: to keep the gangster vibe going. And I'm looking at
Speaker 2: him like no, but they don't get.
Speaker 7: The funk away from me, yo. But at the end
Speaker 7: of the day, it was like, Yo, we did it.
Speaker 7: And that was.
Speaker 4: That's crazy because as a a like a I don't
Speaker 4: want to say a female hip hop fan in a way,
Speaker 4: but it just crazy that that was his motivation. Meanwhile,
Speaker 4: I'm sure that some of us girls was listening like,
Speaker 4: oh shit, this nigga can slow it down.
Speaker 9: This shit is dope. Like I wasn't even thinking about it.
Speaker 4: From a very white being a gangster. It was more
Speaker 4: like what Barry White's you know, public perception is.
Speaker 2: So that wasn't trust me, that wasn't attention. He was
Speaker 2: like he could try was trying to fit the moment
Speaker 2: and of what we were trying.
Speaker 5: To do production wise, like what did you learn making
Speaker 5: the shining that you didn't know like that production techniques
Speaker 5: and whatnot?
Speaker 1: Like how did you get wiser progression steps?
Speaker 2: Because we recorded into the stage from twelve midnight to
Speaker 2: six in the morning. So at D and D, at
Speaker 2: D and D twelve midnight, what.
Speaker 5: Is it about D and D? Like why would y'all
Speaker 5: use D and D? They have never flushed that toilet
Speaker 5: like in twenty years, Yo.
Speaker 2: Hold on, hold on? All the focus said, I remember
Speaker 2: when I bring you D D. Yeah, it was like, Yo,
Speaker 2: this place is crazy.
Speaker 1: Yeah, man, because I was a tourist from Yeah, you know,
Speaker 1: I've told this.
Speaker 5: Story before, but my favorite well, I mean D and
Speaker 5: D was just a grimy Yeah it was. I don't
Speaker 5: want to say it's like the projects of studios, but
Speaker 5: it was like you come in, no, it's just super grimy.
Speaker 5: It's like blunt ashes from yesteryear still on the floor.
Speaker 5: Bathrooms barely worked the day that you guys worked on
Speaker 5: silent treatment.
Speaker 1: Right when you know, the pool table is in.
Speaker 5: The hallway right right, right, dog, for like forty five
Speaker 5: minutes straight, only heard this bell ringing, sing ding thing.
Speaker 5: After forty five minutes of that, I snuck to the
Speaker 5: other room to see where that that bell was doing, right,
Speaker 5: And it was Premiere and kars one right, yeah, starting
Speaker 5: the genesis of what we would know is MC's act
Speaker 5: like they don't know, like they were literally working on
Speaker 5: that while you guys were in the b room working
Speaker 5: on the solid treatment.
Speaker 7: But actually it was backwards when a room and for
Speaker 7: me and them in the b room a few room
Speaker 7: is yeah, the room was.
Speaker 8: Beat monitors in the b room was Premiere.
Speaker 2: But you know what is right, man, D and D
Speaker 2: was the project of the studio.
Speaker 7: Here's the thing, here's the thing with D and D. Right,
Speaker 7: I'm gonna break down D n D. I'm break down
Speaker 7: the whole thing with D and D.
Speaker 8: Right, D and D.
Speaker 7: First of all, we started at Calliope. Coliop had no
Speaker 7: outboard gear whatsoever. The outboard gear consisted of a tape
Speaker 7: that a that deck, I mean a that recorder. Who
Speaker 7: it was a you know they had no outboard gear
Speaker 7: in Calliope.
Speaker 1: But by Power worked there in three runs.
Speaker 8: But that's why Bob Power is a genius.
Speaker 1: Because he had nothing to work with.
Speaker 7: Exactly right, right, Coliopy. What happened was we got kicked
Speaker 7: out of Calliope.
Speaker 5: How did you get kicked out of That means another story.
Speaker 2: So we're recording. I forgot we were recording maybe slave
Speaker 2: or something, and Havoc came to visit us in the studio.
Speaker 9: He said, Havoc, because.
Speaker 2: Havoc is on you the man. So he had came
Speaker 2: to the studio to visit us. And the guy who
Speaker 2: owned Callipe his name is Chris. He lived in Jersey.
Speaker 2: He left the studio to go home because again we
Speaker 2: recorded twelve May ninety six at six am, Havoc somehow
Speaker 2: tripped the alarm. Right, Chris had to come back home
Speaker 2: from his house all the way back to Manhattan to
Speaker 2: thirtieth Street, and he was mad. So he was like,
Speaker 2: you guys tripped the alarm. Be guys, we're doing something
Speaker 2: he wasn't supposed to do. You guys were banned from
Speaker 2: my studio. Get out, blah blah blah. So see he's
Speaker 2: the voisterous brother, fuck you, Well, I don't want to
Speaker 2: come back here time that way. And then we just left.
Speaker 8: Yeah, I took off. I took all my two inch
Speaker 8: tapes and left, like don't we out of here?
Speaker 1: Damn home on that night.
Speaker 7: The funny thing is, so that morning, I'm walking, I'm like,
Speaker 7: I have the two inch tapes.
Speaker 8: I'm taking them to Nervous Records.
Speaker 7: You know what I'm saying, because I'm not taking them home,
Speaker 7: So I'm taking them to Nervous Records.
Speaker 8: Nervous Records was in Times Square at the time.
Speaker 7: Nervous Records was on Broadway between forty third and forty fourth,
Speaker 7: right across from MTV. So I'm walking to Nervous Records.
Speaker 7: I turned the corner of Broadway. Who do I bump
Speaker 7: into Premiere and I'm like yo. So Premiere is like, yo,
Speaker 7: you know what's up with that album? How's it going?
Speaker 7: And I'm like, yo, man, we just got kicked out
Speaker 7: of Calliope blah blah blah blah. And Premiere says to me, look,
Speaker 7: I'm at this studio. I'm the only hip hop dude there.
Speaker 7: Come by and YO, check it out. You might like it.
Speaker 7: You can record there we beat only hip hop dudes.
Speaker 7: They're working And I was like beat so permire. This
Speaker 7: is exactly what he says to me. My session starts
Speaker 7: at twelve. I'll be there around three four, so come
Speaker 7: come come through. And I was like I And I
Speaker 7: went and checked out D and D. Premier showed me
Speaker 7: his room, which was Studio B, and I was like, Yo,
Speaker 7: this is dope. And then Dave from D and D
Speaker 7: takes me to Studio A. And when I walked into
Speaker 7: the Studio A, I was like, Yo, this is it.
Speaker 7: Like Studio A just had it sounded like my basement.
Speaker 7: And I turned around and looked at the outboard gear.
Speaker 7: I seen they had mad They had enough outboard gear
Speaker 7: in there, you know. And I was like, Yo, this
Speaker 7: is it. And what was the first session we did?
Speaker 2: What? Maybe I got you open?
Speaker 8: Yeah, I got you open.
Speaker 2: I think I got you open.
Speaker 8: Yeah, it was the first session we did there. And
Speaker 8: once we did the secon there, we never left.
Speaker 1: Wow, we never.
Speaker 8: Left, like and it was like And the thing about
Speaker 8: D and D is D and D had the sound
Speaker 8: like that m C I board. They had an m
Speaker 8: C I tape machine.
Speaker 7: Yeah, and it sounded nice and warm in there, like
Speaker 7: you know, we went to Battery. Battery was nice, but
Speaker 7: it was too clean for what we Yeah, and it's
Speaker 7: like D and D fit us right now. Now, let
Speaker 7: me explain the bathroom thing. The bathroom you went to
Speaker 7: was not the real bathroom. The real bathroom was in
Speaker 7: the office. That bathroom you went to was the bullshit bathroom.
Speaker 7: You know what I'm saying. But yeah, at the end
Speaker 7: of the day, we went to D and D and
Speaker 7: we just fell in love. And I'm the I'm the
Speaker 7: nerd geek nerd when it comes to like recording, and
Speaker 7: you know, I'm the dude that YO use the pull
Speaker 7: tech used it like that's me.
Speaker 8: Walk is just the yo. I know these walks knowledge
Speaker 8: of records, like.
Speaker 7: You know, and I tell people this all the time,
Speaker 7: walks knowledge of records. You're not gonna find nobody that
Speaker 7: has that knows more about.
Speaker 8: Records than war.
Speaker 1: I agree.
Speaker 7: If you if you go to Walk and say y'all
Speaker 7: need a record with a drum that sounds like there's
Speaker 7: walk not out of ten, will pick out three records
Speaker 7: and go, Yo, check these out.
Speaker 1: Wow.
Speaker 3: He is the nerd of the miners, and I'm the
Speaker 3: record guy. That's why my camera ain't working because because he's.
Speaker 7: Like and and even with D and D like Dan.
Speaker 7: The thing with D and D was, I learned how
Speaker 7: to engineer at D and D. Okay, like I learned
Speaker 7: the patch Bay, I learned what Mike t Use I
Speaker 7: learned like D and D is what taught me.
Speaker 8: The way I record today is what I learned the
Speaker 8: D and D.
Speaker 7: And you know, during those sessions, I was watching everything
Speaker 7: like and as a matter of fact, who got the
Speaker 7: props was recorded at such a sound studio with with
Speaker 7: uh slow Moo Son the field was the engineer. What
Speaker 7: happened was me and SlowMo got into a big argument
Speaker 7: because I was telling him how I want the record
Speaker 7: to sound, and slow Mo goes, oh, you think you
Speaker 7: know everything? You mixed the record. The mix you hear
Speaker 7: on that record is the mix that I did. Uh.
Speaker 1: He wanted to clean it up now he.
Speaker 8: Yeah, he wanted to clean up and he wanted to
Speaker 8: sound like a like.
Speaker 7: He was like, you gotta make the you gotta make
Speaker 7: the drums sound like this, ah that drum loop. Oh,
Speaker 7: you need a drum machine. And I'm like, no, you don't.
Speaker 7: I know what I'm doing here, and it you know,
Speaker 7: and that session was so bananas. It got to the
Speaker 7: point I think walk came and something was said, what
Speaker 7: was like, y'a mout before I killed somebody?
Speaker 8: Like it was that.
Speaker 7: Session where so bananas, like I mixed, I mixed that
Speaker 7: and I mixed the B side fuck it up because
Speaker 7: it was like, yo, I knew what sound we was
Speaker 7: looking for, you know, and yo, like after that, I was.
Speaker 8: Like, you know what we need to go we you know,
Speaker 8: when we went.
Speaker 7: To Calliope, went to Calliope because Calliope was cheap and
Speaker 7: Callipee was a studio that anybody was. They had like
Speaker 7: a special package from midnight to six am. I think
Speaker 7: we was getting the room for what twenty five an hour?
Speaker 8: Walk?
Speaker 1: Yeah, what was it peak hours?
Speaker 8: It was like what sixty eighty maybe one hundred?
Speaker 5: And you're saying that D and D was quote the
Speaker 5: non hip hop spot. What were they doing before you
Speaker 5: guys turned it into hip hop's own freestyle music?
Speaker 8: And yeah, freestyle and they did like they did the
Speaker 8: Fat Boys.
Speaker 7: Actually was like I think the first dudes that recorded there,
Speaker 7: the hip hop dudes, they recorded one or two records there,
Speaker 7: but they they did a lot of freestyle stuff. They
Speaker 7: did a couple of reggae records, but they was known
Speaker 7: for like dance.
Speaker 1: Stevie B And Yeah.
Speaker 8: One time we was in the studio and Noel was.
Speaker 1: There silent morning Noel.
Speaker 8: I'm looking at him like, what are you doing?
Speaker 1: Nice?
Speaker 8: But yeah, that's what they was. They was doing dances.
Speaker 2: One thing about d n D. You will meet anybody
Speaker 2: in dn D like people you would even think that
Speaker 2: would be there every Saturday. If we were record on
Speaker 2: a Saturday to Shina Arno will be in there doing
Speaker 2: her demoya.
Speaker 9: Wow.
Speaker 1: Yo.
Speaker 5: Can you talk about working with U Sean Price and
Speaker 5: like rock and rock from Helter Skelter.
Speaker 2: Yo, that dude was a different guy.
Speaker 6: Yeah.
Speaker 2: Your one day we started working, we were working on
Speaker 2: maybe the Sean and I'm not sure, but posstive news
Speaker 2: that came to see me in the studio.
Speaker 3: I bring him up, says I wanted to introduce him
Speaker 3: to rock and rock. So I bring Passing. First person
Speaker 3: we see is Sean So I said, Yo, Sean, Yo,
Speaker 3: Yo rock, this is my man, Mrs past Pass, this
Speaker 3: is rock. You know what he says to Pass Yo, Son,
Speaker 3: I'm nice, Son, I'm not Son. I could book you
Speaker 3: on this mic son, I'm nice. I'm nice.
Speaker 2: I bust anybody as son what what I said? Please
Speaker 2: excuse him? Face like yo, yo, he's impossitive face like
Speaker 2: Papa is like, yeah, what the is going on?
Speaker 3: I'm like, please excuse him. This is just how he is.
Speaker 3: This is this is this hen But that's how he was.
Speaker 5: He was like a jokest But yeah, I've seen many
Speaker 5: sides of him, Like right right, he could have been
Speaker 5: a comedian.
Speaker 2: Yeah, he could have been a comedian. He was a
Speaker 2: great guy. Man, he was a great guy.
Speaker 8: Yeah.
Speaker 1: I just got to tell you the day that we
Speaker 1: first heard onslaught.
Speaker 2: On the I remember you told me, I remember if.
Speaker 5: You watch us and Buster rhymes on SNL. We snuck
Speaker 5: eight bars of that in on like we heard it
Speaker 5: that day. Yeah, and we were backstage having a meet
Speaker 5: and like, yo, man, I want to rhyme over that ship.
Speaker 5: And we were like, yo, we we didn't clear the
Speaker 5: song with SNL like we're supposed to do.
Speaker 1: You say, I don't give a fuck.
Speaker 5: Matter of fact, I thought it's gonna spit four bars too,
Speaker 5: and literally like for us, we thought we was like
Speaker 5: committing a crime, like yo, we ain't telling Sylvia Room
Speaker 5: we ain't telling nothing but the last last sixteen bars
Speaker 5: that ship we're doing that black Moon shit and literally
Speaker 5: you know, that's like one of my favorite shits.
Speaker 2: Yeah, that's all egle D. That's all eagle D. That's
Speaker 2: that's my favorite black Moon record of all time.
Speaker 7: Yo, that record is me playing them anymore, or based
Speaker 7: on it, is me playing them anymore.
Speaker 9: Oh.
Speaker 5: Also, Doug on you turntables and mic, Why what was
Speaker 5: on your mind when you did that kick pattern?
Speaker 1: To this day?
Speaker 5: Like I never heard someone not John Jebbo starts from
Speaker 5: the JBS do sixteen do sixteens on the kick drum?
Speaker 5: Who programmed that he did all that?
Speaker 8: What it was was, I was following a pattern of heartbeat.
Speaker 1: Right.
Speaker 5: But that's the thing. You could have chose the other
Speaker 5: part where they're just playing.
Speaker 1: The shit normal. I E. Buddy, you chose the hardest
Speaker 1: part to loop.
Speaker 7: Yeah, but that's just me like you, you're using the
Speaker 7: same record, but you're trying to be different.
Speaker 2: You're trying to be different.
Speaker 1: You don't want to.
Speaker 2: You don't want it to sound like it's the same.
Speaker 2: You don't want to.
Speaker 3: We didn't want to sound like daylight. You know what
Speaker 3: I'm saying so we wanted to be a different swing.
Speaker 7: Yeah, Like two turntables with a mic was basically a segue.
Speaker 7: We used to do that on the Like the first
Speaker 7: time we me and you met, which was at a
Speaker 7: show in Philly, we did two ton tables in the mic.
Speaker 8: That was a segue we used.
Speaker 7: You know, we got back home, we was like, yo,
Speaker 7: we need to make that into a record now. The
Speaker 7: whole thing happened with Nervous where you know, we left
Speaker 7: Nervous records.
Speaker 8: Oh blah blah blah.
Speaker 7: And we still like when we you know, when we
Speaker 7: got with me and Buck sat down to do Warzon,
Speaker 7: Buck was like the heartbeat thing.
Speaker 8: We need to do that, you know. But it's like
Speaker 8: we you know, like I said, it was us.
Speaker 5: It was just so risky to put sixteen bar patterns
Speaker 5: on the cake drum where it was, that's just unheard of.
Speaker 8: I'm a nerd.
Speaker 5: For me, it was like I spend more times like
Speaker 5: why would they do that? But will eventually happen? Is
Speaker 5: I now do that to this day and I can't
Speaker 5: stop doing it?
Speaker 8: Yeah.
Speaker 5: You ever to be so obsessed with something that you
Speaker 5: either don't understand or you hate, and then you.
Speaker 1: Wind up turning to that ship.
Speaker 2: Yeah.
Speaker 1: Yeah, like right now, I'm like that pattern.
Speaker 5: Probably I'm still obsessed over why you did it because
Speaker 5: it's kind of wrong, but still right, like, there.
Speaker 8: To be different, man, there to be different.
Speaker 2: Two mic was supposed to be a House Party two. Yeah,
Speaker 2: it was a House Party two soundtrack.
Speaker 7: Oh but we recorded that record twice. We recorded it
Speaker 7: once and when we record the first time, that's when
Speaker 7: we didn't regular. We hooped up the regular part and anything.
Speaker 7: And when we did that, it was like, Yo, this
Speaker 7: is gonna be dope. And then the whole nervous thing happened.
Speaker 7: So after that it was like whatever, you know. And
Speaker 7: then when Buck was like, let's do that heartbeat thing,
Speaker 7: it was like, you know what, we're gonna do it,
Speaker 7: but we're gonna do it a little different. You know,
Speaker 7: We're going to try to make it sound a little
Speaker 7: different than everybody else's virsion of heartbeat.
Speaker 1: Okay, you know, you know.
Speaker 5: I do also want to get to the fact that
Speaker 5: you guys were super early Like, of course post pandemic,
Speaker 5: everybody was DJing online and whatnot, and you guys were
Speaker 5: like super early on that. What was the genesis of
Speaker 5: you guys starting your own internet radio station.
Speaker 7: In nineteen ninety six, my homeboys Mark and Randy they
Speaker 7: had an internet show. Now this is nineteen ninety six,
Speaker 7: they had an internet show called eighty AA hip Hop. Yes,
Speaker 7: I'm marking. Randy ran eighty A hip Hop. They came
Speaker 7: to me and was like, YO, can you help us
Speaker 7: produce this show? And I was like, YO, why not,
Speaker 7: let's do it. And when I went to them, they
Speaker 7: was like, YO, why don't you do your own thing also?
Speaker 7: And when they said that to me, you know, the
Speaker 7: first thing I did was like your walk da and
Speaker 7: you know, we sat down and that's how Beat minus
Speaker 7: radio was born.
Speaker 8: Like Adia hip Hop is the first hip hop station.
Speaker 8: Second Beat Minus Okay, when.
Speaker 3: We started doing it online, Macio is the one that said, Yo,
Speaker 3: you need guys, need to bring it over here.
Speaker 2: That's why we were doing it on uth stream.
Speaker 7: Yeah, but that's down like down the line, like we
Speaker 7: you know, Beat minus radio.
Speaker 8: We was doing that nineties nineties.
Speaker 7: Then the two thousand thing with the dot com thing happened,
Speaker 7: Pseudo which was our parent company, did so that was
Speaker 7: the end of it.
Speaker 8: For a minute.
Speaker 7: But we did it like we had Beat minus radio
Speaker 7: offline on power on our one oh five.
Speaker 8: Point nine WNWK for a second.
Speaker 7: We had it there, and then what happened was we
Speaker 7: kind of started again with another internet radio station. But
Speaker 7: that radio station they they wasn't maintaining their equipment, so
Speaker 7: you know, one day we went there and equipment was
Speaker 7: messed up, so we decided to just leave.
Speaker 8: Ma Co was on U stream and Maco hits us up.
Speaker 7: Yo, y'all need y'all need to come on you stream
Speaker 7: and I logged on Mao's rocking. He's like, yo, E
Speaker 7: set up an account, make your own yo, dude, Yo,
Speaker 7: you need to be on here.
Speaker 8: And that's what we started Beat minus Radio again. What
Speaker 8: year was that, Walt Night.
Speaker 2: Eight?
Speaker 7: Two thousand and eight it was, And we restarted Beat
Speaker 7: minus Radio online two thousand and eight, but before that
Speaker 7: we had, you know, we was doing Beat minus Radio
Speaker 7: like podcast and Beat Minus Radio off flight, so we
Speaker 7: kept it alive.
Speaker 8: But two thousand and eight.
Speaker 7: Was when we restarted again and we were streaming live
Speaker 7: from right here in the house, okay, and we've been
Speaker 7: doing it from two thousand and eight till now.
Speaker 5: So with hip hop blooming at as it has since
Speaker 5: you first started, thirty years ago, it's going through a
Speaker 5: whole giant metamorphosis.
Speaker 1: How have you guys.
Speaker 5: Been able to navigate in terms of like do you
Speaker 5: still get a thrill of making beats? Are you challenging
Speaker 5: yourself to try different ideas out or whatnot? Or is
Speaker 5: it like, look, this is our formula, this is our recipe.
Speaker 1: We're sticking to it.
Speaker 5: Do you still get a thrill of digging for records
Speaker 5: in the whole process of unearthing some gems that the
Speaker 5: world hasn't heard before? Like, is it still a thrill
Speaker 5: for you to make and create stuff?
Speaker 2: Yeah, that's never that's never going to die. Like, that's
Speaker 2: that's our thing.
Speaker 3: Like we still follow the blueprint that we lay down,
Speaker 3: but we listen to what's around us, and we listen
Speaker 3: to everybody, and we try to add little pieces here
Speaker 3: and there, but we mainly keep our same sound, you know,
Speaker 3: and the same technique that we've been using for the
Speaker 3: dick and go.
Speaker 2: We still go digging like all the time.
Speaker 8: Yeah, all the time. It's not gonna stop.
Speaker 1: Like to stop.
Speaker 7: I always tell people that it's it's new equipment, but
Speaker 7: it's the same people, like, you know, instead of using
Speaker 7: the sp in the nine point fifty. Now we use
Speaker 7: NPC Renaissance, NPC X, able Tin and Pluggins.
Speaker 5: Did it take you long to adjust to that or
Speaker 5: was it like were you kicking and screaming to adjust
Speaker 5: to change?
Speaker 7: Meanwise, I'm the technology dude, yep, So I'm always looking
Speaker 7: in and trying to figure things out. Law finess Og
Speaker 7: dj Og and King of Chill taught me able to.
Speaker 5: Okay, you know, and you know Chill is now PREMI yeah, yeah,
Speaker 5: Premiere's full time engineering.
Speaker 1: He used to be.
Speaker 7: He likes dj like, those are the dudes that taught
Speaker 7: me able to. And it's like once I learned Ableton,
Speaker 7: I was like, what we could do this? And you know,
Speaker 7: and the same thing with the Renaissance, like you know,
Speaker 7: at the end of the day, like it made my
Speaker 7: job easier.
Speaker 1: What's your weapon of choice now?
Speaker 8: NPC Renaissance are Ableton and a whole bunch of records.
Speaker 1: Have you ever pulled out the old tools to try
Speaker 1: it again?
Speaker 8: I still haven't plugged up.
Speaker 7: Like what I do is every once in a blue
Speaker 7: I will sneak back to the sp because here's the thing.
Speaker 7: Everybody wants to emulate that sound. I don't have to
Speaker 7: emulate that I have one. Anybody wants that nine to
Speaker 7: fifty sound, I don't have to emulate. I just go
Speaker 7: sampling a nine to fifty and then dumping into.
Speaker 5: Ableton because the nine fifty is the one device that
Speaker 5: I feel like all the gods have used and swore
Speaker 5: by that I'm not. First of all, I can't find
Speaker 5: I think once I use the nine to fifty, like
Speaker 5: during dew, you want more, Like Bob had one, but
Speaker 5: he operated it.
Speaker 1: I didn't.
Speaker 5: What is it about the nine to fifty that holds
Speaker 5: holy for every god of hip hop production?
Speaker 2: It's a warm sound. Yeah, it's a nice warm sound
Speaker 2: to it.
Speaker 7: It's like the nine to fifty has a like back
Speaker 7: then when they made equipment, it had different The equipment
Speaker 7: had different sounds. It's like, for instance, like I tell
Speaker 7: everybody them, the best sound in NPC is the NPC
Speaker 7: three thousand.
Speaker 8: To me, that's the best sound in MPs.
Speaker 2: That's the best sound in one.
Speaker 8: The nine fifty also had a sound.
Speaker 7: And when you did filters in the nine fifty, I
Speaker 7: don't know what it was, but it just sounded crunchier
Speaker 7: and heavier and.
Speaker 8: Better, and it had that.
Speaker 7: Sound that all those old records had right, Like if
Speaker 7: you listen to a filter on a on a on
Speaker 7: a black own record, it's not just the baseline, it's the.
Speaker 1: The undercurrent that out.
Speaker 7: Yeah, right, And it's like the nine fifty at at
Speaker 7: you know, at the same time was like the SP
Speaker 7: twelve hundred and nine.
Speaker 8: Fifty was partners You couldn't break up that partnership.
Speaker 2: Now, keep in mind I used it a totally different equipment,
Speaker 2: Like I'm using an X and NPC one. Yeah, I
Speaker 2: gotta go back and four, so you know I use that.
Speaker 2: But before that, I was on the three thousand for
Speaker 2: like twenty years. I was on a three thousand.
Speaker 1: Couldn't let it go?
Speaker 2: Yeah, I can can do it.
Speaker 7: What's the dude that Now here's the thing. What's usually
Speaker 7: the dude that?
Speaker 8: Yo?
Speaker 7: Like, I gotta be like your war, your war, come on,
Speaker 7: walk your war war.
Speaker 8: Like the NPC X. We was in not Guitar Center.
Speaker 2: We was at maybe seven.
Speaker 7: Ash and Walters goes, let me get the NPC X
Speaker 7: and I'm looking at him.
Speaker 8: Like, really, this is what you're gonna buy. I'm buying
Speaker 8: a keyboard.
Speaker 7: It's like, let me get the NPC X and walk
Speaker 7: opened like walk gets into the house and you didn't
Speaker 7: see what for for weeks.
Speaker 8: And he's right upstairs, but I didn't see him for weeks.
Speaker 7: But that's how we bom farre with with with stuff
Speaker 7: like Yo, when I learned how to use the Renaissance
Speaker 7: walk looks at King of Chilling goes, You're not gonna
Speaker 7: see eat for another few months because you're gonna be
Speaker 7: in the house.
Speaker 5: Watch I see have interview, tried the New twelve hundred,
Speaker 5: the Wait, the Elliott Show, all your nerd talk, Yeah,
Speaker 5: talk about it, the truth.
Speaker 7: Yes, this guy right there, man, that dude is dangerous.
Speaker 1: I learned from.
Speaker 7: Thank you, sir, thank you. You're talking about the Pioneer joints. Yes,
Speaker 7: you know, I'm hitting Tiger, which is the Oh you
Speaker 7: know Static is partners now with them. Just bought those turntables.
Speaker 7: I was the first DJ to use them at Hitting
Speaker 7: Tiger is Saturday.
Speaker 8: Yo. I fell in love with those turns. Yo.
Speaker 7: I'm really like, I'm like, Yo, Wall, We're gonna have
Speaker 7: to do We're gonna have to do some legal business
Speaker 7: because I.
Speaker 8: Need a pair of those turntables.
Speaker 7: Those turntables are incredible. I fell in love with them. Turntables.
Speaker 7: Like I was like, you know what these turn this?
Speaker 7: I gotta get a pair. I gotta get a pair.
Speaker 1: All right.
Speaker 5: Last thing I know that you guys are you're you're
Speaker 5: working with Chris right on? Are you doing the whole
Speaker 5: album or just a single with Carris One?
Speaker 1: No?
Speaker 2: That single was from our album.
Speaker 1: Okay, Yeah, I was the impression that you're doing an entire.
Speaker 2: Let me tell you this. We were supposed to. We
Speaker 2: have so many songs with Chris. We were supposed to,
Speaker 2: but it's communication broke down, like I just you.
Speaker 1: Know, actually, you know, I'm sorry. That's will destroy you.
Speaker 3: That's the first single from our album that's coming out
Speaker 3: in May June, Stifle Creativity.
Speaker 8: We got.
Speaker 2: That was the first single. The next single is a song.
Speaker 3: We have a song called Mayea that's featuring Daylight, Rachie Chappelle, Pharaohmont,
Speaker 3: and Corey Glover from Living Color More Records.
Speaker 9: What else is on there?
Speaker 3: Because we got of course a black Moon song. We
Speaker 3: got Uh Steel and Fame from m O p On
Speaker 3: a song, We got Rusty Jokes, we got a z
Speaker 3: we got our Scratch.
Speaker 6: Scratch.
Speaker 3: Yeah, we got two songs from raz Cast Bishop Lamont
Speaker 3: I'm trying to remember we got on the album I
Speaker 3: always forget keep we gotta Keith Murray on the album
Speaker 3: We got Apathy Apathy, so we we are got some
Speaker 3: things coming.
Speaker 2: Summertime should be fun.
Speaker 1: Well at the end of the day, that's what it is. Yo.
Speaker 5: Man, I thank you too for doing this episode with
Speaker 5: us everything.
Speaker 1: You're the nicest gentleman in music.
Speaker 2: Thank you so much, sir.
Speaker 10: I just wanted to say, man like for just as
Speaker 10: a longtime fan of y'all's and just you know, being
Speaker 10: with LB first came out, y'all were one of the first, you.
Speaker 6: Know, one of the ogs to really show us love.
Speaker 6: You know what I'm saying.
Speaker 10: I remember, like Evil do you come into our album
Speaker 10: release party and stuff.
Speaker 6: And I got the work we did on the breaks
Speaker 6: and everything.
Speaker 2: I remember when we met, when we met up at
Speaker 2: Fat Beats.
Speaker 6: Yes, today, I told you to meet me at.
Speaker 2: Fat Beats that we were out.
Speaker 1: Yes, you gotta understand.
Speaker 7: It's like I'm a fan of y'all, you know what
Speaker 7: I'm saying, Like just like people are fan of mine,
Speaker 7: Like you know, like I'm that type person where it
Speaker 7: doesn't hurt me to give credit where credit is due.
Speaker 7: You know what I'm saying, Like, Yo, if you made
Speaker 7: something dope, trust me, I'm like this and like y'all
Speaker 7: inspired me to work. You know what I'm saying. Same
Speaker 7: thing with with quests, cause it's like he'll like when
Speaker 7: they did a gos a joint where y'all loop Sadday Night.
Speaker 6: Oh that's without a doubt, without a doubt, without a doubt.
Speaker 7: Yeah, I was like, Yo, this is kind of hot,
Speaker 7: but his drunk playing, Like, come on, I spend plenty
Speaker 7: of times where I stole a kick and stole a snare.
Speaker 1: You know that's what it's there for.
Speaker 4: Man, Can I just say something real quick y'all before
Speaker 4: y'all go, because me and Jake were just talking about this,
Speaker 4: the evolution of the backpacker and where it has gone
Speaker 4: and all the derivatives.
Speaker 9: It's just a beautiful thing.
Speaker 4: And I know sometimes it used to be a bad
Speaker 4: word because when people call me a backpacker, I be offended.
Speaker 9: But now it is a because.
Speaker 4: When they was David David shiny suits to me a backpacker,
Speaker 4: But now I'm just saying that.
Speaker 1: That was calling you a backpack.
Speaker 2: Yeah, who the hell is calling you a backpacker?
Speaker 4: Back when I was going to see y'all, when I
Speaker 4: was going to see boot Camp Click at the Ibacks
Speaker 4: and everybody else was going to the go go.
Speaker 9: He's wearing our backpacks at the club, like yeah, we
Speaker 9: was backpacking.
Speaker 7: Yes, at the end of the day, man, I'm just
Speaker 7: like this, this is definitely dope.
Speaker 8: Man.
Speaker 7: I want to thank y'all man for real. Walk put
Speaker 7: me on to the podcast, because what was like, you want, yo.
Speaker 2: This is your favorite podcast? Like I love this podcast.
Speaker 1: I think I have my road call ready to go.
Speaker 2: Oh, we're gonna do it.
Speaker 7: Walk came in here on some Joe guess for podcast
Speaker 7: we're doing, and I'm looking at him like, what's wrong
Speaker 7: with you?
Speaker 1: You did that like the cartoon cheer and you did
Speaker 1: that like a come on, like yeah, all right.
Speaker 5: So normally I do my sign off shout out to
Speaker 5: to the family of q os, but this one time, Sir.
Speaker 8: Evild's on the mix.
Speaker 2: Come on kick it.
Speaker 1: Thank you very much. We will see you next week,
Speaker 1: all right, so much. Thank you for listening to Quest
Speaker 1: Love Screams.
Speaker 13: This podcast is hosted by a Mere quest Love Thompson,
Speaker 13: Big Boss Man like yeah, Saint Clair so Black and
Speaker 13: the Black Myself, Fontigelo, Fonte Goldman, Sugar, Steve Mandell and
Speaker 13: Unpaid Bill Sherman. The executive producers are a Mere Quest,
Speaker 13: Love Thompson, Sean g and De Gunn, Bothered Brian Calhoun,
Speaker 13: Produced by Britney Benjamin, My Dog Cousin, Jay Payne, My
Speaker 13: Motherfucking Man and like he Is Saint Clair my work
Speaker 13: Wife edited by Alex Conroy.
Speaker 1: Produced for Our Heart by Noel Brown. Thank you for
Speaker 1: tune and then check us out next week. What's Love
Speaker 1: Supreme is a production of iHeart Radio. For more podcasts
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