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Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora.

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Speaker 2: What Up It's on pay Bill.

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Speaker 3: On this week's QLs classic, Peanut Butter Wolf talks about

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Speaker 3: launching the legendary stone Throw Records and released albums by

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Speaker 3: Dave Dilla, Mad Villain, and Madlick, among many others. He

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Speaker 3: also talks about his own career as an artist in

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Speaker 3: DJ This is episode number one twenty seven The Quest

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Speaker 3: Love Supreme and originally aired on March twentieth, twenty nineteen.

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Speaker 4: Soaprima Sun South Supremo Roll call Suprema Sun Sun Supremo,

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Speaker 4: Roll call Suprema Sun s Subpremo.

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Speaker 5: Ro called Suprema Sun Su Suprema roll Ca.

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Speaker 1: Can I have a peanut butter? Can I have a

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Speaker 1: peanut butter? Can I have a peanut butter? Oh?

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Speaker 2: Can I have a peanut utter?

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Speaker 5: Supremama Supremo Role My name is Fante.

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Speaker 2: Yeah, damn damn Mario. Yeah, you gotta say what's up?

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Speaker 6: Yeah to the homiepot Lario.

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Speaker 5: Supremo, roll call, Suprema Su Supremo.

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Speaker 2: Roll called.

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Speaker 1: My name is Sugar. Yeah, I get around.

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Speaker 7: Yeah, we're Western Recorders.

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Speaker 5: Yeah.

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Speaker 7: Where they made pet sounds.

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Speaker 5: Wow, Supremo, Supremo, role called Supremo Suprema roll called.

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Speaker 2: Bills a DJ, yeah, RECONSI devour.

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Speaker 1: Yeah, it ain't no way in hell. Yeah, I'm spending

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Speaker 1: for twelve hours.

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Speaker 4: Supreme Supremo, roll call Supremo Supremo roll call.

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Speaker 1: Yeah.

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Speaker 8: And Peanut but Yeah the hip hop.

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Speaker 5: Yeah the roll come Supprima, Supprimo, roll Suprema up PREMI

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Speaker 5: my name.

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Speaker 2: Is Peanut Butter. Yeah, and I don't wrap.

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Speaker 4: Yeah.

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Speaker 2: If I knew I had to do this. Yeah, that's

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Speaker 2: not Supremo.

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Speaker 5: Roll come Suprema son something Supremo roll Calm Suprema Son Supremo,

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Speaker 5: roll cal Suprema.

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Speaker 1: Son Supremo roll. Wait, I got it, Steve. You just

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Speaker 1: bodied me with that information. Studio three, it's open. We're

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Speaker 1: going to look at it in a minute when we're done.

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Speaker 6: Can we just stop the episode now and go.

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Speaker 7: I've already went in so we can wait. Okay, Yeah,

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Speaker 7: he's already posed this picture on the gram really. Yeah,

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Speaker 7: he's on the Grammar.

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Speaker 1: So there's always a chat with Sugar episodes.

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Speaker 7: At work already. They already got it, they got it early.

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Speaker 8: Check the shirt, baby, check the shirt.

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Speaker 1: That's amazing, ladies and gentlemen. Uh. This is another episode

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Speaker 1: of Quest Love Supreme Road Trip Edition. Yes, we are

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Speaker 1: live at East West Studios formerly known as United.

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Speaker 9: For I'm sorry, formerly as Western Recorders. Uh that's when

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Speaker 9: they did Pet Sounds And we're in Sinatra's room where

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Speaker 9: it did My Way in New York, New York. And yeah,

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Speaker 9: something stupid.

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Speaker 1: And I got it that. Yeah, the vibe of the place.

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Speaker 9: Sinatra built this place basically, I mean, somebody else designed it,

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Speaker 9: but he paid for it.

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Speaker 1: So this was this was his h Yeah, this was

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Speaker 1: his spot.

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Speaker 9: And the other spot too that we were at United,

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Speaker 9: Both of those were his spots.

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Speaker 2: Did he pick the coaches out there? Because they seem

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Speaker 2: really sinatrash?

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Speaker 9: All the studios here are basically as they were back

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Speaker 9: in the day, but everything in.

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Speaker 1: The hallway that seemed like, Yeah, I thought it was

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Speaker 1: going to be an intervention talk.

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Speaker 10: For a mir or you know, I thought I was

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Speaker 10: setting them up.

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Speaker 1: That's the real Yeah, Like, I mean, we're here to

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Speaker 1: tell you that you can only have seven jobs. Bro.

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Speaker 9: That the Pet Sounds room now looks just like it

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Speaker 9: is like it does in all the pictures and documentaries

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Speaker 9: it's incredible.

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Speaker 1: Wow.

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Speaker 7: Well different console, but but you know you.

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Speaker 2: Had to keep that intact.

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Speaker 1: Yeah.

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Speaker 7: His podium is right in there where he I think

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Speaker 7: where he conducted from and Sinatra's Yes, Sinatra's podium, that

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Speaker 7: is podium.

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Speaker 1: Yeah.

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Speaker 6: Oh I thought you praying over there.

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Speaker 2: Oh no, I was on.

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Speaker 7: I was taking with my wife. I was taking, you know,

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Speaker 7: but I don't want to step up there. I didn't

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Speaker 7: want to up.

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Speaker 6: He wasn't lamping on that. But that podium non podium.

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Speaker 1: Anyway, ladies and gentlemen, our special guest today and our

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Speaker 1: shall I say, our road trip California edition of course

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Speaker 1: love supreme.

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Speaker 2: Frank tradition.

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Speaker 1: Yes, a man just as smooth as, for instance, Albert Sinatra,

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Speaker 1: I will say, you know, initially his entrance into our

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Speaker 1: world was under the guise of indie hip hop. But

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Speaker 1: when all the smoke clears, I should say that probably

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Speaker 1: Stone's Thrower is probably one of the most unique UH

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Speaker 1: boutique creative labels UH in existence, going beyond the boundaries

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Speaker 1: of what underground hip hop was or the stigma of

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Speaker 1: the title underground hip hop. I mean, just a lot

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Speaker 1: of my favorite artists that I listened to UH on

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Speaker 1: the Daily are on this label. I mean from passing

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Speaker 1: president future.

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Speaker 7: Brother wanted to signist stone throw, Yes for.

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Speaker 1: Real, that was dream dude.

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Speaker 2: Please listen to my style like he was chuggy first

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Speaker 2: time I heard that.

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Speaker 7: Oh yeah, and all the years we've known, Yeah dude,

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Speaker 7: like that was like man, we wanted to but.

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Speaker 2: Yeah, put out the issue.

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Speaker 1: Let's name of ladies and gentlemen from Profit to Tuxedo

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Speaker 1: to see Dan archives too, of course. Uh my personal

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Speaker 1: Goo Jay Dilla, uh Kareem Riggins, d J Harrison.

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Speaker 6: I forgot even freaking Breachestra.

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Speaker 2: Yeah, break That's kind of how I met you, Yeahestra man.

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Speaker 1: I forgot break Breakstra Gary Wilson, Gary Wilson's uh Georgie

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Speaker 1: and Montre.

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Speaker 6: Steve Arrington.

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Speaker 1: He releases Yeah, yesterday's new twet. Twet go on the

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Speaker 1: question of supreme cricketure. Yeah, uh uh loop pack man,

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Speaker 1: next worries, how do you pronounce next? No worries. I

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Speaker 1: always see that when this man's name, let's just go

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Speaker 1: down to rock Percy p Guilty Simpson. Uh. Profit is

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Speaker 1: So it's so many artists that I just you know, yeah,

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Speaker 1: succeed the project. Yeah, I'm just saying that when I

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Speaker 1: need to escape from the the madness that is modern

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Speaker 1: music today, I looked at Stone Strow to see who's next,

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Speaker 1: and the proprietor of Stone Store was here with us.

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Speaker 1: Please welcome to couestlof Supreme Christopher Hilario Hilario Man aka

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Speaker 1: Peanut Butter. What's up?

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Speaker 2: Then a few words? One word answers? How many are

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Speaker 2: you going to? I learned that. I learned that from

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Speaker 2: two days ago. This bass player that I'm oh, you've

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Speaker 2: been interested in working with? Yeah, I met him for

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Speaker 2: the first time. It's like it's all like texting up

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Speaker 2: until that point, and texting was all paragraphs and then talking.

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Speaker 2: It's like one word answers.

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Speaker 6: Can I tell you that it is easier to text

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Speaker 6: than it is to talk?

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Speaker 1: Is that for me?

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Speaker 2: No, that's how it's become.

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Speaker 11: I mean absolutely, it's on the phone anymore, really, and

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Speaker 11: you can edit yourself for texting unless it's.

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Speaker 8: Your past and you got to text somebody before you

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Speaker 8: talk on the phone. Do you mind if I call you?

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Speaker 1: You're the queen of that, Like I'll be texting you

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Speaker 1: and you'll just like slit smart liquor bool your way

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Speaker 1: the Kool aid Man.

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Speaker 6: Yeah, and I'm like, no, I got to think about

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Speaker 6: what I'm saying and whatnot.

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Speaker 1: Anyway, So what's up man? Also a fellow, well, you

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Speaker 1: know for me to mention ask Vaughn as I've done

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Speaker 1: in past episodes with with Fellow, ask me and Me

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Speaker 1: and uh Me and Wolf were kind of part of

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Speaker 1: this the secret Society of hip Hop Luminaries that. Yeah,

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Speaker 1: we kind of start off all uh earnest in our

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Speaker 1: appreciation of hip hop and in the name of collaboration.

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Speaker 1: But now it's like it's it's who can out emog

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Speaker 1: each other, Yeah, emoji each other.

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Speaker 2: It's mainly it's mainly Premiere Alchemist.

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Speaker 7: Like.

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Speaker 2: Is it no dude when I tell you, yeah, I

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Speaker 2: think that.

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Speaker 1: The Premiere Like I'm dreading the day if Premiere has

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Speaker 1: an untimely demise and it's up for up to me

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Speaker 1: to write something like notable about his career, like his

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Speaker 1: achievements in his emoji game. Yeah, it's it's far beyond

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Speaker 1: any beat he's ever made in his life.

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Speaker 6: An Alchemist is damn near.

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Speaker 1: Like a.

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Speaker 2: Just Alchemist is the sticker king and.

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Speaker 1: I want to buy his artwork. Really, we're just it's

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Speaker 1: it's the silliest brotherhood I've ever like.

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Speaker 2: But I never knew Premiere had that many, like cartoon voices,

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Speaker 2: like I don't know why he's not doing cartoons seriously

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Speaker 2: and hip hop.

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Speaker 1: I'm literally one second I'm working on an animated series

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Speaker 1: right now that I'm like, wait second away from approach

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Speaker 1: and just have him be all of them.

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Speaker 2: If all the other characters.

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Speaker 1: If unpaid, Bill we're here, I tell him to hire

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Speaker 1: one system.

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Speaker 8: The way he does voice memos on your group text?

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Speaker 1: Is that what it's It's beyond great Premiere's talent for

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Speaker 1: the cartoon voices. Wow, you I mean like three four

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Speaker 1: in the morning is some next ship. So yeah, Wolf

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Speaker 1: is part of the the the Askbaughn Brotherhood of.

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Speaker 2: Yes, and I have a lot of friends who are

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Speaker 2: like wishing they were part of it, like other like

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Speaker 2: musician you know, DJ is hip hop. If I could

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Speaker 2: fit more now now it's cool, I like, we can't

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Speaker 2: let t rock maybe our chear rocks quiet anyway, So no,

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Speaker 2: we just sit there like rating.

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Speaker 6: I never explained the Diplo why we had to kick

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Speaker 6: him out the chat because.

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Speaker 2: We Diplo left and then he came back and then well.

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Speaker 1: I kicked him out because it's almost like the trade,

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Speaker 1: like we traded Diplo for uh who joined this late?

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Speaker 1: Like buck Wild? It was someone in that jam.

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Speaker 2: Oh no, that was a different one.

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Speaker 1: People in this group.

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Speaker 6: You can only have twenty five people in.

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Speaker 8: The chat, So I guess nobody has a droid because

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Speaker 8: y'all are cool.

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Speaker 6: Well, Jeff, just because.

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Speaker 2: You don't neither, what's that you don't respect any me.

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Speaker 7: That said that green having a green box. Somebody take

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Speaker 7: somebody with a dray. If you get in a group chat,

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Speaker 7: I got a joy and they fuck up the whole chat.

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Speaker 8: Yeah, because they got to have a separate conversation because

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Speaker 8: they can't get they got a difference.

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Speaker 2: You know, I'm showing my age. I don't even know

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Speaker 2: what that is.

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Speaker 10: You got an iPhone?

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Speaker 2: I got an iPhone?

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Speaker 1: Yeah, you blue box?

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Speaker 7: If some one would have would a droid text you?

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Speaker 1: Which is why Jeff had to drop out, because Jess

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Speaker 1: Jeff left iPhone to go to back to. I didn't

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Speaker 1: even know that he betrayed us. So there goes the

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Speaker 1: invite to It was.

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Speaker 2: BlackBerry for so many years. How many blackberriers there's back in.

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Speaker 6: The I'm at a comedian last night.

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Speaker 1: Who he purposely uh got a BlackBerry so that he

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Speaker 1: could stop his writer's block. He's he had to turn

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Speaker 1: it and yeah, he's been working on his book for

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Speaker 1: now four years and he blames his A D D H.

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Speaker 6: Attention to his iPhone.

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Speaker 1: So in order to wean himself off of entertainment, Uh,

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Speaker 1: he's gotten rid of his iPhone and won't only do BlackBerry,

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Speaker 1: which takes away his gifts and his memes and you

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Speaker 1: know the time that he wastes.

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Speaker 2: Your guy, Jack White, Right, I was hearing the thing

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Speaker 2: that he said that he doesn't have a phone or something.

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Speaker 6: Yeah, but you know eccentric people Kanye don't have one.

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Speaker 1: Can I do that?

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Speaker 6: Guys like, can I give her my phone?

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Speaker 1: I don't know. You could know. You've got too many jobs.

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Speaker 10: And you like texting, you don't like talking.

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Speaker 1: So what you're gonna do disappear anyway. So how you

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Speaker 1: doing today? Great water? What'd you do today? You know what?

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Speaker 1: So I visit I'm gonna start backwards because I visited

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Speaker 1: Stone's through headquarters and I was genuinely surprised at how

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Speaker 1: professional the atmosphere was. Really, Like the only thing missing

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Speaker 1: if you if you're a fan of It's always sunny

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Speaker 1: in Philadelphia. Kind of like the music that that like

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Speaker 1: that that sunny happy music that they always use as

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Speaker 1: as background music on that show. That's the atmosphere I

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Speaker 1: felt I was in when I was walking pet Like,

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Speaker 1: I was like, yo, you guys have like staff and

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Speaker 1: it's like mad men.

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Speaker 2: I love coming to work right now. Yeah, things are

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Speaker 2: really good.

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Speaker 6: I miss it.

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Speaker 1: I want to walk through there again to come back.

258
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Speaker 1: So how long have you guys been in that uh,

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Speaker 1: that building?

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Speaker 2: I'm just yeah, yeah, fifteen years. It's like it started

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Speaker 2: kind of we just had one room and then as

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Speaker 2: we kind of expanded, we grabbed another another another, and yeah,

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Speaker 2: so just a little, yeah, just gradual thing.

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Speaker 1: It's kind of well, that whole neighborhood is a vibe

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Speaker 1: because even your next door.

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Speaker 2: Years with uh yeah, Adrian Young and Shahied they are

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Speaker 2: studio Well's I think it's Adrian's but maybe yeah, Adrian

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Speaker 2: part I mean is like, yeah, it's called Highland Park,

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Speaker 2: so it's pretty close to downtown.

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Speaker 9: You guys got studios in that complex or is it office?

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Speaker 2: We have a studio on ours and then yeah, Adrian's

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Speaker 2: is next door.

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Speaker 1: Wow, yeah, it's it's official. Man, Like every.

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Speaker 2: We're opening a record bar, that's yeah.

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Speaker 8: So we are, yach like the big Are you the

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Speaker 8: biggest indie hip hop situation or indie situation right now?

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Speaker 10: It's because it sounds huge.

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Speaker 2: I mean yeah, I mean we're not like like as

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Speaker 2: big as Kendra Lamar's label or any of that, but.

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Speaker 7: Like, like, y'all are probably the longest last thing I'd say, yeah, you.

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Speaker 1: Guys would probably neck with Jack White situation with the

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Speaker 1: third Man, Third Man, I think because even his label,

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Speaker 1: his operation in Nashville is sort of similar where yeah,

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Speaker 1: you know, I think it's more about it's less about

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Speaker 1: the artists and more about the the label. So what

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Speaker 1: what what do you What year do you consider the

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Speaker 1: actual first stones Throw release?

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Speaker 2: Yeah, well, with the name stones Throw was in ninety six.

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Speaker 2: I actually I did.

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Speaker 1: I was.

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Speaker 2: I started a label in nineteen ninety and put out

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Speaker 2: like one twelve inch single that flopped, and then at

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Speaker 2: that point I was like, I don't want to do

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Speaker 2: the label thing, and I started working with an MC

295
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Speaker 2: Charisma and then yeah, yeah he passed away, and then

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Speaker 2: I went back to the label thing. I just you know,

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Speaker 2: didn't want to be an artist anymore at that point, really.

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Speaker 1: How do you well what discouraged you from continuing.

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Speaker 2: The artist thing? Yeah, losing my friend.

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Speaker 1: I didn't.

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Speaker 2: I didn't want to be on stage with someone else's

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Speaker 2: you know. It was just not really it didn't feel right.

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Speaker 7: So were you rhyming with DJing?

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Speaker 2: No, it was DJ did not hear that? Yeah, I

305
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Speaker 2: did not hear my wrap? No, yeah, no, I DJ'ed

306
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Speaker 2: and I made all the music back then. I used

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Speaker 2: the in Sonic EPs, which is like a big Rember workstation.

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Speaker 7: And because you end up putting that record out right,

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Speaker 7: you end up putting the well.

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Speaker 2: I put out Christmas record after he passed. Yeah, he

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Speaker 2: passed in ninety three. And then we were signed to

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Speaker 2: Hollywood Basics at the time, which was the Disney Diney. Yeah,

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Speaker 2: but it was what it was funking Client though, So

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Speaker 2: fucking client, like, do you know funk Cline or did

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Speaker 2: you know who he was?

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Speaker 1: I knew I've heard of Dave funking Client, But what

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Speaker 1: was it like? Because also Pharaoh and.

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Speaker 2: I mean our checks had Mickey Mouse on them, so

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Speaker 2: that seriously they really did we save one? I probably

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Speaker 2: have one?

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Speaker 1: Yeah?

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Speaker 7: Yeah, I remember, I said everything they had.

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Speaker 6: It was Organized liferss Group. Lifers's Group was for a

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Speaker 6: Disney label.

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Speaker 2: And they made they made a Lifress Group soap on

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Speaker 2: a rope and then I don't somehow it got like

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Speaker 2: it got canned. So then they had all the soap

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Speaker 2: and so they made it an organized Confusion soap on

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Speaker 2: a rope and that didn't make sense.

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Speaker 1: So that was the promo.

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Speaker 2: That was the promo for sure, stress you're telling me

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Speaker 2: I have THEE on a rope still go ahead? Sorry,

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Speaker 2: And for our listeners out. The Lifers Group was a

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Speaker 2: group of X cons that formed No No, no, no,

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Speaker 2: no no they were they were in general the niggas

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Speaker 2: was locked up.

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Speaker 1: Yeah they were.

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Speaker 6: They could still be in jail for all we know.

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Speaker 7: Group Life Yeah wait, how did they they recorded in jail?

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Speaker 7: They recorded a jail. I guess they was in the

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Speaker 7: room or whatever.

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Speaker 8: Did that first?

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Speaker 2: Well recorded in jail?

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Speaker 11: Yeah we forgot about Shine Shine Yeah No, Life was

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Speaker 11: group had an actual studio.

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Speaker 7: I guess they recorded in jail.

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Speaker 11: And yeah, yeah, yikes, so they had they had There

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00:18:12,840 --> 00:18:14,919
Speaker 11: was a video for Lifers Group too, wasn't I.

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Speaker 2: Can't remember their video in jail, but that's how DJ

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00:18:18,000 --> 00:18:19,719
Speaker 2: Shadow got it started. He did a remix for them,

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00:18:19,760 --> 00:18:23,840
Speaker 2: and his manager was my manager, so that was kind

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Speaker 2: of the connection. That's why we both ended up on

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Speaker 2: Hollywood Basic Basic Actually, so Charisma is a rapper I

354
00:18:30,680 --> 00:18:34,320
Speaker 2: worked with, and the guy money Bee from Digital Underground

355
00:18:34,359 --> 00:18:37,560
Speaker 2: was always playing our tape and he told that labeled

356
00:18:38,000 --> 00:18:41,440
Speaker 2: Becafusion was refusion, So that was his side project, was Rofusion.

357
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Speaker 2: So that was my first time traveling out of the country.

358
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Speaker 2: Was we went to Germany and you know, we were

359
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Speaker 2: kids and just it was incredible.

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Speaker 1: Who else was on that tour?

361
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Speaker 2: It was me, well, me and Chrisma, this rapper heih S,

362
00:18:53,320 --> 00:18:55,360
Speaker 2: this West Coast rapper was kind of part of DJ

363
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Speaker 2: Quick's crew, and then.

364
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Speaker 1: FUSI yeah, exactly, yeah, I see what for the for

365
00:19:05,400 --> 00:19:08,159
Speaker 1: those that don't know and actually for me, like what

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Speaker 1: for you coming into hip hop? Like what was the

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Speaker 1: the experiences the I mean, did you have, like from

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Speaker 1: New York perspective, I know that most people have a

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Speaker 1: park jam and that sort of thing.

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Speaker 2: But yeah, were you going on roller skatings? I was

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Speaker 2: living in San Jose. There was no hip hop scene

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Speaker 2: really there. I mean the breaked, the breakdancing, I guess

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Speaker 2: a little bit. You were born there, right, No, I

374
00:19:35,040 --> 00:19:36,480
Speaker 2: moved there when I was six years old though, so

375
00:19:36,600 --> 00:19:38,920
Speaker 2: damn near born there? And how many years did you

376
00:19:39,119 --> 00:19:41,199
Speaker 2: till I was twenty five? So first twenty years? Can

377
00:19:41,240 --> 00:19:44,879
Speaker 2: you explain something to me? Yes, San Jose.

378
00:19:46,440 --> 00:19:52,760
Speaker 1: Has a very very unique homeless situation that I've never

379
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Speaker 1: seen in any other city in the United States. Not

380
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Speaker 1: because the amount of volume of people that are homeless,

381
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Speaker 1: m hm, but it's almost like.

382
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Speaker 6: Usually whatever whenever venue that we've ever.

383
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Speaker 1: Played in San Jose, it's like it's it's college professors

384
00:20:12,359 --> 00:20:15,720
Speaker 1: and this kind I didn't even.

385
00:20:15,600 --> 00:20:17,720
Speaker 2: Notice that drop out. Oh my god, it's but I

386
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Speaker 2: don't I haven't been to Sands that often, like lately.

387
00:20:20,280 --> 00:20:22,600
Speaker 2: I mean i've been there. I've been gone since ninety five,

388
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Speaker 2: I guess, but I go to visit family.

389
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Speaker 1: But I just know I needed someone to explain to me,

390
00:20:28,040 --> 00:20:33,080
Speaker 1: like why is this whole dropout of society? Well started

391
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Speaker 1: as a professional dropout of society kind.

392
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Speaker 2: Of right, But I mean, yeah, I don't know. I

393
00:20:37,920 --> 00:20:40,720
Speaker 2: was gonna just say that, like the cost of living

394
00:20:40,760 --> 00:20:44,080
Speaker 2: there just skyrocketed after you know, the Internet boom and

395
00:20:44,119 --> 00:20:46,119
Speaker 2: stuff like all the I mean the guy that went

396
00:20:46,119 --> 00:20:47,840
Speaker 2: to high school with me started Yahoo and he was

397
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Speaker 2: like a billionaire so, and he was like one year

398
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Speaker 2: older than me, and I was like in his early twenties.

399
00:20:53,160 --> 00:20:54,000
Speaker 2: I think when he started it.

400
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Speaker 1: Were you nice to him in high school?

401
00:20:56,720 --> 00:20:58,360
Speaker 2: He was a one year older than me? But yeah,

402
00:20:58,480 --> 00:21:02,080
Speaker 2: my my stepmom actually worked for him and she said, oh,

403
00:21:02,440 --> 00:21:04,200
Speaker 2: I asked him about you here, remember you? But you

404
00:21:04,240 --> 00:21:06,560
Speaker 2: know I wasn't really Yeah, I didn't know.

405
00:21:06,600 --> 00:21:10,200
Speaker 1: I'm like that, Okay, So what were your hip hop

406
00:21:10,640 --> 00:21:12,240
Speaker 1: experience experiences early? Yeah?

407
00:21:12,240 --> 00:21:14,159
Speaker 2: I mean I remember going to Chuck E Cheese and

408
00:21:15,160 --> 00:21:17,240
Speaker 2: they would have break dance contests and stuff there, but

409
00:21:17,320 --> 00:21:19,280
Speaker 2: it was all you know, it was more like breaking

410
00:21:19,320 --> 00:21:21,760
Speaker 2: in the quad pop locking. I mean we had the

411
00:21:21,800 --> 00:21:24,080
Speaker 2: pop locking more on the on the West Coast.

412
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Speaker 5: You know.

413
00:21:24,800 --> 00:21:26,680
Speaker 6: I love hearing a Chuck E Cheese story that didn't

414
00:21:26,760 --> 00:21:31,520
Speaker 6: end in violence. The Martin Luther King.

415
00:21:32,200 --> 00:21:34,399
Speaker 2: I mean, I just remember walking there as a fifteen

416
00:21:34,480 --> 00:21:36,080
Speaker 2: year old and then walking home and I ended up

417
00:21:36,080 --> 00:21:37,600
Speaker 2: not getting home till four in the morning. I thought

418
00:21:37,600 --> 00:21:39,680
Speaker 2: I was gonna get my ass beat, but like I

419
00:21:39,800 --> 00:21:42,480
Speaker 2: snuck in and my parents didn't hear me. But I

420
00:21:42,560 --> 00:21:44,680
Speaker 2: mean Egyptian Lover was the early show that I went to,

421
00:21:44,920 --> 00:21:47,680
Speaker 2: like that was eighty five. I went to the Fresh

422
00:21:47,760 --> 00:21:50,200
Speaker 2: Fest stuff like that. But you know, I guess I

423
00:21:50,520 --> 00:21:53,200
Speaker 2: learned about hip hop. I was into like funking soul

424
00:21:53,320 --> 00:21:57,359
Speaker 2: and then like I didn't know like the elements or anything,

425
00:21:57,440 --> 00:22:00,480
Speaker 2: but like Rappers Light when that came out, like even

426
00:22:00,560 --> 00:22:02,440
Speaker 2: like double Dutch Bus, Like to me, I thought that

427
00:22:02,560 --> 00:22:03,800
Speaker 2: was hip hop. As a kid, I didn't know the

428
00:22:03,840 --> 00:22:06,800
Speaker 2: difference really, like they were just both wrapping over a

429
00:22:06,880 --> 00:22:10,040
Speaker 2: disco trap. And then kind of learned a little later.

430
00:22:10,200 --> 00:22:12,359
Speaker 1: So it wasn't like older cousins or an uncle that

431
00:22:12,560 --> 00:22:15,080
Speaker 1: sort of trickled down the information to you, Like who

432
00:22:16,000 --> 00:22:17,640
Speaker 1: mentors I'm the older uncle?

433
00:22:18,000 --> 00:22:21,600
Speaker 2: Oh, I mean yeah. My parents. My dad was into Sinatra,

434
00:22:21,960 --> 00:22:24,400
Speaker 2: you know, rest in peace to Sinatra and my father,

435
00:22:24,560 --> 00:22:28,280
Speaker 2: but my mom was into show tombs. But my my

436
00:22:28,720 --> 00:22:32,760
Speaker 2: my mom's dad was a jazz bass player. He was

437
00:22:32,800 --> 00:22:38,639
Speaker 2: an upright bassist and he played. Actually Duke Ellington would

438
00:22:38,680 --> 00:22:42,320
Speaker 2: come to his dad's restaurant and then he let my

439
00:22:42,400 --> 00:22:45,440
Speaker 2: grandpa play piano and my grandpa was nine years old

440
00:22:45,440 --> 00:22:47,120
Speaker 2: and then he just fell in love with jazz after

441
00:22:47,240 --> 00:22:49,680
Speaker 2: that and played with Dizzy Gillespie. And a lot of

442
00:22:49,920 --> 00:22:53,240
Speaker 2: you know, a lot of the greats, but he always struggled.

443
00:22:53,320 --> 00:22:57,440
Speaker 2: My mom had seven brothers and they were always dirt poor,

444
00:22:57,560 --> 00:22:59,200
Speaker 2: and so my mom didn't really want me going in

445
00:22:59,240 --> 00:23:01,680
Speaker 2: the music industry because you know, my grandpa never made

446
00:23:01,840 --> 00:23:03,720
Speaker 2: money and music it was more like a hobby.

447
00:23:05,359 --> 00:23:09,040
Speaker 1: So but yet you wound up in the same then, yeah,

448
00:23:09,240 --> 00:23:10,720
Speaker 1: predicament kind of.

449
00:23:11,119 --> 00:23:14,520
Speaker 2: I mean, I mean, honestly, like when me and Charisma

450
00:23:14,640 --> 00:23:16,680
Speaker 2: got signed, when we got signed to the major label,

451
00:23:16,720 --> 00:23:18,760
Speaker 2: I was still in college and my mom was like,

452
00:23:18,840 --> 00:23:21,200
Speaker 2: you got to you gotta finish school, and you know,

453
00:23:21,280 --> 00:23:22,840
Speaker 2: I was like, no, I don't, I don't care.

454
00:23:23,119 --> 00:23:24,240
Speaker 1: You know, where did you go to college.

455
00:23:24,680 --> 00:23:27,439
Speaker 2: I was in San Jose State and I ended up

456
00:23:27,440 --> 00:23:30,280
Speaker 2: getting my degree in marketing. And my label is like

457
00:23:30,560 --> 00:23:36,040
Speaker 2: it helps, I know, experience. Yeah, I don't really run

458
00:23:36,119 --> 00:23:38,760
Speaker 2: my label in a marketing sense so much, I think,

459
00:23:38,880 --> 00:23:41,040
Speaker 2: or it's like the anti marketing label. But so you're

460
00:23:41,080 --> 00:23:44,520
Speaker 2: the herb output of maybe A and M operation where

461
00:23:44,600 --> 00:23:47,200
Speaker 2: you just yeah, I don't know his story.

462
00:23:47,280 --> 00:23:50,240
Speaker 6: What was well, you know, Moss, Jerry Moss.

463
00:23:50,080 --> 00:23:50,959
Speaker 1: He was the business guy.

464
00:23:51,840 --> 00:23:54,840
Speaker 2: Yeah, yeah, yeah, I mean, yeah, I'm real passionate about

465
00:23:54,880 --> 00:23:58,879
Speaker 2: the creative. I get into arguments with the guys at

466
00:23:58,880 --> 00:24:00,800
Speaker 2: the label sometimes about that, but yeah, no, I mean

467
00:24:00,840 --> 00:24:02,680
Speaker 2: I leave the business to them more. And you know,

468
00:24:02,840 --> 00:24:06,360
Speaker 2: it's the checks and balances I have, like people all

469
00:24:06,560 --> 00:24:09,040
Speaker 2: like working and so it's I don't know, I feel

470
00:24:09,160 --> 00:24:11,560
Speaker 2: like my team, I'm really I trust them and stuff.

471
00:24:11,640 --> 00:24:12,560
Speaker 1: So were you?

472
00:24:13,400 --> 00:24:16,879
Speaker 7: I was, so how many operation? How big is the

473
00:24:16,920 --> 00:24:17,560
Speaker 7: stones operation?

474
00:24:17,640 --> 00:24:17,680
Speaker 4: That?

475
00:24:17,840 --> 00:24:17,879
Speaker 11: Like?

476
00:24:17,920 --> 00:24:18,879
Speaker 1: Who are the people?

477
00:24:19,000 --> 00:24:21,359
Speaker 2: There's like ten, there's like ten to twelve people like

478
00:24:21,760 --> 00:24:24,520
Speaker 2: in our office. Yeah, we have some interns and then

479
00:24:24,720 --> 00:24:27,960
Speaker 2: we have like a small operation in Europe and then

480
00:24:28,200 --> 00:24:29,399
Speaker 2: Japan and.

481
00:24:29,440 --> 00:24:31,840
Speaker 7: So you handle the music, and then how many other

482
00:24:31,840 --> 00:24:33,679
Speaker 7: people you have kind of handling the business?

483
00:24:33,720 --> 00:24:33,960
Speaker 1: I guess.

484
00:24:34,200 --> 00:24:35,920
Speaker 2: I mean there's like three or four kind of like

485
00:24:36,200 --> 00:24:40,280
Speaker 2: doing different aspects of marketing. And then yeah, just traditional

486
00:24:40,400 --> 00:24:42,720
Speaker 2: like you know in our director and GM.

487
00:24:44,320 --> 00:24:46,800
Speaker 7: So with y'all stuff like in terms of signing artists

488
00:24:46,880 --> 00:24:49,440
Speaker 7: or putting records out? Is it just you find something

489
00:24:49,520 --> 00:24:51,880
Speaker 7: you like it, and it's like, yo, that's where I'm pickheaded.

490
00:24:51,920 --> 00:24:54,000
Speaker 7: I'm like, I like this, and you guys, if you

491
00:24:54,080 --> 00:24:56,399
Speaker 7: don't like it, I'm sorry. I mean it's you know,

492
00:24:56,440 --> 00:24:58,760
Speaker 7: I'm not like a dictator about it. But like they yeah,

493
00:24:58,920 --> 00:24:59,760
Speaker 7: they're they're pretty cool.

494
00:25:00,200 --> 00:25:03,760
Speaker 2: But I mean, honestly, like it's it makes it's so

495
00:25:03,920 --> 00:25:06,560
Speaker 2: much better when the staff likes it too, because they're

496
00:25:06,600 --> 00:25:08,800
Speaker 2: working in it, you know. I mean if they're not

497
00:25:09,040 --> 00:25:10,680
Speaker 2: really if their heart's not into it, then they're not

498
00:25:10,760 --> 00:25:11,520
Speaker 2: going to work it as hard.

499
00:25:11,600 --> 00:25:13,960
Speaker 1: So from my experiences working at a major label, that

500
00:25:14,080 --> 00:25:14,640
Speaker 1: is very true.

501
00:25:14,720 --> 00:25:16,440
Speaker 2: Yeah, and that's why I like the people that I hired.

502
00:25:16,440 --> 00:25:18,480
Speaker 2: They're really into the same music that I'm into, you know,

503
00:25:18,640 --> 00:25:21,320
Speaker 2: not necessarily good or bad music, but the same music.

504
00:25:21,680 --> 00:25:27,280
Speaker 11: Because promoting Nelly albums, it's wearing on your soul. What

505
00:25:27,480 --> 00:25:29,920
Speaker 11: kind of alum Nelly? He used to work for Universal

506
00:25:29,960 --> 00:25:32,680
Speaker 11: back in the day, So like that question, you worked Nelly?

507
00:25:32,760 --> 00:25:34,600
Speaker 11: Did you work the Ali Heavy Starts album?

508
00:25:35,160 --> 00:25:36,399
Speaker 1: Or were you out there? I was?

509
00:25:36,480 --> 00:25:39,080
Speaker 7: I was out I was out by he was out

510
00:25:39,119 --> 00:25:39,760
Speaker 7: by Heavy Starts.

511
00:25:39,960 --> 00:25:49,159
Speaker 1: Okay, so starting starting the label, yeah one, Why did

512
00:25:49,200 --> 00:25:50,480
Speaker 1: you feel it was necessary to.

513
00:25:52,040 --> 00:25:54,159
Speaker 2: Start your I mean I never wanted to be a

514
00:25:54,240 --> 00:25:58,720
Speaker 2: label guy, like, especially when the four thousand and eighty rule,

515
00:25:58,800 --> 00:26:00,680
Speaker 2: you know, like a company people shady. I'm like, I

516
00:26:00,680 --> 00:26:01,800
Speaker 2: didn't want to be on that side of it.

517
00:26:02,480 --> 00:26:05,159
Speaker 1: But that's why I joined the music business, so I

518
00:26:05,200 --> 00:26:06,280
Speaker 1: could not be shady.

519
00:26:06,200 --> 00:26:08,280
Speaker 2: Right, I mean that was the thing. Like actually the

520
00:26:08,320 --> 00:26:10,560
Speaker 2: first several years of Stone Strow, I didn't have contracts

521
00:26:10,600 --> 00:26:12,719
Speaker 2: with any of the artists, and I had a an

522
00:26:12,720 --> 00:26:15,000
Speaker 2: attorney that was like, are you crazy, Like you know,

523
00:26:15,080 --> 00:26:16,840
Speaker 2: you got to protect yourself, and I'm like, oh, I'm

524
00:26:16,880 --> 00:26:18,680
Speaker 2: all on her system. You know. I know if I

525
00:26:18,760 --> 00:26:20,960
Speaker 2: treat my artists right, they're going to stay with me.

526
00:26:21,760 --> 00:26:28,520
Speaker 2: And when that backfire, yeah yeah, now I think, I mean,

527
00:26:29,200 --> 00:26:31,000
Speaker 2: you know that it's going to backfire with or without

528
00:26:31,000 --> 00:26:32,960
Speaker 2: a contract if you can only take an artist to

529
00:26:33,000 --> 00:26:35,960
Speaker 2: a certain level. And you know, people, it's the tendency

530
00:26:36,000 --> 00:26:40,800
Speaker 2: I think is that the grass is greener, you know,

531
00:26:41,000 --> 00:26:41,879
Speaker 2: Like so.

532
00:26:42,640 --> 00:26:46,320
Speaker 6: I don't think so though, No, the grass is never green.

533
00:26:47,160 --> 00:26:48,800
Speaker 2: You're saying, you don't think people think that way. But

534
00:26:48,880 --> 00:26:51,080
Speaker 2: I know I've had I have artists leaves and sow

535
00:26:51,119 --> 00:26:53,240
Speaker 2: for major labels and then yeah, and then they come back,

536
00:26:53,359 --> 00:26:55,240
Speaker 2: yeah yeah, yeah, all right yeah and they come back.

537
00:26:55,320 --> 00:26:58,720
Speaker 2: But well, I mean I've always been the artist, I

538
00:26:58,800 --> 00:27:01,440
Speaker 2: mean the music fan that kind of jumps around and

539
00:27:01,520 --> 00:27:03,399
Speaker 2: like I'm always trying to discover the next thing. So

540
00:27:03,600 --> 00:27:06,560
Speaker 2: for me, like my homie that I grew up with.

541
00:27:06,680 --> 00:27:10,360
Speaker 2: We like he would buy all ten art ten albums

542
00:27:10,440 --> 00:27:12,520
Speaker 2: by the same artist, and I was always looking for

543
00:27:12,640 --> 00:27:15,680
Speaker 2: something new. And there's not right or wrong in either one.

544
00:27:15,800 --> 00:27:18,520
Speaker 2: I mean, I guess maybe more right as being loyal

545
00:27:18,640 --> 00:27:21,240
Speaker 2: to that artist and buying all ten albums, But I

546
00:27:21,359 --> 00:27:24,480
Speaker 2: was always jumping around. So when an artist leaves Stone's Throw,

547
00:27:25,680 --> 00:27:28,520
Speaker 2: it's still I mean, I kind of understand, you know,

548
00:27:29,000 --> 00:27:31,920
Speaker 2: why they're doing that, and I'm still busy, like trying

549
00:27:31,960 --> 00:27:32,760
Speaker 2: to find the next thing.

550
00:27:32,920 --> 00:27:36,480
Speaker 1: So well, Yeah, as I say at the top, I

551
00:27:36,560 --> 00:27:39,840
Speaker 1: think in your specific case, I feel like Stone's Throw,

552
00:27:41,000 --> 00:27:45,560
Speaker 1: the legacy is almost the star of the operation, as

553
00:27:45,640 --> 00:27:49,440
Speaker 1: opposed to you know, if you have a particular franchise

554
00:27:49,560 --> 00:27:53,200
Speaker 1: artist that shines for a while or whatever. But I

555
00:27:53,280 --> 00:27:56,399
Speaker 1: feel like, like for me, I'm at the I'm at

556
00:27:56,480 --> 00:27:59,280
Speaker 1: the rate now where if it's a new artist on

557
00:27:59,440 --> 00:28:02,879
Speaker 1: stones Throw, I trust it because you know, the.

558
00:28:02,960 --> 00:28:05,040
Speaker 7: Logo carrier weight more so than the artists.

559
00:28:05,200 --> 00:28:08,000
Speaker 2: Yeah, and you and I have similar tastes of music,

560
00:28:08,080 --> 00:28:10,359
Speaker 2: so you know, I feel good like showing you my

561
00:28:10,520 --> 00:28:13,040
Speaker 2: music or the music I'm involved in, and I feel

562
00:28:13,119 --> 00:28:14,160
Speaker 2: like you generally.

563
00:28:13,880 --> 00:28:17,120
Speaker 1: Will like it and stuff. But so but in the beginning,

564
00:28:17,280 --> 00:28:20,720
Speaker 1: did you in ninety six did you imagine that twenty

565
00:28:20,800 --> 00:28:23,640
Speaker 1: years later it would wind up into the operation.

566
00:28:23,359 --> 00:28:26,320
Speaker 2: That never had a twenty year plan. And I don't

567
00:28:26,359 --> 00:28:27,800
Speaker 2: know if I would have thought it would have been

568
00:28:27,840 --> 00:28:29,680
Speaker 2: bigger or smaller or if.

569
00:28:29,920 --> 00:28:32,280
Speaker 1: Yeah, So when it first started, was it the it

570
00:28:32,400 --> 00:28:35,760
Speaker 1: was out the trunk, in the in the kitchen we started.

571
00:28:35,840 --> 00:28:38,000
Speaker 2: We started like really in the DJ community and the

572
00:28:38,040 --> 00:28:41,560
Speaker 2: turntable is community specifically, like in the Bay Area in

573
00:28:42,040 --> 00:28:45,080
Speaker 2: the mid to late nineties, there was a big turntableism

574
00:28:45,160 --> 00:28:48,160
Speaker 2: thing happening with Cubert and Scratch Pickles. Yeah, the whole

575
00:28:48,200 --> 00:28:52,320
Speaker 2: scratch Pickles. One of the guys de styles that was

576
00:28:52,840 --> 00:28:56,800
Speaker 2: in Cubert's group. He was dating my sister when I

577
00:28:56,920 --> 00:28:58,680
Speaker 2: was the older brother that was a little like upset.

578
00:28:58,720 --> 00:29:00,320
Speaker 2: They were like twelve or thirteen or something, and so

579
00:29:01,200 --> 00:29:02,600
Speaker 2: he was asking me how to teach him how to

580
00:29:02,640 --> 00:29:04,440
Speaker 2: scratch and I'm like no, And then now he likes

581
00:29:04,440 --> 00:29:07,800
Speaker 2: scratched like circles. Oh yeah, oh yeah, I'll tell you

582
00:29:09,360 --> 00:29:12,680
Speaker 2: in five And I could never I could never like

583
00:29:12,920 --> 00:29:14,280
Speaker 2: go where he goes with it. But you know, he

584
00:29:14,360 --> 00:29:16,640
Speaker 2: really stuck with that, and I kind of jumped around

585
00:29:16,680 --> 00:29:19,760
Speaker 2: and did different things. But back to what I was

586
00:29:20,080 --> 00:29:23,160
Speaker 2: trying to say was in the late nineties, it was

587
00:29:23,240 --> 00:29:26,760
Speaker 2: really like a lot of turntables and going on in

588
00:29:26,800 --> 00:29:28,720
Speaker 2: the area. That's something that we had to edge over

589
00:29:29,160 --> 00:29:31,440
Speaker 2: a lot of other areas. And Hubert was putting his

590
00:29:31,520 --> 00:29:34,160
Speaker 2: records out. We put out this record called super Duct

591
00:29:34,200 --> 00:29:36,920
Speaker 2: Breaks and that really it was in all the all

592
00:29:36,960 --> 00:29:39,400
Speaker 2: the DJs would use it in their battles and you

593
00:29:39,440 --> 00:29:40,160
Speaker 2: would look at.

594
00:29:40,280 --> 00:29:44,360
Speaker 1: All the noise that was always cut number three.

595
00:29:47,960 --> 00:29:48,440
Speaker 7: Straight up.

596
00:29:48,680 --> 00:29:50,719
Speaker 2: Yeah. But okay, So what I was going to say, like, well,

597
00:29:50,760 --> 00:29:52,600
Speaker 2: go ahead, No, no, I'm like trying to lead the

598
00:29:52,640 --> 00:29:58,640
Speaker 2: interview now, no, no, But like I just remember like

599
00:29:58,800 --> 00:30:02,480
Speaker 2: DJs would watch the other DJs and it would say

600
00:30:02,520 --> 00:30:05,200
Speaker 2: stones throw on the on the record, like really big,

601
00:30:05,440 --> 00:30:08,640
Speaker 2: and that was just something that the design guy like

602
00:30:08,800 --> 00:30:10,480
Speaker 2: came up with and I didn't really think about it,

603
00:30:10,560 --> 00:30:13,080
Speaker 2: but people would watch these DJs and they would see

604
00:30:13,080 --> 00:30:14,480
Speaker 2: the stones throw really big and they go, what is

605
00:30:14,600 --> 00:30:15,120
Speaker 2: stoneses throw?

606
00:30:15,400 --> 00:30:15,560
Speaker 1: You know?

607
00:30:15,640 --> 00:30:19,040
Speaker 2: We so we really like we put out the charisma

608
00:30:19,120 --> 00:30:21,760
Speaker 2: thing that had never come out, and the DJs were

609
00:30:21,800 --> 00:30:24,240
Speaker 2: all using that and really me being part of that

610
00:30:24,360 --> 00:30:27,200
Speaker 2: DJ scene like that was my Rolodex was only like

611
00:30:27,840 --> 00:30:30,680
Speaker 2: battle DJs and beat junkies stuff like that. So I'd

612
00:30:30,720 --> 00:30:33,040
Speaker 2: send them all the records and they would all support it.

613
00:30:33,320 --> 00:30:34,840
Speaker 2: And you know, at that time, it was like a

614
00:30:34,920 --> 00:30:37,480
Speaker 2: vinyl only label. It was before there was iTunes or

615
00:30:38,080 --> 00:30:39,240
Speaker 2: any streaming or any of that.

616
00:30:39,840 --> 00:30:45,280
Speaker 1: So back then, when you're starting a label, how many

617
00:30:45,520 --> 00:30:50,040
Speaker 1: records would you have to push in order to justify

618
00:30:50,560 --> 00:30:54,680
Speaker 1: staying in business and not losing money? And because I

619
00:30:54,760 --> 00:30:57,400
Speaker 1: still feel like it's a very specific small community you

620
00:30:57,480 --> 00:31:00,400
Speaker 1: have to cater to. Yeah, and if you're you know,

621
00:31:00,520 --> 00:31:04,560
Speaker 1: handing me two copies and the next act that's in

622
00:31:04,640 --> 00:31:05,840
Speaker 1: town two copies too, you know.

623
00:31:05,960 --> 00:31:07,880
Speaker 2: Yeah, it was all doubles. But I mean that's why

624
00:31:07,960 --> 00:31:10,160
Speaker 2: we sold so many units too, Like you're selling two

625
00:31:10,320 --> 00:31:14,120
Speaker 2: copies of every record, and then like the records the

626
00:31:14,200 --> 00:31:17,720
Speaker 2: pressing plant we used, they would like wear out really quickly.

627
00:31:17,760 --> 00:31:20,320
Speaker 2: And I didn't even realize that. Like Hubert's records were

628
00:31:20,360 --> 00:31:23,160
Speaker 2: at RTI and those ones you can scratch and scratch

629
00:31:23,200 --> 00:31:25,280
Speaker 2: and it never gets messed up. And we were using

630
00:31:25,360 --> 00:31:27,800
Speaker 2: Raymo and you scratch it like three times and you

631
00:31:27,920 --> 00:31:30,160
Speaker 2: ruin the record. So they had to keep coming back

632
00:31:30,200 --> 00:31:32,960
Speaker 2: and buying it over and over again like apples.

633
00:31:42,680 --> 00:31:45,360
Speaker 6: That's smart, keep them coming back, all right, I gotta

634
00:31:45,360 --> 00:31:46,000
Speaker 6: remember that one.

635
00:31:46,840 --> 00:31:49,200
Speaker 2: So what was what was the first sold one hundred

636
00:31:49,200 --> 00:31:52,400
Speaker 2: thousand of the super Breaks or something something crazy like that.

637
00:31:52,600 --> 00:31:58,160
Speaker 1: You know, So then to your first official musical release.

638
00:31:58,600 --> 00:32:01,680
Speaker 1: First of all, what right? What means you decide to

639
00:32:03,240 --> 00:32:07,959
Speaker 1: to jump just from battle Break material to yeah? I mean,

640
00:32:08,000 --> 00:32:09,440
Speaker 1: I guess. So.

641
00:32:09,560 --> 00:32:11,200
Speaker 2: I was working at a distributor at the time too,

642
00:32:11,240 --> 00:32:13,920
Speaker 2: and they were doing mostly house music, and I came

643
00:32:13,960 --> 00:32:16,800
Speaker 2: to the guy and I said, I want to start

644
00:32:16,800 --> 00:32:19,200
Speaker 2: a hip hop division here. And the company was called TRC.

645
00:32:19,400 --> 00:32:23,280
Speaker 2: And the guy's like, okay, name ten hip hop releases

646
00:32:23,280 --> 00:32:24,920
Speaker 2: that you like right now, and I totally froze up.

647
00:32:24,960 --> 00:32:28,280
Speaker 2: I'm like really bad in interviews, and I named like three,

648
00:32:28,320 --> 00:32:30,280
Speaker 2: and he's like, you're going to start a hip hop division.

649
00:32:30,320 --> 00:32:32,240
Speaker 2: I can name ten and I don't even like hip hop.

650
00:32:33,040 --> 00:32:34,680
Speaker 2: So I was like, all right, I didn't get this job.

651
00:32:34,800 --> 00:32:37,000
Speaker 2: And you know, I wrote a nice thing afterwards like

652
00:32:37,120 --> 00:32:39,000
Speaker 2: I still think I'm the guy and blah blah blah,

653
00:32:39,040 --> 00:32:42,240
Speaker 2: and he hired me, and like, through that job, I

654
00:32:42,400 --> 00:32:45,080
Speaker 2: really like taught me like everything I wanted to know

655
00:32:45,120 --> 00:32:48,760
Speaker 2: about the music industry. And Stone's Throw started out as

656
00:32:48,840 --> 00:32:52,800
Speaker 2: an extension at TRC. But TRC the problem with that was,

657
00:32:53,000 --> 00:32:55,600
Speaker 2: like I was taking all these labels in and selling

658
00:32:55,720 --> 00:32:59,800
Speaker 2: thousands of units, but they weren't paying, like the guys

659
00:33:00,240 --> 00:33:02,360
Speaker 2: you know at the head of the distributor, We're not

660
00:33:02,440 --> 00:33:04,800
Speaker 2: paying the labels. So it was kind of turnishing my

661
00:33:04,960 --> 00:33:07,960
Speaker 2: image or my relationship with guys that I knew. So

662
00:33:08,120 --> 00:33:10,120
Speaker 2: I kind of jumped out of there and I started

663
00:33:10,160 --> 00:33:12,320
Speaker 2: Stump Store at that time, so you.

664
00:33:12,440 --> 00:33:15,880
Speaker 1: Were almost part of industry rule forty yeah, I.

665
00:33:15,960 --> 00:33:19,280
Speaker 2: Was becoming the forty eight. And then they went under

666
00:33:19,320 --> 00:33:20,800
Speaker 2: and they went into porn and then I don't know

667
00:33:20,840 --> 00:33:22,800
Speaker 2: what they do now, but damn.

668
00:33:23,600 --> 00:33:26,840
Speaker 6: So what was the first album official album release on

669
00:33:27,280 --> 00:33:27,760
Speaker 6: Stone Star.

670
00:33:28,520 --> 00:33:32,720
Speaker 2: I think, well, hmmm, it was this thing called Fanatic

671
00:33:32,760 --> 00:33:35,320
Speaker 2: Beats and it was just like a breakbeat record, just

672
00:33:35,440 --> 00:33:38,920
Speaker 2: instrumental hip hop, but I mean like more yeah yeahs

673
00:33:39,560 --> 00:33:42,600
Speaker 2: or with Volte rappers Vocalus on top. Like I think

674
00:33:42,720 --> 00:33:46,040
Speaker 2: Rascoe was one of the early ones and was the

675
00:33:46,120 --> 00:33:50,800
Speaker 2: Cala the cal Asian, but Kelly Agents are two guys

676
00:33:50,880 --> 00:33:54,800
Speaker 2: Rascal and Planet Asia and then Asia I did an

677
00:33:54,920 --> 00:33:57,560
Speaker 2: artist album called My Vinyl Ways a ton in like

678
00:33:57,760 --> 00:34:00,920
Speaker 2: ninety seven around like the early days of Stamps Throw

679
00:34:01,080 --> 00:34:03,840
Speaker 2: and I had Planet Asia on two tracks on that

680
00:34:03,920 --> 00:34:06,640
Speaker 2: and that was kind of like what started like his stuff,

681
00:34:06,840 --> 00:34:10,200
Speaker 2: and then I remember he was Onre's Well the Dray

682
00:34:10,239 --> 00:34:13,200
Speaker 2: thing happened later, but he was on he was on

683
00:34:13,320 --> 00:34:15,960
Speaker 2: Sway and they had him battle against Eminem and that

684
00:34:16,719 --> 00:34:18,640
Speaker 2: that was like Eminem's first time on the radio and

685
00:34:18,680 --> 00:34:22,440
Speaker 2: he blew up and then Asia kind of got notice

686
00:34:22,480 --> 00:34:22,920
Speaker 2: from that too.

687
00:34:23,320 --> 00:34:28,560
Speaker 1: Yeah, so for at least my perception of what underground

688
00:34:28,640 --> 00:34:32,000
Speaker 1: hip hop was at the time, What were your feelings

689
00:34:32,040 --> 00:34:34,480
Speaker 1: of being sort of pegged with every because there was

690
00:34:34,560 --> 00:34:38,600
Speaker 1: such an uprising, especially with fat beats developing in the

691
00:34:38,800 --> 00:34:44,200
Speaker 1: York and LA and Braucus and everything. So and how

692
00:34:44,280 --> 00:34:47,239
Speaker 1: were you able to get elbow room just to in

693
00:34:47,360 --> 00:34:48,320
Speaker 1: such a crowded space.

694
00:34:50,520 --> 00:34:52,799
Speaker 2: Well, I mean the early days, like we didn't get

695
00:34:52,880 --> 00:34:56,000
Speaker 2: much play on New York radio. I know Premiere did,

696
00:34:56,120 --> 00:34:56,920
Speaker 2: he played.

697
00:34:56,880 --> 00:34:59,160
Speaker 1: Not even with stretching Barbido.

698
00:35:00,320 --> 00:35:04,160
Speaker 2: Well, Barbido, yeah, they did. They supported some of our stuff,

699
00:35:04,200 --> 00:35:06,400
Speaker 2: but I remember like the Quasi model they didn't support

700
00:35:06,440 --> 00:35:10,120
Speaker 2: and I was like all upset about it, but really, yeah,

701
00:35:11,800 --> 00:35:12,960
Speaker 2: probably did eventually, I don't know.

702
00:35:13,400 --> 00:35:15,560
Speaker 1: Well, I mean there was a period, especially when Stretch

703
00:35:15,719 --> 00:35:22,400
Speaker 1: Armstrong left the show. I try to keep up with Bobido, like,

704
00:35:22,480 --> 00:35:24,400
Speaker 1: you know, because I was one of those listeners that

705
00:35:24,480 --> 00:35:27,520
Speaker 1: would listen to the show and you know, whenever he

706
00:35:27,640 --> 00:35:29,680
Speaker 1: played and he would mention who you know, I go

707
00:35:29,760 --> 00:35:32,200
Speaker 1: out and buy it, and then I go to Fat Beats,

708
00:35:32,280 --> 00:35:34,640
Speaker 1: especially back then, like because Rich Medina had his own

709
00:35:35,120 --> 00:35:38,680
Speaker 1: Fat Beats division and Philly and Rich would just give

710
00:35:38,719 --> 00:35:41,600
Speaker 1: me like seven hundred dollars worth of underground hip hop

711
00:35:41,719 --> 00:35:46,040
Speaker 1: that I wouldn't even open, like it was just too overwhelming.

712
00:35:46,280 --> 00:35:47,720
Speaker 2: Are you still sitting on those records?

713
00:35:48,160 --> 00:35:48,359
Speaker 1: Yeah?

714
00:35:48,400 --> 00:35:49,600
Speaker 6: Hell yeah, I'm still sitting on it.

715
00:35:49,920 --> 00:35:55,000
Speaker 1: Like I know that any underground and the release between

716
00:35:56,120 --> 00:35:59,719
Speaker 1: ninety six in two thousand and two, like I just

717
00:35:59,800 --> 00:36:01,920
Speaker 1: took him because I just go to Rich mcden and

718
00:36:01,960 --> 00:36:03,439
Speaker 1: be like, all right, give me what I need. Okay,

719
00:36:03,480 --> 00:36:04,960
Speaker 1: you need two of these and six of these and

720
00:36:05,040 --> 00:36:08,800
Speaker 1: two of these and which is how I ran? Is

721
00:36:08,840 --> 00:36:10,200
Speaker 1: it a Lupac thing? Right?

722
00:36:10,239 --> 00:36:12,080
Speaker 2: I was gonna say maybe Lupac was the first thing

723
00:36:12,160 --> 00:36:15,520
Speaker 2: that like probably stretching Barbido and you know, okay.

724
00:36:15,680 --> 00:36:17,520
Speaker 7: And how did you meet those guys? How did the

725
00:36:18,040 --> 00:36:19,480
Speaker 7: Loupac connection.

726
00:36:19,560 --> 00:36:19,920
Speaker 1: How did it?

727
00:36:20,160 --> 00:36:22,560
Speaker 2: Well, I was listening to college radio and they were

728
00:36:22,600 --> 00:36:27,840
Speaker 2: playing a Lupac song. So Lupac the label was funded

729
00:36:27,880 --> 00:36:31,399
Speaker 2: by Madlib's dad, and yeah, Madlub's dad was a soul

730
00:36:31,480 --> 00:36:35,279
Speaker 2: singer in the sixties. That makes really like good, like

731
00:36:35,400 --> 00:36:39,400
Speaker 2: sweet soul stuff. I have a story about that too.

732
00:36:39,480 --> 00:36:43,000
Speaker 2: But well, I mean, I just I was just thinking

733
00:36:43,080 --> 00:36:44,840
Speaker 2: as I was talking about it. Like I remember I

734
00:36:44,960 --> 00:36:47,319
Speaker 2: was in a record store with Madlib in the UK

735
00:36:47,480 --> 00:36:49,360
Speaker 2: and it was like just a lot out. They were

736
00:36:49,360 --> 00:36:51,000
Speaker 2: playing a lot of old soul and you know, we

737
00:36:51,080 --> 00:36:52,640
Speaker 2: were buying records. We were in there for maybe three

738
00:36:52,719 --> 00:36:55,719
Speaker 2: or four hours, and then Madlib's dad's song comes on

739
00:36:56,560 --> 00:36:58,840
Speaker 2: and mad Lib's like, Hey, that's my dad, Like he

740
00:36:58,960 --> 00:37:02,080
Speaker 2: told the good store guy. Like mad Lib is, he'll

741
00:37:02,160 --> 00:37:05,279
Speaker 2: never brag about anything that he does, you know, he's

742
00:37:05,320 --> 00:37:07,480
Speaker 2: always like really low key, but because it was his dad,

743
00:37:07,520 --> 00:37:09,879
Speaker 2: he's like, that's my dad. And the guy's all you're

744
00:37:10,040 --> 00:37:13,800
Speaker 2: Otis Jackson's son. I can't believe this. I'm meeting Otis

745
00:37:13,920 --> 00:37:16,680
Speaker 2: Jackson's son. And it was cool to hear mad live,

746
00:37:17,120 --> 00:37:18,880
Speaker 2: you know, as a son rather than.

747
00:37:18,840 --> 00:37:19,560
Speaker 1: Like this guy.

748
00:37:19,840 --> 00:37:21,400
Speaker 7: Yeah, I want my dad's reckless.

749
00:37:23,440 --> 00:37:26,839
Speaker 2: But yeah, so his his dad put out the first

750
00:37:26,920 --> 00:37:29,440
Speaker 2: twelve inch and they didn't have any distribution, and I

751
00:37:29,520 --> 00:37:31,799
Speaker 2: heard it on the radio and I called the radio

752
00:37:31,880 --> 00:37:33,319
Speaker 2: DJ and I was like, what is this? I want

753
00:37:33,360 --> 00:37:37,240
Speaker 2: this for the distributorship, and so I got the number.

754
00:37:37,280 --> 00:37:41,840
Speaker 2: I called what ended up being Madlive's dad, and you know,

755
00:37:41,960 --> 00:37:46,879
Speaker 2: he was super sweet, super cool dude, and I told

756
00:37:46,960 --> 00:37:49,759
Speaker 2: him about my label and stuff too, and they I

757
00:37:49,880 --> 00:37:51,200
Speaker 2: was up in the Bay Area at the time, and

758
00:37:51,320 --> 00:37:53,279
Speaker 2: they drove up to the Bay to meet with me,

759
00:37:53,440 --> 00:37:56,800
Speaker 2: and you know, that's that's kind of just how it started.

760
00:37:56,840 --> 00:37:58,960
Speaker 6: I guess was it Northern Solar? Like what kind of

761
00:37:59,120 --> 00:37:59,719
Speaker 6: music was he?

762
00:38:00,040 --> 00:38:01,319
Speaker 2: It was kind of Northern soul, I guess.

763
00:38:01,400 --> 00:38:07,120
Speaker 1: Yeah. Okay, So with the Lupac project, which is I'll say,

764
00:38:07,239 --> 00:38:12,080
Speaker 1: like the first time, I mean, even though, yeah, even

765
00:38:12,120 --> 00:38:15,359
Speaker 1: though that was why I started to ye, yeah, even

766
00:38:15,400 --> 00:38:19,800
Speaker 1: though I'm I'm borderline certain that I have been collecting

767
00:38:19,880 --> 00:38:25,600
Speaker 1: from all those fat beat trips. But my my Lupac story,

768
00:38:26,640 --> 00:38:29,040
Speaker 1: you know, for all of my like Dyla is god

769
00:38:29,880 --> 00:38:33,480
Speaker 1: folklore I've ever had. Yeah, I still crack up at

770
00:38:33,560 --> 00:38:36,400
Speaker 1: the seven days where I finally saw him as a

771
00:38:36,520 --> 00:38:42,160
Speaker 1: human being. Yeah, and you know, it was a two

772
00:38:42,320 --> 00:38:46,520
Speaker 1: a m. Call and I thought, okay, either I let

773
00:38:46,760 --> 00:38:49,919
Speaker 1: somebody a producer won't name right now.

774
00:38:52,680 --> 00:38:53,600
Speaker 6: Get his BT tape.

775
00:38:53,760 --> 00:38:57,360
Speaker 1: Oh, I know who you're talking about exactly. And he

776
00:38:57,560 --> 00:39:00,360
Speaker 1: was just like yo man, and I'm like thinking, like

777
00:39:00,480 --> 00:39:02,640
Speaker 1: for him to yo Mammy. I was like, yo, I'm

778
00:39:02,640 --> 00:39:05,719
Speaker 1: in trouble and he's like, yo man, I talked to

779
00:39:05,800 --> 00:39:10,120
Speaker 1: you yo man, Tylla this other guy la and I thought, oh, man,

780
00:39:10,160 --> 00:39:12,400
Speaker 1: I fucked up? Who did I did? He read an

781
00:39:12,400 --> 00:39:16,879
Speaker 1: Okay player post story. I was just like, he'said, dog Man,

782
00:39:17,480 --> 00:39:20,480
Speaker 1: fucked up. Man. He's like I met my match man.

783
00:39:21,560 --> 00:39:23,320
Speaker 1: It's just fucking with me. And I was like what

784
00:39:23,520 --> 00:39:27,239
Speaker 1: He's like dog Man loot pack And I was like who,

785
00:39:27,960 --> 00:39:31,040
Speaker 1: It's like loot pac Man. You gotta get it. So

786
00:39:32,000 --> 00:39:36,839
Speaker 1: the next day I went to Fat Beats and got

787
00:39:37,120 --> 00:39:38,360
Speaker 1: like four copies of it.

788
00:39:38,760 --> 00:39:39,880
Speaker 2: Wow and.

789
00:39:42,840 --> 00:39:48,520
Speaker 6: D okay, d Angelo what I'm trying to figure out

790
00:39:48,560 --> 00:39:51,080
Speaker 6: what song were we working on?

791
00:39:51,440 --> 00:39:52,600
Speaker 1: This is like the end.

792
00:39:53,600 --> 00:39:56,120
Speaker 6: It's like it wasn't ninety eight.

793
00:39:58,160 --> 00:40:02,360
Speaker 1: Yeah, so this was I know, the good portion of

794
00:40:02,440 --> 00:40:04,640
Speaker 1: ninety eight was just waiting for Lauren to come up

795
00:40:04,719 --> 00:40:08,320
Speaker 1: with whatever songs she was gonna not do not do it.

796
00:40:08,600 --> 00:40:09,279
Speaker 1: It's not clear.

797
00:40:11,040 --> 00:40:14,239
Speaker 6: And we sat there.

798
00:40:14,560 --> 00:40:18,759
Speaker 1: I said, yo, man, this My quote was yo, this

799
00:40:18,880 --> 00:40:23,520
Speaker 1: album is Dyla's kryptonite, Like this is fucking him up.

800
00:40:23,560 --> 00:40:25,480
Speaker 1: He's just fuck up in the game. And the thing

801
00:40:25,640 --> 00:40:28,080
Speaker 1: was we didn't get it at the time, like it

802
00:40:28,160 --> 00:40:30,400
Speaker 1: was just a language. We sat and listened to it

803
00:40:30,480 --> 00:40:33,719
Speaker 1: twice and resting, he was like, well, this isn't you know,

804
00:40:33,760 --> 00:40:36,440
Speaker 1: because we were like deep in the Dila funk by then,

805
00:40:36,560 --> 00:40:39,480
Speaker 1: we're we just don't get And when I ad, I said, so,

806
00:40:39,640 --> 00:40:42,000
Speaker 1: what elements are in this that's really fucking with you?

807
00:40:42,520 --> 00:40:44,920
Speaker 1: And he's like, Yo, he's speaking my language, Like whoever's

808
00:40:45,960 --> 00:40:48,839
Speaker 1: Matt lib is speaking my language right now. It's how

809
00:40:48,840 --> 00:40:51,240
Speaker 1: I'm saying, like, so, are there is there intricate stuff

810
00:40:51,320 --> 00:40:56,040
Speaker 1: that us mere mortals can't see that. He's absolutely he's

811
00:40:56,080 --> 00:40:58,520
Speaker 1: like he's doing stuff in this, in the in this

812
00:40:58,640 --> 00:41:01,400
Speaker 1: twelve hundred that yeah, it was I would think to

813
00:41:01,520 --> 00:41:04,640
Speaker 1: do yeah, and yeah, the fact he was the limitations

814
00:41:04,680 --> 00:41:05,759
Speaker 1: of the twelve hundred yea.

815
00:41:05,680 --> 00:41:07,520
Speaker 7: Yeah, it's like with ten second ten and a half

816
00:41:07,960 --> 00:41:08,719
Speaker 7: crazy yeah.

817
00:41:09,680 --> 00:41:09,879
Speaker 1: Yeah.

818
00:41:10,000 --> 00:41:12,359
Speaker 6: So I mean it took me a while to get

819
00:41:12,360 --> 00:41:16,200
Speaker 6: to it. But then because I wanted to the thing.

820
00:41:16,320 --> 00:41:18,000
Speaker 1: Once I was like, damn, if I can't see what

821
00:41:18,160 --> 00:41:22,279
Speaker 1: he sees, then I'm so below on yeah the level.

822
00:41:22,360 --> 00:41:24,160
Speaker 1: So I just kept listening record and kept listening, and

823
00:41:24,239 --> 00:41:26,800
Speaker 1: then I just became a genuine fan of Matt and anything.

824
00:41:26,840 --> 00:41:28,000
Speaker 6: And then you started sending me.

825
00:41:28,600 --> 00:41:30,160
Speaker 2: Well, one of one of the artists that I was

826
00:41:30,200 --> 00:41:31,840
Speaker 2: working with at the time, one of the other rappers,

827
00:41:31,920 --> 00:41:34,239
Speaker 2: like he didn't understand it either, and he's all, you're

828
00:41:34,360 --> 00:41:39,439
Speaker 2: signing this, He's signing these sucker m season like he's

829
00:41:39,520 --> 00:41:41,960
Speaker 2: like he was like, all really like more on the

830
00:41:42,239 --> 00:41:44,480
Speaker 2: you know, the lyricism stuff, but like they were just

831
00:41:44,600 --> 00:41:47,520
Speaker 2: more like creating a Yeah, it was a feel. It

832
00:41:47,600 --> 00:41:48,000
Speaker 2: was a feeling.

833
00:41:48,160 --> 00:41:50,359
Speaker 7: The first time we came to when a Little Brother

834
00:41:50,440 --> 00:41:55,240
Speaker 7: first came to LA, we did like an in store

835
00:41:55,239 --> 00:41:57,799
Speaker 7: at Stacks in Crito's that used to I don't even

836
00:41:57,800 --> 00:41:59,359
Speaker 7: think the story is there was a vinyl story.

837
00:41:59,400 --> 00:42:00,000
Speaker 2: Yeah I remember still.

838
00:42:00,120 --> 00:42:02,400
Speaker 7: Yes, it was out there and uh oh no and

839
00:42:02,480 --> 00:42:05,160
Speaker 7: wild Shot and they showed us love and that was

840
00:42:06,000 --> 00:42:08,359
Speaker 7: that was my first time meeting him. And I was like, yo, man,

841
00:42:08,440 --> 00:42:12,120
Speaker 7: that sound pieces like that was it fucked us up too? Yeah,

842
00:42:12,160 --> 00:42:14,040
Speaker 7: we were And that was one of the records when

843
00:42:14,040 --> 00:42:16,520
Speaker 7: we were making it listening that we listened to and

844
00:42:16,600 --> 00:42:19,040
Speaker 7: it was like, yeah, like this is this is it?

845
00:42:19,560 --> 00:42:21,920
Speaker 2: Well, I was going through the demos recently, like the

846
00:42:21,960 --> 00:42:24,400
Speaker 2: demo versions were all just recorded, you know, the way

847
00:42:24,520 --> 00:42:27,279
Speaker 2: Madlib wanted it, And then we went into like a

848
00:42:27,360 --> 00:42:32,560
Speaker 2: bigger studio and they like they've multi tracked everything and

849
00:42:32,680 --> 00:42:35,000
Speaker 2: mixed it different. And mad Lib is like just kind

850
00:42:35,040 --> 00:42:36,840
Speaker 2: of the nicest guy, Like he won't speak up for

851
00:42:36,920 --> 00:42:38,560
Speaker 2: what he wants sometimes, so you never really know what

852
00:42:38,640 --> 00:42:41,200
Speaker 2: he wants. And at least he was back then. And

853
00:42:42,520 --> 00:42:46,480
Speaker 2: so the engineer that did Luke Pack, he mixed it

854
00:42:46,560 --> 00:42:49,239
Speaker 2: a lot differently than the way Madlub's demo sounded. And

855
00:42:49,360 --> 00:42:51,400
Speaker 2: mad Lib cannot listen to the Luke Pac album. He

856
00:42:51,520 --> 00:42:54,840
Speaker 2: hates it because because of the sound sonically of it,

857
00:42:55,080 --> 00:42:58,600
Speaker 2: like everything's too perfect and clean for him.

858
00:42:58,719 --> 00:43:00,200
Speaker 1: Yeah, so like that.

859
00:43:04,360 --> 00:43:07,040
Speaker 2: Cleaned for the twelve hundred maybe, but but after that,

860
00:43:07,320 --> 00:43:10,360
Speaker 2: like everything was. He would never give people multi tracks.

861
00:43:10,440 --> 00:43:13,280
Speaker 2: So you know, I was trying to get madly beats

862
00:43:13,320 --> 00:43:15,560
Speaker 2: to like nas and Q Tip and you know, people

863
00:43:15,800 --> 00:43:19,359
Speaker 2: of the time and whatever. It couldn't it couldn't happen

864
00:43:19,440 --> 00:43:22,239
Speaker 2: because he wouldn't. He couldn't multi track it. And I

865
00:43:22,280 --> 00:43:24,080
Speaker 2: remember a de la like you know when they did

866
00:43:24,120 --> 00:43:26,680
Speaker 2: the shopping bags, like they wrote to it after I

867
00:43:26,760 --> 00:43:28,680
Speaker 2: gave them the just the two track of it, and

868
00:43:28,719 --> 00:43:30,239
Speaker 2: then they're like, all right, we need the multese and

869
00:43:30,400 --> 00:43:33,640
Speaker 2: like there are no multise and and so they were

870
00:43:33,719 --> 00:43:35,640
Speaker 2: like upset with me. Like I was kind of caught

871
00:43:35,680 --> 00:43:38,080
Speaker 2: in the middle because you know, it was a miscommunication

872
00:43:38,160 --> 00:43:39,960
Speaker 2: where they assumed that I was going to give a

873
00:43:40,080 --> 00:43:40,640
Speaker 2: multese on it.

874
00:43:40,800 --> 00:43:43,879
Speaker 7: Yeah. Every time I've ever done something madly, it's the same. Yeah,

875
00:43:43,960 --> 00:43:46,800
Speaker 7: and you just know, like whatever it is, which I

876
00:43:46,920 --> 00:43:49,640
Speaker 7: fuck with because it's like, I mean that works, it works,

877
00:43:49,840 --> 00:43:51,080
Speaker 7: I mean redo it.

878
00:43:51,200 --> 00:43:54,200
Speaker 2: So that's how that's how Mad Villain was recreated or

879
00:43:54,400 --> 00:43:57,279
Speaker 2: was created, it was not recreated. That's how you know

880
00:43:57,400 --> 00:44:00,000
Speaker 2: Jalab like pretty much all the quasi model all this stuff.

881
00:44:00,680 --> 00:44:04,320
Speaker 1: So describe him as an artist, like what was it

882
00:44:05,320 --> 00:44:11,120
Speaker 1: that you saw in him that really resonated and screened?

883
00:44:11,440 --> 00:44:13,359
Speaker 2: What I saw the most is that I just found

884
00:44:13,400 --> 00:44:15,759
Speaker 2: myself going back to his music and listening to it

885
00:44:15,880 --> 00:44:18,040
Speaker 2: over and over, like I had choices of what I

886
00:44:18,080 --> 00:44:20,200
Speaker 2: could listen to or either whether it's mad Lib or

887
00:44:20,239 --> 00:44:23,200
Speaker 2: something that's out on a label, or you know, someone

888
00:44:23,239 --> 00:44:25,279
Speaker 2: else's demo that I'm working with, and I just on

889
00:44:25,440 --> 00:44:28,600
Speaker 2: my personal time, I was always listening to his stuff

890
00:44:28,640 --> 00:44:31,279
Speaker 2: and he had so much of it too, And you know,

891
00:44:31,360 --> 00:44:34,920
Speaker 2: I think that's why we eventually like were like, well,

892
00:44:35,200 --> 00:44:36,840
Speaker 2: who else do you want to work with besides your

893
00:44:36,840 --> 00:44:40,080
Speaker 2: immediate crew, because you just have so much music. There's

894
00:44:40,160 --> 00:44:42,719
Speaker 2: so many albums that we can you know, help you

895
00:44:42,880 --> 00:44:46,520
Speaker 2: bring to fruition because he was always like shy, not

896
00:44:46,640 --> 00:44:49,040
Speaker 2: really you know, he was like in Luke Pac, like

897
00:44:49,280 --> 00:44:52,279
Speaker 2: wild Child was the really outgoing one, like you know,

898
00:44:52,360 --> 00:44:54,880
Speaker 2: he would go to shows and go to the artists, Hey,

899
00:44:54,960 --> 00:44:56,839
Speaker 2: I'm wild Child. You know this is blah blah blah,

900
00:44:57,480 --> 00:45:00,040
Speaker 2: and mad Lib was always just in the background. And

901
00:45:00,200 --> 00:45:02,640
Speaker 2: so you know, when Madlum told me he wanted to

902
00:45:02,680 --> 00:45:04,839
Speaker 2: work with Doom and Dila, then that was our job

903
00:45:04,960 --> 00:45:08,200
Speaker 2: to you know, find those two guys and make it happen.

904
00:45:08,440 --> 00:45:11,520
Speaker 1: So how did you find Doom and bring him to

905
00:45:11,560 --> 00:45:11,879
Speaker 1: the fold?

906
00:45:12,280 --> 00:45:14,919
Speaker 2: What was the right Yeah, well Doom, I mean yeah,

907
00:45:15,560 --> 00:45:19,280
Speaker 2: and all we showed that that was Doom the imposter.

908
00:45:20,080 --> 00:45:21,719
Speaker 2: Well there's a whole other version of the album. I

909
00:45:21,760 --> 00:45:24,120
Speaker 2: don't know if you ever heard it. But originally Doom

910
00:45:24,440 --> 00:45:28,200
Speaker 2: wrapped the whole album in like a hype tone and yeah,

911
00:45:28,440 --> 00:45:33,000
Speaker 2: and then that version leaked, and I don't know if

912
00:45:33,040 --> 00:45:35,279
Speaker 2: Doom just felt like since it leaked he was going

913
00:45:35,360 --> 00:45:38,520
Speaker 2: to redo the whole album or if I don't know,

914
00:45:38,600 --> 00:45:41,040
Speaker 2: but for whatever reason, he like went back and did

915
00:45:41,080 --> 00:45:44,360
Speaker 2: the whole album in a laid back way. And you know,

916
00:45:44,920 --> 00:45:47,719
Speaker 2: the initial response was like, oh, I liked him better hype,

917
00:45:47,760 --> 00:45:50,600
Speaker 2: Why did he do it? He ruined it? But then

918
00:45:50,680 --> 00:45:53,480
Speaker 2: for the people who never heard the hype version, they

919
00:45:53,600 --> 00:45:55,200
Speaker 2: really responded to it.

920
00:45:58,280 --> 00:45:58,960
Speaker 1: Yeah, I remember that.

921
00:46:00,200 --> 00:46:04,920
Speaker 2: But that album JLB Quas and several other albums were

922
00:46:04,920 --> 00:46:07,960
Speaker 2: all done at the same time using one hundred and

923
00:46:07,960 --> 00:46:11,000
Speaker 2: fifty beats that Madlib had put on three CDs. It

924
00:46:11,080 --> 00:46:13,279
Speaker 2: was like fifty beats per CD and it was all

925
00:46:13,360 --> 00:46:14,960
Speaker 2: like thirty second snippets and stuff.

926
00:46:15,120 --> 00:46:17,360
Speaker 6: What was his work process like to do it? Because

927
00:46:18,239 --> 00:46:19,680
Speaker 6: his beats are intricate.

928
00:46:19,440 --> 00:46:19,520
Speaker 7: Not.

929
00:46:21,200 --> 00:46:23,120
Speaker 2: And they're all done me so quickly. And he used

930
00:46:23,160 --> 00:46:28,120
Speaker 2: to live with another producer, you know, and that other

931
00:46:28,160 --> 00:46:30,279
Speaker 2: producer would spend so much time on a track and

932
00:46:30,360 --> 00:46:32,719
Speaker 2: Madlib would hear through the walls the same song over

933
00:46:32,760 --> 00:46:36,000
Speaker 2: and over again, and he would get so like frustrated

934
00:46:36,040 --> 00:46:38,040
Speaker 2: and like you know, like sick of hearing the same song,

935
00:46:38,080 --> 00:46:42,160
Speaker 2: and so mad libs he just everything is like ten

936
00:46:42,280 --> 00:46:44,279
Speaker 2: twenty minutes and then onto the next track, onto the

937
00:46:44,320 --> 00:46:44,960
Speaker 2: next track.

938
00:46:44,800 --> 00:46:44,960
Speaker 11: You know.

939
00:46:45,680 --> 00:46:50,080
Speaker 7: So when he brought you Quasimoto, like, yeah, what do you.

940
00:46:50,320 --> 00:46:50,680
Speaker 1: Do with that?

941
00:46:51,040 --> 00:46:53,640
Speaker 2: Well Quasimoto, Yeah, that was like on the back and

942
00:46:53,920 --> 00:46:56,720
Speaker 2: that wild Child gave me like a loop pack tape,

943
00:46:56,800 --> 00:46:58,839
Speaker 2: you know, and then Quasimoto happened to be on the back.

944
00:46:58,880 --> 00:47:01,279
Speaker 2: And then I asked mad Lib about Quasimotive and he's like, oh,

945
00:47:01,320 --> 00:47:03,320
Speaker 2: you weren't supposed to hear that, like he was embarrassed

946
00:47:03,440 --> 00:47:05,799
Speaker 2: or like. And then I was like, no, I want

947
00:47:05,840 --> 00:47:07,600
Speaker 2: to do that, like I love that, like.

948
00:47:08,080 --> 00:47:10,240
Speaker 1: You know, Unseen still one of my favorite.

949
00:47:10,400 --> 00:47:11,560
Speaker 7: No, that's the one. Yeah, that's it.

950
00:47:12,080 --> 00:47:15,120
Speaker 2: And that was that was the cassette. And the engineer

951
00:47:15,160 --> 00:47:17,160
Speaker 2: didn't want to mix it because he didn't want his

952
00:47:17,280 --> 00:47:17,680
Speaker 2: name on it.

953
00:47:18,200 --> 00:47:18,360
Speaker 1: You know.

954
00:47:18,480 --> 00:47:20,799
Speaker 2: It's like like I'll lose business if, you know, if

955
00:47:20,840 --> 00:47:22,360
Speaker 2: I put my name on this as the engineer. And

956
00:47:22,400 --> 00:47:23,600
Speaker 2: there's all that hiss and everything.

957
00:47:23,719 --> 00:47:25,359
Speaker 7: But so what was he what would he what were

958
00:47:25,400 --> 00:47:25,960
Speaker 7: they tracking on?

959
00:47:26,200 --> 00:47:28,279
Speaker 2: Like what would they was it there was a task

960
00:47:29,120 --> 00:47:33,840
Speaker 2: three D eight like cassette A track, a track, cassette

961
00:47:34,160 --> 00:47:36,840
Speaker 2: and a lot of it. Yeah, and then some of

962
00:47:36,880 --> 00:47:38,480
Speaker 2: it then he bought a digital board. Some of it

963
00:47:38,600 --> 00:47:39,439
Speaker 2: was on a digital board.

964
00:47:39,520 --> 00:47:41,200
Speaker 7: But that's crazy.

965
00:47:41,680 --> 00:47:44,239
Speaker 1: So all that stuff was if it's on cassette, Like

966
00:47:45,160 --> 00:47:47,080
Speaker 1: what do you consider the master tapes? Like this is

967
00:47:47,200 --> 00:47:49,880
Speaker 1: just sitting in the master bedroom.

968
00:47:49,960 --> 00:47:52,279
Speaker 2: Yeah, I don't know where those are anymore. He's I mean,

969
00:47:52,320 --> 00:48:01,680
Speaker 2: he's got listen, So can.

970
00:48:01,600 --> 00:48:06,120
Speaker 1: You explain to our listeners how Dyla and and MATTLB

971
00:48:06,200 --> 00:48:10,080
Speaker 1: eventually began to collaborate, Like was it just that Dyla

972
00:48:10,160 --> 00:48:13,000
Speaker 1: stuff was just out there in the first of all?

973
00:48:13,080 --> 00:48:15,600
Speaker 6: Like how does how well I met?

974
00:48:16,840 --> 00:48:19,920
Speaker 2: I met Dyla through how Shoes. I put out my

975
00:48:20,000 --> 00:48:22,359
Speaker 2: own record called Peanut Butter Breaks in nineteen ninety four,

976
00:48:22,400 --> 00:48:24,520
Speaker 2: and it was a break beat album of all my instrumentals,

977
00:48:25,200 --> 00:48:27,640
Speaker 2: and how Shoes worked at a record store and my

978
00:48:27,760 --> 00:48:29,480
Speaker 2: number was on the record, so he called it was

979
00:48:29,520 --> 00:48:32,200
Speaker 2: my pager, and you know, I hit him back and

980
00:48:32,320 --> 00:48:34,359
Speaker 2: he was buying copies of my record for the record

981
00:48:34,400 --> 00:48:36,759
Speaker 2: store and he was like, Hey, this guy JD, Like

982
00:48:36,920 --> 00:48:40,200
Speaker 2: he likes your record and he makes beats too, and

983
00:48:40,360 --> 00:48:44,080
Speaker 2: you know this is before ut. Yeah, it was like

984
00:48:44,160 --> 00:48:47,279
Speaker 2: ninety four ninety five, and then when Lupac came out,

985
00:48:47,880 --> 00:48:51,440
Speaker 2: JD or Not, JD Shoes was still at that record store, like, yo,

986
00:48:51,719 --> 00:48:53,319
Speaker 2: lou Pac, you know my guy JD.

987
00:48:53,719 --> 00:48:53,959
Speaker 1: JD.

988
00:48:54,680 --> 00:48:57,040
Speaker 2: Everything was and he would play full JD songs over

989
00:48:57,120 --> 00:48:59,160
Speaker 2: the phone for me and I was like, Okay, that's cool,

990
00:48:59,200 --> 00:49:01,600
Speaker 2: but you know, you can't really hear you can only

991
00:49:01,600 --> 00:49:06,359
Speaker 2: hear so much of Yeah. But then he one day

992
00:49:06,680 --> 00:49:08,640
Speaker 2: while I was still at the distributor, Shoes was like,

993
00:49:08,840 --> 00:49:12,759
Speaker 2: I'm sitting on all these unreleased JD remixes because the

994
00:49:12,840 --> 00:49:16,160
Speaker 2: major labels asked him to do remixes and then they

995
00:49:16,560 --> 00:49:19,480
Speaker 2: never accept them. So you know, it was like Q

996
00:49:19,640 --> 00:49:21,279
Speaker 2: Tip was his manager, hooking them up with a lot

997
00:49:21,320 --> 00:49:24,960
Speaker 2: of stuff, and so he was like me and j

998
00:49:25,120 --> 00:49:27,759
Speaker 2: D want to do a vinyl of this, and we

999
00:49:27,920 --> 00:49:30,440
Speaker 2: just want to do a thousand copies and yeah, so

1000
00:49:30,520 --> 00:49:33,040
Speaker 2: I pressed it. It was green Blue, Yeah, the green one.

1001
00:49:33,120 --> 00:49:35,200
Speaker 1: Yeah, that's right.

1002
00:49:35,280 --> 00:49:37,319
Speaker 2: I was about to ask I might have a couple left,

1003
00:49:37,360 --> 00:49:40,279
Speaker 2: but like if I do, yeah, So what what all

1004
00:49:40,400 --> 00:49:40,640
Speaker 2: was on it?

1005
00:49:40,719 --> 00:49:41,560
Speaker 7: What were the remixes?

1006
00:49:42,719 --> 00:49:42,839
Speaker 1: Well?

1007
00:49:42,880 --> 00:49:49,560
Speaker 12: There was was there, There was yeah, the angelofect effects,

1008
00:49:50,200 --> 00:49:55,279
Speaker 12: the master Ace remix, which master the remix sitting on Chroma.

1009
00:49:56,960 --> 00:50:00,399
Speaker 1: I never heard that. Yeah, but that that that it's

1010
00:50:00,440 --> 00:50:03,879
Speaker 1: weird because now he has there's four remixes that WU

1011
00:50:03,960 --> 00:50:09,680
Speaker 1: are But that one that's on that green vinyl was

1012
00:50:09,719 --> 00:50:14,680
Speaker 1: that different one from the Sergio Mendez No, no, no,

1013
00:50:15,040 --> 00:50:21,040
Speaker 1: that's I have a sample.

1014
00:50:22,000 --> 00:50:24,239
Speaker 2: Honestly, I like the remixes on that album, but I

1015
00:50:24,280 --> 00:50:26,799
Speaker 2: didn't none of it really stood out to me other

1016
00:50:26,880 --> 00:50:30,200
Speaker 2: than the D'Angelo that was me and those Dreaming Eyes.

1017
00:50:30,280 --> 00:50:33,279
Speaker 7: That was the one that really went over our question.

1018
00:50:33,360 --> 00:50:36,400
Speaker 7: I had so how of the all these years, our

1019
00:50:36,480 --> 00:50:38,239
Speaker 7: question the thing we always wondered, Like when we were

1020
00:50:38,280 --> 00:50:40,640
Speaker 7: making a Little Brother record, it was like how did

1021
00:50:40,680 --> 00:50:42,080
Speaker 7: they avoid lawsuits?

1022
00:50:43,600 --> 00:50:49,600
Speaker 2: Like just in general, I mean like yeah, yeah, we

1023
00:50:49,719 --> 00:50:51,520
Speaker 2: always just paid like yeah.

1024
00:50:51,719 --> 00:50:52,799
Speaker 1: Which okay, so.

1025
00:50:54,440 --> 00:50:54,640
Speaker 8: There.

1026
00:50:54,840 --> 00:50:59,560
Speaker 1: Yeah. I gets so frustrated because the version of the

1027
00:50:59,640 --> 00:51:05,279
Speaker 1: Red that one we're stuck with now. Yeah, because to me,

1028
00:51:06,120 --> 00:51:10,040
Speaker 1: I don't know that feel. I feel like if Dyla

1029
00:51:10,400 --> 00:51:14,040
Speaker 1: uses your ship, it brings you holding, like because there's

1030
00:51:14,080 --> 00:51:17,600
Speaker 1: no artists that Dyla hasn't sampled that I haven't myself

1031
00:51:17,719 --> 00:51:21,640
Speaker 1: went out purchased their whole history. Yeah, And I was like,

1032
00:51:21,960 --> 00:51:24,280
Speaker 1: this feels like a red tape situation where just lawyers

1033
00:51:24,320 --> 00:51:26,480
Speaker 1: are battling, like, how did you guys lose the fight

1034
00:51:26,719 --> 00:51:28,919
Speaker 1: in on the red Yeah?

1035
00:51:29,600 --> 00:51:35,480
Speaker 2: The original Yeah, I mean they so the artist Chris Williamson,

1036
00:51:36,960 --> 00:51:39,359
Speaker 2: she just she didn't like the lyrical content and that's

1037
00:51:39,480 --> 00:51:41,040
Speaker 2: kind of basically what it was about.

1038
00:51:41,200 --> 00:51:43,880
Speaker 6: And oh, you said the full version to her.

1039
00:51:46,200 --> 00:51:48,319
Speaker 2: No, no, it was already out. The record was out.

1040
00:51:48,360 --> 00:51:50,759
Speaker 2: We didn't we didn't clear it ahead of time. Damn No,

1041
00:51:50,920 --> 00:51:51,640
Speaker 2: the record was out.

1042
00:51:52,040 --> 00:51:56,760
Speaker 6: And she she was like, that's probably the only thing.

1043
00:51:59,000 --> 00:52:01,480
Speaker 2: So that had to come off vocal version. But she

1044
00:52:01,640 --> 00:52:05,120
Speaker 2: was okay with us still, like controlling the master on

1045
00:52:05,160 --> 00:52:09,280
Speaker 2: the instrumental version, sending it to TV shows and movies

1046
00:52:09,320 --> 00:52:11,880
Speaker 2: all that. No, no one took it, but I mean

1047
00:52:12,080 --> 00:52:14,480
Speaker 2: I would I would say she was cool overall. I mean,

1048
00:52:14,640 --> 00:52:17,880
Speaker 2: you know, compared to like how people can be.

1049
00:52:18,120 --> 00:52:20,600
Speaker 1: I guess about that was somebody that was just like that.

1050
00:52:21,239 --> 00:52:23,600
Speaker 2: We don't, my god, I just don't want to say

1051
00:52:23,640 --> 00:52:27,719
Speaker 2: because because there's probably other samples by them that are

1052
00:52:27,760 --> 00:52:29,440
Speaker 2: in our catalog that I don't even know about her,

1053
00:52:29,480 --> 00:52:31,640
Speaker 2: you know, I mean a lot of the art, Yeah,

1054
00:52:32,160 --> 00:52:33,880
Speaker 2: like a lot of the artists that I work with,

1055
00:52:35,080 --> 00:52:36,560
Speaker 2: I'll tell you, like, when we turned the.

1056
00:52:38,600 --> 00:52:43,239
Speaker 7: I just meant it one particular was more right than Yeah.

1057
00:52:43,280 --> 00:52:46,719
Speaker 2: I think overall, I think who's the least cool or

1058
00:52:47,719 --> 00:52:48,880
Speaker 2: the people who never made it?

1059
00:52:49,200 --> 00:52:49,520
Speaker 1: Older?

1060
00:52:49,640 --> 00:52:52,000
Speaker 2: Yeah, older, the artists who never made it, Like an

1061
00:52:52,080 --> 00:52:55,560
Speaker 2: artist like Stevie Wonder for example. Okay, like we did

1062
00:52:55,800 --> 00:52:58,200
Speaker 2: a mad lib, does Stevie Wonders say? And we we

1063
00:52:58,320 --> 00:53:00,560
Speaker 2: did it as promo only then in Japan, and somebody

1064
00:53:00,920 --> 00:53:03,560
Speaker 2: bootlegged it on vinyl and they were like selling for

1065
00:53:03,600 --> 00:53:05,320
Speaker 2: a hundred dollars. And when we saw that, We're like,

1066
00:53:05,360 --> 00:53:07,680
Speaker 2: we might as well put this out and stuff, and

1067
00:53:07,760 --> 00:53:09,600
Speaker 2: we did. And then I met Stevie Wonder. The first

1068
00:53:09,640 --> 00:53:12,120
Speaker 2: time I met him, I was telling him about, you know,

1069
00:53:12,360 --> 00:53:14,680
Speaker 2: my artist mad Live did a whole album or stuff,

1070
00:53:14,719 --> 00:53:16,520
Speaker 2: and he was just like, that's so cool, all love

1071
00:53:16,560 --> 00:53:17,279
Speaker 2: blah blah blah.

1072
00:53:17,320 --> 00:53:22,120
Speaker 1: You know. Actually I did a I did a oh yeah,

1073
00:53:22,840 --> 00:53:28,600
Speaker 1: I did a tribute album to Well we called our

1074
00:53:28,680 --> 00:53:30,080
Speaker 1: sad lib because we didn't want to.

1075
00:53:32,200 --> 00:53:33,400
Speaker 2: Yeah, yeah did you and.

1076
00:53:33,480 --> 00:53:38,319
Speaker 11: James we did at way you got a bad Girl girl, Yeah,

1077
00:53:38,360 --> 00:53:39,239
Speaker 11: you got a bad girl?

1078
00:53:40,080 --> 00:53:44,560
Speaker 1: Or no, uh, little girl blue and and visions and

1079
00:53:44,960 --> 00:53:48,880
Speaker 1: uh yeah, I wanted to be the first meta tribute

1080
00:53:48,920 --> 00:53:49,920
Speaker 1: to a tribute album.

1081
00:53:50,120 --> 00:53:52,600
Speaker 2: That's funny, and we never got to got to put

1082
00:53:52,640 --> 00:53:54,560
Speaker 2: it out, but yeah, I remember hearing about that, so

1083
00:53:55,000 --> 00:53:56,480
Speaker 2: so that never came went anywhere.

1084
00:53:57,640 --> 00:53:59,960
Speaker 1: I just I just spent it at my DJ game.

1085
00:54:00,200 --> 00:54:03,080
Speaker 11: But you guys were playing over the actual Stevie records, right, yeah,

1086
00:54:03,160 --> 00:54:04,560
Speaker 11: well once we you know, well, what.

1087
00:54:04,640 --> 00:54:06,799
Speaker 2: Mad Live did a lot of times was he would

1088
00:54:06,840 --> 00:54:09,319
Speaker 2: take a whole song and he would filter everything out

1089
00:54:09,360 --> 00:54:10,880
Speaker 2: so it was just the bassline and you can hear

1090
00:54:10,880 --> 00:54:12,799
Speaker 2: a little bit, just kind of like the large professal thing.

1091
00:54:12,920 --> 00:54:15,520
Speaker 1: Hey, your version of the Meaning of Love is one

1092
00:54:15,520 --> 00:54:19,399
Speaker 1: of the versions. Oh wait, so was that under your

1093
00:54:19,760 --> 00:54:22,160
Speaker 1: uh your numb diplom floor.

1094
00:54:22,239 --> 00:54:24,360
Speaker 2: Hilaria, that's just Chris Mannic.

1095
00:54:24,719 --> 00:54:25,680
Speaker 6: What made you want to do it?

1096
00:54:26,760 --> 00:54:30,399
Speaker 2: Just hearing his song? I mean I just love that song, yeah,

1097
00:54:30,400 --> 00:54:32,680
Speaker 2: the original and then when he heard I mean when

1098
00:54:32,719 --> 00:54:35,399
Speaker 2: I heard yeah mad Lib's version, I just just mess

1099
00:54:35,400 --> 00:54:37,480
Speaker 2: around to see if I could do it, okay, yeah,

1100
00:54:38,200 --> 00:54:42,319
Speaker 2: being a hip hop dj ott.

1101
00:54:44,280 --> 00:54:45,800
Speaker 1: All right, there's one loop.

1102
00:54:46,719 --> 00:54:48,200
Speaker 6: So before.

1103
00:54:49,560 --> 00:54:54,040
Speaker 1: During the Things Fall Apart period, we had like three

1104
00:54:54,120 --> 00:54:56,360
Speaker 1: or four Dill options to work on before we chose

1105
00:54:56,719 --> 00:55:01,000
Speaker 1: what what you guys would know is dynamite. But I

1106
00:55:01,200 --> 00:55:06,279
Speaker 1: was fighting for Dylan had chopped up Steve Kuhon's the

1107
00:55:06,320 --> 00:55:09,480
Speaker 1: Meaning of Love and he would only loop I know

1108
00:55:09,640 --> 00:55:12,759
Speaker 1: not when, I know not why, And.

1109
00:55:14,480 --> 00:55:19,520
Speaker 9: Like he's done like a hundred beats that, Like I've

1110
00:55:19,600 --> 00:55:21,080
Speaker 9: never wanted that shit to die.

1111
00:55:21,200 --> 00:55:23,960
Speaker 1: Like I still have the MP three disc that he

1112
00:55:24,080 --> 00:55:27,720
Speaker 1: gave me, and I've tried so many times to figure

1113
00:55:27,719 --> 00:55:29,440
Speaker 1: out ways to you know, is that the.

1114
00:55:29,480 --> 00:55:32,000
Speaker 2: Only song Steve Kuon sang on because no, no, for

1115
00:55:32,040 --> 00:55:34,360
Speaker 2: the entire album, I don't have the album.

1116
00:55:34,680 --> 00:55:40,040
Speaker 1: Yeah, Actually, okay, so when I first got my studio,

1117
00:55:40,640 --> 00:55:45,640
Speaker 1: I'll say, like, uh, when did we start? Like was

1118
00:55:45,680 --> 00:55:47,719
Speaker 1: it like two thousand and six, Philly? We were working

1119
00:55:47,719 --> 00:55:50,440
Speaker 1: on game there like two thousand and five. Yeah, so

1120
00:55:50,680 --> 00:55:53,200
Speaker 1: like all the all the Steve Coon beats I mean

1121
00:55:53,360 --> 00:55:55,680
Speaker 1: actually just wound up being released by.

1122
00:55:57,120 --> 00:55:58,440
Speaker 6: Paul Barman's new album.

1123
00:55:59,200 --> 00:56:03,320
Speaker 1: So like a lot of my early throwaway demos somehow,

1124
00:56:03,480 --> 00:56:06,640
Speaker 1: like you know, twelve years later wind.

1125
00:56:06,520 --> 00:56:08,080
Speaker 6: Up born Paul Borman's record.

1126
00:56:08,160 --> 00:56:12,279
Speaker 1: But I got to hear that. Yeah, So yeah, but

1127
00:56:12,400 --> 00:56:15,680
Speaker 1: your your version you should is that the only official

1128
00:56:15,719 --> 00:56:17,080
Speaker 1: release you've done? Oh?

1129
00:56:17,160 --> 00:56:17,800
Speaker 2: What's singing on it.

1130
00:56:17,960 --> 00:56:18,160
Speaker 1: Yeah.

1131
00:56:18,360 --> 00:56:20,120
Speaker 2: I did a version of Get Thy Baryons that was

1132
00:56:20,200 --> 00:56:21,799
Speaker 2: really That one was not good though.

1133
00:56:21,960 --> 00:56:24,440
Speaker 1: I remember that. Yeah, Tonaman, just get that?

1134
00:56:24,520 --> 00:56:28,200
Speaker 2: Barry Yeah, well yeah is it?

1135
00:56:29,280 --> 00:56:30,319
Speaker 1: Is it seven inch?

1136
00:56:30,960 --> 00:56:32,160
Speaker 2: Or there was a seven inch yet?

1137
00:56:32,600 --> 00:56:33,200
Speaker 1: Okay? I did.

1138
00:56:33,719 --> 00:56:35,759
Speaker 2: I did a cover of Bruce Hack also, that one

1139
00:56:35,920 --> 00:56:36,839
Speaker 2: I liked a little better.

1140
00:56:36,960 --> 00:56:38,759
Speaker 6: Okay, can I get that?

1141
00:56:38,880 --> 00:56:39,879
Speaker 2: Do you know Bruce Hack?

1142
00:56:41,080 --> 00:56:43,080
Speaker 6: No, I'm stop trying to deflect.

1143
00:56:43,840 --> 00:56:46,000
Speaker 2: Can I get these they get Thy Bearings?

1144
00:56:46,080 --> 00:56:46,120
Speaker 7: No?

1145
00:56:46,560 --> 00:56:47,400
Speaker 2: Yeah, you can't get that?

1146
00:56:49,480 --> 00:56:50,280
Speaker 1: Was it ever sold?

1147
00:56:50,400 --> 00:56:52,239
Speaker 2: Or there was a seven inch of that one?

1148
00:56:52,560 --> 00:56:52,880
Speaker 1: Okay?

1149
00:56:53,160 --> 00:56:56,080
Speaker 2: So but you know, the music arrangement on it was

1150
00:56:56,160 --> 00:56:58,160
Speaker 2: like kind of off key with within itself, and I

1151
00:56:58,200 --> 00:57:00,239
Speaker 2: couldn't figure out how to sing it. And I was like,

1152
00:57:00,680 --> 00:57:03,120
Speaker 2: I promised these guys I would do it, and then yeah,

1153
00:57:03,160 --> 00:57:07,640
Speaker 2: it was a mess. I like, I like off key singing.

1154
00:57:07,719 --> 00:57:09,759
Speaker 2: I mean that, you know, I think like Steve Cohon like,

1155
00:57:09,880 --> 00:57:12,080
Speaker 2: it wasn't necessarily off key, but it sounded so personal

1156
00:57:12,160 --> 00:57:14,080
Speaker 2: on that song on the original, and so that's what

1157
00:57:14,239 --> 00:57:16,920
Speaker 2: made me like want to try to re sing you

1158
00:57:17,000 --> 00:57:18,600
Speaker 2: know something similar to you have.

1159
00:57:18,680 --> 00:57:22,240
Speaker 1: The entire album that that UH was released on is

1160
00:57:22,920 --> 00:57:26,760
Speaker 1: a classic record. So that, Yeah, got it, You've yet

1161
00:57:26,800 --> 00:57:30,760
Speaker 1: to hear it? No, I never Yeah, like that's the

1162
00:57:30,880 --> 00:57:33,240
Speaker 1: least I know that Ron Card is playing based on that,

1163
00:57:33,720 --> 00:57:38,080
Speaker 1: which explains the more and Mad Live filtered it on right.

1164
00:57:38,520 --> 00:57:40,080
Speaker 6: And so he's got Steve Cooon he's what a.

1165
00:57:40,160 --> 00:57:43,760
Speaker 2: Jazz he's aye kind of looks like Larry David.

1166
00:57:44,160 --> 00:57:50,560
Speaker 1: Yeah, he's like Gary Wilson, Like Gary Wilson wasn't on punishment,

1167
00:57:50,640 --> 00:57:53,000
Speaker 1: so like I imagine Gary Wilson spent just a lot

1168
00:57:53,000 --> 00:57:53,960
Speaker 1: of time in his bedroom.

1169
00:57:54,040 --> 00:57:57,840
Speaker 6: But yeah, Steve Coohon was like kind of lounge.

1170
00:57:57,520 --> 00:57:59,360
Speaker 2: E Yeah, lounge singer exactly.

1171
00:57:59,520 --> 00:58:03,440
Speaker 1: Yeah, singer on the Fender Roads and he just somehow

1172
00:58:04,000 --> 00:58:07,400
Speaker 1: must have had the right monetary situation going on that

1173
00:58:08,240 --> 00:58:13,360
Speaker 1: all these heavy weights like Harvey Mason's on drums, Ron

1174
00:58:13,440 --> 00:58:17,400
Speaker 1: Carter is on bass like his his band was. But

1175
00:58:17,760 --> 00:58:20,640
Speaker 1: the entire album is nothing but like the Meaning of

1176
00:58:20,720 --> 00:58:23,919
Speaker 1: Love is almost like sloppy. Yeah, the Meaning of Love.

1177
00:58:24,200 --> 00:58:26,920
Speaker 1: I think it is one of the least samplable songs,

1178
00:58:27,600 --> 00:58:30,160
Speaker 1: which once I got the record and I realized, like, oh,

1179
00:58:30,320 --> 00:58:33,840
Speaker 1: how come Dylan always chooses the one that you're going

1180
00:58:33,920 --> 00:58:34,920
Speaker 1: to least pay attention to.

1181
00:58:34,960 --> 00:58:37,040
Speaker 6: Because the other other which what did he use it for?

1182
00:58:37,160 --> 00:58:37,920
Speaker 7: What did he use it for?

1183
00:58:39,080 --> 00:58:42,360
Speaker 1: It was just a beat that didn't you know, Oh

1184
00:58:42,440 --> 00:58:44,880
Speaker 1: it wasn't on Like it didn't make it didn't make anything.

1185
00:58:45,320 --> 00:58:48,240
Speaker 1: But I'm still every roots album. I'm just like all

1186
00:58:48,320 --> 00:58:51,720
Speaker 1: right now now now is the time. No more I

1187
00:58:51,840 --> 00:58:55,840
Speaker 1: know not why songs to me, I'm not gonna make it. Yeah.

1188
00:58:56,000 --> 00:58:59,280
Speaker 1: So wait, speaking of which, I want to know the process,

1189
00:58:59,520 --> 00:59:03,120
Speaker 1: what was relationship with the brakester Cats, because even way before,

1190
00:59:03,480 --> 00:59:08,439
Speaker 1: way before the Dad Kings, like Chestra was yeah, trying

1191
00:59:08,480 --> 00:59:11,880
Speaker 1: to go there or like raw sixty sound and first

1192
00:59:11,880 --> 00:59:13,000
Speaker 1: of all, like where did they record?

1193
00:59:13,000 --> 00:59:14,560
Speaker 2: Were kind of early on it, but I was in

1194
00:59:14,640 --> 00:59:16,120
Speaker 2: the Bay at that time at that time, so I

1195
00:59:16,160 --> 00:59:18,520
Speaker 2: didn't really I don't know their history before I got

1196
00:59:18,600 --> 00:59:22,000
Speaker 2: involved really, but so you just heard it in. But

1197
00:59:22,120 --> 00:59:24,600
Speaker 2: Miles was like a major major hip hop fan and

1198
00:59:24,720 --> 00:59:26,920
Speaker 2: he was more like wild Child in the way that

1199
00:59:27,040 --> 00:59:28,880
Speaker 2: he would go up to artists and like you know,

1200
00:59:29,120 --> 00:59:32,080
Speaker 2: introduce himself and stuff. And the song Ring Ring Ring

1201
00:59:32,240 --> 00:59:35,080
Speaker 2: is actually about him because he gave De La Soul

1202
00:59:35,240 --> 00:59:35,720
Speaker 2: his demo.

1203
00:59:36,240 --> 00:59:40,360
Speaker 1: Oh wow, that's what.

1204
00:59:43,160 --> 00:59:45,680
Speaker 2: But I guess, yeah, he was really persistent and then

1205
00:59:47,160 --> 00:59:49,480
Speaker 2: Prince Paul, he asked Prince Paul for Prince Paul's number,

1206
00:59:49,600 --> 00:59:56,120
Speaker 2: and then Prince Paul gave him. Well, they make up

1207
00:59:56,560 --> 00:59:58,360
Speaker 2: a reference in the song where they say Piles and

1208
00:59:58,400 --> 01:00:06,400
Speaker 2: Piles and the Miles because Miles, Wow, what these you learn?

1209
01:00:07,400 --> 01:00:07,800
Speaker 1: Wait a bite?

1210
01:00:07,800 --> 01:00:09,800
Speaker 6: Did you ever tell pastas and as one?

1211
01:00:10,240 --> 01:00:12,440
Speaker 2: I think I've I've asked pass about it. Yeah, I

1212
01:00:12,480 --> 01:00:14,280
Speaker 2: mean Prince Paul told me the story and then Paus

1213
01:00:14,520 --> 01:00:16,080
Speaker 2: confirmed it. Yeah damn.

1214
01:00:16,560 --> 01:00:21,240
Speaker 6: But the King she's from Philly. The woman at the

1215
01:00:21,320 --> 01:00:24,920
Speaker 6: top about that, yeah, yeah, yeah King, Yeah.

1216
01:00:25,440 --> 01:00:28,120
Speaker 2: Okay, he still has the same number, but they Yeah,

1217
01:00:28,200 --> 01:00:31,120
Speaker 2: so I guess he asked Prince Paul for Prince Paul's number,

1218
01:00:31,120 --> 01:00:32,680
Speaker 2: and then Prince Paul gave him one of the other

1219
01:00:32,720 --> 01:00:34,680
Speaker 2: guy's number as a joke to you know, mess with

1220
01:00:34,760 --> 01:00:37,520
Speaker 2: the guys and the crew. And then Miles kept calling

1221
01:00:37,560 --> 01:00:39,200
Speaker 2: the other guy and then they were like upset with

1222
01:00:39,280 --> 01:00:42,680
Speaker 2: Paul or you know, like so turn into this thing.

1223
01:00:43,040 --> 01:00:44,520
Speaker 1: That's the Miles. Wow.

1224
01:00:45,400 --> 01:00:46,880
Speaker 11: This is like when I found out who old Man

1225
01:00:46,960 --> 01:00:50,080
Speaker 11: Johnson was in Raspberry Ray. I know, I'm like old

1226
01:00:50,440 --> 01:00:51,560
Speaker 11: Jesse Jesse Johnson.

1227
01:00:52,520 --> 01:00:55,880
Speaker 1: Damn. All right.

1228
01:00:56,360 --> 01:00:56,560
Speaker 7: Wow.

1229
01:00:57,680 --> 01:00:59,720
Speaker 2: So we put out that forty five and everyone was

1230
01:00:59,760 --> 01:01:01,560
Speaker 2: really into it, and that's what I remember. That's how

1231
01:01:01,720 --> 01:01:03,560
Speaker 2: you reached out to me, Like that was my first

1232
01:01:03,640 --> 01:01:05,920
Speaker 2: time really talking to you. Was because this break a

1233
01:01:05,960 --> 01:01:07,760
Speaker 2: store forty five and you're like, how did they get

1234
01:01:07,800 --> 01:01:10,600
Speaker 2: the sound hit to sound like that? And I remember,

1235
01:01:10,920 --> 01:01:12,680
Speaker 2: like I was still in the bay at the time,

1236
01:01:12,720 --> 01:01:14,400
Speaker 2: and you called me to go record shopping with you

1237
01:01:14,560 --> 01:01:17,040
Speaker 2: and we went to Groove Merchant that was like in

1238
01:01:17,080 --> 01:01:17,800
Speaker 2: the late nineties.

1239
01:01:18,520 --> 01:01:20,640
Speaker 7: Yeah, I remember, I don't want that off hip hop side.

1240
01:01:21,560 --> 01:01:21,760
Speaker 1: Yeah.

1241
01:01:22,520 --> 01:01:24,040
Speaker 7: Yeah, I ran the funk out of this shit, man.

1242
01:01:24,080 --> 01:01:24,400
Speaker 1: I love that.

1243
01:01:24,720 --> 01:01:27,000
Speaker 2: I came with that bonus bone the B side. I

1244
01:01:27,080 --> 01:01:29,280
Speaker 2: asked for it to start with the drums. We did

1245
01:01:29,280 --> 01:01:31,280
Speaker 2: an edit just so would purposely start with the drum

1246
01:01:31,320 --> 01:01:33,760
Speaker 2: break for the DJs, and I talked Miles into doing that.

1247
01:01:33,960 --> 01:01:35,600
Speaker 6: But yeah, they're talking to me to doing it.

1248
01:01:35,680 --> 01:01:38,480
Speaker 2: Well, not really not even talk, just I proposed the

1249
01:01:38,520 --> 01:01:40,600
Speaker 2: idea and he was like, oh yeah, that's a good idea.

1250
01:01:40,880 --> 01:01:45,680
Speaker 1: Oh okay, So yeah side note that box of records.

1251
01:01:45,720 --> 01:01:49,600
Speaker 1: I purchased that Groove Merchant. Yeah still that Groove Merchant.

1252
01:01:50,800 --> 01:01:51,600
Speaker 2: Since the nineties.

1253
01:01:51,880 --> 01:01:54,560
Speaker 11: Wow, dog, I just like that box in answerdam why

1254
01:01:55,000 --> 01:01:57,280
Speaker 11: And the thing was the thing is I keep visiting

1255
01:01:57,360 --> 01:02:00,400
Speaker 11: Groove Merchant and they're like, so, quest, what do you

1256
01:02:00,440 --> 01:02:02,680
Speaker 11: want us to do about the twelve boxes downstairs?

1257
01:02:03,360 --> 01:02:04,760
Speaker 1: Ah, damn, I forgot. I forgot.

1258
01:02:04,840 --> 01:02:07,360
Speaker 6: Okay, I'll take these ring these up, pay for them.

1259
01:02:07,640 --> 01:02:08,880
Speaker 2: You don't want to give them an address?

1260
01:02:09,080 --> 01:02:11,640
Speaker 1: And I just and then once I leave, it's just

1261
01:02:11,760 --> 01:02:14,800
Speaker 1: like I forgot. I don't I think with me the process,

1262
01:02:15,720 --> 01:02:19,040
Speaker 1: the process of buying records, of buying them in the hunt,

1263
01:02:19,120 --> 01:02:24,880
Speaker 1: it's probably experienced because even then and there's a hundred

1264
01:02:24,960 --> 01:02:26,640
Speaker 1: boxes that I'm not opened in.

1265
01:02:26,760 --> 01:02:29,560
Speaker 2: My My girl like teases me all the time about that.

1266
01:02:29,720 --> 01:02:31,440
Speaker 2: She's like, it would be one thing if you listen

1267
01:02:31,480 --> 01:02:33,320
Speaker 2: to your records, like you don't listen to them, you're

1268
01:02:33,320 --> 01:02:34,400
Speaker 2: always buying more.

1269
01:02:34,880 --> 01:02:36,400
Speaker 6: Wait, I have that problem too.

1270
01:02:36,440 --> 01:02:37,440
Speaker 1: You're doing something.

1271
01:02:38,080 --> 01:02:40,560
Speaker 2: Then now I'm doing something with them. But this is

1272
01:02:40,640 --> 01:02:40,920
Speaker 2: the thing.

1273
01:02:41,040 --> 01:02:44,640
Speaker 1: The thing that you're doing is actually how Boss Bill

1274
01:02:44,720 --> 01:02:47,240
Speaker 1: got here. At first, I felt like a man, I'm

1275
01:02:47,240 --> 01:02:50,320
Speaker 1: such a fraud, Like I'm actually paying someone to listen

1276
01:02:50,360 --> 01:02:51,320
Speaker 1: to my records for me.

1277
01:02:53,360 --> 01:02:55,960
Speaker 2: Wait, what are you doing? Well, yeah, what are you

1278
01:02:56,000 --> 01:02:58,880
Speaker 2: talking about them? But that was about as I'm doing

1279
01:02:58,920 --> 01:03:00,120
Speaker 2: a Vinyl barye.

1280
01:03:00,200 --> 01:03:02,760
Speaker 1: But the thing was when you showed me the office. Yeah,

1281
01:03:03,120 --> 01:03:06,000
Speaker 1: I saw like five smurfs at like with all this

1282
01:03:06,160 --> 01:03:06,720
Speaker 1: vine only.

1283
01:03:06,640 --> 01:03:08,840
Speaker 2: There's guys going through it and just cleaning it and

1284
01:03:09,280 --> 01:03:11,800
Speaker 2: putting it in categories. And yeah, we made a discogs

1285
01:03:11,840 --> 01:03:15,320
Speaker 2: page for it. So so at the stunt Store headquarters,

1286
01:03:15,400 --> 01:03:18,520
Speaker 2: I'm opening a bar with seven thousand of my records

1287
01:03:18,560 --> 01:03:22,520
Speaker 2: in it from my personal collection. And basically the concept

1288
01:03:22,680 --> 01:03:25,240
Speaker 2: is DJs who come to the bar, they have to

1289
01:03:25,360 --> 01:03:26,840
Speaker 2: use the records that are there. You're not allowed to

1290
01:03:26,840 --> 01:03:30,200
Speaker 2: bring your own records. No computers, oh shit were Yeah,

1291
01:03:30,360 --> 01:03:31,280
Speaker 2: so fucked that.

1292
01:03:32,640 --> 01:03:32,680
Speaker 7: No.

1293
01:03:32,760 --> 01:03:34,280
Speaker 11: I used to DJ at a record store in Brooklyn,

1294
01:03:34,360 --> 01:03:36,280
Speaker 11: Brooklyn years ago, and I would only play the records

1295
01:03:36,320 --> 01:03:36,600
Speaker 11: that were in.

1296
01:03:36,640 --> 01:03:39,240
Speaker 2: Store because it made the record store thing exactly.

1297
01:03:39,480 --> 01:03:39,960
Speaker 1: It made sense.

1298
01:03:39,960 --> 01:03:42,640
Speaker 11: It's a challenge too, Yeah, that was always a fun thing.

1299
01:03:42,640 --> 01:03:44,480
Speaker 11: I get there like a half not early start going

1300
01:03:44,520 --> 01:03:45,120
Speaker 11: through the RAAC scene.

1301
01:03:45,200 --> 01:03:45,760
Speaker 1: What I could play?

1302
01:03:46,280 --> 01:03:48,360
Speaker 2: Yeah, I love that. Yeah, so people have to come

1303
01:03:48,360 --> 01:03:51,200
Speaker 2: a little earlier, so maybe you want DJ there, but no.

1304
01:03:51,480 --> 01:03:54,840
Speaker 1: Okay, no, it's sort of like the Mighty Half Hall.

1305
01:03:55,080 --> 01:03:59,120
Speaker 1: Like my fear is that that will be my last

1306
01:03:59,160 --> 01:04:02,960
Speaker 1: scene in Mobile the Blues with den Joe Washington. Yeah, that.

1307
01:04:05,840 --> 01:04:06,919
Speaker 7: I can't quite hit that note.

1308
01:04:08,360 --> 01:04:11,919
Speaker 1: That is my fear. Like I tried practicing on real

1309
01:04:11,960 --> 01:04:14,360
Speaker 1: wax and it was almost like I was five years old.

1310
01:04:14,400 --> 01:04:17,000
Speaker 2: Again, you haven't played with real wax and one I'm

1311
01:04:17,000 --> 01:04:19,360
Speaker 2: scared too, Like, I don't really have to mix in

1312
01:04:19,440 --> 01:04:21,800
Speaker 2: this bar. It's like fifty capacity. It's more just a

1313
01:04:21,880 --> 01:04:25,040
Speaker 2: listening experience and it's got like really good wa speakers

1314
01:04:25,200 --> 01:04:31,680
Speaker 2: and David well, yeah, mix it, that's the vibe. Let

1315
01:04:31,720 --> 01:04:32,520
Speaker 2: the songs play out.

1316
01:04:32,760 --> 01:04:33,160
Speaker 1: Honestly.

1317
01:04:33,360 --> 01:04:35,080
Speaker 7: Laryly Vaughan was kind of like that too, Like his

1318
01:04:35,320 --> 01:04:37,480
Speaker 7: mixes wasn't really yeah mixes it.

1319
01:04:37,680 --> 01:04:38,960
Speaker 1: Yes, yeah. For me.

1320
01:04:39,080 --> 01:04:41,160
Speaker 2: I used to everything had to be like mix on

1321
01:04:41,280 --> 01:04:43,760
Speaker 2: beat and then and then I started learning mixing on

1322
01:04:43,880 --> 01:04:46,880
Speaker 2: key and on beat and then and now I'm like, yeah,

1323
01:04:47,000 --> 01:04:49,080
Speaker 2: I like switching it around. I don't. I don't even

1324
01:04:49,200 --> 01:04:53,080
Speaker 2: mix on beat all the time anymore. I'm just like, Okay,

1325
01:04:53,120 --> 01:04:56,040
Speaker 2: I've been playing one hundred and two beats permitted for

1326
01:04:56,120 --> 01:04:57,560
Speaker 2: too long, so I'm going to go into one hundred

1327
01:04:57,560 --> 01:04:59,120
Speaker 2: and twenty five and just totally break it, you know,

1328
01:04:59,280 --> 01:05:02,160
Speaker 2: change it up. But I notice with Serrato when DJ

1329
01:05:02,360 --> 01:05:05,360
Speaker 2: is they want to keep it like, yeah, the party

1330
01:05:05,440 --> 01:05:07,480
Speaker 2: moving the whole time, but then you end up the

1331
01:05:07,560 --> 01:05:09,680
Speaker 2: same tempo like for two hours or you know.

1332
01:05:10,120 --> 01:05:12,240
Speaker 1: I just like to start slowly. Yeah.

1333
01:05:12,360 --> 01:05:15,120
Speaker 2: Usually, yeah, people, that's true. That's that's what people the

1334
01:05:15,200 --> 01:05:16,240
Speaker 2: gig I did yesterday.

1335
01:05:18,280 --> 01:05:22,760
Speaker 1: Usually with those type of specialty gigs in which it's

1336
01:05:22,880 --> 01:05:26,720
Speaker 1: not a dance gig, it's more like I spent it

1337
01:05:26,760 --> 01:05:31,800
Speaker 1: at a taco spot yep, next door next door to

1338
01:05:31,880 --> 01:05:36,160
Speaker 1: the studio. It's like a small I didn't know. It's

1339
01:05:36,160 --> 01:05:41,680
Speaker 1: an alleyway that can fit maybe one hundred people, but

1340
01:05:41,760 --> 01:05:44,800
Speaker 1: they basically just go outside to eat their tacos, and

1341
01:05:44,880 --> 01:05:46,920
Speaker 1: so I just show up sort of ambush the party.

1342
01:05:47,160 --> 01:05:50,600
Speaker 1: And I figured, Okay, I'm gonna do my greatest challenge.

1343
01:05:50,600 --> 01:05:54,080
Speaker 1: I'm gonna see if I can stay in D minor

1344
01:05:55,320 --> 01:05:59,160
Speaker 1: for the entire four hours. So what's the song in

1345
01:05:59,240 --> 01:06:03,080
Speaker 1: D minor? Half of James Brown's catalogs and I need

1346
01:06:03,120 --> 01:06:08,160
Speaker 1: to get down? D uh? Any any song in this

1347
01:06:08,320 --> 01:06:13,440
Speaker 1: key uptown funk, any jamm by Michael Jackson, anything anything

1348
01:06:13,520 --> 01:06:20,240
Speaker 1: in the k d uh? So, Yeah, I thought I

1349
01:06:20,280 --> 01:06:23,120
Speaker 1: could go through it because it's a slow torture thing

1350
01:06:23,160 --> 01:06:26,000
Speaker 1: I want to see, like well, it kill like like

1351
01:06:26,120 --> 01:06:29,600
Speaker 1: Chinese water torture, like some slow process of killing them.

1352
01:06:30,200 --> 01:06:33,000
Speaker 1: I got a good two and a half hours in

1353
01:06:33,480 --> 01:06:37,280
Speaker 1: and then finally I gave up. And then I had

1354
01:06:37,320 --> 01:06:39,320
Speaker 1: to figure out what songs in the key of DVAC

1355
01:06:39,400 --> 01:06:42,000
Speaker 1: goes to another key in a bridge, And then I

1356
01:06:42,080 --> 01:06:46,000
Speaker 1: finally figured out mighty mighty uh in the bridge.

1357
01:06:45,800 --> 01:06:48,400
Speaker 6: Goes to to E flat and then mighty mighty.

1358
01:06:51,760 --> 01:06:53,200
Speaker 1: Once I was in E flat, then I was in

1359
01:06:53,280 --> 01:06:55,240
Speaker 1: Stevie wonder Lance, and then I did a whole bunch

1360
01:06:55,240 --> 01:06:55,800
Speaker 1: of flats.

1361
01:06:55,920 --> 01:06:58,600
Speaker 2: But yeah, it was but you used the key function

1362
01:06:58,760 --> 01:07:01,440
Speaker 2: on just like I live by that.

1363
01:07:01,560 --> 01:07:03,120
Speaker 1: Yeah, do you do Camelot?

1364
01:07:03,200 --> 01:07:08,120
Speaker 2: That's not always right, it isn't I do Camelot.

1365
01:07:07,720 --> 01:07:11,400
Speaker 6: But then I got correct camelota instead.

1366
01:07:11,120 --> 01:07:13,280
Speaker 1: Of like A minor or B minor. It'll give you

1367
01:07:13,320 --> 01:07:14,000
Speaker 1: a numbers.

1368
01:07:14,480 --> 01:07:17,120
Speaker 11: It's so it's easy to figure out which songs have

1369
01:07:17,280 --> 01:07:20,480
Speaker 11: like a complimentary key, because if it's like three A,

1370
01:07:20,800 --> 01:07:23,720
Speaker 11: you can do anything that's three or three A three B.

1371
01:07:24,240 --> 01:07:25,880
Speaker 1: You can go two A or you can go four A.

1372
01:07:26,280 --> 01:07:27,120
Speaker 7: Okay, gotcha.

1373
01:07:27,360 --> 01:07:31,000
Speaker 1: But the problem with that is that if you let

1374
01:07:31,080 --> 01:07:35,480
Speaker 1: the computer decide what the key is, it can throw

1375
01:07:35,520 --> 01:07:40,600
Speaker 1: it off. So take a song like uh, take a

1376
01:07:40,720 --> 01:07:46,640
Speaker 1: song like the Jackson's Different kind of Lady on Going Places, Right,

1377
01:07:47,640 --> 01:07:53,360
Speaker 1: But because the intro is a guitar, it's gonna take

1378
01:07:53,400 --> 01:07:56,000
Speaker 1: those first five notes and think that the entire songs

1379
01:07:56,160 --> 01:07:58,240
Speaker 1: in that key, when actually they go to a whole

1380
01:07:58,320 --> 01:08:02,000
Speaker 1: nother key. So it's yeah, I still have to clean up.

1381
01:08:02,000 --> 01:08:06,880
Speaker 1: I'm sorry we found them. It's just a rabbit hole. No, no,

1382
01:08:07,080 --> 01:08:12,560
Speaker 1: I just I feel like, uh, I feel like I'll

1383
01:08:12,600 --> 01:08:16,040
Speaker 1: be like cool Hirk because cool Herk even DJ is

1384
01:08:16,080 --> 01:08:16,240
Speaker 1: like that.

1385
01:08:16,400 --> 01:08:19,719
Speaker 2: Now, Like why don't people like him? Why don't people

1386
01:08:19,800 --> 01:08:23,559
Speaker 2: book cool CRUSH's so lame to me, like people aren't

1387
01:08:23,560 --> 01:08:27,040
Speaker 2: pooking him. Well, I don't know. I never get to

1388
01:08:27,040 --> 01:08:27,800
Speaker 2: see him in La.

1389
01:08:28,560 --> 01:08:30,360
Speaker 6: Oh okay, I mean I've been to a few.

1390
01:08:32,560 --> 01:08:34,439
Speaker 2: I went to one thing in La that he was

1391
01:08:34,520 --> 01:08:37,479
Speaker 2: at and it was poorly promoted and yeah, there was

1392
01:08:37,560 --> 01:08:39,519
Speaker 2: really not that many people there.

1393
01:08:39,720 --> 01:08:41,439
Speaker 1: Like Coolhirk is coming to a party, I DJ, but

1394
01:08:41,479 --> 01:08:45,000
Speaker 1: I've never like ship. Well, I'll be the change I

1395
01:08:45,080 --> 01:08:47,040
Speaker 1: want to see then, Yeah.

1396
01:08:47,880 --> 01:08:49,559
Speaker 2: Rich Picnic, Yeah.

1397
01:08:51,640 --> 01:08:53,280
Speaker 6: From your mouth to years.

1398
01:08:54,200 --> 01:08:57,160
Speaker 2: No, actually we do. We do like a kind of

1399
01:08:57,200 --> 01:09:00,519
Speaker 2: a small like festival thing in La. We We're gonna

1400
01:09:00,520 --> 01:09:02,320
Speaker 2: do it again next year. And I'd like to have

1401
01:09:02,439 --> 01:09:09,559
Speaker 2: him at it. So what was Hegan's role in the label?

1402
01:09:10,200 --> 01:09:11,920
Speaker 2: Was he the business in or was yeah he was

1403
01:09:11,920 --> 01:09:13,799
Speaker 2: the GM. Yeah, he handled all of the business.

1404
01:09:13,960 --> 01:09:17,479
Speaker 1: Okay, So what was the not the modus operandi, but

1405
01:09:17,760 --> 01:09:20,519
Speaker 1: what was at least a mission statement for Stone story

1406
01:09:20,600 --> 01:09:22,760
Speaker 1: to be as far as like what our identity is

1407
01:09:24,880 --> 01:09:26,760
Speaker 1: at least back then, what was it like we had

1408
01:09:26,800 --> 01:09:31,640
Speaker 1: to find the the elitist, elite mcs and we're just

1409
01:09:31,680 --> 01:09:35,920
Speaker 1: going to represent Mmm. I don't know.

1410
01:09:35,960 --> 01:09:38,280
Speaker 2: I think maybe at that time it was so Mad

1411
01:09:38,360 --> 01:09:44,000
Speaker 2: Lib centric. I was really focused on his career a lot.

1412
01:09:45,880 --> 01:09:49,840
Speaker 2: Or yeah, maybe that's not Yeah, how did you there's

1413
01:09:49,880 --> 01:09:51,479
Speaker 2: just so yeah, there's so many albums that could have

1414
01:09:51,520 --> 01:09:52,760
Speaker 2: come out with him, you know.

1415
01:09:53,040 --> 01:09:55,040
Speaker 7: Yeah, because that's my question was like how because I

1416
01:09:55,080 --> 01:09:57,760
Speaker 7: mean his output was crazy, Yeah, you know as an

1417
01:09:57,840 --> 01:09:59,799
Speaker 7: indie label, how do you stagger?

1418
01:10:00,080 --> 01:10:03,720
Speaker 1: Y'all? Was like the indie no limits, Like how do you.

1419
01:10:03,800 --> 01:10:07,760
Speaker 7: Decide like the backpack limits? So like with so much

1420
01:10:07,800 --> 01:10:10,120
Speaker 7: product coming, you know, how do you get all that

1421
01:10:10,360 --> 01:10:13,040
Speaker 7: product in just such a tight kind of pipeline?

1422
01:10:13,120 --> 01:10:15,600
Speaker 2: Well, Mad Villain and Jalb they were done at the

1423
01:10:15,640 --> 01:10:18,080
Speaker 2: same time, and we wanted to stagger them. You know,

1424
01:10:18,120 --> 01:10:19,439
Speaker 2: we didn't want to put two albums out at the

1425
01:10:19,479 --> 01:10:21,200
Speaker 2: same time. But yeah, that was always a problem.

1426
01:10:22,120 --> 01:10:25,360
Speaker 1: Do you guys register with R I A as a label?

1427
01:10:25,400 --> 01:10:27,080
Speaker 6: Do you have to register with r.

1428
01:10:27,439 --> 01:10:29,280
Speaker 2: I don't even know what's all right?

1429
01:10:36,479 --> 01:10:38,360
Speaker 7: Icy all happens?

1430
01:10:40,240 --> 01:10:43,400
Speaker 2: Yeah, I think, how do we register to be like

1431
01:10:43,760 --> 01:10:46,080
Speaker 2: considered for Grammys that we've never been None of our

1432
01:10:46,120 --> 01:10:47,439
Speaker 2: artists have ever been considered.

1433
01:10:47,880 --> 01:10:51,840
Speaker 7: Remember, yeah, well no, that's nervous, but like, all right,

1434
01:10:51,880 --> 01:10:55,960
Speaker 7: the Recording Industry Associated America, that's who gives you the certification.

1435
01:10:56,080 --> 01:11:00,240
Speaker 2: But he was asking about the ground and that's just

1436
01:11:00,280 --> 01:11:04,519
Speaker 2: become a member. Why I asked, So now you just

1437
01:11:04,600 --> 01:11:08,080
Speaker 2: asked Jimmy jam Yeah, oh yeah, I could ask him.

1438
01:11:08,200 --> 01:11:08,400
Speaker 1: Yeah.

1439
01:11:08,439 --> 01:11:09,880
Speaker 8: Why is he back the president again?

1440
01:11:10,400 --> 01:11:10,559
Speaker 1: Well?

1441
01:11:10,640 --> 01:11:12,479
Speaker 6: No, I mean, but he's sort of the involved.

1442
01:11:12,680 --> 01:11:15,960
Speaker 1: I feel like he's definitely the Ronald McDonald of the

1443
01:11:16,800 --> 01:11:19,240
Speaker 1: I feel like they used him disorder. He's the mascot

1444
01:11:20,439 --> 01:11:23,000
Speaker 1: whenever we bitch or have a problem, everyone just goes.

1445
01:11:23,439 --> 01:11:25,960
Speaker 2: Remember the Grammys, they had Dame Funk as the poster

1446
01:11:26,120 --> 01:11:28,760
Speaker 2: of the Grammys, Like the posters are all over the place.

1447
01:11:28,840 --> 01:11:33,120
Speaker 2: But he's never been nominated, but they wanted his face

1448
01:11:33,240 --> 01:11:36,439
Speaker 2: for it. You know, it's like, yeah, it's.

1449
01:11:36,400 --> 01:11:41,679
Speaker 7: Well, give me a nomination, Mayor Hawthorne, Mayor Hawthorn.

1450
01:11:42,000 --> 01:11:42,800
Speaker 1: So how was it?

1451
01:11:43,360 --> 01:11:43,920
Speaker 7: How did you.

1452
01:11:46,439 --> 01:11:47,799
Speaker 2: So, Mayor Hawthorn.

1453
01:11:49,040 --> 01:11:49,160
Speaker 8: Uh?

1454
01:11:49,400 --> 01:11:52,240
Speaker 2: This girl know well that is in this group fits

1455
01:11:52,280 --> 01:11:56,800
Speaker 2: in the tantorms. She she was at do over and

1456
01:11:56,960 --> 01:12:01,080
Speaker 2: I was d Jaye and she brought the demo of

1457
01:12:01,520 --> 01:12:06,240
Speaker 2: Mayer and it was basically, yeah, just like two songs. Well,

1458
01:12:06,280 --> 01:12:08,080
Speaker 2: it was confusing because there were some re edits that

1459
01:12:08,160 --> 01:12:10,120
Speaker 2: he did as a DJ as DJ haircut, and then

1460
01:12:10,120 --> 01:12:13,400
Speaker 2: there were some songs that were also that were full

1461
01:12:13,640 --> 01:12:18,120
Speaker 2: songs that he made, you know, from scratch. And so

1462
01:12:18,240 --> 01:12:19,720
Speaker 2: when I first heard it, I thought it was re edit.

1463
01:12:19,720 --> 01:12:21,960
Speaker 2: It's like the just ain't gonna work out.

1464
01:12:21,960 --> 01:12:22,360
Speaker 1: I thought that.

1465
01:12:22,520 --> 01:12:24,880
Speaker 2: Yeah. I was like, oh, that's probably a re edit

1466
01:12:24,920 --> 01:12:27,120
Speaker 2: of an old funk song or something. And then when

1467
01:12:27,120 --> 01:12:28,680
Speaker 2: I found out that he was a singer on it,

1468
01:12:28,800 --> 01:12:30,280
Speaker 2: I was like, oh, we got you know, I want

1469
01:12:30,320 --> 01:12:34,960
Speaker 2: to work with you. Yeah, let's let's do this. And yeah,

1470
01:12:35,000 --> 01:12:35,880
Speaker 2: I don't know that was it?

1471
01:12:36,120 --> 01:12:38,559
Speaker 1: We all did it? Does it? Because he did?

1472
01:12:39,400 --> 01:12:41,600
Speaker 7: It was the first two albums those were those were

1473
01:12:41,640 --> 01:12:43,360
Speaker 7: the Stone Store, right, the first one, the.

1474
01:12:43,400 --> 01:12:50,519
Speaker 2: First album was Stone's Throw and verse Yeah, yeah, what Yeah.

1475
01:12:50,400 --> 01:12:54,599
Speaker 7: The strange arrangement was stone stone Throw. The second how

1476
01:12:54,640 --> 01:12:55,280
Speaker 7: do you do that?

1477
01:12:55,600 --> 01:12:55,800
Speaker 1: Yeah?

1478
01:12:56,320 --> 01:12:59,240
Speaker 2: Yeah that was that was a Stone's Throw.

1479
01:12:59,360 --> 01:13:01,360
Speaker 6: So we shit, I never knew. I thought all of

1480
01:13:01,439 --> 01:13:02,320
Speaker 6: his output were stones.

1481
01:13:02,680 --> 01:13:06,080
Speaker 2: No, we worked we worked something out with Universal and yeah,

1482
01:13:06,880 --> 01:13:09,439
Speaker 2: they took care of us, and they took care of

1483
01:13:09,520 --> 01:13:10,840
Speaker 2: his career, you know, for a while.

1484
01:13:10,960 --> 01:13:13,760
Speaker 7: And then yeah, and so now the tuxedo stuff is

1485
01:13:13,800 --> 01:13:15,000
Speaker 7: that you guys, are you doing that? Then?

1486
01:13:15,040 --> 01:13:18,160
Speaker 2: He yeah, then he came to us with the tuxedo Yeah.

1487
01:13:19,040 --> 01:13:22,040
Speaker 7: Yeah, how have you handled has it been have you

1488
01:13:22,120 --> 01:13:26,360
Speaker 7: received pressure, I guess to sell out so to speak?

1489
01:13:26,400 --> 01:13:29,240
Speaker 7: Like has it been majors wanting to buy you guys

1490
01:13:29,479 --> 01:13:31,280
Speaker 7: or absorb you into they system?

1491
01:13:31,280 --> 01:13:34,880
Speaker 2: We kind of we kind of peacefully coexist majors, don't.

1492
01:13:35,640 --> 01:13:37,720
Speaker 2: They don't mess with us at all. Really, I mean

1493
01:13:38,320 --> 01:13:43,400
Speaker 2: sometimes like with No Worries, like you know, and we

1494
01:13:43,520 --> 01:13:47,000
Speaker 2: put out I discovered Anderson Pack at a nightclub that

1495
01:13:47,240 --> 01:13:50,080
Speaker 2: was like you know, fifty people or something, and put

1496
01:13:50,160 --> 01:13:54,040
Speaker 2: out the No Worries thing and then dre heard that

1497
01:13:54,240 --> 01:13:57,200
Speaker 2: and he signed them, you know, to for his solo

1498
01:13:57,280 --> 01:14:00,719
Speaker 2: material and stuff. So Anderson's kind of on both labels.

1499
01:14:00,760 --> 01:14:05,800
Speaker 2: I guess, yeah, it gets to do underground stuff with us,

1500
01:14:05,920 --> 01:14:08,360
Speaker 2: and you know, but I yeah, I don't think.

1501
01:14:08,640 --> 01:14:10,280
Speaker 8: Damn, how do you even determine which is what? That's

1502
01:14:10,280 --> 01:14:13,120
Speaker 8: an interesting partnership though, because you say he does underground stuff.

1503
01:14:12,840 --> 01:14:15,240
Speaker 2: With y'all, but like, yeah, I mean yeah, I mean

1504
01:14:15,280 --> 01:14:17,679
Speaker 2: I guess there's different levels of underground too, right, Yeah,

1505
01:14:17,760 --> 01:14:21,600
Speaker 2: so it's not necessarily but the yeah, the thing that

1506
01:14:21,800 --> 01:14:25,640
Speaker 2: we have with him is specifically him and knowledge, and

1507
01:14:25,760 --> 01:14:28,400
Speaker 2: it's kind of a little more soulful musically, I guess,

1508
01:14:29,080 --> 01:14:32,519
Speaker 2: But I mean, well, yeah, even his own personal the

1509
01:14:32,600 --> 01:14:35,080
Speaker 2: Anderson Pack stuff is all over the place too, like yeah,

1510
01:14:35,120 --> 01:14:37,799
Speaker 2: stuff with Kate Tronada and then he has trap beats,

1511
01:14:37,840 --> 01:14:38,160
Speaker 2: and you.

1512
01:14:38,200 --> 01:14:42,519
Speaker 1: Know, I would think that, you know, at least in

1513
01:14:42,920 --> 01:14:46,720
Speaker 1: the case of Raucus, like Wendy Gold seems just like, yeah,

1514
01:14:46,800 --> 01:14:49,120
Speaker 1: let's just purchase walks and then with Walkers you at

1515
01:14:49,200 --> 01:14:51,880
Speaker 1: least get in the house an r R and you

1516
01:14:51,960 --> 01:14:54,400
Speaker 1: can operate in your own. So no label, no major

1517
01:14:54,479 --> 01:14:56,320
Speaker 1: labels ever came to you just said.

1518
01:14:56,479 --> 01:14:59,639
Speaker 2: Yeah, you know, actually MCA back when they had first

1519
01:14:59,680 --> 01:15:03,439
Speaker 2: signed JD, I think around yeah, yeah, they came to

1520
01:15:03,560 --> 01:15:07,879
Speaker 2: us back then, and it wasn't really like that interesting

1521
01:15:07,960 --> 01:15:11,640
Speaker 2: to me. Racus actually came to to me like in

1522
01:15:11,720 --> 01:15:14,519
Speaker 2: those early days as well, and flew me out and

1523
01:15:14,600 --> 01:15:17,400
Speaker 2: winding me and stuff. But then I was like, I

1524
01:15:17,400 --> 01:15:18,960
Speaker 2: don't know if I want to be numbered. You know,

1525
01:15:19,040 --> 01:15:20,439
Speaker 2: it's the second priority to them.

1526
01:15:20,560 --> 01:15:26,880
Speaker 1: And do you find it necessary to quote take it

1527
01:15:26,960 --> 01:15:30,240
Speaker 1: to the next level or for you? Is there a

1528
01:15:30,320 --> 01:15:32,640
Speaker 1: joy in being sort of like the the.

1529
01:15:32,720 --> 01:15:35,720
Speaker 2: Under the nice I don't con see you on the

1530
01:15:35,800 --> 01:15:39,320
Speaker 2: dog though, Yeah, I mean I just just like I'm just.

1531
01:15:40,240 --> 01:15:43,640
Speaker 1: Without without getting to the business end of it. Is

1532
01:15:43,720 --> 01:15:48,040
Speaker 1: there a way to really make a good living in

1533
01:15:48,160 --> 01:15:49,360
Speaker 1: the shallow end of the pool?

1534
01:15:50,520 --> 01:15:51,960
Speaker 7: It? Man got a new mad book right now?

1535
01:15:55,960 --> 01:15:58,000
Speaker 2: I have like two careers. I have the DJ thing

1536
01:15:58,080 --> 01:16:00,439
Speaker 2: that I still you know, draw money from in the

1537
01:16:00,479 --> 01:16:04,000
Speaker 2: knife stone throw so and which which is good? Because

1538
01:16:04,800 --> 01:16:07,439
Speaker 2: I would get bored if I was just doing one.

1539
01:16:07,520 --> 01:16:09,760
Speaker 2: I mean, you do like several things, you know, you

1540
01:16:09,840 --> 01:16:11,080
Speaker 2: know how that goes well?

1541
01:16:11,240 --> 01:16:13,160
Speaker 1: Yeah, because you know it ain't nothing going on but

1542
01:16:13,240 --> 01:16:16,400
Speaker 1: the mortgage mortgage. I think you can do it. I

1543
01:16:16,439 --> 01:16:17,960
Speaker 1: think as possible to do it. You just have to.

1544
01:16:18,160 --> 01:16:19,920
Speaker 7: You have to set your standard of living in a

1545
01:16:20,000 --> 01:16:23,040
Speaker 7: way that allows you to do it like you can't you.

1546
01:16:23,080 --> 01:16:25,680
Speaker 8: Mean being an artist, are actually being an owner of it?

1547
01:16:25,960 --> 01:16:26,920
Speaker 1: I mean I think both.

1548
01:16:27,000 --> 01:16:29,720
Speaker 7: I think pretty much most artists now are kind of

1549
01:16:29,800 --> 01:16:33,240
Speaker 7: running their own show, and I think there's not too

1550
01:16:33,240 --> 01:16:36,840
Speaker 7: many stone throws that are really giving you a chance.

1551
01:16:36,720 --> 01:16:37,200
Speaker 1: To do that.

1552
01:16:37,439 --> 01:16:39,840
Speaker 7: So pretty much now everybody's just kind of it's the

1553
01:16:39,880 --> 01:16:40,400
Speaker 7: wild wild West.

1554
01:16:40,439 --> 01:16:42,280
Speaker 1: Everybodys kind of running their own shop. So say, like

1555
01:16:42,320 --> 01:16:45,479
Speaker 1: an artist, like she's doing an archives and who she's

1556
01:16:45,520 --> 01:16:47,479
Speaker 1: an artist on stewing s throw Okay, so same, she

1557
01:16:47,560 --> 01:16:51,479
Speaker 1: gets lucky enough to get good placement, yes, or you know,

1558
01:16:51,680 --> 01:16:55,880
Speaker 1: Gray's Anatomy or Insecure And then you know, usually in

1559
01:16:56,000 --> 01:17:02,000
Speaker 1: that situation, uh all the streaming services including Pandora, uh

1560
01:17:02,760 --> 01:17:06,240
Speaker 1: you know, they start seeing uh light and their shows

1561
01:17:06,240 --> 01:17:09,680
Speaker 1: are different the population, you know, the popularity glows and

1562
01:17:09,800 --> 01:17:16,040
Speaker 1: every grows and glow. Well, what I'm saying is damn question.

1563
01:17:20,160 --> 01:17:22,600
Speaker 1: Well not even a major label coming and swoop them up.

1564
01:17:22,800 --> 01:17:25,840
Speaker 1: But for you, is that an idea situation like.

1565
01:17:26,360 --> 01:17:29,040
Speaker 2: Oh yeah, no, we always like shop our artists to

1566
01:17:29,760 --> 01:17:33,679
Speaker 2: you know, the TV shows and Secure and all that, okay,

1567
01:17:33,800 --> 01:17:35,840
Speaker 2: and yeah, they do have success on it I mean.

1568
01:17:36,120 --> 01:17:38,080
Speaker 1: But I mean, can it ever be a situation which

1569
01:17:38,120 --> 01:17:41,320
Speaker 1: an artist gets so popular that it almost goes I

1570
01:17:41,439 --> 01:17:44,679
Speaker 1: know that people don't physically, they don't buy.

1571
01:17:46,520 --> 01:17:48,639
Speaker 2: As yeah, they're not going to buy more vinyl necessarily,

1572
01:17:48,760 --> 01:17:50,759
Speaker 2: but yeah, yeah.

1573
01:17:50,920 --> 01:17:54,800
Speaker 1: It is it ever problematic for you? Do you ever

1574
01:17:54,920 --> 01:17:57,080
Speaker 1: envision like a date where just like, okay, well.

1575
01:17:57,080 --> 01:17:59,679
Speaker 2: Is it ever a problem if an artist does well? Yes,

1576
01:18:00,760 --> 01:18:01,040
Speaker 2: thank you?

1577
01:18:02,040 --> 01:18:03,120
Speaker 1: It's bad for your brand.

1578
01:18:03,200 --> 01:18:04,360
Speaker 6: If an artist does well.

1579
01:18:04,600 --> 01:18:07,479
Speaker 2: The brand okay, I was thinking even more.

1580
01:18:07,479 --> 01:18:09,519
Speaker 7: I don't like how back in how like First Groove,

1581
01:18:09,560 --> 01:18:10,680
Speaker 7: how they say like if you have a.

1582
01:18:10,840 --> 01:18:13,400
Speaker 2: Hit record that the only thing that's bad for the

1583
01:18:13,479 --> 01:18:15,639
Speaker 2: brand for me is if I put out something that's

1584
01:18:15,680 --> 01:18:19,080
Speaker 2: whack and you know, the whack is just whack to me.

1585
01:18:19,280 --> 01:18:19,799
Speaker 1: I guess.

1586
01:18:21,160 --> 01:18:24,120
Speaker 2: Wu Tang Clan went platinum, Tribe went platinum, you know,

1587
01:18:24,560 --> 01:18:29,679
Speaker 2: making music that I love and the roots I think, yeah, yeah,

1588
01:18:29,760 --> 01:18:30,679
Speaker 2: there you go the roots.

1589
01:18:32,120 --> 01:18:35,200
Speaker 7: Is Matt Villain still the biggest selling record in y'all?

1590
01:18:37,400 --> 01:18:39,719
Speaker 2: I don't even know. Yeah, maybe Donuts or Mad Villain,

1591
01:18:39,760 --> 01:18:40,080
Speaker 2: I don't know.

1592
01:18:41,320 --> 01:18:43,120
Speaker 6: So you seriously don't register.

1593
01:18:43,240 --> 01:18:47,599
Speaker 1: What are I to know if your stuff is going

1594
01:18:47,680 --> 01:18:49,719
Speaker 1: golden platinum or any of those things.

1595
01:18:49,840 --> 01:18:53,640
Speaker 2: That's a question for Laguire, I can call them.

1596
01:18:55,400 --> 01:18:55,599
Speaker 1: Yeah.

1597
01:18:56,920 --> 01:19:00,439
Speaker 2: I mean, I know I'm sounding like an irresponsible business

1598
01:19:00,600 --> 01:19:05,479
Speaker 2: business right now, but it's like, yeah, just the creative

1599
01:19:05,520 --> 01:19:08,240
Speaker 2: I do, and yeah, the business my guys do, and

1600
01:19:08,520 --> 01:19:09,479
Speaker 2: I trust them kind of.

1601
01:19:10,600 --> 01:19:11,599
Speaker 1: So where you are now?

1602
01:19:12,120 --> 01:19:13,960
Speaker 2: So now I trust them a lot. I'm saying like

1603
01:19:14,080 --> 01:19:15,760
Speaker 2: kind of like that's their role and that's kind of

1604
01:19:15,800 --> 01:19:16,120
Speaker 2: my role.

1605
01:19:16,600 --> 01:19:21,280
Speaker 1: So where you stand now with the label, which I

1606
01:19:21,600 --> 01:19:24,280
Speaker 1: actually love the direction that it's going in because you know,

1607
01:19:24,600 --> 01:19:28,000
Speaker 1: like I love electro funking, was it hard stepping away

1608
01:19:28,120 --> 01:19:32,880
Speaker 1: from the kind of the dusty, dirty, dingy sample base

1609
01:19:33,600 --> 01:19:36,120
Speaker 1: reputation that you guys once had and now like I

1610
01:19:36,160 --> 01:19:40,280
Speaker 1: feel like the DMX drum machine is the new calling

1611
01:19:40,360 --> 01:19:43,240
Speaker 1: card and synthesizers and yet like the sound.

1612
01:19:43,080 --> 01:19:45,320
Speaker 2: Of boogie and then we have some of that for sure.

1613
01:19:46,680 --> 01:19:49,920
Speaker 2: But yeah, I mean, if you listen to the like

1614
01:19:50,120 --> 01:19:52,840
Speaker 2: maybe five or six of the new artists are, they're

1615
01:19:52,880 --> 01:19:56,840
Speaker 2: all different and that's kind of what makes it hard

1616
01:19:56,920 --> 01:20:01,559
Speaker 2: for our identity. But I think we reach like eclectic

1617
01:20:01,640 --> 01:20:04,800
Speaker 2: people who understand that they're not only listening to one thing,

1618
01:20:04,960 --> 01:20:09,560
Speaker 2: like for example, Tyler the creator stone Throw found but

1619
01:20:10,240 --> 01:20:12,000
Speaker 2: not because of the hip hop, Like he found out

1620
01:20:12,000 --> 01:20:14,160
Speaker 2: about our hip hop later, Like he liked us because

1621
01:20:14,160 --> 01:20:18,960
Speaker 2: of James Pants and John T and Chrome Canyon and

1622
01:20:19,400 --> 01:20:21,719
Speaker 2: you know, Mild High Club. He's going in the studio

1623
01:20:21,720 --> 01:20:22,840
Speaker 2: with my High Club today.

1624
01:20:22,960 --> 01:20:25,960
Speaker 7: So man, what's the word on Jerry Paper?

1625
01:20:26,400 --> 01:20:29,320
Speaker 2: Jerry Paper is my man, that's that's the sound.

1626
01:20:29,280 --> 01:20:33,720
Speaker 7: That's the joint, that's my fucking record. Yeah yeah, how

1627
01:20:33,760 --> 01:20:34,800
Speaker 7: did where did you find him?

1628
01:20:34,840 --> 01:20:34,960
Speaker 1: Met?

1629
01:20:35,080 --> 01:20:38,920
Speaker 2: Like he found us, He found us through Mild High Club.

1630
01:20:39,120 --> 01:20:42,320
Speaker 2: And what was weird to me when I found out

1631
01:20:42,479 --> 01:20:45,960
Speaker 2: was his older brother is a DJ that I DJed

1632
01:20:46,000 --> 01:20:49,679
Speaker 2: with many times. We've shared a magazine to cover together,

1633
01:20:50,120 --> 01:20:53,720
Speaker 2: this guy, DJ Spider, But he's more in the kind

1634
01:20:53,800 --> 01:20:57,280
Speaker 2: of Hollywood kind of like the Vegas scene. You know

1635
01:20:57,400 --> 01:21:01,320
Speaker 2: that you see the Vegas billboards and yeah, Jerry Papers

1636
01:21:01,360 --> 01:21:02,720
Speaker 2: like totally different from that.

1637
01:21:02,880 --> 01:21:05,880
Speaker 7: But you know, okay, god, yeah, I love I love

1638
01:21:05,960 --> 01:21:06,320
Speaker 7: that record.

1639
01:21:06,680 --> 01:21:09,640
Speaker 2: Dope well bad bad, not good. Did the music on

1640
01:21:09,720 --> 01:21:14,760
Speaker 2: that with him? So yeah, yeah, but that that's kind

1641
01:21:14,760 --> 01:21:16,880
Speaker 2: of the Gary Wilson vibe, like kind of like kind

1642
01:21:16,920 --> 01:21:19,519
Speaker 2: of lounge vocals. I think, you know, he explained to.

1643
01:21:19,560 --> 01:21:23,799
Speaker 1: Me how you found Gary Wilson, Like from Gary.

1644
01:21:23,600 --> 01:21:27,000
Speaker 2: Wilson, I know, I know. I found out about him

1645
01:21:27,040 --> 01:21:28,960
Speaker 2: through this guy who worked at Other Music, and he

1646
01:21:29,120 --> 01:21:31,040
Speaker 2: was like, I, you know, I know what you're in.

1647
01:21:31,120 --> 01:21:32,479
Speaker 2: Do I think you're going to really love this? And

1648
01:21:32,600 --> 01:21:34,920
Speaker 2: usually when people say that their way off. But with Gary,

1649
01:21:35,040 --> 01:21:38,920
Speaker 2: that was like, you know that? Like I basically went

1650
01:21:39,000 --> 01:21:41,200
Speaker 2: in and bought like every copy. Like I found out

1651
01:21:41,320 --> 01:21:44,680
Speaker 2: there was a warehouse in Philly that was sitting on

1652
01:21:45,360 --> 01:21:47,760
Speaker 2: the red version of You Think You Really Know Me?

1653
01:21:47,880 --> 01:21:49,720
Speaker 2: And I bought as many as I could afford at

1654
01:21:49,720 --> 01:21:51,240
Speaker 2: the time and gave him out to all my friends.

1655
01:21:51,400 --> 01:21:54,719
Speaker 1: Our Spottle on South Street, Steve, Philadelphia Record Exchange.

1656
01:21:54,840 --> 01:21:56,800
Speaker 2: Yeah, yeah, does that still exist now?

1657
01:21:56,880 --> 01:21:57,679
Speaker 1: That's gone? Yeah?

1658
01:21:57,800 --> 01:21:59,200
Speaker 9: And other music's gone too.

1659
01:22:00,120 --> 01:22:02,120
Speaker 2: It's gone. They're doing a documentary on them right now.

1660
01:22:03,080 --> 01:22:03,280
Speaker 1: Yeah.

1661
01:22:03,600 --> 01:22:05,320
Speaker 7: Do you sorry for cutting in?

1662
01:22:05,680 --> 01:22:08,519
Speaker 9: Do you have like a jazz division at Stone's Throw

1663
01:22:08,680 --> 01:22:11,120
Speaker 9: or or do you put out any like besides?

1664
01:22:12,360 --> 01:22:14,759
Speaker 2: But we don't have a division. I mean Keefer's stuff

1665
01:22:14,880 --> 01:22:16,559
Speaker 2: is kind of you know jazz.

1666
01:22:16,600 --> 01:22:18,480
Speaker 1: I guess Keefer.

1667
01:22:20,000 --> 01:22:24,880
Speaker 2: Keeper Sorry, Keeper is in Mind Design's band, and you're

1668
01:22:24,880 --> 01:22:27,240
Speaker 2: gonna go Mind Design, But I know, I know mind

1669
01:22:27,479 --> 01:22:31,479
Speaker 2: She did archives. Now, a lot of these guys yeah,

1670
01:22:31,720 --> 01:22:35,120
Speaker 2: they're just getting their start. But Keeper he's a piano player,

1671
01:22:35,160 --> 01:22:39,080
Speaker 2: and I mean most of it's like he's well, one

1672
01:22:39,120 --> 01:22:41,160
Speaker 2: man band style, but then he has a band for live.

1673
01:22:42,640 --> 01:22:45,559
Speaker 2: But he started in mind Designs group. It was another

1674
01:22:45,880 --> 01:22:48,200
Speaker 2: younger artist. But yeah, most of our roster these days

1675
01:22:48,240 --> 01:22:50,080
Speaker 2: are like in the early early twenties.

1676
01:22:50,920 --> 01:22:53,720
Speaker 7: Man, one big question I think we haven't asked, how

1677
01:22:53,760 --> 01:22:54,479
Speaker 7: did you get your name?

1678
01:22:55,040 --> 01:22:55,240
Speaker 1: Yeah?

1679
01:22:55,680 --> 01:23:02,799
Speaker 2: Oh, Man, such a boring story. Stone s or peanut,

1680
01:23:02,840 --> 01:23:09,040
Speaker 2: but both stories are born No peanut butter Wolf. Yeah,

1681
01:23:09,320 --> 01:23:12,080
Speaker 2: it's just I never tell it well, so I don't

1682
01:23:12,120 --> 01:23:12,560
Speaker 2: want to tell it.

1683
01:23:12,680 --> 01:23:15,960
Speaker 9: Oh does it have anything to do with peanut, butter

1684
01:23:16,080 --> 01:23:16,360
Speaker 9: or wolf?

1685
01:23:16,400 --> 01:23:18,760
Speaker 2: I always have a different Yeah, different story for us.

1686
01:23:19,360 --> 01:23:20,200
Speaker 7: What's today's story?

1687
01:23:20,640 --> 01:23:24,680
Speaker 2: Today's story? So my girlfriend at the time, we were

1688
01:23:24,800 --> 01:23:27,920
Speaker 2: like nineteen or something, and her brother was like six

1689
01:23:28,080 --> 01:23:30,320
Speaker 2: years old, and we were playing candy Land with him

1690
01:23:30,960 --> 01:23:34,360
Speaker 2: and we turned the lights off and started scaring him,

1691
01:23:34,360 --> 01:23:36,080
Speaker 2: and he said, turn the lights back on. The peanut

1692
01:23:36,080 --> 01:23:37,040
Speaker 2: butter Wolve's gonna get me.

1693
01:23:38,920 --> 01:23:39,360
Speaker 1: And we were like.

1694
01:23:41,320 --> 01:23:41,360
Speaker 8: What.

1695
01:23:43,160 --> 01:23:46,960
Speaker 2: And this kid was super eccentric and he made a

1696
01:23:47,000 --> 01:23:51,040
Speaker 2: whole book about a wolf that was killing chickens and

1697
01:23:51,400 --> 01:23:54,439
Speaker 2: the farmer went and cast a spell on the wolf

1698
01:23:54,520 --> 01:23:56,479
Speaker 2: and turned him into a giant glob of peanut butter.

1699
01:23:56,640 --> 01:23:58,760
Speaker 2: So I still have the book that the kid made,

1700
01:23:58,960 --> 01:24:04,240
Speaker 2: like wow. And I then I started a punk group

1701
01:24:04,360 --> 01:24:06,760
Speaker 2: with my friends and it was everything was all freestyled

1702
01:24:07,320 --> 01:24:09,439
Speaker 2: and I just say punk out of because it was

1703
01:24:09,520 --> 01:24:12,880
Speaker 2: just like, you can't really say what kind of mean is.

1704
01:24:12,920 --> 01:24:14,320
Speaker 2: I don't know what it was, but we were always

1705
01:24:14,360 --> 01:24:17,080
Speaker 2: singing about this peanut butter Wolf in the band and

1706
01:24:17,160 --> 01:24:19,800
Speaker 2: I was showing charisma and he was like, that should

1707
01:24:19,800 --> 01:24:22,040
Speaker 2: be your DJ name, and we were always trying to

1708
01:24:22,080 --> 01:24:24,240
Speaker 2: be weird. And you know, this was like early nineties

1709
01:24:24,280 --> 01:24:27,320
Speaker 2: when everyone was because my name before that was Chris

1710
01:24:27,400 --> 01:24:29,840
Speaker 2: Cutt and that was like just old school, just simple

1711
01:24:29,880 --> 01:24:32,920
Speaker 2: and rock ski. Yeah, so Peanut Butter Wolf was a

1712
01:24:32,960 --> 01:24:36,000
Speaker 2: lot more eccentric, but I didn't think about it when

1713
01:24:36,040 --> 01:24:38,960
Speaker 2: I was nineteen that like when I was forty eight,

1714
01:24:39,040 --> 01:24:41,040
Speaker 2: I would have to still be called peanut Butter Wolf.

1715
01:24:41,920 --> 01:24:46,679
Speaker 1: Yo. Man, I think what should come next is children's records,

1716
01:24:47,640 --> 01:24:50,280
Speaker 1: Like you gotta grow your own crops because like a

1717
01:24:50,360 --> 01:24:53,320
Speaker 1: lot of fans of Stones Throw, you know, they have kids.

1718
01:24:54,520 --> 01:24:56,720
Speaker 2: I love Black did a children's record, like right when

1719
01:24:56,920 --> 01:24:59,559
Speaker 2: we first signed him, and I wanted to do something

1720
01:24:59,600 --> 01:25:01,919
Speaker 2: with that. I didn't know. I didn't know the industry,

1721
01:25:02,000 --> 01:25:03,360
Speaker 2: so but we're sitting on that.

1722
01:25:03,960 --> 01:25:07,200
Speaker 7: Yeah, I forgot Yeah he Stones Yeah, yeah the first.

1723
01:25:09,920 --> 01:25:12,040
Speaker 2: Yeah, so his first album with Stone so I was

1724
01:25:12,080 --> 01:25:14,960
Speaker 2: really kind of like future soul like Giles Peterson, you know,

1725
01:25:15,200 --> 01:25:19,720
Speaker 2: like and then and then Mayor Hawthorne did well with

1726
01:25:19,880 --> 01:25:22,040
Speaker 2: the retro sound and all was like I can do that,

1727
01:25:22,280 --> 01:25:23,960
Speaker 2: and Allo like did I need a dollar?

1728
01:25:24,200 --> 01:25:24,360
Speaker 1: You know?

1729
01:25:24,439 --> 01:25:27,000
Speaker 2: He went in with the band and yeah, that did

1730
01:25:27,080 --> 01:25:27,800
Speaker 2: really well for him.

1731
01:25:27,880 --> 01:25:27,960
Speaker 1: Ye.

1732
01:25:28,080 --> 01:25:29,880
Speaker 8: I placed in a lot of like commercials and stuff.

1733
01:25:30,160 --> 01:25:33,839
Speaker 1: Yeah, it was a theme for yeah America.

1734
01:25:33,920 --> 01:25:36,200
Speaker 2: But he was really huge in Europe, like he was,

1735
01:25:36,439 --> 01:25:39,680
Speaker 2: you know, playing festivals like really good time slots for

1736
01:25:39,880 --> 01:25:43,080
Speaker 2: like I don't know, fifty thousand people or something. And

1737
01:25:43,120 --> 01:25:45,639
Speaker 2: then in the US he still was kind of unknown

1738
01:25:45,680 --> 01:25:48,080
Speaker 2: because his money offers were so good in Europe. He's like,

1739
01:25:48,760 --> 01:25:51,800
Speaker 2: I don't really need to like do US shows or

1740
01:25:51,880 --> 01:25:53,720
Speaker 2: he Yeah, he just didn't have the demand here.

1741
01:25:53,840 --> 01:25:55,920
Speaker 8: He'd only stone throw artists to head to the White House.

1742
01:25:57,479 --> 01:26:02,080
Speaker 2: Uh, Snoop, I don't know, there's there's there there's yeah,

1743
01:26:02,120 --> 01:26:06,120
Speaker 2: maybe though, I mean Snoop did a Snoop did one

1744
01:26:06,160 --> 01:26:10,479
Speaker 2: record stones throw Artist, But where did that name come from?

1745
01:26:10,520 --> 01:26:17,400
Speaker 2: The stone Snoop Dogg. Stone's throw was my mom was

1746
01:26:18,000 --> 01:26:20,479
Speaker 2: my I was asking my mom how to get somewhere

1747
01:26:20,479 --> 01:26:22,400
Speaker 2: and she's like, oh, that's just a Stone's throw away.

1748
01:26:22,439 --> 01:26:24,000
Speaker 2: And I was with Charisma at the time when she

1749
01:26:24,080 --> 01:26:25,720
Speaker 2: said that, and we were kind of making fun of

1750
01:26:25,800 --> 01:26:28,400
Speaker 2: her and you know, doing the mom joke thing. And

1751
01:26:28,920 --> 01:26:32,920
Speaker 2: when I came up with doing a label to put

1752
01:26:32,960 --> 01:26:34,920
Speaker 2: out Christmas music, I was like, I need the name

1753
01:26:35,000 --> 01:26:38,639
Speaker 2: to have some some like inner thing, like an inside

1754
01:26:38,680 --> 01:26:39,839
Speaker 2: joke between me and Christmas.

1755
01:26:39,840 --> 01:26:44,600
Speaker 1: So that was it. Wow. So how many projects do

1756
01:26:44,640 --> 01:26:49,040
Speaker 1: you think you can personally handle at least are you

1757
01:26:49,200 --> 01:26:50,920
Speaker 1: capable of handling.

1758
01:26:52,960 --> 01:26:55,240
Speaker 2: The label at a time. I mean, I have the

1759
01:26:55,320 --> 01:26:59,720
Speaker 2: infrastructure to probably do an album every other month or something,

1760
01:26:59,760 --> 01:27:03,639
Speaker 2: you know, But I mean there's yeah, it really depends

1761
01:27:04,439 --> 01:27:08,000
Speaker 2: if it's an artist where they really are gonna promote

1762
01:27:08,000 --> 01:27:10,479
Speaker 2: themselves as well, and that you know, they they wanted

1763
01:27:10,520 --> 01:27:12,960
Speaker 2: to do well and they need more attention from us

1764
01:27:13,080 --> 01:27:17,479
Speaker 2: than those ones. It kind of works out because we

1765
01:27:17,840 --> 01:27:20,960
Speaker 2: really like maybe do like four albums a year of

1766
01:27:21,160 --> 01:27:24,719
Speaker 2: like artists that are really get behind their own stuff

1767
01:27:24,760 --> 01:27:27,040
Speaker 2: and it's not a passion projector is.

1768
01:27:27,080 --> 01:27:31,120
Speaker 1: It harder for in this era to deal with streaming

1769
01:27:31,400 --> 01:27:32,880
Speaker 1: and distribution and.

1770
01:27:34,960 --> 01:27:37,280
Speaker 2: Yeah, and I think that's why the Yeah, the label's bigger.

1771
01:27:37,360 --> 01:27:40,000
Speaker 2: We have people for each one of those things now.

1772
01:27:40,080 --> 01:27:42,679
Speaker 2: But yeah, I don't have to deal with that stuff

1773
01:27:43,080 --> 01:27:43,439
Speaker 2: so much.

1774
01:27:44,240 --> 01:27:46,920
Speaker 1: What are your projections for the future, Like where do

1775
01:27:46,960 --> 01:27:49,160
Speaker 1: you want to see the label go? And well, wait,

1776
01:27:49,240 --> 01:27:53,400
Speaker 1: you guys have offices and yeah, world, so.

1777
01:27:55,000 --> 01:27:59,640
Speaker 2: Yeah, it's it's just really like I just want to

1778
01:27:59,720 --> 01:28:02,080
Speaker 2: keep having the ability to find stuff that I like.

1779
01:28:02,439 --> 01:28:04,200
Speaker 1: And how do you approach stuff that you like? Are

1780
01:28:04,240 --> 01:28:07,439
Speaker 1: you always on YouTube looking for like how does work

1781
01:28:07,520 --> 01:28:07,920
Speaker 1: get to you.

1782
01:28:08,040 --> 01:28:11,360
Speaker 2: About I do the YouTube thing and sound cloud?

1783
01:28:12,120 --> 01:28:13,760
Speaker 6: Or are people just now coming to you like yo,

1784
01:28:14,040 --> 01:28:15,400
Speaker 6: check the ship or check out my.

1785
01:28:15,439 --> 01:28:18,000
Speaker 2: Home Now there's a lot of that too, and even

1786
01:28:18,120 --> 01:28:20,040
Speaker 2: just going to shows. I mean, I'm kind of on

1787
01:28:20,120 --> 01:28:22,519
Speaker 2: the front lines as a DJ still, but like, yeah,

1788
01:28:22,640 --> 01:28:25,760
Speaker 2: people slide into my d ms with their music or

1789
01:28:26,080 --> 01:28:29,439
Speaker 2: go down indeed, yeah they'll tag me like oh the

1790
01:28:29,600 --> 01:28:30,920
Speaker 2: Peanut butter Wolf listen.

1791
01:28:30,800 --> 01:28:35,240
Speaker 1: To this, but you actually listen to it? Well, well no, but.

1792
01:28:37,560 --> 01:28:40,599
Speaker 2: Yeah there is stuff like yeah, I mean I yeah.

1793
01:28:40,760 --> 01:28:43,120
Speaker 1: Stuff reached the finish line like a guy like DJ Harrison.

1794
01:28:43,760 --> 01:28:46,479
Speaker 1: I knew because of Yale and Fante, but like, how

1795
01:28:46,600 --> 01:28:47,160
Speaker 1: is it? God?

1796
01:28:47,200 --> 01:28:51,120
Speaker 2: I don't remember how I found him. But yeah, everyone,

1797
01:28:51,520 --> 01:28:55,640
Speaker 2: every artist has its own story. I think it's different.

1798
01:28:55,479 --> 01:28:58,280
Speaker 7: What's going on with mad Live because I noticed that

1799
01:28:58,560 --> 01:29:01,599
Speaker 7: they did when him and Freddie did the Pinata album. Yeah,

1800
01:29:01,800 --> 01:29:04,360
Speaker 7: they did themselves. He still work with you, Like, what's

1801
01:29:04,400 --> 01:29:05,280
Speaker 7: y'all's relationship now?

1802
01:29:05,800 --> 01:29:09,400
Speaker 2: Yeah, well Mad Live. I mean it's kind of a

1803
01:29:09,479 --> 01:29:14,559
Speaker 2: long story, but basically, I know I need to put

1804
01:29:14,560 --> 01:29:16,200
Speaker 2: money on my meter. By the way, where are we at?

1805
01:29:17,680 --> 01:29:28,400
Speaker 10: Give me some money, some red bottoms my credit card?

1806
01:29:29,200 --> 01:29:31,760
Speaker 2: Well, mad yes, with mad Live like Egon, and you know,

1807
01:29:31,840 --> 01:29:34,639
Speaker 2: he used to run my label and things weren't creatively

1808
01:29:34,760 --> 01:29:37,360
Speaker 2: working out between Egon and I, and I had to

1809
01:29:37,439 --> 01:29:40,280
Speaker 2: let Egon go, and he basically took Mad Live with him.

1810
01:29:40,360 --> 01:29:43,719
Speaker 2: So he gave Madlib his own deal, his own label,

1811
01:29:44,439 --> 01:29:48,960
Speaker 2: and so mad Live stuff theoretically comes out on that.

1812
01:29:49,160 --> 01:29:51,040
Speaker 2: You know, he still does some stuff for us. He

1813
01:29:52,000 --> 01:29:54,000
Speaker 2: he did something well when we did our movie, he

1814
01:29:54,080 --> 01:29:56,439
Speaker 2: did the he scored the movie and did the soundtrack

1815
01:29:56,840 --> 01:30:00,280
Speaker 2: for that, and so you know, it's still like a

1816
01:30:00,360 --> 01:30:04,920
Speaker 2: loving relationship, but you know, Egne's more involved in that.

1817
01:30:05,760 --> 01:30:11,560
Speaker 6: Yeah, I'm sorry, I had Oh yeah, I thought I

1818
01:30:11,600 --> 01:30:12,320
Speaker 6: was about to sneeze.

1819
01:30:14,160 --> 01:30:15,679
Speaker 1: Continue to continue about to sneeze.

1820
01:30:16,080 --> 01:30:17,799
Speaker 2: Do you do you look at the sun to sneeze

1821
01:30:17,880 --> 01:30:20,240
Speaker 2: or no? Yeah, oh the light? You just look because

1822
01:30:20,680 --> 01:30:24,040
Speaker 2: I read the ten percent of humans can do that?

1823
01:30:24,160 --> 01:30:27,200
Speaker 1: Or no, I just I you know, I hold my

1824
01:30:27,479 --> 01:30:30,080
Speaker 1: nose and pray that doesn't spray on any of you guys.

1825
01:30:33,360 --> 01:30:35,960
Speaker 1: So future wise, what do you.

1826
01:30:37,720 --> 01:30:40,720
Speaker 9: It sounds like you said every everybody's mostly in their

1827
01:30:40,760 --> 01:30:42,760
Speaker 9: early twenties, so it sounds like you're set up for

1828
01:30:42,800 --> 01:30:44,040
Speaker 9: a minute a little bit.

1829
01:30:44,160 --> 01:30:46,880
Speaker 1: Yeah, not future wise, I just meant like the artists

1830
01:30:46,920 --> 01:30:48,960
Speaker 1: that you know you have your eyes on and that

1831
01:30:49,120 --> 01:30:49,599
Speaker 1: sort of thing.

1832
01:30:50,320 --> 01:30:52,240
Speaker 2: Yeah, I mean there are people that I have my

1833
01:30:52,320 --> 01:30:56,519
Speaker 2: eyes on. What about I think I'll mention them until

1834
01:30:56,560 --> 01:30:56,960
Speaker 2: I signed the.

1835
01:30:57,120 --> 01:30:58,320
Speaker 1: Until you sign them, okay?

1836
01:30:58,920 --> 01:30:59,040
Speaker 2: Uh?

1837
01:30:59,240 --> 01:31:01,920
Speaker 1: As far as like, also you bringing back a lot

1838
01:31:01,960 --> 01:31:04,639
Speaker 1: of our old favorites, like you working with Steve Arrington

1839
01:31:04,760 --> 01:31:05,200
Speaker 1: and right?

1840
01:31:05,560 --> 01:31:07,679
Speaker 6: And is profit?

1841
01:31:07,880 --> 01:31:11,200
Speaker 2: Is he old or new profit? So profit is?

1842
01:31:11,400 --> 01:31:13,080
Speaker 6: I feel like he's an old soul that I just

1843
01:31:13,280 --> 01:31:13,640
Speaker 6: yeah know.

1844
01:31:13,760 --> 01:31:18,040
Speaker 2: He's like I think he's maybe in his sixties. He

1845
01:31:18,400 --> 01:31:20,919
Speaker 2: did an album in nineteen eighty four that I discovered

1846
01:31:20,960 --> 01:31:24,000
Speaker 2: in the early two thousands, and I guess like in

1847
01:31:24,080 --> 01:31:26,040
Speaker 2: the early eighties that was like when I was buying

1848
01:31:26,479 --> 01:31:30,040
Speaker 2: the most records, well, when I started really buying a

1849
01:31:30,080 --> 01:31:31,960
Speaker 2: lot of records, and I didn't know about that one

1850
01:31:32,000 --> 01:31:33,600
Speaker 2: until the two thousands. But when I heard it, I

1851
01:31:33,880 --> 01:31:36,640
Speaker 2: really was into it. And on the record it just

1852
01:31:36,720 --> 01:31:38,800
Speaker 2: said profit. It didn't. He didn't have his real name,

1853
01:31:38,840 --> 01:31:40,519
Speaker 2: so I had no way to get a hold of him,

1854
01:31:41,120 --> 01:31:43,280
Speaker 2: and I would always talk about him in interviews and

1855
01:31:43,400 --> 01:31:44,400
Speaker 2: then he got a hold of me.

1856
01:31:44,680 --> 01:31:45,519
Speaker 1: Is he from the Bay Area?

1857
01:31:45,680 --> 01:31:46,599
Speaker 2: He's from the Bay Yeah?

1858
01:31:47,000 --> 01:31:48,160
Speaker 6: Was it a black and white album?

1859
01:31:48,439 --> 01:31:52,080
Speaker 1: It is? Yeah, dog Yeah, Okay have you heard that? Well,

1860
01:31:53,400 --> 01:31:54,280
Speaker 1: my last trip to.

1861
01:31:55,800 --> 01:31:58,759
Speaker 2: The record store groove Merchant because he always had copies

1862
01:31:58,800 --> 01:31:58,960
Speaker 2: of it.

1863
01:31:59,360 --> 01:32:01,360
Speaker 1: Dog. I think that's the most ever paid for a

1864
01:32:01,400 --> 01:32:03,840
Speaker 1: record of an artist I'd never heard of in my life.

1865
01:32:04,080 --> 01:32:06,559
Speaker 2: How much it was just one of those artists that's

1866
01:32:06,600 --> 01:32:09,759
Speaker 2: worth it. Yeah, they actually bought one, a groove Merchant

1867
01:32:09,840 --> 01:32:11,680
Speaker 2: for six dollars. Like that's when I found it, like

1868
01:32:11,760 --> 01:32:13,519
Speaker 2: in the early two thousand. I'm like, he must have

1869
01:32:13,680 --> 01:32:15,439
Speaker 2: like miss priced a few.

1870
01:32:15,360 --> 01:32:18,479
Speaker 1: More zeros than that. Yeah, yeah, yeah, Like I was like,

1871
01:32:18,760 --> 01:32:20,519
Speaker 1: I don't know, the guy's like a mere trust me,

1872
01:32:20,640 --> 01:32:22,400
Speaker 1: like I know, like how much you want historical?

1873
01:32:22,600 --> 01:32:25,519
Speaker 2: Like yeah, it's like print sounded like just it's synth funk,

1874
01:32:25,680 --> 01:32:27,400
Speaker 2: but like it's really out there.

1875
01:32:28,160 --> 01:32:30,720
Speaker 6: Yeah that's profit okay, Yeah, you resigned them.

1876
01:32:31,240 --> 01:32:33,719
Speaker 2: So we did an album with him and my design

1877
01:32:34,040 --> 01:32:34,599
Speaker 2: like this year.

1878
01:32:35,240 --> 01:32:39,519
Speaker 11: All right, well you know we think you wait, I

1879
01:32:39,560 --> 01:32:41,800
Speaker 11: have one that's a good Yeah. Have we heard the

1880
01:32:41,840 --> 01:32:42,599
Speaker 11: last of Hilario?

1881
01:32:43,520 --> 01:32:43,760
Speaker 1: Yes?

1882
01:32:43,960 --> 01:32:46,120
Speaker 2: I think so. I don't know. I haven't seen him

1883
01:32:46,120 --> 01:32:52,640
Speaker 2: in a while. We fell out, you fell homie, man,

1884
01:32:55,880 --> 01:33:01,599
Speaker 2: we have the picture what they do may Little John

1885
01:33:02,200 --> 01:33:04,920
Speaker 2: and Diplo yep.

1886
01:33:05,280 --> 01:33:07,639
Speaker 6: Wait and it sounds like a premise to a good joke.

1887
01:33:08,240 --> 01:33:08,439
Speaker 8: It was.

1888
01:33:08,640 --> 01:33:12,920
Speaker 2: It was Little John yeah and and yeah. So Diplo

1889
01:33:13,040 --> 01:33:15,160
Speaker 2: hit me up and he's like, hey, I'm coming to

1890
01:33:15,200 --> 01:33:17,599
Speaker 2: your stone Store party and I'm going to bring Little John.

1891
01:33:17,680 --> 01:33:18,840
Speaker 2: You know, I want to introduce some deal.

1892
01:33:18,880 --> 01:33:19,960
Speaker 1: And I'm like, oh cool.

1893
01:33:20,080 --> 01:33:22,320
Speaker 2: But I didn't tell him that that I wasn't there,

1894
01:33:22,400 --> 01:33:28,200
Speaker 2: that it was Filario. So it was yeah hard yeah.

1895
01:33:28,280 --> 01:33:31,120
Speaker 1: Wait, actually, speaking of the one one one last, last, last,

1896
01:33:31,200 --> 01:33:31,959
Speaker 1: last question.

1897
01:33:31,880 --> 01:33:34,439
Speaker 2: And I have one follow up off, okay, I have

1898
01:33:34,520 --> 01:33:36,519
Speaker 2: one as long as we end with profit, like we

1899
01:33:36,640 --> 01:33:39,160
Speaker 2: can keep going and then back to profit and then

1900
01:33:39,200 --> 01:33:39,680
Speaker 2: that's the end.

1901
01:33:39,840 --> 01:33:47,280
Speaker 1: No, for your DJ gigs, you using video technology, yeah,

1902
01:33:47,439 --> 01:33:50,759
Speaker 1: to spend How long does it take you to find

1903
01:33:52,080 --> 01:33:53,280
Speaker 1: pristine prime copies?

1904
01:33:53,840 --> 01:33:55,640
Speaker 2: I don't. I don't go for well, I mean, I

1905
01:33:55,920 --> 01:33:58,080
Speaker 2: at least the ones I've seen you spend there. You're right,

1906
01:33:58,120 --> 01:34:00,160
Speaker 2: You're right, there is a lot of it that is is.

1907
01:34:00,240 --> 01:34:02,960
Speaker 2: But some of it I'll swap the audio out and

1908
01:34:03,000 --> 01:34:04,160
Speaker 2: some of it I'll leave as is.

1909
01:34:04,360 --> 01:34:06,080
Speaker 1: That's what I was going to ask, like, do you

1910
01:34:06,320 --> 01:34:09,040
Speaker 1: because one of those Michael Jackson gigs you did?

1911
01:34:09,160 --> 01:34:11,200
Speaker 6: I was like, whoa happy find such a clean copy

1912
01:34:11,280 --> 01:34:11,400
Speaker 6: of this?

1913
01:34:11,840 --> 01:34:11,960
Speaker 5: Right?

1914
01:34:12,439 --> 01:34:15,960
Speaker 1: Yeah? That was like some so you'll just that designated

1915
01:34:16,040 --> 01:34:20,160
Speaker 1: day to I added pristine audio on top of the

1916
01:34:20,240 --> 01:34:20,679
Speaker 1: video clip.

1917
01:34:20,760 --> 01:34:22,160
Speaker 2: I mean, one of the guys I work with like

1918
01:34:22,280 --> 01:34:23,920
Speaker 2: helps me with that because I don't. I wouldn't even

1919
01:34:24,880 --> 01:34:26,120
Speaker 2: I don't know technology anymore.

1920
01:34:26,320 --> 01:34:28,400
Speaker 1: I see. Okay.

1921
01:34:28,479 --> 01:34:30,120
Speaker 11: My last question has to do with the twelve hour

1922
01:34:30,240 --> 01:34:32,439
Speaker 11: DJ set. Yes, would you ever do that again?

1923
01:34:33,840 --> 01:34:34,040
Speaker 1: Yeah?

1924
01:34:34,120 --> 01:34:35,640
Speaker 2: But I think if I did it again, maybe I

1925
01:34:35,640 --> 01:34:40,200
Speaker 2: would like put more effort into like planning it ahead

1926
01:34:40,200 --> 01:34:42,000
Speaker 2: of time. Like the whole thing with it was it

1927
01:34:42,160 --> 01:34:46,880
Speaker 2: was just an idea, Like it was December twelfth, twenty twelve,

1928
01:34:46,880 --> 01:34:48,560
Speaker 2: I want to do something for twelve, twelve twelve, and

1929
01:34:48,600 --> 01:34:50,519
Speaker 2: I was like, I'll do twelve hours of djay and

1930
01:34:50,600 --> 01:34:52,560
Speaker 2: and then I had all this other stuff going on

1931
01:34:52,680 --> 01:34:54,840
Speaker 2: and I didn't really plan it, and then my dream,

1932
01:34:55,400 --> 01:34:57,000
Speaker 2: what's that doing a twelve hour set?

1933
01:34:57,560 --> 01:34:58,000
Speaker 1: Hell? Yeah?

1934
01:34:58,479 --> 01:35:00,840
Speaker 2: And this was where was the it at my vinyl bar?

1935
01:35:06,200 --> 01:35:08,920
Speaker 2: So where we Where was this? I just did in

1936
01:35:09,000 --> 01:35:12,200
Speaker 2: my bedroom and but it was it was for boiler room.

1937
01:35:13,600 --> 01:35:14,479
Speaker 1: On this but.

1938
01:35:16,160 --> 01:35:18,200
Speaker 2: Yes you can, it's fine, It's fine, So it's for

1939
01:35:18,320 --> 01:35:21,680
Speaker 2: boiler room. And I was kind of bored after the

1940
01:35:21,760 --> 01:35:23,599
Speaker 2: first few hours. And then I was like, I asked

1941
01:35:23,600 --> 01:35:26,360
Speaker 2: all my friends to like pick records out of out

1942
01:35:26,400 --> 01:35:28,240
Speaker 2: of my room, and then they were just picking the

1943
01:35:28,360 --> 01:35:30,760
Speaker 2: things they were familiar with, and that was like what

1944
01:35:30,880 --> 01:35:32,760
Speaker 2: I realized, like I should have probably just done it

1945
01:35:32,800 --> 01:35:34,759
Speaker 2: all on my own, because I wanted to share stuff

1946
01:35:34,800 --> 01:35:38,000
Speaker 2: that people didn't know, and it turned into something else.

1947
01:35:38,080 --> 01:35:40,120
Speaker 7: But it was fun though, Yeah, you played a record

1948
01:35:40,200 --> 01:35:42,800
Speaker 7: I bought you. I can see the cover. It was

1949
01:35:42,840 --> 01:35:44,439
Speaker 7: a peanut butter Wolf and it was just like a

1950
01:35:44,520 --> 01:35:47,280
Speaker 7: DJ thing you did, but you had a record on it. Uh,

1951
01:35:47,880 --> 01:35:49,280
Speaker 7: let love be your magic carpet.

1952
01:35:49,400 --> 01:35:50,600
Speaker 1: Oh, I love that one. I love that.

1953
01:35:50,960 --> 01:35:51,840
Speaker 2: Yeah, that's a great song.

1954
01:35:52,240 --> 01:35:52,880
Speaker 1: It was so dope.

1955
01:35:53,400 --> 01:35:57,200
Speaker 2: Michael White. Michael White, Yeah that was what was Yeah, yeah, yeah,

1956
01:35:57,560 --> 01:36:01,400
Speaker 2: well okay, profit profit Yeah, we love profit.

1957
01:36:01,640 --> 01:36:03,920
Speaker 1: We love profit. Now, thank you very much for coming

1958
01:36:03,960 --> 01:36:04,639
Speaker 1: on the show.

1959
01:36:04,760 --> 01:36:06,280
Speaker 6: Christy, Thank you for having me back.

1960
01:36:08,560 --> 01:36:10,960
Speaker 9: Congratulations on a great label.

1961
01:36:11,160 --> 01:36:13,400
Speaker 7: Man, No for real for you to make it, have

1962
01:36:13,520 --> 01:36:15,200
Speaker 7: been making it a long yeah.

1963
01:36:15,320 --> 01:36:18,240
Speaker 2: I mean just I'm just happy. Yeah, it's still like

1964
01:36:18,800 --> 01:36:20,719
Speaker 2: enjoying it. You know, like if I was doing something

1965
01:36:20,760 --> 01:36:23,479
Speaker 2: that I didn't enjoy it, I wouldn't do it anymore.

1966
01:36:23,520 --> 01:36:25,439
Speaker 2: So I'm glad that I still like to do it.

1967
01:36:27,120 --> 01:36:30,000
Speaker 1: It's relies and passion, all right, Ladies and gentlemen. On

1968
01:36:30,200 --> 01:36:34,720
Speaker 1: behalf of Team Supreme, Boston Bill on Paid, Bill Fontigolo.

1969
01:36:34,920 --> 01:36:38,200
Speaker 1: It's Laia and Sugar Steve of the Sugar.

1970
01:36:38,000 --> 01:36:42,120
Speaker 9: Steve Network, founder of this and curator and ed.

1971
01:36:43,920 --> 01:36:48,400
Speaker 1: Ya. My name is cost Love and this is Costler Supreme.

1972
01:36:48,520 --> 01:36:50,280
Speaker 1: We will see you on the next go round. Thank

1973
01:36:50,280 --> 01:37:04,160
Speaker 1: you very much. Quests Love Supreme is a production of iHeartRadio.

1974
01:37:04,640 --> 01:37:08,000
Speaker 1: This classic episode was produced by the team at Pandora.

1975
01:37:12,280 --> 01:37:16,680
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1976
01:37:17,120 --> 01:37:18,799
Speaker 1: or wherever you listen to your favorite shows.