WEBVTT - QLS Classic: Peanut Butter Wolf

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio. This classic

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<v Speaker 1>episode was produced by the team at Pandora.

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<v Speaker 2>What Up It's on pay Bill.

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<v Speaker 3>On this week's QLs classic, Peanut Butter Wolf talks about

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<v Speaker 3>launching the legendary stone Throw Records and released albums by

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<v Speaker 3>Dave Dilla, Mad Villain, and Madlick, among many others. He

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<v Speaker 3>also talks about his own career as an artist in

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<v Speaker 3>DJ This is episode number one twenty seven The Quest

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<v Speaker 3>Love Supreme and originally aired on March twentieth, twenty nineteen.

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<v Speaker 4>Soaprima Sun South Supremo Roll call Suprema Sun Sun Supremo,

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<v Speaker 4>Roll call Suprema Sun s Subpremo.

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<v Speaker 5>Ro called Suprema Sun Su Suprema roll Ca.

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<v Speaker 1>Can I have a peanut butter? Can I have a

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<v Speaker 1>peanut butter? Can I have a peanut butter? Oh?

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<v Speaker 2>Can I have a peanut utter?

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<v Speaker 5>Supremama Supremo Role My name is Fante.

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<v Speaker 2>Yeah, damn damn Mario. Yeah, you gotta say what's up?

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<v Speaker 6>Yeah to the homiepot Lario.

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<v Speaker 5>Supremo, roll call, Suprema Su Supremo.

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<v Speaker 2>Roll called.

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<v Speaker 1>My name is Sugar. Yeah, I get around.

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<v Speaker 7>Yeah, we're Western Recorders.

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<v Speaker 5>Yeah.

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<v Speaker 7>Where they made pet sounds.

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<v Speaker 5>Wow, Supremo, Supremo, role called Supremo Suprema roll called.

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<v Speaker 2>Bills a DJ, yeah, RECONSI devour.

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

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<v Speaker 1>for twelve hours.

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<v Speaker 4>Supreme Supremo, roll call Supremo Supremo roll call.

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<v Speaker 1>Yeah.

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<v Speaker 8>And Peanut but Yeah the hip hop.

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<v Speaker 5>Yeah the roll come Supprima, Supprimo, roll Suprema up PREMI

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<v Speaker 5>my name.

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<v Speaker 2>Is Peanut Butter. Yeah, and I don't wrap.

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<v Speaker 4>Yeah.

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<v Speaker 2>If I knew I had to do this. Yeah, that's

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<v Speaker 2>not Supremo.

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<v Speaker 5>Roll come Suprema son something Supremo roll Calm Suprema Son Supremo,

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<v Speaker 5>roll cal Suprema.

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<v Speaker 1>Son Supremo roll. Wait, I got it, Steve. You just

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

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

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<v Speaker 6>Can we just stop the episode now and go.

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

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

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<v Speaker 7>he's on the Grammar.

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<v Speaker 1>So there's always a chat with Sugar episodes.

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<v Speaker 7>At work already. They already got it, they got it early.

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<v Speaker 8>Check the shirt, baby, check the shirt.

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

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<v Speaker 1>of Quest Love Supreme Road Trip Edition. Yes, we are

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<v Speaker 1>live at East West Studios formerly known as United.

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

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<v Speaker 9>they did Pet Sounds And we're in Sinatra's room where

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<v Speaker 9>it did My Way in New York, New York. And yeah,

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<v Speaker 9>something stupid.

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<v Speaker 1>And I got it that. Yeah, the vibe of the place.

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<v Speaker 9>Sinatra built this place basically, I mean, somebody else designed it,

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<v Speaker 9>but he paid for it.

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<v Speaker 1>So this was this was his h Yeah, this was

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<v Speaker 1>his spot.

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<v Speaker 9>And the other spot too that we were at United,

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<v Speaker 9>Both of those were his spots.

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<v Speaker 2>Did he pick the coaches out there? Because they seem

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<v Speaker 2>really sinatrash?

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<v Speaker 9>All the studios here are basically as they were back

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<v Speaker 9>in the day, but everything in.

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<v Speaker 1>The hallway that seemed like, Yeah, I thought it was

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<v Speaker 1>going to be an intervention talk.

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<v Speaker 10>For a mir or you know, I thought I was

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<v Speaker 10>setting them up.

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

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<v Speaker 1>tell you that you can only have seven jobs. Bro.

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<v Speaker 9>That the Pet Sounds room now looks just like it

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<v Speaker 9>is like it does in all the pictures and documentaries

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<v Speaker 9>it's incredible.

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<v Speaker 1>Wow.

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<v Speaker 7>Well different console, but but you know you.

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<v Speaker 2>Had to keep that intact.

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<v Speaker 1>Yeah.

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<v Speaker 7>His podium is right in there where he I think

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<v Speaker 7>where he conducted from and Sinatra's Yes, Sinatra's podium, that

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<v Speaker 7>is podium.

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<v Speaker 1>Yeah.

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<v Speaker 6>Oh I thought you praying over there.

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<v Speaker 2>Oh no, I was on.

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<v Speaker 7>I was taking with my wife. I was taking, you know,

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<v Speaker 7>but I don't want to step up there. I didn't

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<v Speaker 7>want to up.

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<v Speaker 6>He wasn't lamping on that. But that podium non podium.

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<v Speaker 1>Anyway, ladies and gentlemen, our special guest today and our

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<v Speaker 1>shall I say, our road trip California edition of course

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<v Speaker 1>love supreme.

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<v Speaker 2>Frank tradition.

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<v Speaker 1>Yes, a man just as smooth as, for instance, Albert Sinatra,

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<v Speaker 1>I will say, you know, initially his entrance into our

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<v Speaker 1>world was under the guise of indie hip hop. But

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<v Speaker 1>when all the smoke clears, I should say that probably

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<v Speaker 1>Stone's Thrower is probably one of the most unique UH

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<v Speaker 1>boutique creative labels UH in existence, going beyond the boundaries

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<v Speaker 1>of what underground hip hop was or the stigma of

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<v Speaker 1>the title underground hip hop. I mean, just a lot

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<v Speaker 1>of my favorite artists that I listened to UH on

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<v Speaker 1>the Daily are on this label. I mean from passing

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<v Speaker 1>president future.

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<v Speaker 7>Brother wanted to signist stone throw, Yes for.

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<v Speaker 1>Real, that was dream dude.

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<v Speaker 2>Please listen to my style like he was chuggy first

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<v Speaker 2>time I heard that.

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<v Speaker 7>Oh yeah, and all the years we've known, Yeah dude,

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<v Speaker 7>like that was like man, we wanted to but.

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<v Speaker 2>Yeah, put out the issue.

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<v Speaker 1>Let's name of ladies and gentlemen from Profit to Tuxedo

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<v Speaker 1>to see Dan archives too, of course. Uh my personal

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<v Speaker 1>Goo Jay Dilla, uh Kareem Riggins, d J Harrison.

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<v Speaker 6>I forgot even freaking Breachestra.

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

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<v Speaker 1>I forgot break Breakstra Gary Wilson, Gary Wilson's uh Georgie

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<v Speaker 1>and Montre.

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<v Speaker 6>Steve Arrington.

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

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<v Speaker 1>question of supreme cricketure. Yeah, uh uh loop pack man,

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<v Speaker 1>next worries, how do you pronounce next? No worries. I

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<v Speaker 1>always see that when this man's name, let's just go

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<v Speaker 1>down to rock Percy p Guilty Simpson. Uh. Profit is

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

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<v Speaker 1>succeed the project. Yeah, I'm just saying that when I

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<v Speaker 1>need to escape from the the madness that is modern

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

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<v Speaker 1>and the proprietor of Stone Store was here with us.

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<v Speaker 1>Please welcome to couestlof Supreme Christopher Hilario Hilario Man aka

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<v Speaker 1>Peanut Butter. What's up?

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<v Speaker 2>Then a few words? One word answers? How many are

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<v Speaker 2>you going to? I learned that. I learned that from

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

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<v Speaker 2>been interested in working with? Yeah, I met him for

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<v Speaker 2>the first time. It's like it's all like texting up

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<v Speaker 2>until that point, and texting was all paragraphs and then talking.

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<v Speaker 2>It's like one word answers.

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<v Speaker 6>Can I tell you that it is easier to text

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<v Speaker 6>than it is to talk?

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<v Speaker 1>Is that for me?

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<v Speaker 2>No, that's how it's become.

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<v Speaker 11>I mean absolutely, it's on the phone anymore, really, and

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<v Speaker 11>you can edit yourself for texting unless it's.

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<v Speaker 8>Your past and you got to text somebody before you

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<v Speaker 8>talk on the phone. Do you mind if I call you?

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

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<v Speaker 1>and you'll just like slit smart liquor bool your way

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<v Speaker 1>the Kool aid Man.

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<v Speaker 6>Yeah, and I'm like, no, I got to think about

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<v Speaker 6>what I'm saying and whatnot.

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

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<v Speaker 1>know for me to mention ask Vaughn as I've done

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<v Speaker 1>in past episodes with with Fellow, ask me and Me

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<v Speaker 1>and uh Me and Wolf were kind of part of

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<v Speaker 1>this the secret Society of hip Hop Luminaries that. Yeah,

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<v Speaker 1>we kind of start off all uh earnest in our

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<v Speaker 1>appreciation of hip hop and in the name of collaboration.

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<v Speaker 1>But now it's like it's it's who can out emog

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<v Speaker 1>each other, Yeah, emoji each other.

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<v Speaker 2>It's mainly it's mainly Premiere Alchemist.

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<v Speaker 7>Like.

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<v Speaker 2>Is it no dude when I tell you, yeah, I

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<v Speaker 2>think that.

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<v Speaker 1>The Premiere Like I'm dreading the day if Premiere has

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<v Speaker 1>an untimely demise and it's up for up to me

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<v Speaker 1>to write something like notable about his career, like his

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<v Speaker 1>achievements in his emoji game. Yeah, it's it's far beyond

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<v Speaker 1>any beat he's ever made in his life.

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<v Speaker 6>An Alchemist is damn near.

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<v Speaker 1>Like a.

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<v Speaker 2>Just Alchemist is the sticker king and.

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

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<v Speaker 1>it's the silliest brotherhood I've ever like.

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<v Speaker 2>But I never knew Premiere had that many, like cartoon voices,

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<v Speaker 2>like I don't know why he's not doing cartoons seriously

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<v Speaker 2>and hip hop.

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<v Speaker 1>I'm literally one second I'm working on an animated series

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<v Speaker 1>right now that I'm like, wait second away from approach

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<v Speaker 1>and just have him be all of them.

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<v Speaker 2>If all the other characters.

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<v Speaker 1>If unpaid, Bill we're here, I tell him to hire

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<v Speaker 1>one system.

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<v Speaker 8>The way he does voice memos on your group text?

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<v Speaker 1>Is that what it's It's beyond great Premiere's talent for

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<v Speaker 1>the cartoon voices. Wow, you I mean like three four

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<v Speaker 1>in the morning is some next ship. So yeah, Wolf

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<v Speaker 1>is part of the the the Askbaughn Brotherhood of.

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<v Speaker 2>Yes, and I have a lot of friends who are

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<v Speaker 2>like wishing they were part of it, like other like

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<v Speaker 2>musician you know, DJ is hip hop. If I could

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<v Speaker 2>fit more now now it's cool, I like, we can't

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<v Speaker 2>let t rock maybe our chear rocks quiet anyway, So no,

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<v Speaker 2>we just sit there like rating.

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<v Speaker 6>I never explained the Diplo why we had to kick

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<v Speaker 6>him out the chat because.

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<v Speaker 2>We Diplo left and then he came back and then well.

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<v Speaker 1>I kicked him out because it's almost like the trade,

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<v Speaker 1>like we traded Diplo for uh who joined this late?

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<v Speaker 1>Like buck Wild? It was someone in that jam.

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<v Speaker 2>Oh no, that was a different one.

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<v Speaker 1>People in this group.

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<v Speaker 6>You can only have twenty five people in.

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<v Speaker 8>The chat, So I guess nobody has a droid because

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<v Speaker 8>y'all are cool.

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<v Speaker 6>Well, Jeff, just because.

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

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<v Speaker 7>That said that green having a green box. Somebody take

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<v Speaker 7>somebody with a dray. If you get in a group chat,

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<v Speaker 7>I got a joy and they fuck up the whole chat.

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<v Speaker 8>Yeah, because they got to have a separate conversation because

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<v Speaker 8>they can't get they got a difference.

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<v Speaker 2>You know, I'm showing my age. I don't even know

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<v Speaker 2>what that is.

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<v Speaker 10>You got an iPhone?

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<v Speaker 2>I got an iPhone?

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<v Speaker 1>Yeah, you blue box?

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<v Speaker 7>If some one would have would a droid text you?

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<v Speaker 1>Which is why Jeff had to drop out, because Jess

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<v Speaker 1>Jeff left iPhone to go to back to. I didn't

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<v Speaker 1>even know that he betrayed us. So there goes the

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<v Speaker 1>invite to It was.

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<v Speaker 2>BlackBerry for so many years. How many blackberriers there's back in.

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<v Speaker 6>The I'm at a comedian last night.

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<v Speaker 1>Who he purposely uh got a BlackBerry so that he

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<v Speaker 1>could stop his writer's block. He's he had to turn

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<v Speaker 1>it and yeah, he's been working on his book for

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<v Speaker 1>now four years and he blames his A D D H.

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<v Speaker 6>Attention to his iPhone.

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<v Speaker 1>So in order to wean himself off of entertainment, Uh,

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

0:12:47.960 --> 0:12:52.480
<v Speaker 1>which takes away his gifts and his memes and you

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<v Speaker 1>know the time that he wastes.

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<v Speaker 2>Your guy, Jack White, Right, I was hearing the thing

0:12:57.520 --> 0:12:59.320
<v Speaker 2>that he said that he doesn't have a phone or something.

0:12:59.640 --> 0:13:02.600
<v Speaker 6>Yeah, but you know eccentric people Kanye don't have one.

0:13:03.360 --> 0:13:03.880
<v Speaker 1>Can I do that?

0:13:04.040 --> 0:13:05.760
<v Speaker 6>Guys like, can I give her my phone?

0:13:05.760 --> 0:13:08.400
<v Speaker 1>I don't know. You could know. You've got too many jobs.

0:13:08.840 --> 0:13:10.160
<v Speaker 10>And you like texting, you don't like talking.

0:13:10.240 --> 0:13:15.400
<v Speaker 1>So what you're gonna do disappear anyway. So how you

0:13:15.480 --> 0:13:21.920
<v Speaker 1>doing today? Great water? What'd you do today? You know what?

0:13:22.400 --> 0:13:27.440
<v Speaker 1>So I visit I'm gonna start backwards because I visited

0:13:27.960 --> 0:13:34.679
<v Speaker 1>Stone's through headquarters and I was genuinely surprised at how

0:13:34.880 --> 0:13:40.400
<v Speaker 1>professional the atmosphere was. Really, Like the only thing missing

0:13:40.559 --> 0:13:44.120
<v Speaker 1>if you if you're a fan of It's always sunny

0:13:44.160 --> 0:13:49.040
<v Speaker 1>in Philadelphia. Kind of like the music that that like

0:13:49.160 --> 0:13:51.800
<v Speaker 1>that that sunny happy music that they always use as

0:13:52.000 --> 0:13:56.240
<v Speaker 1>as background music on that show. That's the atmosphere I

0:13:56.280 --> 0:13:58.240
<v Speaker 1>felt I was in when I was walking pet Like,

0:13:58.280 --> 0:14:00.599
<v Speaker 1>I was like, yo, you guys have like staff and

0:14:01.440 --> 0:14:02.760
<v Speaker 1>it's like mad men.

0:14:02.840 --> 0:14:04.720
<v Speaker 2>I love coming to work right now. Yeah, things are

0:14:04.760 --> 0:14:05.160
<v Speaker 2>really good.

0:14:05.360 --> 0:14:05.800
<v Speaker 6>I miss it.

0:14:05.840 --> 0:14:08.360
<v Speaker 1>I want to walk through there again to come back.

0:14:09.679 --> 0:14:13.280
<v Speaker 1>So how long have you guys been in that uh,

0:14:14.400 --> 0:14:14.920
<v Speaker 1>that building?

0:14:15.360 --> 0:14:18.120
<v Speaker 2>I'm just yeah, yeah, fifteen years. It's like it started

0:14:18.240 --> 0:14:20.080
<v Speaker 2>kind of we just had one room and then as

0:14:20.160 --> 0:14:23.680
<v Speaker 2>we kind of expanded, we grabbed another another another, and yeah,

0:14:23.800 --> 0:14:26.720
<v Speaker 2>so just a little, yeah, just gradual thing.

0:14:26.760 --> 0:14:28.880
<v Speaker 1>It's kind of well, that whole neighborhood is a vibe

0:14:28.920 --> 0:14:30.200
<v Speaker 1>because even your next door.

0:14:30.120 --> 0:14:34.440
<v Speaker 2>Years with uh yeah, Adrian Young and Shahied they are

0:14:34.520 --> 0:14:37.800
<v Speaker 2>studio Well's I think it's Adrian's but maybe yeah, Adrian

0:14:38.680 --> 0:14:42.480
<v Speaker 2>part I mean is like, yeah, it's called Highland Park,

0:14:42.600 --> 0:14:44.480
<v Speaker 2>so it's pretty close to downtown.

0:14:44.840 --> 0:14:47.640
<v Speaker 9>You guys got studios in that complex or is it office?

0:14:47.800 --> 0:14:50.480
<v Speaker 2>We have a studio on ours and then yeah, Adrian's

0:14:50.520 --> 0:14:51.000
<v Speaker 2>is next door.

0:14:51.440 --> 0:14:55.600
<v Speaker 1>Wow, yeah, it's it's official. Man, Like every.

0:14:55.960 --> 0:14:58.720
<v Speaker 2>We're opening a record bar, that's yeah.

0:14:58.880 --> 0:15:01.400
<v Speaker 8>So we are, yach like the big Are you the

0:15:01.560 --> 0:15:05.160
<v Speaker 8>biggest indie hip hop situation or indie situation right now?

0:15:05.400 --> 0:15:06.560
<v Speaker 10>It's because it sounds huge.

0:15:07.720 --> 0:15:09.960
<v Speaker 2>I mean yeah, I mean we're not like like as

0:15:10.000 --> 0:15:11.920
<v Speaker 2>big as Kendra Lamar's label or any of that, but.

0:15:12.040 --> 0:15:15.960
<v Speaker 7>Like, like, y'all are probably the longest last thing I'd say, yeah, you.

0:15:15.960 --> 0:15:18.880
<v Speaker 1>Guys would probably neck with Jack White situation with the

0:15:19.360 --> 0:15:22.520
<v Speaker 1>third Man, Third Man, I think because even his label,

0:15:22.720 --> 0:15:25.880
<v Speaker 1>his operation in Nashville is sort of similar where yeah,

0:15:26.400 --> 0:15:29.080
<v Speaker 1>you know, I think it's more about it's less about

0:15:29.080 --> 0:15:32.880
<v Speaker 1>the artists and more about the the label. So what

0:15:33.360 --> 0:15:36.080
<v Speaker 1>what what do you What year do you consider the

0:15:36.400 --> 0:15:39.040
<v Speaker 1>actual first stones Throw release?

0:15:39.200 --> 0:15:44.320
<v Speaker 2>Yeah, well, with the name stones Throw was in ninety six.

0:15:44.840 --> 0:15:46.440
<v Speaker 2>I actually I did.

0:15:46.680 --> 0:15:46.920
<v Speaker 1>I was.

0:15:47.800 --> 0:15:49.960
<v Speaker 2>I started a label in nineteen ninety and put out

0:15:50.480 --> 0:15:53.360
<v Speaker 2>like one twelve inch single that flopped, and then at

0:15:53.400 --> 0:15:54.560
<v Speaker 2>that point I was like, I don't want to do

0:15:54.640 --> 0:15:57.560
<v Speaker 2>the label thing, and I started working with an MC

0:15:57.760 --> 0:16:01.080
<v Speaker 2>Charisma and then yeah, yeah he passed away, and then

0:16:01.160 --> 0:16:03.280
<v Speaker 2>I went back to the label thing. I just you know,

0:16:03.440 --> 0:16:05.600
<v Speaker 2>didn't want to be an artist anymore at that point, really.

0:16:07.000 --> 0:16:11.440
<v Speaker 1>How do you well what discouraged you from continuing.

0:16:11.760 --> 0:16:14.560
<v Speaker 2>The artist thing? Yeah, losing my friend.

0:16:14.600 --> 0:16:14.960
<v Speaker 1>I didn't.

0:16:15.080 --> 0:16:17.760
<v Speaker 2>I didn't want to be on stage with someone else's

0:16:17.920 --> 0:16:20.600
<v Speaker 2>you know. It was just not really it didn't feel right.

0:16:21.200 --> 0:16:22.640
<v Speaker 7>So were you rhyming with DJing?

0:16:22.760 --> 0:16:27.320
<v Speaker 2>No, it was DJ did not hear that? Yeah, I

0:16:27.320 --> 0:16:30.920
<v Speaker 2>did not hear my wrap? No, yeah, no, I DJ'ed

0:16:30.960 --> 0:16:33.400
<v Speaker 2>and I made all the music back then. I used

0:16:33.440 --> 0:16:37.240
<v Speaker 2>the in Sonic EPs, which is like a big Rember workstation.

0:16:37.440 --> 0:16:39.480
<v Speaker 7>And because you end up putting that record out right,

0:16:39.480 --> 0:16:40.760
<v Speaker 7>you end up putting the well.

0:16:40.800 --> 0:16:43.080
<v Speaker 2>I put out Christmas record after he passed. Yeah, he

0:16:43.160 --> 0:16:45.640
<v Speaker 2>passed in ninety three. And then we were signed to

0:16:45.760 --> 0:16:49.880
<v Speaker 2>Hollywood Basics at the time, which was the Disney Diney. Yeah,

0:16:49.920 --> 0:16:51.760
<v Speaker 2>but it was what it was funking Client though, So

0:16:51.920 --> 0:16:54.240
<v Speaker 2>fucking client, like, do you know funk Cline or did

0:16:54.280 --> 0:16:54.880
<v Speaker 2>you know who he was?

0:16:55.000 --> 0:16:57.280
<v Speaker 1>I knew I've heard of Dave funking Client, But what

0:16:57.480 --> 0:16:59.920
<v Speaker 1>was it like? Because also Pharaoh and.

0:17:00.400 --> 0:17:02.120
<v Speaker 2>I mean our checks had Mickey Mouse on them, so

0:17:02.240 --> 0:17:06.040
<v Speaker 2>that seriously they really did we save one? I probably

0:17:06.040 --> 0:17:06.320
<v Speaker 2>have one?

0:17:06.400 --> 0:17:06.560
<v Speaker 1>Yeah?

0:17:06.720 --> 0:17:08.680
<v Speaker 7>Yeah, I remember, I said everything they had.

0:17:08.840 --> 0:17:13.280
<v Speaker 6>It was Organized liferss Group. Lifers's Group was for a

0:17:13.400 --> 0:17:14.280
<v Speaker 6>Disney label.

0:17:14.040 --> 0:17:16.040
<v Speaker 2>And they made they made a Lifress Group soap on

0:17:16.119 --> 0:17:18.359
<v Speaker 2>a rope and then I don't somehow it got like

0:17:18.680 --> 0:17:21.280
<v Speaker 2>it got canned. So then they had all the soap

0:17:21.560 --> 0:17:23.560
<v Speaker 2>and so they made it an organized Confusion soap on

0:17:23.640 --> 0:17:24.800
<v Speaker 2>a rope and that didn't make sense.

0:17:26.160 --> 0:17:27.040
<v Speaker 1>So that was the promo.

0:17:27.800 --> 0:17:34.200
<v Speaker 2>That was the promo for sure, stress you're telling me

0:17:35.160 --> 0:17:38.120
<v Speaker 2>I have THEE on a rope still go ahead? Sorry,

0:17:38.400 --> 0:17:41.200
<v Speaker 2>And for our listeners out. The Lifers Group was a

0:17:41.280 --> 0:17:43.320
<v Speaker 2>group of X cons that formed No No, no, no,

0:17:43.359 --> 0:17:46.280
<v Speaker 2>no no they were they were in general the niggas

0:17:46.280 --> 0:17:46.760
<v Speaker 2>was locked up.

0:17:46.840 --> 0:17:47.360
<v Speaker 1>Yeah they were.

0:17:47.560 --> 0:17:48.960
<v Speaker 6>They could still be in jail for all we know.

0:17:50.000 --> 0:17:54.680
<v Speaker 7>Group Life Yeah wait, how did they they recorded in jail?

0:17:54.720 --> 0:17:56.359
<v Speaker 7>They recorded a jail. I guess they was in the

0:17:56.640 --> 0:17:57.160
<v Speaker 7>room or whatever.

0:17:58.600 --> 0:17:59.160
<v Speaker 8>Did that first?

0:17:59.440 --> 0:18:00.360
<v Speaker 2>Well recorded in jail?

0:18:00.480 --> 0:18:04.600
<v Speaker 11>Yeah we forgot about Shine Shine Yeah No, Life was

0:18:04.680 --> 0:18:05.760
<v Speaker 11>group had an actual studio.

0:18:05.760 --> 0:18:07.160
<v Speaker 7>I guess they recorded in jail.

0:18:07.000 --> 0:18:12.760
<v Speaker 11>And yeah, yeah, yikes, so they had they had There

0:18:12.840 --> 0:18:14.919
<v Speaker 11>was a video for Lifers Group too, wasn't I.

0:18:14.920 --> 0:18:17.880
<v Speaker 2>Can't remember their video in jail, but that's how DJ

0:18:18.000 --> 0:18:19.719
<v Speaker 2>Shadow got it started. He did a remix for them,

0:18:19.760 --> 0:18:23.840
<v Speaker 2>and his manager was my manager, so that was kind

0:18:23.880 --> 0:18:25.760
<v Speaker 2>of the connection. That's why we both ended up on

0:18:26.119 --> 0:18:30.600
<v Speaker 2>Hollywood Basic Basic Actually, so Charisma is a rapper I

0:18:30.680 --> 0:18:34.320
<v Speaker 2>worked with, and the guy money Bee from Digital Underground

0:18:34.359 --> 0:18:37.560
<v Speaker 2>was always playing our tape and he told that labeled

0:18:38.000 --> 0:18:41.440
<v Speaker 2>Becafusion was refusion, So that was his side project, was Rofusion.

0:18:41.480 --> 0:18:43.639
<v Speaker 2>So that was my first time traveling out of the country.

0:18:43.800 --> 0:18:45.639
<v Speaker 2>Was we went to Germany and you know, we were

0:18:45.760 --> 0:18:47.480
<v Speaker 2>kids and just it was incredible.

0:18:48.080 --> 0:18:49.280
<v Speaker 1>Who else was on that tour?

0:18:49.680 --> 0:18:53.159
<v Speaker 2>It was me, well, me and Chrisma, this rapper heih S,

0:18:53.320 --> 0:18:55.360
<v Speaker 2>this West Coast rapper was kind of part of DJ

0:18:55.480 --> 0:18:56.800
<v Speaker 2>Quick's crew, and then.

0:18:58.480 --> 0:19:05.280
<v Speaker 1>FUSI yeah, exactly, yeah, I see what for the for

0:19:05.400 --> 0:19:08.159
<v Speaker 1>those that don't know and actually for me, like what

0:19:10.800 --> 0:19:13.119
<v Speaker 1>for you coming into hip hop? Like what was the

0:19:14.160 --> 0:19:18.000
<v Speaker 1>the experiences the I mean, did you have, like from

0:19:18.119 --> 0:19:20.080
<v Speaker 1>New York perspective, I know that most people have a

0:19:20.160 --> 0:19:21.760
<v Speaker 1>park jam and that sort of thing.

0:19:21.760 --> 0:19:26.320
<v Speaker 2>But yeah, were you going on roller skatings? I was

0:19:26.359 --> 0:19:29.000
<v Speaker 2>living in San Jose. There was no hip hop scene

0:19:29.040 --> 0:19:31.880
<v Speaker 2>really there. I mean the breaked, the breakdancing, I guess

0:19:31.920 --> 0:19:34.920
<v Speaker 2>a little bit. You were born there, right, No, I

0:19:35.040 --> 0:19:36.480
<v Speaker 2>moved there when I was six years old though, so

0:19:36.600 --> 0:19:38.920
<v Speaker 2>damn near born there? And how many years did you

0:19:39.119 --> 0:19:41.199
<v Speaker 2>till I was twenty five? So first twenty years? Can

0:19:41.240 --> 0:19:44.879
<v Speaker 2>you explain something to me? Yes, San Jose.

0:19:46.440 --> 0:19:52.760
<v Speaker 1>Has a very very unique homeless situation that I've never

0:19:52.880 --> 0:19:56.240
<v Speaker 1>seen in any other city in the United States. Not

0:19:56.920 --> 0:19:59.960
<v Speaker 1>because the amount of volume of people that are homeless,

0:20:00.080 --> 0:20:02.520
<v Speaker 1>m hm, but it's almost like.

0:20:02.880 --> 0:20:05.760
<v Speaker 6>Usually whatever whenever venue that we've ever.

0:20:05.680 --> 0:20:12.160
<v Speaker 1>Played in San Jose, it's like it's it's college professors

0:20:12.359 --> 0:20:15.720
<v Speaker 1>and this kind I didn't even.

0:20:15.600 --> 0:20:17.720
<v Speaker 2>Notice that drop out. Oh my god, it's but I

0:20:17.880 --> 0:20:20.119
<v Speaker 2>don't I haven't been to Sands that often, like lately.

0:20:20.280 --> 0:20:22.600
<v Speaker 2>I mean i've been there. I've been gone since ninety five,

0:20:22.640 --> 0:20:24.320
<v Speaker 2>I guess, but I go to visit family.

0:20:24.400 --> 0:20:27.879
<v Speaker 1>But I just know I needed someone to explain to me,

0:20:28.040 --> 0:20:33.080
<v Speaker 1>like why is this whole dropout of society? Well started

0:20:33.080 --> 0:20:35.720
<v Speaker 1>as a professional dropout of society kind.

0:20:35.560 --> 0:20:37.840
<v Speaker 2>Of right, But I mean, yeah, I don't know. I

0:20:37.920 --> 0:20:40.720
<v Speaker 2>was gonna just say that, like the cost of living

0:20:40.760 --> 0:20:44.080
<v Speaker 2>there just skyrocketed after you know, the Internet boom and

0:20:44.119 --> 0:20:46.119
<v Speaker 2>stuff like all the I mean the guy that went

0:20:46.119 --> 0:20:47.840
<v Speaker 2>to high school with me started Yahoo and he was

0:20:47.920 --> 0:20:50.840
<v Speaker 2>like a billionaire so, and he was like one year

0:20:50.880 --> 0:20:53.119
<v Speaker 2>older than me, and I was like in his early twenties.

0:20:53.160 --> 0:20:54.000
<v Speaker 2>I think when he started it.

0:20:54.200 --> 0:20:55.399
<v Speaker 1>Were you nice to him in high school?

0:20:56.720 --> 0:20:58.360
<v Speaker 2>He was a one year older than me? But yeah,

0:20:58.480 --> 0:21:02.080
<v Speaker 2>my my stepmom actually worked for him and she said, oh,

0:21:02.440 --> 0:21:04.200
<v Speaker 2>I asked him about you here, remember you? But you

0:21:04.240 --> 0:21:06.560
<v Speaker 2>know I wasn't really Yeah, I didn't know.

0:21:06.600 --> 0:21:10.200
<v Speaker 1>I'm like that, Okay, So what were your hip hop

0:21:10.640 --> 0:21:12.240
<v Speaker 1>experience experiences early? Yeah?

0:21:12.240 --> 0:21:14.159
<v Speaker 2>I mean I remember going to Chuck E Cheese and

0:21:15.160 --> 0:21:17.240
<v Speaker 2>they would have break dance contests and stuff there, but

0:21:17.320 --> 0:21:19.280
<v Speaker 2>it was all you know, it was more like breaking

0:21:19.320 --> 0:21:21.760
<v Speaker 2>in the quad pop locking. I mean we had the

0:21:21.800 --> 0:21:24.080
<v Speaker 2>pop locking more on the on the West Coast.

0:21:24.160 --> 0:21:24.280
<v Speaker 5>You know.

0:21:24.800 --> 0:21:26.680
<v Speaker 6>I love hearing a Chuck E Cheese story that didn't

0:21:26.760 --> 0:21:31.520
<v Speaker 6>end in violence. The Martin Luther King.

0:21:32.200 --> 0:21:34.399
<v Speaker 2>I mean, I just remember walking there as a fifteen

0:21:34.480 --> 0:21:36.080
<v Speaker 2>year old and then walking home and I ended up

0:21:36.080 --> 0:21:37.600
<v Speaker 2>not getting home till four in the morning. I thought

0:21:37.600 --> 0:21:39.680
<v Speaker 2>I was gonna get my ass beat, but like I

0:21:39.800 --> 0:21:42.480
<v Speaker 2>snuck in and my parents didn't hear me. But I

0:21:42.560 --> 0:21:44.680
<v Speaker 2>mean Egyptian Lover was the early show that I went to,

0:21:44.920 --> 0:21:47.680
<v Speaker 2>like that was eighty five. I went to the Fresh

0:21:47.760 --> 0:21:50.200
<v Speaker 2>Fest stuff like that. But you know, I guess I

0:21:50.520 --> 0:21:53.200
<v Speaker 2>learned about hip hop. I was into like funking soul

0:21:53.320 --> 0:21:57.359
<v Speaker 2>and then like I didn't know like the elements or anything,

0:21:57.440 --> 0:22:00.480
<v Speaker 2>but like Rappers Light when that came out, like even

0:22:00.560 --> 0:22:02.440
<v Speaker 2>like double Dutch Bus, Like to me, I thought that

0:22:02.560 --> 0:22:03.800
<v Speaker 2>was hip hop. As a kid, I didn't know the

0:22:03.840 --> 0:22:06.800
<v Speaker 2>difference really, like they were just both wrapping over a

0:22:06.880 --> 0:22:10.040
<v Speaker 2>disco trap. And then kind of learned a little later.

0:22:10.200 --> 0:22:12.359
<v Speaker 1>So it wasn't like older cousins or an uncle that

0:22:12.560 --> 0:22:15.080
<v Speaker 1>sort of trickled down the information to you, Like who

0:22:16.000 --> 0:22:17.640
<v Speaker 1>mentors I'm the older uncle?

0:22:18.000 --> 0:22:21.600
<v Speaker 2>Oh, I mean yeah. My parents. My dad was into Sinatra,

0:22:21.960 --> 0:22:24.400
<v Speaker 2>you know, rest in peace to Sinatra and my father,

0:22:24.560 --> 0:22:28.280
<v Speaker 2>but my mom was into show tombs. But my my

0:22:28.720 --> 0:22:32.760
<v Speaker 2>my mom's dad was a jazz bass player. He was

0:22:32.800 --> 0:22:38.639
<v Speaker 2>an upright bassist and he played. Actually Duke Ellington would

0:22:38.680 --> 0:22:42.320
<v Speaker 2>come to his dad's restaurant and then he let my

0:22:42.400 --> 0:22:45.440
<v Speaker 2>grandpa play piano and my grandpa was nine years old

0:22:45.440 --> 0:22:47.120
<v Speaker 2>and then he just fell in love with jazz after

0:22:47.240 --> 0:22:49.680
<v Speaker 2>that and played with Dizzy Gillespie. And a lot of

0:22:49.920 --> 0:22:53.240
<v Speaker 2>you know, a lot of the greats, but he always struggled.

0:22:53.320 --> 0:22:57.440
<v Speaker 2>My mom had seven brothers and they were always dirt poor,

0:22:57.560 --> 0:22:59.200
<v Speaker 2>and so my mom didn't really want me going in

0:22:59.240 --> 0:23:01.680
<v Speaker 2>the music industry because you know, my grandpa never made

0:23:01.840 --> 0:23:03.720
<v Speaker 2>money and music it was more like a hobby.

0:23:05.359 --> 0:23:09.040
<v Speaker 1>So but yet you wound up in the same then, yeah,

0:23:09.240 --> 0:23:10.720
<v Speaker 1>predicament kind of.

0:23:11.119 --> 0:23:14.520
<v Speaker 2>I mean, I mean, honestly, like when me and Charisma

0:23:14.640 --> 0:23:16.680
<v Speaker 2>got signed, when we got signed to the major label,

0:23:16.720 --> 0:23:18.760
<v Speaker 2>I was still in college and my mom was like,

0:23:18.840 --> 0:23:21.200
<v Speaker 2>you got to you gotta finish school, and you know,

0:23:21.280 --> 0:23:22.840
<v Speaker 2>I was like, no, I don't, I don't care.

0:23:23.119 --> 0:23:24.240
<v Speaker 1>You know, where did you go to college.

0:23:24.680 --> 0:23:27.439
<v Speaker 2>I was in San Jose State and I ended up

0:23:27.440 --> 0:23:30.280
<v Speaker 2>getting my degree in marketing. And my label is like

0:23:30.560 --> 0:23:36.040
<v Speaker 2>it helps, I know, experience. Yeah, I don't really run

0:23:36.119 --> 0:23:38.760
<v Speaker 2>my label in a marketing sense so much, I think,

0:23:38.880 --> 0:23:41.040
<v Speaker 2>or it's like the anti marketing label. But so you're

0:23:41.080 --> 0:23:44.520
<v Speaker 2>the herb output of maybe A and M operation where

0:23:44.600 --> 0:23:47.200
<v Speaker 2>you just yeah, I don't know his story.

0:23:47.280 --> 0:23:50.240
<v Speaker 6>What was well, you know, Moss, Jerry Moss.

0:23:50.080 --> 0:23:50.959
<v Speaker 1>He was the business guy.

0:23:51.840 --> 0:23:54.840
<v Speaker 2>Yeah, yeah, yeah, I mean, yeah, I'm real passionate about

0:23:54.880 --> 0:23:58.879
<v Speaker 2>the creative. I get into arguments with the guys at

0:23:58.880 --> 0:24:00.800
<v Speaker 2>the label sometimes about that, but yeah, no, I mean

0:24:00.840 --> 0:24:02.680
<v Speaker 2>I leave the business to them more. And you know,

0:24:02.840 --> 0:24:06.360
<v Speaker 2>it's the checks and balances I have, like people all

0:24:06.560 --> 0:24:09.040
<v Speaker 2>like working and so it's I don't know, I feel

0:24:09.160 --> 0:24:11.560
<v Speaker 2>like my team, I'm really I trust them and stuff.

0:24:11.640 --> 0:24:12.560
<v Speaker 1>So were you?

0:24:13.400 --> 0:24:16.879
<v Speaker 7>I was, so how many operation? How big is the

0:24:16.920 --> 0:24:17.560
<v Speaker 7>stones operation?

0:24:17.640 --> 0:24:17.680
<v Speaker 4>That?

0:24:17.840 --> 0:24:17.879
<v Speaker 11>Like?

0:24:17.920 --> 0:24:18.879
<v Speaker 1>Who are the people?

0:24:19.000 --> 0:24:21.359
<v Speaker 2>There's like ten, there's like ten to twelve people like

0:24:21.760 --> 0:24:24.520
<v Speaker 2>in our office. Yeah, we have some interns and then

0:24:24.720 --> 0:24:27.960
<v Speaker 2>we have like a small operation in Europe and then

0:24:28.200 --> 0:24:29.399
<v Speaker 2>Japan and.

0:24:29.440 --> 0:24:31.840
<v Speaker 7>So you handle the music, and then how many other

0:24:31.840 --> 0:24:33.679
<v Speaker 7>people you have kind of handling the business?

0:24:33.720 --> 0:24:33.960
<v Speaker 1>I guess.

0:24:34.200 --> 0:24:35.920
<v Speaker 2>I mean there's like three or four kind of like

0:24:36.200 --> 0:24:40.280
<v Speaker 2>doing different aspects of marketing. And then yeah, just traditional

0:24:40.400 --> 0:24:42.720
<v Speaker 2>like you know in our director and GM.

0:24:44.320 --> 0:24:46.800
<v Speaker 7>So with y'all stuff like in terms of signing artists

0:24:46.880 --> 0:24:49.440
<v Speaker 7>or putting records out? Is it just you find something

0:24:49.520 --> 0:24:51.880
<v Speaker 7>you like it, and it's like, yo, that's where I'm pickheaded.

0:24:51.920 --> 0:24:54.000
<v Speaker 7>I'm like, I like this, and you guys, if you

0:24:54.080 --> 0:24:56.399
<v Speaker 7>don't like it, I'm sorry. I mean it's you know,

0:24:56.440 --> 0:24:58.760
<v Speaker 7>I'm not like a dictator about it. But like they yeah,

0:24:58.920 --> 0:24:59.760
<v Speaker 7>they're they're pretty cool.

0:25:00.200 --> 0:25:03.760
<v Speaker 2>But I mean, honestly, like it's it makes it's so

0:25:03.920 --> 0:25:06.560
<v Speaker 2>much better when the staff likes it too, because they're

0:25:06.600 --> 0:25:08.800
<v Speaker 2>working in it, you know. I mean if they're not

0:25:09.040 --> 0:25:10.680
<v Speaker 2>really if their heart's not into it, then they're not

0:25:10.760 --> 0:25:11.520
<v Speaker 2>going to work it as hard.

0:25:11.600 --> 0:25:13.960
<v Speaker 1>So from my experiences working at a major label, that

0:25:14.080 --> 0:25:14.640
<v Speaker 1>is very true.

0:25:14.720 --> 0:25:16.440
<v Speaker 2>Yeah, and that's why I like the people that I hired.

0:25:16.440 --> 0:25:18.480
<v Speaker 2>They're really into the same music that I'm into, you know,

0:25:18.640 --> 0:25:21.320
<v Speaker 2>not necessarily good or bad music, but the same music.

0:25:21.680 --> 0:25:27.280
<v Speaker 11>Because promoting Nelly albums, it's wearing on your soul. What

0:25:27.480 --> 0:25:29.920
<v Speaker 11>kind of alum Nelly? He used to work for Universal

0:25:29.960 --> 0:25:32.680
<v Speaker 11>back in the day, So like that question, you worked Nelly?

0:25:32.760 --> 0:25:34.600
<v Speaker 11>Did you work the Ali Heavy Starts album?

0:25:35.160 --> 0:25:36.399
<v Speaker 1>Or were you out there? I was?

0:25:36.480 --> 0:25:39.080
<v Speaker 7>I was out I was out by he was out

0:25:39.119 --> 0:25:39.760
<v Speaker 7>by Heavy Starts.

0:25:39.960 --> 0:25:49.159
<v Speaker 1>Okay, so starting starting the label, yeah one, Why did

0:25:49.200 --> 0:25:50.480
<v Speaker 1>you feel it was necessary to.

0:25:52.040 --> 0:25:54.159
<v Speaker 2>Start your I mean I never wanted to be a

0:25:54.240 --> 0:25:58.720
<v Speaker 2>label guy, like, especially when the four thousand and eighty rule,

0:25:58.800 --> 0:26:00.680
<v Speaker 2>you know, like a company people shady. I'm like, I

0:26:00.680 --> 0:26:01.800
<v Speaker 2>didn't want to be on that side of it.

0:26:02.480 --> 0:26:05.159
<v Speaker 1>But that's why I joined the music business, so I

0:26:05.200 --> 0:26:06.280
<v Speaker 1>could not be shady.

0:26:06.200 --> 0:26:08.280
<v Speaker 2>Right, I mean that was the thing. Like actually the

0:26:08.320 --> 0:26:10.560
<v Speaker 2>first several years of Stone Strow, I didn't have contracts

0:26:10.600 --> 0:26:12.719
<v Speaker 2>with any of the artists, and I had a an

0:26:12.720 --> 0:26:15.000
<v Speaker 2>attorney that was like, are you crazy, Like you know,

0:26:15.080 --> 0:26:16.840
<v Speaker 2>you got to protect yourself, and I'm like, oh, I'm

0:26:16.880 --> 0:26:18.680
<v Speaker 2>all on her system. You know. I know if I

0:26:18.760 --> 0:26:20.960
<v Speaker 2>treat my artists right, they're going to stay with me.

0:26:21.760 --> 0:26:28.520
<v Speaker 2>And when that backfire, yeah yeah, now I think, I mean,

0:26:29.200 --> 0:26:31.000
<v Speaker 2>you know that it's going to backfire with or without

0:26:31.000 --> 0:26:32.960
<v Speaker 2>a contract if you can only take an artist to

0:26:33.000 --> 0:26:35.960
<v Speaker 2>a certain level. And you know, people, it's the tendency

0:26:36.000 --> 0:26:40.800
<v Speaker 2>I think is that the grass is greener, you know,

0:26:41.000 --> 0:26:41.879
<v Speaker 2>Like so.

0:26:42.640 --> 0:26:46.320
<v Speaker 6>I don't think so though, No, the grass is never green.

0:26:47.160 --> 0:26:48.800
<v Speaker 2>You're saying, you don't think people think that way. But

0:26:48.880 --> 0:26:51.080
<v Speaker 2>I know I've had I have artists leaves and sow

0:26:51.119 --> 0:26:53.240
<v Speaker 2>for major labels and then yeah, and then they come back,

0:26:53.359 --> 0:26:55.240
<v Speaker 2>yeah yeah, yeah, all right yeah and they come back.

0:26:55.320 --> 0:26:58.720
<v Speaker 2>But well, I mean I've always been the artist, I

0:26:58.800 --> 0:27:01.440
<v Speaker 2>mean the music fan that kind of jumps around and

0:27:01.520 --> 0:27:03.399
<v Speaker 2>like I'm always trying to discover the next thing. So

0:27:03.600 --> 0:27:06.560
<v Speaker 2>for me, like my homie that I grew up with.

0:27:06.680 --> 0:27:10.360
<v Speaker 2>We like he would buy all ten art ten albums

0:27:10.440 --> 0:27:12.520
<v Speaker 2>by the same artist, and I was always looking for

0:27:12.640 --> 0:27:15.680
<v Speaker 2>something new. And there's not right or wrong in either one.

0:27:15.800 --> 0:27:18.520
<v Speaker 2>I mean, I guess maybe more right as being loyal

0:27:18.640 --> 0:27:21.240
<v Speaker 2>to that artist and buying all ten albums, But I

0:27:21.359 --> 0:27:24.480
<v Speaker 2>was always jumping around. So when an artist leaves Stone's Throw,

0:27:25.680 --> 0:27:28.520
<v Speaker 2>it's still I mean, I kind of understand, you know,

0:27:29.000 --> 0:27:31.920
<v Speaker 2>why they're doing that, and I'm still busy, like trying

0:27:31.960 --> 0:27:32.760
<v Speaker 2>to find the next thing.

0:27:32.920 --> 0:27:36.480
<v Speaker 1>So well, Yeah, as I say at the top, I

0:27:36.560 --> 0:27:39.840
<v Speaker 1>think in your specific case, I feel like Stone's Throw,

0:27:41.000 --> 0:27:45.560
<v Speaker 1>the legacy is almost the star of the operation, as

0:27:45.640 --> 0:27:49.440
<v Speaker 1>opposed to you know, if you have a particular franchise

0:27:49.560 --> 0:27:53.200
<v Speaker 1>artist that shines for a while or whatever. But I

0:27:53.280 --> 0:27:56.399
<v Speaker 1>feel like, like for me, I'm at the I'm at

0:27:56.480 --> 0:27:59.280
<v Speaker 1>the rate now where if it's a new artist on

0:27:59.440 --> 0:28:02.879
<v Speaker 1>stones Throw, I trust it because you know, the.

0:28:02.960 --> 0:28:05.040
<v Speaker 7>Logo carrier weight more so than the artists.

0:28:05.200 --> 0:28:08.000
<v Speaker 2>Yeah, and you and I have similar tastes of music,

0:28:08.080 --> 0:28:10.359
<v Speaker 2>so you know, I feel good like showing you my

0:28:10.520 --> 0:28:13.040
<v Speaker 2>music or the music I'm involved in, and I feel

0:28:13.119 --> 0:28:14.160
<v Speaker 2>like you generally.

0:28:13.880 --> 0:28:17.120
<v Speaker 1>Will like it and stuff. But so but in the beginning,

0:28:17.280 --> 0:28:20.720
<v Speaker 1>did you in ninety six did you imagine that twenty

0:28:20.800 --> 0:28:23.640
<v Speaker 1>years later it would wind up into the operation.

0:28:23.359 --> 0:28:26.320
<v Speaker 2>That never had a twenty year plan. And I don't

0:28:26.359 --> 0:28:27.800
<v Speaker 2>know if I would have thought it would have been

0:28:27.840 --> 0:28:29.680
<v Speaker 2>bigger or smaller or if.

0:28:29.920 --> 0:28:32.280
<v Speaker 1>Yeah, So when it first started, was it the it

0:28:32.400 --> 0:28:35.760
<v Speaker 1>was out the trunk, in the in the kitchen we started.

0:28:35.840 --> 0:28:38.000
<v Speaker 2>We started like really in the DJ community and the

0:28:38.040 --> 0:28:41.560
<v Speaker 2>turntable is community specifically, like in the Bay Area in

0:28:42.040 --> 0:28:45.080
<v Speaker 2>the mid to late nineties, there was a big turntableism

0:28:45.160 --> 0:28:48.160
<v Speaker 2>thing happening with Cubert and Scratch Pickles. Yeah, the whole

0:28:48.200 --> 0:28:52.320
<v Speaker 2>scratch Pickles. One of the guys de styles that was

0:28:52.840 --> 0:28:56.800
<v Speaker 2>in Cubert's group. He was dating my sister when I

0:28:56.920 --> 0:28:58.680
<v Speaker 2>was the older brother that was a little like upset.

0:28:58.720 --> 0:29:00.320
<v Speaker 2>They were like twelve or thirteen or something, and so

0:29:01.200 --> 0:29:02.600
<v Speaker 2>he was asking me how to teach him how to

0:29:02.640 --> 0:29:04.440
<v Speaker 2>scratch and I'm like no, And then now he likes

0:29:04.440 --> 0:29:07.800
<v Speaker 2>scratched like circles. Oh yeah, oh yeah, I'll tell you

0:29:09.360 --> 0:29:12.680
<v Speaker 2>in five And I could never I could never like

0:29:12.920 --> 0:29:14.280
<v Speaker 2>go where he goes with it. But you know, he

0:29:14.360 --> 0:29:16.640
<v Speaker 2>really stuck with that, and I kind of jumped around

0:29:16.680 --> 0:29:19.760
<v Speaker 2>and did different things. But back to what I was

0:29:20.080 --> 0:29:23.160
<v Speaker 2>trying to say was in the late nineties, it was

0:29:23.240 --> 0:29:26.760
<v Speaker 2>really like a lot of turntables and going on in

0:29:26.800 --> 0:29:28.720
<v Speaker 2>the area. That's something that we had to edge over

0:29:29.160 --> 0:29:31.440
<v Speaker 2>a lot of other areas. And Hubert was putting his

0:29:31.520 --> 0:29:34.160
<v Speaker 2>records out. We put out this record called super Duct

0:29:34.200 --> 0:29:36.920
<v Speaker 2>Breaks and that really it was in all the all

0:29:36.960 --> 0:29:39.400
<v Speaker 2>the DJs would use it in their battles and you

0:29:39.440 --> 0:29:40.160
<v Speaker 2>would look at.

0:29:40.280 --> 0:29:44.360
<v Speaker 1>All the noise that was always cut number three.

0:29:47.960 --> 0:29:48.440
<v Speaker 7>Straight up.

0:29:48.680 --> 0:29:50.719
<v Speaker 2>Yeah. But okay, So what I was going to say, like, well,

0:29:50.760 --> 0:29:52.600
<v Speaker 2>go ahead, No, no, I'm like trying to lead the

0:29:52.640 --> 0:29:58.640
<v Speaker 2>interview now, no, no, But like I just remember like

0:29:58.800 --> 0:30:02.480
<v Speaker 2>DJs would watch the other DJs and it would say

0:30:02.520 --> 0:30:05.200
<v Speaker 2>stones throw on the on the record, like really big,

0:30:05.440 --> 0:30:08.640
<v Speaker 2>and that was just something that the design guy like

0:30:08.800 --> 0:30:10.480
<v Speaker 2>came up with and I didn't really think about it,

0:30:10.560 --> 0:30:13.080
<v Speaker 2>but people would watch these DJs and they would see

0:30:13.080 --> 0:30:14.480
<v Speaker 2>the stones throw really big and they go, what is

0:30:14.600 --> 0:30:15.120
<v Speaker 2>stoneses throw?

0:30:15.400 --> 0:30:15.560
<v Speaker 1>You know?

0:30:15.640 --> 0:30:19.040
<v Speaker 2>We so we really like we put out the charisma

0:30:19.120 --> 0:30:21.760
<v Speaker 2>thing that had never come out, and the DJs were

0:30:21.800 --> 0:30:24.240
<v Speaker 2>all using that and really me being part of that

0:30:24.360 --> 0:30:27.200
<v Speaker 2>DJ scene like that was my Rolodex was only like

0:30:27.840 --> 0:30:30.680
<v Speaker 2>battle DJs and beat junkies stuff like that. So I'd

0:30:30.720 --> 0:30:33.040
<v Speaker 2>send them all the records and they would all support it.

0:30:33.320 --> 0:30:34.840
<v Speaker 2>And you know, at that time, it was like a

0:30:34.920 --> 0:30:37.480
<v Speaker 2>vinyl only label. It was before there was iTunes or

0:30:38.080 --> 0:30:39.240
<v Speaker 2>any streaming or any of that.

0:30:39.840 --> 0:30:45.280
<v Speaker 1>So back then, when you're starting a label, how many

0:30:45.520 --> 0:30:50.040
<v Speaker 1>records would you have to push in order to justify

0:30:50.560 --> 0:30:54.680
<v Speaker 1>staying in business and not losing money? And because I

0:30:54.760 --> 0:30:57.400
<v Speaker 1>still feel like it's a very specific small community you

0:30:57.480 --> 0:31:00.400
<v Speaker 1>have to cater to. Yeah, and if you're you know,

0:31:00.520 --> 0:31:04.560
<v Speaker 1>handing me two copies and the next act that's in

0:31:04.640 --> 0:31:05.840
<v Speaker 1>town two copies too, you know.

0:31:05.960 --> 0:31:07.880
<v Speaker 2>Yeah, it was all doubles. But I mean that's why

0:31:07.960 --> 0:31:10.160
<v Speaker 2>we sold so many units too, Like you're selling two

0:31:10.320 --> 0:31:14.120
<v Speaker 2>copies of every record, and then like the records the

0:31:14.200 --> 0:31:17.720
<v Speaker 2>pressing plant we used, they would like wear out really quickly.

0:31:17.760 --> 0:31:20.320
<v Speaker 2>And I didn't even realize that. Like Hubert's records were

0:31:20.360 --> 0:31:23.160
<v Speaker 2>at RTI and those ones you can scratch and scratch

0:31:23.200 --> 0:31:25.280
<v Speaker 2>and it never gets messed up. And we were using

0:31:25.360 --> 0:31:27.800
<v Speaker 2>Raymo and you scratch it like three times and you

0:31:27.920 --> 0:31:30.160
<v Speaker 2>ruin the record. So they had to keep coming back

0:31:30.200 --> 0:31:32.960
<v Speaker 2>and buying it over and over again like apples.

0:31:42.680 --> 0:31:45.360
<v Speaker 6>That's smart, keep them coming back, all right, I gotta

0:31:45.360 --> 0:31:46.000
<v Speaker 6>remember that one.

0:31:46.840 --> 0:31:49.200
<v Speaker 2>So what was what was the first sold one hundred

0:31:49.200 --> 0:31:52.400
<v Speaker 2>thousand of the super Breaks or something something crazy like that.

0:31:52.600 --> 0:31:58.160
<v Speaker 1>You know, So then to your first official musical release.

0:31:58.600 --> 0:32:01.680
<v Speaker 1>First of all, what right? What means you decide to

0:32:03.240 --> 0:32:07.959
<v Speaker 1>to jump just from battle Break material to yeah? I mean,

0:32:08.000 --> 0:32:09.440
<v Speaker 1>I guess. So.

0:32:09.560 --> 0:32:11.200
<v Speaker 2>I was working at a distributor at the time too,

0:32:11.240 --> 0:32:13.920
<v Speaker 2>and they were doing mostly house music, and I came

0:32:13.960 --> 0:32:16.800
<v Speaker 2>to the guy and I said, I want to start

0:32:16.800 --> 0:32:19.200
<v Speaker 2>a hip hop division here. And the company was called TRC.

0:32:19.400 --> 0:32:23.280
<v Speaker 2>And the guy's like, okay, name ten hip hop releases

0:32:23.280 --> 0:32:24.920
<v Speaker 2>that you like right now, and I totally froze up.

0:32:24.960 --> 0:32:28.280
<v Speaker 2>I'm like really bad in interviews, and I named like three,

0:32:28.320 --> 0:32:30.280
<v Speaker 2>and he's like, you're going to start a hip hop division.

0:32:30.320 --> 0:32:32.240
<v Speaker 2>I can name ten and I don't even like hip hop.

0:32:33.040 --> 0:32:34.680
<v Speaker 2>So I was like, all right, I didn't get this job.

0:32:34.800 --> 0:32:37.000
<v Speaker 2>And you know, I wrote a nice thing afterwards like

0:32:37.120 --> 0:32:39.000
<v Speaker 2>I still think I'm the guy and blah blah blah,

0:32:39.040 --> 0:32:42.240
<v Speaker 2>and he hired me, and like, through that job, I

0:32:42.400 --> 0:32:45.080
<v Speaker 2>really like taught me like everything I wanted to know

0:32:45.120 --> 0:32:48.760
<v Speaker 2>about the music industry. And Stone's Throw started out as

0:32:48.840 --> 0:32:52.800
<v Speaker 2>an extension at TRC. But TRC the problem with that was,

0:32:53.000 --> 0:32:55.600
<v Speaker 2>like I was taking all these labels in and selling

0:32:55.720 --> 0:32:59.800
<v Speaker 2>thousands of units, but they weren't paying, like the guys

0:33:00.240 --> 0:33:02.360
<v Speaker 2>you know at the head of the distributor, We're not

0:33:02.440 --> 0:33:04.800
<v Speaker 2>paying the labels. So it was kind of turnishing my

0:33:04.960 --> 0:33:07.960
<v Speaker 2>image or my relationship with guys that I knew. So

0:33:08.120 --> 0:33:10.120
<v Speaker 2>I kind of jumped out of there and I started

0:33:10.160 --> 0:33:12.320
<v Speaker 2>Stump Store at that time, so you.

0:33:12.440 --> 0:33:15.880
<v Speaker 1>Were almost part of industry rule forty yeah, I.

0:33:15.960 --> 0:33:19.280
<v Speaker 2>Was becoming the forty eight. And then they went under

0:33:19.320 --> 0:33:20.800
<v Speaker 2>and they went into porn and then I don't know

0:33:20.840 --> 0:33:22.800
<v Speaker 2>what they do now, but damn.

0:33:23.600 --> 0:33:26.840
<v Speaker 6>So what was the first album official album release on

0:33:27.280 --> 0:33:27.760
<v Speaker 6>Stone Star.

0:33:28.520 --> 0:33:32.720
<v Speaker 2>I think, well, hmmm, it was this thing called Fanatic

0:33:32.760 --> 0:33:35.320
<v Speaker 2>Beats and it was just like a breakbeat record, just

0:33:35.440 --> 0:33:38.920
<v Speaker 2>instrumental hip hop, but I mean like more yeah yeahs

0:33:39.560 --> 0:33:42.600
<v Speaker 2>or with Volte rappers Vocalus on top. Like I think

0:33:42.720 --> 0:33:46.040
<v Speaker 2>Rascoe was one of the early ones and was the

0:33:46.120 --> 0:33:50.800
<v Speaker 2>Cala the cal Asian, but Kelly Agents are two guys

0:33:50.880 --> 0:33:54.800
<v Speaker 2>Rascal and Planet Asia and then Asia I did an

0:33:54.920 --> 0:33:57.560
<v Speaker 2>artist album called My Vinyl Ways a ton in like

0:33:57.760 --> 0:34:00.920
<v Speaker 2>ninety seven around like the early days of Stamps Throw

0:34:01.080 --> 0:34:03.840
<v Speaker 2>and I had Planet Asia on two tracks on that

0:34:03.920 --> 0:34:06.640
<v Speaker 2>and that was kind of like what started like his stuff,

0:34:06.840 --> 0:34:10.200
<v Speaker 2>and then I remember he was Onre's Well the Dray

0:34:10.239 --> 0:34:13.200
<v Speaker 2>thing happened later, but he was on he was on

0:34:13.320 --> 0:34:15.960
<v Speaker 2>Sway and they had him battle against Eminem and that

0:34:16.719 --> 0:34:18.640
<v Speaker 2>that was like Eminem's first time on the radio and

0:34:18.680 --> 0:34:22.440
<v Speaker 2>he blew up and then Asia kind of got notice

0:34:22.480 --> 0:34:22.920
<v Speaker 2>from that too.

0:34:23.320 --> 0:34:28.560
<v Speaker 1>Yeah, so for at least my perception of what underground

0:34:28.640 --> 0:34:32.000
<v Speaker 1>hip hop was at the time, What were your feelings

0:34:32.040 --> 0:34:34.480
<v Speaker 1>of being sort of pegged with every because there was

0:34:34.560 --> 0:34:38.600
<v Speaker 1>such an uprising, especially with fat beats developing in the

0:34:38.800 --> 0:34:44.200
<v Speaker 1>York and LA and Braucus and everything. So and how

0:34:44.280 --> 0:34:47.239
<v Speaker 1>were you able to get elbow room just to in

0:34:47.360 --> 0:34:48.320
<v Speaker 1>such a crowded space.

0:34:50.520 --> 0:34:52.799
<v Speaker 2>Well, I mean the early days, like we didn't get

0:34:52.880 --> 0:34:56.000
<v Speaker 2>much play on New York radio. I know Premiere did,

0:34:56.120 --> 0:34:56.920
<v Speaker 2>he played.

0:34:56.880 --> 0:34:59.160
<v Speaker 1>Not even with stretching Barbido.

0:35:00.320 --> 0:35:04.160
<v Speaker 2>Well, Barbido, yeah, they did. They supported some of our stuff,

0:35:04.200 --> 0:35:06.400
<v Speaker 2>but I remember like the Quasi model they didn't support

0:35:06.440 --> 0:35:10.120
<v Speaker 2>and I was like all upset about it, but really, yeah,

0:35:11.800 --> 0:35:12.960
<v Speaker 2>probably did eventually, I don't know.

0:35:13.400 --> 0:35:15.560
<v Speaker 1>Well, I mean there was a period, especially when Stretch

0:35:15.719 --> 0:35:22.400
<v Speaker 1>Armstrong left the show. I try to keep up with Bobido, like,

0:35:22.480 --> 0:35:24.400
<v Speaker 1>you know, because I was one of those listeners that

0:35:24.480 --> 0:35:27.520
<v Speaker 1>would listen to the show and you know, whenever he

0:35:27.640 --> 0:35:29.680
<v Speaker 1>played and he would mention who you know, I go

0:35:29.760 --> 0:35:32.200
<v Speaker 1>out and buy it, and then I go to Fat Beats,

0:35:32.280 --> 0:35:34.640
<v Speaker 1>especially back then, like because Rich Medina had his own

0:35:35.120 --> 0:35:38.680
<v Speaker 1>Fat Beats division and Philly and Rich would just give

0:35:38.719 --> 0:35:41.600
<v Speaker 1>me like seven hundred dollars worth of underground hip hop

0:35:41.719 --> 0:35:46.040
<v Speaker 1>that I wouldn't even open, like it was just too overwhelming.

0:35:46.280 --> 0:35:47.720
<v Speaker 2>Are you still sitting on those records?

0:35:48.160 --> 0:35:48.359
<v Speaker 1>Yeah?

0:35:48.400 --> 0:35:49.600
<v Speaker 6>Hell yeah, I'm still sitting on it.

0:35:49.920 --> 0:35:55.000
<v Speaker 1>Like I know that any underground and the release between

0:35:56.120 --> 0:35:59.719
<v Speaker 1>ninety six in two thousand and two, like I just

0:35:59.800 --> 0:36:01.920
<v Speaker 1>took him because I just go to Rich mcden and

0:36:01.960 --> 0:36:03.439
<v Speaker 1>be like, all right, give me what I need. Okay,

0:36:03.480 --> 0:36:04.960
<v Speaker 1>you need two of these and six of these and

0:36:05.040 --> 0:36:08.800
<v Speaker 1>two of these and which is how I ran? Is

0:36:08.840 --> 0:36:10.200
<v Speaker 1>it a Lupac thing? Right?

0:36:10.239 --> 0:36:12.080
<v Speaker 2>I was gonna say maybe Lupac was the first thing

0:36:12.160 --> 0:36:15.520
<v Speaker 2>that like probably stretching Barbido and you know, okay.

0:36:15.680 --> 0:36:17.520
<v Speaker 7>And how did you meet those guys? How did the

0:36:18.040 --> 0:36:19.480
<v Speaker 7>Loupac connection.

0:36:19.560 --> 0:36:19.920
<v Speaker 1>How did it?

0:36:20.160 --> 0:36:22.560
<v Speaker 2>Well, I was listening to college radio and they were

0:36:22.600 --> 0:36:27.840
<v Speaker 2>playing a Lupac song. So Lupac the label was funded

0:36:27.880 --> 0:36:31.399
<v Speaker 2>by Madlib's dad, and yeah, Madlub's dad was a soul

0:36:31.480 --> 0:36:35.279
<v Speaker 2>singer in the sixties. That makes really like good, like

0:36:35.400 --> 0:36:39.400
<v Speaker 2>sweet soul stuff. I have a story about that too.

0:36:39.480 --> 0:36:43.000
<v Speaker 2>But well, I mean, I just I was just thinking

0:36:43.080 --> 0:36:44.840
<v Speaker 2>as I was talking about it. Like I remember I

0:36:44.960 --> 0:36:47.319
<v Speaker 2>was in a record store with Madlib in the UK

0:36:47.480 --> 0:36:49.360
<v Speaker 2>and it was like just a lot out. They were

0:36:49.360 --> 0:36:51.000
<v Speaker 2>playing a lot of old soul and you know, we

0:36:51.080 --> 0:36:52.640
<v Speaker 2>were buying records. We were in there for maybe three

0:36:52.719 --> 0:36:55.719
<v Speaker 2>or four hours, and then Madlib's dad's song comes on

0:36:56.560 --> 0:36:58.840
<v Speaker 2>and mad Lib's like, Hey, that's my dad, Like he

0:36:58.960 --> 0:37:02.080
<v Speaker 2>told the good store guy. Like mad Lib is, he'll

0:37:02.160 --> 0:37:05.279
<v Speaker 2>never brag about anything that he does, you know, he's

0:37:05.320 --> 0:37:07.480
<v Speaker 2>always like really low key, but because it was his dad,

0:37:07.520 --> 0:37:09.879
<v Speaker 2>he's like, that's my dad. And the guy's all you're

0:37:10.040 --> 0:37:13.800
<v Speaker 2>Otis Jackson's son. I can't believe this. I'm meeting Otis

0:37:13.920 --> 0:37:16.680
<v Speaker 2>Jackson's son. And it was cool to hear mad live,

0:37:17.120 --> 0:37:18.880
<v Speaker 2>you know, as a son rather than.

0:37:18.840 --> 0:37:19.560
<v Speaker 1>Like this guy.

0:37:19.840 --> 0:37:21.400
<v Speaker 7>Yeah, I want my dad's reckless.

0:37:23.440 --> 0:37:26.839
<v Speaker 2>But yeah, so his his dad put out the first

0:37:26.920 --> 0:37:29.440
<v Speaker 2>twelve inch and they didn't have any distribution, and I

0:37:29.520 --> 0:37:31.799
<v Speaker 2>heard it on the radio and I called the radio

0:37:31.880 --> 0:37:33.319
<v Speaker 2>DJ and I was like, what is this? I want

0:37:33.360 --> 0:37:37.240
<v Speaker 2>this for the distributorship, and so I got the number.

0:37:37.280 --> 0:37:41.840
<v Speaker 2>I called what ended up being Madlive's dad, and you know,

0:37:41.960 --> 0:37:46.879
<v Speaker 2>he was super sweet, super cool dude, and I told

0:37:46.960 --> 0:37:49.759
<v Speaker 2>him about my label and stuff too, and they I

0:37:49.880 --> 0:37:51.200
<v Speaker 2>was up in the Bay Area at the time, and

0:37:51.320 --> 0:37:53.279
<v Speaker 2>they drove up to the Bay to meet with me,

0:37:53.440 --> 0:37:56.800
<v Speaker 2>and you know, that's that's kind of just how it started.

0:37:56.840 --> 0:37:58.960
<v Speaker 6>I guess was it Northern Solar? Like what kind of

0:37:59.120 --> 0:37:59.719
<v Speaker 6>music was he?

0:38:00.040 --> 0:38:01.319
<v Speaker 2>It was kind of Northern soul, I guess.

0:38:01.400 --> 0:38:07.120
<v Speaker 1>Yeah. Okay, So with the Lupac project, which is I'll say,

0:38:07.239 --> 0:38:12.080
<v Speaker 1>like the first time, I mean, even though, yeah, even

0:38:12.120 --> 0:38:15.359
<v Speaker 1>though that was why I started to ye, yeah, even

0:38:15.400 --> 0:38:19.800
<v Speaker 1>though I'm I'm borderline certain that I have been collecting

0:38:19.880 --> 0:38:25.600
<v Speaker 1>from all those fat beat trips. But my my Lupac story,

0:38:26.640 --> 0:38:29.040
<v Speaker 1>you know, for all of my like Dyla is god

0:38:29.880 --> 0:38:33.480
<v Speaker 1>folklore I've ever had. Yeah, I still crack up at

0:38:33.560 --> 0:38:36.400
<v Speaker 1>the seven days where I finally saw him as a

0:38:36.520 --> 0:38:42.160
<v Speaker 1>human being. Yeah, and you know, it was a two

0:38:42.320 --> 0:38:46.520
<v Speaker 1>a m. Call and I thought, okay, either I let

0:38:46.760 --> 0:38:49.919
<v Speaker 1>somebody a producer won't name right now.

0:38:52.680 --> 0:38:53.600
<v Speaker 6>Get his BT tape.

0:38:53.760 --> 0:38:57.360
<v Speaker 1>Oh, I know who you're talking about exactly. And he

0:38:57.560 --> 0:39:00.360
<v Speaker 1>was just like yo man, and I'm like thinking, like

0:39:00.480 --> 0:39:02.640
<v Speaker 1>for him to yo Mammy. I was like, yo, I'm

0:39:02.640 --> 0:39:05.719
<v Speaker 1>in trouble and he's like, yo man, I talked to

0:39:05.800 --> 0:39:10.120
<v Speaker 1>you yo man, Tylla this other guy la and I thought, oh, man,

0:39:10.160 --> 0:39:12.400
<v Speaker 1>I fucked up? Who did I did? He read an

0:39:12.400 --> 0:39:16.879
<v Speaker 1>Okay player post story. I was just like, he'said, dog Man,

0:39:17.480 --> 0:39:20.480
<v Speaker 1>fucked up. Man. He's like I met my match man.

0:39:21.560 --> 0:39:23.320
<v Speaker 1>It's just fucking with me. And I was like what

0:39:23.520 --> 0:39:27.239
<v Speaker 1>He's like dog Man loot pack And I was like who,

0:39:27.960 --> 0:39:31.040
<v Speaker 1>It's like loot pac Man. You gotta get it. So

0:39:32.000 --> 0:39:36.839
<v Speaker 1>the next day I went to Fat Beats and got

0:39:37.120 --> 0:39:38.360
<v Speaker 1>like four copies of it.

0:39:38.760 --> 0:39:39.880
<v Speaker 2>Wow and.

0:39:42.840 --> 0:39:48.520
<v Speaker 6>D okay, d Angelo what I'm trying to figure out

0:39:48.560 --> 0:39:51.080
<v Speaker 6>what song were we working on?

0:39:51.440 --> 0:39:52.600
<v Speaker 1>This is like the end.

0:39:53.600 --> 0:39:56.120
<v Speaker 6>It's like it wasn't ninety eight.

0:39:58.160 --> 0:40:02.360
<v Speaker 1>Yeah, so this was I know, the good portion of

0:40:02.440 --> 0:40:04.640
<v Speaker 1>ninety eight was just waiting for Lauren to come up

0:40:04.719 --> 0:40:08.320
<v Speaker 1>with whatever songs she was gonna not do not do it.

0:40:08.600 --> 0:40:09.279
<v Speaker 1>It's not clear.

0:40:11.040 --> 0:40:14.239
<v Speaker 6>And we sat there.

0:40:14.560 --> 0:40:18.759
<v Speaker 1>I said, yo, man, this My quote was yo, this

0:40:18.880 --> 0:40:23.520
<v Speaker 1>album is Dyla's kryptonite, Like this is fucking him up.

0:40:23.560 --> 0:40:25.480
<v Speaker 1>He's just fuck up in the game. And the thing

0:40:25.640 --> 0:40:28.080
<v Speaker 1>was we didn't get it at the time, like it

0:40:28.160 --> 0:40:30.400
<v Speaker 1>was just a language. We sat and listened to it

0:40:30.480 --> 0:40:33.719
<v Speaker 1>twice and resting, he was like, well, this isn't you know,

0:40:33.760 --> 0:40:36.440
<v Speaker 1>because we were like deep in the Dila funk by then,

0:40:36.560 --> 0:40:39.480
<v Speaker 1>we're we just don't get And when I ad, I said, so,

0:40:39.640 --> 0:40:42.000
<v Speaker 1>what elements are in this that's really fucking with you?

0:40:42.520 --> 0:40:44.920
<v Speaker 1>And he's like, Yo, he's speaking my language, Like whoever's

0:40:45.960 --> 0:40:48.839
<v Speaker 1>Matt lib is speaking my language right now. It's how

0:40:48.840 --> 0:40:51.240
<v Speaker 1>I'm saying, like, so, are there is there intricate stuff

0:40:51.320 --> 0:40:56.040
<v Speaker 1>that us mere mortals can't see that. He's absolutely he's

0:40:56.080 --> 0:40:58.520
<v Speaker 1>like he's doing stuff in this, in the in this

0:40:58.640 --> 0:41:01.400
<v Speaker 1>twelve hundred that yeah, it was I would think to

0:41:01.520 --> 0:41:04.640
<v Speaker 1>do yeah, and yeah, the fact he was the limitations

0:41:04.680 --> 0:41:05.759
<v Speaker 1>of the twelve hundred yea.

0:41:05.680 --> 0:41:07.520
<v Speaker 7>Yeah, it's like with ten second ten and a half

0:41:07.960 --> 0:41:08.719
<v Speaker 7>crazy yeah.

0:41:09.680 --> 0:41:09.879
<v Speaker 1>Yeah.

0:41:10.000 --> 0:41:12.359
<v Speaker 6>So I mean it took me a while to get

0:41:12.360 --> 0:41:16.200
<v Speaker 6>to it. But then because I wanted to the thing.

0:41:16.320 --> 0:41:18.000
<v Speaker 1>Once I was like, damn, if I can't see what

0:41:18.160 --> 0:41:22.279
<v Speaker 1>he sees, then I'm so below on yeah the level.

0:41:22.360 --> 0:41:24.160
<v Speaker 1>So I just kept listening record and kept listening, and

0:41:24.239 --> 0:41:26.800
<v Speaker 1>then I just became a genuine fan of Matt and anything.

0:41:26.840 --> 0:41:28.000
<v Speaker 6>And then you started sending me.

0:41:28.600 --> 0:41:30.160
<v Speaker 2>Well, one of one of the artists that I was

0:41:30.200 --> 0:41:31.840
<v Speaker 2>working with at the time, one of the other rappers,

0:41:31.920 --> 0:41:34.239
<v Speaker 2>like he didn't understand it either, and he's all, you're

0:41:34.360 --> 0:41:39.439
<v Speaker 2>signing this, He's signing these sucker m season like he's

0:41:39.520 --> 0:41:41.960
<v Speaker 2>like he was like, all really like more on the

0:41:42.239 --> 0:41:44.480
<v Speaker 2>you know, the lyricism stuff, but like they were just

0:41:44.600 --> 0:41:47.520
<v Speaker 2>more like creating a Yeah, it was a feel. It

0:41:47.600 --> 0:41:48.000
<v Speaker 2>was a feeling.

0:41:48.160 --> 0:41:50.359
<v Speaker 7>The first time we came to when a Little Brother

0:41:50.440 --> 0:41:55.240
<v Speaker 7>first came to LA, we did like an in store

0:41:55.239 --> 0:41:57.799
<v Speaker 7>at Stacks in Crito's that used to I don't even

0:41:57.800 --> 0:41:59.359
<v Speaker 7>think the story is there was a vinyl story.

0:41:59.400 --> 0:42:00.000
<v Speaker 2>Yeah I remember still.

0:42:00.120 --> 0:42:02.400
<v Speaker 7>Yes, it was out there and uh oh no and

0:42:02.480 --> 0:42:05.160
<v Speaker 7>wild Shot and they showed us love and that was

0:42:06.000 --> 0:42:08.359
<v Speaker 7>that was my first time meeting him. And I was like, yo, man,

0:42:08.440 --> 0:42:12.120
<v Speaker 7>that sound pieces like that was it fucked us up too? Yeah,

0:42:12.160 --> 0:42:14.040
<v Speaker 7>we were And that was one of the records when

0:42:14.040 --> 0:42:16.520
<v Speaker 7>we were making it listening that we listened to and

0:42:16.600 --> 0:42:19.040
<v Speaker 7>it was like, yeah, like this is this is it?

0:42:19.560 --> 0:42:21.920
<v Speaker 2>Well, I was going through the demos recently, like the

0:42:21.960 --> 0:42:24.400
<v Speaker 2>demo versions were all just recorded, you know, the way

0:42:24.520 --> 0:42:27.279
<v Speaker 2>Madlib wanted it, And then we went into like a

0:42:27.360 --> 0:42:32.560
<v Speaker 2>bigger studio and they like they've multi tracked everything and

0:42:32.680 --> 0:42:35.000
<v Speaker 2>mixed it different. And mad Lib is like just kind

0:42:35.040 --> 0:42:36.840
<v Speaker 2>of the nicest guy, Like he won't speak up for

0:42:36.920 --> 0:42:38.560
<v Speaker 2>what he wants sometimes, so you never really know what

0:42:38.640 --> 0:42:41.200
<v Speaker 2>he wants. And at least he was back then. And

0:42:42.520 --> 0:42:46.480
<v Speaker 2>so the engineer that did Luke Pack, he mixed it

0:42:46.560 --> 0:42:49.239
<v Speaker 2>a lot differently than the way Madlub's demo sounded. And

0:42:49.360 --> 0:42:51.400
<v Speaker 2>mad Lib cannot listen to the Luke Pac album. He

0:42:51.520 --> 0:42:54.840
<v Speaker 2>hates it because because of the sound sonically of it,

0:42:55.080 --> 0:42:58.600
<v Speaker 2>like everything's too perfect and clean for him.

0:42:58.719 --> 0:43:00.200
<v Speaker 1>Yeah, so like that.

0:43:04.360 --> 0:43:07.040
<v Speaker 2>Cleaned for the twelve hundred maybe, but but after that,

0:43:07.320 --> 0:43:10.360
<v Speaker 2>like everything was. He would never give people multi tracks.

0:43:10.440 --> 0:43:13.280
<v Speaker 2>So you know, I was trying to get madly beats

0:43:13.320 --> 0:43:15.560
<v Speaker 2>to like nas and Q Tip and you know, people

0:43:15.800 --> 0:43:19.359
<v Speaker 2>of the time and whatever. It couldn't it couldn't happen

0:43:19.440 --> 0:43:22.239
<v Speaker 2>because he wouldn't. He couldn't multi track it. And I

0:43:22.280 --> 0:43:24.080
<v Speaker 2>remember a de la like you know when they did

0:43:24.120 --> 0:43:26.680
<v Speaker 2>the shopping bags, like they wrote to it after I

0:43:26.760 --> 0:43:28.680
<v Speaker 2>gave them the just the two track of it, and

0:43:28.719 --> 0:43:30.239
<v Speaker 2>then they're like, all right, we need the multese and

0:43:30.400 --> 0:43:33.640
<v Speaker 2>like there are no multise and and so they were

0:43:33.719 --> 0:43:35.640
<v Speaker 2>like upset with me. Like I was kind of caught

0:43:35.680 --> 0:43:38.080
<v Speaker 2>in the middle because you know, it was a miscommunication

0:43:38.160 --> 0:43:39.960
<v Speaker 2>where they assumed that I was going to give a

0:43:40.080 --> 0:43:40.640
<v Speaker 2>multese on it.

0:43:40.800 --> 0:43:43.879
<v Speaker 7>Yeah. Every time I've ever done something madly, it's the same. Yeah,

0:43:43.960 --> 0:43:46.800
<v Speaker 7>and you just know, like whatever it is, which I

0:43:46.920 --> 0:43:49.640
<v Speaker 7>fuck with because it's like, I mean that works, it works,

0:43:49.840 --> 0:43:51.080
<v Speaker 7>I mean redo it.

0:43:51.200 --> 0:43:54.200
<v Speaker 2>So that's how that's how Mad Villain was recreated or

0:43:54.400 --> 0:43:57.279
<v Speaker 2>was created, it was not recreated. That's how you know

0:43:57.400 --> 0:44:00.000
<v Speaker 2>Jalab like pretty much all the quasi model all this stuff.

0:44:00.680 --> 0:44:04.320
<v Speaker 1>So describe him as an artist, like what was it

0:44:05.320 --> 0:44:11.120
<v Speaker 1>that you saw in him that really resonated and screened?

0:44:11.440 --> 0:44:13.359
<v Speaker 2>What I saw the most is that I just found

0:44:13.400 --> 0:44:15.759
<v Speaker 2>myself going back to his music and listening to it

0:44:15.880 --> 0:44:18.040
<v Speaker 2>over and over, like I had choices of what I

0:44:18.080 --> 0:44:20.200
<v Speaker 2>could listen to or either whether it's mad Lib or

0:44:20.239 --> 0:44:23.200
<v Speaker 2>something that's out on a label, or you know, someone

0:44:23.239 --> 0:44:25.279
<v Speaker 2>else's demo that I'm working with, and I just on

0:44:25.440 --> 0:44:28.600
<v Speaker 2>my personal time, I was always listening to his stuff

0:44:28.640 --> 0:44:31.279
<v Speaker 2>and he had so much of it too, And you know,

0:44:31.360 --> 0:44:34.920
<v Speaker 2>I think that's why we eventually like were like, well,

0:44:35.200 --> 0:44:36.840
<v Speaker 2>who else do you want to work with besides your

0:44:36.840 --> 0:44:40.080
<v Speaker 2>immediate crew, because you just have so much music. There's

0:44:40.160 --> 0:44:42.719
<v Speaker 2>so many albums that we can you know, help you

0:44:42.880 --> 0:44:46.520
<v Speaker 2>bring to fruition because he was always like shy, not

0:44:46.640 --> 0:44:49.040
<v Speaker 2>really you know, he was like in Luke Pac, like

0:44:49.280 --> 0:44:52.279
<v Speaker 2>wild Child was the really outgoing one, like you know,

0:44:52.360 --> 0:44:54.880
<v Speaker 2>he would go to shows and go to the artists, Hey,

0:44:54.960 --> 0:44:56.839
<v Speaker 2>I'm wild Child. You know this is blah blah blah,

0:44:57.480 --> 0:45:00.040
<v Speaker 2>and mad Lib was always just in the background. And

0:45:00.200 --> 0:45:02.640
<v Speaker 2>so you know, when Madlum told me he wanted to

0:45:02.680 --> 0:45:04.839
<v Speaker 2>work with Doom and Dila, then that was our job

0:45:04.960 --> 0:45:08.200
<v Speaker 2>to you know, find those two guys and make it happen.

0:45:08.440 --> 0:45:11.520
<v Speaker 1>So how did you find Doom and bring him to

0:45:11.560 --> 0:45:11.879
<v Speaker 1>the fold?

0:45:12.280 --> 0:45:14.919
<v Speaker 2>What was the right Yeah, well Doom, I mean yeah,

0:45:15.560 --> 0:45:19.280
<v Speaker 2>and all we showed that that was Doom the imposter.

0:45:20.080 --> 0:45:21.719
<v Speaker 2>Well there's a whole other version of the album. I

0:45:21.760 --> 0:45:24.120
<v Speaker 2>don't know if you ever heard it. But originally Doom

0:45:24.440 --> 0:45:28.200
<v Speaker 2>wrapped the whole album in like a hype tone and yeah,

0:45:28.440 --> 0:45:33.000
<v Speaker 2>and then that version leaked, and I don't know if

0:45:33.040 --> 0:45:35.279
<v Speaker 2>Doom just felt like since it leaked he was going

0:45:35.360 --> 0:45:38.520
<v Speaker 2>to redo the whole album or if I don't know,

0:45:38.600 --> 0:45:41.040
<v Speaker 2>but for whatever reason, he like went back and did

0:45:41.080 --> 0:45:44.360
<v Speaker 2>the whole album in a laid back way. And you know,

0:45:44.920 --> 0:45:47.719
<v Speaker 2>the initial response was like, oh, I liked him better hype,

0:45:47.760 --> 0:45:50.600
<v Speaker 2>Why did he do it? He ruined it? But then

0:45:50.680 --> 0:45:53.480
<v Speaker 2>for the people who never heard the hype version, they

0:45:53.600 --> 0:45:55.200
<v Speaker 2>really responded to it.

0:45:58.280 --> 0:45:58.960
<v Speaker 1>Yeah, I remember that.

0:46:00.200 --> 0:46:04.920
<v Speaker 2>But that album JLB Quas and several other albums were

0:46:04.920 --> 0:46:07.960
<v Speaker 2>all done at the same time using one hundred and

0:46:07.960 --> 0:46:11.000
<v Speaker 2>fifty beats that Madlib had put on three CDs. It

0:46:11.080 --> 0:46:13.279
<v Speaker 2>was like fifty beats per CD and it was all

0:46:13.360 --> 0:46:14.960
<v Speaker 2>like thirty second snippets and stuff.

0:46:15.120 --> 0:46:17.360
<v Speaker 6>What was his work process like to do it? Because

0:46:18.239 --> 0:46:19.680
<v Speaker 6>his beats are intricate.

0:46:19.440 --> 0:46:19.520
<v Speaker 7>Not.

0:46:21.200 --> 0:46:23.120
<v Speaker 2>And they're all done me so quickly. And he used

0:46:23.160 --> 0:46:28.120
<v Speaker 2>to live with another producer, you know, and that other

0:46:28.160 --> 0:46:30.279
<v Speaker 2>producer would spend so much time on a track and

0:46:30.360 --> 0:46:32.719
<v Speaker 2>Madlib would hear through the walls the same song over

0:46:32.760 --> 0:46:36.000
<v Speaker 2>and over again, and he would get so like frustrated

0:46:36.040 --> 0:46:38.040
<v Speaker 2>and like you know, like sick of hearing the same song,

0:46:38.080 --> 0:46:42.160
<v Speaker 2>and so mad libs he just everything is like ten

0:46:42.280 --> 0:46:44.279
<v Speaker 2>twenty minutes and then onto the next track, onto the

0:46:44.320 --> 0:46:44.960
<v Speaker 2>next track.

0:46:44.800 --> 0:46:44.960
<v Speaker 11>You know.

0:46:45.680 --> 0:46:50.080
<v Speaker 7>So when he brought you Quasimoto, like, yeah, what do you.

0:46:50.320 --> 0:46:50.680
<v Speaker 1>Do with that?

0:46:51.040 --> 0:46:53.640
<v Speaker 2>Well Quasimoto, Yeah, that was like on the back and

0:46:53.920 --> 0:46:56.720
<v Speaker 2>that wild Child gave me like a loop pack tape,

0:46:56.800 --> 0:46:58.839
<v Speaker 2>you know, and then Quasimoto happened to be on the back.

0:46:58.880 --> 0:47:01.279
<v Speaker 2>And then I asked mad Lib about Quasimotive and he's like, oh,

0:47:01.320 --> 0:47:03.320
<v Speaker 2>you weren't supposed to hear that, like he was embarrassed

0:47:03.440 --> 0:47:05.799
<v Speaker 2>or like. And then I was like, no, I want

0:47:05.840 --> 0:47:07.600
<v Speaker 2>to do that, like I love that, like.

0:47:08.080 --> 0:47:10.240
<v Speaker 1>You know, Unseen still one of my favorite.

0:47:10.400 --> 0:47:11.560
<v Speaker 7>No, that's the one. Yeah, that's it.

0:47:12.080 --> 0:47:15.120
<v Speaker 2>And that was that was the cassette. And the engineer

0:47:15.160 --> 0:47:17.160
<v Speaker 2>didn't want to mix it because he didn't want his

0:47:17.280 --> 0:47:17.680
<v Speaker 2>name on it.

0:47:18.200 --> 0:47:18.360
<v Speaker 1>You know.

0:47:18.480 --> 0:47:20.799
<v Speaker 2>It's like like I'll lose business if, you know, if

0:47:20.840 --> 0:47:22.360
<v Speaker 2>I put my name on this as the engineer. And

0:47:22.400 --> 0:47:23.600
<v Speaker 2>there's all that hiss and everything.

0:47:23.719 --> 0:47:25.359
<v Speaker 7>But so what was he what would he what were

0:47:25.400 --> 0:47:25.960
<v Speaker 7>they tracking on?

0:47:26.200 --> 0:47:28.279
<v Speaker 2>Like what would they was it there was a task

0:47:29.120 --> 0:47:33.840
<v Speaker 2>three D eight like cassette A track, a track, cassette

0:47:34.160 --> 0:47:36.840
<v Speaker 2>and a lot of it. Yeah, and then some of

0:47:36.880 --> 0:47:38.480
<v Speaker 2>it then he bought a digital board. Some of it

0:47:38.600 --> 0:47:39.439
<v Speaker 2>was on a digital board.

0:47:39.520 --> 0:47:41.200
<v Speaker 7>But that's crazy.

0:47:41.680 --> 0:47:44.239
<v Speaker 1>So all that stuff was if it's on cassette, Like

0:47:45.160 --> 0:47:47.080
<v Speaker 1>what do you consider the master tapes? Like this is

0:47:47.200 --> 0:47:49.880
<v Speaker 1>just sitting in the master bedroom.

0:47:49.960 --> 0:47:52.279
<v Speaker 2>Yeah, I don't know where those are anymore. He's I mean,

0:47:52.320 --> 0:48:01.680
<v Speaker 2>he's got listen, So can.

0:48:01.600 --> 0:48:06.120
<v Speaker 1>You explain to our listeners how Dyla and and MATTLB

0:48:06.200 --> 0:48:10.080
<v Speaker 1>eventually began to collaborate, Like was it just that Dyla

0:48:10.160 --> 0:48:13.000
<v Speaker 1>stuff was just out there in the first of all?

0:48:13.080 --> 0:48:15.600
<v Speaker 6>Like how does how well I met?

0:48:16.840 --> 0:48:19.920
<v Speaker 2>I met Dyla through how Shoes. I put out my

0:48:20.000 --> 0:48:22.359
<v Speaker 2>own record called Peanut Butter Breaks in nineteen ninety four,

0:48:22.400 --> 0:48:24.520
<v Speaker 2>and it was a break beat album of all my instrumentals,

0:48:25.200 --> 0:48:27.640
<v Speaker 2>and how Shoes worked at a record store and my

0:48:27.760 --> 0:48:29.480
<v Speaker 2>number was on the record, so he called it was

0:48:29.520 --> 0:48:32.200
<v Speaker 2>my pager, and you know, I hit him back and

0:48:32.320 --> 0:48:34.359
<v Speaker 2>he was buying copies of my record for the record

0:48:34.400 --> 0:48:36.759
<v Speaker 2>store and he was like, Hey, this guy JD, Like

0:48:36.920 --> 0:48:40.200
<v Speaker 2>he likes your record and he makes beats too, and

0:48:40.360 --> 0:48:44.080
<v Speaker 2>you know this is before ut. Yeah, it was like

0:48:44.160 --> 0:48:47.279
<v Speaker 2>ninety four ninety five, and then when Lupac came out,

0:48:47.880 --> 0:48:51.440
<v Speaker 2>JD or Not, JD Shoes was still at that record store, like, yo,

0:48:51.719 --> 0:48:53.319
<v Speaker 2>lou Pac, you know my guy JD.

0:48:53.719 --> 0:48:53.959
<v Speaker 1>JD.

0:48:54.680 --> 0:48:57.040
<v Speaker 2>Everything was and he would play full JD songs over

0:48:57.120 --> 0:48:59.160
<v Speaker 2>the phone for me and I was like, Okay, that's cool,

0:48:59.200 --> 0:49:01.600
<v Speaker 2>but you know, you can't really hear you can only

0:49:01.600 --> 0:49:06.359
<v Speaker 2>hear so much of Yeah. But then he one day

0:49:06.680 --> 0:49:08.640
<v Speaker 2>while I was still at the distributor, Shoes was like,

0:49:08.840 --> 0:49:12.759
<v Speaker 2>I'm sitting on all these unreleased JD remixes because the

0:49:12.840 --> 0:49:16.160
<v Speaker 2>major labels asked him to do remixes and then they

0:49:16.560 --> 0:49:19.480
<v Speaker 2>never accept them. So you know, it was like Q

0:49:19.640 --> 0:49:21.279
<v Speaker 2>Tip was his manager, hooking them up with a lot

0:49:21.320 --> 0:49:24.960
<v Speaker 2>of stuff, and so he was like me and j

0:49:25.120 --> 0:49:27.759
<v Speaker 2>D want to do a vinyl of this, and we

0:49:27.920 --> 0:49:30.440
<v Speaker 2>just want to do a thousand copies and yeah, so

0:49:30.520 --> 0:49:33.040
<v Speaker 2>I pressed it. It was green Blue, Yeah, the green one.

0:49:33.120 --> 0:49:35.200
<v Speaker 1>Yeah, that's right.

0:49:35.280 --> 0:49:37.319
<v Speaker 2>I was about to ask I might have a couple left,

0:49:37.360 --> 0:49:40.279
<v Speaker 2>but like if I do, yeah, So what what all

0:49:40.400 --> 0:49:40.640
<v Speaker 2>was on it?

0:49:40.719 --> 0:49:41.560
<v Speaker 7>What were the remixes?

0:49:42.719 --> 0:49:42.839
<v Speaker 1>Well?

0:49:42.880 --> 0:49:49.560
<v Speaker 12>There was was there, There was yeah, the angelofect effects,

0:49:50.200 --> 0:49:55.279
<v Speaker 12>the master Ace remix, which master the remix sitting on Chroma.

0:49:56.960 --> 0:50:00.399
<v Speaker 1>I never heard that. Yeah, but that that that it's

0:50:00.440 --> 0:50:03.879
<v Speaker 1>weird because now he has there's four remixes that WU

0:50:03.960 --> 0:50:09.680
<v Speaker 1>are But that one that's on that green vinyl was

0:50:09.719 --> 0:50:14.680
<v Speaker 1>that different one from the Sergio Mendez No, no, no,

0:50:15.040 --> 0:50:21.040
<v Speaker 1>that's I have a sample.

0:50:22.000 --> 0:50:24.239
<v Speaker 2>Honestly, I like the remixes on that album, but I

0:50:24.280 --> 0:50:26.799
<v Speaker 2>didn't none of it really stood out to me other

0:50:26.880 --> 0:50:30.200
<v Speaker 2>than the D'Angelo that was me and those Dreaming Eyes.

0:50:30.280 --> 0:50:33.279
<v Speaker 7>That was the one that really went over our question.

0:50:33.360 --> 0:50:36.400
<v Speaker 7>I had so how of the all these years, our

0:50:36.480 --> 0:50:38.239
<v Speaker 7>question the thing we always wondered, Like when we were

0:50:38.280 --> 0:50:40.640
<v Speaker 7>making a Little Brother record, it was like how did

0:50:40.680 --> 0:50:42.080
<v Speaker 7>they avoid lawsuits?

0:50:43.600 --> 0:50:49.600
<v Speaker 2>Like just in general, I mean like yeah, yeah, we

0:50:49.719 --> 0:50:51.520
<v Speaker 2>always just paid like yeah.

0:50:51.719 --> 0:50:52.799
<v Speaker 1>Which okay, so.

0:50:54.440 --> 0:50:54.640
<v Speaker 8>There.

0:50:54.840 --> 0:50:59.560
<v Speaker 1>Yeah. I gets so frustrated because the version of the

0:50:59.640 --> 0:51:05.279
<v Speaker 1>Red that one we're stuck with now. Yeah, because to me,

0:51:06.120 --> 0:51:10.040
<v Speaker 1>I don't know that feel. I feel like if Dyla

0:51:10.400 --> 0:51:14.040
<v Speaker 1>uses your ship, it brings you holding, like because there's

0:51:14.080 --> 0:51:17.600
<v Speaker 1>no artists that Dyla hasn't sampled that I haven't myself

0:51:17.719 --> 0:51:21.640
<v Speaker 1>went out purchased their whole history. Yeah, And I was like,

0:51:21.960 --> 0:51:24.280
<v Speaker 1>this feels like a red tape situation where just lawyers

0:51:24.320 --> 0:51:26.480
<v Speaker 1>are battling, like, how did you guys lose the fight

0:51:26.719 --> 0:51:28.919
<v Speaker 1>in on the red Yeah?

0:51:29.600 --> 0:51:35.480
<v Speaker 2>The original Yeah, I mean they so the artist Chris Williamson,

0:51:36.960 --> 0:51:39.359
<v Speaker 2>she just she didn't like the lyrical content and that's

0:51:39.480 --> 0:51:41.040
<v Speaker 2>kind of basically what it was about.

0:51:41.200 --> 0:51:43.880
<v Speaker 6>And oh, you said the full version to her.

0:51:46.200 --> 0:51:48.319
<v Speaker 2>No, no, it was already out. The record was out.

0:51:48.360 --> 0:51:50.759
<v Speaker 2>We didn't we didn't clear it ahead of time. Damn No,

0:51:50.920 --> 0:51:51.640
<v Speaker 2>the record was out.

0:51:52.040 --> 0:51:56.760
<v Speaker 6>And she she was like, that's probably the only thing.

0:51:59.000 --> 0:52:01.480
<v Speaker 2>So that had to come off vocal version. But she

0:52:01.640 --> 0:52:05.120
<v Speaker 2>was okay with us still, like controlling the master on

0:52:05.160 --> 0:52:09.280
<v Speaker 2>the instrumental version, sending it to TV shows and movies

0:52:09.320 --> 0:52:11.880
<v Speaker 2>all that. No, no one took it, but I mean

0:52:12.080 --> 0:52:14.480
<v Speaker 2>I would I would say she was cool overall. I mean,

0:52:14.640 --> 0:52:17.880
<v Speaker 2>you know, compared to like how people can be.

0:52:18.120 --> 0:52:20.600
<v Speaker 1>I guess about that was somebody that was just like that.

0:52:21.239 --> 0:52:23.600
<v Speaker 2>We don't, my god, I just don't want to say

0:52:23.640 --> 0:52:27.719
<v Speaker 2>because because there's probably other samples by them that are

0:52:27.760 --> 0:52:29.440
<v Speaker 2>in our catalog that I don't even know about her,

0:52:29.480 --> 0:52:31.640
<v Speaker 2>you know, I mean a lot of the art, Yeah,

0:52:32.160 --> 0:52:33.880
<v Speaker 2>like a lot of the artists that I work with,

0:52:35.080 --> 0:52:36.560
<v Speaker 2>I'll tell you, like, when we turned the.

0:52:38.600 --> 0:52:43.239
<v Speaker 7>I just meant it one particular was more right than Yeah.

0:52:43.280 --> 0:52:46.719
<v Speaker 2>I think overall, I think who's the least cool or

0:52:47.719 --> 0:52:48.880
<v Speaker 2>the people who never made it?

0:52:49.200 --> 0:52:49.520
<v Speaker 1>Older?

0:52:49.640 --> 0:52:52.000
<v Speaker 2>Yeah, older, the artists who never made it, Like an

0:52:52.080 --> 0:52:55.560
<v Speaker 2>artist like Stevie Wonder for example. Okay, like we did

0:52:55.800 --> 0:52:58.200
<v Speaker 2>a mad lib, does Stevie Wonders say? And we we

0:52:58.320 --> 0:53:00.560
<v Speaker 2>did it as promo only then in Japan, and somebody

0:53:00.920 --> 0:53:03.560
<v Speaker 2>bootlegged it on vinyl and they were like selling for

0:53:03.600 --> 0:53:05.320
<v Speaker 2>a hundred dollars. And when we saw that, We're like,

0:53:05.360 --> 0:53:07.680
<v Speaker 2>we might as well put this out and stuff, and

0:53:07.760 --> 0:53:09.600
<v Speaker 2>we did. And then I met Stevie Wonder. The first

0:53:09.640 --> 0:53:12.120
<v Speaker 2>time I met him, I was telling him about, you know,

0:53:12.360 --> 0:53:14.680
<v Speaker 2>my artist mad Live did a whole album or stuff,

0:53:14.719 --> 0:53:16.520
<v Speaker 2>and he was just like, that's so cool, all love

0:53:16.560 --> 0:53:17.279
<v Speaker 2>blah blah blah.

0:53:17.320 --> 0:53:22.120
<v Speaker 1>You know. Actually I did a I did a oh yeah,

0:53:22.840 --> 0:53:28.600
<v Speaker 1>I did a tribute album to Well we called our

0:53:28.680 --> 0:53:30.080
<v Speaker 1>sad lib because we didn't want to.

0:53:32.200 --> 0:53:33.400
<v Speaker 2>Yeah, yeah did you and.

0:53:33.480 --> 0:53:38.319
<v Speaker 11>James we did at way you got a bad Girl girl, Yeah,

0:53:38.360 --> 0:53:39.239
<v Speaker 11>you got a bad girl?

0:53:40.080 --> 0:53:44.560
<v Speaker 1>Or no, uh, little girl blue and and visions and

0:53:44.960 --> 0:53:48.880
<v Speaker 1>uh yeah, I wanted to be the first meta tribute

0:53:48.920 --> 0:53:49.920
<v Speaker 1>to a tribute album.

0:53:50.120 --> 0:53:52.600
<v Speaker 2>That's funny, and we never got to got to put

0:53:52.640 --> 0:53:54.560
<v Speaker 2>it out, but yeah, I remember hearing about that, so

0:53:55.000 --> 0:53:56.480
<v Speaker 2>so that never came went anywhere.

0:53:57.640 --> 0:53:59.960
<v Speaker 1>I just I just spent it at my DJ game.

0:54:00.200 --> 0:54:03.080
<v Speaker 11>But you guys were playing over the actual Stevie records, right, yeah,

0:54:03.160 --> 0:54:04.560
<v Speaker 11>well once we you know, well, what.

0:54:04.640 --> 0:54:06.799
<v Speaker 2>Mad Live did a lot of times was he would

0:54:06.840 --> 0:54:09.319
<v Speaker 2>take a whole song and he would filter everything out

0:54:09.360 --> 0:54:10.880
<v Speaker 2>so it was just the bassline and you can hear

0:54:10.880 --> 0:54:12.799
<v Speaker 2>a little bit, just kind of like the large professal thing.

0:54:12.920 --> 0:54:15.520
<v Speaker 1>Hey, your version of the Meaning of Love is one

0:54:15.520 --> 0:54:19.399
<v Speaker 1>of the versions. Oh wait, so was that under your

0:54:19.760 --> 0:54:22.160
<v Speaker 1>uh your numb diplom floor.

0:54:22.239 --> 0:54:24.360
<v Speaker 2>Hilaria, that's just Chris Mannic.

0:54:24.719 --> 0:54:25.680
<v Speaker 6>What made you want to do it?

0:54:26.760 --> 0:54:30.399
<v Speaker 2>Just hearing his song? I mean I just love that song, yeah,

0:54:30.400 --> 0:54:32.680
<v Speaker 2>the original and then when he heard I mean when

0:54:32.719 --> 0:54:35.399
<v Speaker 2>I heard yeah mad Lib's version, I just just mess

0:54:35.400 --> 0:54:37.480
<v Speaker 2>around to see if I could do it, okay, yeah,

0:54:38.200 --> 0:54:42.319
<v Speaker 2>being a hip hop dj ott.

0:54:44.280 --> 0:54:45.800
<v Speaker 1>All right, there's one loop.

0:54:46.719 --> 0:54:48.200
<v Speaker 6>So before.

0:54:49.560 --> 0:54:54.040
<v Speaker 1>During the Things Fall Apart period, we had like three

0:54:54.120 --> 0:54:56.360
<v Speaker 1>or four Dill options to work on before we chose

0:54:56.719 --> 0:55:01.000
<v Speaker 1>what what you guys would know is dynamite. But I

0:55:01.200 --> 0:55:06.279
<v Speaker 1>was fighting for Dylan had chopped up Steve Kuhon's the

0:55:06.320 --> 0:55:09.480
<v Speaker 1>Meaning of Love and he would only loop I know

0:55:09.640 --> 0:55:12.759
<v Speaker 1>not when, I know not why, And.

0:55:14.480 --> 0:55:19.520
<v Speaker 9>Like he's done like a hundred beats that, Like I've

0:55:19.600 --> 0:55:21.080
<v Speaker 9>never wanted that shit to die.

0:55:21.200 --> 0:55:23.960
<v Speaker 1>Like I still have the MP three disc that he

0:55:24.080 --> 0:55:27.720
<v Speaker 1>gave me, and I've tried so many times to figure

0:55:27.719 --> 0:55:29.440
<v Speaker 1>out ways to you know, is that the.

0:55:29.480 --> 0:55:32.000
<v Speaker 2>Only song Steve Kuon sang on because no, no, for

0:55:32.040 --> 0:55:34.360
<v Speaker 2>the entire album, I don't have the album.

0:55:34.680 --> 0:55:40.040
<v Speaker 1>Yeah, Actually, okay, so when I first got my studio,

0:55:40.640 --> 0:55:45.640
<v Speaker 1>I'll say, like, uh, when did we start? Like was

0:55:45.680 --> 0:55:47.719
<v Speaker 1>it like two thousand and six, Philly? We were working

0:55:47.719 --> 0:55:50.440
<v Speaker 1>on game there like two thousand and five. Yeah, so

0:55:50.680 --> 0:55:53.200
<v Speaker 1>like all the all the Steve Coon beats I mean

0:55:53.360 --> 0:55:55.680
<v Speaker 1>actually just wound up being released by.

0:55:57.120 --> 0:55:58.440
<v Speaker 6>Paul Barman's new album.

0:55:59.200 --> 0:56:03.320
<v Speaker 1>So like a lot of my early throwaway demos somehow,

0:56:03.480 --> 0:56:06.640
<v Speaker 1>like you know, twelve years later wind.

0:56:06.520 --> 0:56:08.080
<v Speaker 6>Up born Paul Borman's record.

0:56:08.160 --> 0:56:12.279
<v Speaker 1>But I got to hear that. Yeah, So yeah, but

0:56:12.400 --> 0:56:15.680
<v Speaker 1>your your version you should is that the only official

0:56:15.719 --> 0:56:17.080
<v Speaker 1>release you've done? Oh?

0:56:17.160 --> 0:56:17.800
<v Speaker 2>What's singing on it.

0:56:17.960 --> 0:56:18.160
<v Speaker 1>Yeah.

0:56:18.360 --> 0:56:20.120
<v Speaker 2>I did a version of Get Thy Baryons that was

0:56:20.200 --> 0:56:21.799
<v Speaker 2>really That one was not good though.

0:56:21.960 --> 0:56:24.440
<v Speaker 1>I remember that. Yeah, Tonaman, just get that?

0:56:24.520 --> 0:56:28.200
<v Speaker 2>Barry Yeah, well yeah is it?

0:56:29.280 --> 0:56:30.319
<v Speaker 1>Is it seven inch?

0:56:30.960 --> 0:56:32.160
<v Speaker 2>Or there was a seven inch yet?

0:56:32.600 --> 0:56:33.200
<v Speaker 1>Okay? I did.

0:56:33.719 --> 0:56:35.759
<v Speaker 2>I did a cover of Bruce Hack also, that one

0:56:35.920 --> 0:56:36.839
<v Speaker 2>I liked a little better.

0:56:36.960 --> 0:56:38.759
<v Speaker 6>Okay, can I get that?

0:56:38.880 --> 0:56:39.879
<v Speaker 2>Do you know Bruce Hack?

0:56:41.080 --> 0:56:43.080
<v Speaker 6>No, I'm stop trying to deflect.

0:56:43.840 --> 0:56:46.000
<v Speaker 2>Can I get these they get Thy Bearings?

0:56:46.080 --> 0:56:46.120
<v Speaker 7>No?

0:56:46.560 --> 0:56:47.400
<v Speaker 2>Yeah, you can't get that?

0:56:49.480 --> 0:56:50.280
<v Speaker 1>Was it ever sold?

0:56:50.400 --> 0:56:52.239
<v Speaker 2>Or there was a seven inch of that one?

0:56:52.560 --> 0:56:52.880
<v Speaker 1>Okay?

0:56:53.160 --> 0:56:56.080
<v Speaker 2>So but you know, the music arrangement on it was

0:56:56.160 --> 0:56:58.160
<v Speaker 2>like kind of off key with within itself, and I

0:56:58.200 --> 0:57:00.239
<v Speaker 2>couldn't figure out how to sing it. And I was like,

0:57:00.680 --> 0:57:03.120
<v Speaker 2>I promised these guys I would do it, and then yeah,

0:57:03.160 --> 0:57:07.640
<v Speaker 2>it was a mess. I like, I like off key singing.

0:57:07.719 --> 0:57:09.759
<v Speaker 2>I mean that, you know, I think like Steve Cohon like,

0:57:09.880 --> 0:57:12.080
<v Speaker 2>it wasn't necessarily off key, but it sounded so personal

0:57:12.160 --> 0:57:14.080
<v Speaker 2>on that song on the original, and so that's what

0:57:14.239 --> 0:57:16.920
<v Speaker 2>made me like want to try to re sing you

0:57:17.000 --> 0:57:18.600
<v Speaker 2>know something similar to you have.

0:57:18.680 --> 0:57:22.240
<v Speaker 1>The entire album that that UH was released on is

0:57:22.920 --> 0:57:26.760
<v Speaker 1>a classic record. So that, Yeah, got it, You've yet

0:57:26.800 --> 0:57:30.760
<v Speaker 1>to hear it? No, I never Yeah, like that's the

0:57:30.880 --> 0:57:33.240
<v Speaker 1>least I know that Ron Card is playing based on that,

0:57:33.720 --> 0:57:38.080
<v Speaker 1>which explains the more and Mad Live filtered it on right.

0:57:38.520 --> 0:57:40.080
<v Speaker 6>And so he's got Steve Cooon he's what a.

0:57:40.160 --> 0:57:43.760
<v Speaker 2>Jazz he's aye kind of looks like Larry David.

0:57:44.160 --> 0:57:50.560
<v Speaker 1>Yeah, he's like Gary Wilson, Like Gary Wilson wasn't on punishment,

0:57:50.640 --> 0:57:53.000
<v Speaker 1>so like I imagine Gary Wilson spent just a lot

0:57:53.000 --> 0:57:53.960
<v Speaker 1>of time in his bedroom.

0:57:54.040 --> 0:57:57.840
<v Speaker 6>But yeah, Steve Coohon was like kind of lounge.

0:57:57.520 --> 0:57:59.360
<v Speaker 2>E Yeah, lounge singer exactly.

0:57:59.520 --> 0:58:03.440
<v Speaker 1>Yeah, singer on the Fender Roads and he just somehow

0:58:04.000 --> 0:58:07.400
<v Speaker 1>must have had the right monetary situation going on that

0:58:08.240 --> 0:58:13.360
<v Speaker 1>all these heavy weights like Harvey Mason's on drums, Ron

0:58:13.440 --> 0:58:17.400
<v Speaker 1>Carter is on bass like his his band was. But

0:58:17.760 --> 0:58:20.640
<v Speaker 1>the entire album is nothing but like the Meaning of

0:58:20.720 --> 0:58:23.919
<v Speaker 1>Love is almost like sloppy. Yeah, the Meaning of Love.

0:58:24.200 --> 0:58:26.920
<v Speaker 1>I think it is one of the least samplable songs,

0:58:27.600 --> 0:58:30.160
<v Speaker 1>which once I got the record and I realized, like, oh,

0:58:30.320 --> 0:58:33.840
<v Speaker 1>how come Dylan always chooses the one that you're going

0:58:33.920 --> 0:58:34.920
<v Speaker 1>to least pay attention to.

0:58:34.960 --> 0:58:37.040
<v Speaker 6>Because the other other which what did he use it for?

0:58:37.160 --> 0:58:37.920
<v Speaker 7>What did he use it for?

0:58:39.080 --> 0:58:42.360
<v Speaker 1>It was just a beat that didn't you know, Oh

0:58:42.440 --> 0:58:44.880
<v Speaker 1>it wasn't on Like it didn't make it didn't make anything.

0:58:45.320 --> 0:58:48.240
<v Speaker 1>But I'm still every roots album. I'm just like all

0:58:48.320 --> 0:58:51.720
<v Speaker 1>right now now now is the time. No more I

0:58:51.840 --> 0:58:55.840
<v Speaker 1>know not why songs to me, I'm not gonna make it. Yeah.

0:58:56.000 --> 0:58:59.280
<v Speaker 1>So wait, speaking of which, I want to know the process,

0:58:59.520 --> 0:59:03.120
<v Speaker 1>what was relationship with the brakester Cats, because even way before,

0:59:03.480 --> 0:59:08.439
<v Speaker 1>way before the Dad Kings, like Chestra was yeah, trying

0:59:08.480 --> 0:59:11.880
<v Speaker 1>to go there or like raw sixty sound and first

0:59:11.880 --> 0:59:13.000
<v Speaker 1>of all, like where did they record?

0:59:13.000 --> 0:59:14.560
<v Speaker 2>Were kind of early on it, but I was in

0:59:14.640 --> 0:59:16.120
<v Speaker 2>the Bay at that time at that time, so I

0:59:16.160 --> 0:59:18.520
<v Speaker 2>didn't really I don't know their history before I got

0:59:18.600 --> 0:59:22.000
<v Speaker 2>involved really, but so you just heard it in. But

0:59:22.120 --> 0:59:24.600
<v Speaker 2>Miles was like a major major hip hop fan and

0:59:24.720 --> 0:59:26.920
<v Speaker 2>he was more like wild Child in the way that

0:59:27.040 --> 0:59:28.880
<v Speaker 2>he would go up to artists and like you know,

0:59:29.120 --> 0:59:32.080
<v Speaker 2>introduce himself and stuff. And the song Ring Ring Ring

0:59:32.240 --> 0:59:35.080
<v Speaker 2>is actually about him because he gave De La Soul

0:59:35.240 --> 0:59:35.720
<v Speaker 2>his demo.

0:59:36.240 --> 0:59:40.360
<v Speaker 1>Oh wow, that's what.

0:59:43.160 --> 0:59:45.680
<v Speaker 2>But I guess, yeah, he was really persistent and then

0:59:47.160 --> 0:59:49.480
<v Speaker 2>Prince Paul, he asked Prince Paul for Prince Paul's number,

0:59:49.600 --> 0:59:56.120
<v Speaker 2>and then Prince Paul gave him. Well, they make up

0:59:56.560 --> 0:59:58.360
<v Speaker 2>a reference in the song where they say Piles and

0:59:58.400 --> 1:00:06.400
<v Speaker 2>Piles and the Miles because Miles, Wow, what these you learn?

1:00:07.400 --> 1:00:07.800
<v Speaker 1>Wait a bite?

1:00:07.800 --> 1:00:09.800
<v Speaker 6>Did you ever tell pastas and as one?

1:00:10.240 --> 1:00:12.440
<v Speaker 2>I think I've I've asked pass about it. Yeah, I

1:00:12.480 --> 1:00:14.280
<v Speaker 2>mean Prince Paul told me the story and then Paus

1:00:14.520 --> 1:00:16.080
<v Speaker 2>confirmed it. Yeah damn.

1:00:16.560 --> 1:00:21.240
<v Speaker 6>But the King she's from Philly. The woman at the

1:00:21.320 --> 1:00:24.920
<v Speaker 6>top about that, yeah, yeah, yeah King, Yeah.

1:00:25.440 --> 1:00:28.120
<v Speaker 2>Okay, he still has the same number, but they Yeah,

1:00:28.200 --> 1:00:31.120
<v Speaker 2>so I guess he asked Prince Paul for Prince Paul's number,

1:00:31.120 --> 1:00:32.680
<v Speaker 2>and then Prince Paul gave him one of the other

1:00:32.720 --> 1:00:34.680
<v Speaker 2>guy's number as a joke to you know, mess with

1:00:34.760 --> 1:00:37.520
<v Speaker 2>the guys and the crew. And then Miles kept calling

1:00:37.560 --> 1:00:39.200
<v Speaker 2>the other guy and then they were like upset with

1:00:39.280 --> 1:00:42.680
<v Speaker 2>Paul or you know, like so turn into this thing.

1:00:43.040 --> 1:00:44.520
<v Speaker 1>That's the Miles. Wow.

1:00:45.400 --> 1:00:46.880
<v Speaker 11>This is like when I found out who old Man

1:00:46.960 --> 1:00:50.080
<v Speaker 11>Johnson was in Raspberry Ray. I know, I'm like old

1:00:50.440 --> 1:00:51.560
<v Speaker 11>Jesse Jesse Johnson.

1:00:52.520 --> 1:00:55.880
<v Speaker 1>Damn. All right.

1:00:56.360 --> 1:00:56.560
<v Speaker 7>Wow.

1:00:57.680 --> 1:00:59.720
<v Speaker 2>So we put out that forty five and everyone was

1:00:59.760 --> 1:01:01.560
<v Speaker 2>really into it, and that's what I remember. That's how

1:01:01.720 --> 1:01:03.560
<v Speaker 2>you reached out to me, Like that was my first

1:01:03.640 --> 1:01:05.920
<v Speaker 2>time really talking to you. Was because this break a

1:01:05.960 --> 1:01:07.760
<v Speaker 2>store forty five and you're like, how did they get

1:01:07.800 --> 1:01:10.600
<v Speaker 2>the sound hit to sound like that? And I remember,

1:01:10.920 --> 1:01:12.680
<v Speaker 2>like I was still in the bay at the time,

1:01:12.720 --> 1:01:14.400
<v Speaker 2>and you called me to go record shopping with you

1:01:14.560 --> 1:01:17.040
<v Speaker 2>and we went to Groove Merchant that was like in

1:01:17.080 --> 1:01:17.800
<v Speaker 2>the late nineties.

1:01:18.520 --> 1:01:20.640
<v Speaker 7>Yeah, I remember, I don't want that off hip hop side.

1:01:21.560 --> 1:01:21.760
<v Speaker 1>Yeah.

1:01:22.520 --> 1:01:24.040
<v Speaker 7>Yeah, I ran the funk out of this shit, man.

1:01:24.080 --> 1:01:24.400
<v Speaker 1>I love that.

1:01:24.720 --> 1:01:27.000
<v Speaker 2>I came with that bonus bone the B side. I

1:01:27.080 --> 1:01:29.280
<v Speaker 2>asked for it to start with the drums. We did

1:01:29.280 --> 1:01:31.280
<v Speaker 2>an edit just so would purposely start with the drum

1:01:31.320 --> 1:01:33.760
<v Speaker 2>break for the DJs, and I talked Miles into doing that.

1:01:33.960 --> 1:01:35.600
<v Speaker 6>But yeah, they're talking to me to doing it.

1:01:35.680 --> 1:01:38.480
<v Speaker 2>Well, not really not even talk, just I proposed the

1:01:38.520 --> 1:01:40.600
<v Speaker 2>idea and he was like, oh yeah, that's a good idea.

1:01:40.880 --> 1:01:45.680
<v Speaker 1>Oh okay, So yeah side note that box of records.

1:01:45.720 --> 1:01:49.600
<v Speaker 1>I purchased that Groove Merchant. Yeah still that Groove Merchant.

1:01:50.800 --> 1:01:51.600
<v Speaker 2>Since the nineties.

1:01:51.880 --> 1:01:54.560
<v Speaker 11>Wow, dog, I just like that box in answerdam why

1:01:55.000 --> 1:01:57.280
<v Speaker 11>And the thing was the thing is I keep visiting

1:01:57.360 --> 1:02:00.400
<v Speaker 11>Groove Merchant and they're like, so, quest, what do you

1:02:00.440 --> 1:02:02.680
<v Speaker 11>want us to do about the twelve boxes downstairs?

1:02:03.360 --> 1:02:04.760
<v Speaker 1>Ah, damn, I forgot. I forgot.

1:02:04.840 --> 1:02:07.360
<v Speaker 6>Okay, I'll take these ring these up, pay for them.

1:02:07.640 --> 1:02:08.880
<v Speaker 2>You don't want to give them an address?

1:02:09.080 --> 1:02:11.640
<v Speaker 1>And I just and then once I leave, it's just

1:02:11.760 --> 1:02:14.800
<v Speaker 1>like I forgot. I don't I think with me the process,

1:02:15.720 --> 1:02:19.040
<v Speaker 1>the process of buying records, of buying them in the hunt,

1:02:19.120 --> 1:02:24.880
<v Speaker 1>it's probably experienced because even then and there's a hundred

1:02:24.960 --> 1:02:26.640
<v Speaker 1>boxes that I'm not opened in.

1:02:26.760 --> 1:02:29.560
<v Speaker 2>My My girl like teases me all the time about that.

1:02:29.720 --> 1:02:31.440
<v Speaker 2>She's like, it would be one thing if you listen

1:02:31.480 --> 1:02:33.320
<v Speaker 2>to your records, like you don't listen to them, you're

1:02:33.320 --> 1:02:34.400
<v Speaker 2>always buying more.

1:02:34.880 --> 1:02:36.400
<v Speaker 6>Wait, I have that problem too.

1:02:36.440 --> 1:02:37.440
<v Speaker 1>You're doing something.

1:02:38.080 --> 1:02:40.560
<v Speaker 2>Then now I'm doing something with them. But this is

1:02:40.640 --> 1:02:40.920
<v Speaker 2>the thing.

1:02:41.040 --> 1:02:44.640
<v Speaker 1>The thing that you're doing is actually how Boss Bill

1:02:44.720 --> 1:02:47.240
<v Speaker 1>got here. At first, I felt like a man, I'm

1:02:47.240 --> 1:02:50.320
<v Speaker 1>such a fraud, Like I'm actually paying someone to listen

1:02:50.360 --> 1:02:51.320
<v Speaker 1>to my records for me.

1:02:53.360 --> 1:02:55.960
<v Speaker 2>Wait, what are you doing? Well, yeah, what are you

1:02:56.000 --> 1:02:58.880
<v Speaker 2>talking about them? But that was about as I'm doing

1:02:58.920 --> 1:03:00.120
<v Speaker 2>a Vinyl barye.

1:03:00.200 --> 1:03:02.760
<v Speaker 1>But the thing was when you showed me the office. Yeah,

1:03:03.120 --> 1:03:06.000
<v Speaker 1>I saw like five smurfs at like with all this

1:03:06.160 --> 1:03:06.720
<v Speaker 1>vine only.

1:03:06.640 --> 1:03:08.840
<v Speaker 2>There's guys going through it and just cleaning it and

1:03:09.280 --> 1:03:11.800
<v Speaker 2>putting it in categories. And yeah, we made a discogs

1:03:11.840 --> 1:03:15.320
<v Speaker 2>page for it. So so at the stunt Store headquarters,

1:03:15.400 --> 1:03:18.520
<v Speaker 2>I'm opening a bar with seven thousand of my records

1:03:18.560 --> 1:03:22.520
<v Speaker 2>in it from my personal collection. And basically the concept

1:03:22.680 --> 1:03:25.240
<v Speaker 2>is DJs who come to the bar, they have to

1:03:25.360 --> 1:03:26.840
<v Speaker 2>use the records that are there. You're not allowed to

1:03:26.840 --> 1:03:30.200
<v Speaker 2>bring your own records. No computers, oh shit were Yeah,

1:03:30.360 --> 1:03:31.280
<v Speaker 2>so fucked that.

1:03:32.640 --> 1:03:32.680
<v Speaker 7>No.

1:03:32.760 --> 1:03:34.280
<v Speaker 11>I used to DJ at a record store in Brooklyn,

1:03:34.360 --> 1:03:36.280
<v Speaker 11>Brooklyn years ago, and I would only play the records

1:03:36.320 --> 1:03:36.600
<v Speaker 11>that were in.

1:03:36.640 --> 1:03:39.240
<v Speaker 2>Store because it made the record store thing exactly.

1:03:39.480 --> 1:03:39.960
<v Speaker 1>It made sense.

1:03:39.960 --> 1:03:42.640
<v Speaker 11>It's a challenge too, Yeah, that was always a fun thing.

1:03:42.640 --> 1:03:44.480
<v Speaker 11>I get there like a half not early start going

1:03:44.520 --> 1:03:45.120
<v Speaker 11>through the RAAC scene.

1:03:45.200 --> 1:03:45.760
<v Speaker 1>What I could play?

1:03:46.280 --> 1:03:48.360
<v Speaker 2>Yeah, I love that. Yeah, so people have to come

1:03:48.360 --> 1:03:51.200
<v Speaker 2>a little earlier, so maybe you want DJ there, but no.

1:03:51.480 --> 1:03:54.840
<v Speaker 1>Okay, no, it's sort of like the Mighty Half Hall.

1:03:55.080 --> 1:03:59.120
<v Speaker 1>Like my fear is that that will be my last

1:03:59.160 --> 1:04:02.960
<v Speaker 1>scene in Mobile the Blues with den Joe Washington. Yeah, that.

1:04:05.840 --> 1:04:06.919
<v Speaker 7>I can't quite hit that note.

1:04:08.360 --> 1:04:11.919
<v Speaker 1>That is my fear. Like I tried practicing on real

1:04:11.960 --> 1:04:14.360
<v Speaker 1>wax and it was almost like I was five years old.

1:04:14.400 --> 1:04:17.000
<v Speaker 2>Again, you haven't played with real wax and one I'm

1:04:17.000 --> 1:04:19.360
<v Speaker 2>scared too, Like, I don't really have to mix in

1:04:19.440 --> 1:04:21.800
<v Speaker 2>this bar. It's like fifty capacity. It's more just a

1:04:21.880 --> 1:04:25.040
<v Speaker 2>listening experience and it's got like really good wa speakers

1:04:25.200 --> 1:04:31.680
<v Speaker 2>and David well, yeah, mix it, that's the vibe. Let

1:04:31.720 --> 1:04:32.520
<v Speaker 2>the songs play out.

1:04:32.760 --> 1:04:33.160
<v Speaker 1>Honestly.

1:04:33.360 --> 1:04:35.080
<v Speaker 7>Laryly Vaughan was kind of like that too, Like his

1:04:35.320 --> 1:04:37.480
<v Speaker 7>mixes wasn't really yeah mixes it.

1:04:37.680 --> 1:04:38.960
<v Speaker 1>Yes, yeah. For me.

1:04:39.080 --> 1:04:41.160
<v Speaker 2>I used to everything had to be like mix on

1:04:41.280 --> 1:04:43.760
<v Speaker 2>beat and then and then I started learning mixing on

1:04:43.880 --> 1:04:46.880
<v Speaker 2>key and on beat and then and now I'm like, yeah,

1:04:47.000 --> 1:04:49.080
<v Speaker 2>I like switching it around. I don't. I don't even

1:04:49.200 --> 1:04:53.080
<v Speaker 2>mix on beat all the time anymore. I'm just like, Okay,

1:04:53.120 --> 1:04:56.040
<v Speaker 2>I've been playing one hundred and two beats permitted for

1:04:56.120 --> 1:04:57.560
<v Speaker 2>too long, so I'm going to go into one hundred

1:04:57.560 --> 1:04:59.120
<v Speaker 2>and twenty five and just totally break it, you know,

1:04:59.280 --> 1:05:02.160
<v Speaker 2>change it up. But I notice with Serrato when DJ

1:05:02.360 --> 1:05:05.360
<v Speaker 2>is they want to keep it like, yeah, the party

1:05:05.440 --> 1:05:07.480
<v Speaker 2>moving the whole time, but then you end up the

1:05:07.560 --> 1:05:09.680
<v Speaker 2>same tempo like for two hours or you know.

1:05:10.120 --> 1:05:12.240
<v Speaker 1>I just like to start slowly. Yeah.

1:05:12.360 --> 1:05:15.120
<v Speaker 2>Usually, yeah, people, that's true. That's that's what people the

1:05:15.200 --> 1:05:16.240
<v Speaker 2>gig I did yesterday.

1:05:18.280 --> 1:05:22.760
<v Speaker 1>Usually with those type of specialty gigs in which it's

1:05:22.880 --> 1:05:26.720
<v Speaker 1>not a dance gig, it's more like I spent it

1:05:26.760 --> 1:05:31.800
<v Speaker 1>at a taco spot yep, next door next door to

1:05:31.880 --> 1:05:36.160
<v Speaker 1>the studio. It's like a small I didn't know. It's

1:05:36.160 --> 1:05:41.680
<v Speaker 1>an alleyway that can fit maybe one hundred people, but

1:05:41.760 --> 1:05:44.800
<v Speaker 1>they basically just go outside to eat their tacos, and

1:05:44.880 --> 1:05:46.920
<v Speaker 1>so I just show up sort of ambush the party.

1:05:47.160 --> 1:05:50.600
<v Speaker 1>And I figured, Okay, I'm gonna do my greatest challenge.

1:05:50.600 --> 1:05:54.080
<v Speaker 1>I'm gonna see if I can stay in D minor

1:05:55.320 --> 1:05:59.160
<v Speaker 1>for the entire four hours. So what's the song in

1:05:59.240 --> 1:06:03.080
<v Speaker 1>D minor? Half of James Brown's catalogs and I need

1:06:03.120 --> 1:06:08.160
<v Speaker 1>to get down? D uh? Any any song in this

1:06:08.320 --> 1:06:13.440
<v Speaker 1>key uptown funk, any jamm by Michael Jackson, anything anything

1:06:13.520 --> 1:06:20.240
<v Speaker 1>in the k d uh? So, Yeah, I thought I

1:06:20.280 --> 1:06:23.120
<v Speaker 1>could go through it because it's a slow torture thing

1:06:23.160 --> 1:06:26.000
<v Speaker 1>I want to see, like well, it kill like like

1:06:26.120 --> 1:06:29.600
<v Speaker 1>Chinese water torture, like some slow process of killing them.

1:06:30.200 --> 1:06:33.000
<v Speaker 1>I got a good two and a half hours in

1:06:33.480 --> 1:06:37.280
<v Speaker 1>and then finally I gave up. And then I had

1:06:37.320 --> 1:06:39.320
<v Speaker 1>to figure out what songs in the key of DVAC

1:06:39.400 --> 1:06:42.000
<v Speaker 1>goes to another key in a bridge, And then I

1:06:42.080 --> 1:06:46.000
<v Speaker 1>finally figured out mighty mighty uh in the bridge.

1:06:45.800 --> 1:06:48.400
<v Speaker 6>Goes to to E flat and then mighty mighty.

1:06:51.760 --> 1:06:53.200
<v Speaker 1>Once I was in E flat, then I was in

1:06:53.280 --> 1:06:55.240
<v Speaker 1>Stevie wonder Lance, and then I did a whole bunch

1:06:55.240 --> 1:06:55.800
<v Speaker 1>of flats.

1:06:55.920 --> 1:06:58.600
<v Speaker 2>But yeah, it was but you used the key function

1:06:58.760 --> 1:07:01.440
<v Speaker 2>on just like I live by that.

1:07:01.560 --> 1:07:03.120
<v Speaker 1>Yeah, do you do Camelot?

1:07:03.200 --> 1:07:08.120
<v Speaker 2>That's not always right, it isn't I do Camelot.

1:07:07.720 --> 1:07:11.400
<v Speaker 6>But then I got correct camelota instead.

1:07:11.120 --> 1:07:13.280
<v Speaker 1>Of like A minor or B minor. It'll give you

1:07:13.320 --> 1:07:14.000
<v Speaker 1>a numbers.

1:07:14.480 --> 1:07:17.120
<v Speaker 11>It's so it's easy to figure out which songs have

1:07:17.280 --> 1:07:20.480
<v Speaker 11>like a complimentary key, because if it's like three A,

1:07:20.800 --> 1:07:23.720
<v Speaker 11>you can do anything that's three or three A three B.

1:07:24.240 --> 1:07:25.880
<v Speaker 1>You can go two A or you can go four A.

1:07:26.280 --> 1:07:27.120
<v Speaker 7>Okay, gotcha.

1:07:27.360 --> 1:07:31.000
<v Speaker 1>But the problem with that is that if you let

1:07:31.080 --> 1:07:35.480
<v Speaker 1>the computer decide what the key is, it can throw

1:07:35.520 --> 1:07:40.600
<v Speaker 1>it off. So take a song like uh, take a

1:07:40.720 --> 1:07:46.640
<v Speaker 1>song like the Jackson's Different kind of Lady on Going Places, Right,

1:07:47.640 --> 1:07:53.360
<v Speaker 1>But because the intro is a guitar, it's gonna take

1:07:53.400 --> 1:07:56.000
<v Speaker 1>those first five notes and think that the entire songs

1:07:56.160 --> 1:07:58.240
<v Speaker 1>in that key, when actually they go to a whole

1:07:58.320 --> 1:08:02.000
<v Speaker 1>nother key. So it's yeah, I still have to clean up.

1:08:02.000 --> 1:08:06.880
<v Speaker 1>I'm sorry we found them. It's just a rabbit hole. No, no,

1:08:07.080 --> 1:08:12.560
<v Speaker 1>I just I feel like, uh, I feel like I'll

1:08:12.600 --> 1:08:16.040
<v Speaker 1>be like cool Hirk because cool Herk even DJ is

1:08:16.080 --> 1:08:16.240
<v Speaker 1>like that.

1:08:16.400 --> 1:08:19.719
<v Speaker 2>Now, Like why don't people like him? Why don't people

1:08:19.800 --> 1:08:23.559
<v Speaker 2>book cool CRUSH's so lame to me, like people aren't

1:08:23.560 --> 1:08:27.040
<v Speaker 2>pooking him. Well, I don't know. I never get to

1:08:27.040 --> 1:08:27.800
<v Speaker 2>see him in La.

1:08:28.560 --> 1:08:30.360
<v Speaker 6>Oh okay, I mean I've been to a few.

1:08:32.560 --> 1:08:34.439
<v Speaker 2>I went to one thing in La that he was

1:08:34.520 --> 1:08:37.479
<v Speaker 2>at and it was poorly promoted and yeah, there was

1:08:37.560 --> 1:08:39.519
<v Speaker 2>really not that many people there.

1:08:39.720 --> 1:08:41.439
<v Speaker 1>Like Coolhirk is coming to a party, I DJ, but

1:08:41.479 --> 1:08:45.000
<v Speaker 1>I've never like ship. Well, I'll be the change I

1:08:45.080 --> 1:08:47.040
<v Speaker 1>want to see then, Yeah.

1:08:47.880 --> 1:08:49.559
<v Speaker 2>Rich Picnic, Yeah.

1:08:51.640 --> 1:08:53.280
<v Speaker 6>From your mouth to years.

1:08:54.200 --> 1:08:57.160
<v Speaker 2>No, actually we do. We do like a kind of

1:08:57.200 --> 1:09:00.519
<v Speaker 2>a small like festival thing in La. We We're gonna

1:09:00.520 --> 1:09:02.320
<v Speaker 2>do it again next year. And I'd like to have

1:09:02.439 --> 1:09:09.559
<v Speaker 2>him at it. So what was Hegan's role in the label?

1:09:10.200 --> 1:09:11.920
<v Speaker 2>Was he the business in or was yeah he was

1:09:11.920 --> 1:09:13.799
<v Speaker 2>the GM. Yeah, he handled all of the business.

1:09:13.960 --> 1:09:17.479
<v Speaker 1>Okay, So what was the not the modus operandi, but

1:09:17.760 --> 1:09:20.519
<v Speaker 1>what was at least a mission statement for Stone story

1:09:20.600 --> 1:09:22.760
<v Speaker 1>to be as far as like what our identity is

1:09:24.880 --> 1:09:26.760
<v Speaker 1>at least back then, what was it like we had

1:09:26.800 --> 1:09:31.640
<v Speaker 1>to find the the elitist, elite mcs and we're just

1:09:31.680 --> 1:09:35.920
<v Speaker 1>going to represent Mmm. I don't know.

1:09:35.960 --> 1:09:38.280
<v Speaker 2>I think maybe at that time it was so Mad

1:09:38.360 --> 1:09:44.000
<v Speaker 2>Lib centric. I was really focused on his career a lot.

1:09:45.880 --> 1:09:49.840
<v Speaker 2>Or yeah, maybe that's not Yeah, how did you there's

1:09:49.880 --> 1:09:51.479
<v Speaker 2>just so yeah, there's so many albums that could have

1:09:51.520 --> 1:09:52.760
<v Speaker 2>come out with him, you know.

1:09:53.040 --> 1:09:55.040
<v Speaker 7>Yeah, because that's my question was like how because I

1:09:55.080 --> 1:09:57.760
<v Speaker 7>mean his output was crazy, Yeah, you know as an

1:09:57.840 --> 1:09:59.799
<v Speaker 7>indie label, how do you stagger?

1:10:00.080 --> 1:10:03.720
<v Speaker 1>Y'all? Was like the indie no limits, Like how do you.

1:10:03.800 --> 1:10:07.760
<v Speaker 7>Decide like the backpack limits? So like with so much

1:10:07.800 --> 1:10:10.120
<v Speaker 7>product coming, you know, how do you get all that

1:10:10.360 --> 1:10:13.040
<v Speaker 7>product in just such a tight kind of pipeline?

1:10:13.120 --> 1:10:15.600
<v Speaker 2>Well, Mad Villain and Jalb they were done at the

1:10:15.640 --> 1:10:18.080
<v Speaker 2>same time, and we wanted to stagger them. You know,

1:10:18.120 --> 1:10:19.439
<v Speaker 2>we didn't want to put two albums out at the

1:10:19.479 --> 1:10:21.200
<v Speaker 2>same time. But yeah, that was always a problem.

1:10:22.120 --> 1:10:25.360
<v Speaker 1>Do you guys register with R I A as a label?

1:10:25.400 --> 1:10:27.080
<v Speaker 6>Do you have to register with r.

1:10:27.439 --> 1:10:29.280
<v Speaker 2>I don't even know what's all right?

1:10:36.479 --> 1:10:38.360
<v Speaker 7>Icy all happens?

1:10:40.240 --> 1:10:43.400
<v Speaker 2>Yeah, I think, how do we register to be like

1:10:43.760 --> 1:10:46.080
<v Speaker 2>considered for Grammys that we've never been None of our

1:10:46.120 --> 1:10:47.439
<v Speaker 2>artists have ever been considered.

1:10:47.880 --> 1:10:51.840
<v Speaker 7>Remember, yeah, well no, that's nervous, but like, all right,

1:10:51.880 --> 1:10:55.960
<v Speaker 7>the Recording Industry Associated America, that's who gives you the certification.

1:10:56.080 --> 1:11:00.240
<v Speaker 2>But he was asking about the ground and that's just

1:11:00.280 --> 1:11:04.519
<v Speaker 2>become a member. Why I asked, So now you just

1:11:04.600 --> 1:11:08.080
<v Speaker 2>asked Jimmy jam Yeah, oh yeah, I could ask him.

1:11:08.200 --> 1:11:08.400
<v Speaker 1>Yeah.

1:11:08.439 --> 1:11:09.880
<v Speaker 8>Why is he back the president again?

1:11:10.400 --> 1:11:10.559
<v Speaker 1>Well?

1:11:10.640 --> 1:11:12.479
<v Speaker 6>No, I mean, but he's sort of the involved.

1:11:12.680 --> 1:11:15.960
<v Speaker 1>I feel like he's definitely the Ronald McDonald of the

1:11:16.800 --> 1:11:19.240
<v Speaker 1>I feel like they used him disorder. He's the mascot

1:11:20.439 --> 1:11:23.000
<v Speaker 1>whenever we bitch or have a problem, everyone just goes.

1:11:23.439 --> 1:11:25.960
<v Speaker 2>Remember the Grammys, they had Dame Funk as the poster

1:11:26.120 --> 1:11:28.760
<v Speaker 2>of the Grammys, Like the posters are all over the place.

1:11:28.840 --> 1:11:33.120
<v Speaker 2>But he's never been nominated, but they wanted his face

1:11:33.240 --> 1:11:36.439
<v Speaker 2>for it. You know, it's like, yeah, it's.

1:11:36.400 --> 1:11:41.679
<v Speaker 7>Well, give me a nomination, Mayor Hawthorne, Mayor Hawthorn.

1:11:42.000 --> 1:11:42.800
<v Speaker 1>So how was it?

1:11:43.360 --> 1:11:43.920
<v Speaker 7>How did you.

1:11:46.439 --> 1:11:47.799
<v Speaker 2>So, Mayor Hawthorn.

1:11:49.040 --> 1:11:49.160
<v Speaker 8>Uh?

1:11:49.400 --> 1:11:52.240
<v Speaker 2>This girl know well that is in this group fits

1:11:52.280 --> 1:11:56.800
<v Speaker 2>in the tantorms. She she was at do over and

1:11:56.960 --> 1:12:01.080
<v Speaker 2>I was d Jaye and she brought the demo of

1:12:01.520 --> 1:12:06.240
<v Speaker 2>Mayer and it was basically, yeah, just like two songs. Well,

1:12:06.280 --> 1:12:08.080
<v Speaker 2>it was confusing because there were some re edits that

1:12:08.160 --> 1:12:10.120
<v Speaker 2>he did as a DJ as DJ haircut, and then

1:12:10.120 --> 1:12:13.400
<v Speaker 2>there were some songs that were also that were full

1:12:13.640 --> 1:12:18.120
<v Speaker 2>songs that he made, you know, from scratch. And so

1:12:18.240 --> 1:12:19.720
<v Speaker 2>when I first heard it, I thought it was re edit.

1:12:19.720 --> 1:12:21.960
<v Speaker 2>It's like the just ain't gonna work out.

1:12:21.960 --> 1:12:22.360
<v Speaker 1>I thought that.

1:12:22.520 --> 1:12:24.880
<v Speaker 2>Yeah. I was like, oh, that's probably a re edit

1:12:24.920 --> 1:12:27.120
<v Speaker 2>of an old funk song or something. And then when

1:12:27.120 --> 1:12:28.680
<v Speaker 2>I found out that he was a singer on it,

1:12:28.800 --> 1:12:30.280
<v Speaker 2>I was like, oh, we got you know, I want

1:12:30.320 --> 1:12:34.960
<v Speaker 2>to work with you. Yeah, let's let's do this. And yeah,

1:12:35.000 --> 1:12:35.880
<v Speaker 2>I don't know that was it?

1:12:36.120 --> 1:12:38.559
<v Speaker 1>We all did it? Does it? Because he did?

1:12:39.400 --> 1:12:41.600
<v Speaker 7>It was the first two albums those were those were

1:12:41.640 --> 1:12:43.360
<v Speaker 7>the Stone Store, right, the first one, the.

1:12:43.400 --> 1:12:50.519
<v Speaker 2>First album was Stone's Throw and verse Yeah, yeah, what Yeah.

1:12:50.400 --> 1:12:54.599
<v Speaker 7>The strange arrangement was stone stone Throw. The second how

1:12:54.640 --> 1:12:55.280
<v Speaker 7>do you do that?

1:12:55.600 --> 1:12:55.800
<v Speaker 1>Yeah?

1:12:56.320 --> 1:12:59.240
<v Speaker 2>Yeah that was that was a Stone's Throw.

1:12:59.360 --> 1:13:01.360
<v Speaker 6>So we shit, I never knew. I thought all of

1:13:01.439 --> 1:13:02.320
<v Speaker 6>his output were stones.

1:13:02.680 --> 1:13:06.080
<v Speaker 2>No, we worked we worked something out with Universal and yeah,

1:13:06.880 --> 1:13:09.439
<v Speaker 2>they took care of us, and they took care of

1:13:09.520 --> 1:13:10.840
<v Speaker 2>his career, you know, for a while.

1:13:10.960 --> 1:13:13.760
<v Speaker 7>And then yeah, and so now the tuxedo stuff is

1:13:13.800 --> 1:13:15.000
<v Speaker 7>that you guys, are you doing that? Then?

1:13:15.040 --> 1:13:18.160
<v Speaker 2>He yeah, then he came to us with the tuxedo Yeah.

1:13:19.040 --> 1:13:22.040
<v Speaker 7>Yeah, how have you handled has it been have you

1:13:22.120 --> 1:13:26.360
<v Speaker 7>received pressure, I guess to sell out so to speak?

1:13:26.400 --> 1:13:29.240
<v Speaker 7>Like has it been majors wanting to buy you guys

1:13:29.479 --> 1:13:31.280
<v Speaker 7>or absorb you into they system?

1:13:31.280 --> 1:13:34.880
<v Speaker 2>We kind of we kind of peacefully coexist majors, don't.

1:13:35.640 --> 1:13:37.720
<v Speaker 2>They don't mess with us at all. Really, I mean

1:13:38.320 --> 1:13:43.400
<v Speaker 2>sometimes like with No Worries, like you know, and we

1:13:43.520 --> 1:13:47.000
<v Speaker 2>put out I discovered Anderson Pack at a nightclub that

1:13:47.240 --> 1:13:50.080
<v Speaker 2>was like you know, fifty people or something, and put

1:13:50.160 --> 1:13:54.040
<v Speaker 2>out the No Worries thing and then dre heard that

1:13:54.240 --> 1:13:57.200
<v Speaker 2>and he signed them, you know, to for his solo

1:13:57.280 --> 1:14:00.719
<v Speaker 2>material and stuff. So Anderson's kind of on both labels.

1:14:00.760 --> 1:14:05.800
<v Speaker 2>I guess, yeah, it gets to do underground stuff with us,

1:14:05.920 --> 1:14:08.360
<v Speaker 2>and you know, but I yeah, I don't think.

1:14:08.640 --> 1:14:10.280
<v Speaker 8>Damn, how do you even determine which is what? That's

1:14:10.280 --> 1:14:13.120
<v Speaker 8>an interesting partnership though, because you say he does underground stuff.

1:14:12.840 --> 1:14:15.240
<v Speaker 2>With y'all, but like, yeah, I mean yeah, I mean

1:14:15.280 --> 1:14:17.679
<v Speaker 2>I guess there's different levels of underground too, right, Yeah,

1:14:17.760 --> 1:14:21.600
<v Speaker 2>so it's not necessarily but the yeah, the thing that

1:14:21.800 --> 1:14:25.640
<v Speaker 2>we have with him is specifically him and knowledge, and

1:14:25.760 --> 1:14:28.400
<v Speaker 2>it's kind of a little more soulful musically, I guess,

1:14:29.080 --> 1:14:32.519
<v Speaker 2>But I mean, well, yeah, even his own personal the

1:14:32.600 --> 1:14:35.080
<v Speaker 2>Anderson Pack stuff is all over the place too, like yeah,

1:14:35.120 --> 1:14:37.799
<v Speaker 2>stuff with Kate Tronada and then he has trap beats,

1:14:37.840 --> 1:14:38.160
<v Speaker 2>and you.

1:14:38.200 --> 1:14:42.519
<v Speaker 1>Know, I would think that, you know, at least in

1:14:42.920 --> 1:14:46.720
<v Speaker 1>the case of Raucus, like Wendy Gold seems just like, yeah,

1:14:46.800 --> 1:14:49.120
<v Speaker 1>let's just purchase walks and then with Walkers you at

1:14:49.200 --> 1:14:51.880
<v Speaker 1>least get in the house an r R and you

1:14:51.960 --> 1:14:54.400
<v Speaker 1>can operate in your own. So no label, no major

1:14:54.479 --> 1:14:56.320
<v Speaker 1>labels ever came to you just said.

1:14:56.479 --> 1:14:59.639
<v Speaker 2>Yeah, you know, actually MCA back when they had first

1:14:59.680 --> 1:15:03.439
<v Speaker 2>signed JD, I think around yeah, yeah, they came to

1:15:03.560 --> 1:15:07.879
<v Speaker 2>us back then, and it wasn't really like that interesting

1:15:07.960 --> 1:15:11.640
<v Speaker 2>to me. Racus actually came to to me like in

1:15:11.720 --> 1:15:14.519
<v Speaker 2>those early days as well, and flew me out and

1:15:14.600 --> 1:15:17.400
<v Speaker 2>winding me and stuff. But then I was like, I

1:15:17.400 --> 1:15:18.960
<v Speaker 2>don't know if I want to be numbered. You know,

1:15:19.040 --> 1:15:20.439
<v Speaker 2>it's the second priority to them.

1:15:20.560 --> 1:15:26.880
<v Speaker 1>And do you find it necessary to quote take it

1:15:26.960 --> 1:15:30.240
<v Speaker 1>to the next level or for you? Is there a

1:15:30.320 --> 1:15:32.640
<v Speaker 1>joy in being sort of like the the.

1:15:32.720 --> 1:15:35.720
<v Speaker 2>Under the nice I don't con see you on the

1:15:35.800 --> 1:15:39.320
<v Speaker 2>dog though, Yeah, I mean I just just like I'm just.

1:15:40.240 --> 1:15:43.640
<v Speaker 1>Without without getting to the business end of it. Is

1:15:43.720 --> 1:15:48.040
<v Speaker 1>there a way to really make a good living in

1:15:48.160 --> 1:15:49.360
<v Speaker 1>the shallow end of the pool?

1:15:50.520 --> 1:15:51.960
<v Speaker 7>It? Man got a new mad book right now?

1:15:55.960 --> 1:15:58.000
<v Speaker 2>I have like two careers. I have the DJ thing

1:15:58.080 --> 1:16:00.439
<v Speaker 2>that I still you know, draw money from in the

1:16:00.479 --> 1:16:04.000
<v Speaker 2>knife stone throw so and which which is good? Because

1:16:04.800 --> 1:16:07.439
<v Speaker 2>I would get bored if I was just doing one.

1:16:07.520 --> 1:16:09.760
<v Speaker 2>I mean, you do like several things, you know, you

1:16:09.840 --> 1:16:11.080
<v Speaker 2>know how that goes well?

1:16:11.240 --> 1:16:13.160
<v Speaker 1>Yeah, because you know it ain't nothing going on but

1:16:13.240 --> 1:16:16.400
<v Speaker 1>the mortgage mortgage. I think you can do it. I

1:16:16.439 --> 1:16:17.960
<v Speaker 1>think as possible to do it. You just have to.

1:16:18.160 --> 1:16:19.920
<v Speaker 7>You have to set your standard of living in a

1:16:20.000 --> 1:16:23.040
<v Speaker 7>way that allows you to do it like you can't you.

1:16:23.080 --> 1:16:25.680
<v Speaker 8>Mean being an artist, are actually being an owner of it?

1:16:25.960 --> 1:16:26.920
<v Speaker 1>I mean I think both.

1:16:27.000 --> 1:16:29.720
<v Speaker 7>I think pretty much most artists now are kind of

1:16:29.800 --> 1:16:33.240
<v Speaker 7>running their own show, and I think there's not too

1:16:33.240 --> 1:16:36.840
<v Speaker 7>many stone throws that are really giving you a chance.

1:16:36.720 --> 1:16:37.200
<v Speaker 1>To do that.

1:16:37.439 --> 1:16:39.840
<v Speaker 7>So pretty much now everybody's just kind of it's the

1:16:39.880 --> 1:16:40.400
<v Speaker 7>wild wild West.

1:16:40.439 --> 1:16:42.280
<v Speaker 1>Everybodys kind of running their own shop. So say, like

1:16:42.320 --> 1:16:45.479
<v Speaker 1>an artist, like she's doing an archives and who she's

1:16:45.520 --> 1:16:47.479
<v Speaker 1>an artist on stewing s throw Okay, so same, she

1:16:47.560 --> 1:16:51.479
<v Speaker 1>gets lucky enough to get good placement, yes, or you know,

1:16:51.680 --> 1:16:55.880
<v Speaker 1>Gray's Anatomy or Insecure And then you know, usually in

1:16:56.000 --> 1:17:02.000
<v Speaker 1>that situation, uh all the streaming services including Pandora, uh

1:17:02.760 --> 1:17:06.240
<v Speaker 1>you know, they start seeing uh light and their shows

1:17:06.240 --> 1:17:09.680
<v Speaker 1>are different the population, you know, the popularity glows and

1:17:09.800 --> 1:17:16.040
<v Speaker 1>every grows and glow. Well, what I'm saying is damn question.

1:17:20.160 --> 1:17:22.600
<v Speaker 1>Well not even a major label coming and swoop them up.

1:17:22.800 --> 1:17:25.840
<v Speaker 1>But for you, is that an idea situation like.

1:17:26.360 --> 1:17:29.040
<v Speaker 2>Oh yeah, no, we always like shop our artists to

1:17:29.760 --> 1:17:33.679
<v Speaker 2>you know, the TV shows and Secure and all that, okay,

1:17:33.800 --> 1:17:35.840
<v Speaker 2>and yeah, they do have success on it I mean.

1:17:36.120 --> 1:17:38.080
<v Speaker 1>But I mean, can it ever be a situation which

1:17:38.120 --> 1:17:41.320
<v Speaker 1>an artist gets so popular that it almost goes I

1:17:41.439 --> 1:17:44.679
<v Speaker 1>know that people don't physically, they don't buy.

1:17:46.520 --> 1:17:48.639
<v Speaker 2>As yeah, they're not going to buy more vinyl necessarily,

1:17:48.760 --> 1:17:50.759
<v Speaker 2>but yeah, yeah.

1:17:50.920 --> 1:17:54.800
<v Speaker 1>It is it ever problematic for you? Do you ever

1:17:54.920 --> 1:17:57.080
<v Speaker 1>envision like a date where just like, okay, well.

1:17:57.080 --> 1:17:59.679
<v Speaker 2>Is it ever a problem if an artist does well? Yes,

1:18:00.760 --> 1:18:01.040
<v Speaker 2>thank you?

1:18:02.040 --> 1:18:03.120
<v Speaker 1>It's bad for your brand.

1:18:03.200 --> 1:18:04.360
<v Speaker 6>If an artist does well.

1:18:04.600 --> 1:18:07.479
<v Speaker 2>The brand okay, I was thinking even more.

1:18:07.479 --> 1:18:09.519
<v Speaker 7>I don't like how back in how like First Groove,

1:18:09.560 --> 1:18:10.680
<v Speaker 7>how they say like if you have a.

1:18:10.840 --> 1:18:13.400
<v Speaker 2>Hit record that the only thing that's bad for the

1:18:13.479 --> 1:18:15.639
<v Speaker 2>brand for me is if I put out something that's

1:18:15.680 --> 1:18:19.080
<v Speaker 2>whack and you know, the whack is just whack to me.

1:18:19.280 --> 1:18:19.799
<v Speaker 1>I guess.

1:18:21.160 --> 1:18:24.120
<v Speaker 2>Wu Tang Clan went platinum, Tribe went platinum, you know,

1:18:24.560 --> 1:18:29.679
<v Speaker 2>making music that I love and the roots I think, yeah, yeah,

1:18:29.760 --> 1:18:30.679
<v Speaker 2>there you go the roots.

1:18:32.120 --> 1:18:35.200
<v Speaker 7>Is Matt Villain still the biggest selling record in y'all?

1:18:37.400 --> 1:18:39.719
<v Speaker 2>I don't even know. Yeah, maybe Donuts or Mad Villain,

1:18:39.760 --> 1:18:40.080
<v Speaker 2>I don't know.

1:18:41.320 --> 1:18:43.120
<v Speaker 6>So you seriously don't register.

1:18:43.240 --> 1:18:47.599
<v Speaker 1>What are I to know if your stuff is going

1:18:47.680 --> 1:18:49.719
<v Speaker 1>golden platinum or any of those things.

1:18:49.840 --> 1:18:53.640
<v Speaker 2>That's a question for Laguire, I can call them.

1:18:55.400 --> 1:18:55.599
<v Speaker 1>Yeah.

1:18:56.920 --> 1:19:00.439
<v Speaker 2>I mean, I know I'm sounding like an irresponsible business

1:19:00.600 --> 1:19:05.479
<v Speaker 2>business right now, but it's like, yeah, just the creative

1:19:05.520 --> 1:19:08.240
<v Speaker 2>I do, and yeah, the business my guys do, and

1:19:08.520 --> 1:19:09.479
<v Speaker 2>I trust them kind of.

1:19:10.600 --> 1:19:11.599
<v Speaker 1>So where you are now?

1:19:12.120 --> 1:19:13.960
<v Speaker 2>So now I trust them a lot. I'm saying like

1:19:14.080 --> 1:19:15.760
<v Speaker 2>kind of like that's their role and that's kind of

1:19:15.800 --> 1:19:16.120
<v Speaker 2>my role.

1:19:16.600 --> 1:19:21.280
<v Speaker 1>So where you stand now with the label, which I

1:19:21.600 --> 1:19:24.280
<v Speaker 1>actually love the direction that it's going in because you know,

1:19:24.600 --> 1:19:28.000
<v Speaker 1>like I love electro funking, was it hard stepping away

1:19:28.120 --> 1:19:32.880
<v Speaker 1>from the kind of the dusty, dirty, dingy sample base

1:19:33.600 --> 1:19:36.120
<v Speaker 1>reputation that you guys once had and now like I

1:19:36.160 --> 1:19:40.280
<v Speaker 1>feel like the DMX drum machine is the new calling

1:19:40.360 --> 1:19:43.240
<v Speaker 1>card and synthesizers and yet like the sound.

1:19:43.080 --> 1:19:45.320
<v Speaker 2>Of boogie and then we have some of that for sure.

1:19:46.680 --> 1:19:49.920
<v Speaker 2>But yeah, I mean, if you listen to the like

1:19:50.120 --> 1:19:52.840
<v Speaker 2>maybe five or six of the new artists are, they're

1:19:52.880 --> 1:19:56.840
<v Speaker 2>all different and that's kind of what makes it hard

1:19:56.920 --> 1:20:01.559
<v Speaker 2>for our identity. But I think we reach like eclectic

1:20:01.640 --> 1:20:04.800
<v Speaker 2>people who understand that they're not only listening to one thing,

1:20:04.960 --> 1:20:09.560
<v Speaker 2>like for example, Tyler the creator stone Throw found but

1:20:10.240 --> 1:20:12.000
<v Speaker 2>not because of the hip hop, Like he found out

1:20:12.000 --> 1:20:14.160
<v Speaker 2>about our hip hop later, Like he liked us because

1:20:14.160 --> 1:20:18.960
<v Speaker 2>of James Pants and John T and Chrome Canyon and

1:20:19.400 --> 1:20:21.719
<v Speaker 2>you know, Mild High Club. He's going in the studio

1:20:21.720 --> 1:20:22.840
<v Speaker 2>with my High Club today.

1:20:22.960 --> 1:20:25.960
<v Speaker 7>So man, what's the word on Jerry Paper?

1:20:26.400 --> 1:20:29.320
<v Speaker 2>Jerry Paper is my man, that's that's the sound.

1:20:29.280 --> 1:20:33.720
<v Speaker 7>That's the joint, that's my fucking record. Yeah yeah, how

1:20:33.760 --> 1:20:34.800
<v Speaker 7>did where did you find him?

1:20:34.840 --> 1:20:34.960
<v Speaker 1>Met?

1:20:35.080 --> 1:20:38.920
<v Speaker 2>Like he found us, He found us through Mild High Club.

1:20:39.120 --> 1:20:42.320
<v Speaker 2>And what was weird to me when I found out

1:20:42.479 --> 1:20:45.960
<v Speaker 2>was his older brother is a DJ that I DJed

1:20:46.000 --> 1:20:49.679
<v Speaker 2>with many times. We've shared a magazine to cover together,

1:20:50.120 --> 1:20:53.720
<v Speaker 2>this guy, DJ Spider, But he's more in the kind

1:20:53.800 --> 1:20:57.280
<v Speaker 2>of Hollywood kind of like the Vegas scene. You know

1:20:57.400 --> 1:21:01.320
<v Speaker 2>that you see the Vegas billboards and yeah, Jerry Papers

1:21:01.360 --> 1:21:02.720
<v Speaker 2>like totally different from that.

1:21:02.880 --> 1:21:05.880
<v Speaker 7>But you know, okay, god, yeah, I love I love

1:21:05.960 --> 1:21:06.320
<v Speaker 7>that record.

1:21:06.680 --> 1:21:09.640
<v Speaker 2>Dope well bad bad, not good. Did the music on

1:21:09.720 --> 1:21:14.760
<v Speaker 2>that with him? So yeah, yeah, but that that's kind

1:21:14.760 --> 1:21:16.880
<v Speaker 2>of the Gary Wilson vibe, like kind of like kind

1:21:16.920 --> 1:21:19.519
<v Speaker 2>of lounge vocals. I think, you know, he explained to.

1:21:19.560 --> 1:21:23.799
<v Speaker 1>Me how you found Gary Wilson, Like from Gary.

1:21:23.600 --> 1:21:27.000
<v Speaker 2>Wilson, I know, I know. I found out about him

1:21:27.040 --> 1:21:28.960
<v Speaker 2>through this guy who worked at Other Music, and he

1:21:29.120 --> 1:21:31.040
<v Speaker 2>was like, I, you know, I know what you're in.

1:21:31.120 --> 1:21:32.479
<v Speaker 2>Do I think you're going to really love this? And

1:21:32.600 --> 1:21:34.920
<v Speaker 2>usually when people say that their way off. But with Gary,

1:21:35.040 --> 1:21:38.920
<v Speaker 2>that was like, you know that? Like I basically went

1:21:39.000 --> 1:21:41.200
<v Speaker 2>in and bought like every copy. Like I found out

1:21:41.320 --> 1:21:44.680
<v Speaker 2>there was a warehouse in Philly that was sitting on

1:21:45.360 --> 1:21:47.760
<v Speaker 2>the red version of You Think You Really Know Me?

1:21:47.880 --> 1:21:49.720
<v Speaker 2>And I bought as many as I could afford at

1:21:49.720 --> 1:21:51.240
<v Speaker 2>the time and gave him out to all my friends.

1:21:51.400 --> 1:21:54.719
<v Speaker 1>Our Spottle on South Street, Steve, Philadelphia Record Exchange.

1:21:54.840 --> 1:21:56.800
<v Speaker 2>Yeah, yeah, does that still exist now?

1:21:56.880 --> 1:21:57.679
<v Speaker 1>That's gone? Yeah?

1:21:57.800 --> 1:21:59.200
<v Speaker 9>And other music's gone too.

1:22:00.120 --> 1:22:02.120
<v Speaker 2>It's gone. They're doing a documentary on them right now.

1:22:03.080 --> 1:22:03.280
<v Speaker 1>Yeah.

1:22:03.600 --> 1:22:05.320
<v Speaker 7>Do you sorry for cutting in?

1:22:05.680 --> 1:22:08.519
<v Speaker 9>Do you have like a jazz division at Stone's Throw

1:22:08.680 --> 1:22:11.120
<v Speaker 9>or or do you put out any like besides?

1:22:12.360 --> 1:22:14.759
<v Speaker 2>But we don't have a division. I mean Keefer's stuff

1:22:14.880 --> 1:22:16.559
<v Speaker 2>is kind of you know jazz.

1:22:16.600 --> 1:22:18.480
<v Speaker 1>I guess Keefer.

1:22:20.000 --> 1:22:24.880
<v Speaker 2>Keeper Sorry, Keeper is in Mind Design's band, and you're

1:22:24.880 --> 1:22:27.240
<v Speaker 2>gonna go Mind Design, But I know, I know mind

1:22:27.479 --> 1:22:31.479
<v Speaker 2>She did archives. Now, a lot of these guys yeah,

1:22:31.720 --> 1:22:35.120
<v Speaker 2>they're just getting their start. But Keeper he's a piano player,

1:22:35.160 --> 1:22:39.080
<v Speaker 2>and I mean most of it's like he's well, one

1:22:39.120 --> 1:22:41.160
<v Speaker 2>man band style, but then he has a band for live.

1:22:42.640 --> 1:22:45.559
<v Speaker 2>But he started in mind Designs group. It was another

1:22:45.880 --> 1:22:48.200
<v Speaker 2>younger artist. But yeah, most of our roster these days

1:22:48.240 --> 1:22:50.080
<v Speaker 2>are like in the early early twenties.

1:22:50.920 --> 1:22:53.720
<v Speaker 7>Man, one big question I think we haven't asked, how

1:22:53.760 --> 1:22:54.479
<v Speaker 7>did you get your name?

1:22:55.040 --> 1:22:55.240
<v Speaker 1>Yeah?

1:22:55.680 --> 1:23:02.799
<v Speaker 2>Oh, Man, such a boring story. Stone s or peanut,

1:23:02.840 --> 1:23:09.040
<v Speaker 2>but both stories are born No peanut butter Wolf. Yeah,

1:23:09.320 --> 1:23:12.080
<v Speaker 2>it's just I never tell it well, so I don't

1:23:12.120 --> 1:23:12.560
<v Speaker 2>want to tell it.

1:23:12.680 --> 1:23:15.960
<v Speaker 9>Oh does it have anything to do with peanut, butter

1:23:16.080 --> 1:23:16.360
<v Speaker 9>or wolf?

1:23:16.400 --> 1:23:18.760
<v Speaker 2>I always have a different Yeah, different story for us.

1:23:19.360 --> 1:23:20.200
<v Speaker 7>What's today's story?

1:23:20.640 --> 1:23:24.680
<v Speaker 2>Today's story? So my girlfriend at the time, we were

1:23:24.800 --> 1:23:27.920
<v Speaker 2>like nineteen or something, and her brother was like six

1:23:28.080 --> 1:23:30.320
<v Speaker 2>years old, and we were playing candy Land with him

1:23:30.960 --> 1:23:34.360
<v Speaker 2>and we turned the lights off and started scaring him,

1:23:34.360 --> 1:23:36.080
<v Speaker 2>and he said, turn the lights back on. The peanut

1:23:36.080 --> 1:23:37.040
<v Speaker 2>butter Wolve's gonna get me.

1:23:38.920 --> 1:23:39.360
<v Speaker 1>And we were like.

1:23:41.320 --> 1:23:41.360
<v Speaker 8>What.

1:23:43.160 --> 1:23:46.960
<v Speaker 2>And this kid was super eccentric and he made a

1:23:47.000 --> 1:23:51.040
<v Speaker 2>whole book about a wolf that was killing chickens and

1:23:51.400 --> 1:23:54.439
<v Speaker 2>the farmer went and cast a spell on the wolf

1:23:54.520 --> 1:23:56.479
<v Speaker 2>and turned him into a giant glob of peanut butter.

1:23:56.640 --> 1:23:58.760
<v Speaker 2>So I still have the book that the kid made,

1:23:58.960 --> 1:24:04.240
<v Speaker 2>like wow. And I then I started a punk group

1:24:04.360 --> 1:24:06.760
<v Speaker 2>with my friends and it was everything was all freestyled

1:24:07.320 --> 1:24:09.439
<v Speaker 2>and I just say punk out of because it was

1:24:09.520 --> 1:24:12.880
<v Speaker 2>just like, you can't really say what kind of mean is.

1:24:12.920 --> 1:24:14.320
<v Speaker 2>I don't know what it was, but we were always

1:24:14.360 --> 1:24:17.080
<v Speaker 2>singing about this peanut butter Wolf in the band and

1:24:17.160 --> 1:24:19.800
<v Speaker 2>I was showing charisma and he was like, that should

1:24:19.800 --> 1:24:22.040
<v Speaker 2>be your DJ name, and we were always trying to

1:24:22.080 --> 1:24:24.240
<v Speaker 2>be weird. And you know, this was like early nineties

1:24:24.280 --> 1:24:27.320
<v Speaker 2>when everyone was because my name before that was Chris

1:24:27.400 --> 1:24:29.840
<v Speaker 2>Cutt and that was like just old school, just simple

1:24:29.880 --> 1:24:32.920
<v Speaker 2>and rock ski. Yeah, so Peanut Butter Wolf was a

1:24:32.960 --> 1:24:36.000
<v Speaker 2>lot more eccentric, but I didn't think about it when

1:24:36.040 --> 1:24:38.960
<v Speaker 2>I was nineteen that like when I was forty eight,

1:24:39.040 --> 1:24:41.040
<v Speaker 2>I would have to still be called peanut Butter Wolf.

1:24:41.920 --> 1:24:46.679
<v Speaker 1>Yo. Man, I think what should come next is children's records,

1:24:47.640 --> 1:24:50.280
<v Speaker 1>Like you gotta grow your own crops because like a

1:24:50.360 --> 1:24:53.320
<v Speaker 1>lot of fans of Stones Throw, you know, they have kids.

1:24:54.520 --> 1:24:56.720
<v Speaker 2>I love Black did a children's record, like right when

1:24:56.920 --> 1:24:59.559
<v Speaker 2>we first signed him, and I wanted to do something

1:24:59.600 --> 1:25:01.919
<v Speaker 2>with that. I didn't know. I didn't know the industry,

1:25:02.000 --> 1:25:03.360
<v Speaker 2>so but we're sitting on that.

1:25:03.960 --> 1:25:07.200
<v Speaker 7>Yeah, I forgot Yeah he Stones Yeah, yeah the first.

1:25:09.920 --> 1:25:12.040
<v Speaker 2>Yeah, so his first album with Stone so I was

1:25:12.080 --> 1:25:14.960
<v Speaker 2>really kind of like future soul like Giles Peterson, you know,

1:25:15.200 --> 1:25:19.720
<v Speaker 2>like and then and then Mayor Hawthorne did well with

1:25:19.880 --> 1:25:22.040
<v Speaker 2>the retro sound and all was like I can do that,

1:25:22.280 --> 1:25:23.960
<v Speaker 2>and Allo like did I need a dollar?

1:25:24.200 --> 1:25:24.360
<v Speaker 1>You know?

1:25:24.439 --> 1:25:27.000
<v Speaker 2>He went in with the band and yeah, that did

1:25:27.080 --> 1:25:27.800
<v Speaker 2>really well for him.

1:25:27.880 --> 1:25:27.960
<v Speaker 1>Ye.

1:25:28.080 --> 1:25:29.880
<v Speaker 8>I placed in a lot of like commercials and stuff.

1:25:30.160 --> 1:25:33.839
<v Speaker 1>Yeah, it was a theme for yeah America.

1:25:33.920 --> 1:25:36.200
<v Speaker 2>But he was really huge in Europe, like he was,

1:25:36.439 --> 1:25:39.680
<v Speaker 2>you know, playing festivals like really good time slots for

1:25:39.880 --> 1:25:43.080
<v Speaker 2>like I don't know, fifty thousand people or something. And

1:25:43.120 --> 1:25:45.639
<v Speaker 2>then in the US he still was kind of unknown

1:25:45.680 --> 1:25:48.080
<v Speaker 2>because his money offers were so good in Europe. He's like,

1:25:48.760 --> 1:25:51.800
<v Speaker 2>I don't really need to like do US shows or

1:25:51.880 --> 1:25:53.720
<v Speaker 2>he Yeah, he just didn't have the demand here.

1:25:53.840 --> 1:25:55.920
<v Speaker 8>He'd only stone throw artists to head to the White House.

1:25:57.479 --> 1:26:02.080
<v Speaker 2>Uh, Snoop, I don't know, there's there's there there's yeah,

1:26:02.120 --> 1:26:06.120
<v Speaker 2>maybe though, I mean Snoop did a Snoop did one

1:26:06.160 --> 1:26:10.479
<v Speaker 2>record stones throw Artist, But where did that name come from?

1:26:10.520 --> 1:26:17.400
<v Speaker 2>The stone Snoop Dogg. Stone's throw was my mom was

1:26:18.000 --> 1:26:20.479
<v Speaker 2>my I was asking my mom how to get somewhere

1:26:20.479 --> 1:26:22.400
<v Speaker 2>and she's like, oh, that's just a Stone's throw away.

1:26:22.439 --> 1:26:24.000
<v Speaker 2>And I was with Charisma at the time when she

1:26:24.080 --> 1:26:25.720
<v Speaker 2>said that, and we were kind of making fun of

1:26:25.800 --> 1:26:28.400
<v Speaker 2>her and you know, doing the mom joke thing. And

1:26:28.920 --> 1:26:32.920
<v Speaker 2>when I came up with doing a label to put

1:26:32.960 --> 1:26:34.920
<v Speaker 2>out Christmas music, I was like, I need the name

1:26:35.000 --> 1:26:38.639
<v Speaker 2>to have some some like inner thing, like an inside

1:26:38.680 --> 1:26:39.839
<v Speaker 2>joke between me and Christmas.

1:26:39.840 --> 1:26:44.600
<v Speaker 1>So that was it. Wow. So how many projects do

1:26:44.640 --> 1:26:49.040
<v Speaker 1>you think you can personally handle at least are you

1:26:49.200 --> 1:26:50.920
<v Speaker 1>capable of handling.

1:26:52.960 --> 1:26:55.240
<v Speaker 2>The label at a time. I mean, I have the

1:26:55.320 --> 1:26:59.720
<v Speaker 2>infrastructure to probably do an album every other month or something,

1:26:59.760 --> 1:27:03.639
<v Speaker 2>you know, But I mean there's yeah, it really depends

1:27:04.439 --> 1:27:08.000
<v Speaker 2>if it's an artist where they really are gonna promote

1:27:08.000 --> 1:27:10.479
<v Speaker 2>themselves as well, and that you know, they they wanted

1:27:10.520 --> 1:27:12.960
<v Speaker 2>to do well and they need more attention from us

1:27:13.080 --> 1:27:17.479
<v Speaker 2>than those ones. It kind of works out because we

1:27:17.840 --> 1:27:20.960
<v Speaker 2>really like maybe do like four albums a year of

1:27:21.160 --> 1:27:24.719
<v Speaker 2>like artists that are really get behind their own stuff

1:27:24.760 --> 1:27:27.040
<v Speaker 2>and it's not a passion projector is.

1:27:27.080 --> 1:27:31.120
<v Speaker 1>It harder for in this era to deal with streaming

1:27:31.400 --> 1:27:32.880
<v Speaker 1>and distribution and.

1:27:34.960 --> 1:27:37.280
<v Speaker 2>Yeah, and I think that's why the Yeah, the label's bigger.

1:27:37.360 --> 1:27:40.000
<v Speaker 2>We have people for each one of those things now.

1:27:40.080 --> 1:27:42.679
<v Speaker 2>But yeah, I don't have to deal with that stuff

1:27:43.080 --> 1:27:43.439
<v Speaker 2>so much.

1:27:44.240 --> 1:27:46.920
<v Speaker 1>What are your projections for the future, Like where do

1:27:46.960 --> 1:27:49.160
<v Speaker 1>you want to see the label go? And well, wait,

1:27:49.240 --> 1:27:53.400
<v Speaker 1>you guys have offices and yeah, world, so.

1:27:55.000 --> 1:27:59.640
<v Speaker 2>Yeah, it's it's just really like I just want to

1:27:59.720 --> 1:28:02.080
<v Speaker 2>keep having the ability to find stuff that I like.

1:28:02.439 --> 1:28:04.200
<v Speaker 1>And how do you approach stuff that you like? Are

1:28:04.240 --> 1:28:07.439
<v Speaker 1>you always on YouTube looking for like how does work

1:28:07.520 --> 1:28:07.920
<v Speaker 1>get to you.

1:28:08.040 --> 1:28:11.360
<v Speaker 2>About I do the YouTube thing and sound cloud?

1:28:12.120 --> 1:28:13.760
<v Speaker 6>Or are people just now coming to you like yo,

1:28:14.040 --> 1:28:15.400
<v Speaker 6>check the ship or check out my.

1:28:15.439 --> 1:28:18.000
<v Speaker 2>Home Now there's a lot of that too, and even

1:28:18.120 --> 1:28:20.040
<v Speaker 2>just going to shows. I mean, I'm kind of on

1:28:20.120 --> 1:28:22.519
<v Speaker 2>the front lines as a DJ still, but like, yeah,

1:28:22.640 --> 1:28:25.760
<v Speaker 2>people slide into my d ms with their music or

1:28:26.080 --> 1:28:29.439
<v Speaker 2>go down indeed, yeah they'll tag me like oh the

1:28:29.600 --> 1:28:30.920
<v Speaker 2>Peanut butter Wolf listen.

1:28:30.800 --> 1:28:35.240
<v Speaker 1>To this, but you actually listen to it? Well, well no, but.

1:28:37.560 --> 1:28:40.599
<v Speaker 2>Yeah there is stuff like yeah, I mean I yeah.

1:28:40.760 --> 1:28:43.120
<v Speaker 1>Stuff reached the finish line like a guy like DJ Harrison.

1:28:43.760 --> 1:28:46.479
<v Speaker 1>I knew because of Yale and Fante, but like, how

1:28:46.600 --> 1:28:47.160
<v Speaker 1>is it? God?

1:28:47.200 --> 1:28:51.120
<v Speaker 2>I don't remember how I found him. But yeah, everyone,

1:28:51.520 --> 1:28:55.640
<v Speaker 2>every artist has its own story. I think it's different.

1:28:55.479 --> 1:28:58.280
<v Speaker 7>What's going on with mad Live because I noticed that

1:28:58.560 --> 1:29:01.599
<v Speaker 7>they did when him and Freddie did the Pinata album. Yeah,

1:29:01.800 --> 1:29:04.360
<v Speaker 7>they did themselves. He still work with you, Like, what's

1:29:04.400 --> 1:29:05.280
<v Speaker 7>y'all's relationship now?

1:29:05.800 --> 1:29:09.400
<v Speaker 2>Yeah, well Mad Live. I mean it's kind of a

1:29:09.479 --> 1:29:14.559
<v Speaker 2>long story, but basically, I know I need to put

1:29:14.560 --> 1:29:16.200
<v Speaker 2>money on my meter. By the way, where are we at?

1:29:17.680 --> 1:29:28.400
<v Speaker 10>Give me some money, some red bottoms my credit card?

1:29:29.200 --> 1:29:31.760
<v Speaker 2>Well, mad yes, with mad Live like Egon, and you know,

1:29:31.840 --> 1:29:34.639
<v Speaker 2>he used to run my label and things weren't creatively

1:29:34.760 --> 1:29:37.360
<v Speaker 2>working out between Egon and I, and I had to

1:29:37.439 --> 1:29:40.280
<v Speaker 2>let Egon go, and he basically took Mad Live with him.

1:29:40.360 --> 1:29:43.719
<v Speaker 2>So he gave Madlib his own deal, his own label,

1:29:44.439 --> 1:29:48.960
<v Speaker 2>and so mad Live stuff theoretically comes out on that.

1:29:49.160 --> 1:29:51.040
<v Speaker 2>You know, he still does some stuff for us. He

1:29:52.000 --> 1:29:54.000
<v Speaker 2>he did something well when we did our movie, he

1:29:54.080 --> 1:29:56.439
<v Speaker 2>did the he scored the movie and did the soundtrack

1:29:56.840 --> 1:30:00.280
<v Speaker 2>for that, and so you know, it's still like a

1:30:00.360 --> 1:30:04.920
<v Speaker 2>loving relationship, but you know, Egne's more involved in that.

1:30:05.760 --> 1:30:11.560
<v Speaker 6>Yeah, I'm sorry, I had Oh yeah, I thought I

1:30:11.600 --> 1:30:12.320
<v Speaker 6>was about to sneeze.

1:30:14.160 --> 1:30:15.679
<v Speaker 1>Continue to continue about to sneeze.

1:30:16.080 --> 1:30:17.799
<v Speaker 2>Do you do you look at the sun to sneeze

1:30:17.880 --> 1:30:20.240
<v Speaker 2>or no? Yeah, oh the light? You just look because

1:30:20.680 --> 1:30:24.040
<v Speaker 2>I read the ten percent of humans can do that?

1:30:24.160 --> 1:30:27.200
<v Speaker 1>Or no, I just I you know, I hold my

1:30:27.479 --> 1:30:30.080
<v Speaker 1>nose and pray that doesn't spray on any of you guys.

1:30:33.360 --> 1:30:35.960
<v Speaker 1>So future wise, what do you.

1:30:37.720 --> 1:30:40.720
<v Speaker 9>It sounds like you said every everybody's mostly in their

1:30:40.760 --> 1:30:42.760
<v Speaker 9>early twenties, so it sounds like you're set up for

1:30:42.800 --> 1:30:44.040
<v Speaker 9>a minute a little bit.

1:30:44.160 --> 1:30:46.880
<v Speaker 1>Yeah, not future wise, I just meant like the artists

1:30:46.920 --> 1:30:48.960
<v Speaker 1>that you know you have your eyes on and that

1:30:49.120 --> 1:30:49.599
<v Speaker 1>sort of thing.

1:30:50.320 --> 1:30:52.240
<v Speaker 2>Yeah, I mean there are people that I have my

1:30:52.320 --> 1:30:56.519
<v Speaker 2>eyes on. What about I think I'll mention them until

1:30:56.560 --> 1:30:56.960
<v Speaker 2>I signed the.

1:30:57.120 --> 1:30:58.320
<v Speaker 1>Until you sign them, okay?

1:30:58.920 --> 1:30:59.040
<v Speaker 2>Uh?

1:30:59.240 --> 1:31:01.920
<v Speaker 1>As far as like, also you bringing back a lot

1:31:01.960 --> 1:31:04.639
<v Speaker 1>of our old favorites, like you working with Steve Arrington

1:31:04.760 --> 1:31:05.200
<v Speaker 1>and right?

1:31:05.560 --> 1:31:07.679
<v Speaker 6>And is profit?

1:31:07.880 --> 1:31:11.200
<v Speaker 2>Is he old or new profit? So profit is?

1:31:11.400 --> 1:31:13.080
<v Speaker 6>I feel like he's an old soul that I just

1:31:13.280 --> 1:31:13.640
<v Speaker 6>yeah know.

1:31:13.760 --> 1:31:18.040
<v Speaker 2>He's like I think he's maybe in his sixties. He

1:31:18.400 --> 1:31:20.919
<v Speaker 2>did an album in nineteen eighty four that I discovered

1:31:20.960 --> 1:31:24.000
<v Speaker 2>in the early two thousands, and I guess like in

1:31:24.080 --> 1:31:26.040
<v Speaker 2>the early eighties that was like when I was buying

1:31:26.479 --> 1:31:30.040
<v Speaker 2>the most records, well, when I started really buying a

1:31:30.080 --> 1:31:31.960
<v Speaker 2>lot of records, and I didn't know about that one

1:31:32.000 --> 1:31:33.600
<v Speaker 2>until the two thousands. But when I heard it, I

1:31:33.880 --> 1:31:36.640
<v Speaker 2>really was into it. And on the record it just

1:31:36.720 --> 1:31:38.800
<v Speaker 2>said profit. It didn't. He didn't have his real name,

1:31:38.840 --> 1:31:40.519
<v Speaker 2>so I had no way to get a hold of him,

1:31:41.120 --> 1:31:43.280
<v Speaker 2>and I would always talk about him in interviews and

1:31:43.400 --> 1:31:44.400
<v Speaker 2>then he got a hold of me.

1:31:44.680 --> 1:31:45.519
<v Speaker 1>Is he from the Bay Area?

1:31:45.680 --> 1:31:46.599
<v Speaker 2>He's from the Bay Yeah?

1:31:47.000 --> 1:31:48.160
<v Speaker 6>Was it a black and white album?

1:31:48.439 --> 1:31:52.080
<v Speaker 1>It is? Yeah, dog Yeah, Okay have you heard that? Well,

1:31:53.400 --> 1:31:54.280
<v Speaker 1>my last trip to.

1:31:55.800 --> 1:31:58.759
<v Speaker 2>The record store groove Merchant because he always had copies

1:31:58.800 --> 1:31:58.960
<v Speaker 2>of it.

1:31:59.360 --> 1:32:01.360
<v Speaker 1>Dog. I think that's the most ever paid for a

1:32:01.400 --> 1:32:03.840
<v Speaker 1>record of an artist I'd never heard of in my life.

1:32:04.080 --> 1:32:06.559
<v Speaker 2>How much it was just one of those artists that's

1:32:06.600 --> 1:32:09.759
<v Speaker 2>worth it. Yeah, they actually bought one, a groove Merchant

1:32:09.840 --> 1:32:11.680
<v Speaker 2>for six dollars. Like that's when I found it, like

1:32:11.760 --> 1:32:13.519
<v Speaker 2>in the early two thousand. I'm like, he must have

1:32:13.680 --> 1:32:15.439
<v Speaker 2>like miss priced a few.

1:32:15.360 --> 1:32:18.479
<v Speaker 1>More zeros than that. Yeah, yeah, yeah, Like I was like,

1:32:18.760 --> 1:32:20.519
<v Speaker 1>I don't know, the guy's like a mere trust me,

1:32:20.640 --> 1:32:22.400
<v Speaker 1>like I know, like how much you want historical?

1:32:22.600 --> 1:32:25.519
<v Speaker 2>Like yeah, it's like print sounded like just it's synth funk,

1:32:25.680 --> 1:32:27.400
<v Speaker 2>but like it's really out there.

1:32:28.160 --> 1:32:30.720
<v Speaker 6>Yeah that's profit okay, Yeah, you resigned them.

1:32:31.240 --> 1:32:33.719
<v Speaker 2>So we did an album with him and my design

1:32:34.040 --> 1:32:34.599
<v Speaker 2>like this year.

1:32:35.240 --> 1:32:39.519
<v Speaker 11>All right, well you know we think you wait, I

1:32:39.560 --> 1:32:41.800
<v Speaker 11>have one that's a good Yeah. Have we heard the

1:32:41.840 --> 1:32:42.599
<v Speaker 11>last of Hilario?

1:32:43.520 --> 1:32:43.760
<v Speaker 1>Yes?

1:32:43.960 --> 1:32:46.120
<v Speaker 2>I think so. I don't know. I haven't seen him

1:32:46.120 --> 1:32:52.640
<v Speaker 2>in a while. We fell out, you fell homie, man,

1:32:55.880 --> 1:33:01.599
<v Speaker 2>we have the picture what they do may Little John

1:33:02.200 --> 1:33:04.920
<v Speaker 2>and Diplo yep.

1:33:05.280 --> 1:33:07.639
<v Speaker 6>Wait and it sounds like a premise to a good joke.

1:33:08.240 --> 1:33:08.439
<v Speaker 8>It was.

1:33:08.640 --> 1:33:12.920
<v Speaker 2>It was Little John yeah and and yeah. So Diplo

1:33:13.040 --> 1:33:15.160
<v Speaker 2>hit me up and he's like, hey, I'm coming to

1:33:15.200 --> 1:33:17.599
<v Speaker 2>your stone Store party and I'm going to bring Little John.

1:33:17.680 --> 1:33:18.840
<v Speaker 2>You know, I want to introduce some deal.

1:33:18.880 --> 1:33:19.960
<v Speaker 1>And I'm like, oh cool.

1:33:20.080 --> 1:33:22.320
<v Speaker 2>But I didn't tell him that that I wasn't there,

1:33:22.400 --> 1:33:28.200
<v Speaker 2>that it was Filario. So it was yeah hard yeah.

1:33:28.280 --> 1:33:31.120
<v Speaker 1>Wait, actually, speaking of the one one one last, last, last,

1:33:31.200 --> 1:33:31.959
<v Speaker 1>last question.

1:33:31.880 --> 1:33:34.439
<v Speaker 2>And I have one follow up off, okay, I have

1:33:34.520 --> 1:33:36.519
<v Speaker 2>one as long as we end with profit, like we

1:33:36.640 --> 1:33:39.160
<v Speaker 2>can keep going and then back to profit and then

1:33:39.200 --> 1:33:39.680
<v Speaker 2>that's the end.

1:33:39.840 --> 1:33:47.280
<v Speaker 1>No, for your DJ gigs, you using video technology, yeah,

1:33:47.439 --> 1:33:50.759
<v Speaker 1>to spend How long does it take you to find

1:33:52.080 --> 1:33:53.280
<v Speaker 1>pristine prime copies?

1:33:53.840 --> 1:33:55.640
<v Speaker 2>I don't. I don't go for well, I mean, I

1:33:55.920 --> 1:33:58.080
<v Speaker 2>at least the ones I've seen you spend there. You're right,

1:33:58.120 --> 1:34:00.160
<v Speaker 2>You're right, there is a lot of it that is is.

1:34:00.240 --> 1:34:02.960
<v Speaker 2>But some of it I'll swap the audio out and

1:34:03.000 --> 1:34:04.160
<v Speaker 2>some of it I'll leave as is.

1:34:04.360 --> 1:34:06.080
<v Speaker 1>That's what I was going to ask, like, do you

1:34:06.320 --> 1:34:09.040
<v Speaker 1>because one of those Michael Jackson gigs you did?

1:34:09.160 --> 1:34:11.200
<v Speaker 6>I was like, whoa happy find such a clean copy

1:34:11.280 --> 1:34:11.400
<v Speaker 6>of this?

1:34:11.840 --> 1:34:11.960
<v Speaker 5>Right?

1:34:12.439 --> 1:34:15.960
<v Speaker 1>Yeah? That was like some so you'll just that designated

1:34:16.040 --> 1:34:20.160
<v Speaker 1>day to I added pristine audio on top of the

1:34:20.240 --> 1:34:20.679
<v Speaker 1>video clip.

1:34:20.760 --> 1:34:22.160
<v Speaker 2>I mean, one of the guys I work with like

1:34:22.280 --> 1:34:23.920
<v Speaker 2>helps me with that because I don't. I wouldn't even

1:34:24.880 --> 1:34:26.120
<v Speaker 2>I don't know technology anymore.

1:34:26.320 --> 1:34:28.400
<v Speaker 1>I see. Okay.

1:34:28.479 --> 1:34:30.120
<v Speaker 11>My last question has to do with the twelve hour

1:34:30.240 --> 1:34:32.439
<v Speaker 11>DJ set. Yes, would you ever do that again?

1:34:33.840 --> 1:34:34.040
<v Speaker 1>Yeah?

1:34:34.120 --> 1:34:35.640
<v Speaker 2>But I think if I did it again, maybe I

1:34:35.640 --> 1:34:40.200
<v Speaker 2>would like put more effort into like planning it ahead

1:34:40.200 --> 1:34:42.000
<v Speaker 2>of time. Like the whole thing with it was it

1:34:42.160 --> 1:34:46.880
<v Speaker 2>was just an idea, Like it was December twelfth, twenty twelve,

1:34:46.880 --> 1:34:48.560
<v Speaker 2>I want to do something for twelve, twelve twelve, and

1:34:48.600 --> 1:34:50.519
<v Speaker 2>I was like, I'll do twelve hours of djay and

1:34:50.600 --> 1:34:52.560
<v Speaker 2>and then I had all this other stuff going on

1:34:52.680 --> 1:34:54.840
<v Speaker 2>and I didn't really plan it, and then my dream,

1:34:55.400 --> 1:34:57.000
<v Speaker 2>what's that doing a twelve hour set?

1:34:57.560 --> 1:34:58.000
<v Speaker 1>Hell? Yeah?

1:34:58.479 --> 1:35:00.840
<v Speaker 2>And this was where was the it at my vinyl bar?

1:35:06.200 --> 1:35:08.920
<v Speaker 2>So where we Where was this? I just did in

1:35:09.000 --> 1:35:12.200
<v Speaker 2>my bedroom and but it was it was for boiler room.

1:35:13.600 --> 1:35:14.479
<v Speaker 1>On this but.

1:35:16.160 --> 1:35:18.200
<v Speaker 2>Yes you can, it's fine, It's fine, So it's for

1:35:18.320 --> 1:35:21.680
<v Speaker 2>boiler room. And I was kind of bored after the

1:35:21.760 --> 1:35:23.599
<v Speaker 2>first few hours. And then I was like, I asked

1:35:23.600 --> 1:35:26.360
<v Speaker 2>all my friends to like pick records out of out

1:35:26.400 --> 1:35:28.240
<v Speaker 2>of my room, and then they were just picking the

1:35:28.360 --> 1:35:30.760
<v Speaker 2>things they were familiar with, and that was like what

1:35:30.880 --> 1:35:32.760
<v Speaker 2>I realized, like I should have probably just done it

1:35:32.800 --> 1:35:34.759
<v Speaker 2>all on my own, because I wanted to share stuff

1:35:34.800 --> 1:35:38.000
<v Speaker 2>that people didn't know, and it turned into something else.

1:35:38.080 --> 1:35:40.120
<v Speaker 7>But it was fun though, Yeah, you played a record

1:35:40.200 --> 1:35:42.800
<v Speaker 7>I bought you. I can see the cover. It was

1:35:42.840 --> 1:35:44.439
<v Speaker 7>a peanut butter Wolf and it was just like a

1:35:44.520 --> 1:35:47.280
<v Speaker 7>DJ thing you did, but you had a record on it. Uh,

1:35:47.880 --> 1:35:49.280
<v Speaker 7>let love be your magic carpet.

1:35:49.400 --> 1:35:50.600
<v Speaker 1>Oh, I love that one. I love that.

1:35:50.960 --> 1:35:51.840
<v Speaker 2>Yeah, that's a great song.

1:35:52.240 --> 1:35:52.880
<v Speaker 1>It was so dope.

1:35:53.400 --> 1:35:57.200
<v Speaker 2>Michael White. Michael White, Yeah that was what was Yeah, yeah, yeah,

1:35:57.560 --> 1:36:01.400
<v Speaker 2>well okay, profit profit Yeah, we love profit.

1:36:01.640 --> 1:36:03.920
<v Speaker 1>We love profit. Now, thank you very much for coming

1:36:03.960 --> 1:36:04.639
<v Speaker 1>on the show.

1:36:04.760 --> 1:36:06.280
<v Speaker 6>Christy, Thank you for having me back.

1:36:08.560 --> 1:36:10.960
<v Speaker 9>Congratulations on a great label.

1:36:11.160 --> 1:36:13.400
<v Speaker 7>Man, No for real for you to make it, have

1:36:13.520 --> 1:36:15.200
<v Speaker 7>been making it a long yeah.

1:36:15.320 --> 1:36:18.240
<v Speaker 2>I mean just I'm just happy. Yeah, it's still like

1:36:18.800 --> 1:36:20.719
<v Speaker 2>enjoying it. You know, like if I was doing something

1:36:20.760 --> 1:36:23.479
<v Speaker 2>that I didn't enjoy it, I wouldn't do it anymore.

1:36:23.520 --> 1:36:25.439
<v Speaker 2>So I'm glad that I still like to do it.

1:36:27.120 --> 1:36:30.000
<v Speaker 1>It's relies and passion, all right, Ladies and gentlemen. On

1:36:30.200 --> 1:36:34.720
<v Speaker 1>behalf of Team Supreme, Boston Bill on Paid, Bill Fontigolo.

1:36:34.920 --> 1:36:38.200
<v Speaker 1>It's Laia and Sugar Steve of the Sugar.

1:36:38.000 --> 1:36:42.120
<v Speaker 9>Steve Network, founder of this and curator and ed.

1:36:43.920 --> 1:36:48.400
<v Speaker 1>Ya. My name is cost Love and this is Costler Supreme.

1:36:48.520 --> 1:36:50.280
<v Speaker 1>We will see you on the next go round. Thank

1:36:50.280 --> 1:37:04.160
<v Speaker 1>you very much. Quests Love Supreme is a production of iHeartRadio.

1:37:04.640 --> 1:37:08.000
<v Speaker 1>This classic episode was produced by the team at Pandora.

1:37:12.280 --> 1:37:16.680
<v Speaker 1>For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1:37:17.120 --> 1:37:18.799
<v Speaker 1>or wherever you listen to your favorite shows.