Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic
Speaker 1: episode was produced by the team at Pandora.
Speaker 2: What Up It's on pay Bill.
Speaker 3: On this week's QLs classic, Peanut Butter Wolf talks about
Speaker 3: launching the legendary stone Throw Records and released albums by
Speaker 3: Dave Dilla, Mad Villain, and Madlick, among many others. He
Speaker 3: also talks about his own career as an artist in
Speaker 3: DJ This is episode number one twenty seven The Quest
Speaker 3: Love Supreme and originally aired on March twentieth, twenty nineteen.
Speaker 4: Soaprima Sun South Supremo Roll call Suprema Sun Sun Supremo,
Speaker 4: Roll call Suprema Sun s Subpremo.
Speaker 5: Ro called Suprema Sun Su Suprema roll Ca.
Speaker 1: Can I have a peanut butter? Can I have a
Speaker 1: peanut butter? Can I have a peanut butter? Oh?
Speaker 2: Can I have a peanut utter?
Speaker 5: Supremama Supremo Role My name is Fante.
Speaker 2: Yeah, damn damn Mario. Yeah, you gotta say what's up?
Speaker 6: Yeah to the homiepot Lario.
Speaker 5: Supremo, roll call, Suprema Su Supremo.
Speaker 2: Roll called.
Speaker 1: My name is Sugar. Yeah, I get around.
Speaker 7: Yeah, we're Western Recorders.
Speaker 5: Yeah.
Speaker 7: Where they made pet sounds.
Speaker 5: Wow, Supremo, Supremo, role called Supremo Suprema roll called.
Speaker 2: Bills a DJ, yeah, RECONSI devour.
Speaker 1: Yeah, it ain't no way in hell. Yeah, I'm spending
Speaker 1: for twelve hours.
Speaker 4: Supreme Supremo, roll call Supremo Supremo roll call.
Speaker 1: Yeah.
Speaker 8: And Peanut but Yeah the hip hop.
Speaker 5: Yeah the roll come Supprima, Supprimo, roll Suprema up PREMI
Speaker 5: my name.
Speaker 2: Is Peanut Butter. Yeah, and I don't wrap.
Speaker 4: Yeah.
Speaker 2: If I knew I had to do this. Yeah, that's
Speaker 2: not Supremo.
Speaker 5: Roll come Suprema son something Supremo roll Calm Suprema Son Supremo,
Speaker 5: roll cal Suprema.
Speaker 1: Son Supremo roll. Wait, I got it, Steve. You just
Speaker 1: bodied me with that information. Studio three, it's open. We're
Speaker 1: going to look at it in a minute when we're done.
Speaker 6: Can we just stop the episode now and go.
Speaker 7: I've already went in so we can wait. Okay, Yeah,
Speaker 7: he's already posed this picture on the gram really. Yeah,
Speaker 7: he's on the Grammar.
Speaker 1: So there's always a chat with Sugar episodes.
Speaker 7: At work already. They already got it, they got it early.
Speaker 8: Check the shirt, baby, check the shirt.
Speaker 1: That's amazing, ladies and gentlemen. Uh. This is another episode
Speaker 1: of Quest Love Supreme Road Trip Edition. Yes, we are
Speaker 1: live at East West Studios formerly known as United.
Speaker 9: For I'm sorry, formerly as Western Recorders. Uh that's when
Speaker 9: they did Pet Sounds And we're in Sinatra's room where
Speaker 9: it did My Way in New York, New York. And yeah,
Speaker 9: something stupid.
Speaker 1: And I got it that. Yeah, the vibe of the place.
Speaker 9: Sinatra built this place basically, I mean, somebody else designed it,
Speaker 9: but he paid for it.
Speaker 1: So this was this was his h Yeah, this was
Speaker 1: his spot.
Speaker 9: And the other spot too that we were at United,
Speaker 9: Both of those were his spots.
Speaker 2: Did he pick the coaches out there? Because they seem
Speaker 2: really sinatrash?
Speaker 9: All the studios here are basically as they were back
Speaker 9: in the day, but everything in.
Speaker 1: The hallway that seemed like, Yeah, I thought it was
Speaker 1: going to be an intervention talk.
Speaker 10: For a mir or you know, I thought I was
Speaker 10: setting them up.
Speaker 1: That's the real Yeah, Like, I mean, we're here to
Speaker 1: tell you that you can only have seven jobs. Bro.
Speaker 9: That the Pet Sounds room now looks just like it
Speaker 9: is like it does in all the pictures and documentaries
Speaker 9: it's incredible.
Speaker 1: Wow.
Speaker 7: Well different console, but but you know you.
Speaker 2: Had to keep that intact.
Speaker 1: Yeah.
Speaker 7: His podium is right in there where he I think
Speaker 7: where he conducted from and Sinatra's Yes, Sinatra's podium, that
Speaker 7: is podium.
Speaker 1: Yeah.
Speaker 6: Oh I thought you praying over there.
Speaker 2: Oh no, I was on.
Speaker 7: I was taking with my wife. I was taking, you know,
Speaker 7: but I don't want to step up there. I didn't
Speaker 7: want to up.
Speaker 6: He wasn't lamping on that. But that podium non podium.
Speaker 1: Anyway, ladies and gentlemen, our special guest today and our
Speaker 1: shall I say, our road trip California edition of course
Speaker 1: love supreme.
Speaker 2: Frank tradition.
Speaker 1: Yes, a man just as smooth as, for instance, Albert Sinatra,
Speaker 1: I will say, you know, initially his entrance into our
Speaker 1: world was under the guise of indie hip hop. But
Speaker 1: when all the smoke clears, I should say that probably
Speaker 1: Stone's Thrower is probably one of the most unique UH
Speaker 1: boutique creative labels UH in existence, going beyond the boundaries
Speaker 1: of what underground hip hop was or the stigma of
Speaker 1: the title underground hip hop. I mean, just a lot
Speaker 1: of my favorite artists that I listened to UH on
Speaker 1: the Daily are on this label. I mean from passing
Speaker 1: president future.
Speaker 7: Brother wanted to signist stone throw, Yes for.
Speaker 1: Real, that was dream dude.
Speaker 2: Please listen to my style like he was chuggy first
Speaker 2: time I heard that.
Speaker 7: Oh yeah, and all the years we've known, Yeah dude,
Speaker 7: like that was like man, we wanted to but.
Speaker 2: Yeah, put out the issue.
Speaker 1: Let's name of ladies and gentlemen from Profit to Tuxedo
Speaker 1: to see Dan archives too, of course. Uh my personal
Speaker 1: Goo Jay Dilla, uh Kareem Riggins, d J Harrison.
Speaker 6: I forgot even freaking Breachestra.
Speaker 2: Yeah, break That's kind of how I met you, Yeahestra man.
Speaker 1: I forgot break Breakstra Gary Wilson, Gary Wilson's uh Georgie
Speaker 1: and Montre.
Speaker 6: Steve Arrington.
Speaker 1: He releases Yeah, yesterday's new twet. Twet go on the
Speaker 1: question of supreme cricketure. Yeah, uh uh loop pack man,
Speaker 1: next worries, how do you pronounce next? No worries. I
Speaker 1: always see that when this man's name, let's just go
Speaker 1: down to rock Percy p Guilty Simpson. Uh. Profit is
Speaker 1: So it's so many artists that I just you know, yeah,
Speaker 1: succeed the project. Yeah, I'm just saying that when I
Speaker 1: need to escape from the the madness that is modern
Speaker 1: music today, I looked at Stone Strow to see who's next,
Speaker 1: and the proprietor of Stone Store was here with us.
Speaker 1: Please welcome to couestlof Supreme Christopher Hilario Hilario Man aka
Speaker 1: Peanut Butter. What's up?
Speaker 2: Then a few words? One word answers? How many are
Speaker 2: you going to? I learned that. I learned that from
Speaker 2: two days ago. This bass player that I'm oh, you've
Speaker 2: been interested in working with? Yeah, I met him for
Speaker 2: the first time. It's like it's all like texting up
Speaker 2: until that point, and texting was all paragraphs and then talking.
Speaker 2: It's like one word answers.
Speaker 6: Can I tell you that it is easier to text
Speaker 6: than it is to talk?
Speaker 1: Is that for me?
Speaker 2: No, that's how it's become.
Speaker 11: I mean absolutely, it's on the phone anymore, really, and
Speaker 11: you can edit yourself for texting unless it's.
Speaker 8: Your past and you got to text somebody before you
Speaker 8: talk on the phone. Do you mind if I call you?
Speaker 1: You're the queen of that, Like I'll be texting you
Speaker 1: and you'll just like slit smart liquor bool your way
Speaker 1: the Kool aid Man.
Speaker 6: Yeah, and I'm like, no, I got to think about
Speaker 6: what I'm saying and whatnot.
Speaker 1: Anyway, So what's up man? Also a fellow, well, you
Speaker 1: know for me to mention ask Vaughn as I've done
Speaker 1: in past episodes with with Fellow, ask me and Me
Speaker 1: and uh Me and Wolf were kind of part of
Speaker 1: this the secret Society of hip Hop Luminaries that. Yeah,
Speaker 1: we kind of start off all uh earnest in our
Speaker 1: appreciation of hip hop and in the name of collaboration.
Speaker 1: But now it's like it's it's who can out emog
Speaker 1: each other, Yeah, emoji each other.
Speaker 2: It's mainly it's mainly Premiere Alchemist.
Speaker 7: Like.
Speaker 2: Is it no dude when I tell you, yeah, I
Speaker 2: think that.
Speaker 1: The Premiere Like I'm dreading the day if Premiere has
Speaker 1: an untimely demise and it's up for up to me
Speaker 1: to write something like notable about his career, like his
Speaker 1: achievements in his emoji game. Yeah, it's it's far beyond
Speaker 1: any beat he's ever made in his life.
Speaker 6: An Alchemist is damn near.
Speaker 1: Like a.
Speaker 2: Just Alchemist is the sticker king and.
Speaker 1: I want to buy his artwork. Really, we're just it's
Speaker 1: it's the silliest brotherhood I've ever like.
Speaker 2: But I never knew Premiere had that many, like cartoon voices,
Speaker 2: like I don't know why he's not doing cartoons seriously
Speaker 2: and hip hop.
Speaker 1: I'm literally one second I'm working on an animated series
Speaker 1: right now that I'm like, wait second away from approach
Speaker 1: and just have him be all of them.
Speaker 2: If all the other characters.
Speaker 1: If unpaid, Bill we're here, I tell him to hire
Speaker 1: one system.
Speaker 8: The way he does voice memos on your group text?
Speaker 1: Is that what it's It's beyond great Premiere's talent for
Speaker 1: the cartoon voices. Wow, you I mean like three four
Speaker 1: in the morning is some next ship. So yeah, Wolf
Speaker 1: is part of the the the Askbaughn Brotherhood of.
Speaker 2: Yes, and I have a lot of friends who are
Speaker 2: like wishing they were part of it, like other like
Speaker 2: musician you know, DJ is hip hop. If I could
Speaker 2: fit more now now it's cool, I like, we can't
Speaker 2: let t rock maybe our chear rocks quiet anyway, So no,
Speaker 2: we just sit there like rating.
Speaker 6: I never explained the Diplo why we had to kick
Speaker 6: him out the chat because.
Speaker 2: We Diplo left and then he came back and then well.
Speaker 1: I kicked him out because it's almost like the trade,
Speaker 1: like we traded Diplo for uh who joined this late?
Speaker 1: Like buck Wild? It was someone in that jam.
Speaker 2: Oh no, that was a different one.
Speaker 1: People in this group.
Speaker 6: You can only have twenty five people in.
Speaker 8: The chat, So I guess nobody has a droid because
Speaker 8: y'all are cool.
Speaker 6: Well, Jeff, just because.
Speaker 2: You don't neither, what's that you don't respect any me.
Speaker 7: That said that green having a green box. Somebody take
Speaker 7: somebody with a dray. If you get in a group chat,
Speaker 7: I got a joy and they fuck up the whole chat.
Speaker 8: Yeah, because they got to have a separate conversation because
Speaker 8: they can't get they got a difference.
Speaker 2: You know, I'm showing my age. I don't even know
Speaker 2: what that is.
Speaker 10: You got an iPhone?
Speaker 2: I got an iPhone?
Speaker 1: Yeah, you blue box?
Speaker 7: If some one would have would a droid text you?
Speaker 1: Which is why Jeff had to drop out, because Jess
Speaker 1: Jeff left iPhone to go to back to. I didn't
Speaker 1: even know that he betrayed us. So there goes the
Speaker 1: invite to It was.
Speaker 2: BlackBerry for so many years. How many blackberriers there's back in.
Speaker 6: The I'm at a comedian last night.
Speaker 1: Who he purposely uh got a BlackBerry so that he
Speaker 1: could stop his writer's block. He's he had to turn
Speaker 1: it and yeah, he's been working on his book for
Speaker 1: now four years and he blames his A D D H.
Speaker 6: Attention to his iPhone.
Speaker 1: So in order to wean himself off of entertainment, Uh,
Speaker 1: he's gotten rid of his iPhone and won't only do BlackBerry,
Speaker 1: which takes away his gifts and his memes and you
Speaker 1: know the time that he wastes.
Speaker 2: Your guy, Jack White, Right, I was hearing the thing
Speaker 2: that he said that he doesn't have a phone or something.
Speaker 6: Yeah, but you know eccentric people Kanye don't have one.
Speaker 1: Can I do that?
Speaker 6: Guys like, can I give her my phone?
Speaker 1: I don't know. You could know. You've got too many jobs.
Speaker 10: And you like texting, you don't like talking.
Speaker 1: So what you're gonna do disappear anyway. So how you
Speaker 1: doing today? Great water? What'd you do today? You know what?
Speaker 1: So I visit I'm gonna start backwards because I visited
Speaker 1: Stone's through headquarters and I was genuinely surprised at how
Speaker 1: professional the atmosphere was. Really, Like the only thing missing
Speaker 1: if you if you're a fan of It's always sunny
Speaker 1: in Philadelphia. Kind of like the music that that like
Speaker 1: that that sunny happy music that they always use as
Speaker 1: as background music on that show. That's the atmosphere I
Speaker 1: felt I was in when I was walking pet Like,
Speaker 1: I was like, yo, you guys have like staff and
Speaker 1: it's like mad men.
Speaker 2: I love coming to work right now. Yeah, things are
Speaker 2: really good.
Speaker 6: I miss it.
Speaker 1: I want to walk through there again to come back.
Speaker 1: So how long have you guys been in that uh,
Speaker 1: that building?
Speaker 2: I'm just yeah, yeah, fifteen years. It's like it started
Speaker 2: kind of we just had one room and then as
Speaker 2: we kind of expanded, we grabbed another another another, and yeah,
Speaker 2: so just a little, yeah, just gradual thing.
Speaker 1: It's kind of well, that whole neighborhood is a vibe
Speaker 1: because even your next door.
Speaker 2: Years with uh yeah, Adrian Young and Shahied they are
Speaker 2: studio Well's I think it's Adrian's but maybe yeah, Adrian
Speaker 2: part I mean is like, yeah, it's called Highland Park,
Speaker 2: so it's pretty close to downtown.
Speaker 9: You guys got studios in that complex or is it office?
Speaker 2: We have a studio on ours and then yeah, Adrian's
Speaker 2: is next door.
Speaker 1: Wow, yeah, it's it's official. Man, Like every.
Speaker 2: We're opening a record bar, that's yeah.
Speaker 8: So we are, yach like the big Are you the
Speaker 8: biggest indie hip hop situation or indie situation right now?
Speaker 10: It's because it sounds huge.
Speaker 2: I mean yeah, I mean we're not like like as
Speaker 2: big as Kendra Lamar's label or any of that, but.
Speaker 7: Like, like, y'all are probably the longest last thing I'd say, yeah, you.
Speaker 1: Guys would probably neck with Jack White situation with the
Speaker 1: third Man, Third Man, I think because even his label,
Speaker 1: his operation in Nashville is sort of similar where yeah,
Speaker 1: you know, I think it's more about it's less about
Speaker 1: the artists and more about the the label. So what
Speaker 1: what what do you What year do you consider the
Speaker 1: actual first stones Throw release?
Speaker 2: Yeah, well, with the name stones Throw was in ninety six.
Speaker 2: I actually I did.
Speaker 1: I was.
Speaker 2: I started a label in nineteen ninety and put out
Speaker 2: like one twelve inch single that flopped, and then at
Speaker 2: that point I was like, I don't want to do
Speaker 2: the label thing, and I started working with an MC
Speaker 2: Charisma and then yeah, yeah he passed away, and then
Speaker 2: I went back to the label thing. I just you know,
Speaker 2: didn't want to be an artist anymore at that point, really.
Speaker 1: How do you well what discouraged you from continuing.
Speaker 2: The artist thing? Yeah, losing my friend.
Speaker 1: I didn't.
Speaker 2: I didn't want to be on stage with someone else's
Speaker 2: you know. It was just not really it didn't feel right.
Speaker 7: So were you rhyming with DJing?
Speaker 2: No, it was DJ did not hear that? Yeah, I
Speaker 2: did not hear my wrap? No, yeah, no, I DJ'ed
Speaker 2: and I made all the music back then. I used
Speaker 2: the in Sonic EPs, which is like a big Rember workstation.
Speaker 7: And because you end up putting that record out right,
Speaker 7: you end up putting the well.
Speaker 2: I put out Christmas record after he passed. Yeah, he
Speaker 2: passed in ninety three. And then we were signed to
Speaker 2: Hollywood Basics at the time, which was the Disney Diney. Yeah,
Speaker 2: but it was what it was funking Client though, So
Speaker 2: fucking client, like, do you know funk Cline or did
Speaker 2: you know who he was?
Speaker 1: I knew I've heard of Dave funking Client, But what
Speaker 1: was it like? Because also Pharaoh and.
Speaker 2: I mean our checks had Mickey Mouse on them, so
Speaker 2: that seriously they really did we save one? I probably
Speaker 2: have one?
Speaker 1: Yeah?
Speaker 7: Yeah, I remember, I said everything they had.
Speaker 6: It was Organized liferss Group. Lifers's Group was for a
Speaker 6: Disney label.
Speaker 2: And they made they made a Lifress Group soap on
Speaker 2: a rope and then I don't somehow it got like
Speaker 2: it got canned. So then they had all the soap
Speaker 2: and so they made it an organized Confusion soap on
Speaker 2: a rope and that didn't make sense.
Speaker 1: So that was the promo.
Speaker 2: That was the promo for sure, stress you're telling me
Speaker 2: I have THEE on a rope still go ahead? Sorry,
Speaker 2: And for our listeners out. The Lifers Group was a
Speaker 2: group of X cons that formed No No, no, no,
Speaker 2: no no they were they were in general the niggas
Speaker 2: was locked up.
Speaker 1: Yeah they were.
Speaker 6: They could still be in jail for all we know.
Speaker 7: Group Life Yeah wait, how did they they recorded in jail?
Speaker 7: They recorded a jail. I guess they was in the
Speaker 7: room or whatever.
Speaker 8: Did that first?
Speaker 2: Well recorded in jail?
Speaker 11: Yeah we forgot about Shine Shine Yeah No, Life was
Speaker 11: group had an actual studio.
Speaker 7: I guess they recorded in jail.
Speaker 11: And yeah, yeah, yikes, so they had they had There
Speaker 11: was a video for Lifers Group too, wasn't I.
Speaker 2: Can't remember their video in jail, but that's how DJ
Speaker 2: Shadow got it started. He did a remix for them,
Speaker 2: and his manager was my manager, so that was kind
Speaker 2: of the connection. That's why we both ended up on
Speaker 2: Hollywood Basic Basic Actually, so Charisma is a rapper I
Speaker 2: worked with, and the guy money Bee from Digital Underground
Speaker 2: was always playing our tape and he told that labeled
Speaker 2: Becafusion was refusion, So that was his side project, was Rofusion.
Speaker 2: So that was my first time traveling out of the country.
Speaker 2: Was we went to Germany and you know, we were
Speaker 2: kids and just it was incredible.
Speaker 1: Who else was on that tour?
Speaker 2: It was me, well, me and Chrisma, this rapper heih S,
Speaker 2: this West Coast rapper was kind of part of DJ
Speaker 2: Quick's crew, and then.
Speaker 1: FUSI yeah, exactly, yeah, I see what for the for
Speaker 1: those that don't know and actually for me, like what
Speaker 1: for you coming into hip hop? Like what was the
Speaker 1: the experiences the I mean, did you have, like from
Speaker 1: New York perspective, I know that most people have a
Speaker 1: park jam and that sort of thing.
Speaker 2: But yeah, were you going on roller skatings? I was
Speaker 2: living in San Jose. There was no hip hop scene
Speaker 2: really there. I mean the breaked, the breakdancing, I guess
Speaker 2: a little bit. You were born there, right, No, I
Speaker 2: moved there when I was six years old though, so
Speaker 2: damn near born there? And how many years did you
Speaker 2: till I was twenty five? So first twenty years? Can
Speaker 2: you explain something to me? Yes, San Jose.
Speaker 1: Has a very very unique homeless situation that I've never
Speaker 1: seen in any other city in the United States. Not
Speaker 1: because the amount of volume of people that are homeless,
Speaker 1: m hm, but it's almost like.
Speaker 6: Usually whatever whenever venue that we've ever.
Speaker 1: Played in San Jose, it's like it's it's college professors
Speaker 1: and this kind I didn't even.
Speaker 2: Notice that drop out. Oh my god, it's but I
Speaker 2: don't I haven't been to Sands that often, like lately.
Speaker 2: I mean i've been there. I've been gone since ninety five,
Speaker 2: I guess, but I go to visit family.
Speaker 1: But I just know I needed someone to explain to me,
Speaker 1: like why is this whole dropout of society? Well started
Speaker 1: as a professional dropout of society kind.
Speaker 2: Of right, But I mean, yeah, I don't know. I
Speaker 2: was gonna just say that, like the cost of living
Speaker 2: there just skyrocketed after you know, the Internet boom and
Speaker 2: stuff like all the I mean the guy that went
Speaker 2: to high school with me started Yahoo and he was
Speaker 2: like a billionaire so, and he was like one year
Speaker 2: older than me, and I was like in his early twenties.
Speaker 2: I think when he started it.
Speaker 1: Were you nice to him in high school?
Speaker 2: He was a one year older than me? But yeah,
Speaker 2: my my stepmom actually worked for him and she said, oh,
Speaker 2: I asked him about you here, remember you? But you
Speaker 2: know I wasn't really Yeah, I didn't know.
Speaker 1: I'm like that, Okay, So what were your hip hop
Speaker 1: experience experiences early? Yeah?
Speaker 2: I mean I remember going to Chuck E Cheese and
Speaker 2: they would have break dance contests and stuff there, but
Speaker 2: it was all you know, it was more like breaking
Speaker 2: in the quad pop locking. I mean we had the
Speaker 2: pop locking more on the on the West Coast.
Speaker 5: You know.
Speaker 6: I love hearing a Chuck E Cheese story that didn't
Speaker 6: end in violence. The Martin Luther King.
Speaker 2: I mean, I just remember walking there as a fifteen
Speaker 2: year old and then walking home and I ended up
Speaker 2: not getting home till four in the morning. I thought
Speaker 2: I was gonna get my ass beat, but like I
Speaker 2: snuck in and my parents didn't hear me. But I
Speaker 2: mean Egyptian Lover was the early show that I went to,
Speaker 2: like that was eighty five. I went to the Fresh
Speaker 2: Fest stuff like that. But you know, I guess I
Speaker 2: learned about hip hop. I was into like funking soul
Speaker 2: and then like I didn't know like the elements or anything,
Speaker 2: but like Rappers Light when that came out, like even
Speaker 2: like double Dutch Bus, Like to me, I thought that
Speaker 2: was hip hop. As a kid, I didn't know the
Speaker 2: difference really, like they were just both wrapping over a
Speaker 2: disco trap. And then kind of learned a little later.
Speaker 1: So it wasn't like older cousins or an uncle that
Speaker 1: sort of trickled down the information to you, Like who
Speaker 1: mentors I'm the older uncle?
Speaker 2: Oh, I mean yeah. My parents. My dad was into Sinatra,
Speaker 2: you know, rest in peace to Sinatra and my father,
Speaker 2: but my mom was into show tombs. But my my
Speaker 2: my mom's dad was a jazz bass player. He was
Speaker 2: an upright bassist and he played. Actually Duke Ellington would
Speaker 2: come to his dad's restaurant and then he let my
Speaker 2: grandpa play piano and my grandpa was nine years old
Speaker 2: and then he just fell in love with jazz after
Speaker 2: that and played with Dizzy Gillespie. And a lot of
Speaker 2: you know, a lot of the greats, but he always struggled.
Speaker 2: My mom had seven brothers and they were always dirt poor,
Speaker 2: and so my mom didn't really want me going in
Speaker 2: the music industry because you know, my grandpa never made
Speaker 2: money and music it was more like a hobby.
Speaker 1: So but yet you wound up in the same then, yeah,
Speaker 1: predicament kind of.
Speaker 2: I mean, I mean, honestly, like when me and Charisma
Speaker 2: got signed, when we got signed to the major label,
Speaker 2: I was still in college and my mom was like,
Speaker 2: you got to you gotta finish school, and you know,
Speaker 2: I was like, no, I don't, I don't care.
Speaker 1: You know, where did you go to college.
Speaker 2: I was in San Jose State and I ended up
Speaker 2: getting my degree in marketing. And my label is like
Speaker 2: it helps, I know, experience. Yeah, I don't really run
Speaker 2: my label in a marketing sense so much, I think,
Speaker 2: or it's like the anti marketing label. But so you're
Speaker 2: the herb output of maybe A and M operation where
Speaker 2: you just yeah, I don't know his story.
Speaker 6: What was well, you know, Moss, Jerry Moss.
Speaker 1: He was the business guy.
Speaker 2: Yeah, yeah, yeah, I mean, yeah, I'm real passionate about
Speaker 2: the creative. I get into arguments with the guys at
Speaker 2: the label sometimes about that, but yeah, no, I mean
Speaker 2: I leave the business to them more. And you know,
Speaker 2: it's the checks and balances I have, like people all
Speaker 2: like working and so it's I don't know, I feel
Speaker 2: like my team, I'm really I trust them and stuff.
Speaker 1: So were you?
Speaker 7: I was, so how many operation? How big is the
Speaker 7: stones operation?
Speaker 4: That?
Speaker 11: Like?
Speaker 1: Who are the people?
Speaker 2: There's like ten, there's like ten to twelve people like
Speaker 2: in our office. Yeah, we have some interns and then
Speaker 2: we have like a small operation in Europe and then
Speaker 2: Japan and.
Speaker 7: So you handle the music, and then how many other
Speaker 7: people you have kind of handling the business?
Speaker 1: I guess.
Speaker 2: I mean there's like three or four kind of like
Speaker 2: doing different aspects of marketing. And then yeah, just traditional
Speaker 2: like you know in our director and GM.
Speaker 7: So with y'all stuff like in terms of signing artists
Speaker 7: or putting records out? Is it just you find something
Speaker 7: you like it, and it's like, yo, that's where I'm pickheaded.
Speaker 7: I'm like, I like this, and you guys, if you
Speaker 7: don't like it, I'm sorry. I mean it's you know,
Speaker 7: I'm not like a dictator about it. But like they yeah,
Speaker 7: they're they're pretty cool.
Speaker 2: But I mean, honestly, like it's it makes it's so
Speaker 2: much better when the staff likes it too, because they're
Speaker 2: working in it, you know. I mean if they're not
Speaker 2: really if their heart's not into it, then they're not
Speaker 2: going to work it as hard.
Speaker 1: So from my experiences working at a major label, that
Speaker 1: is very true.
Speaker 2: Yeah, and that's why I like the people that I hired.
Speaker 2: They're really into the same music that I'm into, you know,
Speaker 2: not necessarily good or bad music, but the same music.
Speaker 11: Because promoting Nelly albums, it's wearing on your soul. What
Speaker 11: kind of alum Nelly? He used to work for Universal
Speaker 11: back in the day, So like that question, you worked Nelly?
Speaker 11: Did you work the Ali Heavy Starts album?
Speaker 1: Or were you out there? I was?
Speaker 7: I was out I was out by he was out
Speaker 7: by Heavy Starts.
Speaker 1: Okay, so starting starting the label, yeah one, Why did
Speaker 1: you feel it was necessary to.
Speaker 2: Start your I mean I never wanted to be a
Speaker 2: label guy, like, especially when the four thousand and eighty rule,
Speaker 2: you know, like a company people shady. I'm like, I
Speaker 2: didn't want to be on that side of it.
Speaker 1: But that's why I joined the music business, so I
Speaker 1: could not be shady.
Speaker 2: Right, I mean that was the thing. Like actually the
Speaker 2: first several years of Stone Strow, I didn't have contracts
Speaker 2: with any of the artists, and I had a an
Speaker 2: attorney that was like, are you crazy, Like you know,
Speaker 2: you got to protect yourself, and I'm like, oh, I'm
Speaker 2: all on her system. You know. I know if I
Speaker 2: treat my artists right, they're going to stay with me.
Speaker 2: And when that backfire, yeah yeah, now I think, I mean,
Speaker 2: you know that it's going to backfire with or without
Speaker 2: a contract if you can only take an artist to
Speaker 2: a certain level. And you know, people, it's the tendency
Speaker 2: I think is that the grass is greener, you know,
Speaker 2: Like so.
Speaker 6: I don't think so though, No, the grass is never green.
Speaker 2: You're saying, you don't think people think that way. But
Speaker 2: I know I've had I have artists leaves and sow
Speaker 2: for major labels and then yeah, and then they come back,
Speaker 2: yeah yeah, yeah, all right yeah and they come back.
Speaker 2: But well, I mean I've always been the artist, I
Speaker 2: mean the music fan that kind of jumps around and
Speaker 2: like I'm always trying to discover the next thing. So
Speaker 2: for me, like my homie that I grew up with.
Speaker 2: We like he would buy all ten art ten albums
Speaker 2: by the same artist, and I was always looking for
Speaker 2: something new. And there's not right or wrong in either one.
Speaker 2: I mean, I guess maybe more right as being loyal
Speaker 2: to that artist and buying all ten albums, But I
Speaker 2: was always jumping around. So when an artist leaves Stone's Throw,
Speaker 2: it's still I mean, I kind of understand, you know,
Speaker 2: why they're doing that, and I'm still busy, like trying
Speaker 2: to find the next thing.
Speaker 1: So well, Yeah, as I say at the top, I
Speaker 1: think in your specific case, I feel like Stone's Throw,
Speaker 1: the legacy is almost the star of the operation, as
Speaker 1: opposed to you know, if you have a particular franchise
Speaker 1: artist that shines for a while or whatever. But I
Speaker 1: feel like, like for me, I'm at the I'm at
Speaker 1: the rate now where if it's a new artist on
Speaker 1: stones Throw, I trust it because you know, the.
Speaker 7: Logo carrier weight more so than the artists.
Speaker 2: Yeah, and you and I have similar tastes of music,
Speaker 2: so you know, I feel good like showing you my
Speaker 2: music or the music I'm involved in, and I feel
Speaker 2: like you generally.
Speaker 1: Will like it and stuff. But so but in the beginning,
Speaker 1: did you in ninety six did you imagine that twenty
Speaker 1: years later it would wind up into the operation.
Speaker 2: That never had a twenty year plan. And I don't
Speaker 2: know if I would have thought it would have been
Speaker 2: bigger or smaller or if.
Speaker 1: Yeah, So when it first started, was it the it
Speaker 1: was out the trunk, in the in the kitchen we started.
Speaker 2: We started like really in the DJ community and the
Speaker 2: turntable is community specifically, like in the Bay Area in
Speaker 2: the mid to late nineties, there was a big turntableism
Speaker 2: thing happening with Cubert and Scratch Pickles. Yeah, the whole
Speaker 2: scratch Pickles. One of the guys de styles that was
Speaker 2: in Cubert's group. He was dating my sister when I
Speaker 2: was the older brother that was a little like upset.
Speaker 2: They were like twelve or thirteen or something, and so
Speaker 2: he was asking me how to teach him how to
Speaker 2: scratch and I'm like no, And then now he likes
Speaker 2: scratched like circles. Oh yeah, oh yeah, I'll tell you
Speaker 2: in five And I could never I could never like
Speaker 2: go where he goes with it. But you know, he
Speaker 2: really stuck with that, and I kind of jumped around
Speaker 2: and did different things. But back to what I was
Speaker 2: trying to say was in the late nineties, it was
Speaker 2: really like a lot of turntables and going on in
Speaker 2: the area. That's something that we had to edge over
Speaker 2: a lot of other areas. And Hubert was putting his
Speaker 2: records out. We put out this record called super Duct
Speaker 2: Breaks and that really it was in all the all
Speaker 2: the DJs would use it in their battles and you
Speaker 2: would look at.
Speaker 1: All the noise that was always cut number three.
Speaker 7: Straight up.
Speaker 2: Yeah. But okay, So what I was going to say, like, well,
Speaker 2: go ahead, No, no, I'm like trying to lead the
Speaker 2: interview now, no, no, But like I just remember like
Speaker 2: DJs would watch the other DJs and it would say
Speaker 2: stones throw on the on the record, like really big,
Speaker 2: and that was just something that the design guy like
Speaker 2: came up with and I didn't really think about it,
Speaker 2: but people would watch these DJs and they would see
Speaker 2: the stones throw really big and they go, what is
Speaker 2: stoneses throw?
Speaker 1: You know?
Speaker 2: We so we really like we put out the charisma
Speaker 2: thing that had never come out, and the DJs were
Speaker 2: all using that and really me being part of that
Speaker 2: DJ scene like that was my Rolodex was only like
Speaker 2: battle DJs and beat junkies stuff like that. So I'd
Speaker 2: send them all the records and they would all support it.
Speaker 2: And you know, at that time, it was like a
Speaker 2: vinyl only label. It was before there was iTunes or
Speaker 2: any streaming or any of that.
Speaker 1: So back then, when you're starting a label, how many
Speaker 1: records would you have to push in order to justify
Speaker 1: staying in business and not losing money? And because I
Speaker 1: still feel like it's a very specific small community you
Speaker 1: have to cater to. Yeah, and if you're you know,
Speaker 1: handing me two copies and the next act that's in
Speaker 1: town two copies too, you know.
Speaker 2: Yeah, it was all doubles. But I mean that's why
Speaker 2: we sold so many units too, Like you're selling two
Speaker 2: copies of every record, and then like the records the
Speaker 2: pressing plant we used, they would like wear out really quickly.
Speaker 2: And I didn't even realize that. Like Hubert's records were
Speaker 2: at RTI and those ones you can scratch and scratch
Speaker 2: and it never gets messed up. And we were using
Speaker 2: Raymo and you scratch it like three times and you
Speaker 2: ruin the record. So they had to keep coming back
Speaker 2: and buying it over and over again like apples.
Speaker 6: That's smart, keep them coming back, all right, I gotta
Speaker 6: remember that one.
Speaker 2: So what was what was the first sold one hundred
Speaker 2: thousand of the super Breaks or something something crazy like that.
Speaker 1: You know, So then to your first official musical release.
Speaker 1: First of all, what right? What means you decide to
Speaker 1: to jump just from battle Break material to yeah? I mean,
Speaker 1: I guess. So.
Speaker 2: I was working at a distributor at the time too,
Speaker 2: and they were doing mostly house music, and I came
Speaker 2: to the guy and I said, I want to start
Speaker 2: a hip hop division here. And the company was called TRC.
Speaker 2: And the guy's like, okay, name ten hip hop releases
Speaker 2: that you like right now, and I totally froze up.
Speaker 2: I'm like really bad in interviews, and I named like three,
Speaker 2: and he's like, you're going to start a hip hop division.
Speaker 2: I can name ten and I don't even like hip hop.
Speaker 2: So I was like, all right, I didn't get this job.
Speaker 2: And you know, I wrote a nice thing afterwards like
Speaker 2: I still think I'm the guy and blah blah blah,
Speaker 2: and he hired me, and like, through that job, I
Speaker 2: really like taught me like everything I wanted to know
Speaker 2: about the music industry. And Stone's Throw started out as
Speaker 2: an extension at TRC. But TRC the problem with that was,
Speaker 2: like I was taking all these labels in and selling
Speaker 2: thousands of units, but they weren't paying, like the guys
Speaker 2: you know at the head of the distributor, We're not
Speaker 2: paying the labels. So it was kind of turnishing my
Speaker 2: image or my relationship with guys that I knew. So
Speaker 2: I kind of jumped out of there and I started
Speaker 2: Stump Store at that time, so you.
Speaker 1: Were almost part of industry rule forty yeah, I.
Speaker 2: Was becoming the forty eight. And then they went under
Speaker 2: and they went into porn and then I don't know
Speaker 2: what they do now, but damn.
Speaker 6: So what was the first album official album release on
Speaker 6: Stone Star.
Speaker 2: I think, well, hmmm, it was this thing called Fanatic
Speaker 2: Beats and it was just like a breakbeat record, just
Speaker 2: instrumental hip hop, but I mean like more yeah yeahs
Speaker 2: or with Volte rappers Vocalus on top. Like I think
Speaker 2: Rascoe was one of the early ones and was the
Speaker 2: Cala the cal Asian, but Kelly Agents are two guys
Speaker 2: Rascal and Planet Asia and then Asia I did an
Speaker 2: artist album called My Vinyl Ways a ton in like
Speaker 2: ninety seven around like the early days of Stamps Throw
Speaker 2: and I had Planet Asia on two tracks on that
Speaker 2: and that was kind of like what started like his stuff,
Speaker 2: and then I remember he was Onre's Well the Dray
Speaker 2: thing happened later, but he was on he was on
Speaker 2: Sway and they had him battle against Eminem and that
Speaker 2: that was like Eminem's first time on the radio and
Speaker 2: he blew up and then Asia kind of got notice
Speaker 2: from that too.
Speaker 1: Yeah, so for at least my perception of what underground
Speaker 1: hip hop was at the time, What were your feelings
Speaker 1: of being sort of pegged with every because there was
Speaker 1: such an uprising, especially with fat beats developing in the
Speaker 1: York and LA and Braucus and everything. So and how
Speaker 1: were you able to get elbow room just to in
Speaker 1: such a crowded space.
Speaker 2: Well, I mean the early days, like we didn't get
Speaker 2: much play on New York radio. I know Premiere did,
Speaker 2: he played.
Speaker 1: Not even with stretching Barbido.
Speaker 2: Well, Barbido, yeah, they did. They supported some of our stuff,
Speaker 2: but I remember like the Quasi model they didn't support
Speaker 2: and I was like all upset about it, but really, yeah,
Speaker 2: probably did eventually, I don't know.
Speaker 1: Well, I mean there was a period, especially when Stretch
Speaker 1: Armstrong left the show. I try to keep up with Bobido, like,
Speaker 1: you know, because I was one of those listeners that
Speaker 1: would listen to the show and you know, whenever he
Speaker 1: played and he would mention who you know, I go
Speaker 1: out and buy it, and then I go to Fat Beats,
Speaker 1: especially back then, like because Rich Medina had his own
Speaker 1: Fat Beats division and Philly and Rich would just give
Speaker 1: me like seven hundred dollars worth of underground hip hop
Speaker 1: that I wouldn't even open, like it was just too overwhelming.
Speaker 2: Are you still sitting on those records?
Speaker 1: Yeah?
Speaker 6: Hell yeah, I'm still sitting on it.
Speaker 1: Like I know that any underground and the release between
Speaker 1: ninety six in two thousand and two, like I just
Speaker 1: took him because I just go to Rich mcden and
Speaker 1: be like, all right, give me what I need. Okay,
Speaker 1: you need two of these and six of these and
Speaker 1: two of these and which is how I ran? Is
Speaker 1: it a Lupac thing? Right?
Speaker 2: I was gonna say maybe Lupac was the first thing
Speaker 2: that like probably stretching Barbido and you know, okay.
Speaker 7: And how did you meet those guys? How did the
Speaker 7: Loupac connection.
Speaker 1: How did it?
Speaker 2: Well, I was listening to college radio and they were
Speaker 2: playing a Lupac song. So Lupac the label was funded
Speaker 2: by Madlib's dad, and yeah, Madlub's dad was a soul
Speaker 2: singer in the sixties. That makes really like good, like
Speaker 2: sweet soul stuff. I have a story about that too.
Speaker 2: But well, I mean, I just I was just thinking
Speaker 2: as I was talking about it. Like I remember I
Speaker 2: was in a record store with Madlib in the UK
Speaker 2: and it was like just a lot out. They were
Speaker 2: playing a lot of old soul and you know, we
Speaker 2: were buying records. We were in there for maybe three
Speaker 2: or four hours, and then Madlib's dad's song comes on
Speaker 2: and mad Lib's like, Hey, that's my dad, Like he
Speaker 2: told the good store guy. Like mad Lib is, he'll
Speaker 2: never brag about anything that he does, you know, he's
Speaker 2: always like really low key, but because it was his dad,
Speaker 2: he's like, that's my dad. And the guy's all you're
Speaker 2: Otis Jackson's son. I can't believe this. I'm meeting Otis
Speaker 2: Jackson's son. And it was cool to hear mad live,
Speaker 2: you know, as a son rather than.
Speaker 1: Like this guy.
Speaker 7: Yeah, I want my dad's reckless.
Speaker 2: But yeah, so his his dad put out the first
Speaker 2: twelve inch and they didn't have any distribution, and I
Speaker 2: heard it on the radio and I called the radio
Speaker 2: DJ and I was like, what is this? I want
Speaker 2: this for the distributorship, and so I got the number.
Speaker 2: I called what ended up being Madlive's dad, and you know,
Speaker 2: he was super sweet, super cool dude, and I told
Speaker 2: him about my label and stuff too, and they I
Speaker 2: was up in the Bay Area at the time, and
Speaker 2: they drove up to the Bay to meet with me,
Speaker 2: and you know, that's that's kind of just how it started.
Speaker 6: I guess was it Northern Solar? Like what kind of
Speaker 6: music was he?
Speaker 2: It was kind of Northern soul, I guess.
Speaker 1: Yeah. Okay, So with the Lupac project, which is I'll say,
Speaker 1: like the first time, I mean, even though, yeah, even
Speaker 1: though that was why I started to ye, yeah, even
Speaker 1: though I'm I'm borderline certain that I have been collecting
Speaker 1: from all those fat beat trips. But my my Lupac story,
Speaker 1: you know, for all of my like Dyla is god
Speaker 1: folklore I've ever had. Yeah, I still crack up at
Speaker 1: the seven days where I finally saw him as a
Speaker 1: human being. Yeah, and you know, it was a two
Speaker 1: a m. Call and I thought, okay, either I let
Speaker 1: somebody a producer won't name right now.
Speaker 6: Get his BT tape.
Speaker 1: Oh, I know who you're talking about exactly. And he
Speaker 1: was just like yo man, and I'm like thinking, like
Speaker 1: for him to yo Mammy. I was like, yo, I'm
Speaker 1: in trouble and he's like, yo man, I talked to
Speaker 1: you yo man, Tylla this other guy la and I thought, oh, man,
Speaker 1: I fucked up? Who did I did? He read an
Speaker 1: Okay player post story. I was just like, he'said, dog Man,
Speaker 1: fucked up. Man. He's like I met my match man.
Speaker 1: It's just fucking with me. And I was like what
Speaker 1: He's like dog Man loot pack And I was like who,
Speaker 1: It's like loot pac Man. You gotta get it. So
Speaker 1: the next day I went to Fat Beats and got
Speaker 1: like four copies of it.
Speaker 2: Wow and.
Speaker 6: D okay, d Angelo what I'm trying to figure out
Speaker 6: what song were we working on?
Speaker 1: This is like the end.
Speaker 6: It's like it wasn't ninety eight.
Speaker 1: Yeah, so this was I know, the good portion of
Speaker 1: ninety eight was just waiting for Lauren to come up
Speaker 1: with whatever songs she was gonna not do not do it.
Speaker 1: It's not clear.
Speaker 6: And we sat there.
Speaker 1: I said, yo, man, this My quote was yo, this
Speaker 1: album is Dyla's kryptonite, Like this is fucking him up.
Speaker 1: He's just fuck up in the game. And the thing
Speaker 1: was we didn't get it at the time, like it
Speaker 1: was just a language. We sat and listened to it
Speaker 1: twice and resting, he was like, well, this isn't you know,
Speaker 1: because we were like deep in the Dila funk by then,
Speaker 1: we're we just don't get And when I ad, I said, so,
Speaker 1: what elements are in this that's really fucking with you?
Speaker 1: And he's like, Yo, he's speaking my language, Like whoever's
Speaker 1: Matt lib is speaking my language right now. It's how
Speaker 1: I'm saying, like, so, are there is there intricate stuff
Speaker 1: that us mere mortals can't see that. He's absolutely he's
Speaker 1: like he's doing stuff in this, in the in this
Speaker 1: twelve hundred that yeah, it was I would think to
Speaker 1: do yeah, and yeah, the fact he was the limitations
Speaker 1: of the twelve hundred yea.
Speaker 7: Yeah, it's like with ten second ten and a half
Speaker 7: crazy yeah.
Speaker 1: Yeah.
Speaker 6: So I mean it took me a while to get
Speaker 6: to it. But then because I wanted to the thing.
Speaker 1: Once I was like, damn, if I can't see what
Speaker 1: he sees, then I'm so below on yeah the level.
Speaker 1: So I just kept listening record and kept listening, and
Speaker 1: then I just became a genuine fan of Matt and anything.
Speaker 6: And then you started sending me.
Speaker 2: Well, one of one of the artists that I was
Speaker 2: working with at the time, one of the other rappers,
Speaker 2: like he didn't understand it either, and he's all, you're
Speaker 2: signing this, He's signing these sucker m season like he's
Speaker 2: like he was like, all really like more on the
Speaker 2: you know, the lyricism stuff, but like they were just
Speaker 2: more like creating a Yeah, it was a feel. It
Speaker 2: was a feeling.
Speaker 7: The first time we came to when a Little Brother
Speaker 7: first came to LA, we did like an in store
Speaker 7: at Stacks in Crito's that used to I don't even
Speaker 7: think the story is there was a vinyl story.
Speaker 2: Yeah I remember still.
Speaker 7: Yes, it was out there and uh oh no and
Speaker 7: wild Shot and they showed us love and that was
Speaker 7: that was my first time meeting him. And I was like, yo, man,
Speaker 7: that sound pieces like that was it fucked us up too? Yeah,
Speaker 7: we were And that was one of the records when
Speaker 7: we were making it listening that we listened to and
Speaker 7: it was like, yeah, like this is this is it?
Speaker 2: Well, I was going through the demos recently, like the
Speaker 2: demo versions were all just recorded, you know, the way
Speaker 2: Madlib wanted it, And then we went into like a
Speaker 2: bigger studio and they like they've multi tracked everything and
Speaker 2: mixed it different. And mad Lib is like just kind
Speaker 2: of the nicest guy, Like he won't speak up for
Speaker 2: what he wants sometimes, so you never really know what
Speaker 2: he wants. And at least he was back then. And
Speaker 2: so the engineer that did Luke Pack, he mixed it
Speaker 2: a lot differently than the way Madlub's demo sounded. And
Speaker 2: mad Lib cannot listen to the Luke Pac album. He
Speaker 2: hates it because because of the sound sonically of it,
Speaker 2: like everything's too perfect and clean for him.
Speaker 1: Yeah, so like that.
Speaker 2: Cleaned for the twelve hundred maybe, but but after that,
Speaker 2: like everything was. He would never give people multi tracks.
Speaker 2: So you know, I was trying to get madly beats
Speaker 2: to like nas and Q Tip and you know, people
Speaker 2: of the time and whatever. It couldn't it couldn't happen
Speaker 2: because he wouldn't. He couldn't multi track it. And I
Speaker 2: remember a de la like you know when they did
Speaker 2: the shopping bags, like they wrote to it after I
Speaker 2: gave them the just the two track of it, and
Speaker 2: then they're like, all right, we need the multese and
Speaker 2: like there are no multise and and so they were
Speaker 2: like upset with me. Like I was kind of caught
Speaker 2: in the middle because you know, it was a miscommunication
Speaker 2: where they assumed that I was going to give a
Speaker 2: multese on it.
Speaker 7: Yeah. Every time I've ever done something madly, it's the same. Yeah,
Speaker 7: and you just know, like whatever it is, which I
Speaker 7: fuck with because it's like, I mean that works, it works,
Speaker 7: I mean redo it.
Speaker 2: So that's how that's how Mad Villain was recreated or
Speaker 2: was created, it was not recreated. That's how you know
Speaker 2: Jalab like pretty much all the quasi model all this stuff.
Speaker 1: So describe him as an artist, like what was it
Speaker 1: that you saw in him that really resonated and screened?
Speaker 2: What I saw the most is that I just found
Speaker 2: myself going back to his music and listening to it
Speaker 2: over and over, like I had choices of what I
Speaker 2: could listen to or either whether it's mad Lib or
Speaker 2: something that's out on a label, or you know, someone
Speaker 2: else's demo that I'm working with, and I just on
Speaker 2: my personal time, I was always listening to his stuff
Speaker 2: and he had so much of it too, And you know,
Speaker 2: I think that's why we eventually like were like, well,
Speaker 2: who else do you want to work with besides your
Speaker 2: immediate crew, because you just have so much music. There's
Speaker 2: so many albums that we can you know, help you
Speaker 2: bring to fruition because he was always like shy, not
Speaker 2: really you know, he was like in Luke Pac, like
Speaker 2: wild Child was the really outgoing one, like you know,
Speaker 2: he would go to shows and go to the artists, Hey,
Speaker 2: I'm wild Child. You know this is blah blah blah,
Speaker 2: and mad Lib was always just in the background. And
Speaker 2: so you know, when Madlum told me he wanted to
Speaker 2: work with Doom and Dila, then that was our job
Speaker 2: to you know, find those two guys and make it happen.
Speaker 1: So how did you find Doom and bring him to
Speaker 1: the fold?
Speaker 2: What was the right Yeah, well Doom, I mean yeah,
Speaker 2: and all we showed that that was Doom the imposter.
Speaker 2: Well there's a whole other version of the album. I
Speaker 2: don't know if you ever heard it. But originally Doom
Speaker 2: wrapped the whole album in like a hype tone and yeah,
Speaker 2: and then that version leaked, and I don't know if
Speaker 2: Doom just felt like since it leaked he was going
Speaker 2: to redo the whole album or if I don't know,
Speaker 2: but for whatever reason, he like went back and did
Speaker 2: the whole album in a laid back way. And you know,
Speaker 2: the initial response was like, oh, I liked him better hype,
Speaker 2: Why did he do it? He ruined it? But then
Speaker 2: for the people who never heard the hype version, they
Speaker 2: really responded to it.
Speaker 1: Yeah, I remember that.
Speaker 2: But that album JLB Quas and several other albums were
Speaker 2: all done at the same time using one hundred and
Speaker 2: fifty beats that Madlib had put on three CDs. It
Speaker 2: was like fifty beats per CD and it was all
Speaker 2: like thirty second snippets and stuff.
Speaker 6: What was his work process like to do it? Because
Speaker 6: his beats are intricate.
Speaker 7: Not.
Speaker 2: And they're all done me so quickly. And he used
Speaker 2: to live with another producer, you know, and that other
Speaker 2: producer would spend so much time on a track and
Speaker 2: Madlib would hear through the walls the same song over
Speaker 2: and over again, and he would get so like frustrated
Speaker 2: and like you know, like sick of hearing the same song,
Speaker 2: and so mad libs he just everything is like ten
Speaker 2: twenty minutes and then onto the next track, onto the
Speaker 2: next track.
Speaker 11: You know.
Speaker 7: So when he brought you Quasimoto, like, yeah, what do you.
Speaker 1: Do with that?
Speaker 2: Well Quasimoto, Yeah, that was like on the back and
Speaker 2: that wild Child gave me like a loop pack tape,
Speaker 2: you know, and then Quasimoto happened to be on the back.
Speaker 2: And then I asked mad Lib about Quasimotive and he's like, oh,
Speaker 2: you weren't supposed to hear that, like he was embarrassed
Speaker 2: or like. And then I was like, no, I want
Speaker 2: to do that, like I love that, like.
Speaker 1: You know, Unseen still one of my favorite.
Speaker 7: No, that's the one. Yeah, that's it.
Speaker 2: And that was that was the cassette. And the engineer
Speaker 2: didn't want to mix it because he didn't want his
Speaker 2: name on it.
Speaker 1: You know.
Speaker 2: It's like like I'll lose business if, you know, if
Speaker 2: I put my name on this as the engineer. And
Speaker 2: there's all that hiss and everything.
Speaker 7: But so what was he what would he what were
Speaker 7: they tracking on?
Speaker 2: Like what would they was it there was a task
Speaker 2: three D eight like cassette A track, a track, cassette
Speaker 2: and a lot of it. Yeah, and then some of
Speaker 2: it then he bought a digital board. Some of it
Speaker 2: was on a digital board.
Speaker 7: But that's crazy.
Speaker 1: So all that stuff was if it's on cassette, Like
Speaker 1: what do you consider the master tapes? Like this is
Speaker 1: just sitting in the master bedroom.
Speaker 2: Yeah, I don't know where those are anymore. He's I mean,
Speaker 2: he's got listen, So can.
Speaker 1: You explain to our listeners how Dyla and and MATTLB
Speaker 1: eventually began to collaborate, Like was it just that Dyla
Speaker 1: stuff was just out there in the first of all?
Speaker 6: Like how does how well I met?
Speaker 2: I met Dyla through how Shoes. I put out my
Speaker 2: own record called Peanut Butter Breaks in nineteen ninety four,
Speaker 2: and it was a break beat album of all my instrumentals,
Speaker 2: and how Shoes worked at a record store and my
Speaker 2: number was on the record, so he called it was
Speaker 2: my pager, and you know, I hit him back and
Speaker 2: he was buying copies of my record for the record
Speaker 2: store and he was like, Hey, this guy JD, Like
Speaker 2: he likes your record and he makes beats too, and
Speaker 2: you know this is before ut. Yeah, it was like
Speaker 2: ninety four ninety five, and then when Lupac came out,
Speaker 2: JD or Not, JD Shoes was still at that record store, like, yo,
Speaker 2: lou Pac, you know my guy JD.
Speaker 1: JD.
Speaker 2: Everything was and he would play full JD songs over
Speaker 2: the phone for me and I was like, Okay, that's cool,
Speaker 2: but you know, you can't really hear you can only
Speaker 2: hear so much of Yeah. But then he one day
Speaker 2: while I was still at the distributor, Shoes was like,
Speaker 2: I'm sitting on all these unreleased JD remixes because the
Speaker 2: major labels asked him to do remixes and then they
Speaker 2: never accept them. So you know, it was like Q
Speaker 2: Tip was his manager, hooking them up with a lot
Speaker 2: of stuff, and so he was like me and j
Speaker 2: D want to do a vinyl of this, and we
Speaker 2: just want to do a thousand copies and yeah, so
Speaker 2: I pressed it. It was green Blue, Yeah, the green one.
Speaker 1: Yeah, that's right.
Speaker 2: I was about to ask I might have a couple left,
Speaker 2: but like if I do, yeah, So what what all
Speaker 2: was on it?
Speaker 7: What were the remixes?
Speaker 1: Well?
Speaker 12: There was was there, There was yeah, the angelofect effects,
Speaker 12: the master Ace remix, which master the remix sitting on Chroma.
Speaker 1: I never heard that. Yeah, but that that that it's
Speaker 1: weird because now he has there's four remixes that WU
Speaker 1: are But that one that's on that green vinyl was
Speaker 1: that different one from the Sergio Mendez No, no, no,
Speaker 1: that's I have a sample.
Speaker 2: Honestly, I like the remixes on that album, but I
Speaker 2: didn't none of it really stood out to me other
Speaker 2: than the D'Angelo that was me and those Dreaming Eyes.
Speaker 7: That was the one that really went over our question.
Speaker 7: I had so how of the all these years, our
Speaker 7: question the thing we always wondered, Like when we were
Speaker 7: making a Little Brother record, it was like how did
Speaker 7: they avoid lawsuits?
Speaker 2: Like just in general, I mean like yeah, yeah, we
Speaker 2: always just paid like yeah.
Speaker 1: Which okay, so.
Speaker 8: There.
Speaker 1: Yeah. I gets so frustrated because the version of the
Speaker 1: Red that one we're stuck with now. Yeah, because to me,
Speaker 1: I don't know that feel. I feel like if Dyla
Speaker 1: uses your ship, it brings you holding, like because there's
Speaker 1: no artists that Dyla hasn't sampled that I haven't myself
Speaker 1: went out purchased their whole history. Yeah, And I was like,
Speaker 1: this feels like a red tape situation where just lawyers
Speaker 1: are battling, like, how did you guys lose the fight
Speaker 1: in on the red Yeah?
Speaker 2: The original Yeah, I mean they so the artist Chris Williamson,
Speaker 2: she just she didn't like the lyrical content and that's
Speaker 2: kind of basically what it was about.
Speaker 6: And oh, you said the full version to her.
Speaker 2: No, no, it was already out. The record was out.
Speaker 2: We didn't we didn't clear it ahead of time. Damn No,
Speaker 2: the record was out.
Speaker 6: And she she was like, that's probably the only thing.
Speaker 2: So that had to come off vocal version. But she
Speaker 2: was okay with us still, like controlling the master on
Speaker 2: the instrumental version, sending it to TV shows and movies
Speaker 2: all that. No, no one took it, but I mean
Speaker 2: I would I would say she was cool overall. I mean,
Speaker 2: you know, compared to like how people can be.
Speaker 1: I guess about that was somebody that was just like that.
Speaker 2: We don't, my god, I just don't want to say
Speaker 2: because because there's probably other samples by them that are
Speaker 2: in our catalog that I don't even know about her,
Speaker 2: you know, I mean a lot of the art, Yeah,
Speaker 2: like a lot of the artists that I work with,
Speaker 2: I'll tell you, like, when we turned the.
Speaker 7: I just meant it one particular was more right than Yeah.
Speaker 2: I think overall, I think who's the least cool or
Speaker 2: the people who never made it?
Speaker 1: Older?
Speaker 2: Yeah, older, the artists who never made it, Like an
Speaker 2: artist like Stevie Wonder for example. Okay, like we did
Speaker 2: a mad lib, does Stevie Wonders say? And we we
Speaker 2: did it as promo only then in Japan, and somebody
Speaker 2: bootlegged it on vinyl and they were like selling for
Speaker 2: a hundred dollars. And when we saw that, We're like,
Speaker 2: we might as well put this out and stuff, and
Speaker 2: we did. And then I met Stevie Wonder. The first
Speaker 2: time I met him, I was telling him about, you know,
Speaker 2: my artist mad Live did a whole album or stuff,
Speaker 2: and he was just like, that's so cool, all love
Speaker 2: blah blah blah.
Speaker 1: You know. Actually I did a I did a oh yeah,
Speaker 1: I did a tribute album to Well we called our
Speaker 1: sad lib because we didn't want to.
Speaker 2: Yeah, yeah did you and.
Speaker 11: James we did at way you got a bad Girl girl, Yeah,
Speaker 11: you got a bad girl?
Speaker 1: Or no, uh, little girl blue and and visions and
Speaker 1: uh yeah, I wanted to be the first meta tribute
Speaker 1: to a tribute album.
Speaker 2: That's funny, and we never got to got to put
Speaker 2: it out, but yeah, I remember hearing about that, so
Speaker 2: so that never came went anywhere.
Speaker 1: I just I just spent it at my DJ game.
Speaker 11: But you guys were playing over the actual Stevie records, right, yeah,
Speaker 11: well once we you know, well, what.
Speaker 2: Mad Live did a lot of times was he would
Speaker 2: take a whole song and he would filter everything out
Speaker 2: so it was just the bassline and you can hear
Speaker 2: a little bit, just kind of like the large professal thing.
Speaker 1: Hey, your version of the Meaning of Love is one
Speaker 1: of the versions. Oh wait, so was that under your
Speaker 1: uh your numb diplom floor.
Speaker 2: Hilaria, that's just Chris Mannic.
Speaker 6: What made you want to do it?
Speaker 2: Just hearing his song? I mean I just love that song, yeah,
Speaker 2: the original and then when he heard I mean when
Speaker 2: I heard yeah mad Lib's version, I just just mess
Speaker 2: around to see if I could do it, okay, yeah,
Speaker 2: being a hip hop dj ott.
Speaker 1: All right, there's one loop.
Speaker 6: So before.
Speaker 1: During the Things Fall Apart period, we had like three
Speaker 1: or four Dill options to work on before we chose
Speaker 1: what what you guys would know is dynamite. But I
Speaker 1: was fighting for Dylan had chopped up Steve Kuhon's the
Speaker 1: Meaning of Love and he would only loop I know
Speaker 1: not when, I know not why, And.
Speaker 9: Like he's done like a hundred beats that, Like I've
Speaker 9: never wanted that shit to die.
Speaker 1: Like I still have the MP three disc that he
Speaker 1: gave me, and I've tried so many times to figure
Speaker 1: out ways to you know, is that the.
Speaker 2: Only song Steve Kuon sang on because no, no, for
Speaker 2: the entire album, I don't have the album.
Speaker 1: Yeah, Actually, okay, so when I first got my studio,
Speaker 1: I'll say, like, uh, when did we start? Like was
Speaker 1: it like two thousand and six, Philly? We were working
Speaker 1: on game there like two thousand and five. Yeah, so
Speaker 1: like all the all the Steve Coon beats I mean
Speaker 1: actually just wound up being released by.
Speaker 6: Paul Barman's new album.
Speaker 1: So like a lot of my early throwaway demos somehow,
Speaker 1: like you know, twelve years later wind.
Speaker 6: Up born Paul Borman's record.
Speaker 1: But I got to hear that. Yeah, So yeah, but
Speaker 1: your your version you should is that the only official
Speaker 1: release you've done? Oh?
Speaker 2: What's singing on it.
Speaker 1: Yeah.
Speaker 2: I did a version of Get Thy Baryons that was
Speaker 2: really That one was not good though.
Speaker 1: I remember that. Yeah, Tonaman, just get that?
Speaker 2: Barry Yeah, well yeah is it?
Speaker 1: Is it seven inch?
Speaker 2: Or there was a seven inch yet?
Speaker 1: Okay? I did.
Speaker 2: I did a cover of Bruce Hack also, that one
Speaker 2: I liked a little better.
Speaker 6: Okay, can I get that?
Speaker 2: Do you know Bruce Hack?
Speaker 6: No, I'm stop trying to deflect.
Speaker 2: Can I get these they get Thy Bearings?
Speaker 7: No?
Speaker 2: Yeah, you can't get that?
Speaker 1: Was it ever sold?
Speaker 2: Or there was a seven inch of that one?
Speaker 1: Okay?
Speaker 2: So but you know, the music arrangement on it was
Speaker 2: like kind of off key with within itself, and I
Speaker 2: couldn't figure out how to sing it. And I was like,
Speaker 2: I promised these guys I would do it, and then yeah,
Speaker 2: it was a mess. I like, I like off key singing.
Speaker 2: I mean that, you know, I think like Steve Cohon like,
Speaker 2: it wasn't necessarily off key, but it sounded so personal
Speaker 2: on that song on the original, and so that's what
Speaker 2: made me like want to try to re sing you
Speaker 2: know something similar to you have.
Speaker 1: The entire album that that UH was released on is
Speaker 1: a classic record. So that, Yeah, got it, You've yet
Speaker 1: to hear it? No, I never Yeah, like that's the
Speaker 1: least I know that Ron Card is playing based on that,
Speaker 1: which explains the more and Mad Live filtered it on right.
Speaker 6: And so he's got Steve Cooon he's what a.
Speaker 2: Jazz he's aye kind of looks like Larry David.
Speaker 1: Yeah, he's like Gary Wilson, Like Gary Wilson wasn't on punishment,
Speaker 1: so like I imagine Gary Wilson spent just a lot
Speaker 1: of time in his bedroom.
Speaker 6: But yeah, Steve Coohon was like kind of lounge.
Speaker 2: E Yeah, lounge singer exactly.
Speaker 1: Yeah, singer on the Fender Roads and he just somehow
Speaker 1: must have had the right monetary situation going on that
Speaker 1: all these heavy weights like Harvey Mason's on drums, Ron
Speaker 1: Carter is on bass like his his band was. But
Speaker 1: the entire album is nothing but like the Meaning of
Speaker 1: Love is almost like sloppy. Yeah, the Meaning of Love.
Speaker 1: I think it is one of the least samplable songs,
Speaker 1: which once I got the record and I realized, like, oh,
Speaker 1: how come Dylan always chooses the one that you're going
Speaker 1: to least pay attention to.
Speaker 6: Because the other other which what did he use it for?
Speaker 7: What did he use it for?
Speaker 1: It was just a beat that didn't you know, Oh
Speaker 1: it wasn't on Like it didn't make it didn't make anything.
Speaker 1: But I'm still every roots album. I'm just like all
Speaker 1: right now now now is the time. No more I
Speaker 1: know not why songs to me, I'm not gonna make it. Yeah.
Speaker 1: So wait, speaking of which, I want to know the process,
Speaker 1: what was relationship with the brakester Cats, because even way before,
Speaker 1: way before the Dad Kings, like Chestra was yeah, trying
Speaker 1: to go there or like raw sixty sound and first
Speaker 1: of all, like where did they record?
Speaker 2: Were kind of early on it, but I was in
Speaker 2: the Bay at that time at that time, so I
Speaker 2: didn't really I don't know their history before I got
Speaker 2: involved really, but so you just heard it in. But
Speaker 2: Miles was like a major major hip hop fan and
Speaker 2: he was more like wild Child in the way that
Speaker 2: he would go up to artists and like you know,
Speaker 2: introduce himself and stuff. And the song Ring Ring Ring
Speaker 2: is actually about him because he gave De La Soul
Speaker 2: his demo.
Speaker 1: Oh wow, that's what.
Speaker 2: But I guess, yeah, he was really persistent and then
Speaker 2: Prince Paul, he asked Prince Paul for Prince Paul's number,
Speaker 2: and then Prince Paul gave him. Well, they make up
Speaker 2: a reference in the song where they say Piles and
Speaker 2: Piles and the Miles because Miles, Wow, what these you learn?
Speaker 1: Wait a bite?
Speaker 6: Did you ever tell pastas and as one?
Speaker 2: I think I've I've asked pass about it. Yeah, I
Speaker 2: mean Prince Paul told me the story and then Paus
Speaker 2: confirmed it. Yeah damn.
Speaker 6: But the King she's from Philly. The woman at the
Speaker 6: top about that, yeah, yeah, yeah King, Yeah.
Speaker 2: Okay, he still has the same number, but they Yeah,
Speaker 2: so I guess he asked Prince Paul for Prince Paul's number,
Speaker 2: and then Prince Paul gave him one of the other
Speaker 2: guy's number as a joke to you know, mess with
Speaker 2: the guys and the crew. And then Miles kept calling
Speaker 2: the other guy and then they were like upset with
Speaker 2: Paul or you know, like so turn into this thing.
Speaker 1: That's the Miles. Wow.
Speaker 11: This is like when I found out who old Man
Speaker 11: Johnson was in Raspberry Ray. I know, I'm like old
Speaker 11: Jesse Jesse Johnson.
Speaker 1: Damn. All right.
Speaker 7: Wow.
Speaker 2: So we put out that forty five and everyone was
Speaker 2: really into it, and that's what I remember. That's how
Speaker 2: you reached out to me, Like that was my first
Speaker 2: time really talking to you. Was because this break a
Speaker 2: store forty five and you're like, how did they get
Speaker 2: the sound hit to sound like that? And I remember,
Speaker 2: like I was still in the bay at the time,
Speaker 2: and you called me to go record shopping with you
Speaker 2: and we went to Groove Merchant that was like in
Speaker 2: the late nineties.
Speaker 7: Yeah, I remember, I don't want that off hip hop side.
Speaker 1: Yeah.
Speaker 7: Yeah, I ran the funk out of this shit, man.
Speaker 1: I love that.
Speaker 2: I came with that bonus bone the B side. I
Speaker 2: asked for it to start with the drums. We did
Speaker 2: an edit just so would purposely start with the drum
Speaker 2: break for the DJs, and I talked Miles into doing that.
Speaker 6: But yeah, they're talking to me to doing it.
Speaker 2: Well, not really not even talk, just I proposed the
Speaker 2: idea and he was like, oh yeah, that's a good idea.
Speaker 1: Oh okay, So yeah side note that box of records.
Speaker 1: I purchased that Groove Merchant. Yeah still that Groove Merchant.
Speaker 2: Since the nineties.
Speaker 11: Wow, dog, I just like that box in answerdam why
Speaker 11: And the thing was the thing is I keep visiting
Speaker 11: Groove Merchant and they're like, so, quest, what do you
Speaker 11: want us to do about the twelve boxes downstairs?
Speaker 1: Ah, damn, I forgot. I forgot.
Speaker 6: Okay, I'll take these ring these up, pay for them.
Speaker 2: You don't want to give them an address?
Speaker 1: And I just and then once I leave, it's just
Speaker 1: like I forgot. I don't I think with me the process,
Speaker 1: the process of buying records, of buying them in the hunt,
Speaker 1: it's probably experienced because even then and there's a hundred
Speaker 1: boxes that I'm not opened in.
Speaker 2: My My girl like teases me all the time about that.
Speaker 2: She's like, it would be one thing if you listen
Speaker 2: to your records, like you don't listen to them, you're
Speaker 2: always buying more.
Speaker 6: Wait, I have that problem too.
Speaker 1: You're doing something.
Speaker 2: Then now I'm doing something with them. But this is
Speaker 2: the thing.
Speaker 1: The thing that you're doing is actually how Boss Bill
Speaker 1: got here. At first, I felt like a man, I'm
Speaker 1: such a fraud, Like I'm actually paying someone to listen
Speaker 1: to my records for me.
Speaker 2: Wait, what are you doing? Well, yeah, what are you
Speaker 2: talking about them? But that was about as I'm doing
Speaker 2: a Vinyl barye.
Speaker 1: But the thing was when you showed me the office. Yeah,
Speaker 1: I saw like five smurfs at like with all this
Speaker 1: vine only.
Speaker 2: There's guys going through it and just cleaning it and
Speaker 2: putting it in categories. And yeah, we made a discogs
Speaker 2: page for it. So so at the stunt Store headquarters,
Speaker 2: I'm opening a bar with seven thousand of my records
Speaker 2: in it from my personal collection. And basically the concept
Speaker 2: is DJs who come to the bar, they have to
Speaker 2: use the records that are there. You're not allowed to
Speaker 2: bring your own records. No computers, oh shit were Yeah,
Speaker 2: so fucked that.
Speaker 7: No.
Speaker 11: I used to DJ at a record store in Brooklyn,
Speaker 11: Brooklyn years ago, and I would only play the records
Speaker 11: that were in.
Speaker 2: Store because it made the record store thing exactly.
Speaker 1: It made sense.
Speaker 11: It's a challenge too, Yeah, that was always a fun thing.
Speaker 11: I get there like a half not early start going
Speaker 11: through the RAAC scene.
Speaker 1: What I could play?
Speaker 2: Yeah, I love that. Yeah, so people have to come
Speaker 2: a little earlier, so maybe you want DJ there, but no.
Speaker 1: Okay, no, it's sort of like the Mighty Half Hall.
Speaker 1: Like my fear is that that will be my last
Speaker 1: scene in Mobile the Blues with den Joe Washington. Yeah, that.
Speaker 7: I can't quite hit that note.
Speaker 1: That is my fear. Like I tried practicing on real
Speaker 1: wax and it was almost like I was five years old.
Speaker 2: Again, you haven't played with real wax and one I'm
Speaker 2: scared too, Like, I don't really have to mix in
Speaker 2: this bar. It's like fifty capacity. It's more just a
Speaker 2: listening experience and it's got like really good wa speakers
Speaker 2: and David well, yeah, mix it, that's the vibe. Let
Speaker 2: the songs play out.
Speaker 1: Honestly.
Speaker 7: Laryly Vaughan was kind of like that too, Like his
Speaker 7: mixes wasn't really yeah mixes it.
Speaker 1: Yes, yeah. For me.
Speaker 2: I used to everything had to be like mix on
Speaker 2: beat and then and then I started learning mixing on
Speaker 2: key and on beat and then and now I'm like, yeah,
Speaker 2: I like switching it around. I don't. I don't even
Speaker 2: mix on beat all the time anymore. I'm just like, Okay,
Speaker 2: I've been playing one hundred and two beats permitted for
Speaker 2: too long, so I'm going to go into one hundred
Speaker 2: and twenty five and just totally break it, you know,
Speaker 2: change it up. But I notice with Serrato when DJ
Speaker 2: is they want to keep it like, yeah, the party
Speaker 2: moving the whole time, but then you end up the
Speaker 2: same tempo like for two hours or you know.
Speaker 1: I just like to start slowly. Yeah.
Speaker 2: Usually, yeah, people, that's true. That's that's what people the
Speaker 2: gig I did yesterday.
Speaker 1: Usually with those type of specialty gigs in which it's
Speaker 1: not a dance gig, it's more like I spent it
Speaker 1: at a taco spot yep, next door next door to
Speaker 1: the studio. It's like a small I didn't know. It's
Speaker 1: an alleyway that can fit maybe one hundred people, but
Speaker 1: they basically just go outside to eat their tacos, and
Speaker 1: so I just show up sort of ambush the party.
Speaker 1: And I figured, Okay, I'm gonna do my greatest challenge.
Speaker 1: I'm gonna see if I can stay in D minor
Speaker 1: for the entire four hours. So what's the song in
Speaker 1: D minor? Half of James Brown's catalogs and I need
Speaker 1: to get down? D uh? Any any song in this
Speaker 1: key uptown funk, any jamm by Michael Jackson, anything anything
Speaker 1: in the k d uh? So, Yeah, I thought I
Speaker 1: could go through it because it's a slow torture thing
Speaker 1: I want to see, like well, it kill like like
Speaker 1: Chinese water torture, like some slow process of killing them.
Speaker 1: I got a good two and a half hours in
Speaker 1: and then finally I gave up. And then I had
Speaker 1: to figure out what songs in the key of DVAC
Speaker 1: goes to another key in a bridge, And then I
Speaker 1: finally figured out mighty mighty uh in the bridge.
Speaker 6: Goes to to E flat and then mighty mighty.
Speaker 1: Once I was in E flat, then I was in
Speaker 1: Stevie wonder Lance, and then I did a whole bunch
Speaker 1: of flats.
Speaker 2: But yeah, it was but you used the key function
Speaker 2: on just like I live by that.
Speaker 1: Yeah, do you do Camelot?
Speaker 2: That's not always right, it isn't I do Camelot.
Speaker 6: But then I got correct camelota instead.
Speaker 1: Of like A minor or B minor. It'll give you
Speaker 1: a numbers.
Speaker 11: It's so it's easy to figure out which songs have
Speaker 11: like a complimentary key, because if it's like three A,
Speaker 11: you can do anything that's three or three A three B.
Speaker 1: You can go two A or you can go four A.
Speaker 7: Okay, gotcha.
Speaker 1: But the problem with that is that if you let
Speaker 1: the computer decide what the key is, it can throw
Speaker 1: it off. So take a song like uh, take a
Speaker 1: song like the Jackson's Different kind of Lady on Going Places, Right,
Speaker 1: But because the intro is a guitar, it's gonna take
Speaker 1: those first five notes and think that the entire songs
Speaker 1: in that key, when actually they go to a whole
Speaker 1: nother key. So it's yeah, I still have to clean up.
Speaker 1: I'm sorry we found them. It's just a rabbit hole. No, no,
Speaker 1: I just I feel like, uh, I feel like I'll
Speaker 1: be like cool Hirk because cool Herk even DJ is
Speaker 1: like that.
Speaker 2: Now, Like why don't people like him? Why don't people
Speaker 2: book cool CRUSH's so lame to me, like people aren't
Speaker 2: pooking him. Well, I don't know. I never get to
Speaker 2: see him in La.
Speaker 6: Oh okay, I mean I've been to a few.
Speaker 2: I went to one thing in La that he was
Speaker 2: at and it was poorly promoted and yeah, there was
Speaker 2: really not that many people there.
Speaker 1: Like Coolhirk is coming to a party, I DJ, but
Speaker 1: I've never like ship. Well, I'll be the change I
Speaker 1: want to see then, Yeah.
Speaker 2: Rich Picnic, Yeah.
Speaker 6: From your mouth to years.
Speaker 2: No, actually we do. We do like a kind of
Speaker 2: a small like festival thing in La. We We're gonna
Speaker 2: do it again next year. And I'd like to have
Speaker 2: him at it. So what was Hegan's role in the label?
Speaker 2: Was he the business in or was yeah he was
Speaker 2: the GM. Yeah, he handled all of the business.
Speaker 1: Okay, So what was the not the modus operandi, but
Speaker 1: what was at least a mission statement for Stone story
Speaker 1: to be as far as like what our identity is
Speaker 1: at least back then, what was it like we had
Speaker 1: to find the the elitist, elite mcs and we're just
Speaker 1: going to represent Mmm. I don't know.
Speaker 2: I think maybe at that time it was so Mad
Speaker 2: Lib centric. I was really focused on his career a lot.
Speaker 2: Or yeah, maybe that's not Yeah, how did you there's
Speaker 2: just so yeah, there's so many albums that could have
Speaker 2: come out with him, you know.
Speaker 7: Yeah, because that's my question was like how because I
Speaker 7: mean his output was crazy, Yeah, you know as an
Speaker 7: indie label, how do you stagger?
Speaker 1: Y'all? Was like the indie no limits, Like how do you.
Speaker 7: Decide like the backpack limits? So like with so much
Speaker 7: product coming, you know, how do you get all that
Speaker 7: product in just such a tight kind of pipeline?
Speaker 2: Well, Mad Villain and Jalb they were done at the
Speaker 2: same time, and we wanted to stagger them. You know,
Speaker 2: we didn't want to put two albums out at the
Speaker 2: same time. But yeah, that was always a problem.
Speaker 1: Do you guys register with R I A as a label?
Speaker 6: Do you have to register with r.
Speaker 2: I don't even know what's all right?
Speaker 7: Icy all happens?
Speaker 2: Yeah, I think, how do we register to be like
Speaker 2: considered for Grammys that we've never been None of our
Speaker 2: artists have ever been considered.
Speaker 7: Remember, yeah, well no, that's nervous, but like, all right,
Speaker 7: the Recording Industry Associated America, that's who gives you the certification.
Speaker 2: But he was asking about the ground and that's just
Speaker 2: become a member. Why I asked, So now you just
Speaker 2: asked Jimmy jam Yeah, oh yeah, I could ask him.
Speaker 1: Yeah.
Speaker 8: Why is he back the president again?
Speaker 1: Well?
Speaker 6: No, I mean, but he's sort of the involved.
Speaker 1: I feel like he's definitely the Ronald McDonald of the
Speaker 1: I feel like they used him disorder. He's the mascot
Speaker 1: whenever we bitch or have a problem, everyone just goes.
Speaker 2: Remember the Grammys, they had Dame Funk as the poster
Speaker 2: of the Grammys, Like the posters are all over the place.
Speaker 2: But he's never been nominated, but they wanted his face
Speaker 2: for it. You know, it's like, yeah, it's.
Speaker 7: Well, give me a nomination, Mayor Hawthorne, Mayor Hawthorn.
Speaker 1: So how was it?
Speaker 7: How did you.
Speaker 2: So, Mayor Hawthorn.
Speaker 8: Uh?
Speaker 2: This girl know well that is in this group fits
Speaker 2: in the tantorms. She she was at do over and
Speaker 2: I was d Jaye and she brought the demo of
Speaker 2: Mayer and it was basically, yeah, just like two songs. Well,
Speaker 2: it was confusing because there were some re edits that
Speaker 2: he did as a DJ as DJ haircut, and then
Speaker 2: there were some songs that were also that were full
Speaker 2: songs that he made, you know, from scratch. And so
Speaker 2: when I first heard it, I thought it was re edit.
Speaker 2: It's like the just ain't gonna work out.
Speaker 1: I thought that.
Speaker 2: Yeah. I was like, oh, that's probably a re edit
Speaker 2: of an old funk song or something. And then when
Speaker 2: I found out that he was a singer on it,
Speaker 2: I was like, oh, we got you know, I want
Speaker 2: to work with you. Yeah, let's let's do this. And yeah,
Speaker 2: I don't know that was it?
Speaker 1: We all did it? Does it? Because he did?
Speaker 7: It was the first two albums those were those were
Speaker 7: the Stone Store, right, the first one, the.
Speaker 2: First album was Stone's Throw and verse Yeah, yeah, what Yeah.
Speaker 7: The strange arrangement was stone stone Throw. The second how
Speaker 7: do you do that?
Speaker 1: Yeah?
Speaker 2: Yeah that was that was a Stone's Throw.
Speaker 6: So we shit, I never knew. I thought all of
Speaker 6: his output were stones.
Speaker 2: No, we worked we worked something out with Universal and yeah,
Speaker 2: they took care of us, and they took care of
Speaker 2: his career, you know, for a while.
Speaker 7: And then yeah, and so now the tuxedo stuff is
Speaker 7: that you guys, are you doing that? Then?
Speaker 2: He yeah, then he came to us with the tuxedo Yeah.
Speaker 7: Yeah, how have you handled has it been have you
Speaker 7: received pressure, I guess to sell out so to speak?
Speaker 7: Like has it been majors wanting to buy you guys
Speaker 7: or absorb you into they system?
Speaker 2: We kind of we kind of peacefully coexist majors, don't.
Speaker 2: They don't mess with us at all. Really, I mean
Speaker 2: sometimes like with No Worries, like you know, and we
Speaker 2: put out I discovered Anderson Pack at a nightclub that
Speaker 2: was like you know, fifty people or something, and put
Speaker 2: out the No Worries thing and then dre heard that
Speaker 2: and he signed them, you know, to for his solo
Speaker 2: material and stuff. So Anderson's kind of on both labels.
Speaker 2: I guess, yeah, it gets to do underground stuff with us,
Speaker 2: and you know, but I yeah, I don't think.
Speaker 8: Damn, how do you even determine which is what? That's
Speaker 8: an interesting partnership though, because you say he does underground stuff.
Speaker 2: With y'all, but like, yeah, I mean yeah, I mean
Speaker 2: I guess there's different levels of underground too, right, Yeah,
Speaker 2: so it's not necessarily but the yeah, the thing that
Speaker 2: we have with him is specifically him and knowledge, and
Speaker 2: it's kind of a little more soulful musically, I guess,
Speaker 2: But I mean, well, yeah, even his own personal the
Speaker 2: Anderson Pack stuff is all over the place too, like yeah,
Speaker 2: stuff with Kate Tronada and then he has trap beats,
Speaker 2: and you.
Speaker 1: Know, I would think that, you know, at least in
Speaker 1: the case of Raucus, like Wendy Gold seems just like, yeah,
Speaker 1: let's just purchase walks and then with Walkers you at
Speaker 1: least get in the house an r R and you
Speaker 1: can operate in your own. So no label, no major
Speaker 1: labels ever came to you just said.
Speaker 2: Yeah, you know, actually MCA back when they had first
Speaker 2: signed JD, I think around yeah, yeah, they came to
Speaker 2: us back then, and it wasn't really like that interesting
Speaker 2: to me. Racus actually came to to me like in
Speaker 2: those early days as well, and flew me out and
Speaker 2: winding me and stuff. But then I was like, I
Speaker 2: don't know if I want to be numbered. You know,
Speaker 2: it's the second priority to them.
Speaker 1: And do you find it necessary to quote take it
Speaker 1: to the next level or for you? Is there a
Speaker 1: joy in being sort of like the the.
Speaker 2: Under the nice I don't con see you on the
Speaker 2: dog though, Yeah, I mean I just just like I'm just.
Speaker 1: Without without getting to the business end of it. Is
Speaker 1: there a way to really make a good living in
Speaker 1: the shallow end of the pool?
Speaker 7: It? Man got a new mad book right now?
Speaker 2: I have like two careers. I have the DJ thing
Speaker 2: that I still you know, draw money from in the
Speaker 2: knife stone throw so and which which is good? Because
Speaker 2: I would get bored if I was just doing one.
Speaker 2: I mean, you do like several things, you know, you
Speaker 2: know how that goes well?
Speaker 1: Yeah, because you know it ain't nothing going on but
Speaker 1: the mortgage mortgage. I think you can do it. I
Speaker 1: think as possible to do it. You just have to.
Speaker 7: You have to set your standard of living in a
Speaker 7: way that allows you to do it like you can't you.
Speaker 8: Mean being an artist, are actually being an owner of it?
Speaker 1: I mean I think both.
Speaker 7: I think pretty much most artists now are kind of
Speaker 7: running their own show, and I think there's not too
Speaker 7: many stone throws that are really giving you a chance.
Speaker 1: To do that.
Speaker 7: So pretty much now everybody's just kind of it's the
Speaker 7: wild wild West.
Speaker 1: Everybodys kind of running their own shop. So say, like
Speaker 1: an artist, like she's doing an archives and who she's
Speaker 1: an artist on stewing s throw Okay, so same, she
Speaker 1: gets lucky enough to get good placement, yes, or you know,
Speaker 1: Gray's Anatomy or Insecure And then you know, usually in
Speaker 1: that situation, uh all the streaming services including Pandora, uh
Speaker 1: you know, they start seeing uh light and their shows
Speaker 1: are different the population, you know, the popularity glows and
Speaker 1: every grows and glow. Well, what I'm saying is damn question.
Speaker 1: Well not even a major label coming and swoop them up.
Speaker 1: But for you, is that an idea situation like.
Speaker 2: Oh yeah, no, we always like shop our artists to
Speaker 2: you know, the TV shows and Secure and all that, okay,
Speaker 2: and yeah, they do have success on it I mean.
Speaker 1: But I mean, can it ever be a situation which
Speaker 1: an artist gets so popular that it almost goes I
Speaker 1: know that people don't physically, they don't buy.
Speaker 2: As yeah, they're not going to buy more vinyl necessarily,
Speaker 2: but yeah, yeah.
Speaker 1: It is it ever problematic for you? Do you ever
Speaker 1: envision like a date where just like, okay, well.
Speaker 2: Is it ever a problem if an artist does well? Yes,
Speaker 2: thank you?
Speaker 1: It's bad for your brand.
Speaker 6: If an artist does well.
Speaker 2: The brand okay, I was thinking even more.
Speaker 7: I don't like how back in how like First Groove,
Speaker 7: how they say like if you have a.
Speaker 2: Hit record that the only thing that's bad for the
Speaker 2: brand for me is if I put out something that's
Speaker 2: whack and you know, the whack is just whack to me.
Speaker 1: I guess.
Speaker 2: Wu Tang Clan went platinum, Tribe went platinum, you know,
Speaker 2: making music that I love and the roots I think, yeah, yeah,
Speaker 2: there you go the roots.
Speaker 7: Is Matt Villain still the biggest selling record in y'all?
Speaker 2: I don't even know. Yeah, maybe Donuts or Mad Villain,
Speaker 2: I don't know.
Speaker 6: So you seriously don't register.
Speaker 1: What are I to know if your stuff is going
Speaker 1: golden platinum or any of those things.
Speaker 2: That's a question for Laguire, I can call them.
Speaker 1: Yeah.
Speaker 2: I mean, I know I'm sounding like an irresponsible business
Speaker 2: business right now, but it's like, yeah, just the creative
Speaker 2: I do, and yeah, the business my guys do, and
Speaker 2: I trust them kind of.
Speaker 1: So where you are now?
Speaker 2: So now I trust them a lot. I'm saying like
Speaker 2: kind of like that's their role and that's kind of
Speaker 2: my role.
Speaker 1: So where you stand now with the label, which I
Speaker 1: actually love the direction that it's going in because you know,
Speaker 1: like I love electro funking, was it hard stepping away
Speaker 1: from the kind of the dusty, dirty, dingy sample base
Speaker 1: reputation that you guys once had and now like I
Speaker 1: feel like the DMX drum machine is the new calling
Speaker 1: card and synthesizers and yet like the sound.
Speaker 2: Of boogie and then we have some of that for sure.
Speaker 2: But yeah, I mean, if you listen to the like
Speaker 2: maybe five or six of the new artists are, they're
Speaker 2: all different and that's kind of what makes it hard
Speaker 2: for our identity. But I think we reach like eclectic
Speaker 2: people who understand that they're not only listening to one thing,
Speaker 2: like for example, Tyler the creator stone Throw found but
Speaker 2: not because of the hip hop, Like he found out
Speaker 2: about our hip hop later, Like he liked us because
Speaker 2: of James Pants and John T and Chrome Canyon and
Speaker 2: you know, Mild High Club. He's going in the studio
Speaker 2: with my High Club today.
Speaker 7: So man, what's the word on Jerry Paper?
Speaker 2: Jerry Paper is my man, that's that's the sound.
Speaker 7: That's the joint, that's my fucking record. Yeah yeah, how
Speaker 7: did where did you find him?
Speaker 1: Met?
Speaker 2: Like he found us, He found us through Mild High Club.
Speaker 2: And what was weird to me when I found out
Speaker 2: was his older brother is a DJ that I DJed
Speaker 2: with many times. We've shared a magazine to cover together,
Speaker 2: this guy, DJ Spider, But he's more in the kind
Speaker 2: of Hollywood kind of like the Vegas scene. You know
Speaker 2: that you see the Vegas billboards and yeah, Jerry Papers
Speaker 2: like totally different from that.
Speaker 7: But you know, okay, god, yeah, I love I love
Speaker 7: that record.
Speaker 2: Dope well bad bad, not good. Did the music on
Speaker 2: that with him? So yeah, yeah, but that that's kind
Speaker 2: of the Gary Wilson vibe, like kind of like kind
Speaker 2: of lounge vocals. I think, you know, he explained to.
Speaker 1: Me how you found Gary Wilson, Like from Gary.
Speaker 2: Wilson, I know, I know. I found out about him
Speaker 2: through this guy who worked at Other Music, and he
Speaker 2: was like, I, you know, I know what you're in.
Speaker 2: Do I think you're going to really love this? And
Speaker 2: usually when people say that their way off. But with Gary,
Speaker 2: that was like, you know that? Like I basically went
Speaker 2: in and bought like every copy. Like I found out
Speaker 2: there was a warehouse in Philly that was sitting on
Speaker 2: the red version of You Think You Really Know Me?
Speaker 2: And I bought as many as I could afford at
Speaker 2: the time and gave him out to all my friends.
Speaker 1: Our Spottle on South Street, Steve, Philadelphia Record Exchange.
Speaker 2: Yeah, yeah, does that still exist now?
Speaker 1: That's gone? Yeah?
Speaker 9: And other music's gone too.
Speaker 2: It's gone. They're doing a documentary on them right now.
Speaker 1: Yeah.
Speaker 7: Do you sorry for cutting in?
Speaker 9: Do you have like a jazz division at Stone's Throw
Speaker 9: or or do you put out any like besides?
Speaker 2: But we don't have a division. I mean Keefer's stuff
Speaker 2: is kind of you know jazz.
Speaker 1: I guess Keefer.
Speaker 2: Keeper Sorry, Keeper is in Mind Design's band, and you're
Speaker 2: gonna go Mind Design, But I know, I know mind
Speaker 2: She did archives. Now, a lot of these guys yeah,
Speaker 2: they're just getting their start. But Keeper he's a piano player,
Speaker 2: and I mean most of it's like he's well, one
Speaker 2: man band style, but then he has a band for live.
Speaker 2: But he started in mind Designs group. It was another
Speaker 2: younger artist. But yeah, most of our roster these days
Speaker 2: are like in the early early twenties.
Speaker 7: Man, one big question I think we haven't asked, how
Speaker 7: did you get your name?
Speaker 1: Yeah?
Speaker 2: Oh, Man, such a boring story. Stone s or peanut,
Speaker 2: but both stories are born No peanut butter Wolf. Yeah,
Speaker 2: it's just I never tell it well, so I don't
Speaker 2: want to tell it.
Speaker 9: Oh does it have anything to do with peanut, butter
Speaker 9: or wolf?
Speaker 2: I always have a different Yeah, different story for us.
Speaker 7: What's today's story?
Speaker 2: Today's story? So my girlfriend at the time, we were
Speaker 2: like nineteen or something, and her brother was like six
Speaker 2: years old, and we were playing candy Land with him
Speaker 2: and we turned the lights off and started scaring him,
Speaker 2: and he said, turn the lights back on. The peanut
Speaker 2: butter Wolve's gonna get me.
Speaker 1: And we were like.
Speaker 8: What.
Speaker 2: And this kid was super eccentric and he made a
Speaker 2: whole book about a wolf that was killing chickens and
Speaker 2: the farmer went and cast a spell on the wolf
Speaker 2: and turned him into a giant glob of peanut butter.
Speaker 2: So I still have the book that the kid made,
Speaker 2: like wow. And I then I started a punk group
Speaker 2: with my friends and it was everything was all freestyled
Speaker 2: and I just say punk out of because it was
Speaker 2: just like, you can't really say what kind of mean is.
Speaker 2: I don't know what it was, but we were always
Speaker 2: singing about this peanut butter Wolf in the band and
Speaker 2: I was showing charisma and he was like, that should
Speaker 2: be your DJ name, and we were always trying to
Speaker 2: be weird. And you know, this was like early nineties
Speaker 2: when everyone was because my name before that was Chris
Speaker 2: Cutt and that was like just old school, just simple
Speaker 2: and rock ski. Yeah, so Peanut Butter Wolf was a
Speaker 2: lot more eccentric, but I didn't think about it when
Speaker 2: I was nineteen that like when I was forty eight,
Speaker 2: I would have to still be called peanut Butter Wolf.
Speaker 1: Yo. Man, I think what should come next is children's records,
Speaker 1: Like you gotta grow your own crops because like a
Speaker 1: lot of fans of Stones Throw, you know, they have kids.
Speaker 2: I love Black did a children's record, like right when
Speaker 2: we first signed him, and I wanted to do something
Speaker 2: with that. I didn't know. I didn't know the industry,
Speaker 2: so but we're sitting on that.
Speaker 7: Yeah, I forgot Yeah he Stones Yeah, yeah the first.
Speaker 2: Yeah, so his first album with Stone so I was
Speaker 2: really kind of like future soul like Giles Peterson, you know,
Speaker 2: like and then and then Mayor Hawthorne did well with
Speaker 2: the retro sound and all was like I can do that,
Speaker 2: and Allo like did I need a dollar?
Speaker 1: You know?
Speaker 2: He went in with the band and yeah, that did
Speaker 2: really well for him.
Speaker 1: Ye.
Speaker 8: I placed in a lot of like commercials and stuff.
Speaker 1: Yeah, it was a theme for yeah America.
Speaker 2: But he was really huge in Europe, like he was,
Speaker 2: you know, playing festivals like really good time slots for
Speaker 2: like I don't know, fifty thousand people or something. And
Speaker 2: then in the US he still was kind of unknown
Speaker 2: because his money offers were so good in Europe. He's like,
Speaker 2: I don't really need to like do US shows or
Speaker 2: he Yeah, he just didn't have the demand here.
Speaker 8: He'd only stone throw artists to head to the White House.
Speaker 2: Uh, Snoop, I don't know, there's there's there there's yeah,
Speaker 2: maybe though, I mean Snoop did a Snoop did one
Speaker 2: record stones throw Artist, But where did that name come from?
Speaker 2: The stone Snoop Dogg. Stone's throw was my mom was
Speaker 2: my I was asking my mom how to get somewhere
Speaker 2: and she's like, oh, that's just a Stone's throw away.
Speaker 2: And I was with Charisma at the time when she
Speaker 2: said that, and we were kind of making fun of
Speaker 2: her and you know, doing the mom joke thing. And
Speaker 2: when I came up with doing a label to put
Speaker 2: out Christmas music, I was like, I need the name
Speaker 2: to have some some like inner thing, like an inside
Speaker 2: joke between me and Christmas.
Speaker 1: So that was it. Wow. So how many projects do
Speaker 1: you think you can personally handle at least are you
Speaker 1: capable of handling.
Speaker 2: The label at a time. I mean, I have the
Speaker 2: infrastructure to probably do an album every other month or something,
Speaker 2: you know, But I mean there's yeah, it really depends
Speaker 2: if it's an artist where they really are gonna promote
Speaker 2: themselves as well, and that you know, they they wanted
Speaker 2: to do well and they need more attention from us
Speaker 2: than those ones. It kind of works out because we
Speaker 2: really like maybe do like four albums a year of
Speaker 2: like artists that are really get behind their own stuff
Speaker 2: and it's not a passion projector is.
Speaker 1: It harder for in this era to deal with streaming
Speaker 1: and distribution and.
Speaker 2: Yeah, and I think that's why the Yeah, the label's bigger.
Speaker 2: We have people for each one of those things now.
Speaker 2: But yeah, I don't have to deal with that stuff
Speaker 2: so much.
Speaker 1: What are your projections for the future, Like where do
Speaker 1: you want to see the label go? And well, wait,
Speaker 1: you guys have offices and yeah, world, so.
Speaker 2: Yeah, it's it's just really like I just want to
Speaker 2: keep having the ability to find stuff that I like.
Speaker 1: And how do you approach stuff that you like? Are
Speaker 1: you always on YouTube looking for like how does work
Speaker 1: get to you.
Speaker 2: About I do the YouTube thing and sound cloud?
Speaker 6: Or are people just now coming to you like yo,
Speaker 6: check the ship or check out my.
Speaker 2: Home Now there's a lot of that too, and even
Speaker 2: just going to shows. I mean, I'm kind of on
Speaker 2: the front lines as a DJ still, but like, yeah,
Speaker 2: people slide into my d ms with their music or
Speaker 2: go down indeed, yeah they'll tag me like oh the
Speaker 2: Peanut butter Wolf listen.
Speaker 1: To this, but you actually listen to it? Well, well no, but.
Speaker 2: Yeah there is stuff like yeah, I mean I yeah.
Speaker 1: Stuff reached the finish line like a guy like DJ Harrison.
Speaker 1: I knew because of Yale and Fante, but like, how
Speaker 1: is it? God?
Speaker 2: I don't remember how I found him. But yeah, everyone,
Speaker 2: every artist has its own story. I think it's different.
Speaker 7: What's going on with mad Live because I noticed that
Speaker 7: they did when him and Freddie did the Pinata album. Yeah,
Speaker 7: they did themselves. He still work with you, Like, what's
Speaker 7: y'all's relationship now?
Speaker 2: Yeah, well Mad Live. I mean it's kind of a
Speaker 2: long story, but basically, I know I need to put
Speaker 2: money on my meter. By the way, where are we at?
Speaker 10: Give me some money, some red bottoms my credit card?
Speaker 2: Well, mad yes, with mad Live like Egon, and you know,
Speaker 2: he used to run my label and things weren't creatively
Speaker 2: working out between Egon and I, and I had to
Speaker 2: let Egon go, and he basically took Mad Live with him.
Speaker 2: So he gave Madlib his own deal, his own label,
Speaker 2: and so mad Live stuff theoretically comes out on that.
Speaker 2: You know, he still does some stuff for us. He
Speaker 2: he did something well when we did our movie, he
Speaker 2: did the he scored the movie and did the soundtrack
Speaker 2: for that, and so you know, it's still like a
Speaker 2: loving relationship, but you know, Egne's more involved in that.
Speaker 6: Yeah, I'm sorry, I had Oh yeah, I thought I
Speaker 6: was about to sneeze.
Speaker 1: Continue to continue about to sneeze.
Speaker 2: Do you do you look at the sun to sneeze
Speaker 2: or no? Yeah, oh the light? You just look because
Speaker 2: I read the ten percent of humans can do that?
Speaker 1: Or no, I just I you know, I hold my
Speaker 1: nose and pray that doesn't spray on any of you guys.
Speaker 1: So future wise, what do you.
Speaker 9: It sounds like you said every everybody's mostly in their
Speaker 9: early twenties, so it sounds like you're set up for
Speaker 9: a minute a little bit.
Speaker 1: Yeah, not future wise, I just meant like the artists
Speaker 1: that you know you have your eyes on and that
Speaker 1: sort of thing.
Speaker 2: Yeah, I mean there are people that I have my
Speaker 2: eyes on. What about I think I'll mention them until
Speaker 2: I signed the.
Speaker 1: Until you sign them, okay?
Speaker 2: Uh?
Speaker 1: As far as like, also you bringing back a lot
Speaker 1: of our old favorites, like you working with Steve Arrington
Speaker 1: and right?
Speaker 6: And is profit?
Speaker 2: Is he old or new profit? So profit is?
Speaker 6: I feel like he's an old soul that I just
Speaker 6: yeah know.
Speaker 2: He's like I think he's maybe in his sixties. He
Speaker 2: did an album in nineteen eighty four that I discovered
Speaker 2: in the early two thousands, and I guess like in
Speaker 2: the early eighties that was like when I was buying
Speaker 2: the most records, well, when I started really buying a
Speaker 2: lot of records, and I didn't know about that one
Speaker 2: until the two thousands. But when I heard it, I
Speaker 2: really was into it. And on the record it just
Speaker 2: said profit. It didn't. He didn't have his real name,
Speaker 2: so I had no way to get a hold of him,
Speaker 2: and I would always talk about him in interviews and
Speaker 2: then he got a hold of me.
Speaker 1: Is he from the Bay Area?
Speaker 2: He's from the Bay Yeah?
Speaker 6: Was it a black and white album?
Speaker 1: It is? Yeah, dog Yeah, Okay have you heard that? Well,
Speaker 1: my last trip to.
Speaker 2: The record store groove Merchant because he always had copies
Speaker 2: of it.
Speaker 1: Dog. I think that's the most ever paid for a
Speaker 1: record of an artist I'd never heard of in my life.
Speaker 2: How much it was just one of those artists that's
Speaker 2: worth it. Yeah, they actually bought one, a groove Merchant
Speaker 2: for six dollars. Like that's when I found it, like
Speaker 2: in the early two thousand. I'm like, he must have
Speaker 2: like miss priced a few.
Speaker 1: More zeros than that. Yeah, yeah, yeah, Like I was like,
Speaker 1: I don't know, the guy's like a mere trust me,
Speaker 1: like I know, like how much you want historical?
Speaker 2: Like yeah, it's like print sounded like just it's synth funk,
Speaker 2: but like it's really out there.
Speaker 6: Yeah that's profit okay, Yeah, you resigned them.
Speaker 2: So we did an album with him and my design
Speaker 2: like this year.
Speaker 11: All right, well you know we think you wait, I
Speaker 11: have one that's a good Yeah. Have we heard the
Speaker 11: last of Hilario?
Speaker 1: Yes?
Speaker 2: I think so. I don't know. I haven't seen him
Speaker 2: in a while. We fell out, you fell homie, man,
Speaker 2: we have the picture what they do may Little John
Speaker 2: and Diplo yep.
Speaker 6: Wait and it sounds like a premise to a good joke.
Speaker 8: It was.
Speaker 2: It was Little John yeah and and yeah. So Diplo
Speaker 2: hit me up and he's like, hey, I'm coming to
Speaker 2: your stone Store party and I'm going to bring Little John.
Speaker 2: You know, I want to introduce some deal.
Speaker 1: And I'm like, oh cool.
Speaker 2: But I didn't tell him that that I wasn't there,
Speaker 2: that it was Filario. So it was yeah hard yeah.
Speaker 1: Wait, actually, speaking of the one one one last, last, last,
Speaker 1: last question.
Speaker 2: And I have one follow up off, okay, I have
Speaker 2: one as long as we end with profit, like we
Speaker 2: can keep going and then back to profit and then
Speaker 2: that's the end.
Speaker 1: No, for your DJ gigs, you using video technology, yeah,
Speaker 1: to spend How long does it take you to find
Speaker 1: pristine prime copies?
Speaker 2: I don't. I don't go for well, I mean, I
Speaker 2: at least the ones I've seen you spend there. You're right,
Speaker 2: You're right, there is a lot of it that is is.
Speaker 2: But some of it I'll swap the audio out and
Speaker 2: some of it I'll leave as is.
Speaker 1: That's what I was going to ask, like, do you
Speaker 1: because one of those Michael Jackson gigs you did?
Speaker 6: I was like, whoa happy find such a clean copy
Speaker 6: of this?
Speaker 5: Right?
Speaker 1: Yeah? That was like some so you'll just that designated
Speaker 1: day to I added pristine audio on top of the
Speaker 1: video clip.
Speaker 2: I mean, one of the guys I work with like
Speaker 2: helps me with that because I don't. I wouldn't even
Speaker 2: I don't know technology anymore.
Speaker 1: I see. Okay.
Speaker 11: My last question has to do with the twelve hour
Speaker 11: DJ set. Yes, would you ever do that again?
Speaker 1: Yeah?
Speaker 2: But I think if I did it again, maybe I
Speaker 2: would like put more effort into like planning it ahead
Speaker 2: of time. Like the whole thing with it was it
Speaker 2: was just an idea, Like it was December twelfth, twenty twelve,
Speaker 2: I want to do something for twelve, twelve twelve, and
Speaker 2: I was like, I'll do twelve hours of djay and
Speaker 2: and then I had all this other stuff going on
Speaker 2: and I didn't really plan it, and then my dream,
Speaker 2: what's that doing a twelve hour set?
Speaker 1: Hell? Yeah?
Speaker 2: And this was where was the it at my vinyl bar?
Speaker 2: So where we Where was this? I just did in
Speaker 2: my bedroom and but it was it was for boiler room.
Speaker 1: On this but.
Speaker 2: Yes you can, it's fine, It's fine, So it's for
Speaker 2: boiler room. And I was kind of bored after the
Speaker 2: first few hours. And then I was like, I asked
Speaker 2: all my friends to like pick records out of out
Speaker 2: of my room, and then they were just picking the
Speaker 2: things they were familiar with, and that was like what
Speaker 2: I realized, like I should have probably just done it
Speaker 2: all on my own, because I wanted to share stuff
Speaker 2: that people didn't know, and it turned into something else.
Speaker 7: But it was fun though, Yeah, you played a record
Speaker 7: I bought you. I can see the cover. It was
Speaker 7: a peanut butter Wolf and it was just like a
Speaker 7: DJ thing you did, but you had a record on it. Uh,
Speaker 7: let love be your magic carpet.
Speaker 1: Oh, I love that one. I love that.
Speaker 2: Yeah, that's a great song.
Speaker 1: It was so dope.
Speaker 2: Michael White. Michael White, Yeah that was what was Yeah, yeah, yeah,
Speaker 2: well okay, profit profit Yeah, we love profit.
Speaker 1: We love profit. Now, thank you very much for coming
Speaker 1: on the show.
Speaker 6: Christy, Thank you for having me back.
Speaker 9: Congratulations on a great label.
Speaker 7: Man, No for real for you to make it, have
Speaker 7: been making it a long yeah.
Speaker 2: I mean just I'm just happy. Yeah, it's still like
Speaker 2: enjoying it. You know, like if I was doing something
Speaker 2: that I didn't enjoy it, I wouldn't do it anymore.
Speaker 2: So I'm glad that I still like to do it.
Speaker 1: It's relies and passion, all right, Ladies and gentlemen. On
Speaker 1: behalf of Team Supreme, Boston Bill on Paid, Bill Fontigolo.
Speaker 1: It's Laia and Sugar Steve of the Sugar.
Speaker 9: Steve Network, founder of this and curator and ed.
Speaker 1: Ya. My name is cost Love and this is Costler Supreme.
Speaker 1: We will see you on the next go round. Thank
Speaker 1: you very much. Quests Love Supreme is a production of iHeartRadio.
Speaker 1: This classic episode was produced by the team at Pandora.
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
Speaker 1: or wherever you listen to your favorite shows.