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

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Speaker 2: Ladies and gentlemen.

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Speaker 3: Welcome to part two of the bow Laked Lou episode

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Speaker 3: of Quest Love Supreme. You know, we talked about his

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Speaker 3: his beginnings with singing with his brothers growing up in

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Speaker 3: New York, and of course giving Curtis blow uh making

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Speaker 3: classics with utfo uh the real rocks.

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Speaker 1: In Lisa, Lisa and Calt Jam.

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Speaker 3: We even give a little shout out to Tony Marrish

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Speaker 3: in this episode, not to mention Shoel Patsey Riley working

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Speaker 3: with James Brown making movies with Kidd and play Uh.

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Speaker 3: Of course we're going to get into their work, all

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Speaker 3: setting and sinking Backstreet boys.

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Speaker 1: You know, so much work, so much genius.

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Speaker 3: This is part two of the bow Laked Lou episode

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Speaker 3: of Quest Love Supreme.

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Speaker 4: Enjoy lout tell me you're her best James Brown story. Man,

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Speaker 4: let's go, because I feel like I feel like there's

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Speaker 4: gonna be five of them.

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Speaker 5: Man, crested so many, Okay, I know I'm trying. I

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Speaker 5: want to. I'm gonna tell all of them, but I

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Speaker 5: need some.

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Speaker 2: I need a few.

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Speaker 6: You haven't repeated yet, at least.

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Speaker 2: On some you know something I'll be honest with you,

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Speaker 2: like you.

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Speaker 4: But I actually avoided hearing that, like I was waiting

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Speaker 4: for this moment to happen, this interview with him, that

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Speaker 4: I actually muted.

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Speaker 2: I don't know anything.

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Speaker 4: I purposely wanted to hear the first time when I

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Speaker 4: had my first platform to interview.

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Speaker 6: I get that you want to be unted, Lou interview. Yes, okay,

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Speaker 6: tell us the story.

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Speaker 4: Only because that uh, that clip that people watch where

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Speaker 4: James is kind of off the hook and loopy, you know,

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Speaker 4: with the glasses and he's interviewing the lady. I would

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Speaker 4: like to think that that was taking a break from

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Speaker 4: the I'm Real video set because he's dressed the same

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Speaker 4: way as he is in the video. So I'm assuming

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Speaker 4: that whatever he was on during that interview was also

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Speaker 4: in all club.

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Speaker 7: So go ahead, Lou, uncle Lou, please tell us one

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Speaker 7: James Mall story so that won't get you in trouble

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Speaker 7: because we loved and I'm good friends with his daughter.

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Speaker 5: Yea god, but but but I'm but I'm gonna speak,

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Speaker 5: but I gotta speak.

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Speaker 2: We got clean clean it up.

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Speaker 5: Then sorry, no, no, no, So here's the deal with

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Speaker 5: mister Brown. That's all we ever called him when when

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Speaker 5: we got the when we got the uh, the call

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Speaker 5: to do an entire James Brown album from Johnny Musso

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Speaker 5: who's executive as Scottie Brothers at the time, when mister

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Speaker 5: Brown recorded Living in America.

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Speaker 8: And then when we got that call that you know.

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Speaker 5: Mister Brown, James Brown would love you guys, you know,

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Speaker 5: to do a whole album with James Brown. That's the

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Speaker 5: call we got. We were blown away. And the first

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Speaker 5: thing we started hearing was that, oh man, when y'all

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Speaker 5: work with James Brown, man, it's going to be He's

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Speaker 5: a task mask man, and he's mean.

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Speaker 8: We hear all these stories. So I said, before we

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Speaker 8: go in the studio.

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Speaker 5: With him, let me call somebody that that worked with him,

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Speaker 5: just so I could be ready about for anything. So

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Speaker 5: I called Dan Hartman, who I didn't know, but I

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Speaker 5: got his number because he did the Living in America

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Speaker 5: and he worked on the Gravity and he did Gravity

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Speaker 5: and he had his own hits We light my fire

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Speaker 5: and so I get on the phone with him, introduced

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Speaker 5: myself and I said, yeah, man, we're about to work

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Speaker 5: on a James Brown album. This bow Lad full Force

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Speaker 5: and you know, can you you know, we hearing rumors

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Speaker 5: and this, and you know we when we love James Brown.

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Speaker 5: So he said, all right, well, the first thing, you

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Speaker 5: don't call him James. You called him mister Brown first

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Speaker 5: and foremost that's all you ever call him mister Brown.

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Speaker 5: I'm like, okay, okay. Now he's kind of particular in

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Speaker 5: the studio. And so what happens that the first day

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Speaker 5: that mister Brown, we had songs ready and everything like that.

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Speaker 5: So the first day that he came that he was coming,

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Speaker 5: we sent Paul because nobody puts us in awe, but

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Speaker 5: mister Brown put us in a little owe. But we

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Speaker 5: sent Paul to go get him. Paul, you're the welcome

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Speaker 5: committee for mister Brown. And Paul went to get him

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Speaker 5: and greet him at the elevator and he was mister

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Speaker 5: Brown was wearing like a handkerchief around his neck sometime

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Speaker 5: of like crazy hat. He had like shades on, like

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Speaker 5: red shades. Oh wow, some bootsy college shades.

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Speaker 8: And he had some heels on, and.

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Speaker 5: He was just a legend, just legend derry. And he

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Speaker 5: came walking in the studio. Paul said, how are you doing,

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Speaker 5: miss Strong, Just coming and meet the rest of the guys,

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Speaker 5: and he came in there. Gentlemen, gentlemen, gentlemen. Now, I

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Speaker 5: love y'all. I love y'all, like y'all my son. So hey,

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Speaker 5: I just want to know that we're gonna have a

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Speaker 5: good session and we're going to do that. And then

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Speaker 5: thank you, mister Brown. We didn't understand what he said,

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Speaker 5: but thank you until now the time and your right question.

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Speaker 5: At the time we was working with mister Brown, he

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Speaker 5: was in trouble with the law in and out. You know,

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Speaker 5: sometimes we didn't have a session because he was, you know,

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Speaker 5: like in jail and he let out and he was

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Speaker 5: just going through stuff, go through so much stuff that

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Speaker 5: sometimes that affected like him in the session and we

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Speaker 5: would just be working with him and we would start wondering,

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Speaker 5: you know, is mister Brown because he's old. That's why

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Speaker 5: some of the odd things, but just a lot of crazy,

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Speaker 5: like we're like every now is shop.

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Speaker 8: We used to come to the studio lot.

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Speaker 5: And whenever he would come, like oh lord, because mister

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Speaker 5: Brown stopped for him for everything, no matter what song

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Speaker 5: was doing. Alright, Reverend's here, and Reverd would come unannounced.

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Speaker 5: He never like scheduled or nothing like that. And mister

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Speaker 5: Brown would go talk to me. I remember mister Brown

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Speaker 5: was wearing some red shades, and Reverend Shopping says mister

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Speaker 5: Brown because he called them mister Brown. Also, mister Brown,

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Speaker 5: how you doing. How's everything red? I'm wearing red shades,

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Speaker 5: but I'm seeing blue.

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Speaker 8: You know, I'm telling you.

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Speaker 5: One time, one time, he uh, we were taking pictures

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Speaker 5: and all the photographers taking pictures of us and mister

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Speaker 5: Brown in the studio taking pictures.

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Speaker 8: Snap snap, snap, snap snap.

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Speaker 5: Then all of a sudden, all right, it's enough pictures,

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Speaker 5: so stop the pictures. Then I of know where mister

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Speaker 5: Brown goes into a damn split, a hard split, so

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Speaker 5: hard that you can hear the floor and go boom,

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Speaker 5: and he just rolls up. He did it out of nowhere,

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Speaker 5: and then the photographer's like, let's not put that again.

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Speaker 2: That again.

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Speaker 5: He said, nope, you should have took the picture when

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Speaker 5: I did it.

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Speaker 8: Then he just walked.

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Speaker 5: It was it was at one time using the studio

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Speaker 5: and he was on to the door and the door

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Speaker 5: was open, right, but he's pushing he's pushing the door

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Speaker 5: one way and he's pushing it and he's pushing the

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Speaker 5: door another way. But the door is just standing by itself.

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Speaker 5: This is a studio door. We're going, mister.

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Speaker 8: Brown is everything.

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Speaker 5: Okay, Now I'm just showing y'all how I'm opening and

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Speaker 5: closing the door at the same time. Okay, okay, mister Brown,

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Speaker 5: I got it. It was some of those moments we

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Speaker 5: know he was going through stuff we never too We

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Speaker 5: never told it in public, a lot of things, but

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Speaker 5: you know, it was crazy. I I remember when we

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Speaker 5: wanted to use Mac on the album and I said,

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Speaker 5: you to do a couple of songs, and he told us, well,

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Speaker 5: when Masio comes, I want to make sure that I'm

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Speaker 5: not here when y'all are working with him. I don't

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Speaker 5: mind him on the album, but I don't want to

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Speaker 5: be here. Yeah.

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Speaker 2: Yeah, So he's on, he's on keep keeping. I think

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Speaker 2: he's on. Lock him in the studio while he's still.

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Speaker 5: Yeah yeah keeping. She looks all types of good and

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Speaker 5: then the ballot you know.

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Speaker 2: Right, Wait a minute, Okay, Well one, it's not lost

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Speaker 2: on me.

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Speaker 4: The the the meta, the meta levels of irony. Yes,

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Speaker 4: I'm real, which is the fact that he is singing

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Speaker 4: out against the very thing that keep bringing him back.

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Speaker 6: Yo, this is a moment of mirror. You are repeating

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Speaker 6: your clip on an unsung I'm just saying, yes, it

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Speaker 6: was your reaction, but I love it.

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Speaker 2: I never got an answer to it. So it's how.

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Speaker 4: I mean, what did you guys explain to him that that, no,

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Speaker 4: you should, you should embrace this more, because you know,

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Speaker 4: George Clinton famously was like, hey, I'll even lower my

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Speaker 4: rates so you guys more of me, right, and said

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Speaker 4: his legend. But I mean, what do you what did

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Speaker 4: he think of when he first heard these tracks? Like

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Speaker 4: did he even comprehend that he's singing over Bobby Bird's

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Speaker 4: hot pants on cumming drums or right?

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Speaker 5: Well, I don't think he really comprehended that much because

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Speaker 5: he was actually he was actually getting paid for it.

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Speaker 5: He his only thing was, I don't I don't. I

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Speaker 5: don't got nothing against these rapists, but man, I just

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Speaker 5: I just wish I would get paid because they use them.

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Speaker 5: My voice isn't record and this and that and this

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Speaker 5: that and that's when we came up the song I'm real.

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Speaker 5: So it's like what people's taking from him were like

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Speaker 5: throwing it right back to him in his own songs

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Speaker 5: that we're producing with him. You know, his main thing

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Speaker 5: was he just felt disrespected that he hears somewhere and

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Speaker 5: he loved the rappers because remember he worked with African

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Speaker 5: Baan Bada, but he was still he was still upset

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Speaker 5: that he wasn't getting paid for it, and at that

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Speaker 5: time the sample laws was not even I think our

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Speaker 5: record kind of helped it because he was literally on

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Speaker 5: there on this video. All you copycats out there, get

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Speaker 5: off of my tip, because I'm James my records till

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Speaker 5: I'm paid in full.

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Speaker 9: You know, he was, He was making a statement there,

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Speaker 9: and I remember I remember after that that the Sonic

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Speaker 9: came out with something about you know, James Eric Beer and.

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Speaker 5: I got so and that's true, but he wasn't getting paid.

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Speaker 5: That was his music, his vocals, and I think after

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Speaker 5: I'm real then they started to get the sample lows together,

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Speaker 5: not only for mister Brown but for every every other legend.

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Speaker 6: I was gonna ask, did he live to see the

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Speaker 6: residuals of his the samples? I don't try and remember that.

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Speaker 5: But yeah, yeah, yeah, because we did that album eighty

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Speaker 5: didnt eighty eight?

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Speaker 2: Eighty eight?

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Speaker 5: Yeah? Yes? So yeah, yeah, State trying to get permission

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Speaker 5: and paying for him to use James Brown's samples no

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Speaker 5: rapper kids do that like what they did in the past,

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Speaker 5: just blatantly take it. Now, when we were taking his stuff,

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Speaker 5: we was doing it with him, you know what I mean.

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Speaker 5: So it's definitely a difference. And he accepted that because like, well,

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Speaker 5: at least I'm here with Jellen, we're doing it together.

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Speaker 5: And he got published for all the songs I did.

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Speaker 4: With him, So I would assume that when you guys

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Speaker 4: are doing I'm Real the album, this was pre pro tools.

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Speaker 5: Yes, so from a one.

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Speaker 2: To ten, how I want you the word nightmarish?

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Speaker 4: But how much of a task is it cutting his

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Speaker 4: vocals and cutting just all right, ladies and gentlemen, you're

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Speaker 4: you're you're not looking at Loo's.

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Speaker 2: Face right now.

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Speaker 4: As I asked this question, But the way that he

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Speaker 4: closed his eyes already gave me the answer I wanted.

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Speaker 4: How much of how much of a task was it?

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Speaker 4: In whatever it was their copy paste culture back? How

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Speaker 4: did you get his vocals to because it felt natural?

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Speaker 4: But for me, I felt that every line I was

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Speaker 4: listening to was either perfectly placed or just a lot

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Speaker 4: of cut cut page jobs there. Okay, from one to ten,

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Speaker 4: how you don't even have to give the story from

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Speaker 4: one to ten. How hard was it in placing his

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Speaker 4: vocals and giving a complete song?

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Speaker 5: Damn, Chris, that was a good question. The way he

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Speaker 5: did that, that was you did that.

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Speaker 2: I'm giving you now a number to take you.

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Speaker 5: But question, you're so, you're so, you're so interesting, You're

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Speaker 5: so introspective with it, and it's like.

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Speaker 8: It was you at the studio with us.

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Speaker 4: Dude, you think I'm lying at the intro of the show,

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Speaker 4: I am a product.

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Speaker 2: When you're like damn, when when on your last day

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Speaker 2: on earth, you're like, damn, what is my legacy?

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Speaker 5: When you when you know something, quess Like I said,

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Speaker 5: when we was working with mister Brown, this was the

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Speaker 5: time when I know he was going through things. So

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Speaker 5: so in the beginning, I would say, the first session

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Speaker 5: and the first song we did was a song called

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Speaker 5: Time to Get Busy, and he was perfect on that one. Perfect.

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Speaker 5: But as the days as the as each song, it

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Speaker 5: became a little harder because she was still going through

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Speaker 5: his own personal stuff. So what we did, man, So

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Speaker 5: what we did is that with mister Brown, Time to

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Speaker 5: Get Busy, I would say, was like the kind of

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Speaker 5: the only song that he did from start to finish,

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Speaker 5: and he kind of knew everything. But then as after

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Speaker 5: we was going, it was getting a little harder and

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Speaker 5: he was going through stuff, and we would have the

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Speaker 5: lyrics and at one time he asked us, y'all got

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Speaker 5: any cue cards? You know, cue cards? And we're like

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Speaker 5: cue cards. But so so what we did, and not

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Speaker 5: on every song, but just some songs, we would actually

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Speaker 5: physically be there with him, Like me, I would be

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Speaker 5: there with mister Brown and then Paul, because me and

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Speaker 5: Paul spearheaded mostly the writing of the lyrics song and

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Speaker 5: working with him actually in the studio.

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Speaker 8: So when I did I'm.

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Speaker 5: Real my song, I'm there with mister Brown in the

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Speaker 5: booth with him physically mm hmmm, and we would go

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Speaker 5: line by line basically.

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Speaker 4: God, yo, Christian McBride, if you are listening to this podcast,

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Speaker 4: we were so right.

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Speaker 2: We called it.

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Speaker 4: We literally said, I bet you every line had to

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Speaker 4: be cut and paste because it was too perfect. And

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Speaker 4: I've never heard him sing structured lyrics before because a

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Speaker 4: lot of this stuff was freestyle and and that, and

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Speaker 4: I just never really heard him sing that structured before.

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Speaker 4: And I tried to imagine, like, well, is the lyric

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Speaker 4: sheets on the on the Nightstand.

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Speaker 2: Is he Yo, I've been dying to know that answer

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Speaker 2: for thirty years.

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Speaker 5: Man.

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Speaker 6: I was about to say, was this a conversation with

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Speaker 6: you in Kristin in high school?

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Speaker 4: Or I'm talking to Kristen McBride right now as he

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Speaker 4: saw the story.

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Speaker 2: Like, I'm sorry.

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Speaker 4: Wait, So then I gotta ask how did he how

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Speaker 4: did he managed?

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Speaker 5: So?

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Speaker 4: Okay, So there's another thing about me more than being

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Speaker 4: a James Brown fan, I'm the biggest horrible James Brown

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Speaker 4: song fan. Like I'm I have an addiction to like

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Speaker 4: every album past, like Mother's Nature, to even the record

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Speaker 4: he did with Leaders of the New.

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Speaker 2: School, like everything in between that. So yeah, I can't

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Speaker 2: get it any harder. He tried to. He tried to

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Speaker 2: do Static Part two when Leaders in the New School

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Speaker 2: Music Factory.

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Speaker 4: So the thing is how to it's your money wind

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Speaker 4: up on that record because I sometimes do a horrible

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Speaker 4: James Brown set where it's just the songs that and

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Speaker 4: that's the thing. The greatest thing about James Brown to

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Speaker 4: me is that he was never mediocre. Like a lot

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Speaker 4: of the artists that we have disdained for, it's usually

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Speaker 4: because they're just mediocre. Yeah, but if they make classic ship.

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Speaker 4: If they make horrible ship, at least it's interesting. And

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Speaker 4: I always wanted to know. I knew y'all had nothing

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Speaker 4: to do with it's your money. Obviously he was a placeholder.

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Speaker 4: But how did that wind up on the record? He

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Speaker 4: just insisted, or you can need it.

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Speaker 5: No, here's the deal. He he he literally asked the

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Speaker 5: record company, and a record company said ask full force,

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Speaker 5: and what are we going to do? And he played

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Speaker 5: it for us and everything.

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Speaker 2: Oh no, listen, he played it for us, and you'll make.

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Speaker 4: It like y'all like it doing the demohead thing.

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Speaker 2: No, never, I never, I like, all silent looking to

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Speaker 2: the floor.

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Speaker 4: And that's my double that's my double trouble story fante.

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Speaker 2: For the first time I played that ship still a premiere.

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Speaker 4: All them guys are like like what I was like, Oh,

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Speaker 4: this song sucks.

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Speaker 2: So then oh man.

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Speaker 5: When mister Brown, we, I mean, how are we gonna say? No?

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Speaker 5: I mean he wanted it on there, he asked.

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Speaker 8: He said, man, I love it that this could be

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Speaker 8: on it.

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Speaker 5: Bubba, but it was the last song on the album.

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Speaker 5: I think. But you know we we said, I mean,

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Speaker 5: what come on question? You wouldn't even have said no.

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Speaker 5: To mister Brown if that's the first time you met him,

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Speaker 5: and he came to and said, I would love to

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Speaker 5: be on the album. Do you mind? What are you

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Speaker 5: gonna say? Question?

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Speaker 10: Wait, sut up, I was gonna say, I already know,

337
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Speaker 10: I already know it was. It was the day after

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Speaker 10: the album got mastered and I heard this song.

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Speaker 2: I had a Rich like, yo, where the fuck does

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Speaker 2: this come from?

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Speaker 4: And he's like, you know, al insisted it go on

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Speaker 4: the record like he.

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Speaker 6: Did it with There was a quest love album with

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Speaker 6: Al Green called Babies Making Babies bo I'm sorry, sorry,

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Speaker 6: sorry sorry.

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Speaker 4: The same thing happened to me, uh lou where with

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Speaker 4: Al Green I made I pulled a full force, got

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Speaker 4: Al Green back to his Willie Mitchell thing and the

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Speaker 4: last song he just you know, like my manager Rich

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Speaker 4: at the time told me, He's like, well, the way

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Speaker 4: I see it, you know, at least he did a

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Speaker 4: song that could fit on the end of a Tyler

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Speaker 4: Perry movie as the credits go up bruh. So he's like,

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Speaker 4: it won't be a total loss either people will just

355
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Speaker 4: ignore it, or at best it'll go I'm the Tyler

356
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Speaker 4: parent credits for the End of the Family reunion movie.

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Speaker 5: Oh my god, you just know the algree no matter what.

358
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Speaker 2: Wow, that that is crazy, lou.

359
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Speaker 11: Do you know what happened? What the status is of

360
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Speaker 11: the real rock Sanning?

361
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Speaker 2: Like what is she?

362
00:20:16,920 --> 00:20:17,920
Speaker 12: Yes?

363
00:20:18,119 --> 00:20:18,960
Speaker 2: Is yet? Yes?

364
00:20:19,880 --> 00:20:23,080
Speaker 5: Well she's she's and she's still beautiful as ever. So

365
00:20:23,119 --> 00:20:26,199
Speaker 5: it's two just two real rock Sands. The first, you know,

366
00:20:26,240 --> 00:20:28,720
Speaker 5: after the whole all the I say, I said, be,

367
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Speaker 5: let's do a song called the Real Rock Sandes. So

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Speaker 5: me and be wrote the lyrics. We got this light

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Speaker 5: skinned girl by the name of Elise Jack and she

370
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Speaker 5: did She's the one you hear on the record. But

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00:20:37,960 --> 00:20:40,760
Speaker 5: then things didn't work out with her contractor or whatever,

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Speaker 5: so we got a Puerto Rican girl, the Fine and Beautiful,

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Speaker 5: Not that Elisee Jack is not fine and beautiful. She

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Speaker 5: was a light skinned girl, but she did the record.

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Speaker 6: More light skin for you, looking right right about.

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Speaker 5: But then we got Joey and Martinez to actually be

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Speaker 5: the real Rock sand She was the one in the

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Speaker 5: video with Utfo Roxanne Roxanne and then she had records

379
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Speaker 5: of her own like Bangs Zoom, let's go go with

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00:21:06,720 --> 00:21:09,600
Speaker 5: yeah in England and the UK and she has.

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Speaker 11: Y'all ever do anything with HOWI Team Maw. Speaking about

382
00:21:12,400 --> 00:21:15,520
Speaker 11: that record, Joan, howid T have any dealers with Yeah.

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Speaker 5: We worked with Howie because how he was part of

384
00:21:17,320 --> 00:21:19,960
Speaker 5: the real rock stand with hit Man Howie T. Howie

385
00:21:20,040 --> 00:21:22,280
Speaker 5: T co wrote Alice I Want You Just for Me

386
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Speaker 5: with us when he's the one that came up with

387
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Speaker 5: the drum beat, the dope drum beat and.

388
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Speaker 8: Everything like that.

389
00:21:28,520 --> 00:21:30,840
Speaker 5: Jerry and everybody else could get the whole track, but

390
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Speaker 5: how he came up with the drum beat, and back

391
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Speaker 5: in the day because it was nineteen eighty five, we

392
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Speaker 5: didn't know any better.

393
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Speaker 8: But I would have to.

394
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Speaker 5: Say, looking at it the way it trans transacted, he should.

395
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Speaker 8: Have been a co producer with us on that record too.

396
00:21:44,320 --> 00:21:46,520
Speaker 5: He was a co writer, but it should have said

397
00:21:46,560 --> 00:21:49,919
Speaker 5: produced by full Force and hit Man Howie T. Because

398
00:21:50,640 --> 00:21:52,280
Speaker 5: he's the one that came up with the dope drum

399
00:21:52,320 --> 00:21:54,679
Speaker 5: loop and everything like that. And then that song with

400
00:21:54,720 --> 00:21:57,320
Speaker 5: the syncopation in it and with the music and the

401
00:21:58,000 --> 00:22:00,800
Speaker 5: jazz kind of sound loops. You know, it was definitely

402
00:22:00,840 --> 00:22:03,720
Speaker 5: like some people call that the first new Jack String record,

403
00:22:03,760 --> 00:22:07,920
Speaker 5: but we don't. Let's go go yeah, No, Alice I

404
00:22:07,960 --> 00:22:11,760
Speaker 5: Want just And then we incorporated some of that with bangs.

405
00:22:12,000 --> 00:22:13,879
Speaker 5: Let's go go with the real rock sand. But the

406
00:22:13,920 --> 00:22:18,200
Speaker 5: real rock sand. Joyne Martinez, she is, she's doing she's

407
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Speaker 5: doing great, man. And she's still looking beautiful.

408
00:22:20,240 --> 00:22:20,359
Speaker 6: Man.

409
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Speaker 8: I send you a picture of her.

410
00:22:21,400 --> 00:22:24,240
Speaker 5: She's she's dope. She's still doing her thing. You know.

411
00:22:24,320 --> 00:22:25,000
Speaker 2: Wait, what's up?

412
00:22:25,960 --> 00:22:32,159
Speaker 4: We just recently discovered the sample that came from it.

413
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Speaker 4: All right, So here's the deal with with baby Let's

414
00:22:34,040 --> 00:22:37,480
Speaker 4: go go. I thought it was downright genius. I'm like, yo,

415
00:22:38,359 --> 00:22:41,120
Speaker 4: are they playing? Uh what do you call it? When

416
00:22:41,200 --> 00:22:43,760
Speaker 4: when you do a base uh jack open stories? Does

417
00:22:43,800 --> 00:22:46,000
Speaker 4: it h triads? Not triads?

418
00:22:46,040 --> 00:22:47,119
Speaker 12: But uh fretless?

419
00:22:47,680 --> 00:22:50,479
Speaker 4: Yeah, yeah, but it's it's the sound of of portrait

420
00:22:50,520 --> 00:22:55,200
Speaker 4: and tracy like when you're right right, try not harmonical

421
00:22:55,280 --> 00:22:59,920
Speaker 4: pisocado when you're playing harmonics on bass. And at the time,

422
00:23:00,119 --> 00:23:03,399
Speaker 4: I thought, Yo, this is some downright I never heard

423
00:23:03,400 --> 00:23:07,720
Speaker 4: a song just utilized bass harmonics before in this level.

424
00:23:07,800 --> 00:23:11,080
Speaker 4: And then it maybe like last year, a year before

425
00:23:11,560 --> 00:23:17,240
Speaker 4: I discovered the Pat mcthany record from which it came from.

426
00:23:17,640 --> 00:23:19,119
Speaker 4: Who put that track together?

427
00:23:20,000 --> 00:23:21,679
Speaker 5: Be fine put that track together?

428
00:23:22,359 --> 00:23:24,880
Speaker 2: And what how was he doing? Listen to that?

429
00:23:25,080 --> 00:23:31,680
Speaker 4: Because out of Pat mcthaney's discography that album. It's so

430
00:23:31,840 --> 00:23:36,200
Speaker 4: weird that Pat mcthany's two biggest samples in hip hop

431
00:23:37,000 --> 00:23:41,159
Speaker 4: are off of records that are like it's it's almost

432
00:23:41,160 --> 00:23:43,240
Speaker 4: like it would be the chitlings of his career.

433
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Speaker 2: And you know, I'm not.

434
00:23:44,040 --> 00:23:49,320
Speaker 4: I know, opinions are subjective to like what people gravitate towards,

435
00:23:49,400 --> 00:23:53,560
Speaker 4: but even jazz fans like have a bracket for the

436
00:23:53,600 --> 00:23:57,879
Speaker 4: Pat mcthany records they listened to and along with karas

437
00:23:57,920 --> 00:24:01,520
Speaker 4: One sampling springs dot Here Yet for Love's Gonna Get

438
00:24:01,560 --> 00:24:05,359
Speaker 4: You that particular song that you guys did, it was

439
00:24:05,400 --> 00:24:07,560
Speaker 4: like it was on an album that nobody would touch

440
00:24:07,680 --> 00:24:12,920
Speaker 4: of his and I always wanted when we discovered that sample,

441
00:24:13,200 --> 00:24:14,760
Speaker 4: it was like me and a whole bunch of producers

442
00:24:14,800 --> 00:24:18,480
Speaker 4: wear Jazzy Jeff's house and we hear it and we

443
00:24:18,520 --> 00:24:20,399
Speaker 4: wanted to punch a hole in the wall because we

444
00:24:20,560 --> 00:24:25,040
Speaker 4: never once thought there was anything dope on that record.

445
00:24:26,040 --> 00:24:28,240
Speaker 4: What in the hell was he doing with that, with that,

446
00:24:29,400 --> 00:24:34,240
Speaker 4: with that album that called him like what yeah, I.

447
00:24:34,160 --> 00:24:37,199
Speaker 5: Mean, will all of us like be Jerry? You know

448
00:24:37,320 --> 00:24:40,600
Speaker 5: the music we tapped into all kinds of music. That's

449
00:24:40,600 --> 00:24:43,440
Speaker 5: why with full force. That's six different heads. And when

450
00:24:43,480 --> 00:24:45,600
Speaker 5: he came up with that, I'm like, hey, this is dope.

451
00:24:45,600 --> 00:24:47,600
Speaker 5: I remember you texted me about that. You know, I

452
00:24:47,680 --> 00:24:52,280
Speaker 5: found that used. I'm like, yeah, very obscure because we'd

453
00:24:52,280 --> 00:24:54,440
Speaker 5: always look for a lot of obscure shit, even from

454
00:24:54,520 --> 00:24:57,880
Speaker 5: popular popular musicians too, you know what I mean, and

455
00:24:58,040 --> 00:25:00,320
Speaker 5: just use it, you know what I mean. And in

456
00:25:00,400 --> 00:25:03,560
Speaker 5: that particular song, I mean, be through the Kitchen sinking

457
00:25:03,640 --> 00:25:08,119
Speaker 5: that we even had bugs Buddy in there and we

458
00:25:08,680 --> 00:25:10,000
Speaker 5: threw Alison there.

459
00:25:11,400 --> 00:25:14,399
Speaker 8: To go to the Oh we did everything.

460
00:25:14,480 --> 00:25:17,600
Speaker 5: Yeah yeah, yeah, but yeah, man, we just we just

461
00:25:17,680 --> 00:25:19,879
Speaker 5: come up with different ship and Be came up with

462
00:25:19,920 --> 00:25:22,320
Speaker 5: that and we're like, yo, that's that's crazy. And it

463
00:25:22,359 --> 00:25:25,119
Speaker 5: was top ten joint man spent in the UK the

464
00:25:25,200 --> 00:25:27,600
Speaker 5: smash like we didn't know it's gonna be that big,

465
00:25:27,640 --> 00:25:29,920
Speaker 5: you know, and Joan would go and perform and plus

466
00:25:29,960 --> 00:25:31,840
Speaker 5: she was great. You know, I would have to say

467
00:25:32,440 --> 00:25:35,199
Speaker 5: the real rock saying Joe and Martinez had to be

468
00:25:35,240 --> 00:25:39,280
Speaker 5: one of the first female rappers to kind of introduce

469
00:25:40,000 --> 00:25:44,080
Speaker 5: femininity to the female rap game because everybody like Salt

470
00:25:44,119 --> 00:25:46,520
Speaker 5: and Pepper at the time, even Chante, they were wearing

471
00:25:46,880 --> 00:25:49,679
Speaker 5: the big dookie chains and all of that stuff, like

472
00:25:49,720 --> 00:25:52,480
Speaker 5: how to do to her? But she came in all

473
00:25:52,600 --> 00:25:54,760
Speaker 5: feminine and just killed it.

474
00:25:54,840 --> 00:26:03,800
Speaker 13: You know, she was his always like she's light skinned

475
00:26:03,880 --> 00:26:04,880
Speaker 13: and she's Hispanic.

476
00:26:05,800 --> 00:26:06,480
Speaker 2: Okay, and.

477
00:26:12,520 --> 00:26:16,160
Speaker 4: All right, so I gotta keep on pushing because there's

478
00:26:16,240 --> 00:26:18,679
Speaker 4: too many we gotta get to the We didn't even gott.

479
00:26:22,119 --> 00:26:24,000
Speaker 6: We didn't just ask one thing for my child.

480
00:26:24,080 --> 00:26:24,320
Speaker 5: Question.

481
00:26:24,600 --> 00:26:26,240
Speaker 2: Well, first of all, did you name Cheryl?

482
00:26:26,760 --> 00:26:30,440
Speaker 4: Did you how did she get her monica pepsi?

483
00:26:31,200 --> 00:26:33,080
Speaker 8: And she's and she's dark skinned by the.

484
00:26:33,000 --> 00:26:37,240
Speaker 6: Way, listen, she's your point on the board.

485
00:26:37,440 --> 00:26:39,480
Speaker 5: That's the only one you got so far. But yes,

486
00:26:41,960 --> 00:26:47,359
Speaker 5: we had girlfriend, they had some right what happened with

487
00:26:47,560 --> 00:26:49,600
Speaker 5: what happened with Cheryl when we got Cheryl? Because like

488
00:26:49,640 --> 00:26:52,320
Speaker 5: I tell you, me and Schell, we were friends before anything.

489
00:26:52,359 --> 00:26:54,800
Speaker 5: We should to do church plays together before there was

490
00:26:54,800 --> 00:26:57,119
Speaker 5: a Tyler Perry. We used to do plays and stuff

491
00:26:57,119 --> 00:26:58,640
Speaker 5: like that and everything. And the first time I heard

492
00:26:58,680 --> 00:27:01,080
Speaker 5: us saying, I'm like man, shes blew me away. So

493
00:27:01,200 --> 00:27:02,800
Speaker 5: once we know we was going to get her a

494
00:27:02,880 --> 00:27:06,440
Speaker 5: deal with us over Columbia Records, then came the name.

495
00:27:06,480 --> 00:27:08,639
Speaker 5: I said, Now listen, we're gonna have to name your

496
00:27:08,720 --> 00:27:11,520
Speaker 5: nickname because all of our acts we got crazy names.

497
00:27:11,520 --> 00:27:14,359
Speaker 5: So we got to find a nickname for you. And

498
00:27:14,400 --> 00:27:18,200
Speaker 5: I said, here's the nickname. We're gonna give you, Magnolia

499
00:27:18,960 --> 00:27:23,800
Speaker 5: And she said huh. I said, yep, Cheryl Magnolia. Riley

500
00:27:24,800 --> 00:27:31,000
Speaker 5: really satiddy. Because who have a bubbly personality, which she did.

501
00:27:31,600 --> 00:27:32,840
Speaker 8: We decided to call it Pepsi.

502
00:27:32,880 --> 00:27:36,359
Speaker 5: Now that idea was from our Steve Salem may he

503
00:27:36,440 --> 00:27:39,040
Speaker 5: rest in peace. He just you know, we just saw

504
00:27:39,200 --> 00:27:41,720
Speaker 5: pepsi can there and he said, well who you always

505
00:27:41,720 --> 00:27:44,399
Speaker 5: says she's got a bubbly personality, Why aren't we throwing

506
00:27:44,440 --> 00:27:47,359
Speaker 5: pepsi and put two eyes at the end, call it

507
00:27:47,520 --> 00:27:51,400
Speaker 5: Cheryl Pepsi ymy, and I said, perfect. That goes along

508
00:27:51,400 --> 00:27:57,080
Speaker 5: with bull Leg lou Shy shy educated rapper Lisa, Lisa.

509
00:27:56,560 --> 00:27:58,440
Speaker 6: This is funny because these are long nicknames.

510
00:27:58,760 --> 00:27:59,960
Speaker 5: Yeah, we're keeping the names great.

511
00:28:00,520 --> 00:28:06,639
Speaker 4: You know, at any point did anyone actually approached the

512
00:28:06,680 --> 00:28:08,280
Speaker 4: Pepsi company to.

513
00:28:09,960 --> 00:28:13,639
Speaker 5: When we tried at the time, But Pepsi wasn't like,

514
00:28:14,240 --> 00:28:15,240
Speaker 5: didn't take off right away.

515
00:28:15,280 --> 00:28:16,480
Speaker 8: But we tried at the time and.

516
00:28:16,480 --> 00:28:19,920
Speaker 5: It just never happened, you know, back then. But I see,

517
00:28:20,440 --> 00:28:22,560
Speaker 5: you know, but we got a number one record out

518
00:28:22,600 --> 00:28:25,400
Speaker 5: of it. Thanks for my child was PEPSI killed? Of course?

519
00:28:25,520 --> 00:28:28,600
Speaker 6: Oh my god, I told Lou. I cried on the

520
00:28:28,600 --> 00:28:30,560
Speaker 6: phone with Luda the other day when I really realized

521
00:28:30,560 --> 00:28:33,639
Speaker 6: that he was responsible for that song. Because being a

522
00:28:33,680 --> 00:28:36,440
Speaker 6: twelve year old at night, listen to my pink Cassio,

523
00:28:36,960 --> 00:28:39,240
Speaker 6: I was like, no, And it's funny because I was like,

524
00:28:39,240 --> 00:28:40,840
Speaker 6: I had a whole relationship with that song, and.

525
00:28:40,800 --> 00:28:42,040
Speaker 5: I had no why are you laughing?

526
00:28:42,080 --> 00:28:44,360
Speaker 4: But you wait because I thought you were about to

527
00:28:44,360 --> 00:28:46,760
Speaker 4: tell me being a twelve year old single mother.

528
00:28:49,000 --> 00:28:52,520
Speaker 6: Well no, we stopped that before that. Well yeah, so

529
00:28:54,560 --> 00:28:58,280
Speaker 6: story however, listen to that song and knowing as a

530
00:28:58,280 --> 00:29:00,080
Speaker 6: grown up, it's like, I don't know what why I

531
00:29:00,400 --> 00:29:02,400
Speaker 6: had such an affinities for that song and played it on.

532
00:29:02,720 --> 00:29:05,200
Speaker 11: I didn't realize, Like when I was a kid, I didn't.

533
00:29:05,200 --> 00:29:06,800
Speaker 11: I had no idea what that song was about.

534
00:29:07,200 --> 00:29:11,040
Speaker 12: Yeah on and yeah, yeah.

535
00:29:11,040 --> 00:29:12,920
Speaker 5: I was saying, my mom, I'll be ripping my mom,

536
00:29:12,960 --> 00:29:13,240
Speaker 5: and she.

537
00:29:13,240 --> 00:29:14,080
Speaker 12: Was singing, I'm like that.

538
00:29:15,800 --> 00:29:19,080
Speaker 11: But and it is ill to hear your baby mama song.

539
00:29:19,120 --> 00:29:23,880
Speaker 4: Ever, she said nicely, she said, I mean, she said

540
00:29:23,880 --> 00:29:25,680
Speaker 4: it was passive aggressive.

541
00:29:27,360 --> 00:29:32,280
Speaker 5: Yo, did you see the video Fars Whitterker did the

542
00:29:32,360 --> 00:29:36,040
Speaker 5: video and you know you see the demand running in

543
00:29:36,200 --> 00:29:40,160
Speaker 5: slow motion that wanted to get the hell out of there.

544
00:29:40,200 --> 00:29:45,640
Speaker 5: He wanted to leave. It's crazy, that's but that song,

545
00:29:46,000 --> 00:29:48,360
Speaker 5: that's so much a special song because I actually wrote

546
00:29:48,400 --> 00:29:50,440
Speaker 5: that song. But like I said, everything is written and

547
00:29:50,440 --> 00:29:52,840
Speaker 5: produced by full Force, six of us, but we split

548
00:29:52,880 --> 00:29:56,000
Speaker 5: everything six ways and the credits as well. But when

549
00:29:56,000 --> 00:29:58,560
Speaker 5: I wrote that song, I wrote it because I saw

550
00:29:58,760 --> 00:30:02,080
Speaker 5: it was three things. When my was coming off the road.

551
00:30:02,520 --> 00:30:05,160
Speaker 5: My wife at the time when I was married, she

552
00:30:05,280 --> 00:30:07,719
Speaker 5: had a miscarriage and man, I was just coming off

553
00:30:07,800 --> 00:30:09,880
Speaker 5: the road and I went straight to the hospital after

554
00:30:09,920 --> 00:30:12,640
Speaker 5: hearing it, and there she was. She looked like, you know,

555
00:30:12,800 --> 00:30:15,640
Speaker 5: she'd been through World War three. But then the following year,

556
00:30:16,560 --> 00:30:18,280
Speaker 5: you know, we tried again and then we had a

557
00:30:18,280 --> 00:30:20,640
Speaker 5: beautiful baby girl. And at the same time, I had

558
00:30:20,680 --> 00:30:22,920
Speaker 5: a friend of mine as a female who had a

559
00:30:22,960 --> 00:30:25,960
Speaker 5: baby and then her the baby's father just kind of

560
00:30:26,640 --> 00:30:30,040
Speaker 5: ran away, just left advantage.

561
00:30:29,560 --> 00:30:31,040
Speaker 8: And she was so heartbroken into that.

562
00:30:31,320 --> 00:30:33,120
Speaker 5: And then I used to see Cheryl Pepsi right, I

563
00:30:33,280 --> 00:30:36,240
Speaker 5: to see Cheryl taking care of handicapped kids because she

564
00:30:36,320 --> 00:30:38,800
Speaker 5: was a nurse. When I at the time, and she

565
00:30:38,920 --> 00:30:40,200
Speaker 5: was like a mother to all of them.

566
00:30:40,320 --> 00:30:41,600
Speaker 8: So that's when I came up and I.

567
00:30:41,560 --> 00:30:44,240
Speaker 5: Wrote thanks for my Child from scratch, and then I

568
00:30:44,280 --> 00:30:48,600
Speaker 5: went to Baby Jerry and Jerry did the the track

569
00:30:48,760 --> 00:30:51,400
Speaker 5: to it, and I'll never forget playing it for the guys.

570
00:30:51,400 --> 00:30:54,680
Speaker 5: And when it came to that chorus thanks for my child,

571
00:30:54,760 --> 00:30:57,520
Speaker 5: I remember my brother Beefine just dropped his head down

572
00:30:57,600 --> 00:31:00,800
Speaker 5: and went, oh, like you almost got shot. That is

573
00:31:01,000 --> 00:31:03,520
Speaker 5: like such emotion. I remember mixed Master to Ice from

574
00:31:03,560 --> 00:31:06,880
Speaker 5: Utfo said, Yo, lou man, you made me put some

575
00:31:06,920 --> 00:31:12,920
Speaker 5: more money to my my babies from the black Yeah.

576
00:31:13,160 --> 00:31:15,760
Speaker 6: And to hear a man wrote that, and it sounds

577
00:31:15,840 --> 00:31:17,920
Speaker 6: is such a perspective of something that a woman would

578
00:31:18,040 --> 00:31:19,320
Speaker 6: want to say and articulate.

579
00:31:19,560 --> 00:31:20,840
Speaker 5: It's just it's.

580
00:31:20,680 --> 00:31:24,080
Speaker 6: Fast, it's fascinating, Louke. So I just I appreciate you

581
00:31:24,080 --> 00:31:25,720
Speaker 6: for that, all right.

582
00:31:25,600 --> 00:31:29,760
Speaker 4: Lou yo, dog you you and you.

583
00:31:29,760 --> 00:31:32,560
Speaker 2: You took on the challenge. You tried it. You took

584
00:31:32,560 --> 00:31:34,640
Speaker 2: on the challenge in nineteen eighty eight.

585
00:31:35,720 --> 00:31:39,400
Speaker 4: And this is definitely during the what's her husband's name

586
00:31:39,400 --> 00:31:44,360
Speaker 4: of Jack Gordon. You you took on LaToya Jackson as

587
00:31:44,400 --> 00:31:49,320
Speaker 4: a client of which you know at the time. This

588
00:31:49,360 --> 00:31:53,600
Speaker 4: is when Michael was making his comeback. This is when

589
00:31:54,000 --> 00:32:01,160
Speaker 4: her youngest sister, Janet is, you know, making a credible moves.

590
00:32:00,880 --> 00:32:04,840
Speaker 2: With with her record. Can you speak on the experience.

591
00:32:04,360 --> 00:32:10,600
Speaker 4: That it was producing uh LaToya Jackson's I think at

592
00:32:10,600 --> 00:32:13,600
Speaker 4: the time that was her third Yeah, that was her

593
00:32:13,600 --> 00:32:14,400
Speaker 4: third album.

594
00:32:14,640 --> 00:32:16,360
Speaker 2: What what was that experience? Like?

595
00:32:17,000 --> 00:32:19,920
Speaker 5: All right, well, we were say from one to ten,

596
00:32:20,160 --> 00:32:29,160
Speaker 5: how we really we really it always have to be

597
00:32:29,280 --> 00:32:31,840
Speaker 5: interviewers like you to bring that up. We really bring

598
00:32:31,920 --> 00:32:35,200
Speaker 5: that up whenever we're speaking of interviews. But I gotta

599
00:32:35,240 --> 00:32:37,800
Speaker 5: say she was a sweetheart to work with. I know,

600
00:32:38,120 --> 00:32:41,840
Speaker 5: but but yeh had his challenges there and Jack Gordon

601
00:32:42,000 --> 00:32:43,400
Speaker 5: was present like every time.

602
00:32:43,760 --> 00:32:46,840
Speaker 14: Oh, she's just much she's much talented than Janet. You know,

603
00:32:46,880 --> 00:32:49,479
Speaker 14: she's much chalented. She's definitely better than that. She can

604
00:32:49,480 --> 00:32:51,320
Speaker 14: sing better too. It she danced better too, you know.

605
00:32:51,800 --> 00:32:53,560
Speaker 14: That's what Jack Gordon used to tell us all the time,

606
00:32:53,640 --> 00:32:54,400
Speaker 14: like all the time.

607
00:32:55,000 --> 00:32:58,200
Speaker 5: And but we we worked with her. I didn't think

608
00:32:58,240 --> 00:33:00,320
Speaker 5: the first single was a good way to go, called

609
00:33:00,320 --> 00:33:04,440
Speaker 5: You're Gonna get rocked, and yeah, kind of had her

610
00:33:04,440 --> 00:33:07,520
Speaker 5: out of her element, you know, pull his sleeves because

611
00:33:07,560 --> 00:33:08,800
Speaker 5: Latoya's Thrown Down.

612
00:33:09,240 --> 00:33:10,880
Speaker 8: I don't know, but that was Bee's idea.

613
00:33:10,960 --> 00:33:13,440
Speaker 5: I gotta give credit to be in fact that I

614
00:33:13,440 --> 00:33:15,520
Speaker 5: would say that's the only song that Full four didn't

615
00:33:15,520 --> 00:33:18,160
Speaker 5: produce that was produced solely by be Fine and written

616
00:33:18,200 --> 00:33:19,360
Speaker 5: by him. I'm just kidding.

617
00:33:19,440 --> 00:33:27,440
Speaker 4: That was I was like, wait a minute, there's there's

618
00:33:27,560 --> 00:33:29,160
Speaker 4: all yours.

619
00:33:28,560 --> 00:33:29,120
Speaker 5: In that song.

620
00:33:29,160 --> 00:33:29,880
Speaker 4: There's break.

621
00:33:31,360 --> 00:33:33,680
Speaker 5: No, that's a joke, but it was okay.

622
00:33:34,080 --> 00:33:35,840
Speaker 8: There was a couple of singles, like a song called

623
00:33:35,840 --> 00:33:36,320
Speaker 8: You Blue.

624
00:33:36,360 --> 00:33:38,400
Speaker 5: I thought should have been the first release because Paul

625
00:33:38,880 --> 00:33:42,400
Speaker 5: is singing underneath her on every line and you hear

626
00:33:42,440 --> 00:33:45,640
Speaker 5: him singing with her. But you know, it was it

627
00:33:45,680 --> 00:33:48,200
Speaker 5: was a e for effort and you know, she's a sweetheart,

628
00:33:48,520 --> 00:33:51,240
Speaker 5: and you know, I got nothing bad to say about her.

629
00:33:51,400 --> 00:33:52,000
Speaker 5: She's cool.

630
00:33:52,040 --> 00:33:54,400
Speaker 8: But it had his challenges, you know what I mean.

631
00:33:54,520 --> 00:33:57,920
Speaker 5: Especially man, we did this ballad called I'm Not Giving

632
00:33:58,000 --> 00:34:03,520
Speaker 5: Up on Love, and you know, but I purchased it.

633
00:34:03,720 --> 00:34:07,760
Speaker 2: I purchased it because you know, that was.

634
00:34:07,680 --> 00:34:08,400
Speaker 8: A hard one to do.

635
00:34:08,520 --> 00:34:11,359
Speaker 5: The ballad was really that was really hard. You're talking

636
00:34:11,360 --> 00:34:14,120
Speaker 5: about cutting paste. That was like another James Brown, but

637
00:34:14,200 --> 00:34:17,759
Speaker 5: she wasn't James Brown. And but it was kind of

638
00:34:17,760 --> 00:34:19,719
Speaker 5: hard to do that one, but some of the other

639
00:34:19,760 --> 00:34:21,920
Speaker 5: songs were such a wicked love was pretty good. You

640
00:34:22,040 --> 00:34:24,040
Speaker 5: blew you're going to get rock. I wouldn't have came

641
00:34:24,040 --> 00:34:26,120
Speaker 5: out with that first. It felt kind of gimmicky, but

642
00:34:26,760 --> 00:34:28,200
Speaker 5: you know, I did this thing. You know, it's so

643
00:34:28,400 --> 00:34:33,640
Speaker 5: really good in Japan. That's that's a lot again, you know.

644
00:34:34,280 --> 00:34:36,600
Speaker 8: But but she as a person, she's a sweetheart.

645
00:34:37,200 --> 00:34:38,200
Speaker 5: It was so crazy.

646
00:34:39,120 --> 00:34:40,440
Speaker 8: I'll never forget because.

647
00:34:40,160 --> 00:34:42,640
Speaker 5: That was the time she was going through stuff as

648
00:34:42,680 --> 00:34:46,040
Speaker 5: well with Jack Gordon. I got a phone call at

649
00:34:46,120 --> 00:34:48,000
Speaker 5: my house. I don't know how they got my number

650
00:34:48,040 --> 00:34:52,200
Speaker 5: to this day, but it was Catherine Jackson and Joe Jackson.

651
00:34:52,320 --> 00:34:57,840
Speaker 5: Wow in Brooklyn. Both of them call me in Brooklyn

652
00:34:58,960 --> 00:35:01,279
Speaker 5: on the phone and they were saying, yeah, we just

653
00:35:01,360 --> 00:35:04,840
Speaker 5: want to know what's your address. You know, this is

654
00:35:04,880 --> 00:35:07,600
Speaker 5: a guy Jack Gordon. You know they kidnapped our daughter

655
00:35:07,880 --> 00:35:12,520
Speaker 5: and it's brainwashing her. I said, oh, really, well, they

656
00:35:12,640 --> 00:35:15,480
Speaker 5: were working with her. She's not here with us in Brooklyn,

657
00:35:15,480 --> 00:35:17,880
Speaker 5: but we're working with her in the Manhattan studio. But

658
00:35:17,920 --> 00:35:19,480
Speaker 5: I didn't give them the address because I didn't know

659
00:35:19,480 --> 00:35:21,320
Speaker 5: what the hell was going on. But they kept saying

660
00:35:21,680 --> 00:35:24,600
Speaker 5: that he's a Brainwasher. He's no good and you know,

661
00:35:24,640 --> 00:35:29,520
Speaker 5: we don't know where our daughter's at buck It's crazy.

662
00:35:29,719 --> 00:35:32,200
Speaker 5: And I remember after talking to him, I said, yeah,

663
00:35:32,239 --> 00:35:35,400
Speaker 5: but but she's safe and sound. We see at the studio.

664
00:35:35,920 --> 00:35:39,399
Speaker 5: And I remember telling Jack Gordon and LaToya I said, Yo,

665
00:35:39,480 --> 00:35:41,839
Speaker 5: your parents just call my house. I know, I got

666
00:35:41,840 --> 00:35:44,960
Speaker 5: my number. And Latoy's like, hmm, see what are they

667
00:35:45,000 --> 00:35:46,879
Speaker 5: trying to do this so they won't mind their own

668
00:35:47,120 --> 00:35:50,319
Speaker 5: they won't mind their own business. And then Jack Gordon says, yeah,

669
00:35:50,280 --> 00:35:54,840
Speaker 5: they're terrible people. They're terrible people. That's what Jack Gordon

670
00:35:54,880 --> 00:35:55,279
Speaker 5: would say.

671
00:35:55,360 --> 00:35:58,600
Speaker 2: Yeah for him, Yeah, this is to put in perspective

672
00:35:58,640 --> 00:36:01,279
Speaker 2: like this is I think. Also this is when the.

673
00:36:02,239 --> 00:36:06,520
Speaker 4: Boy Yeah yeah, the Playboy issue was in sort of

674
00:36:07,400 --> 00:36:13,480
Speaker 4: conjunction with the release of the album. Yeah yeah, Oh god, Okay,

675
00:36:13,640 --> 00:36:15,000
Speaker 4: where do we want to go? Do we want to

676
00:36:15,040 --> 00:36:16,800
Speaker 4: go to the movies at or do we want to go?

677
00:36:16,960 --> 00:36:19,120
Speaker 12: Yeah, we gotta get movies. You got to house party.

678
00:36:19,320 --> 00:36:22,320
Speaker 12: We gotta tell house party, come on, we got to okay.

679
00:36:23,080 --> 00:36:26,799
Speaker 2: Yeah, so can you talk about your remember you wanted a.

680
00:36:26,800 --> 00:36:28,600
Speaker 6: Two part episode?

681
00:36:32,920 --> 00:36:34,839
Speaker 12: No, this is it is a two party, this is it?

682
00:36:35,560 --> 00:36:39,120
Speaker 4: Yeah, So can you talk about how you guys got

683
00:36:39,160 --> 00:36:42,320
Speaker 4: involved with House Party and how it changed your career.

684
00:36:43,360 --> 00:36:47,600
Speaker 5: Yeah, I mean we're celebrating thirty year anniversary of House Party,

685
00:36:47,760 --> 00:36:51,960
Speaker 5: you know, and it was is it's great. I always

686
00:36:52,120 --> 00:36:54,439
Speaker 5: I always say it's the story of my life every

687
00:36:54,480 --> 00:36:56,200
Speaker 5: time somebody wants me to say what I said in

688
00:36:56,239 --> 00:36:57,959
Speaker 5: the movie, or sometimes I don't even wait for people

689
00:36:58,000 --> 00:36:59,400
Speaker 5: to ask me. I just do it because I know

690
00:36:59,440 --> 00:37:00,520
Speaker 5: they want me to say it.

691
00:37:01,000 --> 00:37:03,239
Speaker 2: So, so, how annoying was it?

692
00:37:03,320 --> 00:37:05,560
Speaker 4: How annoying was it at the time where like people

693
00:37:05,560 --> 00:37:08,360
Speaker 4: would expect you come. That was almost like that was

694
00:37:08,400 --> 00:37:10,960
Speaker 4: almost like your version of I'm Rick James bitch like

695
00:37:11,760 --> 00:37:14,880
Speaker 4: his she right right exactly.

696
00:37:16,040 --> 00:37:17,759
Speaker 5: So well, it was never well, you know what, it

697
00:37:17,800 --> 00:37:20,319
Speaker 5: was never annoying to me at all because I created it.

698
00:37:20,400 --> 00:37:23,320
Speaker 8: So it was, it was, it was all good. I remember.

699
00:37:23,320 --> 00:37:25,760
Speaker 5: The only person that never liked it was Donnie Simpson.

700
00:37:26,000 --> 00:37:28,520
Speaker 5: I'll never forget him called me up, yo, man, what

701
00:37:28,680 --> 00:37:32,600
Speaker 5: you had to do this stupid annoying, irritating boy throughout

702
00:37:32,640 --> 00:37:38,040
Speaker 5: the whole damn movie? Why why he hated it? Literally?

703
00:37:38,600 --> 00:37:42,680
Speaker 5: But we got But we got the movie because Reggie Hudlin,

704
00:37:42,800 --> 00:37:45,160
Speaker 5: who was the writer and director of House Party and

705
00:37:45,239 --> 00:37:48,920
Speaker 5: his brother Warrington Hudland, the producer of House Party. Reggie

706
00:37:48,960 --> 00:37:53,759
Speaker 5: literally wrote us as a description in the originals in

707
00:37:53,840 --> 00:37:57,759
Speaker 5: his original script as a description Robert Ford Junior may

708
00:37:57,800 --> 00:38:00,239
Speaker 5: he rest in peace because he was part of the

709
00:38:00,320 --> 00:38:03,320
Speaker 5: production team that used to do the Curtis Blow albums

710
00:38:03,320 --> 00:38:06,080
Speaker 5: that we was a part of. He was good friends

711
00:38:06,080 --> 00:38:08,919
Speaker 5: with Reggie, and he was written Reggie and he read

712
00:38:08,960 --> 00:38:11,240
Speaker 5: a script and he said, Prince, you're reading your script

713
00:38:11,480 --> 00:38:14,040
Speaker 5: and you're describing, and it described it because at the

714
00:38:14,040 --> 00:38:16,000
Speaker 5: time it wasn't kidding player. I think it was jazzy

715
00:38:16,080 --> 00:38:19,480
Speaker 5: Jeffrey Fresh Prince first.

716
00:38:19,760 --> 00:38:21,440
Speaker 8: And then kidn't play.

717
00:38:21,520 --> 00:38:24,120
Speaker 5: So the script just said the two individuals whatever the

718
00:38:24,239 --> 00:38:27,480
Speaker 5: name was said in the script it says, well, the

719
00:38:27,520 --> 00:38:33,160
Speaker 5: two individuals is acostant by bullies with great physiques and

720
00:38:33,280 --> 00:38:41,600
Speaker 5: droopy Jerry curls somebody like full force as a description.

721
00:38:42,000 --> 00:38:45,440
Speaker 5: So Robert Ford says to Reggie, Reggie, why don't you

722
00:38:45,480 --> 00:38:49,279
Speaker 5: just get full Force? And they said, yeah, you think

723
00:38:49,320 --> 00:38:52,000
Speaker 5: they could act act? He said, well they did cursed

724
00:38:52,040 --> 00:38:59,520
Speaker 5: Groove that wasn't really acting, you know, yeah, And they said,

725
00:39:00,040 --> 00:39:02,799
Speaker 5: I said, get bookfore us. So Reggie Hudland called it.

726
00:39:02,880 --> 00:39:06,239
Speaker 5: My brother Paul, and he told Paul, he said, listen, man,

727
00:39:06,320 --> 00:39:08,799
Speaker 5: we would love if you guys could come and maybe

728
00:39:08,880 --> 00:39:11,480
Speaker 5: read for a part. I'm doing a new movie house Party.

729
00:39:11,840 --> 00:39:13,239
Speaker 5: You know, if you and your brothers could come. Blah

730
00:39:13,239 --> 00:39:16,759
Speaker 5: blah blah blah blah. So the three of us went there.

731
00:39:16,840 --> 00:39:19,080
Speaker 5: They just wanted to see if we had any chemistry.

732
00:39:19,400 --> 00:39:21,560
Speaker 5: And of course me and my brothers had chemistry since

733
00:39:21,600 --> 00:39:24,560
Speaker 5: we were young anyway, and I remember when we did

734
00:39:24,640 --> 00:39:29,080
Speaker 5: some improv. They just want to see some improv. Yeah,

735
00:39:29,120 --> 00:39:32,040
Speaker 5: we did some improv amongst ourselves and we got.

736
00:39:31,840 --> 00:39:34,279
Speaker 15: The part right then and there, you know, So we

737
00:39:34,320 --> 00:39:35,720
Speaker 15: was hired to do house party.

738
00:39:37,360 --> 00:39:41,800
Speaker 5: We did the table read with everybody you know, Martin Lawrence,

739
00:39:41,800 --> 00:39:45,000
Speaker 5: the late Robin Harris, the late John Witherspoon, George Clinton

740
00:39:45,120 --> 00:39:48,200
Speaker 5: was there. It was crazy teacher Campbell. And we're reading

741
00:39:48,600 --> 00:39:51,960
Speaker 5: from the script. Now as we're reading our lines, my

742
00:39:52,040 --> 00:39:56,239
Speaker 5: brother's lines, our lines is nothing like what you saw

743
00:39:56,280 --> 00:39:59,560
Speaker 5: in the movie, like not close. So I went back

744
00:39:59,560 --> 00:40:03,240
Speaker 5: to the whole tell with my brothers and I said, guys,

745
00:40:03,280 --> 00:40:06,600
Speaker 5: I don't I mean, we're bullies, but we're bullies with

746
00:40:06,600 --> 00:40:10,480
Speaker 5: with with no personality, somewhat like how you guys were

747
00:40:10,520 --> 00:40:12,520
Speaker 5: in crush Proof. I don't want to do that again.

748
00:40:15,080 --> 00:40:18,080
Speaker 5: So I changed one of the scenes. I said, okay, B,

749
00:40:18,520 --> 00:40:21,200
Speaker 5: because BT's name in the script was pee Wee. That

750
00:40:21,320 --> 00:40:24,200
Speaker 5: was my brother be fine, I said, I'll switch let

751
00:40:24,200 --> 00:40:26,160
Speaker 5: me be pee Wee. I'm smaller than you and Paul,

752
00:40:27,360 --> 00:40:29,040
Speaker 5: let's change up this scene right here. I think it

753
00:40:29,040 --> 00:40:31,080
Speaker 5: was the lunch Proof scene. One of the scenes, but

754
00:40:31,160 --> 00:40:34,319
Speaker 5: I changed it up. I came up with and I'm

755
00:40:34,320 --> 00:40:36,319
Speaker 5: going to talk like this about the whole movie. And

756
00:40:36,360 --> 00:40:38,600
Speaker 5: my brother B is like, what fuck you gonna talk

757
00:40:38,640 --> 00:40:41,200
Speaker 5: like that? I'm just not talking like that, you know,

758
00:40:41,360 --> 00:40:43,640
Speaker 5: sort of a and this is before Erkle and all

759
00:40:43,680 --> 00:40:46,520
Speaker 5: of that stuff. But my reasoning for talking like that,

760
00:40:46,760 --> 00:40:48,239
Speaker 5: And then I said, I wanted to come up with

761
00:40:48,320 --> 00:40:51,239
Speaker 5: like some type of catchphrase, and that's when I came

762
00:40:51,320 --> 00:40:55,839
Speaker 5: up with I'm gonna take you're freaking out kick like that.

763
00:40:56,680 --> 00:40:58,879
Speaker 5: And then I also came up with the catch trase

764
00:40:58,960 --> 00:41:05,000
Speaker 5: I smell ice. So those two I came up with.

765
00:41:05,440 --> 00:41:09,400
Speaker 5: And what happened is that we went to our trailer

766
00:41:09,520 --> 00:41:12,400
Speaker 5: and we went to perform it in front of Reggie

767
00:41:12,440 --> 00:41:14,439
Speaker 5: and Warrington, hoping they would do it. I said, listen,

768
00:41:14,520 --> 00:41:16,719
Speaker 5: if they don't, they don't want it, then we'll go

769
00:41:16,800 --> 00:41:18,680
Speaker 5: back to the regular way on the script. But if

770
00:41:18,680 --> 00:41:21,319
Speaker 5: they like it, then it's good. After they saw us

771
00:41:21,360 --> 00:41:24,040
Speaker 5: do all of those antics and the voice change and

772
00:41:24,080 --> 00:41:26,120
Speaker 5: the kick your fucking ass and I smuggling and all

773
00:41:26,120 --> 00:41:31,080
Speaker 5: of that, Warranton Huddling pointed and said keep it. And

774
00:41:31,080 --> 00:41:35,600
Speaker 5: when they said keep it, we changed. We changed every

775
00:41:35,880 --> 00:41:39,480
Speaker 5: scene lines that was in that movie. So everything you

776
00:41:39,520 --> 00:41:42,600
Speaker 5: see on in the house party is created by me

777
00:41:42,600 --> 00:41:45,760
Speaker 5: and my brothers, you know, our part. And then everybody

778
00:41:45,800 --> 00:41:48,279
Speaker 5: else in the cast started making up stuff to I

779
00:41:48,280 --> 00:41:51,319
Speaker 5: remember kids saying, they started finding out me. I'm making

780
00:41:51,400 --> 00:41:53,239
Speaker 5: up all that shit. And the kids said, yore Lou,

781
00:41:53,400 --> 00:41:54,920
Speaker 5: how about if we did stuffing like this. You come

782
00:41:54,960 --> 00:41:57,200
Speaker 5: to the door and you say, I smell pussy, and

783
00:41:57,239 --> 00:41:59,520
Speaker 5: then we go, yeah, we went smell pussy to approach

784
00:41:59,560 --> 00:42:04,839
Speaker 5: of dicks. That's funny, me kid, do that. I think

785
00:42:04,880 --> 00:42:07,160
Speaker 5: Reggie will like that. In fact, don't tell first, let's

786
00:42:07,280 --> 00:42:09,759
Speaker 5: just do it, and we did. Reggie loved it, you know,

787
00:42:10,080 --> 00:42:13,120
Speaker 5: and even Teacher and AJ. There was no dance battle

788
00:42:13,160 --> 00:42:17,759
Speaker 5: in that script, you know, the AJ did the choreography

789
00:42:17,880 --> 00:42:20,080
Speaker 5: for her and Tisha. They kind of came up with

790
00:42:20,120 --> 00:42:23,520
Speaker 5: that whole idea of a dance battle, and they did

791
00:42:23,560 --> 00:42:26,120
Speaker 5: it for Reggie and Warrington because after we was making

792
00:42:26,200 --> 00:42:28,279
Speaker 5: up our ship, then everybody else was making up ship.

793
00:42:29,520 --> 00:42:31,440
Speaker 5: The only one that didn't have to stick to the

794
00:42:31,480 --> 00:42:33,880
Speaker 5: script and nothing like that was Robin Harris. He just

795
00:42:33,920 --> 00:42:38,080
Speaker 5: did his thing everything on that party and we did

796
00:42:38,120 --> 00:42:41,560
Speaker 5: that and we never knew that it would become the

797
00:42:41,640 --> 00:42:45,080
Speaker 5: classic that it that it has become, because it still

798
00:42:45,120 --> 00:42:48,200
Speaker 5: plays good today when you watch it, you know, and

799
00:42:49,040 --> 00:42:51,680
Speaker 5: it was just amazing. And not only that, but also

800
00:42:51,760 --> 00:42:54,880
Speaker 5: to have our song and my type of hype to

801
00:42:55,000 --> 00:42:58,319
Speaker 5: be the main song is because of House Party, and

802
00:42:58,440 --> 00:43:00,880
Speaker 5: my type of hype is our most popular the you know,

803
00:43:01,000 --> 00:43:06,640
Speaker 5: full fourth song ever, you know, it went gold because

804
00:43:06,680 --> 00:43:09,000
Speaker 5: of House Party And can I.

805
00:43:08,960 --> 00:43:10,200
Speaker 2: Ask a question about that song?

806
00:43:10,640 --> 00:43:11,040
Speaker 5: Mm hmm.

807
00:43:11,719 --> 00:43:14,680
Speaker 4: Do you guys use the same consistent engineer for all

808
00:43:14,760 --> 00:43:17,400
Speaker 4: your albums up to this point we're using as the

809
00:43:17,440 --> 00:43:18,560
Speaker 4: same engineer.

810
00:43:19,000 --> 00:43:22,479
Speaker 5: Well one and well we used three different engineers, Quest

811
00:43:22,560 --> 00:43:26,359
Speaker 5: Left and all the UTFO stuff. Glenn Roses did the

812
00:43:26,440 --> 00:43:32,320
Speaker 5: first release a Lisa album, and then Tony Maserati he

813
00:43:33,040 --> 00:43:36,960
Speaker 5: did everything after that. And here's the thing, Tony Maserati

814
00:43:37,040 --> 00:43:39,600
Speaker 5: was an assistant engineer Sigma Sounds. He was in New

815
00:43:39,640 --> 00:43:42,560
Speaker 5: York City. He was an assistant. He was an assistant

816
00:43:42,600 --> 00:43:44,800
Speaker 5: for Glenn. But we love Tony.

817
00:43:45,280 --> 00:43:45,960
Speaker 8: We love Tony.

818
00:43:46,040 --> 00:43:49,080
Speaker 5: So Glenn decides that he's going to go on vacation,

819
00:43:49,280 --> 00:43:52,120
Speaker 5: even though we had sessions to do, and he felt

820
00:43:52,120 --> 00:43:54,720
Speaker 5: that when he went on vacation, we was gonna stop ship.

821
00:43:55,200 --> 00:43:59,000
Speaker 5: But we said, you know what, let's try Tony. You know,

822
00:43:59,160 --> 00:44:01,640
Speaker 5: Tony's just an assistant. So we went to Sigma So

823
00:44:01,800 --> 00:44:05,440
Speaker 5: I said, Tony, like you do some us. The first

824
00:44:05,440 --> 00:44:09,080
Speaker 5: thing Tony did with us was was James fucking Brown

825
00:44:09,560 --> 00:44:12,360
Speaker 5: and let me tell you something, mister my bet. That

826
00:44:12,440 --> 00:44:13,200
Speaker 5: was the first thing he did.

827
00:44:13,280 --> 00:44:15,080
Speaker 8: Was because we were doing that, Glenn thought we were

828
00:44:15,160 --> 00:44:17,120
Speaker 8: wait for him. We inserted Tony.

829
00:44:17,160 --> 00:44:19,560
Speaker 5: Even the manager of Sigma Soule said, listen, we can

830
00:44:19,800 --> 00:44:23,040
Speaker 5: give you guys a head enginet because Tony's just an assistant.

831
00:44:23,160 --> 00:44:25,600
Speaker 5: But we had confidence in Tony and we still keep

832
00:44:25,600 --> 00:44:27,560
Speaker 5: in contact with Tony. He was talking, we were talking

833
00:44:27,600 --> 00:44:30,000
Speaker 5: on the text thread like just a couple of weeks ago.

834
00:44:30,040 --> 00:44:32,799
Speaker 5: He had a new baby, baby boy and everything, and

835
00:44:33,160 --> 00:44:36,520
Speaker 5: we inserted him as the head enginere and we never

836
00:44:36,600 --> 00:44:39,000
Speaker 5: looked back. We used Tony for everything. Ain't by type

837
00:44:39,000 --> 00:44:42,080
Speaker 5: of hype as Tony James Brown. And I'll never forget

838
00:44:42,080 --> 00:44:46,200
Speaker 5: when we're in the studio, mister Brown. But you know

839
00:44:46,440 --> 00:44:49,120
Speaker 5: we said, we said. I was there with mister Brown,

840
00:44:49,320 --> 00:44:52,000
Speaker 5: and I said, all right, played play that vocal back,

841
00:44:52,200 --> 00:44:57,000
Speaker 5: Tony that mister Brown just did. And Tony's like, uh,

842
00:44:57,560 --> 00:45:00,680
Speaker 5: I just I just rased it. I raised it by accident,

843
00:45:01,400 --> 00:45:06,640
Speaker 5: and and I said, and then mister Brown like stopped everything.

844
00:45:06,640 --> 00:45:11,879
Speaker 5: So mister Brown said, uh, what's your name? He said,

845
00:45:12,239 --> 00:45:17,520
Speaker 5: my name is Tony Maserati. Where are you from? I'm

846
00:45:17,560 --> 00:45:21,120
Speaker 5: from Boston, sir? No, no, no, no, where are you from?

847
00:45:22,200 --> 00:45:28,520
Speaker 5: I'm from Boston. No, No, where are you from? And

848
00:45:28,600 --> 00:45:31,520
Speaker 5: Tony said his hands was all sweaty and he was nervous,

849
00:45:31,600 --> 00:45:34,320
Speaker 5: and mister Brown just kept asking where are you from?

850
00:45:34,640 --> 00:45:36,480
Speaker 5: So from that whole session, I said, oh, Tony, we're

851
00:45:36,480 --> 00:45:38,719
Speaker 5: going to do this vocal again, and we just had

852
00:45:38,719 --> 00:45:42,400
Speaker 5: mister brownside did the vocal again. But all throughout that session,

853
00:45:42,400 --> 00:45:46,080
Speaker 5: mister Brown kept saying that Tony Maserati, where are you from?

854
00:45:49,440 --> 00:45:54,320
Speaker 5: And you go up to Tony, where are you from? Exactly?

855
00:45:56,520 --> 00:46:00,959
Speaker 8: But he's a great he went on, I mean, forget it, Tony.

856
00:46:01,360 --> 00:46:03,120
Speaker 2: He did Crazy in Love, He did.

857
00:46:04,760 --> 00:46:06,840
Speaker 8: Everybody and he's still doing it. So we's so proud

858
00:46:06,840 --> 00:46:08,319
Speaker 8: of him. But that was the guy.

859
00:46:08,360 --> 00:46:10,719
Speaker 5: And he used to do the editing with the rais

860
00:46:10,760 --> 00:46:16,120
Speaker 5: of blade and cutting the tape something. Yeah, he was

861
00:46:16,120 --> 00:46:18,600
Speaker 5: a master at that too. I'm like, man, how could

862
00:46:18,640 --> 00:46:21,200
Speaker 5: people do that and and the edit be good?

863
00:46:21,200 --> 00:46:22,719
Speaker 8: But Tony was so dope at it?

864
00:46:22,760 --> 00:46:22,960
Speaker 2: You know?

865
00:46:23,360 --> 00:46:25,120
Speaker 5: But times have change, haven't they.

866
00:46:25,440 --> 00:46:30,320
Speaker 4: I was, Yeah, I was asking because sonically, like between

867
00:46:30,480 --> 00:46:34,120
Speaker 4: even now, like when I spend Alice or any any

868
00:46:34,120 --> 00:46:38,680
Speaker 4: of your any full four songs, just the son there's

869
00:46:38,719 --> 00:46:41,600
Speaker 4: a sonic difference, and ain't my type of hype that's

870
00:46:41,640 --> 00:46:43,920
Speaker 4: way different than your other records. And always wanted to

871
00:46:43,960 --> 00:46:47,160
Speaker 4: know if you used someone different that you weren't using

872
00:46:47,280 --> 00:46:52,400
Speaker 4: between eighty five eighty six like earlier Full Force and Okay,

873
00:46:52,640 --> 00:46:56,400
Speaker 4: you gave Tony his start, Yeah, yes he did.

874
00:46:56,320 --> 00:47:00,200
Speaker 5: And he and he he always gives us props, you know. Yeah,

875
00:47:00,360 --> 00:47:02,240
Speaker 5: game Star, did.

876
00:47:02,120 --> 00:47:05,480
Speaker 4: You ever have because of the door that you opened

877
00:47:05,760 --> 00:47:11,400
Speaker 4: with comedic acting for House Party, did it ever cross

878
00:47:11,400 --> 00:47:15,640
Speaker 4: your mind that you could possibly be the.

879
00:47:14,800 --> 00:47:17,080
Speaker 2: Black male blank if you will.

880
00:47:18,680 --> 00:47:19,560
Speaker 12: On the voice over too.

881
00:47:19,880 --> 00:47:23,000
Speaker 5: Yeah, yeah, man, I mean I do all kind of

882
00:47:23,040 --> 00:47:25,799
Speaker 5: crazy voices, and you know, I do a lot of

883
00:47:25,840 --> 00:47:30,320
Speaker 5: imitation voice, but I never pursued it. I remember Dawn Lewis, actress,

884
00:47:30,360 --> 00:47:32,799
Speaker 5: Dawn Lewis a good friend of mine. She's she's a

885
00:47:32,840 --> 00:47:36,120
Speaker 5: massiveat voice characterization. She could sound like a Jewish old

886
00:47:36,160 --> 00:47:38,400
Speaker 5: man and she's crazy. She always told me that I

887
00:47:38,400 --> 00:47:40,400
Speaker 5: should get into that, but I just never did. But

888
00:47:41,080 --> 00:47:42,799
Speaker 5: if I did, I know i'd beat dope at it.

889
00:47:42,840 --> 00:47:44,120
Speaker 5: You know, got a million voices.

890
00:47:44,200 --> 00:47:45,919
Speaker 6: I was about to ask you how many characters, because

891
00:47:45,960 --> 00:47:48,840
Speaker 6: sometimes when we've talked, I get I get a whole

892
00:47:48,920 --> 00:47:55,120
Speaker 6: female that is not even overdone, just literally some.

893
00:47:55,120 --> 00:47:56,120
Speaker 5: Chick that I just don't know.

894
00:47:56,320 --> 00:47:59,400
Speaker 6: Yes, ma'am, So how many characters are in your head?

895
00:48:00,160 --> 00:48:01,480
Speaker 5: You have kind of.

896
00:48:03,400 --> 00:48:05,799
Speaker 6: No, no, no, no, I mean no, because I know he

897
00:48:05,840 --> 00:48:08,359
Speaker 6: has characters. I feel like this woman, whoever this woman

898
00:48:08,480 --> 00:48:11,200
Speaker 6: is that calls me sometimes, she's somebody she has.

899
00:48:11,040 --> 00:48:13,560
Speaker 5: A name that calls you.

900
00:48:13,920 --> 00:48:16,359
Speaker 6: It's a woman that calls me sometimes and.

901
00:48:16,560 --> 00:48:19,440
Speaker 2: Yeah, and she thinks it's you calling as a character.

902
00:48:20,239 --> 00:48:23,080
Speaker 5: I think I've discussed before that you have.

903
00:48:24,000 --> 00:48:27,040
Speaker 6: Yeah, it's a woman a mirror, it is a woman.

904
00:48:27,239 --> 00:48:30,040
Speaker 5: It is a it might be a white woman. I'm

905
00:48:30,080 --> 00:48:33,680
Speaker 5: trying to tell you woman. She definitely likes.

906
00:48:34,120 --> 00:48:37,640
Speaker 2: So you guys are practical jokers, I assume, yeah.

907
00:48:37,719 --> 00:48:39,759
Speaker 5: Yeah, I'm a big I'm a big prankster. I'm such

908
00:48:39,800 --> 00:48:43,880
Speaker 5: a big kid, even to this day. I got exploding pens.

909
00:48:43,920 --> 00:48:48,960
Speaker 5: I got oh she like like when we worked with Rihanna.

910
00:48:50,280 --> 00:48:52,319
Speaker 5: Rihanna was seventeen going on eighteen at the time, and

911
00:48:52,360 --> 00:48:54,680
Speaker 5: I remember coming out into the studio with an apron

912
00:48:54,719 --> 00:48:57,200
Speaker 5: it said mouchoke And I'm like, yeah, I got a

913
00:48:57,239 --> 00:49:00,680
Speaker 5: new vegetarian restaurant, you know, and we have you know,

914
00:49:01,440 --> 00:49:04,439
Speaker 5: vegetarian sausages and everything like that, and she said really yeah,

915
00:49:05,000 --> 00:49:06,840
Speaker 5: And then I lift up the apron and there's like,

916
00:49:06,880 --> 00:49:10,360
Speaker 5: you know, a bildo hack behind there's a joker. She's laughing.

917
00:49:10,840 --> 00:49:15,040
Speaker 5: She's crack of the hilly one. You miss it out.

918
00:49:20,719 --> 00:49:22,880
Speaker 5: And I got stickers, crazy stickers.

919
00:49:22,880 --> 00:49:24,719
Speaker 8: I'm so immature, the stickers.

920
00:49:24,840 --> 00:49:27,080
Speaker 5: I remember putting a sticker on Eddie Murphy's back that

921
00:49:27,160 --> 00:49:30,680
Speaker 5: said stand back, I just parted and Bullleg and lo

922
00:49:30,880 --> 00:49:33,160
Speaker 5: is my hero ro bow Leg Loose for president and

923
00:49:33,239 --> 00:49:36,960
Speaker 5: on everybody's back Russell Simmons, it's just ridiculous, and Gerald Lebert,

924
00:49:37,480 --> 00:49:40,520
Speaker 5: may you rest in peace. He said, Yo, don't touch me,

925
00:49:40,640 --> 00:49:44,759
Speaker 5: don't even hug me, you know. But then he came

926
00:49:44,840 --> 00:49:46,320
Speaker 5: back and he did Jerl.

927
00:49:46,200 --> 00:49:48,320
Speaker 8: Lebert stickers himself are so funny.

928
00:49:48,480 --> 00:49:50,360
Speaker 5: So I'm a big kid for sure. Frankster.

929
00:49:50,600 --> 00:49:52,920
Speaker 6: You answer her question, how many characters you got?

930
00:49:53,480 --> 00:49:53,640
Speaker 2: Man?

931
00:49:53,680 --> 00:49:56,160
Speaker 5: I got a bunch of different voices. Man, you know

932
00:49:57,040 --> 00:50:01,240
Speaker 5: the fake girl's voice and you know cartoon voice. And

933
00:50:01,560 --> 00:50:03,680
Speaker 5: I did this movie called Who's the Man? And I was.

934
00:50:03,600 --> 00:50:08,000
Speaker 2: Talking like, yes, motherfucker, please, motherfucker please you.

935
00:50:11,480 --> 00:50:13,480
Speaker 5: Now you used to try to do like Imprescious. I

936
00:50:13,480 --> 00:50:15,440
Speaker 5: don't know if you remember the late great comedian. He

937
00:50:15,520 --> 00:50:19,880
Speaker 5: used to be in Hollywood to try to do Paul Lynn.

938
00:50:21,080 --> 00:50:24,360
Speaker 5: You know, crazy?

939
00:50:24,920 --> 00:50:26,320
Speaker 2: Did I just revealed my age?

940
00:50:26,400 --> 00:50:28,960
Speaker 6: Like no, no, no, I just forgot. He was in

941
00:50:29,000 --> 00:50:29,920
Speaker 6: a square, That's all right.

942
00:50:30,440 --> 00:50:32,600
Speaker 12: You were in weren't you in Definite Temptation?

943
00:50:32,680 --> 00:50:33,000
Speaker 5: As well?

944
00:50:33,080 --> 00:50:33,359
Speaker 2: Were you?

945
00:50:33,440 --> 00:50:37,879
Speaker 11: Were you you in Deaf Temptation? We were singing what

946
00:50:37,960 --> 00:50:39,319
Speaker 11: movie you was in? Some of you were in?

947
00:50:39,880 --> 00:50:42,239
Speaker 12: You were singing, Yeah, yeah, who's the Man?

948
00:50:42,280 --> 00:50:44,239
Speaker 5: I sang in that. I sang in the church, in

949
00:50:44,320 --> 00:50:44,840
Speaker 5: the church.

950
00:50:44,640 --> 00:50:46,600
Speaker 12: Okay, who's the Man? I'm tripping the.

951
00:50:46,560 --> 00:50:50,440
Speaker 5: Barber killer sang precious Lord, Oh, precious Lord. And it

952
00:50:50,480 --> 00:50:52,200
Speaker 5: was supposed to be Mary J Bli was doing it,

953
00:50:52,239 --> 00:50:55,000
Speaker 5: but she wasn't gonna She didn't she wasn't going to

954
00:50:55,040 --> 00:50:57,279
Speaker 5: do it for some reason. And I remember the late

955
00:50:57,320 --> 00:51:01,160
Speaker 5: great Bernie Mack and Bill Bellam coming into my trailer

956
00:51:01,160 --> 00:51:03,759
Speaker 5: and they said, you'll do man, Mary J. Blige is

957
00:51:03,760 --> 00:51:05,200
Speaker 5: not going to sing it. Man, I think it'd be dee.

958
00:51:05,239 --> 00:51:07,359
Speaker 5: But if you sang it in the church, I mean,

959
00:51:07,400 --> 00:51:10,280
Speaker 5: even though you're having to character forty and they wouldn't

960
00:51:10,280 --> 00:51:12,520
Speaker 5: be expecting it. And that's how I got to sing

961
00:51:13,160 --> 00:51:15,200
Speaker 5: Precious Lord, you know. For the next day, I went

962
00:51:15,239 --> 00:51:17,719
Speaker 5: in the studio, knocked it out and sang it.

963
00:51:18,480 --> 00:51:20,360
Speaker 12: I was wanting to ask you, lou, what was the

964
00:51:20,400 --> 00:51:21,680
Speaker 12: significance of your braid?

965
00:51:21,760 --> 00:51:21,920
Speaker 5: Man?

966
00:51:21,920 --> 00:51:24,479
Speaker 12: I always like that, Yeah, what's the significance of that?

967
00:51:24,719 --> 00:51:25,520
Speaker 5: Well, here's the deal.

968
00:51:26,760 --> 00:51:28,800
Speaker 8: It's no fucking significant watch or whatever.

969
00:51:29,360 --> 00:51:34,439
Speaker 5: And I don't and I gotta listen. I gotta cut

970
00:51:34,480 --> 00:51:37,160
Speaker 5: this ship off. Sometimes. My daughter was born and she

971
00:51:37,360 --> 00:51:39,280
Speaker 5: just know me always wearing this damn braid?

972
00:51:39,600 --> 00:51:40,359
Speaker 2: Is that your hair?

973
00:51:40,400 --> 00:51:40,759
Speaker 3: And their?

974
00:51:41,040 --> 00:51:42,319
Speaker 5: Is that your hair? My hair?

975
00:51:42,440 --> 00:51:43,400
Speaker 2: Because that's a bee.

976
00:51:43,520 --> 00:51:46,320
Speaker 5: That's a whole. And when we had Jerry Curls, I

977
00:51:46,360 --> 00:51:48,520
Speaker 5: would we'd have like a little braid and I put

978
00:51:48,520 --> 00:51:51,920
Speaker 5: the bead through here and I've had it since since

979
00:51:51,960 --> 00:51:53,480
Speaker 5: we first came out as full.

980
00:51:53,760 --> 00:51:57,719
Speaker 2: Yes, that's the trademark. That's a superpower.

981
00:51:57,800 --> 00:52:01,399
Speaker 5: I'm always in the movie and I remember when when

982
00:52:01,400 --> 00:52:03,880
Speaker 5: do wims? When when do you wims? Used to see me.

983
00:52:03,920 --> 00:52:06,800
Speaker 5: He's like, when are you gonna cut that ship off?

984
00:52:10,080 --> 00:52:13,799
Speaker 9: So this is so ages, Manna, We're gonna be done

985
00:52:13,840 --> 00:52:14,560
Speaker 9: with that ship.

986
00:52:15,120 --> 00:52:17,000
Speaker 5: And I'm like, you know, one day I'm gonna cut

987
00:52:17,040 --> 00:52:19,360
Speaker 5: it off. I thought I had a name for it.

988
00:52:19,400 --> 00:52:20,359
Speaker 6: I really didn't know why.

989
00:52:20,520 --> 00:52:21,640
Speaker 8: I don't know why I keep hanging.

990
00:52:21,680 --> 00:52:24,600
Speaker 5: I remember Anthony Anderson one time I presented him with

991
00:52:24,640 --> 00:52:26,520
Speaker 5: the woods somewhere and he says, Yo, man, I love

992
00:52:26,600 --> 00:52:31,120
Speaker 5: this brother, but as anybody ever wanted, why the hell

993
00:52:31,239 --> 00:52:35,120
Speaker 5: he wears this damn bead? And watch her? What's what's

994
00:52:35,160 --> 00:52:37,200
Speaker 5: going on with that? And then you know, I showed

995
00:52:37,200 --> 00:52:39,600
Speaker 5: the bead and he goes, oh, you got a nappy patch?

996
00:52:45,520 --> 00:52:49,600
Speaker 4: So what the world isn't now? Actually it's hit me

997
00:52:49,680 --> 00:52:54,000
Speaker 4: right now, obviously, louse. That is your voice at the

998
00:52:54,120 --> 00:52:55,279
Speaker 4: very end of Leader of the Pack.

999
00:52:55,960 --> 00:52:56,560
Speaker 5: Yeah, that's me.

1000
00:52:57,560 --> 00:53:00,280
Speaker 2: You know. It's where DJ's.

1001
00:52:59,680 --> 00:53:04,680
Speaker 4: Were by not even doubles, but quadruples of that particular

1002
00:53:04,719 --> 00:53:08,240
Speaker 4: twelve minch. You want to know why, right when Philly,

1003
00:53:08,440 --> 00:53:11,879
Speaker 4: because everything that Jazzy Jeff would do, everybody would follow

1004
00:53:11,920 --> 00:53:16,680
Speaker 4: and suits also DJ cash money, But Jazzy Jeff developed

1005
00:53:17,160 --> 00:53:22,759
Speaker 4: like a bird chirping scratch, and cats would buy the

1006
00:53:22,840 --> 00:53:27,480
Speaker 4: Leader of the pat Utfo twelve inch just for whatever

1007
00:53:27,520 --> 00:53:32,400
Speaker 4: that beak is right before you say, Wow, I'm sorry

1008
00:53:32,480 --> 00:53:35,719
Speaker 4: for that, but that one, like Philadelphia, just has a

1009
00:53:35,840 --> 00:53:39,840
Speaker 4: very different relationship with that twelve inch only because that

1010
00:53:40,040 --> 00:53:44,000
Speaker 4: was the perfect sound to start doing the chirping bird scratch,

1011
00:53:44,080 --> 00:53:47,000
Speaker 4: you know at the time when Jeff was innovating like

1012
00:53:47,320 --> 00:53:49,360
Speaker 4: the Transformer scratch and all these type.

1013
00:53:49,920 --> 00:53:51,160
Speaker 2: Yeah, right, but the.

1014
00:53:51,160 --> 00:53:54,279
Speaker 4: Chirping scratch, that was the record that you would have

1015
00:53:54,360 --> 00:53:58,200
Speaker 4: to play just for that one before you start doing

1016
00:53:58,239 --> 00:54:00,279
Speaker 4: your your female operator boys.

1017
00:54:00,440 --> 00:54:03,800
Speaker 2: I'm sorry, right exactly exactly.

1018
00:54:03,880 --> 00:54:07,480
Speaker 16: All right, we got to get into the wow at

1019
00:54:07,520 --> 00:54:11,200
Speaker 16: the time, at the time I was living when when

1020
00:54:11,200 --> 00:54:13,600
Speaker 16: the Roots lived in London.

1021
00:54:14,960 --> 00:54:17,600
Speaker 4: That's you know a lot of people don't know that

1022
00:54:17,760 --> 00:54:21,000
Speaker 4: both Backstreet boys like basically what I call the Disney

1023
00:54:21,200 --> 00:54:27,759
Speaker 4: Orlando set up, Britney, Backstreet, anybody associated with Disney that

1024
00:54:27,840 --> 00:54:32,960
Speaker 4: during that time period, they all kind of got their

1025
00:54:33,040 --> 00:54:39,799
Speaker 4: traction in Europe first before TRL really started playing them regularly.

1026
00:54:40,400 --> 00:54:43,640
Speaker 4: So how did how did you guys even wind up

1027
00:54:43,719 --> 00:54:47,400
Speaker 4: being the producers of a lot of these acts that

1028
00:54:47,440 --> 00:54:54,000
Speaker 4: wound up selling diamond, like Backstreet Boys and syncing Brittany

1029
00:54:54,040 --> 00:54:54,680
Speaker 4: all these acts.

1030
00:54:54,680 --> 00:54:56,319
Speaker 2: How did you guys wind up doing that?

1031
00:54:56,960 --> 00:54:59,879
Speaker 5: Well? What happens that I had a meeting with Barry White,

1032
00:55:00,040 --> 00:55:03,279
Speaker 5: who was the president of Jive Records at the time,

1033
00:55:03,760 --> 00:55:07,160
Speaker 5: and and and remember there's six people in full force,

1034
00:55:07,920 --> 00:55:11,600
Speaker 5: and we split this way. I mean, not everybody wanted

1035
00:55:11,600 --> 00:55:14,320
Speaker 5: it that way with the majority rule. It was my

1036
00:55:14,440 --> 00:55:17,520
Speaker 5: idea that But then after a while, you know, it's like, damn,

1037
00:55:17,520 --> 00:55:19,200
Speaker 5: we need to We've been doing a lot of R

1038
00:55:19,239 --> 00:55:21,279
Speaker 5: and B and we the Samantha box of course, But

1039
00:55:21,960 --> 00:55:24,680
Speaker 5: I man, man, I think if we if I went

1040
00:55:24,719 --> 00:55:26,239
Speaker 5: to Barry, I said, you, Barry Man, you got some

1041
00:55:26,280 --> 00:55:28,920
Speaker 5: white people that we could produce, you know what I mean,

1042
00:55:28,920 --> 00:55:31,200
Speaker 5: because we know it might go a long way. The

1043
00:55:31,200 --> 00:55:34,279
Speaker 5: way Job Records was handling stuff, it got might go

1044
00:55:34,320 --> 00:55:36,840
Speaker 5: a long way. To add to our you know, situation

1045
00:55:36,920 --> 00:55:38,280
Speaker 5: with doing a lot of R and B and stuff.

1046
00:55:38,320 --> 00:55:40,680
Speaker 5: So he said, and you know what we got these

1047
00:55:40,719 --> 00:55:44,560
Speaker 5: young guys did They huge overseas. They're not known yet

1048
00:55:44,560 --> 00:55:46,640
Speaker 5: in the United States, but they might be good for

1049
00:55:46,680 --> 00:55:49,760
Speaker 5: you to work with. And he showed me this video

1050
00:55:49,800 --> 00:55:51,919
Speaker 5: called quit playing Games with My Heart by the fact

1051
00:55:52,600 --> 00:55:57,920
Speaker 5: that's okay, And I took that video back to the guys.

1052
00:55:58,080 --> 00:55:58,719
Speaker 8: I played it.

1053
00:55:58,840 --> 00:56:02,040
Speaker 5: I played it in in the studio and I said, guys,

1054
00:56:02,080 --> 00:56:03,839
Speaker 5: we gotta get on this project. You know, they're not

1055
00:56:03,880 --> 00:56:06,280
Speaker 5: knowing in the United States, but they're big, big, huge

1056
00:56:06,360 --> 00:56:11,839
Speaker 5: overseas and I'll never forget it. After they we saw

1057
00:56:11,880 --> 00:56:16,360
Speaker 5: the video again, Baby, Jerry just came up to me

1058
00:56:16,400 --> 00:56:19,320
Speaker 5: and he said, yo, lou man, I got a song

1059
00:56:19,920 --> 00:56:23,320
Speaker 5: that I've been toying around with. And then Jerry started

1060
00:56:23,360 --> 00:56:26,960
Speaker 5: singing me the hook but my love is oh I

1061
00:56:27,120 --> 00:56:31,439
Speaker 5: have to kids, what thought you? I don't, thank God,

1062
00:56:31,760 --> 00:56:36,759
Speaker 5: can believe. And I looked at Jerry. I kissed him

1063
00:56:36,800 --> 00:56:39,600
Speaker 5: on the cheek. He's my cousin, and I said, Jerry,

1064
00:56:40,280 --> 00:56:46,920
Speaker 5: that is a fucking smash And man, I took that

1065
00:56:47,080 --> 00:56:51,560
Speaker 5: song into Job Records and they went crazy for it

1066
00:56:52,120 --> 00:56:54,319
Speaker 5: so much so so much so that said, we're gonna

1067
00:56:54,320 --> 00:56:56,719
Speaker 5: fly you guys out to Orlando. You're gonna record that

1068
00:56:56,800 --> 00:57:00,440
Speaker 5: song with the Backstreet Boys. This is incredible And that

1069
00:57:00,600 --> 00:57:04,200
Speaker 5: was the start actually of us doing you know, the

1070
00:57:04,200 --> 00:57:08,319
Speaker 5: boy bands and Brittany and Justin Timberlake and LFO, some

1071
00:57:08,360 --> 00:57:10,279
Speaker 5: of those people's passed away from made the rest of peace.

1072
00:57:10,520 --> 00:57:15,040
Speaker 5: And I'll never forget flying out to Orlando and there

1073
00:57:15,080 --> 00:57:17,320
Speaker 5: he was with the Battre Boys. Now, we was instructed

1074
00:57:17,640 --> 00:57:20,400
Speaker 5: to have the youngest member, Nick Carter, sing the lead

1075
00:57:20,440 --> 00:57:20,919
Speaker 5: of the whole.

1076
00:57:21,240 --> 00:57:24,800
Speaker 4: I was going to ask, how did how we wind

1077
00:57:24,880 --> 00:57:26,920
Speaker 4: up singing? And I'm a shame that I know that,

1078
00:57:26,960 --> 00:57:30,680
Speaker 4: but yes, I'm a music ed how wee wind up

1079
00:57:30,680 --> 00:57:34,320
Speaker 4: singing that join? Because that's I didn't Tito or Marlin

1080
00:57:34,400 --> 00:57:38,800
Speaker 4: to sing. And it's like, wow, I'm.

1081
00:57:38,640 --> 00:57:42,160
Speaker 2: Sorry, way wrong, But you know, well, okay.

1082
00:57:41,920 --> 00:57:44,120
Speaker 4: If you're seeing the Jackson's, I think they would expect

1083
00:57:44,560 --> 00:57:47,320
Speaker 4: you would expect Michael. No no, no, no, no, no, no

1084
00:57:47,400 --> 00:57:50,400
Speaker 4: disrespect because I know those guys. I'm just saying that

1085
00:57:50,440 --> 00:57:54,240
Speaker 4: if you have a Jackson's, you're expecting Michael maybe Jermaine

1086
00:57:54,760 --> 00:57:58,760
Speaker 4: to sing. And Howie wasn't the.

1087
00:57:58,480 --> 00:58:00,520
Speaker 2: Go to singer. So how did that happened?

1088
00:58:01,360 --> 00:58:04,320
Speaker 5: Wow, that's crazy quest. Well, the thing about it is this,

1089
00:58:05,240 --> 00:58:07,320
Speaker 5: when they told us they wanted Nick Carter to sing

1090
00:58:07,360 --> 00:58:09,920
Speaker 5: the whole song, I already had in my mind that

1091
00:58:09,960 --> 00:58:13,560
Speaker 5: I was gonna they was going to supervise me in Orlando.

1092
00:58:14,000 --> 00:58:17,600
Speaker 5: So I arranged with the vocals who would sing Watt

1093
00:58:17,640 --> 00:58:20,200
Speaker 5: and Wear. I said, Okay, they're talking about Nick because

1094
00:58:20,240 --> 00:58:21,280
Speaker 5: all the women love Nick.

1095
00:58:21,400 --> 00:58:25,760
Speaker 8: The girls love Nick. Like Clive Cole, who owned Jive Records.

1096
00:58:25,360 --> 00:58:28,720
Speaker 5: He was like, Nick, do it because Nick, Nick is

1097
00:58:28,920 --> 00:58:35,360
Speaker 5: all the women Nick the good Nick do the song.

1098
00:58:35,560 --> 00:58:37,560
Speaker 5: Let him do theod song. I said, okay, no problem,

1099
00:58:37,640 --> 00:58:39,400
Speaker 5: let Nick do the old song. But what we what

1100
00:58:39,520 --> 00:58:42,200
Speaker 5: I ended up doing. I said, okay, listen, in my mind,

1101
00:58:42,240 --> 00:58:44,240
Speaker 5: I'm saying I want Nick to open up just to

1102
00:58:44,280 --> 00:58:45,280
Speaker 5: satisfy the company.

1103
00:58:46,240 --> 00:58:46,560
Speaker 2: Okay.

1104
00:58:46,600 --> 00:58:49,760
Speaker 5: Then I saw Brian Littell sang as well. I knew

1105
00:58:49,760 --> 00:58:53,040
Speaker 5: AJ was AJ was like the soul soul guy singing,

1106
00:58:53,440 --> 00:58:56,240
Speaker 5: but I noticed Nick never. I noticed how we never

1107
00:58:56,320 --> 00:59:00,640
Speaker 5: sung anything. And because of my love for the tempations,

1108
00:59:01,920 --> 00:59:05,840
Speaker 5: that was my inspiration to have them sing it in parts,

1109
00:59:06,000 --> 00:59:09,040
Speaker 5: even though the record company didn't want it. And I said,

1110
00:59:09,160 --> 00:59:11,640
Speaker 5: I said, to Brian. Trust it, Brian, So, Howie, I

1111
00:59:11,680 --> 00:59:12,960
Speaker 5: know he doesn't sing anything.

1112
00:59:13,000 --> 00:59:13,800
Speaker 8: He doesn't lead singing.

1113
00:59:13,800 --> 00:59:16,440
Speaker 5: He's oh no, no, no, he's just background. He doesn't do anything.

1114
00:59:16,440 --> 00:59:18,480
Speaker 5: He's just a background guy. He just does background. I said,

1115
00:59:18,480 --> 00:59:20,840
Speaker 5: he got the high voice, but just background, just background,

1116
00:59:20,880 --> 00:59:22,040
Speaker 5: I said, I said, okay.

1117
00:59:22,240 --> 00:59:23,480
Speaker 8: Then I pulled Howie to the side.

1118
00:59:23,480 --> 00:59:25,720
Speaker 5: I said, you're how we I know you don't sing

1119
00:59:25,920 --> 00:59:28,439
Speaker 5: any leads. Is there a reason why you singing leads

1120
00:59:28,440 --> 00:59:31,040
Speaker 5: in any of the songs? I don't know. I don't

1121
00:59:31,080 --> 00:59:33,440
Speaker 5: know why. I said no, I said, sing something for me,

1122
00:59:33,440 --> 00:59:35,480
Speaker 5: and he sang a little something for me, and I

1123
00:59:35,560 --> 00:59:38,240
Speaker 5: just wanted him to do a lead vocal, which was

1124
00:59:38,480 --> 00:59:41,360
Speaker 5: the first lead vocal he ever had in his life

1125
00:59:41,400 --> 00:59:44,400
Speaker 5: with the Backron Boys, and I gave I said, well listen,

1126
00:59:44,480 --> 00:59:47,320
Speaker 5: you're going to open up the second verse of it.

1127
00:59:47,560 --> 00:59:50,960
Speaker 5: And I'll never forget when we were reporting Howie AJ

1128
00:59:51,160 --> 00:59:53,720
Speaker 5: came in there and he's like, whoa, Howie, me here?

1129
00:59:53,800 --> 00:59:56,400
Speaker 5: How we doing the lead? And then he said, wow,

1130
00:59:56,440 --> 01:00:00,240
Speaker 5: how you got a personality now, And it just made

1131
01:00:00,280 --> 01:00:02,960
Speaker 5: me feel good to have how he just sing a

1132
01:00:03,040 --> 01:00:06,560
Speaker 5: part of the song. And if you look at that

1133
01:00:06,800 --> 01:00:09,520
Speaker 5: video and you hear the song. All of them have parts.

1134
01:00:09,560 --> 01:00:12,720
Speaker 5: Now Kevin he does the bass and I'll sing it

1135
01:00:12,760 --> 01:00:15,320
Speaker 5: to you. He does on the album version where they

1136
01:00:15,360 --> 01:00:17,720
Speaker 5: do the tongue twist of harmony parts that my brother

1137
01:00:18,400 --> 01:00:21,240
Speaker 5: Paul made up. And that's how how he got to

1138
01:00:21,280 --> 01:00:23,320
Speaker 5: sing that. And I'll never forget how he was so

1139
01:00:23,440 --> 01:00:26,400
Speaker 5: indebted to me. Still to this day he gives me props.

1140
01:00:26,600 --> 01:00:29,360
Speaker 5: And he brought me to his house for dinner. After dinner,

1141
01:00:29,400 --> 01:00:31,920
Speaker 5: I said, hey, Howey, I said, just in front of

1142
01:00:31,920 --> 01:00:35,160
Speaker 5: his parents and everybody, I said, am I the first

1143
01:00:35,200 --> 01:00:40,680
Speaker 5: black guy ever to eat here? He said, yeah, yeah,

1144
01:00:40,800 --> 01:00:46,440
Speaker 5: you are who. Years later after that, when I went

1145
01:00:46,480 --> 01:00:49,240
Speaker 5: to his wedding, I got up and I sang for

1146
01:00:49,320 --> 01:00:51,360
Speaker 5: him and his bride at the wedding, and then I

1147
01:00:51,400 --> 01:00:53,400
Speaker 5: did a poem and I said, yeah, you know what

1148
01:00:53,600 --> 01:00:55,440
Speaker 5: I'll never forget when I got Howie to do his part,

1149
01:00:55,480 --> 01:00:57,600
Speaker 5: and I went to dinner and I said, am I

1150
01:00:57,640 --> 01:00:59,560
Speaker 5: the only and I and I was the only black

1151
01:00:59,560 --> 01:01:02,440
Speaker 5: guy ever comes house? And I was like, look around,

1152
01:01:02,680 --> 01:01:05,439
Speaker 5: I'm the only black person here at this wedding, So how.

1153
01:01:05,400 --> 01:01:09,720
Speaker 2: We keep no?

1154
01:01:09,720 --> 01:01:10,760
Speaker 5: No?

1155
01:01:09,920 --> 01:01:12,520
Speaker 8: But that's not how we got to singing, you know.

1156
01:01:12,600 --> 01:01:14,520
Speaker 5: And I love how he's a good guy with a

1157
01:01:14,560 --> 01:01:17,320
Speaker 5: good heart, and you know they let him sing other

1158
01:01:17,400 --> 01:01:18,040
Speaker 5: songs after that.

1159
01:01:18,080 --> 01:01:22,960
Speaker 4: Hey, when when you guys get your clients. For instance,

1160
01:01:23,000 --> 01:01:27,200
Speaker 4: when when Jimmy Jim did the show, they spent about

1161
01:01:27,200 --> 01:01:29,960
Speaker 4: two weeks with Janet Jackson before they even stepped in

1162
01:01:29,960 --> 01:01:33,760
Speaker 4: the studio, which you know, fourteen days is a long

1163
01:01:33,800 --> 01:01:35,760
Speaker 4: time when you're on a budget to just be hanging

1164
01:01:35,760 --> 01:01:40,600
Speaker 4: with someone. How long do you have to have personal

1165
01:01:40,680 --> 01:01:44,640
Speaker 4: time with your client before you decide.

1166
01:01:44,960 --> 01:01:46,920
Speaker 2: This this this is a song I have for you?

1167
01:01:47,880 --> 01:01:48,520
Speaker 2: Or were you.

1168
01:01:48,480 --> 01:01:51,440
Speaker 4: Guys just making I mean, you know, now we have

1169
01:01:51,520 --> 01:01:53,080
Speaker 4: like beat tape makers. All right, let me hear your

1170
01:01:53,080 --> 01:01:55,280
Speaker 4: beat tape and I'll decide what I want. Are you

1171
01:01:55,320 --> 01:01:57,960
Speaker 4: guys crafting these songs after you meet them or do

1172
01:01:58,000 --> 01:01:59,960
Speaker 4: you have them ahead of time?

1173
01:02:01,280 --> 01:02:03,680
Speaker 5: Yeah, we kind of craft them actually before we meet

1174
01:02:03,720 --> 01:02:06,600
Speaker 5: them kind of, and then and then afterwards we would

1175
01:02:06,640 --> 01:02:10,520
Speaker 5: do some songs, like when we worked with Jasmine Guy,

1176
01:02:10,600 --> 01:02:13,760
Speaker 5: who I love She's a sweetheart. Still when we worked

1177
01:02:13,760 --> 01:02:16,120
Speaker 5: with her, I remember we did a song called Johnny

1178
01:02:16,120 --> 01:02:18,560
Speaker 5: Come Lately for the album, which we crafted for her.

1179
01:02:18,800 --> 01:02:21,520
Speaker 5: But then during the album process, then we came up

1180
01:02:21,560 --> 01:02:24,440
Speaker 5: with you know, her her big hit, which was try Me,

1181
01:02:24,880 --> 01:02:27,840
Speaker 5: and we came up with that for her, specifically for

1182
01:02:27,880 --> 01:02:31,280
Speaker 5: her after meeting her and and vibing with her. So

1183
01:02:31,640 --> 01:02:32,880
Speaker 5: sometimes it's different. You know.

1184
01:02:32,960 --> 01:02:36,520
Speaker 17: The Weather Girls, we knew their history and we did

1185
01:02:36,560 --> 01:02:39,240
Speaker 17: three songs with them, and we just did it to

1186
01:02:39,360 --> 01:02:43,680
Speaker 17: fit their vocals, like Martha, Martha Wash and Isorah Armstead

1187
01:02:43,720 --> 01:02:45,480
Speaker 17: Make she rest in peace, you know.

1188
01:02:46,720 --> 01:02:48,800
Speaker 5: And that's how we would do it with the different artists,

1189
01:02:48,920 --> 01:02:49,840
Speaker 5: different people. I remember.

1190
01:02:50,120 --> 01:02:52,000
Speaker 8: I remember I wrote a song called.

1191
01:02:54,200 --> 01:02:57,680
Speaker 5: Love Love, what is it? Love my weight and lo

1192
01:02:57,680 --> 01:03:00,680
Speaker 5: love my weight in love or something like that. But

1193
01:03:00,720 --> 01:03:03,479
Speaker 5: it was a positive song. And I remember Martha's like, nah,

1194
01:03:03,560 --> 01:03:06,080
Speaker 5: I'm not doing that. No, we already did this Rain

1195
01:03:06,160 --> 01:03:08,280
Speaker 5: and Man and two tons of Fun, and no, I'm

1196
01:03:08,280 --> 01:03:09,080
Speaker 5: not gonna do that song.

1197
01:03:09,160 --> 01:03:11,960
Speaker 8: But once she heard it out, so I'll do it.

1198
01:03:12,000 --> 01:03:14,840
Speaker 8: But it was a positive, upbeat song. But we don't

1199
01:03:14,880 --> 01:03:16,760
Speaker 8: I don't think we've ever spent like two weeks. I

1200
01:03:16,800 --> 01:03:18,440
Speaker 8: remember when we was with Brittany.

1201
01:03:18,480 --> 01:03:20,960
Speaker 5: We was in there for about a good while just

1202
01:03:21,040 --> 01:03:23,720
Speaker 5: phoning in her vocals and everything, so much so that

1203
01:03:23,760 --> 01:03:25,800
Speaker 5: one of her earliest recordings we did with her is

1204
01:03:25,800 --> 01:03:27,280
Speaker 5: called Love That heard away.

1205
01:03:27,440 --> 01:03:28,080
Speaker 8: You could you could.

1206
01:03:28,160 --> 01:03:31,160
Speaker 5: You could go right to YouTube and hear it. It's

1207
01:03:31,200 --> 01:03:37,240
Speaker 5: definitely the best ever Britney vocals you ever want to hear,

1208
01:03:37,440 --> 01:03:40,800
Speaker 5: like ever compared to all the stuff she did after it,

1209
01:03:41,120 --> 01:03:43,880
Speaker 5: because I know, I always give my brother Paul prompts.

1210
01:03:44,160 --> 01:03:47,800
Speaker 5: He's like one of the best vocal producers I've ever seen.

1211
01:03:48,000 --> 01:03:52,360
Speaker 5: How he could transform somebody's vocals and just have them

1212
01:03:52,360 --> 01:03:54,400
Speaker 5: doing their thing, you know. And he's like such a

1213
01:03:54,400 --> 01:03:57,400
Speaker 5: stickler for the background, just like my father was. You know,

1214
01:03:57,400 --> 01:03:59,439
Speaker 5: when we worked with Patti LaBelle, I remember Patty LaBelle

1215
01:03:59,520 --> 01:04:04,080
Speaker 5: hit an off note and Paul stopped it and Paul said,

1216
01:04:04,560 --> 01:04:07,080
Speaker 5: your Patty, you just there's an off note right there.

1217
01:04:07,200 --> 01:04:09,760
Speaker 5: So we got to fix that. And we're like, oh,

1218
01:04:09,760 --> 01:04:10,680
Speaker 5: ship just.

1219
01:04:11,360 --> 01:04:14,800
Speaker 2: Steal it right, what the hell?

1220
01:04:15,160 --> 01:04:17,160
Speaker 5: And he said and she goes, no, no, that was off,

1221
01:04:17,240 --> 01:04:19,920
Speaker 5: that was off. No, No, let me played back. It's

1222
01:04:19,960 --> 01:04:22,520
Speaker 5: just a little on the bend. She says, what bend.

1223
01:04:25,400 --> 01:04:29,000
Speaker 5: We played it back and she said, oh, yeah, you're right,

1224
01:04:29,200 --> 01:04:30,240
Speaker 5: just a little a little off.

1225
01:04:30,280 --> 01:04:34,160
Speaker 2: You're right, You're right, Okay, go ahead, y'all got lucky.

1226
01:04:35,720 --> 01:04:37,720
Speaker 2: That could have went a whole other way. Hey, we

1227
01:04:37,720 --> 01:04:38,240
Speaker 2: were lucky.

1228
01:04:38,720 --> 01:04:41,680
Speaker 4: What is the divisional label of the six of you

1229
01:04:41,720 --> 01:04:45,720
Speaker 4: as far as all right, So say if say, if

1230
01:04:45,920 --> 01:04:50,080
Speaker 4: sh Shire or Baby Jerry writes a song by themselves,

1231
01:04:50,120 --> 01:04:52,880
Speaker 4: is it already agreed upon that the sixth of.

1232
01:04:52,840 --> 01:04:53,480
Speaker 2: You wrote it?

1233
01:04:54,080 --> 01:04:58,200
Speaker 4: Or you know, or do you guys just say okay,

1234
01:04:58,240 --> 01:05:00,960
Speaker 4: well you did this one by yourself, so you get

1235
01:05:01,040 --> 01:05:04,800
Speaker 4: on da da da da da da da, or you know,

1236
01:05:05,040 --> 01:05:07,360
Speaker 4: how how is it? How does it work in the studio?

1237
01:05:07,480 --> 01:05:11,240
Speaker 4: Like does designated people do the music? This designated person

1238
01:05:11,360 --> 01:05:14,720
Speaker 4: there for the engineering, this designated person do the vocals?

1239
01:05:15,880 --> 01:05:18,240
Speaker 4: Like how do you guys divide the work amongst each other?

1240
01:05:18,760 --> 01:05:21,480
Speaker 5: Yeah, it's a it's a different vibe like Samantha Fox.

1241
01:05:21,560 --> 01:05:24,680
Speaker 5: Mostly that's like a me and Jerry thing. Sometimes it

1242
01:05:24,880 --> 01:05:26,800
Speaker 5: just be me and Jerry in the studio with crazy

1243
01:05:26,840 --> 01:05:30,000
Speaker 5: Samantha Fox, who's who's always beautiful to work with. But

1244
01:05:30,840 --> 01:05:32,760
Speaker 5: it would be me and Jerry. And then say, like

1245
01:05:33,160 --> 01:05:37,960
Speaker 5: if the person writes the song, that's who's spearheading the session.

1246
01:05:38,080 --> 01:05:40,240
Speaker 8: Like B did I wonder if I take you Home?

1247
01:05:40,680 --> 01:05:43,200
Speaker 5: Kurt would help in with some of the music things,

1248
01:05:43,960 --> 01:05:47,320
Speaker 5: and B wrote the lyrics, but then you know, I'd

1249
01:05:47,360 --> 01:05:50,200
Speaker 5: make out some vocal licks like take me take me,

1250
01:05:50,760 --> 01:05:54,400
Speaker 5: take me home, and you know, and thanks to my child,

1251
01:05:54,480 --> 01:05:57,320
Speaker 5: basically just did it byself. So we kind of give

1252
01:05:57,360 --> 01:05:59,760
Speaker 5: each other our own space. Jerry came up with all

1253
01:05:59,800 --> 01:06:02,520
Speaker 5: I have to give, but I'm I arranged who would

1254
01:06:02,560 --> 01:06:06,600
Speaker 5: sing what, but then would vocal produce the vocals and

1255
01:06:06,680 --> 01:06:09,320
Speaker 5: Jerry would help them there also Jerry, me and Kurt

1256
01:06:09,320 --> 01:06:12,480
Speaker 5: did I'm real. Kurt presided over the whole track and

1257
01:06:12,520 --> 01:06:13,320
Speaker 5: everything like that.

1258
01:06:13,800 --> 01:06:15,600
Speaker 8: So everybody has their.

1259
01:06:15,440 --> 01:06:18,920
Speaker 5: Own thing and it would always still say written and

1260
01:06:18,920 --> 01:06:22,600
Speaker 5: produced by full force. And yes, we split everything no

1261
01:06:22,640 --> 01:06:25,160
Speaker 5: matter who did what six ways.

1262
01:06:25,640 --> 01:06:28,640
Speaker 4: So how do you, guys, what happens if you're in

1263
01:06:28,640 --> 01:06:34,520
Speaker 4: a situation where it might be territorial, where if you

1264
01:06:34,560 --> 01:06:37,280
Speaker 4: write a particular song and you hear it a certain way,

1265
01:06:37,760 --> 01:06:38,240
Speaker 4: and then.

1266
01:06:38,200 --> 01:06:40,000
Speaker 2: Kurt says, hell, I got a idea for that.

1267
01:06:41,400 --> 01:06:43,320
Speaker 4: Do you let people at least audition and the idea

1268
01:06:43,520 --> 01:06:46,280
Speaker 4: and if it does work, you keep it. If it

1269
01:06:46,320 --> 01:06:51,160
Speaker 4: doesn't work without a doubt, And how do y'all handle disagreements?

1270
01:06:52,240 --> 01:06:54,800
Speaker 5: That's how we are. So if we disagree on something

1271
01:06:55,040 --> 01:06:57,240
Speaker 5: the person who wrote the song, then we would just

1272
01:06:57,280 --> 01:06:59,840
Speaker 5: bend to them and just say all right, all right,

1273
01:06:59,880 --> 01:07:00,440
Speaker 5: no problem.

1274
01:07:00,600 --> 01:07:01,520
Speaker 8: But a lot of times.

1275
01:07:01,520 --> 01:07:04,120
Speaker 5: Everybody's open to add their own ideas, even of the

1276
01:07:04,240 --> 01:07:06,760
Speaker 5: song that I might wrote, and you know, no, no,

1277
01:07:06,920 --> 01:07:08,919
Speaker 5: that's kind of corny. Lude no, no, no, no, let's

1278
01:07:08,960 --> 01:07:11,880
Speaker 5: do this. Like I wrote all of my Mind for

1279
01:07:12,000 --> 01:07:14,280
Speaker 5: Full Force, which was a top ten song for us,

1280
01:07:14,440 --> 01:07:17,000
Speaker 5: and it was a slow song, All of my Mind talking.

1281
01:07:16,760 --> 01:07:21,160
Speaker 4: About very mean song, right, that was one of the

1282
01:07:21,320 --> 01:07:23,200
Speaker 4: meanest because.

1283
01:07:29,240 --> 01:07:33,600
Speaker 5: The pity Yeah y'all, y'all.

1284
01:07:35,080 --> 01:07:39,760
Speaker 2: Even Love Us for Suckers to a cold boy out.

1285
01:07:41,920 --> 01:07:44,959
Speaker 5: Because women, you know, women dog us all the time

1286
01:07:45,040 --> 01:07:47,960
Speaker 5: in songs, so we got to show that women could

1287
01:07:48,000 --> 01:07:50,680
Speaker 5: break our hearts too, you know. So all of my Mind,

1288
01:07:51,280 --> 01:07:54,400
Speaker 5: you know, Love Us for Suckers is another one. I'm

1289
01:07:54,520 --> 01:07:56,160
Speaker 5: unfaithful I can.

1290
01:07:56,000 --> 01:08:00,880
Speaker 2: Be the song that was Yeah, yeah, we.

1291
01:08:00,120 --> 01:08:03,360
Speaker 5: Go right back at that. But we all hear each

1292
01:08:03,400 --> 01:08:06,680
Speaker 5: other's ideas, man, and we always just like let it out.

1293
01:08:06,720 --> 01:08:09,720
Speaker 5: There's never no big arguments and there's disagreements. We'd all

1294
01:08:09,720 --> 01:08:12,560
Speaker 5: come to an agreement and we just let everybody, you know,

1295
01:08:12,760 --> 01:08:14,560
Speaker 5: just do their thing, you know what I mean. So

1296
01:08:14,680 --> 01:08:16,000
Speaker 5: that's how we that's how we work.

1297
01:08:20,880 --> 01:08:23,800
Speaker 4: I was gonna say, when you guys were working with

1298
01:08:23,960 --> 01:08:25,960
Speaker 4: Samantha Fox, mm hmm.

1299
01:08:27,040 --> 01:08:30,880
Speaker 2: Yeah. At the time, you already know where I'm going

1300
01:08:30,920 --> 01:08:31,439
Speaker 2: with it, so.

1301
01:08:33,760 --> 01:08:34,120
Speaker 5: Go ahead.

1302
01:08:34,920 --> 01:08:38,479
Speaker 4: No, Well, you know, there was a a a notable

1303
01:08:38,840 --> 01:08:44,280
Speaker 4: Thesbian also with the name of Samantha Fox. And I

1304
01:08:44,320 --> 01:08:46,759
Speaker 4: think there was definitely a group of people that thought

1305
01:08:46,760 --> 01:08:51,320
Speaker 4: that you guys were producing for the foreign actress of

1306
01:08:51,400 --> 01:08:53,120
Speaker 4: the name Samantha Fox.

1307
01:08:53,280 --> 01:08:56,599
Speaker 11: They did, You're right, definitely right, Not wow, I missed that,

1308
01:08:56,640 --> 01:08:58,840
Speaker 11: but yeah, and.

1309
01:08:58,800 --> 01:09:04,040
Speaker 4: Then right, I Well, the thing was is that all

1310
01:09:04,160 --> 01:09:06,960
Speaker 4: Samantha Fox's songs, you know, touch me, I want to

1311
01:09:06,960 --> 01:09:09,840
Speaker 4: feel your body, naughty girls, and he loved to. We

1312
01:09:10,040 --> 01:09:13,479
Speaker 4: naturally thought that, oh, she retired from the porn world

1313
01:09:13,960 --> 01:09:14,519
Speaker 4: and now.

1314
01:09:14,360 --> 01:09:19,439
Speaker 12: She's singing, she's just saying about it, only.

1315
01:09:19,240 --> 01:09:21,720
Speaker 4: Only to find out that, you know, there there was

1316
01:09:21,840 --> 01:09:23,759
Speaker 4: an actual another Samantha Fox.

1317
01:09:23,800 --> 01:09:26,640
Speaker 2: And this one was not that person, but.

1318
01:09:26,240 --> 01:09:29,400
Speaker 5: But the but the real Samantha Fox, the singer Samantha Fox.

1319
01:09:29,800 --> 01:09:33,519
Speaker 5: She was in England called the Page six girl on

1320
01:09:33,640 --> 01:09:35,840
Speaker 5: some magazine. It wasn't a pornal magazine, but it was

1321
01:09:35,880 --> 01:09:40,080
Speaker 5: a magazine where it would show her her top, not naked,

1322
01:09:40,120 --> 01:09:41,560
Speaker 5: but her breast.

1323
01:09:41,600 --> 01:09:43,760
Speaker 8: As a page six girl, she was.

1324
01:09:44,240 --> 01:09:48,440
Speaker 4: She was the precursor of Kim Kardashian like, not exactly socialite.

1325
01:09:48,479 --> 01:09:50,200
Speaker 2: I mean, well that would have been Pisa Door.

1326
01:09:50,120 --> 01:09:52,920
Speaker 6: But oh wow, I haven't heard that name if forever.

1327
01:09:53,640 --> 01:09:57,160
Speaker 5: Kind of Yeah, well, Terry Jimmy did the album with Pias,

1328
01:09:57,600 --> 01:09:58,960
Speaker 5: didn't they chit ching?

1329
01:09:59,200 --> 01:10:01,519
Speaker 2: Yes they did, that's right.

1330
01:10:01,640 --> 01:10:03,880
Speaker 8: I got the cassette. I remember they. I remember one

1331
01:10:03,920 --> 01:10:04,760
Speaker 8: of them.

1332
01:10:04,600 --> 01:10:07,679
Speaker 5: I'm feeling her when the workers sent me the cassette,

1333
01:10:07,680 --> 01:10:09,879
Speaker 5: I'm like, wow, they did a Pia Sodora.

1334
01:10:09,960 --> 01:10:11,240
Speaker 8: And I know it was a money.

1335
01:10:10,960 --> 01:10:13,519
Speaker 5: Grab, but it was still it was still interesting, it

1336
01:10:13,600 --> 01:10:14,879
Speaker 5: was still good production.

1337
01:10:15,479 --> 01:10:18,200
Speaker 2: I might be wrong, but didn't you guys work with Selena?

1338
01:10:19,240 --> 01:10:21,880
Speaker 5: Yes? Yes, we did make she Rest in Peace? Uh

1339
01:10:21,920 --> 01:10:24,720
Speaker 5: we were the last American who's the last American producers

1340
01:10:24,760 --> 01:10:28,719
Speaker 5: to work with her? Because that album I'll never forget.

1341
01:10:28,760 --> 01:10:33,439
Speaker 5: I was at Electra Records, which no Emi Records, my

1342
01:10:33,479 --> 01:10:37,160
Speaker 5: bad Emi Records, and I just was talking to Nancy Brennan,

1343
01:10:37,200 --> 01:10:39,360
Speaker 5: who was in an A and R executive there, and

1344
01:10:39,439 --> 01:10:43,120
Speaker 5: I saw overhead a TV and there's a video and

1345
01:10:43,320 --> 01:10:46,360
Speaker 5: Selena was on this video singing and dancing and she's

1346
01:10:46,400 --> 01:10:49,760
Speaker 5: singing in Spanish and I was saying, yo, who's that?

1347
01:10:50,520 --> 01:10:53,360
Speaker 5: And she said, oh, oh, that's ol ti Haano artist.

1348
01:10:53,439 --> 01:10:56,800
Speaker 5: Her name is Selena. You know, I'm like, man, she's

1349
01:10:57,280 --> 01:11:00,800
Speaker 5: fine and look like she's performing and you know, I've

1350
01:11:00,840 --> 01:11:03,080
Speaker 5: never seen it or heard of her before. And then

1351
01:11:03,120 --> 01:11:05,639
Speaker 5: I told I said, yo, is the way we could

1352
01:11:05,720 --> 01:11:08,200
Speaker 5: produce something on her. I don't care if we even

1353
01:11:08,240 --> 01:11:11,880
Speaker 5: have to produce something in Spanish And she says, well, Lou,

1354
01:11:11,960 --> 01:11:15,160
Speaker 5: you know what, We're getting ready to do a half

1355
01:11:15,640 --> 01:11:18,080
Speaker 5: all English album with her. We're getting ready to do

1356
01:11:18,160 --> 01:11:21,479
Speaker 5: an old English album. And I'm like, really, we would

1357
01:11:21,520 --> 01:11:24,000
Speaker 5: love to work on that album. And she got in

1358
01:11:24,040 --> 01:11:28,280
Speaker 5: touch with Selena's brother, Abe Criintonella Junior, and we met

1359
01:11:28,280 --> 01:11:31,040
Speaker 5: with him and just so happened. He was a big

1360
01:11:31,080 --> 01:11:33,679
Speaker 5: fan of Full Force, and just so happened. Before Selena

1361
01:11:34,080 --> 01:11:38,040
Speaker 5: made it big, Selena used to perform Samantha Fox songs.

1362
01:11:38,080 --> 01:11:41,360
Speaker 5: You know, I won't have some fun in her shows,

1363
01:11:41,920 --> 01:11:44,760
Speaker 5: and that's how we got to work with her.

1364
01:11:44,760 --> 01:11:46,120
Speaker 8: And it was so crazy.

1365
01:11:45,800 --> 01:11:49,719
Speaker 5: Because we would do it. We would did a version.

1366
01:11:49,760 --> 01:11:53,439
Speaker 5: We did a song Missing My Baby with Selena, and

1367
01:11:54,400 --> 01:11:58,519
Speaker 5: when she had to come in to do the background vocals,

1368
01:11:58,560 --> 01:12:01,280
Speaker 5: like the next day, she had to come back to

1369
01:12:01,320 --> 01:12:04,200
Speaker 5: New York to do it. That's when I got a

1370
01:12:04,200 --> 01:12:07,439
Speaker 5: phone call from my mom and like, nobody heard of

1371
01:12:07,479 --> 01:12:09,360
Speaker 5: her back then, We just people just knew he was

1372
01:12:09,360 --> 01:12:12,040
Speaker 5: producing a girl named Selena. And then that's when she said,

1373
01:12:12,040 --> 01:12:13,800
Speaker 5: are you sitting down? I'm like, sitting down? Why are

1374
01:12:13,760 --> 01:12:17,400
Speaker 5: you guys staying down? For Selena? Selena died today? She

1375
01:12:17,439 --> 01:12:18,759
Speaker 5: got killed. I'm like, what?

1376
01:12:19,160 --> 01:12:19,280
Speaker 2: Who?

1377
01:12:20,080 --> 01:12:24,400
Speaker 5: We were so blown away, and because she's such a

1378
01:12:24,439 --> 01:12:27,920
Speaker 5: sweetheart and she's a practical joker herself, but she was

1379
01:12:28,000 --> 01:12:33,000
Speaker 5: so blown away shocked, I mean very shocked, stunned. And

1380
01:12:33,040 --> 01:12:35,200
Speaker 5: then you just start seeing on TV. That's when a

1381
01:12:35,200 --> 01:12:37,280
Speaker 5: lot of people start knowing who Selena was because of

1382
01:12:38,360 --> 01:12:45,920
Speaker 5: what she passed. And I said, wow, crazy, Well I knew.

1383
01:12:46,000 --> 01:12:47,960
Speaker 5: I just knew that they were not going to go

1384
01:12:48,000 --> 01:12:50,280
Speaker 5: through with it with the all English album anymore. I

1385
01:12:50,280 --> 01:12:52,679
Speaker 5: figured they were just going to scrap it. But what

1386
01:12:52,720 --> 01:12:56,640
Speaker 5: they did is they said, after some weeks past, the

1387
01:12:56,760 --> 01:13:00,240
Speaker 5: father who was like presiding over the whole project, he

1388
01:13:00,360 --> 01:13:02,920
Speaker 5: called me and he said, look, listen, we want you

1389
01:13:02,960 --> 01:13:05,799
Speaker 5: guys to come up and finish and do the background

1390
01:13:05,880 --> 01:13:09,000
Speaker 5: vocals for the song missing My Baby, and you guys

1391
01:13:09,040 --> 01:13:12,280
Speaker 5: finished that off, and because we're gonna do a half thing,

1392
01:13:12,360 --> 01:13:15,400
Speaker 5: this half Spanish album. That's how we want to do

1393
01:13:15,880 --> 01:13:17,720
Speaker 5: and I'll never forget it.

1394
01:13:17,800 --> 01:13:18,000
Speaker 4: Man.

1395
01:13:18,160 --> 01:13:21,720
Speaker 5: We flew down there to Corpus Christi, Texas, and it

1396
01:13:21,760 --> 01:13:26,040
Speaker 5: was still hot of her passing, because you still see

1397
01:13:26,160 --> 01:13:30,960
Speaker 5: flowers and candles right outside the studio. And we went

1398
01:13:31,000 --> 01:13:35,040
Speaker 5: inside the studio, man, and her leads was already recorded,

1399
01:13:35,560 --> 01:13:39,880
Speaker 5: and it just sounded so eerie hearing her sing through

1400
01:13:39,920 --> 01:13:42,200
Speaker 5: the studio and there we are doing the background vocals.

1401
01:13:42,200 --> 01:13:44,519
Speaker 5: We did the music already and there we all singing

1402
01:13:44,600 --> 01:13:47,880
Speaker 5: the background vocals to it, and you still hear her singing.

1403
01:13:48,160 --> 01:13:51,240
Speaker 5: And then after we finished doing what we did, the

1404
01:13:51,400 --> 01:13:54,640
Speaker 5: family came into that room, her father, her husband at

1405
01:13:54,680 --> 01:13:57,280
Speaker 5: the time. They came in that room to hear the

1406
01:13:57,360 --> 01:13:59,880
Speaker 5: song that we did, missing my Baby, remember the time

1407
01:14:00,640 --> 01:14:02,000
Speaker 5: missing my baby.

1408
01:14:02,200 --> 01:14:02,760
Speaker 2: Right yeah.

1409
01:14:02,960 --> 01:14:06,439
Speaker 5: And then there it is playing and you hear the

1410
01:14:06,560 --> 01:14:09,040
Speaker 5: cryings and the size we even had tears.

1411
01:14:09,439 --> 01:14:11,240
Speaker 8: And then when it was finished.

1412
01:14:11,640 --> 01:14:16,600
Speaker 5: Her father ab Quintonella Senior stood up and started applauding

1413
01:14:16,800 --> 01:14:20,760
Speaker 5: for us, started clapping, and then everybody else follows suit

1414
01:14:20,800 --> 01:14:23,599
Speaker 5: and started clapping for us. I'll never forget it, and

1415
01:14:24,000 --> 01:14:26,840
Speaker 5: it became it was on the album Dreaming of you album.

1416
01:14:27,439 --> 01:14:30,400
Speaker 5: We even produced it and we got I got my wish.

1417
01:14:30,439 --> 01:14:33,679
Speaker 5: We even produced the Spanish song on there, called Technocumbia,

1418
01:14:33,800 --> 01:14:37,800
Speaker 5: and the song was a huge blockbuster, you know, and

1419
01:14:38,280 --> 01:14:40,280
Speaker 5: another piece of platinum on our wall.

1420
01:14:40,320 --> 01:14:42,520
Speaker 8: But her legacy was incredible.

1421
01:14:42,560 --> 01:14:45,440
Speaker 5: I didn't know so much of her legacy until we

1422
01:14:45,479 --> 01:14:48,640
Speaker 5: was working with her, you know. But it was a

1423
01:14:48,680 --> 01:14:51,559
Speaker 5: great experience. She was a great person too, you know.

1424
01:14:51,560 --> 01:14:54,920
Speaker 4: Who I always wanted to know. Were there any close

1425
01:14:55,000 --> 01:14:59,400
Speaker 4: calls in your career as far as artists You almost

1426
01:14:59,479 --> 01:15:02,800
Speaker 4: work with, but from one way or another, like it

1427
01:15:02,880 --> 01:15:04,560
Speaker 4: never got to work out, Like you were supposed to

1428
01:15:04,600 --> 01:15:08,960
Speaker 4: produce blah blah blahs record and something happened.

1429
01:15:08,680 --> 01:15:13,040
Speaker 5: Or yeah, you know, we were supposed to do Gladys

1430
01:15:13,120 --> 01:15:16,360
Speaker 5: Knight and the Pips. This is when he she did

1431
01:15:16,680 --> 01:15:21,439
Speaker 5: safety over time for me eighty three. Yeah, the other

1432
01:15:21,560 --> 01:15:24,040
Speaker 5: time for me was the safety other time for me?

1433
01:15:24,200 --> 01:15:25,120
Speaker 5: That wasn't eighty.

1434
01:15:24,840 --> 01:15:27,960
Speaker 2: Three eighty three are anything? Love overboard?

1435
01:15:28,040 --> 01:15:33,880
Speaker 4: And was yeah, love overboard, that's right, Love over boy.

1436
01:15:33,920 --> 01:15:37,400
Speaker 5: We're supposed to we've been We've been spoke.

1437
01:15:37,200 --> 01:15:39,559
Speaker 8: To Bubba Bubba Knight and everything like that.

1438
01:15:40,080 --> 01:15:43,040
Speaker 5: But for whatever reason, you know, you know, Steve Salem

1439
01:15:43,120 --> 01:15:46,000
Speaker 5: was working with ideas. It just didn't happen. But yeah,

1440
01:15:46,040 --> 01:15:47,840
Speaker 5: we were so close to that one. You know, that

1441
01:15:47,880 --> 01:15:51,479
Speaker 5: would have been fantastic, you know, even you know, and

1442
01:15:51,520 --> 01:15:54,360
Speaker 5: then our ego kind of got in the way. When

1443
01:15:55,400 --> 01:15:57,720
Speaker 5: even though we worked with the in Sync, we did

1444
01:15:57,800 --> 01:16:01,240
Speaker 5: like three songs and their albums, the only Diamond album

1445
01:16:01,280 --> 01:16:05,760
Speaker 5: which were part of, which is Proud of. We were

1446
01:16:05,720 --> 01:16:06,680
Speaker 5: supposed to do this.

1447
01:16:06,720 --> 01:16:07,960
Speaker 8: Song and our ego got in away.

1448
01:16:08,000 --> 01:16:11,040
Speaker 5: We wrote this dope song, but they wanted and we

1449
01:16:11,080 --> 01:16:14,000
Speaker 5: wrote it one hundred percent, but the record company felt

1450
01:16:14,200 --> 01:16:17,200
Speaker 5: to let Max mart because Max Smart was having mad

1451
01:16:18,200 --> 01:16:20,840
Speaker 5: doing the damn thing. They said, listen, guys, we want

1452
01:16:20,880 --> 01:16:23,280
Speaker 5: to do that song. Maybe you guys wrote a hundred percent,

1453
01:16:23,479 --> 01:16:25,760
Speaker 5: but we just want Max to produce it, and our

1454
01:16:25,760 --> 01:16:27,880
Speaker 5: fucking ego got in the way. No, no, no, we

1455
01:16:27,920 --> 01:16:31,040
Speaker 5: want produce it like we produced the don't tell us

1456
01:16:31,040 --> 01:16:37,320
Speaker 5: what to do, And they said, okay, fuck it, fuck that.

1457
01:16:37,400 --> 01:16:42,600
Speaker 5: Then we just want to do it. But for that particular

1458
01:16:42,760 --> 01:16:45,160
Speaker 5: song they didn't want it. It's a perfect pop song,

1459
01:16:45,240 --> 01:16:49,360
Speaker 5: so gotten away that and I remember, even though she

1460
01:16:49,439 --> 01:16:50,280
Speaker 5: didn't blow.

1461
01:16:50,080 --> 01:16:52,720
Speaker 8: Up, but I just loved Shane.

1462
01:16:52,880 --> 01:16:56,800
Speaker 5: She was like fourteen years old, and we we We

1463
01:16:56,920 --> 01:16:58,720
Speaker 5: got a chance to work with her later, but at

1464
01:16:58,720 --> 01:17:02,400
Speaker 5: that time, I remember getting we was getting the contract

1465
01:17:02,520 --> 01:17:03,840
Speaker 5: backs to us, back and forth.

1466
01:17:03,840 --> 01:17:04,880
Speaker 8: We're going back and forth.

1467
01:17:05,000 --> 01:17:07,200
Speaker 2: Oh you almost said. The first record that Brian Larene.

1468
01:17:06,920 --> 01:17:08,360
Speaker 5: Did, yeah, we was.

1469
01:17:10,360 --> 01:17:12,560
Speaker 8: Yeah as.

1470
01:17:15,360 --> 01:17:17,040
Speaker 2: Can You Dance? Joran? Yeah.

1471
01:17:17,160 --> 01:17:20,640
Speaker 5: Bruce durn was her managing the time. I was just

1472
01:17:20,640 --> 01:17:23,679
Speaker 5: a lover with Shane's voice, even at such a young age.

1473
01:17:23,720 --> 01:17:28,479
Speaker 5: But that that that never came and we almost had

1474
01:17:28,479 --> 01:17:30,320
Speaker 5: a chance to produce my my favorite group in the

1475
01:17:30,320 --> 01:17:33,360
Speaker 5: world of Temptations, but that didn't come through as well.

1476
01:17:33,520 --> 01:17:35,160
Speaker 5: A lot of ship that didn't come through them, Like

1477
01:17:35,200 --> 01:17:38,160
Speaker 5: oh man, but story about it?

1478
01:17:38,560 --> 01:17:41,000
Speaker 6: You know, Hey, look, can you just I'm sorry, can

1479
01:17:41,040 --> 01:17:43,720
Speaker 6: you remind people real quick? Because I remember when the

1480
01:17:43,800 --> 01:17:45,800
Speaker 6: whole story came out about you guys producing in Sync,

1481
01:17:45,880 --> 01:17:48,519
Speaker 6: I was more team in Sync. I just started telling

1482
01:17:48,520 --> 01:17:49,920
Speaker 6: people that y'all did the whole album.

1483
01:17:50,200 --> 01:17:54,040
Speaker 13: But can you can you remind people the three the

1484
01:17:54,080 --> 01:17:57,000
Speaker 13: three songs on that Diamond record and and the what

1485
01:17:57,080 --> 01:17:57,639
Speaker 13: we did.

1486
01:17:57,520 --> 01:17:59,639
Speaker 5: We did I Just Want to Be with You, which

1487
01:17:59,680 --> 01:18:02,880
Speaker 5: is a song that they released. It wasn't released in

1488
01:18:02,880 --> 01:18:04,719
Speaker 5: the state it was on the album. It wasn't released

1489
01:18:04,720 --> 01:18:06,720
Speaker 5: in the States, but it was released overseas and it

1490
01:18:06,800 --> 01:18:08,600
Speaker 5: was like a top ten joint and that was like

1491
01:18:08,640 --> 01:18:11,719
Speaker 5: one of their favorite songs. They performed it on every

1492
01:18:12,240 --> 01:18:13,240
Speaker 5: concert that they did.

1493
01:18:13,600 --> 01:18:16,320
Speaker 8: Then we did a remake called.

1494
01:18:16,600 --> 01:18:20,920
Speaker 5: Everything I Own, which was which was originally done by

1495
01:18:21,160 --> 01:18:23,639
Speaker 5: I want to say, was it yes or not? Yes,

1496
01:18:24,360 --> 01:18:26,280
Speaker 5: it was done by another popular but we did a

1497
01:18:26,320 --> 01:18:28,519
Speaker 5: remake of it Everything I Owned. That was like one

1498
01:18:28,560 --> 01:18:32,400
Speaker 5: of the first times we actually saw the vocal wizardry

1499
01:18:32,680 --> 01:18:39,280
Speaker 5: of Justin timulate it. I was like, man, okay, Justin,

1500
01:18:39,880 --> 01:18:42,080
Speaker 5: you know, I want you to double your voice and

1501
01:18:42,240 --> 01:18:45,640
Speaker 5: do the same kind of thing, you know, whatever is

1502
01:18:45,840 --> 01:18:48,240
Speaker 5: he was just he was just incredible.

1503
01:18:50,240 --> 01:18:51,000
Speaker 6: I just got to say it.

1504
01:18:51,040 --> 01:18:55,320
Speaker 5: But jayc was too, But Justin was on just some

1505
01:18:55,640 --> 01:18:58,080
Speaker 5: on the level. And you want to know something, they

1506
01:18:58,120 --> 01:19:03,200
Speaker 5: all they all love black music. Justin Justin timberlate that

1507
01:19:03,200 --> 01:19:06,920
Speaker 5: that that he used to do like imitate Usher dances

1508
01:19:07,040 --> 01:19:10,679
Speaker 5: and everything Usher and everything black. He just let everything

1509
01:19:11,000 --> 01:19:12,519
Speaker 5: black and.

1510
01:19:12,520 --> 01:19:14,679
Speaker 2: One more times can't.

1511
01:19:16,520 --> 01:19:19,320
Speaker 6: Right now everything I like the way you say black,

1512
01:19:19,439 --> 01:19:20,559
Speaker 6: everything black.

1513
01:19:21,080 --> 01:19:24,519
Speaker 5: No, No, he loved he loved he loved the black music,

1514
01:19:25,960 --> 01:19:27,400
Speaker 5: just not the women, not the women.

1515
01:19:27,479 --> 01:19:29,960
Speaker 2: But I got God told you Lucy satting you up.

1516
01:19:30,160 --> 01:19:31,920
Speaker 5: I wasn't I wasn't. I wasn't. I wasn't. I wasn't.

1517
01:19:31,920 --> 01:19:33,040
Speaker 5: I wasn't. I wasn't I wasn't.

1518
01:19:33,040 --> 01:19:33,880
Speaker 2: I'm sorry I had to do that.

1519
01:19:34,160 --> 01:19:34,400
Speaker 5: Ladies.

1520
01:19:34,439 --> 01:19:34,760
Speaker 2: I'm sorry.

1521
01:19:34,760 --> 01:19:35,120
Speaker 5: I'm sorry.

1522
01:19:35,120 --> 01:19:36,880
Speaker 8: You know it was it was so it was so much.

1523
01:19:37,160 --> 01:19:38,759
Speaker 5: It was so much so that they did the story

1524
01:19:38,760 --> 01:19:41,400
Speaker 5: of us for Vibe magazine and Baby Jerry did a

1525
01:19:41,479 --> 01:19:44,200
Speaker 5: quote and Vibe Magazine and he said, yeah, man, you

1526
01:19:44,280 --> 01:19:46,599
Speaker 5: walk into there and you see in sync, and you

1527
01:19:46,600 --> 01:19:49,400
Speaker 5: see this kid, Justin Timberlate and he's just just singing

1528
01:19:49,439 --> 01:19:52,840
Speaker 5: Brian mcnight songs and he's doing like usher dancing to

1529
01:19:53,120 --> 01:19:57,240
Speaker 5: doing Usher dances, and then he's just incredible and and

1530
01:19:57,240 --> 01:20:01,000
Speaker 5: and Justin was so excited about out that. And when

1531
01:20:01,000 --> 01:20:03,439
Speaker 5: we came back to work with What's Cherry? What's Cherry?

1532
01:20:03,439 --> 01:20:06,240
Speaker 5: What Cherry Cherry? Man? Thanks for saying that, man, Oh,

1533
01:20:06,400 --> 01:20:09,320
Speaker 5: thanks for saying that in five magazine and their picture

1534
01:20:09,400 --> 01:20:12,320
Speaker 5: was in Vibe magazine. It's so back. She wasn't Britain

1535
01:20:12,360 --> 01:20:15,040
Speaker 5: because we were talking about us doing these pop facts.

1536
01:20:15,240 --> 01:20:19,719
Speaker 5: But he just loved being revered by black folks. Listen,

1537
01:20:20,200 --> 01:20:22,360
Speaker 5: do you remember question I failed for that? So I'm

1538
01:20:22,360 --> 01:20:26,040
Speaker 5: not I have nothing Train Awards when he won.

1539
01:20:28,560 --> 01:20:30,120
Speaker 2: Yeah, the point.

1540
01:20:29,920 --> 01:20:32,160
Speaker 6: When he did he wear carroles that night, I can't remember.

1541
01:20:33,200 --> 01:20:35,360
Speaker 5: He loved it. That was kind of crazy to me.

1542
01:20:35,560 --> 01:20:37,920
Speaker 6: But yeah, and the mirror I'm not being I'm not

1543
01:20:37,960 --> 01:20:40,120
Speaker 6: being funny and mirror I felt like I felt when

1544
01:20:40,120 --> 01:20:41,880
Speaker 6: I heard Gone for the first time.

1545
01:20:42,360 --> 01:20:45,440
Speaker 5: I was one at my black radio station in Philadelphia.

1546
01:20:45,439 --> 01:20:47,880
Speaker 6: That was like, let's just play this record and not

1547
01:20:47,920 --> 01:20:49,080
Speaker 6: say who's singing the song?

1548
01:20:49,439 --> 01:20:52,320
Speaker 5: Like, so I fell for it. I'm just all right. Yeah.

1549
01:20:52,439 --> 01:20:55,120
Speaker 4: Oh, by the way, I think Bread is the group

1550
01:20:55,160 --> 01:20:56,280
Speaker 4: that did everything I owned.

1551
01:20:56,640 --> 01:20:58,200
Speaker 5: Uh, yes, yes, indeed.

1552
01:20:58,360 --> 01:21:00,880
Speaker 4: Wait, boy, wait you mentioned nineteen eighty three. All right,

1553
01:21:00,920 --> 01:21:02,240
Speaker 4: and we're gonna wrap this up soon.

1554
01:21:02,320 --> 01:21:03,120
Speaker 5: But it just hit me.

1555
01:21:03,120 --> 01:21:08,920
Speaker 4: Maybe there's there's one question. I there's one factoid about

1556
01:21:08,960 --> 01:21:09,400
Speaker 4: your career.

1557
01:21:09,520 --> 01:21:10,120
Speaker 2: I didn't know.

1558
01:21:11,240 --> 01:21:13,880
Speaker 4: I didn't know that you guys had worked with Bob Dylan.

1559
01:21:15,520 --> 01:21:20,000
Speaker 4: Can I ask if this was the Curtis blow connection

1560
01:21:20,120 --> 01:21:20,840
Speaker 4: to Bob Dylan?

1561
01:21:21,880 --> 01:21:22,479
Speaker 5: Or yes?

1562
01:21:24,360 --> 01:21:25,320
Speaker 6: Wait, what's that.

1563
01:21:26,960 --> 01:21:29,040
Speaker 5: You know?

1564
01:21:29,360 --> 01:21:31,920
Speaker 4: I'm you No, No, I put two and two together

1565
01:21:32,680 --> 01:21:37,799
Speaker 4: and all right, Well, one, when salam Remy was fourteen

1566
01:21:37,880 --> 01:21:42,320
Speaker 4: years old, he had talked Curtis Blow into doing a

1567
01:21:42,360 --> 01:21:50,439
Speaker 4: cover of Magilla Gorilla Why anyway? Anyway, Also on also

1568
01:21:50,479 --> 01:21:52,519
Speaker 4: on that record, I had the America album.

1569
01:21:53,160 --> 01:21:54,919
Speaker 2: So I do know that.

1570
01:21:54,760 --> 01:22:00,960
Speaker 4: Bob Dylan had sung on Curtis Blow's America album. And

1571
01:22:01,240 --> 01:22:03,360
Speaker 4: I think I forget the producer at the time that

1572
01:22:03,479 --> 01:22:06,439
Speaker 4: was also working with Bob Dylan.

1573
01:22:06,720 --> 01:22:10,040
Speaker 2: It might have been. Was it Bill Laswell?

1574
01:22:10,160 --> 01:22:12,200
Speaker 4: I forget who it was, but it was like someone

1575
01:22:12,240 --> 01:22:14,960
Speaker 4: that had some sort of street cred. It was either

1576
01:22:15,000 --> 01:22:17,439
Speaker 4: Bill Laswell or it could have been Arthur Baker, but

1577
01:22:17,600 --> 01:22:21,280
Speaker 4: like somebody who was not Rick Rubin, but like the

1578
01:22:21,320 --> 01:22:23,719
Speaker 4: white guy that was sort of in hip hop circles.

1579
01:22:24,360 --> 01:22:25,719
Speaker 2: And so I just put two and two together.

1580
01:22:25,800 --> 01:22:31,120
Speaker 4: I'm like, well, you guys work with Curtis Blow, and yeah,

1581
01:22:31,200 --> 01:22:34,680
Speaker 4: it makes sense that that's how it went down. So

1582
01:22:35,720 --> 01:22:38,080
Speaker 4: he chose you guys to sing background on a joint

1583
01:22:38,280 --> 01:22:41,800
Speaker 4: that was on the Infidel's record exactly.

1584
01:22:42,000 --> 01:22:45,080
Speaker 5: And actually we did two joints, but that one made

1585
01:22:45,120 --> 01:22:47,559
Speaker 5: the one of them made the Infidel's album, which is

1586
01:22:47,600 --> 01:22:50,080
Speaker 5: called Death Is Not the End. And how that happened

1587
01:22:50,200 --> 01:22:51,720
Speaker 5: was we was working.

1588
01:22:51,479 --> 01:22:55,000
Speaker 15: With Curtis Blow at power station in New York and

1589
01:22:56,280 --> 01:22:59,120
Speaker 15: they just heard ours because we were singing back on

1590
01:22:59,200 --> 01:23:02,439
Speaker 15: focus to songs we did with Kurt, and they.

1591
01:23:02,360 --> 01:23:04,080
Speaker 5: Would walk in and out and they would hear it.

1592
01:23:04,120 --> 01:23:06,400
Speaker 18: And then all of a sudden, one of his assistants

1593
01:23:07,160 --> 01:23:09,799
Speaker 18: came to us and like, hey, when you guys are finished,

1594
01:23:10,160 --> 01:23:12,559
Speaker 18: just one guys, if you guys could come lay down

1595
01:23:12,600 --> 01:23:16,000
Speaker 18: some background vocals to a new artist that a new

1596
01:23:16,080 --> 01:23:17,760
Speaker 18: artist client will pay you something for.

1597
01:23:17,800 --> 01:23:20,599
Speaker 5: The new artist client of ours. And we said yeah, okay,

1598
01:23:20,840 --> 01:23:22,640
Speaker 5: And we weren't known then, but we was down to

1599
01:23:23,040 --> 01:23:25,320
Speaker 5: do it. This is right before we signed with Columbia Records,

1600
01:23:25,360 --> 01:23:29,040
Speaker 5: this full Force and whatever, and we went to perform

1601
01:23:29,400 --> 01:23:31,040
Speaker 5: for this new We went to go in there to

1602
01:23:31,040 --> 01:23:33,679
Speaker 5: see this new artist. And when we walked in there,

1603
01:23:34,240 --> 01:23:37,040
Speaker 5: because remember our music, we stemmed all the way back

1604
01:23:37,040 --> 01:23:39,519
Speaker 5: from when we were kids seeing all these artists at

1605
01:23:39,560 --> 01:23:44,240
Speaker 5: the Apollo Theater like from everybody. So we saw fucking

1606
01:23:44,360 --> 01:23:48,519
Speaker 5: Bob Dylan, were just so blown. That's a new artist.

1607
01:23:48,800 --> 01:23:52,920
Speaker 5: Wait a minute, that's that's art. That's Bob, that's Bob Dylan,

1608
01:23:53,520 --> 01:23:56,439
Speaker 5: and it's Bob Dylan man. And he walked over to us,

1609
01:23:56,960 --> 01:24:00,880
Speaker 5: how y'all doing, y'all doing good? How y'all feel shaking

1610
01:24:00,960 --> 01:24:03,360
Speaker 5: our head? And how you're doing. Yeah, yeah, I just

1611
01:24:03,760 --> 01:24:05,920
Speaker 5: like to hear y'all vote do your vocals on these

1612
01:24:05,960 --> 01:24:09,880
Speaker 5: two songs of mine. I really loved that. And we

1613
01:24:09,880 --> 01:24:11,679
Speaker 5: were going and we just stayed there and we did

1614
01:24:12,640 --> 01:24:16,599
Speaker 5: background vocals on two Bob Dylan songs, and then we

1615
01:24:16,600 --> 01:24:18,800
Speaker 5: was appeared on the album because we were known then

1616
01:24:18,920 --> 01:24:22,120
Speaker 5: through the Least Release and coaching with Full Force. You know,

1617
01:24:22,160 --> 01:24:25,760
Speaker 5: we saw our name on the sticker with credits Full Force.

1618
01:24:25,560 --> 01:24:26,599
Speaker 8: And with Bob Doling.

1619
01:24:27,320 --> 01:24:29,440
Speaker 5: It was incredible, you know, incredible.

1620
01:24:30,520 --> 01:24:33,320
Speaker 4: All right, So I I was going to ask the

1621
01:24:33,360 --> 01:24:34,759
Speaker 4: last question, did you guys have anything?

1622
01:24:34,880 --> 01:24:35,880
Speaker 2: No, no, no, I just.

1623
01:24:35,920 --> 01:24:37,679
Speaker 6: Want to ask one laugh for you. I just want

1624
01:24:37,720 --> 01:24:40,200
Speaker 6: to lou, have we been keeping you on screens for

1625
01:24:40,240 --> 01:24:43,080
Speaker 6: too long? Because I just realized that, you know, we

1626
01:24:43,280 --> 01:24:45,400
Speaker 6: as we talked, as we're talking about the future, the

1627
01:24:45,439 --> 01:24:48,320
Speaker 6: presents and whatnot, that you have your own battles with

1628
01:24:48,520 --> 01:24:51,240
Speaker 6: health and your eyes. So I was just curious. I

1629
01:24:51,280 --> 01:24:52,559
Speaker 6: was like, wait, are you supposed to be looking at

1630
01:24:52,560 --> 01:24:53,160
Speaker 6: screens as long?

1631
01:24:53,200 --> 01:24:56,200
Speaker 5: An? Oh no, no, yeah, I'm fine. I'm fine. I got

1632
01:24:56,240 --> 01:25:00,200
Speaker 5: central vision is still good. I'm keeping being proactive with

1633
01:25:00,280 --> 01:25:03,000
Speaker 5: my eye. I got this disease called retinies, pigmentos at

1634
01:25:03,080 --> 01:25:08,800
Speaker 5: least the blindness. But I'm proactive with the treatments of it.

1635
01:25:08,880 --> 01:25:12,680
Speaker 5: Like I'm going to do this treatment called the hyperbaric

1636
01:25:12,760 --> 01:25:16,320
Speaker 5: oxygen therapy which you get into the chamber and you.

1637
01:25:16,320 --> 01:25:17,479
Speaker 2: Ain't Michael Jackson thing.

1638
01:25:18,120 --> 01:25:22,000
Speaker 5: Yeah, but it's in the eyes because what it does

1639
01:25:22,040 --> 01:25:25,439
Speaker 5: installs the progression of any more sight loss, Like I

1640
01:25:25,479 --> 01:25:28,559
Speaker 5: don't have any peripheral vision anymore, but I just got

1641
01:25:28,600 --> 01:25:31,760
Speaker 5: my central vision, so you know, it's it's it's all good.

1642
01:25:31,800 --> 01:25:33,880
Speaker 5: So I'm good, man, I'm just I'm happy to be

1643
01:25:33,960 --> 01:25:35,680
Speaker 5: doing this show ques to tell you truth, man, I

1644
01:25:35,720 --> 01:25:36,040
Speaker 5: love it.

1645
01:25:36,120 --> 01:25:37,639
Speaker 6: And this is the last question I want to ask.

1646
01:25:37,880 --> 01:25:40,559
Speaker 6: I want you to ask about your your dad and

1647
01:25:40,880 --> 01:25:43,880
Speaker 6: what he taught you and your brothers about being men,

1648
01:25:44,360 --> 01:25:48,440
Speaker 6: because I feel like watching you guys, there are no barriers.

1649
01:25:48,520 --> 01:25:52,280
Speaker 6: Y'all have this kind of love that I can kiss

1650
01:25:52,280 --> 01:25:54,479
Speaker 6: my brother on the cheek, I can, you know, It's

1651
01:25:54,560 --> 01:25:57,360
Speaker 6: just it's no barriers. So I'm curious as to what

1652
01:25:57,360 --> 01:25:58,439
Speaker 6: your father told you.

1653
01:25:58,520 --> 01:26:01,759
Speaker 2: What a man are you? You are your brother's keeper?

1654
01:26:01,960 --> 01:26:04,719
Speaker 6: Yeah, that too, but just too, and how they operate

1655
01:26:04,720 --> 01:26:07,360
Speaker 6: as men without barriers as well, like not have you know,

1656
01:26:07,439 --> 01:26:09,559
Speaker 6: not the extra extra manly all the time.

1657
01:26:09,680 --> 01:26:15,160
Speaker 5: And even though yes, yeah, yeah, well my father didn't

1658
01:26:15,240 --> 01:26:17,639
Speaker 5: kind of teach us that, but we kind of got

1659
01:26:17,680 --> 01:26:20,479
Speaker 5: that also from our mother. So my mother and our

1660
01:26:20,560 --> 01:26:23,960
Speaker 5: father kind of kind of did that for us. And

1661
01:26:24,160 --> 01:26:26,479
Speaker 5: just to be real with it, because even though we

1662
01:26:26,840 --> 01:26:29,639
Speaker 5: were machra when we're full force, you know, we still

1663
01:26:29,680 --> 01:26:32,800
Speaker 5: got our emotional side and illness as well, even though

1664
01:26:32,800 --> 01:26:35,519
Speaker 5: we're men. You know, the bottom line is that, yeah,

1665
01:26:35,600 --> 01:26:37,320
Speaker 5: if I want to cry, I could cry and just

1666
01:26:37,439 --> 01:26:42,320
Speaker 5: feel feel the whole uh love scenario there. So my

1667
01:26:42,360 --> 01:26:46,000
Speaker 5: mother and my father may rest in peace, taught us that,

1668
01:26:46,080 --> 01:26:48,840
Speaker 5: you know, taught us not the whole grudges because I

1669
01:26:48,840 --> 01:26:52,200
Speaker 5: don't hold grudges at all. And my thing I'll never forget.

1670
01:26:52,320 --> 01:26:54,439
Speaker 5: I mean, I'm saying this public people, I'll never forget.

1671
01:26:54,439 --> 01:26:59,120
Speaker 5: My father's wife at the time wasn't my mother. It

1672
01:26:59,160 --> 01:27:02,160
Speaker 5: was his wife before he passed. You know. We just

1673
01:27:02,360 --> 01:27:04,760
Speaker 5: used to always have some back and forth with her,

1674
01:27:04,800 --> 01:27:08,000
Speaker 5: and I'll never forget when we had to run in

1675
01:27:08,080 --> 01:27:10,960
Speaker 5: and she jumped in my face and said, all right,

1676
01:27:11,280 --> 01:27:15,240
Speaker 5: well you're going blind. You're going blind. She said that

1677
01:27:15,280 --> 01:27:18,280
Speaker 5: to me at the nursing where my father was, and

1678
01:27:18,320 --> 01:27:21,200
Speaker 5: I was like, it's okay, and I walked out, and

1679
01:27:21,240 --> 01:27:25,040
Speaker 5: she like taunted me, She's so stupid, But that was okay.

1680
01:27:25,280 --> 01:27:28,960
Speaker 5: Two weeks later, I forgave her. I reached out an

1681
01:27:29,000 --> 01:27:31,720
Speaker 5: olive branch to her and I said, well, listen, I

1682
01:27:31,840 --> 01:27:33,840
Speaker 5: just want I don't want to hold any grudges, because

1683
01:27:33,880 --> 01:27:35,559
Speaker 5: of course we still wanted to know what was happening

1684
01:27:35,560 --> 01:27:38,439
Speaker 5: to my father since she was the healthcare proxy and

1685
01:27:38,479 --> 01:27:41,720
Speaker 5: everything and controlled all that stuff. So I forgave her.

1686
01:27:41,800 --> 01:27:43,840
Speaker 5: I just don't like to hold grudges for anything. The

1687
01:27:43,880 --> 01:27:47,200
Speaker 5: only time I holdly grudge is if somebody does bodily

1688
01:27:47,240 --> 01:27:50,519
Speaker 5: harm or fatal bodily harm to my family or friends,

1689
01:27:50,720 --> 01:27:54,000
Speaker 5: then I'm holding a fucking grudge. But other than that,

1690
01:27:54,160 --> 01:27:56,639
Speaker 5: I don't like to I like to forgive the best

1691
01:27:56,680 --> 01:27:59,640
Speaker 5: way I can. And my mother and father taught us that.

1692
01:27:59,680 --> 01:28:02,439
Speaker 5: They told like, my mother always says she has three

1693
01:28:02,479 --> 01:28:05,439
Speaker 5: wonderful sons. So even though I'm the primary caregiver for

1694
01:28:05,479 --> 01:28:10,200
Speaker 5: my mom, my brother's pitching as well, we all are

1695
01:28:10,240 --> 01:28:13,320
Speaker 5: caregivers to her, and I always like hearing her saying

1696
01:28:13,400 --> 01:28:15,479
Speaker 5: she has three wonderful sons because she has her health

1697
01:28:15,560 --> 01:28:17,800
Speaker 5: challenges now but we have to be there for her

1698
01:28:17,880 --> 01:28:18,840
Speaker 5: like she was there for us.

1699
01:28:18,840 --> 01:28:20,120
Speaker 8: It's just like my brother Paul.

1700
01:28:20,960 --> 01:28:23,280
Speaker 5: You know, when my brother Paul was fighting for his

1701
01:28:23,360 --> 01:28:26,680
Speaker 5: life with the cancer. I mean, and Paul is like

1702
01:28:26,800 --> 01:28:30,280
Speaker 5: mister invincible, you know, it's like for him to have cancer,

1703
01:28:30,720 --> 01:28:33,080
Speaker 5: it was like a mind blow. He's eight years cancer

1704
01:28:33,120 --> 01:28:36,160
Speaker 5: free now, but when he was really fighting for his life,

1705
01:28:36,600 --> 01:28:39,040
Speaker 5: we had to have a bone marrow stemself transplant. I

1706
01:28:39,120 --> 01:28:41,800
Speaker 5: was just one hundred percent match. Thank god, my brother

1707
01:28:41,840 --> 01:28:44,000
Speaker 5: b Fine said, man, I thought I was going to

1708
01:28:44,040 --> 01:28:44,960
Speaker 5: be the match because me and.

1709
01:28:44,880 --> 01:28:45,759
Speaker 8: Him look more alike.

1710
01:28:46,400 --> 01:28:53,040
Speaker 5: I'm sorry, being but I was his match. He finan

1711
01:28:53,120 --> 01:28:55,600
Speaker 5: for his life. He needed sick he needed Paul was

1712
01:28:55,640 --> 01:28:58,880
Speaker 5: always positive though, no matter what, he was always positive.

1713
01:28:58,920 --> 01:29:00,920
Speaker 5: You can never see a chink in his armor except

1714
01:29:01,040 --> 01:29:04,160
Speaker 5: behind closed doors. I maybe saw it twice, but an

1715
01:29:04,280 --> 01:29:07,400
Speaker 5: outer thing, think positively positive because he's not like that.

1716
01:29:07,560 --> 01:29:09,920
Speaker 5: Then we don't even get to a transplant. But when

1717
01:29:09,920 --> 01:29:12,880
Speaker 5: he was fighting for his life and they said he

1718
01:29:12,960 --> 01:29:15,960
Speaker 5: needed six million stemselves, I was the one at home

1719
01:29:16,479 --> 01:29:20,840
Speaker 5: taking Nu pigeon shots, like injecting myself twice a day

1720
01:29:20,920 --> 01:29:23,479
Speaker 5: for two weeks to harvest my own stem cells to

1721
01:29:23,520 --> 01:29:26,920
Speaker 5: give to my brother. And when I went into the hospital,

1722
01:29:27,200 --> 01:29:31,000
Speaker 5: they said, listen, your brother needs six million stemselves. If

1723
01:29:31,040 --> 01:29:33,519
Speaker 5: you don't give him enough, we're going to take a

1724
01:29:33,520 --> 01:29:37,680
Speaker 5: cafeter to your chest and try to extract, try to

1725
01:29:37,720 --> 01:29:40,599
Speaker 5: extract more that we could do. Now, here's what can

1726
01:29:40,680 --> 01:29:45,000
Speaker 5: happen during this procedure, what we're doing now, you could

1727
01:29:45,040 --> 01:29:48,360
Speaker 5: bleed to death. Your spleen could bleed, and this and

1728
01:29:48,439 --> 01:29:48,720
Speaker 5: that and.

1729
01:29:48,680 --> 01:29:49,960
Speaker 8: Blah blah, all kinds of stuff.

1730
01:29:50,040 --> 01:29:51,800
Speaker 5: And then they said, would you still like to go

1731
01:29:51,840 --> 01:29:54,360
Speaker 5: through it this? And I said, of course I was.

1732
01:29:54,360 --> 01:29:57,320
Speaker 5: It was my brother, you know who wouldn't. And they said,

1733
01:29:57,400 --> 01:30:01,040
Speaker 5: you'd be surprised, mister George. I said what I said,

1734
01:30:01,040 --> 01:30:02,720
Speaker 5: Do some siblings have done that?

1735
01:30:02,840 --> 01:30:03,320
Speaker 8: Knowing that?

1736
01:30:03,600 --> 01:30:06,920
Speaker 5: They said, yeah, some they get so scared that yeah,

1737
01:30:06,960 --> 01:30:08,600
Speaker 5: then they back out. I'm like, oh, I'm not going

1738
01:30:08,680 --> 01:30:11,680
Speaker 5: to back out. So we did the damn thing, and

1739
01:30:11,720 --> 01:30:15,400
Speaker 5: instead of giving Paul six million stemselves, I was able

1740
01:30:15,400 --> 01:30:19,760
Speaker 5: to give him nine million steps. Wow. I became. I

1741
01:30:19,840 --> 01:30:24,840
Speaker 5: became a conduit from God to help save Paul's life

1742
01:30:24,880 --> 01:30:27,559
Speaker 5: and these eight years cancer free right now, I just

1743
01:30:27,600 --> 01:30:30,240
Speaker 5: told him I wish he had some damn stem cells

1744
01:30:30,280 --> 01:30:35,360
Speaker 5: form my fucking eyes. You know, I was turn the paper,

1745
01:30:36,600 --> 01:30:39,639
Speaker 5: but it's all good man, and Paul's just doing his thing.

1746
01:30:39,680 --> 01:30:42,120
Speaker 5: You know, even even before it's themself transplant, he was

1747
01:30:42,120 --> 01:30:44,400
Speaker 5: at the hospital still working out when he was supposed

1748
01:30:44,439 --> 01:30:47,000
Speaker 5: to doing push ups and doing stuff for me. He

1749
01:30:47,080 --> 01:30:50,360
Speaker 5: was like he was like an inspiration over there.

1750
01:30:51,479 --> 01:30:53,000
Speaker 2: That's why.

1751
01:30:53,439 --> 01:30:57,000
Speaker 4: Yeah, I monitored his progress on his Instagram and it's

1752
01:30:57,040 --> 01:30:58,120
Speaker 4: beautiful to see him.

1753
01:30:59,120 --> 01:31:01,720
Speaker 2: Uh. I wanted to.

1754
01:31:01,760 --> 01:31:09,639
Speaker 4: Know, even without uh, even without what we're going through

1755
01:31:09,840 --> 01:31:17,480
Speaker 4: in UH COVID and quarantining, how do you currently stay creative?

1756
01:31:17,920 --> 01:31:19,560
Speaker 2: Like is music still.

1757
01:31:21,320 --> 01:31:25,759
Speaker 4: A first love to you as it once was, or

1758
01:31:26,600 --> 01:31:28,639
Speaker 4: are you just at another place in your life where

1759
01:31:28,640 --> 01:31:32,439
Speaker 4: you're just enjoying life and you know, what is your

1760
01:31:32,600 --> 01:31:35,680
Speaker 4: relationship with not with the music business, but just with

1761
01:31:36,160 --> 01:31:41,240
Speaker 4: creativity in general, and you know, kind of your relationship

1762
01:31:41,240 --> 01:31:41,719
Speaker 4: with music.

1763
01:31:42,479 --> 01:31:45,240
Speaker 5: We still love music, I mean that's our fiber from

1764
01:31:45,240 --> 01:31:48,880
Speaker 5: the beginning. So it's just a different space and time

1765
01:31:48,920 --> 01:31:52,240
Speaker 5: now with how music is now, it's like anybody could

1766
01:31:52,240 --> 01:31:56,200
Speaker 5: buy music now. I mean Jimmy jam sent Paul pull

1767
01:31:56,280 --> 01:31:57,960
Speaker 5: men at check out my new single. He sent them

1768
01:31:57,960 --> 01:32:01,040
Speaker 5: by phone. I mean, look, how look how tithes of change.

1769
01:32:01,280 --> 01:32:04,439
Speaker 5: It's a single and I feel and I love, I

1770
01:32:04,479 --> 01:32:07,080
Speaker 5: love Jimmy jim and Terry Lewis. They're like heroes of ours.

1771
01:32:07,120 --> 01:32:09,840
Speaker 5: I'll never forget when they won their Grammy and they

1772
01:32:09,840 --> 01:32:14,120
Speaker 5: did an interview for Billboard magazine and in it because

1773
01:32:14,120 --> 01:32:17,240
Speaker 5: of Alice had came out, and they gave us prout

1774
01:32:17,280 --> 01:32:19,600
Speaker 5: by saying, yeah, man, right now, our favorite group is

1775
01:32:19,640 --> 01:32:22,000
Speaker 5: Full Force and our favorite song is alex I Wann't

1776
01:32:22,000 --> 01:32:23,439
Speaker 5: You Just for Me? And we're like, man, that's coming

1777
01:32:23,439 --> 01:32:26,679
Speaker 5: from Terry losing Jimmy Jam. But the album that they've done,

1778
01:32:27,240 --> 01:32:30,280
Speaker 5: and like the single with the Babyface that they did,

1779
01:32:31,080 --> 01:32:34,479
Speaker 5: I mean, it's a good record. So in today's age

1780
01:32:34,479 --> 01:32:38,360
Speaker 5: of music, I mean, you know, they don't they don't

1781
01:32:38,439 --> 01:32:40,960
Speaker 5: rever it like how it should because back in our

1782
01:32:41,040 --> 01:32:43,880
Speaker 5: era that have been a huge deal.

1783
01:32:44,160 --> 01:32:47,160
Speaker 8: Are you kidding? You know, Terry losing Jimmy Jam doing

1784
01:32:47,200 --> 01:32:49,320
Speaker 8: an album together, that would be a huge deal.

1785
01:32:49,479 --> 01:32:52,240
Speaker 9: You know the fact then now Isa days, it's a

1786
01:32:52,240 --> 01:32:53,800
Speaker 9: whole it's a whole difference there.

1787
01:32:53,960 --> 01:32:55,559
Speaker 5: And I'm not a hater or anything like that, but

1788
01:32:55,680 --> 01:33:03,280
Speaker 5: I'm saying it's just, yeah, different times, not exhausting, just

1789
01:33:03,320 --> 01:33:08,120
Speaker 5: a little disappointing. Sometimes with the way how music scenario is.

1790
01:33:08,160 --> 01:33:10,960
Speaker 5: You know, I know, we got the whole TikTok and

1791
01:33:11,080 --> 01:33:13,920
Speaker 5: you just buy stuff. I miss the days. I mean,

1792
01:33:14,479 --> 01:33:16,120
Speaker 5: I mean, call me a dinosaur if you want. But

1793
01:33:16,160 --> 01:33:19,360
Speaker 5: I love going to the record store and staying in

1794
01:33:19,439 --> 01:33:21,880
Speaker 5: the record ours for hours looking at the album covers

1795
01:33:21,880 --> 01:33:24,760
Speaker 5: and the credits on the back, and buy my Temptations

1796
01:33:24,760 --> 01:33:27,720
Speaker 5: album and buying my motortown review and buying this and

1797
01:33:27,720 --> 01:33:31,080
Speaker 5: buy that, and even the cvs. I love that, you know.

1798
01:33:31,160 --> 01:33:33,439
Speaker 5: So our music thing is still good because we're still

1799
01:33:33,439 --> 01:33:36,479
Speaker 5: doing music. We're still producing songs and everything like that

1800
01:33:36,600 --> 01:33:38,200
Speaker 5: and streaming and everything like that.

1801
01:33:38,320 --> 01:33:40,639
Speaker 8: One of the exciting things that we did, at least

1802
01:33:40,680 --> 01:33:42,720
Speaker 8: for me, which was last Christmas.

1803
01:33:42,880 --> 01:33:46,040
Speaker 5: You know, we did our first ever full force Christmas song,

1804
01:33:46,320 --> 01:33:50,720
Speaker 5: which we we did it like maybe a month before Christmas.

1805
01:33:50,720 --> 01:33:53,320
Speaker 5: But next time, being that it's a Christmas song, we'll

1806
01:33:53,320 --> 01:33:54,360
Speaker 5: be able to promote it better.

1807
01:33:54,479 --> 01:33:56,400
Speaker 8: But we did a rendition.

1808
01:33:56,040 --> 01:34:00,559
Speaker 5: Of Silent Night, which we actually dedicated because you know,

1809
01:34:00,600 --> 01:34:01,479
Speaker 5: the Temptations have.

1810
01:34:03,360 --> 01:34:05,479
Speaker 2: They say in my mind? Did you say in my mind?

1811
01:34:05,479 --> 01:34:13,040
Speaker 5: First they had a classic legendary version of Silent Night

1812
01:34:13,320 --> 01:34:16,920
Speaker 5: and a classic legendary album Christmas album by the Temptations.

1813
01:34:17,000 --> 01:34:19,519
Speaker 5: But this was when Eddie Kendricks was singing lead and

1814
01:34:19,560 --> 01:34:23,720
Speaker 5: then Melvin Franklin was singing song. So we did a

1815
01:34:23,800 --> 01:34:27,479
Speaker 5: version of that and and I gotta pat myself on

1816
01:34:27,600 --> 01:34:31,719
Speaker 5: the it's on YouTube.

1817
01:34:31,760 --> 01:34:32,559
Speaker 8: You see the video.

1818
01:34:32,680 --> 01:34:37,000
Speaker 5: Did the videok, And and we did it. We literally

1819
01:34:37,080 --> 01:34:40,240
Speaker 5: dedicated it to Melvin Franklin right in the beginning.

1820
01:34:40,280 --> 01:34:40,559
Speaker 2: I talked.

1821
01:34:40,600 --> 01:34:42,400
Speaker 8: I said, we'd like to dedicate the song.

1822
01:34:42,640 --> 01:34:46,559
Speaker 5: To Melvin Franklin Temptations who did a classic version of

1823
01:34:46,640 --> 01:34:49,960
Speaker 5: Silent Night and made it even a double classic. And

1824
01:34:50,120 --> 01:34:52,320
Speaker 5: we sang and then we have a friend of ours

1825
01:34:52,360 --> 01:34:54,160
Speaker 5: from the neighborhood. We didn't even know he could sing

1826
01:34:54,240 --> 01:34:57,599
Speaker 5: until like a few years ago that he sang the

1827
01:34:57,640 --> 01:34:58,760
Speaker 5: Melvin Franklin part.

1828
01:34:58,840 --> 01:34:59,879
Speaker 8: Now he's not Melvin.

1829
01:35:00,560 --> 01:35:03,000
Speaker 5: But we did it justice. And you know when I

1830
01:35:03,040 --> 01:35:06,160
Speaker 5: know we did it justice. I got a thumbs up

1831
01:35:06,160 --> 01:35:10,439
Speaker 5: from Otis Williams Otis when he heard it called he

1832
01:35:10,560 --> 01:35:13,320
Speaker 5: called me and he said, that's beautiful and I love

1833
01:35:13,400 --> 01:35:16,120
Speaker 5: the way you opened it up by giving introduction to

1834
01:35:16,160 --> 01:35:19,720
Speaker 5: Melvin Franklin. And we dedicated it to Temptations. Listen, we're

1835
01:35:19,760 --> 01:35:22,360
Speaker 5: not stupid. We're not going to do a remake and

1836
01:35:22,520 --> 01:35:25,679
Speaker 5: you know, leave it alone, don't compete. It's not comparab

1837
01:35:25,680 --> 01:35:28,360
Speaker 5: We're just dedicating it to the temptation giving them homage.

1838
01:35:28,720 --> 01:35:33,639
Speaker 5: Eddie Kendrick's daughter Ika Kendricks listen to it, call me up, Lou.

1839
01:35:33,760 --> 01:35:36,880
Speaker 5: That was beautiful. So I got her blessing. And then

1840
01:35:37,479 --> 01:35:43,120
Speaker 5: Melvin Franklin's wife, widow Kimberly English, she sent me a

1841
01:35:43,160 --> 01:35:46,120
Speaker 5: long text about it and she gave me blessing. So

1842
01:35:46,160 --> 01:35:50,280
Speaker 5: I got blessing from Melvin's wife, Eddie's daughter and Otus Williams.

1843
01:35:50,400 --> 01:35:52,400
Speaker 5: So I knew our job was done with that. So

1844
01:35:52,439 --> 01:35:54,400
Speaker 5: that was exciting for me. And you can go look

1845
01:35:54,400 --> 01:35:57,479
Speaker 5: it on YouTube. It's dope performance. And then I said, hey,

1846
01:35:57,520 --> 01:36:01,280
Speaker 5: why were added? Let's do another Cristmas song. And we

1847
01:36:01,320 --> 01:36:04,200
Speaker 5: also did a version of in this funny Christmas song

1848
01:36:04,280 --> 01:36:08,720
Speaker 5: but it's dope. It's called twelve Christmas performed by the

1849
01:36:08,720 --> 01:36:11,200
Speaker 5: House Party Bullies Lack.

1850
01:36:12,680 --> 01:36:14,439
Speaker 2: I'm definitely looking this shit up now.

1851
01:36:15,920 --> 01:36:18,120
Speaker 5: We did a video to that and it's hilarious.

1852
01:36:18,320 --> 01:36:19,760
Speaker 2: I'm looking it up immediately.

1853
01:36:20,240 --> 01:36:21,240
Speaker 5: It's hilarious.

1854
01:36:23,000 --> 01:36:28,640
Speaker 4: I have to say that this definitely lived up to

1855
01:36:29,040 --> 01:36:33,280
Speaker 4: my expectations. This was worth the ten year or fifteen

1856
01:36:33,360 --> 01:36:36,640
Speaker 4: year or twenty year wait that I've been dying to

1857
01:36:36,720 --> 01:36:39,960
Speaker 4: have a real conversation and pick your brain about everything

1858
01:36:40,000 --> 01:36:44,960
Speaker 4: that you've done creatively. Just know that every aspect of

1859
01:36:45,120 --> 01:36:47,559
Speaker 4: your career I followed it. I'm such a fan of

1860
01:36:47,600 --> 01:36:52,080
Speaker 4: you guys, and I'm really appreciative of everything that you've contributed,

1861
01:36:52,800 --> 01:36:57,880
Speaker 4: everything from your skits to your songwriting, to your backgrounds,

1862
01:36:57,920 --> 01:37:01,760
Speaker 4: to your drum programming, to every everything that you guys

1863
01:37:01,760 --> 01:37:04,439
Speaker 4: have done. Thank you, man, That's all I can say,

1864
01:37:04,760 --> 01:37:06,080
Speaker 4: and I really appreciate that.

1865
01:37:06,240 --> 01:37:08,400
Speaker 8: Before I go, can I ask you a questions?

1866
01:37:08,439 --> 01:37:12,400
Speaker 5: Did you like when music was changing up and they

1867
01:37:12,400 --> 01:37:15,760
Speaker 5: were taking out the live, live feel of stuff. Did

1868
01:37:15,760 --> 01:37:19,760
Speaker 5: you ever conform to like or given or whatever to

1869
01:37:19,880 --> 01:37:22,520
Speaker 5: like the drum machines and stuff like that, or accepted

1870
01:37:22,520 --> 01:37:24,880
Speaker 5: it even on the mental aspect of.

1871
01:37:24,880 --> 01:37:25,920
Speaker 2: It, you know.

1872
01:37:26,080 --> 01:37:28,439
Speaker 4: I mean at the time when we came in the game,

1873
01:37:29,240 --> 01:37:31,479
Speaker 4: like we were the oye guy out, like, all right,

1874
01:37:31,600 --> 01:37:35,320
Speaker 4: you guys are playing instruments. So you know, when our

1875
01:37:35,360 --> 01:37:39,040
Speaker 4: when our second when our third album, Illadelph Half Life

1876
01:37:39,040 --> 01:37:43,760
Speaker 4: came out, I felt a pressure to maybe maybe conform

1877
01:37:43,960 --> 01:37:46,960
Speaker 4: and and try to be as normal as possible. But

1878
01:37:47,000 --> 01:37:48,800
Speaker 4: I mean at the end of the day, I just

1879
01:37:49,760 --> 01:37:52,599
Speaker 4: I learned everything about studio technology. So my old thing

1880
01:37:52,720 --> 01:37:55,639
Speaker 4: was like, Okay, well, I'm gonna try. I'm still drum

1881
01:37:55,680 --> 01:37:57,280
Speaker 4: but I got to figure out how to make my

1882
01:37:57,400 --> 01:38:02,040
Speaker 4: drums even sound more pliable to hip hop it so

1883
01:38:02,080 --> 01:38:07,200
Speaker 4: that it doesn't feel as foreign, you know. But yeah,

1884
01:38:07,240 --> 01:38:11,719
Speaker 4: I've learned since then to learn every aspect of the game.

1885
01:38:11,920 --> 01:38:12,760
Speaker 2: Even when I hang up.

1886
01:38:12,800 --> 01:38:15,720
Speaker 4: Now, I'm about to do something I rarely do. I

1887
01:38:15,760 --> 01:38:19,400
Speaker 4: gotta cut a demo for this project I'm working on now,

1888
01:38:19,520 --> 01:38:21,400
Speaker 4: which none of the roots are here. So I'm gonna

1889
01:38:21,400 --> 01:38:26,160
Speaker 4: try and do everything by myself, which to be rather

1890
01:38:26,200 --> 01:38:27,920
Speaker 4: a nightmare.

1891
01:38:29,240 --> 01:38:30,519
Speaker 6: But you gotta get rest.

1892
01:38:30,560 --> 01:38:32,120
Speaker 5: Okay, I'm not going I know.

1893
01:38:33,040 --> 01:38:36,200
Speaker 4: I haven't announced it yet, but I guess this episode

1894
01:38:36,200 --> 01:38:41,280
Speaker 4: will come out later. The Oscars desired me. So I'm

1895
01:38:41,320 --> 01:38:43,120
Speaker 4: the musical director of the Oscars this year.

1896
01:38:47,320 --> 01:38:50,040
Speaker 12: Yes, it was very it should be loud.

1897
01:38:50,200 --> 01:38:53,120
Speaker 6: It's the Oscars and you black congratulation.

1898
01:38:55,200 --> 01:38:57,639
Speaker 5: It's Reggie part of the production team on the Oscars

1899
01:38:57,680 --> 01:38:58,679
Speaker 5: this time, Reggie Hudling.

1900
01:39:00,280 --> 01:39:07,400
Speaker 4: No, it's it's it's Jesse Collins who did BT wow the.

1901
01:39:07,320 --> 01:39:10,200
Speaker 2: Super Bowl to so Steven Sodenberg.

1902
01:39:10,360 --> 01:39:13,559
Speaker 4: Steven Sadenberg's directing it and Jesse Collins is producing it.

1903
01:39:14,479 --> 01:39:19,960
Speaker 5: And that question with the drumming and the drum machine,

1904
01:39:19,960 --> 01:39:21,720
Speaker 5: because I never forget my brother be Fine, who was

1905
01:39:21,760 --> 01:39:24,519
Speaker 5: doing drums. I remember when we went into the studio

1906
01:39:24,560 --> 01:39:27,400
Speaker 5: and it's the first time because you know, he played

1907
01:39:27,439 --> 01:39:29,640
Speaker 5: live drums and all all cried out and all of

1908
01:39:29,640 --> 01:39:32,479
Speaker 5: that stuff. But then when we had he we had

1909
01:39:32,479 --> 01:39:35,200
Speaker 5: to do a drum machine thing. I'll never forget him

1910
01:39:35,280 --> 01:39:39,679
Speaker 5: sitting in the booth and he was so dejected because

1911
01:39:39,720 --> 01:39:42,559
Speaker 5: he couldn't believe that he was doing the first song

1912
01:39:42,640 --> 01:39:46,439
Speaker 5: without any live drums. He just couldn't accept it in

1913
01:39:46,520 --> 01:39:49,880
Speaker 5: the beginning. And then later on he adapted to the

1914
01:39:49,920 --> 01:39:52,599
Speaker 5: technology that he was programming drums and all that, but

1915
01:39:52,840 --> 01:39:54,800
Speaker 5: he was so crushed at that.

1916
01:39:55,720 --> 01:39:56,720
Speaker 8: I'll never forget that.

1917
01:39:56,760 --> 01:39:58,000
Speaker 5: You know, it's crazy.

1918
01:39:58,240 --> 01:39:59,639
Speaker 2: No, I'm not. I'm not crushed.

1919
01:39:59,800 --> 01:40:01,960
Speaker 4: I on other ways to be creative, and you know,

1920
01:40:02,160 --> 01:40:07,040
Speaker 4: like it's I consider just drumming just one eighth of

1921
01:40:07,160 --> 01:40:09,879
Speaker 4: everything that I you know, I still got to engineer

1922
01:40:09,920 --> 01:40:10,479
Speaker 4: these records.

1923
01:40:10,520 --> 01:40:11,040
Speaker 2: I still have.

1924
01:40:11,040 --> 01:40:15,160
Speaker 4: To figure out everything else. So you know, not at all,

1925
01:40:15,400 --> 01:40:18,400
Speaker 4: I'm not discouraged at all. I just I learned everything.

1926
01:40:18,560 --> 01:40:20,479
Speaker 8: I hate you, but yo, man, I just want to

1927
01:40:20,520 --> 01:40:21,360
Speaker 8: say also questions.

1928
01:40:21,360 --> 01:40:23,360
Speaker 5: On top of that, Man, thank you my brother, thanks

1929
01:40:23,400 --> 01:40:26,880
Speaker 5: for the respect and the love. It's boomerang right back

1930
01:40:27,040 --> 01:40:31,120
Speaker 5: to you. I appreciate you being part of our unsung.

1931
01:40:31,280 --> 01:40:34,000
Speaker 5: I'll never forget that as long as I live. My pleasure.

1932
01:40:34,680 --> 01:40:38,120
Speaker 4: Thank you for acknowledging my birthday too, brod Is.

1933
01:40:38,120 --> 01:40:39,439
Speaker 2: Should you know that you and.

1934
01:40:39,560 --> 01:40:44,960
Speaker 4: Pe Wee Herman are the number one acknowledgers of everyone's

1935
01:40:45,280 --> 01:40:48,559
Speaker 4: holiday and birthday?

1936
01:40:48,960 --> 01:40:51,120
Speaker 6: He came out in the snow to the forty ninth,

1937
01:40:51,920 --> 01:40:52,720
Speaker 6: Yes he did.

1938
01:40:53,040 --> 01:40:53,400
Speaker 2: He did.

1939
01:40:53,439 --> 01:40:57,479
Speaker 5: I say thank you because your birthday party, your birthday

1940
01:40:57,479 --> 01:41:00,960
Speaker 5: celebration was crazy. It was so creative and I was like, man,

1941
01:41:00,960 --> 01:41:03,640
Speaker 5: I can't believe this. You know the whole movie I

1942
01:41:03,680 --> 01:41:06,479
Speaker 5: think I was with the Final the Final Web was

1943
01:41:06,560 --> 01:41:08,639
Speaker 5: I doing? No? The hard did they come? That's the movie?

1944
01:41:09,280 --> 01:41:13,040
Speaker 5: But it was so creative, that whole thing. Then I

1945
01:41:13,080 --> 01:41:15,839
Speaker 5: got to meet I'll never forget this is a crazy story,

1946
01:41:16,040 --> 01:41:19,120
Speaker 5: but I got to meet Karen Parson's just love it.

1947
01:41:19,400 --> 01:41:20,520
Speaker 6: That is the random.

1948
01:41:20,640 --> 01:41:23,719
Speaker 5: Oh, I just love from the press, just loved period.

1949
01:41:24,000 --> 01:41:27,839
Speaker 5: And I'll never forget when I met her there how

1950
01:41:28,200 --> 01:41:31,280
Speaker 5: how I said wow, Karen. So great to meet you.

1951
01:41:31,280 --> 01:41:33,040
Speaker 5: Because my boy that was with me, you know, he

1952
01:41:33,240 --> 01:41:35,200
Speaker 5: nearly fell off the seat to get to her to

1953
01:41:35,240 --> 01:41:37,559
Speaker 5: take a picture, took a picture. I said, yeah, listen,

1954
01:41:37,560 --> 01:41:40,000
Speaker 5: I'm because listen, I take myself for granted all the time,

1955
01:41:40,040 --> 01:41:41,559
Speaker 5: so I don't know. I said, listen, I'm bow legged

1956
01:41:41,600 --> 01:41:43,360
Speaker 5: lout right from four for us, and I take a

1957
01:41:43,400 --> 01:41:45,479
Speaker 5: picture because first of all, I know who you are, right,

1958
01:41:45,920 --> 01:41:48,240
Speaker 5: I don't. I don't take that for granted. So we

1959
01:41:48,360 --> 01:41:51,920
Speaker 5: took a picture and it was just, it was just,

1960
01:41:52,160 --> 01:41:54,760
Speaker 5: it was just a crazy party. And I gave you,

1961
01:41:54,880 --> 01:41:57,960
Speaker 5: like I'm always giving out plaques just for me. I'm

1962
01:41:57,960 --> 01:41:59,280
Speaker 5: not the Grammys of America.

1963
01:42:00,160 --> 01:42:00,280
Speaker 2: Love.

1964
01:42:01,000 --> 01:42:04,519
Speaker 5: I gave quest a beautiful plaque from I still have it,

1965
01:42:04,600 --> 01:42:07,640
Speaker 5: yes here here, and I told him please don't use

1966
01:42:07,640 --> 01:42:12,040
Speaker 5: it as as a frisbee, but from my heart, you know.

1967
01:42:12,479 --> 01:42:15,280
Speaker 5: And yo, man, thank you so much for thank you

1968
01:42:15,360 --> 01:42:17,040
Speaker 5: for being a friend. Man, I'm so proud to call

1969
01:42:17,120 --> 01:42:19,439
Speaker 5: you my friend. I'm so proud of you and all

1970
01:42:19,479 --> 01:42:20,960
Speaker 5: of what you do as well, my brother.

1971
01:42:21,439 --> 01:42:23,840
Speaker 2: Thank you that I appreciate it. Thank you man.

1972
01:42:24,200 --> 01:42:26,400
Speaker 4: All right, Well, ladies and gentlemen, I hope you enjoyed

1973
01:42:26,400 --> 01:42:30,400
Speaker 4: this episode of Court Love Supreme with our steam guest

1974
01:42:30,640 --> 01:42:32,639
Speaker 4: Full Legg Flue of Full Force.

1975
01:42:33,000 --> 01:42:35,479
Speaker 2: When we have a team Sapree. My name is Quest

1976
01:42:35,560 --> 01:42:37,559
Speaker 2: Love and we will see you on the next program.

1977
01:42:37,720 --> 01:42:38,120
Speaker 4: Thank you.

1978
01:42:44,160 --> 01:42:44,280
Speaker 2: Yo.

1979
01:42:44,400 --> 01:42:45,400
Speaker 12: What's up? This is Sponte.

1980
01:42:45,880 --> 01:42:48,120
Speaker 11: Make sure you keep up with us on Instagram at

1981
01:42:48,200 --> 01:42:50,000
Speaker 11: QLs and let us know what you think.

1982
01:42:50,160 --> 01:42:52,080
Speaker 12: Who should be next to sit down with us? Don't

1983
01:42:52,120 --> 01:42:55,000
Speaker 12: forget to subscribe to our podcast all right peace.

1984
01:43:03,439 --> 01:43:09,160
Speaker 1: What's Love Supreme is a production of iHeartRadio. For more

1985
01:43:09,160 --> 01:43:13,680
Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

1986
01:43:13,680 --> 01:43:15,320
Speaker 1: wherever you listen to your favorite shows.