1 00:00:00,360 --> 00:00:03,800 Speaker 1: Of course, Love Supreme is a production of iHeartRadio. This 2 00:00:03,840 --> 00:00:09,680 Speaker 1: classic episode was produced by the team at Pandora. Without 3 00:00:09,800 --> 00:00:15,400 Speaker 1: no doubt, this gentleman that would bring into the table 4 00:00:16,000 --> 00:00:19,400 Speaker 1: is responsible for some of the best music you've ever danced, 5 00:00:20,000 --> 00:00:25,160 Speaker 1: ever listened to. Of Course, these talented family, the Silver's family, 6 00:00:25,960 --> 00:00:29,160 Speaker 1: have been in our lives for so long. They're amazing harmonies. 7 00:00:29,880 --> 00:00:32,320 Speaker 1: Of course, him branching out on his own to do 8 00:00:32,479 --> 00:00:38,560 Speaker 1: production for like The Whispers, Shallamar, Lakeside, Evelin, Champion King, 9 00:00:39,479 --> 00:00:42,880 Speaker 1: so many, so many groups, so many groups, just this 10 00:00:43,080 --> 00:00:47,000 Speaker 1: classic sound of boogie, you know, kind of hosting disco, 11 00:00:47,080 --> 00:00:50,400 Speaker 1: and we call it book. He's one of the greatest 12 00:00:50,680 --> 00:00:54,120 Speaker 1: and so so so happy that he took time out 13 00:00:54,480 --> 00:00:58,000 Speaker 1: to come speak to us. This is Leon Silvers, the third. 14 00:00:58,800 --> 00:01:03,640 Speaker 1: This is from January thirty first, twenty eighteen lest classic. 15 00:01:04,440 --> 00:01:04,880 Speaker 1: Here we Go. 16 00:01:09,720 --> 00:01:16,240 Speaker 2: Supremo something So Supremo. Role called Supremo Sun Sun Supremo. 17 00:01:16,440 --> 00:01:22,679 Speaker 2: Role Call, Supremo Son Son Supremo, Roll Call, Supremo Son 18 00:01:22,920 --> 00:01:24,840 Speaker 2: Son Supremo roll Call. 19 00:01:25,560 --> 00:01:28,759 Speaker 1: I got nothing, Yeah, no, really, I got nothing. Yeah, 20 00:01:29,360 --> 00:01:32,160 Speaker 1: I'm sober whelmed by grands. I have nothing. 21 00:01:33,440 --> 00:01:40,640 Speaker 2: Sprema So Supremo roll call Suprema Son Son Suppremo Ro. 22 00:01:41,160 --> 00:01:44,600 Speaker 1: Wait a minute, Yeah, let's see how I sound. Yeah, 23 00:01:44,920 --> 00:01:46,000 Speaker 1: Now do I sound better? 24 00:01:46,400 --> 00:01:46,640 Speaker 3: Yeah? 25 00:01:46,840 --> 00:01:47,840 Speaker 1: The second time. 26 00:01:47,720 --> 00:01:56,280 Speaker 2: Fund Sun Supremo role called Supremo Sun Son Supremo role 27 00:01:56,480 --> 00:01:56,920 Speaker 2: call my. 28 00:01:57,000 --> 00:02:01,040 Speaker 1: Name is Fante. Yeah, call me your friend. Yeah, because 29 00:02:01,080 --> 00:02:04,080 Speaker 1: it's not too Yeah. Only one can win. 30 00:02:07,320 --> 00:02:13,799 Speaker 2: Supremo Road Suprema So Supremo Road Suprema. 31 00:02:14,240 --> 00:02:14,480 Speaker 4: Yeah. 32 00:02:14,760 --> 00:02:18,160 Speaker 1: The show to be on. Yeah, let's put some tea on. 33 00:02:18,360 --> 00:02:20,240 Speaker 1: Yeah and talk to missus Silver. 34 00:02:25,160 --> 00:02:31,000 Speaker 5: Supremo, Son Son sup Roll Mulesman struggling. Yeah, to write 35 00:02:31,080 --> 00:02:34,880 Speaker 5: these rhymes. Yeah, almost called a ghost writer. Yeah, on 36 00:02:34,919 --> 00:02:40,280 Speaker 5: the hotline. 37 00:02:38,240 --> 00:02:46,280 Speaker 2: Son Son Supremo Roll Call Supremo. 38 00:02:43,960 --> 00:02:48,440 Speaker 3: Roll it's my em Yeah. And I ain't feeling bad yeah, 39 00:02:48,760 --> 00:02:49,680 Speaker 3: Leon Silvers. 40 00:02:50,200 --> 00:02:52,079 Speaker 1: Yeah, got me think about DC Cab. 41 00:02:54,720 --> 00:02:59,720 Speaker 2: So Supreme Road Supremo. 42 00:03:00,040 --> 00:03:02,919 Speaker 1: Oh yeah. 43 00:03:04,240 --> 00:03:14,320 Speaker 6: Yeah yeah, I love that. 44 00:03:17,080 --> 00:03:17,880 Speaker 1: So frame. 45 00:03:19,160 --> 00:03:25,840 Speaker 2: Up frame, Roll up up up frame. 46 00:03:25,880 --> 00:03:30,560 Speaker 1: Ladies and gentlemen. That was the greatest contribution ever, ever 47 00:03:30,720 --> 00:03:31,600 Speaker 1: ever to to. 48 00:03:33,680 --> 00:03:33,960 Speaker 6: Wow. 49 00:03:34,360 --> 00:03:40,000 Speaker 5: Okay, dude, I'm sweating over here. 50 00:03:40,040 --> 00:03:40,440 Speaker 1: I'm sorry. 51 00:03:40,680 --> 00:03:41,440 Speaker 3: I'm nervous. 52 00:03:41,480 --> 00:03:44,400 Speaker 1: You know, I know we're nervous about this episode because 53 00:03:44,400 --> 00:03:51,360 Speaker 1: we didn't mock like you normally. We mocked like you 54 00:03:51,560 --> 00:03:54,480 Speaker 1: is intro and we we you caught a break this 55 00:03:54,560 --> 00:03:57,920 Speaker 1: time because you came through with the DC that was 56 00:03:58,000 --> 00:04:02,160 Speaker 1: he went real deeper that that. Okay, look, I'm just 57 00:04:02,200 --> 00:04:05,240 Speaker 1: putting it out there. We're just gonna go all over 58 00:04:05,240 --> 00:04:09,640 Speaker 1: the place because the reason why I feel as though 59 00:04:09,680 --> 00:04:14,520 Speaker 1: we commit to the show. Yes, you know, we're about 60 00:04:14,520 --> 00:04:19,040 Speaker 1: the whatever, the teaching of excellence and bringing people and 61 00:04:19,600 --> 00:04:22,240 Speaker 1: exposing him to the audience, you know, to audience that 62 00:04:22,320 --> 00:04:24,880 Speaker 1: might not know him, stuff like that. But just sometimes 63 00:04:25,200 --> 00:04:28,800 Speaker 1: you just want to nerd out on your favorite and 64 00:04:30,120 --> 00:04:34,280 Speaker 1: I there's so much. There's not enough that I can 65 00:04:34,320 --> 00:04:37,200 Speaker 1: say about the gentleman that we have with us right now. 66 00:04:39,279 --> 00:04:44,680 Speaker 1: I can say that, you know, he is. I mean, 67 00:04:44,760 --> 00:04:48,960 Speaker 1: he's such a genius in every area that he's ever 68 00:04:49,040 --> 00:04:54,000 Speaker 1: done in crafting harmonies and his musicianship and his songwriting. 69 00:04:54,200 --> 00:04:57,240 Speaker 1: I mean he damned near it invented a genre of music. 70 00:04:58,400 --> 00:05:03,840 Speaker 1: He killed disco. He literally killed this of all the 71 00:05:04,040 --> 00:05:08,760 Speaker 1: like he invented genres, and he inspired some of our 72 00:05:08,800 --> 00:05:12,280 Speaker 1: greatest I told Jimmy Jam that he was coming on 73 00:05:12,320 --> 00:05:15,120 Speaker 1: our show, and even Jimmy Jam had to bow down 74 00:05:15,160 --> 00:05:17,840 Speaker 1: because of all that he learned from this man. I'm 75 00:05:17,880 --> 00:05:20,559 Speaker 1: about to start crying right now. Ladies and gentlemen, please 76 00:05:20,600 --> 00:05:31,440 Speaker 1: welcome to the show, Leon Silvers. Yes, man, you don't 77 00:05:31,560 --> 00:05:35,880 Speaker 1: know how happy we are right now, Like we're just 78 00:05:36,760 --> 00:05:44,720 Speaker 1: shout out to dang funk shout the day funk. Yeah. 79 00:05:45,240 --> 00:05:48,479 Speaker 1: We have so many questions about your life, Like I've 80 00:05:48,520 --> 00:05:51,760 Speaker 1: never idolized someone so much that I really don't know 81 00:05:51,839 --> 00:05:55,039 Speaker 1: that much about because you rarely did interviews and things 82 00:05:55,120 --> 00:05:59,919 Speaker 1: like that that matter. But let's just should we rapid fire? 83 00:06:00,160 --> 00:06:00,440 Speaker 1: Do we? 84 00:06:00,520 --> 00:06:02,280 Speaker 6: Just we? 85 00:06:02,680 --> 00:06:04,599 Speaker 1: I want to go, Let's go through the journey. Okay, 86 00:06:04,920 --> 00:06:06,880 Speaker 1: now I'm gonna say it. Let's start at the beginning. 87 00:06:08,440 --> 00:06:09,600 Speaker 1: You all got to be proud of me. I haven't 88 00:06:09,600 --> 00:06:14,800 Speaker 1: said that in a while, but this time. Okay. So uh, 89 00:06:15,080 --> 00:06:19,920 Speaker 1: I believe your entire family is from Tennessee. Correct, Uh, 90 00:06:21,400 --> 00:06:22,040 Speaker 1: please be wrong? 91 00:06:22,120 --> 00:06:28,000 Speaker 3: Suck everybody except me Fastergian Pat. 92 00:06:28,240 --> 00:06:29,359 Speaker 1: Where were you born? 93 00:06:29,480 --> 00:06:35,200 Speaker 3: I was born in South Ben, Indiana. Oh yes, My 94 00:06:35,279 --> 00:06:37,760 Speaker 3: father was going to college out there and my mother 95 00:06:38,640 --> 00:06:42,240 Speaker 3: and I was born on the campus and only stayed 96 00:06:42,240 --> 00:06:44,479 Speaker 3: there three days after I was born, So I know 97 00:06:44,600 --> 00:06:46,919 Speaker 3: nothing about South Ben, Indiana. 98 00:06:46,960 --> 00:06:47,159 Speaker 6: I was. 99 00:06:47,160 --> 00:06:50,560 Speaker 1: I was born there for three days. I was there 100 00:06:50,560 --> 00:06:56,880 Speaker 1: for three years. Wait, you born in South ben Memorial Hospital. Wow, 101 00:06:57,680 --> 00:07:04,400 Speaker 1: that's amazing, That's that's crazy. Yeah, So just I just 102 00:07:04,400 --> 00:07:07,560 Speaker 1: want to know it all, like talk about the beginnings 103 00:07:07,560 --> 00:07:11,760 Speaker 1: in Tennessee and how music entered into the household. 104 00:07:14,160 --> 00:07:18,640 Speaker 3: Well about Tennessee, I can't remember too much except Roy Rogers, 105 00:07:18,760 --> 00:07:23,200 Speaker 3: so I was too. After about two years, we hit 106 00:07:23,240 --> 00:07:25,720 Speaker 3: the train and came to LA. I think I was 107 00:07:25,760 --> 00:07:30,640 Speaker 3: two or three years old, and La is where everything 108 00:07:30,920 --> 00:07:34,880 Speaker 3: started the Motown sound for me. 109 00:07:35,120 --> 00:07:37,240 Speaker 1: Why did you guys move to Los Angeles? 110 00:07:37,520 --> 00:07:45,280 Speaker 3: I think my father got a gig at what is it, uh, 111 00:07:45,480 --> 00:07:50,720 Speaker 3: some kind of space company something. He was doing some 112 00:07:50,920 --> 00:07:57,000 Speaker 3: kind of work I couldn't remember, but he his work 113 00:07:57,040 --> 00:08:02,520 Speaker 3: brought us out there. And everybody wasn't born yet. It 114 00:08:02,600 --> 00:08:05,880 Speaker 3: was just myself, Charmaine. 115 00:08:06,080 --> 00:08:10,360 Speaker 1: Charmaine Charmaine is the eldest sister and you're the eldest brother. 116 00:08:10,640 --> 00:08:14,480 Speaker 3: No, Olympia is the oldest of the family. Olympia and 117 00:08:14,520 --> 00:08:19,200 Speaker 3: then myself, Charmaine and James Jonathan. Uh, that was who 118 00:08:19,320 --> 00:08:22,200 Speaker 3: was only four of us when we went to LA 119 00:08:23,360 --> 00:08:28,640 Speaker 3: and it started with me was the Motown sound. I 120 00:08:28,760 --> 00:08:33,559 Speaker 3: was into James Jamison on bass period and Benny Benjamin 121 00:08:34,040 --> 00:08:37,480 Speaker 3: the drums. Uh, And that was my start in music. 122 00:08:37,760 --> 00:08:43,280 Speaker 3: I was taking hangers acting like high hats. I took 123 00:08:43,320 --> 00:08:47,360 Speaker 3: the drum, the little broom the sweeping part, used that 124 00:08:47,440 --> 00:08:50,880 Speaker 3: as a rim and snare, and the box spring I 125 00:08:50,960 --> 00:08:54,880 Speaker 3: used as a kick drum. And that's how I started 126 00:08:54,960 --> 00:08:56,200 Speaker 3: music right there. 127 00:08:56,400 --> 00:08:58,240 Speaker 1: You know, that's where most people would take the broom 128 00:08:58,320 --> 00:09:01,640 Speaker 1: and make that to a guitar. You thought to make that? 129 00:09:02,760 --> 00:09:04,640 Speaker 3: Yeah? 130 00:09:04,960 --> 00:09:09,240 Speaker 1: Was were there any adults that were musicians that were 131 00:09:09,880 --> 00:09:11,760 Speaker 1: influential in your life at that point. 132 00:09:11,520 --> 00:09:15,640 Speaker 3: Where no, I'm just Jamison and Benny Benjamin. I didn't 133 00:09:15,679 --> 00:09:19,440 Speaker 3: know nobody yet. That was only about six or seven 134 00:09:19,520 --> 00:09:20,200 Speaker 3: there at seven. 135 00:09:20,840 --> 00:09:24,040 Speaker 1: What was it about that music that called you the bass? 136 00:09:25,000 --> 00:09:28,480 Speaker 3: I got a guitar when I was like, we did 137 00:09:30,040 --> 00:09:32,720 Speaker 3: we just did four part harmony because I was teaching 138 00:09:32,760 --> 00:09:35,920 Speaker 3: everybody this lower Scudder's commercial back in the day. And 139 00:09:36,040 --> 00:09:39,440 Speaker 3: my brother was three years old, but he held four 140 00:09:39,480 --> 00:09:42,880 Speaker 3: part harmony. So we was doing this Lower Scudder's commercial, 141 00:09:43,280 --> 00:09:46,480 Speaker 3: and my father heard us and started teaching us some 142 00:09:46,559 --> 00:09:50,720 Speaker 3: four freshman type harmony back in the day at high 143 00:09:50,800 --> 00:09:53,720 Speaker 3: lows and all that, and so we did it real easy, 144 00:09:53,840 --> 00:09:55,840 Speaker 3: and he got a manager and they put us on 145 00:09:56,160 --> 00:09:59,520 Speaker 3: we were called the Little Angel, right, and they put us 146 00:09:59,559 --> 00:10:04,360 Speaker 3: on Spike Jones arc Link letters show all these names 147 00:10:04,440 --> 00:10:11,040 Speaker 3: from back in the day. And that's where my brother, 148 00:10:11,840 --> 00:10:14,640 Speaker 3: he was three when we did our first TV show, 149 00:10:15,120 --> 00:10:18,800 Speaker 3: and he held he gave everybody our parts when we 150 00:10:18,880 --> 00:10:22,760 Speaker 3: forgot him, so he As far as harmony is concerned. 151 00:10:22,320 --> 00:10:24,840 Speaker 1: How did you guys even know how to notate harmony? 152 00:10:24,880 --> 00:10:27,880 Speaker 1: Because well, one thing I think our audience should know 153 00:10:28,760 --> 00:10:34,640 Speaker 1: is I feel like the the one distinction that separated 154 00:10:34,840 --> 00:10:42,240 Speaker 1: you guys from any of your contemporaries Jackson Stair Steps, 155 00:10:42,920 --> 00:10:47,520 Speaker 1: whoever was young at that time, was you guys had 156 00:10:47,520 --> 00:10:52,920 Speaker 1: the most unusual harmony structures ever? Was that from not knowing? 157 00:10:53,200 --> 00:10:57,160 Speaker 1: Like who taught you those dissonant and chromatic harmonies that 158 00:10:57,760 --> 00:10:58,560 Speaker 1: weren't average? 159 00:10:58,760 --> 00:11:03,679 Speaker 3: And I think, well, my father was into the four 160 00:11:03,760 --> 00:11:07,319 Speaker 3: Freshmen and the high lows and all that. So he 161 00:11:07,320 --> 00:11:11,000 Speaker 3: he saw us doing three part harmony and one lead 162 00:11:11,200 --> 00:11:15,439 Speaker 3: on this Laura scuddis commercial and I gave him their parts, 163 00:11:15,720 --> 00:11:17,760 Speaker 3: but it was, you know, simple stuff like you know, 164 00:11:18,440 --> 00:11:21,439 Speaker 3: and he saw we can hold a note, not get off, 165 00:11:21,720 --> 00:11:25,679 Speaker 3: So he started giving us harder songs, songs like It's 166 00:11:25,679 --> 00:11:30,199 Speaker 3: a Blue World and well, I forgot the name of 167 00:11:30,240 --> 00:11:34,600 Speaker 3: those songs, but uh it was four and five part harmony, 168 00:11:34,800 --> 00:11:37,959 Speaker 3: and we stayed on it and didn't get off. I 169 00:11:38,040 --> 00:11:41,640 Speaker 3: don't know why. My mother could have been an opera singer. 170 00:11:41,720 --> 00:11:44,240 Speaker 3: She was studying for a minute, So I guess that's 171 00:11:44,280 --> 00:11:48,920 Speaker 3: why we uh we just felt we can do it, 172 00:11:48,960 --> 00:11:50,800 Speaker 3: and we just did it. You know. It wasn't no 173 00:11:51,000 --> 00:11:53,840 Speaker 3: why or whatever. We just did it, stayed on the notes. 174 00:11:53,880 --> 00:11:59,959 Speaker 3: And I actually was the worst holding the note. Yeah, James, 175 00:12:00,000 --> 00:12:07,320 Speaker 3: this was the best, and then it was Charmaine, then Olympia. 176 00:12:07,400 --> 00:12:09,960 Speaker 3: Than me, I was last. I always forget my note, 177 00:12:10,000 --> 00:12:13,800 Speaker 3: you know. But James had the ear for holding the notes, 178 00:12:13,920 --> 00:12:14,920 Speaker 3: and he was the youngest. 179 00:12:15,280 --> 00:12:17,320 Speaker 1: What year was this this was? 180 00:12:17,559 --> 00:12:21,199 Speaker 3: I was like I was like seven six, but. 181 00:12:21,200 --> 00:12:23,280 Speaker 1: I mean, like in what year was it? 182 00:12:23,400 --> 00:12:27,960 Speaker 3: Like probably sixty fifty nine or something like. I was 183 00:12:28,000 --> 00:12:32,280 Speaker 3: born in fifty three, so okay, around fifty nine or 184 00:12:32,520 --> 00:12:33,800 Speaker 3: something like that or sixty. 185 00:12:34,080 --> 00:12:37,240 Speaker 1: So there wasn't even a template out at the time 186 00:12:37,360 --> 00:12:40,800 Speaker 1: to or besides maybe Frankie Lymon and the teenagers, which 187 00:12:40,800 --> 00:12:43,480 Speaker 1: is more like fifty seven to fifty, but there were 188 00:12:43,520 --> 00:12:45,480 Speaker 1: no kids groups or that sort. 189 00:12:45,320 --> 00:12:48,920 Speaker 3: Of thing to no, just Frankie Lyman, what's your name? 190 00:12:49,000 --> 00:12:53,280 Speaker 3: Sound kind of like a kid little Anthony back then imperiods. 191 00:12:53,360 --> 00:12:54,679 Speaker 3: I listened to him for a minute. 192 00:12:54,800 --> 00:13:00,040 Speaker 1: Yeah, so were you guys instantly in pursuit of the 193 00:13:00,040 --> 00:13:01,960 Speaker 1: next level? Was just to find a record deal? Or 194 00:13:01,960 --> 00:13:04,360 Speaker 1: was it just like we did this television show and 195 00:13:04,400 --> 00:13:04,760 Speaker 1: that's it. 196 00:13:05,200 --> 00:13:07,800 Speaker 3: Well, back then we didn't have no leads. It was 197 00:13:07,880 --> 00:13:11,800 Speaker 3: off harmony, so we would just stand there and sing, 198 00:13:11,880 --> 00:13:16,679 Speaker 3: no personality, no charisma or nothing, just singing holding the notes. 199 00:13:16,760 --> 00:13:19,280 Speaker 3: And we were so young that I guess the crowd 200 00:13:19,320 --> 00:13:22,199 Speaker 3: thought it was amazing that we were singing that kind 201 00:13:22,280 --> 00:13:24,959 Speaker 3: of stuff, But we was just ready to get off 202 00:13:25,000 --> 00:13:29,319 Speaker 3: the stage and go play kind of thing. But I 203 00:13:29,400 --> 00:13:35,200 Speaker 3: loved music. I was the one teaching them and actually 204 00:13:35,200 --> 00:13:36,160 Speaker 3: sometime making. 205 00:13:35,960 --> 00:13:36,720 Speaker 1: Them saying but. 206 00:13:38,840 --> 00:13:41,840 Speaker 3: I got into the motown thing, and then from there 207 00:13:42,679 --> 00:13:47,840 Speaker 3: we didn't get into seriously making moves to record companies 208 00:13:47,960 --> 00:13:54,520 Speaker 3: till I was around I guess thirteen or fourteen or fifteen, 209 00:13:54,600 --> 00:13:58,960 Speaker 3: something like that, because that's when when the Jacksons came out. 210 00:14:00,160 --> 00:14:03,920 Speaker 3: That's when I got serious and I started teaching that 211 00:14:04,120 --> 00:14:08,880 Speaker 3: when my brother, because he had the most powerful voice 212 00:14:09,320 --> 00:14:12,360 Speaker 3: and I was he said, I can't say. I said, well, 213 00:14:12,480 --> 00:14:15,920 Speaker 3: just nothing again, you won't do nothing unless you practice it. 214 00:14:16,600 --> 00:14:18,880 Speaker 3: He had the tone. So I work with him every 215 00:14:18,960 --> 00:14:22,720 Speaker 3: day and practice till after a year or so he 216 00:14:22,880 --> 00:14:24,160 Speaker 3: was riffing and all that. 217 00:14:24,280 --> 00:14:28,240 Speaker 1: You know, So all your brothers and sisters are literally 218 00:14:28,240 --> 00:14:30,480 Speaker 1: coming out the wound one by one during this period. 219 00:14:30,840 --> 00:14:33,040 Speaker 1: You're just waiting for them to get of age. 220 00:14:33,040 --> 00:14:37,720 Speaker 3: And like everybody, there was nobody that came in my 221 00:14:37,840 --> 00:14:41,040 Speaker 3: family that couldn't hold a harmony. They could do that 222 00:14:41,080 --> 00:14:43,120 Speaker 3: before they could do a lead. We had to practice 223 00:14:43,120 --> 00:14:43,640 Speaker 3: our leads. 224 00:14:44,600 --> 00:14:44,720 Speaker 1: Uh. 225 00:14:44,920 --> 00:14:48,360 Speaker 3: So as far as when they give them apart, they'd 226 00:14:48,360 --> 00:14:50,720 Speaker 3: hold it and we sing to somebody else's part, they 227 00:14:50,720 --> 00:14:54,320 Speaker 3: would keep it and never blend into the other person's 228 00:14:54,320 --> 00:14:57,480 Speaker 3: part or anything like that. We all had that, I guess. 229 00:14:57,720 --> 00:15:00,320 Speaker 3: But the leads we had to work on, and worked 230 00:15:01,480 --> 00:15:05,760 Speaker 3: him and Foster. But Edmund worked the hardest. Uh and 231 00:15:05,880 --> 00:15:10,320 Speaker 3: his tone reaped the benefits because I worked at it 232 00:15:10,360 --> 00:15:14,960 Speaker 3: at home. And then when we got with Freddie Perrin, uh, 233 00:15:14,600 --> 00:15:16,880 Speaker 3: he heard Edmans's voice right off the bat. 234 00:15:16,960 --> 00:15:19,920 Speaker 1: So, but that was the one in the Capitol years. 235 00:15:21,280 --> 00:15:24,840 Speaker 3: I'm jumping too fast, go ahead. 236 00:15:25,040 --> 00:15:28,880 Speaker 1: So what label was pride associated with? MGM. 237 00:15:29,400 --> 00:15:33,480 Speaker 3: Yeah, a friend of Mike Curb, which was Mike Wiener Curb. 238 00:15:33,600 --> 00:15:37,840 Speaker 3: Mike Curb was running MGM when we were signed, and 239 00:15:37,920 --> 00:15:39,360 Speaker 3: he was only twenty four years old. 240 00:15:39,760 --> 00:15:42,000 Speaker 1: Wait, so the Mike Curb congregation. 241 00:15:42,160 --> 00:15:48,440 Speaker 3: That's one of my favorite breakdingwsime exactly, the coming down. Yeah, 242 00:15:48,560 --> 00:15:51,840 Speaker 3: oh my god. Yeah, he was cool. He was the 243 00:15:51,840 --> 00:15:55,720 Speaker 3: one that really hit me with the commercial thing because 244 00:15:56,120 --> 00:16:00,240 Speaker 3: I was doing I was really kind of into back 245 00:16:00,280 --> 00:16:05,520 Speaker 3: then that social conscious type writing, the you know, because 246 00:16:05,520 --> 00:16:08,320 Speaker 3: the Black Panthers was out and all that stuff, so 247 00:16:08,320 --> 00:16:11,040 Speaker 3: socially conscious music was kind of in, and I was 248 00:16:11,080 --> 00:16:18,120 Speaker 3: into that from a third grip from this history teacher, 249 00:16:18,720 --> 00:16:22,320 Speaker 3: Mr Simon. But he was the one who told me, well, Leon, 250 00:16:22,400 --> 00:16:27,040 Speaker 3: your music has to be more commercial, you know. And 251 00:16:27,360 --> 00:16:30,800 Speaker 3: I was on that tip, like, well, what do you know? 252 00:16:30,880 --> 00:16:33,320 Speaker 3: You only do pop music, you know, you know, because 253 00:16:33,400 --> 00:16:36,040 Speaker 3: we knew how more. I mean, MGM was as far 254 00:16:36,080 --> 00:16:40,520 Speaker 3: as motown was. And he's like, you're right, but even 255 00:16:40,560 --> 00:16:42,640 Speaker 3: if I do pop music, it has to be commercial. 256 00:16:43,360 --> 00:16:47,400 Speaker 3: You're doing R and B, it's got to be as commercial. 257 00:16:47,840 --> 00:16:51,640 Speaker 3: And I didn't want to hear that, but I did, 258 00:16:52,320 --> 00:16:55,080 Speaker 3: and I started changing after I had that meeting because 259 00:16:55,120 --> 00:16:58,680 Speaker 3: he wanted to give He made up pride after that. 260 00:17:00,000 --> 00:17:02,440 Speaker 3: It's all. He told us to do this song called 261 00:17:03,560 --> 00:17:06,679 Speaker 3: what It Takes, an old Barry Gordy song, and he 262 00:17:06,760 --> 00:17:08,280 Speaker 3: wanted us to do it, and we did it, and 263 00:17:08,359 --> 00:17:10,880 Speaker 3: it you know, it wasn't nothing. You know, it didn't 264 00:17:10,920 --> 00:17:14,240 Speaker 3: do nothing. And this meeting with me, I didn't know 265 00:17:14,240 --> 00:17:17,720 Speaker 3: it at the time, was to get inside whoever was 266 00:17:20,080 --> 00:17:21,880 Speaker 3: the head of leader of the group type of thing. 267 00:17:22,680 --> 00:17:27,919 Speaker 3: And I was more like trying to tell him, we 268 00:17:28,040 --> 00:17:29,639 Speaker 3: know what we're do and just let us do it, 269 00:17:29,640 --> 00:17:32,240 Speaker 3: because I realized they put us on the shelf for 270 00:17:32,359 --> 00:17:38,080 Speaker 3: the Osmonds because they didn't right, Yeah, but we didn't 271 00:17:38,119 --> 00:17:41,280 Speaker 3: know that when we signed and they didn't tell, you know, 272 00:17:41,320 --> 00:17:43,840 Speaker 3: we just we didn't have no records out for a year. 273 00:17:44,000 --> 00:17:46,840 Speaker 3: We didn't even go in the studio for a long 274 00:17:46,960 --> 00:17:50,080 Speaker 3: time after the Osmonds was out. But you know, I 275 00:17:50,160 --> 00:17:53,320 Speaker 3: understand the marketing thing, you know, uh, they didn't want 276 00:17:53,359 --> 00:17:57,119 Speaker 3: no other competition out there, and we were a family 277 00:17:57,160 --> 00:17:59,240 Speaker 3: group that could sing harmony and all that, so they 278 00:17:59,280 --> 00:17:59,760 Speaker 3: signed us. 279 00:18:00,359 --> 00:18:03,760 Speaker 1: Well, then I gotta ask then if because I know 280 00:18:04,720 --> 00:18:10,200 Speaker 1: with one bad Apple not At one point did MGM say, hmm, 281 00:18:10,240 --> 00:18:12,760 Speaker 1: this sounds close like ABC. All right, Silvers, here you go, 282 00:18:12,920 --> 00:18:16,080 Speaker 1: like this should be for you instead of the Osmonds. 283 00:18:15,640 --> 00:18:19,640 Speaker 3: Or no, the Odumans were signed already and they were 284 00:18:19,760 --> 00:18:23,439 Speaker 3: specially targeted to be the off the other side, a 285 00:18:23,480 --> 00:18:26,720 Speaker 3: white group family group and a black family group. That 286 00:18:26,840 --> 00:18:31,000 Speaker 3: was I understand the marketing after, but we didn't know 287 00:18:31,080 --> 00:18:34,160 Speaker 3: that was the case till, like, you know, years later, 288 00:18:34,720 --> 00:18:37,480 Speaker 3: And I didn't believe it even after people was telling 289 00:18:37,560 --> 00:18:40,439 Speaker 3: me because I wasn't caring about that, you know, as 290 00:18:40,480 --> 00:18:42,800 Speaker 3: long as we can come out, that was my thing. 291 00:18:43,720 --> 00:18:47,080 Speaker 3: So their whole thing was done, and all of a 292 00:18:47,119 --> 00:18:49,440 Speaker 3: sudden we heard them out and he was on MGM. 293 00:18:49,600 --> 00:18:53,280 Speaker 3: Nothing was told or anything, and it just came out, 294 00:18:53,480 --> 00:18:57,000 Speaker 3: you know, And I actually liked the record. I thought 295 00:18:57,000 --> 00:18:59,440 Speaker 3: it was you know. But Mike Curb was cool because 296 00:18:59,440 --> 00:19:03,920 Speaker 3: he made up pride and well he got his friend 297 00:19:03,960 --> 00:19:09,480 Speaker 3: Michael Veener to uh credible bar because incredible bargle man. 298 00:19:09,680 --> 00:19:12,120 Speaker 3: Oh yeah yeah, and that was a funny story too. 299 00:19:12,359 --> 00:19:17,560 Speaker 3: But he they were schoolmates, Curb and Mike Veener, and 300 00:19:17,640 --> 00:19:20,040 Speaker 3: he always wanted to get into the record business and 301 00:19:20,119 --> 00:19:23,480 Speaker 3: Mike Curb gave him that shot and gave us put 302 00:19:23,560 --> 00:19:28,760 Speaker 3: us on another label because MGM was more pop than anything. 303 00:19:29,000 --> 00:19:31,600 Speaker 3: They never had no R and B groups on MGM, 304 00:19:32,160 --> 00:19:35,000 Speaker 3: so Pride was the label that he put us on. 305 00:19:35,800 --> 00:19:40,960 Speaker 3: Got a well KEG. Johnson got a black promoter and 306 00:19:42,400 --> 00:19:46,000 Speaker 3: Mike Veener was the head of Pride and we hit 307 00:19:46,440 --> 00:19:49,800 Speaker 3: with Fool's Paradise our first record. Well there was R 308 00:19:49,840 --> 00:19:52,919 Speaker 3: and B hit, you know, I didn't get no pop play, 309 00:19:53,600 --> 00:19:58,439 Speaker 3: but uh, that was that. And when we started practicing, 310 00:19:58,520 --> 00:20:00,800 Speaker 3: we went on the road and things were happening quick 311 00:20:00,800 --> 00:20:04,720 Speaker 3: because we had the big naturals and people automatically oh 312 00:20:05,160 --> 00:20:09,400 Speaker 3: another Jackson's and we had the bigger naturals. So can you. 313 00:20:09,400 --> 00:20:13,640 Speaker 1: Clear how those your actual naturals home? 314 00:20:13,760 --> 00:20:14,160 Speaker 3: Yeah? 315 00:20:14,240 --> 00:20:17,359 Speaker 1: Yeah, okay, I had to know it for his weeks 316 00:20:17,440 --> 00:20:22,000 Speaker 1: or not because they were so perfect. The Silvers Afros 317 00:20:22,119 --> 00:20:24,359 Speaker 1: for me, the real standard of the Afro, not the 318 00:20:24,400 --> 00:20:26,000 Speaker 1: Jackson five like that. You know. 319 00:20:26,080 --> 00:20:29,000 Speaker 3: Well, we we had a concept. I thought, if you 320 00:20:29,000 --> 00:20:32,840 Speaker 3: would we would go to bed instead of with the 321 00:20:32,920 --> 00:20:35,760 Speaker 3: natural flattening it up, we would brush our hair up 322 00:20:35,800 --> 00:20:38,399 Speaker 3: and take rubber bands and have a unicorn going up 323 00:20:39,400 --> 00:20:41,520 Speaker 3: and to sleep like that. And we took the rubber 324 00:20:41,520 --> 00:20:43,320 Speaker 3: bands off, it would just lay out like that. 325 00:20:43,560 --> 00:20:48,040 Speaker 1: Wow, so that was our natural secrets revealed. You think, 326 00:20:48,080 --> 00:20:53,200 Speaker 1: I ain't gonna do this, only braid my hair so 327 00:20:53,359 --> 00:20:55,200 Speaker 1: can have that effect. I was like, damn, I could 328 00:20:55,240 --> 00:21:05,040 Speaker 1: just unicorm shit, you're fired, thank you? Oh man? So 329 00:21:05,680 --> 00:21:10,560 Speaker 1: h knowing or you know, I don't. I don't know 330 00:21:10,640 --> 00:21:16,359 Speaker 1: how big of a presence the Jackson Five were in 331 00:21:16,440 --> 00:21:18,960 Speaker 1: you guys's life as far as like that's the goal 332 00:21:19,160 --> 00:21:22,679 Speaker 1: or if it was some sort of eclips it was. 333 00:21:24,119 --> 00:21:24,720 Speaker 3: It was big. 334 00:21:24,760 --> 00:21:28,919 Speaker 1: Oh sorry, no, well I'm asking like, was there a 335 00:21:29,000 --> 00:21:31,200 Speaker 1: thing like well until we reached the status of the 336 00:21:31,280 --> 00:21:34,040 Speaker 1: Jackson Five, like we haven't made it yet or that 337 00:21:34,080 --> 00:21:38,520 Speaker 1: sort of thing, And at least with the Pride Records. 338 00:21:38,240 --> 00:21:43,640 Speaker 3: It wasn't openly said because we were kind of controlling 339 00:21:43,960 --> 00:21:48,359 Speaker 3: our We were writing our songs, we were doing our 340 00:21:48,400 --> 00:21:52,000 Speaker 3: own harmony. We didn't have a corporation like guys that 341 00:21:52,080 --> 00:21:54,240 Speaker 3: knew what they were doing, you know too, So we 342 00:21:54,400 --> 00:21:58,040 Speaker 3: learned everything. So it was like a great feeling each 343 00:21:58,400 --> 00:22:00,520 Speaker 3: level of it. So we wasn't even thinking. We was 344 00:22:00,640 --> 00:22:03,760 Speaker 3: just happy to be in it really and doing our 345 00:22:03,800 --> 00:22:04,479 Speaker 3: own music. 346 00:22:05,440 --> 00:22:08,640 Speaker 7: So those prior records, was that you in the studio 347 00:22:09,040 --> 00:22:11,000 Speaker 7: like just pretty much doing everything. 348 00:22:11,040 --> 00:22:12,360 Speaker 1: How much was that and how much? 349 00:22:13,240 --> 00:22:19,240 Speaker 3: But Jerry Butler had three guys, well two Keg Johnson 350 00:22:19,280 --> 00:22:23,440 Speaker 3: and Jerry Peters working with his company, and he sent 351 00:22:23,520 --> 00:22:26,320 Speaker 3: them first to meet us. And he met us at 352 00:22:26,320 --> 00:22:31,119 Speaker 3: the six Flags Magic Mountain doing a show, and backstage 353 00:22:31,320 --> 00:22:34,679 Speaker 3: after the show he brought his records. I guess that 354 00:22:34,760 --> 00:22:38,360 Speaker 3: he wanted well that he did want us to hear 355 00:22:38,480 --> 00:22:41,240 Speaker 3: from Jerry Butler, telling him to let him hear this. 356 00:22:41,960 --> 00:22:45,360 Speaker 3: And I had my base ready in an amp and 357 00:22:45,400 --> 00:22:50,200 Speaker 3: we were all sitting in a line, well in a circle, 358 00:22:50,240 --> 00:22:53,960 Speaker 3: half circle, and we knew he was coming, so we 359 00:22:53,960 --> 00:22:56,960 Speaker 3: was prepared to play our songs. And he said, I 360 00:22:57,000 --> 00:23:01,040 Speaker 3: heard you all right, Keg did, and we looked at 361 00:23:01,080 --> 00:23:03,680 Speaker 3: each other and said yeah yeah, And he said, okay, 362 00:23:03,760 --> 00:23:06,880 Speaker 3: let me hear something. So we started playing Fool's Paradise 363 00:23:07,000 --> 00:23:09,240 Speaker 3: at the record first record and I start off with 364 00:23:09,280 --> 00:23:14,080 Speaker 3: the bass and and then Charmain started singing, and we 365 00:23:14,160 --> 00:23:17,159 Speaker 3: all you know, and Keg just walked over to the 366 00:23:17,200 --> 00:23:19,919 Speaker 3: trash can and then okay, that's one, let me hear 367 00:23:19,960 --> 00:23:25,160 Speaker 3: another one, and through through the records in the trash 368 00:23:25,240 --> 00:23:27,160 Speaker 3: in front of us. You know, we liked that we 369 00:23:27,160 --> 00:23:31,320 Speaker 3: was teenagers. We was like we looked at each other. Yeah, 370 00:23:31,359 --> 00:23:33,760 Speaker 3: so that was great. We clicked right off the bat, 371 00:23:34,040 --> 00:23:35,840 Speaker 3: you know when he did that. 372 00:23:36,160 --> 00:23:40,800 Speaker 1: You know so well, even though buying these records and 373 00:23:40,840 --> 00:23:43,160 Speaker 1: seeing the production and stuff, I knew that you wrote 374 00:23:43,200 --> 00:23:47,119 Speaker 1: the songs, but yeah, I was trying to figure out, 375 00:23:47,240 --> 00:23:50,520 Speaker 1: like how much production control you had these songs. 376 00:23:50,880 --> 00:23:54,280 Speaker 3: I didn't. I was learning then. I didn't want to produce. 377 00:23:54,440 --> 00:23:56,719 Speaker 3: I didn't even play on it, and I didn't want to. 378 00:23:56,760 --> 00:23:59,800 Speaker 3: He asked me did Keg was the producer, but it 379 00:23:59,840 --> 00:24:02,520 Speaker 3: was supposed to be. It was Keg and Jerry Peters 380 00:24:02,520 --> 00:24:06,280 Speaker 3: that were the producers. Jerry Butler wasn't going to produce, 381 00:24:06,480 --> 00:24:11,280 Speaker 3: but it was his company that was hired and some 382 00:24:11,320 --> 00:24:17,320 Speaker 3: things went down. But Keg was the producer, and he 383 00:24:17,400 --> 00:24:19,320 Speaker 3: asked me, did I want to play on it? Because 384 00:24:19,359 --> 00:24:23,359 Speaker 3: he liked everything he heard and he was worried. He 385 00:24:23,440 --> 00:24:25,800 Speaker 3: wasn't going to tell Jerry. Now I didn't notice at 386 00:24:25,800 --> 00:24:28,520 Speaker 3: the time, but he was. He wasn't going to tell 387 00:24:28,600 --> 00:24:33,359 Speaker 3: Jerry till later. Oh wo, because Jerry was busy still, 388 00:24:33,400 --> 00:24:35,679 Speaker 3: he was still hot with his career. He was on 389 00:24:35,800 --> 00:24:39,159 Speaker 3: tour and all that stuff. So, uh, we was actually 390 00:24:39,160 --> 00:24:43,000 Speaker 3: in the studio cutting this stuff. Before Jerry even knew 391 00:24:44,080 --> 00:24:47,520 Speaker 3: that we didn't do his record. But I didn't know this. 392 00:24:47,760 --> 00:24:51,680 Speaker 3: I just heard it from a phone conversation with my mother, 393 00:24:52,160 --> 00:24:57,720 Speaker 3: Mike Wiener, and Keg because Keg was with Jerry and 394 00:24:57,760 --> 00:25:01,280 Speaker 3: they were about to get rid of him. Because Jerry 395 00:25:01,359 --> 00:25:04,399 Speaker 3: came in and came down, and I remember I had 396 00:25:04,400 --> 00:25:06,520 Speaker 3: to go in the studio and he was telling me, now, 397 00:25:06,560 --> 00:25:10,199 Speaker 3: this is what I wanted y'all to do, and he 398 00:25:10,240 --> 00:25:16,359 Speaker 3: played a way worse bubblegum record than one Bad Apple, 399 00:25:16,480 --> 00:25:20,960 Speaker 3: and I like that, this was horrible. It was bubble gum. 400 00:25:21,560 --> 00:25:23,800 Speaker 3: So I was like, you know, I was from the 401 00:25:23,880 --> 00:25:29,399 Speaker 3: Nickason Garden and Watts, so yeah, I wasn't even trying 402 00:25:29,400 --> 00:25:35,240 Speaker 3: to hear it. But I liked Jerry Butler, so I said, well, yeah, 403 00:25:35,800 --> 00:25:40,359 Speaker 3: we're not doing that, That's all I said. I didn't 404 00:25:40,359 --> 00:25:42,560 Speaker 3: want to say nothing else because I liked him. I just, 405 00:25:42,640 --> 00:25:44,720 Speaker 3: you know, let me cut to the chase and I 406 00:25:44,800 --> 00:25:47,640 Speaker 3: play around. We ain't doing it, and he said, oh 407 00:25:47,960 --> 00:25:53,160 Speaker 3: why not. Yeah, it's too bubblegum, That's all I said. 408 00:25:53,320 --> 00:25:57,960 Speaker 3: And he said, oh, okay, you sure, that's all he said, 409 00:25:58,000 --> 00:26:01,640 Speaker 3: and I said yeah, and he let it go. He 410 00:26:01,760 --> 00:26:06,159 Speaker 3: just made sure everything went through his company KEG, and 411 00:26:06,160 --> 00:26:09,560 Speaker 3: then was gonna get fired. But I liked the way 412 00:26:09,560 --> 00:26:12,320 Speaker 3: he handled itself with us when he threw the records 413 00:26:12,320 --> 00:26:14,800 Speaker 3: in the trash, so I stood up for him. I 414 00:26:14,880 --> 00:26:17,879 Speaker 3: told him, Oh, if you get rid of KEG, we 415 00:26:17,920 --> 00:26:22,720 Speaker 3: ain't doing nothing. I didn't know what I was I was, 416 00:26:22,840 --> 00:26:25,760 Speaker 3: but I meant what I said. I was only about 417 00:26:26,080 --> 00:26:32,280 Speaker 3: what eighteen No, I was seventeen or something. But I 418 00:26:32,440 --> 00:26:34,800 Speaker 3: was the one that everybody was listening to, and they 419 00:26:35,000 --> 00:26:37,439 Speaker 3: like KEG, and we were doing our own things. So 420 00:26:38,480 --> 00:26:41,320 Speaker 3: I just told Mike Wiener, Hey, if you get rid 421 00:26:41,400 --> 00:26:44,200 Speaker 3: of KEG, we ain't doing nothing. We'll go somewhere else. 422 00:26:44,680 --> 00:26:47,359 Speaker 7: Before y'all got into the studio, how were you writing 423 00:26:47,359 --> 00:26:49,800 Speaker 7: your songs like fools preadicce writing them on base at home? 424 00:26:50,040 --> 00:26:53,560 Speaker 3: This bass? Oh, I would use the base excuse me 425 00:26:54,080 --> 00:26:57,000 Speaker 3: as a harmonic to the melody that I would sing. 426 00:26:59,680 --> 00:27:02,719 Speaker 3: Oh ways, I wouldn't do it as a you know 427 00:27:02,800 --> 00:27:05,080 Speaker 3: a lot of people stay on E for the funk 428 00:27:05,160 --> 00:27:09,560 Speaker 3: type thing. I would use it as a keyboard. I 429 00:27:09,600 --> 00:27:12,200 Speaker 3: would always play the bass of harmonic to my melody 430 00:27:13,480 --> 00:27:15,719 Speaker 3: and then the chords would you could you could hear 431 00:27:15,800 --> 00:27:19,400 Speaker 3: different ones you know as you listening to the melody 432 00:27:19,560 --> 00:27:20,959 Speaker 3: and the bass. 433 00:27:21,240 --> 00:27:24,720 Speaker 1: So are a majority of the songs that you write. 434 00:27:24,800 --> 00:27:27,840 Speaker 1: Do you write it on bass? Verse before you never 435 00:27:27,880 --> 00:27:28,320 Speaker 1: on piano? 436 00:27:28,480 --> 00:27:32,119 Speaker 3: Never on Okay, now I do because you know you 437 00:27:32,200 --> 00:27:35,320 Speaker 3: got a studio in your hand. Now you know you 438 00:27:35,359 --> 00:27:41,520 Speaker 3: could do anything really, But back then, if I did 439 00:27:41,520 --> 00:27:44,000 Speaker 3: a melody, I immediately went to the bass and did 440 00:27:44,040 --> 00:27:47,359 Speaker 3: the harmonic bass line because that was like my keyboard. 441 00:27:48,680 --> 00:27:54,720 Speaker 1: So for for those first four three or four initial 442 00:27:54,800 --> 00:27:58,720 Speaker 1: Silvers albums that didn't catch you on the way that 443 00:27:58,760 --> 00:28:01,199 Speaker 1: showcase quitte on and once you guys went to Capitol, 444 00:28:01,320 --> 00:28:07,800 Speaker 1: But was it at all shocking to you that those 445 00:28:08,160 --> 00:28:10,560 Speaker 1: records would be discovered in a new light in the 446 00:28:10,720 --> 00:28:14,399 Speaker 1: era of rare groove culture and hip hop sampling, Like 447 00:28:14,480 --> 00:28:17,840 Speaker 1: because even though in your mind you might think like, 448 00:28:17,880 --> 00:28:22,000 Speaker 1: oh well, okay, those first few records weren't hitting like 449 00:28:22,080 --> 00:28:26,280 Speaker 1: you know, our Capital years, But for a lot of us, yeah, 450 00:28:26,400 --> 00:28:29,120 Speaker 1: that's the holy grail. Oh my god. Yeah, I mean 451 00:28:29,160 --> 00:28:33,080 Speaker 1: the first album alone with with uh wish I could 452 00:28:33,080 --> 00:28:36,840 Speaker 1: talk to you. I'll never be ashamed, Like there's least 453 00:28:36,960 --> 00:28:39,240 Speaker 1: like in my eyes, like that first Silver Records has 454 00:28:39,240 --> 00:28:43,360 Speaker 1: at least six six or seven gems on it that 455 00:28:43,400 --> 00:28:45,600 Speaker 1: we see in the light of sampling and how it's 456 00:28:46,000 --> 00:28:49,680 Speaker 1: so was it at all shocking to you that, like 457 00:28:50,080 --> 00:28:55,600 Speaker 1: some thirty five years later, forty years later, that suddenly 458 00:28:55,680 --> 00:28:58,520 Speaker 1: like even in my DJ said like I'll play only 459 00:28:58,600 --> 00:29:03,080 Speaker 1: one can win, as so that is all? 460 00:29:03,720 --> 00:29:06,720 Speaker 3: Well? Actually I felt great. I mean it was like 461 00:29:07,400 --> 00:29:11,280 Speaker 3: an honor for And then I started thinking, how does 462 00:29:11,320 --> 00:29:13,920 Speaker 3: that happen? You know? And then I's the only thing 463 00:29:13,960 --> 00:29:17,480 Speaker 3: I could think of is Wow, it was young people 464 00:29:17,800 --> 00:29:20,320 Speaker 3: that picked that up, and I was young at the 465 00:29:20,360 --> 00:29:23,360 Speaker 3: time when I wrote it. So it's like twenty years 466 00:29:23,440 --> 00:29:27,920 Speaker 3: later that same spirit and you know, musical DNA if 467 00:29:27,960 --> 00:29:30,840 Speaker 3: you will, you know, only the young could hear that, 468 00:29:31,800 --> 00:29:34,200 Speaker 3: because I was like, wow, that must be it. The 469 00:29:34,240 --> 00:29:36,760 Speaker 3: same thing with mister me all those songs that were 470 00:29:36,840 --> 00:29:40,240 Speaker 3: sampled I wrote when I was younger than. 471 00:29:40,160 --> 00:29:44,120 Speaker 7: Eighteen, right, No, that's that's a whole twenty minute conversation 472 00:29:44,200 --> 00:29:44,880 Speaker 7: just on that song. 473 00:29:45,240 --> 00:29:52,200 Speaker 1: Yes, Well what's started man with? Yeah? With mistermeanor like, 474 00:29:52,320 --> 00:29:55,280 Speaker 1: how how did you come with that? 475 00:29:56,720 --> 00:29:57,320 Speaker 6: Uh? 476 00:29:58,360 --> 00:30:02,640 Speaker 3: Wow, I didn't. The base came first. 477 00:30:03,440 --> 00:30:03,560 Speaker 4: Uh. 478 00:30:04,720 --> 00:30:08,680 Speaker 3: I was just I was stomping my foot and I 479 00:30:08,760 --> 00:30:14,120 Speaker 3: was just hitting mm hmmmmm. No, I was just doing 480 00:30:14,120 --> 00:30:21,560 Speaker 3: the first one first mm hm oh. And then I 481 00:30:21,680 --> 00:30:24,320 Speaker 3: started repeating those two over and over and I would 482 00:30:24,400 --> 00:30:27,560 Speaker 3: hit my foot kind of hard on the ground like 483 00:30:27,640 --> 00:30:31,080 Speaker 3: a kick. And I had one of them old. It 484 00:30:31,200 --> 00:30:35,000 Speaker 3: was I think it was a Signo cassette player. They 485 00:30:35,040 --> 00:30:38,320 Speaker 3: only made one. It had one big, giant speaker. It 486 00:30:38,400 --> 00:30:42,960 Speaker 3: was a Mono radio cassette player. Man, it had the 487 00:30:43,000 --> 00:30:49,120 Speaker 3: perfect compression for that mic. Because I recorded that baseline 488 00:30:49,280 --> 00:30:52,080 Speaker 3: stomping my feet with that cassette. Man, it was the 489 00:30:52,120 --> 00:30:57,320 Speaker 3: best sound ever. I did everything. I went and bought 490 00:30:57,360 --> 00:30:58,040 Speaker 3: two of those. 491 00:30:59,800 --> 00:31:02,640 Speaker 1: Ye that's what the that's what the iPhone sounds like now, 492 00:31:02,680 --> 00:31:05,200 Speaker 1: and sort of I track a lot of my drums 493 00:31:05,240 --> 00:31:07,760 Speaker 1: up with the iPhone, like on the floor, like thirteen 494 00:31:07,800 --> 00:31:10,440 Speaker 1: feet away from me, and it's the same, perfect man. 495 00:31:10,600 --> 00:31:14,480 Speaker 3: So I just loved that. I kept that cassette till 496 00:31:14,520 --> 00:31:20,480 Speaker 3: it evaporated. You know. It just had that the misdemeanor 497 00:31:20,600 --> 00:31:24,320 Speaker 3: vibe on it. And I just recorded that and then 498 00:31:24,360 --> 00:31:28,840 Speaker 3: said the hook. I don't remember if I had the 499 00:31:28,880 --> 00:31:34,120 Speaker 3: words already, I did, probably did, and I was and 500 00:31:34,200 --> 00:31:38,480 Speaker 3: I knew because I listened to that melody lower octave 501 00:31:38,520 --> 00:31:41,760 Speaker 3: with the base and the same register, and it's wrong. 502 00:31:42,080 --> 00:31:45,600 Speaker 3: It's the most horrible melody with the baseline because it's 503 00:31:45,640 --> 00:31:48,080 Speaker 3: one of them notes that if you do an octave 504 00:31:48,200 --> 00:31:51,160 Speaker 3: high you can get away with it. It sounds cool, 505 00:31:51,360 --> 00:31:53,640 Speaker 3: almost funky, but if you do it in the same 506 00:31:53,760 --> 00:31:57,840 Speaker 3: register like an octave lower, the worst thing to your ear, 507 00:31:58,080 --> 00:32:00,800 Speaker 3: you couldn't. I hated it when I when I heard 508 00:32:00,800 --> 00:32:04,560 Speaker 3: it like that, but uh, I knew what I had 509 00:32:05,520 --> 00:32:09,000 Speaker 3: when I actually did the melody with the bassline, it 510 00:32:09,040 --> 00:32:13,080 Speaker 3: sounded great. I just knew I had something that would 511 00:32:13,400 --> 00:32:16,080 Speaker 3: people would like. I don't know why. It just had 512 00:32:16,120 --> 00:32:17,440 Speaker 3: a feeling y, you know. 513 00:32:17,600 --> 00:32:19,160 Speaker 1: And how old was Foster when he cut that? 514 00:32:20,000 --> 00:32:21,880 Speaker 3: He was around I think ten, uh. 515 00:32:23,360 --> 00:32:29,480 Speaker 1: Turn eleven, like ten years old? Then out were you? 516 00:32:30,000 --> 00:32:37,120 Speaker 1: Were you? Because of the pristine level of musicianship that 517 00:32:37,400 --> 00:32:40,640 Speaker 1: a lot of the Pride era records were under. Were 518 00:32:40,680 --> 00:32:43,240 Speaker 1: you guys always using the same musicians in the studio 519 00:32:43,360 --> 00:32:45,760 Speaker 1: or was it did you have a relationship with these 520 00:32:45,840 --> 00:32:48,120 Speaker 1: musicians or was just like who's here today? 521 00:32:48,320 --> 00:32:51,160 Speaker 3: We met him because we wanted to be at every session. 522 00:32:51,560 --> 00:32:55,440 Speaker 3: So it was mainly Chuck Rainy on bass. 523 00:32:55,120 --> 00:32:56,880 Speaker 1: Or what oh man? 524 00:32:59,240 --> 00:33:01,760 Speaker 3: Those two were the bass players those guys were just 525 00:33:02,280 --> 00:33:04,480 Speaker 3: moonlight Like no, they were the top. 526 00:33:05,920 --> 00:33:11,880 Speaker 1: But well, I'm just saying like, well, like yeah. 527 00:33:10,720 --> 00:33:14,920 Speaker 3: Well, Keig Keg and Jerry Peters they were real good 528 00:33:14,960 --> 00:33:19,440 Speaker 3: producers back then. They did uh, Gray, what's that song 529 00:33:19,600 --> 00:33:23,760 Speaker 3: that friends of Friends of distinct? Yeah, they did that 530 00:33:23,880 --> 00:33:28,200 Speaker 3: and uh you got me go in and and so 531 00:33:28,480 --> 00:33:32,440 Speaker 3: Keig Johnson and Jerry Peters were formidable producers themselves. So 532 00:33:32,840 --> 00:33:37,000 Speaker 3: and Jerry Peters was great keyboardist and arranger. So they 533 00:33:37,040 --> 00:33:40,800 Speaker 3: knew all the top musicians and I'd go to every session. 534 00:33:41,480 --> 00:33:46,520 Speaker 3: David t was main guitar. Uh Felder. They switch up 535 00:33:46,560 --> 00:33:48,960 Speaker 3: on keyboard guys because there was a lot of them, 536 00:33:49,120 --> 00:33:53,200 Speaker 3: but it was always kind of jazz oriented. Guys still alive, 537 00:33:53,560 --> 00:33:54,200 Speaker 3: Yes he is. 538 00:33:54,760 --> 00:33:59,080 Speaker 1: Wait, uh, it's just hit me. Was it one of 539 00:33:59,120 --> 00:34:03,560 Speaker 1: your brothers or or three? Somehow? You guys were actually 540 00:34:03,600 --> 00:34:06,600 Speaker 1: involved in the Jackson five cartoon Edmund. 541 00:34:06,920 --> 00:34:08,280 Speaker 3: He was Marlon's voice. 542 00:34:09,000 --> 00:34:17,600 Speaker 1: Here's a voice of you. You mentioned something, well, a 543 00:34:17,680 --> 00:34:21,440 Speaker 1: lot of us are not California residents, but I have 544 00:34:21,480 --> 00:34:26,160 Speaker 1: family out here. And you said Nickerson Nickerson Gardens, which 545 00:34:27,560 --> 00:34:31,560 Speaker 1: instantly struck fear in my heart. I was like, okay, 546 00:34:31,840 --> 00:34:35,600 Speaker 1: hands up, Yeah, well, a lot of the We're All 547 00:34:35,600 --> 00:34:43,640 Speaker 1: in the Same Gang video was shot there. How yeah, 548 00:34:43,760 --> 00:34:48,520 Speaker 1: how knowing what I know about, you know, LA gang 549 00:34:48,560 --> 00:34:52,600 Speaker 1: culture and that stuff, especially that being the most notorious 550 00:34:53,200 --> 00:35:00,160 Speaker 1: housing projects in l A. How did the eleven of 551 00:35:00,200 --> 00:35:03,840 Speaker 1: you escape that unscathed? Was it just like leave the 552 00:35:03,840 --> 00:35:05,960 Speaker 1: silvers alone, like they're going to make it one day? 553 00:35:06,040 --> 00:35:09,480 Speaker 3: Or well, no, we you know, you had to kind 554 00:35:09,520 --> 00:35:10,200 Speaker 3: of get busy. 555 00:35:11,480 --> 00:35:13,160 Speaker 1: But it's like, Okay, we're going to do soul Tree 556 00:35:13,200 --> 00:35:14,480 Speaker 1: one day and then come back and you got to 557 00:35:14,480 --> 00:35:15,960 Speaker 1: fight your way inside your crib or. 558 00:35:15,960 --> 00:35:19,560 Speaker 3: No, actually we were. We were singing then, we were 559 00:35:19,640 --> 00:35:25,520 Speaker 3: learning and building our our voices then. And I was 560 00:35:25,560 --> 00:35:29,320 Speaker 3: going to verbum Day High School. It was a Catholic 561 00:35:29,320 --> 00:35:33,560 Speaker 3: school in the in the middle of watts and it 562 00:35:33,600 --> 00:35:39,400 Speaker 3: was the Nickerson Garden was around it actually, and I 563 00:35:39,480 --> 00:35:42,279 Speaker 3: went there to play basketball because I got a little 564 00:35:42,280 --> 00:35:48,040 Speaker 3: scholarship there. And we entered a talent show from verbum 565 00:35:48,120 --> 00:35:54,040 Speaker 3: Day and actually before the Brothers Johnson's name was Brothers Johnson. 566 00:35:54,160 --> 00:35:57,359 Speaker 3: They were in that talent show too, wow, and they 567 00:35:57,400 --> 00:35:59,800 Speaker 3: won their place. No, they didn't even go to the 568 00:36:00,239 --> 00:36:03,719 Speaker 3: but you could if you had somebody that did, you 569 00:36:03,760 --> 00:36:07,359 Speaker 3: could be in that talent show and we didn't have 570 00:36:07,440 --> 00:36:10,520 Speaker 3: no band. We were just doing a cappella. So we 571 00:36:10,880 --> 00:36:15,720 Speaker 3: put put about seven or eight chairs and put a 572 00:36:15,960 --> 00:36:21,440 Speaker 3: one leg on the chair and appella. You know. So 573 00:36:21,600 --> 00:36:24,279 Speaker 3: we we got one second place. But there was a 574 00:36:24,320 --> 00:36:28,200 Speaker 3: guy named Wylie Brooks there and he came up to 575 00:36:28,280 --> 00:36:30,120 Speaker 3: us and said, I have a friend at MGM. 576 00:36:30,719 --> 00:36:36,400 Speaker 1: You know that reminds me who arranged your version of yesterday? 577 00:36:38,600 --> 00:36:40,319 Speaker 1: That that all acapella? 578 00:36:41,880 --> 00:36:45,799 Speaker 3: Who did that? I think? I think did we do 579 00:36:45,880 --> 00:36:50,959 Speaker 3: it ourselves? I think we did. I can't remember anybody else. 580 00:36:51,160 --> 00:36:54,439 Speaker 3: Oh no, there wasn't a arranger that helped us. When 581 00:36:54,440 --> 00:37:00,400 Speaker 3: we were doing our show for Las Vegas, George something. 582 00:37:00,760 --> 00:37:05,120 Speaker 3: He helped us out. But then we changed it and. 583 00:37:05,120 --> 00:37:07,680 Speaker 1: So you guys would still do the the a cappella 584 00:37:07,760 --> 00:37:09,680 Speaker 1: beatles yesterday just the way that. 585 00:37:09,880 --> 00:37:12,360 Speaker 3: Yeah, we we We did our show at the Rolls 586 00:37:12,680 --> 00:37:15,600 Speaker 3: a couple of months ago and we kept that in 587 00:37:15,680 --> 00:37:17,640 Speaker 3: the show. We put that back in the show. 588 00:37:18,600 --> 00:37:22,319 Speaker 1: That that is like, yeah a lot of people, that's 589 00:37:22,320 --> 00:37:27,879 Speaker 1: the most jaw dropping. Were you professionally taught eventually how 590 00:37:27,920 --> 00:37:29,279 Speaker 1: to notate music or was. 591 00:37:29,239 --> 00:37:32,560 Speaker 3: It just like I don't know how to read it all. Wow, 592 00:37:34,280 --> 00:37:37,560 Speaker 3: dog man, I'm gonna learn though too. 593 00:37:40,080 --> 00:37:42,200 Speaker 1: So even on the base that was just our self taught. 594 00:37:42,239 --> 00:37:42,800 Speaker 1: You talked yourself. 595 00:37:42,800 --> 00:37:45,920 Speaker 3: Oh yeah, I was. I was into jameson that. That 596 00:37:46,040 --> 00:37:47,200 Speaker 3: was the teacher right there. 597 00:37:48,920 --> 00:37:54,800 Speaker 1: Well from me, can we go to the years capital 598 00:37:55,280 --> 00:38:03,680 Speaker 1: trying to So how did the MG situation? Well, not implode, 599 00:38:03,719 --> 00:38:06,120 Speaker 1: but how did you guys eventually get the attention of 600 00:38:06,280 --> 00:38:13,879 Speaker 1: Capitol records. I don't really remember too much. 601 00:38:13,680 --> 00:38:14,480 Speaker 3: Except that. 602 00:38:16,320 --> 00:38:17,960 Speaker 1: Who's managing the group. 603 00:38:18,600 --> 00:38:23,520 Speaker 3: At when we were on Pride it was a manager 604 00:38:23,560 --> 00:38:27,319 Speaker 3: called Nordy Stein. He would always try to chime in 605 00:38:28,040 --> 00:38:30,520 Speaker 3: and then when we didn't react fast, he would say, 606 00:38:31,000 --> 00:38:36,440 Speaker 3: it's just a thought leon. So we knew Nordy Stein 607 00:38:36,600 --> 00:38:38,719 Speaker 3: like that. But he was cool. He got gigs, and 608 00:38:39,000 --> 00:38:40,480 Speaker 3: I didn't. I liked him. Really. 609 00:38:41,560 --> 00:38:46,200 Speaker 1: How how are you guys able to keep the discipline 610 00:38:47,200 --> 00:38:50,400 Speaker 1: of the group? I mean, because again, it's nine of you, 611 00:38:51,640 --> 00:38:56,600 Speaker 1: and you are going into uncharted territory of stardom, and 612 00:38:56,600 --> 00:39:02,040 Speaker 1: you're in Hollywood and you know obviously I mean, I 613 00:39:02,080 --> 00:39:03,919 Speaker 1: don't know if you're the father figure of the group, 614 00:39:03,960 --> 00:39:06,640 Speaker 1: but I would assume that as the eldest brother you 615 00:39:06,760 --> 00:39:10,040 Speaker 1: had to keep Oh yeah, it was in line, and 616 00:39:10,200 --> 00:39:10,480 Speaker 1: you know. 617 00:39:10,600 --> 00:39:15,319 Speaker 3: It was I didn't believe in nothing halfway. And I 618 00:39:15,440 --> 00:39:19,400 Speaker 3: was a good disciplinary and I mean Foster he was 619 00:39:19,440 --> 00:39:23,279 Speaker 3: the only one that really showed because he was into 620 00:39:23,320 --> 00:39:26,600 Speaker 3: football like I was into basketball. So he didn't want 621 00:39:26,640 --> 00:39:30,600 Speaker 3: to practice at all when and he would cry and 622 00:39:30,680 --> 00:39:32,680 Speaker 3: try to get out of it, you know that kind 623 00:39:32,680 --> 00:39:36,120 Speaker 3: of stuff. But he eventually came through. But I would 624 00:39:36,160 --> 00:39:39,680 Speaker 3: do like, hey, I ain't getting on stage getting booed ever, 625 00:39:40,080 --> 00:39:44,440 Speaker 3: so y'all, let's let's go practice. And we had the 626 00:39:44,520 --> 00:39:49,400 Speaker 3: Jackson's to look up to as far as steps, professionalism 627 00:39:49,440 --> 00:39:53,840 Speaker 3: and it, but they were they were worked through professionalisms 628 00:39:54,360 --> 00:39:55,920 Speaker 3: and professional people. 629 00:39:56,000 --> 00:40:00,880 Speaker 1: I gotta ask you a question, okay U, because I 630 00:40:00,920 --> 00:40:04,280 Speaker 1: mean I haven't seen you guys on Soul trained billions 631 00:40:04,320 --> 00:40:09,239 Speaker 1: of times and you know all your steps are immaculating 632 00:40:09,239 --> 00:40:12,239 Speaker 1: and all those things. Did you guys ever work with 633 00:40:12,320 --> 00:40:13,359 Speaker 1: Charlie Atkins? Oh? 634 00:40:13,440 --> 00:40:17,880 Speaker 3: Yeah, yeah, that was Arlie that that move on Boogie Fever, 635 00:40:17,960 --> 00:40:25,520 Speaker 3: that first move. We we usually would change certain steps 636 00:40:25,880 --> 00:40:28,200 Speaker 3: because some of them guys would get a little too feminine, 637 00:40:28,239 --> 00:40:29,960 Speaker 3: and you know, we from the niggas and guns, so 638 00:40:30,000 --> 00:40:31,840 Speaker 3: we'd be like, okay, don't worry about that we. 639 00:40:31,960 --> 00:40:33,959 Speaker 1: Changed that, but. 640 00:40:36,000 --> 00:40:40,680 Speaker 3: Child, yeah, well sometimes it was you know, yeah, yeah, yeah, 641 00:40:41,400 --> 00:40:44,960 Speaker 3: and we didn't we knew which which one to edit 642 00:40:45,040 --> 00:40:47,959 Speaker 3: out and to put in. But Charlie's step, I said, 643 00:40:48,000 --> 00:40:50,640 Speaker 3: oh no, that ain't going nowhere. You got to keep that, 644 00:40:50,719 --> 00:40:54,120 Speaker 3: you know, just don't fall because it'll be a domino theory. 645 00:40:54,440 --> 00:40:57,160 Speaker 1: Because it's so amazing to see the nine of y'all 646 00:40:57,160 --> 00:41:00,560 Speaker 1: do it. Okay, here's the thing, as as the soul 647 00:41:00,600 --> 00:41:04,279 Speaker 1: trained attict that I am, the first minute of the 648 00:41:04,320 --> 00:41:06,759 Speaker 1: show to me is the most important part of the 649 00:41:06,800 --> 00:41:08,960 Speaker 1: show because it's when sim McCoy's gonna let you know 650 00:41:09,000 --> 00:41:11,640 Speaker 1: who's on the show with guest stars, you know. And 651 00:41:11,680 --> 00:41:13,680 Speaker 1: the thing is when they show the act that's on. 652 00:41:14,520 --> 00:41:17,279 Speaker 1: You know, it's usually just a one and a half 653 00:41:17,320 --> 00:41:21,320 Speaker 1: second or two second action shot. And as a kid 654 00:41:21,760 --> 00:41:24,600 Speaker 1: not knowing who the Silvers were, and it was like 655 00:41:24,640 --> 00:41:26,440 Speaker 1: with guest stars the Silvers and all of a sudden, 656 00:41:26,600 --> 00:41:34,799 Speaker 1: see I just never that was the most magical thing. 657 00:41:35,080 --> 00:41:37,600 Speaker 1: And the thing was its like before the age of 658 00:41:37,600 --> 00:41:40,080 Speaker 1: the VCR and that stuff. I mean, I had to 659 00:41:40,280 --> 00:41:44,000 Speaker 1: suffer for like twenty years just waiting to see the game, 660 00:41:44,200 --> 00:41:46,640 Speaker 1: imagining that thing and begging people like, do you know 661 00:41:46,719 --> 00:41:50,160 Speaker 1: doncran News can't just get the episode. They're finally like 662 00:41:50,280 --> 00:41:53,960 Speaker 1: finding that episode in Japan, like some twenty five years later. Man, 663 00:41:54,680 --> 00:41:56,640 Speaker 1: I wanted the ball like a baby. But yeah, like 664 00:41:57,360 --> 00:42:03,600 Speaker 1: the steps were so maculate and but again it's like 665 00:42:03,719 --> 00:42:08,719 Speaker 1: how it's like one false one false move and it's 666 00:42:09,480 --> 00:42:12,080 Speaker 1: down here like one person went to the left one. 667 00:42:11,960 --> 00:42:15,799 Speaker 3: But like whoa, yeah, but we staggered it because we 668 00:42:15,800 --> 00:42:19,960 Speaker 3: we learned okay, no no straight lines. It's just so 669 00:42:20,040 --> 00:42:23,640 Speaker 3: they'd stagger them, like being if the first one, second, 670 00:42:23,640 --> 00:42:26,880 Speaker 3: one's a little back, third one's up back, that kind 671 00:42:26,920 --> 00:42:27,200 Speaker 3: of thing. 672 00:42:27,280 --> 00:42:28,600 Speaker 1: What would y'all rehearsed at at this time? 673 00:42:28,640 --> 00:42:32,280 Speaker 3: At this point, we had a garage that we turned 674 00:42:32,320 --> 00:42:36,080 Speaker 3: into a little studio because I had a four track studio. 675 00:42:37,000 --> 00:42:41,239 Speaker 3: Uh back then it was kind of big, but it 676 00:42:41,360 --> 00:42:45,600 Speaker 3: was four tracks. So we rehearsed their steps and are 677 00:42:45,840 --> 00:42:49,839 Speaker 3: songs you know, and uh in the garage. Yeah. 678 00:42:50,360 --> 00:42:53,800 Speaker 1: Describe working with Freddy Parrin, who did he produce the 679 00:42:54,040 --> 00:42:55,000 Speaker 1: first Capitol record? 680 00:42:55,520 --> 00:42:59,359 Speaker 3: Yes, Uh, that was that's what I learned production. Why 681 00:42:59,400 --> 00:43:03,359 Speaker 3: not you like I learned well, it's I mean, he 682 00:43:03,440 --> 00:43:06,720 Speaker 3: was he was great. I learned a lot from him, 683 00:43:07,360 --> 00:43:11,200 Speaker 3: but he did kind of take one of our songs. Oh, 684 00:43:11,960 --> 00:43:14,359 Speaker 3: but I mean it was like it's like we got 685 00:43:14,400 --> 00:43:17,120 Speaker 3: through it and we were still cool laughter. Because it 686 00:43:17,200 --> 00:43:20,800 Speaker 3: was a song called Stealing from the Cookie Jar. Wow 687 00:43:23,360 --> 00:43:26,759 Speaker 3: I was the title of it, and the bass line was. 688 00:43:26,920 --> 00:43:30,839 Speaker 4: Boom boom boom boom boom boom boom boom boom boom 689 00:43:30,840 --> 00:43:32,680 Speaker 4: boom boom boom boom boom. 690 00:43:32,680 --> 00:43:35,920 Speaker 3: I went jazz on it on that third part. Freddy, 691 00:43:36,680 --> 00:43:39,759 Speaker 3: after he played the song and we sung it was 692 00:43:39,840 --> 00:43:43,920 Speaker 3: going off and he said, uh, play that back, and 693 00:43:44,600 --> 00:43:47,799 Speaker 3: that part We remember him playing it back because we thought, oh, 694 00:43:48,080 --> 00:43:51,600 Speaker 3: Freddy likes, he's gonna choose this one type thing. Then 695 00:43:52,719 --> 00:43:55,839 Speaker 3: a couple of weeks later he called us up and Hotline. 696 00:43:55,920 --> 00:44:00,239 Speaker 3: He played Hotline for us and Jenny your song and 697 00:44:00,239 --> 00:44:02,359 Speaker 3: it well, the baseline. 698 00:44:01,840 --> 00:44:05,920 Speaker 4: Was boom boom boom boom doom doo doo doo doo 699 00:44:06,000 --> 00:44:06,480 Speaker 4: doo doo. 700 00:44:06,840 --> 00:44:10,760 Speaker 3: And he went back to But Jonathan and Ricky, my brothers, 701 00:44:10,840 --> 00:44:16,319 Speaker 3: they were like, hey, and and uh with my man 702 00:44:16,400 --> 00:44:21,719 Speaker 3: who wrote it with Freddy, great writer, he said he 703 00:44:21,840 --> 00:44:28,880 Speaker 3: did like this. Yeah, yeah, it's almost like you did. 704 00:44:29,120 --> 00:44:32,920 Speaker 3: Uh that was you know, but I mean we got 705 00:44:33,040 --> 00:44:38,440 Speaker 3: past it because I was thinking, okay, if we the 706 00:44:38,560 --> 00:44:43,239 Speaker 3: record ain't out yet, y'all Ken Lewis, Kenny Saint Louis, Yeah, 707 00:44:43,760 --> 00:44:47,400 Speaker 3: great writer. He I thought it was kind of funny 708 00:44:47,480 --> 00:44:50,719 Speaker 3: because I was happy because Wow, I did something that 709 00:44:51,600 --> 00:44:56,919 Speaker 3: dude liked. But it was like we were minors. Well 710 00:44:57,000 --> 00:45:00,040 Speaker 3: I wasn't, but but Jonathan and them still were, and 711 00:45:00,120 --> 00:45:03,560 Speaker 3: they were the one more active on doing something about it. 712 00:45:04,360 --> 00:45:06,359 Speaker 3: And I said, well, you know what, let's just leave 713 00:45:06,400 --> 00:45:13,160 Speaker 3: it alone because you can't copyright a bassline. I mean, 714 00:45:13,600 --> 00:45:16,480 Speaker 3: either it's arrangement or because I found out, you know, 715 00:45:16,680 --> 00:45:20,120 Speaker 3: and then the record ain't made nothing yet. So if 716 00:45:20,200 --> 00:45:23,279 Speaker 3: we stopped the process Freddie panning him going back off, 717 00:45:24,280 --> 00:45:27,640 Speaker 3: then Capitol Records may drop us. Let's go on and 718 00:45:27,760 --> 00:45:29,960 Speaker 3: let Freddy do his thing. It's not like he took 719 00:45:30,040 --> 00:45:32,960 Speaker 3: our song. It's just a bassline he got an idea 720 00:45:33,040 --> 00:45:36,480 Speaker 3: from because it's not exactly the same. So I convinced 721 00:45:36,560 --> 00:45:39,759 Speaker 3: him to say, oh, okay, you know, because it could 722 00:45:39,760 --> 00:45:43,720 Speaker 3: have been a bad situation because we I was about 723 00:45:43,920 --> 00:45:47,960 Speaker 3: sixteen or seventeen then, so and Freddie was already uh oh, 724 00:45:48,520 --> 00:45:51,920 Speaker 3: you know, but he didn't steal nothing. Really, it was 725 00:45:52,080 --> 00:45:55,360 Speaker 3: just an idea that he took because my song was 726 00:45:55,440 --> 00:46:00,120 Speaker 3: totally different melody wise. So but we know how that 727 00:46:00,280 --> 00:46:02,600 Speaker 3: goes now when your food for thought, you know what 728 00:46:02,640 --> 00:46:05,799 Speaker 3: I'm saying. But I let it go and we had 729 00:46:06,040 --> 00:46:09,560 Speaker 3: a great rapport with Freddy, and I learned a lot 730 00:46:09,640 --> 00:46:14,080 Speaker 3: from him because he would work on one line at 731 00:46:14,120 --> 00:46:16,560 Speaker 3: every point of the song. And one time he's working 732 00:46:16,680 --> 00:46:20,200 Speaker 3: so hard on one record on the hotline, and I 733 00:46:20,360 --> 00:46:23,480 Speaker 3: just thought he was crazy. I was just what the 734 00:46:24,440 --> 00:46:27,640 Speaker 3: what is he thinking? So at the end, I said, 735 00:46:27,920 --> 00:46:29,759 Speaker 3: why did you go over that one so much? And 736 00:46:29,840 --> 00:46:33,520 Speaker 3: he said, well, you know how you hear records sometimes 737 00:46:33,920 --> 00:46:40,440 Speaker 3: and every part you start liking better and better. Sometimes 738 00:46:40,520 --> 00:46:44,080 Speaker 3: it happens like Magic's my and then other times you 739 00:46:44,200 --> 00:46:46,279 Speaker 3: set up your chorus better, you set up your ad 740 00:46:46,440 --> 00:46:50,040 Speaker 3: lib better, and it's like people listening don't know they 741 00:46:50,120 --> 00:46:53,560 Speaker 3: why they like the song better, and you get more 742 00:46:53,640 --> 00:46:55,279 Speaker 3: people and the more you hear it, the more you 743 00:46:55,440 --> 00:46:57,200 Speaker 3: like that part. And I still thought he was crazy. 744 00:46:57,239 --> 00:47:01,000 Speaker 3: I said, oh okay, and then it got me performing it. 745 00:47:02,840 --> 00:47:04,919 Speaker 3: When you you know, when you start performing, you there's 746 00:47:04,960 --> 00:47:07,320 Speaker 3: certain things you know already, so it's like second nature. 747 00:47:07,640 --> 00:47:09,959 Speaker 3: But in a certain part of a song you like better, 748 00:47:10,680 --> 00:47:12,319 Speaker 3: and I said, oh, I like this part, and then 749 00:47:12,360 --> 00:47:15,720 Speaker 3: it hit me that's the So I was like, okay, 750 00:47:15,800 --> 00:47:17,000 Speaker 3: I got to listen to this guy. 751 00:47:17,320 --> 00:47:20,640 Speaker 1: You know, can you tell the day Tripper story? 752 00:47:21,440 --> 00:47:27,279 Speaker 3: Oh yeah, yeah that I mean that was kind of 753 00:47:27,800 --> 00:47:29,759 Speaker 3: a hard part of my life. I thought I had 754 00:47:29,840 --> 00:47:35,479 Speaker 3: messed up because this uh reporter for the Times, Hunt 755 00:47:35,800 --> 00:47:40,040 Speaker 3: is his name, he was he was a he put 756 00:47:40,200 --> 00:47:43,160 Speaker 3: he cut up my words and acted like I was 757 00:47:43,280 --> 00:47:47,399 Speaker 3: downing Freddy Parent because I said I had told him, well, 758 00:47:48,760 --> 00:47:53,200 Speaker 3: I don't like the assembly line production attitude, but I 759 00:47:53,360 --> 00:47:56,800 Speaker 3: was talking about other producers. And then I said, but 760 00:47:56,920 --> 00:48:00,200 Speaker 3: Freddy Parent, he listens to my He left that ship 761 00:48:00,320 --> 00:48:04,880 Speaker 3: out and put Leon's tired of the assembly line production attitude, 762 00:48:05,360 --> 00:48:08,040 Speaker 3: and then he put in there Freddy Pearn's name after 763 00:48:08,239 --> 00:48:12,560 Speaker 3: talking about something else. Then he said, I quote and said, well, 764 00:48:12,760 --> 00:48:15,759 Speaker 3: boogiey Fever's cool, but that's for kids. I don't like 765 00:48:15,960 --> 00:48:19,800 Speaker 3: boogie fever like in passing, laughing like, but but it 766 00:48:19,920 --> 00:48:21,480 Speaker 3: was a hit and it did good for us. He 767 00:48:21,640 --> 00:48:24,320 Speaker 3: left that out and put Leon right after the assembly 768 00:48:24,400 --> 00:48:26,319 Speaker 3: line production attitude. 769 00:48:25,800 --> 00:48:41,359 Speaker 1: And I was sounded like a hater that mean man. Sorry, Yeah, 770 00:48:41,560 --> 00:48:46,120 Speaker 1: but also U was that the first time? That was 771 00:48:46,160 --> 00:48:48,040 Speaker 1: that the first time you got to meet James Jamerson, 772 00:48:48,120 --> 00:48:52,120 Speaker 1: Like that's him playing the baseline of Boogie Fever. Correct, No, 773 00:48:52,920 --> 00:48:53,960 Speaker 1: that's not James Jamerson. 774 00:48:54,040 --> 00:48:57,200 Speaker 3: No, it was either Wilton Felder or Truck Rainey. 775 00:48:57,640 --> 00:49:06,520 Speaker 1: Okay, wait, pretty parent, I could have sworn that. No, 776 00:49:07,640 --> 00:49:10,960 Speaker 1: I never met him. I was at every session I think. 777 00:49:11,160 --> 00:49:11,760 Speaker 1: Was I a Bookie? 778 00:49:11,960 --> 00:49:12,160 Speaker 6: Yeah? 779 00:49:12,280 --> 00:49:16,080 Speaker 1: I was there. No, it wasn't James Jamison. Wow, think 780 00:49:16,239 --> 00:49:21,280 Speaker 1: that's on his UH discography whatever the on the website. 781 00:49:21,360 --> 00:49:23,680 Speaker 3: I may not have been at Bookie Fever's session. I 782 00:49:23,800 --> 00:49:25,600 Speaker 3: was at the vocal thing, so it could have been. 783 00:49:26,000 --> 00:49:28,759 Speaker 3: Could have been that. I may not have been there 784 00:49:28,920 --> 00:49:29,600 Speaker 3: on that one. 785 00:49:29,640 --> 00:49:32,279 Speaker 1: Was on James Jamison's page that well, then damn. I 786 00:49:32,320 --> 00:49:34,400 Speaker 1: thought it was a moment like, hey, I've always left 787 00:49:34,400 --> 00:49:36,839 Speaker 1: your base player. No, have you ever got to meet him? 788 00:49:37,200 --> 00:49:40,799 Speaker 3: I didn't really meet him, and I was mad when 789 00:49:40,840 --> 00:49:44,879 Speaker 3: I you know, because I always wanted to. I'd even 790 00:49:44,960 --> 00:49:50,439 Speaker 3: called a couple of UH session that a person thought 791 00:49:50,520 --> 00:49:53,040 Speaker 3: that he was playing on because he had came out 792 00:49:53,080 --> 00:49:56,440 Speaker 3: to l a excuse me. By the time I got there, 793 00:49:56,520 --> 00:49:58,680 Speaker 3: the session was over, and you know, I was trying 794 00:49:58,719 --> 00:50:00,640 Speaker 3: to just go bump into him and and just say 795 00:50:00,680 --> 00:50:04,200 Speaker 3: because I never told him face to face, he's the 796 00:50:04,320 --> 00:50:07,880 Speaker 3: reason I started bass. I mean, I got a guitar. 797 00:50:08,800 --> 00:50:11,160 Speaker 3: We was doing a show when we was the Little 798 00:50:11,200 --> 00:50:14,840 Speaker 3: Angels at that it was called the Moula Rouge. I 799 00:50:14,880 --> 00:50:17,279 Speaker 3: think back then, I don't know. It was that that 800 00:50:17,440 --> 00:50:21,680 Speaker 3: building that Nickelodeon was in for a while on Sunset. 801 00:50:22,040 --> 00:50:24,800 Speaker 3: They had a Christmas party and it was us and 802 00:50:25,000 --> 00:50:28,719 Speaker 3: Dennis the Mints the original original Yeah, and we were 803 00:50:28,760 --> 00:50:32,360 Speaker 3: backstays throwing a football and then they called us on 804 00:50:32,440 --> 00:50:34,960 Speaker 3: stage and gave us a present. At the end, I 805 00:50:35,160 --> 00:50:38,440 Speaker 3: got a guitar and I took the two high strings 806 00:50:38,480 --> 00:50:41,000 Speaker 3: off because I was so into motown and I used 807 00:50:41,040 --> 00:50:43,480 Speaker 3: it as a bass That's how much I was a 808 00:50:43,560 --> 00:50:46,240 Speaker 3: bass player. I wanted to be a bass player period. 809 00:50:47,800 --> 00:50:54,560 Speaker 1: Wow. So was it New Horizons that you guys like 810 00:50:54,880 --> 00:50:58,479 Speaker 1: decided to take control of the production and like, where 811 00:50:58,600 --> 00:51:02,000 Speaker 1: does on silver is finally stepping and say. 812 00:51:03,560 --> 00:51:08,279 Speaker 3: Oh, yeah, I forgot I got that. 813 00:51:09,200 --> 00:51:09,680 Speaker 1: That was. 814 00:51:11,520 --> 00:51:14,719 Speaker 3: When they were telling me about boogiey Fever and I said, 815 00:51:15,120 --> 00:51:18,719 Speaker 3: I said, and passing, I said, well that that's that's 816 00:51:19,200 --> 00:51:21,839 Speaker 3: I think they got that from the Beatles. Anyway, because 817 00:51:21,880 --> 00:51:29,319 Speaker 3: that's a day tripper. So you can do a little 818 00:51:29,360 --> 00:51:31,040 Speaker 3: bit and cut it off because I think back then 819 00:51:31,160 --> 00:51:35,279 Speaker 3: the copyright was in bars. How much you did the 820 00:51:35,400 --> 00:51:38,520 Speaker 3: exact same thing within a certain amount of bars and 821 00:51:38,600 --> 00:51:42,480 Speaker 3: if you change it before that bar hit straight. Yeah, 822 00:51:42,880 --> 00:51:47,520 Speaker 3: so that's after the stealing from the cookie jar concept. 823 00:51:47,680 --> 00:51:51,040 Speaker 3: We thought, you know boogie well, No, that was after 824 00:51:51,640 --> 00:51:54,520 Speaker 3: so well we we I just assumed that they peeped 825 00:51:54,560 --> 00:51:56,279 Speaker 3: it because I used to peep things. But I would 826 00:51:56,440 --> 00:52:00,319 Speaker 3: never be that blatant with it. I would just into 827 00:52:00,400 --> 00:52:03,680 Speaker 3: a vibe and do my own, you know, of a 828 00:52:03,800 --> 00:52:05,719 Speaker 3: song because there was a lot of motown ones that 829 00:52:05,800 --> 00:52:10,160 Speaker 3: I loved, and you know, I would do my version, 830 00:52:11,640 --> 00:52:15,279 Speaker 3: but not blatantly copy the bass or the chords or 831 00:52:15,880 --> 00:52:17,800 Speaker 3: I didn't want to do that because I like my 832 00:52:17,920 --> 00:52:18,680 Speaker 3: own ideas. 833 00:52:18,960 --> 00:52:21,279 Speaker 1: So it was capital or ATV music, like hey wait 834 00:52:21,320 --> 00:52:25,319 Speaker 1: a minute, or what went on the like did they 835 00:52:25,480 --> 00:52:28,000 Speaker 1: notice at all? Like no, because he changed it before 836 00:52:28,040 --> 00:52:34,400 Speaker 1: the bar before that? Was it totally? 837 00:52:35,760 --> 00:52:38,799 Speaker 7: In your recording sessions, what was your what was your 838 00:52:38,840 --> 00:52:41,920 Speaker 7: approach or your science to tracking the vocals and like 839 00:52:42,080 --> 00:52:45,200 Speaker 7: tracking the harmonies. Would you cut everybody on like one 840 00:52:45,280 --> 00:52:47,279 Speaker 7: mic and y'all sing around it or did you track 841 00:52:47,320 --> 00:52:47,960 Speaker 7: them individually? 842 00:52:48,360 --> 00:52:52,239 Speaker 3: Well, back then we did sometimes the girls on one 843 00:52:52,360 --> 00:52:55,520 Speaker 3: mic and then the guy's on one mic, but it 844 00:52:55,640 --> 00:52:59,880 Speaker 3: was all at the same time. Okay, I think I 845 00:53:00,080 --> 00:53:05,000 Speaker 3: don't remember us separating back then like later on, you know, 846 00:53:05,080 --> 00:53:09,600 Speaker 3: when I was producing then, I did that stacking thing different, 847 00:53:10,120 --> 00:53:14,600 Speaker 3: But back then we were. They just would tell us okay, girls, 848 00:53:14,760 --> 00:53:18,279 Speaker 3: Charmaine back or Oland back, and when we all they 849 00:53:18,360 --> 00:53:21,239 Speaker 3: sung on one mic and then they would separate us 850 00:53:21,280 --> 00:53:27,799 Speaker 3: with lowse and mid and highs. Freddy I mean, yeah, 851 00:53:27,840 --> 00:53:29,440 Speaker 3: Freddy Parron and keg. 852 00:53:31,080 --> 00:53:34,360 Speaker 1: So for the New Horizons record, and that meant a 853 00:53:34,400 --> 00:53:37,040 Speaker 1: lot to me because I was given that eight track 854 00:53:37,080 --> 00:53:40,520 Speaker 1: when I was like six, so I wow. I studied 855 00:53:40,520 --> 00:53:45,680 Speaker 1: it profusely, but uh, I know that it didn't reach 856 00:53:45,800 --> 00:53:50,320 Speaker 1: the level of the Something Special album and showcase. And 857 00:53:50,480 --> 00:53:54,239 Speaker 1: knowing that you guys left Capital after then, is it 858 00:53:55,560 --> 00:53:59,839 Speaker 1: implied that, okay, well, since it was the minist return 859 00:54:00,360 --> 00:54:02,680 Speaker 1: or lower sales for this one, that you guys are 860 00:54:02,760 --> 00:54:04,640 Speaker 1: just off the label or was it because Lark and 861 00:54:04,960 --> 00:54:08,040 Speaker 1: Arnold left the Good Columbia. 862 00:54:08,480 --> 00:54:12,240 Speaker 3: I think probably, Well, usually when the ANR guy leaves 863 00:54:12,960 --> 00:54:15,680 Speaker 3: back then a lot people who the new A and 864 00:54:15,719 --> 00:54:18,880 Speaker 3: I want to bring their own in so and you 865 00:54:18,960 --> 00:54:22,239 Speaker 3: can only have so many artists at the so if 866 00:54:22,239 --> 00:54:29,239 Speaker 3: you don't like the group, everything you know stops right there. 867 00:54:29,360 --> 00:54:31,600 Speaker 3: And our last it makes it easier for him because 868 00:54:31,600 --> 00:54:33,400 Speaker 3: our last green sheet didn't. 869 00:54:33,160 --> 00:54:33,960 Speaker 1: Show too much. 870 00:54:34,480 --> 00:54:39,279 Speaker 3: So and that's you know, I'm assuming that that's what 871 00:54:39,400 --> 00:54:44,080 Speaker 3: it was, and that was Capital. I feel they made 872 00:54:44,120 --> 00:54:46,560 Speaker 3: a mistake though, but that was in learning because we 873 00:54:46,680 --> 00:54:58,560 Speaker 3: cut this song called what's it at the concert or off? Yeah, 874 00:55:00,320 --> 00:55:00,799 Speaker 3: I got cut. 875 00:55:01,800 --> 00:55:04,000 Speaker 1: We cut that way before any. 876 00:55:05,480 --> 00:55:12,960 Speaker 3: Rider came out. It sat on Capital. I even called 877 00:55:13,040 --> 00:55:16,360 Speaker 3: the Capital everybody from all the secretaries to come in 878 00:55:16,600 --> 00:55:19,120 Speaker 3: after the after they were old, you know, they were 879 00:55:19,200 --> 00:55:21,920 Speaker 3: done with their work, and said we went down to 880 00:55:22,000 --> 00:55:24,160 Speaker 3: each office and said come on up. We wanted we 881 00:55:24,280 --> 00:55:26,960 Speaker 3: need a crowd, and everybody came and we had them 882 00:55:27,000 --> 00:55:29,520 Speaker 3: doing O. Then we had them do don't. 883 00:55:29,320 --> 00:55:30,600 Speaker 1: Stop, get off. 884 00:55:30,680 --> 00:55:32,080 Speaker 3: We had that whole crowd thing. 885 00:55:33,120 --> 00:55:36,160 Speaker 1: And so you recorded that way before nineteen seventy eight, 886 00:55:37,440 --> 00:55:39,399 Speaker 1: Well that was the first one. That was the first 887 00:55:39,840 --> 00:55:41,400 Speaker 1: that was on the disco Fever album. 888 00:55:41,600 --> 00:55:44,320 Speaker 3: But no, but I'm saying when we heard like we 889 00:55:44,440 --> 00:55:47,600 Speaker 3: came from Japan and went to straight. I wanted to 890 00:55:47,680 --> 00:55:50,880 Speaker 3: get home because we got tickets for that brothers Johnson 891 00:55:51,760 --> 00:55:56,560 Speaker 3: Brick and Georgia Duke concert Man at the Forum, so 892 00:55:56,680 --> 00:55:58,879 Speaker 3: we wanted to make that and I got We got 893 00:55:59,000 --> 00:56:02,960 Speaker 3: back in town and I just heard everybody going. 894 00:56:03,880 --> 00:56:06,320 Speaker 1: It was the crowd doing it. And I said, what 895 00:56:06,480 --> 00:56:09,440 Speaker 1: what is that? And they said, whoa, that's what they 896 00:56:09,480 --> 00:56:12,440 Speaker 1: do now when they like something. Wow. 897 00:56:12,920 --> 00:56:15,480 Speaker 3: So I said, oh, the crowd likes something already, let's 898 00:56:15,520 --> 00:56:18,000 Speaker 3: put that old record and you know, so that's what 899 00:56:18,120 --> 00:56:21,239 Speaker 3: I did. But and I told Larkin, this is what 900 00:56:21,400 --> 00:56:26,399 Speaker 3: the people are doing. So we we guaranteed certain mind 901 00:56:26,440 --> 00:56:28,960 Speaker 3: of sales. When the public likes something that they done 902 00:56:29,040 --> 00:56:31,920 Speaker 3: created and they hear it back on them, they it's 903 00:56:31,960 --> 00:56:36,919 Speaker 3: a Dundell. Nobody listened. That thing sat for about two years, 904 00:56:36,960 --> 00:56:42,040 Speaker 3: about four or five hits with and ours was the last, 905 00:56:42,080 --> 00:56:44,000 Speaker 3: and it still went number one R and B. 906 00:56:44,360 --> 00:56:50,840 Speaker 1: You know. So, so even though you weren't because I 907 00:56:50,920 --> 00:56:55,440 Speaker 1: know by this time UH you had formed with UH 908 00:56:55,840 --> 00:56:59,880 Speaker 1: or at least took it a day job with Dick Griffy, 909 00:57:00,560 --> 00:57:04,799 Speaker 1: but you were still were you actively producing your your 910 00:57:04,840 --> 00:57:09,440 Speaker 1: family's albums while still no, you weren't a member. You 911 00:57:09,520 --> 00:57:13,360 Speaker 1: weren't a full member of these Castablanca records. 912 00:57:13,719 --> 00:57:16,680 Speaker 3: No, no, no, I was out the group then, So 913 00:57:16,840 --> 00:57:17,240 Speaker 3: how does that? 914 00:57:17,480 --> 00:57:19,919 Speaker 1: How does that work? Because you know, you gotta start 915 00:57:20,000 --> 00:57:23,000 Speaker 1: off as a nine and then like then you were seven, 916 00:57:23,280 --> 00:57:28,040 Speaker 1: and it's like, how how do band members just leaving? 917 00:57:28,280 --> 00:57:29,480 Speaker 1: Like I can't take it anymore? 918 00:57:29,560 --> 00:57:31,960 Speaker 3: And that's no, I was kicked out of the group. 919 00:57:36,080 --> 00:57:37,680 Speaker 6: Wait what Yeah? 920 00:57:38,120 --> 00:57:40,680 Speaker 1: It was it was like, you know, did they blame 921 00:57:40,760 --> 00:57:41,920 Speaker 1: you for New Horizons? 922 00:57:42,880 --> 00:57:44,840 Speaker 3: No, no, I don't. It wasn't that. 923 00:57:45,040 --> 00:57:47,760 Speaker 1: It's just I think everybody was growing there. 924 00:57:48,480 --> 00:57:51,240 Speaker 3: They wanted to do a step. Everybody wanted to do 925 00:57:51,400 --> 00:57:54,440 Speaker 3: their own you know. Well, because I was like, I 926 00:57:54,560 --> 00:57:57,120 Speaker 3: took the approach as as leader when we was okay, 927 00:57:57,200 --> 00:58:00,520 Speaker 3: what everybody got? I always and I took that into production. 928 00:58:01,160 --> 00:58:03,640 Speaker 3: I give everybody a chance to let me see what 929 00:58:03,760 --> 00:58:06,600 Speaker 3: you got, do it. Let's do whether it's some melody 930 00:58:06,800 --> 00:58:10,120 Speaker 3: or ad lib whatever. I just prepared myself to come 931 00:58:10,200 --> 00:58:12,440 Speaker 3: with it if they ain't got nothing that's worth anything. 932 00:58:12,880 --> 00:58:15,959 Speaker 3: So and you have to use tact because I feel 933 00:58:16,040 --> 00:58:19,720 Speaker 3: producers have to be psychologists babysitters. 934 00:58:19,760 --> 00:58:23,080 Speaker 7: At some point the same thing. Last night, he said 935 00:58:23,120 --> 00:58:26,680 Speaker 7: those exact same words about producers. It's babysitting. Psychology is 936 00:58:27,280 --> 00:58:28,720 Speaker 7: counselors exactly. 937 00:58:28,760 --> 00:58:33,120 Speaker 1: So by this point, who do you of your siblings? 938 00:58:34,080 --> 00:58:35,040 Speaker 6: Like, who's. 939 00:58:36,800 --> 00:58:41,400 Speaker 1: Who's are you in conflict with? Is it? Like you know, Angela, 940 00:58:41,520 --> 00:58:43,919 Speaker 1: you you're singing them wrong? Note you sing too flatter. 941 00:58:44,280 --> 00:58:47,240 Speaker 3: There wasn't no one person other than you know, when 942 00:58:47,280 --> 00:58:50,560 Speaker 3: people get tired and they don't even know why, they 943 00:58:50,720 --> 00:58:54,480 Speaker 3: just want something different because I don't. It didn't matter 944 00:58:54,600 --> 00:58:58,440 Speaker 3: what word I said, even when it's okay, let's see 945 00:58:58,480 --> 00:59:00,680 Speaker 3: what and then they come up with something. And then 946 00:59:00,720 --> 00:59:04,680 Speaker 3: if there's silence, you know, someone else comes up with 947 00:59:04,720 --> 00:59:06,600 Speaker 3: an idea, you know, so I would always do it 948 00:59:06,680 --> 00:59:10,160 Speaker 3: what about? And then I'd already have something prepared and 949 00:59:10,600 --> 00:59:12,480 Speaker 3: they was, ooh that's nice. All they took. It was 950 00:59:12,520 --> 00:59:15,200 Speaker 3: two or three of them, you know, so and it 951 00:59:15,320 --> 00:59:18,560 Speaker 3: was a lot of us. So I based everything off that. 952 00:59:19,160 --> 00:59:22,960 Speaker 3: And then if something's not happening, I didn't even have 953 00:59:23,120 --> 00:59:26,320 Speaker 3: to say I don't like that to steer the crowd. 954 00:59:26,720 --> 00:59:29,240 Speaker 3: They would say it, or they would say, well I 955 00:59:29,240 --> 00:59:31,479 Speaker 3: don't know about that, and then you just keep coming 956 00:59:31,560 --> 00:59:34,040 Speaker 3: with it, which is the way it should be anyway, 957 00:59:34,320 --> 00:59:39,640 Speaker 3: the best idea coming forward. But after a while, they 958 00:59:39,720 --> 00:59:44,440 Speaker 3: were growing into what I already was. I was past minor, 959 00:59:44,680 --> 00:59:48,320 Speaker 3: and I was developing my own thing, and everybody wanted 960 00:59:48,320 --> 00:59:51,600 Speaker 3: to do their thing, I guess because and then when 961 00:59:51,720 --> 00:59:56,880 Speaker 3: I had that meeting with them with al Ross, he 962 00:59:57,160 --> 01:00:01,800 Speaker 3: was well, he did said like this, he had a 963 01:00:02,440 --> 01:00:06,400 Speaker 3: contract on us for half and it was nine people 964 01:00:06,480 --> 01:00:11,160 Speaker 3: plus my mother. Oh, and that's true, So that that's 965 01:00:11,200 --> 01:00:13,920 Speaker 3: why I said what I said. But I had a 966 01:00:14,040 --> 01:00:16,600 Speaker 3: meeting to try to and I told everybody, look, you 967 01:00:16,680 --> 01:00:19,360 Speaker 3: guys are miners. He's not gonna want a chance or 968 01:00:19,440 --> 01:00:22,400 Speaker 3: show that contract to nobody, so all we have to 969 01:00:22,480 --> 01:00:25,360 Speaker 3: do is and I told mom just be cool, because 970 01:00:25,360 --> 01:00:28,360 Speaker 3: I was already eighteen then, you know, so you know, 971 01:00:28,480 --> 01:00:30,280 Speaker 3: I knew, you know, we'll just kicked me on off 972 01:00:30,320 --> 01:00:34,120 Speaker 3: the group and we're straight, you know. But I was 973 01:00:34,200 --> 01:00:36,920 Speaker 3: telling them how we we had a meeting and he 974 01:00:37,080 --> 01:00:41,919 Speaker 3: got up. Everything was working until he got up out 975 01:00:41,960 --> 01:00:43,880 Speaker 3: of the seat and said, Leon, I don't know what 976 01:00:44,040 --> 01:00:46,560 Speaker 3: you think you're doing or who you think you're talking to, 977 01:00:47,080 --> 01:00:50,520 Speaker 3: and that kind of thing. And I was like, I 978 01:00:50,640 --> 01:00:53,880 Speaker 3: forgot to tell moms. Look, if he gets up and 979 01:00:54,000 --> 01:00:56,520 Speaker 3: walks and I get up, don't worry I'm not going 980 01:00:56,560 --> 01:00:58,480 Speaker 3: to hit him. I'm going to wait for him to 981 01:00:58,560 --> 01:01:01,880 Speaker 3: hit me. Then it's really on. So I forgot to 982 01:01:01,960 --> 01:01:05,200 Speaker 3: do that with her. So me from Nickerson gun, I 983 01:01:05,200 --> 01:01:08,200 Speaker 3: ain't gonna let no man stand over me while I'm sitting. 984 01:01:08,640 --> 01:01:11,680 Speaker 3: So when he got up and started walking around the table, 985 01:01:11,760 --> 01:01:14,560 Speaker 3: I got up and was smiling. I thought that was enough. 986 01:01:15,560 --> 01:01:17,720 Speaker 3: I said, so what, you're getting up for a while, 987 01:01:18,120 --> 01:01:20,360 Speaker 3: And then I stood up and walked to meet him. 988 01:01:20,480 --> 01:01:23,960 Speaker 3: And that's and when he stopped and sat on the desk, 989 01:01:24,360 --> 01:01:27,880 Speaker 3: that's when Mom said, Okay, that's it. Stop, that's end there, 990 01:01:28,000 --> 01:01:32,400 Speaker 3: and he knew what was up. Then, oh there's the way, 991 01:01:32,520 --> 01:01:37,200 Speaker 3: okay cool. So from then on out, I was the 992 01:01:37,680 --> 01:01:42,320 Speaker 3: bad guy. It didn't Mom was scared too, And that's moms. 993 01:01:42,360 --> 01:01:45,600 Speaker 3: I couldn't get mad at her because I wasn't, you know. 994 01:01:46,640 --> 01:01:52,320 Speaker 3: But I knew we had that meeting, and after that happened, 995 01:01:53,160 --> 01:01:56,240 Speaker 3: he was I knew he was in her ear. And 996 01:01:56,360 --> 01:02:00,680 Speaker 3: that's when I After I was out the group, I 997 01:02:00,760 --> 01:02:02,360 Speaker 3: went hooked up with Dick Griffy. 998 01:02:04,760 --> 01:02:06,720 Speaker 1: Okay, before we get to the Solar years, because I 999 01:02:06,760 --> 01:02:10,840 Speaker 1: know you're bursting, I have one more question. What were 1000 01:02:10,920 --> 01:02:11,920 Speaker 1: your feelings on