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Speaker 1: Questlove Supreme is a production of iHeartRadio. This classic episode

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Speaker 1: was produced by the team at Pandora.

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Speaker 2: What's Up, Everybody, It's Sugar Steed from Team Supreme. June

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Speaker 2: marks Black Music Month.

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Speaker 3: We often speak.

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Speaker 2: About it on Questlove Supreme and we've had some of

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Speaker 2: the legends responsible.

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Speaker 3: For the recognition on the show.

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Speaker 2: Every day this June, we are running a different episode

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Speaker 2: from the QLs archives to honor the tradition and intent

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Speaker 2: of Black Music Month. This week we are focusing on

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Speaker 2: some of the great hip hop conversations in the ULS catalog.

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Speaker 2: Our leader Questlove has a new book out called hip

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Speaker 2: Hop Is History. Check it out at questlove dot com.

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Speaker 2: This is a conversation with just Blade, who has been

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Speaker 2: a leading hip hop producer in DJA for over twenty

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Speaker 2: five years.

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Speaker 4: Suprema sub Suck Supremo, roll call Suprema sub sub Suprema,

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Speaker 4: roll Suprema Supremo, roll call Suprema So Supremo.

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Speaker 1: Roll Quest Love heard stories, Yeah, legends getting busted, Yeah,

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Speaker 1: hashtag ass.

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Speaker 3: Vaughn Yeah or ass dusted.

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Speaker 4: Supremo, roll call Suprema something Supremo, roll.

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Speaker 1: Call Fonte's in the building. Yeah, funky rhymes.

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Speaker 3: I bust.

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Speaker 5: Yeah.

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Speaker 1: If you see my friend Just Blaze, Yeah, don't give

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Speaker 1: him any dusts.

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Speaker 3: Supremo. Roll to hear that.

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Speaker 5: Sorry, sure, roll call.

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Speaker 2: My name is Sugar, Yeah, Sugar Steve, Yeah, Just Blaze.

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Speaker 3: Yeah, no problem, roll call no um on pay bill. Yeah,

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Speaker 3: I'm gonna break it down up. Yeah to Just Blaze.

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Speaker 6: Yeah.

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Speaker 5: And the NPC four Housing.

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Speaker 4: Ro Supremo, Supremo roll call, Supremo Son Something Supremo roll call.

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Speaker 3: Boss Bills in the house. Yeah, still broke as a mofo.

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Speaker 7: Yeah, but I'm still going to ask just yeah for

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Speaker 7: a hookup at Polo.

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Speaker 4: Supremo, Supremo roll call, Suprema Suck Sun Supremo roll Call.

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Speaker 8: It's like, yeah, oh boy, I'm ready, Yeah for Just Blaze.

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Speaker 3: Yeah, it's baby roa call Suprema No, Yes, Supremo.

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Speaker 4: Roll No years online, Suprema son som roll call.

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Speaker 5: My name is just Blaze. Yeah, I'm great, No years,

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Speaker 5: no one that I still brock from state to state.

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Speaker 9: Wait, roll call, roll call Suprema Son.

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Speaker 7: Suprema Ladies and gentlemen, no problem, yeah, Steve.

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Speaker 1: Yes, Steve actually came up, like why you said rhythm No, no, no,

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Speaker 1: that was your best That was your best rhythm.

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Speaker 3: We're all high right now. Thanks, it was amazing.

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Speaker 2: I feel bad, he said, no, yeah, and then we

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Speaker 2: didn't me to death.

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Speaker 5: I didn't. I had a sixteen ready son.

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Speaker 3: I didn't realize. Yes, take over the production, but of

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Speaker 3: course you have the producer.

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Speaker 1: Ladies and gentlemen, welcome to Quest Love Supreme only on Pandora.

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Speaker 1: Please welcome our guest Justin Blaze. What's your middle name, Gregory?

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Speaker 1: Justin Blakey Blakery.

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Speaker 5: It's the Weed.

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Speaker 1: It's it's Steve, you know, gentlemen, uh one, one of

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Speaker 1: my favorite producers, one of the loudest producers, I mean,

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Speaker 1: the era of the loudest drums ever. I felt ended

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Speaker 1: with just place for real, like bring the drums back, bro.

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Speaker 1: Ladies and gentlemen, welcome just Plaze to the show. Indeed,

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Speaker 1: just since you, I feel are like the difference between

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Speaker 1: your era production and the era of some guests that

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Speaker 1: I've been on the show is I feel like your

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Speaker 1: your second generation Renaissance. Okay, So, thus you were a

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Speaker 1: fan of the original Renaissance crew, the tips of the

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Speaker 1: large professors of the Pete Roxy. You grew up you

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Speaker 1: know on their music before you. So thus I feel

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Speaker 1: as though that makes you probably a student like a fan.

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Speaker 3: You're you're, you're, you're a suit of.

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Speaker 1: Renaissance rap, and you know, I feel as though it's

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Speaker 1: time for you to let us know what time is.

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Speaker 3: Do you guys know what time it is? What it is?

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Speaker 6: This time? You do?

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Speaker 3: Ladies and gentlemen, It's time for another round of.

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Speaker 7: Justin Blaze, Sir, tell him what the game?

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Speaker 5: You name this?

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Speaker 3: Snare? Oh?

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Speaker 5: Oh?

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Speaker 1: Special edition, special edition. This is scrutinizing, all right, fifteen snares?

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Speaker 1: What's this snare? Oh, I'll do it again to name it.

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Speaker 3: I can never remember the name of this one either. Yes,

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Speaker 3: there you go. What's this.

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Speaker 5: Meters again? Oh? I used it on game? Yes, I

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Speaker 5: can remember the name of it. But I know the break.

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Speaker 5: I've used it the zillion times. No, no, no, I'm tripping.

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Speaker 5: I know I've used it. I have the break.

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Speaker 3: I just.

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Speaker 1: South Side movement say the world. Yes, yes, Joe, yes,

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Speaker 1: Joe text Popois to.

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Speaker 3: M M. I know that sport, Yes, that was sport

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Speaker 3: lightning rod cool mean gang.

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Speaker 5: Oh, I know that Hey fellows some people sally so

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Speaker 5: that woman man be a man. I didn't I didn't

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Speaker 5: even that happened. Just just keep going.

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Speaker 3: Now you're gonna get cocky, motherfucker.

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Speaker 5: Heads. Yes, God made me.

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Speaker 3: The last one. H Actually that's not fair. It is you,

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Speaker 3: isn't it.

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Speaker 5: I was about to.

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Speaker 3: Say this is the one that.

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Speaker 5: I say. I just had the song.

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Speaker 1: Yes, I inserted myself, as I do with everything in life.

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Speaker 1: But I thought, but the thing is it sounds I thought,

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Speaker 1: motherfucking no, they wanted to loose me. One of the

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Speaker 1: biggest almost near like roots melt down fist fight things

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Speaker 1: was that they.

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Speaker 5: Meaning not me.

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Speaker 1: They wanted to keep the Clyde stubble Field h soul bride.

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Speaker 1: But I was like, no, I wrapped uphold and so

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Speaker 1: I thought me and Russell Elevado worked on that ship

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Speaker 1: for like now.

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Speaker 5: You fool me.

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Speaker 1: I was always thought that was what that's what that was,

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Speaker 1: No man, and I kept doing the roles at the end.

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Speaker 1: Let people know it's not I mean gus me. Anyway,

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Speaker 1: There's going to be four other rounds of this.

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Speaker 5: There's no problem breaking. So I used to win this game.

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Speaker 3: I know you, you and I are like this right.

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Speaker 5: So, like on the radio, Z one hundred used to

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Speaker 5: have a morning show where they used to do exactly this,

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Speaker 5: and this was mymas used to drive me the schools

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Speaker 5: every morning. We listened to Z one hundred and the

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Speaker 5: would play a half of a second of a song

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Speaker 5: and we would, you know, in the car amongst ourselves.

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Speaker 5: We would play the game every morning. So fast forward

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Speaker 5: a little bit later. There was a point where it

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Speaker 5: wasn't Hank eleven and Halfpipe, but it was another one

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Speaker 5: of the underground radio shows at the time. I was twelve.

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Speaker 5: I was eleven, eleven or twelve, and they used to

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Speaker 5: do exactly this, and I won six weeks in a

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Speaker 5: row because.

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Speaker 3: When you guessed the one second.

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Speaker 5: Yeah, one second, and it wasn't a stare. It's just

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Speaker 5: like they play a second of a song. But I

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Speaker 5: was too young to actually win, so my mother used

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Speaker 5: to have to accept the prizes for me. So it

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Speaker 5: got to the point and then and then mister Magic

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Speaker 5: and I was doing it on in show for a while.

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Speaker 5: I won that four weeks in a row. It got

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Speaker 5: to the point where they were like, justin all right,

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Speaker 5: you put your mom on the phone. I want I

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Speaker 5: want to set a cold chilling glasses. I want tickets

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Speaker 5: to see that R and B group of boys. Wow,

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Speaker 5: remember that you might remembered had a song called Rabbit

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Speaker 5: stew Yeah, I won that CD just every week for

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Speaker 5: like two month straight. I was winning off of doing this.

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Speaker 1: I've heard you sell the story before, and that is

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Speaker 1: partially the reason why I started bit you guessed, because

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Speaker 1: based on you.

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Speaker 3: Know, hearing him. Yeah, here is snippets. We'll do more later.

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Speaker 1: Yeah, I'm kind of going off off of off script

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Speaker 1: more than I normally do. I kind of want to

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Speaker 1: continue you and I just came from uh about south

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Speaker 1: By Southwest, uh months ago, and I more like weeks.

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Speaker 3: Yeah, we my fault. You know, time doesn't exist with me,

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Speaker 3: that's true. But you.

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Speaker 1: So when we were eating you you declared something that

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Speaker 1: totally blew my mind.

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Speaker 5: Uh.

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Speaker 1: There's two teams. There's Team Bizarre Ride to the Far

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Speaker 1: Side and Team Lab Cabin. No, no, well team even

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Speaker 1: then even then there's a battle, but there's there's Team

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Speaker 1: Bizarre Ride to the Far Side versus Team ninety three

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Speaker 1: to Infinity.

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Speaker 3: Guess what team just plays plays for?

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Speaker 5: Hell? Yeah, thank you? Thank you?

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Speaker 3: Wait you too? Yeah? Yes, wait you too?

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Speaker 1: Yeah, I mean listen, Bizarre Ride was wait anyone on

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Speaker 1: my side?

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Speaker 5: I am?

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Speaker 8: I mean it doesn't matter because it's me, but I

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Speaker 8: am she has to.

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Speaker 5: Be on your side. No, no, no, no, I'm never

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Speaker 5: on his side.

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Speaker 7: I didn't hear Bizarre Right to the Fire Side until

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Speaker 7: twenty ten, to be wait, honest, that's seven.

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Speaker 3: Yeah, I know, I know.

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Speaker 5: I heard it later than that.

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Speaker 1: Really really, you're wait, y'all got something commented you listen

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Speaker 1: to it fully as an album for the first Yeah,

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Speaker 1: for the first time.

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Speaker 5: I heard it for the first time as an album

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Speaker 5: when the box set came out.

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Speaker 3: When You Get Out, that's when I got it.

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Speaker 5: So like for me, I heard, are you motherfucker like.

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Speaker 3: The record? Yeah, it wasn't.

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Speaker 7: It wasn't that I didn't like this thing I used

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Speaker 7: to Well, at the time it came out, I didn't

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Speaker 7: have money to buy up everything, and I didn't have

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Speaker 7: time to steal everything like I wanted to.

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Speaker 3: So, like it was pick and choosing. Far Side just

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Speaker 3: wasn't catch up you. You purchased records before you were born.

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Speaker 7: Right right, But like Far Side just never. I mean

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Speaker 7: I had I had passed me by twelve minutes. That

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Speaker 7: was all I really felt like I needed exactly.

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Speaker 5: So for me, what it was was I've been jaking

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Speaker 5: since I could walk little, whatever money I had went

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Speaker 5: to records. I got to pass me by twelve and

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Speaker 5: you had to get that as a DJ. Aside from that,

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Speaker 5: what was the other single? There was the remix Other

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Speaker 5: Fish and I got on the Fish, which and I

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Speaker 5: love both of those records. There classic records to me.

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Speaker 5: I'll tell you it was two things. A something didn't

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Speaker 5: compel me to go halfway with that album. And secondly,

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Speaker 5: but neither one of my local record stores had it

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Speaker 5: on WAX. I didn't buy some of these and tapes

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Speaker 5: Infinity came on had then it was only on one

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Speaker 5: as most albums were back then as opposed to double

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Speaker 5: a triple vine. So for me that time, by the

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Speaker 5: time I got to listen to it, I didn't hear

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Speaker 5: it in the era that it mattered. Now. On the

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Speaker 5: other hand, it was a whole different animal for me.

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Speaker 5: It was dudes that definitely rhyme different, but they still

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Speaker 5: had an East Coast sensibility about them, so the beats

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Speaker 5: still kind of rock like, even though they're rhyme patterns

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Speaker 5: and I did we're different. I'm not saying they didn't.

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Speaker 5: I just I didn't have I didn't have access to

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Speaker 5: it back then. Right, But now that said Lab Cab

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Speaker 5: in California, it's one of the best albums ever, and

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Speaker 5: I will argue to death for Lab Cab versus.

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Speaker 3: All Right, yeah, Early are born in seventy eight, right, yeah, yeah,

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Speaker 3: eighty four? Like yeah, Margaret, I'm born in eighty four, Margaret,

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Speaker 3: you know that?

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Speaker 5: To me, that doesn't really I don't know if that

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Speaker 5: plays a factor for me, at least personally, because so

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Speaker 5: this morning, I'm talking about records that came out when

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Speaker 5: I was four years old and known verbatim. But I

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Speaker 5: know him from back then, so it wasn't like I

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Speaker 5: missed the just completely missed that error. I just missed

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Speaker 5: that album Were.

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Speaker 8: You in the Club? Because I think the reason maybe

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Speaker 8: it got to me was because I was in the

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Speaker 8: club and they were playing in the club in DC,

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Speaker 8: Like at ther.

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Speaker 3: Were you going to be in the club at ten

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Speaker 3: years old?

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Speaker 5: It was I was fifteen.

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Speaker 1: I mean, yeah, exclusive, everybody knows that.

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Speaker 5: Put on.

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Speaker 3: It's weird. I don't like.

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Speaker 1: The thing was is that when the Your Mama video

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Speaker 1: came out and they played a lot on video music jukebox,

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Speaker 1: I kind.

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Speaker 3: Of dismissed him. I was like it was slow.

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Speaker 1: It was nothing new about substitution that I haven't heard before,

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Speaker 1: substitution to break.

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Speaker 9: Uh.

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Speaker 3: But when I heard for Better for Worse, that was

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Speaker 3: the one that was.

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Speaker 1: That was just a goddamn revelation to me, and I

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Speaker 1: told him for Better for Worse was the reason why

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Speaker 1: we put Scott Storche in the roots because Richard Nichols's partner,

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Speaker 1: aj Sons Simmons, he was our stretch Armstrong and Babeto

258
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Speaker 1: of Philadelphia. So Drexel Radio was where we got our

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Speaker 1: real hip hop because by then, like Poara ninety nine

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Speaker 1: was just like anti you know, less rap, you know

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Speaker 1: that sort of thing. So you know, when he got

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Speaker 1: the record, he was like a state of Emergency's like, yo,

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Speaker 1: I think we slept on the forest side. You got

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Speaker 1: to hear this record, so we like it was dead

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Speaker 1: of winter. We got in that car and listened to

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Speaker 1: the ship and when for Better for Worse came on,

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Speaker 1: like I can only describe it as if you ever

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Speaker 1: seen like the Parliament Motor Booty Affair commercial or just

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Speaker 1: the color, like the shit sounded like water, and I

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Speaker 1: can't explain that. Maybe it's the first time I actually

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Speaker 1: heard offender Rhodes up in the mix of it. But

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Speaker 1: when I heard that ship, I was like, Yo, this

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Speaker 1: ship sounds like water, like we need That's what we needed.

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Speaker 3: Our ship.

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Speaker 1: And so Richard's like, yo, a white kid living on

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Speaker 1: my floor at my house him and then he came

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Speaker 1: in next day.

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Speaker 3: I was like, can you sound like this?

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Speaker 1: And Scott just started playing the Roads and it's like

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Speaker 1: you're in the group. Well, yeah, that's where you say that,

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Speaker 1: and I'm La Cabin either because I.

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Speaker 5: Seem from me, Lab Cabin was more of a revelation

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Speaker 5: for me just production wise as well, like, uh, the song,

284
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Speaker 5: the songs were great, but for me, the production on

285
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Speaker 5: that album.

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Speaker 1: I'll say when I when I first heard Bullshit was

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Speaker 1: that the first time I really heard Dyla. We we

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Speaker 1: were doing a show with the Far Side and this

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Speaker 1: is when the album just got done, and like when

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Speaker 1: Lab Cabin had just got done. Yeah, okay, so like

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Speaker 1: we just started. Actually, do you guys have a Cat's

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Speaker 1: Cradle the North Carolina and it's in car Bro Okay,

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Speaker 1: so the Far Side and Roots are doing a show

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Speaker 1: at the Cat's Cradle and whoever was doing like the

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Speaker 1: local college nighttime hip hop joint. We opened for the

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Speaker 1: Far Side, so they came to scoop me to take

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Speaker 1: me to the College station, and I wanted to stay

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Speaker 1: just to see Far Sides intro because you know, they

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Speaker 1: had one of the best stage shows ever, like the energy.

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Speaker 3: There's this four men.

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Speaker 1: It was like watching bad brains on stage, Like they

302
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Speaker 1: were just like all over the place crazy.

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Speaker 3: And you know, I saw the intro.

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Speaker 1: They came out to uh do do uh Ronnie Laws,

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Speaker 1: Uh uh yeah, pressure pressure Sensitive is the album, yeah,

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Speaker 1: title title wave tight Wave. So they came out to that,

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Speaker 1: and I thought, oh, okay, that's that's that's a good intro.

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Speaker 1: And then I got in the car, but because the

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Speaker 1: door of the club was open, you can hear the vibration,

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Speaker 1: you know, you hear the vibration of eight to eight

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Speaker 1: outside the club, and dog, all I heard was we

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Speaker 1: were literally outside the about to go on the highway.

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Speaker 1: But I kept hearing the vibration of Dyla's kick patterns

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Speaker 1: and it sounded off and I made them stop the

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Speaker 1: car and I ran back to the car the club

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Speaker 1: so I can open the door and listen.

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Speaker 3: And I was like, yo, it's like a drunk three

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Speaker 3: year old.

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Speaker 1: Did this shit, and I'm trying to describe to the roots,

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Speaker 1: like yo, that new Forest sid song has a kick

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Speaker 1: pattern that's like it sounds real messed up. And the

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Speaker 1: next night I was like, who did that shit? And

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Speaker 1: they explained like this kid named JD and that sound

324
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Speaker 1: like you know.

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Speaker 5: They worked on but I was interning. I might have

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Speaker 5: been assistant and journalist at that point. They spent some

327
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Speaker 5: time at the Student I used to work at Where

328
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Speaker 5: did You First? At the cutting room and eighty eight

329
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Speaker 5: Keys was working with them at the time. I don't

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Speaker 5: know if any of the records actually made that album,

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Speaker 5: and he was working on them during that time, so

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Speaker 5: a lot of those songs they were bringing up while

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Speaker 5: they were in there working. So I would say that

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Speaker 5: was probably my first time hero between that and Well,

335
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Speaker 5: I guess no because The Busters the Coming came out

336
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Speaker 5: before that bron But yeah.

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Speaker 3: The Coming was ninety six. The Coming was ninety five.

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Speaker 3: Ninety five, damn it was ninety five.

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Speaker 5: So I want to say the Coman is the first

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Speaker 5: time I had heard, but I didn't really know who

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Speaker 5: he was or you know.

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Speaker 1: I was on Mass he was on Skills first album too.

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Speaker 1: What was that ninety six. That was That's the first

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Speaker 1: time I can remember hearing him on that album. He

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Speaker 1: was on He's on Skills, first album, going down the

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Speaker 1: Jam and Skills and.

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Speaker 3: Yeah, there's the third.

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Speaker 5: I go back and listening to the album.

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Speaker 1: There's actually a song on the coming. I didn't know

350
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Speaker 1: that he did that. The l and that song did. Yes,

351
00:19:30,040 --> 00:19:32,479
Speaker 1: he did. That was back Spin, which one which one

352
00:19:32,520 --> 00:19:38,080
Speaker 1: would keep it moving, Keep moving.

353
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Speaker 5: That was on ram Page's cousin.

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Speaker 3: Credits. Yeah, it's credited to the Uma. Really, yes, and

355
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Speaker 3: when you listen to that snare, it's you.

356
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Speaker 5: I'm thinking, I'm thinking of the other posse he cut,

357
00:19:51,840 --> 00:19:56,680
Speaker 5: the Deaf Squad meets Flipbow Squad. That's what I'm thinking of. Okay,

358
00:19:56,840 --> 00:19:57,720
Speaker 5: that was back Spinea.

359
00:19:58,160 --> 00:20:02,360
Speaker 3: Yeah, and it's it's like I didn't even thought about that.

360
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Speaker 5: I don't even thought about who. For some reason, I

361
00:20:04,560 --> 00:20:08,439
Speaker 5: always assumed that Backspin did that because of the drums. Now,

362
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Speaker 5: but now that you mentioned it, it makes it makes sense.

363
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Speaker 1: I didn't even know that that was he did it,

364
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Speaker 1: Like I overlooked that.

365
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Speaker 3: In my you know what, I hear it all that.

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Speaker 1: Right, that there was a Yes, I'm looking for it

367
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Speaker 1: as we speak.

368
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Speaker 3: It's not I'm not just keep it, keep it moving along.

369
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Speaker 3: So you said you were DJing since you were four

370
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Speaker 3: like around that.

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Speaker 1: Yeah, so what was your household like that you had

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Speaker 1: access to those records?

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Speaker 3: Like, how did you?

374
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Speaker 5: So in my house it was it wasn't just my house,

375
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Speaker 5: but it was my family unit in general, my family

376
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Speaker 5: at the time pretty much all lived in the same city,

377
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Speaker 5: and me being the first baby in the family. Uh,

378
00:20:52,480 --> 00:20:53,919
Speaker 5: you ended spend a lot of time, you know, with

379
00:20:53,960 --> 00:20:56,399
Speaker 5: your relatives, spending the nature big cousins, household weekends and

380
00:20:56,440 --> 00:20:59,520
Speaker 5: things like that. So in my immediate household, my pops,

381
00:20:59,680 --> 00:21:03,639
Speaker 5: uh was a jazz organist, taught himself how to he

382
00:21:03,760 --> 00:21:05,840
Speaker 5: reverse engineered reading music. He knew how to play, but

383
00:21:05,800 --> 00:21:07,480
Speaker 5: didn't know how to read. So he would get the

384
00:21:07,480 --> 00:21:09,200
Speaker 5: sheet music to songs that he knew how to play

385
00:21:09,800 --> 00:21:12,960
Speaker 5: and see what was happening on the paper and then say, oh,

386
00:21:12,960 --> 00:21:15,119
Speaker 5: so when it says this, this is the nope that

387
00:21:15,160 --> 00:21:16,920
Speaker 5: I'm supposed to be playing. So he kind of reverse

388
00:21:16,960 --> 00:21:18,399
Speaker 5: engineered reading music.

389
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Speaker 3: Wow.

390
00:21:19,200 --> 00:21:23,280
Speaker 5: So he always had Casio keyboards and Yamaha keyboards aside

391
00:21:23,280 --> 00:21:25,600
Speaker 5: from his Thomas organ, and you know, he would let

392
00:21:25,600 --> 00:21:27,440
Speaker 5: me play with him and that's kind of where the

393
00:21:27,800 --> 00:21:30,480
Speaker 5: making music bug really first came about, because we had

394
00:21:31,320 --> 00:21:38,840
Speaker 5: like then Casios had uh the drum pattern loops drum, yeah,

395
00:21:38,880 --> 00:21:41,560
Speaker 5: the loops, and you can actually you could you could

396
00:21:41,600 --> 00:21:43,680
Speaker 5: have on the base side you could hit a bass

397
00:21:43,720 --> 00:21:48,280
Speaker 5: note play. So there was that. And then his Thomas

398
00:21:48,600 --> 00:21:50,800
Speaker 5: organ was one of the ones that had the drum

399
00:21:50,880 --> 00:21:52,960
Speaker 5: pads in it, or drum pads on it. They weren't

400
00:21:53,000 --> 00:21:55,160
Speaker 5: there were more like chick lick computer keys and there

401
00:21:55,160 --> 00:21:57,800
Speaker 5: was no sequence there, but you could tap a kick

402
00:21:57,880 --> 00:21:59,280
Speaker 5: a snare how I had and all that, So that

403
00:21:59,400 --> 00:22:05,399
Speaker 5: there was that. And then my aunt was an avid

404
00:22:05,440 --> 00:22:08,720
Speaker 5: collector of like late seventies and early eighties fulk in

405
00:22:09,000 --> 00:22:11,560
Speaker 5: R and B. Spent a lot of the standards, sheryln Earth,

406
00:22:11,560 --> 00:22:13,359
Speaker 5: putting fire and stuff like that. But I used to

407
00:22:13,359 --> 00:22:14,520
Speaker 5: spend a lot of time at her house on the

408
00:22:14,560 --> 00:22:17,280
Speaker 5: weekends as well, and I would just sit there and

409
00:22:17,520 --> 00:22:19,239
Speaker 5: take all her records up the sleeves and have them

410
00:22:19,240 --> 00:22:22,600
Speaker 5: all out on the wood floor. And she was walking

411
00:22:22,600 --> 00:22:23,560
Speaker 5: into the room and be like, what are you doing

412
00:22:23,560 --> 00:22:26,040
Speaker 5: with my records? Like they were out the sleeves just

413
00:22:26,200 --> 00:22:29,200
Speaker 5: and I'm just sliding them across the wood look at yeah,

414
00:22:29,200 --> 00:22:31,080
Speaker 5: look at the LA fascinated bout labels and the covers.

415
00:22:31,520 --> 00:22:33,119
Speaker 5: And then so around that same time, I had an

416
00:22:33,119 --> 00:22:35,159
Speaker 5: older cousin. He's seven or eight years older than me.

417
00:22:35,720 --> 00:22:38,200
Speaker 5: This was right when New York Mixed show became a thing.

418
00:22:38,560 --> 00:22:42,359
Speaker 5: So you had Red Alert and Chuck Chill Out on

419
00:22:42,400 --> 00:22:44,520
Speaker 5: Friday and Saturdays on Kiss and then you have Mister

420
00:22:44,640 --> 00:22:47,359
Speaker 5: Magic and Mollie Maw on UH one on seven on

421
00:22:47,400 --> 00:22:50,920
Speaker 5: Fridays and Saturdays. So he had I might have been

422
00:22:51,080 --> 00:22:54,399
Speaker 5: six ish at the time. He's maybe the twelve ish,

423
00:22:55,080 --> 00:22:56,920
Speaker 5: so he had he had a boombox and his sister

424
00:22:56,960 --> 00:22:59,000
Speaker 5: had a boombox. So on weekends I would stay by

425
00:22:59,040 --> 00:23:02,040
Speaker 5: his house and we would uh listen to both shows

426
00:23:02,160 --> 00:23:04,840
Speaker 5: at the same time and record them and then just

427
00:23:04,880 --> 00:23:06,320
Speaker 5: wear that tape, both of those tapes out for the

428
00:23:06,400 --> 00:23:07,960
Speaker 5: next week. We had no money at the time for

429
00:23:08,040 --> 00:23:11,639
Speaker 5: more cassettes, so we would just record over last weeks show. Eventually,

430
00:23:11,720 --> 00:23:12,960
Speaker 5: you know, I got a little bit older, we started

431
00:23:13,119 --> 00:23:16,720
Speaker 5: archiving things, right, But so I remember like when when

432
00:23:16,720 --> 00:23:20,680
Speaker 5: they premiered Salt and Pepper the Showstop, or when when

433
00:23:21,280 --> 00:23:24,760
Speaker 5: when Red played U Disco three Fat Boys for the

434
00:23:24,800 --> 00:23:26,520
Speaker 5: first time, Like so That's what I'm saying. Like, I

435
00:23:26,560 --> 00:23:29,800
Speaker 5: didn't really miss a lot in terms of their early things.

436
00:23:29,880 --> 00:23:30,920
Speaker 5: I was there for all of that. And what my

437
00:23:31,000 --> 00:23:32,960
Speaker 5: cousin would do. He lived run a corner from a

438
00:23:32,960 --> 00:23:35,760
Speaker 5: record store, So what he would do is he would

439
00:23:35,760 --> 00:23:39,399
Speaker 5: buy all the twelve inches. As they got old and

440
00:23:39,480 --> 00:23:41,919
Speaker 5: the albums would drop, he would give me the twelve inches.

441
00:23:42,640 --> 00:23:45,880
Speaker 5: So like Suckers comes out, and it's like that comes out,

442
00:23:46,000 --> 00:23:47,840
Speaker 5: and then the self titled album comes out, so he

443
00:23:47,880 --> 00:23:50,280
Speaker 5: gives me that single. Who didn't he horn a House

444
00:23:50,320 --> 00:23:52,720
Speaker 5: of Rock comes out? Then their album comes out, he

445
00:23:52,760 --> 00:23:53,200
Speaker 5: gives me that.

446
00:23:53,400 --> 00:23:55,000
Speaker 3: So he would give you the twelve inches because he

447
00:23:55,080 --> 00:23:57,000
Speaker 3: had he had the album, so he's like, I don't

448
00:23:57,000 --> 00:23:58,639
Speaker 3: need the single. He didn't think about it, like it

449
00:23:58,800 --> 00:24:00,040
Speaker 3: plays better as a twelve.

450
00:23:59,840 --> 00:24:02,160
Speaker 5: Inch, you know what I mean. So then and then

451
00:24:02,400 --> 00:24:04,639
Speaker 5: in terms of the actual DJ anything, I'm listening to

452
00:24:05,480 --> 00:24:08,280
Speaker 5: these guys scratch records on the radio and I'm but

453
00:24:08,280 --> 00:24:09,720
Speaker 5: I'm not really sure what it is that they're doing.

454
00:24:11,400 --> 00:24:13,280
Speaker 5: I'm thinking they're taking the needle and rubbering across the

455
00:24:14,040 --> 00:24:18,160
Speaker 5: actual wax. So then we actually we had this conversation

456
00:24:18,280 --> 00:24:21,359
Speaker 5: on our group chat the disco I'm sorry. The Crash

457
00:24:21,440 --> 00:24:25,679
Speaker 5: Crew in Fantasy three both had the same melody as

458
00:24:26,000 --> 00:24:31,800
Speaker 5: first year rocking on the radio, so right, well, Fantasy

459
00:24:31,840 --> 00:24:36,320
Speaker 5: three was first Sylvia heard the melody. Jack didn't ye so,

460
00:24:37,160 --> 00:24:39,120
Speaker 5: but but they came out pretty much back to back.

461
00:24:40,200 --> 00:24:41,960
Speaker 3: So he.

462
00:24:43,560 --> 00:24:46,600
Speaker 5: He had a one time table in his room. He

463
00:24:46,600 --> 00:24:48,640
Speaker 5: plays the trick coman. He's like, you want to see

464
00:24:48,640 --> 00:24:50,520
Speaker 5: me make a record, and I'm like, yeah, yeah, yeah,

465
00:24:50,560 --> 00:24:54,960
Speaker 5: do it. So he plays Fantasy three and then he

466
00:24:55,040 --> 00:24:57,080
Speaker 5: stops it and puts he had the Crash Crew record

467
00:24:57,160 --> 00:25:00,000
Speaker 5: right underneath it, so he took the Fantasy three record

468
00:25:00,040 --> 00:25:01,520
Speaker 5: off and just put the little down the Crash Crew

469
00:25:01,960 --> 00:25:04,480
Speaker 5: and I'm like, oh my god, this was the same mellot.

470
00:25:05,119 --> 00:25:07,760
Speaker 5: I'm thinking he's doing something, not realizing he's just playing

471
00:25:07,800 --> 00:25:12,320
Speaker 5: two songs. But then his older sister had a one

472
00:25:12,359 --> 00:25:16,480
Speaker 5: of those eighty star rack systems, and at the time

473
00:25:16,560 --> 00:25:18,760
Speaker 5: it was a push button operated like the selector input

474
00:25:18,800 --> 00:25:21,040
Speaker 5: selected was a was a Each one had its own

475
00:25:21,040 --> 00:25:23,160
Speaker 5: push button, so you would push a button for cassette,

476
00:25:23,400 --> 00:25:25,840
Speaker 5: push a button for turntable, push a button for radio whatever.

477
00:25:26,160 --> 00:25:29,000
Speaker 5: Long story short, she had two. I want to say

478
00:25:29,040 --> 00:25:33,600
Speaker 5: there were Fisher turntables in there and if you pushed

479
00:25:34,000 --> 00:25:36,520
Speaker 5: a phone on one in PHONEO two they could both

480
00:25:36,560 --> 00:25:40,879
Speaker 5: play together. So he takes he had a copy of Thriller.

481
00:25:40,920 --> 00:25:44,159
Speaker 5: She had a copy of Thriller, so he takes beat It.

482
00:25:44,680 --> 00:25:46,439
Speaker 5: It takes both copies of Beat It and starts one

483
00:25:46,600 --> 00:25:49,680
Speaker 5: right after the other. So it's going boom boom cat

484
00:25:49,720 --> 00:25:52,040
Speaker 5: Gat boom boom got gat boom boom cat Cat boom

485
00:25:52,080 --> 00:25:54,639
Speaker 5: cat cat making the drum stutter. So it was pretty

486
00:25:54,720 --> 00:25:58,240
Speaker 5: much all downhill from there, Like I became obsessed with

487
00:25:59,359 --> 00:26:04,720
Speaker 5: with records and yeah, exactly, and then I would I

488
00:26:04,760 --> 00:26:07,800
Speaker 5: would say, you know, I'm Cassio comes out with the

489
00:26:07,920 --> 00:26:14,600
Speaker 5: s K five, which was liked my no my one

490
00:26:14,600 --> 00:26:16,880
Speaker 5: of my best friends growing up down in Virginia. When

491
00:26:16,880 --> 00:26:19,399
Speaker 5: I used to steal my aunt down there, he had

492
00:26:19,440 --> 00:26:21,840
Speaker 5: a SK one and it was cool, but it was

493
00:26:21,840 --> 00:26:23,240
Speaker 5: still just you put one sound in it, and it

494
00:26:23,359 --> 00:26:25,399
Speaker 5: was that. That was that s K five. You had

495
00:26:25,480 --> 00:26:29,520
Speaker 5: drum pads and four seconds of sampling time. So right

496
00:26:29,560 --> 00:26:34,160
Speaker 5: around that same time, that same summer, actually, I think

497
00:26:34,359 --> 00:26:36,480
Speaker 5: is when my aunt bought me Nations Are Millions, one

498
00:26:36,480 --> 00:26:38,880
Speaker 5: of the only cassettes I've bought because Sam Goodey didn't

499
00:26:38,880 --> 00:26:43,200
Speaker 5: have the vinyl so that Christmas, my best friend's sister

500
00:26:43,280 --> 00:26:45,560
Speaker 5: gets to SK five. We jacked her for it.

501
00:26:46,960 --> 00:26:49,280
Speaker 1: Christmas, I was gonna say, did you steal like records

502
00:26:49,400 --> 00:26:50,679
Speaker 1: or you stole her keyboard?

503
00:26:50,720 --> 00:26:54,640
Speaker 5: NOI stole her s K five, damn. But then I'm

504
00:26:55,400 --> 00:26:57,399
Speaker 5: the reason I bring up Nations Nation the Millions is

505
00:26:57,480 --> 00:27:02,119
Speaker 5: because I'm realizing that these records I'm finding in my

506
00:27:02,200 --> 00:27:07,120
Speaker 5: mother's addict are on this public enemy record, and I'll

507
00:27:07,160 --> 00:27:11,800
Speaker 5: never forget the day I realized that what funky drummer was?

508
00:27:12,160 --> 00:27:14,720
Speaker 5: I found a forty found of a drummer, a funky

509
00:27:14,800 --> 00:27:15,560
Speaker 5: drumber forty five, and.

510
00:27:15,560 --> 00:27:18,120
Speaker 1: You grew up in a funky drummer forty five household?

511
00:27:18,240 --> 00:27:20,720
Speaker 1: Yes yeah, your mom's official.

512
00:27:20,480 --> 00:27:23,200
Speaker 5: Yeah yeah yeah, like like all of that, like Isaac

513
00:27:23,520 --> 00:27:26,520
Speaker 5: all pretty much all the breaks, all the commercial but

514
00:27:26,760 --> 00:27:28,080
Speaker 5: not like the stuff that they used to play in

515
00:27:28,160 --> 00:27:29,879
Speaker 5: the park and the stuff he had to date for

516
00:27:30,040 --> 00:27:34,000
Speaker 5: but anything like that was on stacks. James Brown involved,

517
00:27:34,119 --> 00:27:37,359
Speaker 5: Isaac Hayes whatever, all those breaks and she it was

518
00:27:37,440 --> 00:27:39,840
Speaker 5: like three boxes off that I found in the addict

519
00:27:39,880 --> 00:27:41,399
Speaker 5: was when I was When I was young, Attict was

520
00:27:41,400 --> 00:27:43,320
Speaker 5: a forbidden zone. You didn't go up there. Unless you

521
00:27:43,400 --> 00:27:45,840
Speaker 5: had permission from my moms, because it was it wasn't

522
00:27:45,880 --> 00:27:50,639
Speaker 5: a finished attic. It was like stuff everywhere. So I

523
00:27:50,800 --> 00:27:52,840
Speaker 5: but I went up there anyway one day and found

524
00:27:52,840 --> 00:27:55,640
Speaker 5: a box of records. I started bringing the records down

525
00:27:55,680 --> 00:27:58,800
Speaker 5: and I'm realizing, I can make these beats that from

526
00:27:58,840 --> 00:28:00,720
Speaker 5: here on this public Enemy records have the SK five

527
00:28:00,760 --> 00:28:02,879
Speaker 5: and I have these records. And we had a thing

528
00:28:02,960 --> 00:28:06,840
Speaker 5: called the Star Studio, which was it was it was

529
00:28:06,880 --> 00:28:10,040
Speaker 5: a scam. It was basically a double cossette recorder. And

530
00:28:10,160 --> 00:28:12,159
Speaker 5: what it did was it allows you to record to

531
00:28:12,240 --> 00:28:14,320
Speaker 5: the left side of the tape and the right side

532
00:28:14,320 --> 00:28:18,560
Speaker 5: of the tape signal wise independently. Right but true, that's

533
00:28:18,560 --> 00:28:21,720
Speaker 5: two tracks, right, so you can have a song playing

534
00:28:21,760 --> 00:28:23,639
Speaker 5: on one side and then record a vocal to the other.

535
00:28:23,840 --> 00:28:26,639
Speaker 5: I used to make these things on SK five and

536
00:28:26,840 --> 00:28:28,440
Speaker 5: then on the other side, me and my brother would

537
00:28:28,480 --> 00:28:33,040
Speaker 5: rap right. And as you know, I don't know how

538
00:28:33,080 --> 00:28:34,760
Speaker 5: far that to the story you want to go, but

539
00:28:34,880 --> 00:28:38,480
Speaker 5: that was the beginning of me even realizing what making

540
00:28:38,840 --> 00:28:43,840
Speaker 5: music or making beats. You would see that that verage

541
00:28:43,840 --> 00:28:46,240
Speaker 5: you had to do it all. You had to wrap,

542
00:28:46,400 --> 00:28:50,360
Speaker 5: you had to write, you had to break, you had

543
00:28:50,400 --> 00:28:53,200
Speaker 5: to do everything. So it was really all of us

544
00:28:53,280 --> 00:28:58,320
Speaker 5: in our little crew kind of all kind of attempted

545
00:28:58,400 --> 00:29:02,000
Speaker 5: to do all of it, and eventually some of us

546
00:29:02,040 --> 00:29:03,320
Speaker 5: just got better at one specific thing.

547
00:29:03,520 --> 00:29:06,320
Speaker 3: Incidentally, where were you born, Hackensack, New Jersey?

548
00:29:06,960 --> 00:29:09,960
Speaker 5: Okay, but I grew up in Patterson Cool but yeah,

549
00:29:10,000 --> 00:29:12,920
Speaker 5: So it was like for me, I was pretty good

550
00:29:12,960 --> 00:29:15,320
Speaker 5: with the hands of graffiti. I was decent with the

551
00:29:15,360 --> 00:29:18,800
Speaker 5: breakdancing as well. I used to get busy and then

552
00:29:19,760 --> 00:29:22,600
Speaker 5: it was DJing and rapping and making beats, so the

553
00:29:22,680 --> 00:29:25,280
Speaker 5: djang and production things. But I excelled out, excelled at

554
00:29:25,280 --> 00:29:29,080
Speaker 5: the quickest, and my rhyms were decent. But I'll never

555
00:29:29,120 --> 00:29:32,800
Speaker 5: forget the day my brother turned eleven. My cousin has

556
00:29:32,840 --> 00:29:34,200
Speaker 5: taken me to one hundred and twenty Fish Street for

557
00:29:34,240 --> 00:29:37,400
Speaker 5: the first time, so I must have been well, not

558
00:29:37,520 --> 00:29:39,920
Speaker 5: just turned ten, so I think I was twelve. He's

559
00:29:39,920 --> 00:29:41,520
Speaker 5: taken me to go to record shoping one hundred twenty

560
00:29:41,560 --> 00:29:43,880
Speaker 5: fifth for the first time, and I'm playing one of

561
00:29:43,920 --> 00:29:47,240
Speaker 5: our beats on a cassette and we were having a

562
00:29:47,320 --> 00:29:49,000
Speaker 5: rap battle in the back seat with my cousin's driver

563
00:29:50,360 --> 00:29:52,600
Speaker 5: and I rhy and then he rhymed. He sent this

564
00:29:52,680 --> 00:29:54,600
Speaker 5: front that blew me out of the water, blew mine

565
00:29:54,600 --> 00:29:56,880
Speaker 5: out the water, and I hung up the rhymes. After that,

566
00:29:56,960 --> 00:29:58,840
Speaker 5: I just said, right, so what we're gonna do is

567
00:29:59,480 --> 00:30:01,880
Speaker 5: I'm ana beat Pete Rock and you're gonna bcl Smooth.

568
00:30:02,920 --> 00:30:05,239
Speaker 5: And I actually found a demo that we probably made

569
00:30:05,240 --> 00:30:07,800
Speaker 5: when I was like fifteen and he was eleven or

570
00:30:07,960 --> 00:30:10,360
Speaker 5: or about twelve. I posted it on SoundCloud. If you

571
00:30:10,480 --> 00:30:12,720
Speaker 5: look at the picture on it, we think we're Pete

572
00:30:12,760 --> 00:30:14,360
Speaker 5: Rock and seals move when you listen to the beat,

573
00:30:14,680 --> 00:30:18,880
Speaker 5: I'm actually cutting up, just rhyming with BIZ and I'm

574
00:30:19,000 --> 00:30:22,240
Speaker 5: using a I'm using a cannibal alete. I looped up

575
00:30:22,280 --> 00:30:28,640
Speaker 5: a capricorn Capricorn because yeah, you couldn't tell us people

576
00:30:28,640 --> 00:30:29,760
Speaker 5: was in Pete Rock and cel Smooth.

577
00:30:31,720 --> 00:30:33,840
Speaker 3: Okay, yeah, because you were fourteen by the time.

578
00:30:34,640 --> 00:30:36,840
Speaker 5: Yeah yeah, exactly right around like fifteen and shit.

579
00:30:36,800 --> 00:30:39,280
Speaker 3: So weird, man, that's some crazy shit.

580
00:30:39,240 --> 00:30:41,240
Speaker 5: But that was my life period, Like I didn't know

581
00:30:41,320 --> 00:30:41,800
Speaker 5: anything else.

582
00:30:41,920 --> 00:30:45,560
Speaker 1: So when did you get your first drum machine? Like, okay,

583
00:30:45,600 --> 00:30:47,680
Speaker 1: I want to do this right, So I had was

584
00:30:47,720 --> 00:30:48,480
Speaker 1: your machine a choice?

585
00:30:48,600 --> 00:30:51,440
Speaker 5: I had the Roland. Remember they used to make the

586
00:30:51,480 --> 00:30:54,040
Speaker 5: Doctor rhythms, So I had a do R six sixty

587
00:30:54,680 --> 00:30:57,400
Speaker 5: and then Lexicon, you know, Lexicon makes the we verbs

588
00:30:57,440 --> 00:30:59,920
Speaker 5: and the delay unions. They scammed everybody and made it

589
00:31:00,200 --> 00:31:03,520
Speaker 5: called the jam Man, and they marketed it as a

590
00:31:03,640 --> 00:31:06,040
Speaker 5: sampler to make beats on. But what it really was

591
00:31:06,280 --> 00:31:08,280
Speaker 5: was just a delay that you could sink to MIDI.

592
00:31:09,080 --> 00:31:10,840
Speaker 5: So you would put a loop in there to sink

593
00:31:10,880 --> 00:31:12,480
Speaker 5: to middy and you could start and stop it with

594
00:31:12,640 --> 00:31:15,960
Speaker 5: your computer or whatever you were sequencing with, but you

595
00:31:15,960 --> 00:31:16,920
Speaker 5: couldn't say anything with it.

596
00:31:17,040 --> 00:31:19,760
Speaker 3: You can what year does this mean the jam Man?

597
00:31:19,960 --> 00:31:23,360
Speaker 5: Oh maybe ninety two ninety three Bob said something about this.

598
00:31:23,520 --> 00:31:25,400
Speaker 3: It's Bob Power. Yeah.

599
00:31:25,640 --> 00:31:30,920
Speaker 1: I also believe that Marley A. Y the earlier version

600
00:31:31,000 --> 00:31:33,160
Speaker 1: of this, like one of the like even I think

601
00:31:33,240 --> 00:31:34,480
Speaker 1: that nobody beats the bis break.

602
00:31:34,600 --> 00:31:40,360
Speaker 5: He did it through I can sink right. So that

603
00:31:40,560 --> 00:31:44,239
Speaker 5: Christmas that year, whatever year it was, Roland comes up

604
00:31:44,240 --> 00:31:49,240
Speaker 5: with this thing called the JS thirty and it was

605
00:31:50,040 --> 00:31:53,000
Speaker 5: kind of like looking back, it was called the Sampling Workstation.

606
00:31:53,760 --> 00:31:55,840
Speaker 5: Looking back, it was kind of like a very very

607
00:31:56,000 --> 00:31:58,680
Speaker 5: low budget answer to like an npcin kind of thing,

608
00:31:59,480 --> 00:32:03,400
Speaker 5: so relatively relatively little budgets. It was twelve hundred dollars.

609
00:32:04,600 --> 00:32:07,840
Speaker 5: So all I wanted for Christmas was that didn't think

610
00:32:07,880 --> 00:32:09,560
Speaker 5: I would actually get it because it was twelve hundred dollars.

611
00:32:10,520 --> 00:32:15,880
Speaker 3: How much were MPC or like yeah, I was like, yeah, twelve.

612
00:32:15,680 --> 00:32:19,160
Speaker 5: Hundred and twenty four ninety five back then. So I

613
00:32:19,240 --> 00:32:22,080
Speaker 5: skipped the one thing seeing the Soul to Soul video

614
00:32:23,040 --> 00:32:26,680
Speaker 5: and Nelly what's his name, Nell Hooper Hooper is on

615
00:32:26,840 --> 00:32:29,320
Speaker 5: stage and back to life and he's got the Mac

616
00:32:29,680 --> 00:32:30,520
Speaker 5: that's for a keyboard.

617
00:32:30,760 --> 00:32:31,240
Speaker 3: I remember that.

618
00:32:31,520 --> 00:32:33,320
Speaker 5: So that was like and I got we had gotten

619
00:32:33,320 --> 00:32:36,200
Speaker 5: a computer. I used. I used to computer computer program

620
00:32:36,280 --> 00:32:38,240
Speaker 5: as well. My dad was a computer program for a

621
00:32:38,280 --> 00:32:40,800
Speaker 5: living and he was a keyboard just as I. So

622
00:32:41,240 --> 00:32:44,600
Speaker 5: I see Nelly playing the Mac or playing the keyboard

623
00:32:44,680 --> 00:32:46,880
Speaker 5: connected to the Mac, and I'm like, you can make

624
00:32:46,960 --> 00:32:51,200
Speaker 5: music with computers. So beg mom to take me to

625
00:32:51,680 --> 00:32:54,040
Speaker 5: software et cetera. And I walked in and I'm like,

626
00:32:54,360 --> 00:32:56,040
Speaker 5: I need the program to that you make music on

627
00:32:56,120 --> 00:32:56,520
Speaker 5: a computer.

628
00:32:57,280 --> 00:33:05,080
Speaker 1: Wait, I'm like, I'm laughing because of how influential videos are, uh,

629
00:33:05,560 --> 00:33:07,640
Speaker 1: in the life of a kid watching it and then

630
00:33:07,720 --> 00:33:11,360
Speaker 1: you see something that could just be for show because

631
00:33:11,440 --> 00:33:16,040
Speaker 1: you that's it. I watched Prince like do you remember

632
00:33:16,040 --> 00:33:17,800
Speaker 1: the Bad Dance video where he had like the laser

633
00:33:17,920 --> 00:33:18,240
Speaker 1: dis and.

634
00:33:21,040 --> 00:33:25,440
Speaker 3: I Prince got scratching.

635
00:33:26,760 --> 00:33:28,920
Speaker 5: When cdj's came out, that was the first thing I

636
00:33:28,960 --> 00:33:32,000
Speaker 5: thought of, was Prince in the Batdance video. And it

637
00:33:32,080 --> 00:33:35,640
Speaker 5: was in Speaking of which also the very first thing

638
00:33:35,720 --> 00:33:37,400
Speaker 5: that my mom has ever got me. I skipped this

639
00:33:37,520 --> 00:33:42,240
Speaker 5: as well, was the Radio Shack Realistic mixer, the PA mixer.

640
00:33:42,760 --> 00:33:45,000
Speaker 5: It was a four channel with a no fader and

641
00:33:45,080 --> 00:33:49,160
Speaker 5: only had up and down switches. Right, So I see

642
00:33:49,280 --> 00:33:52,080
Speaker 5: Terminator X in the Bring the Noise video and he

643
00:33:52,680 --> 00:33:54,080
Speaker 5: turns out he wasn't even really the guy doing the

644
00:33:54,080 --> 00:33:56,280
Speaker 5: scratches on the records anyway, but he was their show DJ.

645
00:33:56,800 --> 00:33:59,400
Speaker 5: But he's doing in the Bringing Noise video there's appointment

646
00:33:59,400 --> 00:34:03,360
Speaker 5: there on State somewhere and he's back spinning two records

647
00:34:03,520 --> 00:34:06,960
Speaker 5: and he's only using the up and down faders, not

648
00:34:07,040 --> 00:34:09,560
Speaker 5: using the cross fader at all. So I'm thinking at

649
00:34:09,560 --> 00:34:13,040
Speaker 5: the time, as is this impressionable kid Tornadox one of

650
00:34:13,040 --> 00:34:15,400
Speaker 5: the best DJ's ever, These public enemies DJ. He doesn't

651
00:34:15,440 --> 00:34:17,600
Speaker 5: use a cross fader, so the mixed writing is the

652
00:34:17,640 --> 00:34:18,560
Speaker 5: one without the cross fader.

653
00:34:19,080 --> 00:34:19,480
Speaker 3: Oh no.

654
00:34:22,200 --> 00:34:22,480
Speaker 5: Mixer.

655
00:34:24,640 --> 00:34:33,920
Speaker 1: They later added across had cross Face. You're listening to

656
00:34:34,000 --> 00:34:37,279
Speaker 1: Course Love, Supreme and just Plaze. Here is sharing, uh,

657
00:34:37,440 --> 00:34:42,560
Speaker 1: the origin of his story with us and New cross Faders. Hey, actually,

658
00:34:42,680 --> 00:34:44,319
Speaker 1: since we're at it, let's go around to.

659
00:34:46,080 --> 00:34:47,600
Speaker 3: Drum Fields. Are you ready?

660
00:34:47,840 --> 00:34:49,880
Speaker 5: I might not be as good drum now.

661
00:34:49,920 --> 00:34:53,320
Speaker 3: This is easy, okay, come on, Hey.

662
00:34:53,320 --> 00:34:57,440
Speaker 5: What is it? Parliament is the problem to?

663
00:34:58,239 --> 00:34:59,560
Speaker 3: All right, I'll do it right.

664
00:35:01,520 --> 00:35:05,279
Speaker 7: I don't know, Yeah, I've never actually never heard I've

665
00:35:05,520 --> 00:35:11,319
Speaker 7: heard it you Oh well listen. Yeah, I know it's

666
00:35:11,320 --> 00:35:12,640
Speaker 7: from Shake Your but I.

667
00:35:12,880 --> 00:35:15,560
Speaker 5: Never knew what another album I didn't.

668
00:35:16,040 --> 00:35:19,040
Speaker 3: I was lated to that one to actually the producer's dream.

669
00:35:19,160 --> 00:35:22,319
Speaker 5: I know, and I still don't like you play baby.

670
00:35:22,400 --> 00:35:28,239
Speaker 1: I'm all, you're just straight mean potatoes. Be you like

671
00:35:28,320 --> 00:35:31,040
Speaker 1: to mean potatoes? I like the not the gardens on

672
00:35:31,120 --> 00:35:31,479
Speaker 1: the side.

673
00:35:31,560 --> 00:35:33,120
Speaker 5: It's the same, but it's the same story. We'll go

674
00:35:33,160 --> 00:35:35,000
Speaker 5: back to the roll to the second in a nutshell.

675
00:35:35,400 --> 00:35:37,120
Speaker 5: I didn't buy a Poles boutique when it came out

676
00:35:37,200 --> 00:35:38,880
Speaker 5: because I didn't find but.

677
00:35:38,960 --> 00:35:41,239
Speaker 1: I didn't like what's the first thing that lad? I

678
00:35:41,280 --> 00:35:42,960
Speaker 1: thought that ship was kind of corny. I wouldn't.

679
00:35:43,600 --> 00:35:45,359
Speaker 7: I didn't even know that album existed until like maybe

680
00:35:45,360 --> 00:35:46,440
Speaker 7: five years after it came out.

681
00:35:46,600 --> 00:35:49,880
Speaker 3: Really yeah, I feel like it's.

682
00:35:51,400 --> 00:35:52,880
Speaker 5: For me personally. I can listen to it now and

683
00:35:52,920 --> 00:35:55,640
Speaker 5: I understand why it was revolutionary and production. It's not

684
00:35:55,800 --> 00:35:58,280
Speaker 5: in my go to Four of the Beast, these catalogs.

685
00:35:59,520 --> 00:36:04,600
Speaker 3: Ah, I feel that's their being to me artistic. I

686
00:36:04,640 --> 00:36:07,440
Speaker 3: can't even listen to licenses l anymore. This is kind

687
00:36:07,480 --> 00:36:08,000
Speaker 3: of grading.

688
00:36:08,440 --> 00:36:10,440
Speaker 5: Oh, I love I listened to that well.

689
00:36:10,520 --> 00:36:14,560
Speaker 1: I mean, I respect its history, but I mean as

690
00:36:14,640 --> 00:36:17,359
Speaker 1: a guy who lives for record reviews and a guy

691
00:36:17,440 --> 00:36:19,360
Speaker 1: who like wakes up at five am to see what

692
00:36:19,480 --> 00:36:23,200
Speaker 1: Pitchfork gave something some ship like Rolling Stone was my

693
00:36:23,320 --> 00:36:27,759
Speaker 1: Pitchfork as a teenager, and to see those out of

694
00:36:27,840 --> 00:36:31,040
Speaker 1: touch dudes give him a lead review and a four star,

695
00:36:31,440 --> 00:36:37,279
Speaker 1: Like what's the chances of some freddy white boy uh uh,

696
00:36:38,360 --> 00:36:43,160
Speaker 1: mockery hip hop group getting an artistic.

697
00:36:44,719 --> 00:36:48,000
Speaker 3: Come lottery like this, this, this, these accolades.

698
00:36:49,040 --> 00:36:51,560
Speaker 5: So you feel like it was undeserved, many and manufactured.

699
00:36:53,000 --> 00:36:55,000
Speaker 1: I mean I feel, you know, in the in the

700
00:36:56,080 --> 00:36:59,480
Speaker 1: and yeah and the pantheon of of of artistic statements.

701
00:36:59,520 --> 00:37:04,399
Speaker 1: I feel like the Father's nation a million, the sun

702
00:37:04,560 --> 00:37:07,000
Speaker 1: is three fet hot and rising, and the Holy Ghost

703
00:37:07,120 --> 00:37:11,120
Speaker 1: is Paul's boutique for the late eighties. Like those three

704
00:37:11,200 --> 00:37:18,439
Speaker 1: records opened and also subsequently shut shut the door right on. Yeah,

705
00:37:19,760 --> 00:37:21,360
Speaker 1: you had to be my age at the time, like

706
00:37:21,440 --> 00:37:25,160
Speaker 1: we weren't expecting an artistic statement from the beastie boys.

707
00:37:25,400 --> 00:37:29,000
Speaker 3: Like I was ready for more, just like you know girls.

708
00:37:29,440 --> 00:37:33,200
Speaker 3: Yeah they're they're brandy mockery hip hop, and I got

709
00:37:33,280 --> 00:37:35,960
Speaker 3: an artistic statement. You know, he slept on it for me.

710
00:37:36,040 --> 00:37:37,719
Speaker 3: It was ill communication. That was the one where I

711
00:37:37,800 --> 00:37:40,239
Speaker 3: was like, I fucked like, that's the one I come

712
00:37:40,320 --> 00:37:40,520
Speaker 3: back to.

713
00:37:40,760 --> 00:37:43,160
Speaker 5: That's when I got back on the train, you know

714
00:37:44,120 --> 00:37:44,439
Speaker 5: your head.

715
00:37:44,480 --> 00:37:47,000
Speaker 3: I wouldn't really on that one. Yeah, they were finding

716
00:37:47,000 --> 00:37:47,880
Speaker 3: themselves on check yea.

717
00:37:47,920 --> 00:37:49,160
Speaker 5: But yeah, I think I thought that there was they

718
00:37:49,200 --> 00:37:56,000
Speaker 5: were discovering something about themselves that wasn't there before. Here's next, LTG.

719
00:37:56,440 --> 00:38:01,080
Speaker 3: Cut cutting it up. I'm actually bad at this. What

720
00:38:01,160 --> 00:38:01,680
Speaker 3: the hell.

721
00:38:04,239 --> 00:38:04,919
Speaker 5: Do you want to play?

722
00:38:05,480 --> 00:38:08,120
Speaker 3: Even like he knows this ship? You better know this ship.

723
00:38:10,040 --> 00:38:14,319
Speaker 3: Oh bust and Loose, Yes, of course I made.

724
00:38:14,719 --> 00:38:16,120
Speaker 5: I never cut that one up. As a kid, you

725
00:38:16,160 --> 00:38:17,600
Speaker 5: ain't into the go go blaze.

726
00:38:17,840 --> 00:38:20,360
Speaker 3: You DJ for old black people, like.

727
00:38:22,080 --> 00:38:24,319
Speaker 5: Busting Loose is still not in my list at all.

728
00:38:24,400 --> 00:38:25,120
Speaker 5: I don't I don't play it.

729
00:38:25,239 --> 00:38:36,200
Speaker 1: You ain't doing barbecue late of course, come on man, Yeah,

730
00:38:36,200 --> 00:38:37,200
Speaker 1: we'll talk about that later.

731
00:38:37,600 --> 00:38:41,320
Speaker 3: But now what is it? Oh shafton Africa, Oh saff Africa.

732
00:38:45,440 --> 00:38:50,719
Speaker 3: Wait one more time? Oh I know what this is?

733
00:38:51,840 --> 00:38:53,400
Speaker 3: Justin blaze? What does this feel?

734
00:38:55,719 --> 00:38:59,880
Speaker 5: It's not the shylight it is okay, I'm not trip

735
00:39:00,040 --> 00:39:03,520
Speaker 5: from the woman.

736
00:39:06,239 --> 00:39:13,440
Speaker 3: Last one cars back guaran Yes, yes, so all right,

737
00:39:13,520 --> 00:39:14,040
Speaker 3: so your.

738
00:39:13,960 --> 00:39:17,479
Speaker 5: First official so the drug you tout the drum machine

739
00:39:17,520 --> 00:39:19,719
Speaker 5: things too, Yes, a s R two.

740
00:39:21,080 --> 00:39:21,719
Speaker 3: What year was this?

741
00:39:22,920 --> 00:39:27,520
Speaker 5: Right after the Wan? Yes, because I want to say

742
00:39:27,520 --> 00:39:30,520
Speaker 5: it was rap Pages did an article on him. There

743
00:39:30,640 --> 00:39:33,120
Speaker 5: was uh, it wasn't a production based article, but they

744
00:39:33,160 --> 00:39:35,640
Speaker 5: didn't get into that. The ten was the keyboard, right, yeah,

745
00:39:35,680 --> 00:39:38,400
Speaker 5: that was no, No, the ten, The ten was a

746
00:39:38,440 --> 00:39:40,719
Speaker 5: keyboard interrat should you either got the keyboard or the

747
00:39:40,800 --> 00:39:42,400
Speaker 5: rat And then the n s R X was the

748
00:39:42,480 --> 00:39:43,000
Speaker 5: npc ST.

749
00:39:43,680 --> 00:39:43,839
Speaker 3: Yeah.

750
00:39:44,320 --> 00:39:47,120
Speaker 5: So yeah, the a s R ten read an article

751
00:39:47,360 --> 00:39:49,920
Speaker 5: that's what I used, that said, that's what we gotta get.

752
00:39:50,080 --> 00:39:53,080
Speaker 1: The s R ten, I shall say to this day,

753
00:39:54,080 --> 00:39:59,960
Speaker 1: Michael D'Angelo Archer still uses in a s R ten,

754
00:40:01,080 --> 00:40:04,320
Speaker 1: still walks around Steve can verify this.

755
00:40:04,480 --> 00:40:06,280
Speaker 3: I've got some of the floppy disks in my pocket

756
00:40:06,360 --> 00:40:11,840
Speaker 3: right here. He doesn't know, Yeah, Steve uh, Like he

757
00:40:12,080 --> 00:40:13,239
Speaker 3: refuses to move.

758
00:40:13,760 --> 00:40:19,000
Speaker 1: He feels like it will cripple him if he updates machine,

759
00:40:20,200 --> 00:40:24,759
Speaker 1: like if you want something modern, which fontaneasy combusted, have

760
00:40:24,920 --> 00:40:27,360
Speaker 1: any new equipment or it's just that he has some

761
00:40:27,560 --> 00:40:31,560
Speaker 1: updated equipment, Like there's there was one particular there's one

762
00:40:31,600 --> 00:40:34,920
Speaker 1: particular Japanese keyboard company that sends him like some new

763
00:40:35,040 --> 00:40:39,640
Speaker 1: stuff that like he used it on Charade, this keyboard

764
00:40:39,719 --> 00:40:42,000
Speaker 1: that I wish we had. It's like some it's a

765
00:40:42,120 --> 00:40:46,560
Speaker 1: very vintaged Japanese sounding machine that really has some cool

766
00:40:47,719 --> 00:40:51,240
Speaker 1: patches on it. Like his true gift is making patches.

767
00:40:52,640 --> 00:40:55,200
Speaker 1: Like he will sit there like all all all this

768
00:40:55,400 --> 00:40:58,440
Speaker 1: pat sounds like that drippy, wet Klimbu thing.

769
00:40:59,280 --> 00:41:00,839
Speaker 3: Like he takes the clember passed from.

770
00:41:00,719 --> 00:41:04,360
Speaker 1: The a s R and knows exactly how to filter,

771
00:41:04,840 --> 00:41:07,719
Speaker 1: how yeah, how much reverb to put on it, how

772
00:41:07,840 --> 00:41:08,160
Speaker 1: much to.

773
00:41:09,760 --> 00:41:13,400
Speaker 5: Decay And people realize that a SR had one of

774
00:41:13,440 --> 00:41:16,960
Speaker 5: the most advanced effects processors at the time. If you

775
00:41:17,040 --> 00:41:21,560
Speaker 5: ever familiar with the and Sonic DP four that was

776
00:41:21,640 --> 00:41:23,440
Speaker 5: and that was a standard in studios at that time.

777
00:41:24,560 --> 00:41:27,279
Speaker 5: That was the effects section of the a s R

778
00:41:27,400 --> 00:41:29,440
Speaker 5: ten put into an effect shooting.

779
00:41:30,480 --> 00:41:33,200
Speaker 3: Really yep, so the same but just more advanced.

780
00:41:33,920 --> 00:41:35,000
Speaker 5: It was the same exact thing.

781
00:41:38,040 --> 00:41:40,120
Speaker 1: With company that scam and sell you the same ship,

782
00:41:43,280 --> 00:41:45,600
Speaker 1: but you're like cast now busting apple like I mean,

783
00:41:45,600 --> 00:41:47,400
Speaker 1: all they did was add one element and.

784
00:41:48,440 --> 00:41:50,320
Speaker 5: They took it. They made it a rack mount. Actually

785
00:41:50,360 --> 00:41:52,960
Speaker 5: the SR the SR version was the DP two like that.

786
00:41:53,040 --> 00:41:54,360
Speaker 5: That was when they went out of the s R

787
00:41:54,719 --> 00:41:57,160
Speaker 5: made the DP too. Then they doubled it and made

788
00:41:57,160 --> 00:41:58,759
Speaker 5: a version called the DP four. It just gave you

789
00:41:58,840 --> 00:41:59,320
Speaker 5: more effects.

790
00:41:59,880 --> 00:42:03,120
Speaker 1: So as as with most beat makers that I know

791
00:42:03,480 --> 00:42:05,600
Speaker 1: or that are at least from the second generation, like

792
00:42:05,680 --> 00:42:09,480
Speaker 1: some of their favorite things are remaking, like practicing what

793
00:42:09,560 --> 00:42:11,719
Speaker 1: if I made this beat or whatever? Like what was

794
00:42:11,760 --> 00:42:14,280
Speaker 1: the first beat you prat?

795
00:42:14,400 --> 00:42:16,440
Speaker 3: Like, okay, how I don't think.

796
00:42:16,320 --> 00:42:20,000
Speaker 5: I ever did that. The closest I ever got to

797
00:42:20,080 --> 00:42:26,759
Speaker 5: it was using the capricorn loop that Pete used for

798
00:42:26,880 --> 00:42:29,320
Speaker 5: in the house. I didn't but I didn't try to

799
00:42:29,560 --> 00:42:31,680
Speaker 5: remake his beat. I may be using it not for sale,

800
00:42:31,719 --> 00:42:34,279
Speaker 5: but just for what you mean, for I just never

801
00:42:34,400 --> 00:42:36,920
Speaker 5: I never really did that. I don't think I can't remember.

802
00:42:36,920 --> 00:42:38,399
Speaker 5: I can't recall having ever done that once.

803
00:42:38,880 --> 00:42:42,600
Speaker 3: Wow, sockers, because normally that's like the go to practice.

804
00:42:43,800 --> 00:42:46,160
Speaker 5: When I see videos of people remaking my beats like

805
00:42:46,280 --> 00:42:49,680
Speaker 5: on YouTube, and it kind of trips me out, Like,

806
00:42:49,960 --> 00:42:51,319
Speaker 5: but I get it. If you want to get better,

807
00:42:51,360 --> 00:42:53,239
Speaker 5: you want to learn how somebody did something, figure how

808
00:42:53,280 --> 00:42:53,919
Speaker 5: somebody did something.

809
00:42:53,920 --> 00:42:56,359
Speaker 3: You're gonna it's it's like a guitar player learn how

810
00:42:56,360 --> 00:42:57,240
Speaker 3: to play play.

811
00:42:57,160 --> 00:43:01,040
Speaker 5: Standard, yeah, or just a ballplayer who watches, you know, video.

812
00:43:01,160 --> 00:43:02,000
Speaker 3: There's a lot of chefs.

813
00:43:02,000 --> 00:43:04,600
Speaker 1: I know that, like, you know, we'll try to figure

814
00:43:04,600 --> 00:43:07,319
Speaker 1: out like how McDonald's made, you know, the Big Man.

815
00:43:07,800 --> 00:43:11,359
Speaker 5: What I was more concerned about was for me, I think,

816
00:43:11,680 --> 00:43:14,600
Speaker 5: especially in that formative era, it was more so I

817
00:43:14,719 --> 00:43:18,080
Speaker 5: was listening to how the records were engineered and trying

818
00:43:18,120 --> 00:43:20,920
Speaker 5: to because I was working with the ASR ten and

819
00:43:21,160 --> 00:43:22,920
Speaker 5: a four track, or even before that that roll in

820
00:43:23,040 --> 00:43:26,080
Speaker 5: Jams thirty and a four track, and I was just

821
00:43:26,120 --> 00:43:27,920
Speaker 5: trying to figure out, right, I have a drum machine,

822
00:43:28,040 --> 00:43:31,000
Speaker 5: I have the same samples I see equalizes on this

823
00:43:31,080 --> 00:43:32,840
Speaker 5: four track. Why don't my records sound as good as

824
00:43:32,880 --> 00:43:35,000
Speaker 5: the records on the radio. And I'm not understanding the

825
00:43:35,040 --> 00:43:38,440
Speaker 5: concepts of studios and mastering and mastering. I don't understand

826
00:43:38,440 --> 00:43:39,839
Speaker 5: any of that. I'm just like I got I got,

827
00:43:39,960 --> 00:43:41,440
Speaker 5: I got beats, and I got eqs and I got

828
00:43:41,520 --> 00:43:45,399
Speaker 5: a mic. So for me, it was about squeezing whatever

829
00:43:45,440 --> 00:43:47,600
Speaker 5: sound quality I could out of the little bit that

830
00:43:47,680 --> 00:43:48,120
Speaker 5: I had.

831
00:43:48,200 --> 00:43:53,080
Speaker 1: I will say, and a test that probably next to

832
00:43:53,200 --> 00:43:58,080
Speaker 1: doctor Dre who's the cleanest producer that I know, producer

833
00:43:58,239 --> 00:44:03,160
Speaker 1: slash engineer, and maybe the combination of a particular era

834
00:44:03,440 --> 00:44:09,359
Speaker 1: of Tip and Bob and Tim Laith laughing or whatever,

835
00:44:10,480 --> 00:44:16,480
Speaker 1: you have one of the loudest mixes I know, which

836
00:44:16,520 --> 00:44:18,840
Speaker 1: is weird because I know that both you and Kanye

837
00:44:20,080 --> 00:44:22,960
Speaker 1: kind of came up in the Blueprint Battle generation of

838
00:44:24,960 --> 00:44:29,640
Speaker 1: you know, of the jay z era, whereas like twice

839
00:44:29,719 --> 00:44:34,160
Speaker 1: in my DJ career that I've been charged with breaking

840
00:44:34,200 --> 00:44:36,960
Speaker 1: the speaker, it was just Blazo.

841
00:44:36,719 --> 00:44:38,000
Speaker 3: No over Kanye Records.

842
00:44:39,080 --> 00:44:42,120
Speaker 1: Kanye is the only dude like when his product comes out,

843
00:44:42,920 --> 00:44:47,360
Speaker 1: I have to re eat, reconfigure, re eq it like

844
00:44:47,480 --> 00:44:51,279
Speaker 1: almost remastered myself, or turn the mids and the bass

845
00:44:51,400 --> 00:44:52,080
Speaker 1: all the way down.

846
00:44:52,200 --> 00:44:53,920
Speaker 3: Because you know that.

847
00:44:54,080 --> 00:44:56,080
Speaker 5: Study famous changed over the years, because I remember when

848
00:44:56,200 --> 00:44:59,960
Speaker 5: his his focus used to not really be about the

849
00:45:00,000 --> 00:45:01,480
Speaker 5: If you remember a lot of times this drums would

850
00:45:01,480 --> 00:45:04,720
Speaker 5: be really small, and that was one of the things

851
00:45:04,760 --> 00:45:07,239
Speaker 5: that like, he's he's actually to call me about, like

852
00:45:07,280 --> 00:45:09,239
Speaker 5: how do you get your drums to sound like that?

853
00:45:09,320 --> 00:45:11,800
Speaker 5: With the wares were with the bass like, that was

854
00:45:11,840 --> 00:45:15,000
Speaker 5: the thing I remember. I would not get into the specifics,

855
00:45:15,040 --> 00:45:16,560
Speaker 5: but there were times where sometimes that would become an

856
00:45:16,600 --> 00:45:18,440
Speaker 5: issue in the studio where it was like, Yo, the

857
00:45:18,480 --> 00:45:20,400
Speaker 5: track is dope, but the drums seem so small. How

858
00:45:20,480 --> 00:45:22,080
Speaker 5: we get to the sound sound bigger?

859
00:45:22,800 --> 00:45:25,399
Speaker 1: But if you look at the history of hip has

860
00:45:25,440 --> 00:45:28,840
Speaker 1: changed the millions, drums are small as shit, right, And

861
00:45:28,920 --> 00:45:32,080
Speaker 1: then I realized, oh they sacrificed. They have small drums,

862
00:45:32,160 --> 00:45:37,160
Speaker 1: but the noise surrounds it exactly. And so but a

863
00:45:37,239 --> 00:45:41,360
Speaker 1: lot of your production is like your your your accessory

864
00:45:41,440 --> 00:45:46,320
Speaker 1: noises whatever, like uh sirens you use and your snares

865
00:45:47,040 --> 00:45:49,880
Speaker 1: and your loops and the voice like everything is at

866
00:45:49,920 --> 00:45:54,360
Speaker 1: top level lout, but it never it never peaks, like

867
00:45:54,520 --> 00:45:55,680
Speaker 1: how do you well.

868
00:45:56,040 --> 00:46:00,200
Speaker 5: One thing that uh like that I would always try

869
00:46:00,239 --> 00:46:03,440
Speaker 5: to do is fun make sure that each each element

870
00:46:03,520 --> 00:46:06,759
Speaker 5: of the song has its own space, and sometimes you

871
00:46:06,840 --> 00:46:08,680
Speaker 5: have you can't just do that with pushing the faders

872
00:46:08,719 --> 00:46:11,600
Speaker 5: of any killing, there's dynamics that come into play too,

873
00:46:11,640 --> 00:46:14,320
Speaker 5: because I still like to leave headroom at least so

874
00:46:14,480 --> 00:46:16,399
Speaker 5: that even if you're blasting it, it still doesn't feel

875
00:46:16,400 --> 00:46:19,080
Speaker 5: like it's overpowered still much. Right, So I'll give you

876
00:46:19,080 --> 00:46:22,520
Speaker 5: a perfect example. You don't know, those horns are so

877
00:46:22,640 --> 00:46:26,400
Speaker 5: shrill and loud, and Jay has that kind of nasally

878
00:46:26,440 --> 00:46:29,680
Speaker 5: tone to his voice, so those those horns and those

879
00:46:29,760 --> 00:46:32,399
Speaker 5: and his vocals kind of sit in the same frequency range.

880
00:46:32,840 --> 00:46:37,040
Speaker 5: So we did on that record was we used his

881
00:46:37,360 --> 00:46:42,279
Speaker 5: vocal as a side chain to trigger a compressor on

882
00:46:42,400 --> 00:46:44,800
Speaker 5: a certain frequency of the horns, so that whenever he

883
00:46:45,000 --> 00:46:47,799
Speaker 5: runs it would it would duck that just that part

884
00:46:47,840 --> 00:46:50,360
Speaker 5: of the frequency on the horns. And then when he

885
00:46:50,480 --> 00:46:52,920
Speaker 5: wasn't rhyming, the horns were coming coming full.

886
00:46:53,120 --> 00:46:55,920
Speaker 3: A certain compression, right, And that's where compression works for you, right.

887
00:46:56,000 --> 00:46:58,600
Speaker 5: And it's it's not like it wasn't a matter of

888
00:46:58,640 --> 00:47:02,279
Speaker 5: making the horns louder or lower. It was a matter

889
00:47:02,280 --> 00:47:05,160
Speaker 5: of when that frequent his voice is hitting, make sure

890
00:47:05,200 --> 00:47:08,240
Speaker 5: that frequency itself is ducked on the horns.

891
00:47:08,520 --> 00:47:10,480
Speaker 1: So when you when you create a track like that,

892
00:47:13,320 --> 00:47:16,520
Speaker 1: it was all right, when I first heard it, that

893
00:47:16,880 --> 00:47:19,280
Speaker 1: was a hard song for me to digest. I almost

894
00:47:19,280 --> 00:47:23,800
Speaker 1: think it's a good thing when like you're uncomfortable with

895
00:47:23,960 --> 00:47:26,879
Speaker 1: something because it's so new to you. Like first time

896
00:47:26,880 --> 00:47:28,759
Speaker 1: I Rebel without pause is like, Yo, what the hell

897
00:47:28,840 --> 00:47:33,480
Speaker 1: is this? And especially in light of hearing that record

898
00:47:34,480 --> 00:47:38,200
Speaker 1: during nine to eleven and all that stuff, when I

899
00:47:38,280 --> 00:47:40,600
Speaker 1: heard it, I just thought, you remember the scene in

900
00:47:41,120 --> 00:47:46,160
Speaker 1: Casino where Joe Pesci is like, don't make me do

901
00:47:46,280 --> 00:47:48,600
Speaker 1: this though, and he's like squeezing the dude's uh.

902
00:47:50,040 --> 00:47:55,279
Speaker 3: The vice. I always imagine that you don't know by

903
00:47:55,400 --> 00:47:56,319
Speaker 3: jay Z was.

904
00:47:57,920 --> 00:48:01,560
Speaker 1: That was the soundtrack to the Ship, Like it sounded

905
00:48:01,719 --> 00:48:07,000
Speaker 1: like someone's being squeezed, and like, was that your intention?

906
00:48:07,520 --> 00:48:13,200
Speaker 5: Nah? For me, it was just like at that time,

907
00:48:13,920 --> 00:48:16,480
Speaker 5: it was just energy. That is what I was trying

908
00:48:16,520 --> 00:48:19,160
Speaker 5: to get across really more so than anything else. It's

909
00:48:19,200 --> 00:48:22,080
Speaker 5: funny sometimes if you remember, he used to performance sometimes

910
00:48:22,120 --> 00:48:23,920
Speaker 5: and he would have the flames in the background, Like

911
00:48:24,880 --> 00:48:26,840
Speaker 5: that's when I was inventioning that moment. A lot of

912
00:48:26,880 --> 00:48:31,120
Speaker 5: those records, especially during that era and it's still even

913
00:48:31,360 --> 00:48:34,080
Speaker 5: to this day, but especially that era, I was thinking

914
00:48:34,160 --> 00:48:36,040
Speaker 5: in terms of performance.

915
00:48:36,600 --> 00:48:39,200
Speaker 3: You're seeing the final product in the stadium.

916
00:48:38,840 --> 00:48:43,080
Speaker 5: And exactly so I'm seeing like that moment, or I'm

917
00:48:43,160 --> 00:48:46,480
Speaker 5: seeing when he's doing song Crid and it's just the

918
00:48:46,520 --> 00:48:48,640
Speaker 5: whole stage is black and it's just the spotlight on

919
00:48:48,760 --> 00:48:50,640
Speaker 5: him and he's telling that story and a little by

920
00:48:50,680 --> 00:48:52,960
Speaker 5: little the maybe some imagery in the background on the screens.

921
00:48:53,200 --> 00:48:54,960
Speaker 5: I would always think in terms of performance, that's why

922
00:48:54,960 --> 00:48:56,360
Speaker 5: I showed me what you got is the way it is,

923
00:48:56,880 --> 00:48:58,520
Speaker 5: and why climax is at the end, because that was

924
00:48:58,520 --> 00:49:00,680
Speaker 5: supposed to be the record. After he does corn walks

925
00:49:00,719 --> 00:49:04,480
Speaker 5: off the stage, then he comes back with just and

926
00:49:04,560 --> 00:49:11,359
Speaker 5: it's not a beat, it's just And by the end,

927
00:49:11,480 --> 00:49:13,960
Speaker 5: everybody's soloing. The drummer's doing his thing, the basis is

928
00:49:14,000 --> 00:49:16,520
Speaker 5: doing his thing, the guitar players with the key up

929
00:49:16,560 --> 00:49:17,680
Speaker 5: that that's why that record is like that.

930
00:49:17,760 --> 00:49:19,719
Speaker 3: So did it frustrate you that that song came so

931
00:49:19,920 --> 00:49:21,880
Speaker 3: early and not later in the sequence.

932
00:49:22,080 --> 00:49:26,000
Speaker 5: Yeah, a little bit, but it should have been something

933
00:49:26,000 --> 00:49:29,400
Speaker 5: towards the end of the album more so than at

934
00:49:29,440 --> 00:49:33,319
Speaker 5: the top. But the way it starts is also good.

935
00:49:33,360 --> 00:49:35,160
Speaker 5: But us to have at the top of a project.

936
00:49:35,239 --> 00:49:39,320
Speaker 1: I was gonna say, in in the case of I

937
00:49:39,400 --> 00:49:43,279
Speaker 1: mean illmatic kind of ruined the the idea of one

938
00:49:43,320 --> 00:49:50,400
Speaker 1: person watching everything so on on an album like The Blueprint,

939
00:49:51,200 --> 00:49:54,719
Speaker 1: which is essentially an illmatic on its own.

940
00:49:56,280 --> 00:50:00,879
Speaker 3: Well, I mean it's you, Kanye, Timberland, Scott, uh, who else? Bink?

941
00:50:01,280 --> 00:50:01,480
Speaker 5: Yeah?

942
00:50:02,480 --> 00:50:02,640
Speaker 3: Right?

943
00:50:03,160 --> 00:50:07,080
Speaker 1: So who really gets final say on? Like, well, it's

944
00:50:07,120 --> 00:50:09,480
Speaker 1: just start here, like who has his ear as in

945
00:50:09,640 --> 00:50:10,520
Speaker 1: let me sequence this?

946
00:50:11,640 --> 00:50:14,320
Speaker 5: At that time, I would say a lot of that

947
00:50:14,440 --> 00:50:21,680
Speaker 5: would probably have been because Gool wasn't around, was cool around,

948
00:50:22,120 --> 00:50:25,120
Speaker 5: you know, Chauncy was done after the Dynasty album?

949
00:50:26,800 --> 00:50:30,400
Speaker 7: Or who was engineering? I remember the Chauncy story. Well,

950
00:50:30,440 --> 00:50:34,480
Speaker 7: there's many of those, the one with the up a

951
00:50:34,560 --> 00:50:35,200
Speaker 7: tape or something.

952
00:50:35,719 --> 00:50:37,279
Speaker 5: There's a lot of things. And then he tried to

953
00:50:37,360 --> 00:50:41,160
Speaker 5: sue Yes, yes, a couple of years ago for seventy

954
00:50:41,200 --> 00:50:42,600
Speaker 5: five million for a whole I don't know what the

955
00:50:42,719 --> 00:50:48,840
Speaker 5: number was. Chauncey was the engineer on the Dynasty, the

956
00:50:48,960 --> 00:50:52,840
Speaker 5: Dynasty album, maybe some of Volume three. Okay, that's a

957
00:50:52,880 --> 00:50:55,719
Speaker 5: whole other set of stories. I figure what it was.

958
00:50:55,840 --> 00:50:57,920
Speaker 5: But basically he had a bunch of copies of the

959
00:50:58,000 --> 00:51:01,160
Speaker 5: Masters and had been storing them at a storage space

960
00:51:01,239 --> 00:51:04,080
Speaker 5: in la I think it was Key in California. For

961
00:51:05,000 --> 00:51:08,640
Speaker 5: since he got fired, which was after the Dynasty album,

962
00:51:09,080 --> 00:51:11,120
Speaker 5: and then came back and tried to sue j for

963
00:51:11,200 --> 00:51:12,880
Speaker 5: a bunch of Oh no, he tried to claim ownership

964
00:51:13,440 --> 00:51:15,480
Speaker 5: partial ownership of publishing and masters.

965
00:51:16,080 --> 00:51:17,000
Speaker 3: Why did he get fired?

966
00:51:17,800 --> 00:51:19,480
Speaker 5: He just kept messing up badly.

967
00:51:19,920 --> 00:51:21,239
Speaker 3: Okay, wait, how do you know this?

968
00:51:21,360 --> 00:51:23,479
Speaker 10: I think he told the story, told stories on Twitter,

969
00:51:23,719 --> 00:51:26,120
Speaker 10: because when it came out that he was trying to

970
00:51:26,160 --> 00:51:28,520
Speaker 10: take action, I was like, oh no, no, no, let

971
00:51:28,560 --> 00:51:30,920
Speaker 10: me set a few things straight here, like he was

972
00:51:31,000 --> 00:51:32,160
Speaker 10: not writing anything.

973
00:51:32,280 --> 00:51:34,760
Speaker 5: He was not. He wasn't He doesn't own the masters.

974
00:51:34,840 --> 00:51:37,320
Speaker 5: I actually have a lot of the Masters myself. He

975
00:51:37,480 --> 00:51:39,719
Speaker 5: might have had copies or clones because that was right

976
00:51:39,760 --> 00:51:41,640
Speaker 5: when we were we were doing the hybrid of two

977
00:51:41,680 --> 00:51:44,200
Speaker 5: inch to in digital, so a lot of stuff was

978
00:51:44,239 --> 00:51:46,959
Speaker 5: getting bounced back and forth. It was just a mess,

979
00:51:47,239 --> 00:51:48,800
Speaker 5: and he was really trying to portray it like he

980
00:51:49,040 --> 00:51:52,080
Speaker 5: was the driving force behind the sound of Rockefeller for

981
00:51:52,239 --> 00:51:54,560
Speaker 5: some years, and he was not. He's actually the reason

982
00:51:54,600 --> 00:51:56,360
Speaker 5: why a lot of records have mistakes on him. Do

983
00:51:56,520 --> 00:51:59,359
Speaker 5: this go back to the Dynasty album. Listen to get

984
00:51:59,400 --> 00:51:59,960
Speaker 5: your mind right.

985
00:52:00,360 --> 00:52:02,040
Speaker 3: Right, that's the one that because of him.

986
00:52:02,080 --> 00:52:03,520
Speaker 5: No, no, that's no, it is that your chick is

987
00:52:03,520 --> 00:52:04,440
Speaker 5: in a mono because of it.

988
00:52:06,200 --> 00:52:09,960
Speaker 3: Whoa to the beat?

989
00:52:10,080 --> 00:52:12,960
Speaker 5: Listen to the beat? Hold up, no, but is uh

990
00:52:13,120 --> 00:52:15,279
Speaker 5: what was I saying? Oh yeah, listen to get your

991
00:52:15,320 --> 00:52:20,759
Speaker 5: mind right. You'll notice the chorus is performed differently every time.

992
00:52:21,280 --> 00:52:24,520
Speaker 5: Sometimes it starts, yeah, you're not a fly. Fly the hooks.

993
00:52:25,680 --> 00:52:28,680
Speaker 5: So really there's three hooks. Each one falls in a

994
00:52:28,719 --> 00:52:31,279
Speaker 5: different place. Same thing with can't be life. Listen it

995
00:52:31,320 --> 00:52:33,560
Speaker 5: can't be life. Go back and listen to that record

996
00:52:33,560 --> 00:52:34,920
Speaker 5: with that in mind, you'll see that the hooks don't

997
00:52:35,080 --> 00:52:37,440
Speaker 5: fall in the same place every time. So it was

998
00:52:37,480 --> 00:52:39,120
Speaker 5: things like that, and then he you know, back then

999
00:52:39,160 --> 00:52:43,240
Speaker 5: he used to have the slave two inch wheels together,

1000
00:52:43,320 --> 00:52:45,600
Speaker 5: so if you have forty eight tractionally slave two machines together.

1001
00:52:46,360 --> 00:52:48,000
Speaker 5: We were doing stuff from pro tools and the dumping

1002
00:52:48,000 --> 00:52:50,719
Speaker 5: into real to mix from real. Duros getting the tapes

1003
00:52:50,760 --> 00:52:52,840
Speaker 5: because he was mixing that soundtrack where we were finishing

1004
00:52:52,960 --> 00:52:58,680
Speaker 5: at baseline, and every set of reels that got that

1005
00:52:59,040 --> 00:53:02,920
Speaker 5: Durro got, the sink was off, so like none of

1006
00:53:02,960 --> 00:53:04,879
Speaker 5: the reels were coming back SYNCD up. So he put

1007
00:53:04,880 --> 00:53:06,120
Speaker 5: the two tapes up and he used to be playing

1008
00:53:06,120 --> 00:53:06,880
Speaker 5: a lot of sink.

1009
00:53:07,440 --> 00:53:09,680
Speaker 11: And and.

1010
00:53:12,480 --> 00:53:15,040
Speaker 5: And eventually it came to eventually it almost came their

1011
00:53:15,080 --> 00:53:20,360
Speaker 5: hands at one point because Daryl told about himself and

1012
00:53:20,760 --> 00:53:23,440
Speaker 5: uh dar wants to tell so I'll let him do it.

1013
00:53:25,040 --> 00:53:27,080
Speaker 5: But yes, Droyl told about himself on the phone, very

1014
00:53:27,120 --> 00:53:28,719
Speaker 5: matter of fact. He didn't you didn't. He didn't flip

1015
00:53:28,760 --> 00:53:31,040
Speaker 5: on him. He just told him about himself and hung

1016
00:53:31,120 --> 00:53:34,560
Speaker 5: up the phone. Charles, you come to deliver and delivers

1017
00:53:34,600 --> 00:53:37,160
Speaker 5: the tapes and it is ready to scrap and it

1018
00:53:37,239 --> 00:53:38,799
Speaker 5: didn't happen. And I'm just sitting there in the room

1019
00:53:38,880 --> 00:53:44,719
Speaker 5: like whoa. That escalated very quickly. It got shut down

1020
00:53:44,719 --> 00:53:45,760
Speaker 5: as quickly as it happened.

1021
00:53:46,000 --> 00:53:48,960
Speaker 3: But but and how does that translate to a guy

1022
00:53:49,080 --> 00:53:49,439
Speaker 3: like Jay.

1023
00:53:49,680 --> 00:53:54,840
Speaker 1: Jay's like one of those guys that, to me, like

1024
00:53:55,160 --> 00:53:56,920
Speaker 1: doesn't care how something happened.

1025
00:53:56,960 --> 00:53:59,400
Speaker 3: So of course he's gonna look at you like, well,

1026
00:53:59,400 --> 00:54:00,680
Speaker 3: you're fucking up right.

1027
00:54:01,000 --> 00:54:04,200
Speaker 1: And because he's looking at how do you explain to

1028
00:54:04,320 --> 00:54:06,640
Speaker 1: him that, like, look, he didn't line it right and

1029
00:54:06,880 --> 00:54:07,800
Speaker 1: this is not my fault.

1030
00:54:07,840 --> 00:54:08,920
Speaker 3: And I'm trying to maguyver.

1031
00:54:09,239 --> 00:54:11,040
Speaker 5: I think we kept j out of it a lot.

1032
00:54:11,200 --> 00:54:12,960
Speaker 5: He was aware that things weren't right, but he wasn't

1033
00:54:12,960 --> 00:54:14,920
Speaker 5: really getting to the specific because we were getting handled

1034
00:54:15,440 --> 00:54:19,759
Speaker 5: between me Guru and Duro. You know, we were making

1035
00:54:19,800 --> 00:54:21,920
Speaker 5: sure that he got handled regardless. So he might have

1036
00:54:21,920 --> 00:54:23,239
Speaker 5: known that there were problems, but it didn't get to

1037
00:54:23,280 --> 00:54:24,600
Speaker 5: the point I didn't get back to him to the

1038
00:54:24,640 --> 00:54:28,360
Speaker 5: point where he felt like he had to address or intervene.

1039
00:54:28,400 --> 00:54:29,800
Speaker 3: Well, it was the person that had to lay this

1040
00:54:30,000 --> 00:54:31,680
Speaker 3: the SmackDown, say oh, you're fired.

1041
00:54:32,880 --> 00:54:35,440
Speaker 5: That might have been hip hop. Maybe Okay, it might

1042
00:54:35,480 --> 00:54:37,320
Speaker 5: have been a hip hop because the thing is, Chelsey

1043
00:54:37,520 --> 00:54:39,960
Speaker 5: liked that all that stuff aside. I liked him as

1044
00:54:40,000 --> 00:54:42,160
Speaker 5: a person, and he and I got along, and he

1045
00:54:42,200 --> 00:54:44,480
Speaker 5: and hip hop got along very well as well. So

1046
00:54:45,920 --> 00:54:47,440
Speaker 5: I want to say it was hip hop. I probably

1047
00:54:47,440 --> 00:54:50,440
Speaker 5: had to have that conversation with him. But how do

1048
00:54:50,560 --> 00:54:50,960
Speaker 5: we get here?

1049
00:54:51,320 --> 00:54:53,960
Speaker 3: I'm kind of fault, We're kind of we're kind of

1050
00:54:54,000 --> 00:54:58,319
Speaker 3: asked backwards? Isn't this? So? I noticed that every major

1051
00:54:58,400 --> 00:55:01,000
Speaker 3: producer that gets put on has.

1052
00:55:00,960 --> 00:55:04,160
Speaker 1: To go through the initiation of getting ganked first, like

1053
00:55:04,640 --> 00:55:07,120
Speaker 1: going under the tutelage of someone never happened.

1054
00:55:09,120 --> 00:55:11,880
Speaker 3: You didn't apprentice under any.

1055
00:55:11,880 --> 00:55:15,040
Speaker 5: Never by o g's by teachers. But people who put

1056
00:55:15,080 --> 00:55:16,600
Speaker 5: me on were the DJs and producers that I group

1057
00:55:16,640 --> 00:55:19,120
Speaker 5: listening to you like that was school for me. I didn't,

1058
00:55:19,160 --> 00:55:19,439
Speaker 5: I can't.

1059
00:55:19,520 --> 00:55:21,799
Speaker 3: I moved first, but you want so I moved you up.

1060
00:55:21,680 --> 00:55:25,319
Speaker 5: With forty hours in my pocket, literally at forty dollars.

1061
00:55:25,680 --> 00:55:27,759
Speaker 1: When you said that, I heard the introduction of welcome

1062
00:55:27,800 --> 00:55:31,000
Speaker 1: to the jungle in my no no, no, no, no,

1063
00:55:31,080 --> 00:55:33,600
Speaker 1: no no no, him walking on like forty second street

1064
00:55:33,760 --> 00:55:34,319
Speaker 1: like looking up.

1065
00:55:34,600 --> 00:55:35,400
Speaker 6: So my uh.

1066
00:55:35,840 --> 00:55:39,600
Speaker 5: You know my old manager, Nesa, she was We know

1067
00:55:39,680 --> 00:55:42,400
Speaker 5: each other since high school. She went to n y

1068
00:55:42,520 --> 00:55:45,759
Speaker 5: U uh got got She got an internship with the

1069
00:55:45,760 --> 00:55:52,399
Speaker 5: cutting room, ended up becoming like the studio manager. Gave

1070
00:55:52,520 --> 00:55:56,120
Speaker 5: me a shot at the internship for a week, but

1071
00:55:56,239 --> 00:55:58,359
Speaker 5: she was kind of close to managing the studio with Dave,

1072
00:55:58,360 --> 00:56:01,840
Speaker 5: the dude that owned it. I always wanted to intern,

1073
00:56:01,880 --> 00:56:03,800
Speaker 5: but I was in school. She didn't want to just

1074
00:56:03,800 --> 00:56:06,720
Speaker 5: bring me in like that out of nowhere. You remember

1075
00:56:06,760 --> 00:56:12,120
Speaker 5: that girl Jane Doe tip short blond here. Jane was

1076
00:56:12,160 --> 00:56:16,799
Speaker 5: an intern. She gets the stomach flu. This is during

1077
00:56:16,840 --> 00:56:21,000
Speaker 5: my winter break from Rutgers. So NASA calls me and

1078
00:56:21,040 --> 00:56:22,879
Speaker 5: she's like, yo, so what if our interns is sick?

1079
00:56:23,280 --> 00:56:24,560
Speaker 5: Do you want to come intern for a week? Because

1080
00:56:24,560 --> 00:56:26,600
Speaker 5: she's to be able to stomach flu. So I'm like, sure,

1081
00:56:27,480 --> 00:56:31,320
Speaker 5: the opportunity of a lifetime for me, I come do

1082
00:56:31,440 --> 00:56:33,800
Speaker 5: that week. Jane calls the following Monday. I just I

1083
00:56:33,840 --> 00:56:35,920
Speaker 5: just got signed to em I I'm not coming back,

1084
00:56:38,800 --> 00:56:41,000
Speaker 5: So they are you want to stick around for a while.

1085
00:56:41,080 --> 00:56:43,040
Speaker 5: I'm like all right, cool. So it was kind of

1086
00:56:43,040 --> 00:56:45,480
Speaker 5: supposed to be a temporary winner break kind of thing,

1087
00:56:46,520 --> 00:56:53,239
Speaker 5: and then the night manager ended up getting fired for

1088
00:56:53,760 --> 00:56:57,680
Speaker 5: some just some mother some nonsense, so they needed somebody

1089
00:56:57,719 --> 00:56:59,640
Speaker 5: to take that position. They needed a night manager.

1090
00:56:59,680 --> 00:57:02,280
Speaker 3: They need, like right away, where is the cutting room located?

1091
00:57:02,320 --> 00:57:03,359
Speaker 3: I feel like it was right.

1092
00:57:03,360 --> 00:57:05,440
Speaker 5: Next door to Platinum Island and Rockers, So six seventy

1093
00:57:05,480 --> 00:57:06,520
Speaker 5: eight Broadway.

1094
00:57:07,040 --> 00:57:08,000
Speaker 3: Okay, we did cut there.

1095
00:57:08,080 --> 00:57:11,120
Speaker 1: Okay, I'm trying to figure out, like where that's my

1096
00:57:11,360 --> 00:57:12,480
Speaker 1: Ladelph half life location.

1097
00:57:12,560 --> 00:57:13,839
Speaker 3: That's where do well?

1098
00:57:13,880 --> 00:57:18,120
Speaker 5: No door was that Platinum Island next door? You guys

1099
00:57:18,120 --> 00:57:21,720
Speaker 5: worked at Platinum Mountain, all right, okay, and so Dory,

1100
00:57:21,720 --> 00:57:23,280
Speaker 5: your door was that Platinum Oultin. I was next door

1101
00:57:23,280 --> 00:57:26,600
Speaker 5: at the cutting room. So night manager gets fired. They

1102
00:57:26,680 --> 00:57:27,960
Speaker 5: come to me ask me if I want the job.

1103
00:57:28,400 --> 00:57:30,400
Speaker 5: I'm like all right, that means I gotta leave school. Basically,

1104
00:57:31,240 --> 00:57:33,160
Speaker 5: you know, I want to say I was two and

1105
00:57:33,200 --> 00:57:35,920
Speaker 5: a half years and I was studying computer programming. I

1106
00:57:36,040 --> 00:57:38,200
Speaker 5: wasn't really happy though at the same I wasn't happy

1107
00:57:38,240 --> 00:57:41,560
Speaker 5: in school. At the same time, I'm I'm at Rutgers,

1108
00:57:41,680 --> 00:57:46,080
Speaker 5: so I'm in Newark a lot. So I'm like finding

1109
00:57:46,120 --> 00:57:50,120
Speaker 5: my way into DJing at open mics and baby play

1110
00:57:50,160 --> 00:57:52,960
Speaker 5: my beats at open mics, and dudes like the artifacts

1111
00:57:53,000 --> 00:57:57,360
Speaker 5: are showing up. Bradman came through once or twice outside

1112
00:57:57,400 --> 00:57:59,720
Speaker 5: as well, there or a lot. It was a spot

1113
00:57:59,760 --> 00:58:01,840
Speaker 5: called the Pipeline, was the open mic that did on Wednesdays.

1114
00:58:03,160 --> 00:58:07,040
Speaker 5: So that era where it was like, I'm not really

1115
00:58:07,040 --> 00:58:10,520
Speaker 5: happy with school. Rutgers had just hired a bunch of

1116
00:58:10,800 --> 00:58:14,240
Speaker 5: foreign professors and no disrespect to them by any means,

1117
00:58:14,280 --> 00:58:16,960
Speaker 5: but their accents were so heavy none of us could

1118
00:58:17,120 --> 00:58:19,400
Speaker 5: understand what they were saying in the classes. So you're

1119
00:58:19,400 --> 00:58:23,160
Speaker 5: sitting there like and you're studying complex things like Calculus

1120
00:58:23,240 --> 00:58:28,400
Speaker 5: three and you know, in computer programming, and the dude,

1121
00:58:28,880 --> 00:58:31,640
Speaker 5: this one dude African guy, we will all just sit

1122
00:58:31,720 --> 00:58:33,000
Speaker 5: there and look at each other in the class like

1123
00:58:34,560 --> 00:58:36,920
Speaker 5: what he's saying at all? And then it was an

1124
00:58:36,920 --> 00:58:39,760
Speaker 5: Irish dude whose accent was also so heavy, Like so

1125
00:58:39,800 --> 00:58:42,160
Speaker 5: I'm getting discouraged by school. I'm starting to do these

1126
00:58:42,200 --> 00:58:47,160
Speaker 5: open mics because I'm meeting people locally in NewYork, and

1127
00:58:48,400 --> 00:58:51,080
Speaker 5: it started to become more human to me. Up until

1128
00:58:51,080 --> 00:58:53,800
Speaker 5: that point, everything that I had done was kind of

1129
00:58:53,840 --> 00:58:55,960
Speaker 5: in my own world, you know, with my friends, my

1130
00:58:56,040 --> 00:58:58,840
Speaker 5: local friends, DJing. I'm DJing little things here and there,

1131
00:58:58,920 --> 00:59:00,720
Speaker 5: you know, in my city, of becoming the man in

1132
00:59:00,760 --> 00:59:06,360
Speaker 5: my city, but nothing outside of that DJ just you know,

1133
00:59:06,400 --> 00:59:08,720
Speaker 5: so I'm selling local mixtapes. They're starting to make a

1134
00:59:08,760 --> 00:59:10,360
Speaker 5: little bit of noise. I'm kind of known as the

1135
00:59:10,440 --> 00:59:13,360
Speaker 5: dude on my side of town. But you know, in

1136
00:59:13,440 --> 00:59:14,880
Speaker 5: that era especially, you have a lot of dudes that

1137
00:59:14,960 --> 00:59:17,320
Speaker 5: sell dreams, you know, especially the young kids. Like I

1138
00:59:17,400 --> 00:59:19,200
Speaker 5: remember going to this one dude's house who was actually

1139
00:59:19,240 --> 00:59:22,080
Speaker 5: an old friend of ours. I didn't know that anybody

1140
00:59:22,120 --> 00:59:23,920
Speaker 5: could just call the record and get a press kid, right,

1141
00:59:25,200 --> 00:59:27,600
Speaker 5: So he's walking around talking about how I can't hang

1142
00:59:27,640 --> 00:59:30,120
Speaker 5: with Puffy, that he drink too much baileies, like that

1143
00:59:30,240 --> 00:59:33,480
Speaker 5: was just his thing. I'm hanging with this drink and

1144
00:59:35,040 --> 00:59:37,080
Speaker 5: I'll go to his house and he would have all

1145
00:59:37,120 --> 00:59:39,919
Speaker 5: these what I found out brivalized years later were press kids.

1146
00:59:40,480 --> 00:59:43,040
Speaker 5: But he would have all these folders sitting out across

1147
00:59:43,360 --> 00:59:47,120
Speaker 5: the table with the logos and our artist pictures and bios.

1148
00:59:47,360 --> 00:59:49,440
Speaker 5: But it's all just press kids, like anybody can get them.

1149
00:59:49,680 --> 00:59:51,240
Speaker 5: But he was making it seem like he was working

1150
00:59:51,280 --> 00:59:53,920
Speaker 5: with all of these artists. And you see the logos,

1151
00:59:53,960 --> 00:59:57,520
Speaker 5: you're like bad Boy or Arista Uptown whatever. Right, so,

1152
00:59:59,160 --> 01:00:04,040
Speaker 5: and there was another dude name Peter Pan. Yeah so,

1153
01:00:04,400 --> 01:00:09,520
Speaker 5: but so anyway, just point is this, It wasn't really real, right,

1154
01:00:09,680 --> 01:00:12,680
Speaker 5: you know, at that point. And then I'm just trying

1155
01:00:12,720 --> 01:00:15,520
Speaker 5: to catch all the important parts being in Rutgers and

1156
01:00:15,600 --> 01:00:19,040
Speaker 5: then being in subsequently being in Newark, and I'm seeing

1157
01:00:19,360 --> 01:00:21,520
Speaker 5: dudes like the Outsiders, dudes like like the Artifacts. This

1158
01:00:21,600 --> 01:00:24,720
Speaker 5: is when Jersey Raps popping the first wave of it,

1159
01:00:24,800 --> 01:00:28,440
Speaker 5: you know, like kind of like righte like post Flavor, Yeah,

1160
01:00:28,600 --> 01:00:30,960
Speaker 5: exactly like them used to show up. And I remember

1161
01:00:31,040 --> 01:00:33,080
Speaker 5: being there one day and one of the dudes, young

1162
01:00:33,200 --> 01:00:36,680
Speaker 5: Z and Rod Digger are on stage raym and none

1163
01:00:36,680 --> 01:00:39,760
Speaker 5: of them know who I am. I'm playing beats in

1164
01:00:39,800 --> 01:00:40,800
Speaker 5: between the intermissions.

1165
01:00:41,040 --> 01:00:43,640
Speaker 3: How are you playing beats without the technology of the

1166
01:00:44,760 --> 01:00:45,400
Speaker 3: being invented?

1167
01:00:45,480 --> 01:00:48,280
Speaker 5: Yeah, we just had tapes, had the beats on tapes.

1168
01:00:48,440 --> 01:00:50,400
Speaker 5: So I'm DJing, but I'm also just playing tapes, and

1169
01:00:50,600 --> 01:00:53,200
Speaker 5: that was I was playing tapes during intermissions. So I'm

1170
01:00:53,200 --> 01:00:57,640
Speaker 5: playing a beat and I remember Z was like, I

1171
01:00:57,760 --> 01:01:00,240
Speaker 5: went to put a record on Framing Roan two and

1172
01:01:00,280 --> 01:01:01,480
Speaker 5: he was like, no, put that on the beat, put

1173
01:01:01,520 --> 01:01:03,040
Speaker 5: that beat back over. Whatever that beat was that was

1174
01:01:03,120 --> 01:01:06,080
Speaker 5: just playing, And I was like, it became real in

1175
01:01:06,200 --> 01:01:09,800
Speaker 5: that moment, Like somebody who has a record deal, whose

1176
01:01:09,840 --> 01:01:13,080
Speaker 5: records I have bought, an established artist, wants to rhyme

1177
01:01:13,160 --> 01:01:15,320
Speaker 5: on something that I made. It's not my homie from

1178
01:01:15,360 --> 01:01:16,640
Speaker 5: down the block. It's not a dude I go to

1179
01:01:16,680 --> 01:01:19,240
Speaker 5: school with. And on top of that, it became a

1180
01:01:19,320 --> 01:01:21,040
Speaker 5: human because up until this point, all these guys were

1181
01:01:21,080 --> 01:01:23,160
Speaker 5: guys you see on TV, you hear them on the radio,

1182
01:01:23,280 --> 01:01:25,680
Speaker 5: you buy the records, you study their album covers. You know,

1183
01:01:26,280 --> 01:01:29,520
Speaker 5: I'm an album art geague. So that's where these guys

1184
01:01:29,560 --> 01:01:31,480
Speaker 5: lived in those boxes. All of a sudden, he's a

1185
01:01:31,560 --> 01:01:33,560
Speaker 5: human being and he's you know, it's a real thing.

1186
01:01:34,080 --> 01:01:37,439
Speaker 5: It became tangible in that moment. So around that same time,

1187
01:01:38,400 --> 01:01:40,200
Speaker 5: another guy that I went to college with had a

1188
01:01:40,240 --> 01:01:43,960
Speaker 5: local crew called a BHA and they were making a

1189
01:01:43,960 --> 01:01:46,600
Speaker 5: little indie records here right there, and I started hanging

1190
01:01:46,600 --> 01:01:49,080
Speaker 5: with you know, running with them a bit, and from

1191
01:01:49,120 --> 01:01:51,480
Speaker 5: that point on it just became more human. So this

1192
01:01:51,640 --> 01:01:56,040
Speaker 5: is right at that same time when Jane Doe uh

1193
01:01:56,320 --> 01:01:59,960
Speaker 5: leaves leaves, I get the internship. I then become the Nightmare.

1194
01:02:01,440 --> 01:02:08,120
Speaker 5: And another thing I actually ended up right when Steaks

1195
01:02:08,200 --> 01:02:11,000
Speaker 5: Is High. Chemist Steaks Is High was MOS's premiere, right, yeah,

1196
01:02:11,680 --> 01:02:15,360
Speaker 5: big Brother Bik, it was right. So I'm doing an

1197
01:02:15,400 --> 01:02:18,880
Speaker 5: open mic I think in East Orange. Rod Digga had

1198
01:02:19,040 --> 01:02:21,160
Speaker 5: signed to at one point to violate it through Q

1199
01:02:21,360 --> 01:02:24,479
Speaker 5: tip and a kid called Roots was doing her demo

1200
01:02:26,160 --> 01:02:32,800
Speaker 5: and and oh I just caught that. So yeah, kid

1201
01:02:32,880 --> 01:02:35,160
Speaker 5: called Roots is doing her demo and it just and

1202
01:02:35,480 --> 01:02:38,800
Speaker 5: this was maybe like my second week, you no, maybe

1203
01:02:38,840 --> 01:02:40,840
Speaker 5: I've been there for about a month or so. I'm

1204
01:02:40,920 --> 01:02:44,160
Speaker 5: dj ning an open mic in East Orange. Digger shows

1205
01:02:44,200 --> 01:02:48,080
Speaker 5: up and I never spoke to her during that time,

1206
01:02:48,160 --> 01:02:50,240
Speaker 5: and I just slip the open mics right previously when

1207
01:02:50,240 --> 01:02:53,240
Speaker 5: I was in college. So she comes, she's like, I

1208
01:02:53,360 --> 01:02:55,440
Speaker 5: recognized you. Wrestling was somewhere. I didn't even gonna get

1209
01:02:55,440 --> 01:02:56,720
Speaker 5: it at the studio when you were working with Q

1210
01:02:56,840 --> 01:02:59,520
Speaker 5: Tip whatever whatever. So we have a little conversation and

1211
01:02:59,600 --> 01:03:02,720
Speaker 5: then most just walks in and does big Brother beat,

1212
01:03:03,040 --> 01:03:05,600
Speaker 5: and then I play a beat. He's like anybody out

1213
01:03:05,600 --> 01:03:07,400
Speaker 5: of beats. I played cassette. He rhymes on that. So

1214
01:03:07,440 --> 01:03:10,560
Speaker 5: all of a sudden, it was like just it wasn't

1215
01:03:10,760 --> 01:03:12,920
Speaker 5: happening on records, but was just happening organically.

1216
01:03:13,320 --> 01:03:14,560
Speaker 3: So just it was kind of like, so, when was

1217
01:03:14,600 --> 01:03:15,880
Speaker 3: your first beat that you landed?

1218
01:03:18,040 --> 01:03:21,760
Speaker 5: No mace, like my first real beat for that that

1219
01:03:21,800 --> 01:03:24,440
Speaker 5: anybody ever bought. I gotta check what song I really

1220
01:03:24,520 --> 01:03:25,680
Speaker 5: like it, the one when they get shot out of

1221
01:03:25,680 --> 01:03:29,040
Speaker 5: the cannons, Blinky blink, blinky blink.

1222
01:03:35,200 --> 01:03:35,680
Speaker 3: It was only.

1223
01:03:37,080 --> 01:03:39,640
Speaker 5: So what happens is at this point, I'm working studio

1224
01:03:39,680 --> 01:03:41,200
Speaker 5: for maybe about a year and a half, two years,

1225
01:03:41,920 --> 01:03:44,080
Speaker 5: and I'm starting to thinking, all right, things are happening,

1226
01:03:44,080 --> 01:03:45,560
Speaker 5: but they're not I'm not making any money. I should

1227
01:03:45,560 --> 01:03:47,880
Speaker 5: probably maybe start considering going back and just finishing my

1228
01:03:47,960 --> 01:03:52,240
Speaker 5: last couple of specials at school. Whatever. So one of

1229
01:03:52,280 --> 01:03:54,440
Speaker 5: the things that I used to do, because I'm not

1230
01:03:54,480 --> 01:03:58,080
Speaker 5: a good salesman, I like to sell myself. So what

1231
01:03:58,160 --> 01:03:59,480
Speaker 5: I would do is when I would get off work.

1232
01:03:59,480 --> 01:04:01,920
Speaker 5: I would just go to whatever room was available, make beats,

1233
01:04:02,360 --> 01:04:06,120
Speaker 5: work on records, and leave the door crack so people

1234
01:04:06,120 --> 01:04:08,800
Speaker 5: would just walk past and hopefully be like what is that?

1235
01:04:09,400 --> 01:04:11,440
Speaker 5: So whatever, it would have happened here and there. You know,

1236
01:04:11,640 --> 01:04:15,840
Speaker 5: nothing ever, really uh came about from it. I developed

1237
01:04:15,840 --> 01:04:17,560
Speaker 5: a few friendships with some A and rs and a

1238
01:04:17,600 --> 01:04:19,360
Speaker 5: couple of artists that way, but nothing ever came out

1239
01:04:19,360 --> 01:04:23,680
Speaker 5: of it. But then one day, Mace is working in

1240
01:04:23,760 --> 01:04:26,800
Speaker 5: the next room. They're sequencing a sampler. I forget what

1241
01:04:26,880 --> 01:04:28,760
Speaker 5: it was, a bad Boy sampler or something, and he

1242
01:04:28,800 --> 01:04:31,160
Speaker 5: had to fix something on it. So I'm making sure

1243
01:04:31,160 --> 01:04:35,360
Speaker 5: to play my music extra loud because they were floating

1244
01:04:35,400 --> 01:04:37,400
Speaker 5: right in the hallways. So this dude comes to pokes

1245
01:04:37,440 --> 01:04:39,240
Speaker 5: his head the room and he's like, what's that And

1246
01:04:39,320 --> 01:04:40,920
Speaker 5: I'm saying, that's just something I'm working on. He's like,

1247
01:04:40,920 --> 01:04:44,600
Speaker 5: who are you? My name is just just what just just?

1248
01:04:45,120 --> 01:04:47,120
Speaker 5: Your name is just just And I was like, no,

1249
01:04:47,200 --> 01:04:50,000
Speaker 5: it's just just My name is Justin. So he's like,

1250
01:04:50,080 --> 01:04:52,080
Speaker 5: all right, blame me some more beats. So I blamed

1251
01:04:52,120 --> 01:04:53,240
Speaker 5: some beats. I don't know who he is. I just

1252
01:04:53,320 --> 01:04:56,280
Speaker 5: knew he's connected to them somehow. So you know how

1253
01:04:56,640 --> 01:04:58,720
Speaker 5: Mace used to always reference to a kudahudah love.

1254
01:04:58,800 --> 01:04:59,000
Speaker 3: Yeah.

1255
01:04:59,480 --> 01:05:02,240
Speaker 5: Yeah, So this was coolest partner, the cool tot silent

1256
01:05:02,320 --> 01:05:07,440
Speaker 5: partner in the company. So he was like, Yo, where

1257
01:05:07,480 --> 01:05:11,160
Speaker 5: you at on Thursday? And I'm like here working, So

1258
01:05:11,320 --> 01:05:12,919
Speaker 5: you're working. I'm like, yeah, this is my day job.

1259
01:05:13,400 --> 01:05:15,720
Speaker 5: He's like, come in the hit Factory on Thursday. So

1260
01:05:15,840 --> 01:05:17,320
Speaker 5: I go to the Hit Factory. He's like, matter of fact,

1261
01:05:17,400 --> 01:05:20,320
Speaker 5: we give you an idea, you know, an audition popcorn Love.

1262
01:05:20,320 --> 01:05:22,240
Speaker 5: I'm like yeah. He's like, take that loop it up,

1263
01:05:23,400 --> 01:05:28,320
Speaker 5: put the scratches and whatnot on it. Put He's like,

1264
01:05:28,400 --> 01:05:30,680
Speaker 5: do all that, trust me make So I probably end

1265
01:05:30,720 --> 01:05:32,680
Speaker 5: up picking it as his first single. And I'm like

1266
01:05:32,840 --> 01:05:36,960
Speaker 5: what He handed me the key, like the golden ticket,

1267
01:05:37,040 --> 01:05:38,800
Speaker 5: like you see, like a nice guy do this.

1268
01:05:39,640 --> 01:05:39,920
Speaker 3: Wow.

1269
01:05:40,320 --> 01:05:44,560
Speaker 5: So I did it that night, went to Hit Factory

1270
01:05:44,600 --> 01:05:49,640
Speaker 5: that Thursday and playing it for him and as soon

1271
01:05:49,640 --> 01:05:51,480
Speaker 5: as he heard it, he just started jumping around the room.

1272
01:05:52,160 --> 01:05:53,920
Speaker 5: This is the Yeah, this is the single. This is

1273
01:05:53,960 --> 01:05:57,560
Speaker 5: the single. And my man was Sam. He looked over

1274
01:05:57,600 --> 01:06:00,720
Speaker 5: at me like I told you. I didn't preface it

1275
01:06:00,800 --> 01:06:02,720
Speaker 5: with him, Like he didn't say I had somebody making

1276
01:06:02,800 --> 01:06:05,440
Speaker 5: this beat. He was just like he gave me the

1277
01:06:05,480 --> 01:06:09,400
Speaker 5: Allue and Joe when the record came out, I was like, yo,

1278
01:06:09,480 --> 01:06:12,120
Speaker 5: putting pluced by just blazing. Super said like because it

1279
01:06:12,240 --> 01:06:14,919
Speaker 5: was it was his idea. He literally strew me the value.

1280
01:06:14,960 --> 01:06:16,160
Speaker 5: Didn't ask for no money or anything.

1281
01:06:21,080 --> 01:06:23,480
Speaker 1: All right, So I gotta figure out how you wound

1282
01:06:23,560 --> 01:06:27,320
Speaker 1: up at Baseline Studios and so fast forward.

1283
01:06:28,560 --> 01:06:30,680
Speaker 5: I'm the maze thing happens.

1284
01:06:31,760 --> 01:06:31,920
Speaker 3: You know.

1285
01:06:32,000 --> 01:06:37,000
Speaker 5: Matt Fingers MM short redhead kid, one of my best.

1286
01:06:37,480 --> 01:06:39,240
Speaker 5: He used to have an indie label called Guests Wild

1287
01:06:39,400 --> 01:06:44,400
Speaker 5: back in the days. Mike Zoo had most a couple

1288
01:06:44,440 --> 01:06:47,160
Speaker 5: of records early stuff like that. Anyway, he had a

1289
01:06:47,200 --> 01:06:51,960
Speaker 5: relationship with Penalty Records with Mayhem and UH Martin Morton.

1290
01:06:52,160 --> 01:06:53,720
Speaker 3: Okay, so he.

1291
01:06:56,320 --> 01:06:57,960
Speaker 5: I'm talking about one day because he was a clan

1292
01:06:58,240 --> 01:07:01,080
Speaker 5: at the studio as well. He's song from Mace and

1293
01:07:01,160 --> 01:07:03,320
Speaker 5: I'm like yeah, He's like for real. I'm like yeah,

1294
01:07:03,360 --> 01:07:06,200
Speaker 5: He's like, you'll give me some beats, So again, not

1295
01:07:06,280 --> 01:07:07,760
Speaker 5: trying to get anything out of it. He takes a

1296
01:07:07,800 --> 01:07:11,160
Speaker 5: cassette gives it to a man at Penalty. This is

1297
01:07:11,280 --> 01:07:15,880
Speaker 5: right when they were finishing Norway's album and that led

1298
01:07:15,960 --> 01:07:18,200
Speaker 5: to UH me working with they had just signed half

1299
01:07:18,240 --> 01:07:18,600
Speaker 5: a Milk.

1300
01:07:19,200 --> 01:07:19,920
Speaker 3: Okay, so.

1301
01:07:22,040 --> 01:07:24,560
Speaker 5: Now I'm in the story with half a milk. So

1302
01:07:24,720 --> 01:07:26,520
Speaker 5: that was kind of like the main thing wasn't a fluke.

1303
01:07:26,600 --> 01:07:28,320
Speaker 5: We just did it again. And then from there I

1304
01:07:28,480 --> 01:07:30,840
Speaker 5: met Killer Priest, did a couple, which is how I

1305
01:07:30,920 --> 01:07:33,240
Speaker 5: ended up here in this building. You know, back then

1306
01:07:33,840 --> 01:07:37,080
Speaker 5: met Killer Priest, Tragedy Kadafi. So I'm working with a

1307
01:07:37,080 --> 01:07:38,520
Speaker 5: lot of dudes that I respect, that I like, but

1308
01:07:38,560 --> 01:07:43,000
Speaker 5: it's not dudes that are selling to the records. And

1309
01:07:43,320 --> 01:07:47,439
Speaker 5: then Matt pun I thought it was a print call.

1310
01:07:48,200 --> 01:07:48,680
Speaker 5: It wasn't.

1311
01:07:51,200 --> 01:07:57,600
Speaker 1: First I'm notice is Pawn and I'm like he never

1312
01:07:58,440 --> 01:08:01,120
Speaker 1: never sounded like a regularly and being on the phone.

1313
01:08:01,320 --> 01:08:04,360
Speaker 5: Like cal on my crib and the brox what So

1314
01:08:04,880 --> 01:08:07,120
Speaker 5: I'm like, so I'm like, all right, So I go

1315
01:08:07,200 --> 01:08:10,520
Speaker 5: to his crib, played him some beats sam Ash, I

1316
01:08:10,560 --> 01:08:12,200
Speaker 5: want to say it with sam Ash at the time,

1317
01:08:12,280 --> 01:08:13,600
Speaker 5: I just wipped them off and sold him a bunch

1318
01:08:13,600 --> 01:08:15,840
Speaker 5: of studio get he didn't need. He was modeling his house.

1319
01:08:15,880 --> 01:08:17,400
Speaker 5: He was trying to build a studio in it. So

1320
01:08:17,479 --> 01:08:20,200
Speaker 5: I'm looking around the house and I'm like, well, you

1321
01:08:20,280 --> 01:08:21,920
Speaker 5: got a D eighty you got D eighty eights, so

1322
01:08:21,960 --> 01:08:24,519
Speaker 5: you don't need a that's and you got a O

1323
01:08:24,680 --> 01:08:26,640
Speaker 5: two R so you don't need a Maxi Digital eight

1324
01:08:26,680 --> 01:08:30,000
Speaker 5: bus like they double. So whatever, right, So I'm just

1325
01:08:30,280 --> 01:08:31,800
Speaker 5: I'm just on the strength, just telling him, you know,

1326
01:08:31,920 --> 01:08:33,240
Speaker 5: like he's like, if you don't you want to stand

1327
01:08:33,240 --> 01:08:35,559
Speaker 5: this stuff? I said, yeah, I engineer. He said, all right,

1328
01:08:35,560 --> 01:08:37,519
Speaker 5: So when I want to build my studio, would you

1329
01:08:37,680 --> 01:08:40,200
Speaker 5: come and help me put things together? I said, here,

1330
01:08:40,240 --> 01:08:41,639
Speaker 5: no problem. He said, all take whatever you want.

1331
01:08:42,160 --> 01:08:42,439
Speaker 3: Wow.

1332
01:08:42,680 --> 01:08:45,960
Speaker 5: So he ended up building like my first studio, like

1333
01:08:46,040 --> 01:08:48,840
Speaker 5: inadvertently gave me everything I needed to get started in

1334
01:08:48,960 --> 01:08:51,599
Speaker 5: the crib. So now I can crank out beats twenty

1335
01:08:51,640 --> 01:08:53,160
Speaker 5: four to seven. I got everything at the crib, I

1336
01:08:53,200 --> 01:08:56,720
Speaker 5: can record, I'm doing everything in the house, but I'm

1337
01:08:56,720 --> 01:08:59,920
Speaker 5: still working at the cutting room. Bruce Hornsby was a

1338
01:09:00,040 --> 01:09:02,640
Speaker 5: big client of ours, and he used to print call

1339
01:09:02,720 --> 01:09:03,240
Speaker 5: me all the time.

1340
01:09:05,160 --> 01:09:09,479
Speaker 3: Used to figure out, man, that's crazy.

1341
01:09:10,000 --> 01:09:13,880
Speaker 5: So me and h Bruce was working I think with

1342
01:09:14,080 --> 01:09:17,840
Speaker 5: David Byrne I think at the time. So they're working

1343
01:09:17,920 --> 01:09:22,320
Speaker 5: on something and they were. They were working at at

1344
01:09:22,920 --> 01:09:25,240
Speaker 5: the studio for quite some time. So being that I

1345
01:09:25,360 --> 01:09:26,720
Speaker 5: was a dude, who helped him with a lot of things.

1346
01:09:26,800 --> 01:09:30,200
Speaker 5: Being helped me and us, Me and him developed the report.

1347
01:09:30,960 --> 01:09:35,880
Speaker 5: So sometimes he would hold studio. He'd be like, Hey,

1348
01:09:36,000 --> 01:09:38,439
Speaker 5: this is uh, you know Joe Blow from Galaxy Records.

1349
01:09:38,479 --> 01:09:40,720
Speaker 5: You want to offer you offer justin a record deal.

1350
01:09:42,400 --> 01:09:44,680
Speaker 5: Just be like, God, whatever, Like what do you want?

1351
01:09:44,720 --> 01:09:47,559
Speaker 5: Bruce like in that kind of relationship, So.

1352
01:09:49,360 --> 01:09:50,720
Speaker 3: I can tell her this story is about to go.

1353
01:09:51,640 --> 01:09:56,200
Speaker 5: So I'm at I've told a story of bits and

1354
01:09:56,200 --> 01:09:58,560
Speaker 5: pieces of it. I'm trying to speed to it. I

1355
01:09:58,680 --> 01:10:01,040
Speaker 5: told total bit of it before. So fast forward a

1356
01:10:01,080 --> 01:10:04,200
Speaker 5: little bit later. Bruce is still pranked calling me. I

1357
01:10:04,280 --> 01:10:08,120
Speaker 5: meet Dino from Universal right when Rock was finishing up

1358
01:10:08,360 --> 01:10:13,479
Speaker 5: the eighteenth let and Cannabis had they had just signed Cannabis.

1359
01:10:14,360 --> 01:10:16,200
Speaker 5: I forget how I met him, was a chance of meeting,

1360
01:10:17,240 --> 01:10:18,960
Speaker 5: but he gives me the sales pitch.

1361
01:10:19,080 --> 01:10:19,200
Speaker 9: Yo.

1362
01:10:20,000 --> 01:10:23,200
Speaker 5: Uh, I played in like forty beats and I walked

1363
01:10:23,200 --> 01:10:25,080
Speaker 5: in with a beat CD. Nobody had a CD recorder

1364
01:10:25,080 --> 01:10:27,920
Speaker 5: at the time. We're not common. I literally probably was

1365
01:10:28,160 --> 01:10:30,519
Speaker 5: just me and a hit factory, meaning in a hit

1366
01:10:30,560 --> 01:10:33,840
Speaker 5: factory the only people who had them, and I walked

1367
01:10:33,880 --> 01:10:36,760
Speaker 5: away a CD, which automatically He's like who brings beats

1368
01:10:36,800 --> 01:10:39,320
Speaker 5: on a CD. So that quarter is on. So we

1369
01:10:39,560 --> 01:10:42,240
Speaker 5: go through the music. He loves it. He gives me

1370
01:10:42,320 --> 01:10:44,320
Speaker 5: the sales pitch. He gives me the Gilbert Godfrey and

1371
01:10:44,439 --> 01:10:46,200
Speaker 5: gas face. We're gonna make you a big, big, big,

1372
01:10:46,240 --> 01:10:47,280
Speaker 5: big big one big Reacher.

1373
01:10:48,320 --> 01:10:48,479
Speaker 6: You know.

1374
01:10:48,560 --> 01:10:50,120
Speaker 5: He's like, I got Cannabis, I got rock Kim, I

1375
01:10:50,160 --> 01:10:51,800
Speaker 5: got this, I got that. I never hear from Dino

1376
01:10:51,800 --> 01:10:56,280
Speaker 5: again after the whole sales pitch. So I get a

1377
01:10:56,360 --> 01:11:01,439
Speaker 5: phone call about to two three beats later, uh at

1378
01:11:01,479 --> 01:11:04,360
Speaker 5: the studio. So I went to the phone studio. Can

1379
01:11:04,400 --> 01:11:07,120
Speaker 5: I speak to Just And I'm like, yeah, this is him. So,

1380
01:11:07,360 --> 01:11:09,880
Speaker 5: my name is g Roberson. I work for Rockefeller Records.

1381
01:11:10,680 --> 01:11:12,639
Speaker 5: I'd like to talk to you about a couple of things.

1382
01:11:12,640 --> 01:11:14,320
Speaker 5: And I'm like, Y're all right, Bruce, what do you want?

1383
01:11:16,600 --> 01:11:18,880
Speaker 5: I'm like, how does Bruce know what Rockefeller Records is?

1384
01:11:20,400 --> 01:11:23,400
Speaker 5: This is whatever? And I'm like, so I'm playing, I'm

1385
01:11:23,439 --> 01:11:24,720
Speaker 5: going back and forth with it, and eventually I just

1386
01:11:24,760 --> 01:11:28,720
Speaker 5: hang up the phone. So then the phone rings again, like, hey,

1387
01:11:28,800 --> 01:11:30,519
Speaker 5: I got disconnected. I was trying to speak to us.

1388
01:11:31,240 --> 01:11:35,559
Speaker 5: My name is G from Rockefeller Records, and I'm like, oh, okay.

1389
01:11:36,040 --> 01:11:39,200
Speaker 5: So he's like, yeah, so you know, I was at Universal.

1390
01:11:39,240 --> 01:11:41,360
Speaker 5: I had a meeting with Dino two weeks ago, and

1391
01:11:41,520 --> 01:11:43,280
Speaker 5: I have this artist that I'm trying to sign named

1392
01:11:43,320 --> 01:11:48,120
Speaker 5: Billy Bathgate and he doesn't have a demo. He's like.

1393
01:11:48,240 --> 01:11:50,960
Speaker 5: So he's like, you know, my artist doesn't have a demo,

1394
01:11:51,840 --> 01:11:53,439
Speaker 5: but I've been doing it, just taking him around to

1395
01:11:53,479 --> 01:11:56,360
Speaker 5: different labels and having him roy I'm Live and Youno

1396
01:11:56,439 --> 01:11:59,680
Speaker 5: played your CD and we want like we love, I love,

1397
01:11:59,760 --> 01:12:01,439
Speaker 5: like for what I heard out of the twenties, it's

1398
01:12:01,439 --> 01:12:04,880
Speaker 5: like ten no I love. And I'm like okay. So

1399
01:12:04,960 --> 01:12:08,040
Speaker 5: he's like, so what's up and he's like, well, I'm

1400
01:12:08,040 --> 01:12:10,760
Speaker 5: working on a deal for Bathgate. On top of that,

1401
01:12:11,360 --> 01:12:13,200
Speaker 5: I just started as an A and R Rockefeller Records,

1402
01:12:13,240 --> 01:12:17,360
Speaker 5: and we're trying to build a production team. So I'm like, okay,

1403
01:12:17,840 --> 01:12:20,559
Speaker 5: so how does this relate to me. It's like, we want,

1404
01:12:20,600 --> 01:12:22,200
Speaker 5: we would like to talk about being part of the team.

1405
01:12:23,439 --> 01:12:24,920
Speaker 5: Can you come down to the office. This is when

1406
01:12:24,920 --> 01:12:27,160
Speaker 5: their office is. I think we're on fifteenth Street, like

1407
01:12:27,280 --> 01:12:30,960
Speaker 5: you're Union Square somewhere. So I go to Dave. Dave

1408
01:12:31,000 --> 01:12:33,200
Speaker 5: was the owner of the studio and he's like oh, Dave,

1409
01:12:33,200 --> 01:12:35,240
Speaker 5: I gotta go. Jay Z's label just call. They wouldn't

1410
01:12:35,240 --> 01:12:37,040
Speaker 5: have a meeting, he said, But you just came back

1411
01:12:37,080 --> 01:12:40,120
Speaker 5: from lunch break, and I'm like, I just got a

1412
01:12:40,160 --> 01:12:43,960
Speaker 5: call from jay Z's record label. You talking about lunch breaks.

1413
01:12:44,760 --> 01:12:49,400
Speaker 5: So he's like, just go go, So I leave, go

1414
01:12:49,560 --> 01:12:51,479
Speaker 5: to the meeting. They're like, so basically want to do

1415
01:12:51,560 --> 01:12:55,160
Speaker 5: a production crew. You this kid we just found called

1416
01:12:55,200 --> 01:13:00,679
Speaker 5: Kanye West Rock Wilder and but rock wider o their buck.

1417
01:13:00,520 --> 01:13:03,560
Speaker 3: Wild and Rock was supposed to be part of the

1418
01:13:03,720 --> 01:13:05,720
Speaker 3: sign production and.

1419
01:13:05,920 --> 01:13:09,680
Speaker 5: K Rob from k Robin Ramel. Wow, they were we

1420
01:13:09,760 --> 01:13:13,439
Speaker 5: were gonna be rock the world, that is what they

1421
01:13:13,439 --> 01:13:17,479
Speaker 5: were gonna call it. And and yeah, imagine how crazy

1422
01:13:17,520 --> 01:13:20,599
Speaker 5: that would have been. So it never happened. The you'll

1423
01:13:20,640 --> 01:13:24,080
Speaker 5: never happen. Uh. But we ended up just having a

1424
01:13:24,120 --> 01:13:27,760
Speaker 5: good working relationship. I never signed a Rockefeller. I just

1425
01:13:28,840 --> 01:13:30,920
Speaker 5: we we worked well. They paid me a lot of money.

1426
01:13:30,920 --> 01:13:32,920
Speaker 5: I stuck around. You know they would do They would

1427
01:13:32,920 --> 01:13:35,800
Speaker 5: pay me in advance for like like down the line. Well,

1428
01:13:35,840 --> 01:13:38,640
Speaker 5: I'm getting a little bit ahead of it. So the

1429
01:13:38,720 --> 01:13:40,040
Speaker 5: first thing they give me is to work on a

1430
01:13:40,080 --> 01:13:46,080
Speaker 5: Mills album. Yeah, so I engineered that album. I co

1431
01:13:46,240 --> 01:13:49,200
Speaker 5: produced the few of the songs uncredited, but just you know,

1432
01:13:52,200 --> 01:13:56,200
Speaker 5: and UH recorded in track the whole thing. That was

1433
01:13:56,200 --> 01:13:58,800
Speaker 5: also the first time anybody rockefed I ever even heard

1434
01:13:58,840 --> 01:14:00,479
Speaker 5: of a recorded on pro tools. They didn't know what

1435
01:14:00,560 --> 01:14:03,559
Speaker 5: that was. So Bill ran out of She ran out

1436
01:14:03,600 --> 01:14:06,280
Speaker 5: a budget, she couldn't buy no more to tapes. Something.

1437
01:14:06,400 --> 01:14:09,800
Speaker 5: We got this thing called pro tools. We'll try it. Yeah,

1438
01:14:09,960 --> 01:14:15,680
Speaker 5: So so I do her whole album and UH did one,

1439
01:14:15,840 --> 01:14:17,680
Speaker 5: one or two things with Bleak and beans. Jay wasn't

1440
01:14:17,720 --> 01:14:20,200
Speaker 5: paying me any attention. We get to the end of

1441
01:14:20,200 --> 01:14:22,080
Speaker 5: the Bill's album. Here's a song that I did with her.

1442
01:14:22,479 --> 01:14:25,800
Speaker 5: He says, who's on that? Who's that dude on the song?

1443
01:14:25,920 --> 01:14:27,960
Speaker 5: Or that was Bathket We put bath Gate on the record.

1444
01:14:28,760 --> 01:14:30,800
Speaker 5: He's like, taking did the classic goal? Take him off?

1445
01:14:31,040 --> 01:14:33,599
Speaker 5: I'm getting on this? And who did the beat? Oh?

1446
01:14:33,960 --> 01:14:36,240
Speaker 5: Just oh yeah? He got better? All right? Cool?

1447
01:14:36,280 --> 01:14:37,080
Speaker 3: Telling come down.

1448
01:14:40,439 --> 01:14:41,799
Speaker 5: Like the tell him come down the baseline.

1449
01:14:42,360 --> 01:14:43,840
Speaker 3: So he got better.

1450
01:14:44,360 --> 01:14:46,879
Speaker 5: So I gave him. I had given him a cassette

1451
01:14:46,920 --> 01:14:50,439
Speaker 5: of what the Becoming Streets is talking like by chance

1452
01:14:50,479 --> 01:14:52,000
Speaker 5: two days before. I didn't give it to him. I

1453
01:14:52,080 --> 01:14:54,840
Speaker 5: gave it to g or Hip, who gave it to him.

1454
01:14:55,600 --> 01:14:57,560
Speaker 5: Get a call from Lenny. Yo, he's he's cut. He

1455
01:14:57,680 --> 01:15:00,360
Speaker 5: just cut streets watch or Streets is talking likelast night,

1456
01:15:00,640 --> 01:15:03,200
Speaker 5: and you want you to come to Baseline bring some

1457
01:15:03,280 --> 01:15:05,160
Speaker 5: more beats. And then the story that I told a

1458
01:15:05,240 --> 01:15:07,800
Speaker 5: million times, I made stick to the script while he

1459
01:15:07,880 --> 01:15:11,080
Speaker 5: was in the booth recording, parking lot pimping. He comes

1460
01:15:11,120 --> 01:15:12,439
Speaker 5: out the room and I play him stick to the

1461
01:15:12,479 --> 01:15:14,080
Speaker 5: script and he's like, yo, when did you make this?

1462
01:15:14,240 --> 01:15:16,840
Speaker 5: I'm like, just now in the headphones. He's like, but

1463
01:15:16,920 --> 01:15:17,960
Speaker 5: I was in the booth. I said, yeah, I just

1464
01:15:18,000 --> 01:15:20,360
Speaker 5: made it real quick, you know, chopped up loop, played

1465
01:15:20,360 --> 01:15:22,599
Speaker 5: the keys, whatever. And that's when he was like, alright,

1466
01:15:22,640 --> 01:15:25,800
Speaker 5: stick around And that was pretty much it. And then

1467
01:15:25,840 --> 01:15:28,080
Speaker 5: I guess a year and a half later or two yearsly,

1468
01:15:28,439 --> 01:15:30,000
Speaker 5: I ended up owning Baseline.

1469
01:15:30,880 --> 01:15:35,080
Speaker 3: At its height. What was the typical day at Baseline,

1470
01:15:35,240 --> 01:15:37,040
Speaker 3: Like chaos.

1471
01:15:36,920 --> 01:15:40,280
Speaker 5: Was depending on whatever you're talking about. By the time,

1472
01:15:40,400 --> 01:15:42,120
Speaker 5: like dip sent had come around and everything, Yes, it

1473
01:15:42,240 --> 01:15:44,960
Speaker 5: was pretty chaotic for a lot of reasons. But I

1474
01:15:45,000 --> 01:15:47,720
Speaker 5: mean just even schedule wise, because like you have all

1475
01:15:47,800 --> 01:15:50,080
Speaker 5: these guys and these various crews in there, and there

1476
01:15:50,120 --> 01:15:51,600
Speaker 5: were the cruise cruise.

1477
01:15:51,400 --> 01:15:53,519
Speaker 3: You have your room. Does Kanye have his room, No,

1478
01:15:53,640 --> 01:15:55,040
Speaker 3: it's it's just it's two rooms.

1479
01:15:55,120 --> 01:15:57,439
Speaker 5: So it's the room, the main room in my room.

1480
01:15:58,200 --> 01:16:00,760
Speaker 3: He makes ministress on baseline. And so we was in

1481
01:16:00,840 --> 01:16:01,879
Speaker 3: the big broom.

1482
01:16:02,120 --> 01:16:03,920
Speaker 5: Yeah. Yeah, So they were in the A room and

1483
01:16:03,960 --> 01:16:08,800
Speaker 5: I was in the B room. So Bleak was an

1484
01:16:08,800 --> 01:16:11,439
Speaker 5: early bird, So Bleek might get there by eleven, a

1485
01:16:11,680 --> 01:16:18,080
Speaker 5: M Jay might show up around two, dip set might

1486
01:16:18,200 --> 01:16:23,559
Speaker 5: show up around eight. Beans would show up in at

1487
01:16:23,560 --> 01:16:27,040
Speaker 5: four in the morning. Not to be in troublesomewhere. So

1488
01:16:27,600 --> 01:16:31,280
Speaker 5: literally like a twenty four hour factory. And you're all, yes,

1489
01:16:31,479 --> 01:16:32,400
Speaker 5: that's exactly what it was.

1490
01:16:33,560 --> 01:16:34,439
Speaker 3: Answer this for me.

1491
01:16:35,600 --> 01:16:38,240
Speaker 1: How did none of them? How did none of them

1492
01:16:38,360 --> 01:16:45,759
Speaker 1: stop you from giving uh? Uh cool mean gang.

1493
01:16:48,360 --> 01:16:48,960
Speaker 5: To Joe button?

1494
01:16:49,200 --> 01:16:51,360
Speaker 3: Yeah, Joe, But how did they not stop you?

1495
01:16:51,920 --> 01:16:56,679
Speaker 5: So I'll never forget that day. I'm at what studio

1496
01:16:56,840 --> 01:16:58,840
Speaker 5: was in La the same studio Ya was leaving when

1497
01:16:58,880 --> 01:17:03,040
Speaker 5: he had the accident sound something, and I forget the

1498
01:17:03,120 --> 01:17:07,920
Speaker 5: name of it, but I'm in there. Uh it say

1499
01:17:07,920 --> 01:17:09,639
Speaker 5: it was a two room facility. We had both rooms.

1500
01:17:09,920 --> 01:17:11,880
Speaker 5: Water room is me making beats. The other room is

1501
01:17:12,720 --> 01:17:15,720
Speaker 5: a state propping a bunch of dudes, uh working on

1502
01:17:15,840 --> 01:17:20,760
Speaker 5: an album or working on different projects. So I come

1503
01:17:20,840 --> 01:17:23,880
Speaker 5: up with the pumping Up idea that night. I came

1504
01:17:24,000 --> 01:17:26,080
Speaker 5: up with it as a follow up to rock the

1505
01:17:26,200 --> 01:17:30,120
Speaker 5: Mic for Freeway and Beings. So that was my vision,

1506
01:17:30,360 --> 01:17:33,080
Speaker 5: like Rocked the Mic had kind of just had its

1507
01:17:33,160 --> 01:17:38,840
Speaker 5: run and starting to wane. I think Flip Side had

1508
01:17:38,960 --> 01:17:41,479
Speaker 5: maybe just all no, Flip Side hadn't I don't know

1509
01:17:41,600 --> 01:17:43,120
Speaker 5: flip Side had come out yet. It was rock the

1510
01:17:43,160 --> 01:17:44,720
Speaker 5: Mic was on Stay Property, so yeah, Flip Side I

1511
01:17:44,720 --> 01:17:47,479
Speaker 5: hadn't come out yet, So Pumping Up was supposed to

1512
01:17:47,479 --> 01:17:50,560
Speaker 5: be to follow up to Rock the Mic. Now in

1513
01:17:50,640 --> 01:17:53,240
Speaker 5: Freeze case free will pretty much wrap to anything that

1514
01:17:53,280 --> 01:17:56,439
Speaker 5: I give him. At that point in his life, Freeway

1515
01:17:56,479 --> 01:18:00,120
Speaker 5: would have wrapped to anything anybody gave him. Literally, I

1516
01:18:00,160 --> 01:18:02,120
Speaker 5: had him rapping on Casey and Jojo all my life.

1517
01:18:03,520 --> 01:18:08,439
Speaker 5: Still is It sounded like a good idea at the time.

1518
01:18:08,600 --> 01:18:13,120
Speaker 5: You know, it didn't come out for a reason. But yeah, yeah,

1519
01:18:13,840 --> 01:18:17,280
Speaker 5: it's called my piano. I'll find it in sentences, so

1520
01:18:17,800 --> 01:18:22,320
Speaker 5: my piano. So I'm in there, I make the beat.

1521
01:18:22,760 --> 01:18:25,240
Speaker 5: Freeways was ready to like tell me when to wrap,

1522
01:18:26,160 --> 01:18:29,599
Speaker 5: and but Beans was kind of like, uh, I think

1523
01:18:29,640 --> 01:18:31,680
Speaker 5: he might have been heavy on the lean length this time,

1524
01:18:32,080 --> 01:18:35,200
Speaker 5: so he kind of was just like, so he leaves,

1525
01:18:36,080 --> 01:18:38,240
Speaker 5: and then a bunch of random rappers just started coming in,

1526
01:18:38,320 --> 01:18:42,400
Speaker 5: like local La dudes who are like fans and just

1527
01:18:42,560 --> 01:18:44,720
Speaker 5: you know those dudes that somehow ended up in your

1528
01:18:44,760 --> 01:18:47,799
Speaker 5: session and trying to you know, get on your records.

1529
01:18:48,360 --> 01:18:51,240
Speaker 5: So I won't name names, but there was just one

1530
01:18:52,120 --> 01:18:55,200
Speaker 5: who was just like, I had to turn the beat

1531
01:18:55,200 --> 01:18:57,320
Speaker 5: off now, like, but he came in and started writing verses.

1532
01:18:58,320 --> 01:18:59,840
Speaker 5: I was like, oh, yeah, the beat has to just stop.

1533
01:19:01,360 --> 01:19:03,760
Speaker 5: So I stopped the beat and I started making as

1534
01:19:03,920 --> 01:19:07,240
Speaker 5: One from Blueprint too, and I was, this is gonna

1535
01:19:07,240 --> 01:19:09,720
Speaker 5: be the Rockefella song that everybody gets on. It's a

1536
01:19:09,840 --> 01:19:13,320
Speaker 5: Rockefella song. There's nobody else. The other artists just kind

1537
01:19:13,320 --> 01:19:17,920
Speaker 5: of sending that. So I started making as One and

1538
01:19:18,040 --> 01:19:20,080
Speaker 5: then we ended up recording that I gave the Young

1539
01:19:20,120 --> 01:19:22,640
Speaker 5: Guns there, I think because young Guns started with the

1540
01:19:23,000 --> 01:19:25,840
Speaker 5: Sneath book out the cut out, the cut I figured

1541
01:19:25,840 --> 01:19:27,880
Speaker 5: whose routine I jacked? It was somebody's part routine that

1542
01:19:27,920 --> 01:19:35,160
Speaker 5: I had jack. Yeah, so that's what that's came up with.

1543
01:19:35,200 --> 01:19:37,200
Speaker 5: That idea. Gave that to young Guns. They start, so

1544
01:19:37,320 --> 01:19:40,799
Speaker 5: you're coming up with the hooks to hooks, sometimes rhymes,

1545
01:19:41,320 --> 01:19:44,360
Speaker 5: sometimes I'm rewriting rhymes, you know, it's it's always something.

1546
01:19:46,360 --> 01:19:49,519
Speaker 5: So that pumping up beat goes away. So now we're

1547
01:19:49,560 --> 01:19:53,840
Speaker 5: Blueprint Too era and this is like the first time

1548
01:19:53,880 --> 01:19:56,560
Speaker 5: that Farrell and Ja really really locked in, like for

1549
01:19:56,920 --> 01:19:58,639
Speaker 5: just coming up with the record after record after record.

1550
01:19:59,800 --> 01:20:02,360
Speaker 5: So I'm in the beat room doing what I can

1551
01:20:02,439 --> 01:20:06,960
Speaker 5: really do, just in there working. I remember the pump

1552
01:20:07,000 --> 01:20:09,800
Speaker 5: It Up beat mm hm. So I go, I go

1553
01:20:09,840 --> 01:20:14,120
Speaker 5: to jail. I'm like, yo, did hear a song? He's

1554
01:20:14,160 --> 01:20:16,200
Speaker 5: like all right, So he comes in like five minutes later,

1555
01:20:16,240 --> 01:20:18,360
Speaker 5: he's like, yeah, that's mean. But I'm finishing this for

1556
01:20:18,439 --> 01:20:19,120
Speaker 5: our record right now.

1557
01:20:19,160 --> 01:20:26,200
Speaker 3: So if he finished, excuse me, miss over now, I want.

1558
01:20:26,040 --> 01:20:34,400
Speaker 5: To say, it was all tonight. Yeah, I'm talking about please.

1559
01:20:36,000 --> 01:20:39,040
Speaker 5: I love that. That's that's I love that song. I

1560
01:20:39,080 --> 01:20:41,160
Speaker 5: mean in general, the Forrail records and they were all dope.

1561
01:20:41,560 --> 01:20:43,920
Speaker 3: It was like if pump It Up was on Blueprint two,

1562
01:20:44,040 --> 01:20:45,120
Speaker 3: that could have made a world.

1563
01:20:46,880 --> 01:20:50,639
Speaker 5: So actually the record that he was working on ended

1564
01:20:50,760 --> 01:20:53,840
Speaker 5: up not being used. It was where he first did

1565
01:20:53,880 --> 01:20:56,639
Speaker 5: to come get someone. He took the wrath came around.

1566
01:20:56,960 --> 01:20:59,120
Speaker 5: He did that another on another frail beat, which I

1567
01:20:59,240 --> 01:20:59,920
Speaker 5: just found recently.

1568
01:21:01,760 --> 01:21:02,040
Speaker 3: M M.

1569
01:21:02,439 --> 01:21:04,600
Speaker 5: Yeah, because I have all the tapes, you know, so

1570
01:21:04,680 --> 01:21:06,240
Speaker 5: sometimes I justkim through the server and see what I find.

1571
01:21:08,240 --> 01:21:10,960
Speaker 5: But anyway, so so he goes back to do the

1572
01:21:11,000 --> 01:21:13,519
Speaker 5: Peril record and he kind of was just like, yeah,

1573
01:21:13,760 --> 01:21:18,439
Speaker 5: that's nice, you know. Like now, Jay's like that sometimes

1574
01:21:18,439 --> 01:21:19,840
Speaker 5: if he's focused on I've seen him do that to

1575
01:21:19,880 --> 01:21:22,479
Speaker 5: other people in regards to me, like I'm finishing this

1576
01:21:22,600 --> 01:21:24,200
Speaker 5: dress record right now, I gotta i gotta go back

1577
01:21:24,200 --> 01:21:26,160
Speaker 5: in the room. So I didn't. I didn't take offense

1578
01:21:26,240 --> 01:21:30,439
Speaker 5: to it. But it's funny in retrospect. So moving on

1579
01:21:30,640 --> 01:21:35,120
Speaker 5: from that, pumping up comes out ends up becoming you

1580
01:21:35,200 --> 01:21:38,880
Speaker 5: know what it does. It's a huge record. Jay walks

1581
01:21:38,920 --> 01:21:42,519
Speaker 5: in the room one day, he's like, Yo, that pumping

1582
01:21:42,560 --> 01:21:43,920
Speaker 5: up is crazy. But next time you come up with

1583
01:21:44,000 --> 01:21:48,000
Speaker 5: something like that, like playing motherfucker, you do let me

1584
01:21:48,080 --> 01:21:50,160
Speaker 5: know about that. Like you know the things that I

1585
01:21:50,280 --> 01:21:51,960
Speaker 5: never We never had a structure where it was like

1586
01:21:52,080 --> 01:21:54,240
Speaker 5: I owe them first, write a refusal. But you're not

1587
01:21:54,280 --> 01:21:56,360
Speaker 5: an idiot. You know where certain records are supposed to go,

1588
01:21:57,080 --> 01:21:58,400
Speaker 5: and they knew that. I knew that, So it was

1589
01:21:58,479 --> 01:22:00,000
Speaker 5: never really a thing who.

1590
01:22:00,080 --> 01:22:05,640
Speaker 1: A skater because when he does it on that organe Scan.

1591
01:22:04,560 --> 01:22:06,280
Speaker 5: Don't worry Scan, No, I'll give it back soon.

1592
01:22:06,840 --> 01:22:09,679
Speaker 3: Sc was your nickname or something, Scan Dollar.

1593
01:22:09,720 --> 01:22:12,599
Speaker 5: It was a clues manager. It was close. It was cluesman.

1594
01:22:12,880 --> 01:22:16,679
Speaker 5: Scan was basically, uh, clues manager, but that's a desert

1595
01:22:16,760 --> 01:22:18,360
Speaker 5: storm was clue dur escape.

1596
01:22:18,680 --> 01:22:19,080
Speaker 3: I see.

1597
01:22:19,640 --> 01:22:24,240
Speaker 5: So, and Joe had his affiliation with Uh. You know,

1598
01:22:24,320 --> 01:22:26,200
Speaker 5: Skane was the one who bought Joe to death chair.

1599
01:22:26,760 --> 01:22:28,960
Speaker 5: So it's kind of that connection. So give me that beat.

1600
01:22:29,000 --> 01:22:30,880
Speaker 5: Don worry Scane, I'll give it back, right.

1601
01:22:32,120 --> 01:22:32,560
Speaker 3: So that's what.

1602
01:22:32,720 --> 01:22:34,760
Speaker 5: So when I told Jay that, he was like, you did,

1603
01:22:34,880 --> 01:22:37,080
Speaker 5: I'm like yeah. He's like, nah, I remember you said

1604
01:22:37,080 --> 01:22:39,360
Speaker 5: I'm gonna go do this for real record. He was like,

1605
01:22:39,400 --> 01:22:42,160
Speaker 5: I can't remember that now. Then he went and recorded

1606
01:22:42,200 --> 01:22:43,920
Speaker 5: his verse that was that.

1607
01:22:45,840 --> 01:22:48,360
Speaker 1: Okay, So I feel like we're jumping all over the place,

1608
01:22:48,439 --> 01:22:50,559
Speaker 1: which is we're very unmarrrored to dude.

1609
01:22:51,960 --> 01:22:55,320
Speaker 3: Back to the beginning. So when you were a kid, yes,

1610
01:22:56,760 --> 01:22:59,800
Speaker 3: we can do it. No, well okay, well what about

1611
01:22:59,840 --> 01:23:00,880
Speaker 3: your work with mad Lyon?

1612
01:23:01,640 --> 01:23:01,920
Speaker 5: Wow?

1613
01:23:03,040 --> 01:23:03,280
Speaker 3: Wow?

1614
01:23:03,800 --> 01:23:05,479
Speaker 1: Actually well no, no, no, no, no, no back up,

1615
01:23:05,880 --> 01:23:07,960
Speaker 1: because I think this is something that this this room

1616
01:23:08,040 --> 01:23:12,599
Speaker 1: doesn't know you're responsible for the club classic?

1617
01:23:13,840 --> 01:23:20,040
Speaker 3: Uh shake that ask girl, how are you? Yes? How

1618
01:23:20,080 --> 01:23:21,360
Speaker 3: are you responsible for that?

1619
01:23:21,479 --> 01:23:24,840
Speaker 5: So I didn't do the original original version that was

1620
01:23:24,920 --> 01:23:29,360
Speaker 5: tap rest in Peace Dude from Baltimore. But the interesting

1621
01:23:29,600 --> 01:23:32,040
Speaker 5: thing about what was happening at that time in Jersey

1622
01:23:34,800 --> 01:23:38,200
Speaker 5: what later on ended up becoming known as Baltimore club music,

1623
01:23:38,280 --> 01:23:42,080
Speaker 5: which then became, uh, you know, over time a Jersey club.

1624
01:23:43,120 --> 01:23:46,479
Speaker 5: We had that influx happening, but then we also had

1625
01:23:46,479 --> 01:23:48,240
Speaker 5: a lot of stuff from Chicago that was coming in.

1626
01:23:48,760 --> 01:23:53,360
Speaker 5: So like the casual stuff shout out to Curtis h

1627
01:23:53,720 --> 01:23:56,000
Speaker 5: a lot of that stuff was starting to infiltrate, and

1628
01:23:57,880 --> 01:24:01,160
Speaker 5: it was basically the beginnings of the primordial soup of

1629
01:24:01,240 --> 01:24:02,439
Speaker 5: what became Jersey Club.

1630
01:24:03,560 --> 01:24:08,639
Speaker 1: So, okay, so is Jersey club? Of course you're gonna

1631
01:24:08,880 --> 01:24:11,000
Speaker 1: say yes, most of you all beat me down for it.

1632
01:24:11,520 --> 01:24:16,719
Speaker 1: Is Jersey club an actual, legitimate, recognized genre genre.

1633
01:24:17,520 --> 01:24:20,679
Speaker 3: That's a question because I didn't know a subject.

1634
01:24:20,920 --> 01:24:25,040
Speaker 1: What's the difference between Jersey Jersey Baltimore House. Well, I

1635
01:24:25,120 --> 01:24:27,720
Speaker 1: know the difference, I know House, but I.

1636
01:24:27,760 --> 01:24:32,759
Speaker 5: Feel like there you can't mention Jersey club without mentioning

1637
01:24:32,800 --> 01:24:34,960
Speaker 5: Baltimore House. But I feel like the Jersey Jersey Club

1638
01:24:35,000 --> 01:24:37,240
Speaker 5: has become its own thing, the way they programmed the

1639
01:24:37,240 --> 01:24:39,200
Speaker 5: when they chot the samples, when they do certain studies,

1640
01:24:39,240 --> 01:24:44,040
Speaker 5: it's become its own thing, like it's becomes its own thing.

1641
01:24:44,280 --> 01:24:48,439
Speaker 1: So whereas the think the James Brown Marvel with Link

1642
01:24:48,479 --> 01:24:50,400
Speaker 1: Collins think Loop is.

1643
01:24:50,479 --> 01:24:54,680
Speaker 5: Not as prominent in Jersey Club anymore, so that breaks

1644
01:24:55,840 --> 01:25:00,599
Speaker 5: it's all right. So like obviously all the Jersey Club

1645
01:25:00,680 --> 01:25:03,439
Speaker 5: records you have to think loop or at least the tambourine,

1646
01:25:03,479 --> 01:25:06,000
Speaker 5: the shakers or the tambourines in there. I feel like

1647
01:25:06,040 --> 01:25:07,840
Speaker 5: there was a certain point where it got away from

1648
01:25:07,880 --> 01:25:10,559
Speaker 5: that and it was more about the bottom the base

1649
01:25:10,640 --> 01:25:16,559
Speaker 5: pause and that pattern that boom boom boom, boom boom boom.

1650
01:25:16,920 --> 01:25:19,519
Speaker 5: Both of those records are still based on that. But

1651
01:25:20,040 --> 01:25:22,240
Speaker 5: what I'm noticing with the younger generations that are doing

1652
01:25:22,320 --> 01:25:24,240
Speaker 5: it now, It's not something that I can necessarily put

1653
01:25:24,280 --> 01:25:26,040
Speaker 5: in the words because I never really analyzed it from

1654
01:25:26,080 --> 01:25:29,120
Speaker 5: that standpoint, but the way they are truncating and stuttering

1655
01:25:29,200 --> 01:25:31,799
Speaker 5: and flipping out of their samples, there's definitely a distinctly

1656
01:25:31,880 --> 01:25:34,840
Speaker 5: different way that they do it in Jersey versus how

1657
01:25:34,880 --> 01:25:37,439
Speaker 5: they do it in Baltimore versus how like some of

1658
01:25:37,479 --> 01:25:39,160
Speaker 5: the dudes that are doing it in Philly, like a

1659
01:25:39,640 --> 01:25:42,479
Speaker 5: like a Sega for example. Are they all do it

1660
01:25:42,479 --> 01:25:44,960
Speaker 5: a little bit differently? And that's not something that I

1661
01:25:45,000 --> 01:25:47,559
Speaker 5: could really quantify or put in the words how it's different.

1662
01:25:47,760 --> 01:25:50,639
Speaker 1: So I mean, but is this still pulse wise typically

1663
01:25:51,560 --> 01:25:52,959
Speaker 1: one hundred and twenty eight bpms?

1664
01:25:53,000 --> 01:25:55,479
Speaker 5: Oh yeah, the foundation, The foundation is still the same.

1665
01:25:55,520 --> 01:25:57,000
Speaker 5: The foundation is still the same. Se Man.

1666
01:25:57,280 --> 01:25:58,600
Speaker 3: I feel like I was on to some where you

1667
01:25:58,680 --> 01:26:00,639
Speaker 3: got Me and didn't complete the miss if you'd work,

1668
01:26:01,120 --> 01:26:02,400
Speaker 3: I feel like the world.

1669
01:26:03,479 --> 01:26:06,920
Speaker 1: I feel like America, like with you Got Me and

1670
01:26:07,040 --> 01:26:11,400
Speaker 1: with Bombs over bag Dad. I think America is ready

1671
01:26:11,439 --> 01:26:12,200
Speaker 1: for German bass.

1672
01:26:12,640 --> 01:26:16,519
Speaker 5: But it's like it's the gatekeepers on what it happened.

1673
01:26:17,080 --> 01:26:21,800
Speaker 3: You think you're talking about it now. I just feel like,

1674
01:26:22,280 --> 01:26:27,639
Speaker 3: I mean, I just I just feel like the breaking out.

1675
01:26:27,760 --> 01:26:32,040
Speaker 1: I'm praying with this dreat record that the bpms get

1676
01:26:32,120 --> 01:26:35,599
Speaker 1: sped up more and it really start starts a paradigm shift.

1677
01:26:35,840 --> 01:26:37,639
Speaker 5: I don't hope that this is so hope they gets

1678
01:26:37,640 --> 01:26:39,560
Speaker 5: sped up more. I just hope there's more variants in

1679
01:26:39,680 --> 01:26:40,360
Speaker 5: the bpms.

1680
01:26:40,560 --> 01:26:43,800
Speaker 1: Well, it's due time, because it's twenty seventeen, and true

1681
01:26:43,840 --> 01:26:46,720
Speaker 1: to my five year theory, with things changing on the

1682
01:26:46,760 --> 01:26:50,280
Speaker 1: sevens and the twos, something new is going to happen

1683
01:26:50,320 --> 01:26:54,599
Speaker 1: to hip hop. According I meant the last thirty plus

1684
01:26:54,760 --> 01:26:55,920
Speaker 1: years that it's happened.

1685
01:26:56,920 --> 01:26:58,120
Speaker 3: I'm praying that this is it.

1686
01:26:58,280 --> 01:27:02,240
Speaker 1: I mean nothing against you know, seventy three bpms and

1687
01:27:02,360 --> 01:27:03,960
Speaker 1: I mean now people getting super slower.

1688
01:27:04,000 --> 01:27:07,080
Speaker 5: No, now it's it's the lean effect. So now it's

1689
01:27:07,160 --> 01:27:11,600
Speaker 5: like a half Yeah, it's like literally one fifty to

1690
01:27:11,680 --> 01:27:12,439
Speaker 5: fifty one bpm.

1691
01:27:12,520 --> 01:27:14,800
Speaker 3: Do you resent that? I mean not resent that, I

1692
01:27:14,880 --> 01:27:15,840
Speaker 3: mean I know I don't.

1693
01:27:15,720 --> 01:27:19,200
Speaker 5: Resent it because it actually allows me in DJ sets

1694
01:27:19,200 --> 01:27:22,680
Speaker 5: to have a little bit more fun because not for

1695
01:27:22,800 --> 01:27:24,559
Speaker 5: one reason, but for one of the main reasons being

1696
01:27:25,400 --> 01:27:29,160
Speaker 5: you can go from the super high energy to this

1697
01:27:30,040 --> 01:27:35,960
Speaker 5: total shift but still keep people doing the same bounce,

1698
01:27:36,720 --> 01:27:39,599
Speaker 5: you see what I'm saying, like, and then that allows

1699
01:27:39,680 --> 01:27:42,040
Speaker 5: you as a DJ to get creative with it and say, Okay,

1700
01:27:42,560 --> 01:27:44,360
Speaker 5: I can go from one hundred to fifty and it

1701
01:27:44,400 --> 01:27:46,040
Speaker 5: feels the same, but now the mood has changed, so

1702
01:27:46,080 --> 01:27:47,720
Speaker 5: now I can say, way out of that, it hit

1703
01:27:47,760 --> 01:27:51,120
Speaker 5: the seventy five bpms, and then after that some way

1704
01:27:51,240 --> 01:27:53,120
Speaker 5: fun way you get to one to forty. A lot

1705
01:27:53,160 --> 01:27:55,640
Speaker 5: of the halftime and double time stuff that's happening at

1706
01:27:55,720 --> 01:27:58,160
Speaker 5: least in my DJ sets has allowed me to navigate

1707
01:27:58,240 --> 01:27:59,320
Speaker 5: more courses quickly.

1708
01:28:00,479 --> 01:28:04,479
Speaker 1: You I, We're just saying, but it's just like, as

1709
01:28:04,600 --> 01:28:08,840
Speaker 1: a person like I can't stand bad segues and DJ sets,

1710
01:28:09,400 --> 01:28:11,000
Speaker 1: so everything has to make sense to me.

1711
01:28:11,479 --> 01:28:13,360
Speaker 5: I'm the same way. That's why I like, I watched

1712
01:28:13,400 --> 01:28:16,160
Speaker 5: some I watched some dudes, and sometimes I immedtedly get

1713
01:28:16,320 --> 01:28:20,040
Speaker 5: jealous of dudes that aren't that don't mind, just care right,

1714
01:28:20,400 --> 01:28:24,439
Speaker 5: just stopping the music and totally just shifting tempos and moves,

1715
01:28:24,720 --> 01:28:26,880
Speaker 5: and you know what, But the more I watch dudes

1716
01:28:27,240 --> 01:28:30,439
Speaker 5: do that, whether it's somebody that's opening for me, whether

1717
01:28:30,520 --> 01:28:33,080
Speaker 5: it's somebody that I'm playing before and opening for, whether

1718
01:28:33,160 --> 01:28:35,200
Speaker 5: it's a co headline or whatever it is, I watched

1719
01:28:35,240 --> 01:28:37,519
Speaker 5: those from the side sometimes and I'm like, I wish

1720
01:28:37,640 --> 01:28:40,719
Speaker 5: I did not care the way you don't care, because,

1721
01:28:41,040 --> 01:28:43,599
Speaker 5: to be honest, today's audience doesn't care.

1722
01:28:43,600 --> 01:28:45,880
Speaker 1: I don't care as long as I just want to

1723
01:28:45,880 --> 01:28:47,800
Speaker 1: hear a playlist loud right club.

1724
01:28:48,040 --> 01:28:51,200
Speaker 5: And when I see that, I'm like, I literally have

1725
01:28:51,280 --> 01:28:53,400
Speaker 5: said to myself countless times. I wish I did not

1726
01:28:53,600 --> 01:28:57,880
Speaker 5: care because that terrible, ugly segue that that dude just

1727
01:28:58,000 --> 01:29:02,479
Speaker 5: did just had put this party on full tilt. Yeah.

1728
01:29:02,560 --> 01:29:05,120
Speaker 1: We I don't know which year the Roots Picnic it was,

1729
01:29:05,280 --> 01:29:10,760
Speaker 1: but we hired a DJ that was going back from

1730
01:29:11,120 --> 01:29:15,720
Speaker 1: his iPhone to his CDJs.

1731
01:29:15,800 --> 01:29:20,240
Speaker 3: What was that doing that then? But he but he

1732
01:29:20,439 --> 01:29:21,479
Speaker 3: had them going crazy?

1733
01:29:21,479 --> 01:29:24,000
Speaker 1: I crazy, right, he had Well, it was like, yo,

1734
01:29:24,080 --> 01:29:25,639
Speaker 1: there's some new shit I just made and he goes

1735
01:29:25,640 --> 01:29:27,800
Speaker 1: to his iPhone and he puts it on the whole

1736
01:29:27,840 --> 01:29:29,160
Speaker 1: place is going crazy right now.

1737
01:29:29,280 --> 01:29:33,760
Speaker 5: It's it's it's really Uh. Today's audiences have a very

1738
01:29:33,920 --> 01:29:37,000
Speaker 5: different ear and a very different set of standards.

1739
01:29:37,520 --> 01:29:39,280
Speaker 3: They care more about the end result in the process.

1740
01:29:39,400 --> 01:29:40,160
Speaker 5: I guess that.

1741
01:29:40,640 --> 01:29:42,960
Speaker 3: I guess they care more about the end results than.

1742
01:29:42,840 --> 01:29:45,560
Speaker 5: The process, more so than like there you know, I

1743
01:29:45,600 --> 01:29:48,120
Speaker 5: will say this and this is something that This is

1744
01:29:48,160 --> 01:29:52,920
Speaker 5: an argument that I I had years ago in Australia.

1745
01:29:53,680 --> 01:29:57,800
Speaker 5: I feel like there's this uh divide in terms of

1746
01:29:57,880 --> 01:30:02,560
Speaker 5: what people want from a DJ across general. Like I

1747
01:30:02,720 --> 01:30:06,800
Speaker 5: was at a record spot down Under and I was

1748
01:30:06,880 --> 01:30:09,640
Speaker 5: talking to Homie and UH through that random spot and

1749
01:30:09,720 --> 01:30:14,800
Speaker 5: his wife and we were talking about DJs Uh, this

1750
01:30:15,000 --> 01:30:17,760
Speaker 5: was I guess six, Yeah, it was two thousand and six.

1751
01:30:18,000 --> 01:30:23,120
Speaker 5: So we were talking about DJs that play reissues versus

1752
01:30:23,240 --> 01:30:28,160
Speaker 5: original pressings and bootlegs and edits and just having that conversation.

1753
01:30:29,000 --> 01:30:33,080
Speaker 5: But she said one key thing that made me realize,

1754
01:30:33,160 --> 01:30:39,559
Speaker 5: that made me realize where are actual divide laid? Because

1755
01:30:39,600 --> 01:30:41,439
Speaker 5: she said, when I go to see a DJ play,

1756
01:30:41,439 --> 01:30:42,920
Speaker 5: and I said, that's the problem. You're going to see

1757
01:30:43,000 --> 01:30:47,880
Speaker 5: him like, I personally do not care where do the

1758
01:30:47,960 --> 01:30:51,479
Speaker 5: sourcing it from? Like there's some some sometimes certain peerists,

1759
01:30:51,840 --> 01:30:54,760
Speaker 5: certain types of peers would be like the Serado kids. Uh,

1760
01:30:55,760 --> 01:30:58,719
Speaker 5: when they have when they go into their Serado argument

1761
01:30:58,760 --> 01:31:00,960
Speaker 5: and they start talking about the fact that, like a

1762
01:31:01,040 --> 01:31:04,400
Speaker 5: kid now can just go download all thirty volumes or

1763
01:31:04,400 --> 01:31:06,400
Speaker 5: whatever it is of ultimately beats and breaks and play them.

1764
01:31:07,280 --> 01:31:08,360
Speaker 5: They didn't know what it was like to have to

1765
01:31:08,400 --> 01:31:10,400
Speaker 5: go track those volumes down. And I'm like, all right,

1766
01:31:11,240 --> 01:31:13,160
Speaker 5: I knew what that was like, but I didn't have

1767
01:31:13,240 --> 01:31:16,320
Speaker 5: the struggle of having to discover those break beats and

1768
01:31:16,439 --> 01:31:19,960
Speaker 5: find all the original pressings with right when Bamana was

1769
01:31:20,000 --> 01:31:22,040
Speaker 5: playing in the park, whoever was playing in the park,

1770
01:31:23,560 --> 01:31:25,400
Speaker 5: you know, they used to have to they used to.

1771
01:31:25,800 --> 01:31:27,880
Speaker 5: They cover the records, they're black, the labels out, and

1772
01:31:27,920 --> 01:31:30,080
Speaker 5: then you would hope that somebody from Downstairs Records or

1773
01:31:30,080 --> 01:31:33,439
Speaker 5: Downtown Records, whatever would right, you can sing it to

1774
01:31:33,479 --> 01:31:36,000
Speaker 5: them and say such and such, just play this record

1775
01:31:36,040 --> 01:31:40,160
Speaker 5: that sounds like this and hopefully, hey, hopefully they have it.

1776
01:31:40,720 --> 01:31:42,800
Speaker 5: B hopefully they deem you cool enough to give it

1777
01:31:42,920 --> 01:31:46,759
Speaker 5: to you. There was a lot of gatekeeping, this gatekeeping

1778
01:31:46,800 --> 01:31:50,439
Speaker 5: at every level. So for me, I'm like, wait, why

1779
01:31:50,439 --> 01:31:52,880
Speaker 5: are you worried about seeing him play? I'm worried about

1780
01:31:52,920 --> 01:31:57,640
Speaker 5: hearing him play because ultimately, if he doesn't impress me

1781
01:31:57,800 --> 01:31:59,519
Speaker 5: with what I hear, or if he or she doesn't

1782
01:31:59,520 --> 01:32:02,200
Speaker 5: impress me what I hear, then it's game over. So

1783
01:32:02,320 --> 01:32:04,880
Speaker 5: that's what I feel like. Every generation, the qualifications and

1784
01:32:05,000 --> 01:32:08,400
Speaker 5: ramifications change in terms of what people are looking for.

1785
01:32:08,640 --> 01:32:10,880
Speaker 1: And even still when you can, like while it's true

1786
01:32:10,920 --> 01:32:14,439
Speaker 1: to the Sorato generation can just download volumes to play them,

1787
01:32:14,520 --> 01:32:16,360
Speaker 1: and you said exactly, you ain't lived with them, like

1788
01:32:16,400 --> 01:32:17,960
Speaker 1: you still got to live with those records. You gotta

1789
01:32:18,040 --> 01:32:22,240
Speaker 1: know why eight bars, why they work, and the record

1790
01:32:22,360 --> 01:32:24,160
Speaker 1: is hot and right, because you can't just play the

1791
01:32:24,200 --> 01:32:27,320
Speaker 1: whole Frisco Disco right, because people will look at you like,

1792
01:32:27,360 --> 01:32:28,479
Speaker 1: what you can.

1793
01:32:28,439 --> 01:32:31,719
Speaker 5: Get to that pump pumpum, it's it's it's a change.

1794
01:32:32,000 --> 01:32:33,719
Speaker 5: There's very few of those records that you can actually

1795
01:32:33,800 --> 01:32:36,599
Speaker 5: play front Tobacco. You can play UFO front to back.

1796
01:32:36,920 --> 01:32:39,280
Speaker 5: You could play Cavern front to back. You can't really

1797
01:32:39,320 --> 01:32:42,479
Speaker 5: play Big Beat past the break right. You can play

1798
01:32:42,479 --> 01:32:44,920
Speaker 5: a little bit of it, but he sings, But after that,

1799
01:32:45,040 --> 01:32:46,360
Speaker 5: that's pretty much it. You're done.

1800
01:32:47,160 --> 01:32:49,400
Speaker 3: You know you still got the music.

1801
01:32:49,760 --> 01:32:52,519
Speaker 1: I used to be that way in the beginning, and

1802
01:32:52,680 --> 01:33:01,000
Speaker 1: then we had a bus accident, yeah, and destroyed Myless Heroes. Yeah,

1803
01:33:01,040 --> 01:33:04,200
Speaker 1: my Headless Heroes was like the first thing in the Yes,

1804
01:33:04,520 --> 01:33:07,800
Speaker 1: two hundred bucks done. And then I was like, nah,

1805
01:33:07,800 --> 01:33:10,240
Speaker 1: I'm spending boot legs from now on.

1806
01:33:12,120 --> 01:33:15,040
Speaker 5: I have friends, like some of my friends are like

1807
01:33:15,120 --> 01:33:19,880
Speaker 5: some of the bulls either purist or OCD types or

1808
01:33:20,000 --> 01:33:23,200
Speaker 5: purest o CD types that you ever meet, and like

1809
01:33:23,280 --> 01:33:25,280
Speaker 5: they won't make beats from a reissue.

1810
01:33:25,400 --> 01:33:27,760
Speaker 1: Yeah, I know cats like that too, And I'm like, really,

1811
01:33:28,040 --> 01:33:30,760
Speaker 1: I'm like, why that's weird because I only like in

1812
01:33:30,840 --> 01:33:33,560
Speaker 1: Peace to President, on the boot on the on the

1813
01:33:33,680 --> 01:33:37,639
Speaker 1: Ultimate Beasts Breaks versions, what Kenny Do got the Master

1814
01:33:37,800 --> 01:33:41,200
Speaker 1: to it re isssued it and it's too damn clean.

1815
01:33:41,240 --> 01:33:42,160
Speaker 5: It's clean. It's too clean.

1816
01:33:42,439 --> 01:33:43,840
Speaker 3: It too it's not good to me.

1817
01:33:44,320 --> 01:33:47,080
Speaker 5: I like his I like to play his reissue when

1818
01:33:47,160 --> 01:33:51,080
Speaker 5: I just want to give people a make them do

1819
01:33:51,160 --> 01:33:53,600
Speaker 5: you get that? Like? Or when they just stay here

1820
01:33:53,640 --> 01:33:55,280
Speaker 5: and they're like, yo, this is the same, but it's different.

1821
01:33:55,320 --> 01:33:56,680
Speaker 3: What did you do? You know?

1822
01:33:56,840 --> 01:33:58,640
Speaker 5: But like other than that, I don't care where you

1823
01:33:58,720 --> 01:34:01,800
Speaker 5: get it from as long as it's going back to you.

1824
01:34:01,880 --> 01:34:04,719
Speaker 3: Oh wait, what since we're down the rabbit hole already?

1825
01:34:05,360 --> 01:34:08,960
Speaker 1: Since you said that, do you ever find yourself whenever

1826
01:34:09,120 --> 01:34:12,880
Speaker 1: your peers are over your shoulder? Do you ignore the

1827
01:34:12,960 --> 01:34:15,240
Speaker 1: audience and then suddenly you're doing it for them? And

1828
01:34:15,360 --> 01:34:16,360
Speaker 1: does that ruin your set?

1829
01:34:17,800 --> 01:34:18,840
Speaker 5: I try to not do that.

1830
01:34:19,200 --> 01:34:21,400
Speaker 3: In another way, if Natasha is over your shoulder right

1831
01:34:21,920 --> 01:34:23,560
Speaker 3: and you know you got some shit, it's going to

1832
01:34:23,640 --> 01:34:24,639
Speaker 3: fuck her up right.

1833
01:34:24,960 --> 01:34:28,240
Speaker 5: Now, you know what? I only I only so a

1834
01:34:28,680 --> 01:34:31,080
Speaker 5: something like that. We're saying, it's like me, Natasha, my

1835
01:34:31,160 --> 01:34:35,280
Speaker 5: other record NERD friends. I will only do that at

1836
01:34:35,400 --> 01:34:38,960
Speaker 5: our party. So at our party and we all know

1837
01:34:39,040 --> 01:34:41,040
Speaker 5: that anything goes, and that's when we really get to

1838
01:34:41,120 --> 01:34:43,559
Speaker 5: go in on each other. Like you don't have this boom.

1839
01:34:43,920 --> 01:34:45,920
Speaker 5: You don't have this boom, or I'll do something crazy

1840
01:34:46,040 --> 01:34:47,920
Speaker 5: like you don't have this boom and I'll play it then.

1841
01:34:48,120 --> 01:34:50,240
Speaker 5: And I have copies for everybody. You get a copy,

1842
01:34:51,439 --> 01:34:54,360
Speaker 5: a copy I do. I do the open things sometimes,

1843
01:34:54,840 --> 01:34:57,760
Speaker 5: you know, like I come out to the moment Monday

1844
01:34:57,800 --> 01:35:01,200
Speaker 5: more often so like, but when it comes to like

1845
01:35:01,280 --> 01:35:04,360
Speaker 5: where I'm working, and sometimes a lot of times, like

1846
01:35:04,560 --> 01:35:09,879
Speaker 5: I do certain types of events that they don't really frequent,

1847
01:35:10,240 --> 01:35:13,040
Speaker 5: but they're curious about them, you know, like if it's

1848
01:35:13,040 --> 01:35:14,560
Speaker 5: like a big d M thing or something like that.

1849
01:35:15,040 --> 01:35:17,240
Speaker 5: A lot of them, like I'm not just talking about

1850
01:35:17,280 --> 01:35:18,560
Speaker 5: Natasha then, but just in general, a lot of my

1851
01:35:18,600 --> 01:35:21,080
Speaker 5: friends don't necessarily frequent those places, but they're curious about

1852
01:35:21,080 --> 01:35:23,720
Speaker 5: what goes on. I'm not gonna go and play like

1853
01:35:24,120 --> 01:35:29,679
Speaker 5: the Ill super Duper Rare, you know, a funk funk

1854
01:35:29,760 --> 01:35:32,080
Speaker 5: boogie record. You know, when I'm in the middle of

1855
01:35:32,160 --> 01:35:34,080
Speaker 5: playing a bunch of turn up music for some kids

1856
01:35:34,120 --> 01:35:35,559
Speaker 5: and doing doing what I gotta do for them.

1857
01:35:36,000 --> 01:35:38,120
Speaker 3: You know, it's it's not it's so you have more

1858
01:35:38,200 --> 01:35:38,960
Speaker 3: nuanced control.

1859
01:35:39,320 --> 01:35:40,280
Speaker 5: Yeah, yeah, you guys.

1860
01:35:40,439 --> 01:35:42,920
Speaker 3: I can't resist sometimes I can't.

1861
01:35:42,960 --> 01:35:44,559
Speaker 5: I can't do it now. Now Here's the thing. If

1862
01:35:44,600 --> 01:35:47,760
Speaker 5: I'm in a venue or playing a party or an

1863
01:35:47,840 --> 01:35:49,800
Speaker 5: event or a festival where it's kind of more of that,

1864
01:35:49,920 --> 01:35:52,760
Speaker 5: anything goes kind of thing right, and you can throw

1865
01:35:52,800 --> 01:35:55,439
Speaker 5: the curveball and the audience is. There's some places that

1866
01:35:55,479 --> 01:35:57,400
Speaker 5: you will play and people know, people know who you are,

1867
01:35:57,479 --> 01:35:59,519
Speaker 5: they know your taste. If they're coming to see you play,

1868
01:35:59,560 --> 01:36:01,320
Speaker 5: they know that they might get a curve ball. People

1869
01:36:01,360 --> 01:36:02,960
Speaker 5: going to see Rich Pardina because they know he's gonna

1870
01:36:03,000 --> 01:36:04,600
Speaker 5: throw curve balls, you know.

1871
01:36:05,880 --> 01:36:09,599
Speaker 1: Oh yeah, your status definitely determines how much you can

1872
01:36:09,640 --> 01:36:10,800
Speaker 1: get away from your right.

1873
01:36:11,080 --> 01:36:13,840
Speaker 5: Yeah. So like if I'm playing a certain place and

1874
01:36:14,360 --> 01:36:17,040
Speaker 5: I'm like establishing myself, Like for example, there are certain

1875
01:36:17,080 --> 01:36:20,880
Speaker 5: festivals that I play where it's like just Blazers playing.

1876
01:36:20,920 --> 01:36:23,320
Speaker 5: We are at that stage and as soon as I

1877
01:36:23,360 --> 01:36:25,120
Speaker 5: you know, my stage could be forty percent of thirty

1878
01:36:25,160 --> 01:36:28,160
Speaker 5: percent full. By the time I get twenty minutes in,

1879
01:36:28,520 --> 01:36:31,160
Speaker 5: i'mout one hundred percent capacity. There are other festivals that

1880
01:36:31,200 --> 01:36:34,280
Speaker 5: I play where it's like I'm establishing myself in this market.

1881
01:36:34,920 --> 01:36:40,439
Speaker 5: So my curveball ability is very low because I'm trying

1882
01:36:40,439 --> 01:36:42,479
Speaker 5: to establish myself here. I'm not gonna be the guy

1883
01:36:42,479 --> 01:36:43,880
Speaker 5: that's gonna all of a sudden be like he was

1884
01:36:43,920 --> 01:36:45,559
Speaker 5: doing great and then he just started playing the theme

1885
01:36:45,560 --> 01:36:48,599
Speaker 5: from the Jeffersons. I'm choosing as an.

1886
01:36:48,560 --> 01:36:54,760
Speaker 1: Example, like, Yeah, Kate Turna, I don't know you ever

1887
01:36:54,800 --> 01:36:56,519
Speaker 1: seen Yeah, he's kind like that, like he did.

1888
01:36:56,680 --> 01:36:57,320
Speaker 3: I went and saw him.

1889
01:36:57,360 --> 01:36:59,519
Speaker 1: He was here a couple it was like last month

1890
01:36:59,840 --> 01:37:02,400
Speaker 1: and his opening set This is a room for the

1891
01:37:02,520 --> 01:37:05,680
Speaker 1: like twenty year old. You know, his opening song was

1892
01:37:05,720 --> 01:37:08,920
Speaker 1: Welcome to the Club by Blue Magic Wow. And I

1893
01:37:09,040 --> 01:37:13,440
Speaker 1: texted that but that was, like, you just that was revolutionary,

1894
01:37:13,479 --> 01:37:14,559
Speaker 1: and they he had him jamming too.

1895
01:37:14,720 --> 01:37:18,240
Speaker 5: But that's the thing. There are certain people that that

1896
01:37:19,200 --> 01:37:22,360
Speaker 5: certain generations will look to for that. He's somebody that

1897
01:37:22,439 --> 01:37:25,479
Speaker 5: can do that, not because he has the status of

1898
01:37:25,520 --> 01:37:27,200
Speaker 5: being able to get away with curveballs, because he's one

1899
01:37:27,240 --> 01:37:29,880
Speaker 5: of the certain people looked at certain DJs for certain things.

1900
01:37:30,720 --> 01:37:33,400
Speaker 5: Some people look just like, I know he's gonna play

1901
01:37:33,439 --> 01:37:35,280
Speaker 5: a good time, play all the songs. I know he's

1902
01:37:35,320 --> 01:37:36,720
Speaker 5: gonna know when to drop the vocal out so I

1903
01:37:36,800 --> 01:37:38,759
Speaker 5: can sing along, and it's just pretty much a standard

1904
01:37:38,840 --> 01:37:40,760
Speaker 5: good time. Then you have other guys who are known

1905
01:37:40,800 --> 01:37:43,240
Speaker 5: as like the Diggers and I feel like Kate Trnado

1906
01:37:43,320 --> 01:37:46,000
Speaker 5: in a lot of ways is the digger sample.

1907
01:37:47,400 --> 01:37:49,920
Speaker 3: I he was dropping whispers. I was like, what the fuck?

1908
01:37:50,040 --> 01:37:50,160
Speaker 5: Right?

1909
01:37:50,280 --> 01:37:51,200
Speaker 3: It was so people.

1910
01:37:51,439 --> 01:37:53,559
Speaker 5: That doesn't surprise me at all because I know him,

1911
01:37:53,560 --> 01:37:55,960
Speaker 5: but because I've seen him play and I've watched the

1912
01:37:56,040 --> 01:37:59,040
Speaker 5: fact that the crowd respects him when he does that. Now,

1913
01:37:59,080 --> 01:38:01,080
Speaker 5: it depends on what mark, depending where market we're in.

1914
01:38:01,280 --> 01:38:04,360
Speaker 5: I remember when I was playing, we played a festival together.

1915
01:38:04,439 --> 01:38:06,280
Speaker 5: I want to say it was in New Zealand. His

1916
01:38:06,439 --> 01:38:11,240
Speaker 5: stage was a much smaller stage, but he was able

1917
01:38:11,320 --> 01:38:13,640
Speaker 5: to do that on the stage that music Me and

1918
01:38:13,760 --> 01:38:15,760
Speaker 5: zay Low on the stage that I was playing at

1919
01:38:16,120 --> 01:38:18,920
Speaker 5: that would not have worked because just by the way

1920
01:38:18,920 --> 01:38:23,519
Speaker 5: I'm positioned, I'm positioned on the stage. That's the stage.

1921
01:38:23,840 --> 01:38:24,920
Speaker 5: So it's not gonna work for me.

1922
01:38:29,439 --> 01:38:33,720
Speaker 3: Wait, since we're talking about DJ tricks and stuff and.

1923
01:38:35,200 --> 01:38:39,280
Speaker 1: You know, surprises and obscure songs, I think maybe now

1924
01:38:39,320 --> 01:38:40,720
Speaker 1: it's a good time to try part three.

1925
01:38:45,520 --> 01:38:48,519
Speaker 3: It's part three. I'm going it's a little more advanced.

1926
01:38:48,800 --> 01:38:51,400
Speaker 5: Oh come on, did that drum roll thing? Was like torture?

1927
01:38:51,840 --> 01:38:54,120
Speaker 3: No, no, no, no, you did well, you did well?

1928
01:38:54,720 --> 01:38:57,439
Speaker 3: All right, So can you guess these jawns.

1929
01:38:58,040 --> 01:39:05,000
Speaker 5: Okay, I can already tell you.

1930
01:39:06,479 --> 01:39:07,240
Speaker 3: I know that one.

1931
01:39:11,120 --> 01:39:13,000
Speaker 5: DC LaRue vernon.

1932
01:39:18,280 --> 01:39:19,040
Speaker 3: What just happened?

1933
01:39:22,400 --> 01:39:24,280
Speaker 5: Hold up very white brothers?

1934
01:39:25,280 --> 01:39:27,240
Speaker 3: So again? Oh wait? What am I I'll do? Yeah,

1935
01:39:27,400 --> 01:39:29,559
Speaker 3: I'm going to play trying to play.

1936
01:39:29,720 --> 01:39:30,040
Speaker 5: That's all.

1937
01:39:30,080 --> 01:39:32,679
Speaker 3: Play, y'all host this show. Y'all should know this ship.

1938
01:39:33,080 --> 01:39:34,240
Speaker 3: I don't want to hear it.

1939
01:39:34,360 --> 01:39:34,600
Speaker 8: You know.

1940
01:39:35,000 --> 01:39:36,479
Speaker 5: Now here's the thing. There's something I don't I don't

1941
01:39:36,520 --> 01:39:38,479
Speaker 5: know the original bridge, I know who was used by

1942
01:39:39,439 --> 01:39:41,320
Speaker 5: I better know that I have the record. I don't

1943
01:39:41,439 --> 01:39:42,040
Speaker 5: know what by name?

1944
01:39:42,320 --> 01:39:47,600
Speaker 3: Okay, we'll try again. I don't know that I have diabetes.

1945
01:39:49,280 --> 01:39:50,320
Speaker 3: I'm I'm out.

1946
01:39:52,200 --> 01:39:57,200
Speaker 7: A couple of let the Sunshine and by who? How

1947
01:39:57,240 --> 01:39:58,720
Speaker 7: do you know it's let the Sunshine? Because when you

1948
01:39:58,800 --> 01:40:01,120
Speaker 7: played it, you let it go little and I can

1949
01:40:01,200 --> 01:40:01,640
Speaker 7: hear the let this.

1950
01:40:02,000 --> 01:40:03,240
Speaker 5: I just don't know whose version that is.

1951
01:40:03,960 --> 01:40:12,960
Speaker 3: It's the three Block singers? Who is this? All? Right?

1952
01:40:15,080 --> 01:40:17,120
Speaker 5: Then he played that?

1953
01:40:20,240 --> 01:40:20,559
Speaker 3: Okay?

1954
01:40:21,360 --> 01:40:21,920
Speaker 5: What is the name?

1955
01:40:22,360 --> 01:40:23,680
Speaker 3: Is breaks? This version of.

1956
01:40:27,360 --> 01:40:29,559
Speaker 1: Brace's version of what's the what's the version of Mango

1957
01:40:30,640 --> 01:40:33,120
Speaker 1: Mango meet by by Mandro?

1958
01:40:33,240 --> 01:40:35,360
Speaker 3: Okay, do you guys know the mango meat story?

1959
01:40:36,000 --> 01:40:37,519
Speaker 5: Oh am?

1960
01:40:37,560 --> 01:40:38,439
Speaker 3: I allowed to reveal it.

1961
01:40:39,320 --> 01:40:41,479
Speaker 5: I feel like since I've done it, I heard that

1962
01:40:41,640 --> 01:40:43,240
Speaker 5: Jeff has been redoing that.

1963
01:40:43,720 --> 01:40:44,800
Speaker 3: Motherfucker I do it?

1964
01:40:45,040 --> 01:40:47,280
Speaker 5: Oh gosh, what you thought you.

1965
01:40:47,880 --> 01:40:48,800
Speaker 3: Thought we were going?

1966
01:40:50,080 --> 01:40:51,400
Speaker 5: All right? Fine, mango meat?

1967
01:40:51,640 --> 01:40:52,400
Speaker 3: Can I do it first?

1968
01:40:52,520 --> 01:40:53,280
Speaker 5: Okay, go ahead?

1969
01:40:53,320 --> 01:40:54,439
Speaker 3: Can I do it first?

1970
01:40:54,640 --> 01:40:54,960
Speaker 8: Please?

1971
01:40:55,200 --> 01:41:06,320
Speaker 3: Go go? What's about to happen here? All right?

1972
01:41:12,680 --> 01:41:12,840
Speaker 10: Oh?

1973
01:41:13,120 --> 01:41:13,360
Speaker 3: Wow?

1974
01:41:14,680 --> 01:41:17,360
Speaker 5: Then I got and I got it.

1975
01:41:17,760 --> 01:41:20,360
Speaker 3: That might that might traveling?

1976
01:41:21,160 --> 01:41:21,360
Speaker 4: Wow.

1977
01:41:23,040 --> 01:41:29,759
Speaker 3: Man, the night he revealed that ship, it was confusion.

1978
01:41:30,600 --> 01:41:31,720
Speaker 11: What is that?

1979
01:41:31,800 --> 01:41:34,960
Speaker 3: Realizing the freeways? What is the what is the uh?

1980
01:41:36,280 --> 01:41:39,000
Speaker 3: Oh you still don't know? No, I know, I know,

1981
01:41:39,120 --> 01:41:39,960
Speaker 3: but I just look.

1982
01:41:40,600 --> 01:41:43,000
Speaker 8: I wanted to ask a dumb question. I guess in

1983
01:41:43,040 --> 01:41:47,640
Speaker 8: the room, but I was somebody listening, mister Blaize, But

1984
01:41:47,920 --> 01:41:51,400
Speaker 8: what did you replace whatever that instrument was for rock?

1985
01:41:51,439 --> 01:41:51,760
Speaker 5: The mic?

1986
01:41:51,840 --> 01:41:53,840
Speaker 8: Like, I mean, it just sounds it sounds different, like

1987
01:41:53,840 --> 01:41:55,599
Speaker 8: it's still I can hear the Caden sounds the same,

1988
01:41:55,920 --> 01:41:58,120
Speaker 8: but whatever the it's production.

1989
01:41:58,280 --> 01:41:59,840
Speaker 3: He tuned it higher and.

1990
01:42:00,600 --> 01:42:02,000
Speaker 5: There's a lot there's a lot more to it, but

1991
01:42:02,080 --> 01:42:03,880
Speaker 5: that's basically right there.

1992
01:42:04,040 --> 01:42:04,280
Speaker 3: Yeah.

1993
01:42:04,840 --> 01:42:08,719
Speaker 5: That was done on the ASRX pro really yeah, randomly,

1994
01:42:08,800 --> 01:42:10,519
Speaker 5: like I had one. The thing I loved about the

1995
01:42:10,560 --> 01:42:13,719
Speaker 5: a SRX Pro was or that the SRX in general

1996
01:42:13,880 --> 01:42:16,479
Speaker 5: was that it was the engine of the sr ten.

1997
01:42:16,560 --> 01:42:18,240
Speaker 5: But it also had built in a built in sound

1998
01:42:18,320 --> 01:42:23,799
Speaker 5: module where you can access patches through RAM as opposed

1999
01:42:23,800 --> 01:42:26,360
Speaker 5: to having to load stuff and through uh A drive

2000
01:42:26,680 --> 01:42:29,160
Speaker 5: or not having to use like a JV ten eighty

2001
01:42:29,240 --> 01:42:31,200
Speaker 5: or twenty eighty or whatever to get your sound. So

2002
01:42:31,240 --> 01:42:35,360
Speaker 5: it's basically right. It was basically all in one machine.

2003
01:42:35,439 --> 01:42:38,080
Speaker 5: Like you had the sampling section, you had your samples,

2004
01:42:38,160 --> 01:42:41,120
Speaker 5: and you also had built in piano patches, basses and

2005
01:42:41,200 --> 01:42:44,080
Speaker 5: things like that, and no drum machine to my knowledge

2006
01:42:44,120 --> 01:42:46,280
Speaker 5: up until that point, had had that all built into

2007
01:42:46,320 --> 01:42:46,639
Speaker 5: the RAM.

2008
01:42:47,320 --> 01:42:47,599
Speaker 3: Wow.

2009
01:42:47,960 --> 01:42:50,400
Speaker 5: Yeah, so I started I started trying to I championed

2010
01:42:50,439 --> 01:42:53,040
Speaker 5: it for a while. It was no NPC, but I

2011
01:42:53,280 --> 01:42:57,760
Speaker 5: it was. There was a certain element of portableness.

2012
01:43:01,040 --> 01:43:03,479
Speaker 3: Of course, right, I mean on that equipment.

2013
01:43:04,120 --> 01:43:05,240
Speaker 5: So we're not dying.

2014
01:43:07,200 --> 01:43:07,560
Speaker 3: I know that.

2015
01:43:07,640 --> 01:43:09,960
Speaker 5: That's the get it together said, that's one.

2016
01:43:10,000 --> 01:43:12,160
Speaker 3: I never was one of those like switched on back

2017
01:43:12,360 --> 01:43:15,040
Speaker 3: or hooked on box records. Another let the sunshine and

2018
01:43:18,600 --> 01:43:19,559
Speaker 3: by the move machine.

2019
01:43:19,960 --> 01:43:27,320
Speaker 5: Okay, looked that was I do have that. No, I

2020
01:43:27,360 --> 01:43:27,960
Speaker 5: don't know that one.

2021
01:43:28,360 --> 01:43:30,640
Speaker 3: Oh congo byte afric.

2022
01:43:32,560 --> 01:43:35,799
Speaker 5: Oh yeah, no, here Yeah, that's d C LaRue.

2023
01:43:37,479 --> 01:43:40,240
Speaker 3: Was a squeak? Yeah, that is that a kick pedal

2024
01:43:40,360 --> 01:43:44,960
Speaker 3: or or chair. Yeah, it's things like the squeak of

2025
01:43:44,960 --> 01:43:47,280
Speaker 3: the pedal. Pay whole thing. Oh, play a little bit

2026
01:43:47,360 --> 01:43:53,280
Speaker 3: of it anyway.

2027
01:43:53,360 --> 01:43:55,360
Speaker 5: That is who is d C LaRue.

2028
01:43:55,120 --> 01:44:01,680
Speaker 1: Dclu in discreet Industrlet's vernon, vernon, vernon, birch, birch, Get

2029
01:44:01,800 --> 01:44:03,360
Speaker 1: up like that last night?

2030
01:44:03,400 --> 01:44:08,960
Speaker 5: Actually that was Sylvester. That Selvester sounds like boon. I

2031
01:44:08,960 --> 01:44:11,719
Speaker 5: don't think it is what it sounds like. It sounds

2032
01:44:11,760 --> 01:44:13,400
Speaker 5: like me and the gang, but I know it's not.

2033
01:44:14,240 --> 01:44:14,759
Speaker 5: You're close.

2034
01:44:14,920 --> 01:44:17,920
Speaker 3: Yeah, it's it's get it by Mandrel. Can you get it?

2035
01:44:18,400 --> 01:44:18,640
Speaker 6: Get it?

2036
01:44:18,800 --> 01:44:19,080
Speaker 5: Get it?

2037
01:44:19,280 --> 01:44:23,320
Speaker 3: Get it? Oh yeah, okay, last.

2038
01:44:24,600 --> 01:44:27,960
Speaker 5: Together brothers. I used to us to trol people and

2039
01:44:28,080 --> 01:44:31,680
Speaker 5: I would like even I still do, yeah instead of

2040
01:44:31,920 --> 01:44:35,600
Speaker 5: the train. Yeah yeah, but like it wasn't you know,

2041
01:44:35,680 --> 01:44:38,639
Speaker 5: It wasn't until I really like, it wasn't until maybe

2042
01:44:39,479 --> 01:44:41,640
Speaker 5: at some point in the two early two thousands that

2043
01:44:41,680 --> 01:44:44,519
Speaker 5: I realized that's what that was. And now the Train

2044
01:44:44,640 --> 01:44:47,160
Speaker 5: is my favorite bass record because that that that The

2045
01:44:47,479 --> 01:44:48,400
Speaker 5: together brothers, it's so.

2046
01:44:48,560 --> 01:44:51,840
Speaker 3: Hard, So I never going together brothers better. I don't

2047
01:44:51,880 --> 01:44:53,640
Speaker 3: like the way they programmed that the the no no.

2048
01:44:53,720 --> 01:44:55,120
Speaker 5: Not that I don't like Together Brothers butt, I mean

2049
01:44:55,120 --> 01:44:57,560
Speaker 5: that's the source. My point is I never listened to

2050
01:44:57,760 --> 01:45:00,760
Speaker 5: Ride the Train from the context of production. I only

2051
01:45:00,800 --> 01:45:03,200
Speaker 5: ever listened to it as that song that drove you

2052
01:45:03,320 --> 01:45:04,800
Speaker 5: nuts when it came on the radio or when the

2053
01:45:04,880 --> 01:45:07,840
Speaker 5: video came over. So once I found the sample, I

2054
01:45:07,920 --> 01:45:09,240
Speaker 5: went back and listened to it, and I was like,

2055
01:45:09,640 --> 01:45:11,679
Speaker 5: for them to take this and making Miami based record

2056
01:45:11,720 --> 01:45:14,320
Speaker 5: out of it, that was like some old like when

2057
01:45:14,439 --> 01:45:18,240
Speaker 5: uh what was a mister Mixer's crew, the ghetto style

2058
01:45:18,360 --> 01:45:20,880
Speaker 5: DJs when they would do things like on mega mixes

2059
01:45:20,920 --> 01:45:24,560
Speaker 5: when they would have no matter how you try, you

2060
01:45:24,680 --> 01:45:27,840
Speaker 5: can't stop. But making Miami bass flip out of that.

2061
01:45:28,560 --> 01:45:32,800
Speaker 5: I appreciated that, like because it's typically Miami based. They

2062
01:45:32,800 --> 01:45:38,080
Speaker 5: were sampling craft work, planet rock, uh, stuff that was

2063
01:45:38,080 --> 01:45:42,639
Speaker 5: already electro. Right when you take something like that together

2064
01:45:42,720 --> 01:45:45,040
Speaker 5: Brothers Record Together Brothers Records, which is when you listen

2065
01:45:45,080 --> 01:45:48,240
Speaker 5: to Alontowa, it's completely different styles doesn't lend itself to

2066
01:45:48,280 --> 01:45:50,519
Speaker 5: bass music. That was kind of like the reason why,

2067
01:45:50,600 --> 01:45:52,320
Speaker 5: like people ask me, like about the sample flips I'm

2068
01:45:52,320 --> 01:45:54,040
Speaker 5: the most proud of, or that I had the most

2069
01:45:54,080 --> 01:45:56,680
Speaker 5: fun doing whatever. Obviously, the Rick James one that you

2070
01:45:56,760 --> 01:45:58,320
Speaker 5: and I, you know, have a history with like that

2071
01:45:58,479 --> 01:46:00,439
Speaker 5: was one where it was like I took some nothing.

2072
01:46:00,479 --> 01:46:02,360
Speaker 5: I hadn't been sampled before. It had never been sampled

2073
01:46:02,800 --> 01:46:03,120
Speaker 5: for that.

2074
01:46:03,600 --> 01:46:03,800
Speaker 3: It was.

2075
01:46:03,840 --> 01:46:06,120
Speaker 5: It wasn't supposed to be, hey, look here's you can't

2076
01:46:06,200 --> 01:46:08,640
Speaker 5: touch this. You know it was, but when you listen to,

2077
01:46:08,720 --> 01:46:10,920
Speaker 5: you like, there's something about this that sounds familiar, and

2078
01:46:11,000 --> 01:46:13,200
Speaker 5: then you realize that there's nothing but me chopping it

2079
01:46:13,280 --> 01:46:13,880
Speaker 5: up on the past.

2080
01:46:14,120 --> 01:46:16,680
Speaker 3: You did it with ignorant shit with the with the.

2081
01:46:18,360 --> 01:46:22,719
Speaker 5: Nobody ever listened to, but nobody ever listens to people.

2082
01:46:22,680 --> 01:46:26,720
Speaker 3: Want to quiet did it was well they kind of

2083
01:46:26,800 --> 01:46:28,000
Speaker 3: used vicious on the.

2084
01:46:29,760 --> 01:46:31,920
Speaker 1: He took like a little bit of it. But yeah,

2085
01:46:31,960 --> 01:46:34,679
Speaker 1: but I mean listening I remember the record. I remember

2086
01:46:35,680 --> 01:46:38,559
Speaker 1: it was the main part, but like the little hook right.

2087
01:46:38,840 --> 01:46:41,880
Speaker 5: There as well, or even like the uh, the t

2088
01:46:42,080 --> 01:46:46,040
Speaker 5: I Rihanna live your life where it was like everybody

2089
01:46:46,120 --> 01:46:48,040
Speaker 5: knows that record from the fact kid on YouTube doing this.

2090
01:46:49,160 --> 01:46:50,800
Speaker 5: And the funny thing is now it came about in

2091
01:46:50,880 --> 01:46:53,720
Speaker 5: almost the same exact way. You know, I did the

2092
01:46:54,080 --> 01:46:56,479
Speaker 5: Rick James things from my MySpace page, like trying to

2093
01:46:56,520 --> 01:46:58,560
Speaker 5: figure out a way to just branded, like, hey, this

2094
01:46:58,720 --> 01:47:01,560
Speaker 5: is my actual page. So I forget what I was

2095
01:47:01,640 --> 01:47:03,240
Speaker 5: trying to brand, but it was the same thing. We

2096
01:47:03,360 --> 01:47:06,880
Speaker 5: make a track out of something ultimately ridiculous, but trying

2097
01:47:06,880 --> 01:47:09,200
Speaker 5: to make something incredible and cool out of it. And

2098
01:47:09,640 --> 01:47:13,519
Speaker 5: I don't know if it was for like, it wasn't

2099
01:47:13,560 --> 01:47:15,280
Speaker 5: Friends her or something, but it was something else from

2100
01:47:15,320 --> 01:47:17,800
Speaker 5: that early Internet era, and it just so happened and

2101
01:47:17,880 --> 01:47:19,960
Speaker 5: Tip called me right after I made it. Well, as

2102
01:47:20,000 --> 01:47:21,639
Speaker 5: we were making I'm yo, this could actually be a song.

2103
01:47:21,680 --> 01:47:23,320
Speaker 5: So I started writing a hook to it, and it

2104
01:47:23,520 --> 01:47:26,320
Speaker 5: just so happened that Tip called me like right after

2105
01:47:26,360 --> 01:47:29,280
Speaker 5: I laid the references, and I was like, yoh, I

2106
01:47:29,360 --> 01:47:31,639
Speaker 5: had the opportunity to get a Justin Timberlake on a record,

2107
01:47:31,680 --> 01:47:33,960
Speaker 5: because I guess Justin Oda he owed Justin o him

2108
01:47:33,960 --> 01:47:38,599
Speaker 5: a favor forgetting on something. So originally it was that's

2109
01:47:38,640 --> 01:47:40,040
Speaker 5: why it's all false sett of a demo if you

2110
01:47:40,040 --> 01:47:42,080
Speaker 5: ever hear the demo's all false sett of because I

2111
01:47:42,240 --> 01:47:46,240
Speaker 5: was referencing as Justin Timberlake. But then Rihanna came into

2112
01:47:46,280 --> 01:47:47,679
Speaker 5: the picture and we ended up going with that because

2113
01:47:47,680 --> 01:47:49,840
Speaker 5: it made more sense for her to be on that record.

2114
01:47:50,920 --> 01:47:53,040
Speaker 1: Okay, now I gotta jump all over the place. Since

2115
01:47:53,080 --> 01:47:58,920
Speaker 1: you mentioned Kingdom Come, I wish someone was there to

2116
01:48:01,200 --> 01:48:03,799
Speaker 1: work on the hook writing process of those three songs,

2117
01:48:04,400 --> 01:48:06,360
Speaker 1: which the show me what you Got.

2118
01:48:08,960 --> 01:48:10,960
Speaker 3: I'm not mad aged show me what you got, but

2119
01:48:11,200 --> 01:48:13,280
Speaker 3: just for it was the way got killed it. It

2120
01:48:13,400 --> 01:48:16,639
Speaker 3: was the wave. I didn't mind the way people don't wave.

2121
01:48:16,880 --> 01:48:18,920
Speaker 5: But here's the thing. Black people don't wave, right. But

2122
01:48:19,000 --> 01:48:20,439
Speaker 5: I'll tell you what. I don't play that, but I

2123
01:48:20,479 --> 01:48:23,720
Speaker 5: play festival I don't, or parties or bigger parties. I

2124
01:48:23,760 --> 01:48:26,080
Speaker 5: don't play the whole record, but I play it up

2125
01:48:26,200 --> 01:48:30,320
Speaker 5: until the wave and every but everybody wait, okay, anyway,

2126
01:48:30,320 --> 01:48:32,160
Speaker 5: it was like, so I think I actually stole something

2127
01:48:32,160 --> 01:48:35,880
Speaker 5: from mster c When when when the record first came out,

2128
01:48:36,120 --> 01:48:38,040
Speaker 5: and how someone was running back to back to back

2129
01:48:38,080 --> 01:48:40,400
Speaker 5: to back and missus got hype and started doing the

2130
01:48:40,840 --> 01:48:43,479
Speaker 5: hands up and wave to the left, wave to the

2131
01:48:43,600 --> 01:48:45,560
Speaker 5: right way. So for me, that's the perfect way to

2132
01:48:45,600 --> 01:48:48,640
Speaker 5: get out of that record, because everybody does it. They

2133
01:48:48,720 --> 01:48:52,040
Speaker 5: all in white people, black people, whatever. Now now that

2134
01:48:52,080 --> 01:48:54,080
Speaker 5: it's an older record. At the time, it might not

2135
01:48:54,160 --> 01:48:54,479
Speaker 5: have worked.

2136
01:48:54,800 --> 01:48:55,559
Speaker 3: It works now.

2137
01:48:56,840 --> 01:48:59,880
Speaker 1: I think the resistance to show me what you got

2138
01:49:00,320 --> 01:49:03,880
Speaker 1: was more about at that point, it was just too

2139
01:49:03,960 --> 01:49:07,240
Speaker 1: much God damn Hove. At that point it was like,

2140
01:49:07,360 --> 01:49:10,080
Speaker 1: I think anything would have been overkilled.

2141
01:49:10,720 --> 01:49:12,200
Speaker 5: Which is funny because that was his come back out.

2142
01:49:13,240 --> 01:49:16,240
Speaker 3: Yeah, he came. Yeah, he was silent for yeah.

2143
01:49:16,280 --> 01:49:18,320
Speaker 1: But I mean it was still I mean it was

2144
01:49:18,320 --> 01:49:21,720
Speaker 1: still the bad Yeah, the back I mean, you know,

2145
01:49:22,520 --> 01:49:23,800
Speaker 1: don't I think anything.

2146
01:49:25,160 --> 01:49:27,680
Speaker 3: Would. I mean, it was too much of it. And

2147
01:49:27,800 --> 01:49:28,240
Speaker 3: this is the thing.

2148
01:49:28,439 --> 01:49:33,799
Speaker 1: Whenever he snickers on his record, I hate that snicker

2149
01:49:33,840 --> 01:49:38,640
Speaker 1: because it's like that, that is the all right, you

2150
01:49:38,680 --> 01:49:40,720
Speaker 1: ever watched you ever watched.

2151
01:49:45,040 --> 01:49:45,080
Speaker 5: You?

2152
01:49:45,160 --> 01:49:46,040
Speaker 3: Ever watched you?

2153
01:49:46,120 --> 01:49:51,680
Speaker 1: Ever watch uh the Chappelle extras where Charlie Murphy's describing

2154
01:49:51,840 --> 01:49:56,600
Speaker 1: the guy that says you fucking wore on Yeah, and

2155
01:49:56,920 --> 01:49:59,240
Speaker 1: now that this gets Yeah, he has a friend. He

2156
01:49:59,320 --> 01:50:03,880
Speaker 1: has a black in that insults you to the point

2157
01:50:03,880 --> 01:50:05,599
Speaker 1: where you just want to beat the ship out of him.

2158
01:50:05,880 --> 01:50:08,080
Speaker 1: He has a way of saying, you fucking moron, and

2159
01:50:08,160 --> 01:50:10,519
Speaker 1: he turns into a white person saying it makes you

2160
01:50:10,600 --> 01:50:15,280
Speaker 1: want to fuck him up. That's what does that j snicker.

2161
01:50:15,800 --> 01:50:18,280
Speaker 1: It's not even like the two like the Tupac snicker.

2162
01:50:19,400 --> 01:50:21,439
Speaker 1: What was the Tupac I mean no, I don't.

2163
01:50:22,600 --> 01:50:24,640
Speaker 5: Like, I don't know about the Tupac snicker being a thing.

2164
01:50:25,360 --> 01:50:26,920
Speaker 3: I mean no, Tupac always.

2165
01:50:29,960 --> 01:50:32,799
Speaker 1: It's supposed to be smart, but it's never as menacing

2166
01:50:32,920 --> 01:50:35,400
Speaker 1: as Tupac think it is in his head, Like I

2167
01:50:35,479 --> 01:50:38,720
Speaker 1: think his mind Tupac thinks would be like the super Villains.

2168
01:50:38,360 --> 01:50:40,479
Speaker 3: And I never even noticed. I never even know the

2169
01:50:40,600 --> 01:50:50,439
Speaker 3: snicker is a thing. Get I know the Jada, that's

2170
01:50:50,520 --> 01:50:51,760
Speaker 3: the Jada.

2171
01:50:55,439 --> 01:50:55,880
Speaker 5: I love this.

2172
01:50:57,360 --> 01:50:59,280
Speaker 3: All right, here's the super Rappit. We're never going to

2173
01:50:59,320 --> 01:51:01,080
Speaker 3: get to your career. Sorry, that's fine.

2174
01:51:01,560 --> 01:51:04,080
Speaker 1: So one of the one of the most amazing things

2175
01:51:04,160 --> 01:51:06,559
Speaker 1: I've found out that Bill and I found out teaching

2176
01:51:06,600 --> 01:51:07,120
Speaker 1: at NYU.

2177
01:51:07,400 --> 01:51:09,160
Speaker 3: Does the world even know that you teach at n

2178
01:51:09,280 --> 01:51:11,160
Speaker 3: YU with me? Or do I teach it n YU?

2179
01:51:11,280 --> 01:51:13,479
Speaker 1: Or do I just hand out papers if you weren't

2180
01:51:13,520 --> 01:51:15,639
Speaker 1: there would class be as smooth as possible?

2181
01:51:15,720 --> 01:51:17,880
Speaker 3: Hell no, Yeah, this is the black laugh? Is this

2182
01:51:18,120 --> 01:51:20,880
Speaker 3: is this the theory? Okay? So it was the whole

2183
01:51:20,920 --> 01:51:23,400
Speaker 3: class about the black laugh? No, this is actually really interesting.

2184
01:51:24,000 --> 01:51:24,639
Speaker 3: It's amazing.

2185
01:51:24,840 --> 01:51:28,880
Speaker 1: So what I didn't know was that in general, emotions

2186
01:51:28,960 --> 01:51:33,479
Speaker 1: were illegal during slavery period. I mean, even with your

2187
01:51:33,520 --> 01:51:35,160
Speaker 1: parents you're like, you better not cry for I give

2188
01:51:35,200 --> 01:51:37,960
Speaker 1: you something to cry out, or you know, you can't

2189
01:51:38,000 --> 01:51:39,519
Speaker 1: get angry at someone or whatever.

2190
01:51:39,800 --> 01:51:43,479
Speaker 3: But you also couldn't laugh. Laughing was illegal slave time.

2191
01:51:43,560 --> 01:51:46,920
Speaker 1: You were Sassin, so it was just keep your head down,

2192
01:51:47,080 --> 01:51:50,519
Speaker 1: do you work, No crying, no laughing, no whatever. So

2193
01:51:51,160 --> 01:51:55,080
Speaker 1: the slaves had to invent uh some sort of device

2194
01:51:56,240 --> 01:51:58,200
Speaker 1: so that they can express emotions if they want to

2195
01:51:58,240 --> 01:52:02,200
Speaker 1: cry or scream or some then. So the idea of

2196
01:52:02,680 --> 01:52:07,160
Speaker 1: a barrel laughs comes from a place. They built a barrel,

2197
01:52:07,640 --> 01:52:11,120
Speaker 1: filled it with water, so if you felt yourself wanted

2198
01:52:11,120 --> 01:52:13,360
Speaker 1: to curse out your master or laugh at a joke

2199
01:52:13,439 --> 01:52:17,000
Speaker 1: or something, and then one get fifty lashes, you would

2200
01:52:17,040 --> 01:52:19,599
Speaker 1: duck your head in the water and laugh to suppress

2201
01:52:20,200 --> 01:52:20,759
Speaker 1: the sounds.

2202
01:52:20,880 --> 01:52:22,680
Speaker 5: And that's when a term barrel laughs comes from.

2203
01:52:22,760 --> 01:52:25,880
Speaker 1: That's where it comes from now where it's relevant into

2204
01:52:26,080 --> 01:52:32,720
Speaker 1: terms of entertainment. The very first spoken word, or I

2205
01:52:32,800 --> 01:52:37,360
Speaker 1: guess the first recorded material for black people was a

2206
01:52:37,439 --> 01:52:43,320
Speaker 1: song called the Laughing Song, and I guess it was

2207
01:52:43,360 --> 01:52:46,640
Speaker 1: the fuck the police of its day, because it's like, well,

2208
01:52:46,640 --> 01:52:49,679
Speaker 1: I'm recording a song, so you can't give.

2209
01:52:49,600 --> 01:52:52,280
Speaker 3: Me lashes or put me in jail. For laughing. So

2210
01:52:52,960 --> 01:52:54,880
Speaker 3: ha ha, it's the ha ha ha song or whatever.

2211
01:52:56,000 --> 01:53:00,240
Speaker 1: And so one of our teaching assistants, Amalia Amalia, she

2212
01:53:00,360 --> 01:53:03,640
Speaker 1: did a study and in her study she noticed that.

2213
01:53:05,200 --> 01:53:09,080
Speaker 3: Laughing on any black records is never laughing. It's an

2214
01:53:09,120 --> 01:53:13,000
Speaker 3: expression of pain. So when Stevie like the.

2215
01:53:13,040 --> 01:53:18,719
Speaker 1: Invention of Michael's he he is from Stevie wonders maybe

2216
01:53:18,760 --> 01:53:23,880
Speaker 1: your baby, which is about betrayal, so he just most

2217
01:53:23,920 --> 01:53:28,479
Speaker 1: of James Brown's grunts hot or either laughing is uh

2218
01:53:29,160 --> 01:53:34,000
Speaker 1: an exclamation term or it's a villain term, like I

2219
01:53:34,080 --> 01:53:35,439
Speaker 1: got you, motherfucker, what you gonna do?

2220
01:53:35,960 --> 01:53:40,160
Speaker 5: It's it's never just a genuine, genuine, hearty laugh of joy.

2221
01:53:40,160 --> 01:53:43,960
Speaker 1: Or her laughter on any and she has. She's done

2222
01:53:44,280 --> 01:53:47,080
Speaker 1: a study of like one hundred years of recorded music

2223
01:53:49,760 --> 01:53:50,520
Speaker 1: in documentary.

2224
01:53:52,800 --> 01:53:55,280
Speaker 3: Now is that class.

2225
01:53:59,320 --> 01:54:00,920
Speaker 5: Turned me out of find a laugh?

2226
01:54:01,120 --> 01:54:06,639
Speaker 1: Yeah, Jenny, Literally every laugh she has is either villainous

2227
01:54:07,600 --> 01:54:09,280
Speaker 1: or an exclamation.

2228
01:54:10,280 --> 01:54:22,320
Speaker 3: Or an ironic Yeah, not one, all right, So I

2229
01:54:22,400 --> 01:54:24,639
Speaker 3: can't even backsell it. So this is the Laughing song

2230
01:54:24,720 --> 01:54:27,120
Speaker 3: by George W. Johnson from eighteen ninety.

2231
01:54:26,920 --> 01:54:40,320
Speaker 6: Eight Robert Song by George W. As I am, I

2232
01:54:40,400 --> 01:54:44,080
Speaker 6: was coming around the corner, I had some people sad,

2233
01:54:44,560 --> 01:54:48,160
Speaker 6: it comes down the dog here, it comes this by

2234
01:54:48,760 --> 01:54:51,640
Speaker 6: you know, he is like a snowflower. His thousand is

2235
01:54:51,840 --> 01:54:57,200
Speaker 6: like a strap at open rules here for gaps. Then

2236
01:54:57,240 --> 01:54:57,880
Speaker 6: I laugh.

2237
01:55:14,360 --> 01:55:17,240
Speaker 3: How was that recorded in the very first.

2238
01:55:19,320 --> 01:55:21,480
Speaker 5: You know, how was recorded or what it was recorded on?

2239
01:55:22,400 --> 01:55:28,040
Speaker 1: I mean, whatever it's I mean, I wouldn't say that, yeah,

2240
01:55:28,080 --> 01:55:33,760
Speaker 1: it's it's on acetate. I wouldn't even say it's during

2241
01:55:33,800 --> 01:55:36,160
Speaker 1: the time period that what's his name was? Yeah, that

2242
01:55:36,280 --> 01:55:39,840
Speaker 1: low Max was going around recording people. But I don't

2243
01:55:39,880 --> 01:55:45,800
Speaker 1: know the history. I can yeah to another, but anyway

2244
01:55:45,920 --> 01:55:54,040
Speaker 1: leading back, leading back to JA yeah, yeah, but I

2245
01:55:54,200 --> 01:55:54,760
Speaker 1: just never.

2246
01:55:56,440 --> 01:55:59,800
Speaker 3: Yeah his laugh. It's like being called a moron.

2247
01:56:00,920 --> 01:56:01,640
Speaker 5: What I'm gonna do?

2248
01:56:01,720 --> 01:56:07,680
Speaker 3: I'm sorry, Yeah, it's just it irks me. But my

2249
01:56:07,760 --> 01:56:11,480
Speaker 3: whole point was that I felt.

2250
01:56:12,720 --> 01:56:15,600
Speaker 1: It got short one. I think people were just ready

2251
01:56:15,640 --> 01:56:18,800
Speaker 1: for the j backlash to go down. It was time

2252
01:56:18,880 --> 01:56:24,760
Speaker 1: for it, and to Oh my God and and Kingdom

2253
01:56:24,840 --> 01:56:31,480
Speaker 1: Come could have used way better hooks, and but I

2254
01:56:31,640 --> 01:56:34,360
Speaker 1: still felt the thing was I sold him. I told

2255
01:56:34,440 --> 01:56:37,400
Speaker 1: him to start that record with those three songs because

2256
01:56:37,440 --> 01:56:41,520
Speaker 1: in my head I wanted his comeback to be like

2257
01:56:41,760 --> 01:56:45,160
Speaker 1: the updated two thousand and six version of America's Most Wanted.

2258
01:56:45,720 --> 01:56:48,840
Speaker 3: I described, like yo, these three records.

2259
01:56:51,200 --> 01:56:53,760
Speaker 5: And but see you know the things that he had

2260
01:56:53,800 --> 01:56:57,400
Speaker 5: his own other other vision, like he wanted it. He'd

2261
01:56:57,400 --> 01:56:58,720
Speaker 5: always wanted to do a project with Dre.

2262
01:57:01,560 --> 01:57:05,280
Speaker 1: And if you look like every all their collaborations are

2263
01:57:05,440 --> 01:57:08,920
Speaker 1: fail Like Dre the first watch It Too was dope.

2264
01:57:08,960 --> 01:57:11,200
Speaker 3: That song wasn't really, but he came up on that verse.

2265
01:57:11,360 --> 01:57:13,840
Speaker 5: Dre tried to mix those records. He didn't know, he

2266
01:57:13,880 --> 01:57:15,480
Speaker 5: didn't bother trying to make sure me what you got.

2267
01:57:15,520 --> 01:57:21,760
Speaker 5: He tried to mix Kingdom Come and not You. They

2268
01:57:21,840 --> 01:57:24,720
Speaker 5: had this thing where they were like they had done

2269
01:57:24,840 --> 01:57:27,720
Speaker 5: deal with Dre, where Dre was kind of supposed to

2270
01:57:27,760 --> 01:57:31,760
Speaker 5: help oversee the album and also do the mixing. They

2271
01:57:31,880 --> 01:57:33,840
Speaker 5: knew they know how hands on I am with my stuff.

2272
01:57:33,960 --> 01:57:37,040
Speaker 5: Dre knows that. But I said, you know what, it's Dre.

2273
01:57:37,280 --> 01:57:39,720
Speaker 5: I can't argue with that, you know, like if he

2274
01:57:39,760 --> 01:57:41,920
Speaker 5: says is he wants to do cool. I knew it

2275
01:57:42,000 --> 01:57:44,200
Speaker 5: was gonna happen. I know I was gonna get a

2276
01:57:44,240 --> 01:57:46,800
Speaker 5: call m H. And that's exactly what happened. I got

2277
01:57:46,880 --> 01:57:50,200
Speaker 5: a call like yo, because because Dre has already me

2278
01:57:50,280 --> 01:57:53,040
Speaker 5: and Dred already tried this with when we were working

2279
01:57:53,080 --> 01:57:56,040
Speaker 5: on games first album, you know Dre oversaw right, No, No,

2280
01:57:56,240 --> 01:58:00,880
Speaker 5: the first album we had like Church for Thugs, Yeah

2281
01:58:01,000 --> 01:58:04,520
Speaker 5: one a second album. So like Drey had already tried

2282
01:58:04,560 --> 01:58:06,920
Speaker 5: to mix my records. And because it's Dre, I'm never

2283
01:58:06,960 --> 01:58:09,480
Speaker 5: gonna say no. You can't attempt that, you know, like

2284
01:58:09,560 --> 01:58:14,240
Speaker 5: that's it's tray. And Dre has probably one of the

2285
01:58:14,600 --> 01:58:17,000
Speaker 5: the best ears in the hip hop as it relates

2286
01:58:17,080 --> 01:58:20,280
Speaker 5: to his sound. He knows how to make his sound

2287
01:58:20,480 --> 01:58:22,840
Speaker 5: sound amazing. But he called me and say, I don't

2288
01:58:22,840 --> 01:58:24,880
Speaker 5: know how you do what you do with these crazy

2289
01:58:24,920 --> 01:58:28,600
Speaker 5: bass frequencies and these super high in horns like part

2290
01:58:28,920 --> 01:58:31,960
Speaker 5: I tried to make it. It's not happening. Uh, come

2291
01:58:32,000 --> 01:58:33,440
Speaker 5: get on the plane. And I went out to LA

2292
01:58:33,480 --> 01:58:36,800
Speaker 5: and fixed the game record and it wasn't even a

2293
01:58:36,840 --> 01:58:39,040
Speaker 5: long process. It was just I know how I EQ

2294
01:58:39,560 --> 01:58:46,480
Speaker 5: what IQ exactly. And then with with Kingdom cod was

2295
01:58:46,520 --> 01:58:48,240
Speaker 5: kind of the same thing, like I never I never

2296
01:58:48,320 --> 01:58:49,720
Speaker 5: at this point I was you were doing files and

2297
01:58:49,760 --> 01:58:51,480
Speaker 5: I never was the type to send files out. Again,

2298
01:58:51,520 --> 01:58:53,520
Speaker 5: it's Dre, I'm not gonna say no. And I remember

2299
01:58:53,600 --> 01:58:56,600
Speaker 5: Jay Brown being like doing this solid. You know, I

2300
01:58:56,760 --> 01:58:58,400
Speaker 5: know that you're you know, you do your own stuff

2301
01:58:58,440 --> 01:59:00,680
Speaker 5: and you're your own factory. But we're trying to do

2302
01:59:00,720 --> 01:59:02,320
Speaker 5: this deal with Dre where he mixes everything. I said,

2303
01:59:02,320 --> 01:59:04,720
Speaker 5: all right, fine, sending the files, get the same call, Yo,

2304
01:59:04,880 --> 01:59:08,320
Speaker 5: it's it's not coming back right like I heard just rough,

2305
01:59:08,520 --> 01:59:09,200
Speaker 5: you might as well just.

2306
01:59:09,200 --> 01:59:09,800
Speaker 3: Have just do it.

2307
01:59:11,120 --> 01:59:13,720
Speaker 5: Because all he was he what he was trying to

2308
01:59:13,760 --> 01:59:17,120
Speaker 5: do was retreat my It's like, what just I already

2309
01:59:17,160 --> 01:59:19,520
Speaker 5: have the demo here, so let me just fix that up.

2310
01:59:19,880 --> 01:59:22,400
Speaker 5: So the day that they sent me the files back

2311
01:59:23,280 --> 01:59:25,680
Speaker 5: and j was coming to approve or listening to the

2312
01:59:25,760 --> 01:59:27,400
Speaker 5: mix and see if he was cool with it, was

2313
01:59:27,440 --> 01:59:30,600
Speaker 5: the dad played him, show me what you got m

2314
01:59:31,200 --> 01:59:33,920
Speaker 5: and he, because I had to mix up for Kingdom,

2315
01:59:34,040 --> 01:59:37,280
Speaker 5: come in the b room and then I like, I

2316
01:59:37,320 --> 01:59:38,600
Speaker 5: have something else you need to listen to it.

2317
01:59:38,680 --> 01:59:41,080
Speaker 3: I play time. Yeah.

2318
01:59:41,520 --> 01:59:43,280
Speaker 5: I want to say this was maybe the last thing

2319
01:59:43,360 --> 01:59:46,440
Speaker 5: that he did recording wise. At Baseline. We mixed. We

2320
01:59:46,520 --> 01:59:48,960
Speaker 5: mixed Blueprint three at Baseline, but he didn't record it

2321
01:59:49,000 --> 01:59:50,880
Speaker 5: the other there. We just bought the files back and.

2322
01:59:50,880 --> 01:59:53,080
Speaker 3: Mixed it Baseline. Still no.

2323
01:59:54,680 --> 02:00:00,680
Speaker 5: Baseline. I had the Grand Closing two thousand or eleven,

2324
02:00:00,680 --> 02:00:04,440
Speaker 5: Waito eleven, twenty eleven. So I did the great clothes

2325
02:00:04,480 --> 02:00:07,720
Speaker 5: on What was the last thing worked on there? That

2326
02:00:07,880 --> 02:00:11,240
Speaker 5: is a good question. I'm gonna have to get back

2327
02:00:11,280 --> 02:00:14,480
Speaker 5: to you on that. I want to say Blueprint three

2328
02:00:14,680 --> 02:00:16,160
Speaker 5: was the last thing. I want to say I actually

2329
02:00:16,240 --> 02:00:18,360
Speaker 5: worked on there, Like there might have been a few

2330
02:00:18,400 --> 02:00:20,720
Speaker 5: other random things that came up here and there before

2331
02:00:20,760 --> 02:00:24,480
Speaker 5: I finally closed the doors, but the last full project

2332
02:00:24,520 --> 02:00:26,440
Speaker 5: that was worked on there, like the entire Blueprint three

2333
02:00:26,560 --> 02:00:27,040
Speaker 5: was mixed there.

2334
02:00:27,920 --> 02:00:32,720
Speaker 3: Okay, now I'm gonna get back in the DeLorean and

2335
02:00:32,840 --> 02:00:33,320
Speaker 3: go back to.

2336
02:00:35,960 --> 02:00:38,120
Speaker 5: Let's go back to the shake that ass thing.

2337
02:00:38,120 --> 02:00:40,560
Speaker 3: Actually, that's why I was saying it because I got it.

2338
02:00:41,240 --> 02:00:43,280
Speaker 5: So I didn't make the record, but I was in

2339
02:00:43,440 --> 02:00:46,720
Speaker 5: my in my neighborhood or in my local market. I

2340
02:00:46,720 --> 02:00:48,280
Speaker 5: would say I was one of the guys that, like

2341
02:00:48,520 --> 02:00:52,760
Speaker 5: can I guess, helped break it. So I had routines

2342
02:00:52,800 --> 02:00:55,280
Speaker 5: that I would do. Back then, you didn't have twenty

2343
02:00:55,360 --> 02:00:57,920
Speaker 5: Jersey House records to play because it worked twenty of

2344
02:00:57,960 --> 02:01:04,000
Speaker 5: them or twenty Baltimore House records at that time. So

2345
02:01:04,040 --> 02:01:05,360
Speaker 5: I used to have a whole team that I used

2346
02:01:05,400 --> 02:01:08,360
Speaker 5: to do. So one night I used to do. I

2347
02:01:08,440 --> 02:01:10,640
Speaker 5: used to do a roll skating rink and from nine

2348
02:01:10,680 --> 02:01:12,920
Speaker 5: to twelve was roll skating and then from twelve o'clock

2349
02:01:12,960 --> 02:01:14,320
Speaker 5: on we would shut down the skating rink and it

2350
02:01:14,320 --> 02:01:16,560
Speaker 5: would just be people dancing on the skating rink. It

2351
02:01:16,680 --> 02:01:20,640
Speaker 5: was all ages. I was maybe like sixteen when I

2352
02:01:20,760 --> 02:01:25,080
Speaker 5: was doing at the time. So one night we got

2353
02:01:25,120 --> 02:01:28,000
Speaker 5: little bit of money together and we had Wendy Williams

2354
02:01:28,400 --> 02:01:33,040
Speaker 5: host Wow and uh, mister c was gonna be the DJ.

2355
02:01:33,640 --> 02:01:35,200
Speaker 5: Because the party started doing pretty well, so we were

2356
02:01:35,240 --> 02:01:36,440
Speaker 5: able to, you know, get a little bit of money

2357
02:01:36,440 --> 02:01:40,520
Speaker 5: together and start booking people. So Whenny Williams comes down

2358
02:01:40,520 --> 02:01:43,720
Speaker 5: to the host, Carhart Dad like she could have been

2359
02:01:43,760 --> 02:01:47,560
Speaker 5: an extra in a Youngster's video or what she was,

2360
02:01:47,640 --> 02:01:58,520
Speaker 5: car Heart down from top to bottom like Scully or

2361
02:01:58,640 --> 02:02:03,840
Speaker 5: shut out Stretch. So she comes down and she's doing

2362
02:02:03,880 --> 02:02:07,000
Speaker 5: her whole thing. I'm still DJing, and I know that

2363
02:02:07,080 --> 02:02:08,800
Speaker 5: missus he's about to do his thing. So I'm like,

2364
02:02:08,920 --> 02:02:11,280
Speaker 5: you know, I've always been a type to kind of

2365
02:02:12,160 --> 02:02:14,880
Speaker 5: respect the headlining DJ, but at the same time, like,

2366
02:02:14,960 --> 02:02:17,320
Speaker 5: this is my party, so I'm gonna throw out so

2367
02:02:17,520 --> 02:02:19,360
Speaker 5: my things. I knew that he was gonna do the

2368
02:02:19,440 --> 02:02:22,160
Speaker 5: hip hop thing. He had never really been exposed to

2369
02:02:23,200 --> 02:02:26,920
Speaker 5: Jersey just house culture in general up until that point,

2370
02:02:27,080 --> 02:02:29,520
Speaker 5: because it's very different from what's happening in house in

2371
02:02:29,600 --> 02:02:30,520
Speaker 5: house clubs in New York.

2372
02:02:30,640 --> 02:02:30,920
Speaker 3: Gotcha.

2373
02:02:31,400 --> 02:02:35,000
Speaker 5: So I do my usual Jersey house thing, which is

2374
02:02:35,040 --> 02:02:37,720
Speaker 5: really just the mix of the Chicago stuff, the Baltimore stuff,

2375
02:02:37,760 --> 02:02:40,000
Speaker 5: some of our local Jersey stuff, some of the Detroit

2376
02:02:40,120 --> 02:02:43,520
Speaker 5: tech noow, and I ended with this routine that I

2377
02:02:43,640 --> 02:02:44,960
Speaker 5: used to do, where I used to do a mix,

2378
02:02:45,360 --> 02:02:50,080
Speaker 5: a blend of shake shake, shake that ass. And the

2379
02:02:50,120 --> 02:02:51,680
Speaker 5: whole time, he's just kind of in a corner, like

2380
02:02:51,800 --> 02:02:53,880
Speaker 5: you know, being the celebrity DJ, just watching me, waiting

2381
02:02:53,920 --> 02:02:56,120
Speaker 5: to get on. He's just coming whatever. I play that

2382
02:02:57,280 --> 02:03:00,360
Speaker 5: and he immediately is just like, wait, what's this? As

2383
02:03:00,400 --> 02:03:05,000
Speaker 5: soon as he heard to opening dum dump done done done,

2384
02:03:05,080 --> 02:03:07,800
Speaker 5: like the Bounce called him. Then he looks at the

2385
02:03:07,880 --> 02:03:09,920
Speaker 5: crowd and he sees with the crowds when we had

2386
02:03:10,040 --> 02:03:12,800
Speaker 5: just moved the crowd onto the skating ring, so now

2387
02:03:12,840 --> 02:03:15,120
Speaker 5: everybody's dancing. He just watched what's happening, like, Yo, this

2388
02:03:15,200 --> 02:03:21,160
Speaker 5: is amazing. So I get a phone call from stage

2389
02:03:21,160 --> 02:03:25,400
Speaker 5: information that night we uh he hits me the next day,

2390
02:03:25,960 --> 02:03:28,200
Speaker 5: he said, I need that record or that song that

2391
02:03:28,280 --> 02:03:30,280
Speaker 5: you have. I need to do something with this.

2392
02:03:31,240 --> 02:03:33,600
Speaker 3: So who is the original artist on that red.

2393
02:03:35,200 --> 02:03:37,840
Speaker 5: He passed away a few years ago, so I bring him.

2394
02:03:37,960 --> 02:03:40,880
Speaker 5: I bring him a copy to the Cold He's like, oh,

2395
02:03:40,920 --> 02:03:43,240
Speaker 5: we meet the Cold Chilling offices. This is when Cold

2396
02:03:43,320 --> 02:03:46,640
Speaker 5: Chilling still add offices. So I go to Cold Chilling. Now,

2397
02:03:47,000 --> 02:03:49,680
Speaker 5: me as a kid who grew up on people in

2398
02:03:49,760 --> 02:03:52,760
Speaker 5: my age, grew up on like, you want me to

2399
02:03:52,800 --> 02:03:55,440
Speaker 5: come to Cold Chilling. So I called my older cousin,

2400
02:03:55,480 --> 02:03:57,240
Speaker 5: You'd be right over to Cold Chilling the next day

2401
02:03:57,800 --> 02:04:02,280
Speaker 5: or I actually a couple of days later, and I

2402
02:04:02,360 --> 02:04:05,080
Speaker 5: give him the record and he literally gives me a

2403
02:04:05,800 --> 02:04:08,800
Speaker 5: copy of every single record that came out on Cold Chilling,

2404
02:04:09,160 --> 02:04:16,000
Speaker 5: from the inception like the Prism day to then sealed, yeah, sealed,

2405
02:04:16,080 --> 02:04:20,480
Speaker 5: brand new, unopened. So it's like literally like three boxes

2406
02:04:20,560 --> 02:04:23,720
Speaker 5: worth and doubles of everything a man.

2407
02:04:24,080 --> 02:04:26,600
Speaker 3: So I'm including like the looks like a job for

2408
02:04:26,760 --> 02:04:33,120
Speaker 3: Big Daddy Kane and everything where I want to interview.

2409
02:04:33,520 --> 02:04:37,960
Speaker 5: That was that was? That was, That was post co chill,

2410
02:04:38,080 --> 02:04:39,640
Speaker 5: because that was that was.

2411
02:04:41,520 --> 02:04:44,960
Speaker 3: But Chilling was like was it was? It Prince of Darkness,

2412
02:04:45,000 --> 02:04:45,360
Speaker 3: I think was.

2413
02:04:49,680 --> 02:04:52,600
Speaker 5: But but then like because I'm new when I'm young,

2414
02:04:53,520 --> 02:04:55,560
Speaker 5: or because I'm so young, they like, wait a minute,

2415
02:04:56,200 --> 02:04:58,240
Speaker 5: we should play start playing them some of our new records.

2416
02:04:58,600 --> 02:05:00,800
Speaker 5: They're trying to kind of guinea pig me to be

2417
02:05:00,880 --> 02:05:02,960
Speaker 5: like the kid A and R. So now I'm going

2418
02:05:02,960 --> 02:05:04,640
Speaker 5: to cold Chilling and like they they had signed a

2419
02:05:04,680 --> 02:05:07,280
Speaker 5: group called the Brooklyn Zoo. Had nothing to do with

2420
02:05:07,400 --> 02:05:11,560
Speaker 5: Dirty but they were called the Brooklyn Zoo. And he

2421
02:05:11,920 --> 02:05:14,440
Speaker 5: plays they play me the video and they play me

2422
02:05:14,480 --> 02:05:16,760
Speaker 5: this song, or they play me the video and I'm

2423
02:05:16,800 --> 02:05:19,400
Speaker 5: waiting for the Wu Tang symbol to pop up, and

2424
02:05:19,520 --> 02:05:22,040
Speaker 5: it doesn't pop up, and then the video's over and

2425
02:05:22,120 --> 02:05:25,240
Speaker 5: I'm like, well, where's the Wu Tang symbol? I don't

2426
02:05:25,240 --> 02:05:27,520
Speaker 5: know even I'm a kid, like you play it. And

2427
02:05:27,600 --> 02:05:30,880
Speaker 5: this was right when UH returned to the thirty six

2428
02:05:30,880 --> 02:05:32,320
Speaker 5: shames that come out, So I'm like, where's the Wu

2429
02:05:32,440 --> 02:05:36,080
Speaker 5: Tang symbol? There wasn't one. I'm like, but they're called

2430
02:05:36,080 --> 02:05:40,120
Speaker 5: the Brooklyn Zoo, you know, Like it was just so

2431
02:05:40,200 --> 02:05:41,920
Speaker 5: that I walked up with the Brooklyn Zoo twelve inch too.

2432
02:05:42,080 --> 02:05:43,960
Speaker 5: It was just you know, like but it was just

2433
02:05:44,080 --> 02:05:47,720
Speaker 5: that surreal experience of I'm at the CoA chilling offices

2434
02:05:47,720 --> 02:05:50,040
Speaker 5: and I've just been giving this entire catalog on wax.

2435
02:05:50,360 --> 02:05:52,960
Speaker 5: So that's actually the first time my name ever appeared

2436
02:05:53,000 --> 02:05:55,720
Speaker 5: on a record was when mister C did his version

2437
02:05:55,800 --> 02:05:58,080
Speaker 5: of shape that ass. If you look at the bottom

2438
02:05:58,120 --> 02:06:00,880
Speaker 5: of the twelve inch it's his big being up to

2439
02:06:00,960 --> 02:06:04,040
Speaker 5: my man DJ just from Jersey. So like, to me,

2440
02:06:04,160 --> 02:06:06,080
Speaker 5: I had made it. You couldn't something my name was

2441
02:06:06,160 --> 02:06:08,960
Speaker 5: on a record, period, Like it doesn't matter that it

2442
02:06:09,040 --> 02:06:11,160
Speaker 5: was a tape kings pressing, it was a record, but

2443
02:06:11,280 --> 02:06:14,000
Speaker 5: I'm like, I'm like, Mom, look, She's like, who's DJ

2444
02:06:14,080 --> 02:06:17,360
Speaker 5: Judge from Jersey. I'm like, that's me. But like I

2445
02:06:17,440 --> 02:06:20,200
Speaker 5: still ask you today. I have a framed copy of

2446
02:06:20,240 --> 02:06:23,000
Speaker 5: that record, like just because it's one of those reminders,

2447
02:06:23,040 --> 02:06:24,600
Speaker 5: like my first time ever my name was ever on

2448
02:06:24,680 --> 02:06:27,640
Speaker 5: a record was It wasn't even a record that I produced,

2449
02:06:28,360 --> 02:06:30,480
Speaker 5: but I knew I had a big hand in it,

2450
02:06:30,520 --> 02:06:32,560
Speaker 5: and that record ran New York radio in clubs for

2451
02:06:32,720 --> 02:06:34,920
Speaker 5: god knows how that's I heard.

2452
02:06:35,600 --> 02:06:39,520
Speaker 3: So all right now I'm skipping the Matt Lion.

2453
02:06:42,080 --> 02:06:47,280
Speaker 5: That was a really random thing. I don't remember how

2454
02:06:47,360 --> 02:06:51,000
Speaker 5: it came up. I don't remember how it came up.

2455
02:06:51,120 --> 02:06:52,919
Speaker 5: Chris had just gotten a job at Reprise.

2456
02:06:53,920 --> 02:06:58,320
Speaker 3: He was like the right he was forgot Chris.

2457
02:07:03,040 --> 02:07:12,480
Speaker 5: Office this dude named thorough maybe a through something like that,

2458
02:07:13,080 --> 02:07:15,520
Speaker 5: and then he gave a line a deal. I don't

2459
02:07:15,520 --> 02:07:18,960
Speaker 5: remember how the initial like how it happened, but I

2460
02:07:19,520 --> 02:07:22,000
Speaker 5: end up like my first time ever in l A,

2461
02:07:23,200 --> 02:07:25,280
Speaker 5: like being flown out to l A birecty. My first

2462
02:07:25,320 --> 02:07:27,520
Speaker 5: time I set foot in California was being flown out

2463
02:07:27,840 --> 02:07:30,080
Speaker 5: to do this mad Line album. And a lot of

2464
02:07:30,200 --> 02:07:32,560
Speaker 5: stuff that I was doing was very orchestral at the times.

2465
02:07:32,640 --> 02:07:39,400
Speaker 5: A lot of string arrangements, uh, a lot of horn arrangements,

2466
02:07:39,800 --> 02:07:42,720
Speaker 5: timpane stuff like that. And his idea was he was

2467
02:07:42,760 --> 02:07:48,680
Speaker 5: trying to do like a Conan inspired album like Yes,

2468
02:07:50,280 --> 02:07:54,960
Speaker 5: looked up Mad Lion Predator or Prey Predator p r

2469
02:07:55,080 --> 02:07:58,320
Speaker 5: e D. Like instead of Predator is Predators.

2470
02:07:58,120 --> 02:08:00,560
Speaker 3: A Predators the nineties?

2471
02:08:00,680 --> 02:08:02,640
Speaker 5: Right, we wore Prey album?

2472
02:08:03,040 --> 02:08:05,120
Speaker 3: God Yeah wow?

2473
02:08:07,760 --> 02:08:14,000
Speaker 5: Like his talking voices very it's close to close to

2474
02:08:14,080 --> 02:08:17,400
Speaker 5: his rap bush. I did like eight records for him.

2475
02:08:17,760 --> 02:08:19,600
Speaker 5: It was my first time ever seeing like a lump

2476
02:08:19,640 --> 02:08:26,120
Speaker 5: sum of money like maybe like something like almost one

2477
02:08:26,200 --> 02:08:29,800
Speaker 5: hundred grand check or is that in cash sign of

2478
02:08:30,400 --> 02:08:34,120
Speaker 5: I got a check from Warner Brothers. But then I

2479
02:08:34,320 --> 02:08:38,560
Speaker 5: forget what. I forget what the situation was. But I

2480
02:08:38,640 --> 02:08:40,200
Speaker 5: want to say, maybe there was a white label of

2481
02:08:40,200 --> 02:08:42,600
Speaker 5: one of the records that we did that I ended

2482
02:08:42,640 --> 02:08:44,160
Speaker 5: up getting because I was still in a record pool

2483
02:08:44,160 --> 02:08:46,520
Speaker 5: at the time. So I get like by a copy

2484
02:08:46,560 --> 02:08:48,640
Speaker 5: of my own a record at the record pool and

2485
02:08:48,760 --> 02:08:50,160
Speaker 5: it just has produced by mad Line.

2486
02:08:50,440 --> 02:08:56,960
Speaker 3: Mm hm, and I'm like, sure, yes, you did this record.

2487
02:08:57,440 --> 02:09:00,560
Speaker 5: So we were on you know, we we We're on

2488
02:09:00,640 --> 02:09:01,000
Speaker 5: the phone.

2489
02:09:01,200 --> 02:09:01,600
Speaker 3: He manned.

2490
02:09:01,960 --> 02:09:03,480
Speaker 5: We talked about it. It wasn't he didn't give me

2491
02:09:03,520 --> 02:09:05,600
Speaker 5: the industry run around. He didn't do it. You know,

2492
02:09:05,680 --> 02:09:07,360
Speaker 5: we talked about it. He was like, listen, you know,

2493
02:09:08,160 --> 02:09:09,640
Speaker 5: gave me his opinion on it. I gave him my

2494
02:09:09,680 --> 02:09:11,760
Speaker 5: opinion on it. He said, well, how about this, how

2495
02:09:11,760 --> 02:09:13,560
Speaker 5: about we just make it the Madline and just play

2496
02:09:13,600 --> 02:09:15,240
Speaker 5: his album. I said, no, it doesn't doesn't need to

2497
02:09:15,280 --> 02:09:17,640
Speaker 5: even be that. I just want to be properly try

2498
02:09:17,920 --> 02:09:18,960
Speaker 5: for what I did. And from there on that we

2499
02:09:19,000 --> 02:09:24,919
Speaker 5: had no problem at all. Funny enough, that was actually

2500
02:09:26,000 --> 02:09:29,320
Speaker 5: all That album is the first time auto tunes have

2501
02:09:29,400 --> 02:09:31,680
Speaker 5: actually used on an R and b record, Wow, what

2502
02:09:31,840 --> 02:09:38,000
Speaker 5: year is that? I don't know it was before because

2503
02:09:38,040 --> 02:09:39,600
Speaker 5: Sheriff did it. Obviously that was the first one. And

2504
02:09:39,640 --> 02:09:42,320
Speaker 5: then I want to say, and then Jennifer Lopez had

2505
02:09:42,360 --> 02:09:44,440
Speaker 5: it on. I think maybe if you Want My Love

2506
02:09:44,560 --> 02:09:46,920
Speaker 5: or something like that. We did a record with Total,

2507
02:09:49,520 --> 02:09:50,280
Speaker 5: did he explode?

2508
02:09:53,640 --> 02:09:58,080
Speaker 3: Am I the only one that really likes Total? I

2509
02:09:58,280 --> 02:10:01,240
Speaker 3: appreciate Total for what they were, what know theirs? The

2510
02:10:01,280 --> 02:10:10,520
Speaker 3: first album was JAC Sitting Home. I tried. Look they

2511
02:10:10,520 --> 02:10:11,880
Speaker 3: had on there called rock track.

2512
02:10:11,960 --> 02:10:16,720
Speaker 1: I remember it was like having having good songs and

2513
02:10:16,880 --> 02:10:22,080
Speaker 1: giving good performances are two different, right, And what I

2514
02:10:22,160 --> 02:10:26,720
Speaker 1: appreciated about Total is that I felt they worked within it.

2515
02:10:27,480 --> 02:10:29,280
Speaker 1: I felt that they were accessible. They were the girls

2516
02:10:29,320 --> 02:10:32,000
Speaker 1: next door. They sound right your cousin Tanisia's singing.

2517
02:10:32,800 --> 02:10:34,280
Speaker 5: And I don't think I ever tried to be anything

2518
02:10:34,320 --> 02:10:38,560
Speaker 5: more than you know, like So we did the Remember

2519
02:10:39,000 --> 02:10:41,680
Speaker 5: we did the record. It was it called I don't

2520
02:10:41,680 --> 02:10:43,560
Speaker 5: remember what it was called, but you look up mad

2521
02:10:43,640 --> 02:10:46,960
Speaker 5: line Total, it'll it'll come up. But we did the record,

2522
02:10:47,120 --> 02:10:51,560
Speaker 5: and I'm gonna try something right after. I already I

2523
02:10:51,680 --> 02:10:53,920
Speaker 5: was using pro tools, you know, early on, so I

2524
02:10:54,000 --> 02:10:56,520
Speaker 5: knew about the auto tune effect, so I put auto

2525
02:10:56,560 --> 02:10:58,280
Speaker 5: tune I think on pay the Dark Pan was the

2526
02:10:58,360 --> 02:11:00,880
Speaker 5: dark Skian girl put Auto two on her. She was like,

2527
02:11:01,800 --> 02:11:04,200
Speaker 5: what's that? So I'm like, oh, I'm just gonna put

2528
02:11:04,200 --> 02:11:07,560
Speaker 5: all on all their vocals, all her background.

2529
02:11:07,640 --> 02:11:09,000
Speaker 3: The first of the second album.

2530
02:11:09,360 --> 02:11:13,800
Speaker 5: This is One Mad Lines was featuring featuring Total, so

2531
02:11:14,480 --> 02:11:16,760
Speaker 5: we did I did the bag speaking. That's another funny

2532
02:11:16,800 --> 02:11:19,480
Speaker 5: story that that doing that record is how I met

2533
02:11:19,680 --> 02:11:24,880
Speaker 5: Joey Longo, Pal Joey this but this was when Thong

2534
02:11:25,040 --> 02:11:32,280
Speaker 5: song was out and okay, so wait they used drums

2535
02:11:32,320 --> 02:11:38,240
Speaker 5: from Earth People. So I walk into Unique, Wow the

2536
02:11:38,360 --> 02:11:41,160
Speaker 5: dam I'm doing this session and I look at my

2537
02:11:41,400 --> 02:11:45,320
Speaker 5: uh track sheet and it says assistant engineer or by session,

2538
02:11:46,360 --> 02:11:49,160
Speaker 5: assistant Engineer's gonna be Pal Joey. And actually it might

2539
02:11:49,240 --> 02:11:51,320
Speaker 5: have just said Joey Longo because that was just real near.

2540
02:11:52,400 --> 02:11:54,000
Speaker 5: So I'm in the room and it's just, you know,

2541
02:11:54,120 --> 02:11:56,400
Speaker 5: this white dude a little bit older than me, you know,

2542
02:11:57,280 --> 02:11:59,320
Speaker 5: you know what he was talking about. And I started

2543
02:11:59,360 --> 02:12:02,920
Speaker 5: putting on are you Pal Joey, like the Pal Joey

2544
02:12:02,960 --> 02:12:05,920
Speaker 5: and he's like, you know who I am. I'm like,

2545
02:12:07,800 --> 02:12:13,240
Speaker 5: you know Earth People? Soho krs like I was just

2546
02:12:13,360 --> 02:12:15,040
Speaker 5: I was so wide I did so I was like,

2547
02:12:15,040 --> 02:12:15,960
Speaker 5: why are you working here?

2548
02:12:17,760 --> 02:12:17,960
Speaker 3: Wait?

2549
02:12:18,200 --> 02:12:22,000
Speaker 1: Can you stop the story? Yeah, I know pal Joey

2550
02:12:22,080 --> 02:12:27,320
Speaker 1: from all the Kras credits. Pal Joey did motherfucking so

2551
02:12:27,520 --> 02:12:28,320
Speaker 1: host hop music.

2552
02:12:28,440 --> 02:12:29,920
Speaker 5: Yes, that's what I'm saying, Yes.

2553
02:12:35,240 --> 02:12:35,960
Speaker 8: In a conversation.

2554
02:12:36,120 --> 02:12:39,400
Speaker 3: Now, yeah, I think you should have got it.

2555
02:12:39,440 --> 02:12:41,160
Speaker 1: You think he probably got a pretty good check because

2556
02:12:41,400 --> 02:12:44,640
Speaker 1: Mark Ronson sampled him well, credited him on the uh

2557
02:12:45,360 --> 02:12:47,520
Speaker 1: the last record that the the.

2558
02:12:47,560 --> 02:12:49,080
Speaker 3: One that sounds like hot music.

2559
02:12:49,920 --> 02:12:54,640
Speaker 5: So so so I'm like, I'm I you know, looking back,

2560
02:12:54,720 --> 02:12:56,200
Speaker 5: that was a crazy thing to ask. By the time,

2561
02:12:56,240 --> 02:12:58,880
Speaker 5: I was just like, he's a hero to me. And

2562
02:12:59,040 --> 02:13:02,320
Speaker 5: when I hear thongs so he has aside from Hot Music,

2563
02:13:02,400 --> 02:13:06,840
Speaker 5: his other classic house record is Earth People Dance, So

2564
02:13:07,400 --> 02:13:09,600
Speaker 5: he had a bonus beats version on the flip that

2565
02:13:09,720 --> 02:13:13,480
Speaker 5: the DJ's used to rints crazy. So yeah, So at

2566
02:13:13,520 --> 02:13:16,560
Speaker 5: the end of Thong song, I remember it changes and

2567
02:13:16,600 --> 02:13:18,840
Speaker 5: it gets a little bit more foreign to Flourish. They're

2568
02:13:19,040 --> 02:13:22,520
Speaker 5: using pal Joey's drums. So not only has this done

2569
02:13:22,560 --> 02:13:24,560
Speaker 5: done amazing classic records, and at the time, I'm thinking

2570
02:13:24,600 --> 02:13:26,680
Speaker 5: that all of my heroes are living, rich and lavish

2571
02:13:27,200 --> 02:13:28,800
Speaker 5: and are doing are well to do whatever. So I

2572
02:13:28,840 --> 02:13:31,240
Speaker 5: asked him, why are you working here? He's like, well,

2573
02:13:31,480 --> 02:13:33,840
Speaker 5: I wanted to learn about engineering and I needed a job.

2574
02:13:34,800 --> 02:13:37,600
Speaker 5: So I'm like, but you realized that, like your drums

2575
02:13:37,640 --> 02:13:39,920
Speaker 5: are sampled in the number one record in the world

2576
02:13:40,000 --> 02:13:43,560
Speaker 5: right now, you don't need like why are you working here?

2577
02:13:44,080 --> 02:13:45,880
Speaker 5: And I was just so that was my first time

2578
02:13:45,920 --> 02:13:48,560
Speaker 5: meeting somebody that was a hero mine, but meeting them

2579
02:13:48,600 --> 02:13:51,040
Speaker 5: is just in their regular life. And he was like,

2580
02:13:51,080 --> 02:13:52,600
Speaker 5: you think I can get some money for that, and

2581
02:13:52,680 --> 02:13:59,040
Speaker 5: I'm like, dude, yeah, those are clearly your drums, your

2582
02:13:59,120 --> 02:14:02,080
Speaker 5: program drums, not a loop you found and no, this

2583
02:14:02,240 --> 02:14:04,760
Speaker 5: is your program drums are on the biggest record.

2584
02:14:06,840 --> 02:14:12,720
Speaker 3: Wow, I'm mind blowing this. Pal Joey Yes, ah damn

2585
02:14:12,880 --> 02:14:13,560
Speaker 3: that's Earth People.

2586
02:14:13,800 --> 02:14:14,000
Speaker 5: Yeah.

2587
02:14:14,560 --> 02:14:16,000
Speaker 3: Yeah, I'm sorry, it's Earth People.

2588
02:14:16,120 --> 02:14:17,800
Speaker 5: So dude, I'm just the random Sorry. I met Pal

2589
02:14:17,920 --> 02:14:19,880
Speaker 5: Joey and kind of like was like, yo, dude, talk

2590
02:14:19,920 --> 02:14:22,360
Speaker 5: to this lawyer. You can go get some money next time.

2591
02:14:22,400 --> 02:14:24,080
Speaker 5: I don't know the exactly outcomeing, but like next time

2592
02:14:24,080 --> 02:14:25,400
Speaker 5: I saw him look a lot happier and it was

2593
02:14:25,440 --> 02:14:30,440
Speaker 5: like yo, yeah, so you know, I'll stop the story

2594
02:14:30,520 --> 02:14:32,080
Speaker 5: there but I think he was doing he did okay,

2595
02:14:32,400 --> 02:14:35,320
Speaker 5: uh made out okay over that. But anyway, Yeah, so

2596
02:14:38,480 --> 02:14:40,560
Speaker 5: that Lion situation was the first time that I'd ever

2597
02:14:40,800 --> 02:14:42,520
Speaker 5: made a little, a nice little trunk of money up

2598
02:14:42,560 --> 02:14:46,760
Speaker 5: front at once. My first time in LA. Uh was that?

2599
02:14:46,840 --> 02:14:49,240
Speaker 5: My first experience in Boystown in LA. I have a

2600
02:14:49,280 --> 02:14:52,720
Speaker 5: great Boystown story. I was talking about Westwood. I don't

2601
02:14:52,760 --> 02:14:55,480
Speaker 5: know it's like the actual Boystown area of LA. Okay,

2602
02:14:56,120 --> 02:14:57,240
Speaker 5: I didn't know what Boystown was.

2603
02:14:58,200 --> 02:15:02,960
Speaker 3: You're the roots in nineteen ninety four when oh wow,

2604
02:15:03,560 --> 02:15:05,880
Speaker 3: I have a I got a better one though. This

2605
02:15:05,960 --> 02:15:07,480
Speaker 3: is we're about to get off the air now.

2606
02:15:13,600 --> 02:15:16,960
Speaker 5: It was this was my second my second time in

2607
02:15:17,200 --> 02:15:19,840
Speaker 5: l A. I ended up in anybody who's familiar with

2608
02:15:20,000 --> 02:15:21,960
Speaker 5: La over next time you're in l A, you know

2609
02:15:22,040 --> 02:15:23,360
Speaker 5: that I hop on Sunset.

2610
02:15:24,160 --> 02:15:26,400
Speaker 3: Yeah, Halloway Drive.

2611
02:15:26,960 --> 02:15:30,680
Speaker 5: Right next to that is the Halloway Motel. So the

2612
02:15:30,840 --> 02:15:34,640
Speaker 5: night of the Grammys, I ended up having to stay

2613
02:15:34,920 --> 02:15:37,760
Speaker 5: in that hotel. Why, not knowing what it was.

2614
02:15:38,840 --> 02:15:40,760
Speaker 3: I'll give you the short It's the cheapest hotel on

2615
02:15:40,840 --> 02:15:41,560
Speaker 3: the not just.

2616
02:15:41,720 --> 02:15:44,440
Speaker 5: It's not even a hotel. Bro It's a place where wait.

2617
02:15:44,280 --> 02:15:46,560
Speaker 3: A minute, wait by the air.

2618
02:15:46,720 --> 02:15:49,440
Speaker 1: Yes, this is what they rhyme about, like thing of

2619
02:15:49,480 --> 02:15:55,760
Speaker 1: the Bristol Hotel by cool. So it's wait, it's crazy

2620
02:15:55,800 --> 02:15:58,680
Speaker 1: because it's like, Okay, I see the Roscoes, I know

2621
02:15:59,120 --> 02:16:00,640
Speaker 1: where the I HOPI.

2622
02:16:00,720 --> 02:16:04,480
Speaker 5: It's literally right next to the eye. How I'll give

2623
02:16:04,520 --> 02:16:07,280
Speaker 5: you the shortest version possible. So this is my second time.

2624
02:16:07,320 --> 02:16:08,800
Speaker 5: This is my first time in LA on my own,

2625
02:16:09,000 --> 02:16:11,720
Speaker 5: just being there. Me and and hip Hop went to La.

2626
02:16:11,880 --> 02:16:13,720
Speaker 5: I think we set up some meetings or whatever.

2627
02:16:14,640 --> 02:16:16,680
Speaker 3: Hip Hop Kanye's manager, Yeah, yeah.

2628
02:16:16,520 --> 02:16:19,520
Speaker 5: Okay, so we're out there. We're both dumb, young we

2629
02:16:19,560 --> 02:16:22,360
Speaker 5: do you know, We're just out there. So this was

2630
02:16:22,640 --> 02:16:24,280
Speaker 5: we were out there while the Grammys were happening, so

2631
02:16:24,360 --> 02:16:26,080
Speaker 5: we kept We're only supposed to be there three days.

2632
02:16:26,080 --> 02:16:28,760
Speaker 5: We kept extending the stay, and the hotel's found with

2633
02:16:28,760 --> 02:16:32,240
Speaker 5: that they're getting money. So the day of the grammysh price,

2634
02:16:33,160 --> 02:16:36,160
Speaker 5: the price just the rooms aren't even available. So there

2635
02:16:36,640 --> 02:16:39,160
Speaker 5: the Grammys comes and I called out to the front

2636
02:16:39,200 --> 02:16:40,680
Speaker 5: desk like, hey, so we're just gonna extend our stay.

2637
02:16:40,680 --> 02:16:43,039
Speaker 5: I'm not going to the Gramies. I'm They're like, oh, sorry,

2638
02:16:43,040 --> 02:16:44,760
Speaker 5: well that room has been sold out since last year

2639
02:16:44,800 --> 02:16:48,440
Speaker 5: for this day, Like and I'm like, all right, so

2640
02:16:48,600 --> 02:16:51,240
Speaker 5: can you help us out? Like we need to stay here.

2641
02:16:51,360 --> 02:16:53,440
Speaker 5: We don't have a plane to get back home. So

2642
02:16:53,640 --> 02:16:56,080
Speaker 5: they called all their other hotels like you know in

2643
02:16:57,120 --> 02:16:59,960
Speaker 5: LA trying to find rooms. They couldn't find a room,

2644
02:17:00,760 --> 02:17:03,280
Speaker 5: they had their rooms available. They start calling other hotels

2645
02:17:03,360 --> 02:17:04,640
Speaker 5: just to try to help us out because we've been

2646
02:17:04,640 --> 02:17:06,480
Speaker 5: staying there for like two weeks, so they were trying

2647
02:17:06,480 --> 02:17:08,360
Speaker 5: to look out for us. Long story short, there are

2648
02:17:08,440 --> 02:17:12,760
Speaker 5: literally no hotel rooms in l A at all period.

2649
02:17:12,840 --> 02:17:15,960
Speaker 5: It's the day of the Grammys. There's nothing. You're also

2650
02:17:16,040 --> 02:17:19,280
Speaker 5: talking like maybe like two thousand. So a lot of

2651
02:17:19,320 --> 02:17:21,080
Speaker 5: those you know a lot of those newer hotels that

2652
02:17:21,120 --> 02:17:23,440
Speaker 5: are in l A now, like those they don't exist

2653
02:17:23,520 --> 02:17:23,840
Speaker 5: back then.

2654
02:17:24,040 --> 02:17:28,000
Speaker 3: This is when records were actually said pre R and B.

2655
02:17:29,560 --> 02:17:40,800
Speaker 5: They just none of it available. So so me and uh,

2656
02:17:41,959 --> 02:17:45,280
Speaker 5: uh that's see, I forget dude's name. What was the

2657
02:17:45,560 --> 02:17:48,440
Speaker 5: what were the what was the crew behind Sunshine Anderson's uh.

2658
02:17:48,720 --> 02:17:54,520
Speaker 3: Who was City and uh Mike City producer before I.

2659
02:17:54,600 --> 02:17:56,400
Speaker 5: Forget dude's name, but he was like the guy that

2660
02:17:56,480 --> 02:17:58,920
Speaker 5: kind of ran their crew or was like, oh they

2661
02:17:59,000 --> 02:18:05,920
Speaker 5: had him maybe start with a jay he he he

2662
02:18:06,000 --> 02:18:07,440
Speaker 5: was the industry dud at the time he was popping.

2663
02:18:07,600 --> 02:18:10,520
Speaker 5: I remember what his name was, kind of irrelevant. He

2664
02:18:10,760 --> 02:18:15,120
Speaker 5: was having So I'm skipping around. First of all, my

2665
02:18:15,240 --> 02:18:19,720
Speaker 5: homie mo Betta comes and picks me up mh one

2666
02:18:19,720 --> 02:18:22,760
Speaker 5: of my old homes from the bed. So we're literally

2667
02:18:22,879 --> 02:18:26,000
Speaker 5: driving around La trying to find our hotel. That's the

2668
02:18:26,040 --> 02:18:28,040
Speaker 5: reason why I bought dude up to some chinadis, and

2669
02:18:28,080 --> 02:18:30,560
Speaker 5: dude was because he would start a Grammy party that night.

2670
02:18:31,000 --> 02:18:32,800
Speaker 5: Hip Hop was gonna help him with the party. So

2671
02:18:32,920 --> 02:18:35,520
Speaker 5: a hip left like, ya gotta go help homeboy. Can

2672
02:18:35,560 --> 02:18:36,879
Speaker 5: you try to sort out the rooms? I'm like, yeah,

2673
02:18:36,879 --> 02:18:38,200
Speaker 5: we'll figure it out. At the time, I don't know

2674
02:18:38,200 --> 02:18:39,200
Speaker 5: how difficult it's gonna be.

2675
02:18:40,280 --> 02:18:40,400
Speaker 1: Uh.

2676
02:18:40,680 --> 02:18:42,080
Speaker 5: We check out of the room. Hip goes and does

2677
02:18:42,120 --> 02:18:45,360
Speaker 5: what he has to do. The party is on at

2678
02:18:45,480 --> 02:18:47,480
Speaker 5: I think the House of Blues on some like that

2679
02:18:47,560 --> 02:18:52,840
Speaker 5: was right off Sunset or whatever. So I get uh,

2680
02:18:53,520 --> 02:18:57,120
Speaker 5: we go around at every hotel, nobody has anything. We

2681
02:18:57,320 --> 02:19:04,760
Speaker 5: plastic place, the Holloway Motel and the Science that's vacancy, right.

2682
02:19:05,520 --> 02:19:07,440
Speaker 5: So we get there and it wasn't even like a

2683
02:19:07,520 --> 02:19:10,480
Speaker 5: front desk. They had like a or the window. They

2684
02:19:10,520 --> 02:19:13,480
Speaker 5: had a window so sign number.

2685
02:19:13,280 --> 02:19:19,039
Speaker 3: Two bulletproof class all you need so hard keys.

2686
02:19:20,560 --> 02:19:22,560
Speaker 5: You have any rooms. He's like, well, unfortunately, guys, we

2687
02:19:22,640 --> 02:19:25,680
Speaker 5: only have doubles. I'm like, well that's great because there's

2688
02:19:25,720 --> 02:19:30,920
Speaker 5: two of us. So he doesn't know that hip, but

2689
02:19:30,959 --> 02:19:32,360
Speaker 5: he sees me and mo bet he's in my homie.

2690
02:19:32,360 --> 02:19:35,200
Speaker 5: He's like when you know, He's like, unfortunately. I'm like, wait,

2691
02:19:35,240 --> 02:19:37,920
Speaker 5: but no, doubles are fine. There's two people. We need

2692
02:19:38,000 --> 02:19:41,840
Speaker 5: two beds. So there's a jar sitting right next to him.

2693
02:19:41,920 --> 02:19:45,400
Speaker 5: I don't look at the joh I'm thinking it's like lollipops, candy.

2694
02:19:46,080 --> 02:19:54,520
Speaker 5: I don't know. But I'm looking around just the neighborhood

2695
02:19:54,959 --> 02:19:57,879
Speaker 5: and there's a lot of prostitutes out here, right whatever.

2696
02:19:58,959 --> 02:20:01,360
Speaker 5: I'm just kind of this is my second time in La,

2697
02:20:01,480 --> 02:20:04,000
Speaker 5: my first time really on my own, so I'm just

2698
02:20:04,040 --> 02:20:05,720
Speaker 5: getting the laying the land. Wow, this is I guess

2699
02:20:05,760 --> 02:20:06,680
Speaker 5: this is the hooker area.

2700
02:20:06,720 --> 02:20:12,720
Speaker 3: I don't know. So they're like pancakes. I get to

2701
02:20:12,840 --> 02:20:13,280
Speaker 3: the whole time.

2702
02:20:13,280 --> 02:20:14,800
Speaker 5: I get it in and it's it's a The room

2703
02:20:14,920 --> 02:20:16,640
Speaker 5: is clean. It's you know, bare bones, but it's clean.

2704
02:20:17,959 --> 02:20:20,440
Speaker 5: So I'm in there for a while and I'm like,

2705
02:20:20,480 --> 02:20:23,040
Speaker 5: I said I'm nobody. So I'm just like, the Grammy

2706
02:20:23,720 --> 02:20:25,640
Speaker 5: Red Carpet is happening. We're watching it on T I'm

2707
02:20:25,640 --> 02:20:27,440
Speaker 5: watching it on TV. Hip Hop is doing his thing,

2708
02:20:27,920 --> 02:20:30,960
Speaker 5: you know, gallivanting with Homeboy at the setting up for

2709
02:20:31,040 --> 02:20:33,640
Speaker 5: the hard rock calf or the not the House of

2710
02:20:33,680 --> 02:20:34,680
Speaker 5: Blues drunk.

2711
02:20:34,800 --> 02:20:37,320
Speaker 3: What album is out that you're is this blueprint or

2712
02:20:37,560 --> 02:20:40,439
Speaker 3: this is pre pre all of that, like two thousand.

2713
02:20:40,720 --> 02:20:44,920
Speaker 5: Maybe maybe a mill Maybe that's probably it. Maybe a mill.

2714
02:20:46,200 --> 02:20:50,800
Speaker 5: So I'm like, well, hip hop is having that party,

2715
02:20:50,840 --> 02:20:52,880
Speaker 5: but back and get into that or always having a party.

2716
02:20:52,959 --> 02:20:55,960
Speaker 5: Hip Hop is back and get into that. So I

2717
02:20:56,040 --> 02:20:57,000
Speaker 5: go to get in the shower.

2718
02:21:00,240 --> 02:21:00,480
Speaker 3: So I.

2719
02:21:05,760 --> 02:21:14,560
Speaker 5: Start showering. It's like, yeah, I think this is something.

2720
02:21:15,360 --> 02:21:19,360
Speaker 3: Do you still have what you caught that night? I

2721
02:21:19,400 --> 02:21:20,360
Speaker 3: don't need to switch seat.

2722
02:21:21,720 --> 02:21:24,120
Speaker 5: Actually, I think this is the fear that we can

2723
02:21:24,160 --> 02:21:27,879
Speaker 5: all relate to. And the shower and middle middle lather

2724
02:21:32,160 --> 02:21:37,280
Speaker 5: mid the water shuts off, there's no water. Yeah, what

2725
02:21:37,360 --> 02:21:42,240
Speaker 5: do you you do? So? And I had like I

2726
02:21:42,320 --> 02:21:46,080
Speaker 5: literally just stepped in waters on me, soap up, water stops.

2727
02:21:46,120 --> 02:21:49,400
Speaker 3: And I'm like the timer on the shower, what do

2728
02:21:49,520 --> 02:21:49,720
Speaker 3: I do?

2729
02:21:50,640 --> 02:21:53,800
Speaker 5: So I kind of I'm covered in soap like it's

2730
02:21:54,280 --> 02:21:55,880
Speaker 5: you can't really just tabl it off because then it's

2731
02:21:55,879 --> 02:21:59,680
Speaker 5: just I had no choice. So that right after that,

2732
02:21:59,760 --> 02:22:03,360
Speaker 5: the rings got the front desk or the front window

2733
02:22:05,520 --> 02:22:07,640
Speaker 5: letting me know that there's been a water main break

2734
02:22:07,680 --> 02:22:10,280
Speaker 5: in the area. There's no water anywhere in the area.

2735
02:22:11,120 --> 02:22:13,320
Speaker 5: So I wipe. I'm still sticky with the soap filleb

2736
02:22:13,320 --> 02:22:15,720
Speaker 5: all over me. I get dressed, I'm like, what do

2737
02:22:15,800 --> 02:22:18,040
Speaker 5: I do? Uh Like, I'll just go to the iehop.

2738
02:22:18,560 --> 02:22:20,960
Speaker 5: Can't go to hop. There's no water, so I hop

2739
02:22:21,120 --> 02:22:24,160
Speaker 5: was closed, so I was just gonna go back to

2740
02:22:24,200 --> 02:22:25,720
Speaker 5: the room. So I'm sitting on the in the room,

2741
02:22:26,280 --> 02:22:28,280
Speaker 5: sitting on the bed watching the Grammy red carpet, still

2742
02:22:28,360 --> 02:22:31,680
Speaker 5: covered in soap, you know, but like sticky and whatnot.

2743
02:22:32,480 --> 02:22:36,080
Speaker 5: And then all of a sudden, I hear coming from

2744
02:22:36,080 --> 02:22:38,960
Speaker 5: the next door. So I'm like, oh, I guess, so

2745
02:22:39,120 --> 02:22:42,720
Speaker 5: somebody somebody's getting it in, so I need somebody is

2746
02:22:42,800 --> 02:22:47,240
Speaker 5: lucky that I notice. I hear many voices. It wasn't

2747
02:22:47,360 --> 02:22:50,480
Speaker 5: just like a male and a female moan, or a

2748
02:22:50,560 --> 02:22:52,160
Speaker 5: male and a male moan, or a female and a

2749
02:22:52,200 --> 02:23:00,280
Speaker 5: female moan. It was just some all types. I'm like,

2750
02:23:03,840 --> 02:23:05,760
Speaker 5: so That's when it really hits me, like, yo, I'm

2751
02:23:05,879 --> 02:23:10,280
Speaker 5: in like a hotel motel, like the hotel motel, and

2752
02:23:10,400 --> 02:23:12,040
Speaker 5: I run back out to I run back out to

2753
02:23:12,080 --> 02:23:14,560
Speaker 5: the front desk and it's closed, but the jar is

2754
02:23:14,560 --> 02:23:16,120
Speaker 5: still there, or the front window, but the jar is

2755
02:23:16,160 --> 02:23:18,400
Speaker 5: still there. And I realized the jars are actually it's

2756
02:23:18,520 --> 02:23:20,520
Speaker 5: what's where the jar, what's in it is. It's not

2757
02:23:20,600 --> 02:23:23,120
Speaker 5: lolly pops, it's not bubble gum. It's packets of ky

2758
02:23:23,440 --> 02:23:33,920
Speaker 5: and kind of so I'm like, right, So I'm like, well,

2759
02:23:34,520 --> 02:23:38,240
Speaker 5: so now I'm just I'm walking around. Remember I said,

2760
02:23:38,280 --> 02:23:41,120
Speaker 5: I noticed there were a lot of hookers out, So

2761
02:23:41,280 --> 02:23:43,320
Speaker 5: that's what I'm realizing. That's when I'm starting to realize

2762
02:23:43,360 --> 02:23:46,039
Speaker 5: what area that I'm in, Like, and I'm staying at

2763
02:23:46,080 --> 02:23:49,680
Speaker 5: a motel that they're all coming to through their business in.

2764
02:23:51,160 --> 02:23:52,320
Speaker 5: So then I try to I'm like, you know what,

2765
02:23:53,040 --> 02:23:55,800
Speaker 5: I'm sticky, I'm covered in soap. I had dreads at

2766
02:23:55,840 --> 02:23:58,840
Speaker 5: the time, so my dreads is all soap and watered

2767
02:23:58,920 --> 02:24:01,720
Speaker 5: up everything. So I'm like, you, I know where the

2768
02:24:01,760 --> 02:24:03,880
Speaker 5: House of Blues is, So I was just gonna try

2769
02:24:03,920 --> 02:24:06,160
Speaker 5: to walk towards there. Maybe I can just get into

2770
02:24:06,160 --> 02:24:07,760
Speaker 5: the party somehow. But then I realize how I look,

2771
02:24:08,520 --> 02:24:09,720
Speaker 5: And then I look at the line and I see

2772
02:24:09,760 --> 02:24:11,240
Speaker 5: the line is down on the block because it's a

2773
02:24:11,320 --> 02:24:14,800
Speaker 5: House of Blues Grammy party in LA And I realize

2774
02:24:14,800 --> 02:24:16,480
Speaker 5: I'm not getting into that, but I'm gonna try anyway.

2775
02:24:16,520 --> 02:24:18,560
Speaker 5: But this is really before cell phone was even really

2776
02:24:18,680 --> 02:24:20,680
Speaker 5: like where I had a cell phone. I want to say,

2777
02:24:20,680 --> 02:24:23,160
Speaker 5: a hit baby did it. I'm like, I don't know

2778
02:24:23,200 --> 02:24:24,320
Speaker 5: what to like. I don't know what to do with

2779
02:24:24,360 --> 02:24:28,640
Speaker 5: this point. So I roamed Boystown for the next couple

2780
02:24:28,680 --> 02:24:35,080
Speaker 5: of hours. Oh wow, and just not you know, what

2781
02:24:35,200 --> 02:24:38,160
Speaker 5: do I do with that situation? So eventually I go

2782
02:24:38,280 --> 02:24:40,080
Speaker 5: back to the hotel. I realize what it is now,

2783
02:24:40,160 --> 02:24:43,080
Speaker 5: water comes back on I you know, finish the shower,

2784
02:24:43,840 --> 02:24:46,160
Speaker 5: so I lay my jacket on top of the bed.

2785
02:24:47,600 --> 02:24:49,760
Speaker 5: I don't get in the bed and I just lay there.

2786
02:24:50,200 --> 02:24:52,520
Speaker 5: So hip hop finally comes in like six thirty in

2787
02:24:52,520 --> 02:24:55,840
Speaker 5: the morning, and he's tired. He's been at this party

2788
02:24:55,920 --> 02:24:57,520
Speaker 5: or like they probably went for food after him, god

2789
02:24:57,600 --> 02:25:01,000
Speaker 5: knows what else. So I come like half asleep, but

2790
02:25:01,000 --> 02:25:02,360
Speaker 5: I see him going to pull the sheets back and

2791
02:25:02,400 --> 02:25:05,800
Speaker 5: get in the bed. I'm like, no, I don't get

2792
02:25:05,840 --> 02:25:09,080
Speaker 5: in the bed whenever you do not get in the bed.

2793
02:25:09,760 --> 02:25:11,640
Speaker 5: He's so confused, like he gets in the bed anyway.

2794
02:25:11,640 --> 02:25:14,440
Speaker 5: I'm like, dude, stop, like to sleep on. Do you

2795
02:25:14,480 --> 02:25:17,000
Speaker 5: see what I'm doing? Do you guise where we're at?

2796
02:25:17,120 --> 02:25:20,320
Speaker 5: You see to drive condoms in ky you know at

2797
02:25:20,360 --> 02:25:31,600
Speaker 5: the front, there was no wow shout out to search.

2798
02:25:33,200 --> 02:25:37,880
Speaker 5: So uh, next morning, uh mo, better finds uh you know,

2799
02:25:37,920 --> 02:25:40,119
Speaker 5: now the grand people are leaving. So the next morning

2800
02:25:40,160 --> 02:25:43,160
Speaker 5: we find a hotel. Oh but then I don't really

2801
02:25:43,200 --> 02:25:45,640
Speaker 5: know that this is traditionally supposed to be an hourly

2802
02:25:45,800 --> 02:25:47,880
Speaker 5: thing and if you stay over there, like check out time,

2803
02:25:47,920 --> 02:25:50,920
Speaker 5: it's still like nine a m. Because nobody goes through

2804
02:25:50,920 --> 02:25:56,560
Speaker 5: those places in stays. So I'm getting the phone calls

2805
02:25:57,640 --> 02:26:01,760
Speaker 5: and dude is a very effeminate and his medisms on

2806
02:26:01,800 --> 02:26:04,560
Speaker 5: the phone, So I'm kind of like just kind of like, yo, whatever, dude,

2807
02:26:04,760 --> 02:26:06,640
Speaker 5: because he's like it was checkout time. I'm like, yeah, whatever,

2808
02:26:06,760 --> 02:26:09,800
Speaker 5: click because I'm I'm activating. I'm tired. If I've had

2809
02:26:09,840 --> 02:26:11,600
Speaker 5: the worst of the night from hell, I just want

2810
02:26:11,600 --> 02:26:13,360
Speaker 5: to sleep inside. Know that I have another hotel room.

2811
02:26:13,959 --> 02:26:17,120
Speaker 5: So dude calls again a little bit later, still, you know,

2812
02:26:17,240 --> 02:26:21,400
Speaker 5: being effeminine, and I'm just like, you gotta get up.

2813
02:26:21,560 --> 02:26:23,080
Speaker 5: I gotta get up, I gotta get up. Hip hop

2814
02:26:23,120 --> 02:26:24,960
Speaker 5: had left righty because he was going to try to

2815
02:26:25,000 --> 02:26:29,040
Speaker 5: find another hotel room. So dude calls one more time

2816
02:26:29,040 --> 02:26:31,320
Speaker 5: and I'm like, hey, yo, we're we're about to be

2817
02:26:31,400 --> 02:26:33,240
Speaker 5: out in fact to be found a hotel room at

2818
02:26:33,280 --> 02:26:36,000
Speaker 5: this point. Next thing, I know, about five minutes later,

2819
02:26:36,000 --> 02:26:39,040
Speaker 5: the banging I'm not doing baby, and it's I hear

2820
02:26:39,120 --> 02:26:40,879
Speaker 5: that same with feminine voice. So I opened the door

2821
02:26:40,959 --> 02:26:43,280
Speaker 5: like ready to like make it the thing. And the

2822
02:26:43,360 --> 02:26:56,480
Speaker 5: dude is like six foot nine diesel my white beaters,

2823
02:26:56,680 --> 02:27:00,560
Speaker 5: his muscles, got muscles, and I'm like, sir, we'll be

2824
02:27:00,720 --> 02:27:01,279
Speaker 5: right out.

2825
02:27:03,200 --> 02:27:04,240
Speaker 3: That episode.

2826
02:27:07,240 --> 02:27:07,640
Speaker 5: I bet you.

2827
02:27:13,240 --> 02:27:18,280
Speaker 1: Man, Let's let's go somewhere. So okay, so sigon, yes man,

2828
02:27:18,560 --> 02:27:20,800
Speaker 1: what happened with that record? Like I'm now that it's

2829
02:27:21,000 --> 02:27:26,000
Speaker 1: like over and what endless delays? So wait did it

2830
02:27:26,040 --> 02:27:26,360
Speaker 1: come out?

2831
02:27:26,800 --> 02:27:29,480
Speaker 5: It did come out, came out twenty eleven.

2832
02:27:30,160 --> 02:27:32,879
Speaker 3: I got that mistake with Jay Electronic means.

2833
02:27:34,000 --> 02:27:39,880
Speaker 5: Lord of Mercy Side was brought to me by like

2834
02:27:39,920 --> 02:27:41,600
Speaker 5: when Sycamore was first trying to figure out what the

2835
02:27:41,640 --> 02:27:45,040
Speaker 5: an R game was. Whenever he wanted to work with me, Like,

2836
02:27:45,200 --> 02:27:46,960
Speaker 5: and I used to just see Sycamore around and be like,

2837
02:27:47,120 --> 02:27:50,520
Speaker 5: who is this dude? Like I'll be in Chicago, and

2838
02:27:50,560 --> 02:27:53,280
Speaker 5: the next I'll be in Cleveland, and I'll be in Chicago,

2839
02:27:53,360 --> 02:27:55,400
Speaker 5: Sycamore is there. I'll be in Cleveland the next day

2840
02:27:55,520 --> 02:27:58,360
Speaker 5: he's there, and I'm like, you know, he was just

2841
02:27:58,440 --> 02:28:01,200
Speaker 5: trying to I was on a road with Jay and

2842
02:28:02,520 --> 02:28:04,880
Speaker 5: Fifty at the time, so Sick was kind of just

2843
02:28:05,000 --> 02:28:06,760
Speaker 5: like finding out where we were playing at and popping

2844
02:28:06,840 --> 02:28:08,680
Speaker 5: up in every market, just trying to make a name

2845
02:28:08,720 --> 02:28:11,560
Speaker 5: for him. So so took a lot of control him.

2846
02:28:11,560 --> 02:28:12,840
Speaker 5: He wanted to do the an R thing. So he

2847
02:28:12,879 --> 02:28:14,280
Speaker 5: brings me a bunch of artists. One of the artists

2848
02:28:14,280 --> 02:28:17,440
Speaker 5: he brings me aside off, So I'm like, yo, kid's

2849
02:28:17,520 --> 02:28:19,760
Speaker 5: kind of nice have him coming down to the studio.

2850
02:28:20,480 --> 02:28:24,080
Speaker 5: Gave SI about four records or four beats. I'm gonna

2851
02:28:24,080 --> 02:28:25,800
Speaker 5: take these home and let me know, you know, bring

2852
02:28:25,879 --> 02:28:29,040
Speaker 5: me back what you come up with in the meantime,

2853
02:28:29,160 --> 02:28:31,280
Speaker 5: Like you know, he'd had his Warning Shots mixtape out.

2854
02:28:32,320 --> 02:28:36,560
Speaker 5: He had literally like a a a crazy binder full

2855
02:28:36,600 --> 02:28:39,240
Speaker 5: of press and whatnot already. So I'm like, all right,

2856
02:28:39,240 --> 02:28:41,320
Speaker 5: I think, you know, the kid has some stuff popping. Uh,

2857
02:28:42,160 --> 02:28:43,400
Speaker 5: letsten to me. He comes back with. You know, in

2858
02:28:43,520 --> 02:28:45,480
Speaker 5: terms of the music music he brings back is not

2859
02:28:45,680 --> 02:28:49,119
Speaker 5: mind blowing, but it's good considering he just went home

2860
02:28:49,280 --> 02:28:51,280
Speaker 5: and one night wrote four songs and brought him right

2861
02:28:51,360 --> 02:28:54,800
Speaker 5: back to me. So I'm I'm still debating, like what

2862
02:28:54,920 --> 02:28:56,240
Speaker 5: we can do with this, If we can make it

2863
02:28:56,320 --> 02:28:59,240
Speaker 5: into something, he's coming around baseline more. I'll giving him

2864
02:28:59,240 --> 02:29:03,920
Speaker 5: more music. Within a week of that, word starts to

2865
02:29:03,959 --> 02:29:09,240
Speaker 5: spread that we are, you know, hanging out before we

2866
02:29:09,360 --> 02:29:11,560
Speaker 5: could even do the bidding war thing or anything like that.

2867
02:29:11,680 --> 02:29:14,560
Speaker 5: Atlantic comes right to the table, like, so we heard

2868
02:29:14,600 --> 02:29:17,760
Speaker 5: just plays working with a notice name Sagon and Ge

2869
02:29:17,800 --> 02:29:20,320
Speaker 5: is involved, and hip hop is involved. So we wanted

2870
02:29:21,160 --> 02:29:24,280
Speaker 5: didn't hear, didn't hear a song, didn't hear a demo,

2871
02:29:24,920 --> 02:29:28,920
Speaker 5: heard nothing. They just saw the names on paper, just plays, Sagon,

2872
02:29:29,280 --> 02:29:35,200
Speaker 5: Gem Robinson, hip Hop, Rockefeller. Go like, why why would

2873
02:29:35,200 --> 02:29:37,000
Speaker 5: we not a part of this? And because of the

2874
02:29:37,040 --> 02:29:38,600
Speaker 5: way his buzz was at the time, at least in

2875
02:29:38,600 --> 02:29:41,320
Speaker 5: the underground and throughout New York, I think they thought

2876
02:29:41,360 --> 02:29:44,720
Speaker 5: they were getting like the next fifty cent right, and

2877
02:29:45,280 --> 02:29:50,040
Speaker 5: it wasn't that His music wasn't that and so me,

2878
02:29:50,480 --> 02:29:52,960
Speaker 5: you know, being young in experience in that field, just

2879
02:29:53,200 --> 02:29:56,120
Speaker 5: was like, oh they hey, we don't even have to

2880
02:29:56,160 --> 02:29:57,760
Speaker 5: make a demo. They just wanna sign up because it

2881
02:29:57,920 --> 02:30:00,400
Speaker 5: was involved great looking back to my the worst things

2882
02:30:00,400 --> 02:30:05,120
Speaker 5: you could ever do. You already know that. And on

2883
02:30:05,280 --> 02:30:09,040
Speaker 5: top of that, G and hip hop are gonna be

2884
02:30:09,080 --> 02:30:12,160
Speaker 5: in the building at Atlantic. Now I kind of want

2885
02:30:12,200 --> 02:30:13,760
Speaker 5: to say that this might have been their entry point

2886
02:30:13,800 --> 02:30:16,680
Speaker 5: into Atlantic or this was like happened right after they

2887
02:30:16,720 --> 02:30:19,600
Speaker 5: made their way into Atlantic. So you have, you know,

2888
02:30:19,720 --> 02:30:22,440
Speaker 5: two of your very good friends now being the heads

2889
02:30:22,440 --> 02:30:24,400
Speaker 5: of A and R at the labels. Like it's a

2890
02:30:24,480 --> 02:30:27,680
Speaker 5: no brainer. You know, it's a win win for everybody.

2891
02:30:28,760 --> 02:30:31,080
Speaker 5: And as soon as we sent them the like so

2892
02:30:31,200 --> 02:30:34,000
Speaker 5: things are bubbling and I knew something was up, and

2893
02:30:34,280 --> 02:30:37,879
Speaker 5: like we gave them the first record was it Pain

2894
02:30:37,959 --> 02:30:41,720
Speaker 5: in My Life with Trey songs on it, which they

2895
02:30:41,760 --> 02:30:43,320
Speaker 5: didn't lift the finger to make it happen. We did it,

2896
02:30:44,680 --> 02:30:47,800
Speaker 5: got the record played or it's playing out seven, it's

2897
02:30:47,800 --> 02:30:51,720
Speaker 5: playing on a few other markets. Videos being played on

2898
02:30:51,840 --> 02:30:58,080
Speaker 5: b et. He uh was hosting rap City for a

2899
02:30:58,120 --> 02:30:59,840
Speaker 5: week or what. I don't know if he was on it,

2900
02:31:00,080 --> 02:31:03,480
Speaker 5: he had a regular series of like rotation like PSAs

2901
02:31:03,480 --> 02:31:05,160
Speaker 5: that he was doing on MTV, and I want to

2902
02:31:05,160 --> 02:31:06,959
Speaker 5: say he holds in Rahap City for like three days

2903
02:31:07,080 --> 02:31:09,640
Speaker 5: or something. All this is happening when Painting My Life drops.

2904
02:31:10,000 --> 02:31:12,960
Speaker 5: None of this is from Atlantic. This is either from

2905
02:31:13,879 --> 02:31:17,200
Speaker 5: pds or music directors whatever. Being a fan of him,

2906
02:31:17,840 --> 02:31:20,600
Speaker 5: a fan of the music. It wasn't me calling in favors.

2907
02:31:20,600 --> 02:31:22,320
Speaker 5: It wasn't us calling in favors. It was all happening

2908
02:31:22,400 --> 02:31:24,640
Speaker 5: very organically. So we're looking at the label like, hey,

2909
02:31:24,720 --> 02:31:26,520
Speaker 5: this is happening on his own without you guys lifting

2910
02:31:26,520 --> 02:31:29,560
Speaker 5: a finger. How about you lift a finger?

2911
02:31:31,320 --> 02:31:32,000
Speaker 3: Do you know? How about it?

2912
02:31:32,560 --> 02:31:34,120
Speaker 5: Like they were like, well, how do we do this?

2913
02:31:34,160 --> 02:31:35,720
Speaker 5: How do we sell this? And this is right when

2914
02:31:35,760 --> 02:31:37,520
Speaker 5: they're starting to This was that same year that they

2915
02:31:37,560 --> 02:31:39,360
Speaker 5: made all that money selling ring tones for the first time,

2916
02:31:40,400 --> 02:31:42,119
Speaker 5: So they're looking at this like how do we sell

2917
02:31:42,320 --> 02:31:45,560
Speaker 5: ring tones of this music? This is socially conscious, actual

2918
02:31:45,640 --> 02:31:47,640
Speaker 5: like real hip hop, how do we sell this? And

2919
02:31:47,760 --> 02:31:49,640
Speaker 5: I'm like, well, you know, you guys are a label.

2920
02:31:50,959 --> 02:31:53,400
Speaker 5: You've been selling records for you know, one hundred years now,

2921
02:31:54,400 --> 02:31:55,960
Speaker 5: and that's no slight to them. That's just really what

2922
02:31:56,040 --> 02:31:58,800
Speaker 5: my attitude was, like we've if I can't, if the

2923
02:31:58,920 --> 02:32:02,199
Speaker 5: music can organically find its way to MTV b et

2924
02:32:03,000 --> 02:32:05,760
Speaker 5: ninety seven, most of the other with the exception of it,

2925
02:32:05,840 --> 02:32:07,480
Speaker 5: like we were get was getting played in Boston, was

2926
02:32:07,480 --> 02:32:11,199
Speaker 5: getting played in Miami, it was getting played in Chicago.

2927
02:32:11,440 --> 02:32:15,240
Speaker 5: All this is happening without any of us calling it

2928
02:32:15,320 --> 02:32:18,320
Speaker 5: any heavy favors. And with that, you guys, they were

2929
02:32:18,560 --> 02:32:20,600
Speaker 5: not lifting your finger. Imagine what can happen if you

2930
02:32:20,640 --> 02:32:23,520
Speaker 5: guys did. And they just never did. And then they

2931
02:32:24,600 --> 02:32:26,600
Speaker 5: it started eventually became a parent. They just didn't know

2932
02:32:26,640 --> 02:32:28,840
Speaker 5: what to do with it. So at that point, I'm

2933
02:32:28,840 --> 02:32:30,280
Speaker 5: looking at it, all right, let's figure out to get

2934
02:32:30,280 --> 02:32:34,640
Speaker 5: out of this contract. But to Craig Coleman's credit, Craig

2935
02:32:34,840 --> 02:32:38,680
Speaker 5: was Craig admitted that and was still trying to find

2936
02:32:38,720 --> 02:32:41,800
Speaker 5: ways to make it work. He still, like it came

2937
02:32:41,879 --> 02:32:44,640
Speaker 5: time to be forecast budget, he was still, you know,

2938
02:32:44,800 --> 02:32:47,800
Speaker 5: going letting it happen. We needed a Jay Giles band

2939
02:32:47,840 --> 02:32:50,440
Speaker 5: sample cleared, which nobody had never really sampled Jay Giles.

2940
02:32:51,160 --> 02:32:53,680
Speaker 5: You know, he personally made the phone call to like

2941
02:32:53,720 --> 02:32:56,039
Speaker 5: the manager. Then you go to sample clearance house. They

2942
02:32:56,320 --> 02:32:59,560
Speaker 5: he personally called a manager made it happen, you know,

2943
02:33:01,000 --> 02:33:05,400
Speaker 5: and while he's trying to put his best foot forward,

2944
02:33:05,840 --> 02:33:08,320
Speaker 5: size getting frustrated at the delays and things. So he

2945
02:33:08,520 --> 02:33:11,720
Speaker 5: started to speak out against the label and then he

2946
02:33:11,920 --> 02:33:15,760
Speaker 5: was like doing things like five page my MySpace posts

2947
02:33:16,240 --> 02:33:19,000
Speaker 5: rentingas Atlantic. I'm like, dude, I'm trying to get these

2948
02:33:19,040 --> 02:33:21,440
Speaker 5: guys to either put up more money speaking finishes, to

2949
02:33:21,440 --> 02:33:24,480
Speaker 5: feel way to do it, or let us go. You

2950
02:33:24,640 --> 02:33:27,560
Speaker 5: keep doing this, You're pissing them off, Like it's gonna

2951
02:33:27,560 --> 02:33:29,600
Speaker 5: make my job harder. Would you either get the album

2952
02:33:29,640 --> 02:33:34,280
Speaker 5: finished or get out of there? And at that time,

2953
02:33:34,360 --> 02:33:36,720
Speaker 5: there was so much transitional stuff happening at Atlantic, which

2954
02:33:36,840 --> 02:33:40,440
Speaker 5: are you already know all about that? Just the process

2955
02:33:40,480 --> 02:33:42,600
Speaker 5: of getting out, even after they agreed to do it,

2956
02:33:43,240 --> 02:33:44,480
Speaker 5: just took god knows how long.

2957
02:33:44,760 --> 02:33:46,000
Speaker 1: I mean, we were able to get out of our

2958
02:33:46,080 --> 02:33:49,320
Speaker 1: stuff like quick, but like Apathy was that at the

2959
02:33:49,360 --> 02:33:49,720
Speaker 1: same time.

2960
02:33:49,920 --> 02:33:50,960
Speaker 3: It shit took like three years.

2961
02:33:51,280 --> 02:33:52,840
Speaker 5: I remember trying to Apathy. He was over there too,

2962
02:33:53,400 --> 02:33:54,640
Speaker 5: And you know, I think with us they had it.

2963
02:33:54,720 --> 02:33:57,160
Speaker 5: They had they hadn't They invested a good amount of money.

2964
02:33:57,200 --> 02:33:59,000
Speaker 5: Like what I did. The first thing, one of the

2965
02:33:59,040 --> 02:34:02,200
Speaker 5: first things that I did was all the producers that

2966
02:34:02,440 --> 02:34:05,000
Speaker 5: had been helping him and supporting him, like guys like

2967
02:34:05,080 --> 02:34:07,120
Speaker 5: Scram and Alchemists and stuff like that. I went back

2968
02:34:07,200 --> 02:34:09,119
Speaker 5: right to those dudes and was like, I can't pay

2969
02:34:09,160 --> 02:34:11,280
Speaker 5: you for your old beats, but I'm gonna give you

2970
02:34:11,280 --> 02:34:13,920
Speaker 5: all you guys song deals. So I'm paying Scram Jones

2971
02:34:13,959 --> 02:34:15,480
Speaker 5: for three beats up front before he's even made them.

2972
02:34:15,520 --> 02:34:17,120
Speaker 5: I'm coming to Alchemists and said, I'm paying you for

2973
02:34:17,200 --> 02:34:19,440
Speaker 5: two beats, like the same guys that helped develop that sound.

2974
02:34:19,480 --> 02:34:21,920
Speaker 5: I want you guys to be the bulk of this album.

2975
02:34:22,200 --> 02:34:24,400
Speaker 5: Buck while same thing. So I'm giving dudes checks before

2976
02:34:24,440 --> 02:34:28,280
Speaker 5: I'm even hearing beats. And for the most part, all

2977
02:34:28,320 --> 02:34:30,720
Speaker 5: that worked out. But that said Atlantic had put out

2978
02:34:30,760 --> 02:34:33,000
Speaker 5: so much put up so much money, they weren't about

2979
02:34:33,000 --> 02:34:37,680
Speaker 5: to just relinquish it without having their right exactly. So

2980
02:34:37,680 --> 02:34:39,720
Speaker 5: by the time they worked out to return and everything else,

2981
02:34:40,040 --> 02:34:42,840
Speaker 5: now we had a position where his buzzes died. So

2982
02:34:43,000 --> 02:34:45,080
Speaker 5: it's like, all right, now we're freedom. We have freedom.

2983
02:34:45,360 --> 02:34:48,119
Speaker 5: We can put the record out how to who wants

2984
02:34:48,160 --> 02:34:49,840
Speaker 5: to buy it now? So we kind of had to

2985
02:34:50,520 --> 02:34:52,440
Speaker 5: get him back in the habit of putting on material.

2986
02:34:52,640 --> 02:34:54,879
Speaker 5: Mace tam s getting him on the road, finding any

2987
02:34:54,920 --> 02:34:58,560
Speaker 5: distributed for the project, for the project, making sure that

2988
02:34:58,680 --> 02:35:01,080
Speaker 5: all those sample clearances, the things that Atlantic had set

2989
02:35:01,160 --> 02:35:03,080
Speaker 5: up in good faith, were being transferred over to the

2990
02:35:03,120 --> 02:35:05,880
Speaker 5: new situation. I have to, like Jay had given me

2991
02:35:05,920 --> 02:35:07,280
Speaker 5: a feature for the album, and now I have to

2992
02:35:07,480 --> 02:35:08,840
Speaker 5: you know, hit Jay and be like, hey, it's still

2993
02:35:08,879 --> 02:35:10,440
Speaker 5: coming out. I want to make sure we're still good,

2994
02:35:11,160 --> 02:35:14,440
Speaker 5: you know, and all the guys, like all the talent

2995
02:35:14,520 --> 02:35:16,720
Speaker 5: that was on the album, like just like Fat minus

2996
02:35:16,720 --> 02:35:19,360
Speaker 5: Scoop doing the intro misinfo, doing skids, screen learning and

2997
02:35:19,440 --> 02:35:21,240
Speaker 5: doing skits like because it was kind of set up

2998
02:35:21,240 --> 02:35:23,760
Speaker 5: like a radio broadcast, getting on touched with all these

2999
02:35:23,760 --> 02:35:25,600
Speaker 5: people are making sure that like hey it's been five

3000
02:35:25,680 --> 02:35:29,360
Speaker 5: years or four years, but you know, I make sure

3001
02:35:29,360 --> 02:35:31,400
Speaker 5: that we're still good on our clearances. So a lot

3002
02:35:31,440 --> 02:35:32,880
Speaker 5: of that was really the lay of doing it, and

3003
02:35:33,000 --> 02:35:34,920
Speaker 5: at the same time him, you know, getting his buzz

3004
02:35:35,000 --> 02:35:38,480
Speaker 5: back up. It was definitely a learning experience, I think,

3005
02:35:38,560 --> 02:35:40,000
Speaker 5: one that you know, you kind of have to go

3006
02:35:40,120 --> 02:35:42,520
Speaker 5: through to know what mistakes not to do or to

3007
02:35:42,640 --> 02:35:45,000
Speaker 5: make over things that I go for the next time around.

3008
02:35:45,080 --> 02:35:47,720
Speaker 11: So it was five years later, like we started that out,

3009
02:35:47,800 --> 02:35:52,160
Speaker 11: I met SI, I took over, like officially officially took

3010
02:35:52,160 --> 02:35:54,840
Speaker 11: over baseline and O three, I want to say, side

3011
02:35:54,879 --> 02:35:57,720
Speaker 11: came around, uh by and I mess.

3012
02:35:57,560 --> 02:35:59,840
Speaker 5: Sicamore n O three the same year that I bought.

3013
02:35:59,879 --> 02:36:02,080
Speaker 5: But so I want to say, ci I had to

3014
02:36:02,120 --> 02:36:06,000
Speaker 5: start coming around in oh four, middle four, and we

3015
02:36:06,120 --> 02:36:09,480
Speaker 5: were working and like the deal probably happened by late

3016
02:36:09,560 --> 02:36:12,360
Speaker 5: O four early oh five came out in two thousand eleven,

3017
02:36:12,360 --> 02:36:13,200
Speaker 5: So that's six years later.

3018
02:36:13,440 --> 02:36:19,920
Speaker 3: So let's talk about another frustrating project. JA Electrolysis elects.

3019
02:36:22,240 --> 02:36:23,600
Speaker 5: His train is running on schedule?

3020
02:36:24,080 --> 02:36:25,840
Speaker 3: What what schedule?

3021
02:36:25,920 --> 02:36:29,000
Speaker 5: That's his favorite saying my train is running on schedule.

3022
02:36:29,160 --> 02:36:31,720
Speaker 3: Was the last time you had a conversation.

3023
02:36:31,280 --> 02:36:34,840
Speaker 5: With him, a real, real, real conversation, or like that,

3024
02:36:34,920 --> 02:36:39,080
Speaker 5: we had contact, a real conversation. It's been a while,

3025
02:36:40,720 --> 02:36:43,520
Speaker 5: Like when when Carrie Fisher died, we had a conversation.

3026
02:36:44,879 --> 02:36:47,840
Speaker 5: It wasn't about music. It was about carry Fisher.

3027
02:36:48,400 --> 02:36:50,400
Speaker 3: You cite you too are Star Wars.

3028
02:36:50,560 --> 02:36:53,160
Speaker 5: We was just like sci fi guys in general, you know,

3029
02:36:53,640 --> 02:36:57,760
Speaker 5: so so uh that was a conversation. It wasn't a

3030
02:36:57,840 --> 02:36:59,920
Speaker 5: lengthy conversation, but it was a real conversation about so

3031
02:37:00,080 --> 02:37:02,120
Speaker 5: real stuff. Just about life in general and things like that.

3032
02:37:03,200 --> 02:37:07,760
Speaker 5: I want to say after after being Swiss, did did

3033
02:37:07,840 --> 02:37:11,879
Speaker 5: the back and forth thing he d m me super

3034
02:37:11,959 --> 02:37:12,840
Speaker 5: hyped wanting to work.

3035
02:37:13,600 --> 02:37:15,120
Speaker 3: Where is he in the world right now?

3036
02:37:15,280 --> 02:37:19,600
Speaker 5: I don't know he's I want to say, if I

3037
02:37:19,680 --> 02:37:21,879
Speaker 5: remember correctly, though, one of the last times we did

3038
02:37:21,959 --> 02:37:24,240
Speaker 5: have a real lengthy conversation, he had told me that

3039
02:37:24,320 --> 02:37:26,440
Speaker 5: he had bought a house. It was either in New

3040
02:37:26,560 --> 02:37:28,800
Speaker 5: Orleans or in Texas. It might have been in Texas,

3041
02:37:28,840 --> 02:37:32,040
Speaker 5: maybe so he'd be closer to his daughter. Maybe it

3042
02:37:32,080 --> 02:37:33,560
Speaker 5: wasn't like New York and it wasn't in LA. I

3043
02:37:33,640 --> 02:37:35,279
Speaker 5: want to say that. If it wasn't in New Orleans,

3044
02:37:35,920 --> 02:37:39,760
Speaker 5: it was I think maybe in Texas. You know, Jay's

3045
02:37:39,760 --> 02:37:41,560
Speaker 5: always been a nomad. Like it's funny enough, you know,

3046
02:37:42,040 --> 02:37:44,959
Speaker 5: actually how I know James through Shot. It's funny how

3047
02:37:45,000 --> 02:37:47,959
Speaker 5: many things Shot is randomly behind. But yeah, so het

3048
02:37:48,200 --> 02:37:53,040
Speaker 5: y'all got this kid. He's amazing lyricist, great artist, doesn't

3049
02:37:53,080 --> 02:37:55,600
Speaker 5: know a thing about the business, doesn't know how any

3050
02:37:55,640 --> 02:37:57,560
Speaker 5: of this works. You need somebody to take him under

3051
02:37:57,640 --> 02:38:01,879
Speaker 5: his wing. I'm not that guy, you know. I wanted

3052
02:38:01,879 --> 02:38:04,680
Speaker 5: to bring him to you. In the meantime, something and

3053
02:38:04,760 --> 02:38:06,200
Speaker 5: me and this has been in the game days when

3054
02:38:06,200 --> 02:38:09,440
Speaker 5: you ahould talk on a Yeah, somehow Jay ended up

3055
02:38:09,480 --> 02:38:13,000
Speaker 5: stealing my am screen name from Shad Yo Okay.

3056
02:38:13,200 --> 02:38:16,000
Speaker 1: I was thinking as you were talking about this, I

3057
02:38:16,160 --> 02:38:18,520
Speaker 1: was like, I wonder if I should share this story

3058
02:38:18,560 --> 02:38:21,920
Speaker 1: about the time when Jay okay, So he's legendary for

3059
02:38:22,000 --> 02:38:24,240
Speaker 1: this ship. Yeah, you tell you his first so no,

3060
02:38:24,320 --> 02:38:25,240
Speaker 1: I mean it's it's to.

3061
02:38:25,240 --> 02:38:26,800
Speaker 5: Be honest, It wasn't that much of a story, like

3062
02:38:27,080 --> 02:38:28,720
Speaker 5: because I was already aware of him from the shot,

3063
02:38:28,720 --> 02:38:31,880
Speaker 5: because we shot had already prefaced the conversation, and me

3064
02:38:31,959 --> 02:38:34,400
Speaker 5: and Mashad had spoken about him a few times. I

3065
02:38:34,520 --> 02:38:37,120
Speaker 5: wasn't necessarily surprised when I heard from him, But then

3066
02:38:37,160 --> 02:38:43,000
Speaker 5: I realized he didn't like he was just looking Overhad's

3067
02:38:43,000 --> 02:38:45,920
Speaker 5: shoulder or at his computer when when was didn stole

3068
02:38:46,280 --> 02:38:48,160
Speaker 5: my screen And I always figured if he stole probably

3069
02:38:49,320 --> 02:38:52,000
Speaker 5: I doubt that Whi's for shot? Are we talking about?

3070
02:38:54,080 --> 02:38:58,400
Speaker 3: He's done Biggie's woman chance? Uh. He was kind of

3071
02:38:58,440 --> 02:39:01,680
Speaker 3: the he was the gutter of of the of Puff's

3072
02:39:01,720 --> 02:39:03,840
Speaker 3: hip men. He did all I mean, I mean he

3073
02:39:03,920 --> 02:39:09,280
Speaker 3: did do one try. Yeah, I mean he did it like.

3074
02:39:09,520 --> 02:39:11,840
Speaker 5: He's one of those guys that could bounce around like.

3075
02:39:12,240 --> 02:39:15,920
Speaker 3: He'll do Ladies Night for Little Kim, but then he'll

3076
02:39:16,000 --> 02:39:19,160
Speaker 3: do dreams for Biggie, you know what I mean. So,

3077
02:39:20,320 --> 02:39:22,080
Speaker 3: but wait real quick.

3078
02:39:22,200 --> 02:39:27,640
Speaker 1: So during the eight uh campaign and period for Obama,

3079
02:39:28,000 --> 02:39:30,360
Speaker 1: like when all of us were going heavy doing all

3080
02:39:30,400 --> 02:39:34,840
Speaker 1: that stuff, one of the greatest pranks I was ever

3081
02:39:34,959 --> 02:39:39,840
Speaker 1: part of because Jay and I got cool one day

3082
02:39:39,879 --> 02:39:43,200
Speaker 1: he just aimed me two got my aim and we

3083
02:39:43,480 --> 02:39:50,200
Speaker 1: became fast friends that way. And he convinced me two

3084
02:39:51,920 --> 02:39:54,959
Speaker 1: kind of go to my celebrity room to play pranks.

3085
02:39:56,240 --> 02:39:59,120
Speaker 1: And I don't know if I should reveal this, you

3086
02:39:59,160 --> 02:40:07,600
Speaker 1: should absolutely he he uh somehow managed to get Obama's

3087
02:40:09,080 --> 02:40:13,360
Speaker 1: aim name before Obama thought to you know, like back

3088
02:40:13,400 --> 02:40:15,360
Speaker 1: in two thousand and eight, you weren't thinking of okay,

3089
02:40:15,560 --> 02:40:18,119
Speaker 1: let me get my Gmail name, my AOL name.

3090
02:40:18,200 --> 02:40:21,640
Speaker 5: My son Obama on a name he got.

3091
02:40:21,720 --> 02:40:25,320
Speaker 3: He got it on Aim and uh brilliant.

3092
02:40:26,080 --> 02:40:30,120
Speaker 1: First he pranked a Dallas Maverick person to thinking that

3093
02:40:30,280 --> 02:40:31,280
Speaker 1: he was Barack Obama.

3094
02:40:31,680 --> 02:40:31,920
Speaker 3: Wow.

3095
02:40:33,560 --> 02:40:37,640
Speaker 1: Then it sounds like then we got Jonah Hill, which

3096
02:40:37,760 --> 02:40:40,400
Speaker 1: to this day I'm not sure Jonah Hills forgiven me for.

3097
02:40:41,800 --> 02:40:43,279
Speaker 3: But the best one of all.

3098
02:40:46,200 --> 02:40:50,720
Speaker 5: Was not wet. You're reminded me of hold on, hold

3099
02:40:50,760 --> 02:40:53,320
Speaker 5: on finished.

3100
02:40:53,720 --> 02:40:57,240
Speaker 1: I can only imagine with oh my god, I mean,

3101
02:40:58,240 --> 02:41:03,720
Speaker 1: you know, to this, to this, to his credit, that's

3102
02:41:03,800 --> 02:41:09,199
Speaker 1: when I knew. Actually, I think that's also what subsequently

3103
02:41:10,000 --> 02:41:11,480
Speaker 1: ended my days of being on AIM.

3104
02:41:11,680 --> 02:41:12,760
Speaker 5: I used to always be on AIM.

3105
02:41:13,280 --> 02:41:16,120
Speaker 3: I remember they kind of punk me out of it,

3106
02:41:16,320 --> 02:41:19,640
Speaker 3: like I stay inside the solitary confinement, I don't go

3107
02:41:19,680 --> 02:41:20,400
Speaker 3: out to the general.

3108
02:41:20,480 --> 02:41:24,560
Speaker 5: I remember he tried that with me one time, proposing

3109
02:41:24,720 --> 02:41:27,120
Speaker 5: as Scarlett Johanson.

3110
02:41:28,080 --> 02:41:32,280
Speaker 3: Genius. I got about this his genius level finess.

3111
02:41:32,800 --> 02:41:36,880
Speaker 1: I'm telling you, he had nods, nods, engaged so convincingly.

3112
02:41:39,120 --> 02:41:41,000
Speaker 3: It was the most vulnerable I've seen him.

3113
02:41:41,200 --> 02:41:42,920
Speaker 8: He said something prolific, didn't he said, like.

3114
02:41:43,000 --> 02:41:44,800
Speaker 3: I mean he was just like he was so touched

3115
02:41:44,879 --> 02:41:47,440
Speaker 3: and for that the and it was and it was

3116
02:41:47,640 --> 02:41:49,560
Speaker 3: and the way the way that he did it.

3117
02:41:50,160 --> 02:41:52,480
Speaker 1: I was also like, oh, j might be a sociopath,

3118
02:41:52,640 --> 02:41:57,320
Speaker 1: like like this is some this is some uh what's

3119
02:41:57,400 --> 02:42:02,560
Speaker 1: the will Smith six degrees? Since it was the level

3120
02:42:02,920 --> 02:42:05,960
Speaker 1: I've seen him in situations, just switched characters where he

3121
02:42:06,080 --> 02:42:11,200
Speaker 1: can talk the whitest of the rothschild white and the

3122
02:42:11,320 --> 02:42:13,120
Speaker 1: g of the gutter and.

3123
02:42:13,160 --> 02:42:15,640
Speaker 5: Then all of a sudden that so very quickly. Now

3124
02:42:15,760 --> 02:42:17,640
Speaker 5: one thing I say about Jakes, He's a social engineer.

3125
02:42:18,560 --> 02:42:20,960
Speaker 1: It was it was at that moment where I realized

3126
02:42:21,240 --> 02:42:23,400
Speaker 1: that the way that his brain works is just on

3127
02:42:23,560 --> 02:42:24,280
Speaker 1: some next level.

3128
02:42:24,480 --> 02:42:25,680
Speaker 3: So what's going on with him? Man?

3129
02:42:25,760 --> 02:42:31,440
Speaker 5: Like? What the exhibit any fun fact exhibit DE was

3130
02:42:31,520 --> 02:42:35,000
Speaker 5: sponsored by Guitar Center. We have a Guitar Center thing.

3131
02:42:35,360 --> 02:42:41,200
Speaker 1: He all, I went to Guitar Center, I see Apple Store,

3132
02:42:41,280 --> 02:42:43,119
Speaker 1: make it the music Like, that's just real.

3133
02:42:43,440 --> 02:42:46,280
Speaker 5: What happened was, uh, you know, they do their catalog

3134
02:42:46,320 --> 02:42:49,160
Speaker 5: of their circulars whatever, like once every season. Mm hmm.

3135
02:42:50,320 --> 02:42:53,160
Speaker 5: So it was a twofold thing. They wanted to have

3136
02:42:54,360 --> 02:42:57,800
Speaker 5: myself and an engineer and an artist on the cover

3137
02:42:58,680 --> 02:43:05,040
Speaker 5: of that particular season's catalog. My homie, Mike, Mike Chev

3138
02:43:05,200 --> 02:43:10,800
Speaker 5: who was uh yeah, he was so Chev had some

3139
02:43:10,920 --> 02:43:13,000
Speaker 5: kind of insights the Guitar Center, so he hooks up,

3140
02:43:13,000 --> 02:43:16,440
Speaker 5: where's going to be me and him on the cover.

3141
02:43:17,200 --> 02:43:19,959
Speaker 5: And then obviously Jay's are connection. I know Shave through

3142
02:43:20,040 --> 02:43:24,160
Speaker 5: jaz No, I know Shat through ja Electronica. Yeah. Like

3143
02:43:24,200 --> 02:43:26,039
Speaker 5: so when I said I'm saying, I'm tking about electronica,

3144
02:43:26,040 --> 02:43:32,720
Speaker 5: I'm talking about Hope, I'm talking about so long story short.

3145
02:43:32,800 --> 02:43:35,680
Speaker 5: Guitar Center, UH does this thing once a year where

3146
02:43:36,200 --> 02:43:39,119
Speaker 5: obviously most of their employees are aspiring musicians or whatever,

3147
02:43:40,000 --> 02:43:42,760
Speaker 5: DJ's producers, whatever, they are songwriters. So they do a

3148
02:43:42,840 --> 02:43:48,720
Speaker 5: compilation every year of their employee's best music to contest.

3149
02:43:49,160 --> 02:43:53,400
Speaker 5: Whoever makes the best fifteen songs makes the compilation. And

3150
02:43:53,520 --> 02:43:56,400
Speaker 5: this year they wanted to feature something from an established artist,

3151
02:43:57,040 --> 02:44:04,000
Speaker 5: that artist being me. So the idea was, Okay, we'll

3152
02:44:04,080 --> 02:44:07,640
Speaker 5: make a song that'll be you mean Jelec trying to

3153
02:44:07,680 --> 02:44:09,240
Speaker 5: call make a record that will we featured on the

3154
02:44:09,280 --> 02:44:14,119
Speaker 5: Guitar Center compilation. So they bring Rolling into the mix,

3155
02:44:14,760 --> 02:44:17,000
Speaker 5: and Rolling basically says we want to sponsor the making

3156
02:44:17,040 --> 02:44:21,040
Speaker 5: of this record. So they basically just opened the vault

3157
02:44:21,080 --> 02:44:22,720
Speaker 5: and said pick whenever you want. There's no limit to

3158
02:44:22,800 --> 02:44:24,720
Speaker 5: what you want. So I got about the yead of

3159
02:44:24,720 --> 02:44:26,199
Speaker 5: the things. There was not much that I really needed

3160
02:44:26,200 --> 02:44:28,560
Speaker 5: it from Rolling, but like the new June that, like

3161
02:44:28,600 --> 02:44:30,280
Speaker 5: every keyboard they had that was coming out that year,

3162
02:44:31,040 --> 02:44:34,959
Speaker 5: like the guitar synth that they made, like anything they

3163
02:44:35,000 --> 02:44:37,000
Speaker 5: had that was hot. At that point, I was just like,

3164
02:44:37,200 --> 02:44:39,600
Speaker 5: I want one of everything, and within a week we

3165
02:44:39,640 --> 02:44:40,880
Speaker 5: had an all to the studio. None of it was

3166
02:44:40,920 --> 02:44:43,680
Speaker 5: really needed, but it was just all right, cool, appreciate

3167
02:44:43,720 --> 02:44:45,320
Speaker 5: it rolling. So I'm gonna say what it was all

3168
02:44:45,320 --> 02:44:47,160
Speaker 5: sudden done was probably about thirty five forty grand worth

3169
02:44:47,160 --> 02:44:51,760
Speaker 5: a year that they sent over. So we do the

3170
02:44:51,840 --> 02:44:55,520
Speaker 5: cover of the guitar set of Circular. It's already been shot,

3171
02:44:55,520 --> 02:44:57,879
Speaker 5: it's about to come out. I'm trying to find Jason.

3172
02:44:57,879 --> 02:45:00,400
Speaker 5: We could do Exibit A. I can't find him. I

3173
02:45:00,480 --> 02:45:02,960
Speaker 5: filed to Detroit because I knew he was gonna be

3174
02:45:02,959 --> 02:45:07,000
Speaker 5: in Detroit, went to shaves Crib, tracked him down, and

3175
02:45:07,040 --> 02:45:10,320
Speaker 5: we ended up doing Exhibit say in chavs Attic Wow.

3176
02:45:10,720 --> 02:45:12,440
Speaker 5: And a week later you could walk into this is

3177
02:45:12,480 --> 02:45:14,680
Speaker 5: before anybody really knew who he was yet, you could

3178
02:45:14,680 --> 02:45:16,600
Speaker 5: walk into the Guitar Center and get a physical copy

3179
02:45:16,680 --> 02:45:19,600
Speaker 5: of Exhibit A for free, just for walking into Guitar

3180
02:45:19,720 --> 02:45:22,959
Speaker 5: Center with like artbreak and everything.

3181
02:45:23,959 --> 02:45:25,400
Speaker 3: So we do that.

3182
02:45:27,920 --> 02:45:30,160
Speaker 5: With you know, there were a lot of different conversations

3183
02:45:30,200 --> 02:45:33,360
Speaker 5: about what we could do, you know, whether we like

3184
02:45:33,400 --> 02:45:35,240
Speaker 5: at one point that the idea was for me and

3185
02:45:35,360 --> 02:45:37,560
Speaker 5: him to kind of like be a group. You know,

3186
02:45:37,720 --> 02:45:40,400
Speaker 5: I'm I'm primo he's guru, you know that kind of thing,

3187
02:45:40,480 --> 02:45:42,960
Speaker 5: like an actual duo. I went through a lot of

3188
02:45:42,959 --> 02:45:47,000
Speaker 5: different phases and then uh, he would come in baseline

3189
02:45:47,040 --> 02:45:49,840
Speaker 5: just hang out. It was funny, actually, Sagon actually kind

3190
02:45:49,879 --> 02:45:53,200
Speaker 5: of felt a little bit of a way when Jay

3191
02:45:53,240 --> 02:45:56,880
Speaker 5: first came around, right like and his thing was kind

3192
02:45:56,920 --> 02:45:58,680
Speaker 5: of like, yo, who is this guy? Like all of

3193
02:45:58,720 --> 02:46:01,480
Speaker 5: a sudden, you know you you know, like we're trying

3194
02:46:01,480 --> 02:46:04,960
Speaker 5: to get my project right and and this guy just

3195
02:46:05,000 --> 02:46:07,040
Speaker 5: comes down of nowhere and now the intentions on it,

3196
02:46:07,320 --> 02:46:09,560
Speaker 5: it wasn't like the tension was ever away from side.

3197
02:46:10,040 --> 02:46:11,280
Speaker 5: I just think he kind of looked at it like,

3198
02:46:11,680 --> 02:46:12,560
Speaker 5: can we get my thing?

3199
02:46:12,680 --> 02:46:14,680
Speaker 3: You're no longer the bill of the bar or he ring,

3200
02:46:15,080 --> 02:46:15,920
Speaker 3: and and it wasn't And.

3201
02:46:15,920 --> 02:46:17,360
Speaker 5: That wasn't the case that oh Jay was just coming

3202
02:46:17,400 --> 02:46:19,280
Speaker 5: by like all some hanging out and eventually they ended

3203
02:46:19,320 --> 02:46:21,960
Speaker 5: up becoming friends and you know, they're good. You know

3204
02:46:22,040 --> 02:46:23,440
Speaker 5: that That was just kind of the first couple of

3205
02:46:23,520 --> 02:46:25,840
Speaker 5: days of just like yo, who right, just trying to

3206
02:46:25,840 --> 02:46:29,800
Speaker 5: figure out who to dude is. So that was also

3207
02:46:29,840 --> 02:46:31,320
Speaker 5: just kind of the process of me and Ja yetting

3208
02:46:31,360 --> 02:46:33,039
Speaker 5: to know each other as or you can know each

3209
02:46:33,040 --> 02:46:35,160
Speaker 5: other as people in general cause up unt to this point,

3210
02:46:35,160 --> 02:46:38,080
Speaker 5: a lot of our community, you know, keeping we would

3211
02:46:38,600 --> 02:46:41,280
Speaker 5: speak a lot for a week or two, then he

3212
02:46:41,320 --> 02:46:43,560
Speaker 5: would disappear, or I'd get busy or whatever. So this

3213
02:46:43,640 --> 02:46:44,800
Speaker 5: is the first time that we were in each other's

3214
02:46:44,800 --> 02:46:47,360
Speaker 5: company on a regular basis, NonStop for quite a while.

3215
02:46:47,959 --> 02:46:50,920
Speaker 5: So out of that comes Exhibit See, which has many

3216
02:46:50,959 --> 02:46:53,440
Speaker 5: people who were listening to this probably or another story

3217
02:46:53,520 --> 02:46:56,080
Speaker 5: like that was actually we were trying to take it

3218
02:46:56,120 --> 02:46:57,640
Speaker 5: back to the days of when dudes would do promos

3219
02:46:57,680 --> 02:47:00,959
Speaker 5: for DJs. So exam was supposed to be a promo

3220
02:47:01,080 --> 02:47:01,480
Speaker 5: for Angela.

3221
02:47:01,560 --> 02:47:05,800
Speaker 3: Ye, oh my god, what's up with all these women classics?

3222
02:47:08,320 --> 02:47:13,280
Speaker 5: Yeah, so that's actually that the exact same kind of things.

3223
02:47:13,280 --> 02:47:15,240
Speaker 5: So that's why if you listen, Angelae used to have

3224
02:47:15,280 --> 02:47:17,760
Speaker 5: a show call of the Morning After. That's why the

3225
02:47:17,879 --> 02:47:20,640
Speaker 5: end of Exhibit See, I say the Morning After World premiere.

3226
02:47:21,440 --> 02:47:23,440
Speaker 3: I thought that was gonna even title that out right,

3227
02:47:23,600 --> 02:47:24,119
Speaker 3: So now.

3228
02:47:24,160 --> 02:47:25,960
Speaker 5: So we did the record of the idea was do

3229
02:47:26,080 --> 02:47:29,400
Speaker 5: the record take it to the Morning after the next

3230
02:47:29,480 --> 02:47:36,760
Speaker 5: morning and just premiering on there. Jay fell asleep. He

3231
02:47:36,800 --> 02:47:39,200
Speaker 5: fell asleep in the studio. I wasn't one hundred percent

3232
02:47:39,240 --> 02:47:43,039
Speaker 5: in love with the mixed yet and it ended up

3233
02:47:43,080 --> 02:47:44,680
Speaker 5: going from being like I think it was supposed to

3234
02:47:44,680 --> 02:47:47,280
Speaker 5: be a minute long to a now a five minute song.

3235
02:47:50,040 --> 02:47:51,800
Speaker 5: So we just decided to let go of the uh

3236
02:47:52,440 --> 02:47:55,480
Speaker 5: that idea of it being a promo for Angelo, and

3237
02:47:55,560 --> 02:47:57,240
Speaker 5: the record just kind of sat around for a while,

3238
02:47:57,520 --> 02:47:59,040
Speaker 5: you know, my hard drove. So I was going to

3239
02:48:00,280 --> 02:48:04,119
Speaker 5: Tony Touch I Shaved forty five and I'm like, yeah,

3240
02:48:04,120 --> 02:48:06,960
Speaker 5: I can play, like all right, my usual you know

3241
02:48:07,040 --> 02:48:08,840
Speaker 5: everybody you know, it was like I did this record,

3242
02:48:08,879 --> 02:48:10,080
Speaker 5: did that record? I don't want to do that again

3243
02:48:10,680 --> 02:48:12,600
Speaker 5: instead of play a bunch of records I've never played before.

3244
02:48:13,240 --> 02:48:15,360
Speaker 5: It was one of those records. And as soon as

3245
02:48:15,400 --> 02:48:18,560
Speaker 5: I played it, like the phone lines lit up. PD's

3246
02:48:18,600 --> 02:48:22,119
Speaker 5: calling into the room like what is this song? People

3247
02:48:22,160 --> 02:48:25,120
Speaker 5: from other stations in the building are walking into Shave

3248
02:48:25,160 --> 02:48:26,560
Speaker 5: forty five, like yo, what is this? And it just

3249
02:48:26,640 --> 02:48:29,560
Speaker 5: became kind of became a thing. Had I never played

3250
02:48:29,600 --> 02:48:31,640
Speaker 5: Tony Touched the show that night that record, but I might.

3251
02:48:33,200 --> 02:48:34,080
Speaker 3: Guitar Center.

3252
02:48:36,720 --> 02:48:40,320
Speaker 5: We're talking about, I might have never even played any Worlds,

3253
02:48:41,160 --> 02:48:44,800
Speaker 5: you know. So I play it, you know, it does

3254
02:48:44,879 --> 02:48:46,840
Speaker 5: what it does, and it becomes like the first time

3255
02:48:46,879 --> 02:48:49,920
Speaker 5: in years that you're carrying real hip hop at three

3256
02:48:49,920 --> 02:48:53,720
Speaker 5: o'clock in the afternoon on New York Radio. It was

3257
02:48:53,720 --> 02:48:55,039
Speaker 5: anything that hadn't happened in a while.

3258
02:48:57,160 --> 02:48:58,440
Speaker 3: So I mean, it's.

3259
02:49:00,200 --> 02:49:00,760
Speaker 5: What is.

3260
02:49:03,560 --> 02:49:06,360
Speaker 3: What do you think it's gonna take or at this

3261
02:49:06,480 --> 02:49:07,280
Speaker 3: point it's just too far.

3262
02:49:07,440 --> 02:49:09,600
Speaker 5: I don't know. Like here's like Jay, like he's an

3263
02:49:09,600 --> 02:49:11,320
Speaker 5: ideas guy, like I will point him a most proably

3264
02:49:11,320 --> 02:49:23,320
Speaker 5: gonna be a group. So I had I had, so

3265
02:49:23,640 --> 02:49:26,160
Speaker 5: I have three jen trying to come most death records.

3266
02:49:26,480 --> 02:49:29,600
Speaker 5: They did three records. I had them. But it's like

3267
02:49:29,680 --> 02:49:31,600
Speaker 5: then that was then it was another another idea that

3268
02:49:31,680 --> 02:49:33,119
Speaker 5: it was a different idea. There was a different idea.

3269
02:49:33,560 --> 02:49:36,520
Speaker 5: Then j comes a law or Hope comes along. Was

3270
02:49:36,560 --> 02:49:39,200
Speaker 5: to do the deal and was kind of like I

3271
02:49:39,280 --> 02:49:45,400
Speaker 5: guess his thought process initially was if I bring Jay

3272
02:49:45,480 --> 02:49:49,280
Speaker 5: and then just place comes with that mm hmmm, because

3273
02:49:49,320 --> 02:49:52,160
Speaker 5: people were looking at us, you know, as being affiliated,

3274
02:49:52,200 --> 02:49:54,640
Speaker 5: which I can't understand why he would think that. But

3275
02:49:54,760 --> 02:49:56,879
Speaker 5: that wasn't necessarily you know, it's like it doesn't kind

3276
02:49:56,879 --> 02:49:58,880
Speaker 5: of work like that. That's that's like somebody assuming that

3277
02:49:58,920 --> 02:50:01,280
Speaker 5: they signed you, they bring you into work on a movie,

3278
02:50:01,320 --> 02:50:03,400
Speaker 5: and you know, like and I come along with them,

3279
02:50:03,560 --> 02:50:06,879
Speaker 5: you know what I mean, Like it's we're still to right.

3280
02:50:07,200 --> 02:50:11,560
Speaker 5: So Jay's at this point now in London a lot

3281
02:50:11,640 --> 02:50:14,480
Speaker 5: he's working on the album, and you know, I get

3282
02:50:14,520 --> 02:50:16,240
Speaker 5: to court like from you know, from like come by

3283
02:50:16,280 --> 02:50:18,959
Speaker 5: the house. So go by the house. We square every away,

3284
02:50:19,000 --> 02:50:21,920
Speaker 5: everything that we need to square away in terms of

3285
02:50:22,040 --> 02:50:24,880
Speaker 5: my involvement with the album. So I fly out to London,

3286
02:50:25,760 --> 02:50:28,320
Speaker 5: We get a I'm speaking to a lot of stuff,

3287
02:50:28,680 --> 02:50:30,680
Speaker 5: but you know, we get a good amount of the

3288
02:50:30,760 --> 02:50:34,720
Speaker 5: Corley album. He had demo ideas already, so I took

3289
02:50:34,760 --> 02:50:37,480
Speaker 5: those touchdows up, worked on a few new records, didn't

3290
02:50:37,480 --> 02:50:41,400
Speaker 5: exhibit g I think, and h maybe like two more

3291
02:50:43,440 --> 02:50:45,640
Speaker 5: and kind of just got the album to a certain

3292
02:50:45,680 --> 02:50:49,880
Speaker 5: point and that was it. I don't know what happened.

3293
02:50:49,920 --> 02:50:51,360
Speaker 3: And ago.

3294
02:50:53,920 --> 02:50:58,240
Speaker 5: In twenty seventeen. Now this was maybe twenty twelve.

3295
02:50:58,760 --> 02:50:59,959
Speaker 3: Yeah, damn, get me wrong.

3296
02:51:00,040 --> 02:51:03,280
Speaker 5: I could be wrong. Way Yeah it might. It might

3297
02:51:03,360 --> 02:51:04,000
Speaker 5: have been thirteen.

3298
02:51:04,640 --> 02:51:10,720
Speaker 3: There was a large professor record the Angelo by the album.

3299
02:51:12,840 --> 02:51:15,200
Speaker 5: From Let me think about this. I'm trying to see,

3300
02:51:15,320 --> 02:51:17,400
Speaker 5: like I'm trying to figure out what else was happening.

3301
02:51:17,560 --> 02:51:19,640
Speaker 3: You still feel like you're waiting for a doctor. Dre record,

3302
02:51:19,720 --> 02:51:20,760
Speaker 3: even though it came out.

3303
02:51:21,800 --> 02:51:23,560
Speaker 5: That record is not doing but that record is not

3304
02:51:23,760 --> 02:51:28,920
Speaker 5: that's not that's not the one that happened. I remember

3305
02:51:28,920 --> 02:51:30,680
Speaker 5: when I started getting calls like for them for me

3306
02:51:30,760 --> 02:51:32,200
Speaker 5: to come out and work on that record, and I'm like,

3307
02:51:32,840 --> 02:51:35,400
Speaker 5: but they're like, this is a whole different thing. Like

3308
02:51:35,800 --> 02:51:39,160
Speaker 5: I've heard. I would to say probably the first a

3309
02:51:39,200 --> 02:51:41,160
Speaker 5: little bit of the very first Detox because that was

3310
02:51:41,160 --> 02:51:42,440
Speaker 5: one of the first people he called and he was

3311
02:51:43,040 --> 02:51:45,120
Speaker 5: doing it, so I heard a little bit of that.

3312
02:51:45,959 --> 02:51:47,160
Speaker 5: Then he went and wiped all the.

3313
02:51:47,200 --> 02:51:54,880
Speaker 3: Tapes, like literally literally literally, word has it.

3314
02:51:54,959 --> 02:51:59,840
Speaker 5: There is one debt that is in a location, yeah.

3315
02:52:00,200 --> 02:52:02,000
Speaker 3: Just in case, like he passes one.

3316
02:52:02,200 --> 02:52:03,640
Speaker 5: No, he doesn't even he doesn't even want that. I

3317
02:52:03,720 --> 02:52:08,240
Speaker 5: think there's another person who has this. Dad. I could

3318
02:52:08,280 --> 02:52:10,880
Speaker 5: be wrong, I could. I know there is there is

3319
02:52:10,959 --> 02:52:12,760
Speaker 5: a remnant of something. I don't know who has it.

3320
02:52:13,280 --> 02:52:15,480
Speaker 5: He put it that way, it's an engineer.

3321
02:52:15,480 --> 02:52:15,840
Speaker 3: But I do.

3322
02:52:16,120 --> 02:52:18,720
Speaker 5: But the word is. I remember hearing those songs early on,

3323
02:52:19,080 --> 02:52:21,240
Speaker 5: like Usher's Throwback was supposed to be a Detox record.

3324
02:52:22,680 --> 02:52:24,560
Speaker 5: It was supposed to be about him leaving the game.

3325
02:52:24,720 --> 02:52:27,360
Speaker 5: Oh you're gonna want me man? That was the whole thing.

3326
02:52:28,160 --> 02:52:30,240
Speaker 3: Oh wow, what.

3327
02:52:32,200 --> 02:52:32,920
Speaker 5: That was a detox?

3328
02:52:33,040 --> 02:52:33,160
Speaker 3: Right?

3329
02:52:33,240 --> 02:52:36,000
Speaker 1: Look, we can get just lost in these stories forever.

3330
02:52:36,120 --> 02:52:38,280
Speaker 1: We got to stop the show. We're going over her

3331
02:52:38,520 --> 02:52:41,040
Speaker 1: a lot of time. Thank you very much.

3332
02:52:41,120 --> 02:52:41,760
Speaker 3: Just players give it.

3333
02:52:44,200 --> 02:52:47,840
Speaker 1: I won't be having fon take at Lah myself lost

3334
02:52:48,040 --> 02:52:51,240
Speaker 1: and unpaid Bill and Sugar Steve paid Bill.

3335
02:52:51,760 --> 02:52:56,160
Speaker 3: Yes, but he's the richest of all of us. Just

3336
02:52:56,240 --> 02:53:03,840
Speaker 3: look at him us his question signing off, what Love Supreme?

3337
02:53:04,040 --> 02:53:11,560
Speaker 3: See all in the next go Rep West.

3338
02:53:11,600 --> 02:53:15,520
Speaker 1: Love Supreme is a production of iHeartRadio. This classic episode

3339
02:53:15,640 --> 02:53:21,640
Speaker 1: was produced by the team at Bendora. For more podcasts

3340
02:53:21,640 --> 02:53:26,000
Speaker 1: from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever

3341
02:53:26,040 --> 02:53:27,320
Speaker 1: you listen to your favorite shows.