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Speaker 1: Quest Love Show is a production of iHeartRadio. What Up People?

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Speaker 2: June is here and that means it's Black Music Month

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Speaker 2: and that Quest Love Supreme now the Quest Love Show.

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Speaker 1: We've taken this month seriously.

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Speaker 2: It's our chance to celebrate blat music, document its history,

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Speaker 2: and recognize the impact it continues to have on our

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Speaker 2: culture around the world. Throughout June, we'll be bringing you

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Speaker 2: an episode every day.

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Speaker 1: My team and I have gone.

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Speaker 2: Back through the archives and pulled together conversations, stories and

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Speaker 2: moments that helped tell a biggest story about black music

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Speaker 2: and the people who shaped it. We also got four

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Speaker 2: brand new Quest Love Show episodes coming your way, spotlighting artists, thinkers, innovators,

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Speaker 2: cultural shifters, revolutionaries from across the spectrum of black music, past,

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Speaker 2: present and future. Thanks for spending you're a part of

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Speaker 2: June with us.

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Speaker 1: Happy Black Music Month?

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Speaker 3: All right? Yo? What up?

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Speaker 1: Sponsor the Low?

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Speaker 4: Last week we got into part one of our interview

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Speaker 4: with him and and y'all heard that one.

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Speaker 1: Get ready for part two. We go even deep and

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Speaker 1: it's even better. Quest Love Supremes and the House y'all.

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Speaker 2: Yep, I asked you initially then we got sidetracked, but

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Speaker 2: can you just briefly talk about what the gospel circuit

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Speaker 2: is like in remember I told you that the whole thing, Like, okay,

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Speaker 2: you're touring with the Winings, what is what is a

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Speaker 2: working musician making with the winings?

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Speaker 1: In nineteen eighty eighty one just keep it and tel

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Speaker 1: conditions like.

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Speaker 4: Yeah, are y'all in one hotel and the wine is

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Speaker 4: in another one?

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Speaker 3: Eighteen were the same.

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Speaker 1: There is there a rider.

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Speaker 2: I just want to know, like what a working musician

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Speaker 2: makes in the gospel circuit? Like are you playing chess churches?

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Speaker 2: Is it banquet halls? Is the theaters?

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Speaker 1: Like take me through? Are you get me a gig?

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Speaker 1: Darmming with the with the Winings? It explained to me

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Speaker 1: the whole process.

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Speaker 3: Okay, So the Winings when they came out their record,

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Speaker 3: they had a great manager. They had a couple of

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Speaker 3: great managers, Derek Dirtson was one of them, a couple

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Speaker 3: of other people, and they had writers, you know, down

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Speaker 3: to just like a because these managers managed secular acts.

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Speaker 3: So they had writers, and we were doing mainly theaters,

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Speaker 3: and back at that time they had this thing called

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Speaker 3: the World's Greatest Gospel Show. James Cleveland, mighty clouds, and

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Speaker 3: they were doing arenas. They were doing literal arenas like

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Speaker 3: Cobo Hall or something. And so we did a lot

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Speaker 3: of big, big dates. When we did a church, we

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Speaker 3: felt like, you know, it was beneath us, you know,

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Speaker 3: even church with big because we were used to not

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Speaker 3: doing churches. The Wine has had a thing that they said,

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Speaker 3: we don't want to play churches because we don't want

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Speaker 3: to alienate some people don't want to come to church,

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Speaker 3: and we want everybody to hear our music. So we

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Speaker 3: did a lot of theaters, you know, did a lot

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Speaker 3: of theaters, uh Beacon Theater. We did Radio City, We

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Speaker 3: did a lot of a lot of things. So they

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Speaker 3: had a writer. We all stayed in the hotel. We

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Speaker 3: traveled by Greyhound, bus and van. Every now and then

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Speaker 3: we would we would fly, but we we we traveled.

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Speaker 3: We didn't have no problem loading up in a sixteen

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Speaker 3: passenger you know and hiding down the road. You know.

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Speaker 3: So that was the case. But here's let's let's talk

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Speaker 3: about the money. Thank you. It got strange, It got

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Speaker 3: really weird, got weird. I started off making because I

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Speaker 3: knew they were charging like three fifth thirty five hundred

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Speaker 3: the night. Then they were moving up four thousand dollars

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Speaker 3: that they were moving up the ranks, and they we

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Speaker 3: started off making two fifty a night, and we was like, man,

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Speaker 3: this is great money. Well, somebody told them, like, you know,

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Speaker 3: as you guys make more money, the band is going

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Speaker 3: to make less money. And they took that wrong. So

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Speaker 3: when they went up to forty five hundred, we went

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Speaker 3: down to one seventy five. When they went up to

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Speaker 3: five thousand, we went down to like one hundred. They

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Speaker 3: got down to fifty dollars a night because they were like, hey, hey,

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Speaker 3: you know what else y'all gonna play? Well, who else

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Speaker 3: y'all gonna play for? You know, we don't we the

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Speaker 3: only kind of game in town, you know. And we

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Speaker 3: literally got down to fifty dollars a night. And I

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Speaker 3: was on welfare. I was literally collecting unemployment and having

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Speaker 3: to go out of town. So I go to Oakland.

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Speaker 3: I have to stop off at the unemployment office. I

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Speaker 3: go into I go into KFC right next to the

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Speaker 3: unemployment office. Say hey, y'all looking for anybody, y'all got applications?

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Speaker 3: They say, now, we ain't hiring and not going to

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Speaker 3: in the in the job. Yeah, and they say, okay, cool,

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Speaker 3: I signed, I go back. I beget like my fifty

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Speaker 3: dollars from the Wine's three nights, I got a pluck

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Speaker 3: fifty plus. That wasn't per diem. That your perdaem was

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Speaker 3: in your pay So I'm going wait, wait wait wait

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Speaker 3: wait wait oh wow. It was it was kind of

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Speaker 3: it was it was it was, it was. It was

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Speaker 3: a thing. You know, how did you let it get that? Man?

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Speaker 1: Why did why did you guys.

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Speaker 3: Let it get to that point?

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Speaker 1: Like that was yo?

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Speaker 2: I mean, I'm just curious as like you didn't nobody

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Speaker 2: ever say anything like okay, now it's one hundred, that's no.

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Speaker 3: No. My drummer, my my, my, one of my best

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Speaker 3: friends in the group at the time, his name was

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Speaker 3: Sandy loved it. He was a great drummer, and he

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Speaker 3: just got your point, said, man, I can't go out

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Speaker 3: for this. I got to get a job. I'm going

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Speaker 3: to give me a job at Chrystler. And we had

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Speaker 3: meetings like guys, can we get more money? And they

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Speaker 3: were at a place where they were so hot. They

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Speaker 3: were like, if you don't want to play, you know

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Speaker 3: somebody else, And that was just the way it was.

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Speaker 3: And they weren't me, and they would just call themselves

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Speaker 3: being business people. And I stayed as long as I

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Speaker 3: physically could. I was making I literally man was on

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Speaker 3: welfare and playing and I just stuck it, hung in there.

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Speaker 3: I never forget we'd do went to California for a month,

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Speaker 3: and I had to pay for my own food. Every

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Speaker 3: now and then they would pay for our food. You know,

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Speaker 3: come on and sit on down. But they only had

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Speaker 3: a few gigs. We probably had seven gigs out there,

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Speaker 3: so fifty times seven is what it was. And I

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Speaker 3: had to eat. So when I went home, I probably

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Speaker 3: went home literally with like one hundred and eighty bucks

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Speaker 3: in my pocket. If yeah what I'm saying. But my

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Speaker 3: thing was, I loved it so much and I thought,

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Speaker 3: at being young and gouble, I'm like, well, this is

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Speaker 3: how it goes. I'm not leaving. This is the best

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Speaker 3: place for me, So it's not gonna be about money.

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Speaker 3: I didn't realize. I was learning it's not about money.

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Speaker 3: When you do this, you got to have a passion.

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Speaker 3: So that's what it was.

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Speaker 1: Another question I always wanted to know.

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Speaker 2: I'm you know, I grew up in uh uh, you know,

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Speaker 2: a household with at least three thousand records.

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Speaker 1: I'm very, very very familiar with the.

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Speaker 2: Light label, so I know about the history of Ralph

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Speaker 2: Carmichael a man and whatnot. Could you explain that for

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Speaker 2: our listeners and to me too, because I know very little,

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Speaker 2: Like was like a Detroit label, and like why were

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Speaker 2: why was that the was that the go to? Was

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Speaker 2: that the motown of gospel labels back then?

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Speaker 3: It was Andre Crouch made Light Records. Andre Crouch were

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Speaker 3: really good friends and Ralph and invested in Andre's earliest music,

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Speaker 3: you know, and then Andre just blew it up, man,

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Speaker 3: and just he just that's what did it. That's what

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Speaker 3: did it. Andre Crouch built Light Records, and then the

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Speaker 3: Winers went. At that same time, Andre had a little

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Speaker 3: something and they had to kind of part ways. Andre

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Speaker 3: went to Warner Brothers, you know, from there, and so

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Speaker 3: the Winings ran Light Records, and Light Records was a

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Speaker 3: major major force. But it was from La they lived.

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Speaker 3: They were out in Pasadena and somewhere out there, and

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Speaker 3: you know out there that's where Light Records was.

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Speaker 1: The Hawkers too. The Hawkers were.

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Speaker 3: In the Bay Area and they were on Light Yeah,

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Speaker 3: the first record and all of their records were on

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Speaker 3: Light Records. Yeah, Light was the major lay with that.

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Speaker 3: For Word Records hadn't even come into play yet, you know,

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Speaker 3: Light was the thing. And then Ralph he retired and

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Speaker 3: gave his reins over to another guy. And that's when

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Speaker 3: commission came man, and we salvage because we were making

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Speaker 3: money for Light Records. You know, we was really turning

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Speaker 3: some records off.

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Speaker 2: Okay, so now that we're there, can you please tell

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Speaker 2: me just the average creative at least for I'm going

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Speaker 2: on and the go tellus, like your first two records,

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Speaker 2: can you tell me what the creative process is for

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Speaker 2: making those albums?

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Speaker 1: As in, who's the alpha that makes the decisions? Who?

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Speaker 1: How do you guys?

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Speaker 2: Especially, I mean there's six of you or seven of you,

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Speaker 2: six of you, like, is it really democratic or is

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Speaker 2: it just like what you say goes or what?

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Speaker 3: Like?

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Speaker 2: What's the as Fonte would say, sort of the division

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Speaker 2: of labor in creating these records?

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Speaker 3: Man, I was good, and I've always been good at delegating,

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Speaker 3: you know, I understood it. So I broke the group

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Speaker 3: up into two pieces because the singers, Carl Mitchell and

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Speaker 3: Keith they were really Mitchell was he was. He was

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Speaker 3: kind of key in learning the music side, but I

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Speaker 3: had a very funk background, so I would divide it

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Speaker 3: up into here's the singers, this is what we do,

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Speaker 3: and then it was Michael Brooks and myself, Me and Mike.

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Speaker 3: Mike was a keyboard player and he was the songwriter,

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Speaker 3: so we would take his songs. He would say this

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Speaker 3: is this, this, this, this, and then we would add

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Speaker 3: the flare to we put the swag on it. Mitchell

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Speaker 3: and I would put the swag on it, and I

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Speaker 3: was It was never about me, you know, running the show.

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Speaker 3: We were just glad that Mike Brooks was such a

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Speaker 3: good songwriter. He was phenomenal. All of them songs back

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Speaker 3: then basically came from him. We didn't even know anything

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Speaker 3: about songwriting. He was teaching us, but we took his

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Speaker 3: songs and we made them as good as they could be. So,

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Speaker 3: you know, we just we understood that level. So I

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Speaker 3: was really a producer from that angle. Mike was the writer,

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Speaker 3: arranger and producer, so we worked well together. You know.

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Speaker 3: We we never saw anything different from Timmy, Jimmy and

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Speaker 3: Terry or or from Babyface in La so we just

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Speaker 3: took it that you know, you work together, you know,

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Speaker 3: whatever you feel, how you feel about that? He said,

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Speaker 3: oh I like that. I say, well, I like what

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Speaker 3: you're doing. So we just did that and it worked,

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Speaker 3: you know what I mean? That was up.

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Speaker 4: What was the in terms of stacking you'll recording your

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Speaker 4: background vocals?

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Speaker 1: What was that process?

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Speaker 3: Like John Yash a good friend of mine, great great engineer.

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Speaker 3: He ended up getting fired off our first record because

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Speaker 3: a lot of.

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Speaker 2: Firing going on in the commission, yall was getting people

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Speaker 2: out of there. Cut never heard the word fire so much.

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Speaker 3: So here's what we were doing. We heard a different

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Speaker 3: sound from what everybody else heard when it comes to the background.

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Speaker 3: So we took and we stacked you know, each part,

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Speaker 3: you know four four and for and and our backgrounds

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Speaker 3: were more Clark Sisters. One of the songs that we

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Speaker 3: learned our first song.

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Speaker 4: When you say real quick, just so when you say

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Speaker 4: four four four are each one of y'all like four

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Speaker 4: of y'all singing the same part, and y'all are tracking

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Speaker 4: four of us.

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Speaker 3: Singing and racking. We sing two tracks because it was

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Speaker 3: twenty four track at that time, so we really had

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Speaker 3: to manage you jump. So we were singing the bottom,

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Speaker 3: then we sing the middle. Then sometimes Mitchell Carlin and

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Speaker 3: I would sing the top, or just Mitchell Carlin mitchellul

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Speaker 3: singing the top. So we had six tracks of vocals,

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Speaker 3: but we we had intrigates parts because we were always

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Speaker 3: concentrating on the Clark systems. Our first song we ever

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Speaker 3: learned in my mother's in my mother's living room was

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Speaker 3: lookith it's the plain speed a praise speed rain lood

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Speaker 3: hell me to ze. Yeah. When we sang that and

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Speaker 3: learned that, man, we ran out like we ran a

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Speaker 3: grand We jumped off off the porch. We learned it.

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Speaker 3: So we said, this is how our vocals are going

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Speaker 3: to be. So now we're singing this song. If we

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Speaker 3: have a lead, lord be full, sure they and we're

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Speaker 3: singing it. And sure they need surely we need sure they,

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Speaker 3: we need him na. And when we did that part,

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Speaker 3: we were amazed. But the engineer said, no, you can't

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Speaker 3: have the vocals up that loud. They need to be

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Speaker 3: back here. I said, but they don't sound good back there.

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Speaker 3: We want them up louder because it's like background leads.

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Speaker 3: And we had a thing because nobody was doing it

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Speaker 3: that way. So finally he put him where he wanted

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Speaker 3: him and we just said okay. Cool. I went into

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Speaker 3: the stage manager, I mean the studio manager. I told her.

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Speaker 3: I said, you know, we need to get our masters.

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Speaker 3: She said you leave it. Yeah, and she said why.

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Speaker 3: I said, I didn't want to get him, you know fired,

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Speaker 3: I want you know? He said, well, we think our

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Speaker 3: voice woes sound better up here. He said, who's paying

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Speaker 3: for this? Is he paying for this? We pay? Are

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Speaker 3: you paying? And I said we are. She said, you

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Speaker 3: better grow a pair. I'm gonna teach you how to

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Speaker 3: be a man. Record next week came back. It was

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Speaker 3: a different engineer there and he turned it up wherever

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Speaker 3: we wanted and the commission sound was berthed.

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Speaker 1: I love it.

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Speaker 3: The very next album though, we went back with John

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Speaker 3: and he got it and he was here with.

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Speaker 1: The assignment brother, brother Hammond.

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Speaker 2: Can you explain the influence and what makes the Clark

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Speaker 2: sisters their sound or their blend, like, what makes it

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Speaker 2: so spe than anyone's form a background blending or whatnot?

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Speaker 1: Twinkie fun word Twinky Clark.

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Speaker 3: At that time, Twinkie Clark, Twinkie was Stevie to us

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Speaker 3: how she played when she sat down to how she played,

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Speaker 3: how she arranged her harmonies and what she did it

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Speaker 3: was just amazing. And so you have Karen and Derinda

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Speaker 3: and you have you had Denise at that time, and

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Speaker 3: Jackie and Tweinakie was giving out these crazy parts and

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Speaker 3: these crazy chords and it was blowing us all the way.

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Speaker 3: It was amazing. If you go back and listen to it,

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Speaker 3: the recordings weren't that great productionalizing sonically, you know, there's

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Speaker 3: a lot of mistakes that kept going. But if you

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Speaker 3: listen to the heart of Twinkie Clark's arranged, it was

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Speaker 3: just with like that praying spirit. That is an amazing song.

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Speaker 3: That was our north star to say, we want to

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Speaker 3: make people feel like this about our record because at

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Speaker 3: that time we didn't want to sound like the Windings

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Speaker 3: because they were kind of straight ahead, you know, four

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Speaker 3: Tops Temptations, you know, they they were that we wanted

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Speaker 3: to be different. They were that time, go back to

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Speaker 3: go back to go active. Question is no no no

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Speaker 3: no no no no no no no no, just straight.

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Speaker 1: So to you to you.

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Speaker 2: That was regular, just regular flat like harmony one on one.

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Speaker 3: It was one o one.

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Speaker 1: My My parents lived for that record.

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Speaker 2: So I'm growing up thinking that the Winings are the

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Speaker 2: epicenter of you know, and the absolute force of gospel singing.

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Speaker 2: But for you that was just normalized. And the Clark

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Speaker 2: sisters were top shelf.

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Speaker 3: It was as far as being creative, the Clarks were

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Speaker 3: top shelf. As far as the blend the Whinings brothers,

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Speaker 3: there was a blend like no other because they were family.

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Speaker 3: So we took the we took the polished of the Winings,

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Speaker 3: and we took the creativity of the Clark sisters. And

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Speaker 3: that's what commissioned. So if the Winings commission and Clark

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Speaker 3: Sists got together, then they produced us, you know what

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Speaker 3: I'm saying. So that's what you hear, you know. But

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Speaker 3: it was about Twinkie. Twinkie was beast. She was a beast.

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Speaker 3: She was she was amazing, and that's where we got

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Speaker 3: it from.

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Speaker 2: So okay, actually, I want to direct this to James

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Speaker 2: because here's the deal. Again, we're not you know, at

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Speaker 2: the top of the show, I explained that when I

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Speaker 2: was in high school it was almost like a gang experience,

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Speaker 2: and I'm at performing arts school and you got like

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Speaker 2: one cat.

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Speaker 1: Like Kurt Rosenwinkles into Frank Zappa, So you got to

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Speaker 1: learn his language.

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Speaker 2: But then like Chris McBride and Joey Di Francesco are

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Speaker 2: heavy jazz cats, so you got to listen to like

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Speaker 2: anything on Blue Note. And then of course, you know,

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Speaker 2: my partner Triga is hip hop and whatnot. And so

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Speaker 2: there was the fourth category of cats who only lived

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Speaker 2: for Commission. And so you know, like I, even though

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Speaker 2: we didn't go to this same school together, like little

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Speaker 2: John Roberts as a drummer, was how I knew commission.

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Speaker 2: Because the thing is, you know, like I'm thinking, like

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Speaker 2: with my legacy of who my dad was and whatnot'm

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Speaker 2: finally like in a high school situation which I could

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Speaker 2: play like all city jazz band all that stuff. So

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Speaker 2: I'm thinking, like the red carpet is just ready for

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Speaker 2: me and like, you know, for me to get my

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Speaker 2: thing on. And little John Roberts, who's way younger than

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Speaker 2: I was, Like he's like three four years younger. You

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Speaker 2: know this, this little you know, eighth grade runt is

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Speaker 2: playing like an adult and I'm like, wait what and

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Speaker 2: he's little John's let me know, like like.

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Speaker 1: You don't know about Commission.

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Speaker 2: And I'm realizing, you know, cause again I was team

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Speaker 2: Prince that's that's who. That's who I chose that you know,

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Speaker 2: sprints the time and all that stuff. I wasn't him

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Speaker 2: to commission. And yet all my peers, like all those

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Speaker 2: first generation monster Cats were just like taking every word

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Speaker 2: as like bond so for you, for you, James, like

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Speaker 2: how how much of their work, like was influential to

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Speaker 2: you coming up in your dad's church and whatnot?

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Speaker 5: Oh my see, I grew up and my father's a

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Speaker 5: bishop and a Jamaican bishop, which means that we ain't

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Speaker 5: We couldn't do nothing. As my dad said, you count

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Speaker 5: do this, your count do that.

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Speaker 1: He had to sneak to listen to commission.

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Speaker 5: No, no, no, no, no no. That was the only

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Speaker 5: those are the only records that I could listen to,

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Speaker 5: you know, we I grew up, you know, the records

353
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Speaker 5: that were in the house where the Andree Crouch and

354
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Speaker 5: the Hawkens and so forth and so listen to that.

355
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Speaker 5: But when commission came, it was like this is something new.

356
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Speaker 5: All my musician buddies at the time that grew up

357
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Speaker 5: in the church were like, yo, if you you check

358
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Speaker 5: this out. The very beginning of.

359
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Speaker 1: Going on, it was like what is that?

360
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Speaker 5: So it was like we had something, we had something

361
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Speaker 5: cool to listen to, you know what I mean, something

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Speaker 5: that was yeah, something that was.

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Speaker 1: Explained to me.

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Speaker 2: What year did gospel stop really let itself go of?

365
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Speaker 2: Like the Gospel Quartet, Like when did gospel really let go?

366
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Speaker 2: Because even now I collect, like I love collecting gospel

367
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Speaker 2: records that will take that one secular song and turn

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Speaker 2: it into a gospel song like Shalamar second time around,

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Speaker 2: or you know there's a whispers and the beat goes

370
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Speaker 2: on gospel version.

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Speaker 1: There's a Lovely Day that's gospelized.

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Speaker 2: You know, there's always that one token song where they

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Speaker 2: like take a secular song and do it.

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Speaker 1: But the rest of this stuff is like old time gospel.

375
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Speaker 2: At what point in the gospel world do you not

376
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Speaker 2: have to feel shame that you're making people dance and

377
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Speaker 2: not playing the regular gospel time old time you.

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Speaker 4: Brought the sunshine maybe right, I mean Clark.

379
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Speaker 5: Sisters, Yeah, what the sunshine?

380
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Speaker 1: I mean that was master Blast.

381
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Speaker 2: Yeah, so that's the first time in which, like.

382
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Speaker 5: I mean, if you go back to Edward Hawker, edwind Hawkins,

383
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Speaker 5: the Oh Happy Day too, you know what I mean?

384
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Speaker 1: So even then, like that's still gospel to me.

385
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Speaker 2: But like, what's the point where, like you know, where

386
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Speaker 2: you if you take the vocals away, it could be

387
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Speaker 2: a secular song, Like at at what point does that happen?

388
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Speaker 3: It really took hold with B B and CCS first,

389
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Speaker 3: I owe you.

390
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Speaker 1: Mean, yes, I got it right. I was thinking that,

391
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Speaker 1: but I didn't want to say it out loud.

392
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Speaker 3: Thank you, Fred. I'm thinking that's when it really took

393
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Speaker 3: hold because the people didn't know if there was a

394
00:22:02,760 --> 00:22:06,320
Speaker 3: love song album. Yeah, you know, and that's when it

395
00:22:06,400 --> 00:22:12,199
Speaker 3: got popular to actually sing music. Steve Thomas was the

396
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Speaker 3: was the producer at that time. He was a white

397
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Speaker 3: girl with a lot of song in heaven.

398
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Speaker 4: He did a lot of Vanessa Williams stuff too.

399
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Speaker 3: Yeah. Yeah, so that's what it really kicked in.

400
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Speaker 2: So when you're playing in church, are there any elders

401
00:22:27,080 --> 00:22:31,240
Speaker 2: ever giving you side eye? Like because even even mine,

402
00:22:31,320 --> 00:22:33,840
Speaker 2: like I'm not, I didn't. I didn't come from the

403
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Speaker 2: church per se, but I played drums at my church occasionally,

404
00:22:37,240 --> 00:22:41,199
Speaker 2: so like you know, in eighty six eighty seven, you know,

405
00:22:42,160 --> 00:22:45,040
Speaker 2: I might put a little bit of top Villain into

406
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Speaker 2: whatever we're doing, or play like a run DMC break

407
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Speaker 2: beat or whatever, and occasionally like an older uncle would

408
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Speaker 2: give me that look like.

409
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Speaker 1: I know what you're doing. You know you older people

410
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Speaker 1: didn't know.

411
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Speaker 2: When the kids start on the wop, then they're like, oh,

412
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Speaker 2: you're playing.

413
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Speaker 1: Secondly, you don't do that like UPLIFD.

414
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Speaker 2: So are you at all ever getting like side eyes

415
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Speaker 2: if you start referencing a popular baseline, if you start

416
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Speaker 2: doing not just neeedep or something like in your music.

417
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Speaker 3: Man, we caught the blues with that. Man, we caught

418
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Speaker 3: the blues with that. We were getting. Man, we got picketed.

419
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Speaker 3: We got picket at the show. Wait. I wasn't expecting

420
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Speaker 3: that commission. We were doing a we were doing a

421
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Speaker 3: convention in Kentucky, I believe Cincinnati, Kentucky, and man, there

422
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Speaker 3: was they said, Man, we don't want to we don't

423
00:23:39,320 --> 00:23:42,800
Speaker 3: want to bum you out. But there's a whole bunch

424
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Speaker 3: of people, about twenty to thirty people out in the front,

425
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Speaker 3: and they got picket signs saying this music is gonna

426
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Speaker 3: send you to hell. Oh and I never forgot. I

427
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Speaker 3: never forgot. It was like a scene out of a movie.

428
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Speaker 3: Driving up all of a sudden, we in slow motion.

429
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Speaker 3: You hear some strings playing and you see these people. God,

430
00:24:01,520 --> 00:24:04,120
Speaker 3: Devil's music, Devil's really and were just sitting there there

431
00:24:04,160 --> 00:24:07,320
Speaker 3: like what are you doing? But it was still a

432
00:24:07,320 --> 00:24:10,040
Speaker 3: line of young people waiting to get in. And when

433
00:24:10,080 --> 00:24:13,399
Speaker 3: we got inside, we played like never before. We weren't

434
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Speaker 3: really rebellious. We were kind of hurt because we didn't

435
00:24:16,200 --> 00:24:18,439
Speaker 3: see that like that, but we played anyway, and the

436
00:24:18,520 --> 00:24:20,480
Speaker 3: kids came in there and they had a great time,

437
00:24:20,880 --> 00:24:23,800
Speaker 3: and we did have a lot of elders. And people say,

438
00:24:24,280 --> 00:24:28,080
Speaker 3: I don't understand it. Like one pastor was totally against us,

439
00:24:28,640 --> 00:24:31,080
Speaker 3: and the only reason he stopped being totally against us

440
00:24:31,480 --> 00:24:34,679
Speaker 3: is that another pastor had a son that was on

441
00:24:34,800 --> 00:24:37,800
Speaker 3: drugs that was getting clean because he was listening to

442
00:24:37,840 --> 00:24:40,080
Speaker 3: our music and he would come to church. He said,

443
00:24:40,440 --> 00:24:42,680
Speaker 3: I don't know what them boys are doing, but I

444
00:24:42,800 --> 00:24:44,840
Speaker 3: tell you this, if they can get him to do

445
00:24:44,880 --> 00:24:47,800
Speaker 3: his job, I ain't mad at it. And it started

446
00:24:47,880 --> 00:24:50,200
Speaker 3: changing some people around, but it took a long time.

447
00:24:50,600 --> 00:24:50,760
Speaker 1: Man.

448
00:24:50,800 --> 00:24:52,840
Speaker 3: People was picking in us because we had on blue jeans.

449
00:24:52,880 --> 00:24:54,800
Speaker 3: We were the first group to ever wear blue jeans

450
00:24:55,119 --> 00:24:57,879
Speaker 3: on a record, so we was like new addition, and

451
00:24:57,920 --> 00:25:00,359
Speaker 3: people just thought people wouldn't buy a record because of

452
00:25:00,400 --> 00:25:02,239
Speaker 3: what we had on that first open they wouldn't even

453
00:25:02,240 --> 00:25:02,520
Speaker 3: buy it.

454
00:25:03,680 --> 00:25:07,679
Speaker 4: What y'all think the church is keeping is catching up

455
00:25:07,760 --> 00:25:12,080
Speaker 4: yet now they.

456
00:25:12,880 --> 00:25:14,840
Speaker 3: Okay, everybody, everybody ain't in though.

457
00:25:14,880 --> 00:25:18,600
Speaker 1: That's why I was asking.

458
00:25:17,840 --> 00:25:24,720
Speaker 3: Churches in the Potter's house. We have we have dance ministries,

459
00:25:24,760 --> 00:25:27,040
Speaker 3: we have youth ministries, and they could do whatever it

460
00:25:27,119 --> 00:25:29,359
Speaker 3: is as long as it's not sexual looking. They can

461
00:25:29,480 --> 00:25:32,320
Speaker 3: do any dance. They can whoa, they can do whatever

462
00:25:32,359 --> 00:25:35,880
Speaker 3: they want to do to anything. Because he encourages, Man,

463
00:25:36,000 --> 00:25:37,840
Speaker 3: this is current, this is what we're doing. This is

464
00:25:37,880 --> 00:25:41,760
Speaker 3: nothing wrong with this. We we better offer them something.

465
00:25:41,840 --> 00:25:44,399
Speaker 3: Somebody else is gonna offer him something. I want to

466
00:25:44,440 --> 00:25:46,679
Speaker 3: give her something because if they're gonna the pole is

467
00:25:46,680 --> 00:25:49,960
Speaker 3: gonna offer her something. So you know, let's be smart

468
00:25:50,000 --> 00:25:52,920
Speaker 3: about these young people. And they're they're with it now.

469
00:25:53,400 --> 00:25:56,520
Speaker 3: But coming up, man, Eric Robertson is one of my

470
00:25:56,560 --> 00:25:57,080
Speaker 3: best friends.

471
00:25:57,520 --> 00:26:00,000
Speaker 1: I want tenors.

472
00:26:00,200 --> 00:26:03,800
Speaker 3: Yes, so he I never forget. They told me they

473
00:26:03,800 --> 00:26:06,640
Speaker 3: said they brought him down to Popados and they said

474
00:26:06,640 --> 00:26:08,720
Speaker 3: they had a special guest for his birthday, and they

475
00:26:08,760 --> 00:26:11,760
Speaker 3: brought me in the room. He literally started crying and

476
00:26:12,480 --> 00:26:15,359
Speaker 3: we stayed friends ever since. But he told the story

477
00:26:15,400 --> 00:26:18,840
Speaker 3: that really blessed me. He said he hated gospel music

478
00:26:18,880 --> 00:26:23,800
Speaker 3: because it was he didn't like it, and his mother said,

479
00:26:23,840 --> 00:26:26,159
Speaker 3: you got to listen to it, but she was praying

480
00:26:26,200 --> 00:26:30,040
Speaker 3: for something. So one day he was downstairs ironing his

481
00:26:30,080 --> 00:26:33,400
Speaker 3: clothes and his mother put our record on the on

482
00:26:33,440 --> 00:26:36,120
Speaker 3: the iron board and he saw that we had closed

483
00:26:36,760 --> 00:26:40,080
Speaker 3: with like he did, and he looked at it and

484
00:26:40,119 --> 00:26:43,400
Speaker 3: he played it. He said, I literally started crying. He said,

485
00:26:43,400 --> 00:26:46,040
Speaker 3: because you guys, you said it. You guys made it

486
00:26:46,160 --> 00:26:50,760
Speaker 3: cool to do gospels. And that's when the clipped. He

487
00:26:50,800 --> 00:26:53,280
Speaker 3: and I talked about to this day. That's my guy

488
00:26:54,000 --> 00:26:57,960
Speaker 3: good Eric's man. That's coming soon, the quest Love Spring.

489
00:27:00,040 --> 00:27:05,160
Speaker 1: You know, I'm I'm mind blowing. I wasn't expecting the picketting.

490
00:27:05,480 --> 00:27:09,200
Speaker 2: I thought, like, you guys broke through the other side

491
00:27:09,240 --> 00:27:11,720
Speaker 2: and everyone was with it. So it's basically like the

492
00:27:11,760 --> 00:27:16,640
Speaker 2: black footloose, Like.

493
00:27:14,960 --> 00:27:16,919
Speaker 4: It's always a chicken with a skirt underneath the knees

494
00:27:17,040 --> 00:27:17,760
Speaker 4: ready to pick it.

495
00:27:18,400 --> 00:27:20,440
Speaker 1: You know what I'm saying, black footloose.

496
00:27:21,000 --> 00:27:24,280
Speaker 2: Well, I also want to know has there ever been

497
00:27:24,720 --> 00:27:30,280
Speaker 2: musically speaking, how how long would you guys rehearse? And

498
00:27:31,680 --> 00:27:34,040
Speaker 2: you know, was there ever a pressure to top yourselves

499
00:27:34,040 --> 00:27:37,639
Speaker 2: as far as the musicality because you know, again some

500
00:27:37,680 --> 00:27:40,879
Speaker 2: of these songs are straight a hit funk songs. But

501
00:27:40,920 --> 00:27:43,840
Speaker 2: then like you guys will get on your return to Forever,

502
00:27:44,920 --> 00:27:50,199
Speaker 2: you know, crazy arrangements at the end thing and you know,

503
00:27:50,240 --> 00:27:53,639
Speaker 2: so how how how what's the what's the regiment for?

504
00:27:53,840 --> 00:27:58,200
Speaker 2: Like practicing and coming up with new ideas and whatnot.

505
00:27:59,119 --> 00:28:00,720
Speaker 3: There was a point in two when we were doing

506
00:28:00,720 --> 00:28:04,520
Speaker 3: the first several set of records, when our budgets were really,

507
00:28:04,560 --> 00:28:08,440
Speaker 3: really small. What we would do is put twenty hours

508
00:28:08,760 --> 00:28:14,160
Speaker 3: of practice time in a basement to every four hours

509
00:28:14,240 --> 00:28:16,399
Speaker 3: of studio time because we didn't have much money.

510
00:28:16,560 --> 00:28:18,480
Speaker 4: So you're in the studio, you can knock it out.

511
00:28:18,680 --> 00:28:21,800
Speaker 3: We knocking it out. And then we was putting fines

512
00:28:21,800 --> 00:28:23,600
Speaker 3: in place. We ain't had no money, but we was

513
00:28:23,640 --> 00:28:26,000
Speaker 3: putting fines in place. You know, if you miss it,

514
00:28:26,040 --> 00:28:28,600
Speaker 3: if you because you had to do a take, you

515
00:28:28,720 --> 00:28:31,359
Speaker 3: got one tape because we was like, no, we're going

516
00:28:31,440 --> 00:28:33,360
Speaker 3: to be doing this in one take. If you mess

517
00:28:33,440 --> 00:28:35,879
Speaker 3: it up, man, that's a five dollar fine, you know,

518
00:28:36,760 --> 00:28:39,480
Speaker 3: And so the next one we would honestly, but we

519
00:28:39,480 --> 00:28:42,240
Speaker 3: were on it man, because we would and we loved rehearsing.

520
00:28:43,320 --> 00:28:46,800
Speaker 3: We didn't really have no jobs, so we loved rehearsing man,

521
00:28:47,040 --> 00:28:49,120
Speaker 3: and we just saw ourselves in a bit of better place.

522
00:28:49,360 --> 00:28:51,680
Speaker 3: So we would either be a Michael Brooks's basement, and

523
00:28:51,720 --> 00:28:54,680
Speaker 3: we were learning. That's where I brought it in Field College.

524
00:28:55,080 --> 00:28:57,720
Speaker 3: You know, if you go listen to Hide the word

525
00:28:57,880 --> 00:29:02,880
Speaker 3: on the second album, Okay, but the drummer, I listened

526
00:29:02,920 --> 00:29:06,040
Speaker 3: to Level forty two and I listened to Phil Collins

527
00:29:06,040 --> 00:29:10,440
Speaker 3: and them, and uh my drummer was crazy about Phil Collins.

528
00:29:10,440 --> 00:29:13,040
Speaker 3: So we said, we're gonna put this one party in

529
00:29:13,040 --> 00:29:15,760
Speaker 3: there that Phil does his times all right, So it

530
00:29:15,800 --> 00:29:21,720
Speaker 3: said when it looks like thing, you rob boom, and

531
00:29:21,840 --> 00:29:26,920
Speaker 3: they didn't think instant he would go past the one,

532
00:29:27,040 --> 00:29:33,960
Speaker 3: so he goes problem instead of going bot, instead of

533
00:29:33,960 --> 00:29:35,800
Speaker 3: going to the one he would go he said, watch,

534
00:29:35,800 --> 00:29:40,960
Speaker 3: I'm gonna do this. Boo boo boo, boom stop boom,

535
00:29:41,000 --> 00:29:43,680
Speaker 3: and and we went into a thing. But we he

536
00:29:43,720 --> 00:29:46,720
Speaker 3: would do something, then I would do something, or Mark

537
00:29:46,800 --> 00:29:48,680
Speaker 3: King would do this right here boom boom boom, and

538
00:29:48,720 --> 00:29:50,640
Speaker 3: this would never do well, Let's do this right here.

539
00:29:51,000 --> 00:29:55,720
Speaker 3: We were blessed to experiment with music and still keep

540
00:29:55,760 --> 00:29:59,200
Speaker 3: a pocket. That was the beauty of commission. Man, that's

541
00:29:59,200 --> 00:30:00,920
Speaker 3: what I love. Wow.

542
00:30:01,600 --> 00:30:03,080
Speaker 1: Wow, you mentioned level forty two.

543
00:30:03,080 --> 00:30:05,640
Speaker 2: I was about to say, what's his name is Basse

544
00:30:05,680 --> 00:30:07,240
Speaker 2: playing marking?

545
00:30:07,880 --> 00:30:13,680
Speaker 1: Yes, Yes, I definitely see that. Yeah, Erro.

546
00:30:13,880 --> 00:30:16,440
Speaker 4: He wanted to he wanted to ask you what I

547
00:30:16,520 --> 00:30:20,840
Speaker 4: wanted you to tell the story of recording, writing and

548
00:30:20,880 --> 00:30:22,040
Speaker 4: recording and running back to you.

549
00:30:23,360 --> 00:30:27,960
Speaker 3: Oh man, it was funny because that's actually just came

550
00:30:28,040 --> 00:30:31,400
Speaker 3: up about three years ago as a sore spot just

551
00:30:31,440 --> 00:30:32,840
Speaker 3: came up. And sore spot.

552
00:30:34,160 --> 00:30:34,480
Speaker 4: Uh.

553
00:30:35,080 --> 00:30:37,040
Speaker 3: It was supposed to be in a little movie thing

554
00:30:37,120 --> 00:30:41,320
Speaker 3: we was talking about doing. And I won't blow people's cover,

555
00:30:41,640 --> 00:30:44,880
Speaker 3: but I'll just tell you what happened. We were in

556
00:30:44,920 --> 00:30:47,440
Speaker 3: there and this record we had a we had an

557
00:30:47,520 --> 00:30:51,000
Speaker 3: artist named Derek Brinkley, you know, and I was going

558
00:30:51,080 --> 00:30:55,200
Speaker 3: to give this song to him, and they said, well, no,

559
00:30:55,320 --> 00:30:57,000
Speaker 3: why don't you keep it? So I said to Keith,

560
00:30:57,080 --> 00:31:00,880
Speaker 3: I said, because it's my personal testimony. And I said, Keith, Man,

561
00:31:00,880 --> 00:31:02,840
Speaker 3: why don't you sing the song? Because we always wanted

562
00:31:02,880 --> 00:31:05,239
Speaker 3: to make sure everybody felt more comfortable, you know, like

563
00:31:05,440 --> 00:31:07,160
Speaker 3: I don't want to seem like I'm doing everything. So

564
00:31:07,200 --> 00:31:09,600
Speaker 3: I wrote this song, you know, and I said, Keith,

565
00:31:09,640 --> 00:31:12,880
Speaker 3: would you do it? Keith is more straight lace of

566
00:31:12,920 --> 00:31:15,360
Speaker 3: all of us. He was very much the straight lace guy,

567
00:31:15,840 --> 00:31:18,320
Speaker 3: you know, very cool. But he went out there in

568
00:31:18,320 --> 00:31:20,800
Speaker 3: these streets like we was. We was out there and

569
00:31:21,960 --> 00:31:24,240
Speaker 3: he said, man, I'm not real comfortable with doing that song.

570
00:31:24,720 --> 00:31:27,880
Speaker 3: I said, well, I'll go do the demo of it,

571
00:31:28,480 --> 00:31:30,760
Speaker 3: and you guys kind of listened to it. So what

572
00:31:30,800 --> 00:31:32,920
Speaker 3: we would do is I the person, would sing the lead,

573
00:31:32,960 --> 00:31:35,320
Speaker 3: and then we go start making the background parts. So

574
00:31:35,360 --> 00:31:38,320
Speaker 3: I went in there and I sang the song, and

575
00:31:38,360 --> 00:31:40,080
Speaker 3: I'm looking at the guys in there, and They're just

576
00:31:40,160 --> 00:31:43,920
Speaker 3: kind of sitting like this, you know, and and so

577
00:31:43,960 --> 00:31:46,960
Speaker 3: I'm singing the parts and singing the parts, and finally

578
00:31:47,600 --> 00:31:49,680
Speaker 3: I put I look in there after I finished, and

579
00:31:49,720 --> 00:31:53,760
Speaker 3: I put the headphones down, and nobody's, you know, saying, man,

580
00:31:53,800 --> 00:31:56,560
Speaker 3: great songs that they just sitting me. And so I

581
00:31:56,640 --> 00:32:02,600
Speaker 3: walked from the microphone to the studio ten feet going

582
00:32:02,640 --> 00:32:06,360
Speaker 3: past double doors. And when I got in there, everybody

583
00:32:06,400 --> 00:32:09,720
Speaker 3: was looking at me like this, and I didn't know

584
00:32:09,760 --> 00:32:12,800
Speaker 3: what to expect. So I just sat down and one

585
00:32:12,800 --> 00:32:16,200
Speaker 3: of the guys said, good job, man, good job, and

586
00:32:16,240 --> 00:32:18,480
Speaker 3: I said, okay, cool. So I'm listening to the playback

587
00:32:18,760 --> 00:32:20,600
Speaker 3: and I turned around to the guys and said, so, guys,

588
00:32:20,680 --> 00:32:23,400
Speaker 3: let's start putting some backgrounds to it. Let's put some

589
00:32:23,440 --> 00:32:27,360
Speaker 3: backgrounds to it. And the guy said, I don't think

590
00:32:27,400 --> 00:32:30,960
Speaker 3: you should put no backgrounds. Here's here's the dirt. There's

591
00:32:30,960 --> 00:32:34,520
Speaker 3: a little dirt. One of the guys, when I was

592
00:32:34,560 --> 00:32:38,760
Speaker 3: coming from the vocal booth to the room, said so

593
00:32:38,760 --> 00:32:40,560
Speaker 3: they all gonna just let him do a solo on this.

594
00:32:40,560 --> 00:32:42,560
Speaker 1: Record, ah man.

595
00:32:44,440 --> 00:32:46,960
Speaker 3: And when I got in there, everybody was off guard.

596
00:32:47,080 --> 00:32:52,640
Speaker 3: So that was the look. That was the look. And

597
00:32:52,680 --> 00:32:56,280
Speaker 3: so the rest of the guys told me this literally

598
00:32:56,440 --> 00:33:02,400
Speaker 3: three years ago. Wowa. What they just told me this

599
00:33:02,520 --> 00:33:06,720
Speaker 3: three years ago? Wow? And so when I walked in

600
00:33:06,760 --> 00:33:12,680
Speaker 3: the room, I walked in and the person said, hey, man,

601
00:33:12,800 --> 00:33:15,160
Speaker 3: you should just go ahead and do it yourself. And

602
00:33:15,200 --> 00:33:17,080
Speaker 3: I said, no, man, I don't want nobody thinking I'm

603
00:33:17,080 --> 00:33:19,440
Speaker 3: trying to do no no solo or nothing like that.

604
00:33:19,840 --> 00:33:22,959
Speaker 3: They said, Manna, you're good. The guys were trying to

605
00:33:23,120 --> 00:33:25,320
Speaker 3: process what they just dealt with.

606
00:33:26,760 --> 00:33:26,960
Speaker 1: Oh.

607
00:33:27,640 --> 00:33:31,479
Speaker 3: So they sat there and what you hear is the

608
00:33:31,520 --> 00:33:34,880
Speaker 3: demo is the actual song itself. Today.

609
00:33:35,840 --> 00:33:36,920
Speaker 1: Wow.

610
00:33:38,200 --> 00:33:41,800
Speaker 3: We were still here's the thing. We were still regular dudes.

611
00:33:41,840 --> 00:33:45,320
Speaker 3: We were still people with insecurities. We were people. We

612
00:33:45,320 --> 00:33:48,720
Speaker 3: were guys, boys trying to be raising, trying to turn

613
00:33:48,760 --> 00:33:52,920
Speaker 3: into men. We had idiosyncrasies, we had group issues. So

614
00:33:52,960 --> 00:33:55,040
Speaker 3: when I see something like The Temptation Story, which is

615
00:33:55,080 --> 00:33:57,880
Speaker 3: one of my favorite movies of all time, you know,

616
00:33:58,000 --> 00:34:00,720
Speaker 3: I feel that pain. When I see that fire heart beats,

617
00:34:00,760 --> 00:34:02,720
Speaker 3: I feel that pain. When I see the Jackson's I

618
00:34:02,760 --> 00:34:06,120
Speaker 3: see a new addition. Man, we all went through that.

619
00:34:06,200 --> 00:34:10,319
Speaker 3: It's nothing different in gospel. People have desires and this,

620
00:34:10,320 --> 00:34:11,839
Speaker 3: that and the other. We just didn't cuss each other

621
00:34:11,880 --> 00:34:14,520
Speaker 3: a fight, but man, it was still the same drama,

622
00:34:14,800 --> 00:34:16,040
Speaker 3: you know what I mean, And that was one of

623
00:34:16,080 --> 00:34:20,640
Speaker 3: them moments.

624
00:34:21,400 --> 00:34:23,920
Speaker 2: Well, James and I are from the Tri State area,

625
00:34:24,040 --> 00:34:27,920
Speaker 2: so the gospel station I always listened to my parents

626
00:34:27,960 --> 00:34:32,359
Speaker 2: went full Christian on me, like around mid eighties, and

627
00:34:32,400 --> 00:34:36,799
Speaker 2: there was a station called WZZB, of which.

628
00:34:37,440 --> 00:34:39,160
Speaker 1: You know, you can hear some whinings.

629
00:34:39,239 --> 00:34:43,680
Speaker 2: But then it would be like the people today, Sandy Patty,

630
00:34:44,280 --> 00:34:50,600
Speaker 2: Michael W. Smith or you know, yeah, all those groups

631
00:34:50,760 --> 00:34:57,800
Speaker 2: Twilight Paris. Like, were you guys ever accepted in the

632
00:34:58,520 --> 00:35:03,000
Speaker 2: sort of white man extreme contemporary Christian set or were

633
00:35:03,040 --> 00:35:05,440
Speaker 2: you guys strictly just like on your side of the fence,

634
00:35:05,560 --> 00:35:08,920
Speaker 2: or you know, was there mixing, you know, would they

635
00:35:08,960 --> 00:35:10,520
Speaker 2: have not on festivals?

636
00:35:10,640 --> 00:35:14,960
Speaker 1: Or churches would invite you guys or like brilliant question.

637
00:35:15,600 --> 00:35:18,719
Speaker 3: We did have a few churches. So if we did

638
00:35:19,280 --> 00:35:22,640
Speaker 3: thirty gigs a year, you know, two of them would

639
00:35:22,640 --> 00:35:25,840
Speaker 3: be a white church or a big white festival, you know,

640
00:35:26,400 --> 00:35:28,680
Speaker 3: a big white festival. The guy that brought Amy Grant

641
00:35:28,680 --> 00:35:31,759
Speaker 3: and Michael W. Smith to town, his name was Art.

642
00:35:31,960 --> 00:35:34,800
Speaker 3: He would try to get us in events because he

643
00:35:34,920 --> 00:35:36,920
Speaker 3: was just a really good friend in him and Derek Dirkson.

644
00:35:37,239 --> 00:35:39,720
Speaker 3: Derek was trying to cross us over to let people

645
00:35:39,920 --> 00:35:42,239
Speaker 3: see what we did. But we didn't do a lot

646
00:35:42,280 --> 00:35:46,640
Speaker 3: of them, but we had enough. You know festivals. Festivals

647
00:35:46,640 --> 00:35:49,720
Speaker 3: were big back then, so we would go on stage,

648
00:35:49,840 --> 00:35:55,200
Speaker 3: you know, right before Petra or right before you know striper, you.

649
00:35:55,160 --> 00:35:58,400
Speaker 1: Know, would he try to kill him? Would try to

650
00:35:58,480 --> 00:35:58,839
Speaker 1: kill him?

651
00:35:59,640 --> 00:36:04,040
Speaker 3: We was I think I saw a picture the other

652
00:36:04,160 --> 00:36:06,719
Speaker 3: day somebody sent me something. I'm probably post it in

653
00:36:06,760 --> 00:36:10,920
Speaker 3: a day or so where we were doing the monument

654
00:36:11,000 --> 00:36:12,960
Speaker 3: watch it's called I forgot what it was called. But

655
00:36:12,960 --> 00:36:15,160
Speaker 3: it was a big freedom fest and it's one of

656
00:36:15,239 --> 00:36:18,760
Speaker 3: the largest white festivals around and they brought us there.

657
00:36:19,200 --> 00:36:21,600
Speaker 3: It looks like the crowd is sitting on us because

658
00:36:21,600 --> 00:36:23,719
Speaker 3: we were singing. That's when Marvin Sap was in the group.

659
00:36:23,960 --> 00:36:27,440
Speaker 3: He had just got in the group. But the reality

660
00:36:27,600 --> 00:36:30,600
Speaker 3: was it was one hundred and eighteen degrees and people

661
00:36:30,680 --> 00:36:34,360
Speaker 3: were falling out. They told everybody sit down for every group,

662
00:36:34,880 --> 00:36:37,040
Speaker 3: no matter who it was, because people were falling out

663
00:36:37,040 --> 00:36:38,640
Speaker 3: and they was taking people away and it had to

664
00:36:38,680 --> 00:36:41,319
Speaker 3: be like the mall was filled. So it probably was

665
00:36:41,320 --> 00:36:44,759
Speaker 3: about thirty thousand people on the lawn, you know. So

666
00:36:45,440 --> 00:36:47,279
Speaker 3: you know, I just saw that the other day and

667
00:36:47,320 --> 00:36:50,959
Speaker 3: I'm probably posted in a day or so. But yeah,

668
00:36:51,200 --> 00:36:54,040
Speaker 3: we had a decent fear, but we basically stayed on

669
00:36:54,360 --> 00:36:55,160
Speaker 3: our side the fence.

670
00:36:56,160 --> 00:36:57,840
Speaker 2: I want to get to his last down with Commission

671
00:36:57,840 --> 00:37:02,360
Speaker 2: at least to see what the difference and starting the

672
00:37:02,400 --> 00:37:06,920
Speaker 2: band ten years ago in eighty four eighty five, and

673
00:37:07,480 --> 00:37:13,120
Speaker 2: what prompted to the initial split from the group in

674
00:37:13,640 --> 00:37:15,640
Speaker 2: ninety four with Matters of the Heart.

675
00:37:16,600 --> 00:37:18,120
Speaker 1: Could you just talk about the time period.

676
00:37:19,320 --> 00:37:23,880
Speaker 3: The first record after the split was Number seven. That

677
00:37:24,480 --> 00:37:29,359
Speaker 3: was the first record. Okay. What ended up happening was

678
00:37:30,239 --> 00:37:34,480
Speaker 3: Michael Brooks ended up getting a really good deal with

679
00:37:35,120 --> 00:37:39,640
Speaker 3: PolyGram Raina Bundy and PolyGram in New York, and she

680
00:37:39,840 --> 00:37:44,560
Speaker 3: made him her staff producer, and you know, he was

681
00:37:44,640 --> 00:37:46,960
Speaker 3: kind of a and R director and he was still

682
00:37:46,960 --> 00:37:49,080
Speaker 3: with us, but he was really really busy doing that,

683
00:37:49,600 --> 00:37:52,920
Speaker 3: and he reached out to Keith and said, hey, man,

684
00:37:53,000 --> 00:37:56,880
Speaker 3: we'll do a solo record on you. And Benson Records

685
00:37:56,920 --> 00:37:59,879
Speaker 3: passed on Keith's solo deal. They gave him an option

686
00:37:59,920 --> 00:38:02,440
Speaker 3: to do it. They said, no, we invested in commission.

687
00:38:02,680 --> 00:38:04,360
Speaker 3: We don't think you should be doing that. Well, we

688
00:38:04,440 --> 00:38:07,360
Speaker 3: had something in our contract to say first right and refusal.

689
00:38:07,680 --> 00:38:10,760
Speaker 3: If you pass, it's hit. Well, Keith went on ahead

690
00:38:10,800 --> 00:38:13,520
Speaker 3: and signed with Brooks under his production company with Rayner

691
00:38:13,880 --> 00:38:18,719
Speaker 3: PolyGram and it's called Election Records was the name of

692
00:38:18,760 --> 00:38:23,320
Speaker 3: the record company they ended up. Benson got really mad.

693
00:38:24,160 --> 00:38:26,759
Speaker 3: Benson Records got really mad. So they came to me

694
00:38:26,800 --> 00:38:29,719
Speaker 3: and said, he can't stay in this group. If this

695
00:38:29,760 --> 00:38:32,359
Speaker 3: is gonna happen, y'all need to get him out, and this,

696
00:38:32,400 --> 00:38:34,560
Speaker 3: that and the other. So the record company basically made

697
00:38:34,640 --> 00:38:37,000
Speaker 3: us split and said, well, man, you can't be a

698
00:38:37,040 --> 00:38:39,960
Speaker 3: part of us if you going to do that, And

699
00:38:40,000 --> 00:38:43,279
Speaker 3: so him and Mike went their way. So now the

700
00:38:43,320 --> 00:38:45,960
Speaker 3: whole record from number seven and then Matters of the

701
00:38:45,960 --> 00:38:49,200
Speaker 3: Heart is all in my hands to produce. And I

702
00:38:49,239 --> 00:38:52,000
Speaker 3: brought Mitchell on because that was my boy, and he

703
00:38:52,080 --> 00:38:56,160
Speaker 3: had Mitchell had an amazing sound. He understood, you know, flavor.

704
00:38:56,239 --> 00:38:58,319
Speaker 3: He understood he had a flavor too, So that I'm

705
00:38:58,360 --> 00:39:02,239
Speaker 3: learning that's Mitchell and Parks, but that's our groove behind it.

706
00:39:02,680 --> 00:39:05,440
Speaker 3: But that's their pin, you know. Ordinary just won't do

707
00:39:05,920 --> 00:39:09,239
Speaker 3: Mitchell and Parks some of the greatest songs they had,

708
00:39:09,320 --> 00:39:11,160
Speaker 3: they just had that that thing, but we had the

709
00:39:11,280 --> 00:39:14,600
Speaker 3: music behind So number seven, you know, I brought in

710
00:39:14,680 --> 00:39:17,400
Speaker 3: my boy Bernard, right, we did King of Glory, we

711
00:39:17,440 --> 00:39:19,040
Speaker 3: did I Can't Live Without You.

712
00:39:19,280 --> 00:39:25,279
Speaker 1: And yes, yes.

713
00:39:26,360 --> 00:39:28,319
Speaker 3: He stayed with me, hung out with me, and me

714
00:39:28,360 --> 00:39:31,080
Speaker 3: and him was like that and he so if you

715
00:39:31,120 --> 00:39:33,880
Speaker 3: listen to King of Glory, you will hear me and Banar,

716
00:39:34,520 --> 00:39:36,239
Speaker 3: you know. And then you listen to I Can't Live

717
00:39:36,280 --> 00:39:39,120
Speaker 3: Without You, you hear me and Banard, my first solo record.

718
00:39:39,120 --> 00:39:41,360
Speaker 3: I came to Jesus with the flying bannbro Me and

719
00:39:41,440 --> 00:39:45,320
Speaker 3: Banar grace for me every day, Me and Banar. And

720
00:39:45,360 --> 00:39:48,280
Speaker 3: then Bernard went and got his record deal from another

721
00:39:48,360 --> 00:39:51,439
Speaker 3: record company and he moved on. So that was what

722
00:39:51,480 --> 00:39:53,680
Speaker 3: that was, so our sound. I was able to take

723
00:39:53,719 --> 00:39:57,440
Speaker 3: the funk that was always in me and drive it

724
00:39:57,480 --> 00:39:59,719
Speaker 3: and said, this is what we're gonna do. And then

725
00:39:59,719 --> 00:40:01,879
Speaker 3: we got to uh, we got a little bit more

726
00:40:01,880 --> 00:40:05,200
Speaker 3: polished because we were we got to matters of the

727
00:40:05,239 --> 00:40:08,120
Speaker 3: heart and we wanted to sound a little older. So

728
00:40:08,160 --> 00:40:10,200
Speaker 3: then I got with my boy Chucky Booker, and we

729
00:40:10,239 --> 00:40:13,080
Speaker 3: did you know, love is the Way, and we did

730
00:40:13,520 --> 00:40:17,239
Speaker 3: you can always come Home with run DMC, and we

731
00:40:17,480 --> 00:40:22,279
Speaker 3: just we experimented with great music. So we had CCM sound,

732
00:40:22,320 --> 00:40:25,000
Speaker 3: we had that funk Chucky Booker sound, and then we

733
00:40:25,080 --> 00:40:27,520
Speaker 3: had that commission funk in the middle of there something.

734
00:40:27,760 --> 00:40:31,000
Speaker 3: So that was kind of how that was birthed. Yeah,

735
00:40:31,239 --> 00:40:33,640
Speaker 3: and that was my last record. That was my last record.

736
00:40:33,840 --> 00:40:35,680
Speaker 4: And then after that, that was when you did Radicals

737
00:40:35,680 --> 00:40:38,040
Speaker 4: for Christ for Christ my last record.

738
00:40:38,120 --> 00:40:41,319
Speaker 3: And we had another split at that point in time,

739
00:40:42,160 --> 00:40:44,839
Speaker 3: and really and I thought, I was I was gonna

740
00:40:44,840 --> 00:40:46,319
Speaker 3: get rid of the other guys and we're gonna be me.

741
00:40:46,760 --> 00:40:48,719
Speaker 3: You know, I'm I'm being good with the record company,

742
00:40:48,800 --> 00:40:51,440
Speaker 3: and you know, it is what it is. Which one

743
00:40:51,440 --> 00:40:55,960
Speaker 3: of you was going, I'm not leaving you I've already

744
00:40:55,960 --> 00:40:58,960
Speaker 3: proven myself. I'm the golden job. They loved the records

745
00:40:59,160 --> 00:41:03,080
Speaker 3: it's selling. And we had a meeting one time and

746
00:41:03,120 --> 00:41:06,240
Speaker 3: they said this. They brought a lot of different things

747
00:41:06,239 --> 00:41:08,720
Speaker 3: that wasn't true. And we sat down with a pastor

748
00:41:08,800 --> 00:41:12,000
Speaker 3: and I'm like, okay, one of you, somebody's leaving. It

749
00:41:12,040 --> 00:41:15,440
Speaker 3: ain't gonna be me. We hear no, I'm not moving.

750
00:41:16,040 --> 00:41:18,359
Speaker 3: And somebody read I won't say which one it was.

751
00:41:19,080 --> 00:41:24,040
Speaker 3: He said, read the bottom line. And he said, because

752
00:41:24,040 --> 00:41:27,839
Speaker 3: the pastor said, I don't see anything wrong here. There's

753
00:41:27,920 --> 00:41:30,200
Speaker 3: nothing out of order to seat her in place. Everything

754
00:41:30,200 --> 00:41:32,799
Speaker 3: that you guys are saying, I don't see it. What's

755
00:41:32,840 --> 00:41:36,600
Speaker 3: the bottom line? And he said, we do not believe.

756
00:41:37,320 --> 00:41:39,560
Speaker 3: God called Fred to be the leader of our group.

757
00:41:40,760 --> 00:41:42,479
Speaker 3: And it took all the air out of me because

758
00:41:42,520 --> 00:41:45,480
Speaker 3: I picked. I handpicked the guy that was reading it.

759
00:41:47,640 --> 00:41:51,920
Speaker 3: And I sat back in my chair and I went

760
00:41:51,960 --> 00:41:55,080
Speaker 3: through all the emotions right there, and then I told

761
00:41:55,360 --> 00:41:58,480
Speaker 3: I said give me a week, and I went back

762
00:41:58,520 --> 00:42:02,040
Speaker 3: to my little spot, my little student, and I went

763
00:42:02,160 --> 00:42:04,680
Speaker 3: to everywhere in the Bible in the New Testament that

764
00:42:04,760 --> 00:42:10,480
Speaker 3: talked about belief, and the main scripture was Jesus was

765
00:42:10,520 --> 00:42:13,920
Speaker 3: in his own town, preaching to his own people, and

766
00:42:13,960 --> 00:42:16,560
Speaker 3: they said, who does this guy think he is? Don't

767
00:42:16,560 --> 00:42:18,440
Speaker 3: we know his sisters and them? Who you think? Where

768
00:42:18,440 --> 00:42:20,760
Speaker 3: do you get all this knowledge from? And he said

769
00:42:21,719 --> 00:42:24,640
Speaker 3: he marveled at their unbelief. And then this was the

770
00:42:24,680 --> 00:42:27,120
Speaker 3: thing that made me give it up. He said, many

771
00:42:27,200 --> 00:42:29,920
Speaker 3: mighty miracles he could not do because of their unbelief.

772
00:42:30,719 --> 00:42:32,359
Speaker 3: And I closed the Bible. I said, I can get

773
00:42:32,360 --> 00:42:35,840
Speaker 3: these guys ten Grammys. They all have Rose Royce's Mentley's

774
00:42:35,840 --> 00:42:38,960
Speaker 3: and they won't believe it's me. So I'm out. And

775
00:42:39,000 --> 00:42:41,040
Speaker 3: I just handed everything over. I said, y'all can have it,

776
00:42:41,480 --> 00:42:43,799
Speaker 3: and I went into a wilderness. I did not know

777
00:42:43,840 --> 00:42:46,440
Speaker 3: what I was going to do. I went into a depression.

778
00:42:47,200 --> 00:42:49,920
Speaker 3: We sang one more year, and then I had to

779
00:42:49,960 --> 00:42:51,160
Speaker 3: figure out what I was going to do.

780
00:42:52,200 --> 00:42:58,920
Speaker 4: And this is ninety ninety four.

781
00:42:58,840 --> 00:43:03,480
Speaker 3: And that's when I heard started a choir, and I

782
00:43:03,560 --> 00:43:06,400
Speaker 3: was like, now I'm gonna keep it one hundred, you know,

783
00:43:06,400 --> 00:43:07,880
Speaker 3: and I don't, you know, only I gotta keep it

784
00:43:07,920 --> 00:43:09,840
Speaker 3: careful because I don't want to get canceled. You know.

785
00:43:10,239 --> 00:43:12,279
Speaker 3: I didn't care for choirs for the persona that it

786
00:43:12,360 --> 00:43:14,040
Speaker 3: carried At the time, and that's what's all I'm gonna

787
00:43:14,040 --> 00:43:17,520
Speaker 3: tell you, dude, you know, and I didn't. I didn't

788
00:43:17,520 --> 00:43:19,440
Speaker 3: care for it, you know. I didn't care for what

789
00:43:19,640 --> 00:43:25,400
Speaker 3: people looked at choirs. And I saw Kirk on a show,

790
00:43:26,280 --> 00:43:29,560
Speaker 3: and I saw David Man. I saw a big day Dalen,

791
00:43:29,920 --> 00:43:33,640
Speaker 3: Uh my boy, Dalen, I saw and they was with it.

792
00:43:34,000 --> 00:43:36,680
Speaker 3: And so then I knew John p Key. So I

793
00:43:36,719 --> 00:43:40,120
Speaker 3: started listening to John. And John was thugging. I knew

794
00:43:40,160 --> 00:43:42,680
Speaker 3: John me I helped him get his first deal, and

795
00:43:42,719 --> 00:43:45,799
Speaker 3: so I started listening. I started listening to show up

796
00:43:46,480 --> 00:43:49,879
Speaker 3: like for four months straight, and I'm hearing this hard

797
00:43:49,960 --> 00:43:54,520
Speaker 3: driving thing, and I'm like, I can do this. I

798
00:43:54,560 --> 00:43:57,360
Speaker 3: can do this. So I was friends with Billy Steele,

799
00:43:57,400 --> 00:43:59,480
Speaker 3: so I paid attention to sounds of blackness because at

800
00:43:59,480 --> 00:44:02,399
Speaker 3: that point, uh, Jimmy Terry just killed the game, which

801
00:44:02,440 --> 00:44:06,600
Speaker 3: sounds of blackness. So I'm seeing this transformation and I'm

802
00:44:06,640 --> 00:44:09,880
Speaker 3: going into it, and I finally I come up with

803
00:44:10,040 --> 00:44:11,840
Speaker 3: r f C. I said, this is gonna be our flavor.

804
00:44:12,719 --> 00:44:15,480
Speaker 3: We're gonna do this. We're gonna do praising worship. And

805
00:44:15,480 --> 00:44:18,120
Speaker 3: nobody knew what praising worship was at that time. Praising

806
00:44:18,160 --> 00:44:20,880
Speaker 3: worship is just how you say the lyrics you're saying.

807
00:44:21,320 --> 00:44:24,799
Speaker 3: So when people are saying I've been down, boom and

808
00:44:24,840 --> 00:44:26,879
Speaker 3: I'm gonna get back up, they were singing where they

809
00:44:26,880 --> 00:44:30,279
Speaker 3: were in life. They were singing, baby, got need a

810
00:44:30,280 --> 00:44:32,840
Speaker 3: pair of shoes, even got a light built do Because

811
00:44:32,840 --> 00:44:34,879
Speaker 3: this is my problem. I'm gonna turn over the Lord.

812
00:44:35,560 --> 00:44:39,120
Speaker 3: He'll work it out. But I started lifting the Lord up.

813
00:44:39,160 --> 00:44:42,400
Speaker 3: So I'm doing this beat, and I got my MPC

814
00:44:42,880 --> 00:44:45,400
Speaker 3: and I got all my cards and load the samples

815
00:44:45,440 --> 00:44:48,720
Speaker 3: up and I'm doing this one beat boom stop boom,

816
00:44:48,760 --> 00:44:52,920
Speaker 3: boomtop boom boom, and I stopped the sample. And you

817
00:44:52,960 --> 00:44:55,840
Speaker 3: know how an NBC the sample would go over.

818
00:44:58,920 --> 00:45:00,680
Speaker 1: Shot?

819
00:45:00,880 --> 00:45:08,680
Speaker 3: Did you hit it again? To do shop, to read,

820
00:45:08,719 --> 00:45:12,680
Speaker 3: to read too glow? And that's how it started. Wow,

821
00:45:13,600 --> 00:45:17,480
Speaker 3: it changed into a whole thing, you know. So I

822
00:45:17,560 --> 00:45:20,200
Speaker 3: just took praise and worship that white people were doing,

823
00:45:20,760 --> 00:45:24,359
Speaker 3: brought it over to the Black church. And I told

824
00:45:24,440 --> 00:45:26,520
Speaker 3: I tell white people and says, you guys cook string

825
00:45:26,640 --> 00:45:29,359
Speaker 3: beans and it still has a snap in it. We

826
00:45:29,360 --> 00:45:36,320
Speaker 3: don't like that. Like our stuff to be all those bread.

827
00:45:36,800 --> 00:45:39,719
Speaker 3: It needs to be wilted, turkey leg in there, and

828
00:45:39,760 --> 00:45:46,560
Speaker 3: it needs to have not a nutrient around, taste a rival.

829
00:45:46,640 --> 00:45:54,120
Speaker 3: I don't want to taste I'll see none of that fiber. This,

830
00:45:54,480 --> 00:45:56,760
Speaker 3: this shouldn't be no good. So that's what my praise

831
00:45:56,760 --> 00:45:59,040
Speaker 3: of worship was. It was we just took their stuff

832
00:45:59,040 --> 00:46:02,879
Speaker 3: that was neat and we just put some turkey leg

833
00:46:02,920 --> 00:46:03,200
Speaker 3: in there.

834
00:46:08,200 --> 00:46:12,960
Speaker 2: It was such an education, especially in watching with you

835
00:46:13,080 --> 00:46:16,879
Speaker 2: and Kirk doing versus together.

836
00:46:17,719 --> 00:46:21,400
Speaker 1: Yeah, and going through you know, going through your history.

837
00:46:22,160 --> 00:46:27,000
Speaker 2: How does it feel where now like contemporary sycul acts

838
00:46:27,000 --> 00:46:29,719
Speaker 2: be it Diddy Snoo Dogg did a gospel record, like,

839
00:46:29,760 --> 00:46:33,600
Speaker 2: how does it feel to be embraced by that community

840
00:46:34,880 --> 00:46:38,479
Speaker 2: to whom that you know, maybe ten twenty years ago,

841
00:46:39,400 --> 00:46:41,960
Speaker 2: I think maybe the most radical thing I saw thirty

842
00:46:42,000 --> 00:46:45,839
Speaker 2: forty years ago was maybe like Marie White singing with

843
00:46:46,440 --> 00:46:50,160
Speaker 2: a gospel act. But you know, now it's very commonplace,

844
00:46:50,400 --> 00:46:53,560
Speaker 2: Like how does it feel to get embraced by.

845
00:46:54,920 --> 00:46:56,279
Speaker 1: The world?

846
00:46:57,080 --> 00:47:02,440
Speaker 3: Respect feels good. Respect just feels good. And that's all

847
00:47:02,480 --> 00:47:06,400
Speaker 3: we ever wanted was respect, you know, to be treated

848
00:47:06,520 --> 00:47:10,560
Speaker 3: like we're real musicians. We're not church musicians. We're real

849
00:47:10,680 --> 00:47:14,120
Speaker 3: musicians who made a choice to sing church stuff. And

850
00:47:14,160 --> 00:47:16,920
Speaker 3: now that's what it is. So I can look at you.

851
00:47:17,000 --> 00:47:18,520
Speaker 3: I can look at the roots. I can pay attention.

852
00:47:18,560 --> 00:47:22,000
Speaker 3: I watched you know, you guys. I remember when you

853
00:47:22,080 --> 00:47:25,960
Speaker 3: guys went on and got the gig we all talked about.

854
00:47:26,160 --> 00:47:28,839
Speaker 3: That was stuff about that we talked about. I paid

855
00:47:28,880 --> 00:47:31,719
Speaker 3: attention to the sound that came out of Philadelphia music,

856
00:47:31,760 --> 00:47:35,239
Speaker 3: soul childs. Now we just embraced each other because you know,

857
00:47:35,360 --> 00:47:37,120
Speaker 3: at the end of the day, each every one of

858
00:47:37,160 --> 00:47:41,400
Speaker 3: us on here, our brothers and sisters, we're a family

859
00:47:41,480 --> 00:47:45,480
Speaker 3: of music. First what we talk about, but it's hip

860
00:47:45,480 --> 00:47:47,759
Speaker 3: hop gos. That's just something we choose to have a

861
00:47:47,760 --> 00:47:51,600
Speaker 3: conversation about. But first and foremost, we all have the

862
00:47:51,760 --> 00:47:56,720
Speaker 3: passion of the beat, the drum, the bass, the keys,

863
00:47:56,840 --> 00:48:00,880
Speaker 3: the sound, the lyric And now we can have those

864
00:48:00,920 --> 00:48:05,799
Speaker 3: conversations with each other and we respect them. Like I said,

865
00:48:05,840 --> 00:48:09,799
Speaker 3: my brother, we're in here right now preparing for Ricky, Bobby, Rod,

866
00:48:09,880 --> 00:48:13,239
Speaker 3: Johnny and Mike were preparing for them right now. All

867
00:48:13,239 --> 00:48:15,319
Speaker 3: of our gear is getting ready to go out. And

868
00:48:15,360 --> 00:48:17,319
Speaker 3: when I go and see them, I love them and

869
00:48:17,400 --> 00:48:20,000
Speaker 3: we just we hug up, we dap up, and we

870
00:48:20,160 --> 00:48:21,600
Speaker 3: just respect each other. You know what I mean.

871
00:48:22,160 --> 00:48:23,520
Speaker 1: I really can't wait for this.

872
00:48:23,840 --> 00:48:30,920
Speaker 2: For me, This education is important because you know, James, James.

873
00:48:30,680 --> 00:48:31,560
Speaker 1: Gonna attest to this.

874
00:48:32,400 --> 00:48:35,200
Speaker 2: Especially in the last two years, I've been like really

875
00:48:35,280 --> 00:48:37,480
Speaker 2: catching up on a lot of things that I've missed

876
00:48:37,520 --> 00:48:40,759
Speaker 2: and wasn't able. You know, like the quarantine period that

877
00:48:40,800 --> 00:48:43,799
Speaker 2: we're now is a slow down period where you know,

878
00:48:43,840 --> 00:48:46,400
Speaker 2: we get time to ourselves and really I get to

879
00:48:46,440 --> 00:48:49,239
Speaker 2: catch up on books and things and music that I

880
00:48:49,280 --> 00:48:52,160
Speaker 2: otherwise wouldn't have caught up on because I'm working so much.

881
00:48:52,840 --> 00:48:56,160
Speaker 2: And I was, you know when when Laias said that

882
00:48:56,200 --> 00:48:59,680
Speaker 2: you wanted to do Quest Love Supreme, I was, you know,

883
00:48:59,680 --> 00:49:03,120
Speaker 2: I I thank God because I didn't want to be

884
00:49:03,200 --> 00:49:10,080
Speaker 2: the only person in life who listened to Crash Cuts

885
00:49:10,080 --> 00:49:11,799
Speaker 2: more than I've listened to.

886
00:49:13,600 --> 00:49:21,800
Speaker 3: You know, man cut Man happening to do Yeah today

887
00:49:21,880 --> 00:49:23,480
Speaker 3: my birthday.

888
00:49:24,360 --> 00:49:26,640
Speaker 1: So I thank you for this, man, you know, I

889
00:49:27,120 --> 00:49:28,280
Speaker 1: truly thank you.

890
00:49:28,400 --> 00:49:31,120
Speaker 2: Almost in closing, I just want to know, well, in

891
00:49:31,200 --> 00:49:35,880
Speaker 2: the aftermath of the pandemic, how has your life changed

892
00:49:35,880 --> 00:49:39,040
Speaker 2: and how has the circuit, at least your life of

893
00:49:39,160 --> 00:49:42,359
Speaker 2: music changed since March of twenty twenty.

894
00:49:42,400 --> 00:49:44,520
Speaker 1: Because he's about to go on tour allegedly.

895
00:49:44,840 --> 00:49:46,840
Speaker 3: Yeah We're about to do has A Kira, who was

896
00:49:46,880 --> 00:49:50,000
Speaker 3: one of my best but good friends. We're hitting the roads,

897
00:49:50,120 --> 00:49:55,240
Speaker 3: k marvels at myself, Israel Holden, hitting the road, March Festival,

898
00:49:55,239 --> 00:49:59,239
Speaker 3: the praise to it. But you know what, man, it's

899
00:49:59,719 --> 00:50:06,239
Speaker 3: weird because streaming has killed us. Streaming really has it

900
00:50:06,520 --> 00:50:10,799
Speaker 3: the church. I mean, here's the thing. Our people are

901
00:50:10,880 --> 00:50:13,040
Speaker 3: just starting to get on streaming this year.

902
00:50:13,400 --> 00:50:19,800
Speaker 4: They're just starting no, no, no, he's saying the yeah.

903
00:50:20,120 --> 00:50:25,280
Speaker 3: Because that's why choice. So they couldn't go nowhere listening,

904
00:50:25,680 --> 00:50:30,200
Speaker 3: so on their refrigerators, on their computers listening. They discovered Pandora,

905
00:50:30,560 --> 00:50:34,839
Speaker 3: they discovered Spotify, you know what I'm saying. So they're

906
00:50:34,920 --> 00:50:38,080
Speaker 3: they're listening. Now. Here's the thing. It's kind of a

907
00:50:38,200 --> 00:50:41,440
Speaker 3: cruel joke. And it's not God's fault, but it feels

908
00:50:41,480 --> 00:50:44,960
Speaker 3: like a cruel joke because I still have so much

909
00:50:45,200 --> 00:50:51,200
Speaker 3: music in me to create, but there's no real outlet.

910
00:50:51,239 --> 00:50:53,480
Speaker 3: Like I just did a record, man, I just did

911
00:50:53,520 --> 00:50:56,359
Speaker 3: a record with this was this company called Fennis and

912
00:50:56,400 --> 00:50:59,120
Speaker 3: I put it out. It's called Sunday Morning Fred and

913
00:50:59,640 --> 00:51:03,200
Speaker 3: it's it's on Apple Music right now. But and it's

914
00:51:03,239 --> 00:51:06,120
Speaker 3: one of the leading black streaming records out there. And

915
00:51:06,920 --> 00:51:09,440
Speaker 3: I'm not on a major label. But it's not saying

916
00:51:09,480 --> 00:51:14,640
Speaker 3: nothing because I'm streaming like seven thousand, like thirty six

917
00:51:14,800 --> 00:51:20,440
Speaker 3: thousand copies of week streams a week on this new record,

918
00:51:21,200 --> 00:51:25,400
Speaker 3: and that's not really that good. It's not really financially

919
00:51:27,000 --> 00:51:28,520
Speaker 3: is like man, I put a lot of money into

920
00:51:28,520 --> 00:51:32,120
Speaker 3: it to make it happen. And so on my Facebook page,

921
00:51:32,160 --> 00:51:34,279
Speaker 3: I got a whole I got the whole concert. I

922
00:51:34,320 --> 00:51:36,239
Speaker 3: got the whole concert. I did it in my warehouse.

923
00:51:36,719 --> 00:51:39,520
Speaker 3: And it's a throwback of old Fred. It's pages is

924
00:51:39,560 --> 00:51:43,799
Speaker 3: the life for it. It's that vibe and a man.

925
00:51:44,320 --> 00:51:48,399
Speaker 3: Gospel is in a tunnel because R and B died.

926
00:51:48,640 --> 00:51:51,640
Speaker 3: And I tell everybody that when R and B die,

927
00:51:52,040 --> 00:51:56,680
Speaker 3: I'm talking about LTD, I'm talking about time. I'm talking

928
00:51:56,680 --> 00:52:01,919
Speaker 3: about Anita and Luthor. When we could listen to them,

929
00:52:02,520 --> 00:52:06,319
Speaker 3: we were What made commission happen is because you can

930
00:52:06,440 --> 00:52:10,600
Speaker 3: listen to something like like you said, man, your father said,

931
00:52:10,920 --> 00:52:14,240
Speaker 3: you can listen to them. And we gave you the time,

932
00:52:14,680 --> 00:52:18,280
Speaker 3: We gave you some prince, We gave you these people

933
00:52:18,600 --> 00:52:21,919
Speaker 3: because we had something to lean on. Well, now those

934
00:52:21,960 --> 00:52:26,400
Speaker 3: people are gone, that that music is gone. It's nothing

935
00:52:26,440 --> 00:52:32,480
Speaker 3: new coming out therefore, and gospel has gone back to

936
00:52:32,960 --> 00:52:39,640
Speaker 3: traditional or to Maverick. Maverick is the white version of

937
00:52:40,120 --> 00:52:46,000
Speaker 3: Black gospel and sabric City. Maverick City is the new

938
00:52:46,040 --> 00:52:48,800
Speaker 3: praise of worship. It's the hot It's the hottest praise

939
00:52:48,840 --> 00:52:51,520
Speaker 3: of worship company out there lives. And when I tell you,

940
00:52:51,600 --> 00:52:55,200
Speaker 3: they got some amazing artists. But what it is is

941
00:52:55,520 --> 00:52:57,439
Speaker 3: a lot of the young people now have gone over

942
00:52:57,480 --> 00:53:01,920
Speaker 3: there and they've taken the sound of black music and

943
00:53:01,960 --> 00:53:08,520
Speaker 3: they've made it less black. Okay, you have to go

944
00:53:08,640 --> 00:53:12,839
Speaker 3: research it. I tell you it's people like chander More.

945
00:53:13,239 --> 00:53:15,239
Speaker 3: I mean, I tell you, this guy is amazing. But

946
00:53:15,320 --> 00:53:19,120
Speaker 3: what they're doing is they're creating a new space for

947
00:53:19,320 --> 00:53:21,880
Speaker 3: these guys to write and to do their things. So

948
00:53:22,000 --> 00:53:24,000
Speaker 3: I can't be mad at I'm never gonna be mad

949
00:53:24,000 --> 00:53:27,120
Speaker 3: at somebody doing their thing. Maverick is the hottest thing

950
00:53:27,239 --> 00:53:30,439
Speaker 3: going Maverick City. But I can do Maverick because I'm too.

951
00:53:30,480 --> 00:53:34,759
Speaker 3: I'm too so I don't have that thing, and uh man,

952
00:53:34,840 --> 00:53:35,879
Speaker 3: check it out, check it out.

953
00:53:36,200 --> 00:53:39,239
Speaker 1: So you're saying, right now, there's really not there's really

954
00:53:39,280 --> 00:53:40,239
Speaker 1: not a space.

955
00:53:39,920 --> 00:53:44,520
Speaker 2: For you to be creative and release product and have

956
00:53:44,680 --> 00:53:49,399
Speaker 2: it be monetarily worth it. So would you Fante say

957
00:53:49,440 --> 00:53:51,600
Speaker 2: the sort of where you were in like two thousand

958
00:53:51,600 --> 00:53:55,839
Speaker 2: and three, like trying to figure out where he's saying,

959
00:53:55,880 --> 00:53:57,919
Speaker 2: this is where you were in two thousand and three,

960
00:53:58,120 --> 00:54:00,440
Speaker 2: like when you start a little brother and try to

961
00:54:00,440 --> 00:54:04,160
Speaker 2: figure out I mean now, I would assume now in

962
00:54:04,200 --> 00:54:08,719
Speaker 2: twenty twenty two, twenty years later, the lame that you're

963
00:54:08,760 --> 00:54:10,480
Speaker 2: in is rather lucrative.

964
00:54:10,760 --> 00:54:12,600
Speaker 4: Absolutely, yeah, now it makes sense.

965
00:54:12,640 --> 00:54:15,799
Speaker 3: But at the time, the beauty of what I did

966
00:54:15,920 --> 00:54:18,319
Speaker 3: that a lot of my counterparts didn't do back in

967
00:54:18,360 --> 00:54:21,799
Speaker 3: the commission days is I really felt God told me

968
00:54:21,880 --> 00:54:24,120
Speaker 3: to just keep putting music out, even though I wasn't

969
00:54:24,160 --> 00:54:26,680
Speaker 3: in the best record company position, even though they were

970
00:54:26,680 --> 00:54:28,959
Speaker 3: making the money and I wasn't. I kept hearing them saying,

971
00:54:29,000 --> 00:54:31,239
Speaker 3: just keep putting music out, keep putting it out, and

972
00:54:31,280 --> 00:54:34,200
Speaker 3: my guys were saying, rightfully, I'm not gonna let them

973
00:54:34,200 --> 00:54:37,359
Speaker 3: pip me. I'm out the game before you pit me.

974
00:54:37,560 --> 00:54:40,360
Speaker 3: I'm gonna lead. But I kept making the music. Now

975
00:54:41,480 --> 00:54:46,760
Speaker 3: my catalog is what it is Spotify. I did twenty

976
00:54:46,760 --> 00:54:52,720
Speaker 3: two million streams this year. That's Spotify alone, Pandora plus

977
00:54:52,840 --> 00:54:56,280
Speaker 3: this plus that, and my catalog is burning through like crazy.

978
00:54:56,360 --> 00:55:00,000
Speaker 3: So people want to keep me where they met me. Though,

979
00:55:01,520 --> 00:55:03,400
Speaker 3: I don't want you to evolve. They don't want you

980
00:55:03,400 --> 00:55:08,600
Speaker 3: to like I've reached Frankie Beverley's status, retreated, I receive.

981
00:55:10,239 --> 00:55:11,960
Speaker 4: I'm gonna make you know. I'm gonna make I will

982
00:55:12,040 --> 00:55:14,640
Speaker 4: make a suggestion. I'm putting this out this on q les.

983
00:55:14,680 --> 00:55:17,239
Speaker 4: I'm saying this. This needs to happen because I think

984
00:55:17,440 --> 00:55:19,360
Speaker 4: I think I see a lame for you, brother, Fred,

985
00:55:19,400 --> 00:55:22,480
Speaker 4: if I may, if I okay, listen, this is the

986
00:55:22,520 --> 00:55:25,400
Speaker 4: same thing that you know that Rick James did. Like

987
00:55:25,440 --> 00:55:28,160
Speaker 4: when you have the veteran act being produced by the

988
00:55:28,239 --> 00:55:31,680
Speaker 4: younger producers. So Rick James when he produced The Temptations

989
00:55:32,640 --> 00:55:35,720
Speaker 4: a mirror when he produced Al Green.

990
00:55:36,920 --> 00:55:50,560
Speaker 1: I think your next James as absolutely yeah, both of

991
00:55:50,640 --> 00:55:52,200
Speaker 1: y'all y'all did Al Green.

992
00:55:53,040 --> 00:55:56,640
Speaker 4: I think your next project, Fred, I think you should

993
00:55:56,680 --> 00:56:01,640
Speaker 4: be produced by Devin Morrison. Oh, like when I'm talking

994
00:56:01,640 --> 00:56:03,560
Speaker 4: about I don't know if you know him. I don't

995
00:56:03,600 --> 00:56:05,840
Speaker 4: know if you're knowing, But Devin Morris is a singer.

996
00:56:06,000 --> 00:56:10,480
Speaker 4: He's a singer producer out of He's from out of Florida,

997
00:56:10,560 --> 00:56:13,759
Speaker 4: but he's based in I think La now, Devin is

998
00:56:13,920 --> 00:56:15,960
Speaker 4: when I tell you a student of commission. When I

999
00:56:16,040 --> 00:56:17,479
Speaker 4: when I found out you were coming on the show,

1000
00:56:17,920 --> 00:56:19,920
Speaker 4: I reached out to him. I was like, Devin, like,

1001
00:56:20,000 --> 00:56:22,319
Speaker 4: I know commission, but like I'm not I'm not a

1002
00:56:22,400 --> 00:56:23,680
Speaker 4: church dude, so I need.

1003
00:56:23,560 --> 00:56:26,000
Speaker 1: To know you know what I mean. He made me a.

1004
00:56:26,000 --> 00:56:28,080
Speaker 4: Playlist of like his favorite jokes. He was like, all right,

1005
00:56:28,080 --> 00:56:29,960
Speaker 4: this is what you need. These are the joints, these

1006
00:56:29,960 --> 00:56:33,440
Speaker 4: are the producers, like he knows your whole thing, and

1007
00:56:34,560 --> 00:56:36,440
Speaker 4: ye'all said, I'll see you the playlist. And when I

1008
00:56:36,520 --> 00:56:38,520
Speaker 4: listened to the playlist, I was like, oh my god,

1009
00:56:38,560 --> 00:56:41,719
Speaker 4: this is Devin's DNA, Like this is he is a

1010
00:56:41,880 --> 00:56:45,879
Speaker 4: student and a student of your music and loves you, bro,

1011
00:56:46,000 --> 00:56:48,600
Speaker 4: like I think y'all can kill something like for real.

1012
00:56:49,760 --> 00:56:52,720
Speaker 3: That's the beauty of it to work with my newest

1013
00:56:53,040 --> 00:56:55,840
Speaker 3: these young cats. I love working with him, you know,

1014
00:56:55,960 --> 00:56:58,200
Speaker 3: I love working with him. So I'm down, man.

1015
00:56:58,280 --> 00:57:01,400
Speaker 4: I will link y'all up, straight up and down like Batmans.

1016
00:57:04,719 --> 00:57:05,960
Speaker 3: Happened sometimes.

1017
00:57:06,600 --> 00:57:11,520
Speaker 1: Wait, James, is there anything right?

1018
00:57:11,680 --> 00:57:15,200
Speaker 5: Weave heavens over here, so you know, man, it's it's

1019
00:57:15,600 --> 00:57:18,160
Speaker 5: it's just so much music. I just got to tell

1020
00:57:18,200 --> 00:57:22,240
Speaker 5: you how much of an influence you've had on my

1021
00:57:22,280 --> 00:57:24,160
Speaker 5: life musically, and I just want to thank you for that.

1022
00:57:24,360 --> 00:57:27,600
Speaker 5: I don't know if you remember we met my brother

1023
00:57:27,680 --> 00:57:32,480
Speaker 5: Marvin mcquittie introduced us when you came to Philly. This

1024
00:57:32,600 --> 00:57:35,640
Speaker 5: is this is just back rest in peace my brother.

1025
00:57:36,240 --> 00:57:36,760
Speaker 3: Yeah.

1026
00:57:37,000 --> 00:57:39,120
Speaker 5: But just I just I just got to say thank

1027
00:57:39,160 --> 00:57:41,480
Speaker 5: you man, thank you for the music, thank you for

1028
00:57:41,480 --> 00:57:42,120
Speaker 5: for who you are.

1029
00:57:42,320 --> 00:57:44,360
Speaker 4: That's all right up and down for real, for real.

1030
00:57:44,560 --> 00:57:48,440
Speaker 3: I appreciate you all, and I this night was special

1031
00:57:48,480 --> 00:57:58,080
Speaker 3: to me. I have not done a zoom this long listen.

1032
00:57:58,520 --> 00:58:01,200
Speaker 3: I would have been checked out the whole long time

1033
00:58:01,240 --> 00:58:03,280
Speaker 3: ago because I'll be okay, we just talked about everything else.

1034
00:58:03,480 --> 00:58:07,320
Speaker 3: But when you get into the history and you get

1035
00:58:07,360 --> 00:58:11,000
Speaker 3: into the music cology of it all, Man, you guys

1036
00:58:11,080 --> 00:58:14,720
Speaker 3: are amazing. Tonight was amazing. Quest Man, you don't understand.

1037
00:58:15,280 --> 00:58:19,240
Speaker 3: I really am a fan and I am a fan.

1038
00:58:18,920 --> 00:58:21,520
Speaker 2: I really thank you and I received that. Thank you

1039
00:58:21,560 --> 00:58:25,560
Speaker 2: so much for for doing this for us. I really

1040
00:58:25,600 --> 00:58:26,120
Speaker 2: appreciate it.

1041
00:58:26,320 --> 00:58:29,760
Speaker 4: Thank you Nah for yo real quick, Fred, do I

1042
00:58:29,800 --> 00:58:31,720
Speaker 4: have do I have permission? Can I get your number

1043
00:58:31,760 --> 00:58:34,920
Speaker 4: from errow and I'll link you? Okay, I'll do that.

1044
00:58:36,160 --> 00:58:39,240
Speaker 3: Quest. I don't mess with people when I go places.

1045
00:58:39,280 --> 00:58:41,160
Speaker 3: If they don't really recognize me. I'm the kind of

1046
00:58:41,160 --> 00:58:43,200
Speaker 3: person that are staying with my family. And I'm cool,

1047
00:58:43,400 --> 00:58:45,920
Speaker 3: you know, because sometimes you meet a start and they

1048
00:58:45,960 --> 00:58:48,040
Speaker 3: don't know you today, they know you tomorrow. They know

1049
00:58:48,080 --> 00:58:50,320
Speaker 3: you when you ain't in front of people, and I

1050
00:58:50,320 --> 00:58:54,600
Speaker 3: don't know other people. You and I met one time.

1051
00:58:55,320 --> 00:58:59,360
Speaker 3: Oh no, we were no, no, no, it wasn't bad.

1052
00:59:00,160 --> 00:59:03,560
Speaker 3: It was the Grammys. We was at the Grammys and

1053
00:59:03,640 --> 00:59:05,840
Speaker 3: I was behind you. Was in l A and I

1054
00:59:05,920 --> 00:59:09,120
Speaker 3: was behind you, and somebody was kind of they were

1055
00:59:09,280 --> 00:59:11,520
Speaker 3: they were like messing with your tickets or something, you know,

1056
00:59:11,560 --> 00:59:14,000
Speaker 3: And it was you and your mom you a were together,

1057
00:59:14,400 --> 00:59:17,560
Speaker 3: and so I said, hey, hey, bro, you're good. And

1058
00:59:17,600 --> 00:59:21,600
Speaker 3: you turned around and said hold on second, man, And

1059
00:59:21,600 --> 00:59:25,320
Speaker 3: and so the girl I was with was like, don't bother,

1060
00:59:25,480 --> 00:59:28,080
Speaker 3: don't I said, I think he's having some problems up there.

1061
00:59:28,520 --> 00:59:30,760
Speaker 3: And I said, I'm I believe in him enough to

1062
00:59:30,800 --> 00:59:34,320
Speaker 3: try one more time. You got free and I got free.

1063
00:59:34,840 --> 00:59:37,120
Speaker 3: I walked up to you and I said, hey, man,

1064
00:59:37,640 --> 00:59:39,440
Speaker 3: I just want to tell you I'm a fan. My

1065
00:59:39,560 --> 00:59:41,720
Speaker 3: name is fred HAMMT And man, you embraced me with

1066
00:59:41,760 --> 00:59:42,400
Speaker 3: the biggest hull.

1067
00:59:45,120 --> 00:59:46,840
Speaker 1: You said the name he look.

1068
00:59:49,800 --> 00:59:56,280
Speaker 3: Went. It was always like snap, oh yeah, okay, he said,

1069
00:59:56,680 --> 00:59:59,520
Speaker 3: and he said, this is my mom and we hugged

1070
00:59:59,520 --> 01:00:01,120
Speaker 3: and this that and other we talked and that, yeah,

1071
01:00:01,200 --> 01:00:03,720
Speaker 3: did induce you to the person I was with. And man,

1072
01:00:03,840 --> 01:00:06,000
Speaker 3: that that made my day because I didn't really walk

1073
01:00:06,080 --> 01:00:07,520
Speaker 3: up to a whole bunch of people that night. I'm

1074
01:00:07,520 --> 01:00:10,240
Speaker 3: not that dude to walk up and so yo ho,

1075
01:00:10,640 --> 01:00:18,360
Speaker 3: what's that? Man? You don't know me. I don't know you.

1076
01:00:18,960 --> 01:00:22,960
Speaker 3: That's right, But man, you were too close. We were

1077
01:00:22,960 --> 01:00:25,280
Speaker 3: in the tunnel on our way. You were too close

1078
01:00:25,320 --> 01:00:28,080
Speaker 3: for me not to say something. His quests love man,

1079
01:00:28,120 --> 01:00:29,760
Speaker 3: I'm like, man, let me just talk to my man

1080
01:00:29,840 --> 01:00:34,080
Speaker 3: for a minute. It was nervous that first one, like

1081
01:00:34,080 --> 01:00:38,200
Speaker 3: a willow tree was growing over because shade was brother.

1082
01:00:39,240 --> 01:00:42,760
Speaker 2: I didn't get you on site, but definitely your name

1083
01:00:42,800 --> 01:00:48,840
Speaker 2: holds holy because if there's anyone who made me go

1084
01:00:48,960 --> 01:00:54,000
Speaker 2: in the basement and rehearse endlessly to keep up with

1085
01:00:54,040 --> 01:00:57,600
Speaker 2: the cats that was listening to Commission, it was you.

1086
01:00:57,600 --> 01:00:57,680
Speaker 5: You.

1087
01:00:57,840 --> 01:00:58,560
Speaker 3: Thank you you.

1088
01:00:58,880 --> 01:01:00,920
Speaker 2: And you know I kept it to my dad like

1089
01:01:01,000 --> 01:01:03,040
Speaker 2: my dad make me go in the basement rehearse. But

1090
01:01:03,320 --> 01:01:05,960
Speaker 2: you know that was from like eight to thirteen.

1091
01:01:06,120 --> 01:01:10,040
Speaker 1: But definitely. Once I got to high school, you.

1092
01:01:10,120 --> 01:01:14,320
Speaker 2: Were definitely the spark that really really brought my musicianship out.

1093
01:01:14,360 --> 01:01:16,160
Speaker 1: Brother, and I thank you for that. Thank you.

1094
01:01:16,960 --> 01:01:20,840
Speaker 3: I'll say this and I'll be done. You guys, when

1095
01:01:20,840 --> 01:01:23,320
Speaker 3: you do stuff like this, you add validity to who

1096
01:01:23,320 --> 01:01:27,360
Speaker 3: we are as God's artists. You guys did something and

1097
01:01:27,440 --> 01:01:30,560
Speaker 3: y'all mentioned my name in the middle of one of

1098
01:01:30,600 --> 01:01:34,760
Speaker 3: these two three hour shows, and my people listen to it,

1099
01:01:35,320 --> 01:01:38,760
Speaker 3: and they my guy sent me about five people said yo, man,

1100
01:01:38,840 --> 01:01:41,360
Speaker 3: Chris Love said your name, but they talked about you,

1101
01:01:41,400 --> 01:01:43,760
Speaker 3: and they marked the spot go to this spot and

1102
01:01:43,840 --> 01:01:46,120
Speaker 3: you can hear it. And I did it and I

1103
01:01:46,200 --> 01:01:48,080
Speaker 3: said it there and man, it brought a smile to

1104
01:01:48,120 --> 01:01:50,360
Speaker 3: my face. It's not like somebody sent me something. They

1105
01:01:50,400 --> 01:01:52,480
Speaker 3: said and I said, oh yeah. When they sent it

1106
01:01:52,520 --> 01:01:56,200
Speaker 3: to me, I wanted to just know because of how

1107
01:01:56,280 --> 01:01:59,280
Speaker 3: I feel about you, I feel about your proof, how

1108
01:01:59,320 --> 01:02:02,280
Speaker 3: I feel about your accomplishments and everything that you guys

1109
01:02:02,280 --> 01:02:05,720
Speaker 3: are doing. I just wanted to hear that, and it

1110
01:02:05,760 --> 01:02:08,560
Speaker 3: was it was validation to me. It's a respect and

1111
01:02:08,600 --> 01:02:11,400
Speaker 3: you guys had such nice things to say. And whoever

1112
01:02:11,440 --> 01:02:14,120
Speaker 3: the guest was on that time, they were talking nice

1113
01:02:14,120 --> 01:02:16,680
Speaker 3: about it as well. So I just want to tell you, man,

1114
01:02:16,960 --> 01:02:19,600
Speaker 3: when you guys do this to us, it's a blessing. Man,

1115
01:02:19,640 --> 01:02:20,640
Speaker 3: trust me, we're listening.

1116
01:02:21,440 --> 01:02:22,280
Speaker 1: Thank you so much.

1117
01:02:22,640 --> 01:02:29,280
Speaker 6: Thank you, Sugar, Steve about to win that, and and

1118
01:02:29,320 --> 01:02:45,520
Speaker 6: they and are important.

1119
01:02:36,880 --> 01:02:44,440
Speaker 1: And and paid Bill and our special guest.

1120
01:02:44,600 --> 01:02:48,320
Speaker 5: James James soon to come as a quest guests.

1121
01:02:49,600 --> 01:02:55,480
Speaker 2: The episode soon. Thank you so much for doing us

1122
01:02:55,480 --> 01:02:58,920
Speaker 2: for us and we appreciate it. This isus Love Love Supreme.

1123
01:02:59,000 --> 01:03:00,360
Speaker 2: We will see you on the next around.

1124
01:03:00,480 --> 01:03:10,400
Speaker 1: Thank you, West. Love Supreme is a production of iHeartRadio.

1125
01:03:13,960 --> 01:03:18,720
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1126
01:03:18,800 --> 01:03:20,480
Speaker 1: or wherever you listen to your favorite shows.