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

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Speaker 1: episode was produced by the team at Pandora.

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Speaker 2: What up, y'all is Laiyah and It's time for another

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Speaker 2: Quest Love Supreme classic. This time we take you back

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Speaker 2: to twenty eighteen when Quests and Team Supreme sat down

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Speaker 2: with legendary producer Salaam Remy. I mean we talk about everything,

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Speaker 2: the craft of making hit songs, what is like Craig

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Speaker 2: digging with biz Marky and his part in making the

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Speaker 2: score with the fujis from April twenty fifth, twenty eighteen.

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Speaker 2: Salam Remy Part one.

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Speaker 3: So why don't we have called sub Subpremo roll call

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Speaker 3: Subprema su su Subpremo roll call Subremo.

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Speaker 4: So my name ain't Lynnee, Minnie or Rene, but as

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Speaker 4: a toddler, yeah, my shoes was kN.

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Speaker 5: Son Son. My name is Fante. Yeah you can't believe it.

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Speaker 4: Yeah, shout out to Salon.

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Speaker 5: Yeah for the worker remix. So sullow roll my name

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Speaker 5: is Sugar. Only work with the best.

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Speaker 6: Yeah, that's how I got to work on.

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Speaker 7: Son Supremo roll.

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Speaker 5: So Son ro Bill.

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Speaker 7: Yeah.

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Speaker 6: And you might not be a fan of me, yeah,

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Speaker 6: but you definitely hate Yeah, Sean Handy.

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Speaker 5: The son up brea roll You want to tell the same.

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Speaker 2: Is my name?

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Speaker 5: Yeah, tossed out the rule book? Yeah, hold up? Is

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Speaker 5: that Lauren over there? Yeah?

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Speaker 2: S Yeah, what's alarm by? Yeah, I'm trying people. One

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Speaker 2: of my favorite songs. You got no damns roll come

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Speaker 2: b Son.

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Speaker 3: Supreme roll call su Breamer soup, breing my roll.

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Speaker 5: My name.

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Speaker 1: Yeah, I'm on the spot. Yeah, I'm glad, super cat.

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Speaker 1: Let me make get a red.

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Speaker 7: Honrad Son Brea roll call breamer something something, bring my

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Speaker 7: roll called up, Breamer son Son Soup, bring my roll call.

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Speaker 5: Breamer something so supreme.

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Speaker 4: I really hate the fact that I established how gullible

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Speaker 4: I am, Like I'm the common person that I was

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Speaker 4: told once that gullible isn't in the dictionary, And yeah,

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Speaker 4: you just did that to me. Thank you foross Bill.

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Speaker 4: I turned with the quickness. I wasn't sure if that

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Speaker 4: was going to work either. I was surprised now that

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Speaker 4: went off.

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Speaker 1: That went off like gang busses right now, troll mirror.

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Speaker 2: I was hoping all of you, look you knew it

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Speaker 2: because your inflection went up, like.

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Speaker 5: I saw that he looked over there.

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Speaker 4: I was like yes at Landa only because that was

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Speaker 4: the wrong name to say ladies and gentlemen.

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Speaker 5: Exactly.

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Speaker 4: This is another episode of course Love Supreme. We have

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Speaker 4: Teams Supreme.

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Speaker 5: We have Tickeolo.

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Speaker 4: Yeah you know what, we haven't had brothers sister rat

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Speaker 4: at the beginning of the show for a second, and

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Speaker 4: a lot has happened since then.

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Speaker 5: How's it going to your record? It's going good. I'm

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Speaker 5: redoing my master bathroom. First world problem, that's that's not

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Speaker 5: a New World problems.

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Speaker 4: Wait, you're redoing your master bathroom? Yeah yeah, yeah, So

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Speaker 4: how many bathrooms do you? Well, there's a lot of houses.

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Speaker 4: What three you got a good you got like a

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Speaker 4: big daddy cane house.

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Speaker 5: I got like two.

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Speaker 4: I have too full baths and then a half bath downstairs,

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Speaker 4: so it's technically three, but you know one is just that.

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Speaker 5: So we were doing our master bedroom.

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Speaker 4: We're at the tub and shower paint, redid the vanity

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Speaker 4: counter top. Guys coming to measure them tomorrow. Uh marse, No,

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Speaker 4: we don't do marble. Granted, we went with granted, and

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Speaker 4: it's a it's a it's a it's a light it's

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Speaker 4: a like a light color grind.

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Speaker 5: I think the name is like black ice or something.

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Speaker 8: So you're keeping the walls white?

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Speaker 5: There, no, no, no wall. There was a leather couches

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Speaker 5: that I never like leather though it's too hot.

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Speaker 4: You go to sleep on that ship, you be sweating

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Speaker 4: and ship single man's piece. I never owned a leather couch.

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Speaker 5: That's the single man. I never did that.

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Speaker 4: I was like, it's good, what you up to. I'm

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Speaker 4: getting off.

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Speaker 2: I'm sorry, I mean, I'm sorry.

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Speaker 4: I'm sorry.

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Speaker 2: Yes, I have recently, I'm getting off the couch and

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Speaker 2: Los Angeles and I'm very excited.

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Speaker 5: That I get off the couch. That sounds like therapy.

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Speaker 2: No, no, no, I can, I can get off the couch.

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Speaker 2: She wants to know I have a good girlfriend, wants

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Speaker 2: me to stay.

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Speaker 5: Okay, Kevin got a job, y'all.

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Speaker 4: Where are you moving Hollywood? Yes, okay, Scott fly one bedroom.

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Speaker 4: I was looking at the tourist video of it today.

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Speaker 4: Had a nice toil and approval.

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Speaker 2: You got to get your work husband's approval of your place.

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Speaker 5: It was really nice. The layout was nice, it was good.

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Speaker 5: Appliants is updated. Hey, I'm proud of you, thank you, sir.

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Speaker 9: I'm feeling really good.

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Speaker 5: Uh boss Bill Now I'm gonna try that. You're so happy,

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Speaker 5: You're welcome. Thank you anyway, Bill, I love that. He

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Speaker 5: just said, what bing the show for me? Goodbye?

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Speaker 6: Oh that was so good. I've only I've only heard

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Speaker 6: that on my phone, not in contact. That was fantastic.

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Speaker 6: I'm good. I bought a new house too.

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Speaker 5: Yeah, are you like fontage? Stand like? He do it up?

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Speaker 5: He dorew it up high to me. He I just

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Speaker 5: did a bathroom. He did like a whole studio. Yeah,

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Speaker 5: the whole night. Where do you live?

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Speaker 6: I live in and Crowton on Hudson, which sounds super

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Speaker 6: for white bathroom. I don't know like two no, I

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Speaker 6: used to know anymore. But I'm building a studio in

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Speaker 6: the basement and that's that. And I've been parenting for

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Speaker 6: two weeks and I'm fucking done with children. I was

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Speaker 6: fucking like, uh ja, I've been by myself with kids

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Speaker 6: for fucking way too long. Man, Hey man, patience struggle

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Speaker 6: is real. He knows what I'm talking about because we

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Speaker 6: know it's basically the same person we are.

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Speaker 4: We're trying to figure out your theme song, ire.

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Speaker 5: Your angle is.

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Speaker 4: He needs motivation and you know, all right, sugar Steve

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Speaker 4: how's life now that you're a big time celebrity with.

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Speaker 1: Sugar good Man Good Yeah, I started my own talk

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Speaker 1: show my own network, and I am also redoing my

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Speaker 1: master bathroom as just a coincidence, but that's all that's also.

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Speaker 4: Happening, seriously, or am ill bro I don't have like

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Speaker 4: a master back. Ladies and gentlemen, welcome to Questlove Supreme

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Speaker 4: Only on fan Do Only. It's been a minute since

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Speaker 4: I've had an opportunity to break metaphorical bread with a favorite,

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Speaker 4: you know, not not not to offend any of the

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Speaker 4: other guests that've been on the show, I still love you,

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Speaker 4: Leila Hathaway. She listens and I better come correct or

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Speaker 4: she'll put a hex on me. I don't know, but

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Speaker 4: our guest today is one of my favorite producers. I

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Speaker 4: don't know how to describe salam Remy's production style, but uh,

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Speaker 4: it's I guess you can can we use that. It's

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Speaker 4: it's beautiful production. He has a he's a very cinematic.

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Speaker 4: It's very boom bappish, but there's always for me extra layers.

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Speaker 4: Like he's almost like a if hip hop were served

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Speaker 4: in a three Michelin star restaurant.

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Speaker 5: I feel like woe.

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Speaker 4: Yeah, we're you know Primo where Primo is you know, uh,

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Speaker 4: the local corner store dude giving you what you need.

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Speaker 5: Then I feel that, you know, Salam's uh, He's say

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Speaker 5: there you go. Welcome, Ladies and gentleman. Salt Bay.

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Speaker 4: Crinkles a question, thank you, thank you. Usually when guests

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Speaker 4: come on the show, ladies and gentlemen. Uh, I try

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Speaker 4: to discourage small talk while we're waiting to record the

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Speaker 4: show because usually the good things come out. And why

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Speaker 4: he had started the small talk for Salim asking what

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Speaker 4: he was doing in New York, But that was the

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Speaker 4: first question, because you're never in New York.

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Speaker 5: What are you doing here? Well, I got scared. I

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Speaker 5: thought Shorn sent you up here to nah Na.

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Speaker 1: Actually would I actually like to do is to make records.

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Speaker 1: I've moved to Miami in two thousand and one, two

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Speaker 1: thousand and two, so that's been my main base. And

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Speaker 1: even though I kept a place here in La I

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Speaker 1: looked at it like Miami is a bit of my

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Speaker 1: farm where I'm really in my creator space, and then

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Speaker 1: New York is my farmer's market.

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Speaker 5: Per se.

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Speaker 1: That's where I've been there for the last months, and

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Speaker 1: I have a bunch of mango trees and fruit trees.

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Speaker 1: I've been on my vegan chefing, growing trees, gardening.

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Speaker 4: Literally, I thought, you're like me, speaking metaphorically and both.

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Speaker 1: So I've been in that place like kind of trying

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Speaker 1: to find my baseline. So I've actually been to New

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Speaker 1: York since November for one day, October for one day,

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Speaker 1: and then maybe September for a few days. I've been

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Speaker 1: home for the longest I've ever been on really just

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Speaker 1: digging into the music. But I was like, April's here,

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Speaker 1: wait a minute, we got to put music out because

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Speaker 1: I like to make music for the first day of spring.

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Speaker 1: What I would call, you know, the a Marie whether

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Speaker 1: the all I want is you should play on a

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Speaker 1: street when Houseinuvian is open and I'm stelling college age

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Speaker 1: and this is the day when it happens, And it

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Speaker 1: didn't happen yet. So now I was like, wait a minute,

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Speaker 1: but this quarter is going mains coming now, what let

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Speaker 1: me come up to New York start figuring out what

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Speaker 1: I'm doing musically as far as releases for the year,

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Speaker 1: visit all my business partners. Figure out what I'm going

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Speaker 1: to do. And that's why it sounds like a beautiful life.

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Speaker 7: Man.

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Speaker 5: Yeah you sound professional. Yeah, I mean I don't feel

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Speaker 5: professional at all my own pocket.

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Speaker 1: I'm like, well, okay, there's something like that. So I'm

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Speaker 1: putting on my business hat. I'm trying to step out

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Speaker 1: of my creative hat for a couple of days, figure

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Speaker 1: out what I'm doing with it, and then dig back

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Speaker 1: into the music.

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Speaker 4: So do you already have the music?

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Speaker 2: I'm sorry, you said music for Spring like that for

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Speaker 2: at Spring song, So that means you already have the music?

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Speaker 5: You just yeah?

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Speaker 1: I mean, you know, it's funny. In twenty sixteen, I

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Speaker 1: put out like a bunch of songs. I called to

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Speaker 1: it for the culture and I was like, I'm going

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Speaker 1: to release a bunch of music. And then the song

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Speaker 1: that kind of did the best out of that, which

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Speaker 1: is Miguel Myself feature Miguel Come Through and Ill. Then

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Speaker 1: that was December sixteen. He put on his album December seventeen,

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Speaker 1: and now it's a single. The video was about to

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Speaker 1: drop next week. Things to figure out what that So

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Speaker 1: I'm like, okay, oh, I guess I should put out

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Speaker 1: another one now. So now I'm just figuring out. Okay,

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Speaker 1: I got these other songs. Let me figure out what

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Speaker 1: I'm going with. How's it going? Visit streaming services of

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Speaker 1: the planet. Come talk to you guys, because I wanted

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Speaker 1: to do this for the last eight months plus.

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Speaker 5: Besides Pandora, what other streaming services? Pandora is the only

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Speaker 5: game in the mark. So, like I said, first stop,

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Speaker 5: first place.

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Speaker 4: So are you saying Monday? Are you saying that Miami is?

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Speaker 4: Is Miami good for? I never understood cats that wanted

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Speaker 4: to be in that comfortable of an environment to make

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Speaker 4: music because I figured that it's distracting and it's yeah.

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Speaker 5: You know what.

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Speaker 1: I always thought that, like my whole life. You know,

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Speaker 1: I carried the New Yorker mentality. I have this thing

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Speaker 1: when RAT sit in the room, when you sit in

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Speaker 1: New York and you watch people walking down the street.

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Speaker 1: They normally walk a certain way, but I look at

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Speaker 1: it like they're carrying something on their shoulders. Either I'm carrying,

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Speaker 1: I'm walking real fast. I have it they're dragging and leaning.

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Speaker 1: I always felt like New York was me. I had

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Speaker 1: a mentality of you know, I used to hang out

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Speaker 1: with bids a lot, so it would always be like,

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Speaker 1: all right, cool, I got on a pair of levies

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Speaker 1: and a sweatshirt. I don't want to see any plaques.

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Speaker 1: I'm going to work. I lived in Midtown Manhattan with

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Speaker 1: my dad, but I would always be in the studio mindset.

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Speaker 1: I always wanted to keep it there and had a

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Speaker 1: rough year in two thousand and one, you know, the

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Speaker 1: towers fell, Mom past, Grandpa pass and I went to Miami,

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Speaker 1: and I was actually as productive or more productive, because

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Speaker 1: I thought that the studio had Studio fifty four space

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Speaker 1: was making music. I thought my SSL was making the sound.

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Speaker 1: I thought my Organs was actually doing it. And then

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Speaker 1: I was on South Beach in a little room with

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Speaker 1: Southeast Studios with this autisms dynamite. We did like thirty

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Speaker 1: songs in three weeks. So I was like, oh wait

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Speaker 1: a minute, but it's hot here, and you know, it

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Speaker 1: was nice, and I realized that in the New York

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Speaker 1: energy that I thought was only in New York was

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Speaker 1: actually in me. So between then and the year after

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Speaker 1: I made you know, the Major looks to whatever else,

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Speaker 1: I would be even more productive because I get up

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Speaker 1: and see the sun relaxed. But you know, it's my bloodstream.

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Speaker 4: At this point, what does it say about me that

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Speaker 4: I want to be the most uncomfortable atmosphere to make music.

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Speaker 4: We would need a psychiatrist to unpack that state, or.

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Speaker 5: We could just all move to Miami.

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Speaker 4: Yeah, and plus aren't you afraid of are you there

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Speaker 4: around August September or yeah?

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Speaker 5: So any of the flooding your house?

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Speaker 1: I mean this summer, this last September when they act that,

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Speaker 1: you know, after Houston had the big issues. I really

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Speaker 1: was in New York looking there like that, It's all

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Speaker 1: my stuff going on. My guys, like, do you want

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Speaker 1: me to fedext you something? I'm like my house, my life, HASSL,

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Speaker 1: my e M T plates, Like what do you send me?

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Speaker 5: Everything?

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Speaker 1: All my disc But then I kind of sat here

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Speaker 1: for a couple of days thinking, wow, this might be.

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Speaker 4: It is your studio protected at least for floods, and

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Speaker 4: it is for the most part, but you know, for

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Speaker 4: anything can happen. Anything can happen.

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Speaker 1: So I mean, realistically, everything I own, you know, at

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Speaker 1: this point I pushed all into one big house. I

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Speaker 1: think actually you were like my studio house. It's all

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Speaker 1: set up with every other room. Every room in the

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Speaker 1: house is wired together, record room into pocketed kits, and

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Speaker 1: every other.

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Speaker 5: Oh I know stuff, he told me. He told me.

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Speaker 9: I don't know.

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Speaker 4: I just feel like it's sacrilegious to be that comfortable happy.

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Speaker 5: When I look at my house.

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Speaker 4: You're joking, serious, I know you. Like I'll say that

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Speaker 4: an artist that I'm known working with, like his mo

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Speaker 4: is like, I got to get in an argument with

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Speaker 4: one of my joints so I can write.

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Speaker 2: And so I hope you not making love music.

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Speaker 5: Oh shit, Okay, I'm not the only one in the room. Okay.

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Speaker 1: So I mean, honestly, I think that me being there

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Speaker 1: actually just been great for the life work balance. I've

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Speaker 1: read NASA put me on the Barry Whites book, and

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Speaker 1: he basically had one house that he lived in and

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Speaker 1: one house that he worked in across from each other.

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Speaker 1: So it was just that was part of it.

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Speaker 2: You know.

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Speaker 1: I was looking at warehouses. Okay, I build out a warehouse.

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Speaker 1: I have the incredible studio. Now I have to find

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Speaker 1: somebody that wants to buy a couple million dollars worth

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Speaker 1: of studio in order to sell it. Cool, Okay, Cool.

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Speaker 1: I get the house on the acre and I make

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Speaker 1: it into the studio. Okay, Now I just take it

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Speaker 1: all out and now it becomes you know, it's like

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Speaker 1: I thought about the Rudy van Guel, the Blue oat house,

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Speaker 1: or the Motown space or anything else. I at my

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Speaker 1: space is kind of a place to be comfortable. And

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Speaker 1: then also I focus so much on lyric writing. It's

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Speaker 1: like you don't feel like you're not where you are

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Speaker 1: and then let's go forward, so.

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Speaker 5: You write lyrics too. I co write a lot of stuff.

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Speaker 1: Okay, Well, I push people who are around me to write,

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Speaker 1: like the story is more important to me than to beat,

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Speaker 1: because I can make the beat ninety times while they're sleeping,

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Speaker 1: I can change it. I'm a remixer from start, so

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Speaker 1: I actually push the story to be the best thing

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Speaker 1: it's coming, kind of like getting the script and then

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Speaker 1: shooting the movie.

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Speaker 4: So when you create a song, what's the first thing

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Speaker 4: you're thinking about? Are you're thinking about.

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Speaker 5: What's my hook?

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Speaker 4: Like even before you developed, like take us through the

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Speaker 4: process that gave you made you look, just from the

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Speaker 4: beginning to from the rooted to.

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Speaker 1: The tutor made you look started with the conversation that

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Speaker 1: Nas and I were having about Flavor Flame that when

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Speaker 1: we saw Flavor Flavor, I ain't no joke video that

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Speaker 1: we didn't know who he was because we hadn't really

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Speaker 1: seen Public Enemy perform like that before we heard their

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Speaker 1: first album, but they didn't have any videos. So when

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Speaker 1: we saw I Ain't no joke and it was a guy,

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Speaker 1: and just that whole energy of how that looked, the

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Speaker 1: energy of how BDP looked rushing down the stairs, and

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Speaker 1: I guess that was Union Square, possibly the energy of

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Speaker 1: Run's house, how it looked like everybody outside that. Those

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Speaker 1: were the times that felt like it had a certain

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Speaker 1: energy to it. And then I was working on a

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Speaker 1: lot of Latin stuff when I first moved to Miami,

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Speaker 1: so I was working with Ricky Martin, and I wanted

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Speaker 1: to use Apatchee for Ricky. But I always remember the

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Speaker 1: lost refessor. I had the trick when he was doing

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Speaker 1: stuff on the twelve hundred, slow the sample all the

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Speaker 1: way down to make sure that your chop was right

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Speaker 1: on B. So I was shopping up, you know, it

340
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Speaker 1: was supposed to be boom Ricky Ricky like, that was

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Speaker 1: my that was my thought process. That's what I was

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Speaker 1: going for. And I pitched the you know, a patchy

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Speaker 1: a little bit and kind to mess with it. But

344
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Speaker 1: I was sitting there messing with it, and then I

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Speaker 1: played it really slow, kind of trying to make sure

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Speaker 1: that my chop was on point. And then when I

347
00:19:07,080 --> 00:19:09,080
Speaker 1: played it, I just moved to Miami. So so my

348
00:19:09,119 --> 00:19:10,560
Speaker 1: gys from New York with it and they just busted

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Speaker 1: and I'm like, yo, what's that? And I was like, ah,

350
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Speaker 1: this is it? But it really it filled the spot

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Speaker 1: that Nas and Aari already had a conversation about what

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Speaker 1: that felt like. So then I just basically took it

353
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Speaker 1: and you know, did the first ball, first ball, first ball,

354
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Speaker 1: going to the second ball, loop took the hit. Nah,

355
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Speaker 1: I did that on in PC two thousand, so did that,

356
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Speaker 1: and then I just took the hit, filtered it, made

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Speaker 1: played the baseline on it, and then I called Nas

358
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Speaker 1: and he answered his phone. He was actually in Orlando

359
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Speaker 1: at the time writing and then I left it on

360
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Speaker 1: his voicemail. I was like, yo, I think I got

361
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Speaker 1: what we were talking about, and then he heard it.

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Speaker 5: He was like yo.

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Speaker 1: Then he just hit me back on the two way

364
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Speaker 1: or something come through. So then I basically drove cassette basically.

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Speaker 5: Close to that.

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Speaker 1: I had a CD burner and the who was it?

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Speaker 1: The Who's the HHB CD burner. So I burned it

368
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Speaker 1: on my HHB CD burner and took the disc and

369
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Speaker 1: I threw a world or something like that in the

370
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Speaker 1: truck I just bought, and I drove up to my

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Speaker 1: to Orlando. And when I got there, that's not a

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Speaker 1: close drive. That's four hours just to play him. Not

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Speaker 1: not just to play, he just like come through because

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Speaker 1: he'd already been. Basically the process was when we did.

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Speaker 5: Well.

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Speaker 1: My mom passed in May of two thousand and one.

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Speaker 1: I was working on a shot, a remix for Lovers Rock.

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Speaker 1: I put nads on that remix.

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Speaker 5: He came through.

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Speaker 1: He's looking at me, like what you're doing. I was like, oh,

381
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Speaker 1: my mom passed. Me going to the funeral, but then

382
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Speaker 1: I'll be back. You can furnish your verse. So he's

383
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Speaker 1: looking at me like you're an alien. What are you

384
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Speaker 1: doing when you just say what's happening? But you know,

385
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Speaker 1: as you know, I worked through it and then shot it.

386
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Speaker 1: Called me that they like, hey, do you want to

387
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Speaker 1: do this? Dreamis you gotta be done on Friday? So

388
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Speaker 1: I was like, I gotta do it. That wasn't something

389
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Speaker 1: I was giving out every day. Shot They said remixed

390
00:21:10,160 --> 00:21:12,960
Speaker 1: Lovers Rock really that was maybe maybe one person. I

391
00:21:13,000 --> 00:21:15,320
Speaker 1: think maybe Farrell had done something prior around that time,

392
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Speaker 1: and that was it, and off the same album, I

393
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Speaker 1: was getting my shot, So that was that. But basically

394
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Speaker 1: that kind of cement in our bond and I ended

395
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Speaker 1: up doing what goes around for Stematic. So then now

396
00:21:28,440 --> 00:21:30,560
Speaker 1: next year, his mom passed but I didn't know his

397
00:21:30,680 --> 00:21:33,000
Speaker 1: mom was sick when he was watching me. So he

398
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Speaker 1: was basically like, yo, I got off tour, I'm gonna

399
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Speaker 1: go to Orlando with my daughter. And he stayed in

400
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Speaker 1: Orlando in some times share house. Then he was like,

401
00:21:40,200 --> 00:21:42,720
Speaker 1: you know what, I'm ana record here. So he had

402
00:21:42,760 --> 00:21:46,480
Speaker 1: about five or six houses. He got a large professor

403
00:21:47,400 --> 00:21:51,520
Speaker 1: Aca La Alchemists, a few other people. So when he

404
00:21:51,640 --> 00:21:54,399
Speaker 1: boy Chuckie Thompson, and by the time he called me like, yo,

405
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Speaker 1: come through and come to Orlando, they were already there.

406
00:21:58,040 --> 00:22:00,480
Speaker 1: Oh okay, so it was already there. We were working

407
00:22:00,480 --> 00:22:03,560
Speaker 1: at Transcontinental Studios where you know Lou Pearlman's place or

408
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Speaker 1: whatever it was.

409
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Speaker 5: So we were doing that.

410
00:22:06,600 --> 00:22:10,000
Speaker 1: I drove up Alchemists and now we're driving to the

411
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Speaker 1: studio and I was like, yo, this is the track.

412
00:22:13,720 --> 00:22:16,600
Speaker 1: It can be crazy. I actually had Amy talking. I

413
00:22:16,640 --> 00:22:19,160
Speaker 1: had Amy Wyne. I was talking on the track because

414
00:22:19,160 --> 00:22:21,320
Speaker 1: I was starting to work on Frank right around then.

415
00:22:22,040 --> 00:22:23,920
Speaker 1: Actually I started in May. So yeah, I was like,

416
00:22:24,119 --> 00:22:25,879
Speaker 1: had to do some stuff. I wanted to put Curtis

417
00:22:25,960 --> 00:22:28,480
Speaker 1: Blow on it, so I'll be flipping on these niggas

418
00:22:28,520 --> 00:22:37,119
Speaker 1: like we're meals. I had all these these ideas and

419
00:22:37,200 --> 00:22:41,399
Speaker 1: he was like, yeah, cool. And I had to go

420
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Speaker 1: to New York for a wedding and come right back.

421
00:22:44,080 --> 00:22:47,080
Speaker 1: I left the track there. I came back and he

422
00:22:47,240 --> 00:22:52,040
Speaker 1: had basically the first first and we had the first

423
00:22:52,080 --> 00:22:54,879
Speaker 1: person the chorus, and basically the thing was that with

424
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Speaker 1: that track, I was busy trying to say, this has

425
00:22:57,920 --> 00:22:59,600
Speaker 1: a lot of energy. It was like a lot of norri.

426
00:23:00,080 --> 00:23:01,399
Speaker 1: I was like, nah, just get on the track and

427
00:23:01,520 --> 00:23:03,640
Speaker 1: go for it. But he decided to do his lean

428
00:23:03,760 --> 00:23:06,280
Speaker 1: back on it and rob him instead. Back to our

429
00:23:06,320 --> 00:23:09,600
Speaker 1: original conversation, if I ain't no joke, so rather than

430
00:23:10,040 --> 00:23:12,440
Speaker 1: going at the track, and you know, he has the

431
00:23:12,480 --> 00:23:15,399
Speaker 1: thing where he refers to rhyming on the one as

432
00:23:17,640 --> 00:23:20,640
Speaker 1: basically he'll skip the one, let the one go hard,

433
00:23:21,680 --> 00:23:23,200
Speaker 1: and then fall in the middle of it.

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Speaker 5: Basically that was he thinks in that sort of mathematicals.

435
00:23:27,160 --> 00:23:30,040
Speaker 1: He says that, yeah, what's also that? And then also,

436
00:23:30,119 --> 00:23:32,800
Speaker 1: you know, the father's being musicians like that, so he

437
00:23:33,200 --> 00:23:36,280
Speaker 1: thinks like a musician, and if he plays something, he'll

438
00:23:36,400 --> 00:23:39,600
Speaker 1: think about it musically speaking as he's writing to it.

439
00:23:40,720 --> 00:23:43,760
Speaker 4: It's weird because in my head I thought he was

440
00:23:43,840 --> 00:23:47,720
Speaker 4: trying to do a rob Bass flow because Rob based

441
00:23:47,800 --> 00:23:55,440
Speaker 4: also sort of rhymes on the end instead of so

442
00:23:55,960 --> 00:24:01,119
Speaker 4: speaking of an old episode of references Rob Base. His

443
00:24:01,280 --> 00:24:03,560
Speaker 4: his approach was straight rock him. He was thinking about

444
00:24:03,680 --> 00:24:06,640
Speaker 4: how rock Kim would have sat back on the Lets

445
00:24:06,680 --> 00:24:09,359
Speaker 4: get it all in perspective, right, That was that was

446
00:24:09,400 --> 00:24:11,560
Speaker 4: the thought process, but I didn't catch it at the time.

447
00:24:11,600 --> 00:24:13,920
Speaker 4: I was like, all right, cool is where we're going

448
00:24:13,960 --> 00:24:16,000
Speaker 4: with it. And then as the song grew, we just

449
00:24:16,080 --> 00:24:16,840
Speaker 4: kept adding legs.

450
00:24:16,920 --> 00:24:17,399
Speaker 5: He finished the.

451
00:24:17,480 --> 00:24:21,120
Speaker 1: Verses, I through the birds with a thousand people.

452
00:24:21,320 --> 00:24:23,840
Speaker 5: I gotta tell you that. Wait then I tell you

453
00:24:26,240 --> 00:24:28,119
Speaker 5: I never knew y'all were saying brave hearts.

454
00:24:29,320 --> 00:24:33,280
Speaker 4: I thought, see, I had my whole theory about made

455
00:24:33,359 --> 00:24:36,639
Speaker 4: you look, and I thought that was his him bucking

456
00:24:36,680 --> 00:24:37,240
Speaker 4: the shot.

457
00:24:37,119 --> 00:24:40,640
Speaker 5: Back at jay Z, which was still at that time.

458
00:24:40,680 --> 00:24:42,359
Speaker 5: I was so.

459
00:24:44,280 --> 00:24:53,800
Speaker 10: I thought y'all were saying airball, Oh god, wow, And

460
00:24:53,920 --> 00:24:55,400
Speaker 10: I was thinking, like, Yo, why is it so little

461
00:24:55,400 --> 00:24:57,600
Speaker 10: the mixes that'd be so great at basketball games that

462
00:24:57,760 --> 00:25:00,680
Speaker 10: you know, like a jay Z you missed me, motherfucker

463
00:25:01,040 --> 00:25:02,080
Speaker 10: bought like that sort of thing.

464
00:25:02,640 --> 00:25:04,359
Speaker 1: And even when we did that, like part of my

465
00:25:04,520 --> 00:25:07,159
Speaker 1: theory was just being in the clubs and being in

466
00:25:07,160 --> 00:25:10,560
Speaker 1: different spaces that I faded it out because I wanted

467
00:25:10,600 --> 00:25:12,240
Speaker 1: it to play, but I wanted you also to be

468
00:25:12,320 --> 00:25:13,639
Speaker 1: in the club and feel like the people on the

469
00:25:13,680 --> 00:25:15,639
Speaker 1: other side were doing it or whatever it was. So

470
00:25:15,680 --> 00:25:18,800
Speaker 1: then now you start singing along with it, and by

471
00:25:18,840 --> 00:25:21,200
Speaker 1: the time it creeps up, that was a play game.

472
00:25:21,240 --> 00:25:23,040
Speaker 5: But I mean that was the main part of it.

473
00:25:23,200 --> 00:25:25,480
Speaker 1: Cut the record, took it to Miami, played around a

474
00:25:25,520 --> 00:25:29,760
Speaker 1: little bit, and by his birthday kind of played through it.

475
00:25:30,119 --> 00:25:32,200
Speaker 1: And then you know, during that time, you know, he

476
00:25:32,359 --> 00:25:35,520
Speaker 1: was still going through drama with the radio and everything else.

477
00:25:35,560 --> 00:25:39,680
Speaker 1: So I was like, take and peach to president and

478
00:25:40,119 --> 00:25:43,480
Speaker 1: just use it by itself. Alchemist was like, really, Alchemist

479
00:25:43,600 --> 00:25:46,480
Speaker 1: was with me during those days because he knew where

480
00:25:46,480 --> 00:25:49,200
Speaker 1: the studio was from the rental houses we were staying in.

481
00:25:50,200 --> 00:25:52,959
Speaker 1: And I was like, yeah, I'm just impeached to president,

482
00:25:53,000 --> 00:25:55,240
Speaker 1: I'm not a I had eight or eight or nothing, really,

483
00:25:55,840 --> 00:25:57,520
Speaker 1: go ahead do it. So he's just sitting there looking

484
00:25:57,560 --> 00:26:00,280
Speaker 1: at me like what are you doing? And basically I

485
00:26:00,440 --> 00:26:02,280
Speaker 1: just took the piano. It was a little off, and

486
00:26:02,359 --> 00:26:06,480
Speaker 1: I had a story from Greg Nice where he was

487
00:26:06,520 --> 00:26:09,399
Speaker 1: there when they made the bridges over, and basically he

488
00:26:09,480 --> 00:26:12,800
Speaker 1: said that uh Cares was going to play the bass

489
00:26:12,840 --> 00:26:14,640
Speaker 1: line on the juno and he's like, yeah, what about

490
00:26:14,640 --> 00:26:17,120
Speaker 1: that piano in it. They went where the Musicians Union

491
00:26:17,280 --> 00:26:20,720
Speaker 1: is at the old A and R Studios building and

492
00:26:20,880 --> 00:26:24,320
Speaker 1: basically Cars went to the piano even though it was off,

493
00:26:24,400 --> 00:26:28,960
Speaker 1: and played played the super cat boops bassline on the piano.

494
00:26:29,080 --> 00:26:32,720
Speaker 1: Then said sampled it and made the bridges over. So

495
00:26:32,840 --> 00:26:34,320
Speaker 1: when I saw the piano and it was like it's

496
00:26:34,359 --> 00:26:36,879
Speaker 1: not tuned, I'm like, nah, good leave it. So then

497
00:26:36,960 --> 00:26:38,560
Speaker 1: I went to the piano and I was like, no, what,

498
00:26:38,640 --> 00:26:41,600
Speaker 1: Why don't you feature Alicia Keys playing piano instead of singing?

499
00:26:42,280 --> 00:26:44,760
Speaker 5: Is that her playing? For at least that's me playing.

500
00:26:44,880 --> 00:26:47,720
Speaker 1: But my thought process was to get her to play

501
00:26:47,760 --> 00:26:50,280
Speaker 1: it and then feature her that way rather than making

502
00:26:50,320 --> 00:26:52,960
Speaker 1: the typical R and B. Alicia Keys comes out of

503
00:26:53,000 --> 00:26:54,960
Speaker 1: nowhere with the hook record. That was my thought, but

504
00:26:55,000 --> 00:26:57,160
Speaker 1: then she ended up producings Warrior Song for the album,

505
00:26:57,720 --> 00:26:59,880
Speaker 1: and then you know, it was like, I know I can.

506
00:27:00,119 --> 00:27:02,600
Speaker 1: Was basically, come on, we love the kids.

507
00:27:02,680 --> 00:27:07,000
Speaker 5: Man played on the radio. You love the kids. You

508
00:27:07,040 --> 00:27:08,040
Speaker 5: got to do for the kids.

509
00:27:08,560 --> 00:27:09,520
Speaker 6: I know I can't.

510
00:27:09,640 --> 00:27:13,760
Speaker 1: That was Son, Yeah, basically, and that vocalist is actually

511
00:27:14,680 --> 00:27:27,040
Speaker 1: uh for a while, okay, there it goes, thank you

512
00:27:27,720 --> 00:27:28,280
Speaker 1: the vocal so.

513
00:27:28,520 --> 00:27:29,080
Speaker 5: I know I can.

514
00:27:29,200 --> 00:27:32,399
Speaker 1: It's actually Angela Hunt, who is was also in the

515
00:27:32,440 --> 00:27:33,640
Speaker 1: group of seven sixty six nine.

516
00:27:33,800 --> 00:27:37,760
Speaker 5: Oh my god, Yeah, she's the kids so high the.

517
00:27:37,800 --> 00:27:40,359
Speaker 1: Kids voice is actually so high exactly, so that's her voice.

518
00:27:40,400 --> 00:27:42,240
Speaker 1: And then she has vote Empire state of mind.

519
00:27:43,600 --> 00:27:45,440
Speaker 5: She's she came up.

520
00:27:46,920 --> 00:27:49,359
Speaker 1: And she has no big soaka record party done.

521
00:27:49,640 --> 00:27:51,280
Speaker 5: You know, it was big for the last few years

522
00:27:51,440 --> 00:27:51,840
Speaker 5: or whatever.

523
00:27:52,240 --> 00:27:54,920
Speaker 4: I always wanted what happened to? Yeah, that one album,

524
00:27:55,280 --> 00:28:00,320
Speaker 4: Well damn you you out rabbit hole being. But I'm

525
00:28:00,320 --> 00:28:08,400
Speaker 4: still going back to the beginning. Yeah, waited a while

526
00:28:08,440 --> 00:28:11,639
Speaker 4: to go back to the beginning now, like he you know,

527
00:28:12,000 --> 00:28:13,960
Speaker 4: he went on a tangent. It was good rabbit holes

528
00:28:14,000 --> 00:28:15,880
Speaker 4: and tangents hand in hand.

529
00:28:21,040 --> 00:28:22,080
Speaker 5: Uh, where were you born?

530
00:28:22,560 --> 00:28:26,439
Speaker 1: I was born uh, Manhattan, Saint Luke's Woman's Hospital up

531
00:28:26,520 --> 00:28:29,960
Speaker 1: in East Harlem, and then I grew up. At that time,

532
00:28:29,960 --> 00:28:32,560
Speaker 1: my parents lived Brooklyn Heights. But then I grew up

533
00:28:32,560 --> 00:28:36,800
Speaker 1: in Queens mainly North side Jamaica, Queen's Camberg Heights.

534
00:28:36,960 --> 00:28:38,080
Speaker 8: Holding on to that accent.

535
00:28:38,160 --> 00:28:44,040
Speaker 5: Now, who's your Your father? Is my father? Okay? It's

536
00:28:44,080 --> 00:28:48,600
Speaker 5: a bit of a rabbit hole. Should I go over? Yes? Yes? Perfect?

537
00:28:48,640 --> 00:28:48,920
Speaker 5: All right?

538
00:28:48,960 --> 00:28:56,360
Speaker 1: So my dad, his name is Van Gabbs, producer, manager, musician,

539
00:28:56,480 --> 00:28:59,360
Speaker 1: et cetera. Basically, the story how I came about is this.

540
00:29:01,200 --> 00:29:05,240
Speaker 1: My dad comes from Trinidad, eighteen years old. His father

541
00:29:05,280 --> 00:29:08,160
Speaker 1: already lived here in Brooklyn. He's working at some place

542
00:29:08,320 --> 00:29:10,680
Speaker 1: New York Insurance Company. He's been getting older, so I've

543
00:29:10,680 --> 00:29:12,719
Speaker 1: been asking him, re asking him the questions to kind

544
00:29:12,760 --> 00:29:15,040
Speaker 1: of get the story straight straight. Now you can tell

545
00:29:15,040 --> 00:29:18,720
Speaker 1: me to grow man version of what happened. So basically,

546
00:29:20,320 --> 00:29:22,120
Speaker 1: he was working at a place called New York Insurance

547
00:29:22,200 --> 00:29:25,040
Speaker 1: Company and there was a guy in there named Bernard something.

548
00:29:25,240 --> 00:29:29,080
Speaker 1: Bernard lived in Queen's Saint Albans. He's like, hey, you

549
00:29:29,160 --> 00:29:30,720
Speaker 1: know what you played?

550
00:29:30,760 --> 00:29:31,840
Speaker 5: Guitar? Okay? Cool?

551
00:29:31,880 --> 00:29:34,440
Speaker 1: My dad acoustic guitar? Or was starting to play electric.

552
00:29:34,480 --> 00:29:37,440
Speaker 1: He's like, yo, come around my way. There's some guys

553
00:29:37,720 --> 00:29:40,760
Speaker 1: that do a band. So he takes him around Queen's

554
00:29:40,800 --> 00:29:45,720
Speaker 1: Saint Albans two hundred and second Street. My uncle Joseph Wiggins,

555
00:29:45,760 --> 00:29:49,840
Speaker 1: who's my mother's brother, actually was the local musician, and

556
00:29:50,240 --> 00:29:53,200
Speaker 1: I had another uncle named Thomas who played keys. Joseph

557
00:29:53,240 --> 00:29:57,480
Speaker 1: played sacks, guitar or whatever it was. Introduces them. My

558
00:29:57,640 --> 00:30:00,760
Speaker 1: uncle Joe goes, yeah, all right, but not out of here,

559
00:30:00,760 --> 00:30:02,760
Speaker 1: and we can probably go start a band somewhere else.

560
00:30:03,400 --> 00:30:08,040
Speaker 1: So they started a band called Stone Free, and actually

561
00:30:08,320 --> 00:30:11,840
Speaker 1: Larry Smith was also rolling with them, and they made

562
00:30:12,320 --> 00:30:15,880
Speaker 1: play bass with them, doing different stuff. So my dad,

563
00:30:16,760 --> 00:30:20,280
Speaker 1: my uncles and Larry and probably I think it was

564
00:30:20,280 --> 00:30:22,080
Speaker 1: somebody else named Raddy or something like that from the

565
00:30:22,120 --> 00:30:24,400
Speaker 1: neighborhood all had a band called Stone Free that they

566
00:30:24,440 --> 00:30:27,000
Speaker 1: were doing stuff. And then that's where my dad CITs

567
00:30:27,080 --> 00:30:30,440
Speaker 1: my mom, and then my grandfather takes his him away

568
00:30:30,720 --> 00:30:32,760
Speaker 1: and he still has a call. Hey, you know I

569
00:30:32,840 --> 00:30:35,200
Speaker 1: could drive you to work whatever is. And that's where

570
00:30:35,440 --> 00:30:39,560
Speaker 1: I came from, basically, you know, from a garage around

571
00:30:39,640 --> 00:30:43,680
Speaker 1: the way band in nineteen seventy up to seventy two,

572
00:30:44,280 --> 00:30:45,240
Speaker 1: did they make albums.

573
00:30:45,640 --> 00:30:46,120
Speaker 5: Never did that.

574
00:30:46,280 --> 00:30:48,960
Speaker 1: They just performed. I think it's there was a club call.

575
00:30:49,000 --> 00:30:50,320
Speaker 1: I think there was a cheet that I used to

576
00:30:50,360 --> 00:30:54,560
Speaker 1: be where Siri is on fifty second somewhere over there.

577
00:30:54,640 --> 00:30:56,880
Speaker 1: So they performed in different places. And when I've asked

578
00:30:56,920 --> 00:30:59,760
Speaker 1: other musicians of the day, they're like, oh, yeah, remember

579
00:30:59,800 --> 00:31:01,720
Speaker 1: they played whatever it was. But they never really made

580
00:31:01,800 --> 00:31:06,000
Speaker 1: records like that. And then my dad continued to you know,

581
00:31:06,760 --> 00:31:10,520
Speaker 1: produced and stayed in the music business as one of

582
00:31:10,560 --> 00:31:15,480
Speaker 1: those people who kind of stayed, you know. He did Broadway,

583
00:31:16,000 --> 00:31:17,880
Speaker 1: He did Joam So who show up the box, reguard,

584
00:31:17,920 --> 00:31:19,760
Speaker 1: Don't bother Me, I Can cope, went on the road,

585
00:31:20,480 --> 00:31:26,040
Speaker 1: did jazzm Bill. He basically was the first arranger according

586
00:31:26,080 --> 00:31:28,240
Speaker 1: to Kenton next on Facebook, but he was the person

587
00:31:28,280 --> 00:31:31,920
Speaker 1: who really knew how to put records together. Bert Reeve

588
00:31:31,920 --> 00:31:35,160
Speaker 1: from Crime he's a fair and helped my dad up

589
00:31:35,200 --> 00:31:37,640
Speaker 1: with Kenton who was his friend, saying hey, maybe you

590
00:31:37,680 --> 00:31:40,400
Speaker 1: can help them put together stuff. So the first time

591
00:31:40,440 --> 00:31:43,560
Speaker 1: of guarding the album worked. That body was my dad's

592
00:31:43,960 --> 00:31:47,479
Speaker 1: pretty much production. He's listed as a ranger, but Kenton,

593
00:31:48,040 --> 00:31:51,120
Speaker 1: who was the producer and I guess co writer and

594
00:31:51,760 --> 00:31:54,200
Speaker 1: up to Heartbeat, which was actually one of the leftover

595
00:31:54,320 --> 00:31:58,720
Speaker 1: tracks off the album heard didn't happen, but basically they

596
00:31:58,760 --> 00:32:00,959
Speaker 1: went and redid it. So when I eventually sampled from here,

597
00:32:00,960 --> 00:32:04,760
Speaker 1: it comes to Hot Stepper, that kickback, and you have

598
00:32:05,160 --> 00:32:05,880
Speaker 1: the master.

599
00:32:07,320 --> 00:32:07,640
Speaker 6: I don't.

600
00:32:07,720 --> 00:32:12,640
Speaker 5: I think Dope has it, but you know exactly, I

601
00:32:12,760 --> 00:32:13,240
Speaker 5: think he has it.

602
00:32:13,320 --> 00:32:16,240
Speaker 1: But basically no, just in that conversation, I was able

603
00:32:16,280 --> 00:32:20,480
Speaker 1: to get a really favorable sample Clarence Steal because because

604
00:32:20,480 --> 00:32:23,800
Speaker 1: it was lifted from Dad's you know, original works, and

605
00:32:24,560 --> 00:32:27,240
Speaker 1: you know, still just feel like the legacy comes around.

606
00:32:27,320 --> 00:32:29,400
Speaker 1: Pops is always I'll say it now. He said, that

607
00:32:29,560 --> 00:32:32,440
Speaker 1: was this jam that he created, you know, with his band,

608
00:32:32,480 --> 00:32:41,560
Speaker 1: basically off of It's a Shame. You know, it's basically

609
00:32:42,240 --> 00:32:43,200
Speaker 1: he was playing It's a Shame?

610
00:32:43,280 --> 00:32:45,960
Speaker 5: Does your father? Did you ever hear the story of

611
00:32:46,040 --> 00:32:50,000
Speaker 5: Larry Levin and the four Hours of Heartbeat? No? I

612
00:32:50,040 --> 00:32:51,160
Speaker 5: don't know. Do you know the story?

613
00:32:51,320 --> 00:32:51,360
Speaker 2: No?

614
00:32:51,480 --> 00:32:54,920
Speaker 4: I don't know that story. Larry Levan is right, he

615
00:32:55,120 --> 00:32:58,520
Speaker 4: deal with Larry all the time. So yeah, the legend

616
00:32:58,600 --> 00:33:02,640
Speaker 4: has it, you know. Larry Levan like, if I say that,

617
00:33:02,760 --> 00:33:06,520
Speaker 4: then then I know it sounds familiar. Okay, He to

618
00:33:06,600 --> 00:33:08,960
Speaker 4: me he's like one of my DJ idols, but he

619
00:33:10,480 --> 00:33:14,880
Speaker 4: in seventy seven when uh, you know, Studio fifty four

620
00:33:15,240 --> 00:33:20,120
Speaker 4: spawns off sort of rejection culture, like you can't come in,

621
00:33:20,240 --> 00:33:21,560
Speaker 4: but you can come in, but you can't come in

622
00:33:21,680 --> 00:33:24,120
Speaker 4: you can, So all the rejects were like, well, fuck it,

623
00:33:24,240 --> 00:33:26,320
Speaker 4: We're going to start our own culture. So, you know,

624
00:33:27,200 --> 00:33:31,560
Speaker 4: three subgenres and subcultures started. So there's there's the punk,

625
00:33:31,640 --> 00:33:34,880
Speaker 4: the punk scene in the East Village, the have nots,

626
00:33:35,200 --> 00:33:38,480
Speaker 4: and then like hip hop in the Bronx. Seventy seven

627
00:33:38,760 --> 00:33:42,440
Speaker 4: also helped to the blackout and them looting all the

628
00:33:42,520 --> 00:33:43,560
Speaker 4: DJ equipment.

629
00:33:43,320 --> 00:33:47,719
Speaker 2: Sounds very okay, get down and then and then uh,

630
00:33:48,840 --> 00:33:51,280
Speaker 2: wait a minute, that was the wrong reference to make good.

631
00:33:51,160 --> 00:33:52,920
Speaker 5: Well yeah, because Bill's face just started.

632
00:33:53,000 --> 00:34:02,400
Speaker 8: You know, it sounded familiar to I wasn't angry, I

633
00:34:02,560 --> 00:34:03,000
Speaker 8: was laughing.

634
00:34:03,160 --> 00:34:04,080
Speaker 5: I thought it was funny.

635
00:34:04,360 --> 00:34:08,080
Speaker 4: Yeah anyway, so uh and then I guess you could

636
00:34:08,120 --> 00:34:13,319
Speaker 4: say that the ground you gotta get another build theme

637
00:34:13,440 --> 00:34:14,960
Speaker 4: that goes deeper than darker than that.

638
00:34:16,719 --> 00:34:16,919
Speaker 5: Yeah.

639
00:34:17,360 --> 00:34:20,319
Speaker 4: So uh and you know, just a lot of uh

640
00:34:21,239 --> 00:34:24,360
Speaker 4: the underground, uh, gay night clubs and whatnot.

641
00:34:24,640 --> 00:34:26,800
Speaker 2: Oh like what they're about to the new Ryan Murphy

642
00:34:26,920 --> 00:34:29,040
Speaker 2: John is based off of I'm sorry, I just went

643
00:34:29,080 --> 00:34:29,920
Speaker 2: into a rabbit hole.

644
00:34:30,000 --> 00:34:30,480
Speaker 7: But there's a.

645
00:34:31,960 --> 00:34:34,480
Speaker 5: In the abyss now. So the thing is is that

646
00:34:34,880 --> 00:34:35,600
Speaker 5: the most popular?

647
00:34:35,880 --> 00:34:38,160
Speaker 4: Well, he also DJ'ed at the Studio fifty four, but

648
00:34:38,280 --> 00:34:41,360
Speaker 4: Lara Levan like wanted to build his own spot.

649
00:34:41,560 --> 00:34:43,320
Speaker 5: Leave Studio fifty four and build balls.

650
00:34:44,040 --> 00:34:44,759
Speaker 2: That's what they're called.

651
00:34:44,760 --> 00:34:45,160
Speaker 8: They used to do.

652
00:34:45,360 --> 00:34:48,960
Speaker 4: They used to host balls. Come on, Okay, I see,

653
00:34:50,160 --> 00:34:52,320
Speaker 4: but this was more. I mean, he built the ultimate

654
00:34:52,360 --> 00:34:57,520
Speaker 4: warehouse with with speakers, like it was probably the most

655
00:34:59,160 --> 00:35:02,200
Speaker 4: like it's it's it's DJ's dream to spin in a

656
00:35:02,239 --> 00:35:05,800
Speaker 4: spot like this. Anyway, you know, he had an amazing following,

657
00:35:06,480 --> 00:35:08,840
Speaker 4: I mean, like, and he would do the most creative

658
00:35:10,200 --> 00:35:12,719
Speaker 4: things like me, reading about a set list is what

659
00:35:13,760 --> 00:35:15,920
Speaker 4: prompts me to think that I can get away with

660
00:35:15,960 --> 00:35:19,960
Speaker 4: playing like Kerrent the Frog and DMX in the same setting.

661
00:35:21,120 --> 00:35:24,360
Speaker 4: Like one night he infamously just played the entire Wizard

662
00:35:24,400 --> 00:35:27,120
Speaker 4: of Oz movie and had a light show, and it

663
00:35:27,239 --> 00:35:30,839
Speaker 4: was like, so, I guess once he got larger than life,

664
00:35:31,000 --> 00:35:35,520
Speaker 4: then uh, he started experimenting more and he was getting

665
00:35:35,520 --> 00:35:38,640
Speaker 4: a lot of shade from his main dancers, and they

666
00:35:38,719 --> 00:35:40,480
Speaker 4: were like protests, like we don't like this song, so

667
00:35:40,560 --> 00:35:43,920
Speaker 4: we're not so we're not going to dance like in protests.

668
00:35:44,320 --> 00:35:47,200
Speaker 4: And so he went and I don't know did he

669
00:35:47,239 --> 00:35:51,520
Speaker 4: commission Heartbeat or did he produce the dancers just because

670
00:35:51,560 --> 00:35:52,320
Speaker 4: it was too slow?

671
00:35:53,400 --> 00:35:55,200
Speaker 5: But did he did he just do an edit to

672
00:35:55,280 --> 00:35:57,040
Speaker 5: it or was it did he have anything to do

673
00:35:57,080 --> 00:35:57,640
Speaker 5: with the creator?

674
00:35:57,760 --> 00:36:00,720
Speaker 1: He did an ed as as I know, actually created,

675
00:36:00,760 --> 00:36:01,200
Speaker 1: but he did.

676
00:36:02,800 --> 00:36:06,600
Speaker 5: Beat, made Tiny Guarden a Heartbeat.

677
00:36:07,320 --> 00:36:10,200
Speaker 4: So he and pro and the next week he came

678
00:36:10,280 --> 00:36:13,360
Speaker 4: back and basically played Heartbeat for four hours in a

679
00:36:13,480 --> 00:36:17,280
Speaker 4: row and they relentlessly bowed.

680
00:36:17,880 --> 00:36:19,120
Speaker 5: It was like just a standoff.

681
00:36:19,239 --> 00:36:21,760
Speaker 4: We're gonna sit on the floor and protest and protest

682
00:36:21,800 --> 00:36:24,000
Speaker 4: and protest, and finally they're like, look, let's just dance

683
00:36:24,040 --> 00:36:25,480
Speaker 4: of the ship so you can play the next record

684
00:36:26,120 --> 00:36:28,040
Speaker 4: because the ain't no other club going to let us in,

685
00:36:28,160 --> 00:36:31,400
Speaker 4: so listen just you know, So anyway, that.

686
00:36:31,520 --> 00:36:35,080
Speaker 1: Was part of culture kept going because that record means

687
00:36:35,120 --> 00:36:38,280
Speaker 1: a lot to you know, the Barbecue Flex and everything

688
00:36:38,320 --> 00:36:39,719
Speaker 1: else that you know came after it.

689
00:36:40,480 --> 00:36:43,040
Speaker 4: And plus also like Frankie Crocker used to, you know,

690
00:36:43,280 --> 00:36:46,360
Speaker 4: like he was the type of leader that other DJs

691
00:36:46,400 --> 00:36:48,480
Speaker 4: would come and watch. So Frankie Crocker would look over

692
00:36:49,040 --> 00:36:51,320
Speaker 4: you it, you play it and then start playing it

693
00:36:51,360 --> 00:36:52,279
Speaker 4: on the radio, and then.

694
00:36:52,280 --> 00:36:56,640
Speaker 1: That's exactly so within that, you know, back to Pops,

695
00:36:56,719 --> 00:37:00,560
Speaker 1: he was, uh, you know, producer ranger doing all that stuff.

696
00:37:00,600 --> 00:37:06,160
Speaker 1: He did promotions, street promotions that Arista, worked underneath Vincent

697
00:37:06,239 --> 00:37:09,080
Speaker 1: Davis who had Ventons Hayman at the time, and then

698
00:37:09,120 --> 00:37:13,480
Speaker 1: he became Northeast regional for Arista like during the time,

699
00:37:13,560 --> 00:37:15,440
Speaker 1: like he broke like jumped to it for Rita and

700
00:37:15,440 --> 00:37:19,000
Speaker 1: different stuff like that, and had relationships with Frankie Kraker,

701
00:37:19,239 --> 00:37:22,520
Speaker 1: would you know, go and produce stuff. Took first person

702
00:37:22,560 --> 00:37:25,520
Speaker 1: to take Dougie Fresh in the studio for the first

703
00:37:26,800 --> 00:37:29,200
Speaker 1: Before that, there was a record called Past the Buddha

704
00:37:29,520 --> 00:37:32,200
Speaker 1: by the Buddha Buss Crew where he got Slime Robbie,

705
00:37:32,760 --> 00:37:34,600
Speaker 1: who he had kind of helped out a lot when

706
00:37:34,640 --> 00:37:36,120
Speaker 1: they first came to New York, hooked him up with

707
00:37:36,200 --> 00:37:39,400
Speaker 1: Gwen Guthrie, took him around to Lyry Levan all the

708
00:37:39,440 --> 00:37:39,920
Speaker 1: other stuff.

709
00:37:40,280 --> 00:37:43,279
Speaker 5: Yeah, yeah, yeah, the Seventh Heaven right, all.

710
00:37:43,200 --> 00:37:45,279
Speaker 1: That type of So he basically was the person that

711
00:37:45,400 --> 00:37:47,160
Speaker 1: you know, when I talked to Slian Robbie. Now they're

712
00:37:47,200 --> 00:37:49,680
Speaker 1: like nah, your father took us around and let everybody

713
00:37:49,840 --> 00:37:51,920
Speaker 1: know us and whatever else it was. So he was

714
00:37:52,000 --> 00:37:55,719
Speaker 1: just basically a connector through the musician scene, the jazz

715
00:37:55,800 --> 00:37:58,040
Speaker 1: mobile scene, you know, part of the Jamaica boys. Know

716
00:37:58,040 --> 00:38:00,480
Speaker 1: all the Hanky Great and how We Great and all

717
00:38:00,520 --> 00:38:02,840
Speaker 1: those guys who are on that side were like my

718
00:38:02,960 --> 00:38:06,000
Speaker 1: godfather's to say. He basically was just like a guy

719
00:38:06,080 --> 00:38:07,440
Speaker 1: that was in the middle of everything. But he took

720
00:38:07,480 --> 00:38:09,600
Speaker 1: Dougie in the studio to record a record with Spoony

721
00:38:09,680 --> 00:38:12,160
Speaker 1: Ge and Spivey called Past the Buddha, which was a

722
00:38:12,200 --> 00:38:15,920
Speaker 1: Past the Duchy rap version. They put it out. He

723
00:38:16,000 --> 00:38:20,120
Speaker 1: got jerked. He put another record with Alison Williams called

724
00:38:20,320 --> 00:38:23,080
Speaker 1: The Fair. It was called Please Don't Break My Heart,

725
00:38:23,120 --> 00:38:26,719
Speaker 1: which was another of one of those basically heartbeat, just

726
00:38:26,760 --> 00:38:29,520
Speaker 1: that vibe, that New York energy church chords.

727
00:38:31,080 --> 00:38:32,720
Speaker 5: Exactly more of that stuff.

728
00:38:33,239 --> 00:38:35,840
Speaker 1: And then you know, through his connections while he was

729
00:38:35,880 --> 00:38:40,200
Speaker 1: at PolyGram, eventually he bought Gwyne Guthrie in even though

730
00:38:40,239 --> 00:38:41,640
Speaker 1: he was promotion was supposed to be doing it, but

731
00:38:41,840 --> 00:38:43,879
Speaker 1: the whole it ain't nothing going on but the rent time.

732
00:38:44,480 --> 00:38:47,200
Speaker 1: But he was just like connected on both sides, management

733
00:38:47,320 --> 00:38:47,840
Speaker 1: and music.

734
00:38:48,000 --> 00:38:50,960
Speaker 4: So was he an independent person because you just mentioned

735
00:38:51,040 --> 00:38:54,600
Speaker 4: like a bunch of labels in a short period of time,

736
00:38:54,719 --> 00:38:56,600
Speaker 4: Like how does one go from like.

737
00:38:59,760 --> 00:39:01,960
Speaker 5: Like James Evans of music? He basically he, I mean,

738
00:39:02,000 --> 00:39:03,240
Speaker 5: he went through all the stuff. Basically.

739
00:39:03,480 --> 00:39:06,040
Speaker 1: His thing was that when he made his first records,

740
00:39:06,080 --> 00:39:08,279
Speaker 1: he got jerked and he wanted to learn, So he

741
00:39:08,560 --> 00:39:11,080
Speaker 1: went into ARIS as an intern and then ended up

742
00:39:11,080 --> 00:39:13,799
Speaker 1: being Northeast Regional, and then as he left it, then

743
00:39:13,840 --> 00:39:16,399
Speaker 1: he ended up going to PolyGram. You know, his whole

744
00:39:16,560 --> 00:39:19,520
Speaker 1: flow was always I'm gonna he basically would be in

745
00:39:19,560 --> 00:39:22,719
Speaker 1: the studio but then still be doing promotion, but then

746
00:39:22,840 --> 00:39:25,560
Speaker 1: still be with whatever else, doing a little broadway in

747
00:39:25,640 --> 00:39:28,440
Speaker 1: between whatever needed to happen. He always kept the I'm

748
00:39:28,440 --> 00:39:30,880
Speaker 1: gonna work twenty hours out of the day aspect.

749
00:39:31,760 --> 00:39:35,040
Speaker 4: Who was the most popular artist that he was associated

750
00:39:35,120 --> 00:39:38,719
Speaker 4: with that was sort of a no name back then,

751
00:39:39,680 --> 00:39:41,759
Speaker 4: like son, I want you to meet a Sissy Houston's

752
00:39:42,000 --> 00:39:43,760
Speaker 4: eleven year old daughter, Whitney.

753
00:39:45,719 --> 00:39:46,279
Speaker 5: I can say it.

754
00:39:46,280 --> 00:39:48,600
Speaker 1: I mean, even during the time he worked with Balafonte,

755
00:39:48,760 --> 00:39:50,680
Speaker 1: So it's kind of hard for me to say. Wow,

756
00:39:50,840 --> 00:39:52,719
Speaker 1: like even some of that ton of garden and stuff,

757
00:39:52,760 --> 00:39:54,359
Speaker 1: it says if you look at that work. The Body

758
00:39:54,400 --> 00:39:58,120
Speaker 1: album says recorded by David Bellefonte, fan, can you take

759
00:39:58,239 --> 00:39:58,799
Speaker 1: your man?

760
00:39:58,960 --> 00:40:00,640
Speaker 5: Take David with you. I can help him.

761
00:40:01,320 --> 00:40:03,480
Speaker 1: He needs something to do, you know. He was an

762
00:40:03,520 --> 00:40:05,480
Speaker 1: engineer and actually and a lot of stuff.

763
00:40:07,360 --> 00:40:08,000
Speaker 5: I can't say it was.

764
00:40:08,080 --> 00:40:10,560
Speaker 1: It's kind of weird because I saw so much so young,

765
00:40:11,080 --> 00:40:12,719
Speaker 1: you know. So that first time Dougie was in the

766
00:40:12,760 --> 00:40:14,360
Speaker 1: studio he called me in for birthday.

767
00:40:14,400 --> 00:40:14,480
Speaker 2: Yo.

768
00:40:14,600 --> 00:40:17,719
Speaker 1: I remember how I went to the studio and he

769
00:40:17,880 --> 00:40:19,760
Speaker 1: was touching everything.

770
00:40:20,960 --> 00:40:22,800
Speaker 5: I just remember, you was submitted to do that?

771
00:40:23,040 --> 00:40:23,160
Speaker 2: Hi?

772
00:40:23,840 --> 00:40:24,800
Speaker 4: You was? Then you was?

773
00:40:25,040 --> 00:40:25,759
Speaker 8: How was you?

774
00:40:26,480 --> 00:40:28,879
Speaker 5: You touched everything in the studio and then you still

775
00:40:29,000 --> 00:40:32,279
Speaker 5: do it? You know? That's still what does this do?

776
00:40:32,480 --> 00:40:35,719
Speaker 5: What is this? Dude? It was almost that.

777
00:40:35,840 --> 00:40:39,359
Speaker 1: But I remember, like the first time I heard doing

778
00:40:39,440 --> 00:40:41,360
Speaker 1: dunk dunk, don't don't I know how to play.

779
00:40:42,840 --> 00:40:43,000
Speaker 5: Dunk?

780
00:40:43,440 --> 00:40:46,080
Speaker 1: Don't bug? Yo, Yogi want a clapp ornet? And I

781
00:40:46,120 --> 00:40:50,000
Speaker 1: remember Bert Reid actually looking at me and going, who

782
00:40:50,120 --> 00:40:50,960
Speaker 1: told you how to do that?

783
00:40:51,440 --> 00:40:52,120
Speaker 5: Like? Really?

784
00:40:52,239 --> 00:40:54,719
Speaker 1: So I was around like so basically, the way it

785
00:40:54,840 --> 00:40:57,960
Speaker 1: worked on the Daily Planet Block is that there was

786
00:40:57,960 --> 00:41:01,120
Speaker 1: a Planet studios in the basement, and up above that

787
00:41:01,360 --> 00:41:03,120
Speaker 1: there were a lot of people who had studio like

788
00:41:03,360 --> 00:41:06,239
Speaker 1: little lost spaces. So Belafonte had a lost space kind

789
00:41:06,280 --> 00:41:08,399
Speaker 1: of like right on the third floor, and that's where

790
00:41:08,440 --> 00:41:11,160
Speaker 1: my dad would actually be taking care of Harry Belafante's business,

791
00:41:11,200 --> 00:41:14,680
Speaker 1: but also rehearsing the band, which was like Bernard Wright

792
00:41:14,800 --> 00:41:17,440
Speaker 1: was coming through at that point, you know, coming from

793
00:41:17,600 --> 00:41:19,800
Speaker 1: music and art, and he'd be playing on stuff or

794
00:41:20,440 --> 00:41:22,839
Speaker 1: Crown Heights. A fear had a loft down the block,

795
00:41:22,880 --> 00:41:24,839
Speaker 1: so they would be coming back and forth at different points.

796
00:41:24,840 --> 00:41:27,000
Speaker 1: But that's when Bert Read is killing, you know, the

797
00:41:27,120 --> 00:41:30,920
Speaker 1: must be the music's raw silks, everything else. So everything

798
00:41:31,040 --> 00:41:33,440
Speaker 1: was kind of happening in that space. And I was

799
00:41:33,520 --> 00:41:35,279
Speaker 1: living in Queens with my mom, but whenever I would

800
00:41:35,280 --> 00:41:37,600
Speaker 1: be with my dad for a couple of days, I

801
00:41:37,760 --> 00:41:41,200
Speaker 1: literally was seeing more than I thought, more than I

802
00:41:41,239 --> 00:41:42,040
Speaker 1: can put the piece to it.

803
00:41:42,120 --> 00:41:43,800
Speaker 5: I mean, I guess for me.

804
00:41:43,920 --> 00:41:46,160
Speaker 1: It also started because all my uncles were musicians and

805
00:41:46,280 --> 00:41:49,839
Speaker 1: my father's brothers as well. So my third birthday, there

806
00:41:49,920 --> 00:41:53,480
Speaker 1: used to be a drum store on forty seventh and

807
00:41:53,880 --> 00:41:56,120
Speaker 1: kind of like right where Unique was somewhere right in

808
00:41:56,200 --> 00:41:58,600
Speaker 1: that space forty seventh right off of Broadway. It was

809
00:41:58,680 --> 00:42:01,760
Speaker 1: upstairs on the second floor, and I think Philly Joe Jones'

810
00:42:01,960 --> 00:42:05,160
Speaker 1: son owned the drum store, and I went there and

811
00:42:05,239 --> 00:42:08,680
Speaker 1: I was messing around with stuff, and Elvin Jones was

812
00:42:08,719 --> 00:42:12,320
Speaker 1: there and saw me messing around and actually put together

813
00:42:12,480 --> 00:42:15,160
Speaker 1: a drum kit for me that was like of a

814
00:42:15,360 --> 00:42:19,719
Speaker 1: floor tom turned into a big floor turn and turned

815
00:42:19,760 --> 00:42:22,759
Speaker 1: into a kick and basically set up a drum. Caits like, man,

816
00:42:22,800 --> 00:42:24,320
Speaker 1: get him this, this is what it needs. Would so

817
00:42:24,360 --> 00:42:26,960
Speaker 1: he put it together. My dad bought it. But that

818
00:42:27,200 --> 00:42:29,279
Speaker 1: was like my third birthday. It was almost like it's

819
00:42:30,280 --> 00:42:33,680
Speaker 1: where I have pieces of it. I don't have the

820
00:42:33,760 --> 00:42:37,280
Speaker 1: whole thing exactly. It was in my grandmother's church. Somebody

821
00:42:37,960 --> 00:42:39,640
Speaker 1: must have got baptized.

822
00:42:39,120 --> 00:42:42,760
Speaker 5: In I went earlier.

823
00:42:42,960 --> 00:42:47,759
Speaker 4: You mentioned Larry Smith's name, and he's also like one

824
00:42:47,800 --> 00:42:52,440
Speaker 4: of the uh the great pioneers of hip hop production

825
00:42:52,560 --> 00:42:55,520
Speaker 4: that never ever gets mentioned in right pathana greats? And

826
00:42:56,080 --> 00:43:00,160
Speaker 4: did you have any DMC Did you have an any

827
00:43:00,200 --> 00:43:03,400
Speaker 4: relationship like with him or have any stories of just

828
00:43:03,800 --> 00:43:04,279
Speaker 4: not really.

829
00:43:04,320 --> 00:43:06,080
Speaker 1: I mean the only time that I saw Larry wasn't

830
00:43:06,120 --> 00:43:08,239
Speaker 1: until later, like when we had studios in the city

831
00:43:08,280 --> 00:43:10,520
Speaker 1: and he kind of came by and he was just

832
00:43:10,560 --> 00:43:13,520
Speaker 1: always like man, he basically the times when I saw Larry.

833
00:43:13,840 --> 00:43:15,640
Speaker 1: He was talking to me about my uncles who had

834
00:43:15,640 --> 00:43:18,520
Speaker 1: passed on by that my mother's brother, like Joe Wiggins,

835
00:43:18,880 --> 00:43:22,000
Speaker 1: uncle Thomas, just about stuffing, you know, the Hollists, saying

836
00:43:22,080 --> 00:43:24,560
Speaker 1: all in his neighborhood where they all were around, and

837
00:43:24,600 --> 00:43:26,439
Speaker 1: then he be talking about dad. Hey man, we gotta

838
00:43:26,480 --> 00:43:27,960
Speaker 1: do something again. But it was kind of like at

839
00:43:27,960 --> 00:43:31,040
Speaker 1: the point when Larry was passed his prime. It's really

840
00:43:31,080 --> 00:43:33,399
Speaker 1: when I personally got to talk to him. I heard

841
00:43:33,440 --> 00:43:35,520
Speaker 1: about him earlier and I kind of saw stuff, but

842
00:43:35,640 --> 00:43:39,000
Speaker 1: I didn't never. I didn't have any of that eighty

843
00:43:39,120 --> 00:43:43,239
Speaker 1: three to eighty seven prime Larry Smith and it YEA

844
00:43:43,320 --> 00:43:45,879
Speaker 1: heard his name, but I didn't. And actually I heard

845
00:43:45,960 --> 00:43:48,000
Speaker 1: him say, yeah, you know Larry. Oh that's Larry Smith.

846
00:43:48,040 --> 00:43:48,480
Speaker 5: That's a guy.

847
00:43:48,600 --> 00:43:51,520
Speaker 1: But I didn't really correlate it until later on.

848
00:43:52,000 --> 00:43:57,320
Speaker 5: So did you is your first production Black Biproperty Demand

849
00:43:57,800 --> 00:44:01,279
Speaker 5: or was it the album before Dim before McGill. I

850
00:44:01,360 --> 00:44:03,000
Speaker 5: was just gonna say, did you do mcgilla Gorilla?

851
00:44:03,640 --> 00:44:07,399
Speaker 1: So Igrilla was more please play this song for y'all.

852
00:44:09,200 --> 00:44:09,960
Speaker 5: I don't know what it is.

853
00:44:12,440 --> 00:44:14,840
Speaker 4: Let me just play I'll say this no, no, no, no,

854
00:44:15,120 --> 00:44:17,480
Speaker 4: don't even set it up, Boss Bill, do we have

855
00:44:17,560 --> 00:44:20,840
Speaker 4: your permission to not to not even back sell this thing?

856
00:44:20,920 --> 00:44:21,759
Speaker 4: I just want to just play.

857
00:44:34,600 --> 00:44:36,719
Speaker 5: This is the story about.

858
00:44:40,160 --> 00:44:40,840
Speaker 2: Let me tell you.

859
00:44:42,360 --> 00:44:48,520
Speaker 5: A little story and the whole dad. It's this is

860
00:44:48,560 --> 00:44:51,040
Speaker 5: the first song on my My Good and Terrible List.

861
00:44:53,320 --> 00:44:55,440
Speaker 9: WHOA his name.

862
00:44:56,760 --> 00:44:57,360
Speaker 5: Is Miguilla.

863
00:44:59,239 --> 00:44:59,600
Speaker 2: Now on.

864
00:45:01,840 --> 00:45:06,160
Speaker 5: That sounded kind of fur realist right there. Oh actually yeah,

865
00:45:06,239 --> 00:45:08,719
Speaker 5: he got up. What it does kind of sound like

866
00:45:13,080 --> 00:45:19,960
Speaker 5: it's like straight up you had to go. Damn, I'm

867
00:45:20,040 --> 00:45:22,480
Speaker 5: just waiting to get to the course. I'm like, I'm

868
00:45:22,480 --> 00:45:25,000
Speaker 5: waiting to get to it to this is all you right.

869
00:45:25,160 --> 00:45:25,239
Speaker 2: Just.

870
00:45:32,600 --> 00:45:34,319
Speaker 5: Watified right there, I can see this ship.

871
00:45:35,000 --> 00:45:35,879
Speaker 8: We speech.

872
00:45:40,640 --> 00:45:51,160
Speaker 5: There. It is about it. You're about to get a

873
00:45:51,239 --> 00:45:57,120
Speaker 5: check for this. Okay.

874
00:45:57,520 --> 00:46:00,640
Speaker 4: Now you were thirteen at the times the are fourteen.

875
00:46:01,000 --> 00:46:04,520
Speaker 5: I'm sorry. That was Curtis Blow. Well you did not

876
00:46:04,640 --> 00:46:10,360
Speaker 5: know that, Curtis. You didn't have Kingdom Blow. No, the

877
00:46:10,440 --> 00:46:16,880
Speaker 5: record on the IL would have been Yeah, I remember

878
00:46:16,960 --> 00:46:17,279
Speaker 5: that one.

879
00:46:17,520 --> 00:46:22,960
Speaker 1: So I'll tell you Mgilla. Gorilla was my light involvement.

880
00:46:26,120 --> 00:46:28,280
Speaker 1: It was an artist that my dad had named Essence,

881
00:46:28,360 --> 00:46:32,719
Speaker 1: and Essence was a beat box and he would he

882
00:46:32,840 --> 00:46:34,440
Speaker 1: kind of took the big thing to another level, but

883
00:46:34,440 --> 00:46:36,640
Speaker 1: he'd be doing baselines and stuff. So part of it

884
00:46:36,840 --> 00:46:39,399
Speaker 1: was essence. Part of it was my dad. My dad

885
00:46:39,440 --> 00:46:42,920
Speaker 1: also produced Falling in Love for the Fat Boys, so

886
00:46:43,360 --> 00:46:46,799
Speaker 1: that's their signature, their seven h seven drum machine, all

887
00:46:46,840 --> 00:46:50,080
Speaker 1: other little pieces, and you know, I'm helping out on it,

888
00:46:50,360 --> 00:46:52,840
Speaker 1: but that wasn't so much me personally being.

889
00:46:52,719 --> 00:46:56,480
Speaker 5: In the studio. So but you get the credit on

890
00:46:56,560 --> 00:46:59,480
Speaker 5: the album, I get the credit. But then also to

891
00:47:00,280 --> 00:47:01,120
Speaker 5: Alan Smith, you.

892
00:47:03,000 --> 00:47:07,160
Speaker 1: Yeah, I got I got put into it. And then

893
00:47:07,160 --> 00:47:09,479
Speaker 1: also he was working that PolyGram as a promotion person

894
00:47:09,560 --> 00:47:11,520
Speaker 1: at the time for otherwise. So if you look at

895
00:47:11,520 --> 00:47:13,800
Speaker 1: that record, his name is not on it, but mine is.

896
00:47:15,440 --> 00:47:21,080
Speaker 4: It's like it's like a grace Grace Yeah, Edie, Eddie Hazel.

897
00:47:21,360 --> 00:47:28,279
Speaker 1: Okay, Mikael Riley. Yeah, basically, so that record was but

898
00:47:28,520 --> 00:47:29,560
Speaker 1: I was doing records.

899
00:47:30,560 --> 00:47:31,520
Speaker 5: I don't know that.

900
00:47:31,600 --> 00:47:37,000
Speaker 4: I didn't realize that what Markel Teddy Teddy was using Markel's.

901
00:47:36,680 --> 00:47:40,040
Speaker 1: Name sometimes that too, Yeah, sometimes because I know about

902
00:47:40,160 --> 00:47:42,720
Speaker 1: well sometimes he's doing using Markel.

903
00:47:43,080 --> 00:47:45,680
Speaker 5: Yeah, because produced my prerogative.

904
00:47:46,440 --> 00:47:50,479
Speaker 8: So I'm like why but was taking everybody's credit and money?

905
00:47:50,760 --> 00:47:55,719
Speaker 5: Yeah, So uh, how did that? First of all, how

906
00:47:55,800 --> 00:47:58,520
Speaker 5: old were you I was fourteen.

907
00:47:58,800 --> 00:48:02,160
Speaker 4: Okay, that's highly usual. So that means that you must

908
00:48:02,200 --> 00:48:08,200
Speaker 4: have displayed an advanced level of some sort of musical

909
00:48:08,239 --> 00:48:12,680
Speaker 4: wizardry that they're just like good, let's alarm. Like at fourteen,

910
00:48:13,000 --> 00:48:17,120
Speaker 4: I wasn't. I don't even think at forty seven, I'm

911
00:48:17,160 --> 00:48:17,719
Speaker 4: thinking about it.

912
00:48:18,719 --> 00:48:19,800
Speaker 5: I mean, you know, it's crazy.

913
00:48:19,920 --> 00:48:22,800
Speaker 1: I actually, you know when I was a kid, you know,

914
00:48:22,840 --> 00:48:24,279
Speaker 1: I when I was playing some drums, I was doing

915
00:48:24,360 --> 00:48:29,360
Speaker 1: some different stuff. But then I also, let's see, me

916
00:48:29,400 --> 00:48:33,480
Speaker 1: and Aconelly went to junior high together. So I had

917
00:48:33,760 --> 00:48:37,200
Speaker 1: in junior high, which would have been eighty three, was eleven,

918
00:48:37,320 --> 00:48:39,720
Speaker 1: I had a little I still have a Yamaha Portal

919
00:48:39,800 --> 00:48:43,360
Speaker 1: sound keyboard that I could program, and in that I

920
00:48:43,480 --> 00:48:45,320
Speaker 1: was able to program beats, so I would really be

921
00:48:45,440 --> 00:48:48,040
Speaker 1: on the cheesebox program and stuff. And then for my

922
00:48:48,160 --> 00:48:50,879
Speaker 1: birthday in eighty five, I got a seven or seven

923
00:48:50,960 --> 00:48:53,399
Speaker 1: in the Yamaha DX twenty one in the four track,

924
00:48:54,000 --> 00:48:58,399
Speaker 1: so I was actually making tracks and beats that I'll

925
00:48:58,440 --> 00:49:02,400
Speaker 1: be proud to say sounded better than that. That was

926
00:49:02,600 --> 00:49:05,279
Speaker 1: just something that happened in the middle of whatever was

927
00:49:05,320 --> 00:49:07,120
Speaker 1: and when my dad was on is while he was

928
00:49:07,160 --> 00:49:09,919
Speaker 1: doing promotion that PolyGram. Sometimes he'd had to pick up Curtis,

929
00:49:09,960 --> 00:49:13,319
Speaker 1: blow off the Red Eye. He swooped through Queens, picked

930
00:49:13,360 --> 00:49:16,600
Speaker 1: me up with Curtis in the car, drive me to school. Yo,

931
00:49:16,719 --> 00:49:19,160
Speaker 1: what you're doing? No, Dad is sweet? T's my beat?

932
00:49:19,280 --> 00:49:19,600
Speaker 5: Like out.

933
00:49:19,760 --> 00:49:22,359
Speaker 1: All the influence for the beats and the records were

934
00:49:22,440 --> 00:49:23,839
Speaker 1: kind of coming from me, and I was like, nah,

935
00:49:23,920 --> 00:49:26,279
Speaker 1: this is this Listen to that one. I'd be giving

936
00:49:26,320 --> 00:49:28,319
Speaker 1: them my pause tapes, like take it, but just make

937
00:49:28,360 --> 00:49:30,640
Speaker 1: a copy, bring it back for me. Here's another one

938
00:49:30,680 --> 00:49:34,160
Speaker 1: I got. So I was actually somewhat in the record street,

939
00:49:34,560 --> 00:49:36,520
Speaker 1: totally his head to the street and just watching what

940
00:49:36,600 --> 00:49:38,440
Speaker 1: I was doing, because he was still a musician, but

941
00:49:38,640 --> 00:49:40,239
Speaker 1: he was into hip hop. You know, he was helping

942
00:49:40,280 --> 00:49:43,200
Speaker 1: Belafalte with Beatch Street. He was taking dug Andy Stuitus

943
00:49:43,200 --> 00:49:45,799
Speaker 1: so all that stuff. And with that record, it wasn't

944
00:49:45,840 --> 00:49:47,840
Speaker 1: like my hands were on it the way that I

945
00:49:47,920 --> 00:49:51,000
Speaker 1: wanted to, because I would have changed it, but that

946
00:49:51,239 --> 00:49:54,320
Speaker 1: was part of their production and then you know Curtis,

947
00:49:54,400 --> 00:49:56,640
Speaker 1: and Curtis was at a different point in his career.

948
00:49:56,719 --> 00:49:58,600
Speaker 5: Two he was still trying. He didn't come up with

949
00:49:58,680 --> 00:49:59,680
Speaker 5: the concept NA.

950
00:49:59,800 --> 00:50:03,240
Speaker 1: That one wasn't me back by popular demand was my concept,

951
00:50:03,600 --> 00:50:07,840
Speaker 1: but okay, I'll get off mcgilla gorilla just like what

952
00:50:08,160 --> 00:50:13,080
Speaker 1: made him like was there a movie picture essence had

953
00:50:13,200 --> 00:50:18,520
Speaker 1: something and he was fun and they took whatever the

954
00:50:18,680 --> 00:50:24,760
Speaker 1: energy that was. And that's really what it was, almost

955
00:50:24,760 --> 00:50:27,520
Speaker 1: like a jingle studio version of what's something that was

956
00:50:27,680 --> 00:50:28,839
Speaker 1: dope raw four track.

957
00:50:29,440 --> 00:50:32,319
Speaker 4: It just got to you know something, it's just hard

958
00:50:32,400 --> 00:50:35,680
Speaker 4: to even even after tonight's show, like when we try

959
00:50:35,760 --> 00:50:40,440
Speaker 4: to make like mock mock TV theme like bad hip

960
00:50:40,480 --> 00:50:43,440
Speaker 4: hop or whatever, like there's almost there's almost an art

961
00:50:43,520 --> 00:50:47,800
Speaker 4: to that which even if intentional or trying to be

962
00:50:47,960 --> 00:50:50,680
Speaker 4: funny or whatever, like I kind of you know, I

963
00:50:50,840 --> 00:50:54,680
Speaker 4: delve into I love that type of stuff. So I

964
00:50:54,719 --> 00:50:57,879
Speaker 4: actually respected what was what was the first like drum

965
00:50:57,960 --> 00:51:01,560
Speaker 4: machine that you were given that you that was your tool.

966
00:51:02,040 --> 00:51:04,399
Speaker 1: That was my actual I mean, well, that Yamaha Porter

967
00:51:04,520 --> 00:51:07,520
Speaker 1: Sound I was able to program on, and then seven

968
00:51:07,640 --> 00:51:10,000
Speaker 1: or seven I had a Yamaha seven h seven, So you.

969
00:51:10,200 --> 00:51:14,279
Speaker 4: Just skipped the whole Cassio SK one discovery your sample thing.

970
00:51:15,320 --> 00:51:19,200
Speaker 1: I had a SK one more like eighty seven eighty eight,

971
00:51:19,440 --> 00:51:22,120
Speaker 1: But before that it was kind of like here's a

972
00:51:22,200 --> 00:51:24,360
Speaker 1: drum machine figure out how to program.

973
00:51:24,880 --> 00:51:27,439
Speaker 5: So I started. I actually went to college first, and yeah,

974
00:51:27,560 --> 00:51:28,439
Speaker 5: I actually.

975
00:51:28,120 --> 00:51:30,960
Speaker 1: Had programmed on like I said, in the Yamaha Porter sound.

976
00:51:30,960 --> 00:51:33,000
Speaker 1: I was able to take that and it had like

977
00:51:33,120 --> 00:51:34,680
Speaker 1: four little things where I was able to you know,

978
00:51:34,960 --> 00:51:38,799
Speaker 1: boom boom, and then I could record little keyboard things.

979
00:51:39,080 --> 00:51:41,200
Speaker 1: So I was really doing that eighty three, eighty four,

980
00:51:41,600 --> 00:51:43,279
Speaker 1: and then it was like, okay, well we're gonna give

981
00:51:43,280 --> 00:51:45,880
Speaker 1: you this seven o seven now, and then I actually

982
00:51:45,960 --> 00:51:47,680
Speaker 1: got on that. But then I was mad because I

983
00:51:47,719 --> 00:51:50,000
Speaker 1: was like, the seven oh seven snare don't sound like Mally's.

984
00:51:50,239 --> 00:51:51,160
Speaker 1: It's a demo snare?

985
00:51:51,320 --> 00:51:52,080
Speaker 5: What am I doing it?

986
00:51:52,800 --> 00:51:52,840
Speaker 2: Like?

987
00:51:53,120 --> 00:51:54,920
Speaker 5: How am I gonna get this? So then I got

988
00:51:55,160 --> 00:51:57,880
Speaker 5: to get your your crack at the infamous Maley uh

989
00:51:58,120 --> 00:52:01,080
Speaker 5: uh it real, Nah, I got.

990
00:52:01,120 --> 00:52:04,279
Speaker 1: What I got was what was it the it's one

991
00:52:04,320 --> 00:52:07,719
Speaker 1: of those gated reverbs Eleasa's reverb or something like that. Oh,

992
00:52:07,800 --> 00:52:10,799
Speaker 1: you just need reverb, man, and the reverb was trying

993
00:52:10,800 --> 00:52:12,520
Speaker 1: to make it and it was still cool. I figured

994
00:52:12,560 --> 00:52:18,719
Speaker 1: it out, but nah, that wasn't the case. And then eventually, yeah,

995
00:52:18,719 --> 00:52:21,760
Speaker 1: it was a seven or seven twenty one an Elasa's

996
00:52:21,840 --> 00:52:22,480
Speaker 1: drum machine.

997
00:52:23,080 --> 00:52:25,840
Speaker 5: Eventually I don't remember what that came.

998
00:52:25,719 --> 00:52:30,600
Speaker 1: Before after the nine to fifty A nine hundred, probably

999
00:52:30,680 --> 00:52:32,880
Speaker 1: that later after nine hundred, because what I did was

1000
00:52:33,320 --> 00:52:36,680
Speaker 1: I helped my dad. He had signed mc rail and

1001
00:52:36,920 --> 00:52:40,799
Speaker 1: Chuck chill Out to his label eighty eight eighty nine,

1002
00:52:41,600 --> 00:52:45,360
Speaker 1: late eighty seven, and mc rail was from Philly rock him.

1003
00:52:45,280 --> 00:52:49,680
Speaker 5: Seven like you working on that ship. Yeah. On the

1004
00:52:49,800 --> 00:52:51,960
Speaker 5: album Yo Yo.

1005
00:52:52,600 --> 00:52:57,120
Speaker 4: I with someone my AGEIK loses min right now, do

1006
00:52:57,239 --> 00:52:58,680
Speaker 4: y'all remember mc ral.

1007
00:53:00,120 --> 00:53:01,120
Speaker 5: Rail dog.

1008
00:53:02,480 --> 00:53:06,239
Speaker 4: A rock I put an mc I put em c

1009
00:53:06,440 --> 00:53:10,160
Speaker 4: rail post in the askbaan, Yeah, you.

1010
00:53:10,200 --> 00:53:11,320
Speaker 5: Didn't say I produced this.

1011
00:53:11,600 --> 00:53:13,439
Speaker 1: I didn't produce all of it. I did one song,

1012
00:53:13,520 --> 00:53:14,279
Speaker 1: That's why I got my.

1013
00:53:15,760 --> 00:53:15,880
Speaker 5: Man.

1014
00:53:16,000 --> 00:53:17,880
Speaker 1: But that was actually on my dad's label. Chuck Chill

1015
00:53:17,880 --> 00:53:19,480
Speaker 1: Out and cree Chip and mc rail.

1016
00:53:19,640 --> 00:53:20,680
Speaker 5: What was your dad's label.

1017
00:53:21,239 --> 00:53:23,759
Speaker 1: It was called Palm Tree at the time, but he

1018
00:53:23,880 --> 00:53:27,320
Speaker 1: had Palm Tree PolyGram. He basically left PolyGram as a

1019
00:53:27,640 --> 00:53:30,319
Speaker 1: promotion person and got a label deal and put those

1020
00:53:30,360 --> 00:53:33,040
Speaker 1: two artists out. And mc rail's life of an entertainer

1021
00:53:33,080 --> 00:53:35,440
Speaker 1: was actually mc ral in the House Rockers with some

1022
00:53:35,600 --> 00:53:38,120
Speaker 1: casts that were from I think they were from Columbia,

1023
00:53:38,160 --> 00:53:42,360
Speaker 1: South Carolina, the House Rockers and then ral was from Philly.

1024
00:53:42,520 --> 00:53:46,080
Speaker 5: Where from Yeah, where from Philly was he? I can't remember.

1025
00:53:46,120 --> 00:53:47,719
Speaker 5: I feel like he was from West Really.

1026
00:53:48,360 --> 00:53:51,120
Speaker 4: See this, this this really helped. This really helped the

1027
00:53:51,239 --> 00:53:54,960
Speaker 4: root situation out all right. The way this is mcrail's

1028
00:53:55,360 --> 00:54:07,520
Speaker 4: life of entertainer base. What he's sounding just like rocking feet.

1029
00:54:11,080 --> 00:54:18,520
Speaker 4: Say you're playing drums in the video everybody wants to

1030
00:54:18,640 --> 00:54:20,840
Speaker 4: rap will be a thing. Guy Todder working on that

1031
00:54:21,040 --> 00:54:23,920
Speaker 4: job at Chapelinga's the boss Stone buses back. But you're

1032
00:54:24,040 --> 00:54:27,080
Speaker 4: bringing it all out six now. And this casey had

1033
00:54:27,120 --> 00:54:29,440
Speaker 4: his care his noise. There is sign he was more.

1034
00:54:29,719 --> 00:54:32,960
Speaker 4: This is more spooney geus, but there's some joints. There

1035
00:54:33,040 --> 00:54:35,719
Speaker 4: was a commercial that used to always come on Lady

1036
00:54:35,760 --> 00:54:39,200
Speaker 4: B Street Beat Hour on para ninety nine that was

1037
00:54:39,400 --> 00:54:42,560
Speaker 4: mc rail and it was like straight rock him like

1038
00:54:42,719 --> 00:54:43,600
Speaker 4: Philly had.

1039
00:54:43,680 --> 00:54:49,719
Speaker 9: These two acts that it was like it did us

1040
00:54:49,840 --> 00:54:54,520
Speaker 9: no justice, like em c rail was like our ore

1041
00:54:55,280 --> 00:54:55,880
Speaker 9: are broke?

1042
00:54:56,280 --> 00:55:01,360
Speaker 5: Uh rock him? And and then there was the.

1043
00:55:04,640 --> 00:55:11,040
Speaker 4: Rhythm Radicals and they were like are fake public getting.

1044
00:55:11,760 --> 00:55:14,920
Speaker 5: You ever heard the rhythm? Yeah? Did you produce them to?

1045
00:55:15,920 --> 00:55:18,480
Speaker 4: I feel like I feel like when this episode is

1046
00:55:18,560 --> 00:55:22,120
Speaker 4: done that you're gonna reveal like two artists that you

1047
00:55:22,200 --> 00:55:24,759
Speaker 4: know most likely it was your dad's label. Was that

1048
00:55:24,840 --> 00:55:27,560
Speaker 4: the same label the Chu the Chuck Shot Out and

1049
00:55:27,560 --> 00:55:29,160
Speaker 4: the Cool Chup album with slaves to the rhythm?

1050
00:55:29,719 --> 00:55:32,399
Speaker 1: Okay, you produced that all the time. No, The only

1051
00:55:32,480 --> 00:55:35,200
Speaker 1: thing I did on that was I'm Large. I went

1052
00:55:35,280 --> 00:55:37,640
Speaker 1: and changed the mix. They had a mix where they

1053
00:55:37,719 --> 00:55:39,719
Speaker 1: programmed like I was like Tommy Road that sounded like

1054
00:55:39,800 --> 00:55:44,160
Speaker 1: MC night, turned that up and they had boy White,

1055
00:55:44,280 --> 00:55:47,359
Speaker 1: Rob White who Rob Lewis was his name. He had

1056
00:55:47,440 --> 00:55:50,759
Speaker 1: programmed on top of it, kind of some loud want

1057
00:55:50,800 --> 00:55:53,560
Speaker 1: to be Freddy being the mic master. Drums that weren't

1058
00:55:53,719 --> 00:55:55,880
Speaker 1: exactly it, and it was just like it sounded like

1059
00:55:55,920 --> 00:55:58,320
Speaker 1: they put seven to seven drums on top of Tommy

1060
00:55:58,440 --> 00:56:00,680
Speaker 1: Row and I was like, what are you doing? Take

1061
00:56:00,760 --> 00:56:04,279
Speaker 1: that down, turn this sample up, turn this other part up,

1062
00:56:04,320 --> 00:56:06,080
Speaker 1: and then that is in. My dad's partner went and

1063
00:56:06,200 --> 00:56:09,360
Speaker 1: replayed the James Bond sample and kind of put that together.

1064
00:56:09,440 --> 00:56:11,960
Speaker 5: So him and you remember I'm Large when it was

1065
00:56:12,040 --> 00:56:14,320
Speaker 5: on like video jukebox doing that. We didn't have we

1066
00:56:14,320 --> 00:56:15,239
Speaker 5: didn't have vide.

1067
00:56:15,080 --> 00:56:18,360
Speaker 4: But yeah, I'm Large was Uh. It was one of

1068
00:56:18,400 --> 00:56:21,120
Speaker 4: those things where at the end of the video was

1069
00:56:21,200 --> 00:56:22,080
Speaker 4: something to be continued.

1070
00:56:22,080 --> 00:56:22,319
Speaker 5: Shit.

1071
00:56:22,400 --> 00:56:25,440
Speaker 4: But then they show a commercial and then be like, yo,

1072
00:56:25,640 --> 00:56:30,000
Speaker 4: save us from help the bond from detonating, detonating one

1073
00:56:30,080 --> 00:56:33,120
Speaker 4: eight hundred one nine hundred no no.

1074
00:56:33,160 --> 00:56:35,440
Speaker 5: No, no, no, save us. And I'm like the secker

1075
00:56:35,600 --> 00:56:38,080
Speaker 5: on the phone, like trying to come up with those

1076
00:56:38,160 --> 00:56:43,799
Speaker 5: pops he got you. Yeah, you look he was good.

1077
00:56:43,880 --> 00:56:45,560
Speaker 1: Greg Knight still be like, you'll tell you pops. He

1078
00:56:45,640 --> 00:56:48,160
Speaker 1: owed me thirty five dollars from talking to girl because

1079
00:56:48,200 --> 00:56:49,680
Speaker 1: they had a thing where you could dial up and

1080
00:56:49,760 --> 00:56:52,520
Speaker 1: talk to certain artists, right, so rich Knights when he

1081
00:56:52,640 --> 00:56:53,200
Speaker 1: was an artist.

1082
00:56:53,880 --> 00:56:54,520
Speaker 5: Greg Nice.

1083
00:56:54,560 --> 00:56:57,160
Speaker 1: Different people will come to the office and now they

1084
00:56:57,360 --> 00:56:59,200
Speaker 1: be able to you know, you Dillar number and you

1085
00:56:59,320 --> 00:57:00,680
Speaker 1: for a dollar in it, and he's like, yo, I'm

1086
00:57:00,680 --> 00:57:02,600
Speaker 1: gonna give you twenty five cent a minute. And so

1087
00:57:02,719 --> 00:57:04,759
Speaker 1: people be over there talking to different people from all

1088
00:57:04,800 --> 00:57:07,480
Speaker 1: over the country and they think, tell your pots. Healed

1089
00:57:07,480 --> 00:57:08,240
Speaker 1: me thirty five.

1090
00:57:08,080 --> 00:57:12,200
Speaker 5: Hours the first Internet. Yeah, his first chat room.

1091
00:57:12,480 --> 00:57:14,680
Speaker 2: He must he used that whole Northeast regional to his

1092
00:57:15,000 --> 00:57:16,200
Speaker 2: his advantage when it came along with.

1093
00:57:16,360 --> 00:57:18,400
Speaker 5: I mean was a hustler. He's still a hustler.

1094
00:57:18,840 --> 00:57:20,280
Speaker 2: Use I mean to have his ear on air, like

1095
00:57:20,480 --> 00:57:22,680
Speaker 2: especially the cities on the East coast because he already

1096
00:57:22,720 --> 00:57:23,760
Speaker 2: had had to do that.

1097
00:57:24,280 --> 00:57:24,880
Speaker 5: Work and whatnot.

1098
00:57:25,160 --> 00:57:27,640
Speaker 1: Definitely that and then in the music space, like I'm

1099
00:57:27,680 --> 00:57:31,160
Speaker 1: skipping all types of stuff, but just in general, he

1100
00:57:31,280 --> 00:57:34,280
Speaker 1: was always in it, always in Jazz Mobile and different places.

1101
00:57:34,320 --> 00:57:39,360
Speaker 1: So he had his basically my with the music that

1102
00:57:39,440 --> 00:57:41,640
Speaker 1: I work on, he pretty much did all of it.

1103
00:57:42,000 --> 00:57:45,240
Speaker 1: I'm just expanding on it in different ways and kind

1104
00:57:45,280 --> 00:57:46,680
Speaker 1: of going from this. So I was born into that

1105
00:57:46,840 --> 00:57:49,480
Speaker 1: basically when I came and graduated from high school in

1106
00:57:49,520 --> 00:57:52,360
Speaker 1: eighty nine, I went to from living with my mom

1107
00:57:52,440 --> 00:57:56,160
Speaker 1: and Queen's moving into the building where he had Classic Concepts,

1108
00:57:56,160 --> 00:58:00,440
Speaker 1: which was Video Music Box, basically subletting one space and

1109
00:58:00,920 --> 00:58:02,920
Speaker 1: you know, getting them all the video stuff they did,

1110
00:58:02,960 --> 00:58:07,120
Speaker 1: the chunk and chill out videos, the BBD Poison Your

1111
00:58:07,200 --> 00:58:09,680
Speaker 1: Slick Blow. That was in our studio that was underneath

1112
00:58:09,720 --> 00:58:13,560
Speaker 1: where Classic Concepts was, So that was all in our space.

1113
00:58:13,640 --> 00:58:15,800
Speaker 1: So that's the same studio room that I would have recorded.

1114
00:58:15,880 --> 00:58:18,800
Speaker 1: Ain'ty Comosi and or Jaggy or whatever else it was

1115
00:58:18,880 --> 00:58:19,120
Speaker 1: that was.

1116
00:58:19,160 --> 00:58:24,400
Speaker 8: Like that was you toss it up shit, you know,

1117
00:58:24,560 --> 00:58:25,040
Speaker 8: we gotta go.

1118
00:58:25,200 --> 00:58:27,520
Speaker 4: Yeah, Yo, did you have anything to do with the

1119
00:58:27,560 --> 00:58:31,240
Speaker 4: Payback mix, the Payback mix, the James Brown Mega mixed thing.

1120
00:58:31,280 --> 00:58:34,080
Speaker 5: Oh yeah, I did that game. It's called bit you

1121
00:58:34,200 --> 00:58:41,240
Speaker 5: produced it where you throw some or no, I did that.

1122
00:58:41,320 --> 00:58:44,120
Speaker 1: That was That was Harry. He Harry Wenger came to

1123
00:58:44,200 --> 00:58:47,800
Speaker 1: me at that time and was like like sixteen. But

1124
00:58:47,960 --> 00:58:50,880
Speaker 1: my dad worked at PolyGram branch with Harry Wingo. So

1125
00:58:50,920 --> 00:58:52,920
Speaker 1: I met Harry when I was thirteen years.

1126
00:58:53,640 --> 00:58:56,520
Speaker 5: I was trusted twenty six year older now, let alone

1127
00:58:56,560 --> 00:58:57,360
Speaker 5: with a sixteen year old.

1128
00:58:57,400 --> 00:59:00,240
Speaker 1: I was in the vaults. I know you were in

1129
00:59:00,360 --> 00:59:02,680
Speaker 1: the vaultes early and I was in there. You know,

1130
00:59:02,880 --> 00:59:04,200
Speaker 1: I was sample police early.

1131
00:59:04,720 --> 00:59:14,080
Speaker 5: Hey, that's you. I was in there. I was going

1132
00:59:14,160 --> 00:59:15,160
Speaker 5: to say, here's.

1133
00:59:18,840 --> 00:59:21,520
Speaker 1: But I got access. Okay, I was Rick FROs Fed.

1134
00:59:22,880 --> 00:59:23,920
Speaker 1: I was helping people out.

1135
00:59:29,000 --> 00:59:35,040
Speaker 4: Do me, give us three acts, give us three acts

1136
00:59:35,360 --> 00:59:36,240
Speaker 4: or three joints?

1137
00:59:37,560 --> 00:59:43,520
Speaker 5: That you kind of that you snitched. I can't even

1138
00:59:43,560 --> 00:59:47,200
Speaker 5: remember right now, But were you bad? Were you like, okay,

1139
00:59:47,280 --> 00:59:49,560
Speaker 5: that's the drumming snare that's ours or no, no, no no.

1140
00:59:49,840 --> 00:59:51,800
Speaker 1: I was like if there were like whole records, it's

1141
00:59:51,840 --> 00:59:54,919
Speaker 1: basically what I was doing. Like the Funky People Part three,

1142
00:59:55,040 --> 00:59:57,680
Speaker 1: I think had the version I did of blow your

1143
00:59:57,760 --> 01:00:00,280
Speaker 1: head without the noise on it. Yes, so that was

1144
01:00:00,360 --> 01:00:02,320
Speaker 1: something I went and did. So I was telling them like,

1145
01:00:02,360 --> 01:00:04,240
Speaker 1: look if we have some of these records where.

1146
01:00:04,280 --> 01:00:06,440
Speaker 4: He was laying traps, because you also did that for

1147
01:00:06,760 --> 01:00:08,600
Speaker 4: Things got to Get Better for Marvel Whitney.

1148
01:00:08,760 --> 01:00:09,360
Speaker 5: So I did that.

1149
01:00:09,520 --> 01:00:11,480
Speaker 1: So there were the three versions of the mostly there

1150
01:00:11,520 --> 01:00:14,840
Speaker 1: was a James version of him singing things got to

1151
01:00:14,840 --> 01:00:17,840
Speaker 1: get Better, there was a Lynn Collins version, and it

1152
01:00:17,920 --> 01:00:19,960
Speaker 1: was a Marvel Whitney version. So then I made a

1153
01:00:20,040 --> 01:00:21,680
Speaker 1: mix where I put all three of them together and

1154
01:00:21,840 --> 01:00:24,760
Speaker 1: I put the drum beat on the beginning unwind yourself,

1155
01:00:24,920 --> 01:00:25,720
Speaker 1: Unwind yourself.

1156
01:00:25,720 --> 01:00:27,919
Speaker 5: I did that? Was you, Yeah, so you was laying

1157
01:00:28,000 --> 01:00:31,960
Speaker 5: little traps so yeah, but cats were coming jacket and

1158
01:00:32,040 --> 01:00:37,680
Speaker 5: he was so basically well, but it was it was.

1159
01:00:39,440 --> 01:00:41,120
Speaker 1: That I was trying to get the drums out of

1160
01:00:41,200 --> 01:00:42,320
Speaker 1: records that we couldn't get.

1161
01:00:43,480 --> 01:00:48,080
Speaker 5: I see that, but it's also I thought you.

1162
01:00:50,600 --> 01:00:54,960
Speaker 4: Were basically he would take the original reels and make versions,

1163
01:00:55,000 --> 01:00:58,000
Speaker 4: put little drum injoyers on it, and then motherfuckers like

1164
01:00:58,080 --> 01:01:00,439
Speaker 4: me like yo, you're in the open drums and start

1165
01:01:00,520 --> 01:01:00,880
Speaker 4: taking it.

1166
01:01:01,400 --> 01:01:04,280
Speaker 2: And then you think because you think he was the

1167
01:01:04,320 --> 01:01:08,560
Speaker 2: original source, but he just kind of yeah, I'm knew.

1168
01:01:08,480 --> 01:01:08,800
Speaker 5: I did it.

1169
01:01:08,960 --> 01:01:11,160
Speaker 1: And then back to the James Brown Payback mix. It

1170
01:01:11,280 --> 01:01:12,680
Speaker 1: was like a lot of stuff that I pulled off

1171
01:01:12,720 --> 01:01:15,320
Speaker 1: for Rails and I think at that time Most's fortieth

1172
01:01:15,360 --> 01:01:18,080
Speaker 1: the anniversary or whatever it was, so I actually was

1173
01:01:18,200 --> 01:01:20,160
Speaker 1: in there and I just went through and made one

1174
01:01:20,240 --> 01:01:23,200
Speaker 1: big mix. But then I think his publishers wouldn't allow

1175
01:01:23,320 --> 01:01:25,040
Speaker 1: us to put it out because we were going to

1176
01:01:25,080 --> 01:01:27,600
Speaker 1: add it to the whatever Harry did at the time

1177
01:01:27,720 --> 01:01:30,400
Speaker 1: fortieth anniversary box set. So we were going to add

1178
01:01:30,400 --> 01:01:31,880
Speaker 1: it to it, but they said, you know, you got

1179
01:01:32,040 --> 01:01:35,240
Speaker 1: eighteen twenty five records whatever I did, so we couldn't

1180
01:01:35,280 --> 01:01:37,760
Speaker 1: do it. So I had Bugsy talk on the end,

1181
01:01:38,000 --> 01:01:41,120
Speaker 1: had Flex say something on the beginning, and then somehow

1182
01:01:41,160 --> 01:01:42,320
Speaker 1: we find this way on the vinyl.

1183
01:01:42,400 --> 01:01:43,040
Speaker 5: I don't know how.

1184
01:01:44,600 --> 01:01:46,080
Speaker 1: Because it was just like whe did I work on

1185
01:01:46,160 --> 01:01:48,920
Speaker 1: that for five days for you know, just basically going

1186
01:01:48,960 --> 01:01:50,840
Speaker 1: through it just to sit there. But you know, once again,

1187
01:01:50,880 --> 01:01:55,320
Speaker 1: it was for the culture. That is crazy for the culture.

1188
01:01:55,320 --> 01:01:58,000
Speaker 1: But I had access to James Brown stuff because my

1189
01:01:58,120 --> 01:02:00,640
Speaker 1: dad was at PolyGram, because I knew people, nay, you know,

1190
01:02:00,880 --> 01:02:03,280
Speaker 1: asked Oscar Wang Harry Waninger.

1191
01:02:03,040 --> 01:02:04,560
Speaker 5: Did you work in the Jungle Groove?

1192
01:02:05,360 --> 01:02:07,760
Speaker 1: Jungle Groove was out before me, before I was around,

1193
01:02:07,880 --> 01:02:09,800
Speaker 1: but I had a copy of it early, so I

1194
01:02:09,920 --> 01:02:10,800
Speaker 1: had a copy of the.

1195
01:02:12,280 --> 01:02:17,600
Speaker 5: Do Do Do Do Do? What is that load? That

1196
01:02:17,720 --> 01:02:18,640
Speaker 5: was the mother load? Yeah?

1197
01:02:18,680 --> 01:02:21,400
Speaker 1: Yeah, jungle Groove actually had That's what we used for

1198
01:02:21,440 --> 01:02:23,640
Speaker 1: Curtis blow from back By.

1199
01:02:24,560 --> 01:02:29,560
Speaker 5: Yeah, okay, that was you. That's what should be called.

1200
01:02:31,160 --> 01:02:33,040
Speaker 1: But though that stuff helped me out later when I

1201
01:02:33,200 --> 01:02:37,000
Speaker 1: was doing NASA's Get Down, having a nice clean, exactly

1202
01:02:37,560 --> 01:02:38,080
Speaker 1: great shot.

1203
01:02:38,160 --> 01:02:41,680
Speaker 5: That helped me when I was doing where are they now?

1204
01:02:42,360 --> 01:02:46,959
Speaker 5: You know, clean damp tamp? Wait, get on, I'm getting

1205
01:02:47,000 --> 01:02:52,080
Speaker 5: to is on? I put Yeah, is there a stereo

1206
01:02:52,240 --> 01:02:55,200
Speaker 5: version of that? Because only I just had to clean.

1207
01:02:55,840 --> 01:02:58,280
Speaker 1: I had the drums I had, I had the clean parts,

1208
01:02:58,440 --> 01:02:59,600
Speaker 1: so I was able to make it.

1209
01:03:00,240 --> 01:03:02,040
Speaker 5: Okay, that's it to something else.

1210
01:03:02,240 --> 01:03:05,480
Speaker 4: Yo, man, I'm highly amazed that what he's saying. I know,

1211
01:03:05,560 --> 01:03:07,120
Speaker 4: we're talking to my al a minute about.

1212
01:03:06,960 --> 01:03:08,560
Speaker 2: Yeah, because I was also thinking, I'm like, so does

1213
01:03:08,600 --> 01:03:10,720
Speaker 2: this mean too that you were like of the privilege,

1214
01:03:10,760 --> 01:03:12,439
Speaker 2: you didn't have the issues that a lot of people

1215
01:03:12,560 --> 01:03:14,240
Speaker 2: had with the estate and whatnot.

1216
01:03:14,280 --> 01:03:16,000
Speaker 8: Did I was okay, all right.

1217
01:03:16,240 --> 01:03:17,960
Speaker 5: So he had no no, he had the clear like

1218
01:03:18,040 --> 01:03:18,600
Speaker 5: everyone else.

1219
01:03:18,720 --> 01:03:21,480
Speaker 4: But he whereas we would take it from the records,

1220
01:03:22,040 --> 01:03:24,240
Speaker 4: he would take it from He just went to the

1221
01:03:26,400 --> 01:03:28,720
Speaker 4: now in twenty eighteen we can get but back in

1222
01:03:29,160 --> 01:03:33,280
Speaker 4: nineteen ninety something to get access to that on the reels?

1223
01:03:33,640 --> 01:03:35,640
Speaker 2: Were you the only one at the time of your

1224
01:03:35,720 --> 01:03:36,440
Speaker 2: age that was.

1225
01:03:38,000 --> 01:03:39,919
Speaker 5: That? I was beyond?

1226
01:03:40,000 --> 01:03:41,640
Speaker 1: I mean actually it was on the Jiggy album. Even

1227
01:03:41,920 --> 01:03:42,600
Speaker 1: there's a couple.

1228
01:03:44,560 --> 01:03:47,000
Speaker 5: Not on that. It's funny how I ended up doing that,

1229
01:03:47,080 --> 01:03:49,360
Speaker 5: but not not on that. On all that.

1230
01:03:49,440 --> 01:03:51,360
Speaker 1: Glitters ain't gold, and a couple of the songs, I

1231
01:03:51,440 --> 01:03:54,680
Speaker 1: might have used some pieces and some cleaner pieces of

1232
01:03:54,720 --> 01:03:55,320
Speaker 1: different stuff.

1233
01:03:56,200 --> 01:04:01,120
Speaker 5: So how did how did you come in contact with you? Jiggy? Good?

1234
01:04:01,200 --> 01:04:07,080
Speaker 1: Rap a hole here? So Dennis Davis runs into my dad.

1235
01:04:07,320 --> 01:04:09,520
Speaker 1: Dennis Davis is the drummer who played with boy Airs

1236
01:04:09,600 --> 01:04:13,600
Speaker 1: on Stevie your cousin. Oh there you goes wow? All right,

1237
01:04:13,720 --> 01:04:14,680
Speaker 1: So Dennis.

1238
01:04:14,960 --> 01:04:18,280
Speaker 5: Dennis playing by himself, man exactly.

1239
01:04:18,760 --> 01:04:21,800
Speaker 1: So Dennis ran into my dad on forty eighth Street. Man,

1240
01:04:21,880 --> 01:04:24,560
Speaker 1: he's somewhere one of the record stores. It's like, hey,

1241
01:04:24,880 --> 01:04:29,760
Speaker 1: my stepdaughters got this boyfriend. He can rap whatever it was.

1242
01:04:29,840 --> 01:04:34,520
Speaker 1: So I was like, okay, so they exactly he can rap.

1243
01:04:34,680 --> 01:04:36,760
Speaker 1: So then they gonna bring him by. Hey, so long

1244
01:04:36,880 --> 01:04:39,520
Speaker 1: you know I ran to Dennis. Okay, yeah, you know

1245
01:04:39,600 --> 01:04:41,720
Speaker 1: Dennis comes by at that time, he had like short

1246
01:04:41,840 --> 01:04:44,800
Speaker 1: dreads probably up the head, so Stevie looking exactly. So

1247
01:04:45,080 --> 01:04:47,840
Speaker 1: he was like, yeah, I'm gonna come by and bring

1248
01:04:47,960 --> 01:04:50,160
Speaker 1: this kid by. So he brings by this kid. You know,

1249
01:04:50,240 --> 01:04:52,400
Speaker 1: they got to looking stuff. So it was actually a

1250
01:04:52,760 --> 01:04:55,840
Speaker 1: sound can he from Jiggy He was at the time

1251
01:04:56,000 --> 01:05:01,080
Speaker 1: dancing for YZ And when he comes in, he's like, yo,

1252
01:05:01,720 --> 01:05:03,520
Speaker 1: you know I can rhyme, and he starts rhyming. He's

1253
01:05:03,560 --> 01:05:05,920
Speaker 1: on his black Power. So I'm looking at him like,

1254
01:05:05,960 --> 01:05:09,000
Speaker 1: I'm not giving you none of my real, real exclusive

1255
01:05:09,000 --> 01:05:11,800
Speaker 1: exclusive breaks. I'm gonna see what you can do. So

1256
01:05:11,960 --> 01:05:14,640
Speaker 1: I gave him Simonde. I had a version of Zion

1257
01:05:14,680 --> 01:05:16,720
Speaker 1: and I kind of chopped up with a little substitution

1258
01:05:16,880 --> 01:05:19,120
Speaker 1: on it, and he did something that sounded decent, you know,

1259
01:05:19,160 --> 01:05:21,880
Speaker 1: which actually ended up being on an album. Then he's like, well,

1260
01:05:22,000 --> 01:05:23,960
Speaker 1: next time, can I bring my boys? Because we all

1261
01:05:24,080 --> 01:05:26,200
Speaker 1: robbed and the whole crew we dressed this way, we

1262
01:05:26,360 --> 01:05:28,800
Speaker 1: dressed flies Jiggy this and that, and you know my

1263
01:05:28,880 --> 01:05:31,320
Speaker 1: other boys danced with Special Ed and everybody else. So

1264
01:05:31,400 --> 01:05:33,240
Speaker 1: can we come through we have really a jiggy try.

1265
01:05:34,760 --> 01:05:40,440
Speaker 1: So now I have you know, half of exactly there

1266
01:05:40,600 --> 01:05:42,840
Speaker 1: was ten of probably there was actually all of them,

1267
01:05:42,960 --> 01:05:47,440
Speaker 1: plus Aunt who had lyricist Lounge was with them, Aunt Marshall,

1268
01:05:47,480 --> 01:05:51,680
Speaker 1: so he's actually on a Jiggy album and so they

1269
01:05:51,680 --> 01:05:53,960
Speaker 1: were all just part of the crew. But basically we

1270
01:05:54,040 --> 01:05:57,000
Speaker 1: had automatic you know, the crowd tossed it up. It's

1271
01:05:57,040 --> 01:05:58,880
Speaker 1: like ninety people in there, but they were all mark

1272
01:05:58,960 --> 01:06:01,920
Speaker 1: Quests from the Misfits, like their whole crew was all

1273
01:06:02,000 --> 01:06:06,720
Speaker 1: this exactly wow. So they were all together because I

1274
01:06:06,800 --> 01:06:08,480
Speaker 1: lived across at the time. My studio was on the

1275
01:06:08,520 --> 01:06:10,800
Speaker 1: next block from Red Zone, so we were like in

1276
01:06:10,920 --> 01:06:13,200
Speaker 1: and out. But basically I was like your own studio

1277
01:06:13,360 --> 01:06:16,080
Speaker 1: or the studio that my dad had. It was directly

1278
01:06:16,080 --> 01:06:18,080
Speaker 1: across from Red Zone, like on fifty third between Ninfe

1279
01:06:18,080 --> 01:06:22,040
Speaker 1: and Time. And basically I'm looking at them like I'm

1280
01:06:22,080 --> 01:06:24,160
Speaker 1: not giving y'all a real beat because diamond dealers, like,

1281
01:06:24,200 --> 01:06:27,440
Speaker 1: why did you just use like cramp your styles.

1282
01:06:30,440 --> 01:06:31,520
Speaker 5: Joints? You know what I'm saying.

1283
01:06:31,560 --> 01:06:34,320
Speaker 1: I put a little that thing, Oh cool, that was

1284
01:06:34,400 --> 01:06:36,760
Speaker 1: all for the James Brown. But he's like diamonds, like

1285
01:06:36,880 --> 01:06:38,840
Speaker 1: why did you ever do that? Like I see you

1286
01:06:38,920 --> 01:06:40,800
Speaker 1: at the break conventions with us, why did you do that?

1287
01:06:41,080 --> 01:06:43,040
Speaker 1: And I'm like, cause they had dances, you know, they

1288
01:06:43,280 --> 01:06:46,919
Speaker 1: they flex had the thing like champion feet, happy feet

1289
01:06:46,960 --> 01:06:49,240
Speaker 1: through sit down, I'm about to play something else, so

1290
01:06:49,320 --> 01:06:51,120
Speaker 1: he'd always be going at him. So I was like, cool,

1291
01:06:51,200 --> 01:06:53,560
Speaker 1: I gave them that seeing what they could do, but

1292
01:06:53,680 --> 01:06:54,600
Speaker 1: they may toss it up.

1293
01:06:55,200 --> 01:06:58,000
Speaker 4: Cosmic keV played the ship out there in Philly like

1294
01:06:58,200 --> 01:07:01,400
Speaker 4: you're you're feeling royalty checks wasn't been high because that

1295
01:07:01,600 --> 01:07:04,360
Speaker 4: was like toss it up was like the anthem there.

1296
01:07:04,400 --> 01:07:07,040
Speaker 4: But it's funny you said that because if you remember

1297
01:07:07,160 --> 01:07:10,400
Speaker 4: when Premiere was on the show and I was trying

1298
01:07:10,400 --> 01:07:15,000
Speaker 4: to explain to you what he said that that did,

1299
01:07:15,120 --> 01:07:18,040
Speaker 4: what Large Professor was doing for the like why would

1300
01:07:18,040 --> 01:07:21,120
Speaker 4: you give him such obvious shit? All the all the

1301
01:07:21,240 --> 01:07:24,919
Speaker 4: drums on Jay Rue's first record was kat and obvious shit.

1302
01:07:25,080 --> 01:07:28,680
Speaker 4: So I was either like, either you were like, no,

1303
01:07:28,760 --> 01:07:30,280
Speaker 4: I'm not going to give you my good shit? Did

1304
01:07:30,360 --> 01:07:34,080
Speaker 4: you just get my throwaway payday money shit? Or I'm

1305
01:07:34,080 --> 01:07:40,280
Speaker 4: gonna challenge myself to turn all this crap into right now, which.

1306
01:07:40,200 --> 01:07:42,240
Speaker 1: Is something I did as an exercise anyway. But it

1307
01:07:42,360 --> 01:07:44,160
Speaker 1: was still like, you know, yeah, but could you.

1308
01:07:44,280 --> 01:07:51,040
Speaker 4: Could you really afford your reputation to be I'm a substitution?

1309
01:07:51,240 --> 01:07:51,840
Speaker 5: Wasn't that old?

1310
01:07:52,160 --> 01:07:52,320
Speaker 2: You know?

1311
01:07:53,720 --> 01:07:56,440
Speaker 5: This was ninety or ninety one? Z he was ninety two.

1312
01:07:56,640 --> 01:07:58,480
Speaker 1: It came out ninety two, But yeah, when that happened,

1313
01:07:58,480 --> 01:07:59,160
Speaker 1: it was ninety one.

1314
01:08:00,040 --> 01:08:01,640
Speaker 5: Substitution was having to It was like.

1315
01:08:01,680 --> 01:08:09,560
Speaker 1: Substitution, amen, brother, cramp your style, but Isaac Cay's it

1316
01:08:09,640 --> 01:08:12,120
Speaker 1: was just like all basic obvious stuff. But then once

1317
01:08:12,160 --> 01:08:13,920
Speaker 1: again it was about the song, and that's where we

1318
01:08:14,040 --> 01:08:16,680
Speaker 1: got together because the beat was in.

1319
01:08:17,439 --> 01:08:20,000
Speaker 5: But then they all came out of nowhere that work.

1320
01:08:20,600 --> 01:08:21,960
Speaker 5: The shit worked in the club.

1321
01:08:22,040 --> 01:08:24,200
Speaker 1: And that's that's And then also I was with Flex

1322
01:08:24,400 --> 01:08:27,720
Speaker 1: and Chuck chill Out at all time, because basically Chuck

1323
01:08:27,800 --> 01:08:31,439
Speaker 1: chill Out had this group Deuce as Wild Non Double

1324
01:08:31,600 --> 01:08:36,040
Speaker 1: m Centipede and funk Master Flex. So everywhere that Chuck

1325
01:08:36,120 --> 01:08:37,960
Speaker 1: went from eighty nine when he lived in the building

1326
01:08:37,960 --> 01:08:40,120
Speaker 1: in the studio with us, I was there with him.

1327
01:08:40,160 --> 01:08:42,439
Speaker 1: So when he got to funk Master Flexes on the

1328
01:08:42,479 --> 01:08:44,360
Speaker 1: one and two they were using my turntables.

1329
01:08:44,800 --> 01:08:47,519
Speaker 4: Wait, so Flex wasn't How about Chuck chiller Out was

1330
01:08:47,520 --> 01:08:49,200
Speaker 4: the main DJ in funk Master. Flex was like this

1331
01:08:49,320 --> 01:08:51,799
Speaker 4: record guy, yeah, and I was the other person with Flex.

1332
01:08:52,439 --> 01:08:53,960
Speaker 4: So you would have to carry the crates and all

1333
01:08:53,960 --> 01:08:56,599
Speaker 4: that stuff, all that stuff. How many crates was Chuck

1334
01:08:56,680 --> 01:08:57,840
Speaker 4: chill Out using at the time.

1335
01:08:58,360 --> 01:09:01,400
Speaker 1: Probably about four or five. But then when Chuck was talking,

1336
01:09:02,040 --> 01:09:05,200
Speaker 1: he was also when basically Chuck got fired off a kiss.

1337
01:09:05,200 --> 01:09:07,360
Speaker 1: When Chuck would mess up a kiss, Flex had the

1338
01:09:07,439 --> 01:09:10,400
Speaker 1: DJ for him Chuck is late your Flex quoters mess up.

1339
01:09:11,160 --> 01:09:12,960
Speaker 1: He wouldn't show up sometimes.

1340
01:09:12,840 --> 01:09:14,080
Speaker 5: I thought that sniff meant something.

1341
01:09:15,720 --> 01:09:17,920
Speaker 1: Sometimes he wouldn't show up or he'd be all over

1342
01:09:17,960 --> 01:09:21,360
Speaker 1: the place. But basically when he got to bls now

1343
01:09:21,439 --> 01:09:24,000
Speaker 1: cause my dad had the relationship with Franky Kraker and

1344
01:09:24,240 --> 01:09:26,960
Speaker 1: Mally was no longer on due to whatever drama was

1345
01:09:27,040 --> 01:09:28,559
Speaker 1: in control was not there.

1346
01:09:28,760 --> 01:09:29,960
Speaker 5: I don't know what that was.

1347
01:09:30,560 --> 01:09:34,200
Speaker 1: Then basically my dad was like, well, Chuck, you gotta talk.

1348
01:09:35,040 --> 01:09:37,599
Speaker 1: So Chuck got turned to talking, and now funk Master

1349
01:09:37,720 --> 01:09:40,880
Speaker 1: flexes on the one and two became a phrase. And

1350
01:09:41,000 --> 01:09:43,719
Speaker 1: then they were using my turntables because Mallie was always

1351
01:09:43,760 --> 01:09:47,160
Speaker 1: working on the basic you know, pretty much mixing on

1352
01:09:47,240 --> 01:09:49,800
Speaker 1: the board, right. Yeah, So now they're like, nah, we

1353
01:09:49,840 --> 01:09:51,599
Speaker 1: gotta bring some twelve hundreds, and so they were using

1354
01:09:51,640 --> 01:09:53,120
Speaker 1: my twelve hundreds basically.

1355
01:09:53,400 --> 01:09:55,760
Speaker 5: And so you were there doing the whole magic of

1356
01:09:56,479 --> 01:09:59,880
Speaker 5: with BLS or yeah, yep, wow.

1357
01:10:00,120 --> 01:10:03,160
Speaker 1: So basically my Fridays and Saturdays would be at the

1358
01:10:03,240 --> 01:10:06,760
Speaker 1: radio station all the way from that BLS time being

1359
01:10:06,800 --> 01:10:08,519
Speaker 1: in the clubs with Flex in the view day.

1360
01:10:10,000 --> 01:10:16,400
Speaker 4: Being So this explains the freaking Fuji's remixed and why

1361
01:10:16,600 --> 01:10:18,519
Speaker 4: Flex played it so goddamn much.

1362
01:10:19,439 --> 01:10:22,000
Speaker 5: He actually liked it. No, no, no, I mean it's

1363
01:10:22,000 --> 01:10:25,320
Speaker 5: a classic, but so help that relationship helped.

1364
01:10:25,160 --> 01:10:26,920
Speaker 1: It no more than a relationship. I'll tell you what

1365
01:10:27,000 --> 01:10:30,160
Speaker 1: happens from the time that Flex is in the clubs,

1366
01:10:30,400 --> 01:10:35,160
Speaker 1: whether it's Red Zone, Powerhouse, the Muse home base. I'm

1367
01:10:35,240 --> 01:10:38,200
Speaker 1: there with him because he used to having me everywhere

1368
01:10:38,240 --> 01:10:40,759
Speaker 1: and I lived in midtime. So as I'm in the clubs,

1369
01:10:40,880 --> 01:10:44,240
Speaker 1: I'm watching the door. Yo, Buster just walked in play

1370
01:10:44,320 --> 01:10:47,240
Speaker 1: the Leaders. He's trying to get no leverage. He asks

1371
01:10:47,320 --> 01:10:50,840
Speaker 1: Jessica to manage him. You know, Jessica is doing everything else,

1372
01:10:51,200 --> 01:10:53,240
Speaker 1: but then he's upstairs in the room at the red

1373
01:10:53,360 --> 01:10:55,879
Speaker 1: zone Triple C and Ky Capri and Clark are downstairs

1374
01:10:55,920 --> 01:10:57,720
Speaker 1: in the red zone. He's trying to get on. So

1375
01:10:57,800 --> 01:11:01,120
Speaker 1: whenever he goes different places, I'm his I'm watching the room.

1376
01:11:01,240 --> 01:11:03,799
Speaker 1: I'm seeing what's happening. So it's almost like how reggae

1377
01:11:03,960 --> 01:11:06,439
Speaker 1: has a selector that's kind of picking the songs, and

1378
01:11:06,520 --> 01:11:08,519
Speaker 1: then the guy that's actually mixing it, he's on the

1379
01:11:08,640 --> 01:11:11,920
Speaker 1: radio at BLS. I'm watching what's going on. I'm writing

1380
01:11:11,960 --> 01:11:13,559
Speaker 1: down in the names of the songs that you're playing

1381
01:11:13,920 --> 01:11:15,360
Speaker 1: to give it to the guy who's gonna say it.

1382
01:11:15,400 --> 01:11:17,400
Speaker 1: Whatever was so when he first got the Hot ninety seven,

1383
01:11:17,760 --> 01:11:19,519
Speaker 1: it's the same thing, Yo, so long, I need you

1384
01:11:19,600 --> 01:11:22,680
Speaker 1: to come with me. Why because you know the I'm

1385
01:11:22,720 --> 01:11:25,320
Speaker 1: the safety net producing the show pretty much but not

1386
01:11:25,479 --> 01:11:30,040
Speaker 1: really being so where the guy's always whispering okay now yo.

1387
01:11:30,200 --> 01:11:32,640
Speaker 1: So just went the commercial, play the the right, the

1388
01:11:32,760 --> 01:11:35,320
Speaker 1: Ray Kwong, play the Wu Tang like I'm watching the

1389
01:11:35,479 --> 01:11:38,800
Speaker 1: room because I'm seeing what's happening, And that just gave

1390
01:11:38,920 --> 01:11:41,960
Speaker 1: me a sharp edge on when I'm making records, the

1391
01:11:42,040 --> 01:11:44,840
Speaker 1: same way that Larry Levan would know how to make

1392
01:11:44,880 --> 01:11:47,000
Speaker 1: it something right for the dance floor. Then now my

1393
01:11:47,120 --> 01:11:50,920
Speaker 1: record's also sharper, So really what got nappy Heads going?

1394
01:11:50,920 --> 01:11:52,880
Speaker 1: Because he wasn't a fan of the foodies from Boothba,

1395
01:11:54,000 --> 01:11:59,040
Speaker 1: nobody was Jamaican be like Baduf Badaf, like real baduf

1396
01:11:59,200 --> 01:12:01,920
Speaker 1: bof you Siris. So he was really upset. But he's like,

1397
01:12:01,920 --> 01:12:04,639
Speaker 1: what are you doing this week? The food gie's booff's

1398
01:12:04,680 --> 01:12:08,240
Speaker 1: bringing boof off. But then I also knew as that

1399
01:12:08,320 --> 01:12:13,559
Speaker 1: record starts number one, I started real really quiet. Your

1400
01:12:13,640 --> 01:12:16,400
Speaker 1: Nappi has laid some trea on us worse, so I

1401
01:12:16,479 --> 01:12:18,360
Speaker 1: understood that it's quiet and the snare comes in the

1402
01:12:18,400 --> 01:12:21,120
Speaker 1: ward to it turns up.

1403
01:12:21,439 --> 01:12:24,920
Speaker 5: Can I ask you this question? Yeah, how do you

1404
01:12:25,000 --> 01:12:27,240
Speaker 5: feel about that mix of.

1405
01:12:29,000 --> 01:12:33,240
Speaker 1: Nappi Heads. Yes, the bass is very loud, very very loud.

1406
01:12:33,560 --> 01:12:35,800
Speaker 1: The studio that I mixed it in had a really

1407
01:12:35,880 --> 01:12:38,559
Speaker 1: compression room, so if you didn't catch it, the base

1408
01:12:38,640 --> 01:12:39,240
Speaker 1: is super loud.

1409
01:12:39,479 --> 01:12:40,080
Speaker 6: But it worked.

1410
01:12:40,400 --> 01:12:43,120
Speaker 5: It sounded great on the radio. I was gonna say,

1411
01:12:43,240 --> 01:12:44,439
Speaker 5: it sounds better on the radio.

1412
01:12:45,080 --> 01:12:48,800
Speaker 4: No song frustrates me more to spend back when I

1413
01:12:48,920 --> 01:12:51,000
Speaker 4: was using wax to spend in the clubs than the

1414
01:12:51,080 --> 01:12:56,560
Speaker 4: Napiers remix because it was so freaking silent. It was

1415
01:12:56,680 --> 01:12:58,920
Speaker 4: so low because the bass was so loud, right, but

1416
01:12:59,040 --> 01:13:02,040
Speaker 4: then you hear like to hear flex mix that ship

1417
01:13:02,120 --> 01:13:05,519
Speaker 4: on the radio. Found, Yo, how come.

1418
01:13:05,439 --> 01:13:07,400
Speaker 2: I'm not getting and it comes in low and then

1419
01:13:07,439 --> 01:13:08,320
Speaker 2: it goes no.

1420
01:13:08,520 --> 01:13:11,479
Speaker 1: Just the way that the record is. Basically the room

1421
01:13:11,560 --> 01:13:13,439
Speaker 1: that I had it sound works and that's where I

1422
01:13:13,560 --> 01:13:15,880
Speaker 1: mixed that. It was a compression room, so if I

1423
01:13:16,000 --> 01:13:19,120
Speaker 1: turned it up basically even if the base was loud,

1424
01:13:19,439 --> 01:13:21,080
Speaker 1: like he comes the Hot Step, I had a loud

1425
01:13:21,080 --> 01:13:23,400
Speaker 1: base like that. Different records I did kind of were

1426
01:13:23,840 --> 01:13:26,640
Speaker 1: just super bass heavy, but then the top end of

1427
01:13:26,720 --> 01:13:29,240
Speaker 1: it was crystal clear. So really today we would have

1428
01:13:29,240 --> 01:13:31,639
Speaker 1: had a multi brand compressor that would have just took

1429
01:13:31,720 --> 01:13:34,880
Speaker 1: the low end and pulled it down the freaking BB

1430
01:13:35,400 --> 01:13:37,320
Speaker 1: and then everything else with the sound that is clear.

1431
01:13:37,760 --> 01:13:40,720
Speaker 1: But at that time that was just the way it went,

1432
01:13:41,280 --> 01:13:42,479
Speaker 1: and I got away with it.

1433
01:13:42,520 --> 01:13:44,559
Speaker 5: But yeah, you're right, the.

1434
01:13:44,560 --> 01:13:49,360
Speaker 4: Age of I definitely remember like having to do I

1435
01:13:49,400 --> 01:13:54,280
Speaker 4: would make my own Uh well, I do, like I said,

1436
01:13:54,400 --> 01:13:57,320
Speaker 4: different Kanye like re eq is because.

1437
01:13:57,160 --> 01:14:00,280
Speaker 1: He uses way too much base exactly, so with in that,

1438
01:14:00,400 --> 01:14:02,760
Speaker 1: but also I knew that as a snare started but

1439
01:14:03,120 --> 01:14:05,559
Speaker 1: put that that's DJ then cheap with cheaper, y'all, I'm

1440
01:14:05,560 --> 01:14:09,120
Speaker 1: gonna leave, but y'all, okay, cool, what this one's a right?

1441
01:14:09,240 --> 01:14:11,800
Speaker 1: She would cheaper y'all, I'm gonna leave with y'all. You

1442
01:14:11,880 --> 01:14:13,760
Speaker 1: know what, it's not bad, all right, it's the Fujis.

1443
01:14:14,160 --> 01:14:17,200
Speaker 1: And then when he was writing his verse, I played

1444
01:14:17,439 --> 01:14:21,000
Speaker 1: the come Clean instrumental Come Clean a cappella and it

1445
01:14:21,080 --> 01:14:23,160
Speaker 1: ain't hard to tell a cappella over the track, So

1446
01:14:23,280 --> 01:14:26,360
Speaker 1: then he just fit into that pocket. So basically the

1447
01:14:26,439 --> 01:14:28,879
Speaker 1: record was set up in a way where the DJ's

1448
01:14:28,880 --> 01:14:33,479
Speaker 1: going cheap, a cheaper y'all. Cheap, cheap, y'all, cheap with y'all,

1449
01:14:33,640 --> 01:14:37,080
Speaker 1: that's crazy. You got a water that we already do

1450
01:14:37,280 --> 01:14:39,000
Speaker 1: halfway through the first verse before you can get the

1451
01:14:39,080 --> 01:14:42,439
Speaker 1: next record. So that was my DJ mind that was

1452
01:14:42,720 --> 01:14:45,160
Speaker 1: already knowing how to make the record that if you

1453
01:14:45,240 --> 01:14:47,560
Speaker 1: didn't like it, you're already gonna like something about it

1454
01:14:47,640 --> 01:14:48,599
Speaker 1: and start going.

1455
01:14:48,760 --> 01:14:54,519
Speaker 4: Okay, So explain your work with the Fujis and just

1456
01:14:55,120 --> 01:14:58,080
Speaker 4: what was that like? You came you had nothing to

1457
01:14:58,120 --> 01:15:01,680
Speaker 4: do with one on reality? No all, she came at

1458
01:15:01,680 --> 01:15:04,960
Speaker 4: the tailing of how did you manage to.

1459
01:15:05,439 --> 01:15:08,120
Speaker 5: Even get to them? Well, not weaselly a weigh in,

1460
01:15:08,360 --> 01:15:13,400
Speaker 5: but trust because I know that basically what ended up

1461
01:15:13,439 --> 01:15:14,200
Speaker 5: happening was that.

1462
01:15:15,800 --> 01:15:19,880
Speaker 1: I'd done Megabanson sond Boy Killer remix, which had the.

1463
01:15:19,920 --> 01:15:26,080
Speaker 5: Barry White you know whatever it was exactly, so I

1464
01:15:26,240 --> 01:15:26,640
Speaker 5: was doing it.

1465
01:15:29,479 --> 01:15:34,400
Speaker 1: Yeah, yeah, So so I did those pieces. But basically

1466
01:15:34,920 --> 01:15:38,800
Speaker 1: that came from being at b LS Bugs, the m D.

1467
01:15:39,160 --> 01:15:42,160
Speaker 1: Bobby Condas is working the BLS. Bobby Conda sees me

1468
01:15:42,240 --> 01:15:45,360
Speaker 1: going to Hole Jackson's Records plucking out samples.

1469
01:15:45,439 --> 01:15:46,400
Speaker 5: Yo, I'm going to studio.

1470
01:15:46,479 --> 01:15:47,960
Speaker 1: Can you come with me? Maybe you could program some

1471
01:15:48,040 --> 01:15:50,840
Speaker 1: bets with me. So, now, in between whatever else I'm

1472
01:15:50,880 --> 01:15:52,560
Speaker 1: doing trying to make the real hip hop, trying to

1473
01:15:52,640 --> 01:15:55,000
Speaker 1: keep up with the piets and premiers and large pros,

1474
01:15:55,560 --> 01:15:57,960
Speaker 1: I'm able to go with Bobby Condas and just sell

1475
01:15:58,080 --> 01:16:01,519
Speaker 1: him breaks that everybody used already for dance mixes, R

1476
01:16:01,560 --> 01:16:03,879
Speaker 1: and B mixes, reggae mixes.

1477
01:16:04,800 --> 01:16:06,240
Speaker 5: So he wasn't a producer per se.

1478
01:16:06,640 --> 01:16:08,640
Speaker 1: Bobby was a producer, but you did word. I was

1479
01:16:08,680 --> 01:16:11,519
Speaker 1: the promote. I was doing programming for him of certain things,

1480
01:16:11,560 --> 01:16:13,640
Speaker 1: so he'd have a keyboard, dude, but just like some

1481
01:16:13,760 --> 01:16:15,720
Speaker 1: real hip hopes, because he saw me coming in there

1482
01:16:16,240 --> 01:16:18,800
Speaker 1: snatching brakes out of the library and that's what it

1483
01:16:18,920 --> 01:16:20,519
Speaker 1: was his office. That's what he said, Yo, what you

1484
01:16:20,600 --> 01:16:23,280
Speaker 1: got so cool? Now I'm going to studio making three hundred,

1485
01:16:23,280 --> 01:16:26,479
Speaker 1: four hundred, five hundred a thousand, just giving him breaks

1486
01:16:26,479 --> 01:16:29,880
Speaker 1: that everybody already used in hip hop for another purpose.

1487
01:16:30,960 --> 01:16:33,320
Speaker 5: I'm gonna ask you something. I'm gonna ask you something.

1488
01:16:37,160 --> 01:16:43,280
Speaker 4: Did you use a Willie Hutch sample for Bobby Condors

1489
01:16:44,000 --> 01:16:46,559
Speaker 4: the the iced tea high.

1490
01:16:46,520 --> 01:16:52,839
Speaker 5: Roll his joint use that ship for a Mel before

1491
01:16:52,920 --> 01:16:55,320
Speaker 5: she group and the mail was on the record.

1492
01:16:55,360 --> 01:16:57,120
Speaker 1: That was her singing it and she couldn't finish the

1493
01:16:57,240 --> 01:17:00,640
Speaker 1: vocal and he actually took her lead off. So that

1494
01:17:00,760 --> 01:17:02,799
Speaker 1: was mels first recording.

1495
01:17:02,920 --> 01:17:09,320
Speaker 5: Yeah, she played me that ship and you did that ship? Yeah,

1496
01:17:10,040 --> 01:17:10,400
Speaker 5: that was me.

1497
01:17:10,560 --> 01:17:12,559
Speaker 1: So I was working with Bobby and we did mac

1498
01:17:12,680 --> 01:17:14,080
Speaker 1: Daddy and we did that.

1499
01:17:14,600 --> 01:17:16,400
Speaker 5: You did Macdaddy? Yeah, I did.

1500
01:17:16,560 --> 01:17:18,200
Speaker 1: I did probably most of the hip hop stuff on

1501
01:17:18,280 --> 01:17:23,080
Speaker 1: that album. So I did that, which is a massive

1502
01:17:23,160 --> 01:17:26,040
Speaker 1: Sounds album. He had a song called mac Daddy that

1503
01:17:26,240 --> 01:17:26,760
Speaker 1: was like huge.

1504
01:17:26,800 --> 01:17:34,080
Speaker 11: You don't remember Macdaddy Bobby's Yeah, yeah, yeah, it was

1505
01:17:34,160 --> 01:17:36,880
Speaker 11: in the it was in the dance hall set.

1506
01:17:37,120 --> 01:17:40,200
Speaker 5: Yeah, so basically that set.

1507
01:17:41,439 --> 01:17:44,040
Speaker 1: So the dance all set at that time, from say

1508
01:17:44,200 --> 01:17:47,280
Speaker 1: ninety ninety one ninety two was a combination of me

1509
01:17:47,439 --> 01:17:50,280
Speaker 1: staying in the booth with Flex and then being around

1510
01:17:50,360 --> 01:17:52,800
Speaker 1: Bobby and saying, okay to go from dance hall, which

1511
01:17:52,880 --> 01:17:55,479
Speaker 1: was heavy at the time, to hip hop. How we're

1512
01:17:55,479 --> 01:17:58,280
Speaker 1: gonna bring it. So now I was taking the hip

1513
01:17:58,320 --> 01:18:00,960
Speaker 1: hop putting together. So back to the food Geez, which

1514
01:18:01,040 --> 01:18:04,200
Speaker 1: was your original question. They heard Jeff Burrows was their

1515
01:18:04,240 --> 01:18:09,080
Speaker 1: product manager, and Jeff Jeff Burrows that Columbia as their

1516
01:18:09,120 --> 01:18:13,519
Speaker 1: product manager, and he heard the Megabanson mix because I've

1517
01:18:13,560 --> 01:18:15,120
Speaker 1: been doing all this reggae and hip hop. He's like,

1518
01:18:15,160 --> 01:18:17,640
Speaker 1: and he's cast a Haitian. I need something like that.

1519
01:18:17,880 --> 01:18:19,479
Speaker 1: That's what we need for the food jies to help

1520
01:18:19,520 --> 01:18:21,680
Speaker 1: get them off the ground. It's ain't working. So then

1521
01:18:21,800 --> 01:18:23,880
Speaker 1: I think he might have been roommates or lived somewhere

1522
01:18:23,960 --> 01:18:26,479
Speaker 1: there Jessica, who was managing Flex at the time. Yo,

1523
01:18:26,600 --> 01:18:29,760
Speaker 1: this guy Jeff that knows Jessica, wants your number. All right, cool,

1524
01:18:29,760 --> 01:18:32,479
Speaker 1: I go up to Columbia. I'm already in the building

1525
01:18:32,600 --> 01:18:35,000
Speaker 1: working on Shabo whatever else around there at the time.

1526
01:18:36,000 --> 01:18:40,759
Speaker 1: Shaba Patra. You know what was that I had tingling.

1527
01:18:40,840 --> 01:18:43,559
Speaker 1: I did Original Woman where I flipped the Jay Rue sample.

1528
01:18:43,720 --> 01:18:48,240
Speaker 1: I did all the remixes. I did Patra's Think with

1529
01:18:48,439 --> 01:18:51,520
Speaker 1: Lynn Collins on it. I got all my Link Collins reconssign.

1530
01:18:54,720 --> 01:18:55,120
Speaker 5: Remix.

1531
01:18:55,600 --> 01:18:57,600
Speaker 1: I did all those pieces. I was just like, in

1532
01:18:57,680 --> 01:18:59,840
Speaker 1: the middle of the reggae and hip hop mix?

1533
01:19:00,160 --> 01:19:03,320
Speaker 5: Was that you playing keys on that remix? Yeah?

1534
01:19:03,439 --> 01:19:05,519
Speaker 1: On one of them, because I think one is Chris

1535
01:19:08,280 --> 01:19:10,320
Speaker 1: you know, I did the one I did on there

1536
01:19:10,560 --> 01:19:14,360
Speaker 1: was actually I think I used a little Richard drums

1537
01:19:14,400 --> 01:19:15,400
Speaker 1: on there or something like that.

1538
01:19:17,320 --> 01:19:22,600
Speaker 5: Seventy two ye the real thing? Yeah, yeah, yeah, the

1539
01:19:22,920 --> 01:19:24,080
Speaker 5: real thing. Choice.

1540
01:19:24,280 --> 01:19:27,400
Speaker 1: Well, basically my whole mo was I was able to

1541
01:19:27,479 --> 01:19:30,439
Speaker 1: take these West Indian records and get them on the radio,

1542
01:19:30,560 --> 01:19:31,880
Speaker 1: get it going you for the reason we.

1543
01:19:31,920 --> 01:19:32,960
Speaker 2: Were grinding the hip hop.

1544
01:19:39,360 --> 01:19:41,760
Speaker 4: So how come you never work with Carris One, who

1545
01:19:41,880 --> 01:19:45,360
Speaker 4: was such a champion of mixing reggae and hip hop together?

1546
01:19:45,640 --> 01:19:51,479
Speaker 1: Because Carris One would ask me, salom So, I'm making

1547
01:19:51,520 --> 01:19:53,439
Speaker 1: an album right now, why aren't you in my face?

1548
01:19:54,960 --> 01:19:57,360
Speaker 5: That type of stuff? I left that on my voicemail

1549
01:19:57,400 --> 01:19:57,840
Speaker 5: one time.

1550
01:19:59,720 --> 01:20:02,560
Speaker 4: Well, has there ever been an artists that's been on

1551
01:20:02,680 --> 01:20:07,200
Speaker 4: this show that hasn't More times Terris Know that just

1552
01:20:07,320 --> 01:20:08,920
Speaker 4: hasn't used inflections.

1553
01:20:09,080 --> 01:20:15,960
Speaker 5: His impressions are great. This show never met that doesn't

1554
01:20:15,960 --> 01:20:17,479
Speaker 5: have a chress person like.

1555
01:20:17,680 --> 01:20:19,920
Speaker 2: The articulation is just that it was.

1556
01:20:20,120 --> 01:20:22,759
Speaker 1: It was basically I was there when he made madism

1557
01:20:22,880 --> 01:20:23,800
Speaker 1: that went over the place.

1558
01:20:25,120 --> 01:20:27,760
Speaker 4: Every time someone like Karas One, they make him sound

1559
01:20:27,800 --> 01:20:29,160
Speaker 4: like a James Bond feeling.

1560
01:20:30,520 --> 01:20:33,360
Speaker 5: There's like a person like a person.

1561
01:20:35,680 --> 01:20:39,360
Speaker 1: Trying to figure out how you detail your thoughts charrass one.

1562
01:20:39,560 --> 01:20:41,640
Speaker 1: And I was sitting there and I've been working with

1563
01:20:42,600 --> 01:20:45,720
Speaker 1: Channel Live. Dang, I'm all over the place.

1564
01:20:45,960 --> 01:20:48,680
Speaker 4: Basically I've been working with Channel Live and so were

1565
01:20:48,720 --> 01:20:52,400
Speaker 4: you on the well the first one that Matification, So

1566
01:20:52,439 --> 01:20:55,480
Speaker 4: I did probably four or five songs, So basically.

1567
01:20:57,240 --> 01:20:58,320
Speaker 5: No Charris One did it.

1568
01:20:58,760 --> 01:21:01,280
Speaker 1: But basically while I was that the studio, I did

1569
01:21:01,360 --> 01:21:04,200
Speaker 1: bush Babies and Tough. He was that working at the

1570
01:21:04,240 --> 01:21:06,559
Speaker 1: studios intern So he's like, when I get my deal,

1571
01:21:07,080 --> 01:21:08,920
Speaker 1: I want you to work on my album. So when

1572
01:21:08,960 --> 01:21:12,200
Speaker 1: he got the deal eventually through care Res was Capital

1573
01:21:12,360 --> 01:21:15,200
Speaker 1: for Station Identification, He's like, yah, I want you to

1574
01:21:15,240 --> 01:21:16,720
Speaker 1: work on it. So I'm doing beats for them. But

1575
01:21:16,880 --> 01:21:18,640
Speaker 1: Karras hadn't met me in person, so the day they

1576
01:21:18,680 --> 01:21:20,040
Speaker 1: were doing mad Is and was the first day I

1577
01:21:20,120 --> 01:21:22,280
Speaker 1: was going to D and D and you know, the

1578
01:21:22,360 --> 01:21:25,439
Speaker 1: premier room over all right cool. So I'm sitting there

1579
01:21:26,000 --> 01:21:30,360
Speaker 1: and he starts, so slum, do you specialize in jazz beats?

1580
01:21:31,280 --> 01:21:34,479
Speaker 1: Our jazz beats your specialty? And I was like, nah,

1581
01:21:37,040 --> 01:21:40,439
Speaker 1: specialized in black music. And when I said to them,

1582
01:21:40,479 --> 01:21:42,960
Speaker 1: I specialized and He's like, oh okay. Then later on

1583
01:21:43,120 --> 01:21:44,719
Speaker 1: he was like, oh yo, your boy kind of shut

1584
01:21:44,800 --> 01:21:47,280
Speaker 1: me up. He said, specialized in black music?

1585
01:21:50,600 --> 01:21:54,800
Speaker 5: Did you do? I'm just I remember.

1586
01:22:00,080 --> 01:22:06,120
Speaker 1: Here, okay, So I'm coming. I'm coming back, not bead.

1587
01:22:06,200 --> 01:22:08,680
Speaker 1: So basically, Jeff Burrows is like, you can make the

1588
01:22:09,080 --> 01:22:12,639
Speaker 1: Caribbean stuff work. Can you get with this group? He comes,

1589
01:22:13,320 --> 01:22:14,640
Speaker 1: I was like, all right cool. At the time, they

1590
01:22:14,680 --> 01:22:20,360
Speaker 1: were managed by David Sonenberg and Bernard like Sandra so exactly,

1591
01:22:20,960 --> 01:22:23,439
Speaker 1: and at that time they had bizz wait let me

1592
01:22:23,520 --> 01:22:29,120
Speaker 1: say this, there we go. So David, who was definitely

1593
01:22:29,160 --> 01:22:33,800
Speaker 1: a character, was a fan of my personality because we

1594
01:22:33,920 --> 01:22:38,600
Speaker 1: had an earlier business arrangement through Anie Comosi. So there

1595
01:22:38,680 --> 01:22:40,360
Speaker 1: was a time when there was a group called Natural

1596
01:22:40,400 --> 01:22:42,080
Speaker 1: Selection asked me to produce them.

1597
01:22:43,600 --> 01:22:47,320
Speaker 5: The East West and.

1598
01:22:47,600 --> 01:22:50,360
Speaker 1: They basically had a record, and the guy, the black guy,

1599
01:22:50,400 --> 01:22:51,599
Speaker 1: who was a black guy and white guy in the group,

1600
01:22:51,640 --> 01:22:53,320
Speaker 1: and the black guy really wanted me to do some beats.

1601
01:22:53,360 --> 01:22:54,960
Speaker 1: He evented my studio was like, you'll heard you doing

1602
01:22:55,000 --> 01:22:56,840
Speaker 1: these beats. So I went to meet with David. I

1603
01:22:56,920 --> 01:22:58,840
Speaker 1: listened to it. I was like, nah, it's a pop record.

1604
01:23:00,280 --> 01:23:01,720
Speaker 1: You're rating your money. Keep your money.

1605
01:23:01,760 --> 01:23:02,080
Speaker 5: I'm good.

1606
01:23:02,160 --> 01:23:04,599
Speaker 1: But but for me being eighteen and nineteen years old

1607
01:23:04,640 --> 01:23:07,080
Speaker 1: and not taking his money and telling them, oh, you're

1608
01:23:07,160 --> 01:23:09,000
Speaker 1: nice on Riverside Drive, keep your money. I don't need

1609
01:23:09,040 --> 01:23:11,280
Speaker 1: your record because I always pick with records I wanted

1610
01:23:11,280 --> 01:23:12,519
Speaker 1: to work on and didn't just work with.

1611
01:23:12,560 --> 01:23:14,080
Speaker 5: Anybody they were.

1612
01:23:15,160 --> 01:23:18,439
Speaker 1: So now when the come up there managed by David,

1613
01:23:18,760 --> 01:23:20,960
Speaker 1: and he's like, oh wow, Slam, I can get back

1614
01:23:21,000 --> 01:23:24,559
Speaker 1: to him. He'd already sent me Ain'ty Camosi probably around

1615
01:23:24,640 --> 01:23:26,680
Speaker 1: that time to start working on the demos that be

1616
01:23:26,720 --> 01:23:30,479
Speaker 1: came Here comes a hot Stepper, And then also Jeff

1617
01:23:30,520 --> 01:23:32,880
Speaker 1: Burrow said it, and I was like, oh, Columbia, all right, cool,

1618
01:23:32,880 --> 01:23:34,800
Speaker 1: I know what to do here. I know who I'm

1619
01:23:34,840 --> 01:23:39,960
Speaker 1: dealing with. So then it was Christmas. It was right

1620
01:23:40,000 --> 01:23:44,439
Speaker 1: after Thanksgiving of ninety three, and you know that last

1621
01:23:44,560 --> 01:23:46,800
Speaker 1: check after, you know, being in the business at that time,

1622
01:23:46,840 --> 01:23:48,920
Speaker 1: I understood that after Thanksgiving you couldn't get the two

1623
01:23:48,920 --> 01:23:51,960
Speaker 1: signas you check until probably like after the Grammys, So

1624
01:23:52,160 --> 01:23:55,120
Speaker 1: then you're gonna be stuck. And if you didn't get

1625
01:23:55,160 --> 01:23:58,160
Speaker 1: your check from Sony before April, you was dead. So

1626
01:23:58,280 --> 01:24:00,160
Speaker 1: I understood what was going on, and I was like,

1627
01:24:00,240 --> 01:24:02,080
Speaker 1: y'all need to get one more check. Christmas is coming.

1628
01:24:02,560 --> 01:24:05,439
Speaker 1: So then Eric Sermon wanted fifteen grand I think I

1629
01:24:05,560 --> 01:24:07,439
Speaker 1: agreed to do it for ten or whatever it was,

1630
01:24:08,040 --> 01:24:11,000
Speaker 1: got a couple of dollars, and then they came by

1631
01:24:11,080 --> 01:24:13,000
Speaker 1: my apartment at that time. I was living on fiftieth

1632
01:24:13,080 --> 01:24:15,960
Speaker 1: between eighth and nine. I had part of the beat.

1633
01:24:16,120 --> 01:24:20,120
Speaker 1: Praz was like, Yo, you know my friend Kobe, you know,

1634
01:24:20,240 --> 01:24:25,240
Speaker 1: big Up Kobe Brown was always talking about you at college.

1635
01:24:25,720 --> 01:24:28,000
Speaker 1: Why Cleup's like, yeah, you gotta meet the girl. I

1636
01:24:28,080 --> 01:24:31,920
Speaker 1: played them basically the loop of the drums and you

1637
01:24:32,000 --> 01:24:33,840
Speaker 1: know the what did I use them?

1638
01:24:34,560 --> 01:24:37,880
Speaker 5: Yeah? That was the same thing.

1639
01:24:39,280 --> 01:24:41,120
Speaker 1: Yeah, well not the bust of Wins, but I just

1640
01:24:41,280 --> 01:24:42,920
Speaker 1: basically had the vibes and that, and it was the

1641
01:24:42,920 --> 01:24:46,439
Speaker 1: same album that Pete used for Pete's sake. I can't

1642
01:24:46,479 --> 01:24:49,160
Speaker 1: remember what it is the white album. But basically I

1643
01:24:49,280 --> 01:24:50,840
Speaker 1: was just like kind of chopped that up and then

1644
01:24:50,920 --> 01:24:52,200
Speaker 1: I was like, oh, we're going to the studio. So

1645
01:24:52,280 --> 01:24:55,479
Speaker 1: we went in the studio and why Cleft freestyle for

1646
01:24:57,479 --> 01:24:59,840
Speaker 1: two full times on the rail. I have still a

1647
01:25:00,000 --> 01:25:03,120
Speaker 1: recordings of like twenty minutes of him just freestyling. Then

1648
01:25:03,200 --> 01:25:04,960
Speaker 1: I went back and took the different.

1649
01:25:04,720 --> 01:25:07,120
Speaker 5: Parts, so you just pieced it together.

1650
01:25:07,800 --> 01:25:10,200
Speaker 1: Well, I went back and told him, Okay, we're gonna

1651
01:25:10,240 --> 01:25:13,040
Speaker 1: keep that that your mona Lisa, that's the hook. You're

1652
01:25:13,120 --> 01:25:15,360
Speaker 1: just a flyaway. You know, we're gonna keep that part.

1653
01:25:15,400 --> 01:25:17,960
Speaker 1: Your cheap achiap like I basically took he had a

1654
01:25:18,320 --> 01:25:20,200
Speaker 1: cheap a cheaper y'all numba leave y'all.

1655
01:25:20,360 --> 01:25:21,200
Speaker 5: Rapp was something I.

1656
01:25:21,240 --> 01:25:23,120
Speaker 1: Was the last reason dinosaur, Like, he had all these

1657
01:25:23,160 --> 01:25:26,519
Speaker 1: pieces and I just took like four or five pieces

1658
01:25:26,560 --> 01:25:28,679
Speaker 1: to what he said during that twenty minutes and said,

1659
01:25:28,720 --> 01:25:31,160
Speaker 1: this is your verse. Now we're gonna say that with

1660
01:25:31,240 --> 01:25:33,679
Speaker 1: the chill out, wild cleft tone rather than the loud

1661
01:25:33,720 --> 01:25:37,240
Speaker 1: wild clift tone. And basically that's where the record started.

1662
01:25:37,840 --> 01:25:41,639
Speaker 1: Pre pro tools, pre pro tools. Yeah, but I didn't didn't,

1663
01:25:41,640 --> 01:25:43,760
Speaker 1: I didn't actually edit it. I actually told him this

1664
01:25:43,880 --> 01:25:45,280
Speaker 1: is the part we're gonna keep. This is the part

1665
01:25:45,280 --> 01:25:46,720
Speaker 1: we're gonna keep. This is the part we're gonna keep it.

1666
01:25:46,720 --> 01:25:48,400
Speaker 5: Then cut it again, he said.

1667
01:25:48,760 --> 01:25:51,080
Speaker 1: Then he read said it in the more because wyd

1668
01:25:51,120 --> 01:25:53,519
Speaker 1: Cleft has this MENI mony to him a voice that

1669
01:25:53,600 --> 01:25:56,040
Speaker 1: I kind of referred to where he kind of talk

1670
01:25:56,439 --> 01:25:59,799
Speaker 1: raps and you know that other space. So that's basically

1671
01:26:00,040 --> 01:26:03,519
Speaker 1: how Nappyheads came up. Lauren had her verse, we kind

1672
01:26:03,520 --> 01:26:05,240
Speaker 1: of it was all miss Hill to you.

1673
01:26:07,560 --> 01:26:08,600
Speaker 5: At the times.

1674
01:26:09,840 --> 01:26:15,240
Speaker 1: Before she had the Miss on the Hill basically, No,

1675
01:26:17,400 --> 01:26:19,200
Speaker 1: but basically before it was there, it was just like

1676
01:26:19,439 --> 01:26:22,439
Speaker 1: her priests. And then Proz had his part and that

1677
01:26:22,680 --> 01:26:26,839
Speaker 1: session became the Napiads basically, and that you know, started

1678
01:26:26,840 --> 01:26:30,000
Speaker 1: it going. Then I did a remix of Vocab. Then

1679
01:26:30,040 --> 01:26:32,200
Speaker 1: they did a remix of Vocab that really became the

1680
01:26:32,400 --> 01:26:33,120
Speaker 1: real proper one.

1681
01:26:33,200 --> 01:26:38,840
Speaker 5: Mom, did you do that like the slow.

1682
01:26:41,040 --> 01:26:44,080
Speaker 1: Yeah, there was Shelley Man with a black sab of drums.

1683
01:26:44,240 --> 01:26:47,280
Speaker 4: Okay, so what I guess by this point, did you

1684
01:26:47,400 --> 01:26:50,240
Speaker 4: decide that your injury is going to be like hard

1685
01:26:50,320 --> 01:26:54,559
Speaker 4: ass drums with this sort of psycho psychedelic Uh?

1686
01:26:55,960 --> 01:26:56,519
Speaker 5: I don't think.

1687
01:26:56,600 --> 01:26:58,880
Speaker 4: I don't know if I could tell salam Remy like,

1688
01:26:58,960 --> 01:27:03,439
Speaker 4: there's always there's a beautiful flute, breezy element to your

1689
01:27:03,520 --> 01:27:03,960
Speaker 4: work with.

1690
01:27:04,160 --> 01:27:05,799
Speaker 5: Some hard ass drums under.

1691
01:27:06,240 --> 01:27:09,000
Speaker 1: I think that's there's always like when people are ask

1692
01:27:09,080 --> 01:27:11,160
Speaker 1: me my favorite producer back then, it was like Munk Higgins,

1693
01:27:11,720 --> 01:27:13,920
Speaker 1: and it was munk Higgins because he always had all

1694
01:27:14,000 --> 01:27:17,960
Speaker 1: this orchestral stuff happening on the top and then boom boom,

1695
01:27:18,520 --> 01:27:20,759
Speaker 1: boom boom. It was like a groove that was rocking.

1696
01:27:21,200 --> 01:27:25,080
Speaker 1: So I still love the juxtaposition of you know, a

1697
01:27:25,240 --> 01:27:27,200
Speaker 1: vamped out groove that still got me there.

1698
01:27:27,320 --> 01:27:28,519
Speaker 5: But then I love melodies.

1699
01:27:28,520 --> 01:27:28,840
Speaker 2: I like that.

1700
01:27:28,880 --> 01:27:30,680
Speaker 1: I like Marvin Gaye for the same reason, like that

1701
01:27:30,720 --> 01:27:32,960
Speaker 1: I Want You album. I feel like the drums, the

1702
01:27:33,000 --> 01:27:34,840
Speaker 1: bass and drums put me in the pocket, but then

1703
01:27:34,880 --> 01:27:37,240
Speaker 1: the orchestrations of the music and the vocals kind of

1704
01:27:37,280 --> 01:27:39,639
Speaker 1: take me somewhere. So that's kind of like My Beauty

1705
01:27:39,680 --> 01:27:40,200
Speaker 1: and the Beasts.

1706
01:27:40,760 --> 01:27:40,920
Speaker 6: You know.

1707
01:27:41,080 --> 01:27:44,840
Speaker 1: My Jamaican engineer called it Chris and Karanni, or the

1708
01:27:44,960 --> 01:27:46,759
Speaker 1: top end Chris, but the base Kranni.

1709
01:27:47,200 --> 01:27:48,840
Speaker 5: Like it's it's always an energy.

1710
01:27:48,600 --> 01:27:51,760
Speaker 1: That we go for that we want to have, you know,

1711
01:27:52,040 --> 01:27:54,479
Speaker 1: it's a pretty facing the fat ass basically both.

1712
01:27:54,640 --> 01:27:58,560
Speaker 4: Who was your go to engineer back then or do

1713
01:27:58,600 --> 01:28:00,160
Speaker 4: you just work with who you were giving or did

1714
01:28:00,240 --> 01:28:00,720
Speaker 4: you ever not?

1715
01:28:01,120 --> 01:28:03,120
Speaker 1: I had my own studios, so I was always kind

1716
01:28:03,160 --> 01:28:07,240
Speaker 1: of keep my people around. So at first my father's partner, Edison,

1717
01:28:07,479 --> 01:28:10,280
Speaker 1: who actually produced a lot of stuff with him and

1718
01:28:10,720 --> 01:28:12,360
Speaker 1: was doing a lot of stuff. But then Gary Noble

1719
01:28:12,400 --> 01:28:15,120
Speaker 1: saw to work with me in ninety ninety one, and

1720
01:28:15,560 --> 01:28:17,400
Speaker 1: you know, to this day, Gary still makes a lot

1721
01:28:17,439 --> 01:28:20,760
Speaker 1: of my records. But yeah, he from ninety ninety one,

1722
01:28:20,800 --> 01:28:22,800
Speaker 1: he would just he'd be working at the hospital, then

1723
01:28:22,840 --> 01:28:25,759
Speaker 1: you come see me after between we'd be doing stuff,

1724
01:28:25,800 --> 01:28:30,479
Speaker 1: and he was pretty much the main recording and you know,

1725
01:28:30,920 --> 01:28:33,840
Speaker 1: my main recording and mixing engineering probably from ninety three

1726
01:28:34,920 --> 01:28:36,720
Speaker 1: forward at least something like that.

1727
01:28:36,960 --> 01:28:40,640
Speaker 4: Now, you mentioned Biz earlier, and I know that you're

1728
01:28:40,680 --> 01:28:44,160
Speaker 4: good friends with Biz. Yeah, have you just ever had

1729
01:28:44,320 --> 01:28:47,240
Speaker 4: a normal moment where Biz where it wasn't just like

1730
01:28:47,400 --> 01:28:49,439
Speaker 4: trying to one up you? Like anytime I see Biz.

1731
01:28:49,640 --> 01:28:52,360
Speaker 4: I mean it's like twenty years ongoing, it's always a

1732
01:28:52,520 --> 01:28:53,280
Speaker 4: one up game.

1733
01:28:53,960 --> 01:29:02,200
Speaker 5: Yeah, quest, you got this, I got this? Come all right.

1734
01:29:02,280 --> 01:29:06,160
Speaker 4: First of all, what is your take on Mardi Grassa

1735
01:29:06,400 --> 01:29:07,920
Speaker 4: one of his situations?

1736
01:29:08,240 --> 01:29:10,679
Speaker 1: I mean, Biz's got stories, and he always would find

1737
01:29:10,680 --> 01:29:12,640
Speaker 1: a way to do something. I had it over here,

1738
01:29:12,680 --> 01:29:13,400
Speaker 1: I put it over there.

1739
01:29:13,880 --> 01:29:14,120
Speaker 5: I mean.

1740
01:29:14,280 --> 01:29:17,280
Speaker 1: The funny part is that during that time when I

1741
01:29:17,439 --> 01:29:19,320
Speaker 1: was working with him, he had a period where he

1742
01:29:19,360 --> 01:29:22,560
Speaker 1: would just come to my house, which was no I

1743
01:29:22,640 --> 01:29:25,879
Speaker 1: had a room basically that had like three crates of records,

1744
01:29:26,000 --> 01:29:28,240
Speaker 1: and it was a room that I basically made the

1745
01:29:28,479 --> 01:29:30,960
Speaker 1: ghetto at hots and everything else. And I had a

1746
01:29:31,040 --> 01:29:33,439
Speaker 1: half broken chair, like a chair where the back wasn't

1747
01:29:33,479 --> 01:29:35,400
Speaker 1: on it. And Biz would come there and sit at

1748
01:29:35,439 --> 01:29:39,439
Speaker 1: my house for five, six, seven hours a day and

1749
01:29:39,600 --> 01:29:40,280
Speaker 1: just be sitting there.

1750
01:29:40,760 --> 01:29:41,680
Speaker 5: Come on, what you got?

1751
01:29:41,800 --> 01:29:41,960
Speaker 2: Now?

1752
01:29:42,439 --> 01:29:44,880
Speaker 5: You got something else in here? Funky? What else you got?

1753
01:29:44,960 --> 01:29:47,840
Speaker 1: And I would always be in the city going through stuff.

1754
01:29:47,960 --> 01:29:50,599
Speaker 1: My boy Raheem that worked the downstairs records in different

1755
01:29:50,640 --> 01:29:53,200
Speaker 1: places would be with us, so we'd always be coming

1756
01:29:53,240 --> 01:29:55,479
Speaker 1: through doing stuff. But Biz would just sit there all day, like,

1757
01:29:55,520 --> 01:30:00,000
Speaker 1: what else you got? That's funky? So I had different beats,

1758
01:30:00,120 --> 01:30:01,920
Speaker 1: and you know, that was the time when he was

1759
01:30:01,960 --> 01:30:05,120
Speaker 1: doing I guess it was the album with what he

1760
01:30:05,160 --> 01:30:08,160
Speaker 1: Got sample, the one he got suit for I Need

1761
01:30:08,200 --> 01:30:09,640
Speaker 1: a Haircut, So around the time he was doing it,

1762
01:30:09,720 --> 01:30:12,720
Speaker 1: I Need a haircut. He would always be at my

1763
01:30:12,880 --> 01:30:16,479
Speaker 1: crib just going through stuff, looking for beats, looking for

1764
01:30:16,600 --> 01:30:19,800
Speaker 1: little pieces. Raggedy Man might show up sometimes be writing

1765
01:30:19,880 --> 01:30:20,479
Speaker 1: violence for him.

1766
01:30:20,720 --> 01:30:25,839
Speaker 4: You mentioned like those record conventions, like for our listeners,

1767
01:30:26,640 --> 01:30:32,280
Speaker 4: by our listeners, I mean me describe. That's one thing

1768
01:30:32,320 --> 01:30:35,679
Speaker 4: I never got to do because like just the whole

1769
01:30:35,880 --> 01:30:42,280
Speaker 4: like where a bunch of hotel hotel record vendors rnt

1770
01:30:42,320 --> 01:30:47,040
Speaker 4: out of a ballroom and you like, who's the first

1771
01:30:47,080 --> 01:30:49,639
Speaker 4: in line, like who's basically been outside?

1772
01:30:49,680 --> 01:30:55,120
Speaker 1: Who's yeah, really happened? What was really happened? With the

1773
01:30:55,160 --> 01:30:58,040
Speaker 1: record conventions. It was great because we found out before that.

1774
01:30:58,439 --> 01:31:01,000
Speaker 1: Sometimes we would get together and you know, go shopping,

1775
01:31:01,240 --> 01:31:04,040
Speaker 1: go to Princeton, go to a one. You know, me

1776
01:31:04,120 --> 01:31:07,280
Speaker 1: and Rashon might go here, or me and Lynn Funk

1777
01:31:07,400 --> 01:31:09,320
Speaker 1: was my boy. So we would always go to different places.

1778
01:31:09,320 --> 01:31:11,280
Speaker 1: A lot of us kind of met and downstairs at

1779
01:31:11,320 --> 01:31:14,120
Speaker 1: different points, and some of them actually worked there. Trouble

1780
01:31:14,200 --> 01:31:16,040
Speaker 1: that worked in downstairs still works for me now. It's

1781
01:31:16,080 --> 01:31:18,679
Speaker 1: my studio manager in Miami. Like different people would be around.

1782
01:31:19,080 --> 01:31:23,000
Speaker 1: But with the record convention, basically we discovered this place.

1783
01:31:23,080 --> 01:31:26,320
Speaker 1: I don't know who've discovered it first, but where all

1784
01:31:26,360 --> 01:31:28,400
Speaker 1: these people would come and sell rare records, but of

1785
01:31:28,479 --> 01:31:30,280
Speaker 1: course they knew that they were rare, and they were

1786
01:31:30,320 --> 01:31:32,760
Speaker 1: kind of playing the game. And there were certain people

1787
01:31:32,920 --> 01:31:35,400
Speaker 1: who would actually go to some of the vendors before

1788
01:31:35,479 --> 01:31:38,280
Speaker 1: the day of the record convention and try to buy

1789
01:31:38,439 --> 01:31:40,800
Speaker 1: whatever the key stuff was or already have DIBs on it.

1790
01:31:41,160 --> 01:31:43,200
Speaker 1: So t Ray would do that with certain people. It

1791
01:31:43,320 --> 01:31:46,640
Speaker 1: was a guy Gary from Connecticut that would have certain records, like,

1792
01:31:47,600 --> 01:31:48,960
Speaker 1: so Gary would be doing stuff.

1793
01:31:49,600 --> 01:31:50,439
Speaker 5: There was just certain people.

1794
01:31:50,520 --> 01:31:53,000
Speaker 1: You know, Bob Gibson from Boston would have a lot

1795
01:31:53,040 --> 01:31:54,800
Speaker 1: of records, so I would always be dealing with him

1796
01:31:54,840 --> 01:31:56,640
Speaker 1: and sometimes he would send me like a box of

1797
01:31:56,680 --> 01:31:58,360
Speaker 1: records and let me pick what I want and send

1798
01:31:58,439 --> 01:31:59,040
Speaker 1: the rest back.

1799
01:32:00,520 --> 01:32:03,160
Speaker 5: Yeah, Crust System somewhat.

1800
01:32:03,439 --> 01:32:06,920
Speaker 1: He probably got burned a couple of times, but you know,

1801
01:32:07,479 --> 01:32:10,640
Speaker 1: things happened, you know, But but in general that was

1802
01:32:10,760 --> 01:32:12,360
Speaker 1: kind of like the energy of it. But at the

1803
01:32:12,400 --> 01:32:14,840
Speaker 1: record convention, just off the top of my head, who's there,

1804
01:32:15,000 --> 01:32:19,439
Speaker 1: like Pete Rock, Q Tip uh Primi will pop up

1805
01:32:19,520 --> 01:32:26,280
Speaker 1: sometimes Juju from beating nuts less sometimes Uh t Ray, Prince,

1806
01:32:26,400 --> 01:32:31,920
Speaker 1: b Craig Caleman, of course who else would be there

1807
01:32:32,880 --> 01:32:36,000
Speaker 1: just Breakhas you know, most of Buck Wow Finesse.

1808
01:32:37,439 --> 01:32:37,679
Speaker 5: Show.

1809
01:32:37,920 --> 01:32:40,880
Speaker 1: Sometimes Diamond would definitely be there with Shaw to be there.

1810
01:32:41,120 --> 01:32:41,760
Speaker 5: When did it start?

1811
01:32:41,800 --> 01:32:44,640
Speaker 4: When did it start to get ugly? Like I I

1812
01:32:44,760 --> 01:32:46,439
Speaker 4: came up in a time in which, like you know,

1813
01:32:46,840 --> 01:32:52,880
Speaker 4: Pete would allegedly and I'm winking, you know, b rate

1814
01:32:53,040 --> 01:32:55,160
Speaker 4: certain dealers for giving records out or you.

1815
01:32:55,160 --> 01:32:59,080
Speaker 1: Know, yeah that bis records, And I mean certain times

1816
01:32:59,080 --> 01:33:01,600
Speaker 1: because people didn't like the fact that you would go

1817
01:33:01,760 --> 01:33:03,880
Speaker 1: and try to buy something that's exclusive and then you're

1818
01:33:03,880 --> 01:33:05,439
Speaker 1: giving it to three other people who are in the

1819
01:33:05,479 --> 01:33:08,320
Speaker 1: same business as you making beats. So if somebody had

1820
01:33:08,400 --> 01:33:10,160
Speaker 1: something and I found this singing, I asked him to

1821
01:33:10,200 --> 01:33:11,880
Speaker 1: find this record for me, but then he found two

1822
01:33:11,920 --> 01:33:14,240
Speaker 1: copies and sold to somebody else just like me. And

1823
01:33:14,360 --> 01:33:15,880
Speaker 1: at that time, you know, I might go there and

1824
01:33:16,000 --> 01:33:19,400
Speaker 1: spend two thousand dollars on records three thousand, and my

1825
01:33:19,520 --> 01:33:21,720
Speaker 1: dad would be like, Looper Vandros, what are you doing?

1826
01:33:22,479 --> 01:33:26,400
Speaker 1: Like why are you doing this? Why won't you actually

1827
01:33:26,640 --> 01:33:30,200
Speaker 1: play some music? And I'd be like, uh, well, if

1828
01:33:30,240 --> 01:33:32,360
Speaker 1: I sell this one beat, I just made ten, so

1829
01:33:32,479 --> 01:33:35,200
Speaker 1: why are you complaining like I made ten or fifteen?

1830
01:33:35,520 --> 01:33:38,320
Speaker 1: This is just part of the craft, you know, but

1831
01:33:38,880 --> 01:33:41,080
Speaker 1: in general that whole space, you know, it just got

1832
01:33:41,160 --> 01:33:42,439
Speaker 1: ugly after a while because it was just too many

1833
01:33:42,479 --> 01:33:43,559
Speaker 1: people looking in the same space.

1834
01:33:43,680 --> 01:33:46,439
Speaker 4: So was it like, was it a breathless race of

1835
01:33:46,479 --> 01:33:50,800
Speaker 4: the finish if you found like a certain many Alexander record.

1836
01:33:50,600 --> 01:33:51,519
Speaker 5: Or that sort of thing.

1837
01:33:51,640 --> 01:33:54,000
Speaker 1: It was just elbows and too many people because now

1838
01:33:54,120 --> 01:33:55,800
Speaker 1: you were going to I think certain people like Tip

1839
01:33:55,880 --> 01:33:58,600
Speaker 1: and Premier just stopped going because they didn't want to

1840
01:33:58,640 --> 01:34:01,679
Speaker 1: go shop and wear everybody else was and it became

1841
01:34:01,880 --> 01:34:03,719
Speaker 1: too much. You know, after a while, it's like Christmas.

1842
01:34:03,760 --> 01:34:05,640
Speaker 1: You felt like everybody's getting you because they know that

1843
01:34:05,720 --> 01:34:07,360
Speaker 1: they can get you, and they want you to spend

1844
01:34:07,439 --> 01:34:09,639
Speaker 1: more money. And you know, of course you had Prince

1845
01:34:09,680 --> 01:34:12,599
Speaker 1: b would be there buying, you know, paying top top dollar,

1846
01:34:12,680 --> 01:34:15,519
Speaker 1: coming there walking out with three big bags before some

1847
01:34:15,560 --> 01:34:18,160
Speaker 1: people would even get there. And then they started letting

1848
01:34:18,240 --> 01:34:20,760
Speaker 1: some people in early and become favoritism, you know, just

1849
01:34:20,840 --> 01:34:23,160
Speaker 1: like a club to turn into bottle service table and

1850
01:34:23,240 --> 01:34:26,400
Speaker 1: everything else. Hey what about the music, you know what

1851
01:34:26,439 --> 01:34:28,400
Speaker 1: I'm saying. So it just became a little bit of that.

1852
01:34:28,560 --> 01:34:31,320
Speaker 1: But I kind of faded off her after a while.

1853
01:34:31,439 --> 01:34:33,840
Speaker 1: It was cool, but I faded off it because I

1854
01:34:33,880 --> 01:34:37,040
Speaker 1: preferred so you know, the beginning of the up years,

1855
01:34:37,080 --> 01:34:39,240
Speaker 1: it was a dollar bend records Like it's like, I'm

1856
01:34:39,320 --> 01:34:41,280
Speaker 1: just trying to get something that's right. And I started

1857
01:34:41,360 --> 01:34:44,360
Speaker 1: playing a lot more and that kind of switched a

1858
01:34:44,360 --> 01:34:46,840
Speaker 1: little bit of my perspective on it. But once again,

1859
01:34:46,920 --> 01:34:49,320
Speaker 1: it was a good resource and the exercise to have

1860
01:34:49,840 --> 01:34:52,240
Speaker 1: because you go there and you know, you see everybody

1861
01:34:52,320 --> 01:34:55,280
Speaker 1: on a Sunday morning. Some people breath was definitely humming,

1862
01:34:55,840 --> 01:34:58,920
Speaker 1: some drive spit around their mouth. We know who they are,

1863
01:35:00,120 --> 01:35:01,800
Speaker 1: you know. It was just like that type of energy.

1864
01:35:02,320 --> 01:35:04,639
Speaker 1: But you know, it was a great hip hop space,

1865
01:35:04,680 --> 01:35:07,000
Speaker 1: you know, after we didn't have the break beats and

1866
01:35:07,080 --> 01:35:11,040
Speaker 1: certain things giving us a whole lot of automatic breaks.

1867
01:35:11,160 --> 01:35:13,920
Speaker 1: It was just a great place to be and camaraderie.

1868
01:35:13,920 --> 01:35:15,640
Speaker 1: You know, I remember Diamond being a yo. You can

1869
01:35:15,680 --> 01:35:18,040
Speaker 1: introduce me to the Fuji's, you know.

1870
01:35:19,920 --> 01:35:20,880
Speaker 5: That's how that happened.

1871
01:35:21,000 --> 01:35:25,400
Speaker 4: Yea, who's the mastermind behind the score? Like because there

1872
01:35:25,439 --> 01:35:27,080
Speaker 4: were so many producers like who gets the.

1873
01:35:29,320 --> 01:35:32,920
Speaker 1: I Well, basically the fujis as an element.

1874
01:35:33,360 --> 01:35:34,120
Speaker 5: I'm clear that.

1875
01:35:37,240 --> 01:35:41,520
Speaker 1: Lauren is soul to the max, wy Clef is eclectic

1876
01:35:42,840 --> 01:35:45,040
Speaker 1: and that's what he's still if you look at you know,

1877
01:35:45,400 --> 01:35:46,680
Speaker 1: just their voices and what they do.

1878
01:35:46,800 --> 01:35:47,640
Speaker 5: They continue to be that.

1879
01:35:48,000 --> 01:35:51,479
Speaker 1: But Pros was the popper if you look at the score.

1880
01:35:52,439 --> 01:35:54,360
Speaker 1: If you look at the score, it says executive producer

1881
01:35:54,439 --> 01:35:59,400
Speaker 1: Pros co executive producers wy Clef and Lauren Proz has the.

1882
01:36:00,080 --> 01:36:02,120
Speaker 5: The Beasts not loud enough. What's the hook? I don't

1883
01:36:02,120 --> 01:36:03,280
Speaker 5: get it? You know.

1884
01:36:03,800 --> 01:36:06,920
Speaker 1: Just Staying Alive was produced by Plas I mean on

1885
01:36:07,240 --> 01:36:11,599
Speaker 1: on why Clep's Carnival, Pros Dick Guatana Mayor and Staying Alive.

1886
01:36:12,080 --> 01:36:13,680
Speaker 1: The rest of the album was pretty much done, but

1887
01:36:13,760 --> 01:36:15,960
Speaker 1: it was like we need singles. That was Proz going, Yo,

1888
01:36:16,600 --> 01:36:18,760
Speaker 1: I need to put something together that's actually gonna stick

1889
01:36:18,800 --> 01:36:21,240
Speaker 1: this together. Then you know later on his Ghetto Superstar Records,

1890
01:36:21,280 --> 01:36:24,639
Speaker 1: that's him, that's his air of certain types of records

1891
01:36:24,680 --> 01:36:27,360
Speaker 1: in the middle. Even though why Cleff is more hands on,

1892
01:36:27,600 --> 01:36:30,160
Speaker 1: talented and has other things to it, his heir was

1893
01:36:30,240 --> 01:36:32,800
Speaker 1: the person that put it together. And then also a

1894
01:36:32,840 --> 01:36:36,400
Speaker 1: lot of the score was built around Fuji La which

1895
01:36:36,479 --> 01:36:38,960
Speaker 1: I did first. I was working on songs for Clockers

1896
01:36:39,680 --> 01:36:42,479
Speaker 1: and I did a song with the fujis that we

1897
01:36:42,560 --> 01:36:44,840
Speaker 1: have a song that never came out called Project Heads,

1898
01:36:45,439 --> 01:36:48,920
Speaker 1: and basically it was real jazzy and that type of

1899
01:36:49,600 --> 01:36:51,040
Speaker 1: Spike Lee in my mind zone.

1900
01:36:51,439 --> 01:36:54,400
Speaker 5: But Spike didn't want to use it really.

1901
01:36:54,479 --> 01:36:58,360
Speaker 1: And then during that session, why Clef, Lauren's like, play

1902
01:36:58,400 --> 01:37:00,599
Speaker 1: the fat joby, play the beat, you different Joe because

1903
01:37:00,600 --> 01:37:04,280
Speaker 1: I made the foolgielyot beat for Fat Joe. At Joe

1904
01:37:05,120 --> 01:37:07,040
Speaker 1: came to the crib, He's like, you keep giving them

1905
01:37:07,080 --> 01:37:09,800
Speaker 1: the beats. He it ain't damns the beat, it's the beat.

1906
01:37:09,920 --> 01:37:13,479
Speaker 1: So Fat Joe and Chris Lightdy came to my apartment.

1907
01:37:13,600 --> 01:37:15,360
Speaker 1: I was like, all right, cool, it's Tuesday. Come back

1908
01:37:15,400 --> 01:37:19,479
Speaker 1: on Friday. Joe comes back by hisself with another dude,

1909
01:37:19,560 --> 01:37:21,320
Speaker 1: Chris is and with him He's like, I don't know

1910
01:37:21,360 --> 01:37:23,160
Speaker 1: what see the fat or it's not fat at all?

1911
01:37:23,240 --> 01:37:25,960
Speaker 5: I can't tell. Lauren comes by.

1912
01:37:26,280 --> 01:37:28,639
Speaker 1: I'm playing them some beats, the beat that I use

1913
01:37:28,720 --> 01:37:31,400
Speaker 1: for Greg Naxon's let's take it back to the whole school.

1914
01:37:31,760 --> 01:37:34,800
Speaker 1: Let's take so the actual record is what I wanted

1915
01:37:34,800 --> 01:37:36,200
Speaker 1: to get. The foodie She's like, it sounds like we

1916
01:37:36,240 --> 01:37:38,040
Speaker 1: did it already. It sounds kind of try we did

1917
01:37:38,120 --> 01:37:40,840
Speaker 1: that already. That sounds like Nappy has is so then

1918
01:37:40,920 --> 01:37:43,320
Speaker 1: the next beat comes on in this Fuji line, She's like,

1919
01:37:43,360 --> 01:37:44,320
Speaker 1: see that's what I'm talking about.

1920
01:37:44,360 --> 01:37:45,000
Speaker 5: That's disgusting.

1921
01:37:45,080 --> 01:37:47,800
Speaker 1: So during that session for the Project Heads record, she

1922
01:37:47,880 --> 01:37:49,160
Speaker 1: was like, yo, play the Fat Joe beat.

1923
01:37:49,800 --> 01:37:51,599
Speaker 5: I'll play it. And then.

1924
01:37:53,800 --> 01:37:56,080
Speaker 1: Cleft jumps up we used to be number ten and

1925
01:37:56,160 --> 01:37:59,439
Speaker 1: spits his verse. Wow, and it was just like that

1926
01:37:59,560 --> 01:38:01,800
Speaker 1: was a moment, all right, cool, so you know what,

1927
01:38:01,880 --> 01:38:03,800
Speaker 1: we need to record that. So before they even really

1928
01:38:03,840 --> 01:38:06,400
Speaker 1: had the budget for the score, I had a studio.

1929
01:38:06,800 --> 01:38:10,400
Speaker 1: They came back and we finished recording Fujila. They got

1930
01:38:10,479 --> 01:38:12,519
Speaker 1: their second budget open. And then if you listen to

1931
01:38:12,600 --> 01:38:16,160
Speaker 1: how Cowboys sounds, which I think Forte did Cowboys or

1932
01:38:16,160 --> 01:38:18,439
Speaker 1: a co producer whatever, a lot of the records were

1933
01:38:18,479 --> 01:38:21,920
Speaker 1: made to kind of fit around the eclectic sound. The

1934
01:38:21,960 --> 01:38:24,920
Speaker 1: eclectic sound of what other records did you do on

1935
01:38:24,960 --> 01:38:27,680
Speaker 1: the score? I can't, It was just Fuji. So, I

1936
01:38:27,720 --> 01:38:29,080
Speaker 1: mean they ran out of the budget to pay me.

1937
01:38:29,240 --> 01:38:31,799
Speaker 1: So basically they took their budget and got their equipment.

1938
01:38:32,360 --> 01:38:34,120
Speaker 1: I told them the story, Oh my dad did it.

1939
01:38:34,160 --> 01:38:35,880
Speaker 1: You know, It's like go to the music store, Yo,

1940
01:38:36,040 --> 01:38:37,600
Speaker 1: I got this. I'm gonna give you this much in

1941
01:38:37,680 --> 01:38:39,840
Speaker 1: this many days we're gonna get this budget, and they

1942
01:38:40,000 --> 01:38:42,360
Speaker 1: used it to buy the MCI board, put it in

1943
01:38:42,400 --> 01:38:44,920
Speaker 1: the booget basement, did all their pieces recorded whatever it

1944
01:38:45,080 --> 01:38:48,400
Speaker 1: was there, hired Warree Reker to do what it needed

1945
01:38:48,880 --> 01:38:51,519
Speaker 1: to be, and then you know, Sean King did how

1946
01:38:51,600 --> 01:38:53,840
Speaker 1: many mics in a couple of beasts. Jerry was of

1947
01:38:53,960 --> 01:38:57,240
Speaker 1: course getting his chops on, playing bass, putting stuff together

1948
01:38:57,479 --> 01:39:00,240
Speaker 1: and then even Killing Me Softly, which Lauren originally wanted

1949
01:39:00,280 --> 01:39:03,479
Speaker 1: me to do her solo record for the album. Pro

1950
01:39:03,760 --> 01:39:07,720
Speaker 1: called me and said, Yo, you know the.

1951
01:39:07,760 --> 01:39:11,160
Speaker 5: Record Killing Me Softly? Who was gonna do that record?

1952
01:39:11,880 --> 01:39:19,679
Speaker 5: How would you do that? Yeah?

1953
01:39:19,680 --> 01:39:22,439
Speaker 1: I probably do kind of like flip flipped like the

1954
01:39:22,439 --> 01:39:24,320
Speaker 1: Apple bomb. Oh that's the same thing I was thinking.

1955
01:39:24,360 --> 01:39:34,439
Speaker 1: I call you right, yo, I know what happens, Yo,

1956
01:39:34,560 --> 01:39:35,160
Speaker 1: what's that record?

1957
01:39:35,400 --> 01:39:35,639
Speaker 2: Apple?

1958
01:39:35,800 --> 01:39:37,080
Speaker 5: I got an idea, I got an idea. I know

1959
01:39:37,800 --> 01:39:38,920
Speaker 5: you just said that Yo, this and that.

1960
01:39:39,000 --> 01:39:42,120
Speaker 1: Then if you listen to Killing Me Softly, the beat,

1961
01:39:42,439 --> 01:39:46,639
Speaker 1: the baseline on it is just like nappy Heads, boom boom, boom,

1962
01:39:46,880 --> 01:39:51,720
Speaker 1: boom boom. I never said something on nappy Heads. The

1963
01:39:51,880 --> 01:39:53,280
Speaker 1: bass notes are like the.

1964
01:39:57,320 --> 01:40:00,600
Speaker 5: The and.

1965
01:40:02,360 --> 01:40:06,880
Speaker 1: So it's boom boom boom. If you took that boom

1966
01:40:07,560 --> 01:40:09,919
Speaker 1: and unfiltered it. You hit typical drastic.

1967
01:40:11,000 --> 01:40:24,160
Speaker 5: No, no, what, it's super yo, and it's just filtered

1968
01:40:24,400 --> 01:40:25,120
Speaker 5: like a motherfucker.

1969
01:40:25,360 --> 01:40:27,559
Speaker 1: Yeah, because I don't know somehow, I don't know how

1970
01:40:27,560 --> 01:40:30,160
Speaker 1: I ended up having that, but I ended up having

1971
01:40:30,200 --> 01:40:33,280
Speaker 1: it and the piece and I actually just filtered. Well,

1972
01:40:33,280 --> 01:40:35,360
Speaker 1: I think I mighty just recorded it with just the

1973
01:40:35,439 --> 01:40:35,880
Speaker 1: base up.

1974
01:40:36,280 --> 01:40:43,679
Speaker 5: But that is fun. It gets drastic, you bastard.

1975
01:40:45,680 --> 01:40:47,840
Speaker 1: So you know that's so Killing me Softly is basically

1976
01:40:47,880 --> 01:40:48,400
Speaker 1: a copy of.

1977
01:40:48,439 --> 01:40:53,680
Speaker 4: That in hindsight, and you know, part family member and

1978
01:40:53,720 --> 01:41:00,519
Speaker 4: part outside of looking at whatever. Do you think that

1979
01:41:00,720 --> 01:41:07,080
Speaker 4: after eighteen million copies of that album sold, did it

1980
01:41:08,240 --> 01:41:09,519
Speaker 4: serve them well or not?

1981
01:41:12,080 --> 01:41:14,639
Speaker 5: H ah?

1982
01:41:15,040 --> 01:41:17,559
Speaker 12: Sorry to interrupt you, but you know to hear Salam's

1983
01:41:17,560 --> 01:41:20,280
Speaker 12: answer to that question. Tune in next week for Part two,

1984
01:41:20,680 --> 01:41:23,840
Speaker 12: West Love Supreme Minities just aalt Remen. We'll also talk

1985
01:41:23,960 --> 01:41:26,600
Speaker 12: more about nas Amy, White House, Cannabis.

1986
01:41:26,320 --> 01:41:29,080
Speaker 5: And much much more. All Right, see you next time.

1987
01:41:30,240 --> 01:41:33,960
Speaker 1: West Love Supreme is a production of iHeartRadio. This classic

1988
01:41:34,040 --> 01:41:39,040
Speaker 1: episode was produced by the team at Pandora. For more

1989
01:41:39,080 --> 01:41:43,560
Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app Apple Podcasts or

1990
01:41:43,600 --> 01:41:45,200
Speaker 1: wherever you listen to your favorite shows,