WEBVTT - QLS Classic: Salaam Remi Pt. 1 0:00:00.480 --> 0:00:04.240 Quest Love Supreme is a production of iHeartRadio. This classic 0:00:04.280 --> 0:00:10.280 episode was produced by the team at Pandora. 0:00:10.440 --> 0:00:13.320 What up, y'all is Laiyah and It's time for another 0:00:13.440 --> 0:00:16.720 Quest Love Supreme classic. This time we take you back 0:00:17.120 --> 0:00:21.239 to twenty eighteen when Quests and Team Supreme sat down 0:00:21.320 --> 0:00:25.560 with legendary producer Salaam Remy. I mean we talk about everything, 0:00:25.640 --> 0:00:28.479 the craft of making hit songs, what is like Craig 0:00:28.560 --> 0:00:32.440 digging with biz Marky and his part in making the 0:00:32.520 --> 0:00:37.080 score with the fujis from April twenty fifth, twenty eighteen. 0:00:37.720 --> 0:00:41.559 Salam Remy Part one. 0:00:48.840 --> 0:00:54.680 So why don't we have called sub Subpremo roll call 0:00:55.160 --> 0:00:59.680 Subprema su su Subpremo roll call Subremo. 0:01:00.080 --> 0:01:07.000 So my name ain't Lynnee, Minnie or Rene, but as 0:01:07.040 --> 0:01:10.040 a toddler, yeah, my shoes was kN. 0:01:15.959 --> 0:01:21.520 Son Son. My name is Fante. Yeah you can't believe it. 0:01:22.000 --> 0:01:23.560 Yeah, shout out to Salon. 0:01:24.000 --> 0:01:34.800 Yeah for the worker remix. So sullow roll my name 0:01:34.920 --> 0:01:37.440 is Sugar. Only work with the best. 0:01:37.959 --> 0:01:39.800 Yeah, that's how I got to work on. 0:01:44.440 --> 0:01:46.160 Son Supremo roll. 0:01:47.880 --> 0:01:51.320 So Son ro Bill. 0:01:51.880 --> 0:01:52.080 Yeah. 0:01:52.360 --> 0:01:54.160 And you might not be a fan of me, yeah, 0:01:54.440 --> 0:01:57.720 but you definitely hate Yeah, Sean Handy. 0:02:00.160 --> 0:02:04.200 The son up brea roll You want to tell the same. 0:02:06.760 --> 0:02:07.240 Is my name? 0:02:07.720 --> 0:02:10.840 Yeah, tossed out the rule book? Yeah, hold up? Is 0:02:10.840 --> 0:02:12.080 that Lauren over there? Yeah? 0:02:16.800 --> 0:02:26.720 S Yeah, what's alarm by? Yeah, I'm trying people. One 0:02:26.720 --> 0:02:30.320 of my favorite songs. You got no damns roll come 0:02:31.120 --> 0:02:32.720 b Son. 0:02:32.800 --> 0:02:37.960 Supreme roll call su Breamer soup, breing my roll. 0:02:39.360 --> 0:02:39.720 My name. 0:02:39.880 --> 0:02:43.679 Yeah, I'm on the spot. Yeah, I'm glad, super cat. 0:02:43.800 --> 0:02:45.720 Let me make get a red. 0:02:45.600 --> 0:02:53.359 Honrad Son Brea roll call breamer something something, bring my 0:02:53.560 --> 0:02:58.280 roll called up, Breamer son Son Soup, bring my roll call. 0:02:58.960 --> 0:03:01.160 Breamer something so supreme. 0:03:03.960 --> 0:03:07.200 I really hate the fact that I established how gullible 0:03:07.320 --> 0:03:12.799 I am, Like I'm the common person that I was 0:03:12.880 --> 0:03:17.839 told once that gullible isn't in the dictionary, And yeah, 0:03:18.200 --> 0:03:20.480 you just did that to me. Thank you foross Bill. 0:03:21.080 --> 0:03:22.919 I turned with the quickness. I wasn't sure if that 0:03:23.040 --> 0:03:25.120 was going to work either. I was surprised now that 0:03:25.200 --> 0:03:25.520 went off. 0:03:25.600 --> 0:03:30.440 That went off like gang busses right now, troll mirror. 0:03:31.080 --> 0:03:32.919 I was hoping all of you, look you knew it 0:03:32.919 --> 0:03:34.120 because your inflection went up, like. 0:03:35.600 --> 0:03:36.680 I saw that he looked over there. 0:03:36.680 --> 0:03:41.000 I was like yes at Landa only because that was 0:03:41.120 --> 0:03:43.640 the wrong name to say ladies and gentlemen. 0:03:45.560 --> 0:03:46.000 Exactly. 0:03:46.040 --> 0:03:49.480 This is another episode of course Love Supreme. We have 0:03:49.560 --> 0:03:50.200 Teams Supreme. 0:03:50.280 --> 0:03:51.560 We have Tickeolo. 0:03:51.800 --> 0:03:55.120 Yeah you know what, we haven't had brothers sister rat 0:03:55.360 --> 0:03:57.480 at the beginning of the show for a second, and 0:03:57.840 --> 0:03:58.920 a lot has happened since then. 0:03:59.280 --> 0:04:03.240 How's it going to your record? It's going good. I'm 0:04:03.360 --> 0:04:10.000 redoing my master bathroom. First world problem, that's that's not 0:04:10.240 --> 0:04:11.840 a New World problems. 0:04:12.400 --> 0:04:15.880 Wait, you're redoing your master bathroom? Yeah yeah, yeah, So 0:04:16.360 --> 0:04:18.640 how many bathrooms do you? Well, there's a lot of houses. 0:04:19.520 --> 0:04:22.280 What three you got a good you got like a 0:04:22.320 --> 0:04:23.360 big daddy cane house. 0:04:24.320 --> 0:04:25.000 I got like two. 0:04:25.120 --> 0:04:28.200 I have too full baths and then a half bath downstairs, 0:04:28.760 --> 0:04:31.120 so it's technically three, but you know one is just that. 0:04:32.160 --> 0:04:33.400 So we were doing our master bedroom. 0:04:33.440 --> 0:04:38.720 We're at the tub and shower paint, redid the vanity 0:04:39.320 --> 0:04:43.720 counter top. Guys coming to measure them tomorrow. Uh marse, No, 0:04:43.880 --> 0:04:51.360 we don't do marble. Granted, we went with granted, and 0:04:51.520 --> 0:04:54.280 it's a it's a it's a it's a light it's 0:04:54.320 --> 0:04:55.520 a like a light color grind. 0:04:55.560 --> 0:04:57.279 I think the name is like black ice or something. 0:04:58.080 --> 0:04:59.080 So you're keeping the walls white? 0:04:59.120 --> 0:05:08.440 There, no, no, no wall. There was a leather couches 0:05:08.480 --> 0:05:11.480 that I never like leather though it's too hot. 0:05:11.520 --> 0:05:13.120 You go to sleep on that ship, you be sweating 0:05:13.120 --> 0:05:16.839 and ship single man's piece. I never owned a leather couch. 0:05:16.839 --> 0:05:18.720 That's the single man. I never did that. 0:05:19.640 --> 0:05:23.800 I was like, it's good, what you up to. I'm 0:05:23.920 --> 0:05:24.440 getting off. 0:05:28.240 --> 0:05:29.360 I'm sorry, I mean, I'm sorry. 0:05:29.360 --> 0:05:29.760 I'm sorry. 0:05:30.080 --> 0:05:32.480 Yes, I have recently, I'm getting off the couch and 0:05:32.800 --> 0:05:34.640 Los Angeles and I'm very excited. 0:05:34.320 --> 0:05:36.880 That I get off the couch. That sounds like therapy. 0:05:37.040 --> 0:05:38.800 No, no, no, I can, I can get off the couch. 0:05:38.880 --> 0:05:40.599 She wants to know I have a good girlfriend, wants 0:05:40.600 --> 0:05:41.040 me to stay. 0:05:41.279 --> 0:05:44.000 Okay, Kevin got a job, y'all. 0:05:47.080 --> 0:05:53.640 Where are you moving Hollywood? Yes, okay, Scott fly one bedroom. 0:05:53.680 --> 0:05:55.559 I was looking at the tourist video of it today. 0:05:56.000 --> 0:05:57.839 Had a nice toil and approval. 0:05:57.880 --> 0:05:59.760 You got to get your work husband's approval of your place. 0:05:59.839 --> 0:06:01.839 It was really nice. The layout was nice, it was good. 0:06:01.880 --> 0:06:04.520 Appliants is updated. Hey, I'm proud of you, thank you, sir. 0:06:04.680 --> 0:06:05.640 I'm feeling really good. 0:06:06.360 --> 0:06:20.839 Uh boss Bill Now I'm gonna try that. You're so happy, 0:06:21.000 --> 0:06:29.040 You're welcome. Thank you anyway, Bill, I love that. He 0:06:31.120 --> 0:06:34.919 just said, what bing the show for me? Goodbye? 0:06:35.360 --> 0:06:37.400 Oh that was so good. I've only I've only heard 0:06:37.440 --> 0:06:39.640 that on my phone, not in contact. That was fantastic. 0:06:40.600 --> 0:06:42.280 I'm good. I bought a new house too. 0:06:42.880 --> 0:06:49.200 Yeah, are you like fontage? Stand like? He do it up? 0:06:49.240 --> 0:06:51.240 He dorew it up high to me. He I just 0:06:51.279 --> 0:06:54.360 did a bathroom. He did like a whole studio. Yeah, 0:06:54.560 --> 0:06:56.000 the whole night. Where do you live? 0:06:56.360 --> 0:06:59.960 I live in and Crowton on Hudson, which sounds super 0:07:00.080 --> 0:07:12.360 for white bathroom. I don't know like two no, I 0:07:12.480 --> 0:07:14.760 used to know anymore. But I'm building a studio in 0:07:14.800 --> 0:07:17.240 the basement and that's that. And I've been parenting for 0:07:17.280 --> 0:07:23.400 two weeks and I'm fucking done with children. I was 0:07:23.520 --> 0:07:27.559 fucking like, uh ja, I've been by myself with kids 0:07:27.600 --> 0:07:31.280 for fucking way too long. Man, Hey man, patience struggle 0:07:31.360 --> 0:07:33.520 is real. He knows what I'm talking about because we 0:07:34.560 --> 0:07:36.280 know it's basically the same person we are. 0:07:36.960 --> 0:07:41.240 We're trying to figure out your theme song, ire. 0:07:39.920 --> 0:07:40.560 Your angle is. 0:07:40.680 --> 0:07:44.040 He needs motivation and you know, all right, sugar Steve 0:07:44.480 --> 0:07:47.040 how's life now that you're a big time celebrity with. 0:07:47.120 --> 0:07:49.640 Sugar good Man Good Yeah, I started my own talk 0:07:49.680 --> 0:07:51.920 show my own network, and I am also redoing my 0:07:52.120 --> 0:07:56.320 master bathroom as just a coincidence, but that's all that's also. 0:07:56.200 --> 0:08:00.160 Happening, seriously, or am ill bro I don't have like 0:08:00.200 --> 0:08:04.280 a master back. Ladies and gentlemen, welcome to Questlove Supreme 0:08:05.080 --> 0:08:09.160 Only on fan Do Only. It's been a minute since 0:08:10.040 --> 0:08:18.480 I've had an opportunity to break metaphorical bread with a favorite, 0:08:19.120 --> 0:08:21.640 you know, not not not to offend any of the 0:08:21.760 --> 0:08:23.680 other guests that've been on the show, I still love you, 0:08:24.160 --> 0:08:29.800 Leila Hathaway. She listens and I better come correct or 0:08:29.960 --> 0:08:32.520 she'll put a hex on me. I don't know, but 0:08:33.400 --> 0:08:39.040 our guest today is one of my favorite producers. I 0:08:39.120 --> 0:08:43.760 don't know how to describe salam Remy's production style, but uh, 0:08:44.480 --> 0:08:47.559 it's I guess you can can we use that. It's 0:08:47.679 --> 0:08:51.839 it's beautiful production. He has a he's a very cinematic. 0:08:52.000 --> 0:08:56.880 It's very boom bappish, but there's always for me extra layers. 0:08:56.920 --> 0:08:59.760 Like he's almost like a if hip hop were served 0:08:59.800 --> 0:09:02.120 in a three Michelin star restaurant. 0:09:02.200 --> 0:09:04.720 I feel like woe. 0:09:05.360 --> 0:09:10.040 Yeah, we're you know Primo where Primo is you know, uh, 0:09:10.320 --> 0:09:13.280 the local corner store dude giving you what you need. 0:09:13.720 --> 0:09:17.600 Then I feel that, you know, Salam's uh, He's say 0:09:21.960 --> 0:09:24.680 there you go. Welcome, Ladies and gentleman. Salt Bay. 0:09:27.760 --> 0:09:33.640 Crinkles a question, thank you, thank you. Usually when guests 0:09:33.640 --> 0:09:36.000 come on the show, ladies and gentlemen. Uh, I try 0:09:36.040 --> 0:09:39.319 to discourage small talk while we're waiting to record the 0:09:39.360 --> 0:09:42.480 show because usually the good things come out. And why 0:09:42.559 --> 0:09:45.079 he had started the small talk for Salim asking what 0:09:45.240 --> 0:09:46.959 he was doing in New York, But that was the 0:09:47.000 --> 0:09:49.839 first question, because you're never in New York. 0:09:50.440 --> 0:09:53.280 What are you doing here? Well, I got scared. I 0:09:53.320 --> 0:09:55.520 thought Shorn sent you up here to nah Na. 0:09:56.559 --> 0:10:00.360 Actually would I actually like to do is to make records. 0:10:00.520 --> 0:10:03.800 I've moved to Miami in two thousand and one, two 0:10:03.800 --> 0:10:06.480 thousand and two, so that's been my main base. And 0:10:06.480 --> 0:10:08.559 even though I kept a place here in La I 0:10:08.640 --> 0:10:11.480 looked at it like Miami is a bit of my 0:10:11.720 --> 0:10:13.960 farm where I'm really in my creator space, and then 0:10:14.040 --> 0:10:16.120 New York is my farmer's market. 0:10:16.200 --> 0:10:16.520 Per se. 0:10:17.000 --> 0:10:18.319 That's where I've been there for the last months, and 0:10:18.360 --> 0:10:20.000 I have a bunch of mango trees and fruit trees. 0:10:20.040 --> 0:10:24.240 I've been on my vegan chefing, growing trees, gardening. 0:10:25.840 --> 0:10:29.920 Literally, I thought, you're like me, speaking metaphorically and both. 0:10:30.080 --> 0:10:31.880 So I've been in that place like kind of trying 0:10:31.880 --> 0:10:33.720 to find my baseline. So I've actually been to New 0:10:33.800 --> 0:10:36.959 York since November for one day, October for one day, 0:10:37.160 --> 0:10:39.880 and then maybe September for a few days. I've been 0:10:40.360 --> 0:10:43.199 home for the longest I've ever been on really just 0:10:43.320 --> 0:10:46.160 digging into the music. But I was like, April's here, 0:10:46.360 --> 0:10:47.960 wait a minute, we got to put music out because 0:10:47.960 --> 0:10:50.600 I like to make music for the first day of spring. 0:10:50.760 --> 0:10:52.600 What I would call, you know, the a Marie whether 0:10:52.679 --> 0:10:54.880 the all I want is you should play on a 0:10:55.040 --> 0:10:58.480 street when Houseinuvian is open and I'm stelling college age 0:10:58.520 --> 0:11:01.040 and this is the day when it happens, And it 0:11:01.080 --> 0:11:03.440 didn't happen yet. So now I was like, wait a minute, 0:11:03.480 --> 0:11:07.160 but this quarter is going mains coming now, what let 0:11:07.240 --> 0:11:09.360 me come up to New York start figuring out what 0:11:09.440 --> 0:11:11.480 I'm doing musically as far as releases for the year, 0:11:12.280 --> 0:11:15.560 visit all my business partners. Figure out what I'm going 0:11:15.600 --> 0:11:18.480 to do. And that's why it sounds like a beautiful life. 0:11:18.559 --> 0:11:18.679 Man. 0:11:18.920 --> 0:11:22.280 Yeah you sound professional. Yeah, I mean I don't feel 0:11:22.400 --> 0:11:26.680 professional at all my own pocket. 0:11:28.160 --> 0:11:30.960 I'm like, well, okay, there's something like that. So I'm 0:11:31.000 --> 0:11:32.760 putting on my business hat. I'm trying to step out 0:11:32.800 --> 0:11:35.040 of my creative hat for a couple of days, figure 0:11:35.040 --> 0:11:36.959 out what I'm doing with it, and then dig back 0:11:37.000 --> 0:11:37.600 into the music. 0:11:37.760 --> 0:11:39.200 So do you already have the music? 0:11:39.200 --> 0:11:41.199 I'm sorry, you said music for Spring like that for 0:11:41.240 --> 0:11:43.600 at Spring song, So that means you already have the music? 0:11:43.720 --> 0:11:45.360 You just yeah? 0:11:45.480 --> 0:11:48.800 I mean, you know, it's funny. In twenty sixteen, I 0:11:48.880 --> 0:11:50.599 put out like a bunch of songs. I called to 0:11:50.679 --> 0:11:52.400 it for the culture and I was like, I'm going 0:11:52.440 --> 0:11:54.840 to release a bunch of music. And then the song 0:11:55.360 --> 0:11:56.920 that kind of did the best out of that, which 0:11:57.000 --> 0:12:01.160 is Miguel Myself feature Miguel Come Through and Ill. Then 0:12:01.320 --> 0:12:04.360 that was December sixteen. He put on his album December seventeen, 0:12:04.440 --> 0:12:06.040 and now it's a single. The video was about to 0:12:06.080 --> 0:12:08.480 drop next week. Things to figure out what that So 0:12:08.559 --> 0:12:10.240 I'm like, okay, oh, I guess I should put out 0:12:10.240 --> 0:12:12.440 another one now. So now I'm just figuring out. Okay, 0:12:12.440 --> 0:12:14.040 I got these other songs. Let me figure out what 0:12:14.120 --> 0:12:17.880 I'm going with. How's it going? Visit streaming services of 0:12:17.960 --> 0:12:20.760 the planet. Come talk to you guys, because I wanted 0:12:20.800 --> 0:12:22.640 to do this for the last eight months plus. 0:12:22.960 --> 0:12:29.480 Besides Pandora, what other streaming services? Pandora is the only 0:12:29.520 --> 0:12:31.480 game in the mark. So, like I said, first stop, 0:12:31.600 --> 0:12:32.160 first place. 0:12:38.760 --> 0:12:44.360 So are you saying Monday? Are you saying that Miami is? 0:12:46.800 --> 0:12:51.000 Is Miami good for? I never understood cats that wanted 0:12:51.040 --> 0:12:57.000 to be in that comfortable of an environment to make 0:12:57.440 --> 0:13:02.360 music because I figured that it's distracting and it's yeah. 0:13:02.559 --> 0:13:02.839 You know what. 0:13:03.040 --> 0:13:05.160 I always thought that, like my whole life. You know, 0:13:05.400 --> 0:13:08.400 I carried the New Yorker mentality. I have this thing 0:13:08.480 --> 0:13:11.000 when RAT sit in the room, when you sit in 0:13:11.120 --> 0:13:13.360 New York and you watch people walking down the street. 0:13:14.080 --> 0:13:16.520 They normally walk a certain way, but I look at 0:13:16.559 --> 0:13:18.880 it like they're carrying something on their shoulders. Either I'm carrying, 0:13:18.920 --> 0:13:21.880 I'm walking real fast. I have it they're dragging and leaning. 0:13:22.320 --> 0:13:24.040 I always felt like New York was me. I had 0:13:24.080 --> 0:13:26.880 a mentality of you know, I used to hang out 0:13:26.920 --> 0:13:29.160 with bids a lot, so it would always be like, 0:13:29.160 --> 0:13:31.640 all right, cool, I got on a pair of levies 0:13:31.720 --> 0:13:33.760 and a sweatshirt. I don't want to see any plaques. 0:13:34.040 --> 0:13:36.839 I'm going to work. I lived in Midtown Manhattan with 0:13:37.000 --> 0:13:39.440 my dad, but I would always be in the studio mindset. 0:13:39.480 --> 0:13:42.160 I always wanted to keep it there and had a 0:13:42.240 --> 0:13:43.959 rough year in two thousand and one, you know, the 0:13:44.040 --> 0:13:47.840 towers fell, Mom past, Grandpa pass and I went to Miami, 0:13:48.520 --> 0:13:51.959 and I was actually as productive or more productive, because 0:13:52.000 --> 0:13:55.439 I thought that the studio had Studio fifty four space 0:13:55.559 --> 0:13:58.560 was making music. I thought my SSL was making the sound. 0:13:58.640 --> 0:14:00.960 I thought my Organs was actually doing it. And then 0:14:01.000 --> 0:14:04.400 I was on South Beach in a little room with 0:14:04.800 --> 0:14:07.360 Southeast Studios with this autisms dynamite. We did like thirty 0:14:07.440 --> 0:14:11.160 songs in three weeks. So I was like, oh wait 0:14:11.200 --> 0:14:14.000 a minute, but it's hot here, and you know, it 0:14:14.120 --> 0:14:18.120 was nice, and I realized that in the New York 0:14:18.320 --> 0:14:20.480 energy that I thought was only in New York was 0:14:20.520 --> 0:14:23.800 actually in me. So between then and the year after 0:14:24.400 --> 0:14:26.840 I made you know, the Major looks to whatever else, 0:14:26.880 --> 0:14:28.760 I would be even more productive because I get up 0:14:29.480 --> 0:14:32.600 and see the sun relaxed. But you know, it's my bloodstream. 0:14:32.640 --> 0:14:35.800 At this point, what does it say about me that 0:14:36.200 --> 0:14:40.280 I want to be the most uncomfortable atmosphere to make music. 0:14:40.720 --> 0:14:43.440 We would need a psychiatrist to unpack that state, or. 0:14:43.440 --> 0:14:44.880 We could just all move to Miami. 0:14:45.040 --> 0:14:48.000 Yeah, and plus aren't you afraid of are you there 0:14:48.240 --> 0:14:50.840 around August September or yeah? 0:14:52.000 --> 0:14:54.000 So any of the flooding your house? 0:14:54.040 --> 0:14:56.880 I mean this summer, this last September when they act that, 0:14:57.160 --> 0:15:00.640 you know, after Houston had the big issues. I really 0:15:00.760 --> 0:15:02.600 was in New York looking there like that, It's all 0:15:02.640 --> 0:15:04.480 my stuff going on. My guys, like, do you want 0:15:04.480 --> 0:15:08.800 me to fedext you something? I'm like my house, my life, HASSL, 0:15:08.960 --> 0:15:11.560 my e M T plates, Like what do you send me? 0:15:11.680 --> 0:15:12.040 Everything? 0:15:12.160 --> 0:15:14.160 All my disc But then I kind of sat here 0:15:14.200 --> 0:15:16.160 for a couple of days thinking, wow, this might be. 0:15:16.240 --> 0:15:19.120 It is your studio protected at least for floods, and 0:15:20.000 --> 0:15:22.960 it is for the most part, but you know, for 0:15:23.320 --> 0:15:25.120 anything can happen. Anything can happen. 0:15:25.200 --> 0:15:28.080 So I mean, realistically, everything I own, you know, at 0:15:28.120 --> 0:15:30.840 this point I pushed all into one big house. I 0:15:30.880 --> 0:15:33.680 think actually you were like my studio house. It's all 0:15:33.800 --> 0:15:36.640 set up with every other room. Every room in the 0:15:36.720 --> 0:15:40.920 house is wired together, record room into pocketed kits, and 0:15:41.000 --> 0:15:41.520 every other. 0:15:41.640 --> 0:15:45.920 Oh I know stuff, he told me. He told me. 0:15:48.200 --> 0:15:48.560 I don't know. 0:15:48.640 --> 0:15:53.360 I just feel like it's sacrilegious to be that comfortable happy. 0:15:55.120 --> 0:15:55.880 When I look at my house. 0:15:56.960 --> 0:16:01.040 You're joking, serious, I know you. Like I'll say that 0:16:01.280 --> 0:16:04.240 an artist that I'm known working with, like his mo 0:16:04.560 --> 0:16:06.400 is like, I got to get in an argument with 0:16:06.520 --> 0:16:08.880 one of my joints so I can write. 0:16:09.560 --> 0:16:11.720 And so I hope you not making love music. 0:16:13.520 --> 0:16:18.800 Oh shit, Okay, I'm not the only one in the room. Okay. 0:16:19.280 --> 0:16:24.040 So I mean, honestly, I think that me being there 0:16:24.200 --> 0:16:27.440 actually just been great for the life work balance. I've 0:16:27.480 --> 0:16:31.680 read NASA put me on the Barry Whites book, and 0:16:31.880 --> 0:16:34.400 he basically had one house that he lived in and 0:16:34.520 --> 0:16:36.280 one house that he worked in across from each other. 0:16:36.920 --> 0:16:38.200 So it was just that was part of it. 0:16:38.280 --> 0:16:38.400 You know. 0:16:38.480 --> 0:16:40.800 I was looking at warehouses. Okay, I build out a warehouse. 0:16:40.840 --> 0:16:43.120 I have the incredible studio. Now I have to find 0:16:43.160 --> 0:16:45.160 somebody that wants to buy a couple million dollars worth 0:16:45.200 --> 0:16:47.960 of studio in order to sell it. Cool, Okay, Cool. 0:16:48.000 --> 0:16:50.120 I get the house on the acre and I make 0:16:50.160 --> 0:16:52.080 it into the studio. Okay, Now I just take it 0:16:52.160 --> 0:16:53.880 all out and now it becomes you know, it's like 0:16:54.080 --> 0:16:57.080 I thought about the Rudy van Guel, the Blue oat house, 0:16:57.240 --> 0:17:00.440 or the Motown space or anything else. I at my 0:17:00.600 --> 0:17:03.680 space is kind of a place to be comfortable. And 0:17:03.800 --> 0:17:06.880 then also I focus so much on lyric writing. It's 0:17:06.920 --> 0:17:08.679 like you don't feel like you're not where you are 0:17:09.240 --> 0:17:10.720 and then let's go forward, so. 0:17:10.800 --> 0:17:14.280 You write lyrics too. I co write a lot of stuff. 0:17:14.560 --> 0:17:17.200 Okay, Well, I push people who are around me to write, 0:17:17.320 --> 0:17:20.120 like the story is more important to me than to beat, 0:17:22.280 --> 0:17:24.600 because I can make the beat ninety times while they're sleeping, 0:17:25.080 --> 0:17:27.320 I can change it. I'm a remixer from start, so 0:17:27.960 --> 0:17:31.239 I actually push the story to be the best thing 0:17:31.280 --> 0:17:34.280 it's coming, kind of like getting the script and then 0:17:34.440 --> 0:17:35.240 shooting the movie. 0:17:36.119 --> 0:17:40.199 So when you create a song, what's the first thing 0:17:40.240 --> 0:17:41.919 you're thinking about? Are you're thinking about. 0:17:43.320 --> 0:17:44.000 What's my hook? 0:17:44.160 --> 0:17:46.520 Like even before you developed, like take us through the 0:17:46.600 --> 0:17:49.680 process that gave you made you look, just from the 0:17:49.720 --> 0:17:51.280 beginning to from the rooted to. 0:17:51.320 --> 0:17:54.000 The tutor made you look started with the conversation that 0:17:54.359 --> 0:17:59.400 Nas and I were having about Flavor Flame that when 0:17:59.440 --> 0:18:02.560 we saw Flavor Flavor, I ain't no joke video that 0:18:02.800 --> 0:18:05.720 we didn't know who he was because we hadn't really 0:18:05.760 --> 0:18:08.359 seen Public Enemy perform like that before we heard their 0:18:08.400 --> 0:18:11.040 first album, but they didn't have any videos. So when 0:18:11.080 --> 0:18:12.960 we saw I Ain't no joke and it was a guy, 0:18:13.080 --> 0:18:15.960 and just that whole energy of how that looked, the 0:18:16.240 --> 0:18:19.000 energy of how BDP looked rushing down the stairs, and 0:18:19.160 --> 0:18:22.200 I guess that was Union Square, possibly the energy of 0:18:22.320 --> 0:18:25.960 Run's house, how it looked like everybody outside that. Those 0:18:26.000 --> 0:18:27.840 were the times that felt like it had a certain 0:18:27.960 --> 0:18:31.600 energy to it. And then I was working on a 0:18:31.680 --> 0:18:33.440 lot of Latin stuff when I first moved to Miami, 0:18:33.520 --> 0:18:35.720 so I was working with Ricky Martin, and I wanted 0:18:35.760 --> 0:18:39.520 to use Apatchee for Ricky. But I always remember the 0:18:39.560 --> 0:18:41.040 lost refessor. I had the trick when he was doing 0:18:41.080 --> 0:18:42.840 stuff on the twelve hundred, slow the sample all the 0:18:42.840 --> 0:18:44.560 way down to make sure that your chop was right 0:18:44.640 --> 0:18:48.119 on B. So I was shopping up, you know, it 0:18:48.200 --> 0:18:53.359 was supposed to be boom Ricky Ricky like, that was 0:18:53.400 --> 0:18:55.639 my that was my thought process. That's what I was 0:18:55.720 --> 0:18:59.320 going for. And I pitched the you know, a patchy 0:18:59.359 --> 0:19:00.960 a little bit and kind to mess with it. But 0:19:01.040 --> 0:19:02.560 I was sitting there messing with it, and then I 0:19:02.840 --> 0:19:05.600 played it really slow, kind of trying to make sure 0:19:05.640 --> 0:19:07.040 that my chop was on point. And then when I 0:19:07.080 --> 0:19:09.080 played it, I just moved to Miami. So so my 0:19:09.119 --> 0:19:10.560 gys from New York with it and they just busted 0:19:10.560 --> 0:19:13.440 and I'm like, yo, what's that? And I was like, ah, 0:19:13.760 --> 0:19:16.320 this is it? But it really it filled the spot 0:19:16.400 --> 0:19:18.960 that Nas and Aari already had a conversation about what 0:19:19.119 --> 0:19:22.040 that felt like. So then I just basically took it 0:19:22.160 --> 0:19:24.800 and you know, did the first ball, first ball, first ball, 0:19:24.960 --> 0:19:29.800 going to the second ball, loop took the hit. Nah, 0:19:29.840 --> 0:19:36.080 I did that on in PC two thousand, so did that, 0:19:36.200 --> 0:19:38.920 and then I just took the hit, filtered it, made 0:19:39.000 --> 0:19:42.959 played the baseline on it, and then I called Nas 0:19:43.040 --> 0:19:45.560 and he answered his phone. He was actually in Orlando 0:19:45.600 --> 0:19:48.600 at the time writing and then I left it on 0:19:48.680 --> 0:19:51.640 his voicemail. I was like, yo, I think I got 0:19:51.960 --> 0:19:53.760 what we were talking about, and then he heard it. 0:19:53.880 --> 0:19:54.320 He was like yo. 0:19:54.480 --> 0:19:55.880 Then he just hit me back on the two way 0:19:55.920 --> 0:20:02.720 or something come through. So then I basically drove cassette basically. 0:20:02.960 --> 0:20:03.480 Close to that. 0:20:06.000 --> 0:20:07.840 I had a CD burner and the who was it? 0:20:07.960 --> 0:20:13.119 The Who's the HHB CD burner. So I burned it 0:20:13.240 --> 0:20:17.119 on my HHB CD burner and took the disc and 0:20:17.200 --> 0:20:19.000 I threw a world or something like that in the 0:20:19.000 --> 0:20:21.000 truck I just bought, and I drove up to my 0:20:21.359 --> 0:20:24.639 to Orlando. And when I got there, that's not a 0:20:24.880 --> 0:20:28.840 close drive. That's four hours just to play him. Not 0:20:28.960 --> 0:20:30.600 not just to play, he just like come through because 0:20:30.600 --> 0:20:35.520 he'd already been. Basically the process was when we did. 0:20:37.119 --> 0:20:37.239 Well. 0:20:37.280 --> 0:20:40.280 My mom passed in May of two thousand and one. 0:20:40.480 --> 0:20:42.760 I was working on a shot, a remix for Lovers Rock. 0:20:43.480 --> 0:20:44.879 I put nads on that remix. 0:20:44.960 --> 0:20:45.440 He came through. 0:20:45.520 --> 0:20:47.439 He's looking at me, like what you're doing. I was like, oh, 0:20:47.480 --> 0:20:49.000 my mom passed. Me going to the funeral, but then 0:20:49.040 --> 0:20:51.160 I'll be back. You can furnish your verse. So he's 0:20:51.160 --> 0:20:53.359 looking at me like you're an alien. What are you 0:20:53.480 --> 0:20:56.440 doing when you just say what's happening? But you know, 0:20:56.760 --> 0:20:59.320 as you know, I worked through it and then shot it. 0:20:59.560 --> 0:21:00.879 Called me that they like, hey, do you want to 0:21:00.880 --> 0:21:02.359 do this? Dreamis you gotta be done on Friday? So 0:21:02.400 --> 0:21:06.720 I was like, I gotta do it. That wasn't something 0:21:06.760 --> 0:21:10.160 I was giving out every day. Shot They said remixed 0:21:10.160 --> 0:21:12.960 Lovers Rock really that was maybe maybe one person. I 0:21:13.000 --> 0:21:15.320 think maybe Farrell had done something prior around that time, 0:21:16.119 --> 0:21:17.639 and that was it, and off the same album, I 0:21:17.720 --> 0:21:20.000 was getting my shot, So that was that. But basically 0:21:20.359 --> 0:21:23.440 that kind of cement in our bond and I ended 0:21:23.520 --> 0:21:28.280 up doing what goes around for Stematic. So then now 0:21:28.440 --> 0:21:30.560 next year, his mom passed but I didn't know his 0:21:30.680 --> 0:21:33.000 mom was sick when he was watching me. So he 0:21:33.080 --> 0:21:35.840 was basically like, yo, I got off tour, I'm gonna 0:21:35.840 --> 0:21:37.720 go to Orlando with my daughter. And he stayed in 0:21:37.840 --> 0:21:40.119 Orlando in some times share house. Then he was like, 0:21:40.200 --> 0:21:42.720 you know what, I'm ana record here. So he had 0:21:42.760 --> 0:21:46.480 about five or six houses. He got a large professor 0:21:47.400 --> 0:21:51.520 Aca La Alchemists, a few other people. So when he 0:21:51.640 --> 0:21:54.399 boy Chuckie Thompson, and by the time he called me like, yo, 0:21:54.560 --> 0:21:57.760 come through and come to Orlando, they were already there. 0:21:58.040 --> 0:22:00.480 Oh okay, so it was already there. We were working 0:22:00.480 --> 0:22:03.560 at Transcontinental Studios where you know Lou Pearlman's place or 0:22:03.600 --> 0:22:04.119 whatever it was. 0:22:04.920 --> 0:22:06.080 So we were doing that. 0:22:06.600 --> 0:22:10.000 I drove up Alchemists and now we're driving to the 0:22:10.040 --> 0:22:13.640 studio and I was like, yo, this is the track. 0:22:13.720 --> 0:22:16.600 It can be crazy. I actually had Amy talking. I 0:22:16.640 --> 0:22:19.160 had Amy Wyne. I was talking on the track because 0:22:19.160 --> 0:22:21.320 I was starting to work on Frank right around then. 0:22:22.040 --> 0:22:23.920 Actually I started in May. So yeah, I was like, 0:22:24.119 --> 0:22:25.879 had to do some stuff. I wanted to put Curtis 0:22:25.960 --> 0:22:28.480 Blow on it, so I'll be flipping on these niggas 0:22:28.520 --> 0:22:37.119 like we're meals. I had all these these ideas and 0:22:37.200 --> 0:22:41.399 he was like, yeah, cool. And I had to go 0:22:41.480 --> 0:22:43.480 to New York for a wedding and come right back. 0:22:44.080 --> 0:22:47.080 I left the track there. I came back and he 0:22:47.240 --> 0:22:52.040 had basically the first first and we had the first 0:22:52.080 --> 0:22:54.879 person the chorus, and basically the thing was that with 0:22:55.000 --> 0:22:57.879 that track, I was busy trying to say, this has 0:22:57.920 --> 0:22:59.600 a lot of energy. It was like a lot of norri. 0:23:00.080 --> 0:23:01.399 I was like, nah, just get on the track and 0:23:01.520 --> 0:23:03.640 go for it. But he decided to do his lean 0:23:03.760 --> 0:23:06.280 back on it and rob him instead. Back to our 0:23:06.320 --> 0:23:09.600 original conversation, if I ain't no joke, so rather than 0:23:10.040 --> 0:23:12.440 going at the track, and you know, he has the 0:23:12.480 --> 0:23:15.399 thing where he refers to rhyming on the one as 0:23:17.640 --> 0:23:20.640 basically he'll skip the one, let the one go hard, 0:23:21.680 --> 0:23:23.200 and then fall in the middle of it. 0:23:23.600 --> 0:23:26.880 Basically that was he thinks in that sort of mathematicals. 0:23:27.160 --> 0:23:30.040 He says that, yeah, what's also that? And then also, 0:23:30.119 --> 0:23:32.800 you know, the father's being musicians like that, so he 0:23:33.200 --> 0:23:36.280 thinks like a musician, and if he plays something, he'll 0:23:36.400 --> 0:23:39.600 think about it musically speaking as he's writing to it. 0:23:40.720 --> 0:23:43.760 It's weird because in my head I thought he was 0:23:43.840 --> 0:23:47.720 trying to do a rob Bass flow because Rob based 0:23:47.800 --> 0:23:55.440 also sort of rhymes on the end instead of so 0:23:55.960 --> 0:24:01.119 speaking of an old episode of references Rob Base. His 0:24:01.280 --> 0:24:03.560 his approach was straight rock him. He was thinking about 0:24:03.680 --> 0:24:06.640 how rock Kim would have sat back on the Lets 0:24:06.680 --> 0:24:09.359 get it all in perspective, right, That was that was 0:24:09.400 --> 0:24:11.560 the thought process, but I didn't catch it at the time. 0:24:11.600 --> 0:24:13.920 I was like, all right, cool is where we're going 0:24:13.960 --> 0:24:16.000 with it. And then as the song grew, we just 0:24:16.080 --> 0:24:16.840 kept adding legs. 0:24:16.920 --> 0:24:17.399 He finished the. 0:24:17.480 --> 0:24:21.120 Verses, I through the birds with a thousand people. 0:24:21.320 --> 0:24:23.840 I gotta tell you that. Wait then I tell you 0:24:26.240 --> 0:24:28.119 I never knew y'all were saying brave hearts. 0:24:29.320 --> 0:24:33.280 I thought, see, I had my whole theory about made 0:24:33.359 --> 0:24:36.639 you look, and I thought that was his him bucking 0:24:36.680 --> 0:24:37.240 the shot. 0:24:37.119 --> 0:24:40.640 Back at jay Z, which was still at that time. 0:24:40.680 --> 0:24:42.359 I was so. 0:24:44.280 --> 0:24:53.800 I thought y'all were saying airball, Oh god, wow, And 0:24:53.920 --> 0:24:55.400 I was thinking, like, Yo, why is it so little 0:24:55.400 --> 0:24:57.600 the mixes that'd be so great at basketball games that 0:24:57.760 --> 0:25:00.680 you know, like a jay Z you missed me, motherfucker 0:25:01.040 --> 0:25:02.080 bought like that sort of thing. 0:25:02.640 --> 0:25:04.359 And even when we did that, like part of my 0:25:04.520 --> 0:25:07.159 theory was just being in the clubs and being in 0:25:07.160 --> 0:25:10.560 different spaces that I faded it out because I wanted 0:25:10.600 --> 0:25:12.240 it to play, but I wanted you also to be 0:25:12.320 --> 0:25:13.639 in the club and feel like the people on the 0:25:13.680 --> 0:25:15.639 other side were doing it or whatever it was. So 0:25:15.680 --> 0:25:18.800 then now you start singing along with it, and by 0:25:18.840 --> 0:25:21.200 the time it creeps up, that was a play game. 0:25:21.240 --> 0:25:23.040 But I mean that was the main part of it. 0:25:23.200 --> 0:25:25.480 Cut the record, took it to Miami, played around a 0:25:25.520 --> 0:25:29.760 little bit, and by his birthday kind of played through it. 0:25:30.119 --> 0:25:32.200 And then you know, during that time, you know, he 0:25:32.359 --> 0:25:35.520 was still going through drama with the radio and everything else. 0:25:35.560 --> 0:25:39.680 So I was like, take and peach to president and 0:25:40.119 --> 0:25:43.480 just use it by itself. Alchemist was like, really, Alchemist 0:25:43.600 --> 0:25:46.480 was with me during those days because he knew where 0:25:46.480 --> 0:25:49.200 the studio was from the rental houses we were staying in. 0:25:50.200 --> 0:25:52.959 And I was like, yeah, I'm just impeached to president, 0:25:53.000 --> 0:25:55.240 I'm not a I had eight or eight or nothing, really, 0:25:55.840 --> 0:25:57.520 go ahead do it. So he's just sitting there looking 0:25:57.560 --> 0:26:00.280 at me like what are you doing? And basically I 0:26:00.440 --> 0:26:02.280 just took the piano. It was a little off, and 0:26:02.359 --> 0:26:06.480 I had a story from Greg Nice where he was 0:26:06.520 --> 0:26:09.399 there when they made the bridges over, and basically he 0:26:09.480 --> 0:26:12.800 said that uh Cares was going to play the bass 0:26:12.840 --> 0:26:14.640 line on the juno and he's like, yeah, what about 0:26:14.640 --> 0:26:17.120 that piano in it. They went where the Musicians Union 0:26:17.280 --> 0:26:20.720 is at the old A and R Studios building and 0:26:20.880 --> 0:26:24.320 basically Cars went to the piano even though it was off, 0:26:24.400 --> 0:26:28.960 and played played the super cat boops bassline on the piano. 0:26:29.080 --> 0:26:32.720 Then said sampled it and made the bridges over. So 0:26:32.840 --> 0:26:34.320 when I saw the piano and it was like it's 0:26:34.359 --> 0:26:36.879 not tuned, I'm like, nah, good leave it. So then 0:26:36.960 --> 0:26:38.560 I went to the piano and I was like, no, what, 0:26:38.640 --> 0:26:41.600 Why don't you feature Alicia Keys playing piano instead of singing? 0:26:42.280 --> 0:26:44.760 Is that her playing? For at least that's me playing. 0:26:44.880 --> 0:26:47.720 But my thought process was to get her to play 0:26:47.760 --> 0:26:50.280 it and then feature her that way rather than making 0:26:50.320 --> 0:26:52.960 the typical R and B. Alicia Keys comes out of 0:26:53.000 --> 0:26:54.960 nowhere with the hook record. That was my thought, but 0:26:55.000 --> 0:26:57.160 then she ended up producings Warrior Song for the album, 0:26:57.720 --> 0:26:59.880 and then you know, it was like, I know I can. 0:27:00.119 --> 0:27:02.600 Was basically, come on, we love the kids. 0:27:02.680 --> 0:27:07.000 Man played on the radio. You love the kids. You 0:27:07.040 --> 0:27:08.040 got to do for the kids. 0:27:08.560 --> 0:27:09.520 I know I can't. 0:27:09.640 --> 0:27:13.760 That was Son, Yeah, basically, and that vocalist is actually 0:27:14.680 --> 0:27:27.040 uh for a while, okay, there it goes, thank you 0:27:27.720 --> 0:27:28.280 the vocal so. 0:27:28.520 --> 0:27:29.080 I know I can. 0:27:29.200 --> 0:27:32.399 It's actually Angela Hunt, who is was also in the 0:27:32.440 --> 0:27:33.640 group of seven sixty six nine. 0:27:33.800 --> 0:27:37.760 Oh my god, Yeah, she's the kids so high the. 0:27:37.800 --> 0:27:40.359 Kids voice is actually so high exactly, so that's her voice. 0:27:40.400 --> 0:27:42.240 And then she has vote Empire state of mind. 0:27:43.600 --> 0:27:45.440 She's she came up. 0:27:46.920 --> 0:27:49.359 And she has no big soaka record party done. 0:27:49.640 --> 0:27:51.280 You know, it was big for the last few years 0:27:51.440 --> 0:27:51.840 or whatever. 0:27:52.240 --> 0:27:54.920 I always wanted what happened to? Yeah, that one album, 0:27:55.280 --> 0:28:00.320 Well damn you you out rabbit hole being. But I'm 0:28:00.320 --> 0:28:08.400 still going back to the beginning. Yeah, waited a while 0:28:08.440 --> 0:28:11.639 to go back to the beginning now, like he you know, 0:28:12.000 --> 0:28:13.960 he went on a tangent. It was good rabbit holes 0:28:14.000 --> 0:28:15.880 and tangents hand in hand. 0:28:21.040 --> 0:28:22.080 Uh, where were you born? 0:28:22.560 --> 0:28:26.439 I was born uh, Manhattan, Saint Luke's Woman's Hospital up 0:28:26.520 --> 0:28:29.960 in East Harlem, and then I grew up. At that time, 0:28:29.960 --> 0:28:32.560 my parents lived Brooklyn Heights. But then I grew up 0:28:32.560 --> 0:28:36.800 in Queens mainly North side Jamaica, Queen's Camberg Heights. 0:28:36.960 --> 0:28:38.080 Holding on to that accent. 0:28:38.160 --> 0:28:44.040 Now, who's your Your father? Is my father? Okay? It's 0:28:44.080 --> 0:28:48.600 a bit of a rabbit hole. Should I go over? Yes? Yes? Perfect? 0:28:48.640 --> 0:28:48.920 All right? 0:28:48.960 --> 0:28:56.360 So my dad, his name is Van Gabbs, producer, manager, musician, 0:28:56.480 --> 0:28:59.360 et cetera. Basically, the story how I came about is this. 0:29:01.200 --> 0:29:05.240 My dad comes from Trinidad, eighteen years old. His father 0:29:05.280 --> 0:29:08.160 already lived here in Brooklyn. He's working at some place 0:29:08.320 --> 0:29:10.680 New York Insurance Company. He's been getting older, so I've 0:29:10.680 --> 0:29:12.719 been asking him, re asking him the questions to kind 0:29:12.760 --> 0:29:15.040 of get the story straight straight. Now you can tell 0:29:15.040 --> 0:29:18.720 me to grow man version of what happened. So basically, 0:29:20.320 --> 0:29:22.120 he was working at a place called New York Insurance 0:29:22.200 --> 0:29:25.040 Company and there was a guy in there named Bernard something. 0:29:25.240 --> 0:29:29.080 Bernard lived in Queen's Saint Albans. He's like, hey, you 0:29:29.160 --> 0:29:30.720 know what you played? 0:29:30.760 --> 0:29:31.840 Guitar? Okay? Cool? 0:29:31.880 --> 0:29:34.440 My dad acoustic guitar? Or was starting to play electric. 0:29:34.480 --> 0:29:37.440 He's like, yo, come around my way. There's some guys 0:29:37.720 --> 0:29:40.760 that do a band. So he takes him around Queen's 0:29:40.800 --> 0:29:45.720 Saint Albans two hundred and second Street. My uncle Joseph Wiggins, 0:29:45.760 --> 0:29:49.840 who's my mother's brother, actually was the local musician, and 0:29:50.240 --> 0:29:53.200 I had another uncle named Thomas who played keys. Joseph 0:29:53.240 --> 0:29:57.480 played sacks, guitar or whatever it was. Introduces them. My 0:29:57.640 --> 0:30:00.760 uncle Joe goes, yeah, all right, but not out of here, 0:30:00.760 --> 0:30:02.760 and we can probably go start a band somewhere else. 0:30:03.400 --> 0:30:08.040 So they started a band called Stone Free, and actually 0:30:08.320 --> 0:30:11.840 Larry Smith was also rolling with them, and they made 0:30:12.320 --> 0:30:15.880 play bass with them, doing different stuff. So my dad, 0:30:16.760 --> 0:30:20.280 my uncles and Larry and probably I think it was 0:30:20.280 --> 0:30:22.080 somebody else named Raddy or something like that from the 0:30:22.120 --> 0:30:24.400 neighborhood all had a band called Stone Free that they 0:30:24.440 --> 0:30:27.000 were doing stuff. And then that's where my dad CITs 0:30:27.080 --> 0:30:30.440 my mom, and then my grandfather takes his him away 0:30:30.720 --> 0:30:32.760 and he still has a call. Hey, you know I 0:30:32.840 --> 0:30:35.200 could drive you to work whatever is. And that's where 0:30:35.440 --> 0:30:39.560 I came from, basically, you know, from a garage around 0:30:39.640 --> 0:30:43.680 the way band in nineteen seventy up to seventy two, 0:30:44.280 --> 0:30:45.240 did they make albums. 0:30:45.640 --> 0:30:46.120 Never did that. 0:30:46.280 --> 0:30:48.960 They just performed. I think it's there was a club call. 0:30:49.000 --> 0:30:50.320 I think there was a cheet that I used to 0:30:50.360 --> 0:30:54.560 be where Siri is on fifty second somewhere over there. 0:30:54.640 --> 0:30:56.880 So they performed in different places. And when I've asked 0:30:56.920 --> 0:30:59.760 other musicians of the day, they're like, oh, yeah, remember 0:30:59.800 --> 0:31:01.720 they played whatever it was. But they never really made 0:31:01.800 --> 0:31:06.000 records like that. And then my dad continued to you know, 0:31:06.760 --> 0:31:10.520 produced and stayed in the music business as one of 0:31:10.560 --> 0:31:15.480 those people who kind of stayed, you know. He did Broadway, 0:31:16.000 --> 0:31:17.880 He did Joam So who show up the box, reguard, 0:31:17.920 --> 0:31:19.760 Don't bother Me, I Can cope, went on the road, 0:31:20.480 --> 0:31:26.040 did jazzm Bill. He basically was the first arranger according 0:31:26.080 --> 0:31:28.240 to Kenton next on Facebook, but he was the person 0:31:28.280 --> 0:31:31.920 who really knew how to put records together. Bert Reeve 0:31:31.920 --> 0:31:35.160 from Crime he's a fair and helped my dad up 0:31:35.200 --> 0:31:37.640 with Kenton who was his friend, saying hey, maybe you 0:31:37.680 --> 0:31:40.400 can help them put together stuff. So the first time 0:31:40.440 --> 0:31:43.560 of guarding the album worked. That body was my dad's 0:31:43.960 --> 0:31:47.479 pretty much production. He's listed as a ranger, but Kenton, 0:31:48.040 --> 0:31:51.120 who was the producer and I guess co writer and 0:31:51.760 --> 0:31:54.200 up to Heartbeat, which was actually one of the leftover 0:31:54.320 --> 0:31:58.720 tracks off the album heard didn't happen, but basically they 0:31:58.760 --> 0:32:00.959 went and redid it. So when I eventually sampled from here, 0:32:00.960 --> 0:32:04.760 it comes to Hot Stepper, that kickback, and you have 0:32:05.160 --> 0:32:05.880 the master. 0:32:07.320 --> 0:32:07.640 I don't. 0:32:07.720 --> 0:32:12.640 I think Dope has it, but you know exactly, I 0:32:12.760 --> 0:32:13.240 think he has it. 0:32:13.320 --> 0:32:16.240 But basically no, just in that conversation, I was able 0:32:16.280 --> 0:32:20.480 to get a really favorable sample Clarence Steal because because 0:32:20.480 --> 0:32:23.800 it was lifted from Dad's you know, original works, and 0:32:24.560 --> 0:32:27.240 you know, still just feel like the legacy comes around. 0:32:27.320 --> 0:32:29.400 Pops is always I'll say it now. He said, that 0:32:29.560 --> 0:32:32.440 was this jam that he created, you know, with his band, 0:32:32.480 --> 0:32:41.560 basically off of It's a Shame. You know, it's basically 0:32:42.240 --> 0:32:43.200 he was playing It's a Shame? 0:32:43.280 --> 0:32:45.960 Does your father? Did you ever hear the story of 0:32:46.040 --> 0:32:50.000 Larry Levin and the four Hours of Heartbeat? No? I 0:32:50.040 --> 0:32:51.160 don't know. Do you know the story? 0:32:51.320 --> 0:32:51.360 No? 0:32:51.480 --> 0:32:54.920 I don't know that story. Larry Levan is right, he 0:32:55.120 --> 0:32:58.520 deal with Larry all the time. So yeah, the legend 0:32:58.600 --> 0:33:02.640 has it, you know. Larry Levan like, if I say that, 0:33:02.760 --> 0:33:06.520 then then I know it sounds familiar. Okay, He to 0:33:06.600 --> 0:33:08.960 me he's like one of my DJ idols, but he 0:33:10.480 --> 0:33:14.880 in seventy seven when uh, you know, Studio fifty four 0:33:15.240 --> 0:33:20.120 spawns off sort of rejection culture, like you can't come in, 0:33:20.240 --> 0:33:21.560 but you can come in, but you can't come in 0:33:21.680 --> 0:33:24.120 you can, So all the rejects were like, well, fuck it, 0:33:24.240 --> 0:33:26.320 We're going to start our own culture. So, you know, 0:33:27.200 --> 0:33:31.560 three subgenres and subcultures started. So there's there's the punk, 0:33:31.640 --> 0:33:34.880 the punk scene in the East Village, the have nots, 0:33:35.200 --> 0:33:38.480 and then like hip hop in the Bronx. Seventy seven 0:33:38.760 --> 0:33:42.440 also helped to the blackout and them looting all the 0:33:42.520 --> 0:33:43.560 DJ equipment. 0:33:43.320 --> 0:33:47.719 Sounds very okay, get down and then and then uh, 0:33:48.840 --> 0:33:51.280 wait a minute, that was the wrong reference to make good. 0:33:51.160 --> 0:33:52.920 Well yeah, because Bill's face just started. 0:33:53.000 --> 0:34:02.400 You know, it sounded familiar to I wasn't angry, I 0:34:02.560 --> 0:34:03.000 was laughing. 0:34:03.160 --> 0:34:04.080 I thought it was funny. 0:34:04.360 --> 0:34:08.080 Yeah anyway, so uh and then I guess you could 0:34:08.120 --> 0:34:13.319 say that the ground you gotta get another build theme 0:34:13.440 --> 0:34:14.960 that goes deeper than darker than that. 0:34:16.719 --> 0:34:16.919 Yeah. 0:34:17.360 --> 0:34:20.319 So uh and you know, just a lot of uh 0:34:21.239 --> 0:34:24.360 the underground, uh, gay night clubs and whatnot. 0:34:24.640 --> 0:34:26.800 Oh like what they're about to the new Ryan Murphy 0:34:26.920 --> 0:34:29.040 John is based off of I'm sorry, I just went 0:34:29.080 --> 0:34:29.920 into a rabbit hole. 0:34:30.000 --> 0:34:30.480 But there's a. 0:34:31.960 --> 0:34:34.480 In the abyss now. So the thing is is that 0:34:34.880 --> 0:34:35.600 the most popular? 0:34:35.880 --> 0:34:38.160 Well, he also DJ'ed at the Studio fifty four, but 0:34:38.280 --> 0:34:41.360 Lara Levan like wanted to build his own spot. 0:34:41.560 --> 0:34:43.320 Leave Studio fifty four and build balls. 0:34:44.040 --> 0:34:44.759 That's what they're called. 0:34:44.760 --> 0:34:45.160 They used to do. 0:34:45.360 --> 0:34:48.960 They used to host balls. Come on, Okay, I see, 0:34:50.160 --> 0:34:52.320 but this was more. I mean, he built the ultimate 0:34:52.360 --> 0:34:57.520 warehouse with with speakers, like it was probably the most 0:34:59.160 --> 0:35:02.200 like it's it's it's DJ's dream to spin in a 0:35:02.239 --> 0:35:05.800 spot like this. Anyway, you know, he had an amazing following, 0:35:06.480 --> 0:35:08.840 I mean, like, and he would do the most creative 0:35:10.200 --> 0:35:12.719 things like me, reading about a set list is what 0:35:13.760 --> 0:35:15.920 prompts me to think that I can get away with 0:35:15.960 --> 0:35:19.960 playing like Kerrent the Frog and DMX in the same setting. 0:35:21.120 --> 0:35:24.360 Like one night he infamously just played the entire Wizard 0:35:24.400 --> 0:35:27.120 of Oz movie and had a light show, and it 0:35:27.239 --> 0:35:30.839 was like, so, I guess once he got larger than life, 0:35:31.000 --> 0:35:35.520 then uh, he started experimenting more and he was getting 0:35:35.520 --> 0:35:38.640 a lot of shade from his main dancers, and they 0:35:38.719 --> 0:35:40.480 were like protests, like we don't like this song, so 0:35:40.560 --> 0:35:43.920 we're not so we're not going to dance like in protests. 0:35:44.320 --> 0:35:47.200 And so he went and I don't know did he 0:35:47.239 --> 0:35:51.520 commission Heartbeat or did he produce the dancers just because 0:35:51.560 --> 0:35:52.320 it was too slow? 0:35:53.400 --> 0:35:55.200 But did he did he just do an edit to 0:35:55.280 --> 0:35:57.040 it or was it did he have anything to do 0:35:57.080 --> 0:35:57.640 with the creator? 0:35:57.760 --> 0:36:00.720 He did an ed as as I know, actually created, 0:36:00.760 --> 0:36:01.200 but he did. 0:36:02.800 --> 0:36:06.600 Beat, made Tiny Guarden a Heartbeat. 0:36:07.320 --> 0:36:10.200 So he and pro and the next week he came 0:36:10.280 --> 0:36:13.360 back and basically played Heartbeat for four hours in a 0:36:13.480 --> 0:36:17.280 row and they relentlessly bowed. 0:36:17.880 --> 0:36:19.120 It was like just a standoff. 0:36:19.239 --> 0:36:21.760 We're gonna sit on the floor and protest and protest 0:36:21.800 --> 0:36:24.000 and protest, and finally they're like, look, let's just dance 0:36:24.040 --> 0:36:25.480 of the ship so you can play the next record 0:36:26.120 --> 0:36:28.040 because the ain't no other club going to let us in, 0:36:28.160 --> 0:36:31.400 so listen just you know, So anyway, that. 0:36:31.520 --> 0:36:35.080 Was part of culture kept going because that record means 0:36:35.120 --> 0:36:38.280 a lot to you know, the Barbecue Flex and everything 0:36:38.320 --> 0:36:39.719 else that you know came after it. 0:36:40.480 --> 0:36:43.040 And plus also like Frankie Crocker used to, you know, 0:36:43.280 --> 0:36:46.360 like he was the type of leader that other DJs 0:36:46.400 --> 0:36:48.480 would come and watch. So Frankie Crocker would look over 0:36:49.040 --> 0:36:51.320 you it, you play it and then start playing it 0:36:51.360 --> 0:36:52.279 on the radio, and then. 0:36:52.280 --> 0:36:56.640 That's exactly so within that, you know, back to Pops, 0:36:56.719 --> 0:37:00.560 he was, uh, you know, producer ranger doing all that stuff. 0:37:00.600 --> 0:37:06.160 He did promotions, street promotions that Arista, worked underneath Vincent 0:37:06.239 --> 0:37:09.080 Davis who had Ventons Hayman at the time, and then 0:37:09.120 --> 0:37:13.480 he became Northeast regional for Arista like during the time, 0:37:13.560 --> 0:37:15.440 like he broke like jumped to it for Rita and 0:37:15.440 --> 0:37:19.000 different stuff like that, and had relationships with Frankie Kraker, 0:37:19.239 --> 0:37:22.520 would you know, go and produce stuff. Took first person 0:37:22.560 --> 0:37:25.520 to take Dougie Fresh in the studio for the first 0:37:26.800 --> 0:37:29.200 Before that, there was a record called Past the Buddha 0:37:29.520 --> 0:37:32.200 by the Buddha Buss Crew where he got Slime Robbie, 0:37:32.760 --> 0:37:34.600 who he had kind of helped out a lot when 0:37:34.640 --> 0:37:36.120 they first came to New York, hooked him up with 0:37:36.200 --> 0:37:39.400 Gwen Guthrie, took him around to Lyry Levan all the 0:37:39.440 --> 0:37:39.920 other stuff. 0:37:40.280 --> 0:37:43.279 Yeah, yeah, yeah, the Seventh Heaven right, all. 0:37:43.200 --> 0:37:45.279 That type of So he basically was the person that 0:37:45.400 --> 0:37:47.160 you know, when I talked to Slian Robbie. Now they're 0:37:47.200 --> 0:37:49.680 like nah, your father took us around and let everybody 0:37:49.840 --> 0:37:51.920 know us and whatever else it was. So he was 0:37:52.000 --> 0:37:55.719 just basically a connector through the musician scene, the jazz 0:37:55.800 --> 0:37:58.040 mobile scene, you know, part of the Jamaica boys. Know 0:37:58.040 --> 0:38:00.480 all the Hanky Great and how We Great and all 0:38:00.520 --> 0:38:02.840 those guys who are on that side were like my 0:38:02.960 --> 0:38:06.000 godfather's to say. He basically was just like a guy 0:38:06.080 --> 0:38:07.440 that was in the middle of everything. But he took 0:38:07.480 --> 0:38:09.600 Dougie in the studio to record a record with Spoony 0:38:09.680 --> 0:38:12.160 Ge and Spivey called Past the Buddha, which was a 0:38:12.200 --> 0:38:15.920 Past the Duchy rap version. They put it out. He 0:38:16.000 --> 0:38:20.120 got jerked. He put another record with Alison Williams called 0:38:20.320 --> 0:38:23.080 The Fair. It was called Please Don't Break My Heart, 0:38:23.120 --> 0:38:26.719 which was another of one of those basically heartbeat, just 0:38:26.760 --> 0:38:29.520 that vibe, that New York energy church chords. 0:38:31.080 --> 0:38:32.720 Exactly more of that stuff. 0:38:33.239 --> 0:38:35.840 And then you know, through his connections while he was 0:38:35.880 --> 0:38:40.200 at PolyGram, eventually he bought Gwyne Guthrie in even though 0:38:40.239 --> 0:38:41.640 he was promotion was supposed to be doing it, but 0:38:41.840 --> 0:38:43.879 the whole it ain't nothing going on but the rent time. 0:38:44.480 --> 0:38:47.200 But he was just like connected on both sides, management 0:38:47.320 --> 0:38:47.840 and music. 0:38:48.000 --> 0:38:50.960 So was he an independent person because you just mentioned 0:38:51.040 --> 0:38:54.600 like a bunch of labels in a short period of time, 0:38:54.719 --> 0:38:56.600 Like how does one go from like. 0:38:59.760 --> 0:39:01.960 Like James Evans of music? He basically he, I mean, 0:39:02.000 --> 0:39:03.240 he went through all the stuff. Basically. 0:39:03.480 --> 0:39:06.040 His thing was that when he made his first records, 0:39:06.080 --> 0:39:08.279 he got jerked and he wanted to learn, So he 0:39:08.560 --> 0:39:11.080 went into ARIS as an intern and then ended up 0:39:11.080 --> 0:39:13.799 being Northeast Regional, and then as he left it, then 0:39:13.840 --> 0:39:16.399 he ended up going to PolyGram. You know, his whole 0:39:16.560 --> 0:39:19.520 flow was always I'm gonna he basically would be in 0:39:19.560 --> 0:39:22.719 the studio but then still be doing promotion, but then 0:39:22.840 --> 0:39:25.560 still be with whatever else, doing a little broadway in 0:39:25.640 --> 0:39:28.440 between whatever needed to happen. He always kept the I'm 0:39:28.440 --> 0:39:30.880 gonna work twenty hours out of the day aspect. 0:39:31.760 --> 0:39:35.040 Who was the most popular artist that he was associated 0:39:35.120 --> 0:39:38.719 with that was sort of a no name back then, 0:39:39.680 --> 0:39:41.759 like son, I want you to meet a Sissy Houston's 0:39:42.000 --> 0:39:43.760 eleven year old daughter, Whitney. 0:39:45.719 --> 0:39:46.279 I can say it. 0:39:46.280 --> 0:39:48.600 I mean, even during the time he worked with Balafonte, 0:39:48.760 --> 0:39:50.680 So it's kind of hard for me to say. Wow, 0:39:50.840 --> 0:39:52.719 like even some of that ton of garden and stuff, 0:39:52.760 --> 0:39:54.359 it says if you look at that work. The Body 0:39:54.400 --> 0:39:58.120 album says recorded by David Bellefonte, fan, can you take 0:39:58.239 --> 0:39:58.799 your man? 0:39:58.960 --> 0:40:00.640 Take David with you. I can help him. 0:40:01.320 --> 0:40:03.480 He needs something to do, you know. He was an 0:40:03.520 --> 0:40:05.480 engineer and actually and a lot of stuff. 0:40:07.360 --> 0:40:08.000 I can't say it was. 0:40:08.080 --> 0:40:10.560 It's kind of weird because I saw so much so young, 0:40:11.080 --> 0:40:12.719 you know. So that first time Dougie was in the 0:40:12.760 --> 0:40:14.360 studio he called me in for birthday. 0:40:14.400 --> 0:40:14.480 Yo. 0:40:14.600 --> 0:40:17.719 I remember how I went to the studio and he 0:40:17.880 --> 0:40:19.760 was touching everything. 0:40:20.960 --> 0:40:22.800 I just remember, you was submitted to do that? 0:40:23.040 --> 0:40:23.160 Hi? 0:40:23.840 --> 0:40:24.800 You was? Then you was? 0:40:25.040 --> 0:40:25.759 How was you? 0:40:26.480 --> 0:40:28.879 You touched everything in the studio and then you still 0:40:29.000 --> 0:40:32.279 do it? You know? That's still what does this do? 0:40:32.480 --> 0:40:35.719 What is this? Dude? It was almost that. 0:40:35.840 --> 0:40:39.359 But I remember, like the first time I heard doing 0:40:39.440 --> 0:40:41.360 dunk dunk, don't don't I know how to play. 0:40:42.840 --> 0:40:43.000 Dunk? 0:40:43.440 --> 0:40:46.080 Don't bug? Yo, Yogi want a clapp ornet? And I 0:40:46.120 --> 0:40:50.000 remember Bert Reid actually looking at me and going, who 0:40:50.120 --> 0:40:50.960 told you how to do that? 0:40:51.440 --> 0:40:52.120 Like? Really? 0:40:52.239 --> 0:40:54.719 So I was around like so basically, the way it 0:40:54.840 --> 0:40:57.960 worked on the Daily Planet Block is that there was 0:40:57.960 --> 0:41:01.120 a Planet studios in the basement, and up above that 0:41:01.360 --> 0:41:03.120 there were a lot of people who had studio like 0:41:03.360 --> 0:41:06.239 little lost spaces. So Belafonte had a lost space kind 0:41:06.280 --> 0:41:08.399 of like right on the third floor, and that's where 0:41:08.440 --> 0:41:11.160 my dad would actually be taking care of Harry Belafante's business, 0:41:11.200 --> 0:41:14.680 but also rehearsing the band, which was like Bernard Wright 0:41:14.800 --> 0:41:17.440 was coming through at that point, you know, coming from 0:41:17.600 --> 0:41:19.800 music and art, and he'd be playing on stuff or 0:41:20.440 --> 0:41:22.839 Crown Heights. A fear had a loft down the block, 0:41:22.880 --> 0:41:24.839 so they would be coming back and forth at different points. 0:41:24.840 --> 0:41:27.000 But that's when Bert Read is killing, you know, the 0:41:27.120 --> 0:41:30.920 must be the music's raw silks, everything else. So everything 0:41:31.040 --> 0:41:33.440 was kind of happening in that space. And I was 0:41:33.520 --> 0:41:35.279 living in Queens with my mom, but whenever I would 0:41:35.280 --> 0:41:37.600 be with my dad for a couple of days, I 0:41:37.760 --> 0:41:41.200 literally was seeing more than I thought, more than I 0:41:41.239 --> 0:41:42.040 can put the piece to it. 0:41:42.120 --> 0:41:43.800 I mean, I guess for me. 0:41:43.920 --> 0:41:46.160 It also started because all my uncles were musicians and 0:41:46.280 --> 0:41:49.839 my father's brothers as well. So my third birthday, there 0:41:49.920 --> 0:41:53.480 used to be a drum store on forty seventh and 0:41:53.880 --> 0:41:56.120 kind of like right where Unique was somewhere right in 0:41:56.200 --> 0:41:58.600 that space forty seventh right off of Broadway. It was 0:41:58.680 --> 0:42:01.760 upstairs on the second floor, and I think Philly Joe Jones' 0:42:01.960 --> 0:42:05.160 son owned the drum store, and I went there and 0:42:05.239 --> 0:42:08.680 I was messing around with stuff, and Elvin Jones was 0:42:08.719 --> 0:42:12.320 there and saw me messing around and actually put together 0:42:12.480 --> 0:42:15.160 a drum kit for me that was like of a 0:42:15.360 --> 0:42:19.719 floor tom turned into a big floor turn and turned 0:42:19.760 --> 0:42:22.759 into a kick and basically set up a drum. Caits like, man, 0:42:22.800 --> 0:42:24.320 get him this, this is what it needs. Would so 0:42:24.360 --> 0:42:26.960 he put it together. My dad bought it. But that 0:42:27.200 --> 0:42:29.279 was like my third birthday. It was almost like it's 0:42:30.280 --> 0:42:33.680 where I have pieces of it. I don't have the 0:42:33.760 --> 0:42:37.280 whole thing exactly. It was in my grandmother's church. Somebody 0:42:37.960 --> 0:42:39.640 must have got baptized. 0:42:39.120 --> 0:42:42.760 In I went earlier. 0:42:42.960 --> 0:42:47.759 You mentioned Larry Smith's name, and he's also like one 0:42:47.800 --> 0:42:52.440 of the uh the great pioneers of hip hop production 0:42:52.560 --> 0:42:55.520 that never ever gets mentioned in right pathana greats? And 0:42:56.080 --> 0:43:00.160 did you have any DMC Did you have an any 0:43:00.200 --> 0:43:03.400 relationship like with him or have any stories of just 0:43:03.800 --> 0:43:04.279 not really. 0:43:04.320 --> 0:43:06.080 I mean the only time that I saw Larry wasn't 0:43:06.120 --> 0:43:08.239 until later, like when we had studios in the city 0:43:08.280 --> 0:43:10.520 and he kind of came by and he was just 0:43:10.560 --> 0:43:13.520 always like man, he basically the times when I saw Larry. 0:43:13.840 --> 0:43:15.640 He was talking to me about my uncles who had 0:43:15.640 --> 0:43:18.520 passed on by that my mother's brother, like Joe Wiggins, 0:43:18.880 --> 0:43:22.000 uncle Thomas, just about stuffing, you know, the Hollists, saying 0:43:22.080 --> 0:43:24.560 all in his neighborhood where they all were around, and 0:43:24.600 --> 0:43:26.439 then he be talking about dad. Hey man, we gotta 0:43:26.480 --> 0:43:27.960 do something again. But it was kind of like at 0:43:27.960 --> 0:43:31.040 the point when Larry was passed his prime. It's really 0:43:31.080 --> 0:43:33.399 when I personally got to talk to him. I heard 0:43:33.440 --> 0:43:35.520 about him earlier and I kind of saw stuff, but 0:43:35.640 --> 0:43:39.000 I didn't never. I didn't have any of that eighty 0:43:39.120 --> 0:43:43.239 three to eighty seven prime Larry Smith and it YEA 0:43:43.320 --> 0:43:45.879 heard his name, but I didn't. And actually I heard 0:43:45.960 --> 0:43:48.000 him say, yeah, you know Larry. Oh that's Larry Smith. 0:43:48.040 --> 0:43:48.480 That's a guy. 0:43:48.600 --> 0:43:51.520 But I didn't really correlate it until later on. 0:43:52.000 --> 0:43:57.320 So did you is your first production Black Biproperty Demand 0:43:57.800 --> 0:44:01.279 or was it the album before Dim before McGill. I 0:44:01.360 --> 0:44:03.000 was just gonna say, did you do mcgilla Gorilla? 0:44:03.640 --> 0:44:07.399 So Igrilla was more please play this song for y'all. 0:44:09.200 --> 0:44:09.960 I don't know what it is. 0:44:12.440 --> 0:44:14.840 Let me just play I'll say this no, no, no, no, 0:44:15.120 --> 0:44:17.480 don't even set it up, Boss Bill, do we have 0:44:17.560 --> 0:44:20.840 your permission to not to not even back sell this thing? 0:44:20.920 --> 0:44:21.759 I just want to just play. 0:44:34.600 --> 0:44:36.719 This is the story about. 0:44:40.160 --> 0:44:40.840 Let me tell you. 0:44:42.360 --> 0:44:48.520 A little story and the whole dad. It's this is 0:44:48.560 --> 0:44:51.040 the first song on my My Good and Terrible List. 0:44:53.320 --> 0:44:55.440 WHOA his name. 0:44:56.760 --> 0:44:57.360 Is Miguilla. 0:44:59.239 --> 0:44:59.600 Now on. 0:45:01.840 --> 0:45:06.160 That sounded kind of fur realist right there. Oh actually yeah, 0:45:06.239 --> 0:45:08.719 he got up. What it does kind of sound like 0:45:13.080 --> 0:45:19.960 it's like straight up you had to go. Damn, I'm 0:45:20.040 --> 0:45:22.480 just waiting to get to the course. I'm like, I'm 0:45:22.480 --> 0:45:25.000 waiting to get to it to this is all you right. 0:45:25.160 --> 0:45:25.239 Just. 0:45:32.600 --> 0:45:34.319 Watified right there, I can see this ship. 0:45:35.000 --> 0:45:35.879 We speech. 0:45:40.640 --> 0:45:51.160 There. It is about it. You're about to get a 0:45:51.239 --> 0:45:57.120 check for this. Okay. 0:45:57.520 --> 0:46:00.640 Now you were thirteen at the times the are fourteen. 0:46:01.000 --> 0:46:04.520 I'm sorry. That was Curtis Blow. Well you did not 0:46:04.640 --> 0:46:10.360 know that, Curtis. You didn't have Kingdom Blow. No, the 0:46:10.440 --> 0:46:16.880 record on the IL would have been Yeah, I remember 0:46:16.960 --> 0:46:17.279 that one. 0:46:17.520 --> 0:46:22.960 So I'll tell you Mgilla. Gorilla was my light involvement. 0:46:26.120 --> 0:46:28.280 It was an artist that my dad had named Essence, 0:46:28.360 --> 0:46:32.719 and Essence was a beat box and he would he 0:46:32.840 --> 0:46:34.440 kind of took the big thing to another level, but 0:46:34.440 --> 0:46:36.640 he'd be doing baselines and stuff. So part of it 0:46:36.840 --> 0:46:39.399 was essence. Part of it was my dad. My dad 0:46:39.440 --> 0:46:42.920 also produced Falling in Love for the Fat Boys, so 0:46:43.360 --> 0:46:46.799 that's their signature, their seven h seven drum machine, all 0:46:46.840 --> 0:46:50.080 other little pieces, and you know, I'm helping out on it, 0:46:50.360 --> 0:46:52.840 but that wasn't so much me personally being. 0:46:52.719 --> 0:46:56.480 In the studio. So but you get the credit on 0:46:56.560 --> 0:46:59.480 the album, I get the credit. But then also to 0:47:00.280 --> 0:47:01.120 Alan Smith, you. 0:47:03.000 --> 0:47:07.160 Yeah, I got I got put into it. And then 0:47:07.160 --> 0:47:09.479 also he was working that PolyGram as a promotion person 0:47:09.560 --> 0:47:11.520 at the time for otherwise. So if you look at 0:47:11.520 --> 0:47:13.800 that record, his name is not on it, but mine is. 0:47:15.440 --> 0:47:21.080 It's like it's like a grace Grace Yeah, Edie, Eddie Hazel. 0:47:21.360 --> 0:47:28.279 Okay, Mikael Riley. Yeah, basically, so that record was but 0:47:28.520 --> 0:47:29.560 I was doing records. 0:47:30.560 --> 0:47:31.520 I don't know that. 0:47:31.600 --> 0:47:37.000 I didn't realize that what Markel Teddy Teddy was using Markel's. 0:47:36.680 --> 0:47:40.040 Name sometimes that too, Yeah, sometimes because I know about 0:47:40.160 --> 0:47:42.720 well sometimes he's doing using Markel. 0:47:43.080 --> 0:47:45.680 Yeah, because produced my prerogative. 0:47:46.440 --> 0:47:50.479 So I'm like why but was taking everybody's credit and money? 0:47:50.760 --> 0:47:55.719 Yeah, So uh, how did that? First of all, how 0:47:55.800 --> 0:47:58.520 old were you I was fourteen. 0:47:58.800 --> 0:48:02.160 Okay, that's highly usual. So that means that you must 0:48:02.200 --> 0:48:08.200 have displayed an advanced level of some sort of musical 0:48:08.239 --> 0:48:12.680 wizardry that they're just like good, let's alarm. Like at fourteen, 0:48:13.000 --> 0:48:17.120 I wasn't. I don't even think at forty seven, I'm 0:48:17.160 --> 0:48:17.719 thinking about it. 0:48:18.719 --> 0:48:19.800 I mean, you know, it's crazy. 0:48:19.920 --> 0:48:22.800 I actually, you know when I was a kid, you know, 0:48:22.840 --> 0:48:24.279 I when I was playing some drums, I was doing 0:48:24.360 --> 0:48:29.360 some different stuff. But then I also, let's see, me 0:48:29.400 --> 0:48:33.480 and Aconelly went to junior high together. So I had 0:48:33.760 --> 0:48:37.200 in junior high, which would have been eighty three, was eleven, 0:48:37.320 --> 0:48:39.720 I had a little I still have a Yamaha Portal 0:48:39.800 --> 0:48:43.360 sound keyboard that I could program, and in that I 0:48:43.480 --> 0:48:45.320 was able to program beats, so I would really be 0:48:45.440 --> 0:48:48.040 on the cheesebox program and stuff. And then for my 0:48:48.160 --> 0:48:50.879 birthday in eighty five, I got a seven or seven 0:48:50.960 --> 0:48:53.399 in the Yamaha DX twenty one in the four track, 0:48:54.000 --> 0:48:58.399 so I was actually making tracks and beats that I'll 0:48:58.440 --> 0:49:02.400 be proud to say sounded better than that. That was 0:49:02.600 --> 0:49:05.279 just something that happened in the middle of whatever was 0:49:05.320 --> 0:49:07.120 and when my dad was on is while he was 0:49:07.160 --> 0:49:09.919 doing promotion that PolyGram. Sometimes he'd had to pick up Curtis, 0:49:09.960 --> 0:49:13.319 blow off the Red Eye. He swooped through Queens, picked 0:49:13.360 --> 0:49:16.600 me up with Curtis in the car, drive me to school. Yo, 0:49:16.719 --> 0:49:19.160 what you're doing? No, Dad is sweet? T's my beat? 0:49:19.280 --> 0:49:19.600 Like out. 0:49:19.760 --> 0:49:22.359 All the influence for the beats and the records were 0:49:22.440 --> 0:49:23.839 kind of coming from me, and I was like, nah, 0:49:23.920 --> 0:49:26.279 this is this Listen to that one. I'd be giving 0:49:26.320 --> 0:49:28.319 them my pause tapes, like take it, but just make 0:49:28.360 --> 0:49:30.640 a copy, bring it back for me. Here's another one 0:49:30.680 --> 0:49:34.160 I got. So I was actually somewhat in the record street, 0:49:34.560 --> 0:49:36.520 totally his head to the street and just watching what 0:49:36.600 --> 0:49:38.440 I was doing, because he was still a musician, but 0:49:38.640 --> 0:49:40.239 he was into hip hop. You know, he was helping 0:49:40.280 --> 0:49:43.200 Belafalte with Beatch Street. He was taking dug Andy Stuitus 0:49:43.200 --> 0:49:45.799 so all that stuff. And with that record, it wasn't 0:49:45.840 --> 0:49:47.840 like my hands were on it the way that I 0:49:47.920 --> 0:49:51.000 wanted to, because I would have changed it, but that 0:49:51.239 --> 0:49:54.320 was part of their production and then you know Curtis, 0:49:54.400 --> 0:49:56.640 and Curtis was at a different point in his career. 0:49:56.719 --> 0:49:58.600 Two he was still trying. He didn't come up with 0:49:58.680 --> 0:49:59.680 the concept NA. 0:49:59.800 --> 0:50:03.240 That one wasn't me back by popular demand was my concept, 0:50:03.600 --> 0:50:07.840 but okay, I'll get off mcgilla gorilla just like what 0:50:08.160 --> 0:50:13.080 made him like was there a movie picture essence had 0:50:13.200 --> 0:50:18.520 something and he was fun and they took whatever the 0:50:18.680 --> 0:50:24.760 energy that was. And that's really what it was, almost 0:50:24.760 --> 0:50:27.520 like a jingle studio version of what's something that was 0:50:27.680 --> 0:50:28.839 dope raw four track. 0:50:29.440 --> 0:50:32.319 It just got to you know something, it's just hard 0:50:32.400 --> 0:50:35.680 to even even after tonight's show, like when we try 0:50:35.760 --> 0:50:40.440 to make like mock mock TV theme like bad hip 0:50:40.480 --> 0:50:43.440 hop or whatever, like there's almost there's almost an art 0:50:43.520 --> 0:50:47.800 to that which even if intentional or trying to be 0:50:47.960 --> 0:50:50.680 funny or whatever, like I kind of you know, I 0:50:50.840 --> 0:50:54.680 delve into I love that type of stuff. So I 0:50:54.719 --> 0:50:57.879 actually respected what was what was the first like drum 0:50:57.960 --> 0:51:01.560 machine that you were given that you that was your tool. 0:51:02.040 --> 0:51:04.399 That was my actual I mean, well, that Yamaha Porter 0:51:04.520 --> 0:51:07.520 Sound I was able to program on, and then seven 0:51:07.640 --> 0:51:10.000 or seven I had a Yamaha seven h seven, So you. 0:51:10.200 --> 0:51:14.279 Just skipped the whole Cassio SK one discovery your sample thing. 0:51:15.320 --> 0:51:19.200 I had a SK one more like eighty seven eighty eight, 0:51:19.440 --> 0:51:22.120 But before that it was kind of like here's a 0:51:22.200 --> 0:51:24.360 drum machine figure out how to program. 0:51:24.880 --> 0:51:27.439 So I started. I actually went to college first, and yeah, 0:51:27.560 --> 0:51:28.439 I actually. 0:51:28.120 --> 0:51:30.960 Had programmed on like I said, in the Yamaha Porter sound. 0:51:30.960 --> 0:51:33.000 I was able to take that and it had like 0:51:33.120 --> 0:51:34.680 four little things where I was able to you know, 0:51:34.960 --> 0:51:38.799 boom boom, and then I could record little keyboard things. 0:51:39.080 --> 0:51:41.200 So I was really doing that eighty three, eighty four, 0:51:41.600 --> 0:51:43.279 and then it was like, okay, well we're gonna give 0:51:43.280 --> 0:51:45.880 you this seven o seven now, and then I actually 0:51:45.960 --> 0:51:47.680 got on that. But then I was mad because I 0:51:47.719 --> 0:51:50.000 was like, the seven oh seven snare don't sound like Mally's. 0:51:50.239 --> 0:51:51.160 It's a demo snare? 0:51:51.320 --> 0:51:52.080 What am I doing it? 0:51:52.800 --> 0:51:52.840 Like? 0:51:53.120 --> 0:51:54.920 How am I gonna get this? So then I got 0:51:55.160 --> 0:51:57.880 to get your your crack at the infamous Maley uh 0:51:58.120 --> 0:52:01.080 uh it real, Nah, I got. 0:52:01.120 --> 0:52:04.279 What I got was what was it the it's one 0:52:04.320 --> 0:52:07.719 of those gated reverbs Eleasa's reverb or something like that. Oh, 0:52:07.800 --> 0:52:10.799 you just need reverb, man, and the reverb was trying 0:52:10.800 --> 0:52:12.520 to make it and it was still cool. I figured 0:52:12.560 --> 0:52:18.719 it out, but nah, that wasn't the case. And then eventually, yeah, 0:52:18.719 --> 0:52:21.760 it was a seven or seven twenty one an Elasa's 0:52:21.840 --> 0:52:22.480 drum machine. 0:52:23.080 --> 0:52:25.840 Eventually I don't remember what that came. 0:52:25.719 --> 0:52:30.600 Before after the nine to fifty A nine hundred, probably 0:52:30.680 --> 0:52:32.880 that later after nine hundred, because what I did was 0:52:33.320 --> 0:52:36.680 I helped my dad. He had signed mc rail and 0:52:36.920 --> 0:52:40.799 Chuck chill Out to his label eighty eight eighty nine, 0:52:41.600 --> 0:52:45.360 late eighty seven, and mc rail was from Philly rock him. 0:52:45.280 --> 0:52:49.680 Seven like you working on that ship. Yeah. On the 0:52:49.800 --> 0:52:51.960 album Yo Yo. 0:52:52.600 --> 0:52:57.120 I with someone my AGEIK loses min right now, do 0:52:57.239 --> 0:52:58.680 y'all remember mc ral. 0:53:00.120 --> 0:53:01.120 Rail dog. 0:53:02.480 --> 0:53:06.239 A rock I put an mc I put em c 0:53:06.440 --> 0:53:10.160 rail post in the askbaan, Yeah, you. 0:53:10.200 --> 0:53:11.320 Didn't say I produced this. 0:53:11.600 --> 0:53:13.439 I didn't produce all of it. I did one song, 0:53:13.520 --> 0:53:14.279 That's why I got my. 0:53:15.760 --> 0:53:15.880 Man. 0:53:16.000 --> 0:53:17.880 But that was actually on my dad's label. Chuck Chill 0:53:17.880 --> 0:53:19.480 Out and cree Chip and mc rail. 0:53:19.640 --> 0:53:20.680 What was your dad's label. 0:53:21.239 --> 0:53:23.759 It was called Palm Tree at the time, but he 0:53:23.880 --> 0:53:27.320 had Palm Tree PolyGram. He basically left PolyGram as a 0:53:27.640 --> 0:53:30.319 promotion person and got a label deal and put those 0:53:30.360 --> 0:53:33.040 two artists out. And mc rail's life of an entertainer 0:53:33.080 --> 0:53:35.440 was actually mc ral in the House Rockers with some 0:53:35.600 --> 0:53:38.120 casts that were from I think they were from Columbia, 0:53:38.160 --> 0:53:42.360 South Carolina, the House Rockers and then ral was from Philly. 0:53:42.520 --> 0:53:46.080 Where from Yeah, where from Philly was he? I can't remember. 0:53:46.120 --> 0:53:47.719 I feel like he was from West Really. 0:53:48.360 --> 0:53:51.120 See this, this this really helped. This really helped the 0:53:51.239 --> 0:53:54.960 root situation out all right. The way this is mcrail's 0:53:55.360 --> 0:54:07.520 life of entertainer base. What he's sounding just like rocking feet. 0:54:11.080 --> 0:54:18.520 Say you're playing drums in the video everybody wants to 0:54:18.640 --> 0:54:20.840 rap will be a thing. Guy Todder working on that 0:54:21.040 --> 0:54:23.920 job at Chapelinga's the boss Stone buses back. But you're 0:54:24.040 --> 0:54:27.080 bringing it all out six now. And this casey had 0:54:27.120 --> 0:54:29.440 his care his noise. There is sign he was more. 0:54:29.719 --> 0:54:32.960 This is more spooney geus, but there's some joints. There 0:54:33.040 --> 0:54:35.719 was a commercial that used to always come on Lady 0:54:35.760 --> 0:54:39.200 B Street Beat Hour on para ninety nine that was 0:54:39.400 --> 0:54:42.560 mc rail and it was like straight rock him like 0:54:42.719 --> 0:54:43.600 Philly had. 0:54:43.680 --> 0:54:49.719 These two acts that it was like it did us 0:54:49.840 --> 0:54:54.520 no justice, like em c rail was like our ore 0:54:55.280 --> 0:54:55.880 are broke? 0:54:56.280 --> 0:55:01.360 Uh rock him? And and then there was the. 0:55:04.640 --> 0:55:11.040 Rhythm Radicals and they were like are fake public getting. 0:55:11.760 --> 0:55:14.920 You ever heard the rhythm? Yeah? Did you produce them to? 0:55:15.920 --> 0:55:18.480 I feel like I feel like when this episode is 0:55:18.560 --> 0:55:22.120 done that you're gonna reveal like two artists that you 0:55:22.200 --> 0:55:24.759 know most likely it was your dad's label. Was that 0:55:24.840 --> 0:55:27.560 the same label the Chu the Chuck Shot Out and 0:55:27.560 --> 0:55:29.160 the Cool Chup album with slaves to the rhythm? 0:55:29.719 --> 0:55:32.399 Okay, you produced that all the time. No, The only 0:55:32.480 --> 0:55:35.200 thing I did on that was I'm Large. I went 0:55:35.280 --> 0:55:37.640 and changed the mix. They had a mix where they 0:55:37.719 --> 0:55:39.719 programmed like I was like Tommy Road that sounded like 0:55:39.800 --> 0:55:44.160 MC night, turned that up and they had boy White, 0:55:44.280 --> 0:55:47.359 Rob White who Rob Lewis was his name. He had 0:55:47.440 --> 0:55:50.759 programmed on top of it, kind of some loud want 0:55:50.800 --> 0:55:53.560 to be Freddy being the mic master. Drums that weren't 0:55:53.719 --> 0:55:55.880 exactly it, and it was just like it sounded like 0:55:55.920 --> 0:55:58.320 they put seven to seven drums on top of Tommy 0:55:58.440 --> 0:56:00.680 Row and I was like, what are you doing? Take 0:56:00.760 --> 0:56:04.279 that down, turn this sample up, turn this other part up, 0:56:04.320 --> 0:56:06.080 and then that is in. My dad's partner went and 0:56:06.200 --> 0:56:09.360 replayed the James Bond sample and kind of put that together. 0:56:09.440 --> 0:56:11.960 So him and you remember I'm Large when it was 0:56:12.040 --> 0:56:14.320 on like video jukebox doing that. We didn't have we 0:56:14.320 --> 0:56:15.239 didn't have vide. 0:56:15.080 --> 0:56:18.360 But yeah, I'm Large was Uh. It was one of 0:56:18.400 --> 0:56:21.120 those things where at the end of the video was 0:56:21.200 --> 0:56:22.080 something to be continued. 0:56:22.080 --> 0:56:22.319 Shit. 0:56:22.400 --> 0:56:25.440 But then they show a commercial and then be like, yo, 0:56:25.640 --> 0:56:30.000 save us from help the bond from detonating, detonating one 0:56:30.080 --> 0:56:33.120 eight hundred one nine hundred no no. 0:56:33.160 --> 0:56:35.440 No, no, no, save us. And I'm like the secker 0:56:35.600 --> 0:56:38.080 on the phone, like trying to come up with those 0:56:38.160 --> 0:56:43.799 pops he got you. Yeah, you look he was good. 0:56:43.880 --> 0:56:45.560 Greg Knight still be like, you'll tell you pops. He 0:56:45.640 --> 0:56:48.160 owed me thirty five dollars from talking to girl because 0:56:48.200 --> 0:56:49.680 they had a thing where you could dial up and 0:56:49.760 --> 0:56:52.520 talk to certain artists, right, so rich Knights when he 0:56:52.640 --> 0:56:53.200 was an artist. 0:56:53.880 --> 0:56:54.520 Greg Nice. 0:56:54.560 --> 0:56:57.160 Different people will come to the office and now they 0:56:57.360 --> 0:56:59.200 be able to you know, you Dillar number and you 0:56:59.320 --> 0:57:00.680 for a dollar in it, and he's like, yo, I'm 0:57:00.680 --> 0:57:02.600 gonna give you twenty five cent a minute. And so 0:57:02.719 --> 0:57:04.759 people be over there talking to different people from all 0:57:04.800 --> 0:57:07.480 over the country and they think, tell your pots. Healed 0:57:07.480 --> 0:57:08.240 me thirty five. 0:57:08.080 --> 0:57:12.200 Hours the first Internet. Yeah, his first chat room. 0:57:12.480 --> 0:57:14.680 He must he used that whole Northeast regional to his 0:57:15.000 --> 0:57:16.200 his advantage when it came along with. 0:57:16.360 --> 0:57:18.400 I mean was a hustler. He's still a hustler. 0:57:18.840 --> 0:57:20.280 Use I mean to have his ear on air, like 0:57:20.480 --> 0:57:22.680 especially the cities on the East coast because he already 0:57:22.720 --> 0:57:23.760 had had to do that. 0:57:24.280 --> 0:57:24.880 Work and whatnot. 0:57:25.160 --> 0:57:27.640 Definitely that and then in the music space, like I'm 0:57:27.680 --> 0:57:31.160 skipping all types of stuff, but just in general, he 0:57:31.280 --> 0:57:34.280 was always in it, always in Jazz Mobile and different places. 0:57:34.320 --> 0:57:39.360 So he had his basically my with the music that 0:57:39.440 --> 0:57:41.640 I work on, he pretty much did all of it. 0:57:42.000 --> 0:57:45.240 I'm just expanding on it in different ways and kind 0:57:45.280 --> 0:57:46.680 of going from this. So I was born into that 0:57:46.840 --> 0:57:49.480 basically when I came and graduated from high school in 0:57:49.520 --> 0:57:52.360 eighty nine, I went to from living with my mom 0:57:52.440 --> 0:57:56.160 and Queen's moving into the building where he had Classic Concepts, 0:57:56.160 --> 0:58:00.440 which was Video Music Box, basically subletting one space and 0:58:00.920 --> 0:58:02.920 you know, getting them all the video stuff they did, 0:58:02.960 --> 0:58:07.120 the chunk and chill out videos, the BBD Poison Your 0:58:07.200 --> 0:58:09.680 Slick Blow. That was in our studio that was underneath 0:58:09.720 --> 0:58:13.560 where Classic Concepts was, So that was all in our space. 0:58:13.640 --> 0:58:15.800 So that's the same studio room that I would have recorded. 0:58:15.880 --> 0:58:18.800 Ain'ty Comosi and or Jaggy or whatever else it was 0:58:18.880 --> 0:58:19.120 that was. 0:58:19.160 --> 0:58:24.400 Like that was you toss it up shit, you know, 0:58:24.560 --> 0:58:25.040 we gotta go. 0:58:25.200 --> 0:58:27.520 Yeah, Yo, did you have anything to do with the 0:58:27.560 --> 0:58:31.240 Payback mix, the Payback mix, the James Brown Mega mixed thing. 0:58:31.280 --> 0:58:34.080 Oh yeah, I did that game. It's called bit you 0:58:34.200 --> 0:58:41.240 produced it where you throw some or no, I did that. 0:58:41.320 --> 0:58:44.120 That was That was Harry. He Harry Wenger came to 0:58:44.200 --> 0:58:47.800 me at that time and was like like sixteen. But 0:58:47.960 --> 0:58:50.880 my dad worked at PolyGram branch with Harry Wingo. So 0:58:50.920 --> 0:58:52.920 I met Harry when I was thirteen years. 0:58:53.640 --> 0:58:56.520 I was trusted twenty six year older now, let alone 0:58:56.560 --> 0:58:57.360 with a sixteen year old. 0:58:57.400 --> 0:59:00.240 I was in the vaults. I know you were in 0:59:00.360 --> 0:59:02.680 the vaultes early and I was in there. You know, 0:59:02.880 --> 0:59:04.200 I was sample police early. 0:59:04.720 --> 0:59:14.080 Hey, that's you. I was in there. I was going 0:59:14.160 --> 0:59:15.160 to say, here's. 0:59:18.840 --> 0:59:21.520 But I got access. Okay, I was Rick FROs Fed. 0:59:22.880 --> 0:59:23.920 I was helping people out. 0:59:29.000 --> 0:59:35.040 Do me, give us three acts, give us three acts 0:59:35.360 --> 0:59:36.240 or three joints? 0:59:37.560 --> 0:59:43.520 That you kind of that you snitched. I can't even 0:59:43.560 --> 0:59:47.200 remember right now, But were you bad? Were you like, okay, 0:59:47.280 --> 0:59:49.560 that's the drumming snare that's ours or no, no, no no. 0:59:49.840 --> 0:59:51.800 I was like if there were like whole records, it's 0:59:51.840 --> 0:59:54.919 basically what I was doing. Like the Funky People Part three, 0:59:55.040 --> 0:59:57.680 I think had the version I did of blow your 0:59:57.760 --> 1:00:00.280 head without the noise on it. Yes, so that was 1:00:00.360 --> 1:00:02.320 something I went and did. So I was telling them like, 1:00:02.360 --> 1:00:04.240 look if we have some of these records where. 1:00:04.280 --> 1:00:06.440 He was laying traps, because you also did that for 1:00:06.760 --> 1:00:08.600 Things got to Get Better for Marvel Whitney. 1:00:08.760 --> 1:00:09.360 So I did that. 1:00:09.520 --> 1:00:11.480 So there were the three versions of the mostly there 1:00:11.520 --> 1:00:14.840 was a James version of him singing things got to 1:00:14.840 --> 1:00:17.840 get Better, there was a Lynn Collins version, and it 1:00:17.920 --> 1:00:19.960 was a Marvel Whitney version. So then I made a 1:00:20.040 --> 1:00:21.680 mix where I put all three of them together and 1:00:21.840 --> 1:00:24.760 I put the drum beat on the beginning unwind yourself, 1:00:24.920 --> 1:00:25.720 Unwind yourself. 1:00:25.720 --> 1:00:27.919 I did that? Was you, Yeah, so you was laying 1:00:28.000 --> 1:00:31.960 little traps so yeah, but cats were coming jacket and 1:00:32.040 --> 1:00:37.680 he was so basically well, but it was it was. 1:00:39.440 --> 1:00:41.120 That I was trying to get the drums out of 1:00:41.200 --> 1:00:42.320 records that we couldn't get. 1:00:43.480 --> 1:00:48.080 I see that, but it's also I thought you. 1:00:50.600 --> 1:00:54.960 Were basically he would take the original reels and make versions, 1:00:55.000 --> 1:00:58.000 put little drum injoyers on it, and then motherfuckers like 1:00:58.080 --> 1:01:00.439 me like yo, you're in the open drums and start 1:01:00.520 --> 1:01:00.880 taking it. 1:01:01.400 --> 1:01:04.280 And then you think because you think he was the 1:01:04.320 --> 1:01:08.560 original source, but he just kind of yeah, I'm knew. 1:01:08.480 --> 1:01:08.800 I did it. 1:01:08.960 --> 1:01:11.160 And then back to the James Brown Payback mix. It 1:01:11.280 --> 1:01:12.680 was like a lot of stuff that I pulled off 1:01:12.720 --> 1:01:15.320 for Rails and I think at that time Most's fortieth 1:01:15.360 --> 1:01:18.080 the anniversary or whatever it was, so I actually was 1:01:18.200 --> 1:01:20.160 in there and I just went through and made one 1:01:20.240 --> 1:01:23.200 big mix. But then I think his publishers wouldn't allow 1:01:23.320 --> 1:01:25.040 us to put it out because we were going to 1:01:25.080 --> 1:01:27.600 add it to the whatever Harry did at the time 1:01:27.720 --> 1:01:30.400 fortieth anniversary box set. So we were going to add 1:01:30.400 --> 1:01:31.880 it to it, but they said, you know, you got 1:01:32.040 --> 1:01:35.240 eighteen twenty five records whatever I did, so we couldn't 1:01:35.280 --> 1:01:37.760 do it. So I had Bugsy talk on the end, 1:01:38.000 --> 1:01:41.120 had Flex say something on the beginning, and then somehow 1:01:41.160 --> 1:01:42.320 we find this way on the vinyl. 1:01:42.400 --> 1:01:43.040 I don't know how. 1:01:44.600 --> 1:01:46.080 Because it was just like whe did I work on 1:01:46.160 --> 1:01:48.920 that for five days for you know, just basically going 1:01:48.960 --> 1:01:50.840 through it just to sit there. But you know, once again, 1:01:50.880 --> 1:01:55.320 it was for the culture. That is crazy for the culture. 1:01:55.320 --> 1:01:58.000 But I had access to James Brown stuff because my 1:01:58.120 --> 1:02:00.640 dad was at PolyGram, because I knew people, nay, you know, 1:02:00.880 --> 1:02:03.280 asked Oscar Wang Harry Waninger. 1:02:03.040 --> 1:02:04.560 Did you work in the Jungle Groove? 1:02:05.360 --> 1:02:07.760 Jungle Groove was out before me, before I was around, 1:02:07.880 --> 1:02:09.800 but I had a copy of it early, so I 1:02:09.920 --> 1:02:10.800 had a copy of the. 1:02:12.280 --> 1:02:17.600 Do Do Do Do Do? What is that load? That 1:02:17.720 --> 1:02:18.640 was the mother load? Yeah? 1:02:18.680 --> 1:02:21.400 Yeah, jungle Groove actually had That's what we used for 1:02:21.440 --> 1:02:23.640 Curtis blow from back By. 1:02:24.560 --> 1:02:29.560 Yeah, okay, that was you. That's what should be called. 1:02:31.160 --> 1:02:33.040 But though that stuff helped me out later when I 1:02:33.200 --> 1:02:37.000 was doing NASA's Get Down, having a nice clean, exactly 1:02:37.560 --> 1:02:38.080 great shot. 1:02:38.160 --> 1:02:41.680 That helped me when I was doing where are they now? 1:02:42.360 --> 1:02:46.959 You know, clean damp tamp? Wait, get on, I'm getting 1:02:47.000 --> 1:02:52.080 to is on? I put Yeah, is there a stereo 1:02:52.240 --> 1:02:55.200 version of that? Because only I just had to clean. 1:02:55.840 --> 1:02:58.280 I had the drums I had, I had the clean parts, 1:02:58.440 --> 1:02:59.600 so I was able to make it. 1:03:00.240 --> 1:03:02.040 Okay, that's it to something else. 1:03:02.240 --> 1:03:05.480 Yo, man, I'm highly amazed that what he's saying. I know, 1:03:05.560 --> 1:03:07.120 we're talking to my al a minute about. 1:03:06.960 --> 1:03:08.560 Yeah, because I was also thinking, I'm like, so does 1:03:08.600 --> 1:03:10.720 this mean too that you were like of the privilege, 1:03:10.760 --> 1:03:12.439 you didn't have the issues that a lot of people 1:03:12.560 --> 1:03:14.240 had with the estate and whatnot. 1:03:14.280 --> 1:03:16.000 Did I was okay, all right. 1:03:16.240 --> 1:03:17.960 So he had no no, he had the clear like 1:03:18.040 --> 1:03:18.600 everyone else. 1:03:18.720 --> 1:03:21.480 But he whereas we would take it from the records, 1:03:22.040 --> 1:03:24.240 he would take it from He just went to the 1:03:26.400 --> 1:03:28.720 now in twenty eighteen we can get but back in 1:03:29.160 --> 1:03:33.280 nineteen ninety something to get access to that on the reels? 1:03:33.640 --> 1:03:35.640 Were you the only one at the time of your 1:03:35.720 --> 1:03:36.440 age that was. 1:03:38.000 --> 1:03:39.919 That? I was beyond? 1:03:40.000 --> 1:03:41.640 I mean actually it was on the Jiggy album. Even 1:03:41.920 --> 1:03:42.600 there's a couple. 1:03:44.560 --> 1:03:47.000 Not on that. It's funny how I ended up doing that, 1:03:47.080 --> 1:03:49.360 but not not on that. On all that. 1:03:49.440 --> 1:03:51.360 Glitters ain't gold, and a couple of the songs, I 1:03:51.440 --> 1:03:54.680 might have used some pieces and some cleaner pieces of 1:03:54.720 --> 1:03:55.320 different stuff. 1:03:56.200 --> 1:04:01.120 So how did how did you come in contact with you? Jiggy? Good? 1:04:01.200 --> 1:04:07.080 Rap a hole here? So Dennis Davis runs into my dad. 1:04:07.320 --> 1:04:09.520 Dennis Davis is the drummer who played with boy Airs 1:04:09.600 --> 1:04:13.600 on Stevie your cousin. Oh there you goes wow? All right, 1:04:13.720 --> 1:04:14.680 So Dennis. 1:04:14.960 --> 1:04:18.280 Dennis playing by himself, man exactly. 1:04:18.760 --> 1:04:21.800 So Dennis ran into my dad on forty eighth Street. Man, 1:04:21.880 --> 1:04:24.560 he's somewhere one of the record stores. It's like, hey, 1:04:24.880 --> 1:04:29.760 my stepdaughters got this boyfriend. He can rap whatever it was. 1:04:29.840 --> 1:04:34.520 So I was like, okay, so they exactly he can rap. 1:04:34.680 --> 1:04:36.760 So then they gonna bring him by. Hey, so long 1:04:36.880 --> 1:04:39.520 you know I ran to Dennis. Okay, yeah, you know 1:04:39.600 --> 1:04:41.720 Dennis comes by at that time, he had like short 1:04:41.840 --> 1:04:44.800 dreads probably up the head, so Stevie looking exactly. So 1:04:45.080 --> 1:04:47.840 he was like, yeah, I'm gonna come by and bring 1:04:47.960 --> 1:04:50.160 this kid by. So he brings by this kid. You know, 1:04:50.240 --> 1:04:52.400 they got to looking stuff. So it was actually a 1:04:52.760 --> 1:04:55.840 sound can he from Jiggy He was at the time 1:04:56.000 --> 1:05:01.080 dancing for YZ And when he comes in, he's like, yo, 1:05:01.720 --> 1:05:03.520 you know I can rhyme, and he starts rhyming. He's 1:05:03.560 --> 1:05:05.920 on his black Power. So I'm looking at him like, 1:05:05.960 --> 1:05:09.000 I'm not giving you none of my real, real exclusive 1:05:09.000 --> 1:05:11.800 exclusive breaks. I'm gonna see what you can do. So 1:05:11.960 --> 1:05:14.640 I gave him Simonde. I had a version of Zion 1:05:14.680 --> 1:05:16.720 and I kind of chopped up with a little substitution 1:05:16.880 --> 1:05:19.120 on it, and he did something that sounded decent, you know, 1:05:19.160 --> 1:05:21.880 which actually ended up being on an album. Then he's like, well, 1:05:22.000 --> 1:05:23.960 next time, can I bring my boys? Because we all 1:05:24.080 --> 1:05:26.200 robbed and the whole crew we dressed this way, we 1:05:26.360 --> 1:05:28.800 dressed flies Jiggy this and that, and you know my 1:05:28.880 --> 1:05:31.320 other boys danced with Special Ed and everybody else. So 1:05:31.400 --> 1:05:33.240 can we come through we have really a jiggy try. 1:05:34.760 --> 1:05:40.440 So now I have you know, half of exactly there 1:05:40.600 --> 1:05:42.840 was ten of probably there was actually all of them, 1:05:42.960 --> 1:05:47.440 plus Aunt who had lyricist Lounge was with them, Aunt Marshall, 1:05:47.480 --> 1:05:51.680 so he's actually on a Jiggy album and so they 1:05:51.680 --> 1:05:53.960 were all just part of the crew. But basically we 1:05:54.040 --> 1:05:57.000 had automatic you know, the crowd tossed it up. It's 1:05:57.040 --> 1:05:58.880 like ninety people in there, but they were all mark 1:05:58.960 --> 1:06:01.920 Quests from the Misfits, like their whole crew was all 1:06:02.000 --> 1:06:06.720 this exactly wow. So they were all together because I 1:06:06.800 --> 1:06:08.480 lived across at the time. My studio was on the 1:06:08.520 --> 1:06:10.800 next block from Red Zone, so we were like in 1:06:10.920 --> 1:06:13.200 and out. But basically I was like your own studio 1:06:13.360 --> 1:06:16.080 or the studio that my dad had. It was directly 1:06:16.080 --> 1:06:18.080 across from Red Zone, like on fifty third between Ninfe 1:06:18.080 --> 1:06:22.040 and Time. And basically I'm looking at them like I'm 1:06:22.080 --> 1:06:24.160 not giving y'all a real beat because diamond dealers, like, 1:06:24.200 --> 1:06:27.440 why did you just use like cramp your styles. 1:06:30.440 --> 1:06:31.520 Joints? You know what I'm saying. 1:06:31.560 --> 1:06:34.320 I put a little that thing, Oh cool, that was 1:06:34.400 --> 1:06:36.760 all for the James Brown. But he's like diamonds, like 1:06:36.880 --> 1:06:38.840 why did you ever do that? Like I see you 1:06:38.920 --> 1:06:40.800 at the break conventions with us, why did you do that? 1:06:41.080 --> 1:06:43.040 And I'm like, cause they had dances, you know, they 1:06:43.280 --> 1:06:46.919 they flex had the thing like champion feet, happy feet 1:06:46.960 --> 1:06:49.240 through sit down, I'm about to play something else, so 1:06:49.320 --> 1:06:51.120 he'd always be going at him. So I was like, cool, 1:06:51.200 --> 1:06:53.560 I gave them that seeing what they could do, but 1:06:53.680 --> 1:06:54.600 they may toss it up. 1:06:55.200 --> 1:06:58.000 Cosmic keV played the ship out there in Philly like 1:06:58.200 --> 1:07:01.400 you're you're feeling royalty checks wasn't been high because that 1:07:01.600 --> 1:07:04.360 was like toss it up was like the anthem there. 1:07:04.400 --> 1:07:07.040 But it's funny you said that because if you remember 1:07:07.160 --> 1:07:10.400 when Premiere was on the show and I was trying 1:07:10.400 --> 1:07:15.000 to explain to you what he said that that did, 1:07:15.120 --> 1:07:18.040 what Large Professor was doing for the like why would 1:07:18.040 --> 1:07:21.120 you give him such obvious shit? All the all the 1:07:21.240 --> 1:07:24.919 drums on Jay Rue's first record was kat and obvious shit. 1:07:25.080 --> 1:07:28.680 So I was either like, either you were like, no, 1:07:28.760 --> 1:07:30.280 I'm not going to give you my good shit? Did 1:07:30.360 --> 1:07:34.080 you just get my throwaway payday money shit? Or I'm 1:07:34.080 --> 1:07:40.280 gonna challenge myself to turn all this crap into right now, which. 1:07:40.200 --> 1:07:42.240 Is something I did as an exercise anyway. But it 1:07:42.360 --> 1:07:44.160 was still like, you know, yeah, but could you. 1:07:44.280 --> 1:07:51.040 Could you really afford your reputation to be I'm a substitution? 1:07:51.240 --> 1:07:51.840 Wasn't that old? 1:07:52.160 --> 1:07:52.320 You know? 1:07:53.720 --> 1:07:56.440 This was ninety or ninety one? Z he was ninety two. 1:07:56.640 --> 1:07:58.480 It came out ninety two, But yeah, when that happened, 1:07:58.480 --> 1:07:59.160 it was ninety one. 1:08:00.040 --> 1:08:01.640 Substitution was having to It was like. 1:08:01.680 --> 1:08:09.560 Substitution, amen, brother, cramp your style, but Isaac Cay's it 1:08:09.640 --> 1:08:12.120 was just like all basic obvious stuff. But then once 1:08:12.160 --> 1:08:13.920 again it was about the song, and that's where we 1:08:14.040 --> 1:08:16.680 got together because the beat was in. 1:08:17.439 --> 1:08:20.000 But then they all came out of nowhere that work. 1:08:20.600 --> 1:08:21.960 The shit worked in the club. 1:08:22.040 --> 1:08:24.200 And that's that's And then also I was with Flex 1:08:24.400 --> 1:08:27.720 and Chuck chill Out at all time, because basically Chuck 1:08:27.800 --> 1:08:31.439 chill Out had this group Deuce as Wild Non Double 1:08:31.600 --> 1:08:36.040 m Centipede and funk Master Flex. So everywhere that Chuck 1:08:36.120 --> 1:08:37.960 went from eighty nine when he lived in the building 1:08:37.960 --> 1:08:40.120 in the studio with us, I was there with him. 1:08:40.160 --> 1:08:42.439 So when he got to funk Master Flexes on the 1:08:42.479 --> 1:08:44.360 one and two they were using my turntables. 1:08:44.800 --> 1:08:47.519 Wait, so Flex wasn't How about Chuck chiller Out was 1:08:47.520 --> 1:08:49.200 the main DJ in funk Master. Flex was like this 1:08:49.320 --> 1:08:51.799 record guy, yeah, and I was the other person with Flex. 1:08:52.439 --> 1:08:53.960 So you would have to carry the crates and all 1:08:53.960 --> 1:08:56.599 that stuff, all that stuff. How many crates was Chuck 1:08:56.680 --> 1:08:57.840 chill Out using at the time. 1:08:58.360 --> 1:09:01.400 Probably about four or five. But then when Chuck was talking, 1:09:02.040 --> 1:09:05.200 he was also when basically Chuck got fired off a kiss. 1:09:05.200 --> 1:09:07.360 When Chuck would mess up a kiss, Flex had the 1:09:07.439 --> 1:09:10.400 DJ for him Chuck is late your Flex quoters mess up. 1:09:11.160 --> 1:09:12.960 He wouldn't show up sometimes. 1:09:12.840 --> 1:09:14.080 I thought that sniff meant something. 1:09:15.720 --> 1:09:17.920 Sometimes he wouldn't show up or he'd be all over 1:09:17.960 --> 1:09:21.360 the place. But basically when he got to bls now 1:09:21.439 --> 1:09:24.000 cause my dad had the relationship with Franky Kraker and 1:09:24.240 --> 1:09:26.960 Mally was no longer on due to whatever drama was 1:09:27.040 --> 1:09:28.559 in control was not there. 1:09:28.760 --> 1:09:29.960 I don't know what that was. 1:09:30.560 --> 1:09:34.200 Then basically my dad was like, well, Chuck, you gotta talk. 1:09:35.040 --> 1:09:37.599 So Chuck got turned to talking, and now funk Master 1:09:37.720 --> 1:09:40.880 flexes on the one and two became a phrase. And 1:09:41.000 --> 1:09:43.719 then they were using my turntables because Mallie was always 1:09:43.760 --> 1:09:47.160 working on the basic you know, pretty much mixing on 1:09:47.240 --> 1:09:49.800 the board, right. Yeah, So now they're like, nah, we 1:09:49.840 --> 1:09:51.599 gotta bring some twelve hundreds, and so they were using 1:09:51.640 --> 1:09:53.120 my twelve hundreds basically. 1:09:53.400 --> 1:09:55.760 And so you were there doing the whole magic of 1:09:56.479 --> 1:09:59.880 with BLS or yeah, yep, wow. 1:10:00.120 --> 1:10:03.160 So basically my Fridays and Saturdays would be at the 1:10:03.240 --> 1:10:06.760 radio station all the way from that BLS time being 1:10:06.800 --> 1:10:08.519 in the clubs with Flex in the view day. 1:10:10.000 --> 1:10:16.400 Being So this explains the freaking Fuji's remixed and why 1:10:16.600 --> 1:10:18.519 Flex played it so goddamn much. 1:10:19.439 --> 1:10:22.000 He actually liked it. No, no, no, I mean it's 1:10:22.000 --> 1:10:25.320 a classic, but so help that relationship helped. 1:10:25.160 --> 1:10:26.920 It no more than a relationship. I'll tell you what 1:10:27.000 --> 1:10:30.160 happens from the time that Flex is in the clubs, 1:10:30.400 --> 1:10:35.160 whether it's Red Zone, Powerhouse, the Muse home base. I'm 1:10:35.240 --> 1:10:38.200 there with him because he used to having me everywhere 1:10:38.240 --> 1:10:40.759 and I lived in midtime. So as I'm in the clubs, 1:10:40.880 --> 1:10:44.240 I'm watching the door. Yo, Buster just walked in play 1:10:44.320 --> 1:10:47.240 the Leaders. He's trying to get no leverage. He asks 1:10:47.320 --> 1:10:50.840 Jessica to manage him. You know, Jessica is doing everything else, 1:10:51.200 --> 1:10:53.240 but then he's upstairs in the room at the red 1:10:53.360 --> 1:10:55.879 zone Triple C and Ky Capri and Clark are downstairs 1:10:55.920 --> 1:10:57.720 in the red zone. He's trying to get on. So 1:10:57.800 --> 1:11:01.120 whenever he goes different places, I'm his I'm watching the room. 1:11:01.240 --> 1:11:03.799 I'm seeing what's happening. So it's almost like how reggae 1:11:03.960 --> 1:11:06.439 has a selector that's kind of picking the songs, and 1:11:06.520 --> 1:11:08.519 then the guy that's actually mixing it, he's on the 1:11:08.640 --> 1:11:11.920 radio at BLS. I'm watching what's going on. I'm writing 1:11:11.960 --> 1:11:13.559 down in the names of the songs that you're playing 1:11:13.920 --> 1:11:15.360 to give it to the guy who's gonna say it. 1:11:15.400 --> 1:11:17.400 Whatever was so when he first got the Hot ninety seven, 1:11:17.760 --> 1:11:19.519 it's the same thing, Yo, so long, I need you 1:11:19.600 --> 1:11:22.680 to come with me. Why because you know the I'm 1:11:22.720 --> 1:11:25.320 the safety net producing the show pretty much but not 1:11:25.479 --> 1:11:30.040 really being so where the guy's always whispering okay now yo. 1:11:30.200 --> 1:11:32.640 So just went the commercial, play the the right, the 1:11:32.760 --> 1:11:35.320 Ray Kwong, play the Wu Tang like I'm watching the 1:11:35.479 --> 1:11:38.800 room because I'm seeing what's happening, And that just gave 1:11:38.920 --> 1:11:41.960 me a sharp edge on when I'm making records, the 1:11:42.040 --> 1:11:44.840 same way that Larry Levan would know how to make 1:11:44.880 --> 1:11:47.000 it something right for the dance floor. Then now my 1:11:47.120 --> 1:11:50.920 record's also sharper, So really what got nappy Heads going? 1:11:50.920 --> 1:11:52.880 Because he wasn't a fan of the foodies from Boothba, 1:11:54.000 --> 1:11:59.040 nobody was Jamaican be like Baduf Badaf, like real baduf 1:11:59.200 --> 1:12:01.920 bof you Siris. So he was really upset. But he's like, 1:12:01.920 --> 1:12:04.639 what are you doing this week? The food gie's booff's 1:12:04.680 --> 1:12:08.240 bringing boof off. But then I also knew as that 1:12:08.320 --> 1:12:13.559 record starts number one, I started real really quiet. Your 1:12:13.640 --> 1:12:16.400 Nappi has laid some trea on us worse, so I 1:12:16.479 --> 1:12:18.360 understood that it's quiet and the snare comes in the 1:12:18.400 --> 1:12:21.120 ward to it turns up. 1:12:21.439 --> 1:12:24.920 Can I ask you this question? Yeah, how do you 1:12:25.000 --> 1:12:27.240 feel about that mix of. 1:12:29.000 --> 1:12:33.240 Nappi Heads. Yes, the bass is very loud, very very loud. 1:12:33.560 --> 1:12:35.800 The studio that I mixed it in had a really 1:12:35.880 --> 1:12:38.559 compression room, so if you didn't catch it, the base 1:12:38.640 --> 1:12:39.240 is super loud. 1:12:39.479 --> 1:12:40.080 But it worked. 1:12:40.400 --> 1:12:43.120 It sounded great on the radio. I was gonna say, 1:12:43.240 --> 1:12:44.439 it sounds better on the radio. 1:12:45.080 --> 1:12:48.800 No song frustrates me more to spend back when I 1:12:48.920 --> 1:12:51.000 was using wax to spend in the clubs than the 1:12:51.080 --> 1:12:56.560 Napiers remix because it was so freaking silent. It was 1:12:56.680 --> 1:12:58.920 so low because the bass was so loud, right, but 1:12:59.040 --> 1:13:02.040 then you hear like to hear flex mix that ship 1:13:02.120 --> 1:13:05.519 on the radio. Found, Yo, how come. 1:13:05.439 --> 1:13:07.400 I'm not getting and it comes in low and then 1:13:07.439 --> 1:13:08.320 it goes no. 1:13:08.520 --> 1:13:11.479 Just the way that the record is. Basically the room 1:13:11.560 --> 1:13:13.439 that I had it sound works and that's where I 1:13:13.560 --> 1:13:15.880 mixed that. It was a compression room, so if I 1:13:16.000 --> 1:13:19.120 turned it up basically even if the base was loud, 1:13:19.439 --> 1:13:21.080 like he comes the Hot Step, I had a loud 1:13:21.080 --> 1:13:23.400 base like that. Different records I did kind of were 1:13:23.840 --> 1:13:26.640 just super bass heavy, but then the top end of 1:13:26.720 --> 1:13:29.240 it was crystal clear. So really today we would have 1:13:29.240 --> 1:13:31.639 had a multi brand compressor that would have just took 1:13:31.720 --> 1:13:34.880 the low end and pulled it down the freaking BB 1:13:35.400 --> 1:13:37.320 and then everything else with the sound that is clear. 1:13:37.760 --> 1:13:40.720 But at that time that was just the way it went, 1:13:41.280 --> 1:13:42.479 and I got away with it. 1:13:42.520 --> 1:13:44.559 But yeah, you're right, the. 1:13:44.560 --> 1:13:49.360 Age of I definitely remember like having to do I 1:13:49.400 --> 1:13:54.280 would make my own Uh well, I do, like I said, 1:13:54.400 --> 1:13:57.320 different Kanye like re eq is because. 1:13:57.160 --> 1:14:00.280 He uses way too much base exactly, so with in that, 1:14:00.400 --> 1:14:02.760 but also I knew that as a snare started but 1:14:03.120 --> 1:14:05.559 put that that's DJ then cheap with cheaper, y'all, I'm 1:14:05.560 --> 1:14:09.120 gonna leave, but y'all, okay, cool, what this one's a right? 1:14:09.240 --> 1:14:11.800 She would cheaper y'all, I'm gonna leave with y'all. You 1:14:11.880 --> 1:14:13.760 know what, it's not bad, all right, it's the Fujis. 1:14:14.160 --> 1:14:17.200 And then when he was writing his verse, I played 1:14:17.439 --> 1:14:21.000 the come Clean instrumental Come Clean a cappella and it 1:14:21.080 --> 1:14:23.160 ain't hard to tell a cappella over the track, So 1:14:23.280 --> 1:14:26.360 then he just fit into that pocket. So basically the 1:14:26.439 --> 1:14:28.879 record was set up in a way where the DJ's 1:14:28.880 --> 1:14:33.479 going cheap, a cheaper y'all. Cheap, cheap, y'all, cheap with y'all, 1:14:33.640 --> 1:14:37.080 that's crazy. You got a water that we already do 1:14:37.280 --> 1:14:39.000 halfway through the first verse before you can get the 1:14:39.080 --> 1:14:42.439 next record. So that was my DJ mind that was 1:14:42.720 --> 1:14:45.160 already knowing how to make the record that if you 1:14:45.240 --> 1:14:47.560 didn't like it, you're already gonna like something about it 1:14:47.640 --> 1:14:48.599 and start going. 1:14:48.760 --> 1:14:54.519 Okay, So explain your work with the Fujis and just 1:14:55.120 --> 1:14:58.080 what was that like? You came you had nothing to 1:14:58.120 --> 1:15:01.680 do with one on reality? No all, she came at 1:15:01.680 --> 1:15:04.960 the tailing of how did you manage to. 1:15:05.439 --> 1:15:08.120 Even get to them? Well, not weaselly a weigh in, 1:15:08.360 --> 1:15:13.400 but trust because I know that basically what ended up 1:15:13.439 --> 1:15:14.200 happening was that. 1:15:15.800 --> 1:15:19.880 I'd done Megabanson sond Boy Killer remix, which had the. 1:15:19.920 --> 1:15:26.080 Barry White you know whatever it was exactly, so I 1:15:26.240 --> 1:15:26.640 was doing it. 1:15:29.479 --> 1:15:34.400 Yeah, yeah, So so I did those pieces. But basically 1:15:34.920 --> 1:15:38.800 that came from being at b LS Bugs, the m D. 1:15:39.160 --> 1:15:42.160 Bobby Condas is working the BLS. Bobby Conda sees me 1:15:42.240 --> 1:15:45.360 going to Hole Jackson's Records plucking out samples. 1:15:45.439 --> 1:15:46.400 Yo, I'm going to studio. 1:15:46.479 --> 1:15:47.960 Can you come with me? Maybe you could program some 1:15:48.040 --> 1:15:50.840 bets with me. So, now, in between whatever else I'm 1:15:50.880 --> 1:15:52.560 doing trying to make the real hip hop, trying to 1:15:52.640 --> 1:15:55.000 keep up with the piets and premiers and large pros, 1:15:55.560 --> 1:15:57.960 I'm able to go with Bobby Condas and just sell 1:15:58.080 --> 1:16:01.519 him breaks that everybody used already for dance mixes, R 1:16:01.560 --> 1:16:03.879 and B mixes, reggae mixes. 1:16:04.800 --> 1:16:06.240 So he wasn't a producer per se. 1:16:06.640 --> 1:16:08.640 Bobby was a producer, but you did word. I was 1:16:08.680 --> 1:16:11.519 the promote. I was doing programming for him of certain things, 1:16:11.560 --> 1:16:13.640 so he'd have a keyboard, dude, but just like some 1:16:13.760 --> 1:16:15.720 real hip hopes, because he saw me coming in there 1:16:16.240 --> 1:16:18.800 snatching brakes out of the library and that's what it 1:16:18.920 --> 1:16:20.519 was his office. That's what he said, Yo, what you 1:16:20.600 --> 1:16:23.280 got so cool? Now I'm going to studio making three hundred, 1:16:23.280 --> 1:16:26.479 four hundred, five hundred a thousand, just giving him breaks 1:16:26.479 --> 1:16:29.880 that everybody already used in hip hop for another purpose. 1:16:30.960 --> 1:16:33.320 I'm gonna ask you something. I'm gonna ask you something. 1:16:37.160 --> 1:16:43.280 Did you use a Willie Hutch sample for Bobby Condors 1:16:44.000 --> 1:16:46.559 the the iced tea high. 1:16:46.520 --> 1:16:52.839 Roll his joint use that ship for a Mel before 1:16:52.920 --> 1:16:55.320 she group and the mail was on the record. 1:16:55.360 --> 1:16:57.120 That was her singing it and she couldn't finish the 1:16:57.240 --> 1:17:00.640 vocal and he actually took her lead off. So that 1:17:00.760 --> 1:17:02.799 was mels first recording. 1:17:02.920 --> 1:17:09.320 Yeah, she played me that ship and you did that ship? Yeah, 1:17:10.040 --> 1:17:10.400 that was me. 1:17:10.560 --> 1:17:12.559 So I was working with Bobby and we did mac 1:17:12.680 --> 1:17:14.080 Daddy and we did that. 1:17:14.600 --> 1:17:16.400 You did Macdaddy? Yeah, I did. 1:17:16.560 --> 1:17:18.200 I did probably most of the hip hop stuff on 1:17:18.280 --> 1:17:23.080 that album. So I did that, which is a massive 1:17:23.160 --> 1:17:26.040 Sounds album. He had a song called mac Daddy that 1:17:26.240 --> 1:17:26.760 was like huge. 1:17:26.800 --> 1:17:34.080 You don't remember Macdaddy Bobby's Yeah, yeah, yeah, it was 1:17:34.160 --> 1:17:36.880 in the it was in the dance hall set. 1:17:37.120 --> 1:17:40.200 Yeah, so basically that set. 1:17:41.439 --> 1:17:44.040 So the dance all set at that time, from say 1:17:44.200 --> 1:17:47.280 ninety ninety one ninety two was a combination of me 1:17:47.439 --> 1:17:50.280 staying in the booth with Flex and then being around 1:17:50.360 --> 1:17:52.800 Bobby and saying, okay to go from dance hall, which 1:17:52.880 --> 1:17:55.479 was heavy at the time, to hip hop. How we're 1:17:55.479 --> 1:17:58.280 gonna bring it. So now I was taking the hip 1:17:58.320 --> 1:18:00.960 hop putting together. So back to the food Geez, which 1:18:01.040 --> 1:18:04.200 was your original question. They heard Jeff Burrows was their 1:18:04.240 --> 1:18:09.080 product manager, and Jeff Jeff Burrows that Columbia as their 1:18:09.120 --> 1:18:13.519 product manager, and he heard the Megabanson mix because I've 1:18:13.560 --> 1:18:15.120 been doing all this reggae and hip hop. He's like, 1:18:15.160 --> 1:18:17.640 and he's cast a Haitian. I need something like that. 1:18:17.880 --> 1:18:19.479 That's what we need for the food jies to help 1:18:19.520 --> 1:18:21.680 get them off the ground. It's ain't working. So then 1:18:21.800 --> 1:18:23.880 I think he might have been roommates or lived somewhere 1:18:23.960 --> 1:18:26.479 there Jessica, who was managing Flex at the time. Yo, 1:18:26.600 --> 1:18:29.760 this guy Jeff that knows Jessica, wants your number. All right, cool, 1:18:29.760 --> 1:18:32.479 I go up to Columbia. I'm already in the building 1:18:32.600 --> 1:18:35.000 working on Shabo whatever else around there at the time. 1:18:36.000 --> 1:18:40.759 Shaba Patra. You know what was that I had tingling. 1:18:40.840 --> 1:18:43.559 I did Original Woman where I flipped the Jay Rue sample. 1:18:43.720 --> 1:18:48.240 I did all the remixes. I did Patra's Think with 1:18:48.439 --> 1:18:51.520 Lynn Collins on it. I got all my Link Collins reconssign. 1:18:54.720 --> 1:18:55.120 Remix. 1:18:55.600 --> 1:18:57.600 I did all those pieces. I was just like, in 1:18:57.680 --> 1:18:59.840 the middle of the reggae and hip hop mix? 1:19:00.160 --> 1:19:03.320 Was that you playing keys on that remix? Yeah? 1:19:03.439 --> 1:19:05.519 On one of them, because I think one is Chris 1:19:08.280 --> 1:19:10.320 you know, I did the one I did on there 1:19:10.560 --> 1:19:14.360 was actually I think I used a little Richard drums 1:19:14.400 --> 1:19:15.400 on there or something like that. 1:19:17.320 --> 1:19:22.600 Seventy two ye the real thing? Yeah, yeah, yeah, the 1:19:22.920 --> 1:19:24.080 real thing. Choice. 1:19:24.280 --> 1:19:27.400 Well, basically my whole mo was I was able to 1:19:27.479 --> 1:19:30.439 take these West Indian records and get them on the radio, 1:19:30.560 --> 1:19:31.880 get it going you for the reason we. 1:19:31.920 --> 1:19:32.960 Were grinding the hip hop. 1:19:39.360 --> 1:19:41.760 So how come you never work with Carris One, who 1:19:41.880 --> 1:19:45.360 was such a champion of mixing reggae and hip hop together? 1:19:45.640 --> 1:19:51.479 Because Carris One would ask me, salom So, I'm making 1:19:51.520 --> 1:19:53.439 an album right now, why aren't you in my face? 1:19:54.960 --> 1:19:57.360 That type of stuff? I left that on my voicemail 1:19:57.400 --> 1:19:57.840 one time. 1:19:59.720 --> 1:20:02.560 Well, has there ever been an artists that's been on 1:20:02.680 --> 1:20:07.200 this show that hasn't More times Terris Know that just 1:20:07.320 --> 1:20:08.920 hasn't used inflections. 1:20:09.080 --> 1:20:15.960 His impressions are great. This show never met that doesn't 1:20:15.960 --> 1:20:17.479 have a chress person like. 1:20:17.680 --> 1:20:19.920 The articulation is just that it was. 1:20:20.120 --> 1:20:22.759 It was basically I was there when he made madism 1:20:22.880 --> 1:20:23.800 that went over the place. 1:20:25.120 --> 1:20:27.760 Every time someone like Karas One, they make him sound 1:20:27.800 --> 1:20:29.160 like a James Bond feeling. 1:20:30.520 --> 1:20:33.360 There's like a person like a person. 1:20:35.680 --> 1:20:39.360 Trying to figure out how you detail your thoughts charrass one. 1:20:39.560 --> 1:20:41.640 And I was sitting there and I've been working with 1:20:42.600 --> 1:20:45.720 Channel Live. Dang, I'm all over the place. 1:20:45.960 --> 1:20:48.680 Basically I've been working with Channel Live and so were 1:20:48.720 --> 1:20:52.400 you on the well the first one that Matification, So 1:20:52.439 --> 1:20:55.480 I did probably four or five songs, So basically. 1:20:57.240 --> 1:20:58.320 No Charris One did it. 1:20:58.760 --> 1:21:01.280 But basically while I was that the studio, I did 1:21:01.360 --> 1:21:04.200 bush Babies and Tough. He was that working at the 1:21:04.240 --> 1:21:06.559 studios intern So he's like, when I get my deal, 1:21:07.080 --> 1:21:08.920 I want you to work on my album. So when 1:21:08.960 --> 1:21:12.200 he got the deal eventually through care Res was Capital 1:21:12.360 --> 1:21:15.200 for Station Identification, He's like, yah, I want you to 1:21:15.240 --> 1:21:16.720 work on it. So I'm doing beats for them. But 1:21:16.880 --> 1:21:18.640 Karras hadn't met me in person, so the day they 1:21:18.680 --> 1:21:20.040 were doing mad Is and was the first day I 1:21:20.120 --> 1:21:22.280 was going to D and D and you know, the 1:21:22.360 --> 1:21:25.439 premier room over all right cool. So I'm sitting there 1:21:26.000 --> 1:21:30.360 and he starts, so slum, do you specialize in jazz beats? 1:21:31.280 --> 1:21:34.479 Our jazz beats your specialty? And I was like, nah, 1:21:37.040 --> 1:21:40.439 specialized in black music. And when I said to them, 1:21:40.479 --> 1:21:42.960 I specialized and He's like, oh okay. Then later on 1:21:43.120 --> 1:21:44.719 he was like, oh yo, your boy kind of shut 1:21:44.800 --> 1:21:47.280 me up. He said, specialized in black music? 1:21:50.600 --> 1:21:54.800 Did you do? I'm just I remember. 1:22:00.080 --> 1:22:06.120 Here, okay, So I'm coming. I'm coming back, not bead. 1:22:06.200 --> 1:22:08.680 So basically, Jeff Burrows is like, you can make the 1:22:09.080 --> 1:22:12.639 Caribbean stuff work. Can you get with this group? He comes, 1:22:13.320 --> 1:22:14.640 I was like, all right cool. At the time, they 1:22:14.680 --> 1:22:20.360 were managed by David Sonenberg and Bernard like Sandra so exactly, 1:22:20.960 --> 1:22:23.439 and at that time they had bizz wait let me 1:22:23.520 --> 1:22:29.120 say this, there we go. So David, who was definitely 1:22:29.160 --> 1:22:33.800 a character, was a fan of my personality because we 1:22:33.920 --> 1:22:38.600 had an earlier business arrangement through Anie Comosi. So there 1:22:38.680 --> 1:22:40.360 was a time when there was a group called Natural 1:22:40.400 --> 1:22:42.080 Selection asked me to produce them. 1:22:43.600 --> 1:22:47.320 The East West and. 1:22:47.600 --> 1:22:50.360 They basically had a record, and the guy, the black guy, 1:22:50.400 --> 1:22:51.599 who was a black guy and white guy in the group, 1:22:51.640 --> 1:22:53.320 and the black guy really wanted me to do some beats. 1:22:53.360 --> 1:22:54.960 He evented my studio was like, you'll heard you doing 1:22:55.000 --> 1:22:56.840 these beats. So I went to meet with David. I 1:22:56.920 --> 1:22:58.840 listened to it. I was like, nah, it's a pop record. 1:23:00.280 --> 1:23:01.720 You're rating your money. Keep your money. 1:23:01.760 --> 1:23:02.080 I'm good. 1:23:02.160 --> 1:23:04.599 But but for me being eighteen and nineteen years old 1:23:04.640 --> 1:23:07.080 and not taking his money and telling them, oh, you're 1:23:07.160 --> 1:23:09.000 nice on Riverside Drive, keep your money. I don't need 1:23:09.040 --> 1:23:11.280 your record because I always pick with records I wanted 1:23:11.280 --> 1:23:12.519 to work on and didn't just work with. 1:23:12.560 --> 1:23:14.080 Anybody they were. 1:23:15.160 --> 1:23:18.439 So now when the come up there managed by David, 1:23:18.760 --> 1:23:20.960 and he's like, oh wow, Slam, I can get back 1:23:21.000 --> 1:23:24.559 to him. He'd already sent me Ain'ty Camosi probably around 1:23:24.640 --> 1:23:26.680 that time to start working on the demos that be 1:23:26.720 --> 1:23:30.479 came Here comes a hot Stepper, And then also Jeff 1:23:30.520 --> 1:23:32.880 Burrow said it, and I was like, oh, Columbia, all right, cool, 1:23:32.880 --> 1:23:34.800 I know what to do here. I know who I'm 1:23:34.840 --> 1:23:39.960 dealing with. So then it was Christmas. It was right 1:23:40.000 --> 1:23:44.439 after Thanksgiving of ninety three, and you know that last 1:23:44.560 --> 1:23:46.800 check after, you know, being in the business at that time, 1:23:46.840 --> 1:23:48.920 I understood that after Thanksgiving you couldn't get the two 1:23:48.920 --> 1:23:51.960 signas you check until probably like after the Grammys, So 1:23:52.160 --> 1:23:55.120 then you're gonna be stuck. And if you didn't get 1:23:55.160 --> 1:23:58.160 your check from Sony before April, you was dead. So 1:23:58.280 --> 1:24:00.160 I understood what was going on, and I was like, 1:24:00.240 --> 1:24:02.080 y'all need to get one more check. Christmas is coming. 1:24:02.560 --> 1:24:05.439 So then Eric Sermon wanted fifteen grand I think I 1:24:05.560 --> 1:24:07.439 agreed to do it for ten or whatever it was, 1:24:08.040 --> 1:24:11.000 got a couple of dollars, and then they came by 1:24:11.080 --> 1:24:13.000 my apartment at that time. I was living on fiftieth 1:24:13.080 --> 1:24:15.960 between eighth and nine. I had part of the beat. 1:24:16.120 --> 1:24:20.120 Praz was like, Yo, you know my friend Kobe, you know, 1:24:20.240 --> 1:24:25.240 big Up Kobe Brown was always talking about you at college. 1:24:25.720 --> 1:24:28.000 Why Cleup's like, yeah, you gotta meet the girl. I 1:24:28.080 --> 1:24:31.920 played them basically the loop of the drums and you 1:24:32.000 --> 1:24:33.840 know the what did I use them? 1:24:34.560 --> 1:24:37.880 Yeah? That was the same thing. 1:24:39.280 --> 1:24:41.120 Yeah, well not the bust of Wins, but I just 1:24:41.280 --> 1:24:42.920 basically had the vibes and that, and it was the 1:24:42.920 --> 1:24:46.439 same album that Pete used for Pete's sake. I can't 1:24:46.479 --> 1:24:49.160 remember what it is the white album. But basically I 1:24:49.280 --> 1:24:50.840 was just like kind of chopped that up and then 1:24:50.920 --> 1:24:52.200 I was like, oh, we're going to the studio. So 1:24:52.280 --> 1:24:55.479 we went in the studio and why Cleft freestyle for 1:24:57.479 --> 1:24:59.840 two full times on the rail. I have still a 1:25:00.000 --> 1:25:03.120 recordings of like twenty minutes of him just freestyling. Then 1:25:03.200 --> 1:25:04.960 I went back and took the different. 1:25:04.720 --> 1:25:07.120 Parts, so you just pieced it together. 1:25:07.800 --> 1:25:10.200 Well, I went back and told him, Okay, we're gonna 1:25:10.240 --> 1:25:13.040 keep that that your mona Lisa, that's the hook. You're 1:25:13.120 --> 1:25:15.360 just a flyaway. You know, we're gonna keep that part. 1:25:15.400 --> 1:25:17.960 Your cheap achiap like I basically took he had a 1:25:18.320 --> 1:25:20.200 cheap a cheaper y'all numba leave y'all. 1:25:20.360 --> 1:25:21.200 Rapp was something I. 1:25:21.240 --> 1:25:23.120 Was the last reason dinosaur, Like, he had all these 1:25:23.160 --> 1:25:26.519 pieces and I just took like four or five pieces 1:25:26.560 --> 1:25:28.679 to what he said during that twenty minutes and said, 1:25:28.720 --> 1:25:31.160 this is your verse. Now we're gonna say that with 1:25:31.240 --> 1:25:33.679 the chill out, wild cleft tone rather than the loud 1:25:33.720 --> 1:25:37.240 wild clift tone. And basically that's where the record started. 1:25:37.840 --> 1:25:41.639 Pre pro tools, pre pro tools. Yeah, but I didn't didn't, 1:25:41.640 --> 1:25:43.760 I didn't actually edit it. I actually told him this 1:25:43.880 --> 1:25:45.280 is the part we're gonna keep. This is the part 1:25:45.280 --> 1:25:46.720 we're gonna keep. This is the part we're gonna keep it. 1:25:46.720 --> 1:25:48.400 Then cut it again, he said. 1:25:48.760 --> 1:25:51.080 Then he read said it in the more because wyd 1:25:51.120 --> 1:25:53.519 Cleft has this MENI mony to him a voice that 1:25:53.600 --> 1:25:56.040 I kind of referred to where he kind of talk 1:25:56.439 --> 1:25:59.799 raps and you know that other space. So that's basically 1:26:00.040 --> 1:26:03.519 how Nappyheads came up. Lauren had her verse, we kind 1:26:03.520 --> 1:26:05.240 of it was all miss Hill to you. 1:26:07.560 --> 1:26:08.600 At the times. 1:26:09.840 --> 1:26:15.240 Before she had the Miss on the Hill basically, No, 1:26:17.400 --> 1:26:19.200 but basically before it was there, it was just like 1:26:19.439 --> 1:26:22.439 her priests. And then Proz had his part and that 1:26:22.680 --> 1:26:26.839 session became the Napiads basically, and that you know, started 1:26:26.840 --> 1:26:30.000 it going. Then I did a remix of Vocab. Then 1:26:30.040 --> 1:26:32.200 they did a remix of Vocab that really became the 1:26:32.400 --> 1:26:33.120 real proper one. 1:26:33.200 --> 1:26:38.840 Mom, did you do that like the slow. 1:26:41.040 --> 1:26:44.080 Yeah, there was Shelley Man with a black sab of drums. 1:26:44.240 --> 1:26:47.280 Okay, so what I guess by this point, did you 1:26:47.400 --> 1:26:50.240 decide that your injury is going to be like hard 1:26:50.320 --> 1:26:54.559 ass drums with this sort of psycho psychedelic Uh? 1:26:55.960 --> 1:26:56.519 I don't think. 1:26:56.600 --> 1:26:58.880 I don't know if I could tell salam Remy like, 1:26:58.960 --> 1:27:03.439 there's always there's a beautiful flute, breezy element to your 1:27:03.520 --> 1:27:03.960 work with. 1:27:04.160 --> 1:27:05.799 Some hard ass drums under. 1:27:06.240 --> 1:27:09.000 I think that's there's always like when people are ask 1:27:09.080 --> 1:27:11.160 me my favorite producer back then, it was like Munk Higgins, 1:27:11.720 --> 1:27:13.920 and it was munk Higgins because he always had all 1:27:14.000 --> 1:27:17.960 this orchestral stuff happening on the top and then boom boom, 1:27:18.520 --> 1:27:20.759 boom boom. It was like a groove that was rocking. 1:27:21.200 --> 1:27:25.080 So I still love the juxtaposition of you know, a 1:27:25.240 --> 1:27:27.200 vamped out groove that still got me there. 1:27:27.320 --> 1:27:28.519 But then I love melodies. 1:27:28.520 --> 1:27:28.840 I like that. 1:27:28.880 --> 1:27:30.680 I like Marvin Gaye for the same reason, like that 1:27:30.720 --> 1:27:32.960 I Want You album. I feel like the drums, the 1:27:33.000 --> 1:27:34.840 bass and drums put me in the pocket, but then 1:27:34.880 --> 1:27:37.240 the orchestrations of the music and the vocals kind of 1:27:37.280 --> 1:27:39.639 take me somewhere. So that's kind of like My Beauty 1:27:39.680 --> 1:27:40.200 and the Beasts. 1:27:40.760 --> 1:27:40.920 You know. 1:27:41.080 --> 1:27:44.840 My Jamaican engineer called it Chris and Karanni, or the 1:27:44.960 --> 1:27:46.759 top end Chris, but the base Kranni. 1:27:47.200 --> 1:27:48.840 Like it's it's always an energy. 1:27:48.600 --> 1:27:51.760 That we go for that we want to have, you know, 1:27:52.040 --> 1:27:54.479 it's a pretty facing the fat ass basically both. 1:27:54.640 --> 1:27:58.560 Who was your go to engineer back then or do 1:27:58.600 --> 1:28:00.160 you just work with who you were giving or did 1:28:00.240 --> 1:28:00.720 you ever not? 1:28:01.120 --> 1:28:03.120 I had my own studios, so I was always kind 1:28:03.160 --> 1:28:07.240 of keep my people around. So at first my father's partner, Edison, 1:28:07.479 --> 1:28:10.280 who actually produced a lot of stuff with him and 1:28:10.720 --> 1:28:12.360 was doing a lot of stuff. But then Gary Noble 1:28:12.400 --> 1:28:15.120 saw to work with me in ninety ninety one, and 1:28:15.560 --> 1:28:17.400 you know, to this day, Gary still makes a lot 1:28:17.439 --> 1:28:20.760 of my records. But yeah, he from ninety ninety one, 1:28:20.800 --> 1:28:22.800 he would just he'd be working at the hospital, then 1:28:22.840 --> 1:28:25.759 you come see me after between we'd be doing stuff, 1:28:25.800 --> 1:28:30.479 and he was pretty much the main recording and you know, 1:28:30.920 --> 1:28:33.840 my main recording and mixing engineering probably from ninety three 1:28:34.920 --> 1:28:36.720 forward at least something like that. 1:28:36.960 --> 1:28:40.640 Now, you mentioned Biz earlier, and I know that you're 1:28:40.680 --> 1:28:44.160 good friends with Biz. Yeah, have you just ever had 1:28:44.320 --> 1:28:47.240 a normal moment where Biz where it wasn't just like 1:28:47.400 --> 1:28:49.439 trying to one up you? Like anytime I see Biz. 1:28:49.640 --> 1:28:52.360 I mean it's like twenty years ongoing, it's always a 1:28:52.520 --> 1:28:53.280 one up game. 1:28:53.960 --> 1:29:02.200 Yeah, quest, you got this, I got this? Come all right. 1:29:02.280 --> 1:29:06.160 First of all, what is your take on Mardi Grassa 1:29:06.400 --> 1:29:07.920 one of his situations? 1:29:08.240 --> 1:29:10.679 I mean, Biz's got stories, and he always would find 1:29:10.680 --> 1:29:12.640 a way to do something. I had it over here, 1:29:12.680 --> 1:29:13.400 I put it over there. 1:29:13.880 --> 1:29:14.120 I mean. 1:29:14.280 --> 1:29:17.280 The funny part is that during that time when I 1:29:17.439 --> 1:29:19.320 was working with him, he had a period where he 1:29:19.360 --> 1:29:22.560 would just come to my house, which was no I 1:29:22.640 --> 1:29:25.879 had a room basically that had like three crates of records, 1:29:26.000 --> 1:29:28.240 and it was a room that I basically made the 1:29:28.479 --> 1:29:30.960 ghetto at hots and everything else. And I had a 1:29:31.040 --> 1:29:33.439 half broken chair, like a chair where the back wasn't 1:29:33.479 --> 1:29:35.400 on it. And Biz would come there and sit at 1:29:35.439 --> 1:29:39.439 my house for five, six, seven hours a day and 1:29:39.600 --> 1:29:40.280 just be sitting there. 1:29:40.760 --> 1:29:41.680 Come on, what you got? 1:29:41.800 --> 1:29:41.960 Now? 1:29:42.439 --> 1:29:44.880 You got something else in here? Funky? What else you got? 1:29:44.960 --> 1:29:47.840 And I would always be in the city going through stuff. 1:29:47.960 --> 1:29:50.599 My boy Raheem that worked the downstairs records in different 1:29:50.640 --> 1:29:53.200 places would be with us, so we'd always be coming 1:29:53.240 --> 1:29:55.479 through doing stuff. But Biz would just sit there all day, like, 1:29:55.520 --> 1:30:00.000 what else you got? That's funky? So I had different beats, 1:30:00.120 --> 1:30:01.920 and you know, that was the time when he was 1:30:01.960 --> 1:30:05.120 doing I guess it was the album with what he 1:30:05.160 --> 1:30:08.160 Got sample, the one he got suit for I Need 1:30:08.200 --> 1:30:09.640 a Haircut, So around the time he was doing it, 1:30:09.720 --> 1:30:12.720 I Need a haircut. He would always be at my 1:30:12.880 --> 1:30:16.479 crib just going through stuff, looking for beats, looking for 1:30:16.600 --> 1:30:19.800 little pieces. Raggedy Man might show up sometimes be writing 1:30:19.880 --> 1:30:20.479 violence for him. 1:30:20.720 --> 1:30:25.839 You mentioned like those record conventions, like for our listeners, 1:30:26.640 --> 1:30:32.280 by our listeners, I mean me describe. That's one thing 1:30:32.320 --> 1:30:35.679 I never got to do because like just the whole 1:30:35.880 --> 1:30:42.280 like where a bunch of hotel hotel record vendors rnt 1:30:42.320 --> 1:30:47.040 out of a ballroom and you like, who's the first 1:30:47.080 --> 1:30:49.639 in line, like who's basically been outside? 1:30:49.680 --> 1:30:55.120 Who's yeah, really happened? What was really happened? With the 1:30:55.160 --> 1:30:58.040 record conventions. It was great because we found out before that. 1:30:58.439 --> 1:31:01.000 Sometimes we would get together and you know, go shopping, 1:31:01.240 --> 1:31:04.040 go to Princeton, go to a one. You know, me 1:31:04.120 --> 1:31:07.280 and Rashon might go here, or me and Lynn Funk 1:31:07.400 --> 1:31:09.320 was my boy. So we would always go to different places. 1:31:09.320 --> 1:31:11.280 A lot of us kind of met and downstairs at 1:31:11.320 --> 1:31:14.120 different points, and some of them actually worked there. Trouble 1:31:14.200 --> 1:31:16.040 that worked in downstairs still works for me now. It's 1:31:16.080 --> 1:31:18.679 my studio manager in Miami. Like different people would be around. 1:31:19.080 --> 1:31:23.000 But with the record convention, basically we discovered this place. 1:31:23.080 --> 1:31:26.320 I don't know who've discovered it first, but where all 1:31:26.360 --> 1:31:28.400 these people would come and sell rare records, but of 1:31:28.479 --> 1:31:30.280 course they knew that they were rare, and they were 1:31:30.320 --> 1:31:32.760 kind of playing the game. And there were certain people 1:31:32.920 --> 1:31:35.400 who would actually go to some of the vendors before 1:31:35.479 --> 1:31:38.280 the day of the record convention and try to buy 1:31:38.439 --> 1:31:40.800 whatever the key stuff was or already have DIBs on it. 1:31:41.160 --> 1:31:43.200 So t Ray would do that with certain people. It 1:31:43.320 --> 1:31:46.640 was a guy Gary from Connecticut that would have certain records, like, 1:31:47.600 --> 1:31:48.960 so Gary would be doing stuff. 1:31:49.600 --> 1:31:50.439 There was just certain people. 1:31:50.520 --> 1:31:53.000 You know, Bob Gibson from Boston would have a lot 1:31:53.040 --> 1:31:54.800 of records, so I would always be dealing with him 1:31:54.840 --> 1:31:56.640 and sometimes he would send me like a box of 1:31:56.680 --> 1:31:58.360 records and let me pick what I want and send 1:31:58.439 --> 1:31:59.040 the rest back. 1:32:00.520 --> 1:32:03.160 Yeah, Crust System somewhat. 1:32:03.439 --> 1:32:06.920 He probably got burned a couple of times, but you know, 1:32:07.479 --> 1:32:10.640 things happened, you know, But but in general that was 1:32:10.760 --> 1:32:12.360 kind of like the energy of it. But at the 1:32:12.400 --> 1:32:14.840 record convention, just off the top of my head, who's there, 1:32:15.000 --> 1:32:19.439 like Pete Rock, Q Tip uh Primi will pop up 1:32:19.520 --> 1:32:26.280 sometimes Juju from beating nuts less sometimes Uh t Ray, Prince, 1:32:26.400 --> 1:32:31.920 b Craig Caleman, of course who else would be there 1:32:32.880 --> 1:32:36.000 just Breakhas you know, most of Buck Wow Finesse. 1:32:37.439 --> 1:32:37.679 Show. 1:32:37.920 --> 1:32:40.880 Sometimes Diamond would definitely be there with Shaw to be there. 1:32:41.120 --> 1:32:41.760 When did it start? 1:32:41.800 --> 1:32:44.640 When did it start to get ugly? Like I I 1:32:44.760 --> 1:32:46.439 came up in a time in which, like you know, 1:32:46.840 --> 1:32:52.880 Pete would allegedly and I'm winking, you know, b rate 1:32:53.040 --> 1:32:55.160 certain dealers for giving records out or you. 1:32:55.160 --> 1:32:59.080 Know, yeah that bis records, And I mean certain times 1:32:59.080 --> 1:33:01.600 because people didn't like the fact that you would go 1:33:01.760 --> 1:33:03.880 and try to buy something that's exclusive and then you're 1:33:03.880 --> 1:33:05.439 giving it to three other people who are in the 1:33:05.479 --> 1:33:08.320 same business as you making beats. So if somebody had 1:33:08.400 --> 1:33:10.160 something and I found this singing, I asked him to 1:33:10.200 --> 1:33:11.880 find this record for me, but then he found two 1:33:11.920 --> 1:33:14.240 copies and sold to somebody else just like me. And 1:33:14.360 --> 1:33:15.880 at that time, you know, I might go there and 1:33:16.000 --> 1:33:19.400 spend two thousand dollars on records three thousand, and my 1:33:19.520 --> 1:33:21.720 dad would be like, Looper Vandros, what are you doing? 1:33:22.479 --> 1:33:26.400 Like why are you doing this? Why won't you actually 1:33:26.640 --> 1:33:30.200 play some music? And I'd be like, uh, well, if 1:33:30.240 --> 1:33:32.360 I sell this one beat, I just made ten, so 1:33:32.479 --> 1:33:35.200 why are you complaining like I made ten or fifteen? 1:33:35.520 --> 1:33:38.320 This is just part of the craft, you know, but 1:33:38.880 --> 1:33:41.080 in general that whole space, you know, it just got 1:33:41.160 --> 1:33:42.439 ugly after a while because it was just too many 1:33:42.479 --> 1:33:43.559 people looking in the same space. 1:33:43.680 --> 1:33:46.439 So was it like, was it a breathless race of 1:33:46.479 --> 1:33:50.800 the finish if you found like a certain many Alexander record. 1:33:50.600 --> 1:33:51.519 Or that sort of thing. 1:33:51.640 --> 1:33:54.000 It was just elbows and too many people because now 1:33:54.120 --> 1:33:55.800 you were going to I think certain people like Tip 1:33:55.880 --> 1:33:58.600 and Premier just stopped going because they didn't want to 1:33:58.640 --> 1:34:01.679 go shop and wear everybody else was and it became 1:34:01.880 --> 1:34:03.719 too much. You know, after a while, it's like Christmas. 1:34:03.760 --> 1:34:05.640 You felt like everybody's getting you because they know that 1:34:05.720 --> 1:34:07.360 they can get you, and they want you to spend 1:34:07.439 --> 1:34:09.639 more money. And you know, of course you had Prince 1:34:09.680 --> 1:34:12.599 b would be there buying, you know, paying top top dollar, 1:34:12.680 --> 1:34:15.519 coming there walking out with three big bags before some 1:34:15.560 --> 1:34:18.160 people would even get there. And then they started letting 1:34:18.240 --> 1:34:20.760 some people in early and become favoritism, you know, just 1:34:20.840 --> 1:34:23.160 like a club to turn into bottle service table and 1:34:23.240 --> 1:34:26.400 everything else. Hey what about the music, you know what 1:34:26.439 --> 1:34:28.400 I'm saying. So it just became a little bit of that. 1:34:28.560 --> 1:34:31.320 But I kind of faded off her after a while. 1:34:31.439 --> 1:34:33.840 It was cool, but I faded off it because I 1:34:33.880 --> 1:34:37.040 preferred so you know, the beginning of the up years, 1:34:37.080 --> 1:34:39.240 it was a dollar bend records Like it's like, I'm 1:34:39.320 --> 1:34:41.280 just trying to get something that's right. And I started 1:34:41.360 --> 1:34:44.360 playing a lot more and that kind of switched a 1:34:44.360 --> 1:34:46.840 little bit of my perspective on it. But once again, 1:34:46.920 --> 1:34:49.320 it was a good resource and the exercise to have 1:34:49.840 --> 1:34:52.240 because you go there and you know, you see everybody 1:34:52.320 --> 1:34:55.280 on a Sunday morning. Some people breath was definitely humming, 1:34:55.840 --> 1:34:58.920 some drive spit around their mouth. We know who they are, 1:35:00.120 --> 1:35:01.800 you know. It was just like that type of energy. 1:35:02.320 --> 1:35:04.639 But you know, it was a great hip hop space, 1:35:04.680 --> 1:35:07.000 you know, after we didn't have the break beats and 1:35:07.080 --> 1:35:11.040 certain things giving us a whole lot of automatic breaks. 1:35:11.160 --> 1:35:13.920 It was just a great place to be and camaraderie. 1:35:13.920 --> 1:35:15.640 You know, I remember Diamond being a yo. You can 1:35:15.680 --> 1:35:18.040 introduce me to the Fuji's, you know. 1:35:19.920 --> 1:35:20.880 That's how that happened. 1:35:21.000 --> 1:35:25.400 Yea, who's the mastermind behind the score? Like because there 1:35:25.439 --> 1:35:27.080 were so many producers like who gets the. 1:35:29.320 --> 1:35:32.920 I Well, basically the fujis as an element. 1:35:33.360 --> 1:35:34.120 I'm clear that. 1:35:37.240 --> 1:35:41.520 Lauren is soul to the max, wy Clef is eclectic 1:35:42.840 --> 1:35:45.040 and that's what he's still if you look at you know, 1:35:45.400 --> 1:35:46.680 just their voices and what they do. 1:35:46.800 --> 1:35:47.640 They continue to be that. 1:35:48.000 --> 1:35:51.479 But Pros was the popper if you look at the score. 1:35:52.439 --> 1:35:54.360 If you look at the score, it says executive producer 1:35:54.439 --> 1:35:59.400 Pros co executive producers wy Clef and Lauren Proz has the. 1:36:00.080 --> 1:36:02.120 The Beasts not loud enough. What's the hook? I don't 1:36:02.120 --> 1:36:03.280 get it? You know. 1:36:03.800 --> 1:36:06.920 Just Staying Alive was produced by Plas I mean on 1:36:07.240 --> 1:36:11.599 on why Clep's Carnival, Pros Dick Guatana Mayor and Staying Alive. 1:36:12.080 --> 1:36:13.680 The rest of the album was pretty much done, but 1:36:13.760 --> 1:36:15.960 it was like we need singles. That was Proz going, Yo, 1:36:16.600 --> 1:36:18.760 I need to put something together that's actually gonna stick 1:36:18.800 --> 1:36:21.240 this together. Then you know later on his Ghetto Superstar Records, 1:36:21.280 --> 1:36:24.639 that's him, that's his air of certain types of records 1:36:24.680 --> 1:36:27.360 in the middle. Even though why Cleff is more hands on, 1:36:27.600 --> 1:36:30.160 talented and has other things to it, his heir was 1:36:30.240 --> 1:36:32.800 the person that put it together. And then also a 1:36:32.840 --> 1:36:36.400 lot of the score was built around Fuji La which 1:36:36.479 --> 1:36:38.960 I did first. I was working on songs for Clockers 1:36:39.680 --> 1:36:42.479 and I did a song with the fujis that we 1:36:42.560 --> 1:36:44.840 have a song that never came out called Project Heads, 1:36:45.439 --> 1:36:48.920 and basically it was real jazzy and that type of 1:36:49.600 --> 1:36:51.040 Spike Lee in my mind zone. 1:36:51.439 --> 1:36:54.400 But Spike didn't want to use it really. 1:36:54.479 --> 1:36:58.360 And then during that session, why Clef, Lauren's like, play 1:36:58.400 --> 1:37:00.599 the fat joby, play the beat, you different Joe because 1:37:00.600 --> 1:37:04.280 I made the foolgielyot beat for Fat Joe. At Joe 1:37:05.120 --> 1:37:07.040 came to the crib, He's like, you keep giving them 1:37:07.080 --> 1:37:09.800 the beats. He it ain't damns the beat, it's the beat. 1:37:09.920 --> 1:37:13.479 So Fat Joe and Chris Lightdy came to my apartment. 1:37:13.600 --> 1:37:15.360 I was like, all right, cool, it's Tuesday. Come back 1:37:15.400 --> 1:37:19.479 on Friday. Joe comes back by hisself with another dude, 1:37:19.560 --> 1:37:21.320 Chris is and with him He's like, I don't know 1:37:21.360 --> 1:37:23.160 what see the fat or it's not fat at all? 1:37:23.240 --> 1:37:25.960 I can't tell. Lauren comes by. 1:37:26.280 --> 1:37:28.639 I'm playing them some beats, the beat that I use 1:37:28.720 --> 1:37:31.400 for Greg Naxon's let's take it back to the whole school. 1:37:31.760 --> 1:37:34.800 Let's take so the actual record is what I wanted 1:37:34.800 --> 1:37:36.200 to get. The foodie She's like, it sounds like we 1:37:36.240 --> 1:37:38.040 did it already. It sounds kind of try we did 1:37:38.120 --> 1:37:40.840 that already. That sounds like Nappy has is so then 1:37:40.920 --> 1:37:43.320 the next beat comes on in this Fuji line, She's like, 1:37:43.360 --> 1:37:44.320 see that's what I'm talking about. 1:37:44.360 --> 1:37:45.000 That's disgusting. 1:37:45.080 --> 1:37:47.800 So during that session for the Project Heads record, she 1:37:47.880 --> 1:37:49.160 was like, yo, play the Fat Joe beat. 1:37:49.800 --> 1:37:51.599 I'll play it. And then. 1:37:53.800 --> 1:37:56.080 Cleft jumps up we used to be number ten and 1:37:56.160 --> 1:37:59.439 spits his verse. Wow, and it was just like that 1:37:59.560 --> 1:38:01.800 was a moment, all right, cool, so you know what, 1:38:01.880 --> 1:38:03.800 we need to record that. So before they even really 1:38:03.840 --> 1:38:06.400 had the budget for the score, I had a studio. 1:38:06.800 --> 1:38:10.400 They came back and we finished recording Fujila. They got 1:38:10.479 --> 1:38:12.519 their second budget open. And then if you listen to 1:38:12.600 --> 1:38:16.160 how Cowboys sounds, which I think Forte did Cowboys or 1:38:16.160 --> 1:38:18.439 a co producer whatever, a lot of the records were 1:38:18.479 --> 1:38:21.920 made to kind of fit around the eclectic sound. The 1:38:21.960 --> 1:38:24.920 eclectic sound of what other records did you do on 1:38:24.960 --> 1:38:27.680 the score? I can't, It was just Fuji. So, I 1:38:27.720 --> 1:38:29.080 mean they ran out of the budget to pay me. 1:38:29.240 --> 1:38:31.799 So basically they took their budget and got their equipment. 1:38:32.360 --> 1:38:34.120 I told them the story, Oh my dad did it. 1:38:34.160 --> 1:38:35.880 You know, It's like go to the music store, Yo, 1:38:36.040 --> 1:38:37.600 I got this. I'm gonna give you this much in 1:38:37.680 --> 1:38:39.840 this many days we're gonna get this budget, and they 1:38:40.000 --> 1:38:42.360 used it to buy the MCI board, put it in 1:38:42.400 --> 1:38:44.920 the booget basement, did all their pieces recorded whatever it 1:38:45.080 --> 1:38:48.400 was there, hired Warree Reker to do what it needed 1:38:48.880 --> 1:38:51.519 to be, and then you know, Sean King did how 1:38:51.600 --> 1:38:53.840 many mics in a couple of beasts. Jerry was of 1:38:53.960 --> 1:38:57.240 course getting his chops on, playing bass, putting stuff together 1:38:57.479 --> 1:39:00.240 and then even Killing Me Softly, which Lauren originally wanted 1:39:00.280 --> 1:39:03.479 me to do her solo record for the album. Pro 1:39:03.760 --> 1:39:07.720 called me and said, Yo, you know the. 1:39:07.760 --> 1:39:11.160 Record Killing Me Softly? Who was gonna do that record? 1:39:11.880 --> 1:39:19.679 How would you do that? Yeah? 1:39:19.680 --> 1:39:22.439 I probably do kind of like flip flipped like the 1:39:22.439 --> 1:39:24.320 Apple bomb. Oh that's the same thing I was thinking. 1:39:24.360 --> 1:39:34.439 I call you right, yo, I know what happens, Yo, 1:39:34.560 --> 1:39:35.160 what's that record? 1:39:35.400 --> 1:39:35.639 Apple? 1:39:35.800 --> 1:39:37.080 I got an idea, I got an idea. I know 1:39:37.800 --> 1:39:38.920 you just said that Yo, this and that. 1:39:39.000 --> 1:39:42.120 Then if you listen to Killing Me Softly, the beat, 1:39:42.439 --> 1:39:46.639 the baseline on it is just like nappy Heads, boom boom, boom, 1:39:46.880 --> 1:39:51.720 boom boom. I never said something on nappy Heads. The 1:39:51.880 --> 1:39:53.280 bass notes are like the. 1:39:57.320 --> 1:40:00.600 The and. 1:40:02.360 --> 1:40:06.880 So it's boom boom boom. If you took that boom 1:40:07.560 --> 1:40:09.919 and unfiltered it. You hit typical drastic. 1:40:11.000 --> 1:40:24.160 No, no, what, it's super yo, and it's just filtered 1:40:24.400 --> 1:40:25.120 like a motherfucker. 1:40:25.360 --> 1:40:27.559 Yeah, because I don't know somehow, I don't know how 1:40:27.560 --> 1:40:30.160 I ended up having that, but I ended up having 1:40:30.200 --> 1:40:33.280 it and the piece and I actually just filtered. Well, 1:40:33.280 --> 1:40:35.360 I think I mighty just recorded it with just the 1:40:35.439 --> 1:40:35.880 base up. 1:40:36.280 --> 1:40:43.679 But that is fun. It gets drastic, you bastard. 1:40:45.680 --> 1:40:47.840 So you know that's so Killing me Softly is basically 1:40:47.880 --> 1:40:48.400 a copy of. 1:40:48.439 --> 1:40:53.680 That in hindsight, and you know, part family member and 1:40:53.720 --> 1:41:00.519 part outside of looking at whatever. Do you think that 1:41:00.720 --> 1:41:07.080 after eighteen million copies of that album sold, did it 1:41:08.240 --> 1:41:09.519 serve them well or not? 1:41:12.080 --> 1:41:14.639 H ah? 1:41:15.040 --> 1:41:17.559 Sorry to interrupt you, but you know to hear Salam's 1:41:17.560 --> 1:41:20.280 answer to that question. Tune in next week for Part two, 1:41:20.680 --> 1:41:23.840 West Love Supreme Minities just aalt Remen. We'll also talk 1:41:23.960 --> 1:41:26.600 more about nas Amy, White House, Cannabis. 1:41:26.320 --> 1:41:29.080 And much much more. All Right, see you next time. 1:41:30.240 --> 1:41:33.960 West Love Supreme is a production of iHeartRadio. This classic 1:41:34.040 --> 1:41:39.040 episode was produced by the team at Pandora. For more 1:41:39.080 --> 1:41:43.560 podcasts from iHeartRadio, visit the iHeartRadio app Apple Podcasts or 1:41:43.600 --> 1:41:45.200 wherever you listen to your favorite shows,