1
00:00:00,320 --> 00:00:04,080
Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

2
00:00:04,120 --> 00:00:06,880
Speaker 1: episode was produced by the team at Pandora.

3
00:00:09,000 --> 00:00:09,480
Speaker 2: What up, y'all?

4
00:00:09,520 --> 00:00:11,760
Speaker 3: It's unpaid bill from Questlove Supreme. As you may have

5
00:00:11,800 --> 00:00:14,120
Speaker 3: seen throughout June, we are celebrating Black Music Month by

6
00:00:14,160 --> 00:00:16,680
Speaker 3: releasing an episode every day, So every day you either

7
00:00:16,720 --> 00:00:19,639
Speaker 3: here especially picked QLs Classic, and on Wednesdays we are

8
00:00:19,680 --> 00:00:23,000
Speaker 3: dropping new two part episodes Wayne Brady and the legendary

9
00:00:23,079 --> 00:00:26,400
Speaker 3: James Poyser, both of which were filmed in studio. Black

10
00:00:26,520 --> 00:00:28,160
Speaker 3: music is deeply important to me and has been an

11
00:00:28,160 --> 00:00:31,040
Speaker 3: influence throughout my entire career. It's also something to celebrating

12
00:00:31,040 --> 00:00:34,080
Speaker 3: here at QLs. DJ Quick joined QLs for an early

13
00:00:34,080 --> 00:00:37,479
Speaker 3: twenty nineteen episode. Quick is as charismatic as he is

14
00:00:37,520 --> 00:00:40,120
Speaker 3: funk in his conversation covering his career growth and passion

15
00:00:40,159 --> 00:00:43,440
Speaker 3: for music. Also look out for Quick's latest album, Chupacabra,

16
00:00:43,560 --> 00:00:44,720
Speaker 3: which is releasing this month.

17
00:00:53,640 --> 00:01:02,680
Speaker 4: Suprema Suprema roh Cal supremea my role called Suprema Suck

18
00:01:02,920 --> 00:01:05,240
Speaker 4: Suck Subprema roll called.

19
00:01:05,360 --> 00:01:10,000
Speaker 5: Suprema Suck Suck Supremo roll call production.

20
00:01:10,440 --> 00:01:15,200
Speaker 6: Yeah greater than Yeah Andrew Young, Yeah.

21
00:01:15,680 --> 00:01:16,280
Speaker 2: I said it.

22
00:01:17,360 --> 00:01:23,800
Speaker 5: Supreme s something Suprema, role called Suprema South South Suprema

23
00:01:24,040 --> 00:01:24,600
Speaker 5: role call.

24
00:01:24,760 --> 00:01:28,559
Speaker 7: My name is Fante Yeah, and y'all might disagree. Yeah,

25
00:01:28,680 --> 00:01:31,720
Speaker 7: but my favorite quicks groove Yeah number.

26
00:01:33,280 --> 00:01:40,200
Speaker 5: Supreme up Sun something Supreme A, roll call subpremeau soun Supreme.

27
00:01:40,000 --> 00:01:55,240
Speaker 8: Roll calm sweet yeah, black, yeah, pussy Yeah.

28
00:01:50,240 --> 00:01:56,800
Speaker 5: Some SUPREMEA roll call Supreme Sun, Suprema.

29
00:01:55,960 --> 00:01:59,120
Speaker 7: Roll call my name Boss Bill. Yeah, and I'm no

30
00:01:59,360 --> 00:02:03,760
Speaker 7: donkey yeah because I know quick. Yeah, it's way too funky.

31
00:02:04,040 --> 00:02:10,280
Speaker 4: Roll call Supreme some something Supremo, roll call Suprema Son

32
00:02:10,520 --> 00:02:12,239
Speaker 4: Son Subpremo.

33
00:02:11,840 --> 00:02:12,600
Speaker 2: Roll call.

34
00:02:14,040 --> 00:02:15,560
Speaker 9: Yeah, and I'm in his town.

35
00:02:16,080 --> 00:02:19,239
Speaker 2: Yeah, that's DJ quick. Yeah, can we get that?

36
00:02:19,960 --> 00:02:27,639
Speaker 10: Roll call Supremo Supremo, roll call Supremo something something Suprema

37
00:02:27,880 --> 00:02:28,440
Speaker 10: roll call.

38
00:02:28,560 --> 00:02:32,639
Speaker 2: I ain't no joke. Yeah, sometimes I'm funny. Yeah. When

39
00:02:32,639 --> 00:02:34,919
Speaker 2: I'm a pimp, I make records like yeah, bitch, better

40
00:02:35,000 --> 00:02:35,680
Speaker 2: have my money.

41
00:02:35,960 --> 00:02:44,040
Speaker 10: Roll call Supreme Suprema, roll call Supremo something Supremo, roll

42
00:02:45,040 --> 00:02:52,680
Speaker 10: Suprema something something Supremo, roll call Suprema Son Suprema.

43
00:02:51,800 --> 00:03:00,200
Speaker 7: Roll call suck and Steve with the mic dropping you

44
00:03:00,280 --> 00:03:03,239
Speaker 7: just want to stay black. I want to say I

45
00:03:03,400 --> 00:03:05,720
Speaker 7: had that album and I had to listen to it

46
00:03:06,080 --> 00:03:06,680
Speaker 7: very quiet.

47
00:03:08,520 --> 00:03:10,160
Speaker 2: Yeah, moms, did you ever.

48
00:03:11,680 --> 00:03:13,959
Speaker 7: Quick punishment? I didn't have a quick didn't get me

49
00:03:14,000 --> 00:03:15,880
Speaker 7: in trouble. I'm surprised, but.

50
00:03:18,480 --> 00:03:21,359
Speaker 11: Yeah, because my mama loved Tonight like she loved Tonight,

51
00:03:21,840 --> 00:03:26,560
Speaker 11: Like man, if the record Tonight, Man, my mama loved Tonight.

52
00:03:27,480 --> 00:03:29,560
Speaker 2: Oh man, yeah, she loved Tonight.

53
00:03:29,680 --> 00:03:32,799
Speaker 11: But like so I bought the tape and I let

54
00:03:32,880 --> 00:03:35,600
Speaker 11: her just Tonight was the only thing she heard me

55
00:03:35,680 --> 00:03:38,600
Speaker 11: play because the first everything rest.

56
00:03:38,720 --> 00:03:40,360
Speaker 6: Oh yeah, I blame Sweet Black.

57
00:03:40,520 --> 00:03:43,840
Speaker 2: That was real low. I'm like, oh my god, Well

58
00:03:43,840 --> 00:03:47,600
Speaker 2: I'll be able to go nowhere. You know what's funny

59
00:03:47,600 --> 00:03:49,760
Speaker 2: about that record? Man, I wasn't gonna do an album.

60
00:03:49,960 --> 00:03:53,520
Speaker 2: I was producing this group called the House. Yeah, but

61
00:03:53,680 --> 00:03:57,600
Speaker 2: they were so righteous and so like hardcore. It was like,

62
00:03:57,760 --> 00:03:59,320
Speaker 2: you know, people want to party to like, let's do

63
00:03:59,400 --> 00:04:01,000
Speaker 2: a couple of party records. So when I would like,

64
00:04:01,640 --> 00:04:03,800
Speaker 2: you know, I was just the producers like players, stay

65
00:04:03,840 --> 00:04:10,240
Speaker 2: in your place, just do the beats, We'll handle the lyrics, right,

66
00:04:10,400 --> 00:04:12,520
Speaker 2: I'm like, hey, cool man. So you know, he had

67
00:04:12,560 --> 00:04:18,400
Speaker 2: these big records, words like pestilence, and you know, it's

68
00:04:18,520 --> 00:04:20,480
Speaker 2: like I don't know, you know, I was like, man,

69
00:04:20,520 --> 00:04:24,920
Speaker 2: can we talk about eight ball? Like, so they did

70
00:04:24,960 --> 00:04:28,080
Speaker 2: a classic thing too, right? Yeah? Yeah, that sh it

71
00:04:28,240 --> 00:04:31,160
Speaker 2: was hot. Hey man, we flipped it right? Was that

72
00:04:31,440 --> 00:04:33,440
Speaker 2: was the good old days when the record companies used

73
00:04:33,440 --> 00:04:37,400
Speaker 2: to do pos send your check and you just going

74
00:04:37,440 --> 00:04:39,840
Speaker 2: to the studio where But yeah, man, it was that

75
00:04:39,960 --> 00:04:42,200
Speaker 2: was out of necessity that I did those records.

76
00:04:42,320 --> 00:04:48,640
Speaker 12: By the way, ladies and gentlemen, and we have one

77
00:04:48,680 --> 00:04:51,599
Speaker 12: of the greatest ever in the studio with us DJ Quick.

78
00:04:51,680 --> 00:04:55,880
Speaker 6: Anyway, I'm not doing any long support.

79
00:04:58,279 --> 00:05:03,680
Speaker 11: Man, d if when I wish this from day one, bro, Seriously, Okay,

80
00:05:04,160 --> 00:05:06,400
Speaker 11: I was gonna cut the superlatives down.

81
00:05:06,240 --> 00:05:07,080
Speaker 2: And all that stuff.

82
00:05:07,680 --> 00:05:15,040
Speaker 12: But wait, what was the word you were pests? Yeahatilist down. No,

83
00:05:15,400 --> 00:05:20,680
Speaker 12: but I will say that, uh, I mean, this is

84
00:05:20,760 --> 00:05:23,000
Speaker 12: beyond slept on because I don't even think it's slept

85
00:05:23,040 --> 00:05:23,880
Speaker 12: on because people.

86
00:05:23,720 --> 00:05:26,240
Speaker 2: Know, like if you know, you know, if you know

87
00:05:26,360 --> 00:05:32,080
Speaker 2: you know. But for me, I don't know any.

88
00:05:32,000 --> 00:05:38,000
Speaker 12: Producer this consistent with quality like far in their career.

89
00:05:39,160 --> 00:05:42,000
Speaker 12: I believe that Quick produces and makes records like it's

90
00:05:42,080 --> 00:05:46,160
Speaker 12: his first album, Like you can tell he actually still

91
00:05:46,279 --> 00:05:49,800
Speaker 12: cares about the quality product because usually like after the

92
00:05:50,480 --> 00:05:53,159
Speaker 12: I mean forget rappers with like the fourth and fifth

93
00:05:53,200 --> 00:05:55,240
Speaker 12: album usually by like the seventh or eighth, like they

94
00:05:55,480 --> 00:05:58,920
Speaker 12: you know, start to wane off or whatever, or they

95
00:05:59,240 --> 00:06:01,840
Speaker 12: rely on someone else's swag.

96
00:06:02,160 --> 00:06:02,400
Speaker 2: Yeah.

97
00:06:02,560 --> 00:06:07,480
Speaker 12: Yeah, and I have to say, like it is, it

98
00:06:07,640 --> 00:06:15,160
Speaker 12: is criminally uh insane to me that his name does.

99
00:06:15,120 --> 00:06:15,680
Speaker 2: Not come up.

100
00:06:16,040 --> 00:06:20,800
Speaker 12: I agree, great yeah and yeah and in his production game,

101
00:06:20,880 --> 00:06:27,560
Speaker 12: his patches, his chord structures, his production is everything, you know.

102
00:06:27,560 --> 00:06:27,880
Speaker 2: What I mean.

103
00:06:28,040 --> 00:06:30,119
Speaker 7: Look, I don't know many rappers that have had songs

104
00:06:30,200 --> 00:06:33,159
Speaker 7: with like entire fucking full string sections.

105
00:06:33,440 --> 00:06:37,720
Speaker 2: Like nobody does that, man, no one does. Nobody does that,

106
00:06:37,880 --> 00:06:40,840
Speaker 2: but quick, so thank you for it. I appreciate it.

107
00:06:41,080 --> 00:06:43,960
Speaker 12: I mean, I know I know people that are who

108
00:06:44,040 --> 00:06:47,240
Speaker 12: are underrated or whatever, who are under praised or whatever,

109
00:06:47,920 --> 00:06:50,120
Speaker 12: get tired of answering the question like how does it

110
00:06:50,160 --> 00:06:52,839
Speaker 12: feel to be under you know, like Tarik K's that question.

111
00:06:52,800 --> 00:06:58,080
Speaker 2: Like, but does it frustrate you?

112
00:06:58,200 --> 00:07:01,840
Speaker 12: Had all that it it did that people don't recognize

113
00:07:01,920 --> 00:07:04,440
Speaker 12: or when listener made like it.

114
00:07:04,560 --> 00:07:10,440
Speaker 2: Did, But now it's like I didn't. I kicked my

115
00:07:10,520 --> 00:07:12,680
Speaker 2: care out the window, like don't. I don't look for

116
00:07:12,760 --> 00:07:14,920
Speaker 2: that no more because I realized you have to have

117
00:07:15,120 --> 00:07:17,720
Speaker 2: like a Philip Drummond, like Dre had with you know,

118
00:07:17,840 --> 00:07:20,240
Speaker 2: Jimmy Ivan. You got to have the big daddy Warbucks

119
00:07:20,280 --> 00:07:22,480
Speaker 2: who will just keep throwing money at you whether you

120
00:07:22,800 --> 00:07:25,480
Speaker 2: win or lose, whether you're you know, succeeding or failing,

121
00:07:25,800 --> 00:07:27,720
Speaker 2: and who will take the losses with you. I never

122
00:07:27,840 --> 00:07:30,520
Speaker 2: had that person to invest, so I ended up having

123
00:07:30,560 --> 00:07:32,720
Speaker 2: to be independent and do it myself. And I just

124
00:07:32,840 --> 00:07:35,960
Speaker 2: refused to pay somebody to say good things about me

125
00:07:36,000 --> 00:07:38,560
Speaker 2: in the media's like or you know, quick, it's going

126
00:07:38,600 --> 00:07:40,240
Speaker 2: to be you know, here or there. I'll tell you

127
00:07:40,360 --> 00:07:43,040
Speaker 2: one one good thing though, and this is most recent.

128
00:07:43,520 --> 00:07:45,559
Speaker 2: This is how I know I'm not that underrated, because

129
00:07:45,760 --> 00:07:48,840
Speaker 2: the Jackson estate has been inviting me to really important

130
00:07:48,880 --> 00:07:52,160
Speaker 2: things lately, really like I went to Joe Jackson's memorial

131
00:07:52,800 --> 00:07:57,160
Speaker 2: and invited to Michael Jackson's sixtieth birthday party tomorrow at

132
00:07:57,240 --> 00:08:01,320
Speaker 2: Mandalay Bay, you know, per the Jackson Estates. Evidently I'm

133
00:08:01,320 --> 00:08:02,360
Speaker 2: you know, and I got a chance to talk to

134
00:08:02,480 --> 00:08:06,240
Speaker 2: Janet at the memorial and whatnot. Too yeah for you

135
00:08:06,320 --> 00:08:08,920
Speaker 2: to offer you Jimmy James Terry was hired me for that,

136
00:08:09,320 --> 00:08:10,960
Speaker 2: and I've hung out with some of the best people

137
00:08:11,080 --> 00:08:14,400
Speaker 2: like you know, uh, Jimmy James, Terry Lewis and pretty

138
00:08:14,480 --> 00:08:16,640
Speaker 2: much all of the time. Jesse Johnson is one of

139
00:08:16,680 --> 00:08:18,640
Speaker 2: my favorite people. We had him on the show recently.

140
00:08:18,680 --> 00:08:21,400
Speaker 2: I love Jesse. He's one of the greatest guitar players ever,

141
00:08:21,560 --> 00:08:26,080
Speaker 2: like he you know, you know, Quincy Jones. I've been

142
00:08:26,120 --> 00:08:28,600
Speaker 2: in the studio with you know, super great Colin Powell

143
00:08:28,720 --> 00:08:33,079
Speaker 2: even wow, you know, not that studio. I've been in

144
00:08:33,160 --> 00:08:37,640
Speaker 2: like a meeting. It was it was he was supposed

145
00:08:37,640 --> 00:08:40,640
Speaker 2: to be the first black president. But anyway, like when

146
00:08:40,679 --> 00:08:43,319
Speaker 2: I realized that I'm in the room with Colin Powell

147
00:08:43,440 --> 00:08:47,199
Speaker 2: and doctor Dre and Quincy Jones and Russell Simmons and

148
00:08:47,280 --> 00:08:50,079
Speaker 2: Sugar all at the same time, It's like I'm supposed

149
00:08:50,080 --> 00:08:52,120
Speaker 2: to be there, So I'm cool. I mean, you know,

150
00:08:52,320 --> 00:08:54,480
Speaker 2: maybe maybe I don't put the pomp poms up and

151
00:08:54,600 --> 00:08:57,280
Speaker 2: cheer enough of myself, but to me, like question, you know,

152
00:08:57,320 --> 00:09:00,199
Speaker 2: I'm still in the studio with buying new knee testsy

153
00:09:00,240 --> 00:09:03,240
Speaker 2: threes and teaching my guys how to record you know,

154
00:09:03,679 --> 00:09:06,880
Speaker 2: real analog and get a big sound that doesn't die,

155
00:09:07,160 --> 00:09:09,319
Speaker 2: you know what I mean, that doesn't date. That's where

156
00:09:09,320 --> 00:09:11,360
Speaker 2: I'm at with it all right, So.

157
00:09:13,200 --> 00:09:18,440
Speaker 12: For the one person out there that's listening to our podcast,

158
00:09:18,520 --> 00:09:20,199
Speaker 12: could you tell our audience.

159
00:09:19,920 --> 00:09:21,360
Speaker 2: Where were you born and raised?

160
00:09:24,960 --> 00:09:27,120
Speaker 6: This is the first question I always asked, Where were

161
00:09:27,160 --> 00:09:27,800
Speaker 6: you born and raised?

162
00:09:27,840 --> 00:09:29,679
Speaker 2: I was born. I was born in l A. But

163
00:09:29,840 --> 00:09:31,480
Speaker 2: we moved to Compton when I was five years old,

164
00:09:31,520 --> 00:09:34,000
Speaker 2: so I was technically raised in Compton, but I was

165
00:09:34,080 --> 00:09:35,000
Speaker 2: born in l A.

166
00:09:35,840 --> 00:09:40,320
Speaker 6: Okay, you know what were your What was your childhood

167
00:09:40,360 --> 00:09:41,280
Speaker 6: introduction to music?

168
00:09:41,840 --> 00:09:45,560
Speaker 2: Childhood introduction to music was my You know, I come

169
00:09:45,600 --> 00:09:48,600
Speaker 2: from a big family, like ten, eight sisters, one brother,

170
00:09:50,000 --> 00:09:55,480
Speaker 2: one of them kids. Where did you fall?

171
00:09:55,720 --> 00:09:59,480
Speaker 12: I'm the baby. I got all the you know, the

172
00:09:59,600 --> 00:10:01,959
Speaker 12: beast stuff like that. But no, you also got the

173
00:10:01,960 --> 00:10:04,160
Speaker 12: record collections. Yes I did, because I'm certain that the

174
00:10:04,240 --> 00:10:04,800
Speaker 12: trickle down.

175
00:10:05,000 --> 00:10:07,160
Speaker 2: Yeah, my sisters used to They used to have me

176
00:10:07,280 --> 00:10:10,559
Speaker 2: play their records for their boyfriends when they used to

177
00:10:10,600 --> 00:10:12,640
Speaker 2: come over, Like look what watch what he could do?

178
00:10:12,760 --> 00:10:15,120
Speaker 2: I couldn't even really talk. I was in diapers, but

179
00:10:15,240 --> 00:10:17,120
Speaker 2: I could go play Heaven must be like this off

180
00:10:17,160 --> 00:10:19,719
Speaker 2: the Ohio Players record because I knew it was on

181
00:10:19,920 --> 00:10:22,280
Speaker 2: this side of the record and it was this far in.

182
00:10:23,040 --> 00:10:25,880
Speaker 2: So I would drop needles and they loved it. Man,

183
00:10:25,880 --> 00:10:29,160
Speaker 2: I couldn't even really talk. You know. That was my thing.

184
00:10:29,240 --> 00:10:30,960
Speaker 2: And my mother, you know, she used to have us

185
00:10:30,960 --> 00:10:34,520
Speaker 2: listening to like the Impressions, Kurse Mayfield and Reatha Franklin

186
00:10:34,600 --> 00:10:38,120
Speaker 2: and you know all the you know Al Green all

187
00:10:38,160 --> 00:10:40,319
Speaker 2: that stuff. Like she was. She was heavy onto the

188
00:10:40,520 --> 00:10:43,760
Speaker 2: into soul funk and you know James Brown, R and

189
00:10:43,840 --> 00:10:47,480
Speaker 2: B all that stuff. Any of your other siblings musicians, Uh,

190
00:10:47,960 --> 00:10:50,800
Speaker 2: you know that my brother, my mother used to buy

191
00:10:50,880 --> 00:10:53,920
Speaker 2: him drum sets and he would just stab them with

192
00:10:54,040 --> 00:10:58,439
Speaker 2: the sticks. He was like I don't want to do this,

193
00:10:58,520 --> 00:11:00,320
Speaker 2: but I would get on him and do it. You did.

194
00:11:00,400 --> 00:11:05,079
Speaker 2: I played like a little quarter note beach. You know.

195
00:11:05,520 --> 00:11:07,679
Speaker 2: They was like it'd be like, get off some drums

196
00:11:07,679 --> 00:11:10,439
Speaker 2: and Perry drums. I was like, Perry's just trying to

197
00:11:10,559 --> 00:11:13,000
Speaker 2: destroy him, Like can I have them? No, get out

198
00:11:13,000 --> 00:11:14,599
Speaker 2: of here. It's like they didn't want to let me

199
00:11:14,640 --> 00:11:16,760
Speaker 2: shine with my music, but I found a way to

200
00:11:16,800 --> 00:11:17,360
Speaker 2: do it anyway.

201
00:11:17,480 --> 00:11:23,640
Speaker 12: Oh okay, So what was your record collection? Did you

202
00:11:24,120 --> 00:11:27,560
Speaker 12: somehow acquire your own or was it just like based on.

203
00:11:27,720 --> 00:11:31,520
Speaker 2: What I used to buy records. I started buying records

204
00:11:31,520 --> 00:11:33,760
Speaker 2: when I was like eight. You remember the first one

205
00:11:33,800 --> 00:11:38,640
Speaker 2: you caught. Your first record I bought was the forty

206
00:11:38,720 --> 00:11:45,360
Speaker 2: five of Chicks Lay Freak on Atlantic Records, Okay, and

207
00:11:45,480 --> 00:11:48,559
Speaker 2: it didn't stop. The second one I bought was around

208
00:11:48,559 --> 00:11:51,080
Speaker 2: the same time, was the forty five Not Just Needy

209
00:11:51,880 --> 00:11:57,240
Speaker 2: by Parliament Funkadelic, you know, and it started there then.

210
00:11:57,360 --> 00:12:00,120
Speaker 2: You know, that was before hip hop obviously, but I

211
00:12:00,280 --> 00:12:02,840
Speaker 2: was into all those records, like I'll buy Temptations records

212
00:12:02,920 --> 00:12:05,560
Speaker 2: and pretty much all the new black records that came out.

213
00:12:05,600 --> 00:12:08,520
Speaker 2: We had, you know, Compon had this small record record

214
00:12:08,600 --> 00:12:12,720
Speaker 2: store on Rosecrans and we used to go up there

215
00:12:12,720 --> 00:12:15,360
Speaker 2: and just you know, we used to buy records by sight,

216
00:12:15,679 --> 00:12:17,120
Speaker 2: you know what I mean, Like that looked like that's

217
00:12:17,160 --> 00:12:20,360
Speaker 2: a good record, the album cover by the album cover,

218
00:12:20,840 --> 00:12:23,240
Speaker 2: so you know them was the days and I collected.

219
00:12:23,280 --> 00:12:25,120
Speaker 2: I ended up That's how I ended up being a DJ.

220
00:12:25,240 --> 00:12:28,080
Speaker 2: I would by just keep buying records until I had

221
00:12:28,080 --> 00:12:29,280
Speaker 2: a bunch of records, you know.

222
00:12:29,559 --> 00:12:33,640
Speaker 12: So we even designated like black DJ or Backyard Party.

223
00:12:33,440 --> 00:12:36,480
Speaker 2: Absolutely bro we had you know, I grew up in

224
00:12:36,520 --> 00:12:39,760
Speaker 2: the Blood neighborhood, so all the crypt neighborhoods, them niggas

225
00:12:39,800 --> 00:12:41,599
Speaker 2: had the money, so we would go DJ some of

226
00:12:41,640 --> 00:12:44,040
Speaker 2: their parties and then get chased out of their neighborhood

227
00:12:44,040 --> 00:12:50,200
Speaker 2: when they realized that dangerous man. It was dangerous days

228
00:12:50,280 --> 00:12:52,800
Speaker 2: back then. We used to DJ and crip neighborhoods like

229
00:12:52,920 --> 00:12:56,439
Speaker 2: Palmer Block and you know mc nolly or whatever to

230
00:12:56,720 --> 00:12:59,080
Speaker 2: you know, because they had the money. And when they

231
00:12:59,160 --> 00:13:01,320
Speaker 2: realized who I was was like the neighborhood I was from,

232
00:13:01,400 --> 00:13:07,240
Speaker 2: they get the gathering around me looking crazy, even if

233
00:13:07,280 --> 00:13:10,240
Speaker 2: he was rocking the park, even if he was dat matters. Wow,

234
00:13:13,200 --> 00:13:15,040
Speaker 2: it was. It was weird back then. It's so territorial,

235
00:13:15,240 --> 00:13:18,000
Speaker 2: but the music transcended all that. It was crazy. So

236
00:13:18,240 --> 00:13:22,760
Speaker 2: how did how did you assuming that you play? How

237
00:13:22,800 --> 00:13:26,800
Speaker 2: many instruments do you play? I played piano, I play drums, percussion.

238
00:13:28,440 --> 00:13:30,080
Speaker 2: I just bought a violin, but I don't know if

239
00:13:30,080 --> 00:13:34,000
Speaker 2: I'm gonna get into that. I play, you know, just

240
00:13:34,080 --> 00:13:35,760
Speaker 2: bought a little you know, try it out, just to

241
00:13:35,800 --> 00:13:38,120
Speaker 2: see see if I could, you know, hold the bowl right.

242
00:13:38,200 --> 00:13:39,720
Speaker 6: And you know, you know what's weird.

243
00:13:41,480 --> 00:13:46,640
Speaker 12: I'm skipping to your record deal. But you know, one

244
00:13:46,720 --> 00:13:50,439
Speaker 12: that profile really pimped you out to be like the

245
00:13:50,520 --> 00:13:54,840
Speaker 12: Warming band. I mean, you're basically Prince aut this motherfucker

246
00:13:54,920 --> 00:13:59,760
Speaker 12: and hip hop. But why wasn't that even exploited.

247
00:14:00,320 --> 00:14:02,800
Speaker 2: Yeah, I don't know if if Jimmy what was his name,

248
00:14:03,160 --> 00:14:07,240
Speaker 2: Corey Arlins Steve, I don't know if Corey Corey was

249
00:14:07,320 --> 00:14:10,160
Speaker 2: just into the music, like at first he didn't get it.

250
00:14:10,320 --> 00:14:12,719
Speaker 2: It was really the Dave Masster h the A and

251
00:14:12,800 --> 00:14:14,560
Speaker 2: R man who signed me because he was based over

252
00:14:14,559 --> 00:14:16,960
Speaker 2: here on the West and he knew what my record

253
00:14:17,080 --> 00:14:18,880
Speaker 2: was in the streets because everybody was talking about it.

254
00:14:19,440 --> 00:14:21,720
Speaker 2: So he was the one who champion me getting that

255
00:14:21,840 --> 00:14:23,680
Speaker 2: deal and I got a big deal, million dollar deal

256
00:14:23,720 --> 00:14:27,480
Speaker 2: in all this good shit. But Corey was like, you know, hey,

257
00:14:27,600 --> 00:14:30,160
Speaker 2: you're selling records. Just keep doing what you're doing. You know,

258
00:14:30,360 --> 00:14:32,520
Speaker 2: you want to come see my apartment in Queen's you

259
00:14:32,560 --> 00:14:34,560
Speaker 2: know whatever they was in New York, you know, And

260
00:14:34,760 --> 00:14:38,080
Speaker 2: I hadn't been, so, I mean, they didn't exploit that,

261
00:14:38,240 --> 00:14:40,960
Speaker 2: and I don't think I played it up, but I

262
00:14:41,040 --> 00:14:41,560
Speaker 2: knew that it.

263
00:14:41,560 --> 00:14:44,000
Speaker 12: Really had no clue because it wasn't to like maybe

264
00:14:44,080 --> 00:14:47,760
Speaker 12: rhythm atalism. Yeah that I realized like, oh wait, I'm

265
00:14:47,800 --> 00:14:52,080
Speaker 12: playing the basic Yeah. I just thought, like you know,

266
00:14:52,240 --> 00:14:55,240
Speaker 12: back then, I would at least for the first two records.

267
00:14:55,960 --> 00:14:57,840
Speaker 12: I didn't know that you were self produced and doing

268
00:14:57,880 --> 00:14:58,760
Speaker 12: all that stuff yourself.

269
00:14:59,000 --> 00:15:03,600
Speaker 2: I was. It came from just not having people. I

270
00:15:03,640 --> 00:15:06,960
Speaker 2: didn't have relationships with musicians back then, so I would

271
00:15:07,040 --> 00:15:09,080
Speaker 2: just learn how to play the part. Like if I

272
00:15:09,120 --> 00:15:11,240
Speaker 2: hear a baseline in my head and it's it's it's

273
00:15:11,360 --> 00:15:13,600
Speaker 2: you know, it's it's nothing genius. It's just if I

274
00:15:13,640 --> 00:15:16,120
Speaker 2: hear James Brown based down on a baseline that I like,

275
00:15:16,480 --> 00:15:19,040
Speaker 2: I learned how to play that and then expand on

276
00:15:19,160 --> 00:15:22,000
Speaker 2: that and go somewhere different modulated play than another key.

277
00:15:22,640 --> 00:15:25,280
Speaker 2: So you know, it was basically, you know, it was

278
00:15:25,400 --> 00:15:27,680
Speaker 2: a you know, a means to an end. I didn't

279
00:15:27,680 --> 00:15:29,760
Speaker 2: have the facilities and I didn't have the musicians at

280
00:15:29,760 --> 00:15:31,520
Speaker 2: that point, so I would just play some of that

281
00:15:31,520 --> 00:15:32,160
Speaker 2: stuff myself.

282
00:15:32,360 --> 00:15:35,600
Speaker 11: How did you How did profile find you? Being on

283
00:15:35,640 --> 00:15:37,520
Speaker 11: the West coast? How did the East Coast label find it?

284
00:15:37,720 --> 00:15:41,680
Speaker 2: Just opened up an office on Sussett Boulevard, Hollywood, and

285
00:15:42,080 --> 00:15:46,280
Speaker 2: my cassette. I was selling my cassette out of my

286
00:15:46,440 --> 00:15:49,120
Speaker 2: underground tape, the Red tape, out of pretty much by

287
00:15:49,200 --> 00:15:50,840
Speaker 2: word of mouth, like people will call me be like,

288
00:15:50,880 --> 00:15:52,520
Speaker 2: hey man, they want ten of your tapes over here

289
00:15:53,000 --> 00:15:54,600
Speaker 2: on you know, one hundred and thirty ninth who am

290
00:15:54,680 --> 00:15:57,240
Speaker 2: So I'll just get in the car, go sell ten tapes,

291
00:15:57,320 --> 00:15:59,120
Speaker 2: come back with a hundred bucks, you know, can't it

292
00:15:59,280 --> 00:16:02,000
Speaker 2: make more copy of it? And then it started getting crazy,

293
00:16:02,120 --> 00:16:04,360
Speaker 2: like man, we want they want a hundred tapes over here.

294
00:16:04,400 --> 00:16:07,600
Speaker 2: I'm like, dude, you know, as long as a hundred

295
00:16:07,640 --> 00:16:12,760
Speaker 2: tapes with the King would double cassette, you know, we

296
00:16:12,880 --> 00:16:14,360
Speaker 2: had that. But then I ended up getting one of

297
00:16:14,440 --> 00:16:17,520
Speaker 2: the little from the we had this and I love

298
00:16:17,600 --> 00:16:19,760
Speaker 2: the facilities in l A. Back then, there was a

299
00:16:19,840 --> 00:16:24,160
Speaker 2: record pool called what was it called They're gonna hate

300
00:16:24,160 --> 00:16:26,600
Speaker 2: me cording traits, gonna hate me for this, uh Impact

301
00:16:26,640 --> 00:16:30,560
Speaker 2: record Pool. Impact used to have a cassette duplicator and

302
00:16:30,600 --> 00:16:32,400
Speaker 2: they let me use it. So I have my little

303
00:16:32,440 --> 00:16:34,840
Speaker 2: master tape and I'd have the three so I was

304
00:16:34,880 --> 00:16:38,000
Speaker 2: just put in, just let it roll, flip, go do

305
00:16:38,080 --> 00:16:41,040
Speaker 2: it again. And I was handwriting the you know, the

306
00:16:41,120 --> 00:16:42,880
Speaker 2: stickers and put it on, yeah, the labels, and I

307
00:16:43,000 --> 00:16:45,880
Speaker 2: was really I didn't realize I was distributing my own product.

308
00:16:46,080 --> 00:16:49,400
Speaker 2: What was your what was on the mixtapes? The what

309
00:16:50,280 --> 00:16:53,160
Speaker 2: what was on the mixtapes? Pretty much some parts of

310
00:16:53,240 --> 00:16:56,800
Speaker 2: my first album like Tonight was on there. I think

311
00:16:56,840 --> 00:16:59,480
Speaker 2: Border Raised too. You know, I just started like sampling

312
00:16:59,480 --> 00:17:01,400
Speaker 2: stuff and happened. You know, I had this task have

313
00:17:01,520 --> 00:17:04,040
Speaker 2: four tracks, so you know I was in there getting

314
00:17:04,080 --> 00:17:06,440
Speaker 2: I was multi tracking, you know what I mean, And

315
00:17:07,200 --> 00:17:09,840
Speaker 2: you know doing I came from the you know, listening

316
00:17:09,920 --> 00:17:12,760
Speaker 2: to like mixed Master Spade and Toddy T and King T.

317
00:17:12,960 --> 00:17:15,600
Speaker 2: Those are all the guys that we wanted to immolate

318
00:17:15,760 --> 00:17:19,240
Speaker 2: and be like in competent yep, pretty much the way

319
00:17:19,280 --> 00:17:21,320
Speaker 2: they was doing it, like you know on cassettes with

320
00:17:21,359 --> 00:17:25,400
Speaker 2: the vibe. We all wanted that reverb, that vibe box colleague.

321
00:17:25,920 --> 00:17:29,560
Speaker 12: So I have family out here in uh Pasadena, so

322
00:17:29,840 --> 00:17:33,200
Speaker 12: I sometimes visit for the summer, and I remember the

323
00:17:33,240 --> 00:17:36,480
Speaker 12: summer of eighty five, no one on the West coast

324
00:17:36,560 --> 00:17:39,639
Speaker 12: knew what the show and Lottie Dotty was did. They

325
00:17:39,680 --> 00:17:42,080
Speaker 12: were like, well, I meant like my cousins didn't know

326
00:17:42,160 --> 00:17:43,920
Speaker 12: because I'm trying to tell them about Slick Ricky Ducky

327
00:17:43,960 --> 00:17:47,480
Speaker 12: Fresh and They're like yeah, and but they were like

328
00:17:47,640 --> 00:17:51,320
Speaker 12: no man batteran And so when I would go home

329
00:17:51,600 --> 00:17:52,640
Speaker 12: back to Philly.

330
00:17:52,960 --> 00:17:55,360
Speaker 6: I was like, y'all, y'all know about batteran hell, can't

331
00:17:55,400 --> 00:17:55,800
Speaker 6: stop it.

332
00:17:56,800 --> 00:17:59,960
Speaker 2: They were just like no, But they couldn't relate because

333
00:18:00,240 --> 00:18:04,320
Speaker 2: the battle Rom was the was Chief Daryl Gates figuring

334
00:18:04,359 --> 00:18:07,800
Speaker 2: out how to destroy houses and write it off because

335
00:18:07,840 --> 00:18:09,719
Speaker 2: they used to back before the Battle Ram, they used

336
00:18:09,760 --> 00:18:13,160
Speaker 2: to to the drug houses. They used to attach chains

337
00:18:13,320 --> 00:18:17,360
Speaker 2: to the iron you know, the iron the iron doors,

338
00:18:17,760 --> 00:18:19,119
Speaker 2: you know, in the bars that we used to get

339
00:18:19,560 --> 00:18:21,480
Speaker 2: so they would you know, pull a tow truck up

340
00:18:21,720 --> 00:18:24,159
Speaker 2: attached to it and punch out and snatch the door

341
00:18:24,240 --> 00:18:26,680
Speaker 2: off and run in there the battle roum. And but

342
00:18:26,800 --> 00:18:29,320
Speaker 2: by the time they got in there, because you know niggas,

343
00:18:29,359 --> 00:18:32,399
Speaker 2: no niggas can hear them outside setting up. You know,

344
00:18:32,760 --> 00:18:34,760
Speaker 2: the niggas is in there flushing the drugs, you know

345
00:18:34,800 --> 00:18:36,600
Speaker 2: what I mean, and getting rid of shit and breaking

346
00:18:36,640 --> 00:18:39,000
Speaker 2: out the back door and running whatever. So they figured

347
00:18:39,040 --> 00:18:40,720
Speaker 2: the battle Ram would cut that time off. They start

348
00:18:40,800 --> 00:18:42,919
Speaker 2: catching niggas running up in their house with that batter um.

349
00:18:43,040 --> 00:18:45,040
Speaker 2: Niggas shocked and see a tank in they fucking house,

350
00:18:47,680 --> 00:18:50,160
Speaker 2: cocaine with a tank in your.

351
00:18:53,080 --> 00:18:55,680
Speaker 6: What was the first piece of equipment that you acquired

352
00:18:55,840 --> 00:18:56,399
Speaker 6: for your.

353
00:18:58,119 --> 00:19:02,480
Speaker 2: A cast It was a Cassio Easy, It was a

354
00:19:02,640 --> 00:19:04,320
Speaker 2: c Z one on one. I want to say, like

355
00:19:04,400 --> 00:19:06,920
Speaker 2: the little white one with the like the little twenty

356
00:19:07,000 --> 00:19:09,440
Speaker 2: or thirty something keys, And I used to just sit

357
00:19:09,520 --> 00:19:12,480
Speaker 2: up and practice on that, like practice baselines and you know,

358
00:19:12,560 --> 00:19:14,959
Speaker 2: little piano parts or whatever. But it was like nineteen

359
00:19:15,000 --> 00:19:17,840
Speaker 2: eighty two. It was the cassio didn't have a drummer

360
00:19:17,840 --> 00:19:19,840
Speaker 2: scene on it too, or I had the little just

361
00:19:20,000 --> 00:19:27,480
Speaker 2: little rhythms where it's like sixteen beat all the precepts. Yeah,

362
00:19:29,160 --> 00:19:32,160
Speaker 2: you know, but how would you utilize like how would

363
00:19:32,200 --> 00:19:36,680
Speaker 2: you make your mixt sound? Yeah, yeah, you already know.

364
00:19:37,080 --> 00:19:39,760
Speaker 2: Pause mixing was everything, and you had to have a

365
00:19:39,840 --> 00:19:43,399
Speaker 2: certain kind of yo, yeah, let out, yeah, swing when

366
00:19:43,400 --> 00:19:45,720
Speaker 2: you let up. It wasn't just you couldn't be lazy

367
00:19:45,760 --> 00:19:48,000
Speaker 2: with it because your mix or ruined. You know. And

368
00:19:48,160 --> 00:19:51,240
Speaker 2: back then, if you did a pause mixed right, yours

369
00:19:51,600 --> 00:19:54,520
Speaker 2: would become like the gospel of that song, Like say

370
00:19:54,560 --> 00:19:57,879
Speaker 2: you did Heartbreaker by Roger Troutman and Zap. If you

371
00:19:58,000 --> 00:20:00,760
Speaker 2: pause mixed it right and distributed that, everybody think that

372
00:20:01,280 --> 00:20:03,560
Speaker 2: you you know, that was the version of it. You

373
00:20:03,600 --> 00:20:05,000
Speaker 2: know what I mean, if you did it right, it'll

374
00:20:05,040 --> 00:20:08,600
Speaker 2: become a legendary mix. You know. Really, I mean we

375
00:20:08,720 --> 00:20:12,320
Speaker 2: were we're so underachieving back then, Like we had a

376
00:20:12,440 --> 00:20:16,480
Speaker 2: low parameter for now, but everybody talks about the mix

377
00:20:18,760 --> 00:20:21,359
Speaker 2: Hey man, Sanuel, Yeah, what was it, Samuel, cassette deck,

378
00:20:22,240 --> 00:20:27,880
Speaker 2: Sue Fisher, Fisher, so you know, and I was amazed

379
00:20:27,920 --> 00:20:30,439
Speaker 2: the first time I hooked up, because you know, back

380
00:20:30,480 --> 00:20:32,200
Speaker 2: then we could. I couldn't afford two turntables, so I

381
00:20:32,240 --> 00:20:34,360
Speaker 2: had one turntable, and to try to make it sound

382
00:20:34,440 --> 00:20:36,520
Speaker 2: like too, I had two cassette decks, so I would

383
00:20:36,560 --> 00:20:38,920
Speaker 2: record half of the program or whatever I was doing

384
00:20:39,359 --> 00:20:42,440
Speaker 2: on one cassette and then bring that cassette back into

385
00:20:42,520 --> 00:20:44,800
Speaker 2: the mixer and go to a second cassette while the

386
00:20:44,840 --> 00:20:48,360
Speaker 2: turntable was live. So I was overdubbing. I was learning

387
00:20:48,400 --> 00:20:50,600
Speaker 2: how to overdeub with two cassette decks and one turntable.

388
00:20:51,160 --> 00:20:52,960
Speaker 2: And that was you know, you you did what you

389
00:20:53,040 --> 00:20:59,560
Speaker 2: had to do back then. Like you know, so from

390
00:20:59,600 --> 00:21:02,680
Speaker 2: the demo tape, the red tape you made that guy, Yeah,

391
00:21:02,680 --> 00:21:05,600
Speaker 2: they got profile got it from off the streets and

392
00:21:06,960 --> 00:21:10,040
Speaker 2: we had I just started working with like AMG and

393
00:21:10,840 --> 00:21:12,639
Speaker 2: was trying to bring uh the guy second and then

394
00:21:12,720 --> 00:21:16,200
Speaker 2: and and whatnot from the neighborhood, you know, just to

395
00:21:16,320 --> 00:21:20,240
Speaker 2: do little local stuff around you know, La and abroad

396
00:21:21,080 --> 00:21:23,800
Speaker 2: and a coordney Tracy, who was like my pay with

397
00:21:23,880 --> 00:21:26,720
Speaker 2: my friends. At that point, they got in touch with Profile.

398
00:21:27,280 --> 00:21:29,920
Speaker 2: Profile already heard of me, so they started negotiating a

399
00:21:30,000 --> 00:21:33,480
Speaker 2: deal for me. But Fred Manial from Select Records was like, hey,

400
00:21:33,520 --> 00:21:35,400
Speaker 2: I want to be in that, you know, I give

401
00:21:35,440 --> 00:21:37,440
Speaker 2: him thirty five that They was like, Profile was like,

402
00:21:37,520 --> 00:21:39,600
Speaker 2: I would give him forty five, and they was like quick,

403
00:21:39,680 --> 00:21:42,320
Speaker 2: just I'm like take it, take it. Come on forty five.

404
00:21:42,400 --> 00:21:47,960
Speaker 2: Are y'all talking about forty five thousand dollars? I already have.

405
00:21:48,160 --> 00:21:50,280
Speaker 2: I already had that check. Spin I'm finna get a Jetta,

406
00:21:52,359 --> 00:21:55,680
Speaker 2: you know, I don't think I'm finna spend it, you know.

407
00:21:56,119 --> 00:21:59,400
Speaker 2: But it ultimately went up and up and up until

408
00:21:59,440 --> 00:22:01,960
Speaker 2: it was like, you know, over one hundred thousand dollars,

409
00:22:02,000 --> 00:22:04,080
Speaker 2: and then it was like, Okay, that's just some bullshit.

410
00:22:04,119 --> 00:22:05,560
Speaker 2: This ain't this is a dream, this is a lie.

411
00:22:05,800 --> 00:22:07,720
Speaker 2: You know. Niggas like us don't get that lucky. You know,

412
00:22:07,760 --> 00:22:10,840
Speaker 2: I come from welfare and hard knocks and shit. Niggas

413
00:22:10,840 --> 00:22:13,960
Speaker 2: stealing my equipment and my sister burning it up, being

414
00:22:14,000 --> 00:22:16,400
Speaker 2: mad jealous of me, like you ain't gonna be successfulfucker,

415
00:22:16,440 --> 00:22:20,000
Speaker 2: throw my turntables in the firtplace. Yeah. Wow, man, My

416
00:22:20,080 --> 00:22:24,359
Speaker 2: sister Jackie, she's gonna hear this too. She taught me

417
00:22:24,400 --> 00:22:26,280
Speaker 2: how to sell cracks. So her thing was if I

418
00:22:26,359 --> 00:22:29,040
Speaker 2: wasn't loyal to her, she would destroy everything that I

419
00:22:29,160 --> 00:22:31,760
Speaker 2: bought in the dope game. So she and she would

420
00:22:31,760 --> 00:22:33,160
Speaker 2: do it in front of the niggas in the hood,

421
00:22:33,280 --> 00:22:35,080
Speaker 2: like that was the only bad part of my growing up.

422
00:22:35,119 --> 00:22:36,879
Speaker 2: She would show off in front of them niggas who

423
00:22:37,000 --> 00:22:42,160
Speaker 2: was like oh. Usually as an example, yeah, yeah, exactly,

424
00:22:42,280 --> 00:22:44,840
Speaker 2: like checking you know, come watch what I'm finna do. Okay.

425
00:22:45,000 --> 00:22:49,320
Speaker 12: So a common element amongst a lot of the people

426
00:22:49,359 --> 00:22:53,040
Speaker 12: that we interview on the show, especially with producers, especially

427
00:22:53,080 --> 00:22:56,160
Speaker 12: with great producers, is that they start out as DJs,

428
00:22:57,000 --> 00:23:01,680
Speaker 12: but they're also DJs and high pressure situations. So we

429
00:23:01,840 --> 00:23:06,720
Speaker 12: noticed that uh, Jimmy Jam, who each week had to

430
00:23:07,080 --> 00:23:11,440
Speaker 12: entertain at least a crowd of six hundred people, like

431
00:23:12,160 --> 00:23:14,440
Speaker 12: no song, could be a loser in the bunch, like

432
00:23:14,480 --> 00:23:16,040
Speaker 12: he the pressure to keep the pressure.

433
00:23:16,359 --> 00:23:19,560
Speaker 2: That pressure gets you right and of course right.

434
00:23:19,680 --> 00:23:21,960
Speaker 12: And then Doctor D's story of like if I play

435
00:23:22,000 --> 00:23:23,960
Speaker 12: the wrong song or the wrong mix and they're gonna

436
00:23:23,960 --> 00:23:27,400
Speaker 12: start shooting up in here. So it's almost like being

437
00:23:27,480 --> 00:23:30,199
Speaker 12: a DJ in a high pressure situation where lives might

438
00:23:30,240 --> 00:23:33,639
Speaker 12: be on the line, makes you a better producer because

439
00:23:33,680 --> 00:23:37,480
Speaker 12: you automatically know what's going to work. So what was

440
00:23:37,520 --> 00:23:40,840
Speaker 12: your what was your template as far as working on

441
00:23:41,040 --> 00:23:42,480
Speaker 12: your your your first record?

442
00:23:44,600 --> 00:23:46,760
Speaker 2: I wanted to do, I mean, because of course we

443
00:23:46,840 --> 00:23:49,840
Speaker 2: grew up listening to the album cuts from Deaf Jam,

444
00:23:50,000 --> 00:23:55,119
Speaker 2: like I Feel Good about Candy, you know, even like

445
00:23:55,280 --> 00:24:02,119
Speaker 2: Chuck Stanley, like the R and B stuff that let

446
00:24:02,119 --> 00:24:04,240
Speaker 2: you I'm gonna sample that, never gonna let you go.

447
00:24:04,280 --> 00:24:09,119
Speaker 2: It's hot. But you know, I never listening listening to

448
00:24:09,480 --> 00:24:11,960
Speaker 2: listening to those records, like even if you didn't play

449
00:24:12,000 --> 00:24:14,080
Speaker 2: them at a club or at your party, you had

450
00:24:14,160 --> 00:24:18,119
Speaker 2: to kind of like know what was going on my

451
00:24:18,520 --> 00:24:21,879
Speaker 2: chimpleate was I figured? You know, I was really into reggae,

452
00:24:22,000 --> 00:24:24,399
Speaker 2: like the Sugar Mine Nod and Sister nine C and

453
00:24:24,600 --> 00:24:27,040
Speaker 2: you know, even more than just by everybody's by reggae.

454
00:24:27,520 --> 00:24:30,159
Speaker 2: You know, it's it's a bigger story, you know, a

455
00:24:30,240 --> 00:24:33,560
Speaker 2: lot more to my God. So you know, listening growing

456
00:24:33,600 --> 00:24:35,280
Speaker 2: up listening to all that what the Bomb Bomb and

457
00:24:35,320 --> 00:24:37,960
Speaker 2: all that I wanted to do a record that just

458
00:24:38,040 --> 00:24:42,399
Speaker 2: pretty much show people what my great range of music was.

459
00:24:44,600 --> 00:24:47,240
Speaker 12: I wrote that kind of from scratch. I say, like

460
00:24:47,280 --> 00:24:55,639
Speaker 12: there was a there was a token reggae. Reggae was

461
00:24:55,720 --> 00:24:58,200
Speaker 12: big and Compton it was yeah.

462
00:24:59,600 --> 00:25:04,600
Speaker 2: Around a big Ducky like the Cox family, Ducky Dave

463
00:25:04,760 --> 00:25:07,119
Speaker 2: sheltering you know right now and they stars now they

464
00:25:07,200 --> 00:25:09,760
Speaker 2: used to. They're from like fruit Town, the neighborhood across

465
00:25:09,800 --> 00:25:11,920
Speaker 2: the street from us. Dave is like in the in

466
00:25:12,040 --> 00:25:16,320
Speaker 2: the Straight Out of Compton movie, Ducky security for Rick

467
00:25:16,440 --> 00:25:20,439
Speaker 2: Ross right now, David security for who is Dave security

468
00:25:20,480 --> 00:25:26,360
Speaker 2: for nowadays? By day Dave David Cox from Fruetown, He's

469
00:25:26,400 --> 00:25:30,080
Speaker 2: secure everybody. He You know, these guys used to play

470
00:25:30,240 --> 00:25:32,800
Speaker 2: all the reggae in the hood, like they knew the

471
00:25:32,880 --> 00:25:35,760
Speaker 2: reggae stuff. So we got our reggae chase from them,

472
00:25:36,440 --> 00:25:39,159
Speaker 2: you know what I mean. But it was, believe it

473
00:25:39,240 --> 00:25:41,320
Speaker 2: or not, it was people used to be days when

474
00:25:41,320 --> 00:25:45,280
Speaker 2: we just played all reggae all day everything. So I

475
00:25:45,400 --> 00:25:47,920
Speaker 2: wanted that, all them different elements, all this stuff my

476
00:25:48,000 --> 00:25:49,720
Speaker 2: mother used to play. I wanted all that on my

477
00:25:49,800 --> 00:25:50,320
Speaker 2: first album.

478
00:25:50,680 --> 00:25:52,800
Speaker 11: Yeah, because I noticed, like you simple, because my mother.

479
00:25:52,880 --> 00:25:55,639
Speaker 11: She was a big Emotions fan, and so I was surprised.

480
00:25:57,640 --> 00:25:59,399
Speaker 2: I was like, man, what made him go for that? One?

481
00:26:00,119 --> 00:26:07,240
Speaker 2: Was the one three? What is that? What's that? Shuffle? Shuffle? Yeah?

482
00:26:07,520 --> 00:26:09,760
Speaker 2: It was it was shuffle. That was a hot record

483
00:26:09,960 --> 00:26:11,760
Speaker 2: to us in the day. It was the first thing

484
00:26:11,840 --> 00:26:13,879
Speaker 2: after the best of My Love. It was like, this

485
00:26:14,119 --> 00:26:16,760
Speaker 2: is dope, and I just you know, I've been I

486
00:26:16,880 --> 00:26:20,640
Speaker 2: was influenced by Blowfly. I ain't gonna lie and blow

487
00:26:20,680 --> 00:26:25,080
Speaker 2: Flying corrupted me, you know, and I'll speed for it

488
00:26:25,200 --> 00:26:29,560
Speaker 2: to say that. I didn't realize how vulgar my album

489
00:26:29,760 --> 00:26:33,040
Speaker 2: was until I start having kids. I can't play Sweet

490
00:26:33,040 --> 00:26:42,000
Speaker 2: Black Pussy around certain people. I wasn't born to raising

491
00:26:42,040 --> 00:26:48,159
Speaker 2: con version, maybe because Pussy was funny and everybody in

492
00:26:48,240 --> 00:26:52,119
Speaker 2: my click life was like the one. It's an attention

493
00:26:52,240 --> 00:26:55,080
Speaker 2: grabber I was. I wrote that at nineteen, so you know,

494
00:26:55,160 --> 00:26:57,280
Speaker 2: obviously I had only slept with like two or three people,

495
00:26:58,920 --> 00:27:02,840
Speaker 2: but street people, you know, sweet and black black one

496
00:27:02,840 --> 00:27:08,560
Speaker 2: another that black black ones Sweet. If they got nothing here,

497
00:27:08,600 --> 00:27:11,399
Speaker 2: I don't care talk about it. Yeah, that's they keep

498
00:27:11,440 --> 00:27:13,399
Speaker 2: you coming back, that's how you walking down the street.

499
00:27:13,520 --> 00:27:17,000
Speaker 12: Like shout out to Tina Farris okay are you We're

500
00:27:17,240 --> 00:27:20,960
Speaker 12: we're talking about Sweet Black Pussy on my tour.

501
00:27:21,080 --> 00:27:25,040
Speaker 2: Managers like you better men weel. I didn't realize that

502
00:27:25,359 --> 00:27:28,040
Speaker 2: it was times I was, like you said, like the pressure,

503
00:27:28,840 --> 00:27:31,520
Speaker 2: the pressure or DJ. It was nights where I would

504
00:27:31,560 --> 00:27:34,720
Speaker 2: forget to do that record in my lineup and really

505
00:27:34,840 --> 00:27:37,440
Speaker 2: like my start right like the black girls are just

506
00:27:37,680 --> 00:27:44,080
Speaker 2: me so bad, like every every woman.

507
00:27:44,240 --> 00:27:47,000
Speaker 6: That's a DJ quick fan. That's the first song they mentioned.

508
00:27:47,320 --> 00:27:51,399
Speaker 2: Man, I didn't realize I made like the staple record

509
00:27:51,640 --> 00:27:57,159
Speaker 2: for the black woman movement. I had no compliments, you know,

510
00:27:59,880 --> 00:28:03,480
Speaker 2: but I had this thing, y'all. I would certain people

511
00:28:03,600 --> 00:28:06,920
Speaker 2: who got in trouble listen to my record authentically and

512
00:28:07,000 --> 00:28:09,439
Speaker 2: they gave me a story about it, like they got punished,

513
00:28:09,440 --> 00:28:12,160
Speaker 2: they got whooping. I would let them get that lig back.

514
00:28:12,200 --> 00:28:19,880
Speaker 2: I'd be like, you can, but I let them get

515
00:28:19,880 --> 00:28:20,359
Speaker 2: their lig back.

516
00:28:20,520 --> 00:28:24,639
Speaker 11: It would have been worth the punishment. Man, What was

517
00:28:24,720 --> 00:28:27,399
Speaker 11: the What was sample clearance is? Like back then, sample

518
00:28:27,480 --> 00:28:31,440
Speaker 11: clearance is because of Bis Marquis. It was a gray area,

519
00:28:31,960 --> 00:28:35,200
Speaker 11: like we were sampling crazy before it got legal. When

520
00:28:35,520 --> 00:28:37,720
Speaker 11: you know, back then you'd had to clear the record

521
00:28:37,840 --> 00:28:42,360
Speaker 11: through publishing, through master usage and license it and you know,

522
00:28:42,840 --> 00:28:45,800
Speaker 11: but we was like, we ain't got no instrumentalists. This

523
00:28:45,960 --> 00:28:48,040
Speaker 11: instrumental is dope. We're gonna put this on the tape.

524
00:28:48,040 --> 00:28:48,800
Speaker 11: We're gonna rap to it.

525
00:28:48,920 --> 00:28:51,840
Speaker 2: That's what it is. And people liked it when they

526
00:28:51,920 --> 00:28:54,120
Speaker 2: figured it out, Like all the people who were sampling

527
00:28:54,160 --> 00:28:57,680
Speaker 2: figured it out, they start making new laws. You know

528
00:28:57,680 --> 00:29:00,160
Speaker 2: what I mean to, you know, to to to stop

529
00:29:00,240 --> 00:29:02,800
Speaker 2: that shit getting junctions against our records and whatnot. But

530
00:29:02,960 --> 00:29:06,240
Speaker 2: my thing was, if I blow y'all record up and

531
00:29:06,320 --> 00:29:08,720
Speaker 2: y'all assume me, we still win, y'all still gonna get paid.

532
00:29:08,720 --> 00:29:10,360
Speaker 2: I ain't gonna I can't run off with y'all money.

533
00:29:10,960 --> 00:29:13,160
Speaker 2: Y'all money is being collected over here, and it's gonna

534
00:29:13,160 --> 00:29:14,880
Speaker 2: take six to nine months to get to me anyway.

535
00:29:15,400 --> 00:29:17,600
Speaker 2: You know, we work out a deal before that's over,

536
00:29:17,920 --> 00:29:20,320
Speaker 2: and y'all good, y'all get y'all split. Betty Right when

537
00:29:20,360 --> 00:29:23,000
Speaker 2: I sampled tonight and didn't clear it, I met her

538
00:29:23,040 --> 00:29:29,920
Speaker 2: in Atlanta doing freaknickow wait intimate the intimate connections? You clear,

539
00:29:30,720 --> 00:29:33,040
Speaker 2: I didn't clear none of that, but I had. I

540
00:29:33,120 --> 00:29:36,920
Speaker 2: gave them. They was all publishing dexit designees. In other words,

541
00:29:36,960 --> 00:29:39,200
Speaker 2: when they come after you you just keep their money

542
00:29:39,280 --> 00:29:43,080
Speaker 2: there for them. I didn't know until the second time

543
00:29:43,120 --> 00:29:45,680
Speaker 2: I start cleaning samples, like motherfucker. The first one, it

544
00:29:45,800 --> 00:29:47,400
Speaker 2: was like we was just using the records that we

545
00:29:47,680 --> 00:29:51,520
Speaker 2: liked and had. And when I met her, she was like,

546
00:29:52,080 --> 00:29:53,760
Speaker 2: she said, you know, you made me a whole lot

547
00:29:53,800 --> 00:29:57,040
Speaker 2: of money, don't you. I was like, I'm a fan.

548
00:29:57,160 --> 00:29:59,000
Speaker 2: I love you, like we grew up to you, like

549
00:29:59,240 --> 00:30:01,480
Speaker 2: you know, whatever, whatever you want. She was like, okay, no,

550
00:30:01,560 --> 00:30:03,600
Speaker 2: I'm good baby, and you're a lot cuter in person.

551
00:30:03,640 --> 00:30:19,040
Speaker 12: Then on your record, lady, she made she made tens

552
00:30:19,080 --> 00:30:20,640
Speaker 12: of thousands of dollars off of that record.

553
00:30:20,760 --> 00:30:23,120
Speaker 11: After that record, like after your first record was says

554
00:30:23,240 --> 00:30:24,920
Speaker 11: I read in this It was then interview did in

555
00:30:25,000 --> 00:30:27,600
Speaker 11: the source This was guys years ago. You said there

556
00:30:27,680 --> 00:30:30,680
Speaker 11: was a record you did between the first one and

557
00:30:30,800 --> 00:30:32,680
Speaker 11: way too funky and you scrap you like, no, I

558
00:30:32,720 --> 00:30:33,120
Speaker 11: can't put this.

559
00:30:33,240 --> 00:30:35,280
Speaker 2: It was it was starting out to be like weak

560
00:30:35,480 --> 00:30:38,320
Speaker 2: and the records like back then, like you you throw

561
00:30:38,360 --> 00:30:40,800
Speaker 2: away records you know ain't gonna work again. The pressure

562
00:30:40,840 --> 00:30:44,040
Speaker 2: of a producer sometimes, you know, if you're if.

563
00:30:43,920 --> 00:30:48,680
Speaker 12: You're self continued unit, who's your sounding board? I mean

564
00:30:48,800 --> 00:30:50,800
Speaker 12: besides the board. You know your boys. I don't know

565
00:30:50,840 --> 00:30:52,440
Speaker 12: if you roll with the crew that's like, yeah, that's

566
00:30:52,480 --> 00:30:56,240
Speaker 12: dope every time you do something. So who's the sounding

567
00:30:56,360 --> 00:31:00,800
Speaker 12: board that you trust that's gonna say like that ain't work.

568
00:31:01,120 --> 00:31:03,960
Speaker 6: Yeah, like I don't like that sample, or you should

569
00:31:04,120 --> 00:31:04,560
Speaker 6: not this.

570
00:31:05,400 --> 00:31:06,800
Speaker 2: Greg Jesse Greedy.

571
00:31:06,880 --> 00:31:07,000
Speaker 9: Greg.

572
00:31:07,200 --> 00:31:09,520
Speaker 2: He was like my first manager. He's the one who

573
00:31:09,560 --> 00:31:12,600
Speaker 2: actually helped facilitate my first deal and helped to get

574
00:31:12,720 --> 00:31:15,080
Speaker 2: second and none their deal. Actually got them their deal,

575
00:31:15,160 --> 00:31:17,959
Speaker 2: and AMG got him his deal and second to none.

576
00:31:18,000 --> 00:31:21,760
Speaker 2: Them never admitted they to them. They were already the producers.

577
00:31:22,720 --> 00:31:25,560
Speaker 2: They told they did an interview on the source. I

578
00:31:25,720 --> 00:31:28,200
Speaker 2: was all happy. My thing was we we like the

579
00:31:28,320 --> 00:31:31,200
Speaker 2: other n w A we cool slapping hands with him.

580
00:31:31,240 --> 00:31:34,160
Speaker 2: Then niggas gon do interviews by theyself and be like, yeah, quick,

581
00:31:34,320 --> 00:31:38,280
Speaker 2: he worked for us. We did all the beat, we

582
00:31:38,600 --> 00:31:42,600
Speaker 2: put that in sp right. So he helped all of them,

583
00:31:42,640 --> 00:31:45,600
Speaker 2: does helped everybody. He would be the one be like, no, man.

584
00:31:45,640 --> 00:31:47,760
Speaker 2: He got a high pitch voice too. He'd be like, no, man,

585
00:31:47,800 --> 00:31:51,960
Speaker 2: that ships why you can't even play the tempo is wrong?

586
00:31:52,120 --> 00:31:54,000
Speaker 2: You know what I'm saying. So he was right. So

587
00:31:54,080 --> 00:31:56,200
Speaker 2: we tried to stay within these tempos that worked.

588
00:31:56,960 --> 00:32:00,520
Speaker 12: You know, Okay, before I get to the history of

589
00:32:01,280 --> 00:32:07,360
Speaker 12: quicks grooves, all fifty eleven of them. I mean that

590
00:32:07,560 --> 00:32:10,400
Speaker 12: to me is like I wish you had the greatest

591
00:32:10,480 --> 00:32:14,720
Speaker 12: hits of just your quick groove. Yeah, yeah, because it's

592
00:32:15,840 --> 00:32:17,760
Speaker 12: like I look forward to those, Yeah, and I know

593
00:32:17,800 --> 00:32:19,600
Speaker 12: a quick album right Yeah, it's like.

594
00:32:19,600 --> 00:32:21,480
Speaker 2: Oh, what's quick group? Gonn sound like this time? Yeah?

595
00:32:22,200 --> 00:32:28,800
Speaker 12: Which is weird because you went super ape shit on

596
00:32:28,960 --> 00:32:33,120
Speaker 12: the rose Krans groove. Yeah, what was on your mind

597
00:32:33,320 --> 00:32:35,040
Speaker 12: with if you heard the Rosekrans groove?

598
00:32:35,120 --> 00:32:36,360
Speaker 2: I haven't heard that dog.

599
00:32:36,800 --> 00:32:40,520
Speaker 12: He just I mean we stretched out each one pushes

600
00:32:40,560 --> 00:32:41,320
Speaker 12: then envelope further.

601
00:32:41,440 --> 00:32:48,160
Speaker 2: But I Crouch. I had Kenneth Crouch, Dave forming on guitar,

602
00:32:50,200 --> 00:32:54,640
Speaker 2: David Balfour on keys as well. You had a bass

603
00:32:54,680 --> 00:32:58,920
Speaker 2: player in there, my drummer, Keith Ross Peanut. So we

604
00:32:59,080 --> 00:33:01,720
Speaker 2: was just playing around stuff and I just got the

605
00:33:02,000 --> 00:33:03,840
Speaker 2: you know, I just got my favorite keyboard back. Because

606
00:33:03,840 --> 00:33:05,600
Speaker 2: I used to have a profit. That was my secret weapon,

607
00:33:05,680 --> 00:33:07,000
Speaker 2: Like when I was working on all Eyes on me,

608
00:33:07,400 --> 00:33:10,080
Speaker 2: I can recreate like what's your phone number? The Prince

609
00:33:10,120 --> 00:33:13,320
Speaker 2: stuff on my profit. But back then they didn't work

610
00:33:13,360 --> 00:33:15,080
Speaker 2: that well because they was old. You bought them used,

611
00:33:15,240 --> 00:33:17,760
Speaker 2: they was abused. They stayed in the shop, you know.

612
00:33:17,960 --> 00:33:20,560
Speaker 2: So I just got my profit back of profit six

613
00:33:21,160 --> 00:33:23,200
Speaker 2: the new one. I just started going back through what

614
00:33:23,320 --> 00:33:26,200
Speaker 2: I used to remember about how that keyboard worked, and

615
00:33:26,600 --> 00:33:28,760
Speaker 2: we just kept building on that little you know that

616
00:33:28,880 --> 00:33:30,920
Speaker 2: four on the floor just go whatever you call it

617
00:33:31,040 --> 00:33:34,120
Speaker 2: techno beat or whatever. But we wanted it to be

618
00:33:34,200 --> 00:33:36,160
Speaker 2: spacious and have you know, and have fun. And Ken

619
00:33:36,240 --> 00:33:38,480
Speaker 2: of Crouch just takes everything.

620
00:33:38,720 --> 00:33:43,480
Speaker 12: Changing kids and modulating here the relative miners and all states.

621
00:33:44,560 --> 00:33:45,920
Speaker 2: That's kend of Crouch.

622
00:33:47,400 --> 00:33:50,040
Speaker 11: Following my following on the keys Man before, just because

623
00:33:50,040 --> 00:33:52,640
Speaker 11: you mentioned it before, I get it too, dope, Hearts

624
00:33:52,680 --> 00:33:52,960
Speaker 11: of men.

625
00:33:54,200 --> 00:33:58,959
Speaker 2: How did you clear or we cleared that? Yes, we did.

626
00:34:00,280 --> 00:34:02,880
Speaker 2: That was gonna make him some money. That was one

627
00:34:02,920 --> 00:34:05,520
Speaker 2: of the first hip hop workerds he ever cleared. Yeah.

628
00:34:05,520 --> 00:34:09,760
Speaker 2: I was gonna say we became kind of cool because

629
00:34:09,760 --> 00:34:11,399
Speaker 2: of that, because he liked the way it was done.

630
00:34:11,920 --> 00:34:16,160
Speaker 2: I flipped I flipped the back the other way. I

631
00:34:16,360 --> 00:34:18,839
Speaker 2: was like, I was like, yeah, quick as god.

632
00:34:18,960 --> 00:34:22,960
Speaker 6: Yeah, here's the thing. I didn't know that that was

633
00:34:23,160 --> 00:34:27,799
Speaker 6: until you told me. For the Prince episode, I'm so mad.

634
00:34:27,800 --> 00:34:30,160
Speaker 2: I never knew. I can't believe that we get it back.

635
00:34:30,239 --> 00:34:32,640
Speaker 2: I did it the other way and Prince douget. Also,

636
00:34:33,520 --> 00:34:37,160
Speaker 2: that's a song off of George Clinton's Big Band record,

637
00:34:37,960 --> 00:34:40,040
Speaker 2: Fred Wesley and the Horny Horns blow for Me too,

638
00:34:40,120 --> 00:34:48,360
Speaker 2: for you that's the okay, Yeah, that's that looped with

639
00:34:48,560 --> 00:34:53,560
Speaker 2: Prince with you know, basically the baseline I wrote, but

640
00:34:53,680 --> 00:34:56,120
Speaker 2: the drums is You're getting a little bit too smart

641
00:34:56,200 --> 00:34:59,200
Speaker 2: Detroy Emeralds, De Troy Emeralds. And also people don't know

642
00:34:59,280 --> 00:35:03,919
Speaker 2: it was on a rare version of Yeah forty five.

643
00:35:04,160 --> 00:35:05,680
Speaker 6: Did I ever tell the Dyler story about it?

644
00:35:06,239 --> 00:35:07,319
Speaker 2: Yeah? You told me the story.

645
00:35:07,360 --> 00:35:10,920
Speaker 12: But all right, real quick, all right, so we're recording

646
00:35:11,719 --> 00:35:17,640
Speaker 12: the Light yeah, common, And I thought Dylan was trying to.

647
00:35:20,160 --> 00:35:26,080
Speaker 6: Not ghost me weapons when what's the term used, blow

648
00:35:26,120 --> 00:35:26,680
Speaker 6: your way.

649
00:35:28,120 --> 00:35:30,359
Speaker 2: When I was trying to psych you out and saying

650
00:35:30,400 --> 00:35:31,040
Speaker 2: it was one thing.

651
00:35:31,120 --> 00:35:33,600
Speaker 12: But I thought he was trying to play me on.

652
00:35:33,719 --> 00:35:35,680
Speaker 12: I'm like, it's toy amos. He says no, no, I'm

653
00:35:35,680 --> 00:35:38,719
Speaker 12: so higher players. And I was like feeling some sort

654
00:35:38,719 --> 00:35:41,200
Speaker 12: of way for like three hours. I'm like, why is

655
00:35:41,239 --> 00:35:44,640
Speaker 12: the motherfucker alignment? Like it's fucking the joy animals. He's like, nah, man,

656
00:35:45,040 --> 00:35:47,440
Speaker 12: it's Ohio Players. Because I was taking the sample information

657
00:35:47,600 --> 00:35:50,680
Speaker 12: down to give to the label and he's like, Ohio Players.

658
00:35:50,840 --> 00:35:54,120
Speaker 12: And the thing is he didn't know that that was

659
00:35:54,280 --> 00:35:56,920
Speaker 12: Troy Emeralds. And later we found out that Armine had

660
00:35:56,960 --> 00:35:59,200
Speaker 12: just put that drum break on the five.

661
00:36:00,080 --> 00:36:01,800
Speaker 2: So why would he do that? Like, I mean, I

662
00:36:01,840 --> 00:36:04,880
Speaker 2: know it was Westbound Records. Thing. The producer did that

663
00:36:05,160 --> 00:36:07,480
Speaker 2: and put the tag, the drum tag from I know

664
00:36:07,560 --> 00:36:08,040
Speaker 2: that armor.

665
00:36:08,400 --> 00:36:11,080
Speaker 12: The man that owns Westbound Records put that tag at

666
00:36:11,080 --> 00:36:14,160
Speaker 12: the beginning. I don't know if I guess maybe for forty.

667
00:36:13,960 --> 00:36:17,279
Speaker 2: Fives their radio. Probably for radio.

668
00:36:17,440 --> 00:36:21,960
Speaker 12: Yeah, like, oh, that's right because there's instant talking at

669
00:36:22,000 --> 00:36:22,640
Speaker 12: the very top.

670
00:36:22,520 --> 00:36:25,480
Speaker 2: Of the thing exactly, and you need the little tag

671
00:36:25,600 --> 00:36:28,759
Speaker 2: seven seconds. That still works now, j still do that

672
00:36:28,880 --> 00:36:30,520
Speaker 2: put they put an instrument in front of some of

673
00:36:30,600 --> 00:36:33,080
Speaker 2: my records when they just start on the one and lyrics,

674
00:36:33,120 --> 00:36:34,399
Speaker 2: they'll they'll put that tag on there.

675
00:36:34,960 --> 00:36:38,320
Speaker 6: So okay, we already said that quick number three that

676
00:36:38,480 --> 00:36:38,839
Speaker 6: was mine.

677
00:36:39,080 --> 00:36:42,640
Speaker 2: That was I mean, I like, but edited, I edited

678
00:36:42,960 --> 00:36:46,040
Speaker 2: it was it was actually five minutes forty two seconds

679
00:36:46,400 --> 00:36:48,080
Speaker 2: to shorten it, and I cut it by tape, you know,

680
00:36:48,160 --> 00:36:51,239
Speaker 2: you record it and spice it, shorten it. But that's

681
00:36:51,360 --> 00:36:53,719
Speaker 2: my man, Robert Bacon, who's one of the best base

682
00:36:53,840 --> 00:36:57,920
Speaker 2: yeahs asked you about him, man, Like, what's I've never like, like,

683
00:36:58,000 --> 00:36:59,800
Speaker 2: what's he? What's his deal? What's he doing? What you

684
00:36:59,880 --> 00:37:03,160
Speaker 2: do on? Now? He's out with Sha Ka Khan? And

685
00:37:03,239 --> 00:37:05,719
Speaker 2: how did you guys first look up high see my boy?

686
00:37:06,040 --> 00:37:07,840
Speaker 2: He introduced me to him. He was a session player

687
00:37:08,160 --> 00:37:10,680
Speaker 2: out here from Detroit and uh he played on Hot

688
00:37:10,760 --> 00:37:15,000
Speaker 2: Seas first record Scanders. Yeah, And I was like, man,

689
00:37:15,040 --> 00:37:17,120
Speaker 2: who was this dude? Like this dude back then we

690
00:37:17,239 --> 00:37:23,799
Speaker 2: was looking for the next standing guitar man. Doctor Drake

691
00:37:23,880 --> 00:37:25,920
Speaker 2: kicked the door in with having real musicians playing on

692
00:37:25,960 --> 00:37:28,680
Speaker 2: your records, Like, dude, we gotta have musicians. And who

693
00:37:28,760 --> 00:37:30,680
Speaker 2: did I end up picking for the first quack grew

694
00:37:31,080 --> 00:37:35,439
Speaker 2: staying the guitar man wasn't nowhere around it? And where

695
00:37:35,520 --> 00:37:37,680
Speaker 2: was he from? What was in his history? He's right

696
00:37:37,719 --> 00:37:39,400
Speaker 2: around the corner from Dre. He grew up around the

697
00:37:39,400 --> 00:37:41,880
Speaker 2: corner from Dre. I think on Town Town Avenue and

698
00:37:42,080 --> 00:37:45,360
Speaker 2: and industrial comptons like Compton in l A like a

699
00:37:45,440 --> 00:37:48,080
Speaker 2: borderline where it's like a little bougie. It's like, actually

700
00:37:48,160 --> 00:37:50,960
Speaker 2: cool over there, likema village. I want to see me

701
00:37:51,080 --> 00:37:53,440
Speaker 2: now or back then? I think he's still over there.

702
00:37:53,440 --> 00:37:54,120
Speaker 2: I think it's Mama.

703
00:37:54,520 --> 00:37:54,560
Speaker 13: No.

704
00:37:54,760 --> 00:37:59,160
Speaker 2: I meant was it gentrified right now? It was back

705
00:37:59,200 --> 00:38:02,440
Speaker 2: then I didn't had the ratchet part over here, then

706
00:38:02,520 --> 00:38:04,680
Speaker 2: had the bougie part right across the street, and now

707
00:38:04,719 --> 00:38:07,400
Speaker 2: it's all turning bougie. Yeah, it is. A property is

708
00:38:07,480 --> 00:38:08,560
Speaker 2: so expensive over there right now.

709
00:38:09,160 --> 00:38:12,200
Speaker 11: It's crazy after when you went into Way too funky?

710
00:38:12,640 --> 00:38:14,200
Speaker 11: Were you by the time, because I mean the first

711
00:38:14,239 --> 00:38:16,799
Speaker 11: record was a success. Yeah, were you making money then?

712
00:38:16,920 --> 00:38:17,600
Speaker 11: Like were you straight?

713
00:38:17,840 --> 00:38:19,920
Speaker 2: Yeah? When I got my first royalty check, I got

714
00:38:19,960 --> 00:38:23,040
Speaker 2: it nine months after because I I this was my thing.

715
00:38:23,200 --> 00:38:25,479
Speaker 2: I read that book This has this business of music,

716
00:38:26,080 --> 00:38:29,160
Speaker 2: so I was already versed in how this publishing, these points,

717
00:38:29,440 --> 00:38:31,920
Speaker 2: what percentages are, and I was happy to be up there.

718
00:38:32,280 --> 00:38:34,520
Speaker 2: They was like, quick, you got twelve points on your record,

719
00:38:34,520 --> 00:38:37,759
Speaker 2: do you know Michael Jackson got like eighteen twelve or

720
00:38:38,239 --> 00:38:40,400
Speaker 2: sixteen or eighteen points? So that put you in a

721
00:38:40,440 --> 00:38:43,160
Speaker 2: whole different class. And I was like, it's all sound good,

722
00:38:43,560 --> 00:38:45,480
Speaker 2: you know, to the check get here, you know what

723
00:38:45,560 --> 00:38:48,520
Speaker 2: I mean? And I got my first royalty check and

724
00:38:48,560 --> 00:38:51,480
Speaker 2: it was like six figures and I just relaxed. I

725
00:38:51,520 --> 00:38:53,480
Speaker 2: was shooting music video for I think we was shooting

726
00:38:53,520 --> 00:38:56,520
Speaker 2: quick as the name, and my man's Tracy and Courtney

727
00:38:56,560 --> 00:38:58,600
Speaker 2: came up here and had me signed the check and

728
00:38:58,719 --> 00:39:04,719
Speaker 2: I was like, She's like, whoa, that's a house that's

729
00:39:05,520 --> 00:39:10,640
Speaker 2: motorcycles to Jedis And I did buy that Jedi. I

730
00:39:10,719 --> 00:39:13,839
Speaker 2: gave it to but you know, I was like, yeah,

731
00:39:13,960 --> 00:39:15,480
Speaker 2: this is this is what I'm going to be doing

732
00:39:15,520 --> 00:39:18,000
Speaker 2: for the rest of my life. Wow, you know. But unfortunately,

733
00:39:18,600 --> 00:39:21,600
Speaker 2: you know, hanging out with my man's second to none.

734
00:39:22,239 --> 00:39:25,200
Speaker 2: You know, the gang thing was like kind of prevalent,

735
00:39:25,239 --> 00:39:26,719
Speaker 2: and I was trying to downplay it, like I want

736
00:39:26,760 --> 00:39:27,920
Speaker 2: to be a producer. I don't want to be this,

737
00:39:28,280 --> 00:39:30,440
Speaker 2: you know where we came from. But you know, these

738
00:39:30,480 --> 00:39:32,560
Speaker 2: guys they played it up a little bit. And we

739
00:39:32,680 --> 00:39:35,120
Speaker 2: went to Denver and these guys throw a bottle in

740
00:39:35,200 --> 00:39:37,400
Speaker 2: the audience and hurt some kids. So I get sued.

741
00:39:37,480 --> 00:39:40,640
Speaker 2: Now I'm on trial. So my whole thing is bittersweet.

742
00:39:40,680 --> 00:39:43,560
Speaker 2: It's like melancholy, like I'm happy, but I got to

743
00:39:43,600 --> 00:39:44,120
Speaker 2: go to court.

744
00:39:44,480 --> 00:39:49,520
Speaker 12: I'm looking at some jail times, please, because even to

745
00:39:49,600 --> 00:39:52,600
Speaker 12: this day when I go to Denver, it's just like

746
00:39:53,760 --> 00:39:55,840
Speaker 12: that's the only thing my reference.

747
00:39:56,640 --> 00:40:00,320
Speaker 6: So first of all, what is what was touring?

748
00:40:00,440 --> 00:40:00,480
Speaker 12: Like?

749
00:40:00,760 --> 00:40:03,120
Speaker 6: How much of that song was autobiographical?

750
00:40:03,360 --> 00:40:05,880
Speaker 2: It was the whole record was the truth. It was

751
00:40:06,160 --> 00:40:10,040
Speaker 2: super dangerous because at that point I didn't know that

752
00:40:10,120 --> 00:40:13,320
Speaker 2: there were other factions of gangs in cities that we

753
00:40:13,440 --> 00:40:17,200
Speaker 2: had never been to, and they was waiting on us. Niggas. Wow,

754
00:40:17,400 --> 00:40:20,360
Speaker 2: it was guns. It was shootouts to the point it

755
00:40:20,440 --> 00:40:23,080
Speaker 2: became so frequent that after a while we wasn't even

756
00:40:23,080 --> 00:40:25,319
Speaker 2: scared no more. It's like, yeah, they' gonna shoot to night.

757
00:40:25,400 --> 00:40:27,000
Speaker 2: Sometimes they didn't shoot it be like fuck it. You know,

758
00:40:27,200 --> 00:40:29,440
Speaker 2: get some groupies go back to the channel cake. So

759
00:40:29,520 --> 00:40:32,640
Speaker 2: you be on stage, not knowing if it's gonna jump on.

760
00:40:32,760 --> 00:40:34,520
Speaker 2: You can see them, they'll be in the audience and

761
00:40:34,560 --> 00:40:36,680
Speaker 2: they'll be the only ones that's not dancing. They just

762
00:40:37,360 --> 00:40:41,640
Speaker 2: like right, you know, just that weird shit, you feel it.

763
00:40:42,520 --> 00:40:45,640
Speaker 2: But these guys they threw a they threw a forty

764
00:40:45,840 --> 00:40:48,320
Speaker 2: Back then you could have props on the stage, like

765
00:40:48,560 --> 00:40:51,200
Speaker 2: empty forty ounce bottles and shit, you know it's part

766
00:40:51,239 --> 00:40:53,759
Speaker 2: of your stage shit. You know the fake trash can

767
00:40:53,960 --> 00:40:57,120
Speaker 2: and the street light and whatever. And one of the guys,

768
00:40:57,160 --> 00:40:58,759
Speaker 2: one of the members of this group, he threw a

769
00:40:58,840 --> 00:41:01,800
Speaker 2: bottle into the audience had some crips and it didn't

770
00:41:01,880 --> 00:41:04,719
Speaker 2: hit them, it hit some little kids. It broke and

771
00:41:04,800 --> 00:41:10,279
Speaker 2: hit kids. So already quick concept back was a skating rink.

772
00:41:10,320 --> 00:41:15,080
Speaker 2: It was cool, it was all ages, and I thought

773
00:41:15,120 --> 00:41:16,759
Speaker 2: this was in the club. No, no, it was a

774
00:41:16,800 --> 00:41:19,680
Speaker 2: skating rink. But what he did, by him throwing that

775
00:41:19,800 --> 00:41:22,239
Speaker 2: bottle into the audience, it let me know that this

776
00:41:22,400 --> 00:41:24,600
Speaker 2: guy is gonna be a liability. And I had to

777
00:41:24,800 --> 00:41:28,319
Speaker 2: limit my you know, then I hate to go here,

778
00:41:28,400 --> 00:41:31,239
Speaker 2: but you know, everybody got their little bad story when

779
00:41:31,280 --> 00:41:33,800
Speaker 2: it comes to this hip hop ship, and my man's

780
00:41:34,000 --> 00:41:36,839
Speaker 2: was they were just self destructive, you know what I mean,

781
00:41:37,000 --> 00:41:38,919
Speaker 2: and got me in trouble and I had to ride

782
00:41:38,960 --> 00:41:41,080
Speaker 2: for that and people used to ask them. I was like,

783
00:41:41,080 --> 00:41:42,759
Speaker 2: why y'all didn't come to support me when I went

784
00:41:42,800 --> 00:41:46,240
Speaker 2: to the trial. Their whole ship was we don't do police.

785
00:41:46,719 --> 00:41:50,000
Speaker 2: It's like, bro y'all so hard and so cool, y'all

786
00:41:50,360 --> 00:41:53,279
Speaker 2: trying to ruin my career. You know, how long did

787
00:41:53,280 --> 00:41:58,359
Speaker 2: it take you to learn that? Lesson was done immediately quick. Fact,

788
00:41:58,719 --> 00:42:02,560
Speaker 2: there's a lot of the authorize like a decade. And

789
00:42:02,840 --> 00:42:05,160
Speaker 2: it's funny because I don't have no like we was

790
00:42:05,280 --> 00:42:09,720
Speaker 2: kids back then, but right now, like look he drinking.

791
00:42:10,120 --> 00:42:12,200
Speaker 2: He got threatened by the same guy right and he

792
00:42:12,320 --> 00:42:13,680
Speaker 2: was like, I want to punch this is a this's

793
00:42:13,719 --> 00:42:19,120
Speaker 2: an R and B singer, But he wanted But he's

794
00:42:19,200 --> 00:42:20,719
Speaker 2: just a weird old He's like, you know, some people,

795
00:42:20,760 --> 00:42:23,560
Speaker 2: it's just weird though, like you know, you know, you know,

796
00:42:23,760 --> 00:42:28,160
Speaker 2: so is it easy to say no? Yeah? And if

797
00:42:28,200 --> 00:42:33,440
Speaker 2: I can just finish the touring. That case cost me

798
00:42:34,840 --> 00:42:37,400
Speaker 2: one hundred and thirty five thousand dollars to fight it

799
00:42:37,480 --> 00:42:40,080
Speaker 2: and to pay off the suits. And my check that

800
00:42:40,200 --> 00:42:43,000
Speaker 2: I got was like two hundred grand man, So everything

801
00:42:43,080 --> 00:42:46,440
Speaker 2: that I she just went to fighting this fucking case

802
00:42:46,880 --> 00:42:49,120
Speaker 2: and then I had to pay taxes after that. So

803
00:42:50,280 --> 00:42:54,040
Speaker 2: it taught me that you knows, niggas ain't got your

804
00:42:54,080 --> 00:42:57,000
Speaker 2: best interests at heart. If they if they ain't the

805
00:42:57,120 --> 00:42:59,480
Speaker 2: kind of people that who like insurance and you know,

806
00:42:59,680 --> 00:43:01,840
Speaker 2: keeping your copa setic, you can't have them around you

807
00:43:01,880 --> 00:43:03,840
Speaker 2: because they they will bring you down easily.

808
00:43:03,960 --> 00:43:05,680
Speaker 12: We're all so simple, We're all those that were like

809
00:43:05,840 --> 00:43:08,640
Speaker 12: like KK and I see, like we're all s Is

810
00:43:08,800 --> 00:43:09,600
Speaker 12: touring with me right now.

811
00:43:11,360 --> 00:43:16,040
Speaker 2: Kk Is. You know he's you know they you know,

812
00:43:16,280 --> 00:43:18,080
Speaker 2: every time I talk about them, guys, I should say

813
00:43:18,120 --> 00:43:19,800
Speaker 2: no comment. Every time I talk about him, they go

814
00:43:19,920 --> 00:43:22,560
Speaker 2: public and be like, nah, we told y'all hating on us.

815
00:43:22,600 --> 00:43:25,560
Speaker 2: It's like, bro, y'all did all the wrong things. And

816
00:43:25,600 --> 00:43:27,879
Speaker 2: I think that's why they didn't become successful. They don't

817
00:43:27,920 --> 00:43:31,239
Speaker 2: have to like record it's not bad, it's not bad,

818
00:43:31,280 --> 00:43:33,279
Speaker 2: but you got to promote it, you know. And they

819
00:43:33,360 --> 00:43:36,080
Speaker 2: didn't go out on the tours and really promote those records.

820
00:43:36,200 --> 00:43:38,560
Speaker 2: And they talked about the record company. These niggas fucked

821
00:43:38,600 --> 00:43:40,719
Speaker 2: us and we got a bad deal. It's like, y'all

822
00:43:40,800 --> 00:43:44,600
Speaker 2: can't come into this business, stop smoking, fucking wet and

823
00:43:46,200 --> 00:43:48,360
Speaker 2: get in the studio and make the records. And you

824
00:43:48,400 --> 00:43:50,600
Speaker 2: know what I mean, trying to gang bang. What's this

825
00:43:50,719 --> 00:43:53,759
Speaker 2: big East East coast part? You know, stop that ship,

826
00:43:53,960 --> 00:43:59,120
Speaker 2: like get the money and I'm they're suffice it to say.

827
00:44:00,160 --> 00:44:03,279
Speaker 2: Somebody offered them three million dollars bro and they turned

828
00:44:03,320 --> 00:44:09,120
Speaker 2: it down and code man, he was Illuminati, Okay, nod.

829
00:44:09,600 --> 00:44:13,920
Speaker 2: They were offered a significant million dollars back then, back

830
00:44:13,960 --> 00:44:17,799
Speaker 2: in nineteen ninety three, they did a soundtrack. We did

831
00:44:17,840 --> 00:44:21,640
Speaker 2: a song for the above the Rim soundtrack. They mean

832
00:44:21,680 --> 00:44:29,360
Speaker 2: to turn Yeah, Yeah, you a illuminati. Wow, Wow, I

833
00:44:29,440 --> 00:44:32,000
Speaker 2: can't believe it. I was like, wow, Like, man, y'all

834
00:44:32,000 --> 00:44:35,239
Speaker 2: could be rich. Y'all good songwriters. I know y'all good

835
00:44:35,280 --> 00:44:38,279
Speaker 2: at heart, but it ain't really nothing I can say

836
00:44:38,440 --> 00:44:41,840
Speaker 2: cool because I just watched them ruin a lot of things. Like,

837
00:44:42,560 --> 00:44:44,719
Speaker 2: you know, they didn't really want it. Nah, No, that's

838
00:44:44,719 --> 00:44:46,680
Speaker 2: what somebody said. They were scared of money. They like quick,

839
00:44:46,719 --> 00:44:49,000
Speaker 2: that's money. Scared some people are they don't even know it.

840
00:44:49,360 --> 00:44:55,080
Speaker 2: Scared of success. Man.

841
00:44:55,280 --> 00:44:58,239
Speaker 11: One of my favorite productions of yours, Danny Boy Come

842
00:44:58,280 --> 00:45:01,120
Speaker 11: when I called Bro Bro talking about.

843
00:45:00,840 --> 00:45:06,120
Speaker 2: It, I'm just saying, I forget now, but we need

844
00:45:06,200 --> 00:45:08,799
Speaker 2: to go back. If my introduction to Sugar and Death

845
00:45:08,880 --> 00:45:11,480
Speaker 2: Row was song second and None didn't mean to Turn

846
00:45:11,520 --> 00:45:13,600
Speaker 2: you on. That was my first dealings with you know,

847
00:45:14,600 --> 00:45:17,640
Speaker 2: Jimmy Ivan and the great company of Interscope Records, in

848
00:45:17,680 --> 00:45:20,239
Speaker 2: that whole system, which I totally love and I still

849
00:45:20,239 --> 00:45:22,799
Speaker 2: think is the greatest West Coast record label of all time.

850
00:45:23,320 --> 00:45:27,360
Speaker 2: But they you know, that was when the deal was offered,

851
00:45:27,360 --> 00:45:29,520
Speaker 2: bro and I couldn't believe that anybody would turn that

852
00:45:29,600 --> 00:45:32,400
Speaker 2: deal down. But Danny Boy was the second project I

853
00:45:32,480 --> 00:45:36,959
Speaker 2: did in that system, and it was for compilations Murder.

854
00:45:36,960 --> 00:45:38,920
Speaker 2: It was the case after you know, just all this

855
00:45:39,000 --> 00:45:41,319
Speaker 2: stuff happened so fast, right, that was like a year

856
00:45:41,400 --> 00:45:43,719
Speaker 2: later after my record that was ninety two, you know,

857
00:45:44,239 --> 00:45:46,200
Speaker 2: ninety three, I think I want to say ninety three

858
00:45:46,239 --> 00:45:48,840
Speaker 2: is when it came out. But you know, Sugar approached

859
00:45:48,880 --> 00:45:51,239
Speaker 2: me to do something for his new signing, Danny Boy,

860
00:45:51,280 --> 00:45:53,799
Speaker 2: who I thought sounded like a lot of a lot

861
00:45:53,920 --> 00:45:56,120
Speaker 2: like my favorite R and B singer at the time,

862
00:45:56,160 --> 00:46:02,680
Speaker 2: which was Stokely's A no brainer. I sat with Michael Henderson, Yes,

863
00:46:03,520 --> 00:46:09,840
Speaker 2: I love you, and he cleared it two million. I

864
00:46:09,960 --> 00:46:19,080
Speaker 2: just did that aramatic baseline, you know, B A B

865
00:46:19,640 --> 00:46:24,280
Speaker 2: A G G flat, so just a black black, black white,

866
00:46:24,680 --> 00:46:24,960
Speaker 2: and it.

867
00:46:25,040 --> 00:46:28,680
Speaker 11: Just felt man, Thanks dude, I love that, you know that.

868
00:46:28,840 --> 00:46:30,759
Speaker 11: And the remixes though I don't know if you did

869
00:46:30,800 --> 00:46:32,799
Speaker 11: the remix, but there was I think the.

870
00:46:33,080 --> 00:46:35,080
Speaker 2: Boys six or nine and them or did that remix.

871
00:46:35,800 --> 00:46:38,319
Speaker 2: And at that point D J. Rogers started coming into

872
00:46:38,360 --> 00:46:44,280
Speaker 2: the click. I found Warren Campbell, Baby Dog gave his nickname. Wow,

873
00:46:44,920 --> 00:46:47,080
Speaker 2: that's so dope. He played on Safe and Sound like

874
00:46:47,200 --> 00:46:49,120
Speaker 2: he's on all the pianos. He's on the piano on

875
00:46:49,239 --> 00:46:51,440
Speaker 2: the favorite quick tu okay Yo.

876
00:46:51,600 --> 00:46:53,880
Speaker 11: I heard the story we had premiere DJ Premiere on

877
00:46:53,960 --> 00:46:56,840
Speaker 11: the on the show a while ago. It was like

878
00:46:56,960 --> 00:46:59,000
Speaker 11: it was like that two years when we first started,

879
00:46:59,360 --> 00:47:01,160
Speaker 11: and he all always told this story. He told me

880
00:47:01,239 --> 00:47:04,120
Speaker 11: this story about Gangstar being on tour with you. I

881
00:47:04,160 --> 00:47:05,359
Speaker 11: wanted to hear it from your side.

882
00:47:05,800 --> 00:47:06,839
Speaker 2: It was you was on tour.

883
00:47:07,000 --> 00:47:09,800
Speaker 11: It was you Gangstar and father them see yep and

884
00:47:09,920 --> 00:47:12,480
Speaker 11: father them ship when he was on some Hollywood shit

885
00:47:12,560 --> 00:47:15,520
Speaker 11: trying to be late so uk like so like before

886
00:47:15,560 --> 00:47:17,440
Speaker 11: the show, You're like, yo, bring me some towels.

887
00:47:17,480 --> 00:47:18,720
Speaker 2: I need like fifty towels.

888
00:47:19,120 --> 00:47:20,960
Speaker 11: And so you came out during his set, Pat and

889
00:47:21,000 --> 00:47:22,880
Speaker 11: your Jerry Curl and like pass him out to the

890
00:47:22,920 --> 00:47:24,799
Speaker 11: crowd and like fucking up.

891
00:47:24,960 --> 00:47:28,040
Speaker 2: Hey, I didn't realize that. You know me back then,

892
00:47:28,840 --> 00:47:31,360
Speaker 2: we had been through too much. So our thing was

893
00:47:31,440 --> 00:47:33,279
Speaker 2: we wanted to be cool with everybody because we were

894
00:47:33,360 --> 00:47:35,600
Speaker 2: new to the industry and follow them. She was already

895
00:47:35,640 --> 00:47:39,520
Speaker 2: popular and popping. And he used to do this thing

896
00:47:39,560 --> 00:47:42,480
Speaker 2: where he would come late. No matter what his position

897
00:47:42,600 --> 00:47:44,360
Speaker 2: in the lineup was, he would come late so he

898
00:47:44,400 --> 00:47:48,480
Speaker 2: could be the headliner. So you had to you know,

899
00:47:48,680 --> 00:47:52,080
Speaker 2: them venues had curfews, so yeah, yeah, you know you're

900
00:47:52,080 --> 00:47:55,960
Speaker 2: don follow them. See you know, he'd be like, it's

901
00:47:56,080 --> 00:48:02,520
Speaker 2: like yo, man, you late. He'd be like your marfled. Wow,

902
00:48:03,280 --> 00:48:05,719
Speaker 2: you know, but hey, Jesus, dude, tying to do. But

903
00:48:05,800 --> 00:48:10,480
Speaker 2: he Yeah, I got mad one night drinking Little millerginal drafting.

904
00:48:10,560 --> 00:48:12,640
Speaker 2: I came out during this sad and did some buffoon

905
00:48:12,640 --> 00:48:13,400
Speaker 2: and ship like that.

906
00:48:14,440 --> 00:48:17,320
Speaker 11: You know, you know, no, no, no, Premo told you.

907
00:48:17,480 --> 00:48:19,279
Speaker 11: He was like, dude, that's the most gangsy ship I

908
00:48:19,360 --> 00:48:19,759
Speaker 11: ever saw.

909
00:48:19,800 --> 00:48:20,120
Speaker 2: He said.

910
00:48:20,120 --> 00:48:23,280
Speaker 6: After that, father he got his ass in line.

911
00:48:23,920 --> 00:48:27,000
Speaker 2: It was it was flex bro. But you know it's

912
00:48:27,080 --> 00:48:31,160
Speaker 2: cool though, is is that keify d was the first

913
00:48:31,239 --> 00:48:33,320
Speaker 2: person I ever smoked the blunt with. He told you know,

914
00:48:33,400 --> 00:48:35,080
Speaker 2: he rode the blood for the first time. I was

915
00:48:35,120 --> 00:48:37,480
Speaker 2: like blown away, like, well, you know we used to smoke.

916
00:48:37,680 --> 00:48:40,400
Speaker 2: You know, we had white boll Yeah, so you know

917
00:48:40,520 --> 00:48:44,280
Speaker 2: we in Canada with them and Guru passed me a blunt.

918
00:48:44,320 --> 00:48:47,120
Speaker 2: I'm like, like, what is it like a cigar? You know,

919
00:48:47,880 --> 00:48:50,200
Speaker 2: I hit that motherfucker. I was friends for life with Guru.

920
00:48:52,560 --> 00:48:56,399
Speaker 12: Wait, it just hit me because you mentioned Jerry Crole

921
00:48:56,680 --> 00:48:59,920
Speaker 12: and the tal thing. This is from Tina came I

922
00:49:00,040 --> 00:49:02,919
Speaker 12: tour managers like one of your biggest fans. She wants

923
00:49:02,960 --> 00:49:08,680
Speaker 12: to know how you managed to stay feathered so perfectly.

924
00:49:10,239 --> 00:49:13,480
Speaker 2: You had the best hair because the way because the

925
00:49:13,520 --> 00:49:17,320
Speaker 2: way too funky. That's we had it. Feathered hair was healthy.

926
00:49:17,520 --> 00:49:21,160
Speaker 2: It was. I appreciate that I'm getting old now, but

927
00:49:22,239 --> 00:49:25,719
Speaker 2: the trick was to me is to have the light

928
00:49:25,840 --> 00:49:32,200
Speaker 2: skinned hairdressers because they knew hair tricks, the good hair girls,

929
00:49:32,760 --> 00:49:35,600
Speaker 2: the ones got the good hair, just the best curl.

930
00:49:36,760 --> 00:49:44,600
Speaker 2: They would put girls would not only would they put

931
00:49:44,719 --> 00:49:51,840
Speaker 2: like the what was it called thiodrie, the hard stuff

932
00:49:51,880 --> 00:49:55,200
Speaker 2: that burns, they would put conditioner in with it when

933
00:49:55,239 --> 00:49:57,799
Speaker 2: they did your rollers, so it didn't tear your hair

934
00:49:57,880 --> 00:50:00,680
Speaker 2: out and make your bridle fall out. So they would

935
00:50:00,760 --> 00:50:04,520
Speaker 2: condition with the breakdown process like they would they was

936
00:50:04,640 --> 00:50:07,920
Speaker 2: doing some and then they would rinse it out that

937
00:50:10,280 --> 00:50:13,000
Speaker 2: and then look when they broke it down and I was,

938
00:50:13,080 --> 00:50:15,520
Speaker 2: you know, curled up. When they shampooed and conditioned me,

939
00:50:16,040 --> 00:50:18,520
Speaker 2: then I could go easily to a feather and it

940
00:50:18,560 --> 00:50:21,279
Speaker 2: would hold because my curl pattern was already broken.

941
00:50:21,320 --> 00:50:23,200
Speaker 9: I don't understand the feather though, it's because it's dry,

942
00:50:23,239 --> 00:50:23,520
Speaker 9: I don't.

943
00:50:23,560 --> 00:50:26,960
Speaker 2: I don't understand. They would rinse me out. It was

944
00:50:27,000 --> 00:50:28,879
Speaker 2: a whole process. It was just like a pressing curl.

945
00:50:28,960 --> 00:50:32,520
Speaker 2: But because they would keep me conditioned, it kind of

946
00:50:32,600 --> 00:50:34,919
Speaker 2: kept my hair healthy enough to take that heat.

947
00:50:35,400 --> 00:50:39,920
Speaker 12: He's Jermaine Jackson Jackson. When you left the Jackson's was

948
00:50:39,960 --> 00:50:40,600
Speaker 12: straight feathered.

949
00:50:42,200 --> 00:50:45,360
Speaker 9: The difference is quick still got his. So this is

950
00:50:45,480 --> 00:50:48,440
Speaker 9: like amazing. Those women don't have those kind of stories.

951
00:50:49,680 --> 00:50:53,000
Speaker 9: I believe it was the pretty mean ass girls.

952
00:50:57,120 --> 00:50:58,040
Speaker 2: Hair dressing. Well.

953
00:50:58,080 --> 00:51:01,520
Speaker 11: They used to condition my hair and and roll it

954
00:51:01,560 --> 00:51:04,040
Speaker 11: at the same time, so on safe and sound by

955
00:51:04,040 --> 00:51:07,239
Speaker 11: the time you made it to your third record was

956
00:51:07,400 --> 00:51:10,719
Speaker 11: priority at any profile? Were they just kind of just

957
00:51:10,840 --> 00:51:12,200
Speaker 11: letting you do you like yo?

958
00:51:12,400 --> 00:51:16,719
Speaker 2: Just they they were recouping, so I was cool. My

959
00:51:16,800 --> 00:51:18,520
Speaker 2: thing was, I just never wanted to be in debt

960
00:51:18,560 --> 00:51:20,520
Speaker 2: with nobody because that just seemed like some foule shit

961
00:51:20,600 --> 00:51:23,400
Speaker 2: to do to anybody, just take their money. My thing is,

962
00:51:23,520 --> 00:51:26,279
Speaker 2: we signed a deal, I'm gonna be live it to

963
00:51:26,360 --> 00:51:30,160
Speaker 2: my side of the deal, you know. But they let

964
00:51:30,239 --> 00:51:32,239
Speaker 2: me stretch out They didn't really check in on me,

965
00:51:32,360 --> 00:51:33,719
Speaker 2: you know what I mean, unless I was late with

966
00:51:33,800 --> 00:51:35,719
Speaker 2: a record, and then they would do mean shit, like

967
00:51:36,080 --> 00:51:38,359
Speaker 2: when they realized the gang shit wasn't going nowhere. When

968
00:51:38,360 --> 00:51:40,440
Speaker 2: I caught that case, they was like, okay, so if

969
00:51:40,440 --> 00:51:42,920
Speaker 2: you want the advance for your next record, we need

970
00:51:43,000 --> 00:51:46,440
Speaker 2: you to sign this life insurance policy. Player. So they

971
00:51:46,520 --> 00:51:48,680
Speaker 2: got to ensure. I'm thinking I was finna get my check.

972
00:51:48,719 --> 00:51:53,040
Speaker 2: They came with a fucking like adjuster and what is

973
00:51:53,160 --> 00:51:58,880
Speaker 2: this Just don't say, check any event of your untimely face.

974
00:51:59,520 --> 00:52:01,680
Speaker 2: We get a million dollars for your death and we

975
00:52:01,800 --> 00:52:03,239
Speaker 2: get to keep all your money.

976
00:52:04,160 --> 00:52:06,400
Speaker 9: You know, didn't cite the kind of death. And then

977
00:52:06,520 --> 00:52:08,120
Speaker 9: I'm just curious. Did it say something about bullets.

978
00:52:08,200 --> 00:52:09,960
Speaker 2: It's say, if a nigga shoots you on your face,

979
00:52:10,400 --> 00:52:14,480
Speaker 2: your ass, you die on rosecrans, nigga face down, we

980
00:52:15,440 --> 00:52:16,120
Speaker 2: get a bonus.

981
00:52:16,719 --> 00:52:16,839
Speaker 5: Right.

982
00:52:19,160 --> 00:52:22,239
Speaker 2: It was definitely that gang shit was so dangerous back then.

983
00:52:22,440 --> 00:52:25,920
Speaker 6: Okay, So by ninety six.

984
00:52:28,160 --> 00:52:31,040
Speaker 2: I was rich as fuck. Yeah, I got a poshing

985
00:52:31,120 --> 00:52:34,080
Speaker 2: deal with Warner Brothers. You know, I was writing with

986
00:52:34,200 --> 00:52:38,160
Speaker 2: Elder Bars Tupac. And there's one thing I got to ask.

987
00:52:38,280 --> 00:52:40,279
Speaker 2: I go, man, I was writing my ass off.

988
00:52:40,280 --> 00:52:44,080
Speaker 12: Because as many times as we talk about nineteen ninety

989
00:52:44,120 --> 00:52:48,520
Speaker 12: five on the show, and most people, uh sort of

990
00:52:48,920 --> 00:52:54,239
Speaker 12: talk about outcasts, hold the South, got something to say

991
00:52:54,360 --> 00:52:58,839
Speaker 12: and doctor dre Oh trust me, I know I was God.

992
00:52:58,920 --> 00:53:02,480
Speaker 12: You set it off. The very first thing that happened

993
00:53:02,520 --> 00:53:05,440
Speaker 12: that had us in the audience, Like when I went

994
00:53:05,480 --> 00:53:09,680
Speaker 12: at MC eight Yo, Okay, this is the thing. I

995
00:53:09,800 --> 00:53:12,840
Speaker 12: had no context.

996
00:53:14,280 --> 00:53:15,439
Speaker 2: Or I did.

997
00:53:18,160 --> 00:53:21,920
Speaker 12: The thing was where we were sitting and you remember

998
00:53:21,960 --> 00:53:23,600
Speaker 12: the intro was like everyone came out.

999
00:53:23,520 --> 00:53:27,080
Speaker 2: Of death row. Yeah, yeah, that whole thing and you

1000
00:53:27,200 --> 00:53:29,680
Speaker 2: were first. Yeah, and.

1001
00:53:31,239 --> 00:53:33,560
Speaker 12: Me not get in the context, but watching the audience

1002
00:53:33,680 --> 00:53:38,080
Speaker 12: face like holy ship, he's singing right to m C.

1003
00:53:38,800 --> 00:53:41,640
Speaker 2: He was in the you know when you uh sound check,

1004
00:53:41,960 --> 00:53:43,800
Speaker 2: you get to see where everybody seats it they have

1005
00:53:43,920 --> 00:53:48,000
Speaker 2: the name there. Yeah, they had got an hour before.

1006
00:53:49,080 --> 00:53:51,440
Speaker 2: What were you When did you decide that I was

1007
00:53:51,480 --> 00:53:55,640
Speaker 2: gonna go hard? Yeah? It was a lot going on

1008
00:53:55,800 --> 00:53:57,640
Speaker 2: before that, Like there was a fight that I had

1009
00:53:57,680 --> 00:54:00,080
Speaker 2: at the l Way Theater where you know, I was

1010
00:54:00,120 --> 00:54:03,160
Speaker 2: implemented and like a death like you know, some one

1011
00:54:03,239 --> 00:54:04,880
Speaker 2: of his boys was in the audience and he was

1012
00:54:04,960 --> 00:54:08,080
Speaker 2: dissing me, and I started fighting with him, but it

1013
00:54:08,160 --> 00:54:10,839
Speaker 2: started this chain reaction where everybody started fighting in the club.

1014
00:54:11,239 --> 00:54:13,399
Speaker 2: So the club got tore down and somebody died that night.

1015
00:54:13,480 --> 00:54:14,880
Speaker 2: And it was it had nothing to do with me,

1016
00:54:15,480 --> 00:54:18,000
Speaker 2: but I felt like, damn, you know, me and this

1017
00:54:18,120 --> 00:54:21,319
Speaker 2: dude fighting and that energy just spread. So I was hot,

1018
00:54:21,520 --> 00:54:23,440
Speaker 2: Like I was just mad for some other reasons, you

1019
00:54:23,520 --> 00:54:26,719
Speaker 2: know what I mean, And that when I knew that

1020
00:54:26,760 --> 00:54:28,640
Speaker 2: he was going to be on the show, I was like,

1021
00:54:28,920 --> 00:54:31,400
Speaker 2: you know, since we came in this dis war amicably,

1022
00:54:31,640 --> 00:54:33,920
Speaker 2: like I'm trying to talk to him, you know, like, man,

1023
00:54:33,960 --> 00:54:36,719
Speaker 2: the sources keeping this shit going, we just just dead

1024
00:54:36,840 --> 00:54:39,000
Speaker 2: this shit and we'll be like neighborhood heroes. We both

1025
00:54:39,040 --> 00:54:42,239
Speaker 2: from Compton, like let's do it. You know, I fuck

1026
00:54:42,280 --> 00:54:43,960
Speaker 2: with you. I even work with you on some records,

1027
00:54:44,000 --> 00:54:46,040
Speaker 2: Like let's just squash it. But he had people in

1028
00:54:46,120 --> 00:54:48,759
Speaker 2: his ear that I later found out through some people

1029
00:54:48,840 --> 00:54:51,360
Speaker 2: in his camp, that were keeping him from fucking with me.

1030
00:54:51,640 --> 00:54:54,040
Speaker 2: They didn't want that to happen. They was, you know, like, Nigga,

1031
00:54:54,040 --> 00:54:56,040
Speaker 2: if you do that, Nigga's game over for you because

1032
00:54:56,120 --> 00:54:58,200
Speaker 2: you get your niggas over, you know. It's like so

1033
00:54:58,239 --> 00:55:00,879
Speaker 2: they didn't let us build thing was. I just thought

1034
00:55:00,920 --> 00:55:03,600
Speaker 2: he was just mister billy badass. Was like just kept

1035
00:55:03,960 --> 00:55:06,719
Speaker 2: going at me. So I was enough enough, you know

1036
00:55:06,719 --> 00:55:08,560
Speaker 2: what I mean? I wrote dollars and cents, and when

1037
00:55:08,600 --> 00:55:10,680
Speaker 2: I got a chance to perform it for him, I

1038
00:55:10,880 --> 00:55:12,640
Speaker 2: was like, man, and you know you you know, you

1039
00:55:12,719 --> 00:55:14,520
Speaker 2: make a nigga mad. When he started, I was talking

1040
00:55:14,600 --> 00:55:17,080
Speaker 2: gay shit on that motherfucker, like fucking this nigga. I've

1041
00:55:19,160 --> 00:55:21,400
Speaker 2: it was over. Like I wast my mind. I went crazy.

1042
00:55:22,600 --> 00:55:27,279
Speaker 2: Yeah that's the thing. We sat there like what was it?

1043
00:55:27,520 --> 00:55:30,080
Speaker 2: I couldn't see his face, but what was his? I

1044
00:55:30,200 --> 00:55:32,279
Speaker 2: did it? Did you worry that? Like they were just

1045
00:55:32,360 --> 00:55:35,280
Speaker 2: going to run up? I was. I really wasn't worried

1046
00:55:35,360 --> 00:55:38,920
Speaker 2: because you know, I was friends with Snoop and dog Pound,

1047
00:55:39,080 --> 00:55:41,400
Speaker 2: like we was cool, so it was gonna happen. But

1048
00:55:41,440 --> 00:55:43,480
Speaker 2: the little bit, I know Snoop was cool with eight two,

1049
00:55:43,600 --> 00:55:45,200
Speaker 2: so it was like he wasn't in it. He wasn't

1050
00:55:45,200 --> 00:55:50,680
Speaker 2: you know he was gonna do it. Yeah, we rehearsed it,

1051
00:55:50,840 --> 00:55:53,840
Speaker 2: so he knew I was gonna do that. Dre knew everybody.

1052
00:55:54,000 --> 00:55:58,080
Speaker 2: Dreda one edited this song, you know, so when I

1053
00:55:58,200 --> 00:55:59,880
Speaker 2: had to do it, it was like you know, you

1054
00:56:00,320 --> 00:56:02,920
Speaker 2: you say something, you gotta back it up. So I

1055
00:56:03,080 --> 00:56:05,920
Speaker 2: backed it up. I knew the cool thing was. To me,

1056
00:56:06,520 --> 00:56:08,839
Speaker 2: the cool thing was that I got my hair done

1057
00:56:08,880 --> 00:56:10,520
Speaker 2: in l A before we came out there, because I

1058
00:56:10,520 --> 00:56:12,640
Speaker 2: didn't know hair dresses in New York. And I kept

1059
00:56:12,680 --> 00:56:21,399
Speaker 2: my hair bone straight for four days. You gotta put

1060
00:56:21,440 --> 00:56:21,840
Speaker 2: the pillow.

1061
00:56:23,840 --> 00:56:28,080
Speaker 9: Days when the girls had the Bufonts must have been

1062
00:56:28,120 --> 00:56:30,240
Speaker 9: the winter time would have been more challenging.

1063
00:56:30,960 --> 00:56:34,239
Speaker 2: You already know that humidity would have couldn't find the

1064
00:56:34,320 --> 00:56:35,399
Speaker 2: lights dress in New York.

1065
00:56:37,680 --> 00:56:43,160
Speaker 6: Okay, So after that show was over, I ran out

1066
00:56:43,719 --> 00:56:44,839
Speaker 6: right after that, Uh.

1067
00:56:46,480 --> 00:56:49,880
Speaker 2: Let it be know then you know the snoops, old snoop.

1068
00:56:50,239 --> 00:56:51,520
Speaker 2: I ran out. That was done.

1069
00:56:51,560 --> 00:56:59,160
Speaker 12: It's over right. So that night, what did the death

1070
00:56:59,239 --> 00:57:02,440
Speaker 12: Row camp do? Did y'all just fly back to California

1071
00:57:02,520 --> 00:57:04,720
Speaker 12: or did y'all know y'all.

1072
00:57:04,600 --> 00:57:06,439
Speaker 2: Stayed in New York? You want to know? It really

1073
00:57:07,040 --> 00:57:12,520
Speaker 2: hit me. Okay, my that night when the feud started,

1074
00:57:12,960 --> 00:57:14,640
Speaker 2: when she got up there and said what he said,

1075
00:57:15,400 --> 00:57:18,040
Speaker 2: and we that was a wild pitch for us. We

1076
00:57:18,160 --> 00:57:20,280
Speaker 2: didn't know what was going to happen. We just wanted

1077
00:57:20,320 --> 00:57:23,400
Speaker 2: to represent La. We was in Madison, Square Guarden. That

1078
00:57:23,480 --> 00:57:25,560
Speaker 2: was my first time there. So we was like in all,

1079
00:57:25,720 --> 00:57:27,840
Speaker 2: like you know, we're fans too, you know, we know

1080
00:57:27,960 --> 00:57:30,160
Speaker 2: hip hop started in or we know exactly what it is.

1081
00:57:30,320 --> 00:57:32,560
Speaker 2: We just felt like finally we got some money and

1082
00:57:32,640 --> 00:57:34,520
Speaker 2: we further in hip hop, like you know what I mean,

1083
00:57:34,600 --> 00:57:36,080
Speaker 2: and we love y'all niggas, like I want to work

1084
00:57:36,120 --> 00:57:37,800
Speaker 2: with Rocky Cam. I want to work with you know

1085
00:57:37,800 --> 00:57:41,520
Speaker 2: what I'm saying, fucking shit niggas. That was on my label,

1086
00:57:42,840 --> 00:57:46,560
Speaker 2: fucking ugh or No on profile. It was like poor

1087
00:57:46,640 --> 00:57:50,000
Speaker 2: righteous Special. I wanted to work with them niggas, like

1088
00:57:50,000 --> 00:57:51,200
Speaker 2: you know what I mean. It's like we let you know.

1089
00:57:51,280 --> 00:57:55,280
Speaker 2: And Dana Dane. So after that, when when she got

1090
00:57:55,360 --> 00:57:57,880
Speaker 2: up there and through that wild pitch, we felt the

1091
00:57:57,960 --> 00:57:59,720
Speaker 2: heat from the audience behind it. So me and they

1092
00:57:59,800 --> 00:58:01,600
Speaker 2: dog was sitting next to each other, we stood up

1093
00:58:01,680 --> 00:58:05,120
Speaker 2: and just stood back to back like and Nate Dogg said, quick,

1094
00:58:05,120 --> 00:58:06,480
Speaker 2: if you don't let nobody hit me in the back

1095
00:58:06,480 --> 00:58:07,840
Speaker 2: of my head, I don't let nobody hit you in

1096
00:58:07,840 --> 00:58:09,200
Speaker 2: the back of your head. I'm like, bro, you ain't

1097
00:58:09,200 --> 00:58:11,680
Speaker 2: gotta say nothing else. She knew it was. It was

1098
00:58:11,840 --> 00:58:15,760
Speaker 2: so it was so chill bump and you know, blackout,

1099
00:58:15,880 --> 00:58:17,120
Speaker 2: like it was just weird.

1100
00:58:17,160 --> 00:58:19,240
Speaker 11: We had Steed out on the show a couple it

1101
00:58:19,360 --> 00:58:21,520
Speaker 11: was a while back, and he was there and he

1102
00:58:21,680 --> 00:58:23,560
Speaker 11: says like that in a lot of rooms.

1103
00:58:23,400 --> 00:58:26,400
Speaker 2: He was, He said, that's the energy was devilish. It

1104
00:58:26,560 --> 00:58:28,400
Speaker 2: was like it was like everybody could have just got

1105
00:58:28,480 --> 00:58:30,840
Speaker 2: killed that night. That's what it felt like. It just

1106
00:58:30,880 --> 00:58:33,800
Speaker 2: felt like red light on everybody. So what we did

1107
00:58:34,040 --> 00:58:37,360
Speaker 2: was Shug had I think he had the on the

1108
00:58:37,440 --> 00:58:42,600
Speaker 2: sales the mind you not what you call it? Dope

1109
00:58:42,640 --> 00:58:47,680
Speaker 2: aest hotel, my hotel. It's not the paramount, No, it's

1110
00:58:47,720 --> 00:58:49,840
Speaker 2: the one that Biggie wrapped about. Tupockey is just stayed

1111
00:58:49,840 --> 00:58:51,960
Speaker 2: there all the time. They have the numbers on the.

1112
00:58:52,000 --> 00:58:59,200
Speaker 12: Floor, the park Parking, Tupac Central Part two, the Lark

1113
00:58:59,360 --> 00:59:01,240
Speaker 12: that Parker's.

1114
00:59:00,440 --> 00:59:08,200
Speaker 2: Were we're there and Sugar had Mia come over. Did

1115
00:59:08,280 --> 00:59:11,960
Speaker 2: he's baby Mama? WHOA a lot of people don't know this,

1116
00:59:12,120 --> 00:59:15,200
Speaker 2: this is only on your show, Quest And I'm going, Shug,

1117
00:59:15,240 --> 00:59:19,520
Speaker 2: what are you doing? Like what the fuck? Like that's

1118
00:59:19,920 --> 00:59:23,200
Speaker 2: did he baby Mama? And she was just like, you know,

1119
00:59:23,320 --> 00:59:26,680
Speaker 2: hanging out like whatever, you know, And I was like

1120
00:59:26,840 --> 00:59:29,600
Speaker 2: Mary J. Blige popped up, you know what I'm saying.

1121
00:59:29,640 --> 00:59:32,200
Speaker 2: It was like I didn't get it. It just got

1122
00:59:32,240 --> 00:59:34,480
Speaker 2: weird to me. Did she calmed down? Maybe she was

1123
00:59:34,520 --> 00:59:36,600
Speaker 2: just there to come? I hope. You know.

1124
00:59:36,840 --> 00:59:38,600
Speaker 7: Well, I always thought it was weird that the Sugar

1125
00:59:38,680 --> 00:59:42,919
Speaker 7: started working with Joe to Yeah, yeah, like and all those, all.

1126
00:59:42,840 --> 00:59:45,920
Speaker 2: Those he managed them. He ended up managing everybody like

1127
00:59:46,080 --> 00:59:49,760
Speaker 2: you know, got in their business with MCA, and that's

1128
00:59:49,960 --> 00:59:52,680
Speaker 2: kind of you know, did you do it in my room?

1129
00:59:52,800 --> 00:59:56,960
Speaker 2: Did you? Okay? Okay? He was She wanted to be

1130
00:59:57,520 --> 01:00:01,000
Speaker 2: everybody's manager because he wanted to shake down every record company.

1131
01:00:01,320 --> 01:00:03,320
Speaker 2: His intentions was good, but I think at some point

1132
01:00:03,400 --> 01:00:06,280
Speaker 2: it started driving sure crazy too. It was just because

1133
01:00:06,320 --> 01:00:09,920
Speaker 2: the fame and everybody trusted him, like he had everybody

1134
01:00:10,320 --> 01:00:13,080
Speaker 2: wanting to do business with him. I mean, you'll be

1135
01:00:13,600 --> 01:00:15,240
Speaker 2: I was there when Hammer was there, it would be

1136
01:00:15,400 --> 01:00:24,520
Speaker 2: me MC Hammer, Roger Troutman, Leroy Hudson, fucking Josy, nigga, nigga, everybody, nigga, nigga.

1137
01:00:24,640 --> 01:00:32,320
Speaker 2: Everybody went to death row everybody, everybody. But that's crazy.

1138
01:00:32,360 --> 01:00:33,360
Speaker 2: What is it about Sugar?

1139
01:00:33,440 --> 01:00:35,800
Speaker 9: Because I mean again, coming from security to be in

1140
01:00:35,840 --> 01:00:37,800
Speaker 9: an executive managed super manager, Like what.

1141
01:00:37,960 --> 01:00:41,600
Speaker 2: Was that charisma as a he was giving everybody results.

1142
01:00:42,080 --> 01:00:44,080
Speaker 2: He was getting motherfuckers paid from their record company. He

1143
01:00:44,160 --> 01:00:46,240
Speaker 2: was shaking their record companies up, and they were right

1144
01:00:46,280 --> 01:00:47,920
Speaker 2: to check to you. And he was just scaring the

1145
01:00:47,920 --> 01:00:53,720
Speaker 2: ship out of folks out of niggas. Did you work

1146
01:00:53,800 --> 01:00:57,280
Speaker 2: on Sam? Sam? I worked on one of two songs

1147
01:00:57,320 --> 01:00:59,960
Speaker 2: of Sam to recognize you. No, it wasn't recognized that

1148
01:01:00,000 --> 01:01:01,800
Speaker 2: it was dre It was one thing I did with Sam.

1149
01:01:02,120 --> 01:01:05,120
Speaker 2: I forgot Okay, let's let's finally get it out there.

1150
01:01:05,240 --> 01:01:06,000
Speaker 2: Let's get it out there.

1151
01:01:06,040 --> 01:01:08,720
Speaker 12: In the dog Pound record dog Food, I was, yeah,

1152
01:01:10,000 --> 01:01:17,160
Speaker 12: are your patches the common patch of are you the

1153
01:01:17,280 --> 01:01:23,240
Speaker 12: Marley Maul of the West Coast? Marley mal infamously had

1154
01:01:23,720 --> 01:01:27,160
Speaker 12: you know his president? And then next thing you know,

1155
01:01:27,760 --> 01:01:29,320
Speaker 12: a billion rappers are using.

1156
01:01:29,880 --> 01:01:33,480
Speaker 2: I sampled Lady Groove by the Fat Back Band, and

1157
01:01:33,600 --> 01:01:35,920
Speaker 2: I cleaned it up through SSL console and made it

1158
01:01:36,000 --> 01:01:39,120
Speaker 2: sound like a breakbeat because it was all noisy and

1159
01:01:39,280 --> 01:01:42,320
Speaker 2: reverb beat. But I tightened it up and I used

1160
01:01:42,320 --> 01:01:47,240
Speaker 2: it for Second and Nun's song be True to Yourself.

1161
01:01:47,320 --> 01:01:49,720
Speaker 2: The twelve inch we did like this European twelve inch

1162
01:01:49,760 --> 01:01:52,440
Speaker 2: where I was cutting, taping, breaking it down to a break,

1163
01:01:52,920 --> 01:01:57,240
Speaker 2: and Warren g sampled it. No your guy. He used

1164
01:01:57,240 --> 01:02:00,880
Speaker 2: to do the compilations of European compilations where they would

1165
01:02:00,920 --> 01:02:06,640
Speaker 2: do no. He was what's my man's name? Uh No,

1166
01:02:06,840 --> 01:02:09,440
Speaker 2: he was super popular. We'd all buy his records back

1167
01:02:09,600 --> 01:02:11,800
Speaker 2: like he was from Europe and he would do these

1168
01:02:11,880 --> 01:02:17,400
Speaker 2: breakbeat records. Simon Harris, Simon Harris. Simon Harris sampled me

1169
01:02:17,600 --> 01:02:19,720
Speaker 2: and put my break on his record and named it

1170
01:02:19,800 --> 01:02:22,120
Speaker 2: after one of kk's lines in the record Keep Cool

1171
01:02:22,120 --> 01:02:25,160
Speaker 2: Little Girl called it to keep Cool Little Girl break.

1172
01:02:25,240 --> 01:02:28,960
Speaker 2: But it was that, you know it, It was killing.

1173
01:02:29,600 --> 01:02:34,320
Speaker 2: Warren sampled it for Indoor Smoke and it became his

1174
01:02:34,400 --> 01:02:39,680
Speaker 2: bottom beat name. It was used on Black Superman for

1175
01:02:40,240 --> 01:02:44,000
Speaker 2: Above the Law, and it just became the common clap.

1176
01:02:44,840 --> 01:02:46,800
Speaker 6: That's that West Coast clap.

1177
01:02:47,280 --> 01:02:49,680
Speaker 2: Those are real claps. Some of them are we you know,

1178
01:02:49,720 --> 01:02:53,600
Speaker 2: we're in the bathroom with a dynamic mic clap and

1179
01:02:53,680 --> 01:02:56,800
Speaker 2: then eq it and you know, sample them. But that

1180
01:02:57,000 --> 01:02:58,800
Speaker 2: was the that was the color like to because we

1181
01:02:58,840 --> 01:03:01,560
Speaker 2: didn't have that that clap trap that Parliament used to

1182
01:03:01,680 --> 01:03:04,360
Speaker 2: use for like all them them funky records, you know,

1183
01:03:04,440 --> 01:03:07,840
Speaker 2: Flashlight arcle boogie, So we made them ourselves you know,

1184
01:03:08,160 --> 01:03:10,360
Speaker 2: and I ended up giving up. I sam with some

1185
01:03:10,440 --> 01:03:12,880
Speaker 2: other ones and did a real dope color that. You know.

1186
01:03:13,000 --> 01:03:15,960
Speaker 2: Claps are colors, you know, they're either big and buff

1187
01:03:16,400 --> 01:03:18,880
Speaker 2: or they're light and tiny. And I did some big,

1188
01:03:19,040 --> 01:03:21,280
Speaker 2: buff media ass claps and gave him the Dre and

1189
01:03:21,320 --> 01:03:26,840
Speaker 2: he used them for fucking in the club. Yeah. The

1190
01:03:27,640 --> 01:03:30,720
Speaker 2: the only the claps are that was Dre snare and

1191
01:03:30,800 --> 01:03:33,680
Speaker 2: kick and everything else. But the claps, they're also the

1192
01:03:33,760 --> 01:03:37,040
Speaker 2: same claps from True Heart's Addictives. They're I could give

1193
01:03:37,080 --> 01:03:38,640
Speaker 2: them to me and you shared. You gave me a

1194
01:03:38,680 --> 01:03:40,840
Speaker 2: file bro of some Prince stuff that blew me away,

1195
01:03:40,880 --> 01:03:42,720
Speaker 2: and I wanted to give you back some you know.

1196
01:03:42,960 --> 01:03:45,120
Speaker 2: I got p y t and then broke down it

1197
01:03:46,160 --> 01:03:50,560
Speaker 2: that kid, you pee my tea. I'm like, see this,

1198
01:03:50,720 --> 01:03:51,880
Speaker 2: I know your nerve man.

1199
01:03:54,440 --> 01:03:57,439
Speaker 6: With me, So you get the you get the master.

1200
01:03:57,560 --> 01:04:00,120
Speaker 6: And then suddenly you want to see what Michael.

1201
01:04:01,680 --> 01:04:03,880
Speaker 2: I. You know, I put it in waves and slowed

1202
01:04:04,040 --> 01:04:07,440
Speaker 2: down and listen to HIMIM like we did the same kids.

1203
01:04:07,800 --> 01:04:14,880
Speaker 2: You pet you tea, and it's like, wow, that's what

1204
01:04:15,000 --> 01:04:17,280
Speaker 2: you saying, right man? Man.

1205
01:04:17,560 --> 01:04:20,360
Speaker 11: I always knew what I knew about the beef with

1206
01:04:20,440 --> 01:04:22,320
Speaker 11: you and eight. What was the basis of Beef with

1207
01:04:22,440 --> 01:04:23,840
Speaker 11: You and House of Pain whatever?

1208
01:04:23,960 --> 01:04:26,440
Speaker 2: Last ever, Last was just being a dick back then,

1209
01:04:26,600 --> 01:04:29,439
Speaker 2: Like he was friends with Iced Tea and I think

1210
01:04:29,840 --> 01:04:32,480
Speaker 2: I had said we had this magazine called Rap Pages

1211
01:04:32,480 --> 01:04:37,280
Speaker 2: and I had seen Tea and I had to apologize

1212
01:04:37,320 --> 01:04:40,080
Speaker 2: back then. But me being such a big Iced Tea fan,

1213
01:04:40,560 --> 01:04:42,560
Speaker 2: when I saw him like go hard on a fan

1214
01:04:42,640 --> 01:04:44,560
Speaker 2: one time, like we were on tour together and he

1215
01:04:44,680 --> 01:04:46,640
Speaker 2: was like, get the funk, I ain't signing your fucking autograph,

1216
01:04:46,680 --> 01:04:49,000
Speaker 2: Get the funk out of here. I was like, oh wow,

1217
01:04:49,280 --> 01:04:51,560
Speaker 2: Like he had you know, he didn't feel like being bothered,

1218
01:04:51,800 --> 01:04:53,680
Speaker 2: and that offended me because I wanted to ask him

1219
01:04:53,680 --> 01:04:58,120
Speaker 2: for autograph. I said, said, man, Ice teas me, Man,

1220
01:04:58,240 --> 01:05:01,640
Speaker 2: he's fucking dick, like, you know, being emotional at twenty

1221
01:05:01,720 --> 01:05:03,920
Speaker 2: years old, twenty one whatever. In the magazine they just

1222
01:05:04,000 --> 01:05:06,000
Speaker 2: printed it. It was like quick, just Ice Tea, but

1223
01:05:06,080 --> 01:05:08,520
Speaker 2: it wasn't like that, you know, and Ice team was

1224
01:05:08,600 --> 01:05:11,520
Speaker 2: like yeah. He he shot back up and he said, yeah,

1225
01:05:11,800 --> 01:05:14,160
Speaker 2: give a fuck about quicker. I'll beat Quick, motherfucking ass.

1226
01:05:14,320 --> 01:05:16,640
Speaker 2: I never said nothing else because I believe him.

1227
01:05:18,440 --> 01:05:18,480
Speaker 13: So.

1228
01:05:19,040 --> 01:05:21,600
Speaker 2: At the time syndicate was signed, the Ice Tay just

1229
01:05:21,840 --> 01:05:24,160
Speaker 2: before him, like they had this song you know you

1230
01:05:24,320 --> 01:05:27,320
Speaker 2: make me you make me sick like Nestie Quick. Your

1231
01:05:27,400 --> 01:05:29,480
Speaker 2: rhymes are whack. You ain't the Mac. And then that

1232
01:05:29,640 --> 01:05:30,440
Speaker 2: that went over everybody.

1233
01:05:31,080 --> 01:05:34,920
Speaker 12: So Heed, you're talking about cleaned up every Yeah.

1234
01:05:36,400 --> 01:05:40,600
Speaker 2: House of pain, I mean not white Yeah, yeah, the

1235
01:05:40,680 --> 01:05:44,240
Speaker 2: old schooling with the syndicate. He just I've seen the

1236
01:05:44,320 --> 01:05:46,800
Speaker 2: video that we used to watch. What was that music

1237
01:05:46,920 --> 01:05:50,480
Speaker 2: choice not music I'm watching music boxing said you make

1238
01:05:50,600 --> 01:05:53,640
Speaker 2: me Quick, you make me sick like DJ Quick, Your

1239
01:05:53,720 --> 01:05:55,680
Speaker 2: rhymes are whack, you ain't the Mac. I was like,

1240
01:05:55,800 --> 01:05:58,040
Speaker 2: oh God, and we have just got the deal to

1241
01:05:58,160 --> 01:06:01,040
Speaker 2: do that Minister Society track, like to give him a

1242
01:06:01,080 --> 01:06:02,600
Speaker 2: song for that movie. And we had like screened a

1243
01:06:02,600 --> 01:06:03,920
Speaker 2: little bit of that movie. I was like, Oh, this

1244
01:06:04,040 --> 01:06:06,880
Speaker 2: movie'd be crazy because back then it was just about

1245
01:06:06,960 --> 01:06:09,360
Speaker 2: being honest to the hood. Like if the movie looked

1246
01:06:09,440 --> 01:06:11,560
Speaker 2: like the Hood, and that shit was gonna automatically blow

1247
01:06:11,600 --> 01:06:14,320
Speaker 2: because culture, know when it's a culture vulture when it's real.

1248
01:06:14,440 --> 01:06:17,120
Speaker 2: So you know, that shit was real, and I just figured,

1249
01:06:17,200 --> 01:06:18,880
Speaker 2: you know, I might as well. I was in between

1250
01:06:18,920 --> 01:06:20,680
Speaker 2: way too funky and all that shit, and you know,

1251
01:06:20,840 --> 01:06:24,160
Speaker 2: at the time, I was producing. I was doing three

1252
01:06:24,200 --> 01:06:26,240
Speaker 2: albums at a time. I was working on I Did

1253
01:06:26,280 --> 01:06:28,360
Speaker 2: a Bit Better Have My Money, second in the whole album,

1254
01:06:28,440 --> 01:06:30,560
Speaker 2: my album, and was starting on way too funky, but

1255
01:06:30,720 --> 01:06:33,200
Speaker 2: was still stop. When the big ass twenty thousand dollars

1256
01:06:33,240 --> 01:06:35,320
Speaker 2: checks came from them little soundtrack record, I was like,

1257
01:06:35,640 --> 01:06:38,880
Speaker 2: gotta get it, need that. Hell yeah, run it? How fast?

1258
01:06:39,400 --> 01:06:39,520
Speaker 11: Uh?

1259
01:06:40,840 --> 01:06:46,360
Speaker 12: Was Tupac's work method as far as songs per day.

1260
01:06:47,640 --> 01:06:50,840
Speaker 2: He could easily do like five songs today. That's like

1261
01:06:50,960 --> 01:06:53,480
Speaker 2: doing the album in three days. He could do it.

1262
01:06:54,600 --> 01:06:55,560
Speaker 2: So we did that also.

1263
01:06:55,560 --> 01:06:57,360
Speaker 6: I mean you would have to do five songs. You

1264
01:06:57,360 --> 01:06:59,439
Speaker 6: would have to beat first of all, how many songs

1265
01:06:59,520 --> 01:07:01,000
Speaker 6: he do on on all eyes on me?

1266
01:07:01,160 --> 01:07:03,200
Speaker 2: I did a bunch like I helped with a lot

1267
01:07:03,240 --> 01:07:06,120
Speaker 2: of them, Like dads really produced most of the ambitions

1268
01:07:06,160 --> 01:07:08,000
Speaker 2: of a rider. I would just remix some of them

1269
01:07:08,040 --> 01:07:10,800
Speaker 2: and just you know, finish the musical thought of them.

1270
01:07:10,960 --> 01:07:13,000
Speaker 2: You know, they needed a little high hat or something.

1271
01:07:13,040 --> 01:07:14,920
Speaker 2: I put a hat down or some shake. I got

1272
01:07:14,920 --> 01:07:16,560
Speaker 2: into percussion back then, so I was playing like the

1273
01:07:16,600 --> 01:07:18,959
Speaker 2: percussion and ship on ship to make it just sound

1274
01:07:19,080 --> 01:07:21,440
Speaker 2: like you know, America's most wanted. That's me on the

1275
01:07:21,480 --> 01:07:23,600
Speaker 2: clap and a percussion just to make it make it

1276
01:07:23,680 --> 01:07:27,400
Speaker 2: sound different. Yeah, that's that's that little weaker looking it's

1277
01:07:27,440 --> 01:07:29,840
Speaker 2: like a gordo. A gordo. It's like a silver one.

1278
01:07:30,200 --> 01:07:32,440
Speaker 2: I had Tupac signed, actually, but it was that that

1279
01:07:32,640 --> 01:07:34,560
Speaker 2: thing that you know, just to make it sound like

1280
01:07:34,680 --> 01:07:36,720
Speaker 2: as if you scratch and keep it percussive or whatever.

1281
01:07:36,800 --> 01:07:39,280
Speaker 2: But I worked on like fourteen songs on that record.

1282
01:07:40,240 --> 01:07:42,440
Speaker 6: Let me okay, let me say when I first met

1283
01:07:42,760 --> 01:07:43,720
Speaker 6: in two days.

1284
01:07:44,040 --> 01:07:50,440
Speaker 2: Shiit seven songs a day. I needed cocaine back then, Brod,

1285
01:07:51,000 --> 01:07:56,880
Speaker 2: we smoke headaches right there.

1286
01:07:57,200 --> 01:08:02,280
Speaker 12: Okay, explain, explain to me your relationship with the FlexIt

1287
01:08:02,360 --> 01:08:03,680
Speaker 12: tone AKA.

1288
01:08:07,400 --> 01:08:09,160
Speaker 2: You know it was funny because we didn't know.

1289
01:08:09,600 --> 01:08:14,720
Speaker 12: Okay, so we back when we were just starting to

1290
01:08:14,800 --> 01:08:21,719
Speaker 12: work on Chappelle's third season, we started the Tupac sketch. Okay, well,

1291
01:08:23,040 --> 01:08:27,720
Speaker 12: and Neil Brennan was like, Yo, we need what we

1292
01:08:28,000 --> 01:08:32,880
Speaker 12: just called the DJ Quick noise. Little did we know

1293
01:08:34,040 --> 01:08:36,559
Speaker 12: you were in the studio next door. Like the assistant

1294
01:08:36,640 --> 01:08:40,080
Speaker 12: engineer was like, you know, DJ Quick's actually next door

1295
01:08:41,880 --> 01:08:44,080
Speaker 12: was like, yo, dude, we gotta get him to do that.

1296
01:08:47,040 --> 01:08:50,200
Speaker 12: And sure enough you had your box of percussion. Wow,

1297
01:08:50,800 --> 01:08:54,360
Speaker 12: and you pulled out the FlexIt tone in history.

1298
01:08:55,520 --> 01:08:58,439
Speaker 2: I got that from my brother in law, Bill Coverson.

1299
01:08:58,560 --> 01:09:00,519
Speaker 2: He was like the first person in us with that thing,

1300
01:09:00,600 --> 01:09:02,360
Speaker 2: and I'm like, what is this crazy thing? But when

1301
01:09:02,400 --> 01:09:05,040
Speaker 2: he would do it, it was just funny. And I

1302
01:09:05,120 --> 01:09:07,800
Speaker 2: remember that sound from the song Qutie Pie by One Way.

1303
01:09:08,479 --> 01:09:12,120
Speaker 2: That's when we first heard it. And ultimately who taught

1304
01:09:12,160 --> 01:09:14,200
Speaker 2: me how to really get down on it was Carl

1305
01:09:14,280 --> 01:09:17,080
Speaker 2: Butch Small, this dude named Butch who's the percussion player

1306
01:09:17,120 --> 01:09:18,920
Speaker 2: for Death Row. He was like the played on like

1307
01:09:19,160 --> 01:09:21,560
Speaker 2: twenty one Jump Street on Doctor Dre's records all the

1308
01:09:21,720 --> 01:09:24,639
Speaker 2: you know when when when when Dre's records starts sounding

1309
01:09:24,760 --> 01:09:26,679
Speaker 2: like super percussive and went.

1310
01:09:26,600 --> 01:09:37,360
Speaker 13: Big exactly that that was the one. That's Carl's from Detroit. Yeah,

1311
01:09:37,880 --> 01:09:39,280
Speaker 13: actual people playing percussion.

1312
01:09:39,400 --> 01:09:42,439
Speaker 6: Yeah see, I'm thinking about this stuff is just a maculate.

1313
01:09:42,560 --> 01:09:45,000
Speaker 2: We know, bro, it's not programmed. This dude had bell

1314
01:09:45,080 --> 01:09:46,720
Speaker 2: trees like you go in there. He had this set

1315
01:09:46,800 --> 01:09:50,679
Speaker 2: up where he had the bongos, bell trees roto Tom's

1316
01:09:50,880 --> 01:09:56,200
Speaker 2: flexy Tones, Guika's Monkey Acid. Yeah I'm sitting up here

1317
01:09:56,200 --> 01:09:59,680
Speaker 2: with yeah, Yeah, I'm sitting up here watching him do this,

1318
01:10:00,360 --> 01:10:03,080
Speaker 2: and he played on Dollars and Cents and blew my

1319
01:10:03,200 --> 01:10:05,640
Speaker 2: record up. And when the when the soundtrack Murder was

1320
01:10:05,680 --> 01:10:07,240
Speaker 2: the Case came out, Dollars and Cents was one of

1321
01:10:07,280 --> 01:10:10,120
Speaker 2: the popular records on there, Dre locked him down. Dre

1322
01:10:10,320 --> 01:10:13,439
Speaker 2: was like, you know, I need to sound for these songs.

1323
01:10:14,200 --> 01:10:16,479
Speaker 2: So he you know, I couldn't get Carl no more.

1324
01:10:16,520 --> 01:10:18,439
Speaker 2: And I just got the deal to work with Tony

1325
01:10:19,120 --> 01:10:20,720
Speaker 2: and do the Let's Get Down record. I was like,

1326
01:10:21,080 --> 01:10:23,559
Speaker 2: we need to continue that sound on here. So I'm

1327
01:10:23,600 --> 01:10:28,040
Speaker 2: calling Carl. Hey Carl, I'm out here right now. Hey

1328
01:10:28,080 --> 01:10:30,080
Speaker 2: Carl Man, Hey busch Man, we need to get you

1329
01:10:30,120 --> 01:10:30,759
Speaker 2: on this project.

1330
01:10:30,800 --> 01:10:30,960
Speaker 7: Man.

1331
01:10:31,520 --> 01:10:33,200
Speaker 2: I was like, so he've got real with me, said

1332
01:10:33,200 --> 01:10:35,120
Speaker 2: hey man. Dre said, I can't work on your records more.

1333
01:10:35,160 --> 01:10:40,000
Speaker 2: I'm like, what man? All right, Reggie. So I hung

1334
01:10:40,120 --> 01:10:42,400
Speaker 2: up the phone and I was like, I was in

1335
01:10:42,479 --> 01:10:45,080
Speaker 2: the living room, my little apartment was high my condo.

1336
01:10:45,280 --> 01:10:49,240
Speaker 2: I was like, So I drove to West La Music.

1337
01:10:49,600 --> 01:10:52,120
Speaker 2: I was like, hey, man, do y'all sell percussion up here?

1338
01:10:53,120 --> 01:10:55,320
Speaker 2: Come on back. So I just was looking at all

1339
01:10:55,400 --> 01:10:57,320
Speaker 2: the percussion. I would play it in the store to

1340
01:10:57,400 --> 01:11:00,160
Speaker 2: see what I was It wouldn't sound like. And I

1341
01:11:00,520 --> 01:11:03,960
Speaker 2: bought a I bought two flexy tones, the big one

1342
01:11:04,000 --> 01:11:06,519
Speaker 2: in the little one. I bought the bell tree where

1343
01:11:06,560 --> 01:11:08,080
Speaker 2: you have to order it. I bought a bell tree,

1344
01:11:08,200 --> 01:11:12,400
Speaker 2: Chinese bell tree. I bought like bongos. I bought tambourines.

1345
01:11:12,520 --> 01:11:15,519
Speaker 2: I bought the guica, the monkey ass. I bought the

1346
01:11:15,880 --> 01:11:18,759
Speaker 2: and the cabasas. I bought the big and small cobassas,

1347
01:11:18,760 --> 01:11:21,320
Speaker 2: and I bought shakers. And I went in there and

1348
01:11:21,600 --> 01:11:25,280
Speaker 2: I walked around my apartment playing that flexy tone over

1349
01:11:25,400 --> 01:11:27,800
Speaker 2: and over and over again until I got it to

1350
01:11:27,920 --> 01:11:30,519
Speaker 2: sound like the record was. Yeah, And you know, I

1351
01:11:30,560 --> 01:11:32,080
Speaker 2: figured out a way to do it. You've been one

1352
01:11:32,120 --> 01:11:33,560
Speaker 2: of the bells back and you keep one of the

1353
01:11:33,640 --> 01:11:36,120
Speaker 2: bells open and you just ride the tone for as

1354
01:11:36,160 --> 01:11:37,880
Speaker 2: long as you can ride it. You know, it's like

1355
01:11:38,000 --> 01:11:39,400
Speaker 2: it's like playing the trombone almost.

1356
01:11:39,720 --> 01:11:43,240
Speaker 6: It's hard to get that singular sound because there's.

1357
01:11:44,439 --> 01:11:48,679
Speaker 2: Hit the bells, any little slight hit, any strike, it'll

1358
01:11:48,680 --> 01:11:51,920
Speaker 2: make it sound like. So the object is the whole one.

1359
01:11:54,920 --> 01:11:57,720
Speaker 7: It wasn't my parents, But I do remember, no, I

1360
01:11:57,760 --> 01:12:00,760
Speaker 7: remember quick getting me in trouble once. What in band

1361
01:12:00,840 --> 01:12:03,000
Speaker 7: class when I discovered the FlexIt tone.

1362
01:12:04,720 --> 01:12:07,200
Speaker 2: The best. It was the loudest instrument.

1363
01:12:08,280 --> 01:12:09,840
Speaker 7: So like you know, they be you know, trying to

1364
01:12:09,840 --> 01:12:12,200
Speaker 7: tell us something. I'd be back there, and all of

1365
01:12:12,240 --> 01:12:17,160
Speaker 7: a sudden it's like, Bill, stay off the class.

1366
01:12:17,280 --> 01:12:17,920
Speaker 2: We needn't talk.

1367
01:12:18,439 --> 01:12:26,840
Speaker 7: Wow, it's cool because that ship was great. I would

1368
01:12:26,920 --> 01:12:27,840
Speaker 7: not trade that ship for the world.

1369
01:12:29,000 --> 01:12:31,799
Speaker 12: Speaking of which, can you talk about working on smells

1370
01:12:31,840 --> 01:12:32,479
Speaker 12: like teen Spirit?

1371
01:12:33,000 --> 01:12:41,559
Speaker 2: I'm sorry, let's get down. It is bro hands down

1372
01:12:42,080 --> 01:12:45,600
Speaker 2: one of the funnest sessions ever because Raphael is just

1373
01:12:46,040 --> 01:12:48,160
Speaker 2: the best R and B musician A lot to me.

1374
01:12:51,040 --> 01:12:52,800
Speaker 2: I didn't know if he was down. We went to

1375
01:12:52,920 --> 01:12:55,880
Speaker 2: them if they came to you, yeah, well we had

1376
01:12:55,920 --> 01:12:57,680
Speaker 2: bought the Sons of the Soul album. I had it,

1377
01:12:57,760 --> 01:12:59,519
Speaker 2: you know. I was like, I want to work with

1378
01:12:59,600 --> 01:13:02,439
Speaker 2: him because you know, Anniversary and laid hit them a

1379
01:13:02,520 --> 01:13:04,600
Speaker 2: pillow and my ex girlfriend as a whole. If I

1380
01:13:04,600 --> 01:13:07,320
Speaker 2: had no loose, I'm like, these dudes is like this

1381
01:13:07,479 --> 01:13:09,920
Speaker 2: is better than they albums just got better and better.

1382
01:13:10,600 --> 01:13:12,639
Speaker 2: So I just became a super fan and I wanted

1383
01:13:12,680 --> 01:13:16,040
Speaker 2: to work with him. So my drummer George Archie had

1384
01:13:16,120 --> 01:13:19,080
Speaker 2: now one ye yeah, g one knew him and he

1385
01:13:19,160 --> 01:13:20,599
Speaker 2: was like, yeah, I can get you in Ray Man,

1386
01:13:21,360 --> 01:13:24,320
Speaker 2: I'm like, Ray, who's Ray? Where's Raphael? You know that's

1387
01:13:24,360 --> 01:13:26,400
Speaker 2: how green I was. So, you know, he set up

1388
01:13:26,400 --> 01:13:28,080
Speaker 2: a meeting and I'll talk to him. I'm like, man,

1389
01:13:28,120 --> 01:13:29,920
Speaker 2: you want to do a dance record, like I want

1390
01:13:29,960 --> 01:13:31,280
Speaker 2: to do some up tempo with y'all, like you know,

1391
01:13:31,360 --> 01:13:33,120
Speaker 2: mix a little bit of this gangster shit I'm doing

1392
01:13:33,200 --> 01:13:36,000
Speaker 2: with what y'all do? I think it'll work? He's like, yeah,

1393
01:13:36,120 --> 01:13:38,360
Speaker 2: let's start. You know, so I got the break beat

1394
01:13:38,439 --> 01:13:43,439
Speaker 2: down and he I sent them to tapes back then.

1395
01:13:43,640 --> 01:13:46,840
Speaker 2: You know you're seeing a twenty four track, real laid

1396
01:13:46,920 --> 01:13:49,000
Speaker 2: it down, send her like a rough Now what you

1397
01:13:49,160 --> 01:13:51,439
Speaker 2: hear is not a dragon, mister DJ quick got to

1398
01:13:51,479 --> 01:13:53,240
Speaker 2: bring you know. He's like, he said, let's do it

1399
01:13:53,400 --> 01:13:56,360
Speaker 2: in eights, Like you do you wrap eight bars, I'll

1400
01:13:56,400 --> 01:13:58,400
Speaker 2: sing eight bars and would do an eight bar chorus.

1401
01:13:58,520 --> 01:14:01,720
Speaker 2: I was like, that's I nen't thought about that, Like,

1402
01:14:02,080 --> 01:14:03,720
Speaker 2: how's that going? Because at that point we was trying

1403
01:14:03,720 --> 01:14:06,240
Speaker 2: to do records for radio, you know, sixteen eight, sixteen

1404
01:14:06,360 --> 01:14:09,280
Speaker 2: eight right right ever, And he was like the arrangement

1405
01:14:09,400 --> 01:14:10,920
Speaker 2: was just trippy to me, Like, you know, I'm wanting

1406
01:14:10,960 --> 01:14:14,720
Speaker 2: to do the whole sixteen and the way he heard it,

1407
01:14:15,200 --> 01:14:17,120
Speaker 2: you know, I was like, Okay, that's a good idea.

1408
01:14:17,479 --> 01:14:19,720
Speaker 2: So I wrote the bass line out and I was like,

1409
01:14:19,800 --> 01:14:21,840
Speaker 2: for his baseline, I want his baseline to be different.

1410
01:14:21,920 --> 01:14:26,639
Speaker 2: So I wrote his baseline specifically for him for his voice.

1411
01:14:26,760 --> 01:14:28,880
Speaker 2: And mine was like a copy of my just like

1412
01:14:28,920 --> 01:14:33,320
Speaker 2: copping record boodhao boom boom boot nine. You know what's

1413
01:14:33,360 --> 01:14:35,400
Speaker 2: that mine and nine? Shit like you know, yeah nice

1414
01:14:35,760 --> 01:14:39,320
Speaker 2: so and his was just a little more funky and straightforward.

1415
01:14:39,720 --> 01:14:41,280
Speaker 2: And when he played when I tell you, when he

1416
01:14:41,360 --> 01:14:44,280
Speaker 2: played the guitar, he had a dough bro and he

1417
01:14:44,439 --> 01:14:47,000
Speaker 2: played that fucking plumeer game. Damn. When I got it

1418
01:14:47,160 --> 01:14:50,479
Speaker 2: back against the baseline, I was like, lord a mercy.

1419
01:14:51,479 --> 01:14:54,519
Speaker 2: I took the chase in the studio and I got

1420
01:14:54,680 --> 01:14:57,439
Speaker 2: profissioned a little bit on that percussion shit. So I

1421
01:14:57,520 --> 01:14:59,360
Speaker 2: started and that was my first time ever working with

1422
01:14:59,439 --> 01:15:01,759
Speaker 2: pro tools. That's when pro tools was in its early

1423
01:15:02,280 --> 01:15:04,920
Speaker 2: early stages. He took the tape, printed it to pro

1424
01:15:05,040 --> 01:15:08,320
Speaker 2: tools and start editing and changing things and then put

1425
01:15:08,400 --> 01:15:09,920
Speaker 2: it back on the tape. He was like, quick, that's

1426
01:15:09,960 --> 01:15:13,200
Speaker 2: how you do it. I'm like, hell yeah. Because Marsha

1427
01:15:13,400 --> 01:15:16,559
Speaker 2: was if it wasn't the tape, it wasn't me got

1428
01:15:16,600 --> 01:15:19,360
Speaker 2: it back to me. I got on that all the percussion,

1429
01:15:19,439 --> 01:15:21,479
Speaker 2: like the Cabasa and all that ship and you know,

1430
01:15:22,120 --> 01:15:24,000
Speaker 2: I bought like the chimes used to hear on all

1431
01:15:24,040 --> 01:15:25,960
Speaker 2: the Maze records featuring Franker Beller. I was like, I

1432
01:15:26,000 --> 01:15:27,560
Speaker 2: wanted all that shit, you know.

1433
01:15:28,080 --> 01:15:33,599
Speaker 12: You know, I'm amazed that you're playing literally playing these things. Yeah,

1434
01:15:33,760 --> 01:15:36,519
Speaker 12: because it like I'm in the band and I'm like,

1435
01:15:37,600 --> 01:15:39,479
Speaker 12: I know that noise is on a high Players record.

1436
01:15:39,560 --> 01:15:42,200
Speaker 12: Let me just take it from there, and I go

1437
01:15:42,280 --> 01:15:44,200
Speaker 12: to car wash for the collapse and then you know,

1438
01:15:46,640 --> 01:15:47,240
Speaker 12: you know, if.

1439
01:15:47,200 --> 01:15:49,639
Speaker 2: You think about it, everything that you hear on records

1440
01:15:49,680 --> 01:15:51,960
Speaker 2: anyway was kind of done at some point by some

1441
01:15:52,080 --> 01:15:54,920
Speaker 2: human beings. You know. So I figured, what fuck the

1442
01:15:55,040 --> 01:15:58,320
Speaker 2: sample because I got tired of giving my all my money. Yeah,

1443
01:15:59,080 --> 01:16:01,920
Speaker 2: I mean the lawyer fees alone on that shit. It's crazy,

1444
01:16:02,080 --> 01:16:02,519
Speaker 2: you know what I mean.

1445
01:16:02,600 --> 01:16:06,320
Speaker 12: So, but that's that explains why your prodcast so much

1446
01:16:06,360 --> 01:16:08,680
Speaker 12: life to it now that I know that it's not

1447
01:16:08,840 --> 01:16:16,479
Speaker 12: one hundred synthetic, you know, Was it a.

1448
01:16:16,520 --> 01:16:19,639
Speaker 11: Big difference for you or talk about this transition once

1449
01:16:19,720 --> 01:16:21,040
Speaker 11: you went from profile.

1450
01:16:20,760 --> 01:16:24,280
Speaker 2: To Arista, but not really. I was waiting for that

1451
01:16:24,400 --> 01:16:26,400
Speaker 2: because I got tired of being put on suspension if

1452
01:16:26,439 --> 01:16:28,880
Speaker 2: my record was late and Corey then wouldn't pay me

1453
01:16:29,080 --> 01:16:32,320
Speaker 2: and all this. Clive was like Dad, Clike Davis was,

1454
01:16:32,439 --> 01:16:34,439
Speaker 2: you know, a fan of his since the time he

1455
01:16:34,560 --> 01:16:38,439
Speaker 2: signed like Alon, that group that had the Albarine City

1456
01:16:38,479 --> 01:16:41,360
Speaker 2: when Arister Records was the biggest one of the bigger

1457
01:16:41,439 --> 01:16:45,680
Speaker 2: labels in my collection. So you know GQ, you know

1458
01:16:45,880 --> 01:16:49,040
Speaker 2: Ray Parker Junior Radio, when he hughes all that stuff,

1459
01:16:49,240 --> 01:16:52,120
Speaker 2: with all that aristos, I wanted the kashif you know

1460
01:16:52,240 --> 01:16:56,479
Speaker 2: these were Nigga records. Guy the white guy writing this shit.

1461
01:16:56,520 --> 01:16:58,439
Speaker 2: So when I met him, I was like, whatever you

1462
01:16:58,520 --> 01:17:01,200
Speaker 2: need me to do? You know he was like Dad, Bro,

1463
01:17:01,479 --> 01:17:03,160
Speaker 2: It's like, man, it's awesome.

1464
01:17:03,240 --> 01:17:04,640
Speaker 6: Yeah, rhythm, I love I love that.

1465
01:17:04,680 --> 01:17:07,160
Speaker 2: That's my favorite quick album. What is what is your

1466
01:17:07,200 --> 01:17:08,000
Speaker 2: favorite quick record?

1467
01:17:08,760 --> 01:17:11,160
Speaker 7: That's my favorite quick album? And that intro is my

1468
01:17:11,240 --> 01:17:15,840
Speaker 7: favorite intro do rock and roll music and the intro

1469
01:17:19,479 --> 01:17:21,320
Speaker 7: with that too for us right, thank you?

1470
01:17:21,439 --> 01:17:23,160
Speaker 2: I love that record. Just having fun. Man.

1471
01:17:24,000 --> 01:17:25,280
Speaker 11: I wanted to always want to ask you about the

1472
01:17:25,320 --> 01:17:28,840
Speaker 11: divorce song, James the Bar. How did y'all how did

1473
01:17:28,920 --> 01:17:29,439
Speaker 11: that come together?

1474
01:17:30,320 --> 01:17:33,439
Speaker 2: James was James was, you know, he had a situation

1475
01:17:33,560 --> 01:17:35,840
Speaker 2: with his girl or whatever, and that's how he was feeling.

1476
01:17:35,880 --> 01:17:38,799
Speaker 2: I'm like, bro, we you always see these wedding songs

1477
01:17:39,400 --> 01:17:42,599
Speaker 2: like let's make a divorce song. But this was before

1478
01:17:42,640 --> 01:17:45,040
Speaker 2: I was married, so I didn't understand just how fucked

1479
01:17:45,120 --> 01:17:48,560
Speaker 2: up divorce really is. I'm just making a record, you know.

1480
01:17:48,760 --> 01:17:50,280
Speaker 2: I wish I could have thought that one out a

1481
01:17:50,280 --> 01:17:55,840
Speaker 2: little bit better. The divorce is a bad word, you know,

1482
01:17:56,120 --> 01:17:59,240
Speaker 2: like and then how how much some lawyers get paid

1483
01:17:59,280 --> 01:18:00,559
Speaker 2: when you go through that ship? I was like, wow,

1484
01:18:00,640 --> 01:18:02,720
Speaker 2: But you know it was you know, not to put

1485
01:18:02,800 --> 01:18:04,120
Speaker 2: too much of his business out there. It was just

1486
01:18:04,200 --> 01:18:06,000
Speaker 2: something he was going through. And we just wrote it

1487
01:18:06,080 --> 01:18:09,320
Speaker 2: out and Robert Bacon played all pretty guitar ship, you

1488
01:18:09,360 --> 01:18:15,400
Speaker 2: know what I mean. Can I gotta say the as

1489
01:18:15,439 --> 01:18:17,560
Speaker 2: a DJ, I knew this was coming. I knew it.

1490
01:18:17,760 --> 01:18:20,280
Speaker 2: I know this was going all right. AS was going

1491
01:18:20,320 --> 01:18:21,479
Speaker 2: to bring it up if you didn't.

1492
01:18:21,840 --> 01:18:24,800
Speaker 12: As a DJ, if ain't got for Serado because now

1493
01:18:24,840 --> 01:18:27,960
Speaker 12: I know where the one is, that part nothing.

1494
01:18:29,200 --> 01:18:33,360
Speaker 6: Fuss me more than trying to find the fucking one

1495
01:18:34,120 --> 01:18:36,840
Speaker 6: on hand in hand, Oh, I thought, I was going

1496
01:18:36,920 --> 01:18:37,720
Speaker 6: to go somewhere else with it.

1497
01:18:37,920 --> 01:18:42,639
Speaker 2: Wait, it's all those first the first up there, the upbeats.

1498
01:18:43,040 --> 01:18:45,760
Speaker 12: No, no, no, I know now because literally I had

1499
01:18:45,800 --> 01:18:49,640
Speaker 12: to spend seven minutes on Serado like one two, and

1500
01:18:49,760 --> 01:18:52,080
Speaker 12: then I had to loop it just so that it's

1501
01:18:52,600 --> 01:18:54,200
Speaker 12: BROI it in my head because when I want to

1502
01:18:54,240 --> 01:18:57,160
Speaker 12: spend it and I can't find the one, and it

1503
01:18:57,360 --> 01:19:00,600
Speaker 12: just ruins my life, like it like.

1504
01:19:00,680 --> 01:19:13,240
Speaker 2: Why couldn't you just or it was like it was

1505
01:19:13,280 --> 01:19:18,439
Speaker 2: the beat, it was like one.

1506
01:19:19,880 --> 01:19:20,360
Speaker 12: I know that.

1507
01:19:21,360 --> 01:19:24,040
Speaker 2: It's like it's like it's an imaginary kick. It's like

1508
01:19:24,360 --> 01:19:29,200
Speaker 2: kick boom boom boom. Yeah.

1509
01:19:29,240 --> 01:19:31,600
Speaker 12: I know now because of Sado, But back when I

1510
01:19:31,720 --> 01:19:34,040
Speaker 12: was spinning the wax, it wasn't my bad.

1511
01:19:34,120 --> 01:19:38,400
Speaker 2: Bro. It's thirty seconds like looping on the record. I'm

1512
01:19:38,439 --> 01:19:39,880
Speaker 2: trying to figure out what's the one, where's the one?

1513
01:19:39,880 --> 01:19:41,320
Speaker 2: Whe's the one? What's bad? Bro?

1514
01:19:41,800 --> 01:19:43,000
Speaker 7: I want to know where I thought you were taking

1515
01:19:43,040 --> 01:19:46,599
Speaker 7: this pitching on the party dude. Well yeah, when somebody

1516
01:19:46,680 --> 01:19:48,320
Speaker 7: kicked the extension court out there, yeah.

1517
01:19:48,360 --> 01:19:51,080
Speaker 2: And the record is not but that happened. That used

1518
01:19:51,080 --> 01:19:52,439
Speaker 2: to happen, I know.

1519
01:19:52,560 --> 01:19:55,160
Speaker 7: But like if you're playing at a party and nobody

1520
01:19:55,439 --> 01:19:56,840
Speaker 7: like people don't really know the record.

1521
01:19:57,400 --> 01:20:01,599
Speaker 6: They think some we messed up. Yeah, I love that record,

1522
01:20:01,640 --> 01:20:02,400
Speaker 6: but I love that record.

1523
01:20:03,640 --> 01:20:06,400
Speaker 2: Had that was I was. I did that for these guys.

1524
01:20:06,479 --> 01:20:09,120
Speaker 2: That's I became friends with Big Boy and Fuzzy So

1525
01:20:09,439 --> 01:20:11,040
Speaker 2: and they were you know, they was running Power one

1526
01:20:11,080 --> 01:20:13,320
Speaker 2: and six. So I was making records that was just

1527
01:20:13,439 --> 01:20:15,960
Speaker 2: like funny, you know, because I had a little bit

1528
01:20:16,000 --> 01:20:17,680
Speaker 2: of love on Power, you know what I mean. So

1529
01:20:18,200 --> 01:20:20,680
Speaker 2: that was like a radio DJ thing and it was

1530
01:20:20,760 --> 01:20:23,600
Speaker 2: cool because on the air when the DJs will play it,

1531
01:20:23,680 --> 01:20:26,240
Speaker 2: they comment right in that break like it'd be like,

1532
01:20:26,320 --> 01:20:28,439
Speaker 2: you know, somebody kicked this and you hear the little

1533
01:20:28,520 --> 01:20:32,519
Speaker 2: noise that transient it's all authentic and be like hey

1534
01:20:32,600 --> 01:20:35,160
Speaker 2: quick man. You know the air, the radio personalities would

1535
01:20:35,200 --> 01:20:37,360
Speaker 2: chime in and then come back on. It just became

1536
01:20:37,439 --> 01:20:39,760
Speaker 2: like a little fun One of my favorite one.

1537
01:20:39,800 --> 01:20:41,840
Speaker 11: Another one of the productions I love the yours was

1538
01:20:42,000 --> 01:20:46,479
Speaker 11: come tonight with You First, We'll do what happened with

1539
01:20:47,040 --> 01:20:50,400
Speaker 11: well because at the album and.

1540
01:20:51,520 --> 01:20:55,360
Speaker 2: Well, unfortunately I didn't speak Indian when I sampled that record.

1541
01:20:55,840 --> 01:20:57,479
Speaker 2: I would have loved to have cleared it, but we

1542
01:20:57,560 --> 01:21:00,320
Speaker 2: didn't know who it was, like, we didn't do our

1543
01:21:00,400 --> 01:21:02,640
Speaker 2: due diligence. We just what we knew. It was a

1544
01:21:02,720 --> 01:21:05,320
Speaker 2: hot break, you know. And Dre was working with ro

1545
01:21:05,479 --> 01:21:07,240
Speaker 2: Kim at that point, and he was working with Truth.

1546
01:21:07,640 --> 01:21:10,160
Speaker 2: And I gave that record to Truth for her birthday

1547
01:21:10,640 --> 01:21:12,960
Speaker 2: because me and MC Light tried to do something to it,

1548
01:21:13,360 --> 01:21:15,880
Speaker 2: but I didn't think that I kid it far enough

1549
01:21:15,960 --> 01:21:17,840
Speaker 2: with Light. I swear to God man, Light is mad

1550
01:21:17,880 --> 01:21:19,880
Speaker 2: at me to the day. I was gonna say it

1551
01:21:20,040 --> 01:21:22,800
Speaker 2: was to Bed, knowing that she gave was that was

1552
01:21:22,960 --> 01:21:26,200
Speaker 2: that was empty Light's record. I was trying to just

1553
01:21:26,320 --> 01:21:29,160
Speaker 2: expand you know, you know em like Lights of Rock,

1554
01:21:29,240 --> 01:21:32,200
Speaker 2: you know audio two, Like I was gonna had to

1555
01:21:32,240 --> 01:21:33,840
Speaker 2: give her one. She came to the house, we worked

1556
01:21:33,880 --> 01:21:36,120
Speaker 2: it out. She spit on it, but it was like

1557
01:21:36,280 --> 01:21:39,080
Speaker 2: I didn't know where to take it from that point.

1558
01:21:39,120 --> 01:21:40,960
Speaker 2: It was like I'm never gonna be able to finish it.

1559
01:21:41,080 --> 01:21:43,040
Speaker 2: And I know it was cool. So it was true

1560
01:21:43,120 --> 01:21:44,840
Speaker 2: heirst birthday and I was working over there with her

1561
01:21:44,920 --> 01:21:48,000
Speaker 2: and uh Nocturnal and Dre and I gave it to

1562
01:21:48,120 --> 01:21:50,479
Speaker 2: her this instrument, like hey, you know, can you let

1563
01:21:50,560 --> 01:21:51,960
Speaker 2: Dre hear this and see if there's something you can do.

1564
01:21:52,200 --> 01:21:54,760
Speaker 2: Happy birthday. Here's a beat that I like, you know

1565
01:21:54,800 --> 01:21:56,640
Speaker 2: what I mean? And she took it to Dre and

1566
01:21:56,680 --> 01:21:59,560
Speaker 2: Dra called me like two days later, like quick, what's that?

1567
01:21:59,760 --> 01:22:02,559
Speaker 2: He said it come to the studio like all right.

1568
01:22:02,640 --> 01:22:04,680
Speaker 2: So I go to the studio, walked in. They just

1569
01:22:04,720 --> 01:22:07,800
Speaker 2: applauded me for the beat, like he's like, can you

1570
01:22:08,040 --> 01:22:09,640
Speaker 2: can you do it over? Can? I want to make

1571
01:22:09,720 --> 01:22:12,960
Speaker 2: this a song for for Sherry. I'm like, hell yeah.

1572
01:22:13,040 --> 01:22:14,760
Speaker 2: So he put me in Lara by North and I

1573
01:22:14,800 --> 01:22:16,880
Speaker 2: went in there with my little bass player due Eric Coombs,

1574
01:22:17,320 --> 01:22:19,400
Speaker 2: and we just I just reprinted it all you know

1575
01:22:19,400 --> 01:22:21,240
Speaker 2: what I mean? And I like the way it stops

1576
01:22:21,400 --> 01:22:23,160
Speaker 2: and starts over in the middle of the song. That

1577
01:22:23,280 --> 01:22:27,519
Speaker 2: was like kind of a thing. And she I went

1578
01:22:27,600 --> 01:22:31,639
Speaker 2: back to the studio. I gave Dre the tapes, the tapes,

1579
01:22:32,360 --> 01:22:34,519
Speaker 2: you know, the tapes go and he gets it and

1580
01:22:34,600 --> 01:22:36,800
Speaker 2: I get a call like maybe like maybe less than

1581
01:22:36,800 --> 01:22:38,800
Speaker 2: a week, like maybe four days or whatever, and he

1582
01:22:38,920 --> 01:22:41,720
Speaker 2: had he had Static Major come in and write the

1583
01:22:41,840 --> 01:22:47,120
Speaker 2: lyrics to he heard it. He was so incredible. Bro.

1584
01:22:47,720 --> 01:22:49,479
Speaker 2: When I heard I was just the backup for a second.

1585
01:22:49,560 --> 01:22:53,240
Speaker 2: How did you find the sample? It was after the

1586
01:22:53,320 --> 01:22:55,920
Speaker 2: towers fell. I didn't want to keep watching the news.

1587
01:22:56,200 --> 01:22:58,000
Speaker 2: She was depressing me, you know what I mean, because

1588
01:22:58,240 --> 01:23:00,519
Speaker 2: at that point, I love New York, Like I was

1589
01:23:00,600 --> 01:23:02,800
Speaker 2: sneaking out there and like having fun and ship like,

1590
01:23:03,000 --> 01:23:06,040
Speaker 2: you know, and they had these channels. I would just

1591
01:23:06,160 --> 01:23:08,800
Speaker 2: change the channel on my Sidellite TV or whatever. And

1592
01:23:08,880 --> 01:23:11,240
Speaker 2: there was just one channel that they had called z TV.

1593
01:23:11,360 --> 01:23:12,920
Speaker 2: It was like an Indian channel where they was just

1594
01:23:13,160 --> 01:23:16,240
Speaker 2: remember TV. I was just demoing it to see if

1595
01:23:16,280 --> 01:23:19,080
Speaker 2: you like, you paid you know, extra nine ninety nine

1596
01:23:19,200 --> 01:23:21,600
Speaker 2: for the month and you can watch Indian stuff. I'm like,

1597
01:23:22,040 --> 01:23:23,680
Speaker 2: what is this? Ship? You know what I mean? You know,

1598
01:23:23,760 --> 01:23:26,760
Speaker 2: I'm waking up, you know, sober. I don't even baked,

1599
01:23:26,800 --> 01:23:28,040
Speaker 2: you know what I mean. Just got up and just

1600
01:23:28,360 --> 01:23:30,160
Speaker 2: start brushing my tee. I just turned it on there,

1601
01:23:30,200 --> 01:23:36,920
Speaker 2: you know that whatever. So I'm in the bathroom brushing

1602
01:23:36,960 --> 01:23:46,640
Speaker 2: my teeth and I started just grooving, you know, I'm like,

1603
01:23:46,720 --> 01:23:49,439
Speaker 2: what the fuck is this on the TV in my room?

1604
01:23:49,920 --> 01:23:51,479
Speaker 2: I run in there and I look at the TV

1605
01:23:51,600 --> 01:23:54,040
Speaker 2: and see this Indian thing going down and this lady

1606
01:23:54,200 --> 01:24:03,000
Speaker 2: was belly dancing and the beat was I was like,

1607
01:24:03,680 --> 01:24:05,640
Speaker 2: I need this. I just pushed record on my v

1608
01:24:05,720 --> 01:24:14,840
Speaker 2: c R over I take good times, and you know,

1609
01:24:15,439 --> 01:24:17,320
Speaker 2: you get lucky, you get that damn dawn down. So

1610
01:24:17,400 --> 01:24:25,080
Speaker 2: whatever the VHS due for VHS case, I rewound it

1611
01:24:25,280 --> 01:24:27,120
Speaker 2: and I listened to it. All I heard was money.

1612
01:24:27,960 --> 01:24:30,720
Speaker 2: I took. I snatched the v C R out, went

1613
01:24:30,760 --> 01:24:32,960
Speaker 2: to the studio with d cr r c A out

1614
01:24:33,479 --> 01:24:35,400
Speaker 2: and ran it through the board and sampled it into

1615
01:24:35,479 --> 01:24:38,000
Speaker 2: my n PC and just arranged it in there. And

1616
01:24:38,080 --> 01:24:40,680
Speaker 2: then I was like, I need a bottom beat, and

1617
01:24:40,880 --> 01:24:43,000
Speaker 2: to me, the cleanest bottom beat that goes with it

1618
01:24:44,640 --> 01:24:49,360
Speaker 2: the same, which lets me know all music is related.

1619
01:24:49,520 --> 01:24:52,479
Speaker 2: There ain't nothing new in the sun. But it was

1620
01:24:52,560 --> 01:24:56,080
Speaker 2: what I did to do it. You satisfied. That made

1621
01:24:56,160 --> 01:24:59,080
Speaker 2: Dre I think understood and like it even more because

1622
01:24:59,080 --> 01:25:01,760
Speaker 2: I put it through this oti filter thing, like where

1623
01:25:02,240 --> 01:25:04,120
Speaker 2: I took the noise out of it but kept all

1624
01:25:04,160 --> 01:25:07,760
Speaker 2: the dynamics. It's like you put like five different band

1625
01:25:07,880 --> 01:25:10,720
Speaker 2: pass filters and expanders on the loop and you could

1626
01:25:10,800 --> 01:25:12,920
Speaker 2: like take the noise down. It's almost like doing Adobe

1627
01:25:13,479 --> 01:25:16,200
Speaker 2: Adobe noise reduction. I cleaned it way up and then

1628
01:25:16,280 --> 01:25:19,120
Speaker 2: we added I added them crazy claps and you know,

1629
01:25:19,439 --> 01:25:21,639
Speaker 2: I don't snitch out myself, but I got a class

1630
01:25:21,640 --> 01:25:25,320
Speaker 2: from well you don't know, because this is where I

1631
01:25:25,400 --> 01:25:30,760
Speaker 2: got these class from. Yeah, but and I gave him

1632
01:25:30,800 --> 01:25:33,240
Speaker 2: the tapes and it was all recorded and just it

1633
01:25:33,360 --> 01:25:36,040
Speaker 2: was just clean like that. I never heard anybody use

1634
01:25:36,120 --> 01:25:38,200
Speaker 2: do it to satisfied because everybody tried to use it,

1635
01:25:38,280 --> 01:25:40,800
Speaker 2: it would be noisy. But the one we did, I

1636
01:25:40,880 --> 01:25:43,400
Speaker 2: stripped it down, made it super clean. So at the

1637
01:25:43,520 --> 01:25:46,160
Speaker 2: end of the day, oh wait a minute, so we

1638
01:25:46,280 --> 01:25:51,519
Speaker 2: get sued, right, okay, great record, we didn't clear it.

1639
01:25:52,000 --> 01:25:54,160
Speaker 2: We get sued, but you know, and it's like half

1640
01:25:54,200 --> 01:25:57,000
Speaker 2: a half a billion dollars. But at this point, how

1641
01:25:57,040 --> 01:25:59,719
Speaker 2: you gonna sue interscope? This is the richest record company

1642
01:25:59,760 --> 01:26:02,320
Speaker 2: in the so I already I wasn't even worried about it,

1643
01:26:02,320 --> 01:26:04,280
Speaker 2: and Dre was like, like, don't worry about that. She

1644
01:26:04,520 --> 01:26:06,280
Speaker 2: was all freaked out, like, dude, half of we got

1645
01:26:06,400 --> 01:26:08,800
Speaker 2: to pay a half, like half a bill. He's like, man, quick,

1646
01:26:08,840 --> 01:26:10,640
Speaker 2: don't even worry about that. So they worked it out

1647
01:26:10,680 --> 01:26:12,680
Speaker 2: to where they pulled the record or whatever. You know,

1648
01:26:12,760 --> 01:26:15,160
Speaker 2: it was just like an advertisement. But you know what

1649
01:26:15,600 --> 01:26:17,920
Speaker 2: India did. They used that shit for their own. They

1650
01:26:18,000 --> 01:26:23,960
Speaker 2: start sampling it themselves, so it just started an international thing. Man.

1651
01:26:24,080 --> 01:26:27,599
Speaker 11: I always wanted to ask you about Moss Bird because

1652
01:26:27,680 --> 01:26:30,360
Speaker 11: not I mean I didn't really know much about him

1653
01:26:30,439 --> 01:26:32,720
Speaker 11: or whatever, Like what was y'all's relationship and what was

1654
01:26:32,760 --> 01:26:33,040
Speaker 11: he like?

1655
01:26:33,200 --> 01:26:37,200
Speaker 2: Like as an artist? He's a cool, smart, dope rapper,

1656
01:26:37,720 --> 01:26:39,599
Speaker 2: like just incredible from the hood, Like you don't even

1657
01:26:39,760 --> 01:26:41,760
Speaker 2: It's like where did you learn this from? Because you know,

1658
01:26:42,240 --> 01:26:44,600
Speaker 2: all rappers needed a backstory back then, you know, and

1659
01:26:44,720 --> 01:26:46,400
Speaker 2: he for him to just come up from Compton, but

1660
01:26:46,720 --> 01:26:49,120
Speaker 2: it's rapping like as good as Biggie. I'm like, this

1661
01:26:49,320 --> 01:26:52,280
Speaker 2: just don't exist, you know what I mean. And he

1662
01:26:52,360 --> 01:26:54,439
Speaker 2: was only like twenty years old, so he was he

1663
01:26:54,520 --> 01:26:56,320
Speaker 2: was signed to my boy Black Tone, and I was like,

1664
01:26:56,400 --> 01:26:58,439
Speaker 2: I want to invest in him too, So I started

1665
01:26:58,479 --> 01:27:01,080
Speaker 2: investing in him and recording his record and developing him.

1666
01:27:01,680 --> 01:27:03,960
Speaker 2: And he got on my down Down Down, and you know,

1667
01:27:04,120 --> 01:27:06,760
Speaker 2: other records than you know, Warren g got a hold

1668
01:27:06,800 --> 01:27:09,439
Speaker 2: of him and heard up and Snoop. He's rapping with

1669
01:27:09,479 --> 01:27:12,160
Speaker 2: Snoop and so he's blowing up. But I, you know,

1670
01:27:12,600 --> 01:27:16,040
Speaker 2: I feel bad because I didn't know he was bigger

1671
01:27:16,080 --> 01:27:19,240
Speaker 2: than he was and his you know, somebody ran off

1672
01:27:19,280 --> 01:27:20,600
Speaker 2: with his publishing. I don't want to say that they

1673
01:27:20,640 --> 01:27:23,000
Speaker 2: didn't help him get out of the hood, and he

1674
01:27:23,160 --> 01:27:26,080
Speaker 2: made some people jealous. That's all. It was. Bro such

1675
01:27:26,120 --> 01:27:28,599
Speaker 2: a great dude. I mean, we had just been working

1676
01:27:28,680 --> 01:27:31,880
Speaker 2: on this record, like the Get Naked record. Yeah, we're

1677
01:27:31,920 --> 01:27:34,120
Speaker 2: working on that, and we took time off to go

1678
01:27:34,240 --> 01:27:36,880
Speaker 2: do Fourth of July with our families, and he got

1679
01:27:36,960 --> 01:27:38,840
Speaker 2: killed on fourth of July, and I felt it. I

1680
01:27:38,920 --> 01:27:40,640
Speaker 2: wanted him to. I wanted to stay in the studio, like,

1681
01:27:40,680 --> 01:27:43,200
Speaker 2: fuck the holiday, let's finish your record because we're almost done.

1682
01:27:43,320 --> 01:27:45,360
Speaker 2: Like you need two more songs and you got an album, kid,

1683
01:27:45,880 --> 01:27:48,360
Speaker 2: And he was like, man, he love you. Quick man

1684
01:27:48,360 --> 01:27:50,120
Speaker 2: it shit hard man, you're making my dream come from

1685
01:27:50,120 --> 01:27:52,400
Speaker 2: I'm like, Nigga, you you the next best thing. Brouh.

1686
01:27:52,920 --> 01:27:54,400
Speaker 2: And then you know, I get the call that night

1687
01:27:54,439 --> 01:27:57,360
Speaker 2: that he was killed, and it was like I had

1688
01:27:57,400 --> 01:27:58,920
Speaker 2: to go to the studio and finish this record the

1689
01:27:59,000 --> 01:28:01,120
Speaker 2: next day and shock, you know what I mean. But

1690
01:28:01,240 --> 01:28:03,759
Speaker 2: I still mixed it, you know what I mean. Cried

1691
01:28:03,760 --> 01:28:06,479
Speaker 2: a little bit, drank some Hennessy, fixed it, mixed it

1692
01:28:06,720 --> 01:28:09,840
Speaker 2: and it still came out. But I like, how how

1693
01:28:09,920 --> 01:28:12,720
Speaker 2: Kendrick Damn used it for King Kunta the Yeah, yeah,

1694
01:28:12,920 --> 01:28:16,160
Speaker 2: I cleared that I was like, yeah, that's my other question.

1695
01:28:16,600 --> 01:28:20,040
Speaker 2: Quick Screw seven with Josy Whan didn't wrap on it.

1696
01:28:20,320 --> 01:28:22,720
Speaker 2: I didn't wrap Davante was mad at me for that.

1697
01:28:23,240 --> 01:28:24,800
Speaker 2: I didn't know what to do with it at that point,

1698
01:28:24,920 --> 01:28:28,760
Speaker 2: like sometimes you know, you you you know, sometimes will

1699
01:28:28,800 --> 01:28:30,680
Speaker 2: be j R. Smith, you passed the ball, we might

1700
01:28:30,800 --> 01:28:39,479
Speaker 2: run out of bounds with the motherfucker like I blew

1701
01:28:39,560 --> 01:28:45,040
Speaker 2: out Casey and akay. You actually in the studio just

1702
01:28:45,120 --> 01:28:47,439
Speaker 2: having fun, you know what I mean, big ass studio

1703
01:28:47,600 --> 01:28:49,600
Speaker 2: and I was just trying to do something, you know.

1704
01:28:50,000 --> 01:28:51,400
Speaker 2: But I should have finished it. I should have had

1705
01:28:51,439 --> 01:28:54,439
Speaker 2: Davante play music to it and whatever. People was mad

1706
01:28:54,479 --> 01:28:56,200
Speaker 2: at me for that, like that's not no jokes. She

1707
01:28:56,240 --> 01:29:00,160
Speaker 2: record trying some ship. It was just a fillers can

1708
01:29:00,200 --> 01:29:01,160
Speaker 2: fucking quitch or whatever.

1709
01:29:01,280 --> 01:29:03,840
Speaker 7: All right, wait, hold on, since you mentioned the Joys record,

1710
01:29:03,920 --> 01:29:06,240
Speaker 7: Let's bring up another R and B collapse, the joy

1711
01:29:06,320 --> 01:29:07,800
Speaker 7: record on the Midnight Life.

1712
01:29:07,800 --> 01:29:09,719
Speaker 2: When did you have to lie? How did that come about?

1713
01:29:10,960 --> 01:29:12,880
Speaker 2: I was on tour with Raphael Now when they put

1714
01:29:12,920 --> 01:29:15,560
Speaker 2: Tony Tony twenty back together and I met her. She

1715
01:29:15,680 --> 01:29:19,639
Speaker 2: was married to Gip and I just wanted to work

1716
01:29:19,680 --> 01:29:22,080
Speaker 2: with her because, you know, what she was doing on stage,

1717
01:29:22,720 --> 01:29:26,799
Speaker 2: her and fucking uh and DiAngelo, I'm like, I gotta

1718
01:29:26,880 --> 01:29:29,679
Speaker 2: work with you. So she came in and wrote that ship.

1719
01:29:29,720 --> 01:29:31,360
Speaker 2: I brought the little slinky beat with it, you know,

1720
01:29:31,360 --> 01:29:33,639
Speaker 2: a little sp twelve hundred. She was just so she's

1721
01:29:33,800 --> 01:29:40,040
Speaker 2: such an incredible She's fucking so underrated. Joe Joey Gilliam

1722
01:29:40,120 --> 01:29:42,880
Speaker 2: is everything. And Raphael used to tell me, it's like, man,

1723
01:29:42,960 --> 01:29:44,599
Speaker 2: you got you got on a trip. When you meet Joy,

1724
01:29:47,280 --> 01:29:50,000
Speaker 2: she's hard, like Kenny fun with this lady singing.

1725
01:29:50,160 --> 01:29:53,200
Speaker 12: All right, I got one last question. I'm proud to

1726
01:29:53,280 --> 01:29:59,960
Speaker 12: say that I was heavy and in jay Z Yeah

1727
01:30:01,000 --> 01:30:04,200
Speaker 12: about the black guy. I was like, remember that I

1728
01:30:04,560 --> 01:30:05,880
Speaker 12: begged him to reach out to you.

1729
01:30:06,280 --> 01:30:12,519
Speaker 2: That's dope, bro, But thank you. Why did you? Why

1730
01:30:12,600 --> 01:30:16,240
Speaker 2: didn't you give him? I didn't have I didn't. I

1731
01:30:16,320 --> 01:30:18,080
Speaker 2: didn't have that music at that point that we were

1732
01:30:18,120 --> 01:30:20,519
Speaker 2: in the studio in New York, because he wanted to

1733
01:30:20,600 --> 01:30:22,000
Speaker 2: do the beat in front of him. He wants you

1734
01:30:22,040 --> 01:30:23,680
Speaker 2: to do the beat in front of him. So that

1735
01:30:23,840 --> 01:30:27,640
Speaker 2: was when I when I tried to stretch out, like

1736
01:30:27,840 --> 01:30:30,120
Speaker 2: you know, I was writing string parts and a bassline.

1737
01:30:30,479 --> 01:30:33,439
Speaker 2: He's like, no, no, we don't have time for that.

1738
01:30:33,760 --> 01:30:35,600
Speaker 2: Let me it's something. Let me just press play. You

1739
01:30:35,680 --> 01:30:38,120
Speaker 2: had the one you sent me. I'm like, I don't

1740
01:30:38,160 --> 01:30:39,800
Speaker 2: remember the one I sent you. He was like, well,

1741
01:30:39,920 --> 01:30:42,599
Speaker 2: just what you got and I start pressing playing. Then

1742
01:30:42,640 --> 01:30:49,920
Speaker 2: he heard that one and he liked the drama of it,

1743
01:30:50,320 --> 01:30:53,840
Speaker 2: and I was like, damn this one. I think we

1744
01:30:53,960 --> 01:30:56,639
Speaker 2: all were And it was supposed to be something more

1745
01:30:56,680 --> 01:30:59,200
Speaker 2: than that, because he had that idea of doing Justify

1746
01:30:59,320 --> 01:31:01,519
Speaker 2: my Thug and Madonna was supposed to sing on it

1747
01:31:01,880 --> 01:31:06,120
Speaker 2: and she flaked on this. That was the draw. She

1748
01:31:06,280 --> 01:31:07,960
Speaker 2: was gonna be on it, and she flaked and we

1749
01:31:08,080 --> 01:31:10,920
Speaker 2: had to do something else. And you know, I want

1750
01:31:11,160 --> 01:31:14,920
Speaker 2: you to to make another record, and really, where you

1751
01:31:15,000 --> 01:31:16,600
Speaker 2: really get to do it? Well, he let me do me,

1752
01:31:17,040 --> 01:31:18,920
Speaker 2: you know, because I got some surpey ship right now.

1753
01:31:19,000 --> 01:31:21,080
Speaker 2: That's how I figure my music is. It's surpie I

1754
01:31:21,200 --> 01:31:23,200
Speaker 2: share this with you. Since she's talking about flexi tones,

1755
01:31:23,560 --> 01:31:25,200
Speaker 2: I was in the studio with Bruno Mars on a

1756
01:31:25,240 --> 01:31:28,680
Speaker 2: couple occasions, Yo and twenty four care magic. If you

1757
01:31:28,760 --> 01:31:34,160
Speaker 2: hear the flexi tone, Oh somebody back to the jay

1758
01:31:34,240 --> 01:31:36,960
Speaker 2: Z thing. Oh. Charlomagne de Gud was like, fuck that record,

1759
01:31:37,240 --> 01:31:41,840
Speaker 2: it's like black album is dope. Without that record, It's like, hey, man, man,

1760
01:31:41,920 --> 01:31:45,160
Speaker 2: I just yeah, you gotta do it again. I do

1761
01:31:45,280 --> 01:31:48,840
Speaker 2: over yeah, because you know I could write the way Drake,

1762
01:31:48,960 --> 01:31:52,080
Speaker 2: I mean, dre the way Jay writes. He writes drama

1763
01:31:52,479 --> 01:31:55,479
Speaker 2: like he'll he'll follow the drama of your track. And

1764
01:31:55,760 --> 01:31:58,840
Speaker 2: I got theme records. That's so perfect for him right now,

1765
01:31:59,720 --> 01:32:02,839
Speaker 2: you know. I mean like that, our big dramatic dope records,

1766
01:32:02,880 --> 01:32:05,040
Speaker 2: big horns, all that ship. I just got to get

1767
01:32:05,040 --> 01:32:05,799
Speaker 2: to him again.

1768
01:32:05,880 --> 01:32:09,040
Speaker 12: Quick for real. Man, you you're one of the greatest.

1769
01:32:09,800 --> 01:32:14,120
Speaker 12: Yeah ever man, this is you know, and us too.

1770
01:32:15,120 --> 01:32:18,600
Speaker 11: Than you, And thank you man, shout out the h

1771
01:32:18,800 --> 01:32:22,200
Speaker 11: out the buzzy and the way like you did one

1772
01:32:22,200 --> 01:32:24,519
Speaker 11: of my list things. You did your on TV raps.

1773
01:32:24,520 --> 01:32:27,240
Speaker 11: You're performing and you took the bit from hallm Nights.

1774
01:32:28,520 --> 01:32:30,599
Speaker 11: I want to know what Quick is trying to say.

1775
01:32:30,760 --> 01:32:35,760
Speaker 2: And dope. I was so happy that Eddie Murphy did

1776
01:32:35,800 --> 01:32:40,680
Speaker 2: that movie and his character name was Quick, but it

1777
01:32:40,840 --> 01:32:42,800
Speaker 2: was dope. I put that ship all over way too

1778
01:32:42,840 --> 01:32:44,519
Speaker 2: funky and when I sent it to them to clear

1779
01:32:44,560 --> 01:32:47,439
Speaker 2: because we was clearing ship back then, Eddie Murphy and

1780
01:32:47,880 --> 01:32:51,960
Speaker 2: was that Columbia Pas Columbia said No. I was like,

1781
01:32:52,160 --> 01:32:56,080
Speaker 2: I'm clearing the pay for like how much you up quick? No,

1782
01:33:01,720 --> 01:33:03,400
Speaker 2: I ain't have my ass whip since I was born.

1783
01:33:03,640 --> 01:33:05,160
Speaker 2: We're still looking for the doctor.

1784
01:33:07,400 --> 01:33:09,679
Speaker 6: Ladies and gentlemen on behalf of Supreme.

1785
01:33:10,840 --> 01:33:15,360
Speaker 12: It's like you unpaid Bill paid Bill and Bill yo

1786
01:33:15,600 --> 01:33:18,599
Speaker 12: with you top five bro, straight up for real man.

1787
01:33:18,880 --> 01:33:21,280
Speaker 6: Yeah, and Sugar Steve Yes.

1788
01:33:21,439 --> 01:33:25,160
Speaker 2: Hey, shout out to the Sugar Network, everybody the Sugar Network.

1789
01:33:25,200 --> 01:33:26,720
Speaker 2: I just want to share this, y'all. I helped. There's

1790
01:33:26,720 --> 01:33:28,760
Speaker 2: a lot of producers. I want to shout out that

1791
01:33:28,800 --> 01:33:35,519
Speaker 2: I helped Tis Martin. Yes, okay again, my beloved Warren Campbell,

1792
01:33:35,680 --> 01:33:39,639
Speaker 2: of course, g one. There's a couple of other people

1793
01:33:39,680 --> 01:33:41,840
Speaker 2: who have some success. You remember who else I helped

1794
01:33:42,960 --> 01:33:44,880
Speaker 2: a lot? Huh, A lot of people that I just

1795
01:33:45,080 --> 01:33:50,320
Speaker 2: helped him. Thank you, bro. I mean problem we forgot

1796
01:33:50,400 --> 01:33:55,400
Speaker 2: to talk about the talk box. Oh my god. Roger

1797
01:33:55,520 --> 01:33:59,160
Speaker 2: told me. He said he told Shirley Murdock and she

1798
01:33:59,240 --> 01:34:02,240
Speaker 2: told me after as she said that Roger thought that

1799
01:34:02,360 --> 01:34:04,639
Speaker 2: I was the best out of the people that did

1800
01:34:04,680 --> 01:34:09,400
Speaker 2: it because I understood his nuances and I would play

1801
01:34:09,680 --> 01:34:12,439
Speaker 2: what he played like nuance wise, because anybody could put

1802
01:34:12,479 --> 01:34:14,559
Speaker 2: the tobe in him off and play a key or whatever.

1803
01:34:14,960 --> 01:34:18,639
Speaker 2: But he like the way I would play just certain licks. Yeah,

1804
01:34:18,640 --> 01:34:23,120
Speaker 2: I wrote that for him right after he died. Yeah,

1805
01:34:23,320 --> 01:34:32,720
Speaker 2: I sampled that sample is from Sparkle Aretha Franklin, I

1806
01:34:32,840 --> 01:34:37,400
Speaker 2: get high. Yeah, I just congratulated, but that was Yeah,

1807
01:34:37,479 --> 01:34:38,000
Speaker 2: that was for him.

1808
01:34:38,040 --> 01:34:38,160
Speaker 7: Bro.

1809
01:34:38,800 --> 01:34:41,160
Speaker 2: Well I played a lot better now too, like I've

1810
01:34:41,400 --> 01:34:44,200
Speaker 2: learned some more things. I got better than toys. Well,

1811
01:34:44,240 --> 01:34:49,160
Speaker 2: hopefully one day we'll work together, you know. Besides when came,

1812
01:34:50,280 --> 01:34:52,040
Speaker 2: that was one of the most fun times in my life.

1813
01:34:52,080 --> 01:34:54,439
Speaker 2: I'm in the studio with David Chappelle and I forgot

1814
01:34:54,600 --> 01:34:57,040
Speaker 2: just how funny is He made a joke and I

1815
01:34:57,200 --> 01:34:58,920
Speaker 2: was embarrassed to laugh in front of him, so I

1816
01:34:58,960 --> 01:35:06,479
Speaker 2: took off running out. My god, nobody's that funny man. Yea,

1817
01:35:06,560 --> 01:35:08,720
Speaker 2: it should be against the law. Yeah, all right, well,

1818
01:35:09,120 --> 01:35:12,400
Speaker 2: thank you. Get him on the show one day you think.

1819
01:35:13,160 --> 01:35:15,200
Speaker 6: Anyway, This is Quest Love Supreme. We'll see you on

1820
01:35:15,280 --> 01:35:16,439
Speaker 6: the next go round out.

1821
01:35:26,120 --> 01:35:29,360
Speaker 1: Quest Love Supreme is a production of iHeart Radio. This

1822
01:35:29,520 --> 01:35:37,280
Speaker 1: classic episode was produced by the team at Pandora. For

1823
01:35:37,400 --> 01:35:40,479
Speaker 1: more podcasts from iHeart Radio, visit the iHeart Radio app

1824
01:35:40,720 --> 01:35:43,759
Speaker 1: Apple podcasts, or wherever you listen to your favorite shows.