00:00:00
Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic episode was produced by the team at Pandora.

00:00:09
Speaker 2: What up, y'all?

00:00:09
Speaker 3: It's unpaid bill from Questlove Supreme. As you may have seen throughout June, we are celebrating Black Music Month by releasing an episode every day, So every day you either here especially picked QLs Classic, and on Wednesdays we are dropping new two part episodes Wayne Brady and the legendary James Poyser, both of which were filmed in studio. Black music is deeply important to me and has been an influence throughout my entire career. It's also something to celebrating here at QLs. DJ Quick joined QLs for an early twenty nineteen episode. Quick is as charismatic as he is funk in his conversation covering his career growth and passion for music. Also look out for Quick's latest album, Chupacabra, which is releasing this month.

00:00:53
Speaker 4: Suprema Suprema roh Cal supremea my role called Suprema Suck Suck Subprema roll called.

00:01:05
Speaker 5: Suprema Suck Suck Supremo roll call production.

00:01:10
Speaker 6: Yeah greater than Yeah Andrew Young, Yeah.

00:01:15
Speaker 2: I said it.

00:01:17
Speaker 5: Supreme s something Suprema, role called Suprema South South Suprema role call.

00:01:24
Speaker 7: My name is Fante Yeah, and y'all might disagree. Yeah, but my favorite quicks groove Yeah number.

00:01:33
Speaker 5: Supreme up Sun something Supreme A, roll call subpremeau soun Supreme.

00:01:40
Speaker 8: Roll calm sweet yeah, black, yeah, pussy Yeah.

00:01:50
Speaker 5: Some SUPREMEA roll call Supreme Sun, Suprema.

00:01:55
Speaker 7: Roll call my name Boss Bill. Yeah, and I'm no donkey yeah because I know quick. Yeah, it's way too funky.

00:02:04
Speaker 4: Roll call Supreme some something Supremo, roll call Suprema Son Son Subpremo.

00:02:11
Speaker 2: Roll call.

00:02:14
Speaker 9: Yeah, and I'm in his town.

00:02:16
Speaker 2: Yeah, that's DJ quick. Yeah, can we get that?

00:02:19
Speaker 10: Roll call Supremo Supremo, roll call Supremo something something Suprema roll call.

00:02:28
Speaker 2: I ain't no joke. Yeah, sometimes I'm funny. Yeah. When I'm a pimp, I make records like yeah, bitch, better have my money.

00:02:35
Speaker 10: Roll call Supreme Suprema, roll call Supremo something Supremo, roll Suprema something something Supremo, roll call Suprema Son Suprema.

00:02:51
Speaker 7: Roll call suck and Steve with the mic dropping you just want to stay black. I want to say I had that album and I had to listen to it very quiet.

00:03:08
Speaker 2: Yeah, moms, did you ever.

00:03:11
Speaker 7: Quick punishment? I didn't have a quick didn't get me in trouble. I'm surprised, but.

00:03:18
Speaker 11: Yeah, because my mama loved Tonight like she loved Tonight, Like man, if the record Tonight, Man, my mama loved Tonight.

00:03:27
Speaker 2: Oh man, yeah, she loved Tonight.

00:03:29
Speaker 11: But like so I bought the tape and I let her just Tonight was the only thing she heard me play because the first everything rest.

00:03:38
Speaker 6: Oh yeah, I blame Sweet Black.

00:03:40
Speaker 2: That was real low. I'm like, oh my god, Well I'll be able to go nowhere. You know what's funny about that record? Man, I wasn't gonna do an album. I was producing this group called the House. Yeah, but they were so righteous and so like hardcore. It was like, you know, people want to party to like, let's do a couple of party records. So when I would like, you know, I was just the producers like players, stay in your place, just do the beats, We'll handle the lyrics, right, I'm like, hey, cool man. So you know, he had these big records, words like pestilence, and you know, it's like I don't know, you know, I was like, man, can we talk about eight ball? Like, so they did a classic thing too, right? Yeah? Yeah, that sh it was hot. Hey man, we flipped it right? Was that was the good old days when the record companies used to do pos send your check and you just going to the studio where But yeah, man, it was that was out of necessity that I did those records.

00:04:42
Speaker 12: By the way, ladies and gentlemen, and we have one of the greatest ever in the studio with us DJ Quick.

00:04:51
Speaker 6: Anyway, I'm not doing any long support.

00:04:58
Speaker 11: Man, d if when I wish this from day one, bro, Seriously, Okay, I was gonna cut the superlatives down.

00:05:06
Speaker 2: And all that stuff.

00:05:07
Speaker 12: But wait, what was the word you were pests? Yeahatilist down. No, but I will say that, uh, I mean, this is beyond slept on because I don't even think it's slept on because people.

00:05:23
Speaker 2: Know, like if you know, you know, if you know you know. But for me, I don't know any.

00:05:32
Speaker 12: Producer this consistent with quality like far in their career. I believe that Quick produces and makes records like it's his first album, Like you can tell he actually still cares about the quality product because usually like after the I mean forget rappers with like the fourth and fifth album usually by like the seventh or eighth, like they you know, start to wane off or whatever, or they rely on someone else's swag.

00:06:02
Speaker 2: Yeah.

00:06:02
Speaker 12: Yeah, and I have to say, like it is, it is criminally uh insane to me that his name does.

00:06:15
Speaker 2: Not come up.

00:06:16
Speaker 12: I agree, great yeah and yeah and in his production game, his patches, his chord structures, his production is everything, you know.

00:06:27
Speaker 2: What I mean.

00:06:28
Speaker 7: Look, I don't know many rappers that have had songs with like entire fucking full string sections.

00:06:33
Speaker 2: Like nobody does that, man, no one does. Nobody does that, but quick, so thank you for it. I appreciate it.

00:06:41
Speaker 12: I mean, I know I know people that are who are underrated or whatever, who are under praised or whatever, get tired of answering the question like how does it feel to be under you know, like Tarik K's that question.

00:06:52
Speaker 2: Like, but does it frustrate you?

00:06:58
Speaker 12: Had all that it it did that people don't recognize or when listener made like it.

00:07:04
Speaker 2: Did, But now it's like I didn't. I kicked my care out the window, like don't. I don't look for that no more because I realized you have to have like a Philip Drummond, like Dre had with you know, Jimmy Ivan. You got to have the big daddy Warbucks who will just keep throwing money at you whether you win or lose, whether you're you know, succeeding or failing, and who will take the losses with you. I never had that person to invest, so I ended up having to be independent and do it myself. And I just refused to pay somebody to say good things about me in the media's like or you know, quick, it's going to be you know, here or there. I'll tell you one one good thing though, and this is most recent. This is how I know I'm not that underrated, because the Jackson estate has been inviting me to really important things lately, really like I went to Joe Jackson's memorial and invited to Michael Jackson's sixtieth birthday party tomorrow at Mandalay Bay, you know, per the Jackson Estates. Evidently I'm you know, and I got a chance to talk to Janet at the memorial and whatnot. Too yeah for you to offer you Jimmy James Terry was hired me for that, and I've hung out with some of the best people like you know, uh, Jimmy James, Terry Lewis and pretty much all of the time. Jesse Johnson is one of my favorite people. We had him on the show recently. I love Jesse. He's one of the greatest guitar players ever, like he you know, you know, Quincy Jones. I've been in the studio with you know, super great Colin Powell even wow, you know, not that studio. I've been in like a meeting. It was it was he was supposed to be the first black president. But anyway, like when I realized that I'm in the room with Colin Powell and doctor Dre and Quincy Jones and Russell Simmons and Sugar all at the same time, It's like I'm supposed to be there, So I'm cool. I mean, you know, maybe maybe I don't put the pomp poms up and cheer enough of myself, but to me, like question, you know, I'm still in the studio with buying new knee testsy threes and teaching my guys how to record you know, real analog and get a big sound that doesn't die, you know what I mean, that doesn't date. That's where I'm at with it all right, So.

00:09:13
Speaker 12: For the one person out there that's listening to our podcast, could you tell our audience.

00:09:19
Speaker 2: Where were you born and raised?

00:09:24
Speaker 6: This is the first question I always asked, Where were you born and raised?

00:09:27
Speaker 2: I was born. I was born in l A. But we moved to Compton when I was five years old, so I was technically raised in Compton, but I was born in l A.

00:09:35
Speaker 6: Okay, you know what were your What was your childhood introduction to music?

00:09:41
Speaker 2: Childhood introduction to music was my You know, I come from a big family, like ten, eight sisters, one brother, one of them kids. Where did you fall?

00:09:55
Speaker 12: I'm the baby. I got all the you know, the beast stuff like that. But no, you also got the record collections. Yes I did, because I'm certain that the trickle down.

00:10:05
Speaker 2: Yeah, my sisters used to They used to have me play their records for their boyfriends when they used to come over, Like look what watch what he could do? I couldn't even really talk. I was in diapers, but I could go play Heaven must be like this off the Ohio Players record because I knew it was on this side of the record and it was this far in. So I would drop needles and they loved it. Man, I couldn't even really talk. You know. That was my thing. And my mother, you know, she used to have us listening to like the Impressions, Kurse Mayfield and Reatha Franklin and you know all the you know Al Green all that stuff. Like she was. She was heavy onto the into soul funk and you know James Brown, R and B all that stuff. Any of your other siblings musicians, Uh, you know that my brother, my mother used to buy him drum sets and he would just stab them with the sticks. He was like I don't want to do this, but I would get on him and do it. You did. I played like a little quarter note beach. You know. They was like it'd be like, get off some drums and Perry drums. I was like, Perry's just trying to destroy him, Like can I have them? No, get out of here. It's like they didn't want to let me shine with my music, but I found a way to do it anyway.

00:11:17
Speaker 12: Oh okay, So what was your record collection? Did you somehow acquire your own or was it just like based on.

00:11:27
Speaker 2: What I used to buy records. I started buying records when I was like eight. You remember the first one you caught. Your first record I bought was the forty five of Chicks Lay Freak on Atlantic Records, Okay, and it didn't stop. The second one I bought was around the same time, was the forty five Not Just Needy by Parliament Funkadelic, you know, and it started there then. You know, that was before hip hop obviously, but I was into all those records, like I'll buy Temptations records and pretty much all the new black records that came out. We had, you know, Compon had this small record record store on Rosecrans and we used to go up there and just you know, we used to buy records by sight, you know what I mean, Like that looked like that's a good record, the album cover by the album cover, so you know them was the days and I collected. I ended up That's how I ended up being a DJ. I would by just keep buying records until I had a bunch of records, you know.

00:12:29
Speaker 12: So we even designated like black DJ or Backyard Party.

00:12:33
Speaker 2: Absolutely bro we had you know, I grew up in the Blood neighborhood, so all the crypt neighborhoods, them niggas had the money, so we would go DJ some of their parties and then get chased out of their neighborhood when they realized that dangerous man. It was dangerous days back then. We used to DJ and crip neighborhoods like Palmer Block and you know mc nolly or whatever to you know, because they had the money. And when they realized who I was was like the neighborhood I was from, they get the gathering around me looking crazy, even if he was rocking the park, even if he was dat matters. Wow, it was. It was weird back then. It's so territorial, but the music transcended all that. It was crazy. So how did how did you assuming that you play? How many instruments do you play? I played piano, I play drums, percussion. I just bought a violin, but I don't know if I'm gonna get into that. I play, you know, just bought a little you know, try it out, just to see see if I could, you know, hold the bowl right.

00:13:38
Speaker 6: And you know, you know what's weird.

00:13:41
Speaker 12: I'm skipping to your record deal. But you know, one that profile really pimped you out to be like the Warming band. I mean, you're basically Prince aut this motherfucker and hip hop. But why wasn't that even exploited.

00:14:00
Speaker 2: Yeah, I don't know if if Jimmy what was his name, Corey Arlins Steve, I don't know if Corey Corey was just into the music, like at first he didn't get it. It was really the Dave Masster h the A and R man who signed me because he was based over here on the West and he knew what my record was in the streets because everybody was talking about it. So he was the one who champion me getting that deal and I got a big deal, million dollar deal in all this good shit. But Corey was like, you know, hey, you're selling records. Just keep doing what you're doing. You know, you want to come see my apartment in Queen's you know whatever they was in New York, you know, And I hadn't been, so, I mean, they didn't exploit that, and I don't think I played it up, but I knew that it.

00:14:41
Speaker 12: Really had no clue because it wasn't to like maybe rhythm atalism. Yeah that I realized like, oh wait, I'm playing the basic Yeah. I just thought, like you know, back then, I would at least for the first two records. I didn't know that you were self produced and doing all that stuff yourself.

00:14:59
Speaker 2: I was. It came from just not having people. I didn't have relationships with musicians back then, so I would just learn how to play the part. Like if I hear a baseline in my head and it's it's it's you know, it's it's nothing genius. It's just if I hear James Brown based down on a baseline that I like, I learned how to play that and then expand on that and go somewhere different modulated play than another key. So you know, it was basically, you know, it was a you know, a means to an end. I didn't have the facilities and I didn't have the musicians at that point, so I would just play some of that stuff myself.

00:15:32
Speaker 11: How did you How did profile find you? Being on the West coast? How did the East Coast label find it?

00:15:37
Speaker 2: Just opened up an office on Sussett Boulevard, Hollywood, and my cassette. I was selling my cassette out of my underground tape, the Red tape, out of pretty much by word of mouth, like people will call me be like, hey man, they want ten of your tapes over here on you know, one hundred and thirty ninth who am So I'll just get in the car, go sell ten tapes, come back with a hundred bucks, you know, can't it make more copy of it? And then it started getting crazy, like man, we want they want a hundred tapes over here. I'm like, dude, you know, as long as a hundred tapes with the King would double cassette, you know, we had that. But then I ended up getting one of the little from the we had this and I love the facilities in l A. Back then, there was a record pool called what was it called They're gonna hate me cording traits, gonna hate me for this, uh Impact record Pool. Impact used to have a cassette duplicator and they let me use it. So I have my little master tape and I'd have the three so I was just put in, just let it roll, flip, go do it again. And I was handwriting the you know, the stickers and put it on, yeah, the labels, and I was really I didn't realize I was distributing my own product. What was your what was on the mixtapes? The what what was on the mixtapes? Pretty much some parts of my first album like Tonight was on there. I think Border Raised too. You know, I just started like sampling stuff and happened. You know, I had this task have four tracks, so you know I was in there getting I was multi tracking, you know what I mean, And you know doing I came from the you know, listening to like mixed Master Spade and Toddy T and King T. Those are all the guys that we wanted to immolate and be like in competent yep, pretty much the way they was doing it, like you know on cassettes with the vibe. We all wanted that reverb, that vibe box colleague.

00:17:25
Speaker 12: So I have family out here in uh Pasadena, so I sometimes visit for the summer, and I remember the summer of eighty five, no one on the West coast knew what the show and Lottie Dotty was did. They were like, well, I meant like my cousins didn't know because I'm trying to tell them about Slick Ricky Ducky Fresh and They're like yeah, and but they were like no man batteran And so when I would go home back to Philly.

00:17:52
Speaker 6: I was like, y'all, y'all know about batteran hell, can't stop it.

00:17:56
Speaker 2: They were just like no, But they couldn't relate because the battle Rom was the was Chief Daryl Gates figuring out how to destroy houses and write it off because they used to back before the Battle Ram, they used to to the drug houses. They used to attach chains to the iron you know, the iron the iron doors, you know, in the bars that we used to get so they would you know, pull a tow truck up attached to it and punch out and snatch the door off and run in there the battle roum. And but by the time they got in there, because you know niggas, no niggas can hear them outside setting up. You know, the niggas is in there flushing the drugs, you know what I mean, and getting rid of shit and breaking out the back door and running whatever. So they figured the battle Ram would cut that time off. They start catching niggas running up in their house with that batter um. Niggas shocked and see a tank in they fucking house, cocaine with a tank in your.

00:18:53
Speaker 6: What was the first piece of equipment that you acquired for your.

00:18:58
Speaker 2: A cast It was a Cassio Easy, It was a c Z one on one. I want to say, like the little white one with the like the little twenty or thirty something keys, And I used to just sit up and practice on that, like practice baselines and you know, little piano parts or whatever. But it was like nineteen eighty two. It was the cassio didn't have a drummer scene on it too, or I had the little just little rhythms where it's like sixteen beat all the precepts. Yeah, you know, but how would you utilize like how would you make your mixt sound? Yeah, yeah, you already know. Pause mixing was everything, and you had to have a certain kind of yo, yeah, let out, yeah, swing when you let up. It wasn't just you couldn't be lazy with it because your mix or ruined. You know. And back then, if you did a pause mixed right, yours would become like the gospel of that song, Like say you did Heartbreaker by Roger Troutman and Zap. If you pause mixed it right and distributed that, everybody think that you you know, that was the version of it. You know what I mean, if you did it right, it'll become a legendary mix. You know. Really, I mean we were we're so underachieving back then, Like we had a low parameter for now, but everybody talks about the mix Hey man, Sanuel, Yeah, what was it, Samuel, cassette deck, Sue Fisher, Fisher, so you know, and I was amazed the first time I hooked up, because you know, back then we could. I couldn't afford two turntables, so I had one turntable, and to try to make it sound like too, I had two cassette decks, so I would record half of the program or whatever I was doing on one cassette and then bring that cassette back into the mixer and go to a second cassette while the turntable was live. So I was overdubbing. I was learning how to overdeub with two cassette decks and one turntable. And that was you know, you you did what you had to do back then. Like you know, so from the demo tape, the red tape you made that guy, Yeah, they got profile got it from off the streets and we had I just started working with like AMG and was trying to bring uh the guy second and then and and whatnot from the neighborhood, you know, just to do little local stuff around you know, La and abroad and a coordney Tracy, who was like my pay with my friends. At that point, they got in touch with Profile. Profile already heard of me, so they started negotiating a deal for me. But Fred Manial from Select Records was like, hey, I want to be in that, you know, I give him thirty five that They was like, Profile was like, I would give him forty five, and they was like quick, just I'm like take it, take it. Come on forty five. Are y'all talking about forty five thousand dollars? I already have. I already had that check. Spin I'm finna get a Jetta, you know, I don't think I'm finna spend it, you know. But it ultimately went up and up and up until it was like, you know, over one hundred thousand dollars, and then it was like, Okay, that's just some bullshit. This ain't this is a dream, this is a lie. You know. Niggas like us don't get that lucky. You know, I come from welfare and hard knocks and shit. Niggas stealing my equipment and my sister burning it up, being mad jealous of me, like you ain't gonna be successfulfucker, throw my turntables in the firtplace. Yeah. Wow, man, My sister Jackie, she's gonna hear this too. She taught me how to sell cracks. So her thing was if I wasn't loyal to her, she would destroy everything that I bought in the dope game. So she and she would do it in front of the niggas in the hood, like that was the only bad part of my growing up. She would show off in front of them niggas who was like oh. Usually as an example, yeah, yeah, exactly, like checking you know, come watch what I'm finna do. Okay.

00:22:45
Speaker 12: So a common element amongst a lot of the people that we interview on the show, especially with producers, especially with great producers, is that they start out as DJs, but they're also DJs and high pressure situations. So we noticed that uh, Jimmy Jam, who each week had to entertain at least a crowd of six hundred people, like no song, could be a loser in the bunch, like he the pressure to keep the pressure.

00:23:16
Speaker 2: That pressure gets you right and of course right.

00:23:19
Speaker 12: And then Doctor D's story of like if I play the wrong song or the wrong mix and they're gonna start shooting up in here. So it's almost like being a DJ in a high pressure situation where lives might be on the line, makes you a better producer because you automatically know what's going to work. So what was your what was your template as far as working on your your your first record?

00:23:44
Speaker 2: I wanted to do, I mean, because of course we grew up listening to the album cuts from Deaf Jam, like I Feel Good about Candy, you know, even like Chuck Stanley, like the R and B stuff that let you I'm gonna sample that, never gonna let you go. It's hot. But you know, I never listening listening to listening to those records, like even if you didn't play them at a club or at your party, you had to kind of like know what was going on my chimpleate was I figured? You know, I was really into reggae, like the Sugar Mine Nod and Sister nine C and you know, even more than just by everybody's by reggae. You know, it's it's a bigger story, you know, a lot more to my God. So you know, listening growing up listening to all that what the Bomb Bomb and all that I wanted to do a record that just pretty much show people what my great range of music was.

00:24:44
Speaker 12: I wrote that kind of from scratch. I say, like there was a there was a token reggae. Reggae was big and Compton it was yeah.

00:24:59
Speaker 2: Around a big Ducky like the Cox family, Ducky Dave sheltering you know right now and they stars now they used to. They're from like fruit Town, the neighborhood across the street from us. Dave is like in the in the Straight Out of Compton movie, Ducky security for Rick Ross right now, David security for who is Dave security for nowadays? By day Dave David Cox from Fruetown, He's secure everybody. He You know, these guys used to play all the reggae in the hood, like they knew the reggae stuff. So we got our reggae chase from them, you know what I mean. But it was, believe it or not, it was people used to be days when we just played all reggae all day everything. So I wanted that, all them different elements, all this stuff my mother used to play. I wanted all that on my first album.

00:25:50
Speaker 11: Yeah, because I noticed, like you simple, because my mother. She was a big Emotions fan, and so I was surprised.

00:25:57
Speaker 2: I was like, man, what made him go for that? One? Was the one three? What is that? What's that? Shuffle? Shuffle? Yeah? It was it was shuffle. That was a hot record to us in the day. It was the first thing after the best of My Love. It was like, this is dope, and I just you know, I've been I was influenced by Blowfly. I ain't gonna lie and blow Flying corrupted me, you know, and I'll speed for it to say that. I didn't realize how vulgar my album was until I start having kids. I can't play Sweet Black Pussy around certain people. I wasn't born to raising con version, maybe because Pussy was funny and everybody in my click life was like the one. It's an attention grabber I was. I wrote that at nineteen, so you know, obviously I had only slept with like two or three people, but street people, you know, sweet and black black one another that black black ones Sweet. If they got nothing here, I don't care talk about it. Yeah, that's they keep you coming back, that's how you walking down the street.

00:27:13
Speaker 12: Like shout out to Tina Farris okay are you We're we're talking about Sweet Black Pussy on my tour.

00:27:21
Speaker 2: Managers like you better men weel. I didn't realize that it was times I was, like you said, like the pressure, the pressure or DJ. It was nights where I would forget to do that record in my lineup and really like my start right like the black girls are just me so bad, like every every woman.

00:27:44
Speaker 6: That's a DJ quick fan. That's the first song they mentioned.

00:27:47
Speaker 2: Man, I didn't realize I made like the staple record for the black woman movement. I had no compliments, you know, but I had this thing, y'all. I would certain people who got in trouble listen to my record authentically and they gave me a story about it, like they got punished, they got whooping. I would let them get that lig back. I'd be like, you can, but I let them get their lig back.

00:28:20
Speaker 11: It would have been worth the punishment. Man, What was the What was sample clearance is? Like back then, sample clearance is because of Bis Marquis. It was a gray area, like we were sampling crazy before it got legal. When you know, back then you'd had to clear the record through publishing, through master usage and license it and you know, but we was like, we ain't got no instrumentalists. This instrumental is dope. We're gonna put this on the tape. We're gonna rap to it.

00:28:48
Speaker 2: That's what it is. And people liked it when they figured it out, Like all the people who were sampling figured it out, they start making new laws. You know what I mean to, you know, to to to stop that shit getting junctions against our records and whatnot. But my thing was, if I blow y'all record up and y'all assume me, we still win, y'all still gonna get paid. I ain't gonna I can't run off with y'all money. Y'all money is being collected over here, and it's gonna take six to nine months to get to me anyway. You know, we work out a deal before that's over, and y'all good, y'all get y'all split. Betty Right when I sampled tonight and didn't clear it, I met her in Atlanta doing freaknickow wait intimate the intimate connections? You clear, I didn't clear none of that, but I had. I gave them. They was all publishing dexit designees. In other words, when they come after you you just keep their money there for them. I didn't know until the second time I start cleaning samples, like motherfucker. The first one, it was like we was just using the records that we liked and had. And when I met her, she was like, she said, you know, you made me a whole lot of money, don't you. I was like, I'm a fan. I love you, like we grew up to you, like you know, whatever, whatever you want. She was like, okay, no, I'm good baby, and you're a lot cuter in person.

00:30:03
Speaker 12: Then on your record, lady, she made she made tens of thousands of dollars off of that record.

00:30:20
Speaker 11: After that record, like after your first record was says I read in this It was then interview did in the source This was guys years ago. You said there was a record you did between the first one and way too funky and you scrap you like, no, I can't put this.

00:30:33
Speaker 2: It was it was starting out to be like weak and the records like back then, like you you throw away records you know ain't gonna work again. The pressure of a producer sometimes, you know, if you're if.

00:30:43
Speaker 12: You're self continued unit, who's your sounding board? I mean besides the board. You know your boys. I don't know if you roll with the crew that's like, yeah, that's dope every time you do something. So who's the sounding board that you trust that's gonna say like that ain't work.

00:31:01
Speaker 6: Yeah, like I don't like that sample, or you should not this.

00:31:05
Speaker 2: Greg Jesse Greedy.

00:31:06
Speaker 9: Greg.

00:31:07
Speaker 2: He was like my first manager. He's the one who actually helped facilitate my first deal and helped to get second and none their deal. Actually got them their deal, and AMG got him his deal and second to none. Them never admitted they to them. They were already the producers. They told they did an interview on the source. I was all happy. My thing was we we like the other n w A we cool slapping hands with him. Then niggas gon do interviews by theyself and be like, yeah, quick, he worked for us. We did all the beat, we put that in sp right. So he helped all of them, does helped everybody. He would be the one be like, no, man. He got a high pitch voice too. He'd be like, no, man, that ships why you can't even play the tempo is wrong? You know what I'm saying. So he was right. So we tried to stay within these tempos that worked.

00:31:56
Speaker 12: You know, Okay, before I get to the history of quicks grooves, all fifty eleven of them. I mean that to me is like I wish you had the greatest hits of just your quick groove. Yeah, yeah, because it's like I look forward to those, Yeah, and I know a quick album right Yeah, it's like.

00:32:19
Speaker 2: Oh, what's quick group? Gonn sound like this time? Yeah?

00:32:22
Speaker 12: Which is weird because you went super ape shit on the rose Krans groove. Yeah, what was on your mind with if you heard the Rosekrans groove?

00:32:35
Speaker 2: I haven't heard that dog.

00:32:36
Speaker 12: He just I mean we stretched out each one pushes then envelope further.

00:32:41
Speaker 2: But I Crouch. I had Kenneth Crouch, Dave forming on guitar, David Balfour on keys as well. You had a bass player in there, my drummer, Keith Ross Peanut. So we was just playing around stuff and I just got the you know, I just got my favorite keyboard back. Because I used to have a profit. That was my secret weapon, Like when I was working on all Eyes on me, I can recreate like what's your phone number? The Prince stuff on my profit. But back then they didn't work that well because they was old. You bought them used, they was abused. They stayed in the shop, you know. So I just got my profit back of profit six the new one. I just started going back through what I used to remember about how that keyboard worked, and we just kept building on that little you know that four on the floor just go whatever you call it techno beat or whatever. But we wanted it to be spacious and have you know, and have fun. And Ken of Crouch just takes everything.

00:33:38
Speaker 12: Changing kids and modulating here the relative miners and all states.

00:33:44
Speaker 2: That's kend of Crouch.

00:33:47
Speaker 11: Following my following on the keys Man before, just because you mentioned it before, I get it too, dope, Hearts of men.

00:33:54
Speaker 2: How did you clear or we cleared that? Yes, we did. That was gonna make him some money. That was one of the first hip hop workerds he ever cleared. Yeah. I was gonna say we became kind of cool because of that, because he liked the way it was done. I flipped I flipped the back the other way. I was like, I was like, yeah, quick as god.

00:34:18
Speaker 6: Yeah, here's the thing. I didn't know that that was until you told me. For the Prince episode, I'm so mad.

00:34:27
Speaker 2: I never knew. I can't believe that we get it back. I did it the other way and Prince douget. Also, that's a song off of George Clinton's Big Band record, Fred Wesley and the Horny Horns blow for Me too, for you that's the okay, Yeah, that's that looped with Prince with you know, basically the baseline I wrote, but the drums is You're getting a little bit too smart Detroy Emeralds, De Troy Emeralds. And also people don't know it was on a rare version of Yeah forty five.

00:35:04
Speaker 6: Did I ever tell the Dyler story about it?

00:35:06
Speaker 2: Yeah? You told me the story.

00:35:07
Speaker 12: But all right, real quick, all right, so we're recording the Light yeah, common, And I thought Dylan was trying to.

00:35:20
Speaker 6: Not ghost me weapons when what's the term used, blow your way.

00:35:28
Speaker 2: When I was trying to psych you out and saying it was one thing.

00:35:31
Speaker 12: But I thought he was trying to play me on. I'm like, it's toy amos. He says no, no, I'm so higher players. And I was like feeling some sort of way for like three hours. I'm like, why is the motherfucker alignment? Like it's fucking the joy animals. He's like, nah, man, it's Ohio Players. Because I was taking the sample information down to give to the label and he's like, Ohio Players. And the thing is he didn't know that that was Troy Emeralds. And later we found out that Armine had just put that drum break on the five.

00:36:00
Speaker 2: So why would he do that? Like, I mean, I know it was Westbound Records. Thing. The producer did that and put the tag, the drum tag from I know that armor.

00:36:08
Speaker 12: The man that owns Westbound Records put that tag at the beginning. I don't know if I guess maybe for forty.

00:36:13
Speaker 2: Fives their radio. Probably for radio.

00:36:17
Speaker 12: Yeah, like, oh, that's right because there's instant talking at the very top.

00:36:22
Speaker 2: Of the thing exactly, and you need the little tag seven seconds. That still works now, j still do that put they put an instrument in front of some of my records when they just start on the one and lyrics, they'll they'll put that tag on there.

00:36:34
Speaker 6: So okay, we already said that quick number three that was mine.

00:36:39
Speaker 2: That was I mean, I like, but edited, I edited it was it was actually five minutes forty two seconds to shorten it, and I cut it by tape, you know, you record it and spice it, shorten it. But that's my man, Robert Bacon, who's one of the best base yeahs asked you about him, man, Like, what's I've never like, like, what's he? What's his deal? What's he doing? What you do on? Now? He's out with Sha Ka Khan? And how did you guys first look up high see my boy? He introduced me to him. He was a session player out here from Detroit and uh he played on Hot Seas first record Scanders. Yeah, And I was like, man, who was this dude? Like this dude back then we was looking for the next standing guitar man. Doctor Drake kicked the door in with having real musicians playing on your records, Like, dude, we gotta have musicians. And who did I end up picking for the first quack grew staying the guitar man wasn't nowhere around it? And where was he from? What was in his history? He's right around the corner from Dre. He grew up around the corner from Dre. I think on Town Town Avenue and and industrial comptons like Compton in l A like a borderline where it's like a little bougie. It's like, actually cool over there, likema village. I want to see me now or back then? I think he's still over there. I think it's Mama.

00:37:54
Speaker 13: No.

00:37:54
Speaker 2: I meant was it gentrified right now? It was back then I didn't had the ratchet part over here, then had the bougie part right across the street, and now it's all turning bougie. Yeah, it is. A property is so expensive over there right now.

00:38:09
Speaker 11: It's crazy after when you went into Way too funky? Were you by the time, because I mean the first record was a success. Yeah, were you making money then? Like were you straight?

00:38:17
Speaker 2: Yeah? When I got my first royalty check, I got it nine months after because I I this was my thing. I read that book This has this business of music, so I was already versed in how this publishing, these points, what percentages are, and I was happy to be up there. They was like, quick, you got twelve points on your record, do you know Michael Jackson got like eighteen twelve or sixteen or eighteen points? So that put you in a whole different class. And I was like, it's all sound good, you know, to the check get here, you know what I mean? And I got my first royalty check and it was like six figures and I just relaxed. I was shooting music video for I think we was shooting quick as the name, and my man's Tracy and Courtney came up here and had me signed the check and I was like, She's like, whoa, that's a house that's motorcycles to Jedis And I did buy that Jedi. I gave it to but you know, I was like, yeah, this is this is what I'm going to be doing for the rest of my life. Wow, you know. But unfortunately, you know, hanging out with my man's second to none. You know, the gang thing was like kind of prevalent, and I was trying to downplay it, like I want to be a producer. I don't want to be this, you know where we came from. But you know, these guys they played it up a little bit. And we went to Denver and these guys throw a bottle in the audience and hurt some kids. So I get sued. Now I'm on trial. So my whole thing is bittersweet. It's like melancholy, like I'm happy, but I got to go to court.

00:39:44
Speaker 12: I'm looking at some jail times, please, because even to this day when I go to Denver, it's just like that's the only thing my reference.

00:39:56
Speaker 6: So first of all, what is what was touring?

00:40:00
Speaker 12: Like?

00:40:00
Speaker 6: How much of that song was autobiographical?

00:40:03
Speaker 2: It was the whole record was the truth. It was super dangerous because at that point I didn't know that there were other factions of gangs in cities that we had never been to, and they was waiting on us. Niggas. Wow, it was guns. It was shootouts to the point it became so frequent that after a while we wasn't even scared no more. It's like, yeah, they' gonna shoot to night. Sometimes they didn't shoot it be like fuck it. You know, get some groupies go back to the channel cake. So you be on stage, not knowing if it's gonna jump on. You can see them, they'll be in the audience and they'll be the only ones that's not dancing. They just like right, you know, just that weird shit, you feel it. But these guys they threw a they threw a forty Back then you could have props on the stage, like empty forty ounce bottles and shit, you know it's part of your stage shit. You know the fake trash can and the street light and whatever. And one of the guys, one of the members of this group, he threw a bottle into the audience had some crips and it didn't hit them, it hit some little kids. It broke and hit kids. So already quick concept back was a skating rink. It was cool, it was all ages, and I thought this was in the club. No, no, it was a skating rink. But what he did, by him throwing that bottle into the audience, it let me know that this guy is gonna be a liability. And I had to limit my you know, then I hate to go here, but you know, everybody got their little bad story when it comes to this hip hop ship, and my man's was they were just self destructive, you know what I mean, and got me in trouble and I had to ride for that and people used to ask them. I was like, why y'all didn't come to support me when I went to the trial. Their whole ship was we don't do police. It's like, bro y'all so hard and so cool, y'all trying to ruin my career. You know, how long did it take you to learn that? Lesson was done immediately quick. Fact, there's a lot of the authorize like a decade. And it's funny because I don't have no like we was kids back then, but right now, like look he drinking. He got threatened by the same guy right and he was like, I want to punch this is a this's an R and B singer, But he wanted But he's just a weird old He's like, you know, some people, it's just weird though, like you know, you know, you know, so is it easy to say no? Yeah? And if I can just finish the touring. That case cost me one hundred and thirty five thousand dollars to fight it and to pay off the suits. And my check that I got was like two hundred grand man, So everything that I she just went to fighting this fucking case and then I had to pay taxes after that. So it taught me that you knows, niggas ain't got your best interests at heart. If they if they ain't the kind of people that who like insurance and you know, keeping your copa setic, you can't have them around you because they they will bring you down easily.

00:43:03
Speaker 12: We're all so simple, We're all those that were like like KK and I see, like we're all s Is touring with me right now.

00:43:11
Speaker 2: Kk Is. You know he's you know they you know, every time I talk about them, guys, I should say no comment. Every time I talk about him, they go public and be like, nah, we told y'all hating on us. It's like, bro, y'all did all the wrong things. And I think that's why they didn't become successful. They don't have to like record it's not bad, it's not bad, but you got to promote it, you know. And they didn't go out on the tours and really promote those records. And they talked about the record company. These niggas fucked us and we got a bad deal. It's like, y'all can't come into this business, stop smoking, fucking wet and get in the studio and make the records. And you know what I mean, trying to gang bang. What's this big East East coast part? You know, stop that ship, like get the money and I'm they're suffice it to say. Somebody offered them three million dollars bro and they turned it down and code man, he was Illuminati, Okay, nod. They were offered a significant million dollars back then, back in nineteen ninety three, they did a soundtrack. We did a song for the above the Rim soundtrack. They mean to turn Yeah, Yeah, you a illuminati. Wow, Wow, I can't believe it. I was like, wow, Like, man, y'all could be rich. Y'all good songwriters. I know y'all good at heart, but it ain't really nothing I can say cool because I just watched them ruin a lot of things. Like, you know, they didn't really want it. Nah, No, that's what somebody said. They were scared of money. They like quick, that's money. Scared some people are they don't even know it. Scared of success. Man.

00:44:55
Speaker 11: One of my favorite productions of yours, Danny Boy Come when I called Bro Bro talking about.

00:45:00
Speaker 2: It, I'm just saying, I forget now, but we need to go back. If my introduction to Sugar and Death Row was song second and None didn't mean to Turn you on. That was my first dealings with you know, Jimmy Ivan and the great company of Interscope Records, in that whole system, which I totally love and I still think is the greatest West Coast record label of all time. But they you know, that was when the deal was offered, bro and I couldn't believe that anybody would turn that deal down. But Danny Boy was the second project I did in that system, and it was for compilations Murder. It was the case after you know, just all this stuff happened so fast, right, that was like a year later after my record that was ninety two, you know, ninety three, I think I want to say ninety three is when it came out. But you know, Sugar approached me to do something for his new signing, Danny Boy, who I thought sounded like a lot of a lot like my favorite R and B singer at the time, which was Stokely's A no brainer. I sat with Michael Henderson, Yes, I love you, and he cleared it two million. I just did that aramatic baseline, you know, B A B A G G flat, so just a black black, black white, and it.

00:46:25
Speaker 11: Just felt man, Thanks dude, I love that, you know that. And the remixes though I don't know if you did the remix, but there was I think the.

00:46:33
Speaker 2: Boys six or nine and them or did that remix. And at that point D J. Rogers started coming into the click. I found Warren Campbell, Baby Dog gave his nickname. Wow, that's so dope. He played on Safe and Sound like he's on all the pianos. He's on the piano on the favorite quick tu okay Yo.

00:46:51
Speaker 11: I heard the story we had premiere DJ Premiere on the on the show a while ago. It was like it was like that two years when we first started, and he all always told this story. He told me this story about Gangstar being on tour with you. I wanted to hear it from your side.

00:47:05
Speaker 2: It was you was on tour.

00:47:07
Speaker 11: It was you Gangstar and father them see yep and father them ship when he was on some Hollywood shit trying to be late so uk like so like before the show, You're like, yo, bring me some towels.

00:47:17
Speaker 2: I need like fifty towels.

00:47:19
Speaker 11: And so you came out during his set, Pat and your Jerry Curl and like pass him out to the crowd and like fucking up.

00:47:24
Speaker 2: Hey, I didn't realize that. You know me back then, we had been through too much. So our thing was we wanted to be cool with everybody because we were new to the industry and follow them. She was already popular and popping. And he used to do this thing where he would come late. No matter what his position in the lineup was, he would come late so he could be the headliner. So you had to you know, them venues had curfews, so yeah, yeah, you know you're don follow them. See you know, he'd be like, it's like yo, man, you late. He'd be like your marfled. Wow, you know, but hey, Jesus, dude, tying to do. But he Yeah, I got mad one night drinking Little millerginal drafting. I came out during this sad and did some buffoon and ship like that.

00:48:14
Speaker 11: You know, you know, no, no, no, Premo told you. He was like, dude, that's the most gangsy ship I ever saw.

00:48:19
Speaker 2: He said.

00:48:20
Speaker 6: After that, father he got his ass in line.

00:48:23
Speaker 2: It was it was flex bro. But you know it's cool though, is is that keify d was the first person I ever smoked the blunt with. He told you know, he rode the blood for the first time. I was like blown away, like, well, you know we used to smoke. You know, we had white boll Yeah, so you know we in Canada with them and Guru passed me a blunt. I'm like, like, what is it like a cigar? You know, I hit that motherfucker. I was friends for life with Guru.

00:48:52
Speaker 12: Wait, it just hit me because you mentioned Jerry Crole and the tal thing. This is from Tina came I tour managers like one of your biggest fans. She wants to know how you managed to stay feathered so perfectly.

00:49:10
Speaker 2: You had the best hair because the way because the way too funky. That's we had it. Feathered hair was healthy. It was. I appreciate that I'm getting old now, but the trick was to me is to have the light skinned hairdressers because they knew hair tricks, the good hair girls, the ones got the good hair, just the best curl. They would put girls would not only would they put like the what was it called thiodrie, the hard stuff that burns, they would put conditioner in with it when they did your rollers, so it didn't tear your hair out and make your bridle fall out. So they would condition with the breakdown process like they would they was doing some and then they would rinse it out that and then look when they broke it down and I was, you know, curled up. When they shampooed and conditioned me, then I could go easily to a feather and it would hold because my curl pattern was already broken.

00:50:21
Speaker 9: I don't understand the feather though, it's because it's dry, I don't.

00:50:23
Speaker 2: I don't understand. They would rinse me out. It was a whole process. It was just like a pressing curl. But because they would keep me conditioned, it kind of kept my hair healthy enough to take that heat.

00:50:35
Speaker 12: He's Jermaine Jackson Jackson. When you left the Jackson's was straight feathered.

00:50:42
Speaker 9: The difference is quick still got his. So this is like amazing. Those women don't have those kind of stories. I believe it was the pretty mean ass girls.

00:50:57
Speaker 2: Hair dressing. Well.

00:50:58
Speaker 11: They used to condition my hair and and roll it at the same time, so on safe and sound by the time you made it to your third record was priority at any profile? Were they just kind of just letting you do you like yo?

00:51:12
Speaker 2: Just they they were recouping, so I was cool. My thing was, I just never wanted to be in debt with nobody because that just seemed like some foule shit to do to anybody, just take their money. My thing is, we signed a deal, I'm gonna be live it to my side of the deal, you know. But they let me stretch out They didn't really check in on me, you know what I mean, unless I was late with a record, and then they would do mean shit, like when they realized the gang shit wasn't going nowhere. When I caught that case, they was like, okay, so if you want the advance for your next record, we need you to sign this life insurance policy. Player. So they got to ensure. I'm thinking I was finna get my check. They came with a fucking like adjuster and what is this Just don't say, check any event of your untimely face. We get a million dollars for your death and we get to keep all your money.

00:52:04
Speaker 9: You know, didn't cite the kind of death. And then I'm just curious. Did it say something about bullets.

00:52:08
Speaker 2: It's say, if a nigga shoots you on your face, your ass, you die on rosecrans, nigga face down, we get a bonus.

00:52:16
Speaker 5: Right.

00:52:19
Speaker 2: It was definitely that gang shit was so dangerous back then.

00:52:22
Speaker 6: Okay, So by ninety six.

00:52:28
Speaker 2: I was rich as fuck. Yeah, I got a poshing deal with Warner Brothers. You know, I was writing with Elder Bars Tupac. And there's one thing I got to ask. I go, man, I was writing my ass off.

00:52:40
Speaker 12: Because as many times as we talk about nineteen ninety five on the show, and most people, uh sort of talk about outcasts, hold the South, got something to say and doctor dre Oh trust me, I know I was God. You set it off. The very first thing that happened that had us in the audience, Like when I went at MC eight Yo, Okay, this is the thing. I had no context.

00:53:14
Speaker 2: Or I did.

00:53:18
Speaker 12: The thing was where we were sitting and you remember the intro was like everyone came out.

00:53:23
Speaker 2: Of death row. Yeah, yeah, that whole thing and you were first. Yeah, and.

00:53:31
Speaker 12: Me not get in the context, but watching the audience face like holy ship, he's singing right to m C.

00:53:38
Speaker 2: He was in the you know when you uh sound check, you get to see where everybody seats it they have the name there. Yeah, they had got an hour before. What were you When did you decide that I was gonna go hard? Yeah? It was a lot going on before that, Like there was a fight that I had at the l Way Theater where you know, I was implemented and like a death like you know, some one of his boys was in the audience and he was dissing me, and I started fighting with him, but it started this chain reaction where everybody started fighting in the club. So the club got tore down and somebody died that night. And it was it had nothing to do with me, but I felt like, damn, you know, me and this dude fighting and that energy just spread. So I was hot, Like I was just mad for some other reasons, you know what I mean, And that when I knew that he was going to be on the show, I was like, you know, since we came in this dis war amicably, like I'm trying to talk to him, you know, like, man, the sources keeping this shit going, we just just dead this shit and we'll be like neighborhood heroes. We both from Compton, like let's do it. You know, I fuck with you. I even work with you on some records, Like let's just squash it. But he had people in his ear that I later found out through some people in his camp, that were keeping him from fucking with me. They didn't want that to happen. They was, you know, like, Nigga, if you do that, Nigga's game over for you because you get your niggas over, you know. It's like so they didn't let us build thing was. I just thought he was just mister billy badass. Was like just kept going at me. So I was enough enough, you know what I mean? I wrote dollars and cents, and when I got a chance to perform it for him, I was like, man, and you know you you know, you make a nigga mad. When he started, I was talking gay shit on that motherfucker, like fucking this nigga. I've it was over. Like I wast my mind. I went crazy. Yeah that's the thing. We sat there like what was it? I couldn't see his face, but what was his? I did it? Did you worry that? Like they were just going to run up? I was. I really wasn't worried because you know, I was friends with Snoop and dog Pound, like we was cool, so it was gonna happen. But the little bit, I know Snoop was cool with eight two, so it was like he wasn't in it. He wasn't you know he was gonna do it. Yeah, we rehearsed it, so he knew I was gonna do that. Dre knew everybody. Dreda one edited this song, you know, so when I had to do it, it was like you know, you you say something, you gotta back it up. So I backed it up. I knew the cool thing was. To me, the cool thing was that I got my hair done in l A before we came out there, because I didn't know hair dresses in New York. And I kept my hair bone straight for four days. You gotta put the pillow.

00:56:23
Speaker 9: Days when the girls had the Bufonts must have been the winter time would have been more challenging.

00:56:30
Speaker 2: You already know that humidity would have couldn't find the lights dress in New York.

00:56:37
Speaker 6: Okay, So after that show was over, I ran out right after that, Uh.

00:56:46
Speaker 2: Let it be know then you know the snoops, old snoop. I ran out. That was done.

00:56:51
Speaker 12: It's over right. So that night, what did the death Row camp do? Did y'all just fly back to California or did y'all know y'all.

00:57:04
Speaker 2: Stayed in New York? You want to know? It really hit me. Okay, my that night when the feud started, when she got up there and said what he said, and we that was a wild pitch for us. We didn't know what was going to happen. We just wanted to represent La. We was in Madison, Square Guarden. That was my first time there. So we was like in all, like you know, we're fans too, you know, we know hip hop started in or we know exactly what it is. We just felt like finally we got some money and we further in hip hop, like you know what I mean, and we love y'all niggas, like I want to work with Rocky Cam. I want to work with you know what I'm saying, fucking shit niggas. That was on my label, fucking ugh or No on profile. It was like poor righteous Special. I wanted to work with them niggas, like you know what I mean. It's like we let you know. And Dana Dane. So after that, when when she got up there and through that wild pitch, we felt the heat from the audience behind it. So me and they dog was sitting next to each other, we stood up and just stood back to back like and Nate Dogg said, quick, if you don't let nobody hit me in the back of my head, I don't let nobody hit you in the back of your head. I'm like, bro, you ain't gotta say nothing else. She knew it was. It was so it was so chill bump and you know, blackout, like it was just weird.

00:58:17
Speaker 11: We had Steed out on the show a couple it was a while back, and he was there and he says like that in a lot of rooms.

00:58:23
Speaker 2: He was, He said, that's the energy was devilish. It was like it was like everybody could have just got killed that night. That's what it felt like. It just felt like red light on everybody. So what we did was Shug had I think he had the on the sales the mind you not what you call it? Dope aest hotel, my hotel. It's not the paramount, No, it's the one that Biggie wrapped about. Tupockey is just stayed there all the time. They have the numbers on the.

00:58:52
Speaker 12: Floor, the park Parking, Tupac Central Part two, the Lark that Parker's.

00:59:00
Speaker 2: Were we're there and Sugar had Mia come over. Did he's baby Mama? WHOA a lot of people don't know this, this is only on your show, Quest And I'm going, Shug, what are you doing? Like what the fuck? Like that's did he baby Mama? And she was just like, you know, hanging out like whatever, you know, And I was like Mary J. Blige popped up, you know what I'm saying. It was like I didn't get it. It just got weird to me. Did she calmed down? Maybe she was just there to come? I hope. You know.

00:59:36
Speaker 7: Well, I always thought it was weird that the Sugar started working with Joe to Yeah, yeah, like and all those, all.

00:59:42
Speaker 2: Those he managed them. He ended up managing everybody like you know, got in their business with MCA, and that's kind of you know, did you do it in my room? Did you? Okay? Okay? He was She wanted to be everybody's manager because he wanted to shake down every record company. His intentions was good, but I think at some point it started driving sure crazy too. It was just because the fame and everybody trusted him, like he had everybody wanting to do business with him. I mean, you'll be I was there when Hammer was there, it would be me MC Hammer, Roger Troutman, Leroy Hudson, fucking Josy, nigga, nigga, everybody, nigga, nigga. Everybody went to death row everybody, everybody. But that's crazy. What is it about Sugar?

01:00:33
Speaker 9: Because I mean again, coming from security to be in an executive managed super manager, Like what.

01:00:37
Speaker 2: Was that charisma as a he was giving everybody results. He was getting motherfuckers paid from their record company. He was shaking their record companies up, and they were right to check to you. And he was just scaring the ship out of folks out of niggas. Did you work on Sam? Sam? I worked on one of two songs of Sam to recognize you. No, it wasn't recognized that it was dre It was one thing I did with Sam. I forgot Okay, let's let's finally get it out there. Let's get it out there.

01:01:06
Speaker 12: In the dog Pound record dog Food, I was, yeah, are your patches the common patch of are you the Marley Maul of the West Coast? Marley mal infamously had you know his president? And then next thing you know, a billion rappers are using.

01:01:29
Speaker 2: I sampled Lady Groove by the Fat Back Band, and I cleaned it up through SSL console and made it sound like a breakbeat because it was all noisy and reverb beat. But I tightened it up and I used it for Second and Nun's song be True to Yourself. The twelve inch we did like this European twelve inch where I was cutting, taping, breaking it down to a break, and Warren g sampled it. No your guy. He used to do the compilations of European compilations where they would do no. He was what's my man's name? Uh No, he was super popular. We'd all buy his records back like he was from Europe and he would do these breakbeat records. Simon Harris, Simon Harris. Simon Harris sampled me and put my break on his record and named it after one of kk's lines in the record Keep Cool Little Girl called it to keep Cool Little Girl break. But it was that, you know it, It was killing. Warren sampled it for Indoor Smoke and it became his bottom beat name. It was used on Black Superman for Above the Law, and it just became the common clap.

01:02:44
Speaker 6: That's that West Coast clap.

01:02:47
Speaker 2: Those are real claps. Some of them are we you know, we're in the bathroom with a dynamic mic clap and then eq it and you know, sample them. But that was the that was the color like to because we didn't have that that clap trap that Parliament used to use for like all them them funky records, you know, Flashlight arcle boogie, So we made them ourselves you know, and I ended up giving up. I sam with some other ones and did a real dope color that. You know. Claps are colors, you know, they're either big and buff or they're light and tiny. And I did some big, buff media ass claps and gave him the Dre and he used them for fucking in the club. Yeah. The the only the claps are that was Dre snare and kick and everything else. But the claps, they're also the same claps from True Heart's Addictives. They're I could give them to me and you shared. You gave me a file bro of some Prince stuff that blew me away, and I wanted to give you back some you know. I got p y t and then broke down it that kid, you pee my tea. I'm like, see this, I know your nerve man.

01:03:54
Speaker 6: With me, So you get the you get the master. And then suddenly you want to see what Michael.

01:04:01
Speaker 2: I. You know, I put it in waves and slowed down and listen to HIMIM like we did the same kids. You pet you tea, and it's like, wow, that's what you saying, right man? Man.

01:04:17
Speaker 11: I always knew what I knew about the beef with you and eight. What was the basis of Beef with You and House of Pain whatever?

01:04:23
Speaker 2: Last ever, Last was just being a dick back then, Like he was friends with Iced Tea and I think I had said we had this magazine called Rap Pages and I had seen Tea and I had to apologize back then. But me being such a big Iced Tea fan, when I saw him like go hard on a fan one time, like we were on tour together and he was like, get the funk, I ain't signing your fucking autograph, Get the funk out of here. I was like, oh wow, Like he had you know, he didn't feel like being bothered, and that offended me because I wanted to ask him for autograph. I said, said, man, Ice teas me, Man, he's fucking dick, like, you know, being emotional at twenty years old, twenty one whatever. In the magazine they just printed it. It was like quick, just Ice Tea, but it wasn't like that, you know, and Ice team was like yeah. He he shot back up and he said, yeah, give a fuck about quicker. I'll beat Quick, motherfucking ass. I never said nothing else because I believe him.

01:05:18
Speaker 13: So.

01:05:19
Speaker 2: At the time syndicate was signed, the Ice Tay just before him, like they had this song you know you make me you make me sick like Nestie Quick. Your rhymes are whack. You ain't the Mac. And then that that went over everybody.

01:05:31
Speaker 12: So Heed, you're talking about cleaned up every Yeah.

01:05:36
Speaker 2: House of pain, I mean not white Yeah, yeah, the old schooling with the syndicate. He just I've seen the video that we used to watch. What was that music choice not music I'm watching music boxing said you make me Quick, you make me sick like DJ Quick, Your rhymes are whack, you ain't the Mac. I was like, oh God, and we have just got the deal to do that Minister Society track, like to give him a song for that movie. And we had like screened a little bit of that movie. I was like, Oh, this movie'd be crazy because back then it was just about being honest to the hood. Like if the movie looked like the Hood, and that shit was gonna automatically blow because culture, know when it's a culture vulture when it's real. So you know, that shit was real, and I just figured, you know, I might as well. I was in between way too funky and all that shit, and you know, at the time, I was producing. I was doing three albums at a time. I was working on I Did a Bit Better Have My Money, second in the whole album, my album, and was starting on way too funky, but was still stop. When the big ass twenty thousand dollars checks came from them little soundtrack record, I was like, gotta get it, need that. Hell yeah, run it? How fast?

01:06:39
Speaker 11: Uh?

01:06:40
Speaker 12: Was Tupac's work method as far as songs per day.

01:06:47
Speaker 2: He could easily do like five songs today. That's like doing the album in three days. He could do it. So we did that also.

01:06:55
Speaker 6: I mean you would have to do five songs. You would have to beat first of all, how many songs he do on on all eyes on me?

01:07:01
Speaker 2: I did a bunch like I helped with a lot of them, Like dads really produced most of the ambitions of a rider. I would just remix some of them and just you know, finish the musical thought of them. You know, they needed a little high hat or something. I put a hat down or some shake. I got into percussion back then, so I was playing like the percussion and ship on ship to make it just sound like you know, America's most wanted. That's me on the clap and a percussion just to make it make it sound different. Yeah, that's that's that little weaker looking it's like a gordo. A gordo. It's like a silver one. I had Tupac signed, actually, but it was that that thing that you know, just to make it sound like as if you scratch and keep it percussive or whatever. But I worked on like fourteen songs on that record.

01:07:40
Speaker 6: Let me okay, let me say when I first met in two days.

01:07:44
Speaker 2: Shiit seven songs a day. I needed cocaine back then, Brod, we smoke headaches right there.

01:07:57
Speaker 12: Okay, explain, explain to me your relationship with the FlexIt tone AKA.

01:08:07
Speaker 2: You know it was funny because we didn't know.

01:08:09
Speaker 12: Okay, so we back when we were just starting to work on Chappelle's third season, we started the Tupac sketch. Okay, well, and Neil Brennan was like, Yo, we need what we just called the DJ Quick noise. Little did we know you were in the studio next door. Like the assistant engineer was like, you know, DJ Quick's actually next door was like, yo, dude, we gotta get him to do that. And sure enough you had your box of percussion. Wow, and you pulled out the FlexIt tone in history.

01:08:55
Speaker 2: I got that from my brother in law, Bill Coverson. He was like the first person in us with that thing, and I'm like, what is this crazy thing? But when he would do it, it was just funny. And I remember that sound from the song Qutie Pie by One Way. That's when we first heard it. And ultimately who taught me how to really get down on it was Carl Butch Small, this dude named Butch who's the percussion player for Death Row. He was like the played on like twenty one Jump Street on Doctor Dre's records all the you know when when when when Dre's records starts sounding like super percussive and went.

01:09:26
Speaker 13: Big exactly that that was the one. That's Carl's from Detroit. Yeah, actual people playing percussion.

01:09:39
Speaker 6: Yeah see, I'm thinking about this stuff is just a maculate.

01:09:42
Speaker 2: We know, bro, it's not programmed. This dude had bell trees like you go in there. He had this set up where he had the bongos, bell trees roto Tom's flexy Tones, Guika's Monkey Acid. Yeah I'm sitting up here with yeah, Yeah, I'm sitting up here watching him do this, and he played on Dollars and Cents and blew my record up. And when the when the soundtrack Murder was the Case came out, Dollars and Cents was one of the popular records on there, Dre locked him down. Dre was like, you know, I need to sound for these songs. So he you know, I couldn't get Carl no more. And I just got the deal to work with Tony and do the Let's Get Down record. I was like, we need to continue that sound on here. So I'm calling Carl. Hey Carl, I'm out here right now. Hey Carl Man, Hey busch Man, we need to get you on this project.

01:10:30
Speaker 7: Man.

01:10:31
Speaker 2: I was like, so he've got real with me, said hey man. Dre said, I can't work on your records more. I'm like, what man? All right, Reggie. So I hung up the phone and I was like, I was in the living room, my little apartment was high my condo. I was like, So I drove to West La Music. I was like, hey, man, do y'all sell percussion up here? Come on back. So I just was looking at all the percussion. I would play it in the store to see what I was It wouldn't sound like. And I bought a I bought two flexy tones, the big one in the little one. I bought the bell tree where you have to order it. I bought a bell tree, Chinese bell tree. I bought like bongos. I bought tambourines. I bought the guica, the monkey ass. I bought the and the cabasas. I bought the big and small cobassas, and I bought shakers. And I went in there and I walked around my apartment playing that flexy tone over and over and over again until I got it to sound like the record was. Yeah, And you know, I figured out a way to do it. You've been one of the bells back and you keep one of the bells open and you just ride the tone for as long as you can ride it. You know, it's like it's like playing the trombone almost.

01:11:39
Speaker 6: It's hard to get that singular sound because there's.

01:11:44
Speaker 2: Hit the bells, any little slight hit, any strike, it'll make it sound like. So the object is the whole one.

01:11:54
Speaker 7: It wasn't my parents, But I do remember, no, I remember quick getting me in trouble once. What in band class when I discovered the FlexIt tone.

01:12:04
Speaker 2: The best. It was the loudest instrument.

01:12:08
Speaker 7: So like you know, they be you know, trying to tell us something. I'd be back there, and all of a sudden it's like, Bill, stay off the class.

01:12:17
Speaker 2: We needn't talk.

01:12:18
Speaker 7: Wow, it's cool because that ship was great. I would not trade that ship for the world.

01:12:29
Speaker 12: Speaking of which, can you talk about working on smells like teen Spirit?

01:12:33
Speaker 2: I'm sorry, let's get down. It is bro hands down one of the funnest sessions ever because Raphael is just the best R and B musician A lot to me. I didn't know if he was down. We went to them if they came to you, yeah, well we had bought the Sons of the Soul album. I had it, you know. I was like, I want to work with him because you know, Anniversary and laid hit them a pillow and my ex girlfriend as a whole. If I had no loose, I'm like, these dudes is like this is better than they albums just got better and better. So I just became a super fan and I wanted to work with him. So my drummer George Archie had now one ye yeah, g one knew him and he was like, yeah, I can get you in Ray Man, I'm like, Ray, who's Ray? Where's Raphael? You know that's how green I was. So, you know, he set up a meeting and I'll talk to him. I'm like, man, you want to do a dance record, like I want to do some up tempo with y'all, like you know, mix a little bit of this gangster shit I'm doing with what y'all do? I think it'll work? He's like, yeah, let's start. You know, so I got the break beat down and he I sent them to tapes back then. You know you're seeing a twenty four track, real laid it down, send her like a rough Now what you hear is not a dragon, mister DJ quick got to bring you know. He's like, he said, let's do it in eights, Like you do you wrap eight bars, I'll sing eight bars and would do an eight bar chorus. I was like, that's I nen't thought about that, Like, how's that going? Because at that point we was trying to do records for radio, you know, sixteen eight, sixteen eight right right ever, And he was like the arrangement was just trippy to me, Like, you know, I'm wanting to do the whole sixteen and the way he heard it, you know, I was like, Okay, that's a good idea. So I wrote the bass line out and I was like, for his baseline, I want his baseline to be different. So I wrote his baseline specifically for him for his voice. And mine was like a copy of my just like copping record boodhao boom boom boot nine. You know what's that mine and nine? Shit like you know, yeah nice so and his was just a little more funky and straightforward. And when he played when I tell you, when he played the guitar, he had a dough bro and he played that fucking plumeer game. Damn. When I got it back against the baseline, I was like, lord a mercy. I took the chase in the studio and I got profissioned a little bit on that percussion shit. So I started and that was my first time ever working with pro tools. That's when pro tools was in its early early stages. He took the tape, printed it to pro tools and start editing and changing things and then put it back on the tape. He was like, quick, that's how you do it. I'm like, hell yeah. Because Marsha was if it wasn't the tape, it wasn't me got it back to me. I got on that all the percussion, like the Cabasa and all that ship and you know, I bought like the chimes used to hear on all the Maze records featuring Franker Beller. I was like, I wanted all that shit, you know.

01:15:28
Speaker 12: You know, I'm amazed that you're playing literally playing these things. Yeah, because it like I'm in the band and I'm like, I know that noise is on a high Players record. Let me just take it from there, and I go to car wash for the collapse and then you know, you know, if.

01:15:47
Speaker 2: You think about it, everything that you hear on records anyway was kind of done at some point by some human beings. You know. So I figured, what fuck the sample because I got tired of giving my all my money. Yeah, I mean the lawyer fees alone on that shit. It's crazy, you know what I mean.

01:16:02
Speaker 12: So, but that's that explains why your prodcast so much life to it now that I know that it's not one hundred synthetic, you know, Was it a.

01:16:16
Speaker 11: Big difference for you or talk about this transition once you went from profile.

01:16:20
Speaker 2: To Arista, but not really. I was waiting for that because I got tired of being put on suspension if my record was late and Corey then wouldn't pay me and all this. Clive was like Dad, Clike Davis was, you know, a fan of his since the time he signed like Alon, that group that had the Albarine City when Arister Records was the biggest one of the bigger labels in my collection. So you know GQ, you know Ray Parker Junior Radio, when he hughes all that stuff, with all that aristos, I wanted the kashif you know these were Nigga records. Guy the white guy writing this shit. So when I met him, I was like, whatever you need me to do? You know he was like Dad, Bro, It's like, man, it's awesome.

01:17:03
Speaker 6: Yeah, rhythm, I love I love that.

01:17:04
Speaker 2: That's my favorite quick album. What is what is your favorite quick record?

01:17:08
Speaker 7: That's my favorite quick album? And that intro is my favorite intro do rock and roll music and the intro with that too for us right, thank you?

01:17:21
Speaker 2: I love that record. Just having fun. Man.

01:17:24
Speaker 11: I wanted to always want to ask you about the divorce song, James the Bar. How did y'all how did that come together?

01:17:30
Speaker 2: James was James was, you know, he had a situation with his girl or whatever, and that's how he was feeling. I'm like, bro, we you always see these wedding songs like let's make a divorce song. But this was before I was married, so I didn't understand just how fucked up divorce really is. I'm just making a record, you know. I wish I could have thought that one out a little bit better. The divorce is a bad word, you know, like and then how how much some lawyers get paid when you go through that ship? I was like, wow, But you know it was you know, not to put too much of his business out there. It was just something he was going through. And we just wrote it out and Robert Bacon played all pretty guitar ship, you know what I mean. Can I gotta say the as a DJ, I knew this was coming. I knew it. I know this was going all right. AS was going to bring it up if you didn't.

01:18:21
Speaker 12: As a DJ, if ain't got for Serado because now I know where the one is, that part nothing.

01:18:29
Speaker 6: Fuss me more than trying to find the fucking one on hand in hand, Oh, I thought, I was going to go somewhere else with it.

01:18:37
Speaker 2: Wait, it's all those first the first up there, the upbeats.

01:18:43
Speaker 12: No, no, no, I know now because literally I had to spend seven minutes on Serado like one two, and then I had to loop it just so that it's BROI it in my head because when I want to spend it and I can't find the one, and it just ruins my life, like it like.

01:19:00
Speaker 2: Why couldn't you just or it was like it was the beat, it was like one.

01:19:19
Speaker 12: I know that.

01:19:21
Speaker 2: It's like it's like it's an imaginary kick. It's like kick boom boom boom. Yeah.

01:19:29
Speaker 12: I know now because of Sado, But back when I was spinning the wax, it wasn't my bad.

01:19:34
Speaker 2: Bro. It's thirty seconds like looping on the record. I'm trying to figure out what's the one, where's the one? Whe's the one? What's bad? Bro?

01:19:41
Speaker 7: I want to know where I thought you were taking this pitching on the party dude. Well yeah, when somebody kicked the extension court out there, yeah.

01:19:48
Speaker 2: And the record is not but that happened. That used to happen, I know.

01:19:52
Speaker 7: But like if you're playing at a party and nobody like people don't really know the record.

01:19:57
Speaker 6: They think some we messed up. Yeah, I love that record, but I love that record.

01:20:03
Speaker 2: Had that was I was. I did that for these guys. That's I became friends with Big Boy and Fuzzy So and they were you know, they was running Power one and six. So I was making records that was just like funny, you know, because I had a little bit of love on Power, you know what I mean. So that was like a radio DJ thing and it was cool because on the air when the DJs will play it, they comment right in that break like it'd be like, you know, somebody kicked this and you hear the little noise that transient it's all authentic and be like hey quick man. You know the air, the radio personalities would chime in and then come back on. It just became like a little fun One of my favorite one.

01:20:39
Speaker 11: Another one of the productions I love the yours was come tonight with You First, We'll do what happened with well because at the album and.

01:20:51
Speaker 2: Well, unfortunately I didn't speak Indian when I sampled that record. I would have loved to have cleared it, but we didn't know who it was, like, we didn't do our due diligence. We just what we knew. It was a hot break, you know. And Dre was working with ro Kim at that point, and he was working with Truth. And I gave that record to Truth for her birthday because me and MC Light tried to do something to it, but I didn't think that I kid it far enough with Light. I swear to God man, Light is mad at me to the day. I was gonna say it was to Bed, knowing that she gave was that was that was empty Light's record. I was trying to just expand you know, you know em like Lights of Rock, you know audio two, Like I was gonna had to give her one. She came to the house, we worked it out. She spit on it, but it was like I didn't know where to take it from that point. It was like I'm never gonna be able to finish it. And I know it was cool. So it was true heirst birthday and I was working over there with her and uh Nocturnal and Dre and I gave it to her this instrument, like hey, you know, can you let Dre hear this and see if there's something you can do. Happy birthday. Here's a beat that I like, you know what I mean? And she took it to Dre and Dra called me like two days later, like quick, what's that? He said it come to the studio like all right. So I go to the studio, walked in. They just applauded me for the beat, like he's like, can you can you do it over? Can? I want to make this a song for for Sherry. I'm like, hell yeah. So he put me in Lara by North and I went in there with my little bass player due Eric Coombs, and we just I just reprinted it all you know what I mean? And I like the way it stops and starts over in the middle of the song. That was like kind of a thing. And she I went back to the studio. I gave Dre the tapes, the tapes, you know, the tapes go and he gets it and I get a call like maybe like maybe less than a week, like maybe four days or whatever, and he had he had Static Major come in and write the lyrics to he heard it. He was so incredible. Bro. When I heard I was just the backup for a second. How did you find the sample? It was after the towers fell. I didn't want to keep watching the news. She was depressing me, you know what I mean, because at that point, I love New York, Like I was sneaking out there and like having fun and ship like, you know, and they had these channels. I would just change the channel on my Sidellite TV or whatever. And there was just one channel that they had called z TV. It was like an Indian channel where they was just remember TV. I was just demoing it to see if you like, you paid you know, extra nine ninety nine for the month and you can watch Indian stuff. I'm like, what is this? Ship? You know what I mean? You know, I'm waking up, you know, sober. I don't even baked, you know what I mean. Just got up and just start brushing my tee. I just turned it on there, you know that whatever. So I'm in the bathroom brushing my teeth and I started just grooving, you know, I'm like, what the fuck is this on the TV in my room? I run in there and I look at the TV and see this Indian thing going down and this lady was belly dancing and the beat was I was like, I need this. I just pushed record on my v c R over I take good times, and you know, you get lucky, you get that damn dawn down. So whatever the VHS due for VHS case, I rewound it and I listened to it. All I heard was money. I took. I snatched the v C R out, went to the studio with d cr r c A out and ran it through the board and sampled it into my n PC and just arranged it in there. And then I was like, I need a bottom beat, and to me, the cleanest bottom beat that goes with it the same, which lets me know all music is related. There ain't nothing new in the sun. But it was what I did to do it. You satisfied. That made Dre I think understood and like it even more because I put it through this oti filter thing, like where I took the noise out of it but kept all the dynamics. It's like you put like five different band pass filters and expanders on the loop and you could like take the noise down. It's almost like doing Adobe Adobe noise reduction. I cleaned it way up and then we added I added them crazy claps and you know, I don't snitch out myself, but I got a class from well you don't know, because this is where I got these class from. Yeah, but and I gave him the tapes and it was all recorded and just it was just clean like that. I never heard anybody use do it to satisfied because everybody tried to use it, it would be noisy. But the one we did, I stripped it down, made it super clean. So at the end of the day, oh wait a minute, so we get sued, right, okay, great record, we didn't clear it. We get sued, but you know, and it's like half a half a billion dollars. But at this point, how you gonna sue interscope? This is the richest record company in the so I already I wasn't even worried about it, and Dre was like, like, don't worry about that. She was all freaked out, like, dude, half of we got to pay a half, like half a bill. He's like, man, quick, don't even worry about that. So they worked it out to where they pulled the record or whatever. You know, it was just like an advertisement. But you know what India did. They used that shit for their own. They start sampling it themselves, so it just started an international thing. Man.

01:26:24
Speaker 11: I always wanted to ask you about Moss Bird because not I mean I didn't really know much about him or whatever, Like what was y'all's relationship and what was he like?

01:26:33
Speaker 2: Like as an artist? He's a cool, smart, dope rapper, like just incredible from the hood, Like you don't even It's like where did you learn this from? Because you know, all rappers needed a backstory back then, you know, and he for him to just come up from Compton, but it's rapping like as good as Biggie. I'm like, this just don't exist, you know what I mean. And he was only like twenty years old, so he was he was signed to my boy Black Tone, and I was like, I want to invest in him too, So I started investing in him and recording his record and developing him. And he got on my down Down Down, and you know, other records than you know, Warren g got a hold of him and heard up and Snoop. He's rapping with Snoop and so he's blowing up. But I, you know, I feel bad because I didn't know he was bigger than he was and his you know, somebody ran off with his publishing. I don't want to say that they didn't help him get out of the hood, and he made some people jealous. That's all. It was. Bro such a great dude. I mean, we had just been working on this record, like the Get Naked record. Yeah, we're working on that, and we took time off to go do Fourth of July with our families, and he got killed on fourth of July, and I felt it. I wanted him to. I wanted to stay in the studio, like, fuck the holiday, let's finish your record because we're almost done. Like you need two more songs and you got an album, kid, And he was like, man, he love you. Quick man it shit hard man, you're making my dream come from I'm like, Nigga, you you the next best thing. Brouh. And then you know, I get the call that night that he was killed, and it was like I had to go to the studio and finish this record the next day and shock, you know what I mean. But I still mixed it, you know what I mean. Cried a little bit, drank some Hennessy, fixed it, mixed it and it still came out. But I like, how how Kendrick Damn used it for King Kunta the Yeah, yeah, I cleared that I was like, yeah, that's my other question. Quick Screw seven with Josy Whan didn't wrap on it. I didn't wrap Davante was mad at me for that. I didn't know what to do with it at that point, like sometimes you know, you you you know, sometimes will be j R. Smith, you passed the ball, we might run out of bounds with the motherfucker like I blew out Casey and akay. You actually in the studio just having fun, you know what I mean, big ass studio and I was just trying to do something, you know. But I should have finished it. I should have had Davante play music to it and whatever. People was mad at me for that, like that's not no jokes. She record trying some ship. It was just a fillers can fucking quitch or whatever.

01:29:01
Speaker 7: All right, wait, hold on, since you mentioned the Joys record, Let's bring up another R and B collapse, the joy record on the Midnight Life.

01:29:07
Speaker 2: When did you have to lie? How did that come about? I was on tour with Raphael Now when they put Tony Tony twenty back together and I met her. She was married to Gip and I just wanted to work with her because, you know, what she was doing on stage, her and fucking uh and DiAngelo, I'm like, I gotta work with you. So she came in and wrote that ship. I brought the little slinky beat with it, you know, a little sp twelve hundred. She was just so she's such an incredible She's fucking so underrated. Joe Joey Gilliam is everything. And Raphael used to tell me, it's like, man, you got you got on a trip. When you meet Joy, she's hard, like Kenny fun with this lady singing.

01:29:50
Speaker 12: All right, I got one last question. I'm proud to say that I was heavy and in jay Z Yeah about the black guy. I was like, remember that I begged him to reach out to you.

01:30:06
Speaker 2: That's dope, bro, But thank you. Why did you? Why didn't you give him? I didn't have I didn't. I didn't have that music at that point that we were in the studio in New York, because he wanted to do the beat in front of him. He wants you to do the beat in front of him. So that was when I when I tried to stretch out, like you know, I was writing string parts and a bassline. He's like, no, no, we don't have time for that. Let me it's something. Let me just press play. You had the one you sent me. I'm like, I don't remember the one I sent you. He was like, well, just what you got and I start pressing playing. Then he heard that one and he liked the drama of it, and I was like, damn this one. I think we all were And it was supposed to be something more than that, because he had that idea of doing Justify my Thug and Madonna was supposed to sing on it and she flaked on this. That was the draw. She was gonna be on it, and she flaked and we had to do something else. And you know, I want you to to make another record, and really, where you really get to do it? Well, he let me do me, you know, because I got some surpey ship right now. That's how I figure my music is. It's surpie I share this with you. Since she's talking about flexi tones, I was in the studio with Bruno Mars on a couple occasions, Yo and twenty four care magic. If you hear the flexi tone, Oh somebody back to the jay Z thing. Oh. Charlomagne de Gud was like, fuck that record, it's like black album is dope. Without that record, It's like, hey, man, man, I just yeah, you gotta do it again. I do over yeah, because you know I could write the way Drake, I mean, dre the way Jay writes. He writes drama like he'll he'll follow the drama of your track. And I got theme records. That's so perfect for him right now, you know. I mean like that, our big dramatic dope records, big horns, all that ship. I just got to get to him again.

01:32:05
Speaker 12: Quick for real. Man, you you're one of the greatest. Yeah ever man, this is you know, and us too.

01:32:15
Speaker 11: Than you, And thank you man, shout out the h out the buzzy and the way like you did one of my list things. You did your on TV raps. You're performing and you took the bit from hallm Nights. I want to know what Quick is trying to say.

01:32:30
Speaker 2: And dope. I was so happy that Eddie Murphy did that movie and his character name was Quick, but it was dope. I put that ship all over way too funky and when I sent it to them to clear because we was clearing ship back then, Eddie Murphy and was that Columbia Pas Columbia said No. I was like, I'm clearing the pay for like how much you up quick? No, I ain't have my ass whip since I was born. We're still looking for the doctor.

01:33:07
Speaker 6: Ladies and gentlemen on behalf of Supreme.

01:33:10
Speaker 12: It's like you unpaid Bill paid Bill and Bill yo with you top five bro, straight up for real man.

01:33:18
Speaker 6: Yeah, and Sugar Steve Yes.

01:33:21
Speaker 2: Hey, shout out to the Sugar Network, everybody the Sugar Network. I just want to share this, y'all. I helped. There's a lot of producers. I want to shout out that I helped Tis Martin. Yes, okay again, my beloved Warren Campbell, of course, g one. There's a couple of other people who have some success. You remember who else I helped a lot? Huh, A lot of people that I just helped him. Thank you, bro. I mean problem we forgot to talk about the talk box. Oh my god. Roger told me. He said he told Shirley Murdock and she told me after as she said that Roger thought that I was the best out of the people that did it because I understood his nuances and I would play what he played like nuance wise, because anybody could put the tobe in him off and play a key or whatever. But he like the way I would play just certain licks. Yeah, I wrote that for him right after he died. Yeah, I sampled that sample is from Sparkle Aretha Franklin, I get high. Yeah, I just congratulated, but that was Yeah, that was for him.

01:34:38
Speaker 7: Bro.

01:34:38
Speaker 2: Well I played a lot better now too, like I've learned some more things. I got better than toys. Well, hopefully one day we'll work together, you know. Besides when came, that was one of the most fun times in my life. I'm in the studio with David Chappelle and I forgot just how funny is He made a joke and I was embarrassed to laugh in front of him, so I took off running out. My god, nobody's that funny man. Yea, it should be against the law. Yeah, all right, well, thank you. Get him on the show one day you think.

01:35:13
Speaker 6: Anyway, This is Quest Love Supreme. We'll see you on the next go round out.

01:35:26
Speaker 1: Quest Love Supreme is a production of iHeart Radio. This classic episode was produced by the team at Pandora. For more podcasts from iHeart Radio, visit the iHeart Radio app Apple podcasts, or wherever you listen to your favorite shows.