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

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Speaker 2: Here we Go, Here we go, Ladies and gentlemen, we

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Speaker 2: are closing out. Are in twenty twenty four season, our

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Speaker 2: abundant season of Quest Love Supreme. We've had some really

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Speaker 2: really amazing conversation, especially with a lot of my hip

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Speaker 2: hop peers this year alone, you know, talking to the

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Speaker 2: B Minors and the Rizza at Rock and the BEASTI Boys,

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Speaker 2: Pete Rock and Common Foreign Exchange and Jonathan Schecter of

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Speaker 2: The Source, to name a few.

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Speaker 1: And I will say that today is no.

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Speaker 2: Exception in terms of us giving flowers to hip hop Royalty.

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Speaker 1: What can I say?

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Speaker 2: All the episodes of Quest Love Supreme are long overdue,

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Speaker 2: but this, more than any, is really really really overdue.

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Speaker 2: I will really go out on a limb and say

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Speaker 2: that as a producer.

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Speaker 1: All right, let me put it this way.

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Speaker 2: You know, like every time I'm telling you guys in

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Speaker 2: Questlove Supreme world that the pioneer always gets overlooked and

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Speaker 2: it's the person that comes in second that kind of

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Speaker 2: gets all the credit. I will say that our guest

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Speaker 2: today is probably the first person I thought about in

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Speaker 2: terms of pure production innovation.

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Speaker 1: That is so accessible and so effective that.

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Speaker 2: He never truly ever gets the credit that he deserves

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Speaker 2: for a lot of the ideas that he first started

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Speaker 2: doing in hip hop that we now just take for granted,

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Speaker 2: not to mention. As I said in the ad Rock episode,

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Speaker 2: you know, as Guru said, is mostly the voice our

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Speaker 2: guest today has probably one of my favorite all time voices.

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Speaker 2: At a time of most people, especially in the classic era,

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Speaker 2: were yelling like run brought in the yelling era. Is

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Speaker 2: something to me about monotone sinister delivery that to me

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Speaker 2: is more scarier than you're like your hardcore delivery, or

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Speaker 2: you're like hyped up, loudest person in the room, like

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Speaker 2: the person that says it low key and they mean business.

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Speaker 1: That person scares you.

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Speaker 2: The silent person scares you more than the person that's

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Speaker 2: on you to death. There's so much we can say,

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Speaker 2: but I just got to say that, you know, this

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Speaker 2: is long overdue. He's a founder member of one of

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Speaker 2: the best rap duos of all time, ep m D,

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Speaker 2: member of Death Squad. He's producer for himself, Redman, Keith Murray,

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Speaker 2: Ll Tupot, Luke, Chris black Street, and on It's about

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Speaker 2: time we had a conversation with the with the green

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Speaker 2: eyed You know what I'm saying, give it up for

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Speaker 2: the one and only Eric Sermon and aka Erico NASA's.

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Speaker 3: I thought he had a long intro.

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Speaker 1: Oh dog, I'm the king of long intest so you

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Speaker 1: are the You just killed.

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Speaker 4: Him like that like that. It's like, yo, damn, that

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Speaker 4: is crazy.

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Speaker 2: But dude, there's people out there that take notice. They

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Speaker 2: take notice. Look, I have so many questions that ask you,

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Speaker 2: and you know, this is one of the joys of

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Speaker 2: doing one on one sessions that you know, but I'm

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Speaker 2: just gonna kind of rapid fire all the things I

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Speaker 2: ever wanted to ask you.

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Speaker 1: Of course, I'll start from the beginning. Tell us where

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Speaker 1: you were born. Brother.

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Speaker 4: I was born in base show A, Long Island, which

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Speaker 4: is the same hospital lokuj was born in, which is

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Speaker 4: Southside Hospital.

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Speaker 3: Word.

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Speaker 2: Okay, so you're from Long Island, right, from Long Island.

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Speaker 2: Most rappers like migrated to Long Island, but you were

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Speaker 2: born there.

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Speaker 3: Yeah, born Long Island.

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Speaker 4: Yes, it's just like the met the man's and the

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Speaker 4: priories and people that don't want to kind of say,

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Speaker 4: but they are Long Islanders.

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Speaker 3: You know what I'm saying.

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Speaker 1: I did not know that they were born in Long Island.

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Speaker 4: Yes, yes, and Todd Smith too, he said he migrated

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Speaker 4: too Queens but he was born in Long Island.

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Speaker 3: But yeah, but we After that, I.

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Speaker 4: Went to Hawaian Dance, which is where my mom and

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Speaker 4: them grew up after they came from Florida, which is

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Speaker 4: where Rock Kim is from. So my mother used to

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Speaker 4: hang out with Rock Kim's older brothers and sisters.

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Speaker 3: This is a crazy, crazy story, like.

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Speaker 4: Not knowing that pretty soon HUDs someha's become famous and

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Speaker 4: Rock Kim would become famous. So then I moved from

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Speaker 4: near to a town called Brentwood. Is where I learned

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Speaker 4: all my stuff from. I learned how to rap, I

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Speaker 4: learned how to break dance, I learned how to just.

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Speaker 3: Know what hip hop was, graffiti.

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Speaker 4: All that stuff came from a town called Brentwood, which

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Speaker 4: is where pretty soon I ended up meeting Parish Act.

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Speaker 1: What was your first musical memory in life?

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Speaker 3: Well, it got to be with my dad.

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Speaker 4: Dad, like any other family shoe that played so many records.

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Speaker 4: My dad was a can't really call him a collector

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Speaker 4: though too though quest it was like he just had

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Speaker 4: every record, every album was sitting in front of this,

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Speaker 4: you know, when backed up against the speaker or or

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Speaker 4: against whatever the record player was, so all the records

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Speaker 4: was out there. That was my first experience of him

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Speaker 4: just playing records back to back to back to back.

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Speaker 4: And that's how my first introduction to to getting to

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Speaker 4: being so involved knowing what music sound.

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Speaker 1: Like, what kind of records was he was he playing?

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Speaker 4: Oh man, uh, he was playing everything from Teddy penny

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Speaker 4: Grass to Blue Magic, all the way down to the Whispers,

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Speaker 4: to the Temptations, to Howl, Melvin the Blue Nose.

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Speaker 3: That was his favorite group, you know, the the Spinners.

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Speaker 4: And then after that he started going into Funkadelic in

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Speaker 4: the Parliament of course, and you know, and and all

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Speaker 4: the stuff to Rick James. So it started he had

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Speaker 4: a bass of music. But they started with the seventies first,

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Speaker 4: then it started going into you know, the late seventies.

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Speaker 1: So he was just a music lover. He wasn't a

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Speaker 1: DJ or anything music.

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Speaker 3: They bought albums and bring them home and played them.

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Speaker 1: What did your parents do for a living? What did

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Speaker 1: your household look like growing up?

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Speaker 4: My parents worked for the mentally challenged children for like

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Speaker 4: over twenty five years.

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Speaker 1: Do you have a siblings. Are you the only child

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Speaker 1: or do you have.

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Speaker 4: Two sisters two below me, one two years below me,

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Speaker 4: in one four years below me.

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Speaker 2: Okay, some of my favorite talent in hip hop came

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Speaker 2: from Long Island. Yet I always wondered what the other

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Speaker 2: Burroughs were doing at the time when hip hop was

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Speaker 2: developing in the Bronx. Was it as fruitful in the

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Speaker 2: other boroughs like Queens Brooklyn, Staten Island?

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Speaker 3: Right?

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Speaker 1: So what was your first hip hop experience?

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Speaker 3: I think again, in the neighborhood.

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Speaker 4: The neighborhood had house parties and we had these days

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Speaker 4: and almost because we I lived in a town called

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Speaker 4: Regis Park, so it had like it was like a

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Speaker 4: thirteen block radius, but out of the six blocks it

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Speaker 4: was DJ's. Out of the sixth block, it was MC's.

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Speaker 4: Like I'm telling you, if people would see where I

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Speaker 4: came from, if you didn't know about the Bronx, though,

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Speaker 4: you would think, yo, this way hip hop back because

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Speaker 4: we had everything. And when I tell you, everybody was nice,

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Speaker 4: well my eyes, because whoever I looked at it was

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Speaker 4: all nice on the set and all nice rhyming and breakdancing.

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Speaker 3: Because a lot of Long Island.

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Speaker 4: Kids so too, went went to go to the city

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Speaker 4: to go do breakdancing contests with the big breakdancers back then.

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Speaker 3: So but again that happened to be the neighborhood that.

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Speaker 4: That was my first hip hop experience, maybe at twelve

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Speaker 4: years old, sneaking out the window to a house party

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Speaker 4: around the corner.

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Speaker 1: And they were MC's and DJ oh.

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Speaker 3: Hell yeah, hell yeah.

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Speaker 4: I mean we had some kids, anybody know, a guy

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Speaker 4: named Bergermeister, a kid named Frank B, a guy named

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Speaker 4: a Z, a guy named Bourn.

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Speaker 3: You know, it was the five per center born c

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Speaker 3: Asiatic was there. It was all all five percent names.

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Speaker 2: Did you ever cross paths with any other notable figures

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Speaker 2: of hip hop? Like I always hear Biz story or yeah,

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Speaker 2: the first one is Biz.

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Speaker 4: Definitely that that that's it's gonna always be Biz. Biz

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Speaker 4: came to my junior high school in a lunch room.

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Speaker 1: Did he go to that school?

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Speaker 2: Because everything No, everybody from Long Island says the same thing.

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Speaker 1: Biz came to my school. But yet Biz never went

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Speaker 1: to that school.

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Speaker 4: Never went there. They just loved him. People might make

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Speaker 4: a joke though and say, yo, is he Jesus Christ

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Speaker 4: or not?

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Speaker 3: Because he had no call, But He was at every function.

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Speaker 3: He was at every town. He was at everything that

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Speaker 3: went on.

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Speaker 4: When you hear the stories that oh yo llo yeah,

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Speaker 4: will say, yeah, Biz got me at rock him. Oh yeah,

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Speaker 4: Bis took me to such and such. Oh yeah, such,

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Speaker 4: Biz took me to He was everywhere and didn't have

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Speaker 4: a call, but he took the train and managed to

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Speaker 4: be everywhere. He left the places of Long Island where

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Speaker 4: I'm like, yo, Bis isn't from there. No, he was,

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Speaker 4: he said for three years or he was over I'm like, no,

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Speaker 4: he's from no man, he was because he lived next

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Speaker 4: to my DJ, Diamond J on the same block on

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Speaker 4: Noble Street.

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Speaker 3: That Noble Street when you hear him in the Record

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Speaker 3: Street block from Diamond Okay, and Diamond Schelle was his brother.

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Speaker 4: So again they lived on that block. But he's also

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Speaker 4: saying that he lived in Careham. He lived in over

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Speaker 4: here in Patchog. He lived because his printerval was in Patchog.

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Speaker 3: I mean the way. So I'm like, and then all

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Speaker 3: of a sudden you're in Jersey, and then.

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Speaker 4: You and brooks At obviously wear more every day, and

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Speaker 4: then and then you go to Baltimore and spend the

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Speaker 4: rest of your life there. So yeah, bizmal Key was

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Speaker 4: the first one before I got famous. Then of course

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Speaker 4: Long Island. You know Chuck D. You know, you start going,

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Speaker 4: then you start seeing E. P. M. D rock Him

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Speaker 4: and then Daylight so and then please the new school.

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Speaker 4: I mean, I'm not hating, but if you take Long

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Speaker 4: Island out the mix.

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Speaker 2: All my favorite acts come from Long Island. You don't

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Speaker 2: have to tell me.

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Speaker 4: To Then you got JBC Force, Keith Murray, k Solo.

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Speaker 4: Now you got to look at it's you know what

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Speaker 4: I'm saying, it's a problem.

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Speaker 1: How often would you go to the city? Was there

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Speaker 1: ever need to go.

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Speaker 2: To Manhattan or Harlem or any of those other spots

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Speaker 2: I'm talking free EPMD. I'm just talking about like before

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Speaker 2: you even had a record deal, Like was most of

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Speaker 2: your life just in Long Island?

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Speaker 4: Qus, you're the first one that ever asked that question

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Speaker 4: in life, And that's a dupe question. If I never

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Speaker 4: got famous, I don't know if I were have.

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Speaker 3: Seen the city.

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Speaker 4: I was already seeing Brooklyn because my family is from

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Speaker 4: ping Houses, so I was already in ping Houses in

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Speaker 4: East New York all the time. But as far as

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Speaker 4: me seeing again, when I went to the Parlom and

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Speaker 4: I parked outside.

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Speaker 3: I called my mother to God.

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Speaker 4: Visited as of man's black people everywhere, we don't have

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Speaker 4: that Long Island is that birth Puerto Rican white and

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Speaker 4: black right ques. I pulled over and I parked, and

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Speaker 4: my Samura Suzuki, and I just stood there like this

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Speaker 4: looking around.

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Speaker 3: I saw Aaron Hall. I said, Aaron coming for some

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Speaker 3: quick second. So Aaron came over.

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Speaker 4: He went to another bar, of course, the street from

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Speaker 4: the Apollo right, and and but I saw a lot

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Speaker 4: of people. But I just saw so many black folks.

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Speaker 4: And I don't think that I would have been able

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Speaker 4: to see that because there was no need for me

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Speaker 4: to go to the city, being from Long Island.

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Speaker 3: Long Island was his own place.

233
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Speaker 1: What was it like?

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Speaker 2: Like what we knew of Long Island was of course

235
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Speaker 2: like Amityville Horror or like it was these suburbs. It

236
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Speaker 2: wasn't anything close to what the Bronx looked like in

237
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Speaker 2: wild Style or anything like. So what was a typical

238
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Speaker 2: day like as a teenager in Long Island?

239
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Speaker 3: Not the same?

240
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Speaker 4: Like and so far as like do you have a

241
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Speaker 4: look at Compton and watch some stuff with palm trees

242
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Speaker 4: and the whole and the same thing, So like, why

243
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Speaker 4: can make that line?

244
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Speaker 3: They where you from? Us? Where you at?

245
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Speaker 4: The whole time was the fact that we still had

246
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Speaker 4: the same drama, still had games, We still had had

247
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Speaker 4: the competation between Puerto Ricans and blacks and white and black.

248
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Speaker 3: It's the same. We had the same thing. It was

249
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Speaker 3: like before.

250
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Speaker 4: Keith Murray l D came, game came, it was Barcelona,

251
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Speaker 4: which was Puerto Ricans and these guys. Wasn't happening. This

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Speaker 4: is what Brentwood was. Brentwood was Puerto Rican, black and white.

253
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Speaker 4: It was a mixture. So that's how we lived. So

254
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Speaker 4: so we was all friends too. That was in school

255
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Speaker 4: and me and Parish. I don't know if you've heard

256
00:12:32,559 --> 00:12:35,360
Speaker 4: this before. We had two high schools next to each other.

257
00:12:35,840 --> 00:12:38,360
Speaker 4: So I went to Ross, he went to Syland on

258
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Speaker 4: the same property. It was kind of it was. It

259
00:12:40,840 --> 00:12:44,120
Speaker 4: was weird, but nobody never seen two high schools next

260
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Speaker 4: next to each other. You know what I'm saying?

261
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Speaker 1: Got it?

262
00:12:47,320 --> 00:12:50,120
Speaker 2: What was your entry into being in hip hop? Did

263
00:12:50,160 --> 00:12:52,199
Speaker 2: you start out as a DJ? Were you trying to

264
00:12:52,280 --> 00:12:52,920
Speaker 2: MC like?

265
00:12:53,920 --> 00:12:56,320
Speaker 3: So it's funny you say that first of all came

266
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Speaker 3: from soul training.

267
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Speaker 4: Shallamar had this kid in there that was called the

268
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Speaker 4: pop a Long Kid, so I took his name. I

269
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Speaker 4: don't know if anybody I know people. I'm taking y'all

270
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Speaker 4: back though, too. Yes, inside Shallamar. The other member was

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Speaker 4: the ill Popper, so I took his name. I began

272
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Speaker 4: doing that. All of a sudden, my mom comes home

273
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Speaker 4: from her job with two twelve inches okay, apache with

274
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Speaker 4: the green label right.

275
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Speaker 1: Right, and she brung home rappers a light okay.

276
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Speaker 3: And it changed everything for me.

277
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Speaker 4: Then my cousin down the street, since there was so

278
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Speaker 4: many DJs, he bought turntables, so I was able to

279
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Speaker 4: have that too. So I was he would bring home

280
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Speaker 4: Fat Boys and and bring home the new mally Mall,

281
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Speaker 4: bring home the Fantastic for the Phillis for.

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Speaker 3: He would bring home all these new records, uh.

283
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Speaker 4: And so, and I used to just be spinning them.

284
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Speaker 4: So but while I'm spinning them, of course, the Fat

285
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Speaker 4: Boys had me like. I was just like, well, these

286
00:14:01,320 --> 00:14:05,439
Speaker 4: guys are just razy. All of a sudden, well, me

287
00:14:05,520 --> 00:14:07,079
Speaker 4: and Paris was getting ready to get on. I did

288
00:14:07,160 --> 00:14:09,640
Speaker 4: this give you the one thing We drove to the

289
00:14:09,679 --> 00:14:13,720
Speaker 4: city to go buy to go buy sucking seeds?

290
00:14:14,280 --> 00:14:17,040
Speaker 2: Really, yes, there was no place in Long Island too,

291
00:14:17,880 --> 00:14:19,040
Speaker 2: did they didn't have that record?

292
00:14:19,960 --> 00:14:23,960
Speaker 1: What did you attend any like spectrum city parties?

293
00:14:24,000 --> 00:14:26,800
Speaker 2: Like those parties at Hank Shockley and Chuck de And

294
00:14:27,040 --> 00:14:31,400
Speaker 2: and Keith Shackley used to throw in Long Island at all.

295
00:14:32,240 --> 00:14:34,920
Speaker 4: I did not know about none of them until I

296
00:14:34,960 --> 00:14:35,880
Speaker 4: got on tour with them.

297
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Speaker 3: I have no clue about. All I know was about

298
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Speaker 3: my section.

299
00:14:39,680 --> 00:14:40,000
Speaker 1: Got it.

300
00:14:40,080 --> 00:14:43,520
Speaker 2: We just called all right, so tell me how you

301
00:14:43,600 --> 00:14:44,960
Speaker 2: met Paris Smith?

302
00:14:45,600 --> 00:14:48,680
Speaker 3: Okay, well, but where I was at and we just parked.

303
00:14:49,880 --> 00:14:52,680
Speaker 4: The house that we was written had got rat infested,

304
00:14:52,720 --> 00:14:55,200
Speaker 4: like I mean, they was coming from out of nowhere.

305
00:14:56,560 --> 00:14:58,600
Speaker 4: I mean it was like some city you see on

306
00:14:58,680 --> 00:15:01,840
Speaker 4: Ben or the movie like that. So and we couldn't

307
00:15:01,840 --> 00:15:04,920
Speaker 4: control it, and the landlord was acting like she didn't

308
00:15:04,960 --> 00:15:08,880
Speaker 4: want to fix it right, So my mom's called her

309
00:15:08,920 --> 00:15:12,000
Speaker 4: mother and Grandma was like, okay, well, y'all come over

310
00:15:12,000 --> 00:15:14,360
Speaker 4: here then, So we ended up staying there while mommy

311
00:15:14,600 --> 00:15:19,160
Speaker 4: stacked her paper up. So at the bus stop I

312
00:15:19,200 --> 00:15:23,960
Speaker 4: saw a Parish because he's on the next block. I

313
00:15:24,040 --> 00:15:28,080
Speaker 4: moved to Belgrave, he's on Abingdon. So I see him

314
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Speaker 4: at the bus stop and he didn't know me, and

315
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Speaker 4: he snapped on me on the second day because you know,

316
00:15:33,480 --> 00:15:35,680
Speaker 4: I had an the tiger on, I had the leaves on,

317
00:15:36,680 --> 00:15:37,320
Speaker 4: but I had.

318
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Speaker 3: The wrong pumas.

319
00:15:38,720 --> 00:15:42,280
Speaker 4: The pumas was invaders and not baskets because they didn't

320
00:15:42,320 --> 00:15:45,720
Speaker 4: have the hose around the logo, so you know they

321
00:15:45,800 --> 00:15:49,040
Speaker 4: was fake because because basket puomers are the real ones

322
00:15:49,200 --> 00:15:51,960
Speaker 4: with the holes around it. Mine didn't have no hose

323
00:15:52,040 --> 00:15:54,680
Speaker 4: around the logo and they wasn't baskets.

324
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Speaker 3: So before it was one of before it was like

325
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Speaker 3: one of those.

326
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Speaker 4: He did it first back then, so he snapped on me,

327
00:16:04,120 --> 00:16:05,680
Speaker 4: so I was like, oh So I was like, oh, okay,

328
00:16:05,680 --> 00:16:06,200
Speaker 4: you got jokes.

329
00:16:06,200 --> 00:16:06,760
Speaker 3: You got jokes.

330
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Speaker 4: So after that he found out where I was from.

331
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Speaker 4: See where I'm from. When it comes to Long Island,

332
00:16:15,240 --> 00:16:16,720
Speaker 4: people know about Reese's Park.

333
00:16:16,960 --> 00:16:18,160
Speaker 1: What was it about it?

334
00:16:18,160 --> 00:16:20,600
Speaker 4: It was the coacher and it was the people over

335
00:16:20,640 --> 00:16:23,920
Speaker 4: there who got busy. Everybody in there right now have

336
00:16:24,080 --> 00:16:26,680
Speaker 4: went to prison or did some time or with like

337
00:16:26,720 --> 00:16:28,200
Speaker 4: stick up boys or whatever.

338
00:16:28,240 --> 00:16:29,600
Speaker 3: Where I'm from is no joke.

339
00:16:29,920 --> 00:16:32,760
Speaker 4: So that point of town me coming over there made

340
00:16:32,800 --> 00:16:34,520
Speaker 4: me cool, you know what I mean?

341
00:16:34,800 --> 00:16:36,880
Speaker 3: Even though he knew them people.

342
00:16:36,640 --> 00:16:39,400
Speaker 4: Because his sisters knew them, and his older brothers knew

343
00:16:39,440 --> 00:16:42,640
Speaker 4: who they were too. So once you knew where I

344
00:16:42,720 --> 00:16:46,520
Speaker 4: was from, it made me cool. And then I said, yo,

345
00:16:46,600 --> 00:16:48,680
Speaker 4: I raped, and that was it. He's like, yo, let

346
00:16:48,720 --> 00:16:52,240
Speaker 4: me hear you rap. So when you hear Jane, Jane

347
00:16:52,280 --> 00:16:54,600
Speaker 4: was one of my first raps I had. I had

348
00:16:54,640 --> 00:16:56,400
Speaker 4: that when I was when I was twelve years old.

349
00:16:56,840 --> 00:16:59,560
Speaker 4: What So I ended up taking Jane with me when

350
00:16:59,600 --> 00:17:02,800
Speaker 4: I met him at fourteen. And I had a burnoud

351
00:17:02,840 --> 00:17:06,840
Speaker 4: get story the one who who who shout tried to

352
00:17:06,880 --> 00:17:09,480
Speaker 4: train along out right. So I had those two stories.

353
00:17:09,880 --> 00:17:13,040
Speaker 4: So I roped that story for him all of a sudden.

354
00:17:13,119 --> 00:17:15,840
Speaker 4: Parents used to have me go to his school and

355
00:17:15,920 --> 00:17:19,040
Speaker 4: rap for his boys, like yo, man, check out, check out.

356
00:17:18,880 --> 00:17:20,000
Speaker 3: This kid boom boom.

357
00:17:20,080 --> 00:17:24,760
Speaker 4: Because Powers never rhymed the DJ, he never rapped what

358
00:17:25,240 --> 00:17:25,919
Speaker 4: until he met me?

359
00:17:26,680 --> 00:17:29,840
Speaker 1: Okay, So this is what I find odd one.

360
00:17:29,920 --> 00:17:35,119
Speaker 2: This is the second story of a legendary duo whose

361
00:17:35,240 --> 00:17:40,800
Speaker 2: origins start with ranking on each other. Because before Prodigy

362
00:17:40,880 --> 00:17:46,879
Speaker 2: passed away, he told the story that basically that he

363
00:17:47,040 --> 00:17:51,320
Speaker 2: realized Havoc and his boys were about to rob him,

364
00:17:51,840 --> 00:17:54,320
Speaker 2: you know, on like the first week of school or something.

365
00:17:55,800 --> 00:17:58,600
Speaker 1: They were plotting on robbing him and then.

366
00:18:00,080 --> 00:18:03,159
Speaker 2: I'm out, like last minute, like they decided not to

367
00:18:03,320 --> 00:18:05,760
Speaker 2: like they they were going to start out as enemies,

368
00:18:06,280 --> 00:18:08,480
Speaker 2: but then they became boys.

369
00:18:08,600 --> 00:18:11,640
Speaker 1: So it's funny that that's how you two started.

370
00:18:11,960 --> 00:18:12,520
Speaker 3: I don't know it.

371
00:18:12,600 --> 00:18:12,679
Speaker 2: There.

372
00:18:13,240 --> 00:18:15,720
Speaker 1: You said that your original MC name was going to

373
00:18:15,760 --> 00:18:16,600
Speaker 1: be Populong Kid.

374
00:18:17,480 --> 00:18:19,879
Speaker 2: Explain to me the evolution of EPMD, because y'all have

375
00:18:19,960 --> 00:18:23,680
Speaker 2: spelled it so many crazy ways before you just finally

376
00:18:25,080 --> 00:18:26,680
Speaker 2: decided on your actual name.

377
00:18:26,720 --> 00:18:29,160
Speaker 1: But what was your original name? Your MC name?

378
00:18:30,040 --> 00:18:33,399
Speaker 4: Yeah, but the popagon Kill was my dancing name. I

379
00:18:33,440 --> 00:18:36,760
Speaker 4: didn't have the MC name yet. When e pm D

380
00:18:37,000 --> 00:18:42,240
Speaker 4: was getting put together, I used Eric sermon inside my rhymes,

381
00:18:42,640 --> 00:18:44,119
Speaker 4: and when I could walk through the crowd and I

382
00:18:44,119 --> 00:18:46,560
Speaker 4: can see you has turned, I hear voices saying that's

383
00:18:46,600 --> 00:18:47,280
Speaker 4: everic sermon.

384
00:18:47,320 --> 00:18:48,200
Speaker 3: I didn't have that.

385
00:18:48,480 --> 00:18:51,919
Speaker 4: So then when you got to chill, came to the

386
00:18:52,040 --> 00:18:56,280
Speaker 4: E double E. Don't know where that came from. I

387
00:18:56,280 --> 00:18:59,560
Speaker 4: think it came from where the name was spelled. At first,

388
00:18:59,560 --> 00:19:04,960
Speaker 4: it was spelled E P E E M D right e.

389
00:19:05,240 --> 00:19:07,760
Speaker 4: So it was spelled but Paris used to be like,

390
00:19:08,000 --> 00:19:10,760
Speaker 4: I'm the P double E M D E E. So

391
00:19:11,280 --> 00:19:14,560
Speaker 4: I must have took it from him, like, okay, well

392
00:19:14,560 --> 00:19:15,399
Speaker 4: you're the P double.

393
00:19:15,640 --> 00:19:16,600
Speaker 3: I'm the E double E.

394
00:19:16,680 --> 00:19:20,120
Speaker 1: Then, even though you weren't in the E double, even

395
00:19:20,160 --> 00:19:20,920
Speaker 1: though I don't know.

396
00:19:20,840 --> 00:19:22,920
Speaker 3: What the E double was stand for because I don't.

397
00:19:23,280 --> 00:19:25,920
Speaker 4: Again, it's not like MC Breed where he could say

398
00:19:26,400 --> 00:19:27,879
Speaker 4: there's two e's and breed.

399
00:19:28,200 --> 00:19:29,880
Speaker 3: So he was I'm the E double.

400
00:19:29,880 --> 00:19:32,080
Speaker 4: I proclaimed my name, even though I got on him

401
00:19:32,119 --> 00:19:33,440
Speaker 4: about that too when I first met him.

402
00:19:33,480 --> 00:19:38,560
Speaker 2: I'm like, what, But how did Parish get into rocking then?

403
00:19:38,760 --> 00:19:41,320
Speaker 2: If he didn't start out as an MC?

404
00:19:42,480 --> 00:19:45,159
Speaker 4: Because Paris thought I was dope, So he figured that

405
00:19:45,280 --> 00:19:47,000
Speaker 4: with me, we can go and see you and make

406
00:19:47,040 --> 00:19:47,439
Speaker 4: a record.

407
00:19:48,320 --> 00:19:51,160
Speaker 3: See the way I rhymed and my list and everything

408
00:19:51,560 --> 00:19:51,960
Speaker 3: like that.

409
00:19:52,320 --> 00:19:54,639
Speaker 4: Again, like everybody else who heard it was like, yo,

410
00:19:55,080 --> 00:19:56,720
Speaker 4: it's it's it got an l flow.

411
00:19:57,040 --> 00:20:01,440
Speaker 3: But see my DJ Diamond. When and he first heard

412
00:20:02,040 --> 00:20:05,240
Speaker 3: my melody, he was like, Eric, is some dude named

413
00:20:05,320 --> 00:20:06,960
Speaker 3: rock Wind that sound like you?

414
00:20:07,640 --> 00:20:10,000
Speaker 4: He we didn't call him rock Hemra, it was rock Wind.

415
00:20:10,560 --> 00:20:12,600
Speaker 4: So when he came to school he said, Yo, some

416
00:20:12,680 --> 00:20:15,080
Speaker 4: kid named rock Wind is out. Boom boom boom. The

417
00:20:15,119 --> 00:20:18,360
Speaker 4: next day on the radio station, mister Red Alert I

418
00:20:18,440 --> 00:20:20,760
Speaker 4: heard it, you know, termed the base take out my

419
00:20:20,800 --> 00:20:23,639
Speaker 4: melody and now to God, I'm letting nags be born

420
00:20:23,760 --> 00:20:27,040
Speaker 4: under my name aka I. So so I'm like yo,

421
00:20:27,400 --> 00:20:31,080
Speaker 4: he rhymes slow too like men do wack give but

422
00:20:31,200 --> 00:20:34,520
Speaker 4: doug a ball on the yell. So so Paris felt too,

423
00:20:35,200 --> 00:20:37,240
Speaker 4: and we heard something on Red Alert that wasn't dope

424
00:20:37,359 --> 00:20:39,639
Speaker 4: and we were like many he playing that we can

425
00:20:39,680 --> 00:20:40,520
Speaker 4: go into last.

426
00:20:40,880 --> 00:20:44,440
Speaker 3: Paris comes from a group called the Rock Squad, which

427
00:20:44,640 --> 00:20:48,280
Speaker 3: was him k Solo and his brother, where Paris was

428
00:20:48,320 --> 00:20:48,800
Speaker 3: the DJ.

429
00:20:49,480 --> 00:20:52,240
Speaker 4: So he kind of knew how to make a record

430
00:20:52,280 --> 00:20:54,359
Speaker 4: kind of by watching his brother. So we went to

431
00:20:54,400 --> 00:20:58,639
Speaker 4: the same studio, Charlie Murrauder that did his brother's group

432
00:20:58,720 --> 00:21:02,359
Speaker 4: that also did Den'll Worry Morgan, I do anything for you.

433
00:21:02,400 --> 00:21:03,520
Speaker 3: It's done that studio too.

434
00:21:04,080 --> 00:21:05,960
Speaker 1: Oh okay, okay okay.

435
00:21:06,119 --> 00:21:09,080
Speaker 4: Then eventually Red Man thatss effects. Everything was done at Charlie.

436
00:21:14,200 --> 00:21:18,360
Speaker 1: Why did you decide to come in flat footed and monitor?

437
00:21:18,560 --> 00:21:21,359
Speaker 1: To me? Which is the greatest shit ever? Yeah?

438
00:21:21,359 --> 00:21:24,760
Speaker 3: I think that me and Paris the slow flow like

439
00:21:24,920 --> 00:21:25,360
Speaker 3: Rock Kim.

440
00:21:25,960 --> 00:21:28,320
Speaker 4: I was already doing it, but when I heard Rock Kim,

441
00:21:28,400 --> 00:21:30,399
Speaker 4: it made me be like, yo, we can Rhyme'm like this,

442
00:21:31,200 --> 00:21:31,720
Speaker 4: don't forget.

443
00:21:31,960 --> 00:21:35,359
Speaker 3: You can barely understand me anyway, So if I don't

444
00:21:35,480 --> 00:21:37,639
Speaker 3: talk it.

445
00:21:36,720 --> 00:21:40,000
Speaker 4: It's gonna be really hard to hear me. So that

446
00:21:40,080 --> 00:21:43,840
Speaker 4: Quesson's easy. I had no choice, so you had to

447
00:21:43,880 --> 00:21:46,640
Speaker 4: see the employees of a year. Yeah, we're back to work.

448
00:21:46,680 --> 00:21:49,119
Speaker 4: I get time or all the raptors pass because I

449
00:21:49,160 --> 00:21:51,680
Speaker 4: had to. But you didn't hear the words come out

450
00:21:51,960 --> 00:21:54,680
Speaker 4: without the list. See now, I didn't make my list

451
00:21:54,960 --> 00:21:58,360
Speaker 4: go away when I got older. I got older, and

452
00:21:58,400 --> 00:22:02,200
Speaker 4: this is how I started talking. So inside the rhyme,

453
00:22:02,520 --> 00:22:05,240
Speaker 4: there's nothing I can do with it. I was wondering too,

454
00:22:05,680 --> 00:22:08,200
Speaker 4: Why am not being able to listen to words? Why

455
00:22:08,320 --> 00:22:10,000
Speaker 4: is maythan Biggie and them?

456
00:22:10,080 --> 00:22:10,240
Speaker 3: Yo?

457
00:22:10,359 --> 00:22:14,080
Speaker 4: Somebody told me that Puffy told Mace listen sound like

458
00:22:14,200 --> 00:22:17,399
Speaker 4: Eric Sermon, and that came from mad people, and people

459
00:22:17,440 --> 00:22:20,760
Speaker 4: were like, listen. And then when I was doing Mary J.

460
00:22:20,840 --> 00:22:23,640
Speaker 4: Blige upstairs and Hip Factory, I went to go see

461
00:22:23,640 --> 00:22:26,480
Speaker 4: Biggie and b said, Yo, take it out, sir, Yo.

462
00:22:26,920 --> 00:22:29,159
Speaker 4: I want to let you know that on my new album,

463
00:22:29,400 --> 00:22:30,440
Speaker 4: I'm gonna be singing like you.

464
00:22:30,520 --> 00:22:33,040
Speaker 3: It's what you mean. All of a sudden, hypnotized comes

465
00:22:33,040 --> 00:22:35,480
Speaker 3: out these stories, you know.

466
00:22:35,520 --> 00:22:38,480
Speaker 4: I mean, I would never cap one with nobody, but again,

467
00:22:38,520 --> 00:22:41,280
Speaker 4: when I hear these things, I'd be like yo.

468
00:22:41,560 --> 00:22:44,880
Speaker 3: So this was a method that people was trying to do.

469
00:22:45,200 --> 00:22:47,919
Speaker 3: Like you liked. You liked it, but quest I didn't

470
00:22:47,920 --> 00:22:50,159
Speaker 3: do it on purpose. But what I did do.

471
00:22:50,440 --> 00:22:54,680
Speaker 4: Knowing that you're right, Leo Cohen thought, Redman sound like me, right,

472
00:22:54,960 --> 00:22:57,840
Speaker 4: and I'm like real, he said, no, it ain't how

473
00:22:57,920 --> 00:23:03,760
Speaker 4: the rhyming, it's the tone. So me having Reggie around me,

474
00:23:04,240 --> 00:23:06,879
Speaker 4: of course it's gonna affect me, right, Not that you

475
00:23:07,040 --> 00:23:09,760
Speaker 4: had to, because when I did watch your nugget on

476
00:23:09,800 --> 00:23:13,960
Speaker 4: his album, I was still me. But once Reggie started

477
00:23:14,160 --> 00:23:19,439
Speaker 4: becoming Reggie, and then I did hit and Switches right,

478
00:23:19,520 --> 00:23:22,800
Speaker 4: because Reggie came to Atlanta and said, Yo, son, yo,

479
00:23:23,800 --> 00:23:26,840
Speaker 4: I'm not really feeling this stuff you play me because

480
00:23:26,880 --> 00:23:29,880
Speaker 4: I was on some some other I was mad comfortable.

481
00:23:30,240 --> 00:23:31,840
Speaker 4: This is not that and this, and I didn't even

482
00:23:31,960 --> 00:23:36,320
Speaker 4: have hit switches, stay real, none of that stuff hostile,

483
00:23:36,480 --> 00:23:41,680
Speaker 4: none of it. So now he tells me too, So

484
00:23:41,840 --> 00:23:45,000
Speaker 4: that's what happened to me. Now you bring something up,

485
00:23:45,680 --> 00:23:49,159
Speaker 4: damn it, Reggie. Reggie was like, yo, man, you solo,

486
00:23:49,280 --> 00:23:52,640
Speaker 4: now you know what's up. So now it's Mike check.

487
00:23:52,880 --> 00:23:55,400
Speaker 4: Here I go again, check me out. But I'm over

488
00:23:55,440 --> 00:23:59,399
Speaker 4: here now. And then now you have the onyx and

489
00:23:59,520 --> 00:24:02,920
Speaker 4: all this stuff coming that and this, and then you

490
00:24:03,040 --> 00:24:07,840
Speaker 4: got Reggie. Oh my god, you know Mike check your repman,

491
00:24:07,880 --> 00:24:10,880
Speaker 4: get off that Mike check. I could get so all

492
00:24:10,920 --> 00:24:13,720
Speaker 4: of this is going. I'm watching the Cadenus. I'm Washington.

493
00:24:13,800 --> 00:24:16,400
Speaker 4: All of a sudden, Hey Solo brings me this kid

494
00:24:16,920 --> 00:24:20,040
Speaker 4: of the block who's oh yea yoyo, my name is

495
00:24:20,080 --> 00:24:23,560
Speaker 4: keeping my boom boom. And I was like, check this boot,

496
00:24:23,560 --> 00:24:26,120
Speaker 4: part of the plage in your chest, act like arm

497
00:24:26,160 --> 00:24:28,639
Speaker 4: and leg when I come through, got your cranium. I'm like,

498
00:24:29,040 --> 00:24:32,480
Speaker 4: so even though I might want to do this, it's

499
00:24:32,520 --> 00:24:34,159
Speaker 4: got to be over here. And that's I think what

500
00:24:34,280 --> 00:24:38,879
Speaker 4: probably happened. But just like music has summer every sermon.

501
00:24:39,200 --> 00:24:41,200
Speaker 1: Yes, yes, yes, my life.

502
00:24:41,320 --> 00:24:46,160
Speaker 2: I will also say that you know, it wasn't often,

503
00:24:46,680 --> 00:24:52,160
Speaker 2: especially back in eighty eight, where you would see a

504
00:24:52,200 --> 00:24:59,080
Speaker 2: summit meeting of frus from opposite sides of the coast

505
00:24:59,280 --> 00:25:02,639
Speaker 2: or you know, wherever they were from, like normally birds

506
00:25:02,680 --> 00:25:08,480
Speaker 2: of a feather flocked together, and seeing NWA in the

507
00:25:08,520 --> 00:25:09,760
Speaker 2: big paypack video.

508
00:25:10,760 --> 00:25:13,400
Speaker 1: It was like such a big deal for us.

509
00:25:13,280 --> 00:25:18,119
Speaker 2: Like yo EPMD knows NWA like craz That's how me

510
00:25:18,160 --> 00:25:20,920
Speaker 2: and Reek were like watching your TV reps like you

511
00:25:21,359 --> 00:25:23,919
Speaker 2: are a g Funk pioneer that never got the credit,

512
00:25:24,680 --> 00:25:28,160
Speaker 2: and you are also a neo soul pioneer that never

513
00:25:28,200 --> 00:25:34,280
Speaker 2: got the credit. But do you think that because of

514
00:25:34,400 --> 00:25:38,840
Speaker 2: the sort of the thick texture of your production for

515
00:25:38,920 --> 00:25:41,800
Speaker 2: those like first two epm D records where like the

516
00:25:41,960 --> 00:25:46,160
Speaker 2: zap claps for like like that spoke to the West

517
00:25:46,200 --> 00:25:49,600
Speaker 2: Coast more than any more than Public Enemy could have

518
00:25:50,200 --> 00:25:51,000
Speaker 2: because it's touring.

519
00:25:52,119 --> 00:25:54,800
Speaker 4: Don't forget this, it's touring, you know. So so you

520
00:25:54,800 --> 00:25:57,240
Speaker 4: know that was the LA was one of my biggest

521
00:25:57,240 --> 00:26:00,000
Speaker 4: markets because the way they thought me. And when you

522
00:26:00,080 --> 00:26:02,439
Speaker 4: here Snoop telling the story, Snoop said, he drove to

523
00:26:02,440 --> 00:26:05,960
Speaker 4: Britwood looking for me in Parish, right because they don't

524
00:26:05,960 --> 00:26:08,960
Speaker 4: forget this in Britwood in California. So he's so he's

525
00:26:08,960 --> 00:26:11,640
Speaker 4: in Britwood thinking that we're from the suburbs.

526
00:26:12,080 --> 00:26:14,080
Speaker 1: Oh okay, okay, So.

527
00:26:14,440 --> 00:26:16,080
Speaker 3: He told the story a couple of times.

528
00:26:16,119 --> 00:26:19,040
Speaker 4: But anyway, being on tour, but me and Cube was tight,

529
00:26:19,240 --> 00:26:21,399
Speaker 4: like like I had a seven roses Zukie. When I

530
00:26:21,400 --> 00:26:24,280
Speaker 4: went to Laq picked me up, he had seven rosa Zukie,

531
00:26:24,760 --> 00:26:27,920
Speaker 4: you know. And again at the end of the day,

532
00:26:28,680 --> 00:26:31,480
Speaker 4: me and Dre was two people that was on both

533
00:26:31,520 --> 00:26:33,280
Speaker 4: sides stample in Parliament.

534
00:26:33,520 --> 00:26:34,280
Speaker 3: Don't forget them.

535
00:26:35,160 --> 00:26:37,480
Speaker 4: He was doing it first in eighty seven before me

536
00:26:37,520 --> 00:26:38,560
Speaker 4: and Parish even came out.

537
00:26:39,040 --> 00:26:41,560
Speaker 3: It wasn't like, okay, people credit me.

538
00:26:42,560 --> 00:26:44,840
Speaker 4: Like if you talk to dub C, he has say yo,

539
00:26:45,440 --> 00:26:48,720
Speaker 4: I got to get the the West Coast hat to

540
00:26:48,880 --> 00:26:50,280
Speaker 4: Eric sermon because.

541
00:26:51,720 --> 00:26:53,800
Speaker 3: They showed us how to rap on this music.

542
00:26:54,200 --> 00:26:59,800
Speaker 4: So while we was playing Roger, they was rhyming on Roja.

543
00:27:00,080 --> 00:27:02,960
Speaker 4: While we was playing Riding High, they were rapping on

544
00:27:03,119 --> 00:27:07,119
Speaker 4: Riding High. So all the stuff that they hearing on

545
00:27:07,280 --> 00:27:10,400
Speaker 4: the way that Me and Paris did the Funk records

546
00:27:10,680 --> 00:27:13,040
Speaker 4: were different than what they was doing it, so it

547
00:27:13,119 --> 00:27:15,800
Speaker 4: kind of gave them a blueprint. If you hear people talk,

548
00:27:16,119 --> 00:27:22,160
Speaker 4: they say Dre enhanced the stuff I did by playing live.

549
00:27:22,320 --> 00:27:24,560
Speaker 3: So if you hear woman to woman.

550
00:27:25,000 --> 00:27:29,320
Speaker 4: But then be bet, I just sampled it right. He

551
00:27:29,440 --> 00:27:31,800
Speaker 4: did kind of fun your Love and we played them

552
00:27:31,800 --> 00:27:36,080
Speaker 4: now it's bigger so and then once EPMD broke up,

553
00:27:36,560 --> 00:27:39,600
Speaker 4: he was able to go to Roger too, you know,

554
00:27:40,480 --> 00:27:41,359
Speaker 4: things of that nature.

555
00:27:41,960 --> 00:27:45,760
Speaker 2: How are you developing your production skills and your rhyming

556
00:27:45,880 --> 00:27:51,320
Speaker 2: skills in eighty seven in time for like your debut record,

557
00:27:51,520 --> 00:27:54,800
Speaker 2: because you know, like how long did the epm D

558
00:27:55,200 --> 00:27:59,280
Speaker 2: exist before you guys actually got strictly business to the public.

559
00:28:00,119 --> 00:28:04,280
Speaker 4: Yeah, see the ones that fast. The one thing that

560
00:28:04,320 --> 00:28:07,040
Speaker 4: you that we didn't know. We didn't know what the

561
00:28:07,080 --> 00:28:10,119
Speaker 4: producer was. We thought every record you heard was done

562
00:28:10,119 --> 00:28:10,960
Speaker 4: by that person.

563
00:28:12,080 --> 00:28:12,879
Speaker 3: It's not crazy.

564
00:28:12,960 --> 00:28:15,640
Speaker 4: So we're doing what we think we're supposed to be doing.

565
00:28:15,680 --> 00:28:18,160
Speaker 4: We didn't know about we was producers. We never heard

566
00:28:18,200 --> 00:28:21,320
Speaker 4: that word. We just wanted to make a record. So

567
00:28:21,400 --> 00:28:24,280
Speaker 4: we took the break beachs that we had that parents

568
00:28:24,280 --> 00:28:27,040
Speaker 4: had at the DJ, took records from each other houses,

569
00:28:27,080 --> 00:28:30,359
Speaker 4: the whole nine, and that's how formulated epm D. You know,

570
00:28:30,400 --> 00:28:32,720
Speaker 4: we made what was in front of us, not knowing

571
00:28:32,720 --> 00:28:33,440
Speaker 4: what we were doing.

572
00:28:33,600 --> 00:28:35,639
Speaker 3: Don't forget. We didn't know how to make a chorus.

573
00:28:35,800 --> 00:28:39,600
Speaker 4: So will Stocklove called the Autumn two all your two

574
00:28:39,640 --> 00:28:41,280
Speaker 4: came and said, let me get that seven minutes to

575
00:28:41,320 --> 00:28:44,160
Speaker 4: Funk record because we just had the record looping. So

576
00:28:44,240 --> 00:28:46,920
Speaker 4: when it's my thing, we said it's my thing, there's

577
00:28:47,040 --> 00:28:51,360
Speaker 4: nothing there, so Teddy Ted said give me and he said,

578
00:28:51,360 --> 00:28:54,200
Speaker 4: give me that record. So he found that tim boom,

579
00:28:54,400 --> 00:28:58,280
Speaker 4: tim boom, and then that fam f be so called

580
00:28:58,480 --> 00:29:01,200
Speaker 4: me how to format a chorus. I would never even

581
00:29:01,280 --> 00:29:03,840
Speaker 4: known how to due a chorus or format. It was

582
00:29:04,240 --> 00:29:06,400
Speaker 4: caught to me by the author two.

583
00:29:07,160 --> 00:29:09,280
Speaker 1: So there was a version of It's My Thing that

584
00:29:09,320 --> 00:29:10,840
Speaker 1: didn't have no version of.

585
00:29:10,760 --> 00:29:12,360
Speaker 3: This report record came out.

586
00:29:12,920 --> 00:29:15,720
Speaker 4: The label was telling us that we needed to have

587
00:29:15,760 --> 00:29:18,480
Speaker 4: a chorus and to know the chorus, get ready to

588
00:29:18,520 --> 00:29:18,920
Speaker 4: come in?

589
00:29:19,400 --> 00:29:20,200
Speaker 1: Got it okay?

590
00:29:20,240 --> 00:29:23,360
Speaker 4: Because all we had was it It's my thing louder.

591
00:29:23,600 --> 00:29:25,600
Speaker 4: All we had was that we didn't have the drum

592
00:29:25,680 --> 00:29:28,320
Speaker 4: roll and the the horn to be like the boy

593
00:29:28,400 --> 00:29:30,480
Speaker 4: can drop down and come back to the raps.

594
00:29:30,640 --> 00:29:31,080
Speaker 3: We end up.

595
00:29:31,120 --> 00:29:34,040
Speaker 4: You had to split it up so there's a chorus

596
00:29:34,040 --> 00:29:36,720
Speaker 4: and then there's a part you uy on. And once

597
00:29:36,760 --> 00:29:39,520
Speaker 4: we learned that, I went nuts, did and I started

598
00:29:39,560 --> 00:29:44,720
Speaker 4: doing get down, Get down. Time keeps on slipping. So

599
00:29:44,840 --> 00:29:47,400
Speaker 4: now I was just knowing what to do now. And

600
00:29:47,440 --> 00:29:49,240
Speaker 4: then when the thing came out, I was like, to

601
00:29:49,280 --> 00:29:52,360
Speaker 4: what you're saying, Now we're in it.

602
00:29:52,400 --> 00:29:55,120
Speaker 2: Now you're not a format of song. I get it

603
00:29:55,520 --> 00:29:58,120
Speaker 2: so right before your album comes out. So let's go

604
00:29:58,240 --> 00:30:00,600
Speaker 2: here back in eighty seven, and it's thing came out

605
00:30:00,600 --> 00:30:01,920
Speaker 2: in eighty seven, correct.

606
00:30:01,880 --> 00:30:05,160
Speaker 3: Eighty seven November. Yes, So in your.

607
00:30:05,040 --> 00:30:11,480
Speaker 2: Mind, what does hip hop success look like like?

608
00:30:12,160 --> 00:30:14,000
Speaker 1: Ah, we made it.

609
00:30:15,400 --> 00:30:16,000
Speaker 3: Up on the radio.

610
00:30:16,880 --> 00:30:20,320
Speaker 4: And one night we hear seven as the Funk coming on.

611
00:30:20,480 --> 00:30:23,760
Speaker 4: But there's no no rhymeen, just whether to spend the record.

612
00:30:24,440 --> 00:30:24,800
Speaker 1: Okay.

613
00:30:24,960 --> 00:30:27,840
Speaker 4: All of a sudden, the next weekend we hear the

614
00:30:27,920 --> 00:30:32,360
Speaker 4: helicopters quest so so so we know it's us because

615
00:30:32,800 --> 00:30:36,160
Speaker 4: the helicopters was coming on. And don't forget, they didn't

616
00:30:36,160 --> 00:30:39,080
Speaker 4: have two way back then, so every phone line is busy.

617
00:30:40,000 --> 00:30:42,120
Speaker 3: That's when you know you made it. When you on

618
00:30:42,200 --> 00:30:42,719
Speaker 3: the radio.

619
00:30:43,040 --> 00:30:45,600
Speaker 4: That's what we wanted to be on the radio, know

620
00:30:45,720 --> 00:30:47,920
Speaker 4: about no money, no advances, who jerking?

621
00:30:47,960 --> 00:30:50,479
Speaker 3: Who? Whatever is the record gonna be on the radio?

622
00:30:51,880 --> 00:30:54,440
Speaker 2: Wait, you brought up something that I gotta ask you

623
00:30:54,480 --> 00:30:58,400
Speaker 2: a question about. So my first rap show I ever

624
00:30:58,480 --> 00:31:03,400
Speaker 2: saw it was a free rap show that EPMD did

625
00:31:03,440 --> 00:31:05,240
Speaker 2: in Philadelphia at Penn's landing.

626
00:31:05,520 --> 00:31:10,560
Speaker 3: Oh wait, wait, wait, hold up, okay, wait, I tell

627
00:31:10,640 --> 00:31:15,720
Speaker 3: the story all the time. Speaking of helicopters because me.

628
00:31:15,720 --> 00:31:20,120
Speaker 4: And Paris jump out the limo too early, and okay,

629
00:31:20,120 --> 00:31:24,000
Speaker 4: three thousand kids chased us until we had to jump

630
00:31:24,040 --> 00:31:27,440
Speaker 4: over a twelve foot gate. I felt like Michael Jackson,

631
00:31:27,640 --> 00:31:31,719
Speaker 4: I put the mother was born. I've never seen that before.

632
00:31:32,200 --> 00:31:35,320
Speaker 4: Billy chased us like we was Michael Jackson.

633
00:31:35,600 --> 00:31:38,600
Speaker 1: Yes, yes, Doug, I know this.

634
00:31:39,800 --> 00:31:40,240
Speaker 3: Pen's like.

635
00:31:40,760 --> 00:31:42,880
Speaker 1: My question was, do you remember that show? I don't

636
00:31:42,880 --> 00:31:43,600
Speaker 1: think you will remember it.

637
00:31:43,760 --> 00:31:47,080
Speaker 4: I thought me and Pete teller every time because we

638
00:31:47,160 --> 00:31:50,520
Speaker 4: never had that You had experienced before of people running

639
00:31:50,560 --> 00:31:53,680
Speaker 4: it like that, but not like that? Did that thing

640
00:31:53,880 --> 00:31:56,000
Speaker 4: was on someone you see one of them boy band

641
00:31:56,080 --> 00:31:59,160
Speaker 4: groups men like yo. We had to run and there

642
00:31:59,240 --> 00:32:01,960
Speaker 4: was a kid running.

643
00:32:02,560 --> 00:32:05,680
Speaker 2: Yeah, I'm a witness to that. Wait, but didn't you

644
00:32:05,680 --> 00:32:07,040
Speaker 2: guys land in a helicopter?

645
00:32:07,160 --> 00:32:07,360
Speaker 3: Yes?

646
00:32:07,840 --> 00:32:09,840
Speaker 1: Yes, whose idea was that.

647
00:32:10,560 --> 00:32:13,080
Speaker 4: It wasn't because we had no other way to get

648
00:32:13,080 --> 00:32:14,120
Speaker 4: there to make it in time.

649
00:32:15,680 --> 00:32:16,880
Speaker 3: So I don't know.

650
00:32:17,120 --> 00:32:20,800
Speaker 2: How this is before bawling was even thought about, Like,

651
00:32:21,120 --> 00:32:22,960
Speaker 2: you don't understand how impressionable.

652
00:32:23,200 --> 00:32:23,960
Speaker 1: Now here's the thing.

653
00:32:24,320 --> 00:32:26,960
Speaker 2: Tarika and I didn't know each other, you know what

654
00:32:27,000 --> 00:32:31,080
Speaker 2: I mean, but we were both at that show and

655
00:32:31,280 --> 00:32:35,640
Speaker 2: seeing no way Well believe it or not. We were

656
00:32:35,720 --> 00:32:39,520
Speaker 2: actually in the same high school, but two and two

657
00:32:39,600 --> 00:32:42,200
Speaker 2: didn't equal four yet, you know what I'm saying. He

658
00:32:42,320 --> 00:32:44,040
Speaker 2: was there and I was there, but we didn't know

659
00:32:44,080 --> 00:32:46,320
Speaker 2: each other like that, even though we were in school together.

660
00:32:46,600 --> 00:32:50,320
Speaker 2: But we talked about it later about being at pens

661
00:32:50,400 --> 00:32:58,959
Speaker 2: Landing and you don't understand like being sixteen seeing YouTube

662
00:32:59,000 --> 00:33:01,680
Speaker 2: get out of a hellic copter, like I thought it

663
00:33:01,720 --> 00:33:03,000
Speaker 2: was this normal ship because.

664
00:33:02,920 --> 00:33:05,120
Speaker 4: You know, nobody's gonna believe it even if you tell

665
00:33:05,200 --> 00:33:09,720
Speaker 4: the story people like nau Is capping there's no dude.

666
00:33:09,640 --> 00:33:14,720
Speaker 2: Well number one run DMC use the helicopter and it's

667
00:33:14,760 --> 00:33:18,480
Speaker 2: tricky video, yes, and then you had the helicopter sound

668
00:33:18,520 --> 00:33:21,080
Speaker 2: at the beginning of It's my thing, right, So I

669
00:33:21,160 --> 00:33:24,400
Speaker 2: just thought, oh, on your rider, y'all gotta always arrive

670
00:33:24,880 --> 00:33:27,280
Speaker 2: wherever y'all at in a helicopter.

671
00:33:27,920 --> 00:33:31,200
Speaker 1: So how did y'all wind up on sleeping back records?

672
00:33:31,720 --> 00:33:35,720
Speaker 4: Well again, me and Paris those that demo story is true.

673
00:33:35,760 --> 00:33:40,000
Speaker 4: We built a sixty eighth Camaro from scratch, you know,

674
00:33:40,920 --> 00:33:44,200
Speaker 4: we're you know, took off the hard was that.

675
00:33:44,280 --> 00:33:47,400
Speaker 1: Some long island ship like some leven long island You

676
00:33:47,600 --> 00:33:48,479
Speaker 1: how to fix cars.

677
00:33:48,600 --> 00:33:50,600
Speaker 3: We had a shop, you know, shot we did, but

678
00:33:50,680 --> 00:33:53,480
Speaker 3: we did Paris did too. So we shipped the car down,

679
00:33:53,680 --> 00:33:55,840
Speaker 3: took off the bottle off the top, this and that.

680
00:33:55,960 --> 00:33:58,760
Speaker 4: It was a paint shop called Earl Shives. People don't

681
00:33:58,800 --> 00:34:03,200
Speaker 4: know about that for the whole car. Tape up the headlights,

682
00:34:03,200 --> 00:34:05,400
Speaker 4: tape up all the throw a handles, the whole nine

683
00:34:05,840 --> 00:34:08,560
Speaker 4: car come out spanking cool, and we knew, I think

684
00:34:08,640 --> 00:34:11,000
Speaker 4: it was not that good, but we took it anyway.

685
00:34:11,400 --> 00:34:13,440
Speaker 4: That's why we always said that when he says he

686
00:34:13,560 --> 00:34:16,520
Speaker 4: double had to push by MD Steads, because that happened

687
00:34:16,520 --> 00:34:19,719
Speaker 4: the car broke down. But anyway, we went shopping to

688
00:34:19,880 --> 00:34:23,080
Speaker 4: three places and we got the addresses on the album

689
00:34:23,080 --> 00:34:25,560
Speaker 4: covers at home and you write them down. You go

690
00:34:25,600 --> 00:34:29,080
Speaker 4: to Manhattan and you go walk and our third place

691
00:34:29,520 --> 00:34:32,320
Speaker 4: happened to be we had to just ice album.

692
00:34:32,760 --> 00:34:34,080
Speaker 3: I'm the just iced thing, so you.

693
00:34:37,040 --> 00:34:40,400
Speaker 4: I'm trying to just ice LaToya so so, and LaToya

694
00:34:40,480 --> 00:34:42,399
Speaker 4: was played at the at the jam, at the house

695
00:34:42,440 --> 00:34:45,799
Speaker 4: party all the time. So we had that. That was

696
00:34:45,840 --> 00:34:49,440
Speaker 4: our last place. But a guy named Virgil Sims. Vergil

697
00:34:49,480 --> 00:34:52,600
Speaker 4: took us inside the inside to go meet Ron Resnick,

698
00:34:53,120 --> 00:34:54,719
Speaker 4: and that was it and then all of a sudden

699
00:34:54,760 --> 00:34:55,080
Speaker 4: we got a.

700
00:34:55,080 --> 00:34:56,279
Speaker 3: Call back the third day.

701
00:34:56,640 --> 00:34:59,200
Speaker 4: Like people talk about this, Me and Pete didn't have

702
00:34:59,320 --> 00:35:00,480
Speaker 4: that type of struggle.

703
00:35:00,920 --> 00:35:03,759
Speaker 3: Like I said, four we got turned down twice. I

704
00:35:03,760 --> 00:35:07,200
Speaker 3: think it was Atlantic and I think something was probably

705
00:35:07,640 --> 00:35:10,920
Speaker 3: I don't know, Sonya something on one of the things.

706
00:35:10,960 --> 00:35:13,719
Speaker 3: And after that the third phone call was you know,

707
00:35:13,960 --> 00:35:16,279
Speaker 3: they came and signed us. It was fifteen hundred dollars though, but.

708
00:35:16,239 --> 00:35:20,480
Speaker 2: We got signed after signing the Sleeping Bag. How do

709
00:35:20,520 --> 00:35:23,040
Speaker 2: you guys like plan out what the album is? Like,

710
00:35:23,080 --> 00:35:26,080
Speaker 2: how do you guys who's teaching you how to produce?

711
00:35:26,160 --> 00:35:26,239
Speaker 3: Like?

712
00:35:26,280 --> 00:35:29,240
Speaker 1: What equipment were you using back then? On the first record?

713
00:35:29,440 --> 00:35:31,320
Speaker 3: We didn't use. No, we didn't have no equipment. Not.

714
00:35:31,680 --> 00:35:33,720
Speaker 4: The stuff that we did was done with the engineer,

715
00:35:33,800 --> 00:35:36,520
Speaker 4: Charlie Marauder. We didn't have whatever he had up there

716
00:35:36,560 --> 00:35:37,000
Speaker 4: we use.

717
00:35:37,400 --> 00:35:37,960
Speaker 3: Don't forget.

718
00:35:38,080 --> 00:35:42,000
Speaker 4: We was making loops with quarterman's taping and taping around

719
00:35:42,000 --> 00:35:43,480
Speaker 4: the room and looping it back to half.

720
00:35:43,520 --> 00:35:44,239
Speaker 3: It's like we was.

721
00:35:44,239 --> 00:35:47,560
Speaker 1: Wait, really yeah, the Beastie boy style.

722
00:35:47,640 --> 00:35:50,760
Speaker 2: Okay, So ad Rock talked about that that they weren't

723
00:35:50,800 --> 00:35:54,160
Speaker 2: using drum machines yet they were just expl he explain

724
00:35:54,239 --> 00:35:58,480
Speaker 2: that process, like because I still don't understand the idea

725
00:35:58,480 --> 00:36:02,799
Speaker 2: of going around the room and putting pencils up, because.

726
00:36:03,160 --> 00:36:06,799
Speaker 4: It wasn't no programs for sathing like that like that

727
00:36:06,960 --> 00:36:09,720
Speaker 4: we knew about, you know, don't forget Hank Stockings.

728
00:36:09,760 --> 00:36:11,759
Speaker 3: It was probably advanced the whole nine.

729
00:36:11,800 --> 00:36:14,520
Speaker 4: And then and whatever you heard that from from from

730
00:36:14,920 --> 00:36:16,000
Speaker 4: Beastie Boys.

731
00:36:16,400 --> 00:36:17,560
Speaker 3: This is what Charlie had.

732
00:36:17,600 --> 00:36:20,560
Speaker 4: We didn't have nothing to keep doing this, and we

733
00:36:20,600 --> 00:36:23,080
Speaker 4: only had eight tracks on the task AM, so we

734
00:36:23,160 --> 00:36:25,440
Speaker 4: had to make do with what we had. But the

735
00:36:25,520 --> 00:36:29,080
Speaker 4: looping part, there was no machine that we had that

736
00:36:29,120 --> 00:36:32,440
Speaker 4: would loop. So all we had was to record to

737
00:36:32,640 --> 00:36:35,399
Speaker 4: tape and then splice it and then make the loop

738
00:36:35,440 --> 00:36:38,040
Speaker 4: and then record it back to tape and then record

739
00:36:38,080 --> 00:36:38,319
Speaker 4: from that.

740
00:36:39,400 --> 00:36:41,560
Speaker 2: So wait, you're saying that some of the first album

741
00:36:41,640 --> 00:36:44,239
Speaker 2: was done on an eight track task and.

742
00:36:43,920 --> 00:36:46,239
Speaker 3: All of it, all, all the first two albums done

743
00:36:46,239 --> 00:36:51,200
Speaker 3: on task AM and and red the tapes or cassettes, no,

744
00:36:51,640 --> 00:36:54,239
Speaker 3: meaning that the task and board the.

745
00:36:55,719 --> 00:36:59,960
Speaker 4: Okay, so all you heard what the album, that's effects

746
00:37:00,640 --> 00:37:03,799
Speaker 4: first album. All that was done and on the on

747
00:37:03,880 --> 00:37:04,520
Speaker 4: the eight track.

748
00:37:05,440 --> 00:37:09,480
Speaker 2: Not with the album crammed on the R alone on

749
00:37:09,600 --> 00:37:10,040
Speaker 2: a track.

750
00:37:11,239 --> 00:37:14,680
Speaker 1: Dude, there's like forty two trillion samples on the r NO.

751
00:37:14,840 --> 00:37:16,719
Speaker 4: But after it went from the eight track, we went

752
00:37:16,760 --> 00:37:19,840
Speaker 4: to power play to d O C and that made

753
00:37:19,880 --> 00:37:23,759
Speaker 4: some other other change. But the majority of the album

754
00:37:23,880 --> 00:37:28,400
Speaker 4: when it was done was done on eight track. Hikes

755
00:37:28,680 --> 00:37:31,520
Speaker 4: so and and don't forget the The ratings are stuff

756
00:37:31,520 --> 00:37:33,799
Speaker 4: when you either, but you can't fuck it ain't that much.

757
00:37:34,520 --> 00:37:35,160
Speaker 3: Only only you.

758
00:37:35,600 --> 00:37:38,960
Speaker 4: The James Bond sample, the Kiss Them, I loved drums

759
00:37:39,080 --> 00:37:40,040
Speaker 4: and and that's it.

760
00:37:40,120 --> 00:37:41,760
Speaker 3: But I don't know what you hearing.

761
00:37:41,840 --> 00:37:45,799
Speaker 2: It's not a you kind of have a bomb squattish

762
00:37:46,480 --> 00:37:51,040
Speaker 2: I do. I do texture like even one of your

763
00:37:51,040 --> 00:37:55,560
Speaker 2: favorite productions when you did run DMCs Uh can I

764
00:37:55,560 --> 00:37:55,840
Speaker 2: get it?

765
00:37:55,880 --> 00:37:59,880
Speaker 3: Ye? Hold up yo of question? What is wrong with

766
00:38:00,320 --> 00:38:02,160
Speaker 3: Nobody would ever mention that record?

767
00:38:03,200 --> 00:38:03,960
Speaker 1: Are you crazy?

768
00:38:05,680 --> 00:38:07,440
Speaker 3: Nobody knows about that record but you.

769
00:38:08,160 --> 00:38:10,800
Speaker 1: Because the thing is, you have like three baselines.

770
00:38:11,160 --> 00:38:14,440
Speaker 3: I do when I know I did.

771
00:38:19,920 --> 00:38:23,520
Speaker 2: My theory is that Public Enemy crams a bunch of

772
00:38:23,600 --> 00:38:26,920
Speaker 2: mid range and high end samples. That sounds chaotic, But

773
00:38:28,239 --> 00:38:36,680
Speaker 2: you would just mix Jesus like four baselines, even what

774
00:38:36,719 --> 00:38:40,480
Speaker 2: you did in the hest, like with the eight O

775
00:38:40,560 --> 00:38:44,560
Speaker 2: eights and like I just never saw a person just

776
00:38:45,400 --> 00:38:48,840
Speaker 2: mash up a bunch of baselines together. It was the

777
00:38:48,920 --> 00:38:53,959
Speaker 2: samples like imagine again you know you hear something right,

778
00:38:54,440 --> 00:38:59,640
Speaker 2: and I'm not knowing for us to take out the

779
00:38:59,680 --> 00:39:04,239
Speaker 2: base of the sample on mixing and need that, I

780
00:39:04,280 --> 00:39:09,280
Speaker 2: guess is the engineer neither. So Pharrell's like, Eric, whatever

781
00:39:09,520 --> 00:39:13,959
Speaker 2: that W thirty does for you, it makes no sense

782
00:39:14,000 --> 00:39:15,640
Speaker 2: because there's no other sound like it.

783
00:39:15,880 --> 00:39:16,799
Speaker 3: Because also to.

784
00:39:17,880 --> 00:39:21,920
Speaker 4: The machine I use, was was on some it did

785
00:39:21,960 --> 00:39:25,439
Speaker 4: some other things though pus that you would not use.

786
00:39:26,000 --> 00:39:29,040
Speaker 3: It was a rolling W thirty. You only had fifteen seconds.

787
00:39:29,719 --> 00:39:31,440
Speaker 1: Oh okay, don't forget.

788
00:39:31,440 --> 00:39:32,960
Speaker 3: So I was doing this thing stuff. They were doing

789
00:39:32,960 --> 00:39:35,239
Speaker 3: the spe to one hundred, the same thing I was doing,

790
00:39:35,280 --> 00:39:37,600
Speaker 3: the being up fast, being down slow.

791
00:39:38,160 --> 00:39:39,759
Speaker 1: So would you lay it one track at a time?

792
00:39:40,600 --> 00:39:42,239
Speaker 3: Not really, No, I was.

793
00:39:42,160 --> 00:39:44,359
Speaker 4: Doing it, but some stuff was sped up to where

794
00:39:44,400 --> 00:39:47,560
Speaker 4: I can samping because only they had fifteen seconds.

795
00:39:47,840 --> 00:39:48,160
Speaker 1: Got it.

796
00:39:48,239 --> 00:39:51,279
Speaker 3: Don't forget. All those beats you heard was made in

797
00:39:51,360 --> 00:39:56,520
Speaker 3: the fifteen second radius. Say, was done with loops.

798
00:39:56,680 --> 00:39:59,280
Speaker 4: And that's why when you hear jazz, don't speak about

799
00:39:59,320 --> 00:40:00,360
Speaker 4: or jay Z's about.

800
00:40:00,520 --> 00:40:01,960
Speaker 3: I don't know how Eric had that.

801
00:40:02,000 --> 00:40:04,840
Speaker 4: It's my thing going because jazzo tried to loop it

802
00:40:04,920 --> 00:40:07,200
Speaker 4: and it just didn't loop right, you know, but again

803
00:40:07,680 --> 00:40:10,920
Speaker 4: not knowing that we spliced it had a looping around

804
00:40:10,920 --> 00:40:12,359
Speaker 4: the room to take.

805
00:40:12,520 --> 00:40:15,080
Speaker 3: So the splice gave the nice cut. It wasn't a

806
00:40:15,160 --> 00:40:15,960
Speaker 3: sambling machine.

807
00:40:16,080 --> 00:40:19,319
Speaker 2: Did you always stick with the rolling no matter what?

808
00:40:19,400 --> 00:40:20,759
Speaker 2: That's what that was your weapon of choice?

809
00:40:20,800 --> 00:40:24,000
Speaker 3: Yeah, the rolling. The roller stayed with me until just

810
00:40:24,000 --> 00:40:26,480
Speaker 3: like music was done on fifteen fifteen seconds?

811
00:40:27,360 --> 00:40:28,000
Speaker 1: What what?

812
00:40:28,719 --> 00:40:29,040
Speaker 3: But right?

813
00:40:29,080 --> 00:40:30,880
Speaker 4: Because all I would do is I would get what

814
00:40:30,960 --> 00:40:33,560
Speaker 4: I need whatever, I put it back and then when

815
00:40:33,600 --> 00:40:36,400
Speaker 4: I get more vocals, I put them back separately, so

816
00:40:36,440 --> 00:40:38,720
Speaker 4: I lay the track down separate.

817
00:40:38,920 --> 00:40:41,359
Speaker 3: But the reason why you use it rolling for music? Right?

818
00:40:41,440 --> 00:40:43,080
Speaker 4: So so so when you hear some of the hissing

819
00:40:43,719 --> 00:40:46,680
Speaker 4: that you hear in the Marvin Gaye vocals, you probably

820
00:40:46,680 --> 00:40:50,160
Speaker 4: can't tell, but it's it's not it's not clean since

821
00:40:50,200 --> 00:40:52,719
Speaker 4: because it's going through that machine.

822
00:40:54,120 --> 00:40:58,000
Speaker 2: Okay, I was going to say, I try to recreate

823
00:40:58,480 --> 00:41:02,879
Speaker 2: you know, I got the Midnight Love Box, that drawing

824
00:41:02,920 --> 00:41:05,440
Speaker 2: whatever I proposed that and I was trying to figure

825
00:41:05,480 --> 00:41:07,839
Speaker 2: out I was like, yo, how does like how does

826
00:41:07,840 --> 00:41:11,399
Speaker 2: this version sound like? It's it's an old cassette. Yes,

827
00:41:11,600 --> 00:41:14,279
Speaker 2: a bunch of mids, and so of course if you

828
00:41:14,360 --> 00:41:18,120
Speaker 2: sample it at a higher rate, at FOT five or whatever.

829
00:41:19,080 --> 00:41:21,840
Speaker 1: Then your bittne is going to sound.

830
00:41:22,760 --> 00:41:24,040
Speaker 3: Grittier, right.

831
00:41:24,360 --> 00:41:27,399
Speaker 1: I would try to recreate it. Like the way that I.

832
00:41:27,320 --> 00:41:29,520
Speaker 2: Work on production is if I hear something that I like,

833
00:41:30,120 --> 00:41:32,680
Speaker 2: and Dyla taught me this shit, he does the same thing, like,

834
00:41:32,760 --> 00:41:34,239
Speaker 2: oh okay, I like that. Let me see if I

835
00:41:34,280 --> 00:41:36,799
Speaker 2: could recreate it, and see if I could do it.

836
00:41:37,440 --> 00:41:40,560
Speaker 2: And my version always sounded too cleaning and procne, and

837
00:41:40,600 --> 00:41:43,160
Speaker 2: I was like, yo, how does this sound like?

838
00:41:44,440 --> 00:41:44,760
Speaker 3: Listen?

839
00:41:44,920 --> 00:41:48,640
Speaker 4: I tried to do keep it real over even though

840
00:41:48,680 --> 00:41:53,360
Speaker 4: I did it on my new equipment and the ribbon

841
00:41:53,440 --> 00:41:55,840
Speaker 4: in the sky. The way that it comes out in

842
00:41:55,920 --> 00:41:59,160
Speaker 4: Jamal's record does not come out the same way in

843
00:41:59,280 --> 00:42:02,560
Speaker 4: any other thing up a machine like the W thirty.

844
00:42:03,000 --> 00:42:06,239
Speaker 4: It made it different because when you tear it.

845
00:42:05,719 --> 00:42:08,719
Speaker 3: It's different. It's clean, It don't look the same. I

846
00:42:08,719 --> 00:42:09,520
Speaker 3: don't know why.

847
00:42:09,840 --> 00:42:12,839
Speaker 4: So when you're saying that it's truth, when you try

848
00:42:12,880 --> 00:42:16,200
Speaker 4: to recreate something, you'd be like, why don't sound right?

849
00:42:17,360 --> 00:42:21,120
Speaker 2: So to this day, do you still try to collect

850
00:42:21,280 --> 00:42:23,839
Speaker 2: rolling thirties or you've moved on I.

851
00:42:23,760 --> 00:42:26,279
Speaker 3: Got W thirties because of nostalgia.

852
00:42:26,360 --> 00:42:28,600
Speaker 4: So in case I tell you what, one day, I

853
00:42:28,640 --> 00:42:30,160
Speaker 4: was in the lab and I said, rock come here

854
00:42:30,200 --> 00:42:33,080
Speaker 4: real quick. So I went inside my floppy disk and

855
00:42:33,120 --> 00:42:35,920
Speaker 4: I pulled out some stuff for Muddy Waters and he

856
00:42:36,040 --> 00:42:38,799
Speaker 4: was like nah, I pulled out, so I pulled out

857
00:42:38,840 --> 00:42:40,240
Speaker 4: pick it up for him, so.

858
00:42:41,440 --> 00:42:43,239
Speaker 3: Boom boom boom boom.

859
00:42:43,320 --> 00:42:46,200
Speaker 4: So he is like no, so he goes hate shit.

860
00:42:46,440 --> 00:42:48,719
Speaker 4: So I go with the Blackout and I pull out

861
00:42:48,719 --> 00:42:51,680
Speaker 4: the boom boom boom boom boom boom. You know, I

862
00:42:51,719 --> 00:42:55,000
Speaker 4: got the man. He's like nah, So I pulled out

863
00:42:55,040 --> 00:42:58,920
Speaker 4: the youth this because do you on? Blackout was a

864
00:42:59,160 --> 00:43:02,920
Speaker 4: W thirty that had programmed drums on it, So I

865
00:43:03,040 --> 00:43:06,360
Speaker 4: pulled out the disc that came with the Roland to

866
00:43:06,400 --> 00:43:09,239
Speaker 4: make that U beat. So he was just buked out

867
00:43:09,239 --> 00:43:11,400
Speaker 4: by So I keep it from nostalgia and and and

868
00:43:11,480 --> 00:43:15,200
Speaker 4: Pharrell always says, Eric, where's the W thirty beats?

869
00:43:15,480 --> 00:43:17,200
Speaker 3: You know, because don't forget.

870
00:43:17,400 --> 00:43:21,160
Speaker 4: I met Pharrell when I was doing Blackstreet, and Pharrell

871
00:43:21,640 --> 00:43:23,560
Speaker 4: was was was.

872
00:43:23,520 --> 00:43:26,120
Speaker 3: With a guy named Mike, his singer, and with Chad.

873
00:43:26,719 --> 00:43:30,400
Speaker 4: But if you go on YouTube, there's two songs that

874
00:43:30,480 --> 00:43:34,319
Speaker 4: I let Pharrell rhyme on that got leaked back then

875
00:43:34,360 --> 00:43:37,040
Speaker 4: when I was doing Blackstreet and one of the role

876
00:43:37,719 --> 00:43:40,600
Speaker 4: one of them is called boothnocalization and the other one

877
00:43:40,680 --> 00:43:43,240
Speaker 4: is called and you can hear Pharrell ryman.

878
00:43:43,440 --> 00:43:46,080
Speaker 3: So Pharrell was like, yo, I saw Teddy, listen, what's

879
00:43:46,160 --> 00:43:47,719
Speaker 3: up with your boys? Let him rhyme.

880
00:43:48,040 --> 00:43:50,480
Speaker 4: Teddy wasn't really messing with them like that, even if

881
00:43:50,480 --> 00:43:53,480
Speaker 4: they were in the studio, he dept wasn't let them hyme.

882
00:43:53,640 --> 00:43:56,520
Speaker 4: So that's how the Nettunes even got left from them

883
00:43:56,560 --> 00:43:58,040
Speaker 4: because Teddy had him.

884
00:43:58,200 --> 00:44:01,640
Speaker 3: I let the guy rhyme. But right it happened. Happened

885
00:44:01,680 --> 00:44:03,600
Speaker 3: for the best, though, I see.

886
00:44:03,560 --> 00:44:06,279
Speaker 2: All right, wait, you brought up something and I might

887
00:44:06,320 --> 00:44:09,719
Speaker 2: as well go to So what she's saying, was there any.

888
00:44:11,280 --> 00:44:17,879
Speaker 1: Competition, either friendly or real, between you guys and rock Him?

889
00:44:18,239 --> 00:44:21,480
Speaker 2: I for one never thought that you guys sounded like

890
00:44:21,560 --> 00:44:23,040
Speaker 2: him or they sounded like you.

891
00:44:23,920 --> 00:44:27,280
Speaker 1: But was that the talk of New York at the time.

892
00:44:27,680 --> 00:44:31,279
Speaker 4: They're talking Long Island. Don't forget we're close, got it? So,

893
00:44:31,280 --> 00:44:34,040
Speaker 4: so it was not really the artist. It was the

894
00:44:34,040 --> 00:44:36,640
Speaker 4: people in the hood that was starting to beat. So

895
00:44:36,760 --> 00:44:37,760
Speaker 4: of course, if.

896
00:44:37,640 --> 00:44:39,839
Speaker 1: Somebody saying like y'all are biting rock Him or.

897
00:44:39,840 --> 00:44:43,080
Speaker 3: Like right, So if somebody's in your ear singing stuff,

898
00:44:43,280 --> 00:44:47,360
Speaker 3: like listen the nads record rock Him.

899
00:44:47,560 --> 00:44:50,319
Speaker 4: The story came from me. I told him that story

900
00:44:50,360 --> 00:44:52,480
Speaker 4: he wrote about the autobiography Rock Him.

901
00:44:52,520 --> 00:44:56,560
Speaker 3: Right, because what happened was the hood was singing because

902
00:44:56,640 --> 00:44:58,680
Speaker 3: rock Him had you can get a smack for this.

903
00:44:58,840 --> 00:45:02,000
Speaker 4: I ain't no joke. Me and Paris is a single

904
00:45:02,080 --> 00:45:05,000
Speaker 4: come out. It's like a Digham smack. You smacked me

905
00:45:05,040 --> 00:45:07,880
Speaker 4: and I smack you back. So the hood was like yo,

906
00:45:08,400 --> 00:45:12,160
Speaker 4: e pm D came at you because if you're listening,

907
00:45:12,680 --> 00:45:15,479
Speaker 4: you would be like, yeah, you're right, you can get

908
00:45:15,480 --> 00:45:18,000
Speaker 4: this smacked for this, I ain't no joke. You smacked

909
00:45:18,040 --> 00:45:20,000
Speaker 4: me and I smack you back. So no matter what,

910
00:45:20,480 --> 00:45:23,960
Speaker 4: then rock can't made father lega. A brother said Diggam.

911
00:45:23,960 --> 00:45:25,600
Speaker 4: I never dug him be could him follow leading up?

912
00:45:25,600 --> 00:45:27,600
Speaker 4: That's why I drug him to the Danser zone too,

913
00:45:27,640 --> 00:45:29,120
Speaker 4: So he kept going.

914
00:45:29,480 --> 00:45:33,319
Speaker 1: But was it coincidence or no? He came for us

915
00:45:33,640 --> 00:45:34,640
Speaker 1: or were birth of y'all?

916
00:45:34,760 --> 00:45:38,360
Speaker 4: Like no, no, no, The first one was coincidence. Final

917
00:45:38,440 --> 00:45:43,000
Speaker 4: leader was for us. He's brother said Diggam, I never

918
00:45:43,080 --> 00:45:45,600
Speaker 4: dug him. He couldn't follow the leader. No, that's why

919
00:45:45,600 --> 00:45:47,279
Speaker 4: I drug him for the danger zone.

920
00:45:47,280 --> 00:45:51,840
Speaker 1: He kept going, So, did y'all ever have a conversation, Yeah.

921
00:45:51,680 --> 00:45:54,359
Speaker 3: We did and re squons to be after he broke

922
00:45:54,440 --> 00:45:54,880
Speaker 3: up with Eric B.

923
00:45:56,000 --> 00:45:59,080
Speaker 2: But he was actually saying I was coming, of course,

924
00:45:59,640 --> 00:46:03,280
Speaker 2: no see, but it wasn't like y'all were coming for him.

925
00:46:03,760 --> 00:46:06,439
Speaker 4: He don't know that the hood is how to beat

926
00:46:08,280 --> 00:46:10,760
Speaker 4: question the business.

927
00:46:11,120 --> 00:46:14,080
Speaker 2: I've been in that situation where I reacted to someone

928
00:46:14,520 --> 00:46:17,719
Speaker 2: instigating that blah blah blah's talking about you, and then

929
00:46:17,800 --> 00:46:20,600
Speaker 2: we made it damn okay.

930
00:46:20,640 --> 00:46:24,120
Speaker 4: Right, So again it's like again you got to understand Jesuits,

931
00:46:24,440 --> 00:46:28,000
Speaker 4: there's Brentwood Base Show, Deer Parked and Wine Dan so

932
00:46:28,120 --> 00:46:32,160
Speaker 4: three towns down. The Guard lives right here, and then

933
00:46:32,160 --> 00:46:35,480
Speaker 4: you got these other kids from Brentwood who now everybody's

934
00:46:35,560 --> 00:46:36,200
Speaker 4: talking about.

935
00:46:36,400 --> 00:46:39,839
Speaker 3: Everybody's talking about E. P. M D. And you'll rock him.

936
00:46:40,280 --> 00:46:43,359
Speaker 4: So when Paris heard that, that's wh why he said,

937
00:46:43,600 --> 00:46:45,839
Speaker 4: niggas say, we signed to Awe and that music with Whack.

938
00:46:45,880 --> 00:46:47,440
Speaker 4: We dropped the albums Stricting Peas and you thought it

939
00:46:47,520 --> 00:46:49,960
Speaker 4: was four third day later, the LP went goes to

940
00:46:50,040 --> 00:46:54,959
Speaker 4: what you're saying, Paris called his name because after he said,

941
00:46:55,000 --> 00:46:58,680
Speaker 4: we said that again, you know, you know how you

942
00:46:58,760 --> 00:47:00,799
Speaker 4: know we wasn't having any so it don't matter.

943
00:47:01,280 --> 00:47:03,160
Speaker 2: I got it. I got it. So at least y'all

944
00:47:03,200 --> 00:47:09,040
Speaker 2: squashed it. Okay, Yeah, So were you expecting to sell

945
00:47:09,120 --> 00:47:14,239
Speaker 2: five hundred thousand records like you guys for an independent label?

946
00:47:14,640 --> 00:47:16,719
Speaker 1: Was fresh sleeping bag even prepared?

947
00:47:17,320 --> 00:47:21,040
Speaker 2: No way, I was gonna say, like, because I'm thinking

948
00:47:21,120 --> 00:47:25,360
Speaker 2: like Crust Groove for listeners out there. The story of

949
00:47:25,400 --> 00:47:27,319
Speaker 2: Crush Groove that came out in eighty five was kind

950
00:47:27,320 --> 00:47:31,640
Speaker 2: of a situation where they got popular so fast that

951
00:47:31,640 --> 00:47:34,960
Speaker 2: they didn't have enough money to press extra copies of

952
00:47:35,000 --> 00:47:36,600
Speaker 2: the record, and then they had to borrow from the

953
00:47:36,600 --> 00:47:39,399
Speaker 2: mob and then some shit happens and blah blah blah

954
00:47:39,400 --> 00:47:44,680
Speaker 2: blah blah. But like, how a sleeping bag able to

955
00:47:46,080 --> 00:47:49,000
Speaker 2: I mean, you're a major act as far as I'm concerned, right,

956
00:47:49,880 --> 00:47:53,600
Speaker 2: Were they prepared for that or were they totally caught

957
00:47:53,600 --> 00:47:56,720
Speaker 2: off guard that you guys were like instantly out the box.

958
00:47:56,760 --> 00:47:59,040
Speaker 1: You own TV raps like rap gods.

959
00:47:59,560 --> 00:48:01,400
Speaker 4: They was as far as the selling, But they was

960
00:48:01,400 --> 00:48:05,440
Speaker 4: prepared because they was with Universal Europe before anybody was

961
00:48:05,480 --> 00:48:08,360
Speaker 4: doing the mergers like that, so they already had the

962
00:48:08,440 --> 00:48:10,439
Speaker 4: back end of a big label already to be able

963
00:48:10,440 --> 00:48:13,600
Speaker 4: to manufacture it. That's why EPMD was so big overseas too,

964
00:48:13,880 --> 00:48:17,440
Speaker 4: because the Europe because Universal was behind first records.

965
00:48:17,640 --> 00:48:20,720
Speaker 2: Let's see, I want to talk about people in the ecosystem.

966
00:48:21,080 --> 00:48:24,120
Speaker 2: First of all, Cayler Boss was the original DJ vpm

967
00:48:24,200 --> 00:48:25,439
Speaker 2: D and then Scratch comes in.

968
00:48:26,040 --> 00:48:27,600
Speaker 1: So how did that transition happen?

969
00:48:28,160 --> 00:48:33,640
Speaker 3: Yeah, Cayler Boss and you know, he was starting his.

970
00:48:33,640 --> 00:48:36,359
Speaker 4: Life a little bit and things were moving fast for him,

971
00:48:36,640 --> 00:48:40,560
Speaker 4: you know God, And I think that maybe it wasn't

972
00:48:41,080 --> 00:48:42,600
Speaker 4: him being able to handle that because he had a

973
00:48:42,600 --> 00:48:45,279
Speaker 4: new girlfriend, you know was I think he's getting ready

974
00:48:45,280 --> 00:48:47,800
Speaker 4: to marry at the time, had kids coming, whatever.

975
00:48:47,800 --> 00:48:49,080
Speaker 3: But that's what I think. I don't really know.

976
00:48:49,719 --> 00:48:50,800
Speaker 1: How did you'll find Scratch?

977
00:48:51,400 --> 00:48:54,120
Speaker 3: Scratch was in London. We had to show on Monday.

978
00:48:54,120 --> 00:48:55,680
Speaker 3: We had no DJ, so we had we had the

979
00:48:55,719 --> 00:48:57,920
Speaker 3: tape machine, the one that played the tape. We had

980
00:48:57,920 --> 00:49:00,319
Speaker 3: one of them as the DJ before they was you

981
00:49:00,360 --> 00:49:02,840
Speaker 3: know that machine before there was somebody that we had that.

982
00:49:03,000 --> 00:49:05,320
Speaker 3: So at the end of the day Rest in peace.

983
00:49:05,400 --> 00:49:08,520
Speaker 3: Jam Master J said listen, I have a DJ for you.

984
00:49:08,719 --> 00:49:13,080
Speaker 4: Scratch had just won the seminar in London and jam

985
00:49:13,320 --> 00:49:15,600
Speaker 4: to J bought Scratched on our tour bus and that's

986
00:49:15,760 --> 00:49:17,160
Speaker 4: and then that was history from there.

987
00:49:17,480 --> 00:49:19,960
Speaker 1: And those scratches one right there.

988
00:49:20,040 --> 00:49:21,960
Speaker 3: Yeah, what what's what you're saying? Don't forget yo?

989
00:49:22,160 --> 00:49:23,919
Speaker 1: We oh shit, I forgot that part.

990
00:49:24,120 --> 00:49:26,759
Speaker 4: Yes, what you're saying is made though quest and now

991
00:49:26,880 --> 00:49:31,240
Speaker 4: we have the Parliament by itself, right, so it still

992
00:49:31,400 --> 00:49:35,760
Speaker 4: wasn't getting us. So we sent Scratched the cassette and said, Scratch,

993
00:49:35,840 --> 00:49:38,640
Speaker 4: here's the idea we got, see what you can do

994
00:49:38,680 --> 00:49:41,680
Speaker 4: with that. And that's when the famous scratches from what

995
00:49:41,760 --> 00:49:43,640
Speaker 4: you're saying happened, you know, because it was plain.

996
00:49:44,239 --> 00:49:47,399
Speaker 2: I only asked that because I tease bow legging loud.

997
00:49:47,480 --> 00:49:50,840
Speaker 2: To this day, I don't care what he tells me, Like,

998
00:49:50,880 --> 00:49:53,600
Speaker 2: there's no way he could convince me that doctor Ice

999
00:49:54,520 --> 00:49:58,399
Speaker 2: was that precise on every cut and scratch on those

1000
00:49:58,480 --> 00:49:59,440
Speaker 2: UTFO records.

1001
00:49:59,480 --> 00:50:01,279
Speaker 1: I was like, come on, y'all, you know, good one.

1002
00:50:01,360 --> 00:50:03,440
Speaker 1: You sampled Leader of the Pack.

1003
00:50:03,719 --> 00:50:08,200
Speaker 2: And hell yeah, but how do you know that, dude,

1004
00:50:08,239 --> 00:50:09,360
Speaker 2: I'm a historian.

1005
00:50:11,040 --> 00:50:14,680
Speaker 3: He did, he did, he did sample, he sampled them.

1006
00:50:14,840 --> 00:50:17,800
Speaker 2: Before I'm in the game. I study the game, Okay,

1007
00:50:17,800 --> 00:50:22,000
Speaker 2: so that's how I do it. Steezo working here at

1008
00:50:22,040 --> 00:50:28,600
Speaker 2: the Tonight Show, oftentimes when Steve Martin comes on the show,

1009
00:50:29,719 --> 00:50:33,279
Speaker 2: we play his song for him every time once the

1010
00:50:33,360 --> 00:50:38,200
Speaker 2: Prescott win. That the Roots custom do songs like the

1011
00:50:38,239 --> 00:50:40,520
Speaker 2: walkout song was just as important.

1012
00:50:40,080 --> 00:50:41,120
Speaker 1: As the interview.

1013
00:50:42,080 --> 00:50:45,759
Speaker 2: And Steve Martin was one of those people that was

1014
00:50:45,800 --> 00:50:48,319
Speaker 2: like always wanted to know, like what do the Roots

1015
00:50:48,320 --> 00:50:51,080
Speaker 2: play when I come out and they hear the same

1016
00:50:51,120 --> 00:50:58,879
Speaker 2: old odi this reading And I told him, I was like, yo,

1017
00:50:58,960 --> 00:51:00,920
Speaker 2: are you even aware that you're a part of hip

1018
00:51:00,920 --> 00:51:01,560
Speaker 2: hop culture?

1019
00:51:02,560 --> 00:51:04,439
Speaker 1: And He's like, no, what do you mean?

1020
00:51:04,560 --> 00:51:08,200
Speaker 2: And I was like, one of the most popular dances

1021
00:51:08,239 --> 00:51:12,319
Speaker 2: of our era is the Steve Martin Martin So number one?

1022
00:51:13,160 --> 00:51:15,839
Speaker 2: How is that dance to Steve Martin? And I've not

1023
00:51:15,960 --> 00:51:17,879
Speaker 2: seen Steve Martin? Did he do it in the jerk?

1024
00:51:17,920 --> 00:51:18,600
Speaker 2: And I missed it?

1025
00:51:18,640 --> 00:51:21,840
Speaker 4: Like nah, No, it was just THESEO just called the

1026
00:51:21,960 --> 00:51:25,640
Speaker 4: record that when he heard them, Ben Ben Ben, he

1027
00:51:25,800 --> 00:51:29,080
Speaker 4: just made them say whatever because he's the one that

1028
00:51:29,200 --> 00:51:31,799
Speaker 4: had the Steve Martin idea. He was like called the

1029
00:51:31,840 --> 00:51:34,320
Speaker 4: Steve Martin he said, trust me because he wanted to

1030
00:51:34,360 --> 00:51:37,600
Speaker 4: have a dance for himself because after you got to Chipto,

1031
00:51:37,880 --> 00:51:39,200
Speaker 4: he wanted to you know what I'm saying, like, yo,

1032
00:51:39,320 --> 00:51:41,480
Speaker 4: people know me for this other dance, let me come

1033
00:51:41,560 --> 00:51:42,280
Speaker 4: up with something else.

1034
00:51:42,840 --> 00:51:44,759
Speaker 3: So he named it that, so we wrote it.

1035
00:51:44,920 --> 00:51:47,600
Speaker 1: So he just named it the Steve Martin he.

1036
00:51:47,719 --> 00:51:49,080
Speaker 3: Named it and we wrote it.

1037
00:51:51,440 --> 00:51:54,320
Speaker 2: Did you have anything to do with his first solo

1038
00:51:54,360 --> 00:51:57,080
Speaker 2: record or with It's My Turn or anything?

1039
00:51:57,560 --> 00:52:01,040
Speaker 4: No, I think that him and Paris had fell out.

1040
00:52:01,440 --> 00:52:04,719
Speaker 4: So because again, don't forget, Craig Matt was supposed to

1041
00:52:04,719 --> 00:52:05,520
Speaker 4: be with us too.

1042
00:52:05,680 --> 00:52:07,080
Speaker 3: So Craig Matts.

1043
00:52:06,800 --> 00:52:10,920
Speaker 5: If you know the Zoomzo Matt story, when E P

1044
00:52:11,080 --> 00:52:15,320
Speaker 5: and D broke up, that busts everything from him because

1045
00:52:15,360 --> 00:52:18,440
Speaker 5: there was nothing for him to attach to the dreams

1046
00:52:18,480 --> 00:52:20,959
Speaker 5: that he had to go with the hit squad because

1047
00:52:21,000 --> 00:52:22,200
Speaker 5: that's what he was doing.

1048
00:52:22,239 --> 00:52:25,239
Speaker 4: The fun forget the funk that Craig Matt was doing

1049
00:52:25,520 --> 00:52:28,520
Speaker 4: was like, nah, it's erkan. I wanted to be here.

1050
00:52:28,880 --> 00:52:31,840
Speaker 4: But since the group broke up, years went by. Alvin

1051
00:52:31,920 --> 00:52:34,400
Speaker 4: Tony God bent to dead, brought him to Puffy, but

1052
00:52:34,560 --> 00:52:38,319
Speaker 4: as far as THEEZO, he went on and did what

1053
00:52:38,400 --> 00:52:42,000
Speaker 4: Craig did, trying to do something to show us right

1054
00:52:42,560 --> 00:52:44,880
Speaker 4: but then when him and fathers fell out, I was like, Okay,

1055
00:52:45,040 --> 00:52:48,000
Speaker 4: it's my term or it's my thing, is my term?

1056
00:52:48,440 --> 00:52:48,879
Speaker 1: Got it?

1057
00:52:49,120 --> 00:52:52,759
Speaker 3: And so what you're saying when you hear saying some

1058
00:52:53,000 --> 00:52:54,640
Speaker 3: get them you was hired.

1059
00:52:55,600 --> 00:53:02,040
Speaker 1: Right, Yeah, Paris went adham, I see because the.

1060
00:53:02,040 --> 00:53:04,600
Speaker 3: Pits boy, it was high, so you don't really hear

1061
00:53:04,640 --> 00:53:05,760
Speaker 3: it until I tell.

1062
00:53:05,640 --> 00:53:10,080
Speaker 1: You now, got it? Okay? I didn't know that. All right,

1063
00:53:10,239 --> 00:53:11,319
Speaker 1: let's get into it. Man.

1064
00:53:11,880 --> 00:53:14,919
Speaker 2: You had too much to drink. So did y'all turn

1065
00:53:14,920 --> 00:53:17,560
Speaker 2: the record in? It was like, yo, tone Logan is

1066
00:53:17,600 --> 00:53:19,720
Speaker 2: doing some crazy numbers. Y'all need a pop single?

1067
00:53:20,640 --> 00:53:23,839
Speaker 3: Like what you said to.

1068
00:53:24,680 --> 00:53:27,040
Speaker 1: You know something weird? I'm gonna tell you something.

1069
00:53:27,760 --> 00:53:31,320
Speaker 2: One of the biggest responses and this was like, maybe

1070
00:53:31,600 --> 00:53:34,320
Speaker 2: I know it's beyond twenty ten, so maybe like twenty

1071
00:53:34,360 --> 00:53:35,080
Speaker 2: twelve or whatever.

1072
00:53:35,640 --> 00:53:36,080
Speaker 3: Okay.

1073
00:53:36,280 --> 00:53:38,480
Speaker 1: I was doing a fast wrap set.

1074
00:53:38,680 --> 00:53:41,080
Speaker 2: Okay, shit had to be over like one hundred and

1075
00:53:41,120 --> 00:53:43,680
Speaker 2: eighteen beast for men's playing a lot of hip hop,

1076
00:53:43,719 --> 00:53:46,120
Speaker 2: house and move jump jack your body and all that stuff.

1077
00:53:46,719 --> 00:53:49,880
Speaker 1: And I saw you had too much to drink, and

1078
00:53:49,960 --> 00:53:50,319
Speaker 1: I was.

1079
00:53:50,360 --> 00:53:52,760
Speaker 3: Like, you better not have you better play the first

1080
00:53:53,280 --> 00:53:53,640
Speaker 3: you want to.

1081
00:53:53,640 --> 00:53:57,520
Speaker 2: Know it's funny I put it on and in the

1082
00:53:57,600 --> 00:54:01,200
Speaker 2: age of irony, way like you do understand now that

1083
00:54:01,640 --> 00:54:05,520
Speaker 2: whatever we consider like when I DJ now and I

1084
00:54:05,560 --> 00:54:10,719
Speaker 2: spend ice Ice Baby like anything that I wouldn't normally

1085
00:54:10,880 --> 00:54:15,680
Speaker 2: touch back in eighty nine, ninety ninety one, ninety two,

1086
00:54:17,080 --> 00:54:19,879
Speaker 2: like I play it now and it's like I put

1087
00:54:19,960 --> 00:54:24,319
Speaker 2: Michael Jackson on like people just like I put you

1088
00:54:24,320 --> 00:54:26,680
Speaker 2: had too Much to Drink on and motherfuckers started doing

1089
00:54:26,680 --> 00:54:29,520
Speaker 2: the Carlton to it, like were you guys forced to

1090
00:54:29,560 --> 00:54:32,160
Speaker 2: do you had to much to drink and it's time

1091
00:54:32,200 --> 00:54:32,680
Speaker 2: to party?

1092
00:54:32,960 --> 00:54:35,120
Speaker 4: No, No, it's time and party wasn't forced because I think

1093
00:54:35,160 --> 00:54:39,480
Speaker 4: that back then a hip hop if you know, everybody.

1094
00:54:38,960 --> 00:54:42,279
Speaker 3: Had a dance re kid like doing Yeah, had a

1095
00:54:42,320 --> 00:54:43,040
Speaker 3: house doing.

1096
00:54:43,080 --> 00:54:46,480
Speaker 2: And even with I'm Mad remix I'm so mad you

1097
00:54:46,520 --> 00:54:47,000
Speaker 2: did that?

1098
00:54:47,560 --> 00:54:50,400
Speaker 3: I didn't do that. Scratch bring that to the table

1099
00:54:50,440 --> 00:54:55,000
Speaker 3: with the so yeah yeah yeah, yeah, yeah yeah yeah

1100
00:54:55,040 --> 00:54:59,439
Speaker 3: boom boom boom boom boom. That was Scratch's remix.

1101
00:55:00,040 --> 00:55:01,279
Speaker 1: Tell you Oh God.

1102
00:55:02,160 --> 00:55:05,319
Speaker 2: One of the very first roots demos was based on

1103
00:55:06,080 --> 00:55:10,080
Speaker 2: so Who's Pal Joey's Hot New music Wow?

1104
00:55:10,400 --> 00:55:12,280
Speaker 1: And we were in a club we heard that ship

1105
00:55:12,280 --> 00:55:12,719
Speaker 1: and I was.

1106
00:55:12,680 --> 00:55:18,040
Speaker 3: Like a damn y yeah, y'all. I think Scratch knew

1107
00:55:18,120 --> 00:55:20,879
Speaker 3: like you knew person who knew music knew records because

1108
00:55:20,880 --> 00:55:21,799
Speaker 3: we didn't know what it was.

1109
00:55:22,200 --> 00:55:23,960
Speaker 4: But but we were like, yo, it doesn't sound bad,

1110
00:55:24,000 --> 00:55:26,560
Speaker 4: so we used it. But as far as it's time

1111
00:55:26,600 --> 00:55:28,520
Speaker 4: to party, you're talking about that.

1112
00:55:29,239 --> 00:55:34,880
Speaker 3: Boom that was a huge, huge record, hip hop or not,

1113
00:55:35,320 --> 00:55:37,120
Speaker 3: so we wasn't too mad about that.

1114
00:55:37,239 --> 00:55:40,799
Speaker 4: But that time the party came from Russell. Because of

1115
00:55:40,840 --> 00:55:44,880
Speaker 4: run DMC making the rock boxes and all the Mary

1116
00:55:44,960 --> 00:55:46,200
Speaker 4: Mary's and all that type of stuff.

1117
00:55:46,440 --> 00:55:47,560
Speaker 1: I was gonna say, he wants you to do a

1118
00:55:47,640 --> 00:55:48,920
Speaker 1: DJ Hollywood.

1119
00:55:48,480 --> 00:55:54,120
Speaker 4: Record exactly that was, and then he had the nerve

1120
00:55:54,200 --> 00:55:57,640
Speaker 4: to say, Yo, we're gonna shoot the video. You going

1121
00:55:57,800 --> 00:56:01,400
Speaker 4: next all, Oh yeah, we're gonna have Llokuje come down too.

1122
00:56:01,719 --> 00:56:05,560
Speaker 4: That's why loing video and such so, and then going

1123
00:56:05,680 --> 00:56:08,640
Speaker 4: back to Cali all this stuff, I'm like, Yo, I'm

1124
00:56:08,680 --> 00:56:12,680
Speaker 4: like and listen, man, I'm glad people that listened to

1125
00:56:12,719 --> 00:56:15,399
Speaker 4: the record took it as a joke kind of because

1126
00:56:15,440 --> 00:56:20,279
Speaker 4: the video was funny and the you know, the yes,

1127
00:56:20,480 --> 00:56:23,640
Speaker 4: so it wasn't ticket seriously, so it was like n

1128
00:56:23,760 --> 00:56:27,120
Speaker 4: w A doing the shit they did in their records, you.

1129
00:56:27,080 --> 00:56:30,359
Speaker 2: Know, dude, Well, I mean at the time, it got

1130
00:56:30,400 --> 00:56:34,719
Speaker 2: a lot of play on the Box, all right, So

1131
00:56:34,840 --> 00:56:35,720
Speaker 2: our listeners out.

1132
00:56:35,640 --> 00:56:38,239
Speaker 3: Give remember the Box. Yeah, a lot of put in

1133
00:56:38,280 --> 00:56:41,640
Speaker 3: the box it got, all right, So the big payback too.

1134
00:56:41,880 --> 00:56:46,040
Speaker 2: There's a moment between like eighty nine, maybe like ninety

1135
00:56:46,040 --> 00:56:49,680
Speaker 2: four ninety five. The closest thing we had to YouTube

1136
00:56:50,640 --> 00:56:53,920
Speaker 2: was a channel called The Box, which was basically it

1137
00:56:53,960 --> 00:56:54,680
Speaker 2: was a jukebox.

1138
00:56:54,680 --> 00:56:55,239
Speaker 1: Like you go to this.

1139
00:56:55,360 --> 00:56:58,759
Speaker 2: Channel and you call it number yes or a dollar

1140
00:56:58,880 --> 00:57:01,160
Speaker 2: seventy five, they will play your video.

1141
00:57:01,200 --> 00:57:03,280
Speaker 1: Now you just go on YouTube and watch a video.

1142
00:57:03,360 --> 00:57:06,160
Speaker 2: But a lot of people credit that a lot of

1143
00:57:06,400 --> 00:57:09,520
Speaker 2: regional rap that wasn't going to get play.

1144
00:57:09,360 --> 00:57:13,319
Speaker 1: On beet or MTV Found Life here.

1145
00:57:13,360 --> 00:57:15,840
Speaker 2: This is why I credit the Box for like the

1146
00:57:15,880 --> 00:57:19,520
Speaker 2: popularity of Two Live Crew because you couldn't see their

1147
00:57:19,600 --> 00:57:23,960
Speaker 2: videos on MTV like that, right, or us really getting

1148
00:57:23,960 --> 00:57:25,479
Speaker 2: to know the Ghetto boys, or a lot of West

1149
00:57:25,480 --> 00:57:26,800
Speaker 2: Coast acts that we weren't up.

1150
00:57:27,760 --> 00:57:30,360
Speaker 1: Yes, yes, the Box is what did that.

1151
00:57:30,440 --> 00:57:35,440
Speaker 2: But yes, someone loved y'all a lot in the Philadelphia area.

1152
00:57:36,240 --> 00:57:40,040
Speaker 2: I probably saw you had too much to drink, probably

1153
00:57:40,200 --> 00:57:43,760
Speaker 2: more than I seen. So what you say in video.

1154
00:57:43,840 --> 00:57:47,000
Speaker 2: Oh way, dude, that's how I knew to ask it, yo,

1155
00:57:47,160 --> 00:57:49,320
Speaker 2: Like it just came on all the time.

1156
00:57:49,520 --> 00:57:49,760
Speaker 3: Wow.

1157
00:57:50,920 --> 00:57:55,120
Speaker 2: So speaking of ll, can you explain the Rampage video now?

1158
00:57:55,320 --> 00:57:59,480
Speaker 2: LLLL claims that is him in that chair in the

1159
00:57:59,560 --> 00:58:05,120
Speaker 2: Rampage video in the silhouette. Yeah, but what happened in

1160
00:58:05,160 --> 00:58:08,040
Speaker 2: the ram page video that LLLL just wasn't out front

1161
00:58:08,040 --> 00:58:08,760
Speaker 2: with the you two.

1162
00:58:09,720 --> 00:58:12,640
Speaker 4: It's so crazy because Llo had dropped the album before that,

1163
00:58:12,680 --> 00:58:15,360
Speaker 4: and the album didn't pop off like that. So what

1164
00:58:15,440 --> 00:58:19,560
Speaker 4: happened was I heard that Russell was like, yo, go

1165
00:58:19,640 --> 00:58:22,600
Speaker 4: hang with parishing them. So that's what he did. He

1166
00:58:22,720 --> 00:58:26,439
Speaker 4: befriended them to get his street se right. So once

1167
00:58:26,520 --> 00:58:28,640
Speaker 4: he you know him in past was more tight than

1168
00:58:28,680 --> 00:58:30,000
Speaker 4: me and him. But we was all close.

1169
00:58:30,440 --> 00:58:32,440
Speaker 3: And it was in the l O COOJ Tour two

1170
00:58:32,440 --> 00:58:35,439
Speaker 3: in eighty nine though, too, so so you know we

1171
00:58:35,440 --> 00:58:36,520
Speaker 3: was always friends.

1172
00:58:37,000 --> 00:58:40,800
Speaker 4: But so when Llo got the Mally album Get Ready

1173
00:58:40,840 --> 00:58:43,320
Speaker 4: to Come, He's in his prime. You know what is

1174
00:58:43,360 --> 00:58:46,200
Speaker 4: the panther animal that kills I'm like a blow shot

1175
00:58:46,280 --> 00:58:48,640
Speaker 4: coming out, so so breaking Dorner is coming the whole

1176
00:58:48,720 --> 00:58:52,200
Speaker 4: night and he coming right all of a sudden, we

1177
00:58:52,400 --> 00:58:57,160
Speaker 4: get ready to shoot rampage. So he says, yo, man,

1178
00:58:57,640 --> 00:58:59,560
Speaker 4: my manage met my dad said, you know, I'm about

1179
00:58:59,560 --> 00:59:00,000
Speaker 4: to come out.

1180
00:59:00,400 --> 00:59:04,240
Speaker 3: I shouldn't be seen yet. So we felt like, God, damn,

1181
00:59:04,240 --> 00:59:07,800
Speaker 3: you didn't came and you then you know.

1182
00:59:07,560 --> 00:59:09,720
Speaker 1: This this was his best verse ever, right.

1183
00:59:09,640 --> 00:59:13,720
Speaker 4: So he was like he ain't coming. So I told

1184
00:59:13,800 --> 00:59:17,160
Speaker 4: Russell yo, on the strength of Russ. I don't know

1185
00:59:17,200 --> 00:59:18,560
Speaker 4: what's going on, but I know the el but to

1186
00:59:18,560 --> 00:59:21,080
Speaker 4: be down here to this video and people, now, I

1187
00:59:21,200 --> 00:59:23,320
Speaker 4: was mad the whole video set. I was kind of

1188
00:59:23,360 --> 00:59:26,040
Speaker 4: upset though, because I wouldn't figure it would even be

1189
00:59:26,120 --> 00:59:31,520
Speaker 4: a problem, right comes it comes late and he's like, yo,

1190
00:59:32,120 --> 00:59:33,280
Speaker 4: I can get in it. But I got to be

1191
00:59:33,320 --> 00:59:37,720
Speaker 4: in a silhouette. So now I'm really man now, like

1192
00:59:37,920 --> 00:59:41,880
Speaker 4: extra man. But we had no choice, and I thought

1193
00:59:41,880 --> 00:59:43,920
Speaker 4: that Russell them would have put their foot down like

1194
00:59:44,200 --> 00:59:44,520
Speaker 4: yo and.

1195
00:59:44,640 --> 00:59:47,240
Speaker 3: Be like yo this he signed to you, you know,

1196
00:59:47,400 --> 00:59:48,240
Speaker 3: while are we doing this?

1197
00:59:48,360 --> 00:59:52,480
Speaker 4: But again everything had to go so and again this

1198
00:59:52,640 --> 00:59:54,680
Speaker 4: was when you know, Jennifer Lopez was one of the

1199
00:59:54,760 --> 00:59:56,920
Speaker 4: dances in the video at the time.

1200
00:59:57,280 --> 00:59:59,160
Speaker 1: So I did not know that.

1201
00:59:59,400 --> 01:00:00,400
Speaker 3: Yeah, if you got the.

1202
01:00:00,360 --> 01:00:03,640
Speaker 4: Videos, she has on Paris's face and the other girl

1203
01:00:03,640 --> 01:00:05,880
Speaker 4: has my face on the shirt that's.

1204
01:00:05,640 --> 01:00:09,080
Speaker 3: J Loo dancing, So damn okay.

1205
01:00:09,520 --> 01:00:12,200
Speaker 4: There was a bunch of people around that was like

1206
01:00:12,240 --> 01:00:14,240
Speaker 4: you know, around the set, and it was like, okay,

1207
01:00:14,280 --> 01:00:17,040
Speaker 4: well this got to get done because again, if we

1208
01:00:17,120 --> 01:00:18,840
Speaker 4: don't do it, then it's gonna be wasting a video.

1209
01:00:19,360 --> 01:00:21,520
Speaker 4: So we did what we had to do and that's

1210
01:00:21,560 --> 01:00:24,120
Speaker 4: what But you know, you can if you know l

1211
01:00:24,280 --> 01:00:25,360
Speaker 4: you can see the silhouette.

1212
01:00:25,400 --> 01:00:27,320
Speaker 3: You can see his movement and how it is.

1213
01:00:27,360 --> 01:00:29,480
Speaker 4: You know, it'say, that was not a body double, right,

1214
01:00:29,800 --> 01:00:33,680
Speaker 4: so for people to dig question like who is it?

1215
01:00:33,720 --> 01:00:35,400
Speaker 4: And that was the messed up party by it like

1216
01:00:35,520 --> 01:00:38,200
Speaker 4: dag Man. And then today when people ask you what's

1217
01:00:38,240 --> 01:00:41,280
Speaker 4: your favorite verse, you mentioned that, you know, and that's

1218
01:00:41,320 --> 01:00:42,000
Speaker 4: the weird part.

1219
01:00:42,120 --> 01:00:42,800
Speaker 3: It's crazy.

1220
01:00:43,160 --> 01:00:47,560
Speaker 2: That verse was one of his greatest endings ever. If

1221
01:00:47,600 --> 01:00:50,560
Speaker 2: there ever was the genesis of a mic drop moment

1222
01:00:50,720 --> 01:00:54,120
Speaker 2: after a verse, that verse was it? How long did

1223
01:00:54,120 --> 01:00:57,439
Speaker 2: it take for y'all to get that verse out of him?

1224
01:00:57,600 --> 01:00:58,280
Speaker 3: I wasn't there.

1225
01:00:58,800 --> 01:01:02,200
Speaker 4: Don't forget there's a version out there that God best

1226
01:01:02,240 --> 01:01:04,520
Speaker 4: the dead while mister c is going to in Clark

1227
01:01:04,600 --> 01:01:07,200
Speaker 4: can going, but they both would play.

1228
01:01:07,000 --> 01:01:10,280
Speaker 3: The version that the beat was different. It didn't have

1229
01:01:10,480 --> 01:01:13,560
Speaker 3: tramp in it yet it had the drums from BT

1230
01:01:13,760 --> 01:01:17,720
Speaker 3: Express in it because the drums that's over the tramp

1231
01:01:17,920 --> 01:01:23,360
Speaker 3: beat is what it was with the baseline. Yeah, yep,

1232
01:01:23,720 --> 01:01:28,800
Speaker 3: right on that NonStop album. Yes, that was playing. So

1233
01:01:29,080 --> 01:01:31,920
Speaker 3: it was only l O, Cuj and Parish in the

1234
01:01:31,960 --> 01:01:34,439
Speaker 3: studio with different vocals. It's out there.

1235
01:01:34,720 --> 01:01:37,000
Speaker 1: How do they get that version they.

1236
01:01:36,880 --> 01:01:39,200
Speaker 3: Started with that version first? I wasn't there.

1237
01:01:39,560 --> 01:01:41,840
Speaker 1: How did DJs get that version if it was never

1238
01:01:41,880 --> 01:01:42,440
Speaker 1: printed up?

1239
01:01:42,720 --> 01:01:43,960
Speaker 3: Somebody leaped it and gave it to them.

1240
01:01:43,960 --> 01:01:48,200
Speaker 4: Somebody they had it, They had it early so and

1241
01:01:48,200 --> 01:01:50,160
Speaker 4: it couldn't pay from anybody our power play.

1242
01:01:50,360 --> 01:01:53,760
Speaker 2: What made y'all change to the tramp loop instead got

1243
01:01:53,880 --> 01:02:00,120
Speaker 2: you another thing? My favorite Peate rock moment. I'm sorry,

1244
01:02:00,600 --> 01:02:03,560
Speaker 2: my second favorite Pete rock moment of all time, because

1245
01:02:04,360 --> 01:02:07,400
Speaker 2: nothing will ever describe what it was like hearing the

1246
01:02:07,400 --> 01:02:10,959
Speaker 2: shut Him Down remix for the first time. I didn't

1247
01:02:10,960 --> 01:02:13,840
Speaker 2: see that shit coming, right, But I gotta tell you,

1248
01:02:14,960 --> 01:02:20,920
Speaker 2: the first time I heard Rampage in a nightclub was

1249
01:02:20,960 --> 01:02:25,720
Speaker 2: the p Rock remix version Stop Lying Dog Boom boo.

1250
01:02:27,360 --> 01:02:33,640
Speaker 2: Oh my god, that song does not get enough respect.

1251
01:02:33,840 --> 01:02:36,280
Speaker 2: I'm shocked that def jam let y'all get it, because

1252
01:02:36,360 --> 01:02:39,560
Speaker 2: Rampage twelve inch was a rarity in which there was

1253
01:02:39,640 --> 01:02:45,080
Speaker 2: like five selections on each side. Okay, so the grooves

1254
01:02:45,120 --> 01:02:50,800
Speaker 2: is smaller, okay, But for me, that remix of Rampage,

1255
01:02:50,920 --> 01:02:55,920
Speaker 2: the p Rock remix of Rampage is my second favorite

1256
01:02:55,960 --> 01:03:00,400
Speaker 2: all time Pete Rock creations. And that's no way because

1257
01:03:00,480 --> 01:03:03,480
Speaker 2: that was before he was air quote Peat Rock.

1258
01:03:04,000 --> 01:03:05,000
Speaker 1: How did y'all even?

1259
01:03:05,520 --> 01:03:05,720
Speaker 3: Yeah?

1260
01:03:05,760 --> 01:03:08,800
Speaker 4: But he was still doing the remixes though, because again

1261
01:03:09,080 --> 01:03:13,680
Speaker 4: was he because because because Rampays is ninety one, so whatever,

1262
01:03:13,720 --> 01:03:16,680
Speaker 4: But it was something else that Pete. We got to

1263
01:03:16,720 --> 01:03:18,800
Speaker 4: look up ninety one People Rock and see what he

1264
01:03:18,880 --> 01:03:21,680
Speaker 4: was doing, because it wasn't just people I can see

1265
01:03:21,720 --> 01:03:23,479
Speaker 4: us move yet that they didn't come out yet.

1266
01:03:23,720 --> 01:03:25,320
Speaker 2: The first time I heard of Pete Rock was the

1267
01:03:25,400 --> 01:03:27,600
Speaker 2: ramp Pays remix. I didn't even know that he had

1268
01:03:27,600 --> 01:03:28,000
Speaker 2: a group.

1269
01:03:28,080 --> 01:03:29,040
Speaker 1: Well, you know.

1270
01:03:29,000 --> 01:03:31,520
Speaker 3: What, I had to find him from somewhere. We had

1271
01:03:31,520 --> 01:03:34,520
Speaker 3: to look it up, see what was out there. I'm

1272
01:03:34,640 --> 01:03:40,040
Speaker 3: looking out there, I'm looking up and yo, like nineteen

1273
01:03:40,120 --> 01:03:41,000
Speaker 3: ninety one People Rock.

1274
01:03:41,080 --> 01:03:44,840
Speaker 2: Business as Usual came out in nineteen ninety all right,

1275
01:03:44,880 --> 01:03:48,400
Speaker 2: So granted December eighteenth, nineteen ninety so yes, right, the

1276
01:03:48,440 --> 01:03:51,760
Speaker 2: single came out in nineteen ninety one. But the very

1277
01:03:51,840 --> 01:03:54,440
Speaker 2: first time I heard of Pete Rock was that remix,

1278
01:03:54,640 --> 01:03:57,360
Speaker 2: because I was like, yo, I didn't even know that

1279
01:03:57,480 --> 01:03:59,680
Speaker 2: Eric got down with the RAFFI came drums like that

1280
01:03:59,800 --> 01:04:01,280
Speaker 2: like that to me was like.

1281
01:04:01,640 --> 01:04:04,040
Speaker 3: Okay, but listen, but it don't show nothing else of

1282
01:04:04,120 --> 01:04:05,160
Speaker 3: him the.

1283
01:04:05,120 --> 01:04:07,040
Speaker 1: Creator and all that stuff will come out later.

1284
01:04:07,680 --> 01:04:10,280
Speaker 3: But no, I'm talking about ninth. When you're saying that

1285
01:04:10,400 --> 01:04:12,040
Speaker 3: e pm D remix.

1286
01:04:12,000 --> 01:04:14,760
Speaker 1: Or awesome ful film, how did I find them? Dude?

1287
01:04:15,000 --> 01:04:17,760
Speaker 2: Like I brought that When I heard that song, I

1288
01:04:17,840 --> 01:04:20,680
Speaker 2: went and got the twelve inch. It's all p rock

1289
01:04:20,920 --> 01:04:23,880
Speaker 2: hit to the head, hardcore remix or whatever. And that's

1290
01:04:23,920 --> 01:04:25,480
Speaker 2: how I got introduced to Pete Rock.

1291
01:04:25,560 --> 01:04:27,840
Speaker 3: Hey, you know what, it wasn't even me, it probably was.

1292
01:04:28,000 --> 01:04:30,200
Speaker 4: It was a death Jam thing because I wasn't in

1293
01:04:30,280 --> 01:04:32,360
Speaker 4: it like that to be going and hit and find

1294
01:04:32,400 --> 01:04:32,840
Speaker 4: him whatever.

1295
01:04:33,200 --> 01:04:36,920
Speaker 3: Somebody at Death Jam found him.

1296
01:04:36,200 --> 01:04:36,560
Speaker 1: Got it.

1297
01:04:37,000 --> 01:04:40,760
Speaker 2: So how did you guys wind up leaving Sleeping Back

1298
01:04:40,800 --> 01:04:41,640
Speaker 2: to go to Death Jam.

1299
01:04:42,440 --> 01:04:45,439
Speaker 4: Yeah, Russell did the audit on them because they knew

1300
01:04:45,440 --> 01:04:46,280
Speaker 4: things wasn't right.

1301
01:04:46,760 --> 01:04:48,840
Speaker 3: You know, E p D was selling all these records.

1302
01:04:49,160 --> 01:04:50,200
Speaker 3: We didn't have nothing.

1303
01:04:50,640 --> 01:04:53,200
Speaker 4: They up there with new Deaths and jeeps and soap

1304
01:04:53,320 --> 01:04:56,960
Speaker 4: us and shit. So Russell and Russell wanted what he wanted.

1305
01:04:57,120 --> 01:04:59,880
Speaker 4: Because even with the tour, when when Run said, Yo,

1306
01:05:00,040 --> 01:05:02,840
Speaker 4: go get them new boys, like Run did that? Run

1307
01:05:02,880 --> 01:05:04,880
Speaker 4: got us out there. And then when it was time,

1308
01:05:04,920 --> 01:05:07,439
Speaker 4: when they saw that how we was moving, they knew

1309
01:05:07,440 --> 01:05:10,640
Speaker 4: that we was the new So Russell was like yo,

1310
01:05:10,680 --> 01:05:13,160
Speaker 4: because we was all on Rush management. That's why when

1311
01:05:13,200 --> 01:05:15,360
Speaker 4: you asked a question about the helicopter and all that

1312
01:05:15,360 --> 01:05:17,720
Speaker 4: type of stuff, this is Rush management. Ain't nobody bigger

1313
01:05:17,760 --> 01:05:21,400
Speaker 4: than them. So all Rush acts were different. They were

1314
01:05:21,440 --> 01:05:22,880
Speaker 4: different with Leo or Russell.

1315
01:05:27,800 --> 01:05:31,840
Speaker 2: The only person I've interviewed on this platform about his

1316
01:05:32,000 --> 01:05:35,600
Speaker 2: car game was Biz. This will be like I was

1317
01:05:35,640 --> 01:05:39,160
Speaker 2: the first one with I was the first one. But

1318
01:05:39,360 --> 01:05:41,800
Speaker 2: I have to say that, even though I'm not a

1319
01:05:41,920 --> 01:05:46,880
Speaker 2: car dude per se, that the Unfinished Business album cover

1320
01:05:48,160 --> 01:05:54,760
Speaker 2: is a rather iconic hip hop photo for just the

1321
01:05:54,800 --> 01:06:01,000
Speaker 2: b boys stance, the nikes, you'll rocking whatever. Yeah, the

1322
01:06:01,000 --> 01:06:05,840
Speaker 2: bucket has all this stuff. So by that point, were

1323
01:06:05,880 --> 01:06:11,640
Speaker 2: you satisfied with the way that life was going.

1324
01:06:12,280 --> 01:06:15,000
Speaker 4: We were still young, because I'm an eighteen year old kid.

1325
01:06:15,080 --> 01:06:17,280
Speaker 4: So at the end of the day, I still know

1326
01:06:17,360 --> 01:06:20,080
Speaker 4: what's going on. I'm in there with Will Smith. Will's

1327
01:06:20,160 --> 01:06:22,000
Speaker 4: telling me that, you know, I'm about to be a

1328
01:06:22,000 --> 01:06:25,960
Speaker 4: big actor. I'm like for real, Like he was speaking

1329
01:06:26,040 --> 01:06:28,160
Speaker 4: like this in eighty eight. But we was in the

1330
01:06:28,200 --> 01:06:33,560
Speaker 4: backstage playing basketball, so certain things that you would think that.

1331
01:06:33,840 --> 01:06:36,959
Speaker 4: But when the second album came and we went number

1332
01:06:36,960 --> 01:06:39,600
Speaker 4: one again, we still didn't really get it because we'll

1333
01:06:39,880 --> 01:06:43,280
Speaker 4: announced on stage when to graduate EPDEP or second on

1334
01:06:43,400 --> 01:06:45,400
Speaker 4: one album in the row, like you know whatever, whatever.

1335
01:06:45,440 --> 01:06:47,360
Speaker 3: We didn't even know what they was talking about. So

1336
01:06:47,640 --> 01:06:50,560
Speaker 3: we didn't. Don't forget. We was getting jerked the first

1337
01:06:50,600 --> 01:06:52,720
Speaker 3: two albums, so we didn't know. We know, we didn't

1338
01:06:52,960 --> 01:06:55,400
Speaker 3: have no money, but it was still we were still

1339
01:06:56,040 --> 01:06:59,160
Speaker 3: happy making records and being on tour. So the tour

1340
01:06:59,280 --> 01:07:01,760
Speaker 3: and then we had to I named Burt Padell. Don't forget.

1341
01:07:01,800 --> 01:07:04,680
Speaker 3: Burt Padell made everything right for all his artists.

1342
01:07:05,040 --> 01:07:08,360
Speaker 4: He was the number one account for every artist in

1343
01:07:08,640 --> 01:07:12,240
Speaker 4: New York, every major actor from the Narrow to Madonna

1344
01:07:12,360 --> 01:07:13,440
Speaker 4: to everybody was.

1345
01:07:13,480 --> 01:07:14,280
Speaker 3: All Burt Padell.

1346
01:07:14,760 --> 01:07:17,160
Speaker 4: So all the stuff you saw us where it was possible,

1347
01:07:17,440 --> 01:07:20,680
Speaker 4: the houses he got for us, the cars he got forced,

1348
01:07:21,040 --> 01:07:24,480
Speaker 4: so we didn't know that we didn't we wasn't getting

1349
01:07:24,520 --> 01:07:26,720
Speaker 4: it and we didn't have it until Russell came and

1350
01:07:27,040 --> 01:07:27,280
Speaker 4: ordered it.

1351
01:07:27,640 --> 01:07:28,360
Speaker 3: First records.

1352
01:07:29,080 --> 01:07:33,120
Speaker 2: What were those tours like in eighty eight eighty nine,

1353
01:07:33,440 --> 01:07:37,080
Speaker 2: those those nail tours? We ll, I don't know if

1354
01:07:37,120 --> 01:07:38,480
Speaker 2: you were on the Runs House, you were on the

1355
01:07:38,560 --> 01:07:39,120
Speaker 2: Runs House.

1356
01:07:39,720 --> 01:07:41,640
Speaker 3: All, yeah, that's the first one eighty eight, the first

1357
01:07:41,640 --> 01:07:43,640
Speaker 3: one that I've been on before before the fresh best.

1358
01:07:44,320 --> 01:07:46,000
Speaker 1: So tours are different now for us.

1359
01:07:46,200 --> 01:07:48,240
Speaker 2: I mean, you know, we're in a position now where

1360
01:07:49,240 --> 01:07:52,840
Speaker 2: you know, some of his assister on staying at you know,

1361
01:07:53,000 --> 01:07:55,680
Speaker 2: the highest level of four seasons and whatever, and you

1362
01:07:55,760 --> 01:07:57,720
Speaker 2: got to have a rider and your own tour bus

1363
01:07:57,840 --> 01:08:00,560
Speaker 2: and all those things. Right, I know things were different

1364
01:08:01,320 --> 01:08:05,200
Speaker 2: in the early dawning of the nineties. But were those

1365
01:08:05,360 --> 01:08:08,960
Speaker 2: tours genuinely fun for you? And what were other territories like?

1366
01:08:09,880 --> 01:08:13,440
Speaker 3: Again you were acting young kids, of course, it's exciting.

1367
01:08:13,920 --> 01:08:17,240
Speaker 4: The Runs House tour was very very respectful, very neat

1368
01:08:17,280 --> 01:08:20,320
Speaker 4: because it's run DMC. So it's run DMC Publican the

1369
01:08:20,439 --> 01:08:23,360
Speaker 4: me e pm DJ for the First Prince and sometimes

1370
01:08:23,400 --> 01:08:26,280
Speaker 4: SATs the Sonics, So again it was run DMC so

1371
01:08:26,520 --> 01:08:32,360
Speaker 4: everything was a plus l O COOJ tour e pm D,

1372
01:08:32,680 --> 01:08:35,240
Speaker 4: l O COO J, Big Daddy, King, Slick Rick. Of

1373
01:08:35,320 --> 01:08:38,320
Speaker 4: course it's Carl Blanc because it's still LLLL.

1374
01:08:38,240 --> 01:08:42,640
Speaker 3: But it's also Rush management, you know. So all the

1375
01:08:42,800 --> 01:08:43,719
Speaker 3: tours was dope.

1376
01:08:43,760 --> 01:08:47,840
Speaker 4: The mc hammer when we had the beef with him again,

1377
01:08:48,560 --> 01:08:51,080
Speaker 4: started off good MC Hammer e pm D. But but

1378
01:08:51,240 --> 01:08:53,439
Speaker 4: THELAS opening up, it started off good.

1379
01:08:53,760 --> 01:08:53,920
Speaker 3: You know.

1380
01:08:54,040 --> 01:08:57,320
Speaker 4: The DJ Quick tour was drama because every night they

1381
01:08:57,439 --> 01:09:01,080
Speaker 4: was coming for Quick. Every gang in the Kansas City

1382
01:09:01,280 --> 01:09:04,679
Speaker 4: or all them San Diego's with them gang Bingers is crazy.

1383
01:09:05,040 --> 01:09:06,200
Speaker 3: They was at Quick.

1384
01:09:06,320 --> 01:09:10,240
Speaker 4: So every time EPMD, DJ Quick, chump Rock and Gangsta

1385
01:09:10,600 --> 01:09:13,040
Speaker 4: and it was a problem almost every night.

1386
01:09:13,439 --> 01:09:13,719
Speaker 1: Okay.

1387
01:09:13,800 --> 01:09:16,479
Speaker 2: So the reason why I asked that question is because

1388
01:09:16,680 --> 01:09:22,839
Speaker 2: the only indication that I had about what tour life.

1389
01:09:22,720 --> 01:09:23,920
Speaker 1: Because the thing is the roots.

1390
01:09:25,240 --> 01:09:29,639
Speaker 2: Had the roots come out ten years beforehand, we would

1391
01:09:29,640 --> 01:09:33,320
Speaker 2: have been on this tour because our whole existence was

1392
01:09:33,439 --> 01:09:34,120
Speaker 2: living on the.

1393
01:09:34,240 --> 01:09:36,000
Speaker 1: Road two hundred and fifty plus days.

1394
01:09:36,520 --> 01:09:36,800
Speaker 3: Wow.

1395
01:09:36,840 --> 01:09:42,040
Speaker 2: So a lot of what I learned or thought about

1396
01:09:42,840 --> 01:09:46,600
Speaker 2: what life was like before ninety five touring was what

1397
01:09:46,760 --> 01:09:51,240
Speaker 2: I learned about DJ Quick rhyming on just like Compton

1398
01:09:51,800 --> 01:09:54,439
Speaker 2: what was the marketplace that you didn't like going to?

1399
01:09:54,680 --> 01:09:56,080
Speaker 1: Even at the height of EP and D.

1400
01:09:56,720 --> 01:09:59,920
Speaker 4: I tell you what, DC back in the early eighties,

1401
01:10:00,160 --> 01:10:02,439
Speaker 4: early nineties, you couldn't go there without a go go

1402
01:10:02,600 --> 01:10:03,479
Speaker 4: group being on the bill.

1403
01:10:04,320 --> 01:10:04,559
Speaker 1: Wow.

1404
01:10:04,760 --> 01:10:08,240
Speaker 4: If the things didn't change until until Puffy until ninety three,

1405
01:10:08,520 --> 01:10:11,679
Speaker 4: you could not go to DC and perform without having

1406
01:10:11,720 --> 01:10:14,320
Speaker 4: the go go band on your bill with you.

1407
01:10:15,360 --> 01:10:16,760
Speaker 1: Wow. It was like that.

1408
01:10:17,479 --> 01:10:19,800
Speaker 3: It didn't have it, and they had their own, their

1409
01:10:19,840 --> 01:10:22,439
Speaker 3: own market. The whole that I watched R Kelly one night,

1410
01:10:22,560 --> 01:10:26,519
Speaker 3: Nigga come on last behind what's that? What's that?

1411
01:10:27,000 --> 01:10:31,639
Speaker 2: The big band that was there, rare essence, backyard, your backyard,

1412
01:10:31,720 --> 01:10:32,200
Speaker 2: junk yard.

1413
01:10:32,320 --> 01:10:35,599
Speaker 3: Okay, they went on and all Kelly came on after him,

1414
01:10:35,680 --> 01:10:39,160
Speaker 3: and they was filing out by the hundreds. It's like

1415
01:10:39,280 --> 01:10:42,120
Speaker 3: that DC had their own culture language.

1416
01:10:42,439 --> 01:10:46,439
Speaker 4: It didn't change until bad Boy and Puffy's parties burned

1417
01:10:46,479 --> 01:10:48,720
Speaker 4: that to Howard got it?

1418
01:10:49,000 --> 01:10:50,040
Speaker 1: Okay, I see.

1419
01:10:50,280 --> 01:10:52,920
Speaker 4: But but as far as the other markets, the only

1420
01:10:53,160 --> 01:10:56,479
Speaker 4: market that E PMD has trouble in, and you would

1421
01:10:56,479 --> 01:10:59,160
Speaker 4: think that we was a brand new group even till

1422
01:10:59,720 --> 01:11:04,519
Speaker 4: five years ago, is New Orleans. It's a real different thing.

1423
01:11:04,600 --> 01:11:08,840
Speaker 4: It's different it's different, and think about two. They're coming

1424
01:11:08,880 --> 01:11:11,880
Speaker 4: to like fans like yo, whatever, they love.

1425
01:11:11,800 --> 01:11:15,920
Speaker 3: You, but we're not in that arena. I felt like

1426
01:11:16,040 --> 01:11:17,000
Speaker 3: I was a new rapper.

1427
01:11:19,360 --> 01:11:22,200
Speaker 6: Hey everybody, this is Sugar Steve of Questlove Supreme.

1428
01:11:22,680 --> 01:11:24,360
Speaker 3: Sorry to interrupt, but Eric.

1429
01:11:24,280 --> 01:11:27,800
Speaker 6: Shermon and Emir spoke for over three hours, so please

1430
01:11:27,840 --> 01:11:30,160
Speaker 6: come back next week or check your podcast feed for

1431
01:11:30,280 --> 01:11:33,519
Speaker 6: part two. In that episode, Eric reflects on working with

1432
01:11:33,640 --> 01:11:37,200
Speaker 6: Dos Effects, Redman, two Short, and more. He also speaks

1433
01:11:37,240 --> 01:11:41,280
Speaker 6: about sampling Roger Trautman for Crossover and share some superstars

1434
01:11:41,320 --> 01:11:43,320
Speaker 6: that have been asking him for beats as of late.

1435
01:11:43,920 --> 01:11:47,000
Speaker 6: Thanks so much, Happy New Year from Quest Love Supreme.

1436
01:11:52,280 --> 01:11:59,080
Speaker 1: West Love Supreme is a production of iHeart Radio. For

1437
01:11:59,240 --> 01:12:03,920
Speaker 1: more podcasts iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

1438
01:12:03,960 --> 01:12:05,599
Speaker 1: wherever you listen to your favorite shows.