Speaker 1: Quest Love Supreme is a production of iHeartRadio.
Speaker 2: Here we Go, Here we go, Ladies and gentlemen, we
Speaker 2: are closing out. Are in twenty twenty four season, our
Speaker 2: abundant season of Quest Love Supreme. We've had some really
Speaker 2: really amazing conversation, especially with a lot of my hip
Speaker 2: hop peers this year alone, you know, talking to the
Speaker 2: B Minors and the Rizza at Rock and the BEASTI Boys,
Speaker 2: Pete Rock and Common Foreign Exchange and Jonathan Schecter of
Speaker 2: The Source, to name a few.
Speaker 1: And I will say that today is no.
Speaker 2: Exception in terms of us giving flowers to hip hop Royalty.
Speaker 1: What can I say?
Speaker 2: All the episodes of Quest Love Supreme are long overdue,
Speaker 2: but this, more than any, is really really really overdue.
Speaker 2: I will really go out on a limb and say
Speaker 2: that as a producer.
Speaker 1: All right, let me put it this way.
Speaker 2: You know, like every time I'm telling you guys in
Speaker 2: Questlove Supreme world that the pioneer always gets overlooked and
Speaker 2: it's the person that comes in second that kind of
Speaker 2: gets all the credit. I will say that our guest
Speaker 2: today is probably the first person I thought about in
Speaker 2: terms of pure production innovation.
Speaker 1: That is so accessible and so effective that.
Speaker 2: He never truly ever gets the credit that he deserves
Speaker 2: for a lot of the ideas that he first started
Speaker 2: doing in hip hop that we now just take for granted,
Speaker 2: not to mention. As I said in the ad Rock episode,
Speaker 2: you know, as Guru said, is mostly the voice our
Speaker 2: guest today has probably one of my favorite all time voices.
Speaker 2: At a time of most people, especially in the classic era,
Speaker 2: were yelling like run brought in the yelling era. Is
Speaker 2: something to me about monotone sinister delivery that to me
Speaker 2: is more scarier than you're like your hardcore delivery, or
Speaker 2: you're like hyped up, loudest person in the room, like
Speaker 2: the person that says it low key and they mean business.
Speaker 1: That person scares you.
Speaker 2: The silent person scares you more than the person that's
Speaker 2: on you to death. There's so much we can say,
Speaker 2: but I just got to say that, you know, this
Speaker 2: is long overdue. He's a founder member of one of
Speaker 2: the best rap duos of all time, ep m D,
Speaker 2: member of Death Squad. He's producer for himself, Redman, Keith Murray,
Speaker 2: Ll Tupot, Luke, Chris black Street, and on It's about
Speaker 2: time we had a conversation with the with the green
Speaker 2: eyed You know what I'm saying, give it up for
Speaker 2: the one and only Eric Sermon and aka Erico NASA's.
Speaker 3: I thought he had a long intro.
Speaker 1: Oh dog, I'm the king of long intest so you
Speaker 1: are the You just killed.
Speaker 4: Him like that like that. It's like, yo, damn, that
Speaker 4: is crazy.
Speaker 2: But dude, there's people out there that take notice. They
Speaker 2: take notice. Look, I have so many questions that ask you,
Speaker 2: and you know, this is one of the joys of
Speaker 2: doing one on one sessions that you know, but I'm
Speaker 2: just gonna kind of rapid fire all the things I
Speaker 2: ever wanted to ask you.
Speaker 1: Of course, I'll start from the beginning. Tell us where
Speaker 1: you were born. Brother.
Speaker 4: I was born in base show A, Long Island, which
Speaker 4: is the same hospital lokuj was born in, which is
Speaker 4: Southside Hospital.
Speaker 3: Word.
Speaker 2: Okay, so you're from Long Island, right, from Long Island.
Speaker 2: Most rappers like migrated to Long Island, but you were
Speaker 2: born there.
Speaker 3: Yeah, born Long Island.
Speaker 4: Yes, it's just like the met the man's and the
Speaker 4: priories and people that don't want to kind of say,
Speaker 4: but they are Long Islanders.
Speaker 3: You know what I'm saying.
Speaker 1: I did not know that they were born in Long Island.
Speaker 4: Yes, yes, and Todd Smith too, he said he migrated
Speaker 4: too Queens but he was born in Long Island.
Speaker 3: But yeah, but we After that, I.
Speaker 4: Went to Hawaian Dance, which is where my mom and
Speaker 4: them grew up after they came from Florida, which is
Speaker 4: where Rock Kim is from. So my mother used to
Speaker 4: hang out with Rock Kim's older brothers and sisters.
Speaker 3: This is a crazy, crazy story, like.
Speaker 4: Not knowing that pretty soon HUDs someha's become famous and
Speaker 4: Rock Kim would become famous. So then I moved from
Speaker 4: near to a town called Brentwood. Is where I learned
Speaker 4: all my stuff from. I learned how to rap, I
Speaker 4: learned how to break dance, I learned how to just.
Speaker 3: Know what hip hop was, graffiti.
Speaker 4: All that stuff came from a town called Brentwood, which
Speaker 4: is where pretty soon I ended up meeting Parish Act.
Speaker 1: What was your first musical memory in life?
Speaker 3: Well, it got to be with my dad.
Speaker 4: Dad, like any other family shoe that played so many records.
Speaker 4: My dad was a can't really call him a collector
Speaker 4: though too though quest it was like he just had
Speaker 4: every record, every album was sitting in front of this,
Speaker 4: you know, when backed up against the speaker or or
Speaker 4: against whatever the record player was, so all the records
Speaker 4: was out there. That was my first experience of him
Speaker 4: just playing records back to back to back to back.
Speaker 4: And that's how my first introduction to to getting to
Speaker 4: being so involved knowing what music sound.
Speaker 1: Like, what kind of records was he was he playing?
Speaker 4: Oh man, uh, he was playing everything from Teddy penny
Speaker 4: Grass to Blue Magic, all the way down to the Whispers,
Speaker 4: to the Temptations, to Howl, Melvin the Blue Nose.
Speaker 3: That was his favorite group, you know, the the Spinners.
Speaker 4: And then after that he started going into Funkadelic in
Speaker 4: the Parliament of course, and you know, and and all
Speaker 4: the stuff to Rick James. So it started he had
Speaker 4: a bass of music. But they started with the seventies first,
Speaker 4: then it started going into you know, the late seventies.
Speaker 1: So he was just a music lover. He wasn't a
Speaker 1: DJ or anything music.
Speaker 3: They bought albums and bring them home and played them.
Speaker 1: What did your parents do for a living? What did
Speaker 1: your household look like growing up?
Speaker 4: My parents worked for the mentally challenged children for like
Speaker 4: over twenty five years.
Speaker 1: Do you have a siblings. Are you the only child
Speaker 1: or do you have.
Speaker 4: Two sisters two below me, one two years below me,
Speaker 4: in one four years below me.
Speaker 2: Okay, some of my favorite talent in hip hop came
Speaker 2: from Long Island. Yet I always wondered what the other
Speaker 2: Burroughs were doing at the time when hip hop was
Speaker 2: developing in the Bronx. Was it as fruitful in the
Speaker 2: other boroughs like Queens Brooklyn, Staten Island?
Speaker 3: Right?
Speaker 1: So what was your first hip hop experience?
Speaker 3: I think again, in the neighborhood.
Speaker 4: The neighborhood had house parties and we had these days
Speaker 4: and almost because we I lived in a town called
Speaker 4: Regis Park, so it had like it was like a
Speaker 4: thirteen block radius, but out of the six blocks it
Speaker 4: was DJ's. Out of the sixth block, it was MC's.
Speaker 4: Like I'm telling you, if people would see where I
Speaker 4: came from, if you didn't know about the Bronx, though,
Speaker 4: you would think, yo, this way hip hop back because
Speaker 4: we had everything. And when I tell you, everybody was nice,
Speaker 4: well my eyes, because whoever I looked at it was
Speaker 4: all nice on the set and all nice rhyming and breakdancing.
Speaker 3: Because a lot of Long Island.
Speaker 4: Kids so too, went went to go to the city
Speaker 4: to go do breakdancing contests with the big breakdancers back then.
Speaker 3: So but again that happened to be the neighborhood that.
Speaker 4: That was my first hip hop experience, maybe at twelve
Speaker 4: years old, sneaking out the window to a house party
Speaker 4: around the corner.
Speaker 1: And they were MC's and DJ oh.
Speaker 3: Hell yeah, hell yeah.
Speaker 4: I mean we had some kids, anybody know, a guy
Speaker 4: named Bergermeister, a kid named Frank B, a guy named
Speaker 4: a Z, a guy named Bourn.
Speaker 3: You know, it was the five per center born c
Speaker 3: Asiatic was there. It was all all five percent names.
Speaker 2: Did you ever cross paths with any other notable figures
Speaker 2: of hip hop? Like I always hear Biz story or yeah,
Speaker 2: the first one is Biz.
Speaker 4: Definitely that that that's it's gonna always be Biz. Biz
Speaker 4: came to my junior high school in a lunch room.
Speaker 1: Did he go to that school?
Speaker 2: Because everything No, everybody from Long Island says the same thing.
Speaker 1: Biz came to my school. But yet Biz never went
Speaker 1: to that school.
Speaker 4: Never went there. They just loved him. People might make
Speaker 4: a joke though and say, yo, is he Jesus Christ
Speaker 4: or not?
Speaker 3: Because he had no call, But He was at every function.
Speaker 3: He was at every town. He was at everything that
Speaker 3: went on.
Speaker 4: When you hear the stories that oh yo llo yeah,
Speaker 4: will say, yeah, Biz got me at rock him. Oh yeah,
Speaker 4: Bis took me to such and such. Oh yeah, such,
Speaker 4: Biz took me to He was everywhere and didn't have
Speaker 4: a call, but he took the train and managed to
Speaker 4: be everywhere. He left the places of Long Island where
Speaker 4: I'm like, yo, Bis isn't from there. No, he was,
Speaker 4: he said for three years or he was over I'm like, no,
Speaker 4: he's from no man, he was because he lived next
Speaker 4: to my DJ, Diamond J on the same block on
Speaker 4: Noble Street.
Speaker 3: That Noble Street when you hear him in the Record
Speaker 3: Street block from Diamond Okay, and Diamond Schelle was his brother.
Speaker 4: So again they lived on that block. But he's also
Speaker 4: saying that he lived in Careham. He lived in over
Speaker 4: here in Patchog. He lived because his printerval was in Patchog.
Speaker 3: I mean the way. So I'm like, and then all
Speaker 3: of a sudden you're in Jersey, and then.
Speaker 4: You and brooks At obviously wear more every day, and
Speaker 4: then and then you go to Baltimore and spend the
Speaker 4: rest of your life there. So yeah, bizmal Key was
Speaker 4: the first one before I got famous. Then of course
Speaker 4: Long Island. You know Chuck D. You know, you start going,
Speaker 4: then you start seeing E. P. M. D rock Him
Speaker 4: and then Daylight so and then please the new school.
Speaker 4: I mean, I'm not hating, but if you take Long
Speaker 4: Island out the mix.
Speaker 2: All my favorite acts come from Long Island. You don't
Speaker 2: have to tell me.
Speaker 4: To Then you got JBC Force, Keith Murray, k Solo.
Speaker 4: Now you got to look at it's you know what
Speaker 4: I'm saying, it's a problem.
Speaker 1: How often would you go to the city? Was there
Speaker 1: ever need to go.
Speaker 2: To Manhattan or Harlem or any of those other spots
Speaker 2: I'm talking free EPMD. I'm just talking about like before
Speaker 2: you even had a record deal, Like was most of
Speaker 2: your life just in Long Island?
Speaker 4: Qus, you're the first one that ever asked that question
Speaker 4: in life, And that's a dupe question. If I never
Speaker 4: got famous, I don't know if I were have.
Speaker 3: Seen the city.
Speaker 4: I was already seeing Brooklyn because my family is from
Speaker 4: ping Houses, so I was already in ping Houses in
Speaker 4: East New York all the time. But as far as
Speaker 4: me seeing again, when I went to the Parlom and
Speaker 4: I parked outside.
Speaker 3: I called my mother to God.
Speaker 4: Visited as of man's black people everywhere, we don't have
Speaker 4: that Long Island is that birth Puerto Rican white and
Speaker 4: black right ques. I pulled over and I parked, and
Speaker 4: my Samura Suzuki, and I just stood there like this
Speaker 4: looking around.
Speaker 3: I saw Aaron Hall. I said, Aaron coming for some
Speaker 3: quick second. So Aaron came over.
Speaker 4: He went to another bar, of course, the street from
Speaker 4: the Apollo right, and and but I saw a lot
Speaker 4: of people. But I just saw so many black folks.
Speaker 4: And I don't think that I would have been able
Speaker 4: to see that because there was no need for me
Speaker 4: to go to the city, being from Long Island.
Speaker 3: Long Island was his own place.
Speaker 1: What was it like?
Speaker 2: Like what we knew of Long Island was of course
Speaker 2: like Amityville Horror or like it was these suburbs. It
Speaker 2: wasn't anything close to what the Bronx looked like in
Speaker 2: wild Style or anything like. So what was a typical
Speaker 2: day like as a teenager in Long Island?
Speaker 3: Not the same?
Speaker 4: Like and so far as like do you have a
Speaker 4: look at Compton and watch some stuff with palm trees
Speaker 4: and the whole and the same thing, So like, why
Speaker 4: can make that line?
Speaker 3: They where you from? Us? Where you at?
Speaker 4: The whole time was the fact that we still had
Speaker 4: the same drama, still had games, We still had had
Speaker 4: the competation between Puerto Ricans and blacks and white and black.
Speaker 3: It's the same. We had the same thing. It was
Speaker 3: like before.
Speaker 4: Keith Murray l D came, game came, it was Barcelona,
Speaker 4: which was Puerto Ricans and these guys. Wasn't happening. This
Speaker 4: is what Brentwood was. Brentwood was Puerto Rican, black and white.
Speaker 4: It was a mixture. So that's how we lived. So
Speaker 4: so we was all friends too. That was in school
Speaker 4: and me and Parish. I don't know if you've heard
Speaker 4: this before. We had two high schools next to each other.
Speaker 4: So I went to Ross, he went to Syland on
Speaker 4: the same property. It was kind of it was. It
Speaker 4: was weird, but nobody never seen two high schools next
Speaker 4: next to each other. You know what I'm saying?
Speaker 1: Got it?
Speaker 2: What was your entry into being in hip hop? Did
Speaker 2: you start out as a DJ? Were you trying to
Speaker 2: MC like?
Speaker 3: So it's funny you say that first of all came
Speaker 3: from soul training.
Speaker 4: Shallamar had this kid in there that was called the
Speaker 4: pop a Long Kid, so I took his name. I
Speaker 4: don't know if anybody I know people. I'm taking y'all
Speaker 4: back though, too. Yes, inside Shallamar. The other member was
Speaker 4: the ill Popper, so I took his name. I began
Speaker 4: doing that. All of a sudden, my mom comes home
Speaker 4: from her job with two twelve inches okay, apache with
Speaker 4: the green label right.
Speaker 1: Right, and she brung home rappers a light okay.
Speaker 3: And it changed everything for me.
Speaker 4: Then my cousin down the street, since there was so
Speaker 4: many DJs, he bought turntables, so I was able to
Speaker 4: have that too. So I was he would bring home
Speaker 4: Fat Boys and and bring home the new mally Mall,
Speaker 4: bring home the Fantastic for the Phillis for.
Speaker 3: He would bring home all these new records, uh.
Speaker 4: And so, and I used to just be spinning them.
Speaker 4: So but while I'm spinning them, of course, the Fat
Speaker 4: Boys had me like. I was just like, well, these
Speaker 4: guys are just razy. All of a sudden, well, me
Speaker 4: and Paris was getting ready to get on. I did
Speaker 4: this give you the one thing We drove to the
Speaker 4: city to go buy to go buy sucking seeds?
Speaker 2: Really, yes, there was no place in Long Island too,
Speaker 2: did they didn't have that record?
Speaker 1: What did you attend any like spectrum city parties?
Speaker 2: Like those parties at Hank Shockley and Chuck de And
Speaker 2: and Keith Shackley used to throw in Long Island at all.
Speaker 4: I did not know about none of them until I
Speaker 4: got on tour with them.
Speaker 3: I have no clue about. All I know was about
Speaker 3: my section.
Speaker 1: Got it.
Speaker 2: We just called all right, so tell me how you
Speaker 2: met Paris Smith?
Speaker 3: Okay, well, but where I was at and we just parked.
Speaker 4: The house that we was written had got rat infested,
Speaker 4: like I mean, they was coming from out of nowhere.
Speaker 4: I mean it was like some city you see on
Speaker 4: Ben or the movie like that. So and we couldn't
Speaker 4: control it, and the landlord was acting like she didn't
Speaker 4: want to fix it right, So my mom's called her
Speaker 4: mother and Grandma was like, okay, well, y'all come over
Speaker 4: here then, So we ended up staying there while mommy
Speaker 4: stacked her paper up. So at the bus stop I
Speaker 4: saw a Parish because he's on the next block. I
Speaker 4: moved to Belgrave, he's on Abingdon. So I see him
Speaker 4: at the bus stop and he didn't know me, and
Speaker 4: he snapped on me on the second day because you know,
Speaker 4: I had an the tiger on, I had the leaves on,
Speaker 4: but I had.
Speaker 3: The wrong pumas.
Speaker 4: The pumas was invaders and not baskets because they didn't
Speaker 4: have the hose around the logo, so you know they
Speaker 4: was fake because because basket puomers are the real ones
Speaker 4: with the holes around it. Mine didn't have no hose
Speaker 4: around the logo and they wasn't baskets.
Speaker 3: So before it was one of before it was like
Speaker 3: one of those.
Speaker 4: He did it first back then, so he snapped on me,
Speaker 4: so I was like, oh So I was like, oh, okay,
Speaker 4: you got jokes.
Speaker 3: You got jokes.
Speaker 4: So after that he found out where I was from.
Speaker 4: See where I'm from. When it comes to Long Island,
Speaker 4: people know about Reese's Park.
Speaker 1: What was it about it?
Speaker 4: It was the coacher and it was the people over
Speaker 4: there who got busy. Everybody in there right now have
Speaker 4: went to prison or did some time or with like
Speaker 4: stick up boys or whatever.
Speaker 3: Where I'm from is no joke.
Speaker 4: So that point of town me coming over there made
Speaker 4: me cool, you know what I mean?
Speaker 3: Even though he knew them people.
Speaker 4: Because his sisters knew them, and his older brothers knew
Speaker 4: who they were too. So once you knew where I
Speaker 4: was from, it made me cool. And then I said, yo,
Speaker 4: I raped, and that was it. He's like, yo, let
Speaker 4: me hear you rap. So when you hear Jane, Jane
Speaker 4: was one of my first raps I had. I had
Speaker 4: that when I was when I was twelve years old.
Speaker 4: What So I ended up taking Jane with me when
Speaker 4: I met him at fourteen. And I had a burnoud
Speaker 4: get story the one who who who shout tried to
Speaker 4: train along out right. So I had those two stories.
Speaker 4: So I roped that story for him all of a sudden.
Speaker 4: Parents used to have me go to his school and
Speaker 4: rap for his boys, like yo, man, check out, check out.
Speaker 3: This kid boom boom.
Speaker 4: Because Powers never rhymed the DJ, he never rapped what
Speaker 4: until he met me?
Speaker 1: Okay, So this is what I find odd one.
Speaker 2: This is the second story of a legendary duo whose
Speaker 2: origins start with ranking on each other. Because before Prodigy
Speaker 2: passed away, he told the story that basically that he
Speaker 2: realized Havoc and his boys were about to rob him,
Speaker 2: you know, on like the first week of school or something.
Speaker 1: They were plotting on robbing him and then.
Speaker 2: I'm out, like last minute, like they decided not to
Speaker 2: like they they were going to start out as enemies,
Speaker 2: but then they became boys.
Speaker 1: So it's funny that that's how you two started.
Speaker 3: I don't know it.
Speaker 2: There.
Speaker 1: You said that your original MC name was going to
Speaker 1: be Populong Kid.
Speaker 2: Explain to me the evolution of EPMD, because y'all have
Speaker 2: spelled it so many crazy ways before you just finally
Speaker 2: decided on your actual name.
Speaker 1: But what was your original name? Your MC name?
Speaker 4: Yeah, but the popagon Kill was my dancing name. I
Speaker 4: didn't have the MC name yet. When e pm D
Speaker 4: was getting put together, I used Eric sermon inside my rhymes,
Speaker 4: and when I could walk through the crowd and I
Speaker 4: can see you has turned, I hear voices saying that's
Speaker 4: everic sermon.
Speaker 3: I didn't have that.
Speaker 4: So then when you got to chill, came to the
Speaker 4: E double E. Don't know where that came from. I
Speaker 4: think it came from where the name was spelled. At first,
Speaker 4: it was spelled E P E E M D right e.
Speaker 4: So it was spelled but Paris used to be like,
Speaker 4: I'm the P double E M D E E. So
Speaker 4: I must have took it from him, like, okay, well
Speaker 4: you're the P double.
Speaker 3: I'm the E double E.
Speaker 1: Then, even though you weren't in the E double, even
Speaker 1: though I don't know.
Speaker 3: What the E double was stand for because I don't.
Speaker 4: Again, it's not like MC Breed where he could say
Speaker 4: there's two e's and breed.
Speaker 3: So he was I'm the E double.
Speaker 4: I proclaimed my name, even though I got on him
Speaker 4: about that too when I first met him.
Speaker 2: I'm like, what, But how did Parish get into rocking then?
Speaker 2: If he didn't start out as an MC?
Speaker 4: Because Paris thought I was dope, So he figured that
Speaker 4: with me, we can go and see you and make
Speaker 4: a record.
Speaker 3: See the way I rhymed and my list and everything
Speaker 3: like that.
Speaker 4: Again, like everybody else who heard it was like, yo,
Speaker 4: it's it's it got an l flow.
Speaker 3: But see my DJ Diamond. When and he first heard
Speaker 3: my melody, he was like, Eric, is some dude named
Speaker 3: rock Wind that sound like you?
Speaker 4: He we didn't call him rock Hemra, it was rock Wind.
Speaker 4: So when he came to school he said, Yo, some
Speaker 4: kid named rock Wind is out. Boom boom boom. The
Speaker 4: next day on the radio station, mister Red Alert I
Speaker 4: heard it, you know, termed the base take out my
Speaker 4: melody and now to God, I'm letting nags be born
Speaker 4: under my name aka I. So so I'm like yo,
Speaker 4: he rhymes slow too like men do wack give but
Speaker 4: doug a ball on the yell. So so Paris felt too,
Speaker 4: and we heard something on Red Alert that wasn't dope
Speaker 4: and we were like many he playing that we can
Speaker 4: go into last.
Speaker 3: Paris comes from a group called the Rock Squad, which
Speaker 3: was him k Solo and his brother, where Paris was
Speaker 3: the DJ.
Speaker 4: So he kind of knew how to make a record
Speaker 4: kind of by watching his brother. So we went to
Speaker 4: the same studio, Charlie Murrauder that did his brother's group
Speaker 4: that also did Den'll Worry Morgan, I do anything for you.
Speaker 3: It's done that studio too.
Speaker 1: Oh okay, okay okay.
Speaker 4: Then eventually Red Man thatss effects. Everything was done at Charlie.
Speaker 1: Why did you decide to come in flat footed and monitor?
Speaker 1: To me? Which is the greatest shit ever? Yeah?
Speaker 3: I think that me and Paris the slow flow like
Speaker 3: Rock Kim.
Speaker 4: I was already doing it, but when I heard Rock Kim,
Speaker 4: it made me be like, yo, we can Rhyme'm like this,
Speaker 4: don't forget.
Speaker 3: You can barely understand me anyway, So if I don't
Speaker 3: talk it.
Speaker 4: It's gonna be really hard to hear me. So that
Speaker 4: Quesson's easy. I had no choice, so you had to
Speaker 4: see the employees of a year. Yeah, we're back to work.
Speaker 4: I get time or all the raptors pass because I
Speaker 4: had to. But you didn't hear the words come out
Speaker 4: without the list. See now, I didn't make my list
Speaker 4: go away when I got older. I got older, and
Speaker 4: this is how I started talking. So inside the rhyme,
Speaker 4: there's nothing I can do with it. I was wondering too,
Speaker 4: Why am not being able to listen to words? Why
Speaker 4: is maythan Biggie and them?
Speaker 3: Yo?
Speaker 4: Somebody told me that Puffy told Mace listen sound like
Speaker 4: Eric Sermon, and that came from mad people, and people
Speaker 4: were like, listen. And then when I was doing Mary J.
Speaker 4: Blige upstairs and Hip Factory, I went to go see
Speaker 4: Biggie and b said, Yo, take it out, sir, Yo.
Speaker 4: I want to let you know that on my new album,
Speaker 4: I'm gonna be singing like you.
Speaker 3: It's what you mean. All of a sudden, hypnotized comes
Speaker 3: out these stories, you know.
Speaker 4: I mean, I would never cap one with nobody, but again,
Speaker 4: when I hear these things, I'd be like yo.
Speaker 3: So this was a method that people was trying to do.
Speaker 3: Like you liked. You liked it, but quest I didn't
Speaker 3: do it on purpose. But what I did do.
Speaker 4: Knowing that you're right, Leo Cohen thought, Redman sound like me, right,
Speaker 4: and I'm like real, he said, no, it ain't how
Speaker 4: the rhyming, it's the tone. So me having Reggie around me,
Speaker 4: of course it's gonna affect me, right, Not that you
Speaker 4: had to, because when I did watch your nugget on
Speaker 4: his album, I was still me. But once Reggie started
Speaker 4: becoming Reggie, and then I did hit and Switches right,
Speaker 4: because Reggie came to Atlanta and said, Yo, son, yo,
Speaker 4: I'm not really feeling this stuff you play me because
Speaker 4: I was on some some other I was mad comfortable.
Speaker 4: This is not that and this, and I didn't even
Speaker 4: have hit switches, stay real, none of that stuff hostile,
Speaker 4: none of it. So now he tells me too, So
Speaker 4: that's what happened to me. Now you bring something up,
Speaker 4: damn it, Reggie. Reggie was like, yo, man, you solo,
Speaker 4: now you know what's up. So now it's Mike check.
Speaker 4: Here I go again, check me out. But I'm over
Speaker 4: here now. And then now you have the onyx and
Speaker 4: all this stuff coming that and this, and then you
Speaker 4: got Reggie. Oh my god, you know Mike check your repman,
Speaker 4: get off that Mike check. I could get so all
Speaker 4: of this is going. I'm watching the Cadenus. I'm Washington.
Speaker 4: All of a sudden, Hey Solo brings me this kid
Speaker 4: of the block who's oh yea yoyo, my name is
Speaker 4: keeping my boom boom. And I was like, check this boot,
Speaker 4: part of the plage in your chest, act like arm
Speaker 4: and leg when I come through, got your cranium. I'm like,
Speaker 4: so even though I might want to do this, it's
Speaker 4: got to be over here. And that's I think what
Speaker 4: probably happened. But just like music has summer every sermon.
Speaker 1: Yes, yes, yes, my life.
Speaker 2: I will also say that you know, it wasn't often,
Speaker 2: especially back in eighty eight, where you would see a
Speaker 2: summit meeting of frus from opposite sides of the coast
Speaker 2: or you know, wherever they were from, like normally birds
Speaker 2: of a feather flocked together, and seeing NWA in the
Speaker 2: big paypack video.
Speaker 1: It was like such a big deal for us.
Speaker 2: Like yo EPMD knows NWA like craz That's how me
Speaker 2: and Reek were like watching your TV reps like you
Speaker 2: are a g Funk pioneer that never got the credit,
Speaker 2: and you are also a neo soul pioneer that never
Speaker 2: got the credit. But do you think that because of
Speaker 2: the sort of the thick texture of your production for
Speaker 2: those like first two epm D records where like the
Speaker 2: zap claps for like like that spoke to the West
Speaker 2: Coast more than any more than Public Enemy could have
Speaker 2: because it's touring.
Speaker 4: Don't forget this, it's touring, you know. So so you
Speaker 4: know that was the LA was one of my biggest
Speaker 4: markets because the way they thought me. And when you
Speaker 4: here Snoop telling the story, Snoop said, he drove to
Speaker 4: Britwood looking for me in Parish, right because they don't
Speaker 4: forget this in Britwood in California. So he's so he's
Speaker 4: in Britwood thinking that we're from the suburbs.
Speaker 1: Oh okay, okay, So.
Speaker 3: He told the story a couple of times.
Speaker 4: But anyway, being on tour, but me and Cube was tight,
Speaker 4: like like I had a seven roses Zukie. When I
Speaker 4: went to Laq picked me up, he had seven rosa Zukie,
Speaker 4: you know. And again at the end of the day,
Speaker 4: me and Dre was two people that was on both
Speaker 4: sides stample in Parliament.
Speaker 3: Don't forget them.
Speaker 4: He was doing it first in eighty seven before me
Speaker 4: and Parish even came out.
Speaker 3: It wasn't like, okay, people credit me.
Speaker 4: Like if you talk to dub C, he has say yo,
Speaker 4: I got to get the the West Coast hat to
Speaker 4: Eric sermon because.
Speaker 3: They showed us how to rap on this music.
Speaker 4: So while we was playing Roger, they was rhyming on Roja.
Speaker 4: While we was playing Riding High, they were rapping on
Speaker 4: Riding High. So all the stuff that they hearing on
Speaker 4: the way that Me and Paris did the Funk records
Speaker 4: were different than what they was doing it, so it
Speaker 4: kind of gave them a blueprint. If you hear people talk,
Speaker 4: they say Dre enhanced the stuff I did by playing live.
Speaker 3: So if you hear woman to woman.
Speaker 4: But then be bet, I just sampled it right. He
Speaker 4: did kind of fun your Love and we played them
Speaker 4: now it's bigger so and then once EPMD broke up,
Speaker 4: he was able to go to Roger too, you know,
Speaker 4: things of that nature.
Speaker 2: How are you developing your production skills and your rhyming
Speaker 2: skills in eighty seven in time for like your debut record,
Speaker 2: because you know, like how long did the epm D
Speaker 2: exist before you guys actually got strictly business to the public.
Speaker 4: Yeah, see the ones that fast. The one thing that
Speaker 4: you that we didn't know. We didn't know what the
Speaker 4: producer was. We thought every record you heard was done
Speaker 4: by that person.
Speaker 3: It's not crazy.
Speaker 4: So we're doing what we think we're supposed to be doing.
Speaker 4: We didn't know about we was producers. We never heard
Speaker 4: that word. We just wanted to make a record. So
Speaker 4: we took the break beachs that we had that parents
Speaker 4: had at the DJ, took records from each other houses,
Speaker 4: the whole nine, and that's how formulated epm D. You know,
Speaker 4: we made what was in front of us, not knowing
Speaker 4: what we were doing.
Speaker 3: Don't forget. We didn't know how to make a chorus.
Speaker 4: So will Stocklove called the Autumn two all your two
Speaker 4: came and said, let me get that seven minutes to
Speaker 4: Funk record because we just had the record looping. So
Speaker 4: when it's my thing, we said it's my thing, there's
Speaker 4: nothing there, so Teddy Ted said give me and he said,
Speaker 4: give me that record. So he found that tim boom,
Speaker 4: tim boom, and then that fam f be so called
Speaker 4: me how to format a chorus. I would never even
Speaker 4: known how to due a chorus or format. It was
Speaker 4: caught to me by the author two.
Speaker 1: So there was a version of It's My Thing that
Speaker 1: didn't have no version of.
Speaker 3: This report record came out.
Speaker 4: The label was telling us that we needed to have
Speaker 4: a chorus and to know the chorus, get ready to
Speaker 4: come in?
Speaker 1: Got it okay?
Speaker 4: Because all we had was it It's my thing louder.
Speaker 4: All we had was that we didn't have the drum
Speaker 4: roll and the the horn to be like the boy
Speaker 4: can drop down and come back to the raps.
Speaker 3: We end up.
Speaker 4: You had to split it up so there's a chorus
Speaker 4: and then there's a part you uy on. And once
Speaker 4: we learned that, I went nuts, did and I started
Speaker 4: doing get down, Get down. Time keeps on slipping. So
Speaker 4: now I was just knowing what to do now. And
Speaker 4: then when the thing came out, I was like, to
Speaker 4: what you're saying, Now we're in it.
Speaker 2: Now you're not a format of song. I get it
Speaker 2: so right before your album comes out. So let's go
Speaker 2: here back in eighty seven, and it's thing came out
Speaker 2: in eighty seven, correct.
Speaker 3: Eighty seven November. Yes, So in your.
Speaker 2: Mind, what does hip hop success look like like?
Speaker 1: Ah, we made it.
Speaker 3: Up on the radio.
Speaker 4: And one night we hear seven as the Funk coming on.
Speaker 4: But there's no no rhymeen, just whether to spend the record.
Speaker 1: Okay.
Speaker 4: All of a sudden, the next weekend we hear the
Speaker 4: helicopters quest so so so we know it's us because
Speaker 4: the helicopters was coming on. And don't forget, they didn't
Speaker 4: have two way back then, so every phone line is busy.
Speaker 3: That's when you know you made it. When you on
Speaker 3: the radio.
Speaker 4: That's what we wanted to be on the radio, know
Speaker 4: about no money, no advances, who jerking?
Speaker 3: Who? Whatever is the record gonna be on the radio?
Speaker 2: Wait, you brought up something that I gotta ask you
Speaker 2: a question about. So my first rap show I ever
Speaker 2: saw it was a free rap show that EPMD did
Speaker 2: in Philadelphia at Penn's landing.
Speaker 3: Oh wait, wait, wait, hold up, okay, wait, I tell
Speaker 3: the story all the time. Speaking of helicopters because me.
Speaker 4: And Paris jump out the limo too early, and okay,
Speaker 4: three thousand kids chased us until we had to jump
Speaker 4: over a twelve foot gate. I felt like Michael Jackson,
Speaker 4: I put the mother was born. I've never seen that before.
Speaker 4: Billy chased us like we was Michael Jackson.
Speaker 1: Yes, yes, Doug, I know this.
Speaker 3: Pen's like.
Speaker 1: My question was, do you remember that show? I don't
Speaker 1: think you will remember it.
Speaker 4: I thought me and Pete teller every time because we
Speaker 4: never had that You had experienced before of people running
Speaker 4: it like that, but not like that? Did that thing
Speaker 4: was on someone you see one of them boy band
Speaker 4: groups men like yo. We had to run and there
Speaker 4: was a kid running.
Speaker 2: Yeah, I'm a witness to that. Wait, but didn't you
Speaker 2: guys land in a helicopter?
Speaker 3: Yes?
Speaker 1: Yes, whose idea was that.
Speaker 4: It wasn't because we had no other way to get
Speaker 4: there to make it in time.
Speaker 3: So I don't know.
Speaker 2: How this is before bawling was even thought about, Like,
Speaker 2: you don't understand how impressionable.
Speaker 1: Now here's the thing.
Speaker 2: Tarika and I didn't know each other, you know what
Speaker 2: I mean, but we were both at that show and
Speaker 2: seeing no way Well believe it or not. We were
Speaker 2: actually in the same high school, but two and two
Speaker 2: didn't equal four yet, you know what I'm saying. He
Speaker 2: was there and I was there, but we didn't know
Speaker 2: each other like that, even though we were in school together.
Speaker 2: But we talked about it later about being at pens
Speaker 2: Landing and you don't understand like being sixteen seeing YouTube
Speaker 2: get out of a hellic copter, like I thought it
Speaker 2: was this normal ship because.
Speaker 4: You know, nobody's gonna believe it even if you tell
Speaker 4: the story people like nau Is capping there's no dude.
Speaker 2: Well number one run DMC use the helicopter and it's
Speaker 2: tricky video, yes, and then you had the helicopter sound
Speaker 2: at the beginning of It's my thing, right, So I
Speaker 2: just thought, oh, on your rider, y'all gotta always arrive
Speaker 2: wherever y'all at in a helicopter.
Speaker 1: So how did y'all wind up on sleeping back records?
Speaker 4: Well again, me and Paris those that demo story is true.
Speaker 4: We built a sixty eighth Camaro from scratch, you know,
Speaker 4: we're you know, took off the hard was that.
Speaker 1: Some long island ship like some leven long island You
Speaker 1: how to fix cars.
Speaker 3: We had a shop, you know, shot we did, but
Speaker 3: we did Paris did too. So we shipped the car down,
Speaker 3: took off the bottle off the top, this and that.
Speaker 4: It was a paint shop called Earl Shives. People don't
Speaker 4: know about that for the whole car. Tape up the headlights,
Speaker 4: tape up all the throw a handles, the whole nine
Speaker 4: car come out spanking cool, and we knew, I think
Speaker 4: it was not that good, but we took it anyway.
Speaker 4: That's why we always said that when he says he
Speaker 4: double had to push by MD Steads, because that happened
Speaker 4: the car broke down. But anyway, we went shopping to
Speaker 4: three places and we got the addresses on the album
Speaker 4: covers at home and you write them down. You go
Speaker 4: to Manhattan and you go walk and our third place
Speaker 4: happened to be we had to just ice album.
Speaker 3: I'm the just iced thing, so you.
Speaker 4: I'm trying to just ice LaToya so so, and LaToya
Speaker 4: was played at the at the jam, at the house
Speaker 4: party all the time. So we had that. That was
Speaker 4: our last place. But a guy named Virgil Sims. Vergil
Speaker 4: took us inside the inside to go meet Ron Resnick,
Speaker 4: and that was it and then all of a sudden
Speaker 4: we got a.
Speaker 3: Call back the third day.
Speaker 4: Like people talk about this, Me and Pete didn't have
Speaker 4: that type of struggle.
Speaker 3: Like I said, four we got turned down twice. I
Speaker 3: think it was Atlantic and I think something was probably
Speaker 3: I don't know, Sonya something on one of the things.
Speaker 3: And after that the third phone call was you know,
Speaker 3: they came and signed us. It was fifteen hundred dollars though, but.
Speaker 2: We got signed after signing the Sleeping Bag. How do
Speaker 2: you guys like plan out what the album is? Like,
Speaker 2: how do you guys who's teaching you how to produce?
Speaker 3: Like?
Speaker 1: What equipment were you using back then? On the first record?
Speaker 3: We didn't use. No, we didn't have no equipment. Not.
Speaker 4: The stuff that we did was done with the engineer,
Speaker 4: Charlie Marauder. We didn't have whatever he had up there
Speaker 4: we use.
Speaker 3: Don't forget.
Speaker 4: We was making loops with quarterman's taping and taping around
Speaker 4: the room and looping it back to half.
Speaker 3: It's like we was.
Speaker 1: Wait, really yeah, the Beastie boy style.
Speaker 2: Okay, So ad Rock talked about that that they weren't
Speaker 2: using drum machines yet they were just expl he explain
Speaker 2: that process, like because I still don't understand the idea
Speaker 2: of going around the room and putting pencils up, because.
Speaker 4: It wasn't no programs for sathing like that like that
Speaker 4: we knew about, you know, don't forget Hank Stockings.
Speaker 3: It was probably advanced the whole nine.
Speaker 4: And then and whatever you heard that from from from
Speaker 4: Beastie Boys.
Speaker 3: This is what Charlie had.
Speaker 4: We didn't have nothing to keep doing this, and we
Speaker 4: only had eight tracks on the task AM, so we
Speaker 4: had to make do with what we had. But the
Speaker 4: looping part, there was no machine that we had that
Speaker 4: would loop. So all we had was to record to
Speaker 4: tape and then splice it and then make the loop
Speaker 4: and then record it back to tape and then record
Speaker 4: from that.
Speaker 2: So wait, you're saying that some of the first album
Speaker 2: was done on an eight track task and.
Speaker 3: All of it, all, all the first two albums done
Speaker 3: on task AM and and red the tapes or cassettes, no,
Speaker 3: meaning that the task and board the.
Speaker 4: Okay, so all you heard what the album, that's effects
Speaker 4: first album. All that was done and on the on
Speaker 4: the eight track.
Speaker 2: Not with the album crammed on the R alone on
Speaker 2: a track.
Speaker 1: Dude, there's like forty two trillion samples on the r NO.
Speaker 4: But after it went from the eight track, we went
Speaker 4: to power play to d O C and that made
Speaker 4: some other other change. But the majority of the album
Speaker 4: when it was done was done on eight track. Hikes
Speaker 4: so and and don't forget the The ratings are stuff
Speaker 4: when you either, but you can't fuck it ain't that much.
Speaker 3: Only only you.
Speaker 4: The James Bond sample, the Kiss Them, I loved drums
Speaker 4: and and that's it.
Speaker 3: But I don't know what you hearing.
Speaker 2: It's not a you kind of have a bomb squattish
Speaker 2: I do. I do texture like even one of your
Speaker 2: favorite productions when you did run DMCs Uh can I
Speaker 2: get it?
Speaker 3: Ye? Hold up yo of question? What is wrong with
Speaker 3: Nobody would ever mention that record?
Speaker 1: Are you crazy?
Speaker 3: Nobody knows about that record but you.
Speaker 1: Because the thing is, you have like three baselines.
Speaker 3: I do when I know I did.
Speaker 2: My theory is that Public Enemy crams a bunch of
Speaker 2: mid range and high end samples. That sounds chaotic, But
Speaker 2: you would just mix Jesus like four baselines, even what
Speaker 2: you did in the hest, like with the eight O
Speaker 2: eights and like I just never saw a person just
Speaker 2: mash up a bunch of baselines together. It was the
Speaker 2: samples like imagine again you know you hear something right,
Speaker 2: and I'm not knowing for us to take out the
Speaker 2: base of the sample on mixing and need that, I
Speaker 2: guess is the engineer neither. So Pharrell's like, Eric, whatever
Speaker 2: that W thirty does for you, it makes no sense
Speaker 2: because there's no other sound like it.
Speaker 3: Because also to.
Speaker 4: The machine I use, was was on some it did
Speaker 4: some other things though pus that you would not use.
Speaker 3: It was a rolling W thirty. You only had fifteen seconds.
Speaker 1: Oh okay, don't forget.
Speaker 3: So I was doing this thing stuff. They were doing
Speaker 3: the spe to one hundred, the same thing I was doing,
Speaker 3: the being up fast, being down slow.
Speaker 1: So would you lay it one track at a time?
Speaker 3: Not really, No, I was.
Speaker 4: Doing it, but some stuff was sped up to where
Speaker 4: I can samping because only they had fifteen seconds.
Speaker 1: Got it.
Speaker 3: Don't forget. All those beats you heard was made in
Speaker 3: the fifteen second radius. Say, was done with loops.
Speaker 4: And that's why when you hear jazz, don't speak about
Speaker 4: or jay Z's about.
Speaker 3: I don't know how Eric had that.
Speaker 4: It's my thing going because jazzo tried to loop it
Speaker 4: and it just didn't loop right, you know, but again
Speaker 4: not knowing that we spliced it had a looping around
Speaker 4: the room to take.
Speaker 3: So the splice gave the nice cut. It wasn't a
Speaker 3: sambling machine.
Speaker 2: Did you always stick with the rolling no matter what?
Speaker 2: That's what that was your weapon of choice?
Speaker 3: Yeah, the rolling. The roller stayed with me until just
Speaker 3: like music was done on fifteen fifteen seconds?
Speaker 1: What what?
Speaker 3: But right?
Speaker 4: Because all I would do is I would get what
Speaker 4: I need whatever, I put it back and then when
Speaker 4: I get more vocals, I put them back separately, so
Speaker 4: I lay the track down separate.
Speaker 3: But the reason why you use it rolling for music? Right?
Speaker 4: So so so when you hear some of the hissing
Speaker 4: that you hear in the Marvin Gaye vocals, you probably
Speaker 4: can't tell, but it's it's not it's not clean since
Speaker 4: because it's going through that machine.
Speaker 2: Okay, I was going to say, I try to recreate
Speaker 2: you know, I got the Midnight Love Box, that drawing
Speaker 2: whatever I proposed that and I was trying to figure
Speaker 2: out I was like, yo, how does like how does
Speaker 2: this version sound like? It's it's an old cassette. Yes,
Speaker 2: a bunch of mids, and so of course if you
Speaker 2: sample it at a higher rate, at FOT five or whatever.
Speaker 1: Then your bittne is going to sound.
Speaker 3: Grittier, right.
Speaker 1: I would try to recreate it. Like the way that I.
Speaker 2: Work on production is if I hear something that I like,
Speaker 2: and Dyla taught me this shit, he does the same thing, like,
Speaker 2: oh okay, I like that. Let me see if I
Speaker 2: could recreate it, and see if I could do it.
Speaker 2: And my version always sounded too cleaning and procne, and
Speaker 2: I was like, yo, how does this sound like?
Speaker 3: Listen?
Speaker 4: I tried to do keep it real over even though
Speaker 4: I did it on my new equipment and the ribbon
Speaker 4: in the sky. The way that it comes out in
Speaker 4: Jamal's record does not come out the same way in
Speaker 4: any other thing up a machine like the W thirty.
Speaker 4: It made it different because when you tear it.
Speaker 3: It's different. It's clean, It don't look the same. I
Speaker 3: don't know why.
Speaker 4: So when you're saying that it's truth, when you try
Speaker 4: to recreate something, you'd be like, why don't sound right?
Speaker 2: So to this day, do you still try to collect
Speaker 2: rolling thirties or you've moved on I.
Speaker 3: Got W thirties because of nostalgia.
Speaker 4: So in case I tell you what, one day, I
Speaker 4: was in the lab and I said, rock come here
Speaker 4: real quick. So I went inside my floppy disk and
Speaker 4: I pulled out some stuff for Muddy Waters and he
Speaker 4: was like nah, I pulled out, so I pulled out
Speaker 4: pick it up for him, so.
Speaker 3: Boom boom boom boom.
Speaker 4: So he is like no, so he goes hate shit.
Speaker 4: So I go with the Blackout and I pull out
Speaker 4: the boom boom boom boom boom boom. You know, I
Speaker 4: got the man. He's like nah, So I pulled out
Speaker 4: the youth this because do you on? Blackout was a
Speaker 4: W thirty that had programmed drums on it, So I
Speaker 4: pulled out the disc that came with the Roland to
Speaker 4: make that U beat. So he was just buked out
Speaker 4: by So I keep it from nostalgia and and and
Speaker 4: Pharrell always says, Eric, where's the W thirty beats?
Speaker 3: You know, because don't forget.
Speaker 4: I met Pharrell when I was doing Blackstreet, and Pharrell
Speaker 4: was was was.
Speaker 3: With a guy named Mike, his singer, and with Chad.
Speaker 4: But if you go on YouTube, there's two songs that
Speaker 4: I let Pharrell rhyme on that got leaked back then
Speaker 4: when I was doing Blackstreet and one of the role
Speaker 4: one of them is called boothnocalization and the other one
Speaker 4: is called and you can hear Pharrell ryman.
Speaker 3: So Pharrell was like, yo, I saw Teddy, listen, what's
Speaker 3: up with your boys? Let him rhyme.
Speaker 4: Teddy wasn't really messing with them like that, even if
Speaker 4: they were in the studio, he dept wasn't let them hyme.
Speaker 4: So that's how the Nettunes even got left from them
Speaker 4: because Teddy had him.
Speaker 3: I let the guy rhyme. But right it happened. Happened
Speaker 3: for the best, though, I see.
Speaker 2: All right, wait, you brought up something and I might
Speaker 2: as well go to So what she's saying, was there any.
Speaker 1: Competition, either friendly or real, between you guys and rock Him?
Speaker 2: I for one never thought that you guys sounded like
Speaker 2: him or they sounded like you.
Speaker 1: But was that the talk of New York at the time.
Speaker 4: They're talking Long Island. Don't forget we're close, got it? So,
Speaker 4: so it was not really the artist. It was the
Speaker 4: people in the hood that was starting to beat. So
Speaker 4: of course, if.
Speaker 1: Somebody saying like y'all are biting rock Him or.
Speaker 3: Like right, So if somebody's in your ear singing stuff,
Speaker 3: like listen the nads record rock Him.
Speaker 4: The story came from me. I told him that story
Speaker 4: he wrote about the autobiography Rock Him.
Speaker 3: Right, because what happened was the hood was singing because
Speaker 3: rock Him had you can get a smack for this.
Speaker 4: I ain't no joke. Me and Paris is a single
Speaker 4: come out. It's like a Digham smack. You smacked me
Speaker 4: and I smack you back. So the hood was like yo,
Speaker 4: e pm D came at you because if you're listening,
Speaker 4: you would be like, yeah, you're right, you can get
Speaker 4: this smacked for this, I ain't no joke. You smacked
Speaker 4: me and I smack you back. So no matter what,
Speaker 4: then rock can't made father lega. A brother said Diggam.
Speaker 4: I never dug him be could him follow leading up?
Speaker 4: That's why I drug him to the Danser zone too,
Speaker 4: So he kept going.
Speaker 1: But was it coincidence or no? He came for us
Speaker 1: or were birth of y'all?
Speaker 4: Like no, no, no, The first one was coincidence. Final
Speaker 4: leader was for us. He's brother said Diggam, I never
Speaker 4: dug him. He couldn't follow the leader. No, that's why
Speaker 4: I drug him for the danger zone.
Speaker 1: He kept going, So, did y'all ever have a conversation, Yeah.
Speaker 3: We did and re squons to be after he broke
Speaker 3: up with Eric B.
Speaker 2: But he was actually saying I was coming, of course,
Speaker 2: no see, but it wasn't like y'all were coming for him.
Speaker 4: He don't know that the hood is how to beat
Speaker 4: question the business.
Speaker 2: I've been in that situation where I reacted to someone
Speaker 2: instigating that blah blah blah's talking about you, and then
Speaker 2: we made it damn okay.
Speaker 4: Right, So again it's like again you got to understand Jesuits,
Speaker 4: there's Brentwood Base Show, Deer Parked and Wine Dan so
Speaker 4: three towns down. The Guard lives right here, and then
Speaker 4: you got these other kids from Brentwood who now everybody's
Speaker 4: talking about.
Speaker 3: Everybody's talking about E. P. M D. And you'll rock him.
Speaker 4: So when Paris heard that, that's wh why he said,
Speaker 4: niggas say, we signed to Awe and that music with Whack.
Speaker 4: We dropped the albums Stricting Peas and you thought it
Speaker 4: was four third day later, the LP went goes to
Speaker 4: what you're saying, Paris called his name because after he said,
Speaker 4: we said that again, you know, you know how you
Speaker 4: know we wasn't having any so it don't matter.
Speaker 2: I got it. I got it. So at least y'all
Speaker 2: squashed it. Okay, Yeah, So were you expecting to sell
Speaker 2: five hundred thousand records like you guys for an independent label?
Speaker 1: Was fresh sleeping bag even prepared?
Speaker 2: No way, I was gonna say, like, because I'm thinking
Speaker 2: like Crust Groove for listeners out there. The story of
Speaker 2: Crush Groove that came out in eighty five was kind
Speaker 2: of a situation where they got popular so fast that
Speaker 2: they didn't have enough money to press extra copies of
Speaker 2: the record, and then they had to borrow from the
Speaker 2: mob and then some shit happens and blah blah blah
Speaker 2: blah blah. But like, how a sleeping bag able to
Speaker 2: I mean, you're a major act as far as I'm concerned, right,
Speaker 2: Were they prepared for that or were they totally caught
Speaker 2: off guard that you guys were like instantly out the box.
Speaker 1: You own TV raps like rap gods.
Speaker 4: They was as far as the selling, But they was
Speaker 4: prepared because they was with Universal Europe before anybody was
Speaker 4: doing the mergers like that, so they already had the
Speaker 4: back end of a big label already to be able
Speaker 4: to manufacture it. That's why EPMD was so big overseas too,
Speaker 4: because the Europe because Universal was behind first records.
Speaker 2: Let's see, I want to talk about people in the ecosystem.
Speaker 2: First of all, Cayler Boss was the original DJ vpm
Speaker 2: D and then Scratch comes in.
Speaker 1: So how did that transition happen?
Speaker 3: Yeah, Cayler Boss and you know, he was starting his.
Speaker 4: Life a little bit and things were moving fast for him,
Speaker 4: you know God, And I think that maybe it wasn't
Speaker 4: him being able to handle that because he had a
Speaker 4: new girlfriend, you know was I think he's getting ready
Speaker 4: to marry at the time, had kids coming, whatever.
Speaker 3: But that's what I think. I don't really know.
Speaker 1: How did you'll find Scratch?
Speaker 3: Scratch was in London. We had to show on Monday.
Speaker 3: We had no DJ, so we had we had the
Speaker 3: tape machine, the one that played the tape. We had
Speaker 3: one of them as the DJ before they was you
Speaker 3: know that machine before there was somebody that we had that.
Speaker 3: So at the end of the day Rest in peace.
Speaker 3: Jam Master J said listen, I have a DJ for you.
Speaker 4: Scratch had just won the seminar in London and jam
Speaker 4: to J bought Scratched on our tour bus and that's
Speaker 4: and then that was history from there.
Speaker 1: And those scratches one right there.
Speaker 3: Yeah, what what's what you're saying? Don't forget yo?
Speaker 1: We oh shit, I forgot that part.
Speaker 4: Yes, what you're saying is made though quest and now
Speaker 4: we have the Parliament by itself, right, so it still
Speaker 4: wasn't getting us. So we sent Scratched the cassette and said, Scratch,
Speaker 4: here's the idea we got, see what you can do
Speaker 4: with that. And that's when the famous scratches from what
Speaker 4: you're saying happened, you know, because it was plain.
Speaker 2: I only asked that because I tease bow legging loud.
Speaker 2: To this day, I don't care what he tells me, Like,
Speaker 2: there's no way he could convince me that doctor Ice
Speaker 2: was that precise on every cut and scratch on those
Speaker 2: UTFO records.
Speaker 1: I was like, come on, y'all, you know, good one.
Speaker 1: You sampled Leader of the Pack.
Speaker 2: And hell yeah, but how do you know that, dude,
Speaker 2: I'm a historian.
Speaker 3: He did, he did, he did sample, he sampled them.
Speaker 2: Before I'm in the game. I study the game, Okay,
Speaker 2: so that's how I do it. Steezo working here at
Speaker 2: the Tonight Show, oftentimes when Steve Martin comes on the show,
Speaker 2: we play his song for him every time once the
Speaker 2: Prescott win. That the Roots custom do songs like the
Speaker 2: walkout song was just as important.
Speaker 1: As the interview.
Speaker 2: And Steve Martin was one of those people that was
Speaker 2: like always wanted to know, like what do the Roots
Speaker 2: play when I come out and they hear the same
Speaker 2: old odi this reading And I told him, I was like, yo,
Speaker 2: are you even aware that you're a part of hip
Speaker 2: hop culture?
Speaker 1: And He's like, no, what do you mean?
Speaker 2: And I was like, one of the most popular dances
Speaker 2: of our era is the Steve Martin Martin So number one?
Speaker 2: How is that dance to Steve Martin? And I've not
Speaker 2: seen Steve Martin? Did he do it in the jerk?
Speaker 2: And I missed it?
Speaker 4: Like nah, No, it was just THESEO just called the
Speaker 4: record that when he heard them, Ben Ben Ben, he
Speaker 4: just made them say whatever because he's the one that
Speaker 4: had the Steve Martin idea. He was like called the
Speaker 4: Steve Martin he said, trust me because he wanted to
Speaker 4: have a dance for himself because after you got to Chipto,
Speaker 4: he wanted to you know what I'm saying, like, yo,
Speaker 4: people know me for this other dance, let me come
Speaker 4: up with something else.
Speaker 3: So he named it that, so we wrote it.
Speaker 1: So he just named it the Steve Martin he.
Speaker 3: Named it and we wrote it.
Speaker 2: Did you have anything to do with his first solo
Speaker 2: record or with It's My Turn or anything?
Speaker 4: No, I think that him and Paris had fell out.
Speaker 4: So because again, don't forget, Craig Matt was supposed to
Speaker 4: be with us too.
Speaker 3: So Craig Matts.
Speaker 5: If you know the Zoomzo Matt story, when E P
Speaker 5: and D broke up, that busts everything from him because
Speaker 5: there was nothing for him to attach to the dreams
Speaker 5: that he had to go with the hit squad because
Speaker 5: that's what he was doing.
Speaker 4: The fun forget the funk that Craig Matt was doing
Speaker 4: was like, nah, it's erkan. I wanted to be here.
Speaker 4: But since the group broke up, years went by. Alvin
Speaker 4: Tony God bent to dead, brought him to Puffy, but
Speaker 4: as far as THEEZO, he went on and did what
Speaker 4: Craig did, trying to do something to show us right
Speaker 4: but then when him and fathers fell out, I was like, Okay,
Speaker 4: it's my term or it's my thing, is my term?
Speaker 1: Got it?
Speaker 3: And so what you're saying when you hear saying some
Speaker 3: get them you was hired.
Speaker 1: Right, Yeah, Paris went adham, I see because the.
Speaker 3: Pits boy, it was high, so you don't really hear
Speaker 3: it until I tell.
Speaker 1: You now, got it? Okay? I didn't know that. All right,
Speaker 1: let's get into it. Man.
Speaker 2: You had too much to drink. So did y'all turn
Speaker 2: the record in? It was like, yo, tone Logan is
Speaker 2: doing some crazy numbers. Y'all need a pop single?
Speaker 3: Like what you said to.
Speaker 1: You know something weird? I'm gonna tell you something.
Speaker 2: One of the biggest responses and this was like, maybe
Speaker 2: I know it's beyond twenty ten, so maybe like twenty
Speaker 2: twelve or whatever.
Speaker 3: Okay.
Speaker 1: I was doing a fast wrap set.
Speaker 2: Okay, shit had to be over like one hundred and
Speaker 2: eighteen beast for men's playing a lot of hip hop,
Speaker 2: house and move jump jack your body and all that stuff.
Speaker 1: And I saw you had too much to drink, and
Speaker 1: I was.
Speaker 3: Like, you better not have you better play the first
Speaker 3: you want to.
Speaker 2: Know it's funny I put it on and in the
Speaker 2: age of irony, way like you do understand now that
Speaker 2: whatever we consider like when I DJ now and I
Speaker 2: spend ice Ice Baby like anything that I wouldn't normally
Speaker 2: touch back in eighty nine, ninety ninety one, ninety two,
Speaker 2: like I play it now and it's like I put
Speaker 2: Michael Jackson on like people just like I put you
Speaker 2: had too Much to Drink on and motherfuckers started doing
Speaker 2: the Carlton to it, like were you guys forced to
Speaker 2: do you had to much to drink and it's time
Speaker 2: to party?
Speaker 4: No, No, it's time and party wasn't forced because I think
Speaker 4: that back then a hip hop if you know, everybody.
Speaker 3: Had a dance re kid like doing Yeah, had a
Speaker 3: house doing.
Speaker 2: And even with I'm Mad remix I'm so mad you
Speaker 2: did that?
Speaker 3: I didn't do that. Scratch bring that to the table
Speaker 3: with the so yeah yeah yeah, yeah, yeah yeah yeah
Speaker 3: boom boom boom boom boom. That was Scratch's remix.
Speaker 1: Tell you Oh God.
Speaker 2: One of the very first roots demos was based on
Speaker 2: so Who's Pal Joey's Hot New music Wow?
Speaker 1: And we were in a club we heard that ship
Speaker 1: and I was.
Speaker 3: Like a damn y yeah, y'all. I think Scratch knew
Speaker 3: like you knew person who knew music knew records because
Speaker 3: we didn't know what it was.
Speaker 4: But but we were like, yo, it doesn't sound bad,
Speaker 4: so we used it. But as far as it's time
Speaker 4: to party, you're talking about that.
Speaker 3: Boom that was a huge, huge record, hip hop or not,
Speaker 3: so we wasn't too mad about that.
Speaker 4: But that time the party came from Russell. Because of
Speaker 4: run DMC making the rock boxes and all the Mary
Speaker 4: Mary's and all that type of stuff.
Speaker 1: I was gonna say, he wants you to do a
Speaker 1: DJ Hollywood.
Speaker 4: Record exactly that was, and then he had the nerve
Speaker 4: to say, Yo, we're gonna shoot the video. You going
Speaker 4: next all, Oh yeah, we're gonna have Llokuje come down too.
Speaker 4: That's why loing video and such so, and then going
Speaker 4: back to Cali all this stuff, I'm like, Yo, I'm
Speaker 4: like and listen, man, I'm glad people that listened to
Speaker 4: the record took it as a joke kind of because
Speaker 4: the video was funny and the you know, the yes,
Speaker 4: so it wasn't ticket seriously, so it was like n
Speaker 4: w A doing the shit they did in their records, you.
Speaker 2: Know, dude, Well, I mean at the time, it got
Speaker 2: a lot of play on the Box, all right, So
Speaker 2: our listeners out.
Speaker 3: Give remember the Box. Yeah, a lot of put in
Speaker 3: the box it got, all right, So the big payback too.
Speaker 2: There's a moment between like eighty nine, maybe like ninety
Speaker 2: four ninety five. The closest thing we had to YouTube
Speaker 2: was a channel called The Box, which was basically it
Speaker 2: was a jukebox.
Speaker 1: Like you go to this.
Speaker 2: Channel and you call it number yes or a dollar
Speaker 2: seventy five, they will play your video.
Speaker 1: Now you just go on YouTube and watch a video.
Speaker 2: But a lot of people credit that a lot of
Speaker 2: regional rap that wasn't going to get play.
Speaker 1: On beet or MTV Found Life here.
Speaker 2: This is why I credit the Box for like the
Speaker 2: popularity of Two Live Crew because you couldn't see their
Speaker 2: videos on MTV like that, right, or us really getting
Speaker 2: to know the Ghetto boys, or a lot of West
Speaker 2: Coast acts that we weren't up.
Speaker 1: Yes, yes, the Box is what did that.
Speaker 2: But yes, someone loved y'all a lot in the Philadelphia area.
Speaker 2: I probably saw you had too much to drink, probably
Speaker 2: more than I seen. So what you say in video.
Speaker 2: Oh way, dude, that's how I knew to ask it, yo,
Speaker 2: Like it just came on all the time.
Speaker 3: Wow.
Speaker 2: So speaking of ll, can you explain the Rampage video now?
Speaker 2: LLLL claims that is him in that chair in the
Speaker 2: Rampage video in the silhouette. Yeah, but what happened in
Speaker 2: the ram page video that LLLL just wasn't out front
Speaker 2: with the you two.
Speaker 4: It's so crazy because Llo had dropped the album before that,
Speaker 4: and the album didn't pop off like that. So what
Speaker 4: happened was I heard that Russell was like, yo, go
Speaker 4: hang with parishing them. So that's what he did. He
Speaker 4: befriended them to get his street se right. So once
Speaker 4: he you know him in past was more tight than
Speaker 4: me and him. But we was all close.
Speaker 3: And it was in the l O COOJ Tour two
Speaker 3: in eighty nine though, too, so so you know we
Speaker 3: was always friends.
Speaker 4: But so when Llo got the Mally album Get Ready
Speaker 4: to Come, He's in his prime. You know what is
Speaker 4: the panther animal that kills I'm like a blow shot
Speaker 4: coming out, so so breaking Dorner is coming the whole
Speaker 4: night and he coming right all of a sudden, we
Speaker 4: get ready to shoot rampage. So he says, yo, man,
Speaker 4: my manage met my dad said, you know, I'm about
Speaker 4: to come out.
Speaker 3: I shouldn't be seen yet. So we felt like, God, damn,
Speaker 3: you didn't came and you then you know.
Speaker 1: This this was his best verse ever, right.
Speaker 4: So he was like he ain't coming. So I told
Speaker 4: Russell yo, on the strength of Russ. I don't know
Speaker 4: what's going on, but I know the el but to
Speaker 4: be down here to this video and people, now, I
Speaker 4: was mad the whole video set. I was kind of
Speaker 4: upset though, because I wouldn't figure it would even be
Speaker 4: a problem, right comes it comes late and he's like, yo,
Speaker 4: I can get in it. But I got to be
Speaker 4: in a silhouette. So now I'm really man now, like
Speaker 4: extra man. But we had no choice, and I thought
Speaker 4: that Russell them would have put their foot down like
Speaker 4: yo and.
Speaker 3: Be like yo this he signed to you, you know,
Speaker 3: while are we doing this?
Speaker 4: But again everything had to go so and again this
Speaker 4: was when you know, Jennifer Lopez was one of the
Speaker 4: dances in the video at the time.
Speaker 1: So I did not know that.
Speaker 3: Yeah, if you got the.
Speaker 4: Videos, she has on Paris's face and the other girl
Speaker 4: has my face on the shirt that's.
Speaker 3: J Loo dancing, So damn okay.
Speaker 4: There was a bunch of people around that was like
Speaker 4: you know, around the set, and it was like, okay,
Speaker 4: well this got to get done because again, if we
Speaker 4: don't do it, then it's gonna be wasting a video.
Speaker 4: So we did what we had to do and that's
Speaker 4: what But you know, you can if you know l
Speaker 4: you can see the silhouette.
Speaker 3: You can see his movement and how it is.
Speaker 4: You know, it'say, that was not a body double, right,
Speaker 4: so for people to dig question like who is it?
Speaker 4: And that was the messed up party by it like
Speaker 4: dag Man. And then today when people ask you what's
Speaker 4: your favorite verse, you mentioned that, you know, and that's
Speaker 4: the weird part.
Speaker 3: It's crazy.
Speaker 2: That verse was one of his greatest endings ever. If
Speaker 2: there ever was the genesis of a mic drop moment
Speaker 2: after a verse, that verse was it? How long did
Speaker 2: it take for y'all to get that verse out of him?
Speaker 3: I wasn't there.
Speaker 4: Don't forget there's a version out there that God best
Speaker 4: the dead while mister c is going to in Clark
Speaker 4: can going, but they both would play.
Speaker 3: The version that the beat was different. It didn't have
Speaker 3: tramp in it yet it had the drums from BT
Speaker 3: Express in it because the drums that's over the tramp
Speaker 3: beat is what it was with the baseline. Yeah, yep,
Speaker 3: right on that NonStop album. Yes, that was playing. So
Speaker 3: it was only l O, Cuj and Parish in the
Speaker 3: studio with different vocals. It's out there.
Speaker 1: How do they get that version they.
Speaker 3: Started with that version first? I wasn't there.
Speaker 1: How did DJs get that version if it was never
Speaker 1: printed up?
Speaker 3: Somebody leaped it and gave it to them.
Speaker 4: Somebody they had it, They had it early so and
Speaker 4: it couldn't pay from anybody our power play.
Speaker 2: What made y'all change to the tramp loop instead got
Speaker 2: you another thing? My favorite Peate rock moment. I'm sorry,
Speaker 2: my second favorite Pete rock moment of all time, because
Speaker 2: nothing will ever describe what it was like hearing the
Speaker 2: shut Him Down remix for the first time. I didn't
Speaker 2: see that shit coming, right, But I gotta tell you,
Speaker 2: the first time I heard Rampage in a nightclub was
Speaker 2: the p Rock remix version Stop Lying Dog Boom boo.
Speaker 2: Oh my god, that song does not get enough respect.
Speaker 2: I'm shocked that def jam let y'all get it, because
Speaker 2: Rampage twelve inch was a rarity in which there was
Speaker 2: like five selections on each side. Okay, so the grooves
Speaker 2: is smaller, okay, But for me, that remix of Rampage,
Speaker 2: the p Rock remix of Rampage is my second favorite
Speaker 2: all time Pete Rock creations. And that's no way because
Speaker 2: that was before he was air quote Peat Rock.
Speaker 1: How did y'all even?
Speaker 3: Yeah?
Speaker 4: But he was still doing the remixes though, because again
Speaker 4: was he because because because Rampays is ninety one, so whatever,
Speaker 4: But it was something else that Pete. We got to
Speaker 4: look up ninety one People Rock and see what he
Speaker 4: was doing, because it wasn't just people I can see
Speaker 4: us move yet that they didn't come out yet.
Speaker 2: The first time I heard of Pete Rock was the
Speaker 2: ramp Pays remix. I didn't even know that he had
Speaker 2: a group.
Speaker 1: Well, you know.
Speaker 3: What, I had to find him from somewhere. We had
Speaker 3: to look it up, see what was out there. I'm
Speaker 3: looking out there, I'm looking up and yo, like nineteen
Speaker 3: ninety one People Rock.
Speaker 2: Business as Usual came out in nineteen ninety all right,
Speaker 2: So granted December eighteenth, nineteen ninety so yes, right, the
Speaker 2: single came out in nineteen ninety one. But the very
Speaker 2: first time I heard of Pete Rock was that remix,
Speaker 2: because I was like, yo, I didn't even know that
Speaker 2: Eric got down with the RAFFI came drums like that
Speaker 2: like that to me was like.
Speaker 3: Okay, but listen, but it don't show nothing else of
Speaker 3: him the.
Speaker 1: Creator and all that stuff will come out later.
Speaker 3: But no, I'm talking about ninth. When you're saying that
Speaker 3: e pm D remix.
Speaker 1: Or awesome ful film, how did I find them? Dude?
Speaker 2: Like I brought that When I heard that song, I
Speaker 2: went and got the twelve inch. It's all p rock
Speaker 2: hit to the head, hardcore remix or whatever. And that's
Speaker 2: how I got introduced to Pete Rock.
Speaker 3: Hey, you know what, it wasn't even me, it probably was.
Speaker 4: It was a death Jam thing because I wasn't in
Speaker 4: it like that to be going and hit and find
Speaker 4: him whatever.
Speaker 3: Somebody at Death Jam found him.
Speaker 1: Got it.
Speaker 2: So how did you guys wind up leaving Sleeping Back
Speaker 2: to go to Death Jam.
Speaker 4: Yeah, Russell did the audit on them because they knew
Speaker 4: things wasn't right.
Speaker 3: You know, E p D was selling all these records.
Speaker 3: We didn't have nothing.
Speaker 4: They up there with new Deaths and jeeps and soap
Speaker 4: us and shit. So Russell and Russell wanted what he wanted.
Speaker 4: Because even with the tour, when when Run said, Yo,
Speaker 4: go get them new boys, like Run did that? Run
Speaker 4: got us out there. And then when it was time,
Speaker 4: when they saw that how we was moving, they knew
Speaker 4: that we was the new So Russell was like yo,
Speaker 4: because we was all on Rush management. That's why when
Speaker 4: you asked a question about the helicopter and all that
Speaker 4: type of stuff, this is Rush management. Ain't nobody bigger
Speaker 4: than them. So all Rush acts were different. They were
Speaker 4: different with Leo or Russell.
Speaker 2: The only person I've interviewed on this platform about his
Speaker 2: car game was Biz. This will be like I was
Speaker 2: the first one with I was the first one. But
Speaker 2: I have to say that, even though I'm not a
Speaker 2: car dude per se, that the Unfinished Business album cover
Speaker 2: is a rather iconic hip hop photo for just the
Speaker 2: b boys stance, the nikes, you'll rocking whatever. Yeah, the
Speaker 2: bucket has all this stuff. So by that point, were
Speaker 2: you satisfied with the way that life was going.
Speaker 4: We were still young, because I'm an eighteen year old kid.
Speaker 4: So at the end of the day, I still know
Speaker 4: what's going on. I'm in there with Will Smith. Will's
Speaker 4: telling me that, you know, I'm about to be a
Speaker 4: big actor. I'm like for real, Like he was speaking
Speaker 4: like this in eighty eight. But we was in the
Speaker 4: backstage playing basketball, so certain things that you would think that.
Speaker 4: But when the second album came and we went number
Speaker 4: one again, we still didn't really get it because we'll
Speaker 4: announced on stage when to graduate EPDEP or second on
Speaker 4: one album in the row, like you know whatever, whatever.
Speaker 3: We didn't even know what they was talking about. So
Speaker 3: we didn't. Don't forget. We was getting jerked the first
Speaker 3: two albums, so we didn't know. We know, we didn't
Speaker 3: have no money, but it was still we were still
Speaker 3: happy making records and being on tour. So the tour
Speaker 3: and then we had to I named Burt Padell. Don't forget.
Speaker 3: Burt Padell made everything right for all his artists.
Speaker 4: He was the number one account for every artist in
Speaker 4: New York, every major actor from the Narrow to Madonna
Speaker 4: to everybody was.
Speaker 3: All Burt Padell.
Speaker 4: So all the stuff you saw us where it was possible,
Speaker 4: the houses he got for us, the cars he got forced,
Speaker 4: so we didn't know that we didn't we wasn't getting
Speaker 4: it and we didn't have it until Russell came and
Speaker 4: ordered it.
Speaker 3: First records.
Speaker 2: What were those tours like in eighty eight eighty nine,
Speaker 2: those those nail tours? We ll, I don't know if
Speaker 2: you were on the Runs House, you were on the
Speaker 2: Runs House.
Speaker 3: All, yeah, that's the first one eighty eight, the first
Speaker 3: one that I've been on before before the fresh best.
Speaker 1: So tours are different now for us.
Speaker 2: I mean, you know, we're in a position now where
Speaker 2: you know, some of his assister on staying at you know,
Speaker 2: the highest level of four seasons and whatever, and you
Speaker 2: got to have a rider and your own tour bus
Speaker 2: and all those things. Right, I know things were different
Speaker 2: in the early dawning of the nineties. But were those
Speaker 2: tours genuinely fun for you? And what were other territories like?
Speaker 3: Again you were acting young kids, of course, it's exciting.
Speaker 4: The Runs House tour was very very respectful, very neat
Speaker 4: because it's run DMC. So it's run DMC Publican the
Speaker 4: me e pm DJ for the First Prince and sometimes
Speaker 4: SATs the Sonics, So again it was run DMC so
Speaker 4: everything was a plus l O COOJ tour e pm D,
Speaker 4: l O COO J, Big Daddy, King, Slick Rick. Of
Speaker 4: course it's Carl Blanc because it's still LLLL.
Speaker 3: But it's also Rush management, you know. So all the
Speaker 3: tours was dope.
Speaker 4: The mc hammer when we had the beef with him again,
Speaker 4: started off good MC Hammer e pm D. But but
Speaker 4: THELAS opening up, it started off good.
Speaker 3: You know.
Speaker 4: The DJ Quick tour was drama because every night they
Speaker 4: was coming for Quick. Every gang in the Kansas City
Speaker 4: or all them San Diego's with them gang Bingers is crazy.
Speaker 3: They was at Quick.
Speaker 4: So every time EPMD, DJ Quick, chump Rock and Gangsta
Speaker 4: and it was a problem almost every night.
Speaker 1: Okay.
Speaker 2: So the reason why I asked that question is because
Speaker 2: the only indication that I had about what tour life.
Speaker 1: Because the thing is the roots.
Speaker 2: Had the roots come out ten years beforehand, we would
Speaker 2: have been on this tour because our whole existence was
Speaker 2: living on the.
Speaker 1: Road two hundred and fifty plus days.
Speaker 3: Wow.
Speaker 2: So a lot of what I learned or thought about
Speaker 2: what life was like before ninety five touring was what
Speaker 2: I learned about DJ Quick rhyming on just like Compton
Speaker 2: what was the marketplace that you didn't like going to?
Speaker 1: Even at the height of EP and D.
Speaker 4: I tell you what, DC back in the early eighties,
Speaker 4: early nineties, you couldn't go there without a go go
Speaker 4: group being on the bill.
Speaker 1: Wow.
Speaker 4: If the things didn't change until until Puffy until ninety three,
Speaker 4: you could not go to DC and perform without having
Speaker 4: the go go band on your bill with you.
Speaker 1: Wow. It was like that.
Speaker 3: It didn't have it, and they had their own, their
Speaker 3: own market. The whole that I watched R Kelly one night,
Speaker 3: Nigga come on last behind what's that? What's that?
Speaker 2: The big band that was there, rare essence, backyard, your backyard,
Speaker 2: junk yard.
Speaker 3: Okay, they went on and all Kelly came on after him,
Speaker 3: and they was filing out by the hundreds. It's like
Speaker 3: that DC had their own culture language.
Speaker 4: It didn't change until bad Boy and Puffy's parties burned
Speaker 4: that to Howard got it?
Speaker 1: Okay, I see.
Speaker 4: But but as far as the other markets, the only
Speaker 4: market that E PMD has trouble in, and you would
Speaker 4: think that we was a brand new group even till
Speaker 4: five years ago, is New Orleans. It's a real different thing.
Speaker 4: It's different it's different, and think about two. They're coming
Speaker 4: to like fans like yo, whatever, they love.
Speaker 3: You, but we're not in that arena. I felt like
Speaker 3: I was a new rapper.
Speaker 6: Hey everybody, this is Sugar Steve of Questlove Supreme.
Speaker 3: Sorry to interrupt, but Eric.
Speaker 6: Shermon and Emir spoke for over three hours, so please
Speaker 6: come back next week or check your podcast feed for
Speaker 6: part two. In that episode, Eric reflects on working with
Speaker 6: Dos Effects, Redman, two Short, and more. He also speaks
Speaker 6: about sampling Roger Trautman for Crossover and share some superstars
Speaker 6: that have been asking him for beats as of late.
Speaker 6: Thanks so much, Happy New Year from Quest Love Supreme.
Speaker 1: West Love Supreme is a production of iHeart Radio. For
Speaker 1: more podcasts iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or
Speaker 1: wherever you listen to your favorite shows.