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

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Speaker 2: Hey everybody, it's like yah.

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Speaker 3: So we're back with part two of our Quest Love

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Speaker 3: Supreme in Atlanta with Dallas Austin. Now, if you missed

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Speaker 3: part one, that's when Dallas spoke about growing up around

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Speaker 3: some amazing musicians. He talked about his earliest credits and

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Speaker 3: making those big ass hits with Boys to Men and

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Speaker 3: t LC.

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Speaker 2: Make sure you check that out.

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Speaker 3: In the meantime, get ready for this amazing part to enjoy.

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Speaker 1: Yo. All right, look illegal, just stay on.

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Speaker 4: Because do you remember the Snoop story and the source

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Speaker 4: oh with when Jamal.

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Speaker 1: What was that? Because they had me to the beefing against.

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Speaker 5: The everybody dude When I first so left eye, she

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Speaker 5: she bought me these kids one day to the studio

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Speaker 5: and she was getting ready to go on the road.

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Speaker 5: So I got this group. You gotta sign in the rowdy.

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Speaker 5: They're dope. There's like a little red mantle. And when

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Speaker 5: they came to the studio, they were finishing each other's sentences.

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Speaker 5: They were like them dudes was like dope. They was

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Speaker 5: like yo, no, no, they're throwing dice with each other. Like

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Speaker 5: these little dudes is bad. As ship. She's like, well,

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Speaker 5: keeping with you, I gotta go into her striking, right,

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Speaker 5: So they stayed in the studio with me at dark

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Speaker 5: We have rooms in there, right, So the kids of

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Speaker 5: everybody's loving these kids, like Eric Simon, Buster rhymes, everybody

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Speaker 5: that's in my studio work diamond d. Everybody's working with

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Speaker 5: me already. So the kids come in and they out

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Speaker 5: wrapping everybody. They are rapping and cussing and rapping and cussing,

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Speaker 5: and you know, hit a gud way you wanted hit

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Speaker 5: a good pop pop. So nobody's ever seeing kids curse,

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Speaker 5: like I forget when they started twelve eleven. So then

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Speaker 5: I took them to Arista so Cloud because and they

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Speaker 5: jump up on the them conference room table, check off

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Speaker 5: everybody's coffee cups like I'm like, okay, just ruined this

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Speaker 5: ship like we did after class was like amazing, amazing start.

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Speaker 5: I'm like cool, we started to work on this record, right,

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Speaker 5: And so Lisa goes out of town the two of them.

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Speaker 5: About three or four days later, Malik comes up to

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Speaker 5: me and say, yo, man, you got the blunt? I said,

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Speaker 5: what you twelve I'm smoking? What is the blunt? By

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Speaker 5: the way, And I'm not smoking up with you. I

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Speaker 5: don't even know it was. Everybody's still smoking papers. He

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Speaker 5: dumped done out. He said, okay, he futed, got his

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Speaker 5: pocket on his own and his own wie dumped it

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Speaker 5: out and start rolling in front of me, and I'm like,

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Speaker 5: what's going on? Man, I gotta talk to you d

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Speaker 5: he said. He said, this is Malik. He said that

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Speaker 5: motherfucker Jamal. I don't know him. What wait what I said,

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Speaker 5: hold on, hold on, hold on. We sid the head.

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Speaker 5: We had just shot the head of that video, and

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Speaker 5: then they want to go solo because he's like, man,

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Speaker 5: he said, let me tell you something. I don't know

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Speaker 5: this motherfucker. I've made him the same day with left eye.

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Speaker 5: We've been together like that. I said what he said? Yeah,

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Speaker 5: he said, I don't trust that motherfucker. Have to sleep

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Speaker 5: with one. I open. He's twelve, by the way. So

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Speaker 5: what I'm gonna do is I'm gonna get my solo. D.

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Speaker 5: I'm gonna get my this So I'm not hold on,

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Speaker 5: hold on. We just spent y'all gotta do head of gut.

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Speaker 5: We just did the video. We did it. Gets busy,

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Speaker 5: y'all gotta follow this out you can't go solo right now, right,

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Speaker 5: So check this out. The first promo tour started in

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Speaker 5: La a right, there's five hundred thousand dollars promo to it.

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Speaker 5: They got because Clive Davis is going crazy about them.

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Speaker 1: Right.

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Speaker 5: So they get to LA and they decide that they're

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Speaker 5: gonna stay with Dre and Snoop.

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Speaker 2: Right, Oh no, no, no, let them influence.

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Speaker 5: Oh parents are on the way, their parants are. They're

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Speaker 5: the PICGMIC one day and they don't got with Dre

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Speaker 5: and Snoop and they death Row and they turned that

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Speaker 5: they did. Right. So now Arista's calling me, like, yo, man,

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Speaker 5: the kids they won't leave LA. They're threatening the BMG

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Speaker 5: reps and everything else. But hit them with the hammers

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Speaker 5: in their head and you know they got little guns

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Speaker 5: and all this shit. So I'm like so I'm like,

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Speaker 5: all right. So Clive calls Dallas, this is crazy. You

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Speaker 5: have to go get the kids. To go get the

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Speaker 5: kids from where from death Row? You gotta go meet

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Speaker 5: with Sugar.

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Speaker 2: That sentence don't sound right.

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Speaker 5: Rock these little dudes. I'm not going through that, Dallas.

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Speaker 5: We have too much money on the table. You have

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Speaker 5: to go get the kids. You get them, so me,

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Speaker 5: yeah right, so me my man, k wells we go

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Speaker 5: out to death row. Pull get up in the elevator. Man,

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Speaker 5: get off the elevator. It's just big dudes everywhere. Ain't

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Speaker 5: no posters, ain't no plaques, ain't no record from stress.

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Speaker 1: It's just like.

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Speaker 5: Woods, paneling walls. Right. So walk into another room. It's

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Speaker 5: a fold out table, fold out chair. That's when we

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Speaker 5: sugar desk, get a red carpet. That's a death row,

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Speaker 5: like a red round thing. Right. But that's it knows

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Speaker 5: nothing else, right, So we walk in there saying that's

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Speaker 5: so she'll come in. Man, what's up? D Man? You

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Speaker 5: know so good man. You know artists ain't loyal man,

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Speaker 5: you know how artists get. Man, I'm like, here we go.

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Speaker 5: So he's like, the boys got out here with Dre

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Speaker 5: and snoop Man, and you know they just they just

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Speaker 5: want to be on death row now, you know, they

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Speaker 5: just want to do I said, I'll tell you what,

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Speaker 5: just give me back when we spent, you can have them.

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Speaker 5: He said, no, No, I was thinking we could do them together.

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Speaker 5: You know, rowdy death bro. What I was like, Man,

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Speaker 5: I'm cool on it, Like you can just just fly

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Speaker 5: back with this spend, you can have them. I said,

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Speaker 5: I'm just trying to get out of here, right. So

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Speaker 5: he goes, well, man, what the kids want to see

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Speaker 5: you real quick? Man? They want to say hey. You know,

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Speaker 5: so they come out of it. They come out of

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Speaker 5: the wall that looked like they.

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Speaker 1: Came out of the wall. The wall like the Wizard of.

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Speaker 5: The Panel wall open up. And these little dudes, now

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Speaker 5: they're about thirteen fourteen. They still can't drive right, all right,

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Speaker 5: thirteen fourteen. So they're like highs. I don't know what

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Speaker 5: hey man, Dallas and me and him man, me and

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Speaker 5: shoot niggas ain't me and they are high on sherm

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Speaker 5: or whatever it is. So I was like, I'm cool,

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Speaker 5: we can work this out later. I'm just let me

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Speaker 5: get out of here, right. So I get back to Atlanta.

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Speaker 5: Two days later, Malik shows up. Oh party of Oh yeah.

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Speaker 5: He's like, no, no, I can. I can't deal like that.

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Speaker 5: He says, let me tell you something, man, Jamar Grandma

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Speaker 5: put some roots on me. When you huh, you say,

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Speaker 5: what a legal story you're here? Jamal Grandma put some

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Speaker 5: roots on me, said what do you talk about? Man?

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Speaker 5: He's like, man, well, I'm just tell you like this man,

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Speaker 5: my ship swrolled up and I said, so that's because

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Speaker 5: you're out there with death Rod Charlie, messing with them

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Speaker 5: girls whatever.

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Speaker 2: God wrapping it up.

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Speaker 5: He how you talk to you? No, I'm a verge

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Speaker 5: of my.

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Speaker 4: Nigga and that is our clip for the Dallas Austin episode.

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Speaker 1: The next question left free.

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Speaker 5: So talking about but check this out even worse. So

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Speaker 5: he said, So I went to the doctor. D took

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Speaker 5: me to the doctor, he said. So the doctor said

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Speaker 5: they didn't know what this was what happened to me.

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Speaker 5: So then he said and said, we got to take

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Speaker 5: you to this lady in the hood. Say take it

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Speaker 5: to the ladyhood. Ladyhood says, oh yeah, yeah. Somebody puts

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Speaker 5: some on you need to take a bath in this

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Speaker 5: milk and then this stuff he gave me, he said,

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Speaker 5: So I did that. They went down, I got my

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Speaker 5: ask on the plane and here I am here ready

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Speaker 5: to do my solo record.

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Speaker 2: Solo record.

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Speaker 1: Okay.

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Speaker 5: Now the other part about this is meanwhile they got

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Speaker 5: a record out, gets busy, they got ahead of it out,

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Speaker 5: and Arista's just trying to do everything they can to

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Speaker 5: push the guys that they can't get hold to.

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Speaker 1: It was the red tape I had to take.

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Speaker 5: We get all the way through the whole down. They

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Speaker 5: never went on no promo tour. That all got kicked

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Speaker 5: out of the window from them being crazy or whatever,

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Speaker 5: and they stayed out on death Road that long. Well,

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Speaker 5: we get to the Billboard awards that year. Right now,

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Speaker 5: Clive Davis is getting twenty something awards that he's getting

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Speaker 5: all the Whitney Houston's all. You know, he just racked.

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Speaker 5: He's just doing this thing. You know, so rap category

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Speaker 5: come up cool like that planets hip hop parade. In

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Speaker 5: my nature, we gets busy ilegal people like, okay, then

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Speaker 5: the winner is illegal. We gets busy.

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Speaker 2: Stop it.

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Speaker 5: You can see us looking at each other. Now, if

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Speaker 5: the kids did what they were supposed to do, it

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Speaker 5: it made sense, right because they would have went on

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Speaker 5: the promo tours. The people would have got you know,

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Speaker 5: they would have been blown up. But Clive got to

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Speaker 5: put his bids in early. It was almost embarrassing.

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Speaker 3: You know.

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Speaker 5: He wasn't as big as Digable Planets or Hipapa another.

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Speaker 1: Because Jamal ended up getting the solo deal.

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Speaker 5: Jamal both of them did so Malik ended up doing

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Speaker 5: his solo deal. We did that. Malik goes on.

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Speaker 1: Keep it real was the one though, and they were.

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Speaker 5: They were again on that track. They were right there

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Speaker 5: on stuff. I had to publishing company set up for

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Speaker 5: them as kids.

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Speaker 1: I'm afraid to ask.

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Speaker 2: Yeah, please, I want you to ask, and I want

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Speaker 2: to know to go ahead.

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Speaker 1: Where are they now?

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Speaker 5: Oh my god, Sin's something sweet around. I see, we'll

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Speaker 5: see Jamal living now and then. But they have had

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Speaker 5: times with me before. This was like, man, we fucked up. Sorry, man,

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Speaker 5: we just like me. They were doing contu pistols and

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Speaker 5: like you know, driving cars in the people's houses, still

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Speaker 5: in the engineer's cars, sitting on pillows, driving the engineer

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Speaker 5: cars to North Carolina.

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Speaker 1: Like at least it just chilling.

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Speaker 5: She told me. They was. I feel like everybody, everybody

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Speaker 5: just use the kids instantly fall in love with him

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Speaker 5: because they gamble. They're like the coolest little dudes.

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Speaker 2: They just it's cute if you spent a little time

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Speaker 2: with them.

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Speaker 6: But not when you invested five hundred thousand dollars. No, man,

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Speaker 6: two hundred dollars, that was that was cute.

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Speaker 5: Damn.

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Speaker 1: I hate to ask about y'all so stupid.

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Speaker 5: You're also stupid was cool because they were like, you know,

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Speaker 5: they're like a fartside. They were like skateboarding and drawing

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Speaker 5: and doing graffiti and doing art and you know, and

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Speaker 5: so H two still does the same thing, still doing

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Speaker 5: art and drawing. And how was was the King get

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Speaker 5: out of that was one. They were cool because they

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Speaker 5: were just out of New York and it was just

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Speaker 5: like your majesty was doing stuff, doing a lot of

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Speaker 5: production back then, and I think he was in Juice

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Speaker 5: or something back then too.

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Speaker 3: It's not I mean, we're going down there because I

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Speaker 3: want to ask you about and did Davenport but that's

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Speaker 3: way later.

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Speaker 2: Okay, I didn't know what we were doing.

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Speaker 1: But we did skip Highland and placed Monsters.

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Speaker 5: Oh yeah.

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Speaker 4: There's always a point where we asked, like if the

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Speaker 4: producers themselves get their own project out or whatever.

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Speaker 1: But I personally liked, let's get naked.

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Speaker 5: Holland place Monsters was crazy because the guy Chip who

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Speaker 5: was the lead singer.

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Speaker 1: Who I heard he actually would get naked, were.

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Speaker 5: Getting naked on stage and this is the time where

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Speaker 5: that was really cool. Like that right, So like the

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Speaker 5: first show we ever did, we did here in Atlanta,

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Speaker 5: and so let's get naked and he's he's different. This guy,

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Speaker 5: he's very, very different.

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Speaker 2: I don't remember him.

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Speaker 5: They called the maniac in the group and he always

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Speaker 5: out on the straight jacket.

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Speaker 4: I would have said they were way crazier. Jodas like, yeah,

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Speaker 4: what I wanted Joasy to be for fast songs, that's

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Speaker 4: what Land like.

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Speaker 1: Besides get on up. Jodasy never had the fast.

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Speaker 4: Song that like engaged me. So I saw him as

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Speaker 4: a balance right there out. But these guys, the bad

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Speaker 4: boy your daughter's.

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Speaker 1: Group was Highland placed mobsters and that ship should have

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Speaker 1: made it.

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Speaker 5: Chip was like, this is this is what kind of

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Speaker 5: this how the kind of the minds went down? So

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Speaker 5: we did this show with the b R Yeah. Yes,

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Speaker 5: And so I was telling him like, okay, on this

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Speaker 5: show at the BRI, you cannot take your overalls down

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Speaker 5: because he'll snap the overalls me and they just come

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Speaker 5: down and he's just but ass naked with his socks on.

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Speaker 5: You just told get it because he had did this

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Speaker 5: before at one show we did, and he when he

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Speaker 5: did it in Atlanta, I was fun. I had to be.

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Speaker 5: I'm chasing him around the stage like trying to hold

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Speaker 5: but he but I couldn't so in Atlanta, he had

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Speaker 5: jumped out on the rafters of the You know how

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Speaker 5: the light rafters be in front of the stage too,

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Speaker 5: so he's now here on the rafters and he just

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Speaker 5: naked My mom. Everybody's an audience kids, it's just you know.

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Speaker 5: So it went. It went across well on the sky

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Speaker 5: pages back then, because everybody's talking about you've seen how

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Speaker 5: the place Master Show. You've seen how the place Master Show.

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Speaker 5: So there's like gifting. The courage was like, Okay, now

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Speaker 5: you guys got to perform at br I'm like wow,

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Speaker 5: I said, but that's Black Radio Exclusive. That's gonna be

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Speaker 5: like crazy, y. Yeah, you got to though, we need

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Speaker 5: to do it. So we go to do it, and

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Speaker 5: when we get there, so the hell of the world. Yeah.

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Speaker 5: So we get there, the stage is like this, so

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Speaker 5: it's not high enough. So I'm telling him off the back, yo,

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Speaker 5: my man, okay, don't drink no old e to night,

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Speaker 5: and do not take your clothes off on the stage

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Speaker 5: like this a Black radio people. He said, Oh man,

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Speaker 5: I got it in and I worry about it. I

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Speaker 5: go to the damn room. Right. We're doing an interview

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Speaker 5: with Cynthia Horner at the time he doing an interview

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Speaker 5: with her. I look at him, he's licking, like what

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Speaker 5: is he doing? He got a eighty four ounce handcuffed

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Speaker 5: to his hand of old English, like a big apple

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Speaker 5: juice jug of old handcuff to his hand. Yes, because

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Speaker 5: they had a little ring and that's why he put

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Speaker 5: the handcuff in. And he had that handcuff to his hand.

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Speaker 5: He's like, man, I got this ship, no way about

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Speaker 5: the I'm like, my god, we're about to go on

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Speaker 5: stage like this. So we go to the stage and

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Speaker 5: he got that damn thing handcuffed to his hand, right.

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Speaker 5: So I finally get to get the old e off

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Speaker 5: of him. I say, man, you can't jump around this thing,

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Speaker 5: gonna take it off? Okak. He seems like cooking somebody,

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Speaker 5: like like ras real. Absolutely, So we make it through

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Speaker 5: one song and then we get to Let's Get Naked.

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Speaker 5: So he's jumping around the stage on Let's get neckd

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Speaker 5: and I see him taking off his damn things. So

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Speaker 5: I got a key tar on by the way, so

295
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Speaker 5: I'm just like on the stage holding onto that damn thing, right.

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Speaker 5: So he decides that because you know I'm holding on

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Speaker 5: him like that, that he's gonna stage dive. Oh he's

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Speaker 5: stage dive. Well, he still had the top, he still

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Speaker 5: had the bottom pot of the overalls on because I

300
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Speaker 5: was doing this when he staged. He stage dies and

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Speaker 5: he jumps out into the audience and lands on somebody.

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Speaker 5: Stage is like this tall, So I told him don't

303
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Speaker 5: stage dive is not high enough. Right. Well, we get

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Speaker 5: to finish the performance and go upstairs. All of a sudden,

305
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Speaker 5: like La and Babyface come come running upstairs, Yo, sugnighting

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Speaker 5: him downstairs and there looking for the boys with the

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Speaker 5: blond hair. Why well, he has a group called Poor

308
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Speaker 5: Broke and Lonely, and he landed on the girl's neck

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Speaker 5: and she's at the hospital. So Sugar Night, doctor Dre

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Speaker 5: and everybody with them is ready to kill all y'all.

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Speaker 5: We're like, oh ship, now, La and Babyface, we got

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Speaker 5: another knock at the door. Sugar came La, Babyface ran

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Speaker 5: the bathroom.

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Speaker 1: Shut.

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Speaker 5: What's going on? What's going on? Sugar got the door? Like, Yo,

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Speaker 5: open the door, try to get to the blond. Open

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Speaker 5: the door, try to get a blond due. So now Chip,

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Speaker 5: who's nobody to be? He's crazy too, he's out of

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Speaker 5: his mind. I met him bleard machine guns and he's

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Speaker 5: crazy karate all this. So first he turned into let's

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Speaker 5: go check it out man to see the girls. All right, No,

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Speaker 5: you don't want to go out there. They trying to

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Speaker 5: kill the blond due we're bringing the motherfuckers. Hey, you're there,

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Speaker 5: let's go. No, no, no, So we got to calm

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Speaker 5: this down. Well at this point, the police then came

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Speaker 5: up and took Dre and Sugar. You know, soy y'all

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Speaker 5: got to get out of hallways because it was being

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Speaker 5: on the doors and stuff. I wasn't waiting a lot

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Speaker 5: before them to come downstairs. Police came in. They said, look,

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Speaker 5: we got a problem. It's about two hundred people and

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Speaker 5: red and down downstairs wait waiting on y'all. So we're

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Speaker 5: gonna need y'all to leave, and we're gonna take y'all

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Speaker 5: down through the kitchen and put y'all on the bus

334
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Speaker 5: and y'all going to Atlanta. So they had you walk out.

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Speaker 5: It's police lined up all down the hallways. Right, we

336
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Speaker 5: get on the bus, take off, get to Atlanta, I

337
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Speaker 5: mean take off to get out of there. And then

338
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Speaker 5: that was just ow if y'all remember this. But they

339
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Speaker 5: got into a riot and that bry that time in

340
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Speaker 5: the hotel room and they I mean in the hotel

341
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Speaker 5: lobby and they brought the horses in and they had

342
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Speaker 5: people that were hitting them with the sticks and stuff

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Speaker 5: to get them out of there's a big related yep.

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Speaker 4: Yeah, okay, I remember Luke telling the story. Ye, so

345
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Speaker 4: that distracted them.

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Speaker 5: That was all. Yeah, all that was going on. So

347
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Speaker 5: after that the Hollow Place monsters.

348
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Speaker 4: I heard that same story my man Eric, and he

349
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Speaker 4: was at that event. He told verbatim, word for words,

350
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Speaker 4: told me that same story. So dude, like, okay, so

351
00:15:55,200 --> 00:15:57,480
Speaker 4: this answers my question, Like we were beg to go

352
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Speaker 4: to these jack rappers, how can I be down events?

353
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Speaker 1: And the label would never let us go.

354
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Speaker 4: And now get the sneaky suspicion that that was orchestrated

355
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Speaker 4: because they.

356
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Speaker 2: Were scared for you.

357
00:16:10,360 --> 00:16:10,560
Speaker 1: It was.

358
00:16:10,760 --> 00:16:13,480
Speaker 2: Yeah, she wasn't always like that, but look, this is Dallas.

359
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Speaker 5: It started to get like you know, at this as

360
00:16:16,080 --> 00:16:18,280
Speaker 5: time went on, the music started to change, it started

361
00:16:18,280 --> 00:16:19,680
Speaker 5: to get a little more like that because you're gonna

362
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Speaker 5: have the gangster showing up and you know, they're not

363
00:16:21,720 --> 00:16:23,480
Speaker 5: showing nobody theirself. They're gonna bring the whole airplane.

364
00:16:23,840 --> 00:16:28,000
Speaker 6: Oh, speaking of gangsters, your relationship or dealing with Haitian

365
00:16:28,040 --> 00:16:29,600
Speaker 6: Jack O Jack.

366
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Speaker 5: Jack.

367
00:16:31,560 --> 00:16:34,280
Speaker 1: Oh yeah, wait, how do you know he knows? He

368
00:16:34,320 --> 00:16:39,920
Speaker 1: talks about it on this in the document Time in Atlanta. Yeah, yeah,

369
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Speaker 1: I didn't watch that.

370
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Speaker 5: It was good.

371
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Speaker 1: It's like it's thorough.

372
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Speaker 5: I didn't know. But when I first met him, he

373
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Speaker 5: was down, you know, he was down in Atlanta. He

374
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Speaker 5: had his eight fifty and I think they were like

375
00:16:49,600 --> 00:16:51,800
Speaker 5: they were notorious. It wasn't really like dope boys. It's

376
00:16:51,840 --> 00:16:53,640
Speaker 5: like getting the dope boys or whatever. They was taking

377
00:16:53,680 --> 00:16:56,960
Speaker 5: the money. So it was in Atlanta, and man, it

378
00:16:57,200 --> 00:16:59,440
Speaker 5: got cool, Like everybody kind of liked me, you know,

379
00:16:59,480 --> 00:17:00,080
Speaker 5: because I don't.

380
00:16:59,920 --> 00:17:02,440
Speaker 1: Know, are you crazy magnets? Like how do you not?

381
00:17:04,200 --> 00:17:07,920
Speaker 4: Like literally everyone that you work with has a level

382
00:17:07,960 --> 00:17:12,840
Speaker 4: of edge. Yeah, that his voice, men, I mean.

383
00:17:16,720 --> 00:17:20,199
Speaker 5: Yeah, they just like, you know, they feel safe. For man,

384
00:17:20,200 --> 00:17:23,159
Speaker 5: the music business so cool and like, no, you know,

385
00:17:23,359 --> 00:17:25,040
Speaker 5: they feel like they want to protect you. You know,

386
00:17:25,240 --> 00:17:27,320
Speaker 5: that's my man kind of thing. So, like I was

387
00:17:27,400 --> 00:17:29,439
Speaker 5: in New York with Jack for the first time. When

388
00:17:29,440 --> 00:17:31,280
Speaker 5: I when I met him in New York, and uh,

389
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Speaker 5: He's like, man, you don't want to take you to uh,

390
00:17:33,440 --> 00:17:37,000
Speaker 5: what was it? The supper club? Okay, So we go

391
00:17:37,119 --> 00:17:39,680
Speaker 5: there and we're standing outside in the line, and Jack's

392
00:17:39,680 --> 00:17:41,159
Speaker 5: trying to, you know, say that the guys, hey, you know,

393
00:17:41,320 --> 00:17:43,520
Speaker 5: I got my guest here, got Dallas and were getting

394
00:17:43,560 --> 00:17:45,720
Speaker 5: table till Vincent I'm here whatever, right, So the guy

395
00:17:45,760 --> 00:17:50,240
Speaker 5: ain't coming. This is why I really try to realize

396
00:17:50,280 --> 00:17:53,399
Speaker 5: who this was. The guy's not showing up. So Jack's like, Yo,

397
00:17:53,480 --> 00:17:56,760
Speaker 5: did you tell Vincent about here? He's like yeah, yeah, man.

398
00:17:56,800 --> 00:17:59,280
Speaker 5: Jackie said, hold up, all right, I'll tell you what

399
00:17:59,400 --> 00:18:00,960
Speaker 5: you tell him. I'm coming back and I'm shutting this

400
00:18:01,040 --> 00:18:05,760
Speaker 5: motherfucker down. Everybody. Everybody in the line that was standing outside,

401
00:18:05,920 --> 00:18:10,000
Speaker 5: they just started to leave. Yeah, And I was like, okay, okay,

402
00:18:10,000 --> 00:18:12,200
Speaker 5: then the dude can run up. Jack Jack Jack Jack John.

403
00:18:13,200 --> 00:18:14,520
Speaker 5: I'm like, who then is this dude?

404
00:18:15,080 --> 00:18:15,240
Speaker 3: You know?

405
00:18:16,080 --> 00:18:19,119
Speaker 5: And then as I started working with Madonna people like that,

406
00:18:19,240 --> 00:18:21,560
Speaker 5: then Jack Jack started to be around me and that,

407
00:18:21,840 --> 00:18:24,560
Speaker 5: and you know, being I know that, wait what.

408
00:18:26,960 --> 00:18:28,040
Speaker 1: Hasian Jack and Madonna?

409
00:18:28,160 --> 00:18:32,359
Speaker 5: Yeah, she's the words when it came from me first,

410
00:18:33,119 --> 00:18:34,080
Speaker 5: and then I was.

411
00:18:34,080 --> 00:18:36,920
Speaker 4: Afraid to ask yeah, because we're kind of friends. But

412
00:18:37,040 --> 00:18:39,120
Speaker 4: I feel like, you know, the edge of your Madonna.

413
00:18:39,400 --> 00:18:41,240
Speaker 5: Yeah, I got he was hanging out a little bit

414
00:18:41,320 --> 00:18:46,560
Speaker 5: first friendlier Madonna, Yeah, trying to Yeah, but then it

415
00:18:46,720 --> 00:18:49,439
Speaker 5: was after that rob Man and Jack and Tupac, all

416
00:18:49,480 --> 00:18:51,800
Speaker 5: that was in that same kind of little circle where

417
00:18:51,800 --> 00:18:53,600
Speaker 5: she was trying to have a little edge at the time,

418
00:18:54,040 --> 00:18:54,720
Speaker 5: she was trying to be in.

419
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Speaker 2: The streets, and you gave her the first taste brown then.

420
00:18:59,320 --> 00:19:01,040
Speaker 5: But then Jack out a whole too. I mean, this

421
00:19:01,119 --> 00:19:03,440
Speaker 5: is a funny story. So after I finished working on

422
00:19:03,520 --> 00:19:06,200
Speaker 5: the album, Madonna took the record and mixed it with

423
00:19:06,280 --> 00:19:09,440
Speaker 5: Nelly Hooper Nello. But I was supposed to go out

424
00:19:09,480 --> 00:19:11,000
Speaker 5: and mixing on that day. So it's like August twenty

425
00:19:11,040 --> 00:19:12,639
Speaker 5: if we mixing the record, come to La all right,

426
00:19:12,680 --> 00:19:15,760
Speaker 5: it's airy cool. And when I'm going there, She's like, well,

427
00:19:15,800 --> 00:19:18,200
Speaker 5: already mix it. I already mixed the album with Nelly

428
00:19:18,240 --> 00:19:19,520
Speaker 5: and it's coming out and here it is sent it

429
00:19:19,600 --> 00:19:20,800
Speaker 5: to me. So I was like, well, are you want

430
00:19:20,800 --> 00:19:21,680
Speaker 5: to take my stuff and mix it?

431
00:19:21,760 --> 00:19:21,879
Speaker 2: You know?

432
00:19:22,160 --> 00:19:23,399
Speaker 5: So I'm pissed off. I don't you want to talk

433
00:19:23,400 --> 00:19:25,040
Speaker 5: to you no more? You don't take my joints and honest.

434
00:19:25,560 --> 00:19:28,080
Speaker 5: So then I'm in New York and I'm riding with Jack.

435
00:19:28,320 --> 00:19:31,159
Speaker 5: He goes, that's fun. Yeah, yeah, and with Dallas. He's

436
00:19:31,240 --> 00:19:33,879
Speaker 5: right here. Hey, Madonnad want you to come by and

437
00:19:33,920 --> 00:19:36,080
Speaker 5: hear the album. Man, she said, she really wants you

438
00:19:36,119 --> 00:19:37,520
Speaker 5: to come by the house. Man, she really wants you

439
00:19:37,520 --> 00:19:39,560
Speaker 5: to come here. I said, I'm trying to go over there.

440
00:19:39,600 --> 00:19:42,760
Speaker 5: He said, I don't want to time out. She said, please, man,

441
00:19:42,840 --> 00:19:44,399
Speaker 5: just come by. I said, why am I talking to you?

442
00:19:45,440 --> 00:19:48,480
Speaker 5: To talk to the phone, right, So we getting up

443
00:19:48,480 --> 00:19:50,600
Speaker 5: going over the house to listen to the record. I

444
00:19:50,760 --> 00:19:52,880
Speaker 5: was like, uh, it was just weird because I want

445
00:19:52,880 --> 00:19:54,200
Speaker 5: to listen to it. So I said, well, you know

446
00:19:54,240 --> 00:19:55,920
Speaker 5: what you did? This mess up my mixes. You messed

447
00:19:55,960 --> 00:19:57,359
Speaker 5: up everybody mix it. So I feel all right.

448
00:19:58,000 --> 00:19:59,760
Speaker 1: I was going to say, are you allowed to be honest?

449
00:20:01,320 --> 00:20:02,760
Speaker 5: Yeah? And I was pissed off.

450
00:20:03,440 --> 00:20:04,560
Speaker 1: And this is what record is?

451
00:20:04,600 --> 00:20:07,560
Speaker 5: This human nature, this is a secret, this is survival.

452
00:20:08,440 --> 00:20:10,600
Speaker 5: We did all these songs together and it just started

453
00:20:10,640 --> 00:20:12,920
Speaker 5: going south, you know. But at the end of the day,

454
00:20:13,280 --> 00:20:15,320
Speaker 5: you know, like we ended up making up because it

455
00:20:15,440 --> 00:20:17,520
Speaker 5: was just like firing. At one point, I wish I

456
00:20:17,600 --> 00:20:18,840
Speaker 5: still had the letter that she wrote me.

457
00:20:20,240 --> 00:20:22,800
Speaker 2: Yeah, I wanted to it's this miss Museum.

458
00:20:23,160 --> 00:20:26,199
Speaker 5: She wrote me a letter going off, I should understand

459
00:20:26,240 --> 00:20:28,280
Speaker 5: her struggle because it's the same as like a black

460
00:20:28,359 --> 00:20:33,119
Speaker 5: man and this that and the other boy wire you another.

461
00:20:33,960 --> 00:20:36,200
Speaker 5: So then after about but after a few years, it

462
00:20:36,359 --> 00:20:38,440
Speaker 5: was like, you know what, I don't have no bad

463
00:20:38,560 --> 00:20:40,920
Speaker 5: energy with nobody on the planet, and I don't want none.

464
00:20:41,359 --> 00:20:42,719
Speaker 5: And so one day I called her. She was doing

465
00:20:42,760 --> 00:20:44,200
Speaker 5: like a vida or something. I just called out of

466
00:20:44,240 --> 00:20:47,080
Speaker 5: blue and I was like, hey, She's like, Oh, what

467
00:20:47,200 --> 00:20:49,160
Speaker 5: did I do to deserve this call? Now I'm like, nope,

468
00:20:49,560 --> 00:20:51,760
Speaker 5: it's your record. You know what I'm saying. I learned

469
00:20:51,760 --> 00:20:53,959
Speaker 5: a lot from you. As long as it turned out

470
00:20:54,000 --> 00:20:55,639
Speaker 5: the way you wanted to be, I should be happy

471
00:20:55,680 --> 00:20:58,200
Speaker 5: with that because it up to you is your record.

472
00:20:58,240 --> 00:21:02,359
Speaker 5: I'm working for you on that. Squash this energy and

473
00:21:02,520 --> 00:21:04,560
Speaker 5: let's just be cool. And then from that point was good.

474
00:21:04,680 --> 00:21:05,560
Speaker 1: Do you think that was?

475
00:21:05,720 --> 00:21:07,440
Speaker 6: Like, was that the first time you learned that lesson

476
00:21:07,480 --> 00:21:09,639
Speaker 6: as a producer of just learning just to let things go?

477
00:21:10,240 --> 00:21:12,239
Speaker 5: Yeah? Well, the Boys the Man when they put out

478
00:21:12,280 --> 00:21:13,920
Speaker 5: the rough mixes, I had to let that one go

479
00:21:13,920 --> 00:21:15,480
Speaker 5: because I wouldn't even listen to it. I didn't listen

480
00:21:15,480 --> 00:21:17,680
Speaker 5: to that record. For years, I was selling millions of records,

481
00:21:17,720 --> 00:21:19,040
Speaker 5: and then just like my mom was working at this

482
00:21:19,119 --> 00:21:21,800
Speaker 5: as at barbecue too, so I was like in bad contracts.

483
00:21:21,840 --> 00:21:24,600
Speaker 5: So I really wanted my stuff to be like what

484
00:21:24,720 --> 00:21:26,560
Speaker 5: Teddy's will sound like, or with some of what you know,

485
00:21:26,600 --> 00:21:28,240
Speaker 5: the other records I would here sound like. And when

486
00:21:28,240 --> 00:21:30,000
Speaker 5: they put that out, I was just like, that's one.

487
00:21:30,440 --> 00:21:33,320
Speaker 5: So then working with her was another one. I had

488
00:21:33,320 --> 00:21:35,879
Speaker 5: a lot of humbling experiences because when you come from

489
00:21:36,000 --> 00:21:38,400
Speaker 5: being a creator and then you get to the label side,

490
00:21:38,680 --> 00:21:40,280
Speaker 5: you have to look at it both ways, you know.

491
00:21:40,720 --> 00:21:43,200
Speaker 1: So even Motown Philly was a rough mix.

492
00:21:43,359 --> 00:21:43,760
Speaker 5: Rough mix.

493
00:21:44,560 --> 00:21:47,280
Speaker 4: I mean you kind of acknowledge now like it's effective

494
00:21:47,320 --> 00:21:50,040
Speaker 4: in a banger, but the version in your mind was

495
00:21:50,119 --> 00:21:50,840
Speaker 4: way bigger.

496
00:21:51,040 --> 00:21:53,520
Speaker 5: Or yeah, it's like, you know, I had drums still

497
00:21:54,440 --> 00:21:56,200
Speaker 5: on four tracks instead of having them all.

498
00:21:57,040 --> 00:22:00,080
Speaker 4: Yeah okay, yeah, I feel you there. It's hard to

499
00:22:00,119 --> 00:22:02,280
Speaker 4: take about it yesterday. Was that always an a cappella

500
00:22:02,720 --> 00:22:05,440
Speaker 4: or did you initially have music behind it and stripped it?

501
00:22:05,560 --> 00:22:07,280
Speaker 5: It was always a capella. I just did put it

502
00:22:07,359 --> 00:22:09,159
Speaker 5: like a bass and the and the snaps to it

503
00:22:09,200 --> 00:22:11,840
Speaker 5: and kind of let the ooze and stuff be the music.

504
00:22:11,920 --> 00:22:12,119
Speaker 4: To it.

505
00:22:12,400 --> 00:22:16,200
Speaker 6: Okay, oh man, one of the producers used to spearhead

506
00:22:16,400 --> 00:22:18,520
Speaker 6: X oh yeah, what's up with That's who just called me?

507
00:22:18,560 --> 00:22:23,480
Speaker 5: When they called me? Maybe when on what's the Coalition DJ?

508
00:22:23,640 --> 00:22:26,000
Speaker 5: Is that the biggest DJ group? You got records that

509
00:22:26,080 --> 00:22:27,880
Speaker 5: you need to get placed and play in the strip

510
00:22:27,960 --> 00:22:30,359
Speaker 5: clubs whatever? That's x he was. He was my n

511
00:22:30,480 --> 00:22:32,840
Speaker 5: R for like all the y'all so stupid, Yeah, because

512
00:22:32,840 --> 00:22:37,399
Speaker 5: he did legal album. Uh like legal records, Yeah record.

513
00:22:42,200 --> 00:22:44,880
Speaker 1: Can we talk Joy and Enjoy?

514
00:22:45,320 --> 00:22:51,040
Speaker 4: Yeah, yes, beel vibe, don't say nothing this like this

515
00:22:51,200 --> 00:22:51,879
Speaker 4: like snoop now.

516
00:22:55,480 --> 00:22:57,680
Speaker 5: Yeah, it was. It was cool because during that time,

517
00:22:58,000 --> 00:23:00,159
Speaker 5: you know, I it was D'Angelo and Joy and like,

518
00:23:00,480 --> 00:23:02,560
Speaker 5: it was just that phase of what they started to

519
00:23:02,600 --> 00:23:05,080
Speaker 5: call neo soul that was coming out of Yingang out

520
00:23:05,119 --> 00:23:09,239
Speaker 5: here Cafe had everybody in there. It's like that's when

521
00:23:09,240 --> 00:23:12,600
Speaker 5: I think music that's before that actually kept starting to

522
00:23:12,680 --> 00:23:15,480
Speaker 5: come out as neo soul when you have Ndiri, Enjoy

523
00:23:15,640 --> 00:23:19,480
Speaker 5: and Erica and everybody's kind of playing in Yin Yang. Yeah.

524
00:23:19,520 --> 00:23:21,160
Speaker 5: And when we did the Sunshine and the Rain record,

525
00:23:21,520 --> 00:23:25,119
Speaker 5: just a whole record, it was such a different record

526
00:23:25,440 --> 00:23:26,600
Speaker 5: for what I was working on at the time. I

527
00:23:26,600 --> 00:23:28,160
Speaker 5: didn't want to go do the same I never wanted

528
00:23:28,200 --> 00:23:30,159
Speaker 5: to do the same thing on anybody. I kind of couldn't.

529
00:23:30,160 --> 00:23:31,920
Speaker 5: I didn't know how to do it. So I would

530
00:23:32,000 --> 00:23:34,160
Speaker 5: just go do whatever that person was. I would produce

531
00:23:34,200 --> 00:23:37,440
Speaker 5: that person and enjoy was just like full on. She

532
00:23:37,560 --> 00:23:39,600
Speaker 5: bought so much knowledge of stuff I didn't know, the table,

533
00:23:39,680 --> 00:23:42,440
Speaker 5: like the Betty Davis and stuff and like and just

534
00:23:42,520 --> 00:23:45,600
Speaker 5: being her own element that it just it was amazing.

535
00:23:45,800 --> 00:23:48,640
Speaker 5: And she's just one of those artists that somebody's gonna

536
00:23:48,680 --> 00:23:50,200
Speaker 5: keep it real. They gonna keep it one hundred percent

537
00:23:50,280 --> 00:23:52,080
Speaker 5: on the ground they don't care. Fishbone was the same way.

538
00:23:52,480 --> 00:23:52,639
Speaker 1: You know.

539
00:23:52,840 --> 00:23:55,600
Speaker 5: I talked to Fishbone one time and say I wanted

540
00:23:55,640 --> 00:23:57,439
Speaker 5: them to do Spirits at the Material World over right.

541
00:23:57,680 --> 00:23:59,320
Speaker 1: Ah wow.

542
00:24:00,119 --> 00:24:02,320
Speaker 5: I was like, we had Arista bro right, we gotta

543
00:24:02,359 --> 00:24:05,359
Speaker 5: deal at Arista. We can do the whole punk album,

544
00:24:05,480 --> 00:24:07,639
Speaker 5: we could do Alcoholics, we can do everything, but just

545
00:24:07,720 --> 00:24:09,560
Speaker 5: give me Spirits and Material World so the Clive and

546
00:24:09,560 --> 00:24:10,800
Speaker 5: them can take it and do something with it.

547
00:24:11,119 --> 00:24:13,080
Speaker 1: Like, man, that's being crazy.

548
00:24:13,160 --> 00:24:14,919
Speaker 5: He's like, no, Man, that's the police. That ain't real

549
00:24:15,000 --> 00:24:18,000
Speaker 5: sky Bro, And I'm like, we ain't selling out. I'm

550
00:24:18,080 --> 00:24:19,960
Speaker 5: like but I know, but we at Arista, now, you

551
00:24:20,080 --> 00:24:21,840
Speaker 5: just did All the Palosa last year, would Swim and

552
00:24:21,920 --> 00:24:25,040
Speaker 5: you were huge with that record, so let's keep going

553
00:24:25,080 --> 00:24:27,320
Speaker 5: your fishbone. Nobody cares if you're sing a Garth Brooks record,

554
00:24:27,359 --> 00:24:30,640
Speaker 5: You're still Fishbone. So they wouldn't do it. And then

555
00:24:31,359 --> 00:24:33,280
Speaker 5: I ran in the flee and they had just did

556
00:24:33,359 --> 00:24:36,520
Speaker 5: roller Coaster, right, and I said, uh, and we all

557
00:24:36,600 --> 00:24:38,280
Speaker 5: the studio and I said, yo, man, So did y'all

558
00:24:38,280 --> 00:24:40,680
Speaker 5: feel like y'all sold out doing roller Coaster? He said, no, man,

559
00:24:40,720 --> 00:24:42,680
Speaker 5: we had fun. MTV wanted it. It was cool. And

560
00:24:43,080 --> 00:24:46,160
Speaker 5: so I'm trying to get Fishbone to get because we're alternative.

561
00:24:46,160 --> 00:24:48,399
Speaker 5: And I understand it because I grew up an alternative

562
00:24:48,520 --> 00:24:50,600
Speaker 5: to the Max. I was just like, I was that guy.

563
00:24:51,200 --> 00:24:54,119
Speaker 5: But I also grew up watching alternative turn big and

564
00:24:54,240 --> 00:24:57,200
Speaker 5: become the mainstream. And it turned with the Chili Peppers.

565
00:24:57,240 --> 00:24:59,680
Speaker 5: The difference in them doing the George Clinton records and

566
00:24:59,720 --> 00:25:03,480
Speaker 5: doing the record you know, I'll try to went to

567
00:25:03,520 --> 00:25:05,600
Speaker 5: another spot. And that's why even with even with Joy's

568
00:25:05,600 --> 00:25:07,720
Speaker 5: and I think a lot of the artists that you know,

569
00:25:07,800 --> 00:25:09,560
Speaker 5: they have a certain kind of integrity, They just don't

570
00:25:09,560 --> 00:25:12,000
Speaker 5: want to cross over into doing anything that.

571
00:25:12,000 --> 00:25:14,240
Speaker 1: Does they feel like they compromise themselves, feel.

572
00:25:14,040 --> 00:25:15,080
Speaker 5: Like they compromised themselves.

573
00:25:15,080 --> 00:25:17,680
Speaker 6: What was the deal with her second album, The Beaba

574
00:25:17,720 --> 00:25:22,200
Speaker 6: Cleansing Syndrome kind of the same, we you know, because

575
00:25:22,240 --> 00:25:23,919
Speaker 6: it never got officially released.

576
00:25:23,960 --> 00:25:26,280
Speaker 5: We never got officially released because in between that, you know,

577
00:25:26,840 --> 00:25:28,920
Speaker 5: and then E and I round the same time starts

578
00:25:28,960 --> 00:25:31,240
Speaker 5: to say, Okay, now we you know, stuff is happening.

579
00:25:31,280 --> 00:25:33,119
Speaker 5: We have diagelos and now we need more of this.

580
00:25:33,240 --> 00:25:34,760
Speaker 5: You know that when you start to say that to

581
00:25:34,800 --> 00:25:37,480
Speaker 5: an artist, they just be like, especially the artists like

582
00:25:37,560 --> 00:25:39,320
Speaker 5: Joy because she feels like she was a spearhead of

583
00:25:39,680 --> 00:25:41,560
Speaker 5: a lot of it, you know, so it's kind of

584
00:25:41,600 --> 00:25:43,080
Speaker 5: hard to take tell her to go back and do

585
00:25:43,200 --> 00:25:45,240
Speaker 5: something you know that she didn't want to, that she

586
00:25:45,280 --> 00:25:46,120
Speaker 5: didn't feel like doing.

587
00:25:46,280 --> 00:25:47,920
Speaker 1: Time to Smile. That was my one on that record.

588
00:25:47,960 --> 00:25:48,639
Speaker 5: A smile.

589
00:25:48,840 --> 00:25:53,080
Speaker 1: Yeah, you know you worked with back when he was

590
00:25:53,160 --> 00:26:00,919
Speaker 1: still Terence string Derby. It's a Nanda's Ananda Montreal.

591
00:26:01,040 --> 00:26:01,200
Speaker 5: Yeah.

592
00:26:01,240 --> 00:26:04,920
Speaker 4: Yo, It just hit me that you literally have every

593
00:26:05,040 --> 00:26:08,600
Speaker 4: eccentric artist every because next I'm going to Michael Jackson.

594
00:26:09,080 --> 00:26:10,719
Speaker 1: But what was it like working with him?

595
00:26:11,200 --> 00:26:13,240
Speaker 5: It was a trip because he so he had just

596
00:26:13,359 --> 00:26:15,760
Speaker 5: turned hisself into Sonanda. So he was in that middle

597
00:26:16,400 --> 00:26:17,280
Speaker 5: kind of thing.

598
00:26:17,440 --> 00:26:17,600
Speaker 2: You know.

599
00:26:17,640 --> 00:26:19,160
Speaker 5: He had a dream where the angel came and told

600
00:26:19,240 --> 00:26:21,840
Speaker 5: him they needed to change his name, and he he

601
00:26:21,960 --> 00:26:24,159
Speaker 5: did it and so but his as soon as you

602
00:26:24,240 --> 00:26:27,840
Speaker 5: hear him sing, yeah, it's like when you hear that voice,

603
00:26:27,880 --> 00:26:29,239
Speaker 5: it's like when I was working with Duran Duran, as

604
00:26:29,280 --> 00:26:31,320
Speaker 5: soon as you hear that voice, like the Simon, you're like,

605
00:26:31,400 --> 00:26:34,240
Speaker 5: oh man, that it just resonates instantly to you, and

606
00:26:34,280 --> 00:26:38,520
Speaker 5: you're like, and he was amazing. He's like I think

607
00:26:38,560 --> 00:26:40,119
Speaker 5: he was still one of the artists that at that

608
00:26:40,240 --> 00:26:42,639
Speaker 5: time we worked together. You know, coming off of all

609
00:26:42,680 --> 00:26:44,800
Speaker 5: the success. When you get in that era, when you

610
00:26:44,840 --> 00:26:46,399
Speaker 5: got a lot, a lot, a lot of success like that,

611
00:26:46,560 --> 00:26:49,679
Speaker 5: some people just start hating it. You know. Same thing

612
00:26:49,720 --> 00:26:52,160
Speaker 5: with Kurt Cobaine and the people. They started hating success,

613
00:26:52,240 --> 00:26:54,720
Speaker 5: and then they don't want to Sometimes when they do that,

614
00:26:54,960 --> 00:26:56,720
Speaker 5: they don't want to make the best record.

615
00:26:57,800 --> 00:27:00,119
Speaker 4: There's a lot of self savage it and all that.

616
00:27:00,240 --> 00:27:04,320
Speaker 4: But who is your ideal subject that you work with?

617
00:27:04,440 --> 00:27:08,960
Speaker 4: They take your constructive criticism good and who can't you

618
00:27:09,119 --> 00:27:12,720
Speaker 4: tell anything to Nope, I'm doing one take or whatever, like.

619
00:27:13,160 --> 00:27:16,200
Speaker 5: Oh, Jeded Jackson was the easiest one. Okay, she's the

620
00:27:16,240 --> 00:27:19,040
Speaker 5: easiest person I ever worked with. Yes, Dallas, what are you, Dallas?

621
00:27:19,040 --> 00:27:21,159
Speaker 5: What do you want doubts? Yes, Dallas, I mean not

622
00:27:21,520 --> 00:27:28,399
Speaker 5: one throwback on nothing and then task the hardest. What

623
00:27:28,440 --> 00:27:30,120
Speaker 5: I probably worked was Macy great.

624
00:27:30,200 --> 00:27:33,600
Speaker 1: Macy great. Yeah, based on what I mean. I'm not

625
00:27:33,720 --> 00:27:36,399
Speaker 1: trying to be reductive, but she was just.

626
00:27:36,480 --> 00:27:37,920
Speaker 5: In the epitome of a Macy moment.

627
00:27:38,040 --> 00:27:41,840
Speaker 2: I think, you know, different day.

628
00:27:42,359 --> 00:27:46,119
Speaker 5: It was insane, but it was. You know, it's because

629
00:27:46,119 --> 00:27:49,200
Speaker 5: also she's she's an own artist with her own like

630
00:27:49,320 --> 00:27:50,840
Speaker 5: you know, you're show up to the studio, we're supposed

631
00:27:50,840 --> 00:27:53,080
Speaker 5: to be there. Three. She already one with musicians that's

632
00:27:53,080 --> 00:27:55,800
Speaker 5: been sitting around forever like just like and then they're

633
00:27:55,840 --> 00:27:57,119
Speaker 5: doing their own thing. They hold on wait and then

634
00:27:57,200 --> 00:28:00,679
Speaker 5: label's busy on Dallas get control of everything, and I'm like, oh,

635
00:28:00,800 --> 00:28:04,960
Speaker 5: I thought I had it. I know, but you know,

636
00:28:05,200 --> 00:28:07,920
Speaker 5: I've never really worked with anybody that I try to.

637
00:28:08,000 --> 00:28:10,520
Speaker 5: I try to source that out before, you know, like

638
00:28:10,600 --> 00:28:12,520
Speaker 5: if we're going to have good energy or not, because

639
00:28:13,480 --> 00:28:16,120
Speaker 5: sitting in that room with people like that, no, that's

640
00:28:16,160 --> 00:28:17,760
Speaker 5: not what we do. It for you know, I don't.

641
00:28:17,800 --> 00:28:19,800
Speaker 5: I don't do this. We have drama, trouble. I try

642
00:28:19,840 --> 00:28:21,480
Speaker 5: to make the best music we can make with somebody

643
00:28:21,480 --> 00:28:24,800
Speaker 5: who gets it. And you know, so I've never really.

644
00:28:24,680 --> 00:28:27,840
Speaker 6: Had a bad, bad one, you know, Deon Sanders must

645
00:28:27,880 --> 00:28:30,160
Speaker 6: be the money's coming.

646
00:28:31,320 --> 00:28:33,760
Speaker 5: I keep going back to Sugnight my stories doing it. Okay,

647
00:28:34,480 --> 00:28:41,360
Speaker 5: so yes, so exactly studio and we're working on Deon's

648
00:28:41,360 --> 00:28:48,280
Speaker 5: working on being on Death bro Right because we went

649
00:28:48,320 --> 00:28:52,440
Speaker 5: to Death roll Right. So sull comes studio and he goes, yo, man,

650
00:28:53,120 --> 00:28:55,120
Speaker 5: Dean Sanders really wants you to do this record must

651
00:28:55,160 --> 00:28:57,960
Speaker 5: be the music over, this must be the money. I was, oh, no, man,

652
00:28:58,800 --> 00:28:59,880
Speaker 5: that's probably not a good idea.

653
00:29:00,160 --> 00:29:00,320
Speaker 1: You know.

654
00:29:01,160 --> 00:29:04,200
Speaker 5: He's like, well, you felt comfortable saying no. Well, I

655
00:29:04,320 --> 00:29:05,720
Speaker 5: just said that probably is not a good idea.

656
00:29:05,800 --> 00:29:06,320
Speaker 2: That's a guess.

657
00:29:06,480 --> 00:29:07,280
Speaker 1: That's not so.

658
00:29:07,480 --> 00:29:10,880
Speaker 5: Then he had a book, a photo album full of cars.

659
00:29:11,320 --> 00:29:14,400
Speaker 5: He opened it up. It's Lamborghinis, it's Rolls, Royces, it's Faris.

660
00:29:14,440 --> 00:29:18,280
Speaker 5: It's like he said, big one. So good man, you

661
00:29:18,280 --> 00:29:19,600
Speaker 5: know what I'm saying. I don't want to take a car.

662
00:29:19,840 --> 00:29:21,240
Speaker 5: You know, I don't be in debt at you know,

663
00:29:21,760 --> 00:29:23,600
Speaker 5: something like that. I understand you. So he said, all right,

664
00:29:23,600 --> 00:29:25,120
Speaker 5: all right, I catch you. I got So he gets

665
00:29:25,160 --> 00:29:28,320
Speaker 5: on the phone. I'm thinking myself, I just want this

666
00:29:28,400 --> 00:29:28,840
Speaker 5: to be over it.

667
00:29:31,200 --> 00:29:32,080
Speaker 1: You're a darned double.

668
00:29:32,720 --> 00:29:34,400
Speaker 5: So then he gets records. When he comes back in,

669
00:29:35,200 --> 00:29:37,360
Speaker 5: he goes, man, look, DI don't want you to do

670
00:29:37,440 --> 00:29:39,120
Speaker 5: the record. He really wants you to do the record.

671
00:29:39,120 --> 00:29:41,040
Speaker 5: By that time, I was about to just say, okay, right,

672
00:29:41,640 --> 00:29:43,479
Speaker 5: we'll figure it out, but he goes, so what if

673
00:29:43,520 --> 00:29:44,880
Speaker 5: I do this? Man, I give you two hundred and

674
00:29:44,880 --> 00:29:48,040
Speaker 5: fifty thousand dollars right now. I said, to do must

675
00:29:48,080 --> 00:29:49,840
Speaker 5: be the music overhim, he said, yeah, I got that

676
00:29:49,920 --> 00:29:53,760
Speaker 5: record in the back. We can do this. Now. Let's

677
00:29:53,760 --> 00:29:57,440
Speaker 5: get to it if you wanted to night it's the

678
00:29:57,560 --> 00:29:59,640
Speaker 5: fastest record that ever did. With the fastest but I

679
00:29:59,680 --> 00:30:02,960
Speaker 5: ever made the most money ever made on any song like.

680
00:30:05,400 --> 00:30:06,840
Speaker 1: Events like wow.

681
00:30:08,080 --> 00:30:09,880
Speaker 5: He was happy with it, and I was happy with it,

682
00:30:09,920 --> 00:30:11,520
Speaker 5: and everybody that.

683
00:30:12,400 --> 00:30:14,480
Speaker 1: Yeah it didn't. First off, I didn't even know you

684
00:30:14,880 --> 00:30:17,360
Speaker 1: you know, but yeah it wasn't.

685
00:30:17,600 --> 00:30:18,960
Speaker 6: That was one of those things where I don't think

686
00:30:19,000 --> 00:30:22,000
Speaker 6: anyone was expecting Dion to like bar up, you know

687
00:30:22,040 --> 00:30:22,320
Speaker 6: what I mean.

688
00:30:22,560 --> 00:30:25,040
Speaker 1: So to us, it was just funny to us, you

689
00:30:25,120 --> 00:30:25,600
Speaker 1: know what I mean.

690
00:30:26,200 --> 00:30:28,680
Speaker 4: Like we be singing that because he had to ran

691
00:30:28,760 --> 00:30:31,120
Speaker 4: at the end. They say, money ain't gonna change me.

692
00:30:31,560 --> 00:30:35,520
Speaker 4: It's gonna change it's gonna change my address, it's gonna

693
00:30:35,680 --> 00:30:40,600
Speaker 4: change my bank account, it's gonna change my gators.

694
00:30:40,600 --> 00:30:44,200
Speaker 1: Like I had. Are you telling the last.

695
00:30:46,280 --> 00:30:47,520
Speaker 2: Shout out to Sanders and.

696
00:30:49,360 --> 00:30:54,840
Speaker 4: Coach bry you know, let's go to it, Michael. Oh yeah, Now,

697
00:30:56,200 --> 00:30:58,240
Speaker 4: how many songs did you do for history?

698
00:31:00,000 --> 00:31:01,960
Speaker 5: From Blood on the dance Floor? They don't care about

699
00:31:02,040 --> 00:31:05,680
Speaker 5: us too bad this time around. Probably a couple of

700
00:31:05,680 --> 00:31:06,120
Speaker 5: other ones.

701
00:31:06,160 --> 00:31:09,080
Speaker 1: But I'm at the ones that are somewhere in the vaults,

702
00:31:09,120 --> 00:31:09,560
Speaker 1: Like it's.

703
00:31:09,400 --> 00:31:11,640
Speaker 5: A couple of them in the vaults, just tracks. Yeah really,

704
00:31:11,840 --> 00:31:14,000
Speaker 5: But what's crazy is I got him. I still got

705
00:31:14,040 --> 00:31:16,959
Speaker 5: his beatboxing because he would beat boxing to the thing

706
00:31:17,000 --> 00:31:22,800
Speaker 5: to show you what he wanted to boom. Okay, sample that,

707
00:31:25,320 --> 00:31:25,560
Speaker 5: So I.

708
00:31:25,600 --> 00:31:28,719
Speaker 1: Got discussion now, Okay, I'm so glad that the cameras

709
00:31:28,720 --> 00:31:30,840
Speaker 1: are here. But here's the deal.

710
00:31:31,480 --> 00:31:35,640
Speaker 4: Now, at the time, it is probably the first time

711
00:31:35,680 --> 00:31:38,120
Speaker 4: that I'm a little lukewarm on a Michael record, because

712
00:31:38,120 --> 00:31:41,880
Speaker 4: every album Michael Jackson is like a goddamn event, you know,

713
00:31:41,960 --> 00:31:45,160
Speaker 4: I'm a diehard fan to the end, but you know,

714
00:31:45,200 --> 00:31:47,440
Speaker 4: I also understand that he's probably been working on it

715
00:31:47,560 --> 00:31:54,880
Speaker 4: for some time and too bad. Just I finally warmed

716
00:31:54,920 --> 00:31:59,959
Speaker 4: up to it maybe three years ago because I initially

717
00:32:00,040 --> 00:32:02,640
Speaker 4: thought jam and Lewis did it. But the thing that

718
00:32:02,760 --> 00:32:05,680
Speaker 4: always killed, like, I know Michael is a dancer, and

719
00:32:05,840 --> 00:32:11,560
Speaker 4: I know he wants an audio accountability aboutever his bones move,

720
00:32:12,480 --> 00:32:15,560
Speaker 4: so the particular rhythm, and too bad, which is.

721
00:32:17,760 --> 00:32:26,160
Speaker 5: Like I can they tell you, They'll tell you that

722
00:32:26,240 --> 00:32:28,440
Speaker 5: he doesn't want the same thing. I want to do

723
00:32:28,480 --> 00:32:29,040
Speaker 5: something different.

724
00:32:29,080 --> 00:32:32,360
Speaker 1: And so the thing is is that.

725
00:32:34,280 --> 00:32:37,000
Speaker 4: History is not a bad record, and this is and

726
00:32:37,080 --> 00:32:41,960
Speaker 4: this is why I applaud what Beyonce did because you know,

727
00:32:42,000 --> 00:32:43,440
Speaker 4: I heard a record in the car, I heard her

728
00:32:43,480 --> 00:32:46,040
Speaker 4: record on her headphones, on my computer, whatever. But when

729
00:32:46,080 --> 00:32:48,360
Speaker 4: I went to the night club and they played it

730
00:32:48,400 --> 00:32:50,320
Speaker 4: three times the second time, I was like, let me

731
00:32:50,400 --> 00:32:52,440
Speaker 4: not stand next to them and go on the other

732
00:32:52,480 --> 00:32:54,280
Speaker 4: side and see how people reacted to it. They played

733
00:32:54,280 --> 00:32:57,200
Speaker 4: the entire record, and she achieved something that I know

734
00:32:57,360 --> 00:33:00,600
Speaker 4: that Michael's been dying to do, which is cannot put

735
00:33:00,640 --> 00:33:05,560
Speaker 4: a record on that's high adrenaline that lasts from beginning

736
00:33:05,600 --> 00:33:08,880
Speaker 4: to end. She managed to do it because she managed

737
00:33:08,920 --> 00:33:11,400
Speaker 4: the highs and the lows part, which for Michael Jackson

738
00:33:11,520 --> 00:33:15,200
Speaker 4: always felt like every song has to be adrenaline, has

739
00:33:15,280 --> 00:33:17,720
Speaker 4: to be adrenaline, not dynamic. So yeah, by the time

740
00:33:17,760 --> 00:33:19,959
Speaker 4: you get to the seventh song, you're already worn out

741
00:33:19,960 --> 00:33:23,160
Speaker 4: because it's not like anything's executed bad or whatever, but

742
00:33:23,400 --> 00:33:26,680
Speaker 4: just in one full setting, it's like four grod like

743
00:33:26,760 --> 00:33:30,200
Speaker 4: he's stuffing you with And by the time I got

744
00:33:30,920 --> 00:33:33,640
Speaker 4: you know, I just I heard too bad on its own.

745
00:33:34,320 --> 00:33:37,120
Speaker 4: And but the thing is is that the rhythm of

746
00:33:37,200 --> 00:33:40,880
Speaker 4: that song can only be for a person that walks

747
00:33:41,000 --> 00:33:46,600
Speaker 4: like Michael Dan. How do you craft something with Michael

748
00:33:46,640 --> 00:33:48,280
Speaker 4: Jackson if you're not a band playing it.

749
00:33:48,440 --> 00:33:54,239
Speaker 5: Like like he does all that, He'll be in there

750
00:33:54,240 --> 00:33:56,040
Speaker 5: with what you're doing. The This is how I wanted

751
00:33:56,040 --> 00:33:58,680
Speaker 5: to feel it. I wanted to and he said, amos sticks,

752
00:33:58,960 --> 00:34:03,240
Speaker 5: amos sticks, take it. But his his, you know, I

753
00:34:03,280 --> 00:34:06,240
Speaker 5: think like anything else though. His when I first worked

754
00:34:06,240 --> 00:34:07,960
Speaker 5: with Michael was like with Bruce Swedeine and them. And

755
00:34:08,040 --> 00:34:09,279
Speaker 5: then I said, well, you know what, this is really

756
00:34:09,320 --> 00:34:10,919
Speaker 5: my vibe. So I left went back home.

757
00:34:11,600 --> 00:34:14,399
Speaker 1: When I came back, you were allowed that's the one

758
00:34:14,480 --> 00:34:15,520
Speaker 1: person he walked away from.

759
00:34:15,800 --> 00:34:17,520
Speaker 5: Yeah. I was just like it was too much going. Like,

760
00:34:17,600 --> 00:34:19,960
Speaker 5: you know, Bruce Swotine and Renee Moore was working with him,

761
00:34:19,960 --> 00:34:22,759
Speaker 5: and it was kind of like yeah, and they had

762
00:34:22,800 --> 00:34:25,600
Speaker 5: their own little things going on. You know, the project's huge,

763
00:34:25,640 --> 00:34:29,960
Speaker 5: so they got their own little side. Energy was not good,

764
00:34:30,040 --> 00:34:32,680
Speaker 5: you know. So I left went home. Michael called me

765
00:34:32,719 --> 00:34:35,279
Speaker 5: back and like, Dallas, why did you leave? I was like, well,

766
00:34:35,320 --> 00:34:37,040
Speaker 5: you know, I was at the studio with those guys

767
00:34:37,080 --> 00:34:38,680
Speaker 5: and I'm not really going to be a part of

768
00:34:38,719 --> 00:34:40,320
Speaker 5: what's going on over there. And he said, oh no, no,

769
00:34:40,400 --> 00:34:41,840
Speaker 5: we'll come back and work over here with me at

770
00:34:41,880 --> 00:34:44,640
Speaker 5: this studio. I'm in the studio here and then Jimmy

771
00:34:44,719 --> 00:34:46,400
Speaker 5: jam and it was here. Oh yeah, that's why I

772
00:34:46,400 --> 00:34:48,120
Speaker 5: want to be. So I come back and I walk

773
00:34:48,160 --> 00:34:50,960
Speaker 5: in the room and Jimmy jam is in there and

774
00:34:51,160 --> 00:34:54,239
Speaker 5: he's playing and I see him and I just fanned out.

775
00:34:54,560 --> 00:34:57,440
Speaker 5: I was just like, Jimmy, jim Man, you don't understand

776
00:34:57,960 --> 00:34:59,480
Speaker 5: what if you wanted how to play keyboards whatever, you

777
00:34:59,560 --> 00:35:01,880
Speaker 5: was a little The first meet him, I'd seen him

778
00:35:02,200 --> 00:35:03,840
Speaker 5: like before the first time I met it was at

779
00:35:03,880 --> 00:35:06,320
Speaker 5: flight time when they when they had Rhythm Nation, the

780
00:35:06,400 --> 00:35:09,120
Speaker 5: Rhythmation premiere of it, and I got so depressed. I

781
00:35:09,120 --> 00:35:11,600
Speaker 5: just wanted to kill myself. I was like, I went

782
00:35:11,640 --> 00:35:14,160
Speaker 5: to Flight Time they had they was showing the Knowledge

783
00:35:14,239 --> 00:35:16,640
Speaker 5: videos and the whole Rhythm Nation in eighteen fourteen thing,

784
00:35:16,719 --> 00:35:19,080
Speaker 5: and I was just outside, just like crying. Was like,

785
00:35:19,160 --> 00:35:21,560
Speaker 5: I'm never gonna be this good. This is awful. I

786
00:35:21,600 --> 00:35:23,680
Speaker 5: don't know. That's that's when I did I want to

787
00:35:23,680 --> 00:35:25,520
Speaker 5: tell CP record. I was like, gotta make it where

788
00:35:25,520 --> 00:35:27,719
Speaker 5: you can see it. It's a little more vivid, you know.

789
00:35:29,120 --> 00:35:31,960
Speaker 5: So when I saw him with Michael, I was just like, yo, man,

790
00:35:32,560 --> 00:35:34,360
Speaker 5: he had to be like this is Michael was like

791
00:35:34,480 --> 00:35:38,440
Speaker 5: Michael hey man, Jimmy jam so and I felt like

792
00:35:38,520 --> 00:35:41,640
Speaker 5: Michael didn't get enough energy from me that time. So

793
00:35:41,800 --> 00:35:43,920
Speaker 5: he and then he played Scream and I was just like,

794
00:35:44,960 --> 00:35:47,279
Speaker 5: I go again, God damn, what out that just here?

795
00:35:47,320 --> 00:35:51,920
Speaker 5: He's like, and I was like, okay, now how am

796
00:35:51,960 --> 00:35:53,279
Speaker 5: I going to? What am I going to do now?

797
00:35:53,560 --> 00:35:55,759
Speaker 5: Like because this ship just sounds crazy, you know. And

798
00:35:55,800 --> 00:35:58,040
Speaker 5: then it's Jimmy jam Tey Lewis doing Michael Jackson. So

799
00:35:58,120 --> 00:36:00,520
Speaker 5: it was like I was just kinda loss for it.

800
00:36:00,640 --> 00:36:01,880
Speaker 5: So then he took me, and it took us in

801
00:36:01,920 --> 00:36:03,360
Speaker 5: this room after a while, and like, you know, a

802
00:36:03,440 --> 00:36:05,239
Speaker 5: room where you have all your like Teddy Bears and

803
00:36:05,320 --> 00:36:07,240
Speaker 5: your you know, if you're gonna be in the studio

804
00:36:07,280 --> 00:36:08,880
Speaker 5: for a long time, it's like your room. You're a

805
00:36:08,880 --> 00:36:10,960
Speaker 5: loud Yeah, And this dude just start putting it in

806
00:36:11,080 --> 00:36:13,120
Speaker 5: tapes like he's like, so, so this is when I

807
00:36:13,239 --> 00:36:15,400
Speaker 5: was like, you know, there's three hundred thousand people outside

808
00:36:15,440 --> 00:36:18,000
Speaker 5: and three hundred thousand people inside, and you know, and

809
00:36:18,160 --> 00:36:19,040
Speaker 5: and so you see.

810
00:36:18,960 --> 00:36:21,120
Speaker 1: Him chat Michael Mike, he carries on the highlight.

811
00:36:23,520 --> 00:36:25,920
Speaker 5: After he took that out, he's like, oh ship. Then

812
00:36:25,960 --> 00:36:27,880
Speaker 5: he put in another one, and this is when boom,

813
00:36:27,960 --> 00:36:30,440
Speaker 5: you're looking at it and it's Africa, Michael Michael. That's

814
00:36:30,480 --> 00:36:32,560
Speaker 5: all they could say. And he's I was building hospitals

815
00:36:32,600 --> 00:36:34,719
Speaker 5: and and this is me with Charlie Chap. So every

816
00:36:34,760 --> 00:36:37,160
Speaker 5: time he's sticking another tape, I stopped being scared to

817
00:36:37,200 --> 00:36:39,480
Speaker 5: look at him because I'm like, that's that mother. You know,

818
00:36:39,840 --> 00:36:43,680
Speaker 5: it's working, you know what I'm saying. And the last

819
00:36:43,719 --> 00:36:45,480
Speaker 5: one he put in was that I don't know if

820
00:36:45,480 --> 00:36:47,279
Speaker 5: you've seen this before, but it was him sitting at

821
00:36:47,280 --> 00:36:49,880
Speaker 5: the piano and he's singing I'll be there, and he

822
00:36:49,920 --> 00:36:52,000
Speaker 5: has a tank top on and it's like doing the

823
00:36:52,239 --> 00:36:55,160
Speaker 5: like remember the time kind of phase right right, and

824
00:36:55,280 --> 00:36:57,359
Speaker 5: then he keeps seeing Little Michael saying I'll be there,

825
00:36:57,520 --> 00:36:59,359
Speaker 5: and he's in the doorway. He looks back and Little

826
00:36:59,360 --> 00:37:01,880
Speaker 5: Michael is in the the Pepsi commercial, a Pepsi commercial,

827
00:37:02,400 --> 00:37:04,080
Speaker 5: but at that time he shot it as a like

828
00:37:04,560 --> 00:37:06,680
Speaker 5: he would shoot commercials like that as demos and then

829
00:37:06,719 --> 00:37:07,319
Speaker 5: wouldn't even.

830
00:37:07,280 --> 00:37:09,799
Speaker 1: Use him what like, he shot that on his own

831
00:37:09,840 --> 00:37:10,680
Speaker 1: and sold it to Pepsi.

832
00:37:10,840 --> 00:37:11,319
Speaker 5: Yeah what.

833
00:37:13,600 --> 00:37:13,839
Speaker 6: Wow?

834
00:37:14,080 --> 00:37:15,560
Speaker 5: And I said something like isn't it good to be great?

835
00:37:15,680 --> 00:37:17,800
Speaker 5: Or something on it doing the project. He was just so,

836
00:37:18,320 --> 00:37:20,440
Speaker 5: you know, adamant about being parent, was paranoid in a

837
00:37:20,520 --> 00:37:23,080
Speaker 5: different way because that's the history record, you know.

838
00:37:23,640 --> 00:37:25,520
Speaker 4: I was going to ask about they don't care about us?

839
00:37:25,680 --> 00:37:29,000
Speaker 4: And also this time around, were you there for when

840
00:37:29,040 --> 00:37:30,359
Speaker 4: they tracked Big Vocal?

841
00:37:30,600 --> 00:37:32,720
Speaker 5: Yeah, being Big is sitting in the car outside Larabie.

842
00:37:33,360 --> 00:37:35,560
Speaker 5: I called Puff and I was like, yo. First I

843
00:37:35,640 --> 00:37:37,640
Speaker 5: asked Michael. He said, one rapper for this song on

844
00:37:37,760 --> 00:37:39,879
Speaker 5: Somebody that's really street, you know, So what about Naughty

845
00:37:39,880 --> 00:37:43,600
Speaker 5: by Nature? I need somebody harder. I said, oh okay.

846
00:37:44,239 --> 00:37:49,160
Speaker 5: So I said all right, well, well well Biggie yeah yeah,

847
00:37:49,920 --> 00:37:51,399
Speaker 5: you know you know him say yeah. So I called

848
00:37:51,400 --> 00:37:54,080
Speaker 5: puff I said, yeah, bigg out of work with this

849
00:37:54,160 --> 00:37:57,560
Speaker 5: Michael Jackson record with me, Like yeah yeah, now, so

850
00:37:58,400 --> 00:38:00,840
Speaker 5: big he comes out me and him sitting in the

851
00:38:00,880 --> 00:38:03,200
Speaker 5: cars smoking and playing a song went over again, and

852
00:38:03,200 --> 00:38:05,080
Speaker 5: He's just like, yo, I can't believe him sitting in

853
00:38:05,120 --> 00:38:07,120
Speaker 5: the car with you bro writing on. So Michael Jackson said,

854
00:38:07,160 --> 00:38:09,279
Speaker 5: this is crazy. It's just like you know, And so

855
00:38:09,440 --> 00:38:11,600
Speaker 5: he's writing around. So after finished, he says it to

856
00:38:11,719 --> 00:38:14,040
Speaker 5: me and I'm like, oh no, that might be too hard.

857
00:38:14,239 --> 00:38:16,560
Speaker 5: He's like making a prophet. G I'm kill a motherfucker.

858
00:38:16,560 --> 00:38:18,480
Speaker 5: I ain't joking. Then those smoke got me talken like.

859
00:38:23,320 --> 00:38:25,719
Speaker 5: So I was like, all right, well, let's just go

860
00:38:25,800 --> 00:38:27,319
Speaker 5: play it for him, but I don't know Mike about

861
00:38:27,360 --> 00:38:30,120
Speaker 5: to tone down something. Oh no, right. As soon as

862
00:38:30,160 --> 00:38:33,720
Speaker 5: he played it, Michael's like, I love it. That's exactly

863
00:38:33,800 --> 00:38:34,640
Speaker 5: what I wanted to say.

864
00:38:38,080 --> 00:38:40,160
Speaker 4: What I want to know is because you know, at

865
00:38:40,200 --> 00:38:44,560
Speaker 4: the time, you know, Tom Sneedting was on it was

866
00:38:44,560 --> 00:38:47,480
Speaker 4: it on his ass, So I know that Mike was

867
00:38:47,880 --> 00:38:52,680
Speaker 4: was riding the razor of well to just situation, you know,

868
00:38:52,920 --> 00:38:55,799
Speaker 4: changing his name around and all that ship was there

869
00:38:55,880 --> 00:38:58,239
Speaker 4: anyone that was in the room. That's sort of like, hey, dog,

870
00:38:58,520 --> 00:38:59,839
Speaker 4: you shouldn't talk ship.

871
00:39:02,040 --> 00:39:06,520
Speaker 5: Well, dude, you realize this. During that time he was

872
00:39:06,560 --> 00:39:09,040
Speaker 5: the most you know, sought out the person on the planet. Remember,

873
00:39:09,080 --> 00:39:12,319
Speaker 5: the plane kept landing in different places, so he said,

874
00:39:12,400 --> 00:39:14,480
Speaker 5: he said, it's a Dallas. This was horrible. You know,

875
00:39:14,600 --> 00:39:17,880
Speaker 5: they are you know, he said, the plane was landing

876
00:39:17,960 --> 00:39:20,080
Speaker 5: in different places and taking off, and they're looking for me,

877
00:39:20,200 --> 00:39:22,120
Speaker 5: and I'm sitting in the hotel room in Russia looking

878
00:39:22,120 --> 00:39:26,000
Speaker 5: at it. The Russian government hit him and that's when

879
00:39:26,040 --> 00:39:29,120
Speaker 5: he rote stranger Monscow. He's watching it on TV. The

880
00:39:29,160 --> 00:39:32,200
Speaker 5: planes keep taking off and landing, but he's in the

881
00:39:32,360 --> 00:39:36,360
Speaker 5: KGB is after me. He's writing the song, watching this

882
00:39:36,520 --> 00:39:38,279
Speaker 5: happening with the whole world is looking for him, and

883
00:39:38,320 --> 00:39:41,080
Speaker 5: Russia's hiding him. Right. So by the time he comes

884
00:39:41,160 --> 00:39:43,680
Speaker 5: up from all of this, his history record was to

885
00:39:44,560 --> 00:39:47,200
Speaker 5: like show everybody. So the first thing he did was

886
00:39:47,640 --> 00:39:51,080
Speaker 5: he went and got the whole Brazilian army. So when

887
00:39:51,080 --> 00:39:53,640
Speaker 5: you look at the history trail again and I was

888
00:39:53,680 --> 00:39:54,960
Speaker 5: wondering why he told us to do this. He sent

889
00:39:55,040 --> 00:39:56,600
Speaker 5: us to the Museum of Tolerance. You ever been there

890
00:39:56,680 --> 00:39:59,200
Speaker 5: on Pico and walked past it, I didn't know what

891
00:39:59,320 --> 00:40:02,040
Speaker 5: was in there. Place is fucked up. So because you

892
00:40:02,160 --> 00:40:03,719
Speaker 5: go in there and it's the Museum of Tolerance, it

893
00:40:03,760 --> 00:40:05,480
Speaker 5: tells you, you know, when you walk through, when you

894
00:40:05,520 --> 00:40:08,560
Speaker 5: first get in, and start calling you names like spig, nigger, cracker,

895
00:40:08,680 --> 00:40:12,240
Speaker 5: white boy. Yeah, And then it shows you what happened

896
00:40:12,280 --> 00:40:14,560
Speaker 5: to all these different races, like you know the kids

897
00:40:14,640 --> 00:40:19,080
Speaker 5: and Africa kids, and you know Atlanta where they spreading

898
00:40:19,120 --> 00:40:21,040
Speaker 5: the kids with the water holes and stuff like that.

899
00:40:21,160 --> 00:40:23,080
Speaker 5: So you're going through this whole place and at the

900
00:40:23,280 --> 00:40:26,240
Speaker 5: end that you're in the gas chamber in the Holocaust,

901
00:40:27,239 --> 00:40:29,520
Speaker 5: and by the time you get out of that place,

902
00:40:29,560 --> 00:40:31,479
Speaker 5: you just like everybody's looking at each other all fucked

903
00:40:31,520 --> 00:40:33,200
Speaker 5: up because you didn't know that this race did it.

904
00:40:33,280 --> 00:40:34,800
Speaker 5: That people are crying, you know, and so I'm like,

905
00:40:34,800 --> 00:40:37,440
Speaker 5: why did he make us go see that? So I

906
00:40:37,520 --> 00:40:39,719
Speaker 5: get back and he's takeing the film that they show

907
00:40:39,800 --> 00:40:43,160
Speaker 5: in there is the is the Hitler film, and he's

908
00:40:43,719 --> 00:40:46,000
Speaker 5: got the army and then marching past these like these

909
00:40:46,040 --> 00:40:48,040
Speaker 5: pillars and then you see a little dog and then

910
00:40:48,080 --> 00:40:50,040
Speaker 5: you see the army marching more and then when Hitler

911
00:40:50,080 --> 00:40:53,000
Speaker 5: gets to the top, the flags come down. Right. So Michael,

912
00:40:53,400 --> 00:40:58,279
Speaker 5: they make the same film History, right. Okay, so if

913
00:40:58,280 --> 00:40:59,920
Speaker 5: you look at the History trailer, now I got it.

914
00:41:00,080 --> 00:41:02,560
Speaker 5: He got the whole Brazilian army. He went to just say, hey,

915
00:41:02,600 --> 00:41:04,680
Speaker 5: can we shoot the thing with the whole Brazilion army goles. Yeah,

916
00:41:04,680 --> 00:41:07,480
Speaker 5: we'll be in your trailer for your new album. So

917
00:41:08,120 --> 00:41:11,040
Speaker 5: their marching, their marching, They got a little dog come

918
00:41:11,080 --> 00:41:13,839
Speaker 5: around just like the thing and then the flags come down.

919
00:41:14,160 --> 00:41:17,640
Speaker 5: It's the same thing. Then he had the silver statue

920
00:41:17,680 --> 00:41:23,919
Speaker 5: with the helicopters flyer right. So yeah, so when when

921
00:41:24,160 --> 00:41:27,799
Speaker 5: he started going at Tommy right and start going at

922
00:41:27,840 --> 00:41:30,680
Speaker 5: Sony and all that, the first thing they said was, okay,

923
00:41:31,320 --> 00:41:34,560
Speaker 5: well you said caike me, and they don't care about us.

924
00:41:35,880 --> 00:41:38,480
Speaker 5: Take those records off the shelf. So they took all

925
00:41:38,480 --> 00:41:41,560
Speaker 5: the History records off the shlf. Remember that, right, because

926
00:41:41,600 --> 00:41:43,840
Speaker 5: he said kike me. But then it wasn't just kike me.

927
00:41:43,960 --> 00:41:47,600
Speaker 5: He had the whole He did the whole Hitler thing.

928
00:41:47,960 --> 00:41:51,480
Speaker 5: He mimiced the Hitler video. So they started coming to

929
00:41:51,600 --> 00:41:54,360
Speaker 5: him hard then going you know, and for him.

930
00:41:54,520 --> 00:41:57,320
Speaker 4: So for reference in case our audience is a little confused,

931
00:41:57,440 --> 00:42:00,400
Speaker 4: like he's basically going down the list of everyone in

932
00:42:00,560 --> 00:42:03,959
Speaker 4: history that's been disparaged and spit on it whatever.

933
00:42:04,440 --> 00:42:06,880
Speaker 1: But again taking out of context.

934
00:42:07,440 --> 00:42:10,839
Speaker 5: Yep. Uh, you know he never saw that one coming either,

935
00:42:10,840 --> 00:42:11,960
Speaker 5: because that's both.

936
00:42:12,080 --> 00:42:14,879
Speaker 4: Versions of the records where both references are on. But yeah,

937
00:42:15,000 --> 00:42:19,320
Speaker 4: I feel like the blackballing of him started really when.

938
00:42:20,480 --> 00:42:22,440
Speaker 5: It started them, and it started with the war with

939
00:42:22,520 --> 00:42:24,120
Speaker 5: him and like Sony and then a t V and

940
00:42:24,200 --> 00:42:26,680
Speaker 5: then it just started that whole member. Then he's going

941
00:42:26,760 --> 00:42:29,600
Speaker 5: down to he's going down to New York City with

942
00:42:29,680 --> 00:42:31,720
Speaker 5: Al sharping and the red.

943
00:42:31,640 --> 00:42:33,920
Speaker 2: Busses and the videos of him with the f O

944
00:42:34,080 --> 00:42:35,000
Speaker 2: I coming out.

945
00:42:34,960 --> 00:42:36,719
Speaker 5: In the video with him when he said, you know,

946
00:42:36,800 --> 00:42:41,480
Speaker 5: I had to help Mariah out a little bit, remember

947
00:42:41,560 --> 00:42:45,680
Speaker 5: that press the press conference, she had to come crowd

948
00:42:45,800 --> 00:42:48,560
Speaker 5: my shoulder a little bit. Turned came out, I'm like

949
00:42:51,120 --> 00:42:53,440
Speaker 5: and and his voice got deeper when he said.

950
00:42:54,800 --> 00:42:59,040
Speaker 1: Yeah, Jacksons, Yeah he's from Indiana.

951
00:42:59,719 --> 00:43:04,000
Speaker 5: He was. And then at that point, but what's crazy

952
00:43:04,080 --> 00:43:07,320
Speaker 5: is he would say like you know, he would broadcast itself,

953
00:43:07,440 --> 00:43:09,680
Speaker 5: like you know, when he when he had the shirt on,

954
00:43:09,800 --> 00:43:11,759
Speaker 5: he broadcast itself, the Red Shirt, and he saying, I've

955
00:43:11,800 --> 00:43:15,120
Speaker 5: been humiliated. I've been they you know, they've checked my house,

956
00:43:15,160 --> 00:43:17,520
Speaker 5: they checked my private parts. All this. He took a

957
00:43:17,560 --> 00:43:21,439
Speaker 5: satellite to Netherlands and broadcasted that hisself and then said, okay,

958
00:43:21,480 --> 00:43:24,840
Speaker 5: y'all can tap into this. He's like so because he

959
00:43:24,920 --> 00:43:26,759
Speaker 5: was saying, Dallas, if I go to their networks and

960
00:43:26,800 --> 00:43:28,279
Speaker 5: do it, they're gonna cut up my words and they're

961
00:43:28,280 --> 00:43:29,759
Speaker 5: gonna make it say what they want me to say.

962
00:43:31,520 --> 00:43:33,120
Speaker 5: So he told them, Okay, anybody want to know what

963
00:43:33,160 --> 00:43:35,120
Speaker 5: I got to say, y'all seven o'clock, you can call

964
00:43:35,239 --> 00:43:42,400
Speaker 5: into my satellite. And that's what was the first. He

965
00:43:42,480 --> 00:43:45,239
Speaker 5: had relationships with people that the most countries didn't have.

966
00:43:45,440 --> 00:43:48,000
Speaker 5: Like you can go into any country and they're gonna

967
00:43:48,000 --> 00:43:50,160
Speaker 5: love Michael Jackson. They might hate our president, they might

968
00:43:50,200 --> 00:43:52,480
Speaker 5: hate the government. So all different presidents all around the

969
00:43:52,520 --> 00:43:54,960
Speaker 5: world love him. And when we were at the studio

970
00:43:55,600 --> 00:43:59,640
Speaker 5: one day, he said, Dallas, I did a hospital in Africa.

971
00:43:59,719 --> 00:44:01,400
Speaker 5: But look what the United States did. They put on

972
00:44:01,480 --> 00:44:04,440
Speaker 5: the govern that Michael Jackson thinks Africa stinks. Because he's

973
00:44:04,440 --> 00:44:07,839
Speaker 5: holding his nose and he said, this is what I'm

974
00:44:07,840 --> 00:44:09,400
Speaker 5: talking about. This is what I'm talking about. Look at this,

975
00:44:09,520 --> 00:44:11,160
Speaker 5: So people are going to come by the day from

976
00:44:11,160 --> 00:44:13,120
Speaker 5: the studio just to thank me whatever, dude, it looked

977
00:44:13,160 --> 00:44:16,240
Speaker 5: like coming to America. They came in with the rose petals,

978
00:44:16,960 --> 00:44:19,400
Speaker 5: they came in with the giant lion heads and gold,

979
00:44:19,480 --> 00:44:20,920
Speaker 5: and there was a King clean of some point in

980
00:44:21,000 --> 00:44:23,000
Speaker 5: Africa's coming to thank him for the hospitals and what

981
00:44:23,120 --> 00:44:26,000
Speaker 5: he had done. And you know, so when you have

982
00:44:26,120 --> 00:44:28,920
Speaker 5: that kind of like influence around everybody, when you get

983
00:44:29,000 --> 00:44:31,200
Speaker 5: on somebody's bastard, then it just you gotta watch out

984
00:44:31,239 --> 00:44:33,320
Speaker 5: for everybody, right, You don't know who's coming at you.

985
00:44:33,640 --> 00:44:35,719
Speaker 5: That kind of power don't exist, no one, Oh no, no,

986
00:44:35,840 --> 00:44:36,799
Speaker 5: he's the last of that one.

987
00:44:41,680 --> 00:44:44,680
Speaker 4: Okay, just as a fan and as a person that

988
00:44:44,760 --> 00:44:48,799
Speaker 4: had an immense crush dog man, what happened.

989
00:44:48,480 --> 00:44:49,040
Speaker 1: With for real?

990
00:44:50,920 --> 00:44:53,400
Speaker 5: I love they was so dope?

991
00:44:53,640 --> 00:44:57,320
Speaker 4: Yeap wait side story. So maybe the second time I

992
00:44:57,440 --> 00:45:02,080
Speaker 4: went to La I was supposed to meet them, like

993
00:45:02,800 --> 00:45:03,760
Speaker 4: four beautiful sisters.

994
00:45:03,840 --> 00:45:08,480
Speaker 5: They all had close cropt.

995
00:45:06,840 --> 00:45:09,880
Speaker 1: Right sexy at ship. They couldn't make it.

996
00:45:10,880 --> 00:45:13,520
Speaker 4: And I happened to be across the street at a

997
00:45:13,600 --> 00:45:17,000
Speaker 4: restaurant like a health food thing, and that's how I

998
00:45:17,040 --> 00:45:21,160
Speaker 4: met the Jazzy Fat Nasties just then wound up moving

999
00:45:21,200 --> 00:45:24,240
Speaker 4: in my crib and all that stuff. But my intention

1000
00:45:24,480 --> 00:45:26,120
Speaker 4: was like to sort of bring for Real.

1001
00:45:26,239 --> 00:45:28,959
Speaker 2: Into like a couple different bodies.

1002
00:45:29,000 --> 00:45:30,800
Speaker 4: They came out like you produced this joining us like

1003
00:45:30,840 --> 00:45:33,719
Speaker 4: straight sixties on the Amy Winehouse tip and all that stuff, and.

1004
00:45:38,400 --> 00:45:40,640
Speaker 1: They all had short they were like the original like.

1005
00:45:40,680 --> 00:45:45,520
Speaker 2: Before it was yeah, no, no, they all were different.

1006
00:45:45,520 --> 00:45:49,439
Speaker 1: I remember this, you know, but it's weird.

1007
00:45:49,719 --> 00:45:52,640
Speaker 4: Yeah, like it's weird because like I was looking to

1008
00:45:52,760 --> 00:45:55,680
Speaker 4: like team up with them. There there was a group

1009
00:45:55,880 --> 00:45:57,640
Speaker 4: called for Real. There was another group called I Think

1010
00:45:57,719 --> 00:46:01,160
Speaker 4: step Brother, Ye, I'll be Dan, you know round Like

1011
00:46:01,200 --> 00:46:03,799
Speaker 4: they were like the singing far side. Like I thought, okay,

1012
00:46:03,880 --> 00:46:06,200
Speaker 4: let me collect them and then I'll make a crew whatever.

1013
00:46:06,280 --> 00:46:10,160
Speaker 4: But step child, step child, yeah, step child, but yeah,

1014
00:46:10,280 --> 00:46:10,839
Speaker 4: but for real.

1015
00:46:11,480 --> 00:46:11,600
Speaker 3: Uh.

1016
00:46:12,640 --> 00:46:14,759
Speaker 5: She ended up ended up marrying David Gates, who was

1017
00:46:14,840 --> 00:46:17,520
Speaker 5: my right hand man at Rowdy all those years, and

1018
00:46:17,560 --> 00:46:19,719
Speaker 5: then they even having children and then just going on

1019
00:46:19,840 --> 00:46:20,200
Speaker 5: with life.

1020
00:46:20,520 --> 00:46:22,200
Speaker 4: I remember seeing some of their names on like Stevie

1021
00:46:22,280 --> 00:46:25,400
Speaker 4: Wonder record, so he would occasionally have him sing background.

1022
00:46:25,440 --> 00:46:27,279
Speaker 4: But I always wanted to know what happened with them, man, Like,

1023
00:46:27,600 --> 00:46:29,600
Speaker 4: what was the reason for your two labels? You had

1024
00:46:29,680 --> 00:46:30,800
Speaker 4: Rowdy and you had.

1025
00:46:32,400 --> 00:46:36,200
Speaker 5: God the label limp rowdy or like Limp. Yeah, I

1026
00:46:36,280 --> 00:46:38,000
Speaker 5: had Limp and I just because it was supposed to

1027
00:46:38,040 --> 00:46:40,879
Speaker 5: be like the things that were slightly different. So yeah,

1028
00:46:40,960 --> 00:46:44,120
Speaker 5: and then Cloud was giving me junk about Rowdy at

1029
00:46:44,160 --> 00:46:45,800
Speaker 5: the time, you know, because I wanted to keep it

1030
00:46:46,080 --> 00:46:47,520
Speaker 5: rowdy and not. I didn't even I didn't want to

1031
00:46:47,520 --> 00:46:49,200
Speaker 5: sign that like Monica. I didn't think it was rowdy,

1032
00:46:49,719 --> 00:46:52,360
Speaker 5: but I had Why wasn't she on rowdy? Well she

1033
00:46:52,440 --> 00:46:53,839
Speaker 5: was on rowdy, That's what I'm saying. But I had

1034
00:46:53,880 --> 00:46:56,680
Speaker 5: to remember seeing on the face or she was on rowdy.

1035
00:46:56,719 --> 00:46:59,239
Speaker 5: But I had to end up signing her because of

1036
00:46:59,400 --> 00:47:01,680
Speaker 5: all the other deaths, so Fishbone and other stuff like that,

1037
00:47:02,040 --> 00:47:03,400
Speaker 5: you know, And so I said, let me just go

1038
00:47:03,480 --> 00:47:05,959
Speaker 5: do what another do, and so we end up signed

1039
00:47:06,239 --> 00:47:08,840
Speaker 5: Monica there. But it was always the kind of offset,

1040
00:47:09,520 --> 00:47:11,279
Speaker 5: you know, having a different brand in different places of

1041
00:47:11,320 --> 00:47:12,279
Speaker 5: the type of music making.

1042
00:47:12,480 --> 00:47:15,640
Speaker 2: Is she one of your artists that you're always make music?

1043
00:47:16,080 --> 00:47:19,839
Speaker 5: I love Monica, She's I wanted. Monica's like my daughter.

1044
00:47:19,960 --> 00:47:23,000
Speaker 5: She's always been my like, Yeah, she's she's got the

1045
00:47:23,040 --> 00:47:24,800
Speaker 5: same team around her that's been around her since we

1046
00:47:24,840 --> 00:47:25,200
Speaker 5: signed her.

1047
00:47:25,360 --> 00:47:26,799
Speaker 2: Oh good, so when we come back we can get

1048
00:47:26,840 --> 00:47:27,440
Speaker 2: her because.

1049
00:47:27,239 --> 00:47:29,799
Speaker 5: Oh yeah, she's the same Melinda and Mom and she's

1050
00:47:29,960 --> 00:47:32,960
Speaker 5: the most thing about Moa is that she grew into

1051
00:47:33,040 --> 00:47:34,799
Speaker 5: the songs that she got older because the songs were

1052
00:47:34,840 --> 00:47:37,040
Speaker 5: so grown, so singing well I love you so much

1053
00:47:37,200 --> 00:47:39,960
Speaker 5: now makes sense. It's like you hear people singing in

1054
00:47:40,040 --> 00:47:40,800
Speaker 5: the audience, You're.

1055
00:47:40,680 --> 00:47:42,839
Speaker 2: Like, and when she sings it now, it's like, yeah,

1056
00:47:42,960 --> 00:47:44,000
Speaker 2: she feeling it different.

1057
00:47:44,360 --> 00:47:45,919
Speaker 5: Yeah, yeah, it's a whole different story.

1058
00:47:46,000 --> 00:47:47,200
Speaker 2: Now she sounds so great.

1059
00:47:47,239 --> 00:47:52,000
Speaker 1: Still, What was the for for just one of them days? Backseat?

1060
00:47:52,440 --> 00:47:54,719
Speaker 5: Ll Yeah, dude, that's what me and Clive got into

1061
00:47:54,760 --> 00:47:56,920
Speaker 5: it about. That's when I was gonna leave Arista because

1062
00:47:56,920 --> 00:47:59,360
Speaker 5: I turned in, don't take it personal, and he's just like,

1063
00:47:59,440 --> 00:48:01,840
Speaker 5: oh man needs a bridge. Was like, no, no, no,

1064
00:48:02,360 --> 00:48:04,839
Speaker 5: she's fourteen. She's singing over the back seat of the jeep,

1065
00:48:05,040 --> 00:48:07,320
Speaker 5: just one of them days. Don't take it personal. It's ignorant.

1066
00:48:07,520 --> 00:48:10,160
Speaker 5: It's supposed to be like that because they was trying

1067
00:48:10,160 --> 00:48:13,560
Speaker 5: to say them days And I'm like, did you know how.

1068
00:48:13,480 --> 00:48:17,120
Speaker 2: We would affiliate that with something biological or or did

1069
00:48:17,280 --> 00:48:17,799
Speaker 2: you just.

1070
00:48:18,560 --> 00:48:20,719
Speaker 5: It's just one of them days and it's gonna be,

1071
00:48:20,840 --> 00:48:23,880
Speaker 5: you know. And for her when I first when I

1072
00:48:23,920 --> 00:48:25,640
Speaker 5: first saw one, because she would always come in she

1073
00:48:25,680 --> 00:48:28,719
Speaker 5: had his little green brow gold rings on and a

1074
00:48:28,800 --> 00:48:30,880
Speaker 5: little sweatsuit with a bunch of little bitty chains on,

1075
00:48:31,040 --> 00:48:34,080
Speaker 5: like you know all the ghetto girls look and back then.

1076
00:48:34,320 --> 00:48:35,960
Speaker 5: And she would come in and she was saying the

1077
00:48:35,960 --> 00:48:37,640
Speaker 5: greatest love of All and she'd be like, okay, am

1078
00:48:37,680 --> 00:48:41,600
Speaker 5: I done? And then she's gone by the business. I'm like, damn,

1079
00:48:41,640 --> 00:48:44,520
Speaker 5: this attitude is bigger than us singing. It's crazy. So

1080
00:48:44,640 --> 00:48:46,960
Speaker 5: I kept telling Clive and them, they kept trying to

1081
00:48:47,000 --> 00:48:48,960
Speaker 5: come with these dying warren and all that. So not yet,

1082
00:48:49,440 --> 00:48:51,160
Speaker 5: It's not time. You got to sell this attitude. Like

1083
00:48:51,239 --> 00:48:54,640
Speaker 5: she's d from what's happening. You know what I'm saying.

1084
00:48:54,719 --> 00:48:56,360
Speaker 5: She's always in grown folks business.

1085
00:48:56,120 --> 00:48:59,920
Speaker 3: And she always like anthem. So yeah, he was like,

1086
00:49:00,000 --> 00:49:01,040
Speaker 3: I don't take a person one.

1087
00:49:01,200 --> 00:49:02,799
Speaker 5: I'm so proud of what she's grown into just as

1088
00:49:02,840 --> 00:49:05,200
Speaker 5: a mother and a person period. You know, she's she

1089
00:49:05,320 --> 00:49:07,480
Speaker 5: got to always had her head on straight, always been

1090
00:49:07,760 --> 00:49:08,640
Speaker 5: just like the best.

1091
00:49:09,440 --> 00:49:12,880
Speaker 1: Is there anything that you have yet to do? Is

1092
00:49:12,920 --> 00:49:14,640
Speaker 1: there anything left on the bucket list.

1093
00:49:15,320 --> 00:49:18,160
Speaker 5: Yeah. I mean what I'm doing now is having having

1094
00:49:18,280 --> 00:49:22,560
Speaker 5: my own distribution company dad wow. And over the course

1095
00:49:22,680 --> 00:49:25,800
Speaker 5: of the pandemic, I just dove really hard into my

1096
00:49:25,920 --> 00:49:28,000
Speaker 5: distribution company because I want to make a difference in

1097
00:49:28,000 --> 00:49:29,879
Speaker 5: the way stuff is distributed, because you're making no money.

1098
00:49:30,480 --> 00:49:34,120
Speaker 5: So luckily blockchain came along, and now I have a

1099
00:49:34,200 --> 00:49:37,360
Speaker 5: protocol that I launched in November will allow you to

1100
00:49:37,440 --> 00:49:39,560
Speaker 5: choose your own streaming rates. So you can choose your

1101
00:49:39,560 --> 00:49:41,439
Speaker 5: own streaming rate on music. You can stream for ten dollars,

1102
00:49:41,480 --> 00:49:43,239
Speaker 5: ten cent, two cent, you can stream for a year,

1103
00:49:43,400 --> 00:49:45,319
Speaker 5: five months, forever, it's up to you. You can sell

1104
00:49:45,360 --> 00:49:48,040
Speaker 5: it as an artist, as an artist for all your content.

1105
00:49:48,440 --> 00:49:51,640
Speaker 5: And I'm implementing it not just on my platform, but

1106
00:49:51,880 --> 00:49:54,080
Speaker 5: in other platforms like Amazon, Like I want everybody to

1107
00:49:54,160 --> 00:49:55,960
Speaker 5: use it, because that's how we're going to change the

1108
00:49:56,040 --> 00:49:58,480
Speaker 5: course of how the industry is at this point. You know,

1109
00:49:58,560 --> 00:50:01,560
Speaker 5: Spotify and all those blanket license and the blanket license

1110
00:50:01,640 --> 00:50:02,920
Speaker 5: trip is over. That was a band aid in the

1111
00:50:02,960 --> 00:50:05,080
Speaker 5: first place. Like, you can't blanket license all of us

1112
00:50:05,120 --> 00:50:07,520
Speaker 5: because that means that nobody's gonna make no money. So

1113
00:50:07,680 --> 00:50:09,440
Speaker 5: you got people well, I can see people with three

1114
00:50:09,480 --> 00:50:11,839
Speaker 5: four five million streets, ten million streams, and you're still

1115
00:50:11,880 --> 00:50:14,600
Speaker 5: not really making no money. So you know the next

1116
00:50:14,600 --> 00:50:17,239
Speaker 5: step is when we launched this is to you know

1117
00:50:17,360 --> 00:50:19,480
Speaker 5: this dope. I saw Meek mil tweed about it one day.

1118
00:50:19,480 --> 00:50:21,080
Speaker 5: He's like, man, as soon as somebody made this direct

1119
00:50:21,200 --> 00:50:24,280
Speaker 5: consumer to artists, you know, we already got it. Just launching.

1120
00:50:24,320 --> 00:50:26,120
Speaker 5: You can go to for your Apple, pay your Google,

1121
00:50:26,160 --> 00:50:29,200
Speaker 5: pay up to fifty contracts on one song, so all

1122
00:50:29,520 --> 00:50:32,600
Speaker 5: of us. Yeah, and it comes to you instantly to everybody.

1123
00:50:33,320 --> 00:50:35,520
Speaker 3: What's crazy is my auntie brain was like, you know,

1124
00:50:35,560 --> 00:50:37,520
Speaker 3: when you hear distribution, it was such it used to

1125
00:50:37,560 --> 00:50:41,600
Speaker 3: be such a physical word, right, it's changed physical nothing.

1126
00:50:42,960 --> 00:50:45,719
Speaker 5: User generated content killed that. Soldier boy killed that all

1127
00:50:45,920 --> 00:50:48,319
Speaker 5: because the manage you can make it in the Mac

1128
00:50:48,400 --> 00:50:50,919
Speaker 5: and then distributed to your myndspace or Facebook or whatever

1129
00:50:50,920 --> 00:50:53,279
Speaker 5: it was that was that ended up being distribution. So

1130
00:50:53,360 --> 00:50:56,799
Speaker 5: it took away all the trucks and machines and brick

1131
00:50:56,840 --> 00:51:00,120
Speaker 5: and mortar stores and warehouses and all that. And you know,

1132
00:51:00,160 --> 00:51:01,800
Speaker 5: we distributed over two hundred DSPs.

1133
00:51:01,880 --> 00:51:04,200
Speaker 3: So like because back in the day, a person, a

1134
00:51:04,280 --> 00:51:06,759
Speaker 3: person like you saying I have a distribution company, that

1135
00:51:06,880 --> 00:51:07,960
Speaker 3: it was no such thing.

1136
00:51:08,280 --> 00:51:10,839
Speaker 2: Yeah, like this is the dream. This is why people

1137
00:51:10,880 --> 00:51:12,520
Speaker 2: went to labels because they had no distribution.

1138
00:51:13,040 --> 00:51:15,320
Speaker 5: So I'm just like, yeah, I love it because I

1139
00:51:15,320 --> 00:51:18,719
Speaker 5: see people signed up from around the world Children's books Cube,

1140
00:51:18,760 --> 00:51:20,560
Speaker 5: but Canada, everywhere. It's just all kinds of stuff. And

1141
00:51:20,640 --> 00:51:22,560
Speaker 5: so because of my music person, I don't really the

1142
00:51:22,680 --> 00:51:25,000
Speaker 5: volume is one thing. The most distribution companies about how

1143
00:51:25,080 --> 00:51:27,160
Speaker 5: much volume can we get because that's how they make money,

1144
00:51:27,880 --> 00:51:30,719
Speaker 5: And I'm about, like, no, who's really dope. So I'm like,

1145
00:51:30,760 --> 00:51:32,960
Speaker 5: you see me on Sundays just scrolling through my backside

1146
00:51:33,000 --> 00:51:35,040
Speaker 5: looking at labels, looking at what they got, clicking in

1147
00:51:35,160 --> 00:51:37,640
Speaker 5: who is this? What music is it? And I have

1148
00:51:37,719 --> 00:51:39,279
Speaker 5: to say, we don't. I haven't seen a lot of

1149
00:51:39,760 --> 00:51:41,960
Speaker 5: badass like music that would come through that, like it's

1150
00:51:42,000 --> 00:51:43,960
Speaker 5: a dy you can little up at home. But I

1151
00:51:44,000 --> 00:51:45,440
Speaker 5: think they're trying to live up to the standard of

1152
00:51:45,520 --> 00:51:47,960
Speaker 5: my song, right, No, my brand in a way, and

1153
00:51:48,040 --> 00:51:50,080
Speaker 5: it's really good music that comes. So I'm like, we

1154
00:51:50,160 --> 00:51:51,080
Speaker 5: got to help these people out.

1155
00:51:51,160 --> 00:51:52,160
Speaker 2: Are you pissing off the labels?

1156
00:51:52,719 --> 00:51:57,160
Speaker 5: Not yet? Okay, soon comes we're going to disrupt that process.

1157
00:51:57,239 --> 00:52:00,520
Speaker 5: That process is old. You have things for future, and

1158
00:52:01,000 --> 00:52:02,640
Speaker 5: you can't think of how they did it or done

1159
00:52:02,680 --> 00:52:04,400
Speaker 5: and all that is just done already. You know.

1160
00:52:05,200 --> 00:52:09,520
Speaker 6: One last, one, last question about just two songwriters that

1161
00:52:09,640 --> 00:52:12,640
Speaker 6: I've never really talked to anyone that like knew Arnold Hennings.

1162
00:52:12,840 --> 00:52:15,759
Speaker 5: Oh yeah, this is crazy. I asked for everybody to

1163
00:52:15,840 --> 00:52:16,600
Speaker 5: just call them my phone.

1164
00:52:16,800 --> 00:52:23,080
Speaker 1: Oh that was outside like and uh and also dev Killings.

1165
00:52:24,080 --> 00:52:26,800
Speaker 5: That was like the best kept Atlanta secret. She's she

1166
00:52:27,080 --> 00:52:29,400
Speaker 5: She sung on every song I've ever done from like

1167
00:52:29,480 --> 00:52:31,600
Speaker 5: all the backgrounds on Creep or what about Your Friends,

1168
00:52:31,719 --> 00:52:34,520
Speaker 5: or like all the Outcast records, and she's an amazing based.

1169
00:52:34,600 --> 00:52:36,960
Speaker 1: Her bass player was like, she's a base player. ND

1170
00:52:36,960 --> 00:52:37,600
Speaker 1: he didn't cut it.

1171
00:52:37,600 --> 00:52:39,160
Speaker 6: He didn't cup it once twelve, but he also did

1172
00:52:39,640 --> 00:52:41,640
Speaker 6: take our time. I thought that was you for the

1173
00:52:41,719 --> 00:52:42,960
Speaker 6: loss on the TLC.

1174
00:52:44,360 --> 00:52:46,400
Speaker 5: Hennings was a dope man. It's like one of the

1175
00:52:46,480 --> 00:52:48,400
Speaker 5: things I did when I came in the game is

1176
00:52:48,440 --> 00:52:50,719
Speaker 5: like I bought producers together to try to give them

1177
00:52:50,719 --> 00:52:52,960
Speaker 5: the opportunity I wish I had, you know, instead of

1178
00:52:53,040 --> 00:52:55,440
Speaker 5: me getting ripped off of and work for higher contracts

1179
00:52:55,480 --> 00:52:57,040
Speaker 5: or whatever. I was like, well, let me just find

1180
00:52:57,080 --> 00:52:59,719
Speaker 5: people that are dope and then give them the same opportunity,

1181
00:52:59,800 --> 00:53:01,680
Speaker 5: but make it where they gonna make their money, you know,

1182
00:53:01,840 --> 00:53:03,920
Speaker 5: so on him and timbabw Wan want to be you

1183
00:53:04,000 --> 00:53:07,920
Speaker 5: know way out here. Yeah, bro, so we just love

1184
00:53:08,040 --> 00:53:09,680
Speaker 5: music like that, and I just want to make it

1185
00:53:09,719 --> 00:53:12,360
Speaker 5: where I feel bad when I feel glad that I

1186
00:53:12,400 --> 00:53:14,160
Speaker 5: came up in the era where we made money. But

1187
00:53:14,840 --> 00:53:18,640
Speaker 5: now it's just you know, it's shady. It's sixty thousand

1188
00:53:18,640 --> 00:53:20,879
Speaker 5: records going out out there and it's not enough. It's

1189
00:53:21,000 --> 00:53:23,320
Speaker 5: just not enough money in that blanket license to pay everybody.

1190
00:53:23,800 --> 00:53:26,880
Speaker 1: Okay, why didn't Silly Hope.

1191
00:53:28,480 --> 00:53:32,600
Speaker 4: Like I wanted it just because I'm serious, Because it

1192
00:53:32,760 --> 00:53:34,399
Speaker 4: was like it should have had a video.

1193
00:53:35,480 --> 00:53:38,799
Speaker 1: It sounded so industrial, like I felt like Rhythm Nation

1194
00:53:39,040 --> 00:53:43,560
Speaker 1: meets like Yes and all that shit.

1195
00:53:43,840 --> 00:53:45,480
Speaker 5: Yeah, fan Mail was one of my favorite albums I

1196
00:53:45,560 --> 00:53:48,680
Speaker 5: did because it was just the concept along when Lisa

1197
00:53:48,719 --> 00:53:51,360
Speaker 5: first came in. When she goes, yeah, I got a concept.

1198
00:53:51,400 --> 00:53:52,960
Speaker 5: It's called fan mail, and we can put all the

1199
00:53:53,040 --> 00:53:55,200
Speaker 5: artist names on the back that that the senters letters

1200
00:53:55,239 --> 00:53:57,120
Speaker 5: from the fire and all this. I said, oh, yeah,

1201
00:53:57,160 --> 00:53:59,239
Speaker 5: that's brilliant. I can hear that already. I know what

1202
00:53:59,280 --> 00:54:01,400
Speaker 5: to do. And then she goes yeah, and then the

1203
00:54:01,440 --> 00:54:03,839
Speaker 5: rest of it's called fan tc dot com. And I said,

1204
00:54:03,840 --> 00:54:05,000
Speaker 5: what is that? Well, you know, we could be playing

1205
00:54:05,040 --> 00:54:08,480
Speaker 5: with ourselves and doing this and that. Oh what's interesting

1206
00:54:08,640 --> 00:54:13,520
Speaker 5: is the first only fans. She it was what only

1207
00:54:13,560 --> 00:54:15,440
Speaker 5: fans is now? Back then, of course me and all

1208
00:54:15,440 --> 00:54:17,759
Speaker 5: the rest of the girls like, are you crazy. You know,

1209
00:54:17,840 --> 00:54:19,399
Speaker 5: She's like, look Ki, I'm doing it, and this person

1210
00:54:19,480 --> 00:54:21,440
Speaker 5: doing it, we gotta be like. And so then because

1211
00:54:21,560 --> 00:54:23,680
Speaker 5: me and the girls were like, no, we can't come

1212
00:54:23,719 --> 00:54:26,080
Speaker 5: off waterfalls and you guys are having you know, people

1213
00:54:26,120 --> 00:54:28,839
Speaker 5: play play with yourself and keep your money. And then

1214
00:54:28,960 --> 00:54:30,359
Speaker 5: she goes, okay, well I quit.

1215
00:54:31,640 --> 00:54:32,919
Speaker 2: Oh wow, that's what she quit.

1216
00:54:33,000 --> 00:54:35,239
Speaker 5: That's when she quit the second time. So she quit

1217
00:54:35,560 --> 00:54:37,520
Speaker 5: right at the beginning of fan mail, and so then

1218
00:54:37,800 --> 00:54:41,080
Speaker 5: I had to like, so all the created virtual Viki.

1219
00:54:41,120 --> 00:54:43,960
Speaker 5: I had to go to my computer and take the voices,

1220
00:54:44,440 --> 00:54:46,920
Speaker 5: sample each word and make them rap that you know

1221
00:54:47,040 --> 00:54:48,880
Speaker 5: you can't get with this one not you just go

1222
00:54:49,000 --> 00:54:52,080
Speaker 5: and find give it up the rhythm. So you had

1223
00:54:52,120 --> 00:54:53,560
Speaker 5: to put it on the keys to make it have rhythm.

1224
00:54:53,640 --> 00:54:55,200
Speaker 5: Because she quit and we have rapper, So I said,

1225
00:54:55,440 --> 00:54:57,960
Speaker 5: we create a rapper and we created the virtual Viki character. Right,

1226
00:54:58,239 --> 00:55:00,160
Speaker 5: So at the beginning, she goes, welcome, we dead had

1227
00:55:00,239 --> 00:55:02,040
Speaker 5: this album. To everybody that sent us fan mail, that's

1228
00:55:02,080 --> 00:55:06,240
Speaker 5: computer talking just like you. I get lonely too, that's computer.

1229
00:55:06,719 --> 00:55:09,040
Speaker 5: The silly Hole rap all the way up to the whole.

1230
00:55:09,080 --> 00:55:13,080
Speaker 1: Created I'm a sucker. Don't you go ahead and ask

1231
00:55:13,160 --> 00:55:13,560
Speaker 1: that question?

1232
00:55:13,800 --> 00:55:18,120
Speaker 5: Yeah, she wasn't, And so we did Silly Hole. We had,

1233
00:55:18,480 --> 00:55:20,480
Speaker 5: we had the album done, but we didn't have no scrubs,

1234
00:55:20,840 --> 00:55:23,080
Speaker 5: and so I heard I went over to Tricky and

1235
00:55:23,120 --> 00:55:26,239
Speaker 5: Shakespeare because I had them working on I had Shake

1236
00:55:26,280 --> 00:55:28,040
Speaker 5: and Tricky working on the JT money stuff for me

1237
00:55:28,080 --> 00:55:30,920
Speaker 5: at the time, like who that. So when I went

1238
00:55:31,000 --> 00:55:32,719
Speaker 5: to check on that, they played me no scrubs. It

1239
00:55:32,840 --> 00:55:35,200
Speaker 5: was for Candy and Tiny and I was like, give

1240
00:55:35,239 --> 00:55:36,839
Speaker 5: me that song for TLC. I make it the single,

1241
00:55:36,880 --> 00:55:38,400
Speaker 5: silly Hold. It just rolled out as like a pre

1242
00:55:39,040 --> 00:55:42,040
Speaker 5: It was like all that TB Gangster. But I'm like,

1243
00:55:42,080 --> 00:55:44,520
Speaker 5: if you give me that song, I'll put chili on

1244
00:55:44,560 --> 00:55:46,560
Speaker 5: the verses, which we haven't done before, and then this

1245
00:55:46,600 --> 00:55:49,000
Speaker 5: will be the single. They said, you guarantee it. I

1246
00:55:49,040 --> 00:55:50,719
Speaker 5: guarantee you give me that song would make it the single.

1247
00:55:51,000 --> 00:55:53,200
Speaker 5: And so then because no scrubb came in last like that.

1248
00:55:53,400 --> 00:55:57,719
Speaker 2: So wait, tiny and lower, how to get Candy? Tiny

1249
00:55:57,760 --> 00:55:58,799
Speaker 2: and Candy not pissed at all?

1250
00:55:58,880 --> 00:55:59,600
Speaker 1: Did they understand that?

1251
00:56:00,920 --> 00:56:02,759
Speaker 2: Oh no, no, it was because they wrote it, That's

1252
00:56:02,760 --> 00:56:04,480
Speaker 2: what I'm saying. They were didn't have to sing.

1253
00:56:04,560 --> 00:56:06,879
Speaker 5: Oh no, they wrote it, and then that took That's

1254
00:56:06,880 --> 00:56:10,200
Speaker 5: what made Candy take off. After no scrubs, then Bugaboo

1255
00:56:10,239 --> 00:56:12,680
Speaker 5: and Destiny, all that stuff started to come ahund in Shakespeare.

1256
00:56:13,200 --> 00:56:16,399
Speaker 1: So that was like, you know, remember that is trying

1257
00:56:16,520 --> 00:56:17,560
Speaker 1: doing anything musically.

1258
00:56:17,680 --> 00:56:20,600
Speaker 5: Now was doing music. He's doing his own How was

1259
00:56:20,640 --> 00:56:21,960
Speaker 5: he now twenty five?

1260
00:56:22,360 --> 00:56:22,560
Speaker 4: God?

1261
00:56:22,840 --> 00:56:27,680
Speaker 1: Sorry, I can't even imagine trying trying. Oh yeah, making.

1262
00:56:29,280 --> 00:56:32,120
Speaker 4: We've been waiting for this. This is way beyond Yeah

1263
00:56:33,040 --> 00:56:37,360
Speaker 4: we expected. I don't think she's going to come with stories.

1264
00:56:36,960 --> 00:56:40,080
Speaker 5: And oh man, I'm walking stories all my life. Bro

1265
00:56:40,320 --> 00:56:41,719
Speaker 5: I worked with So I've been blessed to work with

1266
00:56:41,800 --> 00:56:42,719
Speaker 5: so many people.

1267
00:56:42,719 --> 00:56:46,560
Speaker 2: That the next movies will be just saying, Dallas.

1268
00:56:46,680 --> 00:56:48,160
Speaker 5: I got a couple of them coming up now.

1269
00:56:49,120 --> 00:56:53,760
Speaker 4: Okay, well yeah from Sugar Steven like and Fan Takelo

1270
00:56:54,040 --> 00:56:55,280
Speaker 4: and Unpaid.

1271
00:56:54,880 --> 00:56:59,719
Speaker 1: Bill, the Great Dallas Austin, thank you, thank you, thank

1272
00:56:59,760 --> 00:57:00,399
Speaker 1: you for music.

1273
00:57:00,480 --> 00:57:00,600
Speaker 6: Man.

1274
00:57:00,600 --> 00:57:03,799
Speaker 4: I appreciate it, it was awesome and uh we will

1275
00:57:03,800 --> 00:57:06,560
Speaker 4: see you next time of course, Love Supreme check it

1276
00:57:06,600 --> 00:57:06,960
Speaker 4: all later.

1277
00:57:08,800 --> 00:57:12,759
Speaker 5: H H.

1278
00:57:14,920 --> 00:57:21,880
Speaker 1: West Slop Supreme is a production of iHeartRadio. For more

1279
00:57:21,960 --> 00:57:25,960
Speaker 1: podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,

1280
00:57:26,400 --> 00:57:28,080
Speaker 1: or wherever you listen to your favorite shows.