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Speaker 1: Quest Love Supreme is a production of iHeart Radio Supremo.

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Speaker 2: Role supram Supremo, Role Supremo Roth.

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Speaker 3: My name is Questlove and I don't flake yea and

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Speaker 3: at yl Yeah.

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Speaker 1: Right, Supreme Supremo Upbravo Supremo.

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Speaker 4: My name is Fante and I'm gonna speak my cloud.

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Speaker 5: Yeah.

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Speaker 1: Organized taught me.

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Speaker 4: Yeah, trying to get you out.

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Speaker 6: My name is Sugar yeah, and I apologize this may

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Speaker 6: get noisy and unorganized.

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Speaker 7: Well, right, Supreme, it's my ear yeah, and I'm over

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Speaker 7: joy Yeah.

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Speaker 8: It's like I'm back in college again.

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Speaker 9: Organized joying, Okay, I Marico yeah, and I'm part one,

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Speaker 9: part one.

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Speaker 1: Yeah. So Supreme roll down.

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Speaker 10: So this is Yoda Yeah, and you know I hold

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Speaker 10: it down yeah, organized noise. Yeah, we all in time,

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Speaker 10: come pray.

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Speaker 5: My name is Sleeper, yeah, and I'm the smoothest. You'll

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Speaker 5: never find another mother that could do this.

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Speaker 1: In my mind is like we'll probably do that.

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Speaker 7: Roll sound.

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Speaker 1: Roll all right, where's my where's my manager? Yeah? He

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Speaker 1: was like, you didn't sign up for this, You did

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Speaker 1: not sign up for this. I'm like, boy, you did

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Speaker 1: not do a good job. You're good, bro.

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Speaker 5: You made enough classics to sustain Oh no, My probably

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Speaker 5: is gonna reason why I gon'na go viral.

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Speaker 1: Well, that's a good thing.

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Speaker 3: In twenty two, ladies and gentlemen, welcome to another episode

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Speaker 3: of Quest Love Supreme at l Addition. We are in

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Speaker 3: Atlanta talking to a lot of the greats. What can

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Speaker 3: I say, Ladies and gentlemen, We are here with three

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Speaker 3: gentlemen who have built a movement, a sound, of way

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Speaker 3: of life, literally putting not even a section of the

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Speaker 3: because that's that's just very reductive. But I mean they

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Speaker 3: literally changed the scope of music as we know it

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Speaker 3: and of creativity as we know it. You know, some

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Speaker 3: of the blackest shit ever, some of the most afrofuturist

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Speaker 3: shit ever, what you call legacy from George Skyler or

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Speaker 3: down the sun Rod, down the p Funk and when

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Speaker 3: the baton came in their their hands, they created magic.

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Speaker 3: Simply put, I'll say, one of the most respected and

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Speaker 3: in some producer's eyes, most feared men.

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Speaker 1: Dogs. Yeah, I won't even talk about us, like listening

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Speaker 1: to a new album like they did what Nigga?

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Speaker 3: When I heard main stream, I wanted to jump out there,

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Speaker 3: know what it is like you can give loop literally, Yeah,

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Speaker 3: I've never I never had.

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Speaker 1: A production collective. That just makes me like, damn, why

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Speaker 1: don't I think of that ship?

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Speaker 3: Seriously, it's this is long time overdue, and you know

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Speaker 3: all the classic lpiece they've been involved in that that

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Speaker 3: they had their hands in from all the entire like Outcast, Cannon, Uh,

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Speaker 3: Goodie Mob, Cannon, Parent Advisory, some cut of Calhoun Joy Vote,

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Speaker 3: Oh god, I totally forgotten the last Awesome great Yes,

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Speaker 3: the names go on, dude and for on the real

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Speaker 3: I don't know if crazy, sexually cool would have been

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Speaker 3: what it was without ladies and gentlemen. It's it's actually happening.

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Speaker 3: We've been talking about this forever. Welcome Rica, Wait Ray,

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Speaker 3: Murray and the One and Only. I cannot believe Sleepy

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Speaker 3: Brown is on Quest Love Supreme, Organized Noise, Thank.

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Speaker 1: You Man, too much good music listen. So this is

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Speaker 1: rare for us because like I prefer one on one.

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Speaker 3: Shows where we get the grill people like it's I mean,

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Speaker 3: Steve joke that this looks like peace negotiations.

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Speaker 1: Happening, right, Like what you did?

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Speaker 3: I feel like it's beat between Sleepy and Sugar Steve

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Speaker 3: over here.

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Speaker 6: I want to negotiating my contract.

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Speaker 1: Yeah no, but this this will be really interesting.

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Speaker 3: And as I said, we're in Atlanta right now and

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Speaker 3: I'm hoping to get all the edgumacation and all the

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Speaker 3: questions I want to answered about just the sound that

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Speaker 3: you guys have crafted for the last thirty years.

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Speaker 1: Damn there.

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Speaker 3: So I guess I'll start, well, I know your lineage

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Speaker 3: runs deep. I know all your lineage runs deep, but

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Speaker 3: especially sleepy, being the sign of the legendary Jimmy Brown Brick,

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Speaker 3: I'll start with you. Can you tell me what your

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Speaker 3: first musical memory was.

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Speaker 5: I was six years old, right, and it was my

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Speaker 5: first concert I went to and I was with my

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Speaker 5: grandparents and uh.

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Speaker 1: We get to the concert and uh walk on side

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Speaker 1: the stage.

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Speaker 5: And my dad don start performing, and uh when I

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Speaker 5: seen them do dads right, my mouth dropped and I

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Speaker 5: look back at my grandmom when I said, this is

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Speaker 5: what I want to do.

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Speaker 1: Period. I knew I want to do music.

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Speaker 5: As soon as I saw my dad playing them horns

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Speaker 5: and everybody screaming and going crazy, I was just.

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Speaker 1: Like, I gotta do this, this is this is what

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Speaker 1: I have to do.

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Speaker 5: And plus, you know, my mom would buy me Jackson

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Speaker 5: five albums every Christmas right.

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Speaker 1: You know.

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Speaker 5: So I was like the six Jackson plus I was

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Speaker 5: in Brick Right and Commodoors and I was in everybody group.

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Speaker 5: So my first experience of music was the greatest era

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Speaker 5: of music to me was the funk era and the

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Speaker 5: disco era. No music has been made more beautiful than that.

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Speaker 5: So that's my whole.

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Speaker 1: Being, you know what I mean?

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Speaker 5: No matter what, That's why they called me funk or not,

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Speaker 5: because if they ain't funky, I ain't doing.

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Speaker 3: I funks with that eschewing dazz and music and ain't

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Speaker 3: gonna hurt nobody. The captain obvious break is do you

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Speaker 3: have a favorite Brick song that isn't a hit or anything?

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Speaker 1: Yeah? Yep? Fun What of them happy? Happy?

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Speaker 3: You know what I was gonna say, Damn, I always

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Speaker 3: always say, but I've alway confessed that I'm kind of

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Speaker 3: working on Sultry right. I was like preface with like,

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Speaker 3: I'm not supposed to say this, but no, I'm getting

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Speaker 3: to the seventy seven episodes, and I gotta say, your

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Speaker 3: dad was a charismatic motherfucker even when performing Happy on Soultitery,

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Speaker 3: Like I just.

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Speaker 5: But they always had the biggest smile it's like we

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Speaker 5: saw him perform. He was just excited and happy to

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Speaker 5: perform for people. And he's always been that way. When

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Speaker 5: he was younger, he had had a band in Savannah

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Speaker 5: that did a couple of records, Jimmy and the Mighty Sensations,

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Speaker 5: that did pretty good. So he's always always loved music

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Speaker 5: till this day.

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Speaker 1: You know what I mean.

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Speaker 5: I'm working on the album right now with him. We're

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Speaker 5: doing like an instrument Yeah, instrumental jazz. So he played flute, trombone, ato, sax,

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Speaker 5: every horn you can put in front of him and

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Speaker 5: kill it.

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Speaker 1: Living from the Mind was also one of my favorite. Yes, sir,

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Speaker 1: that Baseline killed me and uh uh Somerset uh summer

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Speaker 1: telling them White album coming. Yeah, yeah, I know that.

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Speaker 3: You wait, Brick Trivia, have you heard this tipbit about Prince?

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Speaker 3: Do you know the story? So Prince was such a

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Speaker 3: fan of Brick. What do you know that he wrote

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Speaker 3: get it Up? He wrote that for Brick and they

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Speaker 3: rejected it. We interviewed Mars, I'll do it for you

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Speaker 3: sound effects, sound yeah, Mars, and we I mean we've

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Speaker 3: had damn near I remember at the time or except

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Speaker 3: Terry Lewis Terry Lewis. But yeah, when we asked Mars

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Speaker 3: about him and Prince Craft in the first record, you know,

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Speaker 3: he told us that he's playing drums on everything. He

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Speaker 3: was like, when we may get it Up for some reason,

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Speaker 3: like Prince was really into not for some reason, I

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Speaker 3: mean everybody was into it, but.

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Speaker 1: Man, you just blew me.

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Speaker 3: Yeah, Prince had wrote get It Up for Brick to

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Speaker 3: be whatever the album is with with the Green where

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Speaker 3: was like, it's like the Green Leaves just for that album.

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Speaker 1: They rejected it. You gotta talk to your dad about that.

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Speaker 1: What you're doing. Yeah, man, there you go. That's crazy

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Speaker 1: all right. So, Ray, what is your first musical memory?

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Speaker 10: Me and my brother and sister used to turn the

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Speaker 10: lights off and dance around two flight time, Yes, sir,

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Speaker 10: the airplane land NAS New York state of mind. So

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Speaker 10: early on, I kind of like my father's jazz head.

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Speaker 10: So he he had all of this music which was

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Speaker 10: like everything that we ever heard in hip hop. You

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Speaker 10: feel me, all of this ship that cat sample, that's

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Speaker 10: the ship that I grew up with playing in the house.

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Speaker 1: Yeah, all three of you are born in Atlanta. I

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Speaker 1: was going, okay, Yeah, I was born and you Where

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Speaker 1: were you born? Im about to say you gotta have

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Speaker 1: me swag boys, I know where are you born? Where?

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Speaker 11: I was going to Pittsburgh, Pennsylvania.

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Speaker 1: Yes, yes, my mom is from Pittsburgh.

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Speaker 11: But I grew up before we came to Atlanta.

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Speaker 10: We came to Atlanta with MANA Jackson when he took

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Speaker 10: over the city, when he became the first black man.

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Speaker 1: Right.

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Speaker 10: My fathers and mother were in Tuskegee, Alabama. So I

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Speaker 10: grew up in Tuskegee pretty much Alabama.

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Speaker 3: Okay, I got roots there too. Shout out to Mobile,

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Speaker 3: not TEXIV, but Mobile. All right for you, Rico, What's

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Speaker 3: what's your first musical memory?

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Speaker 12: Oh man, Even with listening to their memories, I was

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Speaker 12: mine is as simple as That's good now. It's the

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Speaker 12: simple ast him music on the radio, because you know

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Speaker 12: what I'm saying, I didn't really hit it. We didn't

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Speaker 12: have a car when I was younger, so I didn't

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Speaker 12: really hit the radio until like Mama was cleaning up

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Speaker 12: or something, or or when I finally just went into

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Speaker 12: that back room we had an extra room, and I

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Speaker 12: just kind of went to digging.

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Speaker 1: Guo.

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Speaker 3: Yes, the guest room and all the junk sits in the.

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Speaker 12: Man finding more than records back there one day back

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Speaker 12: but the records nothing, no.

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Speaker 1: A bunch of fact.

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Speaker 12: Yes, yes, money, but like Donald Summer and like the

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Speaker 12: Ring My Bell and all that kind of stuff with

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Speaker 12: some of the records and Iley Brothers. Yeah, I was

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Speaker 12: seeing that stuff as records. But on the radio when

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Speaker 12: she was it was just the energy of house. She

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Speaker 12: would be a different person when the music came on

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Speaker 12: and she turned up loud and she cleaning up. Some

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Speaker 12: people always made that. I always say, you know, I

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Speaker 12: like to play my music when I'm cleaning up. I

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Speaker 12: really understood what that meant. It's like I feel good today.

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Speaker 12: I mean today is this is what I'm doing. I'm

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Speaker 12: going for I need to feel good.

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Speaker 8: You need to feel good what I'm getting this.

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Speaker 12: Yeah, So my examples of music, and another one at

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Speaker 12: a young age was my first little job when I

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Speaker 12: was like ten years old, just unloading the back of

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Speaker 12: eighteen or like.

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Speaker 1: A truck or whatever.

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Speaker 12: They used to play the radio, and I just remember

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Speaker 12: that made it go by. So the music music was

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Speaker 12: always a I didn't never think I could necessarily be

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Speaker 12: able to make it. They never think I would be

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Speaker 12: a part of the business. But I knew how important

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Speaker 12: it was and how much I did, how much it

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Speaker 12: did for me just at that young age, and didn't

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Speaker 12: even know who, didn't know exactly who, none of the

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Speaker 12: artist was. Just knew that at that time being a

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Speaker 12: man of my age, which is fifty. During that time

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Speaker 12: nineteen eighty, I was eight.

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Speaker 1: So like like.

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Speaker 12: What he's talking about, like soaking up, sir at the

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Speaker 12: right time. It's the end of the seventies. So we

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Speaker 12: but they still loan it. As far as the albums,

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Speaker 12: I could still see album I still saw eight tracks,

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Speaker 12: you know what I'm saying. I still wrote in cards

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Speaker 12: when we did that, actually had an eight track.

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Speaker 1: In it, so collect them. Wow.

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Speaker 12: But your knowledge of a brick is amazing because even

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Speaker 12: when when I found out who his father was or whatever,

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Speaker 12: you just thought about that's ice cube song.

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Speaker 1: Yes, vasline, that's the song that you got back. That

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Speaker 1: was deep. I was so happy when they did.

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Speaker 4: How did you feel about like a lot of other

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Speaker 4: artists have sampled before that.

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Speaker 1: You know, Kid played the Ain't Gonna hurt nobody? You

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Speaker 1: know him? Did he did? It's all good? It was

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Speaker 1: yeah good.

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Speaker 5: So but when I heard Q on one of the

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Speaker 5: coldest disc records.

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Speaker 13: Ever all the time, bro my hat like Jenny, So

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Speaker 13: I was, man, that's still one of my favorite Man.

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Speaker 5: I still play that records and like I'm in the

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Speaker 5: mirror and I'm cute and let me shut up.

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Speaker 3: So I have a lot of musician friends that are

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Speaker 3: in uh Atlanta, like uh little John Roberts used to

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Speaker 3: live down in Philly. However, there were four musician friends

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Speaker 3: of mine that gave me theory on how.

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Speaker 1: They got so advanced in their musicianship.

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Speaker 3: Now, you mentioned you'd be in fifty that you were

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Speaker 3: eight back then, and I know that one of the

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Speaker 3: most crucial points in the timeline in a black person's

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Speaker 3: life in Atlanta history, of course, and if you're eight

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Speaker 3: years old were the Atlanta murders. And what my friends

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Speaker 3: told me was like, basically because their parents were strict,

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Speaker 3: like yo, you ain't going outside, you know, I pick

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Speaker 3: you up for school.

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Speaker 1: You stay in the house.

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Speaker 3: And because of that specific late sixties early seventies generation

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Speaker 3: told to stay in the house, they just got more

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Speaker 3: advanced than their music.

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Speaker 1: Can you explain to.

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Speaker 3: Us, like how that period affected you guys, Like were

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Speaker 3: you fully aware that many young black kids were getting

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Speaker 3: kidnapped and all those things, and like were your parents

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Speaker 3: like no, you you know.

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Speaker 12: It was prime time for us. And the fact that

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Speaker 12: I lived in apartments, single parent. Mom she went and

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Speaker 12: she worked, so it was latchkey kid right. So so

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Speaker 12: then I had two little sisters like six and five

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Speaker 12: years younger, like, so it was like and you have

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Speaker 12: to watch them, yeah, and I had to watch them.

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Speaker 1: So it was almost like I was trained. I was wrong.

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Speaker 12: Mom had got me ready the knife behind here to

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Speaker 12: whoop over here like pistol over on top of the closet,

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Speaker 12: and yeah, like everything was She treated me as a

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Speaker 12: young adult because she was like, I mean, I don't

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Speaker 12: wanted them white folks doing this, right, So she was scared,

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Speaker 12: so she was like, you can't outrun the because stop

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Speaker 12: thinking that.

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Speaker 1: Oh, ain't gonna get me. I'm too fas, I promise

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Speaker 1: you police can't get me. Mop I'm dropping fishes one

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Speaker 1: league like she said. She said, she said, dope, you.

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Speaker 12: Know, and then just trying to get rid of all

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Speaker 12: y'all they trying to just scoop them up. But and

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Speaker 12: she just made me believe that it was something that

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Speaker 12: it actually necessarily was, but it wasn't because it was

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Speaker 12: a lot going on Inland.

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Speaker 1: It was the bevideo games. Video games that just touched down.

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Speaker 12: So that's why when I disscovered them, them dollar pieces

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Speaker 12: in that in that back room.

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Speaker 1: Yes, you want to just go hit the arcade.

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Speaker 12: And we had an arcade downtown Atlanta and the Omni

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Speaker 12: An Arcade at It's like the arcade is where you

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Speaker 12: first started meeting that.

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Speaker 5: The people, the people who do music, the people who

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Speaker 5: were eventually was gonna be the people, the dancers, the

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Speaker 5: people who loved New York and knew that we would

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Speaker 5: get shunned for acting that way, but people still would

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Speaker 5: do it, almost to the.

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Speaker 12: Point where like, I want to be different, you know

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Speaker 12: what I'm saying. Didn't know that being I don't want

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Speaker 12: you don't necessarily want to be copying somebody else.

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Speaker 1: But that's different that that dudes. You had some dudes

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Speaker 1: that was straight and lit and tell you they was.

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Speaker 12: So as far as the child murders, we community centers.

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Speaker 12: So like people got a chance to do a boy scout.

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Speaker 12: They was trying to get you to do summer camps

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Speaker 12: that they had at the city. Had put a whole

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Speaker 12: thing together to where they was giving out t shirts.

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Speaker 12: I remember these, these these classic teacher as will say,

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Speaker 12: eighty eighty one, eighty two. And then it kind of

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Speaker 12: let you know that my mama care about me because

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Speaker 12: she made I went to the camp kids who don't

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Speaker 12: go to camp, like, man, this shit, excuse me.

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Speaker 1: This is free.

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Speaker 12: In yeah, this is free and so like it's just

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Speaker 12: seemed like and those people was also bringing it to

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Speaker 12: you too as well as far as making sure that

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Speaker 12: you know, be with a friend, stop trying to do

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Speaker 12: stuff by yourself. So so that little fear was kind

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Speaker 12: of how you should have felt as a young adult anyway.

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Speaker 12: But the city was so active about it or whatever

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Speaker 12: as far as no trick or treating you know what

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Speaker 12: I'm saying, like, and eventually grew until y'all can go

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Speaker 12: to the mall and do it. But really it was

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Speaker 12: like when you get home at three thirty or whatever,

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Speaker 12: go in the house at four o'clock like it was

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Speaker 12: a curfew.

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Speaker 1: It wasn't apparent. It was like eighty eighty one these two.

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Speaker 3: Years, yeah, because he had numbers.

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Speaker 10: Nine was when we first started this year, and then

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Speaker 10: eighty was the year was the second year.

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Speaker 11: That's when everything got like just what we're doing.

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Speaker 12: That's when I starteding eighty one. When it was it

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00:19:00,080 --> 00:19:03,280
Speaker 12: was like I wasn't eve tripping about it. Then by

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Speaker 12: that point point it was like like it was it

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00:19:05,400 --> 00:19:07,000
Speaker 12: was more like yeah, we trained, we was trained in

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00:19:07,119 --> 00:19:09,679
Speaker 12: or whatever like. But but I do remember saying like

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Speaker 12: like damn, we don't get the freaking.

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Speaker 1: That they used to be.

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Speaker 12: Like Halloween used to be cool because everybody show up

344
00:19:15,560 --> 00:19:17,439
Speaker 12: at school. Didn't we have even a little Halloween. Then

345
00:19:17,440 --> 00:19:19,680
Speaker 12: they started doing a little carnivals at the school. The community

346
00:19:19,760 --> 00:19:22,280
Speaker 12: kicked in. I got to say that, like and watching

347
00:19:22,280 --> 00:19:24,760
Speaker 12: the special that HBO did or whatever, like it was

348
00:19:24,880 --> 00:19:27,480
Speaker 12: most definitely informative. It most definitely enlightened me on a

349
00:19:27,480 --> 00:19:29,760
Speaker 12: lot of things that I thought was going on, and

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Speaker 12: it kind of like brought validity to what I knew

351
00:19:32,600 --> 00:19:34,680
Speaker 12: what was happening. But I knew it wasn't just that

352
00:19:34,960 --> 00:19:39,720
Speaker 12: because a culture of because we Atlanta's a melting pot,

353
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Speaker 12: you know what I'm saying, Like, you know you got

354
00:19:41,200 --> 00:19:44,399
Speaker 12: San Francisco, but Atlanta's We had gay laws put in

355
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Speaker 12: place when I was younger as well because of because

356
00:19:47,280 --> 00:19:49,199
Speaker 12: of disrespect, you know what I'm saying, Like somebody just

357
00:19:49,240 --> 00:19:52,200
Speaker 12: wanted to be you know, because of racism, because we

358
00:19:52,280 --> 00:19:54,879
Speaker 12: founded racism in a great way that we was on

359
00:19:54,960 --> 00:19:57,760
Speaker 12: top of that before it became a worldwide thing or

360
00:19:57,760 --> 00:20:00,720
Speaker 12: whatever as far as dealing with you know, different people

361
00:20:00,760 --> 00:20:01,840
Speaker 12: of because.

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Speaker 8: That explains why Atlanta is such a mecca for that

363
00:20:03,560 --> 00:20:04,440
Speaker 8: community as well.

364
00:20:04,960 --> 00:20:11,320
Speaker 3: America's democracy lies in the hands of Atlanta or Georgia.

365
00:20:11,560 --> 00:20:12,840
Speaker 1: Period. Yeah.

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Speaker 12: Absolutely, so with all those things are because of the

367
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Speaker 12: Wayne Williams.

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Speaker 1: My dad and me like that's the number one conspiracy theory.

369
00:20:20,520 --> 00:20:23,600
Speaker 5: Yes, I'm so, you said, Wayne Williams, because I still

370
00:20:23,640 --> 00:20:27,160
Speaker 5: say in my mind Walter Clyde Orange of the Commodore.

371
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Speaker 1: Had those classes that whatever.

372
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Speaker 3: But I never, I never truly felt that it was him,

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Speaker 3: especially with what's happening now so unhinged.

374
00:20:43,680 --> 00:20:45,879
Speaker 1: I always felt like it was something else and some

375
00:20:46,000 --> 00:20:46,440
Speaker 1: other people.

376
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Speaker 12: Yeah, I think it was a collective. It was a collective.

377
00:20:49,680 --> 00:20:51,960
Speaker 12: I think people took advantage of about it. It was

378
00:20:51,960 --> 00:20:55,200
Speaker 12: like it was happening or whatever. And that's why the things,

379
00:20:55,400 --> 00:20:57,119
Speaker 12: the numbers, yes, and the things that I'm telling you,

380
00:20:57,119 --> 00:20:59,040
Speaker 12: all the stuff that was reinforced. It's the reason why

381
00:20:59,040 --> 00:21:00,960
Speaker 12: we didn't lose more because it was thirty two kids.

382
00:21:01,040 --> 00:21:02,640
Speaker 12: It was thirty two, it was like thirty one thirty

383
00:21:02,680 --> 00:21:04,240
Speaker 12: two kids, it was like, I mean.

384
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Speaker 11: Well, technically it was more than that.

385
00:21:06,840 --> 00:21:12,679
Speaker 10: It has never stopped the word yes, I mean I

386
00:21:12,680 --> 00:21:14,680
Speaker 10: mean Atlanta's the center for sex trafficking.

387
00:21:15,040 --> 00:21:18,080
Speaker 11: Yeah, yep, so it technically has never stopped.

388
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Speaker 10: You just don't hear about it being associated with Wayne

389
00:21:20,920 --> 00:21:27,000
Speaker 10: Williams but abducted missing, that hasn't changed at all.

390
00:21:27,880 --> 00:21:28,080
Speaker 1: Yeah.

391
00:21:28,280 --> 00:21:29,919
Speaker 12: Yeah, but now though, with the fact that you have

392
00:21:30,760 --> 00:21:33,520
Speaker 12: people illegal, Like when I was younger, Beefer Highway, it

393
00:21:33,680 --> 00:21:35,920
Speaker 12: was like it was you know, it was Spanish a

394
00:21:35,920 --> 00:21:38,160
Speaker 12: little bit. But now like we have completely Atlanta. It's

395
00:21:38,200 --> 00:21:42,040
Speaker 12: not just a mecca for black people. It's Latinos, it's Asians.

396
00:21:42,240 --> 00:21:44,639
Speaker 12: We have everybody here working to That's going to say

397
00:21:44,680 --> 00:21:48,200
Speaker 12: it's working together, but but been work been living together

398
00:21:48,240 --> 00:21:50,040
Speaker 12: for long enough to when now they know each other,

399
00:21:50,400 --> 00:21:51,200
Speaker 12: everybody cool.

400
00:21:51,640 --> 00:21:55,560
Speaker 8: It's been a good decade for your your like divers diversifying, gentrification.

401
00:21:55,880 --> 00:21:58,800
Speaker 10: But back to your question, your question, you said something

402
00:21:58,840 --> 00:22:02,439
Speaker 10: about it the h did that affect you in No,

403
00:22:02,760 --> 00:22:09,520
Speaker 10: it's the neglect that made Atlanta artists perfect their crafts

404
00:22:09,960 --> 00:22:14,480
Speaker 10: and talent shows, high school events. You feel me because

405
00:22:14,480 --> 00:22:17,679
Speaker 10: there was no outlet, So you had, yeah, you had

406
00:22:17,680 --> 00:22:22,119
Speaker 10: a bunch of high talent competing against itself without any

407
00:22:22,240 --> 00:22:25,280
Speaker 10: kind of visualization in terms of everybody else.

408
00:22:25,440 --> 00:22:32,600
Speaker 3: So that said, uh, what is your version of Okay,

409
00:22:32,640 --> 00:22:34,760
Speaker 3: Like I know the history of the Bronx and the

410
00:22:34,840 --> 00:22:40,280
Speaker 3: Cold Crust Brothers, and so what is Atlanta's first generation.

411
00:22:41,440 --> 00:22:45,840
Speaker 1: Hip hop history? Rahim the dream?

412
00:22:45,960 --> 00:22:47,879
Speaker 12: Yes, but I'm all independent, but I'm gonna say this though,

413
00:22:47,880 --> 00:22:50,960
Speaker 12: I'm gonna say this, So SOS band or like what's

414
00:22:51,000 --> 00:22:53,840
Speaker 12: the group Brick? How you to my brick? Atlanta had

415
00:22:53,840 --> 00:22:56,760
Speaker 12: a band culture in the seventies. Yes, came toon roles.

416
00:22:57,200 --> 00:22:59,680
Speaker 12: So when so when the drum machined start kicking in,

417
00:22:59,800 --> 00:23:01,760
Speaker 12: that's they might have turned down the print song if

418
00:23:01,760 --> 00:23:04,120
Speaker 12: he had drum drum beats in it because they were

419
00:23:04,160 --> 00:23:06,439
Speaker 12: such a live just like how the Roots was early on,

420
00:23:06,560 --> 00:23:08,639
Speaker 12: Like it's such a live thing. That's what made the

421
00:23:08,680 --> 00:23:12,840
Speaker 12: package that they so like with that Brick had a

422
00:23:12,840 --> 00:23:15,560
Speaker 12: studio twenty five sixty, A lot of studios that was

423
00:23:15,600 --> 00:23:18,240
Speaker 12: in Atlanta, Like when that j pace they used was

424
00:23:18,280 --> 00:23:21,800
Speaker 12: either a church or an old musician from a band

425
00:23:22,080 --> 00:23:24,679
Speaker 12: group from Atlanta who left something there. So that was

426
00:23:24,720 --> 00:23:27,640
Speaker 12: like for me, like to me, that's where the musicianship

427
00:23:27,720 --> 00:23:29,600
Speaker 12: started at. But as far as when the drum machines,

428
00:23:29,640 --> 00:23:31,639
Speaker 12: like Ray was saying, the talent shows, it was almost

429
00:23:31,640 --> 00:23:34,240
Speaker 12: like we couldn't necessarily do music. We didn't have the

430
00:23:34,280 --> 00:23:37,320
Speaker 12: culture that crushed brewed like or whatever, like like we

431
00:23:37,359 --> 00:23:39,720
Speaker 12: had Shaddy, you got right here in the dream. You

432
00:23:39,840 --> 00:23:42,879
Speaker 12: got these groups, these artists that are coming out, but

433
00:23:42,920 --> 00:23:45,560
Speaker 12: really they are somewhat emulating what we love about New

434
00:23:45,640 --> 00:23:49,840
Speaker 12: York but doing it down South style. So but the

435
00:23:49,880 --> 00:23:52,679
Speaker 12: fact that like the DJ and the fact that we

436
00:23:52,720 --> 00:23:54,679
Speaker 12: took on the other aspects of it, it wasn't it

437
00:23:54,720 --> 00:23:57,320
Speaker 12: was like our movement was why I guess we got culture.

438
00:23:57,359 --> 00:23:59,480
Speaker 12: It's like we was into the style, like like you

439
00:23:59,520 --> 00:24:03,080
Speaker 12: would see people dressed like the fat laces shoe lakes.

440
00:24:03,119 --> 00:24:04,600
Speaker 1: I mean, inde is the shoelaces.

441
00:24:05,480 --> 00:24:10,040
Speaker 12: We literally mimicked a New York culture and the Miami culture,

442
00:24:10,080 --> 00:24:13,879
Speaker 12: like from gold teeth to the to the big ear rings.

443
00:24:14,040 --> 00:24:15,639
Speaker 12: It's really what you see and what you want to

444
00:24:15,680 --> 00:24:19,080
Speaker 12: see or whatever. So like for me, our most original

445
00:24:19,119 --> 00:24:22,400
Speaker 12: stuff was us being having an original style of dance

446
00:24:22,840 --> 00:24:25,720
Speaker 12: or a dress, coming up with our crazy hair when

447
00:24:25,720 --> 00:24:28,560
Speaker 12: we was wearing perms and binga ways it was really country.

448
00:24:28,600 --> 00:24:30,000
Speaker 1: It turned up like like.

449
00:24:30,080 --> 00:24:34,160
Speaker 7: We was doing that too year, not the dudes, but yeah,

450
00:24:34,160 --> 00:24:36,760
Speaker 7: the girls were definitely doing all the dues.

451
00:24:38,560 --> 00:24:48,600
Speaker 14: It was the dual player players dry fast.

452
00:24:49,040 --> 00:24:49,679
Speaker 8: It sounds like d.

453
00:24:53,800 --> 00:24:58,680
Speaker 1: Shouts out. They definitely like also credit.

454
00:24:59,359 --> 00:25:01,040
Speaker 3: Jermaine said that, you know, he had to go to

455
00:25:01,119 --> 00:25:03,200
Speaker 3: New York part of it and live in New York

456
00:25:03,280 --> 00:25:04,919
Speaker 3: and kind of bring it back. And even with like

457
00:25:05,480 --> 00:25:08,880
Speaker 3: Chris crossed his first record, like half those breakbeats came

458
00:25:08,920 --> 00:25:15,080
Speaker 3: from literally from like you know what this but whenever,

459
00:25:15,640 --> 00:25:18,240
Speaker 3: like mugs would leave the studio after work on Cyprus

460
00:25:18,320 --> 00:25:20,200
Speaker 3: Hill and like the sounds would still be in there,

461
00:25:20,200 --> 00:25:20,560
Speaker 3: which is.

462
00:25:20,560 --> 00:25:24,960
Speaker 1: Why like, uh, the midnight theme loop is in jump

463
00:25:25,200 --> 00:25:27,080
Speaker 1: like you too much?

464
00:25:31,640 --> 00:25:33,200
Speaker 12: Knowing that he's not telling too much at all, because

465
00:25:33,240 --> 00:25:37,320
Speaker 12: that's that really makes because the most sense because we three,

466
00:25:37,440 --> 00:25:39,640
Speaker 12: it's three of us, so it's not just Ray, it's

467
00:25:39,640 --> 00:25:41,919
Speaker 12: not just me, and it's it's like we all have

468
00:25:42,160 --> 00:25:44,320
Speaker 12: a certain amount of history. And the way we did

469
00:25:44,400 --> 00:25:47,480
Speaker 12: because we did like we're gonna spend as much time

470
00:25:47,480 --> 00:25:49,240
Speaker 12: as you won't talk. We went into New York. We

471
00:25:49,280 --> 00:25:51,359
Speaker 12: flew me and raced it, fly to New York, like

472
00:25:51,400 --> 00:25:53,240
Speaker 12: when we got bigger royalty.

473
00:25:53,000 --> 00:25:53,600
Speaker 1: Checks or something.

474
00:25:54,119 --> 00:25:56,160
Speaker 12: Instead of going to the mall, instead of going about

475
00:25:56,240 --> 00:25:58,400
Speaker 12: all the new designer stuff, We'll go to New York,

476
00:25:58,400 --> 00:26:01,320
Speaker 12: get hotel rooms the street he raised, pizza, and go

477
00:26:01,400 --> 00:26:04,640
Speaker 12: to all the Jewish little stores and buy up everybody,

478
00:26:04,640 --> 00:26:05,080
Speaker 12: all of them.

479
00:26:05,280 --> 00:26:05,640
Speaker 1: We got.

480
00:26:05,720 --> 00:26:07,919
Speaker 12: We got some, what he said to day, I got some,

481
00:26:08,320 --> 00:26:11,679
Speaker 12: not Pete Rock, but he said he said QI it was,

482
00:26:11,800 --> 00:26:13,640
Speaker 12: but it was more than Q two whoever. He said, Yeah,

483
00:26:13,640 --> 00:26:17,520
Speaker 12: I was holding these and I was professor president.

484
00:26:17,840 --> 00:26:21,199
Speaker 1: You would go to record where we found him. See.

485
00:26:21,560 --> 00:26:26,359
Speaker 10: But our discovery of New York as a source right

486
00:26:26,600 --> 00:26:31,040
Speaker 10: was only because we had like Pilford, Atlanta, Yeah, and

487
00:26:31,240 --> 00:26:33,600
Speaker 10: the South, because you know, everybody got a record collection.

488
00:26:33,640 --> 00:26:35,280
Speaker 3: I was about to say the best records I've ever

489
00:26:35,320 --> 00:26:37,760
Speaker 3: found were below yeh line.

490
00:26:37,760 --> 00:26:38,240
Speaker 1: Absolutely.

491
00:26:38,280 --> 00:26:41,200
Speaker 12: But when we first started from my forty five, I'm

492
00:26:41,200 --> 00:26:44,320
Speaker 12: talking about Carmine and Bleek. About this dude he went

493
00:26:44,359 --> 00:26:47,080
Speaker 12: in the back. He already identified where the breaks came

494
00:26:47,119 --> 00:26:49,280
Speaker 12: in at. He had already because all he does was

495
00:26:49,640 --> 00:26:52,439
Speaker 12: the old man sitting least at those the spots he

496
00:26:52,440 --> 00:26:52,879
Speaker 12: would hit it.

497
00:26:53,080 --> 00:26:54,200
Speaker 1: He's like, yeah, so.

498
00:26:54,160 --> 00:26:55,840
Speaker 12: He didn't know kind of money we had. He was like, yeah,

499
00:26:56,119 --> 00:26:58,120
Speaker 12: you know, I charged like forty or fifty for these.

500
00:26:59,680 --> 00:27:04,359
Speaker 12: I was like, cool, how many you got? Were dropping

501
00:27:04,560 --> 00:27:07,359
Speaker 12: bags thousands of dollars, And each time we got a break,

502
00:27:07,359 --> 00:27:10,119
Speaker 12: we like, that's an original One thing about one thing

503
00:27:10,160 --> 00:27:14,280
Speaker 12: about hip hop, originality is the most important thing because

504
00:27:14,280 --> 00:27:18,159
Speaker 12: it inspires and motivates. Yeah, so if you come up

505
00:27:18,160 --> 00:27:19,720
Speaker 12: with something, even if you didn't do it the best,

506
00:27:20,400 --> 00:27:22,680
Speaker 12: you just presented it to the world. So somebody else

507
00:27:22,720 --> 00:27:24,800
Speaker 12: is gonna rip it another day or whatever. Right in

508
00:27:24,840 --> 00:27:27,399
Speaker 12: these first little eighteen months. They can't come behind you

509
00:27:27,440 --> 00:27:30,560
Speaker 12: with it. It's got to be your lane only right now.

510
00:27:30,800 --> 00:27:32,800
Speaker 12: So as many breaks as we had, it was up

511
00:27:32,840 --> 00:27:36,280
Speaker 12: to just making records that coincided or whatever. But our

512
00:27:36,680 --> 00:27:38,879
Speaker 12: that was that was our lifeline. Once we made it

513
00:27:38,920 --> 00:27:41,200
Speaker 12: into the music industry, we felt like as long as

514
00:27:41,200 --> 00:27:43,879
Speaker 12: we were digging, we were reading books and we were learning,

515
00:27:44,040 --> 00:27:46,359
Speaker 12: and that's what New York had forgot for a little while.

516
00:27:46,480 --> 00:27:49,520
Speaker 12: They got caught up into they've done out, and that's

517
00:27:49,520 --> 00:27:51,800
Speaker 12: why the South got in there because we didn't.

518
00:27:51,960 --> 00:27:53,840
Speaker 1: It looked like they let us in with master p

519
00:27:54,040 --> 00:27:55,760
Speaker 1: and cash money.

520
00:27:55,960 --> 00:27:57,840
Speaker 12: It was like, that's because they fucked up and then

521
00:27:57,880 --> 00:28:01,440
Speaker 12: fucked with us early on when we would we were

522
00:28:01,440 --> 00:28:04,120
Speaker 12: a brother. That's why it's called the East Coast because

523
00:28:04,119 --> 00:28:05,399
Speaker 12: Atlanta's on the East Coast.

524
00:28:05,640 --> 00:28:08,040
Speaker 1: It's a DC's on the East Coast.

525
00:28:08,160 --> 00:28:11,000
Speaker 12: It's like all of all these places are reminiscent of

526
00:28:11,320 --> 00:28:14,119
Speaker 12: hip hop, even though we give all the credit to Bronx,

527
00:28:14,200 --> 00:28:17,240
Speaker 12: give all the credit to New York Brooklyn, because it's

528
00:28:17,240 --> 00:28:19,960
Speaker 12: deservingly so. Like like we always looked at New York

529
00:28:19,960 --> 00:28:22,359
Speaker 12: as the father and the Los Angeles as the mother,

530
00:28:22,560 --> 00:28:24,280
Speaker 12: and we were the child that came from. And that's

531
00:28:24,320 --> 00:28:26,920
Speaker 12: why he said from neglect, that's where Atlanta came from.

532
00:28:27,080 --> 00:28:30,200
Speaker 12: The fact that that that neglect was enough to try

533
00:28:30,200 --> 00:28:31,199
Speaker 12: to figure it out on your own.

534
00:28:31,240 --> 00:28:32,720
Speaker 4: Now coming up in the South, like we I tell

535
00:28:32,760 --> 00:28:35,040
Speaker 4: you all the time, like we had to study everything.

536
00:28:35,400 --> 00:28:37,280
Speaker 4: So it's like, you know, it wasn't just if you

537
00:28:37,320 --> 00:28:39,400
Speaker 4: came up in New York. You might have knew what

538
00:28:39,480 --> 00:28:41,400
Speaker 4: was going on if you lived in Brooklyn, or you

539
00:28:41,480 --> 00:28:43,400
Speaker 4: might have knew who the hot dude was over here.

540
00:28:43,600 --> 00:28:46,560
Speaker 4: But in the South, we had to know everything. You

541
00:28:46,680 --> 00:28:48,760
Speaker 4: had to know all right, this is New York, this

542
00:28:48,840 --> 00:28:52,120
Speaker 4: is the Midwest, this is this is Texas, this is Houston,

543
00:28:52,200 --> 00:28:54,160
Speaker 4: Like you know what I mean, and it just made

544
00:28:54,200 --> 00:28:57,160
Speaker 4: it always made for me. It just gave me a

545
00:28:57,160 --> 00:28:59,160
Speaker 4: grade of vocabulary. You know what I'm saying, and you

546
00:28:59,160 --> 00:29:01,720
Speaker 4: know what I mean, just knowing everything because you had to.

547
00:29:01,600 --> 00:29:09,240
Speaker 1: Know it well. First of all, how did you three meet?

548
00:29:09,480 --> 00:29:13,320
Speaker 1: Mm hmmm. We met very very sea. Music. Music is

549
00:29:13,360 --> 00:29:15,840
Speaker 1: why we met. Music is how we met.

550
00:29:16,160 --> 00:29:18,240
Speaker 5: There was this girl I was dating at the time,

551
00:29:18,920 --> 00:29:23,200
Speaker 5: he named Cookie. She knew Rico, she knew T Bars

552
00:29:23,280 --> 00:29:26,240
Speaker 5: very well. Okay, so and she went T Bars then

553
00:29:26,280 --> 00:29:29,040
Speaker 5: she was this was t So. I was in the

554
00:29:29,120 --> 00:29:31,120
Speaker 5: dance group in all of high schools started that was

555
00:29:31,200 --> 00:29:32,840
Speaker 5: kind of like the bomb we used to go around

556
00:29:32,920 --> 00:29:37,760
Speaker 5: girls just scream all the stuff. So facts facts. So

557
00:29:38,400 --> 00:29:41,000
Speaker 5: Cookie told me. Now I don't know how true this is.

558
00:29:41,040 --> 00:29:41,160
Speaker 1: Well.

559
00:29:41,240 --> 00:29:46,080
Speaker 5: Cookie told me that wanted wanted me to meet Rico,

560
00:29:46,080 --> 00:29:48,400
Speaker 5: and Rico wanted to meet me. So I was like, cool,

561
00:29:48,840 --> 00:29:51,000
Speaker 5: So we go. Me and Cookie go over with Tion's

562
00:29:51,000 --> 00:29:53,720
Speaker 5: house which is in East Point, walk up to his.

563
00:29:53,760 --> 00:29:58,120
Speaker 1: Job, tea stuff outcasts came in and.

564
00:29:58,080 --> 00:30:00,320
Speaker 5: Then I walk in. You know what I'm saying, and Cook,

565
00:30:00,320 --> 00:30:03,479
Speaker 5: You're like, yo, Rico, this this pant he was like.

566
00:30:04,520 --> 00:30:15,440
Speaker 5: So it's like it was it was a dance that

567
00:30:15,520 --> 00:30:18,160
Speaker 5: we used to do, like stuff the time show and

568
00:30:18,160 --> 00:30:19,960
Speaker 5: when you ended, you hit your legal roof.

569
00:30:20,480 --> 00:30:23,920
Speaker 1: All right, So the whole time he told me he

570
00:30:23,960 --> 00:30:26,920
Speaker 1: wanted me. When I meet him, he just the ship up.

571
00:30:29,680 --> 00:30:34,040
Speaker 1: He tried to feish you. But I started laughing because

572
00:30:34,080 --> 00:30:35,320
Speaker 1: I was like it was funny at me. I was

573
00:30:35,360 --> 00:30:36,440
Speaker 1: like crazy.

574
00:30:37,240 --> 00:30:40,480
Speaker 5: But anyway, so you know, we meet her whatever.

575
00:30:41,520 --> 00:30:42,600
Speaker 1: I'm gonna tell this other part.

576
00:30:43,080 --> 00:30:45,320
Speaker 5: So we meet her whatever, and uh, I'm like, yeah,

577
00:30:45,360 --> 00:30:47,320
Speaker 5: we will, you know, he said we'll hang out some

578
00:30:47,400 --> 00:30:49,640
Speaker 5: day whatever, blah blah blah. So I walked back down

579
00:30:49,840 --> 00:30:53,600
Speaker 5: with my girl Cookie and which they started fussing.

580
00:30:54,480 --> 00:30:57,080
Speaker 1: M hmm. We get around the corner there in all

581
00:30:57,120 --> 00:30:58,520
Speaker 1: out brawl in the middle of the street.

582
00:30:59,240 --> 00:31:03,080
Speaker 4: Wow, who winning. I'm sorry that like this like this

583
00:31:05,680 --> 00:31:07,720
Speaker 4: she might have been a little yeah, but that's a

584
00:31:07,720 --> 00:31:14,880
Speaker 4: little fights then because she threw the first took off

585
00:31:15,760 --> 00:31:17,920
Speaker 4: and Cookie went behind Cookie with Hood and ship.

586
00:31:22,440 --> 00:31:25,000
Speaker 5: They get to fight. I'm in the middle of trying

587
00:31:25,000 --> 00:31:28,640
Speaker 5: to break it up, calls Ryan by. So they fuss

588
00:31:28,680 --> 00:31:30,360
Speaker 5: at each other and walked their separate ways and I'm

589
00:31:30,400 --> 00:31:31,160
Speaker 5: just standing there.

590
00:31:32,680 --> 00:31:34,360
Speaker 1: I'm like, okay, so.

591
00:31:35,800 --> 00:31:40,800
Speaker 12: Walk They just got into the fight b and just

592
00:31:40,880 --> 00:31:42,920
Speaker 12: and just to go back when he is a.

593
00:31:42,920 --> 00:31:45,640
Speaker 1: Crazy way to meet your future straight up.

594
00:31:45,720 --> 00:31:48,000
Speaker 12: Not but because like he said, I already knew who

595
00:31:48,040 --> 00:31:50,520
Speaker 12: he was, because he to be honest, he was a legend,

596
00:31:50,560 --> 00:31:52,960
Speaker 12: like as far as the like didn't look like it,

597
00:31:53,400 --> 00:31:55,200
Speaker 12: as far as as far as because he had a

598
00:31:55,200 --> 00:31:56,600
Speaker 12: little had a little smurf I mean.

599
00:31:58,280 --> 00:31:58,720
Speaker 1: Or whatever.

600
00:31:59,520 --> 00:32:01,760
Speaker 12: He was kind of like not chubby, but just the

601
00:32:01,760 --> 00:32:05,560
Speaker 12: way he was. But the boy, the boy could move.

602
00:32:05,720 --> 00:32:07,920
Speaker 12: I say, the boy could move. The boy was in

603
00:32:08,120 --> 00:32:11,640
Speaker 12: the number one best group in Atlanta at that time

604
00:32:11,960 --> 00:32:14,120
Speaker 12: or whatever, and I had just took was taking dance

605
00:32:14,200 --> 00:32:17,400
Speaker 12: lessons from a member of that group, somebody who was

606
00:32:17,440 --> 00:32:20,360
Speaker 12: in that group. But they put him out. They put

607
00:32:20,480 --> 00:32:22,960
Speaker 12: him out because he was no one doing too much.

608
00:32:23,040 --> 00:32:25,800
Speaker 12: But he talked. He taught me how to dance. But

609
00:32:25,880 --> 00:32:27,880
Speaker 12: I knew I was never gonna be them. So when

610
00:32:27,880 --> 00:32:29,280
Speaker 12: I saw him that day, it was more.

611
00:32:29,280 --> 00:32:30,360
Speaker 1: Like so like.

612
00:32:35,400 --> 00:32:39,040
Speaker 12: But he went from that day, he like he said,

613
00:32:39,080 --> 00:32:41,760
Speaker 12: he laughed or whatever, but he did see the fact

614
00:32:41,760 --> 00:32:43,720
Speaker 12: that I had a job and I was kind of

615
00:32:44,040 --> 00:32:46,560
Speaker 12: I was doing stuff. So so yeah, so he was

616
00:32:46,600 --> 00:32:50,080
Speaker 12: like he was tired of dancing. I had just learned

617
00:32:50,080 --> 00:32:52,920
Speaker 12: how he was like wow, two two three year legend.

618
00:32:52,920 --> 00:32:55,480
Speaker 12: Already he was ready for music. Then he was already

619
00:32:55,480 --> 00:32:57,920
Speaker 12: starting to do them, like four tracking demos, and I'm

620
00:32:57,960 --> 00:32:58,600
Speaker 12: just looking.

621
00:32:58,360 --> 00:33:04,160
Speaker 1: Like yeah, drum.

622
00:33:04,760 --> 00:33:07,600
Speaker 12: So when we talk about your first experience with music,

623
00:33:07,760 --> 00:33:10,360
Speaker 12: never never thought this would happen, Never thought I would

624
00:33:10,360 --> 00:33:12,800
Speaker 12: meet somebody that actually made music.

625
00:33:13,320 --> 00:33:14,120
Speaker 1: He was showing me.

626
00:33:14,240 --> 00:33:16,720
Speaker 12: So now I'm getting money, I'm doing stuff and I'm

627
00:33:16,720 --> 00:33:19,080
Speaker 12: not selling dope like I really got a job. Just

628
00:33:19,120 --> 00:33:21,040
Speaker 12: want to stay fresh, just trying to look like I'm

629
00:33:21,080 --> 00:33:23,080
Speaker 12: just don't live in these apartments right here.

630
00:33:23,240 --> 00:33:24,960
Speaker 1: You know what I'm saying. I got a car. You

631
00:33:25,000 --> 00:33:25,680
Speaker 1: know what I'm saying, I'm living.

632
00:33:25,880 --> 00:33:28,680
Speaker 12: I'm saying I'm living like I live in bucket, but

633
00:33:28,760 --> 00:33:30,840
Speaker 12: I'm living in this point like off helping and the love,

634
00:33:30,960 --> 00:33:31,520
Speaker 12: you know what I'm saying.

635
00:33:31,560 --> 00:33:34,480
Speaker 1: So yeah, but so. But he was the one who.

636
00:33:34,400 --> 00:33:38,320
Speaker 12: Was like, yo, this is just local dancing, this is

637
00:33:38,400 --> 00:33:40,720
Speaker 12: the this is local. And he the one who wanted

638
00:33:40,720 --> 00:33:42,120
Speaker 12: to start the group. I want to be an artist,

639
00:33:42,160 --> 00:33:44,520
Speaker 12: and I just I believed in that. I love the

640
00:33:44,520 --> 00:33:46,200
Speaker 12: fact that he believed in me or nothing. I felt

641
00:33:46,240 --> 00:33:47,480
Speaker 12: like I could sell it. I felt like I could

642
00:33:47,520 --> 00:33:49,760
Speaker 12: do it. So I started learning about music. I started

643
00:33:49,800 --> 00:33:53,280
Speaker 12: like reading whatever you could learn the little especially Vince whatever,

644
00:33:53,360 --> 00:33:55,640
Speaker 12: Jack the rapper, Whatever's gonna come to town. I'm trying to

645
00:33:55,680 --> 00:33:58,680
Speaker 12: do it right. Then he bumped into a Ray at

646
00:33:58,760 --> 00:34:01,280
Speaker 12: the studio at Joe Car Jeane Car.

647
00:34:03,880 --> 00:34:06,520
Speaker 8: From they live. They moved here, they moved him. She

648
00:34:06,600 --> 00:34:07,320
Speaker 8: lived in Philly now.

649
00:34:07,360 --> 00:34:10,799
Speaker 1: But yeah, yeah, Joe Car, Damn man, the things you learned.

650
00:34:10,800 --> 00:34:12,759
Speaker 8: That's my family because we just.

651
00:34:16,920 --> 00:34:17,760
Speaker 1: I'm a student.

652
00:34:18,200 --> 00:34:19,759
Speaker 8: We ain't never seen you over there, you know, because

653
00:34:19,760 --> 00:34:22,120
Speaker 8: I don't live here. I graduated from Cornership.

654
00:34:22,160 --> 00:34:23,480
Speaker 1: Come back where years did you go to Clerk?

655
00:34:23,840 --> 00:34:26,760
Speaker 8: Uh?

656
00:34:26,920 --> 00:34:27,640
Speaker 1: Were years old?

657
00:34:27,680 --> 00:34:29,759
Speaker 8: Ninety? When I was a I went to ninety six

658
00:34:29,840 --> 00:34:30,480
Speaker 8: to ninety.

659
00:34:30,320 --> 00:34:35,560
Speaker 3: Nine Jugie House at over here.

660
00:34:35,760 --> 00:34:38,399
Speaker 5: Yeah, but Joe, Joe had a little studio, a nice

661
00:34:38,440 --> 00:34:40,040
Speaker 5: little bils little studio in his house.

662
00:34:40,120 --> 00:34:42,000
Speaker 1: Dog and he used to, let you know, me and

663
00:34:42,080 --> 00:34:44,520
Speaker 1: Rico go there and work and stuff. Now we used

664
00:34:44,520 --> 00:34:52,160
Speaker 1: to pay for it. Of course it went on all right.

665
00:34:52,239 --> 00:34:56,399
Speaker 5: So one day I'm in the working and Joe tells me, like, yo,

666
00:34:56,440 --> 00:34:57,280
Speaker 5: I gotta run somewhere.

667
00:34:57,360 --> 00:34:58,239
Speaker 1: You're cool, you can stay here.

668
00:34:58,280 --> 00:35:01,080
Speaker 5: She's he told me, said, Yo, my boy, Ray gonna

669
00:35:01,080 --> 00:35:03,239
Speaker 5: come through here and grab something right quick. He won't

670
00:35:03,239 --> 00:35:05,080
Speaker 5: be nothing but a minute, but you know you'll meet

671
00:35:05,120 --> 00:35:07,520
Speaker 5: him whatever. I said, Okay, cool. So I'm in there.

672
00:35:08,320 --> 00:35:10,040
Speaker 5: I'm confused because I don't know what the hell I'm doing.

673
00:35:10,320 --> 00:35:12,439
Speaker 5: All of a sudden, he the door closed. Ray comes

674
00:35:12,480 --> 00:35:14,319
Speaker 5: around the corner. He doesn't talk to me at all.

675
00:35:14,800 --> 00:35:16,360
Speaker 5: All he does is grab his head.

676
00:35:18,440 --> 00:35:18,880
Speaker 1: Okay.

677
00:35:19,080 --> 00:35:21,720
Speaker 5: So he goes in there and he gets to the keyboard,

678
00:35:21,760 --> 00:35:25,440
Speaker 5: loads his disc, do all this boom, and when he

679
00:35:25,520 --> 00:35:28,600
Speaker 5: hit it, my mouth dropped because I'm like, how the

680
00:35:28,640 --> 00:35:30,920
Speaker 5: fuck you just do? Wait a minute, this just sounded

681
00:35:30,960 --> 00:35:34,000
Speaker 5: like public Enemy, Like, Bro, how you make this summer?

682
00:35:34,080 --> 00:35:34,120
Speaker 7: Go?

683
00:35:34,200 --> 00:35:36,960
Speaker 1: With that sampling and all listening. He look at me

684
00:35:37,880 --> 00:35:43,959
Speaker 1: and I'm looking so Ray, you're the quiet I'm looking.

685
00:35:45,640 --> 00:35:50,440
Speaker 1: I'm amaze automatic. As soon as I sorry, I said, reed, Bro,

686
00:35:50,880 --> 00:35:54,000
Speaker 1: I don't mess some nigga. Ain't Ray. We got to

687
00:35:54,120 --> 00:35:55,759
Speaker 1: have him, I said, he has to be a part

688
00:35:55,800 --> 00:35:55,960
Speaker 1: of this.

689
00:35:56,040 --> 00:35:59,399
Speaker 5: Bro, you don't understand he could teach like he has

690
00:35:59,440 --> 00:36:02,320
Speaker 5: to be a part cause the way Ray taught me simples.

691
00:36:02,800 --> 00:36:06,440
Speaker 5: I came from the funk era, where I thought I

692
00:36:06,600 --> 00:36:10,600
Speaker 5: would have God thought everything right. So when I first

693
00:36:10,640 --> 00:36:13,920
Speaker 5: started hearing like, you know, a rapping everything I thought

694
00:36:14,280 --> 00:36:18,719
Speaker 5: in my mind with some stuff. It was original. He

695
00:36:18,800 --> 00:36:20,640
Speaker 5: came in there with a bag by this big with

696
00:36:20,760 --> 00:36:26,239
Speaker 5: nothing but tapes. M Ramsey, Lewis, James Brown, Blackbirdy, just

697
00:36:26,280 --> 00:36:29,120
Speaker 5: everybody and all the breaks just started playing stuff and

698
00:36:29,160 --> 00:36:31,400
Speaker 5: I'm like, wait a minute, that's what.

699
00:36:31,400 --> 00:36:32,560
Speaker 1: Wait a minute, what do you get that? He's like,

700
00:36:33,920 --> 00:36:37,560
Speaker 1: you know, Ray, it ain't.

701
00:36:38,560 --> 00:36:40,879
Speaker 10: I've been recording every time I go over to somebody house,

702
00:36:40,960 --> 00:36:42,279
Speaker 10: you know what I mean? Because I was playing with

703
00:36:42,320 --> 00:36:45,000
Speaker 10: these records when I was little. I love music, so

704
00:36:45,080 --> 00:36:48,000
Speaker 10: I record, and I was a DJ way early, like

705
00:36:48,080 --> 00:36:49,879
Speaker 10: you know what I mean running seeing him first came out,

706
00:36:49,920 --> 00:36:53,160
Speaker 10: I was one of my homeboys taught me how to DJ,

707
00:36:53,360 --> 00:36:56,360
Speaker 10: so I was DJing back spinning, you know, uh sucker

708
00:36:56,520 --> 00:37:00,919
Speaker 10: sucker mc so. Later on I found out that through

709
00:37:01,040 --> 00:37:03,680
Speaker 10: my DJ friends that a lot of the records.

710
00:37:03,760 --> 00:37:06,800
Speaker 11: That's when we first found this, uh the Breakbeat.

711
00:37:06,400 --> 00:37:09,880
Speaker 1: Collection, Ultimate Beats and Breaks, shout out the Breakbeat.

712
00:37:10,280 --> 00:37:10,480
Speaker 11: See.

713
00:37:10,520 --> 00:37:13,360
Speaker 10: I didn't know, just like Sleepy, I didn't know everything

714
00:37:13,440 --> 00:37:16,080
Speaker 10: was a sample. First, I thought that these guys incredible,

715
00:37:16,120 --> 00:37:17,200
Speaker 10: These guys are making this music.

716
00:37:17,280 --> 00:37:17,919
Speaker 11: D da da dah.

717
00:37:18,040 --> 00:37:21,279
Speaker 10: So I learned how to program based on listening to

718
00:37:21,320 --> 00:37:24,920
Speaker 10: shit and trying to reprogram on Boss drum Machines or

719
00:37:25,080 --> 00:37:27,640
Speaker 10: Leasia's drum Machines on nine on ninees.

720
00:37:27,280 --> 00:37:29,839
Speaker 11: On five h five, seven or seven, you name them.

721
00:37:29,920 --> 00:37:32,160
Speaker 11: I then did it. Then I started.

722
00:37:32,480 --> 00:37:38,840
Speaker 10: When I found the sample record, I said, oh, these motherfuckers. Yeah,

723
00:37:38,880 --> 00:37:41,719
Speaker 10: So this is what I didn't figure out. This is

724
00:37:41,719 --> 00:37:44,320
Speaker 10: what I didn't know. Did the compilation come out before

725
00:37:44,440 --> 00:37:46,880
Speaker 10: the records were hit or after?

726
00:37:47,280 --> 00:37:51,040
Speaker 11: Probably after, okay, because in my mind they came out before.

727
00:37:51,160 --> 00:37:52,960
Speaker 10: So I was like, oh, well, then I just need

728
00:37:53,000 --> 00:37:55,240
Speaker 10: to get the records before they motherfucker come out.

729
00:37:55,320 --> 00:37:58,319
Speaker 11: And do it first. So I started digging deep.

730
00:37:59,040 --> 00:38:01,319
Speaker 3: Wait, let me, let me just do a quick thirty

731
00:38:01,320 --> 00:38:04,960
Speaker 3: second tutorial. So basically, for those that two percent of

732
00:38:04,960 --> 00:38:08,239
Speaker 3: you that have been listening to us for six years

733
00:38:08,239 --> 00:38:10,839
Speaker 3: that don't know, so basically, you know, we always say

734
00:38:10,840 --> 00:38:15,719
Speaker 3: that in the in the folklore of break beadology that

735
00:38:15,960 --> 00:38:19,160
Speaker 3: basically African ben Bata was the collector, like Quhirk was

736
00:38:19,160 --> 00:38:22,640
Speaker 3: the system, Flash was the technique, and ben Bota was

737
00:38:22,680 --> 00:38:25,160
Speaker 3: the collector. And of course they were wiped the labels

738
00:38:25,200 --> 00:38:28,560
Speaker 3: away off the record, so you couldn't Sazam your way,

739
00:38:28,880 --> 00:38:29,600
Speaker 3: what's he spinning?

740
00:38:29,600 --> 00:38:30,280
Speaker 1: What's he spinning?

741
00:38:31,040 --> 00:38:36,440
Speaker 3: And eventually our homeboy break Be Lou decided to just

742
00:38:36,520 --> 00:38:39,800
Speaker 3: make a cheat sheet. You know, we could say the

743
00:38:39,840 --> 00:38:43,560
Speaker 3: Wikipedia of it, or we could say cliff notes of

744
00:38:43,760 --> 00:38:47,800
Speaker 3: all the essential breakbeas, like the basic four food groups

745
00:38:47,840 --> 00:38:50,920
Speaker 3: of the meat and potatoes of break beatology of what

746
00:38:50,960 --> 00:38:53,680
Speaker 3: they were spending in the seventies and the president. Yeah,

747
00:38:53,800 --> 00:38:57,279
Speaker 3: come nineteen eighty five, eighty six, when you're listening to

748
00:38:57,320 --> 00:39:01,200
Speaker 3: License to Ill and like early pre that that period

749
00:39:01,239 --> 00:39:03,919
Speaker 3: between like the Marley mal Rick Ruben period, and yeah,

750
00:39:04,080 --> 00:39:06,719
Speaker 3: I too was disappointed, Like I really thought Jamster Jay

751
00:39:07,160 --> 00:39:14,080
Speaker 3: was doing them bells on like Peter Piper what I'm saying,

752
00:39:14,320 --> 00:39:16,600
Speaker 3: I thought the time was really doing seven seven.

753
00:39:16,520 --> 00:39:21,240
Speaker 1: Seven you speaking everything.

754
00:39:24,480 --> 00:39:26,839
Speaker 12: It's still it still was amazing though that he took

755
00:39:26,880 --> 00:39:29,640
Speaker 12: Bob James and he was mixing it with a drum

756
00:39:29,680 --> 00:39:32,920
Speaker 12: pro and he was keeping it on beat for that

757
00:39:32,960 --> 00:39:35,839
Speaker 12: for the breakdown part still was amazing. It was just

758
00:39:35,880 --> 00:39:38,640
Speaker 12: that you could possibly do it too if you worked

759
00:39:38,640 --> 00:39:40,680
Speaker 12: at your crab, right, But but it wasn't gonna be

760
00:39:40,760 --> 00:39:43,319
Speaker 12: by doing what they did. So it's now just a

761
00:39:43,360 --> 00:39:45,840
Speaker 12: complete study session. He said, let me see if I

762
00:39:45,840 --> 00:39:48,480
Speaker 12: can reprogram the same beats with the same drums. Let

763
00:39:48,560 --> 00:39:51,560
Speaker 12: me just get to the level I'm there. And then,

764
00:39:52,080 --> 00:39:54,440
Speaker 12: like you said, we started digging because one thing they

765
00:39:54,440 --> 00:39:57,440
Speaker 12: taught you they had to put the name of the artists,

766
00:39:57,480 --> 00:39:59,120
Speaker 12: and they had to put the year.

767
00:40:00,080 --> 00:40:04,960
Speaker 1: So you started studying Okay, years, your students, if you're.

768
00:40:04,840 --> 00:40:08,520
Speaker 10: A student, because you studying years years. Yeah, that was years,

769
00:40:08,520 --> 00:40:10,760
Speaker 10: and you get the eighties.

770
00:40:11,560 --> 00:40:16,239
Speaker 1: That's what you like. Yeah, what what's your what's your?

771
00:40:16,480 --> 00:40:17,480
Speaker 11: You know, it don't stop.

772
00:40:17,960 --> 00:40:20,040
Speaker 10: Maybe maybe it changed, But I'm gonna tell you when

773
00:40:20,040 --> 00:40:24,319
Speaker 10: it got whack for me, when when the fucking drum

774
00:40:24,320 --> 00:40:29,600
Speaker 10: machine started going in cameo, When the cameo drum sound,

775
00:40:30,480 --> 00:40:34,400
Speaker 10: when word was like the sound the sound though, because

776
00:40:34,440 --> 00:40:37,080
Speaker 10: you got to understand you're coming from a real snare,

777
00:40:37,440 --> 00:40:42,400
Speaker 10: a snare amplified, a snare distorted until this fucking eighties.

778
00:40:42,560 --> 00:40:42,880
Speaker 11: I don't know.

779
00:40:43,400 --> 00:40:45,400
Speaker 1: It's kind of princess.

780
00:40:46,440 --> 00:40:50,840
Speaker 3: It's funny you mentioned this because even for me, I realized,

781
00:40:51,239 --> 00:40:55,440
Speaker 3: all right, so I'm studying, uh, the Eisley Brothers, we

782
00:40:55,520 --> 00:40:59,960
Speaker 3: might do an arny episode. And when it came down

783
00:41:00,080 --> 00:41:02,480
Speaker 3: on to their ballots, I was like, yo, why doesn't

784
00:41:02,560 --> 00:41:05,719
Speaker 3: Ernie Eisley ever play the high hat like he'll just

785
00:41:05,760 --> 00:41:08,800
Speaker 3: play the kick and he'll just do the basic fibers

786
00:41:08,800 --> 00:41:11,120
Speaker 3: of it. And it just hit me that for a

787
00:41:11,120 --> 00:41:15,360
Speaker 3: lot of seventies cats, drums are almost just simply a

788
00:41:15,400 --> 00:41:17,960
Speaker 3: metronome and everything sits on top of it. I mean

789
00:41:18,000 --> 00:41:20,280
Speaker 3: there's a few, you know, James Brown, George Clinton, whatever,

790
00:41:20,800 --> 00:41:25,600
Speaker 3: But when Prince came along, it's the loudness of those

791
00:41:25,760 --> 00:41:29,239
Speaker 3: those hand claps, by the way. I mean most people

792
00:41:29,320 --> 00:41:32,279
Speaker 3: know this because they've read the Dilli book. Those Lynn

793
00:41:32,320 --> 00:41:37,839
Speaker 3: drum handclaps. That's Tom Petty and the Heartbreakers. So yeah,

794
00:41:37,840 --> 00:41:39,880
Speaker 3: when Roger Lynn was sampling.

795
00:41:39,800 --> 00:41:42,279
Speaker 12: H I did know what. I didn't know that, but

796
00:41:42,320 --> 00:41:44,520
Speaker 12: I knew from Jimmy Ivean. We've talked about it because

797
00:41:44,520 --> 00:41:48,120
Speaker 12: he's had Yeah, he was there, he was recording sounds.

798
00:41:48,200 --> 00:41:54,480
Speaker 12: He was there recording it sounds and.

799
00:41:52,200 --> 00:41:56,759
Speaker 1: We were weaves here man. Yeah.

800
00:41:56,840 --> 00:41:58,680
Speaker 5: Out of all the producers being in hip hop, the

801
00:41:58,719 --> 00:42:01,759
Speaker 5: ones that I truly love himpec, I love Molly Mab,

802
00:42:02,600 --> 00:42:04,279
Speaker 5: love fucking Larry Smith.

803
00:42:04,680 --> 00:42:06,279
Speaker 1: About absolutely.

804
00:42:07,280 --> 00:42:11,800
Speaker 5: Head absolutely, the band for Hill, the band for Sugar,

805
00:42:11,880 --> 00:42:18,000
Speaker 5: heel Bro, those and uh uh, the most incredible mixed

806
00:42:18,040 --> 00:42:22,160
Speaker 5: sounding records ever. Yeah, Larry Smith, he really brought like

807
00:42:22,600 --> 00:42:25,319
Speaker 5: R and B kind of sensibility to hip hop, but

808
00:42:25,360 --> 00:42:27,799
Speaker 5: it was still hip hop and the record sound really big.

809
00:42:27,840 --> 00:42:31,680
Speaker 5: I mean you listen to like Friends everything now it's still.

810
00:42:31,719 --> 00:42:35,600
Speaker 10: Every one love, just crazy everything. Go back to Uh,

811
00:42:35,719 --> 00:42:37,720
Speaker 10: what's what's the name of his group that he was in.

812
00:42:39,640 --> 00:42:45,640
Speaker 5: Curtis Yeah, record with my dad.

813
00:42:46,680 --> 00:42:50,279
Speaker 1: I'm still record for you, bro.

814
00:42:53,800 --> 00:42:56,520
Speaker 3: I was trying to you know, you know the last

815
00:42:56,600 --> 00:42:59,759
Speaker 3: question I asked Jay before I've seen him maybe like

816
00:43:00,160 --> 00:43:04,080
Speaker 3: months before, and the thing that always confused me was

817
00:43:04,600 --> 00:43:10,200
Speaker 3: he would actually scratch the intro. And the thing was

818
00:43:10,280 --> 00:43:12,520
Speaker 3: he would scratch it or he would take that same

819
00:43:12,520 --> 00:43:17,960
Speaker 3: break and scratch it for rock Box. But in my mind,

820
00:43:18,000 --> 00:43:20,520
Speaker 3: I was like, wait a minute, I know you guys

821
00:43:20,520 --> 00:43:23,640
Speaker 3: are using a d MX rhythm machine, so how did

822
00:43:23,680 --> 00:43:27,359
Speaker 3: you scratch that without like like did you just make

823
00:43:27,680 --> 00:43:30,760
Speaker 3: a thirteen second intro and send it to the factory

824
00:43:31,000 --> 00:43:32,000
Speaker 3: for you to scratch it?

825
00:43:32,440 --> 00:43:33,480
Speaker 1: And then he told me.

826
00:43:33,880 --> 00:43:41,200
Speaker 3: That initially for cucucs running, Jay wanted to rhyme to action.

827
00:43:43,040 --> 00:43:47,520
Speaker 1: With that intro. So what they wound.

828
00:43:47,360 --> 00:43:50,840
Speaker 3: Up doing I think he said that, Uh, the engineer

829
00:43:51,160 --> 00:43:53,880
Speaker 3: did a did a distortion trick and just turned up

830
00:43:54,000 --> 00:43:59,480
Speaker 3: the compression so much like when you really you can

831
00:43:59,520 --> 00:44:00,439
Speaker 3: waiting on the right.

832
00:44:00,400 --> 00:44:05,640
Speaker 6: Like, yeah, shout out to engineers everything that's happened.

833
00:44:06,520 --> 00:44:10,840
Speaker 3: Ange likes co engineered every classic like from Voodoo to

834
00:44:11,960 --> 00:44:15,960
Speaker 3: just whatever, like all these classic records. But yeah, I

835
00:44:16,000 --> 00:44:18,600
Speaker 3: always wanted to know how Jay was able to scratch

836
00:44:20,840 --> 00:44:25,759
Speaker 3: and he's basically scratching Orange Crushes Action intro. But they

837
00:44:25,800 --> 00:44:28,880
Speaker 3: compressed it so much that it sounds like the drum

838
00:44:28,880 --> 00:44:33,680
Speaker 3: machine that they eventually programmed on the d question, you

839
00:44:34,400 --> 00:44:35,879
Speaker 3: have a class somewhere bro hip hop?

840
00:44:36,840 --> 00:44:46,040
Speaker 1: N Y I was made me quit man. No, literally,

841
00:44:46,880 --> 00:44:49,680
Speaker 1: I stopped n YU to just do the podcast because.

842
00:44:50,920 --> 00:44:54,160
Speaker 6: So can I ask a question? You guys said when

843
00:44:54,160 --> 00:44:58,000
Speaker 6: you were originally starting to dig and because they were

844
00:44:58,400 --> 00:45:01,400
Speaker 6: wiping the labels, you're where they had to listen.

845
00:45:02,280 --> 00:45:04,319
Speaker 1: Yeah initially in the bird days.

846
00:45:04,400 --> 00:45:06,920
Speaker 6: Yeah, but you said they would only listen the artists

847
00:45:06,920 --> 00:45:09,680
Speaker 6: and the year, So you were shopping or digging by year?

848
00:45:10,320 --> 00:45:11,320
Speaker 6: What about by label?

849
00:45:11,719 --> 00:45:12,920
Speaker 1: But they listed everything.

850
00:45:13,440 --> 00:45:15,359
Speaker 12: We were just looking the fact that they those were

851
00:45:15,400 --> 00:45:18,440
Speaker 12: the key the key points. They listed the whole title, publishers,

852
00:45:18,560 --> 00:45:19,960
Speaker 12: the writers, they were listed everything.

853
00:45:20,280 --> 00:45:22,960
Speaker 1: But we would look for the years. First, first, just

854
00:45:23,000 --> 00:45:23,640
Speaker 1: so we could go.

855
00:45:24,120 --> 00:45:28,000
Speaker 3: Would you would you stop at seventy nine maybe eighty one,

856
00:45:28,040 --> 00:45:28,800
Speaker 3: you know, saying.

857
00:45:28,719 --> 00:45:30,680
Speaker 11: No, I get to eighty about eighty eighty.

858
00:45:31,480 --> 00:45:33,879
Speaker 12: It depends on the cover to me too, because I'm

859
00:45:33,880 --> 00:45:36,239
Speaker 12: still I'm still the color. I still like the pictures cover.

860
00:45:36,440 --> 00:45:38,440
Speaker 12: Like the pictures too. I like the pictures, but the

861
00:45:38,520 --> 00:45:41,560
Speaker 12: years can help me trust it because I was into focus. Well,

862
00:45:41,760 --> 00:45:43,960
Speaker 12: because you get some that's where it's at. You can

863
00:45:44,000 --> 00:45:46,840
Speaker 12: get some hard drums, some pretty riffs or whatever like

864
00:45:46,920 --> 00:45:50,360
Speaker 12: so like, and then just the jazz you had to

865
00:45:50,400 --> 00:45:52,640
Speaker 12: listen to even though you didn't want to, you had

866
00:45:52,680 --> 00:45:54,399
Speaker 12: to because you would you would have missed the whole

867
00:45:54,440 --> 00:45:55,359
Speaker 12: phase of hip hop.

868
00:45:55,600 --> 00:45:57,000
Speaker 1: It was like, like, because I.

869
00:45:56,960 --> 00:45:59,160
Speaker 12: Was thinking earlier when we were talking about it, when

870
00:46:01,440 --> 00:46:04,680
Speaker 12: when they dropped that like when you realize what came

871
00:46:04,680 --> 00:46:10,400
Speaker 12: from weather and when the trip called Quiest did something

872
00:46:10,440 --> 00:46:12,640
Speaker 12: they had that that was it many realton it was

873
00:46:13,680 --> 00:46:16,600
Speaker 12: uh lyrics lyrics. But once you start doing it, once

874
00:46:16,600 --> 00:46:19,120
Speaker 12: you start leving loving it for that, it didn't matter

875
00:46:19,160 --> 00:46:20,640
Speaker 12: if you found something first you was.

876
00:46:20,600 --> 00:46:23,800
Speaker 1: Like, oh god, they killed they did they killed that?

877
00:46:23,920 --> 00:46:26,239
Speaker 1: I like how I mean. So it's also about that

878
00:46:26,280 --> 00:46:34,120
Speaker 1: too like to be so was that inspiration for mainstream? Man, listen, listen,

879
00:46:34,880 --> 00:46:39,160
Speaker 1: that's just that. Now you gotta go ahead.

880
00:46:39,280 --> 00:46:41,800
Speaker 10: I was gonna say, you gotta really appreciate that because

881
00:46:41,840 --> 00:46:44,879
Speaker 10: we dug so deep, because we appreciated all of these

882
00:46:45,320 --> 00:46:50,080
Speaker 10: these changes in production style, how it went from a

883
00:46:50,160 --> 00:46:54,520
Speaker 10: pure James Brown vibe to incorporating melodies and drums and

884
00:46:54,560 --> 00:46:56,640
Speaker 10: then getting away from them being combined.

885
00:46:57,719 --> 00:46:58,480
Speaker 1: Two dope boys.

886
00:46:59,120 --> 00:47:02,320
Speaker 3: Know it just hit me right now, dude, the drums

887
00:47:02,320 --> 00:47:04,960
Speaker 3: from mainstream, seeing drums from fall in Love.

888
00:47:05,560 --> 00:47:09,800
Speaker 1: Yes, indeed, yep, yes, even.

889
00:47:09,640 --> 00:47:12,719
Speaker 10: Now, I'm like, even now you tell me, you tell

890
00:47:12,760 --> 00:47:15,040
Speaker 10: me now, I mean what you say, why you say that?

891
00:47:15,600 --> 00:47:22,880
Speaker 3: No, no, no, it's it's it's literally the same breaking No, no, that's.

892
00:47:22,719 --> 00:47:26,120
Speaker 10: Not about snitching. See, this is the assumption. This is

893
00:47:26,160 --> 00:47:33,919
Speaker 10: the assumption, is that everything is as it was, meaning

894
00:47:34,000 --> 00:47:36,320
Speaker 10: that it's lifted as a loop.

895
00:47:37,200 --> 00:47:39,759
Speaker 1: I'm sure you shot, but it may have.

896
00:47:39,800 --> 00:47:45,719
Speaker 10: Been just sounds programmed in such an order with advance.

897
00:47:46,280 --> 00:47:51,000
Speaker 10: I mean, you gotta remember, now what let me explain something, mixplaining,

898
00:47:51,080 --> 00:47:52,600
Speaker 10: let me explain, let me explain something.

899
00:47:52,760 --> 00:47:53,239
Speaker 1: I love it.

900
00:47:53,440 --> 00:48:00,840
Speaker 10: Larry Smith is his foundation of production is partly because

901
00:48:01,360 --> 00:48:03,400
Speaker 10: he's in the band, but also because of the technology

902
00:48:03,440 --> 00:48:08,279
Speaker 10: he's using SSLS. Right, Okay, we started when we got

903
00:48:08,280 --> 00:48:10,560
Speaker 10: to the music industry, they left us in the room

904
00:48:10,560 --> 00:48:11,360
Speaker 10: with SSLS.

905
00:48:12,239 --> 00:48:15,920
Speaker 11: So this is what we learned how to make old equipment.

906
00:48:15,960 --> 00:48:24,520
Speaker 10: And the synthesis is what you got to really appreciate,

907
00:48:24,640 --> 00:48:28,799
Speaker 10: not necessarily the the the copying. You feel me the

908
00:48:28,880 --> 00:48:33,960
Speaker 10: ability to be able to make something be something else, Yoda.

909
00:48:34,080 --> 00:48:35,560
Speaker 12: And I'm gonna get into the part because because to

910
00:48:35,600 --> 00:48:36,560
Speaker 12: be honest, you could be right.

911
00:48:36,600 --> 00:48:39,960
Speaker 1: I'm not sure.

912
00:48:42,280 --> 00:48:47,440
Speaker 3: I'm such a stickler for reverb sounds.

913
00:48:48,280 --> 00:48:49,800
Speaker 1: I assumed.

914
00:48:50,680 --> 00:48:54,279
Speaker 3: That you guys used iron Butterfly Soldier in our town

915
00:48:54,360 --> 00:48:56,120
Speaker 3: for the drums dropping them in here.

916
00:48:57,760 --> 00:48:59,399
Speaker 1: But I can't speed it up.

917
00:48:59,560 --> 00:49:01,799
Speaker 11: But you right, you might be close, might be.

918
00:49:02,320 --> 00:49:04,640
Speaker 12: But the key to it, though, the key to it,

919
00:49:04,880 --> 00:49:08,279
Speaker 12: what I said, is yes, the program because they make

920
00:49:08,280 --> 00:49:10,880
Speaker 12: stuff our temple or whatever. We might take drums and

921
00:49:10,920 --> 00:49:14,520
Speaker 12: then program reprogrammed the same loop but end up touching

922
00:49:14,560 --> 00:49:17,080
Speaker 12: other sounds that make it might change. The high head

923
00:49:17,400 --> 00:49:21,879
Speaker 12: change is part if it makes it better. But but

924
00:49:21,920 --> 00:49:26,480
Speaker 12: the greatness or whatever, I'm impressed with, like you, Raphael

925
00:49:26,520 --> 00:49:28,640
Speaker 12: speak a lot of other people when they talk about mainstream.

926
00:49:29,560 --> 00:49:31,760
Speaker 1: I love it because it creative people.

927
00:49:31,880 --> 00:49:33,759
Speaker 12: The fact that y'all loved that, and the fact that

928
00:49:34,440 --> 00:49:38,080
Speaker 12: it wasn't orthodox, It wasn't it was I was it really?

929
00:49:38,560 --> 00:49:43,080
Speaker 1: Can I ask? Is based on that? Okay?

930
00:49:43,400 --> 00:49:45,640
Speaker 12: And then the thing is I think we had that

931
00:49:45,640 --> 00:49:52,960
Speaker 12: little rid keyboard that was the magic box, and we

932
00:49:53,040 --> 00:49:54,080
Speaker 12: discovered that little sound.

933
00:49:54,239 --> 00:49:55,319
Speaker 1: We just let that sound go.

934
00:49:55,440 --> 00:49:57,920
Speaker 12: But but the main thing is that I think it

935
00:49:58,000 --> 00:50:01,520
Speaker 12: was also Yeah, that's what I'm about to get to

936
00:50:01,520 --> 00:50:03,480
Speaker 12: without telling too much, was that it was it was

937
00:50:03,520 --> 00:50:05,279
Speaker 12: like a cell therapy, you know how.

938
00:50:05,600 --> 00:50:07,400
Speaker 1: You know, we got that dump that bounce before the

939
00:50:07,400 --> 00:50:10,600
Speaker 1: bounce come in, we got like a quarter like don't

940
00:50:11,840 --> 00:50:13,680
Speaker 1: so it's like we have a half of rip.

941
00:50:13,719 --> 00:50:18,480
Speaker 12: So like it's like a six bar loop like like

942
00:50:18,480 --> 00:50:22,920
Speaker 12: like rolling. Like the way we cut it off mainstream

943
00:50:23,120 --> 00:50:27,239
Speaker 12: was that with a straight beat. You're right, it was.

944
00:50:27,280 --> 00:50:30,080
Speaker 12: It was giving you a it was flipping a different part.

945
00:50:30,560 --> 00:50:32,200
Speaker 12: But I couldn't figure out how to do that weird

946
00:50:32,280 --> 00:50:34,279
Speaker 12: beat to that at that point in my career, so

947
00:50:34,320 --> 00:50:34,680
Speaker 12: I had.

948
00:50:34,560 --> 00:50:37,759
Speaker 1: To go easy to keep it down the middle. But

949
00:50:37,800 --> 00:50:44,399
Speaker 1: the music go crazy, all right.

950
00:50:44,480 --> 00:50:49,759
Speaker 3: So now what we know as the Dungeons Studios before

951
00:50:49,960 --> 00:50:54,160
Speaker 3: you guys get a budget before Elie and whatnot. Like,

952
00:50:54,200 --> 00:50:57,319
Speaker 3: I'm certain that you guys are creating a workspace in

953
00:50:57,400 --> 00:51:00,319
Speaker 3: some sort of environment or you know, you called it

954
00:51:00,320 --> 00:51:00,800
Speaker 3: the dungeon.

955
00:51:03,080 --> 00:51:05,239
Speaker 1: What is the equipment there and who's there?

956
00:51:05,480 --> 00:51:07,520
Speaker 3: I mean because just based on the videos, I'm assuming

957
00:51:07,520 --> 00:51:09,600
Speaker 3: that it's almost like the Southern Wu Tang where it's

958
00:51:09,600 --> 00:51:11,000
Speaker 3: like twelve of y'all, just like.

959
00:51:11,280 --> 00:51:15,000
Speaker 12: The dungeon was my mother's basement, unfinished basement, the wooden steps,

960
00:51:15,040 --> 00:51:15,800
Speaker 12: go down the steps.

961
00:51:16,040 --> 00:51:19,000
Speaker 1: Ray was Yoda. He is the cook up. He'd wake

962
00:51:19,080 --> 00:51:20,240
Speaker 1: up and get on the drum machine.

963
00:51:20,280 --> 00:51:23,120
Speaker 12: And it was an MPC from the time MPC came out,

964
00:51:23,520 --> 00:51:25,719
Speaker 12: and we had one before we even moved over there,

965
00:51:26,040 --> 00:51:28,560
Speaker 12: like from the very first MPC we had one or whatever.

966
00:51:28,640 --> 00:51:32,040
Speaker 12: So and the problem was it was an unfinished basement,

967
00:51:32,080 --> 00:51:33,960
Speaker 12: so it was dusty. So he used to load the

968
00:51:34,000 --> 00:51:35,960
Speaker 12: three point five floppy.

969
00:51:36,360 --> 00:51:38,840
Speaker 1: Yes, yeah he did. So sometimes we have to be

970
00:51:38,840 --> 00:51:42,040
Speaker 1: concerned it stop about losing things.

971
00:51:42,080 --> 00:51:46,600
Speaker 6: As soon as I know DiAngelo's That's why we laughed

972
00:51:46,600 --> 00:51:48,520
Speaker 6: when we hear floppy. He's still using them.

973
00:51:48,560 --> 00:51:50,959
Speaker 3: Shit, the Angelo is still it is still nineteen ninety

974
00:51:50,960 --> 00:51:52,799
Speaker 3: seven with him, and he doesn't one to move.

975
00:51:52,840 --> 00:51:54,120
Speaker 1: No, no, but it's almost.

976
00:51:53,840 --> 00:51:56,840
Speaker 12: A good it's a good sound though it's an analog texture.

977
00:51:56,920 --> 00:51:58,399
Speaker 12: I mean, it's some things you do for a sound

978
00:51:58,520 --> 00:52:00,640
Speaker 12: or whatever, like the SP twelve, Like that's what I'm saying.

979
00:52:00,680 --> 00:52:02,400
Speaker 12: The other drum machine that we didn't mess with that

980
00:52:02,480 --> 00:52:05,520
Speaker 12: much because the past was it was stick. Once we

981
00:52:05,600 --> 00:52:08,800
Speaker 12: figured out, we midted that to the MPC and programming

982
00:52:08,840 --> 00:52:09,480
Speaker 12: from the MPC.

983
00:52:09,680 --> 00:52:13,200
Speaker 1: But get get the texture Legion eight O eight, so

984
00:52:13,239 --> 00:52:15,640
Speaker 1: you would filter the SB twelve and then just midia

985
00:52:15,760 --> 00:52:16,320
Speaker 1: through the.

986
00:52:16,600 --> 00:52:19,360
Speaker 12: Yeah program program in SB two. I mean, like you

987
00:52:19,600 --> 00:52:22,359
Speaker 12: get your examples edited in the SB twelve right then,

988
00:52:23,320 --> 00:52:26,680
Speaker 12: since since literally every every SB twelve the buttons get

989
00:52:26,680 --> 00:52:29,160
Speaker 12: stuck so you can't read program, so you just made

990
00:52:29,160 --> 00:52:31,160
Speaker 12: it a min Once we learned MIDI for real, with

991
00:52:31,360 --> 00:52:33,920
Speaker 12: like oh I can control this drum machine with this

992
00:52:34,000 --> 00:52:36,680
Speaker 12: drum machine or whatever because they had MIDI. So once

993
00:52:36,680 --> 00:52:39,520
Speaker 12: we start doing that, like Waterfalls had the SB twelve,

994
00:52:39,800 --> 00:52:43,719
Speaker 12: I'm on it. Ludicrous Saturdays used SP twelve and I

995
00:52:43,760 --> 00:52:45,759
Speaker 12: promise you that was the sound. That was like the

996
00:52:45,800 --> 00:52:48,799
Speaker 12: bass music. It was like andre three thousand bombs over

997
00:52:48,840 --> 00:52:52,160
Speaker 12: bad there all that, but that's SB bomb. That's the

998
00:52:52,320 --> 00:52:54,239
Speaker 12: SP twelve type of vibe. So we had an SB

999
00:52:54,360 --> 00:52:56,960
Speaker 12: twelve down there. We had an MPC down there, and

1000
00:52:57,440 --> 00:52:59,480
Speaker 12: you couldn't really record. We had a six track so

1001
00:52:59,520 --> 00:53:02,520
Speaker 12: you can hear stuff. Had two big house speakers down

1002
00:53:02,560 --> 00:53:04,799
Speaker 12: there or whatever. And and most of the time it

1003
00:53:04,880 --> 00:53:07,919
Speaker 12: was about writing because you had the steps, so people

1004
00:53:07,920 --> 00:53:09,759
Speaker 12: would sit on the steps. You have big boyd Dra,

1005
00:53:10,280 --> 00:53:12,759
Speaker 12: you have kol Joe, you have big Big Rude, usually

1006
00:53:12,840 --> 00:53:13,600
Speaker 12: closer to Ray.

1007
00:53:14,040 --> 00:53:16,880
Speaker 8: Because on your basement, on your steps, on the wood.

1008
00:53:16,600 --> 00:53:18,680
Speaker 12: Steps, the woods steps, you would see them down the steps.

1009
00:53:18,680 --> 00:53:20,680
Speaker 12: But it was like it was almost like going down

1010
00:53:20,719 --> 00:53:23,040
Speaker 12: to you know, Ray on the drum machine and you

1011
00:53:23,120 --> 00:53:26,680
Speaker 12: and it was already known, you not really talking the Ray.

1012
00:53:26,800 --> 00:53:28,320
Speaker 12: And all all you can do is is like is

1013
00:53:28,320 --> 00:53:29,720
Speaker 12: appreciate this music box.

1014
00:53:29,920 --> 00:53:32,200
Speaker 3: So they're all writing, They all right there, and the

1015
00:53:32,239 --> 00:53:35,160
Speaker 3: person that finishes first day on that song, oh.

1016
00:53:34,880 --> 00:53:35,600
Speaker 1: They're all writing.

1017
00:53:35,600 --> 00:53:37,480
Speaker 12: And he changed whenever he finished what he's doing for

1018
00:53:37,480 --> 00:53:39,880
Speaker 12: that for that sequence, he changed the beat, and everybody,

1019
00:53:40,360 --> 00:53:42,440
Speaker 12: everybody turned the page and try to remember when you

1020
00:53:42,440 --> 00:53:43,680
Speaker 12: go back to get back on it.

1021
00:53:43,880 --> 00:53:46,759
Speaker 1: But you'll keep writing over a new beat. So now

1022
00:53:46,760 --> 00:53:47,760
Speaker 1: your styles are.

1023
00:53:47,680 --> 00:53:50,680
Speaker 12: Changing because now you were just writing with a certain

1024
00:53:50,760 --> 00:53:53,759
Speaker 12: thought process. Now that thought press has been enhanced by

1025
00:53:53,840 --> 00:53:54,600
Speaker 12: the beat changing.

1026
00:53:54,920 --> 00:53:57,400
Speaker 1: It's like the plant based version of drink Champs right now.

1027
00:54:01,920 --> 00:54:03,640
Speaker 8: It also reminds me of like bo I mean you

1028
00:54:03,680 --> 00:54:04,520
Speaker 8: watch the boot tang so.

1029
00:54:04,880 --> 00:54:07,000
Speaker 12: Yeah so, and then then digging in the crazy the

1030
00:54:07,000 --> 00:54:09,399
Speaker 12: fact that Ray would start so early, some people would

1031
00:54:09,440 --> 00:54:11,279
Speaker 12: be you would get a chance, just the knowledge of

1032
00:54:11,360 --> 00:54:15,759
Speaker 12: like you hear you'll hear it. He'll sample it now,

1033
00:54:15,800 --> 00:54:18,399
Speaker 12: he's chopping it up. Now, he messing it up. Now

1034
00:54:18,440 --> 00:54:21,399
Speaker 12: he fitted program something to it. But but he might

1035
00:54:21,440 --> 00:54:23,920
Speaker 12: sample five or six things before he start programming. Or

1036
00:54:25,200 --> 00:54:27,480
Speaker 12: when I go down there later, or when Sleepy get

1037
00:54:27,560 --> 00:54:29,640
Speaker 12: on there, he already unpacked the drum machine up with

1038
00:54:29,680 --> 00:54:31,359
Speaker 12: so many different things that he maybe some of them

1039
00:54:31,400 --> 00:54:33,279
Speaker 12: started on some of them he didn't. So it's like

1040
00:54:33,320 --> 00:54:35,879
Speaker 12: if it's sometimes you might be like get that, Ray,

1041
00:54:36,080 --> 00:54:36,640
Speaker 12: get that for me.

1042
00:54:36,680 --> 00:54:37,160
Speaker 1: You know what I'm saying.

1043
00:54:37,200 --> 00:54:39,279
Speaker 12: I grabbed that, Like Sleepy does it all the time,

1044
00:54:39,480 --> 00:54:44,319
Speaker 12: like you gotta go yeah, just you know, because he

1045
00:54:44,360 --> 00:54:46,879
Speaker 12: has his own sound. That's what's cold about Sleepy, Like

1046
00:54:46,880 --> 00:54:50,480
Speaker 12: like like most artists get confused around Ray because he's

1047
00:54:50,480 --> 00:54:50,879
Speaker 12: gonna go.

1048
00:54:50,840 --> 00:54:54,680
Speaker 1: From waterfalls to sell therapy. We diverse.

1049
00:54:54,880 --> 00:54:56,319
Speaker 12: So the fact that he might be digging on some

1050
00:54:56,440 --> 00:54:58,200
Speaker 12: crazy all a sudden, he might go into something that's

1051
00:54:58,520 --> 00:55:00,880
Speaker 12: in my mind. I'm the business person, like, that's not

1052
00:55:00,920 --> 00:55:02,600
Speaker 12: for you.

1053
00:55:01,800 --> 00:55:06,719
Speaker 1: That's gonna be what I don't. You're the traffic cop.

1054
00:55:06,840 --> 00:55:08,759
Speaker 12: Yes, but I don't determine it, like I don't say

1055
00:55:08,800 --> 00:55:12,879
Speaker 12: it in front of nobody. I said, I said, he was.

1056
00:55:12,800 --> 00:55:13,640
Speaker 1: Like, we can use that.

1057
00:55:14,280 --> 00:55:15,120
Speaker 11: Yeah, we trust each other.

1058
00:55:16,040 --> 00:55:18,440
Speaker 12: Like, I'm not gonna tell the artists then, because because

1059
00:55:18,440 --> 00:55:23,160
Speaker 12: the Invo songs, Coolbries Songries was killing it cool, That's

1060
00:55:23,200 --> 00:55:24,440
Speaker 12: what it was.

1061
00:55:24,480 --> 00:55:30,520
Speaker 1: It was only the It wasn't drum that little. It

1062
00:55:30,640 --> 00:55:31,600
Speaker 1: wasn't even lie of drums.

1063
00:55:31,600 --> 00:55:33,279
Speaker 12: It was it was it was a it was a

1064
00:55:33,280 --> 00:55:35,279
Speaker 12: beat redhead, a beat on and it was that like

1065
00:55:35,280 --> 00:55:37,040
Speaker 12: you said, it was that Koobries was writing to that

1066
00:55:38,520 --> 00:55:39,160
Speaker 12: hold on Him.

1067
00:55:39,040 --> 00:55:41,680
Speaker 8: Don't let Go. That's the song we're talking about.

1068
00:55:41,760 --> 00:55:42,200
Speaker 1: Yeah.

1069
00:55:42,400 --> 00:55:44,680
Speaker 12: But but when it got beautiful, I think I think

1070
00:55:44,680 --> 00:55:46,879
Speaker 12: we called it John John John.

1071
00:55:47,000 --> 00:55:49,880
Speaker 1: We called John I happened to be we called in

1072
00:55:50,000 --> 00:55:51,320
Speaker 1: for that. So the night that.

1073
00:55:51,200 --> 00:55:55,600
Speaker 3: He tracked that, I believe we were at the tabernacle

1074
00:55:55,640 --> 00:55:59,160
Speaker 3: because he told me the tabernacle right, because when I

1075
00:55:59,200 --> 00:56:02,640
Speaker 3: saw a little later that that night, he told me

1076
00:56:02,760 --> 00:56:04,880
Speaker 3: that he just did it like two days before or whatever.

1077
00:56:05,440 --> 00:56:09,880
Speaker 1: And so that's how I think that this tabernacle not

1078
00:56:09,920 --> 00:56:12,560
Speaker 1: existed on wait wait.

1079
00:56:12,600 --> 00:56:15,040
Speaker 3: And I'm also glad you told this story because I

1080
00:56:15,040 --> 00:56:17,680
Speaker 3: always felt like you were secretly judging me, like you

1081
00:56:17,719 --> 00:56:21,280
Speaker 3: and James and kiss my ass, James Poison. I feel

1082
00:56:21,320 --> 00:56:24,279
Speaker 3: like I wanted to explain to you because the way

1083
00:56:24,280 --> 00:56:27,520
Speaker 3: we were. You notice that I always I use my computer,

1084
00:56:27,760 --> 00:56:30,719
Speaker 3: but I always put it through the that SB twelve

1085
00:56:30,800 --> 00:56:34,200
Speaker 3: hundred I got, and I never used that SP twelve hundred. Yes,

1086
00:56:34,320 --> 00:56:37,719
Speaker 3: the reason is there's a new version of me. There's

1087
00:56:37,719 --> 00:56:40,480
Speaker 3: a new kidd out version of I got it. It

1088
00:56:40,520 --> 00:56:42,640
Speaker 3: has great texture, but I haven't learned to really freak

1089
00:56:42,680 --> 00:56:44,920
Speaker 3: it yet, So I still do my shit on my computer.

1090
00:56:45,040 --> 00:56:47,239
Speaker 3: But I like the texture of how samples go through.

1091
00:56:47,400 --> 00:56:49,719
Speaker 6: They should just have an SP twelve plug in.

1092
00:56:50,800 --> 00:56:52,680
Speaker 1: They kind of got one like m PC. But you

1093
00:56:52,760 --> 00:56:53,560
Speaker 1: just don't believe it.

1094
00:56:54,120 --> 00:56:56,560
Speaker 12: I'm saying too, it's not some things you just want

1095
00:56:56,600 --> 00:56:59,120
Speaker 12: to like like that eight. Like what I'm willing to

1096
00:56:59,160 --> 00:57:00,800
Speaker 12: do is to try to say up with the sounds

1097
00:57:00,800 --> 00:57:01,680
Speaker 12: digitally again.

1098
00:57:01,960 --> 00:57:03,120
Speaker 1: But that but the quality.

1099
00:57:03,160 --> 00:57:06,160
Speaker 12: I gotta be honest, Legohn, how it sound really changed America?

1100
00:57:06,280 --> 00:57:09,560
Speaker 12: Like like that that clean eight away the DJ. It

1101
00:57:09,640 --> 00:57:11,600
Speaker 12: was Robert the DJ, the DJ.

1102
00:57:12,239 --> 00:57:15,120
Speaker 3: And I once thought that little John Roberts was a

1103
00:57:15,160 --> 00:57:18,960
Speaker 3: little John Yo, he's really revolutionist. Because the thing was,

1104
00:57:19,960 --> 00:57:25,480
Speaker 3: I knew DJ drama back when he was backpack, dramatic, dramatic,

1105
00:57:25,760 --> 00:57:30,080
Speaker 3: and when trying to convince me that this guy Gangster Grills.

1106
00:57:29,760 --> 00:57:32,520
Speaker 1: Is dramatic, I'm like here.

1107
00:57:33,400 --> 00:57:35,120
Speaker 3: Until I seen him, I was like, holy ship, you

1108
00:57:35,200 --> 00:57:38,760
Speaker 3: really did like so I did want At one point

1109
00:57:39,000 --> 00:57:44,040
Speaker 3: I did think that little John Roberts was revolutionizing dance

1110
00:57:44,080 --> 00:57:44,880
Speaker 3: culture in Atlanta.

1111
00:57:44,880 --> 00:57:46,240
Speaker 1: And then I realized there was two of them.

1112
00:57:46,400 --> 00:57:48,760
Speaker 6: So what what kind of MPC was it?

1113
00:57:49,960 --> 00:57:50,120
Speaker 1: Oh?

1114
00:57:50,440 --> 00:57:50,720
Speaker 6: Wow?

1115
00:57:54,240 --> 00:57:56,000
Speaker 1: I mean for your your weapon of choice.

1116
00:57:56,120 --> 00:58:01,200
Speaker 12: Original studio, the original studio downstairs, the bignkey one, the first,

1117
00:58:01,560 --> 00:58:03,160
Speaker 12: the first, very first clank one.

1118
00:58:03,720 --> 00:58:06,160
Speaker 11: We started on the first one and then graduated with

1119
00:58:06,280 --> 00:58:06,760
Speaker 11: each one.

1120
00:58:06,880 --> 00:58:09,520
Speaker 6: Do you feel like there's a different sound between the

1121
00:58:09,600 --> 00:58:10,320
Speaker 6: different models?

1122
00:58:10,360 --> 00:58:10,680
Speaker 1: They are?

1123
00:58:10,800 --> 00:58:15,560
Speaker 5: They are like okay, now some people, three thousand, two

1124
00:58:15,640 --> 00:58:17,240
Speaker 5: thousand was the second one right now?

1125
00:58:17,840 --> 00:58:20,760
Speaker 12: Three thousand one second, Well, that's the that's that's the one.

1126
00:58:21,600 --> 00:58:24,280
Speaker 12: Three thousand three thousand was the one that they started

1127
00:58:24,320 --> 00:58:27,160
Speaker 12: using two effects. The three thousand the one they start

1128
00:58:27,240 --> 00:58:29,240
Speaker 12: using the effects. They start using the little where they

1129
00:58:29,240 --> 00:58:31,080
Speaker 12: could like you can make a sample, you can hide

1130
00:58:31,080 --> 00:58:34,040
Speaker 12: a sample. That's they start thou they started doing that.

1131
00:58:34,880 --> 00:58:37,560
Speaker 12: The two thousand was the was the bounce box, but

1132
00:58:37,800 --> 00:58:40,440
Speaker 12: anything you did was bouncing or whatever.

1133
00:58:40,520 --> 00:58:42,320
Speaker 1: So it does have difference. Does all of them have

1134
00:58:42,320 --> 00:58:42,959
Speaker 1: a different sound?

1135
00:58:43,200 --> 00:58:46,040
Speaker 6: But what what gives it? The bounce the quantizing?

1136
00:58:46,160 --> 00:58:47,760
Speaker 1: Yes, yes, good job.

1137
00:58:47,920 --> 00:58:51,960
Speaker 10: Well, to be specific to the drum machines, when they

1138
00:58:52,040 --> 00:58:54,880
Speaker 10: changed them around, they kept putting the fucking click the

1139
00:58:54,960 --> 00:58:59,560
Speaker 10: tap button on different sides. So if you started on

1140
00:58:59,600 --> 00:59:02,320
Speaker 10: the first one, you tap with your left or whatever,

1141
00:59:02,440 --> 00:59:03,720
Speaker 10: and if you start then other one, you tap what

1142
00:59:03,720 --> 00:59:06,520
Speaker 10: you're right, So it made people be biased to the

1143
00:59:06,560 --> 00:59:09,600
Speaker 10: drum machine left handed, you know, like that right.

1144
00:59:10,160 --> 00:59:13,000
Speaker 6: And it seems like the three thousand is like the one, right.

1145
00:59:12,960 --> 00:59:15,680
Speaker 1: Three thousand is the one if you're dyling now.

1146
00:59:15,760 --> 00:59:20,439
Speaker 3: And the thing is that Rogerlin didn't It has his name,

1147
00:59:20,600 --> 00:59:23,080
Speaker 3: but Rogerlin had nothing to do with the two thousand.

1148
00:59:23,360 --> 00:59:26,440
Speaker 3: It's almost like the yeasy adeed situation where they have

1149
00:59:26,520 --> 00:59:27,800
Speaker 3: a name but that sort of thing.

1150
00:59:27,880 --> 00:59:30,320
Speaker 1: So really the last thing that he did.

1151
00:59:30,360 --> 00:59:33,560
Speaker 3: He did the NBC sixty, the NBC sixty two, and

1152
00:59:33,600 --> 00:59:36,320
Speaker 3: then he did the three thousand, and then NBC sixty

1153
00:59:36,360 --> 00:59:38,640
Speaker 3: came and like here's a boot, you know, and my

1154
00:59:38,720 --> 00:59:41,040
Speaker 3: sucker asked fell for the two thousand because it's for

1155
00:59:41,160 --> 00:59:41,920
Speaker 3: left handed people.

1156
00:59:43,240 --> 00:59:46,720
Speaker 4: So all right, rapid five? All right, yeah, it's rapid five. Okay,

1157
00:59:46,760 --> 00:59:50,120
Speaker 4: socks and which doctor of swat healing ritual?

1158
00:59:50,560 --> 00:59:52,480
Speaker 1: Okay that far?

1159
00:59:52,600 --> 00:59:56,640
Speaker 4: Look man, we look, bro, we ain't got time, Bros

1160
00:59:56,680 --> 00:59:57,320
Speaker 4: got to look man.

1161
00:59:57,880 --> 00:59:58,880
Speaker 1: That probably to me.

1162
00:59:59,360 --> 01:00:05,720
Speaker 4: That and Kool Breeze album like Ghetto Camera Bro, those records.

1163
01:00:05,760 --> 01:00:09,080
Speaker 4: I've heard parts of the story. What happened with those

1164
01:00:09,080 --> 01:00:11,640
Speaker 4: two records in the Interscope deals.

1165
01:00:11,240 --> 01:00:15,840
Speaker 12: And Interscope situation was it was a good deal, but

1166
01:00:15,920 --> 01:00:17,800
Speaker 12: it was just bigger than what we was used to

1167
01:00:18,000 --> 01:00:19,960
Speaker 12: or whenever we had more power or whatever. So like

1168
01:00:20,360 --> 01:00:22,160
Speaker 12: and the artists, you know what I'm saying. We by

1169
01:00:22,200 --> 01:00:25,920
Speaker 12: that time, we as a company. We wouldn't produce. We

1170
01:00:25,960 --> 01:00:29,000
Speaker 12: was production company, but we were a label, and the

1171
01:00:29,120 --> 01:00:32,200
Speaker 12: artists had more responsibility or whatever, Like we was making

1172
01:00:32,240 --> 01:00:35,640
Speaker 12: your music, but we wouldn't holding your hand to make

1173
01:00:35,680 --> 01:00:36,840
Speaker 12: sure you went on your shows.

1174
01:00:36,960 --> 01:00:38,600
Speaker 1: To make sure you did in stores.

1175
01:00:38,760 --> 01:00:41,560
Speaker 12: Yes, we did that without cast, but they were seventeen

1176
01:00:41,640 --> 01:00:44,560
Speaker 12: years old. Eighteen years old. It was more about do

1177
01:00:44,600 --> 01:00:46,600
Speaker 12: you even have a bank card? You know what I'm saying.

1178
01:00:46,680 --> 01:00:48,480
Speaker 12: I don't want to leave you out there. But by

1179
01:00:48,480 --> 01:00:51,560
Speaker 12: the time we got the Goodie Mob, y'all grown. Yes,

1180
01:00:52,000 --> 01:00:55,160
Speaker 12: And not to diflect, but I did what I want.

1181
01:00:55,200 --> 01:00:57,080
Speaker 12: I've been wanting to say this. The quest because how

1182
01:00:57,080 --> 01:00:59,120
Speaker 12: did you feel when you first met because the first

1183
01:00:59,120 --> 01:01:01,800
Speaker 12: two a Goodie Mob was with the Roots and with

1184
01:01:02,160 --> 01:01:02,840
Speaker 12: the Fujis.

1185
01:01:03,000 --> 01:01:04,919
Speaker 8: Oh, now that was already dramatic.

1186
01:01:05,560 --> 01:01:06,240
Speaker 1: No, it wasn't.

1187
01:01:06,360 --> 01:01:10,440
Speaker 3: Because we first met Goodie Mob, like my first introduction

1188
01:01:10,560 --> 01:01:15,640
Speaker 3: to I mean, besides seeing outcasts on te people in

1189
01:01:15,680 --> 01:01:23,439
Speaker 3: real life. We our very first trip to Atlanta. We

1190
01:01:23,480 --> 01:01:28,440
Speaker 3: went to this radio station and I remember that, so

1191
01:01:29,600 --> 01:01:31,360
Speaker 3: I didn't go to the radio station that night, but

1192
01:01:31,400 --> 01:01:35,600
Speaker 3: I listened and basically all of Goodie Mob and the

1193
01:01:35,680 --> 01:01:39,880
Speaker 3: Roots like freestyled for twenty minutes. It was on YouTube

1194
01:01:39,960 --> 01:01:42,320
Speaker 3: for the longest, Like it was like a legendary moment.

1195
01:01:42,400 --> 01:01:46,919
Speaker 3: I just remember Reek coming back, like, yo, there's even

1196
01:01:46,960 --> 01:01:52,400
Speaker 3: more of them, because the thing was because the thing is, yes,

1197
01:01:52,840 --> 01:01:56,760
Speaker 3: there were there was a lot of bias towards how

1198
01:01:57,880 --> 01:02:01,400
Speaker 3: we in the Northeast. Yes we're very I be very particular,

1199
01:02:02,440 --> 01:02:06,680
Speaker 3: very territorial about culture and whatnot. So yes, we tend

1200
01:02:06,680 --> 01:02:08,760
Speaker 3: to think that most of down South was just Luke

1201
01:02:09,280 --> 01:02:13,919
Speaker 3: and nothing else. And so shout out to cosmic Keev

1202
01:02:14,120 --> 01:02:20,000
Speaker 3: for he always rode for the Player's Ball remix. Now

1203
01:02:20,800 --> 01:02:26,640
Speaker 3: I will be super super transparent, honest, the original Player's Ball.

1204
01:02:27,560 --> 01:02:29,080
Speaker 1: I remember when it came on BT.

1205
01:02:30,440 --> 01:02:33,960
Speaker 3: And it was the jury is up in the air,

1206
01:02:34,000 --> 01:02:36,760
Speaker 3: because we were like at the all right, so here's

1207
01:02:36,800 --> 01:02:42,439
Speaker 3: my thing, here's all right. What it happened was no, no, no, no.

1208
01:02:42,480 --> 01:02:48,760
Speaker 3: Where I was, I was dirty dungeon. Hip hop has

1209
01:02:48,840 --> 01:02:51,800
Speaker 3: to be filthy, like the first Jungle Brothers record, the

1210
01:02:51,840 --> 01:02:54,840
Speaker 3: first Wu Tang record. And when the Chronic came out,

1211
01:02:55,120 --> 01:02:57,480
Speaker 3: I told you, and Dre laughs his ass off. I

1212
01:02:57,560 --> 01:03:00,760
Speaker 3: hated the Chronic for like twenty years because it just

1213
01:03:00,800 --> 01:03:03,440
Speaker 3: sounded to pristine too.

1214
01:03:03,600 --> 01:03:06,240
Speaker 1: Yeah, it was too. It was like, wait, I thought

1215
01:03:06,240 --> 01:03:08,080
Speaker 1: we were against this. I thought we didn't want to

1216
01:03:08,080 --> 01:03:13,520
Speaker 1: sound like afternoon radio to me.

1217
01:03:14,600 --> 01:03:18,560
Speaker 3: Then suddenly hip hop just sounded clean and big and right.

1218
01:03:18,640 --> 01:03:21,880
Speaker 3: But I didn't come from like club culture where ship

1219
01:03:22,000 --> 01:03:26,760
Speaker 3: had to kick. I wanted this ship to like that, right,

1220
01:03:26,840 --> 01:03:28,920
Speaker 3: And I was just like, I don't know, man, like

1221
01:03:28,960 --> 01:03:32,560
Speaker 3: it's too clean. And and then I got in cosmic

1222
01:03:32,600 --> 01:03:36,200
Speaker 3: Kev's car and he played the main Ingredient remix version,

1223
01:03:39,000 --> 01:03:40,480
Speaker 3: and when the drums kicked.

1224
01:03:40,240 --> 01:03:43,520
Speaker 10: In, like, let me could cut you off because you've

1225
01:03:43,560 --> 01:03:45,480
Speaker 10: been dropping these motherfucking gems.

1226
01:03:47,800 --> 01:03:55,320
Speaker 5: I didn't know what I'm thinking about the producer main Ingredient.

1227
01:04:02,320 --> 01:04:04,880
Speaker 12: We literally played played it with the piano and had

1228
01:04:04,920 --> 01:04:05,920
Speaker 12: sleep becoming singing.

1229
01:04:06,040 --> 01:04:09,200
Speaker 5: Yeah, you got to say, it's like, it's cool. Yeah,

1230
01:04:09,400 --> 01:04:10,560
Speaker 5: that's what we did. But that ain't what.

1231
01:04:11,480 --> 01:04:14,520
Speaker 1: I thought it was. Listened to it, right, I'm it's that,

1232
01:04:14,720 --> 01:04:15,320
Speaker 1: but it ain't that.

1233
01:04:15,480 --> 01:04:17,400
Speaker 3: I grew up with Shame on the World as a record,

1234
01:04:17,480 --> 01:04:18,560
Speaker 3: so I instantly knew.

1235
01:04:18,640 --> 01:04:21,400
Speaker 1: So maybe didn't guess what somebody else came behind us

1236
01:04:21,440 --> 01:04:30,120
Speaker 1: and did and did that young This is what they did.

1237
01:04:32,440 --> 01:04:34,120
Speaker 1: When I heard that Youngster's record.

1238
01:04:34,400 --> 01:04:37,600
Speaker 5: I liked it because I like the Yeah, I actually

1239
01:04:37,680 --> 01:04:39,320
Speaker 5: liked the beat of the seven was real.

1240
01:04:39,160 --> 01:04:43,840
Speaker 1: Cool to me. Oh damn, it was mad props. I

1241
01:04:43,840 --> 01:04:44,760
Speaker 1: didn't even know that.

1242
01:04:46,040 --> 01:04:49,240
Speaker 3: No, no, at a moment where I didn't even think

1243
01:04:49,280 --> 01:04:52,800
Speaker 3: of that ship. No, no, no, But when Cosmic Kav is

1244
01:04:52,840 --> 01:04:56,920
Speaker 3: like Philly swamp Master flex and that's hard.

1245
01:04:57,000 --> 01:04:58,000
Speaker 1: When he used to.

1246
01:04:58,000 --> 01:05:00,880
Speaker 3: Have his like mixtapes out like I'd be in the

1247
01:05:00,880 --> 01:05:05,920
Speaker 3: car and when he put it on the way them drums,

1248
01:05:08,320 --> 01:05:10,160
Speaker 3: it was like a hard version of friends.

1249
01:05:10,560 --> 01:05:11,160
Speaker 1: You know what I mean?

1250
01:05:12,280 --> 01:05:19,840
Speaker 8: And you are so good.

1251
01:05:21,480 --> 01:05:24,280
Speaker 1: Joke, Yeah, I mean it was. It was a hard

1252
01:05:24,360 --> 01:05:25,080
Speaker 1: version of friends.

1253
01:05:25,200 --> 01:05:30,240
Speaker 3: Like like if I were drumming, that's what you're saying.

1254
01:05:30,640 --> 01:05:34,720
Speaker 1: If I were, Yeah, well here's the thing, Like I wasn't.

1255
01:05:34,800 --> 01:05:37,320
Speaker 3: Even though I'm immersed in hip hop and all that ship,

1256
01:05:37,400 --> 01:05:39,440
Speaker 3: like I'm still trying to figure out, hey, how can

1257
01:05:39,480 --> 01:05:40,640
Speaker 3: I recreate these breaks?

1258
01:05:41,280 --> 01:05:45,760
Speaker 1: I would have been a perfect supplement to that ship.

1259
01:05:46,120 --> 01:05:50,640
Speaker 3: So when he did that, then that's when that was

1260
01:05:50,680 --> 01:05:57,160
Speaker 3: my Kaiser Sosa Coffee Drop reveal moment of I was like, oh, ship, there,

1261
01:05:57,560 --> 01:05:58,680
Speaker 3: this is a problem.

1262
01:05:59,040 --> 01:06:00,800
Speaker 1: Then I was like, y'all really did earn those four

1263
01:06:00,800 --> 01:06:02,400
Speaker 1: and a half mics? Yes? Yeah?

1264
01:06:02,480 --> 01:06:06,000
Speaker 3: The fact we were rased one day and the boy

1265
01:06:06,440 --> 01:06:10,640
Speaker 3: the easy issue like all right, let's go, and I wouldn't.

1266
01:06:10,680 --> 01:06:13,160
Speaker 3: I would like try to read the review before I

1267
01:06:13,160 --> 01:06:15,720
Speaker 3: see what the mics are. And I saw half and

1268
01:06:15,760 --> 01:06:18,280
Speaker 3: I was like wait, it's a Leve review. They wouldn't

1269
01:06:18,320 --> 01:06:23,160
Speaker 3: do no three and a half live review two three

1270
01:06:23,800 --> 01:06:26,080
Speaker 3: yo foro and a half, Like, we stopped rehearsal and

1271
01:06:26,120 --> 01:06:29,360
Speaker 3: I immediately went to rextas like, yo, I gotta get this.

1272
01:06:29,320 --> 01:06:33,520
Speaker 12: Ship, hey man. So it's so monumental what you're saying now.

1273
01:06:33,560 --> 01:06:37,320
Speaker 12: Because to even back that up, I remember when La

1274
01:06:37,440 --> 01:06:39,600
Speaker 12: read because it was important to him to call me

1275
01:06:39,640 --> 01:06:43,160
Speaker 12: in every Tuesday, every day, every once a week when

1276
01:06:44,200 --> 01:06:46,920
Speaker 12: radio reports come out. He just wanted me. He was excited,

1277
01:06:46,960 --> 01:06:49,600
Speaker 12: but he knew it wasn't his. He was excited, but

1278
01:06:49,640 --> 01:06:51,960
Speaker 12: he knew this is y'all. Y'all need to be excited.

1279
01:06:52,200 --> 01:06:55,520
Speaker 1: And he said that too. He was on the show

1280
01:06:55,760 --> 01:06:57,080
Speaker 1: four weeks ago.

1281
01:06:57,160 --> 01:07:00,360
Speaker 3: Yeah, yeah, and he definitely said that even like he

1282
01:07:00,400 --> 01:07:04,440
Speaker 3: didn't know the world like he could instantly.

1283
01:07:04,320 --> 01:07:09,120
Speaker 1: Have saved hip. He didn't really know whatever y'all say.

1284
01:07:10,120 --> 01:07:13,160
Speaker 12: Absolutely, but but but he started he started felt, you know,

1285
01:07:13,240 --> 01:07:15,480
Speaker 12: like I owe you to teach you. And he was like, yo,

1286
01:07:16,120 --> 01:07:18,560
Speaker 12: if this market plays your record, it's probably gonna trigger

1287
01:07:18,640 --> 01:07:21,440
Speaker 12: these markets around it. So so shout out to the

1288
01:07:21,440 --> 01:07:23,000
Speaker 12: bay because that's who really jumped.

1289
01:07:23,280 --> 01:07:25,640
Speaker 1: That's who and that broke y'all.

1290
01:07:25,920 --> 01:07:29,600
Speaker 11: Absolutely absolutely, And that makes sense.

1291
01:07:30,040 --> 01:07:31,040
Speaker 1: That makes sense because.

1292
01:07:32,240 --> 01:07:34,480
Speaker 12: Yes, they played the original one. They played the original

1293
01:07:34,520 --> 01:07:38,280
Speaker 12: one Vegas, every other market New York when we had

1294
01:07:38,320 --> 01:07:41,200
Speaker 12: our peak, I'm looking at New York.

1295
01:07:41,240 --> 01:07:42,840
Speaker 1: I'm like, I said, they still.

1296
01:07:42,640 --> 01:07:47,280
Speaker 12: Ain't and he said look at me and said they

1297
01:07:47,400 --> 01:07:49,880
Speaker 12: just yeah. He said, they're just not They're not really

1298
01:07:50,080 --> 01:07:51,880
Speaker 12: fucking with it. But I said, that's all you had

1299
01:07:51,960 --> 01:07:53,880
Speaker 12: to say. We went and soon as soon as he

1300
01:07:53,960 --> 01:07:55,800
Speaker 12: let me know. Soon as he said they didn't like,

1301
01:07:55,800 --> 01:07:57,160
Speaker 12: I said, they don't want to hear all that music ship,

1302
01:07:57,200 --> 01:07:59,360
Speaker 12: then okay, cool, let's break it down. Let's just break

1303
01:07:59,360 --> 01:08:02,120
Speaker 12: it down. Let we was already gold at that point.

1304
01:08:02,240 --> 01:08:04,280
Speaker 12: It was like, we need to give and for you

1305
01:08:04,320 --> 01:08:06,160
Speaker 12: to tell me that Cosmic Kost somebody who was a

1306
01:08:06,200 --> 01:08:09,840
Speaker 12: big influencer in the East Coast, because guess what, everything

1307
01:08:09,840 --> 01:08:13,000
Speaker 12: turned around once we dropped that remix. The whole East

1308
01:08:13,000 --> 01:08:18,880
Speaker 12: Coast lit up for love for Outcasts.

1309
01:08:19,920 --> 01:08:25,840
Speaker 3: You had such a crazy momentum, especially with Outcasts as

1310
01:08:25,960 --> 01:08:31,439
Speaker 3: your main trojan horse, to literally change the narrative of

1311
01:08:31,479 --> 01:08:35,000
Speaker 3: how the world thought Southern hip hop was. This is

1312
01:08:35,000 --> 01:08:38,640
Speaker 3: what I gotta know. As a lead single, Yes, a

1313
01:08:38,720 --> 01:08:45,120
Speaker 3: song being eighty bpms in twenty twenty two, twenty fifteen, whatever,

1314
01:08:45,520 --> 01:08:48,559
Speaker 3: like say, the second half of the arts between twenty

1315
01:08:48,560 --> 01:08:53,240
Speaker 3: ten and twenty twenty is normal, But in nineteen ninety.

1316
01:08:53,040 --> 01:08:55,720
Speaker 1: Six, elevators.

1317
01:08:57,280 --> 01:09:00,240
Speaker 3: And the thing was you know, I asked even off

1318
01:09:00,320 --> 01:09:04,360
Speaker 3: campus Grill, dre and and and Big Boy about this,

1319
01:09:04,880 --> 01:09:10,639
Speaker 3: But I since y'all create, how like that was such

1320
01:09:10,760 --> 01:09:14,080
Speaker 3: a risk y'all could have just played it safe and

1321
01:09:14,280 --> 01:09:16,559
Speaker 3: just kind of fit in.

1322
01:09:16,760 --> 01:09:17,599
Speaker 11: What did it follow?

1323
01:09:17,640 --> 01:09:20,160
Speaker 1: Though? No? But I can tell you this for a fan.

1324
01:09:20,120 --> 01:09:22,080
Speaker 11: Meaning that what do we do before that?

1325
01:09:22,360 --> 01:09:23,160
Speaker 8: It was the single?

1326
01:09:23,920 --> 01:09:27,720
Speaker 1: I mean, what we do before that?

1327
01:09:27,840 --> 01:09:29,479
Speaker 11: What do we do before that? Hip hop wise?

1328
01:09:30,560 --> 01:09:34,760
Speaker 1: I mean it was good. In my it was so.

1329
01:09:34,280 --> 01:09:38,080
Speaker 10: So because they broke the ground with pianos and the

1330
01:09:38,280 --> 01:09:39,160
Speaker 10: this this.

1331
01:09:39,760 --> 01:09:42,799
Speaker 1: Wane with with with self therapy.

1332
01:09:43,280 --> 01:09:46,000
Speaker 11: It was easy for the cast to pick up.

1333
01:09:46,640 --> 01:09:52,000
Speaker 1: It was so different. I promise you that that's a

1334
01:09:52,040 --> 01:09:55,360
Speaker 1: real story behind it. Give it to me, the real story.

1335
01:09:59,280 --> 01:10:04,000
Speaker 1: The music golownin about this.

1336
01:10:04,000 --> 01:10:07,360
Speaker 12: This is the actual This is the actual bees needs

1337
01:10:07,400 --> 01:10:10,599
Speaker 12: this what happened? Antonio read? At this point, we were

1338
01:10:10,640 --> 01:10:13,840
Speaker 12: in a contract negotiation. We were trying to bring our label.

1339
01:10:13,960 --> 01:10:14,880
Speaker 12: We wanted to be a label.

1340
01:10:14,880 --> 01:10:17,000
Speaker 1: We want to out here to sign us Red Clay Records.

1341
01:10:17,040 --> 01:10:19,280
Speaker 12: So if you look at the original versions of Elevators,

1342
01:10:19,280 --> 01:10:21,960
Speaker 12: it's say Red Clay Records. We end up leaving. But

1343
01:10:22,040 --> 01:10:24,320
Speaker 12: so when so we was in a little bit more control.

1344
01:10:24,640 --> 01:10:28,439
Speaker 12: Big and Dre's they first single they produced, right, they produced,

1345
01:10:28,560 --> 01:10:32,559
Speaker 12: They produced it. They produced the first single they produced.

1346
01:10:32,920 --> 01:10:35,800
Speaker 5: They came to Big Boy, came up with this incredible hook,

1347
01:10:35,960 --> 01:10:38,080
Speaker 5: and we produced it in the sense.

1348
01:10:37,880 --> 01:10:39,840
Speaker 12: Of we put derebl on it. We made sound like

1349
01:10:39,880 --> 01:10:42,040
Speaker 12: a big song, so they want to put it out.

1350
01:10:42,040 --> 01:10:43,400
Speaker 12: I looked at it as a setup record.

1351
01:10:44,000 --> 01:10:44,720
Speaker 1: This is a little street.

1352
01:10:44,720 --> 01:10:46,920
Speaker 12: It's gonna be the street Red Streets sing and they

1353
01:10:46,960 --> 01:10:49,160
Speaker 12: read them like, nah, you gotta give me a up Temple,

1354
01:10:49,200 --> 01:10:51,960
Speaker 12: we gotta maybe you got you gotta do you know,

1355
01:10:52,000 --> 01:10:54,360
Speaker 12: all the bases of the food group gotta come. This

1356
01:10:54,439 --> 01:10:58,080
Speaker 12: is our first single moment at l and someone said,

1357
01:11:00,080 --> 01:11:02,080
Speaker 12: it's a fact at Alien. Throw your hands in the

1358
01:11:02,120 --> 01:11:03,519
Speaker 12: air like that. Why I ended up being second. It

1359
01:11:03,520 --> 01:11:05,519
Speaker 12: was supposed to be. It was gonna was gonna go.

1360
01:11:05,880 --> 01:11:07,400
Speaker 12: They was gonna come with that. They had they playing,

1361
01:11:07,400 --> 01:11:09,440
Speaker 12: they had they roll out playing the same reason why

1362
01:11:09,520 --> 01:11:11,200
Speaker 12: he wanted Miss Jackson to be the first single on

1363
01:11:11,400 --> 01:11:14,040
Speaker 12: the other album. But but but since we were in

1364
01:11:14,120 --> 01:11:18,320
Speaker 12: control and we and in the spirit of hip hop, right,

1365
01:11:18,640 --> 01:11:20,839
Speaker 12: thanks we New York, now we Atlanta.

1366
01:11:21,080 --> 01:11:24,439
Speaker 1: Right, I'm saying we powerful a little bit. Fuck it,

1367
01:11:24,479 --> 01:11:25,200
Speaker 1: We're gonna leak it.

1368
01:11:25,520 --> 01:11:29,000
Speaker 5: Right, took off, ship took off. Let's go sh it

1369
01:11:29,040 --> 01:11:32,840
Speaker 5: took off beyond anybody's job. So we took we we

1370
01:11:32,920 --> 01:11:33,360
Speaker 5: leaked it.

1371
01:11:33,439 --> 01:11:34,880
Speaker 8: I wonder how y'all leaked it back then? Did you

1372
01:11:34,960 --> 01:11:35,559
Speaker 8: leak it to a DJ?

1373
01:11:35,680 --> 01:11:39,640
Speaker 12: Yes, we went straight to Grey Street it yet it

1374
01:11:39,680 --> 01:11:42,400
Speaker 12: was it was actually make sure it was probably people

1375
01:11:42,439 --> 01:11:46,200
Speaker 12: like eighty nine point three. It was ninety one on

1376
01:11:46,200 --> 01:11:48,040
Speaker 12: the college. It was a college stations because back then

1377
01:11:48,360 --> 01:11:51,000
Speaker 12: we had been schooled in the fact that that's the

1378
01:11:51,040 --> 01:11:53,519
Speaker 12: only way hip hop is gonna be hurdy. First, mainstream

1379
01:11:53,600 --> 01:11:56,639
Speaker 12: radio wasn't an option. It wasn't even option. It when

1380
01:11:56,720 --> 01:11:58,400
Speaker 12: something you thought was gonna happen. So at least we

1381
01:11:58,439 --> 01:12:00,400
Speaker 12: get there. It was just a real to make a

1382
01:12:00,439 --> 01:12:03,160
Speaker 12: real hip hop community in Atlanta. Outcast was big enough

1383
01:12:03,200 --> 01:12:05,840
Speaker 12: to where and it was a cool record. We didn't

1384
01:12:05,840 --> 01:12:08,559
Speaker 12: and we did a remix where we probably took another

1385
01:12:08,560 --> 01:12:11,519
Speaker 12: one of those good breaks on the Parliament.

1386
01:12:12,400 --> 01:12:23,040
Speaker 1: Yeah, shifted, man, this is my thing. Way how can

1387
01:12:23,160 --> 01:12:28,200
Speaker 1: racist think? Have you ever studied?

1388
01:12:28,320 --> 01:12:30,320
Speaker 8: Has somebody the pictures.

1389
01:12:32,280 --> 01:12:38,120
Speaker 1: Quest A spots out? It's not listen, it's cool. I

1390
01:12:38,240 --> 01:12:38,759
Speaker 1: like this ship.

1391
01:12:38,800 --> 01:12:43,000
Speaker 3: I literally, I'm literally on a producers spread of like

1392
01:12:43,280 --> 01:12:45,040
Speaker 3: just thirty dweebs who.

1393
01:12:44,960 --> 01:12:48,200
Speaker 4: Sit and just all we do, just sit in when

1394
01:12:48,200 --> 01:12:50,200
Speaker 4: I know when I found So Fresh, So Clean, I

1395
01:12:50,240 --> 01:12:52,639
Speaker 4: was like, get then that's not a sample.

1396
01:12:52,720 --> 01:12:55,559
Speaker 1: But I know we know that. What what am I?

1397
01:12:55,640 --> 01:12:55,920
Speaker 9: All right?

1398
01:12:55,920 --> 01:13:00,599
Speaker 1: All right? The record? We never heard the record? This

1399
01:13:00,680 --> 01:13:06,040
Speaker 1: is we titles.

1400
01:13:06,520 --> 01:13:11,000
Speaker 10: I appreciate how the universe worked. Yes, you tune into

1401
01:13:11,040 --> 01:13:12,280
Speaker 10: the frequency.

1402
01:13:11,800 --> 01:13:14,120
Speaker 12: On that when we really and truly didn't never like

1403
01:13:14,600 --> 01:13:18,080
Speaker 12: everything else, I mean on God, we never like like

1404
01:13:18,080 --> 01:13:21,559
Speaker 12: like that was literally like us producing like my ear.

1405
01:13:21,640 --> 01:13:23,719
Speaker 12: I mean like like like sleepy I had a road

1406
01:13:23,840 --> 01:13:27,320
Speaker 12: sleepy playing a melody, he playing a melody, and me

1407
01:13:27,439 --> 01:13:30,960
Speaker 12: programming a beat that fitted the melody or whatever, and

1408
01:13:31,000 --> 01:13:34,040
Speaker 12: we actually created a breakbeat, like like we created a

1409
01:13:34,040 --> 01:13:37,439
Speaker 12: break beat. And then years later somebody say, that's a

1410
01:13:37,520 --> 01:13:42,160
Speaker 12: jazz recordar sounds just like so pressed, So clean. I said,

1411
01:13:42,160 --> 01:13:44,400
Speaker 12: they wed our ship. But she came out in the

1412
01:13:44,439 --> 01:13:47,559
Speaker 12: seventies I'm like, wow. But now let me say this.

1413
01:13:49,320 --> 01:13:52,000
Speaker 5: I never heard the record, but maybe it played when

1414
01:13:52,040 --> 01:13:55,439
Speaker 5: I was dreaming one night, because I swear to god,

1415
01:13:55,439 --> 01:13:56,439
Speaker 5: I went to Rico house.

1416
01:13:56,560 --> 01:13:59,320
Speaker 1: I said, I got this ideal. Man. He's like, well,

1417
01:13:59,360 --> 01:14:07,800
Speaker 1: I'm like.

1418
01:14:06,760 --> 01:14:09,320
Speaker 4: I said, I'm just saying I sat down and read

1419
01:14:10,760 --> 01:14:12,160
Speaker 4: I got a couple like that.

1420
01:14:12,680 --> 01:14:16,320
Speaker 11: But Barry got a couple like that. But something sounds

1421
01:14:16,400 --> 01:14:17,720
Speaker 11: like all the time.

1422
01:14:17,760 --> 01:14:22,599
Speaker 1: It literally happens all the temple. You subconscious, what thing,

1423
01:14:22,720 --> 01:14:23,040
Speaker 1: what thing?

1424
01:14:23,080 --> 01:14:25,719
Speaker 12: You can say for a fact, there eighty eight keys,

1425
01:14:26,280 --> 01:14:30,759
Speaker 12: and I gotta say it felt good to his fingers,

1426
01:14:30,800 --> 01:14:34,880
Speaker 12: the movement. So that's why. Again that sounds like, but

1427
01:14:35,160 --> 01:14:36,240
Speaker 12: they ain't stay there though.

1428
01:14:39,880 --> 01:14:40,560
Speaker 1: It goes.

1429
01:14:44,439 --> 01:14:50,760
Speaker 5: Sound nothing like that, don't sound nothing.

1430
01:14:54,479 --> 01:14:58,479
Speaker 1: We're not okay, no no, no, no, we're.

1431
01:14:57,880 --> 01:15:00,719
Speaker 3: Not even we're not in that whole got the journal,

1432
01:15:02,479 --> 01:15:04,880
Speaker 3: but we are scientists, and just it means that how

1433
01:15:05,360 --> 01:15:07,160
Speaker 3: it gets built.

1434
01:15:07,840 --> 01:15:09,000
Speaker 1: Wait, let me let me just.

1435
01:15:11,640 --> 01:15:11,680
Speaker 10: What.

1436
01:15:12,040 --> 01:15:19,040
Speaker 4: I can't wait, that's what they simple.

1437
01:15:19,439 --> 01:15:23,080
Speaker 1: That was just what they say. Listen to it. Listen

1438
01:15:23,080 --> 01:15:29,280
Speaker 1: to it, right, but everything else right now, it's not like.

1439
01:15:29,240 --> 01:15:33,599
Speaker 12: That's just the to me, this whoever it is DJ premiere,

1440
01:15:34,240 --> 01:15:36,240
Speaker 12: if it's you know, all the great ones. That's why

1441
01:15:36,400 --> 01:15:39,800
Speaker 12: organized noise is respected and is a part of this

1442
01:15:39,800 --> 01:15:41,679
Speaker 12: this class of people. You know what I'm saying, because

1443
01:15:42,000 --> 01:15:45,200
Speaker 12: you spend time. But now they've given they've given the

1444
01:15:45,280 --> 01:15:47,400
Speaker 12: kids so much technology to what they got the notes

1445
01:15:47,439 --> 01:15:49,160
Speaker 12: on the board for him, they're showing. So the music

1446
01:15:49,200 --> 01:15:51,920
Speaker 12: sounds cleaner but very musical, but people don't respect.

1447
01:15:51,600 --> 01:15:53,719
Speaker 1: It as much. It's not as creative because because.

1448
01:15:53,479 --> 01:15:55,439
Speaker 12: We have to do a lot more, we have to

1449
01:15:55,479 --> 01:15:57,960
Speaker 12: like speed things up a little slow it down to

1450
01:15:58,000 --> 01:15:58,679
Speaker 12: get it into.

1451
01:15:59,280 --> 01:16:01,120
Speaker 4: Because you only have a little bit of sampling time,

1452
01:16:01,200 --> 01:16:03,559
Speaker 4: like ten and a half seconds.

1453
01:16:03,600 --> 01:16:06,559
Speaker 1: Can I ask speed it up to? Yeah? How does

1454
01:16:07,200 --> 01:16:11,080
Speaker 1: how does your cousin feel about?

1455
01:16:11,960 --> 01:16:14,599
Speaker 3: Like does he look at you guys like you guys

1456
01:16:14,680 --> 01:16:17,880
Speaker 3: are like like as Future ever asked, Like, no.

1457
01:16:18,000 --> 01:16:20,400
Speaker 1: Man, Future, do some sh it on my record? Or

1458
01:16:20,680 --> 01:16:23,000
Speaker 1: yes he did? He did. He did that and I

1459
01:16:23,000 --> 01:16:24,800
Speaker 1: hated it because I mean I hated it. I loved it.

1460
01:16:24,880 --> 01:16:26,559
Speaker 12: I love the thought of doing it, but the fact

1461
01:16:26,600 --> 01:16:28,960
Speaker 12: that like he wanted to do it because he wanted

1462
01:16:28,960 --> 01:16:31,519
Speaker 12: the song that sounded like back in the day, and

1463
01:16:31,560 --> 01:16:32,599
Speaker 12: that's cool, but we.

1464
01:16:32,520 --> 01:16:34,280
Speaker 1: Want a song that sounds like right now.

1465
01:16:34,640 --> 01:16:37,000
Speaker 12: So let's evolve, Let's come together and do something that's

1466
01:16:37,080 --> 01:16:39,519
Speaker 12: not just some old sound and ship but some new

1467
01:16:39,560 --> 01:16:41,759
Speaker 12: sound and ship with the old, with the with the familion.

1468
01:16:41,920 --> 01:16:44,400
Speaker 1: Can you'll just do both? Yeah, that's what That's what what.

1469
01:16:44,439 --> 01:16:46,080
Speaker 8: I what happened anyway?

1470
01:16:46,120 --> 01:16:47,759
Speaker 1: Right? I mean you are well.

1471
01:16:48,080 --> 01:16:49,840
Speaker 12: I got a whole I got a whole album on

1472
01:16:49,960 --> 01:16:53,120
Speaker 12: him anyway, but I want to do wherever I got

1473
01:16:53,200 --> 01:16:55,719
Speaker 12: him wrapping over everything. Future, I got f man Future.

1474
01:16:56,200 --> 01:16:57,920
Speaker 12: It's my cousin if I want it, and if we

1475
01:16:57,960 --> 01:17:01,080
Speaker 12: wanted to, Yeah, futures like like like we wanted to,

1476
01:17:01,200 --> 01:17:04,519
Speaker 12: we could with what's working for him or whatever. Is Like,

1477
01:17:05,640 --> 01:17:07,599
Speaker 12: it's maybe not because the song we did, he did

1478
01:17:07,600 --> 01:17:10,440
Speaker 12: some Andre three thousand, did Somerey three thousand rhyming.

1479
01:17:10,200 --> 01:17:12,080
Speaker 1: Under whatever, and it was dope. I just think that,

1480
01:17:12,120 --> 01:17:15,640
Speaker 1: to be honest, it was just it sounds. It was.

1481
01:17:15,720 --> 01:17:16,320
Speaker 1: It was dope.

1482
01:17:16,600 --> 01:17:19,360
Speaker 12: But me and Ray had a version that we had

1483
01:17:19,479 --> 01:17:21,519
Speaker 12: kind of like made it a little more futuristic, and

1484
01:17:21,560 --> 01:17:24,120
Speaker 12: it was stupid and they and they didn't they didn't

1485
01:17:24,120 --> 01:17:24,960
Speaker 12: want to use that one.

1486
01:17:25,200 --> 01:17:26,320
Speaker 1: So I've been mad since.

1487
01:17:29,520 --> 01:17:32,080
Speaker 4: Yeah, what's up, everybody? This is Fante Fonte The Love

1488
01:17:32,120 --> 01:17:35,200
Speaker 4: for Quest, Love Supreme. This interview was so meaningful for me,

1489
01:17:35,439 --> 01:17:37,479
Speaker 4: and I'm sure I can tell whether you listened along

1490
01:17:37,560 --> 01:17:40,280
Speaker 4: or watching this on YouTube. I was losing my mind

1491
01:17:40,400 --> 01:17:43,120
Speaker 4: and just geeking out the entire time. We're pausing this

1492
01:17:43,160 --> 01:17:45,680
Speaker 4: two part discussion here for now, but please make sure

1493
01:17:45,680 --> 01:17:47,360
Speaker 4: you come back for part two for the quest Love

1494
01:17:47,439 --> 01:17:51,360
Speaker 4: Supremes Atlanta sit down with the Gods Organized Noise.

1495
01:17:51,640 --> 01:17:53,440
Speaker 1: We continue to speak about outcasts.

1496
01:17:53,800 --> 01:17:56,040
Speaker 4: Learn one of the biggest R and B hits began

1497
01:17:56,200 --> 01:17:58,840
Speaker 4: as a beat for a Dungeon Family MC and also

1498
01:17:58,880 --> 01:18:01,040
Speaker 4: did a deep dive into summer their best works.

1499
01:18:01,479 --> 01:18:03,280
Speaker 1: This was This was amazing.

1500
01:18:03,680 --> 01:18:05,640
Speaker 4: Check it out, Quls Fontello.

1501
01:18:05,920 --> 01:18:17,200
Speaker 1: Yeah, What's Love Supreme is a production of iHeartRadio. For

1502
01:18:17,320 --> 01:18:21,520
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1503
01:18:21,960 --> 01:18:23,679
Speaker 1: or wherever you listen to your favorite shows.