Speaker 1: Quest Love Supreme is a production of iHeart Radio Supremo.
Speaker 2: Role supram Supremo, Role Supremo Roth.
Speaker 3: My name is Questlove and I don't flake yea and
Speaker 3: at yl Yeah.
Speaker 1: Right, Supreme Supremo Upbravo Supremo.
Speaker 4: My name is Fante and I'm gonna speak my cloud.
Speaker 5: Yeah.
Speaker 1: Organized taught me.
Speaker 4: Yeah, trying to get you out.
Speaker 6: My name is Sugar yeah, and I apologize this may
Speaker 6: get noisy and unorganized.
Speaker 7: Well, right, Supreme, it's my ear yeah, and I'm over
Speaker 7: joy Yeah.
Speaker 8: It's like I'm back in college again.
Speaker 9: Organized joying, Okay, I Marico yeah, and I'm part one,
Speaker 9: part one.
Speaker 1: Yeah. So Supreme roll down.
Speaker 10: So this is Yoda Yeah, and you know I hold
Speaker 10: it down yeah, organized noise. Yeah, we all in time,
Speaker 10: come pray.
Speaker 5: My name is Sleeper, yeah, and I'm the smoothest. You'll
Speaker 5: never find another mother that could do this.
Speaker 1: In my mind is like we'll probably do that.
Speaker 7: Roll sound.
Speaker 1: Roll all right, where's my where's my manager? Yeah? He
Speaker 1: was like, you didn't sign up for this, You did
Speaker 1: not sign up for this. I'm like, boy, you did
Speaker 1: not do a good job. You're good, bro.
Speaker 5: You made enough classics to sustain Oh no, My probably
Speaker 5: is gonna reason why I gon'na go viral.
Speaker 1: Well, that's a good thing.
Speaker 3: In twenty two, ladies and gentlemen, welcome to another episode
Speaker 3: of Quest Love Supreme at l Addition. We are in
Speaker 3: Atlanta talking to a lot of the greats. What can
Speaker 3: I say, Ladies and gentlemen, We are here with three
Speaker 3: gentlemen who have built a movement, a sound, of way
Speaker 3: of life, literally putting not even a section of the
Speaker 3: because that's that's just very reductive. But I mean they
Speaker 3: literally changed the scope of music as we know it
Speaker 3: and of creativity as we know it. You know, some
Speaker 3: of the blackest shit ever, some of the most afrofuturist
Speaker 3: shit ever, what you call legacy from George Skyler or
Speaker 3: down the sun Rod, down the p Funk and when
Speaker 3: the baton came in their their hands, they created magic.
Speaker 3: Simply put, I'll say, one of the most respected and
Speaker 3: in some producer's eyes, most feared men.
Speaker 1: Dogs. Yeah, I won't even talk about us, like listening
Speaker 1: to a new album like they did what Nigga?
Speaker 3: When I heard main stream, I wanted to jump out there,
Speaker 3: know what it is like you can give loop literally, Yeah,
Speaker 3: I've never I never had.
Speaker 1: A production collective. That just makes me like, damn, why
Speaker 1: don't I think of that ship?
Speaker 3: Seriously, it's this is long time overdue, and you know
Speaker 3: all the classic lpiece they've been involved in that that
Speaker 3: they had their hands in from all the entire like Outcast, Cannon, Uh,
Speaker 3: Goodie Mob, Cannon, Parent Advisory, some cut of Calhoun Joy Vote,
Speaker 3: Oh god, I totally forgotten the last Awesome great Yes,
Speaker 3: the names go on, dude and for on the real
Speaker 3: I don't know if crazy, sexually cool would have been
Speaker 3: what it was without ladies and gentlemen. It's it's actually happening.
Speaker 3: We've been talking about this forever. Welcome Rica, Wait Ray,
Speaker 3: Murray and the One and Only. I cannot believe Sleepy
Speaker 3: Brown is on Quest Love Supreme, Organized Noise, Thank.
Speaker 1: You Man, too much good music listen. So this is
Speaker 1: rare for us because like I prefer one on one.
Speaker 3: Shows where we get the grill people like it's I mean,
Speaker 3: Steve joke that this looks like peace negotiations.
Speaker 1: Happening, right, Like what you did?
Speaker 3: I feel like it's beat between Sleepy and Sugar Steve
Speaker 3: over here.
Speaker 6: I want to negotiating my contract.
Speaker 1: Yeah no, but this this will be really interesting.
Speaker 3: And as I said, we're in Atlanta right now and
Speaker 3: I'm hoping to get all the edgumacation and all the
Speaker 3: questions I want to answered about just the sound that
Speaker 3: you guys have crafted for the last thirty years.
Speaker 1: Damn there.
Speaker 3: So I guess I'll start, well, I know your lineage
Speaker 3: runs deep. I know all your lineage runs deep, but
Speaker 3: especially sleepy, being the sign of the legendary Jimmy Brown Brick,
Speaker 3: I'll start with you. Can you tell me what your
Speaker 3: first musical memory was.
Speaker 5: I was six years old, right, and it was my
Speaker 5: first concert I went to and I was with my
Speaker 5: grandparents and uh.
Speaker 1: We get to the concert and uh walk on side
Speaker 1: the stage.
Speaker 5: And my dad don start performing, and uh when I
Speaker 5: seen them do dads right, my mouth dropped and I
Speaker 5: look back at my grandmom when I said, this is
Speaker 5: what I want to do.
Speaker 1: Period. I knew I want to do music.
Speaker 5: As soon as I saw my dad playing them horns
Speaker 5: and everybody screaming and going crazy, I was just.
Speaker 1: Like, I gotta do this, this is this is what
Speaker 1: I have to do.
Speaker 5: And plus, you know, my mom would buy me Jackson
Speaker 5: five albums every Christmas right.
Speaker 1: You know.
Speaker 5: So I was like the six Jackson plus I was
Speaker 5: in Brick Right and Commodoors and I was in everybody group.
Speaker 5: So my first experience of music was the greatest era
Speaker 5: of music to me was the funk era and the
Speaker 5: disco era. No music has been made more beautiful than that.
Speaker 5: So that's my whole.
Speaker 1: Being, you know what I mean?
Speaker 5: No matter what, That's why they called me funk or not,
Speaker 5: because if they ain't funky, I ain't doing.
Speaker 3: I funks with that eschewing dazz and music and ain't
Speaker 3: gonna hurt nobody. The captain obvious break is do you
Speaker 3: have a favorite Brick song that isn't a hit or anything?
Speaker 1: Yeah? Yep? Fun What of them happy? Happy?
Speaker 3: You know what I was gonna say, Damn, I always
Speaker 3: always say, but I've alway confessed that I'm kind of
Speaker 3: working on Sultry right. I was like preface with like,
Speaker 3: I'm not supposed to say this, but no, I'm getting
Speaker 3: to the seventy seven episodes, and I gotta say, your
Speaker 3: dad was a charismatic motherfucker even when performing Happy on Soultitery,
Speaker 3: Like I just.
Speaker 5: But they always had the biggest smile it's like we
Speaker 5: saw him perform. He was just excited and happy to
Speaker 5: perform for people. And he's always been that way. When
Speaker 5: he was younger, he had had a band in Savannah
Speaker 5: that did a couple of records, Jimmy and the Mighty Sensations,
Speaker 5: that did pretty good. So he's always always loved music
Speaker 5: till this day.
Speaker 1: You know what I mean.
Speaker 5: I'm working on the album right now with him. We're
Speaker 5: doing like an instrument Yeah, instrumental jazz. So he played flute, trombone, ato, sax,
Speaker 5: every horn you can put in front of him and
Speaker 5: kill it.
Speaker 1: Living from the Mind was also one of my favorite. Yes, sir,
Speaker 1: that Baseline killed me and uh uh Somerset uh summer
Speaker 1: telling them White album coming. Yeah, yeah, I know that.
Speaker 3: You wait, Brick Trivia, have you heard this tipbit about Prince?
Speaker 3: Do you know the story? So Prince was such a
Speaker 3: fan of Brick. What do you know that he wrote
Speaker 3: get it Up? He wrote that for Brick and they
Speaker 3: rejected it. We interviewed Mars, I'll do it for you
Speaker 3: sound effects, sound yeah, Mars, and we I mean we've
Speaker 3: had damn near I remember at the time or except
Speaker 3: Terry Lewis Terry Lewis. But yeah, when we asked Mars
Speaker 3: about him and Prince Craft in the first record, you know,
Speaker 3: he told us that he's playing drums on everything. He
Speaker 3: was like, when we may get it Up for some reason,
Speaker 3: like Prince was really into not for some reason, I
Speaker 3: mean everybody was into it, but.
Speaker 1: Man, you just blew me.
Speaker 3: Yeah, Prince had wrote get It Up for Brick to
Speaker 3: be whatever the album is with with the Green where
Speaker 3: was like, it's like the Green Leaves just for that album.
Speaker 1: They rejected it. You gotta talk to your dad about that.
Speaker 1: What you're doing. Yeah, man, there you go. That's crazy
Speaker 1: all right. So, Ray, what is your first musical memory?
Speaker 10: Me and my brother and sister used to turn the
Speaker 10: lights off and dance around two flight time, Yes, sir,
Speaker 10: the airplane land NAS New York state of mind. So
Speaker 10: early on, I kind of like my father's jazz head.
Speaker 10: So he he had all of this music which was
Speaker 10: like everything that we ever heard in hip hop. You
Speaker 10: feel me, all of this ship that cat sample, that's
Speaker 10: the ship that I grew up with playing in the house.
Speaker 1: Yeah, all three of you are born in Atlanta. I
Speaker 1: was going, okay, Yeah, I was born and you Where
Speaker 1: were you born? Im about to say you gotta have
Speaker 1: me swag boys, I know where are you born? Where?
Speaker 11: I was going to Pittsburgh, Pennsylvania.
Speaker 1: Yes, yes, my mom is from Pittsburgh.
Speaker 11: But I grew up before we came to Atlanta.
Speaker 10: We came to Atlanta with MANA Jackson when he took
Speaker 10: over the city, when he became the first black man.
Speaker 1: Right.
Speaker 10: My fathers and mother were in Tuskegee, Alabama. So I
Speaker 10: grew up in Tuskegee pretty much Alabama.
Speaker 3: Okay, I got roots there too. Shout out to Mobile,
Speaker 3: not TEXIV, but Mobile. All right for you, Rico, What's
Speaker 3: what's your first musical memory?
Speaker 12: Oh man, Even with listening to their memories, I was
Speaker 12: mine is as simple as That's good now. It's the
Speaker 12: simple ast him music on the radio, because you know
Speaker 12: what I'm saying, I didn't really hit it. We didn't
Speaker 12: have a car when I was younger, so I didn't
Speaker 12: really hit the radio until like Mama was cleaning up
Speaker 12: or something, or or when I finally just went into
Speaker 12: that back room we had an extra room, and I
Speaker 12: just kind of went to digging.
Speaker 1: Guo.
Speaker 3: Yes, the guest room and all the junk sits in the.
Speaker 12: Man finding more than records back there one day back
Speaker 12: but the records nothing, no.
Speaker 1: A bunch of fact.
Speaker 12: Yes, yes, money, but like Donald Summer and like the
Speaker 12: Ring My Bell and all that kind of stuff with
Speaker 12: some of the records and Iley Brothers. Yeah, I was
Speaker 12: seeing that stuff as records. But on the radio when
Speaker 12: she was it was just the energy of house. She
Speaker 12: would be a different person when the music came on
Speaker 12: and she turned up loud and she cleaning up. Some
Speaker 12: people always made that. I always say, you know, I
Speaker 12: like to play my music when I'm cleaning up. I
Speaker 12: really understood what that meant. It's like I feel good today.
Speaker 12: I mean today is this is what I'm doing. I'm
Speaker 12: going for I need to feel good.
Speaker 8: You need to feel good what I'm getting this.
Speaker 12: Yeah, So my examples of music, and another one at
Speaker 12: a young age was my first little job when I
Speaker 12: was like ten years old, just unloading the back of
Speaker 12: eighteen or like.
Speaker 1: A truck or whatever.
Speaker 12: They used to play the radio, and I just remember
Speaker 12: that made it go by. So the music music was
Speaker 12: always a I didn't never think I could necessarily be
Speaker 12: able to make it. They never think I would be
Speaker 12: a part of the business. But I knew how important
Speaker 12: it was and how much I did, how much it
Speaker 12: did for me just at that young age, and didn't
Speaker 12: even know who, didn't know exactly who, none of the
Speaker 12: artist was. Just knew that at that time being a
Speaker 12: man of my age, which is fifty. During that time
Speaker 12: nineteen eighty, I was eight.
Speaker 1: So like like.
Speaker 12: What he's talking about, like soaking up, sir at the
Speaker 12: right time. It's the end of the seventies. So we
Speaker 12: but they still loan it. As far as the albums,
Speaker 12: I could still see album I still saw eight tracks,
Speaker 12: you know what I'm saying. I still wrote in cards
Speaker 12: when we did that, actually had an eight track.
Speaker 1: In it, so collect them. Wow.
Speaker 12: But your knowledge of a brick is amazing because even
Speaker 12: when when I found out who his father was or whatever,
Speaker 12: you just thought about that's ice cube song.
Speaker 1: Yes, vasline, that's the song that you got back. That
Speaker 1: was deep. I was so happy when they did.
Speaker 4: How did you feel about like a lot of other
Speaker 4: artists have sampled before that.
Speaker 1: You know, Kid played the Ain't Gonna hurt nobody? You
Speaker 1: know him? Did he did? It's all good? It was
Speaker 1: yeah good.
Speaker 5: So but when I heard Q on one of the
Speaker 5: coldest disc records.
Speaker 13: Ever all the time, bro my hat like Jenny, So
Speaker 13: I was, man, that's still one of my favorite Man.
Speaker 5: I still play that records and like I'm in the
Speaker 5: mirror and I'm cute and let me shut up.
Speaker 3: So I have a lot of musician friends that are
Speaker 3: in uh Atlanta, like uh little John Roberts used to
Speaker 3: live down in Philly. However, there were four musician friends
Speaker 3: of mine that gave me theory on how.
Speaker 1: They got so advanced in their musicianship.
Speaker 3: Now, you mentioned you'd be in fifty that you were
Speaker 3: eight back then, and I know that one of the
Speaker 3: most crucial points in the timeline in a black person's
Speaker 3: life in Atlanta history, of course, and if you're eight
Speaker 3: years old were the Atlanta murders. And what my friends
Speaker 3: told me was like, basically because their parents were strict,
Speaker 3: like yo, you ain't going outside, you know, I pick
Speaker 3: you up for school.
Speaker 1: You stay in the house.
Speaker 3: And because of that specific late sixties early seventies generation
Speaker 3: told to stay in the house, they just got more
Speaker 3: advanced than their music.
Speaker 1: Can you explain to.
Speaker 3: Us, like how that period affected you guys, Like were
Speaker 3: you fully aware that many young black kids were getting
Speaker 3: kidnapped and all those things, and like were your parents
Speaker 3: like no, you you know.
Speaker 12: It was prime time for us. And the fact that
Speaker 12: I lived in apartments, single parent. Mom she went and
Speaker 12: she worked, so it was latchkey kid right. So so
Speaker 12: then I had two little sisters like six and five
Speaker 12: years younger, like, so it was like and you have
Speaker 12: to watch them, yeah, and I had to watch them.
Speaker 1: So it was almost like I was trained. I was wrong.
Speaker 12: Mom had got me ready the knife behind here to
Speaker 12: whoop over here like pistol over on top of the closet,
Speaker 12: and yeah, like everything was She treated me as a
Speaker 12: young adult because she was like, I mean, I don't
Speaker 12: wanted them white folks doing this, right, So she was scared,
Speaker 12: so she was like, you can't outrun the because stop
Speaker 12: thinking that.
Speaker 1: Oh, ain't gonna get me. I'm too fas, I promise
Speaker 1: you police can't get me. Mop I'm dropping fishes one
Speaker 1: league like she said. She said, she said, dope, you.
Speaker 12: Know, and then just trying to get rid of all
Speaker 12: y'all they trying to just scoop them up. But and
Speaker 12: she just made me believe that it was something that
Speaker 12: it actually necessarily was, but it wasn't because it was
Speaker 12: a lot going on Inland.
Speaker 1: It was the bevideo games. Video games that just touched down.
Speaker 12: So that's why when I disscovered them, them dollar pieces
Speaker 12: in that in that back room.
Speaker 1: Yes, you want to just go hit the arcade.
Speaker 12: And we had an arcade downtown Atlanta and the Omni
Speaker 12: An Arcade at It's like the arcade is where you
Speaker 12: first started meeting that.
Speaker 5: The people, the people who do music, the people who
Speaker 5: were eventually was gonna be the people, the dancers, the
Speaker 5: people who loved New York and knew that we would
Speaker 5: get shunned for acting that way, but people still would
Speaker 5: do it, almost to the.
Speaker 12: Point where like, I want to be different, you know
Speaker 12: what I'm saying. Didn't know that being I don't want
Speaker 12: you don't necessarily want to be copying somebody else.
Speaker 1: But that's different that that dudes. You had some dudes
Speaker 1: that was straight and lit and tell you they was.
Speaker 12: So as far as the child murders, we community centers.
Speaker 12: So like people got a chance to do a boy scout.
Speaker 12: They was trying to get you to do summer camps
Speaker 12: that they had at the city. Had put a whole
Speaker 12: thing together to where they was giving out t shirts.
Speaker 12: I remember these, these these classic teacher as will say,
Speaker 12: eighty eighty one, eighty two. And then it kind of
Speaker 12: let you know that my mama care about me because
Speaker 12: she made I went to the camp kids who don't
Speaker 12: go to camp, like, man, this shit, excuse me.
Speaker 1: This is free.
Speaker 12: In yeah, this is free and so like it's just
Speaker 12: seemed like and those people was also bringing it to
Speaker 12: you too as well as far as making sure that
Speaker 12: you know, be with a friend, stop trying to do
Speaker 12: stuff by yourself. So so that little fear was kind
Speaker 12: of how you should have felt as a young adult anyway.
Speaker 12: But the city was so active about it or whatever
Speaker 12: as far as no trick or treating you know what
Speaker 12: I'm saying, like, and eventually grew until y'all can go
Speaker 12: to the mall and do it. But really it was
Speaker 12: like when you get home at three thirty or whatever,
Speaker 12: go in the house at four o'clock like it was
Speaker 12: a curfew.
Speaker 1: It wasn't apparent. It was like eighty eighty one these two.
Speaker 3: Years, yeah, because he had numbers.
Speaker 10: Nine was when we first started this year, and then
Speaker 10: eighty was the year was the second year.
Speaker 11: That's when everything got like just what we're doing.
Speaker 12: That's when I starteding eighty one. When it was it
Speaker 12: was like I wasn't eve tripping about it. Then by
Speaker 12: that point point it was like like it was it
Speaker 12: was more like yeah, we trained, we was trained in
Speaker 12: or whatever like. But but I do remember saying like
Speaker 12: like damn, we don't get the freaking.
Speaker 1: That they used to be.
Speaker 12: Like Halloween used to be cool because everybody show up
Speaker 12: at school. Didn't we have even a little Halloween. Then
Speaker 12: they started doing a little carnivals at the school. The community
Speaker 12: kicked in. I got to say that, like and watching
Speaker 12: the special that HBO did or whatever, like it was
Speaker 12: most definitely informative. It most definitely enlightened me on a
Speaker 12: lot of things that I thought was going on, and
Speaker 12: it kind of like brought validity to what I knew
Speaker 12: what was happening. But I knew it wasn't just that
Speaker 12: because a culture of because we Atlanta's a melting pot,
Speaker 12: you know what I'm saying, Like, you know you got
Speaker 12: San Francisco, but Atlanta's We had gay laws put in
Speaker 12: place when I was younger as well because of because
Speaker 12: of disrespect, you know what I'm saying, Like somebody just
Speaker 12: wanted to be you know, because of racism, because we
Speaker 12: founded racism in a great way that we was on
Speaker 12: top of that before it became a worldwide thing or
Speaker 12: whatever as far as dealing with you know, different people
Speaker 12: of because.
Speaker 8: That explains why Atlanta is such a mecca for that
Speaker 8: community as well.
Speaker 3: America's democracy lies in the hands of Atlanta or Georgia.
Speaker 1: Period. Yeah.
Speaker 12: Absolutely, so with all those things are because of the
Speaker 12: Wayne Williams.
Speaker 1: My dad and me like that's the number one conspiracy theory.
Speaker 5: Yes, I'm so, you said, Wayne Williams, because I still
Speaker 5: say in my mind Walter Clyde Orange of the Commodore.
Speaker 1: Had those classes that whatever.
Speaker 3: But I never, I never truly felt that it was him,
Speaker 3: especially with what's happening now so unhinged.
Speaker 1: I always felt like it was something else and some
Speaker 1: other people.
Speaker 12: Yeah, I think it was a collective. It was a collective.
Speaker 12: I think people took advantage of about it. It was
Speaker 12: like it was happening or whatever. And that's why the things,
Speaker 12: the numbers, yes, and the things that I'm telling you,
Speaker 12: all the stuff that was reinforced. It's the reason why
Speaker 12: we didn't lose more because it was thirty two kids.
Speaker 12: It was thirty two, it was like thirty one thirty
Speaker 12: two kids, it was like, I mean.
Speaker 11: Well, technically it was more than that.
Speaker 10: It has never stopped the word yes, I mean I
Speaker 10: mean Atlanta's the center for sex trafficking.
Speaker 11: Yeah, yep, so it technically has never stopped.
Speaker 10: You just don't hear about it being associated with Wayne
Speaker 10: Williams but abducted missing, that hasn't changed at all.
Speaker 1: Yeah.
Speaker 12: Yeah, but now though, with the fact that you have
Speaker 12: people illegal, Like when I was younger, Beefer Highway, it
Speaker 12: was like it was you know, it was Spanish a
Speaker 12: little bit. But now like we have completely Atlanta. It's
Speaker 12: not just a mecca for black people. It's Latinos, it's Asians.
Speaker 12: We have everybody here working to That's going to say
Speaker 12: it's working together, but but been work been living together
Speaker 12: for long enough to when now they know each other,
Speaker 12: everybody cool.
Speaker 8: It's been a good decade for your your like divers diversifying, gentrification.
Speaker 10: But back to your question, your question, you said something
Speaker 10: about it the h did that affect you in No,
Speaker 10: it's the neglect that made Atlanta artists perfect their crafts
Speaker 10: and talent shows, high school events. You feel me because
Speaker 10: there was no outlet, So you had, yeah, you had
Speaker 10: a bunch of high talent competing against itself without any
Speaker 10: kind of visualization in terms of everybody else.
Speaker 3: So that said, uh, what is your version of Okay,
Speaker 3: Like I know the history of the Bronx and the
Speaker 3: Cold Crust Brothers, and so what is Atlanta's first generation.
Speaker 1: Hip hop history? Rahim the dream?
Speaker 12: Yes, but I'm all independent, but I'm gonna say this though,
Speaker 12: I'm gonna say this, So SOS band or like what's
Speaker 12: the group Brick? How you to my brick? Atlanta had
Speaker 12: a band culture in the seventies. Yes, came toon roles.
Speaker 12: So when so when the drum machined start kicking in,
Speaker 12: that's they might have turned down the print song if
Speaker 12: he had drum drum beats in it because they were
Speaker 12: such a live just like how the Roots was early on,
Speaker 12: Like it's such a live thing. That's what made the
Speaker 12: package that they so like with that Brick had a
Speaker 12: studio twenty five sixty, A lot of studios that was
Speaker 12: in Atlanta, Like when that j pace they used was
Speaker 12: either a church or an old musician from a band
Speaker 12: group from Atlanta who left something there. So that was
Speaker 12: like for me, like to me, that's where the musicianship
Speaker 12: started at. But as far as when the drum machines,
Speaker 12: like Ray was saying, the talent shows, it was almost
Speaker 12: like we couldn't necessarily do music. We didn't have the
Speaker 12: culture that crushed brewed like or whatever, like like we
Speaker 12: had Shaddy, you got right here in the dream. You
Speaker 12: got these groups, these artists that are coming out, but
Speaker 12: really they are somewhat emulating what we love about New
Speaker 12: York but doing it down South style. So but the
Speaker 12: fact that like the DJ and the fact that we
Speaker 12: took on the other aspects of it, it wasn't it
Speaker 12: was like our movement was why I guess we got culture.
Speaker 12: It's like we was into the style, like like you
Speaker 12: would see people dressed like the fat laces shoe lakes.
Speaker 1: I mean, inde is the shoelaces.
Speaker 12: We literally mimicked a New York culture and the Miami culture,
Speaker 12: like from gold teeth to the to the big ear rings.
Speaker 12: It's really what you see and what you want to
Speaker 12: see or whatever. So like for me, our most original
Speaker 12: stuff was us being having an original style of dance
Speaker 12: or a dress, coming up with our crazy hair when
Speaker 12: we was wearing perms and binga ways it was really country.
Speaker 1: It turned up like like.
Speaker 7: We was doing that too year, not the dudes, but yeah,
Speaker 7: the girls were definitely doing all the dues.
Speaker 14: It was the dual player players dry fast.
Speaker 8: It sounds like d.
Speaker 1: Shouts out. They definitely like also credit.
Speaker 3: Jermaine said that, you know, he had to go to
Speaker 3: New York part of it and live in New York
Speaker 3: and kind of bring it back. And even with like
Speaker 3: Chris crossed his first record, like half those breakbeats came
Speaker 3: from literally from like you know what this but whenever,
Speaker 3: like mugs would leave the studio after work on Cyprus
Speaker 3: Hill and like the sounds would still be in there,
Speaker 3: which is.
Speaker 1: Why like, uh, the midnight theme loop is in jump
Speaker 1: like you too much?
Speaker 12: Knowing that he's not telling too much at all, because
Speaker 12: that's that really makes because the most sense because we three,
Speaker 12: it's three of us, so it's not just Ray, it's
Speaker 12: not just me, and it's it's like we all have
Speaker 12: a certain amount of history. And the way we did
Speaker 12: because we did like we're gonna spend as much time
Speaker 12: as you won't talk. We went into New York. We
Speaker 12: flew me and raced it, fly to New York, like
Speaker 12: when we got bigger royalty.
Speaker 1: Checks or something.
Speaker 12: Instead of going to the mall, instead of going about
Speaker 12: all the new designer stuff, We'll go to New York,
Speaker 12: get hotel rooms the street he raised, pizza, and go
Speaker 12: to all the Jewish little stores and buy up everybody,
Speaker 12: all of them.
Speaker 1: We got.
Speaker 12: We got some, what he said to day, I got some,
Speaker 12: not Pete Rock, but he said he said QI it was,
Speaker 12: but it was more than Q two whoever. He said, Yeah,
Speaker 12: I was holding these and I was professor president.
Speaker 1: You would go to record where we found him. See.
Speaker 10: But our discovery of New York as a source right
Speaker 10: was only because we had like Pilford, Atlanta, Yeah, and
Speaker 10: the South, because you know, everybody got a record collection.
Speaker 3: I was about to say the best records I've ever
Speaker 3: found were below yeh line.
Speaker 1: Absolutely.
Speaker 12: But when we first started from my forty five, I'm
Speaker 12: talking about Carmine and Bleek. About this dude he went
Speaker 12: in the back. He already identified where the breaks came
Speaker 12: in at. He had already because all he does was
Speaker 12: the old man sitting least at those the spots he
Speaker 12: would hit it.
Speaker 1: He's like, yeah, so.
Speaker 12: He didn't know kind of money we had. He was like, yeah,
Speaker 12: you know, I charged like forty or fifty for these.
Speaker 12: I was like, cool, how many you got? Were dropping
Speaker 12: bags thousands of dollars, And each time we got a break,
Speaker 12: we like, that's an original One thing about one thing
Speaker 12: about hip hop, originality is the most important thing because
Speaker 12: it inspires and motivates. Yeah, so if you come up
Speaker 12: with something, even if you didn't do it the best,
Speaker 12: you just presented it to the world. So somebody else
Speaker 12: is gonna rip it another day or whatever. Right in
Speaker 12: these first little eighteen months. They can't come behind you
Speaker 12: with it. It's got to be your lane only right now.
Speaker 12: So as many breaks as we had, it was up
Speaker 12: to just making records that coincided or whatever. But our
Speaker 12: that was that was our lifeline. Once we made it
Speaker 12: into the music industry, we felt like as long as
Speaker 12: we were digging, we were reading books and we were learning,
Speaker 12: and that's what New York had forgot for a little while.
Speaker 12: They got caught up into they've done out, and that's
Speaker 12: why the South got in there because we didn't.
Speaker 1: It looked like they let us in with master p
Speaker 1: and cash money.
Speaker 12: It was like, that's because they fucked up and then
Speaker 12: fucked with us early on when we would we were
Speaker 12: a brother. That's why it's called the East Coast because
Speaker 12: Atlanta's on the East Coast.
Speaker 1: It's a DC's on the East Coast.
Speaker 12: It's like all of all these places are reminiscent of
Speaker 12: hip hop, even though we give all the credit to Bronx,
Speaker 12: give all the credit to New York Brooklyn, because it's
Speaker 12: deservingly so. Like like we always looked at New York
Speaker 12: as the father and the Los Angeles as the mother,
Speaker 12: and we were the child that came from. And that's
Speaker 12: why he said from neglect, that's where Atlanta came from.
Speaker 12: The fact that that that neglect was enough to try
Speaker 12: to figure it out on your own.
Speaker 4: Now coming up in the South, like we I tell
Speaker 4: you all the time, like we had to study everything.
Speaker 4: So it's like, you know, it wasn't just if you
Speaker 4: came up in New York. You might have knew what
Speaker 4: was going on if you lived in Brooklyn, or you
Speaker 4: might have knew who the hot dude was over here.
Speaker 4: But in the South, we had to know everything. You
Speaker 4: had to know all right, this is New York, this
Speaker 4: is the Midwest, this is this is Texas, this is Houston,
Speaker 4: Like you know what I mean, and it just made
Speaker 4: it always made for me. It just gave me a
Speaker 4: grade of vocabulary. You know what I'm saying, and you
Speaker 4: know what I mean, just knowing everything because you had to.
Speaker 1: Know it well. First of all, how did you three meet?
Speaker 1: Mm hmmm. We met very very sea. Music. Music is
Speaker 1: why we met. Music is how we met.
Speaker 5: There was this girl I was dating at the time,
Speaker 5: he named Cookie. She knew Rico, she knew T Bars
Speaker 5: very well. Okay, so and she went T Bars then
Speaker 5: she was this was t So. I was in the
Speaker 5: dance group in all of high schools started that was
Speaker 5: kind of like the bomb we used to go around
Speaker 5: girls just scream all the stuff. So facts facts. So
Speaker 5: Cookie told me. Now I don't know how true this is.
Speaker 1: Well.
Speaker 5: Cookie told me that wanted wanted me to meet Rico,
Speaker 5: and Rico wanted to meet me. So I was like, cool,
Speaker 5: So we go. Me and Cookie go over with Tion's
Speaker 5: house which is in East Point, walk up to his.
Speaker 1: Job, tea stuff outcasts came in and.
Speaker 5: Then I walk in. You know what I'm saying, and Cook,
Speaker 5: You're like, yo, Rico, this this pant he was like.
Speaker 5: So it's like it was it was a dance that
Speaker 5: we used to do, like stuff the time show and
Speaker 5: when you ended, you hit your legal roof.
Speaker 1: All right, So the whole time he told me he
Speaker 1: wanted me. When I meet him, he just the ship up.
Speaker 1: He tried to feish you. But I started laughing because
Speaker 1: I was like it was funny at me. I was
Speaker 1: like crazy.
Speaker 5: But anyway, so you know, we meet her whatever.
Speaker 1: I'm gonna tell this other part.
Speaker 5: So we meet her whatever, and uh, I'm like, yeah,
Speaker 5: we will, you know, he said we'll hang out some
Speaker 5: day whatever, blah blah blah. So I walked back down
Speaker 5: with my girl Cookie and which they started fussing.
Speaker 1: M hmm. We get around the corner there in all
Speaker 1: out brawl in the middle of the street.
Speaker 4: Wow, who winning. I'm sorry that like this like this
Speaker 4: she might have been a little yeah, but that's a
Speaker 4: little fights then because she threw the first took off
Speaker 4: and Cookie went behind Cookie with Hood and ship.
Speaker 5: They get to fight. I'm in the middle of trying
Speaker 5: to break it up, calls Ryan by. So they fuss
Speaker 5: at each other and walked their separate ways and I'm
Speaker 5: just standing there.
Speaker 1: I'm like, okay, so.
Speaker 12: Walk They just got into the fight b and just
Speaker 12: and just to go back when he is a.
Speaker 1: Crazy way to meet your future straight up.
Speaker 12: Not but because like he said, I already knew who
Speaker 12: he was, because he to be honest, he was a legend,
Speaker 12: like as far as the like didn't look like it,
Speaker 12: as far as as far as because he had a
Speaker 12: little had a little smurf I mean.
Speaker 1: Or whatever.
Speaker 12: He was kind of like not chubby, but just the
Speaker 12: way he was. But the boy, the boy could move.
Speaker 12: I say, the boy could move. The boy was in
Speaker 12: the number one best group in Atlanta at that time
Speaker 12: or whatever, and I had just took was taking dance
Speaker 12: lessons from a member of that group, somebody who was
Speaker 12: in that group. But they put him out. They put
Speaker 12: him out because he was no one doing too much.
Speaker 12: But he talked. He taught me how to dance. But
Speaker 12: I knew I was never gonna be them. So when
Speaker 12: I saw him that day, it was more.
Speaker 1: Like so like.
Speaker 12: But he went from that day, he like he said,
Speaker 12: he laughed or whatever, but he did see the fact
Speaker 12: that I had a job and I was kind of
Speaker 12: I was doing stuff. So so yeah, so he was
Speaker 12: like he was tired of dancing. I had just learned
Speaker 12: how he was like wow, two two three year legend.
Speaker 12: Already he was ready for music. Then he was already
Speaker 12: starting to do them, like four tracking demos, and I'm
Speaker 12: just looking.
Speaker 1: Like yeah, drum.
Speaker 12: So when we talk about your first experience with music,
Speaker 12: never never thought this would happen, Never thought I would
Speaker 12: meet somebody that actually made music.
Speaker 1: He was showing me.
Speaker 12: So now I'm getting money, I'm doing stuff and I'm
Speaker 12: not selling dope like I really got a job. Just
Speaker 12: want to stay fresh, just trying to look like I'm
Speaker 12: just don't live in these apartments right here.
Speaker 1: You know what I'm saying. I got a car. You
Speaker 1: know what I'm saying, I'm living.
Speaker 12: I'm saying I'm living like I live in bucket, but
Speaker 12: I'm living in this point like off helping and the love,
Speaker 12: you know what I'm saying.
Speaker 1: So yeah, but so. But he was the one who.
Speaker 12: Was like, yo, this is just local dancing, this is
Speaker 12: the this is local. And he the one who wanted
Speaker 12: to start the group. I want to be an artist,
Speaker 12: and I just I believed in that. I love the
Speaker 12: fact that he believed in me or nothing. I felt
Speaker 12: like I could sell it. I felt like I could
Speaker 12: do it. So I started learning about music. I started
Speaker 12: like reading whatever you could learn the little especially Vince whatever,
Speaker 12: Jack the rapper, Whatever's gonna come to town. I'm trying to
Speaker 12: do it right. Then he bumped into a Ray at
Speaker 12: the studio at Joe Car Jeane Car.
Speaker 8: From they live. They moved here, they moved him. She
Speaker 8: lived in Philly now.
Speaker 1: But yeah, yeah, Joe Car, Damn man, the things you learned.
Speaker 8: That's my family because we just.
Speaker 1: I'm a student.
Speaker 8: We ain't never seen you over there, you know, because
Speaker 8: I don't live here. I graduated from Cornership.
Speaker 1: Come back where years did you go to Clerk?
Speaker 8: Uh?
Speaker 1: Were years old?
Speaker 8: Ninety? When I was a I went to ninety six
Speaker 8: to ninety.
Speaker 3: Nine Jugie House at over here.
Speaker 5: Yeah, but Joe, Joe had a little studio, a nice
Speaker 5: little bils little studio in his house.
Speaker 1: Dog and he used to, let you know, me and
Speaker 1: Rico go there and work and stuff. Now we used
Speaker 1: to pay for it. Of course it went on all right.
Speaker 5: So one day I'm in the working and Joe tells me, like, yo,
Speaker 5: I gotta run somewhere.
Speaker 1: You're cool, you can stay here.
Speaker 5: She's he told me, said, Yo, my boy, Ray gonna
Speaker 5: come through here and grab something right quick. He won't
Speaker 5: be nothing but a minute, but you know you'll meet
Speaker 5: him whatever. I said, Okay, cool. So I'm in there.
Speaker 5: I'm confused because I don't know what the hell I'm doing.
Speaker 5: All of a sudden, he the door closed. Ray comes
Speaker 5: around the corner. He doesn't talk to me at all.
Speaker 5: All he does is grab his head.
Speaker 1: Okay.
Speaker 5: So he goes in there and he gets to the keyboard,
Speaker 5: loads his disc, do all this boom, and when he
Speaker 5: hit it, my mouth dropped because I'm like, how the
Speaker 5: fuck you just do? Wait a minute, this just sounded
Speaker 5: like public Enemy, Like, Bro, how you make this summer?
Speaker 7: Go?
Speaker 1: With that sampling and all listening. He look at me
Speaker 1: and I'm looking so Ray, you're the quiet I'm looking.
Speaker 1: I'm amaze automatic. As soon as I sorry, I said, reed, Bro,
Speaker 1: I don't mess some nigga. Ain't Ray. We got to
Speaker 1: have him, I said, he has to be a part
Speaker 1: of this.
Speaker 5: Bro, you don't understand he could teach like he has
Speaker 5: to be a part cause the way Ray taught me simples.
Speaker 5: I came from the funk era, where I thought I
Speaker 5: would have God thought everything right. So when I first
Speaker 5: started hearing like, you know, a rapping everything I thought
Speaker 5: in my mind with some stuff. It was original. He
Speaker 5: came in there with a bag by this big with
Speaker 5: nothing but tapes. M Ramsey, Lewis, James Brown, Blackbirdy, just
Speaker 5: everybody and all the breaks just started playing stuff and
Speaker 5: I'm like, wait a minute, that's what.
Speaker 1: Wait a minute, what do you get that? He's like,
Speaker 1: you know, Ray, it ain't.
Speaker 10: I've been recording every time I go over to somebody house,
Speaker 10: you know what I mean? Because I was playing with
Speaker 10: these records when I was little. I love music, so
Speaker 10: I record, and I was a DJ way early, like
Speaker 10: you know what I mean running seeing him first came out,
Speaker 10: I was one of my homeboys taught me how to DJ,
Speaker 10: so I was DJing back spinning, you know, uh sucker
Speaker 10: sucker mc so. Later on I found out that through
Speaker 10: my DJ friends that a lot of the records.
Speaker 11: That's when we first found this, uh the Breakbeat.
Speaker 1: Collection, Ultimate Beats and Breaks, shout out the Breakbeat.
Speaker 11: See.
Speaker 10: I didn't know, just like Sleepy, I didn't know everything
Speaker 10: was a sample. First, I thought that these guys incredible,
Speaker 10: These guys are making this music.
Speaker 11: D da da dah.
Speaker 10: So I learned how to program based on listening to
Speaker 10: shit and trying to reprogram on Boss drum Machines or
Speaker 10: Leasia's drum Machines on nine on ninees.
Speaker 11: On five h five, seven or seven, you name them.
Speaker 11: I then did it. Then I started.
Speaker 10: When I found the sample record, I said, oh, these motherfuckers. Yeah,
Speaker 10: So this is what I didn't figure out. This is
Speaker 10: what I didn't know. Did the compilation come out before
Speaker 10: the records were hit or after?
Speaker 11: Probably after, okay, because in my mind they came out before.
Speaker 10: So I was like, oh, well, then I just need
Speaker 10: to get the records before they motherfucker come out.
Speaker 11: And do it first. So I started digging deep.
Speaker 3: Wait, let me, let me just do a quick thirty
Speaker 3: second tutorial. So basically, for those that two percent of
Speaker 3: you that have been listening to us for six years
Speaker 3: that don't know, so basically, you know, we always say
Speaker 3: that in the in the folklore of break beadology that
Speaker 3: basically African ben Bata was the collector, like Quhirk was
Speaker 3: the system, Flash was the technique, and ben Bota was
Speaker 3: the collector. And of course they were wiped the labels
Speaker 3: away off the record, so you couldn't Sazam your way,
Speaker 3: what's he spinning?
Speaker 1: What's he spinning?
Speaker 3: And eventually our homeboy break Be Lou decided to just
Speaker 3: make a cheat sheet. You know, we could say the
Speaker 3: Wikipedia of it, or we could say cliff notes of
Speaker 3: all the essential breakbeas, like the basic four food groups
Speaker 3: of the meat and potatoes of break beatology of what
Speaker 3: they were spending in the seventies and the president. Yeah,
Speaker 3: come nineteen eighty five, eighty six, when you're listening to
Speaker 3: License to Ill and like early pre that that period
Speaker 3: between like the Marley mal Rick Ruben period, and yeah,
Speaker 3: I too was disappointed, Like I really thought Jamster Jay
Speaker 3: was doing them bells on like Peter Piper what I'm saying,
Speaker 3: I thought the time was really doing seven seven.
Speaker 1: Seven you speaking everything.
Speaker 12: It's still it still was amazing though that he took
Speaker 12: Bob James and he was mixing it with a drum
Speaker 12: pro and he was keeping it on beat for that
Speaker 12: for the breakdown part still was amazing. It was just
Speaker 12: that you could possibly do it too if you worked
Speaker 12: at your crab, right, But but it wasn't gonna be
Speaker 12: by doing what they did. So it's now just a
Speaker 12: complete study session. He said, let me see if I
Speaker 12: can reprogram the same beats with the same drums. Let
Speaker 12: me just get to the level I'm there. And then,
Speaker 12: like you said, we started digging because one thing they
Speaker 12: taught you they had to put the name of the artists,
Speaker 12: and they had to put the year.
Speaker 1: So you started studying Okay, years, your students, if you're.
Speaker 10: A student, because you studying years years. Yeah, that was years,
Speaker 10: and you get the eighties.
Speaker 1: That's what you like. Yeah, what what's your what's your?
Speaker 11: You know, it don't stop.
Speaker 10: Maybe maybe it changed, But I'm gonna tell you when
Speaker 10: it got whack for me, when when the fucking drum
Speaker 10: machine started going in cameo, When the cameo drum sound,
Speaker 10: when word was like the sound the sound though, because
Speaker 10: you got to understand you're coming from a real snare,
Speaker 10: a snare amplified, a snare distorted until this fucking eighties.
Speaker 11: I don't know.
Speaker 1: It's kind of princess.
Speaker 3: It's funny you mentioned this because even for me, I realized,
Speaker 3: all right, so I'm studying, uh, the Eisley Brothers, we
Speaker 3: might do an arny episode. And when it came down
Speaker 3: on to their ballots, I was like, yo, why doesn't
Speaker 3: Ernie Eisley ever play the high hat like he'll just
Speaker 3: play the kick and he'll just do the basic fibers
Speaker 3: of it. And it just hit me that for a
Speaker 3: lot of seventies cats, drums are almost just simply a
Speaker 3: metronome and everything sits on top of it. I mean
Speaker 3: there's a few, you know, James Brown, George Clinton, whatever,
Speaker 3: But when Prince came along, it's the loudness of those
Speaker 3: those hand claps, by the way. I mean most people
Speaker 3: know this because they've read the Dilli book. Those Lynn
Speaker 3: drum handclaps. That's Tom Petty and the Heartbreakers. So yeah,
Speaker 3: when Roger Lynn was sampling.
Speaker 12: H I did know what. I didn't know that, but
Speaker 12: I knew from Jimmy Ivean. We've talked about it because
Speaker 12: he's had Yeah, he was there, he was recording sounds.
Speaker 12: He was there recording it sounds and.
Speaker 1: We were weaves here man. Yeah.
Speaker 5: Out of all the producers being in hip hop, the
Speaker 5: ones that I truly love himpec, I love Molly Mab,
Speaker 5: love fucking Larry Smith.
Speaker 1: About absolutely.
Speaker 5: Head absolutely, the band for Hill, the band for Sugar,
Speaker 5: heel Bro, those and uh uh, the most incredible mixed
Speaker 5: sounding records ever. Yeah, Larry Smith, he really brought like
Speaker 5: R and B kind of sensibility to hip hop, but
Speaker 5: it was still hip hop and the record sound really big.
Speaker 5: I mean you listen to like Friends everything now it's still.
Speaker 10: Every one love, just crazy everything. Go back to Uh,
Speaker 10: what's what's the name of his group that he was in.
Speaker 5: Curtis Yeah, record with my dad.
Speaker 1: I'm still record for you, bro.
Speaker 3: I was trying to you know, you know the last
Speaker 3: question I asked Jay before I've seen him maybe like
Speaker 3: months before, and the thing that always confused me was
Speaker 3: he would actually scratch the intro. And the thing was
Speaker 3: he would scratch it or he would take that same
Speaker 3: break and scratch it for rock Box. But in my mind,
Speaker 3: I was like, wait a minute, I know you guys
Speaker 3: are using a d MX rhythm machine, so how did
Speaker 3: you scratch that without like like did you just make
Speaker 3: a thirteen second intro and send it to the factory
Speaker 3: for you to scratch it?
Speaker 1: And then he told me.
Speaker 3: That initially for cucucs running, Jay wanted to rhyme to action.
Speaker 1: With that intro. So what they wound.
Speaker 3: Up doing I think he said that, Uh, the engineer
Speaker 3: did a did a distortion trick and just turned up
Speaker 3: the compression so much like when you really you can
Speaker 3: waiting on the right.
Speaker 6: Like, yeah, shout out to engineers everything that's happened.
Speaker 3: Ange likes co engineered every classic like from Voodoo to
Speaker 3: just whatever, like all these classic records. But yeah, I
Speaker 3: always wanted to know how Jay was able to scratch
Speaker 3: and he's basically scratching Orange Crushes Action intro. But they
Speaker 3: compressed it so much that it sounds like the drum
Speaker 3: machine that they eventually programmed on the d question, you
Speaker 3: have a class somewhere bro hip hop?
Speaker 1: N Y I was made me quit man. No, literally,
Speaker 1: I stopped n YU to just do the podcast because.
Speaker 6: So can I ask a question? You guys said when
Speaker 6: you were originally starting to dig and because they were
Speaker 6: wiping the labels, you're where they had to listen.
Speaker 1: Yeah initially in the bird days.
Speaker 6: Yeah, but you said they would only listen the artists
Speaker 6: and the year, So you were shopping or digging by year?
Speaker 6: What about by label?
Speaker 1: But they listed everything.
Speaker 12: We were just looking the fact that they those were
Speaker 12: the key the key points. They listed the whole title, publishers,
Speaker 12: the writers, they were listed everything.
Speaker 1: But we would look for the years. First, first, just
Speaker 1: so we could go.
Speaker 3: Would you would you stop at seventy nine maybe eighty one,
Speaker 3: you know, saying.
Speaker 11: No, I get to eighty about eighty eighty.
Speaker 12: It depends on the cover to me too, because I'm
Speaker 12: still I'm still the color. I still like the pictures cover.
Speaker 12: Like the pictures too. I like the pictures, but the
Speaker 12: years can help me trust it because I was into focus. Well,
Speaker 12: because you get some that's where it's at. You can
Speaker 12: get some hard drums, some pretty riffs or whatever like
Speaker 12: so like, and then just the jazz you had to
Speaker 12: listen to even though you didn't want to, you had
Speaker 12: to because you would you would have missed the whole
Speaker 12: phase of hip hop.
Speaker 1: It was like, like, because I.
Speaker 12: Was thinking earlier when we were talking about it, when
Speaker 12: when they dropped that like when you realize what came
Speaker 12: from weather and when the trip called Quiest did something
Speaker 12: they had that that was it many realton it was
Speaker 12: uh lyrics lyrics. But once you start doing it, once
Speaker 12: you start leving loving it for that, it didn't matter
Speaker 12: if you found something first you was.
Speaker 1: Like, oh god, they killed they did they killed that?
Speaker 1: I like how I mean. So it's also about that
Speaker 1: too like to be so was that inspiration for mainstream? Man, listen, listen,
Speaker 1: that's just that. Now you gotta go ahead.
Speaker 10: I was gonna say, you gotta really appreciate that because
Speaker 10: we dug so deep, because we appreciated all of these
Speaker 10: these changes in production style, how it went from a
Speaker 10: pure James Brown vibe to incorporating melodies and drums and
Speaker 10: then getting away from them being combined.
Speaker 1: Two dope boys.
Speaker 3: Know it just hit me right now, dude, the drums
Speaker 3: from mainstream, seeing drums from fall in Love.
Speaker 1: Yes, indeed, yep, yes, even.
Speaker 10: Now, I'm like, even now you tell me, you tell
Speaker 10: me now, I mean what you say, why you say that?
Speaker 3: No, no, no, it's it's it's literally the same breaking No, no, that's.
Speaker 10: Not about snitching. See, this is the assumption. This is
Speaker 10: the assumption, is that everything is as it was, meaning
Speaker 10: that it's lifted as a loop.
Speaker 1: I'm sure you shot, but it may have.
Speaker 10: Been just sounds programmed in such an order with advance.
Speaker 10: I mean, you gotta remember, now what let me explain something, mixplaining,
Speaker 10: let me explain, let me explain something.
Speaker 1: I love it.
Speaker 10: Larry Smith is his foundation of production is partly because
Speaker 10: he's in the band, but also because of the technology
Speaker 10: he's using SSLS. Right, Okay, we started when we got
Speaker 10: to the music industry, they left us in the room
Speaker 10: with SSLS.
Speaker 11: So this is what we learned how to make old equipment.
Speaker 10: And the synthesis is what you got to really appreciate,
Speaker 10: not necessarily the the the copying. You feel me the
Speaker 10: ability to be able to make something be something else, Yoda.
Speaker 12: And I'm gonna get into the part because because to
Speaker 12: be honest, you could be right.
Speaker 1: I'm not sure.
Speaker 3: I'm such a stickler for reverb sounds.
Speaker 1: I assumed.
Speaker 3: That you guys used iron Butterfly Soldier in our town
Speaker 3: for the drums dropping them in here.
Speaker 1: But I can't speed it up.
Speaker 11: But you right, you might be close, might be.
Speaker 12: But the key to it, though, the key to it,
Speaker 12: what I said, is yes, the program because they make
Speaker 12: stuff our temple or whatever. We might take drums and
Speaker 12: then program reprogrammed the same loop but end up touching
Speaker 12: other sounds that make it might change. The high head
Speaker 12: change is part if it makes it better. But but
Speaker 12: the greatness or whatever, I'm impressed with, like you, Raphael
Speaker 12: speak a lot of other people when they talk about mainstream.
Speaker 1: I love it because it creative people.
Speaker 12: The fact that y'all loved that, and the fact that
Speaker 12: it wasn't orthodox, It wasn't it was I was it really?
Speaker 1: Can I ask? Is based on that? Okay?
Speaker 12: And then the thing is I think we had that
Speaker 12: little rid keyboard that was the magic box, and we
Speaker 12: discovered that little sound.
Speaker 1: We just let that sound go.
Speaker 12: But but the main thing is that I think it
Speaker 12: was also Yeah, that's what I'm about to get to
Speaker 12: without telling too much, was that it was it was
Speaker 12: like a cell therapy, you know how.
Speaker 1: You know, we got that dump that bounce before the
Speaker 1: bounce come in, we got like a quarter like don't
Speaker 1: so it's like we have a half of rip.
Speaker 12: So like it's like a six bar loop like like
Speaker 12: like rolling. Like the way we cut it off mainstream
Speaker 12: was that with a straight beat. You're right, it was.
Speaker 12: It was giving you a it was flipping a different part.
Speaker 12: But I couldn't figure out how to do that weird
Speaker 12: beat to that at that point in my career, so
Speaker 12: I had.
Speaker 1: To go easy to keep it down the middle. But
Speaker 1: the music go crazy, all right.
Speaker 3: So now what we know as the Dungeons Studios before
Speaker 3: you guys get a budget before Elie and whatnot. Like,
Speaker 3: I'm certain that you guys are creating a workspace in
Speaker 3: some sort of environment or you know, you called it
Speaker 3: the dungeon.
Speaker 1: What is the equipment there and who's there?
Speaker 3: I mean because just based on the videos, I'm assuming
Speaker 3: that it's almost like the Southern Wu Tang where it's
Speaker 3: like twelve of y'all, just like.
Speaker 12: The dungeon was my mother's basement, unfinished basement, the wooden steps,
Speaker 12: go down the steps.
Speaker 1: Ray was Yoda. He is the cook up. He'd wake
Speaker 1: up and get on the drum machine.
Speaker 12: And it was an MPC from the time MPC came out,
Speaker 12: and we had one before we even moved over there,
Speaker 12: like from the very first MPC we had one or whatever.
Speaker 12: So and the problem was it was an unfinished basement,
Speaker 12: so it was dusty. So he used to load the
Speaker 12: three point five floppy.
Speaker 1: Yes, yeah he did. So sometimes we have to be
Speaker 1: concerned it stop about losing things.
Speaker 6: As soon as I know DiAngelo's That's why we laughed
Speaker 6: when we hear floppy. He's still using them.
Speaker 3: Shit, the Angelo is still it is still nineteen ninety
Speaker 3: seven with him, and he doesn't one to move.
Speaker 1: No, no, but it's almost.
Speaker 12: A good it's a good sound though it's an analog texture.
Speaker 12: I mean, it's some things you do for a sound
Speaker 12: or whatever, like the SP twelve, Like that's what I'm saying.
Speaker 12: The other drum machine that we didn't mess with that
Speaker 12: much because the past was it was stick. Once we
Speaker 12: figured out, we midted that to the MPC and programming
Speaker 12: from the MPC.
Speaker 1: But get get the texture Legion eight O eight, so
Speaker 1: you would filter the SB twelve and then just midia
Speaker 1: through the.
Speaker 12: Yeah program program in SB two. I mean, like you
Speaker 12: get your examples edited in the SB twelve right then,
Speaker 12: since since literally every every SB twelve the buttons get
Speaker 12: stuck so you can't read program, so you just made
Speaker 12: it a min Once we learned MIDI for real, with
Speaker 12: like oh I can control this drum machine with this
Speaker 12: drum machine or whatever because they had MIDI. So once
Speaker 12: we start doing that, like Waterfalls had the SB twelve,
Speaker 12: I'm on it. Ludicrous Saturdays used SP twelve and I
Speaker 12: promise you that was the sound. That was like the
Speaker 12: bass music. It was like andre three thousand bombs over
Speaker 12: bad there all that, but that's SB bomb. That's the
Speaker 12: SP twelve type of vibe. So we had an SB
Speaker 12: twelve down there. We had an MPC down there, and
Speaker 12: you couldn't really record. We had a six track so
Speaker 12: you can hear stuff. Had two big house speakers down
Speaker 12: there or whatever. And and most of the time it
Speaker 12: was about writing because you had the steps, so people
Speaker 12: would sit on the steps. You have big boyd Dra,
Speaker 12: you have kol Joe, you have big Big Rude, usually
Speaker 12: closer to Ray.
Speaker 8: Because on your basement, on your steps, on the wood.
Speaker 12: Steps, the woods steps, you would see them down the steps.
Speaker 12: But it was like it was almost like going down
Speaker 12: to you know, Ray on the drum machine and you
Speaker 12: and it was already known, you not really talking the Ray.
Speaker 12: And all all you can do is is like is
Speaker 12: appreciate this music box.
Speaker 3: So they're all writing, They all right there, and the
Speaker 3: person that finishes first day on that song, oh.
Speaker 1: They're all writing.
Speaker 12: And he changed whenever he finished what he's doing for
Speaker 12: that for that sequence, he changed the beat, and everybody,
Speaker 12: everybody turned the page and try to remember when you
Speaker 12: go back to get back on it.
Speaker 1: But you'll keep writing over a new beat. So now
Speaker 1: your styles are.
Speaker 12: Changing because now you were just writing with a certain
Speaker 12: thought process. Now that thought press has been enhanced by
Speaker 12: the beat changing.
Speaker 1: It's like the plant based version of drink Champs right now.
Speaker 8: It also reminds me of like bo I mean you
Speaker 8: watch the boot tang so.
Speaker 12: Yeah so, and then then digging in the crazy the
Speaker 12: fact that Ray would start so early, some people would
Speaker 12: be you would get a chance, just the knowledge of
Speaker 12: like you hear you'll hear it. He'll sample it now,
Speaker 12: he's chopping it up. Now, he messing it up. Now
Speaker 12: he fitted program something to it. But but he might
Speaker 12: sample five or six things before he start programming. Or
Speaker 12: when I go down there later, or when Sleepy get
Speaker 12: on there, he already unpacked the drum machine up with
Speaker 12: so many different things that he maybe some of them
Speaker 12: started on some of them he didn't. So it's like
Speaker 12: if it's sometimes you might be like get that, Ray,
Speaker 12: get that for me.
Speaker 1: You know what I'm saying.
Speaker 12: I grabbed that, Like Sleepy does it all the time,
Speaker 12: like you gotta go yeah, just you know, because he
Speaker 12: has his own sound. That's what's cold about Sleepy, Like
Speaker 12: like like most artists get confused around Ray because he's
Speaker 12: gonna go.
Speaker 1: From waterfalls to sell therapy. We diverse.
Speaker 12: So the fact that he might be digging on some
Speaker 12: crazy all a sudden, he might go into something that's
Speaker 12: in my mind. I'm the business person, like, that's not
Speaker 12: for you.
Speaker 1: That's gonna be what I don't. You're the traffic cop.
Speaker 12: Yes, but I don't determine it, like I don't say
Speaker 12: it in front of nobody. I said, I said, he was.
Speaker 1: Like, we can use that.
Speaker 11: Yeah, we trust each other.
Speaker 12: Like, I'm not gonna tell the artists then, because because
Speaker 12: the Invo songs, Coolbries Songries was killing it cool, That's
Speaker 12: what it was.
Speaker 1: It was only the It wasn't drum that little. It
Speaker 1: wasn't even lie of drums.
Speaker 12: It was it was it was a it was a
Speaker 12: beat redhead, a beat on and it was that like
Speaker 12: you said, it was that Koobries was writing to that
Speaker 12: hold on Him.
Speaker 8: Don't let Go. That's the song we're talking about.
Speaker 1: Yeah.
Speaker 12: But but when it got beautiful, I think I think
Speaker 12: we called it John John John.
Speaker 1: We called John I happened to be we called in
Speaker 1: for that. So the night that.
Speaker 3: He tracked that, I believe we were at the tabernacle
Speaker 3: because he told me the tabernacle right, because when I
Speaker 3: saw a little later that that night, he told me
Speaker 3: that he just did it like two days before or whatever.
Speaker 1: And so that's how I think that this tabernacle not
Speaker 1: existed on wait wait.
Speaker 3: And I'm also glad you told this story because I
Speaker 3: always felt like you were secretly judging me, like you
Speaker 3: and James and kiss my ass, James Poison. I feel
Speaker 3: like I wanted to explain to you because the way
Speaker 3: we were. You notice that I always I use my computer,
Speaker 3: but I always put it through the that SB twelve
Speaker 3: hundred I got, and I never used that SP twelve hundred. Yes,
Speaker 3: the reason is there's a new version of me. There's
Speaker 3: a new kidd out version of I got it. It
Speaker 3: has great texture, but I haven't learned to really freak
Speaker 3: it yet, So I still do my shit on my computer.
Speaker 3: But I like the texture of how samples go through.
Speaker 6: They should just have an SP twelve plug in.
Speaker 1: They kind of got one like m PC. But you
Speaker 1: just don't believe it.
Speaker 12: I'm saying too, it's not some things you just want
Speaker 12: to like like that eight. Like what I'm willing to
Speaker 12: do is to try to say up with the sounds
Speaker 12: digitally again.
Speaker 1: But that but the quality.
Speaker 12: I gotta be honest, Legohn, how it sound really changed America?
Speaker 12: Like like that that clean eight away the DJ. It
Speaker 12: was Robert the DJ, the DJ.
Speaker 3: And I once thought that little John Roberts was a
Speaker 3: little John Yo, he's really revolutionist. Because the thing was,
Speaker 3: I knew DJ drama back when he was backpack, dramatic, dramatic,
Speaker 3: and when trying to convince me that this guy Gangster Grills.
Speaker 1: Is dramatic, I'm like here.
Speaker 3: Until I seen him, I was like, holy ship, you
Speaker 3: really did like so I did want At one point
Speaker 3: I did think that little John Roberts was revolutionizing dance
Speaker 3: culture in Atlanta.
Speaker 1: And then I realized there was two of them.
Speaker 6: So what what kind of MPC was it?
Speaker 1: Oh?
Speaker 6: Wow?
Speaker 1: I mean for your your weapon of choice.
Speaker 12: Original studio, the original studio downstairs, the bignkey one, the first,
Speaker 12: the first, very first clank one.
Speaker 11: We started on the first one and then graduated with
Speaker 11: each one.
Speaker 6: Do you feel like there's a different sound between the
Speaker 6: different models?
Speaker 1: They are?
Speaker 5: They are like okay, now some people, three thousand, two
Speaker 5: thousand was the second one right now?
Speaker 12: Three thousand one second, Well, that's the that's that's the one.
Speaker 12: Three thousand three thousand was the one that they started
Speaker 12: using two effects. The three thousand the one they start
Speaker 12: using the effects. They start using the little where they
Speaker 12: could like you can make a sample, you can hide
Speaker 12: a sample. That's they start thou they started doing that.
Speaker 12: The two thousand was the was the bounce box, but
Speaker 12: anything you did was bouncing or whatever.
Speaker 1: So it does have difference. Does all of them have
Speaker 1: a different sound?
Speaker 6: But what what gives it? The bounce the quantizing?
Speaker 1: Yes, yes, good job.
Speaker 10: Well, to be specific to the drum machines, when they
Speaker 10: changed them around, they kept putting the fucking click the
Speaker 10: tap button on different sides. So if you started on
Speaker 10: the first one, you tap with your left or whatever,
Speaker 10: and if you start then other one, you tap what
Speaker 10: you're right, So it made people be biased to the
Speaker 10: drum machine left handed, you know, like that right.
Speaker 6: And it seems like the three thousand is like the one, right.
Speaker 1: Three thousand is the one if you're dyling now.
Speaker 3: And the thing is that Rogerlin didn't It has his name,
Speaker 3: but Rogerlin had nothing to do with the two thousand.
Speaker 3: It's almost like the yeasy adeed situation where they have
Speaker 3: a name but that sort of thing.
Speaker 1: So really the last thing that he did.
Speaker 3: He did the NBC sixty, the NBC sixty two, and
Speaker 3: then he did the three thousand, and then NBC sixty
Speaker 3: came and like here's a boot, you know, and my
Speaker 3: sucker asked fell for the two thousand because it's for
Speaker 3: left handed people.
Speaker 4: So all right, rapid five? All right, yeah, it's rapid five. Okay,
Speaker 4: socks and which doctor of swat healing ritual?
Speaker 1: Okay that far?
Speaker 4: Look man, we look, bro, we ain't got time, Bros
Speaker 4: got to look man.
Speaker 1: That probably to me.
Speaker 4: That and Kool Breeze album like Ghetto Camera Bro, those records.
Speaker 4: I've heard parts of the story. What happened with those
Speaker 4: two records in the Interscope deals.
Speaker 12: And Interscope situation was it was a good deal, but
Speaker 12: it was just bigger than what we was used to
Speaker 12: or whenever we had more power or whatever. So like
Speaker 12: and the artists, you know what I'm saying. We by
Speaker 12: that time, we as a company. We wouldn't produce. We
Speaker 12: was production company, but we were a label, and the
Speaker 12: artists had more responsibility or whatever, Like we was making
Speaker 12: your music, but we wouldn't holding your hand to make
Speaker 12: sure you went on your shows.
Speaker 1: To make sure you did in stores.
Speaker 12: Yes, we did that without cast, but they were seventeen
Speaker 12: years old. Eighteen years old. It was more about do
Speaker 12: you even have a bank card? You know what I'm saying.
Speaker 12: I don't want to leave you out there. But by
Speaker 12: the time we got the Goodie Mob, y'all grown. Yes,
Speaker 12: And not to diflect, but I did what I want.
Speaker 12: I've been wanting to say this. The quest because how
Speaker 12: did you feel when you first met because the first
Speaker 12: two a Goodie Mob was with the Roots and with
Speaker 12: the Fujis.
Speaker 8: Oh, now that was already dramatic.
Speaker 1: No, it wasn't.
Speaker 3: Because we first met Goodie Mob, like my first introduction
Speaker 3: to I mean, besides seeing outcasts on te people in
Speaker 3: real life. We our very first trip to Atlanta. We
Speaker 3: went to this radio station and I remember that, so
Speaker 3: I didn't go to the radio station that night, but
Speaker 3: I listened and basically all of Goodie Mob and the
Speaker 3: Roots like freestyled for twenty minutes. It was on YouTube
Speaker 3: for the longest, Like it was like a legendary moment.
Speaker 3: I just remember Reek coming back, like, yo, there's even
Speaker 3: more of them, because the thing was because the thing is, yes,
Speaker 3: there were there was a lot of bias towards how
Speaker 3: we in the Northeast. Yes we're very I be very particular,
Speaker 3: very territorial about culture and whatnot. So yes, we tend
Speaker 3: to think that most of down South was just Luke
Speaker 3: and nothing else. And so shout out to cosmic Keev
Speaker 3: for he always rode for the Player's Ball remix. Now
Speaker 3: I will be super super transparent, honest, the original Player's Ball.
Speaker 1: I remember when it came on BT.
Speaker 3: And it was the jury is up in the air,
Speaker 3: because we were like at the all right, so here's
Speaker 3: my thing, here's all right. What it happened was no, no, no, no.
Speaker 3: Where I was, I was dirty dungeon. Hip hop has
Speaker 3: to be filthy, like the first Jungle Brothers record, the
Speaker 3: first Wu Tang record. And when the Chronic came out,
Speaker 3: I told you, and Dre laughs his ass off. I
Speaker 3: hated the Chronic for like twenty years because it just
Speaker 3: sounded to pristine too.
Speaker 1: Yeah, it was too. It was like, wait, I thought
Speaker 1: we were against this. I thought we didn't want to
Speaker 1: sound like afternoon radio to me.
Speaker 3: Then suddenly hip hop just sounded clean and big and right.
Speaker 3: But I didn't come from like club culture where ship
Speaker 3: had to kick. I wanted this ship to like that, right,
Speaker 3: And I was just like, I don't know, man, like
Speaker 3: it's too clean. And and then I got in cosmic
Speaker 3: Kev's car and he played the main Ingredient remix version,
Speaker 3: and when the drums kicked.
Speaker 10: In, like, let me could cut you off because you've
Speaker 10: been dropping these motherfucking gems.
Speaker 5: I didn't know what I'm thinking about the producer main Ingredient.
Speaker 12: We literally played played it with the piano and had
Speaker 12: sleep becoming singing.
Speaker 5: Yeah, you got to say, it's like, it's cool. Yeah,
Speaker 5: that's what we did. But that ain't what.
Speaker 1: I thought it was. Listened to it, right, I'm it's that,
Speaker 1: but it ain't that.
Speaker 3: I grew up with Shame on the World as a record,
Speaker 3: so I instantly knew.
Speaker 1: So maybe didn't guess what somebody else came behind us
Speaker 1: and did and did that young This is what they did.
Speaker 1: When I heard that Youngster's record.
Speaker 5: I liked it because I like the Yeah, I actually
Speaker 5: liked the beat of the seven was real.
Speaker 1: Cool to me. Oh damn, it was mad props. I
Speaker 1: didn't even know that.
Speaker 3: No, no, at a moment where I didn't even think
Speaker 3: of that ship. No, no, no, But when Cosmic Kav is
Speaker 3: like Philly swamp Master flex and that's hard.
Speaker 1: When he used to.
Speaker 3: Have his like mixtapes out like I'd be in the
Speaker 3: car and when he put it on the way them drums,
Speaker 3: it was like a hard version of friends.
Speaker 1: You know what I mean?
Speaker 8: And you are so good.
Speaker 1: Joke, Yeah, I mean it was. It was a hard
Speaker 1: version of friends.
Speaker 3: Like like if I were drumming, that's what you're saying.
Speaker 1: If I were, Yeah, well here's the thing, Like I wasn't.
Speaker 3: Even though I'm immersed in hip hop and all that ship,
Speaker 3: like I'm still trying to figure out, hey, how can
Speaker 3: I recreate these breaks?
Speaker 1: I would have been a perfect supplement to that ship.
Speaker 3: So when he did that, then that's when that was
Speaker 3: my Kaiser Sosa Coffee Drop reveal moment of I was like, oh, ship, there,
Speaker 3: this is a problem.
Speaker 1: Then I was like, y'all really did earn those four
Speaker 1: and a half mics? Yes? Yeah?
Speaker 3: The fact we were rased one day and the boy
Speaker 3: the easy issue like all right, let's go, and I wouldn't.
Speaker 3: I would like try to read the review before I
Speaker 3: see what the mics are. And I saw half and
Speaker 3: I was like wait, it's a Leve review. They wouldn't
Speaker 3: do no three and a half live review two three
Speaker 3: yo foro and a half, Like, we stopped rehearsal and
Speaker 3: I immediately went to rextas like, yo, I gotta get this.
Speaker 12: Ship, hey man. So it's so monumental what you're saying now.
Speaker 12: Because to even back that up, I remember when La
Speaker 12: read because it was important to him to call me
Speaker 12: in every Tuesday, every day, every once a week when
Speaker 12: radio reports come out. He just wanted me. He was excited,
Speaker 12: but he knew it wasn't his. He was excited, but
Speaker 12: he knew this is y'all. Y'all need to be excited.
Speaker 1: And he said that too. He was on the show
Speaker 1: four weeks ago.
Speaker 3: Yeah, yeah, and he definitely said that even like he
Speaker 3: didn't know the world like he could instantly.
Speaker 1: Have saved hip. He didn't really know whatever y'all say.
Speaker 12: Absolutely, but but but he started he started felt, you know,
Speaker 12: like I owe you to teach you. And he was like, yo,
Speaker 12: if this market plays your record, it's probably gonna trigger
Speaker 12: these markets around it. So so shout out to the
Speaker 12: bay because that's who really jumped.
Speaker 1: That's who and that broke y'all.
Speaker 11: Absolutely absolutely, And that makes sense.
Speaker 1: That makes sense because.
Speaker 12: Yes, they played the original one. They played the original
Speaker 12: one Vegas, every other market New York when we had
Speaker 12: our peak, I'm looking at New York.
Speaker 1: I'm like, I said, they still.
Speaker 12: Ain't and he said look at me and said they
Speaker 12: just yeah. He said, they're just not They're not really
Speaker 12: fucking with it. But I said, that's all you had
Speaker 12: to say. We went and soon as soon as he
Speaker 12: let me know. Soon as he said they didn't like,
Speaker 12: I said, they don't want to hear all that music ship,
Speaker 12: then okay, cool, let's break it down. Let's just break
Speaker 12: it down. Let we was already gold at that point.
Speaker 12: It was like, we need to give and for you
Speaker 12: to tell me that Cosmic Kost somebody who was a
Speaker 12: big influencer in the East Coast, because guess what, everything
Speaker 12: turned around once we dropped that remix. The whole East
Speaker 12: Coast lit up for love for Outcasts.
Speaker 3: You had such a crazy momentum, especially with Outcasts as
Speaker 3: your main trojan horse, to literally change the narrative of
Speaker 3: how the world thought Southern hip hop was. This is
Speaker 3: what I gotta know. As a lead single, Yes, a
Speaker 3: song being eighty bpms in twenty twenty two, twenty fifteen, whatever,
Speaker 3: like say, the second half of the arts between twenty
Speaker 3: ten and twenty twenty is normal, But in nineteen ninety.
Speaker 1: Six, elevators.
Speaker 3: And the thing was you know, I asked even off
Speaker 3: campus Grill, dre and and and Big Boy about this,
Speaker 3: But I since y'all create, how like that was such
Speaker 3: a risk y'all could have just played it safe and
Speaker 3: just kind of fit in.
Speaker 11: What did it follow?
Speaker 1: Though? No? But I can tell you this for a fan.
Speaker 11: Meaning that what do we do before that?
Speaker 8: It was the single?
Speaker 1: I mean, what we do before that?
Speaker 11: What do we do before that? Hip hop wise?
Speaker 1: I mean it was good. In my it was so.
Speaker 10: So because they broke the ground with pianos and the
Speaker 10: this this.
Speaker 1: Wane with with with self therapy.
Speaker 11: It was easy for the cast to pick up.
Speaker 1: It was so different. I promise you that that's a
Speaker 1: real story behind it. Give it to me, the real story.
Speaker 1: The music golownin about this.
Speaker 12: This is the actual This is the actual bees needs
Speaker 12: this what happened? Antonio read? At this point, we were
Speaker 12: in a contract negotiation. We were trying to bring our label.
Speaker 12: We wanted to be a label.
Speaker 1: We want to out here to sign us Red Clay Records.
Speaker 12: So if you look at the original versions of Elevators,
Speaker 12: it's say Red Clay Records. We end up leaving. But
Speaker 12: so when so we was in a little bit more control.
Speaker 12: Big and Dre's they first single they produced, right, they produced,
Speaker 12: They produced it. They produced the first single they produced.
Speaker 5: They came to Big Boy, came up with this incredible hook,
Speaker 5: and we produced it in the sense.
Speaker 12: Of we put derebl on it. We made sound like
Speaker 12: a big song, so they want to put it out.
Speaker 12: I looked at it as a setup record.
Speaker 1: This is a little street.
Speaker 12: It's gonna be the street Red Streets sing and they
Speaker 12: read them like, nah, you gotta give me a up Temple,
Speaker 12: we gotta maybe you got you gotta do you know,
Speaker 12: all the bases of the food group gotta come. This
Speaker 12: is our first single moment at l and someone said,
Speaker 12: it's a fact at Alien. Throw your hands in the
Speaker 12: air like that. Why I ended up being second. It
Speaker 12: was supposed to be. It was gonna was gonna go.
Speaker 12: They was gonna come with that. They had they playing,
Speaker 12: they had they roll out playing the same reason why
Speaker 12: he wanted Miss Jackson to be the first single on
Speaker 12: the other album. But but but since we were in
Speaker 12: control and we and in the spirit of hip hop, right,
Speaker 12: thanks we New York, now we Atlanta.
Speaker 1: Right, I'm saying we powerful a little bit. Fuck it,
Speaker 1: We're gonna leak it.
Speaker 5: Right, took off, ship took off. Let's go sh it
Speaker 5: took off beyond anybody's job. So we took we we
Speaker 5: leaked it.
Speaker 8: I wonder how y'all leaked it back then? Did you
Speaker 8: leak it to a DJ?
Speaker 12: Yes, we went straight to Grey Street it yet it
Speaker 12: was it was actually make sure it was probably people
Speaker 12: like eighty nine point three. It was ninety one on
Speaker 12: the college. It was a college stations because back then
Speaker 12: we had been schooled in the fact that that's the
Speaker 12: only way hip hop is gonna be hurdy. First, mainstream
Speaker 12: radio wasn't an option. It wasn't even option. It when
Speaker 12: something you thought was gonna happen. So at least we
Speaker 12: get there. It was just a real to make a
Speaker 12: real hip hop community in Atlanta. Outcast was big enough
Speaker 12: to where and it was a cool record. We didn't
Speaker 12: and we did a remix where we probably took another
Speaker 12: one of those good breaks on the Parliament.
Speaker 1: Yeah, shifted, man, this is my thing. Way how can
Speaker 1: racist think? Have you ever studied?
Speaker 8: Has somebody the pictures.
Speaker 1: Quest A spots out? It's not listen, it's cool. I
Speaker 1: like this ship.
Speaker 3: I literally, I'm literally on a producers spread of like
Speaker 3: just thirty dweebs who.
Speaker 4: Sit and just all we do, just sit in when
Speaker 4: I know when I found So Fresh, So Clean, I
Speaker 4: was like, get then that's not a sample.
Speaker 1: But I know we know that. What what am I?
Speaker 9: All right?
Speaker 1: All right? The record? We never heard the record? This
Speaker 1: is we titles.
Speaker 10: I appreciate how the universe worked. Yes, you tune into
Speaker 10: the frequency.
Speaker 12: On that when we really and truly didn't never like
Speaker 12: everything else, I mean on God, we never like like
Speaker 12: like that was literally like us producing like my ear.
Speaker 12: I mean like like like sleepy I had a road
Speaker 12: sleepy playing a melody, he playing a melody, and me
Speaker 12: programming a beat that fitted the melody or whatever, and
Speaker 12: we actually created a breakbeat, like like we created a
Speaker 12: break beat. And then years later somebody say, that's a
Speaker 12: jazz recordar sounds just like so pressed, So clean. I said,
Speaker 12: they wed our ship. But she came out in the
Speaker 12: seventies I'm like, wow. But now let me say this.
Speaker 5: I never heard the record, but maybe it played when
Speaker 5: I was dreaming one night, because I swear to god,
Speaker 5: I went to Rico house.
Speaker 1: I said, I got this ideal. Man. He's like, well,
Speaker 1: I'm like.
Speaker 4: I said, I'm just saying I sat down and read
Speaker 4: I got a couple like that.
Speaker 11: But Barry got a couple like that. But something sounds
Speaker 11: like all the time.
Speaker 1: It literally happens all the temple. You subconscious, what thing,
Speaker 1: what thing?
Speaker 12: You can say for a fact, there eighty eight keys,
Speaker 12: and I gotta say it felt good to his fingers,
Speaker 12: the movement. So that's why. Again that sounds like, but
Speaker 12: they ain't stay there though.
Speaker 1: It goes.
Speaker 5: Sound nothing like that, don't sound nothing.
Speaker 1: We're not okay, no no, no, no, we're.
Speaker 3: Not even we're not in that whole got the journal,
Speaker 3: but we are scientists, and just it means that how
Speaker 3: it gets built.
Speaker 1: Wait, let me let me just.
Speaker 10: What.
Speaker 4: I can't wait, that's what they simple.
Speaker 1: That was just what they say. Listen to it. Listen
Speaker 1: to it, right, but everything else right now, it's not like.
Speaker 12: That's just the to me, this whoever it is DJ premiere,
Speaker 12: if it's you know, all the great ones. That's why
Speaker 12: organized noise is respected and is a part of this
Speaker 12: this class of people. You know what I'm saying, because
Speaker 12: you spend time. But now they've given they've given the
Speaker 12: kids so much technology to what they got the notes
Speaker 12: on the board for him, they're showing. So the music
Speaker 12: sounds cleaner but very musical, but people don't respect.
Speaker 1: It as much. It's not as creative because because.
Speaker 12: We have to do a lot more, we have to
Speaker 12: like speed things up a little slow it down to
Speaker 12: get it into.
Speaker 4: Because you only have a little bit of sampling time,
Speaker 4: like ten and a half seconds.
Speaker 1: Can I ask speed it up to? Yeah? How does
Speaker 1: how does your cousin feel about?
Speaker 3: Like does he look at you guys like you guys
Speaker 3: are like like as Future ever asked, Like, no.
Speaker 1: Man, Future, do some sh it on my record? Or
Speaker 1: yes he did? He did. He did that and I
Speaker 1: hated it because I mean I hated it. I loved it.
Speaker 12: I love the thought of doing it, but the fact
Speaker 12: that like he wanted to do it because he wanted
Speaker 12: the song that sounded like back in the day, and
Speaker 12: that's cool, but we.
Speaker 1: Want a song that sounds like right now.
Speaker 12: So let's evolve, Let's come together and do something that's
Speaker 12: not just some old sound and ship but some new
Speaker 12: sound and ship with the old, with the with the familion.
Speaker 1: Can you'll just do both? Yeah, that's what That's what what.
Speaker 8: I what happened anyway?
Speaker 1: Right? I mean you are well.
Speaker 12: I got a whole I got a whole album on
Speaker 12: him anyway, but I want to do wherever I got
Speaker 12: him wrapping over everything. Future, I got f man Future.
Speaker 12: It's my cousin if I want it, and if we
Speaker 12: wanted to, Yeah, futures like like like we wanted to,
Speaker 12: we could with what's working for him or whatever. Is Like,
Speaker 12: it's maybe not because the song we did, he did
Speaker 12: some Andre three thousand, did Somerey three thousand rhyming.
Speaker 1: Under whatever, and it was dope. I just think that,
Speaker 1: to be honest, it was just it sounds. It was.
Speaker 1: It was dope.
Speaker 12: But me and Ray had a version that we had
Speaker 12: kind of like made it a little more futuristic, and
Speaker 12: it was stupid and they and they didn't they didn't
Speaker 12: want to use that one.
Speaker 1: So I've been mad since.
Speaker 4: Yeah, what's up, everybody? This is Fante Fonte The Love
Speaker 4: for Quest, Love Supreme. This interview was so meaningful for me,
Speaker 4: and I'm sure I can tell whether you listened along
Speaker 4: or watching this on YouTube. I was losing my mind
Speaker 4: and just geeking out the entire time. We're pausing this
Speaker 4: two part discussion here for now, but please make sure
Speaker 4: you come back for part two for the quest Love
Speaker 4: Supremes Atlanta sit down with the Gods Organized Noise.
Speaker 1: We continue to speak about outcasts.
Speaker 4: Learn one of the biggest R and B hits began
Speaker 4: as a beat for a Dungeon Family MC and also
Speaker 4: did a deep dive into summer their best works.
Speaker 1: This was This was amazing.
Speaker 4: Check it out, Quls Fontello.
Speaker 1: Yeah, What's Love Supreme is a production of iHeartRadio. For
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