WEBVTT - Questlove Supreme: Organized Noize Part 1

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<v Speaker 1>Quest Love Supreme is a production of iHeart Radio Supremo.

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<v Speaker 2>Role supram Supremo, Role Supremo Roth.

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<v Speaker 3>My name is Questlove and I don't flake yea and

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<v Speaker 3>at yl Yeah.

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<v Speaker 1>Right, Supreme Supremo Upbravo Supremo.

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<v Speaker 4>My name is Fante and I'm gonna speak my cloud.

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<v Speaker 5>Yeah.

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<v Speaker 1>Organized taught me.

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<v Speaker 4>Yeah, trying to get you out.

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<v Speaker 6>My name is Sugar yeah, and I apologize this may

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<v Speaker 6>get noisy and unorganized.

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

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<v Speaker 7>joy Yeah.

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<v Speaker 8>It's like I'm back in college again.

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<v Speaker 9>Organized joying, Okay, I Marico yeah, and I'm part one,

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<v Speaker 9>part one.

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<v Speaker 1>Yeah. So Supreme roll down.

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<v Speaker 10>So this is Yoda Yeah, and you know I hold

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<v Speaker 10>it down yeah, organized noise. Yeah, we all in time,

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<v Speaker 10>come pray.

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

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<v Speaker 5>never find another mother that could do this.

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<v Speaker 1>In my mind is like we'll probably do that.

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<v Speaker 7>Roll sound.

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<v Speaker 1>Roll all right, where's my where's my manager? Yeah? He

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<v Speaker 1>was like, you didn't sign up for this, You did

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

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<v Speaker 1>not do a good job. You're good, bro.

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<v Speaker 5>You made enough classics to sustain Oh no, My probably

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<v Speaker 5>is gonna reason why I gon'na go viral.

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<v Speaker 1>Well, that's a good thing.

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<v Speaker 3>In twenty two, ladies and gentlemen, welcome to another episode

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<v Speaker 3>of Quest Love Supreme at l Addition. We are in

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<v Speaker 3>Atlanta talking to a lot of the greats. What can

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<v Speaker 3>I say, Ladies and gentlemen, We are here with three

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<v Speaker 3>gentlemen who have built a movement, a sound, of way

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<v Speaker 3>of life, literally putting not even a section of the

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<v Speaker 3>because that's that's just very reductive. But I mean they

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<v Speaker 3>literally changed the scope of music as we know it

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<v Speaker 3>and of creativity as we know it. You know, some

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<v Speaker 3>of the blackest shit ever, some of the most afrofuturist

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<v Speaker 3>shit ever, what you call legacy from George Skyler or

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<v Speaker 3>down the sun Rod, down the p Funk and when

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<v Speaker 3>the baton came in their their hands, they created magic.

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<v Speaker 3>Simply put, I'll say, one of the most respected and

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<v Speaker 3>in some producer's eyes, most feared men.

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

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<v Speaker 1>to a new album like they did what Nigga?

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<v Speaker 3>When I heard main stream, I wanted to jump out there,

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<v Speaker 3>know what it is like you can give loop literally, Yeah,

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<v Speaker 3>I've never I never had.

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<v Speaker 1>A production collective. That just makes me like, damn, why

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<v Speaker 1>don't I think of that ship?

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<v Speaker 3>Seriously, it's this is long time overdue, and you know

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<v Speaker 3>all the classic lpiece they've been involved in that that

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

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<v Speaker 3>Goodie Mob, Cannon, Parent Advisory, some cut of Calhoun Joy Vote,

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<v Speaker 3>Oh god, I totally forgotten the last Awesome great Yes,

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<v Speaker 3>the names go on, dude and for on the real

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<v Speaker 3>I don't know if crazy, sexually cool would have been

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<v Speaker 3>what it was without ladies and gentlemen. It's it's actually happening.

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

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<v Speaker 3>Murray and the One and Only. I cannot believe Sleepy

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<v Speaker 3>Brown is on Quest Love Supreme, Organized Noise, Thank.

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<v Speaker 1>You Man, too much good music listen. So this is

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<v Speaker 1>rare for us because like I prefer one on one.

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

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<v Speaker 3>Steve joke that this looks like peace negotiations.

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<v Speaker 1>Happening, right, Like what you did?

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<v Speaker 3>I feel like it's beat between Sleepy and Sugar Steve

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<v Speaker 3>over here.

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<v Speaker 6>I want to negotiating my contract.

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<v Speaker 1>Yeah no, but this this will be really interesting.

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<v Speaker 3>And as I said, we're in Atlanta right now and

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<v Speaker 3>I'm hoping to get all the edgumacation and all the

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<v Speaker 3>questions I want to answered about just the sound that

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<v Speaker 3>you guys have crafted for the last thirty years.

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<v Speaker 1>Damn there.

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<v Speaker 3>So I guess I'll start, well, I know your lineage

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<v Speaker 3>runs deep. I know all your lineage runs deep, but

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<v Speaker 3>especially sleepy, being the sign of the legendary Jimmy Brown Brick,

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<v Speaker 3>I'll start with you. Can you tell me what your

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<v Speaker 3>first musical memory was.

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<v Speaker 5>I was six years old, right, and it was my

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<v Speaker 5>first concert I went to and I was with my

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<v Speaker 5>grandparents and uh.

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<v Speaker 1>We get to the concert and uh walk on side

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<v Speaker 1>the stage.

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<v Speaker 5>And my dad don start performing, and uh when I

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<v Speaker 5>seen them do dads right, my mouth dropped and I

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<v Speaker 5>look back at my grandmom when I said, this is

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<v Speaker 5>what I want to do.

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<v Speaker 1>Period. I knew I want to do music.

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<v Speaker 5>As soon as I saw my dad playing them horns

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<v Speaker 5>and everybody screaming and going crazy, I was just.

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<v Speaker 1>Like, I gotta do this, this is this is what

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<v Speaker 1>I have to do.

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<v Speaker 5>And plus, you know, my mom would buy me Jackson

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<v Speaker 5>five albums every Christmas right.

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<v Speaker 1>You know.

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<v Speaker 5>So I was like the six Jackson plus I was

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<v Speaker 5>in Brick Right and Commodoors and I was in everybody group.

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<v Speaker 5>So my first experience of music was the greatest era

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<v Speaker 5>of music to me was the funk era and the

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<v Speaker 5>disco era. No music has been made more beautiful than that.

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<v Speaker 5>So that's my whole.

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<v Speaker 1>Being, you know what I mean?

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

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<v Speaker 5>because if they ain't funky, I ain't doing.

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<v Speaker 3>I funks with that eschewing dazz and music and ain't

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<v Speaker 3>gonna hurt nobody. The captain obvious break is do you

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<v Speaker 3>have a favorite Brick song that isn't a hit or anything?

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<v Speaker 1>Yeah? Yep? Fun What of them happy? Happy?

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<v Speaker 3>You know what I was gonna say, Damn, I always

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<v Speaker 3>always say, but I've alway confessed that I'm kind of

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<v Speaker 3>working on Sultry right. I was like preface with like,

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<v Speaker 3>I'm not supposed to say this, but no, I'm getting

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<v Speaker 3>to the seventy seven episodes, and I gotta say, your

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<v Speaker 3>dad was a charismatic motherfucker even when performing Happy on Soultitery,

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<v Speaker 3>Like I just.

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<v Speaker 5>But they always had the biggest smile it's like we

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<v Speaker 5>saw him perform. He was just excited and happy to

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<v Speaker 5>perform for people. And he's always been that way. When

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<v Speaker 5>he was younger, he had had a band in Savannah

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<v Speaker 5>that did a couple of records, Jimmy and the Mighty Sensations,

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<v Speaker 5>that did pretty good. So he's always always loved music

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<v Speaker 5>till this day.

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<v Speaker 1>You know what I mean.

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

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

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<v Speaker 5>every horn you can put in front of him and

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<v Speaker 5>kill it.

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

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<v Speaker 1>that Baseline killed me and uh uh Somerset uh summer

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<v Speaker 1>telling them White album coming. Yeah, yeah, I know that.

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<v Speaker 3>You wait, Brick Trivia, have you heard this tipbit about Prince?

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<v Speaker 3>Do you know the story? So Prince was such a

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<v Speaker 3>fan of Brick. What do you know that he wrote

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<v Speaker 3>get it Up? He wrote that for Brick and they

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<v Speaker 3>rejected it. We interviewed Mars, I'll do it for you

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<v Speaker 3>sound effects, sound yeah, Mars, and we I mean we've

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<v Speaker 3>had damn near I remember at the time or except

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<v Speaker 3>Terry Lewis Terry Lewis. But yeah, when we asked Mars

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<v Speaker 3>about him and Prince Craft in the first record, you know,

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<v Speaker 3>he told us that he's playing drums on everything. He

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<v Speaker 3>was like, when we may get it Up for some reason,

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<v Speaker 3>like Prince was really into not for some reason, I

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<v Speaker 3>mean everybody was into it, but.

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<v Speaker 1>Man, you just blew me.

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<v Speaker 3>Yeah, Prince had wrote get It Up for Brick to

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<v Speaker 3>be whatever the album is with with the Green where

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

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<v Speaker 1>They rejected it. You gotta talk to your dad about that.

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

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<v Speaker 1>all right. So, Ray, what is your first musical memory?

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<v Speaker 10>Me and my brother and sister used to turn the

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<v Speaker 10>lights off and dance around two flight time, Yes, sir,

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<v Speaker 10>the airplane land NAS New York state of mind. So

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

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<v Speaker 10>So he he had all of this music which was

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<v Speaker 10>like everything that we ever heard in hip hop. You

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<v Speaker 10>feel me, all of this ship that cat sample, that's

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<v Speaker 10>the ship that I grew up with playing in the house.

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<v Speaker 1>Yeah, all three of you are born in Atlanta. I

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<v Speaker 1>was going, okay, Yeah, I was born and you Where

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<v Speaker 1>were you born? Im about to say you gotta have

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<v Speaker 1>me swag boys, I know where are you born? Where?

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<v Speaker 11>I was going to Pittsburgh, Pennsylvania.

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<v Speaker 1>Yes, yes, my mom is from Pittsburgh.

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<v Speaker 11>But I grew up before we came to Atlanta.

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<v Speaker 10>We came to Atlanta with MANA Jackson when he took

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<v Speaker 10>over the city, when he became the first black man.

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<v Speaker 1>Right.

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<v Speaker 10>My fathers and mother were in Tuskegee, Alabama. So I

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<v Speaker 10>grew up in Tuskegee pretty much Alabama.

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<v Speaker 3>Okay, I got roots there too. Shout out to Mobile,

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

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<v Speaker 3>what's your first musical memory?

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<v Speaker 12>Oh man, Even with listening to their memories, I was

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<v Speaker 12>mine is as simple as That's good now. It's the

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<v Speaker 12>simple ast him music on the radio, because you know

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<v Speaker 12>what I'm saying, I didn't really hit it. We didn't

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<v Speaker 12>have a car when I was younger, so I didn't

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<v Speaker 12>really hit the radio until like Mama was cleaning up

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<v Speaker 12>or something, or or when I finally just went into

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<v Speaker 12>that back room we had an extra room, and I

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<v Speaker 12>just kind of went to digging.

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<v Speaker 1>Guo.

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<v Speaker 3>Yes, the guest room and all the junk sits in the.

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<v Speaker 12>Man finding more than records back there one day back

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<v Speaker 12>but the records nothing, no.

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<v Speaker 1>A bunch of fact.

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<v Speaker 12>Yes, yes, money, but like Donald Summer and like the

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<v Speaker 12>Ring My Bell and all that kind of stuff with

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<v Speaker 12>some of the records and Iley Brothers. Yeah, I was

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<v Speaker 12>seeing that stuff as records. But on the radio when

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<v Speaker 12>she was it was just the energy of house. She

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<v Speaker 12>would be a different person when the music came on

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<v Speaker 12>and she turned up loud and she cleaning up. Some

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<v Speaker 12>people always made that. I always say, you know, I

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<v Speaker 12>like to play my music when I'm cleaning up. I

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

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<v Speaker 12>I mean today is this is what I'm doing. I'm

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<v Speaker 12>going for I need to feel good.

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<v Speaker 8>You need to feel good what I'm getting this.

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<v Speaker 12>Yeah, So my examples of music, and another one at

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<v Speaker 12>a young age was my first little job when I

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<v Speaker 12>was like ten years old, just unloading the back of

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<v Speaker 12>eighteen or like.

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<v Speaker 1>A truck or whatever.

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<v Speaker 12>They used to play the radio, and I just remember

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<v Speaker 12>that made it go by. So the music music was

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<v Speaker 12>always a I didn't never think I could necessarily be

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<v Speaker 12>able to make it. They never think I would be

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<v Speaker 12>a part of the business. But I knew how important

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<v Speaker 12>it was and how much I did, how much it

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<v Speaker 12>did for me just at that young age, and didn't

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<v Speaker 12>even know who, didn't know exactly who, none of the

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<v Speaker 12>artist was. Just knew that at that time being a

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<v Speaker 12>man of my age, which is fifty. During that time

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<v Speaker 12>nineteen eighty, I was eight.

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<v Speaker 1>So like like.

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<v Speaker 12>What he's talking about, like soaking up, sir at the

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<v Speaker 12>right time. It's the end of the seventies. So we

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<v Speaker 12>but they still loan it. As far as the albums,

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<v Speaker 12>I could still see album I still saw eight tracks,

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<v Speaker 12>you know what I'm saying. I still wrote in cards

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<v Speaker 12>when we did that, actually had an eight track.

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<v Speaker 1>In it, so collect them. Wow.

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<v Speaker 12>But your knowledge of a brick is amazing because even

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<v Speaker 12>when when I found out who his father was or whatever,

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<v Speaker 12>you just thought about that's ice cube song.

0:13:57.960 --> 0:14:01.320
<v Speaker 1>Yes, vasline, that's the song that you got back. That

0:14:01.440 --> 0:14:03.680
<v Speaker 1>was deep. I was so happy when they did.

0:14:04.440 --> 0:14:10.160
<v Speaker 4>How did you feel about like a lot of other

0:14:10.240 --> 0:14:11.679
<v Speaker 4>artists have sampled before that.

0:14:11.760 --> 0:14:13.959
<v Speaker 1>You know, Kid played the Ain't Gonna hurt nobody? You

0:14:14.080 --> 0:14:17.719
<v Speaker 1>know him? Did he did? It's all good? It was

0:14:18.200 --> 0:14:18.800
<v Speaker 1>yeah good.

0:14:18.880 --> 0:14:22.240
<v Speaker 5>So but when I heard Q on one of the

0:14:22.280 --> 0:14:23.960
<v Speaker 5>coldest disc records.

0:14:23.640 --> 0:14:37.080
<v Speaker 13>Ever all the time, bro my hat like Jenny, So

0:14:37.560 --> 0:14:39.880
<v Speaker 13>I was, man, that's still one of my favorite Man.

0:14:39.920 --> 0:14:42.320
<v Speaker 5>I still play that records and like I'm in the

0:14:42.320 --> 0:14:44.560
<v Speaker 5>mirror and I'm cute and let me shut up.

0:14:45.680 --> 0:14:48.920
<v Speaker 3>So I have a lot of musician friends that are

0:14:49.040 --> 0:14:52.720
<v Speaker 3>in uh Atlanta, like uh little John Roberts used to

0:14:52.760 --> 0:14:58.400
<v Speaker 3>live down in Philly. However, there were four musician friends

0:14:58.400 --> 0:15:02.200
<v Speaker 3>of mine that gave me theory on how.

0:15:02.040 --> 0:15:03.880
<v Speaker 1>They got so advanced in their musicianship.

0:15:04.240 --> 0:15:07.680
<v Speaker 3>Now, you mentioned you'd be in fifty that you were

0:15:07.720 --> 0:15:10.720
<v Speaker 3>eight back then, and I know that one of the

0:15:10.760 --> 0:15:16.000
<v Speaker 3>most crucial points in the timeline in a black person's

0:15:16.040 --> 0:15:19.360
<v Speaker 3>life in Atlanta history, of course, and if you're eight

0:15:19.440 --> 0:15:23.800
<v Speaker 3>years old were the Atlanta murders. And what my friends

0:15:23.840 --> 0:15:27.440
<v Speaker 3>told me was like, basically because their parents were strict,

0:15:27.520 --> 0:15:30.000
<v Speaker 3>like yo, you ain't going outside, you know, I pick

0:15:30.040 --> 0:15:30.640
<v Speaker 3>you up for school.

0:15:30.720 --> 0:15:31.600
<v Speaker 1>You stay in the house.

0:15:32.440 --> 0:15:38.000
<v Speaker 3>And because of that specific late sixties early seventies generation

0:15:38.160 --> 0:15:41.040
<v Speaker 3>told to stay in the house, they just got more

0:15:41.040 --> 0:15:42.160
<v Speaker 3>advanced than their music.

0:15:42.520 --> 0:15:43.320
<v Speaker 1>Can you explain to.

0:15:43.360 --> 0:15:48.040
<v Speaker 3>Us, like how that period affected you guys, Like were

0:15:48.080 --> 0:15:52.000
<v Speaker 3>you fully aware that many young black kids were getting

0:15:52.120 --> 0:15:54.840
<v Speaker 3>kidnapped and all those things, and like were your parents

0:15:54.880 --> 0:15:56.359
<v Speaker 3>like no, you you know.

0:15:56.240 --> 0:15:58.600
<v Speaker 12>It was prime time for us. And the fact that

0:15:58.680 --> 0:16:02.240
<v Speaker 12>I lived in apartments, single parent. Mom she went and

0:16:02.280 --> 0:16:05.080
<v Speaker 12>she worked, so it was latchkey kid right. So so

0:16:05.120 --> 0:16:08.400
<v Speaker 12>then I had two little sisters like six and five

0:16:08.480 --> 0:16:10.600
<v Speaker 12>years younger, like, so it was like and you have

0:16:10.680 --> 0:16:12.280
<v Speaker 12>to watch them, yeah, and I had to watch them.

0:16:12.320 --> 0:16:15.480
<v Speaker 1>So it was almost like I was trained. I was wrong.

0:16:16.000 --> 0:16:18.760
<v Speaker 12>Mom had got me ready the knife behind here to

0:16:18.920 --> 0:16:22.000
<v Speaker 12>whoop over here like pistol over on top of the closet,

0:16:22.080 --> 0:16:24.960
<v Speaker 12>and yeah, like everything was She treated me as a

0:16:25.000 --> 0:16:28.080
<v Speaker 12>young adult because she was like, I mean, I don't

0:16:28.120 --> 0:16:32.120
<v Speaker 12>wanted them white folks doing this, right, So she was scared,

0:16:32.160 --> 0:16:34.840
<v Speaker 12>so she was like, you can't outrun the because stop

0:16:34.920 --> 0:16:35.360
<v Speaker 12>thinking that.

0:16:35.320 --> 0:16:40.080
<v Speaker 1>Oh, ain't gonna get me. I'm too fas, I promise

0:16:40.120 --> 0:16:42.600
<v Speaker 1>you police can't get me. Mop I'm dropping fishes one

0:16:42.680 --> 0:16:49.640
<v Speaker 1>league like she said. She said, she said, dope, you.

0:16:49.600 --> 0:16:51.440
<v Speaker 12>Know, and then just trying to get rid of all

0:16:51.520 --> 0:16:53.320
<v Speaker 12>y'all they trying to just scoop them up. But and

0:16:53.400 --> 0:16:55.720
<v Speaker 12>she just made me believe that it was something that

0:16:55.760 --> 0:16:58.360
<v Speaker 12>it actually necessarily was, but it wasn't because it was

0:16:58.360 --> 0:16:59.440
<v Speaker 12>a lot going on Inland.

0:16:59.600 --> 0:17:02.440
<v Speaker 1>It was the bevideo games. Video games that just touched down.

0:17:02.600 --> 0:17:05.520
<v Speaker 12>So that's why when I disscovered them, them dollar pieces

0:17:05.520 --> 0:17:06.720
<v Speaker 12>in that in that back room.

0:17:07.800 --> 0:17:09.560
<v Speaker 1>Yes, you want to just go hit the arcade.

0:17:09.680 --> 0:17:12.000
<v Speaker 12>And we had an arcade downtown Atlanta and the Omni

0:17:12.400 --> 0:17:14.600
<v Speaker 12>An Arcade at It's like the arcade is where you

0:17:14.600 --> 0:17:16.240
<v Speaker 12>first started meeting that.

0:17:16.119 --> 0:17:18.520
<v Speaker 5>The people, the people who do music, the people who

0:17:18.520 --> 0:17:21.080
<v Speaker 5>were eventually was gonna be the people, the dancers, the

0:17:21.080 --> 0:17:24.240
<v Speaker 5>people who loved New York and knew that we would

0:17:24.280 --> 0:17:28.119
<v Speaker 5>get shunned for acting that way, but people still would

0:17:28.160 --> 0:17:29.040
<v Speaker 5>do it, almost to the.

0:17:28.960 --> 0:17:31.440
<v Speaker 12>Point where like, I want to be different, you know

0:17:31.480 --> 0:17:32.879
<v Speaker 12>what I'm saying. Didn't know that being I don't want

0:17:32.880 --> 0:17:34.640
<v Speaker 12>you don't necessarily want to be copying somebody else.

0:17:34.680 --> 0:17:37.720
<v Speaker 1>But that's different that that dudes. You had some dudes

0:17:37.760 --> 0:17:40.840
<v Speaker 1>that was straight and lit and tell you they was.

0:17:42.320 --> 0:17:49.480
<v Speaker 12>So as far as the child murders, we community centers.

0:17:49.720 --> 0:17:52.399
<v Speaker 12>So like people got a chance to do a boy scout.

0:17:52.440 --> 0:17:54.280
<v Speaker 12>They was trying to get you to do summer camps

0:17:54.560 --> 0:17:56.280
<v Speaker 12>that they had at the city. Had put a whole

0:17:56.280 --> 0:17:58.000
<v Speaker 12>thing together to where they was giving out t shirts.

0:17:58.000 --> 0:18:00.520
<v Speaker 12>I remember these, these these classic teacher as will say,

0:18:00.560 --> 0:18:03.520
<v Speaker 12>eighty eighty one, eighty two. And then it kind of

0:18:03.640 --> 0:18:05.960
<v Speaker 12>let you know that my mama care about me because

0:18:06.040 --> 0:18:08.640
<v Speaker 12>she made I went to the camp kids who don't

0:18:08.640 --> 0:18:10.200
<v Speaker 12>go to camp, like, man, this shit, excuse me.

0:18:10.160 --> 0:18:10.880
<v Speaker 1>This is free.

0:18:12.359 --> 0:18:14.600
<v Speaker 12>In yeah, this is free and so like it's just

0:18:14.640 --> 0:18:16.879
<v Speaker 12>seemed like and those people was also bringing it to

0:18:16.960 --> 0:18:18.359
<v Speaker 12>you too as well as far as making sure that

0:18:18.400 --> 0:18:20.679
<v Speaker 12>you know, be with a friend, stop trying to do

0:18:20.680 --> 0:18:23.359
<v Speaker 12>stuff by yourself. So so that little fear was kind

0:18:23.400 --> 0:18:25.800
<v Speaker 12>of how you should have felt as a young adult anyway.

0:18:26.080 --> 0:18:28.720
<v Speaker 12>But the city was so active about it or whatever

0:18:28.800 --> 0:18:30.600
<v Speaker 12>as far as no trick or treating you know what

0:18:30.600 --> 0:18:32.879
<v Speaker 12>I'm saying, like, and eventually grew until y'all can go

0:18:32.960 --> 0:18:34.440
<v Speaker 12>to the mall and do it. But really it was

0:18:34.480 --> 0:18:36.840
<v Speaker 12>like when you get home at three thirty or whatever,

0:18:36.920 --> 0:18:38.359
<v Speaker 12>go in the house at four o'clock like it was

0:18:38.359 --> 0:18:39.120
<v Speaker 12>a curfew.

0:18:40.040 --> 0:18:43.560
<v Speaker 1>It wasn't apparent. It was like eighty eighty one these two.

0:18:43.520 --> 0:18:49.960
<v Speaker 3>Years, yeah, because he had numbers.

0:18:50.720 --> 0:18:52.600
<v Speaker 10>Nine was when we first started this year, and then

0:18:52.680 --> 0:18:54.800
<v Speaker 10>eighty was the year was the second year.

0:18:55.119 --> 0:18:57.679
<v Speaker 11>That's when everything got like just what we're doing.

0:18:57.520 --> 0:19:00.080
<v Speaker 12>That's when I starteding eighty one. When it was it

0:19:00.080 --> 0:19:03.280
<v Speaker 12>was like I wasn't eve tripping about it. Then by

0:19:03.280 --> 0:19:05.359
<v Speaker 12>that point point it was like like it was it

0:19:05.400 --> 0:19:07.000
<v Speaker 12>was more like yeah, we trained, we was trained in

0:19:07.119 --> 0:19:09.679
<v Speaker 12>or whatever like. But but I do remember saying like

0:19:09.680 --> 0:19:12.520
<v Speaker 12>like damn, we don't get the freaking.

0:19:12.320 --> 0:19:12.720
<v Speaker 1>That they used to be.

0:19:13.280 --> 0:19:15.560
<v Speaker 12>Like Halloween used to be cool because everybody show up

0:19:15.560 --> 0:19:17.439
<v Speaker 12>at school. Didn't we have even a little Halloween. Then

0:19:17.440 --> 0:19:19.680
<v Speaker 12>they started doing a little carnivals at the school. The community

0:19:19.760 --> 0:19:22.280
<v Speaker 12>kicked in. I got to say that, like and watching

0:19:22.280 --> 0:19:24.760
<v Speaker 12>the special that HBO did or whatever, like it was

0:19:24.880 --> 0:19:27.480
<v Speaker 12>most definitely informative. It most definitely enlightened me on a

0:19:27.480 --> 0:19:29.760
<v Speaker 12>lot of things that I thought was going on, and

0:19:29.760 --> 0:19:32.600
<v Speaker 12>it kind of like brought validity to what I knew

0:19:32.600 --> 0:19:34.680
<v Speaker 12>what was happening. But I knew it wasn't just that

0:19:34.960 --> 0:19:39.720
<v Speaker 12>because a culture of because we Atlanta's a melting pot,

0:19:39.760 --> 0:19:41.200
<v Speaker 12>you know what I'm saying, Like, you know you got

0:19:41.200 --> 0:19:44.399
<v Speaker 12>San Francisco, but Atlanta's We had gay laws put in

0:19:44.440 --> 0:19:47.280
<v Speaker 12>place when I was younger as well because of because

0:19:47.280 --> 0:19:49.199
<v Speaker 12>of disrespect, you know what I'm saying, Like somebody just

0:19:49.240 --> 0:19:52.200
<v Speaker 12>wanted to be you know, because of racism, because we

0:19:52.280 --> 0:19:54.879
<v Speaker 12>founded racism in a great way that we was on

0:19:54.960 --> 0:19:57.760
<v Speaker 12>top of that before it became a worldwide thing or

0:19:57.760 --> 0:20:00.720
<v Speaker 12>whatever as far as dealing with you know, different people

0:20:00.760 --> 0:20:01.840
<v Speaker 12>of because.

0:20:01.600 --> 0:20:03.520
<v Speaker 8>That explains why Atlanta is such a mecca for that

0:20:03.560 --> 0:20:04.440
<v Speaker 8>community as well.

0:20:04.960 --> 0:20:11.320
<v Speaker 3>America's democracy lies in the hands of Atlanta or Georgia.

0:20:11.560 --> 0:20:12.840
<v Speaker 1>Period. Yeah.

0:20:12.880 --> 0:20:16.119
<v Speaker 12>Absolutely, so with all those things are because of the

0:20:16.480 --> 0:20:17.480
<v Speaker 12>Wayne Williams.

0:20:17.200 --> 0:20:20.320
<v Speaker 1>My dad and me like that's the number one conspiracy theory.

0:20:20.520 --> 0:20:23.600
<v Speaker 5>Yes, I'm so, you said, Wayne Williams, because I still

0:20:23.640 --> 0:20:27.160
<v Speaker 5>say in my mind Walter Clyde Orange of the Commodore.

0:20:30.920 --> 0:20:32.280
<v Speaker 1>Had those classes that whatever.

0:20:32.440 --> 0:20:39.520
<v Speaker 3>But I never, I never truly felt that it was him,

0:20:39.640 --> 0:20:42.240
<v Speaker 3>especially with what's happening now so unhinged.

0:20:43.680 --> 0:20:45.879
<v Speaker 1>I always felt like it was something else and some

0:20:46.000 --> 0:20:46.440
<v Speaker 1>other people.

0:20:46.520 --> 0:20:49.639
<v Speaker 12>Yeah, I think it was a collective. It was a collective.

0:20:49.680 --> 0:20:51.960
<v Speaker 12>I think people took advantage of about it. It was

0:20:51.960 --> 0:20:55.200
<v Speaker 12>like it was happening or whatever. And that's why the things,

0:20:55.400 --> 0:20:57.119
<v Speaker 12>the numbers, yes, and the things that I'm telling you,

0:20:57.119 --> 0:20:59.040
<v Speaker 12>all the stuff that was reinforced. It's the reason why

0:20:59.040 --> 0:21:00.960
<v Speaker 12>we didn't lose more because it was thirty two kids.

0:21:01.040 --> 0:21:02.640
<v Speaker 12>It was thirty two, it was like thirty one thirty

0:21:02.680 --> 0:21:04.240
<v Speaker 12>two kids, it was like, I mean.

0:21:04.480 --> 0:21:06.600
<v Speaker 11>Well, technically it was more than that.

0:21:06.840 --> 0:21:12.679
<v Speaker 10>It has never stopped the word yes, I mean I

0:21:12.680 --> 0:21:14.680
<v Speaker 10>mean Atlanta's the center for sex trafficking.

0:21:15.040 --> 0:21:18.080
<v Speaker 11>Yeah, yep, so it technically has never stopped.

0:21:18.080 --> 0:21:20.880
<v Speaker 10>You just don't hear about it being associated with Wayne

0:21:20.920 --> 0:21:27.000
<v Speaker 10>Williams but abducted missing, that hasn't changed at all.

0:21:27.880 --> 0:21:28.080
<v Speaker 1>Yeah.

0:21:28.280 --> 0:21:29.919
<v Speaker 12>Yeah, but now though, with the fact that you have

0:21:30.760 --> 0:21:33.520
<v Speaker 12>people illegal, Like when I was younger, Beefer Highway, it

0:21:33.680 --> 0:21:35.920
<v Speaker 12>was like it was you know, it was Spanish a

0:21:35.920 --> 0:21:38.160
<v Speaker 12>little bit. But now like we have completely Atlanta. It's

0:21:38.200 --> 0:21:42.040
<v Speaker 12>not just a mecca for black people. It's Latinos, it's Asians.

0:21:42.240 --> 0:21:44.639
<v Speaker 12>We have everybody here working to That's going to say

0:21:44.680 --> 0:21:48.200
<v Speaker 12>it's working together, but but been work been living together

0:21:48.240 --> 0:21:50.040
<v Speaker 12>for long enough to when now they know each other,

0:21:50.400 --> 0:21:51.200
<v Speaker 12>everybody cool.

0:21:51.640 --> 0:21:55.560
<v Speaker 8>It's been a good decade for your your like divers diversifying, gentrification.

0:21:55.880 --> 0:21:58.800
<v Speaker 10>But back to your question, your question, you said something

0:21:58.840 --> 0:22:02.439
<v Speaker 10>about it the h did that affect you in No,

0:22:02.760 --> 0:22:09.520
<v Speaker 10>it's the neglect that made Atlanta artists perfect their crafts

0:22:09.960 --> 0:22:14.480
<v Speaker 10>and talent shows, high school events. You feel me because

0:22:14.480 --> 0:22:17.679
<v Speaker 10>there was no outlet, So you had, yeah, you had

0:22:17.680 --> 0:22:22.119
<v Speaker 10>a bunch of high talent competing against itself without any

0:22:22.240 --> 0:22:25.280
<v Speaker 10>kind of visualization in terms of everybody else.

0:22:25.440 --> 0:22:32.600
<v Speaker 3>So that said, uh, what is your version of Okay,

0:22:32.640 --> 0:22:34.760
<v Speaker 3>Like I know the history of the Bronx and the

0:22:34.840 --> 0:22:40.280
<v Speaker 3>Cold Crust Brothers, and so what is Atlanta's first generation.

0:22:41.440 --> 0:22:45.840
<v Speaker 1>Hip hop history? Rahim the dream?

0:22:45.960 --> 0:22:47.879
<v Speaker 12>Yes, but I'm all independent, but I'm gonna say this though,

0:22:47.880 --> 0:22:50.960
<v Speaker 12>I'm gonna say this, So SOS band or like what's

0:22:51.000 --> 0:22:53.840
<v Speaker 12>the group Brick? How you to my brick? Atlanta had

0:22:53.840 --> 0:22:56.760
<v Speaker 12>a band culture in the seventies. Yes, came toon roles.

0:22:57.200 --> 0:22:59.680
<v Speaker 12>So when so when the drum machined start kicking in,

0:22:59.800 --> 0:23:01.760
<v Speaker 12>that's they might have turned down the print song if

0:23:01.760 --> 0:23:04.120
<v Speaker 12>he had drum drum beats in it because they were

0:23:04.160 --> 0:23:06.439
<v Speaker 12>such a live just like how the Roots was early on,

0:23:06.560 --> 0:23:08.639
<v Speaker 12>Like it's such a live thing. That's what made the

0:23:08.680 --> 0:23:12.840
<v Speaker 12>package that they so like with that Brick had a

0:23:12.840 --> 0:23:15.560
<v Speaker 12>studio twenty five sixty, A lot of studios that was

0:23:15.600 --> 0:23:18.240
<v Speaker 12>in Atlanta, Like when that j pace they used was

0:23:18.280 --> 0:23:21.800
<v Speaker 12>either a church or an old musician from a band

0:23:22.080 --> 0:23:24.679
<v Speaker 12>group from Atlanta who left something there. So that was

0:23:24.720 --> 0:23:27.640
<v Speaker 12>like for me, like to me, that's where the musicianship

0:23:27.720 --> 0:23:29.600
<v Speaker 12>started at. But as far as when the drum machines,

0:23:29.640 --> 0:23:31.639
<v Speaker 12>like Ray was saying, the talent shows, it was almost

0:23:31.640 --> 0:23:34.240
<v Speaker 12>like we couldn't necessarily do music. We didn't have the

0:23:34.280 --> 0:23:37.320
<v Speaker 12>culture that crushed brewed like or whatever, like like we

0:23:37.359 --> 0:23:39.720
<v Speaker 12>had Shaddy, you got right here in the dream. You

0:23:39.840 --> 0:23:42.879
<v Speaker 12>got these groups, these artists that are coming out, but

0:23:42.920 --> 0:23:45.560
<v Speaker 12>really they are somewhat emulating what we love about New

0:23:45.640 --> 0:23:49.840
<v Speaker 12>York but doing it down South style. So but the

0:23:49.880 --> 0:23:52.679
<v Speaker 12>fact that like the DJ and the fact that we

0:23:52.720 --> 0:23:54.679
<v Speaker 12>took on the other aspects of it, it wasn't it

0:23:54.720 --> 0:23:57.320
<v Speaker 12>was like our movement was why I guess we got culture.

0:23:57.359 --> 0:23:59.480
<v Speaker 12>It's like we was into the style, like like you

0:23:59.520 --> 0:24:03.080
<v Speaker 12>would see people dressed like the fat laces shoe lakes.

0:24:03.119 --> 0:24:04.600
<v Speaker 1>I mean, inde is the shoelaces.

0:24:05.480 --> 0:24:10.040
<v Speaker 12>We literally mimicked a New York culture and the Miami culture,

0:24:10.080 --> 0:24:13.879
<v Speaker 12>like from gold teeth to the to the big ear rings.

0:24:14.040 --> 0:24:15.639
<v Speaker 12>It's really what you see and what you want to

0:24:15.680 --> 0:24:19.080
<v Speaker 12>see or whatever. So like for me, our most original

0:24:19.119 --> 0:24:22.400
<v Speaker 12>stuff was us being having an original style of dance

0:24:22.840 --> 0:24:25.720
<v Speaker 12>or a dress, coming up with our crazy hair when

0:24:25.720 --> 0:24:28.560
<v Speaker 12>we was wearing perms and binga ways it was really country.

0:24:28.600 --> 0:24:30.000
<v Speaker 1>It turned up like like.

0:24:30.080 --> 0:24:34.160
<v Speaker 7>We was doing that too year, not the dudes, but yeah,

0:24:34.160 --> 0:24:36.760
<v Speaker 7>the girls were definitely doing all the dues.

0:24:38.560 --> 0:24:48.600
<v Speaker 14>It was the dual player players dry fast.

0:24:49.040 --> 0:24:49.679
<v Speaker 8>It sounds like d.

0:24:53.800 --> 0:24:58.680
<v Speaker 1>Shouts out. They definitely like also credit.

0:24:59.359 --> 0:25:01.040
<v Speaker 3>Jermaine said that, you know, he had to go to

0:25:01.119 --> 0:25:03.200
<v Speaker 3>New York part of it and live in New York

0:25:03.280 --> 0:25:04.919
<v Speaker 3>and kind of bring it back. And even with like

0:25:05.480 --> 0:25:08.880
<v Speaker 3>Chris crossed his first record, like half those breakbeats came

0:25:08.920 --> 0:25:15.080
<v Speaker 3>from literally from like you know what this but whenever,

0:25:15.640 --> 0:25:18.240
<v Speaker 3>like mugs would leave the studio after work on Cyprus

0:25:18.320 --> 0:25:20.200
<v Speaker 3>Hill and like the sounds would still be in there,

0:25:20.200 --> 0:25:20.560
<v Speaker 3>which is.

0:25:20.560 --> 0:25:24.960
<v Speaker 1>Why like, uh, the midnight theme loop is in jump

0:25:25.200 --> 0:25:27.080
<v Speaker 1>like you too much?

0:25:31.640 --> 0:25:33.200
<v Speaker 12>Knowing that he's not telling too much at all, because

0:25:33.240 --> 0:25:37.320
<v Speaker 12>that's that really makes because the most sense because we three,

0:25:37.440 --> 0:25:39.640
<v Speaker 12>it's three of us, so it's not just Ray, it's

0:25:39.640 --> 0:25:41.919
<v Speaker 12>not just me, and it's it's like we all have

0:25:42.160 --> 0:25:44.320
<v Speaker 12>a certain amount of history. And the way we did

0:25:44.400 --> 0:25:47.480
<v Speaker 12>because we did like we're gonna spend as much time

0:25:47.480 --> 0:25:49.240
<v Speaker 12>as you won't talk. We went into New York. We

0:25:49.280 --> 0:25:51.359
<v Speaker 12>flew me and raced it, fly to New York, like

0:25:51.400 --> 0:25:53.240
<v Speaker 12>when we got bigger royalty.

0:25:53.000 --> 0:25:53.600
<v Speaker 1>Checks or something.

0:25:54.119 --> 0:25:56.160
<v Speaker 12>Instead of going to the mall, instead of going about

0:25:56.240 --> 0:25:58.400
<v Speaker 12>all the new designer stuff, We'll go to New York,

0:25:58.400 --> 0:26:01.320
<v Speaker 12>get hotel rooms the street he raised, pizza, and go

0:26:01.400 --> 0:26:04.640
<v Speaker 12>to all the Jewish little stores and buy up everybody,

0:26:04.640 --> 0:26:05.080
<v Speaker 12>all of them.

0:26:05.280 --> 0:26:05.640
<v Speaker 1>We got.

0:26:05.720 --> 0:26:07.919
<v Speaker 12>We got some, what he said to day, I got some,

0:26:08.320 --> 0:26:11.679
<v Speaker 12>not Pete Rock, but he said he said QI it was,

0:26:11.800 --> 0:26:13.640
<v Speaker 12>but it was more than Q two whoever. He said, Yeah,

0:26:13.640 --> 0:26:17.520
<v Speaker 12>I was holding these and I was professor president.

0:26:17.840 --> 0:26:21.199
<v Speaker 1>You would go to record where we found him. See.

0:26:21.560 --> 0:26:26.359
<v Speaker 10>But our discovery of New York as a source right

0:26:26.600 --> 0:26:31.040
<v Speaker 10>was only because we had like Pilford, Atlanta, Yeah, and

0:26:31.240 --> 0:26:33.600
<v Speaker 10>the South, because you know, everybody got a record collection.

0:26:33.640 --> 0:26:35.280
<v Speaker 3>I was about to say the best records I've ever

0:26:35.320 --> 0:26:37.760
<v Speaker 3>found were below yeh line.

0:26:37.760 --> 0:26:38.240
<v Speaker 1>Absolutely.

0:26:38.280 --> 0:26:41.200
<v Speaker 12>But when we first started from my forty five, I'm

0:26:41.200 --> 0:26:44.320
<v Speaker 12>talking about Carmine and Bleek. About this dude he went

0:26:44.359 --> 0:26:47.080
<v Speaker 12>in the back. He already identified where the breaks came

0:26:47.119 --> 0:26:49.280
<v Speaker 12>in at. He had already because all he does was

0:26:49.640 --> 0:26:52.439
<v Speaker 12>the old man sitting least at those the spots he

0:26:52.440 --> 0:26:52.879
<v Speaker 12>would hit it.

0:26:53.080 --> 0:26:54.200
<v Speaker 1>He's like, yeah, so.

0:26:54.160 --> 0:26:55.840
<v Speaker 12>He didn't know kind of money we had. He was like, yeah,

0:26:56.119 --> 0:26:58.120
<v Speaker 12>you know, I charged like forty or fifty for these.

0:26:59.680 --> 0:27:04.359
<v Speaker 12>I was like, cool, how many you got? Were dropping

0:27:04.560 --> 0:27:07.359
<v Speaker 12>bags thousands of dollars, And each time we got a break,

0:27:07.359 --> 0:27:10.119
<v Speaker 12>we like, that's an original One thing about one thing

0:27:10.160 --> 0:27:14.280
<v Speaker 12>about hip hop, originality is the most important thing because

0:27:14.280 --> 0:27:18.159
<v Speaker 12>it inspires and motivates. Yeah, so if you come up

0:27:18.160 --> 0:27:19.720
<v Speaker 12>with something, even if you didn't do it the best,

0:27:20.400 --> 0:27:22.680
<v Speaker 12>you just presented it to the world. So somebody else

0:27:22.720 --> 0:27:24.800
<v Speaker 12>is gonna rip it another day or whatever. Right in

0:27:24.840 --> 0:27:27.399
<v Speaker 12>these first little eighteen months. They can't come behind you

0:27:27.440 --> 0:27:30.560
<v Speaker 12>with it. It's got to be your lane only right now.

0:27:30.800 --> 0:27:32.800
<v Speaker 12>So as many breaks as we had, it was up

0:27:32.840 --> 0:27:36.280
<v Speaker 12>to just making records that coincided or whatever. But our

0:27:36.680 --> 0:27:38.879
<v Speaker 12>that was that was our lifeline. Once we made it

0:27:38.920 --> 0:27:41.200
<v Speaker 12>into the music industry, we felt like as long as

0:27:41.200 --> 0:27:43.879
<v Speaker 12>we were digging, we were reading books and we were learning,

0:27:44.040 --> 0:27:46.359
<v Speaker 12>and that's what New York had forgot for a little while.

0:27:46.480 --> 0:27:49.520
<v Speaker 12>They got caught up into they've done out, and that's

0:27:49.520 --> 0:27:51.800
<v Speaker 12>why the South got in there because we didn't.

0:27:51.960 --> 0:27:53.840
<v Speaker 1>It looked like they let us in with master p

0:27:54.040 --> 0:27:55.760
<v Speaker 1>and cash money.

0:27:55.960 --> 0:27:57.840
<v Speaker 12>It was like, that's because they fucked up and then

0:27:57.880 --> 0:28:01.440
<v Speaker 12>fucked with us early on when we would we were

0:28:01.440 --> 0:28:04.120
<v Speaker 12>a brother. That's why it's called the East Coast because

0:28:04.119 --> 0:28:05.399
<v Speaker 12>Atlanta's on the East Coast.

0:28:05.640 --> 0:28:08.040
<v Speaker 1>It's a DC's on the East Coast.

0:28:08.160 --> 0:28:11.000
<v Speaker 12>It's like all of all these places are reminiscent of

0:28:11.320 --> 0:28:14.119
<v Speaker 12>hip hop, even though we give all the credit to Bronx,

0:28:14.200 --> 0:28:17.240
<v Speaker 12>give all the credit to New York Brooklyn, because it's

0:28:17.240 --> 0:28:19.960
<v Speaker 12>deservingly so. Like like we always looked at New York

0:28:19.960 --> 0:28:22.359
<v Speaker 12>as the father and the Los Angeles as the mother,

0:28:22.560 --> 0:28:24.280
<v Speaker 12>and we were the child that came from. And that's

0:28:24.320 --> 0:28:26.920
<v Speaker 12>why he said from neglect, that's where Atlanta came from.

0:28:27.080 --> 0:28:30.200
<v Speaker 12>The fact that that that neglect was enough to try

0:28:30.200 --> 0:28:31.199
<v Speaker 12>to figure it out on your own.

0:28:31.240 --> 0:28:32.720
<v Speaker 4>Now coming up in the South, like we I tell

0:28:32.760 --> 0:28:35.040
<v Speaker 4>you all the time, like we had to study everything.

0:28:35.400 --> 0:28:37.280
<v Speaker 4>So it's like, you know, it wasn't just if you

0:28:37.320 --> 0:28:39.400
<v Speaker 4>came up in New York. You might have knew what

0:28:39.480 --> 0:28:41.400
<v Speaker 4>was going on if you lived in Brooklyn, or you

0:28:41.480 --> 0:28:43.400
<v Speaker 4>might have knew who the hot dude was over here.

0:28:43.600 --> 0:28:46.560
<v Speaker 4>But in the South, we had to know everything. You

0:28:46.680 --> 0:28:48.760
<v Speaker 4>had to know all right, this is New York, this

0:28:48.840 --> 0:28:52.120
<v Speaker 4>is the Midwest, this is this is Texas, this is Houston,

0:28:52.200 --> 0:28:54.160
<v Speaker 4>Like you know what I mean, and it just made

0:28:54.200 --> 0:28:57.160
<v Speaker 4>it always made for me. It just gave me a

0:28:57.160 --> 0:28:59.160
<v Speaker 4>grade of vocabulary. You know what I'm saying, and you

0:28:59.160 --> 0:29:01.720
<v Speaker 4>know what I mean, just knowing everything because you had to.

0:29:01.600 --> 0:29:09.240
<v Speaker 1>Know it well. First of all, how did you three meet?

0:29:09.480 --> 0:29:13.320
<v Speaker 1>Mm hmmm. We met very very sea. Music. Music is

0:29:13.360 --> 0:29:15.840
<v Speaker 1>why we met. Music is how we met.

0:29:16.160 --> 0:29:18.240
<v Speaker 5>There was this girl I was dating at the time,

0:29:18.920 --> 0:29:23.200
<v Speaker 5>he named Cookie. She knew Rico, she knew T Bars

0:29:23.280 --> 0:29:26.240
<v Speaker 5>very well. Okay, so and she went T Bars then

0:29:26.280 --> 0:29:29.040
<v Speaker 5>she was this was t So. I was in the

0:29:29.120 --> 0:29:31.120
<v Speaker 5>dance group in all of high schools started that was

0:29:31.200 --> 0:29:32.840
<v Speaker 5>kind of like the bomb we used to go around

0:29:32.920 --> 0:29:37.760
<v Speaker 5>girls just scream all the stuff. So facts facts. So

0:29:38.400 --> 0:29:41.000
<v Speaker 5>Cookie told me. Now I don't know how true this is.

0:29:41.040 --> 0:29:41.160
<v Speaker 1>Well.

0:29:41.240 --> 0:29:46.080
<v Speaker 5>Cookie told me that wanted wanted me to meet Rico,

0:29:46.080 --> 0:29:48.400
<v Speaker 5>and Rico wanted to meet me. So I was like, cool,

0:29:48.840 --> 0:29:51.000
<v Speaker 5>So we go. Me and Cookie go over with Tion's

0:29:51.000 --> 0:29:53.720
<v Speaker 5>house which is in East Point, walk up to his.

0:29:53.760 --> 0:29:58.120
<v Speaker 1>Job, tea stuff outcasts came in and.

0:29:58.080 --> 0:30:00.320
<v Speaker 5>Then I walk in. You know what I'm saying, and Cook,

0:30:00.320 --> 0:30:03.479
<v Speaker 5>You're like, yo, Rico, this this pant he was like.

0:30:04.520 --> 0:30:15.440
<v Speaker 5>So it's like it was it was a dance that

0:30:15.520 --> 0:30:18.160
<v Speaker 5>we used to do, like stuff the time show and

0:30:18.160 --> 0:30:19.960
<v Speaker 5>when you ended, you hit your legal roof.

0:30:20.480 --> 0:30:23.920
<v Speaker 1>All right, So the whole time he told me he

0:30:23.960 --> 0:30:26.920
<v Speaker 1>wanted me. When I meet him, he just the ship up.

0:30:29.680 --> 0:30:34.040
<v Speaker 1>He tried to feish you. But I started laughing because

0:30:34.080 --> 0:30:35.320
<v Speaker 1>I was like it was funny at me. I was

0:30:35.360 --> 0:30:36.440
<v Speaker 1>like crazy.

0:30:37.240 --> 0:30:40.480
<v Speaker 5>But anyway, so you know, we meet her whatever.

0:30:41.520 --> 0:30:42.600
<v Speaker 1>I'm gonna tell this other part.

0:30:43.080 --> 0:30:45.320
<v Speaker 5>So we meet her whatever, and uh, I'm like, yeah,

0:30:45.360 --> 0:30:47.320
<v Speaker 5>we will, you know, he said we'll hang out some

0:30:47.400 --> 0:30:49.640
<v Speaker 5>day whatever, blah blah blah. So I walked back down

0:30:49.840 --> 0:30:53.600
<v Speaker 5>with my girl Cookie and which they started fussing.

0:30:54.480 --> 0:30:57.080
<v Speaker 1>M hmm. We get around the corner there in all

0:30:57.120 --> 0:30:58.520
<v Speaker 1>out brawl in the middle of the street.

0:30:59.240 --> 0:31:03.080
<v Speaker 4>Wow, who winning. I'm sorry that like this like this

0:31:05.680 --> 0:31:07.720
<v Speaker 4>she might have been a little yeah, but that's a

0:31:07.720 --> 0:31:14.880
<v Speaker 4>little fights then because she threw the first took off

0:31:15.760 --> 0:31:17.920
<v Speaker 4>and Cookie went behind Cookie with Hood and ship.

0:31:22.440 --> 0:31:25.000
<v Speaker 5>They get to fight. I'm in the middle of trying

0:31:25.000 --> 0:31:28.640
<v Speaker 5>to break it up, calls Ryan by. So they fuss

0:31:28.680 --> 0:31:30.360
<v Speaker 5>at each other and walked their separate ways and I'm

0:31:30.400 --> 0:31:31.160
<v Speaker 5>just standing there.

0:31:32.680 --> 0:31:34.360
<v Speaker 1>I'm like, okay, so.

0:31:35.800 --> 0:31:40.800
<v Speaker 12>Walk They just got into the fight b and just

0:31:40.880 --> 0:31:42.920
<v Speaker 12>and just to go back when he is a.

0:31:42.920 --> 0:31:45.640
<v Speaker 1>Crazy way to meet your future straight up.

0:31:45.720 --> 0:31:48.000
<v Speaker 12>Not but because like he said, I already knew who

0:31:48.040 --> 0:31:50.520
<v Speaker 12>he was, because he to be honest, he was a legend,

0:31:50.560 --> 0:31:52.960
<v Speaker 12>like as far as the like didn't look like it,

0:31:53.400 --> 0:31:55.200
<v Speaker 12>as far as as far as because he had a

0:31:55.200 --> 0:31:56.600
<v Speaker 12>little had a little smurf I mean.

0:31:58.280 --> 0:31:58.720
<v Speaker 1>Or whatever.

0:31:59.520 --> 0:32:01.760
<v Speaker 12>He was kind of like not chubby, but just the

0:32:01.760 --> 0:32:05.560
<v Speaker 12>way he was. But the boy, the boy could move.

0:32:05.720 --> 0:32:07.920
<v Speaker 12>I say, the boy could move. The boy was in

0:32:08.120 --> 0:32:11.640
<v Speaker 12>the number one best group in Atlanta at that time

0:32:11.960 --> 0:32:14.120
<v Speaker 12>or whatever, and I had just took was taking dance

0:32:14.200 --> 0:32:17.400
<v Speaker 12>lessons from a member of that group, somebody who was

0:32:17.440 --> 0:32:20.360
<v Speaker 12>in that group. But they put him out. They put

0:32:20.480 --> 0:32:22.960
<v Speaker 12>him out because he was no one doing too much.

0:32:23.040 --> 0:32:25.800
<v Speaker 12>But he talked. He taught me how to dance. But

0:32:25.880 --> 0:32:27.880
<v Speaker 12>I knew I was never gonna be them. So when

0:32:27.880 --> 0:32:29.280
<v Speaker 12>I saw him that day, it was more.

0:32:29.280 --> 0:32:30.360
<v Speaker 1>Like so like.

0:32:35.400 --> 0:32:39.040
<v Speaker 12>But he went from that day, he like he said,

0:32:39.080 --> 0:32:41.760
<v Speaker 12>he laughed or whatever, but he did see the fact

0:32:41.760 --> 0:32:43.720
<v Speaker 12>that I had a job and I was kind of

0:32:44.040 --> 0:32:46.560
<v Speaker 12>I was doing stuff. So so yeah, so he was

0:32:46.600 --> 0:32:50.080
<v Speaker 12>like he was tired of dancing. I had just learned

0:32:50.080 --> 0:32:52.920
<v Speaker 12>how he was like wow, two two three year legend.

0:32:52.920 --> 0:32:55.480
<v Speaker 12>Already he was ready for music. Then he was already

0:32:55.480 --> 0:32:57.920
<v Speaker 12>starting to do them, like four tracking demos, and I'm

0:32:57.960 --> 0:32:58.600
<v Speaker 12>just looking.

0:32:58.360 --> 0:33:04.160
<v Speaker 1>Like yeah, drum.

0:33:04.760 --> 0:33:07.600
<v Speaker 12>So when we talk about your first experience with music,

0:33:07.760 --> 0:33:10.360
<v Speaker 12>never never thought this would happen, Never thought I would

0:33:10.360 --> 0:33:12.800
<v Speaker 12>meet somebody that actually made music.

0:33:13.320 --> 0:33:14.120
<v Speaker 1>He was showing me.

0:33:14.240 --> 0:33:16.720
<v Speaker 12>So now I'm getting money, I'm doing stuff and I'm

0:33:16.720 --> 0:33:19.080
<v Speaker 12>not selling dope like I really got a job. Just

0:33:19.120 --> 0:33:21.040
<v Speaker 12>want to stay fresh, just trying to look like I'm

0:33:21.080 --> 0:33:23.080
<v Speaker 12>just don't live in these apartments right here.

0:33:23.240 --> 0:33:24.960
<v Speaker 1>You know what I'm saying. I got a car. You

0:33:25.000 --> 0:33:25.680
<v Speaker 1>know what I'm saying, I'm living.

0:33:25.880 --> 0:33:28.680
<v Speaker 12>I'm saying I'm living like I live in bucket, but

0:33:28.760 --> 0:33:30.840
<v Speaker 12>I'm living in this point like off helping and the love,

0:33:30.960 --> 0:33:31.520
<v Speaker 12>you know what I'm saying.

0:33:31.560 --> 0:33:34.480
<v Speaker 1>So yeah, but so. But he was the one who.

0:33:34.400 --> 0:33:38.320
<v Speaker 12>Was like, yo, this is just local dancing, this is

0:33:38.400 --> 0:33:40.720
<v Speaker 12>the this is local. And he the one who wanted

0:33:40.720 --> 0:33:42.120
<v Speaker 12>to start the group. I want to be an artist,

0:33:42.160 --> 0:33:44.520
<v Speaker 12>and I just I believed in that. I love the

0:33:44.520 --> 0:33:46.200
<v Speaker 12>fact that he believed in me or nothing. I felt

0:33:46.240 --> 0:33:47.480
<v Speaker 12>like I could sell it. I felt like I could

0:33:47.520 --> 0:33:49.760
<v Speaker 12>do it. So I started learning about music. I started

0:33:49.800 --> 0:33:53.280
<v Speaker 12>like reading whatever you could learn the little especially Vince whatever,

0:33:53.360 --> 0:33:55.640
<v Speaker 12>Jack the rapper, Whatever's gonna come to town. I'm trying to

0:33:55.680 --> 0:33:58.680
<v Speaker 12>do it right. Then he bumped into a Ray at

0:33:58.760 --> 0:34:01.280
<v Speaker 12>the studio at Joe Car Jeane Car.

0:34:03.880 --> 0:34:06.520
<v Speaker 8>From they live. They moved here, they moved him. She

0:34:06.600 --> 0:34:07.320
<v Speaker 8>lived in Philly now.

0:34:07.360 --> 0:34:10.799
<v Speaker 1>But yeah, yeah, Joe Car, Damn man, the things you learned.

0:34:10.800 --> 0:34:12.759
<v Speaker 8>That's my family because we just.

0:34:16.920 --> 0:34:17.760
<v Speaker 1>I'm a student.

0:34:18.200 --> 0:34:19.759
<v Speaker 8>We ain't never seen you over there, you know, because

0:34:19.760 --> 0:34:22.120
<v Speaker 8>I don't live here. I graduated from Cornership.

0:34:22.160 --> 0:34:23.480
<v Speaker 1>Come back where years did you go to Clerk?

0:34:23.840 --> 0:34:26.760
<v Speaker 8>Uh?

0:34:26.920 --> 0:34:27.640
<v Speaker 1>Were years old?

0:34:27.680 --> 0:34:29.759
<v Speaker 8>Ninety? When I was a I went to ninety six

0:34:29.840 --> 0:34:30.480
<v Speaker 8>to ninety.

0:34:30.320 --> 0:34:35.560
<v Speaker 3>Nine Jugie House at over here.

0:34:35.760 --> 0:34:38.399
<v Speaker 5>Yeah, but Joe, Joe had a little studio, a nice

0:34:38.440 --> 0:34:40.040
<v Speaker 5>little bils little studio in his house.

0:34:40.120 --> 0:34:42.000
<v Speaker 1>Dog and he used to, let you know, me and

0:34:42.080 --> 0:34:44.520
<v Speaker 1>Rico go there and work and stuff. Now we used

0:34:44.520 --> 0:34:52.160
<v Speaker 1>to pay for it. Of course it went on all right.

0:34:52.239 --> 0:34:56.399
<v Speaker 5>So one day I'm in the working and Joe tells me, like, yo,

0:34:56.440 --> 0:34:57.280
<v Speaker 5>I gotta run somewhere.

0:34:57.360 --> 0:34:58.239
<v Speaker 1>You're cool, you can stay here.

0:34:58.280 --> 0:35:01.080
<v Speaker 5>She's he told me, said, Yo, my boy, Ray gonna

0:35:01.080 --> 0:35:03.239
<v Speaker 5>come through here and grab something right quick. He won't

0:35:03.239 --> 0:35:05.080
<v Speaker 5>be nothing but a minute, but you know you'll meet

0:35:05.120 --> 0:35:07.520
<v Speaker 5>him whatever. I said, Okay, cool. So I'm in there.

0:35:08.320 --> 0:35:10.040
<v Speaker 5>I'm confused because I don't know what the hell I'm doing.

0:35:10.320 --> 0:35:12.439
<v Speaker 5>All of a sudden, he the door closed. Ray comes

0:35:12.480 --> 0:35:14.319
<v Speaker 5>around the corner. He doesn't talk to me at all.

0:35:14.800 --> 0:35:16.360
<v Speaker 5>All he does is grab his head.

0:35:18.440 --> 0:35:18.880
<v Speaker 1>Okay.

0:35:19.080 --> 0:35:21.720
<v Speaker 5>So he goes in there and he gets to the keyboard,

0:35:21.760 --> 0:35:25.440
<v Speaker 5>loads his disc, do all this boom, and when he

0:35:25.520 --> 0:35:28.600
<v Speaker 5>hit it, my mouth dropped because I'm like, how the

0:35:28.640 --> 0:35:30.920
<v Speaker 5>fuck you just do? Wait a minute, this just sounded

0:35:30.960 --> 0:35:34.000
<v Speaker 5>like public Enemy, Like, Bro, how you make this summer?

0:35:34.080 --> 0:35:34.120
<v Speaker 7>Go?

0:35:34.200 --> 0:35:36.960
<v Speaker 1>With that sampling and all listening. He look at me

0:35:37.880 --> 0:35:43.959
<v Speaker 1>and I'm looking so Ray, you're the quiet I'm looking.

0:35:45.640 --> 0:35:50.440
<v Speaker 1>I'm amaze automatic. As soon as I sorry, I said, reed, Bro,

0:35:50.880 --> 0:35:54.000
<v Speaker 1>I don't mess some nigga. Ain't Ray. We got to

0:35:54.120 --> 0:35:55.759
<v Speaker 1>have him, I said, he has to be a part

0:35:55.800 --> 0:35:55.960
<v Speaker 1>of this.

0:35:56.040 --> 0:35:59.399
<v Speaker 5>Bro, you don't understand he could teach like he has

0:35:59.440 --> 0:36:02.320
<v Speaker 5>to be a part cause the way Ray taught me simples.

0:36:02.800 --> 0:36:06.440
<v Speaker 5>I came from the funk era, where I thought I

0:36:06.600 --> 0:36:10.600
<v Speaker 5>would have God thought everything right. So when I first

0:36:10.640 --> 0:36:13.920
<v Speaker 5>started hearing like, you know, a rapping everything I thought

0:36:14.280 --> 0:36:18.719
<v Speaker 5>in my mind with some stuff. It was original. He

0:36:18.800 --> 0:36:20.640
<v Speaker 5>came in there with a bag by this big with

0:36:20.760 --> 0:36:26.239
<v Speaker 5>nothing but tapes. M Ramsey, Lewis, James Brown, Blackbirdy, just

0:36:26.280 --> 0:36:29.120
<v Speaker 5>everybody and all the breaks just started playing stuff and

0:36:29.160 --> 0:36:31.400
<v Speaker 5>I'm like, wait a minute, that's what.

0:36:31.400 --> 0:36:32.560
<v Speaker 1>Wait a minute, what do you get that? He's like,

0:36:33.920 --> 0:36:37.560
<v Speaker 1>you know, Ray, it ain't.

0:36:38.560 --> 0:36:40.879
<v Speaker 10>I've been recording every time I go over to somebody house,

0:36:40.960 --> 0:36:42.279
<v Speaker 10>you know what I mean? Because I was playing with

0:36:42.320 --> 0:36:45.000
<v Speaker 10>these records when I was little. I love music, so

0:36:45.080 --> 0:36:48.000
<v Speaker 10>I record, and I was a DJ way early, like

0:36:48.080 --> 0:36:49.879
<v Speaker 10>you know what I mean running seeing him first came out,

0:36:49.920 --> 0:36:53.160
<v Speaker 10>I was one of my homeboys taught me how to DJ,

0:36:53.360 --> 0:36:56.360
<v Speaker 10>so I was DJing back spinning, you know, uh sucker

0:36:56.520 --> 0:37:00.919
<v Speaker 10>sucker mc so. Later on I found out that through

0:37:01.040 --> 0:37:03.680
<v Speaker 10>my DJ friends that a lot of the records.

0:37:03.760 --> 0:37:06.800
<v Speaker 11>That's when we first found this, uh the Breakbeat.

0:37:06.400 --> 0:37:09.880
<v Speaker 1>Collection, Ultimate Beats and Breaks, shout out the Breakbeat.

0:37:10.280 --> 0:37:10.480
<v Speaker 11>See.

0:37:10.520 --> 0:37:13.360
<v Speaker 10>I didn't know, just like Sleepy, I didn't know everything

0:37:13.440 --> 0:37:16.080
<v Speaker 10>was a sample. First, I thought that these guys incredible,

0:37:16.120 --> 0:37:17.200
<v Speaker 10>These guys are making this music.

0:37:17.280 --> 0:37:17.919
<v Speaker 11>D da da dah.

0:37:18.040 --> 0:37:21.279
<v Speaker 10>So I learned how to program based on listening to

0:37:21.320 --> 0:37:24.920
<v Speaker 10>shit and trying to reprogram on Boss drum Machines or

0:37:25.080 --> 0:37:27.640
<v Speaker 10>Leasia's drum Machines on nine on ninees.

0:37:27.280 --> 0:37:29.839
<v Speaker 11>On five h five, seven or seven, you name them.

0:37:29.920 --> 0:37:32.160
<v Speaker 11>I then did it. Then I started.

0:37:32.480 --> 0:37:38.840
<v Speaker 10>When I found the sample record, I said, oh, these motherfuckers. Yeah,

0:37:38.880 --> 0:37:41.719
<v Speaker 10>So this is what I didn't figure out. This is

0:37:41.719 --> 0:37:44.320
<v Speaker 10>what I didn't know. Did the compilation come out before

0:37:44.440 --> 0:37:46.880
<v Speaker 10>the records were hit or after?

0:37:47.280 --> 0:37:51.040
<v Speaker 11>Probably after, okay, because in my mind they came out before.

0:37:51.160 --> 0:37:52.960
<v Speaker 10>So I was like, oh, well, then I just need

0:37:53.000 --> 0:37:55.240
<v Speaker 10>to get the records before they motherfucker come out.

0:37:55.320 --> 0:37:58.319
<v Speaker 11>And do it first. So I started digging deep.

0:37:59.040 --> 0:38:01.319
<v Speaker 3>Wait, let me, let me just do a quick thirty

0:38:01.320 --> 0:38:04.960
<v Speaker 3>second tutorial. So basically, for those that two percent of

0:38:04.960 --> 0:38:08.239
<v Speaker 3>you that have been listening to us for six years

0:38:08.239 --> 0:38:10.839
<v Speaker 3>that don't know, so basically, you know, we always say

0:38:10.840 --> 0:38:15.719
<v Speaker 3>that in the in the folklore of break beadology that

0:38:15.960 --> 0:38:19.160
<v Speaker 3>basically African ben Bata was the collector, like Quhirk was

0:38:19.160 --> 0:38:22.640
<v Speaker 3>the system, Flash was the technique, and ben Bota was

0:38:22.680 --> 0:38:25.160
<v Speaker 3>the collector. And of course they were wiped the labels

0:38:25.200 --> 0:38:28.560
<v Speaker 3>away off the record, so you couldn't Sazam your way,

0:38:28.880 --> 0:38:29.600
<v Speaker 3>what's he spinning?

0:38:29.600 --> 0:38:30.280
<v Speaker 1>What's he spinning?

0:38:31.040 --> 0:38:36.440
<v Speaker 3>And eventually our homeboy break Be Lou decided to just

0:38:36.520 --> 0:38:39.800
<v Speaker 3>make a cheat sheet. You know, we could say the

0:38:39.840 --> 0:38:43.560
<v Speaker 3>Wikipedia of it, or we could say cliff notes of

0:38:43.760 --> 0:38:47.800
<v Speaker 3>all the essential breakbeas, like the basic four food groups

0:38:47.840 --> 0:38:50.920
<v Speaker 3>of the meat and potatoes of break beatology of what

0:38:50.960 --> 0:38:53.680
<v Speaker 3>they were spending in the seventies and the president. Yeah,

0:38:53.800 --> 0:38:57.279
<v Speaker 3>come nineteen eighty five, eighty six, when you're listening to

0:38:57.320 --> 0:39:01.200
<v Speaker 3>License to Ill and like early pre that that period

0:39:01.239 --> 0:39:03.919
<v Speaker 3>between like the Marley mal Rick Ruben period, and yeah,

0:39:04.080 --> 0:39:06.719
<v Speaker 3>I too was disappointed, Like I really thought Jamster Jay

0:39:07.160 --> 0:39:14.080
<v Speaker 3>was doing them bells on like Peter Piper what I'm saying,

0:39:14.320 --> 0:39:16.600
<v Speaker 3>I thought the time was really doing seven seven.

0:39:16.520 --> 0:39:21.240
<v Speaker 1>Seven you speaking everything.

0:39:24.480 --> 0:39:26.839
<v Speaker 12>It's still it still was amazing though that he took

0:39:26.880 --> 0:39:29.640
<v Speaker 12>Bob James and he was mixing it with a drum

0:39:29.680 --> 0:39:32.920
<v Speaker 12>pro and he was keeping it on beat for that

0:39:32.960 --> 0:39:35.839
<v Speaker 12>for the breakdown part still was amazing. It was just

0:39:35.880 --> 0:39:38.640
<v Speaker 12>that you could possibly do it too if you worked

0:39:38.640 --> 0:39:40.680
<v Speaker 12>at your crab, right, But but it wasn't gonna be

0:39:40.760 --> 0:39:43.319
<v Speaker 12>by doing what they did. So it's now just a

0:39:43.360 --> 0:39:45.840
<v Speaker 12>complete study session. He said, let me see if I

0:39:45.840 --> 0:39:48.480
<v Speaker 12>can reprogram the same beats with the same drums. Let

0:39:48.560 --> 0:39:51.560
<v Speaker 12>me just get to the level I'm there. And then,

0:39:52.080 --> 0:39:54.440
<v Speaker 12>like you said, we started digging because one thing they

0:39:54.440 --> 0:39:57.440
<v Speaker 12>taught you they had to put the name of the artists,

0:39:57.480 --> 0:39:59.120
<v Speaker 12>and they had to put the year.

0:40:00.080 --> 0:40:04.960
<v Speaker 1>So you started studying Okay, years, your students, if you're.

0:40:04.840 --> 0:40:08.520
<v Speaker 10>A student, because you studying years years. Yeah, that was years,

0:40:08.520 --> 0:40:10.760
<v Speaker 10>and you get the eighties.

0:40:11.560 --> 0:40:16.239
<v Speaker 1>That's what you like. Yeah, what what's your what's your?

0:40:16.480 --> 0:40:17.480
<v Speaker 11>You know, it don't stop.

0:40:17.960 --> 0:40:20.040
<v Speaker 10>Maybe maybe it changed, But I'm gonna tell you when

0:40:20.040 --> 0:40:24.319
<v Speaker 10>it got whack for me, when when the fucking drum

0:40:24.320 --> 0:40:29.600
<v Speaker 10>machine started going in cameo, When the cameo drum sound,

0:40:30.480 --> 0:40:34.400
<v Speaker 10>when word was like the sound the sound though, because

0:40:34.440 --> 0:40:37.080
<v Speaker 10>you got to understand you're coming from a real snare,

0:40:37.440 --> 0:40:42.400
<v Speaker 10>a snare amplified, a snare distorted until this fucking eighties.

0:40:42.560 --> 0:40:42.880
<v Speaker 11>I don't know.

0:40:43.400 --> 0:40:45.400
<v Speaker 1>It's kind of princess.

0:40:46.440 --> 0:40:50.840
<v Speaker 3>It's funny you mentioned this because even for me, I realized,

0:40:51.239 --> 0:40:55.440
<v Speaker 3>all right, so I'm studying, uh, the Eisley Brothers, we

0:40:55.520 --> 0:40:59.960
<v Speaker 3>might do an arny episode. And when it came down

0:41:00.080 --> 0:41:02.480
<v Speaker 3>on to their ballots, I was like, yo, why doesn't

0:41:02.560 --> 0:41:05.719
<v Speaker 3>Ernie Eisley ever play the high hat like he'll just

0:41:05.760 --> 0:41:08.800
<v Speaker 3>play the kick and he'll just do the basic fibers

0:41:08.800 --> 0:41:11.120
<v Speaker 3>of it. And it just hit me that for a

0:41:11.120 --> 0:41:15.360
<v Speaker 3>lot of seventies cats, drums are almost just simply a

0:41:15.400 --> 0:41:17.960
<v Speaker 3>metronome and everything sits on top of it. I mean

0:41:18.000 --> 0:41:20.280
<v Speaker 3>there's a few, you know, James Brown, George Clinton, whatever,

0:41:20.800 --> 0:41:25.600
<v Speaker 3>But when Prince came along, it's the loudness of those

0:41:25.760 --> 0:41:29.239
<v Speaker 3>those hand claps, by the way. I mean most people

0:41:29.320 --> 0:41:32.279
<v Speaker 3>know this because they've read the Dilli book. Those Lynn

0:41:32.320 --> 0:41:37.839
<v Speaker 3>drum handclaps. That's Tom Petty and the Heartbreakers. So yeah,

0:41:37.840 --> 0:41:39.880
<v Speaker 3>when Roger Lynn was sampling.

0:41:39.800 --> 0:41:42.279
<v Speaker 12>H I did know what. I didn't know that, but

0:41:42.320 --> 0:41:44.520
<v Speaker 12>I knew from Jimmy Ivean. We've talked about it because

0:41:44.520 --> 0:41:48.120
<v Speaker 12>he's had Yeah, he was there, he was recording sounds.

0:41:48.200 --> 0:41:54.480
<v Speaker 12>He was there recording it sounds and.

0:41:52.200 --> 0:41:56.759
<v Speaker 1>We were weaves here man. Yeah.

0:41:56.840 --> 0:41:58.680
<v Speaker 5>Out of all the producers being in hip hop, the

0:41:58.719 --> 0:42:01.759
<v Speaker 5>ones that I truly love himpec, I love Molly Mab,

0:42:02.600 --> 0:42:04.279
<v Speaker 5>love fucking Larry Smith.

0:42:04.680 --> 0:42:06.279
<v Speaker 1>About absolutely.

0:42:07.280 --> 0:42:11.800
<v Speaker 5>Head absolutely, the band for Hill, the band for Sugar,

0:42:11.880 --> 0:42:18.000
<v Speaker 5>heel Bro, those and uh uh, the most incredible mixed

0:42:18.040 --> 0:42:22.160
<v Speaker 5>sounding records ever. Yeah, Larry Smith, he really brought like

0:42:22.600 --> 0:42:25.319
<v Speaker 5>R and B kind of sensibility to hip hop, but

0:42:25.360 --> 0:42:27.799
<v Speaker 5>it was still hip hop and the record sound really big.

0:42:27.840 --> 0:42:31.680
<v Speaker 5>I mean you listen to like Friends everything now it's still.

0:42:31.719 --> 0:42:35.600
<v Speaker 10>Every one love, just crazy everything. Go back to Uh,

0:42:35.719 --> 0:42:37.720
<v Speaker 10>what's what's the name of his group that he was in.

0:42:39.640 --> 0:42:45.640
<v Speaker 5>Curtis Yeah, record with my dad.

0:42:46.680 --> 0:42:50.279
<v Speaker 1>I'm still record for you, bro.

0:42:53.800 --> 0:42:56.520
<v Speaker 3>I was trying to you know, you know the last

0:42:56.600 --> 0:42:59.759
<v Speaker 3>question I asked Jay before I've seen him maybe like

0:43:00.160 --> 0:43:04.080
<v Speaker 3>months before, and the thing that always confused me was

0:43:04.600 --> 0:43:10.200
<v Speaker 3>he would actually scratch the intro. And the thing was

0:43:10.280 --> 0:43:12.520
<v Speaker 3>he would scratch it or he would take that same

0:43:12.520 --> 0:43:17.960
<v Speaker 3>break and scratch it for rock Box. But in my mind,

0:43:18.000 --> 0:43:20.520
<v Speaker 3>I was like, wait a minute, I know you guys

0:43:20.520 --> 0:43:23.640
<v Speaker 3>are using a d MX rhythm machine, so how did

0:43:23.680 --> 0:43:27.359
<v Speaker 3>you scratch that without like like did you just make

0:43:27.680 --> 0:43:30.760
<v Speaker 3>a thirteen second intro and send it to the factory

0:43:31.000 --> 0:43:32.000
<v Speaker 3>for you to scratch it?

0:43:32.440 --> 0:43:33.480
<v Speaker 1>And then he told me.

0:43:33.880 --> 0:43:41.200
<v Speaker 3>That initially for cucucs running, Jay wanted to rhyme to action.

0:43:43.040 --> 0:43:47.520
<v Speaker 1>With that intro. So what they wound.

0:43:47.360 --> 0:43:50.840
<v Speaker 3>Up doing I think he said that, Uh, the engineer

0:43:51.160 --> 0:43:53.880
<v Speaker 3>did a did a distortion trick and just turned up

0:43:54.000 --> 0:43:59.480
<v Speaker 3>the compression so much like when you really you can

0:43:59.520 --> 0:44:00.439
<v Speaker 3>waiting on the right.

0:44:00.400 --> 0:44:05.640
<v Speaker 6>Like, yeah, shout out to engineers everything that's happened.

0:44:06.520 --> 0:44:10.840
<v Speaker 3>Ange likes co engineered every classic like from Voodoo to

0:44:11.960 --> 0:44:15.960
<v Speaker 3>just whatever, like all these classic records. But yeah, I

0:44:16.000 --> 0:44:18.600
<v Speaker 3>always wanted to know how Jay was able to scratch

0:44:20.840 --> 0:44:25.759
<v Speaker 3>and he's basically scratching Orange Crushes Action intro. But they

0:44:25.800 --> 0:44:28.880
<v Speaker 3>compressed it so much that it sounds like the drum

0:44:28.880 --> 0:44:33.680
<v Speaker 3>machine that they eventually programmed on the d question, you

0:44:34.400 --> 0:44:35.879
<v Speaker 3>have a class somewhere bro hip hop?

0:44:36.840 --> 0:44:46.040
<v Speaker 1>N Y I was made me quit man. No, literally,

0:44:46.880 --> 0:44:49.680
<v Speaker 1>I stopped n YU to just do the podcast because.

0:44:50.920 --> 0:44:54.160
<v Speaker 6>So can I ask a question? You guys said when

0:44:54.160 --> 0:44:58.000
<v Speaker 6>you were originally starting to dig and because they were

0:44:58.400 --> 0:45:01.400
<v Speaker 6>wiping the labels, you're where they had to listen.

0:45:02.280 --> 0:45:04.319
<v Speaker 1>Yeah initially in the bird days.

0:45:04.400 --> 0:45:06.920
<v Speaker 6>Yeah, but you said they would only listen the artists

0:45:06.920 --> 0:45:09.680
<v Speaker 6>and the year, So you were shopping or digging by year?

0:45:10.320 --> 0:45:11.320
<v Speaker 6>What about by label?

0:45:11.719 --> 0:45:12.920
<v Speaker 1>But they listed everything.

0:45:13.440 --> 0:45:15.359
<v Speaker 12>We were just looking the fact that they those were

0:45:15.400 --> 0:45:18.440
<v Speaker 12>the key the key points. They listed the whole title, publishers,

0:45:18.560 --> 0:45:19.960
<v Speaker 12>the writers, they were listed everything.

0:45:20.280 --> 0:45:22.960
<v Speaker 1>But we would look for the years. First, first, just

0:45:23.000 --> 0:45:23.640
<v Speaker 1>so we could go.

0:45:24.120 --> 0:45:28.000
<v Speaker 3>Would you would you stop at seventy nine maybe eighty one,

0:45:28.040 --> 0:45:28.800
<v Speaker 3>you know, saying.

0:45:28.719 --> 0:45:30.680
<v Speaker 11>No, I get to eighty about eighty eighty.

0:45:31.480 --> 0:45:33.879
<v Speaker 12>It depends on the cover to me too, because I'm

0:45:33.880 --> 0:45:36.239
<v Speaker 12>still I'm still the color. I still like the pictures cover.

0:45:36.440 --> 0:45:38.440
<v Speaker 12>Like the pictures too. I like the pictures, but the

0:45:38.520 --> 0:45:41.560
<v Speaker 12>years can help me trust it because I was into focus. Well,

0:45:41.760 --> 0:45:43.960
<v Speaker 12>because you get some that's where it's at. You can

0:45:44.000 --> 0:45:46.840
<v Speaker 12>get some hard drums, some pretty riffs or whatever like

0:45:46.920 --> 0:45:50.360
<v Speaker 12>so like, and then just the jazz you had to

0:45:50.400 --> 0:45:52.640
<v Speaker 12>listen to even though you didn't want to, you had

0:45:52.680 --> 0:45:54.399
<v Speaker 12>to because you would you would have missed the whole

0:45:54.440 --> 0:45:55.359
<v Speaker 12>phase of hip hop.

0:45:55.600 --> 0:45:57.000
<v Speaker 1>It was like, like, because I.

0:45:56.960 --> 0:45:59.160
<v Speaker 12>Was thinking earlier when we were talking about it, when

0:46:01.440 --> 0:46:04.680
<v Speaker 12>when they dropped that like when you realize what came

0:46:04.680 --> 0:46:10.400
<v Speaker 12>from weather and when the trip called Quiest did something

0:46:10.440 --> 0:46:12.640
<v Speaker 12>they had that that was it many realton it was

0:46:13.680 --> 0:46:16.600
<v Speaker 12>uh lyrics lyrics. But once you start doing it, once

0:46:16.600 --> 0:46:19.120
<v Speaker 12>you start leving loving it for that, it didn't matter

0:46:19.160 --> 0:46:20.640
<v Speaker 12>if you found something first you was.

0:46:20.600 --> 0:46:23.800
<v Speaker 1>Like, oh god, they killed they did they killed that?

0:46:23.920 --> 0:46:26.239
<v Speaker 1>I like how I mean. So it's also about that

0:46:26.280 --> 0:46:34.120
<v Speaker 1>too like to be so was that inspiration for mainstream? Man, listen, listen,

0:46:34.880 --> 0:46:39.160
<v Speaker 1>that's just that. Now you gotta go ahead.

0:46:39.280 --> 0:46:41.800
<v Speaker 10>I was gonna say, you gotta really appreciate that because

0:46:41.840 --> 0:46:44.879
<v Speaker 10>we dug so deep, because we appreciated all of these

0:46:45.320 --> 0:46:50.080
<v Speaker 10>these changes in production style, how it went from a

0:46:50.160 --> 0:46:54.520
<v Speaker 10>pure James Brown vibe to incorporating melodies and drums and

0:46:54.560 --> 0:46:56.640
<v Speaker 10>then getting away from them being combined.

0:46:57.719 --> 0:46:58.480
<v Speaker 1>Two dope boys.

0:46:59.120 --> 0:47:02.320
<v Speaker 3>Know it just hit me right now, dude, the drums

0:47:02.320 --> 0:47:04.960
<v Speaker 3>from mainstream, seeing drums from fall in Love.

0:47:05.560 --> 0:47:09.800
<v Speaker 1>Yes, indeed, yep, yes, even.

0:47:09.640 --> 0:47:12.719
<v Speaker 10>Now, I'm like, even now you tell me, you tell

0:47:12.760 --> 0:47:15.040
<v Speaker 10>me now, I mean what you say, why you say that?

0:47:15.600 --> 0:47:22.880
<v Speaker 3>No, no, no, it's it's it's literally the same breaking No, no, that's.

0:47:22.719 --> 0:47:26.120
<v Speaker 10>Not about snitching. See, this is the assumption. This is

0:47:26.160 --> 0:47:33.919
<v Speaker 10>the assumption, is that everything is as it was, meaning

0:47:34.000 --> 0:47:36.320
<v Speaker 10>that it's lifted as a loop.

0:47:37.200 --> 0:47:39.759
<v Speaker 1>I'm sure you shot, but it may have.

0:47:39.800 --> 0:47:45.719
<v Speaker 10>Been just sounds programmed in such an order with advance.

0:47:46.280 --> 0:47:51.000
<v Speaker 10>I mean, you gotta remember, now what let me explain something, mixplaining,

0:47:51.080 --> 0:47:52.600
<v Speaker 10>let me explain, let me explain something.

0:47:52.760 --> 0:47:53.239
<v Speaker 1>I love it.

0:47:53.440 --> 0:48:00.840
<v Speaker 10>Larry Smith is his foundation of production is partly because

0:48:01.360 --> 0:48:03.400
<v Speaker 10>he's in the band, but also because of the technology

0:48:03.440 --> 0:48:08.279
<v Speaker 10>he's using SSLS. Right, Okay, we started when we got

0:48:08.280 --> 0:48:10.560
<v Speaker 10>to the music industry, they left us in the room

0:48:10.560 --> 0:48:11.360
<v Speaker 10>with SSLS.

0:48:12.239 --> 0:48:15.920
<v Speaker 11>So this is what we learned how to make old equipment.

0:48:15.960 --> 0:48:24.520
<v Speaker 10>And the synthesis is what you got to really appreciate,

0:48:24.640 --> 0:48:28.799
<v Speaker 10>not necessarily the the the copying. You feel me the

0:48:28.880 --> 0:48:33.960
<v Speaker 10>ability to be able to make something be something else, Yoda.

0:48:34.080 --> 0:48:35.560
<v Speaker 12>And I'm gonna get into the part because because to

0:48:35.600 --> 0:48:36.560
<v Speaker 12>be honest, you could be right.

0:48:36.600 --> 0:48:39.960
<v Speaker 1>I'm not sure.

0:48:42.280 --> 0:48:47.440
<v Speaker 3>I'm such a stickler for reverb sounds.

0:48:48.280 --> 0:48:49.800
<v Speaker 1>I assumed.

0:48:50.680 --> 0:48:54.279
<v Speaker 3>That you guys used iron Butterfly Soldier in our town

0:48:54.360 --> 0:48:56.120
<v Speaker 3>for the drums dropping them in here.

0:48:57.760 --> 0:48:59.399
<v Speaker 1>But I can't speed it up.

0:48:59.560 --> 0:49:01.799
<v Speaker 11>But you right, you might be close, might be.

0:49:02.320 --> 0:49:04.640
<v Speaker 12>But the key to it, though, the key to it,

0:49:04.880 --> 0:49:08.279
<v Speaker 12>what I said, is yes, the program because they make

0:49:08.280 --> 0:49:10.880
<v Speaker 12>stuff our temple or whatever. We might take drums and

0:49:10.920 --> 0:49:14.520
<v Speaker 12>then program reprogrammed the same loop but end up touching

0:49:14.560 --> 0:49:17.080
<v Speaker 12>other sounds that make it might change. The high head

0:49:17.400 --> 0:49:21.879
<v Speaker 12>change is part if it makes it better. But but

0:49:21.920 --> 0:49:26.480
<v Speaker 12>the greatness or whatever, I'm impressed with, like you, Raphael

0:49:26.520 --> 0:49:28.640
<v Speaker 12>speak a lot of other people when they talk about mainstream.

0:49:29.560 --> 0:49:31.760
<v Speaker 1>I love it because it creative people.

0:49:31.880 --> 0:49:33.759
<v Speaker 12>The fact that y'all loved that, and the fact that

0:49:34.440 --> 0:49:38.080
<v Speaker 12>it wasn't orthodox, It wasn't it was I was it really?

0:49:38.560 --> 0:49:43.080
<v Speaker 1>Can I ask? Is based on that? Okay?

0:49:43.400 --> 0:49:45.640
<v Speaker 12>And then the thing is I think we had that

0:49:45.640 --> 0:49:52.960
<v Speaker 12>little rid keyboard that was the magic box, and we

0:49:53.040 --> 0:49:54.080
<v Speaker 12>discovered that little sound.

0:49:54.239 --> 0:49:55.319
<v Speaker 1>We just let that sound go.

0:49:55.440 --> 0:49:57.920
<v Speaker 12>But but the main thing is that I think it

0:49:58.000 --> 0:50:01.520
<v Speaker 12>was also Yeah, that's what I'm about to get to

0:50:01.520 --> 0:50:03.480
<v Speaker 12>without telling too much, was that it was it was

0:50:03.520 --> 0:50:05.279
<v Speaker 12>like a cell therapy, you know how.

0:50:05.600 --> 0:50:07.400
<v Speaker 1>You know, we got that dump that bounce before the

0:50:07.400 --> 0:50:10.600
<v Speaker 1>bounce come in, we got like a quarter like don't

0:50:11.840 --> 0:50:13.680
<v Speaker 1>so it's like we have a half of rip.

0:50:13.719 --> 0:50:18.480
<v Speaker 12>So like it's like a six bar loop like like

0:50:18.480 --> 0:50:22.920
<v Speaker 12>like rolling. Like the way we cut it off mainstream

0:50:23.120 --> 0:50:27.239
<v Speaker 12>was that with a straight beat. You're right, it was.

0:50:27.280 --> 0:50:30.080
<v Speaker 12>It was giving you a it was flipping a different part.

0:50:30.560 --> 0:50:32.200
<v Speaker 12>But I couldn't figure out how to do that weird

0:50:32.280 --> 0:50:34.279
<v Speaker 12>beat to that at that point in my career, so

0:50:34.320 --> 0:50:34.680
<v Speaker 12>I had.

0:50:34.560 --> 0:50:37.759
<v Speaker 1>To go easy to keep it down the middle. But

0:50:37.800 --> 0:50:44.399
<v Speaker 1>the music go crazy, all right.

0:50:44.480 --> 0:50:49.759
<v Speaker 3>So now what we know as the Dungeons Studios before

0:50:49.960 --> 0:50:54.160
<v Speaker 3>you guys get a budget before Elie and whatnot. Like,

0:50:54.200 --> 0:50:57.319
<v Speaker 3>I'm certain that you guys are creating a workspace in

0:50:57.400 --> 0:51:00.319
<v Speaker 3>some sort of environment or you know, you called it

0:51:00.320 --> 0:51:00.800
<v Speaker 3>the dungeon.

0:51:03.080 --> 0:51:05.239
<v Speaker 1>What is the equipment there and who's there?

0:51:05.480 --> 0:51:07.520
<v Speaker 3>I mean because just based on the videos, I'm assuming

0:51:07.520 --> 0:51:09.600
<v Speaker 3>that it's almost like the Southern Wu Tang where it's

0:51:09.600 --> 0:51:11.000
<v Speaker 3>like twelve of y'all, just like.

0:51:11.280 --> 0:51:15.000
<v Speaker 12>The dungeon was my mother's basement, unfinished basement, the wooden steps,

0:51:15.040 --> 0:51:15.800
<v Speaker 12>go down the steps.

0:51:16.040 --> 0:51:19.000
<v Speaker 1>Ray was Yoda. He is the cook up. He'd wake

0:51:19.080 --> 0:51:20.240
<v Speaker 1>up and get on the drum machine.

0:51:20.280 --> 0:51:23.120
<v Speaker 12>And it was an MPC from the time MPC came out,

0:51:23.520 --> 0:51:25.719
<v Speaker 12>and we had one before we even moved over there,

0:51:26.040 --> 0:51:28.560
<v Speaker 12>like from the very first MPC we had one or whatever.

0:51:28.640 --> 0:51:32.040
<v Speaker 12>So and the problem was it was an unfinished basement,

0:51:32.080 --> 0:51:33.960
<v Speaker 12>so it was dusty. So he used to load the

0:51:34.000 --> 0:51:35.960
<v Speaker 12>three point five floppy.

0:51:36.360 --> 0:51:38.840
<v Speaker 1>Yes, yeah he did. So sometimes we have to be

0:51:38.840 --> 0:51:42.040
<v Speaker 1>concerned it stop about losing things.

0:51:42.080 --> 0:51:46.600
<v Speaker 6>As soon as I know DiAngelo's That's why we laughed

0:51:46.600 --> 0:51:48.520
<v Speaker 6>when we hear floppy. He's still using them.

0:51:48.560 --> 0:51:50.959
<v Speaker 3>Shit, the Angelo is still it is still nineteen ninety

0:51:50.960 --> 0:51:52.799
<v Speaker 3>seven with him, and he doesn't one to move.

0:51:52.840 --> 0:51:54.120
<v Speaker 1>No, no, but it's almost.

0:51:53.840 --> 0:51:56.840
<v Speaker 12>A good it's a good sound though it's an analog texture.

0:51:56.920 --> 0:51:58.399
<v Speaker 12>I mean, it's some things you do for a sound

0:51:58.520 --> 0:52:00.640
<v Speaker 12>or whatever, like the SP twelve, Like that's what I'm saying.

0:52:00.680 --> 0:52:02.400
<v Speaker 12>The other drum machine that we didn't mess with that

0:52:02.480 --> 0:52:05.520
<v Speaker 12>much because the past was it was stick. Once we

0:52:05.600 --> 0:52:08.800
<v Speaker 12>figured out, we midted that to the MPC and programming

0:52:08.840 --> 0:52:09.480
<v Speaker 12>from the MPC.

0:52:09.680 --> 0:52:13.200
<v Speaker 1>But get get the texture Legion eight O eight, so

0:52:13.239 --> 0:52:15.640
<v Speaker 1>you would filter the SB twelve and then just midia

0:52:15.760 --> 0:52:16.320
<v Speaker 1>through the.

0:52:16.600 --> 0:52:19.360
<v Speaker 12>Yeah program program in SB two. I mean, like you

0:52:19.600 --> 0:52:22.359
<v Speaker 12>get your examples edited in the SB twelve right then,

0:52:23.320 --> 0:52:26.680
<v Speaker 12>since since literally every every SB twelve the buttons get

0:52:26.680 --> 0:52:29.160
<v Speaker 12>stuck so you can't read program, so you just made

0:52:29.160 --> 0:52:31.160
<v Speaker 12>it a min Once we learned MIDI for real, with

0:52:31.360 --> 0:52:33.920
<v Speaker 12>like oh I can control this drum machine with this

0:52:34.000 --> 0:52:36.680
<v Speaker 12>drum machine or whatever because they had MIDI. So once

0:52:36.680 --> 0:52:39.520
<v Speaker 12>we start doing that, like Waterfalls had the SB twelve,

0:52:39.800 --> 0:52:43.719
<v Speaker 12>I'm on it. Ludicrous Saturdays used SP twelve and I

0:52:43.760 --> 0:52:45.759
<v Speaker 12>promise you that was the sound. That was like the

0:52:45.800 --> 0:52:48.799
<v Speaker 12>bass music. It was like andre three thousand bombs over

0:52:48.840 --> 0:52:52.160
<v Speaker 12>bad there all that, but that's SB bomb. That's the

0:52:52.320 --> 0:52:54.239
<v Speaker 12>SP twelve type of vibe. So we had an SB

0:52:54.360 --> 0:52:56.960
<v Speaker 12>twelve down there. We had an MPC down there, and

0:52:57.440 --> 0:52:59.480
<v Speaker 12>you couldn't really record. We had a six track so

0:52:59.520 --> 0:53:02.520
<v Speaker 12>you can hear stuff. Had two big house speakers down

0:53:02.560 --> 0:53:04.799
<v Speaker 12>there or whatever. And and most of the time it

0:53:04.880 --> 0:53:07.919
<v Speaker 12>was about writing because you had the steps, so people

0:53:07.920 --> 0:53:09.759
<v Speaker 12>would sit on the steps. You have big boyd Dra,

0:53:10.280 --> 0:53:12.759
<v Speaker 12>you have kol Joe, you have big Big Rude, usually

0:53:12.840 --> 0:53:13.600
<v Speaker 12>closer to Ray.

0:53:14.040 --> 0:53:16.880
<v Speaker 8>Because on your basement, on your steps, on the wood.

0:53:16.600 --> 0:53:18.680
<v Speaker 12>Steps, the woods steps, you would see them down the steps.

0:53:18.680 --> 0:53:20.680
<v Speaker 12>But it was like it was almost like going down

0:53:20.719 --> 0:53:23.040
<v Speaker 12>to you know, Ray on the drum machine and you

0:53:23.120 --> 0:53:26.680
<v Speaker 12>and it was already known, you not really talking the Ray.

0:53:26.800 --> 0:53:28.320
<v Speaker 12>And all all you can do is is like is

0:53:28.320 --> 0:53:29.720
<v Speaker 12>appreciate this music box.

0:53:29.920 --> 0:53:32.200
<v Speaker 3>So they're all writing, They all right there, and the

0:53:32.239 --> 0:53:35.160
<v Speaker 3>person that finishes first day on that song, oh.

0:53:34.880 --> 0:53:35.600
<v Speaker 1>They're all writing.

0:53:35.600 --> 0:53:37.480
<v Speaker 12>And he changed whenever he finished what he's doing for

0:53:37.480 --> 0:53:39.880
<v Speaker 12>that for that sequence, he changed the beat, and everybody,

0:53:40.360 --> 0:53:42.440
<v Speaker 12>everybody turned the page and try to remember when you

0:53:42.440 --> 0:53:43.680
<v Speaker 12>go back to get back on it.

0:53:43.880 --> 0:53:46.759
<v Speaker 1>But you'll keep writing over a new beat. So now

0:53:46.760 --> 0:53:47.760
<v Speaker 1>your styles are.

0:53:47.680 --> 0:53:50.680
<v Speaker 12>Changing because now you were just writing with a certain

0:53:50.760 --> 0:53:53.759
<v Speaker 12>thought process. Now that thought press has been enhanced by

0:53:53.840 --> 0:53:54.600
<v Speaker 12>the beat changing.

0:53:54.920 --> 0:53:57.400
<v Speaker 1>It's like the plant based version of drink Champs right now.

0:54:01.920 --> 0:54:03.640
<v Speaker 8>It also reminds me of like bo I mean you

0:54:03.680 --> 0:54:04.520
<v Speaker 8>watch the boot tang so.

0:54:04.880 --> 0:54:07.000
<v Speaker 12>Yeah so, and then then digging in the crazy the

0:54:07.000 --> 0:54:09.399
<v Speaker 12>fact that Ray would start so early, some people would

0:54:09.440 --> 0:54:11.279
<v Speaker 12>be you would get a chance, just the knowledge of

0:54:11.360 --> 0:54:15.759
<v Speaker 12>like you hear you'll hear it. He'll sample it now,

0:54:15.800 --> 0:54:18.399
<v Speaker 12>he's chopping it up. Now, he messing it up. Now

0:54:18.440 --> 0:54:21.399
<v Speaker 12>he fitted program something to it. But but he might

0:54:21.440 --> 0:54:23.920
<v Speaker 12>sample five or six things before he start programming. Or

0:54:25.200 --> 0:54:27.480
<v Speaker 12>when I go down there later, or when Sleepy get

0:54:27.560 --> 0:54:29.640
<v Speaker 12>on there, he already unpacked the drum machine up with

0:54:29.680 --> 0:54:31.359
<v Speaker 12>so many different things that he maybe some of them

0:54:31.400 --> 0:54:33.279
<v Speaker 12>started on some of them he didn't. So it's like

0:54:33.320 --> 0:54:35.879
<v Speaker 12>if it's sometimes you might be like get that, Ray,

0:54:36.080 --> 0:54:36.640
<v Speaker 12>get that for me.

0:54:36.680 --> 0:54:37.160
<v Speaker 1>You know what I'm saying.

0:54:37.200 --> 0:54:39.279
<v Speaker 12>I grabbed that, Like Sleepy does it all the time,

0:54:39.480 --> 0:54:44.319
<v Speaker 12>like you gotta go yeah, just you know, because he

0:54:44.360 --> 0:54:46.879
<v Speaker 12>has his own sound. That's what's cold about Sleepy, Like

0:54:46.880 --> 0:54:50.480
<v Speaker 12>like like most artists get confused around Ray because he's

0:54:50.480 --> 0:54:50.879
<v Speaker 12>gonna go.

0:54:50.840 --> 0:54:54.680
<v Speaker 1>From waterfalls to sell therapy. We diverse.

0:54:54.880 --> 0:54:56.319
<v Speaker 12>So the fact that he might be digging on some

0:54:56.440 --> 0:54:58.200
<v Speaker 12>crazy all a sudden, he might go into something that's

0:54:58.520 --> 0:55:00.880
<v Speaker 12>in my mind. I'm the business person, like, that's not

0:55:00.920 --> 0:55:02.600
<v Speaker 12>for you.

0:55:01.800 --> 0:55:06.719
<v Speaker 1>That's gonna be what I don't. You're the traffic cop.

0:55:06.840 --> 0:55:08.759
<v Speaker 12>Yes, but I don't determine it, like I don't say

0:55:08.800 --> 0:55:12.879
<v Speaker 12>it in front of nobody. I said, I said, he was.

0:55:12.800 --> 0:55:13.640
<v Speaker 1>Like, we can use that.

0:55:14.280 --> 0:55:15.120
<v Speaker 11>Yeah, we trust each other.

0:55:16.040 --> 0:55:18.440
<v Speaker 12>Like, I'm not gonna tell the artists then, because because

0:55:18.440 --> 0:55:23.160
<v Speaker 12>the Invo songs, Coolbries Songries was killing it cool, That's

0:55:23.200 --> 0:55:24.440
<v Speaker 12>what it was.

0:55:24.480 --> 0:55:30.520
<v Speaker 1>It was only the It wasn't drum that little. It

0:55:30.640 --> 0:55:31.600
<v Speaker 1>wasn't even lie of drums.

0:55:31.600 --> 0:55:33.279
<v Speaker 12>It was it was it was a it was a

0:55:33.280 --> 0:55:35.279
<v Speaker 12>beat redhead, a beat on and it was that like

0:55:35.280 --> 0:55:37.040
<v Speaker 12>you said, it was that Koobries was writing to that

0:55:38.520 --> 0:55:39.160
<v Speaker 12>hold on Him.

0:55:39.040 --> 0:55:41.680
<v Speaker 8>Don't let Go. That's the song we're talking about.

0:55:41.760 --> 0:55:42.200
<v Speaker 1>Yeah.

0:55:42.400 --> 0:55:44.680
<v Speaker 12>But but when it got beautiful, I think I think

0:55:44.680 --> 0:55:46.879
<v Speaker 12>we called it John John John.

0:55:47.000 --> 0:55:49.880
<v Speaker 1>We called John I happened to be we called in

0:55:50.000 --> 0:55:51.320
<v Speaker 1>for that. So the night that.

0:55:51.200 --> 0:55:55.600
<v Speaker 3>He tracked that, I believe we were at the tabernacle

0:55:55.640 --> 0:55:59.160
<v Speaker 3>because he told me the tabernacle right, because when I

0:55:59.200 --> 0:56:02.640
<v Speaker 3>saw a little later that that night, he told me

0:56:02.760 --> 0:56:04.880
<v Speaker 3>that he just did it like two days before or whatever.

0:56:05.440 --> 0:56:09.880
<v Speaker 1>And so that's how I think that this tabernacle not

0:56:09.920 --> 0:56:12.560
<v Speaker 1>existed on wait wait.

0:56:12.600 --> 0:56:15.040
<v Speaker 3>And I'm also glad you told this story because I

0:56:15.040 --> 0:56:17.680
<v Speaker 3>always felt like you were secretly judging me, like you

0:56:17.719 --> 0:56:21.280
<v Speaker 3>and James and kiss my ass, James Poison. I feel

0:56:21.320 --> 0:56:24.279
<v Speaker 3>like I wanted to explain to you because the way

0:56:24.280 --> 0:56:27.520
<v Speaker 3>we were. You notice that I always I use my computer,

0:56:27.760 --> 0:56:30.719
<v Speaker 3>but I always put it through the that SB twelve

0:56:30.800 --> 0:56:34.200
<v Speaker 3>hundred I got, and I never used that SP twelve hundred. Yes,

0:56:34.320 --> 0:56:37.719
<v Speaker 3>the reason is there's a new version of me. There's

0:56:37.719 --> 0:56:40.480
<v Speaker 3>a new kidd out version of I got it. It

0:56:40.520 --> 0:56:42.640
<v Speaker 3>has great texture, but I haven't learned to really freak

0:56:42.680 --> 0:56:44.920
<v Speaker 3>it yet, So I still do my shit on my computer.

0:56:45.040 --> 0:56:47.239
<v Speaker 3>But I like the texture of how samples go through.

0:56:47.400 --> 0:56:49.719
<v Speaker 6>They should just have an SP twelve plug in.

0:56:50.800 --> 0:56:52.680
<v Speaker 1>They kind of got one like m PC. But you

0:56:52.760 --> 0:56:53.560
<v Speaker 1>just don't believe it.

0:56:54.120 --> 0:56:56.560
<v Speaker 12>I'm saying too, it's not some things you just want

0:56:56.600 --> 0:56:59.120
<v Speaker 12>to like like that eight. Like what I'm willing to

0:56:59.160 --> 0:57:00.800
<v Speaker 12>do is to try to say up with the sounds

0:57:00.800 --> 0:57:01.680
<v Speaker 12>digitally again.

0:57:01.960 --> 0:57:03.120
<v Speaker 1>But that but the quality.

0:57:03.160 --> 0:57:06.160
<v Speaker 12>I gotta be honest, Legohn, how it sound really changed America?

0:57:06.280 --> 0:57:09.560
<v Speaker 12>Like like that that clean eight away the DJ. It

0:57:09.640 --> 0:57:11.600
<v Speaker 12>was Robert the DJ, the DJ.

0:57:12.239 --> 0:57:15.120
<v Speaker 3>And I once thought that little John Roberts was a

0:57:15.160 --> 0:57:18.960
<v Speaker 3>little John Yo, he's really revolutionist. Because the thing was,

0:57:19.960 --> 0:57:25.480
<v Speaker 3>I knew DJ drama back when he was backpack, dramatic, dramatic,

0:57:25.760 --> 0:57:30.080
<v Speaker 3>and when trying to convince me that this guy Gangster Grills.

0:57:29.760 --> 0:57:32.520
<v Speaker 1>Is dramatic, I'm like here.

0:57:33.400 --> 0:57:35.120
<v Speaker 3>Until I seen him, I was like, holy ship, you

0:57:35.200 --> 0:57:38.760
<v Speaker 3>really did like so I did want At one point

0:57:39.000 --> 0:57:44.040
<v Speaker 3>I did think that little John Roberts was revolutionizing dance

0:57:44.080 --> 0:57:44.880
<v Speaker 3>culture in Atlanta.

0:57:44.880 --> 0:57:46.240
<v Speaker 1>And then I realized there was two of them.

0:57:46.400 --> 0:57:48.760
<v Speaker 6>So what what kind of MPC was it?

0:57:49.960 --> 0:57:50.120
<v Speaker 1>Oh?

0:57:50.440 --> 0:57:50.720
<v Speaker 6>Wow?

0:57:54.240 --> 0:57:56.000
<v Speaker 1>I mean for your your weapon of choice.

0:57:56.120 --> 0:58:01.200
<v Speaker 12>Original studio, the original studio downstairs, the bignkey one, the first,

0:58:01.560 --> 0:58:03.160
<v Speaker 12>the first, very first clank one.

0:58:03.720 --> 0:58:06.160
<v Speaker 11>We started on the first one and then graduated with

0:58:06.280 --> 0:58:06.760
<v Speaker 11>each one.

0:58:06.880 --> 0:58:09.520
<v Speaker 6>Do you feel like there's a different sound between the

0:58:09.600 --> 0:58:10.320
<v Speaker 6>different models?

0:58:10.360 --> 0:58:10.680
<v Speaker 1>They are?

0:58:10.800 --> 0:58:15.560
<v Speaker 5>They are like okay, now some people, three thousand, two

0:58:15.640 --> 0:58:17.240
<v Speaker 5>thousand was the second one right now?

0:58:17.840 --> 0:58:20.760
<v Speaker 12>Three thousand one second, Well, that's the that's that's the one.

0:58:21.600 --> 0:58:24.280
<v Speaker 12>Three thousand three thousand was the one that they started

0:58:24.320 --> 0:58:27.160
<v Speaker 12>using two effects. The three thousand the one they start

0:58:27.240 --> 0:58:29.240
<v Speaker 12>using the effects. They start using the little where they

0:58:29.240 --> 0:58:31.080
<v Speaker 12>could like you can make a sample, you can hide

0:58:31.080 --> 0:58:34.040
<v Speaker 12>a sample. That's they start thou they started doing that.

0:58:34.880 --> 0:58:37.560
<v Speaker 12>The two thousand was the was the bounce box, but

0:58:37.800 --> 0:58:40.440
<v Speaker 12>anything you did was bouncing or whatever.

0:58:40.520 --> 0:58:42.320
<v Speaker 1>So it does have difference. Does all of them have

0:58:42.320 --> 0:58:42.959
<v Speaker 1>a different sound?

0:58:43.200 --> 0:58:46.040
<v Speaker 6>But what what gives it? The bounce the quantizing?

0:58:46.160 --> 0:58:47.760
<v Speaker 1>Yes, yes, good job.

0:58:47.920 --> 0:58:51.960
<v Speaker 10>Well, to be specific to the drum machines, when they

0:58:52.040 --> 0:58:54.880
<v Speaker 10>changed them around, they kept putting the fucking click the

0:58:54.960 --> 0:58:59.560
<v Speaker 10>tap button on different sides. So if you started on

0:58:59.600 --> 0:59:02.320
<v Speaker 10>the first one, you tap with your left or whatever,

0:59:02.440 --> 0:59:03.720
<v Speaker 10>and if you start then other one, you tap what

0:59:03.720 --> 0:59:06.520
<v Speaker 10>you're right, So it made people be biased to the

0:59:06.560 --> 0:59:09.600
<v Speaker 10>drum machine left handed, you know, like that right.

0:59:10.160 --> 0:59:13.000
<v Speaker 6>And it seems like the three thousand is like the one, right.

0:59:12.960 --> 0:59:15.680
<v Speaker 1>Three thousand is the one if you're dyling now.

0:59:15.760 --> 0:59:20.439
<v Speaker 3>And the thing is that Rogerlin didn't It has his name,

0:59:20.600 --> 0:59:23.080
<v Speaker 3>but Rogerlin had nothing to do with the two thousand.

0:59:23.360 --> 0:59:26.440
<v Speaker 3>It's almost like the yeasy adeed situation where they have

0:59:26.520 --> 0:59:27.800
<v Speaker 3>a name but that sort of thing.

0:59:27.880 --> 0:59:30.320
<v Speaker 1>So really the last thing that he did.

0:59:30.360 --> 0:59:33.560
<v Speaker 3>He did the NBC sixty, the NBC sixty two, and

0:59:33.600 --> 0:59:36.320
<v Speaker 3>then he did the three thousand, and then NBC sixty

0:59:36.360 --> 0:59:38.640
<v Speaker 3>came and like here's a boot, you know, and my

0:59:38.720 --> 0:59:41.040
<v Speaker 3>sucker asked fell for the two thousand because it's for

0:59:41.160 --> 0:59:41.920
<v Speaker 3>left handed people.

0:59:43.240 --> 0:59:46.720
<v Speaker 4>So all right, rapid five? All right, yeah, it's rapid five. Okay,

0:59:46.760 --> 0:59:50.120
<v Speaker 4>socks and which doctor of swat healing ritual?

0:59:50.560 --> 0:59:52.480
<v Speaker 1>Okay that far?

0:59:52.600 --> 0:59:56.640
<v Speaker 4>Look man, we look, bro, we ain't got time, Bros

0:59:56.680 --> 0:59:57.320
<v Speaker 4>got to look man.

0:59:57.880 --> 0:59:58.880
<v Speaker 1>That probably to me.

0:59:59.360 --> 1:00:05.720
<v Speaker 4>That and Kool Breeze album like Ghetto Camera Bro, those records.

1:00:05.760 --> 1:00:09.080
<v Speaker 4>I've heard parts of the story. What happened with those

1:00:09.080 --> 1:00:11.640
<v Speaker 4>two records in the Interscope deals.

1:00:11.240 --> 1:00:15.840
<v Speaker 12>And Interscope situation was it was a good deal, but

1:00:15.920 --> 1:00:17.800
<v Speaker 12>it was just bigger than what we was used to

1:00:18.000 --> 1:00:19.960
<v Speaker 12>or whenever we had more power or whatever. So like

1:00:20.360 --> 1:00:22.160
<v Speaker 12>and the artists, you know what I'm saying. We by

1:00:22.200 --> 1:00:25.920
<v Speaker 12>that time, we as a company. We wouldn't produce. We

1:00:25.960 --> 1:00:29.000
<v Speaker 12>was production company, but we were a label, and the

1:00:29.120 --> 1:00:32.200
<v Speaker 12>artists had more responsibility or whatever, Like we was making

1:00:32.240 --> 1:00:35.640
<v Speaker 12>your music, but we wouldn't holding your hand to make

1:00:35.680 --> 1:00:36.840
<v Speaker 12>sure you went on your shows.

1:00:36.960 --> 1:00:38.600
<v Speaker 1>To make sure you did in stores.

1:00:38.760 --> 1:00:41.560
<v Speaker 12>Yes, we did that without cast, but they were seventeen

1:00:41.640 --> 1:00:44.560
<v Speaker 12>years old. Eighteen years old. It was more about do

1:00:44.600 --> 1:00:46.600
<v Speaker 12>you even have a bank card? You know what I'm saying.

1:00:46.680 --> 1:00:48.480
<v Speaker 12>I don't want to leave you out there. But by

1:00:48.480 --> 1:00:51.560
<v Speaker 12>the time we got the Goodie Mob, y'all grown. Yes,

1:00:52.000 --> 1:00:55.160
<v Speaker 12>And not to diflect, but I did what I want.

1:00:55.200 --> 1:00:57.080
<v Speaker 12>I've been wanting to say this. The quest because how

1:00:57.080 --> 1:00:59.120
<v Speaker 12>did you feel when you first met because the first

1:00:59.120 --> 1:01:01.800
<v Speaker 12>two a Goodie Mob was with the Roots and with

1:01:02.160 --> 1:01:02.840
<v Speaker 12>the Fujis.

1:01:03.000 --> 1:01:04.919
<v Speaker 8>Oh, now that was already dramatic.

1:01:05.560 --> 1:01:06.240
<v Speaker 1>No, it wasn't.

1:01:06.360 --> 1:01:10.440
<v Speaker 3>Because we first met Goodie Mob, like my first introduction

1:01:10.560 --> 1:01:15.640
<v Speaker 3>to I mean, besides seeing outcasts on te people in

1:01:15.680 --> 1:01:23.439
<v Speaker 3>real life. We our very first trip to Atlanta. We

1:01:23.480 --> 1:01:28.440
<v Speaker 3>went to this radio station and I remember that, so

1:01:29.600 --> 1:01:31.360
<v Speaker 3>I didn't go to the radio station that night, but

1:01:31.400 --> 1:01:35.600
<v Speaker 3>I listened and basically all of Goodie Mob and the

1:01:35.680 --> 1:01:39.880
<v Speaker 3>Roots like freestyled for twenty minutes. It was on YouTube

1:01:39.960 --> 1:01:42.320
<v Speaker 3>for the longest, Like it was like a legendary moment.

1:01:42.400 --> 1:01:46.919
<v Speaker 3>I just remember Reek coming back, like, yo, there's even

1:01:46.960 --> 1:01:52.400
<v Speaker 3>more of them, because the thing was because the thing is, yes,

1:01:52.840 --> 1:01:56.760
<v Speaker 3>there were there was a lot of bias towards how

1:01:57.880 --> 1:02:01.400
<v Speaker 3>we in the Northeast. Yes we're very I be very particular,

1:02:02.440 --> 1:02:06.680
<v Speaker 3>very territorial about culture and whatnot. So yes, we tend

1:02:06.680 --> 1:02:08.760
<v Speaker 3>to think that most of down South was just Luke

1:02:09.280 --> 1:02:13.919
<v Speaker 3>and nothing else. And so shout out to cosmic Keev

1:02:14.120 --> 1:02:20.000
<v Speaker 3>for he always rode for the Player's Ball remix. Now

1:02:20.800 --> 1:02:26.640
<v Speaker 3>I will be super super transparent, honest, the original Player's Ball.

1:02:27.560 --> 1:02:29.080
<v Speaker 1>I remember when it came on BT.

1:02:30.440 --> 1:02:33.960
<v Speaker 3>And it was the jury is up in the air,

1:02:34.000 --> 1:02:36.760
<v Speaker 3>because we were like at the all right, so here's

1:02:36.800 --> 1:02:42.439
<v Speaker 3>my thing, here's all right. What it happened was no, no, no, no.

1:02:42.480 --> 1:02:48.760
<v Speaker 3>Where I was, I was dirty dungeon. Hip hop has

1:02:48.840 --> 1:02:51.800
<v Speaker 3>to be filthy, like the first Jungle Brothers record, the

1:02:51.840 --> 1:02:54.840
<v Speaker 3>first Wu Tang record. And when the Chronic came out,

1:02:55.120 --> 1:02:57.480
<v Speaker 3>I told you, and Dre laughs his ass off. I

1:02:57.560 --> 1:03:00.760
<v Speaker 3>hated the Chronic for like twenty years because it just

1:03:00.800 --> 1:03:03.440
<v Speaker 3>sounded to pristine too.

1:03:03.600 --> 1:03:06.240
<v Speaker 1>Yeah, it was too. It was like, wait, I thought

1:03:06.240 --> 1:03:08.080
<v Speaker 1>we were against this. I thought we didn't want to

1:03:08.080 --> 1:03:13.520
<v Speaker 1>sound like afternoon radio to me.

1:03:14.600 --> 1:03:18.560
<v Speaker 3>Then suddenly hip hop just sounded clean and big and right.

1:03:18.640 --> 1:03:21.880
<v Speaker 3>But I didn't come from like club culture where ship

1:03:22.000 --> 1:03:26.760
<v Speaker 3>had to kick. I wanted this ship to like that, right,

1:03:26.840 --> 1:03:28.920
<v Speaker 3>And I was just like, I don't know, man, like

1:03:28.960 --> 1:03:32.560
<v Speaker 3>it's too clean. And and then I got in cosmic

1:03:32.600 --> 1:03:36.200
<v Speaker 3>Kev's car and he played the main Ingredient remix version,

1:03:39.000 --> 1:03:40.480
<v Speaker 3>and when the drums kicked.

1:03:40.240 --> 1:03:43.520
<v Speaker 10>In, like, let me could cut you off because you've

1:03:43.560 --> 1:03:45.480
<v Speaker 10>been dropping these motherfucking gems.

1:03:47.800 --> 1:03:55.320
<v Speaker 5>I didn't know what I'm thinking about the producer main Ingredient.

1:04:02.320 --> 1:04:04.880
<v Speaker 12>We literally played played it with the piano and had

1:04:04.920 --> 1:04:05.920
<v Speaker 12>sleep becoming singing.

1:04:06.040 --> 1:04:09.200
<v Speaker 5>Yeah, you got to say, it's like, it's cool. Yeah,

1:04:09.400 --> 1:04:10.560
<v Speaker 5>that's what we did. But that ain't what.

1:04:11.480 --> 1:04:14.520
<v Speaker 1>I thought it was. Listened to it, right, I'm it's that,

1:04:14.720 --> 1:04:15.320
<v Speaker 1>but it ain't that.

1:04:15.480 --> 1:04:17.400
<v Speaker 3>I grew up with Shame on the World as a record,

1:04:17.480 --> 1:04:18.560
<v Speaker 3>so I instantly knew.

1:04:18.640 --> 1:04:21.400
<v Speaker 1>So maybe didn't guess what somebody else came behind us

1:04:21.440 --> 1:04:30.120
<v Speaker 1>and did and did that young This is what they did.

1:04:32.440 --> 1:04:34.120
<v Speaker 1>When I heard that Youngster's record.

1:04:34.400 --> 1:04:37.600
<v Speaker 5>I liked it because I like the Yeah, I actually

1:04:37.680 --> 1:04:39.320
<v Speaker 5>liked the beat of the seven was real.

1:04:39.160 --> 1:04:43.840
<v Speaker 1>Cool to me. Oh damn, it was mad props. I

1:04:43.840 --> 1:04:44.760
<v Speaker 1>didn't even know that.

1:04:46.040 --> 1:04:49.240
<v Speaker 3>No, no, at a moment where I didn't even think

1:04:49.280 --> 1:04:52.800
<v Speaker 3>of that ship. No, no, no, But when Cosmic Kav is

1:04:52.840 --> 1:04:56.920
<v Speaker 3>like Philly swamp Master flex and that's hard.

1:04:57.000 --> 1:04:58.000
<v Speaker 1>When he used to.

1:04:58.000 --> 1:05:00.880
<v Speaker 3>Have his like mixtapes out like I'd be in the

1:05:00.880 --> 1:05:05.920
<v Speaker 3>car and when he put it on the way them drums,

1:05:08.320 --> 1:05:10.160
<v Speaker 3>it was like a hard version of friends.

1:05:10.560 --> 1:05:11.160
<v Speaker 1>You know what I mean?

1:05:12.280 --> 1:05:19.840
<v Speaker 8>And you are so good.

1:05:21.480 --> 1:05:24.280
<v Speaker 1>Joke, Yeah, I mean it was. It was a hard

1:05:24.360 --> 1:05:25.080
<v Speaker 1>version of friends.

1:05:25.200 --> 1:05:30.240
<v Speaker 3>Like like if I were drumming, that's what you're saying.

1:05:30.640 --> 1:05:34.720
<v Speaker 1>If I were, Yeah, well here's the thing, Like I wasn't.

1:05:34.800 --> 1:05:37.320
<v Speaker 3>Even though I'm immersed in hip hop and all that ship,

1:05:37.400 --> 1:05:39.440
<v Speaker 3>like I'm still trying to figure out, hey, how can

1:05:39.480 --> 1:05:40.640
<v Speaker 3>I recreate these breaks?

1:05:41.280 --> 1:05:45.760
<v Speaker 1>I would have been a perfect supplement to that ship.

1:05:46.120 --> 1:05:50.640
<v Speaker 3>So when he did that, then that's when that was

1:05:50.680 --> 1:05:57.160
<v Speaker 3>my Kaiser Sosa Coffee Drop reveal moment of I was like, oh, ship, there,

1:05:57.560 --> 1:05:58.680
<v Speaker 3>this is a problem.

1:05:59.040 --> 1:06:00.800
<v Speaker 1>Then I was like, y'all really did earn those four

1:06:00.800 --> 1:06:02.400
<v Speaker 1>and a half mics? Yes? Yeah?

1:06:02.480 --> 1:06:06.000
<v Speaker 3>The fact we were rased one day and the boy

1:06:06.440 --> 1:06:10.640
<v Speaker 3>the easy issue like all right, let's go, and I wouldn't.

1:06:10.680 --> 1:06:13.160
<v Speaker 3>I would like try to read the review before I

1:06:13.160 --> 1:06:15.720
<v Speaker 3>see what the mics are. And I saw half and

1:06:15.760 --> 1:06:18.280
<v Speaker 3>I was like wait, it's a Leve review. They wouldn't

1:06:18.320 --> 1:06:23.160
<v Speaker 3>do no three and a half live review two three

1:06:23.800 --> 1:06:26.080
<v Speaker 3>yo foro and a half, Like, we stopped rehearsal and

1:06:26.120 --> 1:06:29.360
<v Speaker 3>I immediately went to rextas like, yo, I gotta get this.

1:06:29.320 --> 1:06:33.520
<v Speaker 12>Ship, hey man. So it's so monumental what you're saying now.

1:06:33.560 --> 1:06:37.320
<v Speaker 12>Because to even back that up, I remember when La

1:06:37.440 --> 1:06:39.600
<v Speaker 12>read because it was important to him to call me

1:06:39.640 --> 1:06:43.160
<v Speaker 12>in every Tuesday, every day, every once a week when

1:06:44.200 --> 1:06:46.920
<v Speaker 12>radio reports come out. He just wanted me. He was excited,

1:06:46.960 --> 1:06:49.600
<v Speaker 12>but he knew it wasn't his. He was excited, but

1:06:49.640 --> 1:06:51.960
<v Speaker 12>he knew this is y'all. Y'all need to be excited.

1:06:52.200 --> 1:06:55.520
<v Speaker 1>And he said that too. He was on the show

1:06:55.760 --> 1:06:57.080
<v Speaker 1>four weeks ago.

1:06:57.160 --> 1:07:00.360
<v Speaker 3>Yeah, yeah, and he definitely said that even like he

1:07:00.400 --> 1:07:04.440
<v Speaker 3>didn't know the world like he could instantly.

1:07:04.320 --> 1:07:09.120
<v Speaker 1>Have saved hip. He didn't really know whatever y'all say.

1:07:10.120 --> 1:07:13.160
<v Speaker 12>Absolutely, but but but he started he started felt, you know,

1:07:13.240 --> 1:07:15.480
<v Speaker 12>like I owe you to teach you. And he was like, yo,

1:07:16.120 --> 1:07:18.560
<v Speaker 12>if this market plays your record, it's probably gonna trigger

1:07:18.640 --> 1:07:21.440
<v Speaker 12>these markets around it. So so shout out to the

1:07:21.440 --> 1:07:23.000
<v Speaker 12>bay because that's who really jumped.

1:07:23.280 --> 1:07:25.640
<v Speaker 1>That's who and that broke y'all.

1:07:25.920 --> 1:07:29.600
<v Speaker 11>Absolutely absolutely, And that makes sense.

1:07:30.040 --> 1:07:31.040
<v Speaker 1>That makes sense because.

1:07:32.240 --> 1:07:34.480
<v Speaker 12>Yes, they played the original one. They played the original

1:07:34.520 --> 1:07:38.280
<v Speaker 12>one Vegas, every other market New York when we had

1:07:38.320 --> 1:07:41.200
<v Speaker 12>our peak, I'm looking at New York.

1:07:41.240 --> 1:07:42.840
<v Speaker 1>I'm like, I said, they still.

1:07:42.640 --> 1:07:47.280
<v Speaker 12>Ain't and he said look at me and said they

1:07:47.400 --> 1:07:49.880
<v Speaker 12>just yeah. He said, they're just not They're not really

1:07:50.080 --> 1:07:51.880
<v Speaker 12>fucking with it. But I said, that's all you had

1:07:51.960 --> 1:07:53.880
<v Speaker 12>to say. We went and soon as soon as he

1:07:53.960 --> 1:07:55.800
<v Speaker 12>let me know. Soon as he said they didn't like,

1:07:55.800 --> 1:07:57.160
<v Speaker 12>I said, they don't want to hear all that music ship,

1:07:57.200 --> 1:07:59.360
<v Speaker 12>then okay, cool, let's break it down. Let's just break

1:07:59.360 --> 1:08:02.120
<v Speaker 12>it down. Let we was already gold at that point.

1:08:02.240 --> 1:08:04.280
<v Speaker 12>It was like, we need to give and for you

1:08:04.320 --> 1:08:06.160
<v Speaker 12>to tell me that Cosmic Kost somebody who was a

1:08:06.200 --> 1:08:09.840
<v Speaker 12>big influencer in the East Coast, because guess what, everything

1:08:09.840 --> 1:08:13.000
<v Speaker 12>turned around once we dropped that remix. The whole East

1:08:13.000 --> 1:08:18.880
<v Speaker 12>Coast lit up for love for Outcasts.

1:08:19.920 --> 1:08:25.840
<v Speaker 3>You had such a crazy momentum, especially with Outcasts as

1:08:25.960 --> 1:08:31.439
<v Speaker 3>your main trojan horse, to literally change the narrative of

1:08:31.479 --> 1:08:35.000
<v Speaker 3>how the world thought Southern hip hop was. This is

1:08:35.000 --> 1:08:38.640
<v Speaker 3>what I gotta know. As a lead single, Yes, a

1:08:38.720 --> 1:08:45.120
<v Speaker 3>song being eighty bpms in twenty twenty two, twenty fifteen, whatever,

1:08:45.520 --> 1:08:48.559
<v Speaker 3>like say, the second half of the arts between twenty

1:08:48.560 --> 1:08:53.240
<v Speaker 3>ten and twenty twenty is normal, But in nineteen ninety.

1:08:53.040 --> 1:08:55.720
<v Speaker 1>Six, elevators.

1:08:57.280 --> 1:09:00.240
<v Speaker 3>And the thing was you know, I asked even off

1:09:00.320 --> 1:09:04.360
<v Speaker 3>campus Grill, dre and and and Big Boy about this,

1:09:04.880 --> 1:09:10.639
<v Speaker 3>But I since y'all create, how like that was such

1:09:10.760 --> 1:09:14.080
<v Speaker 3>a risk y'all could have just played it safe and

1:09:14.280 --> 1:09:16.559
<v Speaker 3>just kind of fit in.

1:09:16.760 --> 1:09:17.599
<v Speaker 11>What did it follow?

1:09:17.640 --> 1:09:20.160
<v Speaker 1>Though? No? But I can tell you this for a fan.

1:09:20.120 --> 1:09:22.080
<v Speaker 11>Meaning that what do we do before that?

1:09:22.360 --> 1:09:23.160
<v Speaker 8>It was the single?

1:09:23.920 --> 1:09:27.720
<v Speaker 1>I mean, what we do before that?

1:09:27.840 --> 1:09:29.479
<v Speaker 11>What do we do before that? Hip hop wise?

1:09:30.560 --> 1:09:34.760
<v Speaker 1>I mean it was good. In my it was so.

1:09:34.280 --> 1:09:38.080
<v Speaker 10>So because they broke the ground with pianos and the

1:09:38.280 --> 1:09:39.160
<v Speaker 10>this this.

1:09:39.760 --> 1:09:42.799
<v Speaker 1>Wane with with with self therapy.

1:09:43.280 --> 1:09:46.000
<v Speaker 11>It was easy for the cast to pick up.

1:09:46.640 --> 1:09:52.000
<v Speaker 1>It was so different. I promise you that that's a

1:09:52.040 --> 1:09:55.360
<v Speaker 1>real story behind it. Give it to me, the real story.

1:09:59.280 --> 1:10:04.000
<v Speaker 1>The music golownin about this.

1:10:04.000 --> 1:10:07.360
<v Speaker 12>This is the actual This is the actual bees needs

1:10:07.400 --> 1:10:10.599
<v Speaker 12>this what happened? Antonio read? At this point, we were

1:10:10.640 --> 1:10:13.840
<v Speaker 12>in a contract negotiation. We were trying to bring our label.

1:10:13.960 --> 1:10:14.880
<v Speaker 12>We wanted to be a label.

1:10:14.880 --> 1:10:17.000
<v Speaker 1>We want to out here to sign us Red Clay Records.

1:10:17.040 --> 1:10:19.280
<v Speaker 12>So if you look at the original versions of Elevators,

1:10:19.280 --> 1:10:21.960
<v Speaker 12>it's say Red Clay Records. We end up leaving. But

1:10:22.040 --> 1:10:24.320
<v Speaker 12>so when so we was in a little bit more control.

1:10:24.640 --> 1:10:28.439
<v Speaker 12>Big and Dre's they first single they produced, right, they produced,

1:10:28.560 --> 1:10:32.559
<v Speaker 12>They produced it. They produced the first single they produced.

1:10:32.920 --> 1:10:35.800
<v Speaker 5>They came to Big Boy, came up with this incredible hook,

1:10:35.960 --> 1:10:38.080
<v Speaker 5>and we produced it in the sense.

1:10:37.880 --> 1:10:39.840
<v Speaker 12>Of we put derebl on it. We made sound like

1:10:39.880 --> 1:10:42.040
<v Speaker 12>a big song, so they want to put it out.

1:10:42.040 --> 1:10:43.400
<v Speaker 12>I looked at it as a setup record.

1:10:44.000 --> 1:10:44.720
<v Speaker 1>This is a little street.

1:10:44.720 --> 1:10:46.920
<v Speaker 12>It's gonna be the street Red Streets sing and they

1:10:46.960 --> 1:10:49.160
<v Speaker 12>read them like, nah, you gotta give me a up Temple,

1:10:49.200 --> 1:10:51.960
<v Speaker 12>we gotta maybe you got you gotta do you know,

1:10:52.000 --> 1:10:54.360
<v Speaker 12>all the bases of the food group gotta come. This

1:10:54.439 --> 1:10:58.080
<v Speaker 12>is our first single moment at l and someone said,

1:11:00.080 --> 1:11:02.080
<v Speaker 12>it's a fact at Alien. Throw your hands in the

1:11:02.120 --> 1:11:03.519
<v Speaker 12>air like that. Why I ended up being second. It

1:11:03.520 --> 1:11:05.519
<v Speaker 12>was supposed to be. It was gonna was gonna go.

1:11:05.880 --> 1:11:07.400
<v Speaker 12>They was gonna come with that. They had they playing,

1:11:07.400 --> 1:11:09.440
<v Speaker 12>they had they roll out playing the same reason why

1:11:09.520 --> 1:11:11.200
<v Speaker 12>he wanted Miss Jackson to be the first single on

1:11:11.400 --> 1:11:14.040
<v Speaker 12>the other album. But but but since we were in

1:11:14.120 --> 1:11:18.320
<v Speaker 12>control and we and in the spirit of hip hop, right,

1:11:18.640 --> 1:11:20.839
<v Speaker 12>thanks we New York, now we Atlanta.

1:11:21.080 --> 1:11:24.439
<v Speaker 1>Right, I'm saying we powerful a little bit. Fuck it,

1:11:24.479 --> 1:11:25.200
<v Speaker 1>We're gonna leak it.

1:11:25.520 --> 1:11:29.000
<v Speaker 5>Right, took off, ship took off. Let's go sh it

1:11:29.040 --> 1:11:32.840
<v Speaker 5>took off beyond anybody's job. So we took we we

1:11:32.920 --> 1:11:33.360
<v Speaker 5>leaked it.

1:11:33.439 --> 1:11:34.880
<v Speaker 8>I wonder how y'all leaked it back then? Did you

1:11:34.960 --> 1:11:35.559
<v Speaker 8>leak it to a DJ?

1:11:35.680 --> 1:11:39.640
<v Speaker 12>Yes, we went straight to Grey Street it yet it

1:11:39.680 --> 1:11:42.400
<v Speaker 12>was it was actually make sure it was probably people

1:11:42.439 --> 1:11:46.200
<v Speaker 12>like eighty nine point three. It was ninety one on

1:11:46.200 --> 1:11:48.040
<v Speaker 12>the college. It was a college stations because back then

1:11:48.360 --> 1:11:51.000
<v Speaker 12>we had been schooled in the fact that that's the

1:11:51.040 --> 1:11:53.519
<v Speaker 12>only way hip hop is gonna be hurdy. First, mainstream

1:11:53.600 --> 1:11:56.639
<v Speaker 12>radio wasn't an option. It wasn't even option. It when

1:11:56.720 --> 1:11:58.400
<v Speaker 12>something you thought was gonna happen. So at least we

1:11:58.439 --> 1:12:00.400
<v Speaker 12>get there. It was just a real to make a

1:12:00.439 --> 1:12:03.160
<v Speaker 12>real hip hop community in Atlanta. Outcast was big enough

1:12:03.200 --> 1:12:05.840
<v Speaker 12>to where and it was a cool record. We didn't

1:12:05.840 --> 1:12:08.559
<v Speaker 12>and we did a remix where we probably took another

1:12:08.560 --> 1:12:11.519
<v Speaker 12>one of those good breaks on the Parliament.

1:12:12.400 --> 1:12:23.040
<v Speaker 1>Yeah, shifted, man, this is my thing. Way how can

1:12:23.160 --> 1:12:28.200
<v Speaker 1>racist think? Have you ever studied?

1:12:28.320 --> 1:12:30.320
<v Speaker 8>Has somebody the pictures.

1:12:32.280 --> 1:12:38.120
<v Speaker 1>Quest A spots out? It's not listen, it's cool. I

1:12:38.240 --> 1:12:38.759
<v Speaker 1>like this ship.

1:12:38.800 --> 1:12:43.000
<v Speaker 3>I literally, I'm literally on a producers spread of like

1:12:43.280 --> 1:12:45.040
<v Speaker 3>just thirty dweebs who.

1:12:44.960 --> 1:12:48.200
<v Speaker 4>Sit and just all we do, just sit in when

1:12:48.200 --> 1:12:50.200
<v Speaker 4>I know when I found So Fresh, So Clean, I

1:12:50.240 --> 1:12:52.639
<v Speaker 4>was like, get then that's not a sample.

1:12:52.720 --> 1:12:55.559
<v Speaker 1>But I know we know that. What what am I?

1:12:55.640 --> 1:12:55.920
<v Speaker 9>All right?

1:12:55.920 --> 1:13:00.599
<v Speaker 1>All right? The record? We never heard the record? This

1:13:00.680 --> 1:13:06.040
<v Speaker 1>is we titles.

1:13:06.520 --> 1:13:11.000
<v Speaker 10>I appreciate how the universe worked. Yes, you tune into

1:13:11.040 --> 1:13:12.280
<v Speaker 10>the frequency.

1:13:11.800 --> 1:13:14.120
<v Speaker 12>On that when we really and truly didn't never like

1:13:14.600 --> 1:13:18.080
<v Speaker 12>everything else, I mean on God, we never like like

1:13:18.080 --> 1:13:21.559
<v Speaker 12>like that was literally like us producing like my ear.

1:13:21.640 --> 1:13:23.719
<v Speaker 12>I mean like like like sleepy I had a road

1:13:23.840 --> 1:13:27.320
<v Speaker 12>sleepy playing a melody, he playing a melody, and me

1:13:27.439 --> 1:13:30.960
<v Speaker 12>programming a beat that fitted the melody or whatever, and

1:13:31.000 --> 1:13:34.040
<v Speaker 12>we actually created a breakbeat, like like we created a

1:13:34.040 --> 1:13:37.439
<v Speaker 12>break beat. And then years later somebody say, that's a

1:13:37.520 --> 1:13:42.160
<v Speaker 12>jazz recordar sounds just like so pressed, So clean. I said,

1:13:42.160 --> 1:13:44.400
<v Speaker 12>they wed our ship. But she came out in the

1:13:44.439 --> 1:13:47.559
<v Speaker 12>seventies I'm like, wow. But now let me say this.

1:13:49.320 --> 1:13:52.000
<v Speaker 5>I never heard the record, but maybe it played when

1:13:52.040 --> 1:13:55.439
<v Speaker 5>I was dreaming one night, because I swear to god,

1:13:55.439 --> 1:13:56.439
<v Speaker 5>I went to Rico house.

1:13:56.560 --> 1:13:59.320
<v Speaker 1>I said, I got this ideal. Man. He's like, well,

1:13:59.360 --> 1:14:07.800
<v Speaker 1>I'm like.

1:14:06.760 --> 1:14:09.320
<v Speaker 4>I said, I'm just saying I sat down and read

1:14:10.760 --> 1:14:12.160
<v Speaker 4>I got a couple like that.

1:14:12.680 --> 1:14:16.320
<v Speaker 11>But Barry got a couple like that. But something sounds

1:14:16.400 --> 1:14:17.720
<v Speaker 11>like all the time.

1:14:17.760 --> 1:14:22.599
<v Speaker 1>It literally happens all the temple. You subconscious, what thing,

1:14:22.720 --> 1:14:23.040
<v Speaker 1>what thing?

1:14:23.080 --> 1:14:25.719
<v Speaker 12>You can say for a fact, there eighty eight keys,

1:14:26.280 --> 1:14:30.759
<v Speaker 12>and I gotta say it felt good to his fingers,

1:14:30.800 --> 1:14:34.880
<v Speaker 12>the movement. So that's why. Again that sounds like, but

1:14:35.160 --> 1:14:36.240
<v Speaker 12>they ain't stay there though.

1:14:39.880 --> 1:14:40.560
<v Speaker 1>It goes.

1:14:44.439 --> 1:14:50.760
<v Speaker 5>Sound nothing like that, don't sound nothing.

1:14:54.479 --> 1:14:58.479
<v Speaker 1>We're not okay, no no, no, no, we're.

1:14:57.880 --> 1:15:00.719
<v Speaker 3>Not even we're not in that whole got the journal,

1:15:02.479 --> 1:15:04.880
<v Speaker 3>but we are scientists, and just it means that how

1:15:05.360 --> 1:15:07.160
<v Speaker 3>it gets built.

1:15:07.840 --> 1:15:09.000
<v Speaker 1>Wait, let me let me just.

1:15:11.640 --> 1:15:11.680
<v Speaker 10>What.

1:15:12.040 --> 1:15:19.040
<v Speaker 4>I can't wait, that's what they simple.

1:15:19.439 --> 1:15:23.080
<v Speaker 1>That was just what they say. Listen to it. Listen

1:15:23.080 --> 1:15:29.280
<v Speaker 1>to it, right, but everything else right now, it's not like.

1:15:29.240 --> 1:15:33.599
<v Speaker 12>That's just the to me, this whoever it is DJ premiere,

1:15:34.240 --> 1:15:36.240
<v Speaker 12>if it's you know, all the great ones. That's why

1:15:36.400 --> 1:15:39.800
<v Speaker 12>organized noise is respected and is a part of this

1:15:39.800 --> 1:15:41.679
<v Speaker 12>this class of people. You know what I'm saying, because

1:15:42.000 --> 1:15:45.200
<v Speaker 12>you spend time. But now they've given they've given the

1:15:45.280 --> 1:15:47.400
<v Speaker 12>kids so much technology to what they got the notes

1:15:47.439 --> 1:15:49.160
<v Speaker 12>on the board for him, they're showing. So the music

1:15:49.200 --> 1:15:51.920
<v Speaker 12>sounds cleaner but very musical, but people don't respect.

1:15:51.600 --> 1:15:53.719
<v Speaker 1>It as much. It's not as creative because because.

1:15:53.479 --> 1:15:55.439
<v Speaker 12>We have to do a lot more, we have to

1:15:55.479 --> 1:15:57.960
<v Speaker 12>like speed things up a little slow it down to

1:15:58.000 --> 1:15:58.679
<v Speaker 12>get it into.

1:15:59.280 --> 1:16:01.120
<v Speaker 4>Because you only have a little bit of sampling time,

1:16:01.200 --> 1:16:03.559
<v Speaker 4>like ten and a half seconds.

1:16:03.600 --> 1:16:06.559
<v Speaker 1>Can I ask speed it up to? Yeah? How does

1:16:07.200 --> 1:16:11.080
<v Speaker 1>how does your cousin feel about?

1:16:11.960 --> 1:16:14.599
<v Speaker 3>Like does he look at you guys like you guys

1:16:14.680 --> 1:16:17.880
<v Speaker 3>are like like as Future ever asked, Like, no.

1:16:18.000 --> 1:16:20.400
<v Speaker 1>Man, Future, do some sh it on my record? Or

1:16:20.680 --> 1:16:23.000
<v Speaker 1>yes he did? He did. He did that and I

1:16:23.000 --> 1:16:24.800
<v Speaker 1>hated it because I mean I hated it. I loved it.

1:16:24.880 --> 1:16:26.559
<v Speaker 12>I love the thought of doing it, but the fact

1:16:26.600 --> 1:16:28.960
<v Speaker 12>that like he wanted to do it because he wanted

1:16:28.960 --> 1:16:31.519
<v Speaker 12>the song that sounded like back in the day, and

1:16:31.560 --> 1:16:32.599
<v Speaker 12>that's cool, but we.

1:16:32.520 --> 1:16:34.280
<v Speaker 1>Want a song that sounds like right now.

1:16:34.640 --> 1:16:37.000
<v Speaker 12>So let's evolve, Let's come together and do something that's

1:16:37.080 --> 1:16:39.519
<v Speaker 12>not just some old sound and ship but some new

1:16:39.560 --> 1:16:41.759
<v Speaker 12>sound and ship with the old, with the with the familion.

1:16:41.920 --> 1:16:44.400
<v Speaker 1>Can you'll just do both? Yeah, that's what That's what what.

1:16:44.439 --> 1:16:46.080
<v Speaker 8>I what happened anyway?

1:16:46.120 --> 1:16:47.759
<v Speaker 1>Right? I mean you are well.

1:16:48.080 --> 1:16:49.840
<v Speaker 12>I got a whole I got a whole album on

1:16:49.960 --> 1:16:53.120
<v Speaker 12>him anyway, but I want to do wherever I got

1:16:53.200 --> 1:16:55.719
<v Speaker 12>him wrapping over everything. Future, I got f man Future.

1:16:56.200 --> 1:16:57.920
<v Speaker 12>It's my cousin if I want it, and if we

1:16:57.960 --> 1:17:01.080
<v Speaker 12>wanted to, Yeah, futures like like like we wanted to,

1:17:01.200 --> 1:17:04.519
<v Speaker 12>we could with what's working for him or whatever. Is Like,

1:17:05.640 --> 1:17:07.599
<v Speaker 12>it's maybe not because the song we did, he did

1:17:07.600 --> 1:17:10.440
<v Speaker 12>some Andre three thousand, did Somerey three thousand rhyming.

1:17:10.200 --> 1:17:12.080
<v Speaker 1>Under whatever, and it was dope. I just think that,

1:17:12.120 --> 1:17:15.640
<v Speaker 1>to be honest, it was just it sounds. It was.

1:17:15.720 --> 1:17:16.320
<v Speaker 1>It was dope.

1:17:16.600 --> 1:17:19.360
<v Speaker 12>But me and Ray had a version that we had

1:17:19.479 --> 1:17:21.519
<v Speaker 12>kind of like made it a little more futuristic, and

1:17:21.560 --> 1:17:24.120
<v Speaker 12>it was stupid and they and they didn't they didn't

1:17:24.120 --> 1:17:24.960
<v Speaker 12>want to use that one.

1:17:25.200 --> 1:17:26.320
<v Speaker 1>So I've been mad since.

1:17:29.520 --> 1:17:32.080
<v Speaker 4>Yeah, what's up, everybody? This is Fante Fonte The Love

1:17:32.120 --> 1:17:35.200
<v Speaker 4>for Quest, Love Supreme. This interview was so meaningful for me,

1:17:35.439 --> 1:17:37.479
<v Speaker 4>and I'm sure I can tell whether you listened along

1:17:37.560 --> 1:17:40.280
<v Speaker 4>or watching this on YouTube. I was losing my mind

1:17:40.400 --> 1:17:43.120
<v Speaker 4>and just geeking out the entire time. We're pausing this

1:17:43.160 --> 1:17:45.680
<v Speaker 4>two part discussion here for now, but please make sure

1:17:45.680 --> 1:17:47.360
<v Speaker 4>you come back for part two for the quest Love

1:17:47.439 --> 1:17:51.360
<v Speaker 4>Supremes Atlanta sit down with the Gods Organized Noise.

1:17:51.640 --> 1:17:53.440
<v Speaker 1>We continue to speak about outcasts.

1:17:53.800 --> 1:17:56.040
<v Speaker 4>Learn one of the biggest R and B hits began

1:17:56.200 --> 1:17:58.840
<v Speaker 4>as a beat for a Dungeon Family MC and also

1:17:58.880 --> 1:18:01.040
<v Speaker 4>did a deep dive into summer their best works.

1:18:01.479 --> 1:18:03.280
<v Speaker 1>This was This was amazing.

1:18:03.680 --> 1:18:05.640
<v Speaker 4>Check it out, Quls Fontello.

1:18:05.920 --> 1:18:17.200
<v Speaker 1>Yeah, What's Love Supreme is a production of iHeartRadio. For

1:18:17.320 --> 1:18:21.520
<v Speaker 1>more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1:18:21.960 --> 1:18:23.679
<v Speaker 1>or wherever you listen to your favorite shows.