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

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Speaker 2: Ladies and Gentlemen.

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Speaker 3: This is a special Quest Love Supreme, your host Quest

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Speaker 3: Love here with Sugar Steve. I'll say that our guest

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Speaker 3: today are the founding Trailblazers and New York legends. Along

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Speaker 3: with drummer Clin Burke, bassist Lee Fox, guitarist Tommy Kessler,

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Speaker 3: and keyboardist Matt Kat's Bohen, they ushered in be very

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Speaker 3: influential punk slash dew wait movement. I know musicians hate

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Speaker 3: when things get a title. I often cringe when I

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Speaker 3: hear the neo soul title. But you know this is

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Speaker 3: too legendary to casually not spot spot on describe what

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Speaker 3: they represent in the world of music. They to me

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Speaker 3: are the epitome of cool and the epitome of style

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Speaker 3: and practically dipping their toe into every genre of music

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Speaker 3: that defined a movement and a city pop, rock, punk, disco, reggae.

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Speaker 3: And they're especially noted for being one of the early, early, early,

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Speaker 3: early co signers of the burgeoning hip hop movement. You know,

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Speaker 3: there was a period where the first five, depending on

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Speaker 3: who you ask and how conservative they are, ten maybe

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Speaker 3: twenty years in which hip hop was hopefully going to

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Speaker 3: be like a fad that went away, like a flu

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Speaker 3: that influenza that goes away eventually. But they were one

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Speaker 3: of the very first to co sign the movement and

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Speaker 3: really brought it to a wider audience, going as far

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Speaker 3: as to use the cachet to bring the light projects

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Speaker 3: like the iconic score to Charlie Ahern's Hip Hop Classic

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Speaker 3: Wild Style, and also being one of the first people

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Speaker 3: to introduce hip hop to a worldwide audience. Of course,

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Speaker 3: the legendary Saturday Night Live episode with the Funky four

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Speaker 3: plus one that they literally just put their money where

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Speaker 3: their mouth is. And you know, it's one thing to

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Speaker 3: just say you're down with a movement, but to really

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Speaker 3: use your your power, you know, to do so is another.

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Speaker 3: They're currently celebrating the release of their Mammoth Against the

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Speaker 3: Odds box set, which basically celebrates the hits, the demos,

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Speaker 3: and the remixes of their illustrious career over one hundred

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Speaker 3: and twenty four songs. In awe, this is an honor

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Speaker 3: to say, please welcome to Quest Left Supreme Chris Stein

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Speaker 3: and Debriye Harvey of Blondie.

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Speaker 2: Thank you.

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Speaker 3: I'm the only one clapping the day, So just pretend

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Speaker 3: it's like fifty two billion people.

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Speaker 4: That was very very generous.

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Speaker 3: Thank you, No, you know, it's it's I've been a

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Speaker 3: massive fan of you guys, you know, and so likewise,

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Speaker 3: and I have to say, Debbie, thank you very much

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Speaker 3: for my note. You happen to come on the show.

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Speaker 3: Oh I'm talking with the tonight show, in which I

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Speaker 3: was hoping to holler at you for a second before

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Speaker 3: I went on stage, but I had to do something,

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Speaker 3: and then by the time I got off stage, you'd

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Speaker 3: already left, because it's like a very long show that

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Speaker 3: we shot that day. But I saw the beautiful note

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Speaker 3: that you left in my dressing room, and I really

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Speaker 3: appreciate that thing.

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Speaker 4: Oh, thank you much.

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Speaker 5: I meant every word of it, even though there were

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Speaker 5: some misspellings and scribbles.

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Speaker 2: No, I appreciate it. I appreciate that acknowledgement.

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Speaker 6: I want to thank christ for your nice notes that

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Speaker 6: you left me on my recording console.

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Speaker 2: Whatever.

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Speaker 3: Steve, you know, I personally, I want to know, first

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Speaker 3: of all, I really do love the box set, and

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Speaker 3: as a person that's just starting to think about looking

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Speaker 3: under the hood of my own career in terms of

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Speaker 3: you know, looking at artifacts and going through storage units

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Speaker 3: and all those things. You know, oftentimes you're so present

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Speaker 3: in the moment you don't realize that the most minuscule

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Speaker 3: thing you have is going to wind up being history

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Speaker 3: ten years later.

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Speaker 2: You know.

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Speaker 3: So in terms of just getting all these artifacts together

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Speaker 3: and keeping those demos and keeping those tapes and all

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Speaker 3: that stuff, how what was the process, like how painstaking

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Speaker 3: was the process and putting this all together?

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Speaker 4: Well, it went on over a pretty long period. I

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Speaker 4: just had all this stuff, you know, when we first

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Speaker 4: started making money. You know, I always say the model

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Speaker 4: for the rock star was different back then, or at

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Speaker 4: least for me, right and Debbie was. We didn't think

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Speaker 4: about buying Rolexes and Bentley's and shit we wanted to.

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Speaker 4: We just I bought recording equipment, so I bought guitars,

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Speaker 4: so I bought I had my own old MCI set up,

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Speaker 4: you know, the automation whole thing. And I got around

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Speaker 4: to a bunch of different apartments. We lived in different spaces,

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Speaker 4: and tapes accumulated along with that, and eventually that stuff

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Speaker 4: all died and I gave it all the way and stuff,

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Speaker 4: and I wound up with a garage full of tapes

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Speaker 4: of State New York, which was where we did the

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Speaker 4: assault on the tapes.

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Speaker 7: Okay, so like what kind of tape like two inch

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Speaker 7: tapes or everything?

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Speaker 4: Everything? Everything? No? No, what? Uh had a lot of

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Speaker 4: half inch, A lot of two inch, Yeah, a lot

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Speaker 4: of two inches. I mean I had I wound up

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Speaker 4: with a complete copy of the Cuckoo record that we

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Speaker 4: did with Nile and Bernard and now got the whole

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Speaker 4: thing on like just like two or three tapes because

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Speaker 4: he was running at seven and a half. You know,

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Speaker 4: oh really yeah, it was it was economical.

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Speaker 3: I was going to say that at the time, like

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Speaker 3: when did you realize I mean, most artists I know

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Speaker 3: are not sentimental at all.

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Speaker 2: There's a story.

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Speaker 3: Well, I mean he's not a musician, but you know,

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Speaker 3: I consider a historian Don Cornelius in order to save

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Speaker 3: maybe hundreds hundreds of dollars, would I mean, you know,

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Speaker 3: when it came time to look through the Soul Training archives,

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Speaker 3: you know, the staff there was stat to announce to

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Speaker 3: me that, you know, Don wasn't too sentimental. So you

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Speaker 3: know this the stage and the lights and the all

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Speaker 3: the designs of the shows, of the Soul Train show

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Speaker 3: within you know, the forty year history of it.

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Speaker 2: He just had it all destroyed and crushed, crushed and

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Speaker 2: thrown away.

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Speaker 3: And I was like, none of you at all were like,

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Speaker 3: you know this will be historical one day, like we.

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Speaker 2: Should save this stuff.

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Speaker 3: And you know, at the time, Don was just thinking

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Speaker 3: like uh uh, storage, storage space is too expensive and

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Speaker 3: I can't afford it. So I mean oftentimes, you know,

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Speaker 3: I'll tell new artists now like don't throw away that

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Speaker 3: concert poster, don't throw away your itinerary, don't throw away

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Speaker 3: I mean even Prince, Like when Prince passed away, Like

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Speaker 3: literally anything he wrote on is almost damn near like

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Speaker 3: five figure worthy in auctions now, like even directions to

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Speaker 3: the house or or you know, Prince was world famous

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Speaker 3: for writing. Whoever, the lady of the moment was like

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Speaker 3: poetry and stuff like you know, thing revealing too much.

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Speaker 3: But what I'm basically saying is, did you guys realize

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Speaker 3: in the beginning, like I should save everything, like even

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Speaker 3: with besides the music, Like are you saving the outfits

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Speaker 3: and the wardrobes and old posters or ticket stubs or itineraries.

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Speaker 4: I got a lot of junk left still, But you know,

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Speaker 4: I mean you hoard totally. My wife is like, I

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Speaker 4: can't go in there because it's like freaks me out.

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Speaker 4: It's so hoarded out the room in the you know,

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Speaker 4: in the basement where we are. Uh but uh, you know,

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Speaker 4: there's so many stuff fell by the wayside. I sold

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Speaker 4: so many damn guitars that I could retire now on

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Speaker 4: what those things are worth in today's market. You know,

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Speaker 4: it's just really yeah, it's just crazy.

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Speaker 2: I would like to know.

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Speaker 3: Well, I asked the both of you'll start with wri

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Speaker 3: what was your first musical memory.

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Speaker 2: Oh wow, I know.

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Speaker 5: Oh that's it really goes back, doesn't it. I had,

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Speaker 5: you know, children's records back back then. I had a Victrola,

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Speaker 5: at least that's what my dad called a Victrola. And

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Speaker 5: it was in a box, you know, a little suitcase,

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Speaker 5: and it had a speaker that was attached to the

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Speaker 5: arm where the you know, where the needle was and

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Speaker 5: you would just drop it down onto the record. And

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Speaker 5: so that those were my earliest things. And I think

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Speaker 5: one of my one of my favorites was a thing,

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Speaker 5: oddly enough called Little Toot.

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Speaker 3: Yeah, was that a Disney record or enough?

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Speaker 5: It was a Disney record.

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Speaker 7: It might have been.

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Speaker 5: It might have been, but it was a really great

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Speaker 5: little song that went through a lot of different emotional

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Speaker 5: interpretations because it told a story of this little tougueboat

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Speaker 5: and you know, the worthlessness of this little and little

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Speaker 5: togueboat and how the big togboats always you know, pushed

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Speaker 5: it around. But then little little too became like the

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Speaker 5: hero of the day and uh.

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Speaker 2: So, basically off the ret nose Reindeer. Where were you born.

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Speaker 5: I was born actually in Miami, but I grew up

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Speaker 5: in Hawthorne, New Jersey, which is just outside of Patterson,

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Speaker 5: New Jersey. Well, my parents and all my grandparents lived

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Speaker 5: in Patterson.

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Speaker 2: Okay, Chris, what was your first musical memory.

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Speaker 4: Well, I don't really remember locking onto any little kid music.

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Speaker 4: My first affinity for music started when I was like,

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Speaker 4: I guess, you know, around ten or eleven, with movie scores,

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Speaker 4: which was and man, some of those novelty songs, you know,

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Speaker 4: like the Chipmunks and Purple People Eater and stuff. But

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Speaker 4: I you know, I don't know how much that moved me,

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Speaker 4: that stuff. But then I started, you know, like Lawrence

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Speaker 4: of Arabia's West Side Story. I mean, I I it's

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Speaker 4: very hard for me to explain to younger people what

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Speaker 4: a huge cultural touchstone West Side Story was. West Side

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Speaker 4: Story was as big as the damn Beatles, There's no

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Speaker 4: question about it. I don't think people people have at

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Speaker 4: that the nowadays.

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Speaker 5: My oh god, my mother got so mad at me

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Speaker 5: because I took my sister, who is seven years younger

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Speaker 5: than me to see West Side Story and she almost

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Speaker 5: had a heart.

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Speaker 4: Oh no, you took her.

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Speaker 1: You took her to see that?

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Speaker 5: Oh no, how could you? But it was fabulous. It

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Speaker 5: was so wonderful. And you know, Leonard Bernstein was never better.

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Speaker 3: Really, I was going to say that, I'm currently reading

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Speaker 3: Little Stephen Stephen van Zant's autobiography, and he too has

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Speaker 3: an immense obsession with West Side Story and pretty much

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Speaker 3: described it as the way that you guys did like

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Speaker 3: when it came out.

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Speaker 2: It was.

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Speaker 4: Such a huge deal, I know. I mean, you're probably

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Speaker 4: on your soundtracks that I was praying more obsessed with

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Speaker 4: Lawrence Arabia soundtrack, MAURICEI alre, you know, great story.

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Speaker 5: And the other thing that I listened to a lot

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Speaker 5: was like the Cowboys Singers, which is you know, Western,

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Speaker 5: not even country western, it was really Western music and

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Speaker 5: those were those were great, you know, great songs and

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Speaker 5: people like Burl Lives and stuff.

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Speaker 4: Burl Lives. Yeah, we know she is.

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Speaker 3: Okay, So now that you you know, declared your love

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Speaker 3: for Lawrence of Varibia, I gotta ask. You know, it's

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Speaker 3: important because the very first okay, So, I grew up

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Speaker 3: in the household with an older sibling who you know,

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Speaker 3: because of my sisters, because of her school situation. You know,

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Speaker 3: she was fitting in with her girlfriends what they were

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Speaker 3: listening to at the time. So you know, she's bringing

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Speaker 3: in a lot of you know, the classic new wave

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Speaker 3: and punk stuff or whatever. But the one album that

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Speaker 3: I remember, even though she had like you know, each

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Speaker 3: of the and all that stuff, like I remember the

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Speaker 3: day that she brought Auto American.

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Speaker 4: Okay, okay, okay, okay. So now on the orchestral session,

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Speaker 4: there was a bag one of the bass players played

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Speaker 4: on the Lawrence of Arabia soundtrack and that so that.

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Speaker 3: I was gonna ask, is your obsession because you know

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Speaker 3: the way that you open up Auto American with the

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Speaker 3: Europa score.

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Speaker 4: Yeah, I mean, you know you know that by then

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Speaker 4: I was at Adito Roda very deep and all this

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Speaker 4: other stuff, you know, I always had a thing for soundtracks.

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Speaker 4: I think soundtracks nowadays, that's a whole other topic, are

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Speaker 4: way over used. Uh They're becoming like laugh tracks, you know,

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Speaker 4: where they steer your emotions in the direction right of

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Speaker 4: where whoever, whoever, the committee that wrote the thing, they

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Speaker 4: think you should be feeling, you know. And then, you know,

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Speaker 4: gradually I started assimilating the pop music that was around me,

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Speaker 4: like the locomotion. Everybody loved the locomotion, no matter what,

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Speaker 4: you know. And you know, this stuff like the Shambra Laws,

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Speaker 4: I didn't really appreciate till a little later when we

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Speaker 4: were doing the band. I was kind of like commercial

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Speaker 4: to me at the time.

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Speaker 5: You know, well, I'm older than Chris, and I remember

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Speaker 5: this thing. I used to listen to radio a lot.

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Speaker 5: I had a little radio and I always had my

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Speaker 5: ear right next to the speaker. The speaker was only

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Speaker 5: at this big and they had a radio thing called

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Speaker 5: the Hit Parade. Yeah, and all those like crooners and

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Speaker 5: you know, band singers and stuff like that. There was

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Speaker 5: a lot of that. It was kind of great, yeah

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Speaker 5: before yeah, and.

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Speaker 4: Then it was And then I went into folk music

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Speaker 4: of course, you know, because I was fifteen and sixty five,

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Speaker 4: and by that time I've been playing I've been playing

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Speaker 4: guitar for since I was twelve, and folk music was it,

255
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Speaker 4: and I remember learning how to play house at the

256
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Speaker 4: Rising Sun was such a big deal to me, you know.

257
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Speaker 3: So can you describe to me what the New York

258
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Speaker 3: nightclub scene was in terms of like the pre punk,

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Speaker 3: the pre New wave movement, Like if it's seventy four,

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Speaker 3: if it's seventy three or seventy four, you know, where

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Speaker 3: are you playing or like where are you hanging out?

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Speaker 4: At least well, we met Debbie was doing a show

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Speaker 4: in a bar, so I don't even I hadn't didn't

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Speaker 4: go out to many clubs before I was in the

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Speaker 4: band situation. I mean, Maxis was kind of the first

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Speaker 4: thing I was going to regularly.

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Speaker 5: Mostly it was bars, you know, people just setting up

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Speaker 5: blah on the floor and bars and stuff. And then

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Speaker 5: a little bit later on they became officially became clubs,

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Speaker 5: but initially they were bars, Okay, I.

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Speaker 4: Mean, well, the stuff that we were involved with was

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Speaker 4: like Martin Mercer Arts Center came out of the art scene.

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Speaker 4: I mean Maxis was an art bar, you know, all

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Speaker 4: those all those guys all those people went on to

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Speaker 4: be famous, and the art world had tabs Maxes.

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Speaker 2: You know, the post Warhol movement or were Andy.

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Speaker 4: We know he was always in the middle of everything

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Speaker 4: for us anyway, for you know, he was just there.

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Speaker 4: He was a staple.

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Speaker 7: I wanted to know.

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Speaker 6: Well, they mentioned Maxis Kansas City, and it's hardy not

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Speaker 6: to think of the Velvet Underground.

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Speaker 7: Did you guys see the Velvet Underground play live there?

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Speaker 4: I opened up for the Velovet thats when I was seventeen.

285
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Speaker 2: What was that like?

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Speaker 4: It was amazing and it was a pivotal moment in

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Speaker 4: my musical life. It was they were playing in a

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Speaker 4: place up town called the Gymnasium, which was Andy had

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Speaker 4: connections to the like these Polish hall people you know

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Speaker 4: who were in these old world halls, and his place

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Speaker 4: was was the Gymnasium and also did show this. This

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Speaker 4: was nineteen sixty seven. I me and my friends all

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Speaker 4: knew who the Velvets were at that point. And I

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Speaker 4: had a really close friend who a guy I grew

295
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Speaker 4: up with known for fifty years who was working for

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Speaker 4: Andy at the time. His name Joey Freeman, still my buddy,

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Speaker 4: and he showed up my house in Brooklyn one afternoon

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Speaker 4: and he said, listen to the opening band for the

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Speaker 4: Velvets didn't show up. Do you guys want to do it?

300
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Speaker 4: So we took our guitars on the subway and we

301
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Speaker 4: went down. It was like up in the West Side,

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Speaker 4: somewhere in the seventies or so sixties or seventies, and

303
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Speaker 4: developers let us use their amps, and Marine took her

304
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Speaker 4: let us put her bass from upright, you know, because

305
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Speaker 4: she only played it like like a temporary you know,

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Speaker 4: on its side right. And they were nice and we

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Speaker 4: played our blues rock set. You know, I don't remember.

308
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Speaker 4: I only remember we did you can't judge but book

309
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Speaker 4: by its cover, But I don't remember much of the

310
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Speaker 4: other stuff, you know, like Rude sixty six, that kind

311
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Speaker 4: of joke we were doing. And we were really daunted

312
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Speaker 4: because his place was big and echoey and it was

313
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Speaker 4: like not there weren't too many people there. But then

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Speaker 4: the Velvets came on and they took advantage of the echo.

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Speaker 4: And that was also a life lesson for me, because

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Speaker 4: you know, the place you're playing in becomes a part

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Speaker 4: of your sound stem. You know that, you know, unless

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Speaker 4: you're doing this all the time, and they were awesome

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Speaker 4: and filled the room and Andy was there. We never

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Speaker 4: saw him, and somebody came over and said, oh, any

321
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Speaker 4: thinks you're great. That was terrific. That was That was

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Speaker 4: the event, but it was a really wonderful thing.

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Speaker 5: I saw them at this place called the Balloon Farm

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Speaker 5: on Saint Mark's Place and Andy was doing the lights

325
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Speaker 5: and Nico was with them that night and it was beautiful.

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Speaker 5: It was just I mean beautiful visually and in sound wise,

327
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Speaker 5: and everything about it was beautiful.

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Speaker 3: Like I know that you were in separate bands or

329
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Speaker 3: can you tell us how the band came to be

330
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Speaker 3: as far as you know the official start of Blunde.

331
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Speaker 4: Well, the scene was very incestuous and we all had

332
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Speaker 4: mutual friends, though the two of us never met. We

333
00:19:02,200 --> 00:19:07,800
Speaker 4: think we both were at Woodstock, but we didn't meet there.

334
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Speaker 4: Debbie had a job working for the first head shop

335
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Speaker 4: in New York, which was called the head Shop, which

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Speaker 4: was on East ninth Street, and I remember going in

337
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Speaker 4: there the day before shop. It's called the Headshop.

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Speaker 2: What is a headshop is a headshot?

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Speaker 4: They sell, yeah, bonds and posters and rolling papers and

340
00:19:30,440 --> 00:19:34,040
Speaker 4: we'd supply you know, but it was it was where

341
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Speaker 4: you've been, you.

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Speaker 2: Know, dog, I'm I'm sorry, I'm the forty.

343
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Speaker 4: And you know it was it was a little more

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Speaker 4: clandestine and it wasn't like it was kind of understated

345
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Speaker 4: that it was all based on weed consumption.

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Speaker 2: I never knew that it was called a headshop.

347
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Speaker 4: Headshop, Yeah, sure, hedshop.

348
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Speaker 3: Well, because where weed where I grew up, it was

349
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Speaker 3: always the you know you always uh at the mom

350
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Speaker 3: and pop rec good store.

351
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Speaker 4: Yeah right, Yeah.

352
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Speaker 3: I would assume that the guy also sold we because

353
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Speaker 3: you know, just the smell of the record store mixed

354
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Speaker 3: with you know, lisol and incense like to try to.

355
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Speaker 4: Well, he wouldn't head hups wouldn't back then in the

356
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Speaker 4: sixties wouldn't sell weed. They because they were they were

357
00:20:20,080 --> 00:20:21,800
Speaker 4: too big a target, you know, they would just sell

358
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Speaker 4: the the stuff.

359
00:20:24,040 --> 00:20:24,560
Speaker 2: I got it.

360
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Speaker 4: Yeah, so I was. I was in the headgshop the

361
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Speaker 4: day before it opened talking to a girl and well,

362
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Speaker 4: I know that was us, and we talked to each other.

363
00:20:34,880 --> 00:20:38,080
Speaker 4: But three years later, four years later, I guess that

364
00:20:38,160 --> 00:20:41,359
Speaker 4: was like sixty nine or sixty or seventy or something

365
00:20:41,400 --> 00:20:45,760
Speaker 4: like that. Then you know, everybody knew each other and

366
00:20:45,800 --> 00:20:48,359
Speaker 4: I had friends and one of my friends. You know,

367
00:20:49,240 --> 00:20:52,959
Speaker 4: a very long story, but a mutual friend said, I

368
00:20:53,040 --> 00:20:57,080
Speaker 4: heard about this band is playing called the Stilettos Girls singers,

369
00:20:57,359 --> 00:20:59,960
Speaker 4: go see them. And that was Debbie and two other girls.

370
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Speaker 4: So that was it.

371
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Speaker 6: Did that band have any any kind of startup or success? Debbie,

372
00:21:06,640 --> 00:21:08,119
Speaker 6: you and the other two girls?

373
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Speaker 5: Well yeah, I mean we had a small amount of notoriety.

374
00:21:12,359 --> 00:21:15,960
Speaker 5: I suppose an interest. I don't think there was any

375
00:21:17,359 --> 00:21:20,720
Speaker 5: real reality as far as you know, a professional career

376
00:21:21,080 --> 00:21:24,520
Speaker 5: or you know, recording or anything like that. Everything we did.

377
00:21:24,520 --> 00:21:27,320
Speaker 4: Was some stuff with the dolls. We did stuff with

378
00:21:27,359 --> 00:21:30,400
Speaker 4: the dolls. Remember later on yeah you guys, you guys

379
00:21:30,440 --> 00:21:32,119
Speaker 4: sang back up in a couple of dolls shows.

380
00:21:32,359 --> 00:21:34,080
Speaker 5: So yeah, all right, it was that.

381
00:21:34,119 --> 00:21:38,520
Speaker 4: Eighty two, Yeah, baby, or I think there's a picture.

382
00:21:38,200 --> 00:21:41,080
Speaker 5: Of us at eighty two. Eighty two was another club

383
00:21:41,119 --> 00:21:45,800
Speaker 5: that existed sort of in a even darker way than

384
00:21:46,720 --> 00:21:52,600
Speaker 5: Max's or CBGB's. It was an old transvestite club from

385
00:21:52,840 --> 00:21:54,119
Speaker 5: the nineteen forties.

386
00:21:54,720 --> 00:21:56,159
Speaker 4: Yeah, it was very gangster.

387
00:21:56,880 --> 00:21:57,040
Speaker 5: It was.

388
00:21:57,680 --> 00:22:02,000
Speaker 4: It was number eighty to the east third Street, I guess,

389
00:22:02,080 --> 00:22:05,480
Speaker 4: or something like that something the second first Street, all

390
00:22:05,520 --> 00:22:08,080
Speaker 4: the way east and it was in the basement. It was.

391
00:22:08,200 --> 00:22:10,360
Speaker 4: That was a great scene. A lot of bands played there,

392
00:22:10,400 --> 00:22:13,320
Speaker 4: but we went there. All this stuff went on there,

393
00:22:13,520 --> 00:22:15,959
Speaker 4: there's not a lot of okay.

394
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Speaker 3: So one of my favorite kind of underground New York

395
00:22:21,720 --> 00:22:28,760
Speaker 3: labels was Private Stock. Well, no, a lot of legendary

396
00:22:28,760 --> 00:22:31,080
Speaker 3: records are on there, and especially for hip hoppers, there's

397
00:22:31,200 --> 00:22:35,159
Speaker 3: like incredible breakbeats on there. But I gotta know, like,

398
00:22:35,720 --> 00:22:39,679
Speaker 3: how did what was it like dealing with Larry Utel.

399
00:22:40,720 --> 00:22:44,120
Speaker 4: Larry had come out of like the brill building scene.

400
00:22:44,520 --> 00:22:46,480
Speaker 4: He had been He had been a part of Bell

401
00:22:46,640 --> 00:22:51,960
Speaker 4: Records with I think Seymour and yeah, they were all

402
00:22:51,960 --> 00:22:54,360
Speaker 4: play partners at one point and then they spliped went

403
00:22:54,520 --> 00:22:58,439
Speaker 4: through different ways. Marty Marty foul you know, managed the

404
00:22:58,520 --> 00:23:01,160
Speaker 4: Dolls all through their earn hey Day and the first

405
00:23:01,200 --> 00:23:05,199
Speaker 4: records and all that stuff before before McLaren picked up

406
00:23:05,200 --> 00:23:09,520
Speaker 4: on him, and uh, Larry was you know, it was

407
00:23:09,640 --> 00:23:11,959
Speaker 4: kind of a vanity project for him. I mean, I

408
00:23:11,960 --> 00:23:15,640
Speaker 4: think his daughter Jody, who was like the press person,

409
00:23:16,359 --> 00:23:20,399
Speaker 4: had a better idea what was going on in the

410
00:23:20,440 --> 00:23:23,680
Speaker 4: reality of the street and music you know that was

411
00:23:23,720 --> 00:23:26,399
Speaker 4: coming out of the streets. Larry was like, you know,

412
00:23:26,480 --> 00:23:28,600
Speaker 4: Larry was you know, guy with the open shirt and

413
00:23:28,640 --> 00:23:30,080
Speaker 4: the big gold chainer on his back.

414
00:23:30,400 --> 00:23:36,959
Speaker 5: He liked he was friends with you know that that

415
00:23:37,000 --> 00:23:40,199
Speaker 5: one Valley.

416
00:23:42,119 --> 00:23:46,000
Speaker 4: Yeah, Frankie Valley was on the label, right, Yeah, that

417
00:23:46,119 --> 00:23:49,240
Speaker 4: was their big act. And Peter Lemon Jello, man, you know,

418
00:23:49,359 --> 00:23:52,840
Speaker 4: Peter Lemon Jell. Peter Lemon Jello was like this m

419
00:23:53,359 --> 00:23:56,919
Speaker 4: R M O R singer, but the girls liked him

420
00:23:56,960 --> 00:24:00,480
Speaker 4: because he was like sexy, you know, thing that helps.

421
00:24:00,520 --> 00:24:07,960
Speaker 4: And then then they had also on the label.

422
00:24:07,680 --> 00:24:09,560
Speaker 2: Which is yeah Walter, Walter h.

423
00:24:13,520 --> 00:24:16,080
Speaker 5: It was an odd place to be for us. It

424
00:24:16,160 --> 00:24:19,560
Speaker 5: was very odd and uh, which tried.

425
00:24:21,680 --> 00:24:23,760
Speaker 3: You know, we we live in the time now, which

426
00:24:23,880 --> 00:24:27,639
Speaker 3: you know, literally you can create a fully produced and

427
00:24:27,720 --> 00:24:33,920
Speaker 3: realized album on your laptop, But what what is the

428
00:24:33,960 --> 00:24:37,680
Speaker 3: process of getting a demo? Like, Okay, you're going to

429
00:24:37,720 --> 00:24:40,840
Speaker 3: start a band now, I mean at any point are

430
00:24:40,880 --> 00:24:45,040
Speaker 3: you guys like, hey, we're just hanging around doing the scene,

431
00:24:45,280 --> 00:24:48,080
Speaker 3: or you guys like actively like we were trying to

432
00:24:48,080 --> 00:24:48,840
Speaker 3: get a record deal.

433
00:24:49,560 --> 00:24:51,440
Speaker 4: Yeah, I mean that was the goal was to get

434
00:24:51,480 --> 00:24:54,200
Speaker 4: the music out. Everybody knew. I mean, we all grew

435
00:24:54,280 --> 00:24:58,520
Speaker 4: up with records and records being very important to us,

436
00:24:59,040 --> 00:25:02,680
Speaker 4: so that was of course a goal, but in New York,

437
00:25:03,280 --> 00:25:07,360
Speaker 4: so there was I don't know, one hundred bands instead

438
00:25:07,359 --> 00:25:10,480
Speaker 4: of one hundred thousand bands the way it is now,

439
00:25:10,600 --> 00:25:13,240
Speaker 4: you know, so that that made a big difference.

440
00:25:13,960 --> 00:25:16,840
Speaker 3: I always wanted to know this, and I know it's

441
00:25:17,000 --> 00:25:21,639
Speaker 3: a captain obvious question, but what was what was the

442
00:25:22,000 --> 00:25:25,480
Speaker 3: actual reason why you guys settled on the name Blondie.

443
00:25:26,160 --> 00:25:30,800
Speaker 5: We had been trying to pick out a name, and uh,

444
00:25:30,920 --> 00:25:33,040
Speaker 5: I mean, you know, you search for a name, and

445
00:25:33,840 --> 00:25:37,080
Speaker 5: we called ourselves the Angel and the Snake for a

446
00:25:37,119 --> 00:25:42,919
Speaker 5: few months, and that that was sort of a you know,

447
00:25:43,280 --> 00:25:47,280
Speaker 5: it wasn't really it would have been a good name

448
00:25:47,320 --> 00:25:49,320
Speaker 5: for nowadays, but at that.

449
00:25:49,359 --> 00:25:52,119
Speaker 4: Point for a metal band, yeah maybe, you know.

450
00:25:52,640 --> 00:25:55,960
Speaker 5: Yeah, well we wanted to be a metal band.

451
00:25:55,760 --> 00:25:58,280
Speaker 4: But I don't know if we even had that much

452
00:25:58,320 --> 00:26:01,359
Speaker 4: of it. I don't know what we what we wanted

453
00:26:01,359 --> 00:26:02,240
Speaker 4: to be anything.

454
00:26:02,600 --> 00:26:05,359
Speaker 5: Well, I was working as a beautician. I was working

455
00:26:05,359 --> 00:26:08,680
Speaker 5: in New Jersey as a beautician, and you know, during

456
00:26:08,720 --> 00:26:12,400
Speaker 5: a slow hours, you know, we would do each other's hair,

457
00:26:12,600 --> 00:26:16,000
Speaker 5: and so one day they did me and I was,

458
00:26:16,240 --> 00:26:20,399
Speaker 5: you know, had blonde hair and walking to Chris's house,

459
00:26:20,480 --> 00:26:25,320
Speaker 5: you know, it was getting you know, some street noise, Hey, Blondie, Blondie,

460
00:26:25,680 --> 00:26:28,000
Speaker 5: and I just said, oh, okay, well that will work.

461
00:26:28,720 --> 00:26:29,320
Speaker 5: And that was that.

462
00:26:29,400 --> 00:26:34,520
Speaker 2: Okay. I always thought it was a blondie deck would reference.

463
00:26:34,800 --> 00:26:35,800
Speaker 5: Well it became that.

464
00:26:36,160 --> 00:26:39,359
Speaker 4: Yeah, we were aware of that, and you know, and

465
00:26:39,440 --> 00:26:43,200
Speaker 4: those guys never bothered us for all all the time.

466
00:26:43,359 --> 00:26:44,840
Speaker 4: They never It was never a.

467
00:26:45,280 --> 00:26:46,439
Speaker 2: Tough yo like.

468
00:26:47,440 --> 00:26:47,560
Speaker 5: No.

469
00:26:47,640 --> 00:26:50,840
Speaker 4: I mean, there was never any complaints about us commandeering

470
00:26:50,920 --> 00:26:53,000
Speaker 4: the name or anything from the comic people.

471
00:26:53,200 --> 00:26:55,360
Speaker 2: You mean that, I thought you meant just. I thought

472
00:26:55,400 --> 00:26:57,760
Speaker 2: you meant just in New York. No, everybody, I.

473
00:26:57,840 --> 00:27:02,240
Speaker 4: Forget about that ship. We got bothered a lot in

474
00:27:02,359 --> 00:27:02,800
Speaker 4: New York.

475
00:27:03,520 --> 00:27:07,360
Speaker 5: To be fair, I did say to the guys, you know,

476
00:27:07,640 --> 00:27:11,040
Speaker 5: when when we started getting you know, official attention, that

477
00:27:11,520 --> 00:27:14,600
Speaker 5: they should all bleach their hair, you know, and be

478
00:27:14,720 --> 00:27:17,520
Speaker 5: like wrestlers, you know, and the guys should all have

479
00:27:17,600 --> 00:27:21,639
Speaker 5: blonde hair, and we'd all have blonde hair. But nobody

480
00:27:21,720 --> 00:27:22,840
Speaker 5: wanted to do it.

481
00:27:22,880 --> 00:27:25,200
Speaker 7: Just while we're on the name Blondie.

482
00:27:25,240 --> 00:27:27,800
Speaker 6: So by now, of course we all know your name

483
00:27:28,400 --> 00:27:32,480
Speaker 6: is Debbie Harry. But people must have been calling you

484
00:27:32,560 --> 00:27:37,879
Speaker 6: personally Blondie this whole time. Is that the longest bother

485
00:27:37,960 --> 00:27:40,240
Speaker 6: you or is that something that you'd just gotten used to,

486
00:27:40,440 --> 00:27:42,159
Speaker 6: or do you say, hey, my name is Debbie, you

487
00:27:42,160 --> 00:27:43,280
Speaker 6: know what the band is?

488
00:27:43,320 --> 00:27:43,879
Speaker 7: Blondie.

489
00:27:44,400 --> 00:27:46,879
Speaker 5: Well, I think there was that, you know, kind of

490
00:27:46,920 --> 00:27:51,000
Speaker 5: the definition thing. For a while. I didn't mind, especially

491
00:27:51,040 --> 00:27:54,040
Speaker 5: being cold Blondie because I had the blonde hair and

492
00:27:54,200 --> 00:27:58,800
Speaker 5: you know, basically, you know, I guess little boys get

493
00:27:58,800 --> 00:28:02,359
Speaker 5: called that too, you know, hey Blondie, but usually you know,

494
00:28:02,440 --> 00:28:06,960
Speaker 5: little girls with my coloring, you know, are cold Blondie

495
00:28:07,040 --> 00:28:10,840
Speaker 5: very often. So it didn't really bother me. It did

496
00:28:10,880 --> 00:28:13,280
Speaker 5: bother me, you know that we had to sort of

497
00:28:13,320 --> 00:28:17,840
Speaker 5: identify ourselves constantly. But I think that you know, you know,

498
00:28:18,040 --> 00:28:20,680
Speaker 5: I guess it's something that you you know, you learn, right,

499
00:28:20,760 --> 00:28:24,320
Speaker 5: you learn that you have to identify yourself well.

500
00:28:24,359 --> 00:28:26,639
Speaker 3: As I said at the top of the show, people

501
00:28:26,760 --> 00:28:31,719
Speaker 3: will often lump you guys in with the punk movement

502
00:28:31,880 --> 00:28:34,280
Speaker 3: or the new wave movement. You know, it's kind of

503
00:28:34,320 --> 00:28:38,240
Speaker 3: like I didn't necessarily think that you were either, because

504
00:28:39,120 --> 00:28:43,320
Speaker 3: for me, at least with the first the first three records,

505
00:28:44,000 --> 00:28:47,480
Speaker 3: like from the self titled record to Parallel Lines, you know,

506
00:28:47,520 --> 00:28:51,680
Speaker 3: there's there's a heavy sort of post I guess you

507
00:28:51,680 --> 00:28:55,200
Speaker 3: could say wall of sound feel in there like in

508
00:28:55,320 --> 00:28:59,880
Speaker 3: terms of like a very updated, like an updated kind

509
00:28:59,880 --> 00:29:05,040
Speaker 3: of specters thing going on. So for you, was it

510
00:29:05,160 --> 00:29:09,000
Speaker 3: always an eye rolling thing? If you know, critics that

511
00:29:09,120 --> 00:29:11,720
Speaker 3: obviously weren't on the scene that were like hanging around

512
00:29:11,760 --> 00:29:14,480
Speaker 3: to see, Like, was it weird to get type cast

513
00:29:14,600 --> 00:29:19,520
Speaker 3: to be part of a movement that really I don't know,

514
00:29:19,560 --> 00:29:22,280
Speaker 3: I think between you guys and the police, like even

515
00:29:22,320 --> 00:29:25,800
Speaker 3: though you're you're lumped in with this movement, you guys

516
00:29:25,840 --> 00:29:28,800
Speaker 3: really weren't that level of punk to me, Like, you

517
00:29:28,800 --> 00:29:32,280
Speaker 3: guys were more of a stylish at least my my,

518
00:29:33,360 --> 00:29:34,000
Speaker 3: how it.

519
00:29:33,920 --> 00:29:35,360
Speaker 2: Looked to me when I was like nine or ten

520
00:29:35,440 --> 00:29:35,840
Speaker 2: years old.

521
00:29:35,840 --> 00:29:37,880
Speaker 4: I think, I think, I think the punk form is

522
00:29:37,960 --> 00:29:43,240
Speaker 4: much more defined nowadays. And you know, in twenty twenty onward,

523
00:29:43,800 --> 00:29:46,160
Speaker 4: you know, you got all these fands, you know, Surpoort

524
00:29:46,240 --> 00:29:49,520
Speaker 4: and Amal and the Sniffers and all these guys are

525
00:29:49,640 --> 00:29:54,920
Speaker 4: very defined in their punkness, you know. Back I mean

526
00:29:54,960 --> 00:29:57,560
Speaker 4: when you think about you know, ustin television and talking

527
00:29:57,640 --> 00:30:01,400
Speaker 4: heads and Patty, it was very diverse. That kind of

528
00:30:01,440 --> 00:30:06,160
Speaker 4: sounded and it wasn't so. I mean, the Moons were

529
00:30:07,160 --> 00:30:11,000
Speaker 4: very much in their own groove of the thing, but

530
00:30:11,040 --> 00:30:13,640
Speaker 4: they were they were specifically.

531
00:30:13,000 --> 00:30:16,480
Speaker 5: Them, you know, yeah, I mean there was a rockabillity there,

532
00:30:16,520 --> 00:30:18,960
Speaker 5: you know, was the sort of art rock, you.

533
00:30:18,920 --> 00:30:19,720
Speaker 7: Know, blues.

534
00:30:20,280 --> 00:30:24,360
Speaker 5: It was all a punk scene and and incorporated a

535
00:30:24,400 --> 00:30:27,720
Speaker 5: lot of different styles of music which you know, we

536
00:30:27,720 --> 00:30:32,400
Speaker 5: were actually experimenting with, you know, and trying to pull in,

537
00:30:32,960 --> 00:30:37,800
Speaker 5: you know, references that you know sort of befitted a

538
00:30:37,840 --> 00:30:42,200
Speaker 5: girl singer and you know, a rock band and and

539
00:30:42,800 --> 00:30:46,760
Speaker 5: with you know, attitude. You know, I think for me,

540
00:30:47,400 --> 00:30:49,440
Speaker 5: I wanted to be a punk. I felt like I

541
00:30:49,480 --> 00:30:50,640
Speaker 5: had enough attitude.

542
00:30:50,720 --> 00:30:54,880
Speaker 4: But the punk definition was very much like a lifestyle

543
00:30:54,960 --> 00:30:58,400
Speaker 4: thing way the way a hippie was, you know, it was,

544
00:30:58,800 --> 00:31:03,240
Speaker 4: you know, it's like relistic and about do it yourself,

545
00:31:03,320 --> 00:31:05,840
Speaker 4: very much about do it yourself too, and you know,

546
00:31:05,920 --> 00:31:09,200
Speaker 4: and then there was, uh it was a backlash against

547
00:31:09,240 --> 00:31:13,720
Speaker 4: all the real heavy m R stuff that was happening

548
00:31:13,760 --> 00:31:16,520
Speaker 4: in the mid seventies there, and that was you know,

549
00:31:16,680 --> 00:31:19,840
Speaker 4: above ground you know whatever. You know, these went to

550
00:31:19,920 --> 00:31:24,800
Speaker 4: rost pretty you know sedation for us.

551
00:31:24,840 --> 00:31:26,240
Speaker 2: You know at that time.

552
00:31:27,000 --> 00:31:31,600
Speaker 3: Socially, who were your peers of that movement? Like were

553
00:31:31,600 --> 00:31:35,680
Speaker 3: you friendly with the Ramones and the New York zones?

554
00:31:35,720 --> 00:31:38,080
Speaker 4: We were very close to the Ramones, and the Dolls.

555
00:31:38,360 --> 00:31:40,880
Speaker 4: There was kind of there were kind of two camps

556
00:31:40,880 --> 00:31:43,160
Speaker 4: at CBS of the art rock people and the pop

557
00:31:43,240 --> 00:31:45,800
Speaker 4: rock people, and we were kind of on the pop

558
00:31:45,880 --> 00:31:48,760
Speaker 4: rock side, you know. And it was a band called Miami's.

559
00:31:48,880 --> 00:31:55,560
Speaker 4: It was band called Fast you know those people. Yeah,

560
00:31:55,800 --> 00:32:01,320
Speaker 4: Johnny Heartbreakers were great, bad all that stuff. You know.

561
00:32:02,480 --> 00:32:07,560
Speaker 3: I believe that my band was the third, the second

562
00:32:07,640 --> 00:32:13,320
Speaker 3: or the third to last act to play at CBGB's.

563
00:32:14,240 --> 00:32:19,040
Speaker 3: I got a note was that nice bathroom always filthy bathroom.

564
00:32:19,360 --> 00:32:22,720
Speaker 4: The bathroom used to be upstairs, and the stage used

565
00:32:22,720 --> 00:32:26,040
Speaker 4: to be on the on the left facing facing the stage,

566
00:32:26,280 --> 00:32:28,560
Speaker 4: and then it moved to the right, and the bathroom

567
00:32:28,640 --> 00:32:31,200
Speaker 4: moved downstairs and got it even worse. It wasn't It

568
00:32:31,240 --> 00:32:34,000
Speaker 4: was probably a little less gross when it was upstairs.

569
00:32:34,520 --> 00:32:39,520
Speaker 3: Yeah, I see any any fond memories there. I hate

570
00:32:39,560 --> 00:32:43,240
Speaker 3: I hate being that person that's like like salivating over

571
00:32:43,440 --> 00:32:46,400
Speaker 3: like again, these folklore stories of clubs of your and

572
00:32:46,440 --> 00:32:48,000
Speaker 3: you guys are just like whatever.

573
00:32:48,040 --> 00:32:49,160
Speaker 2: We showed up and we played.

574
00:32:49,200 --> 00:32:54,320
Speaker 3: But you know, at any point during that period, did

575
00:32:54,360 --> 00:32:59,960
Speaker 3: you know that this was like the zegeist of the scene,

576
00:33:00,120 --> 00:33:03,320
Speaker 3: or again, was it just a hey, Thursday night, We're playing.

577
00:33:03,240 --> 00:33:06,000
Speaker 4: Yeah, no, we were pretty much in the moment, you know.

578
00:33:06,280 --> 00:33:10,240
Speaker 4: And what I always I also say, is everybody, every

579
00:33:10,320 --> 00:33:14,360
Speaker 4: single person I knew, would say, this is New York

580
00:33:14,440 --> 00:33:16,480
Speaker 4: is so horrible. I just got to get out of here.

581
00:33:16,520 --> 00:33:20,160
Speaker 4: I can't stand it anymore. But nobody left. And there's

582
00:33:20,200 --> 00:33:23,920
Speaker 4: this great mood Red monologue where he talks about how

583
00:33:23,960 --> 00:33:26,360
Speaker 4: awful it is in New York for him, but how

584
00:33:26,440 --> 00:33:30,600
Speaker 4: much more uncomfortable he is everywhere else. So that that

585
00:33:30,840 --> 00:33:34,200
Speaker 4: was that pretty much. But yeah, I mean lots of

586
00:33:34,320 --> 00:33:37,680
Speaker 4: crazy shit went down at Steevie's all the time, accidents too.

587
00:33:38,600 --> 00:33:41,960
Speaker 5: It was you know, well it went through stages, you know,

588
00:33:42,120 --> 00:33:46,440
Speaker 5: stages of development because it wasn't like a full on,

589
00:33:46,680 --> 00:33:50,000
Speaker 5: you know, big club scene from the start. You know,

590
00:33:50,080 --> 00:33:53,120
Speaker 5: it was a bike of bar with you know, some

591
00:33:54,280 --> 00:33:57,960
Speaker 5: you know Bowery guys, you know Alki's and stuff that

592
00:33:58,080 --> 00:34:01,440
Speaker 5: hung out at this bar. And then for some reason

593
00:34:01,600 --> 00:34:07,480
Speaker 5: Hilly you know, started having music, and you know, I

594
00:34:07,880 --> 00:34:11,160
Speaker 5: have suspicions about you know, there used to be a club,

595
00:34:12,239 --> 00:34:17,560
Speaker 5: a club restaurant on Ninth Street, right off of Sixth

596
00:34:17,600 --> 00:34:21,799
Speaker 5: Avenue between fifth and sixth, and it was called Hilly's.

597
00:34:22,480 --> 00:34:25,879
Speaker 5: I somehow think that Hilly was involved with that, and

598
00:34:26,600 --> 00:34:27,080
Speaker 5: he had.

599
00:34:27,000 --> 00:34:28,880
Speaker 4: A couple of bars. Yeah, I think he had one

600
00:34:28,920 --> 00:34:32,080
Speaker 4: that was like downstairs from Trudy Heller's too at one point.

601
00:34:32,120 --> 00:34:34,600
Speaker 5: Oh really yeah wow.

602
00:34:34,480 --> 00:34:36,919
Speaker 4: Yeah, yeah, he had a couple of bars around town

603
00:34:37,360 --> 00:34:39,200
Speaker 4: and he and he was a single role, so he

604
00:34:39,280 --> 00:34:42,360
Speaker 4: had he had a country single on the jukebox in

605
00:34:42,520 --> 00:34:46,359
Speaker 4: CB that I don't really hear people talking about too much.

606
00:34:46,360 --> 00:34:48,640
Speaker 4: I don't remember what it was, but it was there.

607
00:34:49,360 --> 00:34:50,000
Speaker 7: New York is.

608
00:34:49,920 --> 00:34:52,560
Speaker 5: Great for clubs, you know, I mean it's always been

609
00:34:52,600 --> 00:34:53,520
Speaker 5: that way. It's great.

610
00:34:54,160 --> 00:34:55,560
Speaker 2: How often is the rotation?

611
00:34:56,400 --> 00:34:59,919
Speaker 3: I know that for me in Philadelphia there's really only

612
00:35:00,360 --> 00:35:03,120
Speaker 3: at least for the roots, like maybe if you're lucky,

613
00:35:03,120 --> 00:35:06,719
Speaker 3: there's like six clubs to play, because we also had

614
00:35:06,760 --> 00:35:10,000
Speaker 3: like you know, five or six major colleges there, so

615
00:35:10,880 --> 00:35:13,239
Speaker 3: you know where you play at University of Penn, play

616
00:35:13,239 --> 00:35:15,080
Speaker 3: at Temple play. You know, you would just go to

617
00:35:15,080 --> 00:35:20,400
Speaker 3: where the colleges were. But as far as rotation is concerned.

618
00:35:20,000 --> 00:35:22,399
Speaker 4: Well, there was a there was a thing where if

619
00:35:22,440 --> 00:35:25,799
Speaker 4: you played at Max's, you shouldn't play at Seb's the

620
00:35:25,840 --> 00:35:28,680
Speaker 4: next weekend. Yeah, that's to like wait a week. But

621
00:35:28,719 --> 00:35:31,680
Speaker 4: there were other little bars. It was like Rudby Charlie's

622
00:35:31,880 --> 00:35:35,200
Speaker 4: and a place called the Mushroom and that Monty Python

623
00:35:35,360 --> 00:35:39,160
Speaker 4: Bar and all these little things. With my mother's my others.

624
00:35:39,320 --> 00:35:42,400
Speaker 4: Was a tourney right across from the Chelsea there was

625
00:35:42,760 --> 00:35:45,920
Speaker 4: my father's place was up in Long Island City that

626
00:35:46,200 --> 00:35:47,480
Speaker 4: you know, stuff would come and go.

627
00:35:48,320 --> 00:35:50,759
Speaker 3: I would assume that, you know, by the time, at

628
00:35:50,840 --> 00:35:53,560
Speaker 3: least by the time you guys get to Chrysalis that

629
00:35:54,239 --> 00:35:57,640
Speaker 3: you know, you're not you're no longer a like a

630
00:35:57,680 --> 00:36:01,680
Speaker 3: local rock band, and you're also doing national and yeah,

631
00:36:01,719 --> 00:36:03,040
Speaker 3: going out of state and whatnot.

632
00:36:03,120 --> 00:36:06,320
Speaker 4: So yeah, all that stuff went on, but it was

633
00:36:06,400 --> 00:36:08,920
Speaker 4: still the you know. The other thing people may not

634
00:36:09,000 --> 00:36:13,799
Speaker 4: get nowadays is what a goddamn wild West show the

635
00:36:13,920 --> 00:36:17,200
Speaker 4: music industry was the touring touring in those days. It

636
00:36:17,239 --> 00:36:19,399
Speaker 4: was now it's so slick, you know, your live nation

637
00:36:19,520 --> 00:36:21,719
Speaker 4: all this stuff, you know, boom you go there.

638
00:36:22,600 --> 00:36:25,080
Speaker 3: I was gonna say, yeah, was there something as a

639
00:36:25,160 --> 00:36:28,160
Speaker 3: rider like okay, okay, because I ask each act to

640
00:36:28,200 --> 00:36:31,000
Speaker 3: do this for me because I truly want to know,

641
00:36:31,920 --> 00:36:33,480
Speaker 3: you know. And the thing you mentioned at the top

642
00:36:33,520 --> 00:36:35,560
Speaker 3: about the rolexes and all that stuff, Yes, I'm in

643
00:36:35,680 --> 00:36:38,680
Speaker 3: I'm in the hip hop generation, especially the first generation

644
00:36:38,760 --> 00:36:42,439
Speaker 3: of like post hype William videos where around ninety four,

645
00:36:42,600 --> 00:36:45,959
Speaker 3: I would say that, yes, like even coming into the game,

646
00:36:46,000 --> 00:36:47,840
Speaker 3: like we came into the game with two tour buses

647
00:36:48,440 --> 00:36:52,359
Speaker 3: and a really good rider and Musilix and like, you know,

648
00:36:52,520 --> 00:36:55,799
Speaker 3: like where's my where's the you know, the where's the

649
00:36:55,800 --> 00:36:58,680
Speaker 3: manicurist at like that sort of.

650
00:37:00,280 --> 00:37:03,120
Speaker 4: So fucking we were in a fucking we did a

651
00:37:03,200 --> 00:37:06,920
Speaker 4: tour in Australia. We were we were in like a

652
00:37:07,000 --> 00:37:10,480
Speaker 4: school bus man that was like a let me know,

653
00:37:11,400 --> 00:37:15,000
Speaker 4: old school with like it was filled with dust. You know.

654
00:37:15,280 --> 00:37:17,640
Speaker 4: We had we and we had like a an America.

655
00:37:17,719 --> 00:37:19,640
Speaker 4: When we went on the tour with Iggy and Bowie,

656
00:37:20,080 --> 00:37:22,600
Speaker 4: we were in an r V, which is like really

657
00:37:22,640 --> 00:37:27,440
Speaker 4: crappy and falling apart. I remember too, So all that

658
00:37:27,520 --> 00:37:30,200
Speaker 4: kind of stuff was was yeah.

659
00:37:29,680 --> 00:37:32,040
Speaker 2: All right, so let's skip to skip the parallel lines.

660
00:37:32,560 --> 00:37:36,359
Speaker 3: Can you walk me through the process, Like okay, so

661
00:37:36,960 --> 00:37:41,840
Speaker 3: the idea of like tour buses and good hotel lodging,

662
00:37:43,040 --> 00:37:46,080
Speaker 3: like at what at what point does that even happen

663
00:37:46,200 --> 00:37:49,520
Speaker 3: or is that something that was just invented in the nineties, Like.

664
00:37:49,719 --> 00:37:55,479
Speaker 4: Yeah, I'm gonna go with nineties because we had some man.

665
00:37:55,680 --> 00:37:57,440
Speaker 4: It was you know, it was a lot of.

666
00:37:57,719 --> 00:38:00,000
Speaker 2: We briefly, we we lived for these nerds.

667
00:38:00,040 --> 00:38:02,520
Speaker 3: Story says, don't don't think you're like sparing us by,

668
00:38:02,600 --> 00:38:04,439
Speaker 3: like you don't want to hear about the time when

669
00:38:05,239 --> 00:38:07,279
Speaker 3: but we store store our lunch meat or something.

670
00:38:07,360 --> 00:38:10,160
Speaker 4: We never had. We never flew private. There was just

671
00:38:10,200 --> 00:38:12,560
Speaker 4: no such thing. But briefly, I remember there was like

672
00:38:12,680 --> 00:38:16,080
Speaker 4: ten minutes when we was Chip Gordon. There was like

673
00:38:17,080 --> 00:38:20,759
Speaker 4: in Europe. We had a little four seater jet for

674
00:38:20,800 --> 00:38:24,080
Speaker 4: a couple of publicity dates. But that was like you know,

675
00:38:24,480 --> 00:38:27,840
Speaker 4: two flights or something like that. We went on the Concord.

676
00:38:27,840 --> 00:38:29,920
Speaker 4: We were on the We were on the Concord a

677
00:38:29,960 --> 00:38:30,840
Speaker 4: bunch of times.

678
00:38:31,200 --> 00:38:31,440
Speaker 7: That was.

679
00:38:31,840 --> 00:38:32,440
Speaker 4: That was nice.

680
00:38:33,040 --> 00:38:34,080
Speaker 5: Yeah.

681
00:38:34,280 --> 00:38:36,319
Speaker 3: I was going to say, Shepp is one of my

682
00:38:36,640 --> 00:38:41,280
Speaker 3: closest friends, and what time does he enter managing the band.

683
00:38:41,440 --> 00:38:43,840
Speaker 5: Like the late seventies early eighties.

684
00:38:44,120 --> 00:38:48,279
Speaker 3: Yeah, yeah, so he was there for Parallel Lines.

685
00:38:48,480 --> 00:38:51,719
Speaker 4: No, no, no, that was that was each of the beat.

686
00:38:53,480 --> 00:38:57,280
Speaker 5: It was the very end. Yeah.

687
00:38:57,320 --> 00:38:59,000
Speaker 2: Well Auto American, I know he was there.

688
00:38:58,800 --> 00:39:03,200
Speaker 4: For An American and the Hunter, which was you know successful.

689
00:39:03,719 --> 00:39:09,400
Speaker 3: Yeah, the Auto American platinum plaque is hanging up above

690
00:39:09,440 --> 00:39:12,920
Speaker 3: the guest bedroom. So nice you guys Teddy Pendergrass and

691
00:39:12,960 --> 00:39:14,359
Speaker 3: Luther Vandro's records.

692
00:39:16,120 --> 00:39:17,239
Speaker 4: Like, uh.

693
00:39:19,200 --> 00:39:21,080
Speaker 2: When I stay at his house and his guest room.

694
00:39:21,840 --> 00:39:25,680
Speaker 3: So with with parallel lines at least, which you know

695
00:39:25,800 --> 00:39:28,839
Speaker 3: many consider that to be like you're your your your

696
00:39:28,880 --> 00:39:32,720
Speaker 3: super breakthrough with it. Can you talk about the making

697
00:39:32,760 --> 00:39:36,120
Speaker 3: of Harder Class AKA once I had a love and

698
00:39:36,200 --> 00:39:37,040
Speaker 3: bringing that forth?

699
00:39:37,160 --> 00:39:41,080
Speaker 4: Well, it was it was all about the getting the

700
00:39:41,200 --> 00:39:45,000
Speaker 4: rolling rhythm machine hooked up with this, the rolling whatever

701
00:39:45,040 --> 00:39:46,759
Speaker 4: that held. I can't remember I should.

702
00:39:46,480 --> 00:39:49,040
Speaker 2: Know this, but was there mid back in the day.

703
00:39:49,160 --> 00:39:54,480
Speaker 4: No, it was. It was all voltage, voltage controlled, you know. Okay,

704
00:39:54,520 --> 00:39:56,960
Speaker 4: so it was pre MIDI and that was such a

705
00:39:57,040 --> 00:39:59,400
Speaker 4: huge deal. That's where the whole the whole song was

706
00:39:59,400 --> 00:40:03,200
Speaker 4: built up on the synth being to the rhythm machine

707
00:40:03,640 --> 00:40:06,040
Speaker 4: and everything was built around that. You know. We had

708
00:40:06,040 --> 00:40:08,560
Speaker 4: the we had the cords, some stuff in the structure

709
00:40:09,520 --> 00:40:11,480
Speaker 4: somewhat you know, very.

710
00:40:11,320 --> 00:40:13,520
Speaker 5: Time consuming, very time consumer.

711
00:40:14,000 --> 00:40:16,120
Speaker 4: Yes, I mean going in with Chapman was great. I

712
00:40:16,160 --> 00:40:18,560
Speaker 4: mean Chapman was a master and he was at the

713
00:40:18,560 --> 00:40:20,400
Speaker 4: peak of his game, and we were also at the

714
00:40:20,440 --> 00:40:23,440
Speaker 4: peak of analog too. It was the high point of

715
00:40:23,520 --> 00:40:26,959
Speaker 4: fucking analog you know he had he had the one

716
00:40:27,800 --> 00:40:30,080
Speaker 4: the digital REAVERB. I guess it's not don't know, even

717
00:40:30,120 --> 00:40:33,680
Speaker 4: Tide or whatever it is. He had that one unit.

718
00:40:34,120 --> 00:40:37,480
Speaker 4: But everything else was just like that. And I'm glad

719
00:40:37,480 --> 00:40:40,520
Speaker 4: we got to be there at that moment too. But

720
00:40:40,600 --> 00:40:43,360
Speaker 4: Chapman was great. He was like going in with George Martin.

721
00:40:43,440 --> 00:40:45,200
Speaker 4: For us, it was like a whole you know, he

722
00:40:45,360 --> 00:40:48,200
Speaker 4: was like the extra member of the band. It was

723
00:40:48,520 --> 00:40:51,319
Speaker 4: just it was fantastic and we all, you know, he

724
00:40:51,360 --> 00:40:52,960
Speaker 4: beat the heck out of us. But it was great.

725
00:40:54,200 --> 00:40:56,960
Speaker 3: I was going to ask with because the thing is

726
00:40:56,960 --> 00:41:00,480
Speaker 3: is that, you know, Heart of Glass was even more

727
00:41:00,520 --> 00:41:02,640
Speaker 3: than even more than Miss You. I feel like hearder

728
00:41:02,680 --> 00:41:06,279
Speaker 3: Glass is like the perfect, perfect dance song that's not

729
00:41:06,480 --> 00:41:09,600
Speaker 3: blatantly a disco song. And not to say that Miss

730
00:41:09,640 --> 00:41:12,560
Speaker 3: You by the Rolling Stones was a blatant Yeah, people

731
00:41:12,800 --> 00:41:14,759
Speaker 3: seem to consider anything with four on the floor to

732
00:41:14,800 --> 00:41:19,839
Speaker 3: be disco, but always wanted to know obviously there there

733
00:41:19,920 --> 00:41:22,360
Speaker 3: had to been some sort of conscious decision like okay,

734
00:41:23,040 --> 00:41:25,200
Speaker 3: let's make something accessible.

735
00:41:25,920 --> 00:41:28,320
Speaker 4: We always had like graph for work. We were referencing

736
00:41:28,400 --> 00:41:28,959
Speaker 4: graph work.

737
00:41:29,400 --> 00:41:31,359
Speaker 2: Oh okay, that was it.

738
00:41:31,560 --> 00:41:33,440
Speaker 4: Not so much disco music.

739
00:41:33,200 --> 00:41:36,799
Speaker 3: But I always wanted to know the like for such

740
00:41:36,840 --> 00:41:39,040
Speaker 3: a song that that has such a steady four in

741
00:41:39,040 --> 00:41:43,439
Speaker 3: the fourth pace. Why was there a decision to make

742
00:41:43,920 --> 00:41:47,960
Speaker 3: the last bridge into seven to eight meter which I

743
00:41:48,080 --> 00:41:48,480
Speaker 3: don't know.

744
00:41:48,400 --> 00:41:51,680
Speaker 4: If that was an accident or not. I mean, Chapman

745
00:41:51,760 --> 00:41:55,960
Speaker 4: would Chapman would edit fucking slice the two inch tape

746
00:41:55,960 --> 00:41:58,480
Speaker 4: with a fucking razor, which is kind of unheard of.

747
00:41:58,840 --> 00:42:05,359
Speaker 2: No, you guys were playing, which one is that one

748
00:42:05,360 --> 00:42:06,040
Speaker 2: little section?

749
00:42:06,200 --> 00:42:08,799
Speaker 4: I can't, I can't. I mean, I'm sure if you

750
00:42:08,880 --> 00:42:11,960
Speaker 4: asked everybody, everybody will have a different opinion. Why that

751
00:42:12,120 --> 00:42:15,680
Speaker 4: came about, Whether it was accidental or not, I don't know.

752
00:42:16,360 --> 00:42:18,839
Speaker 3: You know, hearder Glass seems very accessible to play at

753
00:42:18,840 --> 00:42:22,919
Speaker 3: a jam session. But there's always that moment right after

754
00:42:22,960 --> 00:42:25,080
Speaker 3: the last There's always that moment right on the course

755
00:42:25,080 --> 00:42:27,239
Speaker 3: where I'm looking at the people like, wait, are we

756
00:42:27,280 --> 00:42:28,439
Speaker 3: are we about to do to the level.

757
00:42:28,680 --> 00:42:29,759
Speaker 2: We're going to do the seventy part.

758
00:42:29,800 --> 00:42:32,640
Speaker 3: We're just going to act like the beginning, the beginning,

759
00:42:32,719 --> 00:42:34,960
Speaker 3: and then it's always a car crash.

760
00:42:35,760 --> 00:42:39,080
Speaker 4: That's very gratifying.

761
00:42:40,200 --> 00:42:41,520
Speaker 5: It made it worthwhile.

762
00:42:41,680 --> 00:42:44,080
Speaker 4: The drums are all the drums are all pieced together

763
00:42:44,200 --> 00:42:46,960
Speaker 4: the way a disco record, the bass drums recorded by itself?

764
00:42:47,480 --> 00:42:52,200
Speaker 4: Uh you know the kid? Yeah yeah, recorded by itself,

765
00:42:52,239 --> 00:42:54,640
Speaker 4: you know, yeah, it was that. That was the only

766
00:42:54,719 --> 00:42:56,200
Speaker 4: song like that. That was the only one who was

767
00:42:56,239 --> 00:42:56,719
Speaker 4: done like that.

768
00:42:56,960 --> 00:42:59,960
Speaker 2: What was the logic behind that? A better mixed to it?

769
00:43:00,280 --> 00:43:02,399
Speaker 4: Mike had done some kind of disco music again, maybe

770
00:43:02,440 --> 00:43:04,279
Speaker 4: be able to bring out the kick a little more.

771
00:43:04,320 --> 00:43:04,759
Speaker 4: I don't know.

772
00:43:05,480 --> 00:43:08,680
Speaker 2: Oh, okay, okay, I see that.

773
00:43:09,400 --> 00:43:11,799
Speaker 5: I think it was his ears, you know, I mean

774
00:43:11,880 --> 00:43:14,960
Speaker 5: that's he had. He had those ears.

775
00:43:15,000 --> 00:43:18,560
Speaker 7: You know what studio was this? Parallel lines?

776
00:43:19,040 --> 00:43:19,200
Speaker 5: Uh?

777
00:43:19,560 --> 00:43:20,120
Speaker 2: Power station?

778
00:43:20,239 --> 00:43:20,399
Speaker 5: Right?

779
00:43:20,840 --> 00:43:26,840
Speaker 4: Power station? Or or plant? Record plant? Record plant or

780
00:43:26,880 --> 00:43:27,400
Speaker 4: power station.

781
00:43:27,480 --> 00:43:31,759
Speaker 6: Yeah, at the time of Parallel Lines. And and now

782
00:43:31,880 --> 00:43:35,360
Speaker 6: I guess also do you do you which do you

783
00:43:35,520 --> 00:43:36,080
Speaker 6: enjoy more?

784
00:43:36,120 --> 00:43:37,959
Speaker 7: Playing live? We're making records.

785
00:43:38,520 --> 00:43:42,160
Speaker 4: I like recording. I'm a recording guy always. I'm not

786
00:43:42,360 --> 00:43:44,239
Speaker 4: I'm not doing a tour, but that's mostly because of

787
00:43:44,360 --> 00:43:47,440
Speaker 4: health stuff. But you know, they got to replacement for

788
00:43:47,520 --> 00:43:52,399
Speaker 4: me lately. But I think Debbie probably both maybe I don't.

789
00:43:52,719 --> 00:43:55,680
Speaker 4: She gets off on doing the shows a lot. I mean,

790
00:43:55,719 --> 00:43:57,120
Speaker 4: I like to doing the shows. I always love doing

791
00:43:57,160 --> 00:43:59,719
Speaker 4: the shows. But I just I've been doing recording ever

792
00:43:59,800 --> 00:44:01,440
Speaker 4: since I was a little kid man, I was screwing

793
00:44:01,440 --> 00:44:05,160
Speaker 4: around with you know, old wall and sack reel to

794
00:44:05,239 --> 00:44:08,080
Speaker 4: real recorders and stuff like that, and I would always

795
00:44:08,080 --> 00:44:10,600
Speaker 4: have a TA four track that if I could beg

796
00:44:10,640 --> 00:44:13,399
Speaker 4: borrow or steal. So, I mean, that was just part

797
00:44:13,400 --> 00:44:16,680
Speaker 4: of my life, is doing recording. I love the laptop,

798
00:44:16,760 --> 00:44:20,880
Speaker 4: digital stuff, go sit in logic for hours and tweaking stuff.

799
00:44:25,520 --> 00:44:29,960
Speaker 3: Does the music creative decisions start with the two of you?

800
00:44:30,520 --> 00:44:34,719
Speaker 3: Or is it an actual democracy in which it's it's

801
00:44:35,719 --> 00:44:36,480
Speaker 3: the six of you?

802
00:44:36,560 --> 00:44:36,920
Speaker 2: Sort of?

803
00:44:37,239 --> 00:44:41,440
Speaker 4: You know, it's a monarchic democracy.

804
00:44:41,719 --> 00:44:49,680
Speaker 3: So aggressive, Yeah, I mean, what do you guys think? Okay,

805
00:44:49,719 --> 00:44:50,600
Speaker 3: this is what we're gonna do.

806
00:44:50,719 --> 00:44:53,640
Speaker 4: So yeah, I mean I always managed to get up

807
00:44:53,640 --> 00:44:56,279
Speaker 4: a lot of by that time we had been I

808
00:44:56,280 --> 00:45:01,800
Speaker 4: mean I okay, So the only song that we before

809
00:45:01,800 --> 00:45:04,320
Speaker 4: we recorded it, I knew it was going to be

810
00:45:04,360 --> 00:45:07,000
Speaker 4: a hit as tight as High, I mean the other ones,

811
00:45:07,040 --> 00:45:09,839
Speaker 4: I really didn't. I wasn't sure, but I knew if

812
00:45:09,840 --> 00:45:12,719
Speaker 4: we could pull up a decent recording of Titus High

813
00:45:13,160 --> 00:45:15,200
Speaker 4: that it was, it would be successful.

814
00:45:15,680 --> 00:45:17,879
Speaker 2: Were you a fan of the Paragon's original or.

815
00:45:18,120 --> 00:45:21,400
Speaker 4: Yeah, the original? Yes, the originalist Godhead and probably the

816
00:45:21,400 --> 00:45:23,360
Speaker 4: only reggae song I ever heard that as a violin

817
00:45:23,440 --> 00:45:26,520
Speaker 4: in it from that period, which is amat so the

818
00:45:26,560 --> 00:45:28,400
Speaker 4: horn lines are based on the violin line.

819
00:45:28,880 --> 00:45:29,960
Speaker 2: This is we have to figure out.

820
00:45:31,080 --> 00:45:37,160
Speaker 3: There's about nine mammoth songs in E minor that that

821
00:45:37,280 --> 00:45:42,720
Speaker 3: come out in uh you know the first the first

822
00:45:42,719 --> 00:45:48,600
Speaker 3: half of nineteen eighty nine Mammoth Dance Floor of Rockers

823
00:45:48,640 --> 00:45:54,160
Speaker 3: in in E minor. I will ask this much, was

824
00:45:54,160 --> 00:45:57,200
Speaker 3: was good Times that much of an influential song that

825
00:45:57,280 --> 00:46:02,560
Speaker 3: it's almost like was it unavoidable? Because you know, when

826
00:46:02,600 --> 00:46:04,440
Speaker 3: I asked some of these people, when I when I

827
00:46:04,440 --> 00:46:07,160
Speaker 3: ask you know, the other artists question, someone will say, like,

828
00:46:07,880 --> 00:46:10,520
Speaker 3: you know, like sometimes you just so consciously go there

829
00:46:10,560 --> 00:46:14,040
Speaker 3: without purposely trying to go there, whereas like you know,

830
00:46:14,160 --> 00:46:17,000
Speaker 3: Brian may may confirm or may not confirm that another

831
00:46:17,040 --> 00:46:20,279
Speaker 3: one by the Dust was exactly what's our version of

832
00:46:20,320 --> 00:46:20,800
Speaker 3: good Times?

833
00:46:20,880 --> 00:46:24,279
Speaker 4: Yeah, No, rapture was totally homage to shake, Okay, No,

834
00:46:24,719 --> 00:46:28,279
Speaker 4: I just wanted to know there no question about it.

835
00:46:28,600 --> 00:46:31,480
Speaker 4: I was totally thinking of that the whole The baselines

836
00:46:31,520 --> 00:46:32,600
Speaker 4: is the first thing that came up.

837
00:46:33,360 --> 00:46:36,279
Speaker 3: Yeah, that was that was an extremely that was an

838
00:46:36,320 --> 00:46:39,560
Speaker 3: extreme radical thing to do, like you know, of all

839
00:46:39,600 --> 00:46:41,759
Speaker 3: the songs in your catalog.

840
00:46:41,880 --> 00:46:45,520
Speaker 2: That was super super risky. Could you just talk about

841
00:46:45,560 --> 00:46:51,120
Speaker 2: how does hip hop reach you as a New Yorker, Like,

842
00:46:52,080 --> 00:46:55,200
Speaker 2: were you aware of what was happening in the Bronx

843
00:46:55,320 --> 00:46:56,120
Speaker 2: or yeah?

844
00:46:56,160 --> 00:46:59,360
Speaker 4: We No, I really wasn't that aware. We'd heard rappers

845
00:46:59,440 --> 00:47:02,840
Speaker 4: to lie, you know, on the radio, a couple of things.

846
00:47:03,120 --> 00:47:06,360
Speaker 4: But then we hooked up with Freddy and Freddie I

847
00:47:06,400 --> 00:47:08,360
Speaker 4: guess it was seventy seven took us up to this

848
00:47:08,840 --> 00:47:11,880
Speaker 4: event at a police athletic league up in the Bronx,

849
00:47:11,920 --> 00:47:15,440
Speaker 4: and that was that was like just this eye opening experience.

850
00:47:16,280 --> 00:47:19,080
Speaker 2: You know, it was wait, what year did you meet? Five? Five? Freddy?

851
00:47:20,400 --> 00:47:22,840
Speaker 4: Probably seventy six or seven?

852
00:47:23,719 --> 00:47:25,959
Speaker 2: Oh damn, okay, long time ago.

853
00:47:26,520 --> 00:47:28,799
Speaker 4: Yeah, I mean I've gone over the date with him

854
00:47:28,880 --> 00:47:31,319
Speaker 4: trying to figure out what did what day, what year

855
00:47:31,360 --> 00:47:34,640
Speaker 4: that was, and he thinks seventy seventh was who When

856
00:47:34,680 --> 00:47:35,760
Speaker 4: we went up to this thing.

857
00:47:36,080 --> 00:47:39,360
Speaker 3: One of my all time well, I won't say great

858
00:47:39,719 --> 00:47:44,520
Speaker 3: punishment stories. Was kind of like a fistfight that almost

859
00:47:44,520 --> 00:47:48,360
Speaker 3: got into with my cousin because you know, at this

860
00:47:48,520 --> 00:47:52,160
Speaker 3: point it's it's, uh, the summer of nineteen eighty one

861
00:47:53,200 --> 00:47:57,640
Speaker 3: and he's singing like, we're we're I don't know where

862
00:47:57,640 --> 00:47:59,759
Speaker 3: we're coming from. We were coming from like my grandmom's house,

863
00:47:59,840 --> 00:48:02,839
Speaker 3: us walking from the corner store and going back home.

864
00:48:03,880 --> 00:48:06,920
Speaker 2: And he's singing to himself and he's like, you know.

865
00:48:07,560 --> 00:48:11,840
Speaker 3: Any in my mother, fast as fast, fast as fast,

866
00:48:12,000 --> 00:48:13,520
Speaker 3: fast as fast, that's as cool.

867
00:48:14,040 --> 00:48:15,480
Speaker 2: And I was like, wait, why do you repeat that

868
00:48:15,520 --> 00:48:16,200
Speaker 2: three times?

869
00:48:16,840 --> 00:48:20,320
Speaker 3: And he's like, because that's how the song goes, flashes fast, flashes, fast,

870
00:48:20,480 --> 00:48:21,280
Speaker 3: flashes fast.

871
00:48:21,480 --> 00:48:24,319
Speaker 2: I said, no, it doesn't, she says.

872
00:48:23,600 --> 00:48:33,120
Speaker 3: And so basically, my cousin never heard of Rapture, and

873
00:48:33,680 --> 00:48:37,400
Speaker 3: I never heard of the Adventures of Grandmaster Flash on

874
00:48:37,400 --> 00:48:40,680
Speaker 3: the Wheels of Steel, which, for hip hop historians is

875
00:48:40,719 --> 00:48:43,840
Speaker 3: basically the first time that the world is hearing what

876
00:48:43,920 --> 00:48:46,560
Speaker 3: cutting and scratching is. Like, you know, Grandmaster Flash goes

877
00:48:46,600 --> 00:48:49,960
Speaker 3: in the studio and he does his seven minute open

878
00:48:50,000 --> 00:48:53,440
Speaker 3: format demonstration of the records of the day, you know,

879
00:48:53,560 --> 00:48:58,239
Speaker 3: takes Cheeks, good Times and Apache and and Rapture and

880
00:48:58,560 --> 00:49:00,880
Speaker 3: you know, just just the part songs of the moment

881
00:49:00,960 --> 00:49:04,600
Speaker 3: and does a demonstration of what scratching is. You know,

882
00:49:04,640 --> 00:49:08,920
Speaker 3: because for most hip hop records, you know, you'd have

883
00:49:08,960 --> 00:49:11,040
Speaker 3: to get a band get keithleb Blanc or whatever to

884
00:49:11,320 --> 00:49:14,080
Speaker 3: redo the breaks and whatnot because technology wasn't there yet,

885
00:49:14,800 --> 00:49:19,520
Speaker 3: and so you know, of course I'm my level of

886
00:49:19,880 --> 00:49:24,600
Speaker 3: know it all snobbery, you know, I'm so angered. Like

887
00:49:25,000 --> 00:49:26,840
Speaker 3: he then knew he could get my goat, so he

888
00:49:26,840 --> 00:49:29,480
Speaker 3: would just sing it like anytime he just want to

889
00:49:29,560 --> 00:49:32,360
Speaker 3: fuck with me, he'd just be like fastest, fast flashest,

890
00:49:32,360 --> 00:49:36,600
Speaker 3: fast flashes, fast, flash and flash, and then.

891
00:49:36,440 --> 00:49:38,600
Speaker 2: We just you know, and then you know, we got

892
00:49:38,640 --> 00:49:39,440
Speaker 2: put on punishment.

893
00:49:39,920 --> 00:49:47,600
Speaker 3: So you know at the time, like for you, were

894
00:49:47,640 --> 00:49:50,400
Speaker 3: you shocked at the reception? Were you nervous about it?

895
00:49:50,520 --> 00:49:52,640
Speaker 3: Or for you was it just like this might be

896
00:49:52,719 --> 00:49:56,879
Speaker 3: filler on the album, or like, yo, this shit's gonna

897
00:49:56,880 --> 00:49:57,800
Speaker 3: go to number one.

898
00:49:57,800 --> 00:50:02,040
Speaker 4: Frankie Kroch or was it ma major components in that.

899
00:50:02,160 --> 00:50:04,399
Speaker 2: I forgot that's it.

900
00:50:03,920 --> 00:50:06,840
Speaker 3: It goes to Paradise Garage, it's going to Frankie Crocker,

901
00:50:06,920 --> 00:50:08,000
Speaker 3: then it's going to the world.

902
00:50:08,040 --> 00:50:08,880
Speaker 2: Okay, he was.

903
00:50:08,960 --> 00:50:12,280
Speaker 4: He was a big supporter, and then we were eternally grateful.

904
00:50:12,840 --> 00:50:16,759
Speaker 3: Yeah, man, at that moment, did you realize you were

905
00:50:16,760 --> 00:50:18,799
Speaker 3: seeing a revolution at the time or was it just

906
00:50:18,960 --> 00:50:20,440
Speaker 3: like no, because.

907
00:50:20,200 --> 00:50:22,799
Speaker 4: You know, it's funny what you said earlier about being

908
00:50:22,800 --> 00:50:24,560
Speaker 4: a fan, because I talked I was up there with

909
00:50:24,600 --> 00:50:27,800
Speaker 4: all these record company guys and people on the inside

910
00:50:27,800 --> 00:50:31,960
Speaker 4: of the industry, and nine percent of them all said, Oh,

911
00:50:32,000 --> 00:50:34,560
Speaker 4: it's it's a fad, it's going to go away.

912
00:50:34,600 --> 00:50:37,799
Speaker 5: Said they said that. They said that about punk too,

913
00:50:38,680 --> 00:50:40,799
Speaker 5: you know, that was their favorite thing to say, you know.

914
00:50:41,360 --> 00:50:44,800
Speaker 5: And and the other thing was, so you know when kissed,

915
00:50:46,040 --> 00:50:50,080
Speaker 5: when every time that there was a technological advancement or

916
00:50:50,200 --> 00:50:53,960
Speaker 5: you know update, you know, say ah, you know, it's

917
00:50:53,960 --> 00:50:56,200
Speaker 5: not going to last. It was that was a big

918
00:50:56,239 --> 00:50:57,880
Speaker 5: thing to say, it's not going to last.

919
00:50:59,080 --> 00:51:01,160
Speaker 3: One of the first thing I did when I started

920
00:51:01,200 --> 00:51:06,160
Speaker 3: working here at at thirty Rock, which, of course you

921
00:51:06,200 --> 00:51:08,480
Speaker 3: know where the Tonight Show is and SNL and all

922
00:51:08,480 --> 00:51:13,560
Speaker 3: these like legendary shows. There's a giant database system that's

923
00:51:13,640 --> 00:51:16,800
Speaker 3: hooked up to all of our computers. So any episode

924
00:51:16,840 --> 00:51:18,719
Speaker 3: of SNL I want to watch, what like, you can't

925
00:51:18,719 --> 00:51:20,600
Speaker 3: get it on YouTube, but I can sit here for

926
00:51:20,680 --> 00:51:25,239
Speaker 3: days go through the archives. How hard was it for

927
00:51:25,320 --> 00:51:29,400
Speaker 3: you guys to actually broker that deal so that the

928
00:51:29,400 --> 00:51:31,839
Speaker 3: Funky four plus one gets on.

929
00:51:32,760 --> 00:51:37,560
Speaker 4: The real hard aspect of the Funkies being on the show,

930
00:51:38,480 --> 00:51:40,120
Speaker 4: was trying to get them.

931
00:51:40,000 --> 00:51:43,440
Speaker 2: To scratch and yeah, I was going to say.

932
00:51:43,320 --> 00:51:45,799
Speaker 4: I couldn't get it done. And even it was a

933
00:51:45,840 --> 00:51:49,200
Speaker 4: moment when they even got a limousine and sent through

934
00:51:49,280 --> 00:51:54,520
Speaker 4: them uptown to get a cable. You know, that didn't work.

935
00:51:54,719 --> 00:51:57,040
Speaker 4: They just couldn't get it done. They went onto a

936
00:51:57,080 --> 00:51:59,480
Speaker 4: tape and then they also went on the crawl at

937
00:51:59,520 --> 00:52:01,560
Speaker 4: the end of the sh oh you know under the

938
00:52:01,560 --> 00:52:03,920
Speaker 4: credits right it still but you know, I'm a sure

939
00:52:04,000 --> 00:52:07,760
Speaker 4: Rock is still by many considered the first female rapper,

940
00:52:07,840 --> 00:52:08,040
Speaker 4: you know.

941
00:52:08,520 --> 00:52:11,719
Speaker 3: So yeah, well now that that that to me was

942
00:52:11,800 --> 00:52:16,640
Speaker 3: a credible co sign because you know, they were, to

943
00:52:16,760 --> 00:52:19,440
Speaker 3: me like the epitome. And you know, the fact that

944
00:52:19,520 --> 00:52:23,560
Speaker 3: you didn't see female mcs that much and and and

945
00:52:24,800 --> 00:52:26,520
Speaker 3: they could have been like, hey, go with someone to

946
00:52:26,560 --> 00:52:29,080
Speaker 3: go with flashing them or go with the sugar Hill Gang.

947
00:52:29,120 --> 00:52:32,200
Speaker 2: And the fact that you guys saw that.

948
00:52:32,080 --> 00:52:34,040
Speaker 4: We were buddies with those guys. I hung out with

949
00:52:34,120 --> 00:52:36,120
Speaker 4: Rodney for many years, you.

950
00:52:36,080 --> 00:52:38,040
Speaker 2: Know, legnend Darry Rodney.

951
00:52:38,320 --> 00:52:42,839
Speaker 3: Yeah, so get into it. So, how how did you

952
00:52:43,360 --> 00:52:49,000
Speaker 3: meet with Charlie Ahern and uh, your involvement with Wild Style.

953
00:52:49,280 --> 00:52:53,600
Speaker 3: Are you shocked at all? That suddenly not even suddenly,

954
00:52:53,680 --> 00:52:57,799
Speaker 3: well I'll say that a good fifteen years after you

955
00:52:57,840 --> 00:53:02,000
Speaker 3: create these tracks, that suddenly, like they they do become

956
00:53:02,880 --> 00:53:05,239
Speaker 3: sort of like a staple of hip hop culture at least,

957
00:53:05,280 --> 00:53:08,120
Speaker 3: like us using those breaks for real, not just for

958
00:53:08,200 --> 00:53:09,440
Speaker 3: the purpose of Yeah no.

959
00:53:09,640 --> 00:53:13,000
Speaker 4: No, no, no, I'm shocked. I mean I I what I

960
00:53:13,200 --> 00:53:15,120
Speaker 4: what I did was aware of when I told Charlie

961
00:53:15,160 --> 00:53:16,799
Speaker 4: at the time was you know, as soon as this

962
00:53:16,840 --> 00:53:19,800
Speaker 4: thing comes out, there's gonna be one hundred Hollywood movies

963
00:53:20,280 --> 00:53:23,200
Speaker 4: like this, and like Beets Street was like immediately there after,

964
00:53:23,680 --> 00:53:28,799
Speaker 4: like a bigger budget version, you know, but uh now

965
00:53:28,840 --> 00:53:31,000
Speaker 4: it was. It was great. It was just all people

966
00:53:31,000 --> 00:53:32,840
Speaker 4: that we worked with. It was part of the TV

967
00:53:33,000 --> 00:53:35,719
Speaker 4: Party emailue, that whole thing, you know. I mean think

968
00:53:35,960 --> 00:53:38,360
Speaker 4: I think Lenny plays drums on some of that stuff.

969
00:53:38,680 --> 00:53:40,200
Speaker 4: He was in the TV Party orchestra.

970
00:53:40,360 --> 00:53:40,560
Speaker 2: Yeah.

971
00:53:40,560 --> 00:53:43,280
Speaker 3: I was gonna say, who's who's the other the Blondie

972
00:53:43,280 --> 00:53:44,839
Speaker 3: guys are not playing on that.

973
00:53:44,880 --> 00:53:48,200
Speaker 4: Right, No, it's no, It's just I came into the

974
00:53:48,200 --> 00:53:52,360
Speaker 4: studio with my old Roland synth guitar and put tracks

975
00:53:52,360 --> 00:53:54,600
Speaker 4: on top of what was already had been recorded, which

976
00:53:55,040 --> 00:53:57,839
Speaker 4: was space and drums and then Freddie did like those

977
00:53:57,880 --> 00:54:00,480
Speaker 4: sound effects of like like razors and all kinds of

978
00:54:00,520 --> 00:54:05,839
Speaker 4: weird stuff that he did. So the drums I might

979
00:54:05,920 --> 00:54:07,920
Speaker 4: be lending. I'm not sure. You got to ask Charlie

980
00:54:08,000 --> 00:54:11,040
Speaker 4: on this. I never you know, I never got together

981
00:54:11,080 --> 00:54:13,960
Speaker 4: with I did that. I did those tracks with Kaz,

982
00:54:14,239 --> 00:54:17,080
Speaker 4: and I only met Kaz like three years ago for

983
00:54:17,120 --> 00:54:21,840
Speaker 4: the first time, you know, really yeah, yeah, oh wow.

984
00:54:22,560 --> 00:54:26,240
Speaker 4: And that one track that I did with Kaz, I

985
00:54:26,280 --> 00:54:30,360
Speaker 4: tried to sink synthesizers up to the scratching by just

986
00:54:30,800 --> 00:54:33,359
Speaker 4: taking the line out of the one of the out

987
00:54:33,400 --> 00:54:37,040
Speaker 4: of the out of the scratching track and hitting the

988
00:54:37,640 --> 00:54:41,279
Speaker 4: putting it into the voltage controlled input of the SIN.

989
00:54:41,719 --> 00:54:43,719
Speaker 4: So that actually is happening on I don't even know

990
00:54:43,760 --> 00:54:46,240
Speaker 4: if that's been done sin. It's a little chaotic.

991
00:54:46,680 --> 00:54:49,560
Speaker 3: Yeah, I was about to say, that's very primitive level

992
00:54:49,600 --> 00:54:53,719
Speaker 3: of uh yeah.

993
00:54:52,239 --> 00:54:55,040
Speaker 2: Of making that stuff. Who who has the master tapes

994
00:54:55,080 --> 00:54:57,760
Speaker 2: to those sessions, Charlie.

995
00:54:57,840 --> 00:55:01,520
Speaker 4: I guess he's in control that whole thing. I might have.

996
00:55:01,920 --> 00:55:04,680
Speaker 4: I might have copies up in the tapes. I'm not sure.

997
00:55:05,000 --> 00:55:07,279
Speaker 3: Yeah, I was about to say, down by law, it

998
00:55:07,320 --> 00:55:09,439
Speaker 3: might be like one all time.

999
00:55:09,680 --> 00:55:12,960
Speaker 4: Everybody, everybody gravitated towards that, and it was so smart

1000
00:55:13,239 --> 00:55:15,840
Speaker 4: that they pressed up vinyls and gave them out to

1001
00:55:15,880 --> 00:55:20,960
Speaker 4: the people who were doing the shows that were being filmed, right,

1002
00:55:21,480 --> 00:55:23,919
Speaker 4: they all gravitated towards that one track too.

1003
00:55:24,560 --> 00:55:27,920
Speaker 3: I was going to say, like, how many copies of

1004
00:55:29,120 --> 00:55:32,120
Speaker 3: those instrumentals were made initially?

1005
00:55:33,239 --> 00:55:35,520
Speaker 4: I don't know, twenty to fifty.

1006
00:55:35,239 --> 00:55:38,120
Speaker 2: Maybe, oh, okay, okay.

1007
00:55:38,160 --> 00:55:40,320
Speaker 4: So then you know it's been repressed and be released

1008
00:55:40,360 --> 00:55:44,120
Speaker 4: on like a white label thing that's like simulates the

1009
00:55:45,239 --> 00:55:47,120
Speaker 4: I mean, I had guys I would go to the UK,

1010
00:55:47,280 --> 00:55:49,040
Speaker 4: I would go I had guys come up to me

1011
00:55:49,120 --> 00:55:51,440
Speaker 4: and beg me for copies the originally.

1012
00:55:52,880 --> 00:55:56,880
Speaker 3: Yeah, you know, I think like they reprinted them at

1013
00:55:56,960 --> 00:56:00,919
Speaker 3: least the instrumentals, like uh, you know, around like nine four.

1014
00:56:01,000 --> 00:56:05,960
Speaker 3: So yeah, but for the longest, you know, I couldn't

1015
00:56:06,480 --> 00:56:07,600
Speaker 3: find any of those things.

1016
00:56:07,640 --> 00:56:12,080
Speaker 4: And it was the basketball throwdown sequence is like the

1017
00:56:12,120 --> 00:56:16,439
Speaker 4: greatest goddamn thing to this. It's it's so it's never

1018
00:56:16,480 --> 00:56:18,719
Speaker 4: been done since, you know, and they did a lot

1019
00:56:18,760 --> 00:56:21,560
Speaker 4: of takes to get that, but it's you know, you

1020
00:56:21,560 --> 00:56:23,520
Speaker 4: can find it on YouTube. It's just awesome.

1021
00:56:24,320 --> 00:56:29,120
Speaker 3: Hey, uh, dev I wanted to ask about your your

1022
00:56:29,160 --> 00:56:32,160
Speaker 3: first solo Alley Uh working with now.

1023
00:56:34,080 --> 00:56:39,600
Speaker 2: You did? Uh backfired and cuckoo cuckoo. Yes.

1024
00:56:40,000 --> 00:56:41,920
Speaker 3: Could you talk about the process of making it, like

1025
00:56:42,560 --> 00:56:44,840
Speaker 3: had you always wanted to do your own solo stuff?

1026
00:56:44,920 --> 00:56:52,160
Speaker 5: Or oh, well, I think it became apparent. You know

1027
00:56:52,239 --> 00:57:00,640
Speaker 5: that we, you know, I guess, had divergent interests, you know,

1028
00:57:00,840 --> 00:57:05,400
Speaker 5: with the blondie format and as you know in the

1029
00:57:05,440 --> 00:57:09,520
Speaker 5: record industry, as you well probably know that, you know

1030
00:57:09,960 --> 00:57:14,120
Speaker 5: a lot of times the labels reject you know, you're changing.

1031
00:57:14,440 --> 00:57:18,880
Speaker 5: And you know, Chris and I were, you know, we

1032
00:57:19,040 --> 00:57:23,680
Speaker 5: liked a lot of different things, and we especially liked

1033
00:57:23,760 --> 00:57:28,160
Speaker 5: Chic you know, we liked Nile and Bernard and uh

1034
00:57:28,280 --> 00:57:32,760
Speaker 5: Donna Summer. So you know, I guess we just got

1035
00:57:32,800 --> 00:57:35,440
Speaker 5: to know. I got to know Nile a little bit.

1036
00:57:35,560 --> 00:57:40,960
Speaker 5: Bernard was a little more quiet. Nile was I was

1037
00:57:41,000 --> 00:57:47,040
Speaker 5: out there, you know, he was very social and yeah. Yeah,

1038
00:57:47,120 --> 00:57:48,200
Speaker 5: So one.

1039
00:57:48,080 --> 00:57:50,200
Speaker 4: Of the first times we met him, he was going

1040
00:57:50,240 --> 00:57:53,080
Speaker 4: on about how much he loved EVO, which was you know,

1041
00:57:53,240 --> 00:57:55,760
Speaker 4: and he said to this day he says he was

1042
00:57:56,240 --> 00:57:59,960
Speaker 4: didn't know much about rap music and that we were

1043
00:58:00,080 --> 00:58:02,800
Speaker 4: the ones who introduced him. So I that seems strange

1044
00:58:02,880 --> 00:58:03,040
Speaker 4: to me.

1045
00:58:04,080 --> 00:58:05,760
Speaker 2: That he's the proprietor of right.

1046
00:58:05,840 --> 00:58:09,400
Speaker 3: Yeah, yeah, I mean there's there's that's that's a common

1047
00:58:09,400 --> 00:58:14,040
Speaker 3: story where you know, when he was alive, I'd always

1048
00:58:14,040 --> 00:58:18,640
Speaker 3: tease Prince about the fact that, you know, Prince Prince

1049
00:58:20,320 --> 00:58:24,560
Speaker 3: is very is a very famous uh lurker on the internet.

1050
00:58:24,800 --> 00:58:29,120
Speaker 3: You know, would often kind of irol proverbial irol whenever

1051
00:58:29,160 --> 00:58:32,840
Speaker 3: I talked about, you know, his diamonds and pearls gangster

1052
00:58:32,920 --> 00:58:35,040
Speaker 3: rap period, you know, with the gun mic and all

1053
00:58:35,040 --> 00:58:37,480
Speaker 3: that stuff, and you know, I would tell him all

1054
00:58:37,520 --> 00:58:40,760
Speaker 3: the time that you were actually more hip hop when

1055
00:58:42,000 --> 00:58:44,760
Speaker 3: before you were wrapping on purpose, you know what I mean,

1056
00:58:45,480 --> 00:58:50,280
Speaker 3: because everything about him was you know, was that it

1057
00:58:50,440 --> 00:58:54,160
Speaker 3: was you know, he's drum programming, he was ghost writing,

1058
00:58:55,120 --> 00:58:58,160
Speaker 3: you know, he was making up his own groups and

1059
00:58:58,200 --> 00:59:02,120
Speaker 3: had aliases like everything that was hip hop, even down

1060
00:59:02,160 --> 00:59:05,960
Speaker 3: to like the women that he chose and marketed, like

1061
00:59:06,080 --> 00:59:09,040
Speaker 3: all that was that was the blueprint that hip hop

1062
00:59:09,080 --> 00:59:12,000
Speaker 3: built itself upon, you know what I'm saying. And so

1063
00:59:13,080 --> 00:59:17,400
Speaker 3: oftentimes I just find it weird that the second that

1064
00:59:17,440 --> 00:59:21,400
Speaker 3: he becomes aware of hip hop, then that's sort of

1065
00:59:21,520 --> 00:59:24,040
Speaker 3: like that's where it got weird. But he was to

1066
00:59:24,120 --> 00:59:29,200
Speaker 3: me on hip hop before he sort of became aware

1067
00:59:29,200 --> 00:59:32,040
Speaker 3: of it. So you're telling the story of now rogers

1068
00:59:32,120 --> 00:59:35,280
Speaker 3: like really not being into it even though the irony

1069
00:59:35,440 --> 00:59:39,080
Speaker 3: of the good times thing? Can you speak upon like

1070
00:59:39,880 --> 00:59:45,080
Speaker 3: the circumstances after eighty two and the band wanting to

1071
00:59:45,120 --> 00:59:47,080
Speaker 3: take a break. Was it just because you guys were

1072
00:59:47,120 --> 00:59:49,640
Speaker 3: just on a ten year stretch by that point you

1073
00:59:49,760 --> 00:59:50,360
Speaker 3: just needed.

1074
00:59:50,160 --> 00:59:52,960
Speaker 4: Up on drugs. I got really sick. I had this

1075
00:59:53,160 --> 00:59:57,920
Speaker 4: lung protracted illness, just all kinds of crap. What's going on?

1076
00:59:58,080 --> 01:00:02,880
Speaker 4: You know, our finances went to shit. We've got you know,

1077
01:00:02,920 --> 01:00:06,320
Speaker 4: we were got victimized in a lot of places. You

1078
01:00:06,400 --> 01:00:09,240
Speaker 4: found out this account we had the two years we

1079
01:00:09,360 --> 01:00:12,040
Speaker 4: made the most money, didn't pay our taxes, just trying

1080
01:00:12,080 --> 01:00:15,320
Speaker 4: to get us at the tax shelters. So ke, Yeah,

1081
01:00:15,400 --> 01:00:18,320
Speaker 4: it's just a standard show business bullshit, you know.

1082
01:00:20,000 --> 01:00:23,200
Speaker 3: You know at this point when you're celebrating, uh, your

1083
01:00:23,320 --> 01:00:28,000
Speaker 3: entire history, Like for you, what's the what's the biggest

1084
01:00:28,080 --> 01:00:29,080
Speaker 3: lesson that you've learned?

1085
01:00:30,440 --> 01:00:35,040
Speaker 4: Oh geez, well there's a lot, you know, just relax

1086
01:00:35,280 --> 01:00:40,440
Speaker 4: for yourself, don't trust anybody, you know, just the basic stuff.

1087
01:00:40,480 --> 01:00:42,640
Speaker 4: And it's all gonna sound so cliche.

1088
01:00:43,480 --> 01:00:46,680
Speaker 3: We we love cliches on the show, like because to me,

1089
01:00:46,720 --> 01:00:49,880
Speaker 3: it's about the creative process, but it's also about you

1090
01:00:49,920 --> 01:00:52,040
Speaker 3: know what, what have you learned in hindsight?

1091
01:00:52,560 --> 01:00:52,760
Speaker 2: You know?

1092
01:00:53,560 --> 01:00:55,920
Speaker 3: I mean, I just love the fact that you saved

1093
01:00:55,920 --> 01:01:00,760
Speaker 3: all those demos. Yeah, I for one wasn't too sentimental

1094
01:01:00,760 --> 01:01:03,040
Speaker 3: with the demo. I was smart enough to not throw

1095
01:01:03,080 --> 01:01:05,560
Speaker 3: them away. But now it's I'm going through the painstaking

1096
01:01:05,640 --> 01:01:08,880
Speaker 3: process of just going through trash bin after trash beIN

1097
01:01:09,000 --> 01:01:11,800
Speaker 3: after it because I know, like in ten years, I'm

1098
01:01:11,800 --> 01:01:15,080
Speaker 3: gonna have to, yeah, make some make some sort of

1099
01:01:15,080 --> 01:01:17,120
Speaker 3: sense of it. So can you just talk about the

1100
01:01:17,120 --> 01:01:19,760
Speaker 3: process of finding these things?

1101
01:01:19,760 --> 01:01:23,960
Speaker 4: And that was long and arduous, you know. I just

1102
01:01:24,520 --> 01:01:28,440
Speaker 4: we did the the last Blendy album we had at

1103
01:01:28,480 --> 01:01:32,520
Speaker 4: the Magic Shop and Steve There, you know the place

1104
01:01:32,520 --> 01:01:35,320
Speaker 4: where Bowie did Black Star, you know, his last He

1105
01:01:35,360 --> 01:01:38,080
Speaker 4: did his last two records there, and phenomenal amount of

1106
01:01:38,080 --> 01:01:40,200
Speaker 4: stuff came out of that place, and so we really

1107
01:01:40,240 --> 01:01:44,520
Speaker 4: liked the last band to record there. And Steve there

1108
01:01:44,840 --> 01:01:50,880
Speaker 4: has the record tape salvaging company also, you know, he

1109
01:01:51,000 --> 01:01:55,000
Speaker 4: bakes the tapes and all that stuff, so that that

1110
01:01:55,080 --> 01:01:57,320
Speaker 4: was easy. We just I just I turned it over

1111
01:01:57,360 --> 01:02:00,880
Speaker 4: to him. And our manager Tommy over other thing. And

1112
01:02:01,640 --> 01:02:05,640
Speaker 4: you know, I would get these millions of little fragments

1113
01:02:05,640 --> 01:02:08,800
Speaker 4: on dropbox and listens of stuff and go, yeah, it's

1114
01:02:08,880 --> 01:02:10,600
Speaker 4: school whatever, et cetera.

1115
01:02:11,360 --> 01:02:14,240
Speaker 6: So, Chris, what was like the coolest thing that you

1116
01:02:14,440 --> 01:02:18,760
Speaker 6: found in the archives person you know, like personally to you,

1117
01:02:18,960 --> 01:02:23,400
Speaker 6: where you were, where you were excited about what you found.

1118
01:02:23,880 --> 01:02:26,880
Speaker 4: Did we have a version of the of Moonlight Drive

1119
01:02:27,000 --> 01:02:30,640
Speaker 4: by the Doors that we recorded in the studio while

1120
01:02:30,640 --> 01:02:34,280
Speaker 4: we were doing either the first or second album, which

1121
01:02:34,360 --> 01:02:38,400
Speaker 4: is really great, But they whoever was sitting in the

1122
01:02:38,400 --> 01:02:41,760
Speaker 4: control room didn't hit record at the top of the song,

1123
01:02:42,200 --> 01:02:44,480
Speaker 4: so they they did a job. They did a good

1124
01:02:44,520 --> 01:02:50,640
Speaker 4: job coming in afters after the first movement. But and

1125
01:02:50,680 --> 01:02:53,160
Speaker 4: it's you know that I don't know that I was

1126
01:02:53,440 --> 01:02:57,000
Speaker 4: aware that that existed even but that's out there.

1127
01:02:57,520 --> 01:02:58,840
Speaker 7: Well, and that's on the box set.

1128
01:02:59,120 --> 01:03:01,480
Speaker 4: Yeah, that's on the box. Yeah, it's a very cool thing.

1129
01:03:02,160 --> 01:03:04,120
Speaker 7: Did you fade it in on the box set or

1130
01:03:04,120 --> 01:03:04,840
Speaker 7: did you just started?

1131
01:03:05,080 --> 01:03:08,240
Speaker 4: It starts? It starts with some drums, but you know,

1132
01:03:08,320 --> 01:03:13,720
Speaker 4: it misses the whole little intro section, first first verse. Yeah, yeah,

1133
01:03:14,080 --> 01:03:14,560
Speaker 4: fired him.

1134
01:03:14,600 --> 01:03:18,880
Speaker 3: It's cool though, Yo, could you briefly talk about so

1135
01:03:19,000 --> 01:03:21,360
Speaker 3: one point, you guys were gonna work with Georgio Moroder.

1136
01:03:22,040 --> 01:03:25,680
Speaker 4: Yeah, well, Georgio didn't want to put up with the

1137
01:03:25,760 --> 01:03:29,760
Speaker 4: band bullshit and all the ego mania and us having

1138
01:03:29,760 --> 01:03:32,080
Speaker 4: to play things one hundred times to get it right

1139
01:03:32,440 --> 01:03:35,960
Speaker 4: and all that stuff. He's like, he just wants to

1140
01:03:36,000 --> 01:03:37,200
Speaker 4: go in there and get it done.

1141
01:03:37,640 --> 01:03:38,240
Speaker 2: Want and done.

1142
01:03:38,320 --> 01:03:40,920
Speaker 3: So you're saying that your your process is more meticulous

1143
01:03:40,920 --> 01:03:42,919
Speaker 3: in terms of like wanting to do because you guys

1144
01:03:42,920 --> 01:03:44,200
Speaker 3: are super tight as a band.

1145
01:03:44,240 --> 01:03:45,320
Speaker 2: I was going to ask, like.

1146
01:03:46,040 --> 01:03:49,440
Speaker 4: No, no, I it's quite the opposite. The opposite we were.

1147
01:03:49,440 --> 01:03:52,280
Speaker 4: We were sloppy and we'd have to go over ship

1148
01:03:52,360 --> 01:03:54,960
Speaker 4: a lot to get it done. I mean by you know,

1149
01:03:55,040 --> 01:03:59,200
Speaker 4: after a while. By now people have their skills honed.

1150
01:03:59,640 --> 01:04:02,440
Speaker 4: But in the early blondie days it was pretty funky.

1151
01:04:03,520 --> 01:04:05,560
Speaker 3: Well I mean, you know, I mean the way that

1152
01:04:05,640 --> 01:04:10,440
Speaker 3: you execute it call me at least, uh, you know,

1153
01:04:10,840 --> 01:04:14,800
Speaker 3: I you guys were air tight by then, you know.

1154
01:04:14,880 --> 01:04:17,240
Speaker 4: So yeah, but call me. Call Me has a lot

1155
01:04:17,280 --> 01:04:21,200
Speaker 4: of Georgia's session guys on it, as well as the band,

1156
01:04:21,280 --> 01:04:24,240
Speaker 4: you know, I mean, Clem's on there for sure. Okay,

1157
01:04:25,360 --> 01:04:28,640
Speaker 4: I'm not even one hundred percent on who's what in

1158
01:04:28,720 --> 01:04:29,440
Speaker 4: that track?

1159
01:04:29,920 --> 01:04:33,600
Speaker 3: Okay, I see, but I do want to know in closing,

1160
01:04:35,000 --> 01:04:37,800
Speaker 3: just where are you now as far as like creativity

1161
01:04:37,840 --> 01:04:39,840
Speaker 3: is concerned and still well, we just.

1162
01:04:39,840 --> 01:04:43,840
Speaker 4: Finished the twelfth record with John Congleton and that was

1163
01:04:43,960 --> 01:04:47,560
Speaker 4: that's very exciting. It's a little it's it's a little

1164
01:04:47,600 --> 01:04:53,800
Speaker 4: more raw than the previous one. I'm listening to the

1165
01:04:53,840 --> 01:04:58,280
Speaker 4: mixes coming back. It's great. I'm excited to get it

1166
01:04:58,280 --> 01:04:58,880
Speaker 4: out in the world.

1167
01:04:59,480 --> 01:05:02,800
Speaker 2: When when you uh, when do you propose that that

1168
01:05:02,840 --> 01:05:04,480
Speaker 2: will be? Uh, next year?

1169
01:05:04,760 --> 01:05:05,200
Speaker 4: Next year?

1170
01:05:05,960 --> 01:05:10,160
Speaker 6: Okay, I have a final question question you don't mind? Yes,

1171
01:05:11,320 --> 01:05:14,320
Speaker 6: it's it's kind of I ask a lot of people

1172
01:05:14,360 --> 01:05:19,480
Speaker 6: from your generation, especially that their vinyl record collections from

1173
01:05:19,800 --> 01:05:21,840
Speaker 6: from your past, you still have your your.

1174
01:05:22,120 --> 01:05:24,480
Speaker 4: I still haven't, but I don't I you know, I'm

1175
01:05:24,480 --> 01:05:28,280
Speaker 4: happy to listen to digital stuff at this point that

1176
01:05:28,320 --> 01:05:30,640
Speaker 4: you know, it's like digital. I do a lot of

1177
01:05:30,640 --> 01:05:34,440
Speaker 4: photography still, and I'm not going to go back to film,

1178
01:05:34,760 --> 01:05:37,160
Speaker 4: if you know. I mean, I like film. It's nice,

1179
01:05:37,480 --> 01:05:40,440
Speaker 4: but it's also kind of it's kind of like a fetish.

1180
01:05:40,920 --> 01:05:44,200
Speaker 7: But you still have returned, Yeah, but.

1181
01:05:44,120 --> 01:05:47,040
Speaker 4: I haven't put anything on it in ten years or whatever.

1182
01:05:47,880 --> 01:05:49,960
Speaker 4: You know. Yeah, you guys appear.

1183
01:05:50,040 --> 01:05:54,920
Speaker 7: Sorry, Steve. It's nice that he still has his collection.

1184
01:05:55,040 --> 01:05:55,720
Speaker 7: You know a lot of people.

1185
01:05:55,800 --> 01:05:58,160
Speaker 4: Yeah, no, I got playing stuff. I got Charles Manson's record,

1186
01:05:58,360 --> 01:05:59,720
Speaker 4: I get the first pressing.

1187
01:06:00,640 --> 01:06:03,400
Speaker 2: Really yeah, Okay, what.

1188
01:06:03,360 --> 01:06:06,440
Speaker 4: Was I watched? I was just watching some dumb TV

1189
01:06:06,520 --> 01:06:10,160
Speaker 4: show and they closed with a Charles Manson song? What

1190
01:06:10,160 --> 01:06:13,600
Speaker 4: the heck was that? I can't remember? Yeah?

1191
01:06:13,640 --> 01:06:16,040
Speaker 2: But for you, okay, So for you, what's what's in

1192
01:06:16,080 --> 01:06:18,720
Speaker 2: your your top five records of all time?

1193
01:06:19,200 --> 01:06:23,520
Speaker 4: Oh? Man, well that's a lot. You know what John

1194
01:06:23,560 --> 01:06:24,200
Speaker 4: Faye is?

1195
01:06:25,040 --> 01:06:25,840
Speaker 2: I know John Fay.

1196
01:06:25,880 --> 01:06:31,640
Speaker 4: Yeah, John Fay like superhero me. I saw him play

1197
01:06:31,840 --> 01:06:36,720
Speaker 4: and talked to him briefly. Top five beyond that, just

1198
01:06:36,840 --> 01:06:42,640
Speaker 4: you know, standard stuff, what you consider, you know, bowl

1199
01:06:42,640 --> 01:06:46,560
Speaker 4: your records? Like I was at Studio fifty four and

1200
01:06:46,600 --> 01:06:51,480
Speaker 4: when James Brown did have a double Yeah I saw

1201
01:06:51,600 --> 01:06:53,000
Speaker 4: I saw one of those shows.

1202
01:06:53,280 --> 01:06:55,880
Speaker 3: It's funny you say that for James Brown fans, I

1203
01:06:55,920 --> 01:06:59,080
Speaker 3: will personally say that the thing that I mind most

1204
01:06:59,080 --> 01:07:03,760
Speaker 3: about James Brown is that he doesn't know mediocrity.

1205
01:07:04,000 --> 01:07:07,600
Speaker 2: So either either he will be.

1206
01:07:07,640 --> 01:07:14,160
Speaker 3: The the the height of perfection or it's it's the

1207
01:07:14,200 --> 01:07:14,960
Speaker 3: worst shit ever.

1208
01:07:15,720 --> 01:07:19,000
Speaker 2: And as a kid. As a kid, I.

1209
01:07:19,000 --> 01:07:22,720
Speaker 3: Remember saving like seeing James Brown live at Studio fifty four,

1210
01:07:23,160 --> 01:07:24,880
Speaker 3: and you know, this is when I'm first starting to

1211
01:07:25,000 --> 01:07:26,480
Speaker 3: discover breakbeats and everything.

1212
01:07:27,000 --> 01:07:29,000
Speaker 2: So I was like, oh, man, look at the cover.

1213
01:07:29,120 --> 01:07:31,560
Speaker 2: He's sweating. It's going to be real good. I brought

1214
01:07:31,560 --> 01:07:34,080
Speaker 2: it home and I was like, ah, this is the worst.

1215
01:07:34,520 --> 01:07:36,600
Speaker 4: So I was one. I was at one of those shows.

1216
01:07:36,600 --> 01:07:38,800
Speaker 4: I don't know if it was the one that are

1217
01:07:38,840 --> 01:07:41,280
Speaker 4: on the record, but they kind of remember it.

1218
01:07:41,560 --> 01:07:45,160
Speaker 3: Yeah, Live and fifty four. Well, you know, Chris, I

1219
01:07:45,200 --> 01:07:47,880
Speaker 3: want to thank you. We we had a technical difficulty

1220
01:07:47,920 --> 01:07:48,720
Speaker 3: and we lost and.

1221
01:07:48,840 --> 01:07:52,520
Speaker 4: She fell out. She got lost in the ether. But

1222
01:07:52,560 --> 01:07:54,760
Speaker 4: any anyone want to get together and bullshit, I'm be

1223
01:07:54,840 --> 01:07:57,320
Speaker 4: happy to also my pleasure.

1224
01:07:57,480 --> 01:08:01,200
Speaker 3: Yes, definitely, you're You're a legend and I appreciate us.

1225
01:08:01,600 --> 01:08:04,080
Speaker 3: So on behalf of Sugar Steve.

1226
01:08:04,000 --> 01:08:06,600
Speaker 2: And I'm paid bill in my ear and fan take

1227
01:08:06,600 --> 01:08:06,840
Speaker 2: a lott.

1228
01:08:06,920 --> 01:08:10,600
Speaker 3: This is Quest Love of Quest Love Supreme, and thank

1229
01:08:10,640 --> 01:08:13,640
Speaker 3: you Chris and Debbie for going over your history with

1230
01:08:13,720 --> 01:08:15,560
Speaker 3: us and we really appreciate it and we will see

1231
01:08:15,560 --> 01:08:18,960
Speaker 3: you next time the next go round of Quest Love Supreme.

1232
01:08:19,120 --> 01:08:33,240
Speaker 1: All right, West Love Supreme is a production of iHeart Radio.

1233
01:08:37,920 --> 01:08:41,200
Speaker 2: For more podcasts from iHeart Radio, visit the iHeart Radio app,

1234
01:08:41,400 --> 01:08:44,800
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.