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Speaker 1: Of course.

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Speaker 2: Love Supreme is a production of iHeartRadio. This classic episode

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Speaker 2: was produced by the team at Pandora.

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Speaker 1: Yo Yo Yo. What's up, y'all?

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Speaker 3: This is Fonte Fontigelo here with this week's QLs classic.

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Speaker 1: This week we talked to the.

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Speaker 3: Man, Uncle Charlie, the Legend Charlie Wilson, singer, songwriter, lead

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Speaker 3: vocalist for the Gap Band. Uncle Charlie Wilson talks about

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Speaker 3: signing the snoop, showing Michael Jackson the moonwalk in other ways,

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Speaker 3: his work has influenced.

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Speaker 1: Music and pop culture with the shop do We Do

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Speaker 1: We Let's Go.

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Speaker 3: This one was originally released seven nineteen, This week July nineteenth,

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Speaker 3: twenty seventeen.

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Speaker 1: Long time ago, but still just as good. Charlie Wilson. Y'all,

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Speaker 1: q LES Classic Fonte Loo Right.

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Speaker 4: This Suprema Suh suh, Supremo roll called Suprema suck Suck

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Speaker 4: Supremo role.

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Speaker 3: What's the funkiest letter? Yeah a B yeah see her

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Speaker 3: d Yeah, No, no, it's Supremo roll.

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Speaker 1: My name is Fante. Yeah, it ain't no other. Yeah.

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Speaker 1: I'm looking for my Wednesday lover.

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Speaker 5: Supremo roll, Supremo.

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Speaker 1: My name is Sugar. I don't take no crap. I

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Speaker 1: listened to the Gap band and I shop at the.

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Speaker 5: Gap Agreement Supremo.

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Speaker 6: If you were wondering what was that sound, It's just

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Speaker 6: Boss Bill Yeah, humping around so so disgusting.

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Speaker 7: Oh, Suprema Son Son Supremo Rome.

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Speaker 8: Yeah, and I'm coming out.

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Speaker 1: Yeah.

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Speaker 8: Uncle Charlie makes me. Why shout.

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Speaker 7: So Supremo. Roll call Suprema Son Son Supremo.

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Speaker 1: Roll My name is Charlie, Yeah, last name Wilson. Yeah,

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Speaker 1: that's no other. Yeah, let's burn some anb.

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Speaker 5: Son Son Supremo. Roll call Suprema Son Son Supremo. Roll

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Speaker 5: Call Suprema.

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Speaker 4: Son Son Supremo. Roll Call Suprema Son Son Supremo.

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Speaker 2: Roll all right. I just want you'll know from the

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Speaker 2: top that l threatened us if we use weed and

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Speaker 2: in our roll call, Ladies and gentlemen, this is another

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Speaker 2: special educational extravaganza episode of Quest Love Supreme. I am

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Speaker 2: your host Quest Love Jenkins uh and today I got

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Speaker 2: Team Supreme with me. We got a Fonte Cool Calculac Evans,

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Speaker 2: a Fonticicelo in the house.

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Speaker 3: We have the mic Master Steve Funk you up. Frasier

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Speaker 3: aka Sugar Steve Hey sugar Steve. That's right, That's that's you.

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Speaker 1: Now, I'll take it.

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Speaker 2: We can't forget a boss man over here. He's a

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Speaker 2: William Knuckles, Samwich Carter AKA, and last but not least,

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Speaker 2: we got the very lovely like Margaret AKA Clyde.

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Speaker 1: Rounding out the team.

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Speaker 2: Are our guest today, I will say, is simply without peer,

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Speaker 2: Ladies and gentlemen, Uh, no words will really ever describe uh,

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Speaker 2: the magic that exhumes from this man's voice anytime he sings.

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Speaker 1: He's Uh.

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Speaker 2: He's basically the six star General of vocalization of his

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Speaker 2: generation of A.

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Speaker 1: Yeah, yeah he is.

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Speaker 2: You know, he's literally inspired and you know he has

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Speaker 2: R and B children all over the map, on and

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Speaker 2: off the books. You name them from Aaron Hall, r Kelly,

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Speaker 2: Wynie Marsh the Boys to men genu Wine uh h town, Yes,

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Speaker 2: just name them literally, Uh, these are his children. He's

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Speaker 2: the one time member of one of the baddest funk

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Speaker 2: bands ever of the seventies and the eighties, the Gap Band.

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Speaker 1: Uh.

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Speaker 2: He's still criminally under praised. Uh, still operating now better

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Speaker 2: than ever. Ladies and gentlemen, please welcome the greatest Charlie

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Speaker 2: Uncle Charlie Wilson.

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Speaker 1: Wow, man, I've.

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Speaker 2: Been waiting for this moment. I don't know if it

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Speaker 2: feels like every episode. Of course, he was gonna start with,

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Speaker 2: I've been waiting for this moment, Yo, not for real,

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Speaker 2: I mean, but thank thank you for coming on the show.

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Speaker 2: I'm going to ask you the one question I'm certain

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Speaker 2: that you've been tired of answering your whole career, which is,

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Speaker 2: how in the world is Tulsa, Oklahoma home to one

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Speaker 2: of the funkiest people of all time.

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Speaker 1: I grew up That's where I was born, in Oklahoma City,

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Speaker 1: and I think, oh, I thought it was Tulsa. It

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Speaker 1: was Oklahoma City, which is eighty miles away. My mom.

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Speaker 1: We were just over visiting my grandmother, her mom, and

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Speaker 1: then I just she just actually just delivered right there

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Speaker 1: in Oklahoma City and we ended up going back to

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Speaker 1: the next day. You just cleaned it off, yeah, man, So,

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Speaker 1: I mean I went to school and Tulsa, Oklahoma from

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Speaker 1: from kindergarten all the way and to high school and

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Speaker 1: then went from there to Linkston. But but Tulsa's where

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Speaker 1: I grew up, and I went to school there, and

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Speaker 1: it's great.

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Speaker 2: How well the history that I know of Oklahoma, especially

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Speaker 2: the history of black people in Oklahoma from the Black

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Speaker 2: Wall Street period to even now, Like Oklahoma is one

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Speaker 2: of the states that I don't necessarily think of black folk.

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Speaker 1: Being in.

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Speaker 2: I mean, maybe I'm ignorant of that fact, but I mean,

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Speaker 2: was there a high black population even despite the clan

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Speaker 2: presence of the Jim Crow area? And was there a

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Speaker 2: high presence of that? Like how did you even manage to?

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Speaker 1: Oh? We had? Was the N word was used quite

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Speaker 1: easily there. I was growing up little boy. You couldn't

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Speaker 1: go in I remember this, running into Woolworths. We pulled

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Speaker 1: up on the side and I just opened up the

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Speaker 1: door because the milksheck stand was like you know, the

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Speaker 1: ice cream stand, which you could see it through the

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Speaker 1: room the door. So I just jumped out and ran

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Speaker 1: before we can get out, and they was like, don't

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Speaker 1: go in that door because we had our own interest.

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Speaker 1: He's supposed to go in the negro entrance. And so

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Speaker 1: my dad pulls up so he didn't. We could just

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Speaker 1: get out so we could go around there, but he couldn't.

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Speaker 1: That's the one way street, so he couldn't turn to

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Speaker 1: the right. So we got out and I just ran

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Speaker 1: through that door, the first door I seen, because the

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Speaker 1: ice cream stand is there, you know. So when I

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Speaker 1: got out, I just ran the door and they were

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Speaker 1: screaming out to me not to go in there, but

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Speaker 1: I just ran and jumped up on the stool that

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Speaker 1: spins around, and I was spinning around, and the white

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Speaker 1: guy had his little white hat, white uniform. And by

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Speaker 1: the time my mom and then got around to the

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Speaker 1: other door and they was coming to new it was

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Speaker 1: gonna be something because I went in the wrong door.

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Speaker 1: So they was running and man, that that man, I

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Speaker 1: think he had his hand back and my mama was screaming,

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Speaker 1: don't you do it. And I remember when I looked back,

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Speaker 1: they was running. She was dropping purse and everything. And

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Speaker 1: my dad said, you'll draw back, nub and so he was.

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Speaker 1: They was. He was getting ready to hit me, call

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Speaker 1: me a little the inward little boy, and oh man,

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Speaker 1: it was terrible. I was frightening the death. That was

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Speaker 1: all I wanted to was, you know, a milkshake. I

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Speaker 1: ain't no difference. And so that was the episode I

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Speaker 1: will never forget.

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Speaker 2: And that environment was was always chose you.

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Speaker 1: That and oh yeah, you had your own interests and

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Speaker 1: and and and you had your own uh you know,

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Speaker 1: water fountains to drink out of the water would barely

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Speaker 1: come out. And the white fountains, the water was like

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Speaker 1: a crispin cleans clean, just like a waterfall. Jump it.

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Speaker 1: So I would just I would. If this one didn't

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Speaker 1: come out of go to that one. My mom would

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Speaker 1: always grab my hand and snatch me away from it.

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Speaker 1: But I didn't get read. I was little. I just

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Speaker 1: was you know, this one didn't work, souse. I went

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Speaker 1: to this one. It was not good, you know, somewhat,

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Speaker 1: but uh. We had some uh, some pretty good friends

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Speaker 1: that lived across the street, which was mister Reynolds, right,

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Speaker 1: and you know the work than the name rentals and

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Speaker 1: so they had the aluminum and all of that stuff

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Speaker 1: that so we would go and play in his yard

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Speaker 1: and it's his factory yard. And and when it was

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Speaker 1: thunderstorms or tornadoes, we would go in. We could go

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Speaker 1: in that basement, the underground. Now, when of course we

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Speaker 1: were empires from Oklahoma.

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Speaker 3: Huh the rentals wrapped the Yes, yeah, they we had

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Speaker 3: a that's weird.

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Speaker 2: So we're now learning that all masters of the Soul

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Speaker 2: Empire had their corporation the last one. When growing up,

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Speaker 2: my dad would be standing in water like three feet

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Speaker 2: but we.

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Speaker 1: Could use it to get away from it. My mom

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Speaker 1: would not leave the house. Go ahead, I'm not going.

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Speaker 1: I'm not going to stand in no water. She was

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Speaker 1: pretty uh, very outspoken, but she wouldn't do it.

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Speaker 2: Were you guys? Was it a musical household?

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Speaker 1: Musical? Yeah? My mom played piano and she taught us

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Speaker 1: all how to play everything. So you actually play, you

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Speaker 1: play panels? Well, yeah, the first thing I learned was that,

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Speaker 1: of course, you know drums in church, so.

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Speaker 2: You're your mean weapon always was piano drums or okay.

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Speaker 2: So as far as like it's it's just you and

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Speaker 2: your three brothers in the household, did you have more.

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Speaker 1: Siblings, have a sister? She was that too. It's four

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Speaker 1: of us, okay all together?

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Speaker 2: So what was the at least the band environment in

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Speaker 2: your high school or your your your school period?

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Speaker 1: What was what was that into man and band we were?

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Speaker 1: You know? Of course, my oldest brother went first. He

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Speaker 1: was through all of the schools first, and it was

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Speaker 1: my sister to follow him through all of the schools.

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Speaker 1: The brother ron Correct Ronnie was there, and then my

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Speaker 1: sister Loretta was second, then I was third, you know,

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Speaker 1: so that already set presence of you know, there was

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Speaker 1: a musical family. So when I got there, it was you, Wilson,

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Speaker 1: you can sing, it's just oh, here's a microphone. And

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Speaker 1: it was just like I just it was just like

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Speaker 1: that ended up being a pet, you know, you know,

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Speaker 1: the class pet, the teacher's favorite or whatever, and let

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Speaker 1: him sing. And you know, so it was like that

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Speaker 1: all the way through school. And but when I got there,

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Speaker 1: you know, I had some friends who were very gifted

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Speaker 1: and talented as well. So we would form our own

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Speaker 1: little group and and man, we was pretty pretty. It

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Speaker 1: was ingenious.

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Speaker 2: Was there was there a black radio presence in Oklahoma

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Speaker 2: at that time? No, So how did you I mean,

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Speaker 2: because your your voice is I mean, you just automatically

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Speaker 2: assumed that you literally came out the womb being raised and.

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Speaker 1: Braised and smothered in soul.

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Speaker 2: But in Oklahoma, how did you receive your education and information?

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Speaker 1: Well, first of all, my mom sang better than me

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Speaker 1: at that time, you know, I was she had chops

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Speaker 1: to wiggle her voice any kind of way. And so

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Speaker 1: when I first heard little Stevie Wan, I thought it

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Speaker 1: was a girl. And I said, hey, Mom, let me

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Speaker 1: say I can beat her. I can beat her. Mom,

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Speaker 1: I swear I can be He said, we'll go us

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Speaker 1: sit down. You ain't be no girl, It ain't bet no.

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Speaker 1: And then I find out it wasn't a girl. Was

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Speaker 1: a little Stevie Wonder. But I was like, I can

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Speaker 1: do that. I can do that. She was like, you're

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Speaker 1: not singing the blues up in here, so you know,

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Speaker 1: so it was it was. We went next door to

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Speaker 1: hear the records of all of Sam Cook, Helberry Fonte,

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Speaker 1: anything that was going on. Because at that time, you know,

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Speaker 1: it was just one chart. There was one radio and

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Speaker 1: James Bryn everybody was if you got on that chart,

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Speaker 1: that means you was a superstar. It was like no

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Speaker 1: black radio. No, it was just one radio and one chart,

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Speaker 1: and all of the big artists was on coming on

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Speaker 1: down that radio station, you know, white auburat.

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Speaker 8: Pop radio station.

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Speaker 1: It was like pop was it?

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Speaker 2: So you're saying that your parents forbid you to sing

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Speaker 2: secular music in my household and couldn't do that. We

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Speaker 2: had to go next door.

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Speaker 1: My dad is a preacher, my mom was the state

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Speaker 1: Minister of music, and it's not you not doing that

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Speaker 1: and then wow, so what could you listen to? What

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Speaker 1: would they we really have any you know, wentn't too

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Speaker 1: much to listen to. I mean we have had a

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Speaker 1: record player. We hear some Heya Jackson, are you hear

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Speaker 1: some Shirley Sees or something? You know, something like that,

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Speaker 1: And of course I'll be next door and listening to

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Speaker 1: what I want to listen to because they were the

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Speaker 1: what they weren't in church over there, so I could

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Speaker 1: go over there and uh and listen to whatever I

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Speaker 1: wanted to them shiny records and and you know, so

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Speaker 1: I had a great time, man, it was. It was

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Speaker 1: good and upgreen with we were brought up really good,

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Speaker 1: and the music scene was, like I say, next door

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Speaker 1: was just great for me because I could hear anything

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Speaker 1: that was on the radio.

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Speaker 2: Okay, So besides, I know Leon Russell is from the area.

247
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Speaker 2: But was there I know that you guys you were

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Speaker 2: his band at one point? Correct, yes, So how did

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Speaker 2: that partnership come about?

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Speaker 1: Well, we were playing this club I think it was

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Speaker 1: about fifty May hold about fifty people, and we was

252
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Speaker 1: playing late nights. We started about eleven twelve o'clock and

253
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Speaker 1: leave out at about five o'clock in the morning. So

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Speaker 1: it was. And they came in the club one night

255
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Speaker 1: and I was like, who's the white boys back there?

256
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Speaker 1: Just cause you know? And they was back back to

257
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Speaker 1: that party and and then nobody seemed to know who

258
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Speaker 1: they were. And then the next weekend they came back

259
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Speaker 1: all hair, all slick and sitting up straight. So they

260
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Speaker 1: wasn't drunk this weekend. So I went to the table

261
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Speaker 1: and said, you want to meet Leon Russell. I was like, yeah,

262
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Speaker 1: where's he at? He's like right of here, and I

263
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Speaker 1: was like, his hair combed it so right right, he's sober.

264
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Speaker 1: So I asked him why was h why you you

265
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Speaker 1: came last week? You guys were pretty drunk. I said, well,

266
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Speaker 1: we was drunk. We just want to make sure we

267
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Speaker 1: heard what we heard last week. I heard it that

268
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Speaker 1: it wasn't a fluke. They wasn't a fluke, that we

269
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Speaker 1: wasn't drunk. So when I said so, what do you think,

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Speaker 1: said we heard exactly what we heard last week. This

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Speaker 1: is great.

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Speaker 2: So were you performing as the gap? And by that

273
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Speaker 2: point okay, so he didn't too much like that name. No,

274
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Speaker 2: he was trying to make us change it.

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Speaker 1: What year was that? I was in the early seventies

276
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Speaker 1: some time, I think seventy one seventy two. So where then.

277
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Speaker 2: Okay, so this is like right when a song for

278
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Speaker 2: you was just starting to Yeah, it's somewhere now. But

279
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Speaker 2: so we was starting to make a name from so.

280
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Speaker 1: We were and he just sort of like, we said,

281
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Speaker 1: you want to go to the studio. So we went

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Speaker 1: to the studio and and checked him out. We played

283
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Speaker 1: a little bit. It was you know, quite late. We

284
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Speaker 1: was just you know, recorded to about ten and eleven

285
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Speaker 1: something like that, and when finally went home, went to sleep,

286
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Speaker 1: but and uh he had a show coming up, and

287
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Speaker 1: the invited us to the show. And I went to

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Speaker 1: see his show, and and uh he after the show,

289
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Speaker 1: he said, what did you think? I said, Man, your

290
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Speaker 1: band weak, my band to kick your band?

291
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Speaker 2: Yeah, so.

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Speaker 1: Uh he said really I was like yeah. So he says, okay,

293
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Speaker 1: he went to the studio and he says, well, following

294
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Speaker 1: over the studio, he gave us about I don't know,

295
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Speaker 1: five or six albums here we'll learned these albums. Learned this,

296
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Speaker 1: I said, what songs? Every one of them on all

297
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Speaker 1: of the albums. But see Py previously had told us,

298
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Speaker 1: which was what was the greatest things is the beginnings.

299
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Speaker 1: It's the beginnings and the endings of songs. What people remember,

300
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Speaker 1: They won't know what's in the middle of whatever if

301
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Speaker 1: you can get them in the front, and you got them.

302
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Speaker 1: So what we did is we just learned all of

303
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Speaker 1: the intros of all of the songs.

304
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Speaker 2: You know what I'm saying. We just stopped playing to

305
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Speaker 2: him where we went.

306
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Speaker 1: You know, he was fast enough to follow him, and

307
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Speaker 1: so he started off on one and then he went

308
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Speaker 1: to a whole different album and we just like and

309
00:16:28,840 --> 00:16:31,480
Speaker 1: had the keys that so and so when he when

310
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Speaker 1: he started playing the different keys, we just followed, looked

311
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Speaker 1: and followed the intros. And then then he just stopped

312
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Speaker 1: and looked at the site. You gotta be kidding me.

313
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Speaker 1: It's like, man, what else you want to do is nothing?

314
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Speaker 1: I'm good, he said, So let me. Can I ask

315
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Speaker 1: you a question? I said, yeah? He said, can I

316
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Speaker 1: put a drummer with your band? And can I put

317
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Speaker 1: another guitar with your band? I said, let's go, And

318
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Speaker 1: so he fired his other band and then we was

319
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Speaker 1: there and uh, just killing killing really and you on

320
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Speaker 1: keys for that I was on keys and I was

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Speaker 1: up dancing which he didn't like a lot. I was

322
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Speaker 1: about that was dangerous. I was young, twenty one, fast

323
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Speaker 1: feet and and and and jumping on his piano. I

324
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Speaker 1: would break all his his head help and steal the

325
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Speaker 1: the microphones and I would jump up on this piano

326
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Speaker 1: and jump down doing the split and all kinds of

327
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Speaker 1: crazy stuff. And he started taking the songs away from me.

328
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Speaker 1: And because I was stealing this show.

329
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Speaker 2: That's similar to uh, Jimmy Hendrick steal in the spot,

330
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Speaker 2: like from Little Richard broh YEA yeah, yeah yeah Little

331
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Speaker 2: Richards still gotta go, bro, I can't have that yeah steal.

332
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Speaker 1: So how long was it until?

333
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Speaker 2: Did you guys stay with him until you recorded your

334
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Speaker 2: debut record in seventy seven, the one before when you

335
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Speaker 2: went to uh.

336
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Speaker 1: No, we was we was him. We did. We did

337
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Speaker 1: one album on Gap and we did which sold about

338
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Speaker 1: maybe sixteen records in the neighborhood. And then we then

339
00:17:51,320 --> 00:17:56,320
Speaker 1: we did I stopped all that jazz album with him,

340
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Speaker 1: and and then and he wanted to He wanted me

341
00:18:02,040 --> 00:18:05,280
Speaker 1: to to They wanted me to leave the band and

342
00:18:05,560 --> 00:18:09,640
Speaker 1: uh and so they was and Elton John was coming

343
00:18:09,680 --> 00:18:13,920
Speaker 1: out and they wanted me to to to to take

344
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Speaker 1: go after him and I was like, because my brother's coming.

345
00:18:16,960 --> 00:18:19,879
Speaker 1: They was like, I just want you and I was like, no,

346
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Speaker 1: that's okay.

347
00:18:22,000 --> 00:18:23,800
Speaker 3: So even then, did you guys like have a pack

348
00:18:23,920 --> 00:18:25,960
Speaker 3: like we're going to be a man and were did? I?

349
00:18:26,440 --> 00:18:29,080
Speaker 3: I was the pack leader with that vibe. I don't

350
00:18:29,119 --> 00:18:31,000
Speaker 3: know what everybody else's motivation.

351
00:18:30,840 --> 00:18:33,679
Speaker 1: Was, motives were for me, I was like, let's stay together.

352
00:18:34,320 --> 00:18:36,200
Speaker 1: And I was the only one that thought out that

353
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Speaker 1: was me. And I'm the one saying less you see

354
00:18:39,680 --> 00:18:41,600
Speaker 1: what I'm saying and uh, And I don't think they

355
00:18:41,800 --> 00:18:45,080
Speaker 1: really really didn't get that for so many years time out. Yes,

356
00:18:45,200 --> 00:18:48,800
Speaker 1: you guys played on stop all that jazz. Yes, if

357
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Speaker 1: you look at the end. Wait a minute, I have

358
00:19:01,040 --> 00:19:03,680
Speaker 1: that record, I think now I look again, I'm the

359
00:19:03,760 --> 00:19:05,199
Speaker 1: one that the little skinny one over him.

360
00:19:05,240 --> 00:19:06,439
Speaker 2: That's me closer to him.

361
00:19:07,119 --> 00:19:08,359
Speaker 1: Wait, I'm about to tell Steve.

362
00:19:08,680 --> 00:19:10,359
Speaker 2: You wouldn't know it, Steve, because there's a bunch of

363
00:19:10,400 --> 00:19:13,440
Speaker 2: Africans on the front cover, or I did not know

364
00:19:13,560 --> 00:19:14,879
Speaker 2: that was that's all of us.

365
00:19:15,000 --> 00:19:16,879
Speaker 1: My brother's in the band, that we all all of

366
00:19:17,000 --> 00:19:19,840
Speaker 1: us and the white girl and other ladies that that

367
00:19:20,000 --> 00:19:22,040
Speaker 1: was the background singers, all of it was all of us.

368
00:19:22,200 --> 00:19:24,040
Speaker 1: Now I gotta go to Philly to find that record.

369
00:19:24,119 --> 00:19:25,320
Speaker 1: It's I have it.

370
00:19:25,720 --> 00:19:28,960
Speaker 9: When when Leon Russell passed recently, I went out pretty

371
00:19:29,000 --> 00:19:31,680
Speaker 9: much part the entire catalog on vinyl, and uh, that

372
00:19:31,840 --> 00:19:35,160
Speaker 9: record stood out and not not because of the Africans

373
00:19:35,240 --> 00:19:39,800
Speaker 9: on the the music tell the truth the music.

374
00:19:39,720 --> 00:19:42,560
Speaker 3: That that's that's a superb. Yeah, it's a great record.

375
00:19:42,680 --> 00:19:47,040
Speaker 3: Yeah yeah, wow. Okay, I did not know now which

376
00:19:47,080 --> 00:19:48,400
Speaker 3: one of you I think.

377
00:19:49,119 --> 00:19:51,560
Speaker 1: I think I'm the ones right behind him, the most

378
00:19:51,600 --> 00:19:53,080
Speaker 1: skinny ones right closer to him.

379
00:19:56,840 --> 00:19:59,040
Speaker 2: I was young, quite I think that's me.

380
00:19:59,240 --> 00:19:59,720
Speaker 1: I think that's me.

381
00:19:59,840 --> 00:20:09,399
Speaker 2: Right, Oh, look at the baby. Okay, all right, So

382
00:20:09,960 --> 00:20:13,040
Speaker 2: I could assume that all this activity happened inside of Oklahoma.

383
00:20:13,200 --> 00:20:18,399
Speaker 2: Mm hm, So where does the association with Lonnie Simmons

384
00:20:18,480 --> 00:20:22,840
Speaker 2: come into play? Am I to assume? Form storry to

385
00:20:22,920 --> 00:20:26,320
Speaker 2: hang on the most obvious question? I know the answer,

386
00:20:26,920 --> 00:20:32,280
Speaker 2: but uh, Gap, of course is the abbreviation for Greenwood, Archer,

387
00:20:32,320 --> 00:20:36,800
Speaker 2: and Pine. Yes, why were those particular three streets chosen

388
00:20:37,160 --> 00:20:39,679
Speaker 2: as the name of the band that.

389
00:20:39,760 --> 00:20:41,680
Speaker 1: Was black Wall Street? And all of the black owned

390
00:20:41,720 --> 00:20:47,080
Speaker 1: businesses or were very rich black people entrepreneurs, bankers, hotel, owners.

391
00:20:47,600 --> 00:20:50,920
Speaker 1: Everything was just black owned and very very rich. And

392
00:20:52,080 --> 00:20:54,879
Speaker 1: they had their own bus lines, they owned caf service,

393
00:20:54,880 --> 00:20:59,800
Speaker 1: they had their own everything. And on Greenwood Archer was

394
00:21:00,119 --> 00:21:02,000
Speaker 1: in this way, Pine was running this way, which made

395
00:21:02,000 --> 00:21:04,359
Speaker 1: an h so we was called a greenwod Arch and

396
00:21:04,400 --> 00:21:08,119
Speaker 1: Pine Street everything and it was just super barber. Anything

397
00:21:08,160 --> 00:21:12,399
Speaker 1: you can any business today was there in that particular area.

398
00:21:12,960 --> 00:21:16,320
Speaker 1: And they didn't need anybody or anything. They ran their

399
00:21:16,359 --> 00:21:19,680
Speaker 1: own thing and just just or Tulsa just didn't like

400
00:21:19,760 --> 00:21:22,520
Speaker 1: that to have these black all these black rich people

401
00:21:22,960 --> 00:21:26,879
Speaker 1: and didn't didn't use any other system, didn't use their system.

402
00:21:26,880 --> 00:21:28,399
Speaker 1: They had their own system. So they burn them out.

403
00:21:28,960 --> 00:21:33,359
Speaker 2: So after that initial burning, was there ever an attempt

404
00:21:33,440 --> 00:21:36,360
Speaker 2: to resurge it throughout time in history. I think I've

405
00:21:36,400 --> 00:21:40,160
Speaker 2: only been to Oklahoma maybe once or twice. They tried

406
00:21:40,200 --> 00:21:41,760
Speaker 2: to rebuild and they burned them again.

407
00:21:42,000 --> 00:21:44,800
Speaker 1: Whoa damn. Yes, when did the rebuild. It was in

408
00:21:45,200 --> 00:21:47,600
Speaker 1: the twenties. After they burned it the ash, they tried

409
00:21:47,600 --> 00:21:50,240
Speaker 1: to rebuild again a few years later and just burn

410
00:21:50,320 --> 00:21:52,720
Speaker 1: them out again. As simple as that. It's like, no,

411
00:21:52,920 --> 00:21:57,760
Speaker 1: you it was it was too. It was too they

412
00:21:57,760 --> 00:21:59,560
Speaker 1: didn't need the outside world. It's like they didn't need

413
00:21:59,600 --> 00:22:02,600
Speaker 1: the outside Tulsa for anything. They had their own community,

414
00:22:02,760 --> 00:22:06,840
Speaker 1: own everything, and so that was like the help was

415
00:22:06,920 --> 00:22:10,120
Speaker 1: being taken from the white world, is what I'm trying

416
00:22:10,119 --> 00:22:13,240
Speaker 1: to say. But I you know, cutting myself up. Yeah.

417
00:22:13,359 --> 00:22:16,680
Speaker 1: So they they had their own system. The cabs went everywhere,

418
00:22:16,800 --> 00:22:21,920
Speaker 1: their buses went everywhere, you know, all of the grocery

419
00:22:21,920 --> 00:22:24,640
Speaker 1: stores and banks. Everything they had didn't have to bank

420
00:22:24,720 --> 00:22:26,280
Speaker 1: with Nope, they use their own banks.

421
00:22:26,440 --> 00:22:28,440
Speaker 2: Can I assume that your parents and your grandparents and

422
00:22:29,560 --> 00:22:32,360
Speaker 2: before then were they all in Oklahoma at the time.

423
00:22:32,480 --> 00:22:38,000
Speaker 1: Grandmother my mother was a very very very very little child.

424
00:22:38,119 --> 00:22:39,960
Speaker 1: She was born in twenty three stores around that time.

425
00:22:40,080 --> 00:22:46,160
Speaker 1: So my grandmother knew about it really well and told everybody,

426
00:22:46,320 --> 00:22:49,359
Speaker 1: but she they weren't allowed really to talk about it.

427
00:22:49,680 --> 00:22:53,280
Speaker 1: It was like a hush hush really oh yeah, because

428
00:22:53,400 --> 00:22:56,880
Speaker 1: you know, that was too much information because the way

429
00:22:56,880 --> 00:23:00,879
Speaker 1: they the way they burned everybody out, and it just

430
00:23:01,040 --> 00:23:03,920
Speaker 1: wasn't you're not supposed to talk about it. Wow, Yeah,

431
00:23:04,160 --> 00:23:06,720
Speaker 1: you could end up somewhere cut up in a sack

432
00:23:06,880 --> 00:23:09,439
Speaker 1: or somewhere missing because there was so many people missing

433
00:23:10,080 --> 00:23:13,399
Speaker 1: and they never found those people that could see and

434
00:23:13,600 --> 00:23:16,800
Speaker 1: actually say, you know, what was really going on because

435
00:23:16,840 --> 00:23:20,200
Speaker 1: there was police coming to houses and you know, and

436
00:23:20,960 --> 00:23:24,440
Speaker 1: and just get doing away with them families because getting

437
00:23:24,480 --> 00:23:26,440
Speaker 1: away with it. Yeah, they're getting away with it. So

438
00:23:27,080 --> 00:23:27,760
Speaker 1: it was pretty bad.

439
00:23:29,200 --> 00:23:35,960
Speaker 2: Well, I knew that Singleton's uh Rosewood was semi based

440
00:23:36,000 --> 00:23:40,440
Speaker 2: on it. I mean it's not, but he said that

441
00:23:40,600 --> 00:23:44,080
Speaker 2: he borrowed, you know, bits of history from uh the

442
00:23:44,160 --> 00:23:49,159
Speaker 2: blood from from the Black Wall Street experience. So, uh,

443
00:23:50,000 --> 00:23:53,760
Speaker 2: how does Lonnie Simmons come into the picture and you

444
00:23:53,880 --> 00:23:58,359
Speaker 2: guys move into la It was years later. We actually

445
00:23:59,160 --> 00:24:03,480
Speaker 2: kind of was so heartbroken that we were trying to

446
00:24:03,480 --> 00:24:05,320
Speaker 2: figure out what we're gonna do because I mean, you know,

447
00:24:05,880 --> 00:24:06,439
Speaker 2: we've been on.

448
00:24:06,560 --> 00:24:08,440
Speaker 1: Tour with the guy. We was the band, we cut

449
00:24:08,520 --> 00:24:10,800
Speaker 1: the records, and we just thought everything was gonna blossom

450
00:24:10,840 --> 00:24:14,160
Speaker 1: from that platform and it just didn't work out that way.

451
00:24:14,880 --> 00:24:17,639
Speaker 1: And man, I was just so hot, so heartbroken, and

452
00:24:19,160 --> 00:24:21,520
Speaker 1: the band was kind of like just nervous. I said, Okay,

453
00:24:21,920 --> 00:24:24,200
Speaker 1: we went to California. We came out to Los Angeles

454
00:24:24,320 --> 00:24:27,960
Speaker 1: and we was bumping around in there for a year

455
00:24:28,280 --> 00:24:31,600
Speaker 1: just trying to figure out what. We ended up on

456
00:24:31,680 --> 00:24:34,760
Speaker 1: Tattoo Records, which was a subsidiary of R. C A

457
00:24:34,920 --> 00:24:41,720
Speaker 1: at that time. We tried m C A our over

458
00:24:41,760 --> 00:24:44,320
Speaker 1: there with Quincy Jones at the A and M Yeah,

459
00:24:44,400 --> 00:24:49,240
Speaker 1: which was we did a single a deal and I

460
00:24:49,320 --> 00:24:52,000
Speaker 1: was trying to get with him, but of course he

461
00:24:52,119 --> 00:24:55,639
Speaker 1: had you know, he had brother Johnson and all that stuff.

462
00:24:55,640 --> 00:24:57,800
Speaker 1: Your hands was full, so we ended up we ended

463
00:24:57,840 --> 00:25:02,320
Speaker 1: up with Tattoo Records, and it's just okay did okay

464
00:25:02,600 --> 00:25:03,680
Speaker 1: was not that that much.

465
00:25:03,800 --> 00:25:06,400
Speaker 2: So Tattoo Records was real label because I remember when

466
00:25:06,920 --> 00:25:12,719
Speaker 2: Shaka Khan first signed her deal with Warner Brothers, at

467
00:25:12,800 --> 00:25:15,159
Speaker 2: least for the first two records, Tattoo Records was on it.

468
00:25:15,400 --> 00:25:21,919
Speaker 2: So who ran Tattoo I can't remember, but they had

469
00:25:21,960 --> 00:25:24,840
Speaker 2: a deal through Warner or yeah, I think so, or

470
00:25:24,960 --> 00:25:28,400
Speaker 2: just whatever label would was playing. Yeah, okay, I see,

471
00:25:29,920 --> 00:25:31,800
Speaker 2: it's actually weird. It's like confession time.

472
00:25:32,119 --> 00:25:34,080
Speaker 1: So even though.

473
00:25:36,160 --> 00:25:39,199
Speaker 2: At least by the second album with the Oops up

474
00:25:39,640 --> 00:25:44,520
Speaker 2: being a national single, when I first heard of you,

475
00:25:45,600 --> 00:25:51,400
Speaker 2: I thought you were a chef because there's a feature

476
00:25:51,680 --> 00:25:55,600
Speaker 2: one of your first features and Ride On magazine wasn't

477
00:25:57,000 --> 00:26:06,480
Speaker 2: yes trying to cook eggs? Yo? So like this is

478
00:26:06,520 --> 00:26:09,720
Speaker 2: the thing in I mean now, I mean, you know,

479
00:26:09,840 --> 00:26:13,800
Speaker 2: millennials are very fortunate now to get you know, a

480
00:26:14,240 --> 00:26:17,720
Speaker 2: plethora of information on their favorites via the Internet. But

481
00:26:18,440 --> 00:26:21,400
Speaker 2: you know, in nineteen seventy nine, nineteen eighty, you really

482
00:26:21,480 --> 00:26:23,560
Speaker 2: truly had three outlets if you're going to make it

483
00:26:23,680 --> 00:26:28,160
Speaker 2: as a black person, Git Jet, Ebony and Ride magazine.

484
00:26:28,680 --> 00:26:30,919
Speaker 2: I mean occasionally black stars they had a.

485
00:26:31,040 --> 00:26:32,760
Speaker 1: What CPIA black beat.

486
00:26:36,160 --> 00:26:41,040
Speaker 2: Was okay, but yeah, in right On magazine they did

487
00:26:41,200 --> 00:26:46,000
Speaker 2: this this layout of of Charlie Wilson in the kitchen,

488
00:26:46,280 --> 00:26:50,560
Speaker 2: like but like a very extensive, like twenty photo of

489
00:26:51,040 --> 00:26:52,960
Speaker 2: you know, first, I take the cinnamon and.

490
00:26:54,880 --> 00:26:56,680
Speaker 1: Yo, he made breakfast.

491
00:26:57,160 --> 00:26:57,280
Speaker 2: Yo.

492
00:26:57,880 --> 00:27:01,800
Speaker 8: I told my mom like yo, this and like wait,

493
00:27:02,000 --> 00:27:03,320
Speaker 8: we had what was for breakfast?

494
00:27:03,800 --> 00:27:06,680
Speaker 2: I mean he made a traditional breakfast. I forgot now,

495
00:27:06,920 --> 00:27:09,680
Speaker 2: But like I was doing the cinnamon and my friends

496
00:27:09,680 --> 00:27:12,960
Speaker 2: still like tell you what, Like in my head, I

497
00:27:13,160 --> 00:27:17,359
Speaker 2: wasn't connecting the oops up side your head guy with

498
00:27:17,880 --> 00:27:19,080
Speaker 2: this is Wilson.

499
00:27:19,400 --> 00:27:20,520
Speaker 1: I mean he got a clean feather.

500
00:27:20,760 --> 00:27:25,879
Speaker 2: He looked like Philip Ingram from Switch, Like he's feathered out, smooth,

501
00:27:26,240 --> 00:27:27,040
Speaker 2: smooth go tea.

502
00:27:27,160 --> 00:27:29,760
Speaker 1: I thought he was a chef. So you know, like

503
00:27:32,080 --> 00:27:35,200
Speaker 1: do you remember I remember the shooting, I remember burning

504
00:27:35,240 --> 00:27:38,720
Speaker 1: my hand. I was in the pancakes and my hand

505
00:27:38,800 --> 00:27:41,200
Speaker 1: was too close to and I remember going up and

506
00:27:41,280 --> 00:27:43,520
Speaker 1: I was and they caught the picture with my mouth

507
00:27:43,760 --> 00:27:45,000
Speaker 1: because I was turned.

508
00:27:47,520 --> 00:27:50,200
Speaker 2: I did that. Yeah, I gotta give myself a reggae sorry,

509
00:27:52,520 --> 00:27:53,280
Speaker 2: real show.

510
00:27:53,640 --> 00:27:55,920
Speaker 1: Really, I burnt my hand and I did that.

511
00:27:56,840 --> 00:27:59,320
Speaker 3: See and yeah, you've probably been like, ain't nobody gonna

512
00:27:59,320 --> 00:28:01,080
Speaker 3: read this? Why can I just talk about my new

513
00:28:01,119 --> 00:28:11,719
Speaker 3: single see Cynthia Hornet's Yeah. So well, I was gonna say, uh,

514
00:28:14,640 --> 00:28:15,240
Speaker 3: what was?

515
00:28:15,400 --> 00:28:19,200
Speaker 2: Because I know that in Los Angeles that time period,

516
00:28:19,880 --> 00:28:25,159
Speaker 2: I mean, you can either roll with Clarence Avont or uh,

517
00:28:25,640 --> 00:28:26,520
Speaker 2: Dick Griffy, Right.

518
00:28:28,440 --> 00:28:30,399
Speaker 1: You know, I don't know what Barry Gordy's vibe was.

519
00:28:30,440 --> 00:28:32,639
Speaker 2: I mean I know that his sister Iris Gorya was

520
00:28:32,760 --> 00:28:35,640
Speaker 2: sort of taking over the the reins of Finding Acts

521
00:28:35,680 --> 00:28:40,120
Speaker 2: at Motown between like seventy five and eighty five and

522
00:28:40,320 --> 00:28:46,200
Speaker 2: with Lonnie Simmons, So at least, what what was the

523
00:28:46,560 --> 00:28:49,120
Speaker 2: initial like, how did you guys hook.

524
00:28:49,000 --> 00:28:51,760
Speaker 1: Up with him? And it was me I hooked up

525
00:28:51,800 --> 00:28:55,760
Speaker 1: with him, and I said everybody the band just kind

526
00:28:55,760 --> 00:28:58,920
Speaker 1: of fell apart and they was everybody after nothing worked?

527
00:28:59,200 --> 00:29:01,760
Speaker 1: You know, the Tattoo record, that thing didn't work, and

528
00:29:01,880 --> 00:29:04,960
Speaker 1: so everybody was like, Okay, we was in Los Angeles

529
00:29:05,000 --> 00:29:07,720
Speaker 1: a whole year, and you know, those guys took a

530
00:29:07,800 --> 00:29:10,080
Speaker 1: leave of absence and I didn't know what a leave

531
00:29:10,120 --> 00:29:14,600
Speaker 1: of absence was. I quit my job. I quit my job,

532
00:29:14,760 --> 00:29:18,320
Speaker 1: and so did my oldest brother. He quit his job

533
00:29:18,400 --> 00:29:21,800
Speaker 1: because we was basically trying to do this thing for real,

534
00:29:21,880 --> 00:29:22,680
Speaker 1: and everybody just.

535
00:29:22,800 --> 00:29:24,320
Speaker 2: You know, how do you Yeah, I was gonna say,

536
00:29:24,360 --> 00:29:25,240
Speaker 2: how do you survive?

537
00:29:26,240 --> 00:29:30,640
Speaker 1: It's it's a do die. It's it's like, you know, man,

538
00:29:30,720 --> 00:29:36,240
Speaker 1: it's we I had cereal and water and uh, you know,

539
00:29:36,480 --> 00:29:41,560
Speaker 1: whatever breakfast would be. And we stayed fifteen in a

540
00:29:41,680 --> 00:29:44,760
Speaker 1: one two bedroom apartment with a lady who already had

541
00:29:44,840 --> 00:29:50,040
Speaker 1: four kids. And we were all on the floor. Yeah,

542
00:29:50,080 --> 00:29:52,680
Speaker 1: we was all on the one bathroom. We was all

543
00:29:52,760 --> 00:29:54,680
Speaker 1: on the floor. We was in the jungle there. And

544
00:29:54,760 --> 00:29:57,120
Speaker 1: it's like she must have believed in Harrison. Yeah, she

545
00:29:58,320 --> 00:30:00,440
Speaker 1: was a connection. I went to school with her two

546
00:30:00,480 --> 00:30:04,640
Speaker 1: of her kids, and we were very close and uh,

547
00:30:04,760 --> 00:30:06,840
Speaker 1: and that was the connection we had in Los anges

548
00:30:06,840 --> 00:30:09,680
Speaker 1: because they moved from Tulsa to Los Angeles. So when

549
00:30:09,680 --> 00:30:11,720
Speaker 1: we was coming out, we told him we were coming

550
00:30:11,760 --> 00:30:13,880
Speaker 1: and she said you come stay here. It was just

551
00:30:13,920 --> 00:30:15,280
Speaker 1: too many of us. And now I think she got

552
00:30:15,320 --> 00:30:17,400
Speaker 1: almost got kicked out her apartment because we was there.

553
00:30:18,760 --> 00:30:21,320
Speaker 1: We all rehearsing in that apartment. Man. We played down

554
00:30:21,440 --> 00:30:24,360
Speaker 1: by the food and blew out the circuit system trying

555
00:30:24,400 --> 00:30:25,640
Speaker 1: to get a man who owned the building.

556
00:30:25,720 --> 00:30:29,640
Speaker 2: That birthday party. He come back to.

557
00:30:30,560 --> 00:30:36,240
Speaker 1: Jacket boom, he was like, get out, you don't get out.

558
00:30:37,400 --> 00:30:39,360
Speaker 2: He was already mad at the woman. So that one

559
00:30:39,440 --> 00:30:39,920
Speaker 2: just blew it.

560
00:30:40,640 --> 00:30:41,160
Speaker 1: Get out.

561
00:30:42,320 --> 00:30:46,400
Speaker 2: Wow. So that that initial band, h, I guess you

562
00:30:46,480 --> 00:30:49,080
Speaker 2: got to get your first soul training appearance in seventy nine.

563
00:30:49,640 --> 00:30:52,760
Speaker 2: That initial band migrated from Tulsa.

564
00:30:52,920 --> 00:30:55,600
Speaker 1: To know that the band didn't make it. That meant

565
00:30:55,680 --> 00:30:57,800
Speaker 1: that our that band did never make it to no

566
00:30:57,920 --> 00:31:00,160
Speaker 1: TV shows, no other records, so none of that. So,

567
00:31:00,840 --> 00:31:05,760
Speaker 1: like I said, I met Lannie and and his club

568
00:31:06,760 --> 00:31:09,480
Speaker 1: and uh because d J Rogers was there doing those

569
00:31:09,560 --> 00:31:14,520
Speaker 1: times and and and of course DJ used to pull

570
00:31:14,640 --> 00:31:17,880
Speaker 1: me on stage and and let me sing and and

571
00:31:18,440 --> 00:31:21,320
Speaker 1: like that. Yeah, the crowd club before it was was

572
00:31:21,360 --> 00:31:23,160
Speaker 1: at the Total Experience Club and where a lot of

573
00:31:23,680 --> 00:31:26,840
Speaker 1: Chaka Khan dramatics everybody used to play the Total Experience

574
00:31:26,960 --> 00:31:32,520
Speaker 1: nightclub everybody that was anybody played his club.

575
00:31:33,640 --> 00:31:36,400
Speaker 3: Yeah, I was gonna say because I think even priors,

576
00:31:36,520 --> 00:31:40,120
Speaker 3: uh that Niggas Crazy album was was was.

577
00:31:41,800 --> 00:31:46,040
Speaker 1: Yeah, it was. It was taped. There was a nightclub too. Yeah,

578
00:31:46,080 --> 00:31:47,720
Speaker 1: it was his had a night his nightclub. That's the

579
00:31:47,720 --> 00:31:51,120
Speaker 1: way he was. He was known for that and mm hm.

580
00:31:51,840 --> 00:31:53,920
Speaker 1: Him and Dick Griffy were cool. You know. I also

581
00:31:54,040 --> 00:31:57,960
Speaker 1: played that they were cool.

582
00:31:58,040 --> 00:32:01,600
Speaker 2: But if you said him and take her for cool,

583
00:32:01,640 --> 00:32:02,000
Speaker 2: then that.

584
00:32:05,200 --> 00:32:06,840
Speaker 1: It was like it was.

585
00:32:07,080 --> 00:32:08,440
Speaker 2: It wasn't cool to that part.

586
00:32:08,520 --> 00:32:10,200
Speaker 3: I mean, was he a nurturing guy or was he

587
00:32:10,920 --> 00:32:17,600
Speaker 3: shug Knightish Lonnie Lonnie Lonnie was Uh, it was I

588
00:32:17,960 --> 00:32:20,480
Speaker 3: want to say in the category maybe of a shure.

589
00:32:20,520 --> 00:32:22,000
Speaker 1: The night he was could have been the first one.

590
00:32:22,080 --> 00:32:25,840
Speaker 1: But he was very a smooth one. He didn't get

591
00:32:25,920 --> 00:32:29,120
Speaker 1: if you got it upset, he wouldn't come get you

592
00:32:29,200 --> 00:32:31,760
Speaker 1: though he raised his voice. He just took action. Whether

593
00:32:31,920 --> 00:32:34,560
Speaker 1: the guys around him would because you know, it was

594
00:32:34,680 --> 00:32:37,080
Speaker 1: like and it would just be like that. But uh,

595
00:32:37,200 --> 00:32:39,520
Speaker 1: we that's how we started. It was from me and him.

596
00:32:39,600 --> 00:32:43,760
Speaker 1: It was our relationship that we did this whole thing about.

597
00:32:44,520 --> 00:32:46,200
Speaker 1: He would give me a contract or not keep it

598
00:32:46,240 --> 00:32:47,480
Speaker 1: a week and I give it back to him and

599
00:32:47,520 --> 00:32:50,040
Speaker 1: he keep it. He opened it and would be signed.

600
00:32:50,400 --> 00:32:52,560
Speaker 1: I don't know what that's saying. We did that for

601
00:32:52,640 --> 00:32:57,160
Speaker 1: a month two months, and but he was like, man,

602
00:32:57,200 --> 00:32:59,800
Speaker 1: whence you come? Because he heard me saying right and

603
00:32:59,880 --> 00:33:04,360
Speaker 1: it was like dude, that voice right there. And I

604
00:33:04,440 --> 00:33:06,520
Speaker 1: won't say what he said about the other artist that

605
00:33:06,640 --> 00:33:08,920
Speaker 1: was that, but he was like, dude, me and you

606
00:33:09,520 --> 00:33:12,320
Speaker 1: that we could make this happen. And I was just like, okay,

607
00:33:12,400 --> 00:33:13,960
Speaker 1: whatever I said. I just got to get my brothers

608
00:33:14,000 --> 00:33:18,320
Speaker 1: out here and so and he was like how many.

609
00:33:18,400 --> 00:33:21,880
Speaker 1: I was like it's two. So he says, okay, go

610
00:33:22,000 --> 00:33:25,200
Speaker 1: get them. So at the time, worre uh?

611
00:33:25,720 --> 00:33:29,880
Speaker 2: I guess like Robert Goody Woodfield and Yarborough people's were they.

612
00:33:31,320 --> 00:33:33,680
Speaker 1: Becoming part of the family. Oh you have them too.

613
00:33:34,160 --> 00:33:37,440
Speaker 1: I brought them. I found found everybody that was on

614
00:33:37,560 --> 00:33:40,640
Speaker 1: that label. I did. Wow, it was me who got

615
00:33:40,680 --> 00:33:44,840
Speaker 1: brought everybody. He brought nobody. It was me brought everybody.

616
00:33:45,760 --> 00:33:47,240
Speaker 8: That what you get for that?

617
00:33:47,600 --> 00:33:56,560
Speaker 1: I was experienced, That's all you got. It was indeed

618
00:33:56,680 --> 00:33:59,120
Speaker 1: a total experience. That's what that was. But they went

619
00:33:59,120 --> 00:34:00,840
Speaker 1: in Texas and I I was on the road and

620
00:34:00,920 --> 00:34:03,320
Speaker 1: I went to this club and I seen y'all brow

621
00:34:03,360 --> 00:34:07,600
Speaker 1: on people's and up and I a friend of mine

622
00:34:07,640 --> 00:34:10,880
Speaker 1: that was was connected on the total experience side and

623
00:34:10,920 --> 00:34:13,880
Speaker 1: name was Rudy Taylor at that time, Rudy Taylor. And

624
00:34:14,000 --> 00:34:15,799
Speaker 1: I asked Rudy to get on the phone and called

625
00:34:15,840 --> 00:34:18,440
Speaker 1: line right away, and he called him. I said, I

626
00:34:18,520 --> 00:34:20,960
Speaker 1: got a group just just incredible, and I think we

627
00:34:20,960 --> 00:34:23,799
Speaker 1: should sign him like tomorrow, and he was like, well,

628
00:34:24,080 --> 00:34:26,320
Speaker 1: I said, I gotta go. You do it or not,

629
00:34:26,920 --> 00:34:29,319
Speaker 1: but they gonna end up with somebody else. And then

630
00:34:29,880 --> 00:34:32,239
Speaker 1: and he asked Rudy, Rudy how good He said, man,

631
00:34:32,440 --> 00:34:34,279
Speaker 1: you know, if Childie's Ears is good, and I'm telling

632
00:34:34,280 --> 00:34:36,040
Speaker 1: you they're good and they sing and live at the

633
00:34:36,120 --> 00:34:37,960
Speaker 1: night club. So he put me back on the phone.

634
00:34:38,239 --> 00:34:40,959
Speaker 1: He said, okay, man, you know, I was just tired

635
00:34:40,960 --> 00:34:44,359
Speaker 1: of just waking up. So if they're good, I signed them.

636
00:34:44,400 --> 00:34:45,759
Speaker 1: I said, okay, you need to sign them. And then

637
00:34:46,080 --> 00:34:48,840
Speaker 1: Goodie came right after it, you know, so it was

638
00:34:48,880 --> 00:34:50,960
Speaker 1: all friends and so I just put them all in there.

639
00:34:51,080 --> 00:34:54,359
Speaker 2: So you know what I mean is that at one

640
00:34:54,440 --> 00:34:58,920
Speaker 2: point in time, if you had good ears and something

641
00:34:59,120 --> 00:35:04,040
Speaker 2: sounded good, it was worthy of getting signed, Like, not

642
00:35:04,160 --> 00:35:05,839
Speaker 2: once did he say, well, you know, does the girl

643
00:35:05,880 --> 00:35:07,000
Speaker 2: look good like what she looked like?

644
00:35:07,200 --> 00:35:08,759
Speaker 1: Our market? No signed him.

645
00:35:10,200 --> 00:35:13,760
Speaker 2: Have you had someone that he passed on that eventually.

646
00:35:13,640 --> 00:35:16,520
Speaker 1: Made it or he didn't have anybody? No know what

647
00:35:16,560 --> 00:35:18,959
Speaker 1: I'm saying. Was there somebody that, oh that he didn't

648
00:35:19,040 --> 00:35:21,400
Speaker 1: try to bring to the fold that he didn't want? Yeah? No,

649
00:35:21,560 --> 00:35:24,480
Speaker 1: there was nobody that I brought that he didn't want.

650
00:35:24,560 --> 00:35:27,080
Speaker 1: I mean, he just It's like I had a guy

651
00:35:27,160 --> 00:35:32,480
Speaker 1: named Dorian Williams who who the actor? No, okay, yeah,

652
00:35:33,320 --> 00:35:35,640
Speaker 1: his name is Paul Williams actually, but we called him

653
00:35:35,680 --> 00:35:39,520
Speaker 1: Dorian and he was it was like Luther Vandros at

654
00:35:39,560 --> 00:35:41,560
Speaker 1: that time. And it was like and I said, this kid,

655
00:35:42,000 --> 00:35:47,480
Speaker 1: but everybody he didn't It was afraid of of knocking,

656
00:35:47,800 --> 00:35:49,719
Speaker 1: Like if I was on the stand, something was gonna

657
00:35:49,760 --> 00:35:51,560
Speaker 1: knock me off the stand. But I wasn't looking at

658
00:35:51,600 --> 00:35:53,560
Speaker 1: it like that. I'm like, this guy can sane. You

659
00:35:53,640 --> 00:35:55,320
Speaker 1: need to just get it done. So we did the

660
00:35:55,400 --> 00:35:58,560
Speaker 1: album on him, and did an album on on some

661
00:35:58,760 --> 00:36:01,640
Speaker 1: other actual that I had, and it just didn't put

662
00:36:01,680 --> 00:36:04,279
Speaker 1: the effort. Okay, yeah, he just put the effort in.

663
00:36:04,440 --> 00:36:07,640
Speaker 1: So at that time, he was like rolling in money

664
00:36:09,000 --> 00:36:12,480
Speaker 1: above above ground, so you know, it was nothing under

665
00:36:12,480 --> 00:36:15,440
Speaker 1: the table was all it was all up. So he

666
00:36:15,719 --> 00:36:17,680
Speaker 1: was like, whatever, I don't want to do that.

667
00:36:18,320 --> 00:36:26,560
Speaker 3: So I have to ask how influential was Funkadelics. Let's

668
00:36:26,840 --> 00:36:28,360
Speaker 3: let's take it to the stage album to.

669
00:36:28,360 --> 00:36:34,160
Speaker 2: You, because I feel like, you know, eighty seventy nine

670
00:36:34,200 --> 00:36:36,759
Speaker 2: to eighty was a transitional period that was really hard

671
00:36:36,880 --> 00:36:39,160
Speaker 2: for a lot of the seventy bands to cross over

672
00:36:40,160 --> 00:36:44,759
Speaker 2: and to maintain, like, you know, Ohio players imploded. Uh,

673
00:36:45,280 --> 00:36:47,120
Speaker 2: you know, at least a lot of the lead singers

674
00:36:47,160 --> 00:36:48,280
Speaker 2: of particular acts.

675
00:36:48,120 --> 00:36:50,680
Speaker 3: Have left for solo careers, and then the left the

676
00:36:50,760 --> 00:36:53,040
Speaker 3: left behind group members imploded.

677
00:36:53,960 --> 00:36:54,080
Speaker 1: Uh.

678
00:36:55,320 --> 00:36:58,640
Speaker 2: But you kind of just took the the p funk

679
00:36:59,160 --> 00:37:04,920
Speaker 2: absolutely uh uh, I'll say baton and kept it alive.

680
00:37:05,960 --> 00:37:11,560
Speaker 1: And so what was was there any feelings on their

681
00:37:11,760 --> 00:37:14,400
Speaker 1: end of you guys sort of.

682
00:37:15,880 --> 00:37:21,960
Speaker 2: Taking their their modus operandi and and actually running good

683
00:37:22,000 --> 00:37:22,200
Speaker 2: with it.

684
00:37:22,560 --> 00:37:24,320
Speaker 1: It was a couple of guys and and and the

685
00:37:24,440 --> 00:37:26,920
Speaker 1: band that you know, if say, if you come up,

686
00:37:27,520 --> 00:37:29,239
Speaker 1: George will call you up on the stage and if

687
00:37:29,239 --> 00:37:31,719
Speaker 1: they don't like it, they started doing the waltz, you know,

688
00:37:32,160 --> 00:37:34,040
Speaker 1: and so George made him stop doing the wats one

689
00:37:34,080 --> 00:37:36,239
Speaker 1: time I came on stage, but I already knew what

690
00:37:36,400 --> 00:37:38,000
Speaker 1: the Walts was because I was going with one of

691
00:37:38,000 --> 00:37:40,320
Speaker 1: the girls. It was from the from the Parliament Pocademics,

692
00:37:40,320 --> 00:37:42,279
Speaker 1: so I used to go with doing silver now yet, so.

693
00:37:43,760 --> 00:37:46,000
Speaker 2: I already knew what that whole thing was.

694
00:37:46,440 --> 00:37:48,640
Speaker 1: But so when the wa what's the wall, just like

695
00:37:49,320 --> 00:37:51,640
Speaker 1: he's washed up or whatever, and so George would just

696
00:37:51,680 --> 00:37:54,160
Speaker 1: go right over there and just don't do that. Don't

697
00:37:54,160 --> 00:37:56,120
Speaker 1: do that on him. So everybody stops and I'll just

698
00:37:56,200 --> 00:37:58,759
Speaker 1: take the mic and just rip the place apart. And

699
00:37:58,960 --> 00:38:01,480
Speaker 1: then I think after I I did that one time,

700
00:38:01,760 --> 00:38:03,600
Speaker 1: they was like, oh, he's not He's not a whimp.

701
00:38:03,800 --> 00:38:06,239
Speaker 1: But see, we was on the road with with with

702
00:38:06,360 --> 00:38:08,960
Speaker 1: the Parliament Funkadelic for years before we really had the

703
00:38:09,080 --> 00:38:11,800
Speaker 1: hit record, and then after we came off that's what

704
00:38:12,200 --> 00:38:14,080
Speaker 1: side your head was sort of bomp boring, But the

705
00:38:14,239 --> 00:38:18,200
Speaker 1: chant came from a crowd that was in Pittsburgh and ourselves,

706
00:38:18,280 --> 00:38:20,239
Speaker 1: you know, but they was chanting something, but the rhythm

707
00:38:20,400 --> 00:38:22,560
Speaker 1: was the same. So we came back and put the

708
00:38:22,680 --> 00:38:27,040
Speaker 1: oops up side the head because they you know, yeah, yeah,

709
00:38:27,320 --> 00:38:29,440
Speaker 1: I was going to say it was they was chanting

710
00:38:29,600 --> 00:38:32,440
Speaker 1: something and it wasn't what We couldn't understand it, so

711
00:38:32,520 --> 00:38:36,920
Speaker 1: we actually chant chant the the the oops up side

712
00:38:37,000 --> 00:38:39,879
Speaker 1: your head say oops, because they were saying gap band.

713
00:38:39,920 --> 00:38:42,080
Speaker 1: They was I think they were saying gap side to head,

714
00:38:42,239 --> 00:38:45,239
Speaker 1: gap band something like that. It was weird, but it wasn't.

715
00:38:45,280 --> 00:38:47,719
Speaker 1: It didn't have the real, the perfect rhythm. So we

716
00:38:47,800 --> 00:38:51,399
Speaker 1: had to go back and get that rhythm and put

717
00:38:51,440 --> 00:38:53,719
Speaker 1: it to that. But we were on a roll with

718
00:38:53,800 --> 00:38:56,720
Speaker 1: them for a long time. Man. And and of course

719
00:38:56,880 --> 00:39:00,279
Speaker 1: we was watching them every night, and George became very

720
00:39:00,440 --> 00:39:03,719
Speaker 1: protective and Bootsy and them became very protective of us.

721
00:39:04,239 --> 00:39:06,680
Speaker 1: And they made a push back and give us room

722
00:39:06,760 --> 00:39:08,200
Speaker 1: because I didn't have no room. I said, I can't.

723
00:39:08,200 --> 00:39:10,279
Speaker 1: I don't have any room to work. So Georye said,

724
00:39:10,320 --> 00:39:11,920
Speaker 1: I haven't been seeing here what you mean. I said, Man,

725
00:39:11,920 --> 00:39:13,120
Speaker 1: I ain't got no room. So they said, I'll make

726
00:39:13,200 --> 00:39:15,080
Speaker 1: him push back. So they pushed the stage back for us,

727
00:39:15,680 --> 00:39:17,680
Speaker 1: and uh and Bootsy saw us a couple of times

728
00:39:17,719 --> 00:39:19,320
Speaker 1: and then he'd give us some pinners and stuff. So

729
00:39:19,960 --> 00:39:21,960
Speaker 1: of course, quite naturally, man, that funk that they had

730
00:39:22,160 --> 00:39:24,239
Speaker 1: was infectious and so it rubbed off. And I just

731
00:39:24,360 --> 00:39:27,040
Speaker 1: loved them, and uh, of course I took some of

732
00:39:27,120 --> 00:39:29,719
Speaker 1: it and ran with it. What were those audiences? Like, man,

733
00:39:30,239 --> 00:39:34,000
Speaker 1: it was incredible? And see Bootsy was so strong that

734
00:39:35,120 --> 00:39:39,320
Speaker 1: that he was kicking George's butt. Okay, so George sometimes

735
00:39:39,400 --> 00:39:42,520
Speaker 1: had to let Boosie close really yeah, because man, he

736
00:39:42,520 --> 00:39:46,000
Speaker 1: would Bootsy would stump all over Parliament. Funkadeltic and they

737
00:39:46,040 --> 00:39:48,880
Speaker 1: had the same horn sections and everything. So but Bootsy

738
00:39:49,200 --> 00:39:50,720
Speaker 1: it was Boots's band.

739
00:39:50,840 --> 00:39:54,160
Speaker 2: So so speaking of which, and we kind of mentioned it,

740
00:39:55,080 --> 00:40:01,160
Speaker 2: what were your feelings to Uptown Funk and how did

741
00:40:01,239 --> 00:40:03,919
Speaker 2: you because you know, I mean there have been think

742
00:40:04,000 --> 00:40:07,399
Speaker 2: pieces on these twelve artists could also get a piece

743
00:40:07,480 --> 00:40:10,360
Speaker 2: of the right, but you guys.

744
00:40:10,200 --> 00:40:13,600
Speaker 1: Did it, so technically they had to give it to me.

745
00:40:14,000 --> 00:40:17,040
Speaker 2: Are you a Grammy winner because it was a Record

746
00:40:17,120 --> 00:40:19,080
Speaker 2: of the Year or is that only for Song of

747
00:40:19,120 --> 00:40:21,239
Speaker 2: the year If you're listened to his song, right, song

748
00:40:21,280 --> 00:40:21,560
Speaker 2: of the year?

749
00:40:21,600 --> 00:40:23,560
Speaker 1: Good song? Okay, So it wasn't song. It was record

750
00:40:23,560 --> 00:40:25,080
Speaker 1: of the year. That's for the perform it was. It

751
00:40:25,200 --> 00:40:27,160
Speaker 1: was my I remember my manager, he's in there now.

752
00:40:27,200 --> 00:40:29,960
Speaker 1: He was. I mean, he he calls such a stink.

753
00:40:32,719 --> 00:40:35,160
Speaker 1: That's what good managers do. He called a good manager.

754
00:40:35,239 --> 00:40:37,480
Speaker 1: He calls such a stink man on everything, and so

755
00:40:37,680 --> 00:40:39,279
Speaker 1: I think they was about tired of looking at him

756
00:40:39,320 --> 00:40:41,279
Speaker 1: and saying that he was good. He went straight to

757
00:40:41,360 --> 00:40:44,960
Speaker 1: the top with it, and and then it was like

758
00:40:45,360 --> 00:40:48,480
Speaker 1: then they just like, uh, well, we can't well song

759
00:40:48,560 --> 00:40:52,120
Speaker 1: of the year whatever it is, So they moved things around,

760
00:40:52,239 --> 00:40:55,080
Speaker 1: and so he was just saying, it's not fair. It's

761
00:40:55,120 --> 00:40:57,080
Speaker 1: not fair to the Gap band that they don't get

762
00:40:57,520 --> 00:41:00,080
Speaker 1: the you know, recognition, the recognition of it, and so

763
00:41:00,160 --> 00:41:03,680
Speaker 1: I remember that part then. So but anyway, man, it was, uh,

764
00:41:04,320 --> 00:41:06,719
Speaker 1: it was I reckon simple and they.

765
00:41:06,760 --> 00:41:09,120
Speaker 8: Was chatting it and so hey, so it came to

766
00:41:09,160 --> 00:41:11,840
Speaker 8: a quicker conclusion than the Robin Marvin Gaye situation.

767
00:41:11,960 --> 00:41:26,320
Speaker 1: We got paid for whatever. He's happy, you know.

768
00:41:27,120 --> 00:41:32,760
Speaker 3: Nineteen eighty also brought another uh what I would assume

769
00:41:32,840 --> 00:41:36,480
Speaker 3: for you a bucket list pairing, uh you singing background

770
00:41:36,600 --> 00:41:38,800
Speaker 3: on I ain't going to stand for it with Stevie.

771
00:41:39,680 --> 00:41:45,120
Speaker 1: So I mean, I'm just assuming that this guy's your hero. Yeah,

772
00:41:45,239 --> 00:41:48,160
Speaker 1: assuming we can assume that. You don't have to assume

773
00:41:48,200 --> 00:41:49,640
Speaker 1: no more. It's one of my heroes.

774
00:41:50,560 --> 00:41:54,560
Speaker 2: So what was that experience like for you to work

775
00:41:54,640 --> 00:42:00,360
Speaker 2: with Prime Stevie, especially when, like I know how some

776
00:42:00,600 --> 00:42:04,759
Speaker 2: artists could have. I've seen artists ego trip and kind

777
00:42:04,800 --> 00:42:10,759
Speaker 2: of shun out of anyone that's remotely capable of out

778
00:42:10,880 --> 00:42:14,680
Speaker 2: seeing them or outshining them. And always wanted to know

779
00:42:14,840 --> 00:42:17,759
Speaker 2: because there's two versions of I Ain't gonna stand for it.

780
00:42:18,600 --> 00:42:22,520
Speaker 2: The version on forty five goes about maybe thirty seconds

781
00:42:22,600 --> 00:42:26,760
Speaker 2: longer than the album version. And I was always impressed

782
00:42:26,800 --> 00:42:27,440
Speaker 2: with the fact.

783
00:42:29,200 --> 00:42:29,560
Speaker 1: That you.

784
00:42:31,120 --> 00:42:35,080
Speaker 2: Saying so disciplined when you could have easily just started,

785
00:42:35,520 --> 00:42:38,399
Speaker 2: you know, your vocal acrobatics.

786
00:42:39,680 --> 00:42:42,120
Speaker 1: What was that whole experience like recording with them? Let

787
00:42:42,200 --> 00:42:44,000
Speaker 1: me tell you that is not the version at all.

788
00:42:44,080 --> 00:42:46,680
Speaker 1: That that's not the best version. There's another one, now,

789
00:42:46,760 --> 00:42:52,000
Speaker 1: the version that we actually did in the beginning you

790
00:42:52,080 --> 00:42:54,440
Speaker 1: knew what's coming. Yeah, that version that he did, he

791
00:42:54,440 --> 00:42:58,719
Speaker 1: couldn't get that. We recorded that version in botic sound,

792
00:42:58,800 --> 00:43:02,480
Speaker 1: which is Ike Turner study. Wow really and that version

793
00:43:03,280 --> 00:43:08,200
Speaker 1: with the wo wo walk oh man, that one right there,

794
00:43:08,239 --> 00:43:09,960
Speaker 1: he had the thing around his neck to make himself

795
00:43:10,000 --> 00:43:12,880
Speaker 1: a microphone and we all singing around him. That was

796
00:43:12,960 --> 00:43:15,000
Speaker 1: the version. And I used to answ him, where's that version?

797
00:43:15,320 --> 00:43:17,759
Speaker 1: He said, I couldn't couldn't couldn't get the version of

798
00:43:17,880 --> 00:43:20,400
Speaker 1: the tape back from from Ike. I think that the

799
00:43:22,040 --> 00:43:27,719
Speaker 1: it was I was looking for my gun.

800
00:43:27,800 --> 00:43:31,360
Speaker 2: Said, yeah, we couldn't get that.

801
00:43:31,560 --> 00:43:33,440
Speaker 1: He couldn't get that, but anyway, it was something I

802
00:43:33,880 --> 00:43:35,799
Speaker 1: never get got the real story from why we didn't

803
00:43:35,880 --> 00:43:37,879
Speaker 1: use it. So he was trying to recreate it after,

804
00:43:38,040 --> 00:43:41,759
Speaker 1: like years later, to try to recreate it. I said, where, Yeah,

805
00:43:41,800 --> 00:43:42,560
Speaker 1: when was the first one?

806
00:43:43,320 --> 00:43:43,560
Speaker 2: There?

807
00:43:43,840 --> 00:43:46,000
Speaker 1: Man, I can't now, I can't remember the year now

808
00:43:46,120 --> 00:43:48,680
Speaker 1: i'm a little It came out in eighty, No it was.

809
00:43:50,400 --> 00:43:53,680
Speaker 2: I assume he wasn't doing nothing between seventy six and eighty.

810
00:43:54,440 --> 00:43:56,680
Speaker 1: It was eighty. Then it came out. We did it.

811
00:43:56,840 --> 00:44:01,400
Speaker 1: We did it in seventy nine, seventy nine in the version.

812
00:44:01,920 --> 00:44:08,840
Speaker 1: I'm thinking something like that late night. How did you

813
00:44:08,960 --> 00:44:15,680
Speaker 1: meet Stevie? Yeah? I met Stevie from the album from

814
00:44:15,719 --> 00:44:17,960
Speaker 1: when I was with Shelter with Leon Russell. We went

815
00:44:18,000 --> 00:44:23,160
Speaker 1: out to Los Angeles to mix the record Magician's Holiday

816
00:44:23,520 --> 00:44:25,760
Speaker 1: and he was still in the record plant, just running

817
00:44:25,800 --> 00:44:28,279
Speaker 1: over time like you always do, right in there and

818
00:44:28,400 --> 00:44:30,719
Speaker 1: he was a begone and he was our and a

819
00:44:30,760 --> 00:44:33,759
Speaker 1: half two hours. So they had the record and this

820
00:44:33,920 --> 00:44:39,160
Speaker 1: guy Spike, who was one of inch Steve's engineers. He

821
00:44:39,200 --> 00:44:41,520
Speaker 1: had heard the record, so they had told Stevie about

822
00:44:41,760 --> 00:44:46,360
Speaker 1: this guy singing. So Steve heard the record and that

823
00:44:46,480 --> 00:44:48,600
Speaker 1: was my first time meeting. It was in seventy something,

824
00:44:48,680 --> 00:44:51,600
Speaker 1: seventy five someone like that. But anyway, I sit down.

825
00:44:51,600 --> 00:44:53,520
Speaker 1: He sit me at the piano with him, and he

826
00:44:53,640 --> 00:44:56,600
Speaker 1: started playing and he asked me sang this, and I

827
00:44:56,719 --> 00:44:58,840
Speaker 1: sang that, and he sang the part another part, and

828
00:44:58,920 --> 00:45:00,520
Speaker 1: we was going off each other like that, and then

829
00:45:00,560 --> 00:45:08,600
Speaker 1: he was like, hey, man, you're bad man. I like you, man,

830
00:45:08,719 --> 00:45:11,240
Speaker 1: what is that like? What was that like? For you? Believe?

831
00:45:11,280 --> 00:45:14,200
Speaker 2: I couldn't even say the part, man, I couldn't even

832
00:45:14,239 --> 00:45:14,920
Speaker 2: get my licks out.

833
00:45:14,960 --> 00:45:17,040
Speaker 1: Man. I was shaken and like a nervous, like you know,

834
00:45:17,719 --> 00:45:19,799
Speaker 1: that was my first time and we've been friends ever

835
00:45:19,920 --> 00:45:22,920
Speaker 1: since then, That's what's up. Yeah, I just was just

836
00:45:23,080 --> 00:45:27,480
Speaker 1: nervous and uh and uh you know, so that was

837
00:45:27,560 --> 00:45:29,879
Speaker 1: my first time meeting them. And then, like I said,

838
00:45:29,880 --> 00:45:32,680
Speaker 1: it happened again and he wanted to get being on

839
00:45:32,800 --> 00:45:35,319
Speaker 1: that record and then and we couldn't do it at

840
00:45:35,360 --> 00:45:39,640
Speaker 1: the time. We was on tour. He offered Center a plane,

841
00:45:39,840 --> 00:45:46,600
Speaker 1: a jet and and Uh, of course everybody was nervous.

842
00:45:46,600 --> 00:45:48,880
Speaker 1: I ain't get on no chet trying to get rid

843
00:45:48,920 --> 00:45:49,720
Speaker 1: of Charlie Wilson.

844
00:45:52,719 --> 00:45:55,360
Speaker 2: Try to get rid of the Charlie Wilson. Stupid people,

845
00:45:56,600 --> 00:45:57,560
Speaker 2: what they think about it.

846
00:45:57,600 --> 00:45:59,759
Speaker 1: I was young at the time, man, but these guys

847
00:45:59,800 --> 00:46:03,320
Speaker 1: are they're probably getting hide confused. I'm like, dude, he

848
00:46:03,440 --> 00:46:05,000
Speaker 1: just want us to sing on the record. Get out

849
00:46:05,000 --> 00:46:08,560
Speaker 1: of here. So anyway, that next uh, that next two

850
00:46:08,640 --> 00:46:11,359
Speaker 1: days later, I just popped on a jet and uh,

851
00:46:11,680 --> 00:46:13,920
Speaker 1: and then everybody followed me, and I guess right after that,

852
00:46:14,040 --> 00:46:16,240
Speaker 1: I'm gone, I see y'all going to stay with Steve

853
00:46:16,320 --> 00:46:20,880
Speaker 1: and so I got back and did the vocals and uh,

854
00:46:20,920 --> 00:46:23,759
Speaker 1: but I heard I said, where's the other version? And

855
00:46:23,880 --> 00:46:27,280
Speaker 1: he was like, that's a long story. I was like, okay,

856
00:46:29,040 --> 00:46:29,720
Speaker 1: I think anything.

857
00:46:32,520 --> 00:46:35,920
Speaker 3: Wait, uh, you know what it's everything's coming to me

858
00:46:36,000 --> 00:46:38,839
Speaker 3: now as you're talking. I gotta go back to p funk.

859
00:46:39,680 --> 00:46:44,440
Speaker 3: Can you please tell me the origin of new Spaceship?

860
00:46:44,880 --> 00:46:45,040
Speaker 1: Oh?

861
00:46:45,640 --> 00:46:48,799
Speaker 3: What's that an old track that you sang on? Because

862
00:46:48,840 --> 00:46:51,360
Speaker 3: there's no way in hell and we're referring to new

863
00:46:51,400 --> 00:46:52,279
Speaker 3: Spaceship on the.

864
00:46:52,760 --> 00:46:56,040
Speaker 2: On the George Clinton, George Clinton People All Stars awesome,

865
00:46:56,480 --> 00:46:58,160
Speaker 2: power fully operational mothership.

866
00:46:59,320 --> 00:47:01,840
Speaker 3: But they called it T A T A old P

867
00:47:02,200 --> 00:47:05,520
Speaker 3: whatever the initials opp? Whatever the initials opp.

868
00:47:07,040 --> 00:47:11,239
Speaker 2: Dude, when that record came out, you know we were

869
00:47:11,280 --> 00:47:15,200
Speaker 2: skimming through it, and you know I do the occasional

870
00:47:15,280 --> 00:47:24,600
Speaker 2: ten second audition, and dude, I'm saying like, I don't

871
00:47:24,600 --> 00:47:27,440
Speaker 2: even know if you remember the Steve, but when we

872
00:47:27,520 --> 00:47:33,399
Speaker 2: were recording uh Voodoo with D'Angelo, it's all he listened to. Man,

873
00:47:33,920 --> 00:47:37,759
Speaker 2: it was like a where did like was it a

874
00:47:37,840 --> 00:47:40,319
Speaker 2: track that George just gave you to sing over or just.

875
00:47:40,600 --> 00:47:41,960
Speaker 1: Me I personally, I don't even remember.

876
00:47:43,840 --> 00:47:46,799
Speaker 2: You don't remember New Spaceship. I don't remember it. Oh

877
00:47:46,920 --> 00:47:50,400
Speaker 2: Jesus Christ, here let me see, ladies and gentlemen, this

878
00:47:50,600 --> 00:47:53,440
Speaker 2: is new Spaceship. I have to hear it from the

879
00:47:54,760 --> 00:47:59,560
Speaker 2: ABC threep George, George Clinton, the p Funk All Stars.

880
00:47:59,719 --> 00:48:03,040
Speaker 1: Yes, uh on course of Supreme right here. This is

881
00:48:03,280 --> 00:48:14,800
Speaker 1: one of my favorite songs ever. I remember.

882
00:48:14,880 --> 00:48:27,799
Speaker 2: Now, okay listen, let me tell you the story. Are

883
00:48:27,800 --> 00:48:28,760
Speaker 2: you ready to hear the story?

884
00:48:29,440 --> 00:48:31,320
Speaker 1: Yes, okay, listen, he is ready.

885
00:48:33,360 --> 00:48:38,360
Speaker 2: That was my version. We was talking about sly Stone.

886
00:48:40,920 --> 00:48:44,279
Speaker 2: This is how so I'm going in. I'm like, I'm

887
00:48:44,360 --> 00:48:45,120
Speaker 2: marking slide.

888
00:48:45,200 --> 00:48:47,800
Speaker 1: We're talking about this, and so he said, man, Charlie

889
00:48:47,800 --> 00:48:50,000
Speaker 1: Whistle does a great version of slid Stone. So I

890
00:48:50,120 --> 00:48:52,200
Speaker 1: was I was like, when I'm around slide back of

891
00:48:52,239 --> 00:48:54,000
Speaker 1: the day, this is how he would be. And that's

892
00:48:54,040 --> 00:48:55,960
Speaker 1: where that vocal came. And I started doing that. So

893
00:48:56,520 --> 00:48:58,560
Speaker 1: all of that and they kept it. They kept all

894
00:48:58,600 --> 00:49:01,279
Speaker 1: of that. And then because that's how we was doing

895
00:49:01,280 --> 00:49:03,359
Speaker 1: it in at the beginning, before he got anything, I'm

896
00:49:03,400 --> 00:49:05,799
Speaker 1: marking sly and then I turned to do my own

897
00:49:05,840 --> 00:49:07,839
Speaker 1: thing with the with the with the Charlie Wilson thing

898
00:49:08,000 --> 00:49:09,680
Speaker 1: around it. So it was like, man, this is a

899
00:49:09,719 --> 00:49:11,799
Speaker 1: great some great ship right here. I think I'm gonna

900
00:49:11,880 --> 00:49:15,080
Speaker 1: keep this. And so he did, and I wasn't paying

901
00:49:15,120 --> 00:49:17,719
Speaker 1: attention to it. I was, I'm gone, I do my

902
00:49:17,800 --> 00:49:20,440
Speaker 1: thing and I'm born out. I'm done. What year was that?

903
00:49:20,920 --> 00:49:23,759
Speaker 1: I can't remember the year? Well, I know that's when

904
00:49:23,800 --> 00:49:25,360
Speaker 1: it came out, But was it the old song that

905
00:49:25,440 --> 00:49:28,520
Speaker 1: they had? It had to be it had to be.

906
00:49:29,000 --> 00:49:32,680
Speaker 1: Uh had to be a ninety four or ninety four

907
00:49:32,760 --> 00:49:36,000
Speaker 1: because I got but that just sounded like sev.

908
00:49:37,480 --> 00:49:40,600
Speaker 2: I'm like, it sounds like Jerome Big Brilly on drug

909
00:49:41,640 --> 00:49:42,160
Speaker 2: backing track.

910
00:49:42,760 --> 00:49:46,560
Speaker 1: Yeah, well, we was recording it for that particular we

911
00:49:46,719 --> 00:49:48,600
Speaker 1: was trying to get something. He was trying to get

912
00:49:48,680 --> 00:49:51,480
Speaker 1: this thing and y'all got it and we got and

913
00:49:51,600 --> 00:49:53,800
Speaker 1: we just started I started acting like slide. We was

914
00:49:53,920 --> 00:49:58,440
Speaker 1: laughing about that, and uh, he said, go Howard Sly singing,

915
00:49:58,480 --> 00:50:00,279
Speaker 1: and I was just like, that's how I started swat

916
00:50:00,360 --> 00:50:02,680
Speaker 1: that the voice that sounded like that I was marketing.

917
00:50:03,239 --> 00:50:06,960
Speaker 2: So I've had the pleasure of wait wait that songs

918
00:50:06,960 --> 00:50:08,480
Speaker 2: from the nineties.

919
00:50:10,920 --> 00:50:12,600
Speaker 1: Steve Steve.

920
00:50:13,000 --> 00:50:16,040
Speaker 2: Steve was one of the engineers on d'angelo's Voodoo.

921
00:50:16,160 --> 00:50:18,040
Speaker 1: So like during the.

922
00:50:19,560 --> 00:50:22,120
Speaker 2: First month of us recording out Electric Lady.

923
00:50:24,520 --> 00:50:26,080
Speaker 1: D had the CD.

924
00:50:26,239 --> 00:50:28,279
Speaker 2: George gave it to him before it came out, and

925
00:50:28,480 --> 00:50:32,000
Speaker 2: that's all he played for me all the time, and

926
00:50:32,239 --> 00:50:39,200
Speaker 2: like we were just wow, flabbergasted, like flabbergasted at you

927
00:50:39,320 --> 00:50:42,720
Speaker 2: guys nailing classic p funk in the nineties.

928
00:50:42,800 --> 00:50:46,120
Speaker 1: Twenty years after that, after that time period, I just

929
00:50:46,320 --> 00:50:52,279
Speaker 1: I just I just was going, uh uh sometime I

930
00:50:52,320 --> 00:50:59,440
Speaker 1: have a problem moderating of then. I was, you know,

931
00:50:59,520 --> 00:51:01,440
Speaker 1: you put yourself, he puts us too much on your

932
00:51:02,040 --> 00:51:04,759
Speaker 1: on yourself, put too much on yourself. And I just

933
00:51:05,000 --> 00:51:09,279
Speaker 1: never never liked the fact that the ad lives. It's

934
00:51:09,360 --> 00:51:11,520
Speaker 1: just they just want me to just just be just

935
00:51:11,960 --> 00:51:13,160
Speaker 1: be Charlie Wilson whatnot.

936
00:51:13,920 --> 00:51:19,880
Speaker 2: I mean, it was like and so it was like, okay, uh,

937
00:51:20,120 --> 00:51:22,840
Speaker 2: what what is the what is the what's the title?

938
00:51:22,880 --> 00:51:23,040
Speaker 6: And what?

939
00:51:23,360 --> 00:51:25,920
Speaker 1: It was like, No, you just you just you just

940
00:51:26,000 --> 00:51:27,640
Speaker 1: give me some little whatever.

941
00:51:28,120 --> 00:51:29,680
Speaker 2: Yeah. So I was just like that.

942
00:51:29,760 --> 00:51:32,160
Speaker 1: But then I noticed that everybody always liked that. So

943
00:51:32,360 --> 00:51:35,080
Speaker 1: it's always either it's just always just go off the

944
00:51:35,160 --> 00:51:37,000
Speaker 1: top of the head with feeling. But this is the

945
00:51:37,080 --> 00:51:38,759
Speaker 1: thing though, it's real.

946
00:51:40,400 --> 00:51:43,120
Speaker 2: I'll be one of the Okay, I'm all, I'm one

947
00:51:43,160 --> 00:51:47,320
Speaker 2: of those people. That's okay, I took I took you

948
00:51:47,440 --> 00:51:50,719
Speaker 2: for granted, because the thing is that, I mean, when

949
00:51:50,719 --> 00:51:52,640
Speaker 2: you grow up in a time period and you just

950
00:51:52,719 --> 00:51:55,840
Speaker 2: see all this greatness, you know you do it.

951
00:51:55,960 --> 00:51:58,160
Speaker 1: It's just that's just what he do. He's great.

952
00:51:58,840 --> 00:52:03,759
Speaker 2: So you you've sat you've done uh the Fallon Show

953
00:52:03,800 --> 00:52:05,919
Speaker 2: with us like maybe three or four times. You sat

954
00:52:06,000 --> 00:52:10,040
Speaker 2: him with us twice, and there's one point where you're

955
00:52:10,560 --> 00:52:14,400
Speaker 2: we can clearly hear you through the vents doing your

956
00:52:14,480 --> 00:52:19,879
Speaker 2: vocal warm ups, and we're all looking at each other

957
00:52:21,040 --> 00:52:24,239
Speaker 2: like it it was the most It was like a

958
00:52:24,320 --> 00:52:28,080
Speaker 2: monster movie, like we just we're at the vocal event

959
00:52:28,200 --> 00:52:37,320
Speaker 2: like listening to him, and it was how do you

960
00:52:38,719 --> 00:52:43,320
Speaker 2: how do you warm up your your your your instrument?

961
00:52:43,480 --> 00:52:44,200
Speaker 1: How do you preserve?

962
00:52:44,920 --> 00:52:48,000
Speaker 3: Because like you I saw I saw clips of recently

963
00:52:48,080 --> 00:52:50,160
Speaker 3: to show you to hear, and like all these songs,

964
00:52:50,200 --> 00:52:51,520
Speaker 3: you're singing in the same key.

965
00:52:51,880 --> 00:52:53,239
Speaker 1: When I was, when I was, when I was, back

966
00:52:53,280 --> 00:52:55,680
Speaker 1: when I was young, and that's still saying. I don't

967
00:52:55,800 --> 00:52:57,640
Speaker 1: We didn't change the keys for me, and everybody used

968
00:52:57,680 --> 00:52:59,719
Speaker 1: to say, man, my brother may need to change the key.

969
00:52:59,760 --> 00:53:01,680
Speaker 1: I said, man, that ain't gonna sound right. He's your

970
00:53:01,760 --> 00:53:04,480
Speaker 1: key and the ease my key. When from when I was,

971
00:53:04,560 --> 00:53:06,480
Speaker 1: when we was younger, that was in my twenties, and

972
00:53:06,560 --> 00:53:08,520
Speaker 1: that's we wrote all the stuff in those keys and

973
00:53:08,640 --> 00:53:10,479
Speaker 1: that was it. So I still sang all the keys,

974
00:53:10,719 --> 00:53:12,359
Speaker 1: the songs in the same keys, and we wrote all

975
00:53:12,400 --> 00:53:14,560
Speaker 1: them in. And it's like I said, it won't sound right,

976
00:53:15,120 --> 00:53:16,839
Speaker 1: might push out. I have to push to get it out.

977
00:53:16,880 --> 00:53:19,719
Speaker 1: But why would I change the keys? But but I

978
00:53:19,840 --> 00:53:38,600
Speaker 1: warm up, uh you know, nine nine nine, Then I

979
00:53:38,719 --> 00:53:41,000
Speaker 1: do that till till it's clear what I did break

980
00:53:41,040 --> 00:53:43,960
Speaker 1: in because clear, you have to this mucus and things

981
00:53:44,000 --> 00:53:46,160
Speaker 1: this and there. You know you study with Seth Riggs

982
00:53:46,239 --> 00:53:54,440
Speaker 1: or did Yeah, Michael Jackson, I didn't go there very long,

983
00:53:54,520 --> 00:53:56,279
Speaker 1: but I did study with him, and he told me

984
00:53:56,320 --> 00:53:57,680
Speaker 1: how the great Foster, he was the one that gave

985
00:53:57,680 --> 00:53:59,560
Speaker 1: me those warm ups and I never stopped using those

986
00:53:59,600 --> 00:54:02,320
Speaker 1: warm ups. And Stevie was going to him. And Stevie

987
00:54:02,440 --> 00:54:05,120
Speaker 1: used to do a with a note at the same

988
00:54:05,200 --> 00:54:09,960
Speaker 1: time minus behind. But he used to do that, but

989
00:54:10,080 --> 00:54:12,600
Speaker 1: it was more he was dead on accurate, like if

990
00:54:12,640 --> 00:54:17,440
Speaker 1: he was hitting warm up right, yeah wow, And so

991
00:54:17,719 --> 00:54:20,839
Speaker 1: I would used to try that all day. And why

992
00:54:20,960 --> 00:54:23,920
Speaker 1: why is seth riggsy go to guy? This guy had?

993
00:54:24,000 --> 00:54:26,279
Speaker 1: This guy was phenomenal him and his daughter too. They

994
00:54:26,320 --> 00:54:29,640
Speaker 1: were just, uh, he could warm you up and then

995
00:54:29,680 --> 00:54:31,279
Speaker 1: he could have you doing things that you didn't ever

996
00:54:31,360 --> 00:54:33,440
Speaker 1: think you could do. And I just didn't get a

997
00:54:33,480 --> 00:54:35,360
Speaker 1: chance to go back. I was devious too back in

998
00:54:35,400 --> 00:54:37,680
Speaker 1: those days, and so I started doing a lot of

999
00:54:37,680 --> 00:54:39,600
Speaker 1: other things to have going to the vocal coach. And

1000
00:54:40,040 --> 00:54:43,799
Speaker 1: but he was he was just the most incrediblest guy

1001
00:54:43,800 --> 00:54:46,880
Speaker 1: I've ever been close to. While he was warming me

1002
00:54:46,960 --> 00:54:49,120
Speaker 1: up and he started doing things that I never thought

1003
00:54:49,160 --> 00:54:51,640
Speaker 1: I could do, and he said, so held warm me up,

1004
00:54:51,680 --> 00:54:53,960
Speaker 1: and then we got through warming warming me up. Then

1005
00:54:53,960 --> 00:54:55,640
Speaker 1: he would start doing these things and he was doing

1006
00:54:56,680 --> 00:54:58,840
Speaker 1: before I got warmed up, and then he told me

1007
00:54:58,920 --> 00:55:00,520
Speaker 1: to do it and I would hit it, and I

1008
00:55:00,640 --> 00:55:05,680
Speaker 1: was like wow. I said, see, it's just an instrument.

1009
00:55:05,719 --> 00:55:06,920
Speaker 1: It's going to get you to do everything.

1010
00:55:07,080 --> 00:55:10,000
Speaker 2: So from a non me being an obvious non singer

1011
00:55:10,160 --> 00:55:17,640
Speaker 2: barely talking, what is because I would think that if

1012
00:55:17,680 --> 00:55:21,880
Speaker 2: you activate your voice for thirty five to forty five minutes,

1013
00:55:21,920 --> 00:55:27,319
Speaker 2: you might wear it out. So you have to get

1014
00:55:27,400 --> 00:55:29,759
Speaker 2: it in motion and exercise it just to keep the.

1015
00:55:30,120 --> 00:55:32,040
Speaker 1: Yeah, you get it warmed up, and then after you

1016
00:55:32,200 --> 00:55:37,279
Speaker 1: do the correct exercise and for thirty minutes, then you

1017
00:55:37,360 --> 00:55:38,920
Speaker 1: can go and hit the notes that you want to hit.

1018
00:55:40,960 --> 00:55:43,160
Speaker 2: Do you sing from your diaphragm as all singers are

1019
00:55:43,160 --> 00:55:43,600
Speaker 2: supposed to.

1020
00:55:43,560 --> 00:55:46,040
Speaker 1: Be supposed to do? Yeah, it comes sometimes and sometimes

1021
00:55:46,040 --> 00:55:48,720
Speaker 1: are you initially singing from your throat? But at the beginning,

1022
00:55:49,320 --> 00:55:51,160
Speaker 1: until I met him and then he showed me how

1023
00:55:51,200 --> 00:55:54,160
Speaker 1: to well, actually they told me that taught me that

1024
00:55:54,239 --> 00:55:58,320
Speaker 1: in high school and in college. But again, you know,

1025
00:55:58,640 --> 00:56:01,520
Speaker 1: you're not listening to a lot of people. My mom

1026
00:56:01,680 --> 00:56:04,359
Speaker 1: used to tell me that, and but this guy Seth,

1027
00:56:04,400 --> 00:56:06,719
Speaker 1: he was telling me how how you're supposed to sing,

1028
00:56:06,840 --> 00:56:09,360
Speaker 1: and and I always wanted him to come to the

1029
00:56:09,440 --> 00:56:12,799
Speaker 1: studios with me and and work on my verses when

1030
00:56:12,800 --> 00:56:17,560
Speaker 1: I'm doing verses while I'm saying, you know, recording vocals,

1031
00:56:17,600 --> 00:56:20,200
Speaker 1: because he would do that with a lot of artists, superstars,

1032
00:56:20,920 --> 00:56:22,919
Speaker 1: make sure the breathing is right going into the next

1033
00:56:22,960 --> 00:56:23,760
Speaker 1: phrase and stuff.

1034
00:56:24,000 --> 00:56:26,080
Speaker 3: How do you preserve like so like after a show,

1035
00:56:26,280 --> 00:56:29,799
Speaker 3: what's your ritual like after after the show is done?

1036
00:56:30,000 --> 00:56:35,600
Speaker 1: I have no rituals about nothing. Okay, scarf on your

1037
00:56:36,640 --> 00:56:40,080
Speaker 1: I don't have rituals at all. And the only ritual

1038
00:56:40,160 --> 00:56:42,680
Speaker 1: I have is uh, if you want to use the rituals,

1039
00:56:42,920 --> 00:56:44,719
Speaker 1: it would be. My wife is the ritual. She is

1040
00:56:44,840 --> 00:56:48,640
Speaker 1: the ritual. That's she makes sure that I'm warm, and

1041
00:56:48,760 --> 00:56:51,400
Speaker 1: she makes sure that I'm drinking something warm. And then

1042
00:56:51,480 --> 00:56:55,160
Speaker 1: my guy at temporal, he's he keeps some warm stuff

1043
00:56:55,200 --> 00:56:58,799
Speaker 1: with me, hot water and honey, and and that's it. Man.

1044
00:56:58,840 --> 00:57:01,800
Speaker 1: And I when I get off the stage, I do

1045
00:57:01,960 --> 00:57:04,120
Speaker 1: the wrong thing. I'm talking loud and I'm hollering and

1046
00:57:04,160 --> 00:57:07,960
Speaker 1: I'm going crazy out. It's never I'm talking soft. You know,

1047
00:57:08,440 --> 00:57:10,520
Speaker 1: I come from one side of the family who talks

1048
00:57:10,600 --> 00:57:13,200
Speaker 1: loud and my father's side, my mom's side talks loud

1049
00:57:13,239 --> 00:57:15,719
Speaker 1: and my father's side talks off. And so I just

1050
00:57:15,800 --> 00:57:17,840
Speaker 1: stepped the mom's side. I'm just loud.

1051
00:57:17,880 --> 00:57:18,960
Speaker 8: I was just gonna say, this is not like a

1052
00:57:19,040 --> 00:57:21,240
Speaker 8: manual for all singers, because you're you're blessed.

1053
00:57:23,320 --> 00:57:23,919
Speaker 1: Nonethe less.

1054
00:57:24,400 --> 00:57:28,080
Speaker 2: Yes, so it's not an arefa the Luther thing where

1055
00:57:28,120 --> 00:57:30,800
Speaker 2: you have to turn off and well.

1056
00:57:30,880 --> 00:57:33,240
Speaker 1: Let me tell you something about about air conditions. It'll

1057
00:57:33,320 --> 00:57:36,040
Speaker 1: rip you up. And if you got to saying I

1058
00:57:36,080 --> 00:57:38,200
Speaker 1: wouldn't be serious. You're serious.

1059
00:57:38,920 --> 00:57:41,120
Speaker 2: This is the one thing that Tarik and I Tarik

1060
00:57:41,880 --> 00:57:44,400
Speaker 2: is the It could be the middle of summer and

1061
00:57:44,480 --> 00:57:47,080
Speaker 2: he'll make the driver turn off the air conditions and

1062
00:57:47,160 --> 00:57:49,160
Speaker 2: make us all suffer in the car. And he's like,

1063
00:57:49,240 --> 00:57:51,480
Speaker 2: I won't have a voice for a showtime. Absolutely not,

1064
00:57:51,960 --> 00:58:00,440
Speaker 2: that's a cycle whatever. Tarika hasn't smoked in about five

1065
00:58:00,560 --> 00:58:04,080
Speaker 2: years now. Really yeah, okay, listen, that is absolute truth

1066
00:58:04,200 --> 00:58:07,400
Speaker 2: right there. You do not you want to have the

1067
00:58:07,480 --> 00:58:10,120
Speaker 2: temperature in the car off just at.

1068
00:58:10,080 --> 00:58:14,600
Speaker 1: Least seventy five degrees wow, Okay, at all times if

1069
00:58:14,640 --> 00:58:18,720
Speaker 1: you want to sing if you want to have good voice. Now,

1070
00:58:18,760 --> 00:58:20,560
Speaker 1: if I had to sing the night, I wouldn't be

1071
00:58:20,600 --> 00:58:23,880
Speaker 1: in this room. Oh you wouldn't. Okay, Now it's too

1072
00:58:23,920 --> 00:58:27,640
Speaker 1: cold in here, I see, but it's you. It'll tear

1073
00:58:27,640 --> 00:58:30,520
Speaker 1: you out. You notice I'm kick clear in my throat

1074
00:58:31,160 --> 00:58:33,320
Speaker 1: because the cold air is get into it. But I'm

1075
00:58:33,400 --> 00:58:35,800
Speaker 1: just talking. So but it's not just.

1076
00:58:35,960 --> 00:58:37,120
Speaker 8: Because a recording studio.

1077
00:58:37,320 --> 00:58:37,720
Speaker 1: Yeah it's not.

1078
00:58:38,040 --> 00:58:38,880
Speaker 8: And it's always colding.

1079
00:58:39,360 --> 00:58:42,919
Speaker 1: You know. When I'm in recording, I ain't. We don't

1080
00:58:42,920 --> 00:58:47,479
Speaker 1: have that. You're gonna shut that down, so we won't

1081
00:58:47,520 --> 00:58:50,120
Speaker 1: be doing vocals in that studio, not Willson.

1082
00:58:50,960 --> 00:58:54,960
Speaker 2: So by the time that uh gap in three, four

1083
00:58:55,040 --> 00:58:58,360
Speaker 2: and five come out, when you guys are really fully operational,

1084
00:58:59,080 --> 00:59:02,880
Speaker 2: well I always wanted to know because when I when

1085
00:59:02,880 --> 00:59:04,840
Speaker 2: I spoke of the let's take it to the stage

1086
00:59:04,920 --> 00:59:08,080
Speaker 2: character with you're like provoking people like Dann suckling' you

1087
00:59:08,120 --> 00:59:13,040
Speaker 2: know whatever. Yea, What was your relationship like with your

1088
00:59:13,440 --> 00:59:18,960
Speaker 2: band contemporaries back then? Like were there rivalries with comfunction

1089
00:59:19,480 --> 00:59:23,120
Speaker 2: or or you know all these other bands like yeah,

1090
00:59:23,120 --> 00:59:24,560
Speaker 2: I'm gonna show y'all what's up and you.

1091
00:59:24,600 --> 00:59:27,040
Speaker 1: Know that sort of thing every single night.

1092
00:59:27,960 --> 00:59:32,840
Speaker 2: So in hindsight, what was the band that got under

1093
00:59:32,880 --> 00:59:33,280
Speaker 2: your skin?

1094
00:59:33,440 --> 00:59:35,800
Speaker 1: Like, yo, man, we're going to take it. What it's like,

1095
00:59:35,920 --> 00:59:39,560
Speaker 1: It's like this we were. It was comfunction basically because

1096
00:59:39,560 --> 00:59:44,040
Speaker 1: they would put from seriously I hympathetically just throwing a

1097
00:59:44,120 --> 00:59:46,160
Speaker 1: dark Kno, let me tell you why. It's because they

1098
00:59:46,200 --> 00:59:50,200
Speaker 1: went put fringes on their uniforms, and it was like, okay,

1099
00:59:50,920 --> 00:59:53,040
Speaker 1: you know we've been we do cowboys. We went fringes

1100
00:59:53,440 --> 00:59:55,920
Speaker 1: woking home. But they wouldn't put fringes on their uniform

1101
00:59:56,320 --> 01:00:00,320
Speaker 1: and so we were thinking, like, okay, they already you know,

1102
01:00:01,080 --> 01:00:03,240
Speaker 1: they got the big records from back in the day

1103
01:00:03,360 --> 01:00:08,200
Speaker 1: and all of that stuff. But it's it's we were

1104
01:00:08,480 --> 01:00:12,400
Speaker 1: still like this. Uh, but we were would it come

1105
01:00:12,480 --> 01:00:14,480
Speaker 1: down to stage? It was like do a die? But

1106
01:00:14,600 --> 01:00:19,600
Speaker 1: the worst, the worst rivalry was Charlie Wilson and Roger Troutman,

1107
01:00:19,720 --> 01:00:29,360
Speaker 1: Zapp and Gap because computer love No. Me and Roger

1108
01:00:29,440 --> 01:00:31,880
Speaker 1: were like this I'm talking about when I say tight,

1109
01:00:32,560 --> 01:00:35,720
Speaker 1: Me and him was like this like the brothers, his brothers,

1110
01:00:37,040 --> 01:00:39,560
Speaker 1: his brothers and my brothers. They did not like me

1111
01:00:39,640 --> 01:00:42,200
Speaker 1: and Roger to be tight. They did not want it. Period.

1112
01:00:46,880 --> 01:00:51,640
Speaker 2: He tell us about Larry because that's every of every artist,

1113
01:00:51,920 --> 01:00:53,440
Speaker 2: of all the artists we've had on the show, that

1114
01:00:53,440 --> 01:00:56,360
Speaker 2: could have told us Larry Troutman stories we've not asked,

1115
01:00:57,360 --> 01:00:59,600
Speaker 2: especially with like because I know that Zapp in the

1116
01:00:59,680 --> 01:01:02,560
Speaker 2: time had rivalries as well.

1117
01:01:04,280 --> 01:01:08,120
Speaker 1: What was it like with with the Troutman clan and

1118
01:01:08,200 --> 01:01:10,280
Speaker 1: working with them? And it was great? It was, I mean,

1119
01:01:10,320 --> 01:01:12,000
Speaker 1: you know, just like I said, Ma, and Roger was

1120
01:01:12,040 --> 01:01:16,040
Speaker 1: so tight. It was. But Roger had the edge because

1121
01:01:16,080 --> 01:01:18,120
Speaker 1: he was using a talk box and so and I

1122
01:01:18,160 --> 01:01:23,360
Speaker 1: shoud tell him, is you cheating? You ain't singing out

1123
01:01:23,400 --> 01:01:27,920
Speaker 1: every night? No, he was a talkbox, so, I mean,

1124
01:01:28,560 --> 01:01:31,640
Speaker 1: so he was saying, he just grabbed my throat like this.

1125
01:01:34,880 --> 01:01:37,800
Speaker 2: Tolls. Well. He would also do tricks like he wore

1126
01:01:37,880 --> 01:01:42,240
Speaker 2: the underwear that lit up and they did crazy tricks

1127
01:01:42,280 --> 01:01:42,800
Speaker 2: in concert.

1128
01:01:43,480 --> 01:01:47,720
Speaker 3: So why why is it that when I want to

1129
01:01:47,760 --> 01:01:52,040
Speaker 3: hear computer Love now it's I'm about to say, Gwyn Guthrie,

1130
01:01:53,440 --> 01:01:55,560
Speaker 3: Shirley Murdoch singing your parts.

1131
01:01:56,240 --> 01:02:02,520
Speaker 2: There's two versions of computer Love and for some reason,

1132
01:02:02,640 --> 01:02:03,840
Speaker 2: your your vocals are not.

1133
01:02:04,040 --> 01:02:06,320
Speaker 3: On the they come in at the end, they come

1134
01:02:06,360 --> 01:02:09,800
Speaker 3: into the ad libs even yeah, yeah, on the fade out.

1135
01:02:10,160 --> 01:02:14,000
Speaker 1: Why is that? Well, it's like this, Oh God. The

1136
01:02:14,080 --> 01:02:19,040
Speaker 1: beginning of the relationship with that record and the way

1137
01:02:19,120 --> 01:02:25,360
Speaker 1: they took basically they I went had a tape and

1138
01:02:25,480 --> 01:02:27,800
Speaker 1: I played it for the total experience Lonnie, and they

1139
01:02:27,920 --> 01:02:30,360
Speaker 1: was like, I ain't never hit and so wait a minute,

1140
01:02:30,400 --> 01:02:33,640
Speaker 1: So uh, I said, okay, And I think he was

1141
01:02:33,720 --> 01:02:35,840
Speaker 1: kind of a little upset going on clock.

1142
01:02:40,240 --> 01:02:41,280
Speaker 2: So they didn't.

1143
01:02:42,680 --> 01:02:45,600
Speaker 1: So who told you to go? Say yeah? But anyway,

1144
01:02:45,880 --> 01:02:49,360
Speaker 1: you didn't like it, I said, so you don't mind

1145
01:02:49,440 --> 01:02:51,000
Speaker 1: it coming out. It ain't gonna be no hit. I

1146
01:02:51,040 --> 01:02:52,720
Speaker 1: was like, okay, we didn't have a hit at the time.

1147
01:02:53,200 --> 01:02:56,800
Speaker 1: So the record came out about two about a year

1148
01:02:56,800 --> 01:03:00,520
Speaker 1: and a half later. Yes, it did, and from the

1149
01:03:00,600 --> 01:03:02,960
Speaker 1: time I had got to cassette it was a year

1150
01:03:02,960 --> 01:03:04,600
Speaker 1: and a half later. But I thought the record gonna

1151
01:03:04,600 --> 01:03:05,960
Speaker 1: come out faster than it did, but it didn't. And

1152
01:03:06,040 --> 01:03:08,960
Speaker 1: then when it did, it's just shooting up the charts.

1153
01:03:09,600 --> 01:03:12,000
Speaker 1: But they didn't want to say featuring Charlie Wilson because

1154
01:03:12,040 --> 01:03:16,000
Speaker 1: it hadn't gotten the no you know, it's no clearanton things,

1155
01:03:16,040 --> 01:03:17,920
Speaker 1: so it's just me and just so I'm on there.

1156
01:03:18,360 --> 01:03:21,360
Speaker 1: So it goes when it gets to like number four

1157
01:03:21,520 --> 01:03:24,040
Speaker 1: or three, somewhere they sued him and made them take

1158
01:03:24,160 --> 01:03:24,920
Speaker 1: my vocal off.

1159
01:03:25,840 --> 01:03:26,040
Speaker 6: Ah.

1160
01:03:27,200 --> 01:03:30,360
Speaker 1: Yeah, so and then of course they had to strap

1161
01:03:30,480 --> 01:03:33,240
Speaker 1: scram around to try to get another version. And by

1162
01:03:33,320 --> 01:03:35,640
Speaker 1: that time you in the top five. Man, I mean,

1163
01:03:35,720 --> 01:03:38,320
Speaker 1: the record is already it's out there, beasts. And so

1164
01:03:38,920 --> 01:03:42,360
Speaker 1: they put the Shirley Murdock version out and then and

1165
01:03:42,480 --> 01:03:44,200
Speaker 1: it stayed there for a minute, and I think it

1166
01:03:44,280 --> 01:03:45,760
Speaker 1: just started on the way because people used to the

1167
01:03:45,800 --> 01:03:48,560
Speaker 1: other version. You just can't just throw another version hello

1168
01:03:48,880 --> 01:03:51,760
Speaker 1: and having it, having it, having it doesn't doesn't matter

1169
01:03:52,200 --> 01:03:55,000
Speaker 1: who's singing it. And no disrespect to Shirley murder because

1170
01:03:55,000 --> 01:03:57,600
Speaker 1: she was killing the version she married you well that

1171
01:03:57,880 --> 01:04:01,040
Speaker 1: that was. But that version was already out, you know,

1172
01:04:01,200 --> 01:04:04,760
Speaker 1: and he was that version. So and it started taking

1173
01:04:04,800 --> 01:04:08,720
Speaker 1: a die. But everybody always knew that record. Doesn't matter

1174
01:04:09,360 --> 01:04:12,320
Speaker 1: when they stopped. But anyway, Uh, the record ended up

1175
01:04:12,360 --> 01:04:18,760
Speaker 1: being such a great record. And every time Roger would

1176
01:04:18,760 --> 01:04:20,959
Speaker 1: see me, if if if he looked on the side

1177
01:04:21,000 --> 01:04:23,840
Speaker 1: and saw me while he was doing the record, he

1178
01:04:23,880 --> 01:04:29,280
Speaker 1: would stopped the band. Boom. Okay, this record would not

1179
01:04:29,400 --> 01:04:36,320
Speaker 1: be possible without this guy. It would not be possible

1180
01:04:36,640 --> 01:04:38,560
Speaker 1: without this man. Right, he looking at me, and I'm like,

1181
01:04:38,680 --> 01:04:41,680
Speaker 1: don't do it, don't do it without this man. So

1182
01:04:42,400 --> 01:04:44,560
Speaker 1: would I further do on account three? I want you

1183
01:04:44,560 --> 01:04:47,120
Speaker 1: all to help me call his name, and so I

1184
01:04:47,120 --> 01:04:50,200
Speaker 1: would go up there and kick my own ass because

1185
01:04:50,240 --> 01:04:51,480
Speaker 1: we had to perform after that.

1186
01:04:51,880 --> 01:05:01,760
Speaker 2: So me and the man coffee together because it was

1187
01:05:01,800 --> 01:05:02,120
Speaker 2: a rap.

1188
01:05:02,200 --> 01:05:05,440
Speaker 1: After that, Me and Roger come on, Yeah, we just

1189
01:05:05,560 --> 01:05:10,800
Speaker 1: slaughtered the place. Yeah. When you talk about Shirley Murdoch, incredible. Yeah.

1190
01:05:11,480 --> 01:05:13,760
Speaker 3: The producer for s w V, Brian Allix and the

1191
01:05:13,800 --> 01:05:17,840
Speaker 3: Morgan It was a huge fan and he talks about

1192
01:05:17,960 --> 01:05:21,840
Speaker 3: how his whole idea for s w V was that

1193
01:05:21,960 --> 01:05:23,960
Speaker 3: he wanted to take your melody and he kind of

1194
01:05:24,000 --> 01:05:27,320
Speaker 3: saw Coco as like a Shirley Murdoch and like.

1195
01:05:28,040 --> 01:05:33,040
Speaker 1: Week he was weak for you. Yeah, it was for Charlie. Yeah,

1196
01:05:34,680 --> 01:05:37,480
Speaker 1: because we already had a song was that same melody,

1197
01:05:37,840 --> 01:05:39,480
Speaker 1: We had a record already that so he took that

1198
01:05:39,640 --> 01:05:40,920
Speaker 1: one and made it.

1199
01:05:43,720 --> 01:05:48,200
Speaker 2: Did you catch that the initial inception like this sounds familiar?

1200
01:05:49,240 --> 01:05:51,040
Speaker 2: Let me tell you in hindsight, you know, I wrote

1201
01:05:51,080 --> 01:05:51,920
Speaker 2: this as a tribute to you.

1202
01:05:53,560 --> 01:05:58,680
Speaker 1: You are my You're my style, your everything to me.

1203
01:05:58,960 --> 01:06:02,280
Speaker 1: You are my pride. So he did it so weak

1204
01:06:03,000 --> 01:06:06,880
Speaker 1: at the knees as a Capitol record, so I mean,

1205
01:06:06,960 --> 01:06:08,800
Speaker 1: I mean the last one of the glass Gap Band records,

1206
01:06:08,840 --> 01:06:12,280
Speaker 1: and so a total experience I think seven six or

1207
01:06:12,320 --> 01:06:15,160
Speaker 1: seven seven somewhere there. So he just straight took that

1208
01:06:15,400 --> 01:06:18,280
Speaker 1: same melody and just I mean it, I get so weak.

1209
01:06:18,360 --> 01:06:20,840
Speaker 1: But Brian wanted to write for me and we just

1210
01:06:21,480 --> 01:06:23,120
Speaker 1: never got a chance to get around to that. But

1211
01:06:23,200 --> 01:06:27,680
Speaker 1: he had great success with the SWV Man Good Luck.

1212
01:06:27,600 --> 01:06:31,680
Speaker 2: So with Gap Band four, with with Early in the Morning,

1213
01:06:31,840 --> 01:06:35,840
Speaker 2: and and and you dropped the bomb on me and

1214
01:06:36,280 --> 01:06:40,360
Speaker 2: very unlikely Outstanding because it's weird because I purchased.

1215
01:06:41,600 --> 01:06:41,640
Speaker 6: No.

1216
01:06:44,880 --> 01:06:47,400
Speaker 2: But I'm saying that, you know, at the time when

1217
01:06:47,440 --> 01:06:51,880
Speaker 2: I when I got Gap in four, I didn't realize that,

1218
01:06:52,440 --> 01:06:57,160
Speaker 2: you know, to me, Outstanding was just quality, quality filler, right.

1219
01:06:58,520 --> 01:07:00,400
Speaker 2: I didn't see it as, oh, this this might be

1220
01:07:00,560 --> 01:07:02,600
Speaker 2: the biggest single of his career, just like oh it's

1221
01:07:02,640 --> 01:07:03,360
Speaker 2: closing side to you?

1222
01:07:03,960 --> 01:07:06,280
Speaker 1: When did you drop the side too? Let's get to that.

1223
01:07:07,200 --> 01:07:09,160
Speaker 1: But I mean, how is that when you.

1224
01:07:09,320 --> 01:07:13,240
Speaker 2: Wrote outstanding in your head, did you realize that this

1225
01:07:13,440 --> 01:07:17,080
Speaker 2: was going to dominate every two step barbecue in the

1226
01:07:17,240 --> 01:07:19,120
Speaker 2: history of black gatherings.

1227
01:07:19,040 --> 01:07:21,040
Speaker 1: Of all time when that record was Yeah, I went

1228
01:07:21,080 --> 01:07:23,280
Speaker 1: I we was working on that record, me and the

1229
01:07:23,360 --> 01:07:25,040
Speaker 1: Drama cat Horn. When we was working on that record,

1230
01:07:25,480 --> 01:07:31,440
Speaker 1: it felt so so so good to me that it

1231
01:07:31,680 --> 01:07:35,680
Speaker 1: was like I couldn't believe that the vibe on it

1232
01:07:36,040 --> 01:07:39,240
Speaker 1: that was that man and had so much emptiness love

1233
01:07:39,400 --> 01:07:41,680
Speaker 1: that was there. It's just it was so you know,

1234
01:07:42,640 --> 01:07:45,200
Speaker 1: it was it's the spacing of it was just great.

1235
01:07:45,240 --> 01:07:46,680
Speaker 1: And I didn't know it was going to be around

1236
01:07:46,720 --> 01:07:49,040
Speaker 1: that long, but I know it felt so good to me,

1237
01:07:49,480 --> 01:07:51,040
Speaker 1: and it was sounded like the best record at that

1238
01:07:51,280 --> 01:07:53,160
Speaker 1: when that album to me was sound like that was

1239
01:07:53,200 --> 01:07:56,200
Speaker 1: the best record to me. But you know, and then

1240
01:07:56,240 --> 01:07:58,320
Speaker 1: it just everybody started sampling and using it.

1241
01:07:58,560 --> 01:08:02,240
Speaker 2: Did you did you guys work on both versions, like

1242
01:08:02,320 --> 01:08:04,680
Speaker 2: the remix and this album version at the same time.

1243
01:08:06,440 --> 01:08:08,640
Speaker 1: No, so you did the remix in.

1244
01:08:08,680 --> 01:08:12,439
Speaker 3: Hindsight after the album was done, And yes, okay, that's

1245
01:08:12,560 --> 01:08:14,520
Speaker 3: that's what I wanted to know. Yes, all right, I

1246
01:08:14,600 --> 01:08:16,880
Speaker 3: have a question about you dropped the bomb on me. Okay,

1247
01:08:18,680 --> 01:08:20,600
Speaker 3: So American.

1248
01:08:20,200 --> 01:08:25,080
Speaker 2: Music Awards nineteen eighty two, you guys are performing you

1249
01:08:25,240 --> 01:08:29,320
Speaker 2: dropped the Bomb on Me. Now I'm watching this on

1250
01:08:29,800 --> 01:08:32,759
Speaker 2: a small black and white television Quest Love Supreme listeners.

1251
01:08:32,800 --> 01:08:37,960
Speaker 3: At one time, everything wasn't in plaid. Wait, don't say wow,

1252
01:08:38,080 --> 01:08:41,160
Speaker 3: like you know, I'm just I remembering, all right, Oh

1253
01:08:41,280 --> 01:08:43,559
Speaker 3: thank you. I thought you're trying to disassociate yourself from

1254
01:08:43,640 --> 01:08:44,080
Speaker 3: my age.

1255
01:08:44,920 --> 01:08:45,360
Speaker 1: Anyway.

1256
01:08:45,760 --> 01:08:53,840
Speaker 2: Wow, At the last twenty seconds of that performance, something

1257
01:08:54,000 --> 01:08:56,880
Speaker 2: so miraculous happened, and I cannot believe.

1258
01:08:56,640 --> 01:09:00,920
Speaker 1: The world didn't rave over it. I thought it was you.

1259
01:09:01,280 --> 01:09:03,040
Speaker 3: I think he told me he was your trumpet player.

1260
01:09:04,720 --> 01:09:11,040
Speaker 3: Someone did the moonwalk, and I'm looking at my mom

1261
01:09:11,080 --> 01:09:11,280
Speaker 3: and my.

1262
01:09:11,360 --> 01:09:12,840
Speaker 1: Dad, like do you see us?

1263
01:09:12,880 --> 01:09:15,080
Speaker 2: He's walking like this is this is a year before

1264
01:09:15,120 --> 01:09:18,680
Speaker 2: Michael Jackson did at Motown twenty five.

1265
01:09:19,200 --> 01:09:21,400
Speaker 1: At the very end, either was it you? Was it? Now?

1266
01:09:21,439 --> 01:09:23,040
Speaker 1: I was this kid that I found. His name was

1267
01:09:23,120 --> 01:09:26,920
Speaker 1: Baby Gap, and I named him Baby Gap. Okay, yeah,

1268
01:09:26,960 --> 01:09:29,560
Speaker 1: because he's also dancing on Beeper Free. Okay, now it

1269
01:09:29,680 --> 01:09:32,320
Speaker 1: makes sense. Yeah, okay, maybe he had the same outfit

1270
01:09:32,400 --> 01:09:32,600
Speaker 1: on you.

1271
01:09:32,720 --> 01:09:35,680
Speaker 2: But literally he just grabs the mic stand and he

1272
01:09:35,840 --> 01:09:39,480
Speaker 2: does just the most exaggerated moonwalk, like even more exaggerated

1273
01:09:39,520 --> 01:09:40,320
Speaker 2: than Michael Jackson.

1274
01:09:41,160 --> 01:09:42,840
Speaker 1: And I was like, how's the world not seeing this

1275
01:09:43,000 --> 01:09:43,360
Speaker 1: right now?

1276
01:09:43,479 --> 01:09:43,920
Speaker 2: Like why?

1277
01:09:44,200 --> 01:09:46,320
Speaker 3: And the next day in school was like, did y'all

1278
01:09:46,320 --> 01:09:48,560
Speaker 3: see this? They're like it was like snuffle up. I guess, like,

1279
01:09:48,720 --> 01:09:53,080
Speaker 3: no one believe me. He was walking backwards, but from okay.

1280
01:09:53,040 --> 01:09:56,720
Speaker 1: Yeah, it's and the way it's like, I don't want

1281
01:09:56,720 --> 01:09:59,120
Speaker 1: to deflate Michaels, but he used to come to the

1282
01:09:59,200 --> 01:10:03,240
Speaker 1: shows and in the corner on the stage still and

1283
01:10:03,439 --> 01:10:06,360
Speaker 1: watched and watched and watched watch baby Gap do it

1284
01:10:06,479 --> 01:10:08,880
Speaker 1: and how he did it and everything, and but that

1285
01:10:09,040 --> 01:10:12,040
Speaker 1: told story was never never told. So it's all y'all

1286
01:10:12,120 --> 01:10:12,639
Speaker 1: did it first?

1287
01:10:13,720 --> 01:10:16,000
Speaker 8: That's a moonwalk battle. Then because dude from Shallamar he

1288
01:10:16,080 --> 01:10:17,200
Speaker 8: claims that he created it.

1289
01:10:17,240 --> 01:10:20,840
Speaker 1: Too, I mean he, yes, he did. Daniels went to

1290
01:10:20,960 --> 01:10:21,240
Speaker 1: this house.

1291
01:10:21,320 --> 01:10:24,160
Speaker 3: But I'm telling you, if they did it on the

1292
01:10:24,200 --> 01:10:26,840
Speaker 3: American Music World, then I'm like, then they must have

1293
01:10:26,880 --> 01:10:29,439
Speaker 3: been doing it a lot. Yeah, and the world must

1294
01:10:29,479 --> 01:10:29,840
Speaker 3: have seen it.

1295
01:10:30,200 --> 01:10:33,720
Speaker 2: But they That was the first time I saw a

1296
01:10:33,760 --> 01:10:36,800
Speaker 2: commercial artist, not like a dancer on soul Trae or whatever.

1297
01:10:37,520 --> 01:10:41,639
Speaker 1: It was the first time it was uh nationally and national. Yes,

1298
01:10:42,080 --> 01:10:44,639
Speaker 1: scene was by us, Yes, and we was the first

1299
01:10:45,360 --> 01:10:48,080
Speaker 1: on that particular show. Was the first black artist to

1300
01:10:48,160 --> 01:10:51,280
Speaker 1: ever have pyro as well, Yes, we had power and

1301
01:10:51,320 --> 01:10:53,720
Speaker 1: the other only Somebody's had power was Kissed and then

1302
01:10:53,760 --> 01:10:55,599
Speaker 1: they just were saying that we couldn't use the Pyro.

1303
01:10:55,760 --> 01:10:57,960
Speaker 1: And then that's when line said, well, well why does

1304
01:10:58,040 --> 01:11:00,920
Speaker 1: kiss use the Pyro? And the guy was like, m

1305
01:11:01,960 --> 01:11:04,800
Speaker 1: so we're using Pyro, you ain't get the band. So

1306
01:11:05,000 --> 01:11:07,040
Speaker 1: it was like one of those shook night moves and

1307
01:11:07,120 --> 01:11:10,840
Speaker 1: so we so we had Pyro. It was the first

1308
01:11:10,880 --> 01:11:12,960
Speaker 1: ones to have that on American musical black.

1309
01:11:13,680 --> 01:11:16,160
Speaker 2: I don't know if it's just contractual whatever, but for

1310
01:11:16,280 --> 01:11:19,960
Speaker 2: some reason, Gap Being five is nowhere to be found,

1311
01:11:20,200 --> 01:11:25,400
Speaker 2: like not on streaming, not on reissues. Is it was

1312
01:11:25,479 --> 01:11:28,200
Speaker 2: that just like a in your eyes like a still

1313
01:11:28,280 --> 01:11:31,719
Speaker 2: born child or it's party Trade was on that album

1314
01:11:31,760 --> 01:11:34,880
Speaker 2: and yeah, it's like the Big Records was there and.

1315
01:11:35,439 --> 01:11:39,519
Speaker 1: I'm ready, you're ready, Like yeah, that's it's so hard

1316
01:11:39,560 --> 01:11:45,840
Speaker 1: to find. Yeah, it's I don't quite no, it's just

1317
01:11:46,280 --> 01:11:49,479
Speaker 1: it's yeah, it's like control it with Gold. It was

1318
01:11:49,600 --> 01:11:55,360
Speaker 1: just like, is Loney Simmons still alive now or he

1319
01:11:55,520 --> 01:11:58,519
Speaker 1: is still alive from my us for my knowledge, yes.

1320
01:11:58,760 --> 01:12:01,000
Speaker 2: So does he still control the Masters and all that?

1321
01:12:01,040 --> 01:12:01,160
Speaker 1: And that?

1322
01:12:01,479 --> 01:12:04,439
Speaker 3: Like no, so he sold it out, Okay, it's probably

1323
01:12:04,479 --> 01:12:07,439
Speaker 3: through Universal. So now we gotta get to I'll Find

1324
01:12:07,479 --> 01:12:13,920
Speaker 3: My Baby? Yeah, so was I Found My Baby?

1325
01:12:14,040 --> 01:12:14,720
Speaker 1: Was that a song?

1326
01:12:14,800 --> 01:12:18,160
Speaker 3: Where was it like accidental where it's like you realize, like,

1327
01:12:18,200 --> 01:12:20,519
Speaker 3: oh man, I did the same song already or was

1328
01:12:20,560 --> 01:12:23,240
Speaker 3: it intentionally trying to follow up outstanding?

1329
01:12:23,479 --> 01:12:26,640
Speaker 1: Well, it wasn't my idea to do that, but it

1330
01:12:26,840 --> 01:12:30,120
Speaker 1: was somebody's idea. It's like, give me another of course.

1331
01:12:30,200 --> 01:12:33,920
Speaker 1: And uh, and I was telling him like, dude, listen,

1332
01:12:34,640 --> 01:12:36,479
Speaker 1: that record is already too big. You want to you

1333
01:12:36,520 --> 01:12:38,680
Speaker 1: don't want to fool or that shoe is big. Put

1334
01:12:38,720 --> 01:12:41,479
Speaker 1: your foot in that shoe. It's a sass twenty two now,

1335
01:12:42,080 --> 01:12:44,360
Speaker 1: whereas Sae ten is not gonna fit. He didn't understand

1336
01:12:44,360 --> 01:12:46,320
Speaker 1: what I was talking about, but he tried it, So

1337
01:12:46,439 --> 01:12:49,080
Speaker 1: I tried it with him. And and uh, I don't

1338
01:12:49,080 --> 01:12:51,400
Speaker 1: know if you remember the video. Do you remember the I.

1339
01:12:51,439 --> 01:12:55,160
Speaker 2: Remember where someone kid was missing? They were handing out flyers.

1340
01:12:55,320 --> 01:12:59,240
Speaker 1: Yeah? Yeah, But did you see the street version, I

1341
01:12:59,320 --> 01:13:01,920
Speaker 1: mean while we was in the street doing thehocography. Did

1342
01:13:01,960 --> 01:13:04,000
Speaker 1: you see the news clip when I got knocked out?

1343
01:13:05,160 --> 01:13:08,320
Speaker 1: You never seen that, boy?

1344
01:13:08,800 --> 01:13:12,599
Speaker 3: I see, I remember it long ago on video jukebox.

1345
01:13:12,880 --> 01:13:14,320
Speaker 3: Wait you got knocked out?

1346
01:13:14,760 --> 01:13:21,120
Speaker 1: Yeah? Man, so what so so listen, we're we're we're

1347
01:13:21,120 --> 01:13:23,080
Speaker 1: going down the street. All the whole group is going.

1348
01:13:25,760 --> 01:13:28,080
Speaker 1: So baby Gap is flipping. He's supposed to flip, right,

1349
01:13:28,439 --> 01:13:31,240
Speaker 1: so he's flipping and so when I back up, I

1350
01:13:31,280 --> 01:13:33,479
Speaker 1: don't like when he comes right down on the top

1351
01:13:33,560 --> 01:13:38,479
Speaker 1: of my head with his flip, and uh, man, I

1352
01:13:38,640 --> 01:13:40,120
Speaker 1: was just out. I was.

1353
01:13:40,360 --> 01:13:41,520
Speaker 2: I was more embarrassed.

1354
01:13:41,720 --> 01:13:44,599
Speaker 1: I was more embarrassed that I hit this concrete than anything.

1355
01:13:44,920 --> 01:13:46,840
Speaker 1: And I was still on the video. I don't know

1356
01:13:46,960 --> 01:13:48,599
Speaker 1: they they didn't care, but it was on the news.

1357
01:13:53,040 --> 01:13:55,640
Speaker 1: It was on the news because the news cameras there

1358
01:13:55,680 --> 01:13:57,560
Speaker 1: because we had shut the street down and so the

1359
01:13:57,640 --> 01:14:01,880
Speaker 1: news was there and they called it on it. And anyway,

1360
01:14:02,240 --> 01:14:05,880
Speaker 1: I remember laying there, uh and I was like, and

1361
01:14:06,000 --> 01:14:08,960
Speaker 1: I watched everybody feet come, but I was I was

1362
01:14:09,040 --> 01:14:11,200
Speaker 1: more embarrassed to get up than anything. So I just

1363
01:14:11,360 --> 01:14:11,800
Speaker 1: laid there.

1364
01:14:13,200 --> 01:14:16,960
Speaker 2: So, Okay, there's there's there's another song on the Gap

1365
01:14:17,040 --> 01:14:20,000
Speaker 2: Being six record that I've been dying to know about,

1366
01:14:20,200 --> 01:14:23,400
Speaker 2: probably Boss Bill too, not Be for Freak. I love

1367
01:14:23,479 --> 01:14:25,719
Speaker 2: be for Freak By the way you do that, dude,

1368
01:14:25,760 --> 01:14:30,559
Speaker 2: that was a soul trained staple. Wow, that's my song. However,

1369
01:14:31,960 --> 01:14:34,960
Speaker 2: a very interesting song and an even more interesting video.

1370
01:14:35,920 --> 01:14:39,719
Speaker 2: Now I had to do some purple investigation and purple

1371
01:14:39,840 --> 01:14:46,160
Speaker 2: investigation in oh, I know where you're going. Well, I

1372
01:14:46,240 --> 01:14:49,519
Speaker 2: forgot about this until just now. Yes, so there's a

1373
01:14:49,640 --> 01:14:56,080
Speaker 2: song called Disrespectful that has a very interesting video, yes, yes,

1374
01:14:57,240 --> 01:15:03,840
Speaker 2: depicting y'all killing the stage and this rather height challenged

1375
01:15:04,840 --> 01:15:08,599
Speaker 2: height challenged the rock star with the bouffont and these

1376
01:15:08,600 --> 01:15:13,960
Speaker 2: two big bodyguards acting disrespectful. Oh, I will never forget

1377
01:15:14,000 --> 01:15:18,240
Speaker 2: this video. The second I saw Alan Leeds, I was like, yo,

1378
01:15:18,439 --> 01:15:21,240
Speaker 2: did Prince and Charlie Wilson ever have beef for something?

1379
01:15:21,280 --> 01:15:23,679
Speaker 2: Because what's the Have you ever seen the Disrespectful video?

1380
01:15:24,760 --> 01:15:28,519
Speaker 2: It's like it's it's it's animated, it's not even lyric

1381
01:15:28,600 --> 01:15:30,240
Speaker 2: it's I don't even think there's lyrics to it. It's

1382
01:15:30,280 --> 01:15:32,559
Speaker 2: sort of like almost like they're there.

1383
01:15:32,640 --> 01:15:35,120
Speaker 3: Let's take it to the stage songwhere he's talking smack

1384
01:15:36,240 --> 01:15:39,080
Speaker 3: And so I asked Alan Leeds, Princess tour manager at

1385
01:15:39,120 --> 01:15:40,720
Speaker 3: the time. I was like, okay, So the song came

1386
01:15:40,760 --> 01:15:45,479
Speaker 3: out in eighty four, I said, did something happen between

1387
01:15:45,560 --> 01:15:47,559
Speaker 3: Prince and Charlie Wilson that made the song come up

1388
01:15:47,640 --> 01:15:51,800
Speaker 3: like disrespectful and Alan couldn't remember. He's like, I don't know,

1389
01:15:51,920 --> 01:15:55,000
Speaker 3: it's maybe Charlie wanted to sing on stage with Prince

1390
01:15:55,040 --> 01:15:55,400
Speaker 3: is something?

1391
01:15:55,920 --> 01:15:58,480
Speaker 1: What is what is the origin of disrespectful?

1392
01:15:59,320 --> 01:16:02,599
Speaker 2: And can I assume that it was directed?

1393
01:16:03,600 --> 01:16:08,120
Speaker 1: You had your chance chance to dance to disrespect you

1394
01:16:08,200 --> 01:16:10,759
Speaker 1: won't let me on? But what happened?

1395
01:16:10,960 --> 01:16:14,720
Speaker 2: Well, I love Prince man, we all love Prince and

1396
01:16:15,120 --> 01:16:15,360
Speaker 2: this is.

1397
01:16:15,360 --> 01:16:17,920
Speaker 3: The hindsight and this song, this song is thirty years ago,

1398
01:16:18,000 --> 01:16:21,920
Speaker 3: so yeah it's and so hey, man, see this beef

1399
01:16:21,960 --> 01:16:22,639
Speaker 3: we can talk about.

1400
01:16:26,800 --> 01:16:30,760
Speaker 1: I mean, we always talked about He's always like, man,

1401
01:16:30,840 --> 01:16:33,519
Speaker 1: it's my favorite band and all of that. And and

1402
01:16:33,600 --> 01:16:37,240
Speaker 1: then once I saw him, I treated some young kids

1403
01:16:37,320 --> 01:16:39,760
Speaker 1: and and it was just like, how is it. I

1404
01:16:39,880 --> 01:16:42,840
Speaker 1: was like, you're not gonna even You're not gonna even

1405
01:16:42,880 --> 01:16:44,759
Speaker 1: take the picture, or you're not going I was looking.

1406
01:16:44,840 --> 01:16:47,160
Speaker 1: I was like that's wrong. And then it was like

1407
01:16:47,439 --> 01:16:52,080
Speaker 1: I've seen things happen, and I've seen it was like

1408
01:16:53,920 --> 01:16:55,880
Speaker 1: you walk past me and don't say nothing, and you

1409
01:16:56,040 --> 01:16:58,360
Speaker 1: are just like and then we're supposed to do some

1410
01:16:58,520 --> 01:17:01,400
Speaker 1: stuff together and and you change your mind and it's

1411
01:17:01,479 --> 01:17:03,599
Speaker 1: like I had me all hyped, and it's like, okay,

1412
01:17:03,720 --> 01:17:05,720
Speaker 1: so it's like I gotta get at you. I got

1413
01:17:05,960 --> 01:17:10,200
Speaker 1: I gotta gone on cut you now. I'm about to

1414
01:17:10,280 --> 01:17:12,840
Speaker 1: cut you, naster because I know you. I know you

1415
01:17:13,320 --> 01:17:15,960
Speaker 1: am I to cut you now, see, And so you know.

1416
01:17:16,640 --> 01:17:25,120
Speaker 1: And then somebody from my clique, some crew members, he

1417
01:17:25,360 --> 01:17:28,680
Speaker 1: called and I think my room was something, and some

1418
01:17:28,920 --> 01:17:31,840
Speaker 1: crew members answered the phone. I had already left, and

1419
01:17:32,200 --> 01:17:35,800
Speaker 1: and they said something that was to him that was

1420
01:17:35,920 --> 01:17:39,439
Speaker 1: not right. And I fired those guys because when they

1421
01:17:39,479 --> 01:17:43,000
Speaker 1: said what they said, I fired him right on the spot.

1422
01:17:43,120 --> 01:17:44,960
Speaker 1: But they shouldn't have said that. And I think he

1423
01:17:45,040 --> 01:17:50,400
Speaker 1: might have took offense to that too, so and hey man,

1424
01:17:51,400 --> 01:17:55,080
Speaker 1: but anyway, but it's just we never not not not

1425
01:17:55,240 --> 01:18:01,800
Speaker 1: got along. And he was just like Steve, you got

1426
01:18:01,800 --> 01:18:02,360
Speaker 1: the big head.

1427
01:18:03,760 --> 01:18:06,080
Speaker 8: But anyway, y'all never had to come to Jesus moment

1428
01:18:06,160 --> 01:18:07,120
Speaker 8: either though, No.

1429
01:18:07,439 --> 01:18:11,519
Speaker 1: Not not really. I mean, we could have, we could have,

1430
01:18:11,760 --> 01:18:14,360
Speaker 1: but at the time I was I was in my

1431
01:18:14,479 --> 01:18:21,519
Speaker 1: disease of getting high and and it's like and he

1432
01:18:21,760 --> 01:18:24,800
Speaker 1: was waiting on me, and I said, I'm coming, I

1433
01:18:24,920 --> 01:18:31,320
Speaker 1: promise you. Wow, I beat up and you're coming from

1434
01:18:31,840 --> 01:18:40,240
Speaker 1: jump up, coming up on my way so five minutes

1435
01:18:40,280 --> 01:18:41,920
Speaker 1: turned into whatever. So when I did get there, he

1436
01:18:42,040 --> 01:18:46,280
Speaker 1: was already gone and and so got me back. So

1437
01:18:46,360 --> 01:18:49,719
Speaker 1: when we played the glam Slam Prince coming Down, I said, okay,

1438
01:18:51,040 --> 01:18:53,120
Speaker 1: I forgot about when I was getting high, but I

1439
01:18:53,200 --> 01:18:55,640
Speaker 1: was sober the ends all waiting and I think he

1440
01:18:55,680 --> 01:18:57,160
Speaker 1: probably thought I was doing it on purpose. That was

1441
01:18:57,240 --> 01:19:00,720
Speaker 1: not on purpose. It's like, hey, So I sit there,

1442
01:19:01,080 --> 01:19:03,960
Speaker 1: looked at the door, the bodygup, still there with his headphone.

1443
01:19:04,200 --> 01:19:07,479
Speaker 1: I says, coming, see hey, coming. He's notorious for that though. Yeah.

1444
01:19:08,040 --> 01:19:10,599
Speaker 1: So finally I looked at the hallway and gone. Everybody

1445
01:19:10,720 --> 01:19:12,519
Speaker 1: was going in the building. I was like, then, I

1446
01:19:12,600 --> 01:19:15,280
Speaker 1: thought back like two years ago. I was like, uh,

1447
01:19:16,080 --> 01:19:20,040
Speaker 1: you got okay. So I never got a chance to

1448
01:19:20,040 --> 01:19:21,680
Speaker 1: talk to him. I sent message to him about it

1449
01:19:21,760 --> 01:19:23,960
Speaker 1: after I was sober so many years. Hey, man, that

1450
01:19:24,120 --> 01:19:25,000
Speaker 1: wasn't done on purpose.

1451
01:19:25,080 --> 01:19:29,000
Speaker 8: Man, you know that's a part of the process, right yeah, yeah,

1452
01:19:29,160 --> 01:19:29,679
Speaker 8: so hey.

1453
01:19:29,960 --> 01:19:33,680
Speaker 1: And then but anyway, I would leave him alone right

1454
01:19:33,720 --> 01:19:36,000
Speaker 1: now because I got cut up talking about him one time.

1455
01:19:36,320 --> 01:19:37,840
Speaker 1: Fans told me up, So I don't want to go

1456
01:19:37,960 --> 01:19:41,360
Speaker 1: back through that. I'm alive. I testify and tell people

1457
01:19:41,439 --> 01:19:44,960
Speaker 1: that I'm always on drugs and that that that's why

1458
01:19:45,000 --> 01:19:46,479
Speaker 1: I'm alive. I remember you.

1459
01:19:46,640 --> 01:19:48,400
Speaker 3: Uh it was this was a couple of years ago

1460
01:19:48,479 --> 01:19:52,160
Speaker 3: when Casey and Jojo had their reality show and you

1461
01:19:52,240 --> 01:19:55,400
Speaker 3: were talking to them just about sobriety, and you told

1462
01:19:55,439 --> 01:19:57,320
Speaker 3: them straight up, just like, listen, this is You're gonna

1463
01:19:57,320 --> 01:19:59,719
Speaker 3: be out on tour and it's gonna be someone offering

1464
01:19:59,760 --> 01:20:01,280
Speaker 3: you a drink and you ain't gonna be.

1465
01:20:01,280 --> 01:20:02,880
Speaker 1: Able to say no, you able to turn it down?

1466
01:20:03,439 --> 01:20:06,240
Speaker 3: How have you Because at the time when when we met,

1467
01:20:06,400 --> 01:20:08,400
Speaker 3: this was years ago at the Grammys in twenty ten

1468
01:20:08,720 --> 01:20:11,080
Speaker 3: and you were performing at the Pretails and when this

1469
01:20:11,160 --> 01:20:14,200
Speaker 3: was when my bandformn Exchange No nominated and we met

1470
01:20:14,280 --> 01:20:16,400
Speaker 3: real briefly and then you performed at the Pretails and

1471
01:20:16,520 --> 01:20:18,760
Speaker 3: killed it. And I remember at the end you was like,

1472
01:20:18,800 --> 01:20:21,120
Speaker 3: you know, I beat prostate cancer. I got twenty years sober,

1473
01:20:21,200 --> 01:20:24,519
Speaker 3: like you was just going in. So how have you

1474
01:20:24,960 --> 01:20:28,160
Speaker 3: you know, enable to tour and everything? How what is

1475
01:20:28,240 --> 01:20:30,040
Speaker 3: that daily walk of sobriety.

1476
01:20:29,760 --> 01:20:31,200
Speaker 1: Like for you? I got my wife with me, so

1477
01:20:31,360 --> 01:20:37,479
Speaker 1: she's she's a rehab and so we Uh it's just

1478
01:20:37,680 --> 01:20:41,519
Speaker 1: like and for so many years she was, I guess

1479
01:20:41,720 --> 01:20:44,479
Speaker 1: known as the enemy and because she was just stopping

1480
01:20:44,479 --> 01:20:46,960
Speaker 1: the don't matter family, people don't matter. How long have

1481
01:20:47,040 --> 01:20:50,120
Speaker 1: you guys been married? Twenty two wow, every single day,

1482
01:20:50,200 --> 01:20:52,840
Speaker 1: twenty four hours a day we were together. But it's

1483
01:20:52,960 --> 01:20:55,720
Speaker 1: like it's like when she told me she would be

1484
01:20:56,040 --> 01:21:01,080
Speaker 1: with me, you know, and whatever, no matter what that that.

1485
01:21:01,439 --> 01:21:04,519
Speaker 1: I was young when I was heard those words, but

1486
01:21:05,200 --> 01:21:09,280
Speaker 1: you know, within young being like wanting to be in

1487
01:21:09,360 --> 01:21:12,519
Speaker 1: love with somebody, for real love you. So when I

1488
01:21:12,600 --> 01:21:15,360
Speaker 1: finally got it, I understood it, and so I just

1489
01:21:15,439 --> 01:21:17,760
Speaker 1: let her have the way of whatever it is. You know, hey, man,

1490
01:21:19,160 --> 01:21:23,600
Speaker 1: who is that? Now? There's no backstage. I don't care

1491
01:21:23,640 --> 01:21:26,720
Speaker 1: who it is. And so people used to come and

1492
01:21:26,760 --> 01:21:29,040
Speaker 1: sneak things and hide them in my hand. I'm like, man,

1493
01:21:29,080 --> 01:21:31,000
Speaker 1: I don't get high no more. I heard that, But

1494
01:21:31,080 --> 01:21:32,400
Speaker 1: why are you putting it in my head? If you

1495
01:21:32,479 --> 01:21:32,800
Speaker 1: heard that?

1496
01:21:33,000 --> 01:21:33,160
Speaker 6: You know?

1497
01:21:33,320 --> 01:21:35,320
Speaker 1: So after that, she heard me say that, so she

1498
01:21:35,840 --> 01:21:39,759
Speaker 1: she cut everybody, didn't matter who it was. Kids don't matter.

1499
01:21:39,920 --> 01:21:40,000
Speaker 6: No.

1500
01:21:42,640 --> 01:21:43,200
Speaker 1: Now, y'all right?

1501
01:21:43,280 --> 01:21:45,840
Speaker 8: Because a tribune or is she writing songs? You guys

1502
01:21:45,880 --> 01:21:48,840
Speaker 8: write songs together, and then she writes because the record

1503
01:21:48,920 --> 01:21:50,000
Speaker 8: she's like every.

1504
01:21:49,920 --> 01:21:52,840
Speaker 1: Song, Yeah, she's writing with me. Now she's like, because

1505
01:21:52,880 --> 01:21:56,400
Speaker 1: I sometimes I have problems, you know, trying to figure

1506
01:21:56,439 --> 01:21:59,120
Speaker 1: out what I want to say, and she's she has

1507
01:21:59,600 --> 01:22:01,640
Speaker 1: something used to say and she writes them from me.

1508
01:22:01,680 --> 01:22:06,280
Speaker 1: And like if I'm singing the vocals or something, and

1509
01:22:07,160 --> 01:22:09,640
Speaker 1: I'm coming and I'm I'm going down, I'm getting my

1510
01:22:09,680 --> 01:22:12,240
Speaker 1: things on. I'm really I'm getting going into it as

1511
01:22:12,240 --> 01:22:14,719
Speaker 1: far as I'm concerned. Then I look up and she's

1512
01:22:14,760 --> 01:22:19,559
Speaker 1: talking to the engineer and I'm looking. I'm like, dude,

1513
01:22:19,880 --> 01:22:22,519
Speaker 1: you're not shopping, so you push the button. Man, we

1514
01:22:22,640 --> 01:22:25,160
Speaker 1: got to start over. I'm like, start over, man, you're serious.

1515
01:22:25,640 --> 01:22:29,040
Speaker 1: She's like a man, Hey, talk to your wife. She said,

1516
01:22:29,080 --> 01:22:34,280
Speaker 1: you ain't put it down right enough.

1517
01:22:34,320 --> 01:22:36,280
Speaker 2: So I'm like, wow, that's the better half of you.

1518
01:22:36,439 --> 01:22:37,200
Speaker 2: Bet that's bet half.

1519
01:22:37,280 --> 01:22:39,000
Speaker 1: So that was the first time when I first heard that,

1520
01:22:39,080 --> 01:22:41,800
Speaker 1: I was like, wow, can I just get warmed up first,

1521
01:22:41,840 --> 01:22:45,160
Speaker 1: I'm just getting warmed up. She's like, no, you're gonna sing.

1522
01:22:45,280 --> 01:22:46,000
Speaker 1: You sang so.

1523
01:22:50,760 --> 01:22:54,439
Speaker 2: So obviously, as music fans and geeks that we are,

1524
01:22:55,000 --> 01:22:58,679
Speaker 2: you know, a lot of the stuff that we're talking

1525
01:22:58,680 --> 01:23:01,000
Speaker 2: about with you, you know, these are like the highlights

1526
01:23:01,040 --> 01:23:03,599
Speaker 2: of our lives. But I mean, for every person's highlight

1527
01:23:04,040 --> 01:23:08,960
Speaker 2: that could have been your personal hell. How you know

1528
01:23:09,080 --> 01:23:12,840
Speaker 2: I've read the the part of your life when you

1529
01:23:13,439 --> 01:23:17,600
Speaker 2: were homeless, and like how how does it get to

1530
01:23:17,720 --> 01:23:21,800
Speaker 2: that point where it's just like like what was that

1531
01:23:21,880 --> 01:23:25,120
Speaker 2: first night light, that first night like for you?

1532
01:23:25,439 --> 01:23:28,120
Speaker 1: When well, first of all, you don't probably you don't

1533
01:23:28,120 --> 01:23:29,800
Speaker 1: thank you that you're homeless, conseider, You might be at

1534
01:23:29,800 --> 01:23:32,160
Speaker 1: somebody how smoking all night. You might be somebody. You're

1535
01:23:32,200 --> 01:23:34,600
Speaker 1: just there and some some some spot. You know what

1536
01:23:34,640 --> 01:23:38,040
Speaker 1: I'm saying, You there, and then then the next day

1537
01:23:38,800 --> 01:23:42,400
Speaker 1: you ain't even like nowhere to I left that spot,

1538
01:23:42,479 --> 01:23:43,880
Speaker 1: so I ain't got well I'm gonna go. So you

1539
01:23:44,040 --> 01:23:46,080
Speaker 1: just there and because of who you are, you could

1540
01:23:46,120 --> 01:23:49,280
Speaker 1: be there, uh follow me or don't even register that

1541
01:23:49,400 --> 01:23:53,080
Speaker 1: your you don't register that way until you feel guilty.

1542
01:23:53,439 --> 01:23:55,400
Speaker 1: And you're gonna leave out of there right now. If

1543
01:23:55,439 --> 01:23:57,439
Speaker 1: you leave out of there, now where you're going? So

1544
01:23:57,680 --> 01:23:59,519
Speaker 1: now at nighttime you can probably get in any of

1545
01:23:59,520 --> 01:24:03,920
Speaker 1: those doings dope door dope pimps, who's ever doors because

1546
01:24:03,960 --> 01:24:06,720
Speaker 1: they know who I am and so and after you

1547
01:24:07,160 --> 01:24:08,760
Speaker 1: think you can wear your welcome at thin, then you

1548
01:24:08,840 --> 01:24:13,920
Speaker 1: go somewhere cton and pretty soon at the end of

1549
01:24:13,960 --> 01:24:16,120
Speaker 1: the day. Then where you're going to because I didn't

1550
01:24:16,280 --> 01:24:18,880
Speaker 1: move by day. It was at a nine night, you know,

1551
01:24:20,080 --> 01:24:23,040
Speaker 1: and so and so if you left there, then where

1552
01:24:23,040 --> 01:24:26,840
Speaker 1: you're going. So after you found the found some cool

1553
01:24:26,920 --> 01:24:29,600
Speaker 1: place to lay down and nobody's looking at you. So

1554
01:24:29,760 --> 01:24:33,920
Speaker 1: that's where you did it. Off. Somebody was homeless and

1555
01:24:34,040 --> 01:24:40,160
Speaker 1: they had some perfect spot in between some shopping carts

1556
01:24:41,040 --> 01:24:44,000
Speaker 1: and put that brick there and put a little piece

1557
01:24:44,040 --> 01:24:46,720
Speaker 1: of carpet and they said, go in there and put

1558
01:24:46,760 --> 01:24:49,320
Speaker 1: stuff around it so nobody could see. It was me

1559
01:24:49,439 --> 01:24:51,200
Speaker 1: in there. And that's that's where I slept.

1560
01:24:51,880 --> 01:24:55,360
Speaker 3: And how does it go from Because we spoke briefly

1561
01:24:55,479 --> 01:24:57,960
Speaker 3: off air when you were saying, how y'all weren't really

1562
01:24:58,000 --> 01:25:00,320
Speaker 3: making a lot of money off the total experience.

1563
01:25:00,080 --> 01:25:01,960
Speaker 1: Of money or none?

1564
01:25:02,320 --> 01:25:06,439
Speaker 3: I an't no money, but so was this was pretty

1565
01:25:06,479 --> 01:25:08,839
Speaker 3: much the only source of income just from touring and shows.

1566
01:25:09,479 --> 01:25:10,320
Speaker 1: I ain handle income.

1567
01:25:10,840 --> 01:25:14,439
Speaker 2: Wow, So not even the sampling of outstanding.

1568
01:25:13,880 --> 01:25:16,679
Speaker 1: Back in the day it was oncoming.

1569
01:25:16,760 --> 01:25:24,160
Speaker 2: So jesus, wow, man, I see wow. Well my questions

1570
01:25:24,200 --> 01:25:25,679
Speaker 2: I will read the fine print.

1571
01:25:26,520 --> 01:25:26,640
Speaker 1: Uh.

1572
01:25:26,880 --> 01:25:29,160
Speaker 3: One question I have for you was in regards to

1573
01:25:29,280 --> 01:25:31,920
Speaker 3: like covers of your songs when people cover your stuff.

1574
01:25:33,000 --> 01:25:35,680
Speaker 3: Two of some of my favorite gap band songs I've

1575
01:25:35,720 --> 01:25:37,880
Speaker 3: discovered through the cover and then I went back and

1576
01:25:37,920 --> 01:25:41,120
Speaker 3: heard the original and uh, Mary Mary Jay she covered

1577
01:25:41,200 --> 01:25:44,160
Speaker 3: I'm in Love and then Jacket Edge they covered Wednesday

1578
01:25:44,200 --> 01:25:44,439
Speaker 3: Love Her.

1579
01:25:45,080 --> 01:25:46,680
Speaker 1: What did you think of those covers? I thought they

1580
01:25:46,720 --> 01:25:48,720
Speaker 1: were great, But what do you as the songwriter? You think?

1581
01:25:48,760 --> 01:25:52,720
Speaker 1: It's like it's it made me feel proud. I mean,

1582
01:25:52,760 --> 01:25:55,519
Speaker 1: when there's another generation is recording your records. I was

1583
01:25:55,600 --> 01:25:59,360
Speaker 1: just really happy about the fact that that and then married.

1584
01:25:59,439 --> 01:26:01,400
Speaker 1: So I know, million or two read records off of

1585
01:26:01,439 --> 01:26:03,800
Speaker 1: that had albums and saw my brother he was the

1586
01:26:03,880 --> 01:26:08,160
Speaker 1: primary writer, so he was happy and because they actually

1587
01:26:08,479 --> 01:26:11,320
Speaker 1: he got paid. But at that time some kind of way,

1588
01:26:11,360 --> 01:26:17,800
Speaker 1: he was doing his thing. And but Jacket Edge, of course,

1589
01:26:18,200 --> 01:26:21,160
Speaker 1: that was another group that was had I hadn't, I

1590
01:26:21,200 --> 01:26:26,400
Speaker 1: guess inspired. So I was happy about that that somebody

1591
01:26:26,520 --> 01:26:28,639
Speaker 1: was recording now records. I mean I could re record

1592
01:26:28,680 --> 01:26:31,000
Speaker 1: those records. I mean I can say that you were

1593
01:26:31,000 --> 01:26:33,559
Speaker 1: already done. You don't go back and redo your own records.

1594
01:26:33,640 --> 01:26:36,519
Speaker 1: I just didn't feel that way unless you was doing

1595
01:26:36,600 --> 01:26:43,120
Speaker 1: it for published another The ownership of the songs you

1596
01:26:43,200 --> 01:26:45,240
Speaker 1: can record them and just there now they belong to you,

1597
01:26:45,439 --> 01:26:49,479
Speaker 1: you know, the re recorded version. Yeah, but I was,

1598
01:26:49,600 --> 01:26:51,479
Speaker 1: I was. I enjoyed, man, I was glad that people

1599
01:26:51,520 --> 01:26:54,240
Speaker 1: were doing it. You know, I wasn't angry at all.

1600
01:26:54,360 --> 01:26:56,000
Speaker 3: In two thousand and four, I think it was two

1601
01:26:56,000 --> 01:26:58,080
Speaker 3: thousand and four you covered less Chill.

1602
01:26:58,600 --> 01:27:03,640
Speaker 1: Yeah, fool people with that. I put it on and

1603
01:27:03,680 --> 01:27:08,360
Speaker 1: they're like, remember right right, Well, the reason I did

1604
01:27:08,400 --> 01:27:10,080
Speaker 1: it is because he had done Yearning that one time.

1605
01:27:10,120 --> 01:27:12,880
Speaker 1: They did like, this is one of my favorite record,

1606
01:27:12,920 --> 01:27:15,880
Speaker 1: So I'll do this one, and I just did it.

1607
01:27:17,120 --> 01:27:18,680
Speaker 8: Do you have like, because I know you've done a

1608
01:27:18,720 --> 01:27:21,040
Speaker 8: lot of features, do you have number one? Have you

1609
01:27:21,160 --> 01:27:24,000
Speaker 8: said no? And is there requirements in your mind to

1610
01:27:24,120 --> 01:27:25,040
Speaker 8: what you will not do?

1611
01:27:26,720 --> 01:27:33,840
Speaker 1: Uh? I've been pretty I've stayed uh in my lane

1612
01:27:33,840 --> 01:27:40,200
Speaker 1: pretty much, meaning uh you know R and B adult contemporary,

1613
01:27:40,240 --> 01:27:42,960
Speaker 1: and that lane is you know, I paved the way

1614
01:27:43,040 --> 01:27:50,360
Speaker 1: of somewhat nobody was really you know before that lane

1615
01:27:50,520 --> 01:27:53,439
Speaker 1: was just really like being used a lot. Now I

1616
01:27:53,560 --> 01:27:55,640
Speaker 1: think we came in there and just busted the place up,

1617
01:27:55,720 --> 01:27:59,080
Speaker 1: and uh so I've been very happy there. And uh,

1618
01:27:59,680 --> 01:28:01,160
Speaker 1: I don't think I would just be trying to do

1619
01:28:01,320 --> 01:28:05,400
Speaker 1: hip hop record. So although I've sang on a lot

1620
01:28:05,400 --> 01:28:08,240
Speaker 1: of hip hop records, but Charlie Wilson, I don't think

1621
01:28:08,240 --> 01:28:09,920
Speaker 1: I would be doing on hip hop record or something

1622
01:28:09,960 --> 01:28:11,479
Speaker 1: for some twelve year olds. I can't. What is that

1623
01:28:11,600 --> 01:28:13,400
Speaker 1: for me? Right? That's okay? And I won't do that.

1624
01:28:14,200 --> 01:28:16,840
Speaker 1: And like people, well.

1625
01:28:18,360 --> 01:28:21,800
Speaker 2: I was young, now young man, I was a kid.

1626
01:28:22,000 --> 01:28:23,760
Speaker 2: I'm basically, but it won't be.

1627
01:28:23,880 --> 01:28:25,719
Speaker 8: Young Charlie Wilson like, now we're.

1628
01:28:25,600 --> 01:28:27,599
Speaker 1: Not doing that. I wouldn't. I wouldn't. I wouldn't cross

1629
01:28:27,800 --> 01:28:30,439
Speaker 1: that line. And to try to do do it for what,

1630
01:28:30,720 --> 01:28:34,639
Speaker 1: you know, it's like to disappoint the fans that buy

1631
01:28:34,680 --> 01:28:37,759
Speaker 1: the physical sales all the time for me or download

1632
01:28:37,800 --> 01:28:39,519
Speaker 1: the streams for me. They I mean, why would I

1633
01:28:39,600 --> 01:28:41,559
Speaker 1: do that? Now? I would go and sing with an

1634
01:28:41,560 --> 01:28:46,040
Speaker 1: e mail or you know, you know, tied of the

1635
01:28:46,120 --> 01:28:48,200
Speaker 1: curator or just you know, because they asked me to

1636
01:28:48,240 --> 01:28:50,680
Speaker 1: come sing on some records, I'll do that and and

1637
01:28:50,840 --> 01:28:55,080
Speaker 1: and basically their fans are buying their not my fans

1638
01:28:55,120 --> 01:28:58,439
Speaker 1: ain't going to try to look for see what I'm saying.

1639
01:28:58,760 --> 01:29:01,679
Speaker 1: So in that moment, what I'm gonna be what Tyler

1640
01:29:01,760 --> 01:29:04,559
Speaker 1: want me to be at that moment. So whatever, whatever

1641
01:29:04,560 --> 01:29:08,040
Speaker 1: I'm saying, whatever it is, then that's what we're doing

1642
01:29:08,120 --> 01:29:10,760
Speaker 1: together at that moment. He's on the ground. Anyways, he

1643
01:29:10,800 --> 01:29:12,920
Speaker 1: got his own friend about to say, he's got his

1644
01:29:13,000 --> 01:29:13,479
Speaker 1: own following.

1645
01:29:15,280 --> 01:29:18,920
Speaker 2: So how surreal is it to I mean, you've done

1646
01:29:19,000 --> 01:29:22,080
Speaker 2: something that not many rappers have been able to do.

1647
01:29:22,320 --> 01:29:29,280
Speaker 2: You've actually transcended generations of hip hop artists, whereas you know,

1648
01:29:30,120 --> 01:29:33,040
Speaker 2: doing the stuff with Snoop and and and and Death

1649
01:29:33,120 --> 01:29:37,640
Speaker 2: Row Family then and now even twenty five years after that,

1650
01:29:38,479 --> 01:29:41,400
Speaker 2: still going strong with stuff on Kanye's record and.

1651
01:29:41,880 --> 01:29:46,040
Speaker 1: Working for Yeah, for Snoop, A girl, that girl that

1652
01:29:47,280 --> 01:29:47,599
Speaker 1: and Bush.

1653
01:29:47,680 --> 01:29:50,479
Speaker 2: Yeah. Yeah, So I mean, how how surreal is Are

1654
01:29:50,520 --> 01:29:54,280
Speaker 2: you ever surprised now when you get a call like from.

1655
01:29:54,160 --> 01:29:57,640
Speaker 1: A nineteen year old Yeah? Yeah, I mean I was.

1656
01:29:57,840 --> 01:29:59,920
Speaker 1: I've turned a few of them down. I was like, man,

1657
01:30:00,000 --> 01:30:02,400
Speaker 1: and I know it's like they said, but he's up

1658
01:30:02,439 --> 01:30:04,679
Speaker 1: and coming. I said, I'm up, still up and coming,

1659
01:30:04,720 --> 01:30:06,880
Speaker 1: but I'm not gonna be I'm not coming over there.

1660
01:30:07,800 --> 01:30:09,560
Speaker 1: So it's just like, just give me a minute to

1661
01:30:09,680 --> 01:30:11,560
Speaker 1: just take a moment to relax and breathe. Let me

1662
01:30:11,600 --> 01:30:13,800
Speaker 1: see what it is that this guy's doing, this kid's doing.

1663
01:30:14,040 --> 01:30:15,400
Speaker 1: You know what I'm saying. I just don't want to

1664
01:30:15,439 --> 01:30:18,080
Speaker 1: be the hook guy for every up and coming guy.

1665
01:30:18,200 --> 01:30:21,280
Speaker 1: So it's like, you know, I mean, I'll, I mean,

1666
01:30:21,400 --> 01:30:25,240
Speaker 1: I gotta understand what the worth is here and for people, man,

1667
01:30:25,320 --> 01:30:27,000
Speaker 1: you just would you do it for me? And now

1668
01:30:27,040 --> 01:30:28,479
Speaker 1: when they asked me what I do it for me?

1669
01:30:28,560 --> 01:30:31,519
Speaker 1: Then I think about, Okay, what I'm lending to them.

1670
01:30:31,600 --> 01:30:33,200
Speaker 1: I was like, this would be great for the kid,

1671
01:30:33,280 --> 01:30:35,519
Speaker 1: and he wants to It's something he gonna never forget.

1672
01:30:35,880 --> 01:30:38,640
Speaker 1: And that's the reason why I say yeah, Because if

1673
01:30:38,680 --> 01:30:40,160
Speaker 1: I go to a room where a nineteen year old

1674
01:30:40,240 --> 01:30:43,040
Speaker 1: kid and her mama or his mama always talked about me,

1675
01:30:43,040 --> 01:30:44,680
Speaker 1: and they listened to all the records that I've done

1676
01:30:44,680 --> 01:30:47,519
Speaker 1: with Kanye or for Real or Snoop or you know

1677
01:30:47,880 --> 01:30:51,360
Speaker 1: or whoever you know, Master p Ye back in those days,

1678
01:30:51,560 --> 01:30:53,599
Speaker 1: whoever it was, you know, so they get a chance

1679
01:30:53,640 --> 01:30:57,000
Speaker 1: to have that same thing. So then I start obliging

1680
01:30:57,320 --> 01:30:59,519
Speaker 1: because I would think about what I felt like when

1681
01:30:59,520 --> 01:31:02,040
Speaker 1: somebody was turned me down. And so that's the reason

1682
01:31:02,040 --> 01:31:04,479
Speaker 1: why I go this is also a good problem to have, though.

1683
01:31:04,880 --> 01:31:06,519
Speaker 1: It's a good problem because if they don't call you

1684
01:31:06,600 --> 01:31:07,720
Speaker 1: at all, and then where you be.

1685
01:31:08,520 --> 01:31:11,439
Speaker 2: Do you do you now feel as though you're in

1686
01:31:12,560 --> 01:31:14,559
Speaker 2: somewhat of endangered species territory?

1687
01:31:14,880 --> 01:31:21,960
Speaker 3: Because singing right now isn't really a factor in black

1688
01:31:22,080 --> 01:31:25,000
Speaker 3: music now, because I mean, if you thought the talk

1689
01:31:25,080 --> 01:31:26,559
Speaker 3: box was cheating an auto tune?

1690
01:31:26,680 --> 01:31:27,559
Speaker 1: Is you know what I mean?

1691
01:31:27,920 --> 01:31:27,960
Speaker 6: Like?

1692
01:31:28,080 --> 01:31:30,880
Speaker 1: What is that then? Talent? I mean words?

1693
01:31:31,320 --> 01:31:36,960
Speaker 2: I mean just basic things that melody structure. Yeah, it's

1694
01:31:37,120 --> 01:31:41,400
Speaker 2: it's it's almost as if it's kind of like the

1695
01:31:41,439 --> 01:31:44,360
Speaker 2: Things Fall Apart story with the Warrior, the very skilled

1696
01:31:44,439 --> 01:31:45,559
Speaker 2: warrior comes back.

1697
01:31:45,439 --> 01:31:47,920
Speaker 3: To its homeland and don't even recognize it. It sees

1698
01:31:48,000 --> 01:31:51,720
Speaker 3: that you know, it's it's changed. So I mean, do

1699
01:31:51,840 --> 01:31:54,320
Speaker 3: you now feel do you sen? Do you do you

1700
01:31:54,400 --> 01:31:57,639
Speaker 3: sing with a sense of purpose that like there's only

1701
01:31:57,640 --> 01:32:01,240
Speaker 3: a few of us left. There's you, There's Ronald Eisley.

1702
01:32:01,000 --> 01:32:03,240
Speaker 1: There's Stevie. Stevie.

1703
01:32:03,560 --> 01:32:07,560
Speaker 2: I mean, how do you how do you feel just

1704
01:32:07,680 --> 01:32:16,000
Speaker 2: in terms of your craft and where it stands now

1705
01:32:16,240 --> 01:32:22,120
Speaker 2: in twenty sixteen, Whereas personally you're fine, but just as

1706
01:32:22,920 --> 01:32:25,759
Speaker 2: an art and the craft itself and where we're singing

1707
01:32:25,880 --> 01:32:31,800
Speaker 2: and the traditional black singing is concerned might be an

1708
01:32:31,920 --> 01:32:34,160
Speaker 2: endangered species, Like do you have thoughts about that?

1709
01:32:34,640 --> 01:32:36,560
Speaker 1: I have never I haven't really really thought about it

1710
01:32:36,640 --> 01:32:39,920
Speaker 1: in that way, but I I do sing to protect

1711
01:32:39,960 --> 01:32:42,760
Speaker 1: the brand. I protect my brand and protect the R

1712
01:32:42,800 --> 01:32:45,519
Speaker 1: and B vibe of my life. That's what it is.

1713
01:32:45,640 --> 01:32:48,880
Speaker 1: And R and B I sing to protect that. And

1714
01:32:49,080 --> 01:32:51,599
Speaker 1: for those who are who can't get that done, then

1715
01:32:51,600 --> 01:32:53,120
Speaker 1: I'm the only one out here doing it, and so

1716
01:32:53,240 --> 01:32:56,280
Speaker 1: I have to protect it. And I go hard every

1717
01:32:56,320 --> 01:32:57,760
Speaker 1: time I go, and may try to make sure I'm

1718
01:32:57,800 --> 01:33:00,479
Speaker 1: correct with it and not to try to to let

1719
01:33:00,560 --> 01:33:04,680
Speaker 1: the the our community down of of of R and

1720
01:33:04,800 --> 01:33:07,360
Speaker 1: B and and what it is. And you haven't trust me,

1721
01:33:07,439 --> 01:33:11,439
Speaker 1: you haven't, you know. I just I'm just trying to

1722
01:33:11,439 --> 01:33:13,920
Speaker 1: protect the brand. Man, It's my brand first and then

1723
01:33:14,360 --> 01:33:16,760
Speaker 1: and then of course you know, I know how it

1724
01:33:17,000 --> 01:33:20,840
Speaker 1: is what it is now this day, even compared to

1725
01:33:21,120 --> 01:33:23,320
Speaker 1: like a couple of years ago, a few years ago,

1726
01:33:23,920 --> 01:33:26,880
Speaker 1: or ten years ago, it's totally different now. And if

1727
01:33:26,920 --> 01:33:29,920
Speaker 1: you're not smart enough to to grasp all what's going

1728
01:33:29,960 --> 01:33:32,439
Speaker 1: on now, man, you're gonna definitely be left behind. And

1729
01:33:32,560 --> 01:33:36,360
Speaker 1: so hey, man, streaming is in and and you know,

1730
01:33:36,680 --> 01:33:39,360
Speaker 1: come on, man, anybody oh forty years or fifty years

1731
01:33:39,360 --> 01:33:43,080
Speaker 1: old ain't streaming. Basically they are screaming, but they ain't streaming.

1732
01:33:45,680 --> 01:33:49,320
Speaker 1: What are they streaming? They're not even that They're giving

1733
01:33:49,360 --> 01:33:53,640
Speaker 1: it stuff to their granddaughter to come on, man, this

1734
01:33:53,760 --> 01:33:56,240
Speaker 1: is the technology is moving fast. And if you're not

1735
01:33:56,400 --> 01:33:58,640
Speaker 1: moving fast with the technology and things with things are

1736
01:33:58,680 --> 01:34:00,839
Speaker 1: being done. I mean I have an number one gospel

1737
01:34:00,880 --> 01:34:04,400
Speaker 1: record now because of the way things are done. I

1738
01:34:04,960 --> 01:34:08,479
Speaker 1: was number one, Timber, that's I'm blessed. There was number

1739
01:34:08,600 --> 01:34:10,840
Speaker 1: debuted number one, and you got these gospels. Some of

1740
01:34:10,880 --> 01:34:12,960
Speaker 1: these gospel always been on the Choice for twenty nine weeks,

1741
01:34:13,080 --> 01:34:15,679
Speaker 1: peaking at number four, and then I debut at number one. Hello.

1742
01:34:16,040 --> 01:34:17,880
Speaker 8: So is it safe to say, on the back of

1743
01:34:17,960 --> 01:34:19,960
Speaker 8: his question that if you when you are working with

1744
01:34:20,040 --> 01:34:22,519
Speaker 8: certain R and B or soul artists, that they must

1745
01:34:22,600 --> 01:34:24,280
Speaker 8: be the ship thing, because then you look at Laila

1746
01:34:24,360 --> 01:34:26,320
Speaker 8: half the way you picked Layla, you pick Robin Thick.

1747
01:34:26,520 --> 01:34:28,280
Speaker 8: So in your mind, these are people who to you

1748
01:34:29,000 --> 01:34:30,960
Speaker 8: might be on that line of longevity.

1749
01:34:31,240 --> 01:34:31,280
Speaker 6: No.

1750
01:34:31,840 --> 01:34:33,840
Speaker 1: I only picked those people because they always wanted to

1751
01:34:33,840 --> 01:34:35,880
Speaker 1: sing with me, and I just never gave. I never

1752
01:34:35,960 --> 01:34:38,000
Speaker 1: had the time to put them on. And so when

1753
01:34:38,080 --> 01:34:40,559
Speaker 1: I was making these records, I started naming the people

1754
01:34:40,600 --> 01:34:42,640
Speaker 1: that said, ask me what I sing with him, and

1755
01:34:42,720 --> 01:34:43,439
Speaker 1: so that's what I did.

1756
01:34:43,920 --> 01:34:45,120
Speaker 8: So you still got a little bit of a list

1757
01:34:45,240 --> 01:34:46,080
Speaker 8: left to them, I'm.

1758
01:34:45,960 --> 01:34:48,800
Speaker 2: Sure because a lot of people we ain't done the

1759
01:34:49,479 --> 01:34:54,040
Speaker 2: Charlie Wilson, I haven't.

1760
01:34:54,000 --> 01:34:57,160
Speaker 1: Haven't got you that for yet. It's like it's I

1761
01:34:57,240 --> 01:34:58,880
Speaker 1: have I have a lot a lot of people I

1762
01:34:58,960 --> 01:35:01,439
Speaker 1: still want to work with. It's like I asked, I

1763
01:35:01,520 --> 01:35:02,120
Speaker 1: asked quests.

1764
01:35:02,560 --> 01:35:05,920
Speaker 8: He just I don't know if you heard. He just said, yeah,

1765
01:35:05,960 --> 01:35:06,759
Speaker 8: last I asked.

1766
01:35:06,560 --> 01:35:09,240
Speaker 1: Him, last one that did. Oh, what's gonna happen? Yeah,

1767
01:35:09,479 --> 01:35:11,600
Speaker 1: I asked him when we did what the foul in

1768
01:35:11,640 --> 01:35:13,599
Speaker 1: the last time? I said, man, we got to get

1769
01:35:13,640 --> 01:35:15,200
Speaker 1: this record done and said, you got it. We're gonna

1770
01:35:15,240 --> 01:35:15,720
Speaker 1: get that done.

1771
01:35:16,640 --> 01:35:19,000
Speaker 2: Done that yet you got You gotta understand that the

1772
01:35:19,080 --> 01:35:21,960
Speaker 2: first time he came and sat in with us, there

1773
01:35:22,080 --> 01:35:25,200
Speaker 2: wasn't even introductions, like we were just versing the songs,

1774
01:35:25,320 --> 01:35:31,799
Speaker 2: like recapitulating his songs. Uh, and then he just stormed.

1775
01:35:31,960 --> 01:35:33,880
Speaker 2: He stormed in our room like the kool Aide man,

1776
01:35:34,000 --> 01:35:49,479
Speaker 2: like through the wall and just grabbed them. It was

1777
01:35:49,560 --> 01:35:50,040
Speaker 2: something like that.

1778
01:35:50,240 --> 01:35:54,640
Speaker 1: Yeah, you came in like theola. It wasn't even not

1779
01:35:54,760 --> 01:35:57,519
Speaker 1: Because you gotta understand you know the way they play,

1780
01:35:57,840 --> 01:35:59,840
Speaker 1: and this room is small. And when I walked in

1781
01:36:00,120 --> 01:36:02,479
Speaker 1: was no that you should you should hear how it sounds.

1782
01:36:02,520 --> 01:36:05,320
Speaker 1: And we've been in there everything is will sound like

1783
01:36:05,360 --> 01:36:06,760
Speaker 1: a freaking record up from there, you know.

1784
01:36:06,800 --> 01:36:08,400
Speaker 2: I'm like, hey, man, that we got got right on

1785
01:36:08,520 --> 01:36:11,000
Speaker 2: top of that. I was like, hey, he to be

1786
01:36:11,240 --> 01:36:19,400
Speaker 2: like sound that things sounded good?

1787
01:36:19,439 --> 01:36:21,240
Speaker 1: It ain't no lie he do. He hadn't sounded so

1788
01:36:21,320 --> 01:36:22,320
Speaker 1: good up and then I got to go on on

1789
01:36:22,479 --> 01:36:25,880
Speaker 1: give him some props on that, and and uh, you know,

1790
01:36:26,240 --> 01:36:28,120
Speaker 1: you know all those guys, you know, Chris got all

1791
01:36:28,160 --> 01:36:29,760
Speaker 1: those guys. Man, those guys is playing up and there

1792
01:36:29,800 --> 01:36:32,880
Speaker 1: they're not fooling around you. And and so to hear

1793
01:36:32,960 --> 01:36:35,120
Speaker 1: that back like that, and then they had a vocal

1794
01:36:35,200 --> 01:36:38,200
Speaker 1: on that. Yet I just went in, not even warming

1795
01:36:38,280 --> 01:36:40,560
Speaker 1: up a little bit, warming up downstairs and uh and

1796
01:36:40,680 --> 01:36:42,080
Speaker 1: down the hall, and I just went in on it

1797
01:36:42,160 --> 01:36:45,400
Speaker 1: and so and he's already recording and then uh he

1798
01:36:45,400 --> 01:36:47,760
Speaker 1: had and they said get that. So it was.

1799
01:36:47,920 --> 01:36:50,880
Speaker 3: It was the greatest entrance of all time. There was

1800
01:36:50,920 --> 01:36:59,679
Speaker 3: no first name, Charlie, last name. I always was curious about.

1801
01:37:00,280 --> 01:37:03,439
Speaker 3: I'm gonna get your sucker and the red Yeah, I'm

1802
01:37:03,439 --> 01:37:05,559
Speaker 3: Gonna Get your Tucker and you're so cute.

1803
01:37:05,600 --> 01:37:09,680
Speaker 1: I really like like ever like UV for us? How

1804
01:37:09,720 --> 01:37:11,880
Speaker 1: did that come about? How did you? We were in Uh,

1805
01:37:11,960 --> 01:37:14,960
Speaker 1: we was in the studio and I forgot about I'm

1806
01:37:14,960 --> 01:37:17,559
Speaker 1: Gonna Get Your Sucker. Movie was going and uh they

1807
01:37:17,600 --> 01:37:20,680
Speaker 1: asked us a duel. Could we do this soundtrack? But

1808
01:37:20,800 --> 01:37:24,720
Speaker 1: then they said you only have a few hours. Oh good?

1809
01:37:25,560 --> 01:37:26,240
Speaker 2: Oh yeah. Man.

1810
01:37:26,280 --> 01:37:28,040
Speaker 1: It was like it's like, okay, we want you to

1811
01:37:28,120 --> 01:37:29,600
Speaker 1: do it. But I said, they don't really want us

1812
01:37:29,640 --> 01:37:31,760
Speaker 1: to do that. Man, see you got like two hours

1813
01:37:31,800 --> 01:37:35,040
Speaker 1: to do it. You say no, said. They probably said, well,

1814
01:37:35,360 --> 01:37:37,479
Speaker 1: they can't do it right. When this one was about

1815
01:37:37,600 --> 01:37:39,439
Speaker 1: this is over on drugs, They're not gonna be able

1816
01:37:39,439 --> 01:37:41,000
Speaker 1: to do it, everybody said get the gap be in.

1817
01:37:41,080 --> 01:37:44,200
Speaker 1: It's like because you know, uh, the Wayne brothers, they

1818
01:37:44,320 --> 01:37:46,800
Speaker 1: you know, it's like get the gap bed, you know,

1819
01:37:46,920 --> 01:37:49,599
Speaker 1: to do it. They said, well, okay, but give them

1820
01:37:49,600 --> 01:37:51,920
Speaker 1: two hours to do it. I said, be back, and

1821
01:37:52,000 --> 01:37:54,000
Speaker 1: I was like we started on the vibe. I was like,

1822
01:37:54,120 --> 01:37:59,120
Speaker 1: be back, be back in two hours. And so I

1823
01:38:08,080 --> 01:38:10,679
Speaker 1: mean when they came back within an hour, the guy

1824
01:38:10,880 --> 01:38:13,800
Speaker 1: was like, are you kidding me? It's like, no, man,

1825
01:38:13,840 --> 01:38:16,120
Speaker 1: push play, and then it was like I didn't really mind.

1826
01:38:16,160 --> 01:38:17,840
Speaker 1: I just turned around walked off because I knew that

1827
01:38:18,000 --> 01:38:20,519
Speaker 1: you was You're trying to you know, you're trying to

1828
01:38:20,600 --> 01:38:24,560
Speaker 1: underestimate me man. So me and my brothers was like,

1829
01:38:24,680 --> 01:38:27,240
Speaker 1: let's got the thing done and then the next record?

1830
01:38:28,280 --> 01:38:30,000
Speaker 1: Can you give another one? You don't know, no timeframe

1831
01:38:30,040 --> 01:38:31,639
Speaker 1: on it. Can you give another record? I was like yeah.

1832
01:38:32,200 --> 01:38:34,000
Speaker 1: When I was at the house there and had the

1833
01:38:34,040 --> 01:38:36,920
Speaker 1: studio inside the front room, and then and I wanted

1834
01:38:36,960 --> 01:38:41,439
Speaker 1: to play move again so bad bed bed bend compete

1835
01:38:43,760 --> 01:38:45,560
Speaker 1: if you did you know that thing I wanted to

1836
01:38:45,640 --> 01:38:54,439
Speaker 1: play and you know, yes, yeah, never ever So I

1837
01:38:55,120 --> 01:38:56,680
Speaker 1: did that one and and hand that one in and

1838
01:38:56,760 --> 01:38:59,599
Speaker 1: they was like, we love them both, and so give

1839
01:38:59,640 --> 01:39:00,479
Speaker 1: me my day money.

1840
01:39:01,880 --> 01:39:04,880
Speaker 3: Wait a minute before we stopped, I totally forgot weada

1841
01:39:04,960 --> 01:39:05,920
Speaker 3: mentioned Mercedes Boy.

1842
01:39:06,240 --> 01:39:08,720
Speaker 1: Oh yeah yeah.

1843
01:39:08,960 --> 01:39:12,679
Speaker 2: What what was that experience like? Because I initially thought

1844
01:39:13,520 --> 01:39:16,439
Speaker 2: Ellien Face did it when? And I forgot that you

1845
01:39:16,520 --> 01:39:19,320
Speaker 2: were you wrote that? Was she your artist first?

1846
01:39:19,520 --> 01:39:31,880
Speaker 1: Or thank you so much? I got to figure it out.

1847
01:39:33,000 --> 01:39:36,200
Speaker 1: I did. I'm sorry. That was a great song. I

1848
01:39:36,360 --> 01:39:38,120
Speaker 1: was a great song. And that was your first pop

1849
01:39:38,280 --> 01:39:40,960
Speaker 1: I mean your first top ten. Yeah, and then and

1850
01:39:41,040 --> 01:39:44,160
Speaker 1: then you know, basketball was so cool. And then after

1851
01:39:44,200 --> 01:39:48,280
Speaker 1: she had went there, I caught pneumonia. Well I caught

1852
01:39:48,320 --> 01:39:51,840
Speaker 1: pneumonia and I went down and then she had met them,

1853
01:39:51,960 --> 01:39:56,200
Speaker 1: and then she was so she was initially your artist.

1854
01:39:56,640 --> 01:40:00,360
Speaker 2: Well we were, yeah, had the time, Okay, okay, So

1855
01:40:01,080 --> 01:40:03,160
Speaker 2: and then you intended on producing that whole.

1856
01:40:03,439 --> 01:40:05,920
Speaker 1: I produced the whole album. I did produce. The only

1857
01:40:06,000 --> 01:40:09,360
Speaker 1: thing they put was girl girlfriend and another record that

1858
01:40:10,080 --> 01:40:11,000
Speaker 1: had one that was it.

1859
01:40:11,520 --> 01:40:13,360
Speaker 8: No shade, but baby Face said it was another whole

1860
01:40:13,400 --> 01:40:15,240
Speaker 8: big dude, not that I'm just just it was a

1861
01:40:15,280 --> 01:40:18,880
Speaker 8: big she had another never mind she was popular.

1862
01:40:19,920 --> 01:40:27,000
Speaker 2: Yeah, yeah, yeahs yeah.

1863
01:40:29,040 --> 01:40:32,400
Speaker 8: The people because they heard the banker was you know.

1864
01:40:32,680 --> 01:40:35,280
Speaker 1: I rolling right now? Is everything right now?

1865
01:40:35,880 --> 01:40:36,120
Speaker 9: That was.

1866
01:40:37,720 --> 01:40:39,800
Speaker 1: Why he just killed any chances we had getting pebbles

1867
01:40:39,800 --> 01:40:44,000
Speaker 1: on the show. Thank you. Yeah, So you did that record?

1868
01:40:44,040 --> 01:40:46,280
Speaker 1: You did? I did the whole. I did the whole album.

1869
01:40:46,560 --> 01:40:51,360
Speaker 1: Have we uh everything? Any definite questions? Yeah? I was,

1870
01:40:51,439 --> 01:40:54,720
Speaker 1: yeah the dog father like how because you was all

1871
01:40:54,880 --> 01:40:56,000
Speaker 1: over that album.

1872
01:40:56,080 --> 01:40:58,599
Speaker 3: And to me, that was when I guess I won't

1873
01:40:58,640 --> 01:41:00,400
Speaker 3: say come back, but I mean because that wasn't a

1874
01:41:00,479 --> 01:41:03,920
Speaker 3: very successful record with Snoop, but that was it was great. Yeah, yeah,

1875
01:41:04,360 --> 01:41:07,120
Speaker 3: it was shot up his boss Bill for even bringing

1876
01:41:07,200 --> 01:41:09,840
Speaker 3: that back into my parameter because I think none of

1877
01:41:09,960 --> 01:41:12,760
Speaker 3: us gave the dog Fill a chance because of like

1878
01:41:13,960 --> 01:41:15,479
Speaker 3: doing this giving a chance.

1879
01:41:15,560 --> 01:41:18,559
Speaker 2: Yeah, Dre wasn't on it, and because New like consciously

1880
01:41:18,600 --> 01:41:20,840
Speaker 2: turned down the whole gangster element of the record, right.

1881
01:41:20,760 --> 01:41:22,639
Speaker 1: And it was and I went back to it. It's

1882
01:41:22,680 --> 01:41:25,800
Speaker 1: a great record. It's a really great record. And I

1883
01:41:25,880 --> 01:41:27,439
Speaker 1: was like, man, Charlie all over this, he's singing his

1884
01:41:27,520 --> 01:41:29,960
Speaker 1: ass off. How did you you guys hook up at

1885
01:41:30,000 --> 01:41:32,760
Speaker 1: that time? Well, me and Snoop was up, and of course,

1886
01:41:32,880 --> 01:41:37,920
Speaker 1: you know, we were close. And I met him in

1887
01:41:38,040 --> 01:41:44,200
Speaker 1: ninety five, ninety five, ninety six, and that time I

1888
01:41:44,360 --> 01:41:47,080
Speaker 1: was just getting clean, sober, and I was just been

1889
01:41:47,160 --> 01:41:50,519
Speaker 1: in his life since then. But while I was getting sober,

1890
01:41:51,400 --> 01:41:54,280
Speaker 1: I was sober and just you know, my new life.

1891
01:41:54,840 --> 01:41:57,040
Speaker 1: I'm living out this new life. In the beginning parts

1892
01:41:57,080 --> 01:42:02,160
Speaker 1: of it, I'm with him and my wife, Snoop. I'm

1893
01:42:02,479 --> 01:42:05,280
Speaker 1: a Snoop. I'm sorry, you guys can smoke that around.

1894
01:42:10,880 --> 01:42:13,360
Speaker 1: He was like, what it's like, you got to put

1895
01:42:13,400 --> 01:42:16,400
Speaker 1: that out everybody? It was park everybody. She made everybody

1896
01:42:16,479 --> 01:42:18,280
Speaker 1: put it out. He's not coming in there. You got

1897
01:42:18,360 --> 01:42:21,320
Speaker 1: to put it all out. So uh, just a beautiful thing.

1898
01:42:21,439 --> 01:42:26,000
Speaker 1: So we I was there and I just started singing

1899
01:42:26,040 --> 01:42:29,559
Speaker 1: with him, and of course I just took over where

1900
01:42:31,080 --> 01:42:33,439
Speaker 1: Nate Dogg you know, left off, and basically, you know,

1901
01:42:34,240 --> 01:42:37,360
Speaker 1: it was that whole thing was falling aparts, basically, and

1902
01:42:38,960 --> 01:42:41,519
Speaker 1: me and Nate was to do to do a record together.

1903
01:42:41,680 --> 01:42:46,639
Speaker 1: That never happened. That great. We never got a chance.

1904
01:42:46,680 --> 01:42:49,320
Speaker 1: And he asked me like a couple of few times,

1905
01:42:49,360 --> 01:42:51,479
Speaker 1: and I was like, okay, let's do it. I was,

1906
01:42:51,520 --> 01:42:53,720
Speaker 1: of course, you know, I'm beginning to start working now,

1907
01:42:53,800 --> 01:42:56,320
Speaker 1: and of and I didn't get a chance to get

1908
01:42:56,360 --> 01:42:59,840
Speaker 1: back over there fast enough. And uh we talked on

1909
01:42:59,880 --> 01:43:01,640
Speaker 1: the phone. I said we're gonna do it. Let's do

1910
01:43:01,720 --> 01:43:05,960
Speaker 1: it next week and he said okay. Then he had

1911
01:43:05,960 --> 01:43:10,320
Speaker 1: a struck. Damn wow. I missed that, man. I missed

1912
01:43:10,360 --> 01:43:13,000
Speaker 1: that dude. He was very and he had some great

1913
01:43:13,040 --> 01:43:15,200
Speaker 1: ideas of how we could do it too, and it

1914
01:43:15,360 --> 01:43:18,040
Speaker 1: would have been the bomb, his vocal sound and my

1915
01:43:18,160 --> 01:43:21,479
Speaker 1: little sound. It was just been like, are there any

1916
01:43:21,520 --> 01:43:26,200
Speaker 1: other collaborations that we could I did. I was real

1917
01:43:26,320 --> 01:43:28,720
Speaker 1: pocket that was there and when the day I was

1918
01:43:29,160 --> 01:43:33,120
Speaker 1: in the studio and I think he had just mentioned

1919
01:43:33,160 --> 01:43:35,280
Speaker 1: my name with like three seconds, and I opened the

1920
01:43:35,360 --> 01:43:38,200
Speaker 1: door and when they turned around, everybody was jumping up

1921
01:43:38,200 --> 01:43:40,040
Speaker 1: and down and I was like, what's going on. I'm

1922
01:43:40,080 --> 01:43:42,080
Speaker 1: looking around and he was like, I just called your

1923
01:43:42,200 --> 01:43:45,120
Speaker 1: name just now. If Charlie Wilson was here, we could

1924
01:43:45,479 --> 01:43:48,240
Speaker 1: fuck this place then and now. And I was like,

1925
01:43:48,320 --> 01:43:49,960
Speaker 1: he said, I got this idea, listened to it and

1926
01:43:50,000 --> 01:43:52,080
Speaker 1: I was like, wow, that's one of mine. He was like, yeah, yeah,

1927
01:43:52,080 --> 01:43:54,240
Speaker 1: we're flipping it. And he said can you do this?

1928
01:43:54,360 --> 01:43:58,320
Speaker 1: When I was like yeah, but I mean it was

1929
01:43:58,880 --> 01:44:00,920
Speaker 1: snoopy in three minutes, can't do it in three And

1930
01:44:01,000 --> 01:44:03,720
Speaker 1: I said I'll do it. And I went over there

1931
01:44:03,840 --> 01:44:11,519
Speaker 1: with snooping and again after that again then Park got

1932
01:44:11,600 --> 01:44:14,400
Speaker 1: killed and you know after that.

1933
01:44:15,439 --> 01:44:21,519
Speaker 2: Wow, So what's the future for Uncle Charlie Wilson. Do

1934
01:44:21,600 --> 01:44:23,479
Speaker 2: you like us when we call you Uncle Charlie Wilson?

1935
01:44:23,560 --> 01:44:31,479
Speaker 1: That's good? Well, yeah, it's okay, man, I listen quest man.

1936
01:44:31,560 --> 01:44:35,280
Speaker 1: I just I'm just so blessed to be here at

1937
01:44:36,200 --> 01:44:38,640
Speaker 1: now of what I'm doing now, it doesn't matter what

1938
01:44:38,760 --> 01:44:44,439
Speaker 1: it is. I'm the only guy that's ever come out

1939
01:44:44,479 --> 01:44:47,280
Speaker 1: of a group that late to try to do something

1940
01:44:47,360 --> 01:44:50,719
Speaker 1: solo because everybody turned me down. And it was like, dude,

1941
01:44:50,760 --> 01:44:52,760
Speaker 1: come on, are you serious. I'm like yeah, but I

1942
01:44:52,840 --> 01:44:55,639
Speaker 1: mean that was really where it's way past the actual

1943
01:44:56,280 --> 01:44:58,160
Speaker 1: you know, of trying to do something that I thought

1944
01:44:58,160 --> 01:45:00,639
Speaker 1: would happen, and it ended up having and in any way,

1945
01:45:00,680 --> 01:45:03,439
Speaker 1: and I've been having number one since then and since

1946
01:45:03,520 --> 01:45:06,479
Speaker 1: two thousand and seventeen already, so every year I was

1947
01:45:06,520 --> 01:45:11,000
Speaker 1: putting out a record, so almost you know. So, but

1948
01:45:11,160 --> 01:45:15,280
Speaker 1: but it's I don't know what's what's what's for me next? Man?

1949
01:45:15,360 --> 01:45:17,240
Speaker 1: I just I just thank god. I just go from

1950
01:45:17,320 --> 01:45:20,800
Speaker 1: day to day and and my management, P music group,

1951
01:45:20,840 --> 01:45:26,080
Speaker 1: my compare and led by him, and and you know,

1952
01:45:26,240 --> 01:45:29,720
Speaker 1: it's just you know, and Sonya Mickel and and and

1953
01:45:29,880 --> 01:45:32,960
Speaker 1: that whole staff and and Michael and everybody is just

1954
01:45:33,600 --> 01:45:36,120
Speaker 1: doing things for me and and I just get up

1955
01:45:36,160 --> 01:45:37,519
Speaker 1: when they put it together. I get up and go

1956
01:45:37,600 --> 01:45:39,160
Speaker 1: do it. And I would love to do this movie,

1957
01:45:39,720 --> 01:45:41,960
Speaker 1: you know, the movie and uh, and so I could

1958
01:45:42,000 --> 01:45:43,479
Speaker 1: tell all the other stuff that I didn't sell in

1959
01:45:43,560 --> 01:45:45,960
Speaker 1: the book and stuff that I didn't say today. It's

1960
01:45:46,040 --> 01:45:48,479
Speaker 1: just like it's so much, it's so much to this

1961
01:45:48,800 --> 01:45:51,519
Speaker 1: to me, and that I haven't got a chance to

1962
01:45:51,800 --> 01:45:54,760
Speaker 1: to to say and get out of my spirit and

1963
01:45:55,640 --> 01:45:59,479
Speaker 1: and not just just cut my own face off or whatever.

1964
01:46:00,200 --> 01:46:02,320
Speaker 1: But hey, the truth is the truth. And so if

1965
01:46:02,320 --> 01:46:04,080
Speaker 1: I'm gonna tell the truth on you, it can help

1966
01:46:04,520 --> 01:46:07,280
Speaker 1: tell the truth on me, you see. So, but I'm

1967
01:46:07,360 --> 01:46:09,000
Speaker 1: not like to point the finger. I'm just gonna tell

1968
01:46:09,000 --> 01:46:11,559
Speaker 1: the truth and just have And it's gonna something that's

1969
01:46:11,560 --> 01:46:14,479
Speaker 1: gonna make me look bad. Hey can't make me. I

1970
01:46:14,520 --> 01:46:16,280
Speaker 1: can't make me look bad because I'm looking too good

1971
01:46:16,400 --> 01:46:20,600
Speaker 1: right now. So you're looking good, looking good, So I

1972
01:46:20,680 --> 01:46:24,200
Speaker 1: can't make me look bad. You have children, You have kids, man, Man,

1973
01:46:24,320 --> 01:46:25,200
Speaker 1: kids have grown folks.

1974
01:46:26,960 --> 01:46:27,560
Speaker 8: They ask you for that?

1975
01:46:29,640 --> 01:46:32,080
Speaker 1: How many they asked me for cars as.

1976
01:46:33,520 --> 01:46:34,040
Speaker 2: He asked me.

1977
01:46:34,479 --> 01:46:38,240
Speaker 1: They want houses and cars? And I was like, hey, god, damn,

1978
01:46:38,520 --> 01:46:42,280
Speaker 1: give my brother break. How older that held up? Man?

1979
01:46:42,360 --> 01:46:42,800
Speaker 1: They old?

1980
01:46:43,600 --> 01:46:44,120
Speaker 2: It's so old.

1981
01:46:47,280 --> 01:46:52,320
Speaker 1: I'm just saying, wow, it might be young, man, young,

1982
01:46:52,439 --> 01:46:56,040
Speaker 1: but but you know, I'm looking look at them. I

1983
01:46:56,080 --> 01:46:58,400
Speaker 1: look at their kids, like what you want? Come on now,

1984
01:46:58,439 --> 01:47:01,400
Speaker 1: I give you what you want? Can they sing to? Uh?

1985
01:47:02,200 --> 01:47:04,000
Speaker 1: One of my daughters could sing, and she just never

1986
01:47:04,120 --> 01:47:07,560
Speaker 1: did yeh And the other one just tone deaf, and

1987
01:47:07,600 --> 01:47:12,400
Speaker 1: they act like she can sing. I can't I toned that.

1988
01:47:13,120 --> 01:47:15,880
Speaker 1: I'm sorry, that's like it's like a it's like a

1989
01:47:15,960 --> 01:47:16,840
Speaker 1: dark skin in the balls.

1990
01:47:21,720 --> 01:47:27,760
Speaker 2: She swept down and I'm like, oh daddy, I'm like, okay, Ship,

1991
01:47:28,439 --> 01:47:29,080
Speaker 2: that's just worse.

1992
01:47:29,640 --> 01:47:30,200
Speaker 1: Yeah, I'm sorry.

1993
01:47:30,240 --> 01:47:33,240
Speaker 2: You just kill me right there with the dark all right, Well,

1994
01:47:33,400 --> 01:47:35,559
Speaker 2: thank you uncle Charlie for doing my show.

1995
01:47:35,600 --> 01:47:40,320
Speaker 1: Hold on, shut up, it's been a dream man. Thank

1996
01:47:40,360 --> 01:47:44,560
Speaker 1: you man. Should we even do reflections? I mean, I

1997
01:47:44,640 --> 01:47:47,880
Speaker 1: think just an episode, that's it. You know what I'm saying.

1998
01:47:47,880 --> 01:47:49,680
Speaker 1: I can't look bad because I'm looking too good. That's

1999
01:47:49,720 --> 01:47:50,760
Speaker 1: a life quote right there.

2000
01:47:50,840 --> 01:47:53,920
Speaker 2: That is well on behalf of Frantic a little uh

2001
01:47:54,280 --> 01:47:57,240
Speaker 2: like your boss Bill, Unpaid Bill.

2002
01:47:57,280 --> 01:47:59,920
Speaker 3: And Sugar Steve and the great Charlie Bullson. This is

2003
01:48:00,080 --> 01:48:03,000
Speaker 3: Quest Love of Quest Love Supreme, side and off. We'll

2004
01:48:03,040 --> 01:48:04,080
Speaker 3: see you on the next caround.

2005
01:48:04,280 --> 01:48:06,759
Speaker 1: Thank you. Yeah, and when we do this goddamn Boots

2006
01:48:06,760 --> 01:48:09,000
Speaker 1: and CHILDI Wisdom Project, we ain't gonna see y'all next

2007
01:48:09,040 --> 01:48:10,639
Speaker 1: time until we do this fucking rock now.

2008
01:48:12,720 --> 01:48:24,920
Speaker 2: Cool. Quest Love Supreme is a production of iHeartRadio. This

2009
01:48:25,080 --> 01:48:32,400
Speaker 2: classic episode was produced by the team APT Pandora. For

2010
01:48:32,560 --> 01:48:35,599
Speaker 2: more podcasts from iHeart Radio, visit the iHeart Radio app,

2011
01:48:35,880 --> 01:48:38,880
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.