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Speaker 1: Of Course Love Supreme is a production of iHeartRadio. This

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Speaker 1: classic episode was produced by the team at Pandora.

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Speaker 2: What up, y'all is Liaiah and Welcome to another QLs classic.

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Speaker 2: This episode is all about a pioneering DJ and record

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Speaker 2: label owner named Giles Peterson. He talks about the politics

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Speaker 2: of early pirate radio, how he broke artists like Jamarkua,

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Speaker 2: Brand New.

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Speaker 3: Heavies, and even the Roots, and his passion for helping

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Speaker 3: the right music find the right audience. He is so dope.

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Speaker 2: This episode was actually taped Brut's Picnic weekend June twenty

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Speaker 2: eighth and twenty seventeen.

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Speaker 3: This is episode thirty eight in June.

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Speaker 4: Supremo s s Supremo.

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Speaker 5: Roll called Suprema, Su su Supremo, roll call Suprima su Supremo,

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Speaker 5: roll call Suprima.

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Speaker 1: So sure I want y'all to know. Yeah, I'm being sincere.

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Speaker 2: Yeah.

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Speaker 1: Without Josh Peterson, Yeah, I would not be here.

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Speaker 4: That was nice. Supremo.

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Speaker 5: My name is Fante, Yeah, I say it proud. One

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Speaker 5: of my favorite labels was talking loud.

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Speaker 4: Supremo call Supremo.

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Speaker 6: Sure, my name is Sugar. Yeah, I got that style,

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Speaker 6: I got that smile.

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Speaker 4: What's up Giant Supremo. Yeah, y'all don't know me. Yeah.

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Speaker 4: We in Philly.

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Speaker 3: Yeah, he.

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Speaker 4: Upremo role bass bell present.

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Speaker 2: Yeah.

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Speaker 4: On this call of roll Yeah, quest Love Supreme Yeah,

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Speaker 4: will make you whole.

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Speaker 5: Braver Rod Supreme Supremo Rome.

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Speaker 3: It's like, yeah and I'm feeling right. Yeah, goddamn Jil Peterson. Yeah,

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Speaker 3: whoa whoa.

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Speaker 5: Supreme Suprema Roll Supremo, Suprema Rome.

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Speaker 7: My name is Chiles Gill Peterson. Yeah, but I come from.

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Speaker 1: Suprema Rome, Suprema So Supreme roudrem Son.

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Speaker 2: So.

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Speaker 4: Dog biling.

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Speaker 1: Let's all admit that we didn't think that none of

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Speaker 1: our roll call moments were going to be hot, but

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Speaker 1: there was some bust.

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Speaker 4: Of rhymes stealing moments in this rob We have at

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Speaker 4: least three of them.

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Speaker 3: First time smile whatever.

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Speaker 4: That's amazing.

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Speaker 1: Well, ladies and gentlemen, welcome to another episode of Course

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Speaker 1: Love Supreme, only on Pandora and our special guest today.

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Speaker 1: I have to say, uh, he exemplifies the role of

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Speaker 1: my favorite person in music, and that's the music that's

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Speaker 1: the taste maker. The taste maker would be the guy

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Speaker 1: that was in the know of what you didn't know

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Speaker 1: about music. And it would spread. Sort of like what's

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Speaker 1: what's a good term for virus?

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Speaker 4: The virus?

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Speaker 1: Uh?

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Speaker 4: Is there a positive virus outrection these medical terms because

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Speaker 4: they're like.

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Speaker 1: They're like negative connotations, like it's influence spread like a

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Speaker 1: virus trend.

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Speaker 5: Yeah, because they even use the term like viral now,

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Speaker 5: like viral marketing.

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Speaker 4: Right.

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Speaker 1: So yesus Giles is my favorite virus virus virus of

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Speaker 1: all time.

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Speaker 4: Yeah.

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Speaker 1: I have to say that if it weren't for Jiles

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Speaker 1: Peterson taking our organic CD and playing it in clubs

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Speaker 1: in London way before, you know, back when it was

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Speaker 1: just a demo that really started the buzz on on

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Speaker 1: the roots being here today and us wanting to move

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Speaker 1: to London and kind of bringing us to where we

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Speaker 1: are now. So uh, one of my favorite people ever,

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Speaker 1: literally this is Giles Peterson.

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Speaker 4: Last welcome. Thank you very much. Yeah, Giles, now you're

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Speaker 4: on my radio show. Yeah you know that you named

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Speaker 4: my show. Yeah, thank you for that.

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Speaker 1: Well, thank you, well, thank thank you for oh god,

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Speaker 1: this is going to be a whole bunch of things.

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Speaker 1: So okay, so what I'll say is that, okay, as

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Speaker 1: of what makes this day really truly special even though

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Speaker 1: we're not specifically getting on dates and time period, but

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Speaker 1: as of this recording, this specific day that we're on.

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Speaker 1: This was the Saturday twenty five years ago that when

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Speaker 1: Tarika and I were watching Soul Train and saw that

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Speaker 1: Spike lead commercial of the Bucket Drummer Chocolate playing that

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Speaker 1: Levi's commercial.

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Speaker 4: We looked at each other and like, Yo, why do

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Speaker 4: we do that?

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Speaker 1: So today, as we speak is the twenty fifth anniversary

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Speaker 1: of the Roots as you know it. Not the oh

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Speaker 1: we formed in high school and did some talent shows,

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Speaker 1: but like when we got buckets, went to South Street

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Speaker 1: and us start busting, Yeah, and we were square Roots,

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Speaker 1: and you know, I'll say that in I guess I'll

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Speaker 1: say in twelve or thirteen weeks later, this is when

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Speaker 1: we started the process of recording the Organic's demo, which

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Speaker 1: then really material around material material virus materialized into a

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Speaker 1: CD so that we could go to Europe and sell

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Speaker 1: it on some festivals that we were invited to, and

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Speaker 1: somehow it made its way to Giles, who we were

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Speaker 1: told with play it in nightclubs, which was like really

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Speaker 1: weird for us because I thought the nightclub was the

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Speaker 1: last place that the Roots whatever wind.

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Speaker 4: Up dance session. I was thirteen minutes.

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Speaker 1: No, I was like, see I played over here and

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Speaker 1: it clears the floor instantly. But you know, I mean

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Speaker 1: Giles's position. I'll say that he was my generation's John Peel.

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Speaker 1: John Peel was the cat in London who you know,

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Speaker 1: he took a chance on unknown groups. He lets you

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Speaker 1: know who this unknown name Elvis Costello was or or

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Speaker 1: who the clash was, and Steve frickd up Steve now

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Speaker 1: writes for Elvis Costello. So basically I mean that that

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Speaker 1: was the role. And then when we met, we we

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Speaker 1: thought that we were going to sign to Giles's parent label,

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Speaker 1: Talking Loud, Talking Loud. Well, we signed to Talking Loud,

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Speaker 1: but we were going to sign to PolyGram, and then

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Speaker 1: by a strange twist of fate, it became Geffen. But

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Speaker 1: we still maintained the relationship with Giles Peterson to release

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Speaker 1: our very first EP, like well widely distributed.

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Speaker 4: EP, which was from the ground up on his label.

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Speaker 4: And you know we lived over there. So wait, what

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Speaker 4: I want.

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Speaker 1: What I want to ask about is what you showed

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Speaker 1: us in London during that time, Perio that the roots

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Speaker 1: quote unquote exiled to London. Was there was such a

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Speaker 1: scene going on, and we basically took that scene and

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Speaker 1: reproduced it in America. We took everything that we saw

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Speaker 1: you do and did it over here. So the idea

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Speaker 1: of like clubs having multiple rooms of different DJs playing,

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Speaker 1: you know, the jam band on the top floor and

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Speaker 1: the disco floor was the third floor, and the you know,

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Speaker 1: the techno music was on the second floor, and the

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Speaker 1: soul music was on the first floor. Like, is that

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Speaker 1: still prevalent now in London as it once was? Is

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Speaker 1: this still a scene or you like the one of

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Speaker 1: the last Mohicans still holding up?

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Speaker 7: I think bigger than ever? Really really yeah, in.

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Speaker 4: A way, some people like it's not the scene anymore

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Speaker 4: as used. I think it's like, I think it's just

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Speaker 4: a bit more DIY.

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Speaker 7: I think that sort of the superclubs came along and

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Speaker 7: people sort of sort to make something out of it

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Speaker 7: bigger and people reacted to that. And I think that nowadays,

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Speaker 7: if you go anywhere from Leeds to Manchester, Bristol, London

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Speaker 7: on a Saturday night, there's a lot of stuff going on,

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Speaker 7: a lot of big raves parties with alternative music being

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Speaker 7: played in different rooms. And also there's actually a return

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Speaker 7: to a live element which did go away for a

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Speaker 7: little while, and I think that certainly at the moment

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Speaker 7: in London and the South of England there's a very

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Speaker 7: strong live in pro jazz scene.

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Speaker 4: We can come back home now, mate.

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Speaker 7: Honestly, it's really it's very interesting at the moment, you know,

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Speaker 7: I think that maybe maybe it's more towards the jazz

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Speaker 7: side of things with what Camasi did and the fact

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Speaker 7: that that sort of energy has kind of come over.

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Speaker 7: And then from the UK point of view, a huge

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Speaker 7: set of musicians, groups like Sons of Kemet and groups

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Speaker 7: like you know, artists like New Baio, Moses Boy does.

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Speaker 7: A lot of musicians going on, and there's a really

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Speaker 7: good community which there hasn't been for a while. So

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Speaker 7: the club culture has always been there. That's really where

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Speaker 7: I come from. I'm sort of a DJ club culture,

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Speaker 7: acid house, acid jazz raves Germany, France, residencies all over

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Speaker 7: the place, playing this kind of slightly alternative view of

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Speaker 7: dance music because you know, when I grew up that

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Speaker 7: I'd go to I used to go when I was

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Speaker 7: seventeen sixteen, I'd go to sort of weekenders in horrible

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Speaker 7: holiday resorts which were empty in winter and four or

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Speaker 7: five thousand people would come from all over the country

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Speaker 7: to listen to groups like Roye's Come Over or the

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Speaker 7: Fat Back Band or or you know Clear or you

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Speaker 7: know artists like Leroy Burgess would come to the UK

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Speaker 7: and they would and we would celebrate that music and

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Speaker 7: they'd be and they'd be a main room and they'd

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Speaker 7: be playing sort of you know, all these big tunes

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Speaker 7: from summer madness by calling the gang to I found

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Speaker 7: Loving by the Fat Bat Band, and then there'd be

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Speaker 7: another room at the back where you'd be hearing DJ's.

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Speaker 7: I mean, that's the first time I heard John Coltrane

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Speaker 7: Impressions wasn't in a jazz club. It was basically in

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Speaker 7: the back of some sort of restaurant in some depleted

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Speaker 7: holiday resort near Norwich on the North Sea right, and

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Speaker 7: there's a DJ called Bob Jones playing Impressions or maybe

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Speaker 7: Giant Steps by John Coltrane at full volume, with twenty

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Speaker 7: people dancing to it, backling like like bee boys like

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Speaker 7: you know so that and when I saw that, I

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Speaker 7: was like, this is what I want.

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Speaker 4: I love this music.

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Speaker 1: I was going to say, didn't you once tell me

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Speaker 1: the fante that the the most the most daring thing

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Speaker 1: you ever saw was a DJ you'll played Return to

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Speaker 1: Forever in a nightclub.

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Speaker 4: It was was it in London or it.

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Speaker 5: Wasn't in London, It was in Chicago, and it was

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Speaker 5: a guy. It was Detroit guy, the Parish deal.

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Speaker 6: Parish.

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Speaker 1: Okay, it's Perish because I was going to say that

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Speaker 1: the first time that I saw at Ceni, someone went

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Speaker 1: back and forth on like the first sixteen bars of

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Speaker 1: Love Supreme where they're really grooving, and that was one

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Speaker 1: of my open, my eye opening moments, like, oh, like anything,

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Speaker 1: if it's groovable, you can play it, because I would

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Speaker 1: never think like it has a groove, But I didn't

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Speaker 1: think it was danceable and I wasn't ever going to

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Speaker 1: try that take that risk here in the United States.

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Speaker 1: I mean we had like you know, King Britain and

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Speaker 1: Dazi and those guys had a little scene in Philadelphia.

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Speaker 1: But even then there was no place for me to

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Speaker 1: really test it out to see if it were work.

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Speaker 1: But once I started going to Iceni and all those

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Speaker 1: like those soul kitchen clubs over there, Yeah, and seeing

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Speaker 1: you guys do that, that was that's what told me, like, oh,

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Speaker 1: anything is playable if you play the right part and

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Speaker 1: if you.

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Speaker 4: Do it at the right time.

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Speaker 1: So for you, when you were observing anything and going

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Speaker 1: to these clubs, were you was this in the revival

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Speaker 1: stage or was it in the first round, like when

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Speaker 1: you were first going to clubs, Like how what year

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Speaker 1: was it.

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Speaker 7: We're talking nineteen eighty, We're talking cameo, you know, so you.

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Speaker 1: Were in the first draft, not in the revival draft

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Speaker 1: of like eighty nine to ninety, because by that point.

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Speaker 7: You eighty eighty one eighty two. I mean, there were

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Speaker 7: some British groups as well. There was a very interesting

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Speaker 7: jazz funk scene in the UK. So there was groups

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Speaker 7: like Light of the World, High Tension, Incognito. These are

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Speaker 7: the groups that kind of precursed groups like Loose Ends

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Speaker 7: and Soul to Soul, which came about seven or eight

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Speaker 7: years later. So there was a really strong Level forty two.

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Speaker 7: I was a huge Level forty two fan. I used

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Speaker 7: to go and see them everywhere. I used to love Marking,

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Speaker 7: who I met recently for the first time, the bass

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Speaker 7: player and uh yeah, wonderful guy, wonderful and what underrated vocal,

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Speaker 7: underrated voice, And I used to love that. So for me,

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Speaker 7: there was the kind of one hand, there was this

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Speaker 7: sort of fan of the band thing, and I'd go

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Speaker 7: around like you know, you follow your favorite band. It

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Speaker 7: was also a time of punk as well. It was

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Speaker 7: just post punk, you know, so there was that thing

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Speaker 7: where you kind of were you a punk or were

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Speaker 7: you a soul boy? And I'd had to make my

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Speaker 7: decision about what I wore and how I dressed. I

246
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Speaker 7: was one of only three soul boys in my school

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Speaker 7: the rest of the people and like being an outcast,

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Speaker 7: outcast for real.

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Speaker 4: The only reason I was only for black people and

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Speaker 4: that yeah, it was.

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Speaker 7: Kind of all working class in a London people, you know,

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Speaker 7: like the urban urban people would be into it. And

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Speaker 7: so for me, I had an Indian friend at school

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Speaker 7: and a black African friend at school.

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Speaker 4: We were the three soul boys.

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Speaker 7: And the only reason I didn't get beaten up was

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Speaker 7: because I was in the rugby team and by being

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Speaker 7: a sporting guy in the school, it kind of gave

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Speaker 7: me certain status and swagger.

260
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Speaker 1: So who was when you were listening to radio? And

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Speaker 1: I know that pirate radio, yeah, was a big thing.

262
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Speaker 1: When did the idea of pirate radios start in London?

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Speaker 4: Well? Was that always a thing, like even in.

264
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Speaker 7: The fifties and no in the in the sixties, it

265
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Speaker 7: came from the boats, so they used to and it

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Speaker 7: was on medium wave. A movie about a movie about it, yeah,

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Speaker 7: And that was basically they'd go out and they'd sort

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Speaker 7: of go in neutral waters in the North Sea where

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Speaker 7: they wouldn't get busted, and they'd broadcast on medium wave

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Speaker 7: and they basically that was what Radio Luxembourg was and

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Speaker 7: that radio station kind of gave the birth.

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Speaker 4: Was the reaction to that by the BBC was to

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Speaker 4: set up.

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Speaker 7: Radio one and that was how Radio one became a

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Speaker 7: non sort of talk station because up until that point

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Speaker 7: the BBC was controlling radio and it was very classical opera,

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Speaker 7: old school you know.

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Speaker 2: Open I was about to ask you is to rest

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Speaker 2: your radio different over there than here because by now

280
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Speaker 2: you know differences the commercial.

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Speaker 7: Radio, well, FM radio started kicking off in the seventies

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Speaker 7: because all these radio stations in the beginning were like

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Speaker 7: on medium wave, and that's where the pirate stations that

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Speaker 7: really interested me, they were on FM. There was only

285
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Speaker 7: a few stations locally, so like he'll have I don't

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Speaker 7: know maybe in Philly, how many would there be twenty.

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Speaker 3: Well like urban sta like we have BR and B

288
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Speaker 3: and hip hop stater.

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Speaker 7: So let's say we have two, okay, but if you

290
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Speaker 7: include all the other types of denominations like twenty stations.

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Speaker 7: So in London they'd have been back in the seventies,

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Speaker 7: there'd have been maybe two commercial radio stations on FM

293
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Speaker 7: and so maybe three with BBC we're playing a little bit.

294
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Speaker 7: Maybe we'd be sort of doubling up on FM and

295
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Speaker 7: on medium wave. The point was there was a need

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Speaker 7: for music to be heard and so they weren't giving

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Speaker 7: licenses out. So these people at a time when CB

298
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Speaker 7: radio was quite popular, remember that that was kind of

299
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Speaker 7: it was illegal in the UKCB radio wasn't over here

300
00:16:39,280 --> 00:16:41,640
Speaker 7: because of your long distance lorry drivers, but over there

301
00:16:41,760 --> 00:16:43,600
Speaker 7: is the illegal and you'd get You see, if you

302
00:16:43,680 --> 00:16:46,240
Speaker 7: knew a bloker could build you a CB rig, they

303
00:16:46,280 --> 00:16:48,640
Speaker 7: could also build you an FM rig. And so what

304
00:16:48,760 --> 00:16:51,240
Speaker 7: happened was we started finding out that these guys could

305
00:16:51,240 --> 00:16:54,680
Speaker 7: build us FM transmitters and then the station started popping

306
00:16:54,760 --> 00:16:56,920
Speaker 7: up in the seventies, of which there was one soul

307
00:16:57,040 --> 00:16:59,840
Speaker 7: jazz funk station called Radio and Victim ninety two point four.

308
00:16:59,840 --> 00:17:02,800
Speaker 7: They used to broadcast every Sunday from midday until six.

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00:17:03,200 --> 00:17:08,760
Speaker 7: Is that where two seven nine started or DJ's seven nine. No, No,

310
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Speaker 7: this is way before that. Okay, this is way before that.

311
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Speaker 7: And that was the first station that I would listen to.

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Speaker 7: I would listen to it in the in the bathroom

313
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Speaker 7: of my house because that was the only place in

314
00:17:17,480 --> 00:17:19,720
Speaker 7: the house that I could pick up the signal. And

315
00:17:19,880 --> 00:17:22,000
Speaker 7: sometimes it would go on, and suddenly at fourth thirt

316
00:17:22,000 --> 00:17:23,680
Speaker 7: in the afternoon, it would get busted and it would

317
00:17:23,680 --> 00:17:25,040
Speaker 7: be off, and it would be off for two weeks,

318
00:17:25,040 --> 00:17:26,560
Speaker 7: and you'd be waiting every week for it to come

319
00:17:26,600 --> 00:17:28,480
Speaker 7: back on because it was the only place you could

320
00:17:28,480 --> 00:17:30,879
Speaker 7: hear jazz funk music. The other place was there was

321
00:17:30,880 --> 00:17:33,160
Speaker 7: a disco show on a Friday night called the Best

322
00:17:33,200 --> 00:17:36,160
Speaker 7: Disco in Town, presented by Greg Edwards Life from the Lyceum.

323
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Speaker 7: And then the other show was on a Saturday afternoon

324
00:17:38,640 --> 00:17:41,840
Speaker 7: from midday to two presented by Robbie Vincent who did

325
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Speaker 7: a probe. And the section that I loved from his

326
00:17:44,359 --> 00:17:46,639
Speaker 7: show was the jazz Funk forty and he used to

327
00:17:46,720 --> 00:17:50,520
Speaker 7: play Japanese jazz funk records and he'd play things like

328
00:17:50,720 --> 00:17:54,920
Speaker 7: you know, open and Fire, but That's when I thought

329
00:17:55,000 --> 00:17:57,520
Speaker 7: the first time I ever heard the Jones Girls Nights

330
00:17:57,560 --> 00:18:01,359
Speaker 7: over Egypt was on Robbie Vincent and it was Christmas whatever,

331
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Speaker 7: nineteen eighty two or three, whatever that were you. I'll

332
00:18:03,600 --> 00:18:06,200
Speaker 7: never forget it. And he played it twice on the

333
00:18:06,240 --> 00:18:08,600
Speaker 7: same show. It was that good a gun and I'll

334
00:18:08,640 --> 00:18:11,000
Speaker 7: never forget. In fact, when I played at the Roots

335
00:18:11,000 --> 00:18:13,200
Speaker 7: Picnic the other day when I was over here, I

336
00:18:13,320 --> 00:18:16,560
Speaker 7: played that track as a memory to him, the connection

337
00:18:16,720 --> 00:18:20,879
Speaker 7: between Philly and my pirate radio routes. But anyway, basically

338
00:18:20,880 --> 00:18:23,720
Speaker 7: at that time it was just literally FM radio stations,

339
00:18:24,600 --> 00:18:27,280
Speaker 7: of which some were pirates, and you would get busted

340
00:18:27,560 --> 00:18:29,120
Speaker 7: every every couple of weeks.

341
00:18:29,200 --> 00:18:31,920
Speaker 4: So two questions, how much would it cost you to

342
00:18:32,040 --> 00:18:35,120
Speaker 4: start a pirate radio station? Well, I started my own

343
00:18:35,160 --> 00:18:38,399
Speaker 4: pirate radio station. Oh, I was just that. The was

344
00:18:38,440 --> 00:18:38,880
Speaker 4: that easy.

345
00:18:39,440 --> 00:18:39,880
Speaker 3: Need a boat?

346
00:18:40,119 --> 00:18:42,160
Speaker 7: No, no, this is FM, because by then it's FM.

347
00:18:42,240 --> 00:18:44,239
Speaker 7: Sorry I didn't explain that. So but in the when

348
00:18:44,280 --> 00:18:46,239
Speaker 7: it was mediumwave, it was on a boat. And then

349
00:18:46,280 --> 00:18:49,040
Speaker 7: in the seventies, all you needed was you needed an

350
00:18:49,080 --> 00:18:52,480
Speaker 7: aerial a transmitter, a car battery, a cassette player and

351
00:18:52,880 --> 00:18:55,280
Speaker 7: a high point. Right and if you were if you

352
00:18:55,359 --> 00:18:57,760
Speaker 7: were smart in London, you had the keys. There was

353
00:18:57,840 --> 00:19:01,200
Speaker 7: four keys that opened up every council for block right

354
00:19:01,320 --> 00:19:06,480
Speaker 7: every like block in London, right for you cheap accommodation

355
00:19:06,560 --> 00:19:08,760
Speaker 7: block in London. So any high spot, if you had

356
00:19:08,800 --> 00:19:11,640
Speaker 7: those four keys, you could get on every rooftop.

357
00:19:12,320 --> 00:19:15,200
Speaker 4: So I had the four keys, really right the key.

358
00:19:15,240 --> 00:19:15,919
Speaker 4: I had the keys.

359
00:19:16,320 --> 00:19:18,439
Speaker 7: So that's how I got to know London. That's how

360
00:19:18,480 --> 00:19:20,639
Speaker 7: I got to know London because I started off by

361
00:19:20,800 --> 00:19:22,840
Speaker 7: I finally got my show myself because I sat at

362
00:19:22,880 --> 00:19:23,840
Speaker 7: my little pirate station.

363
00:19:24,400 --> 00:19:26,040
Speaker 4: Cost me with fifty pounds to get a rig.

364
00:19:26,640 --> 00:19:28,440
Speaker 7: My dad used to take me up the road to

365
00:19:28,560 --> 00:19:30,159
Speaker 7: episode where they have the horse racing, which is a

366
00:19:30,240 --> 00:19:32,760
Speaker 7: high point in South London, and he basically helped me

367
00:19:32,920 --> 00:19:35,639
Speaker 7: put the aerial up on a tree, connect the aerial

368
00:19:35,680 --> 00:19:38,320
Speaker 7: to the transmitter, transmitter to the car battery, car battery

369
00:19:38,440 --> 00:19:40,920
Speaker 7: and transmitter also to a cassette player that would play

370
00:19:40,960 --> 00:19:44,119
Speaker 7: a C ninety and the forty five minutes a Saturday

371
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Speaker 7: was my show which I recorded in my garden shed

372
00:19:47,000 --> 00:19:48,760
Speaker 7: and I wanted to be a guy called Robbi Vincent

373
00:19:48,800 --> 00:19:50,960
Speaker 7: who I mentioned before. And the other forty five was

374
00:19:51,040 --> 00:19:53,400
Speaker 7: my next door neighbor called Ross Tinsley but otherwise known

375
00:19:53,400 --> 00:19:55,480
Speaker 7: as Ross Travone. That was his radio name, and he

376
00:19:55,600 --> 00:19:58,159
Speaker 7: wanted to be John Peel. And basically that was the

377
00:19:58,280 --> 00:20:00,240
Speaker 7: hour and a half that we'd broadcast from a tree

378
00:20:00,600 --> 00:20:02,920
Speaker 7: and then we'd leave a phone number on the cassette

379
00:20:03,000 --> 00:20:05,720
Speaker 7: of the recording, which was the phone box by the tree,

380
00:20:05,960 --> 00:20:08,600
Speaker 7: and so we'd go we'd press play go off in

381
00:20:08,680 --> 00:20:10,320
Speaker 7: the phone box, all three of us with my dad,

382
00:20:11,480 --> 00:20:12,720
Speaker 7: and and then.

383
00:20:12,640 --> 00:20:14,720
Speaker 4: We'd and we'd get one phone call. That was the request.

384
00:20:14,960 --> 00:20:17,560
Speaker 4: One phone but that was enough. That was enough to

385
00:20:17,800 --> 00:20:20,800
Speaker 4: carry a pre record your show. But yeah, and they

386
00:20:21,000 --> 00:20:24,080
Speaker 4: go to the Okay, did our priority pre recorder shows?

387
00:20:24,200 --> 00:20:24,320
Speaker 2: Well?

388
00:20:24,359 --> 00:20:26,680
Speaker 7: No, then if unless you're on Radio and Victor, because

389
00:20:26,760 --> 00:20:28,480
Speaker 7: Radiar and Victor was one of the well known ones

390
00:20:29,119 --> 00:20:31,440
Speaker 7: and the only sole station, the one that inspired me

391
00:20:31,520 --> 00:20:33,960
Speaker 7: to get my rig. And they got busted one week

392
00:20:34,119 --> 00:20:34,960
Speaker 7: by the home office.

393
00:20:35,040 --> 00:20:37,159
Speaker 4: Now that was my second question, how do you get busted?

394
00:20:37,280 --> 00:20:38,960
Speaker 7: Well, they used to go around with a little team

395
00:20:38,960 --> 00:20:42,000
Speaker 7: of guys with special equipment and they'd literally find the studio,

396
00:20:42,160 --> 00:20:44,159
Speaker 7: they'd find the aerial and they'd come up there, you know,

397
00:20:44,240 --> 00:20:45,840
Speaker 7: and they sort of you know, imagine sort of you

398
00:20:45,920 --> 00:20:49,960
Speaker 7: know sixties looking policeman, you know, working for the DTI.

399
00:20:51,000 --> 00:20:52,080
Speaker 4: The you know, the the.

400
00:20:52,119 --> 00:20:55,800
Speaker 7: Government was the punishment. You'd get what you get, you

401
00:20:55,960 --> 00:20:58,680
Speaker 7: get fined, and no one got a cent to prison.

402
00:20:58,760 --> 00:20:59,520
Speaker 4: See you next week.

403
00:20:59,720 --> 00:21:02,880
Speaker 7: Yeah, it was a small but you know, they didn't

404
00:21:02,880 --> 00:21:04,399
Speaker 7: have a lot of budget for the DTI for this

405
00:21:04,480 --> 00:21:07,640
Speaker 7: particular sort of department. So there's only one guy who's

406
00:21:07,680 --> 00:21:09,920
Speaker 7: called Eric. Eric Gotts was the main guy because he

407
00:21:10,000 --> 00:21:12,119
Speaker 7: got he became legendary. This is the guy who busted

408
00:21:12,119 --> 00:21:14,840
Speaker 7: all the station, especially as pirate radio became bigger and bigger.

409
00:21:15,040 --> 00:21:16,639
Speaker 7: Because this is kind of the early day of the

410
00:21:16,720 --> 00:21:19,879
Speaker 7: late seventies. It was still quite naive and sweet and lovely.

411
00:21:20,280 --> 00:21:23,399
Speaker 7: But then by the mid eighties it started becoming a

412
00:21:23,440 --> 00:21:26,800
Speaker 7: little bit cleverer, and people started becoming twenty four hours,

413
00:21:26,840 --> 00:21:29,600
Speaker 7: and advertisers started coming into it, and then you were

414
00:21:29,680 --> 00:21:32,920
Speaker 7: more likely to get busted by another pirate than by Eric,

415
00:21:33,520 --> 00:21:33,919
Speaker 7: because of.

416
00:21:34,000 --> 00:21:37,560
Speaker 4: Course they wanted. That's when I got out of the game,

417
00:21:37,920 --> 00:21:41,160
Speaker 4: right because it got to carry stuff.

418
00:21:41,320 --> 00:21:43,440
Speaker 7: Yeah, it got a little bit dangerous at that point,

419
00:21:43,520 --> 00:21:46,560
Speaker 7: but it was quite an interesting time and very exciting

420
00:21:46,640 --> 00:21:49,560
Speaker 7: time for me. But initially I got onto radio and

421
00:21:49,640 --> 00:21:52,800
Speaker 7: Victor because they got busted and they and the guy

422
00:21:52,920 --> 00:21:55,280
Speaker 7: built my equipment built their equipment. So I said to

423
00:21:55,560 --> 00:21:57,960
Speaker 7: my guy, they can have my equipment as long as

424
00:21:58,000 --> 00:21:59,480
Speaker 7: they give me a show. And they said, we'll give

425
00:21:59,480 --> 00:22:01,000
Speaker 7: you a show, but first of all, you go spend

426
00:22:01,000 --> 00:22:02,800
Speaker 7: the next six months putting airs.

427
00:22:02,480 --> 00:22:02,879
Speaker 4: Up for us.

428
00:22:02,960 --> 00:22:05,240
Speaker 7: So that's how I kind of went up the pirate

429
00:22:05,400 --> 00:22:06,560
Speaker 7: radio status list.

430
00:22:07,400 --> 00:22:08,960
Speaker 4: And you know that was not.

431
00:22:13,640 --> 00:22:16,160
Speaker 1: So compared to what we have now in the United States, Yeah,

432
00:22:16,760 --> 00:22:21,200
Speaker 1: which is total corporate radio. And I mean even being

433
00:22:21,400 --> 00:22:25,040
Speaker 1: or Pandora, it's kind of my version of the middle

434
00:22:25,080 --> 00:22:27,960
Speaker 1: finger of pirate radio thing where we get to determine

435
00:22:28,000 --> 00:22:29,320
Speaker 1: the type of music we want to play in the

436
00:22:29,320 --> 00:22:34,600
Speaker 1: guests we have. You know, since nineteen ninety seven, business

437
00:22:34,640 --> 00:22:36,600
Speaker 1: corporations have totally taken over.

438
00:22:38,480 --> 00:22:38,800
Speaker 4: Radio.

439
00:22:40,720 --> 00:22:44,679
Speaker 1: But I look at how London is operated and now

440
00:22:44,760 --> 00:22:50,720
Speaker 1: you're legit, you're or BBC a government station? Is it

441
00:22:50,880 --> 00:22:55,040
Speaker 1: still half a dozen six eggs and half a dozen

442
00:22:55,520 --> 00:22:56,080
Speaker 1: and the other.

443
00:22:56,160 --> 00:23:00,920
Speaker 4: Like to you? What is I know? I totally yeah,

444
00:23:00,920 --> 00:23:08,960
Speaker 4: we need cliche for cliche busters. Well what I'm saying

445
00:23:09,080 --> 00:23:10,200
Speaker 4: is for government radio.

446
00:23:11,320 --> 00:23:13,320
Speaker 1: Like I look at you guys over the pond and

447
00:23:13,920 --> 00:23:17,680
Speaker 1: I'm like, well, government control radio is better because you know,

448
00:23:17,800 --> 00:23:22,840
Speaker 1: it's required that you play a variety of things. You know,

449
00:23:23,960 --> 00:23:28,240
Speaker 1: the idea of one artist getting uh forty spends a

450
00:23:28,320 --> 00:23:31,680
Speaker 1: day like corporate radio, Uh, it doesn't exist.

451
00:23:31,760 --> 00:23:33,960
Speaker 4: Everyone gets their fair share. But look at that. But

452
00:23:34,080 --> 00:23:36,760
Speaker 4: then if you get our government, you really kind of

453
00:23:36,840 --> 00:23:43,640
Speaker 4: negates everything. So said.

454
00:23:45,160 --> 00:23:47,480
Speaker 7: Like do you that's the bucy of the BBC in

455
00:23:47,560 --> 00:23:49,600
Speaker 7: a way, And and and the fact that the BBC

456
00:23:49,760 --> 00:23:51,600
Speaker 7: is always having to struggle to be a kind of

457
00:23:51,720 --> 00:23:57,720
Speaker 7: neutral yet creative body at a time when they have

458
00:23:57,840 --> 00:23:58,920
Speaker 7: to give equal.

459
00:24:00,760 --> 00:24:02,800
Speaker 4: Fairness to commercial stations.

460
00:24:02,880 --> 00:24:06,480
Speaker 7: So the beautiful thing about about the UK, I think

461
00:24:06,560 --> 00:24:11,159
Speaker 7: in terms of broadcasting and the BBC is that you know,

462
00:24:11,320 --> 00:24:15,600
Speaker 7: you can get the RT left field, really creative, weird

463
00:24:15,680 --> 00:24:18,360
Speaker 7: shit on the BBC, but the BBC also has its

464
00:24:18,480 --> 00:24:20,760
Speaker 7: kind of commercial end so because it knows it has

465
00:24:20,800 --> 00:24:22,679
Speaker 7: to compete with the commercial stations. I don't know if

466
00:24:22,680 --> 00:24:26,200
Speaker 7: I'm making myself particularly clear, but that balance between the

467
00:24:26,320 --> 00:24:33,399
Speaker 7: BBC maintaining a presence yet also constantly being progressive with

468
00:24:34,200 --> 00:24:36,359
Speaker 7: the art of radio, and for me one of the

469
00:24:36,440 --> 00:24:38,760
Speaker 7: people that was an incredible inspiration to me. As you

470
00:24:38,800 --> 00:24:41,320
Speaker 7: mentioned earlier. On of course, was John Peel. And John

471
00:24:41,359 --> 00:24:43,879
Speaker 7: Peele changed the way radio was because he was on

472
00:24:43,960 --> 00:24:46,360
Speaker 7: the BBC, and up until that point it was still

473
00:24:46,480 --> 00:24:49,920
Speaker 7: very old fashioned guys on the radio broadcasting in that

474
00:24:50,040 --> 00:24:51,520
Speaker 7: kind of way that you could imagine, you know, you

475
00:24:51,600 --> 00:24:53,760
Speaker 7: had to wear a suit, Winston Churchill, kind.

476
00:24:53,600 --> 00:24:54,600
Speaker 4: Of the war type stuff.

477
00:24:54,920 --> 00:24:56,600
Speaker 7: And up until then it was still you know, even

478
00:24:56,680 --> 00:24:59,399
Speaker 7: up until the Beatles, it was still kind of very conservative.

479
00:24:59,480 --> 00:25:01,560
Speaker 7: But when John Peel came along, because there's been a

480
00:25:01,600 --> 00:25:03,520
Speaker 7: few people before him, and some pirates and stuff on

481
00:25:03,600 --> 00:25:07,000
Speaker 7: the on the boat stations, but basically John Peel was

482
00:25:07,359 --> 00:25:10,200
Speaker 7: he broke He changed the rules of broadcasting and he said,

483
00:25:10,280 --> 00:25:13,480
Speaker 7: you can play you know, television, this new group from

484
00:25:13,520 --> 00:25:17,520
Speaker 7: New York next to Slide the Family Stone, next to

485
00:25:17,800 --> 00:25:19,800
Speaker 7: a punk record that someone just sent me.

486
00:25:19,840 --> 00:25:20,360
Speaker 4: Do you know what I mean?

487
00:25:20,400 --> 00:25:23,160
Speaker 7: He basically and the way he presented radio. He basically said,

488
00:25:23,200 --> 00:25:24,560
Speaker 7: you don't have to do it that way. You can

489
00:25:24,600 --> 00:25:26,560
Speaker 7: do it a different way. And he had a huge

490
00:25:26,600 --> 00:25:30,880
Speaker 7: influence which made which remains an important part of why

491
00:25:30,960 --> 00:25:35,879
Speaker 7: the BBC has a certain standard that he that he

492
00:25:36,000 --> 00:25:37,239
Speaker 7: said needs to be kept up.

493
00:25:37,680 --> 00:25:39,720
Speaker 2: Did commercial radio take he because I know you said

494
00:25:39,720 --> 00:25:41,760
Speaker 2: in the beginning it was only four, you know, But

495
00:25:41,880 --> 00:25:44,840
Speaker 2: now present day have they taken he from the BBC?

496
00:25:45,160 --> 00:25:46,920
Speaker 3: And what is it like now? Like is there a

497
00:25:47,000 --> 00:25:49,159
Speaker 3: few soul stations on the commercial radio.

498
00:25:49,000 --> 00:25:51,639
Speaker 7: Size dance stations, okay, And if you want to go

499
00:25:51,840 --> 00:25:54,640
Speaker 7: more specialist, really specialist, I mean there's you know, there's

500
00:25:54,680 --> 00:25:57,920
Speaker 7: the jazz station that's quite conservative, straight up not bad,

501
00:25:58,000 --> 00:25:59,760
Speaker 7: you know, but I mean there's nothing if you want

502
00:25:59,760 --> 00:26:02,520
Speaker 7: any think edgy, anything that really the kids are into.

503
00:26:02,920 --> 00:26:04,800
Speaker 7: The commercial station is never going to be able to

504
00:26:04,880 --> 00:26:07,880
Speaker 7: react to trend fast enough. So that's why the pirates

505
00:26:07,880 --> 00:26:09,879
Speaker 7: are always coming along, because there's always going to be

506
00:26:09,960 --> 00:26:13,720
Speaker 7: a new type of music or culture to represent because

507
00:26:13,760 --> 00:26:16,880
Speaker 7: the main the mainstream stations try and keep up.

508
00:26:16,880 --> 00:26:17,040
Speaker 4: You know.

509
00:26:17,840 --> 00:26:19,920
Speaker 7: I mean, the BBC has its own R and B

510
00:26:20,359 --> 00:26:23,399
Speaker 7: network called One Extra. I'm on a station called BBC

511
00:26:23,520 --> 00:26:25,560
Speaker 7: six Music, which is kind of for the over thirty

512
00:26:25,640 --> 00:26:26,760
Speaker 7: year olds, which.

513
00:26:26,640 --> 00:26:27,560
Speaker 4: Is kind of cool in a way.

514
00:26:28,480 --> 00:26:30,119
Speaker 7: Yeah, But in a way I was quite likely to

515
00:26:30,160 --> 00:26:32,119
Speaker 7: be to find myself on there because it's a cross

516
00:26:32,200 --> 00:26:36,480
Speaker 7: between sort of what I'm about and what someone like

517
00:26:36,560 --> 00:26:40,360
Speaker 7: John Peel's about, so they kind of it's quite a progressive, experimental,

518
00:26:40,520 --> 00:26:42,440
Speaker 7: interesting music, experimental it's.

519
00:26:42,400 --> 00:26:46,080
Speaker 4: Just like it's the most out there. It's where you

520
00:26:46,119 --> 00:26:46,600
Speaker 4: could hear.

521
00:26:46,600 --> 00:26:49,320
Speaker 7: The roots records being played every day, you know, more

522
00:26:49,480 --> 00:26:51,720
Speaker 7: likely than on a pop station or in a commercial station.

523
00:26:52,119 --> 00:26:56,320
Speaker 1: So for you, is it more important to be the

524
00:26:56,560 --> 00:27:02,040
Speaker 1: first to bring you Kenchick Lamar, the first to bring

525
00:27:02,119 --> 00:27:06,720
Speaker 1: you a new singer from America Lauren Hill? Or is

526
00:27:06,800 --> 00:27:10,040
Speaker 1: it like, what are your goals because of that? Well,

527
00:27:10,080 --> 00:27:12,359
Speaker 1: I know, I got I can't like I.

528
00:27:12,400 --> 00:27:15,600
Speaker 4: Want you exclusives come in, I know. But a guy

529
00:27:15,760 --> 00:27:20,320
Speaker 4: like Fresh of the Week, Fresh of the Week, what

530
00:27:22,080 --> 00:27:23,960
Speaker 4: their funk master Flex? Oh?

531
00:27:25,520 --> 00:27:29,440
Speaker 1: Now, I know Westwood has his sets on being the

532
00:27:29,600 --> 00:27:31,520
Speaker 1: funk Master Flex, which.

533
00:27:31,560 --> 00:27:33,960
Speaker 7: Is nostalgia though put people like Westwood of no style

534
00:27:34,119 --> 00:27:35,600
Speaker 7: nostalgia I know in the now.

535
00:27:36,119 --> 00:27:38,399
Speaker 1: Well that's crazy, you know, let's see, that's weird because

536
00:27:39,920 --> 00:27:44,680
Speaker 1: the Westward I'm referring to was the nineteen ninety six,

537
00:27:44,840 --> 00:27:47,399
Speaker 1: ninety seven. Okay, I know I'm hearing myself speaking known

538
00:27:47,400 --> 00:27:51,879
Speaker 1: that's twenty years ago. But back then he was the

539
00:27:52,840 --> 00:27:55,399
Speaker 1: you know, playing the news, the today hip hop, the

540
00:27:55,440 --> 00:28:01,600
Speaker 1: street hip hop, and kinda taking a different stance on

541
00:28:02,160 --> 00:28:06,080
Speaker 1: underground or stuff that he would deem too old school,

542
00:28:06,160 --> 00:28:09,440
Speaker 1: even though he came up in that era. But my

543
00:28:09,520 --> 00:28:12,280
Speaker 1: whole point was that I saw him more as a

544
00:28:12,400 --> 00:28:19,080
Speaker 1: fump master flex guy who you know, where he's the celebrity.

545
00:28:19,200 --> 00:28:23,080
Speaker 1: He you know, it's about him, Whereas I see you

546
00:28:23,400 --> 00:28:27,880
Speaker 1: as wanting to still be a taste maker and put

547
00:28:27,920 --> 00:28:31,800
Speaker 1: people onto stuff that they don't know about, Like you know,

548
00:28:32,080 --> 00:28:34,879
Speaker 1: I think when you first played a I think I

549
00:28:34,960 --> 00:28:37,560
Speaker 1: heard you on the air when you first introduced UFO

550
00:28:39,400 --> 00:28:42,280
Speaker 1: on on, you know, when they first debuted like this

551
00:28:42,400 --> 00:28:45,880
Speaker 1: is back in late night Japanese. Yeah, yeah, yeah. And

552
00:28:46,080 --> 00:28:49,920
Speaker 1: so it's like to me, I feel that I'm asking

553
00:28:50,200 --> 00:28:53,120
Speaker 1: do you feel better as a taste maker or do

554
00:28:53,200 --> 00:28:55,720
Speaker 1: you feel you'll get more done if you were the

555
00:28:55,840 --> 00:28:56,760
Speaker 1: celebrity DJ.

556
00:28:57,400 --> 00:28:58,080
Speaker 4: It's interesting.

557
00:28:58,320 --> 00:29:00,800
Speaker 7: It's a bit of a combination of elements in a way.

558
00:29:00,840 --> 00:29:03,920
Speaker 7: I mean, my role is to on one hand, fundamentally

559
00:29:04,000 --> 00:29:06,400
Speaker 7: excite myself. You know, I don't really care about my

560
00:29:06,480 --> 00:29:08,840
Speaker 7: audience in that sense. I mean in the sense that

561
00:29:12,720 --> 00:29:25,680
Speaker 7: I do care about it, prepare for a fifteen, but

562
00:29:25,760 --> 00:29:26,880
Speaker 7: if it feels right, do it.

563
00:29:26,960 --> 00:29:27,080
Speaker 4: You know.

564
00:29:27,200 --> 00:29:29,840
Speaker 7: The thing is for me is it's it's always interesting

565
00:29:29,960 --> 00:29:33,720
Speaker 7: because I think that people get off on your energy,

566
00:29:34,360 --> 00:29:41,160
Speaker 7: and your energy is your authentic feeling, and as a broadcaster,

567
00:29:41,640 --> 00:29:44,840
Speaker 7: I buzz on new music. I buzz on discovering old

568
00:29:44,880 --> 00:29:47,480
Speaker 7: music that I've never heard before where there's an incredible story.

569
00:29:48,520 --> 00:29:50,840
Speaker 7: I buzz on playing some classics because I like a

570
00:29:50,880 --> 00:29:54,719
Speaker 7: bit of nostalgia. But fundamentally it's that mixture of all

571
00:29:54,760 --> 00:29:58,000
Speaker 7: those elements with entertainment as part of it. So someone

572
00:29:58,080 --> 00:30:02,800
Speaker 7: like Westwood, incredible broadcaster, changed the generation. People grew up

573
00:30:02,880 --> 00:30:05,920
Speaker 7: on him and his radio show, and he brought a

574
00:30:06,080 --> 00:30:09,600
Speaker 7: certain esthetic of hip hop to a UK audience, and

575
00:30:09,720 --> 00:30:12,000
Speaker 7: he did it incredibly well. On the other hand, you

576
00:30:12,040 --> 00:30:14,640
Speaker 7: could say, well, where's your legacy, what did you break?

577
00:30:15,000 --> 00:30:17,320
Speaker 7: What did you do for UK hip hop? Why were

578
00:30:17,360 --> 00:30:19,640
Speaker 7: you so influenced by American music? Why has it taken

579
00:30:19,720 --> 00:30:22,600
Speaker 7: twenty years for grime to finally come through and for

580
00:30:22,960 --> 00:30:26,160
Speaker 7: UK hip hop fundamentally to actually finally have its name

581
00:30:26,360 --> 00:30:28,840
Speaker 7: out there and to be doing something because friendship hop

582
00:30:29,000 --> 00:30:30,880
Speaker 7: was way ahead, different language.

583
00:30:30,920 --> 00:30:32,520
Speaker 4: I mean, as you know, you know, it took a

584
00:30:32,640 --> 00:30:34,320
Speaker 4: long time, so I think there.

585
00:30:34,280 --> 00:30:38,440
Speaker 7: Was certain powers that held it back, and I think

586
00:30:38,480 --> 00:30:41,240
Speaker 7: that's a shame and my viewpoint as somebody who's also

587
00:30:41,320 --> 00:30:43,320
Speaker 7: been very much part of the music industry, as you know,

588
00:30:43,360 --> 00:30:45,360
Speaker 7: because we worked together and all that sort of stuff.

589
00:30:45,400 --> 00:30:47,880
Speaker 7: I feel that, you know, Britain has a lot to

590
00:30:49,280 --> 00:30:53,040
Speaker 7: shout about. Musically, the UK is a unique place, you know,

591
00:30:53,200 --> 00:30:55,960
Speaker 7: from going back to the Rolling Stones and led Zeppelin,

592
00:30:56,120 --> 00:30:59,440
Speaker 7: through punk music, through all the different elements of dance music,

593
00:30:59,600 --> 00:31:04,160
Speaker 7: from step to drum and bass to broken beat, and

594
00:31:05,240 --> 00:31:09,800
Speaker 7: I think that it's this unique mixture of people and

595
00:31:10,400 --> 00:31:13,880
Speaker 7: the club culture that make sure the music is constantly

596
00:31:14,440 --> 00:31:17,000
Speaker 7: reinventing itself and there's always something new coming up. And

597
00:31:17,120 --> 00:31:19,360
Speaker 7: that's why for me being on the radio, it's easy.

598
00:31:19,720 --> 00:31:21,200
Speaker 7: You know, it's easy because at the end of the

599
00:31:21,320 --> 00:31:23,400
Speaker 7: day there'll be there'll be a James Blakey'll be you know,

600
00:31:23,480 --> 00:31:25,280
Speaker 7: James Blake will come along, or a Mount Kimby or

601
00:31:25,280 --> 00:31:25,640
Speaker 7: come along.

602
00:31:25,680 --> 00:31:27,800
Speaker 4: There'll always be something happening.

603
00:31:27,960 --> 00:31:30,240
Speaker 7: You're not you know, there's never a time when you're

604
00:31:30,280 --> 00:31:32,320
Speaker 7: like going, oh God, there's not been anything interesting for

605
00:31:32,400 --> 00:31:34,680
Speaker 7: two or three years. So for me as a taste maker,

606
00:31:35,120 --> 00:31:38,320
Speaker 7: that makes it easy for me to be a taste

607
00:31:38,360 --> 00:31:40,280
Speaker 7: maker because there's so much great stuff to be able

608
00:31:40,320 --> 00:31:40,840
Speaker 7: to shout about.

609
00:31:41,400 --> 00:31:46,080
Speaker 4: So do you feel okay?

610
00:31:46,120 --> 00:31:48,400
Speaker 1: I'm thinking of like Benji, like, who do you feel

611
00:31:48,480 --> 00:31:51,080
Speaker 1: if you were to start right now, and I don't

612
00:31:51,120 --> 00:31:53,880
Speaker 1: mean morbidly like death or whatever, if you just said

613
00:31:54,840 --> 00:31:57,160
Speaker 1: I've had enough, I've done it, my work is done.

614
00:31:58,800 --> 00:32:02,200
Speaker 1: How many does rifles of yours? Do you fully trust

615
00:32:03,160 --> 00:32:07,520
Speaker 1: will carry on the tradition that you have and in

616
00:32:07,640 --> 00:32:16,040
Speaker 1: spreading Tomorrow's music, supporting Britain scene, keeping us educated on

617
00:32:16,160 --> 00:32:18,920
Speaker 1: the past, because you've got to do like three to

618
00:32:19,000 --> 00:32:22,440
Speaker 1: four different things to keep the train running. Do you

619
00:32:22,560 --> 00:32:25,680
Speaker 1: feel as though there are enough people that have the

620
00:32:25,920 --> 00:32:31,280
Speaker 1: education and the will and the drive to be the

621
00:32:31,360 --> 00:32:34,000
Speaker 1: person that that meets you at the gate, the greet

622
00:32:34,240 --> 00:32:37,240
Speaker 1: the taste maker, Like, I think there's they're all my

623
00:32:37,360 --> 00:32:40,160
Speaker 1: children in the UK for sure, in the sense that you.

624
00:32:40,200 --> 00:32:42,880
Speaker 5: Know Digs, I listened to him. He reminds me a

625
00:32:42,920 --> 00:32:46,000
Speaker 5: loud of you in La Yeah, yeah, yeah, No.

626
00:32:46,120 --> 00:32:48,600
Speaker 7: I mean I think Solection do some really great stuff.

627
00:32:48,640 --> 00:32:51,200
Speaker 7: I think Deviation do really great stuff. I think boiler Room,

628
00:32:51,280 --> 00:32:53,520
Speaker 7: you know again, the guy who sat out Boilerroom, Tristian,

629
00:32:53,600 --> 00:32:55,880
Speaker 7: he was working with me, you know, for eight years,

630
00:32:55,920 --> 00:32:57,680
Speaker 7: and then he was like, oh, I'm going to go

631
00:32:57,760 --> 00:33:00,480
Speaker 7: and film us doing a gig down the road in Dawston.

632
00:33:00,960 --> 00:33:02,000
Speaker 4: And that was boiler Room.

633
00:33:02,040 --> 00:33:05,160
Speaker 7: I think NTS another really interesting digital radio station. Again

634
00:33:05,200 --> 00:33:07,280
Speaker 7: it was very much so if you ask me who's

635
00:33:07,320 --> 00:33:10,280
Speaker 7: coming through, there's a whole load of people with that

636
00:33:10,600 --> 00:33:13,680
Speaker 7: certain attitude where on one hand they'll be playing an

637
00:33:13,720 --> 00:33:17,440
Speaker 7: Omar Sulliman record or some abstract sort of record from

638
00:33:17,440 --> 00:33:20,080
Speaker 7: the Congo released on Analog Africa, and on the other

639
00:33:20,160 --> 00:33:22,160
Speaker 7: hand they're going to be releasing playing some sort of

640
00:33:22,280 --> 00:33:28,600
Speaker 7: you know, crazy Mickey Miller, you know which I heard

641
00:33:28,600 --> 00:33:32,480
Speaker 7: you chatting about last week. So that that way of

642
00:33:32,600 --> 00:33:35,360
Speaker 7: approach to music I think is really normal now. I

643
00:33:35,440 --> 00:33:37,200
Speaker 7: think that when there was a time when you played

644
00:33:37,560 --> 00:33:39,800
Speaker 7: of this music in a mix, it was a little

645
00:33:39,840 --> 00:33:43,120
Speaker 7: bit abnormal. Today it's almost expected. If you look at

646
00:33:43,200 --> 00:33:46,600
Speaker 7: even you know, you read Pitchfork or or Resonant Advisor,

647
00:33:46,600 --> 00:33:52,440
Speaker 7: all these really important influential websites and new school writers

648
00:33:52,480 --> 00:33:55,920
Speaker 7: of the culture. It's about the eclecticism, you know, it's

649
00:33:55,920 --> 00:33:58,320
Speaker 7: about having Rufus Harley on a roots record. I mean,

650
00:33:58,360 --> 00:34:01,280
Speaker 7: you were doing this years ago, you know, and throwing

651
00:34:01,360 --> 00:34:05,280
Speaker 7: it all together. And for me, my big thing now

652
00:34:05,520 --> 00:34:09,040
Speaker 7: at the age of fifty two, is it's about heritage

653
00:34:09,239 --> 00:34:12,399
Speaker 7: and it's about the people that really took us here,

654
00:34:13,040 --> 00:34:16,080
Speaker 7: it's about Philip Coran in Chicago. It's about Sun Rah,

655
00:34:16,200 --> 00:34:20,160
Speaker 7: It's about Jimmy Merritt here in Philadelphia, the bass player

656
00:34:20,239 --> 00:34:22,920
Speaker 7: who wrote Nomo and played with Max Roach. For me,

657
00:34:23,200 --> 00:34:26,600
Speaker 7: it's about putting a light on these people, because without

658
00:34:26,640 --> 00:34:30,160
Speaker 7: those guys, we wouldn't be here. And they put in

659
00:34:30,360 --> 00:34:33,200
Speaker 7: so much work and some of them are still alive,

660
00:34:33,719 --> 00:34:37,560
Speaker 7: you know, and of course people like Royez still around.

661
00:34:37,920 --> 00:34:40,160
Speaker 7: I mean, my god, those guys, they did so many

662
00:34:40,239 --> 00:34:43,560
Speaker 7: gigs and we're kind of I don't know, for me personally,

663
00:34:44,040 --> 00:34:46,799
Speaker 7: it's kind of like it's payback time to those guys,

664
00:34:47,440 --> 00:34:51,040
Speaker 7: and we've got to make sure that we use the

665
00:34:51,160 --> 00:34:53,640
Speaker 7: power that we have and the means of influence that

666
00:34:53,760 --> 00:34:56,839
Speaker 7: we have to shine a light on those people. Three

667
00:34:56,920 --> 00:34:58,839
Speaker 7: people that I met when I was twenty two years old.

668
00:34:58,880 --> 00:35:00,880
Speaker 7: I've just been picked up by to London because I

669
00:35:00,920 --> 00:35:02,880
Speaker 7: was a young guy and I was playing jazz records

670
00:35:02,920 --> 00:35:05,160
Speaker 7: in clubs and I met three people in the space

671
00:35:05,239 --> 00:35:08,839
Speaker 7: of one week or two weeks, Wayne Shorter, Jalal from

672
00:35:08,880 --> 00:35:12,080
Speaker 7: The Last Poets, and the jazz singer mart Murphy, and

673
00:35:12,239 --> 00:35:14,120
Speaker 7: those three guys in the space of two weeks. They

674
00:35:14,200 --> 00:35:16,400
Speaker 7: taught a young boy from South London who didn't know

675
00:35:16,480 --> 00:35:20,000
Speaker 7: much about American culture. They taught me about the different

676
00:35:20,080 --> 00:35:25,560
Speaker 7: elements of music within jazz, whether it was spirituality, whether

677
00:35:25,640 --> 00:35:27,800
Speaker 7: it was more of a bohemian attitude, whether it was

678
00:35:27,840 --> 00:35:30,960
Speaker 7: the civil rights. I got lessons from these three people

679
00:35:31,080 --> 00:35:33,000
Speaker 7: in a very early at a very early age, and

680
00:35:33,160 --> 00:35:36,120
Speaker 7: that had a huge impact on me. And I want

681
00:35:36,160 --> 00:35:38,520
Speaker 7: to be able to do the same thing for another

682
00:35:38,600 --> 00:35:41,920
Speaker 7: generation of people, to bring them closer to the roots

683
00:35:41,960 --> 00:35:47,799
Speaker 7: of the music and away from the superficiality of big

684
00:35:48,040 --> 00:35:50,000
Speaker 7: commercial corporations.

685
00:35:51,080 --> 00:35:54,000
Speaker 4: Do you remember the first record you ever brought, the

686
00:35:54,120 --> 00:35:55,680
Speaker 4: very first record you purchased.

687
00:35:55,560 --> 00:36:00,440
Speaker 7: I purchased, Yeah, I remember picking up a record cards.

688
00:36:02,440 --> 00:36:05,520
Speaker 7: I remember buying Blondie d Knee by Blondie.

689
00:36:05,520 --> 00:36:05,920
Speaker 4: I love that.

690
00:36:06,320 --> 00:36:10,279
Speaker 7: That was Electric Light Orchestra, mister Blue Sky. I was

691
00:36:10,320 --> 00:36:14,440
Speaker 7: a bit prog rocky at around twelve thirteen, you know,

692
00:36:16,000 --> 00:36:19,600
Speaker 7: Caravan in the Land of Graham Pink, brilliant record, first

693
00:36:19,760 --> 00:36:23,000
Speaker 7: sort of record I bought. I mean, I was very

694
00:36:23,200 --> 00:36:26,520
Speaker 7: thankful for my library in London where I lived in Sutton.

695
00:36:26,560 --> 00:36:28,520
Speaker 7: They just had a new library and that's where you

696
00:36:28,560 --> 00:36:30,600
Speaker 7: could sort of take home records. I don't know if

697
00:36:30,640 --> 00:36:32,239
Speaker 7: they did that here in the States where you could

698
00:36:32,320 --> 00:36:36,040
Speaker 7: borrow records. You still do that for those Oh yeah.

699
00:36:38,040 --> 00:36:42,640
Speaker 4: Myself. That was sorry, that was a good place anyway.

700
00:36:42,960 --> 00:36:44,680
Speaker 7: So that's where I kind of heard a lot of

701
00:36:44,760 --> 00:36:47,560
Speaker 7: you know, I bought Herbie Hancock, you know, really important

702
00:36:47,560 --> 00:36:51,240
Speaker 7: records to me. Actually, Herbie Hancock Mister Hands nineteen eighteen,

703
00:36:51,520 --> 00:36:54,400
Speaker 7: huge record, huge record.

704
00:37:00,080 --> 00:37:04,040
Speaker 4: Way. So wait, who was I mean?

705
00:37:04,280 --> 00:37:09,160
Speaker 1: I know, I say, if John Peel, and I'm using

706
00:37:09,680 --> 00:37:16,160
Speaker 1: American sports terms, you know, for every Michael Jordan, there's Piven.

707
00:37:16,719 --> 00:37:18,040
Speaker 4: Oh yeah, there's.

708
00:37:17,719 --> 00:37:22,600
Speaker 1: Definitely ten or fifteen unsung heroes that will never get

709
00:37:22,600 --> 00:37:25,600
Speaker 1: their props that were just as important or vital to

710
00:37:25,680 --> 00:37:29,280
Speaker 1: the movement. But I mean, who was your John Peel

711
00:37:30,320 --> 00:37:32,960
Speaker 1: when you were coming up, Like, who's the person that

712
00:37:33,160 --> 00:37:35,759
Speaker 1: truly introduced.

713
00:37:35,280 --> 00:37:36,000
Speaker 4: You to music?

714
00:37:36,360 --> 00:37:38,759
Speaker 1: Was it a school friend or whatever? Who started your

715
00:37:38,840 --> 00:37:42,359
Speaker 1: obsession with collecting records? Yeah, because you have, Like, what's

716
00:37:42,400 --> 00:37:45,319
Speaker 1: your collection up to now? I don't I don't count

717
00:37:45,320 --> 00:37:50,000
Speaker 1: you stop counting. It's three houses, yeah, yeah, oh.

718
00:37:49,920 --> 00:37:53,440
Speaker 7: Three properties. Yeah yeah, I keep getting pushed out by

719
00:37:53,480 --> 00:37:57,719
Speaker 7: my wife, but yeah, no, for me, it was uh,

720
00:37:58,560 --> 00:38:03,120
Speaker 7: it was my friend Andrew Crossley's sister fourteen years old.

721
00:38:03,320 --> 00:38:05,080
Speaker 7: I went to his house and she had a copy

722
00:38:05,120 --> 00:38:07,319
Speaker 7: of Mays Live in New Orleans. She had a copy

723
00:38:07,360 --> 00:38:09,759
Speaker 7: of Bobby called Well What You Won't Do For Love?

724
00:38:10,080 --> 00:38:12,839
Speaker 7: The album That's when when I first heart left, when

725
00:38:12,880 --> 00:38:14,480
Speaker 7: the fire. All in all, I think it was around

726
00:38:14,520 --> 00:38:17,839
Speaker 7: then that I'd hear Brazilian rhyme and fantasy, all those songs.

727
00:38:17,880 --> 00:38:19,920
Speaker 7: I mean that blew my mind. I hadn't heard that

728
00:38:20,040 --> 00:38:23,000
Speaker 7: on the RATO in the UK. The most amazing music ever.

729
00:38:23,400 --> 00:38:25,759
Speaker 7: Mays was big for me. I remember going to see

730
00:38:25,840 --> 00:38:27,640
Speaker 7: Mays all the time. They used to come to London

731
00:38:27,680 --> 00:38:30,040
Speaker 7: play at the Hammersmith Odio. Yeah, who would come to

732
00:38:30,480 --> 00:38:32,759
Speaker 7: Who from the States would come? The bands when you

733
00:38:32,840 --> 00:38:36,520
Speaker 7: were when you were I never forget seeing Cameo. Cameo

734
00:38:36,920 --> 00:38:39,960
Speaker 7: disappointingly because they were doing their rock thing at the time,

735
00:38:40,040 --> 00:38:41,320
Speaker 7: and I really wanted them to do this sort of

736
00:38:41,360 --> 00:38:42,600
Speaker 7: slat bass thing at that time.

737
00:38:43,480 --> 00:38:45,239
Speaker 4: But still, I mean, yeah, they were all coming.

738
00:38:45,320 --> 00:38:47,960
Speaker 7: A lot of those groups were coming, and you know,

739
00:38:48,000 --> 00:38:49,520
Speaker 7: a lot of the jazz funk bands, you know, people

740
00:38:49,560 --> 00:38:51,520
Speaker 7: like Lonely Listen Smith would come, you know, this sort

741
00:38:51,520 --> 00:38:54,759
Speaker 7: of slightly offbeat less. There was a motown scene for

742
00:38:54,880 --> 00:38:57,359
Speaker 7: the more traditional stuff. That wasn't really what I was into.

743
00:38:57,440 --> 00:38:59,200
Speaker 7: I was more into the jazz funk thing.

744
00:38:59,320 --> 00:39:01,680
Speaker 1: You weren't into the North. What do you explained to

745
00:39:01,760 --> 00:39:05,800
Speaker 1: me Northern soul? Gosh, Northern Soul is okay, well, I

746
00:39:05,880 --> 00:39:11,560
Speaker 1: mean they like they break, they break, yeah, tune.

747
00:39:11,320 --> 00:39:16,320
Speaker 7: Wise, I mean it's really sort of The UK was

748
00:39:16,520 --> 00:39:21,120
Speaker 7: very into motown and soul. You know, all of that

749
00:39:21,320 --> 00:39:24,600
Speaker 7: Marvin Gaye, Smoky Robinson, the sixties stuff that was big,

750
00:39:24,680 --> 00:39:25,919
Speaker 7: and that was big, and that was that got playing

751
00:39:25,920 --> 00:39:27,319
Speaker 7: the way down there were clubs and you know, there

752
00:39:27,360 --> 00:39:29,000
Speaker 7: was there was the stuff going on and they come

753
00:39:29,080 --> 00:39:32,920
Speaker 7: over to the UK. The DJ club scene started happening

754
00:39:32,960 --> 00:39:35,200
Speaker 7: in the sixties and seventies in the North as well

755
00:39:35,239 --> 00:39:36,719
Speaker 7: as it was in the South, but in the North

756
00:39:36,760 --> 00:39:40,400
Speaker 7: of England they basically had a slightly different taste and

757
00:39:40,560 --> 00:39:43,040
Speaker 7: they didn't want to play the obvious Motown records, so

758
00:39:43,080 --> 00:39:45,200
Speaker 7: they went and found the records that sounded like Motown

759
00:39:45,239 --> 00:39:47,560
Speaker 7: records but were hard to find. And that's really what

760
00:39:47,680 --> 00:39:49,799
Speaker 7: Northern soul was. And it's a certain tempo, it's quite

761
00:39:49,880 --> 00:39:54,239
Speaker 7: high tempo. There's some amazing songs. It's basically, you know,

762
00:39:56,520 --> 00:40:00,600
Speaker 7: it's it's Discog's forty years go. You know, they were

763
00:40:00,640 --> 00:40:03,439
Speaker 7: pulling out the rarest local songs. They there's guys who'd

764
00:40:03,480 --> 00:40:08,920
Speaker 7: come and they'd realize that the music from America was local,

765
00:40:09,280 --> 00:40:11,360
Speaker 7: you know. So there's there were the major labels that

766
00:40:11,400 --> 00:40:13,359
Speaker 7: would release all the big records, but if you went

767
00:40:13,400 --> 00:40:15,920
Speaker 7: to Saint Louis, or you went to Dallas, or and

768
00:40:16,040 --> 00:40:18,120
Speaker 7: you just went to the local record shops, they'd hear

769
00:40:18,200 --> 00:40:21,759
Speaker 7: local music where there was mightbe a thousand copies ever

770
00:40:21,840 --> 00:40:24,239
Speaker 7: pressed just for the local market. And that's really what

771
00:40:24,360 --> 00:40:26,480
Speaker 7: Northern Soul kind of was. It was about going in

772
00:40:26,800 --> 00:40:29,319
Speaker 7: like New Mirror Group for example, labels like that. It's

773
00:40:29,400 --> 00:40:32,799
Speaker 7: just going in that much deeper. And some of the music,

774
00:40:32,920 --> 00:40:35,200
Speaker 7: of course, there's so much music. That's the other thing

775
00:40:35,280 --> 00:40:37,520
Speaker 7: that just to answer you from earlier on about what

776
00:40:37,880 --> 00:40:40,759
Speaker 7: drives me how much music is that? I thought ten

777
00:40:40,840 --> 00:40:42,920
Speaker 7: years ago, I was like, yeah, I've got most of it.

778
00:40:45,520 --> 00:40:49,000
Speaker 4: Even now as you speak, there is stuff that you

779
00:40:49,120 --> 00:40:50,920
Speaker 4: still I'm spending people.

780
00:40:50,680 --> 00:40:53,840
Speaker 7: To make much music on records at the moment, not

781
00:40:53,920 --> 00:40:57,440
Speaker 7: because I'm earning more, you know, but because I'm just

782
00:40:58,920 --> 00:41:01,840
Speaker 7: I'm excited, and there's so many more record shops and

783
00:41:02,280 --> 00:41:05,239
Speaker 7: really great experts. Now you can go anywhere in the

784
00:41:05,320 --> 00:41:07,799
Speaker 7: world and you'll find a place which is where there's

785
00:41:07,800 --> 00:41:09,320
Speaker 7: going to be someone who's going to invite you to

786
00:41:09,360 --> 00:41:11,120
Speaker 7: their house. Maybe it's not in a shop anymore now

787
00:41:11,160 --> 00:41:14,120
Speaker 7: it's a more bespoke record dealer that exists right.

788
00:41:14,560 --> 00:41:17,440
Speaker 4: Where you go to the crib. And yeah, there's a

789
00:41:17,480 --> 00:41:18,280
Speaker 4: lot of those cats.

790
00:41:18,440 --> 00:41:20,399
Speaker 7: But they're good man, because they do all the work

791
00:41:20,480 --> 00:41:23,000
Speaker 7: for you. I mean, I don't have me coming like well,

792
00:41:23,200 --> 00:41:25,200
Speaker 7: I know they're overcharging me for some you know, you've

793
00:41:25,200 --> 00:41:26,719
Speaker 7: got to accept that it's going to be twenty five

794
00:41:26,719 --> 00:41:29,120
Speaker 7: percent over for you. But you will get some good stories.

795
00:41:29,400 --> 00:41:33,239
Speaker 7: And those guys for their role as as great bespoke

796
00:41:33,440 --> 00:41:36,719
Speaker 7: records sort of finders, they if they're really good at

797
00:41:36,719 --> 00:41:39,320
Speaker 7: their job, they'll tell you the story. For example, recently

798
00:41:39,320 --> 00:41:41,359
Speaker 7: there's a guy called Victor Kiswell in Paris. I think

799
00:41:41,400 --> 00:41:44,160
Speaker 7: you might well have been to his house and he

800
00:41:44,239 --> 00:41:46,000
Speaker 7: gave me a record the other day and it was

801
00:41:46,080 --> 00:41:49,200
Speaker 7: in Russian, right, And it was all in Russian, and

802
00:41:49,320 --> 00:41:51,520
Speaker 7: it was from the Ukraine from the seventies, and it

803
00:41:51,640 --> 00:41:54,680
Speaker 7: was a Ukrainian big band version of a Fella Kootie

804
00:41:54,760 --> 00:41:59,640
Speaker 7: song right right, Shakara right right exactly, and.

805
00:41:59,680 --> 00:42:00,840
Speaker 4: You out.

806
00:42:03,600 --> 00:42:07,000
Speaker 7: Right and uh and and he had gone to the

807
00:42:07,320 --> 00:42:10,319
Speaker 7: to the point of translating Russian to find out more

808
00:42:10,320 --> 00:42:11,840
Speaker 7: about the record than you realized.

809
00:42:11,880 --> 00:42:13,320
Speaker 4: It was fella cootie and stuff.

810
00:42:13,360 --> 00:42:14,840
Speaker 7: And then he kind of listened to the track and

811
00:42:14,960 --> 00:42:17,239
Speaker 7: halfway through this little riff that comes in and it's

812
00:42:17,360 --> 00:42:20,680
Speaker 7: Raka by Ukrainian big band in the mid seventies. Wow,

813
00:42:21,040 --> 00:42:24,560
Speaker 7: that's what we want. Wow, that's what we need. That's

814
00:42:24,600 --> 00:42:27,520
Speaker 7: what you need. That's your food, that's your foods.

815
00:42:27,920 --> 00:42:32,080
Speaker 4: It is it is. See yo right in this room.

816
00:42:32,840 --> 00:42:35,680
Speaker 6: Used to that guy used to come up here. Yeah,

817
00:42:35,680 --> 00:42:38,319
Speaker 6: he was like yeah, he was like a fucking drug deal.

818
00:42:38,560 --> 00:42:41,200
Speaker 8: He sent me down. Let this dude in the front

819
00:42:41,239 --> 00:42:43,680
Speaker 8: door go down there. I'm like a Mirea's gonna buy

820
00:42:43,719 --> 00:42:46,920
Speaker 8: some drugs talking about Jean Brown. So you would come

821
00:42:47,000 --> 00:42:50,520
Speaker 8: up here and go back there and whispering. Guys are

822
00:42:50,520 --> 00:42:52,520
Speaker 8: showing them all different kinds, like if you had different

823
00:42:52,600 --> 00:42:56,520
Speaker 8: kinds of weed. You know, these records from here. This

824
00:42:56,600 --> 00:42:58,000
Speaker 8: one's twenty five, this one's thirty.

825
00:42:58,360 --> 00:42:58,759
Speaker 4: I'll take it.

826
00:42:58,840 --> 00:42:59,799
Speaker 6: I'll take you real.

827
00:43:01,480 --> 00:43:03,960
Speaker 1: The best thing is they do the records and the drugs.

828
00:43:06,520 --> 00:43:09,960
Speaker 1: Now to this day, Jean Brown is my professional shopper.

829
00:43:10,239 --> 00:43:10,560
Speaker 4: See that.

830
00:43:10,800 --> 00:43:14,440
Speaker 1: Okay, that's the thing. It's like, I still feel like

831
00:43:14,719 --> 00:43:19,960
Speaker 1: you're actively getting your hands dirty. You're using elbow grease

832
00:43:20,480 --> 00:43:22,480
Speaker 1: to search for the song that you don't got. You

833
00:43:22,600 --> 00:43:26,160
Speaker 1: still actively dig. Like I almost feel even as I'm

834
00:43:26,200 --> 00:43:30,120
Speaker 1: asking you about the comparisons between a Westwood and Appeal,

835
00:43:31,040 --> 00:43:35,800
Speaker 1: I almost feel like I have to make myself personally

836
00:43:36,440 --> 00:43:42,279
Speaker 1: a corporation or a Westwood so that I can have

837
00:43:42,520 --> 00:43:46,400
Speaker 1: peel moments, like in order for this show to even happen,

838
00:43:47,960 --> 00:43:49,759
Speaker 1: Like I have to be quest love, like I have

839
00:43:49,880 --> 00:43:53,800
Speaker 1: to have a corporate day job life. That's the total

840
00:43:53,920 --> 00:43:59,000
Speaker 1: opposite of not what I stand for. But it's just like,

841
00:43:59,120 --> 00:44:01,040
Speaker 1: you know, twenty five years ago, do you think I

842
00:44:01,120 --> 00:44:01,799
Speaker 1: would be like.

843
00:44:02,360 --> 00:44:03,879
Speaker 4: On late night? Yeah, on late night.

844
00:44:04,360 --> 00:44:06,239
Speaker 5: If I's you went from busking on the corners at

845
00:44:06,320 --> 00:44:07,480
Speaker 5: late night, that's pretty bad.

846
00:44:07,680 --> 00:44:09,600
Speaker 4: I mean, that's that's my point.

847
00:44:09,719 --> 00:44:12,000
Speaker 1: Like I feel I almost have to robin Hood my

848
00:44:12,160 --> 00:44:18,160
Speaker 1: way to keep culture alive. I mean, if I really

849
00:44:18,400 --> 00:44:23,880
Speaker 1: had the monetary, rolling in the money, rolling into to

850
00:44:25,360 --> 00:44:28,680
Speaker 1: do even bigger things quote for the culture, I mean

851
00:44:28,800 --> 00:44:29,600
Speaker 1: I would, but it's.

852
00:44:29,560 --> 00:44:32,840
Speaker 4: Like slow coming. But it's it's like I feel that

853
00:44:33,120 --> 00:44:34,480
Speaker 4: you still.

854
00:44:35,680 --> 00:44:38,279
Speaker 1: You know, you'll you'll you'll dig on websites and look

855
00:44:38,360 --> 00:44:42,440
Speaker 1: up playlists like how active are you still? I mean

856
00:44:42,480 --> 00:44:46,520
Speaker 1: there's a point where before Boss Bill was my ears,

857
00:44:46,960 --> 00:44:49,239
Speaker 1: like he would search for records for me and meds

858
00:44:49,640 --> 00:44:51,120
Speaker 1: because there's not enough hours.

859
00:44:50,880 --> 00:44:52,680
Speaker 7: In there, you know, for you your drummer, So your

860
00:44:52,760 --> 00:44:55,360
Speaker 7: chops is like you know, you're playing, you're practicing.

861
00:44:55,440 --> 00:44:58,120
Speaker 4: You're a musician, right, you're going out the right.

862
00:44:58,800 --> 00:45:01,000
Speaker 7: I'm a DJ, but I'm ninety and other things too.

863
00:45:01,120 --> 00:45:04,239
Speaker 7: So that's that's your prime your your prime role and

864
00:45:04,440 --> 00:45:09,640
Speaker 7: and and I mean, you just got to do your

865
00:45:09,719 --> 00:45:12,200
Speaker 7: thing the way you do. You do such an amazing

866
00:45:12,400 --> 00:45:16,880
Speaker 7: job of bringing culture to people to a new generation.

867
00:45:17,719 --> 00:45:19,720
Speaker 7: I mean, you're the Quincy Jones of this generation.

868
00:45:19,960 --> 00:45:23,040
Speaker 4: Don't say that the way you are because I think

869
00:45:23,080 --> 00:45:25,960
Speaker 4: that you're the you are, because I think you probably

870
00:45:25,960 --> 00:45:28,880
Speaker 4: have a comfortable role index so many ways. You got

871
00:45:28,960 --> 00:45:30,920
Speaker 4: to do your back on the black Man. You got

872
00:45:31,080 --> 00:45:35,880
Speaker 4: to do that. Saying that is super snarky.

873
00:45:37,320 --> 00:45:37,600
Speaker 3: You got.

874
00:45:45,560 --> 00:45:48,360
Speaker 4: No I you know, I think at the end of

875
00:45:48,440 --> 00:45:51,279
Speaker 4: the day, people listen to you.

876
00:45:51,440 --> 00:45:53,120
Speaker 1: At the end of the day, I saw what you

877
00:45:53,239 --> 00:45:58,080
Speaker 1: did in London and said by any means which even

878
00:45:58,120 --> 00:46:02,879
Speaker 1: the roots picnic is still an extension of like those

879
00:46:02,920 --> 00:46:05,440
Speaker 1: places that we used to play in a h.

880
00:46:08,040 --> 00:46:12,759
Speaker 4: Outside of London Brighton right. Thank you for saying that

881
00:46:13,000 --> 00:46:15,000
Speaker 4: to me. That's that's the important thing.

882
00:46:15,200 --> 00:46:18,160
Speaker 1: Like I don't know why I think that way either,

883
00:46:18,320 --> 00:46:21,959
Speaker 1: like okay, instead of like living the moment, I'm trying

884
00:46:22,000 --> 00:46:24,839
Speaker 1: to think of what mark I can leave here when

885
00:46:24,920 --> 00:46:25,359
Speaker 1: I die.

886
00:46:30,160 --> 00:46:35,280
Speaker 4: So besides Djan, I mean, you developed.

887
00:46:36,600 --> 00:46:40,839
Speaker 1: Probably one of the most important dance labels ever, which

888
00:46:41,080 --> 00:46:45,319
Speaker 1: was Talking Loud. Could you talk about your like, when

889
00:46:45,360 --> 00:46:48,000
Speaker 1: did you develop it and what means you want to Well?

890
00:46:48,040 --> 00:46:50,560
Speaker 7: I first started off as a pirate DJ in a

891
00:46:50,600 --> 00:46:54,640
Speaker 7: club DJ from the age of seventeen eighteen by doing

892
00:46:54,719 --> 00:46:57,400
Speaker 7: compilation albums. So my first thing was like the mixtape,

893
00:46:57,440 --> 00:46:59,960
Speaker 7: but I used to do license tracks and compile them.

894
00:47:00,200 --> 00:47:02,160
Speaker 7: So the first series I did was Jazz Juice, and

895
00:47:02,320 --> 00:47:04,360
Speaker 7: I think I am the world record holder of compilation

896
00:47:04,440 --> 00:47:07,560
Speaker 7: official compilation You were Silver. So I always wanted to

897
00:47:07,600 --> 00:47:09,480
Speaker 7: be like close to our Blake keeper from a DJ

898
00:47:09,640 --> 00:47:11,880
Speaker 7: point of view and releases, so I managed to do that,

899
00:47:11,960 --> 00:47:13,959
Speaker 7: and then I set up a pirate a pirate station.

900
00:47:14,000 --> 00:47:16,600
Speaker 7: I stayed upper my first record label, which was label

901
00:47:16,600 --> 00:47:20,600
Speaker 7: called Acid Jazz, and that label was Brand New Heavies, Galliano,

902
00:47:20,760 --> 00:47:23,919
Speaker 7: Jamiroquai and all of that stuff, whoever they are. Yeah,

903
00:47:24,120 --> 00:47:26,000
Speaker 7: that was that was the beginning then. But who got

904
00:47:26,120 --> 00:47:29,719
Speaker 7: to remember at that time everyone used to go work.

905
00:47:29,760 --> 00:47:31,400
Speaker 7: You know, it was like it wasn't you know, there

906
00:47:31,480 --> 00:47:33,480
Speaker 7: was no scene. There was no business really, I mean

907
00:47:33,520 --> 00:47:35,080
Speaker 7: there was a scene, but there was no way of

908
00:47:35,400 --> 00:47:39,440
Speaker 7: monetizing it. And this music was super underground and you know,

909
00:47:39,520 --> 00:47:42,040
Speaker 7: you'd sell a few hundred, couple of thousand records, so

910
00:47:42,160 --> 00:47:45,120
Speaker 7: all the artists were basically, you know, going to work

911
00:47:45,160 --> 00:47:46,719
Speaker 7: during the week and you know, as you were doing

912
00:47:46,960 --> 00:47:48,200
Speaker 7: the other days of the roots and.

913
00:47:49,520 --> 00:47:52,360
Speaker 1: You see him at JK of Jamiquire once had a

914
00:47:52,440 --> 00:47:54,560
Speaker 1: d job. No, he never had a day job.

915
00:47:56,320 --> 00:47:57,880
Speaker 7: But all the Brand New Heavies did, you know, and

916
00:47:57,960 --> 00:48:01,120
Speaker 7: all of Galliano did, and those early groups. And from

917
00:48:01,160 --> 00:48:03,800
Speaker 7: my point of view where I was at being the

918
00:48:03,920 --> 00:48:06,480
Speaker 7: champion of this new scene going on in the UK,

919
00:48:06,800 --> 00:48:09,400
Speaker 7: I got I knew that I needed to take it

920
00:48:09,480 --> 00:48:11,480
Speaker 7: to another level and I couldn't do it independently. So

921
00:48:11,600 --> 00:48:13,840
Speaker 7: I got an offer from Funogram Records, which was PolyGram

922
00:48:13,960 --> 00:48:16,080
Speaker 7: which is now universal, and they said to me, Charles,

923
00:48:16,600 --> 00:48:18,960
Speaker 7: why don't you do this little thing that you're doing

924
00:48:19,000 --> 00:48:21,239
Speaker 7: with acid jazz and do it for us. So that's

925
00:48:21,280 --> 00:48:23,080
Speaker 7: when I said I'm Talking Loud. Because at that time,

926
00:48:23,120 --> 00:48:25,560
Speaker 7: there were no bootique record labels. You know, I didn't

927
00:48:25,600 --> 00:48:27,360
Speaker 7: have anybody to go, oh, yeah, let's do you know,

928
00:48:27,640 --> 00:48:29,040
Speaker 7: what did you do? What kind of deal did you do?

929
00:48:29,239 --> 00:48:31,000
Speaker 7: So I ended up just being brought in by them

930
00:48:31,040 --> 00:48:33,240
Speaker 7: as an A and R guy with my own label.

931
00:48:33,840 --> 00:48:35,440
Speaker 7: And that's why I set up Talking Out because I

932
00:48:35,520 --> 00:48:38,040
Speaker 7: knew that Talking Loud needed to happen to break the bands,

933
00:48:38,080 --> 00:48:40,959
Speaker 7: to be able to break the movement, so I needed

934
00:48:40,960 --> 00:48:42,960
Speaker 7: a major label. So that's when I set up Talking Loud.

935
00:48:43,000 --> 00:48:44,720
Speaker 7: And so the beginning of talking about it was groups

936
00:48:44,760 --> 00:48:47,960
Speaker 7: like Incognito and Galiano and Omar and the Young Disciples,

937
00:48:48,320 --> 00:48:50,239
Speaker 7: which is the best record I think we ever put out.

938
00:48:50,320 --> 00:48:54,160
Speaker 7: I put out, anyway, a very underrated soul hip hop

939
00:48:54,320 --> 00:48:57,960
Speaker 7: record which had Master Race on it. It had Johnny

940
00:48:58,040 --> 00:49:01,680
Speaker 7: Light all the Vibes player on it. And then that

941
00:49:01,840 --> 00:49:03,600
Speaker 7: was that time, and that was the sort of period

942
00:49:03,600 --> 00:49:06,480
Speaker 7: of louse of salt to soul and that kind of

943
00:49:06,600 --> 00:49:09,080
Speaker 7: London sound happening. But I wanted Talking Out to be

944
00:49:09,160 --> 00:49:13,000
Speaker 7: more than just a soul, funk, acid azz label. I

945
00:49:13,040 --> 00:49:16,759
Speaker 7: wanted it to represent UK club culture and all the

946
00:49:16,880 --> 00:49:20,080
Speaker 7: elements directions was going in, from the massive attack to

947
00:49:20,280 --> 00:49:22,480
Speaker 7: what became the drum and bass, and all those groups

948
00:49:22,520 --> 00:49:25,280
Speaker 7: of people like four Hero, people like Ronnie Size represent

949
00:49:25,680 --> 00:49:29,240
Speaker 7: They were natural artists to come through the label. Carl Craig,

950
00:49:29,680 --> 00:49:31,960
Speaker 7: we did him, who was off s course, the Detroit Sad.

951
00:49:32,120 --> 00:49:34,040
Speaker 7: The best record I think I put out apart from

952
00:49:34,920 --> 00:49:43,239
Speaker 7: your EP, was the new Reconsult Records with and that

953
00:49:43,400 --> 00:49:45,600
Speaker 7: was a full on A and R experience because they'd

954
00:49:45,640 --> 00:49:47,759
Speaker 7: released a little twelve inch called the Nervous Track on

955
00:49:47,840 --> 00:49:49,960
Speaker 7: Nervous Records, and I was playing that at Baumba my

956
00:49:50,040 --> 00:49:52,080
Speaker 7: Monday night session, and they heard about it, and I

957
00:49:52,239 --> 00:49:54,879
Speaker 7: was a fan of Louis and Kenny and I said

958
00:49:54,880 --> 00:49:56,279
Speaker 7: to the guys, I called him up, I says this,

959
00:49:56,440 --> 00:49:59,040
Speaker 7: and guys, you know, this is a really big record

960
00:49:59,080 --> 00:50:01,000
Speaker 7: for me. Because the house hit kids weren't by playing

961
00:50:01,040 --> 00:50:03,520
Speaker 7: that record because they were house producers, but they weren't

962
00:50:03,560 --> 00:50:05,719
Speaker 7: on it because it was a little bit offbeat. But

963
00:50:05,840 --> 00:50:08,440
Speaker 7: it was perfect for people like me. So I then

964
00:50:08,520 --> 00:50:12,440
Speaker 7: said to Louis, let's let's develop this into an album project.

965
00:50:12,560 --> 00:50:15,040
Speaker 7: So that's when the new Reconsole thing happened. And now

966
00:50:15,120 --> 00:50:17,400
Speaker 7: and then it just opened up because Louie's got his

967
00:50:18,000 --> 00:50:21,360
Speaker 7: his nephews, it's uncle's Hector Lavo, so the whole of

968
00:50:21,600 --> 00:50:24,719
Speaker 7: Latin music was was in it. Then Kenny had the

969
00:50:24,760 --> 00:50:27,640
Speaker 7: connections with Jazzy Jeff and roy Es, and then we

970
00:50:27,719 --> 00:50:30,560
Speaker 7: had George Benson on it, and then Tito he turned up.

971
00:50:30,800 --> 00:50:33,560
Speaker 7: That was the best ever launched album launched Supper Club

972
00:50:33,840 --> 00:50:34,919
Speaker 7: New Reconsole by.

973
00:50:35,760 --> 00:50:38,560
Speaker 4: They were all there. The pictures from the inside game from.

974
00:50:39,160 --> 00:50:42,400
Speaker 7: A very bad quality day of it, which is up

975
00:50:42,440 --> 00:50:44,960
Speaker 7: on such a shame because it's like that they were

976
00:50:45,040 --> 00:50:45,840
Speaker 7: all the La India.

977
00:50:46,080 --> 00:50:48,960
Speaker 4: They were all there. So that was my official most

978
00:50:49,920 --> 00:50:51,600
Speaker 4: fantastic kind of experience.

979
00:50:52,160 --> 00:50:56,920
Speaker 5: The turn back the term about the song but in

980
00:50:57,160 --> 00:50:59,279
Speaker 5: Needlember is it about that club?

981
00:50:59,440 --> 00:51:02,200
Speaker 7: Yes come the nation of a tribute to Luis Essa,

982
00:51:02,400 --> 00:51:05,520
Speaker 7: who's the Brazilian composer who wrote a song called Baromba

983
00:51:06,200 --> 00:51:09,840
Speaker 7: and bar Rumba because Blue used to come down every Monday,

984
00:51:10,760 --> 00:51:13,080
Speaker 7: remember so, and I introduced him to the music of

985
00:51:13,160 --> 00:51:15,600
Speaker 7: the Tamba Trio for whom luis Essa wrote, So that

986
00:51:15,760 --> 00:51:16,320
Speaker 7: was kind.

987
00:51:16,120 --> 00:51:18,520
Speaker 4: Of a very nice you know that.

988
00:51:20,920 --> 00:51:21,080
Speaker 9: You know.

989
00:51:21,160 --> 00:51:23,200
Speaker 7: The maddest thing for me was when because when I

990
00:51:23,320 --> 00:51:25,600
Speaker 7: ran Talking Ad Records, of course it was a UK

991
00:51:26,120 --> 00:51:29,880
Speaker 7: and European thing, but I was trying to break this

992
00:51:30,040 --> 00:51:32,279
Speaker 7: music in the States. So you're talking about FM radio

993
00:51:32,320 --> 00:51:34,480
Speaker 7: here and stuff. So I had to the first time

994
00:51:34,520 --> 00:51:37,440
Speaker 7: I came to America with music in my hand to

995
00:51:37,840 --> 00:51:40,240
Speaker 7: sell to the A and R guys of the department

996
00:51:40,280 --> 00:51:42,640
Speaker 7: at Mercury Records. It was Ed eg Stein and Lisa

997
00:51:42,719 --> 00:51:46,520
Speaker 7: Cortez who were running it there, and and I went

998
00:51:46,560 --> 00:51:48,920
Speaker 7: in there with my young disciples and my oma and

999
00:51:49,120 --> 00:51:51,200
Speaker 7: they were like, we love this music, this is amazing.

1000
00:51:51,520 --> 00:51:54,040
Speaker 7: We're going to try and you know, make it for you,

1001
00:51:54,200 --> 00:51:56,480
Speaker 7: make it happen. But it was so hard to get

1002
00:51:56,520 --> 00:51:59,840
Speaker 7: that music on the radio over here. But it was

1003
00:52:00,160 --> 00:52:02,560
Speaker 7: very interesting sort of learning process for me to kind

1004
00:52:02,600 --> 00:52:06,520
Speaker 7: of see how the industry worked here and working with

1005
00:52:06,600 --> 00:52:07,000
Speaker 7: those people.

1006
00:52:07,080 --> 00:52:08,200
Speaker 4: What was it? What was it like for you?

1007
00:52:08,440 --> 00:52:11,520
Speaker 5: Because one of the moments that I saw as kind

1008
00:52:11,520 --> 00:52:14,759
Speaker 5: of a breakoup month for Talking Loud was when for

1009
00:52:14,840 --> 00:52:17,520
Speaker 5: a Hero two Pages got the Lee review and Vibe.

1010
00:52:18,680 --> 00:52:20,839
Speaker 5: It was the first review of the I don't even

1011
00:52:20,840 --> 00:52:21,600
Speaker 5: if you remember this, but.

1012
00:52:24,560 --> 00:52:24,880
Speaker 4: Remember it.

1013
00:52:25,040 --> 00:52:27,200
Speaker 5: But yeah, that record got the first It got the

1014
00:52:27,280 --> 00:52:29,520
Speaker 5: Lee review and I actually went and checked it out

1015
00:52:29,560 --> 00:52:31,759
Speaker 5: on the stream for that that made me like a

1016
00:52:31,880 --> 00:52:34,600
Speaker 5: lifetime Me and Mark we've done you know work. But

1017
00:52:35,239 --> 00:52:37,919
Speaker 5: but man, that was what was How did.

1018
00:52:37,880 --> 00:52:41,000
Speaker 4: You and fo a hero? We four? Hero? Was it?

1019
00:52:41,120 --> 00:52:44,239
Speaker 7: I mean remarkable because they are Mark and Diego. They're

1020
00:52:44,280 --> 00:52:47,279
Speaker 7: another kind of super combination like Louis Viger and Kenny

1021
00:52:47,360 --> 00:52:50,520
Speaker 7: Dope and two very different characters and personalities who make

1022
00:52:50,640 --> 00:52:53,440
Speaker 7: magical music based from a community in West London, and

1023
00:52:53,520 --> 00:52:56,120
Speaker 7: they really just developed their sound which is a combination

1024
00:52:56,239 --> 00:52:59,600
Speaker 7: of kind of stringy jazzy stuff with you know, UK

1025
00:52:59,760 --> 00:53:02,640
Speaker 7: under ground bass music and drum and bassed music. So

1026
00:53:02,760 --> 00:53:05,120
Speaker 7: to work with them was unique and fantastic. But the

1027
00:53:05,280 --> 00:53:08,240
Speaker 7: break record, the one that really broke talking loud in America.

1028
00:53:08,320 --> 00:53:10,600
Speaker 7: This is a mad experience for me. Was I suddenly

1029
00:53:10,640 --> 00:53:14,279
Speaker 7: got called that Deep Waters buy Incognito featuring Masonleink was

1030
00:53:14,280 --> 00:53:17,640
Speaker 7: a big record in Detroit, and Blue said, yeah, come

1031
00:53:17,640 --> 00:53:19,840
Speaker 7: over and see us playing in Detroit, And I literally

1032
00:53:20,320 --> 00:53:22,120
Speaker 7: got on a fly it went to Detroit and they

1033
00:53:22,160 --> 00:53:24,840
Speaker 7: were playing in the stadium and it was a completely

1034
00:53:24,920 --> 00:53:28,320
Speaker 7: black audience, and it was and that's when I started realizing,

1035
00:53:28,800 --> 00:53:30,920
Speaker 7: you know the power of a city or a few

1036
00:53:31,040 --> 00:53:35,000
Speaker 7: radio stations, how they can break an artist. And thankfully

1037
00:53:35,280 --> 00:53:38,359
Speaker 7: they broke Incognito because they kind of went a bit

1038
00:53:38,440 --> 00:53:40,960
Speaker 7: bigger from there, sold me a million records which went

1039
00:53:41,040 --> 00:53:44,359
Speaker 7: back into my coffers, which allowed me to record four

1040
00:53:44,440 --> 00:53:48,480
Speaker 7: Hero and Ronnie Size and all the other groups, MJ

1041
00:53:48,640 --> 00:53:50,800
Speaker 7: Cole and people like that. So can you speak about

1042
00:53:51,400 --> 00:53:56,240
Speaker 7: the Drum and Beast movement because the British underground history,

1043
00:53:56,600 --> 00:53:59,000
Speaker 7: the Frosten Night, I.

1044
00:53:59,120 --> 00:54:04,160
Speaker 4: Still feel like it is yet to find its moment,

1045
00:54:04,280 --> 00:54:06,960
Speaker 4: it's true moment. And I feel like.

1046
00:54:09,160 --> 00:54:11,799
Speaker 1: Now that now that tempos are sort of slowing down

1047
00:54:11,880 --> 00:54:14,360
Speaker 1: at least from where it was. I'll say, like the

1048
00:54:14,440 --> 00:54:19,400
Speaker 1: tempo of two thousand and six to two thousand and

1049
00:54:20,000 --> 00:54:24,080
Speaker 1: thirteen was just straight up boots and cats, gots like

1050
00:54:24,200 --> 00:54:28,560
Speaker 1: straight one thirty one. So now that stuff is slowing

1051
00:54:28,600 --> 00:54:33,839
Speaker 1: down a little bit down. Tempo, well still, I'm one

1052
00:54:33,840 --> 00:54:36,000
Speaker 1: point sixteen is fast. I mean, if you're a public enemy,

1053
00:54:36,080 --> 00:54:39,439
Speaker 1: that's vastest shit for hip hop, but for dance music

1054
00:54:39,560 --> 00:54:43,239
Speaker 1: it's rather slow, but it's slow enough for drum and

1055
00:54:43,280 --> 00:54:47,279
Speaker 1: bass to really find a lane now And the first

1056
00:54:47,440 --> 00:54:50,920
Speaker 1: night you ever took us to bar Rumba, speaking of

1057
00:54:52,200 --> 00:54:56,200
Speaker 1: Monday night, watching you spend this is like our first

1058
00:54:56,520 --> 00:54:57,680
Speaker 1: our first week in London.

1059
00:54:59,800 --> 00:55:03,719
Speaker 4: And and the guy on whoever was spending before you,

1060
00:55:04,760 --> 00:55:05,880
Speaker 4: his last record.

1061
00:55:07,760 --> 00:55:12,640
Speaker 1: Was Anita Baker's Sweet Love, and I was like me

1062
00:55:12,680 --> 00:55:15,880
Speaker 1: and TERI started looking at it like the fun So

1063
00:55:16,000 --> 00:55:20,640
Speaker 1: the intro to Sweet Love well in a bad way.

1064
00:55:20,640 --> 00:55:22,359
Speaker 1: I'm like, wait, why are they playing a slow song

1065
00:55:22,960 --> 00:55:25,360
Speaker 1: at a London nightclub? And when the intro came on,

1066
00:55:25,760 --> 00:55:30,680
Speaker 1: big the whole audience are losing his mind right, And

1067
00:55:30,840 --> 00:55:32,560
Speaker 1: we just looked at each other like, oh god, this

1068
00:55:32,640 --> 00:55:34,960
Speaker 1: is gonna be our life in London. Because you gotta understand,

1069
00:55:35,000 --> 00:55:38,680
Speaker 1: we exiled, like we straight up took our budget and left.

1070
00:55:39,200 --> 00:55:40,120
Speaker 4: All right, we love y'all.

1071
00:55:40,440 --> 00:55:44,120
Speaker 1: We out, So we're here and so the first verse

1072
00:55:44,200 --> 00:55:47,480
Speaker 1: comes on, We're throwing hot and on it and people

1073
00:55:47,560 --> 00:55:50,640
Speaker 1: are just like preparing like some riots about to happen.

1074
00:55:51,040 --> 00:55:53,640
Speaker 1: The second the chorus came in and it went to

1075
00:55:53,719 --> 00:55:58,840
Speaker 1: double time and then we just like we'd never seen

1076
00:56:00,200 --> 00:56:03,759
Speaker 1: madness marshing like that in our lives. Wow, And.

1077
00:56:05,360 --> 00:56:07,400
Speaker 4: I just remember I asked you. I was like, what

1078
00:56:07,560 --> 00:56:08,000
Speaker 4: the hell is that?

1079
00:56:08,040 --> 00:56:11,160
Speaker 1: And you was like strum and bass, And you know,

1080
00:56:11,239 --> 00:56:14,920
Speaker 1: eventually I met Digo and those guys and knew what

1081
00:56:15,000 --> 00:56:21,640
Speaker 1: it was. But the religious power that music had that

1082
00:56:21,760 --> 00:56:25,640
Speaker 1: I saw that night and subsequent nights and months and whatever,

1083
00:56:26,920 --> 00:56:33,000
Speaker 1: I feel like it really didn't cross over to the

1084
00:56:33,080 --> 00:56:35,560
Speaker 1: world as it should, but it's still waiting.

1085
00:56:35,360 --> 00:56:38,360
Speaker 4: For its moment. Like what do you feel about that

1086
00:56:38,440 --> 00:56:41,279
Speaker 4: whole movement? Because you signed Arnie Size.

1087
00:56:40,960 --> 00:56:43,000
Speaker 7: And I think that movement was interesting. I mean we

1088
00:56:43,239 --> 00:56:45,840
Speaker 7: won the Mercury Prize for Bonnie Size. Yeah, you know,

1089
00:56:45,960 --> 00:56:49,120
Speaker 7: the movement is pretty big then and at the time

1090
00:56:50,239 --> 00:56:56,640
Speaker 7: ninety six ninety seven and before, I thought the movement

1091
00:56:56,680 --> 00:56:59,600
Speaker 7: had some good some good leaders. I thought people like

1092
00:56:59,719 --> 00:57:03,360
Speaker 7: Gold the lt J Booker, Ronnie Side, because any movement

1093
00:57:03,480 --> 00:57:06,240
Speaker 7: needs a quest love, it needs somebody who can basically,

1094
00:57:06,480 --> 00:57:09,359
Speaker 7: you know, plant the flag and shout about it right.

1095
00:57:09,719 --> 00:57:11,600
Speaker 7: And I thought that Drumm and Bass had a good movement.

1096
00:57:11,640 --> 00:57:13,960
Speaker 7: I think the Broken Beat had a bad so it

1097
00:57:14,000 --> 00:57:16,520
Speaker 7: had a bad leaders. They didn't have leadership because for me,

1098
00:57:16,680 --> 00:57:22,360
Speaker 7: the music it was ig culture, ag culture and Dego

1099
00:57:22,600 --> 00:57:26,680
Speaker 7: really were the leaders. And that music form still resonates today.

1100
00:57:26,920 --> 00:57:29,959
Speaker 7: You play broken beats now and they're big to the kids.

1101
00:57:30,560 --> 00:57:32,640
Speaker 7: That's the music I think is going to be coming

1102
00:57:32,720 --> 00:57:34,520
Speaker 7: through more than druma based, because I think drummer bass

1103
00:57:34,600 --> 00:57:38,040
Speaker 7: is already in. It's in our DNA, it's there, and

1104
00:57:38,120 --> 00:57:39,760
Speaker 7: it's just morphing into different things.

1105
00:57:39,800 --> 00:57:42,240
Speaker 1: Well, certainly in Europe it is, but I feel like

1106
00:57:42,960 --> 00:57:45,560
Speaker 1: it should have made it more of an impact in

1107
00:57:45,640 --> 00:57:46,000
Speaker 1: the State.

1108
00:57:46,800 --> 00:57:51,080
Speaker 4: But time. But what you got.

1109
00:57:52,800 --> 00:57:54,600
Speaker 2: Why is why is America slow? That's what I was

1110
00:57:54,640 --> 00:57:56,840
Speaker 2: thinking this whole time, like, why does America feel like

1111
00:57:56,880 --> 00:57:57,560
Speaker 2: it's so slow?

1112
00:57:57,880 --> 00:58:02,160
Speaker 4: Especially I think arrogant? That might be it.

1113
00:58:02,320 --> 00:58:03,600
Speaker 3: Are we just too damn picky.

1114
00:58:05,000 --> 00:58:06,320
Speaker 4: I don't think it's I don't think it's picking. It's

1115
00:58:06,320 --> 00:58:07,040
Speaker 4: I think it's arrogance.

1116
00:58:07,880 --> 00:58:11,320
Speaker 1: Really, it's just outsiders, because there's something about the way

1117
00:58:11,360 --> 00:58:13,200
Speaker 1: that I feel this generation will.

1118
00:58:15,000 --> 00:58:17,560
Speaker 4: Pick I don't know. I mean that generation will pick

1119
00:58:17,640 --> 00:58:19,480
Speaker 4: up on it now, Yeah, yeah, I think.

1120
00:58:19,520 --> 00:58:22,160
Speaker 9: But previous generations I think it was a problem because

1121
00:58:22,280 --> 00:58:24,560
Speaker 9: people just too arrogant, like this is an American music,

1122
00:58:24,600 --> 00:58:25,360
Speaker 9: they don't sound like me.

1123
00:58:25,840 --> 00:58:28,520
Speaker 7: I think it's the question we're talking about it a little. Definitely,

1124
00:58:28,640 --> 00:58:31,000
Speaker 7: it's the d M thing as well, it's like, in

1125
00:58:31,080 --> 00:58:33,960
Speaker 7: a way EDM was a good thing. I mean, I

1126
00:58:34,000 --> 00:58:37,080
Speaker 7: don't like the music particularly right, but what EDM did

1127
00:58:37,200 --> 00:58:40,000
Speaker 7: is it kind of put dance music into the head

1128
00:58:40,040 --> 00:58:42,520
Speaker 7: of radio programmers, into the head of people who might

1129
00:58:42,560 --> 00:58:45,400
Speaker 7: want to be produced or remixed by David Getter, major

1130
00:58:45,640 --> 00:58:49,800
Speaker 7: major artists, and it slowly was the doorway into a

1131
00:58:50,000 --> 00:58:54,840
Speaker 7: sound that America wasn't used to. And eventually the drips

1132
00:58:54,880 --> 00:58:56,880
Speaker 7: will get you to drum and bass. It's kind of

1133
00:58:56,920 --> 00:58:58,520
Speaker 7: the doorwards.

1134
00:59:00,080 --> 00:59:01,040
Speaker 4: The doorway is there.

1135
00:59:01,480 --> 00:59:04,960
Speaker 7: And because up until then dance music and everything that

1136
00:59:05,040 --> 00:59:06,840
Speaker 7: came out of dance music, it was a little bit,

1137
00:59:06,920 --> 00:59:08,080
Speaker 7: you know, it was like is it gay?

1138
00:59:08,640 --> 00:59:10,520
Speaker 4: Is it you know? You know, is it right?

1139
00:59:10,920 --> 00:59:14,040
Speaker 7: You know, so you'd have to go to Miami Winter

1140
00:59:14,160 --> 00:59:16,920
Speaker 7: Music Conference and that was like where we'd all meet.

1141
00:59:17,000 --> 00:59:19,479
Speaker 7: But it was underground in America a little bit. In fact,

1142
00:59:19,560 --> 00:59:21,760
Speaker 7: in a way, it's probably twenty or thirty years behind

1143
00:59:22,200 --> 00:59:24,680
Speaker 7: when I was going to my weekends when I was sixteen.

1144
00:59:24,760 --> 00:59:27,640
Speaker 7: It was almost like going to Miami Winter Music Conference

1145
00:59:27,720 --> 00:59:32,080
Speaker 7: thirty years later. And you know, yeah, that's probably. But

1146
00:59:32,200 --> 00:59:34,640
Speaker 7: I think it's getting their radio is changing. I think

1147
00:59:34,720 --> 00:59:37,240
Speaker 7: that people are slipping it in and producers are more

1148
00:59:37,280 --> 00:59:38,960
Speaker 7: prepared to cross reference.

1149
00:59:39,320 --> 00:59:39,640
Speaker 4: I don't know.

1150
00:59:39,760 --> 00:59:42,439
Speaker 7: I mean, like the new Drake record. You know there's

1151
00:59:42,480 --> 00:59:44,920
Speaker 7: that song which is kind of a house record, there's.

1152
00:59:44,720 --> 00:59:48,720
Speaker 1: This Are you shocked at how I'm glad he did

1153
00:59:48,800 --> 00:59:54,880
Speaker 1: it because for me, like I didn't think that quote

1154
00:59:54,920 --> 00:59:57,640
Speaker 1: real house. The first president I thought about was like

1155
00:59:58,280 --> 01:00:02,800
Speaker 1: King brit I thought about, you know, because if anyone,

1156
01:00:02,920 --> 01:00:06,200
Speaker 1: he's been trying to hold this tradition up in Philadelphia

1157
01:00:06,240 --> 01:00:10,040
Speaker 1: for so long that it dwindled a little bit where

1158
01:00:10,120 --> 01:00:14,320
Speaker 1: you know, it's falling on deafiar's only certain people would

1159
01:00:14,360 --> 01:00:16,600
Speaker 1: would would gravitate towards it. And it's almost to the

1160
01:00:16,640 --> 01:00:20,520
Speaker 1: point where like we've now throw Sunday afternoon parties, so

1161
01:00:20,640 --> 01:00:24,960
Speaker 1: instead of Thursday nights, you know, from nine till three

1162
01:00:25,000 --> 01:00:28,360
Speaker 1: in the morning, now it's like Sunday afternoon in the

1163
01:00:28,440 --> 01:00:30,600
Speaker 1: park at one pm with you and your kids and

1164
01:00:30,680 --> 01:00:34,760
Speaker 1: your grandkids, and it's it's it's that's the moment. But

1165
01:00:36,120 --> 01:00:41,360
Speaker 1: now that Drake has has you know, leaned heavily on

1166
01:00:41,440 --> 01:00:46,640
Speaker 1: the South African house culture and really opened the door. Uh,

1167
01:00:47,120 --> 01:00:50,480
Speaker 1: do you feel as though that's a good thing or

1168
01:00:50,560 --> 01:00:51,000
Speaker 1: a bad thing.

1169
01:00:51,160 --> 01:00:52,920
Speaker 7: That's a good thing, I mean, there's nothing wrong with

1170
01:00:53,000 --> 01:00:55,320
Speaker 7: any of that, especially that he's got Moody Man on

1171
01:00:55,360 --> 01:00:55,840
Speaker 7: his record.

1172
01:00:56,240 --> 01:01:01,280
Speaker 4: Yeah, I'm so jealousy. That's I love it. I used

1173
01:01:01,320 --> 01:01:02,760
Speaker 4: to just play that sample alone with.

1174
01:01:02,760 --> 01:01:04,600
Speaker 3: The Strake song you're talking about.

1175
01:01:05,360 --> 01:01:10,880
Speaker 4: Superman is the one he did the Coffee but I

1176
01:01:10,920 --> 01:01:12,080
Speaker 4: can't remember the name of that song.

1177
01:01:12,400 --> 01:01:17,120
Speaker 1: With the Guys record on again, he's like talking, there's

1178
01:01:17,160 --> 01:01:18,760
Speaker 1: a recording of a guy, Moody Man.

1179
01:01:18,840 --> 01:01:22,160
Speaker 5: Who's this It's a recording of him DJ. Yeah, No,

1180
01:01:22,280 --> 01:01:23,720
Speaker 5: I know the I know the Moody Man reg I

1181
01:01:23,720 --> 01:01:25,800
Speaker 5: didn't know the Drink record which one he I didn't.

1182
01:01:25,640 --> 01:01:27,520
Speaker 7: Yeah, it's on the album. I can't remember what it's called.

1183
01:01:28,120 --> 01:01:30,920
Speaker 7: I'll look it up, but it's quite interesting. It's interesting

1184
01:01:31,800 --> 01:01:33,600
Speaker 7: that that's happening. But I think it's you know, you

1185
01:01:33,640 --> 01:01:36,200
Speaker 7: know all of it. It's just it's just in you know.

1186
01:01:36,480 --> 01:01:39,040
Speaker 7: And at the moment the music that I'm finding really

1187
01:01:39,240 --> 01:01:41,560
Speaker 7: brilliant and I love it as the sort of subculture

1188
01:01:41,680 --> 01:01:44,320
Speaker 7: is all that stuff from Chicago, all the footwork stuff.

1189
01:01:44,360 --> 01:01:48,200
Speaker 7: For me, the one sixty bpm stuff is really exciting.

1190
01:01:48,240 --> 01:01:50,200
Speaker 7: And I dropped that wherever I dropped that. That's like

1191
01:01:50,400 --> 01:01:52,720
Speaker 7: my biggest music if I'm sort of, you know, at

1192
01:01:52,760 --> 01:01:54,800
Speaker 7: a festival, the moment I need to kind of bring

1193
01:01:54,880 --> 01:01:55,280
Speaker 7: them all in.

1194
01:01:55,800 --> 01:01:57,000
Speaker 4: I'll play some footwork, so.

1195
01:01:57,200 --> 01:02:00,760
Speaker 2: Another level of Chicago House. Sorry just asking another level Chicago.

1196
01:02:00,960 --> 01:02:05,400
Speaker 4: And stuff like that. Yeah, yeah, it's super fast. They'll

1197
01:02:05,400 --> 01:02:06,439
Speaker 4: take like the pac Man.

1198
01:02:06,440 --> 01:02:15,800
Speaker 3: Theme comusic because that sounds like Baltimore House.

1199
01:02:16,320 --> 01:02:21,560
Speaker 1: It's Baltimore House on steroids. It is like move jump

1200
01:02:21,600 --> 01:02:27,480
Speaker 1: jack your body. Now play that on forty five, but

1201
01:02:27,680 --> 01:02:37,800
Speaker 1: dance to it on thirteen. It's kids, Kids Today. So Jiles,

1202
01:02:37,840 --> 01:02:44,480
Speaker 1: You've seen a lot of historical magic moments in your career,

1203
01:02:45,800 --> 01:02:49,400
Speaker 1: throwing shows, having people come by to record on your show.

1204
01:02:51,440 --> 01:02:54,800
Speaker 1: Half of the show that we did with Pharrell at

1205
01:02:54,800 --> 01:02:59,440
Speaker 1: the Roots Picnic last month was based on the performance

1206
01:02:59,480 --> 01:03:02,560
Speaker 1: that any art he did on the worldwide show. So

1207
01:03:02,760 --> 01:03:06,040
Speaker 1: that was like that was inspiration, like taking off his

1208
01:03:06,200 --> 01:03:08,760
Speaker 1: music and then filtering it. I can't wait, it's it's

1209
01:03:08,840 --> 01:03:10,120
Speaker 1: it's it's it's awesome.

1210
01:03:10,240 --> 01:03:19,400
Speaker 4: It was amazing. Thank you, So, like what what.

1211
01:03:21,440 --> 01:03:23,720
Speaker 1: What were some of the magic moments that you saw?

1212
01:03:23,880 --> 01:03:28,200
Speaker 1: Like some of the first I mean talking to is

1213
01:03:28,480 --> 01:03:31,480
Speaker 1: not that said Jazz Caffeice talking to Pharrell.

1214
01:03:31,600 --> 01:03:34,480
Speaker 7: Actually there was a week and Winter Music Conference. There

1215
01:03:34,520 --> 01:03:36,919
Speaker 7: was a week before Winter Music Conference where I got

1216
01:03:37,320 --> 01:03:43,160
Speaker 7: the d demos from from from the demos with Rise

1217
01:03:43,200 --> 01:03:45,280
Speaker 7: were too too high on it to fly on it

1218
01:03:45,320 --> 01:03:47,760
Speaker 7: and all that stuff. And the same week as that

1219
01:03:47,920 --> 01:03:50,040
Speaker 7: I got the n r D album, the first one,

1220
01:03:50,320 --> 01:03:54,040
Speaker 7: the one before they went because they the digital version,

1221
01:03:54,080 --> 01:03:55,040
Speaker 7: which is always better.

1222
01:03:56,280 --> 01:04:00,400
Speaker 4: Shut up? Can I get? Can I get?

1223
01:04:10,000 --> 01:04:14,120
Speaker 1: For years we were arguing that in rehearsal, like to

1224
01:04:14,200 --> 01:04:16,680
Speaker 1: stick true to the synthetic an e r D or

1225
01:04:16,760 --> 01:04:19,320
Speaker 1: the live an e r D. Spot Man, I realized

1226
01:04:19,360 --> 01:04:21,360
Speaker 1: it was my band, so I got the last say.

1227
01:04:21,840 --> 01:04:25,720
Speaker 1: But why do you feel Neptune's an e r D

1228
01:04:25,920 --> 01:04:28,360
Speaker 1: first record is because that's.

1229
01:04:28,280 --> 01:04:29,920
Speaker 2: What it was. It was.

1230
01:04:30,160 --> 01:04:32,720
Speaker 5: It was when they tried to when they redid it

1231
01:04:32,920 --> 01:04:34,680
Speaker 5: and did it with the live iss it felt to

1232
01:04:34,720 --> 01:04:36,880
Speaker 5: me like they were trying to make it go to

1233
01:04:37,040 --> 01:04:40,200
Speaker 5: a bigger audience, quote unquote, But it was never going

1234
01:04:40,280 --> 01:04:42,840
Speaker 5: to be that record. It was always the Neptunes anesthetic

1235
01:04:43,000 --> 01:04:46,800
Speaker 5: was always to that point, always just sounds The.

1236
01:04:46,840 --> 01:04:49,439
Speaker 9: Digital version just sounds anemic after hearing the live version.

1237
01:04:49,520 --> 01:04:51,480
Speaker 9: But that's how all the stuff sounded though. But that

1238
01:04:51,640 --> 01:04:54,200
Speaker 9: was the I think the songs benefit better from the

1239
01:04:54,200 --> 01:04:54,920
Speaker 9: live arrangements.

1240
01:04:55,120 --> 01:04:55,920
Speaker 5: I don't think the song.

1241
01:04:56,120 --> 01:04:56,800
Speaker 4: I think the song.

1242
01:04:57,080 --> 01:05:00,080
Speaker 5: The songs were like kind of not cheesy songs, but

1243
01:05:00,160 --> 01:05:03,200
Speaker 5: they were like cheap and plastic, like the production like brain.

1244
01:05:03,320 --> 01:05:05,360
Speaker 5: I mean, I really need to call in a fucking

1245
01:05:05,440 --> 01:05:08,040
Speaker 5: band to sing about getting some head like Nigga really,

1246
01:05:09,600 --> 01:05:10,880
Speaker 5: I mean he had choice.

1247
01:05:13,680 --> 01:05:17,120
Speaker 1: I give Fante's point that I feel like the the

1248
01:05:17,320 --> 01:05:21,440
Speaker 1: wonder that is Pharrell is sort of like when you're

1249
01:05:21,520 --> 01:05:26,360
Speaker 1: singing in the bathroom mirror with a brush. It's it's cheap,

1250
01:05:26,480 --> 01:05:29,280
Speaker 1: plastic sounding music that's made legit.

1251
01:05:29,320 --> 01:05:32,720
Speaker 5: Yeah, because it's a boat and it nails the performance

1252
01:05:33,320 --> 01:05:35,200
Speaker 5: and it makes you feel inclusive because it's like, oh,

1253
01:05:35,280 --> 01:05:39,000
Speaker 5: I can do this too. It's not like super intellectual,

1254
01:05:39,480 --> 01:05:40,680
Speaker 5: but then it's intellectual.

1255
01:05:41,880 --> 01:05:42,520
Speaker 4: I could do this too.

1256
01:05:42,520 --> 01:05:43,920
Speaker 3: You'll make it sound so easiest for real.

1257
01:05:44,000 --> 01:05:45,880
Speaker 4: But what is farrel singing have to do with the instrumentation?

1258
01:05:46,680 --> 01:05:48,560
Speaker 5: I mean, just in terms of the songs, I mean

1259
01:05:48,680 --> 01:05:52,040
Speaker 5: just the songs when I'm when I said, just his lyrics, So.

1260
01:05:52,360 --> 01:05:57,600
Speaker 4: His lyrics also compliment his musical level.

1261
01:05:57,400 --> 01:05:59,280
Speaker 3: Of music Snobberies on an all time high.

1262
01:05:59,640 --> 01:06:03,520
Speaker 4: I like disparity, though the expedition of the opposites.

1263
01:06:05,160 --> 01:06:08,480
Speaker 1: Juvenile lyrics and why you just think for was cute

1264
01:06:08,560 --> 01:06:11,840
Speaker 1: and let's just go with that, we go down rabbit hole.

1265
01:06:11,920 --> 01:06:13,400
Speaker 3: No, no, I'm a fan of the music.

1266
01:06:13,480 --> 01:06:15,720
Speaker 2: I just don't have those words. And I just say

1267
01:06:15,920 --> 01:06:17,840
Speaker 2: again that the album was dope and I don't need it.

1268
01:06:18,080 --> 01:06:20,240
Speaker 4: You don't know why when you like to know why

1269
01:06:20,280 --> 01:06:21,520
Speaker 4: it works and why it doesn't work.

1270
01:06:22,000 --> 01:06:23,920
Speaker 3: It worked for me as a listener, though, what.

1271
01:06:24,280 --> 01:06:26,040
Speaker 4: Worked about it for you? What was it about the record?

1272
01:06:26,120 --> 01:06:29,800
Speaker 4: Talk talk about run to the Sun? About it? Talk

1273
01:06:29,840 --> 01:06:31,640
Speaker 4: about the song? What is it? What is it in

1274
01:06:31,720 --> 01:06:34,280
Speaker 4: the song that I was moved?

1275
01:06:34,480 --> 01:06:36,600
Speaker 2: Like for me, I'm a listener, so I'm not a musician,

1276
01:06:36,640 --> 01:06:38,640
Speaker 2: so I won't go you know, the streams weren't right

1277
01:06:38,640 --> 01:06:42,280
Speaker 2: here his people about I was moved like run to

1278
01:06:42,360 --> 01:06:44,520
Speaker 2: the Sun with something I never that whole is something

1279
01:06:44,560 --> 01:06:47,040
Speaker 2: that the lyrics that yeah, and then once you realize

1280
01:06:47,080 --> 01:06:49,520
Speaker 2: about his Grandmam and everybody else has a moment.

1281
01:06:49,360 --> 01:06:51,760
Speaker 4: Of like it's it's spoke to you on that level.

1282
01:06:52,200 --> 01:06:54,240
Speaker 3: I'm a listener. I don't make it. I listened to it,

1283
01:06:54,280 --> 01:06:54,840
Speaker 3: and I get I.

1284
01:06:54,840 --> 01:06:57,200
Speaker 4: Don't make it either. I think stuff too.

1285
01:06:57,520 --> 01:06:59,680
Speaker 1: You don't try and act like you're just a common

1286
01:07:00,680 --> 01:07:03,080
Speaker 1: the comp you've been if anyone of all of us,

1287
01:07:03,240 --> 01:07:06,200
Speaker 1: you've been on commercial radio more than anything, you're you're

1288
01:07:06,360 --> 01:07:09,480
Speaker 1: you're the system, right I am I have because you're

1289
01:07:09,520 --> 01:07:13,480
Speaker 1: the system, Like you're not the listener on you were

1290
01:07:13,600 --> 01:07:14,400
Speaker 1: the radio, right.

1291
01:07:14,440 --> 01:07:16,240
Speaker 2: And I was the one that was saying, and it's funny,

1292
01:07:16,240 --> 01:07:18,720
Speaker 2: that's why I was speaking about the differences between Excepting

1293
01:07:18,840 --> 01:07:21,960
Speaker 2: music and Europe and and and here is we had

1294
01:07:22,000 --> 01:07:23,720
Speaker 2: to tell people to listen to n E r D.

1295
01:07:23,880 --> 01:07:26,440
Speaker 3: We couldn't play it. So I had to constantly be like,

1296
01:07:26,880 --> 01:07:28,640
Speaker 3: this is the ship, y'all need to listen.

1297
01:07:28,720 --> 01:07:30,800
Speaker 4: You have to tell your program department people like no,

1298
01:07:30,920 --> 01:07:32,200
Speaker 4: I told my listeners.

1299
01:07:32,360 --> 01:07:34,320
Speaker 9: Oh, like you guys weren't playing the records. You were

1300
01:07:34,360 --> 01:07:35,520
Speaker 9: just but you were still telling them to go check

1301
01:07:35,520 --> 01:07:35,760
Speaker 9: it out.

1302
01:07:36,080 --> 01:07:38,760
Speaker 4: Wow yeah yeah an THERD Yeah, that's stuff didn't get

1303
01:07:38,840 --> 01:07:39,920
Speaker 4: no no play like that.

1304
01:07:40,240 --> 01:07:41,920
Speaker 2: I mean, there were some commercial records that we had

1305
01:07:41,960 --> 01:07:44,160
Speaker 2: to say, like, why aren't you we playing video India

1306
01:07:44,200 --> 01:07:45,080
Speaker 2: Area Advance was.

1307
01:07:45,080 --> 01:07:51,120
Speaker 4: Getting played on on BT and cut Yes, yes, I

1308
01:07:51,440 --> 01:07:52,200
Speaker 4: forgot about that.

1309
01:07:52,320 --> 01:07:54,000
Speaker 2: That was it and all the Girls, That's a whole

1310
01:07:54,000 --> 01:07:57,560
Speaker 2: another album, Standing in the Line with a Bathroom was so.

1311
01:08:00,840 --> 01:08:04,840
Speaker 4: Come signing me on the Electronic Nerd album Full Validated.

1312
01:08:06,000 --> 01:08:06,640
Speaker 4: I feel like.

1313
01:08:08,160 --> 01:08:11,800
Speaker 1: I feel like people that co signed the first any

1314
01:08:11,920 --> 01:08:14,280
Speaker 1: r D record are also the same people that say, like, well,

1315
01:08:14,320 --> 01:08:16,880
Speaker 1: I like Off the Wall better than Thriller because you're

1316
01:08:16,920 --> 01:08:17,400
Speaker 1: supposed to.

1317
01:08:17,600 --> 01:08:17,800
Speaker 3: Nah.

1318
01:08:19,200 --> 01:08:21,680
Speaker 9: I mean, I'm not with you then, because I think

1319
01:08:21,840 --> 01:08:23,519
Speaker 9: I like Off the Wall better than Thriller, but not

1320
01:08:23,880 --> 01:08:24,439
Speaker 9: for that reason.

1321
01:08:25,600 --> 01:08:28,880
Speaker 7: Off the Wall, especially as you get older too, like

1322
01:08:29,520 --> 01:08:33,000
Speaker 7: always thrill thrill, Thriller was more consistent because I still

1323
01:08:33,040 --> 01:08:34,559
Speaker 7: don't you don't see it as equally as great.

1324
01:08:34,880 --> 01:08:37,040
Speaker 5: Well, because I don't listen to I skip She's out

1325
01:08:37,080 --> 01:08:38,960
Speaker 5: of my life and I skip it's the falling in

1326
01:08:39,040 --> 01:08:42,840
Speaker 5: love and Thriller, like I skip beat it every time

1327
01:08:42,840 --> 01:08:43,439
Speaker 5: I play Thriller.

1328
01:08:44,000 --> 01:08:45,120
Speaker 4: Half a Thriller. I can't listen to.

1329
01:08:45,200 --> 01:08:47,880
Speaker 1: We don't listen to Thriller because Thriller is not a record.

1330
01:08:49,040 --> 01:08:58,400
Speaker 1: It's not a record, so it's not an album. So anyway,

1331
01:08:58,520 --> 01:09:00,640
Speaker 1: y'all beside what.

1332
01:09:09,240 --> 01:09:11,519
Speaker 4: Wow, great moments.

1333
01:09:11,680 --> 01:09:13,920
Speaker 7: The moment that one of the early great moments that

1334
01:09:13,960 --> 01:09:16,719
Speaker 7: I remember very clearly right now was was a weekend

1335
01:09:16,760 --> 01:09:20,360
Speaker 7: of that I organized and I remember we put on

1336
01:09:20,520 --> 01:09:24,040
Speaker 7: Tribe Call Quest in the UK first show ever, and

1337
01:09:24,240 --> 01:09:26,120
Speaker 7: it was in one of those holiday resorts in the

1338
01:09:26,160 --> 01:09:28,400
Speaker 7: middle of nowhere again because they were we could hire

1339
01:09:28,439 --> 01:09:31,840
Speaker 7: these places for cheap. And it was Tribe Coal Quest,

1340
01:09:33,600 --> 01:09:39,440
Speaker 7: Pharaoh Sonders on the same bill, Brand New Heavies, Galiano,

1341
01:09:39,840 --> 01:09:42,840
Speaker 7: Jimmy Rokui. So it was like that acid jazz meets

1342
01:09:43,600 --> 01:09:47,320
Speaker 7: America meets the sort of spiritual jazz godfathers.

1343
01:09:47,520 --> 01:09:49,320
Speaker 4: So that was that. That was that was a big one.

1344
01:09:49,400 --> 01:09:51,000
Speaker 4: That's amazing, remember that very well.

1345
01:09:51,320 --> 01:09:54,360
Speaker 3: It was a great night, good night America would never

1346
01:09:54,400 --> 01:09:54,640
Speaker 3: get that.

1347
01:09:55,720 --> 01:09:59,680
Speaker 1: Okay, can I say, now, are your listeners still your

1348
01:09:59,760 --> 01:10:03,600
Speaker 1: list from twenty years before or are do you have

1349
01:10:03,640 --> 01:10:06,400
Speaker 1: a generation of listeners that are open to new music?

1350
01:10:06,439 --> 01:10:10,880
Speaker 1: Because I'll say, the one thing that I find kind

1351
01:10:10,920 --> 01:10:15,840
Speaker 1: of unpenetrable, uh in DJing now as opposed to back then,

1352
01:10:17,439 --> 01:10:24,600
Speaker 1: is the boldness of playing the unknown without repercussions. It's like,

1353
01:10:24,760 --> 01:10:29,799
Speaker 1: I borderline have to trick them to listening to something

1354
01:10:29,920 --> 01:10:33,760
Speaker 1: dope because I had to disguise it with you know,

1355
01:10:33,920 --> 01:10:35,960
Speaker 1: three songs that they know. Then I'm gonna hit you

1356
01:10:36,080 --> 01:10:38,240
Speaker 1: with you know the shit that I like, and then

1357
01:10:38,360 --> 01:10:41,360
Speaker 1: right before the dance war clears, I'll you know, it's

1358
01:10:41,400 --> 01:10:43,720
Speaker 1: like a system that you have to have. Do you

1359
01:10:43,800 --> 01:10:50,920
Speaker 1: find it harder now? Uh, facing audiences of unknown music, I.

1360
01:10:51,080 --> 01:10:52,800
Speaker 4: Just need them before. I need more time.

1361
01:10:53,040 --> 01:10:56,559
Speaker 7: So if people book me now, I say five six hours,

1362
01:10:57,280 --> 01:10:58,639
Speaker 7: you need me to play that long.

1363
01:10:58,560 --> 01:11:00,439
Speaker 4: Because the problem you redeem yourself in cases.

1364
01:11:00,960 --> 01:11:02,720
Speaker 7: That's the generations I've got, you know, I've got the

1365
01:11:02,760 --> 01:11:04,400
Speaker 7: people who come and listen to me and they're like, Oh,

1366
01:11:04,400 --> 01:11:06,720
Speaker 7: I really like that record you made in Cuba, or

1367
01:11:06,840 --> 01:11:08,840
Speaker 7: I love the Brazilian stuff you do, or I love

1368
01:11:08,920 --> 01:11:11,799
Speaker 7: that kind of new bass music you're playing from South London.

1369
01:11:11,960 --> 01:11:13,599
Speaker 7: So at the end of the day, all these different

1370
01:11:13,600 --> 01:11:14,960
Speaker 7: people are coming for different.

1371
01:11:14,720 --> 01:11:15,200
Speaker 4: Bits of me.

1372
01:11:15,400 --> 01:11:17,559
Speaker 7: So I need to say, look, I'll do the whole thing,

1373
01:11:17,840 --> 01:11:20,240
Speaker 7: the full journey, but I need five to six hours

1374
01:11:20,280 --> 01:11:22,320
Speaker 7: on a great sound system. That's why I love playing

1375
01:11:22,360 --> 01:11:24,479
Speaker 7: at output all places like you know, like that way

1376
01:11:24,520 --> 01:11:27,240
Speaker 7: you can, but it's more work. But that's the only

1377
01:11:27,320 --> 01:11:30,120
Speaker 7: way I can kind of give them. I feel better

1378
01:11:30,160 --> 01:11:31,599
Speaker 7: at the end of the night. There's nothing worse.

1379
01:11:31,920 --> 01:11:36,320
Speaker 1: You're literally the only person I know besides myself. I

1380
01:11:36,439 --> 01:11:41,280
Speaker 1: love marathon gigs and love them. You're the only person like, Uh,

1381
01:11:42,880 --> 01:11:46,679
Speaker 1: next week I'm going to do an eight hour gig,

1382
01:11:47,560 --> 01:11:52,240
Speaker 1: it's and promoters are always scratched. Head scratching because most DJs, Wow,

1383
01:11:52,360 --> 01:11:52,920
Speaker 1: that's the normal.

1384
01:11:53,040 --> 01:11:54,120
Speaker 3: I said, Wow, that's long.

1385
01:11:54,160 --> 01:11:57,200
Speaker 1: Oh oh no, that's normal. I mean you think I

1386
01:11:57,280 --> 01:11:59,880
Speaker 1: get long winded answers to see my DJs?

1387
01:12:05,880 --> 01:12:06,200
Speaker 4: That one.

1388
01:12:06,760 --> 01:12:09,040
Speaker 9: Those ten to four am gigs were my favorite. Yeah,

1389
01:12:09,080 --> 01:12:11,280
Speaker 9: I'm just saying that it's not you've got to have.

1390
01:12:11,360 --> 01:12:12,200
Speaker 4: I mean, the thing is on.

1391
01:12:12,439 --> 01:12:15,000
Speaker 7: When I played Output the other day in Brooklyn, I

1392
01:12:15,520 --> 01:12:19,640
Speaker 7: played the full sixteen minute version at peak time off,

1393
01:12:19,720 --> 01:12:22,160
Speaker 7: I thought it was you, but I hope you direct

1394
01:12:22,600 --> 01:12:26,000
Speaker 7: Japanese version, right, that one? That one right, which is

1395
01:12:26,080 --> 01:12:28,040
Speaker 7: the best version of I thought it was you all

1396
01:12:28,120 --> 01:12:30,360
Speaker 7: sixteen minutes. I think it's sixty enough minutes long, right,

1397
01:12:30,680 --> 01:12:32,800
Speaker 7: But if I hadn't been playing for five hours, I

1398
01:12:32,800 --> 01:12:34,200
Speaker 7: wouldn't if that would have been a quarter of my

1399
01:12:34,320 --> 01:12:36,800
Speaker 7: one hour set, you know. So the fact, but to

1400
01:12:36,880 --> 01:12:39,040
Speaker 7: be able to play that and for people to because

1401
01:12:39,080 --> 01:12:41,000
Speaker 7: then people get because at the beginning, people are looking

1402
01:12:41,000 --> 01:12:42,640
Speaker 7: at you, especially when you come to America. For me,

1403
01:12:42,720 --> 01:12:44,360
Speaker 7: they come and they're looking at you, going give me

1404
01:12:44,439 --> 01:12:47,639
Speaker 7: a show. I'm like, no, I'm a DJ. Right dance

1405
01:12:47,720 --> 01:12:49,640
Speaker 7: and let me get into my zone because I'm not

1406
01:12:49,680 --> 01:12:50,840
Speaker 7: a performer in that way.

1407
01:12:51,240 --> 01:12:53,599
Speaker 5: Yeah, I want to ask because every time, like when

1408
01:12:53,600 --> 01:12:56,320
Speaker 5: I go out, I see people like now, DJ culture

1409
01:12:56,479 --> 01:13:00,679
Speaker 5: is the it, and it's like you're doing it wrong,

1410
01:13:00,760 --> 01:13:02,800
Speaker 5: Like how did how have you adapted to that? Like

1411
01:13:02,880 --> 01:13:04,720
Speaker 5: how does the audience adapt to you being a pure

1412
01:13:04,760 --> 01:13:05,479
Speaker 5: DJ in that way?

1413
01:13:05,640 --> 01:13:07,519
Speaker 7: Well, you just have to keep doing it, I think that,

1414
01:13:07,880 --> 01:13:10,519
Speaker 7: and you've got to accept that. You know, there'll be

1415
01:13:10,600 --> 01:13:15,280
Speaker 7: people taking five and that even though they're not dancing,

1416
01:13:15,479 --> 01:13:17,760
Speaker 7: they are into it because I think initially I was like,

1417
01:13:17,840 --> 01:13:19,600
Speaker 7: oh no, they don't like it, but they hadn't but

1418
01:13:19,680 --> 01:13:20,280
Speaker 7: they haven't left.

1419
01:13:20,400 --> 01:13:22,680
Speaker 3: That's when you came here, right, you hadn't experienced then

1420
01:13:22,720 --> 01:13:23,320
Speaker 3: a little bit of that.

1421
01:13:23,400 --> 01:13:24,880
Speaker 7: I mean the first time I ever went to Japan,

1422
01:13:24,920 --> 01:13:26,120
Speaker 7: I remember thinking my god.

1423
01:13:28,000 --> 01:13:32,360
Speaker 4: No, no, yeah, you think you're bombing. But after the shi, yeah,

1424
01:13:32,439 --> 01:13:32,760
Speaker 4: they love it.

1425
01:13:33,120 --> 01:13:34,599
Speaker 7: They give you an uncle. But it's kind of it's

1426
01:13:34,760 --> 01:13:37,439
Speaker 7: that's a weird thing. But no, I think it's it's good.

1427
01:13:37,439 --> 01:13:39,840
Speaker 7: I think people are getting down, people are beginning to

1428
01:13:39,960 --> 01:13:42,439
Speaker 7: understand the etiquette of going out to hear a DJ.

1429
01:13:42,560 --> 01:13:42,680
Speaker 3: Now.

1430
01:13:42,680 --> 01:13:44,160
Speaker 7: I think a few years ago it was like there

1431
01:13:44,240 --> 01:13:46,360
Speaker 7: was especially in the States because they was like unless

1432
01:13:46,479 --> 01:13:49,360
Speaker 7: you were going to the proper real clubs and.

1433
01:13:49,479 --> 01:13:50,879
Speaker 4: You're going to like a festival.

1434
01:13:51,000 --> 01:13:54,600
Speaker 7: I remember playing at Coachella and six years ago and

1435
01:13:55,120 --> 01:13:57,880
Speaker 7: I was like, am I really this is terrible, you know,

1436
01:13:58,439 --> 01:14:00,320
Speaker 7: but it was just the way because there was no

1437
01:14:01,320 --> 01:14:04,040
Speaker 7: you know, there was no festival culture for DJs like me.

1438
01:14:04,360 --> 01:14:06,920
Speaker 7: You know, there was festival culture for techno DJs like

1439
01:14:07,040 --> 01:14:09,280
Speaker 7: you know, cult, but for people like me who went.

1440
01:14:09,320 --> 01:14:11,840
Speaker 4: Through it, it was a little bit odd. But it's

1441
01:14:11,880 --> 01:14:14,800
Speaker 4: getting there here in peace. Since I love By the way, I.

1442
01:14:17,280 --> 01:14:20,479
Speaker 5: Asked you about the time you came to Philly and

1443
01:14:20,560 --> 01:14:22,599
Speaker 5: went to James Poorser's dad's church.

1444
01:14:23,000 --> 01:14:30,120
Speaker 4: Oh wow, Yeah, that's right, that's right. Why it's what

1445
01:14:30,320 --> 01:14:33,720
Speaker 4: we live in Philly. Yeah. Oh.

1446
01:14:34,320 --> 01:14:36,439
Speaker 7: I have to say, the first person I really fell

1447
01:14:36,479 --> 01:14:39,240
Speaker 7: in love with apart from Erica bad whilst interviewing her,

1448
01:14:39,960 --> 01:14:44,240
Speaker 7: was and probably in fact more so than Erica, was

1449
01:14:44,840 --> 01:14:48,280
Speaker 7: Jill Scott. I remember interviewing her when she just released

1450
01:14:48,320 --> 01:14:49,240
Speaker 7: her first record.

1451
01:14:49,000 --> 01:14:49,920
Speaker 4: Who Is Jill Scott?

1452
01:14:50,040 --> 01:14:52,559
Speaker 7: And I was so in like when I met her,

1453
01:14:52,680 --> 01:14:55,720
Speaker 7: I just absolutely fell apart and and and really really

1454
01:14:55,800 --> 01:14:56,639
Speaker 7: really liked her a lot.

1455
01:14:56,720 --> 01:15:00,439
Speaker 4: And obviously that's what it was, but but it made

1456
01:15:00,439 --> 01:15:06,320
Speaker 4: me want to come to Philly. We all haven't called.

1457
01:15:08,040 --> 01:15:09,479
Speaker 6: It's actually a segment on the show.

1458
01:15:10,840 --> 01:15:12,960
Speaker 3: We haven't been all kinds of ways, even when she's

1459
01:15:13,000 --> 01:15:13,400
Speaker 3: not trying.

1460
01:15:13,520 --> 01:15:15,599
Speaker 6: You never fell in love with James Poyser though, right.

1461
01:15:18,160 --> 01:15:23,839
Speaker 4: Was waiting for James. He the Yep, it's Amir Thompson.

1462
01:15:25,000 --> 01:15:30,439
Speaker 4: I know, yes, and about uh seven.

1463
01:15:32,240 --> 01:15:34,160
Speaker 1: You remember I used to always call you during my

1464
01:15:34,560 --> 01:15:38,360
Speaker 1: radio show when someone mentions your name. Yes, okay, So

1465
01:15:38,479 --> 01:15:41,200
Speaker 1: I have Jiles Peterson here and he just wanted to

1466
01:15:41,600 --> 01:15:43,679
Speaker 1: let you know that you're really really cool.

1467
01:15:45,720 --> 01:15:49,160
Speaker 4: Baby. How you do? How you doing? We're kind of

1468
01:15:49,240 --> 01:15:50,519
Speaker 4: janky with the communication here.

1469
01:15:50,640 --> 01:15:54,240
Speaker 9: So now I know you're not gonna hug Jiles for me,

1470
01:15:54,320 --> 01:15:55,040
Speaker 9: but try.

1471
01:15:56,000 --> 01:15:57,920
Speaker 4: I will hug Giles just you.

1472
01:15:58,960 --> 01:16:02,800
Speaker 3: Yeah, yeah, yeah, I have it with Jill.

1473
01:16:04,800 --> 01:16:06,160
Speaker 4: Are you in Atlanta right now?

1474
01:16:07,120 --> 01:16:09,040
Speaker 1: I am How do you know everything?

1475
01:16:09,560 --> 01:16:12,240
Speaker 4: I know everything you do? Jill Scott, I do you

1476
01:16:12,400 --> 01:16:13,000
Speaker 4: know everything?

1477
01:16:13,120 --> 01:16:13,799
Speaker 3: It's weird.

1478
01:16:14,520 --> 01:16:16,879
Speaker 6: He's got jps start.

1479
01:16:21,760 --> 01:16:26,280
Speaker 4: Your position. I ask about you often, Jill.

1480
01:16:27,280 --> 01:16:29,360
Speaker 3: Oh, you can always just call me Sucker.

1481
01:16:31,920 --> 01:16:38,720
Speaker 1: Anyway next time your name on the radio. So thank you,

1482
01:16:39,479 --> 01:16:43,000
Speaker 1: love you, baby, bye bye. So I had I had

1483
01:16:43,000 --> 01:16:45,040
Speaker 1: a question about celebrity DJs. Is that a thing in

1484
01:16:45,080 --> 01:16:46,599
Speaker 1: Europe as much as it is here?

1485
01:16:46,760 --> 01:16:48,960
Speaker 7: Well, it is the thing because DJ culture is just

1486
01:16:49,080 --> 01:16:51,120
Speaker 7: so normalized now in a way, so you're going to

1487
01:16:51,200 --> 01:16:53,080
Speaker 7: get that side of it. But on the other hand,

1488
01:16:53,160 --> 01:16:55,960
Speaker 7: you're still going to get you know. The funny thing

1489
01:16:56,080 --> 01:16:58,000
Speaker 7: is in the UK at the moment, if you were

1490
01:16:58,080 --> 01:17:00,200
Speaker 7: like a celebrity DJ and you were to me, you'll

1491
01:17:00,200 --> 01:17:02,920
Speaker 7: probably you know, play to big audiences and stuff. But

1492
01:17:04,320 --> 01:17:07,840
Speaker 7: people like full TETs, who's a sort of left field

1493
01:17:08,040 --> 01:17:11,559
Speaker 7: techno DJ. They're the guys who are getting the biggest

1494
01:17:11,640 --> 01:17:15,439
Speaker 7: numbers and the biggest audiences. It's not the kind of

1495
01:17:15,920 --> 01:17:18,880
Speaker 7: celebrity DJs in that sense, or maybe that is happening,

1496
01:17:19,000 --> 01:17:24,200
Speaker 7: but the left field, more progressive underground that's what the

1497
01:17:24,280 --> 01:17:25,200
Speaker 7: kids are really looking for.

1498
01:17:25,240 --> 01:17:26,840
Speaker 4: I don't know if that's answering the question, but no

1499
01:17:26,920 --> 01:17:29,280
Speaker 4: one from like take that or a rabbie like We've

1500
01:17:29,320 --> 01:17:36,360
Speaker 4: got Yeah that was like a couple of years away.

1501
01:17:36,360 --> 01:17:40,120
Speaker 4: Who is he opened? Yeah, I forgot. I used to

1502
01:17:40,200 --> 01:17:43,200
Speaker 4: do a few gigs with them. But that's.

1503
01:17:44,800 --> 01:17:47,360
Speaker 7: Like a musicians saying it's a bit like I don't know,

1504
01:17:47,520 --> 01:17:49,200
Speaker 7: it's like a bit like I mean, I think Woody

1505
01:17:49,240 --> 01:17:51,479
Speaker 7: Allen takes his music seriously, but I see it as

1506
01:17:51,600 --> 01:17:55,519
Speaker 7: like it's like, you know, they're like amateur musicians, you know,

1507
01:17:55,880 --> 01:17:57,000
Speaker 7: but they're not the real thing.

1508
01:17:57,040 --> 01:17:58,000
Speaker 4: I mean, a real DJ.

1509
01:17:58,120 --> 01:18:00,679
Speaker 7: And I really believe in DJ culture and the awe

1510
01:18:00,760 --> 01:18:03,479
Speaker 7: of djaying and the heritage of djaying, you know. I

1511
01:18:03,560 --> 01:18:06,360
Speaker 7: thank you David Mankuzo and all the guys who set

1512
01:18:06,400 --> 01:18:08,080
Speaker 7: it up for us. But there's an ought to it,

1513
01:18:08,600 --> 01:18:12,000
Speaker 7: and that celebrity scene is just a little bit of

1514
01:18:12,320 --> 01:18:14,400
Speaker 7: you know, bubblegum somewhere.

1515
01:18:14,560 --> 01:18:18,280
Speaker 1: But there's there's a word that I'm looking for. I

1516
01:18:18,320 --> 01:18:22,599
Speaker 1: think it might be integrity. Okay, that's what you guys

1517
01:18:22,720 --> 01:18:25,639
Speaker 1: have that we don't have no more in the United States.

1518
01:18:26,320 --> 01:18:32,920
Speaker 4: So from the White House all it's different, like the

1519
01:18:33,040 --> 01:18:34,439
Speaker 4: fact that you would still.

1520
01:18:35,840 --> 01:18:40,760
Speaker 1: What you said was correct, but because I'm immersed and

1521
01:18:41,160 --> 01:18:44,200
Speaker 1: living in this new alternative reality that we're in right

1522
01:18:44,280 --> 01:18:47,120
Speaker 1: now where you're competing with like the Paris Hiltans and yeah,

1523
01:18:47,200 --> 01:18:51,679
Speaker 1: where you know, I've there's a few DJ gigs where

1524
01:18:53,240 --> 01:18:56,280
Speaker 1: I mean I I have an agent that has a

1525
01:18:56,360 --> 01:19:01,639
Speaker 1: few actors or whoever, and their money. It's like crazy,

1526
01:19:01,680 --> 01:19:04,560
Speaker 1: It's like three hundred thousand, four hundred thousand dollars, Like,

1527
01:19:05,840 --> 01:19:07,000
Speaker 1: and I'm just mind blown.

1528
01:19:07,080 --> 01:19:08,080
Speaker 4: But that's just.

1529
01:19:09,680 --> 01:19:12,320
Speaker 1: I mean, you're just like, that's just how it is. Yeah,

1530
01:19:12,360 --> 01:19:14,720
Speaker 1: I mean you either accept it or you fight it.

1531
01:19:14,920 --> 01:19:18,000
Speaker 1: And I guess maybe in my older age, I'm not

1532
01:19:18,280 --> 01:19:21,120
Speaker 1: trying to fight it. Like there's other fights I can.

1533
01:19:21,120 --> 01:19:21,639
Speaker 4: Have out there.

1534
01:19:21,720 --> 01:19:24,759
Speaker 1: Besides, why is this DJ giving four hundred thousand dollars

1535
01:19:24,840 --> 01:19:26,439
Speaker 1: and not me? You know that sort of thing.

1536
01:19:26,520 --> 01:19:34,960
Speaker 4: Wow, Yeah, DJ culture is becoming how do I do it?

1537
01:19:35,840 --> 01:19:38,400
Speaker 1: See if you were to move to the States. Here's

1538
01:19:38,400 --> 01:19:42,679
Speaker 1: the here's the funny thing. What's what's weird about American

1539
01:19:42,760 --> 01:19:46,840
Speaker 1: culture is that we are so obsessed with getting in

1540
01:19:46,920 --> 01:19:51,040
Speaker 1: the king's throne, like with hip hop, with DJing, with anything,

1541
01:19:51,200 --> 01:19:54,479
Speaker 1: like everyone wants to be the top person and they're

1542
01:19:54,600 --> 01:19:57,880
Speaker 1: fighting for it. No, no, no other scraps will do that.

1543
01:19:58,040 --> 01:20:04,320
Speaker 1: There's a whole middle level that's absolutely empty. And thus

1544
01:20:04,640 --> 01:20:07,519
Speaker 1: I've made a home in the middle level, Like I

1545
01:20:07,560 --> 01:20:11,200
Speaker 1: would never want to fight for jay Z's throne or

1546
01:20:11,360 --> 01:20:15,320
Speaker 1: Drake's throne or I'm in the DJ world right now.

1547
01:20:15,479 --> 01:20:20,800
Speaker 1: Pretty lights makes the most. Calvin Harris, who shockingly in

1548
01:20:20,880 --> 01:20:23,760
Speaker 1: my conversations with him, is almost like talking to you

1549
01:20:24,000 --> 01:20:29,120
Speaker 1: like he thinks like you, an aesthetically has you and

1550
01:20:29,320 --> 01:20:33,560
Speaker 1: probably Fonte and Bill's education and knowledge of music, but

1551
01:20:33,760 --> 01:20:35,599
Speaker 1: he knows where.

1552
01:20:37,160 --> 01:20:37,320
Speaker 4: Right.

1553
01:20:37,760 --> 01:20:42,479
Speaker 1: So it's like everyone's fighting for that position. So they'll

1554
01:20:42,600 --> 01:20:46,400
Speaker 1: scoff at like a cat. Like Diplo would laugh at

1555
01:20:47,160 --> 01:20:51,880
Speaker 1: one hundred and fifty thousand dollars, you know, Christmas party

1556
01:20:53,000 --> 01:20:56,640
Speaker 1: carper DJ gig for Viacom. They would laugh at that

1557
01:20:56,720 --> 01:21:00,120
Speaker 1: shit because they're now playing Madison Square Garden.

1558
01:21:00,600 --> 01:21:02,599
Speaker 4: For two three million dollars.

1559
01:21:03,400 --> 01:21:07,960
Speaker 1: So it's like there's a middle ground that you know,

1560
01:21:08,600 --> 01:21:11,120
Speaker 1: underground is like you're you're you're fighting with everyone else

1561
01:21:11,160 --> 01:21:13,559
Speaker 1: to get underground gigs. But if you managed to make

1562
01:21:13,600 --> 01:21:15,720
Speaker 1: a name like a person like you could come to

1563
01:21:15,800 --> 01:21:18,240
Speaker 1: the States right now and do these middle ground gigs

1564
01:21:18,439 --> 01:21:23,400
Speaker 1: and hitching like that's where it is. And I absolutely

1565
01:21:23,560 --> 01:21:32,040
Speaker 1: just gave uk get everyone. Everyone unheard what you what.

1566
01:21:32,120 --> 01:21:37,439
Speaker 4: I just said to you? Man? So what not? Like

1567
01:21:37,680 --> 01:21:41,600
Speaker 4: what's the future for Jalles Peterson? Like is this to you?

1568
01:21:41,880 --> 01:21:42,080
Speaker 2: Is this?

1569
01:21:44,080 --> 01:21:46,040
Speaker 4: Is this a good end game for you? Is this

1570
01:21:46,200 --> 01:21:48,360
Speaker 4: what you always wanted? Yeah? This is the best I'm

1571
01:21:48,400 --> 01:21:49,599
Speaker 4: having the best fund of my life.

1572
01:21:49,680 --> 01:21:51,760
Speaker 7: I really am. I've been DJing for thirty years. I

1573
01:21:51,880 --> 01:21:54,439
Speaker 7: travel around the world. I'm still passionate about music. I

1574
01:21:54,520 --> 01:21:59,080
Speaker 7: connect with people, I communicate for the music. My mental

1575
01:21:59,280 --> 01:22:02,360
Speaker 7: artists bring it through. I don't think there's a better game. Really,

1576
01:22:02,400 --> 01:22:06,840
Speaker 7: there's more there isn't you know. I mean, I keep

1577
01:22:06,880 --> 01:22:09,320
Speaker 7: saying I'm going to give up DJing. I was going

1578
01:22:09,360 --> 01:22:11,640
Speaker 7: to give up at forty. It didn't happen, you know,

1579
01:22:11,880 --> 01:22:13,120
Speaker 7: And I'm actually, I'm actually.

1580
01:22:12,880 --> 01:22:14,320
Speaker 4: What made you want to give it up? Well? I

1581
01:22:14,439 --> 01:22:16,559
Speaker 4: just thought you had a bad DJ?

1582
01:22:16,720 --> 01:22:18,760
Speaker 7: Yeah, loads, But the thing is you have to have

1583
01:22:18,800 --> 01:22:20,800
Speaker 7: your bad gigs to enjoy the good ones, obviously. But

1584
01:22:21,320 --> 01:22:24,599
Speaker 7: but the thing is with I thought forty was too

1585
01:22:24,600 --> 01:22:27,120
Speaker 7: old to be a DJ, you know, when I was thirty,

1586
01:22:27,320 --> 01:22:31,320
Speaker 7: I thought, yeah, old DJ. Yeah, But actually no, I mean,

1587
01:22:31,360 --> 01:22:35,519
Speaker 7: the funny thing is, I'm I'm better. I'm the best

1588
01:22:35,560 --> 01:22:37,479
Speaker 7: I've ever been. So I want people to hear me

1589
01:22:37,800 --> 01:22:40,920
Speaker 7: being more experienced thirty years, to be able to mix

1590
01:22:41,000 --> 01:22:45,080
Speaker 7: two house records together, so.

1591
01:22:45,320 --> 01:22:47,280
Speaker 4: You know, yeah, I want it.

1592
01:22:47,439 --> 01:22:50,439
Speaker 5: Which your browns with bubbles cups that you do? How

1593
01:22:50,520 --> 01:22:53,040
Speaker 5: much of those are you actually hand pick all those songs?

1594
01:22:53,160 --> 01:22:55,240
Speaker 4: Yeah? That's still you going through all let.

1595
01:22:55,479 --> 01:22:57,639
Speaker 7: Yeah, yeah, because I mean in a way the radio

1596
01:22:57,760 --> 01:22:59,560
Speaker 7: show that I do every week on the BBC, and

1597
01:22:59,680 --> 01:23:01,920
Speaker 7: I do or digital radio station called WDFM. But the

1598
01:23:02,000 --> 01:23:04,160
Speaker 7: BBC show that I do, which is three hours every week,

1599
01:23:04,240 --> 01:23:07,120
Speaker 7: that's it's like my that's my homework. So every week

1600
01:23:07,280 --> 01:23:11,120
Speaker 7: that's my dark that's like my painting. So that is

1601
01:23:11,240 --> 01:23:13,640
Speaker 7: the build up of listening to five hundred songs that

1602
01:23:13,760 --> 01:23:15,679
Speaker 7: week and building a show.

1603
01:23:16,000 --> 01:23:18,679
Speaker 4: So that's I have to listen to all that music.

1604
01:23:18,880 --> 01:23:20,880
Speaker 5: Yeah, I was glad to see you use a Good

1605
01:23:20,960 --> 01:23:24,120
Speaker 5: Night by Philippo on that incredible track.

1606
01:23:24,200 --> 01:23:25,960
Speaker 4: God, I'm still waiting for that album to drop. It

1607
01:23:26,080 --> 01:23:29,360
Speaker 4: never came out. Nope, Oh damn. How long has it been?

1608
01:23:29,760 --> 01:23:32,240
Speaker 4: That's four years? Easy.

1609
01:23:33,000 --> 01:23:38,280
Speaker 1: What is the process of you auditioning songs that you

1610
01:23:38,400 --> 01:23:40,840
Speaker 1: feel are worthy to be on your radio show?

1611
01:23:42,880 --> 01:23:43,240
Speaker 4: What is it?

1612
01:23:43,439 --> 01:23:46,559
Speaker 1: But I know you have to take in a lot

1613
01:23:46,640 --> 01:23:50,880
Speaker 1: of music and a lot of blogs and a lot

1614
01:23:50,920 --> 01:23:56,519
Speaker 1: of recommendations, so just personally you're not overloaded like I'm

1615
01:23:56,600 --> 01:23:59,960
Speaker 1: personally overloaded and not quite numb yet.

1616
01:24:00,280 --> 01:24:04,000
Speaker 4: But it's a process. Like I doose Sundays as the

1617
01:24:04,120 --> 01:24:04,559
Speaker 4: days to.

1618
01:24:06,320 --> 01:24:09,720
Speaker 1: Keep a certain station on, you know, listen five to

1619
01:24:09,800 --> 01:24:12,920
Speaker 1: six hours and then she's saying what I like, mark

1620
01:24:12,960 --> 01:24:17,679
Speaker 1: down what I like, and then maybe I'll have seventeen

1621
01:24:17,720 --> 01:24:21,400
Speaker 1: songs I never heard of now in my vocabulary. But

1622
01:24:21,520 --> 01:24:22,840
Speaker 1: what's their process for you?

1623
01:24:25,240 --> 01:24:28,439
Speaker 7: I mean, I never forced myself to listen to music,

1624
01:24:29,400 --> 01:24:32,320
Speaker 7: So I just come to it. If there's a week

1625
01:24:32,360 --> 01:24:34,439
Speaker 7: that I'm not like in the mood to feel like

1626
01:24:34,560 --> 01:24:36,800
Speaker 7: I need to do all this research for A and

1627
01:24:36,920 --> 01:24:39,160
Speaker 7: R reasons, for record company reasons, I just go through

1628
01:24:39,200 --> 01:24:43,080
Speaker 7: my old records and I'll put on a classic record

1629
01:24:43,280 --> 01:24:45,560
Speaker 7: to remind me. And maybe on the radio, I'll just

1630
01:24:45,640 --> 01:24:48,080
Speaker 7: play a lot of old music for example. Right, if ever,

1631
01:24:48,160 --> 01:24:49,599
Speaker 7: I get to the point where I'm a little bit

1632
01:24:49,760 --> 01:24:53,240
Speaker 7: sort of just like not really inspired. But to be

1633
01:24:53,320 --> 01:24:55,439
Speaker 7: honest with you, with the amount of music that I

1634
01:24:55,560 --> 01:24:58,719
Speaker 7: listened to, whether it's the sort of new DJ music,

1635
01:24:59,200 --> 01:25:04,240
Speaker 7: whether it's of hip hop, I mean there's a new track,

1636
01:25:04,320 --> 01:25:07,439
Speaker 7: that Buddy track, you know. I mean, all this stuff

1637
01:25:07,439 --> 01:25:09,519
Speaker 7: that's been coming out of LA has been incredible, right,

1638
01:25:09,600 --> 01:25:11,519
Speaker 7: I mean, you know, from sort of all that Kendrick

1639
01:25:11,600 --> 01:25:13,799
Speaker 7: Lamar and Beyond stuff, all the stuff that Flying Lotus

1640
01:25:13,880 --> 01:25:16,840
Speaker 7: is responsible for Thundercat, I mean, my god, there's just

1641
01:25:16,920 --> 01:25:20,400
Speaker 7: so much good stuff and for example, when I played

1642
01:25:20,400 --> 01:25:22,200
Speaker 7: I don't know like when Take the Box was sent

1643
01:25:22,280 --> 01:25:24,240
Speaker 7: to me. I mean Take the Box by Amy Winehouse.

1644
01:25:24,760 --> 01:25:28,000
Speaker 7: It's a good example of a tune that my friend

1645
01:25:28,120 --> 01:25:31,040
Speaker 7: was trying to sign it Max Desarder Atlantic Warners at

1646
01:25:31,040 --> 01:25:33,760
Speaker 7: the time before it went to Island, and he just

1647
01:25:33,800 --> 01:25:35,000
Speaker 7: sent me the dam He said, what do you think

1648
01:25:35,000 --> 01:25:36,840
Speaker 7: of this, Charls? And I was like, immediately take the

1649
01:25:36,880 --> 01:25:38,600
Speaker 7: Box And I started playing it as a demo on

1650
01:25:38,640 --> 01:25:41,800
Speaker 7: the radio then, because it just had those little things,

1651
01:25:42,160 --> 01:25:45,680
Speaker 7: just like when you're talking about any rd run to

1652
01:25:45,760 --> 01:25:48,759
Speaker 7: the Sun you hear that, and it's just an immediate tune,

1653
01:25:48,840 --> 01:25:51,320
Speaker 7: right or good Night by Philip o Wusu these songs,

1654
01:25:51,600 --> 01:25:54,799
Speaker 7: and that's what I'm searching for. But I'm also searching

1655
01:25:54,960 --> 01:25:58,560
Speaker 7: for raw dance music that I've never heard before. The

1656
01:25:58,640 --> 01:26:00,760
Speaker 7: way they've arranged the bass in this, you can tell

1657
01:26:00,800 --> 01:26:03,240
Speaker 7: because it's a bit like we're chefs, you know, we're

1658
01:26:03,400 --> 01:26:06,360
Speaker 7: tasting those ingredients all the time. So when there's a

1659
01:26:06,479 --> 01:26:10,479
Speaker 7: certain type of onion that comes in, that's it's got

1660
01:26:10,520 --> 01:26:11,160
Speaker 7: the right edge.

1661
01:26:11,320 --> 01:26:11,760
Speaker 4: We know it.

1662
01:26:12,400 --> 01:26:14,960
Speaker 7: We've got you know, I'm rubbish at wine, I'm rubby.

1663
01:26:15,040 --> 01:26:17,679
Speaker 7: I've got a terrible palette, but when it comes to music.

1664
01:26:19,600 --> 01:26:21,240
Speaker 7: But when it comes to music, I'm not even very

1665
01:26:21,240 --> 01:26:23,840
Speaker 7: good at music. But because I've just constantly listened to it,

1666
01:26:24,920 --> 01:26:28,040
Speaker 7: I've got a good memory of music. So when something

1667
01:26:28,240 --> 01:26:31,599
Speaker 7: fresh does come, I know it's new. I can feel

1668
01:26:31,640 --> 01:26:32,800
Speaker 7: it quicker than others.

1669
01:26:32,840 --> 01:26:33,120
Speaker 4: I think.

1670
01:26:33,760 --> 01:26:38,240
Speaker 1: Well, what I mean is that I feel like there's

1671
01:26:38,280 --> 01:26:42,960
Speaker 1: an expectation for you to always have that shit I

1672
01:26:43,080 --> 01:26:45,760
Speaker 1: never heard before, or this version of that song I

1673
01:26:45,880 --> 01:26:48,360
Speaker 1: never heard before, or that sort of thing. So I

1674
01:26:48,560 --> 01:26:51,759
Speaker 1: know that you have to put a lot of research,

1675
01:26:51,880 --> 01:26:56,800
Speaker 1: Like what keeps you from repetition like okay you go

1676
01:26:56,920 --> 01:27:00,360
Speaker 1: to Okay, I'm always going to play level brings back

1677
01:27:00,360 --> 01:27:03,120
Speaker 1: together by Roy Ears, Like what keeps you from saying

1678
01:27:03,240 --> 01:27:07,400
Speaker 1: stuck in those saying fifty songs that you know work

1679
01:27:07,479 --> 01:27:12,240
Speaker 1: like gamebusters every time, and what like You're still going

1680
01:27:12,320 --> 01:27:16,160
Speaker 1: to have to discover tomorrow's music first before the next

1681
01:27:16,280 --> 01:27:17,320
Speaker 1: younger guy gets to it.

1682
01:27:17,600 --> 01:27:20,040
Speaker 4: So that's what I meant, like as far as your

1683
01:27:20,080 --> 01:27:22,080
Speaker 4: research process, like what do you do?

1684
01:27:23,120 --> 01:27:26,479
Speaker 7: Good network, great people who know what I like, lots

1685
01:27:26,520 --> 01:27:30,560
Speaker 7: of exchanges. I'm over all of the music, from the

1686
01:27:30,640 --> 01:27:33,639
Speaker 7: new electronics stuff to the hip hop to the jazz,

1687
01:27:33,880 --> 01:27:36,599
Speaker 7: to the old staff, to some new soul that might

1688
01:27:36,640 --> 01:27:38,800
Speaker 7: be coming out, to the rock and the alternatives. There's

1689
01:27:38,800 --> 01:27:40,840
Speaker 7: some great music coming out of that area as well

1690
01:27:40,880 --> 01:27:43,160
Speaker 7: as we all know, and I'm just listening to all

1691
01:27:43,200 --> 01:27:44,960
Speaker 7: of it. And within all of that music, I mean

1692
01:27:45,040 --> 01:27:47,080
Speaker 7: a lot of it. And you know, obviously there's millions

1693
01:27:47,120 --> 01:27:51,439
Speaker 7: of songs being made every week. But amongst my network

1694
01:27:51,479 --> 01:27:54,760
Speaker 7: of friends who know, we know each other's taste, we're

1695
01:27:54,800 --> 01:27:58,679
Speaker 7: coming from different parts of the world, we are able

1696
01:27:58,840 --> 01:28:05,160
Speaker 7: to satisfy with music, and then I take that onto

1697
01:28:05,240 --> 01:28:07,240
Speaker 7: the radio, and to be honest with you, I don't

1698
01:28:07,240 --> 01:28:09,559
Speaker 7: even think about it that much. I've never really felt

1699
01:28:09,680 --> 01:28:13,439
Speaker 7: like I was thinking the other day, I didn't listen

1700
01:28:13,479 --> 01:28:14,880
Speaker 7: to the whole Solange record properly.

1701
01:28:15,160 --> 01:28:15,560
Speaker 4: Things like that.

1702
01:28:15,720 --> 01:28:17,600
Speaker 7: That's those sort of things bother me a little bit.

1703
01:28:18,000 --> 01:28:19,320
Speaker 7: I'm like, oh, yeah, I just went through it, and

1704
01:28:19,439 --> 01:28:22,200
Speaker 7: something else happened the week after, and I liked, you know, yeah, yeah,

1705
01:28:22,400 --> 01:28:24,120
Speaker 7: but I listened to it this week. Then it hit

1706
01:28:24,160 --> 01:28:26,080
Speaker 7: you leader yeah, and I was like, I need to

1707
01:28:26,120 --> 01:28:28,280
Speaker 7: listen to that record, because that's a different way of listening.

1708
01:28:28,320 --> 01:28:31,800
Speaker 7: Because I listened to music as in a curative way,

1709
01:28:32,280 --> 01:28:34,280
Speaker 7: and sometimes I want to listen to music in an

1710
01:28:34,479 --> 01:28:37,479
Speaker 7: entertainment for myself way, emotional way. So sometimes I make

1711
01:28:37,560 --> 01:28:39,599
Speaker 7: sure that I just hide myself at home and put

1712
01:28:39,640 --> 01:28:41,960
Speaker 7: a record on from the beginning to the end. Very

1713
01:28:42,000 --> 01:28:44,120
Speaker 7: important to find the time for that. I bought a

1714
01:28:44,200 --> 01:28:46,320
Speaker 7: good sound system specifically.

1715
01:28:45,800 --> 01:28:47,479
Speaker 4: For that is an American dad.

1716
01:28:48,240 --> 01:28:51,519
Speaker 7: No, okay, no, but you know, I bought a vintage

1717
01:28:51,600 --> 01:28:54,040
Speaker 7: thing and all the stuff, and it just makes music

1718
01:28:54,200 --> 01:28:58,640
Speaker 7: sound remarkable about as it should be. So I don't know,

1719
01:28:58,840 --> 01:28:59,800
Speaker 7: I don't overthink it.

1720
01:29:00,360 --> 01:29:02,920
Speaker 2: Just to never get overwhelmed by the abundance of music

1721
01:29:03,000 --> 01:29:06,240
Speaker 2: on the daily, never even in my.

1722
01:29:06,280 --> 01:29:11,320
Speaker 4: Record room, like I'm pretty sure only listen to that's.

1723
01:29:10,560 --> 01:29:12,800
Speaker 7: For your retirement, I mean my record collection. That's the

1724
01:29:12,800 --> 01:29:14,879
Speaker 7: way I look at it. That's true when I'm retiring.

1725
01:29:15,280 --> 01:29:16,679
Speaker 2: Do you know most people, I feel like most people

1726
01:29:16,680 --> 01:29:18,880
Speaker 2: who listen feel like y'all have listened to every single

1727
01:29:18,960 --> 01:29:21,040
Speaker 2: record in your record collection, because a mirror I would

1728
01:29:21,080 --> 01:29:22,800
Speaker 2: have guessed that your record room you've listened to all.

1729
01:29:22,680 --> 01:29:26,920
Speaker 1: Those The thing is is that I've absorbed it. So

1730
01:29:27,360 --> 01:29:30,720
Speaker 1: it's a it's a thing of it's a thing of

1731
01:29:32,760 --> 01:29:35,240
Speaker 1: you know, I'll skim through it. And because I'm in

1732
01:29:35,360 --> 01:29:40,280
Speaker 1: hip hop, it's about samples more than anything. So, I mean,

1733
01:29:40,280 --> 01:29:42,720
Speaker 1: there's two ways to listen to records. You either you

1734
01:29:42,840 --> 01:29:48,120
Speaker 1: go a record digging and then you Q records and

1735
01:29:48,160 --> 01:29:50,639
Speaker 1: then you know it doesn't hit you, you put it away.

1736
01:29:50,720 --> 01:29:53,920
Speaker 1: But I'm going to sit and actually listen to it.

1737
01:29:54,000 --> 01:29:56,160
Speaker 1: That's what I do on Sundays. I don't skim through it.

1738
01:29:56,400 --> 01:29:57,400
Speaker 4: I listen to it.

1739
01:29:57,640 --> 01:29:59,840
Speaker 3: So, seriously, that's ten percent in your record room right now,

1740
01:30:00,080 --> 01:30:01,760
Speaker 3: those records that you had a chance to do this.

1741
01:30:02,040 --> 01:30:05,639
Speaker 4: I mean it's physically impossible. And that's just my record room.

1742
01:30:05,960 --> 01:30:09,720
Speaker 4: I have hard drives, and I mean, right, I just

1743
01:30:10,240 --> 01:30:16,120
Speaker 4: had to buy I had to acquire a new spot.

1744
01:30:16,360 --> 01:30:17,120
Speaker 4: I'm trying to say it.

1745
01:30:17,200 --> 01:30:22,320
Speaker 2: So I'm not going you know, I'm a rich judge.

1746
01:30:22,360 --> 01:30:23,600
Speaker 2: I'm a judger, but I ain't gonna judge you for

1747
01:30:23,640 --> 01:30:24,680
Speaker 2: your next statement, I ain't gonna do.

1748
01:30:24,960 --> 01:30:26,640
Speaker 4: Well, okay, would you like me to take care of

1749
01:30:26,680 --> 01:30:27,960
Speaker 4: the things that I acquired, I do.

1750
01:30:28,160 --> 01:30:28,760
Speaker 3: I would like that.

1751
01:30:29,080 --> 01:30:31,560
Speaker 4: Okay. Well, then there's about.

1752
01:30:33,160 --> 01:30:37,439
Speaker 1: Maybe one hundred thousand other records that could get damaged

1753
01:30:37,600 --> 01:30:39,920
Speaker 1: in the current state that they're in in my storage unit.

1754
01:30:40,040 --> 01:30:45,080
Speaker 1: So I had to purchase a building with cool with

1755
01:30:45,200 --> 01:30:48,439
Speaker 1: the right air and all that stuff I had. You

1756
01:30:48,600 --> 01:30:49,720
Speaker 1: had to like the thing is.

1757
01:30:52,720 --> 01:30:54,040
Speaker 4: Is that a New Yorker Philly? Because I need a

1758
01:30:54,080 --> 01:30:59,160
Speaker 4: temporary storage spot. I'm I'm gonna tell you what I did.

1759
01:30:59,200 --> 01:31:01,080
Speaker 1: I'm gonna tell you what I I had to let

1760
01:31:01,200 --> 01:31:05,200
Speaker 1: go to houses because again I'm I'm I'm a sentimental

1761
01:31:05,240 --> 01:31:08,479
Speaker 1: pat wreck, and you know, in my mind, I'm thinking,

1762
01:31:09,800 --> 01:31:12,720
Speaker 1: I'm gonna give these close to you know, to the

1763
01:31:13,000 --> 01:31:19,040
Speaker 1: Smithsonian Museum, to Timothy Inn or something, you know, like

1764
01:31:19,160 --> 01:31:22,320
Speaker 1: I saw my you got me closed in case.

1765
01:31:22,240 --> 01:31:25,280
Speaker 3: You know from the video. Yeah, it was a black

1766
01:31:25,360 --> 01:31:26,080
Speaker 3: T shirt, wasn't it?

1767
01:31:28,920 --> 01:31:29,960
Speaker 4: What is it? Goals?

1768
01:31:30,000 --> 01:31:31,679
Speaker 1: It's like, you want to get back down to that size.

1769
01:31:31,720 --> 01:31:33,920
Speaker 1: I want to get back that I was. Man, I

1770
01:31:34,040 --> 01:31:37,640
Speaker 1: was like, yeah, you got me. I never want to

1771
01:31:37,680 --> 01:31:44,200
Speaker 1: go back there. Yeah, Jesus Christ, he scared the ship out. No,

1772
01:31:44,720 --> 01:31:45,559
Speaker 1: I'm just saying that.

1773
01:31:49,080 --> 01:32:03,040
Speaker 4: I got judging. There's a picture. You don't even say. Look,

1774
01:32:03,479 --> 01:32:06,479
Speaker 4: there's some things that happened on this show. Put it away.

1775
01:32:07,640 --> 01:32:10,120
Speaker 3: We're in a mere studio, you guys, personal studio.

1776
01:32:10,760 --> 01:32:16,479
Speaker 1: We're in my phillips. This this person triggering. Yeah, not

1777
01:32:16,600 --> 01:32:20,160
Speaker 1: only records, records and other stuff too. I'm just saying

1778
01:32:20,600 --> 01:32:22,000
Speaker 1: that can I have this A track?

1779
01:32:25,479 --> 01:32:28,080
Speaker 4: Steve? Yes, it's yours, Steve.

1780
01:32:28,120 --> 01:32:30,640
Speaker 6: You can have my c T I A t PA

1781
01:32:30,800 --> 01:32:34,519
Speaker 6: with another Freddy Hubberne.

1782
01:32:34,000 --> 01:32:36,720
Speaker 1: Take all the CD I A tracks. Shouldn't you be

1783
01:32:36,840 --> 01:32:39,320
Speaker 1: here on the microphone Steve? Steve is like going through

1784
01:32:39,360 --> 01:32:40,120
Speaker 1: my records right now?

1785
01:32:40,160 --> 01:32:42,680
Speaker 3: Wait, Jos, do you have homes for your albums as well?

1786
01:32:45,520 --> 01:32:45,680
Speaker 2: Oh?

1787
01:32:46,200 --> 01:32:48,639
Speaker 3: Can people? Are y'all really saying like a person live

1788
01:32:48,800 --> 01:32:50,240
Speaker 3: in this place with your records?

1789
01:32:50,600 --> 01:32:54,960
Speaker 4: Is it just it's just for here's the deal. This

1790
01:32:55,160 --> 01:32:56,120
Speaker 4: is a weird.

1791
01:32:57,920 --> 01:33:01,000
Speaker 1: Kind of name drop techy thing about you. But you

1792
01:33:01,120 --> 01:33:05,280
Speaker 1: always got preface the tacky ship. Okay, so wait, can

1793
01:33:05,320 --> 01:33:10,200
Speaker 1: I just deal John Trump yet?

1794
01:33:10,600 --> 01:33:12,679
Speaker 4: Come on man? Okay.

1795
01:33:12,840 --> 01:33:15,560
Speaker 1: Initially, when I first moved to New York, there was

1796
01:33:15,640 --> 01:33:17,519
Speaker 1: there was a there was a chance that I was

1797
01:33:17,600 --> 01:33:22,400
Speaker 1: going to acquire or at least couch crash the Destiny's

1798
01:33:22,479 --> 01:33:29,200
Speaker 1: Child apartment that Beyonce had. I guess that was their

1799
01:33:29,240 --> 01:33:31,680
Speaker 1: crash spot whenever they were I didn't have a house

1800
01:33:32,640 --> 01:33:36,439
Speaker 1: where the one by Bloomingdale's. Uh, they have a lot

1801
01:33:36,479 --> 01:33:42,880
Speaker 1: of property. There's a lot of their property, one of them.

1802
01:33:43,520 --> 01:33:47,120
Speaker 4: Wait, why did you know? I just feels poorer and poorer.

1803
01:33:49,160 --> 01:33:49,400
Speaker 2: I know this.

1804
01:33:49,720 --> 01:33:52,400
Speaker 1: Yeah, I used to work in the Nose Empire. That's right,

1805
01:33:52,520 --> 01:33:57,160
Speaker 1: you did Music World. What damn, I'm interviewing you next

1806
01:33:57,160 --> 01:34:03,800
Speaker 1: week on Quest. Anyway, My point was that she was

1807
01:34:03,840 --> 01:34:05,800
Speaker 1: trying to make the decision on whether or not she

1808
01:34:05,960 --> 01:34:08,679
Speaker 1: was gonna let me have the spot or not, because

1809
01:34:08,680 --> 01:34:13,640
Speaker 1: she hasn't been in that apartment forever. But she realized

1810
01:34:14,000 --> 01:34:17,160
Speaker 1: that a lot of her clothes were getting damaged in

1811
01:34:17,960 --> 01:34:20,160
Speaker 1: the storage units that they had, so she.

1812
01:34:20,280 --> 01:34:22,479
Speaker 4: Decided that it's probably better off instead of.

1813
01:34:23,960 --> 01:34:26,640
Speaker 1: A month after month after month for storage unit, to

1814
01:34:26,880 --> 01:34:30,880
Speaker 1: just buy a house and put your stuff in there

1815
01:34:31,160 --> 01:34:35,240
Speaker 1: and care for it there. So the Destiny style apartment

1816
01:34:35,600 --> 01:34:38,840
Speaker 1: now houses all of Beyonce's shoes that she's ever had

1817
01:34:39,080 --> 01:34:40,200
Speaker 1: and doesn't wear any wow.

1818
01:34:40,479 --> 01:34:44,200
Speaker 4: Wow wow damn. Anyway, Yeah, so there's houses.

1819
01:34:44,360 --> 01:34:47,200
Speaker 1: So the spot that I have in Philly, I made

1820
01:34:47,200 --> 01:34:51,240
Speaker 1: sure it was outside of Philly sort of, and that's

1821
01:34:51,320 --> 01:34:53,920
Speaker 1: where my records and I also have like.

1822
01:34:55,680 --> 01:34:58,960
Speaker 4: Sixty one drum set. Jesus, it's like.

1823
01:34:58,960 --> 01:35:01,519
Speaker 3: A battle j I said. He has one hundred thousand records,

1824
01:35:01,520 --> 01:35:01,960
Speaker 3: which you got.

1825
01:35:02,640 --> 01:35:04,200
Speaker 4: He has way more than that. I do not think

1826
01:35:04,200 --> 01:35:09,880
Speaker 4: I've got that. You and Claude of Claude from Manto

1827
01:35:10,120 --> 01:35:16,160
Speaker 4: Jazz Knobs. Yeah, you guys have the largest Where does

1828
01:35:16,200 --> 01:35:18,439
Speaker 4: Craig Common fit in that? One hundred thousands a lot?

1829
01:35:18,479 --> 01:35:19,760
Speaker 4: Though Craig doesn't count.

1830
01:35:20,240 --> 01:35:21,519
Speaker 7: You're counting forty five's in that.

1831
01:35:24,439 --> 01:35:25,320
Speaker 4: That is a record, isn't it.

1832
01:35:25,400 --> 01:35:27,400
Speaker 1: Yeah, I'm counting. I don't even count my forty fives.

1833
01:35:28,160 --> 01:35:31,639
Speaker 1: I have a lot now, But you got one hundred

1834
01:35:31,680 --> 01:35:34,839
Speaker 1: thousand physical pieces of I have one hundred thousand physical

1835
01:35:34,880 --> 01:35:38,000
Speaker 1: pieces of vinyl. Probably have maybe one twenty now, okay,

1836
01:35:38,360 --> 01:35:41,080
Speaker 1: But I mean as far as the forty like right now,

1837
01:35:42,040 --> 01:35:45,200
Speaker 1: there's a lot of people down south that don't know

1838
01:35:45,400 --> 01:35:48,960
Speaker 1: that forty five culture is coming back. So what I'm

1839
01:35:49,040 --> 01:35:53,080
Speaker 1: running into is there's a lot of widows of say,

1840
01:35:53,240 --> 01:35:55,479
Speaker 1: like one stop shop juke boxes.

1841
01:35:55,800 --> 01:35:58,479
Speaker 4: Juke Boxes used to be a thing in those liquor

1842
01:35:58,560 --> 01:35:59,479
Speaker 4: houses and everything.

1843
01:36:00,120 --> 01:36:04,920
Speaker 1: So once people stop using juke boxes in their nightclubs

1844
01:36:04,960 --> 01:36:07,880
Speaker 1: and their bars or whatever, especially down south, they had

1845
01:36:07,960 --> 01:36:08,719
Speaker 1: to go somewhere.

1846
01:36:09,240 --> 01:36:11,360
Speaker 4: So you have a lot of widows or a lot

1847
01:36:11,439 --> 01:36:12,960
Speaker 4: of daughters that have haired stuff.

1848
01:36:12,960 --> 01:36:14,400
Speaker 1: I don't know what to do with this stuff, all

1849
01:36:14,479 --> 01:36:17,360
Speaker 1: these records, And so that's where Geene Brown comes in

1850
01:36:18,160 --> 01:36:20,719
Speaker 1: and he'll just say, all right, I got a collection

1851
01:36:20,920 --> 01:36:27,519
Speaker 1: of you want them, Okay, I'll take them, and then

1852
01:36:27,520 --> 01:36:29,240
Speaker 1: I'll take them and they don't listen to them.

1853
01:36:29,680 --> 01:36:31,080
Speaker 4: Like right now, in that room, I.

1854
01:36:31,160 --> 01:36:36,360
Speaker 1: Have Levi Stubbs's record collections, and in it is just

1855
01:36:36,479 --> 01:36:42,960
Speaker 1: a lot of white label motown stuff that will never

1856
01:36:43,040 --> 01:36:47,120
Speaker 1: see the light of day. Like just so, there's a

1857
01:36:47,160 --> 01:36:49,080
Speaker 1: lot that I haven't listened to. So yes, to get

1858
01:36:49,120 --> 01:36:53,320
Speaker 1: back to the beginning ten percent, someone's going to all right,

1859
01:36:53,400 --> 01:36:56,120
Speaker 1: Elia's judging me, But let me just tell you that

1860
01:36:56,240 --> 01:36:58,519
Speaker 1: when you get in my field of business, you got

1861
01:36:58,680 --> 01:37:02,519
Speaker 1: to get into something. So I rather this than cocaine

1862
01:37:02,640 --> 01:37:08,280
Speaker 1: about saying yeah, really something. Yeah, you're going to get

1863
01:37:08,320 --> 01:37:11,880
Speaker 1: into something. You're going to inject it, listen to it,

1864
01:37:12,040 --> 01:37:15,560
Speaker 1: sniff it, taste it, or it's going to kill you.

1865
01:37:16,160 --> 01:37:17,439
Speaker 4: Like you gotta get into something.

1866
01:37:17,600 --> 01:37:22,559
Speaker 5: You have more physical records in your collection than I sold.

1867
01:37:30,479 --> 01:37:33,240
Speaker 1: We're getting ahead of our tradition. First of all, listening

1868
01:37:33,320 --> 01:37:37,480
Speaker 1: John Speter worldwide.

1869
01:37:38,200 --> 01:37:42,240
Speaker 4: So before we end, Bill paid Bill, Yeah, what did

1870
01:37:42,280 --> 01:37:43,479
Speaker 4: you learn to day man? Man?

1871
01:37:44,200 --> 01:37:47,040
Speaker 10: Taste makers? I like the idea of people being tastemakers.

1872
01:37:47,240 --> 01:37:49,120
Speaker 10: I think he's right. I think you're a taste maker,

1873
01:37:49,400 --> 01:37:52,080
Speaker 10: and I like the idea of people listen to you.

1874
01:37:52,280 --> 01:37:54,679
Speaker 10: I strug off titles. Man, I know you don't like titles.

1875
01:37:54,720 --> 01:37:55,760
Speaker 10: You don't like people talking about you.

1876
01:37:56,960 --> 01:37:58,320
Speaker 4: You're not good at that. But that's fine.

1877
01:37:58,479 --> 01:38:02,000
Speaker 10: This is all therapy here on this. I just like

1878
01:38:02,080 --> 01:38:03,920
Speaker 10: the fact that the idea that people listen, and I

1879
01:38:03,960 --> 01:38:06,880
Speaker 10: think that you have the platform to do that until

1880
01:38:06,880 --> 01:38:09,880
Speaker 10: you open up people. But open up those minds that

1881
01:38:10,000 --> 01:38:11,320
Speaker 10: that wouldn't necessarily listen.

1882
01:38:11,120 --> 01:38:13,679
Speaker 4: To the music. I'm gonna taste and trade of Joels.

1883
01:38:13,680 --> 01:38:20,040
Speaker 4: I'm gonna taste test Steve. Besides my records you just stole.

1884
01:38:20,120 --> 01:38:21,400
Speaker 4: What else would you learn today?

1885
01:38:21,880 --> 01:38:27,000
Speaker 6: Uh uh? I want to see Giles record collection, go

1886
01:38:27,120 --> 01:38:27,920
Speaker 6: through the jazz section.

1887
01:38:28,040 --> 01:38:29,479
Speaker 4: He's going to steal all your CTI records.

1888
01:38:29,520 --> 01:38:32,560
Speaker 6: You take care of your stuff, like unlike others.

1889
01:38:34,840 --> 01:38:36,280
Speaker 4: Supposed to take care of this ship.

1890
01:38:37,720 --> 01:38:38,080
Speaker 3: In a year.

1891
01:38:38,720 --> 01:38:41,439
Speaker 4: More than that, like nine ship, I haven't been.

1892
01:38:41,320 --> 01:38:45,439
Speaker 1: In I've probably only been in this room maybe nine

1893
01:38:45,600 --> 01:38:47,360
Speaker 1: times in the last seven years.

1894
01:38:48,320 --> 01:38:52,280
Speaker 6: Anyway, suld I have a job.

1895
01:38:52,439 --> 01:38:54,960
Speaker 4: Charles Peters, No, yeah.

1896
01:38:55,000 --> 01:38:57,960
Speaker 11: Sounds like sounds like you got a nice collection, I

1897
01:38:57,960 --> 01:39:02,320
Speaker 11: would assume. But I also think thriller is better than

1898
01:39:02,479 --> 01:39:06,720
Speaker 11: Off the Wall. God, Well it's not a fair question.

1899
01:39:06,840 --> 01:39:09,559
Speaker 11: Off the Walls better. But but Thriller is not an.

1900
01:39:09,560 --> 01:39:10,160
Speaker 4: Album to me.

1901
01:39:10,520 --> 01:39:16,040
Speaker 6: Well, it's an album to me, it was an album.

1902
01:39:18,000 --> 01:39:19,719
Speaker 6: It was nice to meet you though, really.

1903
01:39:20,000 --> 01:39:21,840
Speaker 5: Man, Yeah, it's good to finally meet jobs. We did

1904
01:39:21,920 --> 01:39:24,080
Speaker 5: your show a little brother in forunate change really just show.

1905
01:39:24,200 --> 01:39:28,120
Speaker 5: Like god, this is oh five six something and uh,

1906
01:39:28,280 --> 01:39:29,840
Speaker 5: but I think you weren't there. I think you were

1907
01:39:29,840 --> 01:39:32,400
Speaker 5: out sick or something. Something happened. I can't remember.

1908
01:39:32,439 --> 01:39:33,800
Speaker 4: But we taped it anyway, Yeah you did.

1909
01:39:35,040 --> 01:39:37,280
Speaker 5: No, No, it was you just tape your just taped

1910
01:39:37,280 --> 01:39:38,840
Speaker 5: a live It was just a live in session joint

1911
01:39:39,080 --> 01:39:41,200
Speaker 5: we did okay. But but nah, man, it's good to

1912
01:39:41,280 --> 01:39:43,880
Speaker 5: finally reconnect, well to meet you finally in person, and

1913
01:39:44,280 --> 01:39:46,760
Speaker 5: just you know, say thanks for the music that you've

1914
01:39:47,360 --> 01:39:50,120
Speaker 5: brought forth and just continuing to shine a light on

1915
01:39:50,240 --> 01:39:52,280
Speaker 5: those catstead of coming up. You know, we were certainly

1916
01:39:52,360 --> 01:39:55,160
Speaker 5: one of the groups that benefited from you know, you

1917
01:39:55,560 --> 01:39:57,720
Speaker 5: showing us love and everything, and yeah, just thank you

1918
01:39:57,760 --> 01:39:58,320
Speaker 5: for all you've done.

1919
01:39:58,360 --> 01:40:02,920
Speaker 9: Man, built what did you learn to David? Pirate radio

1920
01:40:02,960 --> 01:40:05,439
Speaker 9: stuff was quite interesting. I've always been very you know

1921
01:40:05,520 --> 01:40:07,920
Speaker 9: intrigued by the whole concept. Like one of my favorite

1922
01:40:07,920 --> 01:40:11,320
Speaker 9: movies is A Kid Was a Christian Body. It was

1923
01:40:11,360 --> 01:40:13,160
Speaker 9: basically about a kid that had a pirate radio station

1924
01:40:13,200 --> 01:40:13,719
Speaker 9: in his basement.

1925
01:40:14,320 --> 01:40:16,719
Speaker 6: So Phillips is good to check out that movie.

1926
01:40:20,280 --> 01:40:22,920
Speaker 4: To learn about you know, good to get some good insight.

1927
01:40:25,080 --> 01:40:27,600
Speaker 4: Also a question that I wanted to ask, I just

1928
01:40:27,680 --> 01:40:28,320
Speaker 4: add to good.

1929
01:40:30,200 --> 01:40:32,840
Speaker 9: As someone who has been like a lifelong fan of music,

1930
01:40:33,000 --> 01:40:35,439
Speaker 9: I've in recent years I've had a very hard time

1931
01:40:38,080 --> 01:40:41,080
Speaker 9: staying passionate about new music. How do you How are

1932
01:40:41,120 --> 01:40:41,880
Speaker 9: you able to do it.

1933
01:40:44,560 --> 01:40:44,760
Speaker 4: Well?

1934
01:40:44,760 --> 01:40:52,720
Speaker 7: I think probably because it's my role two to get

1935
01:40:52,800 --> 01:40:54,760
Speaker 7: people I don't know. I think the fact that I'm

1936
01:40:54,840 --> 01:40:55,160
Speaker 7: sort of.

1937
01:40:56,840 --> 01:41:01,960
Speaker 4: On a mission probably more so than you are. You

1938
01:41:02,040 --> 01:41:03,639
Speaker 4: have more of an audience. Certainly.

1939
01:41:05,200 --> 01:41:07,840
Speaker 7: I get a lot of pleasure out of seeing out

1940
01:41:07,880 --> 01:41:14,160
Speaker 7: of seeing small acorns grow and seeing the journey of

1941
01:41:14,240 --> 01:41:20,439
Speaker 7: the artists, From receiving a cassette tape by Jose James

1942
01:41:20,520 --> 01:41:23,760
Speaker 7: of him doing versions of John Coltrane songs, to him

1943
01:41:23,840 --> 01:41:27,080
Speaker 7: signing to BLUEO. Those things give me a lot of pleasure.

1944
01:41:27,320 --> 01:41:31,400
Speaker 7: And and there's enough music for me to be to

1945
01:41:31,520 --> 01:41:34,439
Speaker 7: be passionate about. I've never felt more passionate about music

1946
01:41:35,000 --> 01:41:38,200
Speaker 7: of all sides in all countries. It's never been more worldwide.

1947
01:41:38,640 --> 01:41:41,320
Speaker 4: There's less. No, it's true, there's never been. There are less.

1948
01:41:41,640 --> 01:41:43,439
Speaker 9: Have there been any movements that you've just kind of

1949
01:41:43,680 --> 01:41:46,000
Speaker 9: been very unsure about that that they took off anyway

1950
01:41:46,360 --> 01:41:48,120
Speaker 9: and you just kind of had to play catch.

1951
01:41:47,960 --> 01:41:54,840
Speaker 4: Up or idiom No, No, not not really. Yeah, so

1952
01:41:54,960 --> 01:41:55,680
Speaker 4: you're a better man.

1953
01:41:55,720 --> 01:41:57,760
Speaker 6: The name right, we knew that guy.

1954
01:41:57,840 --> 01:42:00,920
Speaker 4: Now you know what I learned to that?

1955
01:42:01,000 --> 01:42:03,920
Speaker 7: I learned the grave Washington j that comes from Philadelphia.

1956
01:42:10,720 --> 01:42:17,880
Speaker 6: That wow, the.

1957
01:42:17,880 --> 01:42:18,439
Speaker 3: First time.

1958
01:42:19,840 --> 01:42:22,320
Speaker 4: I'm taking this Washington.

1959
01:42:23,520 --> 01:42:24,240
Speaker 6: Washington Jr.

1960
01:42:24,880 --> 01:42:28,800
Speaker 4: No, I don't. I don't look like Washington, Okay? And

1961
01:42:28,880 --> 01:42:32,240
Speaker 4: whytt net? Can you play? Can you play high draft

1962
01:42:32,320 --> 01:42:34,400
Speaker 4: from that from the album? Yes we will, we don't

1963
01:42:34,439 --> 01:42:36,479
Speaker 4: play it on the show. Let's play? Yeah, what did

1964
01:42:36,520 --> 01:42:37,120
Speaker 4: you learn today?

1965
01:42:37,880 --> 01:42:38,479
Speaker 3: I learned a lot.

1966
01:42:38,840 --> 01:42:40,560
Speaker 2: I want to thank you first because when I was

1967
01:42:40,600 --> 01:42:42,760
Speaker 2: sitting at my desk at RKO Discs for eight hours

1968
01:42:42,800 --> 01:42:45,400
Speaker 2: and going to my commercial radio job hip hop and

1969
01:42:45,520 --> 01:42:47,320
Speaker 2: R and B, I used you to learn my new

1970
01:42:47,400 --> 01:42:49,240
Speaker 2: music because I didn't want my brain to be clouded

1971
01:42:49,280 --> 01:42:51,320
Speaker 2: bout what I was about to do. So I want

1972
01:42:51,360 --> 01:42:53,800
Speaker 2: to thank you for that, and I just learned your

1973
01:42:53,880 --> 01:42:55,840
Speaker 2: journey and I always been a big fan, and I

1974
01:42:55,960 --> 01:42:59,360
Speaker 2: think much like Bill, sometimes you fight with America. I

1975
01:42:59,439 --> 01:43:01,920
Speaker 2: just take America different in their acceptance of music, especially

1976
01:43:02,000 --> 01:43:04,639
Speaker 2: of soul music. So I'm just gonna open my mind

1977
01:43:04,680 --> 01:43:06,840
Speaker 2: and damage some more jazz pewterising because there's always some

1978
01:43:06,960 --> 01:43:07,640
Speaker 2: to find, you know.

1979
01:43:07,760 --> 01:43:10,160
Speaker 7: One of things that I love about America because I

1980
01:43:10,280 --> 01:43:15,080
Speaker 7: love about playing here. When people go out in America,

1981
01:43:15,880 --> 01:43:19,280
Speaker 7: they make the most of it. They make the most

1982
01:43:19,320 --> 01:43:21,639
Speaker 7: of it, and I feel that sometimes in Europe people

1983
01:43:21,680 --> 01:43:23,960
Speaker 7: are a little bit spoilt and they're a little bit.

1984
01:43:26,240 --> 01:43:28,519
Speaker 4: Here. Really, I do.

1985
01:43:28,720 --> 01:43:30,880
Speaker 7: When they go out, I honestly feel when you come out,

1986
01:43:30,920 --> 01:43:33,519
Speaker 7: it's like when it's like Japan. People go out, if

1987
01:43:33,520 --> 01:43:35,639
Speaker 7: they've paid their money to go into that club, they're

1988
01:43:35,640 --> 01:43:37,639
Speaker 7: going to have a good time. In Europe they might

1989
01:43:37,720 --> 01:43:38,679
Speaker 7: be hating quicker.

1990
01:43:39,680 --> 01:43:43,800
Speaker 2: Really, I think so, thanks Philly, Really, yeah, Philly's a

1991
01:43:44,120 --> 01:43:46,559
Speaker 2: snooty town because they're used to so much dope town.

1992
01:43:46,600 --> 01:43:46,760
Speaker 4: Why.

1993
01:43:46,760 --> 01:43:48,559
Speaker 1: I just thought you guys were polite. So when they

1994
01:43:48,640 --> 01:43:54,360
Speaker 1: weren't clapping, they weren't satisfied. We got to change ourselves.

1995
01:43:55,720 --> 01:43:56,960
Speaker 3: When they weren't clapping.

1996
01:43:58,960 --> 01:44:02,080
Speaker 1: Now, we're actually coming back. You'll you'll be happy to

1997
01:44:02,120 --> 01:44:07,479
Speaker 1: hear this, Giles. Initially there was supposed to be a

1998
01:44:08,880 --> 01:44:13,160
Speaker 1: Tribe Roots summer tour. Believe it or not. We want

1999
01:44:13,200 --> 01:44:17,519
Speaker 1: to play two arena. We had four two arena dates setup,

2000
01:44:17,880 --> 01:44:23,800
Speaker 1: but Tribe Tribe anyway, so what was this? This is

2001
01:44:23,880 --> 01:44:25,800
Speaker 1: like this It was going to be the summer of

2002
01:44:26,400 --> 01:44:30,280
Speaker 1: twenty seventeen. Wow, we had a three weeks with a

2003
01:44:30,400 --> 01:44:37,120
Speaker 1: Tribe doing stadiums. But for the since we booked a

2004
01:44:37,200 --> 01:44:39,720
Speaker 1: lot of other stuff with the Usher project that we're doing,

2005
01:44:41,479 --> 01:44:45,519
Speaker 1: where we decided to instead of taking days off in London,

2006
01:44:46,080 --> 01:44:49,439
Speaker 1: we are going to go back to the task Cafe wall.

2007
01:44:49,439 --> 01:44:53,120
Speaker 5: For seeing us a very small so jazz. Yeah, it's

2008
01:44:53,160 --> 01:44:56,720
Speaker 5: going to be as big as this room. It's like

2009
01:44:56,800 --> 01:45:00,439
Speaker 5: three hundred I mean if that and I'm to DJ

2010
01:45:00,680 --> 01:45:04,120
Speaker 5: like I we just we just want to go back

2011
01:45:04,120 --> 01:45:05,320
Speaker 5: to the scene in the crime.

2012
01:45:05,160 --> 01:45:06,599
Speaker 3: And you're gonna go back to South Street.

2013
01:45:06,960 --> 01:45:08,040
Speaker 4: I was gonna too.

2014
01:45:10,240 --> 01:45:14,400
Speaker 1: There's plans for that too anyway, So Giles, before now,

2015
01:45:14,560 --> 01:45:16,559
Speaker 1: we normally don't ask the guests what did they learn

2016
01:45:16,600 --> 01:45:22,720
Speaker 1: from themselves? But there is there is a game I

2017
01:45:22,840 --> 01:45:26,559
Speaker 1: want to play. No, No, we're not playing that game. Okay, damn,

2018
01:45:26,600 --> 01:45:27,439
Speaker 1: we should have played that game.

2019
01:45:27,479 --> 01:45:29,960
Speaker 4: We should have played that game. But what I want

2020
01:45:30,000 --> 01:45:32,479
Speaker 4: to know is, if you were.

2021
01:45:32,400 --> 01:45:36,400
Speaker 1: In solitary confinement, I don't know what crime that you

2022
01:45:36,439 --> 01:45:38,360
Speaker 1: would commit that would actually have you put away in

2023
01:45:38,439 --> 01:45:42,719
Speaker 1: a room. Pirate radio Okay, yeah, let's say you finally

2024
01:45:43,240 --> 01:45:44,880
Speaker 1: you get a judge over there. Well, you guys are

2025
01:45:44,920 --> 01:45:48,559
Speaker 1: brexited anyway, so anything can happen over there. So if

2026
01:45:48,600 --> 01:45:54,680
Speaker 1: you're in solitary confinement, realistically, let's say three years, so

2027
01:45:54,800 --> 01:45:58,000
Speaker 1: that means no outside world for nine hundred plus days,

2028
01:45:58,760 --> 01:46:03,599
Speaker 1: but you are allowed five albums to keep you seen.

2029
01:46:05,000 --> 01:46:06,720
Speaker 1: So this isn't for the rest of your life, just

2030
01:46:06,760 --> 01:46:07,360
Speaker 1: for three years.

2031
01:46:07,360 --> 01:46:09,800
Speaker 11: Like the Black version of Desert Island Discs, you're in

2032
01:46:09,920 --> 01:46:11,519
Speaker 11: solitary confinement.

2033
01:46:15,400 --> 01:46:15,479
Speaker 2: We.

2034
01:46:17,200 --> 01:46:22,360
Speaker 4: Wind up in an exact island. We in jail anyway, So.

2035
01:46:26,520 --> 01:46:30,360
Speaker 7: What well, if I'm going to be there for that

2036
01:46:30,439 --> 01:46:31,880
Speaker 7: for that long, I think I have thought about this

2037
01:46:31,920 --> 01:46:34,240
Speaker 7: sort of question before, and I've thought that I don't

2038
01:46:34,240 --> 01:46:37,360
Speaker 7: know if I could handle vocals. One of the beautiful

2039
01:46:37,400 --> 01:46:39,760
Speaker 7: things about jazz and instrumental music is that you can

2040
01:46:39,880 --> 01:46:42,439
Speaker 7: kind of go different places within it. So I think

2041
01:46:42,520 --> 01:46:45,840
Speaker 7: that to hear Our Green or Smokey Robinson. It would

2042
01:46:46,120 --> 01:46:50,320
Speaker 7: all Stevie Wonder and I think, I think, yeah, I

2043
01:46:50,439 --> 01:46:53,160
Speaker 7: think that I'd go crazy. So I go probably more

2044
01:46:53,439 --> 01:46:56,479
Speaker 7: avant gardes because that's where I think free jazz and

2045
01:46:56,640 --> 01:46:58,840
Speaker 7: sort of in pro music will make the most sense

2046
01:46:58,840 --> 01:47:02,559
Speaker 7: because it will always say different. You'll find something different

2047
01:47:02,600 --> 01:47:04,439
Speaker 7: within it at most times.

2048
01:47:04,640 --> 01:47:07,559
Speaker 4: Interesting. You're my guy, I would see.

2049
01:47:07,680 --> 01:47:10,639
Speaker 1: I wouldn't choose my favorite records because it would drive

2050
01:47:10,760 --> 01:47:11,439
Speaker 1: you crazy.

2051
01:47:11,760 --> 01:47:15,240
Speaker 4: After you hit them your twelve listen and after.

2052
01:47:15,080 --> 01:47:16,599
Speaker 9: The three years was up, every time you would listen

2053
01:47:16,600 --> 01:47:18,080
Speaker 9: to it, you would automatically taken right.

2054
01:47:18,200 --> 01:47:20,559
Speaker 4: Yeah, you would think of it, so you would choose.

2055
01:47:21,560 --> 01:47:22,920
Speaker 4: So what are those five records?

2056
01:47:22,960 --> 01:47:29,000
Speaker 7: Well, I'd probably go for the the History of Sun

2057
01:47:29,120 --> 01:47:29,680
Speaker 7: Raw is it?

2058
01:47:29,760 --> 01:47:31,160
Speaker 4: Can it? Can it be one record? Or is it?

2059
01:47:31,200 --> 01:47:32,880
Speaker 7: Can it be it can be the greatest hits? It

2060
01:47:32,920 --> 01:47:42,240
Speaker 7: can't be Okay, I mean, I'd probably go for a Well,

2061
01:47:42,360 --> 01:47:44,519
Speaker 7: if there was one vocal record, I'd go with Terry

2062
01:47:44,640 --> 01:47:51,160
Speaker 7: Callier's What Colors album with Charles Stepney strings. That's that's it.

2063
01:47:51,280 --> 01:47:54,080
Speaker 7: That's that's a great record. I don't think I get

2064
01:47:54,160 --> 01:47:54,560
Speaker 7: tired of that.

2065
01:47:55,680 --> 01:47:56,600
Speaker 4: I'd go for some.

2066
01:47:58,160 --> 01:48:03,920
Speaker 7: Which cold Trane, I mean, maybe it off supreme. Maybe

2067
01:48:03,960 --> 01:48:06,599
Speaker 7: that would drive me mad. It probably will, actually, because

2068
01:48:06,600 --> 01:48:08,080
Speaker 7: I've heard that too many times already.

2069
01:48:09,400 --> 01:48:10,160
Speaker 4: Wow, that's hard.

2070
01:48:10,280 --> 01:48:13,640
Speaker 7: Man do one each? I so I've done Terry and

2071
01:48:13,680 --> 01:48:17,720
Speaker 7: then you do one? So wow, yeah, because that's not

2072
01:48:17,880 --> 01:48:19,040
Speaker 7: so we all get one, all right?

2073
01:48:19,120 --> 01:48:22,599
Speaker 4: Yeah? Mine would be no one each, so we do five.

2074
01:48:22,680 --> 01:48:23,800
Speaker 4: But you do want to do one?

2075
01:48:24,920 --> 01:48:27,360
Speaker 1: Well, well, if I were to take a Coultran record,

2076
01:48:29,120 --> 01:48:34,040
Speaker 1: actually I would have chose Pharis Sanders Train of Thought

2077
01:48:34,080 --> 01:48:41,120
Speaker 1: record or one of my favorite dealer records are on there,

2078
01:48:43,880 --> 01:48:49,080
Speaker 1: which is escaping me right now. Ah, but there's a

2079
01:48:49,120 --> 01:48:53,200
Speaker 1: Phara Sanders Train of Thought record I like. My favorite

2080
01:48:53,560 --> 01:48:57,919
Speaker 1: culture in that I'd never tire of ever is Coultrane

2081
01:48:57,960 --> 01:48:59,960
Speaker 1: plays the Blues, which is actually one of his more

2082
01:49:00,200 --> 01:49:07,160
Speaker 1: normal straight ahead records, and have to complete it.

2083
01:49:12,240 --> 01:49:14,640
Speaker 4: See Miles's never TD record.

2084
01:49:16,479 --> 01:49:18,640
Speaker 1: To him that was his middle finger record to the

2085
01:49:18,760 --> 01:49:21,439
Speaker 1: label Brass and him not taking solos on it, just

2086
01:49:21,520 --> 01:49:25,840
Speaker 1: repeating the same line over and over again. But I

2087
01:49:25,920 --> 01:49:30,080
Speaker 1: don't know, it's just the most hilarious comical jazz record ever,

2088
01:49:30,280 --> 01:49:35,080
Speaker 1: even though it's absolutely a work of art, but just

2089
01:49:35,160 --> 01:49:37,679
Speaker 1: the fact that he's that mad to repeat the same

2090
01:49:37,840 --> 01:49:41,200
Speaker 1: line over and over and over and over again for

2091
01:49:41,800 --> 01:49:44,560
Speaker 1: without soloing. I think that's a stroke of genius. So

2092
01:49:46,200 --> 01:49:47,679
Speaker 1: I'd add three of those records.

2093
01:49:49,720 --> 01:49:50,120
Speaker 4: Anyway.

2094
01:49:52,280 --> 01:49:54,240
Speaker 3: So you lost the game because y'all said, he do one,

2095
01:49:54,280 --> 01:49:55,600
Speaker 3: you do one. But I want to tell you.

2096
01:50:00,160 --> 01:50:11,000
Speaker 4: You did three. You did for you once and left

2097
01:50:11,040 --> 01:50:13,160
Speaker 4: you with one more. Pick the final record.

2098
01:50:13,040 --> 01:50:15,680
Speaker 7: Jol, let's give it to I want to go something new.

2099
01:50:16,040 --> 01:50:20,680
Speaker 7: I think let's just give it to Camassi. And it's

2100
01:50:20,720 --> 01:50:25,160
Speaker 7: three three years. That's a good one. I haven't yet

2101
01:50:25,280 --> 01:50:27,479
Speaker 7: listened to it from beginning to end, so I've got

2102
01:50:27,560 --> 01:50:29,080
Speaker 7: time to do that. As much as I love it,

2103
01:50:29,560 --> 01:50:32,400
Speaker 7: it's epic, it's epic, it is epic.

2104
01:50:32,720 --> 01:50:35,120
Speaker 9: My last question, yes, as a man who owns a

2105
01:50:35,160 --> 01:50:37,880
Speaker 9: ship ton of records, what's your holy grail that you

2106
01:50:37,960 --> 01:50:39,160
Speaker 9: haven't been able to find.

2107
01:50:40,960 --> 01:50:43,439
Speaker 7: That I haven't been able to find? Actually, well, it's

2108
01:50:43,520 --> 01:50:47,920
Speaker 7: little obscure ones. I got this record on eBay last week.

2109
01:50:47,960 --> 01:50:49,920
Speaker 7: Actually I don't do eBay very much, but there's someone

2110
01:50:50,000 --> 01:50:51,840
Speaker 7: said to me, there's this record I'm looking for. It's

2111
01:50:51,880 --> 01:50:55,679
Speaker 7: from I think it's from Kansas, and it's a seven

2112
01:50:55,720 --> 01:50:58,720
Speaker 7: inch by a group called Kalima and it's basically a

2113
01:50:58,800 --> 01:51:02,040
Speaker 7: record that Elie A l I m A and there

2114
01:51:02,080 --> 01:51:03,800
Speaker 7: was a group called Klima in Manchester, but this is

2115
01:51:03,840 --> 01:51:06,880
Speaker 7: the different one. And this song I heard a DJ

2116
01:51:07,000 --> 01:51:09,519
Speaker 7: called Motor City Drum Ensemble play on a mixtape a

2117
01:51:09,560 --> 01:51:12,160
Speaker 7: couple of years ago, and it sounds like the ultimate

2118
01:51:12,320 --> 01:51:15,559
Speaker 7: Royez ballad that Royers never wrote at his peak time

2119
01:51:15,680 --> 01:51:17,519
Speaker 7: of when he was working with people like ethel Bt

2120
01:51:17,640 --> 01:51:22,400
Speaker 7: and d D Bridgewater, that kind of yeah, searching type

2121
01:51:22,439 --> 01:51:26,360
Speaker 7: of period. And it's by Google Khalima and I put

2122
01:51:26,439 --> 01:51:28,240
Speaker 7: a bid in for it, and I've never gone very

2123
01:51:28,320 --> 01:51:30,920
Speaker 7: very I've never gone more than two hundred quid two

2124
01:51:31,000 --> 01:51:36,400
Speaker 7: hundred pounds sterling and and it unfortunately went for like

2125
01:51:36,479 --> 01:51:37,759
Speaker 7: one thousand, five hundred.

2126
01:51:37,560 --> 01:51:39,920
Speaker 4: Dollars last minute, some bloke fine. I don't know. It

2127
01:51:40,040 --> 01:51:42,240
Speaker 4: just really annoyed me because no one knows this record,

2128
01:51:42,320 --> 01:51:44,280
Speaker 4: but two hundreds of most you've ever paid for.

2129
01:51:44,560 --> 01:51:48,040
Speaker 7: I've paid two thousand records for pounds for Brazilian records

2130
01:51:48,080 --> 01:51:52,920
Speaker 7: by Jose prattis called called Tam Tam Tam, which is

2131
01:51:53,000 --> 01:51:57,240
Speaker 7: a it's the it's the basis to George Ben's Mashkenada

2132
01:51:57,560 --> 01:52:00,120
Speaker 7: record that we all Know and Love and every one

2133
01:52:00,240 --> 01:52:04,560
Speaker 7: thought that that Georgia Ben wrote it, practice wrote it,

2134
01:52:05,439 --> 01:52:07,799
Speaker 7: but but Georgia Ben got the benefit.

2135
01:52:08,920 --> 01:52:09,200
Speaker 4: Damn.

2136
01:52:10,120 --> 01:52:18,599
Speaker 6: I have a question, so boring? No I sound boring?

2137
01:52:19,240 --> 01:52:20,080
Speaker 4: Right? No?

2138
01:52:22,120 --> 01:52:25,920
Speaker 6: Do you have stone bowing the stone? The ct I?

2139
01:52:26,520 --> 01:52:28,760
Speaker 6: It was a Japanese only it's like the hardest ct

2140
01:52:28,920 --> 01:52:29,600
Speaker 6: I recordified.

2141
01:52:29,640 --> 01:52:30,240
Speaker 4: It's J. J.

2142
01:52:30,360 --> 01:52:30,599
Speaker 6: Johns.

2143
01:52:30,680 --> 01:52:32,559
Speaker 4: That's what he really wanted to ask you at the beginning.

2144
01:52:33,160 --> 01:52:34,559
Speaker 4: That sounds amazing though.

2145
01:52:34,720 --> 01:52:37,240
Speaker 6: It's J. J. Johnson and Kai Winding. Uh you know,

2146
01:52:37,400 --> 01:52:39,120
Speaker 6: Jane k Is there string.

2147
01:52:39,000 --> 01:52:41,080
Speaker 7: And stuff or was it quite straightforward recording?

2148
01:52:42,479 --> 01:52:42,840
Speaker 6: I don't know.

2149
01:52:43,040 --> 01:52:46,840
Speaker 11: It's from nineteen seventy. I don't can't hear it online?

2150
01:52:47,200 --> 01:52:49,760
Speaker 7: Ct Ire Taylor need to get him on here.

2151
01:52:50,240 --> 01:52:52,200
Speaker 6: Yeah, but he's like in his nineties there, so.

2152
01:52:53,960 --> 01:53:00,760
Speaker 4: Yeah, Mike, Yeah, wait, I have one request. This has

2153
01:53:00,840 --> 01:53:07,080
Speaker 4: been the longest, you know, Chiles, I thank you very

2154
01:53:07,240 --> 01:53:08,360
Speaker 4: much for coming on the show.

2155
01:53:11,080 --> 01:53:14,200
Speaker 1: All right, so on behalf of Quest Love Supreme with

2156
01:53:14,600 --> 01:53:17,400
Speaker 1: Laya and Boss Bill and un Paid Bill and fon

2157
01:53:17,520 --> 01:53:20,800
Speaker 1: Tickeolo and Sugar Steve and on Paid Bill, which I

2158
01:53:20,840 --> 01:53:24,400
Speaker 1: said already, h this is Quest Love and Charles Peterson.

2159
01:53:24,479 --> 01:53:24,960
Speaker 4: We thank you.

2160
01:53:26,680 --> 01:53:30,400
Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

2161
01:53:30,479 --> 01:53:36,040
Speaker 1: episode was produced by the team at Pandora. For more

2162
01:53:36,080 --> 01:53:40,080
Speaker 1: podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,

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Speaker 1: or wherever you listen to your favorite shows.