WEBVTT - QLS Classic: Gilles Peterson 0:00:00.360 --> 0:00:03.800 Of Course Love Supreme is a production of iHeartRadio. This 0:00:03.840 --> 0:00:08.800 classic episode was produced by the team at Pandora. 0:00:09.000 --> 0:00:13.280 What up, y'all is Liaiah and Welcome to another QLs classic. 0:00:13.400 --> 0:00:16.840 This episode is all about a pioneering DJ and record 0:00:16.920 --> 0:00:20.360 label owner named Giles Peterson. He talks about the politics 0:00:20.360 --> 0:00:23.640 of early pirate radio, how he broke artists like Jamarkua, 0:00:24.079 --> 0:00:24.680 Brand New. 0:00:24.520 --> 0:00:27.840 Heavies, and even the Roots, and his passion for helping 0:00:27.880 --> 0:00:31.480 the right music find the right audience. He is so dope. 0:00:31.680 --> 0:00:36.480 This episode was actually taped Brut's Picnic weekend June twenty 0:00:36.520 --> 0:00:38.400 eighth and twenty seventeen. 0:00:38.520 --> 0:00:40.680 This is episode thirty eight in June. 0:00:46.280 --> 0:00:48.960 Supremo s s Supremo. 0:00:49.159 --> 0:00:56.720 Roll called Suprema, Su su Supremo, roll call Suprima su Supremo, 0:00:56.920 --> 0:00:58.760 roll call Suprima. 0:00:59.040 --> 0:01:04.560 So sure I want y'all to know. Yeah, I'm being sincere. 0:01:05.120 --> 0:01:05.320 Yeah. 0:01:05.600 --> 0:01:10.400 Without Josh Peterson, Yeah, I would not be here. 0:01:10.800 --> 0:01:12.560 That was nice. Supremo. 0:01:17.440 --> 0:01:21.479 My name is Fante, Yeah, I say it proud. One 0:01:21.480 --> 0:01:24.520 of my favorite labels was talking loud. 0:01:27.959 --> 0:01:30.560 Supremo call Supremo. 0:01:31.880 --> 0:01:36.520 Sure, my name is Sugar. Yeah, I got that style, 0:01:37.520 --> 0:01:38.600 I got that smile. 0:01:39.560 --> 0:01:53.040 What's up Giant Supremo. Yeah, y'all don't know me. Yeah. 0:01:53.520 --> 0:01:54.440 We in Philly. 0:01:54.880 --> 0:01:56.080 Yeah, he. 0:02:03.840 --> 0:02:06.320 Upremo role bass bell present. 0:02:06.720 --> 0:02:06.920 Yeah. 0:02:07.160 --> 0:02:10.959 On this call of roll Yeah, quest Love Supreme Yeah, 0:02:11.200 --> 0:02:12.519 will make you whole. 0:02:16.080 --> 0:02:21.120 Braver Rod Supreme Supremo Rome. 0:02:21.480 --> 0:02:27.000 It's like, yeah and I'm feeling right. Yeah, goddamn Jil Peterson. Yeah, 0:02:27.560 --> 0:02:29.680 whoa whoa. 0:02:29.840 --> 0:02:37.200 Supreme Suprema Roll Supremo, Suprema Rome. 0:02:37.600 --> 0:02:44.040 My name is Chiles Gill Peterson. Yeah, but I come from. 0:02:51.720 --> 0:02:59.119 Suprema Rome, Suprema So Supreme roudrem Son. 0:02:59.120 --> 0:02:59.200 So. 0:03:02.600 --> 0:03:03.520 Dog biling. 0:03:06.560 --> 0:03:08.799 Let's all admit that we didn't think that none of 0:03:08.919 --> 0:03:12.280 our roll call moments were going to be hot, but 0:03:13.200 --> 0:03:15.280 there was some bust. 0:03:15.000 --> 0:03:18.920 Of rhymes stealing moments in this rob We have at 0:03:19.040 --> 0:03:19.760 least three of them. 0:03:20.200 --> 0:03:22.000 First time smile whatever. 0:03:22.440 --> 0:03:23.040 That's amazing. 0:03:24.600 --> 0:03:28.600 Well, ladies and gentlemen, welcome to another episode of Course 0:03:28.720 --> 0:03:33.040 Love Supreme, only on Pandora and our special guest today. 0:03:33.800 --> 0:03:38.000 I have to say, uh, he exemplifies the role of 0:03:39.360 --> 0:03:42.280 my favorite person in music, and that's the music that's 0:03:42.320 --> 0:03:46.480 the taste maker. The taste maker would be the guy 0:03:46.600 --> 0:03:48.840 that was in the know of what you didn't know 0:03:48.920 --> 0:03:53.640 about music. And it would spread. Sort of like what's 0:03:53.800 --> 0:03:55.080 what's a good term for virus? 0:03:56.200 --> 0:03:56.680 The virus? 0:03:56.960 --> 0:03:57.080 Uh? 0:03:58.040 --> 0:04:04.000 Is there a positive virus outrection these medical terms because 0:04:05.600 --> 0:04:06.160 they're like. 0:04:07.880 --> 0:04:11.560 They're like negative connotations, like it's influence spread like a 0:04:11.680 --> 0:04:13.040 virus trend. 0:04:13.080 --> 0:04:15.560 Yeah, because they even use the term like viral now, 0:04:15.680 --> 0:04:16.640 like viral marketing. 0:04:16.960 --> 0:04:17.039 Right. 0:04:17.680 --> 0:04:22.280 So yesus Giles is my favorite virus virus virus of 0:04:22.360 --> 0:04:22.800 all time. 0:04:25.080 --> 0:04:25.279 Yeah. 0:04:25.920 --> 0:04:29.839 I have to say that if it weren't for Jiles 0:04:29.920 --> 0:04:35.440 Peterson taking our organic CD and playing it in clubs 0:04:35.480 --> 0:04:39.080 in London way before, you know, back when it was 0:04:39.160 --> 0:04:43.560 just a demo that really started the buzz on on 0:04:43.680 --> 0:04:46.720 the roots being here today and us wanting to move 0:04:46.800 --> 0:04:49.760 to London and kind of bringing us to where we 0:04:49.839 --> 0:04:53.520 are now. So uh, one of my favorite people ever, 0:04:53.800 --> 0:04:55.160 literally this is Giles Peterson. 0:04:55.240 --> 0:05:00.719 Last welcome. Thank you very much. Yeah, Giles, now you're 0:05:00.800 --> 0:05:04.160 on my radio show. Yeah you know that you named 0:05:04.240 --> 0:05:06.760 my show. Yeah, thank you for that. 0:05:07.040 --> 0:05:10.440 Well, thank you, well, thank thank you for oh god, 0:05:10.480 --> 0:05:11.600 this is going to be a whole bunch of things. 0:05:15.000 --> 0:05:18.840 So okay, so what I'll say is that, okay, as 0:05:18.960 --> 0:05:23.400 of what makes this day really truly special even though 0:05:23.440 --> 0:05:26.520 we're not specifically getting on dates and time period, but 0:05:26.800 --> 0:05:29.400 as of this recording, this specific day that we're on. 0:05:30.480 --> 0:05:35.160 This was the Saturday twenty five years ago that when 0:05:35.240 --> 0:05:38.000 Tarika and I were watching Soul Train and saw that 0:05:38.080 --> 0:05:42.720 Spike lead commercial of the Bucket Drummer Chocolate playing that 0:05:42.920 --> 0:05:43.840 Levi's commercial. 0:05:44.480 --> 0:05:46.440 We looked at each other and like, Yo, why do 0:05:46.560 --> 0:05:46.960 we do that? 0:05:47.600 --> 0:05:52.240 So today, as we speak is the twenty fifth anniversary 0:05:52.400 --> 0:05:55.400 of the Roots as you know it. Not the oh 0:05:55.480 --> 0:05:57.799 we formed in high school and did some talent shows, 0:05:57.880 --> 0:06:01.839 but like when we got buckets, went to South Street 0:06:02.480 --> 0:06:06.880 and us start busting, Yeah, and we were square Roots, 0:06:07.120 --> 0:06:13.120 and you know, I'll say that in I guess I'll 0:06:13.160 --> 0:06:16.920 say in twelve or thirteen weeks later, this is when 0:06:16.960 --> 0:06:21.520 we started the process of recording the Organic's demo, which 0:06:21.839 --> 0:06:32.480 then really material around material material virus materialized into a 0:06:32.600 --> 0:06:35.680 CD so that we could go to Europe and sell 0:06:35.720 --> 0:06:38.840 it on some festivals that we were invited to, and 0:06:39.040 --> 0:06:42.800 somehow it made its way to Giles, who we were 0:06:42.880 --> 0:06:46.240 told with play it in nightclubs, which was like really 0:06:46.279 --> 0:06:48.880 weird for us because I thought the nightclub was the 0:06:49.080 --> 0:06:53.000 last place that the Roots whatever wind. 0:06:52.880 --> 0:06:57.200 Up dance session. I was thirteen minutes. 0:06:57.560 --> 0:07:00.360 No, I was like, see I played over here and 0:07:00.440 --> 0:07:04.040 it clears the floor instantly. But you know, I mean 0:07:05.320 --> 0:07:11.880 Giles's position. I'll say that he was my generation's John Peel. 0:07:12.520 --> 0:07:16.320 John Peel was the cat in London who you know, 0:07:16.440 --> 0:07:18.960 he took a chance on unknown groups. He lets you 0:07:19.120 --> 0:07:22.360 know who this unknown name Elvis Costello was or or 0:07:22.480 --> 0:07:26.840 who the clash was, and Steve frickd up Steve now 0:07:26.880 --> 0:07:32.080 writes for Elvis Costello. So basically I mean that that 0:07:32.240 --> 0:07:36.720 was the role. And then when we met, we we 0:07:36.920 --> 0:07:41.000 thought that we were going to sign to Giles's parent label, 0:07:41.920 --> 0:07:44.600 Talking Loud, Talking Loud. Well, we signed to Talking Loud, 0:07:44.600 --> 0:07:47.280 but we were going to sign to PolyGram, and then 0:07:47.560 --> 0:07:52.000 by a strange twist of fate, it became Geffen. But 0:07:52.080 --> 0:07:56.120 we still maintained the relationship with Giles Peterson to release 0:07:56.280 --> 0:08:02.840 our very first EP, like well widely distributed. 0:08:02.440 --> 0:08:06.320 EP, which was from the ground up on his label. 0:08:06.720 --> 0:08:09.720 And you know we lived over there. So wait, what 0:08:09.800 --> 0:08:10.040 I want. 0:08:10.080 --> 0:08:13.280 What I want to ask about is what you showed 0:08:13.320 --> 0:08:16.000 us in London during that time, Perio that the roots 0:08:16.400 --> 0:08:22.160 quote unquote exiled to London. Was there was such a 0:08:22.280 --> 0:08:26.000 scene going on, and we basically took that scene and 0:08:26.200 --> 0:08:28.600 reproduced it in America. We took everything that we saw 0:08:28.720 --> 0:08:31.440 you do and did it over here. So the idea 0:08:31.480 --> 0:08:35.959 of like clubs having multiple rooms of different DJs playing, 0:08:36.480 --> 0:08:39.319 you know, the jam band on the top floor and 0:08:39.480 --> 0:08:43.400 the disco floor was the third floor, and the you know, 0:08:43.640 --> 0:08:45.760 the techno music was on the second floor, and the 0:08:45.800 --> 0:08:49.160 soul music was on the first floor. Like, is that 0:08:49.520 --> 0:08:53.880 still prevalent now in London as it once was? Is 0:08:54.360 --> 0:08:57.040 this still a scene or you like the one of 0:08:57.080 --> 0:08:58.680 the last Mohicans still holding up? 0:08:59.440 --> 0:09:03.080 I think bigger than ever? Really really yeah, in. 0:09:03.120 --> 0:09:05.920 A way, some people like it's not the scene anymore 0:09:05.960 --> 0:09:07.920 as used. I think it's like, I think it's just 0:09:07.960 --> 0:09:08.800 a bit more DIY. 0:09:08.960 --> 0:09:11.280 I think that sort of the superclubs came along and 0:09:11.360 --> 0:09:13.800 people sort of sort to make something out of it 0:09:14.040 --> 0:09:17.599 bigger and people reacted to that. And I think that nowadays, 0:09:18.000 --> 0:09:21.040 if you go anywhere from Leeds to Manchester, Bristol, London 0:09:21.120 --> 0:09:23.199 on a Saturday night, there's a lot of stuff going on, 0:09:23.320 --> 0:09:26.800 a lot of big raves parties with alternative music being 0:09:26.840 --> 0:09:30.600 played in different rooms. And also there's actually a return 0:09:30.679 --> 0:09:33.079 to a live element which did go away for a 0:09:33.120 --> 0:09:35.040 little while, and I think that certainly at the moment 0:09:35.080 --> 0:09:38.120 in London and the South of England there's a very 0:09:38.240 --> 0:09:40.200 strong live in pro jazz scene. 0:09:40.320 --> 0:09:42.000 We can come back home now, mate. 0:09:42.320 --> 0:09:45.400 Honestly, it's really it's very interesting at the moment, you know, 0:09:45.600 --> 0:09:48.959 I think that maybe maybe it's more towards the jazz 0:09:49.000 --> 0:09:51.440 side of things with what Camasi did and the fact 0:09:51.480 --> 0:09:53.640 that that sort of energy has kind of come over. 0:09:53.840 --> 0:09:56.360 And then from the UK point of view, a huge 0:09:56.600 --> 0:09:59.920 set of musicians, groups like Sons of Kemet and groups 0:10:00.240 --> 0:10:03.199 like you know, artists like New Baio, Moses Boy does. 0:10:03.240 --> 0:10:05.160 A lot of musicians going on, and there's a really 0:10:05.200 --> 0:10:07.000 good community which there hasn't been for a while. So 0:10:07.080 --> 0:10:09.360 the club culture has always been there. That's really where 0:10:09.400 --> 0:10:12.640 I come from. I'm sort of a DJ club culture, 0:10:13.240 --> 0:10:18.280 acid house, acid jazz raves Germany, France, residencies all over 0:10:18.360 --> 0:10:21.679 the place, playing this kind of slightly alternative view of 0:10:21.800 --> 0:10:24.640 dance music because you know, when I grew up that 0:10:25.280 --> 0:10:26.839 I'd go to I used to go when I was 0:10:26.920 --> 0:10:29.800 seventeen sixteen, I'd go to sort of weekenders in horrible 0:10:29.840 --> 0:10:32.559 holiday resorts which were empty in winter and four or 0:10:32.600 --> 0:10:34.800 five thousand people would come from all over the country 0:10:35.240 --> 0:10:37.959 to listen to groups like Roye's Come Over or the 0:10:38.040 --> 0:10:42.520 Fat Back Band or or you know Clear or you 0:10:42.600 --> 0:10:45.000 know artists like Leroy Burgess would come to the UK 0:10:45.440 --> 0:10:48.280 and they would and we would celebrate that music and 0:10:49.120 --> 0:10:51.600 they'd be and they'd be a main room and they'd 0:10:51.640 --> 0:10:54.640 be playing sort of you know, all these big tunes 0:10:54.760 --> 0:10:57.960 from summer madness by calling the gang to I found 0:10:58.000 --> 0:10:59.839 Loving by the Fat Bat Band, and then there'd be 0:10:59.880 --> 0:11:02.760 another room at the back where you'd be hearing DJ's. 0:11:02.880 --> 0:11:04.920 I mean, that's the first time I heard John Coltrane 0:11:05.040 --> 0:11:08.319 Impressions wasn't in a jazz club. It was basically in 0:11:08.400 --> 0:11:12.120 the back of some sort of restaurant in some depleted 0:11:12.360 --> 0:11:17.160 holiday resort near Norwich on the North Sea right, and 0:11:17.200 --> 0:11:20.920 there's a DJ called Bob Jones playing Impressions or maybe 0:11:20.960 --> 0:11:24.240 Giant Steps by John Coltrane at full volume, with twenty 0:11:24.320 --> 0:11:27.679 people dancing to it, backling like like bee boys like 0:11:27.800 --> 0:11:29.640 you know so that and when I saw that, I 0:11:29.720 --> 0:11:30.719 was like, this is what I want. 0:11:30.880 --> 0:11:31.760 I love this music. 0:11:32.240 --> 0:11:33.800 I was going to say, didn't you once tell me 0:11:33.960 --> 0:11:38.920 the fante that the the most the most daring thing 0:11:38.960 --> 0:11:41.079 you ever saw was a DJ you'll played Return to 0:11:41.200 --> 0:11:42.760 Forever in a nightclub. 0:11:42.920 --> 0:11:44.720 It was was it in London or it. 0:11:44.800 --> 0:11:48.599 Wasn't in London, It was in Chicago, and it was 0:11:49.440 --> 0:11:53.320 a guy. It was Detroit guy, the Parish deal. 0:11:53.360 --> 0:11:53.720 Parish. 0:11:54.280 --> 0:11:57.040 Okay, it's Perish because I was going to say that 0:11:57.640 --> 0:12:03.280 the first time that I saw at Ceni, someone went 0:12:03.440 --> 0:12:08.319 back and forth on like the first sixteen bars of 0:12:08.520 --> 0:12:13.240 Love Supreme where they're really grooving, and that was one 0:12:13.280 --> 0:12:17.160 of my open, my eye opening moments, like, oh, like anything, 0:12:17.280 --> 0:12:20.840 if it's groovable, you can play it, because I would 0:12:20.880 --> 0:12:23.600 never think like it has a groove, But I didn't 0:12:23.600 --> 0:12:26.280 think it was danceable and I wasn't ever going to 0:12:26.360 --> 0:12:29.199 try that take that risk here in the United States. 0:12:29.440 --> 0:12:31.360 I mean we had like you know, King Britain and 0:12:31.480 --> 0:12:35.200 Dazi and those guys had a little scene in Philadelphia. 0:12:35.800 --> 0:12:39.000 But even then there was no place for me to 0:12:39.080 --> 0:12:40.920 really test it out to see if it were work. 0:12:41.040 --> 0:12:45.079 But once I started going to Iceni and all those 0:12:45.200 --> 0:12:48.600 like those soul kitchen clubs over there, Yeah, and seeing 0:12:48.640 --> 0:12:51.719 you guys do that, that was that's what told me, like, oh, 0:12:51.960 --> 0:12:55.280 anything is playable if you play the right part and 0:12:55.360 --> 0:12:55.600 if you. 0:12:55.640 --> 0:12:56.560 Do it at the right time. 0:12:57.280 --> 0:13:00.840 So for you, when you were observing anything and going 0:13:00.960 --> 0:13:06.160 to these clubs, were you was this in the revival 0:13:06.240 --> 0:13:09.920 stage or was it in the first round, like when 0:13:09.960 --> 0:13:12.360 you were first going to clubs, Like how what year 0:13:12.520 --> 0:13:12.640 was it. 0:13:13.360 --> 0:13:18.760 We're talking nineteen eighty, We're talking cameo, you know, so you. 0:13:18.800 --> 0:13:22.559 Were in the first draft, not in the revival draft 0:13:22.640 --> 0:13:25.680 of like eighty nine to ninety, because by that point. 0:13:25.800 --> 0:13:28.120 You eighty eighty one eighty two. I mean, there were 0:13:28.160 --> 0:13:30.199 some British groups as well. There was a very interesting 0:13:30.320 --> 0:13:32.760 jazz funk scene in the UK. So there was groups 0:13:32.880 --> 0:13:35.840 like Light of the World, High Tension, Incognito. These are 0:13:35.840 --> 0:13:38.720 the groups that kind of precursed groups like Loose Ends 0:13:38.760 --> 0:13:40.480 and Soul to Soul, which came about seven or eight 0:13:40.559 --> 0:13:43.040 years later. So there was a really strong Level forty two. 0:13:43.520 --> 0:13:45.920 I was a huge Level forty two fan. I used 0:13:45.960 --> 0:13:47.920 to go and see them everywhere. I used to love Marking, 0:13:48.040 --> 0:13:50.200 who I met recently for the first time, the bass 0:13:50.240 --> 0:13:55.800 player and uh yeah, wonderful guy, wonderful and what underrated vocal, 0:13:56.720 --> 0:13:58.959 underrated voice, And I used to love that. So for me, 0:13:59.080 --> 0:14:00.719 there was the kind of one hand, there was this 0:14:00.840 --> 0:14:02.800 sort of fan of the band thing, and I'd go 0:14:02.880 --> 0:14:05.839 around like you know, you follow your favorite band. It 0:14:05.960 --> 0:14:07.719 was also a time of punk as well. It was 0:14:07.800 --> 0:14:10.000 just post punk, you know, so there was that thing 0:14:10.080 --> 0:14:12.560 where you kind of were you a punk or were 0:14:12.600 --> 0:14:14.679 you a soul boy? And I'd had to make my 0:14:14.760 --> 0:14:16.959 decision about what I wore and how I dressed. I 0:14:17.080 --> 0:14:19.040 was one of only three soul boys in my school 0:14:19.520 --> 0:14:22.000 the rest of the people and like being an outcast, 0:14:22.240 --> 0:14:23.480 outcast for real. 0:14:23.440 --> 0:14:25.320 The only reason I was only for black people and 0:14:25.440 --> 0:14:26.360 that yeah, it was. 0:14:26.440 --> 0:14:29.160 Kind of all working class in a London people, you know, 0:14:29.280 --> 0:14:31.480 like the urban urban people would be into it. And 0:14:32.040 --> 0:14:34.680 so for me, I had an Indian friend at school 0:14:34.840 --> 0:14:36.480 and a black African friend at school. 0:14:36.520 --> 0:14:37.760 We were the three soul boys. 0:14:38.280 --> 0:14:40.480 And the only reason I didn't get beaten up was 0:14:40.560 --> 0:14:44.600 because I was in the rugby team and by being 0:14:44.680 --> 0:14:46.840 a sporting guy in the school, it kind of gave 0:14:46.920 --> 0:14:49.320 me certain status and swagger. 0:14:56.520 --> 0:14:59.520 So who was when you were listening to radio? And 0:14:59.600 --> 0:15:03.040 I know that pirate radio, yeah, was a big thing. 0:15:03.840 --> 0:15:08.920 When did the idea of pirate radios start in London? 0:15:09.680 --> 0:15:11.360 Well? Was that always a thing, like even in. 0:15:11.360 --> 0:15:13.320 The fifties and no in the in the sixties, it 0:15:13.400 --> 0:15:15.240 came from the boats, so they used to and it 0:15:15.360 --> 0:15:18.440 was on medium wave. A movie about a movie about it, yeah, 0:15:18.880 --> 0:15:21.240 And that was basically they'd go out and they'd sort 0:15:21.280 --> 0:15:23.720 of go in neutral waters in the North Sea where 0:15:23.760 --> 0:15:26.240 they wouldn't get busted, and they'd broadcast on medium wave 0:15:26.280 --> 0:15:28.680 and they basically that was what Radio Luxembourg was and 0:15:28.760 --> 0:15:31.160 that radio station kind of gave the birth. 0:15:31.520 --> 0:15:33.560 Was the reaction to that by the BBC was to 0:15:33.600 --> 0:15:34.040 set up. 0:15:34.000 --> 0:15:37.120 Radio one and that was how Radio one became a 0:15:37.280 --> 0:15:39.680 non sort of talk station because up until that point 0:15:39.800 --> 0:15:43.080 the BBC was controlling radio and it was very classical opera, 0:15:43.160 --> 0:15:43.760 old school you know. 0:15:43.840 --> 0:15:45.440 Open I was about to ask you is to rest 0:15:45.480 --> 0:15:48.320 your radio different over there than here because by now 0:15:48.400 --> 0:15:51.200 you know differences the commercial. 0:15:50.840 --> 0:15:53.920 Radio, well, FM radio started kicking off in the seventies 0:15:53.960 --> 0:15:55.800 because all these radio stations in the beginning were like 0:15:55.920 --> 0:15:58.200 on medium wave, and that's where the pirate stations that 0:15:58.400 --> 0:16:00.680 really interested me, they were on FM. There was only 0:16:00.720 --> 0:16:03.000 a few stations locally, so like he'll have I don't 0:16:03.000 --> 0:16:05.320 know maybe in Philly, how many would there be twenty. 0:16:05.200 --> 0:16:06.600 Well like urban sta like we have BR and B 0:16:06.640 --> 0:16:07.240 and hip hop stater. 0:16:07.320 --> 0:16:09.400 So let's say we have two, okay, but if you 0:16:09.440 --> 0:16:14.840 include all the other types of denominations like twenty stations. 0:16:15.160 --> 0:16:17.360 So in London they'd have been back in the seventies, 0:16:17.400 --> 0:16:19.880 there'd have been maybe two commercial radio stations on FM 0:16:20.600 --> 0:16:23.400 and so maybe three with BBC we're playing a little bit. 0:16:23.440 --> 0:16:25.120 Maybe we'd be sort of doubling up on FM and 0:16:25.160 --> 0:16:27.640 on medium wave. The point was there was a need 0:16:27.760 --> 0:16:30.120 for music to be heard and so they weren't giving 0:16:30.160 --> 0:16:33.040 licenses out. So these people at a time when CB 0:16:33.280 --> 0:16:35.960 radio was quite popular, remember that that was kind of 0:16:36.920 --> 0:16:39.280 it was illegal in the UKCB radio wasn't over here 0:16:39.280 --> 0:16:41.640 because of your long distance lorry drivers, but over there 0:16:41.760 --> 0:16:43.600 is the illegal and you'd get You see, if you 0:16:43.680 --> 0:16:46.240 knew a bloker could build you a CB rig, they 0:16:46.280 --> 0:16:48.640 could also build you an FM rig. And so what 0:16:48.760 --> 0:16:51.240 happened was we started finding out that these guys could 0:16:51.240 --> 0:16:54.680 build us FM transmitters and then the station started popping 0:16:54.760 --> 0:16:56.920 up in the seventies, of which there was one soul 0:16:57.040 --> 0:16:59.840 jazz funk station called Radio and Victim ninety two point four. 0:16:59.840 --> 0:17:02.800 They used to broadcast every Sunday from midday until six. 0:17:03.200 --> 0:17:08.760 Is that where two seven nine started or DJ's seven nine. No, No, 0:17:09.000 --> 0:17:11.480 this is way before that. Okay, this is way before that. 0:17:11.560 --> 0:17:13.520 And that was the first station that I would listen to. 0:17:13.680 --> 0:17:15.840 I would listen to it in the in the bathroom 0:17:15.880 --> 0:17:17.399 of my house because that was the only place in 0:17:17.480 --> 0:17:19.720 the house that I could pick up the signal. And 0:17:19.880 --> 0:17:22.000 sometimes it would go on, and suddenly at fourth thirt 0:17:22.000 --> 0:17:23.680 in the afternoon, it would get busted and it would 0:17:23.680 --> 0:17:25.040 be off, and it would be off for two weeks, 0:17:25.040 --> 0:17:26.560 and you'd be waiting every week for it to come 0:17:26.600 --> 0:17:28.480 back on because it was the only place you could 0:17:28.480 --> 0:17:30.879 hear jazz funk music. The other place was there was 0:17:30.880 --> 0:17:33.160 a disco show on a Friday night called the Best 0:17:33.200 --> 0:17:36.160 Disco in Town, presented by Greg Edwards Life from the Lyceum. 0:17:36.560 --> 0:17:38.600 And then the other show was on a Saturday afternoon 0:17:38.640 --> 0:17:41.840 from midday to two presented by Robbie Vincent who did 0:17:41.880 --> 0:17:44.280 a probe. And the section that I loved from his 0:17:44.359 --> 0:17:46.639 show was the jazz Funk forty and he used to 0:17:46.720 --> 0:17:50.520 play Japanese jazz funk records and he'd play things like 0:17:50.720 --> 0:17:54.920 you know, open and Fire, but That's when I thought 0:17:55.000 --> 0:17:57.520 the first time I ever heard the Jones Girls Nights 0:17:57.560 --> 0:18:01.359 over Egypt was on Robbie Vincent and it was Christmas whatever, 0:18:01.480 --> 0:18:03.600 nineteen eighty two or three, whatever that were you. I'll 0:18:03.600 --> 0:18:06.200 never forget it. And he played it twice on the 0:18:06.240 --> 0:18:08.600 same show. It was that good a gun and I'll 0:18:08.640 --> 0:18:11.000 never forget. In fact, when I played at the Roots 0:18:11.000 --> 0:18:13.200 Picnic the other day when I was over here, I 0:18:13.320 --> 0:18:16.560 played that track as a memory to him, the connection 0:18:16.720 --> 0:18:20.879 between Philly and my pirate radio routes. But anyway, basically 0:18:20.880 --> 0:18:23.720 at that time it was just literally FM radio stations, 0:18:24.600 --> 0:18:27.280 of which some were pirates, and you would get busted 0:18:27.560 --> 0:18:29.120 every every couple of weeks. 0:18:29.200 --> 0:18:31.920 So two questions, how much would it cost you to 0:18:32.040 --> 0:18:35.120 start a pirate radio station? Well, I started my own 0:18:35.160 --> 0:18:38.399 pirate radio station. Oh, I was just that. The was 0:18:38.440 --> 0:18:38.880 that easy. 0:18:39.440 --> 0:18:39.880 Need a boat? 0:18:40.119 --> 0:18:42.160 No, no, this is FM, because by then it's FM. 0:18:42.240 --> 0:18:44.239 Sorry I didn't explain that. So but in the when 0:18:44.280 --> 0:18:46.239 it was mediumwave, it was on a boat. And then 0:18:46.280 --> 0:18:49.040 in the seventies, all you needed was you needed an 0:18:49.080 --> 0:18:52.480 aerial a transmitter, a car battery, a cassette player and 0:18:52.880 --> 0:18:55.280 a high point. Right and if you were if you 0:18:55.359 --> 0:18:57.760 were smart in London, you had the keys. There was 0:18:57.840 --> 0:19:01.200 four keys that opened up every council for block right 0:19:01.320 --> 0:19:06.480 every like block in London, right for you cheap accommodation 0:19:06.560 --> 0:19:08.760 block in London. So any high spot, if you had 0:19:08.800 --> 0:19:11.640 those four keys, you could get on every rooftop. 0:19:12.320 --> 0:19:15.200 So I had the four keys, really right the key. 0:19:15.240 --> 0:19:15.919 I had the keys. 0:19:16.320 --> 0:19:18.439 So that's how I got to know London. That's how 0:19:18.480 --> 0:19:20.639 I got to know London because I started off by 0:19:20.800 --> 0:19:22.840 I finally got my show myself because I sat at 0:19:22.880 --> 0:19:23.840 my little pirate station. 0:19:24.400 --> 0:19:26.040 Cost me with fifty pounds to get a rig. 0:19:26.640 --> 0:19:28.440 My dad used to take me up the road to 0:19:28.560 --> 0:19:30.159 episode where they have the horse racing, which is a 0:19:30.240 --> 0:19:32.760 high point in South London, and he basically helped me 0:19:32.920 --> 0:19:35.639 put the aerial up on a tree, connect the aerial 0:19:35.680 --> 0:19:38.320 to the transmitter, transmitter to the car battery, car battery 0:19:38.440 --> 0:19:40.920 and transmitter also to a cassette player that would play 0:19:40.960 --> 0:19:44.119 a C ninety and the forty five minutes a Saturday 0:19:44.280 --> 0:19:46.680 was my show which I recorded in my garden shed 0:19:47.000 --> 0:19:48.760 and I wanted to be a guy called Robbi Vincent 0:19:48.800 --> 0:19:50.960 who I mentioned before. And the other forty five was 0:19:51.040 --> 0:19:53.400 my next door neighbor called Ross Tinsley but otherwise known 0:19:53.400 --> 0:19:55.480 as Ross Travone. That was his radio name, and he 0:19:55.600 --> 0:19:58.159 wanted to be John Peel. And basically that was the 0:19:58.280 --> 0:20:00.240 hour and a half that we'd broadcast from a tree 0:20:00.600 --> 0:20:02.920 and then we'd leave a phone number on the cassette 0:20:03.000 --> 0:20:05.720 of the recording, which was the phone box by the tree, 0:20:05.960 --> 0:20:08.600 and so we'd go we'd press play go off in 0:20:08.680 --> 0:20:10.320 the phone box, all three of us with my dad, 0:20:11.480 --> 0:20:12.720 and and then. 0:20:12.640 --> 0:20:14.720 We'd and we'd get one phone call. That was the request. 0:20:14.960 --> 0:20:17.560 One phone but that was enough. That was enough to 0:20:17.800 --> 0:20:20.800 carry a pre record your show. But yeah, and they 0:20:21.000 --> 0:20:24.080 go to the Okay, did our priority pre recorder shows? 0:20:24.200 --> 0:20:24.320 Well? 0:20:24.359 --> 0:20:26.680 No, then if unless you're on Radio and Victor, because 0:20:26.760 --> 0:20:28.480 Radiar and Victor was one of the well known ones 0:20:29.119 --> 0:20:31.440 and the only sole station, the one that inspired me 0:20:31.520 --> 0:20:33.960 to get my rig. And they got busted one week 0:20:34.119 --> 0:20:34.960 by the home office. 0:20:35.040 --> 0:20:37.159 Now that was my second question, how do you get busted? 0:20:37.280 --> 0:20:38.960 Well, they used to go around with a little team 0:20:38.960 --> 0:20:42.000 of guys with special equipment and they'd literally find the studio, 0:20:42.160 --> 0:20:44.159 they'd find the aerial and they'd come up there, you know, 0:20:44.240 --> 0:20:45.840 and they sort of you know, imagine sort of you 0:20:45.920 --> 0:20:49.960 know sixties looking policeman, you know, working for the DTI. 0:20:51.000 --> 0:20:52.080 The you know, the the. 0:20:52.119 --> 0:20:55.800 Government was the punishment. You'd get what you get, you 0:20:55.960 --> 0:20:58.680 get fined, and no one got a cent to prison. 0:20:58.760 --> 0:20:59.520 See you next week. 0:20:59.720 --> 0:21:02.880 Yeah, it was a small but you know, they didn't 0:21:02.880 --> 0:21:04.399 have a lot of budget for the DTI for this 0:21:04.480 --> 0:21:07.640 particular sort of department. So there's only one guy who's 0:21:07.680 --> 0:21:09.920 called Eric. Eric Gotts was the main guy because he 0:21:10.000 --> 0:21:12.119 got he became legendary. This is the guy who busted 0:21:12.119 --> 0:21:14.840 all the station, especially as pirate radio became bigger and bigger. 0:21:15.040 --> 0:21:16.639 Because this is kind of the early day of the 0:21:16.720 --> 0:21:19.879 late seventies. It was still quite naive and sweet and lovely. 0:21:20.280 --> 0:21:23.399 But then by the mid eighties it started becoming a 0:21:23.440 --> 0:21:26.800 little bit cleverer, and people started becoming twenty four hours, 0:21:26.840 --> 0:21:29.600 and advertisers started coming into it, and then you were 0:21:29.680 --> 0:21:32.920 more likely to get busted by another pirate than by Eric, 0:21:33.520 --> 0:21:33.919 because of. 0:21:34.000 --> 0:21:37.560 Course they wanted. That's when I got out of the game, 0:21:37.920 --> 0:21:41.160 right because it got to carry stuff. 0:21:41.320 --> 0:21:43.440 Yeah, it got a little bit dangerous at that point, 0:21:43.520 --> 0:21:46.560 but it was quite an interesting time and very exciting 0:21:46.640 --> 0:21:49.560 time for me. But initially I got onto radio and 0:21:49.640 --> 0:21:52.800 Victor because they got busted and they and the guy 0:21:52.920 --> 0:21:55.280 built my equipment built their equipment. So I said to 0:21:55.560 --> 0:21:57.960 my guy, they can have my equipment as long as 0:21:58.000 --> 0:21:59.480 they give me a show. And they said, we'll give 0:21:59.480 --> 0:22:01.000 you a show, but first of all, you go spend 0:22:01.000 --> 0:22:02.800 the next six months putting airs. 0:22:02.480 --> 0:22:02.879 Up for us. 0:22:02.960 --> 0:22:05.240 So that's how I kind of went up the pirate 0:22:05.400 --> 0:22:06.560 radio status list. 0:22:07.400 --> 0:22:08.960 And you know that was not. 0:22:13.640 --> 0:22:16.160 So compared to what we have now in the United States, Yeah, 0:22:16.760 --> 0:22:21.200 which is total corporate radio. And I mean even being 0:22:21.400 --> 0:22:25.040 or Pandora, it's kind of my version of the middle 0:22:25.080 --> 0:22:27.960 finger of pirate radio thing where we get to determine 0:22:28.000 --> 0:22:29.320 the type of music we want to play in the 0:22:29.320 --> 0:22:34.600 guests we have. You know, since nineteen ninety seven, business 0:22:34.640 --> 0:22:36.600 corporations have totally taken over. 0:22:38.480 --> 0:22:38.800 Radio. 0:22:40.720 --> 0:22:44.679 But I look at how London is operated and now 0:22:44.760 --> 0:22:50.720 you're legit, you're or BBC a government station? Is it 0:22:50.880 --> 0:22:55.040 still half a dozen six eggs and half a dozen 0:22:55.520 --> 0:22:56.080 and the other. 0:22:56.160 --> 0:23:00.920 Like to you? What is I know? I totally yeah, 0:23:00.920 --> 0:23:08.960 we need cliche for cliche busters. Well what I'm saying 0:23:09.080 --> 0:23:10.200 is for government radio. 0:23:11.320 --> 0:23:13.320 Like I look at you guys over the pond and 0:23:13.920 --> 0:23:17.680 I'm like, well, government control radio is better because you know, 0:23:17.800 --> 0:23:22.840 it's required that you play a variety of things. You know, 0:23:23.960 --> 0:23:28.240 the idea of one artist getting uh forty spends a 0:23:28.320 --> 0:23:31.680 day like corporate radio, Uh, it doesn't exist. 0:23:31.760 --> 0:23:33.960 Everyone gets their fair share. But look at that. But 0:23:34.080 --> 0:23:36.760 then if you get our government, you really kind of 0:23:36.840 --> 0:23:43.640 negates everything. So said. 0:23:45.160 --> 0:23:47.480 Like do you that's the bucy of the BBC in 0:23:47.560 --> 0:23:49.600 a way, And and and the fact that the BBC 0:23:49.760 --> 0:23:51.600 is always having to struggle to be a kind of 0:23:51.720 --> 0:23:57.720 neutral yet creative body at a time when they have 0:23:57.840 --> 0:23:58.920 to give equal. 0:24:00.760 --> 0:24:02.800 Fairness to commercial stations. 0:24:02.880 --> 0:24:06.480 So the beautiful thing about about the UK, I think 0:24:06.560 --> 0:24:11.159 in terms of broadcasting and the BBC is that you know, 0:24:11.320 --> 0:24:15.600 you can get the RT left field, really creative, weird 0:24:15.680 --> 0:24:18.360 shit on the BBC, but the BBC also has its 0:24:18.480 --> 0:24:20.760 kind of commercial end so because it knows it has 0:24:20.800 --> 0:24:22.679 to compete with the commercial stations. I don't know if 0:24:22.680 --> 0:24:26.200 I'm making myself particularly clear, but that balance between the 0:24:26.320 --> 0:24:33.399 BBC maintaining a presence yet also constantly being progressive with 0:24:34.200 --> 0:24:36.359 the art of radio, and for me one of the 0:24:36.440 --> 0:24:38.760 people that was an incredible inspiration to me. As you 0:24:38.800 --> 0:24:41.320 mentioned earlier. On of course, was John Peel. And John 0:24:41.359 --> 0:24:43.879 Peele changed the way radio was because he was on 0:24:43.960 --> 0:24:46.360 the BBC, and up until that point it was still 0:24:46.480 --> 0:24:49.920 very old fashioned guys on the radio broadcasting in that 0:24:50.040 --> 0:24:51.520 kind of way that you could imagine, you know, you 0:24:51.600 --> 0:24:53.760 had to wear a suit, Winston Churchill, kind. 0:24:53.600 --> 0:24:54.600 Of the war type stuff. 0:24:54.920 --> 0:24:56.600 And up until then it was still you know, even 0:24:56.680 --> 0:24:59.399 up until the Beatles, it was still kind of very conservative. 0:24:59.480 --> 0:25:01.560 But when John Peel came along, because there's been a 0:25:01.600 --> 0:25:03.520 few people before him, and some pirates and stuff on 0:25:03.600 --> 0:25:07.000 the on the boat stations, but basically John Peel was 0:25:07.359 --> 0:25:10.200 he broke He changed the rules of broadcasting and he said, 0:25:10.280 --> 0:25:13.480 you can play you know, television, this new group from 0:25:13.520 --> 0:25:17.520 New York next to Slide the Family Stone, next to 0:25:17.800 --> 0:25:19.800 a punk record that someone just sent me. 0:25:19.840 --> 0:25:20.360 Do you know what I mean? 0:25:20.400 --> 0:25:23.160 He basically and the way he presented radio. He basically said, 0:25:23.200 --> 0:25:24.560 you don't have to do it that way. You can 0:25:24.600 --> 0:25:26.560 do it a different way. And he had a huge 0:25:26.600 --> 0:25:30.880 influence which made which remains an important part of why 0:25:30.960 --> 0:25:35.879 the BBC has a certain standard that he that he 0:25:36.000 --> 0:25:37.239 said needs to be kept up. 0:25:37.680 --> 0:25:39.720 Did commercial radio take he because I know you said 0:25:39.720 --> 0:25:41.760 in the beginning it was only four, you know, But 0:25:41.880 --> 0:25:44.840 now present day have they taken he from the BBC? 0:25:45.160 --> 0:25:46.920 And what is it like now? Like is there a 0:25:47.000 --> 0:25:49.159 few soul stations on the commercial radio. 0:25:49.000 --> 0:25:51.639 Size dance stations, okay, And if you want to go 0:25:51.840 --> 0:25:54.640 more specialist, really specialist, I mean there's you know, there's 0:25:54.680 --> 0:25:57.920 the jazz station that's quite conservative, straight up not bad, 0:25:58.000 --> 0:25:59.760 you know, but I mean there's nothing if you want 0:25:59.760 --> 0:26:02.520 any think edgy, anything that really the kids are into. 0:26:02.920 --> 0:26:04.800 The commercial station is never going to be able to 0:26:04.880 --> 0:26:07.880 react to trend fast enough. So that's why the pirates 0:26:07.880 --> 0:26:09.879 are always coming along, because there's always going to be 0:26:09.960 --> 0:26:13.720 a new type of music or culture to represent because 0:26:13.760 --> 0:26:16.880 the main the mainstream stations try and keep up. 0:26:16.880 --> 0:26:17.040 You know. 0:26:17.840 --> 0:26:19.920 I mean, the BBC has its own R and B 0:26:20.359 --> 0:26:23.399 network called One Extra. I'm on a station called BBC 0:26:23.520 --> 0:26:25.560 six Music, which is kind of for the over thirty 0:26:25.640 --> 0:26:26.760 year olds, which. 0:26:26.640 --> 0:26:27.560 Is kind of cool in a way. 0:26:28.480 --> 0:26:30.119 Yeah, But in a way I was quite likely to 0:26:30.160 --> 0:26:32.119 be to find myself on there because it's a cross 0:26:32.200 --> 0:26:36.480 between sort of what I'm about and what someone like 0:26:36.560 --> 0:26:40.360 John Peel's about, so they kind of it's quite a progressive, experimental, 0:26:40.520 --> 0:26:42.440 interesting music, experimental it's. 0:26:42.400 --> 0:26:46.080 Just like it's the most out there. It's where you 0:26:46.119 --> 0:26:46.600 could hear. 0:26:46.600 --> 0:26:49.320 The roots records being played every day, you know, more 0:26:49.480 --> 0:26:51.720 likely than on a pop station or in a commercial station. 0:26:52.119 --> 0:26:56.320 So for you, is it more important to be the 0:26:56.560 --> 0:27:02.040 first to bring you Kenchick Lamar, the first to bring 0:27:02.119 --> 0:27:06.720 you a new singer from America Lauren Hill? Or is 0:27:06.800 --> 0:27:10.040 it like, what are your goals because of that? Well, 0:27:10.080 --> 0:27:12.359 I know, I got I can't like I. 0:27:12.400 --> 0:27:15.600 Want you exclusives come in, I know. But a guy 0:27:15.760 --> 0:27:20.320 like Fresh of the Week, Fresh of the Week, what 0:27:22.080 --> 0:27:23.960 their funk master Flex? Oh? 0:27:25.520 --> 0:27:29.440 Now, I know Westwood has his sets on being the 0:27:29.600 --> 0:27:31.520 funk Master Flex, which. 0:27:31.560 --> 0:27:33.960 Is nostalgia though put people like Westwood of no style 0:27:34.119 --> 0:27:35.600 nostalgia I know in the now. 0:27:36.119 --> 0:27:38.399 Well that's crazy, you know, let's see, that's weird because 0:27:39.920 --> 0:27:44.680 the Westward I'm referring to was the nineteen ninety six, 0:27:44.840 --> 0:27:47.399 ninety seven. Okay, I know I'm hearing myself speaking known 0:27:47.400 --> 0:27:51.879 that's twenty years ago. But back then he was the 0:27:52.840 --> 0:27:55.399 you know, playing the news, the today hip hop, the 0:27:55.440 --> 0:28:01.600 street hip hop, and kinda taking a different stance on 0:28:02.160 --> 0:28:06.080 underground or stuff that he would deem too old school, 0:28:06.160 --> 0:28:09.440 even though he came up in that era. But my 0:28:09.520 --> 0:28:12.280 whole point was that I saw him more as a 0:28:12.400 --> 0:28:19.080 fump master flex guy who you know, where he's the celebrity. 0:28:19.200 --> 0:28:23.080 He you know, it's about him, Whereas I see you 0:28:23.400 --> 0:28:27.880 as wanting to still be a taste maker and put 0:28:27.920 --> 0:28:31.800 people onto stuff that they don't know about, Like you know, 0:28:32.080 --> 0:28:34.879 I think when you first played a I think I 0:28:34.960 --> 0:28:37.560 heard you on the air when you first introduced UFO 0:28:39.400 --> 0:28:42.280 on on, you know, when they first debuted like this 0:28:42.400 --> 0:28:45.880 is back in late night Japanese. Yeah, yeah, yeah. And 0:28:46.080 --> 0:28:49.920 so it's like to me, I feel that I'm asking 0:28:50.200 --> 0:28:53.120 do you feel better as a taste maker or do 0:28:53.200 --> 0:28:55.720 you feel you'll get more done if you were the 0:28:55.840 --> 0:28:56.760 celebrity DJ. 0:28:57.400 --> 0:28:58.080 It's interesting. 0:28:58.320 --> 0:29:00.800 It's a bit of a combination of elements in a way. 0:29:00.840 --> 0:29:03.920 I mean, my role is to on one hand, fundamentally 0:29:04.000 --> 0:29:06.400 excite myself. You know, I don't really care about my 0:29:06.480 --> 0:29:08.840 audience in that sense. I mean in the sense that 0:29:12.720 --> 0:29:25.680 I do care about it, prepare for a fifteen, but 0:29:25.760 --> 0:29:26.880 if it feels right, do it. 0:29:26.960 --> 0:29:27.080 You know. 0:29:27.200 --> 0:29:29.840 The thing is for me is it's it's always interesting 0:29:29.960 --> 0:29:33.720 because I think that people get off on your energy, 0:29:34.360 --> 0:29:41.160 and your energy is your authentic feeling, and as a broadcaster, 0:29:41.640 --> 0:29:44.840 I buzz on new music. I buzz on discovering old 0:29:44.880 --> 0:29:47.480 music that I've never heard before where there's an incredible story. 0:29:48.520 --> 0:29:50.840 I buzz on playing some classics because I like a 0:29:50.880 --> 0:29:54.719 bit of nostalgia. But fundamentally it's that mixture of all 0:29:54.760 --> 0:29:58.000 those elements with entertainment as part of it. So someone 0:29:58.080 --> 0:30:02.800 like Westwood, incredible broadcaster, changed the generation. People grew up 0:30:02.880 --> 0:30:05.920 on him and his radio show, and he brought a 0:30:06.080 --> 0:30:09.600 certain esthetic of hip hop to a UK audience, and 0:30:09.720 --> 0:30:12.000 he did it incredibly well. On the other hand, you 0:30:12.040 --> 0:30:14.640 could say, well, where's your legacy, what did you break? 0:30:15.000 --> 0:30:17.320 What did you do for UK hip hop? Why were 0:30:17.360 --> 0:30:19.640 you so influenced by American music? Why has it taken 0:30:19.720 --> 0:30:22.600 twenty years for grime to finally come through and for 0:30:22.960 --> 0:30:26.160 UK hip hop fundamentally to actually finally have its name 0:30:26.360 --> 0:30:28.840 out there and to be doing something because friendship hop 0:30:29.000 --> 0:30:30.880 was way ahead, different language. 0:30:30.920 --> 0:30:32.520 I mean, as you know, you know, it took a 0:30:32.640 --> 0:30:34.320 long time, so I think there. 0:30:34.280 --> 0:30:38.440 Was certain powers that held it back, and I think 0:30:38.480 --> 0:30:41.240 that's a shame and my viewpoint as somebody who's also 0:30:41.320 --> 0:30:43.320 been very much part of the music industry, as you know, 0:30:43.360 --> 0:30:45.360 because we worked together and all that sort of stuff. 0:30:45.400 --> 0:30:47.880 I feel that, you know, Britain has a lot to 0:30:49.280 --> 0:30:53.040 shout about. Musically, the UK is a unique place, you know, 0:30:53.200 --> 0:30:55.960 from going back to the Rolling Stones and led Zeppelin, 0:30:56.120 --> 0:30:59.440 through punk music, through all the different elements of dance music, 0:30:59.600 --> 0:31:04.160 from step to drum and bass to broken beat, and 0:31:05.240 --> 0:31:09.800 I think that it's this unique mixture of people and 0:31:10.400 --> 0:31:13.880 the club culture that make sure the music is constantly 0:31:14.440 --> 0:31:17.000 reinventing itself and there's always something new coming up. And 0:31:17.120 --> 0:31:19.360 that's why for me being on the radio, it's easy. 0:31:19.720 --> 0:31:21.200 You know, it's easy because at the end of the 0:31:21.320 --> 0:31:23.400 day there'll be there'll be a James Blakey'll be you know, 0:31:23.480 --> 0:31:25.280 James Blake will come along, or a Mount Kimby or 0:31:25.280 --> 0:31:25.640 come along. 0:31:25.680 --> 0:31:27.800 There'll always be something happening. 0:31:27.960 --> 0:31:30.240 You're not you know, there's never a time when you're 0:31:30.280 --> 0:31:32.320 like going, oh God, there's not been anything interesting for 0:31:32.400 --> 0:31:34.680 two or three years. So for me as a taste maker, 0:31:35.120 --> 0:31:38.320 that makes it easy for me to be a taste 0:31:38.360 --> 0:31:40.280 maker because there's so much great stuff to be able 0:31:40.320 --> 0:31:40.840 to shout about. 0:31:41.400 --> 0:31:46.080 So do you feel okay? 0:31:46.120 --> 0:31:48.400 I'm thinking of like Benji, like, who do you feel 0:31:48.480 --> 0:31:51.080 if you were to start right now, and I don't 0:31:51.120 --> 0:31:53.880 mean morbidly like death or whatever, if you just said 0:31:54.840 --> 0:31:57.160 I've had enough, I've done it, my work is done. 0:31:58.800 --> 0:32:02.200 How many does rifles of yours? Do you fully trust 0:32:03.160 --> 0:32:07.520 will carry on the tradition that you have and in 0:32:07.640 --> 0:32:16.040 spreading Tomorrow's music, supporting Britain scene, keeping us educated on 0:32:16.160 --> 0:32:18.920 the past, because you've got to do like three to 0:32:19.000 --> 0:32:22.440 four different things to keep the train running. Do you 0:32:22.560 --> 0:32:25.680 feel as though there are enough people that have the 0:32:25.920 --> 0:32:31.280 education and the will and the drive to be the 0:32:31.360 --> 0:32:34.000 person that that meets you at the gate, the greet 0:32:34.240 --> 0:32:37.240 the taste maker, Like, I think there's they're all my 0:32:37.360 --> 0:32:40.160 children in the UK for sure, in the sense that you. 0:32:40.200 --> 0:32:42.880 Know Digs, I listened to him. He reminds me a 0:32:42.920 --> 0:32:46.000 loud of you in La Yeah, yeah, yeah, No. 0:32:46.120 --> 0:32:48.600 I mean I think Solection do some really great stuff. 0:32:48.640 --> 0:32:51.200 I think Deviation do really great stuff. I think boiler Room, 0:32:51.280 --> 0:32:53.520 you know again, the guy who sat out Boilerroom, Tristian, 0:32:53.600 --> 0:32:55.880 he was working with me, you know, for eight years, 0:32:55.920 --> 0:32:57.680 and then he was like, oh, I'm going to go 0:32:57.760 --> 0:33:00.480 and film us doing a gig down the road in Dawston. 0:33:00.960 --> 0:33:02.000 And that was boiler Room. 0:33:02.040 --> 0:33:05.160 I think NTS another really interesting digital radio station. Again 0:33:05.200 --> 0:33:07.280 it was very much so if you ask me who's 0:33:07.320 --> 0:33:10.280 coming through, there's a whole load of people with that 0:33:10.600 --> 0:33:13.680 certain attitude where on one hand they'll be playing an 0:33:13.720 --> 0:33:17.440 Omar Sulliman record or some abstract sort of record from 0:33:17.440 --> 0:33:20.080 the Congo released on Analog Africa, and on the other 0:33:20.160 --> 0:33:22.160 hand they're going to be releasing playing some sort of 0:33:22.280 --> 0:33:28.600 you know, crazy Mickey Miller, you know which I heard 0:33:28.600 --> 0:33:32.480 you chatting about last week. So that that way of 0:33:32.600 --> 0:33:35.360 approach to music I think is really normal now. I 0:33:35.440 --> 0:33:37.200 think that when there was a time when you played 0:33:37.560 --> 0:33:39.800 of this music in a mix, it was a little 0:33:39.840 --> 0:33:43.120 bit abnormal. Today it's almost expected. If you look at 0:33:43.200 --> 0:33:46.600 even you know, you read Pitchfork or or Resonant Advisor, 0:33:46.600 --> 0:33:52.440 all these really important influential websites and new school writers 0:33:52.480 --> 0:33:55.920 of the culture. It's about the eclecticism, you know, it's 0:33:55.920 --> 0:33:58.320 about having Rufus Harley on a roots record. I mean, 0:33:58.360 --> 0:34:01.280 you were doing this years ago, you know, and throwing 0:34:01.360 --> 0:34:05.280 it all together. And for me, my big thing now 0:34:05.520 --> 0:34:09.040 at the age of fifty two, is it's about heritage 0:34:09.239 --> 0:34:12.399 and it's about the people that really took us here, 0:34:13.040 --> 0:34:16.080 it's about Philip Coran in Chicago. It's about Sun Rah, 0:34:16.200 --> 0:34:20.160 It's about Jimmy Merritt here in Philadelphia, the bass player 0:34:20.239 --> 0:34:22.920 who wrote Nomo and played with Max Roach. For me, 0:34:23.200 --> 0:34:26.600 it's about putting a light on these people, because without 0:34:26.640 --> 0:34:30.160 those guys, we wouldn't be here. And they put in 0:34:30.360 --> 0:34:33.200 so much work and some of them are still alive, 0:34:33.719 --> 0:34:37.560 you know, and of course people like Royez still around. 0:34:37.920 --> 0:34:40.160 I mean, my god, those guys, they did so many 0:34:40.239 --> 0:34:43.560 gigs and we're kind of I don't know, for me personally, 0:34:44.040 --> 0:34:46.799 it's kind of like it's payback time to those guys, 0:34:47.440 --> 0:34:51.040 and we've got to make sure that we use the 0:34:51.160 --> 0:34:53.640 power that we have and the means of influence that 0:34:53.760 --> 0:34:56.839 we have to shine a light on those people. Three 0:34:56.920 --> 0:34:58.839 people that I met when I was twenty two years old. 0:34:58.880 --> 0:35:00.880 I've just been picked up by to London because I 0:35:00.920 --> 0:35:02.880 was a young guy and I was playing jazz records 0:35:02.920 --> 0:35:05.160 in clubs and I met three people in the space 0:35:05.239 --> 0:35:08.839 of one week or two weeks, Wayne Shorter, Jalal from 0:35:08.880 --> 0:35:12.080 The Last Poets, and the jazz singer mart Murphy, and 0:35:12.239 --> 0:35:14.120 those three guys in the space of two weeks. They 0:35:14.200 --> 0:35:16.400 taught a young boy from South London who didn't know 0:35:16.480 --> 0:35:20.000 much about American culture. They taught me about the different 0:35:20.080 --> 0:35:25.560 elements of music within jazz, whether it was spirituality, whether 0:35:25.640 --> 0:35:27.800 it was more of a bohemian attitude, whether it was 0:35:27.840 --> 0:35:30.960 the civil rights. I got lessons from these three people 0:35:31.080 --> 0:35:33.000 in a very early at a very early age, and 0:35:33.160 --> 0:35:36.120 that had a huge impact on me. And I want 0:35:36.160 --> 0:35:38.520 to be able to do the same thing for another 0:35:38.600 --> 0:35:41.920 generation of people, to bring them closer to the roots 0:35:41.960 --> 0:35:47.799 of the music and away from the superficiality of big 0:35:48.040 --> 0:35:50.000 commercial corporations. 0:35:51.080 --> 0:35:54.000 Do you remember the first record you ever brought, the 0:35:54.120 --> 0:35:55.680 very first record you purchased. 0:35:55.560 --> 0:36:00.440 I purchased, Yeah, I remember picking up a record cards. 0:36:02.440 --> 0:36:05.520 I remember buying Blondie d Knee by Blondie. 0:36:05.520 --> 0:36:05.920 I love that. 0:36:06.320 --> 0:36:10.279 That was Electric Light Orchestra, mister Blue Sky. I was 0:36:10.320 --> 0:36:14.440 a bit prog rocky at around twelve thirteen, you know, 0:36:16.000 --> 0:36:19.600 Caravan in the Land of Graham Pink, brilliant record, first 0:36:19.760 --> 0:36:23.000 sort of record I bought. I mean, I was very 0:36:23.200 --> 0:36:26.520 thankful for my library in London where I lived in Sutton. 0:36:26.560 --> 0:36:28.520 They just had a new library and that's where you 0:36:28.560 --> 0:36:30.600 could sort of take home records. I don't know if 0:36:30.640 --> 0:36:32.239 they did that here in the States where you could 0:36:32.320 --> 0:36:36.040 borrow records. You still do that for those Oh yeah. 0:36:38.040 --> 0:36:42.640 Myself. That was sorry, that was a good place anyway. 0:36:42.960 --> 0:36:44.680 So that's where I kind of heard a lot of 0:36:44.760 --> 0:36:47.560 you know, I bought Herbie Hancock, you know, really important 0:36:47.560 --> 0:36:51.240 records to me. Actually, Herbie Hancock Mister Hands nineteen eighteen, 0:36:51.520 --> 0:36:54.400 huge record, huge record. 0:37:00.080 --> 0:37:04.040 Way. So wait, who was I mean? 0:37:04.280 --> 0:37:09.160 I know, I say, if John Peel, and I'm using 0:37:09.680 --> 0:37:16.160 American sports terms, you know, for every Michael Jordan, there's Piven. 0:37:16.719 --> 0:37:18.040 Oh yeah, there's. 0:37:17.719 --> 0:37:22.600 Definitely ten or fifteen unsung heroes that will never get 0:37:22.600 --> 0:37:25.600 their props that were just as important or vital to 0:37:25.680 --> 0:37:29.280 the movement. But I mean, who was your John Peel 0:37:30.320 --> 0:37:32.960 when you were coming up, Like, who's the person that 0:37:33.160 --> 0:37:35.759 truly introduced. 0:37:35.280 --> 0:37:36.000 You to music? 0:37:36.360 --> 0:37:38.759 Was it a school friend or whatever? Who started your 0:37:38.840 --> 0:37:42.359 obsession with collecting records? Yeah, because you have, Like, what's 0:37:42.400 --> 0:37:45.319 your collection up to now? I don't I don't count 0:37:45.320 --> 0:37:50.000 you stop counting. It's three houses, yeah, yeah, oh. 0:37:49.920 --> 0:37:53.440 Three properties. Yeah yeah, I keep getting pushed out by 0:37:53.480 --> 0:37:57.719 my wife, but yeah, no, for me, it was uh, 0:37:58.560 --> 0:38:03.120 it was my friend Andrew Crossley's sister fourteen years old. 0:38:03.320 --> 0:38:05.080 I went to his house and she had a copy 0:38:05.120 --> 0:38:07.319 of Mays Live in New Orleans. She had a copy 0:38:07.360 --> 0:38:09.759 of Bobby called Well What You Won't Do For Love? 0:38:10.080 --> 0:38:12.839 The album That's when when I first heart left, when 0:38:12.880 --> 0:38:14.480 the fire. All in all, I think it was around 0:38:14.520 --> 0:38:17.839 then that I'd hear Brazilian rhyme and fantasy, all those songs. 0:38:17.880 --> 0:38:19.920 I mean that blew my mind. I hadn't heard that 0:38:20.040 --> 0:38:23.000 on the RATO in the UK. The most amazing music ever. 0:38:23.400 --> 0:38:25.759 Mays was big for me. I remember going to see 0:38:25.840 --> 0:38:27.640 Mays all the time. They used to come to London 0:38:27.680 --> 0:38:30.040 play at the Hammersmith Odio. Yeah, who would come to 0:38:30.480 --> 0:38:32.759 Who from the States would come? The bands when you 0:38:32.840 --> 0:38:36.520 were when you were I never forget seeing Cameo. Cameo 0:38:36.920 --> 0:38:39.960 disappointingly because they were doing their rock thing at the time, 0:38:40.040 --> 0:38:41.320 and I really wanted them to do this sort of 0:38:41.360 --> 0:38:42.600 slat bass thing at that time. 0:38:43.480 --> 0:38:45.239 But still, I mean, yeah, they were all coming. 0:38:45.320 --> 0:38:47.960 A lot of those groups were coming, and you know, 0:38:48.000 --> 0:38:49.520 a lot of the jazz funk bands, you know, people 0:38:49.560 --> 0:38:51.520 like Lonely Listen Smith would come, you know, this sort 0:38:51.520 --> 0:38:54.759 of slightly offbeat less. There was a motown scene for 0:38:54.880 --> 0:38:57.359 the more traditional stuff. That wasn't really what I was into. 0:38:57.440 --> 0:38:59.200 I was more into the jazz funk thing. 0:38:59.320 --> 0:39:01.680 You weren't into the North. What do you explained to 0:39:01.760 --> 0:39:05.800 me Northern soul? Gosh, Northern Soul is okay, well, I 0:39:05.880 --> 0:39:11.560 mean they like they break, they break, yeah, tune. 0:39:11.320 --> 0:39:16.320 Wise, I mean it's really sort of The UK was 0:39:16.520 --> 0:39:21.120 very into motown and soul. You know, all of that 0:39:21.320 --> 0:39:24.600 Marvin Gaye, Smoky Robinson, the sixties stuff that was big, 0:39:24.680 --> 0:39:25.919 and that was big, and that was that got playing 0:39:25.920 --> 0:39:27.319 the way down there were clubs and you know, there 0:39:27.360 --> 0:39:29.000 was there was the stuff going on and they come 0:39:29.080 --> 0:39:32.920 over to the UK. The DJ club scene started happening 0:39:32.960 --> 0:39:35.200 in the sixties and seventies in the North as well 0:39:35.239 --> 0:39:36.719 as it was in the South, but in the North 0:39:36.760 --> 0:39:40.400 of England they basically had a slightly different taste and 0:39:40.560 --> 0:39:43.040 they didn't want to play the obvious Motown records, so 0:39:43.080 --> 0:39:45.200 they went and found the records that sounded like Motown 0:39:45.239 --> 0:39:47.560 records but were hard to find. And that's really what 0:39:47.680 --> 0:39:49.799 Northern soul was. And it's a certain tempo, it's quite 0:39:49.880 --> 0:39:54.239 high tempo. There's some amazing songs. It's basically, you know, 0:39:56.520 --> 0:40:00.600 it's it's Discog's forty years go. You know, they were 0:40:00.640 --> 0:40:03.439 pulling out the rarest local songs. They there's guys who'd 0:40:03.480 --> 0:40:08.920 come and they'd realize that the music from America was local, 0:40:09.280 --> 0:40:11.360 you know. So there's there were the major labels that 0:40:11.400 --> 0:40:13.359 would release all the big records, but if you went 0:40:13.400 --> 0:40:15.920 to Saint Louis, or you went to Dallas, or and 0:40:16.040 --> 0:40:18.120 you just went to the local record shops, they'd hear 0:40:18.200 --> 0:40:21.759 local music where there was mightbe a thousand copies ever 0:40:21.840 --> 0:40:24.239 pressed just for the local market. And that's really what 0:40:24.360 --> 0:40:26.480 Northern Soul kind of was. It was about going in 0:40:26.800 --> 0:40:29.319 like New Mirror Group for example, labels like that. It's 0:40:29.400 --> 0:40:32.799 just going in that much deeper. And some of the music, 0:40:32.920 --> 0:40:35.200 of course, there's so much music. That's the other thing 0:40:35.280 --> 0:40:37.520 that just to answer you from earlier on about what 0:40:37.880 --> 0:40:40.759 drives me how much music is that? I thought ten 0:40:40.840 --> 0:40:42.920 years ago, I was like, yeah, I've got most of it. 0:40:45.520 --> 0:40:49.000 Even now as you speak, there is stuff that you 0:40:49.120 --> 0:40:50.920 still I'm spending people. 0:40:50.680 --> 0:40:53.840 To make much music on records at the moment, not 0:40:53.920 --> 0:40:57.440 because I'm earning more, you know, but because I'm just 0:40:58.920 --> 0:41:01.840 I'm excited, and there's so many more record shops and 0:41:02.280 --> 0:41:05.239 really great experts. Now you can go anywhere in the 0:41:05.320 --> 0:41:07.799 world and you'll find a place which is where there's 0:41:07.800 --> 0:41:09.320 going to be someone who's going to invite you to 0:41:09.360 --> 0:41:11.120 their house. Maybe it's not in a shop anymore now 0:41:11.160 --> 0:41:14.120 it's a more bespoke record dealer that exists right. 0:41:14.560 --> 0:41:17.440 Where you go to the crib. And yeah, there's a 0:41:17.480 --> 0:41:18.280 lot of those cats. 0:41:18.440 --> 0:41:20.399 But they're good man, because they do all the work 0:41:20.480 --> 0:41:23.000 for you. I mean, I don't have me coming like well, 0:41:23.200 --> 0:41:25.200 I know they're overcharging me for some you know, you've 0:41:25.200 --> 0:41:26.719 got to accept that it's going to be twenty five 0:41:26.719 --> 0:41:29.120 percent over for you. But you will get some good stories. 0:41:29.400 --> 0:41:33.239 And those guys for their role as as great bespoke 0:41:33.440 --> 0:41:36.719 records sort of finders, they if they're really good at 0:41:36.719 --> 0:41:39.320 their job, they'll tell you the story. For example, recently 0:41:39.320 --> 0:41:41.359 there's a guy called Victor Kiswell in Paris. I think 0:41:41.400 --> 0:41:44.160 you might well have been to his house and he 0:41:44.239 --> 0:41:46.000 gave me a record the other day and it was 0:41:46.080 --> 0:41:49.200 in Russian, right, And it was all in Russian, and 0:41:49.320 --> 0:41:51.520 it was from the Ukraine from the seventies, and it 0:41:51.640 --> 0:41:54.680 was a Ukrainian big band version of a Fella Kootie 0:41:54.760 --> 0:41:59.640 song right right, Shakara right right exactly, and. 0:41:59.680 --> 0:42:00.840 You out. 0:42:03.600 --> 0:42:07.000 Right and uh and and he had gone to the 0:42:07.320 --> 0:42:10.319 to the point of translating Russian to find out more 0:42:10.320 --> 0:42:11.840 about the record than you realized. 0:42:11.880 --> 0:42:13.320 It was fella cootie and stuff. 0:42:13.360 --> 0:42:14.840 And then he kind of listened to the track and 0:42:14.960 --> 0:42:17.239 halfway through this little riff that comes in and it's 0:42:17.360 --> 0:42:20.680 Raka by Ukrainian big band in the mid seventies. Wow, 0:42:21.040 --> 0:42:24.560 that's what we want. Wow, that's what we need. That's 0:42:24.600 --> 0:42:27.520 what you need. That's your food, that's your foods. 0:42:27.920 --> 0:42:32.080 It is it is. See yo right in this room. 0:42:32.840 --> 0:42:35.680 Used to that guy used to come up here. Yeah, 0:42:35.680 --> 0:42:38.319 he was like yeah, he was like a fucking drug deal. 0:42:38.560 --> 0:42:41.200 He sent me down. Let this dude in the front 0:42:41.239 --> 0:42:43.680 door go down there. I'm like a Mirea's gonna buy 0:42:43.719 --> 0:42:46.920 some drugs talking about Jean Brown. So you would come 0:42:47.000 --> 0:42:50.520 up here and go back there and whispering. Guys are 0:42:50.520 --> 0:42:52.520 showing them all different kinds, like if you had different 0:42:52.600 --> 0:42:56.520 kinds of weed. You know, these records from here. This 0:42:56.600 --> 0:42:58.000 one's twenty five, this one's thirty. 0:42:58.360 --> 0:42:58.759 I'll take it. 0:42:58.840 --> 0:42:59.799 I'll take you real. 0:43:01.480 --> 0:43:03.960 The best thing is they do the records and the drugs. 0:43:06.520 --> 0:43:09.960 Now to this day, Jean Brown is my professional shopper. 0:43:10.239 --> 0:43:10.560 See that. 0:43:10.800 --> 0:43:14.440 Okay, that's the thing. It's like, I still feel like 0:43:14.719 --> 0:43:19.960 you're actively getting your hands dirty. You're using elbow grease 0:43:20.480 --> 0:43:22.480 to search for the song that you don't got. You 0:43:22.600 --> 0:43:26.160 still actively dig. Like I almost feel even as I'm 0:43:26.200 --> 0:43:30.120 asking you about the comparisons between a Westwood and Appeal, 0:43:31.040 --> 0:43:35.800 I almost feel like I have to make myself personally 0:43:36.440 --> 0:43:42.279 a corporation or a Westwood so that I can have 0:43:42.520 --> 0:43:46.400 peel moments, like in order for this show to even happen, 0:43:47.960 --> 0:43:49.759 Like I have to be quest love, like I have 0:43:49.880 --> 0:43:53.800 to have a corporate day job life. That's the total 0:43:53.920 --> 0:43:59.000 opposite of not what I stand for. But it's just like, 0:43:59.120 --> 0:44:01.040 you know, twenty five years ago, do you think I 0:44:01.120 --> 0:44:01.799 would be like. 0:44:02.360 --> 0:44:03.879 On late night? Yeah, on late night. 0:44:04.360 --> 0:44:06.239 If I's you went from busking on the corners at 0:44:06.320 --> 0:44:07.480 late night, that's pretty bad. 0:44:07.680 --> 0:44:09.600 I mean, that's that's my point. 0:44:09.719 --> 0:44:12.000 Like I feel I almost have to robin Hood my 0:44:12.160 --> 0:44:18.160 way to keep culture alive. I mean, if I really 0:44:18.400 --> 0:44:23.880 had the monetary, rolling in the money, rolling into to 0:44:25.360 --> 0:44:28.680 do even bigger things quote for the culture, I mean 0:44:28.800 --> 0:44:29.600 I would, but it's. 0:44:29.560 --> 0:44:32.840 Like slow coming. But it's it's like I feel that 0:44:33.120 --> 0:44:34.480 you still. 0:44:35.680 --> 0:44:38.279 You know, you'll you'll you'll dig on websites and look 0:44:38.360 --> 0:44:42.440 up playlists like how active are you still? I mean 0:44:42.480 --> 0:44:46.520 there's a point where before Boss Bill was my ears, 0:44:46.960 --> 0:44:49.239 like he would search for records for me and meds 0:44:49.640 --> 0:44:51.120 because there's not enough hours. 0:44:50.880 --> 0:44:52.680 In there, you know, for you your drummer, So your 0:44:52.760 --> 0:44:55.360 chops is like you know, you're playing, you're practicing. 0:44:55.440 --> 0:44:58.120 You're a musician, right, you're going out the right. 0:44:58.800 --> 0:45:01.000 I'm a DJ, but I'm ninety and other things too. 0:45:01.120 --> 0:45:04.239 So that's that's your prime your your prime role and 0:45:04.440 --> 0:45:09.640 and and I mean, you just got to do your 0:45:09.719 --> 0:45:12.200 thing the way you do. You do such an amazing 0:45:12.400 --> 0:45:16.880 job of bringing culture to people to a new generation. 0:45:17.719 --> 0:45:19.720 I mean, you're the Quincy Jones of this generation. 0:45:19.960 --> 0:45:23.040 Don't say that the way you are because I think 0:45:23.080 --> 0:45:25.960 that you're the you are, because I think you probably 0:45:25.960 --> 0:45:28.880 have a comfortable role index so many ways. You got 0:45:28.960 --> 0:45:30.920 to do your back on the black Man. You got 0:45:31.080 --> 0:45:35.880 to do that. Saying that is super snarky. 0:45:37.320 --> 0:45:37.600 You got. 0:45:45.560 --> 0:45:48.360 No I you know, I think at the end of 0:45:48.440 --> 0:45:51.279 the day, people listen to you. 0:45:51.440 --> 0:45:53.120 At the end of the day, I saw what you 0:45:53.239 --> 0:45:58.080 did in London and said by any means which even 0:45:58.120 --> 0:46:02.879 the roots picnic is still an extension of like those 0:46:02.920 --> 0:46:05.440 places that we used to play in a h. 0:46:08.040 --> 0:46:12.759 Outside of London Brighton right. Thank you for saying that 0:46:13.000 --> 0:46:15.000 to me. That's that's the important thing. 0:46:15.200 --> 0:46:18.160 Like I don't know why I think that way either, 0:46:18.320 --> 0:46:21.959 like okay, instead of like living the moment, I'm trying 0:46:22.000 --> 0:46:24.839 to think of what mark I can leave here when 0:46:24.920 --> 0:46:25.359 I die. 0:46:30.160 --> 0:46:35.280 So besides Djan, I mean, you developed. 0:46:36.600 --> 0:46:40.839 Probably one of the most important dance labels ever, which 0:46:41.080 --> 0:46:45.319 was Talking Loud. Could you talk about your like, when 0:46:45.360 --> 0:46:48.000 did you develop it and what means you want to Well? 0:46:48.040 --> 0:46:50.560 I first started off as a pirate DJ in a 0:46:50.600 --> 0:46:54.640 club DJ from the age of seventeen eighteen by doing 0:46:54.719 --> 0:46:57.400 compilation albums. So my first thing was like the mixtape, 0:46:57.440 --> 0:46:59.960 but I used to do license tracks and compile them. 0:47:00.200 --> 0:47:02.160 So the first series I did was Jazz Juice, and 0:47:02.320 --> 0:47:04.360 I think I am the world record holder of compilation 0:47:04.440 --> 0:47:07.560 official compilation You were Silver. So I always wanted to 0:47:07.600 --> 0:47:09.480 be like close to our Blake keeper from a DJ 0:47:09.640 --> 0:47:11.880 point of view and releases, so I managed to do that, 0:47:11.960 --> 0:47:13.959 and then I set up a pirate a pirate station. 0:47:14.000 --> 0:47:16.600 I stayed upper my first record label, which was label 0:47:16.600 --> 0:47:20.600 called Acid Jazz, and that label was Brand New Heavies, Galliano, 0:47:20.760 --> 0:47:23.919 Jamiroquai and all of that stuff, whoever they are. Yeah, 0:47:24.120 --> 0:47:26.000 that was that was the beginning then. But who got 0:47:26.120 --> 0:47:29.719 to remember at that time everyone used to go work. 0:47:29.760 --> 0:47:31.400 You know, it was like it wasn't you know, there 0:47:31.480 --> 0:47:33.480 was no scene. There was no business really, I mean 0:47:33.520 --> 0:47:35.080 there was a scene, but there was no way of 0:47:35.400 --> 0:47:39.440 monetizing it. And this music was super underground and you know, 0:47:39.520 --> 0:47:42.040 you'd sell a few hundred, couple of thousand records, so 0:47:42.160 --> 0:47:45.120 all the artists were basically, you know, going to work 0:47:45.160 --> 0:47:46.719 during the week and you know, as you were doing 0:47:46.960 --> 0:47:48.200 the other days of the roots and. 0:47:49.520 --> 0:47:52.360 You see him at JK of Jamiquire once had a 0:47:52.440 --> 0:47:54.560 d job. No, he never had a day job. 0:47:56.320 --> 0:47:57.880 But all the Brand New Heavies did, you know, and 0:47:57.960 --> 0:48:01.120 all of Galliano did, and those early groups. And from 0:48:01.160 --> 0:48:03.800 my point of view where I was at being the 0:48:03.920 --> 0:48:06.480 champion of this new scene going on in the UK, 0:48:06.800 --> 0:48:09.400 I got I knew that I needed to take it 0:48:09.480 --> 0:48:11.480 to another level and I couldn't do it independently. So 0:48:11.600 --> 0:48:13.840 I got an offer from Funogram Records, which was PolyGram 0:48:13.960 --> 0:48:16.080 which is now universal, and they said to me, Charles, 0:48:16.600 --> 0:48:18.960 why don't you do this little thing that you're doing 0:48:19.000 --> 0:48:21.239 with acid jazz and do it for us. So that's 0:48:21.280 --> 0:48:23.080 when I said I'm Talking Loud. Because at that time, 0:48:23.120 --> 0:48:25.560 there were no bootique record labels. You know, I didn't 0:48:25.600 --> 0:48:27.360 have anybody to go, oh, yeah, let's do you know, 0:48:27.640 --> 0:48:29.040 what did you do? What kind of deal did you do? 0:48:29.239 --> 0:48:31.000 So I ended up just being brought in by them 0:48:31.040 --> 0:48:33.240 as an A and R guy with my own label. 0:48:33.840 --> 0:48:35.440 And that's why I set up Talking Out because I 0:48:35.520 --> 0:48:38.040 knew that Talking Loud needed to happen to break the bands, 0:48:38.080 --> 0:48:40.959 to be able to break the movement, so I needed 0:48:40.960 --> 0:48:42.960 a major label. So that's when I set up Talking Loud. 0:48:43.000 --> 0:48:44.720 And so the beginning of talking about it was groups 0:48:44.760 --> 0:48:47.960 like Incognito and Galiano and Omar and the Young Disciples, 0:48:48.320 --> 0:48:50.239 which is the best record I think we ever put out. 0:48:50.320 --> 0:48:54.160 I put out, anyway, a very underrated soul hip hop 0:48:54.320 --> 0:48:57.960 record which had Master Race on it. It had Johnny 0:48:58.040 --> 0:49:01.680 Light all the Vibes player on it. And then that 0:49:01.840 --> 0:49:03.600 was that time, and that was the sort of period 0:49:03.600 --> 0:49:06.480 of louse of salt to soul and that kind of 0:49:06.600 --> 0:49:09.080 London sound happening. But I wanted Talking Out to be 0:49:09.160 --> 0:49:13.000 more than just a soul, funk, acid azz label. I 0:49:13.040 --> 0:49:16.759 wanted it to represent UK club culture and all the 0:49:16.880 --> 0:49:20.080 elements directions was going in, from the massive attack to 0:49:20.280 --> 0:49:22.480 what became the drum and bass, and all those groups 0:49:22.520 --> 0:49:25.280 of people like four Hero, people like Ronnie Size represent 0:49:25.680 --> 0:49:29.240 They were natural artists to come through the label. Carl Craig, 0:49:29.680 --> 0:49:31.960 we did him, who was off s course, the Detroit Sad. 0:49:32.120 --> 0:49:34.040 The best record I think I put out apart from 0:49:34.920 --> 0:49:43.239 your EP, was the new Reconsult Records with and that 0:49:43.400 --> 0:49:45.600 was a full on A and R experience because they'd 0:49:45.640 --> 0:49:47.759 released a little twelve inch called the Nervous Track on 0:49:47.840 --> 0:49:49.960 Nervous Records, and I was playing that at Baumba my 0:49:50.040 --> 0:49:52.080 Monday night session, and they heard about it, and I 0:49:52.239 --> 0:49:54.879 was a fan of Louis and Kenny and I said 0:49:54.880 --> 0:49:56.279 to the guys, I called him up, I says this, 0:49:56.440 --> 0:49:59.040 and guys, you know, this is a really big record 0:49:59.080 --> 0:50:01.000 for me. Because the house hit kids weren't by playing 0:50:01.040 --> 0:50:03.520 that record because they were house producers, but they weren't 0:50:03.560 --> 0:50:05.719 on it because it was a little bit offbeat. But 0:50:05.840 --> 0:50:08.440 it was perfect for people like me. So I then 0:50:08.520 --> 0:50:12.440 said to Louis, let's let's develop this into an album project. 0:50:12.560 --> 0:50:15.040 So that's when the new Reconsole thing happened. And now 0:50:15.120 --> 0:50:17.400 and then it just opened up because Louie's got his 0:50:18.000 --> 0:50:21.360 his nephews, it's uncle's Hector Lavo, so the whole of 0:50:21.600 --> 0:50:24.719 Latin music was was in it. Then Kenny had the 0:50:24.760 --> 0:50:27.640 connections with Jazzy Jeff and roy Es, and then we 0:50:27.719 --> 0:50:30.560 had George Benson on it, and then Tito he turned up. 0:50:30.800 --> 0:50:33.560 That was the best ever launched album launched Supper Club 0:50:33.840 --> 0:50:34.919 New Reconsole by. 0:50:35.760 --> 0:50:38.560 They were all there. The pictures from the inside game from. 0:50:39.160 --> 0:50:42.400 A very bad quality day of it, which is up 0:50:42.440 --> 0:50:44.960 on such a shame because it's like that they were 0:50:45.040 --> 0:50:45.840 all the La India. 0:50:46.080 --> 0:50:48.960 They were all there. So that was my official most 0:50:49.920 --> 0:50:51.600 fantastic kind of experience. 0:50:52.160 --> 0:50:56.920 The turn back the term about the song but in 0:50:57.160 --> 0:50:59.279 Needlember is it about that club? 0:50:59.440 --> 0:51:02.200 Yes come the nation of a tribute to Luis Essa, 0:51:02.400 --> 0:51:05.520 who's the Brazilian composer who wrote a song called Baromba 0:51:06.200 --> 0:51:09.840 and bar Rumba because Blue used to come down every Monday, 0:51:10.760 --> 0:51:13.080 remember so, and I introduced him to the music of 0:51:13.160 --> 0:51:15.600 the Tamba Trio for whom luis Essa wrote, So that 0:51:15.760 --> 0:51:16.320 was kind. 0:51:16.120 --> 0:51:18.520 Of a very nice you know that. 0:51:20.920 --> 0:51:21.080 You know. 0:51:21.160 --> 0:51:23.200 The maddest thing for me was when because when I 0:51:23.320 --> 0:51:25.600 ran Talking Ad Records, of course it was a UK 0:51:26.120 --> 0:51:29.880 and European thing, but I was trying to break this 0:51:30.040 --> 0:51:32.279 music in the States. So you're talking about FM radio 0:51:32.320 --> 0:51:34.480 here and stuff. So I had to the first time 0:51:34.520 --> 0:51:37.440 I came to America with music in my hand to 0:51:37.840 --> 0:51:40.240 sell to the A and R guys of the department 0:51:40.280 --> 0:51:42.640 at Mercury Records. It was Ed eg Stein and Lisa 0:51:42.719 --> 0:51:46.520 Cortez who were running it there, and and I went 0:51:46.560 --> 0:51:48.920 in there with my young disciples and my oma and 0:51:49.120 --> 0:51:51.200 they were like, we love this music, this is amazing. 0:51:51.520 --> 0:51:54.040 We're going to try and you know, make it for you, 0:51:54.200 --> 0:51:56.480 make it happen. But it was so hard to get 0:51:56.520 --> 0:51:59.840 that music on the radio over here. But it was 0:52:00.160 --> 0:52:02.560 very interesting sort of learning process for me to kind 0:52:02.600 --> 0:52:06.520 of see how the industry worked here and working with 0:52:06.600 --> 0:52:07.000 those people. 0:52:07.080 --> 0:52:08.200 What was it? What was it like for you? 0:52:08.440 --> 0:52:11.520 Because one of the moments that I saw as kind 0:52:11.520 --> 0:52:14.759 of a breakoup month for Talking Loud was when for 0:52:14.840 --> 0:52:17.520 a Hero two Pages got the Lee review and Vibe. 0:52:18.680 --> 0:52:20.839 It was the first review of the I don't even 0:52:20.840 --> 0:52:21.600 if you remember this, but. 0:52:24.560 --> 0:52:24.880 Remember it. 0:52:25.040 --> 0:52:27.200 But yeah, that record got the first It got the 0:52:27.280 --> 0:52:29.520 Lee review and I actually went and checked it out 0:52:29.560 --> 0:52:31.759 on the stream for that that made me like a 0:52:31.880 --> 0:52:34.600 lifetime Me and Mark we've done you know work. But 0:52:35.239 --> 0:52:37.919 but man, that was what was How did. 0:52:37.880 --> 0:52:41.000 You and fo a hero? We four? Hero? Was it? 0:52:41.120 --> 0:52:44.239 I mean remarkable because they are Mark and Diego. They're 0:52:44.280 --> 0:52:47.279 another kind of super combination like Louis Viger and Kenny 0:52:47.360 --> 0:52:50.520 Dope and two very different characters and personalities who make 0:52:50.640 --> 0:52:53.440 magical music based from a community in West London, and 0:52:53.520 --> 0:52:56.120 they really just developed their sound which is a combination 0:52:56.239 --> 0:52:59.600 of kind of stringy jazzy stuff with you know, UK 0:52:59.760 --> 0:53:02.640 under ground bass music and drum and bassed music. So 0:53:02.760 --> 0:53:05.120 to work with them was unique and fantastic. But the 0:53:05.280 --> 0:53:08.240 break record, the one that really broke talking loud in America. 0:53:08.320 --> 0:53:10.600 This is a mad experience for me. Was I suddenly 0:53:10.640 --> 0:53:14.279 got called that Deep Waters buy Incognito featuring Masonleink was 0:53:14.280 --> 0:53:17.640 a big record in Detroit, and Blue said, yeah, come 0:53:17.640 --> 0:53:19.840 over and see us playing in Detroit, And I literally 0:53:20.320 --> 0:53:22.120 got on a fly it went to Detroit and they 0:53:22.160 --> 0:53:24.840 were playing in the stadium and it was a completely 0:53:24.920 --> 0:53:28.320 black audience, and it was and that's when I started realizing, 0:53:28.800 --> 0:53:30.920 you know the power of a city or a few 0:53:31.040 --> 0:53:35.000 radio stations, how they can break an artist. And thankfully 0:53:35.280 --> 0:53:38.359 they broke Incognito because they kind of went a bit 0:53:38.440 --> 0:53:40.960 bigger from there, sold me a million records which went 0:53:41.040 --> 0:53:44.359 back into my coffers, which allowed me to record four 0:53:44.440 --> 0:53:48.480 Hero and Ronnie Size and all the other groups, MJ 0:53:48.640 --> 0:53:50.800 Cole and people like that. So can you speak about 0:53:51.400 --> 0:53:56.240 the Drum and Beast movement because the British underground history, 0:53:56.600 --> 0:53:59.000 the Frosten Night, I. 0:53:59.120 --> 0:54:04.160 Still feel like it is yet to find its moment, 0:54:04.280 --> 0:54:06.960 it's true moment. And I feel like. 0:54:09.160 --> 0:54:11.799 Now that now that tempos are sort of slowing down 0:54:11.880 --> 0:54:14.360 at least from where it was. I'll say, like the 0:54:14.440 --> 0:54:19.400 tempo of two thousand and six to two thousand and 0:54:20.000 --> 0:54:24.080 thirteen was just straight up boots and cats, gots like 0:54:24.200 --> 0:54:28.560 straight one thirty one. So now that stuff is slowing 0:54:28.600 --> 0:54:33.839 down a little bit down. Tempo, well still, I'm one 0:54:33.840 --> 0:54:36.000 point sixteen is fast. I mean, if you're a public enemy, 0:54:36.080 --> 0:54:39.439 that's vastest shit for hip hop, but for dance music 0:54:39.560 --> 0:54:43.239 it's rather slow, but it's slow enough for drum and 0:54:43.280 --> 0:54:47.279 bass to really find a lane now And the first 0:54:47.440 --> 0:54:50.920 night you ever took us to bar Rumba, speaking of 0:54:52.200 --> 0:54:56.200 Monday night, watching you spend this is like our first 0:54:56.520 --> 0:54:57.680 our first week in London. 0:54:59.800 --> 0:55:03.719 And and the guy on whoever was spending before you, 0:55:04.760 --> 0:55:05.880 his last record. 0:55:07.760 --> 0:55:12.640 Was Anita Baker's Sweet Love, and I was like me 0:55:12.680 --> 0:55:15.880 and TERI started looking at it like the fun So 0:55:16.000 --> 0:55:20.640 the intro to Sweet Love well in a bad way. 0:55:20.640 --> 0:55:22.359 I'm like, wait, why are they playing a slow song 0:55:22.960 --> 0:55:25.360 at a London nightclub? And when the intro came on, 0:55:25.760 --> 0:55:30.680 big the whole audience are losing his mind right, And 0:55:30.840 --> 0:55:32.560 we just looked at each other like, oh god, this 0:55:32.640 --> 0:55:34.960 is gonna be our life in London. Because you gotta understand, 0:55:35.000 --> 0:55:38.680 we exiled, like we straight up took our budget and left. 0:55:39.200 --> 0:55:40.120 All right, we love y'all. 0:55:40.440 --> 0:55:44.120 We out, So we're here and so the first verse 0:55:44.200 --> 0:55:47.480 comes on, We're throwing hot and on it and people 0:55:47.560 --> 0:55:50.640 are just like preparing like some riots about to happen. 0:55:51.040 --> 0:55:53.640 The second the chorus came in and it went to 0:55:53.719 --> 0:55:58.840 double time and then we just like we'd never seen 0:56:00.200 --> 0:56:03.759 madness marshing like that in our lives. Wow, And. 0:56:05.360 --> 0:56:07.400 I just remember I asked you. I was like, what 0:56:07.560 --> 0:56:08.000 the hell is that? 0:56:08.040 --> 0:56:11.160 And you was like strum and bass, And you know, 0:56:11.239 --> 0:56:14.920 eventually I met Digo and those guys and knew what 0:56:15.000 --> 0:56:21.640 it was. But the religious power that music had that 0:56:21.760 --> 0:56:25.640 I saw that night and subsequent nights and months and whatever, 0:56:26.920 --> 0:56:33.000 I feel like it really didn't cross over to the 0:56:33.080 --> 0:56:35.560 world as it should, but it's still waiting. 0:56:35.360 --> 0:56:38.360 For its moment. Like what do you feel about that 0:56:38.440 --> 0:56:41.279 whole movement? Because you signed Arnie Size. 0:56:40.960 --> 0:56:43.000 And I think that movement was interesting. I mean we 0:56:43.239 --> 0:56:45.840 won the Mercury Prize for Bonnie Size. Yeah, you know, 0:56:45.960 --> 0:56:49.120 the movement is pretty big then and at the time 0:56:50.239 --> 0:56:56.640 ninety six ninety seven and before, I thought the movement 0:56:56.680 --> 0:56:59.600 had some good some good leaders. I thought people like 0:56:59.719 --> 0:57:03.360 Gold the lt J Booker, Ronnie Side, because any movement 0:57:03.480 --> 0:57:06.240 needs a quest love, it needs somebody who can basically, 0:57:06.480 --> 0:57:09.359 you know, plant the flag and shout about it right. 0:57:09.719 --> 0:57:11.600 And I thought that Drumm and Bass had a good movement. 0:57:11.640 --> 0:57:13.960 I think the Broken Beat had a bad so it 0:57:14.000 --> 0:57:16.520 had a bad leaders. They didn't have leadership because for me, 0:57:16.680 --> 0:57:22.360 the music it was ig culture, ag culture and Dego 0:57:22.600 --> 0:57:26.680 really were the leaders. And that music form still resonates today. 0:57:26.920 --> 0:57:29.959 You play broken beats now and they're big to the kids. 0:57:30.560 --> 0:57:32.640 That's the music I think is going to be coming 0:57:32.720 --> 0:57:34.520 through more than druma based, because I think drummer bass 0:57:34.600 --> 0:57:38.040 is already in. It's in our DNA, it's there, and 0:57:38.120 --> 0:57:39.760 it's just morphing into different things. 0:57:39.800 --> 0:57:42.240 Well, certainly in Europe it is, but I feel like 0:57:42.960 --> 0:57:45.560 it should have made it more of an impact in 0:57:45.640 --> 0:57:46.000 the State. 0:57:46.800 --> 0:57:51.080 But time. But what you got. 0:57:52.800 --> 0:57:54.600 Why is why is America slow? That's what I was 0:57:54.640 --> 0:57:56.840 thinking this whole time, like, why does America feel like 0:57:56.880 --> 0:57:57.560 it's so slow? 0:57:57.880 --> 0:58:02.160 Especially I think arrogant? That might be it. 0:58:02.320 --> 0:58:03.600 Are we just too damn picky. 0:58:05.000 --> 0:58:06.320 I don't think it's I don't think it's picking. It's 0:58:06.320 --> 0:58:07.040 I think it's arrogance. 0:58:07.880 --> 0:58:11.320 Really, it's just outsiders, because there's something about the way 0:58:11.360 --> 0:58:13.200 that I feel this generation will. 0:58:15.000 --> 0:58:17.560 Pick I don't know. I mean that generation will pick 0:58:17.640 --> 0:58:19.480 up on it now, Yeah, yeah, I think. 0:58:19.520 --> 0:58:22.160 But previous generations I think it was a problem because 0:58:22.280 --> 0:58:24.560 people just too arrogant, like this is an American music, 0:58:24.600 --> 0:58:25.360 they don't sound like me. 0:58:25.840 --> 0:58:28.520 I think it's the question we're talking about it a little. Definitely, 0:58:28.640 --> 0:58:31.000 it's the d M thing as well, it's like, in 0:58:31.080 --> 0:58:33.960 a way EDM was a good thing. I mean, I 0:58:34.000 --> 0:58:37.080 don't like the music particularly right, but what EDM did 0:58:37.200 --> 0:58:40.000 is it kind of put dance music into the head 0:58:40.040 --> 0:58:42.520 of radio programmers, into the head of people who might 0:58:42.560 --> 0:58:45.400 want to be produced or remixed by David Getter, major 0:58:45.640 --> 0:58:49.800 major artists, and it slowly was the doorway into a 0:58:50.000 --> 0:58:54.840 sound that America wasn't used to. And eventually the drips 0:58:54.880 --> 0:58:56.880 will get you to drum and bass. It's kind of 0:58:56.920 --> 0:58:58.520 the doorwards. 0:59:00.080 --> 0:59:01.040 The doorway is there. 0:59:01.480 --> 0:59:04.960 And because up until then dance music and everything that 0:59:05.040 --> 0:59:06.840 came out of dance music, it was a little bit, 0:59:06.920 --> 0:59:08.080 you know, it was like is it gay? 0:59:08.640 --> 0:59:10.520 Is it you know? You know, is it right? 0:59:10.920 --> 0:59:14.040 You know, so you'd have to go to Miami Winter 0:59:14.160 --> 0:59:16.920 Music Conference and that was like where we'd all meet. 0:59:17.000 --> 0:59:19.479 But it was underground in America a little bit. In fact, 0:59:19.560 --> 0:59:21.760 in a way, it's probably twenty or thirty years behind 0:59:22.200 --> 0:59:24.680 when I was going to my weekends when I was sixteen. 0:59:24.760 --> 0:59:27.640 It was almost like going to Miami Winter Music Conference 0:59:27.720 --> 0:59:32.080 thirty years later. And you know, yeah, that's probably. But 0:59:32.200 --> 0:59:34.640 I think it's getting their radio is changing. I think 0:59:34.720 --> 0:59:37.240 that people are slipping it in and producers are more 0:59:37.280 --> 0:59:38.960 prepared to cross reference. 0:59:39.320 --> 0:59:39.640 I don't know. 0:59:39.760 --> 0:59:42.439 I mean, like the new Drake record. You know there's 0:59:42.480 --> 0:59:44.920 that song which is kind of a house record, there's. 0:59:44.720 --> 0:59:48.720 This Are you shocked at how I'm glad he did 0:59:48.800 --> 0:59:54.880 it because for me, like I didn't think that quote 0:59:54.920 --> 0:59:57.640 real house. The first president I thought about was like 0:59:58.280 --> 1:00:02.800 King brit I thought about, you know, because if anyone, 1:00:02.920 --> 1:00:06.200 he's been trying to hold this tradition up in Philadelphia 1:00:06.240 --> 1:00:10.040 for so long that it dwindled a little bit where 1:00:10.120 --> 1:00:14.320 you know, it's falling on deafiar's only certain people would 1:00:14.360 --> 1:00:16.600 would would gravitate towards it. And it's almost to the 1:00:16.640 --> 1:00:20.520 point where like we've now throw Sunday afternoon parties, so 1:00:20.640 --> 1:00:24.960 instead of Thursday nights, you know, from nine till three 1:00:25.000 --> 1:00:28.360 in the morning, now it's like Sunday afternoon in the 1:00:28.440 --> 1:00:30.600 park at one pm with you and your kids and 1:00:30.680 --> 1:00:34.760 your grandkids, and it's it's it's that's the moment. But 1:00:36.120 --> 1:00:41.360 now that Drake has has you know, leaned heavily on 1:00:41.440 --> 1:00:46.640 the South African house culture and really opened the door. Uh, 1:00:47.120 --> 1:00:50.480 do you feel as though that's a good thing or 1:00:50.560 --> 1:00:51.000 a bad thing. 1:00:51.160 --> 1:00:52.920 That's a good thing, I mean, there's nothing wrong with 1:00:53.000 --> 1:00:55.320 any of that, especially that he's got Moody Man on 1:00:55.360 --> 1:00:55.840 his record. 1:00:56.240 --> 1:01:01.280 Yeah, I'm so jealousy. That's I love it. I used 1:01:01.320 --> 1:01:02.760 to just play that sample alone with. 1:01:02.760 --> 1:01:04.600 The Strake song you're talking about. 1:01:05.360 --> 1:01:10.880 Superman is the one he did the Coffee but I 1:01:10.920 --> 1:01:12.080 can't remember the name of that song. 1:01:12.400 --> 1:01:17.120 With the Guys record on again, he's like talking, there's 1:01:17.160 --> 1:01:18.760 a recording of a guy, Moody Man. 1:01:18.840 --> 1:01:22.160 Who's this It's a recording of him DJ. Yeah, No, 1:01:22.280 --> 1:01:23.720 I know the I know the Moody Man reg I 1:01:23.720 --> 1:01:25.800 didn't know the Drink record which one he I didn't. 1:01:25.640 --> 1:01:27.520 Yeah, it's on the album. I can't remember what it's called. 1:01:28.120 --> 1:01:30.920 I'll look it up, but it's quite interesting. It's interesting 1:01:31.800 --> 1:01:33.600 that that's happening. But I think it's you know, you 1:01:33.640 --> 1:01:36.200 know all of it. It's just it's just in you know. 1:01:36.480 --> 1:01:39.040 And at the moment the music that I'm finding really 1:01:39.240 --> 1:01:41.560 brilliant and I love it as the sort of subculture 1:01:41.680 --> 1:01:44.320 is all that stuff from Chicago, all the footwork stuff. 1:01:44.360 --> 1:01:48.200 For me, the one sixty bpm stuff is really exciting. 1:01:48.240 --> 1:01:50.200 And I dropped that wherever I dropped that. That's like 1:01:50.400 --> 1:01:52.720 my biggest music if I'm sort of, you know, at 1:01:52.760 --> 1:01:54.800 a festival, the moment I need to kind of bring 1:01:54.880 --> 1:01:55.280 them all in. 1:01:55.800 --> 1:01:57.000 I'll play some footwork, so. 1:01:57.200 --> 1:02:00.760 Another level of Chicago House. Sorry just asking another level Chicago. 1:02:00.960 --> 1:02:05.400 And stuff like that. Yeah, yeah, it's super fast. They'll 1:02:05.400 --> 1:02:06.439 take like the pac Man. 1:02:06.440 --> 1:02:15.800 Theme comusic because that sounds like Baltimore House. 1:02:16.320 --> 1:02:21.560 It's Baltimore House on steroids. It is like move jump 1:02:21.600 --> 1:02:27.480 jack your body. Now play that on forty five, but 1:02:27.680 --> 1:02:37.800 dance to it on thirteen. It's kids, Kids Today. So Jiles, 1:02:37.840 --> 1:02:44.480 You've seen a lot of historical magic moments in your career, 1:02:45.800 --> 1:02:49.400 throwing shows, having people come by to record on your show. 1:02:51.440 --> 1:02:54.800 Half of the show that we did with Pharrell at 1:02:54.800 --> 1:02:59.440 the Roots Picnic last month was based on the performance 1:02:59.480 --> 1:03:02.560 that any art he did on the worldwide show. So 1:03:02.760 --> 1:03:06.040 that was like that was inspiration, like taking off his 1:03:06.200 --> 1:03:08.760 music and then filtering it. I can't wait, it's it's 1:03:08.840 --> 1:03:10.120 it's it's it's awesome. 1:03:10.240 --> 1:03:19.400 It was amazing. Thank you, So, like what what. 1:03:21.440 --> 1:03:23.720 What were some of the magic moments that you saw? 1:03:23.880 --> 1:03:28.200 Like some of the first I mean talking to is 1:03:28.480 --> 1:03:31.480 not that said Jazz Caffeice talking to Pharrell. 1:03:31.600 --> 1:03:34.480 Actually there was a week and Winter Music Conference. There 1:03:34.520 --> 1:03:36.919 was a week before Winter Music Conference where I got 1:03:37.320 --> 1:03:43.160 the d demos from from from the demos with Rise 1:03:43.200 --> 1:03:45.280 were too too high on it to fly on it 1:03:45.320 --> 1:03:47.760 and all that stuff. And the same week as that 1:03:47.920 --> 1:03:50.040 I got the n r D album, the first one, 1:03:50.320 --> 1:03:54.040 the one before they went because they the digital version, 1:03:54.080 --> 1:03:55.040 which is always better. 1:03:56.280 --> 1:04:00.400 Shut up? Can I get? Can I get? 1:04:10.000 --> 1:04:14.120 For years we were arguing that in rehearsal, like to 1:04:14.200 --> 1:04:16.680 stick true to the synthetic an e r D or 1:04:16.760 --> 1:04:19.320 the live an e r D. Spot Man, I realized 1:04:19.360 --> 1:04:21.360 it was my band, so I got the last say. 1:04:21.840 --> 1:04:25.720 But why do you feel Neptune's an e r D 1:04:25.920 --> 1:04:28.360 first record is because that's. 1:04:28.280 --> 1:04:29.920 What it was. It was. 1:04:30.160 --> 1:04:32.720 It was when they tried to when they redid it 1:04:32.920 --> 1:04:34.680 and did it with the live iss it felt to 1:04:34.720 --> 1:04:36.880 me like they were trying to make it go to 1:04:37.040 --> 1:04:40.200 a bigger audience, quote unquote, But it was never going 1:04:40.280 --> 1:04:42.840 to be that record. It was always the Neptunes anesthetic 1:04:43.000 --> 1:04:46.800 was always to that point, always just sounds The. 1:04:46.840 --> 1:04:49.439 Digital version just sounds anemic after hearing the live version. 1:04:49.520 --> 1:04:51.480 But that's how all the stuff sounded though. But that 1:04:51.640 --> 1:04:54.200 was the I think the songs benefit better from the 1:04:54.200 --> 1:04:54.920 live arrangements. 1:04:55.120 --> 1:04:55.920 I don't think the song. 1:04:56.120 --> 1:04:56.800 I think the song. 1:04:57.080 --> 1:05:00.080 The songs were like kind of not cheesy songs, but 1:05:00.160 --> 1:05:03.200 they were like cheap and plastic, like the production like brain. 1:05:03.320 --> 1:05:05.360 I mean, I really need to call in a fucking 1:05:05.440 --> 1:05:08.040 band to sing about getting some head like Nigga really, 1:05:09.600 --> 1:05:10.880 I mean he had choice. 1:05:13.680 --> 1:05:17.120 I give Fante's point that I feel like the the 1:05:17.320 --> 1:05:21.440 wonder that is Pharrell is sort of like when you're 1:05:21.520 --> 1:05:26.360 singing in the bathroom mirror with a brush. It's it's cheap, 1:05:26.480 --> 1:05:29.280 plastic sounding music that's made legit. 1:05:29.320 --> 1:05:32.720 Yeah, because it's a boat and it nails the performance 1:05:33.320 --> 1:05:35.200 and it makes you feel inclusive because it's like, oh, 1:05:35.280 --> 1:05:39.000 I can do this too. It's not like super intellectual, 1:05:39.480 --> 1:05:40.680 but then it's intellectual. 1:05:41.880 --> 1:05:42.520 I could do this too. 1:05:42.520 --> 1:05:43.920 You'll make it sound so easiest for real. 1:05:44.000 --> 1:05:45.880 But what is farrel singing have to do with the instrumentation? 1:05:46.680 --> 1:05:48.560 I mean, just in terms of the songs, I mean 1:05:48.680 --> 1:05:52.040 just the songs when I'm when I said, just his lyrics, So. 1:05:52.360 --> 1:05:57.600 His lyrics also compliment his musical level. 1:05:57.400 --> 1:05:59.280 Of music Snobberies on an all time high. 1:05:59.640 --> 1:06:03.520 I like disparity, though the expedition of the opposites. 1:06:05.160 --> 1:06:08.480 Juvenile lyrics and why you just think for was cute 1:06:08.560 --> 1:06:11.840 and let's just go with that, we go down rabbit hole. 1:06:11.920 --> 1:06:13.400 No, no, I'm a fan of the music. 1:06:13.480 --> 1:06:15.720 I just don't have those words. And I just say 1:06:15.920 --> 1:06:17.840 again that the album was dope and I don't need it. 1:06:18.080 --> 1:06:20.240 You don't know why when you like to know why 1:06:20.280 --> 1:06:21.520 it works and why it doesn't work. 1:06:22.000 --> 1:06:23.920 It worked for me as a listener, though, what. 1:06:24.280 --> 1:06:26.040 Worked about it for you? What was it about the record? 1:06:26.120 --> 1:06:29.800 Talk talk about run to the Sun? About it? Talk 1:06:29.840 --> 1:06:31.640 about the song? What is it? What is it in 1:06:31.720 --> 1:06:34.280 the song that I was moved? 1:06:34.480 --> 1:06:36.600 Like for me, I'm a listener, so I'm not a musician, 1:06:36.640 --> 1:06:38.640 so I won't go you know, the streams weren't right 1:06:38.640 --> 1:06:42.280 here his people about I was moved like run to 1:06:42.360 --> 1:06:44.520 the Sun with something I never that whole is something 1:06:44.560 --> 1:06:47.040 that the lyrics that yeah, and then once you realize 1:06:47.080 --> 1:06:49.520 about his Grandmam and everybody else has a moment. 1:06:49.360 --> 1:06:51.760 Of like it's it's spoke to you on that level. 1:06:52.200 --> 1:06:54.240 I'm a listener. I don't make it. I listened to it, 1:06:54.280 --> 1:06:54.840 and I get I. 1:06:54.840 --> 1:06:57.200 Don't make it either. I think stuff too. 1:06:57.520 --> 1:06:59.680 You don't try and act like you're just a common 1:07:00.680 --> 1:07:03.080 the comp you've been if anyone of all of us, 1:07:03.240 --> 1:07:06.200 you've been on commercial radio more than anything, you're you're 1:07:06.360 --> 1:07:09.480 you're the system, right I am I have because you're 1:07:09.520 --> 1:07:13.480 the system, Like you're not the listener on you were 1:07:13.600 --> 1:07:14.400 the radio, right. 1:07:14.440 --> 1:07:16.240 And I was the one that was saying, and it's funny, 1:07:16.240 --> 1:07:18.720 that's why I was speaking about the differences between Excepting 1:07:18.840 --> 1:07:21.960 music and Europe and and and here is we had 1:07:22.000 --> 1:07:23.720 to tell people to listen to n E r D. 1:07:23.880 --> 1:07:26.440 We couldn't play it. So I had to constantly be like, 1:07:26.880 --> 1:07:28.640 this is the ship, y'all need to listen. 1:07:28.720 --> 1:07:30.800 You have to tell your program department people like no, 1:07:30.920 --> 1:07:32.200 I told my listeners. 1:07:32.360 --> 1:07:34.320 Oh, like you guys weren't playing the records. You were 1:07:34.360 --> 1:07:35.520 just but you were still telling them to go check 1:07:35.520 --> 1:07:35.760 it out. 1:07:36.080 --> 1:07:38.760 Wow yeah yeah an THERD Yeah, that's stuff didn't get 1:07:38.840 --> 1:07:39.920 no no play like that. 1:07:40.240 --> 1:07:41.920 I mean, there were some commercial records that we had 1:07:41.960 --> 1:07:44.160 to say, like, why aren't you we playing video India 1:07:44.200 --> 1:07:45.080 Area Advance was. 1:07:45.080 --> 1:07:51.120 Getting played on on BT and cut Yes, yes, I 1:07:51.440 --> 1:07:52.200 forgot about that. 1:07:52.320 --> 1:07:54.000 That was it and all the Girls, That's a whole 1:07:54.000 --> 1:07:57.560 another album, Standing in the Line with a Bathroom was so. 1:08:00.840 --> 1:08:04.840 Come signing me on the Electronic Nerd album Full Validated. 1:08:06.000 --> 1:08:06.640 I feel like. 1:08:08.160 --> 1:08:11.800 I feel like people that co signed the first any 1:08:11.920 --> 1:08:14.280 r D record are also the same people that say, like, well, 1:08:14.320 --> 1:08:16.880 I like Off the Wall better than Thriller because you're 1:08:16.920 --> 1:08:17.400 supposed to. 1:08:17.600 --> 1:08:17.800 Nah. 1:08:19.200 --> 1:08:21.680 I mean, I'm not with you then, because I think 1:08:21.840 --> 1:08:23.519 I like Off the Wall better than Thriller, but not 1:08:23.880 --> 1:08:24.439 for that reason. 1:08:25.600 --> 1:08:28.880 Off the Wall, especially as you get older too, like 1:08:29.520 --> 1:08:33.000 always thrill thrill, Thriller was more consistent because I still 1:08:33.040 --> 1:08:34.559 don't you don't see it as equally as great. 1:08:34.880 --> 1:08:37.040 Well, because I don't listen to I skip She's out 1:08:37.080 --> 1:08:38.960 of my life and I skip it's the falling in 1:08:39.040 --> 1:08:42.840 love and Thriller, like I skip beat it every time 1:08:42.840 --> 1:08:43.439 I play Thriller. 1:08:44.000 --> 1:08:45.120 Half a Thriller. I can't listen to. 1:08:45.200 --> 1:08:47.880 We don't listen to Thriller because Thriller is not a record. 1:08:49.040 --> 1:08:58.400 It's not a record, so it's not an album. So anyway, 1:08:58.520 --> 1:09:00.640 y'all beside what. 1:09:09.240 --> 1:09:11.519 Wow, great moments. 1:09:11.680 --> 1:09:13.920 The moment that one of the early great moments that 1:09:13.960 --> 1:09:16.719 I remember very clearly right now was was a weekend 1:09:16.760 --> 1:09:20.360 of that I organized and I remember we put on 1:09:20.520 --> 1:09:24.040 Tribe Call Quest in the UK first show ever, and 1:09:24.240 --> 1:09:26.120 it was in one of those holiday resorts in the 1:09:26.160 --> 1:09:28.400 middle of nowhere again because they were we could hire 1:09:28.439 --> 1:09:31.840 these places for cheap. And it was Tribe Coal Quest, 1:09:33.600 --> 1:09:39.440 Pharaoh Sonders on the same bill, Brand New Heavies, Galiano, 1:09:39.840 --> 1:09:42.840 Jimmy Rokui. So it was like that acid jazz meets 1:09:43.600 --> 1:09:47.320 America meets the sort of spiritual jazz godfathers. 1:09:47.520 --> 1:09:49.320 So that was that. That was that was a big one. 1:09:49.400 --> 1:09:51.000 That's amazing, remember that very well. 1:09:51.320 --> 1:09:54.360 It was a great night, good night America would never 1:09:54.400 --> 1:09:54.640 get that. 1:09:55.720 --> 1:09:59.680 Okay, can I say, now, are your listeners still your 1:09:59.760 --> 1:10:03.600 list from twenty years before or are do you have 1:10:03.640 --> 1:10:06.400 a generation of listeners that are open to new music? 1:10:06.439 --> 1:10:10.880 Because I'll say, the one thing that I find kind 1:10:10.920 --> 1:10:15.840 of unpenetrable, uh in DJing now as opposed to back then, 1:10:17.439 --> 1:10:24.600 is the boldness of playing the unknown without repercussions. It's like, 1:10:24.760 --> 1:10:29.799 I borderline have to trick them to listening to something 1:10:29.920 --> 1:10:33.760 dope because I had to disguise it with you know, 1:10:33.920 --> 1:10:35.960 three songs that they know. Then I'm gonna hit you 1:10:36.080 --> 1:10:38.240 with you know the shit that I like, and then 1:10:38.360 --> 1:10:41.360 right before the dance war clears, I'll you know, it's 1:10:41.400 --> 1:10:43.720 like a system that you have to have. Do you 1:10:43.800 --> 1:10:50.920 find it harder now? Uh, facing audiences of unknown music, I. 1:10:51.080 --> 1:10:52.800 Just need them before. I need more time. 1:10:53.040 --> 1:10:56.559 So if people book me now, I say five six hours, 1:10:57.280 --> 1:10:58.639 you need me to play that long. 1:10:58.560 --> 1:11:00.439 Because the problem you redeem yourself in cases. 1:11:00.960 --> 1:11:02.720 That's the generations I've got, you know, I've got the 1:11:02.760 --> 1:11:04.400 people who come and listen to me and they're like, Oh, 1:11:04.400 --> 1:11:06.720 I really like that record you made in Cuba, or 1:11:06.840 --> 1:11:08.840 I love the Brazilian stuff you do, or I love 1:11:08.920 --> 1:11:11.799 that kind of new bass music you're playing from South London. 1:11:11.960 --> 1:11:13.599 So at the end of the day, all these different 1:11:13.600 --> 1:11:14.960 people are coming for different. 1:11:14.720 --> 1:11:15.200 Bits of me. 1:11:15.400 --> 1:11:17.559 So I need to say, look, I'll do the whole thing, 1:11:17.840 --> 1:11:20.240 the full journey, but I need five to six hours 1:11:20.280 --> 1:11:22.320 on a great sound system. That's why I love playing 1:11:22.360 --> 1:11:24.479 at output all places like you know, like that way 1:11:24.520 --> 1:11:27.240 you can, but it's more work. But that's the only 1:11:27.320 --> 1:11:30.120 way I can kind of give them. I feel better 1:11:30.160 --> 1:11:31.599 at the end of the night. There's nothing worse. 1:11:31.920 --> 1:11:36.320 You're literally the only person I know besides myself. I 1:11:36.439 --> 1:11:41.280 love marathon gigs and love them. You're the only person like, Uh, 1:11:42.880 --> 1:11:46.679 next week I'm going to do an eight hour gig, 1:11:47.560 --> 1:11:52.240 it's and promoters are always scratched. Head scratching because most DJs, Wow, 1:11:52.360 --> 1:11:52.920 that's the normal. 1:11:53.040 --> 1:11:54.120 I said, Wow, that's long. 1:11:54.160 --> 1:11:57.200 Oh oh no, that's normal. I mean you think I 1:11:57.280 --> 1:11:59.880 get long winded answers to see my DJs? 1:12:05.880 --> 1:12:06.200 That one. 1:12:06.760 --> 1:12:09.040 Those ten to four am gigs were my favorite. Yeah, 1:12:09.080 --> 1:12:11.280 I'm just saying that it's not you've got to have. 1:12:11.360 --> 1:12:12.200 I mean, the thing is on. 1:12:12.439 --> 1:12:15.000 When I played Output the other day in Brooklyn, I 1:12:15.520 --> 1:12:19.640 played the full sixteen minute version at peak time off, 1:12:19.720 --> 1:12:22.160 I thought it was you, but I hope you direct 1:12:22.600 --> 1:12:26.000 Japanese version, right, that one? That one right, which is 1:12:26.080 --> 1:12:28.040 the best version of I thought it was you all 1:12:28.120 --> 1:12:30.360 sixteen minutes. I think it's sixty enough minutes long, right, 1:12:30.680 --> 1:12:32.800 But if I hadn't been playing for five hours, I 1:12:32.800 --> 1:12:34.200 wouldn't if that would have been a quarter of my 1:12:34.320 --> 1:12:36.800 one hour set, you know. So the fact, but to 1:12:36.880 --> 1:12:39.040 be able to play that and for people to because 1:12:39.080 --> 1:12:41.000 then people get because at the beginning, people are looking 1:12:41.000 --> 1:12:42.640 at you, especially when you come to America. For me, 1:12:42.720 --> 1:12:44.360 they come and they're looking at you, going give me 1:12:44.439 --> 1:12:47.639 a show. I'm like, no, I'm a DJ. Right dance 1:12:47.720 --> 1:12:49.640 and let me get into my zone because I'm not 1:12:49.680 --> 1:12:50.840 a performer in that way. 1:12:51.240 --> 1:12:53.599 Yeah, I want to ask because every time, like when 1:12:53.600 --> 1:12:56.320 I go out, I see people like now, DJ culture 1:12:56.479 --> 1:13:00.679 is the it, and it's like you're doing it wrong, 1:13:00.760 --> 1:13:02.800 Like how did how have you adapted to that? Like 1:13:02.880 --> 1:13:04.720 how does the audience adapt to you being a pure 1:13:04.760 --> 1:13:05.479 DJ in that way? 1:13:05.640 --> 1:13:07.519 Well, you just have to keep doing it, I think that, 1:13:07.880 --> 1:13:10.519 and you've got to accept that. You know, there'll be 1:13:10.600 --> 1:13:15.280 people taking five and that even though they're not dancing, 1:13:15.479 --> 1:13:17.760 they are into it because I think initially I was like, 1:13:17.840 --> 1:13:19.600 oh no, they don't like it, but they hadn't but 1:13:19.680 --> 1:13:20.280 they haven't left. 1:13:20.400 --> 1:13:22.680 That's when you came here, right, you hadn't experienced then 1:13:22.720 --> 1:13:23.320 a little bit of that. 1:13:23.400 --> 1:13:24.880 I mean the first time I ever went to Japan, 1:13:24.920 --> 1:13:26.120 I remember thinking my god. 1:13:28.000 --> 1:13:32.360 No, no, yeah, you think you're bombing. But after the shi, yeah, 1:13:32.439 --> 1:13:32.760 they love it. 1:13:33.120 --> 1:13:34.599 They give you an uncle. But it's kind of it's 1:13:34.760 --> 1:13:37.439 that's a weird thing. But no, I think it's it's good. 1:13:37.439 --> 1:13:39.840 I think people are getting down, people are beginning to 1:13:39.960 --> 1:13:42.439 understand the etiquette of going out to hear a DJ. 1:13:42.560 --> 1:13:42.680 Now. 1:13:42.680 --> 1:13:44.160 I think a few years ago it was like there 1:13:44.240 --> 1:13:46.360 was especially in the States because they was like unless 1:13:46.479 --> 1:13:49.360 you were going to the proper real clubs and. 1:13:49.479 --> 1:13:50.879 You're going to like a festival. 1:13:51.000 --> 1:13:54.600 I remember playing at Coachella and six years ago and 1:13:55.120 --> 1:13:57.880 I was like, am I really this is terrible, you know, 1:13:58.439 --> 1:14:00.320 but it was just the way because there was no 1:14:01.320 --> 1:14:04.040 you know, there was no festival culture for DJs like me. 1:14:04.360 --> 1:14:06.920 You know, there was festival culture for techno DJs like 1:14:07.040 --> 1:14:09.280 you know, cult, but for people like me who went. 1:14:09.320 --> 1:14:11.840 Through it, it was a little bit odd. But it's 1:14:11.880 --> 1:14:14.800 getting there here in peace. Since I love By the way, I. 1:14:17.280 --> 1:14:20.479 Asked you about the time you came to Philly and 1:14:20.560 --> 1:14:22.599 went to James Poorser's dad's church. 1:14:23.000 --> 1:14:30.120 Oh wow, Yeah, that's right, that's right. Why it's what 1:14:30.320 --> 1:14:33.720 we live in Philly. Yeah. Oh. 1:14:34.320 --> 1:14:36.439 I have to say, the first person I really fell 1:14:36.479 --> 1:14:39.240 in love with apart from Erica bad whilst interviewing her, 1:14:39.960 --> 1:14:44.240 was and probably in fact more so than Erica, was 1:14:44.840 --> 1:14:48.280 Jill Scott. I remember interviewing her when she just released 1:14:48.320 --> 1:14:49.240 her first record. 1:14:49.000 --> 1:14:49.920 Who Is Jill Scott? 1:14:50.040 --> 1:14:52.559 And I was so in like when I met her, 1:14:52.680 --> 1:14:55.720 I just absolutely fell apart and and and really really 1:14:55.800 --> 1:14:56.639 really liked her a lot. 1:14:56.720 --> 1:15:00.439 And obviously that's what it was, but but it made 1:15:00.439 --> 1:15:06.320 me want to come to Philly. We all haven't called. 1:15:08.040 --> 1:15:09.479 It's actually a segment on the show. 1:15:10.840 --> 1:15:12.960 We haven't been all kinds of ways, even when she's 1:15:13.000 --> 1:15:13.400 not trying. 1:15:13.520 --> 1:15:15.599 You never fell in love with James Poyser though, right. 1:15:18.160 --> 1:15:23.839 Was waiting for James. He the Yep, it's Amir Thompson. 1:15:25.000 --> 1:15:30.439 I know, yes, and about uh seven. 1:15:32.240 --> 1:15:34.160 You remember I used to always call you during my 1:15:34.560 --> 1:15:38.360 radio show when someone mentions your name. Yes, okay, So 1:15:38.479 --> 1:15:41.200 I have Jiles Peterson here and he just wanted to 1:15:41.600 --> 1:15:43.679 let you know that you're really really cool. 1:15:45.720 --> 1:15:49.160 Baby. How you do? How you doing? We're kind of 1:15:49.240 --> 1:15:50.519 janky with the communication here. 1:15:50.640 --> 1:15:54.240 So now I know you're not gonna hug Jiles for me, 1:15:54.320 --> 1:15:55.040 but try. 1:15:56.000 --> 1:15:57.920 I will hug Giles just you. 1:15:58.960 --> 1:16:02.800 Yeah, yeah, yeah, I have it with Jill. 1:16:04.800 --> 1:16:06.160 Are you in Atlanta right now? 1:16:07.120 --> 1:16:09.040 I am How do you know everything? 1:16:09.560 --> 1:16:12.240 I know everything you do? Jill Scott, I do you 1:16:12.400 --> 1:16:13.000 know everything? 1:16:13.120 --> 1:16:13.799 It's weird. 1:16:14.520 --> 1:16:16.879 He's got jps start. 1:16:21.760 --> 1:16:26.280 Your position. I ask about you often, Jill. 1:16:27.280 --> 1:16:29.360 Oh, you can always just call me Sucker. 1:16:31.920 --> 1:16:38.720 Anyway next time your name on the radio. So thank you, 1:16:39.479 --> 1:16:43.000 love you, baby, bye bye. So I had I had 1:16:43.000 --> 1:16:45.040 a question about celebrity DJs. Is that a thing in 1:16:45.080 --> 1:16:46.599 Europe as much as it is here? 1:16:46.760 --> 1:16:48.960 Well, it is the thing because DJ culture is just 1:16:49.080 --> 1:16:51.120 so normalized now in a way, so you're going to 1:16:51.200 --> 1:16:53.080 get that side of it. But on the other hand, 1:16:53.160 --> 1:16:55.960 you're still going to get you know. The funny thing 1:16:56.080 --> 1:16:58.000 is in the UK at the moment, if you were 1:16:58.080 --> 1:17:00.200 like a celebrity DJ and you were to me, you'll 1:17:00.200 --> 1:17:02.920 probably you know, play to big audiences and stuff. But 1:17:04.320 --> 1:17:07.840 people like full TETs, who's a sort of left field 1:17:08.040 --> 1:17:11.559 techno DJ. They're the guys who are getting the biggest 1:17:11.640 --> 1:17:15.439 numbers and the biggest audiences. It's not the kind of 1:17:15.920 --> 1:17:18.880 celebrity DJs in that sense, or maybe that is happening, 1:17:19.000 --> 1:17:24.200 but the left field, more progressive underground that's what the 1:17:24.280 --> 1:17:25.200 kids are really looking for. 1:17:25.240 --> 1:17:26.840 I don't know if that's answering the question, but no 1:17:26.920 --> 1:17:29.280 one from like take that or a rabbie like We've 1:17:29.320 --> 1:17:36.360 got Yeah that was like a couple of years away. 1:17:36.360 --> 1:17:40.120 Who is he opened? Yeah, I forgot. I used to 1:17:40.200 --> 1:17:43.200 do a few gigs with them. But that's. 1:17:44.800 --> 1:17:47.360 Like a musicians saying it's a bit like I don't know, 1:17:47.520 --> 1:17:49.200 it's like a bit like I mean, I think Woody 1:17:49.240 --> 1:17:51.479 Allen takes his music seriously, but I see it as 1:17:51.600 --> 1:17:55.519 like it's like, you know, they're like amateur musicians, you know, 1:17:55.880 --> 1:17:57.000 but they're not the real thing. 1:17:57.040 --> 1:17:58.000 I mean, a real DJ. 1:17:58.120 --> 1:18:00.679 And I really believe in DJ culture and the awe 1:18:00.760 --> 1:18:03.479 of djaying and the heritage of djaying, you know. I 1:18:03.560 --> 1:18:06.360 thank you David Mankuzo and all the guys who set 1:18:06.400 --> 1:18:08.080 it up for us. But there's an ought to it, 1:18:08.600 --> 1:18:12.000 and that celebrity scene is just a little bit of 1:18:12.320 --> 1:18:14.400 you know, bubblegum somewhere. 1:18:14.560 --> 1:18:18.280 But there's there's a word that I'm looking for. I 1:18:18.320 --> 1:18:22.599 think it might be integrity. Okay, that's what you guys 1:18:22.720 --> 1:18:25.639 have that we don't have no more in the United States. 1:18:26.320 --> 1:18:32.920 So from the White House all it's different, like the 1:18:33.040 --> 1:18:34.439 fact that you would still. 1:18:35.840 --> 1:18:40.760 What you said was correct, but because I'm immersed and 1:18:41.160 --> 1:18:44.200 living in this new alternative reality that we're in right 1:18:44.280 --> 1:18:47.120 now where you're competing with like the Paris Hiltans and yeah, 1:18:47.200 --> 1:18:51.679 where you know, I've there's a few DJ gigs where 1:18:53.240 --> 1:18:56.280 I mean I I have an agent that has a 1:18:56.360 --> 1:19:01.639 few actors or whoever, and their money. It's like crazy, 1:19:01.680 --> 1:19:04.560 It's like three hundred thousand, four hundred thousand dollars, Like, 1:19:05.840 --> 1:19:07.000 and I'm just mind blown. 1:19:07.080 --> 1:19:08.080 But that's just. 1:19:09.680 --> 1:19:12.320 I mean, you're just like, that's just how it is. Yeah, 1:19:12.360 --> 1:19:14.720 I mean you either accept it or you fight it. 1:19:14.920 --> 1:19:18.000 And I guess maybe in my older age, I'm not 1:19:18.280 --> 1:19:21.120 trying to fight it. Like there's other fights I can. 1:19:21.120 --> 1:19:21.639 Have out there. 1:19:21.720 --> 1:19:24.759 Besides, why is this DJ giving four hundred thousand dollars 1:19:24.840 --> 1:19:26.439 and not me? You know that sort of thing. 1:19:26.520 --> 1:19:34.960 Wow, Yeah, DJ culture is becoming how do I do it? 1:19:35.840 --> 1:19:38.400 See if you were to move to the States. Here's 1:19:38.400 --> 1:19:42.679 the here's the funny thing. What's what's weird about American 1:19:42.760 --> 1:19:46.840 culture is that we are so obsessed with getting in 1:19:46.920 --> 1:19:51.040 the king's throne, like with hip hop, with DJing, with anything, 1:19:51.200 --> 1:19:54.479 like everyone wants to be the top person and they're 1:19:54.600 --> 1:19:57.880 fighting for it. No, no, no other scraps will do that. 1:19:58.040 --> 1:20:04.320 There's a whole middle level that's absolutely empty. And thus 1:20:04.640 --> 1:20:07.519 I've made a home in the middle level, Like I 1:20:07.560 --> 1:20:11.200 would never want to fight for jay Z's throne or 1:20:11.360 --> 1:20:15.320 Drake's throne or I'm in the DJ world right now. 1:20:15.479 --> 1:20:20.800 Pretty lights makes the most. Calvin Harris, who shockingly in 1:20:20.880 --> 1:20:23.760 my conversations with him, is almost like talking to you 1:20:24.000 --> 1:20:29.120 like he thinks like you, an aesthetically has you and 1:20:29.320 --> 1:20:33.560 probably Fonte and Bill's education and knowledge of music, but 1:20:33.760 --> 1:20:35.599 he knows where. 1:20:37.160 --> 1:20:37.320 Right. 1:20:37.760 --> 1:20:42.479 So it's like everyone's fighting for that position. So they'll 1:20:42.600 --> 1:20:46.400 scoff at like a cat. Like Diplo would laugh at 1:20:47.160 --> 1:20:51.880 one hundred and fifty thousand dollars, you know, Christmas party 1:20:53.000 --> 1:20:56.640 carper DJ gig for Viacom. They would laugh at that 1:20:56.720 --> 1:21:00.120 shit because they're now playing Madison Square Garden. 1:21:00.600 --> 1:21:02.599 For two three million dollars. 1:21:03.400 --> 1:21:07.960 So it's like there's a middle ground that you know, 1:21:08.600 --> 1:21:11.120 underground is like you're you're you're fighting with everyone else 1:21:11.160 --> 1:21:13.559 to get underground gigs. But if you managed to make 1:21:13.600 --> 1:21:15.720 a name like a person like you could come to 1:21:15.800 --> 1:21:18.240 the States right now and do these middle ground gigs 1:21:18.439 --> 1:21:23.400 and hitching like that's where it is. And I absolutely 1:21:23.560 --> 1:21:32.040 just gave uk get everyone. Everyone unheard what you what. 1:21:32.120 --> 1:21:37.439 I just said to you? Man? So what not? Like 1:21:37.680 --> 1:21:41.600 what's the future for Jalles Peterson? Like is this to you? 1:21:41.880 --> 1:21:42.080 Is this? 1:21:44.080 --> 1:21:46.040 Is this a good end game for you? Is this 1:21:46.200 --> 1:21:48.360 what you always wanted? Yeah? This is the best I'm 1:21:48.400 --> 1:21:49.599 having the best fund of my life. 1:21:49.680 --> 1:21:51.760 I really am. I've been DJing for thirty years. I 1:21:51.880 --> 1:21:54.439 travel around the world. I'm still passionate about music. I 1:21:54.520 --> 1:21:59.080 connect with people, I communicate for the music. My mental 1:21:59.280 --> 1:22:02.360 artists bring it through. I don't think there's a better game. Really, 1:22:02.400 --> 1:22:06.840 there's more there isn't you know. I mean, I keep 1:22:06.880 --> 1:22:09.320 saying I'm going to give up DJing. I was going 1:22:09.360 --> 1:22:11.640 to give up at forty. It didn't happen, you know, 1:22:11.880 --> 1:22:13.120 And I'm actually, I'm actually. 1:22:12.880 --> 1:22:14.320 What made you want to give it up? Well? I 1:22:14.439 --> 1:22:16.559 just thought you had a bad DJ? 1:22:16.720 --> 1:22:18.760 Yeah, loads, But the thing is you have to have 1:22:18.800 --> 1:22:20.800 your bad gigs to enjoy the good ones, obviously. But 1:22:21.320 --> 1:22:24.599 but the thing is with I thought forty was too 1:22:24.600 --> 1:22:27.120 old to be a DJ, you know, when I was thirty, 1:22:27.320 --> 1:22:31.320 I thought, yeah, old DJ. Yeah, But actually no, I mean, 1:22:31.360 --> 1:22:35.519 the funny thing is, I'm I'm better. I'm the best 1:22:35.560 --> 1:22:37.479 I've ever been. So I want people to hear me 1:22:37.800 --> 1:22:40.920 being more experienced thirty years, to be able to mix 1:22:41.000 --> 1:22:45.080 two house records together, so. 1:22:45.320 --> 1:22:47.280 You know, yeah, I want it. 1:22:47.439 --> 1:22:50.439 Which your browns with bubbles cups that you do? How 1:22:50.520 --> 1:22:53.040 much of those are you actually hand pick all those songs? 1:22:53.160 --> 1:22:55.240 Yeah? That's still you going through all let. 1:22:55.479 --> 1:22:57.639 Yeah, yeah, because I mean in a way the radio 1:22:57.760 --> 1:22:59.560 show that I do every week on the BBC, and 1:22:59.680 --> 1:23:01.920 I do or digital radio station called WDFM. But the 1:23:02.000 --> 1:23:04.160 BBC show that I do, which is three hours every week, 1:23:04.240 --> 1:23:07.120 that's it's like my that's my homework. So every week 1:23:07.280 --> 1:23:11.120 that's my dark that's like my painting. So that is 1:23:11.240 --> 1:23:13.640 the build up of listening to five hundred songs that 1:23:13.760 --> 1:23:15.679 week and building a show. 1:23:16.000 --> 1:23:18.679 So that's I have to listen to all that music. 1:23:18.880 --> 1:23:20.880 Yeah, I was glad to see you use a Good 1:23:20.960 --> 1:23:24.120 Night by Philippo on that incredible track. 1:23:24.200 --> 1:23:25.960 God, I'm still waiting for that album to drop. It 1:23:26.080 --> 1:23:29.360 never came out. Nope, Oh damn. How long has it been? 1:23:29.760 --> 1:23:32.240 That's four years? Easy. 1:23:33.000 --> 1:23:38.280 What is the process of you auditioning songs that you 1:23:38.400 --> 1:23:40.840 feel are worthy to be on your radio show? 1:23:42.880 --> 1:23:43.240 What is it? 1:23:43.439 --> 1:23:46.559 But I know you have to take in a lot 1:23:46.640 --> 1:23:50.880 of music and a lot of blogs and a lot 1:23:50.920 --> 1:23:56.519 of recommendations, so just personally you're not overloaded like I'm 1:23:56.600 --> 1:23:59.960 personally overloaded and not quite numb yet. 1:24:00.280 --> 1:24:04.000 But it's a process. Like I doose Sundays as the 1:24:04.120 --> 1:24:04.559 days to. 1:24:06.320 --> 1:24:09.720 Keep a certain station on, you know, listen five to 1:24:09.800 --> 1:24:12.920 six hours and then she's saying what I like, mark 1:24:12.960 --> 1:24:17.679 down what I like, and then maybe I'll have seventeen 1:24:17.720 --> 1:24:21.400 songs I never heard of now in my vocabulary. But 1:24:21.520 --> 1:24:22.840 what's their process for you? 1:24:25.240 --> 1:24:28.439 I mean, I never forced myself to listen to music, 1:24:29.400 --> 1:24:32.320 So I just come to it. If there's a week 1:24:32.360 --> 1:24:34.439 that I'm not like in the mood to feel like 1:24:34.560 --> 1:24:36.800 I need to do all this research for A and 1:24:36.920 --> 1:24:39.160 R reasons, for record company reasons, I just go through 1:24:39.200 --> 1:24:43.080 my old records and I'll put on a classic record 1:24:43.280 --> 1:24:45.560 to remind me. And maybe on the radio, I'll just 1:24:45.640 --> 1:24:48.080 play a lot of old music for example. Right, if ever, 1:24:48.160 --> 1:24:49.599 I get to the point where I'm a little bit 1:24:49.760 --> 1:24:53.240 sort of just like not really inspired. But to be 1:24:53.320 --> 1:24:55.439 honest with you, with the amount of music that I 1:24:55.560 --> 1:24:58.719 listened to, whether it's the sort of new DJ music, 1:24:59.200 --> 1:25:04.240 whether it's of hip hop, I mean there's a new track, 1:25:04.320 --> 1:25:07.439 that Buddy track, you know. I mean, all this stuff 1:25:07.439 --> 1:25:09.519 that's been coming out of LA has been incredible, right, 1:25:09.600 --> 1:25:11.519 I mean, you know, from sort of all that Kendrick 1:25:11.600 --> 1:25:13.799 Lamar and Beyond stuff, all the stuff that Flying Lotus 1:25:13.880 --> 1:25:16.840 is responsible for Thundercat, I mean, my god, there's just 1:25:16.920 --> 1:25:20.400 so much good stuff and for example, when I played 1:25:20.400 --> 1:25:22.200 I don't know like when Take the Box was sent 1:25:22.280 --> 1:25:24.240 to me. I mean Take the Box by Amy Winehouse. 1:25:24.760 --> 1:25:28.000 It's a good example of a tune that my friend 1:25:28.120 --> 1:25:31.040 was trying to sign it Max Desarder Atlantic Warners at 1:25:31.040 --> 1:25:33.760 the time before it went to Island, and he just 1:25:33.800 --> 1:25:35.000 sent me the dam He said, what do you think 1:25:35.000 --> 1:25:36.840 of this, Charls? And I was like, immediately take the 1:25:36.880 --> 1:25:38.600 Box And I started playing it as a demo on 1:25:38.640 --> 1:25:41.800 the radio then, because it just had those little things, 1:25:42.160 --> 1:25:45.680 just like when you're talking about any rd run to 1:25:45.760 --> 1:25:48.759 the Sun you hear that, and it's just an immediate tune, 1:25:48.840 --> 1:25:51.320 right or good Night by Philip o Wusu these songs, 1:25:51.600 --> 1:25:54.799 and that's what I'm searching for. But I'm also searching 1:25:54.960 --> 1:25:58.560 for raw dance music that I've never heard before. The 1:25:58.640 --> 1:26:00.760 way they've arranged the bass in this, you can tell 1:26:00.800 --> 1:26:03.240 because it's a bit like we're chefs, you know, we're 1:26:03.400 --> 1:26:06.360 tasting those ingredients all the time. So when there's a 1:26:06.479 --> 1:26:10.479 certain type of onion that comes in, that's it's got 1:26:10.520 --> 1:26:11.160 the right edge. 1:26:11.320 --> 1:26:11.760 We know it. 1:26:12.400 --> 1:26:14.960 We've got you know, I'm rubbish at wine, I'm rubby. 1:26:15.040 --> 1:26:17.679 I've got a terrible palette, but when it comes to music. 1:26:19.600 --> 1:26:21.240 But when it comes to music, I'm not even very 1:26:21.240 --> 1:26:23.840 good at music. But because I've just constantly listened to it, 1:26:24.920 --> 1:26:28.040 I've got a good memory of music. So when something 1:26:28.240 --> 1:26:31.599 fresh does come, I know it's new. I can feel 1:26:31.640 --> 1:26:32.800 it quicker than others. 1:26:32.840 --> 1:26:33.120 I think. 1:26:33.760 --> 1:26:38.240 Well, what I mean is that I feel like there's 1:26:38.280 --> 1:26:42.960 an expectation for you to always have that shit I 1:26:43.080 --> 1:26:45.760 never heard before, or this version of that song I 1:26:45.880 --> 1:26:48.360 never heard before, or that sort of thing. So I 1:26:48.560 --> 1:26:51.759 know that you have to put a lot of research, 1:26:51.880 --> 1:26:56.800 Like what keeps you from repetition like okay you go 1:26:56.920 --> 1:27:00.360 to Okay, I'm always going to play level brings back 1:27:00.360 --> 1:27:03.120 together by Roy Ears, Like what keeps you from saying 1:27:03.240 --> 1:27:07.400 stuck in those saying fifty songs that you know work 1:27:07.479 --> 1:27:12.240 like gamebusters every time, and what like You're still going 1:27:12.320 --> 1:27:16.160 to have to discover tomorrow's music first before the next 1:27:16.280 --> 1:27:17.320 younger guy gets to it. 1:27:17.600 --> 1:27:20.040 So that's what I meant, like as far as your 1:27:20.080 --> 1:27:22.080 research process, like what do you do? 1:27:23.120 --> 1:27:26.479 Good network, great people who know what I like, lots 1:27:26.520 --> 1:27:30.560 of exchanges. I'm over all of the music, from the 1:27:30.640 --> 1:27:33.639 new electronics stuff to the hip hop to the jazz, 1:27:33.880 --> 1:27:36.599 to the old staff, to some new soul that might 1:27:36.640 --> 1:27:38.800 be coming out, to the rock and the alternatives. There's 1:27:38.800 --> 1:27:40.840 some great music coming out of that area as well 1:27:40.880 --> 1:27:43.160 as we all know, and I'm just listening to all 1:27:43.200 --> 1:27:44.960 of it. And within all of that music, I mean 1:27:45.040 --> 1:27:47.080 a lot of it. And you know, obviously there's millions 1:27:47.120 --> 1:27:51.439 of songs being made every week. But amongst my network 1:27:51.479 --> 1:27:54.760 of friends who know, we know each other's taste, we're 1:27:54.800 --> 1:27:58.679 coming from different parts of the world, we are able 1:27:58.840 --> 1:28:05.160 to satisfy with music, and then I take that onto 1:28:05.240 --> 1:28:07.240 the radio, and to be honest with you, I don't 1:28:07.240 --> 1:28:09.559 even think about it that much. I've never really felt 1:28:09.680 --> 1:28:13.439 like I was thinking the other day, I didn't listen 1:28:13.479 --> 1:28:14.880 to the whole Solange record properly. 1:28:15.160 --> 1:28:15.560 Things like that. 1:28:15.720 --> 1:28:17.600 That's those sort of things bother me a little bit. 1:28:18.000 --> 1:28:19.320 I'm like, oh, yeah, I just went through it, and 1:28:19.439 --> 1:28:22.200 something else happened the week after, and I liked, you know, yeah, yeah, 1:28:22.400 --> 1:28:24.120 but I listened to it this week. Then it hit 1:28:24.160 --> 1:28:26.080 you leader yeah, and I was like, I need to 1:28:26.120 --> 1:28:28.280 listen to that record, because that's a different way of listening. 1:28:28.320 --> 1:28:31.800 Because I listened to music as in a curative way, 1:28:32.280 --> 1:28:34.280 and sometimes I want to listen to music in an 1:28:34.479 --> 1:28:37.479 entertainment for myself way, emotional way. So sometimes I make 1:28:37.560 --> 1:28:39.599 sure that I just hide myself at home and put 1:28:39.640 --> 1:28:41.960 a record on from the beginning to the end. Very 1:28:42.000 --> 1:28:44.120 important to find the time for that. I bought a 1:28:44.200 --> 1:28:46.320 good sound system specifically. 1:28:45.800 --> 1:28:47.479 For that is an American dad. 1:28:48.240 --> 1:28:51.519 No, okay, no, but you know, I bought a vintage 1:28:51.600 --> 1:28:54.040 thing and all the stuff, and it just makes music 1:28:54.200 --> 1:28:58.640 sound remarkable about as it should be. So I don't know, 1:28:58.840 --> 1:28:59.800 I don't overthink it. 1:29:00.360 --> 1:29:02.920 Just to never get overwhelmed by the abundance of music 1:29:03.000 --> 1:29:06.240 on the daily, never even in my. 1:29:06.280 --> 1:29:11.320 Record room, like I'm pretty sure only listen to that's. 1:29:10.560 --> 1:29:12.800 For your retirement, I mean my record collection. That's the 1:29:12.800 --> 1:29:14.879 way I look at it. That's true when I'm retiring. 1:29:15.280 --> 1:29:16.679 Do you know most people, I feel like most people 1:29:16.680 --> 1:29:18.880 who listen feel like y'all have listened to every single 1:29:18.960 --> 1:29:21.040 record in your record collection, because a mirror I would 1:29:21.080 --> 1:29:22.800 have guessed that your record room you've listened to all. 1:29:22.680 --> 1:29:26.920 Those The thing is is that I've absorbed it. So 1:29:27.360 --> 1:29:30.720 it's a it's a thing of it's a thing of 1:29:32.760 --> 1:29:35.240 you know, I'll skim through it. And because I'm in 1:29:35.360 --> 1:29:40.280 hip hop, it's about samples more than anything. So, I mean, 1:29:40.280 --> 1:29:42.720 there's two ways to listen to records. You either you 1:29:42.840 --> 1:29:48.120 go a record digging and then you Q records and 1:29:48.160 --> 1:29:50.639 then you know it doesn't hit you, you put it away. 1:29:50.720 --> 1:29:53.920 But I'm going to sit and actually listen to it. 1:29:54.000 --> 1:29:56.160 That's what I do on Sundays. I don't skim through it. 1:29:56.400 --> 1:29:57.400 I listen to it. 1:29:57.640 --> 1:29:59.840 So, seriously, that's ten percent in your record room right now, 1:30:00.080 --> 1:30:01.760 those records that you had a chance to do this. 1:30:02.040 --> 1:30:05.639 I mean it's physically impossible. And that's just my record room. 1:30:05.960 --> 1:30:09.720 I have hard drives, and I mean, right, I just 1:30:10.240 --> 1:30:16.120 had to buy I had to acquire a new spot. 1:30:16.360 --> 1:30:17.120 I'm trying to say it. 1:30:17.200 --> 1:30:22.320 So I'm not going you know, I'm a rich judge. 1:30:22.360 --> 1:30:23.600 I'm a judger, but I ain't gonna judge you for 1:30:23.640 --> 1:30:24.680 your next statement, I ain't gonna do. 1:30:24.960 --> 1:30:26.640 Well, okay, would you like me to take care of 1:30:26.680 --> 1:30:27.960 the things that I acquired, I do. 1:30:28.160 --> 1:30:28.760 I would like that. 1:30:29.080 --> 1:30:31.560 Okay. Well, then there's about. 1:30:33.160 --> 1:30:37.439 Maybe one hundred thousand other records that could get damaged 1:30:37.600 --> 1:30:39.920 in the current state that they're in in my storage unit. 1:30:40.040 --> 1:30:45.080 So I had to purchase a building with cool with 1:30:45.200 --> 1:30:48.439 the right air and all that stuff I had. You 1:30:48.600 --> 1:30:49.720 had to like the thing is. 1:30:52.720 --> 1:30:54.040 Is that a New Yorker Philly? Because I need a 1:30:54.080 --> 1:30:59.160 temporary storage spot. I'm I'm gonna tell you what I did. 1:30:59.200 --> 1:31:01.080 I'm gonna tell you what I I had to let 1:31:01.200 --> 1:31:05.200 go to houses because again I'm I'm I'm a sentimental 1:31:05.240 --> 1:31:08.479 pat wreck, and you know, in my mind, I'm thinking, 1:31:09.800 --> 1:31:12.720 I'm gonna give these close to you know, to the 1:31:13.000 --> 1:31:19.040 Smithsonian Museum, to Timothy Inn or something, you know, like 1:31:19.160 --> 1:31:22.320 I saw my you got me closed in case. 1:31:22.240 --> 1:31:25.280 You know from the video. Yeah, it was a black 1:31:25.360 --> 1:31:26.080 T shirt, wasn't it? 1:31:28.920 --> 1:31:29.960 What is it? Goals? 1:31:30.000 --> 1:31:31.679 It's like, you want to get back down to that size. 1:31:31.720 --> 1:31:33.920 I want to get back that I was. Man, I 1:31:34.040 --> 1:31:37.640 was like, yeah, you got me. I never want to 1:31:37.680 --> 1:31:44.200 go back there. Yeah, Jesus Christ, he scared the ship out. No, 1:31:44.720 --> 1:31:45.559 I'm just saying that. 1:31:49.080 --> 1:32:03.040 I got judging. There's a picture. You don't even say. Look, 1:32:03.479 --> 1:32:06.479 there's some things that happened on this show. Put it away. 1:32:07.640 --> 1:32:10.120 We're in a mere studio, you guys, personal studio. 1:32:10.760 --> 1:32:16.479 We're in my phillips. This this person triggering. Yeah, not 1:32:16.600 --> 1:32:20.160 only records, records and other stuff too. I'm just saying 1:32:20.600 --> 1:32:22.000 that can I have this A track? 1:32:25.479 --> 1:32:28.080 Steve? Yes, it's yours, Steve. 1:32:28.120 --> 1:32:30.640 You can have my c T I A t PA 1:32:30.800 --> 1:32:34.519 with another Freddy Hubberne. 1:32:34.000 --> 1:32:36.720 Take all the CD I A tracks. Shouldn't you be 1:32:36.840 --> 1:32:39.320 here on the microphone Steve? Steve is like going through 1:32:39.360 --> 1:32:40.120 my records right now? 1:32:40.160 --> 1:32:42.680 Wait, Jos, do you have homes for your albums as well? 1:32:45.520 --> 1:32:45.680 Oh? 1:32:46.200 --> 1:32:48.639 Can people? Are y'all really saying like a person live 1:32:48.800 --> 1:32:50.240 in this place with your records? 1:32:50.600 --> 1:32:54.960 Is it just it's just for here's the deal. This 1:32:55.160 --> 1:32:56.120 is a weird. 1:32:57.920 --> 1:33:01.000 Kind of name drop techy thing about you. But you 1:33:01.120 --> 1:33:05.280 always got preface the tacky ship. Okay, so wait, can 1:33:05.320 --> 1:33:10.200 I just deal John Trump yet? 1:33:10.600 --> 1:33:12.679 Come on man? Okay. 1:33:12.840 --> 1:33:15.560 Initially, when I first moved to New York, there was 1:33:15.640 --> 1:33:17.519 there was a there was a chance that I was 1:33:17.600 --> 1:33:22.400 going to acquire or at least couch crash the Destiny's 1:33:22.479 --> 1:33:29.200 Child apartment that Beyonce had. I guess that was their 1:33:29.240 --> 1:33:31.680 crash spot whenever they were I didn't have a house 1:33:32.640 --> 1:33:36.439 where the one by Bloomingdale's. Uh, they have a lot 1:33:36.479 --> 1:33:42.880 of property. There's a lot of their property, one of them. 1:33:43.520 --> 1:33:47.120 Wait, why did you know? I just feels poorer and poorer. 1:33:49.160 --> 1:33:49.400 I know this. 1:33:49.720 --> 1:33:52.400 Yeah, I used to work in the Nose Empire. That's right, 1:33:52.520 --> 1:33:57.160 you did Music World. What damn, I'm interviewing you next 1:33:57.160 --> 1:34:03.800 week on Quest. Anyway, My point was that she was 1:34:03.840 --> 1:34:05.800 trying to make the decision on whether or not she 1:34:05.960 --> 1:34:08.679 was gonna let me have the spot or not, because 1:34:08.680 --> 1:34:13.640 she hasn't been in that apartment forever. But she realized 1:34:14.000 --> 1:34:17.160 that a lot of her clothes were getting damaged in 1:34:17.960 --> 1:34:20.160 the storage units that they had, so she. 1:34:20.280 --> 1:34:22.479 Decided that it's probably better off instead of. 1:34:23.960 --> 1:34:26.640 A month after month after month for storage unit, to 1:34:26.880 --> 1:34:30.880 just buy a house and put your stuff in there 1:34:31.160 --> 1:34:35.240 and care for it there. So the Destiny style apartment 1:34:35.600 --> 1:34:38.840 now houses all of Beyonce's shoes that she's ever had 1:34:39.080 --> 1:34:40.200 and doesn't wear any wow. 1:34:40.479 --> 1:34:44.200 Wow wow damn. Anyway, Yeah, so there's houses. 1:34:44.360 --> 1:34:47.200 So the spot that I have in Philly, I made 1:34:47.200 --> 1:34:51.240 sure it was outside of Philly sort of, and that's 1:34:51.320 --> 1:34:53.920 where my records and I also have like. 1:34:55.680 --> 1:34:58.960 Sixty one drum set. Jesus, it's like. 1:34:58.960 --> 1:35:01.519 A battle j I said. He has one hundred thousand records, 1:35:01.520 --> 1:35:01.960 which you got. 1:35:02.640 --> 1:35:04.200 He has way more than that. I do not think 1:35:04.200 --> 1:35:09.880 I've got that. You and Claude of Claude from Manto 1:35:10.120 --> 1:35:16.160 Jazz Knobs. Yeah, you guys have the largest Where does 1:35:16.200 --> 1:35:18.439 Craig Common fit in that? One hundred thousands a lot? 1:35:18.479 --> 1:35:19.760 Though Craig doesn't count. 1:35:20.240 --> 1:35:21.519 You're counting forty five's in that. 1:35:24.439 --> 1:35:25.320 That is a record, isn't it. 1:35:25.400 --> 1:35:27.400 Yeah, I'm counting. I don't even count my forty fives. 1:35:28.160 --> 1:35:31.639 I have a lot now, But you got one hundred 1:35:31.680 --> 1:35:34.839 thousand physical pieces of I have one hundred thousand physical 1:35:34.880 --> 1:35:38.000 pieces of vinyl. Probably have maybe one twenty now, okay, 1:35:38.360 --> 1:35:41.080 But I mean as far as the forty like right now, 1:35:42.040 --> 1:35:45.200 there's a lot of people down south that don't know 1:35:45.400 --> 1:35:48.960 that forty five culture is coming back. So what I'm 1:35:49.040 --> 1:35:53.080 running into is there's a lot of widows of say, 1:35:53.240 --> 1:35:55.479 like one stop shop juke boxes. 1:35:55.800 --> 1:35:58.479 Juke Boxes used to be a thing in those liquor 1:35:58.560 --> 1:35:59.479 houses and everything. 1:36:00.120 --> 1:36:04.920 So once people stop using juke boxes in their nightclubs 1:36:04.960 --> 1:36:07.880 and their bars or whatever, especially down south, they had 1:36:07.960 --> 1:36:08.719 to go somewhere. 1:36:09.240 --> 1:36:11.360 So you have a lot of widows or a lot 1:36:11.439 --> 1:36:12.960 of daughters that have haired stuff. 1:36:12.960 --> 1:36:14.400 I don't know what to do with this stuff, all 1:36:14.479 --> 1:36:17.360 these records, And so that's where Geene Brown comes in 1:36:18.160 --> 1:36:20.719 and he'll just say, all right, I got a collection 1:36:20.920 --> 1:36:27.519 of you want them, Okay, I'll take them, and then 1:36:27.520 --> 1:36:29.240 I'll take them and they don't listen to them. 1:36:29.680 --> 1:36:31.080 Like right now, in that room, I. 1:36:31.160 --> 1:36:36.360 Have Levi Stubbs's record collections, and in it is just 1:36:36.479 --> 1:36:42.960 a lot of white label motown stuff that will never 1:36:43.040 --> 1:36:47.120 see the light of day. Like just so, there's a 1:36:47.160 --> 1:36:49.080 lot that I haven't listened to. So yes, to get 1:36:49.120 --> 1:36:53.320 back to the beginning ten percent, someone's going to all right, 1:36:53.400 --> 1:36:56.120 Elia's judging me, But let me just tell you that 1:36:56.240 --> 1:36:58.519 when you get in my field of business, you got 1:36:58.680 --> 1:37:02.519 to get into something. So I rather this than cocaine 1:37:02.640 --> 1:37:08.280 about saying yeah, really something. Yeah, you're going to get 1:37:08.320 --> 1:37:11.880 into something. You're going to inject it, listen to it, 1:37:12.040 --> 1:37:15.560 sniff it, taste it, or it's going to kill you. 1:37:16.160 --> 1:37:17.439 Like you gotta get into something. 1:37:17.600 --> 1:37:22.559 You have more physical records in your collection than I sold. 1:37:30.479 --> 1:37:33.240 We're getting ahead of our tradition. First of all, listening 1:37:33.320 --> 1:37:37.480 John Speter worldwide. 1:37:38.200 --> 1:37:42.240 So before we end, Bill paid Bill, Yeah, what did 1:37:42.280 --> 1:37:43.479 you learn to day man? Man? 1:37:44.200 --> 1:37:47.040 Taste makers? I like the idea of people being tastemakers. 1:37:47.240 --> 1:37:49.120 I think he's right. I think you're a taste maker, 1:37:49.400 --> 1:37:52.080 and I like the idea of people listen to you. 1:37:52.280 --> 1:37:54.679 I strug off titles. Man, I know you don't like titles. 1:37:54.720 --> 1:37:55.760 You don't like people talking about you. 1:37:56.960 --> 1:37:58.320 You're not good at that. But that's fine. 1:37:58.479 --> 1:38:02.000 This is all therapy here on this. I just like 1:38:02.080 --> 1:38:03.920 the fact that the idea that people listen, and I 1:38:03.960 --> 1:38:06.880 think that you have the platform to do that until 1:38:06.880 --> 1:38:09.880 you open up people. But open up those minds that 1:38:10.000 --> 1:38:11.320 that wouldn't necessarily listen. 1:38:11.120 --> 1:38:13.679 To the music. I'm gonna taste and trade of Joels. 1:38:13.680 --> 1:38:20.040 I'm gonna taste test Steve. Besides my records you just stole. 1:38:20.120 --> 1:38:21.400 What else would you learn today? 1:38:21.880 --> 1:38:27.000 Uh uh? I want to see Giles record collection, go 1:38:27.120 --> 1:38:27.920 through the jazz section. 1:38:28.040 --> 1:38:29.479 He's going to steal all your CTI records. 1:38:29.520 --> 1:38:32.560 You take care of your stuff, like unlike others. 1:38:34.840 --> 1:38:36.280 Supposed to take care of this ship. 1:38:37.720 --> 1:38:38.080 In a year. 1:38:38.720 --> 1:38:41.439 More than that, like nine ship, I haven't been. 1:38:41.320 --> 1:38:45.439 In I've probably only been in this room maybe nine 1:38:45.600 --> 1:38:47.360 times in the last seven years. 1:38:48.320 --> 1:38:52.280 Anyway, suld I have a job. 1:38:52.439 --> 1:38:54.960 Charles Peters, No, yeah. 1:38:55.000 --> 1:38:57.960 Sounds like sounds like you got a nice collection, I 1:38:57.960 --> 1:39:02.320 would assume. But I also think thriller is better than 1:39:02.479 --> 1:39:06.720 Off the Wall. God, Well it's not a fair question. 1:39:06.840 --> 1:39:09.559 Off the Walls better. But but Thriller is not an. 1:39:09.560 --> 1:39:10.160 Album to me. 1:39:10.520 --> 1:39:16.040 Well, it's an album to me, it was an album. 1:39:18.000 --> 1:39:19.719 It was nice to meet you though, really. 1:39:20.000 --> 1:39:21.840 Man, Yeah, it's good to finally meet jobs. We did 1:39:21.920 --> 1:39:24.080 your show a little brother in forunate change really just show. 1:39:24.200 --> 1:39:28.120 Like god, this is oh five six something and uh, 1:39:28.280 --> 1:39:29.840 but I think you weren't there. I think you were 1:39:29.840 --> 1:39:32.400 out sick or something. Something happened. I can't remember. 1:39:32.439 --> 1:39:33.800 But we taped it anyway, Yeah you did. 1:39:35.040 --> 1:39:37.280 No, No, it was you just tape your just taped 1:39:37.280 --> 1:39:38.840 a live It was just a live in session joint 1:39:39.080 --> 1:39:41.200 we did okay. But but nah, man, it's good to 1:39:41.280 --> 1:39:43.880 finally reconnect, well to meet you finally in person, and 1:39:44.280 --> 1:39:46.760 just you know, say thanks for the music that you've 1:39:47.360 --> 1:39:50.120 brought forth and just continuing to shine a light on 1:39:50.240 --> 1:39:52.280 those catstead of coming up. You know, we were certainly 1:39:52.360 --> 1:39:55.160 one of the groups that benefited from you know, you 1:39:55.560 --> 1:39:57.720 showing us love and everything, and yeah, just thank you 1:39:57.760 --> 1:39:58.320 for all you've done. 1:39:58.360 --> 1:40:02.920 Man, built what did you learn to David? Pirate radio 1:40:02.960 --> 1:40:05.439 stuff was quite interesting. I've always been very you know 1:40:05.520 --> 1:40:07.920 intrigued by the whole concept. Like one of my favorite 1:40:07.920 --> 1:40:11.320 movies is A Kid Was a Christian Body. It was 1:40:11.360 --> 1:40:13.160 basically about a kid that had a pirate radio station 1:40:13.200 --> 1:40:13.719 in his basement. 1:40:14.320 --> 1:40:16.719 So Phillips is good to check out that movie. 1:40:20.280 --> 1:40:22.920 To learn about you know, good to get some good insight. 1:40:25.080 --> 1:40:27.600 Also a question that I wanted to ask, I just 1:40:27.680 --> 1:40:28.320 add to good. 1:40:30.200 --> 1:40:32.840 As someone who has been like a lifelong fan of music, 1:40:33.000 --> 1:40:35.439 I've in recent years I've had a very hard time 1:40:38.080 --> 1:40:41.080 staying passionate about new music. How do you How are 1:40:41.120 --> 1:40:41.880 you able to do it. 1:40:44.560 --> 1:40:44.760 Well? 1:40:44.760 --> 1:40:52.720 I think probably because it's my role two to get 1:40:52.800 --> 1:40:54.760 people I don't know. I think the fact that I'm 1:40:54.840 --> 1:40:55.160 sort of. 1:40:56.840 --> 1:41:01.960 On a mission probably more so than you are. You 1:41:02.040 --> 1:41:03.639 have more of an audience. Certainly. 1:41:05.200 --> 1:41:07.840 I get a lot of pleasure out of seeing out 1:41:07.880 --> 1:41:14.160 of seeing small acorns grow and seeing the journey of 1:41:14.240 --> 1:41:20.439 the artists, From receiving a cassette tape by Jose James 1:41:20.520 --> 1:41:23.760 of him doing versions of John Coltrane songs, to him 1:41:23.840 --> 1:41:27.080 signing to BLUEO. Those things give me a lot of pleasure. 1:41:27.320 --> 1:41:31.400 And and there's enough music for me to be to 1:41:31.520 --> 1:41:34.439 be passionate about. I've never felt more passionate about music 1:41:35.000 --> 1:41:38.200 of all sides in all countries. It's never been more worldwide. 1:41:38.640 --> 1:41:41.320 There's less. No, it's true, there's never been. There are less. 1:41:41.640 --> 1:41:43.439 Have there been any movements that you've just kind of 1:41:43.680 --> 1:41:46.000 been very unsure about that that they took off anyway 1:41:46.360 --> 1:41:48.120 and you just kind of had to play catch. 1:41:47.960 --> 1:41:54.840 Up or idiom No, No, not not really. Yeah, so 1:41:54.960 --> 1:41:55.680 you're a better man. 1:41:55.720 --> 1:41:57.760 The name right, we knew that guy. 1:41:57.840 --> 1:42:00.920 Now you know what I learned to that? 1:42:01.000 --> 1:42:03.920 I learned the grave Washington j that comes from Philadelphia. 1:42:10.720 --> 1:42:17.880 That wow, the. 1:42:17.880 --> 1:42:18.439 First time. 1:42:19.840 --> 1:42:22.320 I'm taking this Washington. 1:42:23.520 --> 1:42:24.240 Washington Jr. 1:42:24.880 --> 1:42:28.800 No, I don't. I don't look like Washington, Okay? And 1:42:28.880 --> 1:42:32.240 whytt net? Can you play? Can you play high draft 1:42:32.320 --> 1:42:34.400 from that from the album? Yes we will, we don't 1:42:34.439 --> 1:42:36.479 play it on the show. Let's play? Yeah, what did 1:42:36.520 --> 1:42:37.120 you learn today? 1:42:37.880 --> 1:42:38.479 I learned a lot. 1:42:38.840 --> 1:42:40.560 I want to thank you first because when I was 1:42:40.600 --> 1:42:42.760 sitting at my desk at RKO Discs for eight hours 1:42:42.800 --> 1:42:45.400 and going to my commercial radio job hip hop and 1:42:45.520 --> 1:42:47.320 R and B, I used you to learn my new 1:42:47.400 --> 1:42:49.240 music because I didn't want my brain to be clouded 1:42:49.280 --> 1:42:51.320 bout what I was about to do. So I want 1:42:51.360 --> 1:42:53.800 to thank you for that, and I just learned your 1:42:53.880 --> 1:42:55.840 journey and I always been a big fan, and I 1:42:55.960 --> 1:42:59.360 think much like Bill, sometimes you fight with America. I 1:42:59.439 --> 1:43:01.920 just take America different in their acceptance of music, especially 1:43:02.000 --> 1:43:04.639 of soul music. So I'm just gonna open my mind 1:43:04.680 --> 1:43:06.840 and damage some more jazz pewterising because there's always some 1:43:06.960 --> 1:43:07.640 to find, you know. 1:43:07.760 --> 1:43:10.160 One of things that I love about America because I 1:43:10.280 --> 1:43:15.080 love about playing here. When people go out in America, 1:43:15.880 --> 1:43:19.280 they make the most of it. They make the most 1:43:19.320 --> 1:43:21.639 of it, and I feel that sometimes in Europe people 1:43:21.680 --> 1:43:23.960 are a little bit spoilt and they're a little bit. 1:43:26.240 --> 1:43:28.519 Here. Really, I do. 1:43:28.720 --> 1:43:30.880 When they go out, I honestly feel when you come out, 1:43:30.920 --> 1:43:33.519 it's like when it's like Japan. People go out, if 1:43:33.520 --> 1:43:35.639 they've paid their money to go into that club, they're 1:43:35.640 --> 1:43:37.639 going to have a good time. In Europe they might 1:43:37.720 --> 1:43:38.679 be hating quicker. 1:43:39.680 --> 1:43:43.800 Really, I think so, thanks Philly, Really, yeah, Philly's a 1:43:44.120 --> 1:43:46.559 snooty town because they're used to so much dope town. 1:43:46.600 --> 1:43:46.760 Why. 1:43:46.760 --> 1:43:48.559 I just thought you guys were polite. So when they 1:43:48.640 --> 1:43:54.360 weren't clapping, they weren't satisfied. We got to change ourselves. 1:43:55.720 --> 1:43:56.960 When they weren't clapping. 1:43:58.960 --> 1:44:02.080 Now, we're actually coming back. You'll you'll be happy to 1:44:02.120 --> 1:44:07.479 hear this, Giles. Initially there was supposed to be a 1:44:08.880 --> 1:44:13.160 Tribe Roots summer tour. Believe it or not. We want 1:44:13.200 --> 1:44:17.519 to play two arena. We had four two arena dates setup, 1:44:17.880 --> 1:44:23.800 but Tribe Tribe anyway, so what was this? This is 1:44:23.880 --> 1:44:25.800 like this It was going to be the summer of 1:44:26.400 --> 1:44:30.280 twenty seventeen. Wow, we had a three weeks with a 1:44:30.400 --> 1:44:37.120 Tribe doing stadiums. But for the since we booked a 1:44:37.200 --> 1:44:39.720 lot of other stuff with the Usher project that we're doing, 1:44:41.479 --> 1:44:45.519 where we decided to instead of taking days off in London, 1:44:46.080 --> 1:44:49.439 we are going to go back to the task Cafe wall. 1:44:49.439 --> 1:44:53.120 For seeing us a very small so jazz. Yeah, it's 1:44:53.160 --> 1:44:56.720 going to be as big as this room. It's like 1:44:56.800 --> 1:45:00.439 three hundred I mean if that and I'm to DJ 1:45:00.680 --> 1:45:04.120 like I we just we just want to go back 1:45:04.120 --> 1:45:05.320 to the scene in the crime. 1:45:05.160 --> 1:45:06.599 And you're gonna go back to South Street. 1:45:06.960 --> 1:45:08.040 I was gonna too. 1:45:10.240 --> 1:45:14.400 There's plans for that too anyway, So Giles, before now, 1:45:14.560 --> 1:45:16.559 we normally don't ask the guests what did they learn 1:45:16.600 --> 1:45:22.720 from themselves? But there is there is a game I 1:45:22.840 --> 1:45:26.559 want to play. No, No, we're not playing that game. Okay, damn, 1:45:26.600 --> 1:45:27.439 we should have played that game. 1:45:27.479 --> 1:45:29.960 We should have played that game. But what I want 1:45:30.000 --> 1:45:32.479 to know is, if you were. 1:45:32.400 --> 1:45:36.400 In solitary confinement, I don't know what crime that you 1:45:36.439 --> 1:45:38.360 would commit that would actually have you put away in 1:45:38.439 --> 1:45:42.719 a room. Pirate radio Okay, yeah, let's say you finally 1:45:43.240 --> 1:45:44.880 you get a judge over there. Well, you guys are 1:45:44.920 --> 1:45:48.559 brexited anyway, so anything can happen over there. So if 1:45:48.600 --> 1:45:54.680 you're in solitary confinement, realistically, let's say three years, so 1:45:54.800 --> 1:45:58.000 that means no outside world for nine hundred plus days, 1:45:58.760 --> 1:46:03.599 but you are allowed five albums to keep you seen. 1:46:05.000 --> 1:46:06.720 So this isn't for the rest of your life, just 1:46:06.760 --> 1:46:07.360 for three years. 1:46:07.360 --> 1:46:09.800 Like the Black version of Desert Island Discs, you're in 1:46:09.920 --> 1:46:11.519 solitary confinement. 1:46:15.400 --> 1:46:15.479 We. 1:46:17.200 --> 1:46:22.360 Wind up in an exact island. We in jail anyway, So. 1:46:26.520 --> 1:46:30.360 What well, if I'm going to be there for that 1:46:30.439 --> 1:46:31.880 for that long, I think I have thought about this 1:46:31.920 --> 1:46:34.240 sort of question before, and I've thought that I don't 1:46:34.240 --> 1:46:37.360 know if I could handle vocals. One of the beautiful 1:46:37.400 --> 1:46:39.760 things about jazz and instrumental music is that you can 1:46:39.880 --> 1:46:42.439 kind of go different places within it. So I think 1:46:42.520 --> 1:46:45.840 that to hear Our Green or Smokey Robinson. It would 1:46:46.120 --> 1:46:50.320 all Stevie Wonder and I think, I think, yeah, I 1:46:50.439 --> 1:46:53.160 think that I'd go crazy. So I go probably more 1:46:53.439 --> 1:46:56.479 avant gardes because that's where I think free jazz and 1:46:56.640 --> 1:46:58.840 sort of in pro music will make the most sense 1:46:58.840 --> 1:47:02.559 because it will always say different. You'll find something different 1:47:02.600 --> 1:47:04.439 within it at most times. 1:47:04.640 --> 1:47:07.559 Interesting. You're my guy, I would see. 1:47:07.680 --> 1:47:10.639 I wouldn't choose my favorite records because it would drive 1:47:10.760 --> 1:47:11.439 you crazy. 1:47:11.760 --> 1:47:15.240 After you hit them your twelve listen and after. 1:47:15.080 --> 1:47:16.599 The three years was up, every time you would listen 1:47:16.600 --> 1:47:18.080 to it, you would automatically taken right. 1:47:18.200 --> 1:47:20.559 Yeah, you would think of it, so you would choose. 1:47:21.560 --> 1:47:22.920 So what are those five records? 1:47:22.960 --> 1:47:29.000 Well, I'd probably go for the the History of Sun 1:47:29.120 --> 1:47:29.680 Raw is it? 1:47:29.760 --> 1:47:31.160 Can it? Can it be one record? Or is it? 1:47:31.200 --> 1:47:32.880 Can it be it can be the greatest hits? It 1:47:32.920 --> 1:47:42.240 can't be Okay, I mean, I'd probably go for a Well, 1:47:42.360 --> 1:47:44.519 if there was one vocal record, I'd go with Terry 1:47:44.640 --> 1:47:51.160 Callier's What Colors album with Charles Stepney strings. That's that's it. 1:47:51.280 --> 1:47:54.080 That's that's a great record. I don't think I get 1:47:54.160 --> 1:47:54.560 tired of that. 1:47:55.680 --> 1:47:56.600 I'd go for some. 1:47:58.160 --> 1:48:03.920 Which cold Trane, I mean, maybe it off supreme. Maybe 1:48:03.960 --> 1:48:06.599 that would drive me mad. It probably will, actually, because 1:48:06.600 --> 1:48:08.080 I've heard that too many times already. 1:48:09.400 --> 1:48:10.160 Wow, that's hard. 1:48:10.280 --> 1:48:13.640 Man do one each? I so I've done Terry and 1:48:13.680 --> 1:48:17.720 then you do one? So wow, yeah, because that's not 1:48:17.880 --> 1:48:19.040 so we all get one, all right? 1:48:19.120 --> 1:48:22.599 Yeah? Mine would be no one each, so we do five. 1:48:22.680 --> 1:48:23.800 But you do want to do one? 1:48:24.920 --> 1:48:27.360 Well, well, if I were to take a Coultran record, 1:48:29.120 --> 1:48:34.040 actually I would have chose Pharis Sanders Train of Thought 1:48:34.080 --> 1:48:41.120 record or one of my favorite dealer records are on there, 1:48:43.880 --> 1:48:49.080 which is escaping me right now. Ah, but there's a 1:48:49.120 --> 1:48:53.200 Phara Sanders Train of Thought record I like. My favorite 1:48:53.560 --> 1:48:57.919 culture in that I'd never tire of ever is Coultrane 1:48:57.960 --> 1:48:59.960 plays the Blues, which is actually one of his more 1:49:00.200 --> 1:49:07.160 normal straight ahead records, and have to complete it. 1:49:12.240 --> 1:49:14.640 See Miles's never TD record. 1:49:16.479 --> 1:49:18.640 To him that was his middle finger record to the 1:49:18.760 --> 1:49:21.439 label Brass and him not taking solos on it, just 1:49:21.520 --> 1:49:25.840 repeating the same line over and over again. But I 1:49:25.920 --> 1:49:30.080 don't know, it's just the most hilarious comical jazz record ever, 1:49:30.280 --> 1:49:35.080 even though it's absolutely a work of art, but just 1:49:35.160 --> 1:49:37.679 the fact that he's that mad to repeat the same 1:49:37.840 --> 1:49:41.200 line over and over and over and over again for 1:49:41.800 --> 1:49:44.560 without soloing. I think that's a stroke of genius. So 1:49:46.200 --> 1:49:47.679 I'd add three of those records. 1:49:49.720 --> 1:49:50.120 Anyway. 1:49:52.280 --> 1:49:54.240 So you lost the game because y'all said, he do one, 1:49:54.280 --> 1:49:55.600 you do one. But I want to tell you. 1:50:00.160 --> 1:50:11.000 You did three. You did for you once and left 1:50:11.040 --> 1:50:13.160 you with one more. Pick the final record. 1:50:13.040 --> 1:50:15.680 Jol, let's give it to I want to go something new. 1:50:16.040 --> 1:50:20.680 I think let's just give it to Camassi. And it's 1:50:20.720 --> 1:50:25.160 three three years. That's a good one. I haven't yet 1:50:25.280 --> 1:50:27.479 listened to it from beginning to end, so I've got 1:50:27.560 --> 1:50:29.080 time to do that. As much as I love it, 1:50:29.560 --> 1:50:32.400 it's epic, it's epic, it is epic. 1:50:32.720 --> 1:50:35.120 My last question, yes, as a man who owns a 1:50:35.160 --> 1:50:37.880 ship ton of records, what's your holy grail that you 1:50:37.960 --> 1:50:39.160 haven't been able to find. 1:50:40.960 --> 1:50:43.439 That I haven't been able to find? Actually, well, it's 1:50:43.520 --> 1:50:47.920 little obscure ones. I got this record on eBay last week. 1:50:47.960 --> 1:50:49.920 Actually I don't do eBay very much, but there's someone 1:50:50.000 --> 1:50:51.840 said to me, there's this record I'm looking for. It's 1:50:51.880 --> 1:50:55.679 from I think it's from Kansas, and it's a seven 1:50:55.720 --> 1:50:58.720 inch by a group called Kalima and it's basically a 1:50:58.800 --> 1:51:02.040 record that Elie A l I m A and there 1:51:02.080 --> 1:51:03.800 was a group called Klima in Manchester, but this is 1:51:03.840 --> 1:51:06.880 the different one. And this song I heard a DJ 1:51:07.000 --> 1:51:09.519 called Motor City Drum Ensemble play on a mixtape a 1:51:09.560 --> 1:51:12.160 couple of years ago, and it sounds like the ultimate 1:51:12.320 --> 1:51:15.559 Royez ballad that Royers never wrote at his peak time 1:51:15.680 --> 1:51:17.519 of when he was working with people like ethel Bt 1:51:17.640 --> 1:51:22.400 and d D Bridgewater, that kind of yeah, searching type 1:51:22.439 --> 1:51:26.360 of period. And it's by Google Khalima and I put 1:51:26.439 --> 1:51:28.240 a bid in for it, and I've never gone very 1:51:28.320 --> 1:51:30.920 very I've never gone more than two hundred quid two 1:51:31.000 --> 1:51:36.400 hundred pounds sterling and and it unfortunately went for like 1:51:36.479 --> 1:51:37.759 one thousand, five hundred. 1:51:37.560 --> 1:51:39.920 Dollars last minute, some bloke fine. I don't know. It 1:51:40.040 --> 1:51:42.240 just really annoyed me because no one knows this record, 1:51:42.320 --> 1:51:44.280 but two hundreds of most you've ever paid for. 1:51:44.560 --> 1:51:48.040 I've paid two thousand records for pounds for Brazilian records 1:51:48.080 --> 1:51:52.920 by Jose prattis called called Tam Tam Tam, which is 1:51:53.000 --> 1:51:57.240 a it's the it's the basis to George Ben's Mashkenada 1:51:57.560 --> 1:52:00.120 record that we all Know and Love and every one 1:52:00.240 --> 1:52:04.560 thought that that Georgia Ben wrote it, practice wrote it, 1:52:05.439 --> 1:52:07.799 but but Georgia Ben got the benefit. 1:52:08.920 --> 1:52:09.200 Damn. 1:52:10.120 --> 1:52:18.599 I have a question, so boring? No I sound boring? 1:52:19.240 --> 1:52:20.080 Right? No? 1:52:22.120 --> 1:52:25.920 Do you have stone bowing the stone? The ct I? 1:52:26.520 --> 1:52:28.760 It was a Japanese only it's like the hardest ct 1:52:28.920 --> 1:52:29.600 I recordified. 1:52:29.640 --> 1:52:30.240 It's J. J. 1:52:30.360 --> 1:52:30.599 Johns. 1:52:30.680 --> 1:52:32.559 That's what he really wanted to ask you at the beginning. 1:52:33.160 --> 1:52:34.559 That sounds amazing though. 1:52:34.720 --> 1:52:37.240 It's J. J. Johnson and Kai Winding. Uh you know, 1:52:37.400 --> 1:52:39.120 Jane k Is there string. 1:52:39.000 --> 1:52:41.080 And stuff or was it quite straightforward recording? 1:52:42.479 --> 1:52:42.840 I don't know. 1:52:43.040 --> 1:52:46.840 It's from nineteen seventy. I don't can't hear it online? 1:52:47.200 --> 1:52:49.760 Ct Ire Taylor need to get him on here. 1:52:50.240 --> 1:52:52.200 Yeah, but he's like in his nineties there, so. 1:52:53.960 --> 1:53:00.760 Yeah, Mike, Yeah, wait, I have one request. This has 1:53:00.840 --> 1:53:07.080 been the longest, you know, Chiles, I thank you very 1:53:07.240 --> 1:53:08.360 much for coming on the show. 1:53:11.080 --> 1:53:14.200 All right, so on behalf of Quest Love Supreme with 1:53:14.600 --> 1:53:17.400 Laya and Boss Bill and un Paid Bill and fon 1:53:17.520 --> 1:53:20.800 Tickeolo and Sugar Steve and on Paid Bill, which I 1:53:20.840 --> 1:53:24.400 said already, h this is Quest Love and Charles Peterson. 1:53:24.479 --> 1:53:24.960 We thank you. 1:53:26.680 --> 1:53:30.400 Quest Love Supreme is a production of iHeartRadio. This classic 1:53:30.479 --> 1:53:36.040 episode was produced by the team at Pandora. For more 1:53:36.080 --> 1:53:40.080 podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts, 1:53:40.520 --> 1:53:42.240 or wherever you listen to your favorite shows.