WEBVTT - QLS Classic: Al B. Sure (Part 2) 0:00:00.160 --> 0:00:02.200 Of Course. I Love Supreme is a production of I 0:00:02.360 --> 0:00:05.800 Heart Radio. This classic episode was produced by the team 0:00:06.000 --> 0:00:11.200 at Pandora. Ladies and gentlemen, welcome back to q l 0:00:11.320 --> 0:00:15.080 S Classic with I'll be Sure. So many stories about 0:00:15.160 --> 0:00:18.560 him coming up from Mount Vernon from an international superstar, 0:00:19.079 --> 0:00:22.480 rubbing elbows with all the great Quincy Jones, to uh 0:00:22.760 --> 0:00:26.960 showing Diddy Combs to Heavy d to working with Joe 0:00:26.960 --> 0:00:30.760 to see and Timberland, you know, just everybody, so many 0:00:30.760 --> 0:00:34.479 crazy stories. I hope you guys enjoy Part two of 0:00:34.840 --> 0:00:42.960 q LS Classic with the great I'll be shooting the 0:00:43.040 --> 0:00:45.920 rapping tip Rapper five times? Okay, private times in the 0:00:45.920 --> 0:00:50.000 whole nine all right? So why I did like that 0:00:50.000 --> 0:00:52.600 would have been a single? Do? Okay? Why was it? 0:00:52.680 --> 0:00:54.640 Why was it? Why wasn't that a single? And why 0:00:54.680 --> 0:00:58.200 did they go with misunderstanding as the up temple rather 0:00:58.400 --> 0:01:02.360 than had enough? Or uh was the side too that 0:01:02.400 --> 0:01:06.360 was had enough? You excite me? Like those just for 0:01:06.440 --> 0:01:09.520 the moment, Like those were the records? Like what well 0:01:09.640 --> 0:01:12.560 at that point, um, because of the success of an 0:01:12.560 --> 0:01:16.559 effect mode, Um, what happens is the building becomes really 0:01:16.600 --> 0:01:20.400 smart all of a sudden, suddenly we have the end 0:01:20.480 --> 0:01:24.320 we know. Wait, even before you give that answer, did 0:01:24.360 --> 0:01:28.759 you have a relationship with Moe Austin at all or actually, actually, 0:01:28.800 --> 0:01:30.600 you know what I did phasing out? No, no, no, 0:01:30.640 --> 0:01:33.000 I had great relationship with my Austen, Lenny Waronker and 0:01:33.080 --> 0:01:36.760 and all the executives at at Warner Brothers and great guys, 0:01:37.080 --> 0:01:40.320 Michael Austin, brilliant record guys. But I don't think they 0:01:40.319 --> 0:01:42.000 wo were necessarily involved with the day to day. I 0:01:42.040 --> 0:01:44.000 think they just kind of looked at the budgets and 0:01:44.040 --> 0:01:46.440 so and so forth. So it was Benny your wall, Benny, 0:01:46.800 --> 0:01:49.280 Benny was my guy, and Benny Benny was actually Benny's 0:01:49.320 --> 0:01:52.280 a smart record guy. To like, Benny's a an organic 0:01:52.400 --> 0:01:55.800 kind of like he can see. He's like no tadamas, 0:01:55.880 --> 0:01:57.600 you know, he's got the he can kind of he 0:01:57.640 --> 0:01:59.680 can see, you know, what's in front of him. And 0:01:59.720 --> 0:02:03.160 he's always been that brilliant cat. But in terms of UM, 0:02:03.200 --> 0:02:09.680 in terms of the the record selection, um again, almost 0:02:09.720 --> 0:02:13.639 the same concept of what happened when we all went 0:02:13.680 --> 0:02:15.880 to Motown. You had a lot of chefs on this 0:02:15.919 --> 0:02:17.320 stool and a lot of stuff, people trying to make 0:02:17.360 --> 0:02:22.000 certain decisions like um, so yeah, and so with you 0:02:22.040 --> 0:02:25.280 to answer your question, it was obviously I had different 0:02:25.320 --> 0:02:27.720 ideas about what I wanted to do and what singles 0:02:27.760 --> 0:02:30.480 to release, but you know, you've got to kind of 0:02:30.560 --> 0:02:32.480 roll with the Red Company because you know they did 0:02:32.520 --> 0:02:35.760 support you and and say again that that's the politics 0:02:35.800 --> 0:02:39.120 of of the record industry with you know, with uh, 0:02:39.800 --> 0:02:42.919 you know, them really getting behind and pushing a record, 0:02:43.520 --> 0:02:46.760 and you know you're in the in the trenches making 0:02:46.760 --> 0:02:50.000 this record, so you're so close to it. So sometimes 0:02:50.040 --> 0:02:51.639 as an artist you kind of want to step away 0:02:51.680 --> 0:02:52.880 from it and you just have to be able to 0:02:52.919 --> 0:02:56.760 have those around you you trust their ears, um, and 0:02:57.480 --> 0:02:59.079 you know for the most part, you know, obviously I 0:02:59.120 --> 0:03:01.320 would trust Andres years and but I know that they 0:03:01.320 --> 0:03:04.080 would go back and forth as well in terms of 0:03:05.320 --> 0:03:08.120 you know, exactly what you just said about which single 0:03:08.160 --> 0:03:10.280 should be released and the other because I know Andre 0:03:10.400 --> 0:03:13.160 probably wanted this record, and Benny wanted this record, and 0:03:13.160 --> 0:03:16.960 then the staff wanted this record. Um, so those things, 0:03:17.560 --> 0:03:20.320 you know, again, that's the roll of the dice. You know, 0:03:20.360 --> 0:03:22.640 it's like a crapshoot. You just don't you don't know, 0:03:22.760 --> 0:03:25.280 and you know in your heart, you know you feel it. 0:03:25.320 --> 0:03:27.679 You know which joint should be out and then then 0:03:27.919 --> 0:03:29.480 what was your joint of the album? Like if you 0:03:29.480 --> 0:03:33.560 could have had to pick, like what would you came first? Special? No, 0:03:33.760 --> 0:03:37.240 that was the jam that was there. That's the one. Okay, 0:03:37.360 --> 0:03:41.800 all right, fire question, my my and my mind. The 0:03:41.880 --> 0:03:43.920 greatest contribution. Well, I just want to thank you for 0:03:43.960 --> 0:03:49.000 this record along with You by Tevin Cambell, do dude, Okay, 0:03:49.360 --> 0:03:52.320 Casey and Joe Joe. How was because they're singing background 0:03:52.360 --> 0:03:54.800 on at least in the credits it says they are. Yeah, 0:03:54.840 --> 0:04:00.280 that's that's that's so we'll talk about that session. Wow. 0:04:00.400 --> 0:04:06.040 So at the time, we were, oh, interesting story. So 0:04:07.080 --> 0:04:09.400 we were working on I think we were doing some 0:04:09.440 --> 0:04:11.480 of the stuff I guess working on the Jodac project 0:04:11.560 --> 0:04:16.279 as well. And so my demo singers again, the reason 0:04:16.440 --> 0:04:19.600 some of the production sounded so magical, very specifically as 0:04:19.720 --> 0:04:22.680 you know, you know, whether it be Usher or whether 0:04:22.720 --> 0:04:25.520 it's Tevin Campbell, because those are my my demo singers 0:04:25.720 --> 0:04:29.719 is faith faith, you know. So I'm just coaching them saying, Okay, 0:04:29.760 --> 0:04:31.760 we're gonna sing this, these are this the melody, then 0:04:31.800 --> 0:04:34.200 they will bring so much flavor to it. So if 0:04:34.240 --> 0:04:36.440 you listen in fact, I'm going to give you a 0:04:36.560 --> 0:04:41.440 copy of Confused. Um, and it's all. It's all in 0:04:41.480 --> 0:04:45.560 the box, every every everything is right there. And and 0:04:45.680 --> 0:04:50.560 uh what it is is so I remember us cutting 0:04:50.560 --> 0:04:52.720 the demo. So we cut about four or five songs. 0:04:52.760 --> 0:05:00.200 We cut Confused, Goodbye Alone with You, Alone with You, um, 0:05:00.240 --> 0:05:05.119 and then and then we did Lately by Stevie Wonder 0:05:06.839 --> 0:05:10.839 not mind You Casey and Joe Joan had never heard 0:05:10.880 --> 0:05:14.640 this song before. Wait, so this is where we're going. 0:05:14.920 --> 0:05:21.880 I didn't hear until they covered it because Aunties that 0:05:22.040 --> 0:05:25.520 had how did it July? But the only one that 0:05:25.600 --> 0:05:28.760 got played was master Blaster and um, what was the other? 0:05:31.360 --> 0:05:36.599 All I do Happy Birthday? Well, yeah, of course that 0:05:36.680 --> 0:05:39.520 was the happy birthday for Martin Luther King. But no, 0:05:40.040 --> 0:05:41.880 my first time here in Lately was when they did it. Okay, 0:05:41.880 --> 0:05:46.320 so right, so the story is. And so I remember 0:05:46.360 --> 0:05:48.440 at this point when we were cutting, I built the 0:05:48.440 --> 0:05:51.000 studio because I was trying to hide away. Um, So 0:05:51.080 --> 0:05:54.920 we built a studio. I brought my mother house in Dumont, 0:05:54.920 --> 0:05:58.040 New Jersey, and we had a little room set up 0:05:58.200 --> 0:06:00.880 in in this little room and we put you know, 0:06:01.000 --> 0:06:03.359 I had sp twelve and then all the keyboards. He 0:06:03.360 --> 0:06:05.279 set up all the keyboards and we were programming and stuff. 0:06:05.320 --> 0:06:08.360 So that particular day we had cut all these demos, 0:06:09.240 --> 0:06:12.320 tracked everything because and actually me and Kyle and I 0:06:12.880 --> 0:06:14.479 this is the Kyle and I record, So it wasn't 0:06:14.480 --> 0:06:17.040 me and DeVante at that point, um, but Casey and 0:06:17.080 --> 0:06:19.400 Jojo was singing the demos. So we got to the 0:06:19.440 --> 0:06:21.760 song Lately because I thought it would be a perfect remake. 0:06:22.480 --> 0:06:26.320 So we did the songs. We did all songs, sent 0:06:26.440 --> 0:06:30.560 the cassette to Quincy, had Tevin's study everything, and then 0:06:31.480 --> 0:06:33.839 we flew out to l A to think Lara By 0:06:34.000 --> 0:06:36.040 or something. And then because you know, it was myself 0:06:36.080 --> 0:06:40.039 and Prince and not to Michael Walden and Mike Monty, 0:06:40.240 --> 0:06:43.280 you know, the collective effort of t and Tevin's record. 0:06:43.360 --> 0:06:46.119 So that's how serious they were about this debut record 0:06:46.120 --> 0:06:48.600 of his. Like yeah, because Quincy when he was actually 0:06:49.000 --> 0:06:53.320 like yeah, Quincy hand picked He killed the caban, you know, 0:06:53.440 --> 0:06:57.080 baby face, so he hand picked him. So so then 0:06:57.120 --> 0:07:01.039 I remember us doing the song, and then I got 0:07:01.040 --> 0:07:05.280 the news that they weren't going to use the Lately song. Now, 0:07:05.320 --> 0:07:07.280 mind you, it was funny teaching them because they were 0:07:07.279 --> 0:07:11.760 singing farmer frequently wear so we got the whole thing 0:07:11.800 --> 0:07:13.240 down Pat Boon when it was like, yo, the song 0:07:13.360 --> 0:07:17.720 is dope. We found out that Quincy wasn't going to 0:07:17.920 --> 0:07:21.320 use lately, and I was given a few different stories. 0:07:21.360 --> 0:07:23.240 But it's funny. I don't even asked him, but I 0:07:23.320 --> 0:07:25.280 kind of figured out because he didn't own the publishing 0:07:25.320 --> 0:07:29.800 so he did. Why have him to do somebody else's 0:07:29.800 --> 0:07:32.840 song that he doesn't know? Quincy Quincy Quincy is the 0:07:32.920 --> 0:07:38.880 genius publisher. You know, he is Westinghouson you know um 0:07:38.920 --> 0:07:40.880 but uh you know so, yes, So they didn't use it, 0:07:41.520 --> 0:07:44.880 and so the song was just there. Now mind you, 0:07:45.000 --> 0:07:47.520 I am somewhere. I think I'm in the house in Jersey. 0:07:47.520 --> 0:07:57.480 I'm watching television oncomes m t V unplugged. Oh body 0:07:57.680 --> 0:08:03.200 is wait a minute? With exact arrangement everything that the 0:08:03.200 --> 0:08:06.240 whole and DeVante but obviously did. First of all, Big 0:08:06.240 --> 0:08:09.240 Shotow did an incredible job and then with them doing 0:08:09.240 --> 0:08:11.880 it live, which become became one of their signature songs. 0:08:12.640 --> 0:08:16.360 But that's the identical song we did and producted on 0:08:16.520 --> 0:08:19.040 production that we did on Tevin Campbell. Actually, so the 0:08:19.200 --> 0:08:21.480 question the video version, because there's like a studio version 0:08:21.480 --> 0:08:23.320 that was used for the video version? Is that what 0:08:23.560 --> 0:08:25.720 the original version? No, I didn't do that. What I 0:08:25.720 --> 0:08:27.400 did was I taught them the song we did it 0:08:27.440 --> 0:08:29.520 on Tevin Campbell, which it's in your box, you'll have 0:08:29.600 --> 0:08:33.080 it and but yeah, but when I turned on the TV, 0:08:33.160 --> 0:08:35.280 I was remember the big old you know, I remember 0:08:35.320 --> 0:08:39.199 these had the big screen TVs with real I was 0:08:39.200 --> 0:08:42.120 sitting up flo when I was watching the MTV Unplugged 0:08:42.120 --> 0:08:54.920 and mm hmmm, I was like, now, mind you. Initially 0:08:54.920 --> 0:08:56.880 I was just happy because like, oh wow, that's dope. 0:08:56.960 --> 0:09:00.240 But it was the exact arrangement that we did, which 0:09:01.080 --> 0:09:03.000 neither here nor there. The point was that they did 0:09:03.000 --> 0:09:05.680 a brilliant job on it, because that's that's my mentality. 0:09:05.840 --> 0:09:08.200 Did a brilliant job. But later on everybody's like, you know, 0:09:08.280 --> 0:09:10.480 didn't didn't you did do that on the tip And 0:09:10.520 --> 0:09:12.560 I said, well, now, mind you. It would be great 0:09:12.600 --> 0:09:14.280 if it was an original song by me, but no, 0:09:14.320 --> 0:09:16.560 it's a remix. I have no claims to it. But 0:09:16.679 --> 0:09:19.600 they killed it and they smashed it. I love the 0:09:19.600 --> 0:09:23.040 fact that they just they really made it their own. Okay. 0:09:23.080 --> 0:09:31.880 I just thought about something seven and it's just yeah, album. 0:09:32.200 --> 0:09:45.120 It was not one right, Tevin's whattensive video cute? You 0:09:45.120 --> 0:09:48.320 know you got Luke No. But the thing is is 0:09:48.400 --> 0:09:55.160 that if Joe to see is demoing for Tevin Campbell, 0:09:56.160 --> 0:10:00.079 who still has a young voice, Like, wouldn't you to 0:10:00.200 --> 0:10:07.599 have either a female or someone that's in Tevin's range 0:10:08.400 --> 0:10:14.199 see see Yeah, But what you're saying is yeah, but 0:10:14.280 --> 0:10:17.000 see Tevin. His nickname at which I gave him was 0:10:17.040 --> 0:10:19.840 eighth one of the World. This child can sing a 0:10:20.000 --> 0:10:22.800 parking ticket. He could sing anything. And what happened was, 0:10:22.840 --> 0:10:25.360 so as I was doing the stuff, I would have 0:10:25.480 --> 0:10:28.640 Casey and Jojo interchange. So if you listen to Tevin's versus, 0:10:29.080 --> 0:10:32.719 you'll hear Casey and you'll hear Jojo. So they did 0:10:32.840 --> 0:10:35.960 bridge verse half verse and then me singing you know 0:10:36.360 --> 0:10:41.360 so uh and me talking ship and everything. So you know, 0:10:41.400 --> 0:10:45.680 the King of Talks show. You're right, So, oh my god, 0:10:45.679 --> 0:10:49.319 I'm glad you Yeah, I forgot Okay, I gotta ask 0:10:49.400 --> 0:10:54.319 a question about the soldier in awards. Okay, So so then, uh, 0:10:54.600 --> 0:10:59.760 you know, for the most part, it was I mean 0:11:00.000 --> 0:11:03.160 I wanted to make the again my approaches, make a movie, 0:11:03.200 --> 0:11:05.080 make a four minute movie. How do we do this 0:11:05.200 --> 0:11:07.719 the for minute movie, and I wanted to make sure 0:11:07.760 --> 0:11:10.400 those records are that strong, now, mind you. The funny 0:11:10.440 --> 0:11:13.800 part was this, So we get in the studio and 0:11:13.840 --> 0:11:16.240 I think, like Dada and rashid it all hanging out, 0:11:16.320 --> 0:11:18.320 you know, just trying to keep him all festive. And 0:11:18.360 --> 0:11:20.840 you know, Katheran, girls around you, this is a nice 0:11:21.360 --> 0:11:24.160 and the kid, you know, we put the track on 0:11:24.320 --> 0:11:29.760 and the kid gets in booth and he sings it 0:11:30.000 --> 0:11:35.160 identical one time down and what song is this? This 0:11:35.200 --> 0:11:41.079 was alone with you now, mind you? Just okay this 0:11:41.200 --> 0:11:45.920 one up. He studied to the point where he did 0:11:46.160 --> 0:11:53.080 every Joe Joe run and every case he runs Joe 0:11:53.160 --> 0:11:56.199 Joe and Casey went to the pay phone, yeah, I 0:11:56.280 --> 0:12:00.360 said it, went to the studio pay phone, call their 0:12:00.480 --> 0:12:06.880 mama and Charlotte and Monroe excuse me, mama. This little 0:12:06.880 --> 0:12:10.160 boy did all of our runs, both of them, both 0:12:10.160 --> 0:12:14.320 of us. They were so impressed by his vocal ability 0:12:14.640 --> 0:12:16.640 that and then he was, okay, what's next, what do 0:12:16.679 --> 0:12:18.720 you do next? Like he did so obviously I made 0:12:18.800 --> 0:12:20.559 him do it again and I'm giving different inflections. And 0:12:20.559 --> 0:12:21.920 then I wanted to comp the vote, you know, I mean, 0:12:22.559 --> 0:12:25.320 technically I wanted to comp come to vocalan but to 0:12:25.360 --> 0:12:27.760 get them, you know, to get the maximum performance out 0:12:27.800 --> 0:12:29.000 of him, to see, you know, to make sure it 0:12:29.040 --> 0:12:33.440 was right. But the kid sang both of their parts 0:12:33.480 --> 0:12:37.439 by himself, one time down and nailed every run. Now 0:12:37.480 --> 0:12:43.160 mind you, nobody's doing Casey and Jojo runs in. I 0:12:43.160 --> 0:12:46.319 don't care unless you unless you're Fred Hammond or you 0:12:46.360 --> 0:12:49.839 are you know, Donnie Hathaway or Stevie one of himself. 0:12:49.880 --> 0:12:52.280 To the point where I remember watching our senior Hall 0:12:52.480 --> 0:12:56.000 when when they went and did Lately and Stevie came out, 0:12:56.080 --> 0:12:58.679 and then Jojo got Stevie. I don't know if you 0:12:58.720 --> 0:13:02.960 ever noticed that Stevie did something just something crazy, Joejoe. 0:13:07.840 --> 0:13:09.320 So every time I see Jojo, I said, you know, 0:13:09.360 --> 0:13:12.880 that was your magical moment the entire career he made 0:13:12.880 --> 0:13:20.240 Stevie went go. But you know it's amazing, I mean, 0:13:20.280 --> 0:13:23.280 just an amazing time. But just to see this this 0:13:23.400 --> 0:13:25.120 kid and then and then basically what we did was 0:13:25.160 --> 0:13:27.880 as we gave him these demos, you know, he would 0:13:28.600 --> 0:13:30.440 he would be so prepared and ready and he would 0:13:30.440 --> 0:13:32.400 just he would knock these vocals up. But then what 0:13:32.440 --> 0:13:34.520 happened was I didn't want to be. We had such 0:13:34.559 --> 0:13:37.520 a magical like the demos came out so magical. Then 0:13:37.559 --> 0:13:39.959 again we ride around the hood playing these demos and 0:13:40.000 --> 0:13:42.200 this Casey and jose In minded and the Jodice record 0:13:42.240 --> 0:13:44.360 wasn't out yet, I don't think so. So it was 0:13:44.400 --> 0:13:47.160 just sounded so crazy with the harmonies in this and 0:13:47.240 --> 0:13:50.440 it was basically even what we tried to do with 0:13:50.440 --> 0:13:54.960 the Jodice record. It was basic. It was the gospel 0:13:55.000 --> 0:13:59.480 gap pan because the entire Jodesee record. When I would 0:13:59.559 --> 0:14:02.840 drive to the studio to Unique studios or too Hit 0:14:02.880 --> 0:14:07.520 factory from growing on the huts into the city every day, 0:14:07.679 --> 0:14:11.120 I was listening to a group called Commission, So all 0:14:11.200 --> 0:14:13.080 I wanted to hear that. So, so that's if you 0:14:13.120 --> 0:14:15.000 listen to the influence in terms of all the harmony 0:14:15.000 --> 0:14:17.800 and the structures and the and the harmonic structures and 0:14:18.040 --> 0:14:22.600 all of those progressions harmonically, that's what I was being 0:14:22.640 --> 0:14:25.600 influenced by. So all I'm listening to is the windings 0:14:25.600 --> 0:14:27.360 and I'm listening to Commissions. So that's why it sounds 0:14:27.360 --> 0:14:31.880 like a gospel super like NERD question, what reverbs were 0:14:31.920 --> 0:14:33.840 you using at that time? Because they y'all had you 0:14:33.880 --> 0:14:36.880 always had like the biggest, brightest sounding fucking verbs, like 0:14:37.000 --> 0:14:39.120 the way y'all put on the background because you made 0:14:39.120 --> 0:14:43.360 their vocals sounds so big. I had the privilege of 0:14:43.400 --> 0:14:45.760 working with the jail. What happened was I called Quincy 0:14:46.160 --> 0:14:49.560 and I said, I said, I got this new group 0:14:50.040 --> 0:14:52.200 and I need an engineer, like can we use Bruce 0:14:52.200 --> 0:14:56.240 with Dean back? So you just laughed at there. I 0:14:56.280 --> 0:14:58.760 tried to go there. Damn well, I didn't know. I 0:14:58.800 --> 0:15:01.160 just said he's the best in the business. That's what 0:15:01.240 --> 0:15:04.720 I need. So that's the mount Verne encouraged. It's so 0:15:04.720 --> 0:15:07.560 so I asked in Quincy was like, I have somebody 0:15:07.640 --> 0:15:11.760 I slow downing, I'll be slow down. So but but 0:15:12.120 --> 0:15:14.600 what happened was, but he made a recommendation for me 0:15:14.640 --> 0:15:16.680 and he says, I want you to do. He gave 0:15:16.680 --> 0:15:18.600 me a recommendation to an engineer and that's in an 0:15:18.680 --> 0:15:20.280 asthmas that well, what you know, what has he done? 0:15:20.760 --> 0:15:23.680 He said, uh, he makes earth win and file. That's 0:15:23.680 --> 0:15:25.200 the one I wanted because because it was vote, because 0:15:25.200 --> 0:15:26.800 because he wanted to know what kind of what is 0:15:26.840 --> 0:15:29.640 its vocals? I said, yah, I said, God as vocal heavy, 0:15:29.640 --> 0:15:31.760 as as harmony, as this, I need this, I need 0:15:31.800 --> 0:15:34.120 frequencies I need I need forty hurts and then also 0:15:34.160 --> 0:15:36.080 I need this top end and I need a middle 0:15:36.120 --> 0:15:40.120 and I just explained Mick Gazowski and we went out 0:15:40.160 --> 0:15:43.720 to Conway Studios in l A And they just got 0:15:43.720 --> 0:15:46.320 the brand new flying faders board as a cl straight 0:15:46.320 --> 0:15:48.800 from London and so it's a whole brand new thing. 0:15:49.080 --> 0:15:55.760 But long story short, it was amazing because, um, me 0:15:55.880 --> 0:15:59.200 having the background of engineering and understanding frequencies, this was 0:15:59.240 --> 0:16:01.840 a perfect time me because I was learned so much 0:16:01.880 --> 0:16:05.920 from this guy. To answer you a question. Mitzowski had 0:16:06.040 --> 0:16:08.920 toys like you would not believe. Like he had this 0:16:09.080 --> 0:16:11.520 reverb that would sit up. It looked like my mother's 0:16:11.640 --> 0:16:14.200 furnace radiator that would you know, like back in the 0:16:14.280 --> 0:16:15.920 day with real cold and you put it near the 0:16:15.920 --> 0:16:19.000 windows so the draft from the window didn't make you cold, 0:16:19.160 --> 0:16:21.800 and it was like and then he had something underground 0:16:22.240 --> 0:16:25.440 and there was a reverb that was underground that would 0:16:25.800 --> 0:16:29.280 it was so he had all these you know, it 0:16:29.360 --> 0:16:31.600 wasn't even about rack mounts at that point, outside of 0:16:31.720 --> 0:16:34.360 the SEC base and whatever else we're using. But it 0:16:34.480 --> 0:16:39.120 was just more of a just these TC electronics and 0:16:39.120 --> 0:16:44.280 and just all type of look like Jurassic Park and 0:16:44.320 --> 0:16:48.080 they're like electronically you know, and just and he would 0:16:48.080 --> 0:16:50.640 just create this stuff. But his his arsenal was so 0:16:50.720 --> 0:16:53.080 brilliant to the point and then when I listened to it, 0:16:54.240 --> 0:16:56.400 it was so clean. I was like, oh man. So 0:16:56.560 --> 0:17:00.400 when Mick would leave the studio, go back and I 0:17:00.400 --> 0:17:03.400 would turn up the big turned up the all the 0:17:03.480 --> 0:17:05.480 kick drums, I would that would that would move it 0:17:05.520 --> 0:17:07.199 and did write it and then lit it right and 0:17:07.200 --> 0:17:10.919 it so so basically he mixed it sonically perfectly. And 0:17:10.920 --> 0:17:16.520 then I address the US keep working with him for 0:17:16.560 --> 0:17:19.600 the Sexy Versus album. Yeah, yeah, and then I started 0:17:19.640 --> 0:17:21.760 working with him begin Um, but let me tell you 0:17:21.760 --> 0:17:23.840 how this went about. What happened was so the guys. 0:17:24.280 --> 0:17:26.879 So once you know, they got signed and they started 0:17:26.920 --> 0:17:30.879 working on the album. Um, I remember I get a 0:17:30.920 --> 0:17:34.040 call from Andre Andrew said, yo, I need to meet 0:17:34.040 --> 0:17:37.640 with you. I was like, okay. DeVante was so amazing 0:17:37.680 --> 0:17:40.240 on the production, like you know he and it's funny 0:17:40.240 --> 0:17:45.440 because Joda see didn't want to be like a guy 0:17:46.160 --> 0:17:48.639 Joda see DeVante that wanted to be like bb D. 0:17:49.880 --> 0:17:51.880 That's all. That's all. I used to talk about BBD, 0:17:52.400 --> 0:17:56.960 but obviously DeVante had a Teddy Riley esque style and 0:17:57.040 --> 0:17:59.760 field to him. Um and I remember, I mean in 0:17:59.800 --> 0:18:04.959 a brilliant, brilliant musician. Uh and I remember so Puff 0:18:05.200 --> 0:18:07.800 and Dre came to the house in Jersey. Was sitting 0:18:07.840 --> 0:18:09.720 on the green leather couch. I think that's let the 0:18:09.720 --> 0:18:13.920 plastic on the couch came over. They were like, listen, okay, 0:18:13.960 --> 0:18:16.240 listen to Fellas. You know came up with the stuff 0:18:16.240 --> 0:18:18.640 and it's alott You know, it's Alottle. You know it's 0:18:18.680 --> 0:18:20.760 not there, He's not ready yet, but to all the ideas, 0:18:20.800 --> 0:18:22.199 everything is right there. He said, I need you to 0:18:22.240 --> 0:18:25.119 take this ship and do that Quincy Jones ship. You do, 0:18:25.960 --> 0:18:28.720 He said, take the Masters, and I want you to 0:18:28.720 --> 0:18:30.160 go to l A and I want you to flip 0:18:30.200 --> 0:18:32.720 this whole thing. So what I did first was I 0:18:32.800 --> 0:18:37.000 grabbed Davante, brought him to the house in Jersey, locked 0:18:37.080 --> 0:18:40.760 up everything, and we sat there and reprogrammed the entire album. 0:18:40.840 --> 0:18:44.439 Did everything you know from scratch. I took all the 0:18:44.880 --> 0:18:46.440 everything and know all that. That's why if you listen 0:18:46.440 --> 0:18:49.560 to it's the same sounds on on the Tivin Campbell album. 0:18:49.600 --> 0:18:51.679 It's the same kid, that's all jealousy thing. So I 0:18:51.720 --> 0:18:54.200 just used the same my same disc, my floppy disc 0:18:54.240 --> 0:18:58.720 from the SP twelve and so oh you did. Yeah, 0:18:58.720 --> 0:19:01.439 we used the SP most of that stuff too, like 0:19:01.480 --> 0:19:02.840 come and talk to me and all that, because all 0:19:02.840 --> 0:19:04.359 that stuff is the sample. Now, I just took the 0:19:04.440 --> 0:19:06.200 nine of nine kit and the eight away kit and 0:19:06.359 --> 0:19:08.359 combined them and then made my own sounds like taking 0:19:08.359 --> 0:19:10.560 a bat like the one on right now, like it's 0:19:10.600 --> 0:19:13.479 a it's a bat hitting the tree. And then I 0:19:13.520 --> 0:19:19.639 just drunk d yeah. So yeah, because right now when 0:19:19.640 --> 0:19:23.320 alone with you were like pretty much right. And then 0:19:23.359 --> 0:19:26.919 if you think about it, the Ussher record too and 0:19:27.040 --> 0:19:31.760 many so so now what happened was so when Puff 0:19:31.880 --> 0:19:33.679 and Drake came over to listen, you know, take this 0:19:33.720 --> 0:19:36.800 stuff and you know, do that Quincy Jones thing to it, 0:19:37.000 --> 0:19:42.080 and you know went down, you know, like I said, printed, 0:19:42.119 --> 0:19:43.240 you know, did all the stuff like that, took it 0:19:43.320 --> 0:19:46.560 to Hipactory, Times Square, printed everything may show was you know, 0:19:46.840 --> 0:19:49.040 this was my thriller. I took this so seriously because 0:19:49.040 --> 0:19:51.320 this was my thriller. This was my opportunity to show 0:19:51.359 --> 0:19:53.920 myself as a producer. And I wasn't necessarily thinking like that. 0:19:54.480 --> 0:19:56.159 Then it was just more of this project. It's so 0:19:56.200 --> 0:20:00.000 important to me because I want to make them into im, 0:20:00.000 --> 0:20:04.200 make a group, you know, and we did it and 0:20:04.280 --> 0:20:05.880 then they said okay, then they shipped me out because 0:20:05.880 --> 0:20:07.720 they didn't want nobody suppose, so they told me go 0:20:07.760 --> 0:20:09.720 to l A. So, you know, the guys are mad 0:20:09.800 --> 0:20:12.040 at me. They hated some Elvy Short because they were 0:20:12.040 --> 0:20:14.720 mad because I went out and and it was so 0:20:14.720 --> 0:20:19.040 funny because outside it was like a celebrity tournament because 0:20:19.080 --> 0:20:21.199 every day in the studio, you know, I'd be in 0:20:21.200 --> 0:20:23.280 the mixing, and then outside in Colma, you know, you 0:20:23.320 --> 0:20:25.560 get the little basketball court outside, so it was Mike 0:20:25.560 --> 0:20:28.800 Tyson and Martin Lawrence and Chris Rock and you know, 0:20:28.800 --> 0:20:30.960 it just like the whole family that Christopher Waite, everybody 0:20:31.000 --> 0:20:33.960 just hanging out playing basketball, coming and out, Jamie Fox 0:20:34.000 --> 0:20:36.199 and and it was just fun. It was just a 0:20:36.280 --> 0:20:39.120 great time. But it was so important. People don't realize 0:20:39.440 --> 0:20:42.000 put yourself in the right environment when you're doing a record, 0:20:42.040 --> 0:20:44.399 like don't put don't isolate yourself, because when your record's 0:20:44.400 --> 0:20:48.800 gonna sound isolated, keep yourself in your your environment. Okay, 0:20:48.880 --> 0:20:51.479 So I have a question, Short, leads back to Tevin 0:20:52.800 --> 0:20:57.120 and actually connects to you, and I'm at it. I'll 0:20:57.160 --> 0:21:01.880 feel Printing there as well, Um what I mean, as 0:21:02.280 --> 0:21:05.800 as diplomatic or as explicit or truthful you want to 0:21:05.840 --> 0:21:10.960 be with it? What was going on with Warner between 0:21:12.480 --> 0:21:19.359 two and that, I feel like the expectations that were 0:21:19.480 --> 0:21:24.040 there for Tevin Campbell to be the next God, Like 0:21:24.800 --> 0:21:27.840 I mean everyone basically just said like okay verse specifically 0:21:27.840 --> 0:21:30.520 because he came from Quincy, right, there's our new Michael Jackson. 0:21:31.040 --> 0:21:34.840 So even though yes, he had hits and made classics 0:21:34.840 --> 0:21:37.600 and all that stuff, I felt like the expectations for 0:21:37.680 --> 0:21:43.480 him to be God whatever exaggerated things that I mean, 0:21:43.520 --> 0:21:46.520 I guess the perception and I don't know if Warner 0:21:46.600 --> 0:21:50.919 dropped the ball to push it further, but on the 0:21:50.960 --> 0:21:54.920 second album or well, just I mean that was yeah, 0:21:54.960 --> 0:21:59.160 that was that was after Graffiti. Yeah, but even with 0:21:59.680 --> 0:22:03.640 print complaining about Warner Brothers, like what what was happening 0:22:03.680 --> 0:22:09.680 with Warner at the time that a lot of black 0:22:09.800 --> 0:22:12.679 artists on that label between the first half of the 0:22:12.760 --> 0:22:18.119 nineties were sort of like kind of like we learned 0:22:18.880 --> 0:22:23.199 excellent question, we learned what an urban budget is and 0:22:23.240 --> 0:22:30.200 a pop budget is Black music department. So the Black 0:22:30.200 --> 0:22:33.320 Business Department was an incredible department, and we would you know, 0:22:33.359 --> 0:22:35.119 pretty much we were paying the rent as well, and 0:22:35.160 --> 0:22:37.840 we're doing it, um, but the budgets were just a 0:22:37.880 --> 0:22:40.040 little different than Madonna. And you know, as soon as 0:22:40.040 --> 0:22:43.439 it was so even and my only honestly my I 0:22:43.560 --> 0:22:46.280 enjoyed working with Benny so much because we rocked together 0:22:46.359 --> 0:22:50.159