Black Music Month QLS Classic: Jimmy Jam Part 3

In part 3 of this truly classic Questlove Supreme interview (being re-broadcast for Black Music Month), Jimmy Jam talks about everything from what Janet and Michael's sibling relationship was like, to his relationship with his own family and shares even more insider secrets.

 

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Episode Transcript

Speaker 1 (00:00):
Quest Love Supreme is a production of iHeartRadio. This classic
episode was produced by the team at Pandora.

Speaker 2 (00:11):
Hey, what's up, y'all?

Speaker 1 (00:12):
This is Quest Love And as you noticed throughout June,
we are celebrating Black Music Month by releasing an episode
every day.

Speaker 2 (00:22):
So every day you're either going to hear a.

Speaker 1 (00:25):
Specially pick QLs classic and on Wednesdays we're dropping new
two part episodes with Green Brady and James Poyser, both
of which were filmed in the studio, So make sure
you also watch us on YouTube now for Part one,
Part tier. In Part three of my all time favorite
QLs episode, This is the legendary Jimmy Jam. Ladies and gentlemen,

(00:53):
This experience with Jimmy Jam, talking with him for almost
six hours was such a dream come true.

Speaker 2 (00:59):
We've never wanted it to end.

Speaker 1 (01:02):
This particular episode, we talked about working with Michael Jackson,
a lot of career advice in running a record label,
and a lot of it's so much too much information.
We really hope you enjoyed this Jimmy Jam episode as
much as we enjoyed doing it. All right here it
is part three, the QLs Classic interview with producer Jimmy

(01:25):
jam There's a question I have about rhythmination, which I
often debate with Reebe's son, Michael's nephew, Austin, about the effect,

(01:50):
the crippling effect that I feel the Knowledge add on
Michael Jackson, or just at least the first three.

Speaker 2 (02:01):
Songs of that record. And you know, I've watched no, no, No,
but I love this, I love where this is going.

Speaker 1 (02:08):
I've watched because I've watched a few interviews where he's
mentioned in a kind of monastery or a way like, oh,
you know, Jens. But knowing what I know about his
vocal style and what it became, I felt that I

(02:29):
felt that what control was for Prince Rhythm Nation was
for Michael into a crippling effect because soon after literally
every thing that he released post nineteen ninety was him
chasing those first three songs, Rhythm Nation, uh, State of

(02:55):
the World and the Knowledge. Well, no, no, I mean,
do you know the baby Face story about when he
first flew them to Neverland Wrench to work on the
Dangerous record? Did he ever tell you the oh his
first okay, so Babyface. So when they're working on Germaine,

(03:19):
as you said, record, suddenly they get a call saying I'm,
you know, helicopter to Havenhurst and uh. When they first
get there, they're like, well, so you know, what do
you what do you like from us? Like they're trying
to figure out what he knows of theirs, and he says, well,

(03:41):
I really really like Rhythm Nation. A part of me
actually feels like he was nagging them, Like I think
he's I think he's intelligent enough to read album credits
to know the difference between Ella and baby Face, Jimmy
Zanme and Terry Lewis, and you know, they corrected him,

(04:03):
was like, well, you know, we didn't do that right.

Speaker 2 (04:05):
It's like, I know, but I still like it. That's great.

Speaker 1 (04:11):
So yeah, it's and again it's like my favorite record
of hers is Janet. I feel like the most important
record was controlled, but I feel like the most impactful
was probably at least with stylistically and how it affected Michael.

(04:32):
I mean, when you make Michael Jackson's paradigm shift, then
that says something. And I always felt as though that
record crippled him in ways that he's never recovered.

Speaker 2 (04:47):
Like every song.

Speaker 1 (04:48):
Was like that sixteenth note, like off the Water, like
everything was that, Like what was was there any feedback
from him whatsoever?

Speaker 2 (05:00):
Was it like in her head like it's really going
to fuck him up now? Like like there was Janet.
Janet never had any sort of competitive Oh she was competitive,
but not towards him in any way. She never had
anything that I've ever since, or that she ever said

(05:22):
that was in any way like I'm gonna show Michael
on this one or anything like that. There was never
anything like that.

Speaker 3 (05:27):
Her.

Speaker 2 (05:28):
Her respect for him was way beyond any sort of
competitiveness with him. He was competitive toward her. I will
say that because I can tell you. I can tell
you I can I can tell you the whole scream
story that was that. But but interestingly enough, yes, the knowledge.

(05:51):
I have a handwritten note from Michael that talks about
the bridge and the knowledge and the sound that's on
there and can I can we do something that sounds
like that on the bridge of our song. He had
taped it to my keyboard because I wasn't there, he
taped it to my keyboard and I still have that.
You still have that note? Brief?

Speaker 3 (06:12):
Does he print or writing cursive?

Speaker 1 (06:14):
I'm sorry to print.

Speaker 2 (06:16):
No, this was print. I believe I think this was
a magulent cursive. I'll have to you know what. I
never actually, honestly, I didn't pay attention. Maybe it is cursive.
I don't know. I didn't pay attention. I just saw
the note that just said, Jimmy Jam can we use
the sound? That's whatever that sound is and the knowledge,
but I actually got it. Was funny because when I
we were working with with Michael uh on the on

(06:39):
that History album, and I remember him being obsessed with
IF and he really liked IF. And I remember saying no,
I said, yeah, if it's cool, Michael, I said, I
don't know. I said, you know, that's the way Love
Goes was a much bigger record it was, and I said, yeah,

(06:59):
so that's the way I Love go was like number
one for eight weeks or something. I said, you know,
it was like top five. I said, but it wasn't.
Said no, I like, I really like that IF, and
it's like no.

Speaker 1 (07:08):
Like that brace yourself that that five second stadium Yes,
sizzle like and that's what like Rhythm Nason was probably
the first stadium black album because even with bad, just
that intro, yeah maybe the way you make me feel

(07:29):
like it didn't have the grandios mm hmm. Intro of
every like every song was stadium ready yeah for Rhythm Nation.

Speaker 2 (07:38):
Yeah. No, he definitely liked I mean he was. He
told us how much he loved it, and and and
oneted and one of the and always why did he
never ask you guys to produce his records? What we did?
We did. We ended up doing songs on uh. Well,
but after the fact, well, I mean honestly we first

(08:02):
of all, the records he made with Quincy Jones, to
me were the greatest records ever. So I was like,
I didn't even really want to work with Michael quite honestly.
If he wouldn't have asked to do the Janet duet,
you know, we probably never would have worked with him.
That's the reason we worked with him. And it was
interesting because I remember Janet or Michael called I'm trying

(08:24):
to think where his folks called our folks or whatever, say,
Michael wants to do a song as a duet with Janet.
And my first thought was, no, I'm calling No, it
wasn't no. My first thought was I'm gonna call Janet
and see is she cool? Is she aware with it?
You know of this? And then my biggest thing was
I feel as a producer and also her friend and confidant,

(08:45):
I'm there to protect her and I want to make
sure that whatever the process is that is happening, that
she's protected at all times. And when I say that,
it was interesting what you just said about Michael and
kind of his you know, his story with La and Babyface.
When when he said I really liked Rhythm Nation. That's

(09:08):
hilarious to me because I remember when we were doing Scream,
and I remember I told Janet to come to Minneapolis
while we were doing the tracks because Michael said, just
put together some tracks and we'll figure it out what
it is. And I remember we put we put a
bunch of tracks together and then we just kind of said, okay,
I said, Janet, you need to just sit here. I
just need your inspiration, you know. And so I remember

(09:32):
when we did the track that ended up being Scream.
I remember Janet said, that's the one he's gonna like.
And I said, how do you know? And she said,
because I know my brother. And I said, okay, So,
but the song she really liked, and the song that
we liked was ended up becoming Runaway because yeah, because
he could have run away. Yeah, we thought that that

(09:53):
was yo. Yeah, we thought that was the record. Yo.
He could have killed sh right, That's what we thought. Yeah. Man,
So when we did so, when we did so, when
we did run away, Wow, when we did run Away,
it was funny and we didn't know it was gonna

(10:13):
be called runaway. I mean obviously that the song didn't exist,
it was just a track. But when we did the track,
we just were like, Wow, this feels so nice, this
is so cool. Right, And so she said, I remember,
she said, put it on the cassette, but I hope
he doesn't like it. I want it for me, And
I said, okay, cool, so sirted off. We played the songs,

(10:34):
We went to the hit factory, flew to New York,
went to hit factory. He blasted these songs super loud,
and then he would say, yeah, that sounds really good.
Can I hear number two again? Please? Okay. So they'd
played number two, and they played a couple other ones,
and then he goes, okay, I think I think we're

(10:54):
gonna go with number two. I really like number two,
And number two was ended up being screamed and it
looked at me like I told you so, but also
like I'm glad he didn't pa so anyway, So the
next day we went to ironically Trump Tower, where he
had uh, where Michael had his penthouse and stuff, and

(11:16):
we and Michael already had conceptually what he wanted. He
wanted a record that lashed out at the press and
everybody that doubted him or was critical of him. And
that's why that track worked so well, because for him,
it was the aggressiveness of doing that. Whose idea was
fucking I? You know what, I honestly don't remember. I

(11:42):
don't remember whether he said that as we were recording it,
or if. I don't think we suggested it, because I
don't think we would ever.

Speaker 1 (11:51):
I was about to say, did you write the word
stop fucking with me?

Speaker 2 (11:55):
No? It was it stopped pressuring me? But he wrote
he wrote the lyrics on that. We didn't write the
lyric son screen. Okay, that was totally his thing. And
even as he was writing the lyrics, we were like, okay, yeah,
we get that. Oh, but why would you want to
drudge up any animosity toward the press or anybody at

(12:18):
this point? Because right now he was at it and
he was at a really happy point of his life.
He had just I don't know whether I think him
and Lisa Marie had just gotten married, so he was
a happy guy. Lisa couldn't have been nicer. You know.
It was funny because I remember we asked Lisa, we said,
what did you what did you see in Michael? You know,

(12:38):
what did you how did you guys fall in love?
And she just said he was the kindest person I've
ever met in my life. And I totally got it.
I was like, I get it, totally get it. And
I thought, now's the opportunity to you know, if it
was the Runaway track or we had heard the the
r Kelly track you Are Not Alone, and we were like,

(13:00):
that should be the single. To me, it's like, that's
where you're at in your life right now. Why go
back and go pressure me. I got to get the
last word. He's got to get the last word. And
that was the thing. And we told we told Sony,
we told uh, well, it wasn't even Sony at the time.
I think it was still CBS Records at the time,
but we told him, we said, that's the wrongest, that's

(13:21):
the wrong record for the first single. To me. Also,
I said, just strategically wouldn't. If everybody wants that duet,
why give it to him at first? Give him something different.
I said, he's never given the whole big record as
the first one ever has throwaway song should have been first.
And then yes, well that's what I meant, like, yeah, yeah,

(13:45):
but I mean but that was my thing was you
are not alone. I said, you just gotten married to
Lisa Marie. You're in love. We had already done the
love thing with Janet, right. We knew that's the way
love goes was the song for that album that it was?
It introduced it said what the album was, the album
was not. We argued with the record company over that.

(14:05):
They wanted it for the single and we're like, no,
but if it's like the last of Rhythm Nation. But
remember the last impression you had of Janet was love
will never do without you. So going from that too,
that's the way love goes is the next logical step.
And they almost talked her out of it. Thank god
for Chuck d and Hang Shockley, who we played the

(14:27):
record for, and they told us, yeah, that if is cool,
but that that's the way love goes. Man, It's like
some sha shit. She wanted to no I'll tell you.
I'll tell you. I'll tell you what I can real
hopefully real quick. I can tell you what happened. We
had finished the whole album. We were the last song
we did with State, not State of the World, but
New Agenda with Chuck did right, So we're finishing up.

(14:52):
We finished it like three in the morning when Janet
had left. Janet had left for about two three days
to meet with Virgin about or whatever. And of course
now we're in a climate of biggest recording delever Ton
of pressure and whatever. When Jordan Harris and Jeff A.
Roff were the two guys that were running Virgin when

(15:12):
we were working on the album, they came to town
one day and they said, we just want to hear
whatever you're working on. That particular day we were working
on If. To crank that up. I turned it on.
They were blown away. They left. They said that we
don't need to hear anything else. We're good, right, So
in their minds from that day forward, IF was the single,

(15:35):
because that's what they heard, and it was so straight
down the middle of Janet from what Janet was on
Rhythm Nation. They hadn't heard any of the other songs,
didn't know any of the concepts. So that's the way
Love Goes had a long kind of you know life
because in creating the song. Because when I did the song,
I was like, my whole thing was First of all,

(15:58):
I'm the biggest James Brown fan ever, right, Papa Don't
Take No Mess was one of my favorite songs. I said,
if I could take Papa Don't Take No Mess, put
chords over it like a real song, and chake RD
changes and stuff, and make it all still work with
the with the thing, if I could put the impeached
the President's sample in it. I was trying to make

(16:19):
like the ultimate hip hop you know, like like a
record Mary J. Blige would make. It was what I
was trying to make on that record, right, but with
the texture the Janet would sing on right. And I
remember there was this guy named Mark Mazzetti used to
work at A and M Records, and Mark Mazzetti.

Speaker 4 (16:38):
Okay, so so Mark came up.

Speaker 2 (16:42):
You know, she she was on Virgin, but he just
he came up and he said, hey, I know she's
not on our label. Can I hear something you're working on?
And I said, oh, yeah, well I just finished this
track and I played him That's the Way Love Ghost
track and he went crazy. He said, oh my god,
this is the greatest. Oh my god, I'm so I
wish I was working this record. Whatever, whatever, anyway, play
it for Janet. Jane goes and it's okay and I

(17:05):
said wow. I said, oh really, she said yeah, it's okay.
So anyway, I said, okay, cool. So then about you know,
A couple of weeks later, we were taking a break
over Christmas and she said, just put everything on a
cassette for me to listen to. I said, okay, cool.
So I put the track on the cassette right when
she got back. A couple of weeks later, she landed.
I said, what song do you want to start with?

(17:26):
She said, oh my god, that track, that track, Oh
my god. And I said, what track are you talking about?
That track you gave me? Oh my god, the track
you gave me, I said, the one you don't like. Oh,
I was no, I love that track. Oh my god.
We listened to it over and over. So something about
she was in Anguila, so something about being in Guila
on the beach and whatever, and something about it connected

(17:49):
and I think what also happened. She was over there
with a bunch of her dancers and stuff, and I
think they all heard it and were like kind of
like what they did in the middle, and that was
kind of that that's what I think have happened over there.
So when that happened, she said to or the random, yeah,

(18:09):
not actually, but yeah, but that was that was sort
of the idea. So anyway, we actually did the song
and we all agreed that that was sort of the
direction of the album. Like that was the first you know,
kind of Entrea what the album was going to be.
When she went to l A, we warned her. We
said they're going to try to talk you and if
I already know it, and she said, no, it's cool,

(18:31):
but you know what, a second single maybe whatever, It's okay, cool.
She comes back, she goes, yeah, the single changed to if.
We were like, don't don't you know and they were
like and she told me all the reasons, Oh, we
can do a big dance video and it's Janet returns

(18:52):
and it's whatever, and we're like, no, but we know
that we.

Speaker 1 (18:56):
Have changed my whole perspective of that record, right if
came out.

Speaker 2 (19:00):
Yeah, So anyway, so now okay. So we fast forward.
We're finishing new Agenda. So three o'clock in the morning,
I said, Janet, I said, can we play them the
two records we're thinking of singles? And she said, oh yeah,
that'd be great. I said, okay, cool. So we went
in in the studio. I played That's the Way Love
Goes and they listened to it and they were like vibing.

(19:22):
And we played IF and they were vibing and we
were like, okay, so what do you think and they said, well, yeah,
that that IF man, that you know, that just sounds
like Janet. Man, you know that's that you know, that's
that Jane's back, and you know, we get it. Man.
It's it's it's like, you know, it's like and as

(19:45):
he's saying that, I'm just going like no, right, and
she's looking at me, like Jane's looking at me like
see you know whatever, and I'm like damn. And then
they go, but but what was that other song called
That's the Way Love Goes? That other song? You know

(20:07):
what that song is like? That's like some shah day shit.
That's like when Shahde puts a record out, you know,
and it's no fanfare. To it. It's just like she
just got the CD and she just kind of slips
it down on the table and you go, oh, what
is that. Oh it's a shot a record. Let's check
that out. You know. He said, that's like that shit,

(20:28):
and he said that's something about that. And I looked
at her like and that was it. And that was
so the decision was made. And thank god they were
there and said that, because then she said she like
came back to her senses and she said, okay, yeah,
that's the way Love Goes is a single, and yeah,

(20:49):
it changed the whole direction of what the record would
have been. And so yeah, I mean, you know, there's
all kinds of things like that that happened. Man, It's
like it's like we can sit here and talk. We
ain't even got to damn two thousand, have we. Which,
by the way, everybody clowned us about the length of

(21:10):
the of the Red Bull interview that we did. Whatever
that was, Yeah, whatever that is, And it was funny
because I said, yeah, but you know the problem is
is that you can really pick an era and spend
a couple hours talking about it if you want to
go in depth with it, It's tough to really do it,

(21:30):
because I said, we've just been around to damn long.
That's the that's the problem. And there's a story that
leads to another story that leads to another story. But
there's so many angles of things of the way they
turned out. At the end of the day, I say
about all of this, it's God that does this flows
through us. Luckily we've got the blessing to to actually

(21:53):
do it. But I guarantee you there's song, there's chord
changes and songs we were talking about. Somebody asked me
the other day about come Back to Me, the bridging
come back to Me.

Speaker 5 (22:03):
It's the same as money came by you love?

Speaker 2 (22:05):
Is it that.

Speaker 5 (22:13):
You're faint?

Speaker 6 (22:15):
Oh you're right, Yeah, you're right, Yeah, you're so well,
you're right.

Speaker 2 (22:27):
I mean, you're right. There are there are the same
There are the same chords in there, absolutely the same chords.
But I don't know where those chords came from, right
because when I was doing come Back to Me, the
track for that, that is not where I would go
for a change. Like if somebody said, oh we need
a B section, I wouldn't have gone to that. You know,

(22:51):
And even sometime today, you know when somebody says, hey,
play such and such and such. I love the change
in that song, and I can't remember what it was.
We were Brunell Mars the other day, who, by the way,
can sing every damn song we've ever done and really well,
which is something. But we were doing I don't know
whether it was coming back to me or one of
the others that might have been abanded knee or something,

(23:12):
and we were he was singing and he went to
the change, and I'm like going, oh wait, I don't wait.
What was What was I thinking that day? I don't
even know, but it was whatever was planted in me
that day that made me come up with those changes.
So at the end of the day, man, it's just, uh,
you know, it's just a blessing and I get to

(23:33):
do it with somebody who I love to see every
single day. And but there's so many twists and turns
that you can't really get stuck on yourself about it
because there's so many other factors. Man, Like if Chuck
d wouldn't have been in our life and Hank Shockley
wouldn't have been in our life at that moment, it
would have taken a different turn. And that stuff we

(23:56):
can't control, you know, so there's a lot of good
fortune that happens.

Speaker 7 (24:00):
What's your day to day like now, like in terms
of you and Terry writing songs, like, what's the typical
day like in your life?

Speaker 2 (24:07):
Wow? Well, a typical day in our life is a
lot of family kid raising. Quite honestly, we have our
kids go to the same school. Six Well, I have
a six I have sixteen year old twins and he
has a sixteen year old son. But he has a
thirty six year old son. You know, he's Terry's been

(24:28):
busy for a while.

Speaker 1 (24:29):
Yeah, ain't nobody bad, sorry, but.

Speaker 2 (24:39):
Terry. Terry taught me everything that I know about parenting
and he's like the most unselfish giving person ever in life.
And uh so I got a chance to watch him
raise his kids, and then I had mine. But then
he remarried and had more kids, you know, because he
just he's the kind of person that should should have kids.
And he'd always said that to me because I went

(25:01):
through most of my life I figured I was never
gonna have kids. I just I didn't want kids. And
he said, jam, you know, you have to have kids.
And I'm like why, and he said, because you have
so much to office, And he says, and somebody's got
an offset all the knucklehead kids, so you need to
raise some good kids so we kind of have some balance.

(25:23):
And I thought, okay, yeah, he's absolutely right. And I
always feel like with my kids, it's like, y'all better
do something with your life because there's no there's no excuse,
you know. So that's that's the thing. So anyway, a
lot of our life is being uber driving kids to
school and back. My daughter just got her license, so

(25:45):
that's scary as she's sixteen. I have an older son
at Arizona State University and he's I think gonna transfer
a d end of the year maybe, but we'll see
whatever he wants to do. But I mean a lot
of it is just spending kids time. The nice thing
is I wake up and now the way studios are
studios in your laptop now, So I have an office

(26:05):
at home, and anytime I come up with an idea,
and thank goodness, the idea is just keep coming for
some reason, and I can just walk over to my
laptop and I have my little keyboard and stuff, and
I can just bang an idea out. And sometimes I
don't even develop it. I just kind of I just
kind of put a little idea down and I just
kind of leave it. And then what happens most of

(26:27):
the time is Terry we'll take my hard drive and
he'll say, hey, Jim, let me get something off to
your hard drive. Okay, cool. He'll go through, listen to everything,
and the next thing, you know, we'll have We just
did a Peobo Bryson album, Wow, and he pulled some
songs off of my hard drive that I swear to god,
he because we were trying to well, we never talked

(26:49):
about how we work together, but this is this is
one example. So he said, man, you got I'm we
need some stuff for people. Man, but I want it
to be like R and B. But it's got to
be forward, you know, it's got to be whatever whatever.
And it's like, okay, cool. He said, you got anything
like that? And I said, nainet got anything like that.
I said, but I'll figure something out. So anyway, he
takes my hard drive, he goes down to Atlanta, he

(27:12):
records people, He comes back two songs that I had
done I don't know, five years ago or something, just
as kind of a thing. One of them I was
singing on, which was pretty bad. And and anyway, he's
got people on these songs. These are like I probably
are singles on the album. And but he hears it
and he goes, I mean one of them he played

(27:33):
for people, and people like lost his mind. He said,
oh my god, I love this. And so Terry's like, okay, yeah,
you know. So sometimes it just happens like that. But
that's the great thing about having a partner, you know.
That's even we talked about a little bit earlier, what
have you done for me lately? So Terry walked in
the studio when I was cutting the track, and the

(27:56):
part that ended up being used was actually the bridge
to the song. It was like a whole different song.
Wait what It was a whole different song, but the
bridge went dun ding ding ding ding ding ding ding.
So what is your main I don't even remember now.
I don't even remember what the main part of the

(28:17):
song is. I just know Terry walked in and he said, oh,
I like that. Dun dun d I like that. And
I said, oh, no, that's just the bridge of the song, Terry.
The real song goes like this, and he said, no, no, no, no,
just right to that bridge. You know what he told you,
right y.

Speaker 4 (28:38):
So I have a question. Have you ever had to
deal with writer's block or does having a partner kind
of prevent that from it helps?

Speaker 2 (28:45):
It helps a lot because normally we don't have it
at the same time. But yeah, you definitely go through
writer's block. You go through I mean, we've done it
so long now that we've gone through a ton of
periods where we just thought, oh, we're never ever gonna
writ another song again. It's just it just ain't there.
Terry went through it for a while, and I remember though,

(29:07):
it was because the stuff that was being offered us
to do was not inspiring. And who did you say
no to? Oh? Many people, many, many, many, many many people. Everyone?

Speaker 1 (29:25):
Not everyone, huh Stevie Wonder.

Speaker 2 (29:30):
No, we never said who did you say?

Speaker 1 (29:31):
You say you felt didn't make sense to do? Like
the Prince come to you guys one day and like
you guys got something or I mean like no, we
actually were Michael Jackson's situation like well, I.

Speaker 2 (29:43):
Mean early early on Madonna, Donald Ritchie at one point
in time, I mean in the level we didn't think
no because he wanted one song and we wanted to
do more than one song. We didn't feel like we
could do oh dance initially well initially right around that,
right after that, probably right after Dancing on the ceiling,

(30:03):
right around that time. Yeah, I mean he was, he
was huge, but we just didn't feel like we were
going to make an impact with one song that we didn't.
When we thought of him, we didn't think of him
as one song. We thought of him as the Commodore's
linel Ridge album. We thought of him as the you know,
the yeah, oh we did, you know, but we did, though,
we did an album with him that did absolutely nothing.

(30:27):
What wait, red headphone man about this loud louder than words? Right, Uh,
what's a lot of the world? Yeah, great cover, Yeah
that's right. You did the entire album, no no, but
we did the great the good songs on there, which

(30:50):
so don't so don't want to lose you, Okay, you
got that on your on your laptop of yeah, look,
so don't want to lose you now. And we did
a song called say I Do, which he actually got
married to when he got married, Say I Do. And
we did a song that one of my favorites called

(31:10):
take You Down that we actually sampled. Uh. I think
it was what's the same ecstasy by the Ohio? Wow?
What wait? Louder than words? Yeah, louder than words? What us?
So here's so. Here's the funny thing about Lionel is

(31:30):
that when he finally did come to us and we said, no,
we want to do more than one song, and he said, okay, cool,
he said, I get it. Whatever, I'll come to Minneappol.
It was a whole different Linel at that point. Right,
I will come to Minneapolis, I'll do I'll work with
you guys, whatever you guys want to do. We said, hey,
we miss the Linel, the Commodore's Lionel. Can we do
a Commodore's Lionel song? And he said yeah, yeah, he

(31:53):
said absolutely, we got it. We got it. And and
so I remember when we played it for him and
I think I had sung the demo, which not very good,
and he started cracking up. He just laughed and I said, yeah,
I know, I don't sing really good and he said, no, man,
it ain't that. He said, what's weird about it is
that that is so me. But I can't write that song.

(32:16):
You guys can write it. I can't write that song anymore,
but the fact that you all wrote that for me,
he said, I'm totally with it. So anyway, that album
got caught up with I remember a record company thing
with pol I think it was PolyGram at the time,
and it just kind of got caught up in a
bunch of in a bunch of craft and we actually

(32:37):
played with him at the PolyGram convention. Okay, so that
was cool. But you know, I mean, that's for me,
the greatest compliment that we get is when we got
a chance to work with the classic artists, the people
like we grew up with, and we got to work
with Barry White, and we got to work with Verry
White was the best. We played a song for Barry White.
We did the song called come On for Barry White,

(33:00):
and you know, we did the whole big long love
unlimited intro and the whole big thing right, and we
said when it got done, we said, hey, what do
you think, man? And he said, sounds like me. And
that's that's the best complim When we did a song

(33:20):
called You're All I Need for the Isisley Brothers, and
I remember Ernie was listening to it and he said, hey, man,
you got an acoustic guitar and we were like, yeah, yeah,
he said, man, man, hook me up. Hooked me up.
He said, I already know where this is going. I
already know where the chord changes are going. And when
you do that and you like somebody so much, but
you can kind of get into their heads and make
them feel like the song is for them. That's the

(33:43):
best man, particularly with you know, like I said, with
the classic artist, because you have a chance to actually
study and know and as a fan, you know, just
with anybody, you know where they went wrong, where they
made the left turn. You just talked about it. With
Michael he made a left turn at one point and
he got into rhythm and land and he never recovered
that was his left turn that he made. Or it

(34:04):
can be any of your favorite artists. It's like, Okay,
they get to a certain point, then they make a
left turn and it's like, if you can just bring
them back. Well, we worked with Earth Wind and Fire.
We did a song called pure im Okay and that's
the last record by the way, that Maurice White sang
on and we insisted did he sing.

Speaker 5 (34:20):
And that sounded like a great That was a great song.

Speaker 2 (34:23):
But the point was so earth Wind and Fire comes
to us and they go, man, we want to get
back on the radio. And we were like, you're on
the radio all the time. The reasons, that's the way
to work them. You're on the radio. No, no, no,
we want you know, we want to be on the radio.
I said, no, no, So what does it tell you
that those songs are being played on the radio. So
what does radio want to hear from Earth Wind and

(34:43):
Fire those type of songs? And so we did Pure
Gold and you know, it was a very popular record
in the whole thing.

Speaker 7 (34:57):
Yeah, man, y'all, you guys have always kind of been
like I can compare y'all.

Speaker 5 (35:01):
I call you like the Shang Song of music because.

Speaker 7 (35:05):
Like y'all, motal Combat was a character who could morph
into like any of the other characters. Because the record
y'all did disrespectful for Mary Jay. I would have bet
my firstborn child at Rich Harrison did that record right
and love Rich Aerrison, And I was just so I
was just curious as to how you channeled that, Like

(35:28):
where does that come from?

Speaker 5 (35:29):
Like in order to get it?

Speaker 2 (35:30):
It comes from it comes from uh, it comes from
respect uh of of people like that of Rich Harrison.
I remember hearing what was the record Amrie one thing, No,
not talking about no, the very first fall in Love,
Oh my god. Okay, So of records that changed my

(35:57):
life as far as just appreciation of production and songs
and what that was one of them. I mean, there's
there's probably I mean, I don't know, I've never I
always think about it, but then I never do it.
But like there's certain songs on my life the way well,
there's certain songs that there's certain songs in my life
they'd really changed, and I go back, I can go back,

(36:18):
way way far. But I mean I remember happening on
to a Brenda Russell album, right, okay, and think it over,
and those songs on that, those major seventh chords on
that record and the way it's put together changed the
way I wrote music totally. Right. I can think of
hearing just trying to think it's something to come to mind.

(36:40):
Just a Touch of Love by Slave totally changed the
way that whole that drum, that Steve Arrington with that
little hiccup tie hat thing that you know ended up
watching you and all that other stuff. But just to
Touch of Lovers Man, that was such an amazing record
and her and start leading Young's voice and that whole

(37:00):
thing was just amazing. Right, So there's certain records like
that that just do that to me. And so yeah,
so the Amaree record did that to me. That record
was just like come on, so and My Life album
by Mary Jay was like that. Like I stopped everybody
in our in the studio and made them listen to

(37:21):
that album, like you gotta listen to this you. I
loved it. That's crazy.

Speaker 1 (37:27):
That's the first day we met, by the way, or
at least that I remember.

Speaker 2 (37:30):
I am. Yeah in DC.

Speaker 7 (37:33):
Really I loved it, loved I didn't believe that again,
I can see.

Speaker 2 (37:37):
It, wouldn't I like it?

Speaker 1 (37:40):
Well because.

Speaker 5 (37:43):
It was karaoke.

Speaker 1 (37:45):
It broke so many rules, Like we were like just
that month of us being in a van and analyzing
every record as we're going from gig to gig, we
got My Life record. We were just dumbfound it because
all we kept asking was is this allowed his name?

Speaker 2 (38:06):
She allowed it?

Speaker 1 (38:06):
Now if it were rappers singing over Everybody Loves the
Sunshine and be like, okay, that's normal. But we never
heard a singer sing over break Theeat. And we didn't
know how to feel about that record.

Speaker 2 (38:21):
Like we were just like.

Speaker 1 (38:23):
We just kept asking. Well, soon thereafter I was like,
if you ask if this is allowed, then it must.

Speaker 7 (38:32):
Be clown breaking, right because she started because she was
kind of on the the what's the four one one remixes?
That was kind of the dress rehearsal for my life
because that was when she started.

Speaker 1 (38:44):
No, but we just I never thought like, Okay, I'm
listening to everybody loves the Sunshine.

Speaker 2 (38:49):
She's just changing like it was. I was so conflicted happy.

Speaker 1 (38:54):
Yeah, I was so conflicted that.

Speaker 3 (38:59):
You listen to records and not listen to them clinically.
I always ask these guys that, like, can you just
listen to a.

Speaker 2 (39:04):
Record and I analyze everything and.

Speaker 3 (39:08):
Just hear the goodness, the emotion that it looks outside
of the technicalities of the break be how many.

Speaker 2 (39:14):
Sort of that's a great question. I think I can.
I definitely get the emotion of records. I was listening. Ironically,
there's a record by there's a guy like an EDM,
guy like Porter Robinson, and I love his chord structures
and his textures that he does. And there's a song

(39:35):
he had out about four or five years ago. No,
it wasn't even four or five years ago. It's maybe
two or three years ago that I remember he played
at Coachella and it was the first time I taken
my kids to Coachella, and I remember we walked into
the tent and that song came on and my kids
put their hands in the air, and I just was like, wow,

(39:56):
this because everybody was like, well edm is just kind
of soul. Listen it's whatever. It hit my kids and
I actually put a little snippet of it. I sent
it to my kids today because we're going to Coachella tomorrow,
and I sent them that little snippet and they both
like sent me back a bunch of smiling faces because
there was this moment where And I never have analyzed
that song because it's I'm not an idiom. I don't

(40:18):
really do idiom, but that song, Yes, the emotion in
that song, there was no. I didn't have a desire
to try to dissect it. I just something about it all.
And it could have been the moment, or because I
was with my kids, or because there was a shared
experience or whatever, But yeah, I don't I think I
probably can listen to things without doing it. The thing

(40:40):
that is I don't like is when I can hear
the plan that somebody had for the song. That bugs me.
If a song is put together really well, it's like
a magic trick or something like if a magic trick
has done really well, you don't see the magic. You
don't see the magic. It's just like, oh shit, wow,
that was cool. But if you know what it is,

(41:03):
what they're trying to do, and and some songs are
so I'm going to push a button here, yeah, to
try to get this emotional and then I'm gonna do
this here because and I'm gonna use this sound here
because it reminds people of this here and it's almost
like a laboratory.

Speaker 7 (41:21):
That's like I said, I've never been inspired by inspirational
music ever, like anyone that says like the well not
I mean optimixic now that's that.

Speaker 5 (41:30):
That wasn't That was a song that was inspirational, but
it wasn't.

Speaker 7 (41:34):
Like I'm going to try to inspire you like a
lot of like I don't want to say Christian music,
but music that seeks to like be like self help
books in music form.

Speaker 5 (41:44):
I hate that.

Speaker 2 (41:45):
Shit. Wow, I'm telling them as so how well rounded
are you?

Speaker 1 (41:56):
How well rounded are your kids with music? Or do
you leave them to their devices?

Speaker 2 (42:03):
They school you all of that, all all of the above,
and all in and all in different ways. I mean,
I'm around my sixteen year olds all the time, my
older my older one. I remember his probably his most
influential phase of music before he kind of I won't

(42:24):
say matured, but I guess matured is the right word.
Anything that little John did where it was where it
was a loop of a synthesizer low and then high.
So if it was snap your fingers, it was every
song had that same pattern. He loved all those songs right,

(42:47):
and he eventually got he's more, he's interesting now, he's
much more of an EDM guy. Now he's into the
all the DM stuff.

Speaker 1 (42:55):
So I mean, what do they think of what your
life was like? Do they understand that?

Speaker 2 (43:01):
Yo? I know you'll see me as.

Speaker 5 (43:02):
Dad, but I'm just shit kind of.

Speaker 1 (43:04):
That motherfuckers, Like what do they think of when they see?

Speaker 2 (43:12):
No, they don't, they don't. They have no, they don't
get it, no, not at all. So the time means
none of them, Well, no, they enjoyed the time. Now,
it was interesting when we did for after the Rihanna performance. No,
after the Rihanna performance we did because the time didn't
exist because we didn't really my kids weren't born until

(43:33):
ninety six. We did. My first one was ninety six.
The twins were two thousand, so we didn't do the
We had done the Pannemonia malment what ninety but we
hadn't done another album since then, so they didn't really
know the time. So it was just yeah, a band
I used to play with, but they had no you know,
thought about what it was. Yeah, no reference. I remember

(43:56):
the first time I took we did a song with
Sting called My Funny Friend in Me from a It
was from a Disney movie. I can't remember what it's
called now, And at the end of the premiere of
the movie they raised the curtain and we actually performed
with Sting, and I remember my son, who was probably
four at the time. He loved it, like he thought
that was so cool that I was But he didn't

(44:17):
know who Sting was. He just thought that it was
cool that after this movie there was a band on stage. Right.
Eventually he got it and he went with us like
to Janet like because he was old enough. I mean
he was what five, I think when Janet did or
six when Janet did the Velvet Rope not velvet rope
but All for You tour. So when we took him
to Hawaii with us, when we did the HBO thing

(44:40):
and the whole thing, take him to that chair? Did
she No, she had Kevin Garnett in the chair though,
was Yeah, she did it. She did it so anyway,
So yeah, but my younger, my younger boy is he's everything.
He's the Coachella sponge like I took him and he
was everything at that year. Was a a c d C.

(45:02):
He loved a c d C. He loved uh Tyler
the creator, he loved Uh.

Speaker 1 (45:07):
I was gonna say, z a c DC. It was
because of rocketitar rock band or no guitar. I was
wondering if it because yeah, right, because his kids are
into yea, why do.

Speaker 2 (45:19):
You know this? Yeah? Why do you know the songs?
That's interesting? No, he always for some reason, he always
had a very big palette of He was always an
old soul, Like he would listen to led Zeppelin, but
I mean he'd hear me play it, but then he'd
go seek and find more stuff that was always his thing,
like he'd like he ended up liking the Black Keys

(45:42):
because he liked led Zeppelin, and then he you know,
and he would make the connections on stuff. He was
very very much at an early age. Now he's sixteen.
His he's literally discovered now the Michael Jackson Off the
Wall album now was his probably his favorite album of
all time. He thinks sonically, it's the best record ever made.

(46:06):
And you let him discover it? Yes? Are you forced it?

Speaker 6 (46:09):
Know?

Speaker 2 (46:09):
I know? No, I let him discover it. I got
in the I got in the car. It's funny. I
got in the car the other day. So after the
Grammys we went to this one after party of aeg.
There are people that own the Staples and all that.
We went to their party. They were playing all this
kind of old school music and they played bad Mamma, Jamma.
They played knee deep funkadelic. Right, he had never heard

(46:30):
these songs in his life. Right, He's asking me, Dad,
who is this? And I said, oh, bad mamajamma Carl Carlton.
Ok okay, Dad, who's this? Not just needy funkadelic? Okay? Cool.
About two weeks later, I'm taking him to school. He's
playing Funkadelic, but not knee deep. He's playing like this
album cuts. That album cuts right bad. Mammajamma is like

(46:53):
his favorite song ever. He's telling me, how lyrically, what's
the lyric? There's a lyric in the song that he loves.
What is it? What is the line? Yes, the look
at her anatomy line, whatever that line is poetry most.

Speaker 1 (47:16):
Excited excited feeling her anatomy.

Speaker 2 (47:20):
He's yeah, he loved that. He said, man, those are
great lyrics. I'm like, okay, cool. So he loves so
he loves that. He loves the like I say, he's
into the Michael Jackson thing. He the other day he
found heat Wave. He said, Dad, doesn't this sound just
like Michael Jackson song? I said, that's because Rod Temperton

(47:43):
wrote it. So then he went on a Rod Temperton binge. Right,
So he's that kid that Yes, he got me and
I love that right, and me too. I mean I
was the same way. So I see myself and him.
So anyway, he's totally into that stuff. But after he
gets through with that stuff, Travis Scott Big who's evert

(48:08):
is okay to him. He's really he's really Travis Scott
is his that's his all time favorite. He likes Kanye
a lot, he likes Drake a lot. He liked the
early weekend stuff, the mixtapes, weekend stuff. But he's but
he likes Samfa, he likes a little Dragon. No, he

(48:32):
loves Oh loves No. He's he's got a very like
I said, he's got a very wide music.

Speaker 5 (48:37):
My son, my son, who is also sixteen.

Speaker 2 (48:40):
So Coachella is like perfect for him, Like he's gonna
be he's gonna love it. Like he's already got his
list of of folks he wants to see Schoolboy Q
Kendrick Lamar. You know he's got his, He's got his folks. Yeah, exactly.

Speaker 7 (48:57):
One question I have for you was in regards to
just like your we talk about all your hits, uh
some of your misses. I guess, like you know records
that you've done that you know maybe didn't do what
you want them to do and what you learned from
and like when you and Terry might sit back and say,
you know what, that didn't really hit the mark and

(49:19):
this is why it didn't hit the mark.

Speaker 2 (49:23):
That's a good question. I'm sure there's a lot of them.
I don't think a lot about.

Speaker 1 (49:29):
I mean, that was expected to.

Speaker 5 (49:33):
Project or something like whatever, like.

Speaker 4 (49:36):
You sold that I did, like it was the little
down there to shape.

Speaker 2 (49:42):
But that's right, it was. It was so no Raja,
no listen Ragen was good. It wasn't. I don't think
it was great, Like listening to it now, Like some
things I go back and listen to and I go, man,
that was really some great ship we did, or you know,
at least I think that. And sometimes I go back
and I listen to and I go, that's okay. But
I would have done that different, and I would have

(50:04):
done that. Rogen is one of those records I probably
would have done, you know, a little different than we
did it. But also we didn't have at that point
in time. We just didn't have the backup with the label,
So maybe the record could have been better. I don't
think it probably reached its potential. But I don't think
we probably made the best record. And that's that's in
all honesty. But yeah, I mean, it happens a lot

(50:28):
when records don't do it. I'll tell you one of
the ones that was really surprising to me, but it
had nothing to do with us because I think it's
a great record, is God till It's gone by Janet?
And and what happened with that record was, wait, it
went straight to number one. Something happened that we don't
know about it. Well, it went straight to number one.
Urban pop radio didn't touch it. Yeah, wait, what didn't

(50:50):
touch it? Like like it didn't exist. Didn't touch it.
And and here's the thing that's interesting about it. We
that when we made it, because Janet had always straddled
that line very carefully. I remember when we were we
went to a marketing meeting at the end of the job. Yeah,

(51:12):
toward the end of the Janet album, right, and we
had already had you know, uh, that's the way love
goes if again because of Love were the four singles
I think. And then so it was now what is
the fifth single gonna be? And there was a cut
on the album called where Are You Now, which we

(51:32):
thought would be a great single on the radio all
the time before the album. That was the problem. It
had already been played so much on the radio that
they were scared that they couldn't get you know, the
judges it charted. Yeah, it was it was like it
was like a top literally a top ten record just
on airplay. And so anyway, we went to this meeting
and uh, you know, we're sitting in there and there

(51:54):
they have all their charts and their graphs and you know, summertime,
we should go up tempo. Maybe we go with Throb,
that would be a great one and whatever, and they
had all their graphs and all their their stuff. And
Janet had told us before we went in the meeting,
and us at that time was it was myself and
actually Renee her first name, her second husband, I guess.
So anyway, we had gone in there, and so she

(52:17):
was waiting for us. She said, when you guys are done,
we'll go eat. I'm like, okay, cool. So we called
her and we said are you close and she said yeah,
And I said, why don't you come in and listen
to these what these guys are saying, because I know
what you're thinking for the single, but they're not anywhere
near it, right, And she said, okay, cool. So she
comes in and everybody gives her whole spiel and everything
and you know, whatever, whatever, whatever, whatever, and this is

(52:39):
why this and it's up tempo and it's summer and
here's what we do and blah blah blah, and Janet goes, well,
I want to thank everybody very much for obviously everybody's
put a lot of work into this, and I really
appreciate that. And I think the next single should be
anytime anyplace room is silent and somebody goes, yeah, great, sure, okay, yeah,

(53:07):
So what do you think should we get a remix going?
Or who do you think we could do a mix?
That's what I said. I said, I think R Kelly
could probably do a really good remix, And then they
were like, oh cool, okay remix. Okay, yeah, that's good. Yeah, okay.
So where the side came in?

Speaker 4 (53:26):
Is this also where the B side came in, which
is one of my favorite gens.

Speaker 2 (53:31):
Not because we said, because their whole thing was all
concerned we don't have a tempo record in the summertime.
We said, we'll just do a B side on a
temple B side. So this is a song about summertime,
right exactly.

Speaker 5 (53:45):
Let me just spell it out for you.

Speaker 2 (53:49):
Yeah.

Speaker 7 (53:49):
One of your records that I was surprised that like
didn't go was ah, man, when I need somebody, I
thought that I was like, man, this ship has since
tivity the Royds.

Speaker 2 (54:01):
I love thank you, I did too. I I loved
who'sa Mac and didn't it didn't, It didn't connect. I
used to about the.

Speaker 4 (54:09):
Single and used to rock the instrumental more than the vocal,
to be honest.

Speaker 2 (54:12):
But well, we always saw Ralph as sort of a
you know, sort of a Marvin Gaye ish type thing.
So that was our attempt to kind of do that
kind of Marvin gay you know, kind of trouble man type,
you know, cinematic thing. And you know, at the end
of the day, it didn't work. When when I need somebody, Yeah,
that kind of surprised me. But honestly, the label at

(54:33):
that point in time wasn't in to Ralph at that point,
just for a lot of reasons, and so we just
kind of knew it was gonna kind of fall flat
at that point.

Speaker 5 (54:43):
How do you still love how do you feel about.

Speaker 1 (54:46):
The the well you executive produced the new edition playing
You and amazingly yes, I agree, Yes, I mean, how
do you feel that now that a whole new generation
and has latch doing and you know, like my friends'
kids are you know, discovering this group, and how do you.

Speaker 2 (55:12):
I love it? I love it because to me, that's
what music really should be. It should connect us, it
should connect generations. It's told connect races, that should connect ethnicities, religions,
and should do That's what music is. It's the ultimate connector.
And to me, it's the most divine art of all

(55:33):
the arts. And the reason I say that is Maine
something else. That's if I say to you questlove, where
were you on this date in nineteen ninety do you
know what you were doing?

Speaker 1 (55:48):
I'm that Mary Lou Henter person that can you can
name a date and I can tell you I realized, Okay,
because music and soul Train episodes like connect.

Speaker 2 (55:58):
Yes, but what's the right because of the music? Oh yeah, yeah,
that's that's my point. I say it's to my mom
all the time that it's it's my time machine. It's
how it's how I remember things. It's how I transport
you transport you. If I play you a song from
the date, it transports you, you remember everything about it
and everything. Yeah. Absolutely, Like I can go back to

(56:19):
like even because we talked about earlier what what I
grew up listening to and it was like a bunch
of pop music. But I can go back to like
stuff like a strawberry alarm clock or the Turtles or
you know all these, right, And I remember they will
play me the Turtles Happy Together or whatever. And I
remember the school bus they're taking me to a field trip,
and you know that kind of stuff. I mean, it's

(56:39):
like it's all exists in your head, but you can
access it. What's the key that accesses it? Music? That's divine?
There's no other explanation for that.

Speaker 3 (57:02):
So question because you said earlier when we first started
this interview, there's gonna be a movie at some time,
at some point, if we can't get through this story
in full hours.

Speaker 2 (57:16):
It's gonna be the new route. Now that.

Speaker 1 (57:19):
Certain unfortunate situations have occurred in the past year, where
does that leave the original seven in terms of being
the time in terms of doing the movie or you
gonna have to see when the smoke clears with the States?

Speaker 2 (57:40):
And yeah, I don't, honestly, I don't think we've even
thought about it. I don't even I don't think it's
been a thought mine as well.

Speaker 1 (57:47):
Be I mean, you saw, well, okay, if Stephen were
still at BT, I think it could be a possibility
or could have been a possibility.

Speaker 2 (57:57):
But.

Speaker 7 (58:00):
No, we were joking, like on the New Edition story.
We were on Twitter joking like, yo, if they did
a Jimmy jam and Terry Lewis story, that shit could
be a Netflix original.

Speaker 1 (58:10):
It could be like thirt episodes.

Speaker 2 (58:14):
Like Dad Ass that she could be.

Speaker 1 (58:17):
I don't even consider it, Like wedn't even have to
be chronological. I think if you just picked thirteen experiences
that are somewhere between ninety to two hours, I mean,
people can handle it right for an hour?

Speaker 5 (58:32):
An hour?

Speaker 2 (58:33):
Yeah?

Speaker 1 (58:33):
Fuck it, I mean we're here for nine hours.

Speaker 2 (58:38):
Yeah.

Speaker 1 (58:38):
It's just I feel like, yes, a thirteen episode arc,
that would be cool. Jam and Lewis, like, just that
would be awesome. Okay, listen, we have to stop. Wait
wait wait, wait, wait wait, just grant us because I
know that. Look, I know you're being super like. I

(59:00):
appreciate you for grating. This is a five hour interview,
so look.

Speaker 2 (59:06):
I just want to make sure we broke the record.
I want to. I just want to make sure.

Speaker 1 (59:13):
So look, can we all just get one question each?

Speaker 2 (59:19):
Oh man?

Speaker 1 (59:19):
Okay, one question each. Mine is rather short, and this
goes back to nineteen eighty two. Okay, did you ever
question the abrupt ending of I don't want to leave you.
Did you ever question that?

Speaker 2 (59:39):
No? Even now you don't question it. No, I remember it,
but I don't question it.

Speaker 1 (59:47):
Was that supposed to be something else or just not
that I know of this.

Speaker 2 (59:51):
I wasn't involved, like I say, I wasn't involved in
making the record though, so I don't know it's whatever
it was, but never like, hey, well why did you.

Speaker 5 (01:00:02):
Man?

Speaker 2 (01:00:02):
I think the leader on the tape came up and
that was wasted my question, who's next? Boss? Bill?

Speaker 4 (01:00:11):
A few years ago, there was a project you guys
announced called the Jam and Lewis Project. I guess it
was going to be the solo record. Is that still happening?

Speaker 2 (01:00:16):
Yes? And what's what's this the latest from that? Okay?
So the latest is the project is?

Speaker 6 (01:00:23):
Uh?

Speaker 2 (01:00:24):
Pretty? You know we've been we've been working on this project,
you could say, since the Secret album, so so we
never we always thought it would be great to do
our own album, but we never put aside the time
to do it, like we would always try to kind
of do it in between other things, and we felt
like we were kind of selling ourselves short because you'd

(01:00:46):
always clear the decks for a project and do it.
And as a matter of fact, when we did Unbreakable,
that time period was when we were going to really
finish the Jam and Lewis record, but we put it
aside to do Unbreakable because that was the right thing
to do. So we are pretty much recorded and actually

(01:01:06):
had already mixed the record, but the technology we used
to mix, we're using the surround technology to mix the
record and we are going to go with a different
technology now to do it because it's been developed now
that we've waited another couple of years. The songs won't

(01:01:28):
be dated because the songs are all Sam Lowis. Well yeah,
I mean they're just they don't they don't have an
expiration date. They're not trendy. There's nothing trendy about any
of the songs.

Speaker 4 (01:01:38):
They they said actually said that you guys had a
couple of songs that you've produced on him we did.

Speaker 2 (01:01:42):
Are some of those going to be included? Yes, yes, sir.
And the thing is about it is that I think
conceptually the album is simply artists that we really like
doing the songs, we want to hear them do. Okay.
So Babyface is a great example of I will say

(01:02:06):
without spoiler well not without a not even a spoiler alert.
I just I don't like to I'm not a brag
guy or boast guy or anything like that. But I
will say I will say the Babyface records, the baby
Face record, because it's just gonna be one you'll hear.
The Babyface record you hear will be the best baby
Face record you've heard since whatever, your favorite baby Face record, whatever, whatever,

(01:02:34):
it was, your favorite baby Face record. And I will
say that about all the artists on there. Tony Braxton,
it will be the best Tony Braxton record you've heard,
your favorite one. Mary J. Blige will be your favorite
Mary J. Blige record you've heard. Usher record will be
the favorite Usher record you've heard. Mariah record will be
the best Mariah record you heard. Janet record will be

(01:02:54):
the best Janet record you heard. And we even go
back to Alexander on Nell, Wow s O S Band.

Speaker 4 (01:03:04):
The newly recorded songs they are all uh nameless songs. Okay,
we will say, got you, got you whose whose origins
have uh you know started at some point but are
finishing now you know some some of them been you know.
I'll give I give you one example, though, I'll give

(01:03:25):
you one example, so the Alexander O'Neil song. We did
this song as the idea of the song was a
follow up to Saturday Love. Alex sang his.

Speaker 2 (01:03:35):
Part, Charlle never sang hers until Lord until six months ago.

Speaker 4 (01:03:42):
Wow, So eighty seven Alexander O'Neil is dueting with twenty seventeen.

Speaker 2 (01:03:48):
Sir. That's there you go, and that and there and
therein lies the beauty of what the record is because
the months. Yeah, so sometimes so sometimes that's that's just
the way the things that things happen, and you know,
and the technology allows us obviously to take you know,
we have stuff all on tape, and we have analog
tape and all that stuff, and of course we we

(01:04:09):
digitize it and make it sound a little better, so
that sounds good. But then the other piece of it
is a technological piece, which is just as you could
do with a Blu ray movie right where you listening
to like the director's commentary, if you want to listen
to it in that way, the way the record is made.
We're doing that on this right the way I'll listen
to it. Yeah, So we're doing that on this record.

(01:04:31):
So the commentary of the artists ourselves, the engineer whatever,
and we talk about the choices we make and so
on and so forth. So if you want to listen
to it like that, you can. Otherwise you can just
listen to it as a regular album. I can't wave
for that. Yeah, it's gonna be pretty, and we think that,
and we think it does a few things. We think that,
and we're going to do it in volumes because we

(01:04:52):
actually now when people got win, we were doing it,
then people started coming to us and going, oh wait,
why aren't I have part of it? You know that
kind of thing. So now we have a Now we
have a stokely record. I feel like DJ Khaled. Yeah yeah,

(01:05:12):
So I mean it's it's like that kind of thing.
But and you're gonna call it the Jimmy Jamme, it's
just gonna be. It's just gonna be. Yeah. Right now,
it's just called Jamm and Lewis Volume one. I think
it's what no Jam Lewis Project volume you know.

Speaker 1 (01:05:22):
Should be Lewis and Jam all right, Who's quickly more
money soundtrack?

Speaker 7 (01:05:32):
The New Style? Was that something that you guys? Well,
first off, is that you saying the new style?

Speaker 2 (01:05:37):
Is that you yes?

Speaker 5 (01:05:38):
Okay? And also, is that you saying, uh the blackness?

Speaker 2 (01:05:46):
I thought it was.

Speaker 1 (01:05:47):
Did you guys ever do any more kind of club
stuff like that?

Speaker 7 (01:05:50):
Or was that like gonna be a side project or something?
Was that was or was that just something I did
for the movie?

Speaker 2 (01:05:54):
Okay, so that was. We did a song with Janet
that never came out called beat Crazy, and one of
the lines in the songs she said, control my mind
and we just took We just took that piece and
then we just looped it and you hear it right

(01:06:14):
at the beginning, but it slowed down, I think, and
then the's just saying mine Mine, and then we just
built a track around it because they needed it for
a scene in the movie.

Speaker 7 (01:06:26):
They needed uh, they.

Speaker 2 (01:06:31):
Just need us. They just needed and so we just
whipped it up. It was like, literally, I don't know,
two hours whipped this up and that was it.

Speaker 8 (01:06:37):
Oh wow, yeah, next I gotta go, we'll talk about
all the hits that you know are hits straight up?
Have you ever gotten tunes that like you kind of
and they wind up being hits too?

Speaker 2 (01:06:50):
Well? Saturday Love is definitely one of them that we
talked about that one earlier, trying to redhead step Child,
Saturday Love Man. No, I mean, I just I just never.

Speaker 5 (01:06:59):
Is what those things that's so simple, you just think like, no,
this can't be it.

Speaker 2 (01:07:02):
But that's totally funny, right right, we're suckers. Yeah, I'll
take it. I love it. I get it now, I
get it. I get it. I get white people. White
people liked it. But no, we definitely have had some
other ones like that. I'm just not I'm just not
recalling them, but we've definitely had somewhere. I hadn't really
thought that much of them, but somebody said, oh man,

(01:07:23):
that should be the single and whatever, and we're kind
of like, okay, and then it actually did well. Yeah,
here's what I'm We felt pretty good about it. If
it is in love, there's I mean, most of the
songs we feel good about. The funny thing is when
people come up to me sometimes and they'll say, oh man,
I love everything you did, and I go, I don't

(01:07:44):
even love everything I did. Everything is that everything is good.
It's just not. I mean, that's just that's life. But
I mean, you always have good intentions for stuff, but
it doesn't always. It doesn't always happen. I'll tell you
the most excruciating record to make. Was there was a hit?
Was Karen White Romantic? Because that was the number one hit?

(01:08:06):
Number one? Yeah. But my question the whole time we
were making the record is why aren't alien baby Face
making this record? It does kind of sound like a
totally totally does I tried to make the record they
would have made. That was the idea that was excruciating,
and Terry was married to her that that was tough

(01:08:28):
and nothing and nothing against Karen, but man, that was
just an excruciating record. A project. It just was because
it because it was a record that was an example
of a project that I didn't feel we should be doing.
You know. I kind of felt like, why why aren't
alien Babyface doing the project? You know? And for whatever reason,
they weren't doing it. But it was funny because I
felt that way about another project, and that was when

(01:08:50):
we did with Mary Jay. We did Loves All We
Need and uh and everything and uh and I remember
did do everything That's right, Yeah, and I and I
remember when Mary came came to Minneapolis and she and
we played her stuff, and it was the stuff we
were playing her I thought, was like really good, but

(01:09:10):
it was assuming that she was working with Puffy, so
we weren't playing her any sample stuff. It was just
like this different kind of stuff and she was like, yeah,
that's okay, that's okay, that's okay, that's okay. And we said, well,
what are you looking for? And she said, you know,
something that sounds like me. And we're like, okay, well, okay,
well here listen to this. And you know, I said,

(01:09:33):
she said something that sounds like me, and I said
like what and she said, you know, like you know,
like my life, like you know, like that kind of vibe.
And we were like, oh, but isn't Puffy doing those
kinds of records on you? And she said, I'm not
working with Puffy and we said oh okay in that case,
and we put out all we need and then instantly

(01:09:54):
that track came on.

Speaker 9 (01:09:58):
And she got up and started dancing and she said, oh, yeah,
this is it. This is it right here, this is it.
And I was like, oh you like that, okay when
we got this other one, and she was like, oh yeah,
this is it and we work and we've been good
ever since.

Speaker 2 (01:10:12):
So y'all be beautiful for her too, though, right, yeah,
the beautiful, Yeah, thank you.

Speaker 5 (01:10:18):
I'm shocked that it was on the Stella Sounds track.

Speaker 1 (01:10:20):
Yeah, I'm shock beautiful, I'm shocked that you guys play
pre made work and the artist do with it because
a lot of the time I get resistance from people,
uh because they want it made in real time or
to feel part of this immersive process. Sure and not

(01:10:42):
like oh okay, let's just pull something out the you know,
the work and.

Speaker 2 (01:10:46):
No, no, no, But we had done them for her
with her in mind. We just didn't think that's what
she wanted. We thought we just assumed. When they said
you're gonna do you guys want to work with Mary
j Blige, I was like yes and no because yes
because I'm her biggest fan, and no because I'm her

(01:11:06):
biggest fan. Like I don't want to screw it up
with her. I don't want to be the person that
kills Mary Jabeleish's career because she's coming off of My Life,
which is one of my favorite records. So the way
we approached it was like, well, if we were making
a record with her, this Rick James sample would be dope,
and this stylistic sample would be dope. But we know

(01:11:26):
Puffy's already going to take care of that, so we're
not gonna do that. But we just worked him up anyway,
so they were ready, but they weren't off the shelf.
We've never been off the shelf, guys, whatsoever. Never never,
never never. We tailored, always tailored everything to the artist.
That was always very important to us to do with Bryson. Yeah,

(01:11:49):
except for Peobo, yeah no, but even that stuff is
obviously Taylor because that's see, that's one of those things
where Terry just knows what he's looking for because Terry
was working intimately with people. I never did vocals with people.
Terry did that, and so Terry knew what he was
looking for and he heard it in the track, and
the way he flipped the track was totally not what
I was thinking for it. But it turned out real cool.

(01:12:11):
You know. It's like it's like, Okay, damn, that wasn't
what I was hearing. And he actually took like my
melodies and stuff and some and some stuff, but he
just made it just fit, you know, the end of
the day. As long as it fits, that's the that's
the big thing. But you're right, some people want to
be involved. Some people just want you to hand them
the record. There's there's I remember we worked with a

(01:12:31):
Kisha Cole and remember she came to the studio and
she said, yeah, she says, what am I play me something?
And I was like, no, We're gonna make up something
right now. Huh what do you mean? And I said, no,
we're gonna make up something right now. Like I'm gonna
play some stuff. See whether you like this key? You
like this key? Yeah? Yeah, but what do we but
where's the track? It's like, no, we're gonna make the
track right now, like you like, please, please you. No.

(01:12:57):
It was great and we ended up doing a song.
Oh my god, it's slipping my mind the name of
the record, but it was. It came out real cool,
and at the end of it, she said, that's the
first time ever anybody's made a record like that with me,
like just with me, just putting input into it and actually,
you know, doing it. Usually I just walk in and
people play me a bunch of tracks and that's what
I do. And I'm like, we try not to do that.

(01:13:19):
We try to try to create it. We might have
something on standby that we think might work, just to
kind of jump start something if we ain't got something going.
But nah, we liked that, you know, Taylor make it.

Speaker 3 (01:13:31):
You know, you know I was going to do it
really because I didn't want to keep us here longer. Okay, fine,
I did want to know today, like, are there any singer,
what songwriters producers in this R and B field that
you feel like, you know what? I feel like they
they're taking the baton like.

Speaker 2 (01:13:53):
They hmm, that's a that's a great question. I don't
feel like. I think there's a bunch of but tons,
So I'm gonna keep mine. Uh, but other people with
a baton, well, I mean you know.

Speaker 3 (01:14:09):
That are ready to that are ready to receive when
you're ready to hand.

Speaker 2 (01:14:13):
I don't think I'm ever gonna hand it. I think
I'm gonna go down with my with my baton. I
don't you know what. I think it's I know what
the word would be. I think in a way it's
a little bit arrogant to think that we have a
baton that we would hand to somebody anyway, Like I
don't even think of it.

Speaker 5 (01:14:29):
So then let me rearraise this question.

Speaker 3 (01:14:31):
Then are there anybody Is there anybody that moves you
in a way they that make them move you?

Speaker 2 (01:14:36):
Today? Makes tons of people, tons and tons of.

Speaker 5 (01:14:40):
People that's making the music.

Speaker 2 (01:14:41):
Yeah. No, there's a lot. There's a lot of people
that I really that I really really like, but all
for different reasons in different ways. I mean, Bruno's top
of my list. I think Bruno is uh, Bruno is
interesting because Bruno we actually helped Bruno with with some
of his grooves. Yeah, and we uh free, yeah, for free. No,

(01:15:06):
I don't mean he borrowed him from us. I mean
we actually went into the studio with him and helped
him with some stuff. Yeah.

Speaker 5 (01:15:11):
So on.

Speaker 2 (01:15:13):
This one, yeah, yeah, well, in fact that that song,
oh wow, well we got. What we did for him
is we got him out of a rut. Okay, he
tends to. I remember the first time we ever went
to the studio, he played us this song and I
can't remember what it was, and he said he had
been working on the bass part for six months and
he played it and we were like, okay, I said, yeah, yeah,

(01:15:34):
but something about that bass part, man, I've been trying
to I've been dealing with this for about six months
man and whatever, whatever, whatever. And Terry looked at me
and I just said, plug in the bass. I plugged
in the bass, and thirty minutes later we had the
bass line and he said, oh my god. He said,
that's why I need y'all and I said no. I
said no, I said that's easy. But I said, you're
trying to recreate what we've already done. I said, so
that's easy. Yeah, No, I mean, I think the attention

(01:15:58):
was that we would actually do something. The thing that happened, though, honestly,
was he is very meticulous, like he's somewhere between Prince
and Michael. Right, so Prince is one day like, okay,
if a girl answers, don't hang up. For instance, on
Vanity six, that song was started and finished the same day,

(01:16:19):
like right, you go on, you play the bad you know,
Terry played the bass, Prince. I think Prince played the
no more to play the drums on that, or Prince
played the drums, I can't remember. I think Prince might
have played drums on that. Anyway, I put a little
keyboard part on and he took my keyboard part off. Okay, fine,
so they go through the you go through the whole day,
you do the thing. He wrote it, he had the girls.
I think the girls might have sang it on a
different day. But the track's done and there's no rethinking

(01:16:42):
it or whatever. You just move right on to the
next thing. The Michael Jackson way of working is you
do the song and at the end of the day,
he would say, make me a dad. Okay, next day
we come back. What do you think, Michael, can we
turn a hand clap up a little bit? Sure? Okay,
handclaps are up. We're good. Oh yes, make me a Dad.

(01:17:05):
And that could go on for a week. And it's like, Michael,
in the same place we've been, We're just turning the
hand claps up. Are we good to go? Because we
have other songs that we want to do right. Bruno
is somewhere between there. Right, He's very spontaneous, but then
he thinks it through to death. Now at the end

(01:17:25):
of the day, the end result is great, and the
end result comes off very spontaneous. But all of Bruno
stuff is a series of loops. But it's just done
very well, very subtly, and very well. Twenty four Carrot
he played it for us. He said, I don't know.
He said it's this, he said he knew it. He said,
this is my single. Twenty four kid. I got the

(01:17:46):
video concept. I got therey this is my single. We said, okay,
he said, but I ain't. He said, the problem is
that doesn't make me want to dance. He said, okay,
what song makes you want to dance? And he said, well,
I really like I can't remember even want the songs,
he said. And I said, I said, okay, cool, I said,
plug me in, right. So what we I just took

(01:18:08):
the track and made it into a sound alike of
a song he liked to dance to. And then we
played it and he said, oh, hell yeah, and he
loved it, right, and he said, okay, I get it.
Then he tried to put like the chords and stuff
that he had before back in it. And I said, well,
now you're just going back to what you already had,

(01:18:28):
and he says, yay, yeah, you're right, You're right, You're right, okay,
cool right. Three four months later, twenty four Carrot is done.
He doesn't use what we did, but he went he
took not so much what we did, but he took
up the kind of the inspiration or the idea of it,
but figured out how to then incorporate what he wanted

(01:18:51):
in the song, which were the little stabs and the
little you know, those kinds of little things like that,
and you know, so we didn't. So what we did.
I think we got him unstuck from the rut and
got him to look at it in a different way.
But we didn't technically, we didn't produce anything. So I
think we were just more I think, as it turned out,
it's kind of a sounding board or whatever. And we

(01:19:11):
did that for a few things for him, and that's fine.
I enjoyed the process. He's amazing. I think he's probably
my overall, my favorite dude, and he's you know, he's
obviously an artist, but I think he's one of the
artists that in any era would be he'd be good,
he'd be a great artist in.

Speaker 1 (01:19:31):
Any Do we have everything out of our assistance?

Speaker 2 (01:19:35):
I mean, I still wanted to ask about that.

Speaker 1 (01:19:37):
I'm sorry, Steve, I forgot about you.

Speaker 2 (01:19:39):
Oh yes, shocker.

Speaker 10 (01:19:42):
You didn't forget about me. The two times I spoke tonight,
you said, shut up. All right, that's not forgetting about
that already. No, I have one question. Me and Bill
Sherman over here, we recently started a singing group called
the Sounds of Jewiness, and we could use.

Speaker 2 (01:19:57):
A track or two just the track or two. Just
whip it up, Jesus Christ.

Speaker 4 (01:20:06):
Okay, So is it true there's a rumor going around
that between Control album and Rhythm Nation and them wanted
Janet to do an album with outside, with producers other
than you guys.

Speaker 2 (01:20:18):
Is that true? Uh, well, there's some truth in it.
She did. She did. She did go in the studio
and and and make some records with some other folks
that I know she did something with. I was just
guessing out. Yeah, yeah, but yeah, there was a little, uh,

(01:20:38):
I don't know what I call it. There was a
few bumps in the road between Control and Rhythm Nation
for sure. And uh, but Clarence Avon solved that problem.
Mentioned his name earlier about five hours ago in the
in the broadcast yesterday. But but no, we had we
we you know, it was one of those interesting things where,

(01:20:58):
you know, Janet heard we were saying something about her
and whatever, and we heard she was saying something about
us and whatever. And she finally called me and she said, Jimmy,
do you want to do the record? And I say, yeah,
you want us to do the record? She said yeah,
And I said, okay, fine, and I called Clarence and
I just said Clarence. I said, we want to do
the record, so let's can we get this done? And

(01:21:19):
Clarence called up Jerry Moss and said, Jerry, give them
a million dollars and let's go. And that was it.
And so we were and we were literally in the
studio making Miss You Much, which was the first song
we recorded on the Rhythmnation album, like in the next week.

Speaker 4 (01:21:35):
So the stories of songs like You Need Me, was
that a leftover from the Rhythmnation sessions or the period
in between.

Speaker 2 (01:21:44):
You Need Me? Okay, now refresh my memory. You Need
Me ended up being a B side to Miss You Much.
You Need Me was during the Wow that's a great question.
When did we record that?

Speaker 1 (01:21:58):
Well, sounds like it's from the era, So yeah, no, no,
it definitely it's I don't know, I don't know.

Speaker 2 (01:22:04):
It's probably between control it definitely. No, it definitely wasn't
one of the Control songs, did I think so? I
think it was. It was probably part of the Rhythm Nation.

Speaker 4 (01:22:13):
So I was asking if it was like a before
Rhythm Nation actually officially started or.

Speaker 2 (01:22:20):
That's a really good question. I'm gonna have to I'm
gonna have to find that out myself. I truly don't remember.

Speaker 4 (01:22:25):
Then, like the other BC has, like skin Game, where
those after the album was already done, Yes, and then
after the album was done, and these Love Groove and
well that was the decade. Ye, those were all done
after the album was albums were completed.

Speaker 2 (01:22:42):
Yeah, seventies love Groove, I remember, I remember we did that.
That was a day. We did that in a day,
and we just did a groove. We just did a groove.
And I said, just talk and she said, okay, And how.

Speaker 1 (01:22:54):
Does that work? Especially with the interludes, and especially what
the more? I mean we always joke about the orgasms
every album, yeah, right, except no but well yeah, yeah, but.

Speaker 2 (01:23:10):
How like how hard or.

Speaker 1 (01:23:14):
To go from the shyness of funny how time flies,
which I'm sure was hard to do? Was the room
completely empty? Like how did you get that out of her?

Speaker 2 (01:23:27):
Yeah? The room was completely empty, like all those the
vocals on all the I mean I did all the
vocals on those records, and the room was always dark,
and we always just we just I don't know, trusted
each other. I guess I would put it like that,
But Janna would say just the way she was, She
would say things, and they would come out wrong, you know,
how you say something and it comes out in a
sexual way, or you can be you know, it can

(01:23:48):
be misconstrued as that. Janna would always do that. And
even on the end of Oh the end, well yeah,
funny hout, time flies at the end of it, she's
talking in French, right, and then she says one more
time in American, I don't know you are any you

(01:24:11):
hear that? So one more time was her asking did
I want another take?

Speaker 5 (01:24:17):
But it sounded like Leo, I just left it.

Speaker 2 (01:24:24):
Mar gay ass day. Yeah it is. So there's a
there's a lot of that kind of thing that that
goes on. But she, you know, she's an actress. She
can put herself in the mood for sure, and if
the track is right, it's always but it's about the vibe.
My favorite one of those was, because I remember I

(01:24:47):
totally shocked people, was would you mind? Yes, would you mind?
That's it? Yeah, yeah, would you mind? Would you mind? Was?
Would you mind? And I'll tell you the other great
thing about would you mind was that Rock Wilder did
that track, and I remember when we did, I gave
like all the producers we worked with a whole bunch
of different producers on that record, but rock Wilder was

(01:25:08):
the only one that actually ended up making a twenty
year old Joe. Okay, no, no, no, no, wrote you. No,
it wasn't all for you, it was all for you.
It was it was all for that moment, well for you, yeah, yes, yes, yes,
okay yeah yeah, all for you. And we did. We did.

(01:25:29):
What we did is we did like account of a
camp we called a flight Time summer camp. We had
a bunch of different producers come up. We put them
in different rooms, which kind of happens nowadays. It's funny
everybody doses does a writing camp thing. So we did that.
So we we put everybody in the rooms. We said,
let's see what you come up with. And I remember
we liked what rock Wilder had done with uh Missy

(01:25:50):
and a couple other folks, and we were like, okay,
we'll put you in a room. So then you say
to him, Okay, here's what we want. We love what
you do. Don't do that. We want you to come
up with something different, specifically for Janet. And it's a
what a weird thing to ask somebody, right, And so

(01:26:12):
I remember and I said Okay, what do you need man?
And he says, I just need an NPC and a
XP sixty. And I can't remember the other keyboard he had,
but that was it. I think it was XP sixty.
So I just needed XP sixty with the with the
Asian card and the the something card the jung. I
didn't remember what he called it. There was two different
kind of sound cards you could get, and he says,

(01:26:34):
I just need these, right, And so I'm like, okay, cool.
So these other produced I'm not even gonna mention names.
These other producers are like bringing in orchestras, doing all
kinds of crazy stuff in one studio, bringing in black
at Rodney. No it ain't Rodney, black lights and fog
machines and all kinds of craziness. No, no, not Rodney,

(01:26:57):
and then another producer or actually set up. Producers were
very prolific and came up with probably twenty different ideas,
but none of them were quite They never really caught right,
Rock Wilder, I walked next door and I hear do
do Do Do Do Do Do Do Do doom do

(01:27:17):
dooom boo boo boo boo boo booooo do do do
Do Do do doo and I go, what the fuck?
I said, dude, what is this? He said, oh, this
is concept uh whatever? And I said okay, And I
just called Janet right away and I said okay. I said,
rock's the dude, listen to this right, and he had

(01:27:38):
the kind of the thing, and we pu, you know,
we put a couple little things on it to make
it a little more her. But and then I gave
her I said, I hear this melody and I said,
but I don't. You can write it whatever it is,
I said, but when you get to the course, it
should just be whatever you want to do to somebody, right,
So if you say, I just want to and I

(01:28:01):
give her the metal, the rhythm of it. She came
back the next day and I was like, oh, and
we were at record plan I think in l A
recording this and she just nailed this thing. And I
can't remember who. It might have been Robin Thick or
somebody was in the studio next door or something and
came in and was like, what are you all working on?
And it's like, oh, we got this new Janet song,

(01:28:23):
let me check it out, and never listened. It was him,
and I can't remember who all else was with him.
It might have been Jordan Knight. We might have been
working with Jordan Night. Give it to you, yes, yeah,
cut that joint. Yeah. So anyway, they were like, oh
my god, yeah, yeah, I'm sorry good yeah, no, no,
but that said it was just it was just of

(01:28:45):
all those songs that was that one is really my
probably my favorite one of those types of records. That
one was just so good. But man, hats off the
rock for that one man, because he really brought some
He did exactly what we said, we like, you do
something that's not you, that's her that you know whatever,
and he totally up.

Speaker 1 (01:29:06):
Yeah, Well, thank you very much, Jimmy jam Man, right,
but yeah, thank you on behalf of Boss Bill Sugar,
Steve Unpaid, Bill By.

Speaker 2 (01:29:27):
And Fan Tiicula. This is a special Meredith Baxter Bernie
edition of Quest Love Supreme. We'll see you on the
next go round. Thank you.

Speaker 1 (01:29:44):
West Love Supreme is a production of iHeartRadio. This classic
episode was produced by.

Speaker 2 (01:29:49):
The team at Pandora.

Speaker 1 (01:29:53):
For more podcasts from iHeart Radio, visit the iHeart Radio app,
Apple Podcasts, or wherever you listen to your favorite chip.

Speaker 2 (01:30:00):
It was