Bowlegged Lou Part 1

Episode Transcript
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Speaker 1 (00:00):
Quarch Love Supreme is a production of I Heart Radio.
What's Up Blue? What's good brother? What's up brother? How
you feeling? Good Man? Good Man? Cool man cool? He
got a haircut this oh nice, nice nice? Had to

(00:20):
shape it up outside my home garage? Oh outside, okay,
oh yeah, outside, massed up in the garage. That's how
we're doing. I ain't thinking with a haircut so long. Like,
who is that? What his name is? You know what
I'm saying. Dangers man with some money. That's funny. Ladies

(00:44):
and gentlemen. Welcome to Course Love Supreme. I'm your host
of Course Love. We have Teams Supreme today. Um in
the house we have like here, where are you right now?
I am in Los angel Leans, Los Angeles at home? Yeah.
Show is what's a giant Tell Live quality poster behind?
I don't know that's comments. I'm sorry both of them.

(01:05):
It's that long time ago when they went on tour
with Tomas wet all right, I see, I see eons ago,
eons ago. Um, Sugar step in the house. We're in
the same place, but we're in separate rooms. Up sticks.
I like it to stay, you know, close by, but
not too close. Okay, uh fresh cut, yeah man, yeah, man.

(01:30):
I had to bring in the spring the right way.
So when got cut up in my homebook garage the day,
this is your first cut in the year or so
or no, it's only I've been cut a few times,
but it's only been over the year. I probably only
got cut like two or three times, so it ain't
been and and all. And every time I got cut
it was the same situation was cutting outside. So, um,
this is my first one in months since it's my

(01:51):
first one of the year for sure. Okay, cool, cool,
all right, well, good see you're getting fresh for what.
What can I say, y'all? It's it's it's an honor
and a pleasure to have our guest on the show today.
Amongst his achievements being one of the founding members one

(02:13):
of the most crucial production teams in hip hop culture
and music. Um, but dare I say one of the
first major production teams in hip hop culture Like previous too,
Full Force is a arrival on the scene. I'll say
that most music production was usually a one man show
or kind of a duo at best. But um, it

(02:36):
should be noted that, in addition to a vast array
of the artists that they work with, like U t Fo,
Britney Spears, Lisa Lisa Coult, Jam and Sink, Selena, Backstreet Boys,
James Brown. My favorite R and B name of all time,
next to Leelo Thomas, which is Shryl Pepsie Riley. I

(02:57):
always have to share her name with the zest of
hospel play announcer Richard dimple Steels, Ricky Bell Shaid PEPSI
wait a minute, I'm joking right now, but I believe
I heard. Wasn't there thanks for my child gospel play?
I believe there was one. She was in gospel places.

(03:20):
I don't know if it was a thanks for my
child one. I believe I once heard. It's it's one
of those things from my child moments in the gospel play.
It's like way before Tyler Perry Anyway, I digress um.
Some of the greatest jams ever named him Roxy and Roxon.
I wonder if I take you home, can you feel
the beat? Static? Uh? Try me or as Jasmine Guy

(03:41):
pronounced it, try and to tell all cried out, wait, wait, wait, wait,
way more hits more than if you know, if I
name them, all will be here all night. And despite
his and his team's penchant for playing some of the

(04:01):
scariest villains on the silver screen. Crush grow. Yeah, I
will say that they're probably, uh, some of the nicest
guys ever. And I just I personally want to add that,
you know, growing up being fourteen years old, stuck with
a very dwee by nerdy voice disposition, h our guest

(04:26):
today was a personal hero of mine because you just
didn't see this level of nerdiness and funkiness and authenticness
coming from the same source. So I'll say that he
doesn't get enough praise for his contributions. And I'm gonna
speak speaking for the entire four squad. Uh. They made
an immediate impression on me because there was definitely a

(04:46):
moment when I was like fifteen, trying to decide in
the crack era of West Philadelphia should I code switch
my way into adulthood or just be my nerdy self?
And I chose the latter wisely. So, ladies and gentlemen,
please welcome to Coarse Up Supreme my personal hero Bolu
a full force sir, Thank you man. What you guys, Lou,

(05:13):
I don't know if you were I don't know if
you remember Lou. We actually met. This is probably this
is a couple of years ago. Um, the Harris family
and in Raleigh, North Carolina, they did Team Fest and
you and your brothers came over to the crib and
we met there. That was like our first time. But
I mean this was probably like twenty fifteen or something.
It's some years back. But they're they're just a great family.

(05:37):
And they said, yeah, you know, the full force guys
are coming over and I was like, really, y'all y'all
showed up. I was like, oh, this ship, that's really
them that called well, yeah it was it was it
was Lou, it was M. Paul Anthony and then be Fine.
It was just I think it was just three all
that night as y'all do something for for Team Fest.
And I even called Knife that now. I was like, bro,

(05:59):
you ain't gonna believe you gotta come over here. He's
like what just I said, Bro, you just gotta come
over here. And he came over and like that whole night,
me and he was just texting each other back and forth,
like lines from house party and ship like. But but now, y'all,
y'all was good. Good dudes, man, It was good to
meet your brothers. Man's brother man, and I'm glad you
shouted out the Harris family because of uh Don Maria

(06:23):
and her husband or ex husband. I think now is
it Lenny Gantis? I think they still married as far
as I know, they still man Okay, but anyway, still
beautiful people regardless well together on part Wait, we always
gotta ask if couples have made it past uh passed
the pandemic. You know, I've taken account. There's at least

(06:46):
eighteen of my friends that have right didn't make it.
Ah Lou, I know, Um, your your brothers are are
be fine and Paul Anthony, but what's are what's your
relationship with uh Shashi, Kurt uh and and baby Jerry?

(07:09):
Like are they cousins or they're just friends? Now? They
are blood cousins, so it was a family affair. They
are three cousins and um, you know we have family
fair okay. So it's kind of like the Eisley brother situation,
which thes three main brothers and then adding family members
and supplementing the the group. Um, yo, man, this is it.

(07:34):
What's weird is that, um, you and I became friends
on social media and I always wanted to interview you,
which is kind of why I always kept a distance,
because I wanted to save our first conversation for the show.
So if anything, I kind of I made Jimmy jam
his proxy because I've already interviewed Jimmy Jams. So like

(07:57):
now Jam and I like talk every day. But this
is like the moment I've been waiting for it for
the show. Like he used this as as that moment.
Where are you right now as we speak? I'm actually
upstairs and um, in my office. But I mean, I
don't I don't know what city you reside in now
in Pennsylvania, Pennsylvania, the Poconots, that's where. That's where I live.

(08:20):
Oh yes, me and my brothers, we've been up here
for like at least fifteen years. And um, what you know,
that's the three of us. We just made a brother
move from Brooklyn to hear you know, and and my
my name. I know, I never really wanted to move here.
But what made me come here is that Paul all
of a sudden, when he was going through his cancer journey,

(08:43):
he just wanted to move. He just wanted to We
just let's get out of Brooklyn. Let's just go. So
I was my brother's keeper during all his cancer journey.
So I'm like, okay, he said, he said to me,
he said, listen, this is what we're gonna do. I
already spoke to Be, you know, be fine. I spoke
to Be and we said, let's all moved together, and
we just built some houses from ground up. We'll go
to the Poconos. Um. We don't want mom to live

(09:05):
by herself anymore, so she'll live with you and um
because you're not married anymore, you know me and be
still married. So UM, that's what we're gonna do. And
that's what we're gonna do. And I'm like, and that
was it. I mean, I'm like, damn, who made that decision.
It wasn't me, but my brother. I was my brother's
keeper and I'm here now. So it's all good. So

(09:28):
how having your mom's in the house, how's that? Like, Well, well,
my mom's um. I became a primary can take um
last March from COVID started. So she lives with me,
and it's all good. You know. I'm just taking care
of the best way I can. And my brothers were
chipping and pitching, and uh, she was you know she's
got health issues, but we're here for her, just like

(09:49):
she was for us when we were growing up. So
it's all good. I can dig it. So have you
guys always made decisions with each other like nomads, because
this is definitely like a Newmad move where no matter
what happens, we all moved together. Which is weird because
once I became adult, the first thing I did was

(10:10):
got as far away as possible from my family. You know.
So funny is that Paul lives that we live in
the same could sect. He's like directly across from me.
He wanted to me that close to our mom, so
we're directly he could open his door. Hey lord, you're right,
and he said, like all the time back and forth

(10:32):
my brother be he lives like I would say, ten
minutes from us, and he's like, listen, I don't mind
living close to y'all, but I just don't want to
live too close. That was, you know, but Paul's directly
across to me, like directly across with our houses. Yeah.
I just want to ask, like, what made it? What
made the Poconos because y'all are from Brooklyn, so you

(10:53):
could have did Jersey. You could skipped Philly could everything?
Why just the Poconos. I mean you gotta ask Paul,
I mean him and Be they wanted to do that
and that's what we did. So so you know, um yeah,
I didn't really want to come out here, but it's
just fine. It's cool. But my nightlife was always New
York City, you know, and it'll stay my nightlife, especially

(11:14):
when COVID finishes up. But um, I was going back
and forth anyway, because we still have like a little
crash pad office in Brooklyn. But um, yeah, well I'm
from Philly, so you know I used to go to
the Poconuts a lot. Um are you guys near Straussburg
or is there another part of you have a we're close?
You have a close by Strassburg? I gotta ask you

(11:35):
are those uh are those like resorts still open, like uh,
Cove Haven and Paradise Stream and all the still yes,
still Yeah. The kind of circuit that my dad did
was always like you know, you would do, uh, you

(11:56):
do the cat skills and then you do two months
in the cat Skills and then we do like three
months in the Poconos. And back then I was like
too young because these were like newly wet resorts, so
you weren't allowed to kids weren't allowed on the property.
Oh you know, that's where I did a majority of
my MTV watching because I just had to stay in
the house watch MTV nine hours while they were worked

(12:19):
because kids weren't allowed to just walk around. So, um, yeah,
I kind of missed it there. So what part of
Brooklyn where you guys from Initially, Well, it began with
me and my two brothers, Like we grew up as
very young kids and that's when we started, you know,
singing thanks to my my father's when they gloomed us

(12:40):
for that. And we started out in uh Bedford Stuyveson.
First we lived on six seventy Holsey Street between Patrion
and Reid. Then we moved to Kingston Avenue which was
Crowned Heights Kingston Avenue between brig and A Dean, and
then we moved to East Flatbush Lennox rode Betwe's connected
in East forty six. So when we got to East
Flappish is when you know, we became full forced with

(13:04):
our cousins because they were already living there. And what
what was the the environment like in Brooklyn at the
time when you were growing up. Well in in bed Stey,
I would have to say no, no, yeah, in bed Stein,
I mean it was cool. You would never know it
was kind of crazy because we're in public school then.
But I think when we went to um Crin Heights

(13:26):
in Brooklyn, man, we were just it was just some
good times. We'd be on the on the street corners
playing skelly right on the damn ground, like every day
we played Steal the Bacon. We played Booties Up. We
and we would always go to the You know, Booties
Up is like you chase, you chase people around the

(13:48):
whole damn block and then when you capture them, you
lined them up against the wall and it's almost like
a firing squad, but instead of a firing squad, they
all with their butts out, wearing close of course. And
we would take these pensy pink of balls like how
do you play and wet when we used to make

(14:10):
some sore answers and it was crazy and you know
they were hurting people and making people. That's what we played.
We would take it to the next level West Philly
and use softballs ohn as ball. Yeah, man, I remember that.
I remember that Okay, I gotta ask, because the thing

(14:33):
is is that I know, like nothing irks me more
when people make a big deal of like you speak
so well, because they're basically trying to say that the
exterior from which the voice is coming out of does
not match the voice, which I mean, I grew up
that ship all my life. Like I was always a

(14:54):
big dude, you know, kind of scary looking or whatever.
And then I start talking and they're like they're totally
disarmed in But was it always that way for you
when you were growing up in Brooklyn? I mean not really,
but you know, I think because I remember, I remember
you broached that same see I remember everything when we

(15:15):
connected on social media. I think it was what was
in my space. I'm thinking, yeah, that's just sketched. But
but you exactly mentioned that to me. You said, yeah, man,
I remember when you guys did so safe. Yeah, and
don couldn't Needius must have said twice in that into well,

(15:37):
you guys are very articulate, and we really like you,
and you're very articulate, and you know, because the way
we looked and you know, we came up with Jerry
Curls were definitely the first Army group to show physical fitness, physique.
So that's put that way the person to do. So

(15:58):
that's why people just made live jokes. So people just
thought differently. But when we started talking and flowing, you know,
people get caught off guard. You know, I don't know why,
but that's just how it is. You know, people get
something that you know, I'll never forget. When we were
getting ready, when we were um it was on the
set of House Party Too. And Ralph Transpant, who was

(16:19):
performing in House Party Too, he did a number right
right exactly. He said to us. He said, Man, let
me tell you something. Man. When I first heard that
y'all were going to be in House Party, I kept
saying myself, Well, what the hell are they gonna do? What? How,
how are they gonna how are they gonna say their lines?
Are they gonna say? Look at spot run lookin When

(16:44):
you told me that, I'm saying, you're crazy, man, That's
what I thought. Man, it's hilarious, na dude, because I was.
I was gonna say the reason before I got my
current management. Now, there was like one dude in Philadelphia
that might have been in some street activity in Philadelphia

(17:05):
and he wanted to like invest money in the roots
and like, you know, give us like a couple like
twenty thousand to do it demo or something like that.
But I kept thinking about you guys in Cruss Groove
and was like, Nope, not not um So how well? Okay?

(17:27):
I always ask what do you remember the first album
or first record you ever purchased? The first album I
ever purchased was The Temptations Greatest Hits, and that's when
they were still on Motown and it was only like
ten songs on there. They didn't have that picture on
the cover. It was just Temptations listening listening to their

(17:50):
greatest hits, like um, the way you do, the things
you do, that, all the early stuff. Because I've been
a Temptations nerds since since was in public school, always
loving the Temptations. My brother Paul would always make fun
and go, oh, you really like the Temptations, all twenty
five of them? Okay. That was my group back then

(18:11):
and still the Legacy is still my all time favorite.
And I got every Temptation album you can mention. You know,
I love the Temptations the whole stock bear back to
I got Big Bank. You had this song I lost
my mind. I was like, I got their winners and

(18:34):
I got the losers. I got all, wait, no, this
is I mean I didn't. I didn't. Necessarily I wasn't.
I wasn't too discerning as a kid when records came
in the house. But I definitely knew my dad's face
when he brought home the House Party album that came out,

(18:57):
I think after a Song for You. I think that
was seventies six. And I remember again, like I was
five years old, so I didn't know what critically claimed
was or a good record or bad record, but I
definitely remember my dad being not too happy with that,
particularly Tim Tayson's record, and so wow, house Party, I

(19:20):
remember that was too man they had they did a
house Party album before them movie exactly exactly. Wait, what's
the what's the order of of you and your brothers?
Who's the oldest, in the middle and youngest. I'm the oldest,
Paul Anthony is the middle, and my brother b Fine
is the youngest out of the three of us. Aren't

(19:41):
you'all y'all the first generation? Like aren't your parents from
the Islands? Well yeah, Rikers, Oh, I don't know why
I thought that, Like she was like, wow, damn. My father.
My father's from St. Thomas, Virgin Islands, and my mother's

(20:03):
from mom Center, Domingo, from San Domingo, and I was born.
I was also born at St. Thomas, Virgin Islands. I
was like three years old when I came up to
New York. You know, Paul was Paul was being. Paul
was made in St. Thomas, was born in New York. Okay,
that Domingo. Is that the Dominican Republic, That's the Dominican Republic. Yeah,

(20:27):
so what is that summer summer of nineteen eighty, I
lived in the Frenchman's reef. Wow, my parents did you know?
Like my parents would do like three to six months
residency at a resort, so the entire the Frenchman's reef,

(20:47):
so like the contique and they would just go between St. John's, St. St. John's, St.
Thomas and St. Croix, I believe, like, but we lived
in the Frenchman's the reef in there, and all I
remember was that's the first time I saw like old
black men playing dominoes just on the street. Corner was

(21:09):
the game for the Islands man. But they will break
the table like right exactly like that level of that
brother brother Domino brother no time. Yeah, exactly, you had
it correct the first time. So growing up in Brooklyn,
like what was just a musical environment, Like what were

(21:32):
the first shows you went to? And how did that
affect you and your brothers as entertainers? Man, Well, what
happens that as we were growing up, me and my
brothers starting out UM and we were so young when
my father uh was assembling us to sing, like I
think Paul had to be um eight years old, third

(21:54):
grade and I was nine UM and then my brother
be Fine was five. But Paul was the first one
that started singing. And this was in UM when he
was in bed style and Paul was the first one
is singing. He was singing in the bathroom because we
didn't have a shower, but we had a bathroom and
he was singing in the bathroom and he was singing
this song by Smokey Robinson Cole if you Can Want,

(22:15):
And Paul would sing that song and my father was like,
well ship honey, he should tell he got a voice.
And my my father, he was one of those doo
wop singers. He would be on the street corners with
his friends and they were doing a duop harmony. They
had groups called the Criterions. He used to even work
with Frankie Lyman one time, but that was his in

(22:37):
the Criterions. Yeah, the Criterions. Yeah, he was in that group.
I knew that. I'm a I'm a ad wop kid myself,
so yeah, I know that name. And they used to
do harmonies at the house and everything. He's the one
that taught us about how to sing harmony, and it
would be me and Paul because I got interested because

(22:59):
he was working with my brother. Uh so I got
a little jealous and he started working with me. My brother,
be Fine, wasn't really interested in singing, but my father
forced him and he said and he would, oh he would.
He would give him a spanking. If you don't sing,
you do nothing else. And he had no choice. He
had no choice but to sing. And um, I was
waiting for the Joe Jackson story. All right, yeah, that's

(23:21):
something kind of like that, but he wasn't wasn't that me?
But um once we started singing, then my uncle Seto
formed us as a group. He brought us these frill
shirts and he made us a group and we went
by the name of the amplifiers when we were growing
up in Brooklyn, and we started out so young, but
we would be singing the songs from the records, you know,

(23:41):
Bowl of Confusion twenty five miles by Edwin Star, one
of my favorite joints, and we would just be doing
that as we're growing up, and then, um, what happens
that they took us to the Apollo Theater because back
in the day before showtime at the Apollo, of course,
the Apollo used to have like shows every week. They
would have like ten shows every week, you know, two

(24:03):
or three shows a day, and they had a paramate
night every Wednesday, wait before showtime at the Apolo, but
every Wednesday you had to win first prize four weeks
to row, and if you do that, you get to
appear on the Professional Show, where we went on there
and we did the song called Cloud Nine, which was
by the Temptations, and we killed it like every week

(24:26):
and we won first place at the Apollo Theater every week,
and then we appeared on the Professional Show with the
late Great Joe Text and the Whispers, which was the
Whispers first time at the Apollo Theater. Back then, they
had a song called Seems like I gotta do wrong
and that, And I'm telling you before that my uncle,
my aunt, my father would take us to the Apollo

(24:49):
Theater like religiously, and we saw all these shows growing
up youngsters, you know, Joe Simon, um, you know, um,
Linda Jones Makes You Rest in Peace, Curtis Mayfield, Tempted Supreme, Yeah,
I mean Titland Davis, turned Back the Hands of Time.
I mean we grew up with all that music lineage,

(25:10):
you know, and the Apollo Theater was magic. Man, it
was like magic. So um, that's how we started, you know,
like that, can you all right? So I always wanted
to ask anyone that's ever participated in Amateur Night when
they come on this show, and I always forget to
ask them pre pre show tom at the Apollo, what

(25:32):
is the actual ritual for getting on and then doing
Amateur Night? Like do you have to have chord charts? Uh?
Do you bring a cassette to whoever the m D
is or do you just say we're doing my girl
in uh, you know, in E minor and they aretmadically

(25:53):
know it? Like what's the process of Amateur Night? Well? Well, yeah,
we had a guy with us named George mckenneth, so
he knew a lot of the people back there. And
the way we got through we never auditioned or nothing.
He was like pay somebody under the table and bam.
We would be on the amateur night and in order
to get there with the band, we would rehearse. The

(26:13):
band would rehearse with people and if they knew the song,
which they always knew, most of them, they knew the song,
they would just get the key or sometimes yeah, people
would bring in them music they practice for sheet music. Okay,
we got it. Sometimes the band didn't know the song,
all right, you gotta come up with another one. What
you got another song, you know, and then they would
know it, you know what I mean. So that would

(26:35):
be the thing, and we'd all be practicing and just
getting everything together. And it was crazy. And they used
to have all the all the amateurs would be downstairs
in the basement and you could hear like the professional show,
like Stevie Wonder stomping on the on the on the
ground and you can on the stage and you can
hear him from in the seem like Stevie Wonders like

(26:57):
stopping right now singing stupidstition or whatever you know. Yeah, yes,
so we would That's how we would get it with
the band members and they knew Cloud nine. We didn't
have to give them cord. They just had to get
it in our right key. And we was able to
do it with the with the Apollo band, Yeah, okay.
I always wanted to know, like if someone through a curveball,
like I want to do din Warks, do you know

(27:18):
the way to San Jose And the band would say like,
now we don't know that ship. That's why I asked, like,
did you have to? That's explains why everyone did, like
Luther vandros Is if only for one night or yea
or yeah the open mic selection right right exactly? I
get it now. So just leading into your actual recorded career.

(27:46):
The first time I heard of you guys was on
Curtis Blow's Party Time. But when was the what was
the first side that you actually cut? Like the first
time that you guys were in the studio recording stuff?
The first thing that we have a cut? What we
did songs? Uh, the first studio thing we ever did
it was a song called turn You On and it

(28:08):
was on a small little independent label in Brooklyn. It
was on Dad's records, and we thought we made it
only because on Dad's records in the Brooklyn was a
big hit record called super Rhyme Rap by um Jimmy
Spice right May he Rest in Peace? And we're like, wow,
we made it. We were in the same label as him.

(28:30):
I mean, we didn't have no damn hit what turned
you on? But that was like our first joint recording it,
I mean like after that, Yeah, we worked with Curtis Blow.
We did five songs on two different Curtis Blows album
and the first one, you know, we did a song
called big Time Hood and we did a song called
under Fire and we actually produced those songs, but at

(28:53):
that time we didn't really have much say so we
we had. We got the credit of co writing it
and I gotta give it. And the biggest song we
did with Curtis was Yeah, party Time, Party Time? Whoa
is party Time? That song? He brought us on tour
with him and we still weren't known, but he took
us on tour and we did a tour with him.
New Edition Midnight Star um Rick James and Mary Jane

(29:16):
Girls and I'll never forget this. Listen, there's a crazy
story could if he hears the story. This is gonna
be my first time saying it because I want to give,
I want to get play to juice quest. I think,
I think I know where this is going because Curtis
told us a story about party time. But go ahead,
you tell me the story. You did he do on

(29:38):
the show? On the on the show, well anybody, Yeah, yeah,
he told us a story about doing it in d
C or yes, because that's the goal, joint, that's the goal. Yes, yes,
oh yeah he did, but he just talked about performing
and it probably ain't the same story. Oh man, I hope,
I don't know. I don't want to get but he
has to deal. So of course we did the song basketball.

(30:01):
We co wrote that actually, and played on that with
him a hole time when we went on the road.
Oh lord, when we went on the road, Kurt. This
was the same time New Edition was starting to get
really popular and they just came out with their first
album and they was the opening act, and then after them, Curtis,

(30:23):
then Midnight Star Mary Jane Girls, Rick Jameson and this
particular night man, the promoters said, all right, Curtis, you're
gonna open up. Oh it's night, and he was piste now.
They talked about this some kind of way in the
New Edition mini series. Oh man, Kurt, don't get mad
because curtis you know back this was back then, so

(30:48):
so upset. And remember we're unknown, but we're cool. But
he's piste off. So he's so piste off. He's piste
up in a new edition, even though it wasn't new
additions idea for him to be right, and he did not.
He was still he said, man, they should have some
damn respect. They don't have no respect for me. And

(31:08):
he was pissed now. So then he said to us
the band, oh lord, he said, okay, this is what
we're gonna do. Man, open up. When we walk out
of this dressing room, we're gonna walk right past their
dressing room, and we're gonna say as soon as we
soon we leave there, I'm going all of us to say,

(31:29):
motherfuckers from balls study. And it was like it was
like a chance. And and he said, y'all with me,
and and and in my mind, I'm like, but I
like new We we we kind of liked them, but

(31:50):
well and and we all we all said it as
we left the dress room. We were just all saying
it like a chance, going past their damn dress room
right up until the stage, and then he quiet us
down from saying it. And I remember it like it
was yesterday. It was crazy, but that was back then.

(32:13):
It's a whole different guy now. But yeah, of course
followed suit. We did what we had to do and
that was it. And when there ever a full Forest,
new edition, wait, new edition, full Forest collaboration. Well, on
the basketball court, basically, we used to pay a lot
of We used to play a lot of games against them,

(32:34):
and then after they got tired of beating us, they
said to us, yo, man, since you can't beat us,
reminds were joined, y'all. And then they became part of
our celebrity basketball team that played. Oh yeah, we played
against our senior Hall Denzel Washington, and it was Mike
Vivans and Ronnie Dabot that played with us. Oh I know,
Mike ran Knight played with us. He could bawl his

(32:56):
ass on DeAndre Whitfield. Ecstasy from Udini, May he rest
in peace, grand Master d Man. That was while teammates
man Um and it was crazy, you know, the games
we used to have against so many different people, the
Full Force all Stars we called ourselves. Hey, um on
those Curtis Blow records. Did you guys ever have any
interaction or work with Larry Smith at all? Yes, the

(33:20):
legendary Larry Smith. Yeah it's hard, it's hard. Yeah, people work. Yeah.
Can you tell us about like his just him in
general and like his his work. Yeah, Well, Larry Man,
he was a genius. You know, he played the guitar,

(33:40):
of course, but he was just a genius songwriter and
in the in the studio, he was just really a workaholic,
and he always wanted stuff to get right. And he
was like Russell Simmons, like go to guy, you know
what I mean, a lot of times with one DMC,
with Houdini, you know, with Curti s Blow. Larry was

(34:01):
like a staple and he and he and he knew
his music, you know what I mean. And if and
if anybody says Larry's not like that, no, it is
like that. It is like that. It's always Larry's way,
no matter why. And and he didn't want to hear nothing.
So that's the respect he build up. So if anybody's like,
I don't know, I don't know Larry's doing it right.

(34:22):
They don't say it to him, they say to themselves
amongst other people. And you think Mary's right there? Why
do I say, no, this is it. I'm telling you
Larious working with quest left. Okay, I get it. Okay.
Another question I've been dying to ask you. You you

(34:44):
all right, You just gotta you just gotta come out
and tell me the truth. Now I'm skipping to you,
t fo. Were those cuts on the leader of the
pack and especially the fade out on rock Sand Rock Sand?
Were those real from dr Ice or from from mixed
Master Ice? Or did you guys just sample Come on

(35:07):
now it's too perfect and too executed, or did you
sample those sounds because it's too perfect? Those are cuts?
Those are those are mixed Master Ice? No, for real, Seriously,
I wish my brother be Fine was here because be
Fine is the one that orchestrated all of that and
with mix Master. And he always told mis Master because

(35:27):
he was definitely the first DJ in hip hop, I
don't I don't know who else came before him that
would play like a musical instrument when he scratched, you know,
on a lot of songs. No DJs was doing that,
but being that be was a musician, he was a
drummer as well. He would he orchestrated over and he
arranged what mixed master would do, you know, and mixed

(35:50):
master cutting up and scratching on on many of those songs,
which a lot of DJs didn't do at the time
at all. Another thing that you guys should be credited for,
um was really the first time that we heard an
actual authentic breakbeat on record. I mean before then, drum

(36:12):
machines would often or or a lot of drummer review
when the sugar Hill Enjoy era, it was often the
music background. But you know the first time that I
heard what we coined the term a break beat was
using a Billy Squire's big beat for the educated rappers
versus on Roxanne, Roxanne, can you just explained that just

(36:35):
the whole Well, first of all, even before we get
to that, who taught you guys, or who do you
credit as your teachers for learning how to craft songs
and produce songs? Or was it just trial and era
all the time before and then U t fos where
you perfected it? Yeah, I would definitely say you TFOs

(36:56):
where we perfected it was trial and era on some
of the things. But once we started uh producing U
T F vote and I gotta give like really shout
out to my brother be Fine, a, Kurt Um Baby, Jerry,
the musicians as a group and even Shy Shy, but
they were the brainstorms with actually putting together the musical stuff.

(37:18):
And you're right, Quest and thanks thanks for that, because
a lot of times we don't get that credit. I mean,
I'm a modest brother, but I love to get credit
where credit is due, and sometimes it's not due to us.
But yeah, that was like one of the first like samples,
the first time that you heard exactly like ever in
a record. And then after we did it on Rock Sane,

(37:39):
we did it on our own song Unselfish Lover, which
was the first time a break beat was used in
a in a record of song, you know what I mean,
and was exactly so um And so that was trialing ever.
And plus we were, you know, we had the soul
of hip hop anyway growing up in Brooklyn and um
and performing it in Harlem and the Bronx. We were

(38:02):
a local group and we always wanted to fuse the
hip hop and R and B together and sampling the
billy squire thing. Nobody's ever done that before. You've heard
the big beat on many parties and hip hop parties
and stuff like that, but never on record, you know,
And that was a big thing, and and and and
plus the fact that the late grade educator Rapp had

(38:23):
the illness wrap on that whole YouTube. Roxane, Yeah, I
memorized that ship before it like it was mine in
the ninth grade. Um. Well, okay. The reason why I
asked that question is because mostly the stories that I
hear from any luminary in the eighties when it comes

(38:45):
to production, with the exception of Marley Mall, most of
the stories I hear is that, you know, most hipop
production is a rush job. And you know, maybe a
rare example like publican me would do pre product and
in a studio where they have time to be creative
and time to think of new sounds and whatnot. But

(39:06):
nine times I would attend You're going to a studio,
you got like two to three hours to figure out
what you're gonna do, and then it's a rush job
and you're out of there. But that song is pretty
I mean, your production, no matter how sparse it was,
was was fairly intricate, So I would I would figure
that it would take more than just two to three

(39:28):
hours to slap something together. So like, what what was
the what was the the production process? Like as far
as you guys coming up with ideas and you know,
you guys infused like humor and skits and all these
things that I figured would take at least five to
seven hours to to sort of come up with. But

(39:50):
in that time period, did you guys have the time
in the studio to do those things or yeah, But
when it was in the studio, we would do a
lot of like like you know, like you'd call it
like like if you're acting, you do dress rehearsal, or
you would do rehearsing. We would go in the studio
and not necessarily make the final recording of the joint.

(40:10):
We would do all of our ideas, then come up
with the ideas, and then after we finish okay, y'all,
we'll just we'll be back here tomorrow to finish it off.
So it's never a rush thing with us. We definitely
took our time with all the songs and the intricacies
of it, and we plan and sometimes we get the
ideas right then and there amongst ourselves. But a lot

(40:31):
of times things could be pre planned as well, but
by getting them in the studio first and foremost. Okay, Now,
what should also be noted? And I think a person
had to been alive at the time, So I will
say that probably one of the very first instances of

(40:51):
what we'll say is is pre viral culture. Now, of
course you know when something's done, it can go viral
instantly and spread uh in milliseconds, But to be alive
at the time when Roxanne Roxanne was out, Oh, thank
you for talking about this. I was waiting for this
because last like, it was just it was just one

(41:13):
of the it was well, yeah, exactly like you were
sixteen at the time it came out. I just was like,
who is the real rock stand? I don't know, it's
who confuses Well, one one I want to know is
who who who was the conceptualizer of Roxanne Roxanne? How

(41:34):
did you get pare with you tfo? And how much
control did you guys have over the entire Roxanne phenomenon
because they were they were at least nine to eleven
answer records of various Roxannes doctor Roxanne kind of college. Yeah,

(41:59):
so tell me tell me there is every every sort
of record. Well there was no rock stands A guy
in the college this question. Well right, you are right,
my brother. There was actually over answer back records to that.

(42:22):
So it started the first this crazy yeah, yeah exactly.
So what happened was with U tfo will in the beginning.
My my, what happened is that how they formed first
is that this this four members of chif of course
dr Ice, Kango Kid Um that educated Rapper May Rest

(42:43):
in peace and mixed Massa Ice to DJ. So what
happened is that my brother b what was going was
going to uh going to to a to a junior
high school because he was in high school. And he
was going there because somebody was messing around with his
girlfriend at the time. Somebody was like bothering her and
teasing her and everything. And it was Kango Kid. Okay,

(43:04):
so Mike use of coach jam New Kango Kid, and
she kept complaining to my brother, be fund you this
guy keep bothering me. He said, Okay, I'm going up
to school. I'm gonna suck him up. I'm just going
up to your school. I'm just going bust his ass. See,
So he talked to Mike use of coach jam because
just before Mike became a coacham And Mike said, yeah,
I know, I know um Kango whose girl name is

(43:26):
Shawan for queer, so I know him, so yeah, I
want you to take me to him now, I want
to see him. Okay, took him to the school and
he was going there to to literally getting Kango's face
and bust his ass for messing with his girl. So
what happened is that Mike said, oh, he's right there,
so he pointed to Kango, and Kango was on stage

(43:48):
during a talent show and auditorium and he was dancing.
He was pop locking and killing it, and my brother
b was looking like an amazement exactly exactly. So he
goes from Mike, alright, Mike, man, I'm gonna go. Man,

(44:10):
I kind of see enough. Just tell him. Tell him
first of all that came to buss ass, but he can.
He's dancing real good, so I want to talk to him.
So you get his number, give my number and we'll connect,
all right, And then my brother be just left. He left,
and Mike Hughes told Kango when he was finishing everything,
and Kangar came back He said, Yo, man, did you

(44:31):
see the guy that was next to me? You know
what I'm standing me? Yeah, it's a big nigga. Man.
YEA saw him. And so yeah, man, he came here
to kick your ass. That's the boy that's her mentor's boyfriend,
and he came here to bust your ass. He said, word, yeah,
a word. But you danced real good. So he wants
to have a meeting. He wants to have a meeting
with you. That's what happened. You met with Kango. Kango

(44:53):
brought in Doctor Ice. They danced for us because we
used to do local shows and they did. They would
have they would like the first one to do all
the hopping lot because remember remember when the hip hop
started and they used to always have dances on the
stage with them. All the rappers would have dances. Kango
Kid and Dr Ice was the first dances to dance
for a rap group, which was Scudini. They would they

(45:15):
were the first ones. But they started with us dancing
on our shows and we would bring them on and
head of y'all and and we was impressed with them
and then be said, um, you know, and then Cagle said, goop,
you know, we could rap also, so y'all could wrap it. Yeah,
they got educated wrapper and they formed the Rapture. They came.
They kind of auditioned for be he says, Yo, man,

(45:36):
y'all are dope. And then they got mixed mass of
ice and made them a group, and then Steve Salem
made he rest in peace. Steve Salem, who went to
college with me. He was our co manager. He's the
one that took us in the group to select records.
Who was never a hip pop label at the time.
They just was a regular label, and we went there
to record because if it if it wasn't for Steve Salem,

(45:58):
we would never be writers and produce. He was only
looking for a deal for Full Force as the performance.
I didn't give a shit about writing and producing for
other people. I just didn't, and I'm glad I was
voted out. But Steve Salem said, listen, if you guys,
because we was getting our demos turned down, left them
right anyway. He said, I think if you guys right
and produce for other people, I think then Full Force

(46:18):
would get a deal of its own. This was his
gut and he was right because the first production was
U t FO. Then Lisa, Lisa Coach and Real Rock
Sand and then we got our deal. But the Rock
Sand Rock Sand they became. And here's the thing. We
had a song called hanging Out. That's that's that's supposed
to be the A side, right single, But my brother

(46:41):
B just woke up and he said, yo, man, I
came up with an idea, a concept, and let's just
put it on the B side. It was like a
throwaway idea and he's gonna say, I wonder rock Sand
Rock Sand. He just picked the name because they liked
the name. He said it worked for the police. He
went to UTFO, he said, yeah, we're gonna do a
B side. We're gonna call it Rock Sand Rock Sand.

(47:03):
Here's the concept. I want you guys to be. You
guys gonna be uh fighting over a girl and none
of y'all would get the girl because you know, back
in those times, you know all the rappers got the girl.
It's gonna be nobody gets the girl and each of
y'all come up with your own rap. What was so
dope about the song is that being also came up
with the concert, which was never done on record before.

(47:25):
Each rapper had their own separate beat, lay a Rapper
had big beat, and Kango had his own beat doctor
Zwne beat that we the full force created, of course,
except for the big beat. Um Actually Tangle might have
Kangle might have created his own beat as well. But
that's how that record was m and it was just
a throwaway record to be on the B side. And

(47:48):
what happened is that even though he was promoting hanging Out,
all of a sudden, here comes this DJ from New
York City playing the wrong side, which we thought, and
it was DJ Red Alert playing playing playing playing rock
sand rocksand and we will piss. Could you believe that?

(48:08):
We got upset in the beginning, and we called Red
at his house and we're like, yo, Red, and we
woke him up. Yeah, what yo, you're playing the wrong side.
Don't play that. You gotta play the A side. The
A side is hanging out, I said, yo, man, I
like the B side, I know, but that's not the
A side. Well it should be that. I won't playing

(48:29):
the B side. And the radio DJ was born thank
you side, and he stuck to that. The radio station
let him do it. And let me tell you something.
That song called on like Wildfire before all the Answer
Back records. That song was just huge. It was big,
It was took. It was in top ten Billboard magazine

(48:49):
and R and B charts, well one of the rap sharts.
So we were blown away. And then after the after
the success and was doing great, along comes this year
old Brett rock Revenge, so she was after See that's
why I was always confused. Okay, so that's why they

(49:11):
called it revenge done. I was five blue, Okay, I'm
just putting it in perspective. There was a one to
the left of that five anyway, the magic, the magic
of rock You're right, the magic of Rocky and roxand
was also remembers the first self deprecating song, so you

(49:36):
know it showed it kind of put hip hop in
every man position, like, oh, that could happen to me.
That always happens to me. I get rejected by a
girl right and you know, you know what it's hit
me right now. When Rick Rubin was on our episode,
I gave him credit for sort of helming the song

(49:57):
format in hip hop. But it just hit me that
you got that U t FOS album predated um l
OS radio, which it was unheard of at the time
for a hip hop song to be under five minutes,
because you know, in the era of sugar Hill and
club records and they're not being a lot of hip

(50:17):
hop records. He would make them as long as possible
so that you can keep the party going. But I mean,
at the time, did you guys think that you were
doing something revolutionary by making these you know, sixteen bar
maybe twenty four bar versus with the course and the
second verse and a third verse which was absolutely unheard

(50:39):
of them, Like even a radio song like the Message
and it's like that I Run the MC was like
seven minutes and fifty seconds. But these these songs were
one of the very first single length hits. Like was
that a conscious decision? Yeah, that was a conscious decision
because you know, we always in vote our sell is

(51:00):
in it, so like if you have a rock sand
rock sand song, we would do the full force harmonies,
rock sande, rock sande. We always wanted to throw singing
in a lot of the records, and we always made it,
like you said, uh, not to be so super long
because and we not was wrong with the super long
songs like the Message and everything like that, but we
was consciously making it so it could be uh, you know, digestible,

(51:24):
especially because we loved hearing the song on regular commercial
radio as well, because the hip hop stations played anything
even it was ten minutes. But he was conscious of
that for all the different songs, especially that first album
you know and Um and Kango Kid was was we
call him like a disciple of ours so much because
he loved the production and stuff. He came up with

(51:45):
the idea to the fairytale level, which was the first
time a rap group Um Sang we did the backgrounds
of the music, but Kango Sang Doc Sang even educated
rappers sang on but they did, and they used to
perform that song on tour and places to go crazy
because they went on to a new addition that it

(52:06):
was big. Yeah, that's it was bigger than is this
the end? Like that's it super big? Wait, it just
hit me. There's there's a lot of first in your career,
and it just hit me that you guys were also
one of the first production teams two self promote if
you will. People often credited to Puffy to self remote,

(52:27):
but you know the tag full force, get busy one
time like that that could have been the very first
hashtag whose idea was it to always from you guys
were always spicing up all of your productions with your
your your production tag, like your own commercial. Whose idea

(52:48):
was that? Man? I would have to say, that was
all of our ideas. I mean, and you're right question
thanks a lot, man, I mean, wow, you're right. We
we we did that on our own because we knew,
like back in the day, a lot of producers, you know,
before us, I would say, Terry and Jimmy, they started
getting noiarity. They had their own style too, just the address.

(53:10):
But we said, you know, we want to make sure
the producers get props in these in the in these
songs like us. So we would be like Alfred Hitchcock
on a lot of our own productions, you know, Alfred
Hitchcock so understuming. But we can make ourselves assuming, you know,
and we would give give those tags like full force.

(53:32):
Get Busy with the time was the idea of Paul Anthony.
First time anybody said get busy and I'll never forget.
We went to a new addition, not new addition, h
new Kids on the Block concert. They were such big
fans of ours, and we was like going the backstage
and and we was we're not backstage. It was like
on the side stage because Maurice Start came and put
us in the side and then they were the new kids,

(53:54):
and Black kept looking us to the side. And then
Donnie Walburg, I'll never forget this. He just stopped after
after the last song, and he said, you know, I
just want to make mention here. There's a bunch of
guys is here right now that we look up to
because in Boston the biggest Full Force record at the
time was Unselfish Lover that we did and and and
he said to the crowd, all those all those white

(54:15):
girls and white white what he said to them, there's
some guys in this business now, y'all might hear our
senior Hall say let's get busy. But let me tell
you who coined that phrase exactly. Yeah, he said this.
He said, it's a bunch of guys. They go by
the name of Full Force, And we got some of
the members here right now. And I want y'all to

(54:37):
give a big rousing No, he said, I want you
guys to repeat after me and say this loud. I
want y'all to say full Fourth get busy one time.
And I'm gonna bring them out. You're all ready, here
we go. And they said it loud on these white
kids full and it was crazy. And here we all

(54:58):
walking on stage. They didn't never knew us from and
they clapping, the screaming for us, and Donnie's hugging us.
That was our first time meeting, meeting new kids hugging us,
hugging us, and and he said, these are the guys
that corner phrase. These guys are popular producers. And he
was basically doing like a bio giving us flowers there

(55:19):
on that stage. And then and then we then he said, okay,
now we're gonna close it out, y'all. Y'all, y'all remember
the song. Y'all know the hook. You'll remember the hook.
Uh oh. And then we all on stage doing that
with new kids in the block because they were fans
of ours, with the whole self promotion. And you're right,

(55:41):
we said, full force, get busy one time on the
song unfaithful, don't even try it, full force, don't buy it.
A lot of our records, like on Temporary Love Thing
before and oh but I go as shows. My name
is bow Legged Lou, I'm blah blah blah, blah blah blah,
and we would do the B sides quest like we
used to do skits on the side I was. We
were doing skits before daylst Soul and I and I

(56:05):
made it in theater, but I would have my fun
on the east side. So we would do a song
like Unselfish Lover, and on the B side be goal,
It's okay, It's okay. It was like a whole skit
and I got it, and we set our names and
everything and just let you know that we wanted to
make sure we got our credit as producers as well.
When we did the first Lisa Lisa song, I Wonder

(56:28):
If I Take You Home, we made a conscious decision.
I said, listen, guys, we're singing on this. We're doing
the background vocals, we're doing the music. So just for
the first album and the first single, it's not gonna
be Lisa Lisa and Coach jam No, it's gonna be Lisa,
Lisa and Coach jam with. I have a question to

(56:51):
ask you. I have a question. Okay, the the whole world,
of course, Love Supremes knows that I am the authority
on everything Soul Train, So I have this question to
ask you the very first time you guys, Well, first
of all, I would assume that in appearing on Soul

(57:13):
Train would have been like a major bucket list moment,
and based on the relationship that you in the camaraderie
that you guys had with Don Cornelius on the show,
that that meant something to you. But I always wanted
to know the very first time that you guys appeared
on Soul Train, you guys were never announced by said

(57:35):
McCoy on the top of the show. You kind of
just came in as special guests. This is when you
guys did uh? I believe Alice? You did Alice the
first time and you weren't credit. Were you guys ever disappointed?
Do you know what I mean by announced? You know,
the top of the show, when Sid McCoy announces Soul

(57:56):
Training the hippest trip in America, we guest starts that
no full four us and the Soul Training answers. I
always wonder why they never had you guys at the
top of the show, Like, you guys were just announced
as as a matter of fact. But I always wanted
to know, did you Were you guys even aware of
that or well? I wasn't aware. But the first time

(58:16):
but not the first time we performed as Full Force,
the group ourselves. We did Unselfish Lover, and then you
did Alice during the interview exactly. That was one of
my favorite moments ever. Yeah, because because Don tried to
stop it after a while, but then we ended it
the goal because he can slaying alright, alright, hold on,
hold on, right, and everybody was cool with that. But

(58:40):
before that, and I think they announced this at the
top of the show for that particular show, but before
Unselfish Lover, before the Full Force by Full Force. The
first time we appeared on there was with Lisa, Lisa,
me and full and we performed all car Yeah right
now was the very first time it was on Soul Try.
I don't think we were announced, and I think was
just even then you weren't announced at the top, right,

(59:04):
just leave at least and not even coached him, right,
I was gonna say, you're You're the only artist I
know whose first two appearances on Soul Train were never
announced by said McCoy. I considered an honor at least
if I were making music at the time that if
said McCoy says, your name with this golden voice. That's
sort of like, that's the thumbs up thing. And you

(59:26):
guys didn't get that moment until your third time on
the show when you guys were promoting guests. He was
coming to the crib and love is for Suckers and
all that. But I just want to go back because
you mentioned this real fast. But I'm trying to figure
out how you had the time because you said you
met Steve in college and you were a made You
were a theater major when what school? And talk can

(59:47):
you just talk about like being a theater major and
what that did for the crime? Yeah, I went to
UM King's World Community College for two years, Brooklyn College
for two years and a major in theater because it's
a teacher of minds and high school name, Miss McKinley.
She like really inspired me to to to do acting,
and I was like, I was always crazy. It still

(01:00:08):
crazy to this day. And I always loved the acting.
And UM when a major in theater, it was a
big deal because it was a a predominantly white school
and they was so serious with all their productions and
I was in every one of their productions, even even
plays that I hated like Medea and Shakespeare yuck. But
I still wanted to be on stage in audition for

(01:00:30):
every play, and that's what I did, and I brought that.
And before that, I used to do little plays with
my brothers in our home and the audience used to
be family members like my mother father. We do little
plays that I would write, just bullshit plays, nothing big,
and then we do this and do that, and my
brothers hated it, but they still did it. And we
were young, and that's where our chemistry grew, the three

(01:00:53):
of us to have the chemistry to go on and
pursue what we were doing. You know, of course I
want to go back to what you said about Don corneys.
I know that you are such a soul trained uh
Fictionnario and educated and and I heard you was doing
gonna do something on Broadway. Please put me down even

(01:01:14):
from the usher in there, I don't care, because I
when I tell you, I love with my heart Don
Corneius as a man, as a person, and I just
love him and I'll never forget how you know, I
had his home number to sell and I was like, wow,
Don Corneius, and then meeting him for the first time,

(01:01:37):
and then we developed the chemistry that you can even see.
Whenever we would come there, he would like any groups
that we we managed, like Sheryl Pepsi, Riley or the
girl group Ex Girlfriend. He would always want to announce
us to come on stage to like sort of take
a bow or something like that after he finished interviewing them.
Or sometimes I'll call him on his birthday, like I

(01:01:57):
call people on their birthdays forever you do. I call
people on their birthday just to say happy birthday. This
is way before Facebook and social media. I got my
old school um calendar people's birthdays and I called them
up and Don Corney is I always used to do
that through the ups and the downs with people. I
don't I don't care where they are in their career whatever.

(01:02:18):
I just always like to reach out. And with Don
corneys man, it was just such a great thing to do.
I'm able to get my my ex girl, my ex
my girlfriend at the time, she was doing a project
on Soul Train, and I got her to interview Don
on the phone just for her, and he did that
for me, you know. He did that's along along with

(01:02:39):
quest Love, who before meeting Quests, we just met, like
he said, through the social media thing, and I reached
out to him and asked, would he be a part
of our unsung man, and quest I'll never forget how
you said, oh, hell yeah, man, and you was just
so great on the show. You gave us great props.
And I'll never forget that. Man. Don Corneus never did

(01:03:02):
him sung ever. And keep in mind when people did
that show, a lot of their film clip, a lot
of their clips from their performances used to be them
performing on So also the o JS George, and they
always wanted to get him, but he never never did it.
I said, I would love to get Doc Cornelius. They said, oh,

(01:03:23):
he doesn't need to do it. We asked him all
the time, and he always says no, he doesn't care.
I said, well, let me ask him. Well, well, we're
not gonna give you his number. I said, no, I
gotta let me see if you do it for us.
And I called him up and he said, all right,
they've been asking me so many times, man, but you know,
if I got to do it for somebody, I I

(01:03:44):
owed them I gotta do somebody. I'm gonna do it
for you, man, I'm gonna do it for full force
and that was his last televised anything on UM on TV,
and I have I have all the other footage because
he was on much longer than what they edited, like
maybe two or three bites, but I have the whole

(01:04:05):
have been talking about us and UM. And he was
supposed to come to the screening of that unsung episode
in l A. He bought he got tickets, I mean
not tickets, but he was going to be at the
table and he didn't come for some reason. And then
two days later he blew me away. I was crying, man,

(01:04:25):
like a baby. I was on the phone with Lee
Bailey doing an interview with him, man Doc, and we
presented a plaque for doctor Careneers even though he wasn't
there because we didn't know why he lived, but we
did a special dedication plaque for him there. I said,
Donn is not here, but we want to do a
special tribute for him. And I ended up giving the
plaque to a Tony at on Donne's funeral. But m great,

(01:04:51):
great man, great man, come on question. You know it
was the proper term of Marzella. You know you're so
a sole train of five? What's it called a solovie
train of file? That doesn't sound right. Yeah, So anyway,

(01:05:16):
I'll say that, Uh, probably the other artists I've been
dying to interview on the show just so I can
ask her this question. Uh, is uh probably the artist
that you've had the best success with. Did Lisa Lisa
ever tell you what her first thoughts were when she

(01:05:37):
auditioned for you guys? Yeah? She was afraid. Yeah. I
was gonna say, what was the whole situation of you
guys discovering Lisa Lisa and her coming to audition for you?
How did you discover? Yeah? Well, my brother Be Fine,
he came up with the song I Wonder If I
Take You Home? You know, he wrote the lyrics. I

(01:05:57):
mean we added the little extra stuff of the arrangements
and the vocals and stuff, but Be came up with
the concept. He wrote the lyrics out Kurt Jerry. They
all pitched in musically and everything like that. But it
was Be's baby. And now Be when he did that
song and he did the reference vocal to it, which
is horrible, but he did it anyway, I think, so

(01:06:23):
so horrible. But with that, with that song, it was
so catchy and this was apt. This was like right
after literally rock sand Roxanne started doing what it's doing.
Were already craft in that so Be wanted, no matter what,
he wanted a Hispanic girl to sing that song. No
black girl, just Hispanic. I wanted a black girl to

(01:06:45):
do it because sherl Pepsi Riley at the time was
my dear friend and I was in love with a voice.
So I let her hear the demo would be his
bad singing on it. I said, listen, he wants a
Spanish goat, dude, but I want you to do it.
I want to sneak you in the studio and have
you sing it and then surprise Be. But she didn't
like the song. She said she was loyal to a
group at the time. But I remember playing it for
her and her husband and yeah, I don't think it.

(01:07:07):
But any way, he wouldn't have heard anyway, he wasn't
a kid. He wanted a Spanish girl to do it.
So Mike es it was auditioning girls. So Mike Houston
coach and he's the one that brought Lisa to us
because they used to see was at the fun House,
The fun House UH club in Manhattan where Madonna used
to go to all the time. Lisa would be their partying.

(01:07:30):
And Lisa was young at the time, but Mike would
see her there. I think she was seventeen or something
like that, and she he brought her to our basement
in Brooklyn so we could hear if she could sing.
We loved her look automatically as soon as we saw her,
we went, wow, I hope she could sing even a
little bit. Her face and everything else, you know, and

(01:07:57):
she was Hispanic. So at that time, there was no
there's no Spanish because there's no Puerto Rico, the Spanish
girls doing doing anything and resembling dance r being hip
hop combo. Nope, not, that's before Gloria, right, That's what
I didn't realize. This is more Gloria. This is before
j Lo. This is for Ricky Martin, before any Spanish

(01:08:18):
person was was was what we know as freestyle? Was
that was that on you guys mind at the time,
because I mean, the only person I could tell that
was like even trying to touch that was maybe jelly
Bean Benitez maybe like yeah, I mean, Shannon was sort
of going there. But freestyle wasn't a defined genre. But

(01:08:41):
were you guys trying to figure out how to corner
that market or did you know that if you found
someone of that level it could be big for the
the Latin Latin X market. Well, you know something that
wasn't even be his reasoning. I didn't even hear the
word freestyle until after we did Lisa. I mean, Shannon
kind of did let the music play and and be

(01:09:04):
disclosed to me actually today that him curtain Jerry used
to be in basement and they loved the sounds of
John Roby and what's John Roby's other partner that that
was Baker author Baker. Yeah, they love those type of
records and they would try to immulate those type of records.
Like so Shannon, who I think they let the music play.

(01:09:29):
It wasn't called freestyle where she did it. And I'm thinking,
but she was black, because it wasn't until we did
Lisa Lisa. Then other Spanish and Hispanic started popping out
of nowhere, and that's where they coined the frame freestyle.
What makes something freestyle? You? I'm sorry, I feel like
I'm in elementary school. What do you know the sound

(01:09:51):
of Stevie b Like I'm managing the sound of like
planet rock, like not as fast, not quite as fast.
It would be like New Jack swing, like adding aren't
aren't adding some vocals to attract that it's breakdanceable. Okay,
okay that the music that the music players. Definitely it
falls in that lane, love one, Yeah, yeah, let the

(01:10:14):
music play kind of falls in that way, yes, yes,
like the sound the sound of man tis the sound
of the Latin rascals. Yeah. But all those Hispanics was
doing they weren't doing it at that time, you know,
they weren't just doing it any time. But when we
brought out Lisa what can you Feel a be thing
that everybody started calling a freestyle. And then you had

(01:10:38):
people like Expose and all I know, and they called
the freestyle because of the Spanish market, because of the
Spanish artists. That's what we started off with Lisa and
Be and and when at Leasta came to audition to sing,
she started singing songs that might choose from coaching. Wrote
So she was singing and ancapella and they were hard old.

(01:11:00):
You know, Mike uses right that she was singing songs
like to dance and tune up and we're like, oh
my god, it's horrible. And it made us sound kind
of shitty because of his songs, so so before she
left because we're like, oh, man, I don't think it's
gonna work. Before she left, because we loved her look
so much. Paul said, listen, Lisa, before you leave, can

(01:11:25):
you sing something that's more familiar, because all she was
singing was Mike uses original corny songs with him that
he knows that. So Lisa sang for us for your
Eyes Only by Sheena Easton and and that's that's right,

(01:11:48):
and that's all, and that's all she wrote. And we
did I wonder if I take you home with Lisa,
and be was always to the fact that he didn't
want Lisa to sound he didn't want whoever was gonna
sing it. He didn't want like a pack label. That's
why she went to work just other young girls, especially
Hispanic girls, when they could sing along a girl girl

(01:12:11):
next door exactly. And that was that was the genius
of that. And when that song came out, it was
crazy because we took it to independent label who was
doing a deal with Columbia Records, um Personal Records, which
was run by Urigan, Jurgen Kay and don Oriolo. And
I remember Steve Salem May he rest in Peace and

(01:12:33):
my brother be Fine went there. They loved the song,
but they wanted another singer. I think Urgan's wife, what's
her name? I forgotten, but they wanted another singer. So
so Be thought about it and and Steve and they said, man,
we'll pass. And they said really, and we hear ray
to give you like a little deal that will pass.
And then they called the very next day, all right,

(01:12:56):
we'll do it with Lisa, And that record appeared on
a compilation ship What you had songs like Buffalo Gal
by Malcolm mclauchin. Yeah, And that was the only new
song on day. I wonder if I take you home
and let me tell you that song to like, Wow,
it blew us away because we were we were in
England working with Samantha Fox. When we came back to

(01:13:19):
to to New York, they were playing that ship in
the clubs. I'm like, wait minute, where did y'all get this?
I'm like it was it was. It was ridiculous how
that song just took off, you know, And and it
took us so much from a compilation album that we
were rushed to. The album was ready, but we just

(01:13:42):
didn't finish the damn Breacon we had to hurry up
and and do the album which we which we which
we did and finished. You know really? Yeah, that's crazy. Wait, um,
there's another question I have. Were you guys ever involved
with little Tony Marsh? Because in Phil her video Burnout

(01:14:02):
song was like a heavily heavily played was heavily played
like on our station Power ninety nine, And I know
that like she was on that Uh found someone from
me sketch like she would do sketches with Lisa whatnot.
But did you guys ever produce little Tony Marsh as well?
Or she would love to hear you just say that?

(01:14:26):
But dude, I lost my mind. I saw a post
from Lisa on I G and I happen to look
at one of the comments and it wasn't Tony Marsh,
but it was enough to make me. When I clicked
and I saw the face, I was like, wait a minute,
is this actual Tony Marsh? Like I lost my I
didn't see the response, if she responded or not, but no,

(01:14:48):
I definitely know who little little little Tony Marsh is
now going by the name of Tony Minaj and she
is the she Now, Yeah, that's what she calls us
up Tony Minaj, but she spells it differently m E
N E G E and she's and let me tell
you something. She is such a talented, talented singer performer.

(01:15:09):
She's incredible. She blew me away. I was so surprised.
But she's now the personal manager FeliCa Lisa. What yes? Now? Yeah,
because because what happens that Lisa was managed by this
other girl, this other woman named Stephanie. Makes she rest
in peace. But Stephanie was sort of uh, she blocked
a lot of things. She for whatever reason, she didn't

(01:15:31):
have much love for full force and whatever. Because we
used to manage Lisa. When Lisa was with us, we
brought ways amicably, like we're part of ways amically with
all our artists. But um, Tony marsh Um was U
background singer Felsa on first tour. That's how we move
Tony marsh. But I remember video burn I'm like, wow,
you did video burnout and she did and she was

(01:15:53):
with Lisa from then eighty eighties six ye Vocus and
everything like that. Yeah, so little Tony Marsh had a
there was a period in which like a music and
so on Apple Music. That's crazy. See those are. Those
are the type of songs where the vocals won't even
start until the five minute mark, right, the intro of

(01:16:19):
the intro is like three minutes video there, you know,
Like there was a period, especially between like eighty three
and eighty five, where like a lot of these word
novelty songs have come up, Like Irene Carrott had a
song about break dancing, but little Tony Marsh's song was
notable because it was about her addiction to going to

(01:16:40):
the arcades, to playing video games. That's real. Hell yeah, man,
you know, let my ask come home? Yeah late, because
I was at the arcade. I get in trouble. Wait,
lou are you at all where of the Prince? You
got the look story? No? I mean all right. I

(01:17:01):
always wanted to know this. So there's there's there's a
friend of mine who um I guess at the time,
like she was kind of messing with Prince or whatever,
and at the time she was like eighteen. So this
is this is like seven, this is when Spanish Fly
is out, or this right before Spanish Fly, the second
Lisa Lisa album comes out, and she's in the break

(01:17:24):
room of his studio while he's recording what we will
know a sign of the times. And you know, because
of the age difference. I mean he's like at that time,
he was like, she's eighteen, Um, she's more in tune
to like younger stuff and really not you know, not
on his level, you know of where music is. And

(01:17:46):
so Robert Robert plants I'm sorry. Robert Palmer's video for
Addicted to Love comes on and she's like, oh, I
really love this song and Princes like rolling his eyes
like really that's that's I'm like, I'm sucking a god here.
This is what impresses you and so and so it
was really getting under his skin and he decided to

(01:18:08):
like tester like, okay, so what do you like about
this song? So well, you know it has a good
beating dada da da da, And Princess like, no, you
just like it because you just see a bunch of
women facing playing instruments. But anybody could do that ship.
I could do that ship. And so he wipes he
he stops the song he's working on, totally wipes the
board there at sunset Sound in l A. And he decides,

(01:18:32):
he says, I'll tell you what, I'm going to create
a song, and I bet you that the only reason
why you like Addicted to Love is because it's on television,
and you're just influenced because something's on television. But if
something of better quality, we're in your face, you wouldn't
even you couldn't even discern the difference. So basically, he

(01:18:54):
created kind of you Gotta you Got the Look with
a chip on his shoulder, and he can pleads the
song and it winds up on sign the times, and
so he reminds the girl. He's like, all right, my
third single is gonna be you Got to Look, And
I bet you any amount of money now you're gonna
like the song because it's gonna be a big hit.
So of course, you Got the Look comes out and

(01:19:16):
it's slowly riding up the charts, and right when Prince
is gonna get cocky and be like, yeah, next week
this is gonna be number one, lost, an emotion comes
in if if it it up, and he was so
angry at that ship because he's like, ah, you wrote

(01:19:37):
the number two. You did write no. Number one hit Lisa, Lisa,
and I like that song better, and so it was
like that story is that a story? He told um
No her name okay, so and you know, Princess a
long line of muses, so kind of he's the only
one who gets to call him that. I love it,

(01:19:57):
I know. So that kind of the the the last
news of the the first phase of Muses, you know,
which starts with Patrice Russian and Vanity and she she
like whatever her name was. I think he christened er
and a fantastic I can't he christeneder Christie Chris sick.

(01:20:20):
He christened what's her name Carmen Electra, like he gave
her her name. He names all of his women. He's like,
what's your name? That's out your name name? You motherfucker?
You felt lucky you were so yeah. So basically he

(01:20:44):
lost a vent because lost the emotion kind of, but
you beat him. But what I what I wanted to
know was at least with the with the with the
with the songwriting craft. You can definitely here, especially on
that second of them. The Motown influence, yes, you know
obviously you know, back in yeah, back in my Heart

(01:21:08):
again and all that stuff. For the for the second album,
what was you guys as mind state in producing like
her second album, Yeah, well, our mindset was to to
kind of grow because you know when she came out
We'll take You Home and can you feel the beat?
You know, we didn't want it to be because the
record company, like going back to the first album, the

(01:21:28):
record company did not want to release all cried out
at all. They just wanted to keep yeah, none at all.
They just wanted to keep up tempo songs and just
make Lesa just this dance thing. They we did all
cried out, but it's like no, no, no, So we
had to fight them on that. And when it was
a single, it was you know, the rest of the
rest is history, but for for for the Spanish Fly,

(01:21:49):
we wanted to elevate. That's when that album was called
just Lisa, Lisa and coach Am. You know. The first
album is called Lesa Lisa Coaching with Bull for us,
but this one was just that and Paul started it
off with head to Toe with the whole Supremes type
vibe and then be spearheaded. The second one, Lost in Emotion,

(01:22:11):
and we added a lot of the old time things
and elements to that song to to lost the emotion
head and it was the number one record back to
back on the Pop arts, number one and on the
R and B charts number one back to back. It
was crazy that time, and Lisa didn't even Lisa was
so surprised. She was like, damn, they really liked this
song I'm talking about. She didn't know. What y'all didn't

(01:22:35):
know was that y'all were creating music for a new
genre of things for kids, which was let's go on
the playground and create choreography and make our own dances
based off of these songs. And that's the head to Toe,
I swear to god, that was the first time that
across across all the playgrounds. That's when you said that.
Because I was gonna say that, I had to tell

(01:22:59):
and I remember there was a period like between had
to tell you guys the second album with Old Flames
Never Die and even with Lost in Emotion, Like I
had um a co worker at a job I used
to work at. He was like slightly older, so he
was kind of like an uncle, and he was one
of them guys that was like sep man, they ain't

(01:23:19):
nothing but dying Ross, ain't none but sliding the family.
So I didn't even understand like what it meant to
be derivative or that sort of thing that or like
so he was like explained to me, like we'll see
this reference, is you know a slide reference that they
did from this song that And then that's when I
started two look for like kind of the anatomy of

(01:23:42):
a song and how it comes from older songs that
I never knew that before that moment. And that's when
I realized, you guys really want older adults because you
were speaking a new language. But you know right you
said kids got it and adults got it. That's yeah,

(01:24:02):
so with your with you guys his own career, I
believe that it wasn't the executive of Colombia Rodriguez. What's
his name? Yeah, Ruben was was he sort of the
not the product manager, but was he like the head
and r was he the who is at the helm
of running things as far as Full Force and Lisa

(01:24:26):
Lisa and cult Jam and sho Pepsi Valley because we
were all in the same label and all part of
the Full Force family. Ruben Rodriguez was the head of
promotions radios um Cecil Holmes was head of urban A
and also was locking Arnold ye how yo, like I

(01:24:47):
remember his name from like back at cap Yeah, Marmon
and also doing the silver Is doing Tavars and all that.
What was Larkin like locking was very stern. He was
just kind of a stern guys, very serious, no nonsense,
and when we came on there and and it was
actually his idea, we didn't like the idea. But a

(01:25:07):
lot of times we always tell people that our first
full fourth single was a song called Alice I Want
You Just, but but it really wasn't. It was actually
a song called girl If I Take You Home, which
was and only because we had all that answer back
stuff with U TFO. Because there was so many answer
back records to U t fos Rock Sand Rock Sand

(01:25:30):
that we even jumped on our own bandwagon and we
were the ones to come out with the real rock
sam So that was part of four Forces stamp. I
forgot to ask you, but Larkin wanted us, man, you
think maybe you could do an answer back? We could try.
I wonder if I take you Home. I'm like, a
you serious? You said, yeah, I think it will work,
And we did girl if I Take Girl if I

(01:25:51):
Take You And we even had least to sing a
little bit in there, and it didn't really do it
that hot and like that we didn't want to do it.
But when we came out with Alice, you know, that
was the hun for us. But Larkin Arnold, she was wait,
it wasn't grool if I Take You Home on the
B side of the twelve inch it was on a
twelve inch and the other side was a song called

(01:26:11):
Let's Dance Against the Wall. But Girl if I Take
You Home was the first single. Alice was a was
a single by itself with a lot of different aus
up mixes and stuff like that. Then I was asking
about because I know on the B side there was
like a version of I Wonder if I Take You
Home on Lisa twelve inch, in which there might have
been a rap kind of the way like if you

(01:26:32):
remember cameos C Strange, there was a C. Shane's rap,
but it was it was and and the same for
Atomic Dog. The B side of Atomic Dog was Atomic
Dog rap. On the B side of the twelve minutes
of Lisa Lisa, it was definitely what I assume were
you guys voices and you're writer, it's called take you

(01:26:52):
Home rap, So this is not the same song. No,
And that was on the Lisa Lisa album. The Girl
If I Take you Home was a whole different thing.
And you know Larking Arnold, you know he was. He
was a really no nonsense kind of dude and so
no nonsense that he definitely cost us a shot at
um being on the Crush Grew soundtrack. I mean the

(01:27:15):
replacement song, of course was not Shabby Terry Loose and
Jimmy Jam. But but Russell Simmons when they did Crush Grew,
because at the time, Russell Simmers just came up with
Deaf Jam to be be be part of Columbia Records,
and you had a lot of black executives because Russell
did to deal with, you know, the white power of
this best power of the bees, and a lot of

(01:27:37):
the blacks were kind of feeling away. So Russell Simmons
wanted our song Unselfish Lover with the big beat and everything.
He wanted that to be the love scene when Blair
Underwood and Sheila E. That's what he wanted. He wanted that,
and larking On was like, no, no, no, it's just

(01:28:00):
gonna be for the four Post album. We was like,
can it be in the movie? Were so excited that
Russell wanted and locking all said no, So they ended
up getting some They ended up getting some corny song
like Tender Love By. But wait a minute, Okay, so
you said something, and now I gotta get back to

(01:28:21):
the physicality aspect of full force. Is there really such
a thing as an executive being no nonsense? With the
six of you guys in the room, they gotta have
some balls. Now. I don't want to ask any pugilism questions, Yes,
pugi list, but but but I do want to know.

(01:28:47):
And it can even be amongst yourselves. Have you guys
ever had a situation where y'all had to go full
Brooklyn on someone in real life, not in the movies. Okay,
the mothers leave you all alone? Did they leave you
all alone? Yeah? Yeah? Nobody sucked with us. Even though

(01:29:08):
even though we had our jail curls, and even though
Paul used to wear a little eyeliner and stuff like that,
nobody funcked us. I'll never forget um. Fat man was
a fat man scoop, your fat mask fat man scoop
was told me. He said, Yo, man, I'm telling you.
Growing up, Ben, y'all had the Jerry curls and all
that stuff, and stressed and crazy like prints. Sometimes but

(01:29:29):
not even the hardest nigga back and they would want
to funk with y'all, and and everybody just gave us
respect because we was on tour. We did the fresh dress.
We did a lot of fresh dress. We like the
only useful act, but a lot of different fresh fress things.
And the only time we got we went full Brooklyn
and then come to fighting. But we were kind of

(01:29:50):
threatened sort of and was with uh when we was
on tour with Larry Blackman and cameo and what yeah, yeah,
And what happened is that in our acts, our act
was a crazy, wild, full force act. And you know
at the time there was nobody in music like flexing,
physical fitness, like nobody. It was just us without Drew,

(01:30:14):
Jerry and everything. Oh Paul and those shirts, yes, oh
yeah yeah yeah shirts and those pants. I think that
yeah you ever you ever shot of the pants right
behind you in that photophone? Yeah, I had to pants
with your hand on your Oh yeah, yeah, that's that's
like with some oh yeah yeah, with the hand and

(01:30:35):
the crotch and I Blackman move. I thought that was
a cameo move for good what we had that way
before wait, before piece, I was doing that Tempory Love
Things video. I got one with a microphone on there.
But when we would do our shows, Paul at the
end of the show, I would say, ladies, ladies, before

(01:30:58):
we go, so many of y'all would love to see
Paul Anthony take it off, and they would go crazy
because we would bring the strip of mentality. We bring
the strip of mentality to the stage. Nobody did that either.
It wasn't like Paul. I'll never forget Michael Bobin's go, man,

(01:31:20):
how do you like when people be, you know, fifty
cents ellen they take off the shirt? I mean, y'all
started that, you know, I said, well whatever, But but
I remember when let me take it off. Paul would
take off his shirt and and you know, the women
go crazy. And then after that I would say, wait
a minute, y'all, ladies, wasn't that some cheap ship? They go, yeah,

(01:31:43):
I said, well shouldn't he Well, everybody say cheap ship.
It cheap ship. And then I said he should finish
the job, right, Yeah, I mean said ladies. Everybody in
the house. They pull it down. Pullet down, man pulled down,
and then Paul would get up and we would do

(01:32:03):
the whole musical thing like a drama show, and the music,
and Jerry would do the keyboards like sinister and Paul
have you well, they're all buff, They're all I've built up.
I started to ball rolling. After that. I would do
some stripping, but my my let me so what, so

(01:32:24):
what Paul would do? He would he would unbuckle the
belt and unbuckled this, and we played the music. Then
he turned around. He said, man, y'all know I can't
do that. He turned around and then he get his
past together. He turned back and he pulled out his
pants and there was the G string and the place
went yeah, so so crazy. And then Paul star flexing

(01:32:50):
and doing his body built poses and the women would
go so stupid. I got into the act lay that
I think I did like maybe five times. What I
would do when I pulled down my thing, my G
string was electric balls all around my ship, everybody, the
lights in the whole venue, and you just see my

(01:33:12):
flashing lights on my ship. Time I did it, I
got electrocuted. And I never did it again. Electrocuted my
nuts every again. It was crazy. Thank you so crazy

(01:33:35):
roasted nuts. And it's also crazy with with Paul because
it was so ridiculous. Remember Jamie Fox telling us how
he remembered our show the way we came out, that
we don't do stuff like the Alice Sandwich. We get
a girl and bring up one stage and Paul and
Paul with grabbed her. Then I get behind the girl.

(01:33:56):
Then Paul would picked me up and the girl up
at the same time. I'm show just Alice Sandwich, remember that, Yeah,
and show would be Our show would be bananas a
wild so much so that at the end of the
show and say how many of y'all would like to
know what hotel we stay that tonight? Then I go,
I can't do that, man, because the people have to

(01:34:18):
marryot down there. You know what you just proved, you, Paul,
I'm thinking about Paul Lord. You know what you just proved, Louve.
You just proved that sucks like we could never like that,
just can't. And no male artist is willing to give
as much as y'all gay thank you. Right now in

(01:34:42):
the in Atlanta and not in the same situation, they
have their clothes on, the women are naked. It ain't
the men taking their clothes off and doing that. No,
men don't do that no, they know they make you
take your off even though you pay for your tickets happening.
It just happened out. So with that, re Blackman's uh manager,

(01:35:03):
a road manager, came backstage to us and he said
to us, mm hmmm, hey, listen, y'all, y'all gotta stop
that that strip. You gotta stopped taking off the closed stuff.
And We're like, why the Larry don't want that, Larry
don't want none, Larry don't want that. This is during
the world Up the word up to did like twenty

(01:35:25):
five days with him, and I said so. Then Paul said,
so we met Larry Blackman said that, yeah, yeah, Blackman
said that. I said, well, listen, because we have so
much respect for Larry Blackman a cameo because they treated
us nice. So I said, well, well, can Larry come
back here and tell us that. Can he tell us
that that he doesn't want us to do the strip
no more? Can you please tell him to come back

(01:35:47):
here and let's talk and let's see what he has
to say. And then the guy looked at us and said,
oh no, no, no, Larry, don't talk to the open
the next you don't talk to open the next wow.
So after that we looked at him and Paul said, oh, really, Larry,
don't talk to open act all right, give this message
to Larry, tell him fuck him and that tonight I'm

(01:36:11):
wearing canary yellow g string, all right, tell him that.
Tell him that, all right. And then we had like
everybody on the road with us. Our roadies was all
from our neighborhood, from our Brooklyn neighborhood. Some of the
same guys that used to tell us, man, you should
get a job. Man, why do you have a hearsing
you should get a job. But but we took them

(01:36:33):
on the road with us the summer summer tours, and
we told them to get ready to listen. If anybody
tries to funk with our sound or do one of
those sabotage ships, we're gonna fuck them bottom line. Yeah,
oh yeah, it's definitely going down Brooklyn style without a
fucking doubt. But nobody fucked with our ship. Nobody funck us.

(01:36:54):
We were waiting. We were waiting after we sent that
message back and there was no there was no problem
after that. We stayed the same. Sometimes we don't even know.
Larry said that he might not say that, but I
remember us, remember us telling that story in front of Larry,
which he didn't deny, but we told that in front
of him when we had a seminar with it was us,
Larry Blackman and I Turner, you know, and story and

(01:37:22):
Larry and Larry just laughed, you know, Larry just laughed.
So you know that's the that's the closest ladies and gentlemen.
I know you hate it when this happens, but yes,
we are interrupting this powerful blue leg and blue episode
of Quest Love Supreme to let you know that there

(01:37:44):
is a part two coming next all right, so make
sure you join us, uh for more full fourth stories,
more Lisa Lisa stories, more Serril Pepsi rally stories, more
house party stories, more James Round stories, more bold legged Lewis.
All right, we'll see you next week. What's Love Supreme?

(01:38:08):
M Hey, this is Shugar Steve. Make sure you can
up with us on Instagram at q l S. Let
us know what we think and you should be next
to sit down with us. Don't forget to subscribe to
our podcast. What's Love Supreme is a production of my

(01:38:33):
Heart Radio. For more podcasts for my Heart Radio, visit
the I Heart radio, app, Apple podcast, or wherever you
listen to your favorite shows.

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Laiya St. Clair

Questlove

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