Questlove Supreme: Brian Alexander Morgan

Episode Transcript
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Speaker 1 (00:00):
Quest Love Supreme is a production of iHeartRadio.

Speaker 2 (00:08):
Ladies and gentlemen, Welcome to another episode of Quest Love Supreme.
I'm your house, much love. We have some Supreme in
the house. We have uh yea, what you doing out there,
guys and all?

Speaker 3 (00:20):
Yes, yes, yes, I'm still here.

Speaker 1 (00:22):
I'm not not on fire. Okay, good, Yeah, that's good
to hear.

Speaker 3 (00:28):
Uh.

Speaker 1 (00:28):
We have fun take alot right now? Yeah? Cooland man
cooland was it was raining out here today?

Speaker 4 (00:34):
So uh.

Speaker 1 (00:36):
And uh Sugar.

Speaker 4 (00:37):
Steve Greetings, Hello everybody, Team Supreme.

Speaker 2 (00:41):
I love you, I love you back Sugar Steeds like
Michael Jackson.

Speaker 4 (00:45):
Like.

Speaker 1 (00:47):
Network Hello, I like that, Yeah exactly.

Speaker 2 (00:51):
Okay, So, ladies and gentlemen, I will say that today
is one of those those I guess you could say
the special deep cut episode of Chus Love Supreme between
the explore and sect work and the history some of
our favorites.

Speaker 1 (01:07):
Who otherwise wouldn't receive their flowers.

Speaker 2 (01:10):
While here and our guess is that person in my book,
he his resume is extensive and.

Speaker 1 (01:17):
Legendary and wrote down resume.

Speaker 2 (01:20):
There's a lot of sufficial there's a lot to drake
to Taymour Braxton, the Faith Evans to jo Jo dan Nesby,
Hark Faney, Mi Walston.

Speaker 1 (01:30):
Ursa Lebo Hathaway.

Speaker 2 (01:32):
But you know it's it's without no doubt that his
work on the bona fide classic lp uh It's about
Time by Sisters with Voices Study Dree, which he made
his mark creating hit after hit, classic after classic, John
after John. In my opinion, Week is probably neck and

(01:53):
neck with Living Lift Every Voice.

Speaker 1 (01:56):
And Sing as as the national anthem.

Speaker 2 (02:02):
Actually I think we edges it out because unlike Lift
Every Voice and Sing, I know the bridge to Week
by heart.

Speaker 5 (02:10):
It's at least the anthem is at least that right hey,
you know?

Speaker 2 (02:14):
But yeah, what more can I say? Ladies and gentlemen,
We've been waiting for this one. Please welcome to Quest
of Supreme, mister Brian Alexander Morgan. Thank you, thank you, sir,
thank you.

Speaker 4 (02:24):
Thank you, thank you. Love all you guys, fans for life,
fans forever forget it. I'm huge, huge, huge fans of everybody,
so thank so.

Speaker 1 (02:35):
Where are you right now?

Speaker 3 (02:35):
Bro?

Speaker 4 (02:37):
Where am I right now? Is that what I'm at home?

Speaker 1 (02:41):
Okay? You know East West Coast?

Speaker 4 (02:44):
Oh oh oh la am i bad la. The valley
out in.

Speaker 1 (02:49):
The valley, you know, you know, yeah.

Speaker 5 (02:52):
I think last time we hung out it was when
you were in Sacramento.

Speaker 1 (02:56):
This was got.

Speaker 6 (02:57):
It was after after Foreign Shang Show and s Smith.
She was like, yeah, y'all, yes, big shout to side
man side knows everybody and she's like, yo, y'all want
to go brand that was in the Morgan wants us
to come back.

Speaker 1 (03:09):
I was like, yeah, yeah, that was God. That was
ten years ago.

Speaker 4 (03:16):
It was easy and I was a huge fan of
what you were doing then, just loving it.

Speaker 7 (03:20):
Bro.

Speaker 6 (03:20):
I had no idea you knew who we were when
I When I got your care that's when I realized
how much of a head you were when in your
kitchen and you had CDs in your cabinets where the
glasses should be.

Speaker 1 (03:32):
I said, he really about that life.

Speaker 4 (03:35):
And I'm a huge little Brother fan, huge roots fan,
black Dog one of my Oh my god, we're talking
about pins. Oh my god. I've been from day one.
I was a I was a fan of Quest credits just.

Speaker 8 (03:47):
From day one because he appreciated Because he appreciated credits.

Speaker 4 (03:52):
I caught it all. I was like, okay, then there
you go, man, Look, thank you that's real talking all day.

Speaker 2 (03:59):
Do we I believe, did we not? I don't know
if we met at our very first show. We had
a show in Sacramento, like back in ninety four, ninety five.

Speaker 1 (04:07):
Yes, yes, yes, yes, I think I met you and
Rafael Sad the same day at the very first.

Speaker 4 (04:16):
Killed in there that nightclub.

Speaker 1 (04:17):
Right, Yeah, I remember that, Okay, So I do remember, yes.

Speaker 4 (04:22):
Sir, yes, sir. And then I saw you again.

Speaker 8 (04:23):
Next time I saw you again, it was years later,
and I had on that Donny Hathaway joint, that Donny
Hathaway shirt.

Speaker 5 (04:28):
Yeah yeah, yeah, yeah, Oh.

Speaker 2 (04:31):
Good, Okay, I know that you well, your home base
was kind of Sacramento, but you were born in all places, Wichita,
Kansas described growing up in Wichita. How long did you
stay there before?

Speaker 4 (04:47):
Wow?

Speaker 8 (04:48):
Man, you know what Wichita is Some of the hottest
talent you'll never hear, is what I like to say,
because when you're there, it seems impossible to be on joy,
at least back then, not now because you could do
anything on the Internet now. But when I was there, listen,
Charlie Wilson, Roger and Zach all that Midwest funk, all

(05:11):
that stuff is the holy grail because we perceived them
as people who got out of the Midwest. Like, okay,
even Babyface and all that stuff from Cincinnati, Cleveland.

Speaker 4 (05:20):
Pick a thing. It's rude boys.

Speaker 8 (05:22):
There's always that Midwest funk, Shirley Murdoch and plus you
get way back, you know, of course, Ohio players, James.
So there's always been this element of whoever makes it
out of there, we feel like, oh, the gods made
it out. For example, Charlie himself, Gap Ben, they had
been struggling for years before that before they finally broke through.

(05:44):
So I feel like me being for which to I
was just.

Speaker 4 (05:47):
Another one in that long line of oh my god,
he made it out.

Speaker 2 (05:51):
So what was the music environment like in like, what's
your first musical memory from your childhood?

Speaker 4 (05:56):
Oh? Man, I can tell you that right off the
top of Michael Jackson.

Speaker 8 (05:59):
Of course, the purity of Michael's voice on I Want
You Back, ABC, I'll be there, Touch Me Beyond beyond, right,
and then you add Stevie Wonder to that, and the
progressive stuff he was doing on those keys really got me.

Speaker 4 (06:15):
I wasn't playing yet. I just started playing until I
was like ten in nineteen seventy seventy six.

Speaker 8 (06:20):
But between seventy and seventy five, man, it was Stevie,
Donny Hathaway, Michael Jackson.

Speaker 4 (06:27):
Those were the three voices that really changed my life.

Speaker 8 (06:30):
Now, later on in the late seventies, it was the
Clark sisters that changed everything else that turned. That was
a paradigm shift from in seventy nine when it is
my living in Vain. Everything changed again. But I don't
want to get.

Speaker 4 (06:41):
Ahead of myself.

Speaker 1 (06:42):
I can tell what no I can tell how you
stack your harmonies.

Speaker 2 (06:45):
I can see that influence in it. You hear that, Yeah,
no doubt, I hear that. So yeah, are you from
a musical family or like.

Speaker 4 (06:55):
Let me give it up to my pops.

Speaker 8 (06:56):
He made a record when I was like two and
sixty eight to forty five, quest and I still have
it and me and my dad is the only one.
Let my mom's gone, my sister's gone, rest in peace,
but my father and I. He thought he was Jimmy
Hendrix back when Jimmy was you know the ship. So
I grew up in a house that was he was
playing not only the slide, the family stone stuff and

(07:17):
the and the funk stuff, but he was also playing
Hendrix and Santana and all those rock joints. He loved
led Zeppelin, So I'm a truly amalgamation of all of that.

Speaker 4 (07:27):
Bro all of it.

Speaker 8 (07:28):
My dad thought he was Jimmy seriously with the friends,
swearing the friends. We had beads in the house, and
you know it was that.

Speaker 1 (07:36):
Beas before you entered the room. Yes, sir, I thought
it was the only.

Speaker 4 (07:42):
Yeah, absolutely, you know.

Speaker 8 (07:46):
But my dad was a guitar player, man, and that's
the only musician that I ever saw first in my
life was a guitar player. And he had rehearsals at
the house too. That also was mind blowing to hear
musicians play in your house, and your house is only
a two bedroom house. It was very, very impactful to
a little me.

Speaker 1 (08:04):
What did your folks do for a living?

Speaker 4 (08:07):
My crazy, crazy thing. Another thing I got from my
dad reading reading.

Speaker 8 (08:12):
My dad worked as a librarian at a at a huge,
big metropolitan library in Wichita, like the biggest in the city,
and he drove a bookmobile to the hood to the
hood books, letting black kids come read in the bookmobile.

Speaker 4 (08:28):
So that was a huge influence on me as well.

Speaker 2 (08:31):
Book I've heard I've seen that on television. So was
that like the book version of the ice Cream Man.

Speaker 8 (08:36):
Totally just drive books to the hood, and you know
what's crazy, Like I don't think you could do that now,
Like it would be.

Speaker 4 (08:43):
Like people be like, what the hell?

Speaker 1 (08:44):
But no, it bring the book Man, the food Man,
and the Bookman back and bringing back.

Speaker 4 (08:49):
Bro and you know what, thank God for get Harris Ye.

(09:14):
Back to the influence. My mom knows what she did.

Speaker 8 (09:16):
She was just a secretary at a construction place. But
it was her church going that was the dip where
my mom and dad converged. My dad was absolutely not
religious and all about African this African that. My mom
was completely Jesus, Jesus, all church all the time.

Speaker 5 (09:34):
You didn't like saying in the church or playing the
church and none of that.

Speaker 8 (09:37):
Of course I did, of course, okay, okay, that's the
training right there, the beginning. But now I got to
keep it one hundred because everybody listen, I got to
keep it one hundred. I grew up Baptists, and so
it was all about Andre Crouch and and James Cleveland and.

Speaker 4 (09:53):
Yes, which we love, but check this. It was when
I went to the Koji Church for the first time
right and heard that Corsist is.

Speaker 8 (10:01):
You know, I heard that little swag on and you know,
drummers was really really drumming.

Speaker 4 (10:07):
I was like, oh so I kind of switched over
a little bit.

Speaker 7 (10:11):
Cool.

Speaker 1 (10:12):
Explain that to me.

Speaker 2 (10:12):
So, what's the difference in you're saying in Baptist Church
was just very traditional meat potatoes gospel.

Speaker 1 (10:22):
And you were allowed to be more so.

Speaker 2 (10:25):
Is this a non denomination in church or what was
the second church the church got in Christ Christ Learned
as the Kojik Church or Pentecostal.

Speaker 8 (10:34):
They they had a history of literally trying to play
records that sounded like you know, the streets for for
for lack of.

Speaker 2 (10:43):
A better word, Okay, I have a yeah, I have
an obsession with collecting next to Jamaican music, I have
a really large collection of like earl gospel acts, trying
to turn secular songs into gospel joints like I Got
a Second Time Around by Shallow.

Speaker 7 (11:01):
Mar I got hilarious.

Speaker 1 (11:02):
Oh I got yeah, I have so much.

Speaker 2 (11:04):
I'm going to do it on my DJ sets one night,
Like just do it, bro you upside down by you
gotta be kidding me. Oh dude, all I do is
collect like really bad cover songs and gospel secularizing songs.

Speaker 1 (11:21):
There's a really good one for the Jacksons. Can you
feel it? But yeah, it's like wow.

Speaker 8 (11:25):
Let me give you another thing about that particular subject.
There were certain producers at the time that were capturing
it though, they were really nailing it, like this guy.
I gotta give you, Matt Probs, Bill Maxwell. He used
to produce the Andre Krouch records. Them joints sounded like
earth winning fire productions. You hear me, like pristine, ridiculous, funky,

(11:46):
punchy mixes. And I was as a kid, you know,
like the late seventies, me thirteen year old me. I
was thirteen and seventy nine. That's when I started paying
attention to mixing and the production. So you talk about
off the walls out at the time, so is my
living and Van came out at that time. Stevie hit
his stride with Hotter than July eighty so a lot

(12:07):
of things was happening in that mixing part. So my
very first time in the studio making my own record
was like eighty one, and it was gospel, but of
course I was trying to do what was in the
streets too, So I did a joint.

Speaker 4 (12:18):
It sounded like Sherylyn's got to be real. Think it didn't.

Speaker 7 (12:22):
Really?

Speaker 4 (12:23):
Hell, yeah, absolutely, joint. I need that, I need that's insane. Yeah,
I'll get you that.

Speaker 8 (12:29):
And I got a lot of gospel stuff that we
did in that era. But trust me when I tell
you it was it was. It was from a good
reference point Thomas Whitfield and Detroit Production, Pristine on Vanessa
bel Armstrong by the time, by the time Commission came
out in eighty five, Can you explain?

Speaker 1 (12:46):
All right, So here's the deal.

Speaker 2 (12:48):
I grew up like my Arab musicianship, especially with all
the cats that I encountered in my age range. Take
all the jazz cats out, So those who were non
jazz cats, you were either a prince head or you
were commissioned head.

Speaker 4 (13:06):
Aha.

Speaker 2 (13:08):
And of course you know every cat I know now
that's deep on gospel chops. Commission is their foundation. Can
you explain to me, like a majority of R and
B musicians' first generation from like nineteen ninety to like yeah,

(13:28):
two thousand and one, two thousand and two, what is
the obsession with Commission? Like, what was it about them
that just grabbed. Was that like the closest y'all could
get to secular music that mom and dad would allow
in the house or whatever, like or live? Were they
just some next level craziness?

Speaker 4 (13:47):
Great question.

Speaker 8 (13:48):
I can answer it like this for me speaking for
my generation literally coming from like I said, the Hawkins
and Andrea and those guys in the late seventies into
the eighties when drum machine became a thing, production literally
changed because of Prince right, So commission, now, remember all
we had before that was the Whinings with voices like that,

(14:11):
and they were incredible. And again but you're still talking
live then that's Phil Maxwell again, same producer, same producer
as Andre Krauss. That one guy gave us all those
brilliant andre Krous records and all those brilliant Whinings Whinings
records prior to Quincy signing them. Okay, so that production
standard and that whole vibe came right into the eighties

(14:32):
with drum machines and all the stuff that we grew
up on. Quest So, like what happened was when we
first heard Fred Hammond's voice, we are liking it.

Speaker 4 (14:40):
We likned it to the Whinings.

Speaker 8 (14:42):
You know that big, powerful voice coming like from Marvin Winers,
but we had never heard it from such a young
person prior. Besides Johnny Gill you know that, you know
what I mean. Somebody you feel me and shout out
to Johnny.

Speaker 4 (14:53):
That's my guy.

Speaker 2 (14:53):
But there was a young boy in commission back in
the back in yes eighty five. See the Fred Hammond
I knows Uncle Fred No.

Speaker 7 (15:01):
No.

Speaker 4 (15:01):
Eighty five, the very first album.

Speaker 8 (15:03):
Get get familiar with all of their whole catalogs because
what happened was it changed our lives. But what they
did that I liked about them was that they not
only had the gospel chops, but they had a David
Foster flavor all through their whole mix.

Speaker 4 (15:16):
Like and I'm not joking, I'm talking about this. Yeah,
but look but with the chops, but with the chops
of a.

Speaker 8 (15:26):
Of a you're my inspiration by Chicago, you know what
I mean. So that was the difference between the Winans
and Commission. Commission gave you that no, no, no, those
kind of melodies.

Speaker 1 (15:40):
That wasn't that way with Tomorrow with the Winings that
was later.

Speaker 4 (15:45):
Well, no, there they were on it, but they weren't young.

Speaker 1 (15:48):
Okay. The Commission was young. I get it, okay, And that.

Speaker 8 (15:53):
Changed it because when they saw young people doing it.
I went to their show so I could see the
audience change, you know what I mean, like all of
a sudden, it went from older.

Speaker 4 (16:01):
People vibing on the Winings and the Hawkins and.

Speaker 8 (16:03):
And all that to fool young kids that would have
been otherwise in a club at a hip hop thing.

Speaker 4 (16:09):
Are all of a sudden that a commission, commission. That's
right and so.

Speaker 8 (16:12):
But now but they got hip though, so Tremaine Hawkins
and then got hipped, Clark Shisters got everybody got hit
and was like yo, they start doing stuff that they
could play all down on Tremaine as a direct result
of that.

Speaker 1 (16:23):
And that's right, that's right, that's right.

Speaker 7 (16:27):
Right.

Speaker 8 (16:28):
But because they got hip to the kids was picking
it up and they would put it in the club
and you brought the sunshine was the biggest, biggest, biggest
joint of that type of thing.

Speaker 4 (16:36):
But that was just following Stevie.

Speaker 8 (16:37):
But I'm saying as far as really young people commission
is the paradigm shift is what I want to say.

Speaker 5 (16:42):
Question y'all got me downloading a bunch of Gospels.

Speaker 2 (16:47):
I was going to say, uh, you know, there was
some gospel in my crib, like and I see what
you're saying. Andre Crouch's Perfect Piece is a great.

Speaker 1 (16:56):
Example, good record of that. Of that, uh yeah of that.

Speaker 2 (17:02):
And I think my dad had the the Hawkins Family
album which Warrin's White actually did the first song with
them or something like that.

Speaker 4 (17:10):
So they got joints, bro, they got joints. Holy One.
Have you heard Tremaine's Holy One? Oh my goodness, you
got a certain.

Speaker 1 (17:18):
First album, very the first album with the look at Me,
look at Yeah.

Speaker 4 (17:24):
Holy One is on there.

Speaker 2 (17:26):
Okay, yeah, I know that whole album left and right.
My parents went through a really weird Christian phase for
like a good four years. So yeah, dope, yeah for
every Prince album that got broken. And I had to,
you know, be a exercise with Tremaine Hawkins record.

Speaker 4 (17:41):
So I got you stick a pin in this.

Speaker 8 (17:43):
When I got to Sacramento because I'm jumping I'm not
jumping ahead to my Sacramento and how I got there.
But when I got there, one of the first people
that I got to meet was Fred Hammond and Mitchell
Jones from Commission because Waynmon Tisdale was a Sacramento king
and also an incredible musician, and he was there.

Speaker 4 (17:59):
He had a.

Speaker 1 (18:05):
Right yeah as a musician.

Speaker 4 (18:07):
Yeah wow, oh yeah.

Speaker 8 (18:08):
He was definitely a major athlete and came out Oklahoma.
So we had the Gap connect Charlie connect.

Speaker 4 (18:14):
But trust me when I.

Speaker 8 (18:15):
Tell you all those people came through Wyman's house and
I met them over there. Yeah yeah, yeah, yeah, just
one of time.

Speaker 7 (18:20):
Wow.

Speaker 4 (18:20):
Yeah.

Speaker 1 (18:21):
So what was your what was your what's the first
concert you ever attended.

Speaker 4 (18:26):
When you were in That's a great question, man.

Speaker 8 (18:30):
The most significant one would have to be the Victory
Tour opening day and and uh and were there too, Yes, sir, yes.

Speaker 1 (18:38):
Sir, you went. You went to the opening night, open
the night, strip pants absolutely, yeah, strip pants night.

Speaker 2 (18:45):
Well, the Democrats, I believe the Democratic Convention was also
in Kansas for that period. And you know, I did
enough Bagan, but my my dad and.

Speaker 8 (18:58):
My mom, and I like said, amazing, amazing, I went
to the third night. Were you by yourself? Like by yourself?

Speaker 1 (19:04):
No, my mom, my dad, and my sister, my dad.

Speaker 8 (19:07):
Uh.

Speaker 2 (19:08):
This is one of the times where like one of
his brain hair schemes worked, which was he was like,
we're gonna scalt the scalpers, and I was like, what
does that mean? He's like, we're gonna wait five minutes
into the show. See, you gotta be on immense faith
to leave West Philadelphia drive all the way to get
to Kansas City.

Speaker 4 (19:28):
Wow.

Speaker 1 (19:28):
And we're just sitting in that, you know. And I'm
twelve man, so I'm my nerves are all. You know.
I ain't paying no thirty.

Speaker 2 (19:35):
Dollars, no ticket, but I bet y'all get him down
to town in about two minutes before the show. Bam, Wow,
we got, we got.

Speaker 1 (19:45):
We got four Victory Tour tickets for ten bucks? Was
the original stuff?

Speaker 5 (19:50):
Huh damn?

Speaker 4 (19:55):
Straight up, yo, that's crazy. And guess what.

Speaker 8 (19:57):
There's some footage somewhere floating around of Mary Hard from
Entertainment Tonight interviewed my ask what nobody.

Speaker 1 (20:04):
Said her name? In a minute, Mary Hart no said
her name, and it's not good.

Speaker 4 (20:14):
Here up.

Speaker 1 (20:18):
What I was You guys gotta choose his side right now, bro.

Speaker 4 (20:23):
That's I did not know that. You guys are hit
the media. I did not know that, and you know
I love her and yeah, wow, crazy wow.

Speaker 2 (20:33):
So what was it like in what was your your
band situation or your like your high school situation like
were you in any local bands at the time or yes,
and you know what was your development moment that brought
you to musicianship.

Speaker 4 (20:47):
Totally crazy?

Speaker 8 (20:48):
Okay, So starting in the church, I saw this thirteen
year old little girl playing keys. It was the pastor's daughter.
That was my first, Wow, a young person can do this.
So that was huge for me to see her doing that.
And then when they added drums at our church, it
took us took them a while to let them let
them do that because they were so conservative. But once
they did that, my mom Look, my mom was the

(21:10):
church secretary, so pete this.

Speaker 4 (21:12):
So the drummer would always leave his drums at the church.

Speaker 8 (21:15):
So when my mom would go to do the secretary
stuff and on Saturdays, I would go with her just
to jump on that dude's drums. Okay, So I started
out drumming before I could play keys. And then and
that changed my whole life because I was like, man,
drumming is like the thing I thought, that's what I
thought I was going to be doing. But then I
kept getting on those keys trying to you know, how
you pick out melodies and stuff. And I got better

(21:37):
and better at picking out melodies, and I was like, man,
maybe I'm supposed to play. So I just started listening
and then I got embarrassed by better players than me,
and I was like, whoa, I'm nowhere near I gotta
get my you know, step my game up.

Speaker 4 (21:48):
These guys are playing Herbie Hancock. I'm in here playing
soon and very soon. What the hell?

Speaker 2 (21:54):
You know, it's good to know that. I thought I
was the only one that went through that, that whole thing.
Like there was a period maybe like two months where
I drummed in my local church.

Speaker 4 (22:05):
Uh huh.

Speaker 2 (22:05):
But you know, I was trying to play funk rhythms
and whatnot, and they actually had to have a meeting
or whether or not my playing was uplifting the lord.

Speaker 1 (22:14):
Or like that's how strict they were like, oh my god.

Speaker 2 (22:18):
So because the thing was when I would play all
the you know, they'd be like, oh, like, I try
to play like seprom seas By, like a popular break
feat inside the music, and it's like the kids news.

Speaker 1 (22:30):
So they started doing the and everything. Church the deacons like.

Speaker 8 (22:34):
Sit down, so look, and hence that's why I left
the particular church I was at and I went to
play for a Kojak Church, And when I got to
the Kojin church, I had my full on keyboard and
drum machine in that bad bad When we play you
about the Sunshine, it sounded like you about the sunshine?

Speaker 4 (22:52):
Wow, wow, you feel me?

Speaker 8 (22:55):
And then all my commission stuff. I programmed it the
night before. QUEST programmed all the beats and feels and
crashes and everything, and so when I played So when
I played the commission joint, it sounded like the record.

Speaker 1 (23:05):
Yeah, what was your whatpin of choice?

Speaker 4 (23:06):
Where were you using Leah Lindrum all day?

Speaker 1 (23:09):
Wow? You got lyndrum that early?

Speaker 4 (23:11):
I got Lyndrum And as soon as it came out,
it was I got it in eighty three. I think
it was eighty three. They all went out.

Speaker 8 (23:19):
They had one out in eighty two, but it was
in California. My friends had I heard about it, but
I got one in eighty three.

Speaker 4 (23:25):
Yeah.

Speaker 1 (23:26):
How many LUNs did you have that mode to get that?

Speaker 7 (23:28):
You know what?

Speaker 8 (23:29):
Listen this here's the good news about how my development happened.
In Wichita, there was this white guy named John Miller.
John Miller owned what would be the equivalent of the
guitar center in a major city. Okay, he had his
own music story like that. So we had all the
new keyboards, all the new drum machines, earlier than everybody,
right and so. But he also had a recording studio,

(23:49):
a sixteen track recording studio.

Speaker 4 (23:51):
So this is what happened.

Speaker 8 (23:52):
So he said, I used to go in there and
just play on all his gear because of course, you know,
being broke poor, that's where.

Speaker 4 (23:57):
I got a chance to play.

Speaker 8 (23:58):
So the people, the esecial, the white people that would
cut and this is Kansas, so the white people that
would come in.

Speaker 4 (24:02):
There and hear me playing on stuff would ask, you
know what my name was? What am I doing?

Speaker 8 (24:06):
So John got hit piece like yo, you know what.
I got a studio I want to promote, and if
you come in there, I'll give you free studio time
if you can go in there and do some work.
I did a demo in there, bro That gospel demo
is the demo that got me my record deal.

Speaker 4 (24:19):
On Warner Brothers. Wow. What yeah, Wow, Yes sir, yes sir.

Speaker 8 (24:25):
That demo I did in that studio got me the
record deal that Bennie Medina signed me to in eighty seven.

Speaker 4 (24:30):
I did it in eighty five. I did it in
eighty five eighty six. By eighty seven, J King came
through Wichita, Kansas and heard that demo.

Speaker 1 (24:39):
And I cannot wait to hear you J King's story
waiting and waiting for some King you know.

Speaker 6 (24:47):
Yes, so this is to give people some context. So
this is TIMEX social club, Yes, club club, Yes, so
this is that.

Speaker 4 (25:00):
So eventually absolutely all.

Speaker 8 (25:04):
Yes, right, he came from all that, and that's my people.
So how did I get from which iss Tod to Sacramento?

Speaker 4 (25:10):
Just that way? A friend of mine named Steve Williams.
I got a shout out, my.

Speaker 8 (25:13):
Boy, Steve Williams, because Steve Williams was the person who
was the biggest club nouveaut fan I ever met in
my life, like a full on stand right, And of
course I was arrogant. I'm snooty nosed fred Ham and
Clark sister's guy. Then people can't sing what are you
talking about? I was. I was very I was a
quest of very snob situation, like because I know Christen snob. Nah, bro,

(25:36):
I'm talking like when I'm talking singing, we're talking about
the female d you know what I'm saying. Look, and
I'm not trying to be funny.

Speaker 4 (25:47):
I'm just saying I was just that that arrogant guy.
You feel me? So I wasn't even paying no attention
to the freaking club New Vau at that time. Now
and rumors. I thought that was a joke. I was like,
is that is that like a joke?

Speaker 8 (25:59):
I thought somebody record? Yeah, yeah, talking about how do
rumor get? I was like, okay, what is that Eddie Murphy,
what the fuck is this?

Speaker 1 (26:07):
And did know it was because then, because if you remember,
that was the joke.

Speaker 8 (26:14):
But lost re short. The guys that put that put
that record out was j King. He put that own
label and that joint.

Speaker 4 (26:20):
Blew the hell up.

Speaker 8 (26:21):
And when Pop and They was on all of a
sudden they were on tour with run DMC and motherfucking
Beastie Boys.

Speaker 4 (26:26):
Okay, when that happened, I was like, wow, this is
a real record, right, never thought nothing else about it.

Speaker 8 (26:33):
That was nineteen eighty six. Uh, and I still got
my gospel demo. We're trying to get signed to A
and M Records. We had a little manager and they
was trying to get us signed to A and M
because John McLean signed.

Speaker 4 (26:45):
Janet had just done the Fall Down record of Tremaine.

Speaker 1 (26:49):
What you mean, right?

Speaker 4 (26:50):
So we thought, hey, we could it was me And
when I say we, it was a group called Cachet
that I was in.

Speaker 7 (26:56):
It was.

Speaker 1 (27:02):
A light green drink right there. And hypnotic is a
part of it.

Speaker 4 (27:15):
Listen. I was trying to be all in.

Speaker 8 (27:16):
Look since j K found me and signed me, I
was trying to be all in the French state Club Nouveau.

Speaker 4 (27:21):
And you know, so I just said that stupid ship.
It's just right, right right. It's just made a unique voice, supposedly,
and it was spelled c A c h E T
d E v O. I s, oh wow, that's right,
that's right, that's right.

Speaker 8 (27:43):
Oh yeah, And you know what, shout out to my
girl Michelle mactheney, who I grew up with, my homegirl
from witch Toad.

Speaker 4 (27:51):
She was in that group with me, and recipes to
James Williams who was also in that group. We passed
away that. But guess what, Jake One just.

Speaker 8 (27:57):
Sampled some something from that very album only last year,
that unreleased, that unreleased Warner Brothers album, Can you feel Me?

Speaker 4 (28:06):
Like?

Speaker 8 (28:06):
People find they find stuff? Brow that's dope, man, Ain't
that crazy? But Anyway, long story, so back to J
King's Okay, So Jay King blows up with time Ax
Social Club. They fall out and then the only thing
left is Denny and Tommy and and Uh and Jay
King and then he puts in Samuel and Val. That
becomes Club New vaut All right, So now I'm still

(28:28):
in Wichita. My first visit to LA was trying to
get signed to A and M with John McClain. John
was actually interested and we thought we had a deal
on the table. So I'm kind of feeling a little
cocky and thinking that, oh, John McLain said he's interested.
So when I get back to Wichita and I'm just
in this in between times, my friend Steve the Club
New vau stand calls me from J King's hotel room

(28:51):
late like two in the morning, something crazy, and he
calls me. I'm still living with my mom, so she's
like what the hell?

Speaker 4 (28:57):
So I answered the phone. His name is Steve Williams.
He goes, hey, you got to get down here.

Speaker 8 (29:01):
I'll let Ja King hear your demo, that same gospel demo,
and then Jay King snatches.

Speaker 4 (29:07):
The phone and be like, come get this motherfucker. He's
sucking up my pussy. But I do need you to
let me. But I do need to let you. Let
me take this tape, I said.

Speaker 8 (29:17):
And I was like, WHOA, I don't know, bro, And
the only thing I had seen was bad press about
them fighting right with Time at Social Club.

Speaker 2 (29:28):
Yes, listen, let me tell you to radio obviously, and
I read right the lead singer Time Social Club like
just throw J King under the bus.

Speaker 8 (29:47):
Worse than that, though, I would read like black beaten,
you know, come on, man, so look so but here's
the thing that changed my mind talking to him.

Speaker 4 (29:57):
I saw an image and the TV was on, and
it sounds like I'm making it up, but it's not.
It's true. Joan Rivers had her first show on Fox
and she had a little talk show.

Speaker 8 (30:07):
I'd be damned when that shit played on repeats in
which tah, there's Joan Rivers talking to J King.

Speaker 4 (30:14):
And Club newvau with and handing them a gold album.

Speaker 1 (30:17):
Wow.

Speaker 8 (30:18):
I was like, uh, whoa, Now do I want to
say this at my mama's house or I don't want
to worry about whether Jay is a crook or not?

Speaker 4 (30:25):
Right?

Speaker 8 (30:26):
And so I said, man, let it take the tape, Bro,
take the tape. And he said, and he said this
to me, and he made a promise to me. He said, bro,
I promise you, I'll have you a record deal in
two weeks. This tape is phenomenal. Benny Medina is going
to love it, and you're going to be ready to
leave Wichita and move to Sacramento, which is where he
lived at the time.

Speaker 4 (30:45):
And this is nineteen eighty seven. He absolutely.

Speaker 8 (30:48):
I was washing dishes one day phone rang, picked up
that thing on you know, the old school phone, off
the wall, put it on my shoulder, kept washing the dishes.

Speaker 4 (30:54):
Jak said, you ready to leave? I said, who is this?

Speaker 7 (30:57):
Jay Man?

Speaker 8 (30:57):
Get to pay your mama's bills. You're moving this Sacramento.
You guys are signing the Warner Brothers. That's how I
got in the record business.

Speaker 1 (31:04):
Wow, nikes.

Speaker 6 (31:06):
Now that the Cats Sims you mentioned Samuel that was
in that group. Was that the same Samuel? So you
like what you see Samuel?

Speaker 4 (31:13):
Absolutely?

Speaker 8 (31:16):
Oh yeah, absolutely for sure. And that was you know,
that was the club devote part of it. When I
got to Sack, I met all of those dudes. They
were still recording Tony Tony. Tony hadn't happened.

Speaker 1 (31:24):
Yet and where can you answer this for me? Where
the hell is Tommy Denny right now?

Speaker 4 (31:30):
I talked to him.

Speaker 8 (31:31):
I talked to him all the time. Tommy follows me
on on on Instagram, and Denny is out here. I
think he's managing them joints.

Speaker 4 (31:37):
The producer. Oh wow wow ye folks.

Speaker 6 (31:44):
Yeah, and we're talking about we're talking about Denzel Thomas
Backro and Denzel Foster.

Speaker 8 (31:49):
That's right, right, absolutely, so, I mean you get the Sacramento.
I get the Sacramento and it's the first time in
California ever. No, No, that was my second time because
I had just been in La trying to meet with
John McLain in the year before, in eighty six.

Speaker 4 (32:06):
In eighty six, Right, how did that fall through?

Speaker 1 (32:09):
Or it was just like quickly beating happened and it
fell through?

Speaker 4 (32:12):
Because this is my only big Griffy tie ever in
my whole life.

Speaker 8 (32:14):
It felt because the guy that we thought was our
manager was a crook and he had been doing business with,
said Dick Griffy at some kind of international shipping weird something.

Speaker 4 (32:27):
He went to jail, and when he went to jail,
we had to go.

Speaker 8 (32:32):
Back to Kansas, right, Yeah, So the j King coming
through was a literal savior of my life.

Speaker 5 (32:41):
That was a lifeline.

Speaker 4 (32:42):
Yeah yeah, well is.

Speaker 3 (32:43):
Jay King from Sacramento?

Speaker 4 (32:45):
He actually is from Sacramento. Yeah, okay, sounds like what.

Speaker 2 (32:48):
Have y'all noticed that no one, no black artists not
born in the in the sixties, that gets to our show.
It's like they cannot even get to California without running
to either Ronnie Simmons. We're now j King like is

(33:11):
completely I mean, the good side of that story is
also clearance. But yeah, it's like, you're gonna get You're
gonna run into four people on your journey.

Speaker 4 (33:20):
That's said a lot about them though the success or
epic failure one or the other.

Speaker 1 (33:26):
Oh my god, wow, it's crazy.

Speaker 8 (33:29):
But Yo, here's the thing though, the j King part
of my my experience taught me a lot because not
only did they get me in the studio and kept working,
but unfortunately I did very horrible drum sound during that era.

Speaker 4 (33:43):
Don't don't don't go find that cash album quest and
talk about the drum. Oh god, it's horrible.

Speaker 5 (33:48):
But look Jake, I made up Jake and get it
from him.

Speaker 4 (33:53):
That bad Boy is on disc. Gods, it's horrible. They're
selling on on which call it too Amazon. That shit
is on Amazon. So look anyway, it.

Speaker 1 (34:03):
Never so it never was released. It never officially released.

Speaker 4 (34:06):
It never but I have it on CD.

Speaker 8 (34:08):
Got you you know, we got it that far cover,
about to be released on the schedule and everything, and
then Jay like pissed off the top brass and they
dropped his whole ship.

Speaker 5 (34:18):
Wow.

Speaker 1 (34:19):
So yes, describe j King as CEO because he was
on the come up.

Speaker 4 (34:26):
Yeah he was.

Speaker 1 (34:27):
And then you know what, so what happened?

Speaker 4 (34:31):
I think you know what?

Speaker 8 (34:32):
Like and the jail tell you this himself. When he
was young, girl, he had a serious like energy problem.
He could not control his.

Speaker 4 (34:44):
Energy, like meaning like if he got pissed, he let
you know. He did not edit himself. He did not care.

Speaker 8 (34:50):
I remember one time a security guy said something crazy
to him as we was walking through the mall.

Speaker 4 (34:54):
He went and got a gun.

Speaker 8 (34:56):
He said, like he was triggered, Like this guy was
not the one playing with seriously seriously, and.

Speaker 7 (35:04):
That was it.

Speaker 4 (35:04):
Maybe I don't know, I don't know, but I'm telling
you this. People did not play with Jay.

Speaker 8 (35:11):
Jay was about his business and he definitely but one
thing he was to me was like a kind of
an older brother. And he was protective and he was
and he nurtured me, I give him.

Speaker 4 (35:20):
And you know what he also did. He left me alone.
He left me do my thing. And and I'm telling
you right now, those years.

Speaker 8 (35:28):
Taught me the most, probably because it was the time
where I thought I had made it.

Speaker 4 (35:32):
You know, when you get signed and you think you
made it and then all of a sudden beginning.

Speaker 8 (35:36):
Man, look that was just the beginning. You know all
about that funtation, So it's just it was crazy. But
when we got dropped because of his actions, and now
I'm stuck like not having product out, and I thought,
my dream You listen, when you think your whole dreams
are over at twenty two, you know what I mean?

Speaker 4 (35:55):
It was devastating. It was devastating.

Speaker 8 (35:57):
But Jay was so much of volatile person that it
made it difficult to deal with.

Speaker 1 (36:03):
In the moment, he reminded me of the way he talks.
He talks just like J Prince.

Speaker 4 (36:13):
Yeah, yeah, I know what you mean.

Speaker 2 (36:14):
I know, like a very quiet little least the interviews
I saw which something said, don't mess.

Speaker 1 (36:18):
With that guy.

Speaker 5 (36:20):
Do you want to have any.

Speaker 4 (36:23):
Go ahead? Go ahead?

Speaker 6 (36:23):
And I was gonna say, do you ever have any
What was your interactions like with Benny madeena at that time?

Speaker 1 (36:28):
If you had any?

Speaker 4 (36:29):
I did several And you know what, this is the
funny one of the funny stories about Bennie.

Speaker 8 (36:34):
He at that time he was really trying to transition
into television, so he was kind of over it in
a lot of ways. He was already over the record
thing he was because he was really about to do
Fresh Press of bel Air, because he started that immediately
when he left. But what he was for me was
just a real honest person, like he was like, Nope,
that sucks, Yep, that's dope.

Speaker 4 (36:56):
Nope. At one time I used to.

Speaker 8 (36:58):
Make these phone messages on my phone and sat him
in where I would do all these big ass productions quests.
I would do, like whole productions just to say that
I'm not home.

Speaker 1 (37:06):
We all did.

Speaker 4 (37:07):
Yeah, you know what I'm saying right right. So I
had this one joint and it was funky as hell,
and he called me.

Speaker 8 (37:13):
Benny called me. I was like, what the hell Benny
mcgeena was telling me. He went, Yo, that's your first
fucking single right there. Wow, And he literally chose it
for the album that never came out, but it was
a song called wrong and he said, man, that's just.

Speaker 4 (37:27):
So that happened. And then I didn't see Benny for
decades until he was trying.

Speaker 8 (37:31):
I heard he was trying to find me throughout the
whole successful SWV period in the nineties.

Speaker 4 (37:35):
He never could find me.

Speaker 8 (37:36):
And when I finally saw him again was recently at
a La Read book signing. It was me, him and
Usher and La Reid, and that was probably twenty sixteen.

Speaker 4 (37:47):
He hadn't seen me since eighty eight.

Speaker 1 (37:50):
Right, how's he doing?

Speaker 4 (37:51):
Man?

Speaker 1 (37:51):
She's still like good health and everything.

Speaker 4 (37:53):
As far as I know. Bennie's great. Yeah, I mean
when you're that rich man, j the Man, Diddy, Babyface,
you know. Please.

Speaker 2 (38:05):
There's another legendary person that enters your sphere and I
don't know much about him or like I know his
music well, and that's Robert Brookins.

Speaker 1 (38:17):
Oh, how like how does he enter your story?

Speaker 8 (38:22):
So when I got to Sacramento, I found out that
there was this rivalry between j King and Robert Brookins.
Robert Brookins had been a child star in the Sacramento
He's from Sacramento as well, so they were like from
the same hood, and it was like, you know, I'm
gonna be famous before you type of thing. So Robert
was a genius really on the keys vocals, I mean,

(38:43):
talk about fred Hammon. Robert sound like fred Hammon before
fred Hammon.

Speaker 4 (38:47):
Wow, Okay, so pete.

Speaker 8 (38:48):
So when I get there, it was only a matter
of time before I I would meet Robert because I
was always he was like a legend and I hadn't
met him yet.

Speaker 4 (38:55):
I was only twenty two.

Speaker 8 (38:56):
I kept hearing about him, and then when Jay would
talk about him, it was always brother.

Speaker 4 (39:00):
I beat Robert's ass, So I was like, what is
the deal with Jking and Robert?

Speaker 8 (39:09):
So they had this rivalry. When Robert Brookings met me,
it was by accident. I had this girlfriend I was
seeing the time. Her name is Donna. Donna answered the
phones for Robert's office front office. So one time I
wrote Week and I wanted to play Week for her
to see what she thought of it.

Speaker 4 (39:26):
As a female, I went into her office. She introduced
me to Robert.

Speaker 8 (39:30):
That was my first time meeting him, and he didn't
know nothing about me singing or playing and none of
that stuff. When I pushed the button play on Week,
my demo of Week Donna.

Speaker 4 (39:40):
I looked up. Her ass was in tears. Robert was like,
that's too many motherfucking words, yes, he said, he said,
why are you saying something? Words? Make it most simple?
That's too many.

Speaker 5 (39:56):
I was only if only Robert had an on the
bone thugs is right around the corner.

Speaker 8 (40:04):
But look, but look what Robert did at that moment.
Though he showed me a couple of chords, he showed
me he was working with Jackie Jackson at the time.
He took me to Tito Jackson's house here in LA.
He took me under his wing, is what he did.
And that's how I ended up on his second album.
I'm doing backgrounds on there on a song called United.

(40:25):
But Robert literally, what he really was trying to do
was take J Kings thing from J King.

Speaker 4 (40:34):
You feel me. He's trying to get me squarely into
Robert camp. He's like, and what you doing with that?

Speaker 1 (40:39):
You know?

Speaker 4 (40:40):
Jking?

Speaker 8 (40:40):
Them niggas can't sing, they can't. He's like, you too,
You're too bad to be in that camp, bro, what
you doing? And I think he tried to show me,
like the life Hollywood life with the Jackson's and the that,
and he was also playing keys for Earth Wind and Fire.

Speaker 4 (40:53):
Eventually Robert was doing everything long story short, you.

Speaker 1 (40:57):
Know, Okay, yeah, I know, I know he passed away
like ten years ago.

Speaker 4 (41:02):
I think, yes, yes, yes, but he ultimately became very
good friends and.

Speaker 2 (41:06):
And he was He's just one of those cats where
that I always knew about or you know that that
never you know, got a shine or really got the
light of day, but always saw his name on credits
and all that stuff.

Speaker 4 (41:17):
And that's funny, man.

Speaker 8 (41:18):
And listen to a record by him called uh in
Our Lives, In our Lives, check that one out.

Speaker 1 (41:23):
Okay, yeah, look that up.

Speaker 5 (41:25):
Did you sing your demo for for a week?

Speaker 4 (41:28):
Did I sang all the demos for all those songs? Oh? Yeah?

Speaker 1 (41:36):
So how long before.

Speaker 2 (41:40):
You're able to at least get back up on your
feet again once the j King deal goes? Like did
you try to tell Benny like why don't you just
sign me directly? Or like you were already under contract.

Speaker 8 (41:52):
To listen when Jay did what he did, I think
that in that building it was a rap for anything
having to do you feel me, like any food from
that tree was done.

Speaker 4 (42:03):
It's a rap.

Speaker 8 (42:03):
And I didn't have the power as a young kid
like that to be walking up in those rooms talking
about anything. Really shit, We fucked up and went tried
to get a manager to get out of the j dial, and.

Speaker 4 (42:12):
That backfired on us. It was just all bad. I
was depreved on.

Speaker 1 (42:15):
Did it take you to be free of him?

Speaker 4 (42:18):
A couple of years?

Speaker 8 (42:19):
Man?

Speaker 4 (42:19):
Like a couple of years.

Speaker 8 (42:20):
And then even after that though, I was just struggling
just to be able to be a working musician. So
all of a sudden I start taking I start taking
any calls, any calls, if anything, I would take it
and go do the work.

Speaker 4 (42:33):
That's how I got Stevie Wonder Gig.

Speaker 8 (42:37):
And the Bobby Brown Gig in nineteen ninety and nineteen
ninety one, respectively.

Speaker 4 (42:42):
Can I shall tell you that story?

Speaker 1 (42:43):
Nice?

Speaker 4 (42:44):
Okay, So this is what we lived for. Think this.

Speaker 8 (42:48):
So now me and Robert at this time had fallen
out because Robert made me buy a car that I
couldn't afford and put it in He said he was
gonna go sign for it, but then he didn't do it.
Then I was stuck with the things. I was mad,
so I was like not feeling Robert, and then Robert
I also had done multiple songs for Robert that he
was supposed to pay me for and then he didn't
pay me for them. So I was really really mad
at Robert in this moment. I understand that when I
told you, you know, for these for these artists, it

(43:09):
was the There was some people that he was working with,
but I had demoed, I had written and demoed them,
and he told me he's gonna pay me x amount
and he didn't do it.

Speaker 4 (43:16):
Well.

Speaker 8 (43:16):
Remember I had Donnad working in there, so Donna could
tell me what was really going on, right, So what
I found out was that he really never was gonna
pay me.

Speaker 4 (43:24):
Okay, so I was I was heeded.

Speaker 8 (43:27):
So now I'm down to La hustling for gigs and
ship I get a call from a guy named Derek Allen,
bass player.

Speaker 4 (43:34):
He plays bass.

Speaker 8 (43:35):
That's right, d o A, yes, you know the So
shout out to Derek Allen. So Derek was Bobby Brown's
musical director for his tour at that time.

Speaker 5 (43:44):
He did College Girl on Bobby Bobby.

Speaker 4 (43:46):
Exactly check you out. So yeah, that's exactly right.

Speaker 8 (43:49):
So look he hit me and my man, Dennis Austin
was in the band he's a keyboard player, Dope drough
from Sacramento as well, Derek's homeboy. They called me and said, Brian,
we need somebody that can sing and play. Can you
do this Bobby Brown gig? I said, what's the gig?
We're doing the American Music Awards. We're doing a medley
of all his hits at the American Music Awards. Okay,

(44:09):
and now this is nineteen ninety. Now this is a
question you were asking how long it took. This is
about a year after we had gotten dropped.

Speaker 4 (44:16):
And when this is happening in nineteen ninety Okay, Okay,
So I take the gig. I get the gig, I
get down to La uh and I do the gig.
It was amazing. I met Val Young, who's also a legend.
Shout out to Val Young. I know you know that.

Speaker 8 (44:29):
Vow was on the record. That's right, uh and goat
banned but check this. Yes, So it's me Val and
this other guy named Harold. We're doing the backgrounds for
Bobby Bobby. Uh.

Speaker 4 (44:40):
For for reasons I won't mention, could not really do it.
You couldn't do the show okay, live like it was
supposed to be.

Speaker 8 (44:48):
So Dick Clark said, you're not coming up on here.
You know, Dick Clark did not play. He's like, you're
not coming out here and messing up my ship.

Speaker 4 (44:54):
Go go record it. You got to go record it.
So we went to excuse that it was bad. So
we rec or the whole thing in the studio.

Speaker 8 (45:03):
Now, when I was supposed to leave the next day
to go back to Sacramento, I'm in the hotel room.
I'm getting my bags are all packed. I'm in the
hotel lobby waiting on a cab or something, and look,
I jump on the piano and I start playing what
a commission song?

Speaker 1 (45:20):
M hm?

Speaker 8 (45:20):
And it probably was running Back to You or something
like that. So a guy walks by me and he goes, yo,
you know that you want you know about the commission
and say, man, come on, and so we start doing
two part harmony to it in the lobby of this hotel.

Speaker 4 (45:34):
I looked up and I was like, Bro, you are Keith.

Speaker 6 (45:38):
John hunh Wow, Stevie, Yeah, Stevie, and you yes, yes, yes, yes.

Speaker 8 (45:47):
Yes, yes so Pete. So I go bro, and before
I can say anything else, he said, what's your name?
I said, I'm Brian Morgan and he goes, not.

Speaker 4 (45:56):
Brian Alexander Morgan and I said, wait a minute, you
know my name? Bro? How do you know my name?
He said, Bro? That Cache album. Stevie plays it on
the bus all the time.

Speaker 8 (46:08):
What I even get it because they gave promos out
all the time tables.

Speaker 4 (46:14):
I said, what.

Speaker 8 (46:15):
He said, check this out, Bro, we're having a rehearsal.
Stevie's doing the Grammys and we're having a rehearsal for it.
Would you like the audition for it?

Speaker 4 (46:24):
I say what? Of course?

Speaker 8 (46:25):
I said, what you'all doing? He said, we're gonna do
we can work it out the Beatles joint because Paul
McCartney's gonna be there.

Speaker 4 (46:30):
I said, oh my god. Yeah, So I did it.

Speaker 8 (46:33):
I went to the form, a line around the form, waiting,
everybody doing twenty thousand runs warming up, Keith John walking
me in, got me into that audition and I got
that gig.

Speaker 4 (46:42):
So if you look at this you can you can
YouTube it. Nineteen ninety one.

Speaker 1 (46:46):
I think I know that performance. Yeah.

Speaker 4 (46:49):
Wow, that's right, and I'm in there. That's me right there.

Speaker 5 (46:53):
That is crazy around up you you the R and
B Forrest Gump out here cuz.

Speaker 1 (46:57):
That's what this is.

Speaker 7 (46:58):
How he came.

Speaker 5 (46:59):
Yes, yes, it's a conversation.

Speaker 4 (47:02):
Thank you, thank you, thank you very much. Hey. But yo,
but from there back home and broke right, okay, and.

Speaker 8 (47:10):
It's cool to be on TV and your mama was like,
look at my baby on TV with Stevie Wonder.

Speaker 4 (47:14):
But you know, Stevie didn't call me after that until
about four years later when.

Speaker 8 (47:18):
The girls were out. But when I went back home
something I'm gonna switch. I'm gonna make it easy, just
transition for y'all. I was like, I cannot be broke
no more. I got to write something for somebody that
I already know has has has a standing, you know
what I mean.

Speaker 4 (47:35):
So I in eighty nine, Martha wash.

Speaker 8 (47:39):
Had out everybody, everybody, and I love that joint right,
And I've always been a househead and a dance head.
So I was like, man, I can write. I can
write a joint for Martha. And then all of a sudden,
when she had out everybody does now that, I was like,
somebody right, So that's ninety one.

Speaker 4 (47:56):
So I'm like, this is my opening.

Speaker 8 (47:57):
Because she got a record deal on RCA as a
result of her getting suing C and C. So she
got that deal. So I said, that's my opening right there.
She got a brand new album that she's gonna need songs.

Speaker 4 (48:09):
So I went home.

Speaker 8 (48:09):
I had a listen to what I had quest This
is the equipment I had. It's pathetic, but I made
these joints on it.

Speaker 1 (48:14):
You made it work.

Speaker 4 (48:16):
I had a motherfucking nine O nine rolling nine on
nine house.

Speaker 1 (48:21):
You need that, you need that.

Speaker 8 (48:22):
I needed that, And then I had a horrible release
since HR sixteen B.

Speaker 4 (48:27):
Remember that joint, it was progressive joint, Oh my god,
for percussion.

Speaker 1 (48:32):
Right, you made it work, bro.

Speaker 8 (48:34):
I mated them joints together and used the nine O
nine for the kick and snare stuff and the HR
sixty B for the percussion stuff.

Speaker 4 (48:40):
Right, and them two joints go together. It sound like
a whole new drum machine. So boom. And then I
wrote and I was like, I did my best.

Speaker 8 (48:46):
Everybody everybody right, And it's a song called give It
to You and when number one dance for me and
Martha on RCA in nineteen ninety two, early nineteen ninety two.
But it got me in the door at RCA and
our person of the of the Martha Wash record was.

Speaker 2 (49:02):
Kenny or T T Kenny or ts okay Okay, that's
how we get to s WV WOWTA got you in
the door, got.

Speaker 4 (49:10):
Me in that door? And I did. And I had
only done two songs on the demo for Marcus. She
liked them so much. This is what Martha Wah said
to me when she heard them demo songs. She said,
I don't know who you are or where you come from,
but you're doing what we want the A and our
guy has not given us what we want until he
played us. You can you can you do more?

Speaker 8 (49:30):
So I ended up doing five joints on that on
Martha's debut on r C A five songs on them,
and that literally changed my life because I was able
to get a new car by say fuck you to
Robert Brookins.

Speaker 4 (49:41):
See say say to j King, I could you know
I'm out here?

Speaker 8 (49:46):
I'm still working, you know it was And I was
never malice towards him because I knew that if it
wasn't for him, I wouldn't even be there, So I
would never talk shit about Jay. But at the end
of the day, I was just like, yo, I'm working,
and I got an apartment and I started working and
if I didn't have that money that I made for
Martha wash about my first MPC that I did, I'm
swim to you and all the rest of the stuff.

Speaker 5 (50:04):
On wow, So aka right, got it?

Speaker 1 (50:07):
Got it?

Speaker 7 (50:08):
Now?

Speaker 1 (50:09):
All right?

Speaker 4 (50:09):
Go?

Speaker 1 (50:10):
How do you developed this stuff?

Speaker 2 (50:12):
We came first the songs or or did the songs
come first? Or you meeting the ladies of s WV
first songs first?

Speaker 4 (50:21):
Remember I told you I did Week before I ever
met him.

Speaker 8 (50:23):
I did that, right, okay eighty nine and that's when
when the whole thing fell apart with Jay, and then
Chante Moore came into the picture, and then that's kind
of I wrote that out of a sadness about.

Speaker 1 (50:33):
You were writing that song for her record or I
wrote it.

Speaker 4 (50:36):
About her, and I was writing it for Charlie Wilson.

Speaker 1 (50:41):
Week was about Chante Moore.

Speaker 4 (50:43):
You didn't know that?

Speaker 7 (50:44):
Every yeah, yeah, yeah, yeah, bro, yes, wow, speak on it.

Speaker 8 (50:56):
I had a huge crush on Chante Bro and I
couldn't but that was Jay's woman at the time.

Speaker 4 (51:01):
Chaunte was Jay's woman at the time. Big Time.

Speaker 7 (51:05):
Got a man.

Speaker 1 (51:05):
This is.

Speaker 6 (51:09):
Man.

Speaker 4 (51:10):
I'm saying yea, yeah, yeah, and you.

Speaker 8 (51:12):
Know what, and it was just about boundaries and I
need didn't want to cross no boundaries with my that's
my boss.

Speaker 4 (51:17):
And j K was still crazy, don't get it sucked up.

Speaker 5 (51:20):
So with that like that and she got that voice
though that was, Oh my god, make a connection.

Speaker 1 (51:34):
Brooy, Yes, yes, yes, bro bro So.

Speaker 4 (51:40):
Long story short, but I tell the body still Charlie
Wilson fan though, me thinking where I'm coming from. So,
Wednesday Lover had.

Speaker 8 (51:47):
Been my favorite gap band song at that right, Oh god,
I gotta write something for charge. So that was Wednesday
Lover came on eighty eight, so I wrote week in
eighty nine. It was only a week a year later,
not even a whole year later, right, So I'm thinking
Wednesday Lover. I got to do something at least as
strong as that, right, And so but Chante was the

(52:10):
fuel for the subject of it because it was just
about unrequited things. You can't you know, something's happened, but
you can't do nothing about it type of energy, hence
the whole I don't know what it is, but this
is this is crazy.

Speaker 4 (52:23):
You know what I mean?

Speaker 3 (52:24):
Why is she not exclaiming this from the rooftops?

Speaker 4 (52:26):
Does she?

Speaker 5 (52:27):
What was her reaction?

Speaker 7 (52:28):
To knowing that.

Speaker 4 (52:28):
She didn't know that then and.

Speaker 8 (52:31):
Now she definitely knows it now, she's known it for years,
But back then she had no idea. And not only that,
she was trying to get the hell away from Sacramento
and j too. She had a whole little life she's
about to live. But but my point, but my point
is thank god I wrote something so honest, you know
what I mean, from my heart and and she was
the inspiration for it.

Speaker 4 (52:51):
And I'm not ashamed to say, you know what Wednesday Love.

Speaker 5 (52:59):
Yeah, man, when the one that's that's just hard, Oh
my god, it still all right?

Speaker 2 (53:04):
You two are an anomaly to y'all, so puzzling because
I know that's not on that's on the round Trip record.

Speaker 4 (53:11):
That's right, there's nothing else on. There's horrible.

Speaker 1 (53:17):
Listening. Nobody in eighty nine that like, but when look
at You Sucker wasn't on there, like.

Speaker 4 (53:26):
Man, right, right? So when's they level?

Speaker 6 (53:31):
What for for my generation I think is when Jagged
Edge covered it, Yeah, that kind of sent a lot
of people back like, oh, this is a cover and
then you know we checked that one.

Speaker 5 (53:41):
It was the same thing when Mary covered I'm in
Love Like that was a lot of that was a gap.

Speaker 6 (53:46):
Band record, a brilliant gap band record that it kind
of just went under the radar.

Speaker 1 (53:52):
And honestly, after Gap Band eight so I no na listen.

Speaker 8 (53:56):
They were on Capitol and we're about to get dropped,
and it was a whole lot of screwed up stuff
happening at Capito. At the time, it wasn't it wasn't
a good it wasn't their fault. That was a bona
fide smash it should have been, but no money was
put behind it.

Speaker 4 (54:08):
It was just horrible. But that record just did.

Speaker 8 (54:10):
Something to my heart at the time. So when I
wrote week, I was coming from Matt's face like it's
gotta be doping up for Charlie to do it.

Speaker 7 (54:16):
Now.

Speaker 8 (54:16):
The ironic thing is I never even gave it to him, wow,
because so much stuff started happening in a different direction
for me when like Martha happened and then it didn't
really blow blow up like I hoped it would, but
we got the number one dance record out of it,
and then it kind of went away. But when I
met when I heard Coco's voice though, this is the connection.
So when Kenny Ortiz was like all this Suden when
he's finishing up Martha Watch. He's like, b I got

(54:38):
these girls. I'm gonna need you to write some stuff
for these girls. And you hear that all the time
from an rd's and be like, oh God, here we go.

Speaker 4 (54:44):
But wait.

Speaker 8 (54:45):
He FedEx the joint a cassette to me back in
those days. I opened the cassette up, I put it on.
Soon as I heard Coco's voice, I was like, oh
my god, that's another Shirley Murdock all day. Right, So
when you put my energy, which is a Charlie Wilson
heavily influenced thing, with a Shirley Murderer, now you got
a potential computer love about to happen.

Speaker 1 (55:05):
That's so scientific.

Speaker 4 (55:09):
It's the truth, right it is. And I knew it
as soon as I heard it. So I'm like, okay.

Speaker 8 (55:14):
So that demo that had been floating around a week
of me, I knew in the back of my mind
Coco would murder it. But I was trying to get
a solo deal for myself. So out of all the
stuff I sent Kenny for them, I didn't send him.

Speaker 4 (55:26):
That Wow, I sent him right here.

Speaker 8 (55:30):
I send him some other stuff, and I did not
send him Week. Now, listen how he found out about Week.

Speaker 1 (55:35):
Before you do that? What who was working on their
music that got to you?

Speaker 2 (55:41):
Because I'm under the impression that you did all their music,
Like how did how did their demo get to you?

Speaker 1 (55:46):
And what was on that demo? Like what was the music?

Speaker 8 (55:48):
That's a great question. There's a guy that what they
were work with called Donald Donald Brown. I'm a bolding,
I think if I'm saying it right, he passed away.
He was there's a song on the first album called
a Couple of Things he did on there.

Speaker 4 (56:02):
Look on the credits and check his joints out. But
he's on the first album. But that's the stuff I
heard was from him.

Speaker 8 (56:07):
But now what I learned on Coco's voice at the time,
I was like, man, she's got to have somebody to
be able to control what she's doing because it was
like very church. You know, it's all over the place, church, church, church,
and alands were wild. I was like, if I could,
if I could harness that entertainment.

Speaker 4 (56:21):
It's going to be dope. And I knew that.

Speaker 8 (56:23):
But here's how Kenny found out about Week and went
crazy there back to J King at J King when
I worked there, there was this janitor working there named
Jeff Bowen's okay, So Jeff Bowens would clean up the
office after everybody would leave.

Speaker 4 (56:39):
But what we didn't know was that he would also
take help himself to taste and concept to me. Oh okay.

Speaker 8 (56:45):
So now that was eighty nine, cut to ninety two,
ninety one somewhere in there, not even ninety two, It
is ninety one. I get a phone call from Kenny Ortiz.
He's at a meeting at RCA Records in Hollywood. He goes, nigga,
you have been holding out on me. How in the
hell am I hearing this song from Jeff Bowens because

(57:08):
Jeff Bowens is now an an R person at RCA Records. Wow,
And he goes and Kenny Otez goes, that sounds like
my dude, Brian Morgan, And Jeff Bowen goes Brian Alexander
Margan and he goes, hell yeah, And Kenny goes, I'm
working with this nigga right now. And so Kenny called me, go,

(57:28):
b are you crazy? You've been holding out on me? Bro,
I got you gotta cut this on that stuff. Even
you gotta cut this on them when you finished mixing, Martha,
please come to New York and cut this on them
when you finish mixing Martha, I said no, because I
was like, bro.

Speaker 4 (57:41):
I'm trying to get a deal myself. You hear me
on that joint cup. Why don't you sign me? He said,
be later. I need them on that record now. And
he said because he wanted to do like a female guy.

Speaker 8 (57:55):
Okay, okay, okay, So but who but who who influenced
Aaron Charlie? So we still we're still back at Charlie. Right,
So when I get back to New York, I agree
to it after you agreed to drop a little coinage, uh.

Speaker 1 (58:13):
De right?

Speaker 8 (58:14):
So yeah, we went in there were in the studio
called Homeboy, which is legendary robinesque. Shortly after we did that,
did show me Love in there Andrew Martin whichever one
you believe, And.

Speaker 1 (58:28):
Is that the story is that Andrew Martin is singing that.

Speaker 4 (58:30):
Yes, Lord, that's what that's the Yeah, that's what. That's
the big, big big. I saw it on the internet, man,
and then and then Andreas, y'all got to google it.

Speaker 7 (58:41):
She she sings it.

Speaker 8 (58:42):
And then when you hear her sing it, you can
be like holy wow. So anyway, but Fred Fred shout
out to Fred McFarlane and and uh the guy that
own Homeboy not forgive me, Matt Foster, forgive me. Y'all
worked there, Fred and Allen, George Jesus, the writers of
Show Me Love.

Speaker 4 (59:00):
But we're recording this salam Rima, recording a lot of
joints in there as a very famous room. Ask everybody
Homeboy recordings, Ask them about that. Anyway, history So got
that cut. Coco hated it was difficult to record her
on it.

Speaker 1 (59:15):
But the good news every hit starts right.

Speaker 2 (59:19):
But yeah, Well, let me ask you, well, I was
gonna say, you're you're basically being set up, uh, kind
of as a blind playdate. So like, how do you
even start to nurture the relationship of trust and whatnot?
Like do you just immediately day one to start recording

(59:41):
these joints? Do you like spend time with them? For
like jam and Lewis spent two weeks with Janet before
they even hit the studio.

Speaker 1 (59:47):
Man with you, what was the process to gain the
trust that was?

Speaker 8 (59:52):
That is a great question, and let me tell you
the answer is not good because that level of commitment
that Jam m Lewis, and I'm a huge fan of
Jimmy jan Terry Lewis my guy. They influenced they influenced
me producer wise, like almost more than everybody.

Speaker 4 (01:00:06):
Uh my key style, my bass, left hand bass is Jimmy.
We talked, We talked very often. That's my guy. But
they spent a time with Janet like that to do that,
I had no such luxury.

Speaker 8 (01:00:18):
I got these three girls thrown in my face with
attitude out the Yin yang right like all this whole
New York attitude, and they was like they didn't know me,
they didn't care. But what the difference was with me
and Coco was she had been used to running these
hip hop producers crazy because they couldn't sing, and they
could and she and they couldn't tell her what to
do because they could not reproduce it with their own mouth.
I walk in, I did the whole beat, the whole

(01:00:40):
record and everything, and I'm also can.

Speaker 4 (01:00:42):
Sing this, and I can sing, and I can tell
you how to sing it.

Speaker 8 (01:00:46):
So that changed the game for her, and she resisted
it big time, like in a big way, like it
was it was very hard to get anything done. However,
once she got it, done, and I was satisfied with
how it sounded.

Speaker 4 (01:00:58):
That's what you hear?

Speaker 2 (01:01:01):
Did you have to go line for line? And what
you're basically saying is and I've heard this story before,
the story of u uh. We once had Linda Perry
on the show and she was talking about how, you
know Christina Aguilera when she first got beautiful. You know,
of course Christina thought she was going to do some

(01:01:22):
you know, crazy and you know, just as a way
for her to learn the song. She's like, all right,
put the mic up, let me just sing this real quick,
and I'll come back in two weeks and knock this
joint out.

Speaker 1 (01:01:40):
And she's saying in her dry voice, and Linda, news
is the take.

Speaker 2 (01:01:45):
I'm gonna let you struggle for three weeks and make
you think you're gonna top it and didn't do it
so like? But what's what's the You know, I've made
it known on this show that I hate nothing more
than recording vocals with artists.

Speaker 1 (01:02:01):
But how do you like, how do you get them
to just straight up chill and go.

Speaker 4 (01:02:10):
That's a great question as well. Listen with me and Coco.

Speaker 8 (01:02:14):
It was very very easy in one sense because she
surrendered because she wasn't a person who could ad lib.
She wasn't an improv person at all, and she was
really fearful of it, Like she would be so terrified
that she might have to create an ad lib or
do any of that stuff. So in order to make
her feel more comfortable, I would just do every single

(01:02:34):
thing that I wanted her to do, literally, like I
would just sing it down the way.

Speaker 4 (01:02:40):
Literally that I wanted her to do it. I'm talking
about every single thing. Listen, I'm saying to you at
the end, even down to the even that I sang
that like every single run, every single thing. So really
what you're hearing when you hear those records is just
me doing it first and then she does it. And
it was so it worked so well.

Speaker 8 (01:03:00):
It's like it was magic how it worked, Like it
was like I was I was able to have a
female voice be my voice.

Speaker 1 (01:03:06):
Does she feel like she was being inauthentic if she
just followed you verbatim?

Speaker 8 (01:03:10):
No, Because she was so young, that wasn't didn't cross
her mind. Now I'm sure now here's what I feel
like happened. Later, Cocho, you tell me if I'm wrong,
because if I know you're gonna see this. She probably
got really sick of people that are like musicians and
singers asking her questions about shit, about how we did
shit and whether and how they do this and how
we do that, And it was really just she just
copied the demo.

Speaker 4 (01:03:31):
It was not a big a big answer, right.

Speaker 8 (01:03:33):
But the whole thing was it was always back to me.
So I think as a person young person is trying
to develop and be who they are, it would be
a no.

Speaker 4 (01:03:40):
I could get that. I see that.

Speaker 8 (01:03:41):
It could be annoying to constantly be reminded that somebody
else gave you all your licks or somebody else.

Speaker 6 (01:03:46):
When you go into a studio with another producer and
they expecting you to do what they've.

Speaker 1 (01:03:50):
Heard it before, exactly you can't. You can't replicate that shit.

Speaker 4 (01:03:54):
And then but she learned, and that's why I think
her learning process started right there. And she'll tell you
that to shout out to Coco.

Speaker 8 (01:04:00):
She'll tell you those hard sessions taught her how to
do all that stuff that that eventually came to her naturally.

Speaker 4 (01:04:08):
Can I just ask a question.

Speaker 3 (01:04:09):
Real quick because I noticed that, I just I'm sorry,
just because I noticed that you keep saying Coco and
for s WV fan like, we all know that Coco's
voice is like, of course she is the but how
did the work low work in the dynamic work with
the group, because at the same time, as an s
WV fan, you still was like, I want to hear Taj.

Speaker 7 (01:04:28):
I want to hear Li, Like like how did that?

Speaker 4 (01:04:31):
You know what?

Speaker 1 (01:04:31):
On my records and everyone their place or every listen.

Speaker 8 (01:04:35):
I made sure that they were on every one of
my joints, all my hits. But this is we just
having a discussion about this recently. Kenny Ortiz would always
try to get me to re record Coco doing the
girl's parts as just as a safety just in case,
and I didn't believe in that because what I like,
I loved their blend, the true authentic blend from Coco,

(01:04:56):
Taj and Lelee is you can't replace, just like you
can't replace Queen. That sound of those guys's voices together
is their sound. You can't replace backgrounds, that blend of
those people.

Speaker 1 (01:05:08):
So how long were they together before they got to you.

Speaker 4 (01:05:11):
I think a couple of years, and that's why their
blend was so smooth and so perfect. What I would
always do.

Speaker 8 (01:05:17):
Was record them individually so I could have control of
each note and I would make sure they would blended
into the record properly.

Speaker 4 (01:05:25):
So if you listen to every one of my joints,
they're always there. They're on my joints.

Speaker 5 (01:05:30):
But can you commonize it, but never like as solo like.

Speaker 8 (01:05:32):
You oh leaves well no, no, that came later because
remember most of my joints were on the first album
where we just trying to find our feeling right because
clearly sounds amazing on that faith Avage joints and she
did or you kid me on.

Speaker 4 (01:05:42):
The second album and they all can sing this is
sis exactly. That's exactly. It's truly systems with voices.

Speaker 8 (01:05:48):
But at the same time, the placement of what they
do on the hit records is as important to me as.

Speaker 4 (01:05:55):
The lead because everybody loves those backgrounds. You kidding me
so firm?

Speaker 8 (01:06:00):
So or if it's a everyone sings, come on bro,
everything they do, I'll tell a legally this who's who
felt underappreciated and under it's not real.

Speaker 4 (01:06:10):
I'm like, no, you can't sing none of those songs
without those.

Speaker 2 (01:06:13):
Background without them, yeah, man, you having them singing unison
like because I love how there the way that you
stack their background vocals, it starts off unison and then
it blossoms into harmony.

Speaker 1 (01:06:31):
Is that the Clark sisters influence.

Speaker 8 (01:06:33):
Absolutely, absolutely all day. Thank you, Twinkie elber Neva Clark. Yes, ma'am, sir, exactly.

Speaker 3 (01:06:42):
Give me example on the s w B record of
when you do that, because just for the layman is listening.

Speaker 8 (01:06:46):
Okay, uh so and then saying you you harmony, your
harmony yes, and then back you don't know what, and
then you don't go harming against confuse. Yeah, maybe that's
what you give him something to look forward to and
back and forth with it.

Speaker 4 (01:07:06):
That's commission, commission to commission. That's that's that's a style man.

Speaker 1 (01:07:14):
Yeahah. George Clinton.

Speaker 2 (01:07:17):
Would often say if you you look at Funkadelic records,
like look at Flash Flashlight, they would always sing in
unison because he had a theory that he once gave
a theory about like how you know, when you're in
an Irish pub or whatever and people sing the song,
they get drunk, like they all sing together what he calls.

Speaker 1 (01:07:35):
A Greek chorus.

Speaker 2 (01:07:36):
Greek chorus, right, it's more down to earth and it's
it's more inviting to make you want to remember the
song if everyone sings in unison, like in the same
voice as opposed to like yes he wasn't to take
six you just want to watch him like Wow, they're amazing,
but you feel like.

Speaker 1 (01:07:58):
Never need them now.

Speaker 2 (01:08:01):
But yeah, that's the things where they had just enough
unison to make people feel like, oh, I can sing
this too, and then you had a little.

Speaker 1 (01:08:10):
Spice in there to let them know with me and Rain.

Speaker 4 (01:08:15):
Same thing.

Speaker 2 (01:08:16):
I have another I have another question production wise, and
I always wanted to know this. What makes It's about
time somewhat?

Speaker 4 (01:08:26):
Uh uh?

Speaker 2 (01:08:29):
I guess revolutionary is also in the production because you
could easily.

Speaker 1 (01:08:36):
Succumb to what was happening in the and that time
with with New Jack Swing.

Speaker 2 (01:08:42):
You know, I'm certain that like Guys the Future, uh
TLC's first record, like everybody was using you know, James
Brown's think about It loop and all that stuff like
or that post Dallas Austin, like basically the boomerangsund track
like that sort of right exact.

Speaker 1 (01:09:02):
Post Public getting Me one hundred Noise. Yeah.

Speaker 2 (01:09:07):
Yeah, but I for this album to come out in
nineteen ninety two. It is very unnew jack swinging.

Speaker 4 (01:09:16):
Like it's right right, and it was a bridge to.

Speaker 1 (01:09:21):
Yeah.

Speaker 2 (01:09:21):
I was going to say, like, can Henot feel like,
wait a minute, this doesn't sound like in Vogue or
TLC or whatever was you know, the time you're competing
with Dallas Austin and Teddy Riley and what if I'm
going to be made you purposely go the opposite direction
with the production.

Speaker 8 (01:09:40):
As we when we started, I'm so in to you
didn't exist, so remember that, right, So when we started recording,
we started from week and then went into the only
the first up tempo we did was right here, So
technically I'm still slightly new Jackie on right here, my
original right here if you listen to it.

Speaker 4 (01:09:58):
But I was trying to do it in a breakbeat
kind of way, right So, but Pete, but I knew.

Speaker 8 (01:10:04):
I knew from coming New York and coming being in
New York and being in the energy. I was around Fanta,
I was in the heads sessions, I was in Eric
sermon sessions. I was in sessions that didn't have anything
to do with R and B. So my my instinct was,
I gotta go harder. I can't just do New jack
swinging that's the pop sound and radio fuck that. I
don't want to do something that's different because the reason

(01:10:25):
why guy was so hard was because they did their
thing in their in their style. Yous gotta show their
thing in their own style. They can't be new Jack
swing because then they they're trying to be guys, is
what my mind would be.

Speaker 4 (01:10:37):
So I'm like, no, this is me right.

Speaker 8 (01:10:39):
So by the time as we recorded, and listen to
the record, because I'm gonna keep it really one hundred,
there's two new Jack swingy things on there.

Speaker 1 (01:10:48):
You gonna like it. Bro come all right, but that's.

Speaker 4 (01:10:52):
The remnants of what had been. You can hear. I
think you're gonna like it almost. Yeah, I like that song.

Speaker 1 (01:11:01):
I mean, I definitely see the news. But that was
not a bad song at all. But I appreciate it.

Speaker 8 (01:11:05):
But I'm saying that happened when I first met them,
and then my whole once he got quest asked about
the comfortable comfortability factor by the time as far as
getting to know them and who they were. By the
time we did, I'm swim to you. I had recorded
them many many times. So now they trust me and
they trust what I'm going to tell them to do,
and then we had that level. So when we get

(01:11:27):
to I'm swim to you, I knew that this was
going to be the ones for me, even if it
never succeeded. I said, personally, I think I nailed this
one because it's my own sound. And I purposely went
straight with the straight sixteenth thing because it was so
un knew Jack it was not.

Speaker 2 (01:11:46):
It was actually not trying to say sixteen on the
high end. I was like, yeah, I was like, uh,
is there some controversial about that right here?

Speaker 1 (01:11:59):
Story? Oh god, the remix? Oh yes, God, I just
wanted to know about right here. Oh okay, no, no, no,
I don't know.

Speaker 8 (01:12:10):
Everybody has a story about it. But here's my thing.
All Star, the one that that did the vocal the
work on the record is my man. Now, I didn't
know that Teddy did anything on it at all until
I became aware of it through Kenny Ortiz and Teddy
and them saying exactly what he did.

Speaker 1 (01:12:28):
But we're talking about right here, human nature rem.

Speaker 4 (01:12:32):
So just to be clear, everybody had a hand in it.

Speaker 8 (01:12:36):
But the truth of the matter is the whole beat
itself was done by All Star, then touched up by
Teddy and others with certain things. Teddy recorded her vocal,
Coco's vocal on their some other Teddy's.

Speaker 4 (01:12:54):
Right, and Teddy did.

Speaker 8 (01:12:56):
I guess there's some other guys that work with Teddy
in the studio as well.

Speaker 4 (01:12:58):
They got at me on Instagram. Those are all great
guys and everybody's cool people.

Speaker 8 (01:13:02):
I'm just saying the German nation of that song and
that production and that beat was done by All Star.

Speaker 4 (01:13:09):
The person who grabbed also.

Speaker 1 (01:13:10):
Did anything remix killed it?

Speaker 4 (01:13:12):
Right?

Speaker 1 (01:13:13):
Wait, even.

Speaker 2 (01:13:16):
Teddy even the drums, because I could have sworn the
drums were Teddy.

Speaker 4 (01:13:19):
No, Teddy's drums are on. I'm swinging to you his
remix on that. Have you heard that?

Speaker 1 (01:13:25):
It's so rough?

Speaker 4 (01:13:26):
So yeah, he.

Speaker 5 (01:13:31):
Played that, telling me that that that swing.

Speaker 4 (01:13:35):
Know that that is All Star. And then they told
me what sample he used. And I'm just gonna say this.

Speaker 8 (01:13:42):
I'm just gonna say this, this is how I got
because I mean, I'm just like y'all, I wasn't sure
who did what at this point. When I hear something,
you know Teddy, they say one thing Teddy's people and
his and his guys that did it with him.

Speaker 1 (01:13:51):
No, we was there.

Speaker 8 (01:13:53):
We did this this is and I can't argue because
I wasn't there. But here's what I told all Star,
who had told me that he did the basic beat.
I said, all Star, tell me this then, because I'm
like you quest I'm like, let's get down to the
germination of this whole what you just did, Like, okay,
where's that beat from bro? And he broke it down
and told me the samples, and I went and checked
it against what he told me, and that is it.

(01:14:15):
So I said, if y'all, and I went on Instagram
and said this to those people who was claiming that
they did it, I said, tell me what the samples
are that made that drum loot?

Speaker 4 (01:14:23):
Just tell me? And then it's like remember that showman.

Speaker 2 (01:14:27):
And I was like, important, more importantly, what were the
comments like when he rocked it on versus?

Speaker 4 (01:14:41):
Well, that's how all this man, that's how this all happened.
Because when that when.

Speaker 2 (01:14:46):
I'm madly yeah night that night, I didn't see that part.

Speaker 4 (01:14:51):
Of then when he opened his whole thing with that joint.

Speaker 1 (01:14:56):
Oh so he had a story for it and everything and.

Speaker 4 (01:14:57):
People ready with the receipts. No, he just opened it
as if it was his. Yeah, that's what he did.
And so and I was like, whoa, whoa, whoa you
know that one? Hold on?

Speaker 8 (01:15:09):
And then I called All Star because I wanted clarity.
I was like, bro, before I say anything on this
internet about anything, tell me once again, who did what
on this joint?

Speaker 4 (01:15:18):
For real?

Speaker 1 (01:15:19):
He lose at his ship when he was.

Speaker 4 (01:15:21):
All Star was laughing. He's like, these people are hilarious.

Speaker 2 (01:15:28):
He's like, bro, okay, So you know it's obviously that
Dinah Ross presents the Jackson five story, you know.

Speaker 1 (01:15:33):
Right exactly right, right right value.

Speaker 2 (01:15:36):
I felt with Hooklon singing, I'm like, yeah, well, Teddy's
work of Michael Jackson. He got this sample clear, Okay, yeah,
I get it.

Speaker 4 (01:15:41):
And that's not why the sample, Claire, trust me.

Speaker 8 (01:15:43):
The girls had been just number one with week a
million selling single, number one, and this is at the
time that Michael had just done his OPRAH interview, so
the publicity wasn't the greatest, and then being associated with
something really really black, like a number one pop girl
group that has a song called week Out. And that's
why the follow up is right here human Nature with
number two and Michael, those girls went crazy number two pop.

(01:16:07):
It would have went number one if it wasn't for
Mariah's dream Lover. Woamn, that's right, by the way, shout
out to myself a remixing dream Lover.

Speaker 4 (01:16:15):
Mariah called me out.

Speaker 3 (01:16:16):
To myself son, Hey, Brian, what did you say when
you heard Joe Joe's version a week.

Speaker 4 (01:16:22):
And then she kind of knocked me out. Well, I
did it. I produced it.

Speaker 3 (01:16:26):
So oh fuckaby, It's the only reason I love her
so hard still.

Speaker 1 (01:16:33):
To this day.

Speaker 4 (01:16:35):
So thank you. You're welcome.

Speaker 8 (01:16:36):
Vincent Herbert called me on that one said, listen to this.
I put the phone in my ear. I just heard
a kid singing.

Speaker 4 (01:16:41):
She said. She said she's thirteen. I said what anyway?
And she's white.

Speaker 6 (01:16:45):
I said what, And it's right, yeah, Tamar.

Speaker 4 (01:16:54):
For people who are on the light in the music exactly,
so Vincent yoga yo and the mirror.

Speaker 8 (01:16:59):
They fled me down, fluted me down to l A
and I cut that on Jojo.

Speaker 4 (01:17:06):
How long did that take?

Speaker 5 (01:17:07):
But she like it just seemed like she just had it.

Speaker 4 (01:17:09):
Oh man, that was nothing. That was like, oh my god,
Yeah she did that. She did and she's been.

Speaker 8 (01:17:14):
Singing it every since. Sorry to talk on Susan that
my boy killed it.

Speaker 4 (01:17:17):
He saw it on Instagram a year ago she was
doing it.

Speaker 7 (01:17:19):
I was like, happy at my.

Speaker 8 (01:17:21):
Boy Steve Mackie's house. Hell yeah, shout out Steve mackeiy
j Loo's vocal coach.

Speaker 1 (01:17:25):
Hello, okay man.

Speaker 6 (01:17:27):
She still maintained that the original version of Anything is
better than the remix.

Speaker 4 (01:17:32):
That was Thank you so much, bro, dude.

Speaker 1 (01:17:34):
I mean, I love the remix.

Speaker 6 (01:17:36):
But man, I first when I when I heard when
you just hear you talk about that album the uh
you know that's off your record? And how I can
hear now as you talk about it, now you know
the thing, you're gonna like it? That was kind of
new Jack screen but Anything. When I heard that, I
was just like, Nah, this ain't on some other ship.

Speaker 8 (01:17:54):
Yeah, man, let me tell you how I wanted to.
I really approach that one. Coco at that time. I
was impressed with She was her own, she was solent
in her diva is very very early, right, and I'm
just wanting with Mark the watch I'm on the hills
of Martha watch an actual diva, right. But I was like,
Coco is a little young diva in training for real,

(01:18:15):
for real, I.

Speaker 4 (01:18:17):
Said to myself when I thought about how that album.

Speaker 8 (01:18:22):
When that album starts, broke you got it, man, I
was like, I need a joint that not only sets
up the whole mood, but it's got to be a
joint that sets Coco's voice.

Speaker 4 (01:18:33):
Out there like that.

Speaker 8 (01:18:34):
And I was thinking about Diana Ross's how there's the
slow intros on uh ain't a mountain high enough? You
feel me where it's just the slow building it builds
up to the ben boom boom bam, right. But I
wondered it when it came on to be so sexy,
I was like, what can I do atmospherically quest to
set up a sexy thing?

Speaker 4 (01:18:52):
So I sampled.

Speaker 8 (01:18:53):
I turned on my water foster in my apartment and
I sampled, uh, the water dripping. Then I sampled me
dropping a fifty piece into a glass, and so I
got that PLoP that I wanted.

Speaker 4 (01:19:05):
And I was like all these and then I breathed
into the mic. I was just going so all those sounds.

Speaker 2 (01:19:11):
I said to myself, you didn't use the library records,
that the studios, right, you just.

Speaker 8 (01:19:15):
Know I was in my apartment, bro I was like,
nobody's joint is going to sound like this because it's
so just me literally making up sounds.

Speaker 4 (01:19:23):
And so by the time I put those keys to.

Speaker 8 (01:19:24):
All those weird and all those snaps and all that
breathing and stuff, it created a mood. And it's the
perfect mood for Coco's voice to come in and do
what it does. And look how good the background sound
on that. There they are again laying taj killing it.

Speaker 1 (01:19:39):
Yeah.

Speaker 4 (01:19:39):
Nah, And the unison and harmony thing theory is still
an effect on that.

Speaker 1 (01:19:49):
Come on.

Speaker 2 (01:19:55):
So what I want to know is that once this
album really hits pay dirt and becomes your your lottery ticket,
well one, how does your life change? But can you
talk about the phone calls that come in after, like
the artist that you had to turn down and whatnot?

Speaker 4 (01:20:16):
What is that? What is that?

Speaker 1 (01:20:19):
Downpouring of water feels like like, how does your life change?

Speaker 4 (01:20:25):
Again?

Speaker 8 (01:20:25):
I was being that kid from Kansas who always lived
in those credits like we do. When I tell you,
when Charlie called me and said I want to come by,
just come by the house, you know, I'm in tears.

Speaker 4 (01:20:39):
Damn.

Speaker 8 (01:20:39):
They're like, oh my god, my hero's coming. And then
we sit down and jam and get on the drums
and the keys and back and trade back and forth.
He on keys, I'm on drums, he's on drums, I'm
on keys. Recording it, videotaping it. I got all that footage.
It was amazing.

Speaker 4 (01:20:52):
But when Stevie called and said, what are you doing
with that girl's voice? How are you doing it? Can
you come down and hang out? What? And I was like,
And I said to him, do you remember me? I said,
I said background, so we can work that.

Speaker 8 (01:21:09):
He did not remember that, Okay, But the point was,
now he's calling me, and I'm and I'm and I'm there.

Speaker 4 (01:21:14):
Man, I'm like, this is crazy. Who another one that called, Oh,
Ray Parker Jr.

Speaker 8 (01:21:18):
One of my heroes came up and flew up in
his plane and came out to hang out with me
and Sacramento.

Speaker 4 (01:21:22):
Just stupid stuff.

Speaker 8 (01:21:24):
Man, All the heroes you can think of that you
want to call that you love? They called, and and
and Mariah called, and I went to meet Tommy Mottola
and her.

Speaker 4 (01:21:33):
That's how I got dream Lover. Clyde Davis called.

Speaker 8 (01:21:36):
And signed a girl group that I had at the time,
and he wanted me to do my production deal with them.

Speaker 4 (01:21:42):
It was amazing.

Speaker 1 (01:21:43):
What was that? What was the name of the girl
the Groogle.

Speaker 4 (01:21:44):
They never came out, but they were called Oliver Twists.

Speaker 1 (01:21:47):
All of her spell it no, no, no, no, how
they spell it, just like, oh my god, oh wow,
we have some joints.

Speaker 4 (01:22:01):
We had some joints on it.

Speaker 1 (01:22:04):
Wow. I want a collection of all the groups that
didn't make it with these with the.

Speaker 4 (01:22:12):
Hilarious right.

Speaker 6 (01:22:13):
So man, so on the second record, Man, before we go,
I just got to nerve and give you your props.

Speaker 5 (01:22:19):
There's a baseline, a base you play on anything.

Speaker 4 (01:22:22):
It's yes, sir, yeah, yeah, yeah, yeah, yeah, yeah yeah.

Speaker 8 (01:22:29):
You feel me because you know why that you know
where that came from, always hanging out with with his
fretless Yeah. So I did that as a nod to
Waymen Tisdell, Like, yo, bro, I'm thinking about you right here.

Speaker 4 (01:22:39):
That's you. I just wanted to play with my hands
on the keyboard, like let me play this thing like
a fretless dude would do. Thank you, Thank you for
noticing that.

Speaker 8 (01:22:46):
Man.

Speaker 5 (01:22:46):
That's no, that's that's like my favorite part of song.

Speaker 4 (01:22:48):
By the way, women tis deal is on that first album.
He did that's what I need, That's what I need.
That's right. Yeah, shout out to and Danielle Tillsdale.

Speaker 6 (01:22:57):
So, man, what happened on the second record the and
when they did because you did the single the well
no no, before you.

Speaker 1 (01:23:06):
Get ahead of myself, Layla love you.

Speaker 4 (01:23:10):
Yeah I heard that.

Speaker 1 (01:23:11):
I was like, Yo, this doing this ship?

Speaker 5 (01:23:15):
Look what went down with with with the second album
and the girls?

Speaker 8 (01:23:22):
My six six degrees in Separation's crazy quest check this out.

Speaker 4 (01:23:26):
Do you guys know who Jeff Foreman is?

Speaker 1 (01:23:29):
Yes? He was Layla's may he and yeah we had
her on the show.

Speaker 8 (01:23:36):
When I got that Warner Brother still way back in
eighty nine and I was thinking I'm about to come
out on Wonder.

Speaker 4 (01:23:40):
I met Jeff and through a friend here in La.
He just was a friend. But what I what I
learned was that Jeff Foreman's brother is James and two May.

Speaker 1 (01:23:48):
What damn right right?

Speaker 4 (01:23:50):
He's just so yeah yeah, so James and Too May's
kid brother is my buddy, my best friend. Jeff Foreman.
Shout out to Jeff Foreman.

Speaker 8 (01:23:57):
Also shout out to DJ Khalil, who Jeff Foreman meant
and gave his first gig. Jeff Foreman introduced me to
Layla right when he signed her to Virgin Records in
nineteen ninety. So that's why I already had a relationship
with Laila four years before let Me Love You.

Speaker 6 (01:24:13):
Ah got that crazy, And so by the time when
that came out, were you and the girls with y'all beefing,
like what was your relationship?

Speaker 4 (01:24:20):
Like, no, let me no, no, let Me Love You
came out in between the second album. I didn't know
that that was right.

Speaker 1 (01:24:25):
That was ninety four, yeah, and then the beginning was
ninety five, right.

Speaker 4 (01:24:29):
So I spent I did let Me six, right, but
I did.

Speaker 2 (01:24:33):
Camember when ladelp Half Life came out, I remember exactly. Yeah,
he came out in ninety six.

Speaker 8 (01:24:37):
I did Let Me Love You in ninety four and
Usher Crazy in ninety four, and they both came to
Sacramento and recorded up there.

Speaker 4 (01:24:46):
That was Usher's first album, that Diddy A and R
and the whole thing.

Speaker 8 (01:24:51):
But Pete after that, Layla first of all, came to
Sacramento and murdered that that's a that's one take that
lead vocal and let Me Love You.

Speaker 4 (01:24:59):
Is one take.

Speaker 1 (01:25:01):
Really.

Speaker 8 (01:25:01):
She was smirking cigarette playing my Gallaga machine. When I
walked up on her, I said, you ready to do
this vocal? She said yeah, let's knock it out, put
a cigarette out, got on that mic, sung that entire.

Speaker 4 (01:25:11):
Vocal from top to bottom. Really killed it. Yes, so
let me let me love you a special to me.
I really really love love her on that.

Speaker 5 (01:25:20):
I totally forgot you did crazy on the USh album.
I forgot about that record.

Speaker 8 (01:25:23):
Yeah, I don't like I don't like talking about that
when I said that was my first Diddy experience.

Speaker 4 (01:25:27):
And it wasn't great.

Speaker 1 (01:25:28):
Really, let's talk about it exactly.

Speaker 8 (01:25:33):
Well, I mean, in a nutshell, as much as I
tried to not swing on my debut with I'm Swinging
to You and all that. Of course, it was a
big east well east coast, west coast thing going on
at that time. And and did he just had been
just put in charge of that kid Ussher and and
I was like, yo, this is how I hear this tune.
And I did it really straight.

Speaker 4 (01:25:54):
Well, he didn't like it and wiped it and had
Chucky Chucky Thompson was one of.

Speaker 8 (01:25:57):
My good friends redo the whole really, so that's it.
So I never could listen to it because that's what
happened to that. However, us should call me recently after
we had saw each other that book toward LA's book thing.

Speaker 4 (01:26:11):
Yeah, He's like, Yo, do you still have a copy of.

Speaker 8 (01:26:13):
That old way we did it? I was like, hell yeah,
that's just like, let me get a copy of that.
We want to do that in my live show. Wow
wow yeah yeah yeah so that that that made me
feel better. And Babyface liked my version better, by the
way too. At the time when it happened, I gotta
check that.

Speaker 1 (01:26:27):
You gotta see me that.

Speaker 4 (01:26:28):
Oh yeah, it's crazy.

Speaker 1 (01:26:30):
Yeah.

Speaker 6 (01:26:30):
I loved that first US album. I mean, he was
it's totally not age appropriate. He shouldn't have been seeing.

Speaker 5 (01:26:34):
That shit at twelve, I hold, he was, Yeah, yeah,
I do like that.

Speaker 4 (01:26:41):
Man.

Speaker 6 (01:26:41):
So so when they do New Beginning, what's your status
with the with the group at that time, I come.

Speaker 8 (01:26:47):
Out just like we did on the first album. I
come out to New York. I'm hanging out, I'm working.
We had, you know, in all the spots, hitting all
the studios.

Speaker 4 (01:26:53):
Quad. We recorded half of it at Quad, you know
where Tupac was. It was. It was very energetic and good.
I thought I was going good.

Speaker 8 (01:26:59):
I knew something was gonna be weird when their management
kept saying, hey, they got to write they have to
write on this song.

Speaker 4 (01:27:07):
They have to write.

Speaker 1 (01:27:08):
Here we go.

Speaker 4 (01:27:09):
So I was like, okay, you know, if they can contribute,
I'm not mad at it.

Speaker 8 (01:27:12):
Of course you can write, write right, Well, nothing really
ever materialized from the writing, and so I didn't think
nothing else about it. Well, the record gets done and
then all of a sudden, none of my joints are singles,
and I'm like, oh, this has been a concentrated effort
to sideline me, really because they just probably didn't.

Speaker 4 (01:27:33):
They were like, yo, he made all the money because
he wrote and produced.

Speaker 8 (01:27:36):
Yeah, so they was like they just tried to side
but they knew they couldn't take me off the record
because they needed my sound.

Speaker 4 (01:27:41):
But at the same time, they didn't release anything that
I did as a single.

Speaker 3 (01:27:44):
Did they write on any of those other songs that
you didn't do?

Speaker 8 (01:27:47):
I don't think so, especially certainly not the ones that
hit like You're the One. Maybe they did they write
on that. I don't know, but I know all Star
was responsible for killing it. And but see all Star
was a part of the original success via the remixes,
So to me that made sense. That was a continuation,
you know what I mean. But at the end, of
the day, same subject things. You're the one, it's the
same thing.

Speaker 4 (01:28:07):
It's the subject of I'm gonna it's the same subject again.

Speaker 2 (01:28:09):
You feel so even this time around with the proven history, like,
there's not a more of a bonding between you guys.
It's just strictly business and that's that's such a great Okay,
let's not ruin a good formula, because there's nothing harder
than doing your second album and having to prove that.

Speaker 4 (01:28:30):
You know, no, it went the exact other way.

Speaker 8 (01:28:32):
Unbeknownst to me, I had no idea that it was
so hostile towards me until it happened.

Speaker 4 (01:28:39):
And when you call the album new beginning, you're trying
to tell me something. Damn.

Speaker 5 (01:28:42):
So how long did that circle back take? Because y'all
are you know, y'all are back to good.

Speaker 8 (01:28:47):
Beautiful she's been good for a while. Yeah, But I mean,
but then but they left that particular manager was the day.
Was was the reason for all the drama sounds like
between me, between them, between the.

Speaker 4 (01:28:58):
Messenger, it was bad. Yeah.

Speaker 6 (01:29:00):
So I was so happy to see y'all get back
together for rain Man, Like when y'all when they did.

Speaker 1 (01:29:05):
The yeah, the release, Yeah, yeah, yeah.

Speaker 4 (01:29:08):
Yeah.

Speaker 5 (01:29:09):
I was so house, like, yes, if he's back with Bron,
you know it wasn't.

Speaker 4 (01:29:13):
Because I chose to really that moment little backstory quest. Yes, yeah,
all right, peep this.

Speaker 8 (01:29:21):
So I was so hurt by the whole not releasing
songs like Fine Time that people consider should have been
a single the ballot or what's it gonna be?

Speaker 4 (01:29:31):
That's what I'm here for. I got five solid joints on.

Speaker 8 (01:29:34):
That album that I thought at least one or two
of them could have been singles and sold most of
the fans.

Speaker 4 (01:29:38):
So I was like, in my mind, I was like, Okay,
I'm done with them. I'm moving on. Uh so Brandy.

Speaker 8 (01:29:43):
I was focusing on Brandy because Sylvia Ron reached out
and gave her and.

Speaker 4 (01:29:47):
Maryland Bob I know, you guys remember that name, Marlin Bob.

Speaker 8 (01:29:50):
They reached out and gave me a production deal a
song deal rather, and they're like, Yo, we're gonna do
like a five song deal with you.

Speaker 4 (01:29:58):
Can you give us some joints? I'm like hell, oh yeah.

Speaker 8 (01:30:00):
And I was like, but I want to work on
Brandy though, and she's not really you know, she was
on Atlantic, she wasn't on East West Atlantic. So she said, well,
that's in our family word. So I wrote three joints.
One is called Don't Change, one is called Rain, and
the other one was a third one that I have.
I never titled it. It was just a third joint.
So look, so I let them hear them. They're like, Yo,
that's crazy. You need to get in with Brandy right away.

(01:30:22):
So I'm in New York. They put me in Daddy's
house the studio, and were going in there and we're
about to cut it. And I remember distinctly, Kelly Price
was working with Diddy in one room. Di Angeletti might
have been in another room, and I was in this
room that me and Brandy were supposed to potentially start
cutting Rain in. I remember playing Rain for Diddy. He

(01:30:44):
said as all right, and then yeah, and then and
then you know, just and I'm still not over my
I'm still not over my crazy thing, you know, crazy.
So I'm thinking I'm a get in with this one.
And then he's like, eh, anyway, So I get a
phone call and it's this an R guy, Anthony Morgan

(01:31:05):
at r c A.

Speaker 4 (01:31:05):
He's like, YO, check this out me, Please don't cut
that on Brandy.

Speaker 1 (01:31:15):
Wow.

Speaker 4 (01:31:15):
And I was like, what it's like, yo, man, that's
a s w V. Join. So it has circulated in
the in the in the you know, somehow circulated.

Speaker 2 (01:31:23):
You the most circulating talked about producer man of social industry, right,
so p.

Speaker 4 (01:31:33):
So then the net it's crazy, right, But when Rodney.

Speaker 8 (01:31:40):
Listen, when Rodney Jerkins took over the Janet, I mean
the Brandy record, he and this is the Boy's Mind album.
So I think, and Rodney will tell you this, he
loves Rain as well, but somebody I don't know who
got it.

Speaker 4 (01:31:53):
Who's here, But it ended up being we're not going
to cut this on Brandy?

Speaker 1 (01:31:57):
Yeah, So then which is Angel in disguise? Okay?

Speaker 8 (01:32:02):
So you see so look at so I'm cool because
Sylvia and them already broke me off for these songs.
So I'm like, oh, that was just a demo that
I just got paid a couple hundred thousand word awesome.
And so then I said to Anthony Morgan the next day,

(01:32:23):
you know what, Okay, I'm here, we can cut it on.

Speaker 4 (01:32:25):
We can cut it on this WV. And that's how
that got on that Wow.

Speaker 6 (01:32:29):
So during the so during that session where y'all, what
was it like with you and Co. Yeah we all
still cool or how was it?

Speaker 4 (01:32:38):
Now? I understand this.

Speaker 8 (01:32:39):
By this time, a whole new paradigm shift had happened.
Missy and Timberland are part of the equation now.

Speaker 4 (01:32:46):
Because they come out with That's right.

Speaker 8 (01:32:51):
So absolutely, and so Missy called me to be to
hang out on the set of the Rain video, which, ironic,
both these songs I'm doing have to do with water
and Rain. I went hung out, and because because she
had cameos at the end of that video. Remember seven
o two was in there, and yes he's not in there, Coco.
Miss Missy and Coco were beefing at the time over
some bullshit. Wow yeah, some some stupid shit, probably some

(01:33:15):
ego ship but anyway, so Coco was not invited to
the video of that Missy Elliott video, which I was.

Speaker 4 (01:33:22):
So I went and hung out.

Speaker 8 (01:33:23):
We recorded the vocals to the backgrounds to reign On
Taj and Leelee at Electric Lady Land.

Speaker 4 (01:33:28):
Hello, very did, and then we did. I did Coco's
lead vocal at right track. Remember right track?

Speaker 1 (01:33:37):
Yeah, yep.

Speaker 4 (01:33:39):
So so those those are my two days of recording
in New York. And in between that's me that's me
from the demo let you just follow me. That's me.
That's me of course right, and it's.

Speaker 1 (01:33:52):
Also you singing uh, because I never thought.

Speaker 4 (01:33:58):
Yeah, yeah, we can't forget.

Speaker 8 (01:34:00):
I always on my mind tribute to my hero Charli
Wilson and the gay band earning all day.

Speaker 4 (01:34:04):
And I did it unabashedly, very clearly.

Speaker 8 (01:34:07):
And by the way, just while we're in this moment
quest I made sure after I saw you know, your
Charlie thing on on the on the on the other show,
I was like, yo, I feel like he lightweight kind
of came after me on week somebody I made a
lot of money a week and it was basically he
thought it was another record.

Speaker 4 (01:34:22):
Truth of the matter.

Speaker 8 (01:34:23):
I never thought about that record. I was only thinking
about Wednesday Lover, the one me and font are talking
about and and so. But but he but it got
back to him that I said that, and he called
me any any thanked me. He's like, yo, bro, no,
he said this, you are a gap band by your
damn self. Praise its huge, right, And so I was like, man,

(01:34:45):
I love you so and I got this joint for
him called better man right now.

Speaker 4 (01:34:48):
But if he does it, who it's crazy quest, wait too, Quest,
we got to start sharing. Okay.

Speaker 8 (01:34:53):
Yeah, So once Rain came out and uh and Missing
Him came out, now we're in a new whole paradigm shift.

Speaker 4 (01:34:58):
Thank god. I got to play Rain for Timblin right
in the studio as he was mixing down.

Speaker 8 (01:35:03):
Are you that somebody show? So in the studio I
walked in. I kept hearing don't, don't, don't.

Speaker 4 (01:35:13):
I don't want to.

Speaker 8 (01:35:13):
Play in this black ass ballad shit. Okay, And you
know who brought me there to that session with Static Major?

Speaker 4 (01:35:22):
Rest in Peace?

Speaker 1 (01:35:23):
Yes, rest in peace?

Speaker 8 (01:35:28):
Everybody else from Player, all my homies form Player too, man,
that funky, smokey everybody bro.

Speaker 4 (01:35:32):
It was crazy black man.

Speaker 8 (01:35:34):
And so again, that was a moment in time I
will never forget. And I played it for Tim though,
and you know what he said, because his ears are incredible.
He went, I played him my demo version versus the
album version, and he's like, your demo version sounds better, bro,
And I said, I know right, he said a fatter.

Speaker 4 (01:35:54):
He just got it right away. And guess who else
was sitting there, Jimmy Douglas.

Speaker 2 (01:35:57):
I was like, I know, God, Jimmy Douglas. You feel
me so, I mean, yo, man, he's the greatest dude
ever ever. Jimmy Man me too, man, god Man crazy.
But that's you know, that's how rain happened. Look how
the ripple effect of.

Speaker 4 (01:36:11):
Rain has been so crazy? I can't even tell you like.

Speaker 5 (01:36:15):
Pulling me back?

Speaker 1 (01:36:17):
Yeah, come on, bro, favorite change jam, call away?

Speaker 5 (01:36:24):
I did like one call right now.

Speaker 4 (01:36:26):
I don't even know that one called away. It was
with I like that exactly.

Speaker 1 (01:36:32):
It was with with who was on the hook on that?

Speaker 7 (01:36:34):
I think we.

Speaker 1 (01:36:37):
Weave on the hook nice. Nice. That's the two chingy jams.

Speaker 4 (01:36:40):
And that's what you know.

Speaker 8 (01:36:42):
It's out right now on Rick Ross Summer rain yesh ship.

Speaker 7 (01:36:47):
I got it?

Speaker 5 (01:36:48):
Now you're gonna make me listen to That's.

Speaker 1 (01:36:50):
What can I ask uh? From the pastorious point of view,
How easy was.

Speaker 4 (01:36:57):
It to to clear that? Yes, very very easy because
at the time in ninety seven.

Speaker 8 (01:37:04):
Wasn't a whole lot of people sampling Jocko or doing
anything having to do with Joco at all, So it
was very easy.

Speaker 2 (01:37:10):
It's just weird because like I almost like you know,
there's some samples out there that are so quasi obscure
that you might be tempted to be like I can
get away with this.

Speaker 4 (01:37:23):
You know it's crazy. I didn't. I didn't let me
say this. I did not sample it. Let's get played it.

Speaker 1 (01:37:29):
I know that I know you inmp it.

Speaker 2 (01:37:31):
That's the thing like when you when you when you're
creating something like you know all the time. I'll put
it this way, I'll say that eighty I do.

Speaker 7 (01:37:41):
Well.

Speaker 1 (01:37:42):
Yeah, but just like eighty percent of the outperield I
do usually starts with a sample.

Speaker 6 (01:37:51):
I'm not I'll tell you after we stop recording, but.

Speaker 4 (01:37:56):
I want to know that. That's one of my favorite
What I'm saying.

Speaker 2 (01:37:58):
Is it'll start with this sample, and then I'll make
the decision on whether or not I'm gonna ride with
it all the way out, or if I'm gonna freak
it so that.

Speaker 1 (01:38:09):
No one knows what it is or whatever, you know,
and then I.

Speaker 2 (01:38:15):
Dress it up and then I take the sample away
and then blame it's a it's a song on its own,
but Portrait of Tracy could be one of them things
where it's like, yo, this is man familiar. I mean, yes,
you definitely stuck with the melody or whatnot. But in
the beginning, did you definitely say like I'm gonna make
a joint to Portrait of Tracy.

Speaker 4 (01:38:36):
No, let me tell you this. I'm gonna do this
story right here. Is really quick. It's very quick.

Speaker 8 (01:38:41):
The only reason I even know about Jocko at all
is because of Layla Hathaway. And so when I was
doing let Me Love You like You described with Janet
and Jimmy and Terry, I went to her apartment. We
hung out, trying to get a vibe, just to get
between us right energy. She pulled out all this vinyl.

Speaker 4 (01:38:56):
One of the vinyls was the Jocko debut, the black
and white joint with tra Just on the cover. I
was intrigued with the cover.

Speaker 8 (01:39:02):
So when I pulled out and I saw that Herbie
Hancock did the notes, I was like, oh my god.
So when I started listening listen that, when Portrait of
Tracy came on, It's my whole soul and spirit was
just snatched and transformed.

Speaker 4 (01:39:12):
Right. So I was like, oh my god.

Speaker 8 (01:39:14):
So when I went back to Sacramento, before I even
did Let Me Love You, I did my homework.

Speaker 4 (01:39:18):
I went and bought that CD. So I just lived
with it.

Speaker 8 (01:39:21):
Now when I heard it again I listened to it,
I was like, oh, that's crazy. When if I ever
used that, it's gonna be dope, and then forgot all
about it.

Speaker 4 (01:39:29):
Four years later, ninety seven, ninety six, whatever.

Speaker 8 (01:39:34):
But three years later, I'm in the shower a hook
comes to me and it's full entirety never happened before
in my life. A whole hook with the words and
everything came to me as I was showering. Water is
always involved in my shit.

Speaker 4 (01:39:46):
So I fucking the whole rain down on me like
love this all Like man, it just came to me,
and I said, hold on, man, hold on, hold on,
hold on. In my mind I heard it clearstay. I said,
if that jacko thing works with what this hook is,
it's gonna go together. Well. So I ran to my

(01:40:07):
studio with a.

Speaker 8 (01:40:09):
Towel on, put the Jocko joint, put the Jocko joint on,
and I took it as divine intervention.

Speaker 4 (01:40:15):
When it was in the same key, I heard the damn.

Speaker 8 (01:40:20):
And when I went I said it. I sung it
out loud on my voy ain't not me, And I
put the record and went.

Speaker 4 (01:40:27):
And my hands went up.

Speaker 8 (01:40:29):
I turned on that NPC. I did that beat right,
then and there too. Yeah, absolutely wow. In a towel,
I said, no, nah, I'm doing this joint right now.
I didn't want to lose the feeling.

Speaker 4 (01:40:44):
Of what I felt. And I'm gonna tell you something.

Speaker 8 (01:40:46):
My sample that I never told nobody and Rain, this
is a beat they ain't got nothing doing with no
melody nothing.

Speaker 4 (01:40:51):
There's a beat on Michael Jackson's solo.

Speaker 8 (01:40:54):
Album where he redoes Bill Withers use me. So you
gotta check this out.

Speaker 1 (01:41:01):
It starts with a beat or ain't no sunshine?

Speaker 4 (01:41:03):
I mean, ain't no sunshine. It ain't no sunshine. Drums,
ain't no sunshine at the beginning. I'm sorry, you know
what I'm talking about.

Speaker 7 (01:41:10):
So when.

Speaker 4 (01:41:13):
Boom, right, So if you listen to Rain, there's a
little tiny thing.

Speaker 8 (01:41:19):
I didn't want my beat to feel so stiff on
the NPC, right, So my beat.

Speaker 4 (01:41:24):
Is bum bum bum bum. That little is the dreams.

Speaker 1 (01:41:38):
I love it.

Speaker 4 (01:41:39):
I love it, and that gives you that that real
human feel in there. So when people try to.

Speaker 8 (01:41:45):
Recreate it on whatever devices that they have, they forget
that human element, like James Gad saying or somedamn body.
But it's like, you know what I mean, and I
did that, and then I just played the keys, and
then when I wanted to sample Jocko, but something told
me no because I didn't want to stretch it and
have it sound all weird. So I called one of
my favorite uh bass and guitar players over to my

(01:42:08):
house of Sacramento, and he just replayed what I wanted
him to play.

Speaker 4 (01:42:10):
And I didn't want all the notes.

Speaker 2 (01:42:12):
I just said, dude, yeah, I was going to say,
every bass player worth a green of salt, like that's
their entry into the world of jazz. You gotta know
Team Town by Jacko well Weather Report, and you gotta
know Portrait of Tracy Damn right like modern jazz.

Speaker 1 (01:42:26):
Like that's just without.

Speaker 4 (01:42:28):
Saying, but you know what the first person, as sambled
it was master.

Speaker 1 (01:42:31):
P Nigga, what's doing?

Speaker 4 (01:42:36):
It's called you just don't Know? It was the only
only like nine months later and it's called you just
don't know? What you did to me?

Speaker 1 (01:42:45):
I missed that one.

Speaker 8 (01:42:46):
Missed that one though, that him doing that without getting
permission paid off my publishing debt to Universal at the
time way back and by two thousand that record because
he sold four million albums that was on his album
called The Last Dawn.

Speaker 1 (01:43:05):
It was on the last song because that was the
double CD. It was right, Damn, I forgot about that record.

Speaker 8 (01:43:10):
And yes, four million albums so way before CHINGI master
P did it within a year of me putting it
out right.

Speaker 4 (01:43:19):
Paid off my All of a sudden.

Speaker 8 (01:43:20):
I knew what I had gotten from him as an
advance like in ninety eight, and then in two thousand
it was already paid off.

Speaker 4 (01:43:27):
I was like, wow, yeah, and it was because of that. Okay,
So one big.

Speaker 6 (01:43:39):
Is it ever as you look back over your career,
is it ever a part I guess where you're at
now where you still have the yearning like to be
an artist that'd be all the just the great things
you've done as a producer. Is it still a part
of you that yearns to just like put out your
own music and still sing because you still got it.

Speaker 5 (01:43:56):
I mean, you still got the chops and you could
still do it.

Speaker 8 (01:43:58):
So not only that I am doing it, and I
finally got myself into a position financially where I can
do it and do it and do it right. So
that's exactly what I'm doing right now, like putting something
together for you guys and the fans that love all
the stuff that we talked about, plus stuff I'll be
slipping out to certain people.

Speaker 4 (01:44:17):
I'm totally doing that and with artists I find that's.

Speaker 8 (01:44:19):
What I just gave a quest, that was those exclusives
that he can play if he wants to, because it's
a couple of new artists on there or and then
some old me and Coco's on one, and then this
new girl, Nephutitiavanni is on another. She's a badass writer
and a dope ass singer. Check that out joint called
do It Again. I think you guys are gonna appreciate
what we got going. And I'm about to put out
a lot of stuff that I wanted to do on

(01:44:40):
other people that I never did do, Like those other
two songs that I did on Brandy. I want to
put those out. So I'm trying to get I'm just
grabbing folks and putting them on joints.

Speaker 4 (01:44:49):
And I call it BAM's rare, remixed and unreleased. I
love it. You're gonna put that, I'm gonna put No,
I'm gonna put the new crazy with this new dude
that's a crazy singer, all right.

Speaker 5 (01:45:02):
That makes it's cheaper.

Speaker 4 (01:45:03):
Yes, it's a whole nother joint. Hey, hey, it's trapped out.
It's dope, it's dope.

Speaker 2 (01:45:10):
Can you talk about well, I know that there's not
even I won't say resurgence, but you worked on with Drake.
What was that situation? How did that situation come to be?

Speaker 4 (01:45:23):
Came to be? Wow?

Speaker 8 (01:45:24):
You know what's crazy I learned about Toronto is that
they're Detroit adjacent. And let me tell you something. The
Toronto fans of as far as sw vegos are voracious.
They know their ship.

Speaker 4 (01:45:38):
Like I was shocked to know that Noah like forty yea.

Speaker 1 (01:45:44):
Champion.

Speaker 4 (01:45:45):
Them dudes know their ship. So when they reached out.
I have been working with DJ Khalil, who was one
of my best friends here in l A. Thank thank god. Man. Yeah, man,
I love him to death.

Speaker 8 (01:45:57):
And he's the guy that said, man just moved to
La stopped playing, just moved to La because I was
just kind of like not wanting to live in La ever.

Speaker 1 (01:46:06):
And but why is that? Because wouldn't it be easier
for you to go to where the water well is?

Speaker 8 (01:46:15):
You know, it's funny, that would be true usually, but
since I had made such of my own little lake
in Sacramento.

Speaker 4 (01:46:21):
It was easier to just stay in it, you know
what I mean. I was a small in my own
little I created my own thing there, and I was
doing my dance stuff. I was just doing my thing.

Speaker 8 (01:46:30):
But it's it's when Chris Brown redid she Ain't You?
In twenty eleven to right here and it did so well,
and then pulling me back in eight It was just
all these little things kept telling me, man, maybe I
do need to step my toe back into it, just
because I had I had.

Speaker 4 (01:46:45):
This is what happened.

Speaker 8 (01:46:45):
I was over the fact that we couldn't seem to
get any traction with black artists, and that it seemed
like that all the black stuff was getting done in
white face.

Speaker 6 (01:46:55):
It and and that, and that was frustrating and I
was just over it. So I started doing one that
done in white face. It was being called pop and
it wasn't mean called R and B exactly right.

Speaker 8 (01:47:07):
And then you all of a sudden relegated our chart.
All of a sudden it looked like the gospel chart
used to look what is wrong with you? Are y'all
kidding me right now?

Speaker 1 (01:47:15):
And that was did somebody said white face I'm right here.

Speaker 4 (01:47:27):
I love it. Question hear me?

Speaker 1 (01:47:29):
Know?

Speaker 4 (01:47:29):
So like I dipped out?

Speaker 8 (01:47:31):
I mean you know why because my mailbox money was
so crazy I could afford to didn't.

Speaker 4 (01:47:36):
I wasn't really tripping on.

Speaker 1 (01:47:38):
What was that money?

Speaker 4 (01:47:39):
That's the dream right there? That phrase is amazing. My
mailbox money. Listen. Let me tell you something. Pulling Me
Back was a big pop record. Let me tell you
Jermaine Deprie.

Speaker 8 (01:47:48):
Shout out to Jermaine dupri and a big not to
Jermain Depres for real because a lot of producers don't
want use some other producers stuff. That was huge that
he did that, and I want to thank him publicly
right now. Thank you your main love you. And then
again with Chris Brown with she Ain't You?

Speaker 4 (01:48:04):
And that did well.

Speaker 8 (01:48:04):
So that was the year that I decided I'm gonna
move to LA. That was twenty eleven. I actually did
it in twenty twelve. And DJ Khalil is the person
who received me with open arms. And as you know,
because he told a story about It's About Time album
that brings me to tears. He was playing basketball, thinking
he was about to be a basketball start riding on
the bus and they gave them promos out for free

(01:48:25):
to a lot of people that he knew in the business,
and he put that on as a as a college
basketball player, put it on the headphones and on a bus.

Speaker 4 (01:48:31):
He said, by the time he got that through playing
at this about time, that changed his life.

Speaker 8 (01:48:36):
So that and then the fact that Jeff Foreman is
the one who mentored him and gave him his first
gig in television doing music for what's that show?

Speaker 4 (01:48:45):
It's an entertainment Tonight show called the Other One the
Troll with.

Speaker 8 (01:48:49):
Yeah, that's how Khalil became. I got back in his
life because Jeff Foreman was working with him, you know
what I mean. So if I don't know if you
guys believe in divine stuff like that, but to me.

Speaker 4 (01:49:00):
Absolutely that right there was.

Speaker 8 (01:49:03):
It's a lot, so long story short, thank god I
got in it. Khalil had already worked with Drake, so
he knew what that camp was like. And I was like, man,
I want to get down. I think forty found me
from somebody. I don't know how he found me, but
he found me and he asked me if I had
anything original.

Speaker 4 (01:49:20):
And I did.

Speaker 8 (01:49:21):
And that's how the song nine got done is because
I already had it and I sent it to them
and him and Boy wondered to touch it up. And
that's how that got on there turn of six two
or nine now, And that's how I ended up on views.
And as a result, I think the producer nineteen eighty five,
who's amazing himself, we started working and that's how I ended.

Speaker 4 (01:49:40):
Up on the Khalead on the Way record.

Speaker 7 (01:49:44):
And on that could.

Speaker 8 (01:49:45):
If y'all listen, I'm just I'm just doing my best
Jimmy Jam invitation on the keys, all of that, all
of that keys, baby, you know the nice Roads chords.
You feel me everything I miss at home, warmth and
all that. Yes, I'm trying to give it.

Speaker 5 (01:50:06):
All this stuff come back around, man, and I'm hopefully
bringing it.

Speaker 4 (01:50:09):
I'm trying to you feel me like quest, what do
you think about the on the Way record? Are you familiar? Oh?

Speaker 1 (01:50:16):
The colliding No?

Speaker 4 (01:50:18):
It?

Speaker 1 (01:50:18):
Yes? Absolutely?

Speaker 4 (01:50:19):
Word? Okay good, I'm sure if you look okay good.
So that's that's how that happened.

Speaker 1 (01:50:24):
That Nigga. I ain't feeling that ship.

Speaker 4 (01:50:29):
Hey, I'm hoping you is dope.

Speaker 6 (01:50:31):
Khalid is dope, bro. That record he got the talk record,
he got with disclosure.

Speaker 4 (01:50:36):
Crazy shit hardest, yeah crazy. He don't do no whack ship.
Everything he does is cool. And you know what I'm saying,
shout out to.

Speaker 6 (01:50:44):
Oh yeah yeah, shout yeah, that's the homie over it
and keep cool, Tungey and Josh.

Speaker 4 (01:50:52):
Absolutely and and thank you for making sure that that
all went down with with with Khalid, I mean.

Speaker 2 (01:50:58):
Out here where you are right now, and you know,
I guess as evidenced by especially with where we are
in twenty twenty and as we witnessed, especially watching the
Monica and Brandy sort of resurgence, it's I almost feel

(01:51:20):
like there is finally there's a respect with a K
put on the name of really good R and B,
Like do you feel as though this is now? Did
you was ever a point where you felt like it
was a little hopeless, Like well, yeah, this doesn't exist anymore,
because you know, I'll go to the iTunes charts and

(01:51:43):
I'll be shocked that, like you know, like get Lifted
by by John Legend is still like the still in
the top ten of the R and B charts or
iTunes like it amaze you how deserted that you know
those charts are right now? But wow, you know do
you wish or envision a day where it's like, Okay,

(01:52:05):
we could bring the art form of singing back.

Speaker 8 (01:52:09):
I think Bruno has has brought it a long way
with records like lucky for me. That's what I like
where you I mean them kind of joints. Uh my
people out here, my guy Mars Uh yeah, man, shout
out to all of the guys at fifteen hundred other
James Boloyd, everybody like that.

Speaker 4 (01:52:30):
To me understand where it comes from.

Speaker 7 (01:52:33):
And so.

Speaker 4 (01:52:36):
From Sacramento, absolutely, yeah, absolutely, so they get it. They
totally get it. And so I think they're.

Speaker 8 (01:52:43):
Bringing it back around. And I'm just happen to be here,
still here doing it and I'm just happy to be
doing it. So now to me, it's more exciting than
ever to be doing it with the authenticity that I have,
you know what I mean, And I still have the
understanding of today's stuff and what it is.

Speaker 4 (01:52:59):
You know, I'm not one of them old heads that
don't get it, you know what I mean.

Speaker 6 (01:53:03):
No, man, you know when we when we hung out, man,
that was the thing I was just so surprised by
because you were, you know, a producer that like I
grew up listened to, but yet we still listen to.

Speaker 1 (01:53:14):
The same things.

Speaker 5 (01:53:15):
Absolutely you had you know, you had like donuts and
I was like, like, like you was you know.

Speaker 6 (01:53:23):
So I think that was something that just the lesson
I took from you from that from that meeting was
just how important it is too.

Speaker 5 (01:53:32):
And I tell you know, artists at this all the time.
You don't have to like new music, but you do.

Speaker 6 (01:53:38):
I think it's important to understand it, understand why it works,
and understand why people gravitate to it. And that was
something I always admired about you, Like you just worked.
I mean you was up on everything, like you knew
all the ship I was listening, was like, yeah, I
got that list.

Speaker 1 (01:53:53):
You was right up on it. Man.

Speaker 4 (01:53:54):
Absolutely, I'm a DJ, and that makes it. You have
to know.

Speaker 8 (01:53:57):
I mean, how could you not know you're trying to
spend I mean I play dance, I play hip hop, I.

Speaker 4 (01:54:01):
Play house, Like you gotta know what's what? You ain't
seen none of my.

Speaker 1 (01:54:09):
Dude, I've seen your set.

Speaker 4 (01:54:11):
I'll be fucking around.

Speaker 8 (01:54:12):
Man.

Speaker 4 (01:54:13):
I can never do what you do, but you know
I love it.

Speaker 1 (01:54:16):
Man, It's it's you being creative.

Speaker 2 (01:54:18):
That's everybody that you see DJing right now in the
in the age of quarantining, is.

Speaker 1 (01:54:25):
Trying to get the creative, creative juices working.

Speaker 4 (01:54:28):
I love it.

Speaker 1 (01:54:28):
I love watching DJ sets online you know, and see
what people are because.

Speaker 8 (01:54:33):
You guys are so damn intimidating. I'm like, oh, fuck it,
they don't done. Seven hours before I even get the
funk up, I was like, I ain't.

Speaker 1 (01:54:39):
Seen you pop up on them alive? Man, what's going on?

Speaker 4 (01:54:41):
You know what's crazy? After so much I started doing
this album trying to get it ready for you guys.

Speaker 5 (01:54:45):
I need wah.

Speaker 8 (01:54:51):
But I'm so happy just to even be in the
conversation about stuff that we love like this, bro, Like
it's still here doing it.

Speaker 4 (01:54:57):
You feel me. That's my most important thing. I'm like, man,
thank god, I'm still here actually doing it.

Speaker 1 (01:55:03):
You know, we thank you, We appreciate it, We thank
you for coming on the show with us.

Speaker 4 (01:55:08):
Man, this is thank you. Guys.

Speaker 1 (01:55:10):
We've been trying to make this happen a long time.

Speaker 5 (01:55:12):
Yeah, I told you I was gonna get you.

Speaker 4 (01:55:16):
So I ain't heard no call.

Speaker 1 (01:55:17):
From Like, yeah, I'm like, bro, I'm looking on it.

Speaker 7 (01:55:22):
I love it.

Speaker 3 (01:55:23):
I love it.

Speaker 8 (01:55:26):
For you.

Speaker 4 (01:55:28):
You know what day because we made it happen. I
love you, guys man. Thank you so much back there.

Speaker 1 (01:55:33):
We appreciate it.

Speaker 4 (01:55:33):
This is a jump off of a whole lot of
stuff to come.

Speaker 2 (01:55:37):
Once again, Brian Alexander Morgan the Great on Quest up
Supreme when we have a lot of sugar.

Speaker 1 (01:55:44):
Steve take alot, paid Bill somewhere else there in the world.
Thank you very much for listening. Thank you, thank you,
thank you, thank you.

Speaker 7 (01:56:00):
Much.

Speaker 1 (01:56:00):
Of Supreme is a production of iHeartRadio. For more podcasts
from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever
you listen to your favorite shows.

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Episode Transcript

Hosts And Creators

Laiya St. Clair

Questlove

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Questlove Supreme: Brian Alexander Morgan