December 14, 2022 • 51 mins
Part 2 of Questlove Supreme's Organized Noize interview in Atlanta continues with a discussion about OutKast's progression as producers and the dispersing of the Dungeon Family. Rico Wade, Sleepy Brown, and Ray Murray revisit favorites from OutKast, Cool Breeze, and Curtis Mayfield while uncovering major plans that never came to fruition.
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Speaker 1 (00:00):
Quest Love Supreme is a production of iHeartRadio. Yo. What's
Up Everybody?
Speaker 2 (00:06):
This is fun Tigalo from Questlove Supreme and part one
of our Atlanta interview with Organized Noise. We discussed how
the gods Rico Waite, Sleeping Brown and Ray Murray got
down together. We also heard how they changed the game
in terms of sampling and really gave Atlanta a musical
identity and rap. Please make sure you check out the
first half of that interview, and that'll way back apart two.
This discussion is gonna be just as rich and even better.
(00:28):
I know y'all gonna enjoy this one. I enjoyed this one.
These brothers are legends and gods to me only on
q LS, Yes Her Peace.
Speaker 3 (00:45):
What happens when suddenly the student wants to become the teacher? Like,
what's the division of labor in terms of you know,
I'm sure that you guys are a tight three tight
unit that.
Speaker 1 (01:01):
Handles the music Noise versus Earth Tone three.
Speaker 2 (01:03):
What was the Yeah, we wanted them, we wanted them
to learn them if we wanted if we wanted them
not to learn that, they wouldn't have been in the
sitting there next to us.
Speaker 1 (01:11):
While we're doing it. So we wanted them to.
Speaker 3 (01:14):
But how how are you guys as friends and as
business partners when it's time for bad news and production?
Who's the person that has to like, can you talk
about a song that almost didn't make it?
Speaker 4 (01:28):
Like well to be very honest with our dynamic because
it was a Parliament type of family. So it's like
you had a George Clinton, then you got Boosty. You
got all these different people who came from this that
was great. Everybody legends, but they all rock with somebody
because that person had the thought process that they all
agreed upon. Ray and Sleepy thought process musically hip hop, drums,
(01:54):
rawness and music, vocals, harmonies being live organic, who's not
using that now?
Speaker 1 (02:04):
Who's not who? It's like we got all.
Speaker 4 (02:07):
The not not thinking about the breaks as much. All
the thinking about is the breaks. Like, so you got
a marriage of like something like a sound that becomes
a sound. Me the competitor. We're gonna compete with whoever
else doing it, because we got it. I got the
so we're gonna compete whatever I need to learn or
to bring to it as far as musicians, as far as.
Speaker 1 (02:27):
The lame part, what kid Win, who cares what kew in?
Speaker 4 (02:30):
I need to know what keep in, so I can't
say eybody know what I'm saying, Like but like they
just they just doing it so big and Drake se
Lo guilp anybody, p A Reese, anybody who's around these
two people when they were making music, Oh, me and us,
it was us, but just how hardcore they were about
their things. Like wed if Ever, if he didn't care,
(02:53):
none of his beats came out. We're gonna make them
every day and just throw them to the side. You
had so you you you around people who's acting like that,
you might think.
Speaker 1 (03:00):
Like God, it's some dope.
Speaker 4 (03:02):
He just turns it off, went to something else. I
want a chance to do it. You want to follow
into it because you want to do it your way.
Nobody ain't gonna do it the way these casts are
doing it. But you're gonna learn so much Kanye West,
any of these producers, like like what Organized Noise did
wasn't one person, you know what I'm saying, And while
they was working, I might have been at the store
of buying sounds, you know what I'm saying, or whatever,
like whatever it took budget like someone who can be
(03:24):
like that's let's pay for it. Yes, we could pocket
more money. Like we learned a big lesson from Parental
Advisory with Pebbles. We use a lot of samples, and
she told us, she was like, well, you got like
ninety thousand dollars left in your budget and you guys
get the remainder of the budget, but you got to
give me all the samples first. Let me clear the
samples first. Then we end up getting negative three thought
(03:46):
old out right, you know what I'm saying. So from
that point, from that day we started working on outcasts.
Like that's when we had found outcasts, so we knew
it's gonna be hip hop, but we we fin to
get better. So I had started incorporating with Sleepy New
with live musicians want to.
Speaker 2 (04:00):
Y'all too by some of y'all session musicians like Chance
Parkman and like some of the guys like who what's
y'all's relationship?
Speaker 4 (04:05):
Yeah, Preston from Preston Kenneth Right. Kenneth Wright was one
of the first ones when we did outcasts. They end
up kind of drifting to the church a little more
but great.
Speaker 2 (04:13):
And who was playing piano on probably one of one
of my favorite productions. Y'll ever growing old Nigga? That's chance,
that's chance it is on that, dude, there's a chance. Okay,
there's an at Alien sampler that came out and it
has a version of growing on on it.
Speaker 1 (04:30):
I think it's an early version, right looking at that
tenth rocks fat ass to turn the flap.
Speaker 2 (04:36):
Yeah, it's a verse. It's before I guess y'all played version.
I like the at Ali's version, the one that came out.
That's like, that's the one. But was that the reason
why y'all took the sample out?
Speaker 1 (04:46):
What sample was it? I don't know the sample. It
was just a different version.
Speaker 4 (04:50):
I don't remember a different version sample was I don't
remember no sample. If it was a different version, I.
Speaker 1 (04:56):
Know, I know, I don't know. Maybe this is a
piece negotiation. It is a piece of I don't know
who did. It was just a different version. It was
a different version.
Speaker 2 (05:09):
This is why I said, this is yeah, but no,
that's like just a gorgeous FU song had spoken.
Speaker 4 (05:16):
I was just I was thinking it was about that
that Markuez Marquis wrote that hook or whatever, like and
Hades did waterfalls, so like we just wanted to sound.
We felt like we owe outcasts of record that sounded
more like something, even if it wasn't if it wasn't
a third single or whatever. We felt like since we
produced them, we got to present some of the kind
(05:36):
of music that we've done on other artists. And that's
something else I want to say two quest. It's like
why we never had that problem with Big and Dre
because we was going like we we had waterfalls out
before they second out, they thought we would have these
are the guys whoever they put out. They didn't know
Outcast was gonna end up being twenty million sellers. And
what I'm saying, it's like but they took they they
(05:56):
had a like in vogue, like even the fact that
we did sell Therapy Rock New York like this this
this song and watch for the hook.
Speaker 1 (06:07):
I watch for the hook.
Speaker 2 (06:08):
When we did the Tunnels in New York City the
night that I knew New York loved m famous my
theory watched I thought that was like y'all's answer to Benjamins,
Like it's you know what I mean, just the sixteenth
(06:29):
pats that like it felt it felt like that like
a y'all's answer to like what the East Coast Club
record was.
Speaker 1 (06:35):
It's the foundation of hip hop. Yes, break I would
do that.
Speaker 5 (06:44):
I'm gonna do, but you gotta understand, like just listen, listen.
Speaker 6 (06:56):
I just want to say this, this is this is
hip hop from the South.
Speaker 1 (07:00):
Right.
Speaker 2 (07:01):
What song do we say, No Southern Man, come on,
come on saying brother man.
Speaker 4 (07:10):
It's said brother man, you and everybody else. But if
you dug in the crates, you'd be like, man, this
song called Southern Man.
Speaker 1 (07:18):
Come on man? Oh yeah, killed that.
Speaker 2 (07:19):
No East Point is great listen, man, like that record
I remember reading, but just all the stuff that happened
with Intersco and everything, like y'all's production on that album.
Speaker 1 (07:29):
Man, like Witch Doctor.
Speaker 2 (07:30):
And Cool Breeze, Like man, y'all was in the zone
and that ship.
Speaker 1 (07:36):
And really we were just giving back.
Speaker 4 (07:37):
We did Goodie Mob abut every time we was in
a position to do what you said, keep it rough
and raw, even if we sacrifice having a commercial, bigger success,
we put some swat healing Rich, Witch Doctor, like I'm saying, like,
and Cool Brees and it was like it's like it's
like it's like is dirty South.
Speaker 1 (07:58):
For one.
Speaker 4 (08:00):
It was on the Goodie Mob album but he the
one who said what you really know about the dirty side?
It's his song, so it's almost like it was his
song get Up, get out. That's see low that was
his song. Wow, it was on Outcast album, but it
was his song. See That's what they did as a family,
like like like being around it was like it was
our Wu Tang other people. They were setting their people up,
you know what I'm saying, and not doing it too
(08:21):
commercially like you know, like it's BBD Boys and Men
and ABC like, but but doing it like that because
we come from.
Speaker 1 (08:27):
R and B.
Speaker 2 (08:27):
You know what me and Re always talked about, if
that first Outcast album would have been called Dudgeon Family,
people would get it more, people would get it on,
and we would be in the same thing as Wu Tang. Yeah,
because y'all put everybody on. Everybody. That's what the album was.
It was just our care. It was everything set up.
Speaker 4 (08:42):
Working on this song was everybody was around that every
day like literally because these kids was kids fifteen, sixteen,
seventeen during it and by time he worked on that album,
there was seventeen you mean or whatever, So so at
that point we put them first. But the same time.
We all knew it was all our opportunity. So I
need I need your best, I need your best. They
(09:04):
gotta they gotta do their part. They gotta do their part.
But everywhere where there's a little spot sleep, I'm gonna
need you to do funky ride. I'm saying, yeah, big
route right onto the real to.
Speaker 1 (09:14):
The question.
Speaker 2 (09:18):
Free Wow to open the album with that really could
have been an anthem at no point where you guys like,
let's make this a song, like a full fledged.
Speaker 1 (09:32):
Song, and that ain't with the drums yet.
Speaker 2 (09:34):
Free and You May Die, which is like my favorite
intro of any album.
Speaker 4 (09:37):
I'm gonna have this about free first because because this
caught this, this thing been happening all day.
Speaker 1 (09:43):
Philly in Atlanta got that soul. We got that soul.
Speaker 4 (09:48):
You know why, because my my, when our big brothers
McKinley Horton, he came down here, just jumped on to
McKenley Horton from Philly, Philly, forget, he just jumped. He
just jumps on the worldlesser or whatever, just started singing.
Speaker 1 (10:05):
It was church. I'm like, man, it was not put
together the type of thing like like.
Speaker 4 (10:10):
You always just like it. It was a flex to
it was another tool. It was like ce Lo is
wrong and you see and you see where he is now.
We was that, you know, like we wasn't holding him back,
but we was making a street rap album. These cats
a lot of the peers that just had died, like
from school. It was very and we had the power
to not make them a goodie mind fun group, even
(10:33):
though that was obviously what you're supposed to do. After Outcast,
you got you got this, Yes, you got this Parliament
type of funky music. I know, you bring these guys
out funkier and and this and stuff, but we were like, naw,
we wanted to dig deeper into hip hop and and
make them see that we respect that. We know we
got the gloss on us or whatever, but but we're
serious about this. That's why the next Outcast album we
(10:53):
dumbed it down with with with singing hooks and try
to make it more wrap hooks or whatever.
Speaker 1 (10:58):
At Ali.
Speaker 3 (11:02):
Now for me, like the genius of Elevators was the
whole Greek course.
Speaker 1 (11:08):
Yes, yes, that was George.
Speaker 2 (11:10):
Yeah, that's what we want to, you know, say, makes
it sound like an old parliament where they're on stage.
Speaker 1 (11:18):
We want them to beate it before.
Speaker 3 (11:19):
In the so re Read reveals to us the process
of speaker Box and Level Below and the fact that
speaker Box was just his solo record, and then he says,
Drake called it was like, when is this shit coming out?
Speaker 1 (11:33):
And Read was like, uh, you know, in five weeks.
Speaker 3 (11:37):
He's like, if I if I finished my thing, Like
when I have to turn in he said, like three weeks.
Speaker 1 (11:41):
Three weeks, that's what he said.
Speaker 3 (11:42):
So for twenty one days he rushes, are you guys
even aware that Dre now creates that or has been
creating that record and has a twenty one day deadline
to finish everything.
Speaker 4 (11:56):
Big Boy and Dre were going back and forth with
that for almost a year before It's like they said
they wasn't gonna work again. This is when they told
us that this is their last album and we might
not and they want to do it at that point,
and I mean, I know Antonio probably said it, but
the guys, And that's where he does get credit. He
gets a lot of credit because he saved outcast the
brand and that's something that he was invested into from
(12:17):
day one, Like he knew that this is big in
this as the world this is like, like what this
was huge? Like this is a Whitney Houston, this is
a Tony Braxton, this is a big group. Like that's right,
Like that's when he used his business skills and then
let them sabotage their own selves.
Speaker 1 (12:33):
You know what I'm saying by like looking like.
Speaker 4 (12:36):
So he was like, man, put them out together. But
so but the fact of whatever debtline you're talking about,
I know that I'm lucky. I'm happy that Big Boy
had the way you moved because I think they doubted
Andre's album. They thought he didn't want to put Andre
Albu outcause din't think that it was right.
Speaker 2 (12:52):
I'm I wanted to make sure they're big because like
you know, we knew with Dre it was going to
be different what it was going to be.
Speaker 1 (13:00):
And thank god that, you know, we came up with.
Speaker 2 (13:04):
The way You moved because I ain't gonna lie, man,
I was nervous for Big you know what I mean,
just because you know, not saying that the popularity was
with Drake Moore, but people were actually waiting to hear.
It's funny how like you know, I'm sitting over at
the house at a cookout and Big has this CD
(13:26):
player has two hundred CD changing and I'm sitting in
the Boomoo room and all of a sudden, this beat
comes on there. He had this song for like three
years and it was the way you moved, but it
was broken all the way down. Then had the horns.
It just had a little d D the little keyboard
because I little buddy of Carmo did the beat. So
(13:47):
when I heard that beat, I started. It reminded me
of Marvin, so I started humming to No.
Speaker 1 (13:52):
No No.
Speaker 2 (13:53):
I was like, oh shit, So I ran out of
the busy. Big we gotta go to the studio to night.
I got a crazy hook for this one. And the
way you who was actually going to be my record.
You were going to do a whole new record for
Big and BIB like, yeah, we could do that. But
when La, when La reheard it, he was like, fuck no,
that's your rat.
Speaker 1 (14:12):
Yeah yeah.
Speaker 2 (14:12):
So I'm happy that it did because I didn't hear
hey y'all.
Speaker 1 (14:16):
Bro. I did not hear hey y'all till I saw
the video.
Speaker 7 (14:19):
But how perfect was it that y'all had? Like Big Boy?
Speaker 8 (14:21):
It was great because he had the fucking radio hit
right because the black radio hit whereas.
Speaker 3 (14:27):
The old timeout, So all right for me probably I'll
say the end of you know, no rap, work day whatever,
where every every major cosmopolitan city with the black radio
station still had their like, you know, more music, less rap,
you know whatever. That kind of died down in maybe
(14:50):
two thousand and five, two thousand and six. But for me,
all right, so WDS, which is the not the conservative
but the older it's.
Speaker 1 (15:00):
Not the highest.
Speaker 7 (15:01):
It's called the urban.
Speaker 3 (15:02):
Yeah, the urban station. Do you realize that for least
half of the radio stations playing the Way You Move,
we're playing a big boiler's version of that song?
Speaker 1 (15:15):
Yeah?
Speaker 3 (15:16):
Yeah, literally, like where's the verse? And I was like, yo,
they actually made a whole ass song. They play your
Bridge twice as the verse.
Speaker 2 (15:26):
And I heard that when I was in La after
it came out and I was playing pool.
Speaker 1 (15:29):
So did the label do that or did you guys
do that?
Speaker 8 (15:32):
Like?
Speaker 1 (15:32):
No, nothing.
Speaker 4 (15:33):
What happens is that in order to get your spins up,
you can't turn down, Like do you know they played
Waterfalls without Left Eye on those same stations they took
a verse out? Yeah what I'm saying so, but it
was those stations that we don't listen to We don't
listen to them, but those stations generate so much.
Speaker 2 (15:51):
Still need the BDS is you need, you need the spins,
you need to spin, Like, if that's what y'all need,
you need to span.
Speaker 1 (15:58):
It's disrespectful. So they don't even tell the artists because
it's rude. I kind of fly over you had you
sleep it brown version. I don't hate my brother big
I love but you know it kind of it worked,
It worked, it did, sposed to do work, sposed to do.
Speaker 3 (16:19):
So any point between like the first momentum of organized noise,
Let's say when the Socks and Draws come out ninety two,
the original player Ball Christmas ninety two, right, yeah, so
between hundree all right, so speak of boxes two thousand
and three, So that's in your period. At no point
(16:39):
were you guys just like, hey, let's do like, let's
really be a group now, or were you just like, no,
we'll well, we'll be the pilots of the ship and
just produce all their stuff.
Speaker 1 (16:51):
They man, I used to beg these foods to be
a group. Man, they never want to do it.
Speaker 2 (16:57):
So was so was the closest well of Raby back
is that the closest y'all came with like society, soul
and sleepy, and it was the closest.
Speaker 1 (17:04):
We're not sleeping thing because want to be a part yeah, society, society.
Speaker 4 (17:08):
So there was a part we didn't want to be
a part of the party. But la Reed said he
wasn't gonna do the group unless all all of us
in it. So it was like it would literally be
like they were going the road, big Rub and Esperanza,
Me and Ray would pop up whenever whatever. We just
looked at like Jim James Lewis was just gonna be.
Speaker 2 (17:23):
The producer never as bad as I wanted to you
know what I'm saying, wanted to be a.
Speaker 1 (17:27):
Group with them.
Speaker 4 (17:28):
You know, you got to realize like we had took
on something very like it's like what we were doing
for our own little family as far as you know,
but but what we did for the South, how we
had inspired like we really we were like in the
way I was balancing Puff with these weekends and ship
like we was important.
Speaker 1 (17:46):
Was the problem was talking about that? Talking about that?
Speaker 4 (17:53):
Talk about No, I'm just saying that, like Puffy is
the king of marketing promotions and he was a part
of know, you know, you don't want you didn't want
this bad boys shit coming in your city just taking over,
but it was coming, it was it was coming. So
it was more like everybody just wanted me to kind
of like be against it. But I'm like, this nigga's coming.
Speaker 1 (18:15):
Right right, I got.
Speaker 4 (18:18):
So we're gonna play tough, but at the end of
the day, we're gonna, we're gonna, we're gonna work together.
We're gonna work together because of respect. And that's the
way that God bless Kim Porter you know I'm saying, has
passed away. But Kim would call me, Yeah, yeah, Kim
would call me and be like he got he wanted
to show respace. He don't wanna do that with your
main and that knows it, and and not do not
showing no respect to Dungeon families.
Speaker 1 (18:39):
There was more of a puff.
Speaker 4 (18:40):
Knew how to talk to people, he knew how to
trick you to get to do what you want to do.
So but that was important, but it was also like
a half so a little bit even though you forget
how important marketing it is or whatever, you forget how
important the promotion is, but really, you know, we really
just want to make music and really figure out other
ways of getting more like different stuff out because Atlanta
(19:01):
was but India I read with these it's it's such
a wild It's like we don't set this hip hop off,
but we know R and B and soul music is here,
so we're thinking about how to make soul and R
and B cooler and it's gotten that way now. So
we did Society, So it was us trying to find
that we was pushing the edge on what It opened
up the door for the neo so like.
Speaker 2 (19:23):
No Man Embrace, like I ran the fun out of
that record Black Mermaid.
Speaker 1 (19:28):
To Me and Earth.
Speaker 2 (19:31):
Let me say this like Society Soul album was actually
some outcast ship. But Ray was like, they can't go
back and do their style. They gotta come a little
more hard and different. So me and Rude was like,
what ship, just do a group because the first record
was of her, that was the first record that we
did at kirk Tong That's the one that's the one
(19:52):
that they didn't really want to do it like that,
I was like, well we might always do a group.
Speaker 1 (19:57):
Yeah, you know what I'm saying.
Speaker 2 (19:58):
So that's kind of how the whole society saw came
up sleep the theme see the thing came up when
we were with in the Scope and we had Dopples's studios.
Speaker 1 (20:06):
We had all three rooms right.
Speaker 4 (20:08):
And it was also because Sleepy from day one, remember
to hear the story. He he this was his mission.
We kept putting it on the back burner because of
our success as producers. Even in Player's Ball video, Sleepy
killed that hook. But because of the Face Records marketing,
he badly was in the video Get Up, Get Out
(20:29):
the Prince Burson to Get Up, Get Out. It didn't
have selot rapping at the beginning and came right out
with Big and Drake. I was like, this music industry
bullshit could have can destroy an artist Like I gotta
go back and face these people and say like but
I'm telling him, like this ship is stupid, but but
but but it's but we gotta put Big and Drake.
We got And that's why I said, going back, going
(20:49):
now to the story speak about his love below. This
is his brand. This is his brand, Big and Dre
And that's one thing I could appreciate about it. Even
though you want to it should have been Dungeon Family Out,
should have been Dungeon Family out.
Speaker 1 (21:03):
But he's like, we got big and Dre signed.
Speaker 2 (21:05):
So when y'all did the Dungeon Family even in darkness,
how were y'all as a crew at that time? Because
my record off that album was followed the Light, like
I love that was the one and.
Speaker 4 (21:13):
That came and that came out, that came together naturally,
like everybody in the studio just singing, and they all
there was some real Dungeon Family.
Speaker 1 (21:19):
Type of thing. You can feel it.
Speaker 4 (21:20):
I love, but that music industry bullshit that l A
Reads doing. Then I swept to the fourth. He put
Dungeon Family. When y'all bring it up, those memories come up.
He put out Outcasts Greatest his album that he never
knew that we never knew about. Two weeks after he
put out Dungeon Family out, he just gave he literally
no no, He gave us a million dollars just so
(21:41):
Outcasts will be cool with putting out cause they knew
that putting out their greatest hit thing was what we're
doing that for. He knew he was trying to work
the Outcast. Now, I keep telling it, I can put
a four Outcast records right now with with with them
on one song, I can just keep it going. I
need to meet a certain quota.
Speaker 1 (21:56):
The whole world, the whole world should have been the
singer on Dungeons. Yeah, so it's like.
Speaker 4 (22:03):
The fact that he was playing, but that's not an
outcast thing, that's not an organized Norse thing.
Speaker 1 (22:07):
That was an l a read thing playing the game.
Speaker 4 (22:09):
As far as like thinking he knew more about he
knew more now and he saw master p and everybody was.
Speaker 2 (22:15):
Doing it side outcast on. Now, if you were fan,
which side you're gonna hang up?
Speaker 1 (22:22):
Right?
Speaker 7 (22:22):
Yes, that's on the back.
Speaker 1 (22:27):
I was. I was living when I saw that. Man.
Speaker 4 (22:28):
We were showing, we were sure we would show up at
certain places and and this was like I didn't have
any more control of the business part because we had
did the Ender Scope deal. So now we're still a crew.
How you're talking about, how how did things go between
us and them? We all stayed the family. The problem
was when we wasn't in control of the business. Yeah,
things broke up. Everybody broke up. I mean everybody because
(22:49):
we wasn't in control of That's what's the word translating
some of those conversations, like when it's ABOUTY say Big
and Dre. They're not stars. I didn't go back and
tell them that. I know, you know what you're up there. Yeah,
you know what you're talking about. You know what I'm saying.
You're telling me I'm the star. I should be in
the group. And I'm like an R and B. I'm like,
big Daddy came up the whole bye right, it's like
(23:13):
you want to put big Daddy came having this trying
to get that ain't gonna work.
Speaker 2 (23:21):
Nah, if by record on that one, it was, of course,
it's the single six minute and white Guts.
Speaker 1 (23:27):
White Guts was crazy.
Speaker 4 (23:30):
They be giving up Big Boy General pat man On God,
y'all world here this this man hold us down better
than anybody, better than anybody.
Speaker 1 (23:38):
He is a true leader. He's a true leader.
Speaker 4 (23:40):
I wanted Dre to be the leader, and Dre tell
me you're the leader, like I'm the leader, and that's right.
Speaker 1 (23:44):
But he's right.
Speaker 4 (23:46):
But but but big boy, big Boy is the General
Patton Man. I love him to death. That man like
the elevators that me and you ain't. No, it's like
big boy his that is That is what our cast is.
Andre is what outcasts became. As far as like the
fact that his creativity was it's a it's prince then
(24:08):
he yes, the fact that he learned good charge. He
showed you start off as a rapper, just rapping and
not making beats and becoming a person that's writing your
own songs and records. Like like you're playing every play,
every play instruments. You play whatever you want to do
if you love it, and that's all music asked.
Speaker 1 (24:24):
You got to put back into it.
Speaker 4 (24:25):
You got now, right, man, Man, he on the flue,
he popping up, he popping up in people.
Speaker 1 (24:30):
Man, I want to see him. Man, he's just walking
around playing flute in Philadelphia.
Speaker 2 (24:37):
Alright, let me know what Drake dre playing is more
like a cold movie.
Speaker 1 (24:40):
Yes, I had a question.
Speaker 2 (24:47):
I had a question about so Curtis Mayfield the New
War Order album. Oh man, was it true that y'all
recorded his vocals on his back? Yes, we did talk
about those sessions. The first well, the song that was
ms Mark and uh. We were sitting there and they
brought him in and he had to sing the whole
thing on his back. So when he was singing, sometimes
(25:08):
with spast and it's no to go up or whatever,
But basically he really sung the song and like maybe
two takes, bro like he really killed it. It was
really amazing to actually work with him before he passed.
And because I'm sitting there, you know, player ball is
out and I don't know how you.
Speaker 1 (25:23):
Feel about it.
Speaker 2 (25:24):
So I'm nervous as hell because I'm sitting there, I'm like,
oh im about doing Curtis Mayfield vocals.
Speaker 1 (25:29):
Damn.
Speaker 2 (25:30):
So he's in there. In the first day he said
to me, was sleep it. I really liked what you
did on that on that out. Can that player his
ball keep it up?
Speaker 1 (25:37):
I was like.
Speaker 4 (25:39):
What, because at that time, everybody was comparing his vocal
to Curtis Mayfield, Curtis's Mayfield vocal on That's what the
writers were saying. And at that point I was cool
with it because we kind of had a relationship with
Curtis Mayfield's son. It was kind of like a family
thing or whatever to where we knew them and we
actually we was gonna buy his father's studio, but we
didn't want to take it from so we.
Speaker 1 (26:01):
Made to a museum. Damn.
Speaker 8 (26:05):
Wait, So can I ask you, Sleepy, how do you
feel do you feel you got your just At this
point as a solo artist with all these stories.
Speaker 2 (26:13):
Hell, no, man, I can say this. I've been very
fortunate to meet all my heroes. I'm talking about everybody
used to sit down and look at their album for
hours and just earth Winding Fire. I had a chance
to walk in. But when I tell me that earth
Winding Fire, because I had met George, and George became
like a father to me. So but I met all
the original members of Earth Wind the Fire. We walk
(26:35):
in for the Grammy rehearsal and I'm like, that's right.
I said, bro that that niggle Maurice hold on. He
was like, yeah, they perform and I was like, man,
get what you.
Speaker 1 (26:46):
Didn't find out you're performing them until that out.
Speaker 2 (26:48):
As soon as I said what, there was in the
circle that said Steven come in and sing the birth. Wow.
Speaker 1 (26:54):
So earth Wind and Fire is doing the singing. Man,
come on.
Speaker 2 (26:59):
I was always great, naive, So I had a chance
to meet all my heroes, man, everybody in the music
business that I always looked up to, and they all
adopted me. And I'm more happy about that than my career,
to tell you the truth, Because as a solo artist,
(27:19):
it's been all right. You know what, I mean, the
way you move still does great for me.
Speaker 1 (27:23):
I love it. We could perform that anytime.
Speaker 2 (27:25):
My dad always told me, said, Patri you're gonna have
one song that you can perform to.
Speaker 1 (27:29):
You die dances for him, he said, the way it
moves for you. Wow. You know listen, you know my
career has been I love it.
Speaker 2 (27:39):
It's some stuff that I wish could have happened better,
but that's definitely happened. But but you know what, my
thing on that album, my record was I like Margarita.
Speaker 1 (27:49):
One of the nights was the one for me.
Speaker 7 (27:50):
One of the Knights.
Speaker 2 (27:52):
Yeah, I did that with them. He did that with
Black Eyed peas Man. Oh well, will yeah Prince and
yeah yeah Prince.
Speaker 1 (28:05):
Yeah.
Speaker 3 (28:06):
Can I ask give me a close call story? Who
did you guys almost work on and didn't work on?
He talked about producing their record and then.
Speaker 4 (28:16):
Right, well, Kendrick, it was because you just didn't pick
the right It was just it was just timing they
was at the time they was moving, but he just came.
Speaker 1 (28:22):
That's was like out.
Speaker 3 (28:23):
It's like what you wait free or new Kendrick, Oh well,
or he he wanted the classic organized noise or.
Speaker 4 (28:31):
Yes when right before he put out all this stuff
that he like, right right, but okay, but let me
think a good let me think.
Speaker 1 (28:38):
Let me think maybe around twenty thirteen fourteen something that.
Speaker 4 (28:42):
I know for I know one story which is I mean,
I'm thinking of another one, but Jagged Edge, like Jagged
Jagged Edge was supposed to be signed us. I kind
of like during that time because cause I loved them twins,
them twins that really sing and they's coming around and
they was playing the song. But I just felt like
we had it was the in a scope deal. We
had just kind of messed up. So instead of like
(29:03):
looking at God looking at the gift, and I'm saying like, okay,
this is another group, it was more like we just
want that kind of build up in house or whatever,
and that stuff was kind of already done. They had
everything written. It was just like one of those you
just need to go in and touch it or whatever
like putting or whatever, get it right. And and I
remember saying, I'm gonna let your man out. I should
have did that.
Speaker 3 (29:25):
I know, I know there's no way to ask this
question and not be whatever, But like as far as
the different family members, because you know, we just got
done talking to Keisha Jackson, and she's speaking of, like,
you know, there's the Social Death Crew, and there's Organized
Noise Crew, and there's like so many crews around, and
(29:48):
she was speaking speaking of basically like being a freelance
background singer, and she in the beginning didn't know if
motherfuckers would feel a certain way of like she's singing
when y'all one moment and then over here singing with
them is another like kind of like an appoloonya Prince
Wayre's thing.
Speaker 1 (30:06):
But is there friendly rivalry at least between.
Speaker 4 (30:10):
He tell you something, I'll tell you something Off the
Rip Atlanta, Jermaine Dupree, Dallas Austin Organized Noise, all right,
So we because they were already kind of getting it.
Dallas is the king, you know what I'm saying. Dallas
was the king. Dallas had, you know what I'm saying.
Not only did he have a b C. He was
produced Boys to Man, He produced Boys to Men first
album or whatever, like he he did Madonna.
Speaker 1 (30:30):
He was he was somebody that.
Speaker 4 (30:32):
We was just like, remember Dallas, Dallas, that guy like Dallas,
the guy on the show.
Speaker 1 (30:38):
So Jermaine, what's that guy?
Speaker 4 (30:41):
Independently coast, closer to what we can touch like he
was working with Itchy Bun.
Speaker 1 (30:46):
He had a couple of hip and the straight Jackers.
He had.
Speaker 9 (30:51):
Me.
Speaker 1 (30:51):
Yeah, his version of his version of the Southern Paper,
his version of that what he was doing.
Speaker 4 (31:02):
I'm just I'm just telling you how I saw how
I saw it. But I still admired him because his
father and what he did that was I was close
to connected. Jermaine was our he was tangible. Jermaine was
friends with KP them like that. We could so so
it was more about we did when Chris Cross came, he.
Speaker 1 (31:17):
Figured it out. He did his version of a kid.
Speaker 2 (31:20):
Actually, me and Jermaine kind of grew up backstage together
because his dad was the road manager for Brick.
Speaker 4 (31:26):
So so so with that being said, when we go
in the studio, were in the studio, I remember the
first time we was like working on outre working on
some I heard him starting to do like he started
trying to use that person on Bratt, Mark Marcus Jefferson.
Speaker 1 (31:41):
Marcus, we ain't work. We ain't Mark, We ain't work
with Mark. About ten years after that, Mark, No.
Speaker 4 (31:48):
I mean I love him to death, but he know
I got mad about that I got mad, even though.
Speaker 7 (31:52):
Did he stepped away from what he was doing for
y'all to do that?
Speaker 1 (31:54):
No, he didn't step away.
Speaker 4 (31:55):
It was just me being like that nigga biting us
territory spin territorial because Mark was fresh Mark.
Speaker 1 (32:01):
Mark had a new sound. He he he.
Speaker 4 (32:03):
Had he had the big bass slide, but he had
put the witness on it and we had waterfalls with
him and we did.
Speaker 1 (32:09):
Something this way come like the sound was gonna be big.
Speaker 4 (32:14):
So it was like, man, he's just trying to like
rip that that sound.
Speaker 1 (32:18):
But we was wrong. You know what I'm saying. It's
like like we was right about what he did or whatever.
Speaker 4 (32:23):
But it wasn't about shunning him as it was just
more like it's other bass players.
Speaker 1 (32:27):
We can use other people. You won't be in our
sessions or whatever. Like That's how I didn't really know,
you know, this is what we're saying.
Speaker 8 (32:42):
What we.
Speaker 4 (32:45):
Know what I'm talking about because he was one of
our he would have been he was somebody that we
would have covered it even more. But guess what though
we had Guess what that ain't just we had Preston.
Preston went and got that littlefect and put it on
his base would have got put it out Preston, but
go pressed on.
Speaker 1 (33:04):
A yes to say that sound is our sound.
Speaker 6 (33:11):
So this is why Preston incorporated that thing into his thing, because.
Speaker 1 (33:16):
We still do that. That's why when you hear that
water based any kind of.
Speaker 4 (33:25):
Talk about out there sound, you hear certain stuff that
you said that's out there.
Speaker 1 (33:28):
There's no disrespect to nobody. I just blew him up.
Marcus Jefferson.
Speaker 7 (33:35):
Can you tell the story behind Liberation man? Please?
Speaker 1 (33:40):
And again? But kung Fu is strong.
Speaker 4 (33:43):
But once again, I can give you this this part
of how I felt about it, and then I got
to see and how I felt about it at that time,
the musicianship, the fact that we saying we.
Speaker 6 (33:57):
Did all of them at Doppler, the song together, and
we were doing all of this thing. All of this
was at the same time, right, It's all the same.
It's like the musicians going room the room, you know,
but the same energy.
Speaker 4 (34:10):
At that point I felt like Big and Dre like
so that album and the Liberation was on stink on
you right. That album is Big and Dre's complete coming
out party like almost could have could have been their
last album.
Speaker 1 (34:26):
Everything else was forced that I mean not for for
the record.
Speaker 4 (34:30):
Yes, by that time, parties were free because I think
he did Gasoline Dreams on that album, so like they was.
Speaker 1 (34:37):
Once you work with musicians a lot.
Speaker 4 (34:39):
On the album, you figured out that the sonics of
being able to have these sounds with these sounds in
that sound. So by the time they got the Liberation,
I feel like that's where the poetry.
Speaker 1 (34:47):
That's when he was n Spodio the double dishes.
Speaker 4 (34:50):
That's why those songs are so special because they produced
the hell out the songs. Then they didn't have to
perform as rappers. They went and did like like the
it was actually wow and then and then the horn
section those.
Speaker 7 (35:06):
Brothers, So who is the hook, who's the who came
up with the lyrics for? It's a fine line between.
Speaker 4 (35:10):
That's and we flew to Dallas to record her vocals.
Speaker 1 (35:15):
Fore you got me.
Speaker 3 (35:17):
She was just listening to a rough, so I guess
Dre left a rough of like five songs there and
Ross was with us Common and Liberation came on and
literally I could say, now probably no group or a
(35:38):
collective of producers has ever made us like you know
that that kill Bill Ironside.
Speaker 1 (35:49):
When that ship came on. I remember Rosh came on.
Speaker 10 (35:52):
He's like, yo, man, how do you feel about that
that last song? And I was like said, yo man,
we got to come with some ship man like cause.
And I remember to that day when the idea of
heaving somewhere guys, I don't know if you know.
Speaker 2 (36:19):
Good In my soul Ford album, Mixo mix So What's
What's Happen with him? Was my joint mix so man,
Mixo really was a bomb producer that he did bomb producer.
Speaker 1 (36:32):
He was really he was not not bomb. He was dope.
Speaker 4 (36:37):
He was dope, not he was super dope and and that,
and at that point we weren't really giving those sides up.
So it was like when he did the original, we
flipped it like like like so he got like like
we might have flipped like whatever he did.
Speaker 1 (36:50):
But how did they know? Mix So how does Mixo involved?
Mixo had did Lumberjacks? He was, yeah, he had did that.
Speaker 11 (36:59):
This is how I, this is how I.
Speaker 4 (37:03):
But these songs hadn't come out, but Kujo and Timo
the Lumberjacks was on outcast Heels as far as the
next up and coming two man group in a Land
of rapping.
Speaker 1 (37:13):
So it's so it was like, fuck, we gotta let's
make him a group. So y'all. So they were group first, the.
Speaker 4 (37:21):
Wood Group, but instead of having another two man group
coming after after Howard two man group, it was better
to be like, instead of having Gift solo and Silo solo,
want we do a four man group or whatever, like,
because these guys were with the Nucleus that's where the
Goodie Mob came from. Kujo and album to Goodie Bag
was absolutely man listen.
Speaker 3 (37:42):
So since you kind of brought it up or at
least pointed to the word to the white elf in
the room.
Speaker 1 (37:51):
Here, you are, just walk back in. I have a question.
No no, no, no, no no.
Speaker 3 (37:55):
I'm trying to phrase it in a way where it's
just not I'm asking a dumb question. What Obviously you
guys are now legacy producers because you've been doing this
for like three decades and there's always been talking there
and that it's been happening for the last two or
three years, where you know, there's obviously Earth Earth Gang
(38:18):
is heavily influenced, and it's hard not to be you know,
not spoke to them. They were like, yo, we were
like nine, ten, eleven years old when this shit's coming
out and now so obviously you're now seeing the results
and whatnot. Has there ever been a conversation about like
(38:39):
you guys working with them, like just from the current
crop of today's producers, like who Gang Yeah, oh.
Speaker 4 (38:45):
Man, I got a great story. Orlando McGee, that was
our intern.
Speaker 1 (38:50):
It was his group.
Speaker 4 (38:50):
He was somebody that he wanted to work with, but
he wanted him to be around us. So we can
tell them how not to act like us so much
so we can make push them to being a little
more rik.
Speaker 1 (38:58):
I love them guys, but I was a think that
it takes you three albums didn't get you together to
take that off.
Speaker 4 (39:04):
Yeah, you see what happened to rariy my cousin DJ
working with Rari right now. Rari was a he was
a part of the twenty year anniversary. But when they
put that stick, that that that that challenge on you
you the next Outcast.
Speaker 1 (39:16):
It's just like people people expect a ten year, ten
year line of work.
Speaker 4 (39:20):
Outcast started with Southern playlists, the calact music where they
were just proving to New York that they can rhyme.
Then that had to double down on that with at
Yelling's equiminal. They went crazy creatively because the balls were
hanging too.
Speaker 1 (39:33):
What I'm saying.
Speaker 4 (39:33):
We had plaques on the wall. It was like there
was work. It was right, we was. We was dropping
when Tupac was dropping. We was dropping. When when whoever
the Wu Tang, whoever was It's gonna be big numbers
this week. Fuck outcasts just dropped. It didn't happen like
you wanted.
Speaker 1 (39:50):
Words.
Speaker 2 (39:50):
I always said, Yo outcasts. I don't know if y'all
did roaches and rats?
Speaker 1 (39:56):
Was that y'all?
Speaker 4 (39:56):
Oh man, that was a banger and that was broke?
Speaker 1 (40:00):
Oh god, that was a jewel. That's a good one.
That's a good only on like YouTube, that's a good one.
It was probably ten years old when it came out.
Whenever dropped.
Speaker 4 (40:10):
But that was one of those good like Bens of Beamer,
Benz of Bmber that we ended up using on the
New Jersey Drive. But that wasn't original version of it.
I'm telling you, that wasn't even the original version. That
was like the original that was original vibe, but it was,
but it was, Yeah, it was a Parliament sampling. You
just learn more about sampling and like like fuck, we can't.
Speaker 1 (40:29):
Y'all can't use them.
Speaker 2 (40:29):
Y'all Outcast the Outcast soundtrack game because like the higher
learning Joba.
Speaker 4 (40:35):
Pobe and that was our That's how we learned because
like like we went in on a that's sp but
it was stiff though, and it was Grid and we
was like it was like, fuck man, we didn't take
advantage of that opportunity, you know what I'm saying, Like
even though we did, if we put out something with
Big Rube on it, it was we gotta but it
was like and we got paid good.
Speaker 1 (40:53):
John Singleton loved us from that day.
Speaker 4 (40:55):
Fourth every movie he had he called us to be
like Yo, he wanted Sleepy to be the whole soundtrack
for Chef.
Speaker 2 (41:03):
Because he loved he loved the Sleepy the album so
much he flew me to New York to talk about it.
I had to me, Hey, we're gonna do the whole
thing like the Chafts soundtrack, gonna be Sleeping Brown doing
the whole Cheft things, just straight score, like the whole
you know, just and I had crazy ideas.
Speaker 1 (41:21):
But yeah, I'm gonna say l a read.
Speaker 11 (41:28):
When the Face got the soundtrack, When the Face got
the soundtrack. I swear to God that we got the
director of the movie we got is Gay's blessing. But
I do understand the politics of Sleepy is not this
is before.
Speaker 1 (41:41):
I can't wait.
Speaker 4 (41:42):
I believe I can't wait. So they was like concerned
with Sleepy big enough to care. But we knew seventies
movies and back then that.
Speaker 1 (41:50):
Was my ship.
Speaker 2 (41:51):
That was I was so excited to do it, Like
I wish I could play you some.
Speaker 1 (41:55):
Of the songs that we worked on. Work. It was insane.
You got the shaft, I got a problem. But that
was clever. That was good. It's good. That's what it
was with a camera.
Speaker 3 (42:11):
So all right, is there truth to the rumor? My
manager told me the story, and I didn't believe it.
That the way that you guys handled the twentieth anniversary concert,
because I know the white elephant in the era was
whether or not Dre would join you. And the whole
thing was like give him and then he'll show up.
(42:33):
So the whole plan was like, don't say nothing to him,
and then three hours before he's like on the FLA,
I'm coming, I'm coming. Is it truth to the rumor?
That's how y'all handle it, like basically.
Speaker 1 (42:44):
To be real simple with it. We told the promoters.
Speaker 4 (42:48):
We was like, if Andre has to be here, we
don't want to do it, you know what I'm saying,
Like like we want y'all to want us as the
Dungeon family without him first, because because it was just
the fact that we were respecting his wishes, like like
I said, I don't want I'm saying, huh, she's about
to show for one music fest, do that. It's because
(43:10):
and those guys they was like, man, got big Boy,
gotel all right, and then we started rehearsing. We took
it serious or whatever. Then we got a phone call.
It was like y'all, y'all trying to do this ship
what I I mean, y'all could.
Speaker 9 (43:28):
Have asked plan worked, but the plan worked in the
sense of just get it all in place, like like
get make sure that we can do this because Big
Boy and Clo was killing it already with touring.
Speaker 1 (43:46):
Like the way they work, it was working.
Speaker 4 (43:47):
So it was like really trying to get cool Breeze
a shot, wish doctor shot. So it was like the
best part was that those cats took you know what
I'm saying, those cats was getting more money to perform
by themself than to take to take what they took
perform with us. Then Andre said, man, you know, I
was like, can y'all get some more money? Like I say,
he'll do it. So it's like it worked out for him.
(44:08):
It's like we had already got what they said they had,
but we said, what we.
Speaker 1 (44:12):
Have to do too many songs? Yeah, and you know
he could be cool. He was good. Man. He killed it.
Speaker 4 (44:17):
Man, he came in and like and and honestly that
brought us a sense of family and the sense of
like we were seriously.
Speaker 1 (44:22):
Like, we got to do it without him.
Speaker 4 (44:24):
I hate it, but a lot of the ship is jamming
without him, but some of the ship is jamming harder
with him.
Speaker 1 (44:30):
Yeah.
Speaker 4 (44:30):
Yeah, yeah. We actually did a tour without him and
it actually did great. But that showed that one music
fast show. Wow, that's like, that's something more than that.
That's memorable. That that's something Right now. I think we
still holding the vid. I think we still got the
video footage today. I think we're speaking. I think we
got to put we're working with we're about to try
to put that out.
Speaker 3 (44:47):
So is there a scratch that you have not itched
yet or are you satisfied we haven't scratched yet. Yeah,
thank you, correct, I don't I don't know it.
Speaker 2 (45:02):
You know, I'm struggling right now because you know, the
guys want me to do a new album. But at
the same time, yeah, no, no, no, I'm with that.
But at the same time, I've been through so much
with labels, even though this time is us and that's great,
but my heart been broken with so much, so many
(45:22):
damn labels, that it's kind of hard to get the
energy to really truly want to do that. Like I
want to produce people now. I want to produce more
now than be an artist. Truthfully, what I'm gonna do,
I'm gonna do it.
Speaker 1 (45:34):
Yeah, man.
Speaker 2 (45:34):
I did the session with Joy. I wrote a song
with her. This has been a couple of years ago.
She came to my crib. She played me some stuff
for yours.
Speaker 1 (45:42):
Bro Let that be.
Speaker 2 (45:46):
I mean, it was jamming then, it's still jamming. This
was a couple of years back. But nah, it's not
really fucking great man. But I love I mean, if
I do, I would love to do some. I mean,
me and Ray we've been funking with We're doing some
stuff and it sounds great.
Speaker 1 (46:02):
I just need to be twelve shot to make me
want to go do it. I feel you you know
what I mean.
Speaker 3 (46:07):
Look, I'll say this much and I gotta close it.
But you know, we we've been doing this for six years.
This is this is our first episode in the Flesh
in almost three three years. Like you know, the pandemic
basically had us on zoom. So you know, for the
most part, when we do legacy artists, they're closer to
(46:28):
their sixties and seventies and their memories are shoddy and
they don't recall that song or the stories are not exciting.
I will say that I will not take for granted
how awesome this episode was, man, and that you guys really.
Speaker 1 (46:44):
Straight up no man, like for real. You know.
Speaker 3 (46:47):
I'm also a little salty that it took me like
thirty years to have like a real conversation.
Speaker 7 (46:51):
With you through I'm about to say, well, y'all ever
work together?
Speaker 1 (46:54):
You know, we see each other and pass it. We
were tour with each other to them. But you know
what I'm saying, what's up? Basic?
Speaker 3 (47:00):
But I no, no, no, And people always think like, oh,
he's so staying office.
Speaker 1 (47:04):
But I think in my mind.
Speaker 3 (47:05):
I want my first This is always my dream inter
action where I get to because I look, the first
time I messed Q Tip, it was like this episode
and he avoided me for seven years because he's just like,
here's like a journalist, like like just be regular dude,
Like stop asking me about like my drum patches.
Speaker 7 (47:24):
So you had to get this out so y'all could
be cool.
Speaker 3 (47:27):
Yeah, because I think if you need people out like
in the in the outside.
Speaker 4 (47:31):
World person, there's a place. There's a place for the nerd, right,
those kinds of conversations. Because I'm very, very very impressed
with the with the wealth of knowledge, with the whole to.
Speaker 7 (47:42):
Happen like this for you to be impressed.
Speaker 1 (47:43):
No bro like you. No, we are fort.
Speaker 4 (47:47):
We are student, and you are like the face of
one of the faces of hip hop. How Snoopy is
like your faces out there that we're proud of.
Speaker 1 (47:55):
I am proud of it.
Speaker 2 (47:57):
Once again, congratulations on the award. Thank you. You killed
it with the movie.
Speaker 1 (48:02):
I love it. I watched. I told ray Man, we
gotta watch. This is insane.
Speaker 2 (48:06):
I appreciate its beautiful and think and I just want
to say, man, y'all y'all brother's music got me through
like so many tough times, man, like I'm a Day
one fan to the end, like every you called it, every.
Speaker 1 (48:21):
Love y'all brothers, man like straight up, well that said,
ladies and gentlemen, or and be half of the great
you may die talked about you the intro. The intro
just talk about recording that song. We just have to
be like two minutes. And why do y'all give these
brilliant ass interludes Like.
Speaker 2 (48:40):
But that's what makes it dope because it's like it
gives you just because you want more.
Speaker 4 (48:44):
The night y'all, we just ran it backwards. I think
Dre was that's when he was playing with this sklimba
or whatever. But we took that hold on, we took
we took I think we took at Yellien's forward and
ran it backwards to make them.
Speaker 1 (48:58):
Then we wrote.
Speaker 4 (48:59):
Thing Happened, something that was on the album that was
going for it, and ran it backwards whatever you know,
and it's so beautiful, put the piano on and and
then we got peached.
Speaker 1 (49:12):
Just say, because her voice was such so monumental to
us at that time. Shout out, yeah, shout out to
all of them.
Speaker 3 (49:21):
Do you think they were having like a seance with
a whole bunch of candles in the night time?
Speaker 2 (49:25):
That joint and the the hold on be Strong intro
with four point oh singing on it. Yeah, like y'all all,
y'all intros, man, that was like textbook I was.
Speaker 6 (49:34):
It's really a community affair with everybody you with, That's
what happens. Put them in use however you can use,
you know what I mean?
Speaker 4 (49:41):
And Big Boy and that's what I feel like Big
Boy did the most because with money, but he kept
and kept he kept that spirit alive even when the
little will he would take him on tour. I was, yeah,
what not not even just purple ribbons his his touring
when it was Outcans touring. They would keep these guys alive,
even if was just on the road or whatever. So
(50:02):
by doing that, you keep your skills struve. You're right
when you as long as you stay doing music, you're
gonna you're gonna write some music. You're gonna come up
with something refresh. Did y'all never cut any breakers on
Scar on Bubba Sparks album. I mean, Scar wrote the
hook for Ain't Life Grand was like my twin at
one time, like he was totally we.
Speaker 1 (50:21):
Got songs that we haven't released, that we're going to
release all we want to hear.
Speaker 12 (50:26):
I love going to well Ladies and Gentlemen on Behalf Yes, Yeah,
definitely on behalf of Sleepy Brown and Our New Sense.
Speaker 1 (50:43):
My favorite dude ever.
Speaker 3 (50:44):
Ye, thank you, brother on behalf of Unpaid Bill, Still
on Sesame Street, Flo and Sugar Steve.
Speaker 1 (50:54):
My name is quest Love.
Speaker 3 (50:55):
Very grateful for this episode, very classic episode, and we
will see y'all on the What Steve the next go round.
Speaker 1 (51:06):
What's Love Supreme is a production of iHeartRadio.
Speaker 3 (51:13):
For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Quest Love Supreme is a production of iHeartRadio. Yo. What's
Up Everybody?
Speaker 2 (00:06):
This is fun Tigalo from Questlove Supreme and part one
of our Atlanta interview with Organized Noise. We discussed how
the gods Rico Waite, Sleeping Brown and Ray Murray got
down together. We also heard how they changed the game
in terms of sampling and really gave Atlanta a musical
identity and rap. Please make sure you check out the
first half of that interview, and that'll way back apart two.
This discussion is gonna be just as rich and even better.
(00:28):
I know y'all gonna enjoy this one. I enjoyed this one.
These brothers are legends and gods to me only on
q LS, Yes Her Peace.
Speaker 3 (00:45):
What happens when suddenly the student wants to become the teacher? Like,
what's the division of labor in terms of you know,
I'm sure that you guys are a tight three tight
unit that.
Speaker 1 (01:01):
Handles the music Noise versus Earth Tone three.
Speaker 2 (01:03):
What was the Yeah, we wanted them, we wanted them
to learn them if we wanted if we wanted them
not to learn that, they wouldn't have been in the
sitting there next to us.
Speaker 1 (01:11):
While we're doing it. So we wanted them to.
Speaker 3 (01:14):
But how how are you guys as friends and as
business partners when it's time for bad news and production?
Who's the person that has to like, can you talk
about a song that almost didn't make it?
Speaker 4 (01:28):
Like well to be very honest with our dynamic because
it was a Parliament type of family. So it's like
you had a George Clinton, then you got Boosty. You
got all these different people who came from this that
was great. Everybody legends, but they all rock with somebody
because that person had the thought process that they all
agreed upon. Ray and Sleepy thought process musically hip hop, drums,
(01:54):
rawness and music, vocals, harmonies being live organic, who's not
using that now?
Speaker 1 (02:04):
Who's not who? It's like we got all.
Speaker 4 (02:07):
The not not thinking about the breaks as much. All
the thinking about is the breaks. Like, so you got
a marriage of like something like a sound that becomes
a sound. Me the competitor. We're gonna compete with whoever
else doing it, because we got it. I got the
so we're gonna compete whatever I need to learn or
to bring to it as far as musicians, as far as.
Speaker 1 (02:27):
The lame part, what kid Win, who cares what kew in?
Speaker 4 (02:30):
I need to know what keep in, so I can't
say eybody know what I'm saying, Like but like they
just they just doing it so big and Drake se
Lo guilp anybody, p A Reese, anybody who's around these
two people when they were making music, Oh, me and us,
it was us, but just how hardcore they were about
their things. Like wed if Ever, if he didn't care,
(02:53):
none of his beats came out. We're gonna make them
every day and just throw them to the side. You
had so you you you around people who's acting like that,
you might think.
Speaker 1 (03:00):
Like God, it's some dope.
Speaker 4 (03:02):
He just turns it off, went to something else. I
want a chance to do it. You want to follow
into it because you want to do it your way.
Nobody ain't gonna do it the way these casts are
doing it. But you're gonna learn so much Kanye West,
any of these producers, like like what Organized Noise did
wasn't one person, you know what I'm saying, And while
they was working, I might have been at the store
of buying sounds, you know what I'm saying, or whatever,
like whatever it took budget like someone who can be
(03:24):
like that's let's pay for it. Yes, we could pocket
more money. Like we learned a big lesson from Parental
Advisory with Pebbles. We use a lot of samples, and
she told us, she was like, well, you got like
ninety thousand dollars left in your budget and you guys
get the remainder of the budget, but you got to
give me all the samples first. Let me clear the
samples first. Then we end up getting negative three thought
(03:46):
old out right, you know what I'm saying. So from
that point, from that day we started working on outcasts.
Like that's when we had found outcasts, so we knew
it's gonna be hip hop, but we we fin to
get better. So I had started incorporating with Sleepy New
with live musicians want to.
Speaker 2 (04:00):
Y'all too by some of y'all session musicians like Chance
Parkman and like some of the guys like who what's
y'all's relationship?
Speaker 4 (04:05):
Yeah, Preston from Preston Kenneth Right. Kenneth Wright was one
of the first ones when we did outcasts. They end
up kind of drifting to the church a little more
but great.
Speaker 2 (04:13):
And who was playing piano on probably one of one
of my favorite productions. Y'll ever growing old Nigga? That's chance,
that's chance it is on that, dude, there's a chance. Okay,
there's an at Alien sampler that came out and it
has a version of growing on on it.
Speaker 1 (04:30):
I think it's an early version, right looking at that
tenth rocks fat ass to turn the flap.
Speaker 2 (04:36):
Yeah, it's a verse. It's before I guess y'all played version.
I like the at Ali's version, the one that came out.
That's like, that's the one. But was that the reason
why y'all took the sample out?
Speaker 1 (04:46):
What sample was it? I don't know the sample. It
was just a different version.
Speaker 4 (04:50):
I don't remember a different version sample was I don't
remember no sample. If it was a different version, I.
Speaker 1 (04:56):
Know, I know, I don't know. Maybe this is a
piece negotiation. It is a piece of I don't know
who did. It was just a different version. It was
a different version.
Speaker 2 (05:09):
This is why I said, this is yeah, but no,
that's like just a gorgeous FU song had spoken.
Speaker 4 (05:16):
I was just I was thinking it was about that
that Markuez Marquis wrote that hook or whatever, like and
Hades did waterfalls, so like we just wanted to sound.
We felt like we owe outcasts of record that sounded
more like something, even if it wasn't if it wasn't
a third single or whatever. We felt like since we
produced them, we got to present some of the kind
(05:36):
of music that we've done on other artists. And that's
something else I want to say two quest. It's like
why we never had that problem with Big and Dre
because we was going like we we had waterfalls out
before they second out, they thought we would have these
are the guys whoever they put out. They didn't know
Outcast was gonna end up being twenty million sellers. And
what I'm saying, it's like but they took they they
(05:56):
had a like in vogue, like even the fact that
we did sell Therapy Rock New York like this this
this song and watch for the hook.
Speaker 1 (06:07):
I watch for the hook.
Speaker 2 (06:08):
When we did the Tunnels in New York City the
night that I knew New York loved m famous my
theory watched I thought that was like y'all's answer to Benjamins,
Like it's you know what I mean, just the sixteenth
(06:29):
pats that like it felt it felt like that like
a y'all's answer to like what the East Coast Club
record was.
Speaker 1 (06:35):
It's the foundation of hip hop. Yes, break I would
do that.
Speaker 5 (06:44):
I'm gonna do, but you gotta understand, like just listen, listen.
Speaker 6 (06:56):
I just want to say this, this is this is
hip hop from the South.
Speaker 1 (07:00):
Right.
Speaker 2 (07:01):
What song do we say, No Southern Man, come on,
come on saying brother man.
Speaker 4 (07:10):
It's said brother man, you and everybody else. But if
you dug in the crates, you'd be like, man, this
song called Southern Man.
Speaker 1 (07:18):
Come on man? Oh yeah, killed that.
Speaker 2 (07:19):
No East Point is great listen, man, like that record
I remember reading, but just all the stuff that happened
with Intersco and everything, like y'all's production on that album.
Speaker 1 (07:29):
Man, like Witch Doctor.
Speaker 2 (07:30):
And Cool Breeze, Like man, y'all was in the zone
and that ship.
Speaker 1 (07:36):
And really we were just giving back.
Speaker 4 (07:37):
We did Goodie Mob abut every time we was in
a position to do what you said, keep it rough
and raw, even if we sacrifice having a commercial, bigger success,
we put some swat healing Rich, Witch Doctor, like I'm saying, like,
and Cool Brees and it was like it's like it's
like it's like is dirty South.
Speaker 1 (07:58):
For one.
Speaker 4 (08:00):
It was on the Goodie Mob album but he the
one who said what you really know about the dirty side?
It's his song, so it's almost like it was his
song get Up, get out. That's see low that was
his song. Wow, it was on Outcast album, but it
was his song. See That's what they did as a family,
like like like being around it was like it was
our Wu Tang other people. They were setting their people up,
you know what I'm saying, and not doing it too
(08:21):
commercially like you know, like it's BBD Boys and Men
and ABC like, but but doing it like that because
we come from.
Speaker 1 (08:27):
R and B.
Speaker 2 (08:27):
You know what me and Re always talked about, if
that first Outcast album would have been called Dudgeon Family,
people would get it more, people would get it on,
and we would be in the same thing as Wu Tang. Yeah,
because y'all put everybody on. Everybody. That's what the album was.
It was just our care. It was everything set up.
Speaker 4 (08:42):
Working on this song was everybody was around that every
day like literally because these kids was kids fifteen, sixteen,
seventeen during it and by time he worked on that album,
there was seventeen you mean or whatever, So so at
that point we put them first. But the same time.
We all knew it was all our opportunity. So I
need I need your best, I need your best. They
(09:04):
gotta they gotta do their part. They gotta do their part.
But everywhere where there's a little spot sleep, I'm gonna
need you to do funky ride. I'm saying, yeah, big
route right onto the real to.
Speaker 1 (09:14):
The question.
Speaker 2 (09:18):
Free Wow to open the album with that really could
have been an anthem at no point where you guys like,
let's make this a song, like a full fledged.
Speaker 1 (09:32):
Song, and that ain't with the drums yet.
Speaker 2 (09:34):
Free and You May Die, which is like my favorite
intro of any album.
Speaker 4 (09:37):
I'm gonna have this about free first because because this
caught this, this thing been happening all day.
Speaker 1 (09:43):
Philly in Atlanta got that soul. We got that soul.
Speaker 4 (09:48):
You know why, because my my, when our big brothers
McKinley Horton, he came down here, just jumped on to
McKenley Horton from Philly, Philly, forget, he just jumped. He
just jumps on the worldlesser or whatever, just started singing.
Speaker 1 (10:05):
It was church. I'm like, man, it was not put
together the type of thing like like.
Speaker 4 (10:10):
You always just like it. It was a flex to
it was another tool. It was like ce Lo is
wrong and you see and you see where he is now.
We was that, you know, like we wasn't holding him back,
but we was making a street rap album. These cats
a lot of the peers that just had died, like
from school. It was very and we had the power
to not make them a goodie mind fun group, even
(10:33):
though that was obviously what you're supposed to do. After Outcast,
you got you got this, Yes, you got this Parliament
type of funky music. I know, you bring these guys
out funkier and and this and stuff, but we were like, naw,
we wanted to dig deeper into hip hop and and
make them see that we respect that. We know we
got the gloss on us or whatever, but but we're
serious about this. That's why the next Outcast album we
(10:53):
dumbed it down with with with singing hooks and try
to make it more wrap hooks or whatever.
Speaker 1 (10:58):
At Ali.
Speaker 3 (11:02):
Now for me, like the genius of Elevators was the
whole Greek course.
Speaker 1 (11:08):
Yes, yes, that was George.
Speaker 2 (11:10):
Yeah, that's what we want to, you know, say, makes
it sound like an old parliament where they're on stage.
Speaker 1 (11:18):
We want them to beate it before.
Speaker 3 (11:19):
In the so re Read reveals to us the process
of speaker Box and Level Below and the fact that
speaker Box was just his solo record, and then he says,
Drake called it was like, when is this shit coming out?
Speaker 1 (11:33):
And Read was like, uh, you know, in five weeks.
Speaker 3 (11:37):
He's like, if I if I finished my thing, Like
when I have to turn in he said, like three weeks.
Speaker 1 (11:41):
Three weeks, that's what he said.
Speaker 3 (11:42):
So for twenty one days he rushes, are you guys
even aware that Dre now creates that or has been
creating that record and has a twenty one day deadline
to finish everything.
Speaker 4 (11:56):
Big Boy and Dre were going back and forth with
that for almost a year before It's like they said
they wasn't gonna work again. This is when they told
us that this is their last album and we might
not and they want to do it at that point,
and I mean, I know Antonio probably said it, but
the guys, And that's where he does get credit. He
gets a lot of credit because he saved outcast the
brand and that's something that he was invested into from
(12:17):
day one, Like he knew that this is big in
this as the world this is like, like what this
was huge? Like this is a Whitney Houston, this is
a Tony Braxton, this is a big group. Like that's right,
Like that's when he used his business skills and then
let them sabotage their own selves.
Speaker 1 (12:33):
You know what I'm saying by like looking like.
Speaker 4 (12:36):
So he was like, man, put them out together. But
so but the fact of whatever debtline you're talking about,
I know that I'm lucky. I'm happy that Big Boy
had the way you moved because I think they doubted
Andre's album. They thought he didn't want to put Andre
Albu outcause din't think that it was right.
Speaker 2 (12:52):
I'm I wanted to make sure they're big because like
you know, we knew with Dre it was going to
be different what it was going to be.
Speaker 1 (13:00):
And thank god that, you know, we came up with.
Speaker 2 (13:04):
The way You moved because I ain't gonna lie, man,
I was nervous for Big you know what I mean,
just because you know, not saying that the popularity was
with Drake Moore, but people were actually waiting to hear.
It's funny how like you know, I'm sitting over at
the house at a cookout and Big has this CD
(13:26):
player has two hundred CD changing and I'm sitting in
the Boomoo room and all of a sudden, this beat
comes on there. He had this song for like three
years and it was the way you moved, but it
was broken all the way down. Then had the horns.
It just had a little d D the little keyboard
because I little buddy of Carmo did the beat. So
(13:47):
when I heard that beat, I started. It reminded me
of Marvin, so I started humming to No.
Speaker 1 (13:52):
No No.
Speaker 2 (13:53):
I was like, oh shit, So I ran out of
the busy. Big we gotta go to the studio to night.
I got a crazy hook for this one. And the
way you who was actually going to be my record.
You were going to do a whole new record for
Big and BIB like, yeah, we could do that. But
when La, when La reheard it, he was like, fuck no,
that's your rat.
Speaker 1 (14:12):
Yeah yeah.
Speaker 2 (14:12):
So I'm happy that it did because I didn't hear
hey y'all.
Speaker 1 (14:16):
Bro. I did not hear hey y'all till I saw
the video.
Speaker 7 (14:19):
But how perfect was it that y'all had? Like Big Boy?
Speaker 8 (14:21):
It was great because he had the fucking radio hit
right because the black radio hit whereas.
Speaker 3 (14:27):
The old timeout, So all right for me probably I'll
say the end of you know, no rap, work day whatever,
where every every major cosmopolitan city with the black radio
station still had their like, you know, more music, less rap,
you know whatever. That kind of died down in maybe
(14:50):
two thousand and five, two thousand and six. But for me,
all right, so WDS, which is the not the conservative
but the older it's.
Speaker 1 (15:00):
Not the highest.
Speaker 7 (15:01):
It's called the urban.
Speaker 3 (15:02):
Yeah, the urban station. Do you realize that for least
half of the radio stations playing the Way You Move,
we're playing a big boiler's version of that song?
Speaker 1 (15:15):
Yeah?
Speaker 3 (15:16):
Yeah, literally, like where's the verse? And I was like, yo,
they actually made a whole ass song. They play your
Bridge twice as the verse.
Speaker 2 (15:26):
And I heard that when I was in La after
it came out and I was playing pool.
Speaker 1 (15:29):
So did the label do that or did you guys
do that?
Speaker 8 (15:32):
Like?
Speaker 1 (15:32):
No, nothing.
Speaker 4 (15:33):
What happens is that in order to get your spins up,
you can't turn down, Like do you know they played
Waterfalls without Left Eye on those same stations they took
a verse out? Yeah what I'm saying so, but it
was those stations that we don't listen to We don't
listen to them, but those stations generate so much.
Speaker 2 (15:51):
Still need the BDS is you need, you need the spins,
you need to spin, Like, if that's what y'all need,
you need to span.
Speaker 1 (15:58):
It's disrespectful. So they don't even tell the artists because
it's rude. I kind of fly over you had you
sleep it brown version. I don't hate my brother big
I love but you know it kind of it worked,
It worked, it did, sposed to do work, sposed to do.
Speaker 3 (16:19):
So any point between like the first momentum of organized noise,
Let's say when the Socks and Draws come out ninety two,
the original player Ball Christmas ninety two, right, yeah, so
between hundree all right, so speak of boxes two thousand
and three, So that's in your period. At no point
(16:39):
were you guys just like, hey, let's do like, let's
really be a group now, or were you just like, no,
we'll well, we'll be the pilots of the ship and
just produce all their stuff.
Speaker 1 (16:51):
They man, I used to beg these foods to be
a group. Man, they never want to do it.
Speaker 2 (16:57):
So was so was the closest well of Raby back
is that the closest y'all came with like society, soul
and sleepy, and it was the closest.
Speaker 1 (17:04):
We're not sleeping thing because want to be a part yeah, society, society.
Speaker 4 (17:08):
So there was a part we didn't want to be
a part of the party. But la Reed said he
wasn't gonna do the group unless all all of us
in it. So it was like it would literally be
like they were going the road, big Rub and Esperanza,
Me and Ray would pop up whenever whatever. We just
looked at like Jim James Lewis was just gonna be.
Speaker 2 (17:23):
The producer never as bad as I wanted to you
know what I'm saying, wanted to be a.
Speaker 1 (17:27):
Group with them.
Speaker 4 (17:28):
You know, you got to realize like we had took
on something very like it's like what we were doing
for our own little family as far as you know,
but but what we did for the South, how we
had inspired like we really we were like in the
way I was balancing Puff with these weekends and ship
like we was important.
Speaker 1 (17:46):
Was the problem was talking about that? Talking about that?
Speaker 4 (17:53):
Talk about No, I'm just saying that, like Puffy is
the king of marketing promotions and he was a part
of know, you know, you don't want you didn't want
this bad boys shit coming in your city just taking over,
but it was coming, it was it was coming. So
it was more like everybody just wanted me to kind
of like be against it. But I'm like, this nigga's coming.
Speaker 1 (18:15):
Right right, I got.
Speaker 4 (18:18):
So we're gonna play tough, but at the end of
the day, we're gonna, we're gonna, we're gonna work together.
We're gonna work together because of respect. And that's the
way that God bless Kim Porter you know I'm saying, has
passed away. But Kim would call me, Yeah, yeah, Kim
would call me and be like he got he wanted
to show respace. He don't wanna do that with your
main and that knows it, and and not do not
showing no respect to Dungeon families.
Speaker 1 (18:39):
There was more of a puff.
Speaker 4 (18:40):
Knew how to talk to people, he knew how to
trick you to get to do what you want to do.
So but that was important, but it was also like
a half so a little bit even though you forget
how important marketing it is or whatever, you forget how
important the promotion is, but really, you know, we really
just want to make music and really figure out other
ways of getting more like different stuff out because Atlanta
(19:01):
was but India I read with these it's it's such
a wild It's like we don't set this hip hop off,
but we know R and B and soul music is here,
so we're thinking about how to make soul and R
and B cooler and it's gotten that way now. So
we did Society, So it was us trying to find
that we was pushing the edge on what It opened
up the door for the neo so like.
Speaker 2 (19:23):
No Man Embrace, like I ran the fun out of
that record Black Mermaid.
Speaker 1 (19:28):
To Me and Earth.
Speaker 2 (19:31):
Let me say this like Society Soul album was actually
some outcast ship. But Ray was like, they can't go
back and do their style. They gotta come a little
more hard and different. So me and Rude was like,
what ship, just do a group because the first record
was of her, that was the first record that we
did at kirk Tong That's the one that's the one
(19:52):
that they didn't really want to do it like that,
I was like, well we might always do a group.
Speaker 1 (19:57):
Yeah, you know what I'm saying.
Speaker 2 (19:58):
So that's kind of how the whole society saw came
up sleep the theme see the thing came up when
we were with in the Scope and we had Dopples's studios.
Speaker 1 (20:06):
We had all three rooms right.
Speaker 4 (20:08):
And it was also because Sleepy from day one, remember
to hear the story. He he this was his mission.
We kept putting it on the back burner because of
our success as producers. Even in Player's Ball video, Sleepy
killed that hook. But because of the Face Records marketing,
he badly was in the video Get Up, Get Out
(20:29):
the Prince Burson to Get Up, Get Out. It didn't
have selot rapping at the beginning and came right out
with Big and Drake. I was like, this music industry
bullshit could have can destroy an artist Like I gotta
go back and face these people and say like but
I'm telling him, like this ship is stupid, but but
but but it's but we gotta put Big and Drake.
We got And that's why I said, going back, going
(20:49):
now to the story speak about his love below. This
is his brand. This is his brand, Big and Dre
And that's one thing I could appreciate about it. Even
though you want to it should have been Dungeon Family Out,
should have been Dungeon Family out.
Speaker 1 (21:03):
But he's like, we got big and Dre signed.
Speaker 2 (21:05):
So when y'all did the Dungeon Family even in darkness,
how were y'all as a crew at that time? Because
my record off that album was followed the Light, like
I love that was the one and.
Speaker 4 (21:13):
That came and that came out, that came together naturally,
like everybody in the studio just singing, and they all
there was some real Dungeon Family.
Speaker 1 (21:19):
Type of thing. You can feel it.
Speaker 4 (21:20):
I love, but that music industry bullshit that l A
Reads doing. Then I swept to the fourth. He put
Dungeon Family. When y'all bring it up, those memories come up.
He put out Outcasts Greatest his album that he never
knew that we never knew about. Two weeks after he
put out Dungeon Family out, he just gave he literally
no no, He gave us a million dollars just so
(21:41):
Outcasts will be cool with putting out cause they knew
that putting out their greatest hit thing was what we're
doing that for. He knew he was trying to work
the Outcast. Now, I keep telling it, I can put
a four Outcast records right now with with with them
on one song, I can just keep it going. I
need to meet a certain quota.
Speaker 1 (21:56):
The whole world, the whole world should have been the
singer on Dungeons. Yeah, so it's like.
Speaker 4 (22:03):
The fact that he was playing, but that's not an
outcast thing, that's not an organized Norse thing.
Speaker 1 (22:07):
That was an l a read thing playing the game.
Speaker 4 (22:09):
As far as like thinking he knew more about he
knew more now and he saw master p and everybody was.
Speaker 2 (22:15):
Doing it side outcast on. Now, if you were fan,
which side you're gonna hang up?
Speaker 1 (22:22):
Right?
Speaker 7 (22:22):
Yes, that's on the back.
Speaker 1 (22:27):
I was. I was living when I saw that. Man.
Speaker 4 (22:28):
We were showing, we were sure we would show up at
certain places and and this was like I didn't have
any more control of the business part because we had
did the Ender Scope deal. So now we're still a crew.
How you're talking about, how how did things go between
us and them? We all stayed the family. The problem
was when we wasn't in control of the business. Yeah,
things broke up. Everybody broke up. I mean everybody because
(22:49):
we wasn't in control of That's what's the word translating
some of those conversations, like when it's ABOUTY say Big
and Dre. They're not stars. I didn't go back and
tell them that. I know, you know what you're up there. Yeah,
you know what you're talking about. You know what I'm saying.
You're telling me I'm the star. I should be in
the group. And I'm like an R and B. I'm like,
big Daddy came up the whole bye right, it's like
(23:13):
you want to put big Daddy came having this trying
to get that ain't gonna work.
Speaker 2 (23:21):
Nah, if by record on that one, it was, of course,
it's the single six minute and white Guts.
Speaker 1 (23:27):
White Guts was crazy.
Speaker 4 (23:30):
They be giving up Big Boy General pat man On God,
y'all world here this this man hold us down better
than anybody, better than anybody.
Speaker 1 (23:38):
He is a true leader. He's a true leader.
Speaker 4 (23:40):
I wanted Dre to be the leader, and Dre tell
me you're the leader, like I'm the leader, and that's right.
Speaker 1 (23:44):
But he's right.
Speaker 4 (23:46):
But but but big boy, big Boy is the General
Patton Man. I love him to death. That man like
the elevators that me and you ain't. No, it's like
big boy his that is That is what our cast is.
Andre is what outcasts became. As far as like the
fact that his creativity was it's a it's prince then
(24:08):
he yes, the fact that he learned good charge. He
showed you start off as a rapper, just rapping and
not making beats and becoming a person that's writing your
own songs and records. Like like you're playing every play,
every play instruments. You play whatever you want to do
if you love it, and that's all music asked.
Speaker 1 (24:24):
You got to put back into it.
Speaker 4 (24:25):
You got now, right, man, Man, he on the flue,
he popping up, he popping up in people.
Speaker 1 (24:30):
Man, I want to see him. Man, he's just walking
around playing flute in Philadelphia.
Speaker 2 (24:37):
Alright, let me know what Drake dre playing is more
like a cold movie.
Speaker 1 (24:40):
Yes, I had a question.
Speaker 2 (24:47):
I had a question about so Curtis Mayfield the New
War Order album. Oh man, was it true that y'all
recorded his vocals on his back? Yes, we did talk
about those sessions. The first well, the song that was
ms Mark and uh. We were sitting there and they
brought him in and he had to sing the whole
thing on his back. So when he was singing, sometimes
(25:08):
with spast and it's no to go up or whatever,
But basically he really sung the song and like maybe
two takes, bro like he really killed it. It was
really amazing to actually work with him before he passed.
And because I'm sitting there, you know, player ball is
out and I don't know how you.
Speaker 1 (25:23):
Feel about it.
Speaker 2 (25:24):
So I'm nervous as hell because I'm sitting there, I'm like,
oh im about doing Curtis Mayfield vocals.
Speaker 1 (25:29):
Damn.
Speaker 2 (25:30):
So he's in there. In the first day he said
to me, was sleep it. I really liked what you
did on that on that out. Can that player his
ball keep it up?
Speaker 1 (25:37):
I was like.
Speaker 4 (25:39):
What, because at that time, everybody was comparing his vocal
to Curtis Mayfield, Curtis's Mayfield vocal on That's what the
writers were saying. And at that point I was cool
with it because we kind of had a relationship with
Curtis Mayfield's son. It was kind of like a family
thing or whatever to where we knew them and we
actually we was gonna buy his father's studio, but we
didn't want to take it from so we.
Speaker 1 (26:01):
Made to a museum. Damn.
Speaker 8 (26:05):
Wait, So can I ask you, Sleepy, how do you
feel do you feel you got your just At this
point as a solo artist with all these stories.
Speaker 2 (26:13):
Hell, no, man, I can say this. I've been very
fortunate to meet all my heroes. I'm talking about everybody
used to sit down and look at their album for
hours and just earth Winding Fire. I had a chance
to walk in. But when I tell me that earth
Winding Fire, because I had met George, and George became
like a father to me. So but I met all
the original members of Earth Wind the Fire. We walk
(26:35):
in for the Grammy rehearsal and I'm like, that's right.
I said, bro that that niggle Maurice hold on. He
was like, yeah, they perform and I was like, man,
get what you.
Speaker 1 (26:46):
Didn't find out you're performing them until that out.
Speaker 2 (26:48):
As soon as I said what, there was in the
circle that said Steven come in and sing the birth. Wow.
Speaker 1 (26:54):
So earth Wind and Fire is doing the singing. Man,
come on.
Speaker 2 (26:59):
I was always great, naive, So I had a chance
to meet all my heroes, man, everybody in the music
business that I always looked up to, and they all
adopted me. And I'm more happy about that than my career,
to tell you the truth, Because as a solo artist,
(27:19):
it's been all right. You know what, I mean, the
way you move still does great for me.
Speaker 1 (27:23):
I love it. We could perform that anytime.
Speaker 2 (27:25):
My dad always told me, said, Patri you're gonna have
one song that you can perform to.
Speaker 1 (27:29):
You die dances for him, he said, the way it
moves for you. Wow. You know listen, you know my
career has been I love it.
Speaker 2 (27:39):
It's some stuff that I wish could have happened better,
but that's definitely happened. But but you know what, my
thing on that album, my record was I like Margarita.
Speaker 1 (27:49):
One of the nights was the one for me.
Speaker 7 (27:50):
One of the Knights.
Speaker 2 (27:52):
Yeah, I did that with them. He did that with
Black Eyed peas Man. Oh well, will yeah Prince and
yeah yeah Prince.
Speaker 1 (28:05):
Yeah.
Speaker 3 (28:06):
Can I ask give me a close call story? Who
did you guys almost work on and didn't work on?
He talked about producing their record and then.
Speaker 4 (28:16):
Right, well, Kendrick, it was because you just didn't pick
the right It was just it was just timing they
was at the time they was moving, but he just came.
Speaker 1 (28:22):
That's was like out.
Speaker 3 (28:23):
It's like what you wait free or new Kendrick, Oh well,
or he he wanted the classic organized noise or.
Speaker 4 (28:31):
Yes when right before he put out all this stuff
that he like, right right, but okay, but let me
think a good let me think.
Speaker 1 (28:38):
Let me think maybe around twenty thirteen fourteen something that.
Speaker 4 (28:42):
I know for I know one story which is I mean,
I'm thinking of another one, but Jagged Edge, like Jagged
Jagged Edge was supposed to be signed us. I kind
of like during that time because cause I loved them twins,
them twins that really sing and they's coming around and
they was playing the song. But I just felt like
we had it was the in a scope deal. We
had just kind of messed up. So instead of like
(29:03):
looking at God looking at the gift, and I'm saying like, okay,
this is another group, it was more like we just
want that kind of build up in house or whatever,
and that stuff was kind of already done. They had
everything written. It was just like one of those you
just need to go in and touch it or whatever
like putting or whatever, get it right. And and I
remember saying, I'm gonna let your man out. I should
have did that.
Speaker 3 (29:25):
I know, I know there's no way to ask this
question and not be whatever, But like as far as
the different family members, because you know, we just got
done talking to Keisha Jackson, and she's speaking of, like,
you know, there's the Social Death Crew, and there's Organized
Noise Crew, and there's like so many crews around, and
(29:48):
she was speaking speaking of basically like being a freelance
background singer, and she in the beginning didn't know if
motherfuckers would feel a certain way of like she's singing
when y'all one moment and then over here singing with
them is another like kind of like an appoloonya Prince
Wayre's thing.
Speaker 1 (30:06):
But is there friendly rivalry at least between.
Speaker 4 (30:10):
He tell you something, I'll tell you something Off the
Rip Atlanta, Jermaine Dupree, Dallas Austin Organized Noise, all right,
So we because they were already kind of getting it.
Dallas is the king, you know what I'm saying. Dallas
was the king. Dallas had, you know what I'm saying.
Not only did he have a b C. He was
produced Boys to Man, He produced Boys to Men first
album or whatever, like he he did Madonna.
Speaker 1 (30:30):
He was he was somebody that.
Speaker 4 (30:32):
We was just like, remember Dallas, Dallas, that guy like Dallas,
the guy on the show.
Speaker 1 (30:38):
So Jermaine, what's that guy?
Speaker 4 (30:41):
Independently coast, closer to what we can touch like he
was working with Itchy Bun.
Speaker 1 (30:46):
He had a couple of hip and the straight Jackers.
He had.
Speaker 9 (30:51):
Me.
Speaker 1 (30:51):
Yeah, his version of his version of the Southern Paper,
his version of that what he was doing.
Speaker 4 (31:02):
I'm just I'm just telling you how I saw how
I saw it. But I still admired him because his
father and what he did that was I was close
to connected. Jermaine was our he was tangible. Jermaine was
friends with KP them like that. We could so so
it was more about we did when Chris Cross came, he.
Speaker 1 (31:17):
Figured it out. He did his version of a kid.
Speaker 2 (31:20):
Actually, me and Jermaine kind of grew up backstage together
because his dad was the road manager for Brick.
Speaker 4 (31:26):
So so so with that being said, when we go
in the studio, were in the studio, I remember the
first time we was like working on outre working on
some I heard him starting to do like he started
trying to use that person on Bratt, Mark Marcus Jefferson.
Speaker 1 (31:41):
Marcus, we ain't work. We ain't Mark, We ain't work
with Mark. About ten years after that, Mark, No.
Speaker 4 (31:48):
I mean I love him to death, but he know
I got mad about that I got mad, even though.
Speaker 7 (31:52):
Did he stepped away from what he was doing for
y'all to do that?
Speaker 1 (31:54):
No, he didn't step away.
Speaker 4 (31:55):
It was just me being like that nigga biting us
territory spin territorial because Mark was fresh Mark.
Speaker 1 (32:01):
Mark had a new sound. He he he.
Speaker 4 (32:03):
Had he had the big bass slide, but he had
put the witness on it and we had waterfalls with
him and we did.
Speaker 1 (32:09):
Something this way come like the sound was gonna be big.
Speaker 4 (32:14):
So it was like, man, he's just trying to like
rip that that sound.
Speaker 1 (32:18):
But we was wrong. You know what I'm saying. It's
like like we was right about what he did or whatever.
Speaker 4 (32:23):
But it wasn't about shunning him as it was just
more like it's other bass players.
Speaker 1 (32:27):
We can use other people. You won't be in our
sessions or whatever. Like That's how I didn't really know,
you know, this is what we're saying.
Speaker 8 (32:42):
What we.
Speaker 4 (32:45):
Know what I'm talking about because he was one of
our he would have been he was somebody that we
would have covered it even more. But guess what though
we had Guess what that ain't just we had Preston.
Preston went and got that littlefect and put it on
his base would have got put it out Preston, but
go pressed on.
Speaker 1 (33:04):
A yes to say that sound is our sound.
Speaker 6 (33:11):
So this is why Preston incorporated that thing into his thing, because.
Speaker 1 (33:16):
We still do that. That's why when you hear that
water based any kind of.
Speaker 4 (33:25):
Talk about out there sound, you hear certain stuff that
you said that's out there.
Speaker 1 (33:28):
There's no disrespect to nobody. I just blew him up.
Marcus Jefferson.
Speaker 7 (33:35):
Can you tell the story behind Liberation man? Please?
Speaker 1 (33:40):
And again? But kung Fu is strong.
Speaker 4 (33:43):
But once again, I can give you this this part
of how I felt about it, and then I got
to see and how I felt about it at that time,
the musicianship, the fact that we saying we.
Speaker 6 (33:57):
Did all of them at Doppler, the song together, and
we were doing all of this thing. All of this
was at the same time, right, It's all the same.
It's like the musicians going room the room, you know,
but the same energy.
Speaker 4 (34:10):
At that point I felt like Big and Dre like
so that album and the Liberation was on stink on
you right. That album is Big and Dre's complete coming
out party like almost could have could have been their
last album.
Speaker 1 (34:26):
Everything else was forced that I mean not for for
the record.
Speaker 4 (34:30):
Yes, by that time, parties were free because I think
he did Gasoline Dreams on that album, so like they was.
Speaker 1 (34:37):
Once you work with musicians a lot.
Speaker 4 (34:39):
On the album, you figured out that the sonics of
being able to have these sounds with these sounds in
that sound. So by the time they got the Liberation,
I feel like that's where the poetry.
Speaker 1 (34:47):
That's when he was n Spodio the double dishes.
Speaker 4 (34:50):
That's why those songs are so special because they produced
the hell out the songs. Then they didn't have to
perform as rappers. They went and did like like the
it was actually wow and then and then the horn
section those.
Speaker 7 (35:06):
Brothers, So who is the hook, who's the who came
up with the lyrics for? It's a fine line between.
Speaker 4 (35:10):
That's and we flew to Dallas to record her vocals.
Speaker 1 (35:15):
Fore you got me.
Speaker 3 (35:17):
She was just listening to a rough, so I guess
Dre left a rough of like five songs there and
Ross was with us Common and Liberation came on and
literally I could say, now probably no group or a
(35:38):
collective of producers has ever made us like you know
that that kill Bill Ironside.
Speaker 1 (35:49):
When that ship came on. I remember Rosh came on.
Speaker 10 (35:52):
He's like, yo, man, how do you feel about that
that last song? And I was like said, yo man,
we got to come with some ship man like cause.
And I remember to that day when the idea of
heaving somewhere guys, I don't know if you know.
Speaker 2 (36:19):
Good In my soul Ford album, Mixo mix So What's
What's Happen with him? Was my joint mix so man,
Mixo really was a bomb producer that he did bomb producer.
Speaker 1 (36:32):
He was really he was not not bomb. He was dope.
Speaker 4 (36:37):
He was dope, not he was super dope and and that,
and at that point we weren't really giving those sides up.
So it was like when he did the original, we
flipped it like like like so he got like like
we might have flipped like whatever he did.
Speaker 1 (36:50):
But how did they know? Mix So how does Mixo involved?
Mixo had did Lumberjacks? He was, yeah, he had did that.
Speaker 11 (36:59):
This is how I, this is how I.
Speaker 4 (37:03):
But these songs hadn't come out, but Kujo and Timo
the Lumberjacks was on outcast Heels as far as the
next up and coming two man group in a Land
of rapping.
Speaker 1 (37:13):
So it's so it was like, fuck, we gotta let's
make him a group. So y'all. So they were group first, the.
Speaker 4 (37:21):
Wood Group, but instead of having another two man group
coming after after Howard two man group, it was better
to be like, instead of having Gift solo and Silo solo,
want we do a four man group or whatever, like,
because these guys were with the Nucleus that's where the
Goodie Mob came from. Kujo and album to Goodie Bag
was absolutely man listen.
Speaker 3 (37:42):
So since you kind of brought it up or at
least pointed to the word to the white elf in
the room.
Speaker 1 (37:51):
Here, you are, just walk back in. I have a question.
No no, no, no, no no.
Speaker 3 (37:55):
I'm trying to phrase it in a way where it's
just not I'm asking a dumb question. What Obviously you
guys are now legacy producers because you've been doing this
for like three decades and there's always been talking there
and that it's been happening for the last two or
three years, where you know, there's obviously Earth Earth Gang
(38:18):
is heavily influenced, and it's hard not to be you know,
not spoke to them. They were like, yo, we were
like nine, ten, eleven years old when this shit's coming
out and now so obviously you're now seeing the results
and whatnot. Has there ever been a conversation about like
(38:39):
you guys working with them, like just from the current
crop of today's producers, like who Gang Yeah, oh.
Speaker 4 (38:45):
Man, I got a great story. Orlando McGee, that was
our intern.
Speaker 1 (38:50):
It was his group.
Speaker 4 (38:50):
He was somebody that he wanted to work with, but
he wanted him to be around us. So we can
tell them how not to act like us so much
so we can make push them to being a little
more rik.
Speaker 1 (38:58):
I love them guys, but I was a think that
it takes you three albums didn't get you together to
take that off.
Speaker 4 (39:04):
Yeah, you see what happened to rariy my cousin DJ
working with Rari right now. Rari was a he was
a part of the twenty year anniversary. But when they
put that stick, that that that that challenge on you
you the next Outcast.
Speaker 1 (39:16):
It's just like people people expect a ten year, ten
year line of work.
Speaker 4 (39:20):
Outcast started with Southern playlists, the calact music where they
were just proving to New York that they can rhyme.
Then that had to double down on that with at
Yelling's equiminal. They went crazy creatively because the balls were
hanging too.
Speaker 1 (39:33):
What I'm saying.
Speaker 4 (39:33):
We had plaques on the wall. It was like there
was work. It was right, we was. We was dropping
when Tupac was dropping. We was dropping. When when whoever
the Wu Tang, whoever was It's gonna be big numbers
this week. Fuck outcasts just dropped. It didn't happen like
you wanted.
Speaker 1 (39:50):
Words.
Speaker 2 (39:50):
I always said, Yo outcasts. I don't know if y'all
did roaches and rats?
Speaker 1 (39:56):
Was that y'all?
Speaker 4 (39:56):
Oh man, that was a banger and that was broke?
Speaker 1 (40:00):
Oh god, that was a jewel. That's a good one.
That's a good only on like YouTube, that's a good one.
It was probably ten years old when it came out.
Whenever dropped.
Speaker 4 (40:10):
But that was one of those good like Bens of Beamer,
Benz of Bmber that we ended up using on the
New Jersey Drive. But that wasn't original version of it.
I'm telling you, that wasn't even the original version. That
was like the original that was original vibe, but it was,
but it was, Yeah, it was a Parliament sampling. You
just learn more about sampling and like like fuck, we can't.
Speaker 1 (40:29):
Y'all can't use them.
Speaker 2 (40:29):
Y'all Outcast the Outcast soundtrack game because like the higher
learning Joba.
Speaker 4 (40:35):
Pobe and that was our That's how we learned because
like like we went in on a that's sp but
it was stiff though, and it was Grid and we
was like it was like, fuck man, we didn't take
advantage of that opportunity, you know what I'm saying, Like
even though we did, if we put out something with
Big Rube on it, it was we gotta but it
was like and we got paid good.
Speaker 1 (40:53):
John Singleton loved us from that day.
Speaker 4 (40:55):
Fourth every movie he had he called us to be
like Yo, he wanted Sleepy to be the whole soundtrack
for Chef.
Speaker 2 (41:03):
Because he loved he loved the Sleepy the album so
much he flew me to New York to talk about it.
I had to me, Hey, we're gonna do the whole
thing like the Chafts soundtrack, gonna be Sleeping Brown doing
the whole Cheft things, just straight score, like the whole
you know, just and I had crazy ideas.
Speaker 1 (41:21):
But yeah, I'm gonna say l a read.
Speaker 11 (41:28):
When the Face got the soundtrack, When the Face got
the soundtrack. I swear to God that we got the
director of the movie we got is Gay's blessing. But
I do understand the politics of Sleepy is not this
is before.
Speaker 1 (41:41):
I can't wait.
Speaker 4 (41:42):
I believe I can't wait. So they was like concerned
with Sleepy big enough to care. But we knew seventies
movies and back then that.
Speaker 1 (41:50):
Was my ship.
Speaker 2 (41:51):
That was I was so excited to do it, Like
I wish I could play you some.
Speaker 1 (41:55):
Of the songs that we worked on. Work. It was insane.
You got the shaft, I got a problem. But that
was clever. That was good. It's good. That's what it
was with a camera.
Speaker 3 (42:11):
So all right, is there truth to the rumor? My
manager told me the story, and I didn't believe it.
That the way that you guys handled the twentieth anniversary concert,
because I know the white elephant in the era was
whether or not Dre would join you. And the whole
thing was like give him and then he'll show up.
(42:33):
So the whole plan was like, don't say nothing to him,
and then three hours before he's like on the FLA,
I'm coming, I'm coming. Is it truth to the rumor?
That's how y'all handle it, like basically.
Speaker 1 (42:44):
To be real simple with it. We told the promoters.
Speaker 4 (42:48):
We was like, if Andre has to be here, we
don't want to do it, you know what I'm saying,
Like like we want y'all to want us as the
Dungeon family without him first, because because it was just
the fact that we were respecting his wishes, like like
I said, I don't want I'm saying, huh, she's about
to show for one music fest, do that. It's because
(43:10):
and those guys they was like, man, got big Boy,
gotel all right, and then we started rehearsing. We took
it serious or whatever. Then we got a phone call.
It was like y'all, y'all trying to do this ship
what I I mean, y'all could.
Speaker 9 (43:28):
Have asked plan worked, but the plan worked in the
sense of just get it all in place, like like
get make sure that we can do this because Big
Boy and Clo was killing it already with touring.
Speaker 1 (43:46):
Like the way they work, it was working.
Speaker 4 (43:47):
So it was like really trying to get cool Breeze
a shot, wish doctor shot. So it was like the
best part was that those cats took you know what
I'm saying, those cats was getting more money to perform
by themself than to take to take what they took
perform with us. Then Andre said, man, you know, I
was like, can y'all get some more money? Like I say,
he'll do it. So it's like it worked out for him.
(44:08):
It's like we had already got what they said they had,
but we said, what we.
Speaker 1 (44:12):
Have to do too many songs? Yeah, and you know
he could be cool. He was good. Man. He killed it.
Speaker 4 (44:17):
Man, he came in and like and and honestly that
brought us a sense of family and the sense of
like we were seriously.
Speaker 1 (44:22):
Like, we got to do it without him.
Speaker 4 (44:24):
I hate it, but a lot of the ship is jamming
without him, but some of the ship is jamming harder
with him.
Speaker 1 (44:30):
Yeah.
Speaker 4 (44:30):
Yeah, yeah. We actually did a tour without him and
it actually did great. But that showed that one music
fast show. Wow, that's like, that's something more than that.
That's memorable. That that's something Right now. I think we
still holding the vid. I think we still got the
video footage today. I think we're speaking. I think we
got to put we're working with we're about to try
to put that out.
Speaker 3 (44:47):
So is there a scratch that you have not itched
yet or are you satisfied we haven't scratched yet. Yeah,
thank you, correct, I don't I don't know it.
Speaker 2 (45:02):
You know, I'm struggling right now because you know, the
guys want me to do a new album. But at
the same time, yeah, no, no, no, I'm with that.
But at the same time, I've been through so much
with labels, even though this time is us and that's great,
but my heart been broken with so much, so many
(45:22):
damn labels, that it's kind of hard to get the
energy to really truly want to do that. Like I
want to produce people now. I want to produce more
now than be an artist. Truthfully, what I'm gonna do,
I'm gonna do it.
Speaker 1 (45:34):
Yeah, man.
Speaker 2 (45:34):
I did the session with Joy. I wrote a song
with her. This has been a couple of years ago.
She came to my crib. She played me some stuff
for yours.
Speaker 1 (45:42):
Bro Let that be.
Speaker 2 (45:46):
I mean, it was jamming then, it's still jamming. This
was a couple of years back. But nah, it's not
really fucking great man. But I love I mean, if
I do, I would love to do some. I mean,
me and Ray we've been funking with We're doing some
stuff and it sounds great.
Speaker 1 (46:02):
I just need to be twelve shot to make me
want to go do it. I feel you you know
what I mean.
Speaker 3 (46:07):
Look, I'll say this much and I gotta close it.
But you know, we we've been doing this for six years.
This is this is our first episode in the Flesh
in almost three three years. Like you know, the pandemic
basically had us on zoom. So you know, for the
most part, when we do legacy artists, they're closer to
(46:28):
their sixties and seventies and their memories are shoddy and
they don't recall that song or the stories are not exciting.
I will say that I will not take for granted
how awesome this episode was, man, and that you guys really.
Speaker 1 (46:44):
Straight up no man, like for real. You know.
Speaker 3 (46:47):
I'm also a little salty that it took me like
thirty years to have like a real conversation.
Speaker 7 (46:51):
With you through I'm about to say, well, y'all ever
work together?
Speaker 1 (46:54):
You know, we see each other and pass it. We
were tour with each other to them. But you know
what I'm saying, what's up? Basic?
Speaker 3 (47:00):
But I no, no, no, And people always think like, oh,
he's so staying office.
Speaker 1 (47:04):
But I think in my mind.
Speaker 3 (47:05):
I want my first This is always my dream inter
action where I get to because I look, the first
time I messed Q Tip, it was like this episode
and he avoided me for seven years because he's just like,
here's like a journalist, like like just be regular dude,
Like stop asking me about like my drum patches.
Speaker 7 (47:24):
So you had to get this out so y'all could
be cool.
Speaker 3 (47:27):
Yeah, because I think if you need people out like
in the in the outside.
Speaker 4 (47:31):
World person, there's a place. There's a place for the nerd, right,
those kinds of conversations. Because I'm very, very very impressed
with the with the wealth of knowledge, with the whole to.
Speaker 7 (47:42):
Happen like this for you to be impressed.
Speaker 1 (47:43):
No bro like you. No, we are fort.
Speaker 4 (47:47):
We are student, and you are like the face of
one of the faces of hip hop. How Snoopy is
like your faces out there that we're proud of.
Speaker 1 (47:55):
I am proud of it.
Speaker 2 (47:57):
Once again, congratulations on the award. Thank you. You killed
it with the movie.
Speaker 1 (48:02):
I love it. I watched. I told ray Man, we
gotta watch. This is insane.
Speaker 2 (48:06):
I appreciate its beautiful and think and I just want
to say, man, y'all y'all brother's music got me through
like so many tough times, man, like I'm a Day
one fan to the end, like every you called it, every.
Speaker 1 (48:21):
Love y'all brothers, man like straight up, well that said,
ladies and gentlemen, or and be half of the great
you may die talked about you the intro. The intro
just talk about recording that song. We just have to
be like two minutes. And why do y'all give these
brilliant ass interludes Like.
Speaker 2 (48:40):
But that's what makes it dope because it's like it
gives you just because you want more.
Speaker 4 (48:44):
The night y'all, we just ran it backwards. I think
Dre was that's when he was playing with this sklimba
or whatever. But we took that hold on, we took
we took I think we took at Yellien's forward and
ran it backwards to make them.
Speaker 1 (48:58):
Then we wrote.
Speaker 4 (48:59):
Thing Happened, something that was on the album that was
going for it, and ran it backwards whatever you know,
and it's so beautiful, put the piano on and and
then we got peached.
Speaker 1 (49:12):
Just say, because her voice was such so monumental to
us at that time. Shout out, yeah, shout out to
all of them.
Speaker 3 (49:21):
Do you think they were having like a seance with
a whole bunch of candles in the night time?
Speaker 2 (49:25):
That joint and the the hold on be Strong intro
with four point oh singing on it. Yeah, like y'all all,
y'all intros, man, that was like textbook I was.
Speaker 6 (49:34):
It's really a community affair with everybody you with, That's
what happens. Put them in use however you can use,
you know what I mean?
Speaker 4 (49:41):
And Big Boy and that's what I feel like Big
Boy did the most because with money, but he kept
and kept he kept that spirit alive even when the
little will he would take him on tour. I was, yeah,
what not not even just purple ribbons his his touring
when it was Outcans touring. They would keep these guys alive,
even if was just on the road or whatever. So
(50:02):
by doing that, you keep your skills struve. You're right
when you as long as you stay doing music, you're
gonna you're gonna write some music. You're gonna come up
with something refresh. Did y'all never cut any breakers on
Scar on Bubba Sparks album. I mean, Scar wrote the
hook for Ain't Life Grand was like my twin at
one time, like he was totally we.
Speaker 1 (50:21):
Got songs that we haven't released, that we're going to
release all we want to hear.
Speaker 12 (50:26):
I love going to well Ladies and Gentlemen on Behalf Yes, Yeah,
definitely on behalf of Sleepy Brown and Our New Sense.
Speaker 1 (50:43):
My favorite dude ever.
Speaker 3 (50:44):
Ye, thank you, brother on behalf of Unpaid Bill, Still
on Sesame Street, Flo and Sugar Steve.
Speaker 1 (50:54):
My name is quest Love.
Speaker 3 (50:55):
Very grateful for this episode, very classic episode, and we
will see y'all on the What Steve the next go round.
Speaker 1 (51:06):
What's Love Supreme is a production of iHeartRadio.
Speaker 3 (51:13):
For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.
Hosts And Creators
Laiya St. Clair
Questlove
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