QLS Classic: Jazzy Jeff (Part 2)

Grammy-award winning DJ Jazzy Jeff joins Team Supreme (again!) to talk hip hop, DJ culture, and what it was like to work with Will Smith.

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Episode Transcript

Speaker 1 (00:00):
Of Course, Love Supreme is a production of iHeartRadio. This
classic episode was produced by the team at Pandora. Ladies
and gentlemen, Welcome to Part two of Dj Jazzy Jeff
on QLs Classic.

Speaker 2 (00:13):
Now this is a little bit different.

Speaker 3 (00:15):
Part one was courtesy of August twenty eighteen. We didn't
even get to part two until almost a full year later.
So here we are May fifteenth, twenty nineteen, almost a
year later, with the great DJ Jazzy Jeff Part two
QLs Classic.

Speaker 4 (00:33):
Let's go.

Speaker 2 (00:37):
Were we even breathe in two thousand?

Speaker 5 (00:40):
Right?

Speaker 6 (00:41):
Sma roll suprima, supremo, roll suprima, so prevo suprimah should
it seven?

Speaker 4 (01:00):
Yeah? And Jessie Jeff repequestion, Yeah, I can't agree.

Speaker 6 (01:06):
So suppriva roll called, Suprema Suprema roll call.

Speaker 4 (01:12):
My name is Fante.

Speaker 2 (01:14):
Yeah, and I'm just kicking.

Speaker 4 (01:15):
It yeah on ql S. Yeah, with the magnificent Roma.

Speaker 6 (01:22):
So supprevo roll call, Suprema so supremo.

Speaker 4 (01:28):
Roll called. My name is Sugar, Yeah, Yeah, I'm always high.

Speaker 5 (01:32):
Yeah.

Speaker 4 (01:33):
Can we interview? Yeah?

Speaker 2 (01:35):
This guy.

Speaker 6 (01:37):
Sore supriva roll call, supriva sou so.

Speaker 2 (01:43):
Suprema roll call. First you grabbed the hat Yeah, then
you grip the hat.

Speaker 4 (01:48):
Yeah, then you flip the hat. Yeah, make sure it's
a Scotter Cato Suprema Son.

Speaker 2 (01:54):
Some Supreva roll called.

Speaker 4 (01:56):
That was Upprema Son Son Supremo.

Speaker 6 (01:59):
Roll call.

Speaker 4 (02:00):
I'm on pay Bill.

Speaker 2 (02:02):
Yeah, don't get it silly. Yeah, how could today? Yeah
anymore Philly roll.

Speaker 6 (02:08):
Call Sun Suprema roll Suprema Sun Sun Supremo. Roll call.

Speaker 5 (02:18):
Yeah back with Jeff. Yeah, a better Aquarius. Yeah, I
ain't met one yet.

Speaker 4 (02:23):
Roll call.

Speaker 6 (02:26):
Supreme Supremo Supremo.

Speaker 4 (02:31):
Roll came. My name is Jeff. Yeah this is true. Yeah,
I'm back on QLs. Yeah for part two.

Speaker 6 (02:39):
Roll call Supreva Sun Sun Supremo. Roll call Suprema Sun Supremo.
Roll call Suprema Sun Sun Supremo. Roll call Suprema Sun
So Supreme roll.

Speaker 4 (02:56):
Call starter cap Okay.

Speaker 2 (02:59):
Okay, other role all would have been something about nine Yeah.

Speaker 4 (03:04):
That one.

Speaker 2 (03:06):
Okay, all right soon bell Yo.

Speaker 7 (03:11):
Shout out to bost Bill, who made it explicitly clear
that he didn't want any eating on this show.

Speaker 4 (03:21):
And yeah we know why, right, I should have Yeah,
I should have listened.

Speaker 2 (03:26):
It was almost died call like we have this. Shout
out to the studio.

Speaker 7 (03:31):
We're still at uh in our Philly pilgrimage where at
the Milk Boy Studio aka the studio, and they're fancy
cheese here and.

Speaker 4 (03:43):
Fancy cheese.

Speaker 7 (03:44):
There's something about there's something about when that organ shrill starts,
there's a level of panic in the air, and like
the intro, that's.

Speaker 2 (03:59):
That's some early QLs reference for our listeners.

Speaker 4 (04:02):
Yeah, and I heard it.

Speaker 7 (04:03):
Oh yeah, my my love for Latin quarter stories. Yes,
when those drums happened, that means someone's getting their ass
beat at the Latin quarter.

Speaker 4 (04:12):
When that when those rules come in.

Speaker 7 (04:14):
Yeah, but when I heard the organ thing, I was like, oh,
I'm eating cheese. Oh I don't know, I'll swallow it
real quick.

Speaker 4 (04:21):
And then that was it. I was choking. So this
is a historical first, ladies and gentlemen, we have our
first repeat guests knew this movement was happening, kind of wow, well, okay,
half the people weren't here at the time when Jeff
came before. So this is this is the full the

(04:43):
full throttle Jazzy Jeff episode with all the members present.

Speaker 5 (04:47):
But would you like to tell them why we had
to have a part two?

Speaker 4 (04:51):
Why we didn't even get the Will Smith. Yeah, Will
Smith was not even interpart. Woo, So we can start
like the Biggie record previously over. He did die? So, Jeff,
you were five years old when you got your first
All right, Jeff, so in nineteen seventy eight. All right?

Speaker 7 (05:08):
We ended talking about the DMC battle and how Jeff
wanted to It's one.

Speaker 2 (05:15):
Of my favorite episodes.

Speaker 7 (05:16):
I actually wow, not only mind narcissistic, I'm also a
sponge full of information.

Speaker 4 (05:22):
I remembered that.

Speaker 7 (05:24):
He used the wrong turn tables and still won the
battle against was it DJ Cheese?

Speaker 4 (05:31):
Yes, okay Cheese, that's ironic. You used like a belt
drawer direct? What was wrong? It was two setups and
one of them wasn't acting right, and everybody that used
that setup lost, and he dissed me, and I got

(05:51):
mad and I wanted to beat him on the bad setup.
So I did beat him. So I did it?

Speaker 2 (05:57):
He whoofed his ass? Yes? So then once you're crown king, uh,
what happens?

Speaker 4 (06:06):
Like? I mean, they gave me a big cup and
you like all of the all of the DMCs after
that or the New Music seminars, they gave a belt
and they gave me a cup. I mean I appreciate
the cup.

Speaker 2 (06:21):
You know, first you take the cup. Yeah, but you
know I can't. I came home.

Speaker 4 (06:27):
I can't. The funny thing is I came home and
went straight to W Das because you know, did you cut?

Speaker 2 (06:35):
Did you cut? Is that the night that you cut? Baby,
let's go go. You went to Das.

Speaker 4 (06:44):
This is in the eighties, and you stayed on the
only thing that a musquite and you cut big chump beat,
a big drum beater four minutes straight. And it's what
they that wasn't me, No, no, no, no, you were
cutting it for a street.

Speaker 2 (07:02):
Yes, you were cutting big jump.

Speaker 4 (07:04):
Yes.

Speaker 2 (07:05):
I don't know if it's after this night particular. No,
I probably wasn't.

Speaker 4 (07:09):
Well, you know we we lived in d A, Yes,
you know we we we had kind of had car
blocks that you just kind of show up stop. Yeah.
Yeahs was like that. I like that. Yeah, shout out
to uh everyone a d s uh j Ones and
and well j Ones.

Speaker 5 (07:27):
Is now uh uh uh he's like the record, he's
a record.

Speaker 4 (07:32):
J Ones is now the right hand man of DJA. Yeah.

Speaker 5 (07:37):
But you know that was doing the workdays.

Speaker 4 (07:40):
That's great.

Speaker 7 (07:40):
I mean that had their Yeah Mixed show at Friday
nights between like nine thirty and Cut Master Butter and
uh cut What was his name, Lawrence Levon?

Speaker 4 (07:53):
Yeah, yeah, yeah, yeah.

Speaker 2 (07:55):
Uh, that's also the night that Larry he's a guy
from Philly.

Speaker 4 (08:02):
Yeah.

Speaker 7 (08:02):
There's always these glorious names that if your name, if
you're a French name in black, dude, you're that's quite glorious.

Speaker 2 (08:10):
So I guess we can start with how did you
meet Will Smith?

Speaker 4 (08:15):
Oh? Okay, Well, you know, back back then, it wasn't
uh like a bunch of really big groups, you know,
it was it was everybody had a DJ on their
block and then they we would all kind of get together,
you know, at the wind the Hotel, Philadelphia, Wagoner's ball Room,
just all of the spots in the city. So I

(08:37):
knew of Will. I knew, you know, he was on
the flyer with me for a couple of shows. So
I knew the group that he was with, this group,
the Hypnotic mcskay. Yeah, And it was crazy because this
is kind of well it's not kind of this is
pre cell phone, pre anything. This is like, yo, I

(08:59):
got to call you in the cre If you don't answer,
we're done, and somebody called me and said, hey, I
got a party for you on fifty ninth in Woodcrest tonight.
And I picked up the phone and I called Ice,
who is my MC? And Ice wasn't in the house. Wow,
And you know, I was like, okay, you know, I

(09:19):
got to go and do it. So, you know, we
jumped in the car. We drove up there. Come to
find out there was two doors away from Will. So
when I came and set up, of course, you know
Will and I want to come down in the basement
and kind of see who's doing the party, and then
realized it was me. It was like, oh man. So
he was like, hey, where's Ice. I was like I couldn't.
I couldn't find you. He's like, yo, you mine if

(09:41):
I rock, And I was like nah, And we got
on and it was just it was a anybody who
DJ's or anybody who raps for a good DJ knows
that there's this chemistry and you know, I my brain
works in bat alright, so I kind of know, like, listen,

(10:01):
your fourth bar is going to be your punchline for you.
So I'm kind of like, yo, I'll drop out or
just do a scratch there and it was just but
it was also Will with somebody that watched and was like, Okay,
Jeff does this with this hand, and he does this
with this hand. So he would tell me to do something,
but he would always tell me to do it while

(10:23):
I was on the opposite hand to set it up
so for me to realize that he paid that much
attention and then him realized that I paid that much attention.
It was kind of like one of those things like
I was like, Yo, this is the best night of
my life and this is crazy, and what you're doing tomorrow?

Speaker 7 (10:39):
I got a party to do tomorrow and you know,
so essentially you two are having an affair with each other.

Speaker 2 (10:44):
Yeah, oh absolutely. How do you tell your respective cruise?

Speaker 4 (10:49):
Well, how do you know?

Speaker 2 (10:51):
I don't know how he handled it.

Speaker 4 (10:53):
I know you know what it was.

Speaker 6 (10:57):
It was.

Speaker 4 (10:58):
It was a couple of shows that Will and Ice
did together and you could definitely tell the difference. Is
there an age difference between the two.

Speaker 2 (11:10):
Ice might be a little bit maybe two years older
than Will. Hmmm, so is that dog years and years?

Speaker 4 (11:18):
Like no, no, no, no, no, no, Well you gotta
understand this was so early. You know, it might have
been twenty rap records out period, so we're not even
talking about the Rutgers. We're just talking about everybody. It was,
you know, it was a main cruise in Philly, right,
and it was just kind of like what year is
by the way, eighty five?

Speaker 2 (11:39):
Okay, eighty five? And it was it was notice was
it eighty five?

Speaker 4 (11:45):
Yeah? It was eighty five. You're still cutting a shout.
We're doing all of that, you know, we were doing
something with drum with a drum machine. I had a
routine that I did with a nine on nine that
was that I used to do this thing with a
nine on nine and this boss foot pedal that on
the back of the nine on nine there's a there's

(12:08):
a trigger out and and the trigger out is the
rim shot. So if you plug the boss foot pedal
up to the trigger out, anytime you hit the trigger out,
it's going to trigger the boss foot pedal. There was
a mic input on a boss foot pedal, So me
and Will used to do this thing called the copy
rock that all you have to do is program a

(12:30):
beat and just leave the space at the one that
if he was you know, it was almost like supreme
and he would say a punchline, and I would go
from record to play and it would automatically play, and
everybody was like, oh my god, Jeffrey Will, He's scratching
Will's voice. Yeah.

Speaker 2 (12:51):
Yeah, we was always ahead of Wow.

Speaker 4 (12:53):
Well you were always ahead of it, like you and technology. Nah. Listen.

Speaker 8 (12:58):
I did a session with Jim in two thousand and
six seven and he was recording vocals and ableton like
back then.

Speaker 9 (13:07):
I want to say, I found out about Final Scratch
from you. Yeah, yeah, somebody quoted you or something.

Speaker 5 (13:13):
Yeah, And I smoked my vote, my first baby pen
with you.

Speaker 2 (13:17):
I'm all the way across the board technology game.

Speaker 4 (13:23):
Listen.

Speaker 7 (13:24):
You know so about and how are you finding about?
You're not up on this next, like I don't think
I don't think you are?

Speaker 2 (13:32):
You know you you you know.

Speaker 4 (13:34):
I grew up going downtown every day, going into funkal
Mark every day and staring at the equipment that you
can't afford, right, you know, and and then getting cool
with them, like you know, listen, I bought a I
bought an echo machine on layaway. People don't even understand
the layerway. I was going down there putting three dollars.

(13:55):
They got mad at me because of course, you know,
they got to write every time you put money on
the seat and my receipt that ship was going to
the backside three dollars, and they like, listen, man, why
don't you don't bring nothing down here less than the
twenty because I can't do three, you know.

Speaker 2 (14:13):
But it was just so I could get on the
mic and go.

Speaker 4 (14:16):
Do it, do it, do it? Wait?

Speaker 2 (14:20):
Were you were you ever that type of DJ where
you did your.

Speaker 4 (14:23):
Own listen, shut up, you gotta understand listen. I was
DJing before they were rappers. Wow, So like, what else
are you gonna do? You get on the mic, y
old shout out to such and such from fifty second
and Addison go curl girl, girl, your mama's coming. Yeah, right,
waiting for your mama's here. Yeah, I know them.

Speaker 7 (14:49):
So in doing these routines, then how do you guys,
what's the next step?

Speaker 4 (14:58):
Is it? Word up records? And yeah?

Speaker 2 (15:00):
Well you know what. Everything happened really fast because Will
was on his way to college. He was going to
M I T. Whoa, oh yeah he was. Will was
going to M I T.

Speaker 4 (15:11):
Like he was. He was serious, and it was kind
of like we hooked up, like I want to say
that this party had to be sometime in maybe January.
And and I know you'll remember this like Phillip, Philly
has a schedule. Philly has a calendar that you know

(15:34):
from you got January February as soon as March come.
Bartram would always have the first prom of any of
the high schools, so that kicked off prim season. So
every Friday it's Bartum, then it's mass Bomb and such
and such and such. So if you were a DJ,
listen you you worked, you know, not not even if

(15:56):
you didn't do the Prime, you went with GQ Joe
or for the after part after prom at the Wind,
you know, either at the Wind or it was what
was the joint on parkside chronicopia parks I eat your
cornercope was the small ones, but all the schools they
had good money was on park side.

Speaker 7 (16:15):
Wait time out, so spawn or engineer in the other
room is put his hands up for cornicopia side note.

Speaker 2 (16:22):
I went to the wrong corner coopia.

Speaker 7 (16:25):
Oh no, there's there's a corner coopia bar on fifty
second and Gerard, yeah, and I walked in that motherfucker
like no, fifty second right right, And it was not
the after So okay. So this is also because you
gotta also explain that with hip hop culture in the eighties, Uh,

(16:52):
we weren't going to the mainstream clubs or none of
those things.

Speaker 2 (16:57):
Like all this was it was rented ballrooms. Like the
Wind was a ballroom.

Speaker 4 (17:03):
The Wind wasn't a club you rented to win, you
rented the hotel Philadelphia. We didn't have like I almost
want to say that the first club that we actually
had was after midnight.

Speaker 2 (17:17):
Wow, like after midnight was a specific was a club.

Speaker 4 (17:20):
Yeah, and you know that's what was the Spaghetti Factory. No, no, no,
I'm talking about the first after midnight was the what
was the eighth and Cherry. Yeah, the first after midnight
was eighth and Cherry. Eighth and Cherries was l l
understand the spaghetti warehouse after midnight. Oh, that ship lasted

(17:41):
about three months. That that had the potential to be
Philly's best club ever. And the people in the neighborhood
was like, nah, y'all not doing that here. Oh they
had a skating ringing after midnight. Yeah, listen, that was
that was open for about three months. Really yeah, wow,
but that that was That was eighth and Cherry Wow

(18:04):
that was eight and Cherry Boss Bill. Were we allowed
to play that freestyle? M No, I mean I rather
ask permission or.

Speaker 2 (18:13):
Apologize, you know, follow trying to figure out you got that? Yes,
you never heard it? Of course I heard it.

Speaker 4 (18:24):
I'm just shocked that you got Well, no, I'm not shocked.
Do you know who he? I forgot who? No, I
absolutely know who he is.

Speaker 2 (18:33):
So what historical shows that you've seen?

Speaker 4 (18:38):
Listen?

Speaker 2 (18:39):
I mean, you know everything that was that after midnight?

Speaker 4 (18:41):
Because like I said, you know, once after midnight came,
we wasn't really going to the wind because we had
a club. You know, that was kind of like, yo,
this ship is popping every week. So you would go
down there and you know, and and l would come through,
and Big Daddy Kane would come through, and Stetsy Sonic
would come through, and you know, it was it was
it was the home. I finally got Big Daddy came

(19:03):
to talk about the Jazz Fresh Battle. I got that.
I got that. You have a battle on tape. Yeah, yeah,
I got that. Chef sounds like there's gonna be a
trade happening here. We don't ever trade. We just give
each other stuff. We don't call it trading.

Speaker 7 (19:20):
Okay, yeah, I say, by the way, by the way,
after midnight is definitely the Philly Latin Quarter, especially when
I mean a big part of Philly's presence in late
eighties hip hop also has to do with the fact

(19:42):
that because with the exception of the muscle of Carol
Lewis getting a fresh vest into maybe the Nassau Coliseum,
Massive Square Garden really wasn't having that. So you really
couldn't get good hip hop in proper venues. Thus you

(20:02):
either going Latin Quarter or you're going down ninety.

Speaker 4 (20:05):
Five yeah to Philly to do uh dispatch the midnight
Yeah yeah, oh right, the spectrum of course for that stuff.

Speaker 2 (20:13):
So how do you guys, how do you put.

Speaker 7 (20:17):
Routines together when it's time to do How long are
these DJ gigs for starters?

Speaker 2 (20:22):
Oh?

Speaker 4 (20:22):
Man, you was playing for an hour? Wait? I mean, well,
you got to keep them oud. It was ninety seven
DJs on like it was always a million d Come on, man,
you listen. Don't make me pull out them flyers and
see how many people were on those shows.

Speaker 2 (20:39):
You weren't doing three to four hours a year.

Speaker 4 (20:41):
No, first of all, let me just explain because I
think you invented that exactly. You ind man, you know
how many people booked me. It was a quest love
played for. I was like, yeah, they don't do that.

Speaker 2 (20:53):
I don't do that.

Speaker 4 (20:54):
I can't do that.

Speaker 5 (20:55):
Look what you did just an hour?

Speaker 4 (20:58):
Well listen back then, but well not just that. What
you have to understand the the Live and Union Square
show was twenty minutes. Wow, you didn't do shows for
an hour.

Speaker 2 (21:11):
Ship we had two.

Speaker 4 (21:12):
Records, like they didn't know that. Yeah, but they didn't
know that we were gonna fill in the gaps like that.
Like that was you gotta understand. When we started doing shows,
we just were taking what we were doing at the wind.
We were taking what we were doing before we had records,
and you would add that to your records. So it's
kind of like, yo, I'm gonna start off and I'm
gonna cut these three records. Ready Rocks, he gonna come out,

(21:34):
he's gonna do the beatbox, and then we're gonna do
these two records a variety. Yeah, exactly. So you were
only there to do.

Speaker 9 (21:43):
Man.

Speaker 4 (21:44):
Everybody was that's it, that's it, and you just you know,
it was kind of like, yo, we need to you know,
we need to show up. Well, first of all, you
gotta understand, we didn't know what they were doing. We
thought what we were doing in Philly, we thought is
what everybody else was doing, right, So we got to
New York and started doing it, and it was just

(22:04):
kind of like everybody's going crazy, and I'm just kind
of like, what are you going crazy for? Y'all do
the same shit.

Speaker 7 (22:09):
I found out when Reek first got to stretching, Barbidos
thought everybody was freestyling.

Speaker 2 (22:15):
Oh no, no.

Speaker 7 (22:16):
So that's why Reek became such a stickler for freestyling,
because again it's like whoa wu ting must be doing
this and nas Mus be doing this and try to.

Speaker 4 (22:26):
Hear them same albums. Yeah, absolutely, so wow, okay, so okay,
well making your twenty minute seven? Uh are you thinking
of like, okay, song of the moment or nah? No,
I mean everything was DJ are in it. You know,
it's it's kind of like you knew the records that
were DJ records. You know, it's typical you know, dances, drummers,

(22:51):
beat this, this, this, this, you know, what is something
that people know that you can manipulate that they can
see what you're doing and you know and that they
know that what you're doing is something special. So you
just you just got these records that you would just
do and you would just change them up. You know,
if you got if if you you got a hundred

(23:12):
different records that you can cut and you only needed
to cut two, you know, that's fifty shows doing different routine.

Speaker 5 (23:21):
But when did you realize that certain records are hotter
in other cities that you might not have been.

Speaker 4 (23:26):
Oh man, let's the drummers preat let's stand to the
drummers beaten Houston. No no, no, I mean and trust me,
it wasn't until we started going out that you started realizing.
There was two things we I remember us doing. I
remember us doing the Richmond Coliseum and I did a

(23:48):
DJ routine and halfway through it, I looked up and
everybody was just staring at me, and I was like,
you have no idea what I'm doing. And it was
like wow, Like if you pay attention, that's why on
the Magnificent you hear will telling me what to do
and then.

Speaker 5 (24:07):
I do it.

Speaker 4 (24:08):
Like we realized how you have to do it is
you have to tell people Jeff scratch like a bird.
And then when you do it, everybody's like, oh my god,
like they didn't get it, Like hip hop hadn't come
that far in all of those places, you know that
to the point that people understood what a hip hop
DJ was doing.

Speaker 2 (24:28):
So it was the same thing.

Speaker 4 (24:29):
That's kind of like, Okay, I'm I'm cutting dances, drummers,
beat and then you get someplace and you do it
and you got that look like, Okay, they have no
idea what this record is. That's where Rock the Bells
came from. That's where Peter Piper came from, because you
cut records that everybody know. Like that was my biggest
criticism when I used to watch DJs and DJ battles,

(24:53):
that they would do these amazing routines off of records
that nobody know. It's kind of like, how do they
know what you did to it? Yeah, yeah, yeah, you
have no perspective on it because I don't know what
it is. Yeah.

Speaker 7 (25:05):
I'm trying to figure out that for stro right now,
because still I feel like the only people that are
truly mind blowing at what Stroe Elliott does and Jeremy
as well, is the roots on stage, because the whole
audience is just like a silent stunt like you know,
occasional Instagram will be like oh stroeh.

Speaker 4 (25:25):
Like all all that is is just picking popular records,
but he and he doesn't how they're supposed to be done,
and then he flips it once we flips it the hip.

Speaker 2 (25:36):
Hop on one right, same basically the same concept.

Speaker 7 (25:40):
We got to figure out a way, Like when he
was saying, like instructions like a bird and break it
down right here, that sort of thing.

Speaker 5 (25:46):
And when do you decide, Like that's what I was asking,
when do you decide when I go to DC. Okay,
I'm gonna play my ship, but also I know I
can play this because this this record was hot.

Speaker 4 (25:55):
Here and you almost have to go to find out,
you know, because God blessed that time. Music was different
in every place that you went to, you know, and
you appreciated that. You know, I enjoyed doing those shows
that Columbus, Ohio was different. You know, you go to
you know, d C or Virginia. You know you got

(26:16):
a little bit of that go go stuff that you
can kind of add it. Like you you you heard
what each territory musical taste was. You know, I'm scared
of that today. Oh yeah, we don't have that. We
don't have.

Speaker 9 (26:32):
The other day regional Like there's no regional sounds in none,
only the foundation.

Speaker 5 (26:37):
Like I know, I feel like Jamaica Punk is like
a regional record, Like it's like a DC to those
kind of classes.

Speaker 8 (26:43):
How did you inject you and Will when y'all first?
So your first deal wasn't directly with John?

Speaker 6 (26:49):
No?

Speaker 4 (26:49):
No, no, no, no, how was well? We did? You
know what was funny? You know?

Speaker 2 (26:56):
Word up was an extension of pop art, which was
you know, was l Lawrene Goodman?

Speaker 4 (27:01):
Yeah, oh yeah, well understand Dana Goodman owned World Up,
so you know it's the Goodman So it was funny
because Dana lived around the corner from Will. So me
and Will did the demo of Girls Ain't Nothing but Trouble,
and Will gave it to Dana because we were you know.

Speaker 2 (27:20):
We weren't even what did y'all even cut it on?
Oh listen, I had a I had a drum machine
and a four track and it was just kind of.

Speaker 4 (27:27):
The original was done on the fore track. Well understand,
the original original was done over Moments in Love. Yes, I.

Speaker 2 (27:37):
Do on the shoe Yeah, do you still have that?

Speaker 4 (27:40):
No? I don't and I need that. I need that
to Will Will go crazy for that, dude. I we
lived on in London. We have that someone in my
storage unit. I got that she had do do on
the shoe, don't We got to go to the store
unit tomorrow. There you go, yeah we do, but yeah,
you know we we we did it. He gave and
he gave the demo to Dana. So it was funny

(28:04):
because Will called was like, Yo, Dana wants to come
over and talk to us about putting out a record.
And I was like, all right, So Dana comes to
my house and Dana walks up on the porch and
you know, you hear stories of Dana and Larrence. Dana
walks up on my porch and my next door neighbor, Keith,
looked at Dana and said pie and Dana looked at him.

(28:24):
So first of all, I'm like, who the fuck is Pie?
And Dana looked at him and said Hawk. So now
I'm kind of like, who the fuck is off? And
then they hugged and it was like.

Speaker 2 (28:34):
Yo, man, what's going on?

Speaker 4 (28:35):
How you doing? And he was like what are you
doing here? And Dana was like, I'm coming to check
out the young boy and his you know, in his demo,
and Keith's face got really serious and he looked at
Dana and he was like, pie, that's Jimmy Town's son.
I mean, Jimmy Town's brother. Don't fuck with him. Oh,

(28:58):
and I was looking like, what's going He said, that's
that's family. That's I'll never forget that. It's like, that's family.

Speaker 2 (29:05):
So what did you just save you from that? You
don't know what just happened?

Speaker 4 (29:08):
Well, well, I know Dana pulled a gun out on
Will Wait what oh yeah, yeah, yeah, so it's a
whole bunch of that. But yeah, none of that ever
happened to me. Wow, okay, yeah, so let's talk about
the let's not let's not gloss over it. Yeah, the

(29:29):
crafting of Girls ain't nothing but trouble. What's some major
ship Because it was like by that point you could choose.
You could choose two squads. You could either go the
schooly d squad of where everyone else was going. What
I call like, uh, you know, blues is uh, blues

(29:52):
is crafted. Uh you know, like the first chord, then
the fourth and the fifth.

Speaker 7 (29:57):
In other words, you know you're set up lining right
here and then your second set of line round here,
and then your first set of line round and then
the punchline and if.

Speaker 4 (30:05):
You no no no no no no, and then then
I'll take a sister too. And with schooly D, it's
the same thing with It's like the two set up lines.

Speaker 7 (30:16):
I went to no no no no no no no,
and then I got no no no no no no
no no no, and win no no no no no
no no no no, and then the punchline something, and
then I pulled my gun. Then y'all could easily went
there because everybody in their mom was going to the
schooly D narrative route you guys chose. I felt you

(30:37):
guys were more trying to go the slick Rick route,
which kind of Will's version of slick Rick click. He
sort of carved his own lane, which I still don't
know what people decided to call it or whatever, but
it's it's more like, you know, I felt like that

(30:58):
was the next step that dott he should have went for, yeah,
for Doug and Rick, and it didn't.

Speaker 4 (31:06):
Now it's you guys.

Speaker 2 (31:07):
Yeah, So like, how did you guys craft? It was
just like, okay, let's.

Speaker 4 (31:13):
Will was a great storyteller. So he he he had
Girls at Nothing but Trouble written, and I just programmed
the beat and grabbed the TV tunes record and play
I Dream a Genie.

Speaker 2 (31:28):
Yeah, and and he wrote it.

Speaker 4 (31:30):
But you know, like I said, I remember doing shows
playing that, you know, cutting the instrumental of moments in love,
and Will would do moments you know, Will would do
Girls in Nothing but Trouble. And I was blown away
at how everybody was looking at his mouth like waiting
for the next line. And I was like, yo, like

(31:51):
this is crazy. Like this he's got some power, if
you know what I mean. You're telling something that that
that's that visual that you can kind of see it
in your head.

Speaker 2 (32:00):
So he was always a start.

Speaker 4 (32:01):
He was all yeah, he always had that that level
of writing. Uh, that was very visual. Now doing business
with Goodman, yeah.

Speaker 2 (32:15):
I mean, listen, you know what this is. This is
this is back in the day.

Speaker 4 (32:21):
There was I had no aspirations to make a record
like that wasn't it you know, my in my brain,
I had my life's set. I was about to go
work at pg W because they had great benefits. I
was going to take a two week vacation in wild would,
and I was going to get a house on Coys
Creek Parkway so I could look across the street at
some grass, Like.

Speaker 2 (32:47):
I really thought that that was it path mark.

Speaker 4 (32:50):
So when it was kind of like, hey, let's put this,
let's let's do this record, we go in the studio
and basically, you know, take my drum machine and record
it and fly Girls in that my trouble in and
Will Will does it and he puts it out and
it starts getting played on d A S and then
it starts getting played on BLS in New York, and

(33:11):
then we have to go to New York and then
we do Latin Quarters and we do this and next thing,
you know, when North Carolina like this, this was all
happening really fast. Girls dropped two days before Will graduated
from Overbrook. Oh wow, so like that listen that was
oh man, like he was the the the graduation party,

(33:31):
and you gotta he was balling.

Speaker 2 (33:35):
He was balling because it was a hit.

Speaker 4 (33:37):
Oh man, it was. It was playing it everywhere like
and and and it was also in my brain, I'm like, okay,
he about to go to college, like and we start
we end up we go to LA and start doing stuff,
and the next you know, we got a call like
they you know, this is blowing up huge in London.

Speaker 2 (33:54):
They want you to come over and do Top of
the Pops. And we didn't know what Top of the
Pops was.

Speaker 4 (33:59):
A the top no listen, So we get over there
and we didn't have work papers, so they wouldn't let
us perform. So we literally flew over there for them
to say, hey, this is DJ Judge Jeff for the
first Prince and we said hi everybody, and they played
girls ain't.

Speaker 2 (34:13):
Nothing but trouble, but you couldn't perform. No, we couldn't perform.

Speaker 4 (34:17):
I hate like but it was, you know, and it
got to the point that it started gaining so much
traction that Will kind of went to his mom and
dad was like, you know, I gotta I gotta see
where this's go, you know.

Speaker 2 (34:36):
And you know, it's crazy because it was played on
the radio and us doing all of that traveling. You
gotta understand, we didn't have a family member that had
ever been to London, so it was kind of like, listen,
I can't say nothing. I got okay, you know, and
that was it, like it it started and never stopped.

Speaker 4 (34:57):
You know.

Speaker 2 (34:58):
We did Girls in that Much Trouble?

Speaker 4 (34:59):
Of course, you know Dana wanted to do Guys Ain't
nothing but trouble because everybody wanted to do an answer.
So he was right, let's let's answer our own record.

Speaker 2 (35:10):
So who's like is ice cream No?

Speaker 8 (35:14):
No?

Speaker 4 (35:14):
Like you know ice cream tea? I think Lady b
knew ice cream tea. So we did Guys in that
Much Trouble. Then we did just one of those days,
which is the record that I hate with. Let me
tell you, let me tell you why, let me tell
you why. Listen.

Speaker 2 (35:31):
So Dana, Dana is in the studio.

Speaker 4 (35:35):
So first of all, the first lesson that it's girls
in him, but Trouble comes out and that ship says
produced and written by de Goodman, And I was just
kind of like, okay, if he did that, I'm just
trying to figure out what did I actually do? Like

(35:56):
I'm I'm I'm trying to figure it out because I
know we came in the studio and then Dana would
give these instructions like turn the kick jawn up, and
you could tell an engineer who was terrified of Dana
that he's kind of like, I don't like I would
watch him put his hand on the knob and never
turn it, and he'd like turn the kick jawn up
and he would turn the volume up. They had Ury

(36:17):
speakers that the old Ury speakers had the light that
when they would clip, the light would come on. Every
time the light came on, he would be like, that's it.
And I'm just saying, he just turned the volume up.
But you know what, your secret is safe for me
because I know he didn't really know what he was
talking about.

Speaker 7 (36:33):
So Dana, wait time out. I believe that the studios
on Jeff chest Okay, I thought it was. He also
did the Goodman stuff, all.

Speaker 4 (36:45):
Right, Yeah, no, that was Joe the Butcher. So Dana
felt that the hook of Girls Ain't Nothing but Trouble
follow Me was too slow. The hook was too slow.
So he kept saying, I want to speed it up,
and I'm saying, you can't speed up the hook and

(37:09):
not speed up the record. So they splice the tape
and sped it up. So if you listen to just
one of those days, oh yeah, get to the place.
Oh wait, I know what.

Speaker 2 (37:23):
You're talking about. It gets really fast and it slows down.
Always wondered about that.

Speaker 4 (37:31):
Yeah, that's it. With you again. I thought that was
you You have to understand that the hair on the
back of my neck is rising, that you're playing you
wait over your life and you just can't sing right.

(37:54):
And when you just hadn't say you said, man, it's
just one of those.

Speaker 2 (38:03):
Hold on Washington chains, hold on.

Speaker 5 (38:13):
Just that part.

Speaker 2 (38:15):
Yeah, and he did it and he released it.

Speaker 4 (38:20):
Yeah.

Speaker 2 (38:20):
I always thought that was kind of weird, but I
thought that was just no, no, no, no, that was
that was so good.

Speaker 8 (38:25):
I mean when they were the street guys, like where
the street the street guy, I mean, and and and.

Speaker 4 (38:32):
You know, not not taking anything away life. Yeah, I'm
sure are they not incarcerating listen? I don't know. I mean,
but you know. The funny thing is like Dana and
Lawrence Goodman, especially Lawrence Goodman. When you think about it,
Lawrence Goodman was the first death jam. Lawrence Goodman had
salt and pepper, you know. Lawrence Goodman had like everybody,

(38:56):
you know, everybody, he had everyone what happened you know?

Speaker 6 (39:00):
Man?

Speaker 2 (39:00):
You know sometimes you can't separate church and state.

Speaker 4 (39:05):
Damn.

Speaker 2 (39:06):
Because his sons, his sons were the.

Speaker 5 (39:08):
Young It's all coming together in my head now. I
thought he worked for like PGW.

Speaker 2 (39:14):
Or something me, so, you know, it was and it was.

Speaker 4 (39:18):
It was crazy because then we put the album out.
We went in the studio and recorded the album. Thank
god he didn't spend anything up other than that or that,
and the album comes out and the album starts to
blow up. So the only money that we were ever
making was from shows, like you know, and and you know,
I knew, I knew where this was going. And then

(39:40):
what happened was JOV reached out and was like, yo,
they want to pick the record up. So I remember
us going up to the meeting with Job and I
was just praying, like because the only to me, the
only chance of success that we would have is to
get either off of World Up Records or have major
distribution like we did with Job. Was he just the
label or was he.

Speaker 2 (40:01):
No?

Speaker 4 (40:01):
No, no, no, no no he was. He was just
a label. He was just a label. So when we
signed or when he signed to Jive, you know, that's
when we could officially get rid of the run DMC
album cover.

Speaker 2 (40:14):
I love that though.

Speaker 4 (40:15):
Whose idea was that that was Dana's man? That ship
was whack, that was whack. He took run DMC's album
cover and we did it, and man, like, listen, fuck them.
I felt some kind of way people was just like,
how you gonna just had a run DMC cover?

Speaker 2 (40:35):
No, listen, that was not cool.

Speaker 4 (40:37):
That was so not cool. That was absolutely not cool.
I mean I still have a copy of that, and
I'm not getting rid of me. I was going to say, one,
it's very expensive to fine. But I saw it as homage.
I never saw that as we biting. Well, he was biting.
It's called the house. He was rocked the house. He

(41:00):
was biting. But you know, if it's under five years,
then it's biting, but if it's over ten years, it's amage.
Maybe that's the rule now homage. I mean, listen, Run
DMC had just come out, So did they ever say anything? Okay, No,
I mean, thank god, listen. The people who bought the
word up vinyl did not equate to the people who

(41:22):
bought the job. I get it.

Speaker 2 (41:24):
So the wholes of the word up rock the House?
Was it the exact same record?

Speaker 4 (41:29):
Y'all did another version of Girls that wasn't on that
wasn't on the album. That was yeah, yeah, but that
was also after that was that was after parents, That
was job with the Job chasing some ship.

Speaker 9 (41:46):
While we were talking about jiving you guys signed over,
there was there any trepidation because they already had a
jazzy Jeff.

Speaker 2 (41:53):
Well, you know what, let me tell you something.

Speaker 4 (41:54):
What saved me because he sued me really oh yeah,
he tried to sue me for twenty million dollars, which
I thought was that absolute joke because I was just like,
where the fuck are you gonna get that at it?
But when we sat down in that meeting talking about
you know, like when we were doing the distribution deal,

(42:17):
I said it, I said, wait a minute, are we
going to have an issue because you have a jazzy
Jeff signed to your label? And they said, no, we'll
take care of it. By take care of it, they
means stop promoting his record, you know, and Jeff like,
what what was he was? It was?

Speaker 2 (42:33):
It was that was Jazzy Jeff fro the Funky four
plus one more. Ah yeah, okay. He did a solo
deal on Job.

Speaker 4 (42:41):
And then you know when when everything started, I don't
know what happened with him, but you know, after some
years he was just kind of like, yo, like you
you took my name, and I'm like nigga. My name
is Jeff.

Speaker 2 (42:56):
Jeff, you know, but did you have any other Yeah,
did you have other options?

Speaker 9 (43:02):
Or?

Speaker 4 (43:03):
Man, I was mixed I was Mixed Master Jeff before
I was Jazzy Jeff. But that ship was way too expensive.
You tried going getting the shirt with Mixed Master Jeff
paking twenty five cents a leven. I was like, you lucky,
My ship wasn't j Jeff.

Speaker 9 (43:20):
Since we're on, since we're on the topic of the name,
I want to fact check discogs really quick. Are you
on this because all boys records? Yes, okay, corner Boys, yes, okay,
that's all I need to know. Oh yeah, yes, And
what were those records?

Speaker 4 (43:36):
They were?

Speaker 2 (43:37):
They were Philly groups, Philly groups that you I did
scratches on like.

Speaker 4 (43:41):
This was eighty five yeah, oh wow, wow. Listen, you
was just.

Speaker 2 (43:45):
Trying to be on the record, like I said, Man,
I was.

Speaker 4 (43:48):
I was trying to get crad down at PGW, which
is Philadelphia Gas Works, right, I was.

Speaker 2 (43:52):
Trying to be down there, like yeah, you know how
just scratches on that.

Speaker 8 (43:55):
No, you didn't even look my name, you know, I
didn't ship. That happened you mentioned earlier. You was talking
about Goodman. They was like, you know, that's Jimmy Town's brother,
So what was your brother? That was the seventies. You know,
they was in all kinds of ship. So, you know,
it was just like people people knew, Like I didn't.

Speaker 4 (44:16):
I didn't know the level of respect that my brother
and my brother's friends had until after I got older
that you realized, you know, like, okay, they was you
know this is back gang Wars.

Speaker 2 (44:28):
Yeah, you know, yeah, you know, this is all of that.
So you know, I think they knew, you know, they
knew of each other.

Speaker 4 (44:36):
And evidently for him saying that had more to do
with you know, I know how you get down and
I'm just letting you know that's family. Wow, that's dope. Man,
that's crazy. When when y'all did.

Speaker 8 (44:52):
The first album rocked the house when it went to Jive,
was there any other who else was on?

Speaker 6 (45:00):
Yeah?

Speaker 2 (45:00):
So like who the other? I mean, what made y'all
say I think this is a good fit for us?

Speaker 4 (45:06):
Well, well, first, let me just say any label was
a good fit back then. So it wasn't like we
was picking and choosing. It's like whoever came with, you know,
because you really looked at it like the my closest
path to success is getting this so that everybody can
hear it, and everybody wasn't going to hear it on

(45:30):
World Up records. And how did that? How did rock
House did it go? Go? Yeah?

Speaker 6 (45:35):
Yeah?

Speaker 2 (45:36):
And you know that words before he's the DJ, I'm
the rapper like no before okay, just America.

Speaker 4 (45:42):
It's just you know, and that was we got a
chance to tour and we you know, that's we went
on tour with Houdini and we went on to a
run DMC and you know that's that's where everything starts,
you know. And and in nineteen eighty six, it was
it was us, it was Kid and Play, it was
Salt and Pepper, it was Man Tronics, it was Kumo
D Like all of us did a million shows together

(46:06):
because we all came around and came out around the
same time under the rush banner or not.

Speaker 2 (46:11):
Well no, it was just like you know, like I said,
it wasn't that many hip hop groups.

Speaker 4 (46:16):
So the hip hop groups that came out and popped
and were Jazzy, Jeffery Fresh, Prince, Salt and Pepper.

Speaker 2 (46:23):
You know, Man Tronics, cadn't play. Who am I missing?

Speaker 4 (46:30):
Who you know, well Houdini were already out there. Well,
Eric bing Rockham like we all came out at the
same time. Chuck d with w guys the Extra Strength Posse. Yeah, yeah,
whenever I was like, damn what I always wanted to know,
like if the roots were out back then, like what category.

Speaker 7 (46:50):
Instrumentalists number twelve? I was like, what I got to
do to be the Extra Strength Posse?

Speaker 4 (47:01):
Do you acknowledge that you're the first person to use
funky drummer?

Speaker 2 (47:07):
You know what's funny? Bam Bodis said that to me.

Speaker 4 (47:12):
Oh, Bam Bodis said that to me at the New
Music seminar when I won Bambida because Bambada had heard
The Magnificent and he was like He came.

Speaker 2 (47:21):
Up to me and he was just like you you're
a bold motherfucker.

Speaker 4 (47:25):
And I remember looking at him and he was just like,
because you you let the record go because people were scratched.

Speaker 2 (47:33):
No one ever let it go. And I was just like, Okay,
I'm you.

Speaker 4 (47:37):
Know, I can't tell you the amount of times that
I have tried how many times I've made pause tape
just as this.

Speaker 2 (47:58):
When I heard this, I was like, what the hell
is this. I would I would take.

Speaker 4 (48:05):
This to funkl Mark, you know, Bob down the market,
Come on, Bob, rest in peace, Bob. I no one
could tell you who it was, and for like at
least a year and a half until I discovered in
the Jungle group, like a year and a half later
that I know where it came from.

Speaker 2 (48:25):
How come nobody use that break?

Speaker 4 (48:28):
I don't know. Listen, they weren't using breaks then?

Speaker 2 (48:31):
Were? You just said I was the first person to
do it?

Speaker 4 (48:34):
People are the.

Speaker 9 (48:35):
First person I ever heard using pizza president. And I'm
not just talking about just the door. You actually use
the rest.

Speaker 4 (48:40):
Of this as we go we.

Speaker 8 (48:44):
Project Dana Brod project Oh okay, yeah, oh wait, yeah
eighty seven idiot.

Speaker 2 (48:53):
Yeah, but you used it in a musical yeah.

Speaker 7 (48:57):
Way for more flushed out musical way, where Marley Mom
just used project O as you know, a stab or
that sort of thing.

Speaker 2 (49:07):
So okay, So in doing this record, can you give.

Speaker 4 (49:11):
Us any what was doing those uh post post Freshfest?
I guess they were Deaf Jam tours by then or
whoever's had at the time ll tours or what was that?

Speaker 5 (49:27):
Like?

Speaker 2 (49:27):
Oh man, that was that was amazing?

Speaker 4 (49:29):
You're it's twenty thousand people, twenty thousand people, and you're
you know, and you're going, you know, you're, you're it's
twenty thousand people in Albuquerque, New Mexico. So you also,
like I said, you understand, I'm still thinking, I'm supposed
to be at the gas company. What am I doing
in Albuquerque, New Mexico? We were going to cities. By
this point, you're still thinking, like when this in a

(49:52):
real job?

Speaker 2 (49:53):
Oh man, I didn't think this ship was going to
work out until a couple of years ago. I still
think a couple of years ago.

Speaker 4 (49:59):
List So after rocking the house because that went gold,
I mean, did that change financially? Like I mean you no, no,
come on, come on. We talked about the music business.
We ain't never been good. But what I will say is,
you know you're making money doing these shows. You're doing tours,
you know. And it was funny because I went through
this thing of I remember, you know, Will and I.

(50:23):
I don't even remember exactly how much we were getting paid.
All I know is I was pretty much coming home
with about two thousand dollars every show. So I would
not put it in the bank like I put that
shit in a box underneath my bed and until it
got to the point that I don't have enough box
underneath my bed with this, and you know, I was

(50:46):
I was afraid to put it in the bank, like
you you want me to take it? So I went
to the bank, I opened up the bank account, probably
gave them about fifteen thousand dollars. They put it in
the bank, and I would come to the bank every
week and pose it my my my show money. You know,
you take some out, deposit my show money. And one
time I went because when I wanted to buy my

(51:07):
first car, I wanted to withdraw, and they said my
signature didn't match.

Speaker 2 (51:13):
So I'm like, wait a minute.

Speaker 4 (51:14):
My signature matches every week when I make a deposit,
but it doesn't match when I make a withdraw. And
I got mad and asked to see the bank manager
and pulled all no, it was what was citizens? It was?
It was no, it was melon meon. I still got
my red debit card when the debit cards first came out.

Speaker 2 (51:35):
But yeah, you know, you don't. I didn't think this
was gonna be real, you know. And we we we
got through the first album, and when we went in
the studio to do He's the DJ on the Rapper.
We actually did the DJ album because it was a
double album. We did the DJ album first in Philly
and then we went to London to do He's the

(51:59):
DJ on the Rapper. And while we were in London,
we got a call from Barry at Job saying Dana
wants to sell the rights to Jazzy Jeff and the
Fresh Prince completely the job. And I was like, oh,
ship like because understand, any money that we would have
gotten paid from Jive had to go to Dane at first.

Speaker 4 (52:21):
How that happened?

Speaker 2 (52:22):
I mean, come on, dude, we were signing the word up.
Word Up signed the job, so they never signed direct
the job, would he because.

Speaker 4 (52:33):
Listen, I don't know, you know, people getting you know,
he needed something and you know, and it was it
was this weird balance because he wanted to He wanted
to sell it Monday. Then we get to call Tuesday,
he said no. Then he went back Wednesday, Yeah, I
want to sell it, and then he said no, and
then it was kind of like we want X amount

(52:55):
of dollars and then he came back and he wants more,
and you know, it just kept fluctuating, and I remember
the day that they called and said the deal is done.
You're signed directly to jobs. So we at least, you know,
once again, we think, okay, we this gives us the
best shot. But that that sparked the call to mister

(53:16):
Magic to get the cassette of Live at Union Square
and say hey, let's put it on the album that
you know.

Speaker 2 (53:25):
That that sparked parents just don't understand, and Nightmare on
My Street.

Speaker 9 (53:32):
Yeah, you gotta tell tell the story real quick. The
second album was always intended to be a double no no, no, no, no,
we we.

Speaker 4 (53:38):
The whole idea was, Okay, everybody likes Jeffers a DJ,
let's do a DJ.

Speaker 9 (53:42):
Album, so it would have been like a side for
him and the side for you. No, it was really
supposed to be like a DJ album.

Speaker 4 (53:48):
You know, these are beats and Jeff scratching and all
the rest of this, and it was just kind of like,
I don't know if the world is ready for this,
and we did it and it just kind of sat there.
So when we went to go into the studio to
do the the Jeff and Will album, the idea came out,
why don't we mix all of this up and make
it a double album. Oh okay, and so all the

(54:09):
all the the MC stuff y'all did in London at
the at the Job studio in London.

Speaker 7 (54:15):
So the album initially the album that is side three
and side floor side for was the DJ and that
was completed as is.

Speaker 4 (54:26):
Yeah, we did.

Speaker 2 (54:28):
We did some extra stuff in London, like we did.

Speaker 4 (54:31):
We did. He's the D John the rapper in London,
like a lot of the DJ stuff of me cutting
and will rapping with just routines that we would do.
Yeah like that, but that was all, you know, we
would we would be at the y m c A
and doing Job rhythm tracks and we'll just say, hey, Jeff,
you know what do you think about such and section?

Speaker 2 (54:51):
You would answer is it too late?

Speaker 4 (54:53):
Is it too late?

Speaker 9 (54:53):
I gotta say, that's one of the strangest songs like
I've ever heard on the radio. I grew up in
Indiana and that song was always on the radio. Yeah,
Raven tracks, house party style. Really yeah, they were just
paying they would play it on the radio.

Speaker 4 (55:08):
You know what.

Speaker 7 (55:08):
I gotta admit that I was six seconds old. I'm
now realizing that, Oh yeah, he's the DJ on the
rapper is a MC side and the DJ side.

Speaker 9 (55:22):
Like even the sticker on the on the front of
the album said it was comes with bonus DJ album
or something like that.

Speaker 4 (55:27):
Yeah, damn I or scratch record I think they called it. Yeah.

Speaker 2 (55:32):
They was trying to work out I'm twenty.

Speaker 4 (55:34):
One seconds you're you're I'm twenty one seconds old. Like
I'm just realizing that right now.

Speaker 5 (55:39):
Y'all had to live in London, y'all when you recorded.

Speaker 2 (55:41):
Now, we did it in a month.

Speaker 7 (55:44):
So was Battery Studios not fully developed in New York
in the Jive building yet?

Speaker 4 (55:50):
No, it was so all fly to London in London.
Estate was done in London. I see, I see, Okay,
So making the video obviously wait time out Nightmare on
My Street, please tell the story of the Fat Boys

(56:13):
and well listen, we you know it was we did
the record Nightmare on Myne Street. I used the piano
line from Nightmare on My Street and this and this,
the screech and all the rest of that, and it
came out and the you know, parents of song stand
came out and just went crazy and we knew we

(56:36):
had Nightmare like it was. It was, you know, it
was funny back then record companies would try to hold
sit Cold records back, but radio stations were playing Parents
and Nightmare at the same time, so it was kind
of like you already know what the second single is
gonna be. I'm just like, oh my god, it's big
as Parents is. Nightmare is going to trump this by
a million. We shot the video and and we went

(56:59):
on tour. And what I didn't realize, like, we had
a segment on tour that Charlie Mack would dress up
when the sweater and he had a Freddie mask and
Freddie glove and he would come on stage and he
would kill me and the lights would go black and
all like we had a whole skit. I didn't realize
that New Line Cinema sent lawyers to follow us on
the tour and they watched this, and then all of

(57:21):
a sudden, we just got a lawsuit that was like
New Line Cinema issuing you guys for Nightmare. So our
lawyer basically went to New Line Cinema because radio. Unfortunately,
New Line got the Fat Boys to do a Nightmare
record and they had to promote. So now radio stations
are doing the Nightmare contest, which record do you like

(57:44):
the best? So we're blowing the fat boys out and
they were getting met and it was almost kind of
like we were trying to express to them that this
is going to do nothing but help your movie, and
just out of principle, they were like, nah, so they
suit us, and well, I mean, we gave them a

(58:06):
bunch of money and we had to agree to perform
in two movies. Listen. So this is funny. We had
to agree to perform in two movies, but it was
up to us to accept or decline. So the first

(58:27):
movie that they gave us the script for was House Party,
because if you think about house Party, it's a DJ
and a rapper. So they made House Party around me
and Will and we were like, nah, that's weird because
they they were wrong and just let the song na.

(58:50):
That's why the whole thing of the video disappearing like
I had a copy. No, I didn't you know it's back.
Oh listen, it's the whole videos up now.

Speaker 5 (59:04):
Yes, I mean, but you have to have done a
lot with new line since anyway, like, no, we did
you ever do the too?

Speaker 2 (59:09):
No listen, like it was I don't even remember as
the second movie was, and we just we were just.

Speaker 5 (59:16):
Like no, Will has never done a New Line movie.

Speaker 4 (59:19):
No, because I understand this was before, like we didn't
look at it like they're offering us a movie role.
This was kind of like, in fact, yeah, this is
kind of like, yeah, you know, this is payment payment back,
so we were just like it would have been for free. No, No,
they probably would have paid. I'm very sure they would
have paid a minute. But house Party was get cleaned. Yeah,

(59:39):
but okay, you're talking about house Party as we know
it now. Somebody giving you that script in nineteen eighty seven,
nineteen eighty eight, you might not have thought that. You know,
this is back when we don't know what to do
with raps, so we don't even know if we want
it on television. So let alone you're gonna try to
put it in a movie. We're kind of like, listen,

(01:00:01):
we're not trying to we're making rapping. Yeah rapp.

Speaker 2 (01:00:07):
Wait just one second, now, B Street was eighties. This
is what they chose. I've heard this songbody once in
my life. Sounds like Michael Jackson, right that silp slap

(01:00:35):
face man. Yeah, that just yeah, that wasn't it.

Speaker 4 (01:00:49):
That wasn't it. New Line y'all fucked up?

Speaker 2 (01:00:51):
And then who who Deny came with the next one
for the next movie.

Speaker 9 (01:00:54):
Anyway, I Gotta Swing it that was, and then the
video was like taking place outside the the Nightmare ol
Street House or something I missed because I was I
was on be et every day after school, field knowledge
every day after school.

Speaker 4 (01:01:09):
You serious it's called anyway I Gotta swing I'm pretty sure.

Speaker 2 (01:01:13):
Yeah, man, like the knife.

Speaker 5 (01:01:17):
That's a Nightmare on Elm Street song Welcome.

Speaker 4 (01:01:19):
Back Steve Man. How did for the like the samples?

Speaker 8 (01:01:22):
Because it wasn't until I got older a lot of
the I was saying the samples that I was using,
Like I mean, like Westchester Lady like she like that.

Speaker 4 (01:01:30):
How you were the first to use jazz samples? Pretty much?

Speaker 9 (01:01:33):
I'm a I'm I became a great digger because of
a Touch of Jazz, Like I need to know what
that Harlem River Drive sample was and and all that
ship Like those were the first records I bought?

Speaker 2 (01:01:44):
Were the records that you used on Touch of Jazz?

Speaker 4 (01:01:47):
Was it?

Speaker 7 (01:01:47):
Was there a reason that you didn't go to everyone's
using games? Well everyone, yeah, using the uh ultimate beats
and breaks. You could have easily went there and just
made a mix of that, but instead using records that
weren't on Ultimate Beats and Breaks.

Speaker 4 (01:02:07):
Well, you gotta think this is what you also got
to think about what volume of Ultimate Beats and Breaks
was Dancing Drummers Beat three? Yes, So I had three
volumes to choose from, Like this is what I'm saying,
like this was so early. There were only three volumes
out oh, Like it was.

Speaker 2 (01:02:29):
Like it was we didn't have this.

Speaker 4 (01:02:30):
Plethora of sampling information that we had. Then this tim
my brother, you know my brother and the record you know,
like I grew up with chick career, Herbie Hancock, Myhavish
New Orchestra, you know, Stanley Clark, George Dude. Then my
dad was Wes Montgomery, Jimmy Smith, all of us. I'm

(01:02:51):
the sponge. So all I decided to do was kind
of like, yo, let me go and grab some of
the records that he would play. You know, I know
those albums front to back, not just for the samples.
It was just kind of like, you know, shit, at
ten years old, I can't listen to Whudini.

Speaker 2 (01:03:10):
So I you know, I.

Speaker 4 (01:03:14):
Wasn't the Marvin Gaye, Stevie Wonder. I was the chick
corea in return it forever. WoT Yeah, listen, I gotta
give my brother credit. Like he My brother came in
and he showed me how to take the record out
the jacket, put the record on the turntable, don't put
your fingerprints on it.

Speaker 2 (01:03:32):
And he was like, listen, I can if.

Speaker 4 (01:03:34):
He was like, you can use my.

Speaker 2 (01:03:36):
Stereo when I'm at work. My brother worked all day.
So I was ten years old, and I would put
a cassette in and I would make tapes. Wow, you know,
and you know, like I said, I'm making chick corea tapes.
You know, explain, Explain how you've told me this story

(01:03:58):
like years ago.

Speaker 8 (01:03:59):
And I was just like, what the fuck? Explain how
you were up for Grammy and yet y'all are broke.
How does that happen?

Speaker 2 (01:04:06):
I mean, I think everybody in the room know how
that happens.

Speaker 4 (01:04:10):
But you know it was.

Speaker 2 (01:04:14):
Is this the year you guys the Grammys?

Speaker 5 (01:04:17):
No?

Speaker 4 (01:04:17):
No, no, no, no, this was this was another year.

Speaker 2 (01:04:20):
This was after that.

Speaker 8 (01:04:21):
So on the rooftop okay, and that was for y'all,
y'all were nominated for He's the DJ. Right, y'all got nominated?

Speaker 4 (01:04:33):
Yeah, okay. They didn't want to televise it right. You know,
they were kind of like, nah, we think we should
give another category to Garth Brooks were like, yo, he
got nine, like you can give hip hop one, especially
if hip hop is easily the one, two or three
top selling genre of music like you. You know, you

(01:04:54):
got nine country and Western categories like you. You know,
but this was at a time that they were very
much you know, you almost felt like you were on
this scale of is hip hop gonna be here or
is it not? Like and there were powers to be
that kept saying it's not, it's not, and we would
get mad every time somebody said that, because you know,

(01:05:15):
this is this is your dream, like somebody's you know,
basically trying to squish your dream. So you know, we
felt like we needed to take that stance, you know,
for for the for them to kind of understand. But
you know, you you you have this vision of grandeur.
You know, I'm signed to this label and this is
how it's gonna be and you're gonna make this money

(01:05:35):
and and you're gonna do this and you know, and
we sold a bunch of records and you know, we
we because the second album went, well, uh, he's the right, triple, triple, triple,
and and and you.

Speaker 2 (01:05:50):
Made money, but you're never paying attention.

Speaker 4 (01:05:53):
Like the one thing that I've realized, especially back then,
if you know, you're twenty two years old and you
put out a record, and the record sells, and somebody
gives you a two hundred thousand dollars check, I don't
know a person alive that checked it to see if
it was supposed to be two hundred or it was
supposed to be nine hundred, Like you don't check it,

(01:06:14):
and I you know, looking back at hindsight, they knew that,
you know, they knew that, just like record companies knew that.
You know. Listen, You're never gonna take this to an
entertainment lawyer for him to read your contract. You're gonna
take it to your cousin who's the plumber, because he's
the most business savage person in your family. You know.

(01:06:34):
Because if I'm trying to get a record deal, nine
times out of ten, I need money, and you think
I'm gonna take money and give it to a lawyer, like, no,
I'm going to keep every dime.

Speaker 2 (01:06:47):
I have to be on the safe side.

Speaker 4 (01:06:49):
But they know that. So it was the same thing
that you know, you get to the point that you know,
you learn these terminologies like cross collaterzation. You know that
you're just kind of like, you don't pay me my
money before you have to give me the budget for
the next album, and you say that the budget for

(01:07:10):
the next album came from the money you're supposed to
pay me, And I'm kind of like that shit makes
no sense.

Speaker 2 (01:07:16):
Like it was gangster. It was gangster, but it was just.

Speaker 4 (01:07:19):
Kind of like, you're paying me with my own money,
you know, like and and you you know, back then
you couldn't really fight it, you know, you would you
would say something, and then then you're deemed the troublemaker,
you know if if you're asking questions that somebody don't
really want you to ask.

Speaker 2 (01:07:39):
So, y'all, so this was for the third album, for
the end in this corner.

Speaker 4 (01:07:44):
That well, no, like all of this stuff started to happen,
you know, it started on the first album and it
really came you know, it really came on He's the
DJA and the Rapper and and and then the third album.

Speaker 7 (01:07:57):
How how different was the post YOMTV rap effect of
your life? Once the second album comes out and blows
up because you're saying that, Okay, the second ILM went
triple platinum.

Speaker 4 (01:08:15):
But that was very unusual. Come from nineteen eighty eight. Completely,
that was unheard of. Well, you know what, back then,
you know, hip hop was solely urban. It was solely urban,
like most black music that would come out. The whole
idea is you have the black stations that are playing it,
and then if it catches on, they would say that

(01:08:37):
it's going pop, and that just meant it went over
to the white station, you know, and that's when the record.
So what I knew is everybody's idea is we you know,
you know you got something when it goes pop. Girls
Ain't Up with Trouble was a black record, Parents Just
Don't Understand, came out as a black record and turned

(01:08:59):
into a pop record, and that's when the whole Jeffrey
Willer from the Suburbs and all the rest of this
is happening, which confused the daylights out of me because
I'm kind of like, to me, girls in Nothing but
Trouble and parents are Don't Understanding the same record. This
is different subject matter. How did you keep the secret
sauce sample of that song?

Speaker 2 (01:09:20):
So, man, how did you keep it secret. I don't know.
Is it still secret? I don't listen. Listen, I would
not be sitting here if.

Speaker 4 (01:09:37):
Did you deal with it?

Speaker 5 (01:09:38):
No?

Speaker 2 (01:09:41):
I mean listen, I don't. But the song is so like,
how did they not? I don't know. I have no idea, Man,
I have no idea, and I don't believe that.

Speaker 4 (01:09:54):
I don't. I don't believe that the power is to
be didn't hear it? I think it was kind of like,
hey man, that ship is cool and just left?

Speaker 5 (01:10:02):
What was the time difference between parents? Just don't understand?
And then because I felt like the TV show came
in my I was just I dodn't want to know.
I want to know that. That's what I want to know.
Two years between okay and Yeah, it.

Speaker 2 (01:10:15):
Was that I bought it in This Corner album and
like it just what was going on with y'all? Couarter?
I was list wait time out the wait you about
the slender in this corner?

Speaker 4 (01:10:23):
I was about we about to fight?

Speaker 2 (01:10:26):
Yeah?

Speaker 4 (01:10:27):
Because I love that? What what was y'all James?

Speaker 2 (01:10:29):
Everything?

Speaker 4 (01:10:30):
Yeah? Was my.

Speaker 2 (01:10:36):
Number one to use the bathroom? I was drafted. I
was drafted. Girly had a mustache. If donut come on, brod,
I was, I was, I don't know, I was all
that glitter can Yeah, I could dig it.

Speaker 4 (01:10:55):
I feel it though.

Speaker 2 (01:10:56):
That's my favorite record of yours. Really, it's wow.

Speaker 4 (01:11:00):
I had a conversation with somebody and they were asking
me about all of the albums, and what I told
him is every last one of our albums signifies a
time period for me. So you know, you got you.

Speaker 2 (01:11:15):
You know, Girls Ain't nothing but Trouble. It's new.

Speaker 4 (01:11:19):
You don't know.

Speaker 2 (01:11:19):
You know.

Speaker 4 (01:11:19):
I always tell everybody you have your whole life to
make your first album. You only have from the town
from your first album and your second album to make
your second album. And but you know, we we did
Girls Ain't Nothing but Trouble for the most part in
my MoU's basement. We did. He's the DJ, I'm the

(01:11:40):
rapper in London. So both of those rucords were done
in solitude. So I came up with the idea of
I want to do the third album at Compass Point
in the Bahamas. Oh wow, Okay, So we went to
the Bahama because you know, I'm I'm I'm just point. Well,
first of all, it was flying because it was in

(01:12:02):
the Bahamas.

Speaker 2 (01:12:03):
But I was being comfortable.

Speaker 4 (01:12:07):
I was really trying to keep the cycle going of
solitude because we were so big when we went into
the studio to do that album that we needed to
go somewhere off the mat.

Speaker 2 (01:12:20):
What the problem is.

Speaker 4 (01:12:22):
We were big and had a lot of money, and
let's talk about the fact that the Bahamas held all
of our equipment and customs for about ten days.

Speaker 2 (01:12:34):
And we're down there on the beach with a casino.

Speaker 4 (01:12:39):
So it was, you know, we had a house on
the beach and we were flying people down and you know,
and it just we were not in the right headspace.
Like that's what I'm saying, Like I can listen to
that album and I understand everything that you're saying because
we were in you know, like it was we you know,
Will would write for twenty minutes and be like, Yo,

(01:12:59):
I'm not feeling I'm about to go to the casino.

Speaker 2 (01:13:01):
Wow, you know.

Speaker 4 (01:13:03):
And we we left after a month with about two
and a half records done, so of course it was
kind of like, oh, we're in trouble. So we ended
up in k Jam in Philly and we finished it.
But when you think about it, girl, you know, girls
ain't nothing but trouble is kind of relatable. Parents just
don't understand is relatable. I think I could beat Mike Tyson.

(01:13:27):
Only a motherfucker that know, Mike Tyson who's making some
money would say that we didn't even pay attention to it.

Speaker 2 (01:13:33):
But but the thing is is that.

Speaker 7 (01:13:38):
It's kind of ship talking, which is relatable because everyone
says that motherfuck up.

Speaker 4 (01:13:45):
But you know, in the video and all the rest
of that now we was on because for me, I guess,
like because I was a big Tyson fan and nobody
thought that, like nobody really thought they could beat like
you see.

Speaker 2 (01:13:58):
Like you watched the video and I don't think you
believed it either.

Speaker 4 (01:14:01):
No, we didn't.

Speaker 2 (01:14:02):
I mean I think that was why the song. I
think that's why I think the rollout, the.

Speaker 7 (01:14:07):
Rollout of that song kind of derailed and in this corner,
which I still feel is a solid right, Yeah.

Speaker 9 (01:14:14):
I think it's a wow. And I have a story
about the song. I think I can beat Mike Tyson.
I believe it's fifth grade music class. Fifth grade music class.
The assignment is everybody has to lip sync a song
for the class. So I choose me and my friends
we chose. I think I can beat Mike Tyson and

(01:14:35):
the teachers. You know these films everybody's lip sync routines,
and we're watching them while we're doing ours, and he's
got this angry look on his face. And at the
end of the performance, we're like, why, why are you
so angry? He's like, oh, I turned the camera off.
We're like, why you can't bring music with cussing in here?
Apparently he didn't like when Will says, I'm getting the
hell out here, and at the end when he's like, goddamn.

Speaker 4 (01:14:57):
So we got in.

Speaker 2 (01:14:58):
Trouble for that. Make out so much for.

Speaker 4 (01:15:02):
PG.

Speaker 2 (01:15:03):
Yes, yeah, I think, yeah, I have yeah, my I
think one of my ends. So this was third grade
for me.

Speaker 8 (01:15:11):
We had or fourth grade we had to recite like
a poem or something or some ship, and I think
I rapped Will's verse from time to chip.

Speaker 4 (01:15:21):
Like that was.

Speaker 2 (01:15:21):
That was my recital. I got a A on it
on the assignment.

Speaker 7 (01:15:25):
But I gotta tell you I normally frowned at any
use of the jam as a break.

Speaker 2 (01:15:34):
No more, Ono was the ship?

Speaker 4 (01:15:36):
That was the ship? Why did you have something against
the jam and the break? Because them it's like it's
like the end thing, like anytime I heard it, I
just think of VH one. So then you don't like
Ashley's roach clip either. I really don't like that.

Speaker 2 (01:15:54):
I respect it, but I never liked it and liked
it ship boys.

Speaker 4 (01:16:02):
I never like Ashley's click. It just reminds me of like.

Speaker 2 (01:16:08):
And even if we're really gonna talk about it, that
album was slapping.

Speaker 5 (01:16:12):
That was.

Speaker 9 (01:16:15):
While we're on the subjects for a second. I listened
to that million album a couple of weeks ago, and
people were only pissed off because the dudes on the
cover didn't sing. The weren't the ones that were singing
the record. It was a good record, so the quality
of the songs didn't matter to nobody. No, And I
think to the tragedy with them was that they were
too ahead of their time. It wouldn't it wouldn't.

Speaker 4 (01:16:37):
Matter at all. That's that's going back to while everybody
was pissed off about the Brandy mc cover m it
wasn't up the e listen put out now and we'd
be good, y'all were.

Speaker 8 (01:16:53):
I get it, settle, please settle along, you know, debate whatever,
who summertime.

Speaker 4 (01:17:02):
Will it will listen. Let me tell you it's funny.
Hold on, let me tell you what's funny for me
to be there and to hear all of the like,
understand that. The first time that I had experienced this
was when we were on Fresh Prints and I started

(01:17:28):
getting the Will stop the show so he can go
car shopping. And I remember coming in mad, like, Yo,
that shit never happened?

Speaker 5 (01:17:39):
How did it just go? Sit?

Speaker 4 (01:17:40):
And Will just started laughing like, yo, that's what they do,
like they just blatantly lied. I was you know, I'm
kind of like, you can't blatantly lie. So understand, Will
wrote Summertime. Summertime was made for Will. You know what?
It wasn't any.

Speaker 2 (01:17:56):
Who told us that the music was made for Rocky Him.
I've heard it. I've heard that came from somebody that
didn't want to pulling fingers someone.

Speaker 4 (01:18:10):
Was it search that?

Speaker 2 (01:18:14):
All I'm saying is like, I was there.

Speaker 4 (01:18:19):
You know what I mean.

Speaker 2 (01:18:20):
I'm like, so, no, it wasn't. It wasn't for rock Him.
It wasn't written for rock Him.

Speaker 4 (01:18:29):
That song was birthed from Will being in in l
A for the first year of the Fresh Prince, and
of course the season's changed and it's not the same
out there as it is in Philly. In Philly, first
day today outside, everybody's outside cars blasting cars clean, the

(01:18:49):
driving down the street.

Speaker 2 (01:18:50):
South Street is popping right now. That's that's what we
all had.

Speaker 4 (01:18:55):
Anybody who has a four season climate know when spring comes,
everybody comes out. The girl gained a couple of pounds
and she looks great. She was skinny last year. And
Will called and was just like, yo, what's up. I
was like, yo, seventy five degrees out, just got mccar
claim went to the plaque suns.

Speaker 2 (01:19:14):
We just having just Philly dialogue. And that was reminiscent
to that.

Speaker 4 (01:19:20):
You know, that was something to him that that's what
he wrote about, Like the whole versus Summertime is basically
talking about the season changing from winner to to you know, wait,
we're forgetting something, we're forgetting in a very important fact,
if it were not for I think I could beat

(01:19:42):
Mike Tyson, Will and Jeff wouldn't have performed that on
the Arsenial Hall Show then, and Quincy Jones would have
never seen that performance.

Speaker 2 (01:19:53):
So technically so that the show that song saved the first.

Speaker 4 (01:19:59):
Changed it was. It wasn't totally that they paid attention
to parents because they've been watching. Oh yeah, they paid
attention to parents, like from from parents on down. They
were like, he can he can act. They kept except
for the opening credits, you know, so you know, Quincy

(01:20:19):
was just kind of like, that's something for you. I
remember my mom being upset that they didn't use the
mom from the video who was on what the pin
and this was extras? I don't know, you know, yeah,

(01:20:40):
Vanessa Williams. Vanessa Williams was the girl in the car
with Will. That's right, Yeah, that's Vanessa van that's her. Yeah, yeah,
and you know that's Nola Darling in the video right, yes, yeah?

Speaker 5 (01:21:03):
Were you always a part of that equation? They figured
out the show stuff, just asked like he not the
When did they realized? They was like, this, motherfucker right
here we missing out.

Speaker 2 (01:21:14):
No listen.

Speaker 4 (01:21:15):
They Will did the pilot and then when they first
started doing the episodes, they were just like, you know,
because you and him had chemistry in the video, you
should come and do the show. And I was like, nah,
what I meant? First of all, I didn't. That wasn't
what I wanted to do. It was also weird because

(01:21:36):
when when Will went out and did the audition and
came back and he was like, yo, I got a
TV show. Understand. I'm thinking this is a dude holding
the camp corner. I didn't think it was a TV
show until he showed the pilot and then it was
people that you've seen on television in the pilot. But
then you realized that this is professionally done. I'm like,

(01:21:57):
oh shit, this is like shit looked like The Cosby Show.
So when they were like, hey, you know you want
to do it, I was kind of like no, And
they were like, listen, we want to put you in
three episodes and and if you like it, you got
two more to look forward to. If you don't like it,
you got only two more to do. I hate to

(01:22:18):
tell you this now my favorite cutting and scratching of yours.
Oh my god. It's from the pilot when you're cutting
up the uh the classical music, like I can tell you,
I can tell you authentically cutting it. Yeah, but it

(01:22:40):
is just the fact that you're doing set up cups
for a stab that do.

Speaker 2 (01:22:46):
I was like, you saw that, you saw that. I
was I had to being.

Speaker 4 (01:22:53):
Nothing.

Speaker 8 (01:22:54):
It was I love like I watched that so many times. Man,
you talked before me and you've had conversation. You was
talking about how the difference between music money and TV
money and how TV takes so much better.

Speaker 4 (01:23:08):
Care of you. Listen. We you know, it was funny
because you know, back in the day, you had a
Nike connect and the Nike was saying, Nike was sending
you some sneakers. They send you, you know, some Airmax
or something. And then we get on TV and they
are bringing boxes and boxes of stuff in, you know,

(01:23:32):
so we was getting music stuff and TV stuff. The
TV stuff was just ridiculous. They would have you go
to the warehouse and you would just bring it. They
would just you know, your car was full of stuff,
you know, and they just took care of you. And
what I didn't realize was there was an episode that
we did of our senial hall and they would always

(01:23:55):
black out the Nike swoons. They would put an X
over it. They would always because you know, you couldn't
sell it. And Arseno asked me something about me still
living at my mom's house and I was like, listen, man,
I love my mom. I'm comfortable here. And when he
said it, I took my feet and I put it
on the couch and I crossed my feet and that

(01:24:15):
Air Jordan logo was there. Yo. I never got laced
with that much stuff in my life ever, just from
crossing my feet and that logo up there, because it
was kind of like they couldn't blur it out. Ye man, listen,
the boxes just kept coming.

Speaker 5 (01:24:33):
So outside of the money though, Jeff, when was the
moment that you knew I kind of liked this shit TV? Yeah,
the TV show whatever. At some point.

Speaker 4 (01:24:46):
I didn't you know what was cool? Well, first of all,
you're doing a TV show and you're used to being
on stage with twenty five thousand people. It's one hundred
people there. So it was no, there was not an
ounce of nerves, nerves at all because it's one hundred people,
you know, and you don't but because your brain is
not thinking of how many people are actually going to

(01:25:08):
see that. And it was really different because it really
changed that you're going out process. It wasn't you know,
I could go to you know, I could go to
Springfield Mall and and and kind of get away with it.
You know, you do the TV show and you're going
to Springfield Mall and it's sixty year old white women

(01:25:28):
calling you jazz and they always somebody, yeah, no, we're
not doing that. Is TV realized that secretly the Fresh
Prince of bel Air is responsible for Friends, right.

Speaker 7 (01:25:48):
Really all right, so you know the you've seen the
jay Z video for That's right, all right, So basically I.

Speaker 4 (01:26:00):
Don't want to.

Speaker 6 (01:26:02):
For it.

Speaker 4 (01:26:03):
So basically I heard about it, all right.

Speaker 2 (01:26:06):
I thought the one that he did for yeah, I
saw that, so basically, uh, I don't.

Speaker 7 (01:26:12):
It was Brendon Tartakoff, still president of NBC at the
time when you guys were doing Fresh Princes. Yeah, okay,
so uh he had a chance to also get Living Single,
and he he said one of his regrets was letting
his his staff or his uh yeah, his staff or

(01:26:33):
his uh uh coworkers talk him out of getting Living Single.
He said, I always love that show, and their thing
was like, well, we already got a Fresh Prince of
bel Air, Like we don't need to it's basically the same,
And so it went to Fox and and his regret
he was like, yo, I always wanted a show like

(01:26:56):
Living Single. So then he told marta coffin and then
to make me a white living single and thus made friends.

Speaker 4 (01:27:03):
Wow.

Speaker 7 (01:27:04):
Yeah, but based on the fact that they already had
the Black the Black Comedy Show on NBC, so we
don't need a second one.

Speaker 5 (01:27:14):
So that's crazy. We have to wait ten years for
a black person on there. Gabrielle Union and I was
Tyler that you watched Friends.

Speaker 6 (01:27:24):
I might have.

Speaker 2 (01:27:25):
I didn't watch. I didn't watch it. I did not
have the wait. But y'all watched Sex in the City.
Though I didn't watch, I watched it watch. I just
know that jesus Se City had sucking in it, soformatives.

Speaker 5 (01:27:40):
You know, didn't want people. It was one episode.

Speaker 4 (01:27:46):
Show.

Speaker 7 (01:27:48):
So with the with the meteoric rise of the Fresh
Prince of bel Air and instead of this being a
side gig to Jazzy Jeff for the Fresh Prince, how
how are you now figuring out what your life is
about to be? As far as oh, I was terrified,

(01:28:08):
really well, I mean so that David Spade joke upset you,
but joke never mind.

Speaker 5 (01:28:14):
I want to know.

Speaker 7 (01:28:16):
You remember the Hollywood minute where on Saturday Live they
let him they'd let him just go wrote like Eddie Murphy. Uh,
actually Eddie Charles would go back on life because of
something that. But Charles Murphy came to.

Speaker 4 (01:28:34):
The Rock with David s Bates ass and David like
his like actually stayed away from like.

Speaker 2 (01:28:40):
Like that's why he won't come back to any of
the reunion specials to eight.

Speaker 7 (01:28:44):
He came back finally for the the fortieth celebration. Yeah,
but he wouldn't do Bill Cosby jokes. But he came
back at least. But you know, it's like Spade just
going rogue for three minutes, and I guess the punchline
was uh no no, no, no no, and Jazz you
Jeff wants to know, are you going.

Speaker 2 (01:29:02):
To eat that? Oh wow, you got that joke instantly?
Why would you get that joke? I think it's funny?
So okay, at that.

Speaker 4 (01:29:16):
Time, you didn't, I mean, did you think that this
is the end of the career and that we're just
what I mean, you know what we You know, you
got to understand that. Well, when you think about it,
The Fresh Prince came out when we had summertime out,
so we were actually on the biggest high we've ever

(01:29:36):
been on.

Speaker 5 (01:29:39):
Show, the same album as Bee.

Speaker 4 (01:29:43):
Yeah, oh yeah, it was that was home but it's
but you got to understand that it was you're also
you know, paying attention to the trajectory of other rap people,
and it's kind of like, okay, we had not gotten
to the that we had any legacy artists, so it

(01:30:03):
was kind of like, okay, I don't know if this
shit is like three albums, four albums and then we're
gonna go to something else. You know, understand, it was
a huge accomplishment to have, you know, go from three
million records to a million records on and in this
corner was deemed a failure and come back with Summertime.

(01:30:23):
There's there had never been a rap comeback, so you know,
to kind of get to the point because like this
would you have to keep in mind we want to
we want to Grammy in nineteen eighty nine or eighty eight,
eighty eight, and we won one in ninety three, Like

(01:30:46):
who else won a Grammy in that time span that
that was hip hop? So we were supposed to be
old and done. So Summertime you're looking at it like, okay,
we're back. But the thing that scared me is this
is uncharted territory. I can't call it. I don't know
if listen. And that was that was that was scary

(01:31:08):
because you know, you like to be around with girls.
The number of trouble parents just don't understand. And then
Young MC came out with Bust to Move was a
completely left field. Now we got tempo. Now you're dancing
and ain't nobody was dancing the girls ain't number of trouble.
So so you started seeing all these shifts and now

(01:31:28):
you're trying to pay attention to what the shift is.
So you know, we got and then the TV show
came and I'm like, Okay, I'm a reoccurring character. The
money is great, but this isn't what I'm trying to do.

Speaker 5 (01:31:42):
So but they're giving you more storyline. Now you're getting.

Speaker 4 (01:31:46):
Man kill off.

Speaker 5 (01:32:00):
Ain't from the Cosby showy.

Speaker 4 (01:32:03):
Or from the from be.

Speaker 5 (01:32:10):
Limp Malcolm Jamal Warner for over a decade.

Speaker 2 (01:32:14):
I like her?

Speaker 4 (01:32:15):
Wait really that was he was engaged to.

Speaker 2 (01:32:21):
What's your name?

Speaker 5 (01:32:26):
Justine?

Speaker 4 (01:32:27):
Yeah, that was the way after they Michelle Thomas.

Speaker 2 (01:32:30):
That's Michelle Thomas said Williams. Sorry.

Speaker 8 (01:32:34):
So like, how when y'all got to the to the
last album on job, the co Red album, how did that?
I mean because you would think that, Okay, we're on
the TV show shows still popping like man, listen, So.

Speaker 4 (01:32:45):
We got to when we when when we did the
promo tour for the the album after Home matter of fact,
when we did the promo tour for Home Base, you know,
we you know how you go into different regions, you know,
the promotion got there and we got cool with a

(01:33:05):
couple of them, and it was wild because I remember
him saying to Will and I he said, ever since
and in this corner, Jive has been betting against you.

Speaker 2 (01:33:15):
Guys.

Speaker 4 (01:33:16):
He's like, they don't they don't believe in you. He
was like, you did you have the biggest record of
your career and they think it's a flute.

Speaker 2 (01:33:22):
Wow.

Speaker 4 (01:33:23):
So they're they're really not, you know, believing in you,
you know, and so you started to kind of feel
that that it's kind of like, yeah, it was just
you know because because you know, around that time was
when they started messing with new kids on the block.
You know, now now understand they got straight dedicated pop

(01:33:44):
Actstreet and then you know, and then you know, so
they're making money overhand over fists, you know, and you
almost start to become this afterthought that the the only
thing is we had the popularity vote because because of
the television show.

Speaker 2 (01:34:02):
But they you know, they were kind of like, nah.

Speaker 4 (01:34:05):
So when we you know, we got to the last album,
in my brain, I was kind of like, Okay, what
other hip hop act do you know that has reached
the last album? So I'm you know, so now now
my business brain is going in. It's like, okay, you
don't cross coladalize every album that we had. When you
get to the point that you have nothing to cross

(01:34:26):
it to, you gotta pay me all that back money.
So I'm like, oh my god, like, you know, let's
just keep up, you know, so that we don't have
a complete failure, but we're gonna end up getting some money.
So we The funny thing in our deal they had
an option for greatest hits. Oh wow, So first of all,

(01:34:47):
the greatest hits in hip hop deems your career. Yeah,
you're done. So when we got to the last album,
they were like, listen, you know, we want you guys
to do the greatest hits. And we were like, well,
we really don't want to do greatest hits because we're
not done and we think this signifies to end. And
they were like, well, we really want you to do
the greatest hits. And it was wild because in the mail.

(01:35:08):
A four hundred thousand dollars check came and it was
for the album, and I was just like, yo, for
the greatest Hits album. Oh yeah, Like as soon as
we cast it, then we're liable. And what they didn't
expect is we sent it back because we knew Liken.
You know, we got TV show and all the rest
of this. So we basically sat down, you know, we

(01:35:31):
sat down and basically said, listen, you know what, we've
been on job for ten years.

Speaker 2 (01:35:37):
You can't really say that for a bunch.

Speaker 4 (01:35:39):
We had a lot of success, but Will wants to
go and really get deep into his movies. Jeff really
wants to go and get deep in his production. Quietly,
Will and I were looking to sign a really really
big record deal with somebody else, and you know, they
were like, hey, no one has ever come to us
and said this. You know, we're gonna down and we're

(01:36:00):
gonna think about it. And we were like okay, And
two weeks later we got hit with a lawsuit.

Speaker 2 (01:36:06):
I lost from job.

Speaker 4 (01:36:09):
Oh yeah, oh listen. Jobs sued us because they said
our extra curricular activities are interfering with us making.

Speaker 2 (01:36:17):
Music, and I'm like, wait a minute, didn't understand.

Speaker 4 (01:36:21):
I don't think it was Barry, like this goes beyond
the president and the vice president and you know, but
it's you know, it's just it really got to a
point that I was kind of like, that was the wow.
So this is my this is my retirement party. And

(01:36:42):
I don't get a go watch. I don't get a party,
I don't get a cake. I get a lawsuit.

Speaker 2 (01:36:48):
You know what I mean?

Speaker 4 (01:36:49):
Ten years, you know, me and Will probably collectively with
albums and singles, sold ten million records for Jobs and
we got a lawsuit. Like that's that's how we went out,
Like and I said this, people don't understand. Will and
I have zero ownership of any of the records. We

(01:37:10):
did nothing. So everybody, oh my god, you know you guys,
Summertimes is the anthem every time they play that shit.
We get zero because we had to do that in
the settlement with Job. Now, what I will say my
redemption was that gave me my freedom. Everybody kind of

(01:37:32):
looks at it like, you know, you and Will kind
of split up. I could have I could have went
with Will at to Sony. I couldn't go back into that.
I just I was I just broke. It made so
much sense for Will because Will had a movie deal
at Sony, so the movie can tell me. But what
I loved was the first record that Will did. Like

(01:37:56):
every record that Will has done, I had some level
of involvement it. First record Will did was the Wild
Wild West soundtrack and that sold five million copies. The
next record that Will did was Big Willie Saule twenty
six million copies. We did the American Music Award and

(01:38:17):
we got in the elevator with Barry. It was oh man,
it was Barry the owner, Clive, it was a couple
of other people, old job fevers, and we got we
got in the elevator and the elevator door closed, and
Barrier's like, hey man, you know, congratulations, you know to
you guys, you know winning and you know, like, oh,

(01:38:37):
thank you. And it got quiet, and I looked over
at Will and it's kind of listen. I'm pretty sure
you know, Rieke. You know when Reek is going to
say or do something, we gotta look. We have got
a conversation. And I looked and I when I looked
and I saw Will's jawline bulging. I was like, oh.
And Will turned around and he said yeah, this is

(01:39:00):
really good for someone that you threw in the trash.

Speaker 2 (01:39:05):
And listen.

Speaker 4 (01:39:06):
It was no, we didn't do it. No, it wasn't
like that in sudden sense, you know, and everybody calmed
down and elevated doors opened and listen. I jumped on
Will's back because that if there was ever a redemption
to think that you did. You know, you you thought like, okay,
it's over, it's over and done with, you know, and

(01:39:30):
it was kind of like, okay.

Speaker 2 (01:39:31):
Cool, wow, wow, Wow, we got.

Speaker 4 (01:39:34):
A little home movie called Men in Black. You took
residency of the studio four.

Speaker 7 (01:39:45):
Well, you always had residency there because when I was
interning that Rose Records, you always had your studio there.
So talk about developing the second phase of the Sound
of Philadelphia, uh with Dre and Videll with CARV.

Speaker 4 (01:40:00):
I mean it's you know, it was always my passion
for production, and I basically took all my money and
bought equipment, you know. So I always had a room,
you know, I always had a studio and it and
it was just really the desire to have to have

(01:40:21):
or find like minded people that wanted to make records. Understand.
I remember when when I when I got the studio
for and and I put the studio in. I almost
had a meeting with all of the studio owners in
Philly because they didn't they thought that I was trying

(01:40:42):
to open up a commercial facility, and I was like, no, no, no, no, no,
I'm opening up a production studio, which I knew they
all thought I was crazy. And I was like, no,
I'm I'm opening up a studio that's just going to
be for music production that we do, because I know
if I don't have this, I'm gonna rent one of
your guys. I'm just I'm just with already on equipment,

(01:41:05):
so let's do it. And it was just literally, you know,
you start finding guys. I would. I would go to
music stores, you know, and you would see somebody in
the music store playing keys, and hey, what's up man?
You know, you want to try to do such and such,
and and it just started like we had no idea
what we were doing, you know, and you just learned

(01:41:25):
by experience. You learn, you know, by cutting stuff that
wasn't good, doing stuff unorthodox, you know. It was. It
was a lot of the records that I made, I
did stuff that you weren't supposed to do. But that's
how you learned to do with you know, with jazz
and Jeff and the Fresh Prince. So it was the
same thing the entire time. We had a touch of jazz.

(01:41:46):
No one ever knew. We never had an engineer. It
was never an engineer. Oh we did like feet out Keith,
you know myself. We never had an engineer. And hear
me when I say we never had an engineer. Jill
Flow Atry Music, Oh no, we did all of that.

(01:42:08):
Listen if you look at the back of Jill's album.
You know who mixed Jill's album. George Glass. You know
who George Glass is Marsha Brady's imaginary friend.

Speaker 2 (01:42:23):
I did wonder about that. I just figured there was,
you know, George. They would not have accepted that I
mixed that album.

Speaker 4 (01:42:30):
We weren't there yet. We weren't there yet. First of all,
you got a hip hop guy that is responsible for
this kind of music. Like I was smart enough to know,
don't put your name on like like, I know people
who and this is this is sidetrack. I know DJs
that have mixers out that their name is on the mixer,

(01:42:54):
and I'm like this, you know how hip hop is
I'm sorry, it could be the this mix in the world.
I can't use it if your name is on it. Like,
I think it's the genius thing that we have people
that run major music festivals behind the scenes that people
don't know because they know this can't be the sus

(01:43:15):
and such festival or the Sesson Like hip hop. Hip
hop isn't based like that. So it was the same thing,
like I'm not gonna fucking listen to anybody singing that
Jazzy Jeff got something to do with it. Yeah, it's like,
so you just puffed Addy Jeans John, you just don't
you just don't say anything. But still.

Speaker 8 (01:43:36):
So all that, so all that ship, so all those guys,
because I mean at the time when we first when
I first really met you, was around that time. It
was like oh two three when the listening it kind
of just came out and everybody was telling us like, yo, man,
Jazzy Jeff, I got to copy your album from Jeff.

Speaker 4 (01:43:54):
And I was like, he knows who we are, Like
I didn't think you had no clue who tou we.
I never stopped scouring for music, and I know Scott
listening for people. You know, that was the whole thing,
like it's it was a love before it was a job.
So you just you know, it's kind of like you

(01:44:15):
know you you it's when you hear something and it resonates,
you want to pass it on. And that was that
was another thing like with with with Jill when we
did we I met Jill twice. My son's mom introduced
me to Jill, and we saw each other and we
talked and it was almost kind of like this ain't

(01:44:37):
the right time. And I remember riding up the street
and I rode past footworks when when Barbido and Rich
had it and Jill was standing outside and she said, Hey,
what's up? And I said what's up? We started talking Jill.
I took Jill to the studio and I went through
a bunch of music and I gave her a track

(01:44:57):
and she left. And the next day Jill called and
said I wrote something, And I picked Jill up and
drove and we parked on Penn's landing and Jill sang
me long walk from beginning to end WHOA And went
to the studio and cut it and it was just
kind of like tell V to al Dre listen, you know,
we're cutting and we just all of Jill's songs. The

(01:45:19):
bulk of Jill's first album was done in probably about
nine days. Wow that she was just cutting and we
would do it. What I did that was extremely unorthodox,
especially at that time. I had a CD burner. I
burnt those non songs and I gave it to everybody
I knew that loved music, like because before you kind
of don't.

Speaker 2 (01:45:39):
I gave it to everybody.

Speaker 4 (01:45:41):
But it was crazy because it actually ended up in
the Sony office that the Sony executives thought it was
something that they signed.

Speaker 2 (01:45:50):
Because everybody was playing it in the office. But that's
how it got.

Speaker 4 (01:45:54):
It got to Jimmy Jame and Terry Lewis and they
flew us out there because they wanted to sign it.
And it's made it made its way to choose, well,
you know, I didn't choose Michael Jordan. I choose Steve mckeev.
At the time, it was like, Michael Jordan, let me, okay,

(01:46:15):
so I'm gonna tell you half of this because I
know I know you would understand the other half. I
chose Hidden Beach because I knew they were going to
let us do the album with no interference. Because I
had a very good friend. We had a very good

(01:46:36):
friend that I realized did some stuff that he didn't
get credit for. And that was the deciding factor to
make me go to Steve. I'm not listening. I'm not
because I'm I know he would know, and you know,

(01:46:58):
but it was it was crazy because it was almost
like it's almost like you have a really good friend
that tells you don't mess with this girl, right, and
and that's why you chose the person that you're with now.

Speaker 5 (01:47:13):
And it was it was you know, so, wait, where
was you got me in this equation? I'm just in the.

Speaker 4 (01:47:20):
Slightly around the corner. Wait, do you remember driving the
yellow Pathfinder? I remember driving so all right, Remember I
told you all the heavy D is going to kill me.

Speaker 2 (01:47:32):
Let me tell I told you all the heavy D
is going to kill me?

Speaker 4 (01:47:36):
Story?

Speaker 7 (01:47:37):
Well, the original one the boys right was a mirror's
first drive by. I was walking down like late at
night on Chestnut Street in Philadelphia and this yellow Pathfinder
drives by me and then stops and then like gray
poopon style, comes backwards and rolls down the window and

(01:47:59):
I was seeking sitting on myself. I was like, uh,
this is where I die, Someone's gonna kill me in
a yellow pathfinder.

Speaker 2 (01:48:07):
And somebody killing you in a yellow pathline and a.

Speaker 7 (01:48:10):
Banana yellow path find And it was Jazzy Jeff like
what he's saying, Yo, you're in the roots right from
Jazzy Jeff. Oh Jeff, I love you man, And then
he sped off, and that was how I met him.
But then I started working at Studio four and.

Speaker 5 (01:48:31):
You know, so then into jail and you got me.
How did that timeline work?

Speaker 4 (01:48:38):
I first saw Jill there was a poetry slam fifty
second in Baltimore, fifty fourth in Baltimore, like Deep West Philly.

Speaker 5 (01:48:50):
She was doing the sexy poems.

Speaker 4 (01:48:53):
Yo. That was recently. Yeah, no, I'm telling y'all, Jill
was always poet poets and even the dudes. She It's
something about Jill's voice similar to that of when Deanna

(01:49:13):
Williams talking. It's like you will do anything, and it
was just unexpected because everyone else was coming from you know, backstage. Okay,
and up next we have a.

Speaker 7 (01:49:26):
Young brother from No no, no, no, no, no, give
it up for Richmond, and ladies and gentlemen come on,
do his poetry and leave Jill Scott decided to sit
in the audience and so we had no clue. He said,
up next, we got a sister from North Philadelphia, give.

Speaker 2 (01:49:41):
It up for Jill Scott.

Speaker 7 (01:49:42):
Lady Joe and no One came on stage and then
this woman starts singing joonases freaking you.

Speaker 2 (01:49:49):
A cappella from the audience.

Speaker 4 (01:49:56):
She just marches right to the stage, and I was like,
who is this woman? I put two and two together.
I met Jill during the do You Want More? Era?

Speaker 7 (01:50:11):
Apparently her ex boyfriend not the old word, her ex boyfriend,
not ex husband, not ex husband, was cheating on her
with a girl that lived next door to me on
South Street. Well, I don't know whatever, but the first

(01:50:33):
word she said was I'm gonna cut that motherfucker's dick off.

Speaker 2 (01:50:38):
So that's how Jill Scott into my mind.

Speaker 4 (01:50:40):
So then I put two and two together that, oh,
that's I'm gonna cut that motherfucker's dick.

Speaker 5 (01:50:49):
Also the Glamorous Life girl. Can y'all just is that
a rumor?

Speaker 2 (01:50:54):
I am Cool's Glamorous Life video.

Speaker 4 (01:50:57):
I don't know.

Speaker 2 (01:50:57):
I never heard that heard it wasn't I heard it wasn't.

Speaker 8 (01:51:01):
Wasn't that you told me one time, Jeff that Jill
initially when she came out, she didn't really want to sing.

Speaker 2 (01:51:07):
She really wanted to just do poetry. She was heavy on.

Speaker 4 (01:51:10):
Yeah, Like Jill did not want background vocals on her songs. Wow,
you know, so we had to kind of convince her
a lot of that. Like the funny thing is, I
remember when we did is Getting in a way. She
did not want to put background vocals on that, and
Drey's mom was in the studio and Drey's mom actually

(01:51:31):
sang backgrounds with her on that because Drey's mom was like, girl,
if you don't get your button that booth. So that's
Jill Andre's mom.

Speaker 5 (01:51:40):
Man, that was an official first single, right, No, you
know what's funny.

Speaker 2 (01:51:45):
The first single was long Walk, Long Walk, you know
what I said.

Speaker 5 (01:51:47):
I remember being at the radio station and being like that,
you don't need to hear get.

Speaker 2 (01:51:51):
Through everybody off because their first single was a poem.

Speaker 5 (01:51:54):
Yeah, but that was the Streets. Wasn't ready for that?

Speaker 2 (01:51:56):
I remember being long Walk.

Speaker 5 (01:51:59):
It was no, it was the black stations. We need
to do once was she gonna put the basoline on
her face? And I remember selling that at the radio station.
Like but then she gonna put it. Come on, everybody
want to Philly Sorry? Fighting over soul records, the journeys
were still fight.

Speaker 4 (01:52:20):
How did? How did?

Speaker 8 (01:52:21):
What was the difference between like say, the jail record
and then the fluordry situation.

Speaker 4 (01:52:25):
Like success Like when I tell you that, like I said,
it mirrors. You know, we we did Jill in music
pretty much simultaneous. So for both of them to come out,
we were on cloud nine. You know, they were just
sending people down. It was it was weird because you know,

(01:52:46):
they would send people down with instructions like they we
want a jail record, and it's kind of like, well,
we can't give you a jail record because we gave
it to her. We can give you whoever you're sending record.
And that was really the first time that I understood
that record companies. Steve mckev said something to me that
I never forgot. He said, everybody in the music industry

(01:53:06):
wants to be second after everybody's everybody wants to be second.
You reminded me of a story. So the day that
we shot that Soul Quarium photo for Vibe, the beginning
of the end, right, So okay, nine am we shot

(01:53:27):
we did a shot in the same Vibe magazine with
Jill the roots in Jill did their thing, right. It
hit me that Lear Cohen knew that this shoot was
going to go down and Vibe Magazine oh wow, and
begged and begged.

Speaker 7 (01:53:46):
Please let Music inside of this photo you guys are
doing because he's part at the time.

Speaker 2 (01:53:55):
Did I know music?

Speaker 7 (01:53:56):
No, I didn't know music. I had no clue. And child,
yeah music soul, child, it just sounds Did I know music?

Speaker 4 (01:54:06):
I didn't know music.

Speaker 2 (01:54:08):
I believe that.

Speaker 4 (01:54:11):
Just to to force the will on us, no pun uh.

Speaker 7 (01:54:16):
They had Music and his people waiting downstairs in a
car service to see if there was like a change
of heart, and it was always like like, it's very
unfortunate that That's how I was reminded, and I totally
forget about the times where he came to the jam
sessions and all that stuff, you like deliver pizzas or something, Yeah, exactly.

Speaker 5 (01:54:41):
And so because there was Balao too, so well yeah.

Speaker 4 (01:54:45):
It was like it was like literally like who who
And the Vibe people were like, yeah, can we le
or Cohen wants to add him in the photo as well?

Speaker 2 (01:54:53):
Can you shoot me?

Speaker 4 (01:54:54):
Just like yo, we know each other, like I don't
know who music soul child. I had no clue who
he was at the times.

Speaker 7 (01:55:00):
So it it just it started what could have been
potentially an even worse taste once I did two and
two and like oh the guy from filling oh he
used to come. And then it was like cool whatever.
But at the time I remember that music almost was
in that photo. Almost in that photo.

Speaker 5 (01:55:22):
That was the house that Carvon and I even built.

Speaker 4 (01:55:24):
Yeah.

Speaker 8 (01:55:25):
Yeah, so so break down like the cruise when we
talk about such a jazz it was Carving, was Dollinger
and then so it was Pat.

Speaker 4 (01:55:38):
Shout, you know it was it was it was multiple
you know, you had keV Brown Odyssey, you had peace,
you know, peace move of Pat. Pat McClain James introduced
me to Pat McLain.

Speaker 8 (01:55:56):
Okay, and he because I remember I think you told me,
or maybe it was keV told me the on the
on your album Africa Porter Prince.

Speaker 2 (01:56:07):
Yeah, that was a two track. That was everything Pam did.
Everything he did was a two track. I love that shot.

Speaker 4 (01:56:19):
Pat was let me choose my words, eccentric. He was
very eccentric, Like Pat would make the most beautiful song
you ever heard, and he would say, you know what,
the universe doesn't want this to come out, and they
would cut his keyboard off and we would be in
the room like like but see, you know he was

(01:56:43):
also the guy that he would he would he would
do a record and make some money and you would
give him like three thousand dollars and Pat would leave
out the studio. And the reason why ours is laughing
is because she was there for all of this. That
Pat would come in and say, God is gonna bless me.
I just gave a homeless man three thousand dollars. And
you were kind of like, Pat, you're homeless, Like you're

(01:57:06):
a homeless big I gave a homeless man.

Speaker 5 (01:57:08):
And what's that music? Soul child?

Speaker 2 (01:57:10):
Because he was homeless to listen.

Speaker 8 (01:57:13):
So, but what with all thems that were there, like
where there like Paulie, Baby Black?

Speaker 2 (01:57:20):
Where where?

Speaker 4 (01:57:21):
What's going on with those guys? Now?

Speaker 2 (01:57:24):
No?

Speaker 4 (01:57:24):
Wow? I mean, you know, Paul Paul. When I started
going back out on the road, I took Paul. I
took Paul when The Magnificent came out, because you know,
I wanted that to be kind of a launching pad
for Paul. And then you know, Baby Black chef chef,
you know, just you know what's crazy is when I

(01:57:46):
started going out on the road. I started going out
in like ninety nine two thousand and went overseas. Was
completely blown away at the fact that I'm in this
club and it's two thousand people here, and I'm kind
of like, well, who is performing. I'm used to the

(01:58:07):
win Ballroom and it was a strong two fifty in there,
and you know, when you start doing these and not
just that, you know, just going through all of the
issues in the music business. I'm playing for two thousand
people and at the end of the night, somebody's handing
me an envelope with four thousand dollars in it, and
I'm kind of like, well, damn, I gotta wait like

(01:58:28):
seven months for my four thousand dollars from the record company.
And you just gave it to me afterwards, and I
got to play tomorrow night, and the night after that
and the night after that.

Speaker 2 (01:58:38):
So it really took that first tour.

Speaker 4 (01:58:40):
And I came home and you know, and everybody's asking
when is the check coming, because everybody's waiting for a
check at the record company, and you know, you got
to wait until everybody delivered the signs and all the
rest of this, and you know, the.

Speaker 2 (01:58:55):
Agent call was like, Yo, they loved it. They want
you to come back.

Speaker 4 (01:58:58):
I went back, and the second time I lied to
everybody and was like, I'm coming home a week later.
So now I'm coming home with about forty thousand dollars
to do all of my shopping and get all of
the shit that I want. And no one knows I'm home,
so the phone's not ringing, nobody's complaining. And then the
third time when they called, I was like, you know what,
I'm out. I'm out because I already see you know,

(01:59:21):
I see this hamster wheel and I'm like, I can't
keep running on I can't keep running on this, you know,
you you like, there was a level of I felt,
you know, even you know, even with like the Jill situation.
You know, I felt that we were in a good
cop bad cop situation that the record company is always

(01:59:43):
the good cop, Like I would watch the record company
buy her gifts and take her on trips and all
the rest of this, and well.

Speaker 2 (01:59:50):
It wasn't even the fact that I was.

Speaker 4 (01:59:53):
It was really kind of like, you know, I felt
like there was a certain point in time that Jill
was looking like, how come you don't take me on trips?
And I'm sitting like, because I'm waiting for the motherfucking
money that the dude that took you on this trip
to send me, you know, not understanding the record company regime.

Speaker 2 (02:00:10):
That is kind of like you're the good guy and
I'm the bad guy.

Speaker 5 (02:00:13):
So you know, it was you became Dana in a way,
not Dana the person, but I just mean, it's interesting,
how yeah.

Speaker 4 (02:00:19):
And I was like, nah, no, I'm not doing that,
so I tapped out. I was like, I don't I
don't want to do that. I realized that, and and
and also my second tour was a tour in Asia,
and I went to Bangkok and why are you laughing?

(02:00:41):
It's not what you think, So listen. I went to
Bangkok and there's a mall in Bangkok that my man
took me to, and everything in the mall was illegal everything.
And you could go into this store and you could
get DVDs, which you know, DVDs are big MP three's,

(02:01:01):
which are small, and they were selling DVD MP three's.
They were selling the Beatles Anthology, everything the Beatles ever
made for twelve dollars and I remember you would go
in and you would look in the book and you
give them the number. You know, the Beatles were one

(02:01:22):
hundred and such and such and they had jazz guitars.
So I was like, okay, I sample this and get this,
and you know, I'm giving this guy like thirty six
dollars and he gave me all of these DVDs and
all of this music. And I remember walking in the
middle of the mall and I said, Yo, it's over.
It's oh because this hadn't hit the States yet, and

(02:01:42):
I was like, it's over. I just bought the Beatles'
anthology for twelve dollars. How much is my shit worth? Like,
I was like, I'm out. So I tapped out because
of something I saw before it came here.

Speaker 2 (02:01:55):
I saw it come in and you know, and how did.

Speaker 5 (02:01:59):
Your soldiers feel about that though? Cause did you give him?
How does that work?

Speaker 2 (02:02:02):
Well, I ain't get nobody don't know this. Listen.

Speaker 4 (02:02:05):
Listen.

Speaker 2 (02:02:05):
First, let me tell you something.

Speaker 4 (02:02:07):
If you tell everybody in the hood you moving, oh,
you ain't gonna have no furniture, They're gonna steal all
your shit. So trust me, I had a whole covert
thing I had a guy that took all of my
equipment and put it in storage. He came down and
scouted out the studio, and you know, it was like,
listen out, this is what I'm gonna take. I don't

(02:02:27):
care about this. And you know, I knew the studio hours.
I knew everybody staying until about four thirty five o'clock
in the morning. So we came in at six o'clock
and they cleaned the entire studio out and by the
time everybody was going, oh man, they came and it
was it was they opened that door and that shit

(02:02:48):
just swung open with that wild, wild West breeze and
something week But you know what, but like at the
exact same time that I closed the studio, I actually
moved out of Philly.

Speaker 2 (02:02:59):
Yeah, oh my god. Yeah, oh yeah.

Speaker 4 (02:03:01):
Interesting. So you know what's crazy, Everybody listen, this is
the funny thing. The only person that I kept was
I Rise, So I Rise knew all this COVID shit.
She knew what I was.

Speaker 2 (02:03:14):
Listen, you know, she knew.

Speaker 4 (02:03:16):
And it was and it was crazy because everybody thought,
like this is this is this is this will tell
you something about the ego I needed. Everybody to think
I was doing bad. And this was at a time
that I just once I discovered that whole DJ thing,
So I understand. I was in the DJ atmosphere before

(02:03:38):
the DJ bubble hit. So I'm sitting here like, yo,
I ain't never made this much money ever, and no
one would expect that. And it was kind of like yo.
So me closing the studio and moving, it was like, yo,
what happened to John her? He's not doing too well?

Speaker 2 (02:03:57):
And you had to eat that. Like I was cool
with eating that. I was cool with listen. I remember.
I remember the first time.

Speaker 4 (02:04:07):
It might have been about seven eight months after I moved.
I remember it was a fight coming on and I
invited James down to my crib for the fights. James
poison James and I stood in the door because when
James pulled up to my house, James sat there and
I know he was kind of like, I know this

(02:04:28):
nigga only here, like get out of here. And I
opened the door and my dog ran out, so he's
kind of like this nigga got a dog, Like what
is this?

Speaker 2 (02:04:41):
I had the paved ways and the lighting.

Speaker 4 (02:04:45):
And I was like hey, and James was like what
and then I ended up breaking it down, you know,
because you ended up you sold so your old crib
crib you sold it to his mom.

Speaker 2 (02:04:56):
Yes, I did list so wait, I'm literally wait. I
put it up for sale and the person backed out.

Speaker 4 (02:05:08):
The person backed out the Wednesday before Thanksgiving, and I
think I text our mayor because our mayor said something
to me. He was just kind of like, yo, damn,
why didn't you tell me you were selling the crib?
And I was like, oh, man, I didn't know. You know,
I didn't know that. You know. I wasn't just gonna
randomly pick up quest Love and be like, hey, I'm
selling my credit, you know. And it was crazy because

(02:05:31):
I hit him on Thanksgiving and I was like, yo,
the sale of the crib fell through, let me know
if you want it, and he said, I'll call you back,
and he called me in ten minutes.

Speaker 2 (02:05:42):
It is like we want it.

Speaker 4 (02:05:43):
Listen. That was it.

Speaker 8 (02:05:45):
That was a that was a done disp We just furnished.

Speaker 4 (02:05:50):
We just read did the entire crib like you still
got the deep front. We had to take all that.

Speaker 7 (02:05:58):
It's a brand new it's a two was at the
nineteen house now, Miss Jackie.

Speaker 5 (02:06:03):
Dad that's the first time I met you. You don't
even know that. I was driving in that apartment with
Deanna and she saw you as you was coming out.
We was coming in, and she said, it's Jersey Jeff.

Speaker 7 (02:06:11):
I said, Jeff, please tell us how you organized all right?
First of all, yeah, it you moved to Delaware and
we were all like why. But then you also like
lured a lot of people to Delaware.

Speaker 4 (02:06:33):
I didn't know.

Speaker 5 (02:06:35):
For a minute, right he was there.

Speaker 4 (02:06:37):
I forgot even down there.

Speaker 7 (02:06:39):
But I meant, like James and Tuba, and like, I
now see the allure of living in Delaware. However, can
you explain what the playlist retreat is? It's it's almost
like a secret that no one knows about or really

(02:06:59):
understand what the magnitude this is.

Speaker 5 (02:07:02):
It's salty and jealous, even though they still know they
shouldn't be there.

Speaker 4 (02:07:04):
You are literally like your playlist retreat is.

Speaker 2 (02:07:11):
It is the Illuminadi. It's the illuminadi of.

Speaker 4 (02:07:15):
Producers and musicians. And having gone there and seen.

Speaker 2 (02:07:20):
It myself, you had the first one. I was at
the first one.

Speaker 4 (02:07:25):
One. I came late to the last one and had
about four tacos, did and didn't realize that all the
tacos were laced with.

Speaker 2 (02:07:38):
Scooching.

Speaker 4 (02:07:39):
I thought I was going to die. Y'all got math
photos of me sleep on your couch.

Speaker 8 (02:07:43):
I was just like, yeah, I think my first time
it was before it was before you ifically doing the playlist.
But the first time I came to your crib, me
and pool we did a little brother song and that, honestly,
man like I never told you dude, that really changed
my life. It totally made me rethink what it what
success quote unquote look like. Because we got there and
the first thing he did, Jeff cooked some chicken.

Speaker 4 (02:08:05):
I always do that.

Speaker 2 (02:08:05):
He made some chicken, and then we was like, all right,
we're gonna you know.

Speaker 4 (02:08:09):
Kind of salty. We're doing this now here because I
thought like we just go bro.

Speaker 5 (02:08:15):
Was can we do the next one? I'm sure it's
gonna be a party.

Speaker 2 (02:08:18):
Three listen, y'all can the tree?

Speaker 5 (02:08:21):
Hey, you know you only got five women there at
one time, serious women.

Speaker 2 (02:08:28):
We excluse diversity.

Speaker 5 (02:08:31):
I'm I'm making I'm auditing because I was like, is
this some female music? Make us up? And now the
localists be there?

Speaker 8 (02:08:39):
Yeah, but no, it was like you cooked chicken and
then we went downstairs and you told me how like
you got the Mexicans from home depot the studio. And
then he was like, yo, I'm like all right, so
we're going to see He was like, oh, I got
these rooms and I just remember like sleeping at night.
And I was like, yo, Jeff got a hip hop
bed and breakfast, like you really like this is a
whole nother business. And so like when me and my

(02:09:01):
wife we bought our second crib, I was like, yo,
I want to do that, Like I want to have
a place where I got my studio. If we go late,
somebody want to crash, it's the room right over here,
you can crash.

Speaker 5 (02:09:11):
So now when they come to your studio, fante like
they come spend the night, like when you said.

Speaker 8 (02:09:14):
Yeah, like well, when Madison came down, her and her,
her and Ned, they stayed in the hotel right right
around the corner. But you know, while we were in there,
Ned was like, I'm gonna go lay down.

Speaker 2 (02:09:23):
He can go right in the next room.

Speaker 8 (02:09:25):
And it just it really just was a big inspiration
for me to like so to the point where I
quote unquote was in a booth not too long ago,
in a session, and that shit felt totally like what
is like that felts antiquated, like because we just did
all that stuff right in the room together, you know
what I mean?

Speaker 2 (02:09:41):
Yeah, Like you know, it's it's funny.

Speaker 4 (02:09:46):
I do a lot of work with Red Bull three Style,
which is a global DJ competition, and maybe like the
third or fourth year that we did it, they you know,
each night they would have as special guest DJ, so
you would se z trip, you see a track, you
see crazy, you see all these guys. The third year,
they decided to bring all of the DJs in and

(02:10:08):
keep them there for the entire week. So this is
what I realized. This is the first time that I
have ever spent a week with one of my peers.
Like i'd see you at a show, I see you
that night. Like when you get to spend a week,
you get to have a lot of conversations, you get
to talk about the good stuff, you get to talk

(02:10:30):
about the bad stuff, you start getting personal, you start
swapping music. And when I realized that, that became my
motivation and my energy to DJ for the entire year.
Like everybody couldn't wait for threestyle because it's like we're
gonna get together, We're gonna squat, We're gonna do it.
So I was like, you know what, I want to
have a DJ retreat, Like it really started off as

(02:10:53):
a DJ retreat I did. How did you convince these
people to travel from all points to the globe. These
aren't people coming from like New York and from l A.
This is like, yeah, you know, like when when I
remember when my wife threw me a fiftieth birthday party.

(02:11:18):
Matter of fact, Laiah and I was there. It was
supposed to be there, but you show me.

Speaker 8 (02:11:25):
You so.

Speaker 4 (02:11:29):
But it was funny because the the level of preparation
that was put into that birthday part. Like understand they
I did a show for the NBA for their London
game that I was accidentally put on the late flight.

Speaker 2 (02:11:48):
Like everything about this ship.

Speaker 4 (02:11:50):
I was mad, Like I'm getting mad right now because
you know, I considered myself kind of a savvy person
and I had no clue. Like my wife. To this day,
I still think I knew. I had no clue that
they sent me on a show out of the country
and put me on the second flight because all of
my friends from overseas were on the first flight. Wow,

(02:12:14):
Oh they mapped it, so I, you know, we came back,
I landed, wife picked me up in the airport. You know,
it's kind of weird cause she picked me up. She's like, hey,
you know, you know, I know you're gonna have cause
she asked me what I wanted. I was like, I
want to get together some of my friends and let's
do a man dinner. And she's like, I know you're
gonna do your man dinner, so I want to celebrate
your birthday with you today. Okay, cool.

Speaker 2 (02:12:33):
So we drive.

Speaker 4 (02:12:35):
The whole crew leaves. We drive to a hotel and
take a shower, change my clothes, she got my suit,
she got everything. I'm kind of like, okay, this is cool.
And we get in the car and she starts driving
and we get on ninety five. So I was like, okay,
I guess we're not going to dinner in Philly. So
we driving and getting in a good conversation. We get
off at my exit, so I'm like, okay, maybe we're

(02:12:58):
going somewhere in Delaware, and she wants to kind of
check up on the kids. So it wasn't until we
got to the edge of the driveway that she stopped
and she said Happy birthday, babe. And I said thank you,
and she said close your eyes and I was like
what and she said close your eyes and I.

Speaker 2 (02:13:17):
Was like, oh fuck, you got me and I closed
my eyes. We drove down the driveway so I can feel.

Speaker 4 (02:13:24):
Instead of going to the back, she goes around the
circle and she said, okay, you can open your eyes.
And when I opened my eyes, it was two black
dudes with parking attendant jackets and heat lamps.

Speaker 2 (02:13:39):
And I was like what the old man, man man?

Speaker 4 (02:13:43):
And it was so thought out and elaborate the way
that my brain works that instead of saying, oh my god,
this is great, I was like, we can pull this
shit together. So the next day and the president's Serato
was there. So the next day I was like, listen,
I want to do a DJ retreat and such and such,

(02:14:05):
and the president of the Serata was like, hey, you know,
we'll be one of the sponsors. And we pulled out
a yellow pad and we start writing the idea down.
During that time, I was, you know, same thing me
knowing about you guys. I would always collect music and
I got linked into stro I got linked in the

(02:14:26):
tall black guy got linked in the fourteen K t
and it was one of those things that I got
it and I started using Twitter because when I would know,
you know, when I knew it was Stro, I just
went to his Twitter page and just like, hey man,
it's jazz Jeff, Yo, got some of your music, big fan.
He hits you back, Oh my god, and then you
end up getting a folder of music from him. So

(02:14:48):
now I show up and I'm playing all this shit
and everybody is like, Yo, what the fuck is that?

Speaker 5 (02:14:54):
What the fuck is you know?

Speaker 4 (02:14:55):
And you kind of get known for playing stuff that's
really dope that no one knows. So and picking the
DJs for the retreat, I was kind of like, well,
why don't I invite them? What the fuck gods too?
You know, like, because now what we can do Questlove DJs,
Stro makes music. Wouldn't it be great if Stro made

(02:15:18):
the music, give it straight to Questlove and chrest Love
is the music messenger. And and that's how it started.
Listen listen, you know. But it was it was really
to kind of get people together and kind of collaborate.

Speaker 2 (02:15:33):
You know.

Speaker 4 (02:15:34):
I started feeling some kind of way is as much
as I love my role as a producer, I started
getting mad because it became extremely selfish. Nobody like, everybody
got laptop, everybody's making their own beats. You know, the
reason why I touched the Jazz was special, and the

(02:15:54):
reason why the Roots Studio was special is because it
was a hub where everybody kind of came and did
music out. Everybody's hub is their computer and you can
hear it in the music. There's no collaboration, and it
was kind of like, no, no, no, no, we gotta
let's figure out a way to get it back. Also
with the biggest thing for me was I get mad

(02:16:16):
that a lot of the equipment manufacturers make equipment without
ever consulting the people who use it. Man, listen, and
I'm kind of like, and then you get mad because
you make some shit, and then I get it and
I'm like, you know, I don't like this shit, and
then you mad. I was like, well, maybe you should
have talked about before you did it. So it was
kind of like, I want to create. I want to
I just want an open dialogue. I want to invite

(02:16:38):
the manufacturers that you can tell us, make everybody sign
an NDA, tell us the new shit that you got,
and let us tell you if you should even do it.
You know, No, that's not a good idea. I have
you talked someone out of doing something that they thought
was needed on the marketplace? Or wait, well we didn't.
How do you remember that prod you with needleless turned

(02:17:01):
to you the guy like I would think that you
would at least want to hang on to.

Speaker 2 (02:17:09):
No, you know, I am a purist and I play
for purists.

Speaker 4 (02:17:21):
What what happens is you get on this stage and
it's me and one other guy using turntables.

Speaker 2 (02:17:30):
So now they don't care.

Speaker 4 (02:17:32):
They don't even put the cinder blocks under the table
now they you know, And they got subs on the stage,
and I'm listening to the dude before me sound amazing,
and I'm telling the guy take all the base out.
So now now I don't sound as good as he does,
you know. So it starts to get to a point

(02:17:53):
that you know, Okay, So I'm I'm the I'm the
last Mohican. And it's not even that I switched. I
still chose something that enables me to do everything that
I do.

Speaker 7 (02:18:05):
So right now you're using needle arm I'm sorry, armless
turntables right now do you feel?

Speaker 5 (02:18:13):
Now?

Speaker 2 (02:18:13):
See? Oh you're on some next oh yeah, wait, so
are you in the visa right now?

Speaker 4 (02:18:19):
DJing? And you give me this interview? But what I
will say, like, I leave Wednesday for a month long tour.
My first show is Friday. Just check Instagram Saturday.

Speaker 2 (02:18:34):
Okay, are you?

Speaker 4 (02:18:35):
I can't imagine what's more mind blowing than DJing without
a needle?

Speaker 2 (02:18:41):
Check Instagram Friday. He's gonna be DJing with his mind now.

Speaker 5 (02:18:49):
But I'm wrong? What I'm wrong when I say you
did introduce to ratto to the at least to this market,
because I feel like I remember when DJ's was like piss.

Speaker 2 (02:18:57):
Have a career if it wasn't, I was one of
the early Serado guys. Yeah, I remember the first CDJ
Jeff got me on.

Speaker 9 (02:19:08):
Jeff was how I found out about Final Scratch, which
was predated to Soerado. Yeah, so well, actually, no, Ritchie
Harden was how I found out about Final Scratching. Then
I found out you used it and that kind of
made it official. So are they with scratching now?

Speaker 4 (02:19:20):
Have they?

Speaker 5 (02:19:21):
Do?

Speaker 4 (02:19:21):
They have it?

Speaker 2 (02:19:22):
So you can pretty much scratch streams now? Yeah you
can do that. Yeah, you just made uh what do
you call title?

Speaker 4 (02:19:31):
Yeah? Titles?

Speaker 2 (02:19:34):
Have you tried that yet.

Speaker 4 (02:19:35):
Yeah. The only issue with that, which is smart because
of course, you know, my brain is always trying to
go into finding the workaround. You have to have internet.

Speaker 2 (02:19:47):
Yeah, that's why I don't like it.

Speaker 4 (02:19:49):
You have to have good internet. You have to have
internet because because because I downloaded something, I downloaded something
and it worked perfect, and then I cut my internet
off and when I went to go load the track,
and it was like, you need to sign on the
internet for this, because think about it. You can record
in Serrado, so you could basically stream that song and

(02:20:11):
record it and not just that even if you have internet.
See uh huh there. But this is the crazy thing
when you push when you push record, it tells you
that it's a song that you're playing that can't be recorded,
and it stops the recording.

Speaker 2 (02:20:33):
So they found workarounds. So I was like, I'm cool,
I'll just get the record. Do you think that, I
would say, yeah, So do you think that'll replace the
MP three?

Speaker 4 (02:20:40):
Do you think that?

Speaker 6 (02:20:41):
No? No?

Speaker 4 (02:20:43):
No, I mean listen, let me. You got to keep
in mind that vinyl sales are at an all time high.
But you know, is that because they're just charging like
forty bucks for a single. Yes, well, now you know,
it's just it's a new generation that, you know, when

(02:21:04):
you really sit and think about it, there's a new
generation that missed what vinyl gave you. Vinyl gave you
a cover, Vinyl gave you credits, Vinyl gave you something
to look at that not only could you listen, and
you could touch it. So you know, there's a reason.
You know, everybody who's who's tried to press vinyl in
the past four or five years has seen a extreme

(02:21:25):
significant time of getting your vinyl because of urban outfitters.
Oh yeah, you know the records, you know. But yeah,
I'm I'm about to I'm about to solve that problem.

Speaker 9 (02:21:39):
I've kind of stopped buying records and I've started buying
CDs again, really really, and I'll tell you why, because
I mean, I have I have accounts with multiple streaming services,
and it only takes you know when to be like, yeah,
it's it's like, take get rid of my favorite song
off the stream service, and it's no longer there, so
fuck it. I might as well just have the CD

(02:22:00):
and my arsenal so I can rip that motherfucker into
my iPhone whenever the fuck.

Speaker 2 (02:22:04):
I want to and taget how I want it.

Speaker 4 (02:22:07):
Yeah, now I'm with you. I still got all my CDs.

Speaker 8 (02:22:10):
I still haven't got rid of them, because you just
never know, never like they just like I went on
Spotify Monday and ThunderCats whole ship was going.

Speaker 4 (02:22:17):
It was like, what the fuck?

Speaker 2 (02:22:19):
Yeah, I mean it's back now, but it was just gone.

Speaker 4 (02:22:22):
I was like, I mean, I mean it's it's it's
I supplement with my own personal streaming server. Now, all right,
so you won't reveal let us know, but you know
what it is. I think I want you to see it. Okay,
don't don't want you don't because because I because I

(02:22:43):
could have. I got it and I've done it in
the house, and it was just kind of like, you know,
you had that desire to just shoot it and just
post it, and I was like, no, I want to
be in front of a thousand people and do this
ship and get that reaction and then I'll post it.
Because once I posted, you know, it was kind of

(02:23:04):
like when I used the Needless turntable and I was
picking it up and you know, people freaked out.

Speaker 2 (02:23:09):
So another freaking tell us about the upcoming uh plate.

Speaker 8 (02:23:13):
Well, the play this project, the first one God, and
that was in a week a week in a week,
which I know I've done that before and I'll never
do that again.

Speaker 4 (02:23:25):
Well, you know what it is, the trying to record
it and release it in a week is hard. Recording
it in a week piece of kate pec k and
especially when you kind of get a routine and a
method down like we we got.

Speaker 2 (02:23:41):
We got the method we you know we got.

Speaker 5 (02:23:45):
Don't ever stop.

Speaker 2 (02:23:47):
Part of releasing it now, because I mean all you
got to do is just upload it. Well, no, you
know what it was is we had to mix it.

Speaker 4 (02:23:53):
We had to mix it, and so it's kind of
like we recorded and it was basically we with the
first when we finished, Glenn cut his last Folk for
about six pm Friday, and we needed to be done
by midnight on Sunday. So vd Al and I basically
stayed up for seventy two straight hours and not only

(02:24:14):
mixed it, but there was a guy sitting in the
mastering lab that as we mixed it, we had to
send it to him and then he had to send
it back and we had to prove it. So it
was kind of like when we got there, I was
like we ain't never doing this again. We ain't Listen.
I'm in the bed at nine o'clock if I ain't
doing the show, Yes you are.

Speaker 2 (02:24:32):
I'm happy with that. Listen. I get to see the
sun set and rise.

Speaker 5 (02:24:37):
That's how you stay looking twelve listen, Hello, listen.

Speaker 2 (02:24:40):
I can't do that, so I can do with Mamuna.

Speaker 5 (02:24:47):
Is that already on the services?

Speaker 6 (02:24:49):
No?

Speaker 4 (02:24:49):
No, well no, will it be in June. It'll be.
It'll be released in June. Okay, so it'll be released
in June. But let me just say this for anybody
that has been looking yep for anything. And I don't

(02:25:13):
even like making comparisons ago. Yeah.

Speaker 2 (02:25:18):
Oh, listen, when I tell you.

Speaker 4 (02:25:22):
You have never in your human life heard someone sing
and rap like her, It's always been there, it's all
but yo, when I tell you when you hear them, yeah,
like she went there.

Speaker 2 (02:25:39):
Oh man, she went.

Speaker 4 (02:25:40):
There, she went there. Yes, she went there. It's time. Yeah, time, brother, Jeff,
thank you, Mom. We finally closed a chapter. Or no,
we got to close it. We have to close it.
At the retreat this year.

Speaker 5 (02:25:58):
I was about to say, you got we got that
on tape.

Speaker 2 (02:26:00):
Listen, Well, this is this is the fifth year this
is the fifth year.

Speaker 4 (02:26:04):
I never in a million years that we would get
to year five because you have no idea what it
takes to throw something like this, Like it is emotionally,
physically and mentally draining, but it is worth all of it,
you know, Like.

Speaker 2 (02:26:25):
Stro wouldn't be on in the roots if it wasn't
for the retreat, you know.

Speaker 4 (02:26:31):
Indeed, you know we we we never posted it, but
we put up almost like a chart of people and
the connections that they made and records that they made,
and it's absolutely ridiculous.

Speaker 8 (02:26:42):
One of my records, the particular old of me and
Errol waiting for your record stroll and Paris and Rich.

Speaker 2 (02:26:51):
Yeah, that one that was a retreat record.

Speaker 5 (02:26:54):
And this is June, right because I'm about to start
looking at August. It's in August. August, let the record show.

Speaker 2 (02:27:02):
August. I mean, I'm like, should I say this out when?

Speaker 4 (02:27:06):
When it is? Because it's early August, because you just
got to understand, it's just you know, August Man. Shout
out to Monta montez Is at the retreat every year.
So first World Fight Club anyway, Jeff, we thank you
very much. Shout out to Corey Towns like I get
that shot, my dude, I text so disrespectful.

Speaker 2 (02:27:33):
I text her so that we me and Corey like slander,
all kind of ship.

Speaker 4 (02:27:36):
It's so great.

Speaker 5 (02:27:38):
Too, because she brought us jail.

Speaker 4 (02:27:40):
I'm gonna go there.

Speaker 7 (02:27:42):
You go all right on behalf of the Bills and
Corey and Sugar Steve and Fan Ticolo and Lady like
Jazzy Jeff.

Speaker 4 (02:27:53):
Thank you very much, Yes, sir.

Speaker 7 (02:27:55):
Another great episode Supreme, only on Mandor Kick it Will.

Speaker 5 (02:28:02):
I was in a club one Friday.

Speaker 2 (02:28:05):
A lovely lady comes walking my way.

Speaker 4 (02:28:07):
She woke up and she said hello.

Speaker 2 (02:28:10):
I said, Hi, quest Love Supreme. It's a production.

Speaker 4 (02:28:12):
It's my Heart Radio.

Speaker 1 (02:28:14):
This classic episode was produced by the team at Cador.

Speaker 4 (02:28:17):
Know me, You'll never forgive me, I said, why? Then
she bit me.

Speaker 3 (02:28:22):
For more podcasts from iHeart Radio, visit the iHeart Radio app,
Apple Podcasts, or wherever you listen to your favorite shows.