QLS Classic: Pete Rock

Producer, rapper and hip hop legend Pete Rock talks about his deep knowledge of music, recording and the art of sampling.

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Episode Transcript

Speaker 1 (00:00):
Of course.

Speaker 2 (00:00):
Love Supreme is a production of iHeartRadio. This classic episode
was produced by the team at Pandora.

Speaker 1 (00:09):
Yo Yo Yo, what up? This is Fante Fantigolo.

Speaker 2 (00:11):
We're gonna take it back to December fourteen, twenty sixteen with.

Speaker 3 (00:15):
My big brother Pete Chocolate Boy Wonder. The number one
soul brother, producer, rapper, hip hop legend. Pete Rock told
us about his deep knowledge of music recording and the
art of sampling. My man Smoke Gizza joins him on
this one. I think he says like one word can.
He was just like overwhelmed with all the lyricshuit we
were talking. But anyway, this is a great episode.

Speaker 2 (00:38):
Pete Rock one of my biggest influences, the reason why
I quit my fucking job.

Speaker 1 (00:42):
QLs classic Pete Rock. Let's go.

Speaker 4 (00:52):
Suprema Suck Suck Suprema roll call, Suprema Suck Suck Suprema
roll call, Suprema Sun sub Suprema. Role called Suprema Sun
Sun Suprema roll call.

Speaker 1 (01:07):
My name is Questlove.

Speaker 2 (01:09):
Yeah here there's still no thunder, Yeah, but I'm really honored.

Speaker 1 (01:13):
Yeah, chill much, Chocolate Boy Wonder Supreme.

Speaker 4 (01:17):
Su su Suprema role called Suprema Sun Sun Suprema role call.

Speaker 1 (01:24):
Yeah, it ain't no other Yeah, I haven't been to Mecca. Yeah,
go on with the soul brother Supreme.

Speaker 4 (01:33):
Sun, Suprema role called Suprema Suck Sun Supreme.

Speaker 1 (01:38):
Role called Sugar. Yeah, loan yeah, yeah, ro.

Speaker 4 (01:47):
Call Suprema Suprema role call Suprema Suprema.

Speaker 1 (01:54):
Role ca.

Speaker 5 (01:56):
Yeah you know yeah rock here, Yeah, gonna.

Speaker 4 (02:03):
Suprema Suprema roll called Suprema something Suprema.

Speaker 6 (02:10):
Roll bill is here. Yeah, so have no fear. Yeah,
very down to earth. Yeah, and I didn't have to curse.

Speaker 4 (02:19):
Suprema roll call Supremack Suprema roll call.

Speaker 2 (02:28):
Yeah.

Speaker 7 (02:29):
The flex is crazy. Yeah, I'm super Yeah, so.

Speaker 4 (02:35):
Supprima Suprema roll call Suprema Suprema roll call.

Speaker 1 (02:43):
My name is Pete Rock.

Speaker 2 (02:44):
Yeah.

Speaker 8 (02:45):
Sometimes I rap yeah, no times I sing yeah, Ding Ding.

Speaker 4 (02:53):
Supreme Suprema Premo Supremore.

Speaker 2 (03:09):
Ladies and gentlemen, Welcome to another edition of Quest Love Supreme.

Speaker 1 (03:14):
This Quest Love. Welcome to Team Supreme. How you guys doing.
We're good? Baby, we should here, uh right now we
are with Oh we got two special guests.

Speaker 2 (03:27):
Actually this is our first combo Yeah combo show that
we've done a revolution.

Speaker 1 (03:35):
Well revolution was like that was like a special news
super Bowl, Yeah, breaking news.

Speaker 3 (03:40):
Yeah, that was like a very special episode of an
eighty six.

Speaker 1 (03:44):
Yes, but they talked about child abuse. Everyone of these
things are doubly a special difference.

Speaker 6 (03:54):
When he was in there in the shot with that
ship could never get aired at least doing ads for Uber. Now, yeah,
I saw it was on I saw on Facebook. He's
in an ad for Uber.

Speaker 1 (04:06):
How do you know this? It was on Facebook?

Speaker 2 (04:10):
Like did you spot Oh that's Dudley just someone somebody
else saw. Anyway, Ladies and gentlemen, please welcome to the show.
Smoke does it and they one and only Pete Rock
Yeah all right, so we're going to get into everything
nerd out. I mean, Pete, this is as as as
a person obsessed with music. I love picking the brain

(04:36):
of of just someone who is majorly, majorly, majorly majorly
obsessed with music. So this is this is an honor
for us. Oh God, bless man, you know. Privilege.

Speaker 1 (04:47):
All right, So, uh, Pete, welcome to uh the show.

Speaker 2 (04:51):
It's my first time on your show.

Speaker 1 (04:53):
I think this is our first time.

Speaker 2 (04:56):
Like's I don't feel like a veteran until we get
to episode one, yeah to you know till that time,
it'll be around. Man, I don't even know where to start.

Speaker 3 (05:08):
So man, I would start with I've told the story before,
but I've never told him.

Speaker 1 (05:14):
You're the reason I quit my job. You told me
that everyone. That's a job story.

Speaker 3 (05:20):
He's the reason I quit my job. So, d what
song was it that made you like? Well, it wasn't
a song. It was a phone call. It was a
phone call. And this is back in two thousand and
two when we hit the listening had just it hadn't
come out, come out, but it was kind of just
selling on hip hop site and it was just kind
of circulating. And our homeboy, Darryl Powell worked the Up

(05:43):
Above Records, called my house and left. He had Pete
on three way and called my house and left the message,
and Pete like, Yo, what up his little brother? You
know what I'm saying, Chuck Boy wanted to Pete Rock
got to get you all on the piece of my album.
I got your album listen that's crazy, And I quit
my job at Belt that very next day.

Speaker 9 (06:04):
Because he said your album was crazy.

Speaker 2 (06:06):
Pete was crazy and it was even more of content
from Circle because I told you before too.

Speaker 3 (06:14):
My and I was in tenth grade. This is when
main ingredient came out. A girl that went to my
high school named Deborah Jones. She was in a poetry
contest and the winner of the poetry contest got a
performance from Pete and cl. Wait what this is? I
sweart Page High School, Greensboro Final. She she wanted a
poetry contest and she read the poem. I don't even
remember what the poem was about.

Speaker 1 (06:35):
What does she win? She want?

Speaker 3 (06:37):
Well, she want a poetry contest and it was like
a poem. It was like a black poem about a
black issue. I don't remember what the issue was, but
I just remember Pete and cl came out fucking school.

Speaker 1 (06:48):
That was all the matter was. And then they got
to performance.

Speaker 2 (06:54):
The winner of the poetry contest got a performance by
pet and CL at their.

Speaker 10 (06:58):
School like a radio promotion.

Speaker 1 (07:00):
I wasn't ready. It was something.

Speaker 2 (07:01):
I don't know who was doing it, but obviously he
was in February, but Mayy greed it came out.

Speaker 1 (07:08):
It was winter time. I don't think it was.

Speaker 3 (07:11):
Cold because it was during track season, because I remember
I was late to track practice because I was in
the front and I had my Meccan No, I'm sorry,
I had the main Ingredient CD, and I remember holding
it up, and I remember you came to the side
of you're one.

Speaker 1 (07:24):
Of those guys that hold up the record.

Speaker 2 (07:27):
I held up the record because I knew I was
at like a predominantly white high school. But like it
was like said maybe like seventy thirty, sixty forty, but
like it was a lot of white people, but like
the black people we had were like black?

Speaker 1 (07:40):
How many how many people? How many fans black? Yo?
How many people could fit in the auditorium? Oh? Man?
All the term it was a couple of hundred. It
was like this, four or five hundred. See, this is
my worst nightmare doing in my career.

Speaker 2 (07:57):
The high school visit is my worst nightmare because this
is never ever worked out. It only worked out once,
and that's because me and gave a gangload of money.

Speaker 1 (08:09):
To our high school. The only time ever worked out.

Speaker 3 (08:12):
But so p Rock and Sales Moove came to your
high school. Came high school and what year was this?
This is ninety five. This is main Ingredient hit like
just came out.

Speaker 1 (08:21):
Man. You guys were receptive oh my god. It was
losing it, dude.

Speaker 2 (08:27):
So I have nightmares, like my first time in a
in a school scenario.

Speaker 1 (08:33):
You know, the first question.

Speaker 2 (08:34):
Was asked, do you know real famous people like Andre?

Speaker 9 (08:40):
I'm sorry?

Speaker 2 (08:42):
Oh yeah, kids, Yeah, yeah, you're that all day? Uh
this was like two thousands.

Speaker 1 (08:53):
Yeah, oh yeah I was. I was.

Speaker 8 (08:55):
That's my stuff, Yeah, stuff, real famous. My daughter asked
me finding new Kendrick Lamar? Oh yeah, she loves Kendrick.

Speaker 2 (09:05):
Well that's excusable, but I mean she knows who daddy is, right, Yeah,
of course she does.

Speaker 1 (09:09):
Yeah, yeah, that's that's the point.

Speaker 9 (09:10):
But what was your answer?

Speaker 2 (09:11):
You my son too, what was your answer?

Speaker 9 (09:14):
Do you know Kendrin Lamar?

Speaker 1 (09:15):
No? I don't know Kenrick.

Speaker 5 (09:17):
I just want to know, do you go? You know
Kendren Lamar knows me? That's the bigger point.

Speaker 8 (09:22):
That they know each other. Yeah, but he probably knew
me first. How old are that now? How old are
kids now?

Speaker 1 (09:28):
My kids eleven and seventeen?

Speaker 2 (09:30):
Oh okay, yeah, I remember I was around the same
age mine or fifteen and eleven six.

Speaker 1 (09:36):
We're around were around the same way.

Speaker 3 (09:37):
Absolutely, But yeah, but he came out to school that
day tenth grade and I remember I was late to
drag practice because I gave him, which I hope in
prayer to God he had never heard. I had a
homie work in all TC that was like outside the
dressing room, and I was like, yo, mane to tape
the peak and I made like the whackest fucking demo ever.

Speaker 8 (09:57):
But you know what, all our demos were whacking begin
either mine really terrible. Really my beat making was horrible.
But I mean, you know, at least to me, that's
what I.

Speaker 1 (10:06):
Want to know, and that's to you. That's because I
were at your crib.

Speaker 2 (10:10):
You played me some stuff from like early and I'm like, dude,
this sh.

Speaker 8 (10:13):
Is oh got a lot of that stuff for real
old from the twelve every day.

Speaker 2 (10:20):
I still like, all right, so there's like no feeling
in the world. There's a period I'll say, like like
ninety six, ninety seven, maybe ninety or not ninety five
ninety six, because actually Pete was the first hip hop
like celebrity or royalty that made music.

Speaker 1 (10:41):
No no, no, no, no no no no.

Speaker 2 (10:43):
I just mean like that kicked it with us now
the roots, I mean, because we instantly moved to London
for like two to three years. We really didn't bust
it out with none of our like contemporaries or whatever.
But like when we came back, I remember we met
you at a college and that was the first time

(11:03):
like I felt like, oh, like legitimate, not like I
don't even want to use me for me anymore, but
you know, I'm going with this. It was in Philly,
nah we it was Holy Jesus, this was in North Carolina.

Speaker 1 (11:15):
Oh wow, it was a people. It was It was
a peak rock roots show.

Speaker 2 (11:21):
It was like a it was like a homecoming thing.
But because the promotion was a little messed up. We
were in a big giant stadium, but there was.

Speaker 1 (11:30):
Only like many people, sixty people. Was like, U and
C was it? Duke? Was it? All I can say
was I definitely know was nineteen ninety seven.

Speaker 2 (11:39):
Okay, I have to look that up, because you know,
by this point, I was like, damn, like we like
we really didn't start meeting our heroes in hip hop
and contemporaries and hip hop till like ninety seven, ninety eight.
So to go from like ninety two to ninety seven
with a complete drought of not knowing any Wu Tang
members any like nobody in hip hop crazy and so

(12:03):
that's what I remember. But the other part of that
story is the fact that I'll say that between you
and the Whip, that you had always playing beats in
the car like him and Premiere.

Speaker 1 (12:17):
Are always always known.

Speaker 2 (12:19):
Premiere was known for his van like Cats would call
it Premiere to bring his van, to bring his van
to the studio to test it. I'm one of those
people for him too, like always just sitting in the
passenger seat, listen to listen to it.

Speaker 3 (12:35):
Do you still test records like that, Peet, It's still
the car test. I have to because I am too.
I'm the same way I have to.

Speaker 8 (12:40):
I'm from the old school, so you know, hey, you
know or the true school people say, but yeah, that
was one of the things we did. We make about
ten twenty thirty beats in the crib. Then you know,
when you come out, you just get in the whip
and drive around New York City and buy about So
how old were you do that with Big L in
the call one time? Really just behind the court, me

(13:02):
and Harlem chilling Bronx. He's riding around free styling to
my beach wow cassettes. Yeah, I had you know, cassettes
was cracking. I had the Benzi you know you take
the Benzi box.

Speaker 1 (13:17):
Oh yeah, take care you know the music.

Speaker 8 (13:21):
You could turn the bass notes like you know, the
Mega hurts up or down in my car, And when
you turned it down it sounded so loud coming down
the block. And then when you turned it up it
was it was kind of like off, but you still
heard the effect.

Speaker 2 (13:35):
I love my car. That was a crazy system in there.
That must have been pre Juliani, like Everson post Giuliani.
New York has been a very quiet, like the idea
of a loud car. I'm one of those guys like
look at people like shaking my head, turn that music down.
So how how old were you when you I know

(13:57):
that you started record collected at a young age. What
what got you into just records?

Speaker 1 (14:06):
My pops?

Speaker 8 (14:07):
You know, just you know, I was young, like say
three four years old, just intrigued by a little round
piece of wax with with good sound coming off it.
So I was, you know at that time, that's all
I knew what it was. And then I would go
in the living room and my pops had all his records,
all his forty fives, and one time he came home

(14:27):
from work and he seen me stacking his forty fives
up in a pile like like this, and then he
just sat there and told me what it was and
taught me about it.

Speaker 2 (14:37):
And you know, so he was never there's no whooping.

Speaker 8 (14:41):
I'm like, I mean, no whipping. But you know, he
scolded me and then he taught me, oh yeah, because
I wasn't allowed to touch nah, I mean I did
you know that wasn't the right thing to do to
me messing with his records. But I was a young kid,
you know what I mean.

Speaker 2 (14:57):
My worst punishment came after the Adventures a grand Master
Flash on the wheels is steal. Oh wow, like hearing
that even trying to scratch getting caught in the summer
of eighty one, the worst thing ever. Yeah, Flash drove
me crazy as a kid. So he like, was your
father DJ? Or he just collected record? Yeah, DJ DJ
and record collect Where would he? Where did he cricket player?

Speaker 1 (15:20):
You know? You know, Matt cricket trophies?

Speaker 9 (15:23):
Really because both of your parents Jamaica, right, Yeah, so
you had all kinds of music.

Speaker 8 (15:28):
Did reggae, classical, soul, funk, jazz especially, and you know
but reggae being that with Jamaican.

Speaker 1 (15:36):
So but he had everything. So as a youngster, like
what what was playing.

Speaker 2 (15:41):
In James Brown all day?

Speaker 8 (15:43):
JB's James Brown, Bobby Bird, you know, Barry White and
all the usual usual stuff, Barry White, Isaac. You know, yeah,
you know what I'm saying.

Speaker 2 (15:54):
All right, So besides the the ABC's of breakfeasts, like
what's the what's an unusual break beat? Like a joint
that I would have to pay two hundred dollars for that?
You like, Oh, I grew up on disco tech soul,
I've had that.

Speaker 1 (16:07):
Oh like what rare break? Did your dad just happen
to have that?

Speaker 2 (16:11):
Well, he had all of that stuff.

Speaker 8 (16:12):
I mean he had all the Coon and Gang, he
had all the James Brown, he had all the Isaac,
he had all of like reggae joints that have break
beats on him.

Speaker 6 (16:22):
You also have to remember that a lot of those
records got inflated in price because of that man right there.
We're going to get to it's we're going to get
to that that dig today and I just look at
the prices like wow, for reminists, Tom Scott, Tom's got
I've seen that joint for like a thousand dollars.

Speaker 8 (16:41):
Serious, Wow, you know I'm not I'm lying to you not. Yeah,
even dealers stuff that I find. Oh yeah, yeah, a
lot of money for it.

Speaker 2 (16:49):
I was going to say that, Yeah, that record shopping
and the adventures of you record shopping is crazy.

Speaker 1 (16:58):
So what point does this.

Speaker 2 (16:59):
Become a thing where you want to actually did he
have DJ equipment or just like a record collection?

Speaker 8 (17:06):
He had DJ equipment, But when I was like three
four years old, he had the one turntable with the
McIntosh amps and these these speakers that and you know.

Speaker 1 (17:16):
Just a whole McIntosh household. Yeah, that was rare, especially
for a black family. Yeah.

Speaker 8 (17:25):
He had the black with the green lights, you know,
the black amp with the green lights and now yeah
electric lad Yeah yeah, those amps are incredible right now.

Speaker 1 (17:35):
To get a Macintosh system now is rare. It's rare.
It's a house payment. Yeah, it's very rare. And you're
gonna pay.

Speaker 2 (17:42):
You're gonna pay an pay a thirty forty like so
good yep, Oh my god.

Speaker 1 (17:48):
You grew up in the So he was a serious record.

Speaker 2 (17:51):
Yeah, serious with sound, very serious.

Speaker 1 (17:53):
Very serious.

Speaker 9 (17:54):
Is he still is that still with us?

Speaker 1 (17:55):
Oh?

Speaker 2 (17:56):
No, he left us in two thousands.

Speaker 9 (17:58):
So he was here long enough to see.

Speaker 2 (18:00):
Yeah, yeah, he's seen reminiscs.

Speaker 1 (18:02):
He's seen obviously his collection became your collection.

Speaker 8 (18:05):
Yeah yeah, so it's in my mother's basement, and you
know he left the records with me and my brother.

Speaker 1 (18:13):
You know what I'm saying.

Speaker 2 (18:13):
I see it's a lot. That's how I started my
collection from his.

Speaker 1 (18:17):
All right, So at what point do you does this
become a profession? Probably mm hmm.

Speaker 8 (18:27):
You know when I got this job and Steady gigs out?
Does it start in the park like it started start
a young age. Now, this is Mount Vernon, right, you
were born up there. Yeah, I was buying like you know,
twelve inches sucking. See, he's all the you know, King
Tim the Third, all that stuff, Fat Boys, all that
stuff on Suture records.

Speaker 2 (18:49):
And so was there hip hop folklore as far as
like the folklore we hear about parties in the Bronx
and stuff like what is what is Mount Vernon's version
of that legends that you grew up.

Speaker 8 (19:00):
Watching like my cousin Floyd Chiba M and DJ Speed
and Bomb two and have you know, everybody had different
names at the time. My name wasn't Pete Rock. He's
name wasn't Heavy d c L's name wasn't CL's move.
You know what I'm saying. Everybody took on different names.
But you know, you know when he started everything, you know,

(19:25):
he was the first artist to start rapping and you know,
actually trying to make a record and get.

Speaker 2 (19:31):
Signed from Mount Vernon. Yeah, and then we just followed him. Okay, okay,
you know what I'm saying. And you know it started
for me early man, early age.

Speaker 1 (19:41):
So who's the one that like.

Speaker 8 (19:45):
My cousin well Eddie f had had showed me how
to work it, you know what I'm saying. And then
I picked up tips from like everybody I was around,
from Teddy Riley to to Molly mal Large professor.

Speaker 1 (20:00):
You know, so Tedy could get busy on the S
twelve hundred.

Speaker 8 (20:03):
I've seen it in the studio. Really, I'm pretty sure
he used it for something that I.

Speaker 2 (20:10):
Was about to sake, because like now you don't think
of him using ASP like he's not.

Speaker 8 (20:14):
Yeah, but that was something that I married, you know
what I'm saying. I just you know, oh, aeskub twelve hundred,
because I remember the twelve before the twelve hundred.

Speaker 1 (20:23):
Yeah, did you ever use the twelve? Yeah?

Speaker 8 (20:24):
I used the twelve and the separate hard drive, and
I was just doing kicking snare beats with little rim
shot sounds.

Speaker 1 (20:30):
And you know how many seconds could a twelve hole? Not?
Man like? It was like ten right? Ten? No?

Speaker 8 (20:36):
No, that's the twelve hundred was ten point two. It
was like five seconds. Yeah, so the twelve was less.

Speaker 1 (20:40):
Put everything in forty five? Yeah, speed up.

Speaker 8 (20:43):
Well on the twelve you did that, but well, how okay,
here's the secret.

Speaker 1 (20:47):
I'm about to let you out. You know the secret.

Speaker 8 (20:49):
Okay, with the twelve hundred, right, I would sample what
I needed to sample, whether it was the baseline, whatever
time I used up drums baseline, If it was just
those two, then I would, you know, get that right
right tight?

Speaker 1 (21:05):
K that? Then save it right, then.

Speaker 8 (21:08):
Erase it whoa, then erase the baseline out of the drums,
and then add more music in the drums.

Speaker 1 (21:17):
I didn't.

Speaker 8 (21:17):
I wasn't doing the forty five trick yet, oh you
just yeah, I wasn't doing that. I wasn't putting records
on forty five to get all what I need. No,
I was just getting it regular. Why I don't know.
It was just the way I learned, and it was
the hard to me. Now that I look at what
I did, I'm like, damn, that's a lot of work

(21:37):
I did. Yeah, like super extra crazy you use like
a nine hundred or.

Speaker 1 (21:42):
But I didn't care.

Speaker 2 (21:43):
I was I had. I was having fun. So when
you're having fun, you know, you're not thinking about you know,
none of that.

Speaker 3 (21:49):
And just to give the listeners some perspective, I mean,
this is like when you talk about sampling records and
sampling time for a machine, I mean the twelve point
so we had ten seconds to sample whatever you want.

Speaker 8 (22:03):
So sometimes I got the whole like the world is
yours got the whole loop and one you know what
I'm saying, didn't have to you know, erase, but reminisce.
I had to do that.

Speaker 2 (22:14):
Yeah, I mean because you were like one of the
first producers.

Speaker 3 (22:19):
I remember that would layer samples and all of it
would be in key, and I was like, yeah.

Speaker 1 (22:24):
Doing this ship.

Speaker 8 (22:25):
But if you notice, if you listen, not that wasn't
like that at first. I used to just sample whatever
out of key.

Speaker 1 (22:32):
I ain't care.

Speaker 8 (22:32):
I'll just I learned that from sitting in bomb Squad sessions,
and I was, you know, just watching the Ice Cube
album Go Down Dog.

Speaker 2 (22:40):
Wait, wait, you can't just say that like America.

Speaker 8 (22:49):
I was watching Hanking and Keith and that and that.
I picked that up, you know, listening to Public Enemy.
Of course, you just sit in on sessions.

Speaker 1 (22:58):
Yeah.

Speaker 2 (22:58):
Yeah, Green Street we worked in the same studio Green Street.

Speaker 1 (23:03):
Was Jamie was he engineering that? James? He was Jamie.

Speaker 8 (23:06):
I met Jamie and Chun King and then that's how
I mean Jamie hooked up. Then I met Rod Way,
who's an agent cat engineer in Green Street. I was
working with Rod first.

Speaker 1 (23:20):
So during those Bomb Squad sessions. How old were you.

Speaker 2 (23:22):
At that time, seventeen eighteen and your first record you
produced was.

Speaker 1 (23:28):
Goofy Chill Starting from Zero.

Speaker 2 (23:33):
Oh yeah, yeah yeah. And I didn't know what I
was doing in the studio, and some but me and
Jamie wasn't was arguing a lot, and you know, I
didn't know what I was doing.

Speaker 1 (23:46):
Make this sound like that.

Speaker 8 (23:47):
Yeah, you know, I was just trying to get it
the way, you know, the way I made it at home,
and it wasn't working out. And then all of a sudden,
you know, it started working out.

Speaker 2 (23:55):
You know what I mean. And then next thing you know,
I'm at another session using Amy and then next thing
you know, we developed you started yelling.

Speaker 1 (24:04):
Yeah.

Speaker 2 (24:09):
So in the beginning, were you one of the cats
like back when I'm like, like I ever had a
beat making period, it was a period like cats on
no but like yeah right, but you know, cats would
just come over with a bunch of records to me
and be like, all right, now, loot this part here,

(24:30):
that part there.

Speaker 1 (24:31):
So was that like your beginnings, you would.

Speaker 2 (24:35):
I had very few people that did that.

Speaker 8 (24:37):
But I remember a story that Biz told me that
he used to, you know, give Molly records and Molly
would hook up.

Speaker 5 (24:43):
You know.

Speaker 8 (24:43):
That's how nobody buss Nobody used to Biz happened a
couple of the joints. But yeah, I barely did that.
I was just I was just cranking them out, man,
just you know, having fun, you know what I'm saying. Like, So,
how many hours a day would you all day wouldn't
come all right.

Speaker 2 (25:00):
From your from your first time that you like were
trying to get a master?

Speaker 1 (25:05):
How many hours would you invest in date.

Speaker 8 (25:07):
Locked in my room from morning until I could start,
until I until I got tired and then get up
and do it again.

Speaker 1 (25:14):
You know what I'm saying.

Speaker 2 (25:16):
So how long was it until you were like until
I started, as I might I might have something here?

Speaker 8 (25:21):
Like how long did I think I was like nineteen
when I was like like starting to lock in, because
that's when I got to shut him down.

Speaker 1 (25:29):
Job. Now that's not before that.

Speaker 8 (25:32):
I was doing like, you know, remixes with Eddie F
and stuff, Johnny Gill, Basic.

Speaker 1 (25:36):
Black you did, Alexander, I did that.

Speaker 2 (25:39):
I got Yeah, I got ye in the middle and
then uh, we'll see il wrapped on it. I wrapped
on it and then you know the remixes. That's where
it started.

Speaker 8 (25:48):
And then when that's I guess, you know, being as
that my name was attached to a lot of this stuff,
untouchables or whatever, and I got I got it.

Speaker 2 (25:57):
I got a public enemy job. So the Untouchables was
kind of your version of the bomb squad kind of
who was something else?

Speaker 8 (26:06):
It was me Eddie F, Dave Hall Neville novelle, Yeah, ye,
my man, my man Kenny, my man Kenny was in
Kenny Green Yeah, spunk, bigger cat from Mount Vernon. And
and that's it, I think. And my man Willie Willie
from from from like eight of y'all Willie Gunns, my

(26:30):
man Willy Guns.

Speaker 1 (26:32):
So when working on a heavy D record, like do
y'all just sit in the room.

Speaker 8 (26:35):
And buy that it wasn't all of us all the time.
Like Dave Hall would do his own beats and then
like for instance, you know the group intro, come on,
you know I did you know ghosts?

Speaker 1 (26:50):
So you did that? Let me be the one you
gave him. I did that.

Speaker 8 (26:55):
I did that first on on with them always have wait, no, no, no,
it was yeah, I think I can't remember it.

Speaker 2 (27:05):
Was it was it was had first because Blue Funk
was ninety two, yeah, and then Intro.

Speaker 1 (27:09):
Was ninety three. It was the next Yeah.

Speaker 8 (27:11):
So when when when Yeah, when they heard heavy, when
they heard heavy record, you know how they do the
arm beach hip hop beach.

Speaker 1 (27:18):
It's like reggae ships. Like everyone wanted to sing the verse.

Speaker 8 (27:21):
But then I gave Dave Paul these drawing program these drums,
and I said, yah, you know, on the disc and
just gave him, as you know, a floppy disk and
I said, there's drums on that, just you know, and
then he made that joint.

Speaker 2 (27:32):
Wow, I had no clue because I played that record
top I love that record. Yeah, man, God bless bro So.

Speaker 5 (27:38):
Wait, I just I got I got a non music
professional question. When was the blow Niggas Away moment? Was
your blow Niggas away moment? And when you were seventeen,
like when you first started shut them down with your
blow Niggas away?

Speaker 9 (27:50):
But what Haavy? Everybody who wanted to impress.

Speaker 8 (27:52):
Was like what even my own family? Yeah but wait
a minute, cousins.

Speaker 2 (27:56):
Everybody got it for me though, Yeah, all right your
remix now I knew, yes, yes, shut him down like
change the game. Yeah, but the remix to E. P.
M D's uh Ram Rampage, which came out before then.

Speaker 1 (28:16):
I did two different versions that, Yeah, but the disco
techt so version.

Speaker 2 (28:23):
All right, wait now now I'm getting I have to
play Williams.

Speaker 1 (28:30):
Yes, that that is joint. That to me, that that
made me aware of who you were.

Speaker 2 (28:39):
And I'm shocked that that didn't get more more more run.

Speaker 8 (28:44):
I mean, I think I was running it a lot
when I was on the radio DJ. I was playing
my own remixes like whatever, you know what I mean?

Speaker 2 (28:51):
But yeah, so the remixes this was before all sold
out was this before.

Speaker 1 (28:58):
That's right.

Speaker 8 (28:59):
At the same time, I was doing a lot of
like okay, here's the story. I did Down with the
King and Jump Around remix in the same night and
hit Factory on forty seconds.

Speaker 1 (29:09):
Did the tracks the same night.

Speaker 2 (29:10):
No mixing it in the studio. Yeah, like finishing it
because they were stressing for me to get stuff done,
so I would, you know, do well. Actually, it was
Down with the King session and they booked another room
for me to finish the remix to the house.

Speaker 1 (29:28):
Wow.

Speaker 8 (29:28):
That's and then they wanted me to rap on it,
and I was like, I don't know if I want
to rap on it. You know, I wasn't big on
my wrap back then, but it was like please please,
And I was like all right, fuck.

Speaker 1 (29:39):
You know.

Speaker 2 (29:40):
I did one with and one without, you know what
I mean. I did it some Jackson case ain't.

Speaker 3 (29:43):
Like, Yeah, that was one of my favorite ones because
you really took that record like it gave it another feel.

Speaker 2 (29:49):
It's still had energy. Yeah, the original was really was.
It was still really great till till this day.

Speaker 8 (29:57):
But the remix was something that just kind of put
the cherry on top of that record period.

Speaker 1 (30:02):
Okay, let me explain to our listeners to put in
perspective if you were around for our.

Speaker 2 (30:13):
Dante the scrub Ross episode when I tried to explain
the idea of the Renaissance period of hip hop. So
for a lot of our listeners, I mentioned this volume
of break beats, this compilation called Ultimate Beats and Breaks,

(30:34):
which essentially would be the Wikipedia of hip hop break beats,
where they would just give you all the answers. You
didn't have to do much digging. You would just take
these records and then start loop and beats. And sometimes
they would take make beats out of the entire record,
like take sil Johnson's different strokes and mix it with

(30:59):
Bobby Birds.

Speaker 1 (30:59):
I knew that soul and all that stuff.

Speaker 2 (31:02):
So where you come to play is that you're part
of a renaissance period that starts emerging in nineteen ninety you,
along with.

Speaker 1 (31:14):
Tippinally premieres getting his game up.

Speaker 2 (31:18):
Yeah, Prince Paul Larsh Professor, and you know from Philly.

Speaker 1 (31:25):
I gotta include Jeff and this.

Speaker 2 (31:26):
Is I mean even cash Money and Marvelists.

Speaker 1 (31:29):
Yeah.

Speaker 2 (31:29):
So what what is happening is cats are now finding
other sources to sample their music from that's not from.

Speaker 1 (31:41):
YouTube. That's the new ultimate vizza breaks.

Speaker 8 (31:45):
I mean, you know, for people that don't want to
go out there and you know, do what I do.

Speaker 2 (31:49):
Yeah, but it's like, can you really tell those like no,
not really, you can't tell that. Yeah, there was a
period where you knew who was serious about the craft
and who wasn't. And I'm not taking away because again, uh,
the Bomb Squad is one of my favorite oh yeah

(32:10):
production companies of all time. And yeah, but I heard
of ice Cube Sister Soldier Remix I did came out
on Epic Records.

Speaker 1 (32:18):
No, back in the day. No, what was the name
of this. I gotta get that. Sister Sister Soldier.

Speaker 2 (32:25):
Sister Soldier made records.

Speaker 1 (32:28):
I have the.

Speaker 8 (32:32):
Google ice Cube Sister Soldier Remix came out on Wax
and everything. Really, you just brought it to my attention
when you mentioned you know something I got.

Speaker 1 (32:44):
I got to research that. Yeah.

Speaker 2 (32:46):
No, I had the album, but I didn't get the
twelve minutes. But yeah, where you come to play is that?
I mean when I joke about you taken the portion
of the record collection my my that I didn't go
to my father's record like a lot of the jazz

(33:07):
stuff and a lot of stuff.

Speaker 1 (33:08):
I was just like, this is old stuff. I don't
want that, and just you.

Speaker 2 (33:11):
Know, just go for the obviously, like if it's worth
one to fire Stevie Wonder stuff I knew, but I
mean you're going to Tom Scott and so like what
is I watch and and study other producers methods and
see how they do it. Some of them will collecting
them secure record and just sit and listen to it,

(33:32):
sort of skim through it, like what is your what
is your your record listening process?

Speaker 1 (33:38):
That that tells you, wait, I can make something now
of that. It starts at eight a m.

Speaker 2 (33:42):
In the morning. You get up at him because applause
for working at a job. There's three people I know
that get up in the morning. Pharrell Dyli used to
do it as well. Premiere also like and they a
morning and then it starts also with a messy house.

(34:03):
So it's it's even better because you know, that's how
you get to play the whole record only do and
you know you're listening and something grabs you. So you
thoroughly listen to a record, yeah, and absorb it and
you know, you know, cleaning up the crib. That's how
I kill the time and until I hear something I like,

(34:27):
so what I mean, what if you don't get that
payoff moment, because I mean there's nothing like that moment
where it's like, yeah, I've been there, you know, get
stuck kid, you know you know.

Speaker 8 (34:39):
Or I get a record that has totally nothing on it.
But now I learned that you can just grab a
record that has nothing, totally nothing. With all the equipment
they have, now you can make nothing into you can
mold it crazy. So yeah, it was. It starts from that.
That's my process of listening to records. And it's time consuming,

(35:02):
but at least I take five to six hours just listening,
not even making beats, just listening. Then I know what
to attack when it's time to rock.

Speaker 1 (35:11):
That's what separates you from the pack. Dude.

Speaker 3 (35:14):
I remember at his crib. We came up to his crib.
This is Christmas two thousand and two. We all drove
up this crib and we just all slept on the
floor in the basement and he The thing that was
amazing to me was how you're able to take very
familiar songs and flip him in a new way. He
did a flip of oh my god, it was a
little child run a while Curtis Mayfield.

Speaker 1 (35:36):
Strengths the strings. Man ninth loves that beat. He took it. No,
he took the beginning of it, and then I put
that organ in there, and then he put the organ
in from the beginning to or.

Speaker 2 (35:53):
God.

Speaker 3 (35:53):
That was like, I I think two of my like
most favorite peat Bab's that just made me really want
to just like quit music.

Speaker 2 (36:00):
Forever was like that one. And Take the D Train?
Oh man, did take.

Speaker 1 (36:07):
The D Train?

Speaker 2 (36:08):
You flipped the D God Man, that's my favorite disco
record in eighties.

Speaker 8 (36:16):
But when I heard the B side, you know, if
you're familiar with disco, twelve inches on the other side
of that record is an amazing intro pianos.

Speaker 1 (36:27):
Yeah it's the slow yeah.

Speaker 2 (36:32):
Yeah.

Speaker 1 (36:33):
D Train is wow. Yeah.

Speaker 8 (36:36):
But you know it was you know those were you
know the records right there. I mean, I want to
ask you a question. How do people how do these
musicians or drummers tune their snares to sound like they're
hitting on a horse shoe or.

Speaker 1 (36:52):
Like a No. See, here's the thing.

Speaker 2 (36:55):
It don't sound like a drum set, you know what
I'm saying. It sounds like the lesson that I learned
for really good breakbea drumming Uh.

Speaker 1 (37:05):
Really is the debtor like what.

Speaker 2 (37:12):
You imagine what you imagine in your head how powerful
the break is? Like take all right, I'll give you
an example.

Speaker 1 (37:21):
With with let's take eye.

Speaker 2 (37:25):
Now in your mind, you're thinking that Bonzo is just
rocking out like using every you know, like air drummer,
what you imagine air drummers to do? Yeah, But what
I found out was because of the particular Micael Steve.

Speaker 1 (37:39):
Steve is our engineer.

Speaker 2 (37:40):
All right, So what like what vintage microphones am I using,
like like doing the Voodoo era and all that stuff,
Like what am I using?

Speaker 1 (37:49):
Uh?

Speaker 11 (37:50):
Well, a lot of that stuff we had here, the
Noymans that forty seven's like, that's what I believe. That's
what sort of John Bonham had the mono overhead, right,
you know, oh the mono. Yeah, it's like one mic right,
you know over the kick.

Speaker 2 (38:04):
That's weird because substitution.

Speaker 1 (38:06):
How does that snare sound? Like? I mean you're you're
you've been.

Speaker 11 (38:10):
I think our best results for actually recording breakbeats has
been less mics further away.

Speaker 2 (38:16):
Okay, so that's the thing, Like now cats will mic.
Every drum an engineering drum, which is why it sounds
so sterile.

Speaker 1 (38:26):
Yeah, two thousand. Yeah, uh, I mean you just gotta
think of the environment.

Speaker 2 (38:31):
Like, yeah, there were professional recording units, but it's like
in Motown and all that stuff.

Speaker 1 (38:36):
They was like cats were sharing one mic, damn.

Speaker 2 (38:38):
So when I found my zone as far as like
really finding that gritty, dirty sound that you're looking for,
like you said, like the U forty seven.

Speaker 1 (38:50):
And then the ribbon mics, you know, yeah, ribbon mics.
But even at that, it's also how you play it.
Like a lot a lot of the teach well.

Speaker 2 (38:59):
The drum, the drums that I use, Like my drum
company will try to be like, yo, these are special
trees from Japan.

Speaker 1 (39:08):
We're gonna cut down you know, all this stuff.

Speaker 2 (39:11):
But no, but I'll tell them like, yo, I want
the cheap high school set. Wow, And they look at me,
they're like, why do you want? I want the cheap
high school set? That sounds horrible. That's what all the
classic it was made.

Speaker 1 (39:24):
Yeah. Yeah, drums weren't getting drum sets. They were using
five hundred dollars sets from like Sears and just tune
fine tuning it and micing it.

Speaker 11 (39:35):
And but then also the way and the less you yeah,
the less velocity.

Speaker 2 (39:41):
Here's the thing, here's the trick with those old microphones.
The harder you hit, the more compression, and the more
you squeeze it out, the the I mean, I try
to almost use nothing but risks like very very very
light touching that way when you EQ, it comes off
super vintage and super you know, so it's it's almost

(40:04):
like it's it's an anti climatic answer. What I'm saying
is that basically, the less I play and the quieter
I play, the better it sounds. But but in this
in this age of and I've got in trouble with
making snarky remarks about gospel drumming and stuff. But like, look,

(40:29):
gospel drumming is something that I can't overcome. And I'm
not trying to turn the world to my religion.

Speaker 1 (40:36):
They have funk, it's what about God? What about the funk?

Speaker 9 (40:42):
No?

Speaker 2 (40:42):
No, no, not like modern like the catch you see playing
for like.

Speaker 1 (40:48):
Unnamed actor.

Speaker 8 (40:50):
There's a lot of soul and gospel.

Speaker 1 (40:54):
No, we're talking about like modern.

Speaker 2 (40:55):
When you see modern music today and you wonder why
this guy doesn't make you feel when you hear Clyde
Stubblefield playing that sort of thing, it's no one trusts
that lessons more. And when I drum, I'm always thinking
of would Pete Rock want to take this part of

(41:17):
the song, So anytime I'm drumming, But that's you.

Speaker 1 (41:22):
You need, you need something basic and something regular. I mean,
it's like bread distortion static.

Speaker 2 (41:29):
I was sampling from that. I may really I made
a beat out of that.

Speaker 1 (41:32):
Wait, I gotta I gotta find it. I gotta tell
you I made a beat from that from just playing
with it. Yeah.

Speaker 2 (41:41):
I took a loop up, a little quick loop and
flipped it, you know what I'm saying, and then put some.

Speaker 1 (41:47):
Ship in there and then deleted it, and then.

Speaker 2 (41:52):
Then I put more on top, you know. But yeah,
side note, it's really weird when you you hear your
own break beats uh in a porn.

Speaker 1 (42:10):
One time you heard anything, I've heard the scene in
an amateur film.

Speaker 2 (42:16):
You literally heard the scene they just wants some music. No,
I heard, uh, someone loot the distortion the static break
at the beginning, and I thought, you really must be
a fan of the roots that too.

Speaker 1 (42:31):
Yeahs are everywhere.

Speaker 2 (42:35):
Yeah, Yes, the adult world has especially the remix. Oh
my god. All right, So when the shut him Down
remix came, I don't even know how to explain to
someone how important.

Speaker 1 (42:54):
Like shutting shut him Down to me changed really changed.
I mean he gave it movement like because the original
but he it was original was cool.

Speaker 8 (43:06):
It was baseline drums, and you know it was a
good record, good record, But.

Speaker 2 (43:11):
I mean we really consider that comedy the first, the first,
I mean it was that wasn't the first remix per
Se that totally reimagined a song, did it. I don't
know if it was the first, it was one of them,
because I mean, it wasn't the first, because I just
you know, the first one was probably he did.

Speaker 8 (43:32):
Molly did remixes. If you remember, like dropping Science, the
original version was different the drum right right right, and
then he flipped it right, you're right now.

Speaker 3 (43:42):
But he did with the what you call it to
the Yeah, Molly uh, I would say in terms of
the first you're talking about remix that kind of changed
the game or changed the song Jingling Baby.

Speaker 1 (43:52):
I was yeah, yeah, you remember the original.

Speaker 2 (43:55):
Original, yeah yeah, but that remix and killed it. That
was it that When that remix hit so I feel
like the the the summer or no, the fall of
ninety one, between the Scenario remix and the Shut Them

(44:16):
Down remix.

Speaker 1 (44:19):
Really, I mean that to me was the changing of the.

Speaker 2 (44:21):
Guards for for hip hop, because.

Speaker 1 (44:28):
You know, and the thing is, I know that we
all have like our own.

Speaker 2 (44:31):
Romantic feelings of what like classic hip hop should be
or whatever. But it's like in my head, and especially
as a DJ now, like some of the stuff that
I like doesn't really transfer well to the dance floor.
Like I love speaking of America's most wanted, I love
the shit out of like that that that cut and

(44:54):
Nigga you love to hate. Yeah, but it's like sonically
that doesn't work well in a nightclub at Sphere, and
it really wasn't working when you spin off Wax like
Serado is loud of Ship.

Speaker 8 (45:05):
But for me, what's classic about Shut Them Down? It
was like it was made under ten minutes. Yes, I
lied to y'all not, It's no exaggeration.

Speaker 1 (45:16):
It was.

Speaker 2 (45:17):
It was a rush job. I had to be at
the studio at four.

Speaker 1 (45:21):
I was late.

Speaker 2 (45:21):
I left, you knows no time to overthink. No, I
didn't even leave my crips. I was like, you know what.
Let me just and then I seen some albums laying man,
I hate you right now, you know, grab the Isley
Brothers grabbed, Tom Scott grabbed.

Speaker 1 (45:37):
What is that? Tom Scott? No, I know that, But
what song? Is it? Not? The same Honeysuckle Rose record?
Is it? Never? My love? I hate you right now? Man?

Speaker 2 (45:49):
Never?

Speaker 9 (45:55):
So that's you said, that's three songs.

Speaker 8 (45:57):
Yeah, that's a pool. I used the version of it too,
but Tom Scott yea couch.

Speaker 1 (46:03):
Yeah, oh for the I like it. Yeah, okay, but
I don't know what it when when I heard it.

Speaker 2 (46:14):
But to me, it's so complex and so lay drums
first of all, like, yeah, the drums, the fact that
you separated. Yeah, I mean besides Marley, like, would nobody
beats a business taking drums and reimagine it? Like why
didn't you just think like an amateur like me would
have just took long Red. An amateur like me would

(46:36):
have took long red and.

Speaker 1 (46:37):
Just looped it. Yeah, yeah, that's what I was doing. No,
but you chopped it. I chopped it to thus giving
you the ability to eq it better. Yeah. I'm assuming
that you didn't mix that in stereo.

Speaker 8 (46:49):
When I found a dope snare that hit hard and
made a drum track with it and rubbed long Red
against it.

Speaker 1 (46:58):
It was just like, Wow, I'm gonna explain to you what.

Speaker 2 (47:01):
Long when it hit with the long Red and your.

Speaker 1 (47:07):
So what what Peter's explaining that.

Speaker 2 (47:10):
So this group named Mountain Mountaine one of the few
groups that wasn't documented on the Woodstocke on the Woodstock documentary.

Speaker 1 (47:20):
Long Red was from Woodstock. Yeah, it was from Woodstock,
and it's actually him.

Speaker 2 (47:25):
There's a version without the breakbeat also.

Speaker 1 (47:28):
Yeah, yeah, yeah, the studio version.

Speaker 2 (47:30):
But this particular version from Woodstock that hipp the live
one that's hip hop staple, is actually him mocking the
audience for not knowing where the one was because if
you hear them, they're all clapping. They're clapp on what
he's doing. So he's like on Temple Jack, like Tempo Gang. Yeah,

(47:52):
on Tempo Jack, like don't mess up my group.

Speaker 1 (47:56):
Yes, it took that louder, that everyone takes that louder.

Speaker 2 (48:02):
But the thing is is that you know, an average
person would have just looped the four bars from it,
whereas now the Renaissance Crew it is taking these breaks
and doing the early phases of what we call just flipping,
where you take the snare and the kick and you

(48:23):
re invented.

Speaker 3 (48:24):
Yeah, he was, and I mean around the time, because
I remember you chopped up. This was a couple of
years later you talk about I mean we talked about
flipping records. A Z give me yours. Well, you took
the Many rivers. I had that original Sam Houses.

Speaker 2 (48:40):
I mean, you know, my mother sped all the time
and I was like, yo, uh no, no, no, it
was no, it's it's not.

Speaker 1 (48:52):
It's many the okay, yeah, it's here we go, here
we go with many.

Speaker 2 (49:00):
And that was the song I heard, you know, a
million times, but I never heard it done in that way.
I used to love that song, but that's how I
looked it because I used to be like I used
to listen to this on tape.

Speaker 1 (49:11):
Yeah, cassette, slow damn. It has totally made it something new,
million people bracing shut them down as the burger. But
you know, you you you have the perfect chopped onion.

Speaker 2 (49:21):
And tomatoes on that joint. But the thing is that
a song like h and I've Been Good to You
by the Isley Bus.

Speaker 1 (49:34):
Now, when you take this.

Speaker 2 (49:38):
It's not quantized, all right, you know what you gotta be.
You gotta be my Negro translator.

Speaker 1 (49:44):
With quantized meaning that it's not imperfect. No, it's not. No,
I didn't loop it.

Speaker 2 (49:50):
I actually chopped a half a bar each of it.

Speaker 1 (49:55):
If you telling me that you made this in ten minutes,
this means you are working at the.

Speaker 2 (50:00):
Yes speed lightning. Because I had to go, so, you know,
I had to be out, so I had to get
you know, I was at that time it being late
in the music business was like a big deal, so
you know, I was just trying to and then I'm
still late, but you know, I mean I had a
hot joint with me, so that's why I was like,

(50:22):
So what.

Speaker 1 (50:23):
Was the look on their face? Who? Who did you
play it for?

Speaker 2 (50:26):
When you When I got it, Jamie stopped, you know
in the studio with him and him bugging out and saying, Yo,
we got something here. We're gonna play around with these sounds.

Speaker 1 (50:37):
And did it take long to line up? Like?

Speaker 8 (50:39):
Nah, it probably took a little while, but you know,
once I got once I had the beat in the baseline,
everything else was like.

Speaker 1 (50:49):
So what was Chuck's reaction when he heard it?

Speaker 2 (50:52):
I wish I could have seen his face, but I
wasn't around either. There the two best public end me
stories I ever heard both came from Buster Rhymes.

Speaker 1 (51:04):
Yeah Buster nose.

Speaker 2 (51:05):
Buster has a story of being like Buster and Charlie
Brown and Dinko used to always be at their studio.

Speaker 1 (51:14):
Chuck named them named rhyme football player right so after.

Speaker 2 (51:20):
High school, like leaders of the New School used to
always just hang at the studio and it was there
for reminisce.

Speaker 8 (51:28):
Really yeah, Charlie Brown was in the mix when when
out first listened down to the first listen.

Speaker 2 (51:34):
Down really was done. Charlie was there well crying and
I was. I was saying that Buster told me that
he's like a hip hop song. Never made him cry
real tears until the moment where after school they heard
Rebel without a pause, and he says, but man, when

(51:57):
I heard shut him down like you like, I went
out my mind because.

Speaker 8 (52:02):
It was just it was just unheard of Genesis album.
He's like, I want to do that again. Beat Come on, man,
you know I busted talk. I can't do one.

Speaker 3 (52:15):
Thing I wanted to ask you in terms of like
with the remixes, because it's very different now, you know,
with you got computers.

Speaker 2 (52:21):
You just lining things up. How were you able to
get the vocals to sync with the track?

Speaker 8 (52:26):
That was Jamie's job. But I was good because I'd
be like, look, man, make him ride that beat. This
is a new remixed joint. I want, you know, I
wanted to sound totally different from the original, and Jamie
know it was it was sympty and all that stuff,
So you have to vocal from the real Yeah. And

(52:49):
Jamie was nice because he's the splice so anything that
he would time wise, he would splice tape. And then
it was crazy with him. Man, Wow, I think about
the way we used to work and it was just like, wow,
all that's cut off. It's the work today is much easier,
it is faster. We were doing it like the hard way,

(53:10):
the long way.

Speaker 2 (53:11):
So when when this comes out, then suddenly, what's what's
Pete Rock's life like after this?

Speaker 1 (53:20):
Was? Nah?

Speaker 2 (53:27):
But yeah, man, it's just my life just went from
being you know, paperboy delivering papers in my hood, from
flipping steaks in the mall to hanging with my cousin,
going to.

Speaker 8 (53:40):
The studio, hanging out with have you know, taking you know,
acting like a little sponge around. Howie t and Teddy
Riley and Molly and made my mind up and say, yeah,
this is what I want to do.

Speaker 2 (53:52):
From that, just from that experience, I was, you know.

Speaker 1 (53:57):
Crib Yeah was it like watch to him because he's
another clean beat maker, I know, clean his ships.

Speaker 8 (54:05):
Still he'll take a record like I never heard impeach
sounds so clean.

Speaker 1 (54:11):
Yeah, he took it.

Speaker 3 (54:12):
We did it on how We t was a producer,
uh special special or he chopped up on specially second
album You Wish you could Impeach over the Superman.

Speaker 1 (54:26):
My favorite, my favorite joint. Do you remember that special?
I wish you could? I wish you would. I play
that all the time.

Speaker 9 (54:41):
Man.

Speaker 8 (54:41):
Yeah, how he t was amazing, like it was him
and Molly for me, you know, coming up of course
Rick Ruban and you know I listened to like Curtis
blowing the live musician.

Speaker 2 (54:53):
Give me give me your give me If you can't, fine,
I'll say three for now. What sessions were you there
to witness that were historic?

Speaker 1 (55:02):
Teddy, give me give me your.

Speaker 2 (55:03):
Five most historical? Like, yeah, I'm working on this song
and then it's it's a game Teddy, Riley, Molly mal
but wait what I mean?

Speaker 12 (55:14):
What song.

Speaker 8 (55:16):
H new jack swing you know, uh yeah, I was.
He was always with Teddy Rally. They used to hang
out a lot, like you know what I'm saying. So
I used to be with Have and you know, be
Witness and things he's doing, you know his you know,
exclusive stuff.

Speaker 1 (55:32):
What did he work on? He wants you remember that group. Wait,
that's my favorite. Let's talk about it. Let's talk about
it all his stuff, Let's talk about amazing.

Speaker 2 (55:46):
So what what equipment was he using? Because everything, but
he told me so basic, you know s the cell board,
you know, pro tools wasn't nothing and it was straight board,
you know what I mean.

Speaker 1 (55:59):
He told me that he I don't know which Michael
Jackson need from Dangerous that he did all the pre
It was either remember the time or no, no, no she did.
She's driving me wild. He says, I did it in a.

Speaker 2 (56:14):
Project kitchen, like he had a setup and he's like
he kept his old apartment set up that he used
for the Guy album and did Yeah and the Kid
Sweat stuff and he did all most of Michael Jackson's
Dangerous inside of his project kitchen.

Speaker 1 (56:32):
With a producer.

Speaker 8 (56:33):
It's about that that comfortability spot, like if you're comfortable.

Speaker 2 (56:38):
It can happen anyway, Bro, you know what I'm saying.
A hit record can happen anyway.

Speaker 1 (56:44):
So you do majority of production, Like do you do
it in this actual studio? You drop it off?

Speaker 5 (56:49):
No?

Speaker 8 (56:50):
I always do beats at home first, and then I
go in and you know, and then when when I'm
in this the studio like this and I'm laying the
beat down, then we're playing around with it and I'm
playing with records, and then maybe I'll add some some
more stuff that matches with it, you know what I'm saying.

Speaker 1 (57:10):
So all right, well you said Teddy Rowley? What else? What?
What other historical songs were there to see?

Speaker 2 (57:18):
I mean I was around Molly a lot, so you
know all I have stuff, all of some some cane stuff,
some biz stuff.

Speaker 1 (57:26):
I saw was alb Was he hanging right out? I'll
be sure you know what I'm saying.

Speaker 2 (57:31):
Wow, I was gonna say, what is your obsession with
just rhyming with biz man? You've made helf of that
ship so many times.

Speaker 1 (57:40):
I think that record just like, how did the publisher?

Speaker 8 (57:47):
I know it's a James Brown sample, but it just
reminded me of James Brown, even with Kane and Biz
on this ship, right, No, I knew you didn't use
it for the James Brown the voice, but the voices
their voices.

Speaker 2 (57:58):
But like all of main Ingreedy, it was man like,
did you have to cut a special deal?

Speaker 1 (58:05):
Check it out? I think so.

Speaker 8 (58:10):
Yeah, And I think Molly won a case with Warner
or something like that. And you know he owns all
this stuff now, so he does yeah, hell yeah.

Speaker 2 (58:19):
Yeah, wow. That from what I understand.

Speaker 3 (58:23):
I wanted to ask you about in terms of, you know,
we talked about the first ep al sold out. How
exactly did you and cl get signed to a lecture
and how did y'all first?

Speaker 1 (58:34):
How y'all? Yeah, in high school.

Speaker 2 (58:35):
In high school, you know, a couple of neighborhood guys
you know, introduced me to him.

Speaker 1 (58:40):
He had a distinctive voice.

Speaker 8 (58:41):
He didn't sound like nobody I've ever heard, so I
thought it would be good to do some stuff on him.
When I heard him rap, I was like, okay, he
can he can ride a beat. Let's list.

Speaker 1 (58:51):
We were doing basement that.

Speaker 2 (58:52):
It was like we got like forty or fifty of them,
you know what I'm saying, And we made a song
off of dancing the drummers beat.

Speaker 1 (58:59):
You know. Oh wow, really that was your first demo? Yep, yep.
Something of our first demos.

Speaker 8 (59:05):
We was taking common stuff and then that's when I
started getting raw with the beats and using like stuff
that people in the work using. We were making demos
and we got signed off of my basement demos off
off of four track. Yeah, do you still have the
stuff or yeah, I have?

Speaker 1 (59:22):
I have?

Speaker 8 (59:23):
Well, they had they put out a somebody I don't know,
I must have lost the tape or something like that,
like put it out. They put it out, and there's
some stuff on there. I got it though, I got
I got a lot of this stuff.

Speaker 1 (59:36):
Wow.

Speaker 9 (59:37):
Did y'all have like a full commitment?

Speaker 5 (59:39):
Like when y'all got together, were y'all like, Okay, we're
gonna make a few records and then we're going like.

Speaker 1 (59:42):
We did demos first.

Speaker 8 (59:44):
And then at the time, I was DJing on the
radio with Marley, so I would test it out and
play it on the radio.

Speaker 2 (59:49):
You know what I'm saying, and people will respond And
you know when were you DJing with Marley on eighty seven,
eighty eight, eighty nine, also on there for like three
years straight. BLS with Clark and then we rotated, like
me and Clark Camp. First it was just me the
whole weekend. Then it was me Clark Camp and then

(01:00:14):
you know, once in a while he'll pull in a
DJ from somewhere. But back then it was great because
you know, kidding played had they hot new stuff out
back then. You know, Mike Tyson was in his prime.
They was all coming up there to visit the station
to do interviews. Oh wow, I was just a little
young kid there. Like it took me watching straight out

(01:00:37):
of Compton to realize that some of the most successful
hip hop producers had to cut their teeth DJ in first.
My thing was like reverse. My situation was reverse. But
I never considered myself like jumping in the pool of Yo,
when I play this beat the night club, like the

(01:00:58):
nightclub that comes from, You're gonna clean your house real
good to this root. But like would for you being
in DJing, would audience reaction or would you ever have
a fear of like this might not work on them?
Or like it's who do you imagine when you make
a beat?

Speaker 1 (01:01:20):
Who are you imagining? Yo? They're going to go crazy
when to hear this, What's what's the vision in your
mind where you're.

Speaker 2 (01:01:28):
Like, I'm it's the feeling that I just get overjoyed,
you know what I mean. So it's a goosebump feeling. Yeah,
like and I want to, you know, call an artist.
Yo yo yo, listen to what you know? Like the
world is yours. It happened when he came over and

(01:01:49):
I just went through a couple of discs. I had
that beat made already, you know what I'm saying. I
went through a couple of discs and I popped that
one in first and I didn't play no more beats
after that.

Speaker 1 (01:02:01):
That was the one that was it? Did you I
mean working on imatic? Did you.

Speaker 2 (01:02:08):
Since already that okay, this might be something special? Or
was it just like after he heard it and liked it,
and then after I heard what he wanted me to
sing on it, so.

Speaker 1 (01:02:19):
They came afterwards.

Speaker 2 (01:02:20):
You didn't have the rhymes? Man, I was like, yeah,
that's when.

Speaker 1 (01:02:29):
Did you know that? Like Tip and large F and
everybody else was working on it too.

Speaker 8 (01:02:32):
Yeah, you all know you Primo Tip, you know, but
it's like a battle at the time. I think in
everybody else's mind. I think that's what was going on.
It was all competing, and I think when Primo heard
the world is yours, he went back, you know what
I mean? But you know Tip only had one love,

(01:02:55):
you know, the one love joint, and l e S
had one joint.

Speaker 1 (01:02:59):
I have one joint and Premon had three.

Speaker 2 (01:03:02):
Okay, So that that environment, I mean, were you guys
record shopping on the.

Speaker 8 (01:03:12):
Yeah, we used to walk in on each other digging.
One time, there's this Jazz Records, you know jazz. You
would never know where this record store is. His record store,
next to Jive Records. The label Oh wow, it looks
like a mechanic building. There's nothing on it that says
it's a record store. So it's upstairs, upstairs like Japan.

Speaker 2 (01:03:36):
They have all the great jazz records in there, like Verdictas.
And Tip is in there on the ground and you know,
going through records, put his glasses on and he's you know,
on the floor. I'm like, okay, this is about to
get serious with your boy, because I see how heart
he's going, so I gotta go even harder.

Speaker 1 (01:03:56):
So is it a breathless race to the finish?

Speaker 9 (01:03:59):
Like?

Speaker 1 (01:04:00):
Okay?

Speaker 2 (01:04:01):
Now when I record shop, let's say late later in
Man ninety nine, two thousand, two thousand and one. I
would meet a few dealers that would be like Pete
bought this, you would buy the entire stock reality only
only you, You and Bizmarck you only cats. I know,

(01:04:23):
or at least heard, like the urban legend is that
you will buy out an entire section of record so that.

Speaker 1 (01:04:31):
No one else did well.

Speaker 2 (01:04:35):
I also spent the night in the hotel where the
convention would be, and I would have a room upstairs
and just come downstairs at seven o'clock am.

Speaker 1 (01:04:43):
They would.

Speaker 8 (01:04:44):
One time I was brought I was finished with digging,
and I was, you know, carrying boxes to the car
to come back in bring them, and Tipples is looking
at me like it looked like he just wanted to
turn around and go home. Okay, So here's a question.

Speaker 6 (01:05:02):
I've heard a lot of people say that they don't
want to see you in a record shown now they
know there's nothing left.

Speaker 1 (01:05:05):
Is there anybody that you don't want to come behind?
Of course he.

Speaker 2 (01:05:08):
Wants no one to come by, of course, man, I'm saying,
is there anybody that you don't want to come to
the store for you? Premier?

Speaker 1 (01:05:18):
I remember one time I walked up.

Speaker 8 (01:05:20):
Okay, same thing on twenty it's just another record store,
jazz on twenty seventh Street.

Speaker 2 (01:05:26):
Would know it's in the building, Primos in there. I
walk up in there thinking I'm I got something all
to myself and Primos in there getting all the great
you know all that gang star ship. You know, that's
what that jazz store was. Dope, But did you know
what you were looking for? Was it just based on like.

Speaker 1 (01:05:49):
But cover?

Speaker 2 (01:05:50):
We used to just take chances, take chances. The stars
still there, see somefros and some.

Speaker 1 (01:05:55):
Wait, it's still there. The one he's talking about is
still there? Is that the way you told me about words? Yeah,
was talking about it on the show, Oh, sexualize and videotape.
What's his name? The actor the Blacklist? What's his name? Vader?

(01:06:16):
Zz Market? I think it's called like jazz market. Yeah,
jazz Market. That's it. All of us is actually going.
So wait in your job records, that's near Battery Studios.

Speaker 2 (01:06:25):
Yep, it was right next door, dude, I recorded my
first I've never heard execute floor.

Speaker 11 (01:06:33):
It's like an office building. It sounds like the eighth floor,
like you don't even know what to restaurant to the door.

Speaker 1 (01:06:39):
To get to the door.

Speaker 10 (01:06:40):
But don't you think somebody's secretly keeping it from you
at this point?

Speaker 9 (01:06:42):
You know what I mean?

Speaker 5 (01:06:44):
Right?

Speaker 2 (01:06:45):
Two things I learned about recording at Battery Studios. One,
all the tales of my mine coming to forty second
Street was like, oh, it's all Disney Like. I didn't
know about the New York City version of that batteries
where I did, But the rest of the roofs were
like all the time. But I'm the one at the

(01:07:06):
studio like working and they.

Speaker 1 (01:07:10):
On the forty dues. Wow, But now I'm not. I
can't believe that the spot was here and I didn't
know about it.

Speaker 8 (01:07:18):
Yeah, Battery, I did the Will Smith and Jeff stuff
there too, really, but the home base cod.

Speaker 2 (01:07:27):
Damn?

Speaker 9 (01:07:29):
Who haven't?

Speaker 1 (01:07:30):
No? Who you?

Speaker 9 (01:07:31):
Who do you want?

Speaker 10 (01:07:32):
Is there anybody who left?

Speaker 1 (01:07:34):
Who's left? We can't play who else I worked with?
I mean?

Speaker 10 (01:07:39):
But who is left that you haven't that you would
want to?

Speaker 1 (01:07:41):
Is there actually fifty? Really?

Speaker 2 (01:07:44):
You know a couple of g unit dudes? Man, Yeah,
I've never.

Speaker 1 (01:07:48):
Worked with it.

Speaker 9 (01:07:49):
What does he know that you?

Speaker 2 (01:07:53):
I just got a bump into him. We gotta I
gotta catch him in the studio.

Speaker 8 (01:07:56):
Or something gotta have my beats on me or something.

Speaker 2 (01:08:04):
How does the environment of I mean the chemistry between
you and cel.

Speaker 1 (01:08:11):
Right now? I mean no, no, no, no.

Speaker 2 (01:08:13):
I just meant back then when when the album comes out, because.

Speaker 8 (01:08:17):
We were young kids having fun. Man, you know what
I'm saying, like we found something. You know what I'm saying,
we found something.

Speaker 1 (01:08:23):
So so touring. But I'm saying that because Meccan the.

Speaker 2 (01:08:28):
Soul Brother was such a New York record, how is
this translating across the United States? I mean, you still
had the aid of MTV and you still had Rahap City,
so you know, it wasn't that regional way.

Speaker 8 (01:08:44):
The soul train was still around because we did You
definitely did sold train, you know what I mean.

Speaker 1 (01:08:49):
So I mean like if you guys are doing a show.

Speaker 2 (01:08:52):
In Mississippi or something, like, what's the reception?

Speaker 1 (01:08:56):
But it was pretty good? You know? Okay? You know
what's funny that you mentioned.

Speaker 2 (01:09:01):
Have you ever had a moment where it's like rocks
moving then on a promotional tour? You know, promotional tours.
Used to go on promotional tours for a.

Speaker 8 (01:09:09):
Month or a month and a half and you don't
get paid, you know, what I'm saying, You're out there
busting your ass just to get known, you know what
I'm saying. And when we would perform in a place
like that, people would be there, you know, show up,
you know what I'm saying.

Speaker 2 (01:09:22):
Like, so it wasn't a thing where it's like y'all
at a strip club and they like this ain't.

Speaker 1 (01:09:29):
Luke, no y'all New York is y'all talk.

Speaker 8 (01:09:33):
But you know, what do you have for your people
who are very adamant about what they like and you
know they you know, they rock with what they rock with?
So do you feel left out in the cold sometimes?

Speaker 2 (01:09:43):
Do you feel like the regional divide started? Say posts
chronic posts like.

Speaker 1 (01:09:49):
Where did you? Where did you? What was your role?

Speaker 2 (01:09:53):
Or where did you lie in the I guess the
East West?

Speaker 1 (01:09:58):
But yeah, like when did that start rearing its head?

Speaker 2 (01:10:02):
Ninety five ninety six? Really yeah, ninety five ninety six,
And so what did you know?

Speaker 8 (01:10:10):
Like I had my own stress going to you know
me and see how breaking up and all that. Right,
So then the East West thing then you know me
thinking everyone in hip hop was invincible, and then motherfucker
started dropping, you know what I mean? So it's like,
you know, we were shocked. We were in shock, like wow,
he got shot, like and he's dead, like you know

(01:10:31):
what I mean?

Speaker 1 (01:10:31):
Wait a minute, you gotta tell me the story. Dude,
you originally did juicy, Yeah, tell me? Can you tell
me the juicy story?

Speaker 2 (01:10:38):
Yeah?

Speaker 1 (01:10:39):
You know?

Speaker 8 (01:10:39):
All right, Puff Big, everybody came over. Puff brought Big
to my house, to the basement.

Speaker 2 (01:10:44):
Wait, let me just introduce like the idea of rhyming
over like it started with Pete Rock and then you
got be puffetized.

Speaker 1 (01:10:55):
Yeah, but.

Speaker 2 (01:10:57):
He's rhyming over just a very know on Luke, Like,
it's not when Biggie was rhyming over juicy. Pete Rock's
the one that like yo is like it was a
Pete Rock beat initially and then what pop's done this before?
Because like even Mariah carries Honey was a cute tip beating.

Speaker 10 (01:11:19):
But did he should have been like y'all young boy though,
right because he from Mount Vernon.

Speaker 9 (01:11:22):
But he was young.

Speaker 8 (01:11:23):
It's from bel Avenue, Mount Vernon. We we all grew
up together, all right. Yeah, but but with.

Speaker 2 (01:11:30):
Him with the juice, Okay, when the juicy thing happened,
he brought Big over, you know, and big came in there,
and you know he was he stood against the wall,
humble quiet. He was just like, yo, yo, yo, I
just want to see I just want to see how
you make a beat.

Speaker 8 (01:11:46):
Yo, Just show me how you make a beat. And
then I made in the flesh, in the flesh in
front of Biggie that's on the main.

Speaker 1 (01:11:59):
Can I wait, can we talk about we got to
talk about the records? Man? Can we take wait? I
gotta he's standing right there. You know that's the story
I want, like what historical? Yeah, he made that in
the flesh and what was big reactions in the flesh.

(01:12:19):
He was loving it, you know what I'm saying.

Speaker 8 (01:12:21):
Then started picking like these beats, you know, like he
was picked over ten beats.

Speaker 1 (01:12:25):
But we never did none, you know.

Speaker 2 (01:12:27):
All right, Wait Steve, Okay, I'm gonna explain something that
this is what this is what's gonna blue Steve's mind?

Speaker 1 (01:12:33):
Steve, do you know my obsession with a certain symp.

Speaker 2 (01:12:39):
You I'm a defensive story now, my obsession with using
Steve Miller.

Speaker 1 (01:12:53):
Bands space space Like Steve.

Speaker 2 (01:12:56):
Hates nothing more than that than hearing that our peggio happened. No,
because I over like.

Speaker 1 (01:13:06):
We don't use that ship. But I it's just it constantly.
It's at the top of a little toolbox.

Speaker 2 (01:13:13):
Yeah, it's it's it's it's there, but it's only I'm
gonna tell you this. The thing was is that when
the Roots we exiled to to to.

Speaker 1 (01:13:25):
London and we were broke cold or it was the
worst feeling.

Speaker 2 (01:13:33):
We only had two cassettes to hold us down for
like most of nineteen ninety four, and that was to
cal and that.

Speaker 1 (01:13:45):
Was the main ingredient.

Speaker 2 (01:13:47):
And even I mean it was some of the most
it was the worst. I mean, every group grows through
basic training to to soldier up and and and you know,
really established themselves.

Speaker 1 (01:14:03):
And so this was the hunger years. Everyone has those
hunger years where you're just starving, you know, if you're
coming going. But for me, like in the Flesh.

Speaker 2 (01:14:14):
Wasn't even a song, but it was more meditation and
it was just like the way you layer Steve Miller
bands space, which like that to me, I mean me
and Twoek's only fist fighting history happened in ninety four
and post fist fighters.

Speaker 8 (01:14:36):
Yeah, yeah, it's funny because we used to come to
the crib a lot too.

Speaker 2 (01:14:41):
We used to have fun. You know what I mean,
you still have the same crib, same mouse. I've never
been to the people to come what do you call it?

Speaker 1 (01:14:49):
What do you call it? The basement? Oh my god,
you've been in front.

Speaker 2 (01:14:52):
Yeah, that on the floor, left on the floor when
we first, like after shortly after I quit my job.
I mean yeah, I went out like listen, I'm homeless niggas.
But now we all drove to me, nine pool, all
of us. Everybody we drove up there slip on the
floor and like nine of them. Yeah, we was all

(01:15:14):
in the crib. I think we ordered like we might
have ate once like days, ordered pizza. But but yeah,
we was in the basement. And that was what the
first time I really understood just how much work he
put in.

Speaker 1 (01:15:27):
I mean, he has a closet.

Speaker 3 (01:15:28):
I don't know if I was still there, and he
was just like showing us bags and this. He was like, yeah,
so these the main ingredient beats.

Speaker 2 (01:15:35):
This is stuff from making the Soul brother and this
is stuff I'm like kidding me, and you still have
that stuff.

Speaker 1 (01:15:41):
I got the world's yours on this still, that's amazing.
How did Biggie lose this? I don't know man like
or what's puff making his decisions for him more?

Speaker 8 (01:15:52):
Yeah, yeah, but not when he was picking beats, you know, like.

Speaker 1 (01:15:57):
He's so big, he was like this is all right.

Speaker 8 (01:15:59):
Yeah, he was like he wanted the Interlode beats. He
wanted my Interlodes.

Speaker 1 (01:16:04):
So Juicy, we gotta finish off my Juicy him.

Speaker 8 (01:16:06):
Yeah, so you know, I was playing the beat. I
had the drums playing when they came downstairs, because I
was gonna put something else in there.

Speaker 1 (01:16:17):
And he knew, you know, yeah, he knew what. He
knew what it was.

Speaker 2 (01:16:20):
It was a hit record, you know, so the ideas
is churning in his head, you know what I'm saying, Like.

Speaker 1 (01:16:27):
So, did they at least come to you and say, yo, like,
make the drums less? They came to me and said
due to remix.

Speaker 2 (01:16:36):
The I mean, did they at least give you the
option to change the drums a little bit so that you.

Speaker 1 (01:16:40):
Can Yeah, yeah, that's what I did in the remix.

Speaker 2 (01:16:43):
Though, No, no, no, no, But I'm just saying that original
I thought that what we noticed the p rock remix
of Juicy, that was the original idea.

Speaker 8 (01:16:53):
That's it, only the idea. But they did it. You
know what I'm saying, Like, whoever did it? Track masters?

Speaker 1 (01:16:58):
Whoever?

Speaker 2 (01:16:58):
But they the idea is what you hear right on
the right now, and you know they just looked it.

Speaker 1 (01:17:06):
So I mean, did you feel some sort of way
like well, back then I was.

Speaker 8 (01:17:09):
I was a little crazy feeling little ways a boy people.
You know, how did now that I realized that music
is universal?

Speaker 2 (01:17:19):
You know what I'm saying. It doesn't belong to nobody,
but the people were sailing it.

Speaker 6 (01:17:23):
You know, I have a question about a similar situation.

Speaker 1 (01:17:27):
What's the story behind trip called class and jazz? Oh?
Same thing? Stop the same thing tip?

Speaker 8 (01:17:35):
They al used to We all used to hang out
tip coming over heard the beat playing, you know, and went.

Speaker 1 (01:17:41):
So you contributed the drums to it?

Speaker 8 (01:17:44):
Or was it the same way you hear it on
the Tribes album? It's how I did it. But I
just had a little little stuff in it on top
of it. But the same drums, same loop. You know
what I'm saying. I want to say you played that
for us when we read your crib. I want to
say you played his version of jazz? Yeah I think
the disc Yeah, yes, I still have it.

Speaker 9 (01:18:05):
So Pete, have you.

Speaker 5 (01:18:06):
Like developed any relationships with any of these living legends
that you like, you know changing Yeah, Like.

Speaker 2 (01:18:15):
Roy was on tour with Roy shared some some weird
Polydors stories, James Brown stuff, and it was fun touring
with him, you know what I mean?

Speaker 1 (01:18:28):
Wait, I know that he did he ever hook you
up with Like.

Speaker 8 (01:18:34):
There's another Ramp album out there that he has recorded.
He told me this out of his mouth that he
has that never came out, Not the Ramp that tip
us another album.

Speaker 1 (01:18:47):
Yeah, who came out in seventy eight?

Speaker 8 (01:18:50):
Because that Ramp album that everybody's finding, it's not the
original albums. That's a bootleg, that's not original pressing.

Speaker 1 (01:18:59):
But it was boot like seventies boot leg. You know
what I'm saying.

Speaker 8 (01:19:03):
Really it never he said, it never really came out.

Speaker 1 (01:19:09):
It never officially came.

Speaker 2 (01:19:10):
Out, never officially came We have it on white, We
have a promo what We're.

Speaker 1 (01:19:14):
Finding in nineteen eighty nine, eight ninety was Oh you
two man?

Speaker 2 (01:19:22):
Wow? Yeah, I thought he was masterful for that fine
right there.

Speaker 1 (01:19:26):
Wow. I never knew of that one, never knew.

Speaker 5 (01:19:31):
So did you ever get like what did Roy say
about your version of searching?

Speaker 2 (01:19:34):
Oh?

Speaker 8 (01:19:35):
We used to do it in the shows. You know,
he'll do the song and then I come in with
the hip hop version. But I made a live version.
I made it over and yeah it's pretty.

Speaker 2 (01:19:48):
That was my favorite joint. I remember you telling me
at the crib that was Novelle playing. Yeah, yeah, that one.

Speaker 1 (01:19:53):
Yeah.

Speaker 3 (01:19:55):
So the main ingredient, Well, I wanted to talk about
when you were talking to about like the you know,
the South and how you know we received y'all used
to get love out my way.

Speaker 8 (01:20:08):
I was surprised that even y'all, that y'all you know,
came from North Carolina sounding.

Speaker 1 (01:20:14):
Like that lot of us.

Speaker 2 (01:20:16):
I was like, what, man, we grew like some village
is like the same reaction, like, oh my god, Yeah,
we grew up.

Speaker 1 (01:20:24):
On y'all ship.

Speaker 3 (01:20:25):
And so like when Mecca and the Soul brother came out,
I remember that was the record we would play like
after practice, you know, during the summer, like after practice,
we'd be you know, after football practice, and we'd.

Speaker 1 (01:20:34):
Just be running it.

Speaker 3 (01:20:36):
And so then a couple of years later, because I
remember y'all had the this was the source I used
to have the ads and it was like, guess who's
back in the house.

Speaker 1 (01:20:45):
Oh yeah, guess back in the house.

Speaker 3 (01:20:48):
Like the next episode, the next issue be Guess Who's
back in the house. It would get bigger and then
like the next issue, it would be the album cover.

Speaker 1 (01:20:57):
It was y'all when Maine Ingredients set me up for
Snoop Dogg. Wait, Wait wait, wait are you going with this?

Speaker 2 (01:21:06):
No?

Speaker 3 (01:21:06):
That was that was like sourced with that record. Man,
I just remember buying it and I Gotta love. When
I first heard Got Love, and I even told you
before when I first heard I Got Love, I was like, okay, cool.

Speaker 2 (01:21:19):
That was like I was like, I'm shut that the
sing No, that's funny because that's favorite they wanted.

Speaker 1 (01:21:26):
I wasn't with that as the single. No, I wasn't
with it. Yeah, I was just like, okay. It was
just one of them joints that I was like.

Speaker 8 (01:21:32):
But they went crazy over it, and the manager Tuesday,
the management, the management, they wanted that out, you know,
was it? I was aiming for something else? I forgot
what song? What did I want?

Speaker 1 (01:21:46):
First? Was it there?

Speaker 2 (01:21:47):
I know that some one of them radio friendly ones, and.

Speaker 3 (01:21:52):
But the thing I noticed with that record was that
the production just got oh, I mean the remixes, but
the production you were one of the first producers.

Speaker 1 (01:22:00):
I remember that.

Speaker 2 (01:22:02):
I thought arranged hip hop songs like a songwriter.

Speaker 1 (01:22:06):
Would, like you have intro, bridges, break down, you know
what I mean. I was taught that.

Speaker 8 (01:22:13):
By my cousin Have and Eddie f Eddie f used
the program, you know, bridges and ship, you know, and
then also Marley.

Speaker 1 (01:22:22):
I picked that up from Marley to the Bridge thing. Yeah,
that record.

Speaker 3 (01:22:27):
Yeah, the main Ingredient was the one for me where
I was just like, yo, like hip hop gets no
better than this.

Speaker 1 (01:22:34):
Yeah, that was the one. And with the innerludes, I mean,
talk to us about.

Speaker 2 (01:22:38):
It, like how creating a record, like how do you
what was on your mind when you were both Mecca
and soul Brother and the main ingredient and the interludes,
and what were you imagining like with making this record,
like showing us your world or your record collection, being
a part of like a superhero.

Speaker 8 (01:22:59):
Team like the Avengers collect comic books, so you know, yeah,
I was on some comic book ship, you know what
I'm saying with them beats, you know, so I took
it on. I took on that that theme, you know, all.

Speaker 1 (01:23:16):
Right, Now, how were you able to pull that off?
On the business to.

Speaker 8 (01:23:23):
Uh, you know, after they was digging the album and
they felt the music sounded really good. I think everybody
was on some this has to just come out, you
know what I'm saying.

Speaker 1 (01:23:34):
People got ahead.

Speaker 8 (01:23:35):
It wasn't like, you know, we had to clear some samples,
you know, we had to meant just interludes was just ship.
I was just like on some whatever.

Speaker 1 (01:23:49):
Yeah, listen to somebody coming knocking like a.

Speaker 8 (01:23:53):
People wanted them in The Lose Man.

Speaker 2 (01:23:56):
They wanted them in what was your nightmare story? With
losing clearances? Not many because they were pretty short, you
know what I mean.

Speaker 8 (01:24:06):
So I don't know if musicians don't yeah, nobody catch nobody.
I don't think nobody that I'm sampling from is really
listening like that.

Speaker 2 (01:24:18):
But it's weird because everyone has like all right with
the daylight situation. I mean, the Turtles weren't listening, but
the Turtles was even with me and Doctor Dre like
I was like, yo, that's my parents. I never sampled
that never.

Speaker 8 (01:24:34):
They have some rare phone ky albums on Strawberry Records.
Oh my god, yeah amazing. I had no clue.

Speaker 2 (01:24:42):
Yeah, yeah, yeah, they have some joint joint and that's
when I hit you on Twitter and was like yo, man, oh.

Speaker 9 (01:24:49):
So they don't get a check for that?

Speaker 1 (01:24:52):
No, you have? You have you know what's weird? Yeah,
I got it.

Speaker 2 (01:24:55):
Okay, it's kind of a weird situation, uh with uh
Philly his own Larry Maggott, prior of the ticket Master
uh Empire, and who used to my dad built this empire.

Speaker 1 (01:25:17):
He used to manage my father.

Speaker 2 (01:25:19):
Uh, and well he was my father's agent for college gigs.
So it was long after Andrews and the Heart's finished
and he was doing uh like college gigs around the
sixties and whatnot.

Speaker 1 (01:25:32):
Like Larry Maggott was his agent.

Speaker 2 (01:25:35):
And through that college money, that's how Larry Maggott started
ticket Master.

Speaker 1 (01:25:41):
Of which, in some strange sort of events with.

Speaker 2 (01:25:46):
Julius Caesar, uh, the Ticketmaster Empire sort of conspired against
him and they started Live Nation and kind of kicked him.

Speaker 9 (01:25:58):
So he got his pay back.

Speaker 2 (01:25:59):
If you, if you saw anenturage, would be like if
Ari Gold had like twelve proteges and and and in
turns working for him.

Speaker 1 (01:26:08):
He talked them to the tricks of the trade and
they all started their own company.

Speaker 2 (01:26:11):
Yeah, and then they yeah, like you guys start a
radio empire and then I'm out the cold.

Speaker 1 (01:26:17):
Like welcome to Spring. True. Yeah, that's yeah, that's wow.
That's crazy man. So yeah, all right, So when when
the group breaks up.

Speaker 2 (01:26:33):
In ninety four ninety four after so, I mean, were
you having also electric thing now that I think about it, well, major,
major labeled thing, you know, pitting us against each other
when something new comes, it comes into play.

Speaker 1 (01:26:49):
What were they? What would they control?

Speaker 2 (01:26:52):
When Sylvia tells you, you know you got to make
remixes like cough. Daddy's talking to me like this, and
I'm like you, I'm like, I got nothing against that's
my guy, you know what I mean? But you know,
people say things and you just be looking at him like, yeah,
but tell the truth, Pete. You got you got some
beats where you put the little triangle in there.

Speaker 8 (01:27:16):
You know what I used to I used to make
wag beats for fun because I never know who's gonna
like it, you know what I'm saying.

Speaker 1 (01:27:23):
So, so was the Fluke beat? Was there a Fluke
beat right here? And whatever? People like, yo, I want
this ship. I to be like you sure? You know what? Man?

Speaker 2 (01:27:36):
I always wanted to ask you this. I was always curious,
and this was my theory.

Speaker 3 (01:27:40):
I always thought that your work on He Is Nothing
but Love was your answer to like puff and like that.
Like that was to me, that just sounded like, but
I'm showing them that you could do that commercial stuff
if you wanted to.

Speaker 1 (01:27:55):
That's weird.

Speaker 8 (01:27:58):
Got me waiting switch you. Those were like the radio
I have wanted that. He knew I could do that,
so he was like, you know what, he you know,
I want you to go Hey. He's always the one
to tell me, don't be afraid.

Speaker 1 (01:28:10):
To go left. Mm hmm when this case goes right.

Speaker 8 (01:28:14):
That's how I made most of them beats, because he
would say that you know what I'm saying.

Speaker 2 (01:28:18):
Well, I only mentioned blue Funk because like, I don't
know who was on the payroll, but for Soul training
to use blue funk uh and black coffee mm hmm.
For the Soul Train line, like when you saw the train, Yeah,

(01:28:41):
I was like five, six, seven, eight nine times to
the Soul Train line, which I.

Speaker 8 (01:28:45):
Was like yeah, and then being up in there, it's
like wow, I thought the Soul train was bigger, bigger
than small. We see the same dances, that same Asian.

Speaker 1 (01:28:55):
Girl that she was there shout out to She's not
for nothing.

Speaker 5 (01:29:03):
But you know, I know Heavy left like a big
void in most of our lives. And we can say
how that boil was for you in your everyday process
of you being you, Like, what kind of void was
that for you?

Speaker 8 (01:29:14):
Come on, man, that even you know, I get choked
up talking about it. But we shared everything together, you know,
off of music, Like you know, the music came later.
You know, that was my family, you know what I'm saying.
And we grew up from three years old, so that

(01:29:36):
just took half of me away when he passed. Yeah,
you ain't have man, y'all gave me my career, I
could say, basically, you know help you know it was
because of him. Yeah, y'all were definitely you know when
we were coming up starting Little Brother, I remember one
of the things that you know, you kind of encouraged
us and was like doing the singing hooks and stuff
because at the time, in quote unquote underground hip hop,

(01:29:58):
you weren't really hearing a lot of that was rappity rappity,
rapity rap.

Speaker 2 (01:30:02):
Heavy D was a rapper, but we always played around
off the records singing and then next thing you know
he wants he's wanting to do this on records.

Speaker 8 (01:30:13):
Girls and girls they love me, you know that, and
then we would just do you know, stuff for him record.

Speaker 1 (01:30:23):
You know what I'm saying. That's dope. Yeah.

Speaker 2 (01:30:26):
He was my mother like loved every day, Like she
was one of the only rappers everybody's mama loved seriously.

Speaker 9 (01:30:33):
And then he was one of.

Speaker 5 (01:30:35):
The only that translated into the commercial world, like when
he started acting.

Speaker 10 (01:30:39):
And doing No Life and Living Single.

Speaker 2 (01:30:41):
Get me started, yo, Martin, you know, Living Single?

Speaker 1 (01:30:47):
He was all the black on the rock.

Speaker 2 (01:30:51):
He appeared on a lot of stuff, you know what
I'm saying, even in New Jersey Drive moviey.

Speaker 1 (01:30:57):
New Jersey and Who's the Man with Everybody? Who Man?

Speaker 8 (01:31:02):
Me and cl were the robbers were everything. Yeah, were
sticking up the joint. Yeah, that's what I said. The
mask we got the mask you can't see our faces
were mad about that. It was like, wow, we can't
be seen.

Speaker 9 (01:31:16):
You still get a check with that though?

Speaker 1 (01:31:18):
Right? How many times did they show it? The checks
are finished? Yeah?

Speaker 3 (01:31:28):
What was peat was about the period so after after
U n c L broke up, and so the period
where you were working on that's my joint.

Speaker 2 (01:31:37):
Oh wow, oh my god, extra professional man. Uh Soul
Brother records.

Speaker 3 (01:31:43):
That's so you were doing this iron I what happened
with those records? Every Man is still it was Matt Bootleg.

Speaker 2 (01:31:52):
It was never Why didn't officially Electra had Electra had
all that?

Speaker 1 (01:31:57):
They had iron and another album now maybe he put
it out.

Speaker 8 (01:32:01):
Yeah, And but when Sylvia came in to take over
from Bob kraz now who was the president of Electra,
who set me up to all that stuff to come out.
It was all gonna come out under Electra. Then she
came in and just you know, debedit it.

Speaker 1 (01:32:17):
Man. So what was your relationship like with Sylvia run Um?

Speaker 2 (01:32:22):
Shaky like that?

Speaker 8 (01:32:24):
I just felt I just felt like she didn't understand
who we were, you know what I'm saying.

Speaker 2 (01:32:29):
Even with the success of Troy and it.

Speaker 8 (01:32:33):
Was like nineteen ninety five ninety six, they were trying
to do some changing, some game change and stuff.

Speaker 2 (01:32:40):
All right, So what what is going through your mind
with now this? This is the perfect plot to things
fall apart where no, you you have a warrior, someone
very skilled in a particular craft, who goes off the
war and then come back to his homeland to see

(01:33:01):
that the environment has changed, and you know it's colonization
and all those things that took it. So what is
your response, because actually, if I've recalled correctly the night,
I believe the night. So there was a night that
when we were working the.

Speaker 1 (01:33:20):
Routes were working on.

Speaker 2 (01:33:24):
On oh things fall apart of Detroit. Pete was also
I think was that the first night you met Dyla
when you came to the basement. Yes, and I stayed there. Yo,
the most magical night ever because Pete is literally remaking
like beats over and we're just standing there like kids

(01:33:45):
in this candy store.

Speaker 1 (01:33:48):
Yes, dude, I was there.

Speaker 2 (01:33:49):
And so the thing is, the thing is that I
was shocked that by that point you said like I
don't use the three thousand, and I was shocked.

Speaker 1 (01:34:00):
I was like, wait a minute, you're still using the
twelve hundred.

Speaker 2 (01:34:03):
And I know, like your tools are your tools, but
how do you with technology moving at the speed of
sound the way it is now.

Speaker 8 (01:34:13):
I used the twelve all the way up until two
thousand and I know, and that's when I started doing
the forty five thing.

Speaker 2 (01:34:21):
Really, Yeah, when we came to see you in two
I think that was when you had just started using
three thousand.

Speaker 1 (01:34:28):
Yeah, three thousand, and you finally graduated. Yeah, I'm gonna
tell you.

Speaker 8 (01:34:32):
I'm on the two thousand Excel and it feels like
an upgradeed SB twelve hundred. So I feel like I
don't need nothing else.

Speaker 1 (01:34:40):
Justified. Yo, James Poyser, I won't even me and talk
on Twitter.

Speaker 2 (01:34:50):
I won't even disrespect him. But I'm on a middle finger. Gee,
James poison. James Poyser teaches me. He calls me like
a played out ninety years because I can't let my
two thousand Xcel go.

Speaker 1 (01:35:06):
It feels so good. I can't. Yeah, I can't let
it go, like I still use it to this day.
That's right and using it. He yeah, he makes me
feel horrible for this, but I'm saying for you.

Speaker 8 (01:35:17):
I use a RAN two sometimes mess with the renaissance?
Really so does it?

Speaker 1 (01:35:23):
It energy? It's cool. I like it.

Speaker 8 (01:35:26):
It does things, it gives you unlimited but it's a
little bit more to it than my thing is simple
to the point. If I know what to do, it's done.
I know that machine really so so.

Speaker 1 (01:35:41):
But with now, like, are you able to use able
to use modern?

Speaker 8 (01:35:50):
I have able to and I've used it on New
York's Finest. Okay, do I have just regular, you know,
nothing crazy pro tools? I had the Pro Tools seven,
then graduated from that to the ten, right, you know,

(01:36:10):
to do extra more.

Speaker 2 (01:36:13):
Well, I know it's hard leaving your comfort zone because
I know that when Stroe Elliott was telling me, it
was so hard for him to like, there's there's this
there's a slew cats right now, like tall black guy
Stroe Elliott, Joe Roun Bombay, when Joe Ron Bombay is
from Canada, and these cats are I mean, they're making

(01:36:37):
incredible beats, and but they're using some of the most
primitive Like I remember laughing at ninth when he showed me.
I was like, yeah, that's what I didn't know either. Yeah,
but what what these new cats are using as like
even a step crazier than fruity loops, was like so basic,
And they were telling me like, well, this is how

(01:36:58):
we first Like they were using like.

Speaker 1 (01:36:59):
So acid ad like.

Speaker 2 (01:37:01):
Real, it's still very basic, but making miracles out this ship.
And Sereue Elliott told me like he finally had to
physically force himself out of using like a lot of
that the primitive stuff so that he could, you know,
really jump in the game of beat making? Man, So

(01:37:24):
is that I mean, is that a personal fear? Because
to hear anyone else say it, it's like, oh man,
it's easy, like once you once you do it, you
won't But how hard is it to leave your your
tools of the trade? And oh man, it's hard.

Speaker 8 (01:37:39):
It's hard to because you mean, I mean, I made
on my hips off that twelve hundred and it wasn't hard.
It wasn't easy for me to give that up. But
then when I started playing with the two thousand, I
started forgetting about this. Do you still use the twelve hundred?
It was the last time used beats on it. I
still have a lot of beat with that machine, so

(01:38:01):
I don't. I haven't used it lately. Oh yeah, I
did on Mac Wild's album, first album, Oh Wow, What
did you do?

Speaker 1 (01:38:07):
On it?

Speaker 8 (01:38:08):
I did song called I Think so what? He named
it love and then another one called him duck Sauce.

Speaker 2 (01:38:14):
And those beats were done on the on the spow.

Speaker 8 (01:38:17):
Duck Sauce, wasn't the other one one? Impress it all straight?
Sp Salim Salam laid that down for me. Okay, Yeah,
I remember.

Speaker 2 (01:38:27):
When you you were working on the two thousand and
the thing I thought was so dope your bass lines?

Speaker 1 (01:38:36):
How is that?

Speaker 2 (01:38:37):
Because I mean, you're like one of my favorite bass.

Speaker 1 (01:38:39):
Players that don't play a bass.

Speaker 2 (01:38:42):
Humming, humming, humming in my head listening, you know, just
you know, that's just I think that became a natural
thing because that was my thing. I used to want
to practice, you know, making bass lines. You know what
I'm saying.

Speaker 8 (01:38:57):
And famala James Brown Records, I heard the Barrier Records,
to Isaac Records, all the jazz records. I used to
hum Baseline.

Speaker 1 (01:39:05):
I always said that.

Speaker 2 (01:39:09):
If one particular musician, if you were personified, or if
you were representing a musician, you were probably I'd say
you would be Marshall Jones.

Speaker 1 (01:39:24):
Yeah, I think you read.

Speaker 2 (01:39:28):
I had an hour conversation with Marshall Jones and the
look of shot on his face when I'm trying to
explain to him how vital him specifically, how vital he
was to renaissance hip hop culture, and he's thinking like, oh,

(01:39:50):
skin tight, none of I'm like, no, Marshall Jones, you
don't get it, like and I'm breaking down, like you know,
like like what's going on, like you cover what's going
on and paint all that stuff and players balling. It
took like it took ten minutes for it really to
sink in that that Westbound version of Ohio Players was.

Speaker 1 (01:40:14):
Valuable to us. Now, oh my goodness. He couldn't he
couldn't understand that. But the longest man.

Speaker 2 (01:40:22):
But eventually, like they have unreleased, yeah, from seventy three.

Speaker 1 (01:40:28):
I was gonna say, like, I would love nothing better.

Speaker 2 (01:40:32):
Sent me, I sent he sent me some files and
I was listening to that shit, losing my mind, like god,
some record and it sounds.

Speaker 1 (01:40:40):
Just like boo.

Speaker 2 (01:40:44):
What like it's on that vibe. It's on that vibe.
It's not that same you know base yeah yeah.

Speaker 1 (01:40:50):
Yeah, But just like next next to James Damison in Motown,
like Marshall Jones is. I mean, it's baselines are just believable. Man.
It's it's not Flashy's and that's it. You know what.

Speaker 2 (01:41:10):
I'm trying to explain to the cats. It's like the
less you do, the more timeless it is. So Pete, Yeah,
all right, we've done a lot about yesterday. Now talk
about your what are you up to you late?

Speaker 1 (01:41:22):
Well?

Speaker 8 (01:41:22):
I mixed the new Locks record for the album Yesterday
for the new album The Styles Pete Jadakiss and Chiclut
shout out to them. And then I got this project
with my man smoked this over there smokes.

Speaker 1 (01:41:34):
Just how you doing? Brother?

Speaker 2 (01:41:40):
He's like, Man, I'm so fucking hungry, man.

Speaker 9 (01:41:43):
Chicken sandwiches.

Speaker 10 (01:41:44):
Don't be hungry.

Speaker 13 (01:41:45):
No, no, no, I'm chilling. I'm cool.

Speaker 1 (01:41:47):
Nah.

Speaker 2 (01:41:48):
Now that's my dude right there?

Speaker 1 (01:41:50):
My god?

Speaker 2 (01:41:51):
You like, who are you?

Speaker 8 (01:41:54):
But we got this album that's really really dope, and
it's long time come and this long time that we
haven't heard something like this, you know, you know, representing
hip hop and live you know, playing you know, mixed
with you know, funk.

Speaker 1 (01:42:11):
So what do you what do you feel.

Speaker 2 (01:42:14):
The standard of excellence is now for twenty sixteen as
far as like, is it still for you like a break.

Speaker 1 (01:42:22):
Be that moves you, the loop that moves you? Or
like are you now thinking of a generational gap thing?

Speaker 8 (01:42:27):
And yeah, I'm thinking about the generational gap thing because
I feel like what.

Speaker 2 (01:42:31):
Part of you is like I'm gonna take you all
to me, and what part of you is like because
have you heard a premiere's remix of Timmy Timmy Turner.

Speaker 8 (01:42:39):
Yeah, Timmy, Timmy turn and I uh, you know, man,
let me see what could I say from from you know,
from I know you've.

Speaker 2 (01:42:53):
Had any words with millennials before online or whatever. Ye, no,
I mean you know, I'm those are real words and
real thoughts like I too would like to see us
do better. But I mean part of me is wondering, like,
are we now our parents?

Speaker 8 (01:43:11):
And yeah, yeah, absolutely, now we're the grown ups. You
know that we have to teach you know what I'm saying.

Speaker 2 (01:43:18):
So it's it's wrong for me to want to hear
English or at least words that I no, no, no.

Speaker 1 (01:43:29):
Disrespect. No.

Speaker 6 (01:43:30):
Yeah, you're having your Chef Gordon hearing hip hop for
the first time.

Speaker 1 (01:43:34):
Yeah no, no, no, no, no, no, no, no, no, no no. I'm
just saying.

Speaker 8 (01:43:38):
Yeah, but it's just coming from a little bit of
a different place than these kids.

Speaker 1 (01:43:42):
As far as I know, we started mumble. I'm sorry,
don't say nothing. That's my shield. No no.

Speaker 5 (01:43:51):
But so let me ask you this then, So, since
you are so aware of the differences and whatnot, then
how do you decide to do why smoke?

Speaker 2 (01:43:59):
Then?

Speaker 8 (01:43:59):
Well, because he's a good young guy with the old soul,
you know what I'm saying. And he's been around for
a while. He has his own little cult following, you know,
which attracted me also with his skill set and you know,
all like he's he's not he's different from certain younger
generational artists, you know, like all right, some of my

(01:44:22):
favorites are like Kendrick and Jake Cole and Action Bonds
and Joey Badass. You know, the list goes on, you know,
and then you have some that do their own thing.
You know what I'm saying, that people try to comprehend.
And the part that's where I come in, where I'm saying, Look,
you got to say something, man, you know, you got
to talk to the people.

Speaker 1 (01:44:42):
Man.

Speaker 2 (01:44:42):
We not We're not aliens, you know what I'm saying.

Speaker 8 (01:44:45):
I don't know where your mind is at, but we
people that want to comprehend with you.

Speaker 1 (01:44:49):
You know your.

Speaker 9 (01:44:50):
Message And it's funny.

Speaker 5 (01:44:51):
I made a joke, but and serious y'all. The title
don't Smoke Rock. That's some serious thought. That's not a joke.

Speaker 10 (01:44:58):
Like tell people, it's not just a common you'll names smoke.

Speaker 7 (01:45:02):
You came up with that, Wow, it was just to
play on words with our names, and I just felt,
you know, with the times that we're in, it was
just something positive. But I didn't really want to. I mean,
it's it's kind of cliche eighty eight Ronald Reagan, you
know what I mean. But but but really in the
times that we're in right now, I mean, it's not

(01:45:22):
too far from Malia any of the weird ship that
they fucking with now. So I mean, you know, don't
smoke rockets kind of like our powerful way of being, like.

Speaker 2 (01:45:32):
You smoking on chill Nick, chill off.

Speaker 8 (01:45:37):
But you know, this is just a great album. You know,
we got Brick Bross on there, we got wile A
mac Miller, the Locks camraon hm.

Speaker 1 (01:45:53):
Hmm.

Speaker 3 (01:45:54):
I wanted to ask you smoking what was it like? Well,
first off, were you aware you know of I mean
Pete rock.

Speaker 2 (01:46:04):
Right Gott And uh yeah no seriously, so like working
with him like Win died it, Win died it.

Speaker 1 (01:46:14):
I just Win died it.

Speaker 3 (01:46:15):
Shift to say like okay, like I want to be
a fan, but now I gotta really, you know, do
the work, you know what I'm saying, Like, was it
ever a shift during the recording?

Speaker 13 (01:46:25):
I don't think it was ever a shift.

Speaker 7 (01:46:26):
I mean once pr made that initial call like YO,
was up, you're trying to do this?

Speaker 1 (01:46:31):
It was like yeah, it was.

Speaker 7 (01:46:36):
Like of course, you know, and I kind of like
I'm like a lucky fool, like you know, Flex sent
me a Pete Rock beat, like, Yo, I need you
to give me thirty two bars for my mixtape on
this Pete Rock.

Speaker 1 (01:46:48):
That's how it started. And I'm like, well, that's how
the work.

Speaker 13 (01:46:51):
That's that's how the working relationships started.

Speaker 7 (01:46:54):
And you know, from there, I was like overwhelmed, like, oh,
it's a Pete Rock beat, Like he could have sent
me whatever because he was saying and anybody else of
a ship.

Speaker 13 (01:47:01):
And I got the Pete Rock beat. So I'm like,
all right, let me let.

Speaker 7 (01:47:05):
Me show off so I can impress Pete so I
can get another one. And then you know, that just
trickle down to my project. And then he's like, yo,
I want to keep this from mine and then it
was like yo, let's just do a full length joint.

Speaker 2 (01:47:19):
Yeah, so it came about and it's easy to work
with this guy.

Speaker 1 (01:47:24):
Get quick.

Speaker 2 (01:47:26):
Are y'all still tracking area? Where are you tracking? You're
tracking in your crib or no?

Speaker 8 (01:47:32):
Right on thirtieth little spot okay, yeah, do ship fast
and then quick.

Speaker 1 (01:47:38):
I was going to say, you don't track vocals inside
your house, you.

Speaker 8 (01:47:40):
Know I actually did. I did a few. But but
what's known is a I did a mixtape for camp
just thirty blocks. Well, I just did anything. You know
what I'm saying. It's just a mixtape. They can't loads
of the type of group. They're spontaneous and they rap

(01:48:02):
to any like anything like you know what I'm saying.
So we just wanted to. We thought it would be
a good idea to do it. And you know it's
on my website proock dot com. You can download free
because there's a lot of sample on that week clearing that.

Speaker 2 (01:48:21):
Well, yeah, how I mean that's even though we're laughing
about it, I mean for me, that's like taking the
oxygen out of your tank, Like, how are you able
to now navigate.

Speaker 1 (01:48:36):
Skillfully at least to the.

Speaker 2 (01:48:37):
Standard you're excellent, especially with the product project of this caliber,
without your number one tool, well, which is the sample.

Speaker 8 (01:48:48):
Probably just listening to what's going on, listening to radio,
listening to what people like, you know, listening to other producers,
new ones, you know what they're doing, and just you know,
take it all in and say, okay, you know, let
me do it my way, you know what I mean.
And then you'll find that out when you listen to
Don't Smoke Rock. Yeah, good ship Yeah man, good ship Man.

Speaker 1 (01:49:13):
I wanted to ask you because I was always curious
about it. Bb em BB was the label out of
disrespectful that.

Speaker 3 (01:49:24):
Put out petrumentals and the surviving elements.

Speaker 2 (01:49:29):
That was that one was stolen.

Speaker 3 (01:49:31):
No, yo, I'm gonna be I'm gonna keep it all
the way back with you. Somebody very close to me
in my camp got a call to mix that record and.

Speaker 2 (01:49:41):
We were both he hit it. I was like, yo,
don't do it. I said, don't touch that. I know, Pete.
That guy is starting trouble, you know what I mean?

Speaker 1 (01:49:48):
Yeah? So what was the what? What you want to know? What?
You want to know? What happened?

Speaker 2 (01:49:54):
I saw him on the plane, man, and let loose
on this guy. I couldn't put hands on him.

Speaker 1 (01:49:59):
I heard the story I heard.

Speaker 8 (01:50:00):
So I started spitting on him. I figured I was
there because he disrespected me in the utmost worst way
ever that no man could withstand, and I couldn't hold
it back.

Speaker 1 (01:50:11):
I was on the plane with it. What way was that?
What would somebody said or something he.

Speaker 8 (01:50:16):
Did something he did rather not, you know, go into
the personal business. I'd rather say I remember the great period,
but but what he did angered me.

Speaker 1 (01:50:29):
So that was and that was Spanner turning into the whole.

Speaker 2 (01:50:31):
And that was for the pet That was for the peatstrumentals,
because then we did.

Speaker 8 (01:50:37):
That was for surviving of the elements. I was working
on New York's finests and.

Speaker 2 (01:50:44):
Had some leftover beats on a drive that I left
in the studio, which I shouldn't have did, and you
know there somebody stole it.

Speaker 5 (01:50:53):
Yeah, that's so interesting because from a consumer standpoint, BB
had a whole error where it was just like dope ship,
like from.

Speaker 2 (01:51:00):
Yeah, dope ship for the people from people from here,
from the producer friendly label. It wasn't he wasn't snatching
nobody in Europe or nothing like that.

Speaker 1 (01:51:10):
It wasn't they did. I mean, we put our first.
I remember that BB, and they did right.

Speaker 8 (01:51:18):
But I mean, you know when when I when we
first discovered them, it was all love in the beginning,
you know what I'm saying, and then you know, we
ended up having you know, I took out lawsuit and
got paid one took him to court.

Speaker 2 (01:51:32):
Oh okay, because both of those wreck because it was
you did instrumentals.

Speaker 1 (01:51:36):
Oh yeah, I took him the court too.

Speaker 2 (01:51:39):
Was on b B two, right, yeah, it was because
we did that was after all of that though, because
then they then the surviving of the elements came after
those two A gotcha and then that's when you know
that happened.

Speaker 1 (01:51:51):
Man, talk about un c L and where y'all at
right now? I know, touring.

Speaker 8 (01:51:56):
We just did a month and a half on tour,
no off days, just going hard, and I was like
looking at Cel steaming once. You know, the lights the
stage lights were so hot in one spot that he
was sweating so much that when he came in the
dressing room to sit down, he was literally steaming, like

(01:52:16):
the steam was coming Marvel steam. And I'm like, I've
never seen that ship before, Like, wow, this cat is
hungry again. Yes, that's when we decided, you know, yeah,
let's let's do this do this music shit again.

Speaker 1 (01:52:30):
So y'all talking to the album. Yeah, yeah, he got beats.
He's on Cloud nine right now. Oh ship, So there's
a chance that we might have a new Pete Rock
in twenty seventeen.

Speaker 9 (01:52:44):
Wow, something to look forward to.

Speaker 3 (01:52:45):
Damn it, because I will say the records that y'all did,
like front Post Breakup, I mean from the Love Thing.

Speaker 1 (01:52:55):
Yeah, they appreciate. Oh wow you like that?

Speaker 2 (01:52:58):
What wait wait wait climax she said? Client said climax,
you said Client? Okay, I just felt that was a
bad man. I didn't mix that. I didn't mix that
was cool. The mixed money could have been climate. Which
one was that one that was? It was Curtis. Curtis
may give you.

Speaker 1 (01:53:19):
I remember you playing me that beat and I loved that.
It was a bad mix of it. Yeah, and the
dude they had singing over I remember, I call.

Speaker 8 (01:53:26):
I would have made that, you know, if I was
behind mixing it, it would have been much better sounding.

Speaker 1 (01:53:32):
And back on the block back mfs B member. Ye wait,
what was that?

Speaker 8 (01:53:42):
Mfs B member One guy who made a solo album
that was in Montana. There you go, Yeah, yeah, that's
what you gotta say. Just he said his first name.
People don't know Montana. They don't know who you're talking
about unless they have a musician.

Speaker 1 (01:53:59):
Now, I'm trying to remember remember the record. You probably
have the album. I know I do now I'm trying. Yeah, yeah,
I started singing. See the vibing.

Speaker 2 (01:54:13):
Then that was a joint, like, yeah, that was one
of them joints.

Speaker 3 (01:54:19):
But now y'all de forming. I mean, y'all, you guys
still sound. Every time y'all.

Speaker 8 (01:54:23):
Put out the current, that's still right now, people are
gonna drop their jaws on their head.

Speaker 2 (01:54:29):
And what made y'all get to this point? Because I
remember for it was really nasty. I just think even
when it was like that, it wasn't totally. You know,
it was a timing period where it did get you know, ugly.
But then you know, even over the years, I put
them on piece mental I snatched them so survivor so
so survivor too.

Speaker 1 (01:54:50):
You know.

Speaker 8 (01:54:50):
I was always reaching a handout. And then you know
when when you're old and grown, yeah, you know you're like,
all right, man, we were kids then you know what
I'm saying, fucking funk all that ship, you know that's
up So that's why.

Speaker 1 (01:55:09):
So you still live in Mount Running right now? No,
I'm in upstate New York. Okay. Yeah, it's quiet. People.
People always like try to lure me up there, like
just try, there's people up there.

Speaker 2 (01:55:23):
It's people something you say the artists. I don't want
to put nobody on blast. No, but I mean, like,
is it like, are you in the farm area.

Speaker 8 (01:55:33):
It's in the woodsy area, lots of deers and animals
and ship.

Speaker 1 (01:55:36):
Really, and that's where I want.

Speaker 2 (01:55:38):
To I actually like it because it's you know, yeah,
it's quiet, but I get work done.

Speaker 1 (01:55:45):
You know that's scared When I'm in the.

Speaker 2 (01:55:47):
Hood and everybody, are you scared going to get chased
by gunk again?

Speaker 9 (01:55:52):
Yo?

Speaker 2 (01:55:53):
Listen, I'm running from them ships to man that ship
get on you. You finished finished stinks And my dog
got sprayed one time and the dog came in the house.
My sisters just started immediately throwing up. It's bad up close,
it's bad. Like is that tomato soup thing real?

Speaker 8 (01:56:15):
I think it works. I never had to do it,
but I did it for my dog. It works to
make tomato soup. Will get the skunk smell tomato soup,
all kind of eating tomato sauce, anything, tomato ship. I
just want to take a tomato bad tomato bat That's
what we was doing for the dog. Tomato bad. That's crazy.

Speaker 2 (01:56:37):
Do you and do you and grab grap lover ya
still y'all still work.

Speaker 1 (01:56:42):
We haven't worked in well.

Speaker 8 (01:56:43):
I mean I think he put out an instrumental album
of beats that we used to experiment with, and then
you know he would learn from me and catch on
and do ship himself and then put it.

Speaker 2 (01:56:57):
He put out an instrumental and actually half man, half amazing.

Speaker 8 (01:57:01):
He produced that. He produced it first. But he had
these drums and he was like, I don't like the drums.
And I didn't like them either, so he was like, yo,
just change the drums.

Speaker 1 (01:57:12):
Speaking of drums. Okay, So when my beautiful, Twisted, Dark
Fantasy album was getting announced and he was like, I'm
gonna use Pete Rock. Now, in my head, I thought
you were going to make a fresh beat. I'm not mad.

Speaker 2 (01:57:32):
No, no, no, I'm not mad because he took one of
one of your one of your best interlude beats of
all time. But okay, when you're working in that environment,
and plus you you also did the makings of you.

Speaker 1 (01:57:51):
Now that's when I first met Rose too. Okay, So
when you're in that environment.

Speaker 2 (01:58:01):
Is it is it limiting when when you're working well,
I don't mean limiting, because I also had this question
for a Q tip when he made on wasch the throne,
that's my bitch.

Speaker 1 (01:58:19):
Oh yeah yeah, beats that.

Speaker 2 (01:58:22):
Don't necessarily sound like it came from their cannon, you
know what I mean? So in that particular envirralm because
I felt like what they did was they stripped you
down to your your your basic minimum, like were you
presenting full fledged ideas to them?

Speaker 1 (01:58:37):
And they were just like yep, nope, we just want no.

Speaker 2 (01:58:40):
I was actually Kanye was picking beats.

Speaker 8 (01:58:43):
He picked like eight or nine and we narrowed it
down to the one, but he did like two or
three rhymed on one. He asked me phone to rhyme
on the enjoy with him, but I wasn't ready, you know,
to do that.

Speaker 1 (01:58:56):
Yeah, okay, okay, no, no, you know.

Speaker 2 (01:58:58):
It wasn't nothing, But I was just really sorry about
your your your your vocal uh powers?

Speaker 1 (01:59:04):
Which nah, I'm with you.

Speaker 2 (01:59:09):
You made it you like I don't know you. You
had a cool voice for it, like thanks, just like
you were shot, Like how come you didn't produce that?

Speaker 1 (01:59:20):
I wasn't.

Speaker 2 (01:59:20):
I don't know, man, it's a grand pooba, Like who
made you? Grand pool back here to win the buzz bees?

Speaker 1 (01:59:26):
Again? Blame for me?

Speaker 5 (01:59:29):
Rappings that they made you do to don't curse verse
because I was like, do you.

Speaker 10 (01:59:32):
Want to do that?

Speaker 2 (01:59:33):
Those are the first rhymes I wrote by myself.

Speaker 1 (01:59:35):
Oh man man yeah.

Speaker 8 (01:59:39):
Yeah yeah, and then pool Boy wrote the Creator and
Soul Brother.

Speaker 1 (01:59:45):
What three beats that were made? Were you? Just like, damn,
I wish I made it? Like probably not.

Speaker 2 (01:59:55):
I feel some sort of way like I could make
that better, but just like I wish, I mean that
probably what three joints?

Speaker 1 (02:00:02):
Did you hear? It was just like or somebody got
to the sample first?

Speaker 2 (02:00:06):
Well that's my second question, but just a completed song.
I wish I produced this, probably like the power song
I gave you power that pretymom did that right? Yeah? Okay,
what other joint? I was a lot of his joints.

Speaker 1 (02:00:30):
But you know.

Speaker 2 (02:00:33):
I have you have to ask me that another time
at the interview. Then you know I have a better
thought process like any joints?

Speaker 1 (02:00:42):
All? All right? So what sample.

Speaker 2 (02:00:48):
Did you have in your possession that you didn't realize
that's where.

Speaker 1 (02:00:53):
That was a whole lot of ship or one that
you had a plan for into it?

Speaker 9 (02:01:00):
Hmm.

Speaker 2 (02:01:01):
Kicking the door, Wow, I was cleaning it. I used
to play it play playoffs. I'm gonna make something of
this one day. Then boom premo.

Speaker 1 (02:01:10):
Wow.

Speaker 3 (02:01:13):
I remember, I remember being at the crib. You showed
us the sample for day Lost Pony Ride.

Speaker 1 (02:01:19):
Oh wow.

Speaker 8 (02:01:21):
With the record when you're doing this, when the record
goes and they just you just tapped it.

Speaker 2 (02:01:36):
So I've learned too much today that it's overwhelming. So
I'll just stop at Biggie hearing, Biggie hearing in the flesh,
get me that being an autist, take a look what man.

Speaker 3 (02:01:50):
I learned that Pete Rock has probably the sharpest ears
on any human beings that.

Speaker 2 (02:01:56):
Can pick out scenario. I mean, that's just amazing. I
think that just them all my life. But that's I mean,
I mean, I've been listening to it all night, but
I can't hear him the way you're in. But uh
but nah, man, it's it's just great just to be
here with someone who inspired us and just who played
such an integral part in my career, and to know

(02:02:16):
that he still just has the love for the music
and you know, just.

Speaker 1 (02:02:21):
Still has that integrity and it's still here. You know.

Speaker 3 (02:02:24):
It's it's so many cats from that era that weren't
able to transition and weren't able to you know, you know,
learn a new set of tools, you know what I'm
saying for the new world, so to speak. So just
to see him here and still doing it, you know,
doing the records with smoke, reaching out to younger generation
and uh, just still doing it, man, It's just it's

(02:02:45):
really inspiring. And I'm happy he's still here with us,
giving given given my heroes, the Flowers, while they live, waiting,
not waiting till they passed, not waiting till you know
what I mean.

Speaker 1 (02:02:57):
You gotta have a vigil or nah like.

Speaker 2 (02:03:00):
Tech and still too. On that note, On that note,
because we did a song.

Speaker 1 (02:03:05):
About that, Sugar Steve, you would us. Yeah, what you
learn man? Again, a lot of a lot of information overload.
This was an information overload episode.

Speaker 11 (02:03:17):
Yeah, I learned Questlove wants to take a tomato bath.

Speaker 8 (02:03:22):
Said that if you gets sprayed by a skunk, he's
gonna have to do that.

Speaker 1 (02:03:25):
I've gotten sprayed by a skunk. Oh wow.

Speaker 11 (02:03:28):
I Like, I'm worried about your dad's records being in
your mom's basement.

Speaker 1 (02:03:33):
That's the first thing I thought about Ron Control. It's
good money down there. It's base that it's not moist.

Speaker 2 (02:03:41):
No, it doesn't.

Speaker 1 (02:03:45):
Just because you haven't.

Speaker 11 (02:03:47):
And then you said, you know you still have all
your discs from from all these you know.

Speaker 1 (02:03:50):
That's that's where I live now. Yeah, yeah, that's what me.
I'm close next to me. So you wouldn't take your recollection,
would you.

Speaker 8 (02:03:58):
Yeah, of course records, but you're sentimental like you I have.
You know, my father's records are still at my mother's house.

Speaker 1 (02:04:05):
So you want them there for sentimental reason.

Speaker 2 (02:04:07):
Because I have to make room.

Speaker 6 (02:04:10):
How many records do you? Would you say you have
like forty somewhere up there's probably more than that too. Like, look,
my wife is just nuts because I keep bringing records and.

Speaker 1 (02:04:28):
No more. She's dead ass too, but.

Speaker 2 (02:04:30):
She knows your peate Rock, right, Yeah, it's like the
reason why we have this house is yeah, one of
these records will get you all right. So Bill, what
I learned, I mean, I really just got confirmation of
what I've always known is that Pete Rock is still
one of my favorite producers. And the fact that I
was actually able to sit in the room and talk

(02:04:52):
beats and records with Pete Rock, I can pretty much
die happy.

Speaker 1 (02:04:55):
Man right now.

Speaker 2 (02:04:56):
Scenarios it's like this, This is some dream true ship, right, God, blessed,
Thank you for coming out, No problem, man, thank you,
question me and quest go back. You know what I'm saying.

Speaker 9 (02:05:07):
Oh, I have learned.

Speaker 1 (02:05:11):
Snares.

Speaker 5 (02:05:12):
Yes, yeah, no, I'm learning snares. Let's get absolutely true
real I have learned that. And I've also learned that people.
I got a lot in common with Ray Parker junior
scenes though y'all been making great music since y'all were teenagers.

Speaker 8 (02:05:23):
I don't know if you realize that Parker was just
on the Today Show.

Speaker 2 (02:05:27):
Actually he was just the Ray Parker's story is that
we've heard Man Jack and Jill my favorite joint.

Speaker 1 (02:05:37):
He's yeah, and plus he's been on so many records
that a lot of everything, a lot. I'm looking at
credits on album.

Speaker 2 (02:05:45):
Damn he's on this ship though. Yeah, he's on somecure
obscure records too, Like, yeah, we learn Ray Parker, we
learned a lot, like all those Victor's records and played
on all No No, No, No, No, No, Unhooked Generation, all that
rape Parker. Wow, his Verry White stories are messing up

(02:06:09):
his car. Yeah, this Barry White stories are oh my god.

Speaker 5 (02:06:13):
Wait I want to say one other thing that I learned.
And you don't know this, but this is like the
first time that I feel like a mere Bill and
Fonte have fanned out over somebody's word at the same level,
like we we we interviewed the Revolution, but the levels.

Speaker 9 (02:06:26):
Were different, you know what I mean.

Speaker 5 (02:06:27):
But at this moment, it's just a really good feeling
to see y'all all just kind of saut because and
on my third note, I would also like to say
that in all these years, Peter, I always thought it
was dope that you got dudes on your side in
this way, but you also move women in a different
type of way, you know what I mean.

Speaker 9 (02:06:44):
And we get to talk about that. But I know
a lot of my girlfriends.

Speaker 2 (02:06:47):
Like heart felt take your time make heart felt ship.

Speaker 3 (02:06:54):
Yeah, wow, right.

Speaker 1 (02:07:00):
I don't want to talk about Troy. Troy real quick, man,
I think we should real quick.

Speaker 8 (02:07:06):
Reminisce, well, you know Reminisce, you know happened in nineteen
The beat making process started at the end of ninety one,
nineteen ninety one, you know then you know made the
full beat ninety two blah blah blah.

Speaker 2 (02:07:23):
You know, y'all want me to go in how I
made it? Yes, okay, wait, we didn't ask about your
talk about the albums.

Speaker 1 (02:07:31):
I sucked, man, I'm sorry.

Speaker 8 (02:07:32):
I took took a drum loop that's familiar, you know,
and added that Tom Scott and then the elements afterwards and.

Speaker 1 (02:07:41):
Rest was history.

Speaker 2 (02:07:42):
Who directed that video, Marcus ray Boy, That video like
actually went on perfectly captures the mood of that song.

Speaker 1 (02:07:53):
Yeah, we was.

Speaker 8 (02:07:54):
That was the first video that we did and we said, wow,
this ship really matches what you're talking about, Like Marcus
did such a great job on that video, and it
was freezing when we did that, really freezing.

Speaker 1 (02:08:08):
There's there's.

Speaker 2 (02:08:11):
There's an MC from Philadelphia that was like way younger
the generation yeap young and uh wait wait wait here's
the here's here's the thing with with black people, like
we'll we'll know the song, but we'll just title anything
you don't say, well, no, I used to joke that,

(02:08:32):
uh like barbarestis saying Evergreen used to be called love
soft of the easy chair or the way we were.
The way we were was memories like the corner of
my mind. But this kid, who's here's the dope. MC
used to always say his favorite song was Mama getting
married in the house.

Speaker 1 (02:08:49):
Woo you know.

Speaker 2 (02:08:55):
That song, Mama getting married the house? That's all he
I love my no. Now he's a young kid, I mean,
but he knows. Yeah, that's that's funny.

Speaker 1 (02:09:05):
Not black people. And some time it's so funny talk
about was that like that song about my joye Joy?

Speaker 2 (02:09:12):
I still call cross Roads Uncle Charles relatable.

Speaker 1 (02:09:17):
The song is relatable, exactly. Smoke. This is final words?
Did you this is our nerd out session?

Speaker 13 (02:09:24):
Did you you trust me? I learned that y'all mold some.

Speaker 12 (02:09:31):
Technically stupid history, you know, But but I enjoyed it though,
because you know.

Speaker 13 (02:09:42):
Like, I'm a nerd.

Speaker 1 (02:09:44):
I like I like wrestling.

Speaker 13 (02:09:48):
I'm a wrestling nerd.

Speaker 1 (02:09:49):
Have you done have you done cheap heat? Peter Rosenberg?

Speaker 13 (02:09:53):
Cheap heat?

Speaker 7 (02:09:54):
But Peter, Peter is my man, so I guess we
got cheap heat anytime we texted talking about it on
the phone. But we did WrestleMania together and all that
type of stuff.

Speaker 1 (02:10:04):
I'm one of those kinds.

Speaker 8 (02:10:05):
Well, he's It's funny because one time I was in
San Francisco on tour and this cat is out there.
I'm thinking he's on the road and you know doing
some shows. I'm like, what you're doing here. He's like, Yo,
I'm at the wrestling.

Speaker 1 (02:10:16):
Shit.

Speaker 2 (02:10:18):
He's out there just for that. He didn't no rap shit,
just out there wrestling. It was crazy. It's crazy with it.
From Electric Lady Studios, this is Court Love Supreme. We've
had a really amazing show with our guests Pete Rocket
and on behalf of the team Supreme.

Speaker 1 (02:10:34):
This Quest Love. Thank you for listening and supporting the show.
We'll see o'all next week.

Speaker 2 (02:10:52):
Quest Love Supreme is a production of iHeartRadio. This classic
episode was produced by the team at Pandora. For more
podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or
wherever you listen to your favorite shows.