February 25, 2025 • 30 mins
Life after prison was a mixed bag for the artists who each went their separate way, but Eyes of Love began taking on a life of its own, garnering a mythical status among collectors completely unbeknownst to the band. But that would change when, in 2015, a former bandmate cut a deal to re-release the album, which eventually landed one of their songs in the Oscar-winning film Moonlight. Jamie tracks them down and helps parlay their story into a second crack at the fame that has eluded them for forty years.
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Speaker 1 (00:00):
An A and E original podcast. In the fall of
nineteen eighty, Edge of Daybreak had reached the height of
their fame at Powatan put.
Speaker 2 (00:13):
It this way, we were the band of the state
penal system.
Speaker 3 (00:19):
Everything they needed a band for they came and got us.
Speaker 1 (00:23):
They were the premier Virginia prison band, and their debut album,
Eyes of Love had just hit local shelves. A few
news outfits even profiled the band in their work. The
band was getting some minor recognition and then, according to Jamal.
Speaker 4 (00:39):
Right after that, we were told you're not going to
make a second app. Transfers came through.
Speaker 1 (00:46):
He says the prison did it on purpose to prevent
the band from getting too full of themselves.
Speaker 5 (00:52):
The reason they did article that they did on us,
it was mentally that we were going to do a
second app some zay, so that wasn't going to happen.
They said, if we ran a can on him to
do the record. But they gave from this.
Speaker 1 (01:07):
The administration's position was that the band member's good behavior
had earned them a transfer to a less restrictive prison
and they wouldn't be deprived of that. Just to keep
the band together. One by one they were moved to
different facilities to serve out their sentences. Cupcake, James and
Jamal got to play together a little while in a
(01:28):
different facility, but it wasn't the Edge of Daybreak. The
band wouldn't all be in the same room together for
another thirty five years until one of the group's members
pushed the edge of Daybreak into an unexpected spotlight and
opened the door for a potential comeback. Jamal was out
(02:02):
on parole thirty three years old, in itching to perform
on stage again. Right away, he started playing with a
cover band, doing hits by George Michael and Billy Oshin
in local bars and hotel lounges. Eventually he started his
own band called BOSS. It's an acronym.
Speaker 5 (02:22):
Business of sweet success. What better business than working for yourself?
That's a business of sweet sussais b period oh, periodes,
period s.
Speaker 1 (02:32):
Boss sounds like a good time. They played a lot
of local parties. At one point they gave out a
prize for the best fishnet stockings in the audience. Then,
in nineteen eighty nine, Jamal had a daughter. Boss disbanded
and Jamal focused on his life outside of music. But
(02:52):
he says all the stuff he'd been doing to better
himself at Powatan. The ged, the barber's license and the
business horses. None of that translated to opportunities. Once he
got out, he said he reached dead ends on job
applications because of his record. He got a few gigs
driving a truck, laying asphalt, working for a furniture company.
(03:16):
Then another kind of business opportunity presented itself, cocaine distribution.
It didn't last long. In two thousand, Jamal got arrested.
He pled not guilty, but was convicted and served four
years at a facility he says wasn't bad compared to Powatan.
Now he sees that last sentence says a good thing.
Speaker 6 (03:39):
I take it as a blessing because when you do
have got to that porn where you know you need
the stuff and you don't stop, it's thing that's gonna
make you stop. One way to up.
Speaker 1 (03:52):
Today, Jamal lives by himself at an apartment complex in Roanoke.
He's retired and goes to the gym every day. He's
a grandfather now with five grandkids, and he still got
singing chops.
Speaker 5 (04:05):
You're the captain of your seal. Whether you say out
a SdiA to you navigating your own destiny.
Speaker 1 (04:17):
You own the Kee. Neil actually got out a year
earlier than Jamal in nineteen eighty two, the same year
as bandmate James Carrington left the prison. Neil and James
both moved to Richmond, where James had a connection to
(04:38):
Milton Hoak, the record store owner who put up the
money to record Eyes of Love. James started working for
Milton on work release. Milton eventually sold James his shop,
and James hired Neil to help him sell records.
Speaker 7 (04:53):
I go to work in the day with ten hours
a day, you'd come to practice at.
Speaker 1 (04:56):
Night for a little while. Neil and James had a
band called Rise. They even put out a single something
Neil and Jamal had written in prison. Here's an unreleased
demo of it. That song, Action was recorded in a
(05:18):
studio in nineteen eighty five and released as a seven inch.
According to Neil, it was a success.
Speaker 7 (05:26):
Everybody love it, man, man, let me tell you, James
to play it out on the street of the store.
That song used to be blasting all over the block, man,
and people were coming there and buying it left and right.
Speaker 1 (05:37):
But like Jamal, Neil wasn't making ends meet with his
band alone, not even close. His music career took a
back seat, defining steady work. He got a maintenance job
waxing floors at a Sears department store. He worked as
a gas station attendant and a forklift operator. His most
memorable job was when he was a delivery driver. When
(06:00):
he met his longtime partner, Lisa, they had two daughters
together and settled down in Richmond. Somewhere along the way,
he stopped playing music altogether.
Speaker 7 (06:11):
When they just said, you know, when you got to
raise these kids, you can't be out on the roads
and all that sot alone.
Speaker 3 (06:17):
Twenty three years.
Speaker 7 (06:19):
I put the guitar in the closet and I really
didn't touch it.
Speaker 1 (06:23):
The guitar might have been in the closet, but Neil's
dream of making it in music never died. By the
time I met him, Neil's daughters were grown, he'd finally
picked up that guitar again, and he was making up
for lost time. Now Neil's cranking out new songs and
cassettes at a furious rate.
Speaker 6 (06:49):
I want to scream, want to change.
Speaker 1 (07:01):
Cupcake was the last of the Edge of Day Breaks
members to be released from prison. She was paroled in
nineteen eighty six after she served ten years of her
fifty year sentence. The day she left prison, her mom
was there to pick her up.
Speaker 8 (07:16):
When I walked out the gate, that's the first person
ass up. Come on your boy getting this car. I
ain't got all day. I gotta go to work to see.
Speaker 1 (07:26):
Cupcake moved back home with her mom and stepdad. She
found a job at a Buick dealership cleaning up repossessed cars.
She said she was doing good at first, and then
what happened the parole violations.
Speaker 2 (07:40):
The parole violation started sitting in for me using drugs
and other stupid shit.
Speaker 1 (07:46):
Cupcake's parole violations started with marijuana, but things escalated. It
was the late eighties and crack cocaine was in cities everywhere.
Speaker 2 (07:55):
Whilst you get introduced to it, it's us oh my bitch, abby,
Oh no, that means it's not nothing to play with.
I couldn't do without it. I had to get up
with a piece of crack. I had to go to
being with a piece of crack. I have sex with
a piece of crack.
Speaker 1 (08:10):
Cupcakes supported her habit with sex work, which sent her
to jail on a solicitation charge. She spent what she
describes as her crack era of the late eighties and
early nineties in and out of the Richmond City jail.
Speaker 2 (08:23):
My grandfather's dad, I was in jail. My great grandmother
that raised me, Dad, I was in jail, My mama dad,
I was in jail, my daddy, dad, I was in jail.
Jail has always been my damn for hold. And it's
because of my it's like I say, my addictions and
(08:45):
and and lack of money that got me into most
of the stuff.
Speaker 1 (08:52):
Drugs also changed Cupcake's voice. She no longer has the
falsetto she had in her twenties.
Speaker 9 (09:06):
Just freaking your fails me when it's you.
Speaker 1 (09:10):
By the two thousands, Cupcake was out of prison, off
drugs and working a bunch of different jobs. She says
she had a couple relapses over the next decade or so,
but for the most part, stayed clean. It seemed like
(09:32):
she'd put her prison days behind her for good. But
in twenty twelve things went south again.
Speaker 10 (09:39):
It came in and the searched my bare room and
ifound a two gun, if hand some marijuana, and they
had some paraphernalia okay for the smoking of crack.
Speaker 1 (09:54):
Cupcake spent another eight months in prison for that charge.
She's out now and just despite a few relapses, she's
staying away from hard drugs, but she still has one vice.
Speaker 11 (10:08):
Now.
Speaker 3 (10:08):
I'm not a total angel, but I feel I've got
the head no matter what. Mary Jane is the way
to go.
Speaker 1 (10:16):
It's part of the quieter life she's adopted. I love it.
Speaker 2 (10:20):
I love it, especially when it gets me high and
I want to going in completely demolished the refrigerator.
Speaker 3 (10:29):
And look at TV and just giggle all day long.
Speaker 1 (10:35):
For Cupcake and her former bandmates, Edge of Daybreak had
become a distant memory. But over the decades, while the
band was moving on, having kids, getting their lives back together,
Eyes of Love was quietly taking on a life of
its own. To understand how Eyes of Love got to
(11:05):
the point that people like me know about it, you
have to understand the world of record collectors, specifically the
ones interested in rare soul music, what is sometimes called
rare groove. Marty Key is one such collector. He was
living in Richmond in the nineties. In two thousands, he's
a local music guy, but his first exposure to Eyes
(11:28):
of Love came from an overseas contact. Marty was working
at a record shop.
Speaker 12 (11:33):
We used to have a lot of British and Japanese
record dealers come through and they mentioned this record which
I didn't know existed, and yaric like, if you ever
see this, I'd be interested.
Speaker 1 (11:44):
It turns out that in nineteen ninety eight, a Scottish
DJ and producer named Paul Hunter got his hands on
Eyes of Love, the album's same titled opening song. He
remixed it into a dance track and made waves among
house music fans. When Marty heard about it, he started
(12:06):
keeping an eye out for the original album. Someone brought
one into his record shop. Marty took that one, but
his luck would have it, he already knew the man
who could help him find some more.
Speaker 11 (12:16):
James Carrington. I already knew because he used to come
and bring CDs and to sell. I'm not sure where
these CDs came from, but he used to bring into
sealed CDs. He said they fell off the back of
the truck.
Speaker 1 (12:32):
The next time Marty saw James in his store, he
brought up James's old band.
Speaker 3 (12:37):
I'd like, what's up with this?
Speaker 12 (12:38):
Record that You're on the Edge of day Break, and
he told me the whole story about it.
Speaker 1 (12:43):
Remember, Milton Hoage sold his record shop, Bohannan's, to James
after he got out of prison. But when James took over,
he closed down the old Bohannan space and reopened the
shop right next door. By the time Marty was poking around,
nobody had been into the original store in like twenty years.
He brought a DJ there who was visiting from England.
(13:04):
Marty asked James if he could go in and take
a look, and James obliged. It was kind of crazy inside.
Speaker 11 (13:11):
I'd say there was a tree growing in the space
because it's been unused for so long, and you know,
leaks and the ceiling.
Speaker 12 (13:19):
But it was just mounds and boxes of forty fives
like all over the floor.
Speaker 11 (13:25):
And we spent days of not weeks, coming through everything,
and there was no lights.
Speaker 10 (13:29):
There was no electricity to do anything with flashlights.
Speaker 12 (13:33):
I think it was like October November when we were
going through it.
Speaker 11 (13:35):
So it was like really cold space, you know. So
after a while it was just like you couldn't look
through all these cold forty fives anymore.
Speaker 13 (13:42):
We had to like take breaks.
Speaker 11 (13:44):
But in the end there were a couple copies of
that edgeday were it sealed in there?
Speaker 10 (13:49):
Just you know, ki wow, lucky you.
Speaker 1 (13:56):
Meanwhile, Marty wasn't the only person searching for and finding
this rare LP. A DJ and producer named Con had
gotten his hands on an original. He featured a track
from it, the one also called Edge of Daybreak, on
a twenty ten compilation album he released with his partner
Amir Con and a mirror major taste makers in the
(14:17):
global DJ community, and Con told our producers just how
special Eyes of Love was to him.
Speaker 3 (14:23):
People ask me, what's the record that's in your collection?
Speaker 11 (14:26):
Is very special to you that you would have to have,
or if something was to happen in your house, what
would you grab?
Speaker 13 (14:31):
This record's always in it.
Speaker 1 (14:33):
Even more DJs and artists were learning about the band
soon create diggers everywhere were keeping their eyes peeled for
an original Eyes of Love. John Kirby is a music
historian an archivist in North Carolina. In twenty eleven, he
was working for a label called the Numro Group. The
(14:54):
label takes obscure records like Eyes of Love, stuff that's
never achieved commercial success and carves out deals to bring
that music to wider audiences. They're big with rare groove
collectors and serious music fans. When a friend played Eyes
of Love for John, he immediately loved it.
Speaker 13 (15:11):
I thought it was really impressive, but I thought it
was a really great work of art. It was quite
a while before I even put together that the record
had been recorded in prison. The beauty of the record
was certainly enhanced by the fact that they made it
in prison, but it was by no means a novelty record.
No check out these record. These guys recorded in prison.
(15:32):
It's like, no check out this record. That is just gorgeous,
you know, from top to bottom.
Speaker 1 (15:37):
Yes, As it turns out, John also had a connection
to James Carrington. During a road trip from New York
to North Carolina, John visited one of Carrington's record shops
and had gotten to know him a little. John asked
him if he wanted to re release Eyes of Love
(15:58):
with Numero. At first, James said he wasn't into the idea.
I don't know how he found about the Edge of Daybreak.
This is James explaining his reservations in an interview he
gave shortly before his death.
Speaker 14 (16:13):
But once he did, he constantly tried to get me
to sign a deal with his company.
Speaker 13 (16:19):
Really, I wanted to just leave all that behind me.
Speaker 1 (16:22):
James knew a re release would bring his past back
to life, but it could also pay for one of
his passion projects.
Speaker 13 (16:30):
And no he wanted to produce a Christmas CD for
his gospel group, and he saw that advance that we
were going to give him a sort of a way
to bring that project to fruition.
Speaker 1 (16:43):
Ultimately, they struck a deal. James sold Numero the rights
to the Masters in twenty fourteen, clearing the way for
the re release. He made this deal solo, without the
rest of the band.
Speaker 13 (16:56):
James was very much of the mind that that was
his group. But he put that group together, kind of
arranged everything, showed everybody how to do everything. The way
some of the credits were divvied up on the record
were things that he had done out of goodwill, just
to sort of say, well, this person's sung this, so
I'm going to say they co wrote it.
Speaker 1 (17:18):
John still wanted to talk to the rest of the band,
though he needed their stories as part of the biographical
treatment he was working on to accompany the record.
Speaker 13 (17:26):
There sort of became this curiosity and need within the
office to sort of reach out to the other members,
you know, get their version of the events.
Speaker 1 (17:36):
But once John started getting in touch with the other
band members, it became clear that James's story wasn't the
only version of events. Far from it.
Speaker 4 (17:49):
He saw you Jamal Jahan Luvs.
Speaker 5 (17:51):
Yes, who are you?
Speaker 4 (17:52):
He's something John Kibo with the numero?
Speaker 13 (17:54):
Who us?
Speaker 6 (17:54):
What is that? Jay Karrent?
Speaker 15 (17:57):
You know Jack Us? I know Jay Karent, he said.
Jeded Caurdter sold us as a little album. We we were
trying to get it for years. He told us that
he wrote all his songs and did all the music.
I also wait a minte.
Speaker 5 (18:09):
Hold it, I said, now, if you've seen that name
on an albucome, did Jay you write that to Jad
Curdter didn't write those songs and all amusic because he's
one of my names beside the songs that we did.
He got quiet.
Speaker 1 (18:24):
John kept up his search. He tracked down Neil and Cupcake.
Speaker 13 (18:28):
Harry Coleman was, you know, sort of between residents's. Cupcake
is such a such a dear special person.
Speaker 1 (18:38):
Neil came on a little stronger.
Speaker 7 (18:40):
I told him in the beginning y'all need to investigate
James because James is a big liar. Okay.
Speaker 1 (18:52):
I understand the frustration Neil and his bandmates felt like
James was denying their contributions, but I can also see
why John first approached James about a potential deal. Typically,
whoever pays for a recording controls the master rights.
Speaker 13 (19:08):
I do know it was James's relationship with Milton Hoag.
I do know that he bought Bohannon's records outright, which
I would imagine would include the rights to that record.
Speaker 1 (19:18):
In researching the band's story, John was facing a challenge.
He was trying to piece together events that went back
almost thirty five years. Some of the band members remember
some things differently. I've seen that myself and memories are
fallible and subjective.
Speaker 13 (19:36):
You know, some people say James joined Jamal's band, Jamal
joined James band, or you know James, he came up
with the name, or this guy came up with the name,
and you know who came up with the cover art.
I came up with the cover art. No, that wasn't
even supposed to be the cover art. What the true
story of that record is, you know, will probably be
a matter of speculation indefinitely.
Speaker 1 (20:00):
When James made the decision to sell the rights to
the album, his bandmates took it personally.
Speaker 2 (20:05):
I had seen him a couple of times in the
Bruse restore and spoken to him, how you doing, James, Hey,
coupcat such sas on it.
Speaker 3 (20:14):
He never told me anything about selling my music to Numero. Nothing.
He had this behind howl bets.
Speaker 1 (20:29):
In October twenty fifteen, the numer group re released Eyes
of Love, along with a glossy album insert that told
the band's whole story as accurately as John could report it.
Numero planned a release party at Steady Sounds, the Richmond
record shop that Marty Key opened a few years earlier,
and despite all the tensions surrounding the Numero deal, it
(20:51):
seemed like, for one night only, the Edge of Daybreak
was able to put that all aside and enjoy some
of the recognition they'd missed out on the first time Cupcake, Neil,
(21:15):
Jamal and James were back together for the first time
in thirty five years.
Speaker 13 (21:20):
I've only seen them all in the same room on
one occasion, and they were just pleased as punch to
see each other. And you know it was all love,
and it was one of the most beautiful nights of
my life, you know, to see everybody in there, the
members of the group and their family members, having a
proper release party for a record that had come out
(21:41):
over thirty years previous. I mean, that's that's the fairy tale,
you know.
Speaker 1 (21:48):
But that album release, that wasn't the end of the
fairy tale, if we can call it. That the album
was now available to stream people outside the rare record
community could finally listen to it. Then something really big happened.
I'm sorry, No, there's a mistake. Moonlight, You guys won
(22:09):
Best Picture. The song our Love was featured in the
Oscar winning film Moonlight. Cupcake heard about it from her
social worker.
Speaker 3 (22:22):
She said, hed a song in a movie. I said what,
and she pulled the movie up. They looked on her
phone and showed it to me.
Speaker 1 (22:33):
Jamal was sitting in his apartment when he got a
call from a local news reporter.
Speaker 6 (22:38):
She called and she said, look, she said, oh, she said,
Neil and Jamal.
Speaker 5 (22:42):
She said, I'm not mistaken.
Speaker 4 (22:43):
I heard one of the dollar songs on the movie
with the scene in a mad Nate.
Speaker 1 (22:47):
Jamal and Cupcake called Neil, and his response was very Neil.
Speaker 3 (22:53):
He said, what's song? He said, I love? He said
it's a song in that road?
Speaker 1 (22:56):
I said ye. After the re release in Moonlight, the
band's comeback story sparked interest at publications like Pitchfork, Salon,
and Rolling Stone. Neil got a small royalty check. A
Virginia news station did a feature.
Speaker 13 (23:13):
On the band.
Speaker 1 (23:14):
They interviewed James Carrington. In only James Carrington, I.
Speaker 14 (23:19):
Would have to add that I had fantasstic vocalists and
musicians that could hold their own.
Speaker 1 (23:27):
In the interview, he continues to take credit for songs
the others say he didn't write.
Speaker 4 (23:32):
About a song that I wrote.
Speaker 13 (23:35):
Brite me you what short successful.
Speaker 15 (23:37):
Scenes as.
Speaker 1 (23:46):
This news cycle is what got me into this story
in the first place. I thought I would write a
print article or a short book about the music in
the band's incredible story. But once I started talking to them,
the story got bigger and bigger, and I started to
get a crazy idea maybe some more buzz around the
edge of Daybreak could help them record another album too.
Speaker 5 (24:10):
Jamo, have you got songs as ready you got? Ye
told me about a half of the page.
Speaker 11 (24:19):
Yeah, yeah, I know.
Speaker 5 (24:20):
You myself.
Speaker 3 (24:23):
Okay, Well.
Speaker 7 (24:26):
Yeah, I'm just saying, man, I got David style of
a song that can be ready, already composed on the
sit ready for anything, and I'm tired.
Speaker 3 (24:36):
I'm sitting on the shield.
Speaker 13 (24:37):
That's all I'm saying.
Speaker 1 (24:40):
That brings us to twenty twenty two. I've been talking
to the band for almost five years. I have more
than one hundred hours of interviews with them. They're family
members and people who knew them in and out of prison.
I'd heard the band sing during our interviews. They were
good and they still had some fire. I can acted
them to a film producer I knew from college. He
(25:03):
hooked me up with Dorian and we all pitched the
idea to A and E. The network was interested in
the podcast, but the album piece was a big question mark.
We put together a meeting with the band. A lot
was riding on this.
Speaker 5 (25:18):
Can you see me?
Speaker 14 (25:19):
No?
Speaker 1 (25:20):
No, I just see ya? It should be a camera
at logo in the left bottom corner. The network had
one big question, so.
Speaker 7 (25:30):
Question for now, you guys, what is your vision for
this next release?
Speaker 13 (25:35):
Well, we need that exposure.
Speaker 4 (25:37):
We definitely need that exposure that we have got the
first hand. Even though we got a song on Moonlight,
we still don't have a recognition. We got to test
a new generation. That's who band and music.
Speaker 1 (25:47):
Jamal laid out their biggest challenge.
Speaker 4 (25:50):
I live in Renald, Virginia. They live in Richmond, Virginita.
That's about three hundred miles. So I'm saying, we just
need to get somewhere where we can all get together
and hook up with people like y'all that's got engine
that can put us on the right track. We got
the music, no doubt about that. We got the music
because everything you hear on that album, he came right
off the top.
Speaker 1 (26:08):
I mean, of course there'd be other challenges too. They
hadn't played together in decades, and Cupcake wanted to work
on her voice.
Speaker 14 (26:16):
I've been working on my little trying to get my
little phone set up back.
Speaker 3 (26:21):
Mary Jane took it away from me for a little while.
Speaker 1 (26:25):
But you couldn't help but root for them and their confidence.
Speaker 4 (26:29):
It's just something I've been chased since the age of twelve,
and I mean, you know, it just it's just amazing,
you know.
Speaker 14 (26:35):
I've ever had in my life. It just like I said,
I did it in Drag, I did it in jail.
I'm ready to sing so everybody, as the dog would say,
I want to pee on a tree.
Speaker 1 (26:50):
We got off that call and waited. Neil was especially eager.
He checked in with me every couple of days.
Speaker 16 (26:59):
Man, this meal, Hey listen, I'll set your CD to
you this morning, that you should probably hear something this
week coming up for me in the A plus E
and he you shoot, now, I don't know what's going
to happen, but anyway, I got about five or six songs,
most song that I've already got rid of to sing
to you. Yeah, Danny, how you doing, man, I'll call
you that out of the dinner. Thing has changed, you know,
(27:22):
as far as the land.
Speaker 1 (27:29):
Then one afternoon in June twenty twenty two, the call came.
Speaker 13 (27:35):
In, so where are the three music people?
Speaker 3 (27:38):
And it's a pleasure to meet y'all.
Speaker 1 (27:40):
The network was in for the whole thing, the podcast,
the album, all of it.
Speaker 4 (27:45):
I'm really excited about playing with some real musicians.
Speaker 3 (27:49):
I'm excited about just getting.
Speaker 4 (27:51):
It hell out of it.
Speaker 1 (27:53):
Forty years after their debut, the Edge of Daybreak had
finally gotten their second shot.
Speaker 10 (27:59):
I know I can make.
Speaker 7 (28:00):
Millions of dollars man, I just know it, and I'm
just saying that we put a second album out there.
Speaker 10 (28:06):
They already a little duke per self, but.
Speaker 1 (28:09):
Now that they had the opportunity in their hands, could
they rise to the challenge? Less you load?
Speaker 3 (28:20):
You hate it, just man, and you don't losses that quick.
Speaker 16 (28:22):
Don't worry about that.
Speaker 14 (28:23):
I'll get it.
Speaker 11 (28:26):
Don't mean criticize.
Speaker 1 (28:27):
I get it.
Speaker 6 (28:28):
I do a lot and I gotta do.
Speaker 16 (28:29):
Here and here, So don't worry about that.
Speaker 3 (28:32):
We ain't been in government forty two. I just said
that difficult.
Speaker 1 (28:38):
That's next time. I'm So Incarcerated.
Speaker 7 (28:42):
If you want to hear more of Edged day Breaks music,
their new EP, New Horizon, is available on all digital platforms.
Speaker 1 (28:53):
So Incarcerated was written and hosted by me Jamie Petrice,
co hosted and produced by Dorian Missing. Story edited by
Jasmine kah and sound designed by Bill Moss and Isaac Lee.
Executive producers are Mcamie Lynn, Jesse Katz, and Warren Ostgard.
Additional interviews provided by Alex Lambert from the short film
(29:14):
Edge of Daybreak by Alex Lambert. Additional audio courtesy of
Bluebones Vintage. Special Thanks to everyone who helped us research
this story. To Marv Hyman, Bill Crawley, and Sanethia Lewis.
To the author, Dale Broomfield, attorneys David Baugh and Mara
Meltzer Cohen. To doctor Heather Thompson and Lisia McCarney for
lending insights on American carceral history. Thanks to the entire
(29:39):
staff of the Library of Virginia and to Ben Himmelfarb
from the Henrico County Public Library. To the vocal coaches
k J. Rose and Elise Tunyak A and E's Jennifer
and Sonia, Michael Greenwald, and Elaine Fontaine Bryant. Thanks to
the team at silver Lining Entertainments, One Story Up Productions,
the Numeral Group, the crew at Sunset Sound and In
(30:01):
Your Ear Studios Alex Lambert, Lucas, Benkin, Will Bethel, and
Marty Keith. Thanks to all of the band's friends, family members,
and associates who took the time to talk to me
for this story, and most of all, to the Edge
of Daybreak Harry Coleman, Jamal Newby, and Neil Cade for
sharing it with me.
An A and E original podcast. In the fall of
nineteen eighty, Edge of Daybreak had reached the height of
their fame at Powatan put.
Speaker 2 (00:13):
It this way, we were the band of the state
penal system.
Speaker 3 (00:19):
Everything they needed a band for they came and got us.
Speaker 1 (00:23):
They were the premier Virginia prison band, and their debut album,
Eyes of Love had just hit local shelves. A few
news outfits even profiled the band in their work. The
band was getting some minor recognition and then, according to Jamal.
Speaker 4 (00:39):
Right after that, we were told you're not going to
make a second app. Transfers came through.
Speaker 1 (00:46):
He says the prison did it on purpose to prevent
the band from getting too full of themselves.
Speaker 5 (00:52):
The reason they did article that they did on us,
it was mentally that we were going to do a
second app some zay, so that wasn't going to happen.
They said, if we ran a can on him to
do the record. But they gave from this.
Speaker 1 (01:07):
The administration's position was that the band member's good behavior
had earned them a transfer to a less restrictive prison
and they wouldn't be deprived of that. Just to keep
the band together. One by one they were moved to
different facilities to serve out their sentences. Cupcake, James and
Jamal got to play together a little while in a
(01:28):
different facility, but it wasn't the Edge of Daybreak. The
band wouldn't all be in the same room together for
another thirty five years until one of the group's members
pushed the edge of Daybreak into an unexpected spotlight and
opened the door for a potential comeback. Jamal was out
(02:02):
on parole thirty three years old, in itching to perform
on stage again. Right away, he started playing with a
cover band, doing hits by George Michael and Billy Oshin
in local bars and hotel lounges. Eventually he started his
own band called BOSS. It's an acronym.
Speaker 5 (02:22):
Business of sweet success. What better business than working for yourself?
That's a business of sweet sussais b period oh, periodes,
period s.
Speaker 1 (02:32):
Boss sounds like a good time. They played a lot
of local parties. At one point they gave out a
prize for the best fishnet stockings in the audience. Then,
in nineteen eighty nine, Jamal had a daughter. Boss disbanded
and Jamal focused on his life outside of music. But
(02:52):
he says all the stuff he'd been doing to better
himself at Powatan. The ged, the barber's license and the
business horses. None of that translated to opportunities. Once he
got out, he said he reached dead ends on job
applications because of his record. He got a few gigs
driving a truck, laying asphalt, working for a furniture company.
(03:16):
Then another kind of business opportunity presented itself, cocaine distribution.
It didn't last long. In two thousand, Jamal got arrested.
He pled not guilty, but was convicted and served four
years at a facility he says wasn't bad compared to Powatan.
Now he sees that last sentence says a good thing.
Speaker 6 (03:39):
I take it as a blessing because when you do
have got to that porn where you know you need
the stuff and you don't stop, it's thing that's gonna
make you stop. One way to up.
Speaker 1 (03:52):
Today, Jamal lives by himself at an apartment complex in Roanoke.
He's retired and goes to the gym every day. He's
a grandfather now with five grandkids, and he still got
singing chops.
Speaker 5 (04:05):
You're the captain of your seal. Whether you say out
a SdiA to you navigating your own destiny.
Speaker 1 (04:17):
You own the Kee. Neil actually got out a year
earlier than Jamal in nineteen eighty two, the same year
as bandmate James Carrington left the prison. Neil and James
both moved to Richmond, where James had a connection to
(04:38):
Milton Hoak, the record store owner who put up the
money to record Eyes of Love. James started working for
Milton on work release. Milton eventually sold James his shop,
and James hired Neil to help him sell records.
Speaker 7 (04:53):
I go to work in the day with ten hours
a day, you'd come to practice at.
Speaker 1 (04:56):
Night for a little while. Neil and James had a
band called Rise. They even put out a single something
Neil and Jamal had written in prison. Here's an unreleased
demo of it. That song, Action was recorded in a
(05:18):
studio in nineteen eighty five and released as a seven inch.
According to Neil, it was a success.
Speaker 7 (05:26):
Everybody love it, man, man, let me tell you, James
to play it out on the street of the store.
That song used to be blasting all over the block, man,
and people were coming there and buying it left and right.
Speaker 1 (05:37):
But like Jamal, Neil wasn't making ends meet with his
band alone, not even close. His music career took a
back seat, defining steady work. He got a maintenance job
waxing floors at a Sears department store. He worked as
a gas station attendant and a forklift operator. His most
memorable job was when he was a delivery driver. When
(06:00):
he met his longtime partner, Lisa, they had two daughters
together and settled down in Richmond. Somewhere along the way,
he stopped playing music altogether.
Speaker 7 (06:11):
When they just said, you know, when you got to
raise these kids, you can't be out on the roads
and all that sot alone.
Speaker 3 (06:17):
Twenty three years.
Speaker 7 (06:19):
I put the guitar in the closet and I really
didn't touch it.
Speaker 1 (06:23):
The guitar might have been in the closet, but Neil's
dream of making it in music never died. By the
time I met him, Neil's daughters were grown, he'd finally
picked up that guitar again, and he was making up
for lost time. Now Neil's cranking out new songs and
cassettes at a furious rate.
Speaker 6 (06:49):
I want to scream, want to change.
Speaker 1 (07:01):
Cupcake was the last of the Edge of Day Breaks
members to be released from prison. She was paroled in
nineteen eighty six after she served ten years of her
fifty year sentence. The day she left prison, her mom
was there to pick her up.
Speaker 8 (07:16):
When I walked out the gate, that's the first person
ass up. Come on your boy getting this car. I
ain't got all day. I gotta go to work to see.
Speaker 1 (07:26):
Cupcake moved back home with her mom and stepdad. She
found a job at a Buick dealership cleaning up repossessed cars.
She said she was doing good at first, and then
what happened the parole violations.
Speaker 2 (07:40):
The parole violation started sitting in for me using drugs
and other stupid shit.
Speaker 1 (07:46):
Cupcake's parole violations started with marijuana, but things escalated. It
was the late eighties and crack cocaine was in cities everywhere.
Speaker 2 (07:55):
Whilst you get introduced to it, it's us oh my bitch, abby,
Oh no, that means it's not nothing to play with.
I couldn't do without it. I had to get up
with a piece of crack. I had to go to
being with a piece of crack. I have sex with
a piece of crack.
Speaker 1 (08:10):
Cupcakes supported her habit with sex work, which sent her
to jail on a solicitation charge. She spent what she
describes as her crack era of the late eighties and
early nineties in and out of the Richmond City jail.
Speaker 2 (08:23):
My grandfather's dad, I was in jail. My great grandmother
that raised me, Dad, I was in jail, My mama dad,
I was in jail, my daddy, dad, I was in jail.
Jail has always been my damn for hold. And it's
because of my it's like I say, my addictions and
(08:45):
and and lack of money that got me into most
of the stuff.
Speaker 1 (08:52):
Drugs also changed Cupcake's voice. She no longer has the
falsetto she had in her twenties.
Speaker 9 (09:06):
Just freaking your fails me when it's you.
Speaker 1 (09:10):
By the two thousands, Cupcake was out of prison, off
drugs and working a bunch of different jobs. She says
she had a couple relapses over the next decade or so,
but for the most part, stayed clean. It seemed like
(09:32):
she'd put her prison days behind her for good. But
in twenty twelve things went south again.
Speaker 10 (09:39):
It came in and the searched my bare room and
ifound a two gun, if hand some marijuana, and they
had some paraphernalia okay for the smoking of crack.
Speaker 1 (09:54):
Cupcake spent another eight months in prison for that charge.
She's out now and just despite a few relapses, she's
staying away from hard drugs, but she still has one vice.
Speaker 11 (10:08):
Now.
Speaker 3 (10:08):
I'm not a total angel, but I feel I've got
the head no matter what. Mary Jane is the way
to go.
Speaker 1 (10:16):
It's part of the quieter life she's adopted. I love it.
Speaker 2 (10:20):
I love it, especially when it gets me high and
I want to going in completely demolished the refrigerator.
Speaker 3 (10:29):
And look at TV and just giggle all day long.
Speaker 1 (10:35):
For Cupcake and her former bandmates, Edge of Daybreak had
become a distant memory. But over the decades, while the
band was moving on, having kids, getting their lives back together,
Eyes of Love was quietly taking on a life of
its own. To understand how Eyes of Love got to
(11:05):
the point that people like me know about it, you
have to understand the world of record collectors, specifically the
ones interested in rare soul music, what is sometimes called
rare groove. Marty Key is one such collector. He was
living in Richmond in the nineties. In two thousands, he's
a local music guy, but his first exposure to Eyes
(11:28):
of Love came from an overseas contact. Marty was working
at a record shop.
Speaker 12 (11:33):
We used to have a lot of British and Japanese
record dealers come through and they mentioned this record which
I didn't know existed, and yaric like, if you ever
see this, I'd be interested.
Speaker 1 (11:44):
It turns out that in nineteen ninety eight, a Scottish
DJ and producer named Paul Hunter got his hands on
Eyes of Love, the album's same titled opening song. He
remixed it into a dance track and made waves among
house music fans. When Marty heard about it, he started
(12:06):
keeping an eye out for the original album. Someone brought
one into his record shop. Marty took that one, but
his luck would have it, he already knew the man
who could help him find some more.
Speaker 11 (12:16):
James Carrington. I already knew because he used to come
and bring CDs and to sell. I'm not sure where
these CDs came from, but he used to bring into
sealed CDs. He said they fell off the back of
the truck.
Speaker 1 (12:32):
The next time Marty saw James in his store, he
brought up James's old band.
Speaker 3 (12:37):
I'd like, what's up with this?
Speaker 12 (12:38):
Record that You're on the Edge of day Break, and
he told me the whole story about it.
Speaker 1 (12:43):
Remember, Milton Hoage sold his record shop, Bohannan's, to James
after he got out of prison. But when James took over,
he closed down the old Bohannan space and reopened the
shop right next door. By the time Marty was poking around,
nobody had been into the original store in like twenty years.
He brought a DJ there who was visiting from England.
(13:04):
Marty asked James if he could go in and take
a look, and James obliged. It was kind of crazy inside.
Speaker 11 (13:11):
I'd say there was a tree growing in the space
because it's been unused for so long, and you know,
leaks and the ceiling.
Speaker 12 (13:19):
But it was just mounds and boxes of forty fives
like all over the floor.
Speaker 11 (13:25):
And we spent days of not weeks, coming through everything,
and there was no lights.
Speaker 10 (13:29):
There was no electricity to do anything with flashlights.
Speaker 12 (13:33):
I think it was like October November when we were
going through it.
Speaker 11 (13:35):
So it was like really cold space, you know. So
after a while it was just like you couldn't look
through all these cold forty fives anymore.
Speaker 13 (13:42):
We had to like take breaks.
Speaker 11 (13:44):
But in the end there were a couple copies of
that edgeday were it sealed in there?
Speaker 10 (13:49):
Just you know, ki wow, lucky you.
Speaker 1 (13:56):
Meanwhile, Marty wasn't the only person searching for and finding
this rare LP. A DJ and producer named Con had
gotten his hands on an original. He featured a track
from it, the one also called Edge of Daybreak, on
a twenty ten compilation album he released with his partner
Amir Con and a mirror major taste makers in the
(14:17):
global DJ community, and Con told our producers just how
special Eyes of Love was to him.
Speaker 3 (14:23):
People ask me, what's the record that's in your collection?
Speaker 11 (14:26):
Is very special to you that you would have to have,
or if something was to happen in your house, what
would you grab?
Speaker 13 (14:31):
This record's always in it.
Speaker 1 (14:33):
Even more DJs and artists were learning about the band
soon create diggers everywhere were keeping their eyes peeled for
an original Eyes of Love. John Kirby is a music
historian an archivist in North Carolina. In twenty eleven, he
was working for a label called the Numro Group. The
(14:54):
label takes obscure records like Eyes of Love, stuff that's
never achieved commercial success and carves out deals to bring
that music to wider audiences. They're big with rare groove
collectors and serious music fans. When a friend played Eyes
of Love for John, he immediately loved it.
Speaker 13 (15:11):
I thought it was really impressive, but I thought it
was a really great work of art. It was quite
a while before I even put together that the record
had been recorded in prison. The beauty of the record
was certainly enhanced by the fact that they made it
in prison, but it was by no means a novelty record.
No check out these record. These guys recorded in prison.
(15:32):
It's like, no check out this record. That is just gorgeous,
you know, from top to bottom.
Speaker 1 (15:37):
Yes, As it turns out, John also had a connection
to James Carrington. During a road trip from New York
to North Carolina, John visited one of Carrington's record shops
and had gotten to know him a little. John asked
him if he wanted to re release Eyes of Love
(15:58):
with Numero. At first, James said he wasn't into the idea.
I don't know how he found about the Edge of Daybreak.
This is James explaining his reservations in an interview he
gave shortly before his death.
Speaker 14 (16:13):
But once he did, he constantly tried to get me
to sign a deal with his company.
Speaker 13 (16:19):
Really, I wanted to just leave all that behind me.
Speaker 1 (16:22):
James knew a re release would bring his past back
to life, but it could also pay for one of
his passion projects.
Speaker 13 (16:30):
And no he wanted to produce a Christmas CD for
his gospel group, and he saw that advance that we
were going to give him a sort of a way
to bring that project to fruition.
Speaker 1 (16:43):
Ultimately, they struck a deal. James sold Numero the rights
to the Masters in twenty fourteen, clearing the way for
the re release. He made this deal solo, without the
rest of the band.
Speaker 13 (16:56):
James was very much of the mind that that was
his group. But he put that group together, kind of
arranged everything, showed everybody how to do everything. The way
some of the credits were divvied up on the record
were things that he had done out of goodwill, just
to sort of say, well, this person's sung this, so
I'm going to say they co wrote it.
Speaker 1 (17:18):
John still wanted to talk to the rest of the band,
though he needed their stories as part of the biographical
treatment he was working on to accompany the record.
Speaker 13 (17:26):
There sort of became this curiosity and need within the
office to sort of reach out to the other members,
you know, get their version of the events.
Speaker 1 (17:36):
But once John started getting in touch with the other
band members, it became clear that James's story wasn't the
only version of events. Far from it.
Speaker 4 (17:49):
He saw you Jamal Jahan Luvs.
Speaker 5 (17:51):
Yes, who are you?
Speaker 4 (17:52):
He's something John Kibo with the numero?
Speaker 13 (17:54):
Who us?
Speaker 6 (17:54):
What is that? Jay Karrent?
Speaker 15 (17:57):
You know Jack Us? I know Jay Karent, he said.
Jeded Caurdter sold us as a little album. We we were
trying to get it for years. He told us that
he wrote all his songs and did all the music.
I also wait a minte.
Speaker 5 (18:09):
Hold it, I said, now, if you've seen that name
on an albucome, did Jay you write that to Jad
Curdter didn't write those songs and all amusic because he's
one of my names beside the songs that we did.
He got quiet.
Speaker 1 (18:24):
John kept up his search. He tracked down Neil and Cupcake.
Speaker 13 (18:28):
Harry Coleman was, you know, sort of between residents's. Cupcake
is such a such a dear special person.
Speaker 1 (18:38):
Neil came on a little stronger.
Speaker 7 (18:40):
I told him in the beginning y'all need to investigate
James because James is a big liar. Okay.
Speaker 1 (18:52):
I understand the frustration Neil and his bandmates felt like
James was denying their contributions, but I can also see
why John first approached James about a potential deal. Typically,
whoever pays for a recording controls the master rights.
Speaker 13 (19:08):
I do know it was James's relationship with Milton Hoag.
I do know that he bought Bohannon's records outright, which
I would imagine would include the rights to that record.
Speaker 1 (19:18):
In researching the band's story, John was facing a challenge.
He was trying to piece together events that went back
almost thirty five years. Some of the band members remember
some things differently. I've seen that myself and memories are
fallible and subjective.
Speaker 13 (19:36):
You know, some people say James joined Jamal's band, Jamal
joined James band, or you know James, he came up
with the name, or this guy came up with the name,
and you know who came up with the cover art.
I came up with the cover art. No, that wasn't
even supposed to be the cover art. What the true
story of that record is, you know, will probably be
a matter of speculation indefinitely.
Speaker 1 (20:00):
When James made the decision to sell the rights to
the album, his bandmates took it personally.
Speaker 2 (20:05):
I had seen him a couple of times in the
Bruse restore and spoken to him, how you doing, James, Hey,
coupcat such sas on it.
Speaker 3 (20:14):
He never told me anything about selling my music to Numero. Nothing.
He had this behind howl bets.
Speaker 1 (20:29):
In October twenty fifteen, the numer group re released Eyes
of Love, along with a glossy album insert that told
the band's whole story as accurately as John could report it.
Numero planned a release party at Steady Sounds, the Richmond
record shop that Marty Key opened a few years earlier,
and despite all the tensions surrounding the Numero deal, it
(20:51):
seemed like, for one night only, the Edge of Daybreak
was able to put that all aside and enjoy some
of the recognition they'd missed out on the first time Cupcake, Neil,
(21:15):
Jamal and James were back together for the first time
in thirty five years.
Speaker 13 (21:20):
I've only seen them all in the same room on
one occasion, and they were just pleased as punch to
see each other. And you know it was all love,
and it was one of the most beautiful nights of
my life, you know, to see everybody in there, the
members of the group and their family members, having a
proper release party for a record that had come out
(21:41):
over thirty years previous. I mean, that's that's the fairy tale,
you know.
Speaker 1 (21:48):
But that album release, that wasn't the end of the
fairy tale, if we can call it. That the album
was now available to stream people outside the rare record
community could finally listen to it. Then something really big happened.
I'm sorry, No, there's a mistake. Moonlight, You guys won
(22:09):
Best Picture. The song our Love was featured in the
Oscar winning film Moonlight. Cupcake heard about it from her
social worker.
Speaker 3 (22:22):
She said, hed a song in a movie. I said what,
and she pulled the movie up. They looked on her
phone and showed it to me.
Speaker 1 (22:33):
Jamal was sitting in his apartment when he got a
call from a local news reporter.
Speaker 6 (22:38):
She called and she said, look, she said, oh, she said,
Neil and Jamal.
Speaker 5 (22:42):
She said, I'm not mistaken.
Speaker 4 (22:43):
I heard one of the dollar songs on the movie
with the scene in a mad Nate.
Speaker 1 (22:47):
Jamal and Cupcake called Neil, and his response was very Neil.
Speaker 3 (22:53):
He said, what's song? He said, I love? He said
it's a song in that road?
Speaker 1 (22:56):
I said ye. After the re release in Moonlight, the
band's comeback story sparked interest at publications like Pitchfork, Salon,
and Rolling Stone. Neil got a small royalty check. A
Virginia news station did a feature.
Speaker 13 (23:13):
On the band.
Speaker 1 (23:14):
They interviewed James Carrington. In only James Carrington, I.
Speaker 14 (23:19):
Would have to add that I had fantasstic vocalists and
musicians that could hold their own.
Speaker 1 (23:27):
In the interview, he continues to take credit for songs
the others say he didn't write.
Speaker 4 (23:32):
About a song that I wrote.
Speaker 13 (23:35):
Brite me you what short successful.
Speaker 15 (23:37):
Scenes as.
Speaker 1 (23:46):
This news cycle is what got me into this story
in the first place. I thought I would write a
print article or a short book about the music in
the band's incredible story. But once I started talking to them,
the story got bigger and bigger, and I started to
get a crazy idea maybe some more buzz around the
edge of Daybreak could help them record another album too.
Speaker 5 (24:10):
Jamo, have you got songs as ready you got? Ye
told me about a half of the page.
Speaker 11 (24:19):
Yeah, yeah, I know.
Speaker 5 (24:20):
You myself.
Speaker 3 (24:23):
Okay, Well.
Speaker 7 (24:26):
Yeah, I'm just saying, man, I got David style of
a song that can be ready, already composed on the
sit ready for anything, and I'm tired.
Speaker 3 (24:36):
I'm sitting on the shield.
Speaker 13 (24:37):
That's all I'm saying.
Speaker 1 (24:40):
That brings us to twenty twenty two. I've been talking
to the band for almost five years. I have more
than one hundred hours of interviews with them. They're family
members and people who knew them in and out of prison.
I'd heard the band sing during our interviews. They were
good and they still had some fire. I can acted
them to a film producer I knew from college. He
(25:03):
hooked me up with Dorian and we all pitched the
idea to A and E. The network was interested in
the podcast, but the album piece was a big question mark.
We put together a meeting with the band. A lot
was riding on this.
Speaker 5 (25:18):
Can you see me?
Speaker 14 (25:19):
No?
Speaker 1 (25:20):
No, I just see ya? It should be a camera
at logo in the left bottom corner. The network had
one big question, so.
Speaker 7 (25:30):
Question for now, you guys, what is your vision for
this next release?
Speaker 13 (25:35):
Well, we need that exposure.
Speaker 4 (25:37):
We definitely need that exposure that we have got the
first hand. Even though we got a song on Moonlight,
we still don't have a recognition. We got to test
a new generation. That's who band and music.
Speaker 1 (25:47):
Jamal laid out their biggest challenge.
Speaker 4 (25:50):
I live in Renald, Virginia. They live in Richmond, Virginita.
That's about three hundred miles. So I'm saying, we just
need to get somewhere where we can all get together
and hook up with people like y'all that's got engine
that can put us on the right track. We got
the music, no doubt about that. We got the music
because everything you hear on that album, he came right
off the top.
Speaker 1 (26:08):
I mean, of course there'd be other challenges too. They
hadn't played together in decades, and Cupcake wanted to work
on her voice.
Speaker 14 (26:16):
I've been working on my little trying to get my
little phone set up back.
Speaker 3 (26:21):
Mary Jane took it away from me for a little while.
Speaker 1 (26:25):
But you couldn't help but root for them and their confidence.
Speaker 4 (26:29):
It's just something I've been chased since the age of twelve,
and I mean, you know, it just it's just amazing,
you know.
Speaker 14 (26:35):
I've ever had in my life. It just like I said,
I did it in Drag, I did it in jail.
I'm ready to sing so everybody, as the dog would say,
I want to pee on a tree.
Speaker 1 (26:50):
We got off that call and waited. Neil was especially eager.
He checked in with me every couple of days.
Speaker 16 (26:59):
Man, this meal, Hey listen, I'll set your CD to
you this morning, that you should probably hear something this
week coming up for me in the A plus E
and he you shoot, now, I don't know what's going
to happen, but anyway, I got about five or six songs,
most song that I've already got rid of to sing
to you. Yeah, Danny, how you doing, man, I'll call
you that out of the dinner. Thing has changed, you know,
(27:22):
as far as the land.
Speaker 1 (27:29):
Then one afternoon in June twenty twenty two, the call came.
Speaker 13 (27:35):
In, so where are the three music people?
Speaker 3 (27:38):
And it's a pleasure to meet y'all.
Speaker 1 (27:40):
The network was in for the whole thing, the podcast,
the album, all of it.
Speaker 4 (27:45):
I'm really excited about playing with some real musicians.
Speaker 3 (27:49):
I'm excited about just getting.
Speaker 4 (27:51):
It hell out of it.
Speaker 1 (27:53):
Forty years after their debut, the Edge of Daybreak had
finally gotten their second shot.
Speaker 10 (27:59):
I know I can make.
Speaker 7 (28:00):
Millions of dollars man, I just know it, and I'm
just saying that we put a second album out there.
Speaker 10 (28:06):
They already a little duke per self, but.
Speaker 1 (28:09):
Now that they had the opportunity in their hands, could
they rise to the challenge? Less you load?
Speaker 3 (28:20):
You hate it, just man, and you don't losses that quick.
Speaker 16 (28:22):
Don't worry about that.
Speaker 14 (28:23):
I'll get it.
Speaker 11 (28:26):
Don't mean criticize.
Speaker 1 (28:27):
I get it.
Speaker 6 (28:28):
I do a lot and I gotta do.
Speaker 16 (28:29):
Here and here, So don't worry about that.
Speaker 3 (28:32):
We ain't been in government forty two. I just said
that difficult.
Speaker 1 (28:38):
That's next time. I'm So Incarcerated.
Speaker 7 (28:42):
If you want to hear more of Edged day Breaks music,
their new EP, New Horizon, is available on all digital platforms.
Speaker 1 (28:53):
So Incarcerated was written and hosted by me Jamie Petrice,
co hosted and produced by Dorian Missing. Story edited by
Jasmine kah and sound designed by Bill Moss and Isaac Lee.
Executive producers are Mcamie Lynn, Jesse Katz, and Warren Ostgard.
Additional interviews provided by Alex Lambert from the short film
(29:14):
Edge of Daybreak by Alex Lambert. Additional audio courtesy of
Bluebones Vintage. Special Thanks to everyone who helped us research
this story. To Marv Hyman, Bill Crawley, and Sanethia Lewis.
To the author, Dale Broomfield, attorneys David Baugh and Mara
Meltzer Cohen. To doctor Heather Thompson and Lisia McCarney for
lending insights on American carceral history. Thanks to the entire
(29:39):
staff of the Library of Virginia and to Ben Himmelfarb
from the Henrico County Public Library. To the vocal coaches
k J. Rose and Elise Tunyak A and E's Jennifer
and Sonia, Michael Greenwald, and Elaine Fontaine Bryant. Thanks to
the team at silver Lining Entertainments, One Story Up Productions,
the Numeral Group, the crew at Sunset Sound and In
(30:01):
Your Ear Studios Alex Lambert, Lucas, Benkin, Will Bethel, and
Marty Keith. Thanks to all of the band's friends, family members,
and associates who took the time to talk to me
for this story, and most of all, to the Edge
of Daybreak Harry Coleman, Jamal Newby, and Neil Cade for
sharing it with me.
Host
Jamie Pietras
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