November 17, 2025 • 46 mins
Today on The Breakfast Club, De La Soul On Honoring Dave In Their New Album, Today's Hip Hop Landscape. Listen For More!
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Speaker 1 (00:01):
Every day a week ago. Clicks up the Breakfast Club.
Speaker 2 (00:05):
Y'all done morning. Everybody is the j en Vy, Jess, Hilarius,
Charlamagne and the Guy. We are the Breakfast Club.
Speaker 3 (00:12):
Laurla Ros is here and also Nila is here as
we as we are introduced some legends, some icons to
this game.
Speaker 2 (00:20):
Long Island's own Daylight Soul.
Speaker 1 (00:21):
Welcome brothers.
Speaker 3 (00:23):
My voice a little shaky, that's what y'll thank you, bro,
legendary man.
Speaker 4 (00:29):
How y'all feeling man, first album in nine years?
Speaker 1 (00:33):
Yeah, yeah, yeah, we're feeling good.
Speaker 5 (00:34):
Bro.
Speaker 1 (00:34):
We're feeling really good, man.
Speaker 5 (00:36):
No questions. Still be part of the fabric?
Speaker 1 (00:38):
Yeah, I always like to be a part of it.
Speaker 2 (00:41):
You are part of it. Come on, man, we have
legendarys like this.
Speaker 3 (00:51):
I like to start from the beginning for people that
don't know and introduce them to So how did Daylight
Soul come together?
Speaker 1 (00:56):
Ah?
Speaker 5 (00:57):
Man? We met in summer school.
Speaker 1 (00:58):
Why are you saying that.
Speaker 5 (01:02):
We was in summer school not doing too well that
year before? Right? And uh yeah, for some reason we
clicked in class and from there we would pretty much
end up at one another's crib after school and started
messing with the music. You know, Poss and Dave wasn't
really known as MC's in the neighborhood back then when
(01:25):
parties was happening. I was djaying around the neighborhood. Paul
was djaying around the neighborhood. Yeah, shoot my brother Prince Paul. Yeah.
And then things just started to click. We started to
realize we got something here and we just kept it going.
And when we finally met Paul, things started to really change.
Speaker 3 (01:46):
At that time in Queens, it was it was hard
records at the time. Right, two guys went the other way.
So break that down of of why the difference, of
why the native tongue kind of stuck out.
Speaker 6 (01:59):
It was just who we were, man, it's really all
to explain. We we we put together records based off
what was in our parents' cribs.
Speaker 1 (02:07):
You know what I'm saying. Like we loved the Koogi.
Speaker 6 (02:10):
Raps, the all that, we loved all of it, but
you know, it just what what what appeal to us.
Even Mace could come from a like a more street
background from Brooklyn. I came from the Bronx at a
really young age, but and moved to Long Island. But
we were just using stuff in our Crib.
Speaker 1 (02:30):
We knew Biz. Biz showed us.
Speaker 6 (02:32):
That you can make these dope records but have fun
and that that kind of just spoke to us. So
we just that this is what we did when we
was putting together records, and it just like was what
we wanted to present.
Speaker 4 (02:43):
What was the hip hop community in Long Island?
Speaker 7 (02:45):
Because you know, you got through Rocks and the public
Enemy Biz and the Daylight Soul Buster, you know what
I mean.
Speaker 4 (02:51):
But what was the scene?
Speaker 5 (02:57):
The scene was more backyard parties, vfw's.
Speaker 1 (03:02):
Backyard, a lot of vfws.
Speaker 5 (03:04):
And college parties, a lot of college parties, and that
was That's pretty much how we rocked. We had a
we had a spot called a dugout around our way,
and that's where everybody came and rocked. You know, you
never knew who was gonna pop in there. And then
all the local talent, you know, between DJ's and MC's
(03:24):
that was just trying to do that thing.
Speaker 2 (03:26):
Roller skating to roller skating was bigger.
Speaker 1 (03:28):
Was a very big thing.
Speaker 5 (03:30):
Also.
Speaker 4 (03:30):
Yeah, and y'all knew each other, like who all knew
each other?
Speaker 1 (03:32):
What era was that we knew each other? You know,
we knew who E. P. M. D.
Speaker 6 (03:38):
You know, we would see them here and there, Like
even Freddie Fox lived out around that way, so we
would see him beat your ass. Sure and his brother
the Supreme they called themselves a Supreme force. Me and
Dave at that time were still in high school working
in Burger King. We would see him whipping people all
up and down the moon.
Speaker 5 (04:00):
You know.
Speaker 2 (04:01):
You know what I wanted to know.
Speaker 3 (04:02):
Do you feel like if day La Sol wasn't from
Long Island, day So would be a bigger group, because
I think Long Island is that one place. I always
feel like people just leaves Long Island out for some reason.
Speaker 4 (04:12):
I don't know.
Speaker 1 (04:12):
I mean.
Speaker 5 (04:16):
With hip hop, there's generically there's the struggle, and people
don't realize this is a struggle out there amongst them
grass and trees.
Speaker 2 (04:26):
Long Island was.
Speaker 3 (04:30):
People don't see that side of when you get money,
you moved to Long Island, you made it, because that
was the thing, like when you get money, you moved
a Long Island.
Speaker 2 (04:36):
But Long Island had some dirty dingy yea indeed crazy.
Speaker 5 (04:41):
You know.
Speaker 6 (04:42):
My my parents was from the South. You know, we
lived in the Bronx for a minute. I had two
older brothers by the time me and my younger brother
came around. They was like, yo, we got to get
out of here. So they did the same thing. They
moved us to Long Island. Respectfully, all the white people
ran away and we was there. But Yo, there was
some grimy parts of that place, you know. I mean
wine dance is like Baby Brooklyn.
Speaker 1 (05:02):
That's what it was.
Speaker 5 (05:03):
If you were from the boroughs that moved to Long Island. Yeah,
you had some challenges because them dudes was done gonna
definitely let you know you ain't who you think you
are from. We'll pop you with a shovel out here. Yeah.
Speaker 7 (05:20):
And it's funny when people say things to me like yo,
and when I hear anything, would Daylight be a bigger group?
Because I grew up in South Carolina and people was
bumping Daylight Soul crazy was who I was from. People
did love Daylight Soul.
Speaker 1 (05:33):
No doubt, you know.
Speaker 6 (05:33):
I mean like, yeah, we were one of those groups
that were not only blessed to get this love that
was bubbling in New York, but we can find like yo,
in the South. They messed with us. That first song
we had called plug Tuning. It was a little slower,
so we had Houston really messing with it and then
let alone when all of a sudden they was like, yo,
y'all can go to London or we can go to Amstam.
So we were just kind of like running around the
(05:55):
world just off of this first album, and it was
it was like really a blessing, you know, what is the.
Speaker 8 (05:59):
Origin behind and like plug one, plug two and just
that concept in general.
Speaker 6 (06:03):
It was the listeners we had the song plug tuning,
and it was just a chance. So it's just like
how any rapper could jump into a verse, but like
yo yo yo one two and you just start saying
what you say.
Speaker 1 (06:16):
That was just a chance.
Speaker 6 (06:16):
We'd be like plug one, plug two. I wasn't supposed
to be pluged one. I was just the one saying it,
and Dave was saying plug two. So when we was
walking around in clubs, people were like, yo, you plugged one,
you plugged two, and then he just automatically.
Speaker 1 (06:29):
Became a fall plug three. We didn't even make that
of for ourselves.
Speaker 7 (06:33):
And it's also funny too when they say if you
do things, you'll find your tribe. I feel like y'all
found y'all tribe. Literally when it came to the Native.
Speaker 6 (06:42):
Tongue indeed, because when we first came into it, it
was like being in a high school. You know, you've
already heard nice and smooth records and now they're hanging
with you. You already heard Audio two's records, and now
you're around them in light and so we all hanging around.
But when we met Jungle, it was like, yo, yeah,
sit at my table, let's do the beats on the
(07:03):
table us. And then they bring around Q Tip and
it's the same thing, and then Latifa comes hang out
with us. So yeah, it was just like this frequency
that we just all felt like, Yo, we should.
Speaker 1 (07:13):
Really like be around each other and make records.
Speaker 2 (07:15):
How was recording back then with all those people that
you just need? How was those studios?
Speaker 5 (07:18):
Man? That was crazy? Yeah. I mean you just never
know who's gonna pop in the studio that day and
make a song, you know. I mean we hung out
a lot, so making a song was like second nature
because we were just together a lot. And then you know,
the Viber just wanting to play records and make records
and we were kids loving his thing. You know that's
(07:43):
now called hip hop, It wasn't when we were doing it.
It wasn't called hip hop yet, you know what I'm saying.
It's like, Yo, this this rap thing.
Speaker 1 (07:52):
You know what I'm saying.
Speaker 5 (07:52):
We're trying to do this to figure this out. And
when we got the opportunity for somebody to spend their
money on your dream, it was like, let's go and
we could sample records and yeah, it was like new
toys to play with.
Speaker 2 (08:07):
When y'all sample records back then? Did y'all clear the records?
Speaker 6 (08:10):
And y'all just well, we came out, we gave it
to the record comany to clear and if they chose
not to clear, right.
Speaker 5 (08:17):
You know, we knew we needed to get permission. How
you go about getting permission we didn't know that, but
we knew it. The record company was supposed to do that.
Speaker 2 (08:27):
You didn't do it for your records some something and.
Speaker 7 (08:32):
Not.
Speaker 1 (08:32):
So yeah, you know, I know y'all went.
Speaker 9 (08:34):
Through everything with the lawsuit, with the clearing and not clearing,
and I kind of messed y' all.
Speaker 3 (08:38):
Up with things.
Speaker 10 (08:38):
So the digital Yeah, what was that journey like?
Speaker 9 (08:42):
Because you got all this great feeling, all this great music,
and then the business kicks in and it's like, well, wait,
like we were kids, figuring this out. But now in
the adult business kicks in and it's making it where
you guys kind of disappear when the streaming aer.
Speaker 1 (08:52):
Yeah we missed, we missed a download era. We missed
all that. That's crazy download error streaming era at the
top of it.
Speaker 5 (09:00):
Yeah.
Speaker 6 (09:00):
So, I mean, now we were putting out newer records
that weren't involved with our catalog that was on say
Tommy By the first six records. But we had good
people who was in control of this catalog at Warner Brothers,
you know, and they're trying to help us to get
it right and get these samples clear.
Speaker 1 (09:15):
But you know how we're record companies.
Speaker 6 (09:17):
Then a new regime comes in and everyone leaves and
now you got to start over again. And that's where
it really became an ordeal with it just took too long.
Leo Cohen was up there and he was our former manager,
help us out, but then he left and yeah, so.
Speaker 5 (09:31):
And then Tom Sulverman tried to come back.
Speaker 1 (09:34):
Yeah, and he got the catalog.
Speaker 5 (09:35):
And that's when things started between us and him because
he offered a deal that wasn't really cool.
Speaker 7 (09:42):
How does the label end up with a ten ninety split.
How did the label get ninety because I'm thinking like
back then, y'all didn't There was no screaming, so it's
not like y'all signed something like that.
Speaker 2 (09:53):
I don't know.
Speaker 6 (09:53):
Man, Usually us the artist, just like sometimes us the
people whatever were being introduced to, it's already been figured out.
Speaker 1 (10:03):
They give it to you.
Speaker 6 (10:04):
And I think it's the same way. It's like they
already know where they're going. They already know that this
streaming thing is coming before we even know it's coming.
And I just think it has a lot to do.
Speaker 5 (10:13):
Back then, he was getting paid on like twelve or
maybe eighteen songs, you know, and it would be like
a twelve percent to eighteen percent royalty anyway, and then
that was kind of standard, you know. But what we
didn't know is those admin fees. It's what can make
it ten percent when you're paying that admin feel on
(10:35):
the back?
Speaker 4 (10:35):
What administration?
Speaker 5 (10:37):
Yeah, the administration fee?
Speaker 1 (10:39):
That's crazy.
Speaker 3 (10:40):
How does it feel when you see the younger generation
finding new daylight soul? So Nihla who was a young
og over here, we did this. We do this segment
called Past the Auks, and I think that first maybe
the first the second one she came in here and
she was like, I got a dayl Oat Soul record
were like day Soul new and she played a classic
but it just had joined the streaming it and she's
(11:00):
a native tongue.
Speaker 4 (11:01):
Fits you played the Cabin in the Sky today.
Speaker 2 (11:04):
So how does it feel when the young generation hears that,
because it's almost like a recreation.
Speaker 1 (11:08):
It's beautiful, man, it's amazing.
Speaker 6 (11:10):
Like even right before the catalog came out, Marvel had
came to us and like, Yo, we want to put
one of your older songs in the Spider Man movie.
Speaker 1 (11:17):
Was like, Yo, that'd be amazing.
Speaker 6 (11:18):
So it was a big thing where at the end
of the movie when the three Spider Man's come together,
they play threes, the magic number, and everyone pulls out
their phone, your young kids trying to exam it, and
they still couldn't find it because it wasn't up yet.
So it's just amazing, Like how even all of us
living in our homes and listening to like a gladys
Night record and you and your parents would be like,
(11:39):
what do you know about this? But you was around them,
You're hearing it and it speaks to you, and it's
just great to see something that we did in eighty
nine is speaking to someone right now the words for it.
Speaker 7 (11:51):
If days started in twenty twenty five, what would native
tongues look like today?
Speaker 4 (11:56):
Like who are the artists?
Speaker 1 (11:56):
You call im? What we call family?
Speaker 6 (12:01):
I mean I would immediately think, like you know, odd future,
them dudes Tyler to created those earl slasher and its
impact like those dudes of us, Like we would be
hanging around, running around, bugging out everything. Kendrick to Kendrick, indeed, indeed, indeed.
Speaker 11 (12:18):
Well you see definitely yeh everyday man, I mean half
of the rappers that are out right now.
Speaker 8 (12:33):
But I am curious about just like aesthetically the world
that you guys built, the bright colors, the flowers who
inspired that it.
Speaker 1 (12:42):
Honestly, we were just doing music.
Speaker 6 (12:45):
When it came time to promote the music, the record
label was like, look, man, everything y'all making, it's not
like what anyone else is doing. And it reminds us
of this era like Woodstock and Hippie. Would y'all be
down at you try these covers?
Speaker 1 (13:00):
Mace wasn't really.
Speaker 5 (13:01):
With it it.
Speaker 6 (13:03):
Dylan appreciated, yeah, and so when we when you, as
he said, we appreciate the fact that when you put
this cover next to like n w A's cover or
Rock Him's cover, it stood out and it made someone
pick it up, and we started learning how people would
tell us like yo, like it was because of you.
Speaker 1 (13:20):
I learned about Rock Him because I saw this cover.
It seemed like it was safe, and we saw listening
to it. But we got into hip hop and realized
all hip hop is what it is. Like, what's the
difference between hip hop and a gangster movie? It's like
it ain't really real.
Speaker 3 (13:34):
You know what I'm saying so crazy, just because I'm
thinking back of the influence that you guys had. I
remember the back then, we didn't care about gold jewelry.
I wanted my African pendit and we wanted it from
Jamaica Avenue and had to look a certain way.
Speaker 2 (13:47):
It had to be because the war.
Speaker 7 (13:57):
You think about it, what I'm saying.
Speaker 1 (14:09):
Confusing. You see some of my old pictures.
Speaker 3 (14:11):
I didn't have cross clothes with the African like crazy,
It was crazy.
Speaker 7 (14:17):
You think the industry ever fully understood how radical and
rebellious what y'all was doing actually was when first introduced.
Speaker 1 (14:24):
So well, I don't know, I don't know if we
really understood it. I mean, honest, we were just because
just to even go back to what you were saying,
you don't get it, do not do not miss the
fact that we want to go changes. We want to
be like rock, We want to be like Eric B.
That's you know what I'm saying.
Speaker 6 (14:43):
You know, we had the busy Bee compartment all with
me and Dave had our our chain on leve, you.
Speaker 1 (14:49):
Know what I'm saying. But we we still just had
this way about us.
Speaker 6 (14:52):
They're no different than how I would go see his
family in Brooklyn and like, yo, you could have someone
who stood out or like old Dirty Back that's his brother,
who was like a punk rocker from Brooklyn. Like you
just had these people who was just like different but
still from a circumstance of images that you still love.
I love Dapper dand I would have loved to have
a Dapper dance suit. I couldn't forward that, you know
(15:15):
what I'm saying. So hey, let me just stick to
this this pendent because it's easy to rock than a
gold chain.
Speaker 2 (15:20):
You know how close were y'all to tribe?
Speaker 3 (15:23):
Because I feel like Tribe had so much influence, got
so much from you guys, how close were.
Speaker 6 (15:27):
Y'all to the those was our brother like you know,
and just for me, like Africa and Q Tip, like
we were like unseparable. At one point we was like
the three Stoochs running around like.
Speaker 1 (15:39):
Love.
Speaker 6 (15:39):
Those those brothers. We got on each other's nerves as
brothers should do. We loved each other and we love
each other to this day. Yeah you know, So I
mean hanging out with them, hanging out at Q Tip's house,
his mother's making us food, his oldest sister, his friends
with Sweet Tea, who's down with herbie love Bug, And
I'm like, yo, sweet Tea, and I'm in love with
sweet Tea and she's at his house. Like we always
(16:00):
hung out together and we just created music. And I
learned from them. They learned from us. Like Tip is
younger than us, but I called him like my little
big brother because he's so wise beyond his years.
Speaker 5 (16:10):
You know.
Speaker 4 (16:11):
You know, we had knife Window up here. Nine Winder
was talking about.
Speaker 1 (16:14):
I saw the fronting on Daylight. You're saying how much
he loved I saw that, and.
Speaker 4 (16:18):
So I said that.
Speaker 1 (16:21):
I love the clip.
Speaker 4 (16:23):
I want to hear the clip. Let me hear the clip.
Who break down q tip family.
Speaker 12 (16:28):
Oh Man, so the q tip family tree. Q Tip
was one of the first ones to not sample funk
and soul only, right. Q Tip was one of the
ones like, oh, I'm a sample artist by name of
Kyle Jader and my man sample artist by the name
of Les McCann and Freddie Hubber because q Tip grew
up in the neighborhood of jazz musicians, got jazz exactly
(16:50):
and so that euphoric feel. Like I always say, Benita
apple Bum is like the tree of life for everything
after it. So if Benita apple Bum is not made,
we're not getting well first not first of all, with
our tribe. We're not getting out casts back right, they
said it. They said it all the you know, all
the time. We're not getting out casts. We're not getting
(17:13):
the roots. We're not getting Badu, we're not getting jail.
We're not getting a little Brother. We're not getting D'Angelo.
We're not getting this thing called neo. So we're not
getting we're not getting Kanye West. We're not getting anything
that feels you for it and feels good. We're not
getting that. Because chord changes wasn't in hip hop in
eighty nine, eighty eight we had we used to start
(17:34):
about Public Enemy.
Speaker 1 (17:35):
It was just dad. You know what I'm saying, what
not living base is.
Speaker 12 (17:40):
But q Tip when he sampled those chord changes and
all of that, that's what That's what made everybody turn
the corner. And we're still we owe a lot to
that dude for making that turn and making the music
that he did. We're making the music that Tribe did.
Speaker 4 (17:53):
Why so why I agree with you? But damn, where
did Daylight come into play?
Speaker 1 (17:58):
So Daylight?
Speaker 12 (17:59):
So Daylight was of course Daylight was before that, and
Jungle Brothers before that. You know that, you know Native
Tongue's movie. Also Queen Latifa was in that box. You
know what I mean, Try was more. It was a
different thing from Daylight. Daylight was way left the center, right,
you know, I think.
Speaker 3 (18:18):
And it's gonna sound crazy because the Daylight was from
Long Island and more screen. Tribe was more street because
remember Tribe is really dire from farmers from Queen. Now
you go up a little bit, that's ll Qj's area,
left a little bit, that's you know, fifty them.
Speaker 2 (18:32):
So they were more streak than Daylight I was.
Speaker 12 (18:35):
And you noticed it because when daylight daylight, and tribes
kind of dressed the same on their first on three
feet and people distinct if they trust the same. By
the time Tribe did low end theories, baseball jerseys and
hats bro like, they totally just changed everything.
Speaker 4 (18:49):
But I don't feel like you get any of that
without three feet high and rising.
Speaker 1 (18:52):
No you don't.
Speaker 6 (18:53):
I mean, but I would say, like we were definitely
like mining and and we were like in kinship together
when it came to creativity, and like you have daylight
being daylight and you can have jive records, like yo, these.
Speaker 1 (19:07):
Tommy Boy dudes they won with this.
Speaker 6 (19:09):
They won with daylight, like let's let me find my daylight,
and like Tribe was theirs. But we even knew that
tribing Dayla. Tribe got this thing that like Tip was
coming up with stuff like I was like, Yo, how
is he doing this? How is he coming up with
on this? Yeah, it was crazy.
Speaker 5 (19:26):
It was way deeper than where we were going. Yeah,
because we were actually messing with a whole lot more
pop culture of a different period. You know.
Speaker 6 (19:34):
We would sample peg you know from Stilly Dayan and
make a record like Tip was just going elsewhere with it.
Speaker 1 (19:39):
So I get it, man.
Speaker 6 (19:41):
I understand where certain things and frequencies that Tip or
tribe was on that the brothers related to, but a
lot of the brothers related to us as well. And
even with Daylight So It's dead, our second album, we
left all that that psychedelic stuff to the side as well.
It just was so iconic people didn't want to let
it go. I mean, our second it was called Daylight,
So it's dead because we were saying we was getting
(20:03):
off killing off the image.
Speaker 5 (20:06):
The image that was drowning the music. The daisy always
meant it was an acronym, it meant the sound, y'all
the as so it just, you know, the images just
took it elsewhere, obviously for the record company to try
to sell some records, and I cantfront on the art
(20:27):
department listening to the music and making this cover because
this is their interpretation, you know what I mean. So
over time I began to appreciate what the effect it
had on everyone, you know what I mean.
Speaker 4 (20:43):
I still don't think you get you don't get tried
without Daylight.
Speaker 7 (20:45):
So of course I understand the cut Tip family tree thing,
but Daylight to me sparked.
Speaker 5 (20:50):
All of that well, you know, to speak to t
in Trib's defense, they had a lot of success. So
when you come to when we talk an industry standards,
they sold a lot of records. Man, you know, they
had some joints. Man. You know, I could say maybe
we had good albums, but they had good albums and joints. Yeah,
(21:13):
it was crazy.
Speaker 3 (21:14):
I still think it's part of the Long Island thing
where people slept on a lot of Long Island artists,
whether it was rock Kim, I think Rock Kim is
a huge artist. I think Rock Kim would have been
bigger if he was from the Boroughs. I think the
same thing with E. P.
Speaker 8 (21:26):
M D.
Speaker 2 (21:27):
I think the same thing.
Speaker 3 (21:28):
Well, Keith Murray was there, but I just think people
sleep on Long Island so much mentioned as the god
like number one on some people on some people's list,
but I think it would be even bigger if he
was from one of the barrels.
Speaker 2 (21:40):
I just think people sleep on Long Island. That's what
I did.
Speaker 10 (21:45):
Do I feel like rock was always mentioned as one
of the guys.
Speaker 9 (21:50):
Generationally, Yes, I do not feel like I hear people
talking about it more now.
Speaker 1 (21:58):
He was the one for even Kendrick to say, like
he those some music.
Speaker 9 (22:02):
When I say that, When I say that, I guess
I mean like transcending outside like you said, like an
industry success. Like I feel like sometimes when we have
these conversations, it's like two different groups of people you
talking about. You got people that are heavily intertwined in
music and hip hop and culture, and then you have
everybody else that just like sees it from a celebrity aspect.
I feel like the world now is giving rock.
Speaker 1 (22:24):
Yeah.
Speaker 9 (22:25):
Remember I wasn't heard painting pol But you're different, You're
you're you sit here at the breakfast club, but like
a regular person who's just reading like a complex dot com,
a person who's on TikTok, a younger kid.
Speaker 10 (22:35):
Now they're talking about the.
Speaker 7 (22:37):
Way people rap, Like I remember it was because my
sisters was listening to like Salt and Pepple and you
know they was a kid in playing But you heard.
Speaker 1 (22:44):
Ro Like what is that? Yeah?
Speaker 8 (22:47):
I have two questions. I just want to get it
off my brain before I forget.
Speaker 12 (22:50):
Well.
Speaker 8 (22:50):
One's kind of like a comment, but have you ever
seen that clip of Alias and how she has a
crush on you?
Speaker 1 (22:55):
Yes, my wife's seen it too.
Speaker 10 (22:59):
She it is iconic though you got to play that every.
Speaker 1 (23:05):
Night, you know what?
Speaker 6 (23:13):
You know what what was crazy is that we we've
met her throughout the years and she was such a lovely,
beautiful soul and I'm one of the most amazing memories
of her is uh, we did like a Christmas party.
Speaker 1 (23:26):
I want to say.
Speaker 6 (23:26):
It was like Bet and her and Missy was at
the front of the stage while we're performing, They're trying
to pull and Untie a sneak beuse.
Speaker 1 (23:33):
We're like, yo, what are you doing? Like she was
such a fun, fun, lovely queen. So I mean, like,
it's just amazing to hear that.
Speaker 8 (23:43):
And my other question was, could you guys talk about
tribe And I know you guys did collaborate with Q
Tip on this. Did you guys produce kind of like
old times? Like was it like let's recreate the feeling
that we had back then.
Speaker 1 (23:55):
Or no, we it's a feeling we are. We just
keep with each other. It's just like that.
Speaker 6 (23:59):
If you you know, if Jay comes to do someone
in Memphis, it's just a synergy they got that You're
gonna be like, I hear it there and that's what
we are, Like me and him and Q Tip is
in a chat every other day being silly and bugging
out and sending records and like, nah, I got this
record for you.
Speaker 1 (24:16):
No, no Tip, you gotta do this. So we always together.
Speaker 6 (24:19):
Nix was killing it at that point. He wanted to
come to the studio and hear what we was doing.
He wasn't supposed to be on the record. He just
came through just to listen and he got caught up
on his one song I played and he's rhyming. I'm
like yo, and he was like, y'all, I want to
get on this, and that's how this happened.
Speaker 10 (24:34):
Just go ahead in this group chat that you guys have.
Speaker 8 (24:37):
Are you guys talking about like the headlines that are
coming out, like hip hop is dead, rap hasn't been
on Billboard, X, Y and Z Like, nah.
Speaker 1 (24:46):
It's just music. We just send music.
Speaker 6 (24:49):
Stupid, Yeah, because we wanted to know.
Speaker 9 (24:54):
Were talking about that before y'all came in, about how
all those conversations be happening, But like there's so much
actually happening for real, but details are just like noise.
Speaker 5 (25:02):
Yo.
Speaker 1 (25:03):
We love music.
Speaker 6 (25:04):
We have the right as all of us to have
our opinion about it.
Speaker 1 (25:09):
And I mean all of you. Man, y'all are staples,
and you have the right to be like, yo, I
think this is not it and whatever. But we we we.
Speaker 6 (25:16):
Had the benefit of coming out and having our gods
say to us like, look, Daylight, your show is whack.
Speaker 1 (25:23):
You need to do this, you need to do that.
And they did it out of love.
Speaker 5 (25:27):
You know.
Speaker 6 (25:27):
We didn't have these platforms where they got to go
to like write on magazine and something and be like.
Speaker 1 (25:31):
You know that day La soul. They got a horrible show.
So that's what I don't like.
Speaker 6 (25:35):
I don't like coming up here and talking bad about
someone when I can turn around and talk to them
and out of love show them love and be like, yo, man,
I love what you're doing, but maybe you should try
to do this or do that.
Speaker 1 (25:46):
And I think that's more what we need to be.
Speaker 5 (25:48):
Criticism is constructive and not hurting nobody.
Speaker 6 (25:53):
We all we all have feelings, we have egos and
you know, so I mean, like be more constructive.
Speaker 7 (26:00):
As they said, was there ever a time where y'all
felt pressure to modernize your sound or y'all just operate
outside of that? Nah?
Speaker 6 (26:06):
We always outside it. I mean, think about it. Seanamagne
we had us. You know, you had tried with Midnight Marauders,
you had Wu Tang with thirty six Chambers, and we
come with this calm record called Balloon Mind State. We
we always was just riding our own path, like we
loved all that we could do, all that we could
get up next to the illis do it in rhyme
(26:27):
the way we needed to rhyme. But that was the
journey at that point, you know what I'm saying. And
we unapology, you know, like we didn't apologize for any
of it.
Speaker 5 (26:36):
We just did what we did, create an least successful album. Yeah,
you know, and fast forward to today, people go, yo,
Ballue Mindsteed, I get it now. Yeah, it was something
you had to grow into probably, you know. No. So
I mean, music just has a weird place where people
you may not get it now, but you'll get it later. Yeah.
(26:59):
You know.
Speaker 3 (27:00):
I want to talk about the iconic song Buddy. Right
when it first came out, everybody thought it was a
sexual song when it first came out, right, So so
explain Buddy and how it came about because it was
band from a lot of places. Places didn't want.
Speaker 1 (27:11):
To play it.
Speaker 2 (27:12):
They talk this way about it so well where the
concept came from.
Speaker 6 (27:15):
Jungle Brothers first had a song called Jimbrowski you know when,
and that was talking about you.
Speaker 1 (27:20):
Know, the male's anatomy. And then we.
Speaker 6 (27:23):
Came with a song called Jennifer and I was just
talking about a girl, and so we just were saying, like, yo,
if we.
Speaker 5 (27:30):
Have Jimmy j they become buddies.
Speaker 1 (27:34):
So, I mean that's really what it was in the
most playful sense, gotcha. You know. So definitely they also.
Speaker 3 (27:40):
Want to know, well, all these collabs that Nike does, right,
because you see the Daylight Soul Dunks and the Daylight
Soul Kicks, do y'all get paid for that?
Speaker 2 (27:47):
Do they get permission before they do it?
Speaker 1 (27:48):
Or do they No, they definitely got permission the first run.
Speaker 5 (27:53):
We didn't get paid, no.
Speaker 6 (27:54):
Because that's how the first run with SB obviously that's
how it was. It was like a few a few
amount be put out twenty grands, yeah, and then they'll
just flood you with like a locker room of sneakers
here take that. But I mean the second time around,
when they released it, they gave us some money for it.
Speaker 5 (28:12):
But you know, they say, you on the idea of
the limited edition and all of that, and.
Speaker 2 (28:16):
It keeps the name alive when I watched when.
Speaker 5 (28:19):
I used, and it's cool to do the first time around.
And when we're talking about repeating it, then we need.
Speaker 4 (28:27):
To get some break, you know.
Speaker 7 (28:29):
You know Daylight albums, man, they always feel like worlds
when you're creating. Now, when you created Cabins in the Sky,
what world are you building it?
Speaker 4 (28:37):
What's the emotion that was driving?
Speaker 6 (28:39):
The main thing is for our partner who's no longer here, Dave.
It was like, yeah, Cabin in the Sky was for him,
you know. I mean it's still the normal muscle memory
of trying to make a beautiful, great album that has
good lyrics, could sound good themes as Daylight has always done,
but it was him. And I jokingly say this, like
(29:01):
you know, and I hope I'm not you know, saying
stuff that people don't know. But it's this old movie
Outsiders Matt Dillon is the scene where like he's like
they about to have this big fight with that gang,
the Socials, and they'd be like, yo, we gotta do
this for Johnny.
Speaker 1 (29:16):
Like that's how I feel like, we got to do
this for Dave.
Speaker 6 (29:18):
Like it was really big that we represent him and
show to show his energy on this entire album. The
project is for him, you know, and for us, and
it's therapeutic for us to do for me.
Speaker 1 (29:31):
You know.
Speaker 6 (29:31):
Like the album is basically like we're doing this album
with him rhyming from heaven, you know what I'm saying, Like,
that's what this is.
Speaker 1 (29:38):
Cabin in the Sky.
Speaker 9 (29:39):
Has there been moments, you say, with therapeutic, has there
been moments where you guys had to kind of like
step away and just kind of deal with whatever feelings
were brought back up by getting.
Speaker 5 (29:47):
Back in this I stepped right into it. You never
know when grief is gonna hit you. If I got
to cry in the moment, I crying the moment.
Speaker 1 (29:55):
Yeah.
Speaker 5 (29:57):
One of the biggest things is just now just handling
the responsibility of carrying my man's legacy. You know, we
got the blessing from his family, all the friends we
grew up with, you know what I mean. So at
this point, yeah, it's more of a responsibility to keep going,
(30:17):
and we had plans, so it's just carrying out the plan.
Speaker 7 (30:23):
Really, how do you how do you honor Dave spirit
creatively without trying to imitate or recreate what he did.
Speaker 1 (30:29):
Well, nothing that we used of him.
Speaker 6 (30:32):
Was like like manipulating in a sense, Like whatever song
you hear Dave on that, that was a song that
he was on. We didn't grab his vocal and put
it on something that he wasn't his energy and what he.
Speaker 1 (30:44):
Felt to write to, because that's how Dave was.
Speaker 6 (30:46):
He he wrote in a moment like and if he
didn't like it, it was gone.
Speaker 1 (30:49):
Like he didn't he didn't want to co sign it.
Speaker 6 (30:51):
So it's music that he was actually on, and the
music on this album that he actually produced, so like
his intent, his energy is without the album and it's
organically him and it's authentically him.
Speaker 5 (31:04):
Yeah, you know when you hear the album the sequence,
it sounds like he's working on the record from heaven. Yeah,
it really sounds like that.
Speaker 7 (31:13):
When you step on stage now that is performing, you know,
the oldie catalog feel different emotionally.
Speaker 1 (31:18):
It can. I mean it took a minute to get
used to.
Speaker 6 (31:21):
Maybe those are moments where you know, I say something
Dave was supposed to come in and then I would
be ready to jump in ad lib mode and then
I'm saying something all of a sudden, I'm waiting for him,
jumping like, oh what am I doing? Like I gotta
jump in because I gotta say to rhym. So it
took us a moment to get that, but we got
a downpack because we stay moving, we stay always doing shows.
(31:43):
So yeah, it took a moment for us to get it,
but we already did with it.
Speaker 1 (31:47):
Yeah.
Speaker 7 (31:48):
What's something about Dave as a man not just an
artist that you want fans to remember forever?
Speaker 5 (31:56):
Man?
Speaker 1 (31:57):
Wow? A man?
Speaker 5 (32:00):
Hey man? He lived the full life. Man. If any
body did it their way, he did definitely unapologetically his way.
You know, when I sit down with the Homi Zoom
and we talk about it, like the ones that aren't
a part of this music thing we grew up with,
(32:21):
and they're like, yo, man, just know that, yo man.
He did everything the way he wanted to do it,
you know. So don't don't don't don't fret. They've lived
a full life.
Speaker 1 (32:34):
A full life.
Speaker 6 (32:35):
Dave Chapelle kicked that to us as well, Like he
was like, yo, man, Dave lived a life that was
so dense because he lived like a damn like three
four lifetimes. What he got to see, who he got
to influence and help and.
Speaker 1 (32:47):
It's the truth.
Speaker 6 (32:48):
I mean, like he had a life that for him
to not we all have I would feel I know
I do. I have people that is no longer here,
and you kind of feel sad that they didn't get
to do certain things that they wanted to want to
to do, or they didn't get to make the mark
they wanted to make or change their ways. And Dave
lived an amazing life and did so much and involved
(33:08):
as a man, as a fall, he did so much.
Speaker 2 (33:11):
Played in the league, right, did some play football in
the league?
Speaker 5 (33:14):
I thought, yeah, But Dave had the bird's eye view, Yeah,
the whole thing, you know, where I can be on
the ground and in the street with it on the
where he got with it. And but Dave is up here,
you know, always kind of looking at things from a
(33:34):
real quirky perspective. He brought the real different edge of
who we are, like that real quirky edge.
Speaker 4 (33:43):
You mentioned Dave Chapelle.
Speaker 7 (33:44):
What was the connection between Chappelle and day Lock And
I know y'all did the show back in the day,
But the one time I think I met Dave was
at a Dave Chappelle show, But it was in South Carolina.
Speaker 1 (33:54):
Ye maybe three years ago.
Speaker 5 (33:59):
Yeah, yeah, yeah, families from Florence. Okay, yeah, I got family.
Speaker 1 (34:03):
Yeah.
Speaker 6 (34:04):
Now, we've known Dave Chappelle for for the longest time.
We did some show in Ohio a long time ago,
some college joint we did, and he was there. I
think his pops was a teacher there, and so he
was at the show and we became this cool ever
since this before Dave even really blew up. So we
was just always around Dave Chappelle. And so when he
(34:26):
got to where he was and wanted us on the
show and anything he needed is for we was there
for it.
Speaker 7 (34:30):
You know, when you look at the landscape of hip
hop today, what piece of the original Daylight philosophy do
you feel the coaching needs the.
Speaker 1 (34:38):
Most right now?
Speaker 6 (34:40):
I mean balance, just for me, and I don't know
if I I don't know how I can really say that.
Speaker 5 (34:46):
I feel like the balance is there. It's the platforms
that need to present the balance. But yeah, well, for
some time, you know, it starts to look like the
industry is only supporting one side of hip hop, and
it tends to come off to be a little genocidal,
(35:08):
you know, because we got way more variety in our culture.
You know here it is everybody's art is real, everybody's
story is real, but the industry can misconstrue the story
and tell a really glorify a story that people aren't
really glorifying. You know, they're just telling their story. Some
(35:31):
of it's from a fun perspective, but some of it's
from a very real perspective, letting you know, like, don't
do this. But there's a perception in marketing that don't
really lend to that. There's always just no real variety period.
You got one flavor all the time.
Speaker 6 (35:49):
But you know, I pushed back on that a little
bit because I just feel like there's so My thing
is that there's just too much music what with us,
and we come from an era where you know, you
tried it in your crib, if people thought you was dope,
You worked, you maybe scrambled on the street, you made
your money, you went to the studio.
Speaker 1 (36:10):
You can make music from your laptop. Zoom is up.
Speaker 6 (36:13):
And I just think that so much music, and it's
good music out but there's so many places to get
it from that it's understandable that this one place only
does it this way.
Speaker 1 (36:24):
But if you go to maybe SoundCloud. They do it
this way, but then if.
Speaker 6 (36:27):
You go with the listener has to almost transition into
a person that can listen to music in different places.
Speaker 1 (36:35):
And if they don't, they live in their own echo chamber,
you know.
Speaker 8 (36:38):
But the echo chamber is just what's being programmed. Which
is the popular thing that you're saying, which could be yeah, yeah,
but is there anything that you guys experience firsthand that
you feel like the new generation of MC's or just
like hip hop fans in general should study.
Speaker 1 (36:57):
Yo, you're going to learn it.
Speaker 6 (36:58):
When you learn it, you can make anyone learn anything
they didn't want to learn. And that's why to say
that when when knowledge or whatever comes towards you, if
it's given to you in a humble way, you're listen.
When someone's trying to force something down your throat, you're
not going to eat it. So I mean, that's how
I always try to approach people. And I think young dudes, I.
Speaker 4 (37:18):
Didn't want to at that was that was agreed. I'm
I didn't want to interrupt. I did not want to
interrupt the profile thought. But that was just very aggreevable.
Speaker 1 (37:41):
It was my policies, gentlemen. No, no, no, I know
the jokes. I watched this every day.
Speaker 3 (37:48):
Sorry, I'm sorry, but back to your point if you
can get back to it when.
Speaker 1 (37:54):
I'm done on you.
Speaker 4 (37:57):
But you know, somebody in the chat had a point.
Speaker 7 (38:00):
They said that they feel like it's too much noise,
not enough true art.
Speaker 5 (38:04):
Yeah, that is true because as a DJ, we always
want music. It's just what the Internet has become. We
got a lot of whack stuff because people are able
to just go ahead and put on.
Speaker 1 (38:18):
We always had whack stuff, but through you know what
I'm saying, I think there is a lot of I
think there is a lot of noise because I think
we are artists that know and feel that we have
to say, yo, check out what I'm doing. Because it
goes back to what I'm saying, there's so many artists
that's putting out so much music. Why should I look
(38:40):
at you?
Speaker 6 (38:40):
Well, maybe you should look at me, because not only
my music is good, but when I show you what
I'm doing in my house and how I'm bugging out
with my wife or my girlfriend or my boys. So
it's like a whole new thing. It's more than just music.
Music is almost disposable. It's the person that they're looking
at so. I mean, it's just like I watched your
show and I agree. I feel like yo yo j
(39:02):
I d like, where was his rollout? Like you want
to hear him, you want to see him because the
music was amazing. I needed to have now people seeing
what he's doing. And then everyone's talking about how clips
rollout was. But Clip was just doing what we come
from doing, which is just.
Speaker 9 (39:18):
But you know what too, I think somewhat to the
fans have gotten so used to just being okay with
how things are now, because when he said that about Jed,
people were like, y'all crazy. There was a rollout, and
I was like, if you're in a certain world or audience,
you saw it, but as big as it should have been,
there wasn't. But so that might be a part of
like it's not even at the bars in hell. It's
just people have gotten used to this is all we get,
(39:40):
This is all we know. They're praising things that are normal,
and then when you do things that are under the norm,
it's like as.
Speaker 2 (39:47):
Well though too.
Speaker 3 (39:47):
The artist has to want it as much as anybody else. Right,
you don't see Clips coming from a place where they
had to do that, right, there was no Internet. They
had to go to every radio station, they had to
go to every mom and pop store, you had to
go to every college radio because it was that was
the only outlets. Like you look at Jid, who we
loved Jid, but he might not have wanted it as
much as clips. And it's harder to say that the
(40:09):
artist wanted when they're getting that much money so fast,
you know what I mean.
Speaker 5 (40:13):
In his defense, you know, he's missed, probably missing that
that coaching element of artist development because of how it
changed so much and you could easily put your music
out from your house, so artist. You know, Jordan didn't
no win no game without Phil Jackson. Every great player
(40:35):
needed a coach. I feel like that's how it is
with artists. You know, look at the success of everybody
that was under Dre. Can we not deny that Dre
is a great coach. Yeah, because of the success and
there was artist development that went with all of that.
That Right now, we're looking at a lot of raw
(40:55):
talent that could use just some development, you know, and
it comes from the people who come before them. That's
where the criticism need to be a little more constructive
and not bashing, you know, and then when you got
somebody who making a lot of money, he going like,
how can you tell me the two?
Speaker 1 (41:15):
Dude?
Speaker 5 (41:15):
It's necessary when I'm getting it, you know what I mean.
Speaker 7 (41:18):
It's just a word that has a negative stigma, but
you kind of need it. There should be some level
of gatekeeping. But the keep the keepers of the gate
have to be pure in their intentions and their motive.
They can't be influenced by you know, somebody paying them
to say otherwise, biased to certain regions.
Speaker 4 (41:35):
It just got to be is this dope or not correct?
I think I think that's missing.
Speaker 5 (41:42):
Really getting it. I really say to them, yoyo, I
mean you want to be fifty doing this? Yeah, but
I mean not could show you much about getting that
paper because the times have definitely changed. But I think
I have to show you something about longevity. But there's
(42:04):
a lot of.
Speaker 2 (42:04):
Artists that say, I don't want to do radio.
Speaker 3 (42:07):
A lot of this, I'm not doing a podcast, I'm
not doing like artists decide I'm not doing it because
they don't want to, you know what I mean, And
they get what they get.
Speaker 2 (42:14):
But the artists that go all out.
Speaker 3 (42:16):
And they do what they have to do, you see
it with the success, whether it's a CARDI B or
it is a eclipse like you see and you.
Speaker 2 (42:22):
See, you can see the difference.
Speaker 5 (42:24):
Man.
Speaker 6 (42:25):
I just know that we definitely benefited as a group,
not only being able to come up to a place
we were born, New York and run around.
Speaker 1 (42:34):
But we ran.
Speaker 6 (42:35):
We run around to this day in the UK and
France and whatever.
Speaker 1 (42:41):
You want to call it, Dubai and we did.
Speaker 6 (42:44):
We do press like so we understand what it is
to touch someone and even have that person be like yo, man,
I ain't really mess with them, but you know what,
they're nice guys.
Speaker 1 (42:53):
Let me, let me listen.
Speaker 6 (42:53):
And the next thing you know, you've now planned a
seed for someone to appreciate what you do. And you know,
like you just said, if someone feel like they're getting
what they're getting, then why do all this? But you
just don't know who you will touch and that'll lend
to your longevity.
Speaker 2 (43:09):
You know, you don't know when it stops. You don't
know when it stops.
Speaker 3 (43:12):
Because I always say this, a lot of artists get
a benefit of the doubt because of who they are, right.
I always look at and I hate to bring us up.
I always look at fifty and jo Rule right when
Ja Ru came out and salute the Job. He never
did as much as he was supposed to because IRV
did everything for him. So when he got into the
beef with Jod, there was no personal relationship. Where fifty
got into the beef with Job, there was no personal relationship.
Speaker 5 (43:34):
Now.
Speaker 3 (43:34):
Fifty, on the other hand, went to every DJ's house,
went to every radio show, did the smaller DJs shows
the bigger DJ show. So you lean towards fifty cent
more because you know them more. I'm from Queens and
I didn't meet Joe until the Breakfast Club, which is crazy,
and we're from the same area. We joke about it
now and he understands it now, but that's part of it.
(43:55):
Like fifty did what he was supposed to do and
he still has those relationships with these DJs to today.
Speaker 7 (44:00):
So y'all got a song on New I'm called the
Package and you say, trend set is no where to
bail from the trend they started.
Speaker 6 (44:06):
Yeah, that mean it's what we did exactly from three
Fini Rising. We we we didn't try to make a trend,
but when it became a trend, that was cool. But
we was off to what we needed to do. On
the second album date, I saw it's dead. You start something,
but you don't started to make it for something for
everyone else to do, and if they latch onto it,
that's how the camaraderie, that's how the love for what
(44:28):
you presented. But we on to the next.
Speaker 1 (44:31):
And that's how we've always been as as a group,
just always on to the next to try something else,
and it may work, it may not work. But we
always saw ourselves.
Speaker 5 (44:40):
Knowing for a fact that we can't recreate what we
did before.
Speaker 1 (44:43):
Yeah, like it was going to be.
Speaker 5 (44:46):
Created no at all, you know I could There's no
way I could capture being fourteen, fifteen, sixteen when we
were actually coming up with those ideas.
Speaker 1 (44:57):
Yeah, you know what I mean. Yeah, it's very important.
Speaker 10 (44:59):
That's think about sixteen.
Speaker 6 (45:02):
Yeah, like you sitting on ideas that once you get
on you can put all these ideas you've had all
that time into this one project. Now, once you put
out a project, you're running around on the road, you're
doing whatever, and now those experiences may be going to
the next project. So let alone, when you get to
this place where now you got to put up projects
every month, you may hear like the it's like it's
(45:24):
it's like redundant creativity.
Speaker 1 (45:26):
It's like, what is this.
Speaker 6 (45:27):
It's like you're not allowing yourself a chance to grow
and have different experiences. But definitely as trend setters, man,
you have to be able to know, like, all right,
it's time to put this to the side, let me
go to someplace else.
Speaker 1 (45:40):
Well, we appreciate it.
Speaker 7 (45:41):
Last question, when history of books talk about day Las
Soul fifty years from now, what's the sentence you hope
is written?
Speaker 1 (45:49):
We like, we did it our way man, we had
fun with it.
Speaker 5 (45:53):
And three black men who stuck together.
Speaker 1 (45:57):
Done.
Speaker 3 (45:58):
There you go, Thank you so much, Daylight Soul, Ladies,
Cabins and the sky comes out on the twenty first.
Speaker 8 (46:04):
That loved y'all, by the way, Twitter yet and I
tucked in ninth and he wanted to tell me.
Speaker 1 (46:09):
I mean, get out.
Speaker 8 (46:14):
He said, thank you for letting him be a part
of your tree.
Speaker 5 (46:18):
Man. I love him, I love love brothers man, all
of them for real.
Speaker 2 (46:23):
It's the Breakfast Club. It's stay like soul every day, up,
waking ago, click your ass up.
Speaker 1 (46:29):
The Breakfast Club finished for y'all. Done,
Every day a week ago. Clicks up the Breakfast Club.
Speaker 2 (00:05):
Y'all done morning. Everybody is the j en Vy, Jess, Hilarius,
Charlamagne and the Guy. We are the Breakfast Club.
Speaker 3 (00:12):
Laurla Ros is here and also Nila is here as
we as we are introduced some legends, some icons to
this game.
Speaker 2 (00:20):
Long Island's own Daylight Soul.
Speaker 1 (00:21):
Welcome brothers.
Speaker 3 (00:23):
My voice a little shaky, that's what y'll thank you, bro,
legendary man.
Speaker 4 (00:29):
How y'all feeling man, first album in nine years?
Speaker 1 (00:33):
Yeah, yeah, yeah, we're feeling good.
Speaker 5 (00:34):
Bro.
Speaker 1 (00:34):
We're feeling really good, man.
Speaker 5 (00:36):
No questions. Still be part of the fabric?
Speaker 1 (00:38):
Yeah, I always like to be a part of it.
Speaker 2 (00:41):
You are part of it. Come on, man, we have
legendarys like this.
Speaker 3 (00:51):
I like to start from the beginning for people that
don't know and introduce them to So how did Daylight
Soul come together?
Speaker 1 (00:56):
Ah?
Speaker 5 (00:57):
Man? We met in summer school.
Speaker 1 (00:58):
Why are you saying that.
Speaker 5 (01:02):
We was in summer school not doing too well that
year before? Right? And uh yeah, for some reason we
clicked in class and from there we would pretty much
end up at one another's crib after school and started
messing with the music. You know, Poss and Dave wasn't
really known as MC's in the neighborhood back then when
(01:25):
parties was happening. I was djaying around the neighborhood. Paul
was djaying around the neighborhood. Yeah, shoot my brother Prince Paul. Yeah.
And then things just started to click. We started to
realize we got something here and we just kept it going.
And when we finally met Paul, things started to really change.
Speaker 3 (01:46):
At that time in Queens, it was it was hard
records at the time. Right, two guys went the other way.
So break that down of of why the difference, of
why the native tongue kind of stuck out.
Speaker 6 (01:59):
It was just who we were, man, it's really all
to explain. We we we put together records based off
what was in our parents' cribs.
Speaker 1 (02:07):
You know what I'm saying. Like we loved the Koogi.
Speaker 6 (02:10):
Raps, the all that, we loved all of it, but
you know, it just what what what appeal to us.
Even Mace could come from a like a more street
background from Brooklyn. I came from the Bronx at a
really young age, but and moved to Long Island. But
we were just using stuff in our Crib.
Speaker 1 (02:30):
We knew Biz. Biz showed us.
Speaker 6 (02:32):
That you can make these dope records but have fun
and that that kind of just spoke to us. So
we just that this is what we did when we
was putting together records, and it just like was what
we wanted to present.
Speaker 4 (02:43):
What was the hip hop community in Long Island?
Speaker 7 (02:45):
Because you know, you got through Rocks and the public
Enemy Biz and the Daylight Soul Buster, you know what
I mean.
Speaker 4 (02:51):
But what was the scene?
Speaker 5 (02:57):
The scene was more backyard parties, vfw's.
Speaker 1 (03:02):
Backyard, a lot of vfws.
Speaker 5 (03:04):
And college parties, a lot of college parties, and that
was That's pretty much how we rocked. We had a
we had a spot called a dugout around our way,
and that's where everybody came and rocked. You know, you
never knew who was gonna pop in there. And then
all the local talent, you know, between DJ's and MC's
(03:24):
that was just trying to do that thing.
Speaker 2 (03:26):
Roller skating to roller skating was bigger.
Speaker 1 (03:28):
Was a very big thing.
Speaker 5 (03:30):
Also.
Speaker 4 (03:30):
Yeah, and y'all knew each other, like who all knew
each other?
Speaker 1 (03:32):
What era was that we knew each other? You know,
we knew who E. P. M. D.
Speaker 6 (03:38):
You know, we would see them here and there, Like
even Freddie Fox lived out around that way, so we
would see him beat your ass. Sure and his brother
the Supreme they called themselves a Supreme force. Me and
Dave at that time were still in high school working
in Burger King. We would see him whipping people all
up and down the moon.
Speaker 5 (04:00):
You know.
Speaker 2 (04:01):
You know what I wanted to know.
Speaker 3 (04:02):
Do you feel like if day La Sol wasn't from
Long Island, day So would be a bigger group, because
I think Long Island is that one place. I always
feel like people just leaves Long Island out for some reason.
Speaker 4 (04:12):
I don't know.
Speaker 1 (04:12):
I mean.
Speaker 5 (04:16):
With hip hop, there's generically there's the struggle, and people
don't realize this is a struggle out there amongst them
grass and trees.
Speaker 2 (04:26):
Long Island was.
Speaker 3 (04:30):
People don't see that side of when you get money,
you moved to Long Island, you made it, because that
was the thing, like when you get money, you moved
a Long Island.
Speaker 2 (04:36):
But Long Island had some dirty dingy yea indeed crazy.
Speaker 5 (04:41):
You know.
Speaker 6 (04:42):
My my parents was from the South. You know, we
lived in the Bronx for a minute. I had two
older brothers by the time me and my younger brother
came around. They was like, yo, we got to get
out of here. So they did the same thing. They
moved us to Long Island. Respectfully, all the white people
ran away and we was there. But Yo, there was
some grimy parts of that place, you know. I mean
wine dance is like Baby Brooklyn.
Speaker 1 (05:02):
That's what it was.
Speaker 5 (05:03):
If you were from the boroughs that moved to Long Island. Yeah,
you had some challenges because them dudes was done gonna
definitely let you know you ain't who you think you
are from. We'll pop you with a shovel out here. Yeah.
Speaker 7 (05:20):
And it's funny when people say things to me like yo,
and when I hear anything, would Daylight be a bigger group?
Because I grew up in South Carolina and people was
bumping Daylight Soul crazy was who I was from. People
did love Daylight Soul.
Speaker 1 (05:33):
No doubt, you know.
Speaker 6 (05:33):
I mean like, yeah, we were one of those groups
that were not only blessed to get this love that
was bubbling in New York, but we can find like yo,
in the South. They messed with us. That first song
we had called plug Tuning. It was a little slower,
so we had Houston really messing with it and then
let alone when all of a sudden they was like, yo,
y'all can go to London or we can go to Amstam.
So we were just kind of like running around the
(05:55):
world just off of this first album, and it was
it was like really a blessing, you know, what is the.
Speaker 8 (05:59):
Origin behind and like plug one, plug two and just
that concept in general.
Speaker 6 (06:03):
It was the listeners we had the song plug tuning,
and it was just a chance. So it's just like
how any rapper could jump into a verse, but like
yo yo yo one two and you just start saying
what you say.
Speaker 1 (06:16):
That was just a chance.
Speaker 6 (06:16):
We'd be like plug one, plug two. I wasn't supposed
to be pluged one. I was just the one saying it,
and Dave was saying plug two. So when we was
walking around in clubs, people were like, yo, you plugged one,
you plugged two, and then he just automatically.
Speaker 1 (06:29):
Became a fall plug three. We didn't even make that
of for ourselves.
Speaker 7 (06:33):
And it's also funny too when they say if you
do things, you'll find your tribe. I feel like y'all
found y'all tribe. Literally when it came to the Native.
Speaker 6 (06:42):
Tongue indeed, because when we first came into it, it
was like being in a high school. You know, you've
already heard nice and smooth records and now they're hanging
with you. You already heard Audio two's records, and now
you're around them in light and so we all hanging around.
But when we met Jungle, it was like, yo, yeah,
sit at my table, let's do the beats on the
(07:03):
table us. And then they bring around Q Tip and
it's the same thing, and then Latifa comes hang out
with us. So yeah, it was just like this frequency
that we just all felt like, Yo, we should.
Speaker 1 (07:13):
Really like be around each other and make records.
Speaker 2 (07:15):
How was recording back then with all those people that
you just need? How was those studios?
Speaker 5 (07:18):
Man? That was crazy? Yeah. I mean you just never
know who's gonna pop in the studio that day and
make a song, you know. I mean we hung out
a lot, so making a song was like second nature
because we were just together a lot. And then you know,
the Viber just wanting to play records and make records
and we were kids loving his thing. You know that's
(07:43):
now called hip hop, It wasn't when we were doing it.
It wasn't called hip hop yet, you know what I'm saying.
It's like, Yo, this this rap thing.
Speaker 1 (07:52):
You know what I'm saying.
Speaker 5 (07:52):
We're trying to do this to figure this out. And
when we got the opportunity for somebody to spend their
money on your dream, it was like, let's go and
we could sample records and yeah, it was like new
toys to play with.
Speaker 2 (08:07):
When y'all sample records back then? Did y'all clear the records?
Speaker 6 (08:10):
And y'all just well, we came out, we gave it
to the record comany to clear and if they chose
not to clear, right.
Speaker 5 (08:17):
You know, we knew we needed to get permission. How
you go about getting permission we didn't know that, but
we knew it. The record company was supposed to do that.
Speaker 2 (08:27):
You didn't do it for your records some something and.
Speaker 7 (08:32):
Not.
Speaker 1 (08:32):
So yeah, you know, I know y'all went.
Speaker 9 (08:34):
Through everything with the lawsuit, with the clearing and not clearing,
and I kind of messed y' all.
Speaker 3 (08:38):
Up with things.
Speaker 10 (08:38):
So the digital Yeah, what was that journey like?
Speaker 9 (08:42):
Because you got all this great feeling, all this great music,
and then the business kicks in and it's like, well, wait,
like we were kids, figuring this out. But now in
the adult business kicks in and it's making it where
you guys kind of disappear when the streaming aer.
Speaker 1 (08:52):
Yeah we missed, we missed a download era. We missed
all that. That's crazy download error streaming era at the
top of it.
Speaker 5 (09:00):
Yeah.
Speaker 6 (09:00):
So, I mean, now we were putting out newer records
that weren't involved with our catalog that was on say
Tommy By the first six records. But we had good
people who was in control of this catalog at Warner Brothers,
you know, and they're trying to help us to get
it right and get these samples clear.
Speaker 1 (09:15):
But you know how we're record companies.
Speaker 6 (09:17):
Then a new regime comes in and everyone leaves and
now you got to start over again. And that's where
it really became an ordeal with it just took too long.
Leo Cohen was up there and he was our former manager,
help us out, but then he left and yeah, so.
Speaker 5 (09:31):
And then Tom Sulverman tried to come back.
Speaker 1 (09:34):
Yeah, and he got the catalog.
Speaker 5 (09:35):
And that's when things started between us and him because
he offered a deal that wasn't really cool.
Speaker 7 (09:42):
How does the label end up with a ten ninety split.
How did the label get ninety because I'm thinking like
back then, y'all didn't There was no screaming, so it's
not like y'all signed something like that.
Speaker 2 (09:53):
I don't know.
Speaker 6 (09:53):
Man, Usually us the artist, just like sometimes us the
people whatever were being introduced to, it's already been figured out.
Speaker 1 (10:03):
They give it to you.
Speaker 6 (10:04):
And I think it's the same way. It's like they
already know where they're going. They already know that this
streaming thing is coming before we even know it's coming.
And I just think it has a lot to do.
Speaker 5 (10:13):
Back then, he was getting paid on like twelve or
maybe eighteen songs, you know, and it would be like
a twelve percent to eighteen percent royalty anyway, and then
that was kind of standard, you know. But what we
didn't know is those admin fees. It's what can make
it ten percent when you're paying that admin feel on
(10:35):
the back?
Speaker 4 (10:35):
What administration?
Speaker 5 (10:37):
Yeah, the administration fee?
Speaker 1 (10:39):
That's crazy.
Speaker 3 (10:40):
How does it feel when you see the younger generation
finding new daylight soul? So Nihla who was a young
og over here, we did this. We do this segment
called Past the Auks, and I think that first maybe
the first the second one she came in here and
she was like, I got a dayl Oat Soul record
were like day Soul new and she played a classic
but it just had joined the streaming it and she's
(11:00):
a native tongue.
Speaker 4 (11:01):
Fits you played the Cabin in the Sky today.
Speaker 2 (11:04):
So how does it feel when the young generation hears that,
because it's almost like a recreation.
Speaker 1 (11:08):
It's beautiful, man, it's amazing.
Speaker 6 (11:10):
Like even right before the catalog came out, Marvel had
came to us and like, Yo, we want to put
one of your older songs in the Spider Man movie.
Speaker 1 (11:17):
Was like, Yo, that'd be amazing.
Speaker 6 (11:18):
So it was a big thing where at the end
of the movie when the three Spider Man's come together,
they play threes, the magic number, and everyone pulls out
their phone, your young kids trying to exam it, and
they still couldn't find it because it wasn't up yet.
So it's just amazing, Like how even all of us
living in our homes and listening to like a gladys
Night record and you and your parents would be like,
(11:39):
what do you know about this? But you was around them,
You're hearing it and it speaks to you, and it's
just great to see something that we did in eighty
nine is speaking to someone right now the words for it.
Speaker 7 (11:51):
If days started in twenty twenty five, what would native
tongues look like today?
Speaker 4 (11:56):
Like who are the artists?
Speaker 1 (11:56):
You call im? What we call family?
Speaker 6 (12:01):
I mean I would immediately think, like you know, odd future,
them dudes Tyler to created those earl slasher and its
impact like those dudes of us, Like we would be
hanging around, running around, bugging out everything. Kendrick to Kendrick, indeed, indeed, indeed.
Speaker 11 (12:18):
Well you see definitely yeh everyday man, I mean half
of the rappers that are out right now.
Speaker 8 (12:33):
But I am curious about just like aesthetically the world
that you guys built, the bright colors, the flowers who
inspired that it.
Speaker 1 (12:42):
Honestly, we were just doing music.
Speaker 6 (12:45):
When it came time to promote the music, the record
label was like, look, man, everything y'all making, it's not
like what anyone else is doing. And it reminds us
of this era like Woodstock and Hippie. Would y'all be
down at you try these covers?
Speaker 1 (13:00):
Mace wasn't really.
Speaker 5 (13:01):
With it it.
Speaker 6 (13:03):
Dylan appreciated, yeah, and so when we when you, as
he said, we appreciate the fact that when you put
this cover next to like n w A's cover or
Rock Him's cover, it stood out and it made someone
pick it up, and we started learning how people would
tell us like yo, like it was because of you.
Speaker 1 (13:20):
I learned about Rock Him because I saw this cover.
It seemed like it was safe, and we saw listening
to it. But we got into hip hop and realized
all hip hop is what it is. Like, what's the
difference between hip hop and a gangster movie? It's like
it ain't really real.
Speaker 3 (13:34):
You know what I'm saying so crazy, just because I'm
thinking back of the influence that you guys had. I
remember the back then, we didn't care about gold jewelry.
I wanted my African pendit and we wanted it from
Jamaica Avenue and had to look a certain way.
Speaker 2 (13:47):
It had to be because the war.
Speaker 7 (13:57):
You think about it, what I'm saying.
Speaker 1 (14:09):
Confusing. You see some of my old pictures.
Speaker 3 (14:11):
I didn't have cross clothes with the African like crazy,
It was crazy.
Speaker 7 (14:17):
You think the industry ever fully understood how radical and
rebellious what y'all was doing actually was when first introduced.
Speaker 1 (14:24):
So well, I don't know, I don't know if we
really understood it. I mean, honest, we were just because
just to even go back to what you were saying,
you don't get it, do not do not miss the
fact that we want to go changes. We want to
be like rock, We want to be like Eric B.
That's you know what I'm saying.
Speaker 6 (14:43):
You know, we had the busy Bee compartment all with
me and Dave had our our chain on leve, you.
Speaker 1 (14:49):
Know what I'm saying. But we we still just had
this way about us.
Speaker 6 (14:52):
They're no different than how I would go see his
family in Brooklyn and like, yo, you could have someone
who stood out or like old Dirty Back that's his brother,
who was like a punk rocker from Brooklyn. Like you
just had these people who was just like different but
still from a circumstance of images that you still love.
I love Dapper dand I would have loved to have
a Dapper dance suit. I couldn't forward that, you know
(15:15):
what I'm saying. So hey, let me just stick to
this this pendent because it's easy to rock than a
gold chain.
Speaker 2 (15:20):
You know how close were y'all to tribe?
Speaker 3 (15:23):
Because I feel like Tribe had so much influence, got
so much from you guys, how close were.
Speaker 6 (15:27):
Y'all to the those was our brother like you know,
and just for me, like Africa and Q Tip, like
we were like unseparable. At one point we was like
the three Stoochs running around like.
Speaker 1 (15:39):
Love.
Speaker 6 (15:39):
Those those brothers. We got on each other's nerves as
brothers should do. We loved each other and we love
each other to this day. Yeah you know, So I
mean hanging out with them, hanging out at Q Tip's house,
his mother's making us food, his oldest sister, his friends
with Sweet Tea, who's down with herbie love Bug, And
I'm like, yo, sweet Tea, and I'm in love with
sweet Tea and she's at his house. Like we always
(16:00):
hung out together and we just created music. And I
learned from them. They learned from us. Like Tip is
younger than us, but I called him like my little
big brother because he's so wise beyond his years.
Speaker 5 (16:10):
You know.
Speaker 4 (16:11):
You know, we had knife Window up here. Nine Winder
was talking about.
Speaker 1 (16:14):
I saw the fronting on Daylight. You're saying how much
he loved I saw that, and.
Speaker 4 (16:18):
So I said that.
Speaker 1 (16:21):
I love the clip.
Speaker 4 (16:23):
I want to hear the clip. Let me hear the clip.
Who break down q tip family.
Speaker 12 (16:28):
Oh Man, so the q tip family tree. Q Tip
was one of the first ones to not sample funk
and soul only, right. Q Tip was one of the
ones like, oh, I'm a sample artist by name of
Kyle Jader and my man sample artist by the name
of Les McCann and Freddie Hubber because q Tip grew
up in the neighborhood of jazz musicians, got jazz exactly
(16:50):
and so that euphoric feel. Like I always say, Benita
apple Bum is like the tree of life for everything
after it. So if Benita apple Bum is not made,
we're not getting well first not first of all, with
our tribe. We're not getting out casts back right, they
said it. They said it all the you know, all
the time. We're not getting out casts. We're not getting
(17:13):
the roots. We're not getting Badu, we're not getting jail.
We're not getting a little Brother. We're not getting D'Angelo.
We're not getting this thing called neo. So we're not
getting we're not getting Kanye West. We're not getting anything
that feels you for it and feels good. We're not
getting that. Because chord changes wasn't in hip hop in
eighty nine, eighty eight we had we used to start
(17:34):
about Public Enemy.
Speaker 1 (17:35):
It was just dad. You know what I'm saying, what
not living base is.
Speaker 12 (17:40):
But q Tip when he sampled those chord changes and
all of that, that's what That's what made everybody turn
the corner. And we're still we owe a lot to
that dude for making that turn and making the music
that he did. We're making the music that Tribe did.
Speaker 4 (17:53):
Why so why I agree with you? But damn, where
did Daylight come into play?
Speaker 1 (17:58):
So Daylight?
Speaker 12 (17:59):
So Daylight was of course Daylight was before that, and
Jungle Brothers before that. You know that, you know Native
Tongue's movie. Also Queen Latifa was in that box. You
know what I mean, Try was more. It was a
different thing from Daylight. Daylight was way left the center, right,
you know, I think.
Speaker 3 (18:18):
And it's gonna sound crazy because the Daylight was from
Long Island and more screen. Tribe was more street because
remember Tribe is really dire from farmers from Queen. Now
you go up a little bit, that's ll Qj's area,
left a little bit, that's you know, fifty them.
Speaker 2 (18:32):
So they were more streak than Daylight I was.
Speaker 12 (18:35):
And you noticed it because when daylight daylight, and tribes
kind of dressed the same on their first on three
feet and people distinct if they trust the same. By
the time Tribe did low end theories, baseball jerseys and
hats bro like, they totally just changed everything.
Speaker 4 (18:49):
But I don't feel like you get any of that
without three feet high and rising.
Speaker 1 (18:52):
No you don't.
Speaker 6 (18:53):
I mean, but I would say, like we were definitely
like mining and and we were like in kinship together
when it came to creativity, and like you have daylight
being daylight and you can have jive records, like yo, these.
Speaker 1 (19:07):
Tommy Boy dudes they won with this.
Speaker 6 (19:09):
They won with daylight, like let's let me find my daylight,
and like Tribe was theirs. But we even knew that
tribing Dayla. Tribe got this thing that like Tip was
coming up with stuff like I was like, Yo, how
is he doing this? How is he coming up with
on this? Yeah, it was crazy.
Speaker 5 (19:26):
It was way deeper than where we were going. Yeah,
because we were actually messing with a whole lot more
pop culture of a different period. You know.
Speaker 6 (19:34):
We would sample peg you know from Stilly Dayan and
make a record like Tip was just going elsewhere with it.
Speaker 1 (19:39):
So I get it, man.
Speaker 6 (19:41):
I understand where certain things and frequencies that Tip or
tribe was on that the brothers related to, but a
lot of the brothers related to us as well. And
even with Daylight So It's dead, our second album, we
left all that that psychedelic stuff to the side as well.
It just was so iconic people didn't want to let
it go. I mean, our second it was called Daylight,
So it's dead because we were saying we was getting
(20:03):
off killing off the image.
Speaker 5 (20:06):
The image that was drowning the music. The daisy always
meant it was an acronym, it meant the sound, y'all
the as so it just, you know, the images just
took it elsewhere, obviously for the record company to try
to sell some records, and I cantfront on the art
(20:27):
department listening to the music and making this cover because
this is their interpretation, you know what I mean. So
over time I began to appreciate what the effect it
had on everyone, you know what I mean.
Speaker 4 (20:43):
I still don't think you get you don't get tried
without Daylight.
Speaker 7 (20:45):
So of course I understand the cut Tip family tree thing,
but Daylight to me sparked.
Speaker 5 (20:50):
All of that well, you know, to speak to t
in Trib's defense, they had a lot of success. So
when you come to when we talk an industry standards,
they sold a lot of records. Man, you know, they
had some joints. Man. You know, I could say maybe
we had good albums, but they had good albums and joints. Yeah,
(21:13):
it was crazy.
Speaker 3 (21:14):
I still think it's part of the Long Island thing
where people slept on a lot of Long Island artists,
whether it was rock Kim, I think Rock Kim is
a huge artist. I think Rock Kim would have been
bigger if he was from the Boroughs. I think the
same thing with E. P.
Speaker 8 (21:26):
M D.
Speaker 2 (21:27):
I think the same thing.
Speaker 3 (21:28):
Well, Keith Murray was there, but I just think people
sleep on Long Island so much mentioned as the god
like number one on some people on some people's list,
but I think it would be even bigger if he
was from one of the barrels.
Speaker 2 (21:40):
I just think people sleep on Long Island. That's what
I did.
Speaker 10 (21:45):
Do I feel like rock was always mentioned as one
of the guys.
Speaker 9 (21:50):
Generationally, Yes, I do not feel like I hear people
talking about it more now.
Speaker 1 (21:58):
He was the one for even Kendrick to say, like
he those some music.
Speaker 9 (22:02):
When I say that, When I say that, I guess
I mean like transcending outside like you said, like an
industry success. Like I feel like sometimes when we have
these conversations, it's like two different groups of people you
talking about. You got people that are heavily intertwined in
music and hip hop and culture, and then you have
everybody else that just like sees it from a celebrity aspect.
I feel like the world now is giving rock.
Speaker 1 (22:24):
Yeah.
Speaker 9 (22:25):
Remember I wasn't heard painting pol But you're different, You're
you're you sit here at the breakfast club, but like
a regular person who's just reading like a complex dot com,
a person who's on TikTok, a younger kid.
Speaker 10 (22:35):
Now they're talking about the.
Speaker 7 (22:37):
Way people rap, Like I remember it was because my
sisters was listening to like Salt and Pepple and you
know they was a kid in playing But you heard.
Speaker 1 (22:44):
Ro Like what is that? Yeah?
Speaker 8 (22:47):
I have two questions. I just want to get it
off my brain before I forget.
Speaker 12 (22:50):
Well.
Speaker 8 (22:50):
One's kind of like a comment, but have you ever
seen that clip of Alias and how she has a
crush on you?
Speaker 1 (22:55):
Yes, my wife's seen it too.
Speaker 10 (22:59):
She it is iconic though you got to play that every.
Speaker 1 (23:05):
Night, you know what?
Speaker 6 (23:13):
You know what what was crazy is that we we've
met her throughout the years and she was such a lovely,
beautiful soul and I'm one of the most amazing memories
of her is uh, we did like a Christmas party.
Speaker 1 (23:26):
I want to say.
Speaker 6 (23:26):
It was like Bet and her and Missy was at
the front of the stage while we're performing, They're trying
to pull and Untie a sneak beuse.
Speaker 1 (23:33):
We're like, yo, what are you doing? Like she was
such a fun, fun, lovely queen. So I mean, like,
it's just amazing to hear that.
Speaker 8 (23:43):
And my other question was, could you guys talk about
tribe And I know you guys did collaborate with Q
Tip on this. Did you guys produce kind of like
old times? Like was it like let's recreate the feeling
that we had back then.
Speaker 1 (23:55):
Or no, we it's a feeling we are. We just
keep with each other. It's just like that.
Speaker 6 (23:59):
If you you know, if Jay comes to do someone
in Memphis, it's just a synergy they got that You're
gonna be like, I hear it there and that's what
we are, Like me and him and Q Tip is
in a chat every other day being silly and bugging
out and sending records and like, nah, I got this
record for you.
Speaker 1 (24:16):
No, no Tip, you gotta do this. So we always together.
Speaker 6 (24:19):
Nix was killing it at that point. He wanted to
come to the studio and hear what we was doing.
He wasn't supposed to be on the record. He just
came through just to listen and he got caught up
on his one song I played and he's rhyming. I'm
like yo, and he was like, y'all, I want to
get on this, and that's how this happened.
Speaker 10 (24:34):
Just go ahead in this group chat that you guys have.
Speaker 8 (24:37):
Are you guys talking about like the headlines that are
coming out, like hip hop is dead, rap hasn't been
on Billboard, X, Y and Z Like, nah.
Speaker 1 (24:46):
It's just music. We just send music.
Speaker 6 (24:49):
Stupid, Yeah, because we wanted to know.
Speaker 9 (24:54):
Were talking about that before y'all came in, about how
all those conversations be happening, But like there's so much
actually happening for real, but details are just like noise.
Speaker 5 (25:02):
Yo.
Speaker 1 (25:03):
We love music.
Speaker 6 (25:04):
We have the right as all of us to have
our opinion about it.
Speaker 1 (25:09):
And I mean all of you. Man, y'all are staples,
and you have the right to be like, yo, I
think this is not it and whatever. But we we we.
Speaker 6 (25:16):
Had the benefit of coming out and having our gods
say to us like, look, Daylight, your show is whack.
Speaker 1 (25:23):
You need to do this, you need to do that.
And they did it out of love.
Speaker 5 (25:27):
You know.
Speaker 6 (25:27):
We didn't have these platforms where they got to go
to like write on magazine and something and be like.
Speaker 1 (25:31):
You know that day La soul. They got a horrible show.
So that's what I don't like.
Speaker 6 (25:35):
I don't like coming up here and talking bad about
someone when I can turn around and talk to them
and out of love show them love and be like, yo, man,
I love what you're doing, but maybe you should try
to do this or do that.
Speaker 1 (25:46):
And I think that's more what we need to be.
Speaker 5 (25:48):
Criticism is constructive and not hurting nobody.
Speaker 6 (25:53):
We all we all have feelings, we have egos and
you know, so I mean, like be more constructive.
Speaker 7 (26:00):
As they said, was there ever a time where y'all
felt pressure to modernize your sound or y'all just operate
outside of that? Nah?
Speaker 6 (26:06):
We always outside it. I mean, think about it. Seanamagne
we had us. You know, you had tried with Midnight Marauders,
you had Wu Tang with thirty six Chambers, and we
come with this calm record called Balloon Mind State. We
we always was just riding our own path, like we
loved all that we could do, all that we could
get up next to the illis do it in rhyme
(26:27):
the way we needed to rhyme. But that was the
journey at that point, you know what I'm saying. And
we unapology, you know, like we didn't apologize for any
of it.
Speaker 5 (26:36):
We just did what we did, create an least successful album. Yeah,
you know, and fast forward to today, people go, yo,
Ballue Mindsteed, I get it now. Yeah, it was something
you had to grow into probably, you know. No. So
I mean, music just has a weird place where people
you may not get it now, but you'll get it later. Yeah.
(26:59):
You know.
Speaker 3 (27:00):
I want to talk about the iconic song Buddy. Right
when it first came out, everybody thought it was a
sexual song when it first came out, right, So so
explain Buddy and how it came about because it was
band from a lot of places. Places didn't want.
Speaker 1 (27:11):
To play it.
Speaker 2 (27:12):
They talk this way about it so well where the
concept came from.
Speaker 6 (27:15):
Jungle Brothers first had a song called Jimbrowski you know when,
and that was talking about you.
Speaker 1 (27:20):
Know, the male's anatomy. And then we.
Speaker 6 (27:23):
Came with a song called Jennifer and I was just
talking about a girl, and so we just were saying, like, yo,
if we.
Speaker 5 (27:30):
Have Jimmy j they become buddies.
Speaker 1 (27:34):
So, I mean that's really what it was in the
most playful sense, gotcha. You know. So definitely they also.
Speaker 3 (27:40):
Want to know, well, all these collabs that Nike does, right,
because you see the Daylight Soul Dunks and the Daylight
Soul Kicks, do y'all get paid for that?
Speaker 2 (27:47):
Do they get permission before they do it?
Speaker 1 (27:48):
Or do they No, they definitely got permission the first run.
Speaker 5 (27:53):
We didn't get paid, no.
Speaker 6 (27:54):
Because that's how the first run with SB obviously that's
how it was. It was like a few a few
amount be put out twenty grands, yeah, and then they'll
just flood you with like a locker room of sneakers
here take that. But I mean the second time around,
when they released it, they gave us some money for it.
Speaker 5 (28:12):
But you know, they say, you on the idea of
the limited edition and all of that, and.
Speaker 2 (28:16):
It keeps the name alive when I watched when.
Speaker 5 (28:19):
I used, and it's cool to do the first time around.
And when we're talking about repeating it, then we need.
Speaker 4 (28:27):
To get some break, you know.
Speaker 7 (28:29):
You know Daylight albums, man, they always feel like worlds
when you're creating. Now, when you created Cabins in the Sky,
what world are you building it?
Speaker 4 (28:37):
What's the emotion that was driving?
Speaker 6 (28:39):
The main thing is for our partner who's no longer here, Dave.
It was like, yeah, Cabin in the Sky was for him,
you know. I mean it's still the normal muscle memory
of trying to make a beautiful, great album that has
good lyrics, could sound good themes as Daylight has always done,
but it was him. And I jokingly say this, like
(29:01):
you know, and I hope I'm not you know, saying
stuff that people don't know. But it's this old movie
Outsiders Matt Dillon is the scene where like he's like
they about to have this big fight with that gang,
the Socials, and they'd be like, yo, we gotta do
this for Johnny.
Speaker 1 (29:16):
Like that's how I feel like, we got to do
this for Dave.
Speaker 6 (29:18):
Like it was really big that we represent him and
show to show his energy on this entire album. The
project is for him, you know, and for us, and
it's therapeutic for us to do for me.
Speaker 1 (29:31):
You know.
Speaker 6 (29:31):
Like the album is basically like we're doing this album
with him rhyming from heaven, you know what I'm saying, Like,
that's what this is.
Speaker 1 (29:38):
Cabin in the Sky.
Speaker 9 (29:39):
Has there been moments, you say, with therapeutic, has there
been moments where you guys had to kind of like
step away and just kind of deal with whatever feelings
were brought back up by getting.
Speaker 5 (29:47):
Back in this I stepped right into it. You never
know when grief is gonna hit you. If I got
to cry in the moment, I crying the moment.
Speaker 1 (29:55):
Yeah.
Speaker 5 (29:57):
One of the biggest things is just now just handling
the responsibility of carrying my man's legacy. You know, we
got the blessing from his family, all the friends we
grew up with, you know what I mean. So at
this point, yeah, it's more of a responsibility to keep going,
(30:17):
and we had plans, so it's just carrying out the plan.
Speaker 7 (30:23):
Really, how do you how do you honor Dave spirit
creatively without trying to imitate or recreate what he did.
Speaker 1 (30:29):
Well, nothing that we used of him.
Speaker 6 (30:32):
Was like like manipulating in a sense, Like whatever song
you hear Dave on that, that was a song that
he was on. We didn't grab his vocal and put
it on something that he wasn't his energy and what he.
Speaker 1 (30:44):
Felt to write to, because that's how Dave was.
Speaker 6 (30:46):
He he wrote in a moment like and if he
didn't like it, it was gone.
Speaker 1 (30:49):
Like he didn't he didn't want to co sign it.
Speaker 6 (30:51):
So it's music that he was actually on, and the
music on this album that he actually produced, so like
his intent, his energy is without the album and it's
organically him and it's authentically him.
Speaker 5 (31:04):
Yeah, you know when you hear the album the sequence,
it sounds like he's working on the record from heaven. Yeah,
it really sounds like that.
Speaker 7 (31:13):
When you step on stage now that is performing, you know,
the oldie catalog feel different emotionally.
Speaker 1 (31:18):
It can. I mean it took a minute to get
used to.
Speaker 6 (31:21):
Maybe those are moments where you know, I say something
Dave was supposed to come in and then I would
be ready to jump in ad lib mode and then
I'm saying something all of a sudden, I'm waiting for him,
jumping like, oh what am I doing? Like I gotta
jump in because I gotta say to rhym. So it
took us a moment to get that, but we got
a downpack because we stay moving, we stay always doing shows.
(31:43):
So yeah, it took a moment for us to get it,
but we already did with it.
Speaker 1 (31:47):
Yeah.
Speaker 7 (31:48):
What's something about Dave as a man not just an
artist that you want fans to remember forever?
Speaker 5 (31:56):
Man?
Speaker 1 (31:57):
Wow? A man?
Speaker 5 (32:00):
Hey man? He lived the full life. Man. If any
body did it their way, he did definitely unapologetically his way.
You know, when I sit down with the Homi Zoom
and we talk about it, like the ones that aren't
a part of this music thing we grew up with,
(32:21):
and they're like, yo, man, just know that, yo man.
He did everything the way he wanted to do it,
you know. So don't don't don't don't fret. They've lived
a full life.
Speaker 1 (32:34):
A full life.
Speaker 6 (32:35):
Dave Chapelle kicked that to us as well, Like he
was like, yo, man, Dave lived a life that was
so dense because he lived like a damn like three
four lifetimes. What he got to see, who he got
to influence and help and.
Speaker 1 (32:47):
It's the truth.
Speaker 6 (32:48):
I mean, like he had a life that for him
to not we all have I would feel I know
I do. I have people that is no longer here,
and you kind of feel sad that they didn't get
to do certain things that they wanted to want to
to do, or they didn't get to make the mark
they wanted to make or change their ways. And Dave
lived an amazing life and did so much and involved
(33:08):
as a man, as a fall, he did so much.
Speaker 2 (33:11):
Played in the league, right, did some play football in
the league?
Speaker 5 (33:14):
I thought, yeah, But Dave had the bird's eye view, Yeah,
the whole thing, you know, where I can be on
the ground and in the street with it on the
where he got with it. And but Dave is up here,
you know, always kind of looking at things from a
(33:34):
real quirky perspective. He brought the real different edge of
who we are, like that real quirky edge.
Speaker 4 (33:43):
You mentioned Dave Chapelle.
Speaker 7 (33:44):
What was the connection between Chappelle and day Lock And
I know y'all did the show back in the day,
But the one time I think I met Dave was
at a Dave Chappelle show, But it was in South Carolina.
Speaker 1 (33:54):
Ye maybe three years ago.
Speaker 5 (33:59):
Yeah, yeah, yeah, families from Florence. Okay, yeah, I got family.
Speaker 1 (34:03):
Yeah.
Speaker 6 (34:04):
Now, we've known Dave Chappelle for for the longest time.
We did some show in Ohio a long time ago,
some college joint we did, and he was there. I
think his pops was a teacher there, and so he
was at the show and we became this cool ever
since this before Dave even really blew up. So we
was just always around Dave Chappelle. And so when he
(34:26):
got to where he was and wanted us on the
show and anything he needed is for we was there
for it.
Speaker 7 (34:30):
You know, when you look at the landscape of hip
hop today, what piece of the original Daylight philosophy do
you feel the coaching needs the.
Speaker 1 (34:38):
Most right now?
Speaker 6 (34:40):
I mean balance, just for me, and I don't know
if I I don't know how I can really say that.
Speaker 5 (34:46):
I feel like the balance is there. It's the platforms
that need to present the balance. But yeah, well, for
some time, you know, it starts to look like the
industry is only supporting one side of hip hop, and
it tends to come off to be a little genocidal,
(35:08):
you know, because we got way more variety in our culture.
You know here it is everybody's art is real, everybody's
story is real, but the industry can misconstrue the story
and tell a really glorify a story that people aren't
really glorifying. You know, they're just telling their story. Some
(35:31):
of it's from a fun perspective, but some of it's
from a very real perspective, letting you know, like, don't
do this. But there's a perception in marketing that don't
really lend to that. There's always just no real variety period.
You got one flavor all the time.
Speaker 6 (35:49):
But you know, I pushed back on that a little
bit because I just feel like there's so My thing
is that there's just too much music what with us,
and we come from an era where you know, you
tried it in your crib, if people thought you was dope,
You worked, you maybe scrambled on the street, you made
your money, you went to the studio.
Speaker 1 (36:10):
You can make music from your laptop. Zoom is up.
Speaker 6 (36:13):
And I just think that so much music, and it's
good music out but there's so many places to get
it from that it's understandable that this one place only
does it this way.
Speaker 1 (36:24):
But if you go to maybe SoundCloud. They do it
this way, but then if.
Speaker 6 (36:27):
You go with the listener has to almost transition into
a person that can listen to music in different places.
Speaker 1 (36:35):
And if they don't, they live in their own echo chamber,
you know.
Speaker 8 (36:38):
But the echo chamber is just what's being programmed. Which
is the popular thing that you're saying, which could be yeah, yeah,
but is there anything that you guys experience firsthand that
you feel like the new generation of MC's or just
like hip hop fans in general should study.
Speaker 1 (36:57):
Yo, you're going to learn it.
Speaker 6 (36:58):
When you learn it, you can make anyone learn anything
they didn't want to learn. And that's why to say
that when when knowledge or whatever comes towards you, if
it's given to you in a humble way, you're listen.
When someone's trying to force something down your throat, you're
not going to eat it. So I mean, that's how
I always try to approach people. And I think young dudes, I.
Speaker 4 (37:18):
Didn't want to at that was that was agreed. I'm
I didn't want to interrupt. I did not want to
interrupt the profile thought. But that was just very aggreevable.
Speaker 1 (37:41):
It was my policies, gentlemen. No, no, no, I know
the jokes. I watched this every day.
Speaker 3 (37:48):
Sorry, I'm sorry, but back to your point if you
can get back to it when.
Speaker 1 (37:54):
I'm done on you.
Speaker 4 (37:57):
But you know, somebody in the chat had a point.
Speaker 7 (38:00):
They said that they feel like it's too much noise,
not enough true art.
Speaker 5 (38:04):
Yeah, that is true because as a DJ, we always
want music. It's just what the Internet has become. We
got a lot of whack stuff because people are able
to just go ahead and put on.
Speaker 1 (38:18):
We always had whack stuff, but through you know what
I'm saying, I think there is a lot of I
think there is a lot of noise because I think
we are artists that know and feel that we have
to say, yo, check out what I'm doing. Because it
goes back to what I'm saying, there's so many artists
that's putting out so much music. Why should I look
(38:40):
at you?
Speaker 6 (38:40):
Well, maybe you should look at me, because not only
my music is good, but when I show you what
I'm doing in my house and how I'm bugging out
with my wife or my girlfriend or my boys. So
it's like a whole new thing. It's more than just music.
Music is almost disposable. It's the person that they're looking
at so. I mean, it's just like I watched your
show and I agree. I feel like yo yo j
(39:02):
I d like, where was his rollout? Like you want
to hear him, you want to see him because the
music was amazing. I needed to have now people seeing
what he's doing. And then everyone's talking about how clips
rollout was. But Clip was just doing what we come
from doing, which is just.
Speaker 9 (39:18):
But you know what too, I think somewhat to the
fans have gotten so used to just being okay with
how things are now, because when he said that about Jed,
people were like, y'all crazy. There was a rollout, and
I was like, if you're in a certain world or audience,
you saw it, but as big as it should have been,
there wasn't. But so that might be a part of
like it's not even at the bars in hell. It's
just people have gotten used to this is all we get,
(39:40):
This is all we know. They're praising things that are normal,
and then when you do things that are under the norm,
it's like as.
Speaker 2 (39:47):
Well though too.
Speaker 3 (39:47):
The artist has to want it as much as anybody else. Right,
you don't see Clips coming from a place where they
had to do that, right, there was no Internet. They
had to go to every radio station, they had to
go to every mom and pop store, you had to
go to every college radio because it was that was
the only outlets. Like you look at Jid, who we
loved Jid, but he might not have wanted it as
much as clips. And it's harder to say that the
(40:09):
artist wanted when they're getting that much money so fast,
you know what I mean.
Speaker 5 (40:13):
In his defense, you know, he's missed, probably missing that
that coaching element of artist development because of how it
changed so much and you could easily put your music
out from your house, so artist. You know, Jordan didn't
no win no game without Phil Jackson. Every great player
(40:35):
needed a coach. I feel like that's how it is
with artists. You know, look at the success of everybody
that was under Dre. Can we not deny that Dre
is a great coach. Yeah, because of the success and
there was artist development that went with all of that.
That Right now, we're looking at a lot of raw
(40:55):
talent that could use just some development, you know, and
it comes from the people who come before them. That's
where the criticism need to be a little more constructive
and not bashing, you know, and then when you got
somebody who making a lot of money, he going like,
how can you tell me the two?
Speaker 1 (41:15):
Dude?
Speaker 5 (41:15):
It's necessary when I'm getting it, you know what I mean.
Speaker 7 (41:18):
It's just a word that has a negative stigma, but
you kind of need it. There should be some level
of gatekeeping. But the keep the keepers of the gate
have to be pure in their intentions and their motive.
They can't be influenced by you know, somebody paying them
to say otherwise, biased to certain regions.
Speaker 4 (41:35):
It just got to be is this dope or not correct?
I think I think that's missing.
Speaker 5 (41:42):
Really getting it. I really say to them, yoyo, I
mean you want to be fifty doing this? Yeah, but
I mean not could show you much about getting that
paper because the times have definitely changed. But I think
I have to show you something about longevity. But there's
(42:04):
a lot of.
Speaker 2 (42:04):
Artists that say, I don't want to do radio.
Speaker 3 (42:07):
A lot of this, I'm not doing a podcast, I'm
not doing like artists decide I'm not doing it because
they don't want to, you know what I mean, And
they get what they get.
Speaker 2 (42:14):
But the artists that go all out.
Speaker 3 (42:16):
And they do what they have to do, you see
it with the success, whether it's a CARDI B or
it is a eclipse like you see and you.
Speaker 2 (42:22):
See, you can see the difference.
Speaker 5 (42:24):
Man.
Speaker 6 (42:25):
I just know that we definitely benefited as a group,
not only being able to come up to a place
we were born, New York and run around.
Speaker 1 (42:34):
But we ran.
Speaker 6 (42:35):
We run around to this day in the UK and
France and whatever.
Speaker 1 (42:41):
You want to call it, Dubai and we did.
Speaker 6 (42:44):
We do press like so we understand what it is
to touch someone and even have that person be like yo, man,
I ain't really mess with them, but you know what,
they're nice guys.
Speaker 1 (42:53):
Let me, let me listen.
Speaker 6 (42:53):
And the next thing you know, you've now planned a
seed for someone to appreciate what you do. And you know,
like you just said, if someone feel like they're getting
what they're getting, then why do all this? But you
just don't know who you will touch and that'll lend
to your longevity.
Speaker 2 (43:09):
You know, you don't know when it stops. You don't
know when it stops.
Speaker 3 (43:12):
Because I always say this, a lot of artists get
a benefit of the doubt because of who they are, right.
I always look at and I hate to bring us up.
I always look at fifty and jo Rule right when
Ja Ru came out and salute the Job. He never
did as much as he was supposed to because IRV
did everything for him. So when he got into the
beef with Jod, there was no personal relationship. Where fifty
got into the beef with Job, there was no personal relationship.
Speaker 5 (43:34):
Now.
Speaker 3 (43:34):
Fifty, on the other hand, went to every DJ's house,
went to every radio show, did the smaller DJs shows
the bigger DJ show. So you lean towards fifty cent
more because you know them more. I'm from Queens and
I didn't meet Joe until the Breakfast Club, which is crazy,
and we're from the same area. We joke about it
now and he understands it now, but that's part of it.
(43:55):
Like fifty did what he was supposed to do and
he still has those relationships with these DJs to today.
Speaker 7 (44:00):
So y'all got a song on New I'm called the
Package and you say, trend set is no where to
bail from the trend they started.
Speaker 6 (44:06):
Yeah, that mean it's what we did exactly from three
Fini Rising. We we we didn't try to make a trend,
but when it became a trend, that was cool. But
we was off to what we needed to do. On
the second album date, I saw it's dead. You start something,
but you don't started to make it for something for
everyone else to do, and if they latch onto it,
that's how the camaraderie, that's how the love for what
(44:28):
you presented. But we on to the next.
Speaker 1 (44:31):
And that's how we've always been as as a group,
just always on to the next to try something else,
and it may work, it may not work. But we
always saw ourselves.
Speaker 5 (44:40):
Knowing for a fact that we can't recreate what we
did before.
Speaker 1 (44:43):
Yeah, like it was going to be.
Speaker 5 (44:46):
Created no at all, you know I could There's no
way I could capture being fourteen, fifteen, sixteen when we
were actually coming up with those ideas.
Speaker 1 (44:57):
Yeah, you know what I mean. Yeah, it's very important.
Speaker 10 (44:59):
That's think about sixteen.
Speaker 6 (45:02):
Yeah, like you sitting on ideas that once you get
on you can put all these ideas you've had all
that time into this one project. Now, once you put
out a project, you're running around on the road, you're
doing whatever, and now those experiences may be going to
the next project. So let alone, when you get to
this place where now you got to put up projects
every month, you may hear like the it's like it's
(45:24):
it's like redundant creativity.
Speaker 1 (45:26):
It's like, what is this.
Speaker 6 (45:27):
It's like you're not allowing yourself a chance to grow
and have different experiences. But definitely as trend setters, man,
you have to be able to know, like, all right,
it's time to put this to the side, let me
go to someplace else.
Speaker 1 (45:40):
Well, we appreciate it.
Speaker 7 (45:41):
Last question, when history of books talk about day Las
Soul fifty years from now, what's the sentence you hope
is written?
Speaker 1 (45:49):
We like, we did it our way man, we had
fun with it.
Speaker 5 (45:53):
And three black men who stuck together.
Speaker 1 (45:57):
Done.
Speaker 3 (45:58):
There you go, Thank you so much, Daylight Soul, Ladies,
Cabins and the sky comes out on the twenty first.
Speaker 8 (46:04):
That loved y'all, by the way, Twitter yet and I
tucked in ninth and he wanted to tell me.
Speaker 1 (46:09):
I mean, get out.
Speaker 8 (46:14):
He said, thank you for letting him be a part
of your tree.
Speaker 5 (46:18):
Man. I love him, I love love brothers man, all
of them for real.
Speaker 2 (46:23):
It's the Breakfast Club. It's stay like soul every day, up,
waking ago, click your ass up.
Speaker 1 (46:29):
The Breakfast Club finished for y'all. Done,
The Breakfast Club News
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Charlamagne Tha God
DJ Envy
Jess Hilarious
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