Speaker 1: Quest Love Supreme is a production of iHeartRadio.
Speaker 2: I'm just so happy that everybody showed up for this.
Speaker 2: DoD damn so I'm happy. You God damn you got
Speaker 2: missed the Coleman here.
Speaker 3: I'm faring you want to know.
Speaker 1: What let's start. I can already tell that this episode
Speaker 1: of Quest Love Supreme is going to be a special one.
Speaker 1: What can I say? I've known and worked with these
Speaker 1: gentlemen when I first got into the game. Oftentimes we
Speaker 1: talk about sort of pioneering shift change of where hip
Speaker 1: hop went in the early nineties, what we call the
Speaker 1: Renaissance period of hip hop, and often you hear the names,
Speaker 1: you know, Pete Rock, Premiere, the Uma, and you know
Speaker 1: Diamond D. Not to mention, I mean, it's not strictly
Speaker 1: New York. There was DJ Quick on the West Coast.
Speaker 1: Of course, Doctor Dre was doing stuff. Got to give
Speaker 1: a shot out to Prince Paul and also Extra p
Speaker 1: Lrish Professor organized Noise down South.
Speaker 4: Like there was a whole Jay Swift on the West Coast.
Speaker 1: There's a whole slew of producers that basically built upon.
Speaker 4: What Marley Ma and the Bomb Squad.
Speaker 1: I know. There's a lot of legends that I'm missing
Speaker 1: when doing this introduction. But for me, these two gentlemen
Speaker 1: are a part of a movement that often doesn't get
Speaker 1: enough credit for their level of hip hop production, their
Speaker 1: grimy level of hip hop production. And you know, they
Speaker 1: put numbers on the boards, and we just don't say
Speaker 1: it because it's so effortless. But yet and still, you know,
Speaker 1: if you watch, you can tell the sign of a
Speaker 1: good producer based on all these freestyle videos you see
Speaker 1: from the nineties, whatnot what's the music back drop they choose?
Speaker 1: And I guarantee you these gentlemen definitely have numbers on
Speaker 1: the boards as far as just really bringing a sound
Speaker 1: to New York, defining the sound of New York, even
Speaker 1: the roots work with him back in ninety five. But
Speaker 1: more than that, I just love to also state the
Speaker 1: fact that, despite what they like to let onto the public,
Speaker 1: these are the two nicest nerds I've ever met in
Speaker 1: my life. My habit of speaking Elizabethan and proper Gilded
Speaker 1: Age era English really comes from these two. To this day,
Speaker 1: i'd say, sir, ma'am, I learned from these two.
Speaker 3: No way, no way, no super way.
Speaker 1: Don't deny it, ladies and gentlemen, please welcome Evil T
Speaker 1: and his brother Mister Walker known as the Beat minus
Speaker 1: on Quest Loves the Pree.
Speaker 3: Thank you made Mama, I'm mad.
Speaker 5: You You be great man.
Speaker 6: What was doing for the past two weeks?
Speaker 3: Yo? Cush up supreme? Like, what's going crazy? Man?
Speaker 1: This is just we we just having a normal account,
Speaker 1: like we're gonna bust it up like we normally do.
Speaker 1: We don't do it enough. And I'm so glad because
Speaker 1: it's been a hot minute. I'll just start with my
Speaker 1: first question. How are you guys? How's it going.
Speaker 3: We're good, We're good.
Speaker 2: We're living.
Speaker 3: We're living, that's what we're doing. I'm having fun. I
Speaker 3: don't know about wal I'm having fun.
Speaker 4: That's all you can do. That is all you can do.
Speaker 4: Where are you guys right now as we speak?
Speaker 1: What? What?
Speaker 4: What part of the world are you guys in right now?
Speaker 2: We are in Bushwick, Brooklyn. The same house. Yeah, that
Speaker 2: same the same listen, the same crib that my mother
Speaker 2: branged this bump ass dude home.
Speaker 3: That's me.
Speaker 2: That house right, This is the house that we made
Speaker 2: all our records in and stuff like.
Speaker 1: Wait, I have a question to ask because oftentimes I
Speaker 1: have a theory that whenever someone channels in magic, especially
Speaker 1: with music, and specifically I'm thinking about Prince and I'm
Speaker 1: thinking about the Rizza as well, they'll come with a cavalcade.
Speaker 4: Just an entire.
Speaker 1: Slew of you know what I call manna from heaven
Speaker 1: that they particularly create in a certain spot. In Prince's case,
Speaker 1: his his bedroom turned studio. In THESS case Stapleton, you
Speaker 1: know at at in his project basement making those classic
Speaker 1: Wu Tang records, and then what happens is, you know,
Speaker 1: they hit payday and then they upgrade, and then it's not.
Speaker 4: Quite the same anymore.
Speaker 1: Is there a specific reason why that you're you're still
Speaker 1: in the same Like, is there a formula for you
Speaker 1: guys that that you feel will jinx you if you
Speaker 1: were to move elsewhere besides the basement.
Speaker 3: This is the family house. So we just chose to stay.
Speaker 3: I mean I moved out.
Speaker 2: For like five years when my son was born. I
Speaker 2: have moved to Flatbush, but I kept like my records here.
Speaker 2: I have moved my equipment, but I kept like my
Speaker 2: records and all my stuff here, so I kept coming Black. Plus,
Speaker 2: he had like the main part of the studio here,
Speaker 2: so I had to come back.
Speaker 6: It's what it is, is like, well, you know on
Speaker 6: walk left. Of course I stole his recollection. I got
Speaker 6: to talk about that.
Speaker 4: But isn't it kind of like both of y'alls?
Speaker 2: Yeah, Fridays if we're trying to be nice, it's it's
Speaker 2: it's you know, it's both for ours, you know.
Speaker 6: Fifty to fifty for some reason, for some reason, sixty forty,
Speaker 6: but uh whatever, being here this is this is where
Speaker 6: this is like it like it's no way to explain it,
Speaker 6: like this is I feel like this is where we belong,
Speaker 6: you know what I'm saying, Like everything started here, like
Speaker 6: and this actual kitchen is where you know, me Bucking
Speaker 6: five did our stuff like this kitchen and the next room,
Speaker 6: which used to be Walt's bedroom now is the studio.
Speaker 6: This is where everything started. And it's like, well else,
Speaker 6: you know, like, yo, this is it. That's all I
Speaker 6: can say. This is it.
Speaker 4: What's the age difference between you two?
Speaker 3: Three years? Yeah? Three years?
Speaker 2: I'm the older I'm the older brother. Okay, I was
Speaker 2: the brother that wasn't supposed to make it.
Speaker 3: And you know what wait, yeah you know that oh
Speaker 3: that big Okay, what are you talking about.
Speaker 7: And he was the baby, like.
Speaker 2: Oh my god, he was when I was young because
Speaker 2: I'm the I was the first DJ the family, and
Speaker 2: of course I was the first one to do production.
Speaker 2: But my mother kept cold signing for e. You know,
Speaker 2: little brother always going to hang with big brother. So
Speaker 2: every time my mother would be like, you're gonna let
Speaker 2: him DJ, I said no, no, Ma, I can't.
Speaker 3: He said no, take your brother with you.
Speaker 2: And this guy used to He used to mix off
Speaker 2: beat and every day was all over the place, and
Speaker 2: my mother was his biggest cheerleader. That's my baby, My
Speaker 2: stop it.
Speaker 3: But you know what it is though, I got into
Speaker 3: you know what, Walk got into DJing because he wanted to,
Speaker 3: like that was his thing. And I got into it
Speaker 3: because I was jealous of war and it was like
Speaker 3: he's deep Jane and getting all this attention and it's
Speaker 3: all cool. And I was like, I'm cool too. You
Speaker 3: mean I ain't cool. I'm better than him. I was trash.
Speaker 1: So what what was your first musical memory in life?
Speaker 2: My father bringing home a bunch of records, Like he
Speaker 2: used to bring records home all the time because he
Speaker 2: used to work on construction sites and stuff like that,
Speaker 2: and he had brang home like a pile of records,
Speaker 2: and I just went towards this one record and I
Speaker 2: still have that record to this day, Diana Ross presents
Speaker 2: Jackson five.
Speaker 1: Oh wow.
Speaker 2: And I just that made me fall in love with
Speaker 2: collecting records. And the first song I ever fell in
Speaker 2: love with, like this song stayed in my head was
Speaker 2: Living for the City Stevie Wonder. That was the first
Speaker 2: song I fell in love.
Speaker 4: With, staying.
Speaker 1: When you're saying he brought the record, you mean dumpster
Speaker 1: diving or your father would go record shopping.
Speaker 2: No, he would bring someone would give him a polo
Speaker 2: records and you would just bring the records home. So
Speaker 2: he was doing the original beat mining before me and
Speaker 2: my brother.
Speaker 1: Yeah, what's the family unit?
Speaker 4: Is it just you two are siblings or do you
Speaker 4: have other siblings?
Speaker 3: Well, we have a.
Speaker 2: Half older half sister who lives in Harlem from my father,
Speaker 2: and then we had a younger sister that passed away
Speaker 2: in two thousand and time.
Speaker 1: Yeah, Okay, were they musically inclined as well or was
Speaker 1: it just you two just me?
Speaker 2: Yeah, here's a secret for everybody. And I'm about to
Speaker 2: embarrass my brother up to Jacksonville.
Speaker 3: So much. We made our own singing group.
Speaker 2: And I was Michael. I was Michael and Jackson.
Speaker 3: Mackie. He was Jermaine. My mother used to have two
Speaker 3: fouster kids. They were Marlon and.
Speaker 2: Randy or whatever Mark and I was Jackie because I
Speaker 2: was the oldest, and I was Michael.
Speaker 3: I was the lead.
Speaker 4: Singer Tito's not getting respect, and.
Speaker 2: He was Malling, and they were Malling and Tito.
Speaker 1: Yo, I'm gonna tell you something. You have to be
Speaker 1: a certain age to know that. For good four to
Speaker 1: five year run, right, the Jackson's were like the Black
Speaker 1: super Friends, Y and I guarantee you, like anyone that
Speaker 1: had any sign of any music healthy whatever, we would
Speaker 1: just say, look, yo, let's play Jackson five. And seriously,
Speaker 1: we just act like we were the Jackson five. I know,
Speaker 1: like is like I was born in the eighties. I'm
Speaker 1: sorry the nineties.
Speaker 8: No, no, no, we had no audition, I got you.
Speaker 8: I'm just I'm using it as a metaphor, like oh
Speaker 8: with new addition.
Speaker 1: Yeah right, because Jackson five was way before you.
Speaker 2: Everybody knows that Jackson five. Everybody like, oh hell yeah, yeah,
Speaker 2: everybody knows what the Jackson five put down.
Speaker 8: Everybody everybody wasn't making choreography to it on the playground though.
Speaker 7: That's a certain error.
Speaker 1: Right right, A man, they're they're they were the first
Speaker 1: black super Friends.
Speaker 3: So right, you know.
Speaker 1: Obviously slow, I got stuck with Tito all the time, so.
Speaker 2: You know I was when they had their own cartoon,
Speaker 2: like I was in hell.
Speaker 7: Now, yes, yes, Wait where year.
Speaker 4: Were you born?
Speaker 3: I was born in sixty eight? Okay, so you watch
Speaker 3: my old son? Oh not old? So you old son?
Speaker 7: You three years younger son? What are you doing? Three
Speaker 7: years younger? Three years younger?
Speaker 3: Though? Three?
Speaker 7: Three three three?
Speaker 1: At what age did do Ward like finally get your respect?
Speaker 1: Well as far as like production is concerned, not production,
Speaker 1: but DJ or were you the don't touch my equipment
Speaker 1: type or were you.
Speaker 2: The yeah, wait, don't touch my equipment types.
Speaker 1: Of e yes?
Speaker 3: Hell yeah?
Speaker 2: And he's my little his hand has been too greasy,
Speaker 2: he always had greasy as hands that he ate a
Speaker 2: polo rids And then he want to touch the records.
Speaker 3: What kind of shits? Yo? Let me tell you what
Speaker 3: I used to do to walk right.
Speaker 6: So Wall would go hang out with his friends or
Speaker 6: go to work or whatever, you know, whatever, And as
Speaker 6: soon as he would leave. I would walk into his
Speaker 6: room and turn everything on practice what I seen him do,
Speaker 6: add my touch to it to make it my style,
Speaker 6: and turn everything off and put everything back the way
Speaker 6: it was supposed to be.
Speaker 3: So one day I caught it it as then I got.
Speaker 4: Beat up, all right, So yeah, the t Joe Jackson movement.
Speaker 1: Was at least like, let me see what you can
Speaker 1: do first and then I beat jazz, or like.
Speaker 2: Because he's a little brother, I don't care what the
Speaker 2: little brother had to do. I'm big brother.
Speaker 3: You know.
Speaker 2: I'll tell you that moment I had with my mom
Speaker 2: and him, that was the moment I was like, all right, next,
Speaker 2: see what he can do.
Speaker 3: And I was horrible that man.
Speaker 2: Could have came in and did every mix that jazzy
Speaker 2: Jeff every day in his life and I still wouldn't
Speaker 2: be impressed, like it was whack mom, come on, but
Speaker 2: would never give him his prop.
Speaker 6: You know what was what was good about that was
Speaker 6: being that it was the big brother, little brother type thing.
Speaker 6: It made me go, you know what, I'm gonna beat
Speaker 6: walk at this. You know what I'm saying, Like, I'm
Speaker 6: I'm gonna show him. I'm gonna battle him. I'm gonna
Speaker 6: be better than him. And it made me really like
Speaker 6: get into DJing like I was. I was on some
Speaker 6: I was, it was something else, you know what I'm saying.
Speaker 6: Like I thought I was the DMC champion the way
Speaker 6: I was training to battle war, you know what I'm saying.
Speaker 4: So you two, you two were enemies first before you.
Speaker 1: Decided to.
Speaker 4: Yeah, of course, but you know, you know that makes sense.
Speaker 1: There's a legendary sibling DJ team that I knew in Philly,
Speaker 1: same situation. Brother was like five years young, but the
Speaker 1: younger brother's level of antagonizing was if his older brother
Speaker 1: made him mad, like don't touch my equipment and beat
Speaker 1: him up whatever, the younger brother would actually take like
Speaker 1: one of the prize records and put it in the bathtub,
Speaker 1: just on the records.
Speaker 3: No, no, we no, nah records valuable. Whoa whoa, I said,
Speaker 3: Death said.
Speaker 1: It was also like eight years old, So you know,
Speaker 1: I mean, you do anything to antagonize. Now, I know
Speaker 1: most Harlem Uptown BRONC stories had the blackout of seventy
Speaker 1: seven to think for uh equipment, uh acquiring, But like,
Speaker 1: how did you build your how did you build your system? Well,
Speaker 1: in terms of being a DJ.
Speaker 2: We did what we had to do.
Speaker 3: My mother.
Speaker 2: First of all, we did the regular Mickey Mouse turntable
Speaker 2: with the home homemade mixer. We did that trackic thing.
Speaker 2: I asked my mother to buy me a turntable. Now,
Speaker 2: my mother is an old West Indian woman from Belize,
Speaker 2: so she's like, she don't know ages.
Speaker 4: Oh boy, what does she buy?
Speaker 2: He came home with a BSW belt turntable belt drive
Speaker 2: wow belt. I looked at her and I said, thanks, mom.
Speaker 2: And that's when I said, yo, I got to get
Speaker 2: my own thing.
Speaker 3: I can't. I can't. I can't deal with this with me.
Speaker 3: I got to get my own self.
Speaker 2: So that's why I started like this was we're going
Speaker 2: into like eighty five. So I started working in a
Speaker 2: record store around here, and then I'm in eighty seven.
Speaker 2: I started working at a music factor in Jamaica, Queens.
Speaker 2: And that's when I was like, yo, I got to
Speaker 2: get my own equipment and saved up enough money I mean,
Speaker 2: you know, and got my equipment.
Speaker 9: There you mentioned earlier did job your father? He did construction?
Speaker 9: What did your mom your mother do?
Speaker 2: He was a nurse at We used to have a
Speaker 2: hospital out here called Williamsburg Hospital and she used to
Speaker 2: work over there and then she just started to take
Speaker 2: care of foster kids.
Speaker 7: Oh wow, okay, yeah, how many foster kids?
Speaker 3: It was a lot of falster kids, a.
Speaker 7: Lot of foster kids in and out of your house.
Speaker 3: Yeah yeah yeah.
Speaker 4: And when you say Williamsburg not the Williamsburg that I.
Speaker 3: Know, well no, it's different.
Speaker 2: Butchrig is not the butcher Ridge that we know, Like
Speaker 2: the butcher growing up now is a totally different butcher
Speaker 2: And what.
Speaker 4: Was manse uh man.
Speaker 1: Mustachus right?
Speaker 3: People looking at you like.
Speaker 8: You don't belong yere, right, which means so y'all have
Speaker 8: a nice piece of real estate right now, and congratulations
Speaker 8: to that.
Speaker 3: Well, I mean we will always say this is our
Speaker 3: mama's house.
Speaker 6: Yeah, I tell people this day I live at my
Speaker 6: mother's base because I just loved the reaction of their face,
Speaker 6: like how do you.
Speaker 8: Still and you god like to have a full it's
Speaker 8: a full brownstone and everything right, like.
Speaker 3: Right large, it's actually a townhouse.
Speaker 6: Okay, it looks like a brownstone, so we let people
Speaker 6: go with that, but it's actually a nineteen thirties townhouse.
Speaker 2: Wow, what were your earliest gigs, like walk neighborhood stuff
Speaker 2: that's in the neighborhood, like you know, we didn't really
Speaker 2: leave butch rigged, you know, and stuff like that. So
Speaker 2: a lot of stuff was mostly it started doing the
Speaker 2: dust and butcher rigg stuff, and then we started doing
Speaker 2: more stuff out of Brooklyn, and you know, it eventually
Speaker 2: grew after that.
Speaker 6: Back in the days, you had to like like you
Speaker 6: blew up in your neighborhood, and after you grew up
Speaker 6: in your neighborhood, you started going to other neighborhoods, and
Speaker 6: then you started going to other boroughs, and then it
Speaker 6: was all city.
Speaker 3: It's like it's kind of like a feiti all city.
Speaker 1: On with your own you're talking about like block parties
Speaker 1: and whatnot, or just like house parties and right for me,
Speaker 1: like because my parents were record collectors, all those records
Speaker 1: that wound up getting sampled later, like I already had
Speaker 1: but never knew because I just looked at my parents'
Speaker 1: record collection as.
Speaker 4: Like old people records, right, because.
Speaker 1: I'm assuming that when you're doing this in the early eighties,
Speaker 1: like collecting records and whatnot, that you're just basically getting
Speaker 1: hip hop records and records to rock the party, like
Speaker 1: I'm assuming that you're not thinking, Yo, I need this
Speaker 1: Bob James record or you know whatever for sampling purposes.
Speaker 1: But at what point did you realize that, Like, were
Speaker 1: you in an open format DJ or where you just
Speaker 1: strictly hip hop at the time, Like what were you playing?
Speaker 2: It starts with hip hop and then it becomes upen format. Yeah,
Speaker 2: so you would buy, like, say, to Bob James record.
Speaker 2: You would buy the Bob James record because everybody you
Speaker 2: had a crew, You had the guys whom the DJ
Speaker 2: the crew, So the MCS needs under raym on so
Speaker 2: you would get more or less you would get take
Speaker 2: me to the Mighty Gras and you would just buy
Speaker 2: two copies of those.
Speaker 1: So you on that early?
Speaker 3: Yeah, Yeah, I was on that early, Like yeah.
Speaker 4: Creed Lewis Flores, Rebeat lou back right.
Speaker 2: We used to call them uptown because you had to
Speaker 2: go uptown to get them, even though I worked in
Speaker 2: Jamaica cuse I ain't start working at Jamaica until eighty seven.
Speaker 2: But like in eighty one and eighty you would have
Speaker 2: to go uptown to like Music Factor in forty second
Speaker 2: Street to go get these break beats and the break
Speaker 2: beats around that time, they were already putting them on
Speaker 2: the bootleg twelve inches. You know what I'm saying, You
Speaker 2: would Bozomico stuff.
Speaker 3: And eat Me to the Beat records all that, they
Speaker 3: were already putting them on that eat Me to the Beat.
Speaker 2: You know what that is, right, big beat on one
Speaker 2: side and on the other side.
Speaker 1: Yeah, wait, that was back in the eighties. I thought
Speaker 1: that was coming down in the mid nineties.
Speaker 3: Nah, that was back. That was for ultimate breaks and beats.
Speaker 1: Bosomko was even out in the eighties.
Speaker 3: Boso Miko came out in eighty one.
Speaker 2: Yeah, yeah, Booo came out, all right, Flash to the
Speaker 2: Beat on.
Speaker 3: The other side.
Speaker 1: I was gonna say so when I heard Flash to
Speaker 1: the Beat being played at like roller skating rinks, they
Speaker 1: were playing the same Bosomico.
Speaker 2: Bluele playing the Bosomico rocker.
Speaker 3: Yeah. Man, the only way you got it, Yeah, that's
Speaker 3: the only way you got it. All right.
Speaker 1: Let me let me let me explain to her.
Speaker 4: Okay, let me give it tutorial.
Speaker 3: All right.
Speaker 1: So basically, of course, you know that during the first
Speaker 1: generation of beat digging, you're talking about Bam Boda and
Speaker 1: Flash and Mean Jean and Grandmother was the Theodore Like, yeah,
Speaker 1: so the first generation of course, like everyone would try
Speaker 1: to get their their the shazama on and see what
Speaker 1: they're playing. And of course, if you're smart enough you
Speaker 1: don't want nobody biting you, you would wipe the label
Speaker 1: off with water so no one can see what you
Speaker 1: were playing, you know what I mean? Before breakbeat lou
Speaker 1: Lewis Flores, would you say that Paul Winley was the
Speaker 1: first super disco breaks.
Speaker 2: Yeah, super disco breaks came out before the Ultimate breaks. Well,
Speaker 2: the ultimate breaks and beats was the Optopus Rocket. Yeah,
Speaker 2: right right, so, but Paul Winley came out first.
Speaker 1: So suddenly in the eighties, in the early eighties, and
Speaker 1: this was especially for the advantage of DJs, I e.
Speaker 1: If Melly Mail wants to rhyme over Billy Squire's big
Speaker 1: beat or Funky Drummer or whatever has a breakbeat. Someone
Speaker 1: came up with the idea like, yo, since I know
Speaker 1: what all these breaks are, I'll just go to the studio,
Speaker 1: sweeten the mix up a little bit and put these
Speaker 1: compilations out. And then suddenly DJ's were using the compilations
Speaker 1: called super Disco Breaks, Bozo Miko and of course by
Speaker 1: eighty six. I will say the Wikipedia or the cliff
Speaker 1: Notes if you're older, of breakbeat collections was called Ultimate
Speaker 1: Breaks and Beats. I used to thought it was. I
Speaker 1: thought it was Ultimate Beats and Breaks, But like maybe
Speaker 1: last week I realized I was staying it wrong the
Speaker 1: whole time, for the last forty years.
Speaker 7: So very good explanation, Very good.
Speaker 1: Yeah. So the reason why a lot of once you
Speaker 1: get to like kind of pass the Rick Rubin, Larry Smith,
Speaker 1: Marley Maut period of hip hop, as soon as you
Speaker 1: get to like the Paul c period, the Fogie Down Productions,
Speaker 1: Criminal Minded period, the early paid in full period, suddenly
Speaker 1: you notice like everyone's using the same thing, Like, oh okay,
Speaker 1: they're using that. Basically, it's a twenty five volume breakbeat
Speaker 1: set with six to seven songs on them each. As
Speaker 1: a DJ, you can go back and forward and rock
Speaker 1: a party, and later as a producer you can sample
Speaker 1: those things. So actually full Circle makes the beat minors
Speaker 1: and the aforementioned renaissance period that I mentioned earlier, you know,
Speaker 1: large professor, Q tip trot whatever just came. I'm a point,
Speaker 1: especially after you old TV raps where everybody was the
Speaker 1: eating from the same restaurant, and suddenly, you know, starting
Speaker 1: with Premier, starting with Jazzy Jeff, starting with these guys,
Speaker 1: starting with large professors, Suddenly they were like, it's the
Speaker 1: hip hop version of what I refer to as a
Speaker 1: Dalkaman ninety five, which is like a filmmaking technique in
Speaker 1: which you put these challenges on yourself. So suddenly, instead
Speaker 1: of getting shit from all to piece of breaks, you're
Speaker 1: going to your library to that those records that no
Speaker 1: one wants to touch. You're going to your parents' jazz
Speaker 1: collection that nobody wants to touch. You're doing your own
Speaker 1: digging for records outside of the cheat sheet and so.
Speaker 8: Which may now idea of those compilations obsolete.
Speaker 7: It like it was like no more.
Speaker 1: No, I mean they're still around. Matter of fact, they're
Speaker 1: on Spotify, which is kind of weird. They are wow,
Speaker 1: But what's weird. What's weird for Spotify is like I'm
Speaker 1: used to the texture of like some of these breaks
Speaker 1: being like second generation, Like there's a certain griminess to
Speaker 1: it when you sample like give it Up a Turning
Speaker 1: Loose by James Brown from that compilation, that it's almost
Speaker 1: too clean when you take it from a clear Digital
Speaker 1: Master version. But what I'm amazed at is that I thought, now,
Speaker 1: my dumb ass didn't know about break beats. Shout out
Speaker 1: to a Damon Bennett, who's a Philadelphia musician placed with
Speaker 1: like Floatry and Jill Scott.
Speaker 4: He's the one that put me on a break beats.
Speaker 1: I thought, like Bozo Miko and all that stuff came
Speaker 1: out in like eighty nine because I didn't discover sampling
Speaker 1: until you know, the Stevie Wonder Jamin on the one thing.
Speaker 1: But all right, whatever, I guarantee you ninety percent of
Speaker 1: hip hop generation didn't know about sampling until the Cosby Show.
Speaker 1: But Emo button my mind blowing that you guys are
Speaker 1: revealing to me that all those comp relations came out
Speaker 1: in the early eighties.
Speaker 5: Wow.
Speaker 2: Yeah, it made it easier for the DJs to go
Speaker 2: get all these records instead of searching for them. They
Speaker 2: put them on one compilation so you don't have to
Speaker 2: break your neck, like Rocking in the Pocket, the original Rocking.
Speaker 2: They put it on forty five for you, and put
Speaker 2: it on forty five for you, right.
Speaker 1: Right, right?
Speaker 3: Yeah?
Speaker 1: So yeah, at what point did you realize that there's
Speaker 1: a world out of it? Because I feel like This
Speaker 1: is what defines you, guys, because Ronnie Laws is not
Speaker 1: on off my beach and breaks.
Speaker 2: I'm gonna tell you what made I feel what made
Speaker 2: everybody change their whole thing. I mean, it's mostly the
Speaker 2: whole native tongue that JB's tribe daylight movement. But whenever
Speaker 2: you pick up a break beat to use or whatever,
Speaker 2: I always feel like Diamond D is looking over your
Speaker 2: shoulder saying, how do you do it?
Speaker 3: You don't sample that, you know what I'm saying.
Speaker 2: So you really trying to impress all the guys that
Speaker 2: came before you. Yeah, so what you're doing is instead
Speaker 2: of looping every James Bond record or every George Clinton record, you.
Speaker 3: Want to go left and go yo. I got this them.
Speaker 2: Like when you're the guy who puts the world up
Speaker 2: on the drum beat or on the groove, it's like,
Speaker 2: oh wait a minute, we gotta watch these guys. Like
Speaker 2: when y'all came out with the clones, me with that
Speaker 2: that surprise. Yeah, come on, man, you guys opened up
Speaker 2: a whole door.
Speaker 8: Y'all know that that trickled down all the way down
Speaker 8: to like the folks who listen to the young kids
Speaker 8: who now are redigging into their parents' crates, making their
Speaker 8: own compilations. I'm saying this as I remember doing this
Speaker 8: for my little boyfriend, like and challenging him with our
Speaker 8: little slow jam you know mixes that we make because
Speaker 8: I got my daddy's records and I understand this George
Speaker 8: Benson record better now.
Speaker 7: We did, I did, and I want that one.
Speaker 1: Yes, she said my little boyfriend. He was, oh, all right,
Speaker 1: So what is the introduction to production with you too?
Speaker 4: Like, where where's the genesis?
Speaker 2: I was just dibbling dabbling in production, but I never
Speaker 2: really took it serious.
Speaker 3: I had an MC from around here. His name was
Speaker 3: rock Jay.
Speaker 2: He passed away in uh ninety, I think he passed away,
Speaker 2: and we were just dibbling dabbling in music. So I
Speaker 2: never really took it serious. So, like I said, I worked.
Speaker 2: This is when I was working in a music factory.
Speaker 2: So I was cool with a lot of the artists.
Speaker 2: So one day the light from Steppa Sonic came in
Speaker 2: and he gave me a black cassette tape. He said, yo, walk,
Speaker 2: you got to listen to this cassette tape. This is
Speaker 2: nineteen eighty eight. I said, what's on this cassette. He said, Yo,
Speaker 2: trust me, I'm not going to tell you this's on
Speaker 2: this cassette, but you got to hear this.
Speaker 3: This is incredible.
Speaker 2: I popped the cassette in remember Man so all black
Speaker 2: as set. It was it takes the nation and millions,
Speaker 2: The Holder is back. And I heard that album Wow,
Speaker 2: Run two End. This was before the album got released.
Speaker 2: When I heard that album, that whole album changed my life.
Speaker 2: When I heard that, I said, Joe, this is it.
Speaker 2: This is what I want to do. I want to
Speaker 2: be a producer. I want to make beats. And that
Speaker 2: was the beginning of the beat minors that right there.
Speaker 3: Yep.
Speaker 6: And you know little brother follows big brother, so walk
Speaker 6: got into production.
Speaker 3: I was like, I'm better than him. So I got
Speaker 3: into production.
Speaker 5: What equipment were y'all using at that time? What did
Speaker 5: you just start on tape?
Speaker 3: And then SK one and the one hundred and it's funny.
Speaker 6: We had an SK one and then there was a
Speaker 6: Yamaha joint that looked like one.
Speaker 1: That was longer, cleaner, and it was clean.
Speaker 2: Yes, right, right, right, right, right right, I have.
Speaker 1: That yama It's like seven seconds and way cleass.
Speaker 3: Yes, yes, Then we got what we got a SK eight,
Speaker 3: then we got SK one hundred.
Speaker 4: They kept upgrading.
Speaker 2: Yeah, because whatever the sampler of the moment was, we
Speaker 2: will go out and get it.
Speaker 3: Yeah, and got it, and then we finally got walk.
Speaker 6: Came home one day with the Cassio Aussie one drum machine,
Speaker 6: which is the high hat. The nicest move high hat
Speaker 6: that they use in every record is from that machine.
Speaker 1: Wait what what what drum machine?
Speaker 3: Is this the Casso Ausi one.
Speaker 1: Because the thing is is that I'm under the impression
Speaker 1: that Cassio sk ones are just like toy machines. Now
Speaker 1: I'm finding out, like past is now telling me like
Speaker 1: thirty percent of three feet high and rising, I believe that, Yeah,
Speaker 1: what was made was made on the Cassio sk one.
Speaker 8: Yeah, talking about like literally the Casio like the key.
Speaker 1: So I'm taking it back to the Cosby Show. I'm
Speaker 1: telling you when we saw that jamming on the one video,
Speaker 1: jamming on the one commercial or whatever, the jammin on
Speaker 1: the one Stevie, Ah God, I'm sorry. Back in the day, people,
Speaker 1: there's an episode of The Cosby Show where THEO and
Speaker 1: Denise Malcolm, Jamal Wanner and list Money.
Speaker 7: I'm sorry, Go ahead, please get.
Speaker 1: In the car accident, and of course the limo is
Speaker 1: Stevie Wonders.
Speaker 7: They crashing Stevie.
Speaker 1: Yes, they crashed into Stevie to get out of a lawsuit.
Speaker 1: Stevie invites them to a studio session no litigious action.
Speaker 1: And at the studio Stevie Wonder samples the entire Huxtable household,
Speaker 1: and that to me opened up just a portal that
Speaker 1: none of us knew existed.
Speaker 4: Were you of age at the time, Fante, when that
Speaker 4: episode came on?
Speaker 1: Do you remember it?
Speaker 3: Oh?
Speaker 5: Yeah, oh yeah, welcome, yeah, jamming on the one.
Speaker 1: I mean we're in the same generation, but you I
Speaker 1: would be the old brother of your Like that shit
Speaker 1: came on when I was fourteen, So no, no.
Speaker 9: I remember, yeah, just seeing the sampling and like the
Speaker 9: Sink Clavier because that was a music store in the
Speaker 9: mall at that time, and I would go and mess
Speaker 9: around with a round the d X seven. It was
Speaker 9: around that same kind of area. Yeah, I D seven
Speaker 9: came out and so yeah, I was. I was on
Speaker 9: all that ship.
Speaker 3: Bro.
Speaker 1: Yeah. So at the time, in eighty six, the Cassio
Speaker 1: s K one was an affordable, cheap toy keyboard that
Speaker 1: had we sampling like, did you ever have an s
Speaker 1: K one? Bill? Yeah, I haven't.
Speaker 8: Right over here, know when he was a kid, Oh
Speaker 8: way he really had, right yeah right now?
Speaker 4: Yeah, I think so No, look at all that.
Speaker 3: Yeah, I was about to say, it's a studio back there.
Speaker 1: I don't. I forgot, I don't I used to. It was.
Speaker 1: It was the thing that we first all played on. Yeah,
Speaker 1: I mean, man, I just put like first words in it.
Speaker 1: Ship ship ship ship ship ship.
Speaker 4: You could do your ship right exactly.
Speaker 1: And then suddenly we realized that it can sample records.
Speaker 1: And then wait, where was the Where was the microphone
Speaker 1: on this thing that you could shample into? Was it
Speaker 1: an external or internal? There was an internal microphone like
Speaker 1: sometimes you will put your headphones on top of the mic.
Speaker 1: Like the purpose again was for you to just say
Speaker 1: one word, I got this one. It's the same thing.
Speaker 3: That's that's the yah that's.
Speaker 4: With money, Bill.
Speaker 1: That's how you know.
Speaker 3: I grew up with Buddy.
Speaker 1: I would ask my parents for the Yamaha one, which
Speaker 1: is like one hundred dollars more, and they were like,
Speaker 1: uh no, the price mark off Cassio s K one.
Speaker 3: I think that input jack to a new version of
Speaker 3: the s K.
Speaker 1: One had an input jet Oh got, I can't hear
Speaker 1: our ratings going down? Like, are they going to stay
Speaker 1: on this for an hour?
Speaker 4: I'm about to take this out.
Speaker 1: We're gonnaial and unboxing. Here we go.
Speaker 3: Nerd talk, people, nerd talk.
Speaker 1: Do you still have a collection of like your first
Speaker 1: ever beat?
Speaker 3: No?
Speaker 4: Maybe e, but I know you're lying.
Speaker 6: I got I have the cassette of Blackbom's first demos. Okay, no,
Speaker 6: that's I think that's as far as it got. Probably
Speaker 6: might have a beat cassette in one of my boxes
Speaker 6: over there.
Speaker 7: When was the moment when he got some respect on
Speaker 7: his name for you?
Speaker 2: And then well he started DJing in the neighborhood and
Speaker 2: a lot of people was gravitating towards him and stuff
Speaker 2: like that, and he was making the name. So he
Speaker 2: just kept going. He really was going hard with it.
Speaker 2: I was when I was working in Queens. He was
Speaker 2: building his name up around the way. He because he
Speaker 2: even worked in a record store around here with Tony Touch.
Speaker 3: Tony actually came after Oh okay, he stole my job.
Speaker 2: So he came out like he started building his name
Speaker 2: up while you know, I was out in queen's working.
Speaker 1: I would always hear shout outs to you guys on
Speaker 1: various rap songs. Right were you guys the the the
Speaker 1: taste makers, Like I go to the record store and
Speaker 1: then I go to you and be like all right,
Speaker 1: what do I need?
Speaker 3: And then yeah, that's the way we were.
Speaker 2: And then and then some people would bring their like
Speaker 2: Biz used to bring his his records into test it
Speaker 2: in the record store. Biz in Ll used to bring
Speaker 2: that stuff to the music factory to test this record
Speaker 2: before it came out.
Speaker 1: Like why you guys had a better system or because that.
Speaker 2: Because music factories where everybody used to be at. So
Speaker 2: every time Bizz would do something, he would bring it. Yo,
Speaker 2: this is this is this like he brang when he
Speaker 2: he came down, he played Vapors, but Vapors wasn't vapors.
Speaker 2: Vapors was this is something for the radio.
Speaker 1: Wow, this is for the radio.
Speaker 2: Right the beat right and vapors was the beat you
Speaker 2: know it was it was this is fun something for
Speaker 2: the radio. H Picking Bookers had actually roach clip bit
Speaker 2: beat behind it, but he changed it because everybodying in
Speaker 2: rock Kim and like everybody would come and bring their stuff.
Speaker 2: That LL would come when LLLL was working on Mama
Speaker 2: said knock you out.
Speaker 3: He brang eat them off.
Speaker 2: L missed the controversy which never came out. Okay, and
Speaker 2: it was another song apart with the other song. But
Speaker 2: they will come and test their records at the store.
Speaker 1: And just look for a reaction of people there shopping.
Speaker 2: Right right right.
Speaker 1: Can you give me, like your your top five preview
Speaker 1: moments of that of that level, Like when someone brought
Speaker 1: some ship in and you're like, holy shit, what is this?
Speaker 2: The biz biz used to bring a lot of stuff
Speaker 2: to the store. I remember Large Professor bring in the
Speaker 2: first main source twelve inch not looking at watch Roger Roger, Yeah,
Speaker 2: Roger do his thing, oh Man, super level seed bringing
Speaker 2: due to James Audio two bringing top Billing, everybody would
Speaker 2: just come and bring that stuff.
Speaker 1: Wait time out. I have a question though. Yes, everyone
Speaker 1: pretty much knows, or at least those that or in
Speaker 1: the no know that top Billing was just like a
Speaker 1: b side and they were really trying to push I
Speaker 1: like cherries? Were they trying to push I like cherries? First?
Speaker 2: No, the top villain had had was making a somewhat
Speaker 2: of a buzz, so they was pushing top Villain. Okay,
Speaker 2: like top billing made a noise in the clubs and
Speaker 2: on radio, like you know, so that when they was
Speaker 2: actually because they would sell their records on consignment, meaning hey,
Speaker 2: we'll give you a box of records. We won't pay
Speaker 2: you until we won't pay them until we sell the
Speaker 2: whole box of records. Those records were going out of
Speaker 2: the store.
Speaker 1: Uh hi, So you're the person that I would go
Speaker 1: to to strike a deal, right selling out the trunk?
Speaker 3: Right? Yeah?
Speaker 1: Right? Can you tell me those stories like what legendary
Speaker 1: other albums of that level?
Speaker 3: Oh man, it was really that. That was it.
Speaker 2: Like Main Sauce didn't get the deal with Wild Pitch yet,
Speaker 2: but they were just coming to They bring Wick Rocker
Speaker 2: do his things and it was creating somewhat of a
Speaker 2: buzz and something like that. But dude, James was was
Speaker 2: big out of our store, Like, okay, you know records
Speaker 2: like that. We didn't, we were We wasn't really because
Speaker 2: you have to understand too, if they were doing it
Speaker 2: in Queens, they were doing it in the Bronx, they
Speaker 2: were doing it in Manhattan, it was doing it in Brooklyn,
Speaker 2: so they it wasn't only us. They were going to
Speaker 2: other stores too. We had the Wiz like right around
Speaker 2: the corner and the wizdoms the same thing.
Speaker 1: Yeah, but was the Wiz a like was that a
Speaker 1: crazy eddie commercial store, I e. Like a best Buy?
Speaker 1: Or was that like a neighborhood store. I would assume
Speaker 1: that it.
Speaker 2: Was a change store, but it was.
Speaker 3: It was. It was big on Jamaica Avenue. It was big.
Speaker 2: It was big like you know when whenever we would
Speaker 2: get new releases, new releases would come out on Tuesday,
Speaker 2: but some people we would get our packages Friday evening
Speaker 2: so we could put it out Monday night. But we
Speaker 2: were cheat and put it out Friday. So I remember
Speaker 2: when Tougher than Leather came out. We was we we
Speaker 2: put it out and the Wiz put it out, and
Speaker 2: the Wis were selling it lower than us.
Speaker 3: So we called Profile like.
Speaker 10: Yo the wind if they're selling it stitches, get stitches
Speaker 10: sudden you wanna sell toughing one out to the wings
Speaker 10: and not give it to us.
Speaker 2: So what the what Profile did was they cut They're
Speaker 2: shipping to the Wiz and kept sending it to us.
Speaker 2: So we had it.
Speaker 3: Oh wowitches sound who nobody? Nobody from the Wiz looking
Speaker 3: for my ass today.
Speaker 7: Don't nobody know what the Wiz is today?
Speaker 2: Like, Yo, y'all ain't have the Wiz in Philly.
Speaker 3: Y'all have in d C.
Speaker 5: Yeah, I had it in d C.
Speaker 3: Yeah, it wasn't in North Carolina.
Speaker 5: Nah, No, we haven't down here.
Speaker 1: We had it in d C. No, we we had crazy.
Speaker 1: We had crazy Eddie, like I mean besides your traditional
Speaker 1: record store crazy eddies, like probably somewhere in between our
Speaker 1: local like our our local join was Sound of Market
Speaker 1: twenty two and three.
Speaker 7: Y'all have Pops Dope, mom, and Pops right was dope?
Speaker 4: Yeah, definitely, I gotta ask you. Walk Nation and millions
Speaker 4: have the same effect on me.
Speaker 1: And it was my dream to like even to this day,
Speaker 1: like I still have not gotten my Bomb Squad, not
Speaker 1: off you know what I mean, Like especially for the
Speaker 1: type of music I'm associated with, right, but for you
Speaker 1: was that level of Kamakazi sampling, like something that you
Speaker 1: wanted to do.
Speaker 2: Yo, Bomb Squad was like next level man like. Bomb
Speaker 2: Squad to me back then was the closest thing you
Speaker 2: could get to the JV's and and the you know
Speaker 2: what I'm saying, and Fred Wesley and shape the way
Speaker 2: that the Bomb Squad did they thing. And then man,
Speaker 2: you found out that they use like all forty eight
Speaker 2: tracks and the sample sometimes the samples are off beat.
Speaker 2: Like every story you hear that, it amazes you, you
Speaker 2: know what I'm saying. So everything that they would do,
Speaker 2: I would buy. I don't care if it was Jody Watney.
Speaker 2: I don't care if it was Bell b.
Speaker 1: De Vaux, I.
Speaker 2: Don't care what it was a young black teenagers. Anything,
Speaker 2: I would buy for this. Yet they had Bomb Squad
Speaker 2: on it. I'm because I was such a fan of that.
Speaker 4: But in terms of you trying to figure out what your.
Speaker 2: Style was, I mean, we all did it though, we
Speaker 2: all tried to be like them, but eventually it was like, nah,
Speaker 2: we can't.
Speaker 3: This is not us.
Speaker 6: You gotta make It's like you know, it's it's like
Speaker 6: with the Bomb Squad. We tried, but we knew that
Speaker 6: wasn't us.
Speaker 3: That wasn't us, you know.
Speaker 6: So it's like you know how I tell people with DJing,
Speaker 6: You see you see somebody do a scratch, You go
Speaker 6: home practice that scratch.
Speaker 3: Then you take that scratch and start developing it into
Speaker 3: your own type of scratch. You're changing around so it
Speaker 3: becomes yours, you know what I'm saying. Like that was
Speaker 3: like the Bomb Squad thing.
Speaker 6: We seen how they layered samples, and we seen how
Speaker 6: they was doing that thing. We tried to do it
Speaker 6: and we developed our own style doing that.
Speaker 2: One thing we did take from them though, and I
Speaker 2: still do to this day, is layer beats. Oh yeah,
Speaker 2: like the power is like what you like it too,
Speaker 2: and maybe funky drummer put together and stuff like that.
Speaker 3: We did that. We did that on.
Speaker 2: Who Got the Props? We did that on Buck Them Down?
Speaker 2: We did that like we would every rack they can
Speaker 2: have a swing to it.
Speaker 3: Yeah, And we got that from the Bomb Squat.
Speaker 1: The introduction that the world knows you guys by, of course,
Speaker 1: is who Got the Props?
Speaker 3: Right?
Speaker 1: That to me was like that was a mind blowing
Speaker 1: revolution to hear that back in ninety three, because you
Speaker 1: got to understand like your average mainstream rap stuff was
Speaker 1: like u MC's fast. You know, things like the intro
Speaker 1: to Playground by by another bad creation like that chaotic
Speaker 1: heavy dancing sort of thing. How did you guys manage
Speaker 1: to avoid that? Because for me, like Who Got the Plops?
Speaker 1: Was slowed down? You're using you know, like seventies jazz,
Speaker 1: which was just unheard.
Speaker 2: Of, Like it was still up temple though it was
Speaker 2: like ninety eight to one hundred bpms, so it was
Speaker 2: still up temple, but it was smooth. But you know,
Speaker 2: on the B side, our B side was I was
Speaker 2: just about to say that was like one hundred and
Speaker 2: fourteen b pms and stuff like that. And the the
Speaker 2: Beat Minors intro to the World wasn't even who got
Speaker 2: the props. The Beats Intro to the World was Popu
Speaker 2: lar agreemix. Yeah, the base the East Coast remix. That
Speaker 2: was the big miner.
Speaker 3: Yes, that was y'all, but it.
Speaker 2: Wasn't Listen it was. It was Beat Miners, but it
Speaker 2: wasn't Me and Evil. It was we had a Beat
Speaker 2: Minars was a crew back in the day. And one
Speaker 2: of the guys in the crew was on his way.
Speaker 2: His name was ike Lee. I League was responsible for C. C.
Speaker 2: Penison and some mantronics work, and you know, he was
Speaker 2: he was going the way to do other production and
Speaker 2: he and that ultramagnetic agreements landed in his lap and
Speaker 2: he was a part of Beat Miners, and he said, listen,
Speaker 2: I'm about to do this remix and I'm gonna I'm
Speaker 2: gonna put it under the beat minor's name, and that's
Speaker 2: what started to Beat Miners ride. Was that for me
Speaker 2: and he took the reins. I made up beat Miners,
Speaker 2: but I was the first one to put it up
Speaker 2: to put us on.
Speaker 1: Yeah, so how'd you guys born?
Speaker 2: There's a bunch of friends that we were like. It
Speaker 2: was me and him, Me and him, e Baby Paul
Speaker 2: and ike Lee. We all met.
Speaker 3: In music factory.
Speaker 2: Music practory is like the meeting ground for for all
Speaker 2: of this.
Speaker 3: I didn't I didn't meet that music factory. I met
Speaker 3: Wall at the house. Well.
Speaker 2: Anyway, music factory was the was the meeting, the melting
Speaker 2: pot for everything. And the only thing we had in
Speaker 2: common was everybody just like record shopping, yeah, digging and production.
Speaker 2: So we just made up a crew. For the name
Speaker 2: of the crew. The original name of the crew was
Speaker 2: black Moon Production.
Speaker 1: Yeah right, yeah, can you explain his moonlighting connection with please?
Speaker 3: Please? All right.
Speaker 2: I was trying to make up a name for the crew, right,
Speaker 2: and I was doodling some stings on the paper and
Speaker 2: I just wrote down black Moon. I was like, hmm,
Speaker 2: I like this black Moon Productions. I'm going to use
Speaker 2: this as the name for our production company. And I
Speaker 2: was rolling for that for a minute. I and E's
Speaker 2: crew name was high Tech. That was the original name
Speaker 2: for black Moon was high Tech. I had a friend
Speaker 2: named Everett that worked with us. He said, Yo, you
Speaker 2: guys are always find the record. I'm gonna call you
Speaker 2: guys beat Minors. And he was an MC two and
Speaker 2: he made a song called beat Miners and I was like, Yo,
Speaker 2: I really like that name. Can I have that name?
Speaker 2: He said sure, he gives me the name for Beat Minors.
Speaker 2: I was like, yo, okay, I'm not using the black
Speaker 2: Moon name no more. He goes, Yo, let me get.
Speaker 3: That name for my crew.
Speaker 2: And I said, okay, sure, that's how black Moon name started.
Speaker 1: All right, but can you explain this alleged moonlighting uh
Speaker 1: connection to it?
Speaker 3: What do you mean that that was a big fan
Speaker 3: of Moonlighting? Please?
Speaker 7: Lord?
Speaker 3: Hold on.
Speaker 2: First of all, we're not giving no props the simple
Speaker 2: Shepherd and Bruce Bruce.
Speaker 3: Willis with Black Moon.
Speaker 4: I ain't hear that. I heard otherwise.
Speaker 7: No, so you weren't a fan of the show.
Speaker 3: I love the show.
Speaker 1: I love I heard that Sybil and Bruce their agency
Speaker 1: was the Blue Moon Agency.
Speaker 7: Oh, I forgot, good one.
Speaker 3: I forgot I said that before. I said that before,
Speaker 3: I swear to God, I didn't even think about that
Speaker 3: until you just said that. I said that before.
Speaker 1: I thought that was the genesis of how Black Moon
Speaker 1: got their name. I was like, you dweed ass nerds. Yes,
Speaker 1: I get it there.
Speaker 3: That is.
Speaker 6: Wait, so hold on, you seriously thought I said no,
Speaker 6: walk because I said that before.
Speaker 3: That's why I Yo, I did. I forgot it was
Speaker 3: the Blue Moon. I thought about that, Yo. I was
Speaker 3: under the assumption because you watched you every week Tuesdays
Speaker 3: Tuesday put was Moonlight and so as soon as you know,
Speaker 3: I'm here blue Moon Bloemon, all a sudden he's like, Yo,
Speaker 3: the name of the name of the crew is black
Speaker 3: Moon Moon.
Speaker 7: Conversation.
Speaker 4: You have brothers, they don't have to have a conversations.
Speaker 6: Yeah, I know when I put that out there, Yo, Yo,
Speaker 6: you're an asshole.
Speaker 3: What on?
Speaker 8: Man?
Speaker 1: Just own it?
Speaker 10: It it the way for years you're telling PEP people.
Speaker 2: I got the idea.
Speaker 8: Yeah, Jane's head is like he said it at the
Speaker 8: ram Bull Music Academy and twenty what were you.
Speaker 3: Wasn't I thought that you picked. You know, that wasn't
Speaker 3: the reason why?
Speaker 1: Well it is now no pleasing Oh my god, oh god,
Speaker 1: we love you, Bruce, well.
Speaker 3: As we loved it. Look it for you son.
Speaker 1: All right? So you formed this crew, right, and it's
Speaker 1: it's five of you.
Speaker 3: I got through the math. It was four me E,
Speaker 3: Paul and Ike.
Speaker 1: Okay, yeah, Now when did it trickle down to the
Speaker 1: beat minors that I know? Like, what's the journey that
Speaker 1: leads to what I assume is into the stage.
Speaker 2: Paul was always with us, but Paul wasn't in the forefront.
Speaker 2: Ike went off to do Oh, three boys from Newark
Speaker 2: and you went to do like I said, C C. C.
Speaker 3: Pennison and wait.
Speaker 4: Three boys from New York? What are they morph into?
Speaker 3: That was?
Speaker 5: They were the Lauryn Hills people. It was Vincent Oh.
Speaker 9: Yeah, Vincent Herbert in a group. They were a production team,
Speaker 9: Vince Herbert, Kiama Griffin and I cannot remember the third
Speaker 9: of his name.
Speaker 7: Button Herbert. As in Lady Gaga, I have.
Speaker 1: A twelve inch that has Lauren Hill singing on it.
Speaker 1: They're they're rhyming over cooling. The gang's too hot, but
Speaker 1: she's singing. Michael Jackson's One More the Jackson five is
Speaker 1: one More Chance, but it's it's a group something from Newark.
Speaker 1: But I didn't know if they were a rap group
Speaker 1: or whatever. But I have like a white label of
Speaker 1: Lauren Hill singing on a rap joint, like right right
Speaker 1: before the score came out.
Speaker 4: But I didn't know if that was a rap group
Speaker 4: or not. Was that then more?
Speaker 3: Do you think so? I don't think so.
Speaker 2: I think but I was already gone because then after
Speaker 2: he left three boys from new Ark, him and Bryce will.
Speaker 3: And started something. Oh wow.
Speaker 2: Then I just I used to stop doing music. I
Speaker 2: mean he still comes in and out, but he stopped
Speaker 2: doing music. But it was a lot of records that
Speaker 2: I that you love that Ike really did the production
Speaker 2: on but never got name.
Speaker 3: Uh get at me, dog? Wow? He did that, dog
Speaker 3: he did? He did.
Speaker 4: He would sweeten them up or like mix it or like.
Speaker 2: He would give the demo tape to somebody. I mean,
Speaker 2: let's put it out there. He would give it to
Speaker 2: IRV and gave it to whoever. And I get it
Speaker 2: somehow Dave Grease And listen, this is from what I heard.
Speaker 3: Dame Grease got it.
Speaker 2: He either looped up the same record or whatever, and
Speaker 2: Ike is the one who originally did that.
Speaker 3: I forgot what's what's the other song that I did
Speaker 3: to e Wow?
Speaker 2: I know he did the man Tronics King of the Beat.
Speaker 3: Yeah he did, Yeah, he did that.
Speaker 2: And when he did it, he did on a studio four.
Speaker 1: Have you ever met Mantronics Curtis Mantronics never Matter all right.
Speaker 1: I just recently found him in Germany that like, he
Speaker 1: has my dream interview because his his era of hip hop.
Speaker 1: And I would say the Latin rascals like what they
Speaker 1: do with editing. Yeah, I need to know how they
Speaker 1: did that ship because oh yeah, I'll still listen to
Speaker 1: the first Mantronics record and Cold Getting Dumb right, and
Speaker 1: just that level of editing and sampling like you you
Speaker 1: don't even hear it now, Like.
Speaker 2: When Mattronics went to Capitol, when he got the deal
Speaker 2: on Capitol, that's when I got into.
Speaker 3: The yeah, the fault. Here's some nerd stuff for you.
Speaker 3: By the way, the same dude that did the editing
Speaker 3: on the on the Malntronics stuff that was on Sleeping Bag.
Speaker 6: Yes, the same guy that did the editing for Ultimate
Speaker 6: Breaks and beats Chasnas.
Speaker 1: So when we're listening to like long Red, he did
Speaker 1: know you got soul. When they have to edit those things,
Speaker 1: that's him doing that right, right. Do you know if
Speaker 1: they did that by tape edit? Yeah, I'm sorry you
Speaker 1: again speaking inside baseball, all right. So of course some
Speaker 1: of those breaks were really dope, but they would just
Speaker 1: be two seconds.
Speaker 3: I e.
Speaker 1: I know you got soul that we know, like you
Speaker 1: might have to do some trickery to make it seem
Speaker 1: like it's a six bar intro and really it's just
Speaker 1: a quickie one bar intro. So they would take some
Speaker 1: of these records and re edit them to extend it
Speaker 1: so that way you're not going crazy going back and
Speaker 1: forth on the turntables, especially with long Red. I wanted
Speaker 1: to know like how that shit was done, because the
Speaker 1: original version of Mountains long Red from the Woodstock Festival,
Speaker 1: like the drum break goes by in seconds, whereas the
Speaker 1: compilation version is super extended.
Speaker 4: So who did those edits?
Speaker 3: Chuck me ah, okay, And it was all back then
Speaker 3: it was all taped.
Speaker 11: So he had to splice and ryo right, all analog
Speaker 11: all analogs, y'all.
Speaker 1: Actually, you know, to keep it really one hundred. I
Speaker 1: mean this is how like, of course, you know we're
Speaker 1: saying hip hop is like we're rap music and looping
Speaker 1: and all that stuff. You guys would be astounded at
Speaker 1: the amount of cutting and pasting that I've discovered sort
Speaker 1: of trolling through a lot of these master tapes of acts,
Speaker 1: Like essentially it's it's the same thing like bands would
Speaker 1: go in.
Speaker 4: Super Freak is a great example.
Speaker 1: People think that super Freak is soup the nuts four
Speaker 1: minute song that was played by the No They were
Speaker 1: fucking around in the studio and literally in the last
Speaker 1: seven seconds it came d Dana Da da and the
Speaker 1: tape cuts off. So the way you know it's a
Speaker 1: loop when you listen to the saxophone at the end,
Speaker 1: Bro Danny, that's a loop. Like, so the entire Super
Speaker 1: Freak is just a four bar loop that that unfortunate
Speaker 1: assistant engineer had to spend all night cutting tape, making
Speaker 1: copy cutting tape, and which is why that we're not
Speaker 1: asked about the breakdown. Yeah, like it's not even in rhythm,
Speaker 1: but there's so many slide masters. I went through same thing,
Speaker 1: loose booty, Loose booty on Small Talk, same thing. Sh
Speaker 1: it is chopped in paste like all of bitches brew
Speaker 1: same thing. So it's almost like they would have jam sessions,
Speaker 1: which was was there digging in the crate ship and
Speaker 1: then the engineer and the artists would sit and listen
Speaker 1: to what I like those four bars, and then the
Speaker 1: assistant engineer would have to make a copy. They go
Speaker 1: away for a day or two and he would have
Speaker 1: to make copies. And so wow, yeah, like so our
Speaker 1: level of making music where you listen to some shit
Speaker 1: and you loop it like that's been going on since Yeah,
Speaker 1: which I'm just mind blowing the belt.
Speaker 3: Wow, that's crazy.
Speaker 1: Especially when you consider like me not really being in
Speaker 1: this game to be a beat maker, but as a drummer,
Speaker 1: like some shit like slides loose booty, I'm like, god damn,
Speaker 1: Like Andy Newmark is tight as shit, Like he doesn't
Speaker 1: budge or nothing on the beat. No, they just took
Speaker 1: a four bar loop and just looped him across. But
Speaker 1: my mind is thinking, I got to play that meticulous
Speaker 1: the way that Andy Newmark did it for five minutes,
Speaker 1: but only to find out it was looped.
Speaker 8: So you know, quiet has kept Do you know what
Speaker 8: other profession does that? And don't get any respect on
Speaker 8: they name for it radio DJs. Radio DJs make their
Speaker 8: own instrumental sometimes off of just like I used to
Speaker 8: do it. Yeah, like you like this part of the
Speaker 8: song and the rest of it is some bullshit. So
Speaker 8: I'm gonna just go in the odyssey and cut it
Speaker 8: up and make my own instrumental.
Speaker 3: Yo.
Speaker 2: You know who was You know who is nice on editing?
Speaker 1: Who?
Speaker 2: Angie Martine nice as.
Speaker 6: I went to Hot ninety seven to do a black
Speaker 6: some Black moone promo stuff. And I've seen Angie edit
Speaker 6: the phone calls. Yeah, I believe it is not.
Speaker 3: That's how I learned how to edit on tape. Yeah.
Speaker 7: Wow, that's a radio DJ thing, y'all.
Speaker 3: I watched Aedgie Martinez edit radio like she yo, she
Speaker 3: was nice with it.
Speaker 6: Mom her tape yep, yeah, cuts fly saw that back
Speaker 6: in the days what they would do when you were
Speaker 6: called a radio station, they would called the calls the
Speaker 6: tape right, and then they would edit it. And by
Speaker 6: time it's time to play that call, that edit has
Speaker 6: to be done.
Speaker 7: And shortened and not as long as that.
Speaker 3: And I've seen Angie, I see.
Speaker 6: I watched Angie when we was up at Hot edit
Speaker 6: phone calls and I was like, yo, and when I
Speaker 6: went back to D and D, I went into the
Speaker 6: editing room and taught myself how to edit.
Speaker 8: You know what, Loyah, I gotta give you credit because
Speaker 8: I had to edit you all the time when you
Speaker 8: were called a radio station.
Speaker 1: No matter of fact. Well one, you were the only
Speaker 1: DJ on a commercial radio station that would let me
Speaker 1: in the building. That's what starters two I forgot. The
Speaker 1: first time I ever seen a playback machine was you
Speaker 1: and I watched you edit something.
Speaker 4: I saw you do that with the will and everything.
Speaker 1: Right when Keil and I drove home, he was like, yeah,
Speaker 1: that's a playback machine. And I was like, yo, like
Speaker 1: why don't we do that? And he was like, dog,
Speaker 1: you late, Like everybody uses a playback machine on stage.
Speaker 1: That's why people can jump around without the record skipping,
Speaker 1: because they used a playback machine.
Speaker 3: You know. I started the playback machine.
Speaker 1: Right watching like you do that at the station, and
Speaker 1: I looked at what she was doing and on I
Speaker 1: was like, oh shit, we got to get one of those.
Speaker 3: You know who started who started their popcatch using the
Speaker 3: playback machine? Right? Who makes y'all?
Speaker 6: Tayla Make Show was the first DJ ever to use
Speaker 6: the playback machine that made him do that. He was
Speaker 6: at a radio station that he's I want to use
Speaker 6: that because that way don't have to bring all these records.
Speaker 8: But when you think about it as crazy that like
Speaker 8: Donnie Simpson, Tom Joyner, all these people like this is
Speaker 8: they have to be able to do this like they
Speaker 8: they've done this with tape.
Speaker 1: Ye never knew that. For me, the trademark of your
Speaker 1: productions is of course filtering, which U what's what's the
Speaker 1: second song on into the stage?
Speaker 3: Nigger is the second song?
Speaker 1: Yes, filtering the baseline and whatnot? How are you guys
Speaker 1: knowing which equipment to use? Like assuming that you graduated
Speaker 1: from the sk one, Like what's the first piece of
Speaker 1: equipment that you got a real piece of equipment for
Speaker 1: what you made your stuff on? Like what do you use?
Speaker 6: That's when the Coshio Aussie one comes into play. And
Speaker 6: then walk comes home with this sampler called the a
Speaker 6: Kai six twelve. Right, the KI six twelve is like
Speaker 6: the parent of the nine hundred, the S nine hundred
Speaker 6: nine to fifty series.
Speaker 3: The only thing with the six twelve.
Speaker 6: Instead of instead of being able to sample eight different things,
Speaker 6: it only sampled one thing and on the front of
Speaker 6: the six twelve is knobs and one of the knobs
Speaker 6: is a filter knob, and me messing around with the sampler,
Speaker 6: I turned the filter knob and seeing that the that it.
Speaker 3: Filtered the sample.
Speaker 6: Now I'm thinking I'm the first one to ever do this,
Speaker 6: but Marley already did it already.
Speaker 3: I just didn't know.
Speaker 1: Well on vapors.
Speaker 3: Mally did it on what's it fake?
Speaker 6: Ye, I think vapors, And there was something else he
Speaker 6: did that it was filtered. And you know, Pete and
Speaker 6: tipping them was starting experiment with filters too. You know
Speaker 6: in my house, I'm like, yo, I just discovered something new.
Speaker 3: Like when we heard Sad he got a one track mind.
Speaker 2: That was that opened everything. We patterned our sound after that.
Speaker 2: The reason why our filters sound different because we were
Speaker 2: using a Kai six twelve.
Speaker 3: Yeah.
Speaker 2: So what we would do is we didn't have like
Speaker 2: big equipment. So what we would do is whatever we
Speaker 2: would take our filter, filter it down and put it
Speaker 2: on a cathetic and then take it to the studio.
Speaker 3: Tell that engineer, Oh.
Speaker 4: Y'all are in a pre sample at home, and.
Speaker 2: Right right right, loop that up, loop this, sire, But
Speaker 2: check this out. We didn't get equipment until we did
Speaker 2: the shining.
Speaker 3: Well, we didn't get official we didn't. We didn't get
Speaker 3: official equipmentu til we did the shining. But we had
Speaker 3: the six twelve and we had to one when.
Speaker 2: We got the money from into the stage. We took
Speaker 2: that money and want to go buy equipment to do
Speaker 2: the shining.
Speaker 1: So buck them down and all the props and.
Speaker 3: It's no programming. It's all loops. It's all loops. Yeah,
Speaker 3: everything on there is there's no programming on that. It's
Speaker 3: just all loops.
Speaker 1: So when you're home, you're bringing the ingredients to the
Speaker 1: studio and telling the engineer, this is what I want,
Speaker 1: this is what I want, this is what.
Speaker 6: I What we did was we made the beat first
Speaker 6: at home, put it on cassette, put the different parts
Speaker 6: on cassette, the baseline, the drum loop one, drum loop two,
Speaker 6: noise main loop, and then we would go to the
Speaker 6: studio and be like yo, swift loop number one. That's
Speaker 6: loop number one, Loop this up, okay, stop right there. Okay,
Speaker 6: here's the second part, loop this up, stop right there.
Speaker 6: Put that on top of that on beat and loop
Speaker 6: number three. Okay, here we go. Put that on top
Speaker 6: of that and right there like exactly like we was
Speaker 6: directing everything.
Speaker 1: Wow, we might have to soundtracking to it, just based
Speaker 1: on the sonic quality of it. In my mind, I'm
Speaker 1: thinking like, yo, man, they're using special needles on it,
Speaker 1: like the way that we would try to analyze and
Speaker 1: figure out why those drums sound so dirty, Like the
Speaker 1: amount of times I've had to go to Bob Power
Speaker 1: and play like the come Live with Me drum break. Yeah,
Speaker 1: you laughing your ass off? Thanks? No, as howers I
Speaker 1: wasted at Battery Studios.
Speaker 7: Shut man, Why you ain't just call them?
Speaker 1: I know them until sound treatment time? Okay, But again
Speaker 1: I'm just thinking like I'm thinking you guys would take
Speaker 1: your records and just throw them in the dirt.
Speaker 3: No, we didn't. We we would.
Speaker 2: We would sample on cassette, take what we want and
Speaker 2: just and just take it to d n D and
Speaker 2: they would take it from the sampler from the cassette
Speaker 2: back onto like the two.
Speaker 4: Inch This is why I purchased those.
Speaker 1: Yeah, and we ruined a lot of records messing around
Speaker 1: in the dirt.
Speaker 4: Damn is that still a two inch?
Speaker 3: And electric lady? Is that still machines? And there? Yeah?
Speaker 1: It's there, It's there, okay, you know, but Brooke, Brooklyn
Speaker 1: is actually more than that.
Speaker 4: Like I I now like.
Speaker 1: The good thing about the nerdy post dat kings that
Speaker 1: is now like that entire crew has mastered in ways
Speaker 1: like I go to Electric Garden now shout out to
Speaker 1: to Bend at Electric Garden. And also what's my other
Speaker 1: spot in Brooklyn, Steve Diamond Mine? Yeah, diamond mind. Especially
Speaker 1: like now I could just go in and because they
Speaker 1: were raised on all of your music, they literally know
Speaker 1: the exact frequency that I can. I can be out
Speaker 1: there in the half hour, whereas like back in the day,
Speaker 1: that ship would take me months just one one frequency
Speaker 1: at a time, another frequency, and I didn't realize that
Speaker 1: you guys were pre sampling that home on cassettette. Cassette
Speaker 1: is the key. Yeah, damn man, I might have just
Speaker 1: scrap this entire record and just start all over again
Speaker 1: and just do everything on cassette.
Speaker 3: At the end of the day, it's like all of
Speaker 3: us produce the cats.
Speaker 6: No, we're all mad scientists, and we all have our
Speaker 6: way of doing things.
Speaker 3: You know, once we.
Speaker 6: Learned how to operate, once we learned how to operate,
Speaker 6: the sp in the nine P fifty. We was doing
Speaker 6: stuff here, but the way we was doing it was
Speaker 6: running it through the Mackie board and you run it
Speaker 6: through the mixer before then, and you pre eq the
Speaker 6: drums before you sample it, so that still added a
Speaker 6: grit to it too.
Speaker 2: I didn't learn the sp until we were getting ready
Speaker 2: for the shining. Q Tip taught me to spow.
Speaker 3: I didn't.
Speaker 2: And you know, Q Tip is the one who named
Speaker 2: me mister Wall. Really, what's meter factory without mister phrase call?
Speaker 1: I did that.
Speaker 4: I didn't realize that you did not have a moniker.
Speaker 2: I was going with Walter do Guard. I was like,
Speaker 2: you know what, if Eric Sartain we could do it.
Speaker 11: I can do it too. I'm gonna be Walton do Guard.
Speaker 11: But Keith Harry Ship right exactly.
Speaker 2: But q tips he called me mister Wall, and I
Speaker 2: just took never ran with it.
Speaker 1: You guys were in what I call the running with
Speaker 1: the bulls era right of beat making. You know, can
Speaker 1: you tell me like how deep and involved were you
Speaker 1: guys with like the record conventions or y'all there like
Speaker 1: four in the morning waiting mm hm.
Speaker 2: Tiple, come pick us up, que Tipple, com pick us
Speaker 2: up at four o'clock in the morning. We were going
Speaker 2: to the Roosevelt Hotel, thinking that we had to jump
Speaker 2: on everybody. We're like, yeah, first yo. Once we walk
Speaker 2: in there, we're thinking, we're there, We're number one, We're here.
Speaker 2: We turned to our left kid Capri and Pete Rock
Speaker 2: rented a room the night before.
Speaker 6: Rooms and they was like, as soon as the first
Speaker 6: dude brings his case and they're.
Speaker 3: Down there, y up there, Pete Rock is there already?
Speaker 7: Which you do the top of the mirror, what'd you do?
Speaker 1: I wasn't in I was in the generation after the
Speaker 1: slim picking for gold mining is between eighty nine and
Speaker 1: like ninety two. Like if you find shit during that period,
Speaker 1: then your life is golden. I came after the fact,
Speaker 1: and you know, I would just hear stories. I'd hear
Speaker 1: stories of like Pete b rating dealers for like he
Speaker 1: would buy like the entire catalog of an artist just
Speaker 1: so that you know, if there's eight copies of a
Speaker 1: particular record, they would buy them all to make sure
Speaker 1: that no one else took it.
Speaker 3: You can't stop that from happening, Like.
Speaker 1: Yeah, your petty is well okay, So I'll ask a
Speaker 1: question even though this is like super late in the game,
Speaker 1: I know that you guys were the first to use
Speaker 1: actually the second, because no one ever credits OC for
Speaker 1: using it on Uh yeah, was the first. Let's take
Speaker 1: it through. Who got the props? Because the thing is
Speaker 1: is that y'all did it first, and of course Usher
Speaker 1: and everybody comes behind it, like are you in the
Speaker 1: feel some sort of way about not getting the shine
Speaker 1: off at first? Or hip hop is just open sport
Speaker 1: and you know it's it's like a reggae rhythm. Anybody
Speaker 1: can rhyme over. Like, what is your attitude in terms
Speaker 1: of at the time, how did you feel as opposed
Speaker 1: to now.
Speaker 7: What's the Usher record?
Speaker 3: Y'all? What was the first?
Speaker 5: Here's my mind that was on the first album.
Speaker 3: I didn't feel no type of way about the Usher thing.
Speaker 2: It was cool, cool, you know when I felt away
Speaker 2: And this is the first time I've ever said this
Speaker 2: in an interview, melt away when the track masters you
Speaker 2: sound boy Burial for Mary and Mariah character m we
Speaker 2: had just.
Speaker 3: Bary you out.
Speaker 2: They went behind us, looped up our record, gave it
Speaker 2: to Mary first, and I guess it didn't work or
Speaker 2: to get to ta give it to somebody first it
Speaker 2: didn't work, and they then they either get it to
Speaker 2: Mariah or marry After that. That's when I was like,
Speaker 2: come on, dude, like we just put this record out, dude,
Speaker 2: like let the record bring you a little bit. You
Speaker 2: went and went right behind us and Jack B. So
Speaker 2: I felt some type of way about that.
Speaker 3: And I kind of felt the way like that about
Speaker 3: intro when intro used Quincy Joneston. Yeah, and I was like, yo,
Speaker 3: like what gentile record?
Speaker 5: Was that?
Speaker 3: Funny? How found the first thing off their second album?
Speaker 6: My whole thing is this, Like I don't want I'm
Speaker 6: not even checking for money, just be like, yeah, we
Speaker 6: got it from there, that's all, you know what I'm saying.
Speaker 6: Like that was my thing with that, And I was
Speaker 6: kind of tight behind that, you know. But Yo, man,
Speaker 6: you know Homeboy passed, So I was like, I'm not
Speaker 6: gonna say nothing about it because then I'm gonna look
Speaker 6: like I hate up.
Speaker 1: In terms of production, like are you guys involved at all?
Speaker 1: In terms of also structure of the song horses rock
Speaker 1: and rock, Like y'all could do that better? Da da
Speaker 1: D Like are you guys also?
Speaker 3: Yeah?
Speaker 1: Micromanaging as far as vocal sessions are just like, here's
Speaker 1: the beat, all right, good luck.
Speaker 2: In the beginning, we wasn't really like that, like I
Speaker 2: would say stuff like I told after Buck did how
Speaker 2: many mcs he did? How many mcs are one tape?
Speaker 3: Right?
Speaker 2: I said to him, you're sure you want to keep
Speaker 2: it giving vocals that way? You don't want a dang it.
Speaker 2: He said, trust me, Walk, I'm gonna keep this the
Speaker 2: way it is. And I said, okay, you know what
Speaker 2: I'm saying. But usually we just let them go. But
Speaker 2: as we got older and started doing more records, we
Speaker 2: became more vocal about yo, do your vocals this way?
Speaker 3: Do this, do that? Do that? You know?
Speaker 1: I was gonna ask, who's the one that suggested, especially
Speaker 1: for I Got You Open for Buckshot to use his
Speaker 1: laid back mellow flow instead of his hype. Who got
Speaker 1: the props flow?
Speaker 3: Oh? That was Buck? That was Buck. Buck came in
Speaker 3: and was like, yo, like when we was doing uh
Speaker 3: not even I Got You Open. We was doing the
Speaker 3: Buck him Down remix.
Speaker 6: Fuck him down, I got you I got you up,
Speaker 6: No mom sake, I got.
Speaker 3: You up on was first okay, yeah, the Buck Up
Speaker 3: Down remix.
Speaker 6: Drop the Buck dropped after before after, Okay, okay, I'm
Speaker 6: not bad. It's mad long ago, I'm old. But like
Speaker 6: when when Buck came into the studio, it's like he
Speaker 6: just it was a different flow because being that we
Speaker 6: was on the thing where we're gonna remix everything every
Speaker 6: twelve ones we put out, Buck was like, Yo, if
Speaker 6: they're gonna change the beat, I'm change the.
Speaker 3: Flow, you know.
Speaker 4: And how did y'all feel when y'all heard it?
Speaker 1: Like, because it's so night and day from what he
Speaker 1: was known that, Like, his the original verse was super hype.
Speaker 1: It's almost like you know, listening to parents just don't
Speaker 1: understand versus summertime, Like, yeah, what the hell is this?
Speaker 8: Right?
Speaker 5: Right?
Speaker 3: Right?
Speaker 2: I think he just did whatever fit the moment. Yeah,
Speaker 2: we got the props was like a more up tempo
Speaker 2: vib so he hit it that way.
Speaker 3: But then when we started slowing.
Speaker 2: The record down and smoothing the records out, that's when
Speaker 2: he started to becomming. He came with the laid back style.
Speaker 2: The bad and white situation was all him.
Speaker 3: That was it. He was like, I want to rhyme
Speaker 3: off of.
Speaker 2: That, and yeah, I was too busy trying to impress
Speaker 2: Lodge and Pete and Premiere and cute Tip. So I'm
Speaker 2: trying to find the obscure most obscure record fucking tech
Speaker 2: and still they wasn't thinking about that. There was like, Yo,
Speaker 2: we want to rhyme off with this, this and this,
Speaker 2: and I was like, nah, we're not going off of that.
Speaker 2: So Buck was like, y'all want to rhym off the
Speaker 2: Barry White stuff. And then one thing about Buck, he
Speaker 2: talks to you like he's a car salesman, so you
Speaker 2: don't feel like you bind a goddamn car from this dude.
Speaker 2: He says to me, hey man, because Barry White was
Speaker 2: a gangster man. He was a gangster and we need
Speaker 2: to keep the gangster vibe going.
Speaker 3: And I'm looking at him like no, but they don't
Speaker 3: get the funk away from me, yo. But at the
Speaker 3: end of the day, it was like, Yo, we did it,
Speaker 3: and that was bo.
Speaker 8: That's crazy because as a a like a I don't
Speaker 8: want to say a female hip hop fan in a way,
Speaker 8: but it just crazy that that was his motivation. Meanwhile,
Speaker 8: I'm sure that some of us girls was listening like,
Speaker 8: oh shit, this nigga can slow it down.
Speaker 7: This shit is dope.
Speaker 8: Like I wasn't even thinking about it from a very
Speaker 8: white being a gangster. It was more like what Barry
Speaker 8: White's you know, public perception is.
Speaker 2: So that wasn't trust me, that wasn't attention. He was
Speaker 2: like he just tried was trying to fit the moment
Speaker 2: and of what we.
Speaker 1: Was trying to do production wise, like what did you
Speaker 1: learn making the shining that you didn't know like that
Speaker 1: production techniques and whatnot?
Speaker 4: Like how did you get wiser progression steps?
Speaker 2: Because we recorded into the stage from twelve midnight to
Speaker 2: six in the morning.
Speaker 1: So at D and D.
Speaker 3: At D and D twelve midnight, what.
Speaker 1: Is it about D and D? Like why would y'all
Speaker 1: use D and D? They have never flushed that toilet
Speaker 1: like in twenty years, yo.
Speaker 3: Hold on, hold on all the focus said, I remember
Speaker 3: when I bring you D D. Yeah, it was like, Yo,
Speaker 3: this place is crazy.
Speaker 1: Yeah, man, because I was a tourist from Yeah, you know,
Speaker 1: I've told this story before, but my favorite well, I
Speaker 1: mean D and D was just a grimy Yeah. It was.
Speaker 1: I don't want to say it's like the projects of studios,
Speaker 1: but it was like you come in, no, it's just
Speaker 1: super grimy. It's like blunt ashes from yesteryear still on
Speaker 1: the floor. Bathrooms barely worked the day that you guys
Speaker 1: worked on silent treatment.
Speaker 4: Right when you know, the pool table is in.
Speaker 1: The hallway right right, right, dog, for like forty five
Speaker 1: minutes straight, only heard this bell ringing, sing ding thing.
Speaker 1: After forty five minutes of that, I snuck to the
Speaker 1: other room to see where that that bell was doing, right,
Speaker 1: And it was Premiere and kars one right, yeah, starting
Speaker 1: the genesis of what we would know is MC's act
Speaker 1: like they don't know, like they were literally working on
Speaker 1: that while you guys were in the b room working
Speaker 1: on the solid treatment.
Speaker 3: But actually it was backwards when a room and for
Speaker 3: me and them in the b room a few room
Speaker 3: is yeah, the room was beat monitors in the b
Speaker 3: room was Premiere.
Speaker 2: But you know what is right, man, D and D
Speaker 2: was the project of the studio.
Speaker 3: Here's the thing, here's the thing with D n D. Right,
Speaker 3: I'm gonna break down D N D. I'm break down
Speaker 3: the whole thing with D and D. Right, D and D.
Speaker 6: First of all, we started at Calliope. Coliop had no
Speaker 6: outboard gear whatsoever. The outboard gear consisted of a tape
Speaker 6: deck a that deck, I mean a that recorder.
Speaker 3: Who it was a you know, they had no outboard
Speaker 3: gear in Calliope.
Speaker 1: But by Power worked there in three runs.
Speaker 3: But that's why Bob Power is a genius.
Speaker 1: Because he had nothing to work with.
Speaker 6: Exactly right, right, Coliopy. What happened was we got kicked
Speaker 6: out of Calliope.
Speaker 1: How did you get kicked out of that means another story.
Speaker 2: So we're recording. I forgot we were recording maybe slave
Speaker 2: or something. And Havoc came to visit us in the studio.
Speaker 7: He said, Havoc, because.
Speaker 3: Havoc is on you the man.
Speaker 2: So he had came to the studio to visit us.
Speaker 2: And the guy who owned Callipe, his name is Chris.
Speaker 2: He lived in Jersey. He left the studio to go
Speaker 2: home because again we recorded twelve May ninety six at
Speaker 2: six am, Havoc somehow tripped the alarm. Right, Chris had
Speaker 2: to come back home from his house all the way
Speaker 2: back to Manhattan to thirtieth Street, and he was mad.
Speaker 2: So he was like, you guys tripped the alarm. Be guys,
Speaker 2: we're doing something he wasn't supposed to do. You guys
Speaker 2: were banned.
Speaker 3: From my studio.
Speaker 2: Get out blah blah blah.
Speaker 3: So see he's the voisterous brother. Fuck you, Well, I.
Speaker 2: Don't want to come back here time that way.
Speaker 3: And then we just left. Yeah, I took off. I
Speaker 3: took all my two inch tapes and left, like do
Speaker 3: we out of here?
Speaker 1: Damn home on that night.
Speaker 3: The funny thing is, so that morning, I'm walking, I'm like,
Speaker 3: I have the two inch tapes. I'm taking them to
Speaker 3: Nervous Records. You know what I'm saying, because I'm not
Speaker 3: taking them home, So I'm taking them to Nervous Records.
Speaker 3: Nervous Records was in Times Square at the time. Nervous
Speaker 3: Records was on Broadway between forty third and forty fourth,
Speaker 3: right across from MTV. So I'm walking to Nervous Records.
Speaker 3: I turned the corner of Broadway. Who do I bump
Speaker 3: into Premiere and I'm like yo. So Premiere is like, yo,
Speaker 3: you know what's up with that album? How's it going?
Speaker 3: And I'm like, yo, man, we just got kicked out
Speaker 3: of Calliope blah blah blah blah.
Speaker 6: And Premiere says to me, look, I'm at this studio.
Speaker 6: I'm the only hip hop dude there. Come by and Yo,
Speaker 6: check it out. You might like it. You can record there.
Speaker 6: We beat only hip hop dudes. They're working And I
Speaker 6: was like, beat so permire. This is exactly what he
Speaker 6: says to me. My session starts at twelve. I'll be
Speaker 6: there around three four, so come come come through. And
Speaker 6: I was like I and I went and checked out
Speaker 6: D and D. Premier showed me his room, which was
Speaker 6: Studio B, and I was like, Yo, this is dope.
Speaker 6: And then Dave from D and D takes me to
Speaker 6: Studio A. And when I walked into the Studio A,
Speaker 6: I was like, Yo, this is it.
Speaker 3: Like Studio A just had it sounded like my basement.
Speaker 3: And I turned around and looked at the outboard gear.
Speaker 3: I seen they had mad They had enough outboard gear
Speaker 3: in there, you know. And I was like, Yo, this
Speaker 3: is it. And what was the first session we did? What?
Speaker 3: Maybe I got you open? Yeah, I got you open.
Speaker 3: I think I got you open. Yeah, it was the
Speaker 3: first session we did there. And once we did the
Speaker 3: secon there, we never left.
Speaker 1: Wow, we never.
Speaker 3: Left, like and it was like and the thing about
Speaker 3: D and D is D and D had the sound
Speaker 3: like that m C I board. They had an m
Speaker 3: C I tape machine. Yeah, and it sounded nice and
Speaker 3: warm in there, like you know, we went to battery.
Speaker 6: Battery was nice, but it was too clean for what
Speaker 6: we Yeah, and it's like D and D fit us
Speaker 6: right now. Now, let me explain the bathroom thing. The
Speaker 6: bathroom you went to was not the real bathroom. The
Speaker 6: real bathroom was in the office. That bathroom you went
Speaker 6: to was the bullshit bathroom. You know what I'm saying.
Speaker 6: But yeah, at the end of the day, we went
Speaker 6: to D and D and we just fell in love.
Speaker 6: And I'm the I'm the nerd geek nerd when it
Speaker 6: comes to like recording, and you know, I'm the dude
Speaker 6: that YO use the pull tech used.
Speaker 3: It like that's me. Walk is just the yo.
Speaker 6: I know these walks knowledge of records, like you know,
Speaker 6: and I tell people this all the time, walks knowledge
Speaker 6: of records.
Speaker 3: You're not gonna find nobody that has that knows more
Speaker 3: about records than war.
Speaker 1: I agree.
Speaker 6: If you if you go to Walk and say y'all
Speaker 6: need a record with a drum that sounds like there's
Speaker 6: walk not out of ten, will pick out three records
Speaker 6: and go, Yo, check these out.
Speaker 1: Wow.
Speaker 2: He is the nerd of the miners and I'm the
Speaker 2: record guy. That's why my camera ain't working because because he's.
Speaker 6: Like and and even with D and D like Dan.
Speaker 6: The thing with D and D was I learned how
Speaker 6: to engineer at D and D. Okay, like I learned
Speaker 6: the patch Bay, I learned what Mike t Use I
Speaker 6: learned like D and D is what taught me.
Speaker 3: The way I record today is what I learned the
Speaker 3: D and D.
Speaker 6: And you know, during those sessions, I was watching everything
Speaker 6: like and as a matter of fact, who got the
Speaker 6: props was recorded at such a sound studio with with
Speaker 6: uh slow Moo Son the field was the engineer. What
Speaker 6: happened was me and SlowMo got into a big argument
Speaker 6: because I was telling him how I want the record
Speaker 6: to sound, and slow Mo goes, oh, you think you
Speaker 6: know everything? You mixed the record. The mix you hear
Speaker 6: on that record is the mix that I did.
Speaker 1: Uh. He wanted to clean it up.
Speaker 3: Now he yeah, he wanted to clean up and he
Speaker 3: wanted to sound like a like. He was like, you
Speaker 3: gotta make the you gotta make the drums sound like this,
Speaker 3: ah that drum loop.
Speaker 6: Oh, you need a drum machine. And I'm like, no,
Speaker 6: you don't I know what I'm doing here? And it
Speaker 6: you know, and that session was so bananas. It got
Speaker 6: to the point I think walk came and something was said.
Speaker 6: What was like, y'a mout before I killed somebody?
Speaker 3: Like it was that.
Speaker 6: Session where so bananas, like I mixed, I mixed that
Speaker 6: and I mixed the B side fuck it up because
Speaker 6: it was like, yo, I knew what sound we was
Speaker 6: looking for, you know, and yo, Like after that, I was.
Speaker 3: Like, you know what we need to go?
Speaker 6: We you know, when we went to Calliope, went to
Speaker 6: Calliope because Calliope was cheap and Callipee was a studio
Speaker 6: that anybody was. They had like a special package from
Speaker 6: midnight to six am. I think we was getting the
Speaker 6: room for what twenty five an hour?
Speaker 3: Walk? Yeah, what was it?
Speaker 1: Peak hours?
Speaker 3: It was like what sixty eighty maybe one hundred.
Speaker 1: And you're saying that D and D was quote the
Speaker 1: non hip hop spot. What were they doing before you
Speaker 1: guys turned it into hip hop's own.
Speaker 6: Freestyle music and yeah, freestyle and they did like they
Speaker 6: did the Fat Boys Actually was like I think the
Speaker 6: first dudes that recorded there, the hip hop dudes, They
Speaker 6: recorded one or two records there, but they they did
Speaker 6: a lot of freestyle stuff. They did a couple of
Speaker 6: reggae records, but they was known for like dance.
Speaker 4: Stevie B and Yeah.
Speaker 3: One time we was in the studio and Noel was.
Speaker 1: There silent morning Noel.
Speaker 3: I'm looking at him like what are you doing?
Speaker 1: Nice?
Speaker 3: But yeah, that's what they was. They was doing dances.
Speaker 3: One thing about d n D.
Speaker 2: You will meet anybody in dn D like people you
Speaker 2: would even think that would be there every Saturday. If
Speaker 2: we were record on a Saturday to Shina Arno will
Speaker 2: be in there doing her demo.
Speaker 7: Wow.
Speaker 1: Yo, can you talk about working with U Sean Price
Speaker 1: and like rock and rock from Helter Skelter.
Speaker 2: Yo, that dude was a different guy.
Speaker 5: Yeah.
Speaker 2: Your one day we started working, we were working on
Speaker 2: maybe the Sean and I'm not sure, but posstive news
Speaker 2: that came to see me in the studio. I bring
Speaker 2: him up, says I wanted to introduce him to rock
Speaker 2: and rock. So I bring Passing. First person we see
Speaker 2: is Sean So I said, Yo, Sean, Yo, Yo rock,
Speaker 2: this is my man, Mrs past Pass, this is rock.
Speaker 2: You know what he says to Pass Yo, son, I'm nice. Son,
Speaker 2: I'm not son. I could book you on this mic son,
Speaker 2: I'm nice, I'm nice. I bust anybody as son what
Speaker 2: what I said? Please excuse him? Face like yo, yo,
Speaker 2: he's impossitive. Face like Papa is like yeah, what the
Speaker 2: is going on? I'm like, please excuse him. This is
Speaker 2: just how he is. This is this is this hen
Speaker 2: But that's how he was.
Speaker 1: He was like a jokest but yeah, I've seen many
Speaker 1: sides of him, Like right right, he could have been
Speaker 1: a comedian.
Speaker 3: Yeah, he could have been a comedian. He was a
Speaker 3: great guy. Man, he was a great guy. Yeah.
Speaker 1: I just got to tell you the day that we
Speaker 1: first heard onslaught on the.
Speaker 3: Uh I remember you told me.
Speaker 1: I remember if you watch us and Buster rhymes on SNL,
Speaker 1: we snuck eight bars of that in on like we
Speaker 1: heard it that day.
Speaker 4: Yeah, and we were backstage having a meet and like, yo, man,
Speaker 4: I want to rhyme over that ship.
Speaker 1: And we were like yo, we we didn't clear the
Speaker 1: song with SNL like we're supposed to do. You say,
Speaker 1: I don't give a fuck. Matter of fact, I thought
Speaker 1: it's gonna spit four bars too, and literally like for us,
Speaker 1: we thought we was like committing a crime.
Speaker 4: Like, Yo, we ain't telling Sylvia Room, We ain't telling
Speaker 4: nothing but the.
Speaker 1: Last last sixteen bars that ship we're doing that black
Speaker 1: Moon shit and literally you know that's like one of
Speaker 1: my favorite shits.
Speaker 2: Yeah, that's all egle D. That's all eagle D. That's
Speaker 2: that's my favorite black Moon record of all time.
Speaker 6: Yo, that record is me playing them anymore or based
Speaker 6: on it, is me playing them anymore.
Speaker 1: Oh. Also, Doug on you turntables and mic, Why what
Speaker 1: was on your mind when you did that kick pattern?
Speaker 4: To this day?
Speaker 1: Like I never heard someone not John Jebbo starts from
Speaker 1: the JBS do sixteen do sixteens on the kick drum?
Speaker 1: Who programmed that he did all that?
Speaker 3: What it was was I was following a pattern of heartbeat, right.
Speaker 1: But that's the thing. You could have chose the other
Speaker 1: part where they're just playing the shit normal.
Speaker 4: I E. Buddy, you chose the hardest part to loop.
Speaker 6: Yeah, but that's just me like you, you're using the
Speaker 6: same record, but you're trying to be different.
Speaker 2: You're trying to be different. You don't want to you
Speaker 2: don't want it to sound like it's the same.
Speaker 3: You don't want to.
Speaker 2: We didn't want to sound like daylight, you know what
Speaker 2: I'm saying, So we wanted to be a different swing.
Speaker 6: Yeah, Like two turntables with a mic was basically a segue.
Speaker 6: We used to do that on the Like the first
Speaker 6: time we me and you met, which was at a
Speaker 6: show in Philly, we did two ton tables in the mic.
Speaker 3: That was a segue we used.
Speaker 6: You know, we got back home, we was like, yo,
Speaker 6: we need to make that into a record.
Speaker 3: Now.
Speaker 6: The whole thing happened with Nervous where you know, we
Speaker 6: left Nervous records.
Speaker 3: Oh blah blah blah.
Speaker 6: And we still like when we you know, when we
Speaker 6: got with me and Buck sat down to do Warzon,
Speaker 6: Buck was like the heartbeat thing.
Speaker 3: We need to do that, you know. But it's like
Speaker 3: we you know, like I said, it was us.
Speaker 1: It was just so risky to put sixteen bar patterns
Speaker 1: on the cake drum where it was that's just unheard of.
Speaker 3: I'm a nerd.
Speaker 1: For me, it was like I spend more times like
Speaker 1: why would they do that? But will eventually happen? Is
Speaker 1: I now do that to this day and I can't
Speaker 1: stop doing it?
Speaker 3: Yeah?
Speaker 1: You ever to be so obsessed with something that you
Speaker 1: either don't understand or you hate and then you wind
Speaker 1: up turning to that ship.
Speaker 3: Yeah.
Speaker 4: Yeah, like right now, I'm like that pattern.
Speaker 1: Probably I'm still obsessed over why you did it because
Speaker 1: it's kind of wrong, but still right, Like, there.
Speaker 3: To be different, man, there to be different.
Speaker 2: Two mic was supposed to be a House Party two. Yeah,
Speaker 2: it was a House Party two soundtrack.
Speaker 3: Oh but we recorded that record twice.
Speaker 6: We recorded it once and when we record the first time,
Speaker 6: that's when we didn't regular We hooped up the regular
Speaker 6: part and anything. And when we did that, it was like, Yo,
Speaker 6: this is gonna be dope. And then the whole nervous
Speaker 6: thing happened. So after that it was like whatever, you know.
Speaker 6: And then when Buck was like, let's do that heartbeat thing,
Speaker 6: it was like, you know what, we're gonna do it,
Speaker 6: but we're gonna do it a little different. You know,
Speaker 6: We're going to try to make it sound a little
Speaker 6: different than everybody else's virsion of heartbeat.
Speaker 1: Okay, you know, you know. I do also want to
Speaker 1: get to the fact that you guys were super early like,
Speaker 1: of course post pandemic, everybody was DJing online and whatnot,
Speaker 1: and you guys were like super early on that. What
Speaker 1: was the genesis of you guys starting your own internet
Speaker 1: radio station?
Speaker 6: In nineteen ninety six, my homeboys Mark and Randy they
Speaker 6: had an internet show. Now this is nineteen ninety six,
Speaker 6: they had an internet show called eighty AA hip Hop. Yes,
Speaker 6: I'm marking, Randy ran eighty A hip Hop. They came
Speaker 6: to me and was like, YO, can you help us
Speaker 6: produce this show? And I was like, YO, why not,
Speaker 6: let's do it. And when I went to them, they
Speaker 6: was like, YO, why don't you do your own thing also?
Speaker 6: And when they said that to me, you know, the
Speaker 6: first thing I did was like your walk da, and
Speaker 6: you know, we sat down and that's how Beat minus
Speaker 6: Radio was born.
Speaker 3: Like Adia hip Hop is the first hip hop station.
Speaker 3: Second Beat minus Okay, when.
Speaker 2: We started doing it online, Macio is the one that said, Yo,
Speaker 2: you need guys, need to bring it over here.
Speaker 3: That's why we were doing it on uth stream. Yeah,
Speaker 3: but that's down like down the line, like we you know,
Speaker 3: Beat minus Radio.
Speaker 6: We was doing that nineties nineties. Then the two thousand
Speaker 6: thing with the dot com thing happened. Pseudo which was
Speaker 6: our parent company, did so that was the end of it.
Speaker 6: For a minute, but we did it like we had
Speaker 6: Beat minus Radio offline on power on our one oh five.
Speaker 3: Point nine WNWK for a second.
Speaker 6: We had it there, and then what happened was we
Speaker 6: kind of started again with another internet radio station. But
Speaker 6: that radio station they they wasn't maintaining their equipment, so
Speaker 6: you know, one day we went there and equipment was
Speaker 6: messed up, so we decided to just leave.
Speaker 3: Ma Co was on U stream and Maco hits us up.
Speaker 6: Yo, y'all need y'all need to come on you stream
Speaker 6: and I logged on Mao's rocking. He's like, yo, E
Speaker 6: set up an account, make your own yo, dude, Yo,
Speaker 6: you need to be on here.
Speaker 3: And that's what we started Beat minus Radio again. What
Speaker 3: year was that, Walt Night eight?
Speaker 6: Two thousand and eight it was, And we restarted Beat
Speaker 6: minus Radio online two thousand and eight, but before that
Speaker 6: we had you know, we was doing Beat minus Radio
Speaker 6: like podcast and Beat minus Radio off flight, so we
Speaker 6: kept it alive.
Speaker 3: But two thousand and eight.
Speaker 6: Was when we restarted again and we were streaming live
Speaker 6: from right here in the house, okay, and we've been
Speaker 6: doing it from two thousand and eight till now.
Speaker 1: So with hip hop blooming at as it has since
Speaker 1: you first started thirty years ago. It's going through a
Speaker 1: whole giant metamorphosis. How have you guys been able to
Speaker 1: navigate in terms of like do you still get a
Speaker 1: thrill of making beats? Are you challenging yourself to try
Speaker 1: different ideas out or whatnot? Or is it like, look,
Speaker 1: this is our formula, this is our recipe. We're sticking
Speaker 1: to it. Do you still get a thrill of digging
Speaker 1: for records in the whole process of unearthing some gems
Speaker 1: that the world hasn't heard before? Like, is it still
Speaker 1: a thrill for you to make and create stuff?
Speaker 2: Yeah, that's never that's never going to die. Like, that's
Speaker 2: that's our thing. Like we still follow the blueprint that
Speaker 2: we lay down, but we listen to what's around us,
Speaker 2: and we listen to everybody and we try to add
Speaker 2: little pieces here and there, but we mainly keep our
Speaker 2: same sound, you know, and the same technique that we've
Speaker 2: been using for the dick and go.
Speaker 3: We still go digging like all the time. Yeah, all
Speaker 3: the time. It's not gonna stop, like to stop.
Speaker 6: I always tell people that it's it's new equipment, but
Speaker 6: it's the same people, like, you know, instead of using
Speaker 6: the SP in the nine point fifty, now we use
Speaker 6: NPC Renaissance, NPC X, able Tin and Pluggins.
Speaker 1: Did it take you long to adjust to that or
Speaker 1: was it like were you kicking and screaming to adjust
Speaker 1: to change?
Speaker 6: Meanwise, I'm the technology dude, yep, So I'm always looking
Speaker 6: in and trying to figure things out. Law finess Og
Speaker 6: dj Og and King of Chill taught me able.
Speaker 1: To, Okay, you know, and you know your Chill is
Speaker 1: now Premier. Yeah, yeah, Premiere's full time engineering. He used
Speaker 1: to be.
Speaker 6: He likes dj like, those are the dudes that taught
Speaker 6: me able to. And it's like once I learned Ableton,
Speaker 6: I was like, what we could do this? And you know,
Speaker 6: and the same thing with the Renaissance, like you know,
Speaker 6: at the end of the day, like it made my
Speaker 6: job easier.
Speaker 1: What's your weapon of choice now?
Speaker 3: NPC Renaissance are Ableton and a whole bunch of records.
Speaker 4: Have you ever pulled out the old tools to try
Speaker 4: it again?
Speaker 3: I still haven't plugged up.
Speaker 6: Like what I do is every once in a blue
Speaker 6: I will sneak back to the SP because here's the thing,
Speaker 6: everybody wants to emulate that sound. I don't have to
Speaker 6: emulate that I have one. Anybody wants that nine to
Speaker 6: fifty sound, I don't have to emulate. I just go
Speaker 6: sampling a nine to fifty and then dumping into.
Speaker 1: Ableton Because the nine to fifty is the one device
Speaker 1: that I feel like all the gods have used and
Speaker 1: swore by that I'm not. First of all, I can't
Speaker 1: find I think once I use the nine to fifty,
Speaker 1: like during Dewe, you want more, Like Bob had one,
Speaker 1: but he operated it. I didn't. What is it about
Speaker 1: the nine to fifty that holds holy for every god
Speaker 1: of hip hop production?
Speaker 3: It's a warm sound.
Speaker 2: Yeah, it's a nice warm sound to it.
Speaker 3: It's like the nine fifty has a like back then
Speaker 3: when they made equipment, it had different The equipment had
Speaker 3: different sounds. It's like, for instance, like I tell everybody them,
Speaker 3: the best sound in NPC is the NPC three thousand.
Speaker 3: To me, that's the best sound in MPs. That's the
Speaker 3: best sound in one. The nine fifty also had a sound.
Speaker 3: And when you did filters in the nine fifty, I
Speaker 3: don't know what it was, but it just sounded crunchier
Speaker 3: and heavier and better, and it had that.
Speaker 6: Sound that all those old records had, right, Like if
Speaker 6: you listen to a filter on a on a on
Speaker 6: a black own record, it's not just the baseline, it's the.
Speaker 1: The undercurrent that out, yeah, right.
Speaker 6: And it's like the nine fifty at at you know,
Speaker 6: at the same time was like the SP twelve hundred
Speaker 6: and nine.
Speaker 3: Fifty was partners You couldn't break up that partnership.
Speaker 2: Now, keep in mind, I used it a totally different equipment,
Speaker 2: Like I'm using an X and NPC one. Yeah, I
Speaker 2: gotta go back and four, so you know, I use that.
Speaker 2: But before that, I was on the three thousand for
Speaker 2: like twenty years. I was on a three thousand.
Speaker 1: Couldn't let it go?
Speaker 3: Yeah, I can can do it.
Speaker 6: What's the dude that? Now here's the thing. What's usually
Speaker 6: the dude that?
Speaker 3: Yo?
Speaker 6: Like, I gotta be like your war, your war, come on,
Speaker 6: walk your war war. Like the NPC X we was
Speaker 6: in not Guitar Center. We was at maybe seven Ash.
Speaker 3: And Walters goes, let me get the NPC X and
Speaker 3: I'm looking at him like, really, this is what you're
Speaker 3: gonna buy. I'm buying a keyboard. It's like, let me
Speaker 3: get the npc X and Walk opened. Like Walk gets
Speaker 3: into the house and you didn't see what for for
Speaker 3: weeks and he's right upstairs. But I didn't see him
Speaker 3: for weeks.
Speaker 6: But that's how we both fall with with with stuff
Speaker 6: like Yo, when I learned how to use the Renaissance,
Speaker 6: Walk looks at King of Chilling goes, You're not gonna
Speaker 6: see eat for another few months because you're gonna be
Speaker 6: in the house.
Speaker 1: Watch I see have interview, tried the New twelve hundred,
Speaker 1: the Wait, the Elliott Show, all your nerd talk, Yeah,
Speaker 1: talk about it the truth.
Speaker 3: Yes, this guy right there, man, that dude is dangerous.
Speaker 1: I learned from.
Speaker 6: Thank you, sir, thank you. You're talking about the Pioneer joints. Yes,
Speaker 6: you know, I'm hitting Tiger, which is the Oh you
Speaker 6: know Static is partners now with them. Just bought those turntables.
Speaker 6: I was the first DJ to use them at Hitting
Speaker 6: Tiger is Saturday.
Speaker 3: Yo. I fell in love with those turns. Yo. I'm
Speaker 3: really like, I'm like, Yo, Wall, We're gonna have to
Speaker 3: do We're gonna have to do some legal business because
Speaker 3: I need a pair of those turntables.
Speaker 6: Those turntables are incredible. I fell in love with them turntables,
Speaker 6: Like I was like, you know what these turn this?
Speaker 3: I gotta get a pair. I gotta get a pair,
Speaker 3: all right.
Speaker 1: Last thing I know that you guys are you're you're
Speaker 1: working with Chris right on? Are you doing the whole
Speaker 1: album or just a single with Carris One?
Speaker 3: No? That single was from our album.
Speaker 4: Okay, yeah, I was the impression that you're doing an entire.
Speaker 3: Let me tell you this. We were supposed to. We
Speaker 3: have so many songs with Chris.
Speaker 2: We were supposed to, but it's communication broke down, like
Speaker 2: I just you.
Speaker 1: Know, actually, you know, I'm sorry. That's what will destroy you.
Speaker 2: That's the first single from our album that's coming out
Speaker 2: in May June, Stifle Creativity. We got that was the
Speaker 2: first single. The next single is a song. We have
Speaker 2: a song called Mayea that's featuring Daylight, Rachie Chappelle, Pharaohmont
Speaker 2: and Corey Glover from Living Color More Records.
Speaker 7: What else is on there?
Speaker 2: Because we got of course a black Moon song. We
Speaker 2: got uh Steel and Fame from m O p On
Speaker 2: a song. We got Rusty Jokes, we got a z
Speaker 2: we got our scratch scratch Yeah, we got two songs
Speaker 2: from raz Cast Bishop Lamont. I'm trying to remember we
Speaker 2: got on the album I always forget keep. We gotta
Speaker 2: Keith Murray on the album. We got Apathy Apathy, so
Speaker 2: we we are got some things coming.
Speaker 3: Summertime should be fun.
Speaker 1: Well at the end of the day, that's what it is. Yo, man,
Speaker 1: I thank you too for doing this episode with us everything.
Speaker 4: You're the nicest gentleman in music.
Speaker 3: Thank you so much, sir.
Speaker 9: I just wanted to say, man like for just as
Speaker 9: a longtime fan of y'all's and just you know, being
Speaker 9: with LB first came out, y'all were one of the first, you.
Speaker 5: Know, one of the ogs to really show us love.
Speaker 5: You know what I'm saying.
Speaker 9: I remember, like evil do you come into our album
Speaker 9: release party and stuff.
Speaker 5: And I got the work we did on the breaks
Speaker 5: and everything.
Speaker 2: I remember when we met, when we met up at
Speaker 2: Fat Beats. Yes, today, I told you to meet the
Speaker 2: Fat Beats that we were out.
Speaker 6: Yes, you gotta understand it's like I'm a fan of y'all,
Speaker 6: you know what I'm saying, Like just like people are
Speaker 6: fan of mine, like you know, like I'm that type
Speaker 6: person where it doesn't hurt me to give credit where
Speaker 6: credit is due.
Speaker 3: You know what I'm saying, Like, Yo, if you made
Speaker 3: something dope, trust me, I'm like this and like y'all
Speaker 3: inspired me to work. You know what I'm saying.
Speaker 6: Same thing with with quests, cause it's like he'll like
Speaker 6: when they did a gos A joint where y'all loop
Speaker 6: Sadday Night.
Speaker 5: Oh that's without a doubt, without a doubt, without a doubt.
Speaker 3: Yeah, I was like, Yo, this is kind of hot.
Speaker 6: But his drunk playing, Like, come on, I spend plenty
Speaker 6: of times where I stole a kick and stole a snare.
Speaker 1: You know that's what it's there for. Man, I'm feeding.
Speaker 8: Can I just say something real quick y'all before y'all go,
Speaker 8: because me and Jake were just talking about this, the
Speaker 8: evolution of the backpacker and where it has gone and
Speaker 8: all the derivatives.
Speaker 7: It's just a beautiful thing.
Speaker 8: And I know sometimes it used to be a bad
Speaker 8: word because when people call me a backpacker, I be offended,
Speaker 8: But now it is a because when they was David
Speaker 8: David shiny suits to me a backpacker, But now I'm
Speaker 8: just saying that.
Speaker 1: That was calling you a backpack.
Speaker 2: Yeah, who the hell is calling you a backpacker?
Speaker 8: Back when I was going to see y'all, when I
Speaker 8: was going to see boot Camp Click at the Ibacks
Speaker 8: and everybody else was going to the Go go, he
Speaker 8: was wearing.
Speaker 7: Our backpacks at the club like yeah, we was backpacking.
Speaker 3: Yes.
Speaker 6: At the end of the day, man, I'm just like this,
Speaker 6: this is definitely dope.
Speaker 3: Man. I want to thank y'all man for real, wal
Speaker 3: put me on to the podcast, because what was like,
Speaker 3: you want, yo, this is your favorite podcast? Like I
Speaker 3: love this podcast.
Speaker 4: I think I have my road call ready to go.
Speaker 3: Oh ship, we're gonna do it.
Speaker 6: Walk came in here on some Joe guess for podcast
Speaker 6: we're doing, and I'm looking at him like, what's wrong
Speaker 6: with you?
Speaker 4: You did that like the cartoon cheer and you did
Speaker 4: that like a come on, like.
Speaker 3: Yeah all right.
Speaker 1: So normally I do my sign off shout out to
Speaker 1: to the family of q os, but this one time, Sir.
Speaker 3: Evild's on the mix.
Speaker 12: Come on kick it.
Speaker 1: Thank you very much.
Speaker 4: We will see you next week, all right, so much.
Speaker 4: Thank you for listening to Quest Love Screams.
Speaker 12: This podcast is hosted by a mere quest Love Thompson,
Speaker 12: Big Boss Man, Like Yeah, Saint Clair, So Black and
Speaker 12: the Black Myself, Fontigelo Fonte Goldman, Sugar, Steve Mandell and
Speaker 12: Unpaid Bill Sherman. The executive producers are a Mere Quest
Speaker 12: Love Thompson, Sean g and De Gunn, Bothered Brian Calhoun,
Speaker 12: Produced by Britney Benjamin, My Dog Cousin, Jay Payne, My Motherfucking.
Speaker 4: Man and Like he Is Saint Clair, My work Wife.
Speaker 12: Edited by Alex Conroy. Produced for Our Heart by Noel Brown.
Speaker 1: Thank you for tune and then check us out next week.
Speaker 1: What's Love Supreme is a production of iHeart Radio. For
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
Speaker 1: or wherever you listen to your favorite shows.