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Quest Love Supreme is a production of iHeartRadio.

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I'm just so happy that everybody showed up

0:12

for this. DoD damn so

0:14

I'm happy. You God damn you got

0:16

missed the Coleman here.

0:17

I'm faring you

0:23

want to know.

0:24

What let's start. I

0:26

can already tell that this episode of Quest

0:28

Love Supreme is going to be a special

0:30

one. What can I say? I've

0:33

known and worked with these gentlemen when I first

0:35

got into the game. Oftentimes

0:38

we talk about sort of pioneering

0:41

shift change of where hip hop

0:43

went in the early

0:46

nineties, what we call the Renaissance

0:48

period of hip hop, and often you hear the names, you know,

0:50

Pete Rock, Premiere, the Uma,

0:53

and you know Diamond

0:55

D. Not to mention, I mean, it's not strictly

0:58

New York. There was DJ Quick on the

1:00

West Coast. Of course, Doctor Dre was

1:02

doing stuff. Got to give a shot out

1:04

to Prince Paul and also Extra

1:07

p Lrish Professor organized

1:09

Noise down South.

1:10

Like there was a whole Jay Swift on

1:13

the West Coast.

1:14

There's a whole slew of

1:16

producers that basically built

1:19

upon.

1:19

What Marley Ma and

1:22

the Bomb Squad.

1:24

I know. There's a lot of legends

1:26

that I'm missing when doing this introduction.

1:28

But for me, these

1:31

two gentlemen are a

1:33

part of a movement that often

1:35

doesn't get enough credit for their

1:39

level of hip hop production,

1:42

their grimy level of hip hop production. And you

1:45

know, they put numbers on the boards, and we just

1:47

don't say it because it's so effortless.

1:49

But yet and still, you know, if

1:51

you watch, you can tell the sign

1:53

of a good producer based on all

1:56

these freestyle videos you see from the nineties,

1:58

whatnot what's the music back

2:00

drop they choose? And I guarantee you these

2:03

gentlemen definitely have numbers on the boards

2:05

as far as just really

2:08

bringing a sound to New York, defining

2:10

the sound of New York, even the

2:12

roots work with him back in ninety

2:14

five. But more than that, I just love

2:16

to also state the fact that,

2:19

despite what they like to let onto

2:21

the public, these are the two nicest

2:25

nerds I've ever met in my life.

2:29

My habit of speaking Elizabethan

2:31

and proper Gilded Age

2:33

era English really comes from these

2:35

two. To this day, i'd say,

2:38

sir, ma'am, I learned from these

2:40

two.

2:40

No way, no way, no

2:43

super way.

2:45

Don't deny it, ladies and gentlemen, please

2:48

welcome Evil T and

2:50

his brother Mister Walker known

2:53

as the Beat minus

2:55

on Quest Loves the Pree.

2:58

Thank you made

3:01

Mama, I'm mad.

3:06

You

3:10

You be great man.

3:12

What was doing for the past

3:15

two weeks?

3:16

Yo? Cush up supreme? Like,

3:21

what's going crazy? Man?

3:24

This is just we we just having a normal account,

3:26

like we're gonna bust it up like we normally

3:28

do. We don't do it enough. And I'm so

3:31

glad because it's been a hot

3:33

minute. I'll just start with

3:35

my first question. How are you guys? How's

3:37

it going.

3:38

We're good, We're good.

3:39

We're living.

3:41

We're living, that's what we're doing. I'm

3:43

having fun. I don't know about wal I'm

3:46

having fun.

3:47

That's all you can do. That is all you

3:50

can do. Where are you guys right

3:52

now as we speak?

3:53

What? What?

3:53

What part of the world are you guys in right now?

3:56

We are in Bushwick, Brooklyn. The

3:58

same house. Yeah, that same

4:01

the same listen, the same crib that

4:03

my mother branged this bump ass

4:06

dude home.

4:09

That's me.

4:12

That house right, This is the house that we made

4:14

all our records in and stuff

4:17

like.

4:17

Wait, I have a question

4:19

to ask because oftentimes

4:22

I have a theory that whenever

4:25

someone channels in magic, especially

4:28

with music, and specifically I'm thinking

4:31

about Prince and

4:33

I'm thinking about the Rizza as well, they'll

4:35

come with a cavalcade.

4:37

Just an entire.

4:39

Slew of you

4:42

know what I call manna from heaven that

4:44

they particularly create in

4:46

a certain spot. In Prince's case, his

4:50

his bedroom turned studio.

4:53

In THESS case Stapleton,

4:56

you know at at in his project

4:59

basement making those classic

5:01

Wu Tang records, and then what happens is, you

5:04

know, they hit payday and then they upgrade,

5:08

and then it's not.

5:09

Quite the same anymore.

5:10

Is there a specific reason why

5:14

that you're you're still in the

5:16

same Like, is there a formula for you guys

5:18

that that you feel will jinx you if

5:20

you were to move elsewhere besides the

5:23

basement.

5:24

This is the family house. So we just chose

5:27

to stay. I mean I moved out.

5:29

For like five years when my son was born.

5:31

I have moved to Flatbush, but I kept

5:34

like my records here. I

5:36

have moved my equipment, but I kept like my records

5:38

and all my stuff here, so I kept coming

5:40

Black. Plus, he had like the main

5:43

part of the studio here, so I had to come

5:45

back.

5:46

It's what it is, is like,

5:49

well, you know on walk left. Of course I stole

5:51

his recollection. I got to talk

5:53

about that.

5:54

But isn't it kind of like both of y'alls?

5:57

Yeah, Fridays if

6:00

we're trying to be nice, it's it's it's you know,

6:02

it's both for ours, you know.

6:04

Fifty to fifty for some reason, for

6:07

some reason, sixty forty, but uh

6:09

whatever, being here this

6:11

is this is where this is like it

6:14

like it's no way

6:16

to explain it, like this is I feel like this is

6:18

where we belong, you know what I'm

6:20

saying, Like everything started here, like and

6:22

this actual kitchen is where you

6:26

know, me Bucking five did

6:29

our stuff like this kitchen and the next room, which

6:31

used to be Walt's bedroom now is the studio.

6:34

This is where everything started. And it's like, well

6:37

else, you know, like, yo,

6:39

this is it. That's all I can say.

6:41

This is it.

6:43

What's the age difference between you two?

6:45

Three years? Yeah? Three years?

6:47

I'm the older I'm the older brother. Okay,

6:50

I was the brother that wasn't supposed to make it.

6:52

And you know what wait,

6:58

yeah you know that oh

7:00

that big Okay, what

7:03

are you talking about.

7:04

And he was the baby, like.

7:07

Oh my god, he was when

7:10

I was young because I'm the I

7:12

was the first DJ the family, and of

7:15

course I was the first one to do

7:17

production. But my mother

7:19

kept cold signing for e. You

7:21

know, little brother always going to hang with big

7:23

brother. So every time my mother would

7:25

be like, you're gonna let him DJ, I said no, no,

7:28

Ma, I can't.

7:29

He said no, take your brother with you.

7:32

And this guy used to He used to mix

7:35

off beat and every day was

7:37

all over the place, and my mother

7:40

was his biggest cheerleader. That's

7:42

my baby, My stop it.

7:44

But you know what it is though, I got into

7:47

you know what, Walk got into DJing because

7:49

he wanted to, like that was his thing.

7:52

And I got into it because I was

7:54

jealous of war and

7:57

it was like he's deep Jane

8:00

and getting all this attention and it's all cool.

8:02

And I was like, I'm cool too. You

8:05

mean I ain't cool. I'm better than him.

8:08

I was trash.

8:11

So what what was

8:13

your first musical memory in

8:15

life?

8:17

My father bringing home a

8:19

bunch of records, Like he

8:21

used to bring records home all

8:23

the time because he used to work on construction sites and

8:25

stuff like that, and he had brang home

8:28

like a pile of records, and I

8:30

just went towards this one record

8:32

and I still have that record to this day, Diana

8:35

Ross presents Jackson five.

8:37

Oh wow.

8:38

And I just that made

8:40

me fall in love with collecting

8:43

records. And the first song

8:46

I ever fell in love with, like

8:48

this song stayed in my head was Living

8:50

for the City Stevie Wonder. That was the first

8:52

song I fell in love.

8:53

With, staying.

8:56

When you're saying he brought the record, you mean

8:58

dumpster diving or your

9:00

father would go record shopping.

9:02

No, he would bring someone would give

9:04

him a polo records and you would just bring the records

9:07

home. So he was doing the original

9:09

beat mining before me and my brother.

9:11

Yeah, what's

9:14

the family unit?

9:15

Is it just you two are siblings or

9:17

do you have other siblings?

9:18

Well, we have a.

9:19

Half older half sister who

9:21

lives in Harlem from my father,

9:24

and then we had a younger sister

9:26

that passed away in two thousand and time.

9:28

Yeah, Okay, were

9:30

they musically inclined as well or was it

9:32

just you two just me?

9:34

Yeah, here's a secret

9:36

for everybody. And I'm about to embarrass my

9:38

brother up to Jacksonville.

9:40

So much. We made our own singing

9:42

group.

9:43

And I was Michael. I was Michael and

9:45

Jackson.

9:48

Mackie. He was Jermaine. My mother

9:50

used to have two fouster kids. They were

9:52

Marlon and.

9:55

Randy or whatever Mark and I was

9:57

Jackie because I was the oldest, and I was Michael.

10:00

I was the lead.

10:00

Singer Tito's not getting respect, and.

10:03

He was Malling, and they were Malling and Tito.

10:07

Yo, I'm gonna tell you something. You

10:09

have to be a certain age to know that.

10:12

For good four to five year run,

10:15

right, the Jackson's were

10:17

like the Black super Friends, Y

10:20

and I guarantee you,

10:22

like anyone that had any sign

10:24

of any music healthy whatever, we

10:27

would just say, look, yo, let's play Jackson five. And

10:29

seriously, we just act like

10:31

we were the Jackson five. I

10:33

know, like is like I was born

10:35

in the eighties. I'm sorry the nineties.

10:37

No, no, no, we had no audition, I got you. I'm just I'm

10:39

using it as a metaphor, like oh with new addition.

10:42

Yeah right, because Jackson five was

10:44

way before you.

10:45

Everybody knows that Jackson five. Everybody

10:48

like, oh hell yeah, yeah, everybody knows what

10:50

the Jackson five put down.

10:51

Everybody everybody wasn't making choreography

10:54

to it on the playground though.

10:55

That's a certain error.

10:56

Right right, A

11:00

man, they're they're they were the first black

11:02

super Friends.

11:03

So right, you know.

11:05

Obviously slow, I got stuck with Tito all the

11:07

time, so.

11:08

You know I was when they had their own cartoon,

11:10

like I was in hell.

11:12

Now, yes, yes, Wait where year.

11:13

Were you born?

11:15

I was born in sixty eight? Okay,

11:17

so you watch my old son?

11:20

Oh not old? So

11:22

you old son?

11:24

You three years younger son? What are you doing? Three

11:27

years younger? Three years younger?

11:28

Though? Three?

11:29

Three three three?

11:32

At what age did do

11:34

Ward like finally get your respect? Well

11:36

as far as like production is

11:38

concerned, not production, but DJ or

11:41

were you the don't touch my equipment type

11:44

or were you.

11:44

The yeah, wait, don't

11:47

touch my equipment types.

11:48

Of e yes?

11:50

Hell yeah?

11:50

And he's my little his hand

11:52

has been too greasy, he always had greasy

11:55

as hands that he ate a polo

11:57

rids And then he want to touch the records.

11:59

What kind of shits? Yo?

12:04

Let me tell you what I used to do to walk right.

12:06

So Wall would go

12:09

hang out with his friends or

12:11

go to work or whatever, you know, whatever, And

12:15

as soon as he would leave. I

12:17

would walk into his room and turn everything

12:19

on practice what

12:21

I seen him do, add

12:24

my touch to it to make it my style, and

12:28

turn everything off and put everything back

12:30

the way it was supposed to be.

12:32

So one day I caught it it as then

12:35

I got.

12:35

Beat up, all right,

12:37

So yeah, the t Joe Jackson movement.

12:41

Was at least like, let me see what you can

12:43

do first and then I beat jazz, or like.

12:46

Because he's a little brother, I don't care what the little brother had

12:48

to do. I'm big brother.

12:49

You know.

12:51

I'll tell you that moment I had with my mom and

12:53

him, that was the moment I was like, all right, next,

12:55

see what he can do.

12:56

And I was horrible that man.

12:58

Could have came in and did every mix that jazzy Jeff

13:00

every day in his life and I still wouldn't be impressed,

13:03

like it was whack mom, come on, but

13:05

would never give him his prop.

13:07

You know what was what was good about that was

13:10

being that it was the big brother, little brother type

13:12

thing. It made me go, you

13:14

know what, I'm gonna beat walk

13:16

at this. You know what I'm saying, Like, I'm I'm

13:18

gonna show him. I'm gonna battle him.

13:21

I'm gonna be better than him. And

13:23

it made me really like

13:27

get into DJing like I

13:29

was. I was on some I was, it was something

13:31

else, you know what I'm saying. Like I thought

13:34

I was the DMC champion

13:37

the way I was training to battle

13:39

war, you know what I'm

13:41

saying.

13:42

So you two, you two were enemies

13:44

first before you.

13:45

Decided to.

13:47

Yeah, of course, but you know, you

13:49

know that makes sense.

13:52

There's a legendary sibling

13:56

DJ team that I knew in Philly, same

13:58

situation. Brother was like five years young, but

14:01

the younger brother's level of antagonizing

14:05

was if his older brother made him mad,

14:07

like don't touch my equipment and beat him up whatever, the

14:10

younger brother would actually take like

14:13

one of the prize records and put it in the bathtub,

14:16

just on the records.

14:18

No, no, we no, nah

14:22

records valuable. Whoa whoa,

14:24

I said, Death said.

14:29

It was also like eight years old, So you know, I

14:31

mean, you do anything to antagonize.

14:34

Now, I know most Harlem Uptown

14:36

BRONC stories had

14:38

the blackout of seventy seven

14:40

to think for uh

14:42

equipment, uh acquiring,

14:45

But like, how did you build

14:47

your how did you build

14:50

your system? Well, in terms of being

14:53

a DJ.

14:54

We did what we had to do.

14:55

My mother.

14:56

First of all, we did the regular Mickey

14:59

Mouse turntable with the home homemade

15:02

mixer. We did that trackic thing. I

15:04

asked my mother to buy me a

15:06

turntable. Now, my mother

15:09

is an old West Indian

15:11

woman from Belize, so she's

15:13

like, she don't know ages.

15:17

Oh boy, what does she buy?

15:18

He came home with a BSW

15:21

belt turntable belt drive

15:24

wow belt. I looked

15:26

at her and I said, thanks,

15:28

mom.

15:32

And that's when I said, yo, I got to get my own thing.

15:34

I can't. I can't. I can't

15:36

deal with this with me. I got to get my own self.

15:39

So that's why I started like this

15:42

was we're going into like eighty five. So

15:44

I started working in a record store around here,

15:46

and then I'm in eighty seven.

15:49

I started working at a music factor

15:51

in Jamaica, Queens. And that's

15:53

when I was like, yo, I got to get my

15:55

own equipment and saved up enough

15:57

money I mean, you know, and got my equipment.

16:00

There you mentioned earlier did

16:02

job your father? He did construction?

16:04

What did your mom your mother do?

16:06

He was a nurse at We used to

16:08

have a hospital out here called Williamsburg

16:10

Hospital and she used to work over

16:13

there and then she just started to take care of foster

16:15

kids.

16:16

Oh wow, okay, yeah, how many foster

16:18

kids?

16:19

It was a lot of falster kids, a.

16:20

Lot of foster kids in and out of your house.

16:22

Yeah yeah yeah.

16:24

And when you say Williamsburg not the Williamsburg

16:27

that I.

16:27

Know, well no, it's

16:30

different.

16:31

Butchrig is not the butcher Ridge that we

16:33

know, Like the butcher growing up now is

16:35

a totally different butcher And what.

16:37

Was manse

16:40

uh

16:41

man.

16:44

Mustachus right?

16:45

People looking at you like.

16:47

You don't belong yere, right, which

16:49

means so y'all have a nice piece of real estate

16:51

right now, and congratulations to

16:53

that.

16:54

Well, I mean we will always say this is our mama's

16:56

house.

16:56

Yeah, I tell people

16:58

this day I live at my mother's base because

17:02

I just loved the reaction of their face, like how

17:05

do you.

17:06

Still and

17:08

you god like to have a full it's a full brownstone

17:10

and everything right, like.

17:12

Right large, it's actually

17:14

a townhouse.

17:16

Okay, it looks like a brownstone,

17:18

so we let people go with that, but it's actually

17:20

a nineteen thirties townhouse.

17:22

Wow, what were your earliest gigs,

17:24

like walk neighborhood stuff that's

17:27

in the neighborhood, like you know, we

17:29

didn't really leave butch rigged,

17:32

you know, and stuff like that. So a lot of stuff

17:34

was mostly it started doing

17:36

the dust and butcher rigg stuff, and then we started

17:38

doing more stuff out of Brooklyn,

17:41

and you know, it eventually

17:43

grew after that.

17:44

Back in the days, you had to like

17:47

like you blew up in your neighborhood, and

17:49

after you grew up in your neighborhood, you started

17:51

going to other neighborhoods, and then you started going

17:53

to other boroughs, and then it was all city.

17:56

It's like it's kind of like a feiti all city.

17:58

On with your own you're talking about like block parties

18:00

and whatnot, or just like house parties and

18:03

right for me, like because

18:06

my parents were record collectors, all

18:08

those records that wound up getting sampled later,

18:11

like I already had but never knew

18:14

because I just looked at my parents'

18:16

record collection as.

18:17

Like old people records, right, because.

18:20

I'm assuming that when you're doing

18:23

this in the early eighties, like collecting records and

18:25

whatnot, that you're just basically getting hip

18:28

hop records and records to rock the party, like

18:31

I'm assuming that you're not thinking,

18:33

Yo, I need this Bob James

18:36

record or you know whatever for

18:38

sampling purposes. But at what

18:40

point did you realize that, Like,

18:43

were you in an open format DJ or where

18:45

you just strictly hip hop at the time, Like what were you

18:47

playing?

18:48

It starts with hip hop and then it becomes upen

18:50

format. Yeah, so you would buy,

18:52

like, say, to Bob James record. You would

18:54

buy the Bob James record because everybody

18:57

you had a crew, You had the guys whom

19:00

the DJ the crew, So the MCS needs under

19:02

raym on so you would get more or less

19:05

you would get take me to the Mighty Gras and you would

19:07

just buy two copies of those.

19:09

So you on that early?

19:11

Yeah, Yeah, I was on that early, Like yeah.

19:13

Creed Lewis Flores, Rebeat

19:16

lou back right.

19:17

We used to call them uptown because you had to

19:19

go uptown to get them, even though

19:21

I worked in Jamaica cuse I ain't start working at Jamaica

19:24

until eighty seven. But like

19:26

in eighty one and eighty you

19:28

would have to go uptown to like Music Factor

19:30

in forty second Street to go

19:32

get these break beats and the break beats

19:35

around that time, they were already putting

19:37

them on the bootleg twelve inches. You

19:40

know what I'm saying, You would Bozomico

19:43

stuff.

19:43

And eat Me to the Beat records all

19:45

that, they were already putting them on that eat

19:48

Me to the Beat.

19:49

You know what that is, right, big beat

19:51

on one side and on the other side.

19:53

Yeah, wait, that was back in the eighties.

19:56

I thought that was coming down in the mid nineties.

19:58

Nah, that was back. That was for ultimate

20:00

breaks and beats.

20:02

Bosomko was even out in the eighties.

20:04

Boso Miko came out in eighty one.

20:07

Yeah, yeah, Booo

20:09

came out, all right, Flash to the

20:12

Beat on.

20:12

The other side.

20:13

I was gonna say so when I heard Flash

20:15

to the Beat being played at like roller

20:17

skating rinks, they were playing the same Bosomico.

20:20

Bluele playing the Bosomico

20:22

rocker.

20:23

Yeah. Man, the only way you got it, Yeah,

20:25

that's the only way you got it. All right.

20:26

Let me let me let me explain to her.

20:29

Okay, let me give

20:31

it tutorial.

20:32

All right.

20:32

So basically, of course, you know that

20:34

during the first generation of beat digging,

20:37

you're talking about Bam Boda and Flash

20:39

and Mean Jean and Grandmother

20:41

was the Theodore Like, yeah, so the first generation

20:44

of course, like everyone

20:47

would try to get their their the shazama

20:49

on and see what they're playing. And of course,

20:51

if you're smart enough you don't want nobody biting

20:53

you, you would wipe

20:55

the label off with water so no one can see

20:57

what you were playing, you know what I mean? Before

21:01

breakbeat lou Lewis Flores, would

21:03

you say that Paul Winley was the first

21:06

super disco breaks.

21:07

Yeah, super disco breaks came out before

21:09

the Ultimate breaks. Well, the ultimate breaks

21:11

and beats was the Optopus Rocket. Yeah,

21:13

right right, so, but Paul Winley

21:15

came out first.

21:16

So suddenly in the eighties, in the early

21:18

eighties, and this was especially

21:21

for the advantage of DJs, I

21:24

e. If Melly

21:26

Mail wants to rhyme over Billy

21:29

Squire's big beat or Funky Drummer

21:31

or whatever has a breakbeat. Someone

21:34

came up with the idea like, yo, since

21:36

I know what all these breaks are, I'll just

21:38

go to the studio, sweeten the mix

21:41

up a little bit and put these compilations out.

21:43

And then suddenly DJ's were using the compilations

21:46

called super Disco Breaks, Bozo

21:48

Miko and of course

21:51

by eighty six. I will say the Wikipedia

21:54

or the cliff Notes if you're older,

21:57

of breakbeat collections was called Ultimate

21:59

Breaks and Beats. I used to thought it was. I thought

22:01

it was Ultimate Beats and Breaks, But like maybe

22:04

last week I realized I was staying it wrong the whole

22:06

time, for the last forty years.

22:08

So very good explanation, Very good.

22:11

Yeah. So the reason why a lot of

22:13

once you get to like kind

22:16

of pass the Rick Rubin, Larry

22:18

Smith, Marley Maut period of hip hop, as

22:21

soon as you get to like the

22:23

Paul c period, the Fogie Down Productions,

22:25

Criminal Minded period, the early paid

22:28

in full period, suddenly you

22:31

notice like everyone's using the same thing, Like,

22:33

oh okay, they're using that. Basically,

22:36

it's a twenty five volume breakbeat set

22:39

with six to seven

22:41

songs on them each. As a DJ, you can

22:43

go back and forward and rock a party, and

22:45

later as a producer you can sample

22:48

those things. So actually full

22:50

Circle makes the beat minors

22:52

and the aforementioned renaissance

22:55

period that I mentioned earlier, you know, large professor,

22:57

Q tip trot whatever just

22:59

came. I'm a point, especially after you old TV

23:02

raps where everybody

23:04

was the eating from the same restaurant,

23:07

and suddenly, you know,

23:09

starting with Premier, starting with Jazzy Jeff,

23:12

starting with these guys, starting with large professors,

23:14

Suddenly they were like, it's the hip

23:16

hop version of what

23:18

I refer to as a Dalkaman

23:20

ninety five, which is like a filmmaking technique

23:23

in which you put these challenges on yourself. So suddenly,

23:26

instead of getting shit from all to

23:28

piece of breaks, you're going to your library

23:30

to that those records that no one wants to touch.

23:33

You're going to your parents' jazz collection that

23:35

nobody wants to touch. You're doing your own

23:38

digging for records outside of

23:40

the cheat sheet and so.

23:42

Which may now idea of those compilations

23:45

obsolete.

23:45

It like it was like no more.

23:48

No, I mean they're still around. Matter of fact, they're

23:50

on Spotify, which is kind of weird.

23:53

They are wow, But what's

23:55

weird. What's weird for Spotify is like I'm

23:58

used to the texture of like some of

24:00

these breaks being like second

24:03

generation, Like there's a certain griminess

24:06

to it when you sample like give

24:08

it Up a Turning Loose by James Brown from that

24:11

compilation, that it's almost too

24:13

clean when you take it from

24:15

a clear Digital Master version. But what

24:18

I'm amazed at is that I thought,

24:21

now, my dumb ass didn't know about break beats.

24:23

Shout out to a Damon Bennett, who's a Philadelphia

24:26

musician placed with like Floatry and

24:30

Jill Scott.

24:31

He's the one that put me on a break beats.

24:32

I thought, like Bozo Miko and all that stuff

24:35

came out in like eighty

24:37

nine because I didn't discover sampling

24:39

until you know, the Stevie

24:41

Wonder Jamin on the one thing. But all

24:46

right, whatever, I guarantee

24:48

you ninety percent of hip hop generation

24:51

didn't know about sampling until the Cosby

24:53

Show. But Emo button

24:56

my mind blowing that you guys are revealing to me

24:58

that all those comp relations came

25:00

out in the early eighties.

25:02

Wow.

25:02

Yeah, it made it easier for the DJs

25:05

to go get all these records instead of searching

25:07

for them. They put them on one compilation so

25:09

you don't have to break your neck, like Rocking in

25:11

the Pocket, the original Rocking.

25:13

They put it on forty five for you, and put

25:16

it on forty five for you, right.

25:17

Right, right?

25:18

Yeah?

25:18

So yeah,

25:23

at what point did you realize

25:26

that there's a world out of it? Because

25:28

I feel like This is what defines you, guys, because

25:31

Ronnie Laws is not on off

25:33

my beach and breaks.

25:36

I'm gonna tell you what made I feel

25:38

what made everybody change their whole thing. I

25:40

mean, it's mostly the

25:43

whole native tongue that JB's tribe

25:46

daylight movement. But

25:49

whenever you pick up a break beat to

25:51

use or whatever, I always feel like Diamond

25:53

D is looking over your shoulder saying, how

25:56

do you do it?

25:57

You don't sample that, you know what

25:59

I'm saying.

25:59

So you really trying

26:01

to impress all the guys that

26:03

came before you. Yeah,

26:05

so what you're doing is instead of looping

26:08

every James Bond record or every

26:10

George Clinton record, you.

26:11

Want to go left and

26:13

go yo. I got this them.

26:16

Like when you're the guy who puts

26:18

the world up on the drum beat or

26:21

on the groove, it's like, oh

26:23

wait a minute, we gotta watch these guys. Like

26:26

when y'all came out with the clones, me with that

26:28

that surprise. Yeah,

26:30

come on, man, you guys opened up

26:32

a whole door.

26:33

Y'all know that that trickled down all the way down to

26:36

like the folks who listen to the young kids who

26:38

now are redigging into their parents'

26:40

crates, making their own compilations.

26:42

I'm saying this as I remember doing this for my

26:44

little boyfriend, like and challenging him

26:46

with our little slow jam you know mixes

26:49

that we make because I got my daddy's records

26:51

and I understand this George Benson record better now.

26:55

We did, I did, and

27:00

I want that one.

27:01

Yes, she said my little boyfriend.

27:05

He was, oh, all

27:08

right, So what is the introduction

27:10

to production with you too?

27:12

Like, where where's the genesis?

27:14

I was just dibbling

27:16

dabbling in production, but I never really took

27:19

it serious.

27:20

I had an MC from around here.

27:22

His name was rock Jay.

27:23

He passed away in uh ninety,

27:26

I think he passed away, and

27:28

we were just dibbling dabbling in music.

27:30

So I never really took it serious. So, like I

27:32

said, I worked. This is when I was working

27:35

in a music factory. So

27:38

I was cool with a lot of the artists.

27:40

So one day the light from Steppa Sonic

27:43

came in and he gave me a black

27:45

cassette tape. He said, yo, walk,

27:47

you got to listen to this cassette tape. This is

27:49

nineteen eighty eight. I said, what's on this cassette.

27:51

He said, Yo, trust me, I'm not going to tell you this's on this cassette,

27:53

but you got to hear this.

27:54

This is incredible.

27:57

I popped the cassette in remember

28:00

Man so all black as set. It

28:02

was it takes the nation and millions, The Holder

28:04

is back. And I heard that album

28:07

Wow, Run two End. This

28:09

was before the album got released. When

28:11

I heard that album, that

28:13

whole album changed my life. When I heard

28:16

that, I said, Joe, this is it. This is what I want to do.

28:18

I want to be a producer. I want to make beats.

28:20

And that was the beginning of

28:22

the beat minors that right there.

28:24

Yep.

28:25

And you know little brother follows

28:27

big brother, so

28:29

walk got into production.

28:32

I was like, I'm better than him. So

28:35

I got into production.

28:38

What equipment were y'all using at that time? What

28:41

did you just start on tape?

28:44

And then SK one and the one

28:49

hundred and it's funny.

28:51

We had an SK one and

28:53

then there was a Yamaha joint that

28:55

looked like one.

28:57

That was longer, cleaner, and it

28:59

was clean.

29:00

Yes, right, right, right, right, right

29:02

right, I have.

29:03

That yama It's like seven seconds and way

29:05

cleass.

29:06

Yes, yes, Then we

29:08

got what we got a SK eight, then

29:11

we got SK one hundred.

29:13

They kept upgrading.

29:14

Yeah, because whatever the sampler of the moment

29:17

was, we will go out and get it.

29:19

Yeah, and got it, and then

29:21

we finally got walk.

29:23

Came home one day with the

29:25

Cassio Aussie one drum machine, which

29:28

is the high hat. The nicest move

29:30

high hat that they use in every record is

29:32

from that machine.

29:34

Wait what what what drum machine?

29:35

Is this the Casso Ausi

29:38

one.

29:38

Because the thing is is that I'm

29:40

under the impression that Cassio sk ones

29:43

are just like toy machines.

29:46

Now I'm finding out, like past

29:48

is now telling me like thirty percent of three feet

29:50

high and rising, I

29:52

believe that, Yeah, what was made was

29:55

made on the Cassio sk one.

29:56

Yeah, talking about like literally the Casio like

29:59

the key.

30:00

So I'm taking it back to the

30:02

Cosby Show. I'm telling you when we

30:04

saw that jamming on the one video, jamming

30:07

on the one commercial or whatever, the jammin on the

30:09

one Stevie, Ah God, I'm sorry.

30:12

Back in the day, people, there's an episode of The Cosby

30:14

Show where THEO and

30:16

Denise Malcolm, Jamal Wanner and list Money.

30:19

I'm sorry, Go ahead, please get.

30:20

In the car accident, and of course

30:23

the limo is Stevie Wonders.

30:25

They crashing Stevie.

30:26

Yes, they crashed into Stevie to get out

30:29

of a lawsuit. Stevie invites

30:32

them to a studio session no

30:34

litigious action. And at

30:36

the studio Stevie Wonder samples

30:39

the entire Huxtable household, and

30:43

that to me opened up just

30:45

a portal that none of us knew

30:48

existed.

30:48

Were you of age at the time, Fante, when

30:50

that episode came on?

30:51

Do you remember it?

30:52

Oh?

30:52

Yeah, oh yeah, welcome, yeah,

30:55

jamming on the one.

30:56

I mean we're in the same generation, but you I

30:59

would be the old brother of your Like

31:02

that shit came on when I was fourteen,

31:04

So no, no.

31:05

I remember, yeah, just seeing the sampling and

31:08

like the Sink Clavier because that was a music store

31:10

in the mall at that time, and I would

31:12

go and mess around with a round the d X

31:14

seven. It was around that same kind of area. Yeah, I D seven

31:17

came out and so yeah, I

31:19

was. I was on all that ship.

31:20

Bro.

31:21

Yeah. So at the time, in eighty six,

31:24

the Cassio s K one was an

31:26

affordable, cheap toy keyboard that

31:29

had we sampling

31:31

like, did you ever have an s K one? Bill?

31:35

Yeah, I haven't.

31:36

Right over here, know when he was a kid,

31:38

Oh way

31:41

he really had, right yeah right

31:44

now?

31:44

Yeah, I think so No, look

31:47

at all that.

31:48

Yeah, I was about to say, it's a studio back there.

31:51

I don't. I forgot,

31:53

I don't I used to. It was. It was the thing

31:55

that we first all played on. Yeah, I mean,

31:58

man, I just put like first

32:00

words in it. Ship

32:02

ship ship ship ship ship.

32:05

You could do your ship right

32:08

exactly.

32:09

And then suddenly we

32:11

realized that it can sample

32:13

records. And then wait, where was

32:15

the Where was the microphone on this thing that you could

32:17

shample into? Was it an external or internal?

32:20

There was an internal microphone

32:22

like sometimes you will put your headphones

32:25

on top of the mic. Like

32:27

the purpose again was for you to just say

32:30

one word, I

32:32

got this one. It's the same thing.

32:34

That's that's

32:37

the yah that's.

32:41

With money, Bill.

32:44

That's how you know.

32:44

I grew up with Buddy.

32:46

I would ask my parents for the Yamaha one,

32:48

which is like one hundred dollars more, and they were like, uh

32:50

no, the price

32:54

mark off Cassio s K one.

32:57

I think that input jack to

32:59

a new version of the s K.

33:01

One had an input jet Oh got, I can't

33:03

hear our ratings going down? Like, are they going to stay on this

33:05

for an hour?

33:07

I'm about to take this out.

33:08

We're gonnaial and unboxing. Here

33:10

we go.

33:10

Nerd talk, people, nerd talk.

33:12

Do you still have a collection of like

33:14

your first ever beat?

33:16

No?

33:18

Maybe e, but I know you're lying.

33:21

I got I have the cassette

33:24

of Blackbom's first demos. Okay,

33:27

no, that's I think that's as far as

33:29

it got. Probably might have a beat cassette in one

33:32

of my boxes over there.

33:34

When was the moment when he got some respect on his

33:36

name for you?

33:37

And then well he started DJing in

33:39

the neighborhood and a lot of people was

33:43

gravitating towards him and stuff like that, and

33:45

he was making the name. So he

33:48

just kept going. He really was going

33:50

hard with it. I was when I was working

33:53

in Queens. He was building

33:55

his name up around the way. He because he even worked

33:57

in a record store around here with

33:59

Tony Touch.

34:01

Tony actually came after Oh

34:03

okay, he stole my job.

34:07

So he came out like he started building

34:09

his name up while you know, I was

34:11

out in queen's working.

34:12

I would always hear shout outs to you guys on

34:15

various rap songs. Right were

34:17

you guys the the the

34:19

taste makers, Like I

34:21

go to the record store and then I go to you and

34:24

be like all right, what do I need?

34:25

And then yeah, that's the way we were.

34:28

And then and then some people would bring

34:30

their like Biz used to bring

34:32

his his records into

34:34

test it in the record store. Biz in Ll

34:37

used to bring that stuff to the music factory

34:39

to test this record before it came out.

34:42

Like why you guys had a better system or because

34:44

that.

34:45

Because music factories where everybody used to

34:47

be at. So every time Bizz

34:49

would do something, he would bring it. Yo, this

34:51

is this is this like he

34:54

brang when he he came down, he

34:56

played Vapors, but Vapors

34:59

wasn't vapors. Vapors was this is something

35:01

for the radio.

35:03

Wow, this is for the

35:05

radio.

35:05

Right the beat right and vapors

35:08

was the beat you know it was it was this

35:10

is fun something for the radio. H Picking

35:13

Bookers had actually roach clip bit

35:15

beat behind it, but he changed

35:17

it because everybodying in rock Kim and

35:20

like everybody would come and bring their stuff.

35:22

That LL would come when LLLL

35:24

was working on Mama said knock you out.

35:26

He brang eat them off.

35:28

L missed the controversy

35:31

which never came out. Okay, and

35:33

it was another song apart with the other song. But

35:35

they will come and test their records at the store.

35:38

And just look for a reaction of people there

35:40

shopping.

35:41

Right right right.

35:43

Can you give me, like your your top five

35:46

preview moments of that of that level, Like

35:49

when someone brought some ship in and you're like, holy

35:51

shit, what is this?

35:52

The biz biz used to bring

35:54

a lot of stuff to the store. I

35:57

remember Large

35:59

Professor bring in the first main source

36:02

twelve inch not looking

36:05

at watch Roger Roger, Yeah,

36:08

Roger do his thing, oh

36:11

Man, super level seed bringing due to

36:13

James Audio two

36:15

bringing top Billing, everybody

36:17

would just come and bring that stuff.

36:19

Wait time out. I have a question though. Yes,

36:22

everyone pretty much knows, or at least those that

36:25

or in the no know that

36:27

top Billing was just like a b side

36:30

and they were really trying to push I like

36:32

cherries? Were they

36:34

trying to push I like cherries? First?

36:36

No, the top villain had had

36:39

was making a somewhat of a buzz, so they

36:41

was pushing top Villain. Okay,

36:43

like top billing made a noise in the clubs

36:46

and on radio, like you know, so

36:48

that when they was actually because they would sell

36:50

their records on consignment, meaning

36:53

hey, we'll give you a box of records.

36:57

We won't pay you until we

36:59

won't pay them until we sell the whole box of records.

37:02

Those records were going out of the store.

37:05

Uh hi, So you're the person that I would go to

37:07

to strike a deal, right selling

37:10

out the trunk?

37:11

Right? Yeah?

37:12

Right? Can you tell me those stories

37:14

like what legendary other albums

37:17

of that level?

37:18

Oh man, it

37:21

was really that. That was it.

37:22

Like Main Sauce didn't get the deal

37:24

with Wild Pitch yet, but they were

37:26

just coming to They bring Wick Rocker do his things

37:29

and it was creating somewhat of a buzz

37:31

and something like that. But dude, James

37:34

was was big out of our store, Like,

37:36

okay, you know records like that. We didn't,

37:39

we were We wasn't really because

37:41

you have to understand too, if they were doing it in Queens,

37:43

they were doing it in the Bronx, they were doing

37:45

it in Manhattan, it was doing it in Brooklyn, so they

37:48

it wasn't only us. They were going

37:50

to other stores too. We had the Wiz

37:52

like right around the corner and the wizdoms the

37:55

same thing.

37:56

Yeah, but was the Wiz a like

37:59

was that a crazy eddie commercial

38:02

store, I e. Like a best Buy?

38:04

Or was that like a neighborhood store.

38:06

I would assume that it.

38:08

Was a change store, but it was.

38:09

It was. It was big on Jamaica Avenue.

38:12

It was big.

38:13

It was big like you know when whenever we

38:15

would get new releases, new releases would come out

38:17

on Tuesday, but some people

38:20

we would get our packages Friday

38:23

evening so we could put it out

38:25

Monday night. But we were cheat

38:28

and put it out Friday. So I remember

38:30

when Tougher than Leather came out. We was we

38:32

we put it out and the Wiz put it out, and the

38:34

Wis were selling it lower than us.

38:36

So we called Profile like.

38:37

Yo the wind if they're selling it

38:43

stitches, get stitches sudden you wanna

38:46

sell toughing one out to the wings

38:48

and not give it to us.

38:49

So what the what Profile did was they

38:51

cut They're shipping to the Wiz and kept

38:54

sending it to us. So we had it.

38:56

Oh wowitches

38:59

sound who nobody?

39:02

Nobody from the Wiz looking for my ass today.

39:06

Don't nobody know what the Wiz is today?

39:08

Like, Yo,

39:14

y'all ain't have the Wiz in Philly.

39:16

Y'all have in d C.

39:18

Yeah, I had it in d C.

39:19

Yeah, it wasn't in North Carolina.

39:22

Nah, No, we haven't down here.

39:24

We had it in d C. No, we we

39:26

had crazy. We had crazy Eddie,

39:28

like I mean besides your traditional

39:30

record store crazy eddies, like probably

39:33

somewhere in between our

39:36

local like our our local join

39:38

was Sound of Market twenty two and three.

39:40

Y'all have Pops Dope, mom, and Pops right

39:44

was dope?

39:44

Yeah, definitely, I gotta

39:46

ask you. Walk Nation and

39:49

millions have the same effect on me.

39:52

And it was my dream to

39:55

like even to this day, like I

39:57

still have not gotten my Bomb

40:00

Squad, not off

40:03

you know what I mean, Like especially for the

40:05

type of music I'm associated with, right,

40:07

but for you was

40:10

that level of Kamakazi sampling,

40:12

like something that you wanted to do.

40:16

Yo, Bomb Squad was like next

40:18

level man like. Bomb Squad to me back

40:21

then was the closest thing you could get to the

40:23

JV's and and the you know what I'm

40:25

saying, and Fred Wesley and shape

40:28

the way that the Bomb Squad did they thing.

40:30

And then man, you found out that they use

40:32

like all forty eight tracks and the

40:35

sample sometimes the samples are off beat.

40:37

Like every story you hear that, it amazes

40:40

you, you know what I'm saying. So everything

40:42

that they would do, I would buy. I don't

40:44

care if it was Jody Watney. I don't

40:46

care if it was Bell b.

40:47

De Vaux, I.

40:48

Don't care what it was a

40:52

young black teenagers. Anything, I would buy

40:54

for this. Yet they had

40:56

Bomb Squad on it. I'm because I

40:58

was such a fan of that.

41:00

But in terms of you trying to figure out what

41:02

your.

41:02

Style was, I mean, we

41:05

all did it though, we all tried to be like them,

41:07

but eventually it was like, nah, we can't.

41:08

This is not us.

41:09

You gotta make It's

41:12

like you know, it's it's

41:14

like with the Bomb Squad. We

41:16

tried, but we knew that wasn't

41:19

us.

41:19

That wasn't us, you know.

41:21

So it's like you know how

41:23

I tell people with DJing, You

41:25

see you see somebody do a scratch, You

41:27

go home practice that scratch.

41:29

Then you take that scratch and start

41:31

developing it into your own type

41:34

of scratch. You're changing around so it becomes

41:36

yours, you know what I'm saying.

41:38

Like that was like the Bomb Squad thing.

41:40

We seen how they layered samples, and

41:43

we seen how they was doing that thing. We tried

41:45

to do it and we developed

41:47

our own style doing that.

41:49

One thing we did take from them though, and I still

41:51

do to this day, is layer beats. Oh yeah,

41:54

like the power is like what you like it too,

41:56

and maybe funky drummer put together and stuff

41:59

like that.

41:59

We did that. We did that on.

42:01

Who Got the Props? We did that on

42:04

Buck Them Down? We did that like we

42:06

would every rack they

42:08

can have a swing to it.

42:10

Yeah, And we got that from the Bomb Squat.

42:12

The introduction that the

42:15

world knows you guys by, of course,

42:17

is who Got the Props?

42:18

Right?

42:19

That to me was like that

42:22

was a mind blowing revolution to hear that

42:24

back in ninety three, because you

42:27

got to understand like your

42:29

average mainstream rap stuff was like

42:32

u MC's fast. You

42:34

know, things like the intro to Playground

42:36

by by another bad creation like that

42:38

chaotic heavy

42:41

dancing sort of thing. How

42:44

did you guys manage to avoid that? Because

42:48

for me, like Who

42:51

Got the Plops? Was slowed down? You're

42:53

using you

42:55

know, like seventies jazz, which

42:57

was just unheard.

42:58

Of, Like it was still up

43:00

temple though it was like ninety

43:02

eight to one hundred bpms, so it

43:05

was still up temple, but it was smooth. But

43:09

you know, on the B side, our B side was

43:11

I was just about to say that was like one

43:13

hundred and fourteen b pms and stuff

43:15

like that. And the the Beat Minors

43:18

intro to the World wasn't even who got the props.

43:20

The Beats Intro to the World was Popu lar agreemix.

43:23

Yeah, the base the

43:26

East Coast remix. That was the big miner.

43:28

Yes, that was y'all, but it.

43:30

Wasn't Listen it was. It was Beat

43:33

Miners, but it wasn't Me and Evil. It

43:35

was we had a Beat Minars was a crew

43:37

back in the day. And one of the guys

43:39

in the crew was on his way. His name was

43:41

ike Lee. I League was responsible

43:44

for C. C. Penison and

43:47

some mantronics work, and you

43:49

know, he was he was going the way to do other

43:52

production and he and that ultramagnetic

43:54

agreements landed in his lap and he was

43:57

a part of Beat Miners, and he said, listen,

43:59

I'm about to do this remix and I'm gonna I'm

44:01

gonna put it under the beat

44:03

minor's name, and that's what started

44:05

to Beat Miners ride. Was that for

44:08

me and he took the reins.

44:11

I made up beat Miners, but I was

44:13

the first one to put it up to put us on.

44:16

Yeah, so how'd you guys born?

44:18

There's a bunch of friends that we

44:20

were like. It was me and him, Me

44:22

and him, e Baby Paul and

44:25

ike Lee. We all met.

44:26

In music factory.

44:27

Music practory is like the

44:30

meeting ground for for all of this.

44:33

I didn't I didn't meet that music factory. I met Wall

44:35

at the house. Well.

44:40

Anyway, music factory

44:43

was the was the meeting, the

44:45

melting pot for everything. And the only

44:47

thing we had in common was everybody just like record

44:50

shopping, yeah, digging and

44:52

production. So we

44:54

just made up a crew. For the

44:57

name of the crew. The original name of the crew was

44:59

black Moon Production.

45:01

Yeah right, yeah,

45:03

can you explain his moonlighting connection

45:05

with please?

45:06

Please? All right.

45:07

I was trying to make up a name for the crew, right,

45:10

and I was doodling

45:12

some stings on the paper and I just

45:14

wrote down black Moon. I was like, hmm,

45:17

I like this black Moon Productions. I'm

45:19

going to use this as the

45:21

name for our production company. And

45:24

I was rolling for that for a minute. I

45:26

and E's crew name

45:29

was high Tech. That

45:31

was the original name for black Moon was high Tech.

45:34

I had a friend named Everett that worked with us.

45:37

He said, Yo, you guys are always find the record.

45:39

I'm gonna call you guys beat Minors. And he

45:41

was an MC two and he made a song called beat Miners

45:43

and I was like, Yo, I really like that name.

45:46

Can I have that name? He said sure, he

45:48

gives me the name for Beat Minors. I was

45:50

like, yo, okay, I'm not using the black Moon name

45:52

no more. He goes, Yo, let me get.

45:54

That name for my crew.

45:56

And I said, okay, sure, that's how black

45:59

Moon name started.

46:01

All right, but can you explain this alleged

46:04

moonlighting uh connection

46:06

to it?

46:07

What do you mean that

46:10

that was a big fan of Moonlighting? Please?

46:14

Lord?

46:15

Hold on.

46:16

First of all, we're not giving no props the simple

46:18

Shepherd and Bruce Bruce.

46:19

Willis with

46:22

Black Moon.

46:25

I ain't hear that. I heard otherwise.

46:28

No, so

46:31

you weren't a fan of the show.

46:33

I love the show.

46:34

I love I heard that Sybil and Bruce their

46:36

agency was the Blue Moon Agency.

46:39

Oh, I forgot, good one.

46:40

I forgot I said that before. I

46:42

said that before, I swear to God, I

46:44

didn't even think about that until you just said that. I

46:47

said that before.

46:48

I thought that was the genesis of how

46:51

Black Moon got their name. I

46:54

was like, you dweed ass nerds. Yes,

46:56

I get it there.

47:07

That is.

47:10

Wait, so hold on, you seriously thought

47:13

I said no, walk because I said that before.

47:14

That's why I Yo, I did.

47:17

I forgot it was the Blue Moon. I

47:20

thought about that, Yo. I was

47:22

under the assumption because you watched you every

47:24

week Tuesdays Tuesday

47:27

put was Moonlight and so as soon as you

47:30

know, I'm here blue Moon Bloemon, all a sudden

47:32

he's like, Yo, the name of the name of the crew is black Moon

47:35

Moon.

47:37

Conversation.

47:39

You have brothers, they don't have

47:41

to have a conversations.

47:42

Yeah, I know when I put

47:44

that out there, Yo,

47:49

Yo, you're an asshole.

47:50

What on?

47:52

Man?

47:52

Just own it?

47:53

It

47:57

it the way for years you're telling

47:59

PEP people.

48:00

I got the idea.

48:01

Yeah, Jane's head is like he said it at the ram

48:03

Bull Music Academy and twenty what were

48:05

you.

48:06

Wasn't I thought

48:08

that you picked. You know, that

48:11

wasn't the reason why?

48:13

Well it is now no pleasing Oh

48:16

my god, oh

48:19

god, we love you, Bruce, well.

48:20

As we loved it. Look it for you son.

48:28

All right? So you formed this crew, right,

48:31

and it's it's five of you.

48:34

I got through the math. It was four

48:37

me E, Paul and Ike.

48:40

Okay, yeah, Now

48:43

when did it trickle down to the

48:45

beat minors that I know? Like, what's the journey

48:47

that leads to what

48:50

I assume is into

48:52

the stage.

48:53

Paul was always with us, but Paul wasn't

48:56

in the forefront. Ike went off

48:58

to do Oh, three

49:00

boys from Newark and you went

49:02

to do like I said, C C. C.

49:04

Pennison and wait.

49:05

Three boys from New York? What are they morph into?

49:08

That was?

49:09

They were the Lauryn Hills people.

49:11

It was Vincent Oh.

49:15

Yeah, Vincent Herbert in

49:17

a group. They were a production

49:20

team, Vince Herbert, Kiama Griffin and

49:22

I cannot remember the third of his name.

49:23

Button Herbert. As in Lady Gaga,

49:26

I have.

49:26

A twelve inch that has Lauren

49:29

Hill singing on it. They're they're rhyming over cooling.

49:31

The gang's too hot, but she's singing. Michael

49:33

Jackson's One More the Jackson five is one

49:36

More Chance, but it's it's a group

49:38

something from Newark. But I didn't know if

49:41

they were a rap group or whatever. But I have like a

49:43

white label of Lauren

49:45

Hill singing on a rap joint, like

49:47

right right before the score came out.

49:49

But I didn't know if that was a rap group or not. Was that

49:52

then more?

49:52

Do you think so? I don't think so.

49:54

I think but I was already gone because then

49:56

after he left three boys

49:58

from new Ark, him and Bryce will.

50:00

And started something. Oh wow.

50:04

Then I just I used to stop doing

50:06

music. I mean he still comes

50:08

in and out, but he stopped doing music. But

50:10

it was a lot of records that I that you

50:13

love that Ike really did

50:15

the production on but never got name.

50:18

Uh get at me, dog? Wow?

50:21

He did that, dog he did? He

50:23

did.

50:24

He would sweeten them up or like mix it or like.

50:27

He would give the demo tape to somebody.

50:30

I mean, let's put it out there. He would give it to IRV

50:33

and gave it to whoever. And I

50:35

get it somehow Dave Grease And

50:37

listen, this is from what I heard.

50:39

Dame Grease got it.

50:41

He either looped up the same record

50:43

or whatever, and Ike is the

50:45

one who originally did that.

50:47

I forgot what's what's the other song that I did to e

50:51

Wow?

50:51

I know he did the man Tronics

50:53

King of the Beat.

50:55

Yeah he did, Yeah, he

50:57

did that.

50:58

And when he did it, he did on a studio four.

51:01

Have you ever met Mantronics

51:03

Curtis Mantronics never

51:05

Matter all right. I just recently found him in

51:07

Germany that like, he has my dream interview

51:10

because his his era of

51:12

hip hop. And I would say the Latin rascals

51:14

like what they do with editing. Yeah,

51:17

I need to know how they did that ship because

51:20

oh yeah, I'll

51:23

still listen to the first Mantronics record and

51:25

Cold Getting Dumb right, and

51:27

just that level of editing and

51:31

sampling like you you don't even hear

51:33

it now, Like.

51:34

When Mattronics went to Capitol, when he got

51:36

the deal on Capitol, that's when I got

51:38

into.

51:39

The yeah, the fault. Here's

51:41

some nerd stuff for you. By the way, the

51:43

same dude that did the editing on the on the

51:45

Malntronics stuff that was on Sleeping Bag.

51:48

Yes, the same guy that did the editing for Ultimate

51:50

Breaks and beats Chasnas.

51:55

So when we're listening

51:57

to like long Red, he did

52:00

know you got soul. When they have to edit those things,

52:02

that's him doing that right, right.

52:05

Do you know if they did that by tape edit? Yeah,

52:07

I'm sorry you again

52:10

speaking inside baseball, all right.

52:12

So of course some of those breaks were

52:14

really dope, but they would just be two

52:17

seconds.

52:18

I e.

52:19

I know you got soul that

52:22

we know, like you might have to do some trickery

52:24

to make it seem like it's a six

52:27

bar intro and really it's

52:29

just a quickie one bar intro. So they

52:32

would take some of these records and re edit

52:34

them to extend it so that

52:36

way you're not going crazy going back and forth on

52:38

the turntables, especially with long

52:41

Red. I wanted to know like how that shit

52:43

was done, because the original version

52:45

of Mountains long Red from the

52:48

Woodstock Festival, like

52:51

the drum break goes by in

52:53

seconds, whereas the compilation version

52:56

is super extended.

52:57

So who did those edits?

52:59

Chuck me ah,

53:02

okay, And it was all back then it was all taped.

53:04

So he had to splice and ryo

53:08

right, all analog all analogs,

53:11

y'all.

53:12

Actually, you know, to keep it

53:14

really one hundred. I

53:16

mean this is how like,

53:18

of course, you know we're saying hip hop is

53:21

like we're rap music and looping and all

53:23

that stuff. You guys

53:25

would be astounded

53:28

at the amount of cutting and pasting

53:30

that I've discovered sort

53:33

of trolling through a

53:36

lot of these master tapes of

53:39

acts, Like essentially

53:41

it's it's the same thing like bands would

53:43

go in.

53:44

Super Freak is a great example.

53:46

People think that super Freak is

53:49

soup the nuts four minute

53:51

song that was played by the No They

53:54

were fucking around in the studio and

53:56

literally in the last seven seconds

53:59

it came d Dana

54:02

Da da

54:06

and the tape cuts off. So the

54:09

way you know it's a loop when you listen

54:11

to the saxophone at the end, Bro Danny,

54:16

that's a loop. Like, so the

54:19

entire Super Freak is just a four bar

54:21

loop that that unfortunate

54:23

assistant engineer had to spend all night

54:26

cutting tape, making copy cutting

54:28

tape, and which

54:31

is why that we're not asked about the breakdown.

54:34

Yeah,

54:37

like it's not even in rhythm, but

54:39

there's so many slide masters. I went through

54:41

same thing, loose booty, Loose

54:44

booty on Small Talk, same thing. Sh

54:46

it is chopped in paste like all

54:49

of bitches brew same thing. So it's almost

54:51

like they would have jam sessions,

54:54

which was was there digging in the crate ship

54:57

and then the engineer and the artists would

54:59

sit and listen to what I like those

55:01

four bars, and then the assistant

55:03

engineer would have to make a copy. They go away for a day

55:05

or two and he would have to make

55:08

copies. And so wow,

55:11

yeah, like so our level of making music

55:13

where you listen to some shit and you loop it like

55:16

that's been going on since Yeah,

55:18

which I'm just mind blowing the belt.

55:21

Wow, that's crazy.

55:23

Especially when you consider like me

55:27

not really being in this game to be a beat maker,

55:29

but as a drummer, like

55:31

some shit like slides loose booty, I'm

55:33

like, god damn, Like Andy

55:35

Newmark is tight as shit, Like he doesn't

55:38

budge or nothing on the beat. No, they

55:40

just took a four bar loop and just

55:42

looped him across. But my mind is thinking,

55:45

I got to play that meticulous the way that Andy Newmark

55:48

did it for five minutes, but only to find out

55:50

it was looped.

55:51

So you know, quiet has kept Do you know

55:53

what other profession does that? And don't

55:55

get any respect on they name for it radio

55:58

DJs. Radio DJs make their own

56:01

instrumental sometimes off of just like

56:03

I used to do it. Yeah, like you like

56:06

this part of the song and the rest of it is some bullshit.

56:08

So I'm gonna just go in the odyssey and cut

56:10

it up and make my own instrumental.

56:12

Yo.

56:13

You know who was You know who is nice on editing?

56:16

Who?

56:17

Angie Martine

56:20

nice as.

56:23

I went to Hot ninety seven to do a black

56:26

some Black moone promo stuff. And

56:28

I've seen Angie edit the

56:31

phone calls. Yeah, I believe

56:33

it is not.

56:34

That's how I learned how to edit on tape. Yeah.

56:36

Wow, that's a radio DJ

56:39

thing, y'all.

56:40

I watched Aedgie Martinez edit

56:42

radio like she yo, she was nice with it.

56:45

Mom her tape yep, yeah,

56:48

cuts fly saw that back in the days

56:50

what they would do when you were called a radio station, they

56:52

would called the calls the tape right,

56:55

and then they would edit it. And

56:57

by time it's time to play that call,

56:59

that edit has to be done.

57:01

And shortened and not as long as that.

57:04

And I've seen Angie, I see.

57:06

I watched Angie when we

57:08

was up at Hot edit phone

57:10

calls and I was like, yo, and

57:12

when I went back to D and D, I

57:14

went into the editing room and taught

57:17

myself how to edit.

57:19

You know what, Loyah, I

57:22

gotta give you credit because

57:24

I had to edit you all the time when you were called a radio

57:26

station.

57:27

No matter

57:30

of fact. Well one, you

57:32

were the only DJ on a commercial

57:35

radio station that would

57:37

let me in the building. That's

57:40

what starters two I

57:43

forgot. The first time I ever seen a playback

57:45

machine was you and

57:48

I watched you edit something.

57:50

I saw you do that with the will and everything.

57:53

Right when Keil and I drove home, he was like, yeah,

57:55

that's a playback machine. And I was like, yo, like why

57:58

don't we do that? And he was like, dog, you

58:00

late, Like everybody uses a playback machine

58:03

on stage. That's why people can jump around

58:05

without the record skipping, because they used a playback

58:07

machine.

58:08

You know. I started the playback machine.

58:10

Right watching like you

58:12

do that at the station, and

58:14

I looked at what she was doing and on I was like, oh

58:16

shit, we got to get one of those.

58:18

You know who started who started their popcatch

58:21

using the playback machine? Right? Who

58:23

makes y'all?

58:24

Tayla Make Show was the first DJ

58:27

ever to use the playback

58:29

machine that made him do that. He

58:32

was at a radio station that he's I

58:35

want to use that because that way don't have to bring all

58:37

these records.

58:39

But when you think about it as crazy that like Donnie Simpson,

58:41

Tom Joyner, all these people like this is they

58:43

have to be able to do this like they they've done this with

58:46

tape.

58:48

Ye never knew that. For

58:51

me, the trademark of your

58:54

productions is of course filtering,

58:58

which U what's what's the

59:00

second song on into the stage?

59:03

Nigger is the second song?

59:05

Yes, filtering the baseline and whatnot?

59:07

How are you guys knowing which equipment to

59:10

use? Like assuming that you graduated from

59:12

the sk one, Like what's the first piece

59:14

of equipment that you got a real piece

59:16

of equipment for what you made your stuff

59:18

on? Like what do you use?

59:20

That's when the Coshio Aussie one comes into play.

59:22

And then walk comes home with

59:24

this sampler called the a Kai six

59:27

twelve. Right, the KI

59:29

six twelve is like the parent of

59:31

the nine hundred, the S nine hundred

59:34

nine to fifty series.

59:35

The only thing with the six twelve.

59:37

Instead of instead of being able to sample

59:39

eight different things, it only sampled

59:41

one thing and

59:44

on the front of the six twelve

59:47

is knobs

59:50

and one of the knobs is a filter knob,

59:54

and me messing around with the sampler, I

59:56

turned the filter knob and

59:58

seeing that the that it.

1:00:00

Filtered the sample.

1:00:02

Now I'm thinking I'm the first one to

1:00:05

ever do this, but Marley

1:00:07

already did it already.

1:00:08

I just didn't know.

1:00:10

Well on vapors.

1:00:11

Mally did it on what's

1:00:14

it fake?

1:00:14

Ye, I think vapors, And there was something

1:00:16

else he did that it was

1:00:18

filtered. And you know, Pete and

1:00:21

tipping them was starting experiment with filters

1:00:23

too. You know in my house,

1:00:25

I'm like, yo, I just discovered something new.

1:00:28

Like when we heard Sad he got a one track mind.

1:00:30

That was that opened

1:00:34

everything. We patterned

1:00:36

our sound after that. The reason

1:00:38

why our filters sound different because

1:00:40

we were using a Kai six twelve.

1:00:43

Yeah.

1:00:43

So what we would do is we didn't have like

1:00:46

big equipment. So what we would do is whatever

1:00:48

we would take our filter, filter it down and

1:00:51

put it on a cathetic and then take it

1:00:53

to the studio.

1:00:54

Tell that engineer, Oh.

1:00:55

Y'all are in a pre sample at home, and.

1:00:58

Right right right, loop

1:01:01

that up, loop this, sire, But check

1:01:03

this out. We didn't get equipment until

1:01:06

we did the shining.

1:01:07

Well, we didn't get official we

1:01:09

didn't. We didn't get official equipmentu til we did the shining.

1:01:12

But we had the six twelve and we had to one

1:01:15

when.

1:01:15

We got the money from into the stage. We took

1:01:17

that money and want to go buy equipment to

1:01:20

do the shining.

1:01:22

So buck them down and all

1:01:25

the props and.

1:01:29

It's no programming. It's all loops.

1:01:32

It's all loops. Yeah, everything on there is there's

1:01:34

no programming on that. It's just all loops.

1:01:37

So when you're home, you're bringing the ingredients

1:01:40

to the studio and telling the engineer,

1:01:42

this is what I want, this is what I want, this is what.

1:01:44

I What we did was we made the beat

1:01:46

first at home, put it on cassette,

1:01:49

put the different parts on cassette, the

1:01:51

baseline, the drum loop one,

1:01:54

drum loop two, noise

1:01:56

main loop, and then we would

1:01:58

go to the studio and be like yo, swift

1:02:02

loop number one. That's loop number one, Loop

1:02:04

this up, okay, stop right there. Okay,

1:02:07

here's the second part, loop

1:02:09

this up, stop right there. Put that on top

1:02:11

of that on beat

1:02:14

and loop number three. Okay, here we go.

1:02:16

Put that on top of that and right there like exactly

1:02:18

like we was directing everything.

1:02:21

Wow, we might have to soundtracking

1:02:24

to it, just

1:02:27

based on the

1:02:29

sonic quality of it. In

1:02:31

my mind, I'm thinking like, yo, man,

1:02:34

they're using special needles on

1:02:36

it, like the way that we would try to analyze

1:02:40

and figure out

1:02:42

why those drums sound so dirty, Like

1:02:44

the amount of times I've had to go to Bob

1:02:47

Power and play like

1:02:51

the come Live with Me drum break.

1:02:54

Yeah, you laughing your ass off? Thanks? No,

1:02:57

as howers I wasted at Battery Studios.

1:02:59

Shut man, Why you ain't just

1:03:01

call them?

1:03:02

I know them until sound treatment time? Okay,

1:03:06

But again I'm

1:03:08

just thinking like I'm thinking you guys

1:03:10

would take your records and

1:03:13

just throw them in the dirt.

1:03:15

No,

1:03:18

we didn't. We we would.

1:03:20

We would sample on cassette, take

1:03:22

what we want and just and just

1:03:24

take it to d n D and they

1:03:27

would take it from the sampler from the cassette

1:03:29

back onto like the two.

1:03:31

Inch This

1:03:34

is why I purchased those.

1:03:37

Yeah, and we ruined a lot of records messing

1:03:39

around in the dirt.

1:03:40

Damn is

1:03:43

that still a two inch?

1:03:43

And electric lady? Is that still machines?

1:03:46

And there? Yeah?

1:03:46

It's there, It's there, okay,

1:03:49

you know, but Brooke, Brooklyn is actually

1:03:52

more than that.

1:03:52

Like I I now

1:03:55

like.

1:03:55

The good thing about the

1:03:58

nerdy post dat kings that

1:04:00

is now like that entire

1:04:02

crew has mastered in ways

1:04:05

like I go to Electric Garden now shout out

1:04:07

to to Bend at Electric Garden.

1:04:09

And also what's my other spot in Brooklyn,

1:04:11

Steve Diamond Mine? Yeah, diamond

1:04:14

mind. Especially like now I

1:04:16

could just go in and because they

1:04:18

were raised on

1:04:21

all of your music, they literally

1:04:23

know the exact frequency that

1:04:26

I can. I can be out there in the half hour, whereas

1:04:29

like back in the day, that ship would

1:04:31

take me months just one one

1:04:33

frequency at a time, another frequency, and

1:04:36

I didn't realize that you guys were pre

1:04:39

sampling that home on cassettette.

1:04:41

Cassette is the key. Yeah, damn

1:04:44

man, I might have just scrap this entire record and

1:04:46

just start all over again and just do everything on cassette.

1:04:52

At the end of the day, it's like all

1:04:55

of us produce the cats.

1:04:56

No, we're all mad scientists, and

1:04:59

we all have our way of doing things.

1:05:01

You know, once we.

1:05:02

Learned how to operate, once we learned

1:05:05

how to operate, the sp in the nine P fifty.

1:05:07

We was doing stuff here, but

1:05:10

the way we was doing it was running

1:05:13

it through the Mackie board and

1:05:15

you run it through the mixer before then, and you pre

1:05:17

eq the drums before you

1:05:19

sample it, so that still

1:05:22

added a grit to it too.

1:05:24

I didn't learn the sp until we were

1:05:26

getting ready for the shining. Q Tip taught me to spow.

1:05:30

I didn't.

1:05:30

And you know, Q Tip is the one who named me mister Wall.

1:05:34

Really, what's meter factory without

1:05:36

mister phrase call?

1:05:38

I did that.

1:05:39

I didn't realize that you did not have a moniker.

1:05:41

I was going with Walter

1:05:43

do Guard. I was like, you know what, if Eric Sartain we could

1:05:45

do it.

1:05:45

I can do it too. I'm gonna be Walton do

1:05:48

Guard. But Keith

1:05:54

Harry Ship right exactly.

1:05:56

But q tips he called

1:05:58

me mister Wall, and I just took never ran

1:06:00

with it.

1:06:05

You guys were in what I call the running with the

1:06:07

bulls era right of

1:06:11

beat making. You know, can you tell me

1:06:13

like how deep and involved were

1:06:15

you guys with like the record conventions

1:06:18

or y'all there like four in the morning waiting

1:06:21

mm hm.

1:06:22

Tiple, come pick us up, que Tipple, com

1:06:24

pick us up at four o'clock in the morning.

1:06:26

We were going to the Roosevelt

1:06:29

Hotel, thinking that we had to jump on

1:06:31

everybody. We're like, yeah, first

1:06:34

yo. Once we walk in there, we're

1:06:36

thinking, we're there, We're number one, We're here.

1:06:39

We turned to our left kid Capri

1:06:42

and Pete Rock rented

1:06:44

a room the night before.

1:06:56

Rooms and they was like,

1:06:58

as soon as the first dude brings his

1:07:00

case and they're.

1:07:01

Down there, y up there, Pete

1:07:03

Rock is there already?

1:07:05

Which you do the top of the mirror, what'd you do?

1:07:08

I wasn't in I was in the generation after

1:07:13

the slim picking for gold mining is

1:07:15

between eighty

1:07:18

nine and like ninety

1:07:20

two. Like if you find

1:07:22

shit during that period, then

1:07:24

your life is golden. I came after the

1:07:26

fact, and you

1:07:29

know, I would just hear stories. I'd hear stories

1:07:31

of like Pete b rating dealers

1:07:33

for like he would buy like the

1:07:36

entire catalog of an artist just

1:07:38

so that you know, if there's eight copies

1:07:40

of a particular record, they would buy them all to make

1:07:43

sure that no one else took it.

1:07:46

You can't stop that from happening, Like.

1:07:48

Yeah, your petty is well okay,

1:07:50

So I'll ask a question even though this is

1:07:52

like super late in the game, I

1:07:55

know that you guys were the first

1:07:57

to use actually

1:08:00

the second, because no one ever credits OC for

1:08:02

using it on Uh

1:08:09

yeah, was the first.

1:08:12

Let's take it through. Who got the props? Because the thing is

1:08:14

is that y'all did it first, and of course Usher

1:08:17

and everybody comes behind it, like are

1:08:20

you in the feel some sort of way about

1:08:22

not getting the shine off at first? Or hip

1:08:25

hop is just open sport and you

1:08:28

know it's it's like a reggae

1:08:30

rhythm. Anybody can rhyme over. Like, what

1:08:33

is your attitude in terms of at

1:08:36

the time, how did you feel as opposed to now.

1:08:38

What's the Usher record?

1:08:38

Y'all? What was the first?

1:08:41

Here's my mind that

1:08:43

was on the first album.

1:08:45

I didn't feel no type of way about the Usher thing.

1:08:48

It was cool, cool, you know when I felt

1:08:50

away And this is the first time I've ever said

1:08:52

this in an interview, melt away

1:08:54

when the track masters you sound

1:08:56

boy Burial for Mary and Mariah

1:08:58

character m we had just.

1:09:03

Bary you out.

1:09:04

They went behind us, looped

1:09:06

up our record, gave it to Mary first,

1:09:09

and I guess it didn't work or to get to ta give it to

1:09:11

somebody first it didn't work, and they then they either get

1:09:13

it to Mariah or marry After that.

1:09:15

That's when I was like, come on, dude, like we just

1:09:18

put this record out, dude, like let

1:09:20

the record bring you a little bit. You went and

1:09:23

went right behind us and Jack B.

1:09:26

So I felt some type of way about that.

1:09:28

And I kind of felt the way like that

1:09:30

about intro when intro used Quincy

1:09:34

Joneston. Yeah, and I was like, yo,

1:09:37

like what gentile record?

1:09:38

Was that?

1:09:39

Funny? How found the

1:09:43

first thing off their second album?

1:09:44

My whole thing is this, Like I don't want I'm

1:09:47

not even checking for money,

1:09:50

just be like, yeah, we got it from there, that's

1:09:52

all, you know what I'm saying.

1:09:54

Like that was my thing with that, And I was kind of

1:09:56

tight behind that, you know. But

1:10:00

Yo, man, you know Homeboy passed, So I

1:10:02

was like, I'm not gonna say nothing about it because then I'm gonna

1:10:04

look like I hate up.

1:10:06

In terms of production, like are you guys

1:10:09

involved at all? In terms of also

1:10:13

structure of the song horses rock

1:10:17

and rock, Like y'all could do that better? Da da D

1:10:19

Like are you guys also?

1:10:21

Yeah?

1:10:21

Micromanaging as far as vocal sessions

1:10:24

are just like, here's the beat, all

1:10:26

right, good luck.

1:10:27

In the beginning, we wasn't really

1:10:30

like that, like I would say stuff like I

1:10:32

told after Buck did how

1:10:35

many mcs he did? How many mcs

1:10:37

are one tape?

1:10:37

Right?

1:10:39

I said to him, you're sure you want to keep

1:10:41

it giving vocals that way? You don't want a dang

1:10:43

it. He said, trust me, Walk, I'm

1:10:45

gonna keep this the way it is. And

1:10:47

I said, okay, you know what I'm saying. But usually

1:10:51

we just let them go. But as

1:10:53

we got older and started doing more

1:10:55

records, we became more vocal

1:10:58

about yo, do your vocals this way?

1:11:00

Do this, do that? Do that? You know?

1:11:02

I was gonna ask, who's the one that suggested,

1:11:04

especially for I Got You Open for

1:11:08

Buckshot to use his laid back mellow

1:11:11

flow instead of his hype.

1:11:13

Who got the props flow?

1:11:15

Oh? That was Buck? That was Buck. Buck

1:11:18

came in and was like, yo, like when

1:11:20

we was doing uh not

1:11:23

even I Got You Open. We was doing the Buck him

1:11:25

Down remix.

1:11:27

Fuck him down,

1:11:31

I got you I got you up, No mom

1:11:33

sake, I got.

1:11:33

You up on was first okay, yeah,

1:11:35

the Buck Up Down remix.

1:11:37

Drop the Buck dropped after

1:11:39

before after, Okay, okay,

1:11:41

I'm not bad. It's mad long ago, I'm

1:11:43

old. But like

1:11:46

when when Buck came into the studio, it's

1:11:49

like he just it was a different flow

1:11:52

because being that we was on the thing where we're

1:11:54

gonna remix everything every twelve ones

1:11:56

we put out, Buck was like, Yo,

1:11:58

if they're gonna change the beat, I'm change the.

1:12:00

Flow, you

1:12:03

know.

1:12:03

And how did y'all feel when y'all heard it?

1:12:05

Like, because it's so night and day from

1:12:07

what he was known that, Like, his

1:12:10

the original verse was super hype. It's

1:12:12

almost like you know, listening to parents just

1:12:14

don't understand versus summertime, Like, yeah,

1:12:17

what the hell is this?

1:12:19

Right?

1:12:19

Right?

1:12:19

Right?

1:12:20

I think

1:12:22

he just did whatever fit the

1:12:24

moment. Yeah, we got the props was

1:12:26

like a more up tempo vib

1:12:29

so he hit it that

1:12:31

way.

1:12:31

But then when we started slowing.

1:12:33

The record down and smoothing the records out,

1:12:35

that's when he started to becomming. He came

1:12:37

with the laid back style. The bad and white

1:12:40

situation was all him.

1:12:41

That was it. He was like, I want

1:12:43

to rhyme off of.

1:12:44

That, and yeah, I was too

1:12:46

busy trying to impress

1:12:49

Lodge and Pete and Premiere

1:12:51

and cute Tip. So I'm trying to find

1:12:53

the obscure most obscure record fucking

1:12:56

tech and still they wasn't thinking about that. There was

1:12:58

like, Yo, we want to rhyme off with this, this

1:13:00

and this, and I was like, nah, we're not going off

1:13:03

of that. So Buck was like, y'all want

1:13:05

to rhym off the Barry White stuff. And

1:13:07

then one thing about Buck, he talks to you like he's

1:13:09

a car salesman, so you don't feel like you bind a

1:13:11

goddamn car from this dude. He

1:13:15

says to me, hey man, because Barry

1:13:17

White was a gangster man. He was

1:13:19

a gangster and we need to keep

1:13:22

the gangster vibe going.

1:13:23

And I'm looking at him like no, but they don't get

1:13:25

the funk away from me, yo.

1:13:29

But at the end of the day, it was like,

1:13:31

Yo, we did it, and

1:13:35

that was bo.

1:13:38

That's crazy because as a a like

1:13:40

a I don't want to say a female hip hop fan in a

1:13:42

way, but it just crazy that that was his motivation.

1:13:44

Meanwhile, I'm sure that some of us girls was listening

1:13:47

like, oh shit, this nigga can slow it down.

1:13:49

This shit is dope.

1:13:50

Like I wasn't even thinking about it from

1:13:52

a very white being a gangster. It was more

1:13:54

like what Barry White's you know, public

1:13:56

perception is.

1:13:57

So that wasn't trust me, that wasn't

1:14:00

attention. He was like he

1:14:02

just tried was trying to fit the moment

1:14:04

and of what we.

1:14:06

Was trying to do production wise,

1:14:08

like what did you learn making

1:14:11

the shining that you didn't know

1:14:13

like that production techniques

1:14:16

and whatnot?

1:14:17

Like how did you get wiser progression

1:14:20

steps?

1:14:21

Because we recorded into the stage

1:14:23

from twelve midnight to six in

1:14:26

the morning.

1:14:27

So at

1:14:29

D and D.

1:14:30

At D and D twelve midnight, what.

1:14:32

Is it about D and D? Like why would y'all

1:14:35

use D and D? They have never flushed

1:14:37

that toilet like in twenty years,

1:14:39

yo.

1:14:40

Hold on, hold on all the focus said, I remember

1:14:42

when I bring you D D. Yeah,

1:14:44

it was like, Yo, this place

1:14:47

is crazy.

1:14:48

Yeah, man, because I was a tourist from Yeah,

1:14:53

you know, I've told this story before,

1:14:55

but my favorite well,

1:14:58

I mean D and D was just a grimy Yeah.

1:15:02

It was. I

1:15:05

don't want to say it's like the projects of studios,

1:15:07

but it was like you

1:15:09

come in, no, it's just super grimy.

1:15:11

It's like blunt ashes from yesteryear

1:15:14

still on the floor. Bathrooms

1:15:17

barely worked the day that you guys worked

1:15:19

on silent treatment.

1:15:21

Right when you know, the pool

1:15:23

table is in.

1:15:23

The hallway right right, right, dog,

1:15:26

for like forty five minutes straight, only heard this

1:15:28

bell ringing,

1:15:32

sing ding thing. After forty

1:15:34

five minutes of that, I snuck

1:15:37

to the other room to see where that that bell

1:15:39

was doing, right, And

1:15:41

it was Premiere and kars one

1:15:44

right, yeah, starting the genesis

1:15:46

of what we would know is MC's act like they don't know,

1:15:48

like they were literally working

1:15:51

on that while you guys were in the b room working

1:15:53

on the solid treatment.

1:15:55

But actually it was backwards when a room

1:15:57

and for me and them in the b room a few

1:15:59

room is yeah, the room was

1:16:01

beat monitors in the b room was Premiere.

1:16:04

But you know what is right, man,

1:16:06

D and D was the project of the studio.

1:16:10

Here's the thing, here's the thing with D n

1:16:12

D. Right, I'm gonna break down D N

1:16:14

D. I'm break down the whole thing with D and D. Right,

1:16:17

D and D.

1:16:18

First of all, we started at Calliope. Coliop

1:16:22

had no outboard gear

1:16:25

whatsoever. The outboard

1:16:27

gear consisted of a tape deck

1:16:30

a that deck, I mean a that recorder.

1:16:35

Who it was a you know, they

1:16:37

had no outboard gear in Calliope.

1:16:40

But by Power worked there in three

1:16:43

runs.

1:16:43

But that's why Bob Power is a genius.

1:16:46

Because he had nothing to work with.

1:16:48

Exactly right, right,

1:16:50

Coliopy. What happened was we got kicked

1:16:53

out of Calliope.

1:16:54

How did you get kicked out of that

1:16:57

means another story.

1:17:00

So we're recording. I

1:17:02

forgot we were recording maybe slave

1:17:05

or something. And Havoc

1:17:07

came to visit us in the studio.

1:17:09

He said, Havoc, because.

1:17:12

Havoc is on you the man.

1:17:14

So he had came to the studio to visit us.

1:17:17

And the guy who owned Callipe,

1:17:19

his name is Chris. He lived in Jersey. He

1:17:22

left the studio to go home

1:17:24

because again we recorded twelve May ninety

1:17:26

six at six am, Havoc

1:17:30

somehow tripped the alarm. Right,

1:17:33

Chris had to come back home from his

1:17:36

house all the way back

1:17:38

to Manhattan to thirtieth Street,

1:17:40

and he was mad. So he was like, you guys

1:17:42

tripped the alarm. Be guys, we're doing something he wasn't supposed

1:17:44

to do. You guys were banned.

1:17:46

From my studio.

1:17:47

Get out blah blah blah.

1:17:48

So see he's the voisterous

1:17:51

brother. Fuck you, Well, I.

1:17:53

Don't want to come back here time that way.

1:17:55

And then we just left. Yeah,

1:17:58

I took off. I took all my two inch tapes

1:18:02

and left, like do we out of here?

1:18:04

Damn home on that night.

1:18:07

The funny thing is, so that morning,

1:18:10

I'm walking, I'm like, I

1:18:12

have the two inch tapes. I'm taking them to Nervous

1:18:15

Records. You know what I'm saying, because I'm

1:18:17

not taking them home, So I'm taking

1:18:20

them to Nervous Records. Nervous

1:18:22

Records was in Times Square at the time. Nervous

1:18:25

Records was on Broadway between forty

1:18:27

third and forty fourth, right across

1:18:29

from MTV. So I'm

1:18:32

walking to Nervous Records. I

1:18:34

turned the corner of Broadway.

1:18:37

Who do I bump into Premiere and

1:18:40

I'm like yo. So Premiere is like, yo, you know

1:18:42

what's up with that album? How's it going? And

1:18:44

I'm like, yo, man, we just got kicked out of Calliope

1:18:46

blah blah blah blah.

1:18:48

And Premiere says to me, look, I'm

1:18:50

at this studio. I'm the only

1:18:53

hip hop dude there. Come

1:18:55

by and Yo, check

1:18:57

it out. You might like it. You can record

1:18:59

there. We beat only hip hop dudes. They're working And

1:19:03

I was like, beat so

1:19:05

permire. This is exactly what he says to me. My

1:19:08

session starts at twelve. I'll

1:19:10

be there around three four, so come come

1:19:12

come through. And I was like I and

1:19:14

I went and checked

1:19:17

out D and D. Premier showed me his

1:19:19

room, which was Studio B, and

1:19:21

I was like, Yo, this is dope. And

1:19:23

then Dave from D and D

1:19:26

takes me to Studio A. And

1:19:30

when I walked into the Studio A, I

1:19:33

was like, Yo, this

1:19:35

is it.

1:19:36

Like Studio A just had it sounded

1:19:39

like my basement. And I turned

1:19:41

around and looked at the outboard gear. I seen they had

1:19:43

mad They had enough outboard gear in there,

1:19:46

you know. And I was like, Yo, this is it. And

1:19:49

what was the first session we did? What? Maybe

1:19:52

I got you open? Yeah, I

1:19:54

got you open. I think I got you open.

1:19:56

Yeah, it was the first session we did there. And

1:19:58

once we did the secon there, we

1:20:01

never left.

1:20:02

Wow, we never.

1:20:04

Left, like and it was like and the thing about D

1:20:06

and D is D and

1:20:08

D had the sound like

1:20:11

that m C I board. They

1:20:14

had an m C I tape machine. Yeah,

1:20:19

and it sounded nice and warm

1:20:21

in there, like you know, we went to battery.

1:20:24

Battery was nice, but it was too clean

1:20:26

for what we Yeah,

1:20:28

and it's like D and D fit us right

1:20:31

now. Now, let me explain

1:20:33

the bathroom thing. The bathroom

1:20:36

you went to was not the real bathroom.

1:20:39

The real bathroom was in the office.

1:20:43

That bathroom

1:20:45

you went to was the bullshit

1:20:48

bathroom. You know what I'm saying. But

1:20:51

yeah, at the end of the day, we went

1:20:53

to D and D and we just fell in love. And

1:20:56

I'm the I'm the nerd geek nerd when it comes

1:20:58

to like recording,

1:21:00

and you know, I'm the dude that YO use

1:21:03

the pull tech used.

1:21:04

It like that's me. Walk

1:21:07

is just the yo.

1:21:09

I know these walks knowledge of records,

1:21:12

like you know, and I tell people this all the time, walks

1:21:15

knowledge of records.

1:21:16

You're not gonna find nobody that has that knows

1:21:18

more about records than war.

1:21:20

I agree.

1:21:21

If you if you go to Walk and say y'all need a

1:21:23

record with a drum that sounds

1:21:25

like there's walk not out of ten, will pick out three

1:21:27

records and go, Yo, check these out.

1:21:29

Wow.

1:21:31

He is the nerd of the miners and

1:21:34

I'm the record guy. That's why my camera

1:21:36

ain't working because because he's.

1:21:39

Like and and even with D and D like Dan.

1:21:41

The thing with D and D was I

1:21:43

learned how to engineer at D and D. Okay,

1:21:47

like I learned the patch Bay, I learned

1:21:49

what Mike t Use I

1:21:51

learned like D and D is what taught

1:21:53

me.

1:21:54

The way I record today is

1:21:56

what I learned the D and D.

1:21:59

And you know, during those sessions,

1:22:01

I was watching everything

1:22:04

like and as a matter of fact,

1:22:06

who got the props was recorded

1:22:09

at such a sound studio

1:22:12

with with uh slow Moo Son the

1:22:14

field was the engineer. What happened

1:22:17

was me and SlowMo got into a big argument

1:22:19

because I was telling him how I want the record to sound,

1:22:22

and slow Mo goes, oh,

1:22:25

you think you know everything? You mixed

1:22:27

the record. The mix you hear on that

1:22:29

record is the mix that I did.

1:22:31

Uh. He wanted to clean it up.

1:22:34

Now he yeah, he wanted to clean up and he wanted to

1:22:36

sound like a like. He was like, you gotta

1:22:38

make the you gotta make the drums sound like

1:22:40

this, ah that drum loop.

1:22:43

Oh, you need a drum machine. And I'm like, no,

1:22:45

you don't I know what I'm doing here? And

1:22:48

it you know, and that session was so bananas.

1:22:50

It got to the point I think walk came and

1:22:53

something was said. What was like, y'a mout before I

1:22:55

killed somebody?

1:22:58

Like it was that.

1:22:59

Session where so bananas,

1:23:01

like I mixed, I mixed that and I mixed

1:23:04

the B side fuck it up because

1:23:06

it was like, yo, I knew what sound we

1:23:08

was looking for, you know, and

1:23:12

yo, Like after that, I was.

1:23:13

Like, you know what we need to go?

1:23:15

We you know, when we went to Calliope, went to

1:23:17

Calliope because Calliope was

1:23:19

cheap and Callipee

1:23:21

was a studio that anybody was. They had like a special

1:23:24

package from midnight to six am. I

1:23:27

think we was getting the room for what twenty five an hour?

1:23:29

Walk? Yeah, what was it?

1:23:31

Peak hours?

1:23:32

It was like what sixty eighty

1:23:35

maybe one hundred.

1:23:36

And you're saying that D and D was

1:23:39

quote the non hip hop spot. What were they doing

1:23:41

before you guys turned it

1:23:43

into hip hop's own.

1:23:44

Freestyle music and yeah, freestyle

1:23:47

and they did like they did the Fat Boys

1:23:50

Actually was like I think the first dudes that recorded

1:23:52

there, the hip hop dudes, They recorded

1:23:54

one or two records there, but they

1:23:57

they did a lot

1:23:59

of freestyle stuff. They

1:24:02

did a couple of reggae records, but

1:24:04

they was known for like dance.

1:24:05

Stevie B and Yeah.

1:24:09

One time we was in the studio and Noel was.

1:24:11

There silent morning Noel.

1:24:14

I'm looking at him like what are you

1:24:16

doing?

1:24:18

Nice?

1:24:19

But yeah, that's what they was. They was doing dances.

1:24:21

One thing about d n D.

1:24:22

You will meet anybody in dn D like

1:24:25

people you would even think that would be there every

1:24:27

Saturday. If we were record on

1:24:29

a Saturday to Shina Arno will be in there

1:24:32

doing her demo.

1:24:33

Wow.

1:24:39

Yo, can you talk about working with U Sean

1:24:41

Price and like rock and rock from Helter

1:24:43

Skelter.

1:24:45

Yo, that dude was

1:24:47

a different guy.

1:24:48

Yeah.

1:24:50

Your one day we started

1:24:52

working, we were working on maybe

1:24:54

the Sean and I'm not sure, but posstive

1:24:58

news that came to see me in the studio. I

1:25:01

bring him up, says I wanted to introduce him to rock

1:25:03

and rock. So I bring Passing.

1:25:06

First person we see is Sean So

1:25:09

I said, Yo, Sean, Yo, Yo rock, this

1:25:12

is my man, Mrs past Pass,

1:25:15

this is rock. You know what he

1:25:17

says to Pass Yo,

1:25:19

son, I'm nice. Son, I'm not son.

1:25:22

I could book you on this mic son, I'm nice,

1:25:24

I'm nice. I bust anybody as

1:25:27

son what what I

1:25:29

said? Please excuse him?

1:25:34

Face like yo,

1:25:36

yo, he's impossitive. Face like Papa is like yeah,

1:25:38

what the is going on? I'm like, please

1:25:40

excuse him. This

1:25:43

is just how he is. This is this is this

1:25:45

hen But that's how he was.

1:25:47

He was like a jokest but

1:25:49

yeah, I've seen many sides of

1:25:51

him, Like right right,

1:25:54

he could have been a comedian.

1:25:55

Yeah, he could have been a comedian. He was a

1:25:57

great guy. Man, he was a great guy. Yeah.

1:26:00

I just got to tell you the day

1:26:03

that we first

1:26:05

heard onslaught on the.

1:26:07

Uh I remember you told me.

1:26:09

I remember if you watch

1:26:13

us and Buster rhymes on SNL,

1:26:16

we snuck eight bars of that in on

1:26:19

like we heard it that day.

1:26:20

Yeah, and we were backstage having

1:26:23

a meet and like, yo, man, I want to

1:26:25

rhyme over that ship.

1:26:26

And we were like yo, we we didn't

1:26:29

clear the song with SNL like we're supposed to do. You say,

1:26:31

I don't give a fuck. Matter of fact, I thought

1:26:33

it's gonna spit four bars too, and

1:26:35

literally like for

1:26:38

us, we thought we was like committing a crime.

1:26:40

Like, Yo, we ain't telling Sylvia Room, We ain't

1:26:42

telling nothing but the.

1:26:42

Last last sixteen bars that

1:26:44

ship we're doing that black Moon shit and literally

1:26:47

you know that's like one of my favorite shits.

1:26:50

Yeah, that's all egle D. That's

1:26:52

all eagle D. That's that's my favorite

1:26:54

black Moon record of all time.

1:26:56

Yo, that record is me playing

1:26:58

them anymore or based on

1:27:01

it, is me playing them anymore.

1:27:03

Oh. Also, Doug on

1:27:06

you turntables and mic, Why

1:27:09

what was on your mind when you did that kick pattern?

1:27:11

To this day?

1:27:13

Like I never heard someone not

1:27:16

John Jebbo starts from the JBS do

1:27:19

sixteen do sixteens on the

1:27:21

kick drum? Who programmed

1:27:24

that he did all that?

1:27:26

What it was was I was following

1:27:28

a pattern of heartbeat, right.

1:27:30

But that's the thing. You could have chose the

1:27:33

other part where they're just playing the shit normal.

1:27:35

I E. Buddy, you chose the

1:27:37

hardest part to loop.

1:27:39

Yeah, but that's just me like

1:27:42

you, you're using the same record,

1:27:44

but you're trying to be different.

1:27:46

You're trying to be different. You don't want to you don't want it to

1:27:48

sound like it's the same.

1:27:50

You don't want to.

1:27:50

We didn't want to sound like daylight, you know what I'm saying,

1:27:52

So we wanted to be a different

1:27:54

swing.

1:27:55

Yeah, Like two turntables with a

1:27:57

mic was basically a segue.

1:28:00

We used to do that on the Like the first time we

1:28:02

me and you met, which was at a show

1:28:04

in Philly, we did two ton

1:28:07

tables in the mic.

1:28:08

That was a segue we used.

1:28:10

You know, we got back home, we was like, yo, we

1:28:12

need to make that into a record.

1:28:14

Now.

1:28:15

The whole thing happened with Nervous where

1:28:17

you know, we left Nervous records.

1:28:18

Oh blah blah blah.

1:28:20

And we still like

1:28:22

when we you know, when we got

1:28:25

with me and Buck sat down to do

1:28:27

Warzon, Buck was like the

1:28:29

heartbeat thing.

1:28:31

We need to do that, you know. But

1:28:33

it's like we you know, like I said, it was us.

1:28:36

It was just so risky to put sixteen

1:28:38

bar patterns on the cake drum where

1:28:42

it was that's just unheard

1:28:45

of.

1:28:46

I'm a nerd.

1:28:47

For me, it was like I spend

1:28:49

more times like why would they do

1:28:51

that? But will eventually happen?

1:28:54

Is I now do that to this day and I can't

1:28:56

stop doing it?

1:28:58

Yeah?

1:28:58

You ever to be so obsessed with something that you either

1:29:01

don't understand or you hate and

1:29:03

then you wind up turning to that ship.

1:29:06

Yeah.

1:29:06

Yeah, like right now, I'm

1:29:09

like that pattern.

1:29:10

Probably I'm still obsessed over

1:29:14

why you did it because it's kind

1:29:16

of wrong, but still right, Like, there.

1:29:19

To be different, man, there to be different.

1:29:21

Two mic was supposed to be a House Party

1:29:23

two. Yeah, it

1:29:25

was a House Party two soundtrack.

1:29:27

Oh but we

1:29:30

recorded that record twice.

1:29:32

We recorded it once and

1:29:35

when we record the first time, that's

1:29:38

when we didn't regular We hooped

1:29:40

up the regular part and anything. And when

1:29:42

we did that, it was like, Yo, this is

1:29:44

gonna be dope. And then the whole

1:29:47

nervous thing happened.

1:29:49

So after that it

1:29:52

was like whatever, you know. And then when Buck was

1:29:54

like, let's do that heartbeat thing, it was like,

1:29:56

you know what, we're gonna

1:29:58

do it, but we're gonna do it a little different. You

1:30:00

know, We're going to try to make it sound a little different than

1:30:03

everybody else's virsion of heartbeat.

1:30:05

Okay, you know, you

1:30:09

know. I do also want to get to

1:30:11

the fact that you guys were super

1:30:13

early like, of course post pandemic,

1:30:16

everybody was DJing online and whatnot, and

1:30:18

you guys were like super early on that. What

1:30:22

was the genesis of you guys starting

1:30:24

your own internet radio station?

1:30:26

In nineteen ninety six, my

1:30:29

homeboys Mark and Randy they

1:30:31

had an internet show. Now this is

1:30:33

nineteen ninety six, they

1:30:36

had an internet show called eighty AA hip Hop. Yes,

1:30:40

I'm marking, Randy ran eighty A hip Hop.

1:30:43

They came to me and was like, YO, can

1:30:46

you help us produce this show? And

1:30:48

I was like, YO, why not, let's do it. And

1:30:51

when I went to them, they was like, YO, why

1:30:53

don't you do your own thing also?

1:30:56

And when they said that to me, you know, the

1:30:58

first thing I did was like your

1:31:00

walk da, and

1:31:03

you know, we sat down and that's how Beat minus

1:31:05

Radio was born.

1:31:07

Like Adia hip Hop is the first

1:31:09

hip hop station. Second

1:31:13

Beat minus Okay,

1:31:15

when.

1:31:15

We started doing it online, Macio

1:31:18

is the one that said, Yo, you need guys, need to bring it

1:31:20

over here.

1:31:20

That's why we were doing it on uth stream. Yeah,

1:31:22

but that's down like down the line, like we

1:31:25

you know, Beat minus Radio.

1:31:26

We was doing that nineties nineties.

1:31:29

Then the two thousand thing with the dot com

1:31:31

thing happened. Pseudo which

1:31:33

was our parent company, did so

1:31:36

that was the end of it. For a minute, but we did

1:31:39

it like we had Beat minus Radio offline

1:31:41

on power on our one oh five.

1:31:43

Point nine WNWK for

1:31:45

a second.

1:31:46

We had it there, and then what

1:31:49

happened was we kind of started

1:31:51

again with another internet radio

1:31:53

station. But that radio station

1:31:56

they they wasn't maintaining their equipment, so

1:31:59

you know, one day we went there and equipment was

1:32:01

messed up, so we decided to just leave.

1:32:04

Ma Co was on U stream

1:32:07

and Maco hits us up.

1:32:09

Yo, y'all need y'all need to come

1:32:11

on you stream and I logged on Mao's

1:32:14

rocking. He's like, yo, E set

1:32:16

up an account, make your own yo,

1:32:19

dude, Yo, you need to be on here.

1:32:21

And that's what we started Beat minus Radio again.

1:32:24

What year was that, Walt Night eight?

1:32:28

Two thousand and eight it was, And

1:32:31

we restarted Beat minus Radio

1:32:33

online two thousand and eight, but before

1:32:35

that we had you know,

1:32:37

we was doing Beat minus Radio like podcast

1:32:40

and Beat minus Radio off flight,

1:32:42

so we kept it alive.

1:32:44

But two thousand and eight.

1:32:47

Was when we restarted again and we

1:32:49

were streaming live from right

1:32:51

here in the house, okay, and

1:32:53

we've been doing it from two thousand and eight till now.

1:32:57

So with hip hop blooming at

1:33:00

as it has since you first started

1:33:02

thirty years ago. It's going through a

1:33:05

whole giant metamorphosis. How

1:33:07

have you guys been able to

1:33:09

navigate in terms of like

1:33:12

do you still get a thrill of making

1:33:15

beats? Are you challenging

1:33:17

yourself to try different ideas out or

1:33:19

whatnot? Or is it like,

1:33:21

look, this is our formula, this is our recipe.

1:33:23

We're sticking to it. Do you still

1:33:26

get a thrill of digging

1:33:28

for records in the whole process

1:33:30

of unearthing some gems that

1:33:32

the world hasn't heard before? Like, is

1:33:35

it still a thrill for you to make and create stuff?

1:33:38

Yeah, that's never that's never going to die. Like,

1:33:40

that's that's our thing. Like we

1:33:43

still follow the blueprint that we

1:33:45

lay down, but we listen to

1:33:47

what's around us, and we listen to everybody

1:33:49

and we try to add little pieces

1:33:52

here and there, but we mainly

1:33:54

keep our same sound, you know, and the

1:33:57

same technique that we've been using

1:34:00

for the dick and go.

1:34:00

We still go digging like all

1:34:03

the time. Yeah, all the

1:34:05

time. It's not gonna stop, like to

1:34:08

stop.

1:34:08

I always tell people that it's it's new equipment,

1:34:10

but it's the same people, like,

1:34:12

you know, instead of using the SP in

1:34:15

the nine point fifty, now we use NPC

1:34:18

Renaissance, NPC X, able

1:34:21

Tin and Pluggins.

1:34:23

Did it take you long to adjust to

1:34:25

that or was it like were you kicking

1:34:28

and screaming to adjust to change?

1:34:31

Meanwise, I'm the technology dude, yep,

1:34:34

So I'm always looking in and

1:34:36

trying to figure things out. Law

1:34:39

finess Og dj

1:34:41

Og and King of Chill

1:34:44

taught me able.

1:34:45

To, Okay, you

1:34:47

know, and you know your Chill

1:34:49

is now Premier. Yeah,

1:34:51

yeah, Premiere's full time engineering.

1:34:54

He used to be.

1:34:54

He likes dj like, those

1:34:57

are the dudes that taught me able to. And it's

1:34:59

like once I learned

1:35:01

Ableton, I was like,

1:35:05

what we could do this?

1:35:07

And you know, and the same

1:35:09

thing with the Renaissance, like you know, at

1:35:12

the end of the day, like it made my

1:35:14

job easier.

1:35:16

What's your weapon of choice now?

1:35:18

NPC Renaissance are Ableton and

1:35:20

a whole bunch of records.

1:35:22

Have you ever pulled out the old tools to try

1:35:24

it again?

1:35:25

I still haven't plugged up.

1:35:26

Like what I do is every once

1:35:29

in a blue I will sneak

1:35:31

back to the SP because here's the thing,

1:35:34

everybody wants to emulate that sound. I

1:35:37

don't have to emulate that I have one.

1:35:39

Anybody wants that nine to fifty sound, I don't

1:35:41

have to emulate. I just go sampling a nine

1:35:43

to fifty and then dumping into.

1:35:45

Ableton Because the nine to fifty is

1:35:47

the one device that

1:35:49

I feel like all the gods have used and

1:35:51

swore by that I'm not. First

1:35:54

of all, I can't find I think once I use the

1:35:56

nine to fifty, like during Dewe, you want

1:35:58

more, Like Bob had one, but he operated

1:36:01

it. I didn't. What is it about the nine to fifty

1:36:03

that holds holy for

1:36:06

every god of hip hop

1:36:08

production?

1:36:10

It's a warm sound.

1:36:11

Yeah, it's a nice warm sound to

1:36:13

it.

1:36:15

It's like the nine fifty has a like

1:36:17

back then when they made equipment,

1:36:19

it had different The equipment had different sounds.

1:36:22

It's like, for instance, like I tell everybody them, the

1:36:24

best sound in NPC is the NPC three

1:36:26

thousand. To me, that's the

1:36:28

best sound in MPs. That's the best sound in one.

1:36:32

The nine fifty also had a sound.

1:36:35

And when you did filters in the

1:36:37

nine fifty, I

1:36:39

don't know what it was, but

1:36:42

it just sounded crunchier

1:36:45

and heavier and better, and

1:36:47

it had that.

1:36:50

Sound that all those old records had,

1:36:53

right, Like if you listen to a filter

1:36:55

on a on a on a black own record, it's

1:36:58

not just the baseline, it's the.

1:37:02

The undercurrent that out,

1:37:04

yeah, right.

1:37:05

And it's like the nine fifty

1:37:07

at at you know, at the same time was

1:37:10

like the SP twelve hundred and nine.

1:37:12

Fifty was partners You couldn't

1:37:14

break up that partnership.

1:37:17

Now, keep in mind, I used it a totally

1:37:19

different equipment, Like I'm

1:37:22

using an X and

1:37:26

NPC one. Yeah, I gotta

1:37:28

go back and four, so you know, I use

1:37:30

that. But before that, I was on the three thousand

1:37:32

for like twenty years. I was on a three thousand.

1:37:35

Couldn't let it go?

1:37:36

Yeah, I can can do it.

1:37:38

What's the dude that? Now here's the thing.

1:37:40

What's usually the dude that?

1:37:42

Yo?

1:37:42

Like, I gotta be like your war, your

1:37:45