Black Music Month QLS Classic: Prince Paul

Episode Transcript
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Speaker 1 (00:00):
Questlove Supreme is a production of iHeartRadio. This classic episode
was produced by the team at Pandora.

Speaker 2 (00:08):
What's Up, Everybody, It's Sugar Steve from Team Supreme. June
marks Black Music Month. We often speak about it on
Questlo Supreme and we've had some of the legends responsible
for the recognition on the show. Every day this June,
we are running a different episode from the QLs archives
to honor the tradition and intent of Black Music Month.
This week we are focusing on some of the great

(00:29):
hip hop conversations that in the ULS catalog. Our leader
Questlove has a new book out called hip Hop Is History.
Check it out at questlove dot com. Next up, we
are revisiting our conversation with legendary producer, DJ and artist
Prince Paul, who revolutionized album making and production techniques.

Speaker 3 (00:51):
Breathords Supremo Supremo, roll Call, Supreme O, Supremo called Suprema Supremo,
Role called Suprema Suprema.

Speaker 1 (01:07):
Role seventy Chaka Khan. Yeah, yeah, that freaking movie.

Speaker 4 (01:13):
Yeah, freaking.

Speaker 5 (01:16):
Supreme Supreme Rod and I still messed up. I forgot
rufus Supreme Rod.

Speaker 4 (01:24):
My name is Fantee. Yeah it is not Eugene. Yeah,
but what does touche.

Speaker 3 (01:34):
Suprema role called supreme Suprema role.

Speaker 6 (01:40):
My name is sugar Yeah with Prince Paul Yeah, three
ft high Yeah and high Supreme Suprema role called killing
Supremo Supremo roll.

Speaker 7 (01:57):
Yeah with Paul in the place. Yeah, you better get
out of my way. Yeah, I punch you in your face.

Speaker 8 (02:03):
Whoa Supreme son.

Speaker 3 (02:10):
Upreme my role?

Speaker 8 (02:11):
Blah blah blah blah head line I missed, Yeah, shout
out to Prince Paul. Yeah, next up on this whoa Supreme.

Speaker 4 (02:26):
Supreme roll went up? The name is Paul Jesus Jesus, y'all.

Speaker 1 (02:32):
I don't know why I'm here, y'all, y'all.

Speaker 4 (02:34):
Hope to cease.

Speaker 1 (02:38):
Suppreme my role.

Speaker 3 (02:40):
Actually, so supreme roll came Supremo Supreme roll call Supreme.

Speaker 5 (02:50):
Supreme my role. Wait, Wow, that was pressure. Were you
actually surprised that we told you to do a verse?

Speaker 1 (02:58):
Yeah?

Speaker 4 (02:58):
Yeah, man at the top, that you're going to do it.
The last time I did Ron will Rise not falls?

Speaker 1 (03:10):
All right, Well you know years later here you go,
wow that Yeah, yeah, that's right. Oh, anyway, you ain't
you were on that. It was on that he was.

Speaker 4 (03:21):
The last one way and something you guys talking about that,
I'm not alone.

Speaker 9 (03:27):
It was we Yeah, your skits have been co opted
so many times by people in this room, like.

Speaker 4 (03:32):
What ladies, I got it?

Speaker 5 (03:34):
Ladies and gentlemen, Uh, this is a special episode.

Speaker 1 (03:39):
It's not, ladies, and tell me this is a very
unspecial episode. You know. Usually I start with the.

Speaker 5 (03:48):
Grandios over the top intro, but really, I will say
that perhaps our special guest today is one of the
first paradigm shifts and hip hop culture, meaning that it's
it's his it's his brain space that allowed dweebs like

(04:12):
me to uh make a living and in this world
that we call hip hop, A lot of his leftist
center and crazy ideas really resonated with nerds. I mean
it made nerds feel included. And thanks, what are you
trying to say about?

Speaker 1 (04:32):
You are our leader, ladies, and tell me please welcome
our leader. Prince Paul.

Speaker 4 (04:38):
Made it after almost a year, I'm trying to be here.

Speaker 1 (04:42):
Oh man, you're thank you for inviting me. I appreciate it,
thank you for still coming, thank you, thank you for I.

Speaker 8 (04:48):
Wish I couldnt how many times I have text message
that says when is principal coming?

Speaker 10 (04:51):
I'm telling you tomorrow.

Speaker 5 (04:54):
Oh you know, wait, yeah, there's still special this. This
is definitely going to be a nerd out episode.

Speaker 1 (05:00):
I don't almost thought after me being the leader of
the nerds apparently, I mean, do people, because I feel
like you are the leader of the god of people
that read liner notes on albums like that's that's I
don't have to say nerds.

Speaker 5 (05:21):
I'll just say if you read liner notes and you
love hip hop culture, then you know, Prince Paul is
a part of your life.

Speaker 4 (05:28):
Who doesn't read liner notes? Maybe I am the nerd
now well, I don't know line of notes to read?
Well yeah nowadays? Yeah, just look at the picture.

Speaker 1 (05:36):
Yeah.

Speaker 5 (05:36):
But I mean it's just, you know, a lot of
things that you've done, are you know, they speak to
just beyond the yes, yes, y'all crowd.

Speaker 1 (05:48):
So how are you today?

Speaker 4 (05:50):
Man? I'm good. I'm glad to be here. You know,
it's good to see you. I mean you, I catch
you every once in a while.

Speaker 5 (05:56):
It's been a second actually, you know, it's weird, like
we've been doing a few DJ gigs together and I
have to say that your selection your selection as of
late at least the last two or three DJ gigs
i've seen. I'm shocked at how you expand because usually

(06:17):
in our cultural range, a lot of guys like to
stay in the lane that they've been known for. Like
you know, certain DJs will play music that only they
produced in a certain period.

Speaker 4 (06:33):
I mean the Prince Paul Medle If I did that,
everybody stop dancing. They try socialize, go to the bar,
get drinks, you know, los igo pee no. But you
grow up in whatever order like you Actually you cater
to the crowd that's watching you, which I was amazed at.
I was like, okay, so he's not being hard at
because a lot of people just be like yo, man,

(06:55):
I hate this particular time period and I hate modern
hip hop and I'll just stick to you know, eighty
six to ninety four, And you were going all over
the place, like you playing trapshit that I was shocked
that you were even aware of.

Speaker 1 (07:11):
I maybe shazamed one or two songs that he played.

Speaker 4 (07:15):
So now, I mean, the part of it is it's
gonna sound cheesy, but good music is good music no
matter whatever. It's just harder to find it in this era.
You know what I'm saying, but I'll extract stuff and
I have to thank my son for all the trap knowledge.

Speaker 1 (07:30):
Yeah that was my.

Speaker 4 (07:32):
It's it. You know, he's parting and I my whod
school MD James since nineteen seventy seven, since I was ten.
So I come from an era where you rock the party.
Do you know what I'm saying?

Speaker 1 (07:42):
It has nothing to do with anything else.

Speaker 4 (07:44):
You know, It's like your job is to defeat and
annihilate every DJ that's around you and then kind of
make the party jump.

Speaker 1 (07:52):
Well yeah, you definitely uh annihilated.

Speaker 4 (07:56):
Yeah, I don't think so.

Speaker 3 (07:57):
No.

Speaker 1 (07:58):
I was like because it was at the Try party.

Speaker 5 (07:59):
I was like, oh man, I was gonna do all
these nice soft tribe samples and.

Speaker 4 (08:03):
You want to do your last record? Was like little Yeah.
I was like, man, I gotta they already turned sea.
But you got it. You got a perfect because you
walk in and goes the lights couple no technicals, like
like wow, no kissed the ring.

Speaker 1 (08:20):
Anyway, We're not gonna get stuck in this circle.

Speaker 10 (08:24):
But I'm not going to give you a compliment. Don't worry.
But then my reason where your son is a DJ
for Uzi Bird is that is that true?

Speaker 4 (08:31):
Yeah, yeah, DJs.

Speaker 5 (08:33):
Wow, oh no, wonder you know so much of it?
I was like, yo, Paul's knowledge is amazing.

Speaker 4 (08:38):
Yeah, but you won't catch me dabbing anything. What's the
new dance? So I noticed, everything goes like, yes, wait,
how was your son? He's twenty five?

Speaker 1 (08:49):
Oh oh, you go almost to be your grandfather.

Speaker 4 (08:52):
Only Hey, hey, I know I'm fifty, So I guess
it's okay.

Speaker 1 (08:56):
At this point, you're fifty.

Speaker 10 (08:57):
You lookzy.

Speaker 4 (08:59):
I'm fifty years old.

Speaker 10 (09:01):
I'm taking a picture. No, what he's cut? He got cuts? Ladies?

Speaker 1 (09:05):
Yeah, yeah, you look great at your age. Bro.

Speaker 4 (09:08):
What thanks? Little cuts like.

Speaker 10 (09:10):
In your in your chest and your stomach and in
your arms.

Speaker 4 (09:12):
Now that I was looking, I'm fasting, which is part
of it, intimated fasting. I would advised guys tell you
about an hour window.

Speaker 1 (09:22):
Yeah.

Speaker 4 (09:22):
Yeah, it's a good thing.

Speaker 10 (09:23):
That's what that's called. The is doing. Okay, so you
eat within that eight hour one?

Speaker 4 (09:27):
Yeah, yeah, it's terry crews.

Speaker 1 (09:30):
Terry crew. What's this called? It's in a minute fast?

Speaker 9 (09:33):
Basically you eat what you want in quotation marks, I
mean because you still just can't beating function. But basically
you push all your meals to an eight hour window,
so then the rest of the sixteen hours in the
day you're fasting. So say, if you get up around
like like normally, I get up around like eleven, I
hit the gym at twelve, come on, shot whatever, and

(09:53):
then I have my first meal of the day around
like two, So then my eating is from two to
ten and and then you know, you sleep.

Speaker 4 (10:02):
You know, detox spis the liver with the kidneys. If
your guy booshed the testosterone up to weigh over one
hundred percent, so you keep your rocket.

Speaker 5 (10:13):
Ten minutes into the show, we didn't talk about one
break beat. I'm sorry, that's amazing.

Speaker 4 (10:18):
I have to say on a very very serious note,
is I had a sister she just passed about.

Speaker 1 (10:24):
Two weeks ago, maybe two weeks ago.

Speaker 4 (10:26):
So cancer and a whole lot of diabetes and everything
is prevalent in my family. So which made me a
little more I guess health conscious as far as like
you know, with heat with not teat doesn't mean I'm
gonna live forever, but it does kind of play in mind.
When there's certain things you can control, you know what
I'm saying. You can control what you eat, control your exercise,

(10:48):
control your stress. But you know, which genetic you can't control,
so I try to hone in what I can control.

Speaker 5 (10:55):
Does that concern you that a lot of our you know,
forget you know, the whole mentality of escaping bullets of
the days.

Speaker 4 (11:06):
Of Latin Quarter or whatever it was. Yeah, Imber, those
days was in the middle of that.

Speaker 5 (11:10):
Does it Is it on your mind that a lot
of your contemporaries cannot really get past the age of
fifty five?

Speaker 4 (11:18):
Just escaping fifty five? Well, I'm being generous fifty So yeah,
I think I think about my mortality daily. And I
hate to say that, but you know, I don't obsess
over it, but I do think about it because man,
you know, like I said that, my sisters passed a
couple of weeks ago, and that's tough, but I only
have one sibling left. Like, just think from the time

(11:39):
that I was born, there's only one person that I
can think of that was around since I was a baby.
In my family. Nobody else exists, you know what I'm saying.
So it's it's it's serious, you know. So I mean
when I think of my yeah, like you know, poetic
and I can keep going on and on and you
know friends who passed and yeah, it's it's it's scary,
you know, it's really really scary.

Speaker 5 (11:59):
Well, the thing it's also you know, hip hop culture celebrates,
uh this this victory mark of like, you know, we
made it, let's celebrate, you know. And if you think
about it, like I mean, I've I've been to many
a backstage ritual because she knows what what I mean

(12:22):
my backstage ritual. You know where a bottle patron could
be down by one person.

Speaker 4 (12:29):
Beautiful, which isn't what I'm saying that.

Speaker 5 (12:32):
That's not natural, you know what a certain age, Yeah,
that's not natural to you know, consumed.

Speaker 1 (12:38):
I like to do over excessive party and the celebrate,
which hip hop is known for. And it's like eventually,
I guess it's going to catch up to you at
a certain age.

Speaker 7 (12:48):
But see, this is interesting because hip hop is so
young that this conversation within itself is like a nuance.
But it could become a trend because you guys are
agent with hip.

Speaker 4 (12:57):
Hop, you know, but the kids, now it's a difference.
I mean when you look at our age bracket, it's like,
you know, dudes drink, they smoke, they might you know,
depend on whatever you and you might sniff or whatever
the case is. Now kids are just dropping random pills
and stuff that's in alt like chemically everything in your body,
and you.

Speaker 9 (13:14):
Don't know what the effects that that's gonna be at, Like,
you don't know like all these cats doing all this
shit now, like what are they gonna look like?

Speaker 4 (13:19):
At thirty four? It was like cracking the eighties. I remember,
you know kids who smoked weed and you know, mescaline
and drop tabs whatever. Yeah, crack was smoking crack, but
they didn't know the long term effects. But a year
later you see cats just like Jack freak out. Yeah.
And then so now you look back on and he's
like smoke crack, you bake it, you know, so yeah
saying you're right, same thing with the kids. Now, you
don't know what's gonna happen.

Speaker 1 (13:38):
You know, where were you born?

Speaker 4 (13:40):
I was born in Queens Flesh, not Long Island, not
Long Island, so I moved out.

Speaker 5 (13:45):
When has anyone in hip hop purely been born in
Long Island or like, do families just migrate to Long
Island because that's like the safe place and you.

Speaker 4 (13:54):
Won't Now that's moving up, you know, when you when
you lived in Brooklyn, Queens. Whatever the case is, you
move to Long Island's suburbs. Is the country at least
back in those days. You know, it's like, you know,
you lived in in a confined area, the projects you
lived where ever, you know, like my grandma she lived
in uh that's how I Mettend and Glenmore Plaza in Brownsville.

Speaker 1 (14:14):
And yeah, it was rough.

Speaker 4 (14:17):
It was rough. It was rough, but like this, it
was so rough. I remember back when I had to
go to Daddy O's house in order to collect money.
I had to dress like a crackhead to get in
and out. I used to wear a leather cap. I
gotta disguise yourself as a zombie. He lived in the

(14:39):
New Lots Plaza, and I was like, man, I got
to pick up some money. How did I do this?
I really thought about. I was like, yo, I used
to dress. I had leather this one leather baseball caps
was out, but it was kind of.

Speaker 1 (14:49):
Old, skinny ones like Eddie Murphy. It was regular baseball
want some wrinkled up clothes.

Speaker 4 (14:56):
And I would just walk into his plaza talking to myself, Man,
I was skinny anyway, so come out with like I
don't know, flowering at dollars that. Oh this was like
eighty four, eighty five really yeah, eighty six.

Speaker 10 (15:09):
Yeah right, it's kind of brilliant. Did you share that
method with others?

Speaker 4 (15:14):
Man? You know, but it worked. I see nothing, you know,
I see no other dudes get robbed.

Speaker 1 (15:22):
People wouldn't know.

Speaker 4 (15:24):
You know, chain's going, things going.

Speaker 1 (15:27):
See that's the thing.

Speaker 5 (15:29):
Everyone has all these glorious stories of like back of
that era, and I'm like, yo, you weren't cautious, like
rolling by itself crazy.

Speaker 4 (15:38):
That's what New York was beautiful though. I mean the
crime kind of gave it a vibe in the cultures.
So you have fond memories of those of.

Speaker 1 (15:46):
Back in the day.

Speaker 4 (15:47):
Yeah yeah, I mean, like I said, it was crime
and yo, and I got robbed Like I was a
in a thing while doing a show with stets of
Sonic and these dudes came in and they just it
was just taking people's stuff. There's like just bum rush
the whole thing. It was all this craziness and not
get this was I don't want to say during the show,

(16:09):
but it was kind of in between shows.

Speaker 1 (16:11):
I don't know. I think the Fat Boys might have
performing at night. It was.

Speaker 4 (16:14):
It was that era.

Speaker 5 (16:15):
You know what I'm saying, I'll be goddamn if I
get robbed, yo, but yeah, you.

Speaker 4 (16:25):
Know, but it was just everything getting turned over. People
screaming and dudes had guns. And here I am trying
to leave the spot with my homeboy because he drove
me out, and you know, the dude's long story. They
were coming to get out the club. I had to
go upstairs and they were coming downstairs simultaneously. They said
something to my boy and I was like, man, you
don't know him, We're we don't. Oh, oh you're talking now.

(16:47):
I was like, oh, I'm all of one hundred and
twenty pounds at the time.

Speaker 1 (16:53):
Next thing I know, they took my little velcraw wallet that.

Speaker 4 (16:59):
Yeah, and I had.

Speaker 1 (17:01):
I had to admit I had a fake chain. It
was like a little thick chain.

Speaker 4 (17:04):
And had a pe remember like the initials with had
the box Yeah yeah, yeah yeah. They took that off
my deck and that's all I got. Yeah one time,
But you know what, it made me cautious and the
man I have today, and it made me even more
hip hop. You know what I'm saying, he can't be

(17:24):
hip hop? Get robbed.

Speaker 1 (17:27):
Oh damn.

Speaker 9 (17:28):
Now I'm thinking now if you I think you everyone
been robbed by a record companies.

Speaker 1 (17:35):
Yeah, I was about to say that I've got robbed.
So you said you were.

Speaker 5 (17:40):
DJing at the age of ten for a long time.
You come from a music family or.

Speaker 4 (17:45):
Like, uh no, I mean, you know, aside from the
old school. My dad collected jazz records. My mom, you know,
collected records. My siblings are ten years and plus older
than me or where I should say. So, you know,
they were teenagers, so.

Speaker 1 (18:01):
How many all together?

Speaker 4 (18:03):
Was four? Now it's just me and my brother, okay,
And so yeah, I mean, I you know, being a kid,
you want to be like them, and so they collect
the records. So while they were my friends were into toys,
I was into buying records. And I still have the
I have the first forty five I bought. Two I
bought was Groove Me King Floyd and hot Pants, and
I still have it. I was five years old, bought
it from Maid's department store in Long Island.

Speaker 1 (18:25):
How much did it costs back then? Forty fives were
how much?

Speaker 4 (18:28):
I think that for like less than a dollar each?
You know, did you mark your name on your records
like everyone oh yeah, yeah, I still got them. Yeah yeah, yeah,
they're still mark it and and the breakbeats. When you
get in the eighties all washed out, yeah I still
got it, stuck.

Speaker 1 (18:42):
Onto albums right the forty five Okay, yeah yeah, yeah, yeah,
still got them all hissed out.

Speaker 5 (18:48):
Right the same. Yeah, I love it. It's funny now
because now I'm looking for that sound and that sort
of texture and wax, and you can't find it where
all your the beginnings of your records just having a
horrible Really you're looking for that.

Speaker 11 (19:09):
Well, I'm trying to know, man, we could swap out
with some fresh no, no, no, no, I mean it's
just it's weird, like hearing say, like the chant breakbeat
clean clean, it's no well and piece the President clean,
and I know where the stems are, Like, it just
don't sound the same without Yeah, a little static at

(19:32):
the beginning, and it's.

Speaker 4 (19:34):
Hard the conversation. Yeah, you're right, we're just getting started.
You're right about this. So where was your first DJ gig?
If you were like, who would let you on the
turntables at ten?

Speaker 1 (19:44):
Well, what happened, Well, what happened was like all black
folks say no.

Speaker 4 (19:48):
But what happened was I pieced together a DJ set.
I had a Lafayette. It was a Lafayette like plastic
little turntable at my mom's component set, which was had
a turntable attached to it. But the turntable didn't work.
So I figured out a way to take one of

(20:09):
another cheap turntable we had around the house, and I
put my turntable left her turntable right, and used the
balance button as a mixer as a to blend the
two together. And then I put it in mono so
it came out one speaker, so I couldn't que it,
but I was able to go back and forth and
after a while at balance, now I've got you know good.

(20:29):
I was like because it wasn't really scratching.

Speaker 1 (20:32):
It was just like bent bent bent b really yeah,
it was you know, like what year period was, This is.

Speaker 4 (20:40):
Like seventy seven, seventy seventy seven, even.

Speaker 1 (20:42):
Before like DJ culture was known to me.

Speaker 4 (20:46):
Yeah, this was like because you know, going like said,
my grandmother lived in Brooklyn, Long Island had DJs, But
it was like you know, you're thinking of like it
was like in the early days of like more disco,
you know, and if breaks were played, it was disco breaks.
And if any break existed back then, it was probably

(21:08):
like Seron Looked for Love. That might have been seventy eight,
but it was just disco breaks. Yeah, you had to
get down and on stone. Yeah yeah, yeah.

Speaker 1 (21:14):
So who were your gods and queens that you look
to that.

Speaker 4 (21:20):
P DJ Jones It was probably like you know when
you think of like, oh, you know, because it was
more systems back then.

Speaker 5 (21:27):
Then get the respect that you know, the gods of
the Bronx get because I hear even Tip speaks like
DJ Jones was before all those guys.

Speaker 4 (21:36):
Oh yeah, you know, it depends on where you're from.
You know, I think has a lot to do with it.
You know, Tips from Queens. You know, I'm Long Island
kind of Queens Brooklyn type thing. So yeah, I mean
that was who we looked up to. And like I said,
back then, it was more power than it was skilled.
Had none of the skill was like, but it was
power and records. So if you could blow somebody out

(21:58):
and the speakers and you had records, oh what without
a doubt with base bottoms and random stacked up amps.
So how did you build How would you build your system?

Speaker 1 (22:08):
Oh, I just didn't. I did the opposite. I had
to work on skill.

Speaker 4 (22:13):
You know what I'm saying, it's still records equipment and
didn't have the equipment and begged for people to get on.
And so probably one of the first gigs I got
on with a lot of people. I was probably in
the seventh grade, and that was a friend of mine
named Paul Carrey. They had a group called the Young
Blood Crew, and that was in Long Island and I
got on and I remember I was cutting what record

(22:33):
was out? Was it seventh grade, eighth grade? It might
have been Midnight Plane or Trouble Funk, I don't remember.
I don't remember what it was. But yeah, it's a
lot of people. I was nervous, but I thought I
was nice.

Speaker 1 (22:47):
Were you throwing on once you got on real turntables?
Of course?

Speaker 4 (22:50):
Yeah, when you get on real stuff, it's like whoa,
It's like it's like driving a probably I would guess
with a you go to a to a maserati, you
know what, Like yeah, you know you're not like fighting
fighting a steering you know, saying the breaks, you don't
have to step one extra hard. Everything's like, because back
then I was my friends had the eighteen hundreds, and

(23:13):
I think before then it was the eleven hundred. A's
the big doofy looking ones, right, yeah, but it was
from that to the eighteen hundreds, and then all I
could afford. Once I started getting turntables, I had a
BSR and then eventually graduated to a B man, not
one O one. I can't remember it was a B one,
but it was the one with the strobe light that

(23:33):
was on this the right hand side and the lower part.
I think DST had the same ones. I'm nerding out
right now.

Speaker 5 (23:40):
You no, no, no, no, no making me nerd out?

Speaker 1 (23:45):
Tell me more, yeah, djorn, I think I think it
was a B ten.

Speaker 4 (23:50):
I think the turntables I can't remember exactly, but those
were my first real like techniques.

Speaker 1 (23:55):
Now, were these teased?

Speaker 4 (23:56):
You know?

Speaker 5 (23:57):
Were these acquired? YEA blackout of seventy seven?

Speaker 1 (24:03):
You know?

Speaker 4 (24:03):
Did you have rich grandparents? I remember the black out
of seventy seven because I was leaving Brooklyn and I've
seeing the lightning bolt. The lightning came down and then
everything blacked out and we was actually my grandmother's house
in Brooklyn. So I wasn't there for all the festivities
because I was going back to Long Island. But I
got these things by and it's gonna sound cheesy to
like a lot of kids nowadays, but you know I

(24:25):
was taking apart bikes, putting them together and selling them,
painting them, you know, shwins, you know. So that that
was my thing. I was just everything was swapped back
then you traded. You traded, trade until you trade it up,
and you prayed for a decent birthday or Christmas or
you know, And that's how I kind of it was
piece by piece by piece by piece by piece by piece.
Well that's hustling, yeah, yeah, and honest, yeah, I can't

(24:49):
say that. You know, I was hugging. I was hugging
the block, you.

Speaker 1 (24:53):
Know what I'm saying. Yeah, yeah, I can't. I can't
say that. I wish I could have that story. Then yeah,
man came up what I'm saying. I had to leave
it alone. Who's your first crew, my friend?

Speaker 4 (25:10):
I mean, when you had your first My first crew
was in the I still got the shirt too. My
first crew was in the sixth grade and it was
my friend Charles and Mitchell Robinson who lived next door
and I remember there was like, Yo, we're gonna make
a crew and you're gonna be the DJ, and I'm
like really And our crew was the ever Ready Crew. Yo.

(25:33):
I still got the shirt is mad young and on
the friend has a Yamaha motorcycle like dcal Yeah, because
ironed the letters on the back, man, Yo, I got
that jo. I need to post it. Once I got
to stop being anti social media started posting stuff.

Speaker 1 (25:49):
But yeah, yeah that was my first crew.

Speaker 4 (25:50):
And yeah, I remember we tried to make tapes and
stuff for people and they were saying, this is horrible.

Speaker 1 (26:00):
Do you know you still those things?

Speaker 11 (26:01):
Yeah?

Speaker 4 (26:02):
I have an early pause tape from probably about seventy
eight that I still have. I played not too long ago.
I was clean out my house and I found nice Okay, yeah, yeah,
it's it's it's horrible, but it was good back then.

Speaker 5 (26:13):
Back then, were you running with any of the contemporaries
that you would later make music with decades later, Like
you know, was was Daddy O coming up in the
scenario during this period or well?

Speaker 4 (26:26):
I didn't meet Daddy until I joint Stetton probably like
eighty three eighty four, But in Long Island, I knew
Biz because Bis used to come up to my school.
So we he's come out the house. We used to
make tapes. So those tapes like which I had that
was around when I was in eighth grade. He would
so there's tapes of you and Buz marking making. There
has to be somewhere there was cassettes. He's come over
the house. He was polls cassette like all right, you know,

(26:49):
he'd you know, meet me up at the high school
and ambul High School and we you know.

Speaker 1 (26:54):
Y'all went to school together.

Speaker 4 (26:55):
He no, yeah, I don't man. Biz lived way out
like in Quorum or something weird part of Long Island,
and he would I don't know how he would magically
end up in Amneville High School or there are there
abouts and Wine Dance, which everybody know rock Him's from
and and you know Chili Dog and all those guys,
and so he would just end up at the schools
and you're like, here's gonna make a tape, you know,

(27:16):
and and y know to this day he'll tell you, man,
I remember he came by my house. And this was
the last time we made it, or supposedly made a tape.
Was He's like yo, I was busy at the times, Like, yo,
can I borre your records? I was like, what do
you need?

Speaker 1 (27:29):
Give me Rocket in the Pocket God made me funky.
It was some other record and he never brought it back.

Speaker 4 (27:36):
Oh really, Biz Marky and he took it to my
man Divine's house. No, no, yeah, it's kidnamed DJ Divine
and he uh yeah, and bis will Brandupton's day. He's like, yo,
I know I got your records. I owe your Rocket
the Pocket made me funky, and I can't remember that.

Speaker 5 (27:57):
He'll probably tell you the other records and these are
the originales, not like the the the guy.

Speaker 4 (28:04):
Made me funky was original? No, they all were original, Yeah,
because the Rock in the Pocket was the Atlantic, right
yeah yeah yeah man, I'm really getting upset. Let's get him.
Regulars are worth money, man, what yo?

Speaker 7 (28:17):
Did you and Biz ever battle? Like like what we
say Jonan and DC. But we know like Biz is
like the king of the equips and going in and whatnot.

Speaker 1 (28:24):
Oh it's snapping up. Yeah, he was less snappy back then.

Speaker 4 (28:28):
You know you know what I remember, You know, I
give a lot of credit to bisin and and I'll
say this, and I told him. I'm very proud of him,
and as we got older, it is because he was
getting teased a lot, you know what I'm saying, Like
he would come to the school.

Speaker 1 (28:42):
You know, I'm he was always a character.

Speaker 4 (28:44):
Yeah, yeah, he was always Yeah, he didn't want to be.
I mean as legend would have it. And people tell
you Biz could tell you some good stories. What that
has not changed? You know what I'm saying that his
that's from from childhood. But you know a lot of that.

(29:05):
Like I said, you know, kids would teasing, well, you
suck this, you ain't that? And so when he made
the vapors all that it to me, it was like, Okay,
that was his moment. Yeah, that that was it. It's
like he did it like he he traveled outside of
Long Island into like the Bronx, and he would come
back with a he had a notepad of records. Yo,

(29:27):
you got this record he had all written down. I
guess like things he was flying out from other DJs.

Speaker 5 (29:31):
It never changes, it ship never changes with Biz. Right,
He's still the same person. I got it still you
do you do you believe his Mardy Gross story?

Speaker 4 (29:44):
What the what the Mary was it?

Speaker 1 (29:46):
The forty five without the bells on, without the bells
on it.

Speaker 4 (29:50):
You know what's so weird? We just want to believe it.
He mixes up with you know, falsity, he's with the reality.
So it's it's so hard to kind of like it
reminds me of an offense to what was that show
that was on Netflix? Oh, get down to get down,

(30:15):
like it was some random like magical crap with real stuff. Right,
That's that's bit, you know what I'm saying, Like, he's
that dude you gonna so you mix it up together
and you don't know what it is. And then he
will bring that record that Mighty Gras with no Belsie, like,
oh my god, I thought he was sorry telling But
then he'll live out something else that's just so far
that you might think it's true, but it's love.

Speaker 10 (30:37):
And then he get loud about it, like what you're saying,
son is true.

Speaker 4 (30:40):
Somebody you ask ask quest love, ask him, Yes, you'll
get him on. Call him right now, tell him, tell
him what I got. Yes, you are nailing it on.
I've noticed since I was what freaking fourteen, you know,
I wanted to call him. Bus Ones came in to

(31:01):
me once. Now I think of anything I've collected.

Speaker 1 (31:04):
I know soulitering the best, so you can't get me
on no sultrying trivia whatsoever. And business is trying to
convince me. Quest I got an episode of James Brown
doing Funky President with the drum break extended in the
beginning for like a minute before.

Speaker 4 (31:24):
He says funk.

Speaker 5 (31:27):
I got that question, and at some point you're just like,
all right, okay, I believe quest I got that.

Speaker 4 (31:36):
Yeah, that's that sounds about him speaking of soul training
that that means you have the episode with Captain Sky
on it.

Speaker 1 (31:42):
Yes I do. I remember I seen that one time
when it came on.

Speaker 5 (31:47):
Yes I have, which is weird because he wasn't even
introduced at the top of the show, so you wouldn't
know that Captain Sky was on Soul Training. Who was
Captain Scott super sperb oh supersperb oh okay god, but.

Speaker 4 (31:58):
He wasn't saying super sper no, hell no.

Speaker 1 (32:03):
Get away with that. Like part of me was like,
it's so blatantly out there. Maybe like they spelled it
sporm right, yeah, I thought some like uh, some spacey references, yo,
Like that was a great.

Speaker 10 (32:24):
Thank you sir, I got you. I got you like
that was great way for my sound face.

Speaker 1 (32:28):
Okay, all right, well I'm sorry I had to sound effect.
I let that blanqu up.

Speaker 4 (32:32):
Okay.

Speaker 1 (32:33):
Anyway, so.

Speaker 4 (32:37):
You said Sets the Sonic started.

Speaker 1 (32:38):
In eighty four.

Speaker 4 (32:39):
Well, I joined them around eighty probably end eighty three,
eighty four, because I think I was in the I
was in eleventh grade, I think, yeah, started eleventh grade.

Speaker 1 (32:49):
Somewhere in eleventh grade, so that was probably around eighty four,
so they were already established.

Speaker 4 (32:54):
Yeah. When I met them. In the group was a
guy named I think it's Grand Supreme Delight Daddy O
and Wise had just joined the group a week before
and they just had battled or some contests and the
Mister Magic Rap Attack thing in Cony Island and they

(33:15):
had won. And part of the deal, I think the
prize was a record deal with sugar Hill. Oh my god,
whoa and and you know apparently that didn't that didn't
materialize out I'm like, damn, yeah, that was nothing part
of part of the deal. And I met I met them,
like I said, a week after that happened, and then
became their DJ, which was which was amazing.

Speaker 5 (33:37):
Okay, So for those that are kind of underage that
are listening to the show. It should be noted.

Speaker 10 (33:46):
I don't know what you meant when you said under age,
because you're up there with us.

Speaker 4 (33:51):
I know you're not U.

Speaker 5 (33:55):
Yeah, you just put it back down in her twenties. Anyway,
for those that are listening, it's me noted that uh
Paul was a member of Statsu Sonic, the very first
noted hip hop band.

Speaker 1 (34:07):
Here's the thing though, now I first heard of you guys.

Speaker 5 (34:13):
Via Philly, where there was no Latin Quarter experience or
anything of that nature, and Spin magazine, so I'm reading
that you guys were banned. It's weird though, because even now,
besides maybe the video for Nobs Allowed, that's the only
visual I have of you guys being a band. Like

(34:39):
it's did you guys not invest in camera equipment back
in the day, like with your advanced Like I can't
find one that's of Sonic performance on but everyone like
Chuck d will swear to God that you had to
have been there to see it.

Speaker 4 (34:57):
Yeah, it was certain, you know, Like, are there no
performances on tape that you own? Or yeah, I don't
have any because I remember the tour. Probably what Chuck
d is talking about because I know when it was
at the quarters, there weren't it wasn't set up for
us to you know, have a drum kit and have
you know, certain things. So it's usually like two turntables.
But when we were on man was it the Deaf

(35:21):
Jam Tour. I can't remember what tour, but at some
point we were starting to travel like with the drum kit,
DBC on the keys and me on the turntable. Wise
on the human beat box. But you know, back then,
especially being in an open and act, nobody wanted to
like cater to having a band, you know what I'm saying.

(35:43):
So so so you have a drum tech and no man,
it was like, oh you got drums all because they
used to just meant miney. Back then, DJs brought their
own turntables. You brought there was no backline you know
what brought everything. So it's like to bring it in
and to have it set up and then go from
place the place to place to place. They were like,
this is this is not practical for us and you

(36:04):
guys are only an opening band, you know group, So
so we always had to kind of cut down. But
in cases where we're able to have our whole setup.
That's why you probably see anything. It was limited in
that case because it was usually opening act. I remember
on the Death Jamp tour was us in public Enemy
opening up, you know, and we shared a bus together.

(36:24):
That shows how how.

Speaker 1 (36:26):
You know it's a lot of.

Speaker 4 (36:30):
Hold twelve Ye look man, it was public adity and
and stetisnic. I mean that's how much you know we were,
you know, Katie are the small guys of course, you
know you got lud Jadjy, Jeff Fresh Prince, you know
ver b rock Hill. Yeah, you know in the case

(36:50):
you run DMC, but you know productions would come in
and yeah, it's like, oh man, it got the nice stuff.
Like I said, it's between the Yougo and the Masa Rot.
You know, it's amazing what a couple of hit records
will do. It definitely put you up the ladder the
food chain slightly. So how do you how do you feel?

(37:11):
The one thing that we've learned on the show is
that this drum roll.

Speaker 1 (37:19):
Meant hydro chain. What oh man?

Speaker 5 (37:23):
That was like the according to everyone that's been on
the show that was old enough to be at the
Latin Quarter.

Speaker 1 (37:30):
Yeah, that this was the national anthem for.

Speaker 4 (37:34):
The said it was three records this one and like yeah, yeah,
we get we get real violent in the Latin quarters.

Speaker 1 (37:43):
It's like, but I mean for that for ghost stats
and who produced that?

Speaker 4 (37:49):
Actually it's well, it's going to be disputed. DBC came
up with the concept. He had rank rank rank, you know,
using open the tome zones, right, and then Daddy Oh
came up with the idea of putting the live drums
behind it. So it was a collaboration of those two gentlemen.
Who is whose Go Brooklyn? Is that?

Speaker 5 (38:10):
Which is weird because it's like it's that's probably the
most iconic part of that, I mean of the song.

Speaker 1 (38:18):
I mean besides the lyrics.

Speaker 8 (38:19):
And you know.

Speaker 4 (38:21):
Drums, yes, oh that's all of us. That's you know,
so my voice isn't a lot of those random hip
hop records somewhere buried underneath Go Brooklyn Brooklyn. So how
do you edge your ideas? And you're.

Speaker 1 (38:37):
Like, are you giving a say?

Speaker 5 (38:38):
Or it's like six of you and I can imagine
all right, you remember if you remember Torri's Brooklyn Prince
when he spoke of okay, So Tory wrote a book
on Prince. Yeah, I'm no, no, But I mean the
one thing that you could really learn from that book
was was how the generations work. And when Prince is

(39:00):
opening for the Rolling Stones, he gets booed mercilessly because
Prince a baby boomer born in nineteen fifty eight. Baby
boomer is of course between like thirty eight to fifty
eight sixty one give or take.

Speaker 4 (39:17):
That. Prince can't transuh.

Speaker 5 (39:22):
Translate his vision to baby boomers, but who have a
better time doing it to generation next sixty one to
eighty two.

Speaker 4 (39:30):
So I almost feel like in stets of Sonic, were
you even? Because even.

Speaker 5 (39:37):
On Blood the album Yeah Bus but No Tears, there
was a cut on side to h are you coming?

Speaker 1 (39:47):
Yeah Yeah yeah, which was like would have been perfect
on a Dailight soul record, kind of out of place
on a stets of Sonic record. It's almost like your solo.

Speaker 4 (39:58):
Joint because you know, I made it in the student
because we had extra time and I was being funny
and they're like, yeah, just put on the record, Like
are you sure all right? I'll do it? You know
why not? Yeah? You know, no, the song is done
and Paul's a sucker, and you know, there's a few
other songs, right.

Speaker 5 (40:14):
And well, I'm saying that by that point, did you
have more leverage, because it's like, well, Prince Paul, you
know my producer, and.

Speaker 4 (40:21):
I think part of it a little bit is leverage,
and not like it was onaned. Like I like my
position and sets the sonic of being the DJ and
producing some songs, and I like the idea of collaboration.

Speaker 1 (40:33):
When it's collaboration, you know what I'm saying, as opposed
to kind of like.

Speaker 4 (40:39):
We're gonna take off some scratches and I'm gonna put
this and you know that where it gets a little touchy,
you know, but when we're all working together collectively as
one mind and kind of making something. Those are the
first two records, you know what I'm saying. Clearly, it's
just started getting weird as the third record came around.
And you know what's weird is like we never broke up,

(41:00):
Like we just never we just stopped talking to each other,
so it was never official breakup. It was just like,
I mean, all the way from the eighties to now,
with the exception maybe frou Kuan leaving the group, like
we've never broke up, you know, it's just it's a
question you just kind of just and they're still together. Yeah, yeah,
we just kind of just drifted away. Yeah, then that's

(41:22):
what it's been. But but the the just to answer that,
how to get my say was Dayla soul. You know
what I'm saying Like that was my ability to kind
of really kind of do what I wanted to do,
which was nice. It was nice.

Speaker 9 (41:38):
Daylight was the three feet High was eighty nine, right,
And then I'm trying to just put together the time
of that sonic when was I think eighty eighty right, okay?

Speaker 1 (41:50):
And the on Fire was eighty six eighty six? Yeah,
So I want to take a guess, because it's really
not listed on the album. Did you produce TV see
let the music play?

Speaker 7 (42:01):
No?

Speaker 4 (42:02):
No, DBC did that.

Speaker 1 (42:06):
Damn.

Speaker 5 (42:06):
Of course I wouldn't even figure that his own namesake
would were producing.

Speaker 1 (42:13):
Did you do music for the step wee insane? Of course?

Speaker 4 (42:16):
You know what makes me mad as ship? Now this
is gonna punch me.

Speaker 5 (42:21):
No, no, no no, this this goes out to Armine
who owns all the Westbound stuff? Lady, Yeah, yeah, when
the Atmosphere's sample from Funkadelic.

Speaker 4 (42:36):
Bernie Warrel can't beat him.

Speaker 1 (42:37):
Yeah, but now in the in the new.

Speaker 5 (42:42):
Like if you buy the reissued CD or you listen
on on streaming, the first twenty seconds of that song
is just cut off abruptly.

Speaker 4 (42:53):
Why did he do that?

Speaker 5 (42:54):
It basically starts off good evening and I'm like, where's
the Yeah, that's the beauty of it.

Speaker 1 (42:59):
It's like nowhere to be found. Also, speaking of which,
on three ft High and Rising, uh, what's more, starts
off with pluck two. It doesn't start off with mercy, like,
it doesn't start.

Speaker 5 (43:14):
Off there's three seconds clipped off of it.

Speaker 1 (43:19):
And also on Brain Wants to Be a Follower, it
just starts with.

Speaker 5 (43:27):
Like yeah, it's just like you know, it's like the
first five seconds of the song is just cut off
and it just starts that way.

Speaker 4 (43:36):
Whoever was making the IDs didn't know what they were doing.

Speaker 1 (43:40):
Or I'm just thinking that the tape was damaged or something.

Speaker 4 (43:42):
But even for what's more that they don't need to
cut that off.

Speaker 1 (43:46):
I don't think they cut it off on purpose, Like
obviously maybe somebody was paying attention exactly, so just make
sure that you know, but you did music with the
stepinitely insane, Yeah, Okay, did you do pen and paper?

Speaker 4 (44:03):
Yeah, I knew it.

Speaker 1 (44:04):
Yeah, that was I had the sequential Tom drum machines.
I still have.

Speaker 4 (44:07):
I love that drum machine.

Speaker 1 (44:09):
So how were you with operating that equipment? Like are you.

Speaker 5 (44:15):
Was it just a learning process or I'm trying to
find one person from that period that like actually read
the man you want to know how to make drum beats?

Speaker 4 (44:23):
And oh no, you didn't read anything. I mean, I mean,
I mean for me, if you're thinking of the process
was as soon as grand Master Flash had a beat
box on Flash into the beat he said, oh my god,
what is that?

Speaker 1 (44:36):
I gotta get one of those. And you can never
get that one. So you got a rhythm machine.

Speaker 4 (44:41):
Then from a rhythm machine, so you find something else programmable,
and you know, went on and on, and that was
for me. You know, it's like my friend was selling
a sequential Tom, which I couldn't afford a DX at
the time or DMX at the time.

Speaker 1 (44:53):
I got that.

Speaker 4 (44:54):
It had to reverse button converse the drums, and you know,
that was it. That's how I learned how to program.
You know how drummers are, especially back then, it's like
a car. I hate compare to the car. But you know,
your lights are on one side in a car, but
it's on a dash and another car. But it's the
same function but in different places. So drum machines are
technically all the same, but just different buttons and different locales.

(45:14):
You know. So once you figured out one, you kind
of figured out the other thing. And you might have
to look at the mandal for one thing. Like there's
no going to the YouTube, you know, just see the tutorial,
you know, you had to, Like, man, somebody didn't know.
You looked it up, you know, and you read it.

Speaker 5 (45:29):
Besides uh, well, speaking of equipment, besides uh, strictly, Dan ducky,
did you ever use that Cassio SK one for anything?

Speaker 1 (45:39):
You used the school board crush? Oh we did?

Speaker 4 (45:42):
That was SK five, That was I think that was
the upgraded versus. Yeah, I think Dave had that. That
was that was I think that was Dave's keyboard. Yea,
So did you.

Speaker 1 (45:49):
Guys use that for anything else?

Speaker 5 (45:51):
On because even on the MTV clip and I can
see that SK five there, I was like, oh shit,
they would us.

Speaker 4 (45:58):
That's like some shit I had. Yeah, I love that
thing until it broke. Yeah, I still have it, man,
but it doesn't work. Yeah, I think, I don't know.

Speaker 1 (46:10):
I don't know.

Speaker 4 (46:10):
I think once we got into the regular studio, you know,
we kind of put that aside, you know, because then
you're able to loop with MIDI, so that that kind
of changed things. And and Simpty, which helped a whole lot.

Speaker 1 (46:27):
So let's go to Dayla.

Speaker 5 (46:30):
What was it about them that attracted you that you
knew or did you know like, Okay, this is gonna
be the next generation.

Speaker 4 (46:39):
Because I think we both thought out of the box.
I think for me in Steti Sonic, which man, it
is a blessing. It was my start and I learned
everything from you know, I learned a lot from Daddy.
Oh I won't lie about that, Like he's taught me
a lot and.

Speaker 1 (46:52):
To have that.

Speaker 4 (46:53):
But I've always just made bizarre, quirky stuff.

Speaker 1 (46:56):
I remember p Fine I had his radio show rap this.

Speaker 4 (47:01):
I did this spoof one. It was during such a
sonic time.

Speaker 7 (47:06):
It was a.

Speaker 4 (47:07):
Parody of What's Colt forty five Billy d Williams then,
and so that was me being silly but didn't fit
within stet Go Brooklyn. So I was always there, you
know what I'm say Stephanie and say it's always there,
so with daylight. How the way they rhymed and there,

(47:30):
I guess the way they heard music was the way
I heard music, and the way I you know, thought
of like, Okay, this is entertaining, this is fun, is
the way they thought of it. And I think for
me with them, even though it was in them, my
job was to bring it more out and make them
more comfortable and embracing that being different, you know, say,
like they were all magnative, like let's do it, do it,

(47:51):
So why didn't you just join the group?

Speaker 1 (47:53):
Because I still consider you, like when it's rock and
roll Hall of Fame time, to me, you're billy pressed
and of it and really even the moment that without
you and your ideas and your input, those albums wouldn't
be what they were.

Speaker 4 (48:09):
Thank you. I appreciate that. I mean, I mean it's
it's a definitely collaborative effort. I mean I didn't join.
I don't know like they always you know, I remember
in those days, I was like, well you always considered
like a member, you like plug for blah blah blah,
but my whole thing and this is gonna be weird
was instead to sonic. I felt like I couldn't be me,

(48:29):
and so I was probably just doing the polar opposite
of with day Ala. I was like, I want you
guys be you. I'm gonna teach how to work the
equipment after the first record, you're gonna make the next
record on your own. I'm gonna teach you as much
as I know you're gonna be able to be as
creatively free as you possibly be. And that was my intention,

(48:50):
you know, And part of that is is just looking
from the outside, and nor did I know this record
would be that successful. I would tell them when we're
making it, you know we're gonna go goal right, because
that was always you know we're gonna go but just
to make you really you didn't really believe it. I
didn't know what would happen. I mean, I remember Dave's
brother Mike would go, you know, when we was making
three ft High Rising, I don't know who's gonna like

(49:11):
this record. It's really really.

Speaker 1 (49:13):
Bizarre and different, and he's like, you know what I'm saying.

Speaker 9 (49:17):
How did y'all meet each other in West Philly? Was
the label the label Hookiller or how did you guys meet.

Speaker 4 (49:24):
Meet me and me and me. That's fair. I love
telling the story. Uh, Macio, he's working with this dude
named Gangster B who lived around our way, and he
was making a record for mister Collins. Ever Collins, who
was uh, was playing drums for the Ossi Brothers at
the time, and mister Collins was also a music teacher
at the junior High school Ameville, and he started this
record label and his first artist on his label was

(49:46):
Gangster B. And so Macio was Gangster B's DJ. I
was the guy in the neighbor who made a record
because I was with sets of sonics. So they asked
me to program beat. And the beat I programmed was
I had to sequential tom. It was a reverse beat.
It sounded too much like like oh. And I was like,
we can't do this. It's like do it. We can't.

(50:07):
And that was the debate, and Masie could see me
getting frustrated. He's like, yo, I have a group, and
I think, you know, if whatever you want to do,
we'll work with you. I was like, okay, good. He's like,
I'll bring the tape by later in the day. It
was a bad dad the next day and he brought
by a real rough of Pluck Tunic, and my mind
was blown.

Speaker 1 (50:26):
I was like, that was pre made.

Speaker 4 (50:28):
Yeah.

Speaker 1 (50:29):
I was like, were you guys old enough or not
that your children?

Speaker 5 (50:32):
Were you old enough to remember the name that sample
contest that Tommy Boy had with pluck Tuning?

Speaker 1 (50:38):
No, Yeah, Like I don't need.

Speaker 5 (50:40):
It's weird because they had a lot of Internet ideas,
the viral ideas that were out before the Internet. But
there would be like random stickers and the ads in
occasional ride on sometimes in Billboard like name that sample,
Like I think we were trying to.

Speaker 10 (51:01):
You gotta mail that in.

Speaker 4 (51:02):
Yeah.

Speaker 1 (51:03):
It was like during the days of that death all right,
raising who called that? I wanted to I was afraid
of my father. Yeah, But I think the gem of
it was that.

Speaker 5 (51:23):
I think they were trying to just pimp the fact
that use the Liberachi sample in the beginning, because I'm
thinking about the Midnight the Midnight Loop and the uh,
what's the sample?

Speaker 4 (51:41):
I can't call I.

Speaker 1 (51:42):
Won't say.

Speaker 4 (51:45):
Your quest love you know everything.

Speaker 1 (51:47):
Music, it's brainfort time anyway.

Speaker 5 (51:53):
Yeah, but I thought that's what they were trying to
allude to, and I was like, Liberachi. But then I
realized at the beginning of the album version and now
I want to reach back and man and all the
world of music, like the intro right right right, which
I thought in their way, like are they just trying
to tell like white people like this group is real
deep because there's a Liberaci.

Speaker 4 (52:15):
Let me take just quickly about that Liberachi sample. It
was sequencing the record. I bet a place called Island
Media and Long Island, and I was like, that's how
I came up with the idea of putting the skits
in between the songs. I was like, man, I got
to figure out a way to link all these ideas
and songs together. I think we made the skits and
then they had a Liberachi cassette and I was like,
can I see that? Can I play that? And I

(52:36):
heard his voice like ooh, let's put that.

Speaker 1 (52:38):
In the beginning. It wasn't really that elaborative thought.

Speaker 4 (52:43):
It was just whatever. It's like, you know whatever. Those
records were all m Guy Ford. It wasn't like it
was like kind of sat there and we were just like, yeah,
we're gonna pre plan a lot of this live was like, okay,
what's around us, let's look at that.

Speaker 1 (52:56):
Let me not take for granted.

Speaker 5 (52:57):
Also again for our listeners that are getting familiar with
Prince Paul, I'll say that probably the contribution that he
is really noted for in the world of production is
really turning your listening experience into.

Speaker 1 (53:18):
I won't even say a.

Speaker 5 (53:19):
Three dimensional I don't know how to explain it, Like
it was movies without visuals, Like you introduced the idea
of sketches and skits experience, and you somehow found adhesives to.

Speaker 1 (53:34):
Glue all those songs together.

Speaker 5 (53:36):
Not to mention besides, I mean, I know that Public
Enemy was the first to do interludes and have more
than the traditional ten songs on the record, but you
guys were going overboard with like twenty three, twenty.

Speaker 4 (53:48):
Four, twenty five, So that was by design that idea.
So it wasn't like you saw nation of millions like, oh,
we can go past sixteen songs. You know what I did,
It was this is the junior mar marketing brain of
Paul at twenty or twenty one at the time.

Speaker 1 (54:04):
Was let's hear it.

Speaker 4 (54:04):
I was like, yo, you know what, everybody wants more
bank for that buck. Even though these are little skits
and all these other things. We're all label them as songs.
So when you look on the back of that regular
colic holy songs, I got that and that's the reason
why I did just the bluck people out.

Speaker 5 (54:20):
And guess which dwead. This dwee right here was like,
oh my god, five jams. And that's weird because even
even you know, the first three four Roots records are
like up in the nineteenes and twenties. I'm you know,
Rich was like, you know, dog, we got twelve songs.

Speaker 1 (54:38):
We're done. I'm like, no, man, we gotta have inelus.

Speaker 4 (54:41):
Give them more money, you know, like make bank for
the fuck. You look at it as a consumer, You're like, oh,
this is all right, because records weren't cheat, you know
what I'm saying.

Speaker 5 (54:50):
But the thing with the Daylight Records is that you
really captured the teenage spirit of just I don't know
what it was. It's like you want it to be there.
It was almost like a documentary where like all those
inside jokes that we didn't know, he has a bunch

(55:10):
of them, and it became part of our slang we
didn't know, and you gotta explain what Crocker means.

Speaker 4 (55:16):
But it's just how.

Speaker 5 (55:19):
How are you documenting this stuff because some of the
stuff I can see like Okay, we're in the studio, okay,
and press and then we start doing a skit, which
is like, okay, well they're making a skit, but it
sounds so natural of the moment, like shit like.

Speaker 4 (55:33):
Or even then oh yeah, yeah, boy, yeah, that's that's
that's that. Yeah, that's all Dave Man skipped to loot.

Speaker 5 (55:42):
So you would just keep a cassette running and live
MIC's were always in the studio and because some of
that stuff just sounds like it was just of the
moment and there's no way to recreate this stuff.

Speaker 4 (55:55):
And that's what it is. It's like I say, record everything,
keep every thing, you know what I'm saying, even though
tape was expensive at the time, but a lot of
stuff was either after the song went off or before
the song came on those moments. So for Daylight so
was dead.

Speaker 5 (56:10):
Did you guys just have accessible h slick Rick, I
can't be your lover like just on standby in case,
like you know, even now I'll have like sound effects, yeah,
like who had that stuff on standby.

Speaker 1 (56:30):
To just it was just you know, you ever have
like within your group of friends a joke that just
won't die, you know. Yeah, it's called quest Love Supreme.
So I mean, that's all it is is just take
it at you know, the one joke that won't die
and just keeping it on deck, you know what I'm saying,
Like eventually, some point you're gonna have to unplug the

(56:50):
drum machine, like at the beginning of the day, are
you like, Okay, let me cue up that slick rick
and play some funny shit happens and keep the tape rolling.

Speaker 4 (56:58):
And no, that's was. Yeah, it's kind and honestly, I
don't even I can't even tell you what the thought
is behind. It's just being dumb, you know what I'm saying.
It's not even like I can't even like sit and say,
well I thought of it was just like look at this. Okay, Paul,
that's enough. That's that's that's not funny. But listen, which

(57:20):
I'm still like that to this very day, which I
think eventually caused our demise and not working. That's to
be honest, man, Like you know they grew up. I didn't.
You know, I'm still the same twenty one year old kid,
you know.

Speaker 1 (57:33):
But it's exactly it's the way it was. You know,
I forgot to mention Bob Power.

Speaker 5 (57:39):
I can assume that working with him on the step record,
Oh yeah, Bob, that you instantly brought him aboard to
work with you on the daylight stuff.

Speaker 4 (57:49):
Where this is how it worked back in those days,
was you go to the studio and oh, I'm doing
your session today. Wow.

Speaker 1 (57:57):
And then eventually it would go someone that Tommy Boy
like just.

Speaker 4 (58:01):
No, no, no, it's whoever, yeah, where was there at calliope,
who's ever working at the time, would do whatever that
session was. And then usually if it's an engineer who
likes what you do, they'll they'll stick around. They'll go, oh, man,
I like this, I want to come to the next one.
You know, if my schedule permits, I'm gonna do your
next session.

Speaker 5 (58:19):
So it was never you know, you were thinking like, Okay,
this guy has such a forward thinking, sonic genius about him,
and we must have him on this record for it.

Speaker 4 (58:28):
I mean, obviously there's engineers that some were better than others,
but you know, when you're paying forty dollars an hour,
he's just trying to get whoever could get the job
done at the time. You know what I'm saying. I mean,
you know, the brains of Bob Power is evident because
you know you work with him, obviously, and I tried
to learn as much as I could from him. I
remember when I wasn't set to Sonic. He might not

(58:50):
remember this, but I was taking audio engineering at the time,
and and I would just sit there and just watch him,
like closely.

Speaker 1 (58:58):
And he looked at me.

Speaker 4 (58:59):
He looked at said, you never learned anything by watching me.
Very disheartening. So which made me, in a sense, go,
I'll show you. Of course, I'm not never as nice
as Bob Power, but it was incentive, you know what
I'm saying. And yeah, he came aboard like a lot
of the other projects, you know, along with my Manscottie Hart,

(59:21):
and there's a few other people, okay, and Sue in
the house.

Speaker 1 (59:25):
Sue Sue in the house right right right. Oh, she
was an assistant engineer.

Speaker 4 (59:30):
She she was like, I don't know, it's like whoever
was there. It's like I'm the engineer, Like, okay, you know,
never had a female engineer before. But hey, man, you're
you're on the payrolls. Get done.

Speaker 5 (59:41):
See an hour two princes working with two female engineers.
See how in God's name did you record that record
for under twenty five thousand dollars?

Speaker 1 (59:55):
Which one three feet high and rising?

Speaker 4 (59:57):
Oh, it's called taking that that that shift from twelve
to four in the morning at the studio when the
when it's thirty dollars an hour.

Speaker 1 (01:00:05):
You know what I'm saying. It's called buying your own
reel of reels, which when you buy.

Speaker 4 (01:00:09):
Studios like what one hundred and fifty bucks, you buy
it at the at the tape spot for like one
hundred bucks. Use sometimes you don't use ampegs, use ag
for you know what I'm saying.

Speaker 1 (01:00:18):
You find ways to serious man, there's other.

Speaker 10 (01:00:22):
Real wait, real dummy question.

Speaker 7 (01:00:26):
When you get that you said twenty five thousand, right, yes,
when you get that twenty five, that's your twenty five
to make the album. It doesn't have to spread to
anybody else as well.

Speaker 4 (01:00:34):
That's how we the entire budget.

Speaker 10 (01:00:35):
That that's us, That's what I'm trying to understand.

Speaker 1 (01:00:37):
It just being paid, that's us using studio. That's whatever's left.

Speaker 5 (01:00:41):
I'm sure this episode the question of Supreme course about
twenty five thousands.

Speaker 10 (01:00:46):
I need a raise. But wait, so that means that
like y'all had to eat off of that too as well.

Speaker 4 (01:00:51):
That's why you worked regularly jobs. You see how skinny is. Wait,
do you have a regular job while you're doing this? Yeah? Yeah,
I mean all through such a sonic. I was in college,
I had a part time job. Yeah, I worked through everything. Man.
You know it's because you know, I looked at it,
at least me personally, like fat boys run DMC, like

(01:01:14):
you know, this was ANLL.

Speaker 1 (01:01:15):
Those guys would make money.

Speaker 4 (01:01:17):
You know what I'm saying.

Speaker 1 (01:01:17):
I'm just doing it as for fun as a hobby,
you know what I'm saying.

Speaker 4 (01:01:20):
I love music.

Speaker 1 (01:01:20):
Whatever comes out comes out.

Speaker 4 (01:01:21):
But I'm gonna take civil services to become a postman
at some point, you know what I'm saying, Like, that's
the reality of it. So it just so happened that
my passion and probably I'm thinking because I didn't take
it as serious as a lot of my contemporaries is.
I just had a lot of fun with it, which
kept it open, helped me be more creative, because I
think if I was thinking of marketing and like you're

(01:01:42):
just gonna bump into clubs, You're just gonna do this,
it would have really restricted what I did.

Speaker 1 (01:01:46):
But I was just like, whatever, I'm gonna have to
work with regular job anyway.

Speaker 4 (01:01:49):
Record that whatever, Yeah, little Roch, just know that is
you know what I'm saying. I gotta get up and
go to work. See you think about the end of
three f on rising that you'll just I'll get it
jobs some wearing. I mean that's what I thought. I mean,
you know, even when the record came out, Okay, it
was starting to gain some traction and all of a sudden, Wow,
it was just cool and it just got to a

(01:02:09):
point where it wasn't until not that record, but other
work started coming in from me when I was like, man,
I can't go work at I was working at a
place called General Accident, which was which insurance company. It
was an insurance company, insurance company. It was an insurance company.
I was I just got I just graduated college, and

(01:02:30):
I was in between those things. I remember I had
bosses tell me, you know, I got called into it
all this one time. I was I was working at
a place that we uh, I was doing soldering. I
was doing electrical boards because I took electronics in school,
and so he called me.

Speaker 1 (01:02:49):
It's like, you know, I heard you doing this music thing.

Speaker 4 (01:02:52):
You have a choice. Paul could be here every day
on time and be a part of our company and
our growing family.

Speaker 1 (01:02:58):
We can follow this music dream that you're thinking about.

Speaker 2 (01:03:02):
We here a general accident.

Speaker 9 (01:03:05):
You know.

Speaker 4 (01:03:05):
This was before General Accident, and I was like, you know,
I quit and I just kept it pushing, which was
kind of rough because I need that money. It was
a good job. I was paying like six dollars an hour.
You know, it was good at the time.

Speaker 1 (01:03:17):
Wow, that's crazy.

Speaker 10 (01:03:18):
What was the record that changed your thoughts? Your thoughts
on that?

Speaker 4 (01:03:21):
Like, oh, oh oh, I skipped the story as soon
as work started coming in after three feet High Rise,
and was when I was like, yo, I'm gonna have
to take a leap of absence for maybe like a
year and kind of ride this thing and produce.

Speaker 1 (01:03:33):
See what happens.

Speaker 4 (01:03:33):
Yeah, there was Third Base and Big Daddy Kane and
Queen Latifolds. Things started to really come in, and you know,
and then Russell went become a manager and him and
lyor so that that changed things. Like maybe two years,
I'll go back and work.

Speaker 5 (01:03:46):
Oh Jesus Christ, I forgot about Resident Mother Dodo Man Records.
I totally forgot.

Speaker 1 (01:03:58):
All right.

Speaker 5 (01:03:58):
So at the time when quote we hate the song
end quote becomes like a force to reckon with.

Speaker 1 (01:04:09):
Are you guys just be honest? Man, weren't you? Were
you guys happy?

Speaker 5 (01:04:17):
Because I know this, I know the perception, and sometimes
when you know there's there's thoughts on on.

Speaker 4 (01:04:24):
Dave's whole whole uh jaded. I got love David.

Speaker 1 (01:04:34):
It's weird though, because for me, Dave, true boy, Dave
was like, in my mind, he was the the utopian
peace child, like he was the original.

Speaker 4 (01:04:46):
Qu first face.

Speaker 10 (01:04:50):
Perception.

Speaker 4 (01:04:52):
I know this now, but well, actually Mason Pie punched
in the face and and then David.

Speaker 5 (01:04:59):
Well, it's just that based on seeing the album cover
like this is for me who never knew who you
guys were. I was working at sam Goodies and this
record comes.

Speaker 4 (01:05:09):
In dream job. Whish i'd Sam good change in my life.

Speaker 1 (01:05:12):
I think I got fired for stealing three f.

Speaker 4 (01:05:14):
Ris jury is still out.

Speaker 1 (01:05:17):
I don't know, but I'm just saying that, you know,
to see where we thought they were marketing and I
felt for that marketing hook line and sinker to where
they are now, which I don't know, but I'm just saying.

Speaker 5 (01:05:44):
What was their initial response to Me Myself and I.
Was it like, oh shit, this is just number one.
Was there was there a hug? Was there a smile?

Speaker 4 (01:05:58):
In order to answer that question, I have to kind
of go back a little bit and say that Me
Myself and I was the last song on that album,
and it was prompted by Tom Suliman because he's like, yo.

Speaker 1 (01:06:09):
This record, this album is good.

Speaker 4 (01:06:12):
We just need a radio record.

Speaker 1 (01:06:13):
So automatically that prompted disdain from them, you know.

Speaker 4 (01:06:16):
What I'm saying, Like what we radio record? We got everything.
And that's when me and Mace sat it down and
we did the music for Me Myself and I. Because
it was like, okay, just catchy song, knee deep rock funk,
DELK fan for life. We put it together. You know,
they're like, all right, we're gonna take the rom style
from Black as Black. This is Black as Black, It's

(01:06:38):
black and Man record today. We're gonna do that Rohm style.

Speaker 1 (01:06:41):
Put it over that song. It was just kind of
here you go to make Tom Suliman happy.

Speaker 4 (01:06:45):
Then it's a boo So that's why they hate this song.
It was like, ah, we's kind of forced do this record.
We have saw a big record, But how did that happen?
You know what I'm saying? It was the trick of
the devil, like Twilight song me, I love the record, like,
oh my god, cause I'm all a Funkadelics fan and
me and Way Me and Maysy Will put it together.
It was just like we did it quick.

Speaker 1 (01:07:05):
It was dope.

Speaker 7 (01:07:05):
But how dope is that that you made a record
like he requested it and you made the exact thing
he requested it and it was a hit, Because that's
a hard process, like do you understand what a radio
hit is?

Speaker 5 (01:07:14):
And plus it really wasn't established in a hip hop
back in eighty eight eighty nine.

Speaker 4 (01:07:21):
Back then, like hip hop just discovered.

Speaker 5 (01:07:24):
And you know because three ft Ninred came out well
January of eighty nine, so really you're talking to eighty eight.
There really wasn't any thing like oh if I take
this obvious thing from ten years ago and resell it,
it'll work like that.

Speaker 10 (01:07:38):
That didn't be like Puffy that was the formula.

Speaker 5 (01:07:41):
I mean, I would still think that even I hear it.
You know, I wasn't like thinking like cynical, like oh,
they're using this obvious shit like.

Speaker 4 (01:07:49):
It ain't a chick singing the hook well to Daylight.
It was obvious and one thing you gotta unerstand abou daylight.
And they might disagree with this, but I think it's
part of the beauty and part of their artistry. Especially
back then, there was a sense of arrogance, you know
what I'm saying. It's like, yeah, we're gonna do this
this record. Oh god, everybody knows this, you know. It's

(01:08:10):
just and that was kind of swept throughout all the
native tongue, and that was the beauty of it. It
was there was a certain arrogance to like, you do this,
but we do this thing, you know what I'm saying,
And that was part of it. That's why, you know,
even though you know it was too obvious for them,
you know, even though like say, no going certain songs
here and there are obvious things, but that was just way.

Speaker 5 (01:08:33):
Was that my thought or was it like I thought
you guys were just being clever shit and like, oh damn,
you can rhyme over.

Speaker 1 (01:08:40):
I can't go for that.

Speaker 4 (01:08:41):
Oh no, no, that that that was part of that
was a record I had. And then other part that
that with his face merce had put together pass had
put together. It was his idea.

Speaker 5 (01:08:52):
Wait, I gotta ask some about say, were you the
the anchor of saying no go? Because I have a
production question. As far as I know, there's not an
instrumental of I can't go for that out there yet.
The part that you guys rhymed over would be the

(01:09:12):
verse of I can't go for that, which has Daryl
Hall singing on top of it. Where in the hell
did you find four bars of do do do?

Speaker 4 (01:09:22):
Do? Do?

Speaker 7 (01:09:22):
Do?

Speaker 4 (01:09:23):
Do?

Speaker 7 (01:09:23):
Do?

Speaker 1 (01:09:23):
Do do No? That's the hook, you know, when.

Speaker 5 (01:09:29):
They say over the time, there's four bars of that
that are clear that I can't find nowhere.

Speaker 4 (01:09:36):
And figuration you'd have to ask post that I'm gonna
pass the buck and and and there's a there's a
one two things on there at that if I disclose,
I'm gonna be they're gonna come after me. Doubt that
thirty years later they're all, oh, trust me, they still
come in trust.

Speaker 10 (01:09:55):
Me, I'm sure especially so you still get But then
the pot that the.

Speaker 5 (01:10:02):
Reason Okay, well, you can choose not to answer this question,
which is part two, Like, but I meant so, were
you just doing this Google?

Speaker 4 (01:10:15):
I so like throw this in there, throw this and then,
because like that's exactly what it is.

Speaker 5 (01:10:19):
But crossword puzzle mixes so brilliantly with it, Like it's
rare to find two melodic samples that are the same
bp ms that also.

Speaker 1 (01:10:32):
Mixed together. Like I'll say that, say no, go if.

Speaker 5 (01:10:36):
Those who are familiar with my DJ and style and
the fact that I mix songs in the same key
with each other and all that stuff, like you're doing
forward thinking there where it's like crossword puzzle. Okay, I'm
using nerdy references whatever. Yes, well, I didn't want to
call out Michael Jackson's a TV guards but thank you

(01:10:57):
boss books.

Speaker 1 (01:11:00):
They can get on who sample dot Com look at. Yeah.

Speaker 4 (01:11:02):
But which is which I might say, is it's somewhat
inaccurate at times, just some things I seen and I'm like,
that's not that. Oh yeah, I don't let it be
wrong though, but I don't want to debate it because
then just be quiet. I really use this, Yeah, I
just this Beetles sample. Sometimes you gotta just you know,
let it up.

Speaker 1 (01:11:22):
But it's well, okay again I'm thinking that you're like, okay, well,
let me use something that's in the relative minor of
something that major kid, right, that's what Okay, just cut
me off there.

Speaker 5 (01:11:34):
I'm thinking too much. You just thought this was dope
and let me mix it in there and what we
did and it was beautiful.

Speaker 4 (01:11:39):
Man. I really miss those days. Is everybody had their
little record collection and we go in and we add stuff. Oh,
I think I have something to go with. Some part
of it was by ear and that, you know, okay,
and knowing your record collection and knowing parts and and
you know, coming through records, and the other part of
it is which nobody was doing back then. We was
was pitch shifting.

Speaker 5 (01:12:00):
What was going to lead to My third question was
that you were also some of those samples had to
be readjusted leading to the original Buddy yeah, the Commodore
shit and mix it with the the bo Deadley shit.

Speaker 1 (01:12:14):
Okay, were you using that Yamaha, I know, the Yamaha
thing out of Pitch.

Speaker 4 (01:12:17):
Shifter ESBX ninety I think it was. It was called
SBX ninety. Yes, yeah, it was pitch shifting on that
and resampling it and yeah, and taking it and kind
of because you know, the thing is we want We
knew it worked melodically, but it just didn't work in
the right key, and a lot of it was just
hitting the button. All right, that's right, and it was
good sometimes having an engineer who had a musical background,

(01:12:39):
he could go, well, I think it's in a genie
minor with it, but.

Speaker 5 (01:12:43):
All right, can I just take six seconds of silence
just to breathe? So all right, SBX ninety, thank you.

Speaker 4 (01:12:51):
But the thing, but the thing is, you know, part
of the arrogance that I'll go back to that is
that we actually thought, you know what I'm saying, like,
it wasn't just going soop up this fun you know,
drum break, which works, and that's hip hop, but we
just took it to another let's pitch shift, let's do this,
let's you know.

Speaker 1 (01:13:08):
I think that's really thought about. Punius though, that's not arrogance,
you know, at least.

Speaker 4 (01:13:14):
You know, like I said, when I went to the studio,
I was like, Yo, if we're gonna do it, let's
just let's just do it. Let's just whatever imagination goes.
That's where the limit is, and that's where we took it.

Speaker 5 (01:13:24):
See it speaks to me because usually beat makers after
the three feet high, after the Nation of millions, three
fig and Paul's boutique generation sees that, oh, sampling could
go anywhere, then like a lot of us will recreate
that stuff. When we first get drum scenes and I
was like, wait, why is my ship blending like their ship?
And then I'm suddenly realizing that you guys were pitched.

(01:13:47):
I would ask engineers like, why isn't this the same key?
And now I'm realizing that you were a pitch shifting
the beauty of technology.

Speaker 4 (01:13:54):
Man.

Speaker 1 (01:13:54):
I mean, we learned a lot of things in the
studio and I'm not gonna lie.

Speaker 4 (01:13:57):
As a producer, I would go in there and because
I think I feel like I'm like a coach, right,
I had to go in and team riled up. We
got with the Pistons and we gotta beat the Lakers.
You know what I'm saying. I don't know how we're
gonna do it. We're gonna figure it out. So I'm
getting them all amped up. But in the process I'm learning,
I'm like, Okay, yeah, Paul, can we do Yeah, we
could do it? How do I do that?

Speaker 1 (01:14:17):
Who's the bad guy?

Speaker 4 (01:14:18):
Though?

Speaker 1 (01:14:18):
And that I just didn't have to figure it out
who's the bad guy?

Speaker 5 (01:14:21):
Cause if like if someone's like, yo, you know it
really sound dope, funcky drummer like, and like, are you
the final word on at least for three feet?

Speaker 1 (01:14:34):
Are you the final word?

Speaker 4 (01:14:35):
And says, I don't know if this goes together with that,
and we can't. You know what the final word is,
put put it in there and if it works, it works.
If it don't, it don't, And I live. That's how
my production style has been from that point on. You know,
It's like, even if you don't like an idea, I don't.
I don't know until I hear it. It might not
sound right in my head, and I can dispute it,

(01:14:56):
but we can really argue. When there's the one and
it's whack, it's without question.

Speaker 5 (01:15:04):
Can you give me an example of a song of which,
like either Pasa or Dave or Mace was like, Yo,
this shouldn't work, and then like you just let them
hang themselves with their own rope?

Speaker 4 (01:15:16):
Man, I can't not offhand. I could tell you some
things I put in that was black that I was like,
that's not working. Was the beginning of plug tuning. It
was like, hey god, it was recently it was going yo.
Man principle Paul plugs in and give us a hype effect,
and I go, yeah, let's try this. It corny, But

(01:15:42):
after we recorded played it, it was good. In my head.

Speaker 1 (01:15:45):
It was like I were good man and we edited
it down. So you have to audition ideas in front
of a jury. I mean, that's so hard. It's not
even in front of a jury.

Speaker 4 (01:15:55):
It's just like and just it harks back to steto
sonic like and and low offense to the guys. But
it was a learning process. Let's do nah, let's do nah.
I'm like, when I get my own group, we're gonna
put everything in there. You'll see, all right. So, like
I said, it was the polar opposite whatever I did. Instead,

(01:16:16):
I want to just the hard core opposite in this group.
I'm gonna treat them differently. And that's what I did.
Let's put everything in there, put in there.

Speaker 1 (01:16:24):
Which leads to day Soul is Dead.

Speaker 4 (01:16:26):
Now.

Speaker 5 (01:16:27):
I actually think that's the better record of their Cannon.
I mean, for me personally, that's my favorite one. That
that album made my career.

Speaker 4 (01:16:38):
Wow, like that was.

Speaker 5 (01:16:40):
I Mean, I've had many a moment where it's like stop,
stop your heart in its tracks and you stop what
you're doing and you sit and you listen to it.
But I mean, nothing will ever beat the Sunday that
Jason Brown and I cut church to sit in his
dad's card to listen to that record from Start the Fire.

Speaker 4 (01:16:59):
That means, I mean I saw my Lord.

Speaker 1 (01:17:05):
One that.

Speaker 5 (01:17:07):
Two Things one heavily bootleg before it came out. Everyone
seemed to have a copy of this record before it
came out. But you know, for people to talk about
the darkness of it, I don't see it.

Speaker 1 (01:17:22):
I think it's even more humor, more zanier, more funny,
more samples, more creative. I mean, for God's sakes, you
guys got the cover Rolling Stone for this record.

Speaker 4 (01:17:36):
So it's like that was a tough record though, man,
and I say, you don't have good times than thinking
about it? No, No, I mean it was all my
Daylight Records to have their own experiences and was fun,
you know. But I think in the sense of that man,
after those guys won their first tour and they got
you know, because all of a sudden, everybody beating everybody up,

(01:17:59):
you guys, it went from like from zero to one
hundred for them, like black you know, they were like
you know, platoons Q powers Q also like, oh my god,
you know you just got this number one record all
around the world.

Speaker 5 (01:18:09):
How did you feel about that? Which you never answered
that question. What was the feeling once you guys went platinum?

Speaker 4 (01:18:15):
And uh, it was like whoa, you know what I'm saying.
Everything moves so quick. It's like you don't have time
to really acknowledge it because all it is is more
work coming in.

Speaker 1 (01:18:26):
You know.

Speaker 4 (01:18:26):
It was when time sit back and just really think about,
eh man, I made it. You know, it's it's like whoa, Okay,
it's to keep it pushing, you know. And I think
for them, it was just a lot of pressure, you know,
be here, be there, do this interview, do this.

Speaker 1 (01:18:42):
We need more daisies around you, you know what I'm saying.

Speaker 4 (01:18:45):
And the more that was pushed upon them, the more
they rebelled and the more they got like what das
you know?

Speaker 1 (01:18:51):
So it by the time the second record.

Speaker 4 (01:18:54):
Came around, I remember I remember, you know, being at
meetings with the label with Tommy Boy and Dave and
and Pas going, you know, the label say why don't
you do whatever? No, no, we'll just quit, We'll quit
what like it was like quit, you can't quit. Yeah,
we'll quit.

Speaker 1 (01:19:13):
We don't want to do that, We'll just quit, which was.

Speaker 4 (01:19:17):
Which was just you know, it was just they were
just angry, you know what I'm saying, and and understandably
so like you know, I guess just seeing I guess
one getting used to the demands, you know, having a
label push certain ideas on them. I guess the expectations
of now the world's expecting so much. They had to
build up their their show because remember, I don't know,

(01:19:40):
in the earlier shows they weren't as received.

Speaker 1 (01:19:42):
It's like nowadays, wait to come out.

Speaker 4 (01:19:44):
It was like people like you're showin' good as that record,
they were getting booed. I mean in some places, you know,
they had to build up, so it would like said,
it was a lot quick for them to kind of
catch up to. So by the time the second record
came around, you know, you know, beating up people in
the records, it was you know, it was a ring

(01:20:05):
ring rig, it was you know, it was a lot
of that vibe. But the part that I really respect
about it is they it was still creative because what
they were going through, they didn't like you know, they
wrote about whatever they were dealing with.

Speaker 1 (01:20:17):
And I tried to and I try to make it happy.

Speaker 7 (01:20:19):
You know.

Speaker 4 (01:20:19):
My thing was like, all right, guys, I understand you.
Let me let me sprinkle some of this on top
of it to kind of give it this kind of
so it's like evil.

Speaker 5 (01:20:28):
So if you weren't there, how dark could they saw
as dead have gotten if you weren't really.

Speaker 4 (01:20:36):
Throwing in the silly Yeah, I think I don't know, honest, No, no, no, not.

Speaker 5 (01:20:43):
So like but he's gonna b K lounge like how
like whose idea? Like where's the where's the where's the genesism?

Speaker 4 (01:20:53):
Man? That I have to give them the credit for
that because of piecing together all the different music and stuff.
But it it was just man, like I said, we
would sit down and talk during that time, and you know,
I'd hear all stories about the road and just and
be like, oh, now, mind you you're you're arrogant to
begin with.

Speaker 1 (01:21:11):
Now through all the fame and all like the really
you really want me to do this?

Speaker 4 (01:21:16):
You really? You know, just like when they had that
sign you're pissing us off with your photos or whatever
that that you know right right right there with that guy.
You've seen him out the Grammy's first grade, just like right, smirking,
like why we're here, that's them, you.

Speaker 5 (01:21:30):
Know, do you think it's it's the guilt of not
wanting to look like they're enjoy it. I always figure
that there's a judge and jury in the head. And
usually again with most with the smart end of Black culture,
especially with the music is concerned, there's a lot of
overthinking and usually that turns into sabotage and next thing,

(01:21:56):
you know, it's fifteen years before your next comes out
and all this other stuff. So well, yeah, I mean
I don't need to name names. Just think of who's
not released the record between eight to fifteen years. That's
because they don't have a Prince Paul, right, they don't
have a that's not named Shy. That's because there's no
Prince Paul in their lives to say, like, you're overthinking.

Speaker 4 (01:22:16):
It, just you know, just do whatever you feel is right.
Whatever I always say, your first thought is your God thought.
You know, everything else beyond that is you just analyzing
and taking external things to be learned to add to it.
So whatever you feel is is the right thing that
even goes with gut instinct, you know. So that's how
I make music. First thought is the right thought, Let's
record it. That's why a lot of times usually the

(01:22:37):
first take is, yo, that was it. You took something,
somebody tried to recreate it, and like you might know
the rhyme a little better, but that feel on that
first one was the right feel.

Speaker 1 (01:22:48):
Copy that field, but know the rhyme, the words, yeah,
other words? Did you ever?

Speaker 4 (01:22:55):
Oh?

Speaker 7 (01:22:55):
I was I was thinking to myself, I said, they
were the first ones to kind of fight that earthy box.

Speaker 1 (01:23:00):
In my mind, like, you know, they invented it too,
I know.

Speaker 10 (01:23:03):
So that's the weird part.

Speaker 4 (01:23:04):
It's like, why was dead right to build it and destroy?
But I mean to to answer, I say that y'all
weren't fooling anybody, but okay, But to answer your question,
I mean, I know I can't really answer for for them,
but as I see it is they just I don't know,
they just had a musical standard and what they thought

(01:23:25):
was corny was not corny, and they just so rebelled
not being that typical who they deemed as a corny artist,
you know, and things that just seemed I mean almost
almost to the point where I think it worked against
them because I you know, from what I remember, they
had a lot of offers for a lot of commercial things.
You know, I would have gave them a good amount
of money, but it's like, okay, so PEPSI yeah, I

(01:23:50):
don't know, like what, yeah, look, we was gonna our
first deal.

Speaker 1 (01:23:56):
Our offers.

Speaker 4 (01:23:57):
We had one with Profile, Tommy Boy and and Geffen.
Geffen was offering us the most amount of money, and
it was just it was the beginning of Geffen and
I was like, yo, as signed with Geffen. I'm worry
with Tommy Boy, I don't know about them. You know
Profile they did, they were about to release it takes two.
It was like I remember we went to the office.
It's like, yo, we just signed this guy, Rob Base,

(01:24:17):
who do you think your song? Oh my god, it's great.
We're gonna sign your song. Plug Tuning offering us more
money Geffen. I think I think Man, if I remember correctly,
Profile was like five or ten grand for like one song.

Speaker 1 (01:24:30):
I think.

Speaker 4 (01:24:32):
Man Geffen was something like forty grand.

Speaker 1 (01:24:35):
It was just something dumb, you know what I'm saying.
And Tommy Boy was.

Speaker 10 (01:24:40):
It would pay the song right there.

Speaker 4 (01:24:42):
This was talking about I'm talking about single. Now you're
talking about album. Oh you know, and you know, Tim,
we'll give you what we can get you. You know,
you know what I'm saying. But they liked the vibe
of Tommy Boy because it seemed more real to them,
like they were into the music and into which ultimately
turned to be the right thing anyway, because then, who know,
if we went a play offs, it might have had
the same impact.

Speaker 1 (01:25:00):
You would have been the roots.

Speaker 4 (01:25:04):
So you know it h it all. It all kind
of kind of worked out. But yeah, I mean I
think it's you know, we're keeping it real goes wrong.

Speaker 5 (01:25:13):
Even though I have a gazillion questions about Dayla soulds Dad,
we gotta, we gotta move.

Speaker 1 (01:25:17):
But I gotta ask, did you.

Speaker 4 (01:25:20):
Have any clue that your swan song with them would
be Blue Mind State? You know Blue Mindstates when old
comedians seem to like that's how I got like more.

Speaker 5 (01:25:30):
Yeah, like Chris Rock and I will still have these arguments,
like he still swears that's like in his top five.

Speaker 1 (01:25:36):
Yeah.

Speaker 5 (01:25:37):
Part of me is a little sad about that record,
Like I feel sad about that record because I feel
like that's where the four of you parted.

Speaker 1 (01:25:44):
Weighs.

Speaker 5 (01:25:45):
Yeah, Dayla hasn't really made an album that I like, absolutely, like,
disliked or whatever.

Speaker 1 (01:25:51):
But I do miss the lightness and the humor of
their records.

Speaker 4 (01:26:00):
Well, well, I think as time went on as my
promise with the first album, but you know, they reeled
me in back on the other two and I did
start steaks as high as well with them.

Speaker 1 (01:26:11):
Well you did Dog eat Dog right or started?

Speaker 4 (01:26:14):
Yeah, we recorded in my house that that freaking dog.
But that's that's all Dave's idea. I'll give them credit
for that. Like I just recorded and kind of navigated.
You know, the beginning stakes is high and the it
you know, I stayed a teenager and they grew up.
You know what I'm saying, That's how it evolved. You know,

(01:26:35):
just I'm like yo yoah, yo yo, man, let's do this,
let's record that, And it got to really where they
were like I don't think that's right, Paul, and I
had to respect that. You know what I'm saying, it's it.
Then I'll be going against what I said earlier, like
it's your art, it's not mine. So I couldn't impose
my will on them. But for so long, you know
what I'm saying, because then it becomes me, and then

(01:26:55):
I become that thing I hate. So the best thing
to do stay is hot. And it was really tough
because day La Soul really made me who I was
or I am as a producer. I had to like,
it's better that we just part ways. And that was tough.

Speaker 1 (01:27:11):
I remember. I remember that day Clear was in my
house hand him to a a tapes. You know, oh,
like the nice version of doctor. You know, it was
a nice version of that.

Speaker 4 (01:27:22):
Right. So from the time Balloon comes out, Balloon is
ninety three three and then very bigger time.

Speaker 5 (01:27:34):
Yeah Kane questions and oh the big daddy thing the
title track of I'm still in that baseline for the
next record.

Speaker 4 (01:27:45):
Oh, Man Caine. I love working with Kane. I met
him during the stets of Sonic Days you seem at
the quarters and stuff and yeah, and he called me
and said, yeah, man, you got a song. It's like, yeah,
you know, try this. You know what the cool thing
back then is like now everybody makes beat tapes. Yo,
what do you got to get beat tape? Listen to it?

Speaker 1 (01:28:04):
Back then it was like, yo, I hear this song
for you, This is yours, this is for you.

Speaker 4 (01:28:09):
I dictate what happens. You know what I'm saying, and
you can't do that now. It's just like third base,
like gas Face.

Speaker 1 (01:28:14):
And whole songs and all that stuff in front of them,
and it was cauture.

Speaker 7 (01:28:19):
You know.

Speaker 4 (01:28:19):
It's like I have it at the house or I
made it and I hear you on this and you
trust what I'm telling you. Now I'm c's and people
what you got. Yeah, I like that. I like this one.
I'm recording them to send it back to you. It's
not like being in the studio go Yo, that's whack
or Yo, try this over.

Speaker 7 (01:28:36):
You know.

Speaker 4 (01:28:36):
It's it's hard for me to work nowadays, man, because
I missed that type of energy. You know, even to
dispute me, you're like, yo, man, no, Paul, well show me.
You know, that's how you make things get better and
better and better. But yeah, but we came going back
to the question. Yeah, yeah, Cane hit me up, you know,
and it's like, Yo, I'm working on the second record

(01:28:56):
like that. I'm a King fan.

Speaker 5 (01:28:59):
Besides, you did Brooklyn Queens end gas Face right, yeah, okay,
yeah that that that emotions horn breakdown. It's like one
of my when like my pie in the face moment.
Usually when most people it's for mine, it's always that
dinging like whenever it.

Speaker 1 (01:29:16):
Happens to me, that's what that, That's what I hear.
Like the my my pie in the face moment is
is that part?

Speaker 4 (01:29:25):
Oh man, I'm associated with you?

Speaker 1 (01:29:26):
So But the thing is you didn't.

Speaker 5 (01:29:28):
You didn't go light though once you exited Steaks as
high like you went to Grave Graves.

Speaker 4 (01:29:36):
Oh man, you know what Grave Diggers was a part
of Grave Diggers was. You know, we talk about the
niceties of Daylight Souls Dead, But when that record came out,
a lot of the critics and stuff were saying, Dela
Soul is dead. It ain't no three ft high rides.
It was really maybe no, no, no, no, no, noished.
Maybe amongst the the hip hop peers and everybody, it

(01:29:58):
was cool, but amongst the hardcore critics critics, it was
getting panned time out, time out.

Speaker 5 (01:30:05):
I got a dispute you on this, Paul uh Houston.
For starters, I've never seen such a glowing first of all.
They also's Dad got a better review than three Feet
High and Rising Rolling Stone. I've never seen a four star.

(01:30:25):
I mean leave reviews were rare back then and again
they gave y' all the cover, which is some shit.
I memorized. I cut out that all right, forget it's
not about me. The Village Voice. It was a top
six passing job Village, which is hard for ninety one
era Robert Christigal to give that that much.

Speaker 1 (01:30:51):
Critical praise.

Speaker 5 (01:30:52):
Now maybe with local papers like that, but I'm just
saying the source gave y'all a perfect five. That was
the first five I read that wasn't in that ice
cube summariz that album was a classic.

Speaker 4 (01:31:07):
Let me chime in. I think part of it too
is the setup of having three feet high rise and
they were endeared and loved and people like they could
do no wrong. Second record comes out, like I said,
you're on the outside looking and I'm on the inside.
You know, your sales a lot lower, you know, and
then you know somebody you know. The first album was this,
This album is so mean. It was you know, so

(01:31:28):
I'm hearing all this. It was like, you know, we
put so much money, more money in this record, and
it's I think it's time, so you're listening. So the
pressure is on, which led to me having the label
with Russell when I did Doodo Man Records. It was
the pressure of living up to three feet high rise

(01:31:49):
and like he wanted me to make that record again.
It's like, I can't make that. I can't do that,
you know.

Speaker 1 (01:31:54):
So I did the Resident Alien record, which is some Friends.

Speaker 5 (01:31:56):
I did love that, Thank you, Shaky Ground and mister
but like all that, that's I love that record death Yeah,
thank you.

Speaker 1 (01:32:04):
It was.

Speaker 4 (01:32:04):
It was a fun record. But he, you know, they
were like, we're not feeling at this when we start
out the dispute of me calling it doodle Man Records,
which Russell called me numerous occasions trying to talk me
out of it. You shouldn't make a doodoo man. I
was like, yeah, that's the only way I do. That's
the only way I'll do the deal. If it's Doodo Man.

Speaker 5 (01:32:23):
If it's other than that, I don't want to do it.
It's like it is I mean now that Prince Paul
will be when when Miles of Blackish grows up. Oh yeah,
he's going to be Prince Paul. Oh god, his father
is in uh yeah, wow.

Speaker 1 (01:32:40):
Child.

Speaker 7 (01:32:42):
While you were on this musical journey, was it like
a lo low comedy journey going on with you because
I mean you about the funny as you are talented.

Speaker 1 (01:32:50):
I think I'm more silly than i'm funny, But thank you.
I appreciate that all your Grammys come from comedy records.

Speaker 4 (01:32:55):
Yeah yeah, Chris rock stuff right, local figure. I just
like having fun and my personality is quirky, and like
I said, you know, I've been eighteen since I was eighteen,
Like it hasn't changed, and which bodes well for some
but for others it doesn't. You know what I'm saying.
But you know, I just like, I just like having fun.

(01:33:18):
Some people get the joke, some people dope, you know,
most of them don't.

Speaker 7 (01:33:21):
But at some point you knew that it was beyond
just your hobby and your thing that you like to do,
because you started making money off of it, Like Emir said,
so yeah.

Speaker 4 (01:33:28):
I was weird and you started to make a record.

Speaker 1 (01:33:30):
Yeah, I mean that's even I think. Just just to sustain.

Speaker 4 (01:33:35):
Being in this industry for this long freaked me out
more than anything else and doing what I wanted to do,
which was which I don't know too many people get
a chance of doing that, but I was just so fortunate.
So it ate to sound like I'm you know, on
a sports channel and so blessed with what thank god,
what they I feel, man, because yo, I kind of

(01:33:56):
wrote my own story. And that's very very hard to do,
especially in music and the super duper and hip hop.
But it it's but I always kept in mind and
I always and we talked about this earlier about money.
I just saved my money so I'd be able to
do what I wanted to do, because I think once
you start, especially when you start making a certain money
in this music exchange, you to start getting a certain lifestyle,

(01:34:19):
then you want to maintain that by any means necessary.
And then that's the while it starts. We'll produce artistic decisions,
how yeah, how you're gonna do. I will produce for food.
So I was like, if I keep a moderate lifestyle,
you know, I got a house, cars, you know, whatever
the case is, keep it simple, then I can make
the records I always want to make without having to
like man, really you know, or be that dude who

(01:34:42):
just to sustain the lifestyle. We've seen him who moves
over to Bulgaria with this girl, who lives down with
this girl. You go, you go on to over there.
It's like, yeah, man, you a town and hurt you.
My man. You're out here now. Man, I'm wrapping at
the club down the street, about to tour the local
certain yeah, everybody knows.

Speaker 5 (01:35:00):
I want to say his name, but yeah, the dads
that are living. Yeah, and you go, this is my girl, sweat.

Speaker 4 (01:35:07):
Lauda meet you.

Speaker 3 (01:35:10):
Yeah.

Speaker 4 (01:35:11):
I told him we used to rock back in New York.

Speaker 1 (01:35:15):
I know who you're talking about.

Speaker 4 (01:35:17):
We can't say no, I'm not talking about a person.

Speaker 9 (01:35:19):
There are people pigmy so can avoid.

Speaker 4 (01:35:24):
Me being that dude. It's like, I live a practical
lifestyle so I can make the music I want to make.
And I've been all right, I'm still live in New York. Correct, Yeah,
I live in New York. I'm after my daughter graduates
high school. I think I'm gonna I'm gonna move out.
You're talking about coming down south. I was gonna say,
in New York.

Speaker 5 (01:35:41):
Every every New York Pioneer moves to North Carolina eventually,
come on rap retirement.

Speaker 4 (01:35:47):
Look, man, my tax is double digits man, every year,
the amount of paying taxes. But when I stayed in
my house, I could have bought me a whole new house.
I could brought me a mansion in North Carolina eight
that had been the other house.

Speaker 1 (01:36:01):

Speaker 9 (01:36:02):
I wanted to I want we was talking offline, but
I wanted to talk about Psychoanalysis. Uh that record Cycle
How was it open for you? And the record that
like you could not make that record to day you
would be think piece to death.

Speaker 4 (01:36:14):
Yeah, we're talking about like Beautiful Night, which talks about
date rape and killing white people. I mean, but it
was in the eyes of a cycle path. You know
what I'm saying. That was a shield, but it paints
the story from the beginning. This album's called Psychoanalysis. The
guy you have a psychotherapist and somebody goes through all

(01:36:35):
these different weird things, and yeah, it is somewhat of
a shield, but it is the truth, you know. And
so weirdly enough, I made that record thinking that that
would be my last record I'd ever make. Like I
honestly thought like my career was over because that was
ninety six. Yea, it was ninety six. Now mine, I
just started working with Daylight and that was that was
very depressing.

Speaker 1 (01:36:55):
Wait. Cycle Analysis came out before Prince of Pie.

Speaker 4 (01:36:57):
Yeah, Princess was ninety nine.

Speaker 1 (01:36:59):
Oh shit, okay, so.

Speaker 4 (01:37:01):
So Prince amongst it was Daylight. I lost my record
situation with Russell Grave Diggers. Oh that's just the that's
just the fad. You know, you guys are Grave dig
Six Feet was ninety seven.

Speaker 1 (01:37:17):
Time out. But that record did well, though, dude, you
know buzz yeah.

Speaker 4 (01:37:21):
You know, but it was during the time when Biggie
and everybody else was coming and that was like the movement,
and then I was still stuck on and w a.
You know what I'm saying. That was you know, I
was making action.

Speaker 1 (01:37:33):
Records, you know what I felt The big mistake was yes,
and that's why where it Yes Windy.

Speaker 5 (01:37:41):
Yeah, here's the thing though, Okay, Nowhere to Run To
was was a good club single. But I felt y'all
made a deadly mistake not making bang your Head because
that song for for for month in Philly, that's all
DJ Cosmi Kiff shout out the Cosmic Keeff made. He

(01:38:04):
would play that relentless live and I didn't know that
nog you gotta hear you gotta hear it on loud,
you got to hear it in a club setting.

Speaker 1 (01:38:14):
It just it sounded perfect.

Speaker 5 (01:38:18):
That was our ghost stats and for half a second,
like it didn't catch on, but for that month, that
cosmic Keeff has been to shelve that record, and he
kept calling him at at g at D Street, G Street,
make this a single. I need an instrumental like this
ship's gonna I'm gonna make it work on radio and
it never but I agree with him, Bang your head
should have been it should have been. Wait, I have

(01:38:41):
won one question about six feet before you go on
a sign? Who who is playing on that title track?
I feel like it's you guys, all of us. Yeah,
that's that's that's the junk yard band, man, That's how
we were playing.

Speaker 4 (01:38:55):
This is what happens when you leave a bunch of
dudes before the engineer gets in and there's all instruments
and in the live room we're like yo yo, you
played the drums, yo rizz. We're just like.

Speaker 1 (01:39:10):
Back when I didn't back when I didn't know any better.
That would be part of my DJ Oh my god,
And that's when I was DJ Pine So I cleaned
the floor.

Speaker 5 (01:39:22):
Oh without a doubt, man, that's just that song I
used to clean. But I love to sit out. It's
still like on on my on my on my list.

Speaker 4 (01:39:31):
Man, there's a whole like session of us just playing
and Rizzid took the took the dat tape. Man. Yeah,
but but I remember it was mastering that records. When
you guys mastering your first record at Sony. I don't
remember exactly where it's at, but I remember, Yo gave
me a box of cassettes or a bunch of sets.

(01:39:52):
So Yo, here's our first record. If anybody wants to
eat blah blah blah. And I still I still got
like two of them.

Speaker 1 (01:39:57):
You know, it's weird.

Speaker 4 (01:39:58):
I was gonna bring it today so you could sign
if want me off, I still have it.

Speaker 5 (01:40:02):
What's weird about that day was that I know that
Michael Jackson was also in that building mastering history.

Speaker 1 (01:40:11):
And in order to go to the bathroom, like I
had to clearity. Yeah, yeah, to clear I couldn't just
randomly be in the hallway, you know, trying to go
to the bathroom like. So yeah, that day, I remember
it was a defining moment.

Speaker 4 (01:40:25):
Man. It was like a few define moments like that.
And when I met Comment at the music h New
Music Seminar when he was a little kid, at his
tapes and stuff. It's like it's moments.

Speaker 1 (01:40:34):
Yeah I remember, yeah, yeah, that was all right, man.

Speaker 4 (01:40:37):
And I kept I was like, you know, she got
you sign it, man, I get people signed everything. You
say it, right.

Speaker 5 (01:40:45):
So Prince amongst Thieves, which didn't that come out the
same day as think It's fall Apart. I think that
TLC's fan mail, Eminem's, Eminem's record.

Speaker 1 (01:40:55):
And mine was the least successful. Are you trying to
rub that in on here?

Speaker 4 (01:41:01):
No, I'm saying that statistically your record failed.

Speaker 1 (01:41:06):
See. I wasn't even going there, Paul.

Speaker 5 (01:41:07):
I was saying that while we were packed him at
fifteen fast in the van going from record store to
record whatever.

Speaker 4 (01:41:13):
Like doing that whole two weeks, that's all we listened to.

Speaker 5 (01:41:16):
Wow, And even then I was like, damn, why did
I think, fucking Paul, Like, why do I think it?

Speaker 4 (01:41:21):
Damn?

Speaker 1 (01:41:21):
We could have made something create Like I almost felt like, damn,
I fucked up with this record of ours. Prince among
Steve's is no. But I was. I kept here and
I was like, damn.

Speaker 4 (01:41:34):
He always comes up with the fucking cleverest ideas that
I can't who who.

Speaker 1 (01:41:39):
Was dumbed up?

Speaker 4 (01:41:40):
The reverence everython came out a year late too. Oh yeah,
I handed in in February of two thousand and eight.
It was two thousand and eight. No, no, not eight,
I mean nineteen ninety eight. Yeah, nineteen ninety eight, and
the label satur for a year because it's like we
don't know what to do with for a year. Then

(01:42:01):
you should have looked, Yo, you don't understand like the
look of like sitting in a boardroom with played the
record and everybody after record goes, well, oh it was
so dispass I worked so hard on that record.

Speaker 1 (01:42:16):
They not know who they're messing with.

Speaker 4 (01:42:19):
That's times when you tell Paul make whatever record you
want to make, I'm like, really, word and I had that,
and they're like, this is the way the budget went.
We should have gave it to sex Mob. But I
think there's another group that had signed back then. Who
was Who was Dom Dumb on that record? That the Reverend?
That's uh my man McKnight who I guess you know

(01:42:41):
set Free Yeah yeah, call him McKnight.

Speaker 1 (01:42:44):
Yeah, he that that that was his boy. He brought
him in I was recording.

Speaker 4 (01:42:48):
I was at his house and I was like, you
need somebody play a reverend, Like I got somebody with
a perfect voice. And he came in and he killed
the first first shot.

Speaker 1 (01:42:56):
Oh my god.

Speaker 4 (01:42:56):
I was like, you know what to do? He's like,
I don't played no reverends, Like, yo, just say whatever
your rhyme is, whatever rhyme, random rhyme you got, but
say it like you preached it, like like college. Yes,
that's just one of his random rhymes, said, and preach
your style and work. You know, I was surprised. You know,
that was fun. It was. That was a hard record

(01:43:18):
to make, man, because I didn't use program. Imagine wait,
I used too much. No, I did it on a ADS,
but I did it with a sequencing program called Master
Master Tracks six, and I sequenced everything live with an
ASR ten and two S nine fifties. So I triggered

(01:43:39):
all the all the vocal parts, so nobody at right now,
nobody acted against each other. I just recorded all their
lines and then picked the best line, and then step
by step line line line, line, line, and then after
that did sound effects, sound effects, sound effects, sound effect.

Speaker 9 (01:43:54):
So the chubb rock he's rhyming over the biz beat
box like those were recorded separately.

Speaker 1 (01:43:59):
Those Yeah, well you buz did his beat first and
then yeah, Wow, yeah, a lot of pro tools that ship.
Yeah you know that shi it was a night man,
you know, you know it's so dumb, it's that ship. Well,
pro tools is way more expensive back then. But I
should just kind of just what pro tools.

Speaker 4 (01:44:17):
But it's me, it's me thinking again, like save save
this two thousand bucks.

Speaker 1 (01:44:22):
You know, I'm not gonna be in this for too long.

Speaker 4 (01:44:24):
You know, I'm saying even at that point, you're still
thinking that it's gonna come to you know, it's not
till I turn now to fifty I say like, wow, okay,
I made a career out of this. Oh wait, are
you serious?

Speaker 1 (01:44:34):
I'm very, very very because I mean because I was
what examples of hip hop are there?

Speaker 4 (01:44:40):
See? This is the thing though, you even in R
and B are there. That's because unless you're.

Speaker 1 (01:44:47):
Like I think, I think with black yes, your your
DNA motion is the whole winner take all thing with
black artists that we have to be at the top
of the mountain like Rocky. You know you're in.

Speaker 4 (01:45:00):
But the thing is is that there is space in
this room alone.

Speaker 5 (01:45:05):
There are three blue collar you know, there are three
blue blue collar musicians here, which I think maybe in
ninety six. It was made to be a thing like
they're shame in being a blue collar musician, or that
you're not winning, or that you don't have this yacht
at your access.

Speaker 10 (01:45:24):
But I know what you mean now, Okay, I was
catching up. You mean, right, like not super rich.

Speaker 4 (01:45:29):
Working class work, working class collar musicians.

Speaker 1 (01:45:32):
Yeah, and you know that's wait, are you giving me
the side? You really believe me?

Speaker 10 (01:45:40):
I believe Fonte And maybe.

Speaker 5 (01:45:47):
It's a very No, it's very it's real. Real wealthy
people don't have to go to their job. I'm at
my job right now. Okay, Yes, I'm.

Speaker 12 (01:45:56):
Saying, you know, your blue collar has a waffle on
it and a heart lego pen gangster.

Speaker 1 (01:46:07):
That's the smoking mirrors to make y'all think I'm youthful.
But I'm just saying that.

Speaker 5 (01:46:13):
As long as and again you you didn't have lofty,
I don't know if you dream of owning twelve miles
eriates And.

Speaker 4 (01:46:20):
You know what I really wanted and I bought my
mom my house instead was a one ninety band that
was kidded. It was Chalkole Gram. I remember sitting at
the dealership even if this or your mom, Yeah, and
I was like, you know, what we have no place
to live.

Speaker 1 (01:46:32):
But my whole, my whole, my whole Negro way of
thinking was one ninety.

Speaker 4 (01:46:37):
E kid it.

Speaker 10 (01:46:41):
Versus black man.

Speaker 5 (01:46:43):
I did that though, you put off my mom's house
to build my record room. The nigga one, Yeah, because
I don't want that's a cute tip. I was like,
should I want to lose my records? This record it's
going to be how I make money? And it went
like your mom didn't have a place to live. I mean, yeah,
she had a nice apartment. Is we would she lived
in Center City on brush she had a nice apartment.

Speaker 9 (01:47:06):
So with the politics of the business record was that
Because it's funny you mentioned that you thought, Psycho now
this was your last thing, reading a line of notes
of positive business, I thought that the last thing.

Speaker 4 (01:47:21):
You know, it felt like it because I chepel was
on that right. Yeah, because imagine I did this record man,
put all this work into this record and handed Tommy
Boy and you know, and they really didn't love it
until critical claim came back. You know, It's one of
those things like somebody you know, you have something, it's

(01:47:42):
all right, and then everybody goes, oh, that's dope. Nigga yeah,
it's dope, and we have it. It wasn't until that
point where they realized that something dope. It was at
the end of its run.

Speaker 1 (01:47:51):
So you mean to tell me that by the time
that the politics of the business came out, then.

Speaker 4 (01:47:55):
It was like they were like, yo, make another one.
They's like, make another Prince among thieves, talking about Prince
among thieves and head into politics. And I'm like, I
can't make that. It's like it's like Bugs Bunny one
show only or no, Daffy Duck blows himself up. You know,
it's one. I can't do that Again's so hard. And
plus when I didn't get too much love the first time.
So and having a conversation with the label, remember they're like,

(01:48:18):
you know, it's about a singles market, has nothing to
do with an album. Paul thinking so backwards, I'm like, word,
I'm going to make this record and it's just going
to be a spoof of single, which backfired against because
everybody took it literal and I'm like, it's a spoof,
but I'm just joking.

Speaker 1 (01:48:35):
This isn't what I really do. This is just like
kind of a joke and and yeah, it went, it went.

Speaker 9 (01:48:41):
It went hey, why Yeah, I remember we talking about
when we were doing the breaks and we talked about
booty clap.

Speaker 4 (01:48:47):
That's like my figure. You would saying how like Luke
you did that as like, oh yeah, yeah, that was
a psycho analysis.

Speaker 9 (01:48:53):
But then Luke came out with Scar and I think
that was like one hundred and forty something crazy.

Speaker 4 (01:48:59):
Yeah, yeah, yeah, I was. I was too slow at
one hundred and twenty five. I was like, man, I
can't get the spoof right.

Speaker 8 (01:49:05):
So I have a quick question about politics. Did Chuck
Rock ever pay you the twenty two hundred.

Speaker 4 (01:49:09):
Years you know what, I just have to say, unequivocally, No,
I have not got that back, nor do I ever
expect to ever get if you ever gave it back, yo,
I would go on all types of social media and
I would say, you know, I'm gonna say he's the

(01:49:31):
greatest guy. But I would go, yo, he finally paid
me back. I don't know, like it took all this
time man, and coming back. You know, man, that that
that could be a lifetime movie. I would tell you
all the guys that.

Speaker 9 (01:49:44):
Story be like what, yeah, what was the story was done?
Twentywo hundred dollars? I can't get to that you put
it out there.

Speaker 4 (01:49:54):
You know, it's like I got man, you know, was
it like production was some production stuff for music?

Speaker 10 (01:50:01):
I just got got personal.

Speaker 1 (01:50:03):
I just got god.

Speaker 4 (01:50:04):
You know what I'm saying. I was a vic you
know what I'm saying. That's all I could say.

Speaker 1 (01:50:07):
I got got you know, and you live and you learn,
you move on.

Speaker 4 (01:50:11):
You know. The money didn't hurt me as much as
the fact that I thought we were cool. You know
what I'm saying.

Speaker 1 (01:50:16):
Oh, so this is like there's still feelings behind that.

Speaker 4 (01:50:20):
I mean, because I mean it's like, even if we
see it now, it's like, who's mad cool with you?
No one?

Speaker 1 (01:50:27):
And that's how let's say let's say let's say, like,
for example.

Speaker 10 (01:50:32):
Sake, I never been in his house, but we kind
of okay, Let's.

Speaker 4 (01:50:34):
Let's say cool all of a sudden, and you will
never come either. So let's say hypothetically, she set you
up to steal from you. You like, oh something, who
was cool? We hung out, we did, we work together, we.

Speaker 1 (01:50:49):
Back in the day for ninety can you name it
your but when it was cool? Oh damn yeah. So
I mean it makes a great story, you know what
I'm saying, and I'll tell it one.

Speaker 4 (01:51:06):
Day in full okay, in social media, but but no, no,
you know, you know, I honestly I think chumb Is
is and I can say this is about time to
talk about that. I think he's super dupid talent and
some reason why I work with him. And he's really
you know, he's really smart, and you know he's funny
and all the other great things, very charming. But at
the same time, you know, those are the things that

(01:51:29):
really make great set up a great vic I got vixed.
I'll just say that, man, you know, wait before we
wrap up.

Speaker 1 (01:51:42):
Handsome School. But we have that too.

Speaker 4 (01:51:45):
Okay, wait, been in like eight groups, got myself quite often,
I gotta wait.

Speaker 5 (01:51:52):
I'm sorry because I'm gonna forget this and Steve will
kill us if we don't mention the fact that you
worked with TiO Macera te.

Speaker 1 (01:52:00):
Ab Oh yeah, yo, that was great man with Vernon
Reid on that record. Steve and I have a running
joke with H. T. T O and Felonious Monk.

Speaker 5 (01:52:12):
There's a documentary where Felonius does this like brilliant take
on piano and he tells to okay, play it back
for me.

Speaker 1 (01:52:18):
And t was like, oh, I didn't record that. I
was just getting levels, and but Thanes like, okay, but
play it back for me. He's like, I didn't get
that all right, Well just play the tape back for me. No,
you don't understand I didn't record it, all right, Well
wait right here, just play it back for me. That's
me and Steve all day. Just play it back for me.

Speaker 4 (01:52:38):
But they had they got it on video tape.

Speaker 1 (01:52:41):
That's the ironic, right.

Speaker 4 (01:52:43):
Well, yeah, that is that's true. That is true.

Speaker 1 (01:52:45):
But what was it like working with TiO?

Speaker 4 (01:52:48):
To me, just like working with Bernie Warrell. It's to me,
it's like free college, you know what I'm saying, Like,
I just I throw on my part, but I'm just watching,
you know that my whole like uh thing, especially with production,
working with people who are the seasoned like that. I mean,
you know, we all learn from each other, but I'm
watching hard body. I'm asking a ton of questions. I'm like,

(01:53:10):
how did you do this? Blah blah blah, and you know,
get into the mind frame it. I mean all of it,
all of it helps you know, So that that's to
me what it was. More or less, it was just
like me fan boying, like, Yo, why'd you do that?
When you did that? How'd you do that? And it's
funny Like a lot of these older guys, I'm sure
you've dealt with this too, the man, all we do
is make all manufactual like, but what do you mean?

(01:53:33):
May we just cut on switch man the episodes of
the show, you know, And so I'm sitting there like,
well in awe, like, but the equipment was so limited
back then, and what did you do?

Speaker 1 (01:53:44):
Wait?

Speaker 4 (01:53:44):
One more? One more regrets Miles Davis's producer for that,
thank you? I was I'm sorry, what did you have
to do with new Kirk's career?

Speaker 1 (01:53:55):
Thank you?

Speaker 4 (01:53:57):
Regrets.

Speaker 5 (01:53:59):
We can't end the show without missing done on new
Kircules show stops. Then we'll go to Texas forgot. So
right now I'm thinking of regret questions. Man new Kirk
me new Kirk.

Speaker 4 (01:54:11):
We met when he moved in from the Bronx to
Amyville in eighth grade. Eighth grade was pivotal in eighth grade,
and we were in a group. He was my MC,
he was empty Kid wonder Wow and his and we
had my man Mike Telux Uh and his and and
also new Kirk's brother Ray whose name is Sugar Ray,
and we had a we had a group called the

(01:54:31):
Soul Brothers back in in in uh in high school.
And and you know, after a while, new Kirk kind
of went on to his thing. I was getting more
into stetsisnic I met them, and he got more into
like a prince vibe. So we, you know, even though
we're mad cool musically, we're kind of separated. And he
was just making demos and stuff and and with all

(01:54:53):
my friends. If you know what's in all my records,
there's usually a band of characters that follow me from
record to record to record.

Speaker 1 (01:54:58):
One of them is new Kirk's primate and Bemos the
pop Master.

Speaker 4 (01:55:02):
You know, there's certain people did that that it just
my friends from like childhood and the pop mass. Was
he the one on booty him pop Master does all
my uh hey oh yeah, yeah, that's that's freaking yeah. Yeah,
I just seen the pop Master about it. But wait,
who uh uh uh uh who worship? Who is that?

Speaker 5 (01:55:31):
Oh?

Speaker 4 (01:55:31):
That that's this guy named Ron. He worked at the
at the I told you I done a guy for stuff. Hey,
you and the booth he was he worked at Calliope.
He was like the manager a lot of I've heard
that voice on a lot of other stuff too. After
he was on my record, I launched his career. He

(01:55:52):
was working at the studio as.

Speaker 1 (01:55:54):
A bad the original version of Who Do You Worship? Oh?

Speaker 4 (01:55:57):
I love that one.

Speaker 1 (01:55:58):
Why didn't y'all put that.

Speaker 4 (01:55:59):
On the record? I don't know. I have no idea.
I loved that one.

Speaker 1 (01:56:04):
Get it?

Speaker 4 (01:56:04):
And where did you hear that? What's my name?

Speaker 1 (01:56:06):
Motherucker?

Speaker 4 (01:56:09):
I can't even find that. It is in my thing
of cassettes, and I don't know where it's.

Speaker 5 (01:56:13):
I have a draft of of des was Dead that's
slightly altered than the version of Man.

Speaker 1 (01:56:21):
That's beautiful. Another text regard question, Oh.

Speaker 4 (01:56:23):
New Kirk, let me get back to Newkirk. But yeah,
so so new Kirk. After I asked him, you know,
do the voice in the three Rising and third Base?
And oh this is before third Base? I introduced him
to Russell and Russell signed him to his OBR and
that kind of set it up. That's why I had
a little bit of juice. Man was the joint.

Speaker 1 (01:56:45):
That's when people actually kind of liked me.

Speaker 4 (01:56:46):
You know, I could I could call up a random person,
hey man, Paul, how are you you know, when when
you start making money for people that Yeah, yeah, you
know what was your text regreat question?

Speaker 1 (01:56:59):
Uh?

Speaker 5 (01:57:00):
Who was they are talking about at the beginning of
AFRO Connections at a high five.

Speaker 1 (01:57:08):
Or we can't say, okay, don't mention the name. Were
they talking about someone specific? No, not that I can
think of. That's all you have to say, like they
might have to ask them.

Speaker 4 (01:57:17):
But from what I remember, it was just an overall
because that was the vibe back then, because dudes was
just doing that. You know what I'm saying. It was
just the movement.

Speaker 1 (01:57:24):
And what is Crocker Crocker thing? Or no, no, no,
that's him saying his name though. No, No, that's on
Crocker from Kojack.

Speaker 4 (01:57:33):
That's right.

Speaker 5 (01:57:35):
I forgot Tom Hayes handled one. Okay, playing found that Crocker.

Speaker 4 (01:57:40):
Yeah, you know it's one of those things you got.
You know, you just ran Crocker. Yes, put that in there, Crocker.
You just come up to curses Crocker.

Speaker 9 (01:57:48):
You know, I see handsl wore Mylin school real quick.
I know we got handsl wore Mylin school.

Speaker 1 (01:57:54):
Y'all.

Speaker 4 (01:57:55):
Just well, hopefully they just use one of the joints
and Baby Driver the movie. Yeah, I just I just
heard about that. My nephew told me about that.

Speaker 1 (01:58:01):
Yeah, they used that.

Speaker 4 (01:58:02):
How did that come about? I don't know.

Speaker 9 (01:58:05):
I just well, I mean, did the group not that
that placement, but just you an automator. Oh that was
a joke.

Speaker 4 (01:58:10):
It was automated. Was at Tommy Boy and he was like,
because me and water made became cool when he did doctor,
I was doing Psychoanalysis and I did a remix with
Blue Flowers, and then we were talking about Chris Elliott
and Get A Life and ha ha, I remember the episode.

Speaker 1 (01:58:25):
Handsome Model in School had some way Model School.

Speaker 4 (01:58:28):
Ha ha haa. We're laughing with joking.

Speaker 1 (01:58:30):
That's where it comes from. Yeah, which changing which changing
copies of old VHS tapes of Get a Life.

Speaker 4 (01:58:35):
And then all of a sudden he's at Tommy Boy
and he's like, uh, yeah, I told I told tom
and Monica that we got a group called Handsome Boy
Model School and they would have signed us. I was
like really, He's like yeah. I was like, all right, bet,
let's do it. So you know, it wasn't a group,
it was just a joke, and then we had to
live up to the joke. By making the record and
anything behind the joke.

Speaker 1 (01:58:57):
Did Chris Elliott ever talk to you guys about Yeah.

Speaker 4 (01:59:00):
But actually we met up with Chris Elliott and he
was like, I can't believe that Abby's coming to the
show today. Side note, Chris is darting. He was like,
I'm surprised anybody even liked anything about it, foxing me
such a hard time with the thing, and and he
wanted to work with us on some project, but it
never it never happened. Is that how the Atlantic thing
for the second album The White People? Oh, it's because

(01:59:20):
Tommy Boy. Uh one just took the catalog from Tommy Boy.
So all the groups got dispersed. Obviously, nobody wanted me
as a solo artist, but they accepted me and Handsome
Boy modeling school, which I was just fine.

Speaker 7 (01:59:34):
Can I just give people a point of reference where
Chris Elliott remember something by Mary?

Speaker 1 (01:59:38):
Yeah?

Speaker 4 (01:59:38):
He was the guy he was what was his character name?
He was the boyfriend, yeah, the one that had all.

Speaker 10 (01:59:44):
The zi Yeah, yes, yes, yes, yes, yes.

Speaker 1 (01:59:46):
He was the lead character. And get a life, which
is what I know. But some kind of life is
also the dicks.

Speaker 4 (01:59:54):
Yeah, I got so much awkward stuff right.

Speaker 1 (01:59:58):
Oh that was my lad. That was my last.

Speaker 10 (02:00:00):
This was gonna be one the Dicks.

Speaker 1 (02:00:08):
It was a group. It was like his fate like
Motown soul group d you don't know it was. It
was this was like oh, it was like, yeah, I
was depressed by then.

Speaker 4 (02:00:23):
Yeah, yeah, that was Yeah, this is a fun.

Speaker 1 (02:00:26):
There's certain records that I make that I'm serious.

Speaker 4 (02:00:28):
I'm like, Yo, this is I think this is dope.
When you hear records like Psychoanalysis or The Dicks or Instrumental,
but yeah, those barn was a fun records. It was
like I just make just the mate.

Speaker 1 (02:00:38):

Speaker 4 (02:00:39):
That's like you like it, you don't like it, hate me,
But that was just, you know, an imagination thing.

Speaker 1 (02:00:43):
It is fun.

Speaker 4 (02:00:44):
I got all my friends together. I gotta say that
I'm one of the biggest Barman fans ever. Barman. He
talks about Barman's on that ass B list half the time.
He like, Yo, who's uh area code like apartment who
Barman's genius. Yeah, Man, very overlooked Man.

Speaker 1 (02:01:06):
I love that dude.

Speaker 4 (02:01:07):
Man. But yeah, he talks about you all the time,
Man to you all lived together. At some point He's like.

Speaker 5 (02:01:13):
Man, it's just you know these' it's my spirit animal
man Paul.

Speaker 4 (02:01:18):
Yeah.

Speaker 1 (02:01:19):
Yeah, he's crazy.

Speaker 4 (02:01:20):
Yeah, he's mad. Cool.

Speaker 5 (02:01:21):
I got him in a group with uh uh the
director Eternal Sins.

Speaker 4 (02:01:28):
Yeah, with Michelle Okay, yeah he did talk about that.

Speaker 1 (02:01:30):
Yeah, yeah, yeah, that's cool man.

Speaker 4 (02:01:32):
Yeah, he's good to work. I'm glad you guys are
working together.

Speaker 8 (02:01:35):
They got a side project. All right, So what was
your you had? It was one last really kind of
stupid question. I'm not stupid. George Clinton tweaking remix?

Speaker 4 (02:01:43):
Wow, forgot about that, Jesus, My brother brought it up
not too long ago.

Speaker 8 (02:01:47):
Did you touch that before or after? Prince got ahold
of it? Because you both are credited on the record.
Two princess Yeah, two princes on the same record.

Speaker 4 (02:01:54):
Honestly, you know what. I don't even I don't even know.
I think I have a copy of the record somewhere.
I don't remember anything. All I remember I remember, I
do remember this is that Before then, Prince wanted me
to come down to the was it Paisley Park Studios
and record but I couldn't at the time. I was

(02:02:15):
really busy. So he sent me the the masters to
I mean, he had to Island Media where I was working.

Speaker 1 (02:02:21):
That's funny.

Speaker 4 (02:02:22):
Now, I was like, oh, I have no time for you, Prince.
What a douchebag of my you know, but and you
knew I was a big George Clinton fan. And I
remember doing it, but I don't remember the process, you know,
I just remember recording. Okay, this is cool, not some
of my better work. I mean, I wish I could
go back in time and really redo that. And I

(02:02:42):
wish I'd go back in time and go to Paisley
Park Studios. Can you before we go, can you talk
about the Brooks Hill Project?

Speaker 1 (02:02:50):
Oh, Brizil, Yeah, that was a long time in the making.

Speaker 4 (02:02:54):
Man. That was me visiting South Polow hooking up with
Hadrig Brown and now who was the host of Young
TV Raps Brazil back in when they had the Young
tv Raps. Yeah, and you know me talking about Hanles
make a record and hooking up together and and introducing

(02:03:15):
him to Mecca, you know him find out Mecca's families
from Brazil and her peature or speaking Portuguese, and they bonded.
And then you know, I always bring my usual suspect
to always bring new Kirk in because you know he's
he's my boy for life, you know what I'm saying.
So and yeah, we just started making this record piecing together.
It took so long because we try to get right
in the room at the same time. Somebody from Brazil,

(02:03:36):
somebody's you know. So it's it took us like almost
like eight years to make that record and just to
like just to record again. Wow. Yeah, because we record
some South Paulo, some in Queens, some in Long Island,
and some in Atlanta. So we were all over the place.
So it's just set up. Now do you set up
at the crib like you just have a home set.

(02:03:58):
We recorded vocals and I've had a home set up
when home setups weren't popular, like when we was doing
the daylight stuff. I started making a home setup because
I try to save as much money and pre production
before I went to studios possible, because like so, when
you have a twenty five thousand dollars budget, yo, you
gotta find And I kept that mentality because I seen

(02:04:18):
it like this, right, when you got a budget, you
make a record, let's say hypothetically, and I'll keep it
at twenty five thousand dollars.

Speaker 1 (02:04:25):
You know that's money you're definitely gonna have.

Speaker 4 (02:04:27):
You don't know if you're ever going to make a
royal do So I'm trying to spend this little without
jeopardizing the integrated project as possible in making that record.
So I can just pocket the rest because I know
that that's the only money I may ever have from
that record, ever, ever, ever.

Speaker 1 (02:04:43):
Okay, So Paul, we can stay here for another nine hours,
but I get.

Speaker 4 (02:04:49):
Restless, like.

Speaker 1 (02:04:51):
More, But I gotta I gotta go.

Speaker 8 (02:04:54):
To my job.

Speaker 1 (02:04:54):
But here's the thing. Can we just have warm round
of regret questions and just fired off and just try
to keep it short? Is it's not? Okay?

Speaker 5 (02:05:03):
But fuck it, this is the only time we get
to ask this. So when you recorded the second Chris
Rock album, yes, I noticed. What microphone did you use
on Chris Rock? Sorry, because it sounded like I felt
that you were going for those old Red Fox records.

(02:05:24):
If you listen to the quality of of of the
comedy bits that are done in the club, it was like, oh,
it's like, oh, like you were doing a Dap Kings
fifties throwback or nah, you just had a bad microphone.

Speaker 4 (02:05:40):
And you just it was probably the latter. You don't
listen back, I'm like, Yo, this sounds really like it
just all I know. Was the last record that we
made was it Never Scared to Me, which sounded too perfect?

Speaker 7 (02:05:58):
I like this.

Speaker 4 (02:05:59):
Yeah. I like the sound of like the non digitized,
non sterile, old school stuff. So yeah, it was probably
by design, and that was probably thanks to Scottie Hart,
my engineer. He probably sat and like, yeah, it was.

Speaker 1 (02:06:11):
Recordable on the on the cad mic whatever microphone was.

Speaker 5 (02:06:16):
Well start it was a Stroker genius because if he
ever does another comic record, I'm like, you gotta get
that microphone you used for the second album, which it.

Speaker 4 (02:06:25):
Makes all the difference. Man. It's funny how tonality will
make you perceive even jokes or anything that you listen to. Yes,
you know, and I try to tell people that, like
and that's why certain things don't sound really good sterile
and new age, you know, High Death? Did you record
those the real people ignorance.

Speaker 1 (02:06:41):
Skits to ye?

Speaker 10 (02:06:46):
Do I even ask why you and Chris Rock.

Speaker 1 (02:06:51):
Have you heard the records?

Speaker 4 (02:06:52):
Yeah?

Speaker 10 (02:06:52):
But I'm just I'm asking this for people who might
be listening.

Speaker 4 (02:06:56):
Prince Paul, Well, the weird thing is after psycho analysis,
he ran called me up, and I thought it was
a joke from Daylight because we play jokes on each other,
like here he goes Apasta's network will call, And I
thought it was like a joke, like you know, yeah something,
it's Chris rock Man do his record.

Speaker 1 (02:07:10):
I'm like, yeah, yeah, whatever, what record you want me
to do?

Speaker 4 (02:07:13):
I was just like all like, yeah, okay whatever. He said, No,
I'm serious, I'm gonna do like maybe like one or
two things. And we met up and I was like,
this is a joke. He's like no, I'm serious. And
then we just got along really well.

Speaker 5 (02:07:24):
Because no one thought that Chris rock was going to
make a record with skits on it, right, and so
you know that's.

Speaker 1 (02:07:30):
What I don't think he thought he was gonna make
a regular s got to just developed this thing on.
You know, all right, Bill, do you have a regret question?
What's Prince Paul's favorite skit?

Speaker 4 (02:07:41):
Anything? Doctor Dre made on up?

Speaker 12 (02:07:47):
That?

Speaker 4 (02:07:47):
Really?

Speaker 5 (02:07:48):
To me, that sets the bar forever because he says
he acknowledges that he got all that shit from you.

Speaker 4 (02:07:54):
Well, you know, he just as he for a fact,
I didn't know that. Yes, he's acknowledged that. You know, Wow,
that that's man, that's flattering because I was trying to
copy that. From that point, I was like, oh my god,
this is incredible. You know, it's just like this last
thing I'll say is it's just like when I finally
met the Beasties and Paul mc a, yeah, God rest

(02:08:17):
his soul. He was and him and ad Rock was
telling me like, we hated you when you made three
feet high Rise because we wanted to do that first.
Like you know what's crazy. I paid three high Rising
out the licensed ill I just added extra stuff to it,
you know what I'm saying. That was the bewildering part
of it. And I'm like, wow, you guys are by

(02:08:37):
inspiration that and and uh and easy. I think the
first record he did and Paul the Funk Cadelic. It
was a combination.

Speaker 5 (02:08:45):
So yeah, you guys were definitely doing the Beatles Beach
Boys battle for it was going to be more autistic.

Speaker 1 (02:08:51):
Steve any questions.

Speaker 4 (02:08:54):
Like, regret question, Yeah, I regret regret question.

Speaker 5 (02:09:00):
Lady and gentlemen, this has been an awesome episode of
Prince Carl.

Speaker 1 (02:09:05):
Thank you, and I will give you guys around applaw us.

Speaker 4 (02:09:10):
Thank you for tolerating me this long and waiting for.

Speaker 5 (02:09:15):
I'm sure you will be a repeat quest because we
got so much more questions, repeat a repeat question of
repeat quest.

Speaker 4 (02:09:22):
Yes, and I will come back and ask you all
questions to ask.

Speaker 1 (02:09:25):
About the lawsuit anyway on behalf of like you and
Steve and Bill and other Bill who's not here, pour
off some spit, Lincoln and Flow.

Speaker 4 (02:09:38):
And Prince Paul.

Speaker 1 (02:09:39):
We thank you very much and uh, we'll see you
on the next go round. Of course, Love Supreme only
on Pandora. Crocker What's Love Supreme is a production of iHeartRadio.

(02:10:02):
This classic episode was produced by the team at Pandora.
For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
or wherever you listen to your favorite shows.

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Black Music Month QLS Classic: Prince Paul