Da Beatminerz

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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

00:00:10
Speaker 2: I'm just so happy that everybody showed up for this. DoD damn so I'm happy. You God damn you got missed the Coleman here.

00:00:17
Speaker 3: I'm faring you want to know.

00:00:24
Speaker 1: What let's start. I can already tell that this episode of Quest Love Supreme is going to be a special one. What can I say? I've known and worked with these gentlemen when I first got into the game. Oftentimes we talk about sort of pioneering shift change of where hip hop went in the early nineties, what we call the Renaissance period of hip hop, and often you hear the names, you know, Pete Rock, Premiere, the Uma, and you know Diamond D. Not to mention, I mean, it's not strictly New York. There was DJ Quick on the West Coast. Of course, Doctor Dre was doing stuff. Got to give a shot out to Prince Paul and also Extra p Lrish Professor organized Noise down South.

00:01:10
Speaker 4: Like there was a whole Jay Swift on the West Coast.

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Speaker 1: There's a whole slew of producers that basically built upon.

00:01:19
Speaker 4: What Marley Ma and the Bomb Squad.

00:01:24
Speaker 1: I know. There's a lot of legends that I'm missing when doing this introduction. But for me, these two gentlemen are a part of a movement that often doesn't get enough credit for their level of hip hop production, their grimy level of hip hop production. And you know, they put numbers on the boards, and we just don't say it because it's so effortless. But yet and still, you know, if you watch, you can tell the sign of a good producer based on all these freestyle videos you see from the nineties, whatnot what's the music back drop they choose? And I guarantee you these gentlemen definitely have numbers on the boards as far as just really bringing a sound to New York, defining the sound of New York, even the roots work with him back in ninety five. But more than that, I just love to also state the fact that, despite what they like to let onto the public, these are the two nicest nerds I've ever met in my life. My habit of speaking Elizabethan and proper Gilded Age era English really comes from these two. To this day, i'd say, sir, ma'am, I learned from these two.

00:02:40
Speaker 3: No way, no way, no super way.

00:02:45
Speaker 1: Don't deny it, ladies and gentlemen, please welcome Evil T and his brother Mister Walker known as the Beat minus on Quest Loves the Pree.

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Speaker 3: Thank you made Mama, I'm mad.

00:03:06
Speaker 5: You You be great man.

00:03:12
Speaker 6: What was doing for the past two weeks?

00:03:16
Speaker 3: Yo? Cush up supreme? Like, what's going crazy? Man?

00:03:24
Speaker 1: This is just we we just having a normal account, like we're gonna bust it up like we normally do. We don't do it enough. And I'm so glad because it's been a hot minute. I'll just start with my first question. How are you guys? How's it going.

00:03:38
Speaker 3: We're good, We're good.

00:03:39
Speaker 2: We're living.

00:03:41
Speaker 3: We're living, that's what we're doing. I'm having fun. I don't know about wal I'm having fun.

00:03:47
Speaker 4: That's all you can do. That is all you can do. Where are you guys right now as we speak?

00:03:53
Speaker 1: What? What?

00:03:53
Speaker 4: What part of the world are you guys in right now?

00:03:56
Speaker 2: We are in Bushwick, Brooklyn. The same house. Yeah, that same the same listen, the same crib that my mother branged this bump ass dude home.

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Speaker 3: That's me.

00:04:12
Speaker 2: That house right, This is the house that we made all our records in and stuff like.

00:04:17
Speaker 1: Wait, I have a question to ask because oftentimes I have a theory that whenever someone channels in magic, especially with music, and specifically I'm thinking about Prince and I'm thinking about the Rizza as well, they'll come with a cavalcade.

00:04:37
Speaker 4: Just an entire.

00:04:39
Speaker 1: Slew of you know what I call manna from heaven that they particularly create in a certain spot. In Prince's case, his his bedroom turned studio. In THESS case Stapleton, you know at at in his project basement making those classic Wu Tang records, and then what happens is, you know, they hit payday and then they upgrade, and then it's not.

00:05:09
Speaker 4: Quite the same anymore.

00:05:10
Speaker 1: Is there a specific reason why that you're you're still in the same Like, is there a formula for you guys that that you feel will jinx you if you were to move elsewhere besides the basement.

00:05:24
Speaker 3: This is the family house. So we just chose to stay. I mean I moved out.

00:05:29
Speaker 2: For like five years when my son was born. I have moved to Flatbush, but I kept like my records here. I have moved my equipment, but I kept like my records and all my stuff here, so I kept coming Black. Plus, he had like the main part of the studio here, so I had to come back.

00:05:46
Speaker 6: It's what it is, is like, well, you know on walk left. Of course I stole his recollection. I got to talk about that.

00:05:54
Speaker 4: But isn't it kind of like both of y'alls?

00:05:57
Speaker 2: Yeah, Fridays if we're trying to be nice, it's it's it's you know, it's both for ours, you know.

00:06:04
Speaker 6: Fifty to fifty for some reason, for some reason, sixty forty, but uh whatever, being here this is this is where this is like it like it's no way to explain it, like this is I feel like this is where we belong, you know what I'm saying, Like everything started here, like and this actual kitchen is where you know, me Bucking five did our stuff like this kitchen and the next room, which used to be Walt's bedroom now is the studio. This is where everything started. And it's like, well else, you know, like, yo, this is it. That's all I can say. This is it.

00:06:43
Speaker 4: What's the age difference between you two?

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Speaker 3: Three years? Yeah? Three years?

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Speaker 2: I'm the older I'm the older brother. Okay, I was the brother that wasn't supposed to make it.

00:06:52
Speaker 3: And you know what wait, yeah you know that oh that big Okay, what are you talking about.

00:07:04
Speaker 7: And he was the baby, like.

00:07:07
Speaker 2: Oh my god, he was when I was young because I'm the I was the first DJ the family, and of course I was the first one to do production. But my mother kept cold signing for e. You know, little brother always going to hang with big brother. So every time my mother would be like, you're gonna let him DJ, I said no, no, Ma, I can't.

00:07:29
Speaker 3: He said no, take your brother with you.

00:07:32
Speaker 2: And this guy used to He used to mix off beat and every day was all over the place, and my mother was his biggest cheerleader. That's my baby, My stop it.

00:07:44
Speaker 3: But you know what it is though, I got into you know what, Walk got into DJing because he wanted to, like that was his thing. And I got into it because I was jealous of war and it was like he's deep Jane and getting all this attention and it's all cool. And I was like, I'm cool too. You mean I ain't cool. I'm better than him. I was trash.

00:08:11
Speaker 1: So what what was your first musical memory in life?

00:08:17
Speaker 2: My father bringing home a bunch of records, Like he used to bring records home all the time because he used to work on construction sites and stuff like that, and he had brang home like a pile of records, and I just went towards this one record and I still have that record to this day, Diana Ross presents Jackson five.

00:08:37
Speaker 1: Oh wow.

00:08:38
Speaker 2: And I just that made me fall in love with collecting records. And the first song I ever fell in love with, like this song stayed in my head was Living for the City Stevie Wonder. That was the first song I fell in love.

00:08:53
Speaker 4: With, staying.

00:08:56
Speaker 1: When you're saying he brought the record, you mean dumpster diving or your father would go record shopping.

00:09:02
Speaker 2: No, he would bring someone would give him a polo records and you would just bring the records home. So he was doing the original beat mining before me and my brother.

00:09:11
Speaker 1: Yeah, what's the family unit?

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Speaker 4: Is it just you two are siblings or do you have other siblings?

00:09:18
Speaker 3: Well, we have a.

00:09:19
Speaker 2: Half older half sister who lives in Harlem from my father, and then we had a younger sister that passed away in two thousand and time.

00:09:28
Speaker 1: Yeah, Okay, were they musically inclined as well or was it just you two just me?

00:09:34
Speaker 2: Yeah, here's a secret for everybody. And I'm about to embarrass my brother up to Jacksonville.

00:09:40
Speaker 3: So much. We made our own singing group.

00:09:43
Speaker 2: And I was Michael. I was Michael and Jackson.

00:09:48
Speaker 3: Mackie. He was Jermaine. My mother used to have two fouster kids. They were Marlon and.

00:09:55
Speaker 2: Randy or whatever Mark and I was Jackie because I was the oldest, and I was Michael.

00:10:00
Speaker 3: I was the lead.

00:10:00
Speaker 4: Singer Tito's not getting respect, and.

00:10:03
Speaker 2: He was Malling, and they were Malling and Tito.

00:10:07
Speaker 1: Yo, I'm gonna tell you something. You have to be a certain age to know that. For good four to five year run, right, the Jackson's were like the Black super Friends, Y and I guarantee you, like anyone that had any sign of any music healthy whatever, we would just say, look, yo, let's play Jackson five. And seriously, we just act like we were the Jackson five. I know, like is like I was born in the eighties. I'm sorry the nineties.

00:10:37
Speaker 8: No, no, no, we had no audition, I got you. I'm just I'm using it as a metaphor, like oh with new addition.

00:10:42
Speaker 1: Yeah right, because Jackson five was way before you.

00:10:45
Speaker 2: Everybody knows that Jackson five. Everybody like, oh hell yeah, yeah, everybody knows what the Jackson five put down.

00:10:51
Speaker 8: Everybody everybody wasn't making choreography to it on the playground though.

00:10:55
Speaker 7: That's a certain error.

00:10:56
Speaker 1: Right right, A man, they're they're they were the first black super Friends.

00:11:03
Speaker 3: So right, you know.

00:11:05
Speaker 1: Obviously slow, I got stuck with Tito all the time, so.

00:11:08
Speaker 2: You know I was when they had their own cartoon, like I was in hell.

00:11:12
Speaker 7: Now, yes, yes, Wait where year.

00:11:13
Speaker 4: Were you born?

00:11:15
Speaker 3: I was born in sixty eight? Okay, so you watch my old son? Oh not old? So you old son?

00:11:24
Speaker 7: You three years younger son? What are you doing? Three years younger? Three years younger?

00:11:28
Speaker 3: Though? Three?

00:11:29
Speaker 7: Three three three?

00:11:32
Speaker 1: At what age did do Ward like finally get your respect? Well as far as like production is concerned, not production, but DJ or were you the don't touch my equipment type or were you.

00:11:44
Speaker 2: The yeah, wait, don't touch my equipment types.

00:11:48
Speaker 1: Of e yes?

00:11:50
Speaker 3: Hell yeah?

00:11:50
Speaker 2: And he's my little his hand has been too greasy, he always had greasy as hands that he ate a polo rids And then he want to touch the records.

00:11:59
Speaker 3: What kind of shits? Yo? Let me tell you what I used to do to walk right.

00:12:06
Speaker 6: So Wall would go hang out with his friends or go to work or whatever, you know, whatever, And as soon as he would leave. I would walk into his room and turn everything on practice what I seen him do, add my touch to it to make it my style, and turn everything off and put everything back the way it was supposed to be.

00:12:32
Speaker 3: So one day I caught it it as then I got.

00:12:35
Speaker 4: Beat up, all right, So yeah, the t Joe Jackson movement.

00:12:41
Speaker 1: Was at least like, let me see what you can do first and then I beat jazz, or like.

00:12:46
Speaker 2: Because he's a little brother, I don't care what the little brother had to do. I'm big brother.

00:12:49
Speaker 3: You know.

00:12:51
Speaker 2: I'll tell you that moment I had with my mom and him, that was the moment I was like, all right, next, see what he can do.

00:12:56
Speaker 3: And I was horrible that man.

00:12:58
Speaker 2: Could have came in and did every mix that jazzy Jeff every day in his life and I still wouldn't be impressed, like it was whack mom, come on, but would never give him his prop.

00:13:07
Speaker 6: You know what was what was good about that was being that it was the big brother, little brother type thing. It made me go, you know what, I'm gonna beat walk at this. You know what I'm saying, Like, I'm I'm gonna show him. I'm gonna battle him. I'm gonna be better than him. And it made me really like get into DJing like I was. I was on some I was, it was something else, you know what I'm saying. Like I thought I was the DMC champion the way I was training to battle war, you know what I'm saying.

00:13:42
Speaker 4: So you two, you two were enemies first before you.

00:13:45
Speaker 1: Decided to.

00:13:47
Speaker 4: Yeah, of course, but you know, you know that makes sense.

00:13:52
Speaker 1: There's a legendary sibling DJ team that I knew in Philly, same situation. Brother was like five years young, but the younger brother's level of antagonizing was if his older brother made him mad, like don't touch my equipment and beat him up whatever, the younger brother would actually take like one of the prize records and put it in the bathtub, just on the records.

00:14:18
Speaker 3: No, no, we no, nah records valuable. Whoa whoa, I said, Death said.

00:14:29
Speaker 1: It was also like eight years old, So you know, I mean, you do anything to antagonize. Now, I know most Harlem Uptown BRONC stories had the blackout of seventy seven to think for uh equipment, uh acquiring, But like, how did you build your how did you build your system? Well, in terms of being a DJ.

00:14:54
Speaker 2: We did what we had to do.

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Speaker 3: My mother.

00:14:56
Speaker 2: First of all, we did the regular Mickey Mouse turntable with the home homemade mixer. We did that trackic thing. I asked my mother to buy me a turntable. Now, my mother is an old West Indian woman from Belize, so she's like, she don't know ages.

00:15:17
Speaker 4: Oh boy, what does she buy?

00:15:18
Speaker 2: He came home with a BSW belt turntable belt drive wow belt. I looked at her and I said, thanks, mom. And that's when I said, yo, I got to get my own thing.

00:15:34
Speaker 3: I can't. I can't. I can't deal with this with me. I got to get my own self.

00:15:39
Speaker 2: So that's why I started like this was we're going into like eighty five. So I started working in a record store around here, and then I'm in eighty seven. I started working at a music factor in Jamaica, Queens. And that's when I was like, yo, I got to get my own equipment and saved up enough money I mean, you know, and got my equipment.

00:16:00
Speaker 9: There you mentioned earlier did job your father? He did construction? What did your mom your mother do?

00:16:06
Speaker 2: He was a nurse at We used to have a hospital out here called Williamsburg Hospital and she used to work over there and then she just started to take care of foster kids.

00:16:16
Speaker 7: Oh wow, okay, yeah, how many foster kids?

00:16:19
Speaker 3: It was a lot of falster kids, a.

00:16:20
Speaker 7: Lot of foster kids in and out of your house.

00:16:22
Speaker 3: Yeah yeah yeah.

00:16:24
Speaker 4: And when you say Williamsburg not the Williamsburg that I.

00:16:27
Speaker 3: Know, well no, it's different.

00:16:31
Speaker 2: Butchrig is not the butcher Ridge that we know, Like the butcher growing up now is a totally different butcher And what.

00:16:37
Speaker 4: Was manse uh man.

00:16:44
Speaker 1: Mustachus right?

00:16:45
Speaker 3: People looking at you like.

00:16:47
Speaker 8: You don't belong yere, right, which means so y'all have a nice piece of real estate right now, and congratulations to that.

00:16:54
Speaker 3: Well, I mean we will always say this is our mama's house.

00:16:56
Speaker 6: Yeah, I tell people this day I live at my mother's base because I just loved the reaction of their face, like how do you.

00:17:06
Speaker 8: Still and you god like to have a full it's a full brownstone and everything right, like.

00:17:12
Speaker 3: Right large, it's actually a townhouse.

00:17:16
Speaker 6: Okay, it looks like a brownstone, so we let people go with that, but it's actually a nineteen thirties townhouse.

00:17:22
Speaker 2: Wow, what were your earliest gigs, like walk neighborhood stuff that's in the neighborhood, like you know, we didn't really leave butch rigged, you know, and stuff like that. So a lot of stuff was mostly it started doing the dust and butcher rigg stuff, and then we started doing more stuff out of Brooklyn, and you know, it eventually grew after that.

00:17:44
Speaker 6: Back in the days, you had to like like you blew up in your neighborhood, and after you grew up in your neighborhood, you started going to other neighborhoods, and then you started going to other boroughs, and then it was all city.

00:17:56
Speaker 3: It's like it's kind of like a feiti all city.

00:17:58
Speaker 1: On with your own you're talking about like block parties and whatnot, or just like house parties and right for me, like because my parents were record collectors, all those records that wound up getting sampled later, like I already had but never knew because I just looked at my parents' record collection as.

00:18:17
Speaker 4: Like old people records, right, because.

00:18:20
Speaker 1: I'm assuming that when you're doing this in the early eighties, like collecting records and whatnot, that you're just basically getting hip hop records and records to rock the party, like I'm assuming that you're not thinking, Yo, I need this Bob James record or you know whatever for sampling purposes. But at what point did you realize that, Like, were you in an open format DJ or where you just strictly hip hop at the time, Like what were you playing?

00:18:48
Speaker 2: It starts with hip hop and then it becomes upen format. Yeah, so you would buy, like, say, to Bob James record. You would buy the Bob James record because everybody you had a crew, You had the guys whom the DJ the crew, So the MCS needs under raym on so you would get more or less you would get take me to the Mighty Gras and you would just buy two copies of those.

00:19:09
Speaker 1: So you on that early?

00:19:11
Speaker 3: Yeah, Yeah, I was on that early, Like yeah.

00:19:13
Speaker 4: Creed Lewis Flores, Rebeat lou back right.

00:19:17
Speaker 2: We used to call them uptown because you had to go uptown to get them, even though I worked in Jamaica cuse I ain't start working at Jamaica until eighty seven. But like in eighty one and eighty you would have to go uptown to like Music Factor in forty second Street to go get these break beats and the break beats around that time, they were already putting them on the bootleg twelve inches. You know what I'm saying, You would Bozomico stuff.

00:19:43
Speaker 3: And eat Me to the Beat records all that, they were already putting them on that eat Me to the Beat.

00:19:49
Speaker 2: You know what that is, right, big beat on one side and on the other side.

00:19:53
Speaker 1: Yeah, wait, that was back in the eighties. I thought that was coming down in the mid nineties.

00:19:58
Speaker 3: Nah, that was back. That was for ultimate breaks and beats.

00:20:02
Speaker 1: Bosomko was even out in the eighties.

00:20:04
Speaker 3: Boso Miko came out in eighty one.

00:20:07
Speaker 2: Yeah, yeah, Booo came out, all right, Flash to the Beat on.

00:20:12
Speaker 3: The other side.

00:20:13
Speaker 1: I was gonna say so when I heard Flash to the Beat being played at like roller skating rinks, they were playing the same Bosomico.

00:20:20
Speaker 2: Bluele playing the Bosomico rocker.

00:20:23
Speaker 3: Yeah. Man, the only way you got it, Yeah, that's the only way you got it. All right.

00:20:26
Speaker 1: Let me let me let me explain to her.

00:20:29
Speaker 4: Okay, let me give it tutorial.

00:20:32
Speaker 3: All right.

00:20:32
Speaker 1: So basically, of course, you know that during the first generation of beat digging, you're talking about Bam Boda and Flash and Mean Jean and Grandmother was the Theodore Like, yeah, so the first generation of course, like everyone would try to get their their the shazama on and see what they're playing. And of course, if you're smart enough you don't want nobody biting you, you would wipe the label off with water so no one can see what you were playing, you know what I mean? Before breakbeat lou Lewis Flores, would you say that Paul Winley was the first super disco breaks.

00:21:07
Speaker 2: Yeah, super disco breaks came out before the Ultimate breaks. Well, the ultimate breaks and beats was the Optopus Rocket. Yeah, right right, so, but Paul Winley came out first.

00:21:16
Speaker 1: So suddenly in the eighties, in the early eighties, and this was especially for the advantage of DJs, I e. If Melly Mail wants to rhyme over Billy Squire's big beat or Funky Drummer or whatever has a breakbeat. Someone came up with the idea like, yo, since I know what all these breaks are, I'll just go to the studio, sweeten the mix up a little bit and put these compilations out. And then suddenly DJ's were using the compilations called super Disco Breaks, Bozo Miko and of course by eighty six. I will say the Wikipedia or the cliff Notes if you're older, of breakbeat collections was called Ultimate Breaks and Beats. I used to thought it was. I thought it was Ultimate Beats and Breaks, But like maybe last week I realized I was staying it wrong the whole time, for the last forty years.

00:22:08
Speaker 7: So very good explanation, Very good.

00:22:11
Speaker 1: Yeah. So the reason why a lot of once you get to like kind of pass the Rick Rubin, Larry Smith, Marley Maut period of hip hop, as soon as you get to like the Paul c period, the Fogie Down Productions, Criminal Minded period, the early paid in full period, suddenly you notice like everyone's using the same thing, Like, oh okay, they're using that. Basically, it's a twenty five volume breakbeat set with six to seven songs on them each. As a DJ, you can go back and forward and rock a party, and later as a producer you can sample those things. So actually full Circle makes the beat minors and the aforementioned renaissance period that I mentioned earlier, you know, large professor, Q tip trot whatever just came. I'm a point, especially after you old TV raps where everybody was the eating from the same restaurant, and suddenly, you know, starting with Premier, starting with Jazzy Jeff, starting with these guys, starting with large professors, Suddenly they were like, it's the hip hop version of what I refer to as a Dalkaman ninety five, which is like a filmmaking technique in which you put these challenges on yourself. So suddenly, instead of getting shit from all to piece of breaks, you're going to your library to that those records that no one wants to touch. You're going to your parents' jazz collection that nobody wants to touch. You're doing your own digging for records outside of the cheat sheet and so.

00:23:42
Speaker 8: Which may now idea of those compilations obsolete.

00:23:45
Speaker 7: It like it was like no more.

00:23:48
Speaker 1: No, I mean they're still around. Matter of fact, they're on Spotify, which is kind of weird. They are wow, But what's weird. What's weird for Spotify is like I'm used to the texture of like some of these breaks being like second generation, Like there's a certain griminess to it when you sample like give it Up a Turning Loose by James Brown from that compilation, that it's almost too clean when you take it from a clear Digital Master version. But what I'm amazed at is that I thought, now, my dumb ass didn't know about break beats. Shout out to a Damon Bennett, who's a Philadelphia musician placed with like Floatry and Jill Scott.

00:24:31
Speaker 4: He's the one that put me on a break beats.

00:24:32
Speaker 1: I thought, like Bozo Miko and all that stuff came out in like eighty nine because I didn't discover sampling until you know, the Stevie Wonder Jamin on the one thing. But all right, whatever, I guarantee you ninety percent of hip hop generation didn't know about sampling until the Cosby Show. But Emo button my mind blowing that you guys are revealing to me that all those comp relations came out in the early eighties.

00:25:02
Speaker 5: Wow.

00:25:02
Speaker 2: Yeah, it made it easier for the DJs to go get all these records instead of searching for them. They put them on one compilation so you don't have to break your neck, like Rocking in the Pocket, the original Rocking. They put it on forty five for you, and put it on forty five for you, right.

00:25:17
Speaker 1: Right, right?

00:25:18
Speaker 3: Yeah?

00:25:18
Speaker 1: So yeah, at what point did you realize that there's a world out of it? Because I feel like This is what defines you, guys, because Ronnie Laws is not on off my beach and breaks.

00:25:36
Speaker 2: I'm gonna tell you what made I feel what made everybody change their whole thing. I mean, it's mostly the whole native tongue that JB's tribe daylight movement. But whenever you pick up a break beat to use or whatever, I always feel like Diamond D is looking over your shoulder saying, how do you do it?

00:25:57
Speaker 3: You don't sample that, you know what I'm saying.

00:25:59
Speaker 2: So you really trying to impress all the guys that came before you. Yeah, so what you're doing is instead of looping every James Bond record or every George Clinton record, you.

00:26:11
Speaker 3: Want to go left and go yo. I got this them.

00:26:16
Speaker 2: Like when you're the guy who puts the world up on the drum beat or on the groove, it's like, oh wait a minute, we gotta watch these guys. Like when y'all came out with the clones, me with that that surprise. Yeah, come on, man, you guys opened up a whole door.

00:26:33
Speaker 8: Y'all know that that trickled down all the way down to like the folks who listen to the young kids who now are redigging into their parents' crates, making their own compilations. I'm saying this as I remember doing this for my little boyfriend, like and challenging him with our little slow jam you know mixes that we make because I got my daddy's records and I understand this George Benson record better now.

00:26:55
Speaker 7: We did, I did, and I want that one.

00:27:01
Speaker 1: Yes, she said my little boyfriend. He was, oh, all right, So what is the introduction to production with you too?

00:27:12
Speaker 4: Like, where where's the genesis?

00:27:14
Speaker 2: I was just dibbling dabbling in production, but I never really took it serious.

00:27:20
Speaker 3: I had an MC from around here. His name was rock Jay.

00:27:23
Speaker 2: He passed away in uh ninety, I think he passed away, and we were just dibbling dabbling in music. So I never really took it serious. So, like I said, I worked. This is when I was working in a music factory. So I was cool with a lot of the artists. So one day the light from Steppa Sonic came in and he gave me a black cassette tape. He said, yo, walk, you got to listen to this cassette tape. This is nineteen eighty eight. I said, what's on this cassette. He said, Yo, trust me, I'm not going to tell you this's on this cassette, but you got to hear this.

00:27:54
Speaker 3: This is incredible.

00:27:57
Speaker 2: I popped the cassette in remember Man so all black as set. It was it takes the nation and millions, The Holder is back. And I heard that album Wow, Run two End. This was before the album got released. When I heard that album, that whole album changed my life. When I heard that, I said, Joe, this is it. This is what I want to do. I want to be a producer. I want to make beats. And that was the beginning of the beat minors that right there.

00:28:24
Speaker 3: Yep.

00:28:25
Speaker 6: And you know little brother follows big brother, so walk got into production.

00:28:32
Speaker 3: I was like, I'm better than him. So I got into production.

00:28:38
Speaker 5: What equipment were y'all using at that time? What did you just start on tape?

00:28:44
Speaker 3: And then SK one and the one hundred and it's funny.

00:28:51
Speaker 6: We had an SK one and then there was a Yamaha joint that looked like one.

00:28:57
Speaker 1: That was longer, cleaner, and it was clean.

00:29:00
Speaker 2: Yes, right, right, right, right, right right, I have.

00:29:03
Speaker 1: That yama It's like seven seconds and way cleass.

00:29:06
Speaker 3: Yes, yes, Then we got what we got a SK eight, then we got SK one hundred.

00:29:13
Speaker 4: They kept upgrading.

00:29:14
Speaker 2: Yeah, because whatever the sampler of the moment was, we will go out and get it.

00:29:19
Speaker 3: Yeah, and got it, and then we finally got walk.

00:29:23
Speaker 6: Came home one day with the Cassio Aussie one drum machine, which is the high hat. The nicest move high hat that they use in every record is from that machine.

00:29:34
Speaker 1: Wait what what what drum machine?

00:29:35
Speaker 3: Is this the Casso Ausi one.

00:29:38
Speaker 1: Because the thing is is that I'm under the impression that Cassio sk ones are just like toy machines. Now I'm finding out, like past is now telling me like thirty percent of three feet high and rising, I believe that, Yeah, what was made was made on the Cassio sk one.

00:29:56
Speaker 8: Yeah, talking about like literally the Casio like the key.

00:30:00
Speaker 1: So I'm taking it back to the Cosby Show. I'm telling you when we saw that jamming on the one video, jamming on the one commercial or whatever, the jammin on the one Stevie, Ah God, I'm sorry. Back in the day, people, there's an episode of The Cosby Show where THEO and Denise Malcolm, Jamal Wanner and list Money.

00:30:19
Speaker 7: I'm sorry, Go ahead, please get.

00:30:20
Speaker 1: In the car accident, and of course the limo is Stevie Wonders.

00:30:25
Speaker 7: They crashing Stevie.

00:30:26
Speaker 1: Yes, they crashed into Stevie to get out of a lawsuit. Stevie invites them to a studio session no litigious action. And at the studio Stevie Wonder samples the entire Huxtable household, and that to me opened up just a portal that none of us knew existed.

00:30:48
Speaker 4: Were you of age at the time, Fante, when that episode came on?

00:30:51
Speaker 1: Do you remember it?

00:30:52
Speaker 3: Oh?

00:30:52
Speaker 5: Yeah, oh yeah, welcome, yeah, jamming on the one.

00:30:56
Speaker 1: I mean we're in the same generation, but you I would be the old brother of your Like that shit came on when I was fourteen, So no, no.

00:31:05
Speaker 9: I remember, yeah, just seeing the sampling and like the Sink Clavier because that was a music store in the mall at that time, and I would go and mess around with a round the d X seven. It was around that same kind of area. Yeah, I D seven came out and so yeah, I was. I was on all that ship.

00:31:20
Speaker 3: Bro.

00:31:21
Speaker 1: Yeah. So at the time, in eighty six, the Cassio s K one was an affordable, cheap toy keyboard that had we sampling like, did you ever have an s K one? Bill? Yeah, I haven't.

00:31:36
Speaker 8: Right over here, know when he was a kid, Oh way he really had, right yeah right now?

00:31:44
Speaker 4: Yeah, I think so No, look at all that.

00:31:48
Speaker 3: Yeah, I was about to say, it's a studio back there.

00:31:51
Speaker 1: I don't. I forgot, I don't I used to. It was. It was the thing that we first all played on. Yeah, I mean, man, I just put like first words in it. Ship ship ship ship ship ship.

00:32:05
Speaker 4: You could do your ship right exactly.

00:32:09
Speaker 1: And then suddenly we realized that it can sample records. And then wait, where was the Where was the microphone on this thing that you could shample into? Was it an external or internal? There was an internal microphone like sometimes you will put your headphones on top of the mic. Like the purpose again was for you to just say one word, I got this one. It's the same thing.

00:32:34
Speaker 3: That's that's the yah that's.

00:32:41
Speaker 4: With money, Bill.

00:32:44
Speaker 1: That's how you know.

00:32:44
Speaker 3: I grew up with Buddy.

00:32:46
Speaker 1: I would ask my parents for the Yamaha one, which is like one hundred dollars more, and they were like, uh no, the price mark off Cassio s K one.

00:32:57
Speaker 3: I think that input jack to a new version of the s K.

00:33:01
Speaker 1: One had an input jet Oh got, I can't hear our ratings going down? Like, are they going to stay on this for an hour?

00:33:07
Speaker 4: I'm about to take this out.

00:33:08
Speaker 1: We're gonnaial and unboxing. Here we go.

00:33:10
Speaker 3: Nerd talk, people, nerd talk.

00:33:12
Speaker 1: Do you still have a collection of like your first ever beat?

00:33:16
Speaker 3: No?

00:33:18
Speaker 4: Maybe e, but I know you're lying.

00:33:21
Speaker 6: I got I have the cassette of Blackbom's first demos. Okay, no, that's I think that's as far as it got. Probably might have a beat cassette in one of my boxes over there.

00:33:34
Speaker 7: When was the moment when he got some respect on his name for you?

00:33:37
Speaker 2: And then well he started DJing in the neighborhood and a lot of people was gravitating towards him and stuff like that, and he was making the name. So he just kept going. He really was going hard with it. I was when I was working in Queens. He was building his name up around the way. He because he even worked in a record store around here with Tony Touch.

00:34:01
Speaker 3: Tony actually came after Oh okay, he stole my job.

00:34:07
Speaker 2: So he came out like he started building his name up while you know, I was out in queen's working.

00:34:12
Speaker 1: I would always hear shout outs to you guys on various rap songs. Right were you guys the the the taste makers, Like I go to the record store and then I go to you and be like all right, what do I need?

00:34:25
Speaker 3: And then yeah, that's the way we were.

00:34:28
Speaker 2: And then and then some people would bring their like Biz used to bring his his records into test it in the record store. Biz in Ll used to bring that stuff to the music factory to test this record before it came out.

00:34:42
Speaker 1: Like why you guys had a better system or because that.

00:34:45
Speaker 2: Because music factories where everybody used to be at. So every time Bizz would do something, he would bring it. Yo, this is this is this like he brang when he he came down, he played Vapors, but Vapors wasn't vapors. Vapors was this is something for the radio.

00:35:03
Speaker 1: Wow, this is for the radio.

00:35:05
Speaker 2: Right the beat right and vapors was the beat you know it was it was this is fun something for the radio. H Picking Bookers had actually roach clip bit beat behind it, but he changed it because everybodying in rock Kim and like everybody would come and bring their stuff. That LL would come when LLLL was working on Mama said knock you out.

00:35:26
Speaker 3: He brang eat them off.

00:35:28
Speaker 2: L missed the controversy which never came out. Okay, and it was another song apart with the other song. But they will come and test their records at the store.

00:35:38
Speaker 1: And just look for a reaction of people there shopping.

00:35:41
Speaker 2: Right right right.

00:35:43
Speaker 1: Can you give me, like your your top five preview moments of that of that level, Like when someone brought some ship in and you're like, holy shit, what is this?

00:35:52
Speaker 2: The biz biz used to bring a lot of stuff to the store. I remember Large Professor bring in the first main source twelve inch not looking at watch Roger Roger, Yeah, Roger do his thing, oh Man, super level seed bringing due to James Audio two bringing top Billing, everybody would just come and bring that stuff.

00:36:19
Speaker 1: Wait time out. I have a question though. Yes, everyone pretty much knows, or at least those that or in the no know that top Billing was just like a b side and they were really trying to push I like cherries? Were they trying to push I like cherries? First?

00:36:36
Speaker 2: No, the top villain had had was making a somewhat of a buzz, so they was pushing top Villain. Okay, like top billing made a noise in the clubs and on radio, like you know, so that when they was actually because they would sell their records on consignment, meaning hey, we'll give you a box of records. We won't pay you until we won't pay them until we sell the whole box of records. Those records were going out of the store.

00:37:05
Speaker 1: Uh hi, So you're the person that I would go to to strike a deal, right selling out the trunk?

00:37:11
Speaker 3: Right? Yeah?

00:37:12
Speaker 1: Right? Can you tell me those stories like what legendary other albums of that level?

00:37:18
Speaker 3: Oh man, it was really that. That was it.

00:37:22
Speaker 2: Like Main Sauce didn't get the deal with Wild Pitch yet, but they were just coming to They bring Wick Rocker do his things and it was creating somewhat of a buzz and something like that. But dude, James was was big out of our store, Like, okay, you know records like that. We didn't, we were We wasn't really because you have to understand too, if they were doing it in Queens, they were doing it in the Bronx, they were doing it in Manhattan, it was doing it in Brooklyn, so they it wasn't only us. They were going to other stores too. We had the Wiz like right around the corner and the wizdoms the same thing.

00:37:56
Speaker 1: Yeah, but was the Wiz a like was that a crazy eddie commercial store, I e. Like a best Buy? Or was that like a neighborhood store. I would assume that it.

00:38:08
Speaker 2: Was a change store, but it was.

00:38:09
Speaker 3: It was. It was big on Jamaica Avenue. It was big.

00:38:13
Speaker 2: It was big like you know when whenever we would get new releases, new releases would come out on Tuesday, but some people we would get our packages Friday evening so we could put it out Monday night. But we were cheat and put it out Friday. So I remember when Tougher than Leather came out. We was we we put it out and the Wiz put it out, and the Wis were selling it lower than us.

00:38:36
Speaker 3: So we called Profile like.

00:38:37
Speaker 10: Yo the wind if they're selling it stitches, get stitches sudden you wanna sell toughing one out to the wings and not give it to us.

00:38:49
Speaker 2: So what the what Profile did was they cut They're shipping to the Wiz and kept sending it to us. So we had it.

00:38:56
Speaker 3: Oh wowitches sound who nobody? Nobody from the Wiz looking for my ass today.

00:39:06
Speaker 7: Don't nobody know what the Wiz is today?

00:39:08
Speaker 2: Like, Yo, y'all ain't have the Wiz in Philly.

00:39:16
Speaker 3: Y'all have in d C.

00:39:18
Speaker 5: Yeah, I had it in d C.

00:39:19
Speaker 3: Yeah, it wasn't in North Carolina.

00:39:22
Speaker 5: Nah, No, we haven't down here.

00:39:24
Speaker 1: We had it in d C. No, we we had crazy. We had crazy Eddie, like I mean besides your traditional record store crazy eddies, like probably somewhere in between our local like our our local join was Sound of Market twenty two and three.

00:39:40
Speaker 7: Y'all have Pops Dope, mom, and Pops right was dope?

00:39:44
Speaker 4: Yeah, definitely, I gotta ask you. Walk Nation and millions have the same effect on me.

00:39:52
Speaker 1: And it was my dream to like even to this day, like I still have not gotten my Bomb Squad, not off you know what I mean, Like especially for the type of music I'm associated with, right, but for you was that level of Kamakazi sampling, like something that you wanted to do.

00:40:16
Speaker 2: Yo, Bomb Squad was like next level man like. Bomb Squad to me back then was the closest thing you could get to the JV's and and the you know what I'm saying, and Fred Wesley and shape the way that the Bomb Squad did they thing. And then man, you found out that they use like all forty eight tracks and the sample sometimes the samples are off beat. Like every story you hear that, it amazes you, you know what I'm saying. So everything that they would do, I would buy. I don't care if it was Jody Watney. I don't care if it was Bell b.

00:40:47
Speaker 1: De Vaux, I.

00:40:48
Speaker 2: Don't care what it was a young black teenagers. Anything, I would buy for this. Yet they had Bomb Squad on it. I'm because I was such a fan of that.

00:41:00
Speaker 4: But in terms of you trying to figure out what your.

00:41:02
Speaker 2: Style was, I mean, we all did it though, we all tried to be like them, but eventually it was like, nah, we can't.

00:41:08
Speaker 3: This is not us.

00:41:09
Speaker 6: You gotta make It's like you know, it's it's like with the Bomb Squad. We tried, but we knew that wasn't us.

00:41:19
Speaker 3: That wasn't us, you know.

00:41:21
Speaker 6: So it's like you know how I tell people with DJing, You see you see somebody do a scratch, You go home practice that scratch.

00:41:29
Speaker 3: Then you take that scratch and start developing it into your own type of scratch. You're changing around so it becomes yours, you know what I'm saying. Like that was like the Bomb Squad thing.

00:41:40
Speaker 6: We seen how they layered samples, and we seen how they was doing that thing. We tried to do it and we developed our own style doing that.

00:41:49
Speaker 2: One thing we did take from them though, and I still do to this day, is layer beats. Oh yeah, like the power is like what you like it too, and maybe funky drummer put together and stuff like that.

00:41:59
Speaker 3: We did that. We did that on.

00:42:01
Speaker 2: Who Got the Props? We did that on Buck Them Down? We did that like we would every rack they can have a swing to it.

00:42:10
Speaker 3: Yeah, And we got that from the Bomb Squat.

00:42:12
Speaker 1: The introduction that the world knows you guys by, of course, is who Got the Props?

00:42:18
Speaker 3: Right?

00:42:19
Speaker 1: That to me was like that was a mind blowing revolution to hear that back in ninety three, because you got to understand like your average mainstream rap stuff was like u MC's fast. You know, things like the intro to Playground by by another bad creation like that chaotic heavy dancing sort of thing. How did you guys manage to avoid that? Because for me, like Who Got the Plops? Was slowed down? You're using you know, like seventies jazz, which was just unheard.

00:42:58
Speaker 2: Of, Like it was still up temple though it was like ninety eight to one hundred bpms, so it was still up temple, but it was smooth. But you know, on the B side, our B side was I was just about to say that was like one hundred and fourteen b pms and stuff like that. And the the Beat Minors intro to the World wasn't even who got the props. The Beats Intro to the World was Popu lar agreemix. Yeah, the base the East Coast remix. That was the big miner.

00:43:28
Speaker 3: Yes, that was y'all, but it.

00:43:30
Speaker 2: Wasn't Listen it was. It was Beat Miners, but it wasn't Me and Evil. It was we had a Beat Minars was a crew back in the day. And one of the guys in the crew was on his way. His name was ike Lee. I League was responsible for C. C. Penison and some mantronics work, and you know, he was he was going the way to do other production and he and that ultramagnetic agreements landed in his lap and he was a part of Beat Miners, and he said, listen, I'm about to do this remix and I'm gonna I'm gonna put it under the beat minor's name, and that's what started to Beat Miners ride. Was that for me and he took the reins. I made up beat Miners, but I was the first one to put it up to put us on.

00:44:16
Speaker 1: Yeah, so how'd you guys born?

00:44:18
Speaker 2: There's a bunch of friends that we were like. It was me and him, Me and him, e Baby Paul and ike Lee. We all met.

00:44:26
Speaker 3: In music factory.

00:44:27
Speaker 2: Music practory is like the meeting ground for for all of this.

00:44:33
Speaker 3: I didn't I didn't meet that music factory. I met Wall at the house. Well.

00:44:40
Speaker 2: Anyway, music factory was the was the meeting, the melting pot for everything. And the only thing we had in common was everybody just like record shopping, yeah, digging and production. So we just made up a crew. For the name of the crew. The original name of the crew was black Moon Production.

00:45:01
Speaker 1: Yeah right, yeah, can you explain his moonlighting connection with please?

00:45:06
Speaker 3: Please? All right.

00:45:07
Speaker 2: I was trying to make up a name for the crew, right, and I was doodling some stings on the paper and I just wrote down black Moon. I was like, hmm, I like this black Moon Productions. I'm going to use this as the name for our production company. And I was rolling for that for a minute. I and E's crew name was high Tech. That was the original name for black Moon was high Tech. I had a friend named Everett that worked with us. He said, Yo, you guys are always find the record. I'm gonna call you guys beat Minors. And he was an MC two and he made a song called beat Miners and I was like, Yo, I really like that name. Can I have that name? He said sure, he gives me the name for Beat Minors. I was like, yo, okay, I'm not using the black Moon name no more. He goes, Yo, let me get.

00:45:54
Speaker 3: That name for my crew.

00:45:56
Speaker 2: And I said, okay, sure, that's how black Moon name started.

00:46:01
Speaker 1: All right, but can you explain this alleged moonlighting uh connection to it?

00:46:07
Speaker 3: What do you mean that that was a big fan of Moonlighting? Please?

00:46:14
Speaker 7: Lord?

00:46:15
Speaker 3: Hold on.

00:46:16
Speaker 2: First of all, we're not giving no props the simple Shepherd and Bruce Bruce.

00:46:19
Speaker 3: Willis with Black Moon.

00:46:25
Speaker 4: I ain't hear that. I heard otherwise.

00:46:28
Speaker 7: No, so you weren't a fan of the show.

00:46:33
Speaker 3: I love the show.

00:46:34
Speaker 1: I love I heard that Sybil and Bruce their agency was the Blue Moon Agency.

00:46:39
Speaker 7: Oh, I forgot, good one.

00:46:40
Speaker 3: I forgot I said that before. I said that before, I swear to God, I didn't even think about that until you just said that. I said that before.

00:46:48
Speaker 1: I thought that was the genesis of how Black Moon got their name. I was like, you dweed ass nerds. Yes, I get it there.

00:47:07
Speaker 3: That is.

00:47:10
Speaker 6: Wait, so hold on, you seriously thought I said no, walk because I said that before.

00:47:14
Speaker 3: That's why I Yo, I did. I forgot it was the Blue Moon. I thought about that, Yo. I was under the assumption because you watched you every week Tuesdays Tuesday put was Moonlight and so as soon as you know, I'm here blue Moon Bloemon, all a sudden he's like, Yo, the name of the name of the crew is black Moon Moon.

00:47:37
Speaker 7: Conversation.

00:47:39
Speaker 4: You have brothers, they don't have to have a conversations.

00:47:42
Speaker 6: Yeah, I know when I put that out there, Yo, Yo, you're an asshole.

00:47:50
Speaker 3: What on?

00:47:52
Speaker 8: Man?

00:47:52
Speaker 1: Just own it?

00:47:53
Speaker 10: It it the way for years you're telling PEP people.

00:48:00
Speaker 2: I got the idea.

00:48:01
Speaker 8: Yeah, Jane's head is like he said it at the ram Bull Music Academy and twenty what were you.

00:48:06
Speaker 3: Wasn't I thought that you picked. You know, that wasn't the reason why?

00:48:13
Speaker 1: Well it is now no pleasing Oh my god, oh god, we love you, Bruce, well.

00:48:20
Speaker 3: As we loved it. Look it for you son.

00:48:28
Speaker 1: All right? So you formed this crew, right, and it's it's five of you.

00:48:34
Speaker 3: I got through the math. It was four me E, Paul and Ike.

00:48:40
Speaker 1: Okay, yeah, Now when did it trickle down to the beat minors that I know? Like, what's the journey that leads to what I assume is into the stage.

00:48:53
Speaker 2: Paul was always with us, but Paul wasn't in the forefront. Ike went off to do Oh, three boys from Newark and you went to do like I said, C C. C.

00:49:04
Speaker 3: Pennison and wait.

00:49:05
Speaker 4: Three boys from New York? What are they morph into?

00:49:08
Speaker 3: That was?

00:49:09
Speaker 5: They were the Lauryn Hills people. It was Vincent Oh.

00:49:15
Speaker 9: Yeah, Vincent Herbert in a group. They were a production team, Vince Herbert, Kiama Griffin and I cannot remember the third of his name.

00:49:23
Speaker 7: Button Herbert. As in Lady Gaga, I have.

00:49:26
Speaker 1: A twelve inch that has Lauren Hill singing on it. They're they're rhyming over cooling. The gang's too hot, but she's singing. Michael Jackson's One More the Jackson five is one More Chance, but it's it's a group something from Newark. But I didn't know if they were a rap group or whatever. But I have like a white label of Lauren Hill singing on a rap joint, like right right before the score came out.

00:49:49
Speaker 4: But I didn't know if that was a rap group or not. Was that then more?

00:49:52
Speaker 3: Do you think so? I don't think so.

00:49:54
Speaker 2: I think but I was already gone because then after he left three boys from new Ark, him and Bryce will.

00:50:00
Speaker 3: And started something. Oh wow.

00:50:04
Speaker 2: Then I just I used to stop doing music. I mean he still comes in and out, but he stopped doing music. But it was a lot of records that I that you love that Ike really did the production on but never got name.

00:50:18
Speaker 3: Uh get at me, dog? Wow? He did that, dog he did? He did.

00:50:24
Speaker 4: He would sweeten them up or like mix it or like.

00:50:27
Speaker 2: He would give the demo tape to somebody. I mean, let's put it out there. He would give it to IRV and gave it to whoever. And I get it somehow Dave Grease And listen, this is from what I heard.

00:50:39
Speaker 3: Dame Grease got it.

00:50:41
Speaker 2: He either looped up the same record or whatever, and Ike is the one who originally did that.

00:50:47
Speaker 3: I forgot what's what's the other song that I did to e Wow?

00:50:51
Speaker 2: I know he did the man Tronics King of the Beat.

00:50:55
Speaker 3: Yeah he did, Yeah, he did that.

00:50:58
Speaker 2: And when he did it, he did on a studio four.

00:51:01
Speaker 1: Have you ever met Mantronics Curtis Mantronics never Matter all right. I just recently found him in Germany that like, he has my dream interview because his his era of hip hop. And I would say the Latin rascals like what they do with editing. Yeah, I need to know how they did that ship because oh yeah, I'll still listen to the first Mantronics record and Cold Getting Dumb right, and just that level of editing and sampling like you you don't even hear it now, Like.

00:51:34
Speaker 2: When Mattronics went to Capitol, when he got the deal on Capitol, that's when I got into.

00:51:39
Speaker 3: The yeah, the fault. Here's some nerd stuff for you. By the way, the same dude that did the editing on the on the Malntronics stuff that was on Sleeping Bag.

00:51:48
Speaker 6: Yes, the same guy that did the editing for Ultimate Breaks and beats Chasnas.

00:51:55
Speaker 1: So when we're listening to like long Red, he did know you got soul. When they have to edit those things, that's him doing that right, right. Do you know if they did that by tape edit? Yeah, I'm sorry you again speaking inside baseball, all right. So of course some of those breaks were really dope, but they would just be two seconds.

00:52:18
Speaker 3: I e.

00:52:19
Speaker 1: I know you got soul that we know, like you might have to do some trickery to make it seem like it's a six bar intro and really it's just a quickie one bar intro. So they would take some of these records and re edit them to extend it so that way you're not going crazy going back and forth on the turntables, especially with long Red. I wanted to know like how that shit was done, because the original version of Mountains long Red from the Woodstock Festival, like the drum break goes by in seconds, whereas the compilation version is super extended.

00:52:57
Speaker 4: So who did those edits?

00:52:59
Speaker 3: Chuck me ah, okay, And it was all back then it was all taped.

00:53:04
Speaker 11: So he had to splice and ryo right, all analog all analogs, y'all.

00:53:12
Speaker 1: Actually, you know, to keep it really one hundred. I mean this is how like, of course, you know we're saying hip hop is like we're rap music and looping and all that stuff. You guys would be astounded at the amount of cutting and pasting that I've discovered sort of trolling through a lot of these master tapes of acts, Like essentially it's it's the same thing like bands would go in.

00:53:44
Speaker 4: Super Freak is a great example.

00:53:46
Speaker 1: People think that super Freak is soup the nuts four minute song that was played by the No They were fucking around in the studio and literally in the last seven seconds it came d Dana Da da and the tape cuts off. So the way you know it's a loop when you listen to the saxophone at the end, Bro Danny, that's a loop. Like, so the entire Super Freak is just a four bar loop that that unfortunate assistant engineer had to spend all night cutting tape, making copy cutting tape, and which is why that we're not asked about the breakdown. Yeah, like it's not even in rhythm, but there's so many slide masters. I went through same thing, loose booty, Loose booty on Small Talk, same thing. Sh it is chopped in paste like all of bitches brew same thing. So it's almost like they would have jam sessions, which was was there digging in the crate ship and then the engineer and the artists would sit and listen to what I like those four bars, and then the assistant engineer would have to make a copy. They go away for a day or two and he would have to make copies. And so wow, yeah, like so our level of making music where you listen to some shit and you loop it like that's been going on since Yeah, which I'm just mind blowing the belt.

00:55:21
Speaker 3: Wow, that's crazy.

00:55:23
Speaker 1: Especially when you consider like me not really being in this game to be a beat maker, but as a drummer, like some shit like slides loose booty, I'm like, god damn, Like Andy Newmark is tight as shit, Like he doesn't budge or nothing on the beat. No, they just took a four bar loop and just looped him across. But my mind is thinking, I got to play that meticulous the way that Andy Newmark did it for five minutes, but only to find out it was looped.

00:55:51
Speaker 8: So you know, quiet has kept Do you know what other profession does that? And don't get any respect on they name for it radio DJs. Radio DJs make their own instrumental sometimes off of just like I used to do it. Yeah, like you like this part of the song and the rest of it is some bullshit. So I'm gonna just go in the odyssey and cut it up and make my own instrumental.

00:56:12
Speaker 3: Yo.

00:56:13
Speaker 2: You know who was You know who is nice on editing?

00:56:16
Speaker 1: Who?

00:56:17
Speaker 2: Angie Martine nice as.

00:56:23
Speaker 6: I went to Hot ninety seven to do a black some Black moone promo stuff. And I've seen Angie edit the phone calls. Yeah, I believe it is not.

00:56:34
Speaker 3: That's how I learned how to edit on tape. Yeah.

00:56:36
Speaker 7: Wow, that's a radio DJ thing, y'all.

00:56:40
Speaker 3: I watched Aedgie Martinez edit radio like she yo, she was nice with it.

00:56:45
Speaker 6: Mom her tape yep, yeah, cuts fly saw that back in the days what they would do when you were called a radio station, they would called the calls the tape right, and then they would edit it. And by time it's time to play that call, that edit has to be done.

00:57:01
Speaker 7: And shortened and not as long as that.

00:57:04
Speaker 3: And I've seen Angie, I see.

00:57:06
Speaker 6: I watched Angie when we was up at Hot edit phone calls and I was like, yo, and when I went back to D and D, I went into the editing room and taught myself how to edit.

00:57:19
Speaker 8: You know what, Loyah, I gotta give you credit because I had to edit you all the time when you were called a radio station.

00:57:27
Speaker 1: No matter of fact. Well one, you were the only DJ on a commercial radio station that would let me in the building. That's what starters two I forgot. The first time I ever seen a playback machine was you and I watched you edit something.

00:57:50
Speaker 4: I saw you do that with the will and everything.

00:57:53
Speaker 1: Right when Keil and I drove home, he was like, yeah, that's a playback machine. And I was like, yo, like why don't we do that? And he was like, dog, you late, Like everybody uses a playback machine on stage. That's why people can jump around without the record skipping, because they used a playback machine.

00:58:08
Speaker 3: You know. I started the playback machine.

00:58:10
Speaker 1: Right watching like you do that at the station, and I looked at what she was doing and on I was like, oh shit, we got to get one of those.

00:58:18
Speaker 3: You know who started who started their popcatch using the playback machine? Right? Who makes y'all?

00:58:24
Speaker 6: Tayla Make Show was the first DJ ever to use the playback machine that made him do that. He was at a radio station that he's I want to use that because that way don't have to bring all these records.

00:58:39
Speaker 8: But when you think about it as crazy that like Donnie Simpson, Tom Joyner, all these people like this is they have to be able to do this like they they've done this with tape.

00:58:48
Speaker 1: Ye never knew that. For me, the trademark of your productions is of course filtering, which U what's what's the second song on into the stage?

00:59:03
Speaker 3: Nigger is the second song?

00:59:05
Speaker 1: Yes, filtering the baseline and whatnot? How are you guys knowing which equipment to use? Like assuming that you graduated from the sk one, Like what's the first piece of equipment that you got a real piece of equipment for what you made your stuff on? Like what do you use?

00:59:20
Speaker 6: That's when the Coshio Aussie one comes into play. And then walk comes home with this sampler called the a Kai six twelve. Right, the KI six twelve is like the parent of the nine hundred, the S nine hundred nine to fifty series.

00:59:35
Speaker 3: The only thing with the six twelve.

00:59:37
Speaker 6: Instead of instead of being able to sample eight different things, it only sampled one thing and on the front of the six twelve is knobs and one of the knobs is a filter knob, and me messing around with the sampler, I turned the filter knob and seeing that the that it.

01:00:00
Speaker 3: Filtered the sample.

01:00:02
Speaker 6: Now I'm thinking I'm the first one to ever do this, but Marley already did it already.

01:00:08
Speaker 3: I just didn't know.

01:00:10
Speaker 1: Well on vapors.

01:00:11
Speaker 3: Mally did it on what's it fake?

01:00:14
Speaker 6: Ye, I think vapors, And there was something else he did that it was filtered. And you know, Pete and tipping them was starting experiment with filters too. You know in my house, I'm like, yo, I just discovered something new.

01:00:28
Speaker 3: Like when we heard Sad he got a one track mind.

01:00:30
Speaker 2: That was that opened everything. We patterned our sound after that. The reason why our filters sound different because we were using a Kai six twelve.

01:00:43
Speaker 3: Yeah.

01:00:43
Speaker 2: So what we would do is we didn't have like big equipment. So what we would do is whatever we would take our filter, filter it down and put it on a cathetic and then take it to the studio.

01:00:54
Speaker 3: Tell that engineer, Oh.

01:00:55
Speaker 4: Y'all are in a pre sample at home, and.

01:00:58
Speaker 2: Right right right, loop that up, loop this, sire, But check this out. We didn't get equipment until we did the shining.

01:01:07
Speaker 3: Well, we didn't get official we didn't. We didn't get official equipmentu til we did the shining. But we had the six twelve and we had to one when.

01:01:15
Speaker 2: We got the money from into the stage. We took that money and want to go buy equipment to do the shining.

01:01:22
Speaker 1: So buck them down and all the props and.

01:01:29
Speaker 3: It's no programming. It's all loops. It's all loops. Yeah, everything on there is there's no programming on that. It's just all loops.

01:01:37
Speaker 1: So when you're home, you're bringing the ingredients to the studio and telling the engineer, this is what I want, this is what I want, this is what.

01:01:44
Speaker 6: I What we did was we made the beat first at home, put it on cassette, put the different parts on cassette, the baseline, the drum loop one, drum loop two, noise main loop, and then we would go to the studio and be like yo, swift loop number one. That's loop number one, Loop this up, okay, stop right there. Okay, here's the second part, loop this up, stop right there. Put that on top of that on beat and loop number three. Okay, here we go. Put that on top of that and right there like exactly like we was directing everything.

01:02:21
Speaker 1: Wow, we might have to soundtracking to it, just based on the sonic quality of it. In my mind, I'm thinking like, yo, man, they're using special needles on it, like the way that we would try to analyze and figure out why those drums sound so dirty, Like the amount of times I've had to go to Bob Power and play like the come Live with Me drum break. Yeah, you laughing your ass off? Thanks? No, as howers I wasted at Battery Studios.

01:02:59
Speaker 7: Shut man, Why you ain't just call them?

01:03:02
Speaker 1: I know them until sound treatment time? Okay, But again I'm just thinking like I'm thinking you guys would take your records and just throw them in the dirt.

01:03:15
Speaker 3: No, we didn't. We we would.

01:03:20
Speaker 2: We would sample on cassette, take what we want and just and just take it to d n D and they would take it from the sampler from the cassette back onto like the two.

01:03:31
Speaker 4: Inch This is why I purchased those.

01:03:37
Speaker 1: Yeah, and we ruined a lot of records messing around in the dirt.

01:03:40
Speaker 4: Damn is that still a two inch?

01:03:43
Speaker 3: And electric lady? Is that still machines? And there? Yeah?

01:03:46
Speaker 1: It's there, It's there, okay, you know, but Brooke, Brooklyn is actually more than that.

01:03:52
Speaker 4: Like I I now like.

01:03:55
Speaker 1: The good thing about the nerdy post dat kings that is now like that entire crew has mastered in ways like I go to Electric Garden now shout out to to Bend at Electric Garden. And also what's my other spot in Brooklyn, Steve Diamond Mine? Yeah, diamond mind. Especially like now I could just go in and because they were raised on all of your music, they literally know the exact frequency that I can. I can be out there in the half hour, whereas like back in the day, that ship would take me months just one one frequency at a time, another frequency, and I didn't realize that you guys were pre sampling that home on cassettette. Cassette is the key. Yeah, damn man, I might have just scrap this entire record and just start all over again and just do everything on cassette.

01:04:52
Speaker 3: At the end of the day, it's like all of us produce the cats.

01:04:56
Speaker 6: No, we're all mad scientists, and we all have our way of doing things.

01:05:01
Speaker 3: You know, once we.

01:05:02
Speaker 6: Learned how to operate, once we learned how to operate, the sp in the nine P fifty. We was doing stuff here, but the way we was doing it was running it through the Mackie board and you run it through the mixer before then, and you pre eq the drums before you sample it, so that still added a grit to it too.

01:05:24
Speaker 2: I didn't learn the sp until we were getting ready for the shining. Q Tip taught me to spow.

01:05:30
Speaker 3: I didn't.

01:05:30
Speaker 2: And you know, Q Tip is the one who named me mister Wall. Really, what's meter factory without mister phrase call?

01:05:38
Speaker 1: I did that.

01:05:39
Speaker 4: I didn't realize that you did not have a moniker.

01:05:41
Speaker 2: I was going with Walter do Guard. I was like, you know what, if Eric Sartain we could do it.

01:05:45
Speaker 11: I can do it too. I'm gonna be Walton do Guard. But Keith Harry Ship right exactly.

01:05:56
Speaker 2: But q tips he called me mister Wall, and I just took never ran with it.

01:06:05
Speaker 1: You guys were in what I call the running with the bulls era right of beat making. You know, can you tell me like how deep and involved were you guys with like the record conventions or y'all there like four in the morning waiting mm hm.

01:06:22
Speaker 2: Tiple, come pick us up, que Tipple, com pick us up at four o'clock in the morning. We were going to the Roosevelt Hotel, thinking that we had to jump on everybody. We're like, yeah, first yo. Once we walk in there, we're thinking, we're there, We're number one, We're here. We turned to our left kid Capri and Pete Rock rented a room the night before.

01:06:56
Speaker 6: Rooms and they was like, as soon as the first dude brings his case and they're.

01:07:01
Speaker 3: Down there, y up there, Pete Rock is there already?

01:07:05
Speaker 7: Which you do the top of the mirror, what'd you do?

01:07:08
Speaker 1: I wasn't in I was in the generation after the slim picking for gold mining is between eighty nine and like ninety two. Like if you find shit during that period, then your life is golden. I came after the fact, and you know, I would just hear stories. I'd hear stories of like Pete b rating dealers for like he would buy like the entire catalog of an artist just so that you know, if there's eight copies of a particular record, they would buy them all to make sure that no one else took it.

01:07:46
Speaker 3: You can't stop that from happening, Like.

01:07:48
Speaker 1: Yeah, your petty is well okay, So I'll ask a question even though this is like super late in the game, I know that you guys were the first to use actually the second, because no one ever credits OC for using it on Uh yeah, was the first. Let's take it through. Who got the props? Because the thing is is that y'all did it first, and of course Usher and everybody comes behind it, like are you in the feel some sort of way about not getting the shine off at first? Or hip hop is just open sport and you know it's it's like a reggae rhythm. Anybody can rhyme over. Like, what is your attitude in terms of at the time, how did you feel as opposed to now.

01:08:38
Speaker 7: What's the Usher record?

01:08:38
Speaker 3: Y'all? What was the first?

01:08:41
Speaker 5: Here's my mind that was on the first album.

01:08:45
Speaker 3: I didn't feel no type of way about the Usher thing.

01:08:48
Speaker 2: It was cool, cool, you know when I felt away And this is the first time I've ever said this in an interview, melt away when the track masters you sound boy Burial for Mary and Mariah character m we had just.

01:09:03
Speaker 3: Bary you out.

01:09:04
Speaker 2: They went behind us, looped up our record, gave it to Mary first, and I guess it didn't work or to get to ta give it to somebody first it didn't work, and they then they either get it to Mariah or marry After that. That's when I was like, come on, dude, like we just put this record out, dude, like let the record bring you a little bit. You went and went right behind us and Jack B. So I felt some type of way about that.

01:09:28
Speaker 3: And I kind of felt the way like that about intro when intro used Quincy Joneston. Yeah, and I was like, yo, like what gentile record?

01:09:38
Speaker 5: Was that?

01:09:39
Speaker 3: Funny? How found the first thing off their second album?

01:09:44
Speaker 6: My whole thing is this, Like I don't want I'm not even checking for money, just be like, yeah, we got it from there, that's all, you know what I'm saying. Like that was my thing with that, And I was kind of tight behind that, you know. But Yo, man, you know Homeboy passed, So I was like, I'm not gonna say nothing about it because then I'm gonna look like I hate up.

01:10:06
Speaker 1: In terms of production, like are you guys involved at all? In terms of also structure of the song horses rock and rock, Like y'all could do that better? Da da D Like are you guys also?

01:10:21
Speaker 3: Yeah?

01:10:21
Speaker 1: Micromanaging as far as vocal sessions are just like, here's the beat, all right, good luck.

01:10:27
Speaker 2: In the beginning, we wasn't really like that, like I would say stuff like I told after Buck did how many mcs he did? How many mcs are one tape?

01:10:37
Speaker 3: Right?

01:10:39
Speaker 2: I said to him, you're sure you want to keep it giving vocals that way? You don't want a dang it. He said, trust me, Walk, I'm gonna keep this the way it is. And I said, okay, you know what I'm saying. But usually we just let them go. But as we got older and started doing more records, we became more vocal about yo, do your vocals this way?

01:11:00
Speaker 3: Do this, do that? Do that? You know?

01:11:02
Speaker 1: I was gonna ask, who's the one that suggested, especially for I Got You Open for Buckshot to use his laid back mellow flow instead of his hype. Who got the props flow?

01:11:15
Speaker 3: Oh? That was Buck? That was Buck. Buck came in and was like, yo, like when we was doing uh not even I Got You Open. We was doing the Buck him Down remix.

01:11:27
Speaker 6: Fuck him down, I got you I got you up, No mom sake, I got.

01:11:33
Speaker 3: You up on was first okay, yeah, the Buck Up Down remix.

01:11:37
Speaker 6: Drop the Buck dropped after before after, Okay, okay, I'm not bad. It's mad long ago, I'm old. But like when when Buck came into the studio, it's like he just it was a different flow because being that we was on the thing where we're gonna remix everything every twelve ones we put out, Buck was like, Yo, if they're gonna change the beat, I'm change the.

01:12:00
Speaker 3: Flow, you know.

01:12:03
Speaker 4: And how did y'all feel when y'all heard it?

01:12:05
Speaker 1: Like, because it's so night and day from what he was known that, Like, his the original verse was super hype. It's almost like you know, listening to parents just don't understand versus summertime, Like, yeah, what the hell is this?

01:12:19
Speaker 8: Right?

01:12:19
Speaker 5: Right?

01:12:19
Speaker 3: Right?

01:12:20
Speaker 2: I think he just did whatever fit the moment. Yeah, we got the props was like a more up tempo vib so he hit it that way.

01:12:31
Speaker 3: But then when we started slowing.

01:12:33
Speaker 2: The record down and smoothing the records out, that's when he started to becomming. He came with the laid back style. The bad and white situation was all him.

01:12:41
Speaker 3: That was it. He was like, I want to rhyme off of.

01:12:44
Speaker 2: That, and yeah, I was too busy trying to impress Lodge and Pete and Premiere and cute Tip. So I'm trying to find the obscure most obscure record fucking tech and still they wasn't thinking about that. There was like, Yo, we want to rhyme off with this, this and this, and I was like, nah, we're not going off of that. So Buck was like, y'all want to rhym off the Barry White stuff. And then one thing about Buck, he talks to you like he's a car salesman, so you don't feel like you bind a goddamn car from this dude. He says to me, hey man, because Barry White was a gangster man. He was a gangster and we need to keep the gangster vibe going.

01:13:23
Speaker 3: And I'm looking at him like no, but they don't get the funk away from me, yo. But at the end of the day, it was like, Yo, we did it, and that was bo.

01:13:38
Speaker 8: That's crazy because as a a like a I don't want to say a female hip hop fan in a way, but it just crazy that that was his motivation. Meanwhile, I'm sure that some of us girls was listening like, oh shit, this nigga can slow it down.

01:13:49
Speaker 7: This shit is dope.

01:13:50
Speaker 8: Like I wasn't even thinking about it from a very white being a gangster. It was more like what Barry White's you know, public perception is.

01:13:57
Speaker 2: So that wasn't trust me, that wasn't attention. He was like he just tried was trying to fit the moment and of what we.

01:14:06
Speaker 1: Was trying to do production wise, like what did you learn making the shining that you didn't know like that production techniques and whatnot?

01:14:17
Speaker 4: Like how did you get wiser progression steps?

01:14:21
Speaker 2: Because we recorded into the stage from twelve midnight to six in the morning.

01:14:27
Speaker 1: So at D and D.

01:14:30
Speaker 3: At D and D twelve midnight, what.

01:14:32
Speaker 1: Is it about D and D? Like why would y'all use D and D? They have never flushed that toilet like in twenty years, yo.

01:14:40
Speaker 3: Hold on, hold on all the focus said, I remember when I bring you D D. Yeah, it was like, Yo, this place is crazy.

01:14:48
Speaker 1: Yeah, man, because I was a tourist from Yeah, you know, I've told this story before, but my favorite well, I mean D and D was just a grimy Yeah. It was. I don't want to say it's like the projects of studios, but it was like you come in, no, it's just super grimy. It's like blunt ashes from yesteryear still on the floor. Bathrooms barely worked the day that you guys worked on silent treatment.

01:15:21
Speaker 4: Right when you know, the pool table is in.

01:15:23
Speaker 1: The hallway right right, right, dog, for like forty five minutes straight, only heard this bell ringing, sing ding thing. After forty five minutes of that, I snuck to the other room to see where that that bell was doing, right, And it was Premiere and kars one right, yeah, starting the genesis of what we would know is MC's act like they don't know, like they were literally working on that while you guys were in the b room working on the solid treatment.

01:15:55
Speaker 3: But actually it was backwards when a room and for me and them in the b room a few room is yeah, the room was beat monitors in the b room was Premiere.

01:16:04
Speaker 2: But you know what is right, man, D and D was the project of the studio.

01:16:10
Speaker 3: Here's the thing, here's the thing with D n D. Right, I'm gonna break down D N D. I'm break down the whole thing with D and D. Right, D and D.

01:16:18
Speaker 6: First of all, we started at Calliope. Coliop had no outboard gear whatsoever. The outboard gear consisted of a tape deck a that deck, I mean a that recorder.

01:16:35
Speaker 3: Who it was a you know, they had no outboard gear in Calliope.

01:16:40
Speaker 1: But by Power worked there in three runs.

01:16:43
Speaker 3: But that's why Bob Power is a genius.

01:16:46
Speaker 1: Because he had nothing to work with.

01:16:48
Speaker 6: Exactly right, right, Coliopy. What happened was we got kicked out of Calliope.

01:16:54
Speaker 1: How did you get kicked out of that means another story.

01:17:00
Speaker 2: So we're recording. I forgot we were recording maybe slave or something. And Havoc came to visit us in the studio.

01:17:09
Speaker 7: He said, Havoc, because.

01:17:12
Speaker 3: Havoc is on you the man.

01:17:14
Speaker 2: So he had came to the studio to visit us. And the guy who owned Callipe, his name is Chris. He lived in Jersey. He left the studio to go home because again we recorded twelve May ninety six at six am, Havoc somehow tripped the alarm. Right, Chris had to come back home from his house all the way back to Manhattan to thirtieth Street, and he was mad. So he was like, you guys tripped the alarm. Be guys, we're doing something he wasn't supposed to do. You guys were banned.

01:17:46
Speaker 3: From my studio.

01:17:47
Speaker 2: Get out blah blah blah.

01:17:48
Speaker 3: So see he's the voisterous brother. Fuck you, Well, I.

01:17:53
Speaker 2: Don't want to come back here time that way.

01:17:55
Speaker 3: And then we just left. Yeah, I took off. I took all my two inch tapes and left, like do we out of here?

01:18:04
Speaker 1: Damn home on that night.

01:18:07
Speaker 3: The funny thing is, so that morning, I'm walking, I'm like, I have the two inch tapes. I'm taking them to Nervous Records. You know what I'm saying, because I'm not taking them home, So I'm taking them to Nervous Records. Nervous Records was in Times Square at the time. Nervous Records was on Broadway between forty third and forty fourth, right across from MTV. So I'm walking to Nervous Records. I turned the corner of Broadway. Who do I bump into Premiere and I'm like yo. So Premiere is like, yo, you know what's up with that album? How's it going? And I'm like, yo, man, we just got kicked out of Calliope blah blah blah blah.

01:18:48
Speaker 6: And Premiere says to me, look, I'm at this studio. I'm the only hip hop dude there. Come by and Yo, check it out. You might like it. You can record there. We beat only hip hop dudes. They're working And I was like, beat so permire. This is exactly what he says to me. My session starts at twelve. I'll be there around three four, so come come come through. And I was like I and I went and checked out D and D. Premier showed me his room, which was Studio B, and I was like, Yo, this is dope. And then Dave from D and D takes me to Studio A. And when I walked into the Studio A, I was like, Yo, this is it.

01:19:36
Speaker 3: Like Studio A just had it sounded like my basement. And I turned around and looked at the outboard gear. I seen they had mad They had enough outboard gear in there, you know. And I was like, Yo, this is it. And what was the first session we did? What? Maybe I got you open? Yeah, I got you open. I think I got you open. Yeah, it was the first session we did there. And once we did the secon there, we never left.

01:20:02
Speaker 1: Wow, we never.

01:20:04
Speaker 3: Left, like and it was like and the thing about D and D is D and D had the sound like that m C I board. They had an m C I tape machine. Yeah, and it sounded nice and warm in there, like you know, we went to battery.

01:20:24
Speaker 6: Battery was nice, but it was too clean for what we Yeah, and it's like D and D fit us right now. Now, let me explain the bathroom thing. The bathroom you went to was not the real bathroom. The real bathroom was in the office. That bathroom you went to was the bullshit bathroom. You know what I'm saying. But yeah, at the end of the day, we went to D and D and we just fell in love. And I'm the I'm the nerd geek nerd when it comes to like recording, and you know, I'm the dude that YO use the pull tech used.

01:21:04
Speaker 3: It like that's me. Walk is just the yo.

01:21:09
Speaker 6: I know these walks knowledge of records, like you know, and I tell people this all the time, walks knowledge of records.

01:21:16
Speaker 3: You're not gonna find nobody that has that knows more about records than war.

01:21:20
Speaker 1: I agree.

01:21:21
Speaker 6: If you if you go to Walk and say y'all need a record with a drum that sounds like there's walk not out of ten, will pick out three records and go, Yo, check these out.

01:21:29
Speaker 1: Wow.

01:21:31
Speaker 2: He is the nerd of the miners and I'm the record guy. That's why my camera ain't working because because he's.

01:21:39
Speaker 6: Like and and even with D and D like Dan. The thing with D and D was I learned how to engineer at D and D. Okay, like I learned the patch Bay, I learned what Mike t Use I learned like D and D is what taught me.

01:21:54
Speaker 3: The way I record today is what I learned the D and D.

01:21:59
Speaker 6: And you know, during those sessions, I was watching everything like and as a matter of fact, who got the props was recorded at such a sound studio with with uh slow Moo Son the field was the engineer. What happened was me and SlowMo got into a big argument because I was telling him how I want the record to sound, and slow Mo goes, oh, you think you know everything? You mixed the record. The mix you hear on that record is the mix that I did.

01:22:31
Speaker 1: Uh. He wanted to clean it up.

01:22:34
Speaker 3: Now he yeah, he wanted to clean up and he wanted to sound like a like. He was like, you gotta make the you gotta make the drums sound like this, ah that drum loop.

01:22:43
Speaker 6: Oh, you need a drum machine. And I'm like, no, you don't I know what I'm doing here? And it you know, and that session was so bananas. It got to the point I think walk came and something was said. What was like, y'a mout before I killed somebody?

01:22:58
Speaker 3: Like it was that.

01:22:59
Speaker 6: Session where so bananas, like I mixed, I mixed that and I mixed the B side fuck it up because it was like, yo, I knew what sound we was looking for, you know, and yo, Like after that, I was.

01:23:13
Speaker 3: Like, you know what we need to go?

01:23:15
Speaker 6: We you know, when we went to Calliope, went to Calliope because Calliope was cheap and Callipee was a studio that anybody was. They had like a special package from midnight to six am. I think we was getting the room for what twenty five an hour?

01:23:29
Speaker 3: Walk? Yeah, what was it?

01:23:31
Speaker 1: Peak hours?

01:23:32
Speaker 3: It was like what sixty eighty maybe one hundred.

01:23:36
Speaker 1: And you're saying that D and D was quote the non hip hop spot. What were they doing before you guys turned it into hip hop's own.

01:23:44
Speaker 6: Freestyle music and yeah, freestyle and they did like they did the Fat Boys Actually was like I think the first dudes that recorded there, the hip hop dudes, They recorded one or two records there, but they they did a lot of freestyle stuff. They did a couple of reggae records, but they was known for like dance.

01:24:05
Speaker 4: Stevie B and Yeah.

01:24:09
Speaker 3: One time we was in the studio and Noel was.

01:24:11
Speaker 1: There silent morning Noel.

01:24:14
Speaker 3: I'm looking at him like what are you doing?

01:24:18
Speaker 1: Nice?

01:24:19
Speaker 3: But yeah, that's what they was. They was doing dances. One thing about d n D.

01:24:22
Speaker 2: You will meet anybody in dn D like people you would even think that would be there every Saturday. If we were record on a Saturday to Shina Arno will be in there doing her demo.

01:24:33
Speaker 7: Wow.

01:24:39
Speaker 1: Yo, can you talk about working with U Sean Price and like rock and rock from Helter Skelter.

01:24:45
Speaker 2: Yo, that dude was a different guy.

01:24:48
Speaker 5: Yeah.

01:24:50
Speaker 2: Your one day we started working, we were working on maybe the Sean and I'm not sure, but posstive news that came to see me in the studio. I bring him up, says I wanted to introduce him to rock and rock. So I bring Passing. First person we see is Sean So I said, Yo, Sean, Yo, Yo rock, this is my man, Mrs past Pass, this is rock. You know what he says to Pass Yo, son, I'm nice. Son, I'm not son. I could book you on this mic son, I'm nice, I'm nice. I bust anybody as son what what I said? Please excuse him? Face like yo, yo, he's impossitive. Face like Papa is like yeah, what the is going on? I'm like, please excuse him. This is just how he is. This is this is this hen But that's how he was.

01:25:47
Speaker 1: He was like a jokest but yeah, I've seen many sides of him, Like right right, he could have been a comedian.

01:25:55
Speaker 3: Yeah, he could have been a comedian. He was a great guy. Man, he was a great guy. Yeah.

01:26:00
Speaker 1: I just got to tell you the day that we first heard onslaught on the.

01:26:07
Speaker 3: Uh I remember you told me.

01:26:09
Speaker 1: I remember if you watch us and Buster rhymes on SNL, we snuck eight bars of that in on like we heard it that day.

01:26:20
Speaker 4: Yeah, and we were backstage having a meet and like, yo, man, I want to rhyme over that ship.

01:26:26
Speaker 1: And we were like yo, we we didn't clear the song with SNL like we're supposed to do. You say, I don't give a fuck. Matter of fact, I thought it's gonna spit four bars too, and literally like for us, we thought we was like committing a crime.

01:26:40
Speaker 4: Like, Yo, we ain't telling Sylvia Room, We ain't telling nothing but the.

01:26:42
Speaker 1: Last last sixteen bars that ship we're doing that black Moon shit and literally you know that's like one of my favorite shits.

01:26:50
Speaker 2: Yeah, that's all egle D. That's all eagle D. That's that's my favorite black Moon record of all time.

01:26:56
Speaker 6: Yo, that record is me playing them anymore or based on it, is me playing them anymore.

01:27:03
Speaker 1: Oh. Also, Doug on you turntables and mic, Why what was on your mind when you did that kick pattern?

01:27:11
Speaker 4: To this day?

01:27:13
Speaker 1: Like I never heard someone not John Jebbo starts from the JBS do sixteen do sixteens on the kick drum? Who programmed that he did all that?

01:27:26
Speaker 3: What it was was I was following a pattern of heartbeat, right.

01:27:30
Speaker 1: But that's the thing. You could have chose the other part where they're just playing the shit normal.

01:27:35
Speaker 4: I E. Buddy, you chose the hardest part to loop.

01:27:39
Speaker 6: Yeah, but that's just me like you, you're using the same record, but you're trying to be different.

01:27:46
Speaker 2: You're trying to be different. You don't want to you don't want it to sound like it's the same.

01:27:50
Speaker 3: You don't want to.

01:27:50
Speaker 2: We didn't want to sound like daylight, you know what I'm saying, So we wanted to be a different swing.

01:27:55
Speaker 6: Yeah, Like two turntables with a mic was basically a segue. We used to do that on the Like the first time we me and you met, which was at a show in Philly, we did two ton tables in the mic.

01:28:08
Speaker 3: That was a segue we used.

01:28:10
Speaker 6: You know, we got back home, we was like, yo, we need to make that into a record.

01:28:14
Speaker 3: Now.

01:28:15
Speaker 6: The whole thing happened with Nervous where you know, we left Nervous records.

01:28:18
Speaker 3: Oh blah blah blah.

01:28:20
Speaker 6: And we still like when we you know, when we got with me and Buck sat down to do Warzon, Buck was like the heartbeat thing.

01:28:31
Speaker 3: We need to do that, you know. But it's like we you know, like I said, it was us.

01:28:36
Speaker 1: It was just so risky to put sixteen bar patterns on the cake drum where it was that's just unheard of.

01:28:46
Speaker 3: I'm a nerd.

01:28:47
Speaker 1: For me, it was like I spend more times like why would they do that? But will eventually happen? Is I now do that to this day and I can't stop doing it?

01:28:58
Speaker 3: Yeah?

01:28:58
Speaker 1: You ever to be so obsessed with something that you either don't understand or you hate and then you wind up turning to that ship.

01:29:06
Speaker 3: Yeah.

01:29:06
Speaker 4: Yeah, like right now, I'm like that pattern.

01:29:10
Speaker 1: Probably I'm still obsessed over why you did it because it's kind of wrong, but still right, Like, there.

01:29:19
Speaker 3: To be different, man, there to be different.

01:29:21
Speaker 2: Two mic was supposed to be a House Party two. Yeah, it was a House Party two soundtrack.

01:29:27
Speaker 3: Oh but we recorded that record twice.

01:29:32
Speaker 6: We recorded it once and when we record the first time, that's when we didn't regular We hooped up the regular part and anything. And when we did that, it was like, Yo, this is gonna be dope. And then the whole nervous thing happened. So after that it was like whatever, you know. And then when Buck was like, let's do that heartbeat thing, it was like, you know what, we're gonna do it, but we're gonna do it a little different. You know, We're going to try to make it sound a little different than everybody else's virsion of heartbeat.

01:30:05
Speaker 1: Okay, you know, you know. I do also want to get to the fact that you guys were super early like, of course post pandemic, everybody was DJing online and whatnot, and you guys were like super early on that. What was the genesis of you guys starting your own internet radio station?

01:30:26
Speaker 6: In nineteen ninety six, my homeboys Mark and Randy they had an internet show. Now this is nineteen ninety six, they had an internet show called eighty AA hip Hop. Yes, I'm marking, Randy ran eighty A hip Hop. They came to me and was like, YO, can you help us produce this show? And I was like, YO, why not, let's do it. And when I went to them, they was like, YO, why don't you do your own thing also? And when they said that to me, you know, the first thing I did was like your walk da, and you know, we sat down and that's how Beat minus Radio was born.

01:31:07
Speaker 3: Like Adia hip Hop is the first hip hop station. Second Beat minus Okay, when.

01:31:15
Speaker 2: We started doing it online, Macio is the one that said, Yo, you need guys, need to bring it over here.

01:31:20
Speaker 3: That's why we were doing it on uth stream. Yeah, but that's down like down the line, like we you know, Beat minus Radio.

01:31:26
Speaker 6: We was doing that nineties nineties. Then the two thousand thing with the dot com thing happened. Pseudo which was our parent company, did so that was the end of it. For a minute, but we did it like we had Beat minus Radio offline on power on our one oh five.

01:31:43
Speaker 3: Point nine WNWK for a second.

01:31:46
Speaker 6: We had it there, and then what happened was we kind of started again with another internet radio station. But that radio station they they wasn't maintaining their equipment, so you know, one day we went there and equipment was messed up, so we decided to just leave.

01:32:04
Speaker 3: Ma Co was on U stream and Maco hits us up.

01:32:09
Speaker 6: Yo, y'all need y'all need to come on you stream and I logged on Mao's rocking. He's like, yo, E set up an account, make your own yo, dude, Yo, you need to be on here.

01:32:21
Speaker 3: And that's what we started Beat minus Radio again. What year was that, Walt Night eight?

01:32:28
Speaker 6: Two thousand and eight it was, And we restarted Beat minus Radio online two thousand and eight, but before that we had you know, we was doing Beat minus Radio like podcast and Beat minus Radio off flight, so we kept it alive.

01:32:44
Speaker 3: But two thousand and eight.

01:32:47
Speaker 6: Was when we restarted again and we were streaming live from right here in the house, okay, and we've been doing it from two thousand and eight till now.

01:32:57
Speaker 1: So with hip hop blooming at as it has since you first started thirty years ago. It's going through a whole giant metamorphosis. How have you guys been able to navigate in terms of like do you still get a thrill of making beats? Are you challenging yourself to try different ideas out or whatnot? Or is it like, look, this is our formula, this is our recipe. We're sticking to it. Do you still get a thrill of digging for records in the whole process of unearthing some gems that the world hasn't heard before? Like, is it still a thrill for you to make and create stuff?

01:33:38
Speaker 2: Yeah, that's never that's never going to die. Like, that's that's our thing. Like we still follow the blueprint that we lay down, but we listen to what's around us, and we listen to everybody and we try to add little pieces here and there, but we mainly keep our same sound, you know, and the same technique that we've been using for the dick and go.

01:34:00
Speaker 3: We still go digging like all the time. Yeah, all the time. It's not gonna stop, like to stop.

01:34:08
Speaker 6: I always tell people that it's it's new equipment, but it's the same people, like, you know, instead of using the SP in the nine point fifty, now we use NPC Renaissance, NPC X, able Tin and Pluggins.

01:34:23
Speaker 1: Did it take you long to adjust to that or was it like were you kicking and screaming to adjust to change?

01:34:31
Speaker 6: Meanwise, I'm the technology dude, yep, So I'm always looking in and trying to figure things out. Law finess Og dj Og and King of Chill taught me able.

01:34:45
Speaker 1: To, Okay, you know, and you know your Chill is now Premier. Yeah, yeah, Premiere's full time engineering. He used to be.

01:34:54
Speaker 6: He likes dj like, those are the dudes that taught me able to. And it's like once I learned Ableton, I was like, what we could do this? And you know, and the same thing with the Renaissance, like you know, at the end of the day, like it made my job easier.

01:35:16
Speaker 1: What's your weapon of choice now?

01:35:18
Speaker 3: NPC Renaissance are Ableton and a whole bunch of records.

01:35:22
Speaker 4: Have you ever pulled out the old tools to try it again?

01:35:25
Speaker 3: I still haven't plugged up.

01:35:26
Speaker 6: Like what I do is every once in a blue I will sneak back to the SP because here's the thing, everybody wants to emulate that sound. I don't have to emulate that I have one. Anybody wants that nine to fifty sound, I don't have to emulate. I just go sampling a nine to fifty and then dumping into.

01:35:45
Speaker 1: Ableton Because the nine to fifty is the one device that I feel like all the gods have used and swore by that I'm not. First of all, I can't find I think once I use the nine to fifty, like during Dewe, you want more, Like Bob had one, but he operated it. I didn't. What is it about the nine to fifty that holds holy for every god of hip hop production?

01:36:10
Speaker 3: It's a warm sound.

01:36:11
Speaker 2: Yeah, it's a nice warm sound to it.

01:36:15
Speaker 3: It's like the nine fifty has a like back then when they made equipment, it had different The equipment had different sounds. It's like, for instance, like I tell everybody them, the best sound in NPC is the NPC three thousand. To me, that's the best sound in MPs. That's the best sound in one. The nine fifty also had a sound. And when you did filters in the nine fifty, I don't know what it was, but it just sounded crunchier and heavier and better, and it had that.

01:36:50
Speaker 6: Sound that all those old records had, right, Like if you listen to a filter on a on a on a black own record, it's not just the baseline, it's the.

01:37:02
Speaker 1: The undercurrent that out, yeah, right.

01:37:05
Speaker 6: And it's like the nine fifty at at you know, at the same time was like the SP twelve hundred and nine.

01:37:12
Speaker 3: Fifty was partners You couldn't break up that partnership.

01:37:17
Speaker 2: Now, keep in mind, I used it a totally different equipment, Like I'm using an X and NPC one. Yeah, I gotta go back and four, so you know, I use that. But before that, I was on the three thousand for like twenty years. I was on a three thousand.

01:37:35
Speaker 1: Couldn't let it go?

01:37:36
Speaker 3: Yeah, I can can do it.

01:37:38
Speaker 6: What's the dude that? Now here's the thing. What's usually the dude that?

01:37:42
Speaker 3: Yo?

01:37:42
Speaker 6: Like, I gotta be like your war, your war, come on, walk your war war. Like the NPC X we was in not Guitar Center. We was at maybe seven Ash.

01:38:01
Speaker 3: And Walters goes, let me get the NPC X and I'm looking at him like, really, this is what you're gonna buy. I'm buying a keyboard. It's like, let me get the npc X and Walk opened. Like Walk gets into the house and you didn't see what for for weeks and he's right upstairs. But I didn't see him for weeks.

01:38:23
Speaker 6: But that's how we both fall with with with stuff like Yo, when I learned how to use the Renaissance, Walk looks at King of Chilling goes, You're not gonna see eat for another few months because you're gonna be in the house.

01:38:33
Speaker 1: Watch I see have interview, tried the New twelve hundred, the Wait, the Elliott Show, all your nerd talk, Yeah, talk about it the truth.

01:38:51
Speaker 3: Yes, this guy right there, man, that dude is dangerous.

01:38:57
Speaker 1: I learned from.

01:39:00
Speaker 6: Thank you, sir, thank you. You're talking about the Pioneer joints. Yes, you know, I'm hitting Tiger, which is the Oh you know Static is partners now with them. Just bought those turntables. I was the first DJ to use them at Hitting Tiger is Saturday.

01:39:17
Speaker 3: Yo. I fell in love with those turns. Yo. I'm really like, I'm like, Yo, Wall, We're gonna have to do We're gonna have to do some legal business because I need a pair of those turntables.

01:39:28
Speaker 6: Those turntables are incredible. I fell in love with them turntables, Like I was like, you know what these turn this?

01:39:37
Speaker 3: I gotta get a pair. I gotta get a pair, all right.

01:39:42
Speaker 1: Last thing I know that you guys are you're you're working with Chris right on? Are you doing the whole album or just a single with Carris One?

01:39:49
Speaker 3: No? That single was from our album.

01:39:52
Speaker 4: Okay, yeah, I was the impression that you're doing an entire.

01:39:55
Speaker 3: Let me tell you this. We were supposed to. We have so many songs with Chris.

01:40:00
Speaker 2: We were supposed to, but it's communication broke down, like I just you.

01:40:04
Speaker 1: Know, actually, you know, I'm sorry. That's what will destroy you.

01:40:13
Speaker 2: That's the first single from our album that's coming out in May June, Stifle Creativity. We got that was the first single. The next single is a song. We have a song called Mayea that's featuring Daylight, Rachie Chappelle, Pharaohmont and Corey Glover from Living Color More Records.

01:40:33
Speaker 7: What else is on there?

01:40:34
Speaker 2: Because we got of course a black Moon song. We got uh Steel and Fame from m O p On a song. We got Rusty Jokes, we got a z we got our scratch scratch Yeah, we got two songs from raz Cast Bishop Lamont. I'm trying to remember we got on the album I always forget keep. We gotta Keith Murray on the album. We got Apathy Apathy, so we we are got some things coming.

01:41:13
Speaker 3: Summertime should be fun.

01:41:15
Speaker 1: Well at the end of the day, that's what it is. Yo, man, I thank you too for doing this episode with us everything.

01:41:23
Speaker 4: You're the nicest gentleman in music.

01:41:27
Speaker 3: Thank you so much, sir.

01:41:28
Speaker 9: I just wanted to say, man like for just as a longtime fan of y'all's and just you know, being with LB first came out, y'all were one of the first, you.

01:41:36
Speaker 5: Know, one of the ogs to really show us love. You know what I'm saying.

01:41:39
Speaker 9: I remember, like evil do you come into our album release party and stuff.

01:41:43
Speaker 5: And I got the work we did on the breaks and everything.

01:41:46
Speaker 2: I remember when we met, when we met up at Fat Beats. Yes, today, I told you to meet the Fat Beats that we were out.

01:41:54
Speaker 6: Yes, you gotta understand it's like I'm a fan of y'all, you know what I'm saying, Like just like people are fan of mine, like you know, like I'm that type person where it doesn't hurt me to give credit where credit is due.

01:42:08
Speaker 3: You know what I'm saying, Like, Yo, if you made something dope, trust me, I'm like this and like y'all inspired me to work. You know what I'm saying.

01:42:17
Speaker 6: Same thing with with quests, cause it's like he'll like when they did a gos A joint where y'all loop Sadday Night.

01:42:24
Speaker 5: Oh that's without a doubt, without a doubt, without a doubt.

01:42:28
Speaker 3: Yeah, I was like, Yo, this is kind of hot.

01:42:32
Speaker 6: But his drunk playing, Like, come on, I spend plenty of times where I stole a kick and stole a snare.

01:42:38
Speaker 1: You know that's what it's there for. Man, I'm feeding.

01:42:41
Speaker 8: Can I just say something real quick y'all before y'all go, because me and Jake were just talking about this, the evolution of the backpacker and where it has gone and all the derivatives.

01:42:50
Speaker 7: It's just a beautiful thing.

01:42:51
Speaker 8: And I know sometimes it used to be a bad word because when people call me a backpacker, I be offended, But now it is a because when they was David David shiny suits to me a backpacker, But now I'm just saying that.

01:43:02
Speaker 1: That was calling you a backpack.

01:43:03
Speaker 2: Yeah, who the hell is calling you a backpacker?

01:43:05
Speaker 8: Back when I was going to see y'all, when I was going to see boot Camp Click at the Ibacks and everybody else was going to the Go go, he was wearing.

01:43:11
Speaker 7: Our backpacks at the club like yeah, we was backpacking.

01:43:15
Speaker 3: Yes.

01:43:17
Speaker 6: At the end of the day, man, I'm just like this, this is definitely dope.

01:43:22
Speaker 3: Man. I want to thank y'all man for real, wal put me on to the podcast, because what was like, you want, yo, this is your favorite podcast? Like I love this podcast.

01:43:35
Speaker 4: I think I have my road call ready to go.

01:43:39
Speaker 3: Oh ship, we're gonna do it.

01:43:41
Speaker 6: Walk came in here on some Joe guess for podcast we're doing, and I'm looking at him like, what's wrong with you?

01:43:49
Speaker 4: You did that like the cartoon cheer and you did that like a come on, like.

01:43:54
Speaker 3: Yeah all right.

01:43:56
Speaker 1: So normally I do my sign off shout out to to the family of q os, but this one time, Sir.

01:44:06
Speaker 3: Evild's on the mix.

01:44:07
Speaker 12: Come on kick it.

01:44:10
Speaker 1: Thank you very much.

01:44:11
Speaker 4: We will see you next week, all right, so much. Thank you for listening to Quest Love Screams.

01:44:26
Speaker 12: This podcast is hosted by a mere quest Love Thompson, Big Boss Man, Like Yeah, Saint Clair, So Black and the Black Myself, Fontigelo Fonte Goldman, Sugar, Steve Mandell and Unpaid Bill Sherman. The executive producers are a Mere Quest Love Thompson, Sean g and De Gunn, Bothered Brian Calhoun, Produced by Britney Benjamin, My Dog Cousin, Jay Payne, My Motherfucking.

01:44:51
Speaker 4: Man and Like he Is Saint Clair, My work Wife.

01:44:55
Speaker 12: Edited by Alex Conroy. Produced for Our Heart by Noel Brown.

01:44:59
Speaker 1: Thank you for tune and then check us out next week. What's Love Supreme is a production of iHeart Radio. For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows.