The Questlove Show - Black Music Month QLS Classic: Jeffrey Osborne

Episode Date: June 17, 2024

For Black Music Month, travel back to this beloved episode when R&B legend Jeffrey Osborne told Questlove Supreme tales of drumming on Soul Train, touring with The Jacksons, and flying high...On The Wings of Love.See omnystudio.com/listener for privacy information.

A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me. Clivert Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media.

Well, now I'm bringing all of that excitement to my brand new podcast, The Clifers Show. This is a place for raw, unfills of conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Clivert Show on the I-Hard Radio app,

Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode.

Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok Podcast Network on TikTok. In 2023, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Owens, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern. Two more men who'd been through the same thing.

Greg Gillespie and Michael Ranchini. My mind was blown. I'm Stephanie Young. This is Love Trapped. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Course Love Supreme is a production of IHeart Radio.

This classic episode was produced by the team at Pandora. What up, y'all? It's Unpaid Bill from Questlove Supreme. As you may have seen throughout June, we are celebrating Black Music Month by releasing an episode every day. So every day, you either hear a specially picked QLS Classic, and on Wednesdays we are dropping new two-part episodes with Wayne Brady and the legendary James Poyser, both of which were filmed in the studio. Black music is deeply important to me and has been an influence throughout my entire career. It's also something we celebrate here at QLS.

Today, QLS revisits our Jeffrey Osborne interview. This one is informative, but my co-host Shuggy Steve also drops a few comedic gems in this special 2018 episode. Suprema. Suprema. Suprema. Srauma. Role call. Suprema.

Srema role call. Suprema. Srema role call. Hey, it's all right with me. Yeah. No matter what you want to believe. Yeah. Half of Supreme Team's here?

Yeah. More for me and Steve. Roll call. Suprema. S-S-S-S-S-S-Pri-R-R-C-R-Call. Suprema, S-S-S-S-S-Prema roll call. My name is Sugar. Yeah.

What's it all about? Yeah. Roll call. Yeah. Or roll out. Roll call. Supreme. I'll explain later.

Suprema roll call. Suprema, Sura. Suprema, S-Suprema, Rol call. My shoe laces. Yeah. have slowly loosened. Yeah. Please forgive me.

Yeah. I'm only human. Roll call. Supremea. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. S. Prima. Rol M. Rol call. My name is J.O. Yeah. Some call me Jeffrey.

Yeah. Some call me Osborne. Yeah. Hey. What's the left for me? Rucca. Okay. Suprema, sub, sub, sub, sub, subrema role call. Suprema, sub, sub, subprima, role call.

Suprema, sub, sub, subprima role call. Suprema, sub, sub, subprima roll call. Wait, before I do anything, yes. I'm breaking tradition. Okay. I'm asking a question first, then I'll introduce our guest. Okay. Jeffrey Osborne.

You just introduced our guests. Is that you drumming for Smokey Robinson on Soul Train in 1974? With the part down the middle of my head. That is you! Ladies and gentlemen, That is me. Welcome. I knew it.

I knew it. Ladies and gentlemen, welcome to Questlove Supreme. I am Questlove and our Supreme team consisting of... This is team today, not Supreme. Yeah. Sugar Steve, who's... Very excited. I think more than anyone wanted this episode to go down. Yes.

Sugar Steve. And of course, Boss Bill with us. Not with us. Fonte is still waiting on his tiles for his basement, house furnishing. Laiia somewhere getting our house together in Los Angeles. Did you know that Fonte did an audio book recently? No. I didn't know that.

Apparently he narrated a children's book. The title is great. The title is called We Used to Have Money. Now we have you. You have some explains to DuPontay. And unpaid bill somewhere on Sesame Street. Yeah, Sesame Street land. Ladies and gentlemen, I'm so excited about our guest today

that I did absolutely no prep work whatsoever because I think I can just go off the top of the dome. One of my personal, my top five soul singers ever, And, you know, I haven't been this happy for Steve. I mean, he means much more, even more than me, than Steve is mad at me already for putting him on the spot. No, no.

Well, don't, I mean. I know. Okay, okay, okay. Ladies and gentlemen, please welcome Jeffrey Osborne to Questleaf Supreme. We'll be over there. All right, all right. All right. We've been trying to make this happen for a second.

Thank you for coming on the show. Oh, it's great, man. I'm enjoying it. I even got started and I'm joining it. Trust. This is Black Music Nerd Paradise. And Steve. Well, I'm a nerd.

That's where the nerd came in, huh? Yeah. So, okay, where, my first question is always, where were you born? In Providence, Rhode Island. Really? Providence, Rhode Island. Yeah. Youngest of 12.

Really? That's a really. Yeah. I don't think I've ever had a situation where someone wasn't born down south or in the Midwest. You're probably our first Northeast. Oh, really?

Yeah. Yeah, and it was interesting growing up there. Not a lot of black people. I think my family probably represented the most black people in Rhode Island. Really? No, but there's not a lot. So it was kind of shocking when I met LTT

because they told me it was a 10-piece black band playing downtown. I'm like, I didn't see 10 black musicians together in a while in Providence, so I was kind of interesting. They started in Providence? No, they were actually Sam and Dave's backup band. Back when Sam and Dave were rolling, during the Hold on them coming days,

on Soul Man Days. They were called Soul Men LTD, Soul Men Limited. And they left them in the early, well, actually around 69, and they were based in North Carolina. So they started coming up to East Coast playing in the clubs. And I met him. in a little nightclub in my hometown

in Providence, Rhode Island, believe it or not? So was it a musical family? My family? Yeah. Yeah, quite a bit. I'd say eight of the 12 of us were in the music, either played instruments or sang. My father was a great trumpet player.

And, you know, he was one of those guys that never went after his dream. But, you know, anytime any of the big bands came through town like Ellington and Basie, he would run down and play trumpet with them. He was pretty amazing trumpet player. But he had 12 kids. That's what you give for having 12 damn kids.

I'm like, I don't even know how you have 12 kids. You couldn't do it today. Back then, it was, you know, it was a lot of big families back then. Oh, okay. So he just worked a few jobs, you know, during the day and played at night in the clubs. And he was well known. What was the main industry in Rhode Island? Costume jewelry.

Still is, you know. Really? Yeah, especially in Pawtucket, Rhode Island. Huge costume jewelry place. Yeah. So similar to people moving to Detroit for cars or factories in the Midwest. Costume jewelry, like the epicenter is in... Yeah, it was in Pawtucket, Rhode Island, right.

The more you know. Wow, that's crazy. So, well, leading back to my original question, can I assume that drums was your weapon of choice first, or how did you... Well, I've always singing was why I'm up with a bit of... choice first I started singing in nightclubs when I was 13 my mother used to chaperon me and I would go aside my first job was in New London Connecticut a little club called Ebony Lounge was pretty I was 13 you know I thought I was doing big

shit back then I was making ten dollars a night but you know that was way back then and I started playing drums when I was about 15 my brother Billy who was a drummer left a set in a basement you know and so I kind of was a self-taught drummer. But everything that's happened for me has happened through drumming. Like when I met LTD, their drummer had gotten locked up

that night I went to see him for smoking weed. In 1970, that was like a major offense. Now, everybody got a marijuana card. You know, it don't mean nothing today. But they locked him up, and I sat in, played drums with him, sang a couple of songs,

and they asked me to join the group. So you winged your, first gig with LTT, not knowing. Yeah, but they were doing top 40. And I used to work part-time in the record store, so I kind of knew everything that was out then. So it was kind of easy. And I was playing locally, my band.

So I sat in with them and, you know, sang a couple songs. And I don't know, that guy was in jail for a while. So then the funny thing, when I was 15, I met the OJs in a club in Providence. So I went to see them perform. And when they had, I had a drummer.

And back then, you know, the drum of passion was heroin. You know, that's what a lot of our black musicians got hung up into back in the day. And so he was nodding out in between songs. And I'm watching them and I'm like, damn, this dude was falling asleep in between songs. So club owner let me meet them. I talked to Eddie. I was like, you need a drummer. They said, okay, well, if you can find this one because you're too young, I'm like, no, I can play.

I said, okay. So I bought about three drummers up and I auditioned. And I got the job. So I played with them for two weeks while they were in Providence, and so I kind of owe my career to drugs. Drugs and drums. But again, drumming is, you know, what opened the door for all of that. I'd see.

See, drumming opens the door. There you go. To an industry. Wait, what year was the, was it before? It was 1970. All right, so before they made their in Philadelphia record a year or later? Yeah, actually they had five people in the group. There was five singers.

Okay. Yeah. That lineup. So you're saying that before your nightclub hopping, you didn't have like a high school band experience or any? Not a high school band experience, but I played with a lot of the musicians that I played with were all from the same high school.

We played together. But I was the only black one. But yeah, but I did play with a lot of musicians that were working their way through Berkeley School of Music in Boston. So that was nice because I got a chance to play some really good musicians back then. Oh, so you even had to learn repertoire for rock music and... Yeah, I was playing nightclubs, but it was actually,

the funny thing, it was in the ghetto. It was a hood. There was a hood in Providence. So I was basically doing mostly R&B, mostly R&B music, you know. But I, you know, I grew up listening to jazz because my whole family was in the jazz. I'm the youngest of 12, and I'm 70 years old. So everybody was listening to Sarah Vaughn and, Ella Fitzgerald and Billy Eckstein and Joe Williams and my dad was in the Miles Davis.

But his favorite trumpet player was he was Clifford Brown. So I got a chance to listen to everything, you know. So, you know, back when I started, I was singing a couple jazz songs, you know, in R&B, you know, kind of mixed it up. But I didn't not a lot of rock. Didn't, wasn't into rock. Who were your influences as far as vocal? Back then, you know, my biggest influence, which everybody finds strange was a singer named Gloria Lynn. Lori Lynn was actually my biggest influence. I didn't realize that too down the line

and I went back and stopped listening to Glory Lynn records and I'm like, damn, I phrase a lot of things like her. I guess subconsciously I was kind of really into her. But you know, Sarah was my favorite. I love Sarah Vaughn. I loved all the jazz singers. And then, of course, coming up, there was the tip, you know, the regulars, the Donnie Hathaway's, the Marvin Gays,

you know, those people I loved. And, you know, Stevie. Stevie was singing back then, you know, at 13 years old. I was still trying to sing fingertips. And my voice was that high back then. And my voice dropped from male soprano to a bass from junior high school to high school. One semester.

It's crazy. So when did LTD officially start, Or as a group, or even at that time, you're freelancing as a drummer and in the group at the same time. Well, we took a trip to L.A. and actually from Rhode Island, we drove to L.A. with a big U-Haul, U-Haul trailer on the back of the car. And that broke off and snapped the bumper and rolled down the mountain in Flagstaff, Arizona. Wait, wait, wait, wait, wait, what? Yeah, I mean, we were driving through Flagstaff. People don't realize it's nosing Flagstaffed. Arizona. So it was going up a little hill and it was icy and the car just started skidding and

the trailer snapped off, rolled down the hill. So we had to get someone to go down and pull it back up. And we were there for a couple of days trying to get the bumper repaired. And so we drove out to L.A. in 1970 and we played in every nightclub in L.A. for no money. It was the price of admission. Really? It was 10 of us. living in a one-bedroom house. And we played for the admission in which fee was back. Then it was $2 a head to get in. So, you know, if we got 40 people in the nightclub,

we had $80 a split 10 ways. I was sending home for money. My parents was like, don't you think it might be time to come back home? My older brother was like, I was like, dude, just send me the money. It's an investment. in his lecture right now. Well, I do want to ask, how is it, or was it feasible? Because, you know, the 70s had supergroups.

Yeah. And in my mind, I mean, I was in the 90s in a band of four members, we were struggling. Oh, yeah. And so I, you know, used to wonder, like, well, what was the system like for bands in the 70s that were 10, 11, 12, 13 strong, you all had costumes, you all had all these elements. Was Perdium a thing back then in the day? Oh, I didn't even know what Perdium was until I became a solo artist. And then you had to pay it out your pocket.

Right. That's when I had to pay it to other musicians. That's when I realized, oh, this is Per Diem, I got to pay this. But no, yeah, there was no PDM back then. I mean, we were struggling just to get by and pay the rent, you know. It was, I mean, what you got to look at it for what it is. I mean, even when we became a hit group in the 72 was our first record. So it took us a couple of years to get rolling, you know.

And then even when we were popular, you split anything 10 ways, that ain't nothing. You can take a million dollars split it 10 ways. It ain't nothing. You know, so, yeah, it gets, it's rough for those groups back then. A lot of them, you don't realize the struggle that they went through. And then again, then you got, you know, people's personalities clashing and this one wants to do this and that one wants to do that

and there's always a struggle. It's tough. So I admire the groups that came out of that era, you know. So even before you were scheduled to do this show, I found a record on Sunday. I didn't realize that there was a, I guess, your first record on A&M, and there was a woman in the group as well.

Oh, yeah, Celeste. So was she always in the group in the beginning? No, there was a girl named Tammy Starr in the group when I joined the group. And, you know, there was a lot of people that went through that group. We had a baritone sax player. They had a percussionist. And times got hard, and they dropped out before we even got the record going. Oh, I know they were salty.

Yeah, they're upset now. But, you know, it happens like that. You know, it's hard to make that struggle and give up everything. So she was with us for one record. Okay. What was the audition process like in how many other labels were you guys gunning for? Or how did you even gain the attention of? Well, we actually got our first deal through a production deal that Jerry Butler had on N.M. Records.

Jerry, funny how Jerry Butler always fun. He's always popping up in these stories. Oh, really? Yeah. Leon Silver. Like, everyone has a Jerry Butler connection. So he had a production company. He had a production company.

So we signed to his production company. And after our first record, the label then came over and signed us directly to the label, even though we didn't do any sales on the first record. I couldn't figure that out. But they signed us directly to the label after the first record. What do you think it was? I think back then it was so different than it is today because they had artist development departments. So they could look, they could see us live, they watched the potential,

and they said, three years down the line, we know what you could be. that don't happen anymore today and so they invested in developing us and they went out they found producers and that's why music is so different today

today I mean we used to get a piano vocal and we'd be able to hear what this song could be and record companies could today you got to give them a fully produced product

and they still can't hear what it's supposed to be it's crazy wow So when you nab that record deal, was there suddenly dreams and hopes of like, okay, we made it big time? And what were those early struggle days like? Well, it was, you know, what we did first with A&M was we played behind a couple of their artists. So we played behind Mary Clayton.

And we did all her live shows. And we had this one show was at the Monterey Folk Festival. I guess it was 1971 and the 1971. And somebody fell out, so they asked us to do a 20-minute set. And we did a 20-minute set, and it was like 80,000 people, and they went crazy. That's when the record company said, okay, we see what you can be now. So it was, you know, it was a grind, but we were doing all original material, and it was a lot of it was social protest material back then.

So we were kind of turning people on and turning people off. off. That seemed like, so was it Albert? Did you guys have a relationship with Albert or Moss at the time when you? Not really. The first year, we were trying to form a relationship, but Jerry was our guy, Jerry Moss. I mean, Herb Albert was the music guy, you know, because he was off doing his thing.

But Jerry Moss is the one that really believed in us. And, you know, he put the support behind us. Okay. See, yeah, at the time I thought that the Getting Down album, I thought that was the first album. I didn't realize that. There was one before that. Yeah, the one before.

It was just called L-T-D. A real forgettable record. Well, you know. Getting Down was kind of forgettable, too. But, you know, the struggle was it was everybody wanted to sing. So if you listen to those early albums, there was about four different lead singers on the record. Exactly.

Like I thought you were just the drummer of the group and didn't figure out. So this is where the company came in and, you know, the third record. They said, okay, you know, this is our third, your third record we're invested in. We now have to zero in on a voice. There's too many lead singers and we think he should do the majority of the vocals. How was that? I don't think that still sits well with them. Wait, to this day?

To this day, yeah, because they feel. that if everybody had a chance to sing when I left, they would still be viable. So I get that, you know, if it wasn't for the producer and giving you all the damn songs, and you know, when you left, we'd have been straight. And why, well, maybe y'all should I had a hit with some of the songs you sang.

I wasn't mad at cutting it up. That was, that became a hip-hop. That became a hip-hop staple. It was different because all this time I thought was P-Funk related. I didn't realize it was LDD. But who was managing you guys at the time? Back then it was a guy named Ron Nadell. Okay.

He was one of our first managers. So in a situation like that, at least with 10 people, like who's the alpha, the alpha figure that breaks up fights? It was an alpha figure when I first joined the group. His name was Onion. He had a ballhead. He was ballheaded. know it well onion onion was the guy he was the leader and after i was in the group for about a year and a half my brother billy came in the group okay and he's an alpha so they clashed so you know it was like okay

i want to run it this way i want to run it this way and so i'm sitting in the middle because i was doing most of the work and the lead singing so it's like who am i going to side with so that got old with me i had to side with somebody you know but there were two There were two that really wanted to control the group. And a group was just set up wrong, you know, which is good. When you see the way groups are set up today, it's a lot better for the individuals to actually evolve. Back then, you know, we had this songwriter's agreement that, for some stupid reason, I signed. And so when I was ready to leave the group, I was still signed it as songwriters agreement.

And then they didn't want to give me a solo record because A&M came to me and said, we want to give you a solo project. They're like, no, he can't do the solo project. He's exclusive with us. There were people that wanted me to write songs. No, exclusive songwriter agreement with us. So it got stifling to the point where I really couldn't evolve

if I wanted to. And, you know, so in 1979, I told him I wanted to leave the group. And then I stayed on another year just to make it easier for them to find someone. And then I did the next tour. And that was the 79. That was the tour we did with the Jackson's. Yeah.

And so that was the last tour. And then I think I did one more tour. But then when I got ready to leave the group in 1980, it got kind of ugly. So that's why there's never been a reunion. You know, everybody's how come there's no LTT reunion? Well, it's just a way that we split up. It wasn't an amicable split, right.

A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Clivert Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way,

this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music.

The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl,

Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make, to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story.

This began a years-long court battle to prove the truth. truth. You doctored this particular test twice in so much. I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfectant. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Alespian and Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences.

Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. There's two golden rules that any man should live by. Rule one, never mess with a country girl. play stupid games, you get stupid prizes. And Rule 2, never mess with her friends either. We always say that, trust your girlfriends.

I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care, so they take matters into their own hands. I said, oh, hell no, I vowed I will be his last target. He's going to get what he deserves.

Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone? I'm Ego Wodom. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell.

Woo, woo, woo, woo. My dad gave me the best advice. ever. I went and had lunch with them one day and I was like, and dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through and I know it's a place that come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to

If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. What was it like working with the Mazzelle brothers who was interesting?

They produced the, Blackbirds. Love to the World Record. Yeah, they produced Love to the World Records. They were interesting. They were good because they had, you know, they brought in some very good people as far as, you know, orchestrating things. You know, I think Love Ballet was orchestrated so well back then.

But, you know, we did well with them. The funny story with them is that I think I sang the lead vocal on Love Ballet at 5 o'clock in the morning after I sat and waited for them to show up. up and I was so pissed off I did one take and left and that was it it was like I mean you know what I'm there at like 9 30 10 o'clock I'm all pumped ready to sing no show no show I think they showed up about 2 30 3 o'clock in the morning and so we had this big round table discussion I'm like I'm out of here I'm gone just sing this song one time just try I'm all right so I sang it one take that's the alpha that was it that's the infamous

Quincy Jones, Alpha State. Yeah, yeah. Quincy Jones has a theory that, well, for a lot of the music, he would choose to record, when he was making the dude, choose to record his musicians at those ungodly hours. Right. Because he says that if you're fully aware,

you'll tend to overthink your performance in the studio. Right. Whereas if you're just tired, you just, do the matter at hand without putting a second thought into it. That might work for musicians, but if you're tired as a singer. No, but you can't. You're saying when you listen to Love Ballot, like, you're like, ah, I was pitchy on the part or I should have.

No, I, it was, you know, but, you know, for me, for the most part of my career, my first takes were always my best take. Always, you know, and I would always go back and do another take, and it was like I I was trying to sing like myself now. I'm trying to, you know. But the first impression was always the right impression. So I'm a big believer in that, you know. So rarely if you worked with the producers, it's just like,

Oh, yeah, one time. George Duke? No, I love George Duke. Oh, who? He was, George Duke was, oh, man, I was so close with George. Richard Perry. Richard Perry, who had all these hits with the Pointer Sisters. No.

I did a record. Which album did he produce? He produced the emotional album with the Woo Woo-W Song on it. Okay, okay. Enso-Weto, right? And Suedo, right? Yeah, it was my joint. But I pulled it from him after a certain point and took it.

So we're not friends to this day. But he, I mean, I mean, you know, I was like, take 24. And I'm like, dude, I'm not saying this song 20 times. You have it. But he never knew what he had. He had to sit up and listen to the song. this take and this take and then piece all this together and I'm like that ain't even real so we you know after a while I was like I got to get away so and that was a NM record's decision because that was the

first record I did without George he did my first three solo records and then here comes Richard Perry and it was like you know George was a dream that he was to me the best producer I've ever worked with as far as knowing how to work with a vocalist because most of the other producers were kind of intimidated and didn't know what to tell me to do. But George was, I mean, the dude's, he's scary. He had like perfect pitch. He always said he says he's on that perfect,

but he had a perfect pitch. And he would just make suggestions that was so right on, and I was like, yeah, George, that's pretty cool, that works, you know. So I had a great relationship with George, but Richard was a different guy. You know, it was back in the day when people were doing things that they shouldn't be doing in the booth. And he never knew when he had it.

And it was like that with the musicians also. He just was take after take after take after take. So he was the one guy that I never had that experience with any other producer. Who chose, how did you guys even get a love ballot? Skip Skips Scarborough wrote it. Skip Scarborough wrote it. Did he have a relationship with you guys?

It was just like, you got a song? I think Milesel knew him. and Maurice passed on it. Maurice White passed on it. He gave it to him first. Oops. I'm trying to imagine that. Yeah, I think I probably just didn't work for him, you know.

I can kind of hear it. I get, yeah, I'm going to say. It would have the Earthwind fire shovel. Right. Yeah, okay. It would be like Love Solid Day. Yeah, yeah. I can see that now.

Skip was great, though. Script was brilliant, cat. I used to play drums with Skip around town. Really? I used to play behind artists all the time. Yeah, me and Skip, so Skip was a cool guy. Great songwriter. Wait, there was a, I have a question about, like, we had a cheap ecosystem, or like a reverb

ecosystem in the mics thing. And, like, how, that came out in 70? Probably seven. The love 77. Okay, so I was six. So the first song, I haven't heard it since I was a kid, but I remember the first song, someone's yelling the word showdown on the fate. Oh yeah, that's my brother.

Right. And so, and my father's speaker system, like all you have to do is test, test, one two, one, two, one two, one two. And something told me, okay, go over there and turn on the ecosystem, but it's nightclub. I'm like, show down on the end. And I was permanently. taken off of, I never told you that I got fired from sound and he's like, no, you just work lights now.

You're not working monitors or sounds anymore. Showdown. That's funny. Yeah. But with you guys' presentation, which watching a lot of bands, I will say that maybe Heat Wave is probably the only other band I knew that really put a lot of emphasis on their choreography. and their acrobatics. I mean, heat waves.

Oh, they were crazy. Yeah, they were literally doing flips and backflips. You ever see heat wave live? Clips. Man, seen, like, a couple clips. You ever see, like, bring it on or, like, those cheerleading,

ESPN cheerleading squad things? Yeah, yeah, right. Where they're standing on shoulders and things like that. Heatway was damn near doing, like, human pyramids, like. Oh, wow. But playing at the same time,

but still, like, Johnny Wilder's, like, on someone's shoulders, and someone's on his shoulders, Oh, wow. Crazy. But you guys were like... Well, our horn section was flashy. They did all kinds of steps.

Yeah, y'all were so together with that. So what was... In that period, when the wheels were turning, the hits were coming, were you guys like, okay, we got to have a presentation better than this group and that group. Oh, yeah, it was very competitive back then. The interesting thing was, though, that there was one guy that made all the damn uniforms. Which people don't know. A guy named Bill Whitten.

Bill Whitten made the Commodore's uniforms, LTD's uniform, Earthwind and fires. We all had those big tubes and stuff and all that. In the mirrors, I was wondering. Yeah, it was a guy named Bill Whitten. And, you know. But yeah, it was, you know, it was competitive back then. But it was a fun kind of competitiveness. You know, we would challenge each other, you know.

Did you ever think like, okay, well, Parliament's cheating because they're using theatrics and we need to do that. We need to levitate. Oh, God, Earthwinter fires using duck hitting and all that stuff. So was there any discussion of, because I know that in opening for the Jackson's and their affinity for explosives and all those things, like was there the thought process like we now have to add on top of these songs to add these theatrical elements? elements to our show? I don't think we ever felt that. I think we were just happy to finally be

getting a paycheck and not put it all into production. But you're right. That Jackson tour was eye-opening for me. That was actually the year Michael came out with Off the Wall. That was his first solo record. So we used to open for them and then they would come out and do theirs and then he would go back and come back as a solo artist. Right. And it was a fascinating show. It was amazing. Just that whole, just traveling with them.

I've never seen anybody that the fans weren't so crazy over as Michael. I mean, it was, it was scary to watch it. How did, for that particular tour, how did, I'm thinking in terms of production, like as far as backline is concerned, like normally if it. We carried all of it back. then most of it. Really? Yeah.

So you got to set up and digital loading and all that stuff? Yeah. Well, no, we didn't. We had roadies, but I mean, we weren't renting back line back then, you know. Well, just even the point of, like, using an established act wouldn't want an opening act that had, you know, I would just think like LTD, ah, damn, all those microphones and then they got a sound check, use their sound board, and then I got to wipe the board. There was no digital stuff back then.

Right. It was like as big as their production was, then what space that leave you guys, all 10 of you, to set up your instruments and your equipment and your... Well, you know, the biggest thing was them setting up because we went on first. So it was kind of easy for us. I mean, you know, once we finished,

then they had to set that whole stage up for them. But the thing, but they made it tough for us. They did make it tough for us. Because, I mean, we had to, you know, I always tell people, They're like, I do shows of people. They're like, when you got this banner, take this banner down, I'm like, dude, I sang shows with the Jackson sign literally hanging on top of my head.

On top of you. I'm ducking. And these things, so, yeah, so it was challenging because, you know, they were the headlining act. And so, you know, they could leave most of their stuff up. So we had to play around it. So a lot of times we didn't even have that much room on stage. But we were incredible live band. I know.

And they kicked us off that tour. Really? Oh, they kicked us up. Before they went to L.A., they was like, you will not be opening for us in L.A. They kicked us off the tour. We did a handful of days.

We did Madison Square Garden here. But we used to light them groups up. Commodores, we used to light them up. I'm telling you. Nobody wanted us in front of them. We were a great live group. And, you know, so that's how it was back in the day. man. You know, you had to bring it. You had to bring it.

You said that a competition was really big back then. Who were some of the bands that you guys were afraid of? Or were you afraid of it? You know, I mean, everybody was good back then. So, you know, we were on shows with, you know, with the Commodores mainly. The big tour back then was LTD Commodores. We did maybe two, three years of that tour. And then we'll be on packages. So we were with the OJs a lot, Con Function. You know, we did some dates off when in fire. So it was competition, but, you know, for most of the parts, we were never headlining most of those shows.

We were somewhere in the middle. We opened for the Commodores. It was just us and the Commodores. And Jackson's was just us and the Jackson's. But then we did a lot of those big places like the Dome in Atlanta. And we had, you know, the OJs, Confucian, LTT, Commodores. And we'd be somewhere in the middle. And we used to always talk shit.

Yeah, my favorite, one of my favorite guys. Was it friendly fire? Oh, it was friendly? Yeah. Because, you know, my favorite, one of our favorite guys of all time is Aida Lavert. I just, I thought he was probably one of the best entertainers I've ever seen. Because that dude brought it every single night. I knew there was not going to be one night that went by where he was not going to bring it.

So we used to talk shit to each other. And he was like, well, I'm going to sing love ballot tonight. I'm like, okay. I was saying I'll be sweeter than my life. But it was always, it was friendly. It was friendly. You know, it didn't start getting ugly until, like the 90s and them groups stopped going crazy.

It was shooting going on. My era. My era. It was all kind of wild stuff going on. I always used to wonder how friendly it got because, you know, you listen to, what is it, Funkadelics, let's take to the stage. And it's like slicking the family brick and, you know.

Oh, yeah, they used to talk. I was just wondering, you know, did anybody ever get offended? You know, was anybody... I thought it was funny, actually. It didn't offend me, you know. Oh, okay. I thought it was funny. They had some names for us.

They said we had a two on our phone. Oh, wait, what? The LTD had a two on a phone. Like, we cut it twice. That's pretty funny. So with... With, with... I think that you're a thing.

I think the first time that we sort of communicated was when the new edition biopic came on. Were you surprised at all that they covered holding on in that or did they ever tell you like that was our? Johnny kept hinting to me, you know, what they were doing. He said, man, you're going to like this. You're going to like this. I said, really, he said, oh, yeah, man, we did it right.

He said, we did it right. You're going to see. But I remember meeting them when they had first come out and, uh, you're going to, you're going to you know, they, Brooke, their manager, the choreographer, Brooke did everything. Brooke, yeah. You know, they did a show when they opened up for me and he came, he said, man, I need you to come to the dressing room and talk to these kids. They're so wild, man.

He said, they need, and they love you, man. They love just, they love holding on. They love all your songs. So if you come and speak with them, man, it would mean a lot. So I went to the dressing room and talk to him. And they was wild, like you said, they was just kids, man. They was having fun. but you know they that was the song they got their deal with you know holding on so yeah when

i was watching it i was just like yo and i was i was more happy because uh normally in cases like that um they'll try to dumb down to the you know the lowest common denominator and normally like working a movie uh music placement usually the producers like well why don't we pick a song that's more popular da-da-da-da-da-da whatever and so I knew that movie was serious when they I was like yo they actually and I called the Barry I called the the music supervisor was like how'd that even happen he's like yep we wanted to keep authentic and real and that's the song they always that was the song always rehearsed to they uh they slicked it up a little bit with Jimmy and uh Jimmy and Terry put a little bit hardcore groove on it it was funky I was like yeah but you

Yeah, no, they are. And then, you know, I ran into Bobby at some function. He was like, man, they gave you more playing than they gave me in that movie. Played your song more than they played mine. Were you shocked at all at the reception of how stranger got embraced in the dance hall community at all? or stranger in the song stranger yeah uh yeah i mean i didn't expect it to be that kind of a song

you know uh but it's uh and i hate to ask this because i want to i want to ask a sampling question and then open up the door like wait i didn't know that it's been sampled a million times oh okay you know about it million times that lick if i got paid for every time someone's saying that La, nah, nah, nah, nah, nah. I'd be going through the bank. Yeah, I was going to say, like, everybody ripped that. That is held down dance hall music for so long that I was like, yo, I really kind of hope, you know.

That's where that, you know, that copyright thing comes in. You know, you get four bars to, you got to change it on the fourth bar, and you're safe. Who did, I'm trying to figure out who initially did it. Oh, nah, nah, nah, nah. Oh, nah, no. He was the big way. But he, but no, it's the dance hall guy.

Oh, um. Yeah, I know you're talking about it. I can't remember the name. Because my very first gold record came from him as well. Oh. Well, he, he sampled, uh, who am I? Look at all they like. Sima.

Who got to be it? You guys are musical. I know, but we're, I'm failing today. Now, we have to look it up now. No, I was saying that my very first gold record for the longest was the only gold record I can claim. Not my own. That was for Beanie, man. Sample.

A win is a win. A win. A win is a win. I don't care what you're saying. Yep, that's me, Clifford Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined.

And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make, to the players flying under the radar. This is the insight you won't hear anywhere else.

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in so-ins, correct?

I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Gillespie and Michael Marincini. My mind was blown.

I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. There's two golden rules that any man should live by.

Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never. mess with her friends either. We always say that, trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends, Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist.

I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he did. serves.

Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. I'm AGOe. Everyone, I'm Ago Wodam. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell.

My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on

a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. Your eventual exit from the group going into your solo career, you said that it wasn't

amicable. So you gave yourself like at least a year to... Well, I had to sit out a year before I could even sign. with the ANM because of this songwriter's agreement. Because they really wanted to sign me as a writer on the publishing side and as an artist. So they wanted to deal to run concurrently. And so I was tied up with them.

And they wouldn't give me a release. And they told me that if I gave them a piece of my contract, they'd give me a release. So there was some ugly stuff going on. So I said, I'll sit this year out. Wait, you were signed, you had to sign the LTD and with ANM? No, I had a songwriter's agreement signed with LTD. And it was another year on it.

Okay. And so A&M records wanted to sign me concurrently with a publishing deal and as an artist. And so they came to A&M and said, well, we'll make a deal. If he gives us a piece of this and a piece of that, we'll give it. And I'm like, I'm not giving up a piece of nothing no more. So I just sat a year out. So is that why the devotion in the Shinehorn record were so, releasing proximity because in my head,

and you can't even find the devotion album anymore on streaming services or anything like. Yeah, it's hard to find. Was it just like, okay, let's get this out with him and then that's it? No, I don't think so. They put a little time into the record. It didn't affect that record.

It affected their next record though. Because the company wasn't happy about what happened. So, because they had, their last record on A&M was after I left the song, but they had April Love on that song. And, uh, yeah. But that kind of affected their deal, you know, because they basically, uh, went back and said, was another, it was a whole other thing now.

They went over budget with that record. So the record company said, oh, well, okay, they called me. They said, okay, we got a wedge now. They're over budget. So maybe I can work a deal with them. And we'll give them the rest of the money if they give you the release. So they're cool. So they worked the deal.

It worked in your favor. And no, but they didn't hold up to their end of the deal, LTT. Which is why there was only one record left that they have. Damn. So it could have been. Could have been. Hey, man. Great group, though.

I mean, yeah, it was great group. So with your solo record, I mean, was it a feeling of relief finally like? Or was it fear? Like, okay, I'm here alone. I'm responsible for everything. Well, that was, a little bit of both. Because I couldn't, I didn't have, you know, now I'm out front.

It was like, I got it now. Because my name was never out front of the group. It was always just LTD. But, you know, you're on stage and you always feel a comfort of having 10 other, nine other people behind you. So now it's just me. And not ever having my name out there,

I didn't know if people, people didn't know my name. They knew my voice. They didn't know my name. So the biggest thing we had, the obstacle we had, was to associate the name with the voice, which is why my first record was just called Jeffrey Osborne. Because back then, radio used to backlog everything

and front log everything. So it would be, okay, this is really don't need no light by Jeffrey Osborne from the album, Jeffrey Osborne, so they'd have to keep saying my name. So it kind of, yeah, so it happened kind of quick. But working with George was great. too. It helped to have, I just felt solid. You know, when you have like a guy that is that musically, incredibly solid doing your project, I felt good about that. I'm like, well, I know

it's going to be musically, right? You personally chose him? Yeah. Or were there any other options? Like, did you? Well, you know, they, the record company was really cool. They said, you know, do we want to, we want to find the right person for you, you know? So I, I talk to a few other people, but when I met George, I was like sold on George, you know. You know, and I had, we had done shows with George, so I had met George before. But he was, man, what a guy, talent. Okay, I'm dying right now because I just, Wikipedia,

his first solo record, I didn't realize that Steve Farron was the drummer on that album. And Steve Ferroni, and now this is what's funny. George didn't even know Steve Ferroni. But I had done gigs with... How do you not know? He didn't know Steve Ronny because George was into more than

than Dougal Chancellas, you know, those kind of fusion kind of drummers more so. And I had been doing shows with AWB, you know, a lot of shows and he was my favorite drummer. I used to sit there and he was, I just was fascinated. He had the most incredible press roll I ever heard. He was like, shth. I'm like, how do you do that?

Yes. Yes. So I was like, I told him. George, I said, man, I would love to have this drummer Steve Ferroni. He said, I don't know, man, I don't know, Steve. I said, man, I'm telling you. He said, well, he's in New York. We got to fly him in.

We got to put him up. I said, it's going to be worth it, George. It's going to be worth it. He said, I am going to trust you on this. Wait a minute. Now I have to listen to this entire record because, God, even the double hit at the end of One of the Wings of Love. Right.

You know, wait until I tell my bandmates. Steve Farone is my idol. Really? to why I drum. Damn, that he's one of my idols, man. Him and Bernard Purdy. Yeah. Those are my boys.

His black and white kit that he used on the AWB tour, like his only drum kit. Right. He gave me that snare drum for his day of the Tonight Show. Are you serious? Yeah, like I was raised on AWB. When I saw him on Soul Train, I was like, that's what I want to do for living. So he gave me that on my first day at the Tonight Show. What?

Incredible dude, man. Steve Ferron drumming on All the Wings-A-Lough. Yeah, he played on that. Speaking of which, we have, now we have that in common. Yes. Now for the next 90 minutes. Sugar Steve. I mean, are we at that?

Yes, we're there. I set you up with Al-A-Uve. It feels ridiculous. I mean, this guy's telling us an actually, I mean, he's... No, don't be ashamed. Listen, Steve has... I've been waiting for you to tell this story to our listeners. We've been throughout the...

history of the show. Right. They've known that on the wings of love means something to Steve, but we never thoroughly explained. Oh, really? Why?

First of all... You're going to feel silly telling me? No, I just got... I'm a Jewish person. I have ten disclaimers I want to put first. Don't do it. Look, Jeffrey, have you ever had someone

just nerd out on you? Yeah. And it's been a little awkward. Well, 1001 won't hurt you. No, no, no, no. It's not awkward. I've told the story literally a hundred times.

a hundred times in my life. So it's not awkward. It's awkward telling it to you, but... Just pretending he's not here. Yeah. No, but... Steve, tell us about On their wings of life. Just talk to me and Bill.

I'm about to. Okay, thank you. I'm going to tell it to Jeffrey, though, actually, if you don't mind. All right, well, I'm to eat my oatmeal. Okay. But, and I'm sure you've heard a thousand and one stories about this song, and people's experiences with this song. Yeah.

Weddings, I'm sure, and this, that, and the other thing. But for me, it. So what is it, 1982 now? Is it? Yes. So I was 11 or 12 or something like that in 7th or 8th grade. And so junior high. And we had music, it was a music class.

And one of the assignments, Mr. Gallo was the teacher. And the assignment was called a rollout, which was basically you choose a song and you do illustrations. based on the lyrics. And then you go in front of the class, you play the song, and as the song plays,

you roll out the scroll of illustrations as the lyrics go by. So that was my favorite song at the time. It was on the top ten or whatever, and I was completely digging it. And so I chose that song, and I worked for weeks on this rollout, and I had the markers and the crayons,

and I went to town. I mean, as the first verse starts and all the sunshine, And I had, you know, everything was sun and love and wings and hearts and I'm having a hard time seeing this coming from you. And you didn't say this junior high. I thought this was elementary. No, there's just like seventh grade or something like that. Okay, junior high.

Right out of elementary school. But whatever, whatever grade you're in when you're 11 or 12. So I did this. I mean, I really, I have to say, I did a great job on this thing. Real proud of it. and went into school the day that we were presenting it. And so sitting in the class and Mr. Gallo says, all right, the boy's going to go first.

And so the first boy went up and put, he says, all right, you know, my song is Black Sabbath, War Pigs. And proceeds to play War Pigs and rolls out this rollout. And next boy comes up and he says, yeah, this is, My song is Van Halen, running with the devil, you know, does his thing. Next kid comes up, deep purple, smoke on the water. You see where this is going. So next up, Stephen Mandel, you know, come to the front of the class.

By this point, I know that things have gone horribly around. for me already and are about to go much more horribly awry. Of course, with all due respect to the greatness of your song. So I go up to the front of the class, hearts beating, everybody looking at me, put my cassette in, you know, in the boom box. Piano starts. And, you know, the intro, and then the first verse starts. I start rolling out my scroll.

here comes the sun, here comes the hearts, here comes the wings. And I see all the girls looking at me like, falling in love. And I see all the dudes pointing and laughing and screaming. Sorry, I had to. I had to. I had to. And it was, you know, it was clearly at that moment when I realized, you know, that I wasn't cool, I guess, according to... So I was essentially excommunicated for the next... Hmm. I don't know, six years from the social scene of my junior high and then high school.

I was beat up, mocked, laughed at. Of course... Stop beat up and whooped! But here's the end or the punchline, rather, which is... The joke was on them because I got an A plus. And it took a few years to recover from that socially. But I never turned my back on the song, though. I never said that song.

Every time you heard it, you went away into a... The opposite, man. No, he went deep into... Which actually leads me to my next question. Because the song got so much traction on MR, which is... I don't know what that says. What is it?

Middle of the road. Oh, yeah. Yeah. Yeah. Yeah. Yeah. So at least in 82, there's a pattern that I noticed of 70s X, or 70 soul X that go solo. Or sort of sort of.

go to a promised land. Like I never thought it was a thing of, okay, what do I have to do to survive or justify my record deal? And I never, you know, I've read some of that stuff in the Jet Magazine like, oh, go on pop or whatever, or crossing over. But, you know, between

Korn and a gang, the Pointer Sisters, Lionel, Michael Jackson, whatever. I mean, there's, there's, this migration into a new, uncharted black

smooth black pop territory that you're kind of planting your flag and not occupying I mean at the time with on the wings of love did you feel as though okay this is this might have the potential to be something

more than it was or to you was just like oh got another ballot here this is it no I think you know Under Wings of Love to me was a chance to showcase another side of myself. That I hadn't really had that opportunity with LTD.

Because LTD, most of the ballots, was straight up R&B ballots. So this was the first chance I got it. Because I always felt, you know, I mean, I want to be able to sing everything. No matter what it is, I want to be able to sing that. And I never really got. The closest thing we came to it was the year before

was Shine On, which was, again, written with Richard Kerr, who was one of those, you know, big songwriters back then. And that didn't do as well as the R&B records on that record. I mean, the R&B songs, like, where did we go wrong? Those were bigger than Shine On. But I just felt like it was a nice departure and still trying to keep the record so that it was, you know,

it had an R&B flavor to it. I didn't want to leave the R&B roots, but I did want something that might go across. It was weird back in the 70s. I mean, it was a time We couldn't put our faces on the record covers. Yeah. You know, you remember that.

You know, the rack job was they wouldn't rack it. So it was weird. And we didn't even get a chance to have the pop department work our records at NM Records. They never even worked our records. Back in Love just crossed over on its own. Really? They didn't know what happened. They looked up and it was on the pop shots.

Like, whoops. Oh, okay. So then, no, they want to take credit for it. Right. Like, yeah, right. You did nothing. So, yeah. So I kind of made, you know, it was one of those songs when I heard it.

I was like, I wrote it with this guy, piano player. And when he played it for me, I was like, I like that. That kind of showcases on other sides. Well, now I'm realizing that you had every monster on this album. Well, there were some people on there. And, yeah. Ernie Watson. Larry Graham and.

Larry Graham did a, yeah. Michael Simbello and Lewis Johnson. Lewis Johnson. Lewis Johnson. Yeah. Mike Sanbello. And Hawk. Hawk Willinsky, I wrote a couple of someone.

Yeah, really don't need no light. Yeah. No, he had some people on that record. So at the time, were you just like a kid in the candy store? Like, I want the best of the best to work on this record. Well, I was. I mean, but, you know, it wasn't just me. It was George.

You know, George was like, you know, we got out of these guys. Getting George means that he has the connections to get. Exactly. And a lot of those people had worked with George before, with the exception of Faroni, you know. And I don't know if Mike's and Bello had worked. with him before. But Mike was incredible dude man. Mike could play and Mike could sing too. Mike was talented. You know this blew in my mind that I didn't realize that he's Farone's on all these records. So Peter Schlesch? Peter Schlesch, yeah he's a few I wrote

the song with Peter Schlesz. And it's funny I played played it for George and he was playing it real fast you know, do do do do do do do do do do do do do do do do do do do do do do do do do do do I said, nah, I ain't hearing that. Really? I'm like, George, I'm going to slow it down. You know, I'm going to get this melody's going to be right. I'm going to write these incredible lyrics. You're going to have to, you're going to really have to turn my head on this one.

So I finally brought it into him. He said, oh, okay, yeah, I like that. I like that. And that was the first single on this record? No, really don't need no light was the first single. Even when, cueing up his singles for it, for some reason I really don't need no light and don't you get so mad in my head they're the same song the same song and then I realized like oh wait a minute they are two different songs they're two different songs but yeah they got that same vibe and it were written by totally different people which is interesting you know how did I know that Barry Mann and Cynthia uh yeah did okay so in in the songwriters period of the 80s and was it just that you go to a publishing house that they give you a slew of

cassettes to listen to and you yeah that's basically how do you yeah generally back then you know all these publishing companies they kind of put the word out you know when an artist is getting ready to do a record you put the word out and then you start getting stuff submitted you know from all the other different publishing companies and that's basically how it worked and uh but with barry man Cynthia, wow, they actually came to me and said they had a song that they thought would be good for me. And I mean, you know, here's a duo that had probably number one hit records going as far back as, you know, the leader of the pack. Yeah.

I mean, you know, every year they had a number one record who I was like, I'm sure not going to turn this down. So yeah, so it was it was great getting a song from them. And that's an intricate kind of a song. I mean... So they tailor made it just for you? I don't know if they tailor made it for me. I think that they had written this song and they thought that it would be good for me.

Not like I went to him in front and said, write me a song. You know, they came in with the song. And I was like, yeah, this is a nice piece of work. I could tell that A&M was really behind the baby stay with me tonight because the commercials. That's funny, though,

because A&M told me I should take go back and sing that song again. I sang it too low. What? I'll tell you. It's just stories when you think. Yeah, they told me, no, you didn't, this ain't right. You got to go back and sing it.

It's too low. Your voice is too low. I'm like, too low. That's my voice. Who was your A&R on this project? Back then, I'm trying to think. Well, Charlie Minor was the pop in our guy. I think it was this guy named Barry.

I can't think of his last name. It was so long ago. Really? Yeah, but they basically told me, I think you missed it and you should go back and re-sing it and I'm like I'm not going to go back and re-sing this

this is how it's supposed to be That's weird because What you want me to do now It's like any other octave In the falsetto The commercial spots that they had For the album Almost made it almost like

James Bondish Like Osborne Osborne Like the O in the logo It's like they showed a lot during like soul training and solid gold. That was Raymond Jones, who actually wrote that song.

And it was kind of all of his vision. He came in, he wanted Alfonso Johnson, play bass. I mean, he kind of had it scoped out. Oh, that you play bass. Yeah, Alfonso Johnson. And, you know, Raymond was a talented guy. He was with Chic all those years. And real talented guy.

There was a different song. for that period. It's funny, because I hear that song now on the radio, and it kind of almost sounds like what's going on today. It actually sounds fresher than anything else I've done, and still it's an 80s song. Yeah, it's to the test of time. Yeah, it had all the gimmicks.

And that was, you know, Hawk Willinsky was the gimmick guy, too. Really? Oh, that guy was coming. He was the first person I ever seen coming with that Lind drum machine and sequenced plane level. was completely sequenced and George was freaking out. George was like, Hawk Wilenticke did Plain Love?

Yeah, he wrote it. That's my shit. Yeah, George was like, George was not into that. He was like, I don't know, man. I don't know about this sequence stuff, man. You serious? Yeah.

He wasn't crazy about just the way it was laid out. But, I mean, as we got into it, he was like, okay, all right, I see what he's going after. But, you know, there was like syndromes on there. Some weird stuff. Yeah. And even the 12-inch mix of it.

The 12-inch was, that's the only 12-inch mix that I liked of any song that was ever mixed of mine. I hate all the mixes. Yes. That's the only one I like. Even to this day, I DJ the 12-inch mix of it. No, it works like game-buster. That was the number one dance song in New York when it was out.

Yes, it was. That was like, that was a B-Boy classic. It had a break in the middle and all that stuff. When I come to New York to do shows, I have to do plain love. And I don't do it most of the time, but I have to do it here. I was going to, okay. So eventually one of these days, you know, we're going to have you sit in on the Tonight Show. Right.

We've been waiting for this moment forever. And we were kind of on our group chat and like, okay, what are the six of what do we make them do? What do we make it do? And so. You know one slot's filled right here. Yes, we know. We know. But this morning, I was like, least of a song to play.

It's funny you say that. That's a keyboard nightmare. But in my head. head I was like, yo, will he, because in my head, like, even the deep cuts, like, Soweto, right. Plain Love, like, all. I was just like, he probably don't do that no more. You'll just.

I do it. I do it. It just depends. But I've been doing it a lot lately, actually, plain love. What? Yeah. I've been doing it a lot lately. Hmm.

Okay. I have a question about a song real quick. Yeah. Was I just want to be your friend ever released on an album? It was on that soundtrack out. There was a soundtrack for it? It was on the sound track for it? I can't find that soundtrack anyway.

What is it on? The toy. The toy. With Richard Pryorick. It was on the toy. It was a theme song. I don't even know that song. Oh, man, I love the toy.

Nobody even knows that song exists. The toy is one of my favorite movies ever. So, of course, I've seen the intro like a billion times and it opens the movie. It does. It's so funny. I mean, my wife, you know, every now and then, that movie will come on and she'll come on and she'll care. I can't believe that. That's you singing this song.

I used to love that song. Come on. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Clifford Taylor the 4th. You might have seen the skits,

the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast,

The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music.

The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me, or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok.

This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok.

In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the true. truth. You doctored this particular test twice in so much. I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Alespian and Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap.

Laura, Scottsdale Police. As the season of the season. continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. There's two golden rules that any man should live by. Rule one, never mess with a country girl.

You play stupid games. get stupid prizes. And Rule 2, never mess with her friends either. We always say that, trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck.

I thought, how could this happen to me? The cops didn't seem to care, so they take matters into their own hands. I said, oh, hell no. I vowed I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcast.

I'm Ego Wode. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. Woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with him one day. And I was like, and Dad, I think I want to really give this a shot.

I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place they come, look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be a.

inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right. It wouldn't be that. There's a lot of luck. Yeah. Listen to Thanks Dad on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. You worked with, with Rod Timberton. How did you get, um, I know that he opened the, uh, yeah, he did it. I got to look up the emotional record. It wasn't the, it was, we belong to love. We belong to love was the song, yeah. Yeah, he, I know that Rod Timberton did that one. Did you, did he collaborate with you directly or was just like, no, he wrote it. I was trying to collaborate with him, but, you know, Rod's a different kind of guy. Rod's like, okay, all right, well, mate, we'll, we'll try to make this work.

He didn't pull any teeth. And then he calls me and says, well, I got the song. Did he pull his teeth as he did it? Yeah, he's, right. No, he always. Right, that's right. Right. Wait a minute. I'm sorry. I hate the fact that I'm seeing this in real time. Hamish Stewart co-wrote. Soweto. I didn't know that. Yeah. I didn't know that. Really? Hamish brought the song to me. I was like, wow, I like this song. Really? Yeah.

I know. It's kind of weird, isn't it? Did you think about Hamish? You think about that song. Yeah. I can't believe there's something you don't know because damn you know every damn. Do you know more about me to? than I do. No, I don't. I'm just saying that you know what it is? I have most of your discography on cassette.

Right. A lot of those credits aren't in the cassette. Oh, it's so tiny you can't read it. Yeah, I didn't have it in, no, if it was on record, if I had the records, actual albums, the writing's really fucking small on here too. No, but I mean, dude, I would have.

That's a lot bigger than anything you're going to get today, though. If you get anything. I have a question. Yeah. Whose decision or request or desire was it to have Brian May from Queen on Stay With Me Stay With Me Tonight? That was actually my manager, Jack Nelson, who used to manage Queen.

Oh, wow. And he did the guitar solo? He did the guitar solo on Saturday Night, yeah. Okay. So he said, you know, he said, well, maybe I can talk Brian into doing it. I said, really? that would be really good if Brian came in and did it. And he came in and did it, great guy.

So were you a queen fan? Yeah, I knew a lot of their stuff. I wasn't like a big queen fan, but I knew a lot of their material. And I was shocked at some of the songs that Brian May wrote. I mean, I didn't know he wrote, We Will Rock You. That's like in every stadium across the country.

Dude's incredible. I can't read. Who played bass on Stay With Me Tonight? Alfonso Johnson. Oh, okay, sorry, you said that. Okay. Yeah. Yeah.

So with, um, you should be mine, which, of course, the magic's in the woo-woo-woo-woo ad-libs. I mean, how is that presented to you in a way where you're like, okay, this will work or, because the thing is, is like hearing you sing and I'm like, oh, yeah, hell yeah, that shit. But I can't imagine you hearing the demo. Right. And saying like, yeah, this is going to work for me. Like, how to... I didn't really know until I sang it.

And once I sang it, I liked it. And I, you know, back then, you know, you bring everything home. And you bring it home and you put it on in the house, you know, and you listen. House tested. And my three-year-old daughter, she's the one that confirmed it. I mean, she barely can talk. And she's like, Daddy, wow, that woo-woo song is so good.

I'm like, what? I like the, I said, it's not. I've called the woo-woo song. It's called You Should Be Mine. She said, no, that's the woo-woo song. I bet you every black person we ever met says, The Woo-W-W-W-W-W. Everyone.

Everyone. I mean, you know, they'll just yell it out from somewhere. But yeah, that was a huge song, man. I became the Woo-W-W-Man all of a sudden. I was like, what? You did. Why did you and Duke stop working together after the emotional album? That was a record company kind of decision.

They felt that we got there, but we didn't get where they thought I should be. And they thought Richard Perry. Richard Perry was the hottest thing out right then. So it was all for good reasons, but it kind of broke up a really good relationship that I had with George. And so I was kind of reluctant. And then it turned out so bad. I was like, wow, that was not good. But, yeah, it was kind of them.

They came to me and they said, well, you know, these guys are. hot man they got all these hit records and you know rich it is great at finding good songs and this and that and so you know i gave it a shot and uh and in their mind did they say like okay well you should be in linal territory now or like where where was their point of satisfaction i think they felt that i should have been uh that i could reach another plateau in their mind you know uh and i i have to credit that i should have to credit that i should have to them with by saying you know they were looking out you know trying to do the best that they thought was in my interest and i was kind of curious about it because i'm like wow these guys do have this

richie perry doesn't have a serious track record of hits and he brought in the big people the diane warrens and all them and uh you know the only thing that worked off that record was the woo right well i still ducked suedo yeah i mean you know oh stuwaito was great too it was a couple of good songs out there but you know for the most part it didn't what the relationship didn't work out with me and richard uh was it just like because i often wonder when you have mega a mega producer of that level and i guess he did the breakout record with uh pornist sisters right yeah so when you have a mega producer that is probably often in demand it's probably paint by numbers Like, okay, I got you this week and then I got that week and then.

Right, exactly. Right. So do you feel it's the least with the chemistry between you and George was that you guys sat down and took time to socialize with each other and got to know? On top of that, we were really good friends, you know. So we had a really good, relaxed relationship, you know. And you come into Richard and it's more of a hyper kind of thing where, you know, he's in. And he was never satisfied with it. anything. So that was confusing me. I'm like, I could have someone have all this success and he's never satisfied. You know, he would have, you know, back then you had your master 24 track and he

would have like five slaves. I'm like, dude, when he's going to put all these up? So it was interesting process working with Richard. And we thought it would, it would actually, you know, just lead to more and more success, basically. Made a move to Arista for... Yeah, I did. That was an interesting move, too. Was it Clive selling you the dream of, I can make this happen?

Oh, exactly. Exactly. Because I actually was torn between Clive and Motown. Because Barry Gordy was made a big pitch for me. Wait, in 1990? Yeah. But Motown wasn't really smoking hot then. Okay.

It was on the downside at that point. And Clive, you know, Clive did his number. He offered, you know, me the, you know. The right number. Right, the right, yeah. But then we clashed being clashed, kind of clash,

because he doesn't like a strong personality. He likes somebody that's just going to do whatever he says. And, you know, I didn't have a problem as long as it was right. But then, you know, this is a guy that wants a saxophone solo on every record. There's going to be no other solo. So you and Kenny. He's got to be saxophone. Soprano.

Take that off. Put a saxophone on. Exactly right. Sorry. So we had a... That's the heiast of... That's the heiastas sex. Like...

The a ristice to sacks. Sorry. The arister sacks. I mean, if you think about it, it's that Jeff Lorber kind of... It's the Kenny G. thing, for sure. Yeah, so we, you know, the first record, I had a great time with Barry.

Barry Eastman. Okay. He did basically the whole record. So I came back here. York and worked with Barry. And I love Barry. He was a great guy to work with. But I don't think really Clyde went after that record. I mean, only human was a hit. And then he kind of like fell off after that by going after that. He thought if my brother's in trouble was a hit. And he kind of pushed that song on me. It wasn't a song that I selected. And that's another way you run

into problems with Clyde. He's so involved and he wants to basically tell you what you should have on your record and pick your songs. So I had a hard time with that because, you know, I never had anybody telling me, well, you need to do this song. Take that or I'll put this song on and do that. And so we kind of clashed heads. And I think my personality was a little too strong. He doesn't like confrontation.

And does he give you, at least the warning in the beginning, like, look, like just let me drive the car and I swear we'll get you to. I've heard the Pitch I've heard the Clyde pitch before Like I'll take it up places Exactly He gave me that whole pitch And then he you know

He makes it sound right You know You don't realize you're gonna go into a situation Where like my second record After Only Human Was three years before He could decide on what songs I was supposed to sing

So at that point It got crazy And so we worked on an agreement To get a release So I only did one record with Arrista. Okay. Was, uh, especially in the late 80s and the early 90s, uh, was the onslaught of new jacks swing and what was happening with traditional R&B.

Was that troublesome for you at the time? Like, well, I'm not going to have to do the running man now on these videos. Pulled James Ingram. Right. Get the Teddy Riley record. Oh, that's right. James Ingram did a Jerry Row. It's real.

Oh, that what? Yeah. Okay. Well, you know, I just never gave into that. You know, it was all around me and it was temptation. Maybe I should go this way, but I kind of said, you know, I'm not going to, I'm not going to go. I'm just going to try to stay doing what I do. You know what I mean?

I think what happens with veteran artists is that, you know, you get to a point where there's always something new coming in. there's always a new flavor, especially with R&B and black audiences, they're on to the next hip thing all the time. So if you don't keep up, you kind of just kind of get pushed back. And then radio does the same thing. Unfortunately, you know, if it doesn't fit this format, you're not going to get played. And they can't appreciate, you know, what you have to offer.

Although they play your old stuff, they won't play the stuff, you know. And so then there's the sellout point. Well, you know, do you do this? And then they say you're selling out. So it's kind of a catch-22 as you get longer and longer into your career. It becomes a challenge. It's a demographic battle. You're fighting for the people that actually go out and buy the records,

which are the younger crowd, the younger crowd. And it happens in every entertainer's life. I see people getting all my favorite singers got phased out when I was hot. You know, they were like still doing their thing, but radio wasn't embracing it, and they didn't want to flip over to do this. And so I guess it's a natural process of evolution. The only person I seen whether the whole damn storm is damn Tony Bennett, I can't forget him out.

Jesus Christ. This guy is like 90-something years ago. He won't go nowhere. He'll still be here. And still singing. Yeah. Yeah. That's what I'm saying. Touring-wise, what are your favorite territories?

Well, you know, I think here in the U.S., you know, there's always markets that you like to come to. You know, New York is one. They're tough markets. New York's a tough market. Is it? Well, you better be good in New York. They'll let you know it. Yeah.

Even now? I think so. Well, I'm not relevant to what's happening. Jeffrey Osborne, at least 14 instant classics like back at? But yeah, but you still better be good when you go out there to do them. you can't phone it from home no oh okay you know you got new yore you better do all the madloops at the end of love ballot or else they're like wait mom you missed one that's funny but yeah I mean you know these are to me New York

Philly DC those are those are the markets that actually break you you know the West Coast markets of it kind of follow suit but these are the tough markets so I like New York I like Philly I like DC and then my favorite place is New Orleans because New Orleans is just crazy they just love everything yeah they love it they drink 24-7 so the party's already started yes but what about what about outside of the United States like where is a market you know I like the island okay I love the islands okay I just have a fun time there like the people I feel like I'm right home and

they've supported me forever there. I mean, Shainan is like the national anthem in Jamaica. Exactly. It's like, what? Nowhere else in the world. Shine on, national anthem. But it's interesting, you know, because I don't do a lot

abroad. You know, I've done Europe, but not a lot of Europe, you know. And I'm just getting calls from Sweden. Like, we want you over here in Sweden. I've never been to Sweden. So there's places that. There's places I've never performed. A lot of places I've never performed.

Oh, yeah, absolutely. You got to do it. Wait, where do you reside now? I live in L.A. Okay, okay. I've been in L.A. since 1970. So, you know, I left with L.T.D. back since that... So since that...

Wait, you never told us at the beginning. Did you guys ever recover that trailer that went over the mountainside? We did. We beat up some of our equipment, you know, but we recovered it and got it back up the mountain there and put it back on, hitched it, and went on our way to LA. I thought you guys were just like, oh, well, there's that. No. That's that. No, we got it back. You know, we had to get it back. We were broke-ass people.

We would have to get disappointed. So you just released Worth It All. Who did you work with on that record? I worked with me, and that's it. I mean, really, I wrote everything and I produced everything on the record. It's probably the first record that I wrote everything. I have one song that I actually wrote with my son. And he's, it's interesting. He's a junior, never was into music, went to school, played basketball,

came home from college and told me he raps now. I'm like, what? Really? I raised your ass, and I never heard you rap once. Well, now, you know, I've been in the dorm with my friends, and, you know, we all started rapping, and so I'm in the rap. So he's doing his thing now. he's, you know, rapping and he's now writing music, and he's a great engineer. He does my sound,

live sound now. My sound engineer took him under his wing, and he taught him well, because now when my engineer can't do it, he does my house, and he's really good at it. So I figured he hears different than I do. I'm like, okay, so let me give me a track. Side note, that's also how I broke the news to my own dad that I was starting the roots. Really? I was like, oh, by the way, It was on your second album, though, right? Well, yeah, and he saw on the newspaper, what is this? I was like, I, a little project. And Hulham, Tarik?

Yeah, it took my second album for me to break that news to my dad. He wanted me in Juilliard and whatever. Yeah, I just have to say that this is amazing. Now, I'm still salty that I'd let a Steve-for-one project go on for so long that I never knew about. I just saw him, too. Oh, man. I did a show in L.A.

I was one of the wineries in Temecula. And he was on the gig playing with Mindy A Bear. I'm like, what? Oh, okay. At least he's still gigging. Because after Tom Petty. Well, he had just left Tom Petty. Yeah, yeah.

At the time. So, yeah. Well, Steve always has the best gigs. Yes, he does. He always has the best gigs. He does. But he's still my favorite drummer, man. Yeah.

And then I saw a. Not Pretty at one of my shows in Houston. And that just lit me up. I love that, dude. Do you still play? I mean, the Rock Steady song, that was it. That's what he revolutionized all that. No, I don't play.

I haven't played since 1970. I'm going to say, when Love Ballot became a hit, I was 75, the record company came to me and said, you have got to get up from behind the drums. because I used to play and sing all the time. They said, you know, this song is a hit with the ladies. They can't see you with the four-horn players standing in front of you. You got to get out.

I didn't even know what to do in my hands. I was so used to singing and playing. So they got me this guy that was the president of a theater at L.A. Community College, and he came in. He kind of worked with me and showed me how to kind of open up and, you know. And from that point on, I played on the next couple of records, but I never got a chance to really sit down and play. and my career kind of took off, and it's one of those instruments that is really touch-sensitive.

I mean, if you don't do it, I mean, I can sit down and play a groove, but I'm not starting to get around it. So never in concert, were you like doing the, get on drums and? I did. At one point, I used to play in the show, but I don't need more. And my band is stiffing on me. You need to get back, you need to play at the show, man. But I got a shed.

I mean, I got to sit down and I have to shed. You got to shed. three months before I would even attempt. Man, it's like riding a bike. No, it ain't. Okay. I mean, playing the groove is like riding the bike. But when you start getting around.

You got to do things. Exactly. I'm here. Yeah. So, but, you know, I might get back into it. I just need to take the time out to sit down and do it because it was kind of what got me into this business, really. Awesome.

Open up the doors for me. Well, we thank you for it. Steve, any other things you? nah man I'm good so he kind of opened up a lot yeah yeah that was therapeutic

Steve it was my wings feel good right now you feel good right now well mr.

osborne we thank you so much oh man it's been a pleasure hopefully one day you'll come on the tonight show and sit in with the group maybe we'll work together with that that would be great man

yes I gotta get you guys to come down to my you know I have a celebrity golf tournament I've been trying to get you. It's in July this year, the 29th, 30th, and 31st. The Jeffrey Osborne Celebrity Golf Tournament. It's an incredible tournament, man, and I have all the old school singers come.

Smokey comes, OJ's come, Johnny Gill comes, Philip Bailey comes, and so it's more than just a tournament because we jam. Okay. And then, you know, Magic Johnson hosted for me every year. So I got Sugar Ray Lynn. I got the most of the top athletes, along with the best in the time, is and we just party man, it's a three-day party, man.

It's incredible. It's at Foxwoods now. I got to come. It's at the casino, so everybody loves that, you know? We thank you very much for coming on the show. On behalf of Sugar Steve and Boss Bill and I'm Pay Bill and Fonticelo and Laia, who are not here. Nah, nah, nah, nah.

Suckers. Yeah, suckers. Y'all missed a classic. Anyway, this is Questlove. Questlove Supreme. We will see you on the next round. Thank you. All right, man. My pleasure. Of course, Love Supreme is a production of I-Hart Radio. This classic episode was produced by the team at Pandora.

For more podcasts from IHartRadio, visit the I-Hart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clifford Taylor the 4th.

You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand-new podcast, The Clifford Show. This is a place for raw, unfilled of conversations with athletes, creators, and voices that not only deserve

to be heard, but celebrated. So let's get to it. Listen to The Clifford Show on the IHeard Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok.

This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else.

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the iHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. In 2020, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Owens, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern.

Two more men who'd been through the same thing. Greg, a lesbian. Michael Mancini. My mind was blown. I'm Stephanie Young. This is love trapped. Laura, Scottsdale Police. As the season continues, Laura Owens' first.

finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. This is an IHeart podcast. Guaranteed human.