The Questlove Show - Black Music Month QLS Classic: Just Blaze

Episode Date: June 21, 2024

For Black Music Month, let us revisit when Hip Hop (and more) producer Just Blaze shared some of his recording secrets and talks about everything from the Jazz great who still prank-calls him to what it was like showing up in New York City with $40 in his pocket.    See omnystudio.com/listener for privacy information.

This is an I-heart podcast. Guaranteed human. 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,

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So let's get to it. Listen to the Clifford show on the IHeard 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 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, for 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

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What's up, everybody? It's Sugar Steve from Team Supreme. June marks Black Music Month. We often speak about it on Questlub Supreme, and we've had some of the legends responsible for the recognition on the show. Every day this June, we are running a different episode from the QLS Archives to honor the tradition and intent of Black Music Month. This week, we are hopeful. focusing on some of the great hip-hop conversations in the QLS catalog.

Our leader, Questlove, has a new book out called Hip Hop is History. Check it out at questlove.com. This is a conversation with Just Blaze, who has been a leading hip-hop producer and DJ for over 25 years. Suprema, Sub-S-S-S-S-S-S-Priam role call. Suprema, Sub-S-S-S-Sprima role call. Suprema, Sub-S-S-Sprima role call. Supraima roll call

Questlove heard stories of legends getting busted Yeah Hashtag ask Vaughn Yeah Or ask Dustin Rol Supraima

Suprara Rocall Suprema Roca Fonte's in the building Yeah Funky rhymes I bust Yeah If you see my friend Just Blaze

Yeah Don't give him any dust Ro call Supreme S S S S Srema Rola I want to hear that story. Supremal roll call.

My name is Sugar. Yeah. Sugar Steve. Yeah. Just Blaze. Yeah. No problem. On pay bill.

Yeah. Gonna break it down, sir. Yeah. Shout out to Just Blaze. Yeah. And the MPC 4,000. Roeco. Suprema.

Supraima Role Call. Supraima. Suprema role call. Busb Bill's in the house. Yeah. Still broke as a roll call. a mofo but I'm still gonna ask just yeah for a hookup at Polo whoa ha ha ha sub sub sub prima roll call

Suprema sub sub sub prima roll call It's la'ia yeah oh boy I'm ready yeah for just blaze yeah it's hovey baby Roll call Suprema sub no years Suprema roll call Supremma Suprema Subura

My name's just Blazers. I know I'm great. No years. Don't want that I'm late. I still rock from state to state. Wait. I don't know. Roll call.

I told you no, yes. Supreme. Roll call. I have bars ready. Supremma. Role call. Suprema. Subrema.

Role call. Suprema. Subrema. Ro call. Ladies and gentlemen. No problem. Yeah, Steve. Yes.

Steve and Laia actually came up. Like, Laiia said it in rhythm. In rhythm. I thought I always do. I'm so concerned. No, no, no. That was your best one. That was your best.

I think we're all high right now. Thanks, Steve. That was amazing. I feel bad he said no yes and then we didn't. You gave me to death. I didn't. I had a 16 ready, son. I didn't realize that.

I'm just blazing on no one late. I've never had a guest take over the production. But of course, you're the producer. Ladies and gentlemen, Welcome to Quest Love Supreme, only on Pandora. Please welcome our guest, Justin Blaze. What's a middle name? Gregory.

Justin Blagery. It's the weed. It's Steve. Ladies and gentlemen, one of my favorite producers, one of the loudest producers. Indeed. I mean, the air of the loudest drums ever, I felt end it with Just Blaze. for real like bring the drums back

bruh ladies and gentlemen welcome Just Blaze to the show yes indeed just please um just since you I feel are

like the difference between your era of production and the era of some guests that have been on the show right is I feel like

your second generation renaissance okay so thus you were a fan of the original Renaissance crew of the tips

of the large professors of the Pete Rocks you grew up you know on their music before you so thus I feel as though that makes you

probably a student like a fan you're you're a student a renaissance rep and you know I feel as though it's time for you to let us know

what time it is do you guys know what time it is I think I know what time it is. This time you do, ladies and gentlemen, is time for another round of. Bitch who guessed it. Justin Blaze. Yes, sir.

Tell them what the game is. Can you name this snare? Oh, shit. Oh, special edition. Special edition. We haven't done this. This is a scrutinizing. All right.

15 snares. What's this snare? Oh. I'll do it again. Name it. I can never remember the name of this one either. It's the Afro-Lafia. Yes, there you go.

There you go. What's this? Meeters. Again. Oh. I used it on game. Yes. I can remember the name of it.

I know to break. I've used it a zillion times. I need it. No, no, no. No. No. I used it. I have the break.

I just can't get any of you. Southside, moving, save the world. Yes, yes. Joe Tux. Yes. Joe Tux,

Popo was, too. I know that one. Oh, sport. Yes, that was sport. Lightning and Rod, cool in the game. Oh, I know that one.

Hey, fellas. Some people. Sally, so that's that. Yeah, a woman be a woman. Yeah, let a woman be a man. Thank you.

Oh, come on. I didn't. How do you mean for that to happen? Just keep going. Oh, now you're going to get cocky, motherfucker? All right. Oh, that's easy. Headhunters?

Yes. Yeah, God made me funky. God made me funky. Long red. Oh, come on. Yeah, long red. The last one. Actually, that's not fair.

It's you, isn't it? I'm about to say this is one that Laie will get. Oh, wow. I say you. I just, I don't know the song. Yes, I inserted myself as I do with everything in life. And that is boom. I thought you looped.

Yeah. Oh, my God. But the thing is, it sounds, it sounds, motherfucker. No. They wanted to loop me. One of the biggest, almost near, like, roots meltdown fistfight things was that they, meaning not me. Right.

They wanted to keep the Clyde Stubblefield, soul pride looping. Okay. I was like, no. I got wrapped up hole. Right. And so I fought me and Russ Elavito worked on that shit for like. Now you fool me because I always thought that that was what that was. Nah, man.

I fucking fought. And I kept doing the roles at the end to let people know it's not a loop. It's me. Anyway, there's going to be four other rounds of this. That's no problem. Record breaking. I used to win this game. I know.

You and I are like this. Right. So on the radio, Z-100 used to have a morning show. where they used to do exactly this. And this was my mom used to drive me to schools. Every morning we listen to Z-100, and they'd play a half of a second of a song, and in the car amongst ourselves,

we would play the game every morning. So fast forward a little bit later, there was a point where it wasn't Hank Levin and Half Pipe, it was another one of the underground radio shows. At the time I was 12, I was 11, 11 or 12, and they used to do exactly this, and I won six weeks in a row because

You guessed the one second Yeah, like one second. It wasn't a snare It was just like they'd play a second of a song But I was too young to actually win So my mother used to have to accept the prizes for me So it got to the point And then Mr. Magic and I was doing it on their show for a while

I won that four weeks in a row It got to the point where they were like Justin All right, yeah, put your mom on the phone I want a set of cold chilling glasses I want tickets to see that R&B group, the boys Wow Remember that?

You might remember raw breed. They had a song called Rabbit Stew. Yeah. I won that CD. Every week for like two months straight, I was winning off of doing this. I've heard you sell the story before. And that is partially the reason why I started. But you guessed it.

Because based on hearing him, yeah. Hearing snippets. We'll do more later. Okay. I'm kind of going off script more than I normally do. I kind of want to continue. You and I just came from about south by southwest. Right.

Months ago. And I... More like weeks. Yeah. Weeks ago. My fault. You know, time doesn't exist with me. That's true.

But you... So when we were eating, you... You declared something that totally blew my mind. There's two teams. There's team Bizarre Ride to the Far Side. And team Lab Cabin. Nope. No.

Well, team. Even then, even then there's a battle. But there's team bizarre ride to the far side versus Team 93 to infinity. Guess what team just plays plays for? 93 to. Hell yeah. Thank you, sir. Thank you.

Wait, you two? Yeah. Yes. Wait, you two? Yeah. I mean, listen, Bazaar ride was... Wait, is anyone on my side of this? I mean, it doesn't matter because it's me, but I am.

What side are you on? She has to be on your side, though. No, no, I don't know. I'm never on his side. I didn't hear Bizarre ride to the Farsight until 2010, to be 100% honest. That's seven years ago. Yeah, I know, I know, I know. Wow.

I heard it later than that. Really? What? Wait, y'all got something in common? You listen to it fully as an... for the first time for the first time. Yeah, for the first time. I heard it for the first time as an album when the box set came out.

Yeah, that's when I got it. Yeah, I got a promo. So, like, for me, I heard. Are you, motherfucker? He didn't like the single. Y'all didn't love the record. Bill, it wasn't that I didn't like the singles or anything. I just did.

Well, at the time it came out, I didn't have money to buy up everything and I didn't have time to steal everything like I wanted to. So, like, it was pick and choose and Farsight just wasn't high up on the list for me. But you played catch up, you purchased records before. you were born. Right, right? But, like, Farsite just never... I mean, I had to pass me by a 12-inch.

That was all I really felt like I needed. See, you guys. Exactly. So, for me, what it was, was... I'd be DJing since I could walk, literally. Whatever money I had went to records. I got the pass-me-by-12 inch. You had to get that as a DJ.

Aside from that, what was the other single? There was the remix. Your mom-in-law. Other fish. Other fish. And I got other fish. which I love both of those records they're classic records to me

I'll tell you it was two things A something didn't compel me to go Have to go get that album And secondly Neither one of my local record stores Had it on wax I didn't buy CDs and tapes Ah

93 till Infinity came on The had the blue vinyl Yep But it was only on one John What the uh As most albums were back then Oh on 1 oh it was on 1

Yeah one As opposed to double a triple vinyl Oh man So for me that time By the time I got to listen to it I didn't hear it in the era that it mattered. Now, 93-Tillifini, on the other hand,

was a whole different animal for me. It was dudes that definitely rhymed different, but they still had an East Coast sensibility about them. So the beats still kind of rock like ours, even though their rhyme patterns. And the chorus were different. I'm not saying they did. I didn't have access to it back then.

Right. But now that said, Lab Cab in California, it's one of the best albums ever. And I would argue the death for Lab Cab versus... versus versus bizarre. Yeah.

All of y'all are born in 78, right? Yeah, yeah. Eighty-four. Liar. Margaret. No one born in 84 named Margaret. We know that. But to me, that doesn't really,

I don't know if that plays a factor for me, at least personally. Because you saw this morning, I'm talking about records that came out when I was four years old. I know him verbatim, but I know him from back then. So it wasn't like I missed the, just completely missed that era.

I just missed that album. Were you in the club there? Because I think the reason maybe it got to me was because I was in the club when they were playing in the club in D.C. Like at the rock. How were you going to be in the club at 10 years old? No.

It was, I was 15. Oh, I mean, I mean. Yeah. Shit, that ain't even exclusive. Everybody knows that shit. Put on Interpol. Yeah, what I was. It's weird.

I don't, like, the thing was is that when, The Yamama video came out, and they played a lot on video music, jukebox. I kind of dismissed them. I was like, a lot of people. Yeah. It was slow.

It was nothing new about substitution that I haven't heard before, substitution the break. But when I heard for better for worse, that was the one. That was the one. That was just a goddamn revelation to me. And I told him, for better for worse, was the reason why we put Scott Storch in the roots. because Richard Nichols' partner

AJ Sons Simmons he was our Stretch Armstrong and Bob Beatle of Philadelphia so Drexel Radio was where we got our real hip hop because by then Power 99 was just like anti, you know, less rap you know, that sort of thing.

So, you know, when he got the record it was like a state of emergency. It's like, yo, I think we slept on the far side. You got to hear this record. So we like, it was dead of winter. We got in that car and listened to the shit and when for better for worse came on, like I can only describe it as if you ever seen like

the Parliament Motor Booty Affair commercial or just the cover like the shit sounded like water. And I can't explain maybe it's the first time I actually heard offender roads up in the mix of it. But when I heard that shit I was like, yo, the shit sounds like water.

Like we need that's what we need in our shit. And so Rich is like Yo, this white kid living on my floor at my house. And then he came in the next day. I was like, can you sound like this? And Scott just started playing the roads.

And it was like, you're in the group. Oh. Yeah, that's weird. You say that. And I'm not sleeping on lab cabin, even. See, for me, lab cabin was more of a revelation for me production-wise as well.

like the songs the songs were great but for me the production on that album i'll say when i when i first heard bullshit was that the first time i really heard dilla we we were doing a show with the far side and this is when the album just got done and like when lab cabman just got done yeah okay so like we just started actually do you guys have a cat's cradle in north kentana that was in uh it's in carborough okay so the far side of the Roots are doing a show at the Cat's Cradle. Oh, shit. And whoever was doing, like, the local college

nighttime hip-hop join. We opened for the Farside, so they came to scoop me to take me to the college station. And I wanted to stay just to see Farside's intro, because, you know, they had one of the best stage shows ever. Like, their energy,

there's just four main... It was like watching bad brains on stage. Like, they were just, like, all over the place crazy. And you know, I saw the intro. They came out to uh, uh, Ronnie Law's,

uh, Belize, yeah, yeah, yeah. Pressure, pressure sensitive is the album. Yeah, I know,

got you. Title, title, wave. Title Wave. Yeah. So they came out to that and I thought,

oh, okay, that's, that's, that's a good intro. And then I got in the car. But because the, the, the, the, the, the,

the door of the club was open. You can hear the vibration. You know, you hear the vibration of 808 outside the club and dog. All I heard was we were literally outside the, about to go on the highway. But I kept hearing the vibration of Dilla's kick patterns and it sounded off. And I made them stop the car and I ran back to the club so I can open the door and listen.

And I was like, yo, it's like a drunk three-year-old did the shit. And I was trying to describe to the roots like, yo, that new Farside song has a kick pattern that's like, it sounds real. Yeah, stop. And the next night, I was like, who did that shit? And they explained, like, this kid named JD. That's out, like. You know, they worked on, but I was intern and I might have been assistant in June at that point. They spent some time at the studio I used to work at.

Where did you first? At the cutting room. And 88 Keyes was working with them at the time. I don't know if any of his records actually made that album when he was working on them during that time. So a lot of those songs, they were bringing up while they were in there. while they were in there working. So I would say that was probably

my first time hearing him. Between that, well, I guess, no, because the Busters, the CUMM and came out before that, right? Yeah. The CUMMIN was 96. The CUMMIN was 95. 95? Damn, it was 95.

So I want to say the coming was the first time I had heard, but I didn't really know who he was. Or didn't know what his name. Or was it? So you were assistant at the EAS. I was on Masters album, too. Or was that 96? That was 95.

That was 95. That was 94. That was 94. That's the first time I can remember hearing him on that album. He was on skills first album? He did. Oh, there's three songs.

He did. He's going down. The jam and extra abstract skills. No, no. Not that was a large pro. He was that. There's a third one. There's a third one.

He did. I got back and listen to that album. There's actually a song on the coming. I didn't know that he did the L-O-N-S song. No, he didn't. Yes, he did. That was backspin. Which one?

The one would do-do-d-d-d-d-d-d-t. No, that was back-spin. Keep it moving. Keep it moving. That was on Rampage's cousin. I thought it was... And it's credited to the Ouma. Really?

Yes. And when you listen to that snare, it's... You know what I'm thinking? I'm thinking of the other posse cut. The Def Squad meets Flip Bowl Squad. That's what I'm thinking of. Okay. That was Backspin.

Yeah. Yeah. And it's like... I don't even thought about that. I don't even thought about who... For some reason, I always assumed that Backspin did that because of the drones. No But now that you mentioned it

It makes It makes sense I didn't even know That was He did it Like I overlooked that In my You know

What No Now that's said I hear it all day Right When that snare was a Yes I'm looking for it

As we speak It's not I'm not just Stalling Keep it moving Keep it moving Along So you said

You were DJing Since you were Four Like around that Yeah So what was your household Like that

you had access to those records. Like, how did you... So in my house, it wasn't just my house, but it was my family unit in general. My family, at the time, pretty much all lived in the same city. And me being the first baby in the family, and I'd end up spending a lot of time

with your relatives, spending the night of your big cousins, household weekends and things like that. So in my immediate household, my pops was a jazz organist. He taught himself how to... He reversed engineered reading music. He knew how to play, but didn't know how to read.

So he would get the sheet music to songs that he knew how to play and see what was happening on the paper. And then say, oh, so when it says this, this is the note that I'm supposed to be playing. So he kind of reverse engineered reading music. Wow. So he always had Cassio keyboards and Yamaha keyboards aside from his Thomas organ.

And, you know, he would let me play with him. And that's kind of where the making music bug really first came about because we had, that year, like then Cassio's had the drum pattern loops. drum patterns and sad them Yeah the sambal loops And you can actually You can you can On the base side

You can hit a bass note Right right Yeah right So there was that And then his Thomas Oregon was one of the ones That had the drum pads in it Or drum pads on

They weren't They were more like chicklet computer keys Yeah And there was no sequencer But you could Tap a kick A snare a high hat and all that So that there was that

And then My aunt was an advocate collector of like late 70s and early 80s funk and R&RB. A lot of the standards, Sherilyn, Earth, When the Fire, stuff like that. But I used to spend a lot of time at her house on the weekends as well. And I would just sit there, take all her records up the sleeves and have them all out on the wood floor. And she was walking in the room and was like, what do you do with my records? Like, they were out of the sleeves, and I'm just sliding them across the wood.

Look at the labels. Yeah, yeah, like fascinated by the labels and the covers. And so around that same time, I had an older cousin. He's seven or eight years older than me. This was right when New York Mix show became a thing. So you had Red Alert and Chuck Chill out on Friday and Saturdays on Kiss, and then you had Best of Magic and Molly Mall on 107 on Fridays and Saturdays. So he had, I might have been six-ish at the time.

He was maybe 12-ish. So he had a boombox, and his sister had a boom-box. So on weekends, I would stay by his house, and we would listen to both shows at the same time and record them. and then just wear that tape, both of those tapes out for the next week, we had no money at the time for more cassettes, so we would just record over last week's show.

Eventually, you know, I got a little bit older, we started archiving things. Right. But, so, like, I remember, like, when they premiered Salt and Pepper the Showstop, or when Red played disco three fat boys for the first time. So that's what I'm saying, like, I didn't really miss a lot in terms of the early days

because I was there for all of that. And when my cousin would do, he lived around a corner from a record store. So what he would do is he would buy all the 12 inches. As they got old and the albums would drop, he would give me the 12 inches. So like, Sucker M.Tees comes out, and it's like that comes out. And then the self-titled album comes out. So he gives me that single.

Houdini Horton House of Rock comes out. Then their album comes out. He gives me that. So he would give you the 12 inches because he had it on record. He had the album. So he didn't think about it. Like, it plays better as a 12-inter. No, you know, he's.

So then, and then in terms of the actual DJing thing, I'm listening to these guys scratch records on the radio, but I'm not really sure what they're doing. I'm thinking they're taking the needle and rubble it across the actual wax. So then, we actually had this conversation on our group chat. The disco, I'm sorry, the crash crew in Fantasy 3. Both had the same melody for as you're rocking on the radio. Right.

Who was first? Right. Well, Fantasy 3 was first. Sylvia heard the melody, jacked it I didn't know that Yeah So but they came out pretty much back to back Right

So He um He had One turn table in his room He plays a trick on me He's like You want to see me mix a record And I'm like yeah yeah yeah do it

So he plays Fantasy 3 Right And then he stops it and puts He had the Crash Crew record right underneath it So he took the Fantasy 3 record off And just put the Lid down on the Crash Crew And I'm like

like, oh my God, it was the same melody. Right, right, right. I'm thinking he's doing something, not realizing he's just playing two songs. Right, right. But then his older sister had one of those 80-style rack systems. And at the time, it was a push button operated, like the input selector was a, was each one had its own push button.

So you would push a button for cassette, push a button for turntable, push a button for radio, whatever. Long story short, she had two, I want to say there were Fisher turntables in there. and if you pushed phone-on-1 and phone-o-2 they could both play together right right so he takes

he had a copy of thriller she had a copy of thriller so he takes beat it he takes both copies and beat it and starts one right after the other so it's going boom boom cat got boom cat boom cat making the drum stutter

so it was pretty much all downhill from there like I became obsessed with with records and making pause tapes and all that stuff Yeah, exactly and then I would say

you know Cassio comes out with the SK5 which was like You jumped to the SK5 You didn't have SK1 The stage No my

One of my best friends Growing up Down in Virginia When I used to stay With my aunt down in there He had an SK1 And it was cool But it was still just

You put one sound in it And it was that That was that SK5 you had drum pads And four seconds Of sampling time Right So right around

that same time, that same summer, actually, I think is when my aunt bought me Nations a million. One of the only consets I ever bought because Sam Goody didn't have the vinyl. So, that Christmas, my best friend's sister gets to SK5, we jack her for it.

We jacked her Christmas. I was going to say, did you steal records or you stole her keyboard? No, we stole her SK5. Damn. But then the reason I bring up Nation to Millions is because I'm realizing that, that these records I'm finding in my mother's attic

are on this public enemy record. Right. And I'll never forget the day I realized that what funky drummer was. I found a funky drummer 45. Well, you grew up in a funky drummer 45 household. Yes. Your mom's official.

Yeah, yeah, yeah, yeah. Like all of that, like, all pretty much all the breaks, all the commercial, but not like the stuff that they used to play in the park. Yeah, yeah. and the stuff you had a day for, but anything like that was on stacks, James Brown involved, Isaac Hayes, whatever, all those breaks.

She copped it. And she, it was like three boxes that I found in the attic. And the attic was, when I was young, the attic was a forbidden zone. You didn't go up there unless you had permission for my mom's, because it was, it wasn't a finished attic. It was like stuff everywhere. So, but I, you know, went up there anyway one day and found a box of records. I started bringing the records down, and I'm realizing I can make these beats that, I'm hearing on this public enemy records.

I had the SK5 and I have these records. And we had a thing called the Star Studio, which was, it was a scam. It was basically a double cassette recorder. And what it did was it allowed you to record to the left side of the tape and the right side of the tape signal-wise independently.

Two tracks. Right. The truth has two tracks, right. So you can have song playing on one side and then record a vocal onto the other thing. So I used to make these things on the SK5 and then on the other side, me and my brother would rap.

Right And As I don't know how far To the story You want to go But that was the beginning Of me even realizing

What making music Or making beats So you're trying to be MC first You see that in that area You had to do it all You had to rap You had to write

You had to DJ Yeah You had to write You had to break You had to do everything So it was really All of us In our little

crew Kind of All kind of attempted to do all of it, and eventually some of us just got better at one specific thing. Incidentally, where were you born? Hackensack, New Jersey. Okay.

But I grew up in Patterson. Cool. But yeah, so it was like, for me, I was pretty good with the hands, but graffiti. I was decent with the breakdancing as well. I used to get busy. And then it was DJing and rapping and making beats. So the DJ and production thing is what I excelled out, excelled at the quickest. And my rhymes were decent.

But I'll never forget the day my brother turned 11. My cousin is taking me to 125th Street for the first time. So I must have been, my brother, I just turned 10, so I think I was 12. He's taking me to go to record shopping on 125th for the first time. And I'm playing one of our beats on the cassette. And we were having a rap battle in the backseat with my cousin's driving. And I rhymed, and then he rhymed.

He said this rhyme that blew me out of the water, blew mine out the water. And I hung up the rhymes after that. And I just said, all right. So what we're going to do is I'm a beat Pete Rock and you're going to be C.L. Smooth. And I actually found a demo that we probably made

when I was like 15 and he was 11 or 12. It's about 12. I posted it on SoundCloud. If you look at the picture on it, we think we're Pete Rock and C.L. Smooth. You listen to the beat. I'm actually cutting up just rhyming with biz. Wow. And I'm using a I'm using a cannibal. I looped up a Capricorn.

Oh, wow. Lipped up Capricorn. Wow. Yeah, like you couldn't tell us people was in P Rock and Seattle School. Okay, yeah, because you were 14 by the time main ingredient came up. Yeah, yeah, exactly, right around like 15ish.

That's so weird, man. That was some crazy shit. But that was my life, period. Like, I didn't know anything else. So when did you get your first drum machine? Like, okay, I want to do this. Right. So I had the...

What was your machine of choice? I had the Roland... Remember I used to make the Dr. Rhythms? So I had a DR 660. And then Lexicon, you know, Lexicon makes the reverbs and the delay units, they scammed everybody and made a thing called The Jam Man.

They marketed it as a sampler to make beats on, but what it really was was just a delay that you could sync to MIDI. So you would put a loop in there to sync to MIDI and you could start it and stop it with your computer or whatever you were sequencing with, but you couldn't save anything with it. What year was this mean?

The Jam Man, oh, maybe 92, 93? Bob said something about this. Bob Power brought up the same thing. Yeah, I also believe that Marley also mentioned Yeah, that was. An earlier version of this, like one of it, like even

I think that nobody beats the biz break. He did it through that and not through samploid. Right. So, that Christmas, that year, whatever year it was, Roland comes up with this thing called the JS30. And it was kind of like,

looking back, it was called a sampling workstation. Looking back, it was kind of like a very, very low budget answer to like an MPC kind of kind of thing. So relatively low budget because it was $1,200. So all I wanted for Christmas was that didn't think I would actually

get it because it was $1,200. How much were MPC or like that's $1,000? Yeah, it was like $3,000. $1,200 was $24.95 back then. Yikes. So I skipped one thing. Seeing the Soul to Soul video and Nelly, what's his name?

Nellie Hooper. Nellie Hooper. is on stage and back to life and he's got the Mac that's right yeah I remember that so that was like and we had gotten a computer I used to computer program as well

my dad was a computer program before I living and he was a keyboard just as I have so I see Nelly playing the Mac or playing the keyboard connected to the Mac and I'm like you can make music with computers so beg mom to take me to software etc and I walked in

and I'm like I need the program that let you make music on a computer. Wait. I'm laughing because of how influential videos are in the life of a kid watching it, and then you see something that could just be for show. But to you, that's it.

I watch Prince like, you remember the bat dance video where he had like the laser disc and all that did? And he scratching the CD? Yes! Yo, I was asking him for that. I was like, yo, what is Prince got? Yeah, I remember that. They're like, he's just scratching a When CDJs came out, that was the first thing I thought of. Right.

Was Prince in the Bat Dance video. And speaking of which also, the very first thing that my mom's ever got me, I skipped this as well, was the Radio Shack, a realistic mixer, the PA mixer. It was a four-channel with no fader. It only had up and down switches, right? Right. So I see Terminator X in the Bring the Noise video, and he turns out he wasn't even really the guy doing the scratches on records anyway. but he was their show DJ. Right.

But he's doing, in the Bringing Noise video, there's a point where they're on stage somewhere, and he's backspitting two records, and he's only using the up and down faders. Oh, not the side of the side one? He's not using the cross fader at all. So I'm thinking at the time, as this impressionable kid, Terminator X is one of the best DJs ever.

He's public enemies DJ, and he doesn't use a cross fader. So the mixer I need is the one without the cross fader. Oh, no. So that's how I ended up with the radio shack mixer. Wow. I had the real. They later added the crossfay.

They did. I had the one with the crossfay. Yeah. A win is a win. A win is a win. I don't care what I'm 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 Cliverts 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. What's up, everyone? I'm Ago Vodam. 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, 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 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 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 IHeart Radio app, Apple Podcasts, or wherever you get your podcast. 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 iHeartRadio 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 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 someone's, correct? I doctored the test once. 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 Maranini. 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. They 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. You're listening to Quest Love Supreme

and Just Blaze here is sharing the origin of his story with us. and no cross faders. Hey, actually, since we're at it, let's go round two. Round two. Drum fills. Are you ready? I might not be as good at this.

Drum fills this is easy. Okay. Oh, come on. Hey, what is it? Parliament, is it probably not one or two? All right, you'll like it all, do it. Don't know it. Yeah, I've actually never known.

Hold of you. I heard of you. Am I the only fan of Paul Fertique? Oh, well, it's the... Yeah, I know it's from Shake Your Rump, but I never knew what... Paul's Boutique's another album I didn't approve. I was late to that one, too, actually.

The producer's dream. I know, and I still don't like it. Wait, so can you play it? You don't like it? You don't like it? You're just straight, meat, potatoes, bees. You like the meat and potatoes. I like the garnish on the side.

It's the same, but it's the same story. We'll go back to the rolls in a second. In a nutshell, I didn't buy Paul's boutique when it came out because I didn't find it on. And I didn't like, what's the first thing? Hey, ladies. I thought that shit was kind of corny. I wouldn't fucking with that one.

I didn't even know that album existed until like maybe five years after it came out. Really? Yeah. It didn't exist. It didn't exist. I feel like it's one of them songs. Hey ladies.

For me personally, I can listen to it now and I understand why it was revolutionary in production. It's not in my go-to-four-of-the-beasties catalog. I feel that's their... I feel that's their artistic... I can't even listen to Lice's at L anymore. This shit's kind of grading. Oh, no.

love like i can't listen to that any day well i mean i respect it's history but i mean as a guy who lives for record reviews and a guy who like wakes up at 5 a m to see what pitchfork gave something some shit like rolling stone was my pitchfork as a teenager and to see those out-of-touch dudes give them a lead review and a four-star like what's the chances of some freddie white boy mockery hip-hop group getting an artistic cum lottery

like this this this these accolades so you feel like it was undeserved and manufactured I mean I feel you know in the in the pantheon of artistic statements I feel like the father's nation a million

the son is three feet high and rising and the Holy Ghost is Paul's boutique. For the late 80s, like those three records opened and also subsequently shut the door. Right. On. Yeah, I'm making those canals.

You had to be my age at the time. Like, we weren't expecting an artistic statement from the Beastie Boys. Like, I was ready for more just like, you know. Girls. Yeah, they're brady mockery hip-hop and I got an artistic statement. You know, people slept on it.

For me it was ill communication. That was the one where I was like, I fuck with that. That's the one I come back to. That's when I got back on the train. You know, I went from license to... Just check your head. I wouldn't really want that one. Yeah, I mean, they were finding themselves on check your head.

Yeah, I think I thought they were discovering something about themselves that wasn't there before. All right, here's next. LTD, cut it up. I'm actually bad at this. What the hell? Even Laean knows this shit. You better know this shit. Oh, Bust and Loose.

Yes, of course. Wow. Damn, they made it. I never cut that one up as a kid. You ain't into the Go-Go, please? I love Go-Go. Never DJ for old black people? To this day, Bustin-loose is still not in my list at all.

I don't play it. You ain't do a barbecue late. Give me a bead down. What? Oh, crap. Oh, that's very. Of course. Come on, man.

Yeah, we'll talk about that later. Okay. Now, what is it? What is it? Oh, Shaf in Africa. Oh, Shaffan, Africa. Wait, one more time. Oh, I know what this is.

Justin Bleeze. What does this feel? It's not the shylights. It is. It is the shylights. Okay, I'm not, I thought I was shipping for me. Yeah. All right.

Are you my woman? Don't know. Last one. Cars by Gary Newman. Yes. Yes. So, all right, so your first official... So yeah, we go,

the drug, you put the drum machine thing still? Yes. ASR 10. What year was this? Right after the end to the Wu-Tang. Because of the RISRSA? Yes, because he, I want to say it was rap pages, did an article on him.

There was, uh, it wasn't a production-based article, but they did get into that. The 10 was the keyboard, right? Yeah. That was the X was the box. But no, no, the 10 was a keyboard and a rat. Oh, okay. You got the keyboard or the rat. Gotcha.

And then the A-S-R-R-1. X was the NPC style. Yeah. So yeah, the ASR 10 read an article. That's what a Rizzi used. That's what we got to get. The ASR 10. I'd so say to this day,

Michael DeAngelo Archer Engel. Still uses an ASR 10. It's the disc. Wow. Still walks around. Steve can verify this. I've got some of the floppy disks

in my pocket right here. He doesn't know. Yeah. Steve, like, he refuses to move he feels like it will cripple him if he updates like machine or something shit

right like if he wants to something modern he would spontaneously combust if he saw what does he have any new equipment or it's just that he has some updated equipment like there's there was one particular key there's one particular Japanese keyboard company that sends him

like some new stuff that like he used it on charade this keyboard that I wish we had It's like some, it's a very vintage Japanese sounding machine that really has some cool patches on it. Like, his true gift is making patches. Like, he will sit there, like all of his patent that sounds like that drippy, wet, Calimba thing. Like, he takes the Columbra pass from the ASR and knows exactly how to filter it.

How, yeah, how much reverb to put on it, how much to decay. A lot of people don't realize the ASR had one of the most advanced effects processors at the time. If you were familiar with the EnSonic DP4, that was like a standard in studios at that time. That was the effect section of the ASR 10 put into an effects unit. Really? Yep. So the same, but just more advanced? No, it was the same exact thing.

Just in its own. You're on it with company that scam and sell you the same shit. You're like Cass now, busting Apple. Like, all they did was add one element and we're paying all over. They took it, they made it a rack mount. Actually, the ASR version was the DP2. That was when they ripped out of the ASR,

made it the DP2, then they doubled it and made a version called the DP for it, just gave you more effects. So as with most beat makers that I know that are at least from the second generation, like some of their favorite things are remaking, like practicing, what if I made this beat or whatever?

Like, what was the first beat you... Like, okay, I'm gonna see how... I don't think I ever did that. Really? The closest I ever got to it was using the Capricorn loop that Pete used for in the house. I didn't, but I didn't try to remake his beat.

I made a beat using this. Well, not for sale, but just for sport. No, no, I know exactly what you mean. For sport. I just never, I never really did that, I don't think. I can't remember, I can't recall having ever done that once. Wow.

Yeah. Shockers. Normally, that's like the go-tooth practice. It kind of trips me out. When I see videos of people remaking my beats, like on YouTube, and it kind of just trips me out. But I get it.

If you want to get better, you want to learn how somebody did something and figure out how somebody did something, you're going to... It's like a guitar player to learn how to play a standard, yeah, or just a ball player who watches, you know, videos.

There's a lot of chefs I know that, like, you know, try to figure out, like, how McDonald's meet the, you know, the big, you know what I was more concerned about, was for me. I think especially in that formative era it was more so I was listening

to how the records were engineered and trying to I was working with the ASR 10 and a four track or even before that that rolling jazz 30 and a four track and I was just trying to figure out all right I have a drum machine

I have the same samples I see equalizers on this four track why don't my record sound as good as the records on the radio and I'm not understanding the concepts of studios and mastering and mastery I don't understand any of that I'm just like I got I got beats

I got EQs and I got a mic. So for me, it was about squeezing whatever sound quality I could out of the little bit that I had. I will say and attest that probably next to Dr. Dre, who's the cleanest producer that I know, producers slash engineer. And maybe the combination of a particularly era of Tip and Bob or Tip and Tim Latham, whatever,

you have one of the loudest mixes I know, which is weird because I know that both you and Kanye kind of came up in the blueprint battle generation of, you know, of the Jay-Z era. Right. Whereas like twice in my DJ career that I've been charged with breaking a speaker. It was just place.

No, over Kanye records. Kanye's the only dude Like when his product comes out I have to Reconfigure Re EQ it Like almost remastered myself or turn The Mids and the bass all the way down

Because I you know That aesthetic fame has changed over the years Because I remember when his His Focus used to not really be about that If you remember a lot of times his drums would be really small And that was one of the Things that like

He used to ask you to call me about like How do you get your drum? to sound like that with the horns or with the bass. Like that was a thing. I remember I would not get into specifics, but there were times or sometimes that would become an issue in the studio where it was like, you know, the track is dope,

but the drums seem so small. How do we get them to sound? Sound bigger. But if you look at the history of hip-hop, I think that's changing what he did. The millions of drums are small as shit. Right. And then I realized, oh, they sacrifice,

they have small drums, but the noise that surrounds it. Exactly. And so, but a lot of your production, is like your accessory noises, whatever, like sirens you use and your snares and your loops and the voice, like everything is at top level loud, but it never peaks. Like how do you-

Well, one thing that I would always try to do is fun, make sure that each element of the song has its own space. And sometimes you can't just do that with pushing the faders out in you queuing. There's dynamics that come into play too. I still like to leave headroom, at least so that even if you're blasting it, it still doesn't feel like it's overpounding too much. Right.

So I'll give you a perfect example. You don't know, those horns are so shrill and loud, and Jay has that kind of nasally tone to his voice. So those horns and those and his vocals kind of sit in the same frequency range. So what we did on that record was we used his vocal as a side chain to trigger a compressor on a certain frequency of the horns

so that whenever he rhymed, it would duck it. It would duck, that's just that part of the frequency on the horns. And then when he wasn't rhyming, the horns were coming full. So certain compression. Right. That's where compression works for you. Right. And it's not a lot, it's not a lot, it wasn't a matter of making the horns louder

or lower. It was a matter of when that freak, when his voice is hitting, make sure that frequency itself is ducked on the horns. So when you create a track like that, it was, all right, when I first heard it, that was a hard song for me to digest. I almost think it's a good thing when like

you're uncomfortable with something because it's so new to you. Right. Like first time I heard Rebel that would pause, it's like, yo, what the hell is this? Right. And especially in light of hearing that record during 9-11 and all that stuff. Right. what I heard it

I just thought you remember the scene in casino where Joe Pesci was like don't make me do this and he's like

squeezing the dudes head in the vice in the vice I always imagine that you don't know by Jay Z was that was the soundtrack to the shit

like it sounded like someone's head being squeezed in a bite like was that your intention? No, for me it was just like at that time we it was just energy is what I was trying to get across really more so than anything else. It's funny sometimes if you

remember he used to perform it sometimes and he would have the flames in the background like that's what I was envisioning that moment a lot of those records especially during that era and it's still even to this day but especially that era I was thinking in terms of performance. You've seen the final product in the stadium and... Exactly. So I'm seeing like that moment. Or I'm seeing when he's doing song cry and it's just

the whole stage is black and it's just the spotlight on him and he's telling their story. And little by little there may be some imagery in the background on the screens. I would always think in terms of performance. That's why I show you what you got is the way it is and why it climax is at the end because that was supposed to be the record after he does encore and walks off the stage. Then he comes back with just and it's not a beat. It's just...

Okay, right. And by the end, lights are still off. Right. And by the end, everybody's soloing. The drummer's doing his thing. The bassist is doing his thing.

The guitar player was riffing the keyboard. That's why that record is like that. So did it frustrate you that that song came so early and not later in the sequence? Yeah, a little bit. But it should have been something towards the end of the album, more so than at the top. But the way it starts is also a good way to have it to top of the project.

I was going to see. say in the case of, I mean, Illmatic kind of ruined the idea of one person watching everything. So on an album like The Blueprint, which is essentially an illmatic on its own. To a certain degree, yeah. Well, I mean, it's you, Kanye, Timberlin, Scott. Who else? Bink.

Yeah, Ben. Bink. Right. So who really gets finally? say on like well it's to start here and so like who has his ear as in let me sequence this um at that time

I would say a lot of that would probably have been because guru wasn't around what was cool around you know Choncy was done after the dynasty album so was it a Dura or who was engineering? I remember the Choncy story oh there's many of those

the one with the fucking up a tape or something There was a lot of things And then he tried to sue Yes, yes A couple years ago For 75 million For a whole

I don't know what the number was Who's Johnson? He was the engineer On a Dynasty album And maybe some of volume three Okay That's a whole other set of stories

75 million I figured what it was But basically he had a bunch of copies Of the masters And had been storing them At a storage space in L.A I think was key in California for since he got fired,

which was after the dynasty album. And then came back and tried to sue Jay for a bunch of, oh no, he tried to claim ownership, partial ownership of publishing and masters. Why did he get fired? He just kept messing up badly. Okay.

Wait, how do you know this? I think he told the story on Twitter. I told him the stories on Twitter. Because when it came out that he was trying to take action, I was like, oh, no, no, no, let me set a few things straight here. Like, he was not writing anything. He was not, he,

He doesn't own the masters. I actually have a lot of the masters myself. He might have copies of clones because that was right when we were doing the hybrid of two inch to end digital. So a lot of stuff was getting bounced back and forth. It was just a mess. And he was really trying to portray it

like he was the driving force behind the sound of Rockefeller for some years. And he was not, he's actually the reason why a lot of records have mistakes on him. Do this. Go back to the Dynasty album. Listen to get your mind right, Mommy, right?

That's the one that's in mono because of him? No, no. That's no. Is that your chick? is in mono because of it. Whoa. That's heavy accusations there, young man. Listen to the beat.

Hold up. No, but is, what was I said? Oh, yeah, listen to get your mind right. You'll notice the chorus is performed differently every time. Sometimes it starts on the line. Yeah, you didn't know how to fly hooks. Really? There's three hooks.

Each one falls in a different place. Same thing with Can't Be Life. Listen, it can't be life. Go back and listen to that right. with that in mind you'll see that the hooks don't fall in the same place every time so it was things like that and then he you know back then he used to have the sleeve um two inch wheels together so if you had 48 tracks you just laid two machines together we were doing stuff from pro tools and dumping it to reel and mixed from reel duro's getting the tapes because he was mixing that soundtrack

where we were finishing at baseline and every set of reels that got that durow got the sink was all so none of the reels were coming back synced up so he'd put the two tapes up and he'd just be playing a lot of sync and um and eventually not your favorite engineer no and eventually it came to eventually it almost came to hands at one point um

because Daryl told him about himself and uh I'll Dore everyone's to tell that story I'll let him do it um but yes Dore told him about himself on the phone very matter of fact he didn't you didn't flip on me just told him about himself and hung up the phone So you come to deliver the tapes and it's ready to scrap.

And it didn't happen. And I'm just sitting there in the room like, ooh, whoa. That escalated very quickly. It got shut down as quickly as it happened. And how does that translate to a guy like Jay? Jay's like one of those guys that, to me, like doesn't care how something happened. So, of course, he's going to look at you like, well, you're fucking up. Right.

Because he's looking at it's your responsibility. How do you explain to him that, like, look, he didn't line it right and this is not my fault and I'm trying to McGiver. I think we kept Jay out of it a lot. He was aware that things weren't right, but he wasn't really getting to the specifics because we were getting it handled. Between me, guru and Duro, you know, we were making sure that it got handled regardless. So he might have known that there were problems, but it didn't get to the point. It didn't get back to him to the point where he felt like he had to address it or intervene. Well, who was the person that had to lay the, the,

Smackdown say, oh, you're fired? That might have been hip hop, maybe. Okay. It might have been hip hop. Because I think Charleston, all that of stuff aside, I liked him as a person. Right. And he and I got along, and he and hip hop got along very well as well. So I want to say it was hip hop.

I probably had to have that conversation with him. But how do we get here? Yeah, I'm kind of... I'm sorry, that's my fault. We're kind of ass backwards in this. So I noticed that every major producer that gets put on has to go through the initiation of getting ganked first like going under the tutelage of someone

never happened you didn't apprentice under any never I had my OGs my teachers people who put me on were the DJs and producers that I grew up listening to that was school for me I didn't I came I moved first but you want so I moved to New York with $40 in my pocket

literally at $40 when you said that I heard the introduction of welcome to the jungle in my head him walking on like 40 seconds street like looking up so my uh you know um my old manager nesa she was we know each other since high school um she went to n yu uh got she got an internship at the cutting room ended up becoming like the studio manager um gave me a shot at an internship for a week um well she was kind of co-st managing the studio with dave to do that owned it.

I always wanted to intern, but I was in school. She didn't want to just bring me in like that out of nowhere. You remember that girl, Jane Doe, tip pants? Short blonde hair. Jane was an intern. She gets the stomach flu. This is during my winter break from Rutgers. So Naysa calls me, she's like,

yo, so one of our interns is sick, do you want to come intern for a week? Because she'll be out with a stomach flu. So I'm like, sure. Opportunity of a lifetime for me. I come do that week. Jane calls the following Monday. I just got signed the EMI.

I'm not coming back. So they were like, are you going to stick around for a while? I'm like, all right, cool. So it was kind of supposed to be a temporary winter break kind of thing. Right. And then the night manager

and then I'm getting fired for some, just some other, some nonsense. So they needed somebody to take that position. They needed a night manager they needed like right away Where was the cutting room located? At the time it was right next door to Platinum Island and Rockas So 678 Broadway

Okay we did cut there okay I'm trying to figure out like where That's my old delft half-life location that's where Doro first Well no Dura was at Platinum Island next door Okay I remember platinum island You guys worked at Platinum Island all right okay And so Dore you're at that platinum Miling I was next door at the carting room So night manager gets fired They come to me ask me if I want the job

I'm like, all right, that means I got to leave school, basically. You know, I want to say I was being two and a half years in, I was studying computer programming. I wasn't really happy, though. I wasn't happy in school at the same time. I'm at Rutgers, so I'm in Newark a lot. So I'm, like, finding my way into DJ at open mics and being able to play my beats at open mics.

And dudes, like the artifacts are showing up. Bradman came through once or twice. outsiders were all there a lot. It was a spot called the pipeline. It was an open mic that did on Wednesdays. Okay.

So that era where it was like I'm not really happy with school. Rutgers had just hired a bunch of former professors and no disrespect to them by any means but their accents were so heavy

none of us could understand what they were saying in the classes. So you're sitting there like and you're studying complex things like calculus three and you know and computer programming and the dude, this one dude, this African guy,

we would all just sit there and look at each other in a class. Does anybody understand what he's saying at all? And then it was an Irish dude whose accent was also so heavy. So I'm getting discouraged by school. I'm starting to do these open mics because I'm meeting people locally in Newark. And it started to become more human to me. Up until that point, everything that I had done

was kind of in my own world. You know, with my friends, my local friends, my local friends, DJ. I'm DJing little things here and there in my city, I'm kind of becoming the man in my city, but nothing outside of that. Were you DJ Just Blaze? I was just DJ Just.

Okay. So I'm selling local mixtapes. I'm starting to make a little bit of noise. I'm kind of known as the dude on my side of town. But in that era especially, you have a lot of dudes that sell dreams, especially the young kids. I remember going to this one dude's house

who's actually an old friend of ours. I didn't know that anybody can just call a record label and get a press kit, right? so he's walking around talking about how he got i can't hang with puff today he drank too much bellies oh like that was just his thing i'm hanging with this one of makes he drinks too much bailey right and i'll go to his house and he would have all these what i found out when i realized years later were press kits but he would have all these folders sitting across the table with the logos and artists pictures and bios but it's all just press kits like anybody can get them but he was making

it seem like he was working with all these artists and you see the logo You're like bad boy or Arista, uptown, whatever. That's a good hustle. Right. So, and then there was another dude named Peter Pan. The name alone should have tipped you off. So, but, so anyway, just point is there's, it wasn't really real, you know, at that point. And then I'm just trying to catch all the important parts, being in Rutgers and then being in subsequently being in Newark.

And I'm seeing dudes like the outsiders, dudes like the artifacts. This is when Jersey rap is popping. That first wave of it, you know, like, kind of like post-flavor year. Yeah, yeah, exactly. Like, Remains to show up, and I remember being there one day and one of the dudes, Young Z, and Rod Digger are on stage rhyming, none of them know who I am. I'm playing beats in between the intermissions. How are you playing beats without the technology of the CDJs being invented yet?

You just have tapes. Okay. I have the beats on tapes. So I'm DJing, but I'm also just playing tapes. I was playing tapes during intermissions. Okay. So I'm playing a beat, and I remember Z was like, I went to go put a record on, frame the rhyme to,

and he was like, no, put that beat back on. Whatever that beat was just playing. And I was like, it became real in that moment. Like somebody who has a record deal, whose records I have bought or established artist wants to rhyme on something that I made. It's not my homie from down the block. It's a lot of a dude I go to school with.

And on top of that, it became human. Because up until this point, all these guys are guys you see on TV, you hear them on the radio, you buy their records, you study their album covers. I'm an album art geek. So that's where these guys lived in those boxes. All of a sudden, he's a human being,

and it's a real thing. It became tangible in that moment. So around that same time, another guy that I went to college with had a local crew called BHA, and they were making little indie records here and there, and I started running with them a bit. And from that point on, it just became more human.

So this is right at that same time when Jane Doe leaves. I get the internship. I then become the night manager. And another, I actually ended up right when Stakes's high came. Stakes as high was Moses premiere, right? Yeah. On Big Brother B, I think it was. Right.

So I'm doing an open mic, I think, in East Orange. Rod Digger had signed to at 1.2. to be violated through Q-Tit. And the kid called Roots was doing her demo. I sure was. And, and, um,

oh, I just caught that. So, yeah, kid called Roots is doing her demo. And it just, and this was maybe like my second week. No,

maybe I've been there for about a month or so. I'm DJing to the open mic in East Orange. Digger shows up. And I never spoke to her during that time when I should see her to open mics. Right. previously when I was in college. So she comes, she's like, I've recognized

I saw you somewhere, like, I was at the studio when you were working with Q-Tip, whatever, whatever. So we have a little conversation, and then most just walks in and does Big Brother beat. And then I play a beat, he's like, anybody out of beats, I play a cassette, he rhymes on that. So all of a sudden it was like,

just, it wasn't happening on records, but it was just happening organically. So it was kind of like the- So what was your first beat that you landed? No. Mace. Like, my... My first real beat for that anybody ever bought.

I got a check for it. I really like it. The one where they shot out of Cannons. Right. Blinky blink. Blinky blink. What was that? It was the Harlem.

It was the Hall of Moore. It was the Hall of Moore. Yeah. Sorry. It was only two videos. So what happens is at this point, I'm working at the studio for maybe about a year and a half, two years. And I'm starting to think, all right, things are happening, but they're not, I'm not making

any money. I should probably maybe start considering going back and just finishing my last couple semesters at school, whatever. So one of the things that I used to do, because I'm not a good salesman, I don't like to sell myself. So what I would do is when I would get off work, I would just go into whatever room was available,

make beats, work on records, and leave the door cracked. So people would just walk past and hopefully be like, what is that? So it would happen here and there, you know, nothing ever really came about from it. I developed a few friendships with some A&Rs and a couple of artists that way,

but nothing ever came out of it. Right. Um, but then one day, Mace is working in the next room. They're sequencing a sampler. I forget what it was. A bad boy sampler or something. He had to fix something on it. So I'm making sure to play my music extra loud.

Right. Because they were floating right in the hallways. So his dude comes to pokes his head to the room and he's like, what's that? And I'm just like, I was just something I'm working on. He was like, who are you? My name is just. Just, what? Just, just.

He's like, your name is just, just, just? I was like, no, it's just just. My name is Justin. So he's like, oh, all right, play me some more beats So I play him some beats I don't know who he is I just know he's connected to them somehow Right

So you know how Mace used to always reference to Kuta, Kuda love Yeah, Kuda, yeah So this was Kuta's partner But Kuta's silent partner In the company So he was like, yo Where you at on Thursday

And I'm like here? Working? So you work here? I'm like, yeah, it's my day job He's like come to the hit factory on Thursday So I go to the hit factory He's like, matter of fact

I'm going to give you an idea you know, no addition popcorn love I'm like yeah he's like take that loop it up put the jigger jigs scratches and whatnot on it yeah put the rope

he's like do all that trust me it makes what I probably end up picking it as his first single and I'm like what he handed me the key like the golden ticket

like you see like a nice guy do this wow so I did it that night went to hit factory that Thursday and played it for him

And as soon as he heard it, he just started jumping around the room. This is the single. This is the single. And my man, Sam, he looked over at me. He was like, I told you. Sam didn't preface it with him. Like, he didn't say, I had somebody making this beat. He was just like, he gave me the alley-U.

Thanks, mean, Joe. Wow. When the record came out, I was like, yo, put Ploops by Just Blaze and Super Sam. It was his idea. He literally just threw me to All-U, didn't ask for no money or anything. 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.

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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 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 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 Podcasts, or wherever you get your podcast. 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 Slice of Life 12

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All right, so I got to figure out how you wound up at Baseline Studios. So fast forward. Right. I'm, the main thing happens. Right. You know Matt Fingers? short redhead kid one of my best friends

he used to have an indie label called Guess Wild back in the days Mike Zoot um okay had most on a couple of records early stuff like that anyway

he had a relationship with penalty records okay with Mayhem and uh Martin Moran okay so he um I'm talking about one day because he was a client

at the studio as well because he did a song for Mace and I'm like yeah he's like for real I'm like, yeah, he's like, you give me some beads. So again, not trying to get anything out of it, he takes a cassette, gives it to Mayhem at penalty. This was right when they were finishing Norway's album. Right.

And that led to me working with, they had just signed half a mill. Okay. So now I'm in the studio with half a mill. So that was kind of like, all right, the main thing wasn't a fluke, we just did it again. And then from there, I met killer priests, which is how I ended up here in this building, you know back then Mac Killer Priest Tragedy Cadafi

So I'm working with a lot of dudes That I respect that I like But it's not dudes that are selling The ton of records Right And then Matt Pund I thought it was a prank call

It wasn't You talked to Punt on the phone Yeah You're in front He caught Oh Right I'm like

You know this is Pond And I'm like He never Pund never sounded like A regular human being on the phone I'm like You know

Come to my crib and the products. What? So I'm like, all right, so I go to his crib, playing him some beats. Sam Ash, I want to say with Sam Ash, at the time I just ripped him off and sold him a bunch of studio gear he didn't need. He was a model in his house. He was trying to build a studio in it.

So I'm looking around the house. And I'm like, well, you got a D-A-80, so you don't need A-D-A-D-A-Ds. And you've got an O-2R so you don't need a Mackey Digital 8 bus. Like, they double some of them, whatever. Right. So I'm just on the strength just telling him, You know, like, so he's like, you don't, you understand this stuff? I said, yeah, I engineer.

He said, all right, so when I want to build my studio, when you come and help me put things together, I said, yeah, no problem. He said, all, take whatever you want. Wow. So he ended up building, like, my first studio. Like, inadvertently gave me everything I needed to get started in the crib. So now I can crank out beats 24-7.

I got everything at the crib. I can record. I'm doing everything at the house. But I'm still working at the cutting room. Bruce Hornsby was a big client of ours. And he used to prank call me all the time. Who would have thought Bruce Forger used to figure into this story? Bruce Horaceby.

I would be saving us, man. That's crazy, good. So me and Bruce was working, I think, with David Byrne, I think, at the time. Okay. So they're working on something. And they were working at the studio for quite some time. So being that I was a dude who helped him with a lot of things, me and him developed a report.

So sometimes he would call a studio. He'd be like, Hey, this is, you know, Joe Blow from Galaxy Records. Do you want to offer you a Justin a record deal? And I'll just be like, oh, God, whatever. Like, what do you want, Bruce? Like, he had that kind of relationship. So, um.

I could tell where the story's about to go. So I'm at, I've told a story of bits and pieces of it. I'm trying to speed through it. I've told a bit of it before. So fast forward a little bit later. Bruce is still prank calling me I meet Dino from Universal right when Rock Kim was

finishing up The master 18th? No, the 18th letter, okay And cannabis had They had just signed cannabis I forget how I met him Was a chance meeting But he gives me the sales pitch

Yo I played him like 40 beats And I walked in with a beat CD Nobody had a CD recorder at the time We're not common Right I literally probably was Me and the Hit Factory

Me and the Hit Factory be the only people who had them. Right. And I walked in with a CD, which automatically he's like, who brings beats on his CD? Right. So that chord is I.

So we go through the music. He loves it. He gives me the sales pitch. He gives me the Gilbert Godfrey and Gas Face. We're going to make you big, big, big, big, big, one big for each of you. You know, he's like, I got cannabis. I got rock him, I got this, I got that.

I never hear from Dino again after the whole sales pitch. So I get a phone call about two, two, three weeks later. at the studio I'm going to answer the phone studio can I speak to just I'm like yeah this is him

so you know my name is G. Robeson I work for Rockefeller Records I'd like to talk to you about a couple things and I'm like you're all right Bruce what do you want right but in my head I'm like how does Bruce know what Rockefeller Records is right this is yeah whatever

and I'm like so I'm playing I'm going back and forth with it and eventually I just hang up the phone so then the phone rings again like, hey, I got disconnected. I was trying to speak to Just. My name is G from Rockefeller Records. And I'm like, oh, okay. So he's like, yeah, so, you know,

I was at Universal. I had a meeting with Dino two weeks ago. And I have this artist that I'm trying to sign named Billy Bathgate, and he doesn't have a demo. Wow, I forgot about Badger. He's like, so, he's like, you know, my artist doesn't have a demo. What I've been doing to just taking him around

to different labels and having him rhyme live. And Dino played your CD. And we want like, we love, I love like half of what I heard out of the 20. There's like 10 that I love. And I'm like, okay. So he's like, so what's up? And he's like, well, I'm working on a deal for Bathgate. On top of that, I just started as an A&R, Rockefeller Records,

and we're trying to build a production team. So I'm like, okay. So, like, how does this relate to me? He's like, we would like to talk to you about being part of the team. Can you come down to the office? This is when their office is, I think, we're on 15th Street, like near Union Square somewhere So I go to Dave

Dave, Dave's the owner of the studio He's like, I'm like, I know Dave I gotta go Jay Z label just called, they wouldn't have a meeting He's like, but you just came back from lunch break And I'm like, I just got a call from Jay Z's record label You talk about lunch breaks So he's like, just go, go

So I leave, go to the meeting They're like, so basically you want to do a production crew You, this kid We just found called Kanye West Rock Wilder and Rock Wilder Buck Wilder

Rock Wilder was supposed to be part of the sign production Yep And K. Robb from K. Rob and Ramelzee Yeah. Wow.

They were all We were going to be Rock the World is what they were going to call it And And yeah Imagine how crazy that would have been

So it never happened The deal never happened But we ended up just having a good working relationship. I never assigned to Rockafeld. I just

we worked well they paid me a lot of money I stuck around you know they would pay me in advance for like like down the line well I'm getting a little bit ahead of it

so the first thing they give me is to work on a Mills album the all money is legal the only one that yeah so I engineered that album I co-produced a few of the songs uncredited but you're just you know and

recorded and track the whole thing that was also the first time anybody at Rockafil had never even heard of recorded on Pro Tools. They didn't know what that was. So, Bill ran out of she ran out of budget. She couldn't buy no more two inch tapes. So we got this thing called Pro Tools. We'll try it. What's that?

Yeah. So I do her whole album and did one or two things with Bleak and Beans. Jay wasn't paying me any attention. We get to the end of the Bill's album. Here's a song that I did with her. He says, who's on that?

Who was that dude on the song? That was Bathgate because he put Bathgate on the record. Okay. Jay's like, take you did the classic, oh, take him off, I'm getting on this. And who did the beat? Oh, Jess. Oh, yeah, he got better. All right, cool.

Tell him to come down. He begged you. I can tell him to come down the baseline. He got better. Yeah, so I gave him, I had to give him a cassette of what the becoming streets is talking. Like, by chance, two days before. I didn't give it to him. I gave it to him.

I gave it to G or hip who gave it to. to him. Right. Get a call from Lenny. Yo, he just cut streets his watch or streets his talking last night and you want you to come to the baseline. Bring some more beats. And then the story that I told a zillion times,

I made, stick to the script while he was in the booth recording. Parking lot pimping. He comes out the room and I play him stick to the script and he's like, yo, when did you make this? I'm like, just now. Headphones.

He was like, but I was in the booth. I said, yeah, I just made it real quick. You know, chopped up the loop, played the keys, whatever. And that's when he was like, all, stick around. and that was pretty much it and then I guess a year and a half later

two years later I ended up owning baseline at its height what was the typical day at baseline like was it chaos or was it depending on what area you're talking about by the time like dim set and it come around and everything yes it was pretty

chaotic for a lot of reasons but I mean just even schedule wise because like you have all these guys and these various crews and there the cruise cruise you have your room does Kanye have his visit No, it's just, it's two rooms. So it's the room, the main room and my room.

We mixed menstrual on baseline. And so we was in the big, the big room. Yeah. So they were in the A room and I was, you know, in the B room. So Bleak was an early bird. So Bleak might get there by 11 a.m. Jay might show up around two. Dipset might show up around eight.

Beans would show up. at four in the morning not to be in trouble somewhere so it's literally like a 24 hour factory and you're a doctor on call yes this exactly what it was answer this for me how did none of

how did none of them stop you from giving uh cool me gang to Joe button oh yeah the Joe button how they not stop you so um

I'll never forget that day. I'm at what studio was it in L.A. The same studio, Ye was leaving when he had the accident, sound something in L.A. I forget the name of it. But I'm in there. I want to say it was a two-room facility. We had both rooms.

One room is me making beats. The other room is a state prop and a bunch of dudes working on an album or working on different projects. So I'd come up with the pumping-up idea that night. I come up with it as a follow-up to Rock the Mike for Freeway and Beans. So that was my vision. Like, Rot the Mike had kind of just had its run, starting to wane.

I think Flipside had maybe just, no, Flipside had, I don't know. Flipside had come out yet. No, because Rock the Mike was on state property. So, yeah, Flipside hadn't come out yet. So Pumping up was supposed to be a follow-up to rot the mic. Now, in Free's case, Free will pretty much wrap to anything. that I give him. At that point in his life, Freeway would have rap to

anything anybody gave him. I had him rap it on Casey and Jojo all my life. I swear to God. Freebie hungry like that, that's dope. It still is. It sounded like a good idea at the time. You know, it didn't come out for a reason. Right. Oh, that exists? Yeah, yeah, yeah. Oh, I got to hear that. It's called my piano. I'll find it to send it to you.

Oh, God. So. My piano is fun of the fuck. So I'm in there. I make the beat. freeways was ready to tell me when to rap but Beans was kind of like I think he might have been heavy on the lean at this time maybe so he kind of was just like so he leaves

and then a bunch of random rappers just started coming to like local LA dudes who were like fans and just you know those dudes that somehow end up in your session and trying to you know get on your records so I won't name names but there was just one who was just like, I had to turn the beat off now.

Like when he came in and started writing verses, I was like, all right, yeah, the beat has to just stop playing. So I stopped the beat and I started making As One from Blueprint 2. And I was like, all right, this is going to be the Rockefeller song that everybody gets on. It's a Rockefeller song that's nobody else. The other artist just kind of sending that message. Right, right, right. So I started making As One and then we ended up recording that.

I gave the Young Guns there. I think because Young Guns started. with the, it's Neef Buck, Neef Buck, out the cut, out the cut, dude. I figured who's routine I jacked. It was somebody's parked routine that I had jacked for it. Right, if you, if you want to know, want to know the real deal, about the two. Yeah. So I, that's, that's, that's, uh, came up with that idea,

get out to young guns, they start. So you're coming up with the hooks, too? Um, hooks sometimes rhymes. Okay. Sometimes I'm rewriting rhymes. Okay. You know, it's always something. Um, so that pump it up beat goes away.

So now we're a blueprint two era. and this is like the first time that Farrell and Jay really, really locked in. Like, Farrell is just coming up with record after record, after record. So, I'm in the Broom doing what I normally do, just in there working. I remember the pump it up beat. So I go to Jay. I'm like, yo, you hear that song. He's like, all right.

So he comes in like five minutes later. He's like, yeah, that's mean. But I'm finishing this Farrell record right now, so. Oh, man. If he finished, excuse me, miss, over... No, I want to say it was... No, Blueprint 2, that was... At Fortnite.

Which, I love that record. Yeah, but... Let me talk about, um, Nicky, please. Or nigga, please, did it, did it. I love that, that's... That, that, I love that song. Yeah. Um, I mean, the, in general, the Ferrell Records on there were all dope.

I always felt like if Pump It Up was on Blueprint 2, that could have made a world of difference. Yeah. So, actually, the record that he was working on ended up not being used. It was where he first did the come, get something, he took the Rath and came around.

He did that on another Feral B, which I just found recently. Yeah, because I have all the tapes. You know, so sometimes I just came through the server and see what I find. Justin, my best friend.

But anyway, so he goes back to do the Feral record, and he kind of was just like, yeah, that's nice. You know, like, now, Jay's like that sometimes. If he's focused on, I've seen him do that to,

people in regards to me. Like, I'm finishing this dress record right now. I got to go back in the room. So I didn't take offense to it, but it's funny in retrospect. So moving on from that, Pump It Up comes out, it ends up becoming, you know, what it does. It's a huge record. Jay walks in the room one day, he's like,

yo, that Pump It Up is crazy, but next time you come up with something like that, like, play for it. Mother fucking idea. Like, you know, let me know about that. Like, you know, he's like, The things that I never, we never had a structure where it was like I owe them first round of refusal. But you're not an idiot. You know where certain records are supposed to go.

And they knew that I knew that. So it was never really a thing. Who is Skato? Because when he does it on that, on that. Skane. Skane. Skane. Skane.

Don't worry, Skane. No, I gave it back soon. Skane. I thought it was your nickname or something. No. Skane, Skane Dollar. It was Clues manager. It was Clue.

It was Clues manager. But Desert Storm was Clue, Dore and Skane. I see. I see. So, and Joe had his affiliation with, you know, Skane was the one who bought Joe to death chair. Right. So it's kind of that connection.

So give me that beat. Don't worry, Skane. I'll give it back. Right, right. So that's what, so when I told Jay that, he was like, you did? I'm like, yeah, he was like, nah. So remember you said, I'm going to go do this for a record? He was like, I kind of remember that now.

Then he went and recorded his verse. That was that. Okay, so I feel like we're jumping all over the place, which is. Very un-amir to do. No. Teleporting. Back to the beginning.

So when you were a kid, no. Yes. We could do it. No, well, okay. Well, what about your work with Mad Lion? Wow. Wow. Actually, well, no, no, no, no.

Back up. Because I think this is something that this room doesn't know. You're responsible for the club classic. Shake that ass girl. Make that pussy wet. For real? How are you, yes. How are you responsible for that?

So I didn't do the original version. That was tap, rest in peace, do it from Baltimore. Okay. But the interesting thing about what was happening at that time in Jersey, what later on ended up becoming known as Baltimore Club music, which then became, you know, over time, a Jersey club. We had that influx happening, but then we also had a lot of stuff from Chicago that was coming,

So like the casual stuff Shout out to Curtis A lot of that stuff Was starting to infiltrate And It was basically the beginnings Of the primordial soup Of what became Jersey Club

So Okay so Is Jersey Club Of course you're going to say yes Most of you all Beat me down for it Is Jersey Club an actual legitimate Recognized

Genera That's a question because I didn't know until today. I think it's more of a sub. What's the difference between Jersey Club and Baltimore House? Well, I know the difference. I know Chicago House, but. I feel like they're, you can't mention Jersey Club

without mentioning Baltimore House, but I feel like the Jersey Club has become its own thing. The way they programmed, the way they chop the samples, the way they do certain stutters, it's become its own thing. Like Todd Edwards and stuff like that. Like it's become its own thing. So whereas the think, the James Brown,

Marvel Whitney, Lynn Collins think loop. It's not as prominent in Jersey Club anymore. So that was the foundation? It's, all right, so like, obviously all the original Jersey Club records, you have the think loop, or at least the tampering, the shakers or the tambourines in there.

I feel like there was a certain point where it got away from that, and it was more about the bottom, the bass pause. And that pattern, that boom, boom, boom, boom, boom, boom, boom. Boom, boom. Most of those records are still based on that, but what I'm noticing with the younger generations

that are doing it now, and it's not something that I can necessarily put in the words because I never really analyzed it from that standpoint. But the way they are truncating and stuttering and flipping a lot of their samples, there's definitely a distinctly different way that they do it in Jersey versus how they do it in Baltimore, versus how, like, some of the dudes that are doing it in Philly,

like Sega, for example, they all do it a little bit differently. And that's not something that I can really quantify or putting the words how it's different? So, I mean, but is this still pulse-wise? Typically, 128 BPMs. Oh, yeah, yeah. The foundation is still the same.

The foundation is still the same. See, man, I feel like I was on to someone what you got me and didn't complete the mission. You were, yes. I feel like the world, I feel like America, like with you got me and with bombs over Baghdad. Right. I think America's ready for German base,

but it's like it's... The gatekeepers are like. it happened. You think so? You're talking about ready for a drone base now? Or at that point?

I just feel like, I mean, I just, I just feel like the breaking out, I'm praying with this great record that the, the BPMs get sped up more,

and it really starts a paradigm shift. I don't hope that they this is so you hope they get sped up more. I just hope there's more variance in the BPMs. Well, it's due time

because it's 2017 and true to my five-year theory with things, changing on the sevens and the twos, something new is going to happen to hip hop. According, I mean, the last 30 plus years that it's happened. Right.

I'm praying that this is it. I mean, nothing against, you know, 73 BPMs. And I mean, now people getting super slower. No, now it's just the lean effect. So now it's like a half. Yeah, it's like literally, it's 501, 50 to 51 BPMs. Do you resent that? I mean, not resent that.

I mean, I know. No, I don't resent. because it actually allows me in DJ sets to have a little bit more fun because for one for not for one reason but one of the main reasons being you can go from the super high energy to this total shift but still keep people doing the same bounce you see what I'm saying like and then that allows you as a DJ to get creative with it and say okay I can go from 100 to 50 and it feels the same, but now the mood has changed. So now I can say way out of that, it hit the 75 BPMs,

and then after that, some way to get to 140. A lot of the halftime and double-time stuff that's happening, at least in my DJ sets, has allowed me to navigate more courses quickly. Now I'm with you on that. I see. I see what you're just saying, but it's just like, as a person, like, I can't stand bad segues and DJ sets. So everything has to make sense to me.

I'm the same way. That's why, like, I watch some dudes. And sometimes I'm admittedly getting jealous of dudes that aren't, that don't mind. Don't care. Right. Just stopping the music and totally just shifting tempos and moods. And you know what? But the more I watch dudes do that, whether it's somebody that's opening for me, whether

it's somebody that I'm playing before an opening for, whether it's a co-headline and whatever it is, I watch those from the side sometimes. And I'm like, I wish I did not care the way you don't care. Because to be honest, today's audience doesn't care. They don't care. Yeah, yeah. They just want to hear a playlist loud Right

And when I see that I'm like I literally have said to myself Countless times I wish I did not care Because that terrible ugly segue That dude just did Just put this party on full tilt Yeah we I don't know which year the Roots picnic it was

But we hired a DJ That was going back From his iPhone to his CDJs. What was I doing that then? But he had them going crazy. Going crazy, right. It was like, yo, there's some new shit I just made.

And he goes to his iPhone. And he puts it on the whole place is going crazy. Right. It's really, today's audiences have a very different ear and a very different set of standards. They care more about the end result

than the process, I guess. What's that? I guess they care more about the end result than the process. than the process. More so than, like, there, you know what, I will say this, and this is something that, this is an argument that I, I, I, uh, had years ago, um, in Australia. I feel like there's a, uh, uh, divide in terms of what people want from a DJ across generations.

Like, I was at, uh, a record spot down under, and I was talking to a homie and, uh, the dude that ran the spot and his wife. And, we were talking. about DJs at this was I guess 2006 yeah it was 2006 so we were talking about DJs that play

reissues versus original pressings and bootlegs and edits and just having that conversation but she said one key thing that made me realize that made me realize where our

actual divide because she said when I go to see a DJ play and I said that's the problem you're going to You're not going to hear. Right. Like, I personally do not care where due to sourcing it from. Like, there's sometimes certain purists, certain types of peers would be like, the Sorado kids, when they go into their Serrado argument and they start talking about the fact that, like, a kid now can just go download all 30 volumes or whatever it is of ultimate beats and breaks and play them. They didn't know what it was like to have to go track those volumes down.

And I'm like, all right, I knew what that was like. But I didn't have the struggle of having to discover those break beats and find all the original pressings. We're all standing on someone else's shoulders. Right. When Bamman was playing them in a park, whoever was playing them in a park, you know, they used to have to, they used to cover the records. They black the labels out. Right. And then you would hope that somebody from downstairs records or downtown records or whatever would.

Had it. Right. You can sing it to them and say, such and such just played this record that sounds like this. And hopefully, hey, hopefully they have it. B, hopefully they deem you cool enough to. give it to you. There was a lot of gatekeeping. There's gatekeeping at every level.

So for me, I'm like, wait, why are you worried about seeing him play? I'm worried about hearing him play. Because ultimately, if he doesn't impress me with what I hear, or if he or she doesn't impress me with what I hear, then it's game over. So that's what I feel like every generation, the qualifications and ramifications change in terms of what people are looking for. And even still, when you can, like, while it's true that the Sorado generation can't just download volume or whatever.

You still know how to play them. Exactly. You ain't live with them. Like you still got to live with those records. You got to know. Right. You have to know why those... This is eight bars,

why they work and what part of the record is hot. Right. Because you can't just play the whole Frisco disco. Right. Because people will look at you like, what? Yeah. But you can get to that bump, bump, bump, bump, it's a change.

There's very few of those records that you can actually play front to back. Like, you can play UFO front to back. You can play cavern front to back. You can't really play big beat past... Past the break. Right. Right.

Right, you can play a little bit of it, but he sings. But after that, that's pretty much it. You're done. What the hell are you playing? You know? You still got into the music. I used to be that way in the beginning. And then we had a bus accident.

Oh, I remember that. Yeah, and destroyed my. Headless heroes. Yeah, my headless heroes was like the first thing in the creek. The original copy. Yes, 200 bucks. Done. Right.

And then I was like, no, I'm spending bootlegs from that on, $10 for the bootleg. Yeah. Now, I have friends like, some of my friends are like some of the most either purist or OCD types or purest OCD types that you'll ever meet. And like, they won't make beats from a reissue. Yeah, I know cats like that too. And I'm like, but. Really?

I'm like, why? That's weird because I only like impeach the president. Right. On the boot on the, on the ultimate beast breaks version. Right. What did Kenny Dote got the master to it. Right. Reissued it and it's too damn clean.

It's clean. It's too clean. It's too, it's not good to me. I like his, I like to play his reissue when I just want to give people a, make them, you know, like, what the fuck? How did you get that? Yeah, yeah, yeah. Like, or when they just, they hear it, they're like, yo, this is the same, but it's different. What did you do?

You know, but like, other than that, I don't care where you get it from, as long as it's. If it's dope is dope. Right. Go back to, oh. Wait, since we're down the rabbit hole already. Yeah. Since you said that, do you ever find yourself whenever your peers are over your shoulder? do you ignore the audience

and then suddenly you're doing it for them and does that ruin your set? I try to not do that. In other words, Natasha is over your shoulder and you know you got some shit going to fuck her up. Right. Now you know what? I only... So, A, something like that

where say it's like me, Natasha, my other record nerd friends, I will only do that at our party. Okay. So at our party, we all know that anything goes and that's when we really get to go in on each other like you don't have this boom you don't have this boom or

I'll do something crazy like you don't have this boom and I'll play it and I have copies for everybody you get a copy you get a copy I do the Oprah thing sometimes you know like motherfucker fucking I come out to mobile Monday more often okay so like but when it comes to like where I'm working and

sometimes a lot of times like I do certain types of events that they don't really frequent but they're curious about them. You know, like if it's like a big EDM thing or something like that. A lot of them, like, I'm not just talking about Natasha in them, but just in general, a lot of my friends don't necessarily frequent those places, but they're curious about what goes on. I'm not going to go and play like the ill super duper, duper, rare, you know, a funk, funk, buggy record, you know,

when I'm in the middle of playing a bunch of turn-up music for some kids and doing what I got to do for them. You know, it's not, it's- So you have more nuanced control. Yeah, yeah, yeah, you got it. Because I can't resist sometimes. I can't do it. Now, here's the thing. If I'm in a venue or playing a party or an event or a festival

where it's kind of more of an anything goes kind of thing. Right. And you can throw the curveball and the audience is, there's some places that you'll play. People know who you are. They know your taste. If they're coming to see you play, they know that they might get a curveball.

People go to see Rich Padena because they know he's going to throw curve balls. You know. Your status definitely determines how much you can get away with. Right. So, like, if I'm playing a certain place and I'm, like, establishing myself, like, for example, there are certain festivals that I play where it's like, Just Blazers is playing, we are at that stage. And as soon as I get up, my stage can be 40% or 30% full.

By the time I get 20 minutes in, I'm at 100% capacity. There are other festivals that I play where it's like I'm establishing myself in this market. So my curveball ability is very low. because I'm trying to establish myself here. I'm not going to be the guy that's going to all of a sudden be like, he was doing great and then he just started playing

the theme from the Jeffersons. I'm just using that as an example. Like, yeah. Shut up, right. Now, Kay Trinada, I don't know,

you ever seen him, he's kind of like that. Like he did, I went and saw him, he was here a couple, it was like last month. And his opening set, this is a room

full of like 20-year-old, you know, but his opening song was Welcome to the Club by Blue Magic. Wow. And I, I text me.

Damn. I was like, nigger, you just, that was revolutionary. And he had him jamming, too. But see, that's the thing. There are certain people that certain generations will look to for that. He's somebody that can do that, not because he has the status of being able to get away with curveballs, but because he's one of those. Certain people look to certain DJs for certain things. Some people look to, like, I know he's going to play a good time, play all the songs I know.

He's going to know when to drop the vocal out so I can sing along, and it's just pretty much a standard good time. Then you have other guys who are known as like The Diggers. And I feel like Kate Trinada, in a lot of ways, is the Digger sample. Of his generation. I mean, dude, he was dropping Whispers of Regs. I was like, what the fuck? Right.

So people, that doesn't surprise me at all. A, because I know him, but B, because I've seen him play. And I've watched the fact that the crowd respects him when he does that. Now, it depends on what market we're in. I remember when I was playing, we played a festival together. I want to say it was in New Zealand. His stage was a much smaller stage. but he was able to do that.

On the stage that, who's it, me and Zane Lowe, on the stage that I was playing at, that would not have worked. Yeah, that would have bombed. Because just the way I'm positioned, I'm positioned on the stage that's the, ah, stage. So it's not going to work for me.

A win is a win. A win is a win. I don't care which I'm saying. Yep, that's me, Clever 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,

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follow at Clifford and at TikTok Podcast Network on TikTok. What's up, everyone? I'm Ago Vodam. My next guest, you know from Step Brothers, Anchorman, Saturday Night Live, and The Big Money Players Network, It's Will Farrell. 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 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 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 Podcast, or wherever you get your podcasts. This week on the Sports Sliced 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 Sliced 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.

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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. our 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. Wait, since we're talking about DJ, um, tricks and stuff and, you know, surprises and obscure songs.

Right. I think maybe now is a good time to try part three of. Bitch who guessed it. Oh, come out of it. It's loud. Oh, come on. That drum roll thing was like torture. No, no, no, no.

You did well. You did well. All right. So, can you guess these joins? Okay. I can already tell you. I know that one. D.C. LaRue, Vernon.

What just happened? Crapwood. Hold up. Very white. So again. Oh, wait. Why am I? I'm on a play.

I'm trying to play. That's all play. Y'all host this show. Y'all should know this shit. Nah, I don't. Every here should know it. Now, here's the thing. There's something I don't know the original break.

I know who was used by. How about I don't know the name? I had the record. I don't know it by name. Okay. We'll try again. Okay. I don't know that.

I have diabetes, so I don't know. I'm out. I'm out. Tad-down. There's a couple of left of sunshine in. By who? How do you know it's let's let's? Because when you played it, you let it go a little bit too long.

And I can hear the let the sun. I just don't know whose version that is. Oh, it's the re-block singers. Let's the sunshy. Oh, yeah. Oh, who uses? Let's... All right.

Then-da-da-da-da-da-da-da-dun. Yeah, you play that one. Yeah. D-da-da-da. Okay. What is the name? It was Brakesha's version of... Yeah.

Brace's version of what's the original song? Mango meat? Yeah, mango meat. By Mandro. By Mandro. By Mandro. Okay. Do you guys know the mango meat story?

Uh-oh. Am I allowed to reveal it? I feel like since I've done it, I heard that Jeff has been redoing that. Oh, motherfucker, I do it. Oh, gosh. Oh, what you thought, you thought we were going to let. So, all right, fine. Mango meat.

Can I do it first? Okay, go ahead. Can I do it first, please? Go, go. What's about to happen here? And then I got the thank the big for And I got what I take the mic the mic When I'm traveling

Oh wow That's the Ah man, the night He revealed that shit It was Like it looks confused She's not right moment She's not recognizing the freeway sample

What is the What is the What is the Oh, you still don't know? No, I'm No, I know, but I wanted to ask a dumb question, I guess, in the room, but I was like, It's not dumb questions. There's somebody listening.

All right, Mr. Blaise. But what did you replace whatever that instrument was for rock the mic? I mean, it just sounds different. I can hear the K that sounds the same, but whatever the... It's production. He tuned it higher and... There's a lot more to it, but that's basically it right there. Yeah.

That was done on the ASRX Pro. Really? Yeah. randomly like I had one and I the thing I loved about the ASRX pro was or that the SRX in general was that it was the engine of the ASR 10 and also had built in a built in sound module um where you could like access uh patches through RAM as opposed to having to load stuff in through a drive or not having to use like a JV 1080 or 2080 or whatever to get your sound so it's basically to get more space and right it was basically all in one machine like

you had the sampling section you had your samples with the And you also had built in piano patches, bases and things like that. And no drum machine, to my knowledge, up until that point, had had that all built into the ramp. Wow. Yeah. So I started trying to, I championed it for a while. It was no MPC, but it was, there was a certain element of portableness. No, it was the weapon of choice.

I mean, Rizzo made life. Oh, of course, right. I mean, on that equipment. All right. So we're not done. I know that that's the Get It Together sample I never knew what it was called

One of those like switched on Bach Or hooked on Bach records Another let the sunshine in By the Moog machine Oh okay Hooked on Bach Is that D.C.? That was a D.C.

No, I had to have that. No, I don't know that one. Oh, Congo by Lafayette, Afro Rock. Oh, yeah, now I hear it, yeah That's D.C. Leroux. I just know the whistle. Just the squeak?

Yeah. Is that a kick pedal or? Or a chair? Yeah, it's a thing is like the squeak of the pedal. Play the whole thing. Oh, I'll play a little bit of it. Anyway. And that is who?

That's D.C. Leroux. D.C. Leroux. D.C. Leroux. That's Vernon Burden Bunch. Vernon Birch. Burrish. Okay. Get up.

Get up. Played that last night, actually. That wasn't Sylvester. That's Sylvester. Boehannon? Sound like Bohanan. I don't think it is, but it sounds like. It sounds like me and the gang

But I know it's not You're close Yeah it's get it by Manjaro Can you get it Okay Get it get it Got it

Oh yeah Okay Last Oh together brothers Okay I used to troll people And I would Like even real

I still do the same time Yeah Instead of Yeah instead of ride the train Yeah Yeah And they'll be like Oh it's a real song

But like Like it wasn't It wasn't until I really Like it wasn't until maybe At some point in the early 2000s that I realized that's what that was. And now the train is my favorite bass record

because that the Together Brothers is so hard. So I never, I like Together Brothers better because I don't like the way they program the... No, not that I don't like Together Brothers better. I mean, that's the source. My point is, I never listened to ride the train from the context of production.

I only ever listened to it as that song that drove you nuts when it came on a radio or when the video came on. So once I found the sample, I went back and listened to it. And I was like, for them to take this and make a Miami bass record out of it. That was like some old, like when, what was Mr. Mixer's crew,

the ghetto style DJs, when they would do things like on mega mixes, when they would have, no matter how hard you try, you can't stop. But making Miami bass flip out of that. I appreciated that because it's typically in Miami Bay, they were sampling craftwork, planet rock, stuff that was already electro. Right. When you take something like that together brother record, together's brothers' records, which is when you listen to out of tone,

it's completely different style. It doesn't lend itself to bass music. That was kind of like the reason why, like, people ask me about the sample flips, I'm the most proud of or that I had the most fun doing whatever. Obviously the Rick James is one that you and I, you know, have a history with. Like that was one where it was like, I took something,

not that it hadn't been sampled before, it had never been sampled for that. It wasn't supposed to be, hey, look, here's you can't touch this. You know, it was, but when you listen to it, like there's something about this that sounds familiar. And then you realize that there's nothing but me chopping it up on the past. You did it with ignorant shit too with the, did you do it?

Did you do it? The eyes of the joint. Nobody ever listens to that point? You did that? Oh, shit. But nobody ever listens to them. That's one of your more quiet song. Yeah, it was, uh, well, they kind of used it, uh, vicious on the, the Nika.

The Nika, he took like a little bit of it. Oh, they did? Yeah, but I mean. I got it back and listen to Nika now. I remember the record. I remember from that. It was the main part, but like the little pre-hook. Right.

there as well. Or even like the T.I. Rihanna Live Your Life where it was like, anybody knows that record from the Fat Kid on YouTube doing this. And the funny thing is that it came about in almost the same exact way. You know, I did the Rick James thing

from my MySpace page, like trying to figure out a way to just brand it like, hey, this is my actual page. So I forget what I was trying to brand, but it was the same thing. We make a track out of something ultimately ridiculous, but try to make something credible and cool out of it. And I don't know if it was for like,

it wasn't Friendster or something, but it was something else from that early internet era. And it just so happened, and Tip called me right after I made it. Well, as we were making, I'm like, this could actually be a song. So I started writing a hook to it. And it just so happened that Tip called me like right after I laid the references.

And I was like, oh, I had the opportunity to get a Justin Timberlake on a record because I guess Justin owed him a favor for getting on something. So originally, that's why, It's all falsetto. The demo, if you were here, the demo, it's all falsetto because I was referencing it as Justin Timberlake.

But then Rihanna came into the picture and we ended up going with that because it made more sense for her to be on that record. Okay, now I've got to jump all over the place since you mentioned, Kingdom Come. I wish someone was there to work on the hook riding process of those three songs.

Which three? Show me what you got. Oh, which is got? Oh, my gosh. I'm not mad at show me what you got, but just for, oh, my God. It was the wave. I didn't mind the way. I didn't mind that.

Black people don't wave, though. But here's the thing, all right? So black people don't wave, right? But I'll tell you, I don't play that, when I play festivals, I don't, or parties or bigger parties, I don't play the whole record. But I play it up until the wave and every, but everybody wade. Oh, okay. Everybody waves. Like, so my thing, I actually stole something from Mr. C.

When the record first came out and how did this something was running it back to back to back to back, back. And Mr. C got hype and started doing a hands up and wave to the left wave to the right wave So for me that's the perfect way to get out of that record because everybody does it They all in white people black people whatever now that it's an older record at the time it might not have worked it works now I think the the resistance to show me what you got was more about At that point it was just too much goddamn hove at that point it was like I think anything would have been overkill. Which is funny because that was his comeback

out of retirement record. Yeah, he came. Yeah, he was silent for a few years. So he was still. I mean, the backlash was just ready. Yeah, the back, I mean, you know, I think anything. It's got like a big of a relapse, you think?

Sue would. I mean, it was too much of a, and this is a thing, whenever he snickers on his record, I hate that snicker because it's like, that is the, All right, you ever watch this? You ever watch

You ever watch? You ever watch? You ever watch the Chappelle extras where Charlie Murphy's describing the guy that says, you fucking moron? Yeah. Oh, yeah, yeah, yeah. And now that just gets, yeah,

he has a friend, he is a black friend that insults you to the point where you just want to beat the shit out of him. Right. He has a way of saying, you fucking moron and he turns into a white person saying it makes you want to fuck him up. Right, right, right, right. That's what the Jay Snicker does for you.

That J. Snicker, it's not even like the Tupac Snicker. What was the Tupac? I mean, no. I don't know about the Tupac snicker being a thing. I mean, no, Tupac always had to laugh. It's supposed to be smart, but it's never as menacing as Tupac's think it is in his head. like, I think in his mind, two box things would be like the Super Villas.

So much that I never even noticed. I never even noticed that. Wow, the snickers of things. Oh, God. I got to get in June. Ladies and gentlemen, I know the Jada stick. What he's doing? He's laughing.

Yeah, that's the, that's the Jada infasema call. I thought. I love this. So, all right, here's the super rabbit. We're never going to get to your career, Judge. So that's fine. So one of the most amazing things I've found out, that Bill and I found out teaching at NYU.

Does the world even know that you teach at NYU with me? Do I teach at NYU or do I just hand out papers? If you weren't there, would class be as smooth as possible? Hell no. Yeah. Is this the black laugh? Is this the theory that we're going? Okay.

Was the whole class about the black laugh? No, this is actually really interesting. It's amazing. So what I didn't know was that in general, emotions were illegal during slavery period. Okay. I mean, even with your parents, you're like, you better not correct. if I give you something to cry about. Or, you know, you can't get angry at someone or whatever.

But you also couldn't laugh. Laughing was illegal in slave time. You were sassing. Right. So it was just keep your head down. Do you work? No crying. No laughing.

No whatever. So the slaves had to invent a alternative way of life. Right. So that they can express emotions if they want to cry or scream or something. So the idea of a barrel of laughs comes. from a place, they built a barrel, filled it with water. So if you felt yourself wanting to curse out your master or laugh at a joke or something and didn't want to get 50 lashes, you would duck your head in the water and laugh to suppress

the sounds. And that's what the term barrel laughs comes from? That's where it comes from. Now, where it's relevant into terms of entertainment, the very first spoken word, or I guess the first recorded material for black people. Right. Was a song called The Laughing Song. And I guess it was the fuck the police of its day.

Because it's like, well, I'm recording a song so you can't give me lashes or put me in jail for laughing. So it's the ha ha ha ha ha song or whatever. And so one of our teaching assistants, Amalia. Amalia, she did a study. and in her study she noticed that laughing on any black records is never laughing. It's an expression of pain.

So when Stevie, like the invention of Michael's he-he-he-he-he is from Stevie wonders maybe your baby, which is about betrayal. Right. So he's just, most of James Brown's is grunts, ha, or who. Either laughing is an exclamation term, Or it's a villain term

Like I got you motherfucker what you're going to do It's never just a genuine A genuine hearty laugh of joy or Right Laughter on any And she has She's done a study of like 100 years of

Recorded music That's crazy You know what you're I can't think about An actual happy laugh Right I want to take your class now Is that what y'all discuss?

You take this class every week Oh that's right Never mind You are I'm your turn we have a find a laugh. She literally has, every laugh she has is either

villainous or an exclamation. Or an ironic laugh. That's so bad. She's got to be not one. All right. So I can't even backsell it. So this is the laughing song by George W. Johnson from 1898.

A laughing song by George W. Johnson. As I was coming around the corner, I heard some people say, Here comes a dandy, here he comes a spy. He's a healer like a snowplow, his mouth is like a strap, and when he opens it gently, we'll see a beautiful gap at that I laugh. I got out of the room to have. Wow. How was that recorded in the very first recorded by a black person?

Do you know how was recorded or what it was recorded on to? I mean, whatever it's, I mean, I wouldn't say that. It was like acetate? Yeah, it's on acetate. I wouldn't even say it's during the time period that what's his name was. How did Lomax? Yeah, that Lomax was going around recording people. but I don't know the history.

I can back to check and bring it up to another. Yeah, that's, yeah. But anyway, leading back to Jay. It's so sad. The Jay's laugh. Leading back to Jay, yeah, like, ha ha ha.

Yeah, but I just never. Yeah, his laugh would, it's like being called a moron. What's what I'm gonna do? I'm sorry. I'm bad. Yeah, it's just, ah, it irks me. But my whole point was.

that I fell it got shorter. One, I think people were just ready for the J backlash to go down. Yeah, it was time for it. And two, oh my God, and Kingdom Come could have used way better hooks. And I still felt

the thing was I sold him, I told him to start that record with those three songs. Because in my head, I wanted his comeback to be like the updated 2006 version of America's Most Wanted. Right. I described like, yo, these three records, blammo. And. But see, you know, the things, I mean, he had his own other vision. Like, he wanted it.

He'd always wanted to do a project with Dre. And if you look, like. Every, all their collaborations are a fail. Like, Dre. His verse don't watch it. too was dope. That song wasn't really, but he came off on that verse. Dre tried to mix those records. He didn't bother trying to mix trouble what you got.

He tried to mix Kingdom Come. Not you? They had this thing where they were like, they had done a deal with Dre where Dre was kind of supposed to help oversee the album and also do the mixing. They knew how hands-on I am at my stuff. Dre knows that. But I said, you know what, it's Dre?

I can't argue with that. that, you know, like if he says this is something he wants to do, cool. I knew what was going to happen. I knew it was going to get a call. And that's exactly what happened. I got a call. Like, yo, because Dre has already, we and Dre had already tried this with,

when we were working on games first album, you know, Dre oversaw the reason. Why you hate the game joint? Right, no, no, the first album, we had, like, church for thugs. Oh, that's right. Your White hit was on the, yeah. Yeah, a little second album.

So, like, Dre had already tried to mix my records, and because it's Dre, I'm never going to say, no you can't attempt that you know like that's straight and Drey has probably one of the best ears in hip hop

as it relates to his sound he knows how to make his sound amazing but he called me he said I don't know how you do what you do with these crazy base frequencies and these super high in horns like part of me's like I tried to mix it it's not happening

come get on a plane and I went out to L.A. and fix the game record and it wasn't even a long process says it was just I know how I EQ what I EQ what I need to do. What poody do. Exactly. And then with Kingdom Come, it was kind of the same thing. I never, at this point, I was, you were doing files and I never was the type to send files out.

Again, it's Dre. I'm not going to say no. I remember Jay Brown being like, doing this solid, you know, I know that you're, you do your own stuff and you're your own factory, but we're trying to do this deal with Jay where he mixes everything. I said, all right, fine, sending the files got the same call. you know it's it's not coming back right like i heard just rough you might as well just have just do it because all he was he what he was trying to do was recreate my rough chasing the demo right it's like what just i already have the demo here so let me just fix that up so the day that they sent me the files back and jay was coming to approve or listening to the mix and see if he was cool with it was the dad

played him show me what you got and he because i had the mix up for kingdom in the B room and then I play the list but I have something else you need to listen to and I play him and y'all was still at baseline at this time?

Yeah okay I want to say this was maybe the last thing that he did recording wise at baseline we mixed we mixed blueprint three at baseline but he didn't record it

ever there we just brought the files back and mixed it does baseline still exist no when did it go down it was baseline I had the grand closing

two thousand either 10 or 11 wait hold up 11 2011 2011 so I did the Grand Clothes. What was the last thing

worked on there? That is a good question. I'm going to have to get back to you on that. I want to say Blueprint 3 was the last thing I want to say actually worked on there. There might have been a few other random things that came up here and there before I finally closed

the doors. But the last full project that was worked on there, like the entire Blueprint 3 was mixed there. Okay. Now I'm going to get back in the DeLorean and go back to to let's go back to the

Shake that ass thing actually Yes that's what I was saying Because I got to So I didn't make the record But I was in my In my neighborhood Or in my local market I would say I was one of the guys

That like kind of I guess helped break it So I had routines that I would do Because back then you didn't have 20 Jersey house records to play Because there were 20 of them Or 20 Baltimore house records At that time So I used to have a whole routine that I used to do

So one night I used to do a roller skating rink And from 9 to 12 it was roller skating And then from 12 o'clock on we would shut down a skating rink And it would just be people dancing on a skating rink It was all ages I was maybe like 16 when I was doing at the time So

One night we got a little bit of money together And we had Wendy Williams Williams host Oh wow And Mr. C was going to be the DJ because the party started doing pretty well so we were able to get a little bit of money

together and start booking people. So Wendy Williams comes down to the host Carhart Dad, I remember she could have been an extra in a youngster's video or her honest video. What? She was Carhart Dad from top to bottom. Like the Scully

The Best and Bha! Shout out the Tritch. I'm trying to say shout out Tretch. So she comes down and she's doing her hosting. I'm still DJ. And I know that Mr. C's about to do his thing.

So I'm like, you know, I've always been the type to kind of respect the headlining DJ. But at the same time, like, this is my party. So I'm going to throw that. So my thing was I knew that he was going to do the hip-hop thing. He had never really been exposed to Jersey, just house culture in general up into that point. Because it's very different from what's happening in house. in house clubs in New York. Gotcha.

So I do my usual jersey house thing, which is really, like I said, just the mix of the Chicago stuff, the Baltimore stuff, some of our local jersey stuff, some of the Detroit Tech now. And I ended with this routine that I used to do

where I used to do a mix, a blend of shake that ass. And the whole time, he's just kind of in the corner, like, you know, being the celebrity DJ, just watching me waiting to get on, he's just kind of, whatever.

I play that, and he immediately is just like, wait, what's this? As soon as he heard the opening P-dun-d-d-d-d-d-d-d-d-l. Like the bounce called him. Then he looks at the crowd, and he sees what the crowd was when we had just moved the crowd

onto the skating rink. So now everybody's dancing on. He's just watched what's happening. Like, yo, this is amazing. So I get a phone call from him. We exchanged information that night. He hits me the next day. He's like, you know, I need that record

or that song that you have. I need to do something with this. Who is the original artist on that record? Tap. He passed away a few years ago. So I bring him a copy to the coach. He's like, oh, meet the Cold Chilling offices. This is when Cochilling still had offices.

Wow. So I go to Cochilling. Now, me, as a kid who grew up on, people in my age who grew up on, like, you want me to come to Cochilling? So I'll call my older cousin, he gives me right over to Cochilling the next day. or I actually about a couple of days later and I give him the record and he literally gives me a

copy of every single record that came out on cold chilling from the inception like the prism days to then sealed yeah sealed brand new unopened so it's like literally like three boxes worth

and doubles of everything oh man so I'm like including like the looks like a job for a big daddy cane and taste of chocolate. Literally everything. Where. I want to interview a little bit ashamed.

That was that was that was post-cochilling because that was a No, no, that was in the CIA. That was a show improved joint. The last cold chilling was like, was it Prince of Darkness? I think it was how you get a record deal?

No, it was. Looks like a job for. It looks like a job for. It looks like a job for. But then like because I'm new when I'm young or because I'm so young, they like, oh, wait a minute.

Maybe we should play and start playing them some of our new records. They're trying to kind of like getting pig me to be like the kid A&R. So now I'm going to the cold chilling and like they had signed a group called the Brooklyn Zoo. Had nothing to do with Dirty, but they were called the Brooklyn Zoo. And he plays, they play me the video and they play me the song or they play me the video. And I'm waiting for the Wu-Tang symbol to pop up and it doesn't pop up. And then the video's over.

And I'm like, well, where's the Wu-Tang symbol? I don't know. I'm a kid. Like you play me and this was right when Return to the 36 Chambers had come out So I'm like where's the Wu-Tang's? There wasn't one I'm like But they're called the Brooklyn Zoo

You know like Right It was just a really So that I walked up with a Brooklyn Zoo 12 inch too It was just You know like But it was just that surreal experience of I'm at the cold chilling offices

And I've just been given this entire catalog On Wax So that's actually the first time my name Ever appeared on a record Was when Mr. C did his version of Shade That As, if you look at the bottom of the 12 inch, it says big up to my man DJ Just from Jersey. So, like, to me, I had made it. You couldn't tell me.

My name was on a record, period. Like, it doesn't matter that it was a tape king's pressing. It was a record. I'm like, Mom, look, she's like, who's DJ Just from Jersey? I'm like, that's me. But, like, I still, actually, to this day, I have a framed copy of that record, like, just because it was one of those reminders. Like, my first time my name was ever on a record.

was, it wasn't even a record that I produced, but I knew I had a big hand in it. And that record ran New York radio in clubs for God knows how long. Yeah, that's how I heard. So, all right, now I'm skipping to Matt Lyon, so we can get a line. That was a really random thing. I don't remember how it came up.

I don't remember how it came up. Chris had just got a job at Reprise. He was like their head of, he was in the head of N. I forgot Chris Lighty. No, K.S. 1. Oh. K.S.1 got an office job.

Yeah, he was in the office for him. His Rhaps will destroy you and this dude. And he had signed this dude named Thoreau maybe or through something like that. And then he gave a line of deal. I don't remember how the initial, like how it happened. But I end up like my first time ever in L.A. Like being flown out to L.A. by Rookley, my first time I ever set foot in California was being flowing out to do this Mad Lion album.

And a lot of the stuff that I was doing was very orchestral at the time. There was a lot of string arrangements. A lot of horn arrangements, timpennies, stuff like that. And his idea was he was trying to do like a Conan inspired album. Like the Barra?

Barbarian. Yes. If you ever look up Mad Lion, Predator or Prey. Oh, God. Predator P-R-E-D. Instead of Predator-T-O-E-D, instead of Predator The tour is Predator, so 8H. Of course.

Yeah, of course, because it was the 90s. Right. Or pray. We were all. Oh, my God. Yeah. Wow. Did he speak like he sound or?

Did he sound like cooking? His talking voice is very close, but close to his rap voice. What? So I wanted to say, I did like eight records for him. It was my first time ever seeing like a lump sum of money. Like maybe like something like almost a hundred grand. Is that in a check or is that in cash?

That was a check. You signed a reprise record, so I got a check from Warner Bros. But then I forget what the situation was, but I want to say maybe there was a white label of one of the records that we did that I ended up getting because I was still in a record pool at the time. So I get a copy of my own record at the record pool

and it just says produced by Mad Live. And I'm like, sure, Jess, you did this record. So we're on the phone. He manned up and we talked about it. He didn't give me the industry running around. He didn't do the, you know, we talked about it. He was like, listen, you know, gave me his opinion on it.

I gave him my opinion on it. He said, well, how about this? How about we just make it the Mad Lion and just play his album? I said, no, it doesn't need to even be that. I just want to be properly trying to do for what I did. And from there and now, we had no problem at all. Funny enough, that was actually on that album. On that album is the first time

Autotunes I'm actually used on an R&B record. Wow. What year is that? I don't know. 98, 99, maybe. It was before, because Cher did it, obviously, that was the first one.

And then I want to say, and then Jennifer Lopez had it on. I think maybe if you want my love or something like that, we did a record with Total. Did it explode? Are you the only one that really likes Total? No.

No. No. I appreciate TOTR for what they were. What? No, the first album was, the first album was a has some jamming. Can't you see? Yeah.

The second one was sitting home. Sitting home, I tried tripping. Come on it. Look, that had a jam on there called rock track. I remember that. The Missy Jones? That was like, having good songs and giving good performances are two different things. Oh, well, yeah, that's, yeah.

Right. What I argue that. What I appreciate about Total is that I felt, They know they were accessible. I felt they were accessible. They were the girls next door. They sound like your cousin Tanisha's singing. Right.

And I don't think they ever tried to be anything more than that. More than that. Right. You know, like, so we did the, I remember we did the record. What was it called? I don't remember what it was called. But if you look up, Mad Lion, total, it'll come up. But we did the record and I'm going to try something.

Because right after, I was using Pro Tools, you know, early on. So I knew about the auto tune effect. So I put auto tune, I think, on Pam, the dark scene girl. Put auto tune on her and she was like, what's that? So I'm like, oh, I'm just going to put auto tune on all their vocals. All her background. The first or the second album? This was on Mad Lions out.

It was Mad Lion featuring Total. So I did the beat. Speaking of, that's another funny story. Doing that record is how I met Joey Longo, pal Joey. Oh, okay. But this was when Thong song song. was out and popping. Okay.

Wait, pal Joey did that? No, he's sampled. They used his drums from Earth people. Yeah. So I walk into Unique. Wow. The day I'm doing this session and I look at my track sheet and it says assistant engineer or by session log it says assistant engineer is going to be Powell Joey.

And actually it might have just said Joey Longo because that was his real name. So I'm in the room and it's just, you know, this white dude. A little bit older than me, you know, you know what he was talking about. And I'm, I started to put him on here, are you pal Joey? Like the pal Joey? And he's like,

you know who I am? I'm like, you know, Earth people, Soho, KRS, like, and I was just, I was so wide-eyed and so young at the time, I was like,

why are you working here? Wait, can you stop the story? Yeah. I know pal Joey from all the KRS credits. Right. Pal Joey did motherfucking show host

Hot music? Yes, that's what I'm saying. Yes. Oh my God. Oh, I'm in a conversation now, y'all. Music. I think he should have got a...

He probably got a pretty good check because Mark Ronson sampled him or credited him on the last record that... The one that sounds like hot music. Yeah. So I'm like... You know, looking back,

that was a crazy thing to ask, but at the time I was just like, he's a hero to me. And when I hear a song, so he has, aside from hot music, his other classic house record is Earth people dance. Yeah. So he had a bonus beats version on the flip

that the DJs used to rinse. Crazy. Really? Yeah, so at the end of Thong song, if you remember it changes and it gets a little bit more foreign to flourish, they're using pal Joey's drums. So not only has this done amazing classic records,

and at the time, I'm thinking that all of my heroes are living rich and lavish and are doing our well to do or whatever. So I asked me, why are you working here? He's like, well, I wanted to learn about engineering and I needed a job. So I'm like, but you've realized that like your drums are sampled in the number one record

in the world right now. You don't need, like, why are you working here? And I was just so, that was my first time meeting somebody that was a hero mine, but meeting them just in their regular life. And he was like, you think I can get some money for that? And I'm like, dude, yeah

clearly your drums your program drums not a loop you found and no this is your program drums are on the biggest record wow I'm mind-blown this pal Joey

yes damn that's earth people yeah I'm sorry it's earth people so uh yeah that was just a random story I bet pal Joey and kind of like was like yo dude talk to this lawyer

you can go get some money next time I don't know the exact outcome but like next time I saw him he looked a lot of happy here and he was like, you know, good looks. Sheens. Yeah.

So, you know, I'll stop the story there, but I think he was doing, he did okay. Made out okay off of that. But anyway, yeah. So, um,

that lion situation was the first time that I never made a nice little chunk of money up front at once. My first time to L.A. Was that my first experience in Boys Town in L.A.?

I have a great Boys Town story. Are we talking about West Highleywood? I don't. No, like the actual Boys Town area of L. Okay, okay. I didn't know what Boys Town was. But it's not West Highland.

Neither did the roots in 1994 when they stuck us in that Ramada. Oh, wow. I got a better one, though. Hold on. Are we about to get off the air now? A win is a win. A win is a win. I don't care what you're saying.

Yep, that's me. Cliver 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 big. than I ever imagined.

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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. And 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 IHeart Radio app, Apple Podcasts, or wherever you get your podcast. 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,

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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 someone, 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.

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It was, I think this was my second time in L.A. I ended up in anybody who's familiar with L.A. or next time you're in L.A., you know that I hop on sunset. Yeah. Oh. Holloway Drive. Right next to that is the Holloway Motel.

Yikes. So the night of the Grammys, I ended up having to stay in that hotel. Why? Not knowing what it was. Do you, I'll give you the short. cheapest hotel in the world. It's not just, it's not even a hotel, bro. It's a place where wait a minute. This is what they rhyme about like,

think of the Bristol Hotel by El Oculton. But it's in Boys Town, so it's... Wait, it's crazy because it's like, okay, I see the Rosco's, I know where the IHop is. It's literally right next to the IHop. How? I'll give you the shortest version possible. So this is my second time, this is my first time in L.A. on my own just being there. Me and the hip hop, went to L.A., I think he'd, like, set up some meetings or whatever.

Hip-hop, Kanye's manager. Yeah, yeah, yeah, yeah. So we're out there. We're both dumb young. We're just out there. So this was, we were out there while the Grammys were happening. So we kept, we were only supposed to be there three days. We kept extending the stay.

And the hotel's fine with that. They're getting money. So the day of the Grammys. Oh, prices are jacked? No, the price doesn't. The rooms aren't even available. So there the, the day of the Gramies comes. And I call down to the front desk, like, hey,

We're just going to extend our stay. I'm not going to this. They're like, oh, sir, well, that room has been sold out since last year for this day. Like, and I'm like, oh, all right, so can you help us out? Like, we need to stay here. We don't have a plane ticket back home. So they called all their other hotels, like, you know, in L.A.,

trying to find rooms. They couldn't find rooms. No, they had no rooms available. They start calling other hotels just to try to help us out because we've been staying for like two weeks, so they were trying to look out for us. Long story short, there are literally no hotel. rooms in L.A.

At all, period. It's the day of the Gramby's. There's nothing. You're also talking maybe like 2000. So a lot of those newer hotels that are in L.A. now, like those, they don't exist back there. And this is the year 2000. This is when

records were actually selling it. Pre-centric, pre- air and B. B. Right. There's none of that. It's either the Hilton is available or it's not. I got my lap track ready. So. Anyway. Oh, shit.

So. me and my see I forget dude's name what was the what was the crew behind Sunshine Anderson who was that? Mike City and Mike City produced heard him off before and

I forget dude's name but he was like the guy that kind of ran their crew or was like Oh the head of Um Start with a Jay maybe Start with a Jay He was the industry

At the time he was popping I remember what his name was kind of irrelevant he was having So I'm skipping around First of all My homie Mobetter comes and picks me up

My old homies from the bed So we're literally driving around LA Trying to find a hotel That's the reason why I bought a dude up The Sunshine Anderson dude was because He was throwing a Grammy party that night Hip Hop was going to help him with the party

So hip left like I gotta go help homeboy Can you try to sort out the rooms I'm like yeah we'll figure it out At the time I don't know how difficult it's going to be We check out of the room Hip goes and does what he has to do The party is on I think the House of Blues

That was right off sunset or whatever So I get We go around to every hotel Nobody has anything We pass this place A Holloway motel, whatever And the signs has vacancy

As it always though Right So we get there And it wasn't even like a front desk They had like a Or the window Yeah, they had a window. Sign number two.

HBO and jacuzis. It's all your needs. Bulletproof glass. It's all you need. Hard keys. I'm asking you, you know, you have any rules. He's like, well, unfortunately, guys, we only have doubles.

I'm like, well, that's great because there's two of us. Right. So he doesn't know that hip-hop, but he sees me and more bed. He's like, you know, we need one. He's like, unfortunately, I'm like, wait, but no, it doubles are fine. There's two people we need two beds. So there's a job. sitting right next to him

I don't look at the jar I'm thinking it's like lollipops candy you're I don't know but it ain't I'm jumping in some of you so I'm looking around

just the neighborhood and there's a lot of prostitutes out here whatever I'm just kind of again this is my second time in LA my first time really on my own

so I'm just getting to lay in the land wow this I guess this is the hooker area I don't know so they like pancakes.

I get to the hotel. I get it in. The room is clean. It's, you know, bare bones, but it's clean. So, I'm in there for a while. And at the time, like I said, I'm nobody. So I'm just, like, the Grammy red carpet is happening. We're watching it on TV.

I'm watching it on TV. Hip hop is doing his thing. You know, Galevancing with Homeboy, setting up for the hard rock half or the, not the house of blues, uh, jerk. What album is out that year? Is this blueprint or? This is pre all of that.

Oh, 2000. That's still maybe. Maybe a mill, maybe. Okay, okay. That was probably it. Maybe a mill. Okay. So,

um, I'm like, well, hip hop's having that party. Maybe I can get into that. Or, you know, homboys having a party. Hipops there's, maybe I can get into that. So I go to get in the shower. So I, so I, I start showering. It's like, Yeah.

I think this is something Do you still have what you caught that night in the shower? I need to switch seat. It's actually, and I think this is a fear that we can all relate to. We can?

And the shower and mid-lather mid-lather. Mid-lather. Mid-lather. The water shuts off. There's no water. Oh. Oh, yeah.

What are you? That's a problem. What do you do? Yeah. So, and I had, like, I literally just stepped in, water's on me, soap up, water stops. And I'm like... A timer on the shower? What do I do?

So I kind of, I'm covered in soap. Like, it's like, and you can't really just towel it off because it's just... Yeah, you're sticky as itching. Right, but I had no choice. So right after that, the phone rings, the guy at the front desk or the front window. You're using the water. Letting me know that there's been a water main break in the area. There's no water anywhere.

the area. So I wipe, I'm still sticky with the soap film all over me I get dressed I'm like what do I do I just go to the IHOP I can't go to IHOP

there's no water so IHOP is closed so I'm just gonna go back to the room so I'm sitting on the room sitting on the bed watching the Grammy red carpet still covered in soap you know but like sticky

and whatnot and then all of a sudden I hear coming from the next door so I'm like oh I guess so somebody's getting it in So at least somebody's lucky But I notice I hear many voices It wasn't just like

A male in a female moan Or a male in a male moan or a male in a male moan Orr It was just all types Bunch a moment Right Yeah A oh

A oh oh oh So I'm like They trigger these shit on the SP They lie or G So that's what it really hits me like Like yo I'm in like a hotel Motel like the no tell motel. And I run back out to

the front desk and it's closed but the jar is still there or the front window but the jar is still there and I realize the jars are actually what's in, where the jar what's in it is it's not lollipops, it's not bubble gum, it's packets of K-Y and Oh, kind of. Whoa! The funky combo!

So I'm like... They know their audience. They know their audience. Right. So I'm like, well, so now I'm just I'm walking around and remember I saw, I noticed that they're a lot of hookers out. So that's what I'm realizing, that's when I'm starting to realize

what area that I'm in like, and I'm staying at a motel that they're all coming to do their business in. So then I try to, I'm like, you know what? I'm sticky, I'm covered in soap. I had dreds at the time, so my dreds is all soap and watered up. I can't do anything.

So I'm like, I know where the house of blues is. So I was going to try to walk towards there. Maybe I can just get into the party somehow, but then I realize how I look. And then I look at the, the line and I see the line is down the block because it's a house of blues Grammy party in LA and I realize I'm not getting into that but I'm going to try anyway but this is really before cell phone is even really like where I had a cell phone I want to say hit maybe did it

I'm like I don't know what to like I don't know what to do at this point so I roamed boys town for the next couple of hours oh wow getting a holler at can't hold that and just not know what you know what do I do in that situation so eventually I go back to the hotel I realize what it is now. Water comes back on. I finished the shower. So I lay my jacket on top of the bed.

Smart. I don't get in the bed. Smart. I just lay there. So hip hop finally comes in like 6.30 in the morning. And he's tired. He's been at this party all night. You know, they probably went for food after.

God knows what else. So I come like half of sleep and I see him go to pull the sheets back and get in the bed. I'm like, no! Don't get in the bed. Whatever you do not get in the bed. He's so confused

He gets in the bed anyway I'm like dude stop Like to sleep on the Do you see what I'm doing Yeah Do you realize where we're at Do you see the jar of condoms in K Y You know

At the front window There was no Bambor There's shit The bed bed Wow Shout out to search So

So Next morning Mo better finds You know Now the grand people are leaving until the next morning we find a hotel. Oh, but then I don't really know that this is traditionally

supposed to be like an hourly thing. And if you stay overnight, like checkout time is still like 9 a.m. Because nobody goes to those places and stays. It's a 12th. So I'm getting the phone calls and dude is very effeminate and his managerism was on the phone.

So I'm kind of like, just kind of like, yo, whatever dude. Because he's like, yo, checkout time. I'm like, yeah, whatever, click. Because I'm aggravated. I'm tired, if I've had the worst night from hell. I just want to sleep until I know that I have another hotel room. So, dude calls again a little bit later, still, you know, being effeminate.

And I'm just like, all right, all right, fine, we got to get up. I got to get up, I got to get up. Hip hop had left already because he was going to try to find another hotel room. So dude calls one more time, I'm like, hey, yo, we're about to be out. Because we have found a hotel room at this point. Next thing I know, about five minutes later, there's a bang in my door, baby. And it's, I hear that same A feminine voice. So I opened the door, like, ready to

like make you the thing. And the dude is like 6 foot 9. That's that. D.E.L. White beards. His muscles got muscles. And I'm like, sir, we'll be right out. And that was, yeah. And that was, yeah.

Anyway. I bet y'all upgraded like crazy, though. Stayed in the red. So, Siky. Yeah. Man, let's go somewhere. So, okay, so Saigon. Yes.

Man, what happened with that record? Like, now that it's like over and, you know. The endless delays. So. Wait, did it come out? Yeah, it did. It did come out. It came out 2011.

I got that mistake with Jay Electronica. Oh, that means all about him, too, yeah. A lot of mercy. So, Sy was brought to me by, like, when Sycamore was first trying to figure out with the A&R game. was whatever and he wanted to work with me like and I used to just see Sycamore around and be like who is this dude like I'll be in Chicago and then the next day I'll be in Cleveland

I'll be in Chicago with Sycamore is there I'll be in Cleveland the next day he's there and I'm like you know he was just trying to I was on the road with Jay and 50 at the time so sick was kind of just like finding out where we were playing at and popping up in every market just trying to make a name for himself so took a liking to him he wanted to do the A in our thing, so he brings me a bunch of artists. One of the artists he brings me a side of. So I'm like, yo, the kid's kind of nice. I haven't come down to the studio.

Gave Sy, about four records or four beats. I'm like, take these home, let me know, bring me back what you come up with. In the meantime, like, you know, he had his warning shots mixed tape out. He had literally like a crazy binder full of press and whatnot already. So I'm like, all right,

you know, the kid has some stuff popping. Let's see me he comes back in terms of the music. Music he brings back is not mind-blowing, but it's good. Considering he just went home and one night wrote four songs and brought him right back to me. So I'm still debating what we can do with this. If we can make it into something, he's coming around baseline more. I'll be giving him more music. Within a week of that, word starts to spread that we are, you know, hanging out.

Before we can even do the bidding war thing or anything like that, Atlantic comes right to the table. Like, so we hear Just Play's working with an artist name, Saigon, and G is involved and hip-hop is involved, so we want it. Didn't hear a, didn't hear a song, didn't hear a demo, heard nothing. They just saw the names on paper. Just plays Saigon, G. Robeson, Hip-hop, Rockefeller, go. Like, why would we not a part of this?

And because of the way his buzz was at that time, at least in the underground and throughout New York, I think they thought they were getting like the next 50 cent. Right. And it wasn't that. His music wasn't that. And so me, you know, being young and experienced in that field just was like, oh, they, hey, we don't even have to make a demo. They just want to sign us because it was involved.

Great. Looking back is one of the worst things you could ever do. You already know that. And on top of that, G and hip hop are going to be in the building at Atlanta. now. I kind of want to say this might have been their entry point into Atlantic or this was like happened right after they made their way into Atlantic

so you have you know two of your very good friends now being the heads of A&R at the labels like it's a no-brainer. You know it's a win-winning for everybody. And as soon as we sent them the like so things are bubbling and I knew something was up

and we were like we gave them the first record and what was it pain in my life with Tray songs on it Which they didn't lift the finger to make it We did it Got the record played on It's playing out in 197

It's playing on a few other markets Video being played on BET He was hosting RAPCity for a week Or what I don't know if he was on it He had a regular series of like rotation PSAs that he was doing on MTV

And I want to say he hosted RAPCity for like three days or something All this is happening when painting my life drops. None of this is from Atlantic. This is either from PDs or music directors, whatever, being a fan of him, a fan of the music. It wasn't me calling in favors.

It wasn't us calling in favor. It was all happening very organically. So we're looking at the label like, hey, this is happening on its own without you guys lifting a finger. How about you lift the finger? How about that? They were like, well, how do we do this? How do we sell this? And this is right when they're starting

this was that same year that they made all that money selling ringtones for the first time. So they're looking at this like how do we sell ringtones of this music. This is socially conscious actual like real hip how do we sell this? And I'm like well you guys are a label. You've been selling records for 100 years now. And that's no slight to them. That's just really what my

attitude was like we've if I can't if the music can organically find its way to MTV BET, Hot 97, most of the other with the exception of like we were getting played in Boston was getting played in Miami it was getting played in Chicago all this is happening without any of us calling it any heavy favors and without you guys not lifting a finger imagine what can happen if you guys did and they just never did and then they it started eventually became apparent they just didn't know what to do with it so at that point I'm looking at like all right let's just figure out of this contract

but to Craig Coleman's credit Craig was Craig admitted that and was still trying to find ways to make it work. He still, like, when it came time to be forecast the budget, he was still, you know, letting it happen. We needed a Jay Giles band sample cleared, which nobody had ever really sampled J. Giles. You know, he personally made the phone call to, like, the manager. He didn't go to sample clearance house.

They like, he personally called the manager, made it happen. You know, um, and while he's trying to put his best foot forward, side's getting frustrated at the delays and things, so he, he started to speak out against the label. And then he was like doing things like five-page MySpace posts, renting this Atlantic. I'm like, dude, I'm trying to get these guys to either put up more money so we can finish us to feel what way to do it or let us go.

You keep doing this. You're pissing them off. Like, it's going to make my job harder. Which is either get the album finished or get out of there. And at that time, there was so much transitional stuff happening at Atlantic, which you already know all about. that just the process of getting out, even after they agreed to do it,

just took God knows how long. Yeah, I mean, we were able to get out of our stuff, like, quit. Right. Like, apathy was at the same time. His shit took, like, three years. Right, I remember trying to apathy was over there, too. And, you know, I think with us, they had, they had, they invested a good amount of money. Like, what I did, the first thing, one of the first things that I did was,

all the producers that had been helping him and supporting him, like guys like Scram and Alchemists and stuff like that. I went back right to those dudes and was like, I can't pay you for your old beats, but I'm gonna give you all you guys' song deals. So I'm paying Scram Jones for three beats up front before he's even made them. I'm coming to Alchemists and saying,

I'm paying you for two beats. Like, the same guys that helped develop that sound, I want you guys to be the bulk of this album. Buck Wild, the same thing. So I'm giving you these checks before I'm even hearing beats. And for the most part, all that worked out. But that said, Atlantic had put up so much money.

They weren't about to just relinquish it without having their... Some kind of return. Right, exactly. So by the time they worked to, out the return and everything else. Now we had a position where his buzz is died. So it's like, all right, now we're freedom.

We have freedom. We can put the record out. How do, who wants to buy it now? So we kind of had to get him back on the habit of putting on material, made staves tapes, getting him on the road, finding a new distributor for the project, making sure that all those sample clearances and things that Atlantic had set up in good faith were being transferred over to the new situation.

I have to, like Jay had given me a feature for the album. I now have to, you know, hit Jay and be. like, hey, it's still coming out, just making sure we're still good. You know, and all the guys, all the talent that was on the album, like, just like Fat Man's Group doing the intro,

misinfo doing skits, screen learning skits, like, because it was kind of set up like a radio broadcast. Getting in touch with all these people and making sure that, like, hey, it's been five years or four years, but, you know,

but make sure that we're still good on our clearances. So a lot of that was really the delay doing it and at the same time him, you know, getting his buzz back up. It was definitely a learning experience. I think one that you know you kind of have to go through to know what mistakes not to do or to make or what things to not go for the next time around. So it's five years later like we started that out I met side I took over like officially officially took over baseline in 03. I want to say side came around by and I messed sick more in 03 the same year that I bought baseline so I want to say sigh I had to start coming around in 04 like mid 04 and we were working and like the deal probably.

happened by late 2004, early 2005. He came out in 2011, so that's six years later. So let's talk about another frustrating project. J. Electrolysis. Electrolysis? Yeah. J. Electrolysis. His train is running on schedule.

What? What's schedule? That's his favorite saying. Oh. My train is running on schedule. When was the last time you had a conversation with him? A real, real, real conversation? Or like, that we had contact? A real conversation?

It's been a while. Like, when Carrie Fisher died, we had a conversation. It wasn't about music. It was about Carrie Fisher. I'm sorry, you two are Star Wars. Well, we're just like sci-fi guys in general, you know? You are. You are indeed.

So that was a conversation. It wasn't a lengthy conversation, but it wasn't a real conversation about some real stuff, just about life in general and things like that. I want to say after being Swiss, did the back and forth thing he DM me super hyped wanting to work Where is he in the world right now?

I don't know He's a nomad like a motherfucker I want to say if I remember correctly One of the last times we did have a real lengthy conversation he had told me that he bought a house It was either in New Orleans or in Texas It might have been Texas Maybe so he could be closer to his daughter

Maybe It wasn't in New York and it wasn't in LA I want to say that if it wasn't in New Orleans It was I think maybe in Texas You know, Jay's always been a nomad. Like, funny enough, you know how I know Jay is through Rashad. It's funny how many things Rashad is randomly behind. But yeah, so he hits me like, I got this kid.

He's amazing lyricist, great artist, doesn't know a thing about the business, doesn't know how any of this works, doesn't know, you need somebody to take him under his wing. I'm not that guy. You know, I wanted to bring him to you. In the meantime, some, I mean, this has been in the AIM days when you always talk on A. Yeah Somehow Jay ended up stealing my Ames screen name from Rashad Yo

Okay I was thinking As you were talking about this I was like I wonder if I should share The story about the time with Jake Okay so he's legendary for this shit Yeah You tell you his first Go ahead

So no I mean it's and to be It wasn't that much of a story Like I because I was already aware of him From Rashad Because Rashad had already prefaced the conversation Right And me and Rashad had spoken about him A few times

I wasn't necessarily surprised When I heard from him But then I realized he didn't, like, he was just looking over Rashad's shoulder or at his computer when he was there and stole my screen. I mean, I always figured if he stole my, he probably stole the feet. I doubt that. Which Rashad are we talking about? Shmisholm. He's done Biggie's one more chance.

He was kind of the gutter of the Puff's hipment. He did all. I mean, I mean, he did doing L.O. He did the hop, too. Didn't they do the hop? He did the Hop on tribe. Yeah. He's one of those guys that can bounce around.

He'll do ladies' night for Little Kim. But then he'll do dreams for Biggie. You know what I mean? Right. But wait, real quick. So during the 2008 campaign period for Obama, like

when all of us were going heavy, doing all that stuff, one of the greatest prinks I was ever part of because Jay and I got cool. One day he just aimed me. Right. Two got my aim and we became fast friends that way.

And he convinced me to kind of go in my celebrity room to play pranks. I don't know if I should reveal this. You should absolutely reveal it. He somehow managed to. get Obama's aim name before Obama thought to Right

You know like back in 2008 You weren't thinking of Okay let me get my Gmail name Right My AOL name My space name Oh so he got Barack Obama on AIM Right

He got it on aim And Brilliant First he pranked A Dallas Maverick Person to thinking that he was Barack Obama Wow Then

Sounds like Jake Then we got Jonah Hill, which to this day, I'm not sure Jonah Hill is forgiven me for it. But the best one of all was nice. It was nice. Wow. Wait a minute. You're reminding me of, hold on, hold on. I'm sorry, finish your story.

I can only imagine what Nasreroa. Oh, my God. I mean, you know, to this, to this, to his credit, that's when I knew. Actually, I think that's also what subsequently ended my days of being on AIM. I used to always be on AIM. Right. I remember that I just knew. Jay kind of punked me out of AIME.

Like, I stay inside the solitary confinement. I don't go out of the general public. I remember he tried that with me one time posing as Scarlett Johansson. Yo, he is genius. I forgot about this. His genius level finesse. I'm telling you, he had Nod's, Nod's. engaged so convincingly.

It was the most vulnerable I seen him. He said something prolific, didn't he said like, I mean he was just like he was so touched and forward that the and the way that he did it, I was also like, oh, Jay might be a sociopath. Like this is some

this is some what's the Will Smith six degrees? Six degrees separation. It was the level I've seen him in situations to switch characters where he can talk the whitest of the Rothschild white and the gir of the

gutter. And then all of a sudden. Very quickly. Now, one thing I say about Jake, he's a social engineer. It was at that moment where I realized that the way that his brain works is just on some next level. So what's going on with him? I couldn't tell you. Y'all did a Zipa A.

We did Exhibit A. Funny, fun fact, Exhibit A was sponsored by Guitar Center. We have a guitar center to think, for example. You all I went to get Tarsen and made the demo real quick music. Nah. I see some cats in a 24-hour Apple store makes the music.

Like, that's just real. What happened was, you know, they do their catalog, their circulars, whatever, like once every season. Mm-hmm. So it was a two-fold thing. They wanted to have myself and an engineer and an artist on the cover of that particular season's catalog.

Mm-hmm. my homie Mike Mike Shav who was Yeah he was with Denon for a minute Mike Chavria Yeah

So Shav had some kind of Inside the guitar center So he hooked up where it's gonna be Me and him on the cover And then obviously Jay's our connection I know Shav through J

Through JZ No I know Shav through J Electronica Yeah like So if I'm saying J I'm talking about JLecton I'm talking about Jok Talk about JZ got it

So um Long story short, guitar center does this thing once a year where obviously most of their employees are aspiring musicians or whatever, DJs, producers, whatever they are, songwriters. So they do a compilation every year of their employees' best music. It's a contest. Whoever makes the best 15 songs makes the compilation.

And this year they wanted to feature something from an established artist, that artist being me. So the idea was, okay, will make a song that'll be, you know, me and the electronic will make a record that will be featured on the Guitar Center compilation. So they bring Roland into the mix, and Roland basically says we want to sponsor

the making of this record. So they basically just opened the vault and said, pick whatever you want, there's no limit to what you want. So I got about, the thing is there was not much that I really needed from Roland, but like the new June, all that, like every keyboard they had that was coming out that year, like the guitar synth,

that they made, like, anything that they had that was hot. At that point, I was just like, I want one of everything. And within a week, we had it all at the studio. None of it was really needed. But it was just, all right, cool. Appreciate it, rolling. So I want to say what it was all of a sudden done with probably about 35, 40 grand worth of a year

that they sent over. So we do the cover of the guitar center circular. It's already been shot. It's about to come out. I'm trying to find J. So we can do Exhibit A. I can't find them. I fly out to Detroit.

because I knew who's going to be in Detroit went to Shav's crib, tracked him down and we ended up doing exhibit, say, in Shav's attic. Wow. And a week later, you could walk in, this is before anybody really knew who he was yet, you could walk into a guitar center

and get a physical copy of Exhibit A for free just for walking into Guitar Center with, like, artwork and everything. So we do that. There were a lot of different conversations about what we could do, you know, whether we, like, at one point, the idea was for me and him to kind of, like, be a group. You know, I'm Primo, he's guru, you know, that kind of thing, like, an actual duo. Went through a lot of different phases, and then he would come to baseline and just hang out.

It was funny, actually, Saigon actually kind of felt a little bit of a way when Jay first came around. I was going to say, like. Right, like, and his thing was kind of like, yo, who is this guy? Like all of a sudden, you know, you're trying to get my project, right? And this guy just comes down to nowhere, and now the tension's on it. It wasn't like the tension was ever away from Sa. I just think he kind of looked at it like, can we get my thing? You're no longer the bell of the ball or he isn't.

And that wasn't the case at all. Jay was just coming by like some hanging out. And eventually they ended up becoming friends, and, you know, they're good. You know, that was just kind of the first couple of days of just like, yo. Just filling each other out. Right, just trying to figure out who does do it is. So that was also just kind of the process of me and Jay getting to know each other as people in general

Because up to this point, a lot of our community You know, we would speak a lot for a week or two Then he would disappear or I'd get busy or whatever So this is the first time that we were in each other's company In a regular basis non-stop for quite a while So out of that comes exhibit C Which has many people who are listening to this Probably heard another story like that was

Actually, we were trying to take it back to the days of when dudes would do promos for DJs. So Exhibit C was supposed to be a promo for Angelie Yee. Oh, my God. What's up with all these women inspire these classics? Remo just told us Frank Crack Ramirez. Yeah, with Angel Martinez, yeah. So that's actually the exact same kind of thing.

So that's why if you listen, Angel used to have a show called on The Morning and After. That's why at the end of Exhibit C, I say the morning after, world premiere. I thought that was going to be the title that album. Right. So we did the record, and the idea was do the record. take it to the morning after the next morning and just premiered on there. Jay fell asleep.

He fell asleep in the studio. I wasn't 100% in love with the mix yet. And it ended up going from being like, I think it was supposed to be like a minute long to now a five-minute song. So we just decided to let go of that idea of it being a promo for Angela. And the record just kind of sat around.

for a while, you know, my hard drive. So I was going to play Tony Touch at Shade 45. And I'm like, I can play like, all right, my usual, you know, everybody knows, like, I did this record, I did that record. I don't want to do that again. Instead of we played a bunch of records I never played before. So, because he was one of those records. And as soon as I played it, like, the phone lines lit up, PDs calling into the room, like,

what is this song? People from other stations in the building are walking into Shade 45, like, yo, what is this? and it just kind of became a thing. Had I never played Tony Touch's show that night, that record, but I might have... It would just be a guitar center promo. Well, that was a... Well, no, that was a GINA.

We're talking about existing C. Right, right, right. I might have ever even played anywhere else. Damn. You know, so I play it, you know, it does what it does, and it becomes, like, the first time in years that you're, like, hearing real hip-hop at 3 o'clock in the afternoon on New York radio,

which was anything that hadn't happened in a while. So, I mean, it's, what is, what do you think it's going to take, or at this point it's just too far from? I don't know. Like, here's like, Jay, like, he's an ideas guy. Like, at one point, him and most were going to be a group. So, God, of course. So I had, I had. With DeAngelo, uh, Insequies.

Smiles and South Star. So I have three general trying to commode deaf records. They did three records. I had them, but it's like then that was, then it was another idea. Then it was a different idea. Then it was a different idea. Then Jay comes along, or Hope comes along, wants to do the deal. And Hove was kind of like, I guess his thought process initially was if I bring Jay in,

then Just Please comes with that. Because people are looking at us, you know, as being affiliated, which I can't understand why he would think that, but that wasn't necessarily, you know, it's like, doesn't kind of work like that. That's like somebody assuming that they sign you or they bring you into work on a movie and I come along with that. You know what I mean? Like, we're still too simple.

It ain't a package, do you? Right. So, Jay's at this point now in London a lot. He's working on the album. And, you know, I get the court, like, you know, from a whole, like, come by the house. So I go by the house, we square away everything that we need to square away

in terms of my involvement with the album. So I fly out to London. We get a, I'm speeding through a lot. of stuff um but you know we get a good amount of the core of the album he had demo demo ideas already so i took those touched those up worked on a few new records did an exhibit g i think and an age maybe we did like two more um and kind of just got the album to a certain point and then that was it i don't know what happened and that was how many years ago when 2017 now this was maybe 2012 yeah damn I could be wrong.

I could be wrong. You better hurry up. It might have been 13. It was a large professor record. DeAngelo. By the album when I drop it. 30 years from now. Let me think about this.

I'm trying to see like, I'm trying to figure out what else was happening. Do you still feel like you're waiting for a Dr. Dre record even though it came out? But that record is not the record. Is it? That's not the record. That's not the one. That ain't the one. That's not the one.

Right. That happened. I remember when I started getting. calls like for them for me to come out and work on that record and I'm like but you know this is a whole different thing like you know I've heard I want to say probably the first a little bit of the very first detox because I was one of the first people he called and he was doing it so I heard a little bit of that then he went and wiped all the tapes like literally literally literally literally where it has it there is one debt that is in a location

Why, just in case, like, he passes, he doesn't want to. No, he doesn't even want that. I think there's another person who has this debt. I could be wrong. I know that there is a remnant of something. I don't know who has it. Let me put it that way. It's an engineer.

But I do know. But the word is, because I remember hearing those songs early on. Like, Usher's throwback was supposed to be a detox record. It was supposed to be about him leaving the game. Oh, you're going to want me, man. That was the whole thing. What? Oh, wow.

What? That was a detox. All right, look, we can get lost in these stories forever. We got to stop the show. We're going over her a lot of time. Thank you very much, Just Blaze, give it up. Anytime. Yes.

On behalf of Fon Tegalo, Lai, myself, boss, and unpaid Bill and Sugar Steve. Unpaid Bill. Yes, it's a long... But he's the wrist of all of us. Just look at him. Yeah, what fuck, man. This is Questlove. Signing off, Questlove Supreme.

See you on the next go round. Gushlop Supreme is a production of IHeart Radio. This classic episode was produced by the team at Bandora. For more podcasts from IHeartRadio, visit the IHeart 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 I'm saying.

Yep, that's me. Clifford Taylor the 4th. You might have seen the skid. 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 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 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 Slice of 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 in so-ins, 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 Mancini. 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. This is an IHeart podcast. Guaranteed human.