The Questlove Show - Black Music Month QLS Classic: Prince Paul

Episode Date: June 8, 2024

Especially through Hip-Hop, Prince Paul has taken Black Music to new frontiers. Back in 2017, the legendary producer and spoke about his contributions to early Hip-Hop, winning Grammys with Chris Rock, and some of the ways he shaped the sound of De La Soul, 3rd Bass, Queen Latifah, and more. Paul's contributions remain active and ongoing...  See omnystudio.com/listener for privacy information.

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

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

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

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok Podcast Network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends.

Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. Quest Love Supreme is a production of IHeart Radio. This classic episode was produced by the team at Pandora. What's up, everybody? It's Sugar Steve from Team Supreme. June marks Black Music Month.

We often speak about it on Quest Love Supreme, and we've had some of the legends responsible for the recognition on the show. Every day this June, we are running a different episode from the QLS archives to honor the tradition and intent of Black Music Month. This week, we are focusing on some of the great 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. Next up, we are revisiting our conversation with legendary producer, DJ, and artist Prince Paul, who revolutionized album making and production techniques.

Suprima, Subima, Subura, Role Call. Suprema, Subma, Subma, Submina, Roll Call. Suprima, Subprema, Submina, Role Call. Supremma, Sopina Roll Call. Seventy Saga Khan? Yeah.

Stick them. Yeah. That freaking moolie? Yeah. Freaking lick him. Roll. Yeah. Supriva.

Supriva. And I still messed up. I forgot Rufus. Supriva Roca. My name is Fonte. Yeah. It is not Eugene. Yeah.

But what does Toosh? Right. Et Lele Poo mean. Roca. Supriva, Supraima Role Call. Supraima Rocah. Supraima Roca.

My name is Sugar. Yeah. With Prince Paul. Yeah. Three feet high. Yeah. And high. Roha.

Supriva. Supra, Suprema roll call. Suprema, role call. It's Laeam. Yeah. With Paul in the place. Yeah. You better get out my way.

Yeah. Before I punch you in your face. Roll call. Suprema. Where that's. He gets it. He's a real car. Supremea Roll call.

He's grown ice. Subma, blah, blah. Yeah. That line I missed. Yeah. Shout out to Prince Paul. Yeah. Next up on this.

Roll call, Suprema, sub, Suprema, Roll Call. Really? Suprema, so, Supremma roll call. What up, the name is Paul? Yeah. Yeezes, Jesus, y'all. Yeah.

Y'all hope to cease. Roll call. Supraima, Supremma, Role Call. That was actually, Supremma, Suprema, Rocall.

Suprema, Suprema, Suprema, Supremma role call. Suprima. Supraima roll call Wait Wow, that was pressure

Were you actually surprised That we told you to do a verse? Yeah, man After we told you The top that you're going to do a verse Yeah, yeah, yeah The last time I did rinds was Will Rise Not Falls

You know, past the peas All right, well, you know, 25 years later, here you go Wow Von Pee did the remake of that Yeah, yeah That's right Oh, anyway

You wait, you were on Yeah, it was on that. Yeah, it was on that. He was the last one. Wade, holding, there's something you guys talking about that I'm not to tell you with. You ain't alone. You ain't alone.

It was we, yeah, your skits have been co-opted so many times by people in this room. What? Oh, I got to hear him, man. Ladies and gentlemen, this is a special episode. No, it's not. Ladies and gentlemen, this is a very unspecial episode. A special episode. Um, you know, usually I start with the grandios over the top.

intro, but really I will say that perhaps our special guest today is one of the first paradigm shifts in hip-hop culture, meaning that it's his brain space that allow dwebes like me to make a living in this world that we call hip-hop. A lot of his leftist center crazy ideas really resonated with nerds. I mean, it made nerds feel included. Thanks, what are you trying to say about me?

You are our leader. Ladies and gentlemen, please welcome my leader. Prince Paul. I made it after almost a year of trying to be here. No, man, you're... Thank you for inviting me. I appreciate it.

Thank you for still coming. Thank you. Thank you for... I wish I could count how many times I have a text message that says, when is Prince Paul coming? I'm like, come in, it's tomorrow. Oh, you know, wait. Yeah, this is special. This is definitely going to be a nerd out episode.

You're our most thought after. Yeah, me being the leader of the nerd, apparently. Oh, you should know, do you really are. I mean, do people, because I feel like you are the leader or the god of people that read liner notes on albums. Like that's, that's a, I don't have to say nerds, I'll just say, if you read liner notes and you love hip hop culture, then, you know, Prince Paul is a part of your life. Who doesn't read liner notes? Maybe I'm the nerd. No one now.

Well, there are no line of notes to read. Well, yeah, nowadays. Yeah. You just look at the picture. Yeah. But, I mean, it's just, you know, a lot of things that you've done are, you know, they speak to just beyond the yes, yes, y'all. crowd. So how are you today, man? I'm good. I'm glad to be here. You know, it's good to see you. I mean, you know, I catch you every once in a while. It's been a second. Actually, you know,

it's weird. Like, we've been doing a few DJ gigs together. And I have to say that your selection, your selection as of late, at least the last two or three DJ gigs I've seen, um, I'm shocked at how you expand. Because usually in our, cultural range. Right. A lot of guys like to stay in the lane that they've been known for. Like, you know, certain DJs will play music that only they produced in a certain period.

I mean, the Prince Paul Medley. If I did that, everybody stopped dancing. They start socializing. Go to the bar and get drinks, you know, we'll go outside, go pee. No, but you go up and... In whatever order. Like, you actually, you cater to the crowd that's watching you. which I was amazed at.

I was like, okay, so he's not being hard at it. Because a lot of people just be like, yo, man, I hate this particular time period, and I hate modern hip-hop, and I'll just stick to, you know, 86 to 94. And you were going all over the place. Like, you were playing trap shit that I was shocked that you were even aware of. I maybe shazammed one or two songs that you played. Now, I mean, part of it is, It's going to sound cheesy, but good music is good music no matter whatever.

It's just harder to find it in this era. But I'll extract stuff, and I had to thank my son for all the trap knowledge. Yeah, that was my next book. You know, he's part of it. And I'm a old school DJing since 1977 since I was 10. So I come from an era where you rock the party. You know what I'm saying? It has nothing to do with anything else.

You know, it's like your job is to defeat and annihilation. every DJ that's around you and then kind of make the party jump. Well, yeah, you definitely annihilated me. Yeah, I don't think so. No, I was like, because it was at the tribe party. I was like, oh, man, I was going to do all these nice soft tribe samples. Your last record was like, little out of your son. I was like, oh, man, now I got to, they already turned up.

But you got it, you got it perfect because you walk in and goes, the lights come on. No. Power techniques. No. I'm like, wow. No. Kiss the ring.

Anyway, anyway. We're not going to get stuck in this circle. Didn't I read, I'm not going to give you a compliment. Don't worry. But didn't I read somewhere to just sign is a DJ for Oozievert? Is that, or is that true? Yeah, yeah, DJ's for a little Oozzie. That's cool.

Oh, no wonder you know so much of. I was like, yo, Paul's knowledge is amazing. That's so cool. Yeah, but you won't catch me dabbing anytime. What's the new dance? So I know everything goes like this. Is it as dad? Yeah, it's, yeah.

Wait, how was your son? He's 25. Oh, oh, you could almost be a grandfather only. Hey, hey, don't be it. No, I'm 50, so I guess it's okay at this point. You're 50? You look amazing. I'm 50 years old.

Ladies, I'm taking a picture. No, what? He's cut. He got cuts, ladies. What, what I think? Yeah, you look great for your age, bro. Well, thanks. I don't know cuts like.

In your chest, in your stomach. And in your arms. Not that I was looking. I'm fasting, which is part of it. Oh, wow. Intimate and fasting. Fasting, I would advise guys. I was telling you about you.

Wait, say that again? You push it to an eight-hour window, right? Yeah, yeah, it's a good thing. That's what that's called. The eight-hour window daffante's doing. Okay, so you eat within that eight-hour window? Yeah, yeah, it's not. Terry Cruz is, like, he swears by that.

Terry Cruz does. What's this called? It's intermittent fast. It's basically you eat what you want, in quotation marks. I mean, because you still just can be eating fuck shit. But basically, you push all your meals to an eight-hour window, so then the rest of the 16 hours in the day you're fasting. So say if you get up around,

Like normally I get up around like 11. I hit the gym at 12. Come on, shot, whatever. And then I have my first meal of the day around like two. Right. So then my eating is from two to 10. And then, you know, you sleep, you know. Detoxys, the liver, the kidneys.

If you're a guy boost your testosterone up to way over 100%. So you keep it rocket. You always. 10 minutes into the show, we didn't talk about one break beat. I'm sorry. That's amazing. I have to say on a serious. I have to say on a very, very serious note is I had a sister.

She just passed about two weeks ago. Maybe two weeks ago. So cancer and a whole lot of diabetes and everything is prevalent in my family. So which made me a little more, I guess, health conscious as far as like, you know, what to eat, with not to eat. Doesn't mean I'm going to live forever. But it does kind of play in mind when there's certain things you can control. You know what I'm saying? you can control what you eat, control your exercise, control your stress, but you know,

which genetic you can't control. So I try to hone in what I can control. Does that concern you that a lot of our, you know, forget, you know, the whole mentality of escaping bullets of the days of Latin quarter, whatever. Yeah, I remember those days. I was in the middle of that. Does it, is it on your mind that a lot of your contemporaries cannot really get past the age of 55? How does it even get to 55? Well, I'm being generous. Yeah, I've been made 55 yet. So, yeah, I think about my mortality daily, and I hate to say that.

But, you know, I don't obsess over it, but I do think about it because, man, you know, like I said, my sister just passed a couple weeks ago, and that's tough. But I only have one sibling left. Like, just think from the time that I was born, there's only one person that I can think of that was around since I was a baby in my family. Nobody else exists. You know what I'm saying? So it's serious, you know? So, I mean, when I think of my, yeah, like, you know, poetic and I can keep going on and on and, you know, friends who passed. And, yeah, it's scary.

You know, it's really, really scary. Well, I think it's also, you know, hip-hop culture celebrates this victory mark of, like, like, you know, we made it. Let's celebrate, you know. And if you think about it, like, I mean, I've been to many a backstage ritual in Lai's looking at me because she knows what, what I mean my backstage ritual, you know, where a bottle patron could be down by one person in a snap. Oh, I see it all the time.

Beautiful. Which is it. But I'm saying that's not natural. You know what I'm saying? Especially after a certain age. Yeah, that's not natural to, you know, consume. And I like to do over excessive party in and celebrate, which hip hop is known for. And it's like, eventually, I guess it's going to catch up to.

Yeah, you're right at a certain age. But see, this is interesting because hip hop is so young that this conversation within itself is like a nuance. But it could become a trend because you guys are aging with hip hop. But the kids now, this is a difference. See, if you look at our age bracket, it's like, you know, dudes drink, they smoke. They might, you know, depending on whatever you in, you might sniff or whatever the case. Now kids are just dropping random pills. It's just like stuff that align alter like chemically everything in your body.

You don't know what the effects are that's going to be yet. You don't know like all these cats doing all this shit now. Like what are they going to look like at 35? It was like crack in the 80s. I remember kids who smoked weed and who's, you know, mescaline and drop tabs or whatever. Yeah, crack was smoking crack, but they didn't know the long term effects. But a year later you see cats just like jacked up. Yeah.

And so now you look back on it. He's like smoke crack. You probably get, you know, so. You're right. Same thing with the kids now. You don't know what's going to happen. Where are you born? I was born in Queens, Flushing.

Not Long Island? Not Long Island. So. I moved out when I was. Has anyone in hip-hop purely been born in Long Island? Or like, do families just migrate to Long Island? Because that's like, oh, the safe place. And you won't.

Nah, that's moving up. You know, when you lived in Brooklyn, Queens, whatever the case is, you moved to Long Island. It's the suburbs. It's the country. At least back in those days, you know, it's like, you know, you lived in a confound. The mind area, the project, she lived wherever, you know, like my grandma, she lived in, that's how I met Sted, and Glenmore Plaza in Brownsville. And, yeah, it was rough.

It was rough. How rough was it? It was rough, but like this, it was so rough. I remember back when I had to go to Daddy O's house in order to collect money, I had to dress like a crackhead to get in and out. I used to wear a leather cap. You know, this is no joke. That's like some walking dead shit.

I gotta disguise yourself as a zombie to make blue zombies. He lived in the Nulats Plaza, and I was like, man, I got to pick up some money. All right, how did I do this? I really thought about it. I was like, yo, I used to dress. I had a leather, this one, leather baseball caps was out, but it was kind of old. Those little skinny ones? Yeah, yeah, yeah, like Eddie Murphy and how could it be video?

No, no, no. It was regular baseball once him wrinkled up clothes, and I would just walk into his plaza talking to myself. Yeah, man, I was skinny anyway, so I was like, come out with like, I don't know, $500. Like what year? Oh, this was like 84, 85. Really?

Yeah, 86. Yeah. It's actually kind of brilliant. Did you share that method with others? No, man. You know, but it worked. I see nothing, you know, I see the other dudes get robbed. I won't say, though, Dave.

So people, we wouldn't know that. Yeah, so, you know, chain's gone, things going. That's the thing. Everyone has all these glorious stories of, like, back in that era. And I'm like, yo, you know, You weren't cautious, like, rolling by yourself. Crazy.

That's what New York was beautiful, though. I mean, the crime kind of gave it a vibe in the culture. So you have fond memories of those back of the day? Yeah. Yeah. I mean, like I said, it was crimey. And, yo, and I got robbed. Like, I was in a thing doing a show with Stets of Sonic,

and these dudes came in, and they just taking people stuff. They was, like, just bum rush, the whole thing. It was all this craziness and not would get during the show. This was, I don't say during the show, but it was kind of in between shows. I don't know. I think the fat boys might have performing at night. It was, it was that era. You know what I'm saying?

I'll be goddamn if I get robbed while the fat boys are on stage. Yo, but, you know, it was just everything getting turned over, people screaming and dudes had guns. And here I am trying to leave the spot with my homeboy because he drove me out. And, you know, the dudes, long story, they were coming. To get out the club, I had to go upstairs, and they were coming downstairs simultaneously. They said some to my boy, and I was like, man, you don't know him. Right.

Word? We don't, oh, oh, oh, you're talking now. I was like, oh, tell me, I'm all of 120 pounds at the time. You know what I'm saying? Next day I know they took my little Velcro wallet that I had some of those things. Yeah. And I had to admit I had a fake chain. It was like a little thin chain and had a P.

Remember, like the initials had the box? Yeah. Yeah, yeah, yeah. They took that off my neck and that's all I got. At least it was fake. Only it was one time. But you know what? It made me cautious in the man I have today and it made me even more hip hop.

You know what I'm saying? You can't be hip hop, but I'll get robbed. Oh, damn. Now I'm thinking, no, never mind. Anyway. No, you know. I think everyone been robbed by a record company. I'm good.

Yeah, I'm about to say it. We've all been robbed. I've gotten corporate robbed. So you said you were DJing at the age of 10. You've got a danger for a long time. You come from a music family or like? No, I mean, you know, aside from the old school, my dad collected jazz records, my mom, you know, collected records. My siblings are 10 years plus older than me or were, I should say.

So, you know, they were teenagers. How many altogether? Was four now, it's just me and my brother. Okay. And so, yeah, I mean, you know, being a kid, you want to be like them. And so they collected records. So while they were, my friends were into toys, I was into buying records. And I still have the first 45 I bought, two I bought was Groovemey, King Floyd, and Hotpants.

And I still have it. I was five years old, bought it from May's Department Store in Long Island. How much did it cost? Back then, 45s were how much? I think I for like less than a dollar each. You know, did you mark your name on your records like everyone? Oh yeah, yeah, yeah, still got them. Yeah, yeah, yeah, it's still marked, and the break beats when you get in the 80s are all washed out.

Right. Yeah, it's stuck on to albums, the 45. Okay, yeah, yeah, yeah, yeah. Still got them all hissed out. Right. The same, yeah, I love, it's funny now because now I'm looking for that sound and that sort of texture in, and, and, and, and, and, and, and, I love, it's funny now. because now I'm looking for that sound and that sort of texture and wax, and you can't find it where all your,

the beginnings of your records just have that. Oh, horrible. Really? You're looking for that? Well, I'm trying to. I'm trying to. Maybe we can swap out with some freshwood. I'm trying.

No, no, no, no, no, no. I mean, it's just, it's weird, like, hearing, say, like, the chant break beat. Clean? Shee. Clean. No, well, impeach the president clean and I know where the stems are like it just don't sound the same without

Yeah, that's true. That's a little static at the beginning And it's hard to reprint. This is nerd conversation. Yeah, you're right. We're just getting started. You're right about this. So where was your first DJ gig?

If you were like, who would let you on the turntables at 10? Well, what happened was like all black folks said, but what happened was I pieced together a DJ set. I had a Lafayette. It was a Lafayette, like plastic little turntable at my mom's component set, which was had a turntable attached to it, but the turntable didn't work. So I figured out a way to take one of those, another cheap turntable we had around the house, and I put my turntable left, her turntable right, and used the balance button as a mixer,

as a, to blend the two together. And then I put it in mono, so it came out one speaker. So I couldn't cue it, but I was able to go back and forth. And after a while at balance knob, I've got, you know, it wasn't really scratching. I was like, eh, eh, because it wasn't really scratching. It was just like, bent, bent, bent, bin. Really?

Yeah, it was, you know. Like, what year period was this? This was like 77. Seventy seven, 77 I started. So even before, like, DJ culture was known to me. Yeah, this was like, because, you know, going, like I said, my grandmother lived in Brooklyn. Long Island had DJs, but it was like, you know, you're thinking of like Maboya. It was like in the early like days of like more disco, you know, and if breaks were played,

it was disco breaks. And if any break existed back then it was probably like, Sorone looked for love, that might have been 78. But it was just- Disco breaks? Yeah, yeah. Yeah, yeah. So who were your gods in Queens that you look to that? Um, P. DJ Jones was probably like, you know, when you think of like, oh, you know, because it was more systems back then than cutting. Why doesn't we get the respect that, you know, the gods of the Bronx get? Because I hear, even Tip speaks like, PJ, DJ Jones was before all those guys. Oh, yeah. You know, it depends on where you're from, you know, I think it has a lot to do with it, you know, tips from Queens, you know, I'm Long Island, kind of Queens, Brooklyn type thing. So, yeah, I mean, that was who we looked up to. And like I said, back then it was more power than it was skill.

Had nothing to the skill was like, but it was power and records. So if you could blow somebody out, so I was like, and the speakers and you had records. So the louder you were. Oh, what? Without a doubt with base bottoms and random stacked up amps. So how would you build your system? Oh, I just didn't. I did the opposite.

I had to work on skill, you know what I'm saying? To steal records. Because you didn't have the equipment. And didn't have the equipment, and beg for people to get on. And so probably one of the first gigs I got on with a lot of people. I was probably in the seventh grade, and that was a friend of mine named Paul Carey. They had a group called the Youngblood crew, and that was in Long Island. And I got on, and I remember I was cutting what record was out.

Was it seventh grade or eighth grade? It might have been Midnight Plain or Trouble Funk. I don't remember. I don't remember what it was. But, yeah, there was a lot of people I was nervous, but I was. I thought I was nice. Were you throwing off once you got on real turntables? Oh, of course.

Yeah, when you get on real stuff? It's like, whoa, it's like driving a, probably I would guess, would a Ugo to a Maserati, you know what I'm saying? You're like, you know, you're not like fighting the steering, you know what I'm saying? The brakes, you don't have to step one extra hard. Everything was like, you know, because back then I was, my friends had the 1800s. And I think before then it was the 1,100 A's, the big doofy-looking ones. Right.

Yeah. But it was from that to the 1800s. And then all I could afford, once I started getting turntables, I had a BSR and then eventually graduated to a B. Man, not 101. I can't remember. It was a B-1, but it was the one with the strobe light that was on the right-hand side and the lower part. I think DST had the same ones. I'm nerding out right now.

No, no, no, no. You're making me nerd. I'm quiet as hell. I'm like, no, tell me more. Yeah, I forgot. DJ porn. I think it was a B-10. I think the turnstables, I can't remember exactly.

But those were my first real, like, techniques. Now, were these acquired- And I got teased, you know. Were these acquired via the blackout of 77? Or did you have rich grandparents, a la L.L? I remember the blackout of 77 because I was leaving Brooklyn, and I've seen the lightning bolt, the lightning came down, and then everything blacked out.

And we was actually my grandmother's house in Brooklyn. So I wasn't there for all the festivities because I was going back to Long Island. But I got these things by, and it's going to sound cheesy to like a lot of kids nowadays. But, you know, I was taking apart bikes, putting them together and selling them, painting them, you know, shwins. You know, so that was my thing. I would just, everything was swapped back then. You traded. You traded, trade until you trade it up.

And you prayed for a decent birthday or Christmas or, you know. And that's how I kind of, it was piece by piece. piece by piece by piece by piece by piece well that's hustling yes yeah yeah an honest hustle yeah I can't say that you know I was hugging I was hugging the block at 10 you know I can't I can't say that I wish I could have that story didn't yeah man came up you know I'm saying I had to leave it alone a win a win a win a win I don't care what I'm saying yep that's me clipper taylor the fourth you might have seen the skits the reactions my journey from basketball to college football,

or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated.

One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger.

So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast,

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

for wherever you get your podcast. And for more, follow Timbo Slice of Life 12 and TikTok podcast network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield.

And in this new season of the girlfriends, oh my God, this is the same man. a group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no.

I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. Who was your first crew? my first

I mean when you had your first rap group My first crew was in I still got the shirt too My first crew was in the sixth grade And it was my friend Charles And Mitchell Robertson Who lived next door

And I remember it was like Yo we're gonna make a crew And you're gonna be the DJ And I'm like really And our crew was the Everettie crew Yo I still got this shirt It's mad young And on the front has a Yamaha motorcycle

like decal. Yeah, yeah. Because I ironed the, the letters on the back. Yeah, man. You know, I got that, I need to post it once a I got to stop being anti-social media and posting stuff. But yeah, yeah, that was my first crew. And, yeah, I remember we tried to make tapes and stuff for people and they were saying this

is horrible. You still have those tapes? I don't have to do. You know you still have those tapes. I have an early pause tape from probably about 78 that I still have. I played not too long ago. I was cleaned out my house and I found it. Nice. Okay. Yeah, it's horrible, but it was good back then. Back then, were you running with any of the contemporaries that you later make music with a decades later? Like, you know, was Dadio coming up in the scenario during this

period? Well, I didn't meet Daddyo until I joined Stett in probably like 83, 84. But in Long Island, I knew Biz, because Biz used to come up to my school. So he's coming out. He's coming out. house we used to make tapes. So those tapes I wish I had. Um, that was around when I was in eighth grade. He would. So there's tapes of you and Bidsmoreki making. It has to be somewhere. It was cassette. He's come over to house and he was pulls me to make cassette. I'm like, all right, you know, he'd, you know, meet me up at the high school, Amville High School and we, you know, um. Y'all went to school together? He just visited. No, no. Yeah, I don't, man, Biz lived way out in like in Corum or some weird part of Long Island. And he would, I don't know how he would magically end up in

Ammeville High School or there. Are there a boughs and wine dance, which everybody know Raq Kim's from and, you know, Chili Dog and all those guys. And so he would just end up at the schools and you're like, he's going to make a tape, you know. And, you know, to this day, he'll tell you, man, I remember he came by my house. And this was the last time we made it or supposedly made a tape was he's like, yo, I was busy at the time. He was like, what do you need?

Give me rocket in the pocket. God made me funky. It was some other record. And he never brought it back. Oh, really, Bismarkey. And he took it to my man, Divine's house. Devine Starlin? No, no.

Yeah, it's a kid named DJ Devine. And he, yeah, and Bizz will bring up to his day. He's like, yo, I know I got your records. I owe you a rocket in the pocket. God made me funky. And I can't remember that. He'll probably tell you the other record. And these are the original joins, not like the compilations.

The guy made me funky was original. No, they all were original. because the rock in the pocket was the Atlantic. Right. Yeah. Yeah, man, I'm really getting upset. Let's get him.

It's the worth money, man. What? Yo, did you and Biz ever battle like, like, well, we say Jonah in D.C., but we know, like, Biz is like the king or the quips and going in and whatnot? Oh, it's snapping on people? Yeah. He was less snappy back then, you know. You know, when I remember.

You know, I give a lot of credit to Biz, and I'll say this. And I told him I'm very proud of him. as we got older, it's because he was getting teased a lot. You know what I'm saying? Like, he would come to the school. You know, I'm not going to- So he was always a character? Yeah, he was always a-

Yeah, he didn't want to be. I mean, as legend would have it, and people would tell you, Biz could tell you some good stories. At you, like what? He has, he has. He's been on the show. That has not changed.

You know what I'm saying? That is that from childhood. But, you know, a lot of that, like I said, you know, kids would tease him. Oh, you suck of MC, you ain't this, you ain't that. And so when he made the vapors and all that, to me it was like, okay. That was his moment. Yeah, that was it.

It was like, he did it. Like, he traveled outside of Long Island into, like, the Bronx. And he would come back with a, he had a notepad of records. Yo, you got this record. They had them all written down. I guess, like, thinks he was flying out from other DJs. It never changes. Okay.

I was like, what? shit never changes with biz right he's still the same person do you do you believe his uh maudea grah story what the what the what the what the mori gras was it the 45 without the bells on it oh without the bells on it you know what's so weird we just want to believe it let's just believe it you know you know big foot shit no he mixes up with you know falsities with the reality so it's it it's it's It's so hard to kind of like, it reminds me of, and no offense to, what was that show that was on Netflix? The hip-hop show?

The hip-hop show. They get down? They get down. Like, it was some random, like, magical crap with real stuff. That's biz, you know what I'm saying? He's that dude. So you mix it up together and you don't know what it is. And then he will bring that record that Monti Gras with old bells.

He's like, oh, my God. I thought he was storytelling. But then he'll live out something else that's just so far. that you might think is true, but it's not true. And then he'd get loud about it, like, what you're saying, son? It's true. Ask somebody. You know, ask, Ask, Quest, love.

Ask him. Yes. You'll get him on. Call him right now. See. Tell him what I got. Yes. You are nailing it 100%.

I've noticed since I was, what, freaking 14, you know what? I wanted to call him. This one came in between me once now. I think of any of you. thing I've collected, I know SoulTrain the best. So you can't get me on no soultrain trivia whatsoever. And Biz is trying to convince me.

Quest, I got an episode of James Brown doing Funky President with the drum break extended in the beginning for like a minute before he says, funky down. I got

that question. And at some point you're just like, all right, okay, Biz. I believe. Quest, I got that. Yeah, that sounds about him. Speaking of Soul Train, that means you have that episode with Captain Sky on it? Yes, I do. I remember he was on there.

I always said that one time when it came on. Like Captain Sky. Which is weird because he wasn't even introduced at the top of the show. You wouldn't know that Captain Sky was on Soul Train. Who was Captain Sky? That's a good question. Super Spir. Oh, Super Spir.

Oh, okay, gosh. But he wasn't singing Super Spur. No, hell no. I would get away. Get away with that. Part of me was like it's so blatantly out there. Maybe like, they spelled it sporm, right now. Yeah.

I thought it was some like, uh, some spacey reference. You say, Neosporins? Neal spore. Yo, Laia. Neal spore. That was a great. Oh, it only took a year. Thank you, sir.

I got you. I got you. I got you. I was great. I was waiting for my sound effects. Okay, though. All right. Well, I'm sorry.

I had the wrong sound effect. I had Ledepin queued up. Oh, okay. Anyway. So you said Stets and Sonic started in 84? Well, I joined them around 80, probably the end to 83, 84, because I think I was in, no, I was in 11th grade. I think, yeah, I started 11th grade, somewhere in 11th grade.

So that was probably, yeah, around 84. So they were already established? Yeah. When I met them in the group was a guy named, I think it's Grand Supreme. delight daddyo and wise had just joined a group a week before and they just had um battled or some contest in the mr magic rap attack thing in coney island and they had won and part of the deal i think the prize was a record deal with sugarhill oh my god whoa and and you know apparently that didn't that didn't materialize out of the frying fan and i'm like damn yeah that was

I think part of the deal. And I met them, like I said, a week after that happened and became their DJ, which was amazing. Okay, so for those that are kind of underage that are listening to the show, it should be noted. I'm just joking. I didn't know what you meant when you said underage. Because you're up there with us. I am. I'm sorry.

No, you're not. Okay, Paul. Yeah, you just put her back down in her 20s. Anyway, for those that are listening, It should be noted that Paul was a member of Stetsisonic, the very first noted hip-hop band. Here's the thing, though. Now, I first heard of you guys via Philly, where there was no Latin court experience or anything of that nature. And Spinn magazine.

So I'm reading that you guys were banned. It's weird, though, because even now besides maybe the video for, no BS allowed. Right. That's the only visual I have of you guys being a band. Right. Like, it's, did you guys not invest in camera equipment back in the day, like, with your advanced?

Like, I can't find one Stetsasonic performance on, but everyone, like, Chuck D. We'll swear to God that you had to have been there to see it. Yeah, with certain, you know, Like, are there no performances on tape that you own or? Yeah, I don't have any because I remember the tour. Probably what Chuck D is talking about, because I know when we was at the quarters, it wasn't set up for us to, you know, have a drum kit

and have, you know, certain things. So it's usually like two turntables. But when we were on, man, was it the Def Jam tour? I can't remember what tour. But at some point, we were starting to travel like, with the drum kit, DBC on the keys, and me on the turntable wise on the human beatbox. But, you know, back then, especially being in an opening act,

nobody wanted to, like, cater to having a band. You know what I'm saying? So you don't have a drum tech and monitor man. It was like, oh, you got drums. Because they used to just, mind you back then, DJs brought down on turntables. You brought, there was no back line. You know what I'm saying?

You brought everything. So it's like to bring it in and to have it. set up and then go from place to place to place to place. They were like, this is, this is not practical for us. And you guys are only an opening band, you know, group. So, yeah, so we always had to kind of cut down, but in

cases where we were able to have our whole set up, that's why you probably haven't seen anything. It was limited in that case because it was usually opening act. I remember on the Def Jamp tour was us and Public Enemy opening up. You know, and we shared a bus together. That shows how, you know,

whoa, it's a lot of your... Buzz, yeah. A bus can only hold 12 comfortable. You look, man, it was public enemy, Edna. That's one W. God, damn. And Stetsasonic. I mean, that's how much, you know, we were, you know.

Katie's the small guys. Of course, you know, you got L.O. Kuhu J. Hudini, Jaji, Jeff, Fresh Prince. You know, Eric B. Raq. Yeah, you know, Nekajee, run DMC or buggy down productions will come in. And, yeah, it's like, oh, man, it got the nice stuff. Like I said, it's between the Hugo and the Maserati. You know, it's amazing what a couple of hit records will do it. They'll put you up the ladder, the food chain slightly.

So how do you feel the one thing that we've learned on the show is that this drum roll meant hydro chain? Oh, what? Oh, man, that was, yo. Like the, according to everything to everything. that's been on the show that was old enough to be at the Latin quarter. Right. Yeah, yeah. That this was the national anthem for... That was the Annie-Up.

Even though Biz said it was three records, this one and like... Yeah, but... Yeah, we get real violent in the Latin Quarter, it's like... But I mean, for that... For Ghosts, who produced that? Actually, this is all... It's going to be disputed. DBC came up with the concept. He had to...

Rank, rank, rank... You know, using the Tom Jones. Yeah. Yeah. Right. And then Dadio came up with the idea of putting the live drums behind it. So it was a collaboration of those two gentlemen, I would say. Who is, whose Go Brooklyn is that?

Go Brooklyn. Which is weird because it's like it's, that's probably the most iconic part of that. I mean, of the song. I mean, besides the lyrics and, you know. Or you're talking about the chant in the background? It's drums, yes. Oh, that's all of us. That's, you know.

So my voice isn't a lot of those random hip-hop. record. Somewhere buried underneath. Go Brooklyn. Go Brooklyn. So how do you edging your ideas and your, like, are you given a say or it's like six of you? How do I edging my ideas?

And I can imagine, all right, you remember, if you remember Tori's book on prints when he spoke of, okay, so Tori wrote a book on Prince. Yeah, I'm, yeah, I'm familiar. No, no, but I mean, the one thing that you could really learn from that book was how the generations work. And when Prince is opening for the Rolling Stones, he gets booed mercilessly because Prince, a baby boomer born in 1958, baby boomers, of course, between like 38 to 58, 61, give or take, that Prince can't translate his vision to baby boomers, but whoever,

better time doing it to Generation X, 61 to 82. So I almost feel like in Stetsusonic, were you even, because even on blood, the album after, yeah, Bloods, no tears, yeah. Bloods, no tears.

There was a cut on side, too. Are you coming? Yeah, yeah, coming. Yeah, which was like, would have been perfect on a De La Sol record, kind of out of place on a Stetsic record. It's almost like your solo joint

Because, you know, I made it in the studio Because we had extra time And I was being funny And I was like, yeah, just put it on the record I'm like, oh, you sure I'm like, all right I'll do it, you know, why not? No, the song was dope

And Paul's a sucker and you know There's a few other songs. Right. And well, I'm saying that by that point Did you have more leverage Because it's like, well, Prince Paul, you know Platinum producer and I think part of it a little bit is leverage

And not like it was wanted I like my position in Setta Sonic of being the DJ and producing some songs. And I like the idea of collaboration when it's collaboration, you know what I'm saying? As opposed to kind of like, we're going to take off some scratches and I'm going to put this. And, you know, that where it gets a little touchy, you know. But when we're all working together collectively is one mind and kind of making something, those are the first two records. You know what I'm saying? Clearly.

It just started getting weird as the third record came around And you know what's weird is like we never broke up Like we just never we just stopped talking to each other So there's never official breakup There's never still together It was just like I mean all the way from the 80s to now With the exception maybe Fruquan leaving the group Like we've never broke up

You know it's just We just kind of just We're still together Yeah we just kind of just drifted away Yeah Well, that's what it's been. But just to answer that, how to get my say was De La Sol. You know what I'm saying?

Like, that was my ability to kind of really kind of do what I wanted to do, which was nice. It was nice. De La was three feet high was 89. Right. And then I'm trying to just put together the timeline of Stets Sonic. When? Infoibre was, I think, 88. 88.

Right. Okay. And on fire was 87. 86? Yeah, 87. Yeah. So I want to take a guess because it's really not listed on the album. Did you produce DBC let the music play? No.

No? DBC did that. Yeah, of course. I wouldn't even figure that his own namesake would be producing. Did you do music for the step? We insane? Of course. You know what makes me mad as shit now? You're not going to punch me in that.

No, no, no. In the face. No, this goes out to Armand who owns all the westbound stuff. Oh, Valadian. Yeah, yeah. The atmosphere sample from Funkadelic. Bernie Warrell, can't beat him. Yeah, but now in the new, like if you buy the reissued CD or you listen on streaming,

the first 20 seconds of that song is just cut off abrupt. What? Why did they do that? It basically starts off, Good evening. And I'm like, where's the? Yeah, that's the beauty of it. It's like nowhere to be found.

Also, speaking of which, on three feet high and rising, what's more starts off with Pluck two. It doesn't start off with Mercer. Like, it doesn't start off on the one. Really? I didn't notice that. There's three seconds clipped off of it.

And also on brainwines to be a follower. It's a story. starts with do-do-d-d-da-da-da-da-da-da-da-da-da-da-da. I wonder why they did that. Is all sample shit? Yeah, it's just like, you know, it's like the first five seconds of the song

is just cut off and it just starts that way. Yeah, so whoever was making the IDs didn't know what they were doing. Or I'm just thinking if the tape was damaged or something. But even for what's more, there's no need to cut that off. That was just... I don't think they cut it off on purpose.

Like, obviously maybe... Somebody was paying attention. Exactly. Yeah. So just make sure that... It's only De La. Whatever. Oh, it's...

Whatever, you know. But you did music for the Steffley Insane? Yeah. Okay. Did you do pin and paper? Yeah. I knew it! Yeah, that was...

I had the sequential time drum machines that still have. I load that drum machine. So how were you with operating that equipment? Like, are you... Was it just a learning process or... I'm trying to find one person from that period that, like, actually read the manual to know how to make drum beats. Oh, no, you didn't read anything.

I mean, for me, if you're thinking of the process was, as soon as Grandmaster Flash had a beatbox on Flash into the Beat, you're like, oh, my God, what is that? I got to get one of those, and you can never get that one. So you got a rhythm machine. Then from a rhythm machine, so you find something that was programmable and, you know, went on and on.

And that was for me. You know, it was like my friend was selling a sequential time, which I couldn't afford a DX at the time. or DMX at the time. I got that. It had a reverse button, could reverse the drums, and, you know, that was it.

That's how I learned how to program. You know how drum machines are, especially back then. It's like a car. I hate to compare everything with the car, but, you know, your lights are on one side in a car, but it's on a dash, another car.

But it's the same function, but in different places. So drum machines are technically all the same, but just different buttons and different locales. So once you figure out one, you kind of figure out the other thing. And you might have to look at the manual

for one thing. Like, there's no going to the YouTube, You know what I'm saying? You really just see the tutorial, you know, you had to like, man, somebody didn't know you looked it up, you know, and you read it. Besides, well, speaking of equipment, besides strictly Dan Stucky, did you ever use that Cassio SK1 for anything? You used the school board crush looping that.

Oh, that was SK5. That was, I think that was the upgraded version. Yeah, I think Dave had that. That was, I think that was Dave's keyboard. So did you guys use that for anything? else on because even on the MTV clip and I can see the SK5 there

I was like oh shit they would use that's like some shit I had yeah man love that thing until it broke yeah I still have it man but actually it doesn't work yeah I think I don't know I don't know

I think once we got into the regular studio you know we kind of put that aside you know because then you're able to loop with MIDI so that that kind of changed things and and Simpy, which helped a whole lot. A win is a win. A win is a win.

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

to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, 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.

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franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends,

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

Listen to the girlfriends. Trust me, babe. On the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. So let's go to De La. What was it about them that attracted you? That you knew, or did you know, like, okay, this is going to be the next generation? Because I think we both thought out of the box. I think for me and Stetsasonic, which, man, is a blessing.

It was my start, and I learned everything from, you know, I learned a lot from Daddy-Oh. I won't lie about that. Like he's taught me a lot. And to have that, but I've always just made bizarre, quirky stuff. I remember P. Fine had his radio show, rap this. I did this spoof on. It was during such a sonic time. It was a parody of, what's it?

Coat 45, Billy D. Williams. And so that was me being silly, but didn't fit within Steck Go Brooklyn. So I was always there You know what I'm saying? It's always there So with De La How the way they rhymed And they're I guess the way they heard music

Was the way I heard music And the way I thought of like Okay this is entertaining This is fun Is the way they thought of it I think for me with them Even though it was in them My job was to bring it more out

And make them more comfortable And embracing that being different You know what I'm saying Like they're not going to be like Come on, let's go. Let's do it. Do it. So why didn't you just join the group? Because I still consider you, like when it's a rock and roll hall of fame time, to me, you're a Billy Preston of it.

And really, even though, meant that without you and your ideas and your input, those albums wouldn't be what they were. Thank you. I appreciate that. I mean, it's a definitely collaborative effort. I mean, I didn't join, I don't know, like they always, you know, I remember those days, it was like, well, you always considered like a man. you're like plug forward blah blah blah but my whole thing and this is going to be weird was instead to sonic I felt like I couldn't be me and so I was probably just doing the polar opposite of with

dail I was like I want you guys to be you I'm going to teach how to work the equipment after the first record you're going to make the next record on your own I'm going to teach you as much as I know you're going to be be able to be as creatively free as you possibly be and that was my intention You know, and part of that is just looking from the outside. And nor did I know this record would be that successful. I would tell them when we're making it, you know, we're going to go goal, right? Because that was always the, you know, we're going to go. But just to make them feel good.

You didn't really believe it. I didn't know what would happen. I mean, I remember Dave's brother, Mike would go, you know, when we was making three feet high and rise and I don't know who's going to like this record. It's really, really bizarre and different. And he's like, you know, I'm saying? How did y'all meet each other? A nerd in West Philly.

Was the label who killed up, or how did you guys meet? No, me and me. That's why I love telling the story. Macyo, he's working with this dude named Gangster B, who lived around our way. And he was making a record for Mr. Collins, Everett Collins, who was playing drums for the Isley brothers at the time. And Mr. Collins was also a music teacher at the junior high school in Ameeville. And he started this record label, and his first artist on his label was Gangster B.

And so Macyo was Gankster B. and so Macyo was gangster bees DJ I was the guy in the neighbor who made a record because I was with Stets to Sonic so they asked me to program a beat and the beat I programmed was, ah, it had the sequential time

it was a reverse beat it sounded too much like like, uh, and I was like, we can't do this it's like do it! And that was the debate and Macyo could see me getting frustrated he's like, yo, I have a group

and I think, you know, whatever you want to do we'll work with you. I was like, okay, good. He's like, I'll bring the tape by later in the day. It was he that day and the next day and he brought by a real rough of Plug Tuning it. And my mind was blown. I was like, that was pre-made? Yeah, I was like, were you guys

old enough? Not that your children. Were you old enough to remember the name that Sample contest that Tommy Boy had with Plug Tuning? Yeah, like, I don't mean, it's weird because they had a lot of internet ideas and viral ideas that were out before with the internet, but there would be like random stickers and ads in, uh, your occasional ride on, sometimes in Billboard, like name that sample. Like, I think we were trying to, yeah, I remember that.

You got to mail that in? Yeah. It was like doing the days of that, 1809-109 Jeff. All right, Razanne, who called that number? I called it. I wanted to. I called it. That's funny.

I was afraid of my father. Yeah, but I think the gym of it was that I think they were trying to just pimp the fact that use the Liberacee sample in the beginning because I'm thinking about the midnight The midnight loop and the What's the sample of Pluckooning? I can't call it.

I don't know the name. I won't say. Name that sample. You quest love. You know everything. Music. It's a brain fart time. Anyway.

Bit you and guess it. Yeah, but I thought that's what they were trying to allude to. And I was like Liberacee. But then I realized at the beginning of the album version, and now I want to reach back and around the hits and all the world of music, like the intro. Right, right, right. Which I thought in their way like, oh, they just trying to tell like white people like, oh, this group is real deep because there's a Liberace sample.

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

And I was like, can I see it? Can I play that? And then I heard his voice like, oh, let's put that in the beginning. So it wasn't really that elaborate of thought. It was just whatever it's like, you know. Whatever is near you. Yo, those records were all MacGyvered. It wasn't like it was kind of sat there and we're just like,

yeah, we're going to pre-plan a lot of this. A lot of it was like, okay, what's around us? Let's look at that. Let me not take for granted also, again, for our listeners that are getting familiar with Prince Paul. I'll say that probably the contribution that he is really noted for in the world of production is really turning your listening experience. into

I won't even say a three-dimensional I don't know how to explain it like it was movies without visuals like you introduced the idea of sketches and skits experience and you somehow found adhesives to to glue all those songs together

not to mention besides I mean I know that public enemy was the first to do interludes and have more than the traditional 10 songs on a record but you guys were going overboard with like 23, 24, 25 songs. That was by design. That I did. So it wasn't like you saw Nation of Millions like, oh, we can go past 16 songs?

No, you know what I did? It was, this is the junior marketing brain of Paul at 20 or 21 at the time. Let's hear it. I was like, yo, you know what? Everybody wants more bang for their buck. Even though these are little skits and all those other things, we're going to all label them as songs. So when you look on the back of the,

I got, oh my God, look at all these songs I got. And that's the reason why I did, it's to bug people out. Guess which dweeb said that. This dweeb right here was like, oh, my God, it's 25 jams. And that's weird, because even, you know, the first three, four roots records are like up in the 19s to 20s. I'm, you know, Rich was like, you know, dog, we got 12 songs. We're done. I'm like, no, man, we got to.

You got to have interludes. Give them more money, you know, like. Bank for the buck. You look at it as a consumer, you're like, oh, this is all right, because records weren't and cheat, you know what I'm saying? But the thing with the daylaw records is that you really captured the teenage spirit of just, I don't know what it was, it's like you wanted to be there. It was almost like a documentary where like all those inside jokes that we didn't know.

He has a blancher of them. And it became part of our slang. We didn't know. And you've got to explain what Crocker means. But it's just how How are you documenting this stuff? Because some of this stuff I can see like Okay, we're in the studio, okay

And press and then we start doing a skit Which is like, okay, well, they're making a skit But it sounded so natural and of the moment Like shit like skip to my loop Or even that. Oh yeah, you got a little bit of your forehead boy Yeah, that's that's that's that's yeah That's all day, man

Skip to my loop So you would just keep A cassette running and and live mics were always in the studio. And because some of that stuff just sounds like it was just of the moment and there's no way to recreate the stuff. And that's what it is.

It's like I say record everything, keep everything. You know what I'm saying? Even though tape was expensive at the time. But a lot of stuff was either after the song went off or before the song came on, those moments. So for De La Los Angeles Dead, did you guys just have accessible slick Rick, I can't be your lover.

Like just on standby in case like, you know, even now I'll have like sound effects. Yeah, like who had that stuff on standby to just. It was just, you know, you ever have like within your group of friends a joke that just won't die? Yeah, it's called Questlove Supreme. So, I mean, that's all it is. It's just taking that, you know, the one joke that one will die and just keeping it on deck. Yeah, but I'm saying, like, eventually at some point, you're going to have to unplug the drum machine. Like, at the beginning of the day, are you like, okay, let me cue up that slick rig and place some funny shit happens and keep the tape rolling.

No, that's something. Yeah, it was kind of, yeah, no. Honestly, I can't even tell you what the thought is behind. It's just being dumb. You know what I'm saying? It's not even like, I can't even, like, sit and say, well, I thought it was just like, like, look at this. Okay, Paul, that's enough.

That's not funny anymore. But listen, which I'm still like that to this very day, which I think eventually caused our demise and not working together. That's to be honest, man. Like, you know, they grew up, I didn't. You know, I'm still the same 21-year-old kid. Sound like beepers and butt-head.

It's exactly. It's the way it was, man. I forgot to mention Bob Power. I can assume that working with him on the Stett record. Oh, yeah, Bob. That you instantly brought him aboard to work with you on the day last stuff. Well, this is how I worked back in those days was you go to the studio and, oh, I'm doing your

session today. Oh, wow. And then eventually it would go. Someone at Tommy Boy was like, just hired Bob Powell? No, no. No. The staff guy. Yeah, what was there at, at Calliopee, who was ever working at the time, would do whatever that

session was. And then usually if it's an engineer who likes what you do, they'll stick around. They'll go, oh, man, I like this. I want to come to the next one. You know, if my schedule permits, I'm going to do your next session. So it was never, you know,

Bob Power. So you weren't thinking, like, okay, this guy has such a forward-thinking sonic genius about him, and we must have him on this record for it. I mean, obviously there's engineers that some were better than others, but, you know, when you're paying $40 an hour,

you're just trying to get whoever can get the job done at the time. You know what I'm saying? I mean, you know, the brilliance of Bob Power is evident because you work with him, obviously. And I tried to learn as much as I could from him. I remember when I was in Setto-Sonic.

He might not remember this. But I was taking audio engineering at the time. And I would just sit there and just watch him, like, closely. And he looked at me. He looked up and said, you never learned anything by watching me. It's very disheartening. You got to do it. So it made me, in a sense, go, I'll show you.

Of course, I'm not, never near as nice as Bob Power, but it was incentive. You know what I'm saying? And, yeah, he came aboard like a lot of the other projects, you know, along with my man Scottie Hard and there's a few other people. Oh, okay. And Sue in the house. Sue Faye. Sue in the house.

Right, right, right, right. Oh, she was an assistant engineer? She was like, I don't know. It's like whoever was there. It's like, I'm your engineer. Like, okay. You know, and never had a female engineer before, but hey, man, you're on the payrolls. Get it done.

$40 an hour. Two princes working with two female engineers. See? How in God's name did you record that record for under $25,000? Which one? Three fee high and rising. Oh, it's called taking that shift from 12 to 4 in the morning at the studio when it's $30 an hour. You know what I'm saying?

It's called buying your own reel of reels, which when you buy the studio, it's like, what? 150 bucks. You buy it at the tape spot for like 100 bucks. Sometimes you don't use Ampex. Use Agfa. You know what I'm saying? You find ways to, I'm serious, man. Wait, there's other real tapes.

Hack me. It's the ACME tape company. Wait, no frills. Tell me a question. When you get that, you said $25,000, right? Yes. When you get that 25, that's your 25 to make the album. It doesn't have to spread to anybody else as far.

No, that's how we... That's the entire budget. That's what I'm trying to understand. That's us being paid. That's us using studio. That's, There was left over. I'm sure this episode of Quest Love Supreme costs about $25,000.

I need a raise. But wait, so that means that, like, y'all had to eat off of that, too, as well. That's why you worked regular jobs. You see how skinny is? Wow. So, wait, did you have a regular job while you're doing on this stuff? Yeah, yeah. I mean, all through Setters Sonic, I was in college.

I had a part-time job. What was? Yeah, I worked through everything, man. You know, it's because, you know, I look. that at least me personally like fat boys run DMC like you know there's an L.O. those guys who make money you know what I'm saying I'm just doing it as for fun as a hobby you know what I'm saying I love music whatever comes out comes out but I'm going to take civil service test to become a postman at some point you know what I'm saying like that's the reality of it

and so it just so happened that my passion and probably I'm thinking because I didn't take it as serious as a lot of my contemporaries is I just had a lot of fun with it which kept it open help me be more creative. Because I think if I was thinking of marketing and like, yo, it's going to bump into clubs, you're just going to do this, it would have really restricted what I did. But I was just like, whatever.

I'm going to have to work a regular job anyway. Record that. Whatever. Yeah, liverach. You just throw that in. You know what I'm saying? I got to get up and go to work. So you're thinking by the end of three fion rising

that you'll just, I'll get a job somewhere and then work on another. I mean, that's what I thought. I mean, you know, even when the record came out, okay, it was starting to gain some traction and all of a sudden, wow, this is cool. And it just got to a point where it wasn't until not that record, but other work started coming in for me.

When I was like, man, I can't go work at. I was working at a place called General Accident, which was a... Insurance company? It was an insurance company. Yeah, it was an insurance company. Yeah, it was an insurance company. I just graduated college and I was in between those things. I remember I had bosses tell me, you know,

I got called into the office one time. I was working at a place that I was doing soldering. I was doing electrical boards because I took electronics in school. And so he called me as like, you know, I heard you doing this music thing. You have a choice, Paul. He could be here every day on time and be a part of our company and our growing family. We can follow this music dream that you're thinking about. We hear at General Accidents.

You know This was before general accident And I was like You know, I quit And I just kept it pushing Which was kind of rough Because like man I need that money

It was a good job I was paying like $6 an hour You know It was good at the top Wow That's crazy What was the record that changed Your thoughts on that

Like the Oh oh I skipped the story As soon as work started Coming in after three feet High Rise And was when I was like

Yo I'm gonna have to take a leap of absence For maybe like a year And kind of ride this thing And produce see what happens. Yeah, there was third base and Big Daddy Kane and Queen Latif. All those things started to really come in. And, you know, and then Russell wouldn't become a manager and him in Leor. So that changed things. Like, maybe two years. I'll go back and work. Oh, Jesus Christ. I forgot

about resident. Motherfucking Alien. Do do do do do to man records. I totally forgot. A win is a win. A win. A win is a win. I don't care what you're saying. Yep, that's me. Clever Taylor the fourth. 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

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or wherever you get your podcast. All right. So at the time when, quote, we hate the song, end quote, becomes like a force to reckon with. Are you guys, just be honest, man. Why aren't you, were you guys happy? Because I know this, I know the perception. And sometimes when, you know, there's thoughts on Dave's whole whole, uh, jaded grumpy man stees

i got love you know david is it's weird though because for me Dave trugoy Dave was like in my mind he was the the utopian peace child like he was the original

Prince of the first one to punch you in the face I know this now deception wise though he wasn't yeah I know this now but well actually Mason will probably punch you in the face and then Dave will clean it up yeah No, no.

It's just that based on seeing the album cover, like, this is for me who never knew who you guys were. I was working at Sam Goodies, and this record comes in. That's a dream job. I wish I had Sam Goody's job. Changes my life. I think I got fired for stealing three feet on Rye's. Jury is still out.

I don't know. But I'm just saying that, you know, to see where we thought they were. marketing. Right. And I fell for that marketing hook line and sinker to where they are now. Right. Which, I don't know. But I'm just saying, what was their initial response to me, myself or not?

Was it like, oh shit, this shit's number one. Was there a hug? Was there a smile? Well, in order to answer that question, I have to kind of go back a little bit and say that me, myself and I was the last song on that album, and it was prompted by Tom Silverman, because he's like, yo, this record, this album is good. We just need a radio record. So automatically that prompted disdain from them.

You know what I'm saying? They're like, what? We're radio record. We got everything. And that's when me and May sat down and we did the music for me, myself, and I. Because it was like, okay, it's a catchy song, knee deep, punk, deluxe. man for life. We put it together.

They're like, all right, we're going to take the rhyme style from Black is Black. This is Black is Black in America today. We're going to do that rhyme style, put it over that song. It was just kind of here you go to make Tom Silverman happy. Then it's a boom. So that's why they hate this song. It was like, ah, we's kind of forced to do this record. We saw a big record, but how did that happen?

You know what I was the trick of the devil. It was like Twilight Zone. Me, I love the record. I'm like, oh my God, because I'm a Funkadelic fan. And me and, wait, me and Macyo put it together. It was just like, we did it quick, and it was dope. But how dope is that that you made a record? Like, he requested it, and you made the exact thing he requested,

and then it was a hit, because that's a hard process, like, to even understand what a radio hit is. And plus, it really wasn't established in the hip-hop back in 88, 89 back then. Like, hip-hop just discovered, and, you know, because 3-4-9 came out, what, January of 89? So really you're talking to 88. I mean, there really wasn't a thing like, oh, if I take this obvious thing from 10 years ago and resell it, it'll work. Like that didn't have like puffing you.

Like that was the formula of it. I mean, I would still think that even I hear it, you know, I wasn't like thinking like cynical like, oh, they're using this obvious shit. Like it ain't a chick singing a hook. Well, see, to Dayline it was obvious. And one thing you got to understand about Dayline, they might disagree with this. But I think it's part of the beauty and part of their artistries, especially. back then is there was a sense of arrogance, you know what I'm saying? It's like, yeah, we're going to do this. This record, oh God, everybody knows this, you know, it was just, and that was kind of swept

throughout all the native tongue. And that was the beauty of it. There was a certain arrogance to like, you do this, but we do this thing, you know what I'm saying? And that was part of it. That's why, you know, even though, you know, it was too obvious for them. You know, even though like say no going certain songs here. and there are obvious things, but that was just way too obvious. You were Seine Ogoe was that mind thought, or was it like, I thought you guys were just being clever shit and like, oh, damn, you can't rhyme over, I can't go for that? That's amazing.

Oh, no, no, that was part of that was a record I had. And then other part that, which is face, Merce had put together, POS had put together, was his idea. Wait, I got to ask something about, say, were you the anchor of Saino go? Because I have a production question. As far as I know, there's not an instrumental of I Can't Go for That out there. Yet the part that you guys rhymed over would be the verse of I Can't Go for That, which has Darrell Hall singing on top of it.

Where in the hell did you find four bars of do, do, do, do, do do do do do do do do do. No, that's the hook. You know, when they, yeah, you say by the dovi over the top. That's the verse. There's four bars of that that are clear that I can't find nowhere. And I brought every configuration. You'd have to ask POS that. I'm going to pass the buck.

And there's a one, two of things on there that if I disclose, I'm going to be. They're going to come after me. I doubt that 30 years later. Oh, oh, you trust me. They still come in. Trust me. I'm sure, especially. You still get like sample like Cs and C's and CISC.

So I passed the buck off the pot. He'll tell you. Isn't that the reason we don't have. Okay, well, you can choose not to answer this question, which is part two. Like, fifth. One, two, three, four, fifth. But, I mean, so were you just doing this goulash to, like,

throw this in there, throw this in them? Because, like, Oh, yeah. That's exactly what it is. But crossword puzzle mixes so brilliantly with it. Like, it's rare to find two melodic samples that are the same BPMs that also mix together. Like, I'll say that say no go, if

those who are familiar with my DJ and style, the fact that I mix songs in the same key with each other and all that stuff, like, you're doing forward-thinking there where it's like crossword puzzle, okay, I'm using nerdy references, whatever. Slice Stone.

Yeah, Slice Stone. Well, I didn't want to call out Michael Jackson's ATV guards, but thank you, boss Bill. Thanks. They can get on who samples. dot com and look it up yeah but which I might say is it somewhat inaccurate at times there's some things

I see it I'm like that's not that oh yeah but I let it be wrong though but I don't want to debate it because then I right right I just be quiet I really use this yeah I just this Beatles sample yeah sometimes you've got just you know let it up but it's

well okay again I'm thinking that you're like okay well let me use something that's in the relative minor of something their major key You know, it works together. Right. That's what, okay, just cut me off there. I'm thinking too much. You just thought this was dope and let me mix it in there.

What we did and it was beautiful. Man, see, I really miss those days. Everybody had their little record collection and we'd go in and we add stuff. Oh, I think I have something to go. Some part of it was by ear and that, you know, okay, and knowing your record collection and knowing parts and, you know, combing through records. And the other part of it is, which nobody was doing back then,

we was pitch shifting. What was going to lead to my third question was that you were also Some of those samples had to be readjusted Leading to the original buddy Yeah the Commodore shit and mixing with the The Bo Didley shit Okay were you using that Yamaha I know the Yamaha thing had a pitch shifter

Yeah SBX 90 I think it was it was called SBX 90 Yes yeah it was pitch shifting on that and And resampling it and yeah and taking it and kind of Because, you know, the thing is we want, we knew it worked melodically, but it just didn't work in the right key. And Alive was just hitting the button. All right, that's right. And it was good sometimes to have an engineer who had a musical background. He could go, I think it's in a G minor with a...

All right. Can I just take six seconds of silence just to breathe? All right, SPX90. Thank you. But the thing is, you know, part of the arrogance that, and I'll go back to that, is like, we actually... actually thought. You know what I'm saying? Like it wasn't just going, yo, let's loop up this. It was funky, you know, drum break, which works and that's hip-hop.

But we just took it to another, let's pitch shift. Let's do this. I don't think that's arrogance, though. I think that's... We really thought about our production. That's genius, though. That's not arrogance. You know, at least, you know, like said, when I went to the studio, I was like, yo, if we're going to do it, let's just, let's just do it. Let's just,

whatever our imagination goes, that's where the limit is. And that's where we took it. See, it speaks to me because usually beatmakers after the three-fihai, after the Nation of Millions, Three-File and Paul's Boutique generation sees that, oh, sampling can go anywhere, then a lot of us will recreate that stuff

when we first get drum machines. And I was like, wait, why is my shit blending like their shit? And then I'm suddenly realizing that you guys were pitched, I would ask engineers, like, why is this the same key? And now I'm realizing that you were pitch shifting.

Oh, the beauty of technology, man. I mean, we learned a lot of things in the studio. And I'm not going to lie as a producer, I would go in there and because I think, I feel like I'm like a coach, right? I got to go in and team riled up. We got, with a pistons,

and we got to beat the Lakers. You know what I'm saying? I don't know how we're going to do it. We're going to figure it out. So I'm getting them all amped up, but in the process, I'm learning. I'm like, oh, okay. Yeah, Paul, can we do?

Yeah, we can do it? Oh, how do I do that? Who's the bad guy, though? And I just didn't have to figure it out. Who's the bad guy? Because if, like, if someone's like, yo you know it really sound dope funky drummer

like and like are you the final word on at least for three feet are you the final word and says I don't know if this goes together with that and we can't you know what the final word is put it put it in there

and if it works it works if it don't it don't and I live that's how my production style's been from that point on you know it's like even if you don't like an idea I don't know until I hear it it might not sound right in my head and I can dispute it,

but we can really argue when there's the one there and is whack. You know what I'm saying? It's without question. Can you give me an example of a song of which either POS or Dave or Mace was like, yo, this should have work. And then like, you just let them hang themselves

with their own rope. Man, I can't, not offhand. I could tell you some things I put in that was whack that I was like, oh, that's not working. was the beginning of plug tuning. It was like, hey, God. It was listening to it recently. It was Mason, you know, man, how Paul plug us in

and give us a hype effect? And I go, yeah, let's try this. It was so corny. But after we recorded, played it, it was good in my head. It was like, ah, we're good, man. And we edited it down. So you have to audition ideas in front of a jury? I mean, I...

That's so hard, man. It's not even in front of a jury. It's just like, and it talks back to Stetsasonic, like, and low offense to the guys, but it was a learning process. I would, yo, let's do, nah. Let's do, nah. I'm like, when I get my own group, we're going to put everything in there. You'll see.

So, like I said, it was the polar opposite. Whatever I did instead, I want to do just the hardcore opposite. In this group, I'm going to treat them differently, and that's what I did. Let's put everything in there. Put in there. Which leads to De La Sol is dead. Now, I actually think that's the better record of their canon. I mean, for me personally.

That's my favorite one. That album made my career. Wow. Like, that was, I mean, I've had many a moment where it's like stop your heart in its tracks and you stop what you're doing and you sit and you listen to it. But, I mean, nothing will ever beat the Sunday that. Jason Brown and I cut church to sit in his dad's car

to listen to that record from start to first. That means a lot. I mean, I saw my life. Yeah, De La Sol is Dead one that day. Two things.

One, heavily bootlegged before it came out. Everyone seemed to have a copy of this record before it came out. But, you know, for people to talk about the darkness of it, I don't see it.

I think it's even more humor, more zanier, more funny, more samples, more creative. I mean, for God's sakes, you guys got the cover of Rolling Stone for this record. So it's like... That was a tough record, though, man. And I say... You don't have good times than thinking about it? No, no, I mean, it was...

All my daylight records to me have done experiences and it was fun, you know? but I think in the sense of that man after those guys were in their first tour and they got you know because getting everybody up yeah beating everybody up you got to say it went from like from zero to 100 for them like blah you know they were like you know plug tune is cute all of a sudden like oh my god

you know you just got this number one record all around the world how did you feel about that which you never answered that question what was the feeling once you guys went platinum and it was like whoa You know what I'm saying? Everything moves so quick. It's like you don't have time to really acknowledge you because all it is is more work coming in. You know, it wasn't time to sit back and just really think about, hey, man, I made it.

You know, it's like, whoa, okay, it's keep it pushing, you know. And I think for them it was just a lot of pressure, you know, be here, be there, do this interview, do this. We need more daisies around you, you know what I'm saying? And the more that was pushed upon them, the more they rebelled. And the more they got like, what, when Daisy, daisiness, you know, so it, by the time the second record came around, I remember, I remember, you know, being at meetings with the label, with Tommy Boy and Dave and Paz going, you know, the label would say, you want to do whatever. No, no, we'll just quit. We'll quit. They go, what?

Like, the label's like, quit. You can't quit. Yeah, we'll quit. We don't want to do that. We'll just quit. Call their bluff. Which was just, you know, it was just, they were just angry, you know what I'm saying? And understandably so.

Like, you know, I guess just seeing, I guess one getting used to demands, you know, having a label pushed certain ideas on them. I guess the expectations of now the world's expecting so much. They had to build up their show because remember, I don't know, in the earlier shows, they weren't as received as like nowadays. Where they come out, it was like, people like, you're showing good as that. record, you know what I'm saying? Really? They were getting fooled. I mean, in some places, you know, they had to build up. So it would, like I said, it was a lot quick for them to kind of catch up to. So by the time the second record came around, you know, you know, beating up people in the records, it was, you know, it was ring, ring, it was, you know, it was a lot

of that vibe. But the part that I really respect about it is they, it was still creative because what they were going through. They didn't like, you know, they wrote about whatever they were dealing with. And I tried to make it happy. My thing was like, all right, guys, I understand. Let me, let me sprinkle some of this on top of it to kind of give it this kind of. So it was like evil. So if you weren't there, how dark could De La Sol as dead have gotten if you weren't really going in the silly?

Yeah. I don't know. Onyx? No, no, no. So like, but he's in the BK Lounge. like how like whose idea like where's the where's the where's the where's the genesis of man that that i have to give them the credit for that because i'll pieceing together all the different music and stuff but it was just man like i said we would sit down and talk during that time and you know i'd

hear all stories about the road and and just then be like oh now mind you you're you're arrogant to begin with now throw all the fame and all like the really you really want me to do this. You really, you know, just like when they had that sign, you're pissing us off with your photos or whatever that, you know. Right, right, right, right. They were that guy. You've seen them out the Grammys, first Granger's like, smirking and like, why we're here.

That's them. You know? Do you think it's the guilt of not wanting to look like they're enjoying it? I always figure that there's a judge and jury in their head. And usually, again, with most, with the smart end of black culture, especially. what the music is concerned. There's a lot of overthinking. And usually that turns into sabotage.

And next thing you know, it's 15 years before your next album comes out and all this other stuff. So, well, yeah, I mean, I don't need to name names. Just think of who's not released a record between 8 to 15 years. That's because they don't have a Prince Paul. Right. They don't have a, that's not named Chadee. That's because there's no Prince Paul in their lives to say, like, you're overthinking

it. Just, you know. Just do whatever you feel is right. Whatever, I always say your first thought is your God thought. You know, everything else beyond that is you just analyzing and taking external things to be learned to add to it. So whatever you feel is the right thing. That even goes with gut instinct, you know.

So that's how I make music. First thought is your right thought. Let's record it. That's why a lot of times usually the first take is, yo, that was it. You know, sometimes you first take took something. Somebody tried to recreate it and like, you might know the rhyme a little better, but That feel on that first one was the right feel. Copy that feel, but know the rhyme.

Know the words. Yeah. No the words. Did you ever? Oh, I was thinking to myself, I said, they were the first ones to kind of fight that earthy box in my mind. Like, you know, the later. But they invented it too.

I know, so that's the weird part. It's like. That's why Dale is all dead. Right. To build it and destroy it. But, I mean, to answer. I say that y'all weren't fooling anybody, but okay. But to answer your question, I mean, I know, I can't really.

answer for them but as I see it is they just I don't know they just had a musical standard and what they thought was corny was not corny and they just so rebelled not being that typical who they deemed as a corny artist you know and things that just seemed I mean almost almost to the point where I think it worked against them because I you know from what I remember they had a lot of offers for a lot of commercial things you know I would have gave them a good amount of money but it's like okay so Pepsi I don't know I'm not saying Pepsi but I'm just like what right Look we was gonna our first deal

Our offers we had one with profile Tommy Boy and Gaffin Geffen was offering us the most amount of money And it was just it was the beginning of Geffen And I was like yo let's sign with Geffen I'm worried with Tommy boy I don't know about them you know profile they did They were about to release it takes two

It was like I remember we went to the office It's like, yo, we just signed this guy Rob Bass. What do you think your song? Oh, my God, it's great. We want to sign your song Plug Tuning. Offering us more money. Gaffin, I think, man, if I remember correctly, profile was like $5 or $10 for like one song.

I think, man, Gaffin was something like $40,000. It was just something dumb. You know what I'm saying? And Tommy Boy was like, ew, twid. It would have paid what they sold, right, Amir? It was saying. I'm talking about, I'm talking about single. Now I'm talking about album.

Oh, okay. You know, and, you know, time, we'll get me what we can get you. You know what I'm saying? But they like the vibe of Tommy Boy because it seemed more real to them. Like they were into the music and into, which ultimately turned out to be the right thing anyway. Because who know if we went any place else that might have had the same impact. You would have been the roots. So, you know, it all kind of worked out.

But yeah, I mean, I think it's, you know, we're keeping it real, goes wrong. Even though I have a gazillion questions about Day Las Solis Day, we got to move. But I got to ask, did you have any clue that your swan song with them would be

Balloon Mind State? You know, Blue Mind State is the one of all the comedians seem to like. That's how I got like more of the work. Yeah, like Chris Rock and I will still have these arguments. Like he still swears that's like in his top five. Yeah. Part of me is a little sad about that record.

Like I feel sad about that record because I feel like that's where the four of you part it weighs. And Delah hasn't really made an album that I absolutely like, disliked or whatever, but I do miss the lightness and the humor

of their records. Well, I think as time went on, as my promise with the first album, but, you know, they reeled me back on the other two. And I did start stakes as high as well with them. Well, you did dog eat dog, right? Or at least he started.

Yeah, we recorded it in my house. I was about to say it because that freaking dog barking has to be you. No, but that's all Dave's idea. I'll give them credit for that. Like I said, I just recorded and kind of navigated, you know, the beginning of stakes is high. And the, you know, I stayed a teenager and they grew up. You know what I'm saying? That's how it evolved, you know, just I'm still like, you, yeah, yeah, yeah, man, let's do this.

Let's record that. And they got to really where they were like, I don't think that. That's right, Paul. And I had to respect that. You know what I'm saying? Then I'll be going against what I said earlier. Like, it's your art. It's not mine.

So I couldn't impose my will on them but for so long. You know what I'm saying? Because then it becomes me. And then I become that thing that I hate. So the best thing to do, stakes is high, and it was really tough because De LaSoul really made me who I was or I am as a producer. I had to like, it's better that we just part ways. And that was tough.

I remember that day. Cleaver was in my house, hand him the ADAPs, you know. Oh, like the nice version of shook night and Dr. Dre. Yeah, it was a nice version of that, right? A win is a win. A win is a win. I don't care what you're 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, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects.

from hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart radio app, Apple Podcasts,

for wherever you get your podcast. And for more, follow Timbo Slice of Life 12 and TikTok podcast network on TikTok. 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 gonna get what he deserves Listen to the girlfriends Trust me babe On the Iheart radio app Apple Podcasts or wherever you get your podcast So from the time Balloon comes out

Balloon is 93 And then Grave digger time Yeah but wait a minute Yeah cane questions and Oh well not just the Big Daddy thing the title track of...

I'm still in that baseline for the next record. Oh man, Kane. I love working with Kane. I met him during the Stets of Sonic days. You see him at the quarters and stuff. And yeah, man, he called me. It's like, yeah, man, you got a song.

I was like, yeah, you don't try this. You know what the cool thing back then? It's like now everybody makes beat tape. You know, what do you got, man? Give a beat tape. Listen to it. Back then it was like, yo, I hear this song for you. This is yours.

this is for you, I dictate what happens. You know what I'm saying? And you can't do that now. Just like third base, like gas base and all those songs in Brooklyn. She made all that stuff in front of them. It was Couture. You know, it's like I have it at the house or I made it and I hear you on this. And you trust what I'm telling you.

Now I'm seeing people, what you got? Yeah, I like that. I like this one. I'm recorded and I'm going to send it back to you. It's not like being in the studio. Oh, yo, that's whack. Or, yo, try this over. You know, it's.

It's hard for me to work nowadays, man, because I miss that type of energy, you know, even to dispute me. You're like, oh, man, no Paul. Well, show me. That's how I make things get better and better and better. But, yeah, but we can, going back to the question. Yeah, yeah, Cain hit me up, you know,

and it's like, yo, I'm working on the second record. I'm like, I'm a cane fan. Besides, you did Brooklyn, Queens-end, Gasface, right? Yeah. Okay. Yeah, that, that emotions horn breakdowns is like one of my, When like my pie in the face moment, usually when most people is, wwwww,

for mine, it's always that dinga, dinga, dinga, dinga, ding it. Like whenever a fucked up shit happens to me. That's what I hear my head. Like my pie on the face moment is, is that part. Oh man, I'm associated with that indirectly. So, but the thing is, you didn't go light though once you exited stakes as high. Like, you went to Graved dig. Oh, man.

You know what? Grave diggers was a part of. Grave diggers was, you know, we talk about the niceties of De La Sol's Dead. But when that record came out, a lot of the critics and stuff were saying, De La Sol is dead. It ain't no three feet high rise. It was really, maybe. No, no, no, no, no, no, no.

Let me finish. Let me finish. Maybe amongst the hip-hop peers and everybody, it was cool. But amongst the hardcore critics, critics, it was getting panned. Trust me. Time out. Time out. I got to dispute you on this, Paul.

Houston For starters I've never seen such a glowing First of all Day of All Souls Day got a better review Than Three Feahe and Rising Rolling Stone I've never seen a four star I mean

Lee reviews were rare back then And again they gave y'all the cover Which is some shit I memorized I cut out that That all right It's not about me the village voice

it was a top six pass and job which is hard for 91 era Robert Christigal to give that that much critical praise now maybe with local papers

like that but I'm just saying the source gave y'all a perfect five that was the first five I've read that wasn't in that ice cube summer issue that album was a classic let me chime in I think part of it too is

the setup of having three feet high and rise and they were endeared and loved. And people like, they could do no wrong. Second record comes out, like I said, you're on the outside looking at. I'm on the inside. You know, you know, your sales a lot lower, you know. And then, you know, somebody, you know, the first album was this, this album is so mean.

You know, so I'm hearing all this. Right, right. Lab was like, you know, we put so much money, more money in this record. I think that's so. I think it's Tomy. I think it's Tom. So you're listening. Like, oh, huh.

Huh. So the pressure's on, which led to. me having the label Russell when I did Dooduman Records it was the pressure of living up to 3 feet high rising like he wanted me to make that record again I can't make that I can't do that

you know so I did the resident alien record was just some friends I did the fun I love that shit thank you the shaky ground and Mr. Bushsey like all that that's I love that record of death yeah thank you it was it was a fun record but he you know they were like

we're not feeling this when we start out the dispute of me calling it Doodoo Man Records, which Russell called me numerous occasions trying to talk me out of it. You sure you make a do do-Man? I was like, yeah. That's the only way I'll do the deal.

If it's do-do man, if it's other than that, I don't want to do it. It's just in me now that Prince Paul will be when Miles of Blackish grows up, he's going to be Prince Paul. Oh, God. Yeah, he does favor. Well, his father is in the...

Yeah, Wild Child. Yeah, yeah, yeah. Yeah, that's a dad. Yo, while you were on this musical journey, was there like a low-low comedy journey going on with you? Because, I mean, you're about funny as you are talented on that. I think I'm more silly than I'm funny, but thank you. I appreciate that.

All your Grammys come from comedy records, though, right? Yeah, Chris Rock stuff, right? Go figure. I just like having fun, and my personality's quirky. And like I said, I've been 18 since I was 18. Like, it hasn't changed, which bodes well for. some but for others it doesn't you know what I'm saying but you know I just like says like having fun some people get the joke some people dope you know both of them

dope but at some point you knew that it was beyond just your hobby and your thing that you like to do because you started making money off of it like Amir said so yeah I was weird and you started making a record yeah I mean that's even I think just just to sustain um being in this industry for this long, freak me out more so anything else and doing what I wanted to do, which was, which I don't know too many people get a chance of doing that, but I was just so fortunate and so, I hate to sound like I'm, you know, on a sports channel and so blessed. I want to thank God. I what I feel, man, because, yo, I kind of wrote my own story and that's very, very hard to

do, especially in music and super duper in hip hop. but I always kept in mind and we talked about this early about money I just saved my money so I'd be able to do what I wanted to do because I think once you start especially when you start making a certain amount of money in this music industry

to start getting a certain lifestyle then you want to maintain that by any means necessary and then that's the while that influences your artistic decisions how you're going to do I will produce for food so I was like if I keep a moderate lifestyle you know I got a house called are, you know, whatever the case is, keep it simple, then I can make the records I always want to make

without having to, like, oh, man, really? You know, or be that dude who, just to sustain the lifestyle, we've seen him who moves over to Bulgaria with this girl who lives down as your yole, with this girl, you go on tour over there, like, yeah, man, you're in town, I heard you, my man, you're out here now, man, I'm rapping at the club down the street. Yeah. About the tour of the local search. Yeah, yeah, everybody knows. I know. I know. I know. I know. I know. I don't want I don't say his name, but yeah, I know a few cats that are living over there. And you go, this is my girl sweat louder. You say, hey.

Hi, nice to meet you. Yeah, I told him we used to rock back in New York. You know what I'm saying? My man, you covered it. I know who you're talking about. We can't say his name. No, I'm not talking about a person. There are people.

Now, that's a lifestyle. That's a paradigm. So to avoid me being that dude, it's like I live a practical lifestyle so I can make the music I want to make. And I've been all right. Do you still live in New York, correct? Yeah, still in New York. After my daughter graduates high school, I think I'm going to move out. Yeah, you're talking about coming down south.

Wait, I was going to say. Taxes in New York. Every New York pioneer moves to North Carolina eventually. Come on. Rapp retirement home. Look, man, my taxes, double digits. Man, every year, the amount of paying taxes when I stayed in my house, I could have bought me a whole new house. I could have bought me a mansion in North Carolina, to be honest.

With a gate. With a gate. That would have been the other house. You know what I said? I wanted to, we were just talking offline, but I wanted to talk about psychoanalysis, that record. Oh, that was it open for you. And the records that, like, you could not make that record today. I think you would be think peace to death.

Yeah, we're talking about like Beautiful Night, which talks about date rape and killing white people. I mean, but it was in the eyes of a psychopath, you know what I'm saying? That was a shield. No, but it paints the story from the beginning. Again, the albums called Psychoanalysis, the guy, you have a psychotherapist, and somebody goes through all these different weird things. Yeah, it is somewhat of a shield, but it is the truth, you know. And so, weirdly enough, I made that record thinking that that would be my last record I'd ever make.

Like, I honestly thought, like, my career was over. Because psychoanaut was 96. Yeah, was 96. Now, mind you, I just started working with De La. And that was very depressing. Wait, psychoanalysis came out before Prince of Peace? Yeah, Prince of Peace was 99. Oh, shit.

Okay. Okay. So, Prince amongst these. Prince amongst his 98. It was daylight. I lost my record situation with Russell. Grave diggers.

Oh, that's just a, that's just a fad, you know, you guys are, oh. So Grave digs six feet deep was 97. Not 95.

94. Time out. But that record did well, though. Who? It got buzz. Yeah, you know,

but it was during the time when Biggie and everybody else was coming out. And that was like the movement. And then I was still stuck on and W.A. You know what I was, you know, I was making action records. You know what I felt the big mistake was, yes. And that's why I make you guys.

Yes. Wendy. Yeah. Here's the thing, though. Okay, nowhere to run to was a good club single. But I felt y'all made a deadly mistake not making bang your head as a singer. Because that song, for, for month in Philly, that's all this is DJ Cosmic Kiff

shout out the Cosmikov made he would play that relentlessly Wow I didn't know that dog you gotta hear it I used to skip that joint You gotta hear it on loud You gotta hear it in a club setting

It just It just it sounded perfect That was our ghost stets up for a half a second Like it didn't catch on But for that month that Cosmikov was spending the shell of that record And he kept calling them at G Street

Make this a single I need an instrumental Like this shit's gonna I'm gonna make it work on radio And it never But I agree with them Bane your head should have been It should have been

Wait I have one question about six feet deep Before you go on a side Who Who is playing on that title track I feel like it's you guys All that's all of us Yeah that's the junkyard band

Man that's how we play This is what happens When you leave a bunch of dudes before the engineer gets in and there's all instruments in the live room. We're like, yo, you know, okay. Press record, press record. Yeah, Paul, you play the drums.

Yo, Rizzo, you, you, and we're just like, ding, ding, ding. Back when I didn't know any better, that would be part of my DJ. Oh, my God. And that's when I was DJ Pines soil. I cleaned the floor.

Oh, without a doubt, man. That song used to clean. But I love that. The shit out is still like on my list. Man, there's a whole, like, session of us just playing. And Rizzo took the dat tape there. Yeah, but I remember who was mastering that record is when you guys mastering your first record. At Sony.

I don't remember exactly where it's at, but I remember you gave me a box of cassettes or a bunch of cassettes. So, yo, here's our first record. If you know anybody wants to do, blah, blah, blah. And I still got like two of them. You know, it's weird. I was going to bring it today so you could sign it for me. I'm not. I still have it.

What's weird about that day was that I know that Michael Jackson was also in that building mastering history. Oh, wow. And in order to go to the bathroom, like I had to clear. Yeah, yeah, to clear. I couldn't just randomly be in the hallway, you know, trying to go to the bathroom. Like, so, yeah, that day. I remember, it was a defining moment, man.

It was like a feudify mode. It was like that. And when I met Common at the new music seminar when he was a little kid passing out his tapes and stuff. It's like, it's like, it's a feud to find him all right. And I kept me, I was like, you know, she got you sign it, man. I get people sign everything. eBay it.

Right. So Prince Amongst Thieves, which didn't that come out the same day's thing, Swallow Part? I think that, TLC's fan mail, Eminem's, Eminem's record. And mine was the least successful. Are you trying to rub that in on me? No, I'm saying that. Statistically, your record fails.

See, I wasn't even going there, Paul. I was saying that while we were packed in that 15-passenger van going from record store to record, whatever, like doing that whole two weeks, that's all we listen to. Wow. And even then, I was like, damn, why didn't I think, fucking Paul, like, why didn't I think it, damn, we could have made something create,

Like I almost felt like, damn, I fucked up with this record of ours. Prince amongst thieves is the right. No, but I was, I kept hearing. I was like, damn, he always comes up with the motherfucking cleverest ideas that I can't. Who was Dom Dom, the Reverend? That record came out a year late, too. Oh, were? Yeah, I handed in in February of 2008.

Was 2008? No, no, not eight. I mean, 1990s Yeah, 1998 and the label sat on it for a year because it's like,

we don't know what to do with this. Yo, for a year that you should look, yo, you don't understand like the look of like sitting in a board

where we played the record and everybody after the record goes, well, um, oh, it's so disheartening. I'm working so hard on that record.

Do they not know who they're messing with? That happens when you tell Paul, yeah, make whatever record you want to make. I'm like, really? And I hand that in.

They're like, this is the way the budget went. We should get it to sex mob. I think there was another group that had signed back there. Who was Dom Dom on that record? The Reverend. My man, McKnight, who I guess, you know set free. Yeah. Yeah, I call him McKnight.

Yeah, that was his boy. He brought him in. I was recording. I was at his house and I was like, I need somebody to play a reverend. He's like, yo, I got somebody with a perfect voice. And he came in, and he killed the first shot. Oh, my God.

I was like, you know what to do? He's like, I don't know how I played no reverend. It's like, yo, just say whatever your rhyme is. Whatever rhyme, random rhyme you got, but say it like you preached it. Like a reverend style. The knowledge is to know the lens before you fall over the edge. Yes, that's just one of his random rhymes said and preach his style and work. You know, I was surprised.

You know, that was fun. That was a hard record to make, man, because I didn't use pro tools or nothing. Wait, what, huh? I used, that's on two inch? No, I did it on A-DATs, but I did it with a sequence and program called Master Tracks 6, and I sequenced everything live with an ASR 10 and two S-950s. So I triggered all the, all the vocal parts. So nobody acted. Right now.

Nobody acted against each other. I just recorded all their lines and then picked the best line and then step-by-step, line, line, line. line and then after that did sound effect sound effect sound effect sound effect so the chub rock while he's rhyming over the biz beatbox like those are recorded separately those yeah well yeah biz did his beat first and then yeah yeah a lot of light of you're in pro tools that shit yeah i know that shit was a nightmare you know you know so dumb is i should well pro tools was way more expensive back then but i i should just kind of just bought pro tools but it's me it's me thinking again like I ain't going to do this for too long.

Save this $2,000. You know, I'm not going to be in this for too long. You know what I'm saying? Even at that point, you're still thinking that it's going to come to me? Yo, it's not till I turn now to 50. I'd start like, wow, okay, I made a career out of this. Wow. Wait, are you serious?

I'm very, very, very, very. Yeah, because I mean, because I was on. What examples of hip hop are there? See, this is the thing, though. You, even in R&B are there. That's because. Unless you're like, dun-da. I think with black, yes.

Your Denna emotion is the whole winner take-all thing with black artists that we have to be at the top of the mountain like Rocky, you know, cheering. But the thing is, is that there is space. In this room alone, there are three blue-collar, you know, there are three blue-collar musicians here, which I think maybe in 96 it was made to be a thing like, oh, they're shame in being a blue-collar. musician or that you're not winning or that you don't have this yacht at your access. I know what you mean now. Okay. I was catching up. You mean, right, like not super rich.

Working class. Working class. Working class. Working class artists. Working class. All right. And, you know, that's, wait, are you giving me the side eye or you really believe me? I believe Fonte and maybe.

Oh, no. It's a every, not, it's very, it's very, it's real, real, real, wealthy people don't have to go to their job. I'm at my job right now. Okay, yes. I'm saying, you know, but your blue collar has a waffle on it. Shut up.

A waffle pin and a donut pin and a heart Lego pin. Gangster. That's the smoke of mirrors to make y'all think I'm youthful. But I'm just saying that as long as, and again, you didn't have lofty, I don't know if you dream of owning 12 mazoradi's. Oh, you know what I'm.

really wanted and I bought my mom. My house instead was a 190 Benz that was kidded. It was charcoal gray. I remember sitting at the dealership. Even this or your mom? Yeah. And I was like, you know what? We have no place to live. But my whole, my whole, my whole, my whole, my whole, my whole Negro way of thinking was 190E. Kid it. Oh! Like your inner nigger versus black man. No, I did that though. I put off my mom's house to build my record room. The nigger won. Yeah. It happens. I didn't want. At the Q-tip, I was like, shit, I don't want to lose my records.

This record is going to be how I make money. And it wasn't like your mom didn't have a place to live. Yeah, she had a nice apartment. Well, the same thing is we wouldn't have a place to live. She lived in Center City on Broad Street. That was a nice apartment. She had a nice apartment. A win is a win.

A win is a win. I don't care what 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, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you

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

podcast. And for more, follow Timbo Slical Life 12 and TikTok Podcast Network on TikTok. 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 girl. 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. With the politics of the business record was that, because it's funny you mentioned that you thought psycho analysis was your last thing. reading the line of notes of the positive business. I thought that was the last thing.

You know, it felt like it because I... Chappelle's on that, right? Yeah, because imagine I did this record, man, put all this work into this record and handed Tommy Boy at, you know, and they really didn't love it until critical claim came back. You know, it's one of those things like somebody,

you know, you have something, they go, yeah, it's all right. And then everybody goes, oh, that's dope. They go, yeah, it's dope. And we have it. It wasn't until that point when they realized something dope it was at the end of its run so you mean to tell me that by the time that the

politics of the business came out then it was like they were like yo make another one they're like make another prince among thieves i'm talking about prince among thieves it heading to politics and and i'm like i can't make that it's like it's like bugs bunny one show only or no daffy duck you know so it blows himself up you know so it's one i can't do that it gets so hard and plus when i didn't get too much love the first time so in and and having a conversation um with the label, I remember like, you know, it's about singles mark. It has nothing to do with an album, Paul. It's thinking so backwards.

I'm like, word, I'm going to make this record, and it's just going to be a spoof of singles, which backfied against me because everybody took it literal. And I'm like, it's a spoof, and I'm just joking. This isn't what I really do. This is just like kind of a joke. And, and yeah, it went, it went haywire. Yeah, I remember we talked about when we were doing the breaks,

and we talked about booty clap. Yeah, booty clap. That's like my favorite. you say how like Luke you did that as like a spoof. Yeah, that was on psychoanalysis. Well, psychoanalysis, right. But then Luke came out with scar. And I think after that, that was like 140 BPM something crazy.

Yeah, yeah, yeah. I was too slow at 125. I was like, man, I can't get the spoof right. So I have a quick question about politics. Did Chubrock ever pay you the $2,200? You know what? I just say unequivocally no. I have not got that back, nor do I ever expect to ever get it.

If he ever gave it back, yo, I would go on all types of social media and I would say he's the, you know, I wouldn't say he's the greatest guy, but I would go, yo, he finally paid me back. I don't know. Like, it took all this time, man. And coming back. You know, man, that could be a lifetime movie. I would tell you all the guys that story, be like, what? Yeah, what was the story of the 20%? $2,200.

Oh, man, I can't get to that. You already put it out, man. You know, it's, I got got, man. You know what I'm saying? It's so sad. Was it like production? Was it some production stuff or music stuff? I just got got got.

Personal. I just got got. You know what I'm saying? I was a vick. You know what I'm saying? That's all I could say. I got got. You know, and you live and you learn.

You move on. You know, the money didn't hurt me as much as the fact that I thought we were cool. You know what I'm saying? Oh, so this is like, Like, there's still feelings behind that. I mean, because, I mean, it's like, who. So even if you see him now, it's like. Who's mad cool with you?

No one. All right. Then that's hard. All right. Let's say, let's say, like, yeah, for example's sake. I ain't never been in his house, but we kind of close. Okay. Let's say cool all of a sudden.

And you will never come either. So go out. And let's say hypothetically, she set you up to steal from you. And you like, oh, I thought it was cool. We hung out. We worked together. Back of a day? Or 90, can you name a year?

What, when we thought it was cool? 2003. Oh, damn. Yeah. So, I mean, it makes a great story, you know what I'm saying? And I'll tell it one day in full. Okay. But, but, no, no, you know, am I, you know, I, honestly, I think Chubb is, and I can say,

this is about time I talk about this. I think he's super duper. Some reason why I work with him, and he's really, you know, he's really smart and, you know, funny and all the other great things, very charming. But at the same time, you know, those are the things that really make great set up for great vicks. Yes. And I got vicked. I'll just say that, man, you know.

Wait, before we wrap up, I'll be remit. Handsome Boy Mildon School. Yes, yeah. We had to do Handsome Boy Mildon School. But we have to. That too. Okay. Wait, he doesn't have been in like eight groups.

Like, you understand? Yeah. I got to reinventing myself quite often. I got to, wait, I'm sorry, because I'm going to forget this. And Steve will kill us if we don't mention the fact that you worked with Tio Miserio. Oh, Tio Miserra. Oh, yeah. Yo, that was great, man, with Vernon Reed on that record.

Steve and I have a running joke with Tio or Thelonius Monk. There's a documentary where Thelonius does this, like, brilliant, take on piano. And he tells Tio, okay, play it back for me. and Tio's like, oh, I didn't record that. I was just getting levels. But the only said, okay, but play it back for me. He's like, I didn't get that. All right, well, just play the tape back for me.

No, you don't understand. I didn't record it. All right. All right, well, I wait right here. Just play it back for me. That's me and Steve all day. Just play it back for me. But they got it on video tape.

That's the ironic. Right, yes. Yeah, that is true. That is true. But what was it like working with Tio? To me, just like working with Bernie Warrell, to me, it's like free college. You know what I'm saying? Like I just, I throw on my part, but I'm just watching, you know.

My whole like thing, especially with production, working with people who are seasoned like that. I mean, you know, we all learn from each other, but I'm watching hard body. I'm asking a ton of questions. I'm like, yo, how'd you do this, blah, blah, blah. And, you know, getting to the mind frame. I mean, all of it helps, you know. So that's to me what it was more or less It was just like me fanboying

Like yo how'd you do that When you did that how'd you do that And it's funny like a lot of these older guys I'm sure you've dealt with this too They go oh man all we did was It's like make all matter factual Like but what you mean Oh man we just a cut on switch man

That's like 20 episodes of this show You know And so I'm sitting like well in awe Like but the equipment was so limited back then And what did you do Wait one more one more regret I was at Tio Mouserro, that's Miles Davis's producer for those. Thank you.

I was thinking, day, day, day. I'm sorry. That too. What did you have to do with Newkirk's career? Thank you. I was going to say. We don't have regrets. We can't end the show without mention down there.

All New Kirkeles. Because the second of the show stops, then we'll go to text each other like, oh, we forgot to ask you. So right now I'm thinking of regret questions. Man, New Kirk. Me, New Kirk, we met when he moved in from the Bronx to Amivville in eighth grade, eighth grade was pivotal

in eighth grade and we were in a group he was my MC, he was MC Kid Wonder Wow and his and we had my man Mike Tullux and his and also Newkirk's brother Ray

whose name Sugar Ray and we had a group called the Soul Brothers back in high school and and you know after a while Newkirk kind of went on to his thing I was getting more into

Stetsasonic I met them and he got more into like a prince vibe So we, you know, even though we're mad cool, musically we were kind of separated. And he was just making demos and stuff. And like with all my friends, if you know it's in all my records, there's usually a band of characters

that follow me from record to record to record. And one of them's New Kirk, it's probably my man, B-mo, the Popmaster. You know, there's certain people that are just my friends from like childhood. And I told... Is the Pop Master?

Was he the one on booty clap? Was that him? Oh, the Popmaster does all my, hey, Paul. Oh, yeah, yeah. Yeah, that's the pop master. And lick him? Yeah, yeah, he can lick them.

Okay, okay. I just seen the pop master about it. Wait, who? Uh, uh, uh, uh, uh, who do you worship? Who do you worship? Who is that? Oh, that, that's, this guy named Ron. He worked at the, uh, at the, I told you, I, I, I did, um, McGiver stuff.

Hey, you in the booth. He was, um, he worked at Calliopee. He was like the manager. He was, he's been a lot of, a lot of, I've heard that voice on a lot of other stuff, too. After they was on my record. I launched his career He was working at the studio As a badger

But the original version Of who do you worship Oh, I love that one Why didn't y'all put that on the record? I don't know I have no idea I hate y'all for this shit I love that one

How'd you get it? And where'd you hear it at? What's my name, motherfucker? That's true I'm ass wrong I can't even find that I just in my thing of cassettes And I don't even know where it's out

I have a draft of De La Sol's dead That's slightly altered than the version that came out. Man, that's beautiful. Another text regret question. Oh, New Kirk. Let me get back to New Kirk.

Okay. But yeah, so New Kirk, after I asked him, you know, do the voice on 3P9, Risen and third base, and, oh, this is before third base, I introduced him to Russell, and Russell signed him to his label. Yeah, OBR and that kind of set it up. That's why I had a little bit of juice, man.

That's when people actually kind of liked me. I could call up a random person Hey man Oh Paul how are you You know When you start making money for people The calls get Yeah yeah

You know What was your text regret question What was your text regret question? Who was Dela talking about At the beginning of Afro connections At a high five I was there what the fuck? Or we can't say

Okay Don't mention a name Were they talking about someone specific No Not that I can think of That's all you have to say Like they might have to ask them. But from what I remember, it was just an overall,

because that was the vibe back then, because the dude was just doing that. You know what I'm saying? It was just the movement. And what is Crocker? What's the history? Is it a Frankie Crocker thing? No, no, no.

But that's him saying his name, though. No, no, that's on Crocker from Kojak. That's right. Wow. I forgot. Tom Hayes handled on OK player found that Crocker. Really? Yeah, he, you know, it's one of those things you got, you know,

you just random Crocker. Yes, put that in there. Crocker. Just to cover up the curses, Crocker. I see. Handsle Boy and Mildon School real quick. I know we got to go. Hanson Boy Mildon School.

Y'all just, well, hopefully. They just used one of your joints and Baby Driver, the movie. Yeah, I just heard about that. My nephew told me about that. Yeah, they used that. How did that come about? I don't know. Well, I mean, did the group, not that placement, but just you and Automator.

Oh, that was a joke. It was, Automated was that Tommy Boy, and he was like, Because me and Water Mae became cool when he did Dr. I was doing psychoanalysis, and I did a remix with Blue Flowers. And then we were talking about Chris Elliott and Get a Life and ha-ha. I remember that episode, Hanson Boy Moll in school. Yeah, handsome boy Moll in school. Ha-ha.

We're laughing. We're joking. That's where it comes from. Yeah, we're exchanging copies of old VHS tapes of Get a Life. And then all of a sudden, he's that Tommy Boy. And he's like, yeah, I told Tom and Monica that we got a group called Hansa Boy. in Marla School they would assign us. I was like, really? He's like, yeah.

I was like, all right, let's do it. So, you know, it wasn't a group, it was just a joke. And then we had to live up to the joke by making the record and the thing behind the joke. Did Chris Elliott ever talk to you guys about? Yeah, actually, we met it with Chris Elliott. And he was like, I can't believe that. Crap, Abby's coming to the show today. Side note.

Chris's daughter. Go ahead. He's like, I'm surprised anybody. I even liked anything about it. Foxy had me such a hard time with the thing. And he wanted to work with us on some project. but it never happened. And then y'all did the, is that how the Atlantic thing

for the second album, the white people album? Oh, it's because Tommy Boy, one just took the catalog from Tommy Boy. So all the groups got dispersed. Obviously, nobody wanted me as a solo artist. But they accepted me in handsome boy modeling school, which I was just fine. Can I just give people a point of reference for Chris Elliott?

Remember something about Mary? Yeah, he was the guy. He was, God, what was his character name? He was the boyfriend. Yeah, the one that had all the, The Zits. Yes, yes, yes, yes. He was the lead character in Get Alife,

which is what we've also been talking. I know, but something about Mary is kind of... No, Gita Life is also... The Dix. Real last. You, I got so much awkward stuff, right? I got one more after this. Okay, go ahead.

That was my last one. Y'all knew this was going to be out longest one. Y'all knew. The Dix? There come the Dix. Oh, yeah, yeah. It was a group.

It was like his fake, like, Motown soul group. The D-I-X. You don't remember. It was fucking hilarious. What was I? This was like, oh, it was like, 0, 40, 5 maybe? Something like, yeah. I was depressed by then.

Go ahead. Yeah, yeah, that was, uh, yeah, it's just a fun. There's certain records that I make that I'm serious. I'm like, yo, I think this is dope. When you hear records like psychoanalysis or the dicks or instrumental. Paul Barmer. But yeah, those are, yeah, Paul Barners are a fun record. Those are like I just make just a mate, you know what I'm saying?

Like, you like it, you don't like it, you hate me. But that was just, you know, an imagination thing. This is fun. I got all my friends together. I got to say that I'm one of the biggest Barman fans ever. Barman always talks about you. Barman's on that ask bond list. Oh, what?

Have the time. People are like, yo, who's Eric Codda-da-da-da-da-da-da. I'm like, it's MC Paul Barman. Who? Oh, okay. Barman. Barman's genius. Yeah, man.

Very overlooked, man. I love that dude, man. But, yeah, he talks about you all the time, man. I thought you all live together at some point. He's like, yeah. No, man, it's just, you know, he's, that's my spirit animal, man, Paul. Yeah, yeah, he's crazy. Yeah, he's mad, cool.

I got him in a group with director, Eternal Sunshine and his life. Oh, Gondry. Michelle Gondry. Yeah, with Michelle Gondry. Okay, yeah, he did talk about that. Yeah, yeah, yeah. That's cool, man. Yeah, he's good to work.

I'm glad to see you guys are working together. They got a side project. All right, so. What was your, you had one of real? Just one last really kind of stupid question. No, not stupid. George Clinton, Tweak and Remix. Wow, forgot about that.

Jesus. My brother brought that up not too long ago. Did you touch that before or after Prince got a hold of it? Because you both accredited on the record. Two princes. Yeah, two princes on the same record. Honestly, you know what? I don't even know.

I think I have a copy of the record somewhere. I don't remember anything. All I remember, I do remember this, is that before then, Prince wanted me to come down to the, was it, Paisley Park? studios and record, but I couldn't at the time. I was really busy, so he sent me the master's to, I mean, yeah, to Island Media where I was working. That's funny. Now it's like, oh, I have no time for you, Prince. What a douchebag of my, right? You know, but, and you knew I was a big George Clinton fan, and I remember doing it, but I don't remember the process. You

know, I just remember recording, oh, okay, this is cool. Not some of my better work. I mean, I wish I and go back in time and really redo that. And I wish I'd go back in time and go to Paisley Park Studios. Can you, before we go, can you talk about the Brookseil project? Oh, Brickzell. Yeah, that was a long time in the making, man. That was me visiting Sal Paolo, hooking up with Hadrigo Brando,

who was the host of UMTV Raps, Brazil, back when they had YOMTV Raps. Back when Rapp was out. Yeah, and, you know, me talking about, hey let's make a record and hooking up together and then introducing him to Mecca, you know, him finding at Mecca's families from Brazil and her teacher, her speaking Portuguese and they bonded and then, you know, I always bring my usual suspect to always bring New Kirk in because he's my boy for life, you know what I'm saying? So and yeah, we just start making this record

piecing it together. It took so long because we tried to get everybody in the room at the same time. Somebody's from Brazil, somebody's misperors. You know, so it's, it took us like, almost like eight years to make that record, man, just to record together. Wow. Yeah, because we record some in Sao Paulo, some in Queens, some in Long Island, and some in Atlanta.

So we were all over the place. Is your setup now? Do you set up at the crib? Like, do you just have a home setup where you record vocals and stuff? I've had a home setup when home setups weren't popular. Like when we was doing the De La stuff, I started making a home setup because I tried to save

as much money in pre-production before I went to the studio as possible. Because like I said, When you have a $25,000 budget. You got to find way. And I kept that mentality because I seen it like this, right? When you got a budget and you make a record, let's say hypothetically, and I'll keep it at $25,000. You know that's money you're definitely going to have.

You don't know if you're ever going to make a royalty. So I'm trying to spend as little without jeopardizing the integrated project as possible in making that record so I can just pocket the rest. because I know that that's the only money I may ever have from that record, ever, ever. Okay, so Paul, we can stay here for another nine hours. I see him by getting restless, like, oh, man, we're not getting restless. I got more, but I got to go to my job. But here's the thing. Can we just have one more round of regret questions and just fire it off and just try to keep it short?

Is that okay, Steve? No. It's not okay, but fuck it. This is the only time we get to ask this. so when you recorded the second Chris Rock album I noticed what microphone did you use

on Chris Rock? Sorry. Because it sounded like I felt that you were going for those old Red Fox records. If you listen to the quality of of the comedy bits

that are done in the club, it was like, oh, it was like oh, like you were doing a Dap King's 50's throwback or nah you just had a bad microphone and you just

it was probably the latter really you didn't listen back I'm like yo this sounds really like it's just all I know was the last record that we made

was it never scared to me it sounded too perfect I like the sounds of like the non digitized non sterile old school stuff so yeah it was probably by design

and that was probably Thanks to Scotty Hart, my engineer, he probably sat and like, yeah, let's record him on the CAD mic, whatever microphone was around. Oh, well, I thought that was a stroke of genius, because if he ever does another comic record, I'm like, you've got to get that microphone you use for the second album, which... It makes all a difference, man. It's funny how tonality will make you perceive even jokes or anything that you listen to. Yes. You know, and I try to tell people that. Like that's why certain things don't sound really good,

sterile and new age, you know, high death. Did you record those, the real people of ignorant skits too? Oh, yeah, yeah, yeah. That's funny. Do I even ask why you and Chris Rock? Um, I don't, have you heard the records? Yeah, but I'm just, I'm asking this for people who might be listening. Why Prince Paul and Chris Rock?

Well, the weird thing is after psychoanalysis, he randomly called me up, and I thought it was a joke from Daylock because we played jokes on each other, like, here he goes up, pauses, never give a call. And I thought it was like a joke. Like, you know, yeah, what's up? Man, it's Chris Rock, man, I want to do his record. I'm like, yeah, yeah, whatever. What record you want me to do?

I was just like, oh, like, yeah, okay, whatever. And he said, no, I'm serious. I'm going to do, like, maybe like one or two things. And then we met up and I was like, this is a joke. He's like, no, I'm serious. And then we just got along really well. Because no one thought that Chris Rock was going to make a record with skits on it. Right.

And so, you know, that's what makes. I don't think he thought he was going to make a regular skit. It kind of just developed his time went on, you know. All right, Bill, do you have a regret question? What's Prince Paul's favorite skit? Anything Dr. Dre made on... Chronic, the chronic? Nope.

Nix for life? Yep. Really? To me, that sets the bar for everything. Because he says he acknowledges that he got all that shit from you. Well, you know, hey, just as much... Do you know that for a fact? I didn't know that.

Yes, he's acknowledged that, you know. Wow. that that's, man, that's flattering. Because I was trying to copy that from that point. I was like, oh my God, this is incredible. You know, it's just like, and this last thing I'll say, it's just like when I finally met the Beasties

and, um, Pau's boutique, MCA, yeah, God rest his soul. He was, and him in Ad Rock was telling me like, we hated you when you made three feet high and rising. Yeah. Because we wanted to do that first.

I was like, you know what's crazy? I pay three feet behind rise and out the license to ill. Right. Right. I just added extra stuff to it. You know what I'm saying? That was the bewildering part of it. I'm like, wow, you guys were my inspiration.

That and EZE, I think, the first record he did. And Pauline Funkadelic, it was a combination. Yeah, you guys were definitely doing the Beatles Beach Boys battle for who's going to be more artistic. Steve, any questions? He's like, can I go? A regret question? Yeah.

I regret. I don't have time for a regret question. Ladies and gentlemen. This has been an awesome episode of Prince Paul. Finally. Thank you. And I will give you guys a round of applause. Thank you.

For tolerating me this long and waiting to have me on the show for almost a year. We got more. I'm sure you'll be a repeat quest because we got so much more questions. A repeat quest. A repeat question. And I want to come back and ask your questions. That's what you might be done. I forgot to ask about the lawsuit.

Flo and Abby. Anyway. Oh, I thought you're talking about. In behalf of Laia and Steve and Bill and other Bill, who's not here, pour out some spit or liquor, and Farnigolo. And Prince Ball, we thank you very much. And we'll see you on the next go-round of West Love Supreme. Only on Pandora.

Crocker. Crocker. What? What's Love Supreme is a production of I-Heart Radio. This classic episode was produced by the team at Pandora. For more podcasts from I-Heart Radio, visit the I-Hart Radio app, Apple. podcast or wherever you listen to your favorite shows.