The Questlove Show - Black Music Month QLS Classic: Stokley

Episode Date: June 3, 2024

The celebration of Black Music Month continues. First aired on May 15, 2018, listen as Quest and Team Supreme sit down with singer, musician and percussionist Stokley Williams. He speaks on how imitation helped him find his voice, his early days with Mint Condition and how everything changed once he signed with Jimmy Jam and Terry Lewis.See omnystudio.com/listener for privacy information.

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Okay, so it's June, and you know it is Black Music Month. Now, this month in its cause was started by my godmother, Deanna Williams, the legendary Kenny Gamble, and the Great Ed Wright. Back in 1979, after being invited to the White House along with the Black Music Association. Now, the Black Music Association was a group of black folks that were the best of the music industry. I'm talking record execs. I'm talking radio people.

I'm talking artists. I'm talking to everybody from Clarence, Avon, and Frankie Crocker to Percy Sutton, everybody in the middle, right? So they all get invited to this big party on the White and White. House lawn June 7th, 1979. And before the performances started, President Carter said many things addressing and reminding people of the importance of Black Music Month. And one of the things he said was, in quote, in many ways, the feelings of our own Black citizens throughout the history of our country has been accurately expressed in the music. And it presents a kind of history of our nation when you go

back and see the evolution of Black music word. So we've spoken a lot about Black Music Month on West Love Supreme. And this June, we are running a different episode from the QLS archives every single day in the name, spirit, and cause of Black Music Mom. Today, we are re-releasing an interview, ooh, with one of my faves I'm talking about Stokely, now known as Rick James, do your thing, for MENT Condition. This is a dope interview, y'all. Shink. Now, what kind of man would I be? Yeah.

If I left this song blank. Rocom Supremma Soo Supreme Role Hanging fruit Supreme Wow

Famis Fonte Yeah Y'all know how we go Yeah Favorite mint and aloo Yeah Asher in Rio Roca

Supreme So Supreme Boa Come Is sugar Yeah No need to squint

Yeah Because my condition Yeah I need a mint I need a min Mim Suprimma Sub-Suprema Roll Car

Supremma, Sub-Supremma Roll Call I'm unpaid bill Yeah And I'm telling truth Yeah When you remodel your bathroom Yeah No news is good news

No car Sub-Sat Sub-Supremma Roe reluctant Yeah To make this confession Yeah But mint condition

Yeah Made a bad first impression Roll-Card Supriva shots fire It's all good now I love men I love you all. I love you all.

I love you. It's Laeam. Yeah. And it's no surprise. Yeah. My first low rhyme? Yeah. To pretty brown guys.

That was the best one. Supreme. Supreme. Thank you. Supremma Roecom. My name is Stokely. Yeah. Something I know me.

Yeah. I play a little bit of... Yeah. I'd write a tat tat tetee. Roecom. Surima. Suprema. Suprema.

Supremea So, Subima Role call Supremma So, Subrema Role So This is going to be a good episode

Ladies and gentlemen Welcome to Questleaf Supreme Team Supreme Say hello Hey Anyway The God Stokely is here with us That's all you say

Stobey Thank you all Your favorite Your music's musicians Favorite Singer I once Watch

DiAngelo almost get into a argument for him like for him choosing Stokely as one of his favorite singers like it was one of the

where like usually any arguments had to near pugilistic levels is always over like songs or albums or this album's better than I'm like that pugilistic but yeah it's that's that's I knew when he went that hard for that argument.

Then I was like, all right, let me. Well, I think Stokely is definitely worth throwing hands over. Yeah. You were, ladies and gentlemen, worth throwing hands over. Stoley Williams. Yeah, I'm in the condition. Thank you, man.

Now, hit me, Bill. All right, so. So I was watching video soul one day, and Donnie Simpson is hyping up this new group, straight out of Minneapolis. How were you at the time? 12? Yeah, about 12.

That was. So he's about to throw it to this video. He's like, yeah, the sign of Jimmy Jam and Terry Lewis's label. I'm all hyped up because you've already said Minneapolis and Jimmy Jam and Terry Lewis, so I'm on board. So the video for Are You Free comes on. And I did not like that song. I didn't like the video. But then pretty brown eyes came out then forever in your eyes and I realized that you're not sure.

Yeah, that first single, like, was not, I mean, I liked Are You Free, but it definitely didn't represent what. We still ain't free. Yeah. What's the last time y'all did that in concert? Man, we did the Disneyland grad nights and probably 92. We've remixed it. Like, I was singing it with, like, you know,

if I'm out with like, glass or something like that, and we just came, let's play, you know, just kind of. The different arrangement. Yeah, you know, but, yeah. Well, thank you for coming on the show. Thanks for having, man. I know that at least, Fire Burgess is losing her mind right now.

Man, I almost told her. Shout out of the Fire, yeah. Do you know Fire? Yes. Yeah. Of course it does. She took me to my first main condition concert. Wait, what?

Yeah. Is that okay? Play your fire? Oh, wait. I'm still thinking like you're 12 years old. No, like. This was like what? Living the luxury, bro, never the album came out.

Okay. Okay. Okay. Shout out some fire. Yes. I don't want new. Bad friend. I get it.

I get it. I see. Sorry. But y'all, y'all good. Y'all, yeah. You know. So, you, okay. I don't want to say the city.

But I'm going to say it so I can be two in nine. Were you born in St. Paul? Yes. Bam. Two for two. Two for 99. From downtown. So, yeah, my, you know, often,

uh, the, I guess the death of the black band is something that I was hearing of a lot, especially, I mean, I guess, at least between both of our groups, coming out in like the three, year range. That's one thing I've always heard from journalists and never thought about. But even more, I mean, us being in hip hop was not like a saving grace, but, you know, that was our marketing, you know, but you guys were basically the last, literally the last of the, of the caboose. So, you know, one, why even develop a band? knowing, well, knowing that it was endangered species. Well, we didn't know.

I mean, things we were just doing what was in front of us, of course, you know, Brother Prince and all the groups said at that time that we're coming out, and everybody was flocking to Minneapolis, and we first got an idea. We went out to L.A., and they were like, why are you guys here? It was like everything's happening back in many. So we were just developing and doing what we did, playing, you know, original music. And it just so happened, you know, caught the attention to Jam & Lewis. And at that time, you know, bands were on their way out, you know, so vocal artists were in, you know, Joe to see boys and men, that kind of thing was, so, you know, but I think Jam and Lewis, they kind of knew, you know, them coming from a band, they understood what we're trying to do. So it probably wouldn't have happened otherwise. We would have, you know, would have fell on deaf ears and all that. So what's your childhood like during this period? You were born in like 60s, right?

Seven, yeah. Okay. And so, yeah, St. Paul, Minnesota. I grew up doing a lot of playing percussion, you know, drums, that kind of thing. So my back was more in like African drumming dance, that kind of thing. So it was three groups that I was instrumental in my early development there. And I was a group called Black Arts Midwest and that was kind of a, no, I'm sorry. There's a group before that.

I had my first gig when I was like four. And, you know, I was standing up on, you know, this chair playing Congress with this group called Abundeeing, my dad. But a friend of his, and he was from Panama. And so he took me with him. My dad didn't know whether it's, yeah, it sounds good to me, but I don't know. You know what, you know, if it sounds like I'm just dad, you know, so took me with him. You know, he said, he's got good hands kind of thing. So did that.

There was another African dance group where we just, we did like African Chan. and, you know, this was a time where you had a lot of poetry and stuff going on. You know, we were celebrating Kwanza back then, you know, before it was way popular. Yeah, yeah, yeah, we had our little, you know, something about Ron Keringen, that whole thing. Uh-oh. Being as though you're the first generation Xer from the Twin Cities that we've interviewed from the Twin Cities, everyone else being baby boomers. A lot of their experiences was there was truly no black experience, no black radio, no vibe, no African culture, that sort of thing.

So at what point is there black identity in the Twin Cities? It was a small... And who developed it? It was a small community. And mind you, I didn't know any different. I grew up a little different. And I thought everybody was having the same experience. Yeah.

So I was, I didn't know for a long time. I was halfway home school, you know, so I go to school, but then like on the weekends, you know, my dad, he's both of my parents, educators. Well, this English in every grade, special ed, all that stuff. And father's a professor of African-American studies. And so I did that for like 30, 35 years. Plains called McHawks to College in St. Paul. And what were their lessons?

Like were they filling in the gaps? Filling the gap? Well, treat me about, you know, about African history. But like, you're going to learn about the horn today, to the left side of Africa here. And, you know, just all that, you know, was just really, that's where I, you know, I was like, I thought everybody knew that, you know.

So I started getting teased. Ah, you learn about Africa. Ah! African booty's nuts. When you claim Africa, that means for a fight. Yeah, exactly. What? But it wasn't so much that I got mad.

I was like, I was just confused on, wow, why is that like a thing, you know? But where were your parents born? My dad's from Savannah. Mom's from Fort Dodge, Iowa. And they met at Wilberforce in Ohio, college there. Okay. And came up to make a better way in St. Paul. You know, Minneapolis, there's a lot of opportunity up in there.

So it was, you know, a small community of black folks up there. And, you know, that's kind of, that was my tribe, you say. So, I mean, that was my, even still to this day, my extended family. These are people who watched me when my parents couldn't, you know, if I was on the street trying to do, you know. It takes a village. Yeah, you know, that kind of thing, you know. It's not, no matter how rape your parents, it's like, the streets is strong, man.

The streets is, you know what I mean? We just talking about that earlier. So, I mean, you need a lot of people around you. So, I mean, you need a lot of folks who knew my family, my family, my family. I'm like, oh, no, I ain't messing with that. You should do what you're supposed to do, man. You know, it kind of keep me away from. So was there gang culture in the mid-70s when you were going on?

It was just, you know, had the whole pimp thing and, you know, drugs and that whole thing. You know, and our house was right as one of those spaces where you go two blocks up, you know, you could get into something. So they knew to leave Mr. Williams kid alone. Something like that, yeah. It was a kind of vibe. So, but it was a small community of, you know, African Americans. there really into the culture. And this is, too, when, you know,

everything was, everybody's trying to find the identity. So, you know, father, change his name and her mother, all that kind of thing, just trying to feel closer to the culture, that kind of thing. So that was my, I was surrounded by that. And then I would go out into the world, and, you know, you turn on the radio and you hear all these, you know, different things.

I mean, the Midwest. And then it was flyover country, right? So, you know, that's what it was. So I'm hearing all this pop radio, you know, you know, Crosby Steals and Nash and, you know, everything. Bob Dylan, you know, you know, all that. So can I assume that your name came from Stokely Carmackle? That's why they, okay.

Stokely Mandela. So you wanted to. Oh, this. Now who's blacker than black black black black? Yeah, so. Black and blacked. Yeah. Yes.

Yes. Yeah. So were any of your parents musicians, like how did. He played nothing but the radio. My mom, like, dance and singing. That's probably getting my energy from both of them. They love music, you know. You know, dad loved to play me.

He's big jazz head. So, you know, if he wasn't listening to Malcolm X or, you know, Martin Luther King records, he'd have some Richard Pryor records, too, just a little bit of everything, jazz records. So he would play, like, the speech records? Oh, yeah, I'd be hearing him in the house, like, coming. It's like, playing that dang record again, you know. Damn, so, y'all. Could have been a Tri-Palk West, like, or X-Klan at least.

That sort of thing. That's sort of thing. Glorious. Right, right. Did you have siblings? Yeah, older brother and youngest sister. Mm-hmm. Okay.

Yeah. And yeah, so that was, he was playing a lot of stuff in the house. It was, it was a musical house. There was always music going all the time. Do your siblings play anything or do they say? No, my sister played flute. She tried singing in church, but tried. She was.

Yeah. It was. Were you always, like, when did you first start singing? You know, it was one of those things where singing happened for me. Yeah, drums was my thing. You were drummer first. Yeah, so. But then the singing thing, I would always, you know, any kid has a family,

you put on your little plays for your family and that kind of thing. So I was into mocking any and everything, you know, anything I would hear, you know, my parents, you know, we'd put on the blow. That's how Uncle Jim sound here coming in with his, you know, little flasks. You know, I always mocked me. And so it would be the same with music. But the time I heard Al Green, that's what did it for me. It was like 15 people in one.

I was like, ah, I mean, all these different voices. I'm like, wow, who was this dude? So you took on his inflections? Yeah, it was just amazing to hear that. Even as a youngster? Yeah, but I didn't know what I was doing. I just like doing it. I just thought it was fun.

you know but singing was one of those things actually when I got to high school basically because we had kind of like a performing arts school and it was called a magnet arts program but we had like

there was a recording studio there was where I learned steel pan had an acting class in there and different things like that so I was involved in that but taking the recording class I was there was two classes one where they paired you with other musicians and it'll be like okay you play funk and you're gonna we're gonna pair you with somebody plays rock and roll something like that so just to get it didn't make you uncomfortable yeah yeah you know that whole thing and then there was the technical aspect where you actually learn how to record I wanted to take that class so I can learn how to press knob and learn the technical aspect of so I could do my own stuff and so when I did that it was a little taskam you know 244 or whatever was four track and a little 808

and a little JX3P, and I go in and make up little songs. And at this time, you'd hear all the Prince-inspired stuff. And so I wasn't- High school for you was like 82, 83? Yeah, yeah. And so I'm gonna make these little songs up. And I was shy to sing. I wouldn't want anybody to hear me.

So I was singing in my fall, so it'll prince-esque. And the door was right there. So anytime I'd be like, In the fan game, that's... You're going to stop. You're going to stop everything. That's called the vivid video door. Yeah.

Vivid video door look out. Mama. In that, you know, I would play them at the person who really heard the stuff, I would play it for Homer Odell, the guitar player for Mett. And he'd be like, man, it sounds really good. You know, just the way you're putting the songs to get the arrangements and stuff, you know, And it'd be like 10 minutes long, of course. And I think that's what helped me to develop.

Just younger, I felt like I was meeting myself for the first time, you know, stacking vocals and that kind of thing. Now, before the onslaught of the first wave of Black Minneapolis, say, 78 to 84, was there any presence of any of those guys in your life preven, like was Grand Central, playing like the local church down the block and did you know any of the all-stars of Minnesota? Yeah, now so there was some stuff told me because I've forgotten it and I was younger and there were a lot of people who filled in the blanks for me because I was so young. The second group was called Black Arts Midwest drummers.

It was like like I said, we did African Chance and that kind of thing. And so I remember there was this place in Minneapolis, I think it was Sabathany Center. and they used to throw like local dances and things like that. And I remember we were either on before Grand Central, either opening or we were rehearsing there and they were getting ready to play. Either way, and this was told to me not too long ago, actually, a couple of people. So I was like, the first one I didn't believe, I was like, all right, okay,

but I do remember a couple of things. One was, I remember Prince was there, this was group, and I remember just the Afro happening. And so, and I remember somebody screaming out, you know, I was playing Congress and, you know, a couple people filled in that story. It was like, it was Prince saying, go little brother, go play. I was like, wow, wow, really. So that's funny. How old were you at the time?

I was about 9. 9.19, yeah, somewhere on there. Wow. Yeah. The Minnesota music scene, I know that it's, you know, it's, you know, it's, you know, It's heavily populated. So, I mean, in high school, were any of, like, the Peterson family clan? Or, like, was anyone in high school at the time when you were in school?

I didn't, I wasn't aware of the Peterson's in. I only when I got older, but I'm sure they were around, you know, doing a thing developing too. So I didn't know a lot of people. I just knew my own little circle. Okay. And then the people that were local, like Grand Central and Enterprise and, you know, Mark Brown's band and, you know. So did any of their albums make an impression on you at the time?

Like, when you saw the time, was it like, yo, we got to... I mean, that was for the Hot Purple Rain went. It was pretty much like that because when we were coming through even with Mint, we would have, you know, it was kind of like this competition. You know, it was a group I think it was called Peachtree. And there's a bunch of different bands around that time. And I remember we would always borrow equipment.

And we had this one show, There was always a few shows, one show in particular, I remember. We had like, some real brown equipment. Like, Jeff had one keyboard, he's barn. Larry had one keyboard at his barn. And, yeah, it was, it's, they would be like, oh, man, what, what y'all are middy? And this was like when middy was, like, you know, he was coming out. So it's been out a few years.

But, but you're stacking up on it. Now we only got this one keyboard. Like, okay, y'all you don't really would give up your secret. Like, no, we only got one keyboard, dude. That's all we got. They didn't know. Now, what we did do was going in, you know, and just work it as best we can. We would know every looking cranny about that keyboard or whatever, you know.

That's all we had, but they thought we were just, you know, but it was really. What were y'all using, like Oberheims or? We had a, it was a Roland Juneau 1 was one of them. Oh, Juneau. Juneau one, yeah. Still use that. You know, absolutely. And it was a JX3P and a DX7.

Yeah. What was that? Cheesy DX7. Yeah. So much. So much. That signfield bass. face you they don't so much yeah so how did the other guys enter your life were you all in the high school

together high school so yeah San Paul Central was the high school there and we all went there different times Larry's first to come out and then it was um me and O'Dell and then Jeff and then Kerry Rick came up he's from Chicago bass player and he came up about was in 1980s three or something like that. Yeah, but we didn't, I didn't meet him until like, 86, something like, you know, I think about 86. And you've seen him in bands, we had all his little leather pants and, you know, leopard and whatnot, we always see.

I was going to say, yeah, yeah, you know. Okay, so Monserati once told a story of how, like, you know, how competition was, was just steep amongst black bands back then and who was going to outdo each. other out, shock somebody or whatever. But I mean, was that almost expected at the time? Because I would assume that, you know, 1920, whatever, I mean, it was 87. So Prince was really Prince by that. Yeah. So was there a need to feel, okay, we had to follow that, like what Jesse Johnson and those guys look like. And were Maserati and those guys look like. I think the whole country at that point was just like, you know, that was the phase. You just had. You just had.

to make an impression, make an impact. And that was that. But, you know, also not with that, we were just trying to be really heavy on the music and have substance at the same time. You know, we were a group that we didn't really do covers. So our shows were limited to certain, you know, like events. We didn't really do.

How long were your shows if you didn't do covers? Then we were probably doing 30 minutes. We were doing showcases. Well, unless we were doing less somebody with, you know, somebody's mom's. Well, we can play down after such and such, you know. That kind of thing. But that 30 minutes was y'all's own material.

It was our, you know, we weren't interested in anything else. It was, you know. That's rare. Yeah, I know. Because I know it's that. Establish, X. Me. Yeah, I know.

And we would try to do, you know, had segways and everything. I was like, you know, let's do it like, you know, J.B. Or we would see all the groups that were there at that time. It's like, that's cheating. They would play, you know, original music. It's like, why, why? Yeah, why not? And then, you know.

So, I mean, you're like the nerve of these, who are these dudes? The nerve of you. To, you know, be trying to hit segways. But, you know, it works. because we had we would do these showcases and that's how it got discovered you know um when we right first avenue um we invited um jam and lewis i think at the time there was a rep from mca there uh prince had uh levi come down he said i i'd rather see them than hear them and so he sent him down he said videotape and um so he did and then after that show i think it was just um

jamming lewis would always say man if you'd be you'd be seen him down he'd be signed you all for your live performance, you know, that was the strongest, that's what we really, really worked on. We had demos and everything, so it does as well, but that's the thing that really did it. What was the practice regiment like? We got it in. It was like, you know, after school, it'd be pretty much all day.

And at that time, I was... Where would you practice? Like garage or a warehouse or... Yeah, it was like, warehouses, you know, all those warehouses you see in purple rain, stuff like that. Yeah, exactly that. How are you balancing the study in the... on the weekends and school.

Well, let's see. Like your parents. Okay. Let me back up. So a lot, every group I've ever been in is like been at my parents' house. So in the basement, there's a lot of the group. So that was first. So after I actually, after I graduated, then we started, I was working jobs, our jobs,

that kind of thing. Then we did the warehouse thing. And it got more serious there. And then from there, if we weren't working, we was like, be like all weekend, be like 12 hours. get in there and just hit it. And your parents were supportive because I don't know that's what they saw for you. Yeah, well, they wanted school, of course.

I was like, I decided that, I don't know, there's something, there's something in me. I'm going to take a break on that, you know, and I just felt something. And, you know, I was always like, man, my worst nightmare is like, you being around $50, you know, a night making musician, you know, it's like, no, I don't see that. You know, so I just kind of went from, I just said I'm going to try it as a little bit. said I'm going to try as hard as I can to really do what I can do. You know, so, you know, I think the practice thing, that's why I would just kind of work so hard, you know.

And a lot of us do that, have that drive, whatever it is that drives us. You know, I know you obviously work hard just trying to get our $10,000 plus in, you know. Right. So how did you get over your shyness into really developing your voice? Because, I mean, I know everyone's like, oh, yeah, that's my natural voice. but you have a fucking spot on skilled-ass voice. So how do you, you had to do some, you had to get out of that shyness eventually?

I think part of it was theater. There's a small theater company. We're not so small. There's a small, big company called Panamara. I was in a production there, and I think that experience opened me up to, you would open me up, you know, just kind of not to get beyond that.

You know, I think also, performing too is one thing. Because there's a lot of shy musicians. You know what I mean? There's one thing you didn't mention. Did you not have a church experience at all? Yeah. Because most black musicians have to.

I did in the singing church. Aha. Okay. Like the midnight musicals and stuff. So I was always, now church definitely has a big effect because I just knew every time I went there, I felt like crying. You know what I mean?

It brings all that emotion. I was like, why am I crying? I'm like, but it was always crying in church. That's what it is. Spiritual, something gets in you and just all the bending of the notes and all that kind of thing. It's just an amazing experience.

So I was playing percussion, you know, some drums, but just really listening and taking it all in, I think. But I didn't sing in any choir. When did you get your first drum set? Was it a Christmas experience? Yeah, yes, it was. How are you? Sears and Roebuck.

That's right. I was nine and I heard them stumbling. I was sleep trying to, my dad and my brother, trying to set it up. That's the greatest feeling in the world, man. I know and I heard and I was like, is that it? Is this it? This might be it.

You know, I heard him enough. So you don't have to interview me because this month, every drummer is their first drum set. Man, everything. I can't. Red, Sparkle, but they had some of the wrong pieces so they had to take it back. Yeah, I had the silver sparker, so I still got it, yeah. You still have that set?

I still got it, yeah. Wow. Yeah, that feeling, man, was like. I know. You'll never, there's never a feeling of coming downstairs Christmas morning seeing your brand new drum set. Yeah, that's everything. Yours came from Sears in a roadbook.

Mine came from a, my dad's drummer's bad drug habit. Whatever work. Wait, I get Herman's drums? Yeah, it's yours now. Yeah, it's yours now. You don't eat. You don't eat. A win is a win.

A win is a win. I don't care what you're saying. Yep, that's me, Cliver Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became 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 Cliverts 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 Clivert Show on the IHeart Radio app, Apple Podcast,

or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest.

The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make,

to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slicelife 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 were your drumming idols at the time? I was in Art Blakey, Max Roach. So you were into jazz drumming?

Yeah, absolutely. Yeah, those two were it. You know, just because at the time I had a couple of, I was both formally and informally taught. the ear training but I had some, you know, piano, a little piano and, uh, drum training. And they were like, look, man, if you can hit jazz, you got everything, you learn how to read a little bit, but really if you got all those skills, a four-way coordination, all those books, you know, stick control, you know, all that and stuff.

Stick control. Yeah, you know, yeah, you know, yeah, yeah. I still have those books. Yeah, of course. Um, so if you, when you were young, are you imagining yourself as more like, were you trying to pursue jazz or was R&B looked down upon? Because I know a lot of serious jazz musicians that like, you know, every jazz musician looks down on pop music.

Yeah, yeah, yeah. You know, I was, I think I was right in between it. I could, I could, at that time, I could definitely respect, you know, the whole pop music. I liked a lot of it, you know what I mean? So I can see where all that stuff fit in. there's a lot of fusion stuff that I started listening to. I was like, man, this is, you know, return to forever and all that stuff. I was like, all that stuff was in there.

I was like, wow, this is crazy. You know, they're actually fitting it in there. But, yeah, so I liked it, you know, I was just kind of, I felt like it, I felt like a hybrid. Who would put you on to that stuff, though? Like, was it an older cousin or, like? Just people around, you know, because I was always the youngest musician in any group I was playing in. And, you know, it's like, you know, it's return to forever. It is, you know, Mike Stern or whatever.

You know, it was just people put me on, you know, certain things. You study it? Yeah, you know what, I mean? Yeah. So, what year is it around the time you guys were serious about pursuing a record deal? Like a demo or... It was signing to Paisley Park or whatever. Like 88, 89.

That's what happened was, you know, I, after high school. I was like, okay, much work, and I'm going, you know, try to do this thing as hard as I can. At the time, it was probably one time where I was in, I don't know, like 12 bands. And one time, he was just working, gigging, you know. You know, Michael Blan was actually, he was actually in-ment. He's on the first draft of the contract. Michael Blan, drummer used to play with Prince, you know, he was right at the time Prince was breaking, and we were right.

at the time we were about to sign, you know. So, obviously, with Prince and that kind of thing. But between me and Mike, we had like, it seemed like we had all the gigs in time. We was like, man, we just need to call herself the drum holes. How did, how do we worry, because I know that a lot of the initial MPG musicians were local Minneapolis, like the, the coat, what was a? Dr. Mombos combo?

Yeah, like, from. So, I mean, could there have been. a chance that you could have had that gig or like was how to have a word of auditions probably he would just go down there and jam and hit you know and it'd be killing it you know of course so so what's the nightclub that the the central nightclub that all the music that musicians would be that was it bunkers yep that was it at the time everybody would go down there they'd hit their 70s and 80s review kind of thing and um everybody would come in time you know and they would you know after their gig whatever they're playing you know would it be Center or, you know, Target Center, they come down, you know.

Bunkers were to stay over later than normal. Yeah, like one sometimes. I think it'd be 2 o'clock at some point. But, yeah, they would come down in Jam, but he, you know, found out about it, and it's like this group down there and Margaret Cox and all these great, you know, people from Twin Cities. Amazing. Amazing.

So, yeah, you just kind of come down there and, you know, jam. And, of course, it'll be packed within 10 minutes of people knowing that he's there. Oh, okay. Yeah, that whole thing. So it wasn't like he was trying, well, that he could blend in with the guys. He was still Prince? Yeah, I mean, yeah, absolutely. I mean, if people knew who he was, it's like, I think he liked coming there, too,

just because he had a little corner. Nobody really bother him. They would want to, but they're like, you know. Can't get to them. You know. Right. They're not really saying anything. Somebody might say something crazy.

And he'd be like, you know. What keeps when, okay, so I know that I know that, in most cases that I've seen, I can tell when musicians are showing off when someone else is there, like, okay, this might be my big chance to flex. What keeps, I would imagine in that environment, if he's there a lot,

that everyone's just trying to go for Brooke and show what chops they have and forgive that you're a unit. Right, it depends. People who don't know how to be cohesive, you got those people and it's like, of course he's like, next. You know? And then you have people like,

look, stay in the fold, stay in your lane, and make all this shit sound good. You know what I mean? That's that's everything. You know, when you're playing with an ensemble. So some people would be aware of that and other musicians would be like, you know, just go for it and then, you know, he would be like. Because there's a jam session

here in Village Underground. Oh, yeah, yeah. It's undercrying. Actually, yeah. I mean, like, Prince and Larry would go there a lot, and it's almost like the same thing. It's like these mode of musicians that were like just everybody's overplaying, like from 100, they're all on 500.

And that used to always just turn me off about jam sessions because they're not jamming with each other. They're trying to like make an impression on whoever the celebrity is, like, in the audience. So that's crazy. Yeah, he was more about. about staying in pocket, you know, and that kind of thing.

He would once say about keyboard players, like I'm more interested in their timing, you know, and probably passing chords and that kind of thing. So how many labels offered you guys deals before you chose a perspective? Maybe three or four. I think MCA was in there, of course A&M was in there. It might have been some silly offer with Colombia.

And you guys were always in condition? Mm-hmm. Okay. Yeah. Yeah, we, as I was saying before, so after, I'll say about, we formed in 1986. And, yeah, that was, we had the first, anybody's been to the Mall of America. Yeah. Yeah.

Yeah. Yeah. Got lost there, yes. Yeah. Yeah. the Carlton's Celebrity Room there. And they used to have this thing called Black Arts, the Black, Minnesota Black Music Awards.

And it's kind of Pete and Kim Rhodes running. And they would have, that would be the spot. You'd have the Minnesota Music Awards, more of the pop stuff, but then you'd have Black Music Awards. You know, Jesse, Maserati, everybody, all the acts and everything. So that's where we first kind of cut our teeth right there. And that's right, Carleton's Celebrity Room,

was right where the Mall of America is now. And so that's, That's where it happened. 1986. We had these crazy-ass outfits on with one leg mesh out. And the ones in a lot of them was like leather. And then where a back was turned to the audience is when the curtain came up. Like, what?

You know, we turned around and it was just, yeah, crazy. We had fringes flying and we didn't wearing no draws. And it was just crazy. We look back in now, I'm like, what? Do you guys saw a recording of the stuff that you guys did back then? Yeah. Yeah. It looks.

Will it ever be? Curled juiced. Oh, yeah. Some of it's in the. Yeah, the unsung. Yeah, yeah, yeah, it is. Yeah, it is, yeah. Sure is, yeah.

Yeah, because how much time in between 86 and the song that Bill hates? Five years. Five years, yeah. Yeah. And then from there, I guess what happened was, why you have to say it like that? I just needed a quick reference.

From there, so from 86, you know, I was still playing around with drums and everything, and I got offered this, this guy named George Pettis. It was, he was doing this tour. George Pettis? George Pettis. Yeah.

This is my life for a little. Yeah, yeah, okay. Wait, he's from Minnesota? No, but he moved there again. Everybody was flocking there. Oh, trying to, okay. You know, and he had a deal with MCA, and he was going on tour opening for Whitney, and I had an opportunity to go out with him, and we met hers for up in Europe for like three months.

What years is? This was like 87, 88. Her second moment of truth tour. For the second album? I think of the second album, yeah. I believe it was a second album. Yeah. Okay.

And so I kind of had to put the mint thing on hold, that's what we, whenever we were doing. And, but that was a great experience because, you know, all those people I met, and I just kind of got to see it,

you know, up close for about three, something odd months, you know, over in Europe doing that and came back and, you know, we just started grinding,

man. When, what was it that made y'all sign the perspective rather than the other labels that was out on it, y'all? Y'all were the first act. on the label, correct?

No, I think. No, it was Loki. It was Loki. Sounds Blacks are Locke, I think. You get the one, yeah. Are Loki also from the Twin Cities? They're from Kansas City. Okay.

But they moved up, again, everybody's moving up there. And we used to have the same rehearsal spot. Don't know, Loki? No, it's like, what was their hit? I got a thing for you. Oh, I got a thing for you. Yeah, yeah, yeah. Yeah.

And, yeah, I think, yeah. Yeah, yeah. Yeah. Sorry, Larry, you. come in. It's totally small. Y'all, so I just wanted to ask you, have you had, your journey is kind of parallel

in some ways with Sheila E's. So I was just curious if you guys have ever talked about that, especially in the drummer's sense turned into the artists and the African roots and whatnot. We haven't talked much about it. We've played together a little bit.

She's African? No, but her music is. She's deeply rooted in African, most Latin. All right. Okay. Um, when glan. I won't start it. I'm playing.

She litig in the East Africa, East Africa. He just slipped. Am I wrong? Stokely? The deep roots of the... Yes, I do. As a percussion, oh, y'all? I don't say that you did.

I was doing it. Nailed it. So when you guys, we all signed to perspective. Yeah, it was because of Jammin Lewis, you know. I think we felt some kinship just because of them being from the time. And, you know, after the First Avenue showcase, I remember walking to my car. You know, I've seen both of them as like, hey, it's so great job, man. We'll talk.

At that time, I'd seen enough of people, you know, artists around town. They were like, you know, we're going to do this. nothing happened so I was kind of like grain of salt if it happens great I was like yeah great sounds great thanks man for coming really showing you know because I definitely appreciate it it came out so that was a big deal but I didn't really I know if anything was really going to happen you know this is Jammin Lewis you know Johnny Jackson all these people you know so um two weeks later we're sitting up in the flight time off it's you know they're like what do you all want to do we're like we want to make a

record but we want to produce on shit you know I mean yeah I was gonna say but they were so I'm red hot at the moment. Yeah. And they're like, well, you can, well, we said, well, we wanted to do at least half the album. You're like, well, you're like, well, okay. Okay. Wow.

So I mean, that was, you know, I don't think we would have gotten that, you know, at any other label. You know what I mean? You know, it's like, yeah. And then if they would have produced you all, y'all, you would have just sounded just like any other, like R&B. That's the, yeah. That would have been 4.0.

Yeah. Right. Basically, yeah. So yeah, that was pretty much. Yeah. Gotcha. Yeah, man. So when you went into recording the first record,

because we talked about, are you free? Mm-hmm. Yeah, we did. How do you know about are you free? I like, are you free? I just didn't. I've grown to love. I get it.

It was just one of those records where it was like, it came out and then it was, then when I heard, you know, the balance and all the other stuff on the record, I was like, man, why did they come with that first? Like, so what was the, um, What was the thought of coming from? Well, I guess here's the thing about men that just happened like this.

We weren't really, we became, I guess, really good at doing ballads after we came out. But we didn't, all that stuff was all like uptemple. We liked to dance and all that kind of stuff. And, you know, I used to be boy and all this stuff. I was always energetic. So I was like, I was like, why are we going slow like that? What, you know.

I was going to say for a band, it's, with such skilled musicianship or whatever. Was it frustrating that the songs that were really hidden bullseye with the audience were the slow songs where you guys really couldn't flex that much on the fast joints? Yeah, I mean, it was. At first, it was like, man, this is, you know, we didn't really understand why we couldn't. We just learning the industry. It was like, and say, look, man, you better take, you know, if it's hidden, you got to flow with it, you know.

But we had to learn that a little bit later. So that's why in the live show, you said, okay, we just do what we do. But yeah, it was a little frustrating at first because it's like we tried, you know, people would want to hear what they want to hear, you know, and be like, man, we can't even, you know, we can't get, do what we want to do. So it was kind of, it was a little weird at first.

We had to learn where, how to fit inside of that, you know. How did you guys learn to like agree? Like, was there like a meant, like voting system on all things? Like, how did y'all? What six people? Was anything ever democratic? Yeah, like, how does it?

Three to three? Like from songs to like, like, I don't. It's, yeah. It's, it's, it's, yeah. It's democratic. Yeah, definitely democratic. And that's, that can be frustrating, too, you know, yeah. Being as though you still have a relationship with them.

I'm just saying, like, what is, I mean, I can safely say that even in the root situation, it's like there's one, three, four. Right. That seems really. I'm the one. No, really. I forgot to reek. Damn, that's bad. I'm the one.

to say. I thought he would y'all share to one. No, you know what? Because Tariq just gets the final say. He gets a final say in the way that I don't. His final say is, I can't write to this. I'm about to say, yeah, he can't wrap over. If he can't write to this, my, you know, it doesn't make sense.

My only power. My only power is like, oh, well, I can't come into the studio. So I'm working on this project. So, but I'm just saying that there's clicks. And so is it? But yours is. is a more uneven balance than Stokely's. But is it you and Waddell?

What's the balance of power? What's slithering Gryffindor? Did y'all have a slither? Because, you know, the roots do. They have different buses slithering. No, we had one bus. You were on the same bus? And you all stayed together this whole time?

Yeah. We've had some healthy debates, yeah. Oh, I know you did. Healthy debate. Healthy. My deal. Yo, you got shit. Yeah.

I mean, we used to go. Oh yeah I know I believe that I know For those who didn't see that Yeah there was It's going to

Fing the Cuffs But somebody had to be In the beginning Like in the beginning How do you But you've known each other Since high school Yeah

So you should already know The personalities You know who's gonna be on CP time Right Yeah You know who's girl Sam at You should be rude

And You know Fighting over this girl And that girl Why you cock-block and whatever, like, how do you... Who are you? Are you guys friends?

Yeah, I mean, I'm, I'm kind of like the cleanup guy, utility, a little bit, whatever the holes need feeling, you know, yeah, which is great for me because it's been like a university truth for me. I mean, it's to, you know, I think I can write in the spirit of everybody because you know, everybody's a writer and producer in their own right. So a lot of these songs, they were like, okay, we're going to produce the vocal this way. So I've been that vessel for them. You know what I mean?

So I feel like that's an added advantage. I have so I can kind of however, whatever they were thinking. I want this. It's not something I would do, you know, but I was like, okay, wow. So I had to learn that and be patient. And so, yeah, the patience for me had to. come in kicking hard. So what's the division of labor amongst the

band members? Who organizes rehearsals? Who organizes? I would say that everybody comes with grooves, first of all. Like, Odell, he's like the guitar player, funk master. You know, P. Funk, rock and roll. Rick is like

the kind of same funk rock and roll really good rock and roll edge. It writes from a lot of narrative standpoint, you know, stuff that happens to him, that kind of thing. Larry's more calculated, you know, his thing is he's a perfectionist, incredible keyboard player and great songwriter. So he's kind of all over in that area.

Jeff is kind of like he's got a lot of bridges, really interesting chord changes and things like that. It's an interesting thoughts, you know, as far as songwriting as well. well. I'm kind of like, I like to arrange. Beats is my, the funny thing is like my, I love, like, rhythm beats, you know, say like, that's just first before the singing and all that. So it's, I'm just kind of like, you know, whatever holes need feeling, you know, that's, that's where I can explain that, I guess. And how do you know when a song is done and going to make it to the album? Are you guys a, let's do 30 songs and have a vote on the best?

Yeah. And then how do you campaign your song? And that's where the problem, yeah. Okay, so what's it unpopular? Some stuff is just unanimous. You're like, okay, this is definitely gone. You got some stuff that because it's like, okay, we got to let other people besides us listen to feel. And so that's good and bad sometimes because then, you know, depending on who's people, you know,

See, but isn't it good to have a producer for that? Because I see a producer more as a referee. Yeah, yeah, I hear you. And for that reason, yeah, definitely it would be good. But we were our own referee sometimes. So not, yeah, not, not, yeah. Do you recommend that for future practice? I mean, 20 years later, like, do you?

It depends. I mean, I think if you have an outside ear, after, you know, we started getting that a little bit more than not. So we knew that we needed that. It's like, okay, we can't just be insulated like that. It's got to be other people that realize, you know, is get some, you know, people.

I would always say, you know, people, some friends and friends who I don't know. So they're out of it. They don't have any, you know, you know, no dog going to fight any way. Yeah, you know what I mean? Can you name a Mint Classic that either you felt indifferent about

or didn't like that wound up winning versus or them saying they didn't like, I don't like pretty brown lines. I think all of the hits were pretty unanimous. Where it was really jacked up is like the people at the company. Like stuff like so fine.

Like pretty much all the hits. When we first got the deal, it's like when MCA heard it's like now if that would have been on the demo, it was. You know. Swinging. It's like,

that's okay really okay a lot of these you know so I mean it was it was kind of like that people that at the label that would hear is like you know I mean we did so turning so fine you're like when have you heard a guitar so nobody does guitar solos I was like wow really that's all the more reason for us to do it yeah so I mean and you know it's great people so yeah it was more so the people at the labels I think like as far as the hits we we knew you know just you know just Jam and Lewis, they would be like, okay. If you talk about outside ear, they would definitely be like,

okay, look, you all need to think about this one or, you know, or not do so many chords on that kind of thing. So, you know, which was definitely, we learned a lot from them. I mean, absolutely, they knew exactly they had that magic. 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 Fourth. You might have seen the same. 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 iHeartRadio app, Apple Podcast, for wherever you get your podcast. And for 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. First album is what meant to be. Yeah. So the beginning of that, what were your, or you guys' personal goals? I mean, I know everyone's like, world domination.

But for you, was it just like, yo, we want to be like the best black band ever? Or was it like, yo, we want to be on that pop level shit? I think it was, you know, we just had joy in craft, man, just creating. I think part of our thing was just we didn't really care about anything else. but the music. You just wanted to be tight and funky and just have an impact. And I think that's partly why, like, the show was what it was. We worked so hard on that. And then we learned as we went in the studio. I was discovering my voice. Like, if you listened to the first album, like to the last couple, you can list all the vocals are very tight.

And everything. It's singing, you know, the way for him. It's really, really tight. And I'm like, you know, you got to let some life in here. And, you know, breathe. I think that's just that first time, you know, doing the CD. You're excited and everything. and everybody's on edge because you want to be perfect and yeah. Well, I'm just asking because

the early 90s also, you know, there's a lot of black artists that have like breakout records and suddenly they're selling in the five and six and seven millions. So I know that's hard to ignore. But were you guys a,

we're going to stay in our lane and we know that, like a cat like Prince rejected Soul Train four times because I don't want to be pegged as a soul artist. I want bandstand. and solid core.

Like, so were you guys fine with like, okay, being BET Staples and not, I mean, eventually you guys made it on like MTV jams and that sort of thing. But yeah, I mean, I don't understand though too. I mean, you know, it was being a ban, some of our exposure was limited just because it was hard to move a ban, you know. And we got to even had a thing with Jam, Lewis at one point because it's like, you know, the first few gigs, you're like, look, we got to get you all out here, you know, because at one point, they.

were doing out of their pocket because A&M, they had a joint venture with them. They don't believe they don't get it. They don't know. Right. So we got to get you all out here because, you know, are you free? Wasn't free, as you say, you know. And, you know, what's going on charge? So we got to get you all out here.

So they would have us doing these track shows, you know. Wow. How do you, huh? And so what we did, okay, we got to do that. We're going to go back and remix everything. And that's when the whole, you know, Teddy Riley, the whole, you know, His whole sound was really prominent in. And so everybody was dancing,

and we had a lot of choreography back then. So you're a boy band on some of these games? Yeah, pretty much. But with the instruments. And we were doing that until we got to Houston. And after the show, we were getting into the van. And I heard some of some do about fucking computers.

The fuckers ain't even playing. I was like, oh, shit, that's it. That's it. Wow, that's it. Like, we got to, we just defeats our whole purpose. It's supposed to be a band. Like, no, man. Damn, that one, heckler.

Yeah, that one, yeah, thank you, heckler. Thank you. And now, because you're telling the truth. Yeah, it was real, yeah, for real. And it hit me, I was like, man, that's, he's right. You know, I just felt like I was, you know, my mic would be on, but, yeah, it was just like it. It wasn't reen, life is life, man.

You couldn't extend nothing. It's like the track is the track and that's it, you know. Speaking of Houston. Houston. The world's craziest human being lives in Houston. How does he wind up in the mint family? Speaking of Chris Daddy Dave. Chris Dadlin Dave.

He met him at Howard University. And while we were, wow, if he was going down to charts, we put down, put out, breaking my heart, pretty brown eyes, which was going down the charts as well. Until? Yeah, until we had to get out in a Winnebago and we went to all the HBCUs in the country. Ah, okay.

Yeah. And so we got to Howard University. And this was around the time too where, you know, that was telling you about Michael Blan. So we had a drummer, a couple of drummers filling in. Greg, Dionne Frios, what's up? So you weren't going to fill columns this shit? No.

Because at that time, I felt like, I didn't know where I can't. I felt I started to feel differently. Performing, I started to come into it a little bit more. You know, I was still, love the drama. I couldn't, I could express myself differently. I was learning all about and how to perform and that kind of thing. So I was like I couldn't, you know, I couldn't do it.

I would feel confined, you know. Plus, none of the girls go for the drum. Gotta put the drums in front, man. Hey, see you. front to the side yeah um so yeah it um it was at Howard University and uh jelly bean Johnson was out with us oh wow yeah he was playing with you all yeah playing with us yeah yeah yeah yeah so it was kind it was real dough and he um he went into one of the practice room he's like yeah man there's some dude man he sounded like micha blan you got chops he's like really

little dude and um it's like okay but i i don't i think i'm i don't know if i met him then we're on the road and we got to uh i remember speaking to him i called him when uh we got to l a we were doing the Disneyland grad nights and um like the crazy story too i think i was like this is just off anything where Chris Dave is definitely crazy so yeah yeah now i'm i was thinking about the grad nights i remember Layla hathaway to me yeah did you played my grad nights like what oh wow and I knew that was crazy yeah crazy so um so yeah with Disneyland grad nights and I end up I was like, you know, man, yeah, I haven't heard about you. And if you can just send me, you know, just send me something slow, something mid, something

fast. And, you know, he's like, okay. Yeah. Yeah. Yeah. You hear his voice. Yes, that is. Yeah.

Yeah. And so he did, it's like, okay, cool. But it wasn't until, you know, really auditioned him up at flight time. And yeah, it was just, incredible. We had chops and everything. At that point, I was just like, okay, all I need you to do right now is I want, to feel this riser move. Like, play harder, you know.

Play harder, because I think he was more on jazz and really tough. Yeah. Killing. Right. Like, play hard, and we can be going to play long. We had these super thick arrangements at the time. Some of them recorded, but he's like, you know, he could handle it. Was he bad abstract even back in?

I didn't even start seeing him drone until, like, maybe like, 2004, 2005. Okay. I had heard about, we did one gig with you guys in like Seattle, or at least all you guys were there. Like we, that's the first time I met you guys in Seattle, but you guys had, even y'all were there the night before or something or whatever. That's the first time. I was like, oh, I've heard of you, Chris Dave.

Yeah, well, he was, you know, we've playing R&B stuff. So, I mean, the gig is what it is. It's kind of somewhat theatrical, but it was, you know, we need you to hear you. hit that 24. I know I'm just saying that he's known for,

he's an awesome pocket, but his calling card and his reputation is based on coloring outside the line. Yeah, for sure.

How in a group so disciplined in its, in its songs, how did that, how it was the fit? It fit because I,

and I call it like pocket aggressive where it's like, okay, there's parameters because sometimes we've auditioned drummers in the past,

they just think Like you go wow because it's like no, there's certain stop signs. You know, from between here and here, this is just here's where you start out. And there's a couple of things in here you have to know. Here you can kind of do what you want but make it tasteful, you know. But sometimes there's certain drummers or the song like, oh, they're just going off. Like, no, it's not, you got to play the music. It's like, you know, soloing is like, what, 5%, but I'm just really interested.

And, you know, you got to most of the times trying to play with an ensemble, make your head rock, you know. And yeah, he did that. It was just like, you know, we'd have our part where we'd do a little drum battle and all that kind of stuff, so which was cool. But a lot of it too, we spent a lot of time because we'd live with me for, off and on for a couple years.

And we would just shed, you know, and just kind of exchange ideas. And it's so funny because a lot of ideas I hear now was just kind of like, you know, just kind of the coloring. And I'd like I said, coming outside the line as far as the tempo changes, you know, with inside 4-4 timing and all that kind of stuff. is become like a thing. I hear drummers doing now.

But I was just, I just kind of messing around. It was like, wow. That's cool. Whose idea was it, one of your most probably iconic moments, I remember? Whose idea was it to have half the go team? Oh my God. Duh.

Was that whatever in your eyes or was that? You knew the video. You knew the song. So please, I remember the audition at Howard University. And like the treatment, I remember like he was like a newscaster, or he was like a broadcaster. He was a broadcaster. She was a broad.

Yeah. He was singing in front of the TVs and he leaned in. Came unannounced. Yes. I'm sorry. Yeah. Fill in a few for you. That's what the girl.

Got a half a goat tea. Yes. But wasn't blonde. It might have been blonde. I can't. No, it wasn't blind. He wasn't. I was like, yo, who is this dude?

I'm just trying to find the ledge, man. No more eyeliner. Just, you know. No, that was my version of Island. I wasn't going to do eyeliner. I was like, all right, I do half a bed, you know. Shaving mad. Aren't you?

No, but that video was a whole error because I was just thinking about how I remember the model call in D.C. at Howard, y'all had a whole relationship with Howard in that way. Yeah. Where y'all did the call. And the girl was from D.C. That's right. Yeah. We did a video contest. We won it.

Yeah. Yeah. Yeah. So it was a year. I remember because I slow grind across the street at the A.K.A. House to pretty brown eyes. It's the first time I ever got felt up. It was really, and everybody else was in the coat line because it was the end of the party or whatever,

but he wanted to dance with me one more time before the door closed. The pretty brown eyes came on, not forever in your eyes, but I just had to at least tell him that it meant a lot. Sorry. All right. Okay.

This is serious. Okay. You better know what kind of man would I do. But we don't get that. No, that was good. You don't slow ground to that. You can. Yeah, right.

If people can get married. pretty wings let's just slow grind to what kind of man would I be wait why can't you slow grind what kind of man would it's just awkward

you start listening to the words black people don't listen to the lyrics at all we listen to those though we listen to them in condition lyrics I feel like at least a hook at least the hook dude you know the earth one

and fire reason story yeah they gave up two million dollars once the couple found out what it meant like what A couple wanted Earth Win and Fire, a rich couple, to come sing reasons at their wedding. And Philip Bailey opened his mouth was like, you sure? And they're like, why?

He's like, just about cheating and da-da-da-da-da. That's it. It was lost $2 million. Oh, man. Yeah. Yeah. Wow. I mean, every love, every, every, oh, that's my song.

It's about saving all the law for you. All the side, all the end. Except for pretty brown. Well, hold on. She's breaking his heart. Yeah. Fuck. Today in black history,

pretty round eyes by mid-condition added to the side piece hymnlo. Not side piece. The side piece hymnal. What else is in the side-piece hymnals? Cizzle. Oh, shit. Page one as we lay by show him row.

This morning. Put it on a playlist called Songs for February 50. Nah, the weekend the same. The weekend before, Valentine's the 7th. February 7th is Yeah, that's right. Not after.

Oh, we tell her on the songs. I wouldn't know that about that. Yeah, February 30th, baby. I'm sorry. Oh, man. Wait, is there a black love song that pledges black love and commitment without being the side

piece or Ebo or Eberta. Tonight I celebrate my love. Yeah, I'm spending my life with me. Yeah, but some pull your hair shit. Is it just do me, baby? That's it? Insatiable.

Was that? Well, I don't think somebody other than friends are voted. If he shows his I'll show him. I feel like you're in our office and you're going to go to HR for that shit. Now you bring HR and there ain't a body winner.

Do you ever think you have HR conversations? Dog, I've worked at NBC. I know you do now, but like before? Every day in my life, no, every day in my life is how not to go to HR. Exactly. It's like the principal's often. With the second record, I thought that that was where, that was the first record that I listened to like all the way down, like complete. And that was probably the one that I just played because I felt like y'all got your uptempo game.

Right. It was really good songs and just everything was dope. What was the process between the first record to the second record? Well, I guess we'd heard about this sophomore jinx thing. I didn't know what it was, what does that mean? We just, you know, we just said, look, we all come with the best songs we can come with. You know, we were just really, really focused, you know, on having that. And we went through that process of like, okay, no, this isn't sound good.

And I think at that point, at that point, each one of us knew what, you know, we were bringing was, it had to be good. And I think we had learned so much from, you know, touring from the first album and the first album, how that did and what was really resonating with everybody. And it was like, okay, we really got to get that, get that up. So our tone game, I'm a tone dude. It's like, like drum sounds, keyboard sounds, all that kind of stuff had to be on point. So I think that was all, you know, part of that. But that was the sum of it, you know. Was Hajj, your engineer? Steve Hodges, Jimmy Jammer.

Did he work with you guys at all? He would kind of oversee, because I was always, like I said, interested in sound like, for instance, like the, I remember, like the drum tones on what kind of man. We worked a little bit on that. And I was just kind of watching what he did. But yeah, amazing, amazing technician, man. What studio did you guys record out?

Flight time. Yeah. Was it a top-notch? Oh, yeah. There was four studios up in there. It was jamming them had their studio. There was Studio A, which is the smallest studio, which I love. And then there's studio, you know, Studio C and the Studio A was a bigger studio. Steve Hodge had his own studio. And he mixed primarily in there.

But there's four of them. Is that still up in operating in Minnesota right now? It's up there. It's Paul Peterson is over there now. St. Paul from the family. But some of the boys, they used to have Harrison boys. So those are all gone now. And they have different, you know,

because you don't need those big boys anymore. During that time, what were the other projects that were being worked on while you guys were in the studio? I don't know, Janet, yeah, right? Because you're playing on a do-d-dun-d-d-d-d-d-d-d-d-d-d-d-d-a- my shit. Oh, yeah, yeah, yeah. Yeah, yeah. And he's on a body that loves you, too.

I don't know. Some of that stuff, man. I would do those sessions and not know where the song was going. song was going. Were you guys the band for, what will I do? No, no, not that one. You just drummed on it, but... I need a remix. I can't remember... Yeah, it ended up on. It was a Janet thing for sure. Okay. So that must be what you're talking about. It was so much stuff. I don't, you know, some of it don't even... No. On that album, man, talk about 10 million strong. Like that song,

I used to put that when I would make my slow jam tapes. Words. Midnight. I'll make my midnight love doing it. Like my cake, my cake tapes. I kept that song. Cake tapes?

Yeah. That was like, my cake tape was what you made, you know what I'm saying? When you, it was your music for when you was on the phone cake. Oh, on the phone.

Yeah. Look at that cake. Yeah. Yeah. Cakes. So that was what it was. So I kept that song on, like that made several iterations.

Yeah. Volume one, two, three, end of them. You know what I'm saying? Take that well. Talk about that song, I just multiple volumes. What was y'all only idea that? I loved that record. That one was influenced.

I was listening to this composer, Japanese composer, now, Riyuichi Sakamoto. Yeah. And he had all these, you know, Black Rain. He did that score. Just amazing. I just love his, the way he used textures and sounds and that kind of thing. And that's where that came from.

It's just that whole thing and then the whole 10 million strong kind of thing. kind of thing. Just, you know, just certain songs come and I can do in five minutes. Other times it might be, you know, a couple hours, it might be a week. I'm going to just set it down. The hook is done. I want to spend some time. That was just kind of like maybe 10 minutes on that one, you know. But yeah, it was just one of those, it was just kind of a vibe and it's exactly for that. Yeah. You mean, just the kind of chilling vibe out. It feels, it certainly feel that purpose. Going back, I forgot my dear on the More Money soundtrack. Yeah.

My money. Damn. No, what's funny about that, you know, it's the spearheaded by Homer O'Dell, guitar player, man. And that we originally did that for Color Me Bad. There's a group called Colored Me Bad. Oh, we didn't know.

Oh, we didn't remember a Coler Me Bad. But it was produced differently to have more of kind of a pop sensibility. And they, something happened where they didn't take the song. They were going to them. They didn't. And it's like, okay, we're going to make it for, So we went in, rehearsed it, you know, did the music, and then me and Odell pinned it. You know, we just wanted to make it kind of an extravaganza.

No, that's a gorgeous song, man. I used to write that joint. Thanks, man. Yeah. We're talking about soundtrack joints. Jason's lyric. The trouble was money. Oh, yeah, trouble was money.

Yeah, got it. I used to love that one. Oh, thanks, yeah. That was, yeah, they wanted the songs, but they wanted to flip it. So Kerry Lewis was brilliant at doing that. He had, he had a really great pop sensibility, you know, knows, the textures to use and everything. So he was really instrumental, the group for that.

So he pinned swinging as well. He's just amazing still to this day. She's crazy with it. Do you really still enjoy singing like your classics? Are there some that you still enjoy, like, still enjoy? enjoy. I always wondered because I appreciate the catalog. Okay. Absolutely. I appreciate it. Yeah. You know, as you get older and doing this thing, it's like, you know, doing music, man, you know, changing hearts and minds and actually

changing, you know, the vibration is actually going through people and helping, you know, just like feeling different, you know. So it's, uh, I learned later on life, it's like this really about healing. It really is. You know, if we didn't have music, I mean, what would that feel like? You know, I mean. 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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it's all about the NFL draft, and we've got a special guest. The director of the NFL's East-West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make

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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 girlfriend. 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 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. What is your vocal regimen? Because I mean, I've seen you like a couple times.

And you guys are still, you know, 20 years later, still singing these songs in the same key. Like, you still. Maybe I shouldn't be. I mean, just, like, that's amazing, man. Yes, it's, you know, I definitely try to baby it as much. I'm not one of these dudes who, you know, have these. news can just sing all night and you know the next to you just got these steel lungs I'm like I gotta do my garlic and my ginger and all that honey all you know warm up you know it's a big

day and really it's just about it's just about endurance really in trying to sing differently you know your voice changes you get older it drops a little bit and but I like where it's at now because it kind of rounds it out because I listen back I'm like man I sound like many the fucking mouths Pete, all right, so I told y'all guys that the way that you're speaking now, that your baritone game is on point. We don't hit the baritone. Your voice was hoarse, but you sang in your low register. I was like, yo, do the whole show in your low register.

And you killed it. Have you ever thought of doing a project where you just use your low register? Since that day, like I told us already started it. It's like a song, a new record. It's like at least one song, I feel like you use it. Even on the So Fine remix, you kind of went a little lower than normal. Yeah. I think people are so focused on the natural high register.

They don't realize, you know, if they see it live, or they'll ask me that they assume it's somebody else that's singing. That's me singing. Yeah, I enjoy that. I miss that baritone. I miss that whole Barry White out of the price side. You know, you know, I miss that red. Nobody sings. Yeah, there's a, you know what?

There's a, there's a, there's a, there's a, there's a lane. It's funny you say that about your voice because last night, Fontaine and I were trying to figure out, like, who is in your, your tribe, right? Because you are just in an elite situation where there's not a lot of people that, oh, he sound like, is the person I was going to just say. Yeah, that's it. That's it.

Y'all need to do a jam together. Yeah, I know y'all, like, call who's who. Yeah. Yeah. I know y'all done shows together. Sing the same phrase. Where you said that. Because the argument was a three between Ray,

Rassad, and Rassan, and him. Ray. Sadieke. Wow. Okay. Yeah. Yeah. Yeah.

No, Rassan and Stokely is like cousins in his game. Don't get me beat up. Oh, sorry. I mean, he's a great producer. But yeah, it's, yeah, it is, y'all are similar. Yeah, similar. Yeah. I mean, I seen we talk about that.

It's like, what is that? I guess he just comes out, how it comes out, man. You know, for the first, I guess, you know, a little while that breaking my heart was out, nobody really, there was, he had no video. So they didn't know, it was a baby face. It kind of sounded like Stevie, who's, what? You know, we had gotten, I had gotten a few different, you know,

artists that people thought it was, you know. On the cover of the definition of a band album, I'd always want to ask you about, what was it that made y'all not be on the cover and just focus the instruments. I thought it was a statement behind it, but I want to hear your definition of a band. Yeah, yeah, for sure.

It's like, okay, this is, let's be what we are. It's like, man, enough of this trying to look pretty on the cover and that kind of thing. Let's just more rugged be what it is. It's like we're musicians, let the, we always say let the music is king over everything. That speaks, you know. So put the instruments on there, you know,

old warehouse looking thing, you know. And that represents us, you know, and definitely, I think it was perfect, you know, definition of map. But the instruments, boom. That's it, and it resonated. Why did it take you guys three years between? On that one? And is it risky to, well, yeah. For the next three records, that was 96.

Yeah, definitely. Yeah. Between that one and what was one after that? Was that? Like Aquarium. That was 98. 8, 99. 99.

Yeah, so from Mint Factory to Definition Man was three years and then... Just touring, you know, Mint Factory to definite, yeah, touring and I think to, from definition of band to Life's Aquarium, there's a couple things that happened. So Carrie had found love, got married, and all that things, so we're trying to figure out our sound, you know. And how did he handle that? Did he like give y'all heads up or was it, Southern? Yeah.

And how did you guys handle that? We did, we, um, we were on tour with them. We saw it in the movie. I don't know. No, I didn't want to show a lifetime movie. Was it bad? Was it a lifetime movie? Was it accurate?

Was it, uh, the Whitney's movie? I mean, but not Whitney. I'm sorry. Tony's movie. Tony's movie, sorry. Yeah. No. Because they mentioned that in the movie.

I kind of remember that. I only watched half of it, so. You're half. I'm not. Right. I didn't know if I was in it, but I'm... Wait, was it good? Yeah.

After the Whitney joined and the Leah joined, I didn't do the TV. And the TLC one. Yeah, I forgot. Yeah, no, that was a L'H1. That was B.H1. Oh, was VH1? Oh, you're thinking about the, oh, yeah. No, little mama, she killed the TLC version, though.

The TLD, she did good in that one. I wasn't mad at that one at all. So how did they depict it? Just for my ignorance. Like, how do they depict the... It's been depicted that the band was not happy. That's what it's been depicted at all. I can imagine that.

I mean, you gel with someone for your life and then they're like, I'm out up and love, meep, meep, psh. And then y'all were on tour together too, so there was a whole thing. Right. So it developed with them on tour. So I mean, we've seen the camera like, okay, all right, all right, see what's going on. And so now I'm just getting it. I'm sorry.

I just want to say. I knew Bryce was mad. I'm sorry. Never mind. Bruce. This is a long story. He was. Anyway, go ahead.

Do that, Tony. Yeah, so they did that. And so we were, yeah, I mean, everybody in the band wasn't, you know, was like, man, what's going to happen? I guess all he was asking for, like, look, he's giving me some time to work stuff out, and however it's going to happen. He's like, no, we got bills to pay. We got to roll out, man.

which I guess it was like an ultimatum you know it was like oh I give you any of your out kind of thing but you know after me I just thought it was business and you know let you know short life love's love man let them do this thing so I went to wedding

some people were supposed to make it and had some technical difficulties and they didn't as well so yeah fuck you're wedding and some were upset yeah it's just the way it was but I understand that

you know that's just human nature. It's going to be that. And it's this, you know, I've been married to these dudes longer than, you know. You've been very faithful. Like, I wonder how many times that somebody says, so stokely when you're going on solo. Like, how is it like

30, 50, 100? What do you think? Was there a chance if you actually go on solo in the late 90s? Because you did a, there was a couple of soundtrack because that were just you. Every album. Every album. Yeah. Oh, in the press and the rate, in the interview. Like, oh, man, that's, I mean, if there was the deal

was pretty much the album was done it was pretty much every time. But I just think that was, a mint was, is, you know,

necessary. Like at that time, there was so many, solo artists galore. You know, so I'm like, you know, I think it needed to be,

you know what I mean? It needed to be a mean, there's nothing like that. So, you know, there's not a roots. Yeah. But the thing is, the thing is,

though, am I the only artist that that believes in an open marriage? Like, am I the Ozzie Davis of the shit?

No, no, no, you can have it over there. I go to this dude. I go to common. Then I come back home. Yeah, but you have to kind of watch that because at the while you kind of end up cutting your package. You know what I'm saying? You kind of dilute yourself too much. And it's like, okay.

So you're saying I don't need to cut it. I'm so. You don't need to put from Hollywood metaphor to drugs. You're not. Well, no, it's like you're diluting, you know, yourself. So it's like, okay, if I'm here and then I start going here and here, here, here, here, you're trying to spread yourself here. I think it's different for musicians versus.

You're not a lead singer. Oh, okay, okay, what you're doing? Yeah, Tarreek hasn't done it as, oh, no, it's hard. At all. Like, was anybody talking to Steve Gett? You're playing on too many records. Yeah, that's not like that. Polino, the cost, you're gonna have to chill.

Right, right. Yeah, let Bobby Hall get these, get this session. Yeah, but I think that, you know, you would want to like, oh, I want to start a side jazz combo with blah, blah, blah, blah. Do a supergroup. Yeah, yeah, a lot of the group. And what a thing, even like, right what I'm doing now,

All the solo stuff, it's, it's, there's a few ways you can do that, and I have been doing that, actually. There's a couple of groups I play with, you know, still, that's been the last 15, probably 20, the whole time through, you know, I've always been active, you know, before, you know, during. And now it's just like, I feel like, you know, giving so much time, attention, and care to that, you know, as a musician and artist, you have to figure out, you know, I put, when I do something, I'm, like, really focused in on it. So at this time now, I'm just like, okay, it's time for another facet.

You know, I got a couple more gears, I think, you know, while I'm still healthy and, you know, and it can do it, I want to give it its full attention, you know. So there's different ways to do that. I have done what you're talking about as far as, you know, being in a group and doing all the other things outside of it, you know, making that the mother. Do those guys have side options as well or? Just doing different things. Is this group there everything? I'm sorry? No what I'm saying.

Do they have side options as well Or is this group there everything? Everybody's got a different thing And that's the thing It's like once they decide to do that You know, if they want to then you know But they've got definitely It's it's amazing dudes

You know in so many different ways They just know about me Because I'm the lead singer You know And that's usually the way it happens It's a focal point And yeah there's a lot of Magic within and beyond me

You know what I mean Because there's a moment in reading the title introducing Stokely as a fan where you're like well that's nice but what you may introduce like you feel like we knew yeah yeah yeah yeah when you're starting over it's introducing

I mean I get it but it's y'all been it's been decades in music it don't matter black people don't read Are you speaking from experience? Dude Yeah oh right

right Yeah, yeah I mean. So it's like... Yo, Fonte, let me ask you just why we're on this subject because I told you one of my favorite songs is yours what meant. Okay. Something, something.

So the other day, we were talking to Fonte and he was saying how he's real selective with his features. However, he was on this big condition song. You know, it's something, something. Yeah, because that's been in condition. Oh, okay. Just mean, that damn condition.

My mama, my mom, I wouldn't... She didn't validate me until... Like, everything else I did before that, That shit was cool. I called my mom until I got a gym with in condition. She was like, oh, shit. And you're talking shit. Like, the shit talking is just my favorite.

Yeah, right? Man, yeah, that record, man, I couldn't believe. I can't remember. I think my manager hit me. But, yeah, like, me and Rick were talking. And he was like, yo, we got a joint. We want you on. And I was like, I was like, man, crazy.

So he sent it to me. And so I do it. I just do my verse. I'm like, all right. Do my rap-ty-rab-rap. Rap. Take it. Oh, bam.

Nick, I'm good. 16. I'm out. And so I said it. And so then Rick hits me and he's like, yo man, we love the verse. Stokely wants you to sing on it. I was like, nigga, what? I was like, no.

He's like, no, Nick. Stokely want me to do what? Like, what do he want? No, for real. That's like, yeah, that's like, you know, that's crazy. So I was like, I, and so I just went back and added some Marvin harmonies on or whatever. And then he hit me back. I was like, Rick, I sent you some vocals, I said, but dude, I really would.

rather stokely do these old. He was like, let me hear you. I sent it to him. He was like, dude, we love it. We love it. And so that was a time, like that record. And then it was another record we just did on Chris's album, the, what record I did? The Destiny and Stereo record. I'd sing the hook on that, but I sung it as a reference for you to sing it. But Chris kept my reference. Of course. He was, you the man, Fontaine? Of course, man. But I heard it. I heard like an alien, man. You want one of aliens, dudes. Man, I'm trying to be. We did, oh, it was, okay, it was another record. We did.

All of Stokely. I don't do features. Yeah. But except for all of you. I don't do features, but I fuck with Stofer. Look, so, it was the record we did. It was a brother Ali record. And it was a joint.

I just, again, I did the hook on. And then Ali, he, like, put you in some harmonies under me. That shit was stupid. It was called I'll be around. It was, um, man, this had to be like, 2009, 10, 11? I don't hear it again. I'm making it.

Must be nice. You don't remember none of the teachers in Canada? No, man. You were just singing. You were singing on it. Because I mean, because you were in like Brother Ali, like y'all, he was all over. Oh, yes. Yes, yes, yes, yes, yes.

I need to hear it again. I'll send it to you. I'll send it to you. Yes. Yeah, yeah, my mother, she, when I told I did the record with y'all, I made it. That is funny. That is funny. Did Mint get to touch any of?

of introducing? Like, was there any member who meant in it? I wanted to make it, you know, because I feel like we've done that. You know what I mean? If I wanted to make it. And that's the whole thing about, you know, introducing. It's like, you know, this, you're getting me from the rooted to the tutor, you know, so to speak. So.

You're playing still drums or does that somebody? Yeah. You can play them on a knit records too. Yeah, those are my favorite interviews. Ashen Rio, De Quiro's Rehn's Revenge. Violet Different Feral, man. Violet different. I used to have that shit time so perfectly where I could

loop it on my CD player. Like, you can do that shit too? Because it was only like 43 seconds and it wasn't long enough. Like, if I hit it just right, it would loop perfectly in time. That, I want to ask you about sometimes on, oh, yeah. That record, I got, that brought the RA to my dorm several times. Uh-uh, what was you doing? That was my friend, no, that was like my freshman year of college.

Cake tapes. And I just, well, I was beyond the cake tape. Yeah, that was too loud for me. I think this is when his son was getting. I mean, yeah, that joint, so I would like just, that drum solo man and, I mean, it's just a wonderful song. Yeah, thanks, man. And so I just would have that shit like playing loud.

How did that come together? That's the brother Rick, you know. He, like on the rock and roll tip, he's definitely a master at that, man. That one in a fidelity? Yeah. Yeah. Yeah. Yeah, the drum solo is amazing.

Just I think, I like the tones and just how raw it is, you know, I mean? as part of his personality, and we just kind of wanted to push his vision forward. And again, I feel just really fortunate to be a part of all that. I mean, just creating all those sonics, man. Just amazing, magical. So glad it resonated with somebody. No, man, I love it. What was the change, or what prompted you all to change from perspective to a lecture for

Life's a Warrior? Better deal. It was, yeah. What kind of man, we just felt like at the, you know, we'd given them a gift and, uh, uh, that Jammer Lewis. The ball was chopped. Yeah. Oh, yeah.

I mean, it was a gift and, you know, the, the regime that came in to A&M didn't really pick up the ball and really, you could have did a lot more, you know. So that record was considered, was like, just like a moderate hit? It was it. It was definitely, but as we just. But it could have been a pop hit. Oh, yeah. It was just.

It felt like it could have been a Lanstar move. Uh, right. It could have been the, you know. You know what I mean? It was right there. You know, so what they had to do we just pick it up and do what they need to do.

So that didn't happen and just what they were offering at the time, just didn't feel right. You know, a lot of times they put their own people in and, you know, just a lot of people are fired

and she's like, you keep people are gone. Did you guys have any relationship with an improper, like Gil Friesen or whoever was at the time? Yeah, they had, yeah. So it was basically,

your ceiling was Jam & Lewis in the prospective people. Yeah. But never, Right, right. The higher ups at A. No, it would have been, you know, after,

had we stayed on there because that's what we, you know, at that time, I think it was, um, uh, McLean had came back on, you know, at A&M and that kind of thing. So they were in the meeting with him trying to figure out the future. I'm like, well, you'd rather get off. And like, okay, we just, we thought it was going to be a big deal. So you just give us two songs and out, you know, so then we started talking to Silver Rhone over at Elektra.

and did that deal pretty quick. She was pretty excited. And that one was just like, he dropped the ball on, again, just the tour support. You know, because I think that was one of the reasons why. Now, I would say Life's Aquarium, that was one that I, like, you know, like Bossby, you talked about,

the Are You Free, Life's Aquarium was the one record where I was kind of like, okay, what's happening? Because that's probably my second favorite album. So here's the other part of it. So when I first kind of went through it, because the first single,

oh, God, what was the first single? It just didn't sound like y'all. It sounded, you know, very, like, programs. If you love me? No, it wasn't If You Love Me. That was the ballot, but it was the faster. I can't remember what the. Charlie Wilson joint?

That was pretty lady. That was dope. Pain a pleasure? Touch that body? Oh, would touch that body? Touched that body? Touch that body? Oh, right, right.

I was like, yeah. What? You know what? You know what? So that threw me off, but like, the ballads on that. record, you know what I'm saying, like just the man for you. Right, right, right. And stay this minute right now.

Stay this minute and, God, just tonight. Oh, yeah. Like, those are some of my favorite mint songs of all time. And so. I mean, you just do what you feel in the moment, man. It's one of those things where you, you know, people get what they get from it. And it's, you know, whatever your musical sensibility is, you take it or you leave it. And, you know, some stuff is hit, miss.

Yeah. So when y'all went indie for Living the Luxury Brown, how was that transition? What made y'all decide to do that? So we would go in the independent stage at that point. So that was, I felt like, we all felt like, you know, people heard us, but they haven't seen a lot of us. So we wanted to do like a DVD component, you know, with that, you know, Living the Luxury Brown and live from 930 Club. And, you know, at, yeah, in D.C., yeah. So it felt like that's the perfect spot to do.

do it. You know, these are the ones, showed us love that part of the country. Band town. Yeah, yeah, absolutely. So that's kind of what drove that and we struck up a deal with Image Entertainment. Yeah, it was in. Yeah, it was perfect because they did, they dealt with DVDs and that kind of content. And yeah, that's pretty much where it came from. It just from us wanting to do something that was visual, you know. And yeah, it came out. Great, man. And so we put all these songs on there. Yeah, I remember buying that one out of Target. I bought my copy.

It just had like an exclusives over here. I bought it, bought mine out of Target. 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. 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 mistake. 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 2, never mess with her friends either. We always say that, trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends...

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

I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the IHart Radio app, Apple Podcasts, or wherever you get your podcasts. So you have a new album? Stokely, I'm over here.

Yeah, Steve. Steve. Yes. The host of chatting with sugar. Yes. Oh, Steve. How are you doing? Yeah, he's here.

Okay. So. Can you tell us about the new album? Yes, sir. Yeah, we started introducing Stokely. So that's, like I said, I felt that you just, you know, starting from the bottom. You know, I got some folks on there with me and some work with Waleigh on there. How do you, after you waited all this time, how do you get the producers, the people that you want to work with together?

Because isn't everybody like, yo, yeah, yeah, pick me, pick me, pick me? Like, I did it off of spirit. You know, it's not so much off of popularity. I kind of thing, whatever fits what I'm doing. You know, so. You've done a lot of stuff with Wally, though. Yeah, a little bit of worked on with last couple of CDs. Yeah.

And Robert Glassburg. Yeah, a little bit with Rob. And, yeah, so, I mean, it's just, you know how it is. Like, this industry becomes very small. So, you know, touring, you see people on, you know, it's like, I always work together. And when it happens, it happens, that kind of thing. If there's time is free and they're interested if it's something they want to get on

because, you know, we're all sensitive. I think it's wacky, you know, it won't happen. I mean. Got some nose. Yeah, but we try to, you know, do our best and, you know, hopefully make it something that's attractive to other artists. And, you know, Carvin Hagen's and Ivan Barriers, yeah. Philly, Philly, Philly.

Yeah, absolutely. So they're amazing. Definitely love what they do, you know. I got to ask. Okay, so there's one project that I'm really interested in that you were part of. you became the de facto lead singer of the revolution for their, you know, a couple of their date tours or whatever. How did that come to be?

And how hard was that for you? Do you stay off prince.org? I don't want to say. I've been saying weird, but it wasn't weird. It was just, it was surreal. It was, it was just a really interesting. To me, it's, it's, I enjoy it. Like, I enjoyed it.

Someone's got to sing those song. Yeah. And I'd rather someone that really knows how to sing the song. Stokely or below. Yeah. Yeah. And I know for you, it might be a thing like, I don't want to get pegged in the wedding,

the purple wedding singer mode thing. But. Well, it wasn't that. It was just that I was trying to figure out my, I was like, first, I just never thought in the main years that why? I was like, still sometimes I'm like, why am I here? You know, I felt that. Why is he not here right now?

I'm like, it's just weird. I know that. But to me, it's like, you know, I would talk to, you know, the one day you call me or whatever. And I would tell her, like, because there's like the early stages of that, there's like maybe the second or third week where I saw something. And I was like, look, I know you guys are like really, really protective of the brand and, you know, I want to make sure that no toes is stepped on, as if Prince is going to come back to be like,

hey, you're stepping on my toes. But I was like, I think, she's like, what do you think we should? I said, I think the more that you guys just relax and have fun with it, then that's when the magic starts. And I feel that you were the perfect, because of your energy that you bring with it, I'm not expecting you to show up with purple high hills and to do splits.

and start humping the speakers and none of that stuff. Maybe half a vote to you, I don't know. So I know that it's a very weird, vulnerable position to be put in, but I personally encourage it a lot. Like, I'd rather you than say, the lead guy from Dr. Fink's Purple Experience. That cat.

So how many days did you do with him? Last year, still doing dates when I'm not doing my own stuff. I don't know. There was a gang of them. And who sings when you're not there? Nobody. They do. Okay.

Yeah. So Wendy and Mark handled those duties. But it was kind of a weird thing. I know that they knew, you know, Prince and I had a relationship. And it was, he got into a place. Prince and got to a place where, you know, you could see him being kind of mentor to a of different artists you know he was like becoming that guy you know the yodas like you know in the industry and um in conversations which i miss some so many conversations that i did out the ones that i

miss is like look man we talk about life and everything that kind of thing and uh did you try to take you to kingdom home yeah no no you got lucky you know not my experience yeah i think um you know when people get happen to lower some time it's like in at the beginning it's like they want you yeah yeah yeah So, I think It's like people to sell prepaid legal. Yeah, I think maybe just started it. It's just,

you're selling it way too hard. I've kind of sold on this Amway thing. Like Amway thing. You're just going too far with it, you know what I mean? Too much zeal. Oh, my goodness. Why did you mention Amway, man?

My uncle you sell. You are so good. They got nothing to do with prepay legal, though. I don't know that's it. It's the pyramid scheme. Same shit. That's all, yeah. Pre-pate legal.

What's the other? What's the scam? It was ACN? I don't know. Yeah. I mean, yeah, that was the college. Oh, God. Yo, Bill, you just, did you have an M-Way experience at all your life?

No. Of course. Avon. Uncle-so, sure. Oh, my Lord. I need some people sold it too, yeah. Because they came back as, they came back as another company and I got recruited for that company. And I had to tell him, hell no.

Wow. Scams, man. Scam. Damn way. The first time you did these songs, these print songs, did you have any like unexpected emotional moments that you just was, wait, what is this? Yeah, for sure.

I mean, like I said, doing them, you know, the first couple of shows, you know, definitely cost a little bit, cost it a little bit emotionally. You know, I could even see, you know, the first couple of years I did, you know, when manager was there too, where you were like, you know, I do a couple songs and I go off. Like I'm back on, you know. And every time I come off, I'm a fan and I'm watching and the first couple times was like, I could see them becoming themselves.

But I think they were trying to find themselves, you know. It's like we were all like, where is he? This is, you know, this is a different experience, you know what I mean? And so I think they were trying to figure out where they fit and all this stuff. And then the fans were looking, you know, some of the time, you know, they didn't, a lot of fans, unless you've seen the Purple Rain Tour,

that was it, you didn't see the revolution. So a lot of people were seeing them for the first time. So it was really emotional for the fans, you know. By the time you get to, you know, sometimes it snows in April, it was, you know, it was just really- Never watched that. Yeah. Yeah.

It was, you know, so now it's more of a celebration, you know. We've done it a few times, but there's still a lot of fans in the house or seen it for the first time. It's really, it's emotional. But, you know, I just met, my, I was just concerned, like I told Mark's like, but what, what am I going to sing? you know I'm not in first of all this dude is an island nobody's saying we know that that's right that's it it is what it is it's legacy and that kind of thing so I so I said I have to pick

what I think I sound good like I just because I can do it doesn't mean I should you mean so so some songs are sacrilegious to you to wow yeah I think yeah I think yeah it's just I shouldn't be doing you know I think the best way to handle it uh and I tell them this all the time that, like Prince's fan base, Prince has the luxury of having non-hit songs just as popular as his hit songs. Stevie has that luxury. Go for the more obvious stuff.

I mean, the less obvious stuff. Yeah, like the filler. You know what I mean? Like his filler is just as amazing. Yeah. You know what I mean? Like, you killing slow love would be amazing. You know, I know that's not a revolutionary song.

But yeah, I get it. I'm just saying that, you know, it's, I encourage that move. It's fine. If anyone gets a chance to see the revolution, which is so clear. Wait, what's on the list, though? What don't you touch? It was like, holy ground. I don't think they would do do me, baby, or.

Oh, okay. So it has to be set. Okay. So that's the prince's list. That's princess list that he didn't do after a while. That's what you mean, basically. Okay. All right.

You know, I guess, yeah. Anyway. So. But it's fun, though. We have a good time. And then, yeah, I get to learn a lot about him and hear old stories and, you know, and it was really, I just feel fortunate because it's like, even with this project, it was a thing where he was, you know, really encouraging. He was like, okay, dude, well, what, one of the last conversation I had with him is, you know, about Paisley. I didn't, you know, he's just coming like, what are you doing tonight?

I was actually just sitting home and come out. That's all right. And they were rehearsing, I think it was, Andy Allo was out there and a bunch of the horns. He had his marching band out there with the big horns. Oh, all from North Carolina. I always wanted to know what the Perdium situation was for these guys, man. He was killing it out there, killing it.

And he was like, you just go up. And we just start talking and just about whatever life. And he's like, you know, it seemed like he was waiting for me to, get to a certain subject as we started talking about music and everything. I was like, yeah, I'm working on some stuff. He said, you're working on something? I was like, yeah, I've been working for a minute. So he said, because I was wondering, why don't you do something, you know?

This is, you know, it's time. And I see, I'm working on it now. He's like, can I be a part of it? I was like, whoa. No, you're beneath me. Now you know how I feel. When I heard Stokely want you to sing on, okay. Wow.

How did you feel when you got the call to sing on call my name? Oh, that was cool, man. I was like, okay. Same thing, he was like, yeah, I think at the time it was, yeah, Kirk Call me. It was like, yeah, yeah, pretty much to come out. That's something they're doing out here. So it was me, Chance Howard and Kip Blackshar. Kip and his brothers used to sing with Prince for a while too.

And went out there and, you know, I just taught us to harmony and everything. At one point, we was like, it sounds too tight. Somebody needs to dirty it up, you know. You know, the harmony's too tight. We're trying to, you know, sing like you like, you want it. You know, it's like, oh, we're like, okay, cool. So which one are you going to sing flat? Right.

And so, yeah, that came out great. And then we went out to the, um, to LA to do the video. And it was around the same time that Ray was about to be released, the movie Ray. And, um, I remember, yeah, we had to be released. remember you know we had a great time man it was um I said you want to go to this movie's like new jami fox he's portraying ray charles like okay so we went to the sony lot and um you know we you know it was like oh this is oscar material right here man you know then the uh you know doing the video and everything we remember we were joke kind of joking around about the chapelle

show you know that in the basketball the basketball scene and everything we're like yeah it was funny such and such and such and such And yeah, he said he was bawling everything and blouses and all that stuff. And he was like, and I hear him back at me, it's true. Like, okay. Talk about, this is I have a super black question. Talk about your time on the set of the Academy Award winning film Panther. Or as course Whitaker would say,

Pinta. That pinta. That pinta. We talk about their other panther. It's the black pinta. I look like your fatato. You were not trying to black of two minutes during this episode. Man, listen.

Yeah, so how did that come about with? We talk about the Mario Van Peebles, Panther. Not Ryan Coole. Not, no, not the black painter. We're talking about Panther with Bobby Brown. He was He was on drugs, wasn't he? No, he was, well, yeah, he was on drugs

But then he ended up in the movie too He's in the movie That's what I was talking about So it was a meta reference, yes, meta Yeah, I was talking about, yeah, he was talking about the movie I was talking about the movie too I wasn't talking about it first in the last Me neither

All right So, yeah, dude, so Panther The Fossil is getting angry Angry So much anger I was just always arms.

Oh, my man. Y'all just leave me alone. So how did that call about there? I think it was the label. You know, we were trying to, you know, get more opportunities to be seen and that kind of thing. And, you know, they say anybody wants to act. I was like, yeah, sure, absolutely that. Been a little bit in my day.

And so the ad came above. It's like, yeah, where are these wigs? You guys are the purple-suited hipsters was our, you know, on script, you know. And we just, you know, you all the young I do just come on. I think we had a couple lines I can't remember. Yeah, because y'all was out there when the, when the, during the standoff. Stand it right, yeah. Yeah, yeah, we're supposed to come out and kind of react to that.

Ah, what? What's going on? Your parents must have been proud, though, you know. Yeah, you're back to you. Have or what? Now you're somebody. Were you in black men in United too? Yeah.

Oh, yeah. Yeah. Yeah. I can't remember. Yes, he was. Yeah. That was crazy. Yeah.

Although I just remember the most amazing time I had to With that, it's like we were actually doing the session. And right before we actually taped everything, there was another room that was happening. And DeAngelo was in there. And it's like everybody's playing this stuff. And we heard shit that motherfucker. He played that.

And every dead body just went crazy. He was playing this. All of it was just like amazing. We all just went crazy like, what? Who is this dude? Archer, what? Amazing. Amazing. Yeah. It's so dope, man.

Yeah, it was really dope, yeah. Wow. I always forget that that was like before DeAngelo was DeAngelo. Yeah. Yeah. Yeah. Like a couple songs on the sampler tape for a second. So what will the rest of 2018 look like for you and your plans for 2019? Oh, man. Just. Gaboo. Yeah.

For all of us. Yeah. A. You know, just really trying to push you on what I'm doing with this. introducing Stokely just my journey. Everything I've learned up into nine. Like I said, I got a couple more gears I want to. Talked about different projects that I got

in my mind. I would actually say it like a jazz project, something like that, something African inspired. More of this kind of journey more than now, this, you know, pop, you know, R.R. Be sensible, whatever you want to call. I don't even want to get in the labels. Because however it comes out, man. but definitely more of this. I think it's a lane that's missed.

Like I say, I see it as a hybrid because I'm like, I feel like I'm, I love analog and I love digital. I love, you know, technology, but I'm rooted in, you know, the past. So I think meshing both of those worlds together, that's what pretty much introducing Stokely. I've got a lot of that energy in there, you know. So definitely, I mean, more touring and just kind of creating awareness. So that's what I'm here.

Just a safer baritone's one for me. That's all. Yeah. That too, yeah, absolutely. I was serious about that. We got, yeah. I probably might be calling you, man.

I, no, I spun that playing your game baby thing already. Yeah. It works. Yo, not to be to ask the female questions here, but since it's not really asked too much, Stokely, what's your situation? My situation?

Yeah, like, are you married? You got some babies. Oh, yeah. Oh, yeah. Oh, hey. What's it? Oh, I took it off to play them callers out there. Oh, you took, yes.

Oh, all right. All right. Put the ring on. And how long have you been in the marriage? About 10. 9. Careful. Yeah.

And Fonte, you know the question that I don't have to ask Stokely. What? Is it a sister? Oh, wow. Oh, I don't know. Yes. Okay. Yeah, I got some babies.

Okay. Okay. Yeah. So, black and black. God. I'm sorry. Let's just, we need to know the fact. She's from D.C.

What? The Howard baby. What? Yeah. I am, shut it down. I'm done. Wait, why are you vicariously celebrating this? Because not only is she a sister.

She's like a sister. She's from D.C. And she like, y'all think I'm black. Like, she. Why is that so? You ever met her yet? No, I don't need to meet her. He gave me facts.

She's married to Stokely. She's with the Howard. And she's from D.C. We were of a certain age. We were raised to March. We made Martin's the King Day of Holiday. We fought against the podcast. Leah, Leah,

Leia, please just let people have their miscegenation in peace. Oh, sorry. I'm sorry. We got to end this episode, y'all. I love to do with it. I'm talking.

Introduced us stokely. And his wife was his sister. Yes. And you're touring currently right now? Yes. Yes. Doing a lot of that. You know, weekends, you know,

weekend worrying. I'm a chauffeur in the weekday. Okay. The kids. Well, we think. you for coming on Questloaf Supreme. Thank you for having. Green, for real.

It's a great show, by the way, man. Congrats. All you all you, I listen to, you know, it's great to put the faces, the voices. You might never listen to time. Good with your whole reservations. Yeah, man. For one home remodel to another. Yes.

I hope those kind of tops go right in. I hope so. Or no granite. Yes. For our listeners out there, both Fonte and Stokely. And Bill. Yeah. And Bill.

And Bill. And sort of me. We're dealing. with domestic home situations with our countertops and bathrooms and tiles. Let me know when it's time and pick that backflash. I'm in the middle of America. I'm in St. Paul. May I'm in St. Paul.

I'm in St. Paul. May I'm still. I'm still at the career. Ladies and gentlemen, we thank you very much. This is another episode of Questlove Supreme. On behalf of Team Supreme and it's like thank you. I'll see you on the next

go round. Quest Love Supreme is a production of I-heart Radio. This classic episode was produced by the team at Pandora. For more podcasts from IHeartRadio, visit the IHeart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. A win is a win. A win is a win. I don't care what I'm saying.

Yep, that's me, Clifford Taylor the 4th. You might have seen the 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, unfilled conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated.

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

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo 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. This is an IHeart podcast. Guaranteed human.